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an estimated 5,500 employees at 120 school districts in the state were recently handed pink slips warning them they may not have jobs next school year, an arizona republic survey has found.
about 4,000 of those employees are teachers.
most school districts have issued layoff notices because they still do not have a state budget for the fiscal year that begins july 1. they also had to comply with a state law requiring them to tell teachers by april 15 whether their jobs might be cut.
a few districts, such as mesa public schools, also note that they are coping with sharp declines in enrollment. that means they'll get less state funding.
many district governing boards waited until the last two weeks , hoping that the legislature and gov. jan brewer would hand them a budget sooner than later.
school district officials and board members said they had to estimate future funding based on conversations with legislators and lobbyists. districts believe they will receive 10 to 15 percent less state money than the current school year because of a looming $3.3 billion state revenue shortfall. they purposely overestimated the severity of the state cuts as a precaution.
districts have promised they will try to rehire the laid-off instructors this summer, when they have an official budget.
consequences
state superintendent of public instruction tom horne has said these preemptive layoffs have spread unnecessary fear.
"it's very damaging to give notices, layoffs, to teachers who they're going to hire back," horne said.
it's ruining morale, he said, and chasing some qualified teachers out of education, or at least out of the state.
but education groups argue that districts had to take action or risk lawsuits for breaching contracts. the state teachers union, the arizona education association, said the full scope of layoffs is much more dire after conducting its own survey of 36 districts. the teachers union believes up to 10,000 school employees will be out of jobs next year.
"there's no exaggeration," arizona education association spokesman john hartsell said.
the legislature in late january "claimed it would cut education by $991 million," hartsell said.
schools make up about 43 percent, or $4 billion, of the state budget.
ways to save
arizona has a vast spectrum of districts, from the small and rural to the large and urban. their measures to address the projected deficit vary, from pay cuts to shorter workweeks to furloughs.
fowler elementary district in phoenix didn't issue any layoffs but cut 13 positions through attrition, said superintendent marvene lobato. chino valley unified school district, north of prescott and payson, will have a four-day school week.
in mayer unified school district, officials said the superintendent has accepted a pay cut to keep teachers on board.
union input
some districts have talked with their local union to target cuts. several, including paradise valley unified school district, decided against renewing agreements with teachers on one-year contracts brokered through phased retirement firms.
the arizona education association argues that those employees, although many have 25 years-plus in education, are just on contract and aren't entitled to jobs that could be taken by younger teachers.
paradise valley unified is not renewing contracts with 300 such retiring teachers.
horne warned that districts shouldn't cut their most experienced staff. "it's a myth that they have to lay off by seniority," he said.
contributors to this report were republic staff members marissa belles, alex bloom, derek cooley, nicole ethier, megan gordon, christelle hobby, ray parker, chelsea schneider, eugene scott and eric smith.
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ʃɛr. həz plænz tɪ ʧeɪnʤ ɪts ʃɑt ˈsɪstəm fər nɛkst jɪrz geɪm. həz plænz tɪ ʧeɪnʤ ɪts ʃɑt ˈsɪstəm fər nɛkst jɪrz geɪm. ˈgoʊldən steɪt ˈwɔrjərz pɔɪnt gɑrd ˈstivən ˈkəri ɪz soʊ gʊd, hɪz ˈɛnˌbiˈeɪ ˈkaʊntərˌpɑrt kænt kip əp. geɪmz spɛnt jɪrz pərˈfɛktɪŋ ɪts ˈsɪstəm, ənd wɪn ˈgoʊldən steɪt warrors*' stɑr pleɪər keɪm əˈlɔŋ, ɪt hæd tɪ fərˈgɛt ɪts ˈpruvən ˈmɛθədz ɪn rɪˈgɑrdz tɪ ˈvərʧuəl ˈkəriz pleɪ. ˈɛksət ˈθiətər moʊd ˈɛnˌbiˈeɪ ˈgeɪmˌpleɪ dɪˈrɛktər maɪk wæŋ toʊld "ɪts nɑt ɛz məʧ əˈbaʊt ˈʧeɪnʤɪŋ ˈkəri hɪmˈsɛlf, ɛz ɪt ɪz ˈʧeɪnʤɪŋ ðə weɪ tɪ waɪl ˈjuzɪŋ ɪm ɛz ə pleɪər." ˈkəriz ˈævəˌtɑr ɪz ɔˈrɛdi ə "ˈvɛri ˈpoʊtənt ˈskɔrər" ɪn ðə "ɪn ðə hænz əv ə skɪld pleɪər." ˌhaʊˈɛvər, ˈkəri əˈbaɪdz baɪ ðə seɪm rulz ɛz ˈɛvəri ˈəðər pleɪər ɪn ðə geɪm. ənd ðoʊz rulz, wæŋ sɛd, "kip ðə geɪm ˈbælənst ənd fɛr." "ˈskɔrɪŋ ɪn ðə peɪnt ənd ˈʃutɪŋ hæv hɪˈstɔrɪkəli bɪn ðə ˈtəfəst ˈɛriəz tɪ ˈprɑpərli ˈbæləns," wæŋ toʊld fɔrbz. "ˈteɪkɪŋ ɔf ðə ˈdrɪbəl ər ˈɔlsoʊ ˈdɛfənətli dɪˈskərɪʤd ɪn ˈɛnˌbiˈeɪ. əˈspɛʃəli ˈæftər bɪˈfɔˌrhænd." ðə ˈprɑbləm ɪz ðət ˈriˌllaɪf ˈkəri ɪz ˈteɪkɪŋ ðə seɪm ʃɑts ðət ˈɛnˌbiˈeɪ dɪˈvɛləpərz hæv traɪd tɪ dɪˈskərɪʤ pleɪərz frəm ˈmeɪkɪŋ wɪθ ˈəðər ˈævəˌtɑrz. "fər stɛf, wi nid tɪ ðoʊz rulz soʊ ðət hɪz ˈvərʧuəl ˈkɛrɪktər ɪz ˈeɪbəl tɪ meɪk səm əv ðə ˌɪnˈseɪn pleɪz ðət hi meɪks ɪn ril laɪf ɔn ə mɔr ˈrɛgjələr ˈbeɪsɪs." həz ɔˈrɛdi əˈʤəstɪd ˈkəriz ˈgeɪmˌpleɪ, ənd wɪl kənˈtɪnju tɪ twik hɪz ˈkɛrɪktər tɪ "muv ə bɪt ˈkloʊzər tɪ ˌriˈæləˌti." wæŋ ˈɔlsoʊ toʊld ðət ðə ˈkəmpəˌni ɔˈrɛdi plænz tɪ ʧeɪnʤ ðə ʃɑt ˈsɪstəm ɪn ˈɔrdər tɪ "ˈfʊli ˈriəˌlaɪz ðə juˈniknəs əv pleɪ." ˈɛksət ˈθiətər moʊd ˈɛnˌbiˈeɪ ɪz ˈhoʊldɪŋ ɪts ˈvɛri oʊn ˈtʊrnəmənt, ənd ðɛrz stɪl taɪm tɪ kˈwɑləˌfaɪ. ənˈtɪl meɪ 8 timz ər ˈeɪbəl tɪ pɑrˈtɪsəˌpeɪt ɪn ˈɛni əv ðə geɪmz kˈwɑləˌfaɪɪŋ ɪˈvɛnts. ˈsɪkˈstin timz wɪl ɪˈvɛnʧəwəli muv ɔn tɪ ˈɛnˌbiˈeɪ ˈtʊrnəmənt, wɪʧ wɪl teɪk pleɪs ɪn ʤun. nɪˈkoʊl ɪz ə ˈfriˌlæns ˈraɪtər fər. ju kən ˈfɑloʊ hər ɔn tˈwɪtər.
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share. 2k has plans to change its shot system for next year's game. 2k has plans to change its shot system for next year's game.
golden state warriors point guard stephen curry is so good, his nba 2k16 counterpart can't keep up.
2k games spent years perfecting its system, and when golden state warrors' star player came along, it had to forget its proven methods in regards to virtual curry's play.
exit theatre mode
nba 2k16 gameplay director mike wang told ign "it's not as much about changing curry himself, as it is changing the way to suceed while using him as a player." curry's avatar is already a "very potent scorer" in the game—especially "in the hands of a skilled player." however, curry abides by the same rules as every other player in the game. and those rules, wang said, "keep the game balanced and fair."
"scoring in the paint and 3-point shooting have historically been the toughest areas to properly balance," wang told forbes. "taking 3s off the dribble are also definitely discouraged in nba 2k. especially after over-dribbling beforehand."
the problem is that real-life curry is taking the same shots that nba 2k developers have tried to discourage players from making with other avatars.
"for steph, we need to re-define those rules so that his virtual character is able to make some of the insane plays that he makes in real life on a more regular basis."
2k has already adjusted curry's in-game gameplay, and will continue to tweak his character to "move a bit closer to reality." wang also told ign that the company already plans to change the shot system in order to "fully realize the uniqueness of steph's play."
exit theatre mode
nba 2k16 is holding its very own $250,000 tournament, and there's still time to qualify. until may 8, teams are able to participate in any of the game's qualifying events. sixteen teams will eventually move on to nba 2k16's single-elimination tournament, which will take place in june.
nicole is a freelance writer for ign. you can follow her on twitter.
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wɛl, ðə ˈhæpi taɪm həz kəm tɪ əˈnaʊns ðə ˈlaɪˌnəp əv ˈfæbjələs ˈwərkɪŋ grups. wi hæv ˈsɛvərəl rɪˈtərnɪŋ grups, ənd ə frɛʃ krɑp əv ˈɪntəˌrɛstɪŋ ˌvɑlənˈtɪr grups tɪ æd tɪ ðə mɪks. fərst ðə ˈnuˌkəmərz: ˈænəməl raɪts ˈgloʊbəl juθ ˌkoʊəˈlɪʃən ˈhæməltən ˌvɛʤəˈtɛˌriən əˌsoʊʃiˈeɪʃən pik ɔɪl ðə ˈrædɪkəl ʧeɪnʤ məˈʃin ə laɪf: ɑrt əv ˈwɪmən ˈwivərz əv pɑm ənd rɪˈtərnɪŋ ˈwərkɪŋ grups skwɑd kəˈləmbiə kəmˈjunɪti ˌvɑlənˈtɪr ˈækʃən it ˈloʊkəl (fud ˈɪʃuz) ɪmˈplɔɪmənt ˌɑpərˈtunətiz fər ˈpipəl fud nɑt bɑmz gˌwɑtəˈmɑlə meɪk ɪt fɛr nɑn ˈvaɪələns naʊ ˈreɪdiˌoʊ riˈsaɪkəl ˈsaɪkəlz ˈstudənt mæθ ˈækʃən ˈrisərʧ tim ˌtrænspərˈteɪʃən fər kəmˈjunɪtiz fʊl dɪˈskrɪpʃənz ənd ˌɪndəˈvɪʤəwəl ˈkɑnˌtækt ˌɪnˌfɔrˈmeɪʃən fər iʧ grup kən bi faʊnd æt ˈwərkɪŋ grups ər ə dɪˈrɛkt weɪ tɪ gɪt ˈæktɪvli ˌɪnˈvɑlvd ɪn ˈwərkɪŋ ɪn ðə ˈpəblɪk ˈɪntəˌrɛst. ʧɛk ɪt aʊt! ˈædvərˌtaɪzmənts
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well, the happy time has come to announce the 2005-06 line-up of fabulous working groups. we have several returning groups, and a fresh crop of interesting issue-based volunteer groups to add to the mix. first the newcomers:
animal rights
global youth coalition
hamilton vegetarian association
peak oil tinkers
the radical change machine
reweaving a life: art of women weavers of palm
and returning working groups
anti-poverty flyering squad
colombia
community volunteer action
eat local (food issues)
employment opportunities for people w/disabilities
food not bombs
guatemala
make it fair
non violence now
radio
recycle cycles
student math action research team
transportation for liveable communities
full descriptions and individual contact information for each group can be found at opirg.org/mcmaster/groups.html –
working groups are a direct way to get actively involved in working in the public interest. check it out!
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ˈsædəld wɪθ ə ˈfɛrli wik ˈskɛʤʊl, naɪt football”*” ˈstəmbəld tɪ ə ˌfɔˈrjɪr loʊ ɔn. ˈsɛvənˈtin ˈrɛgjələr ˈsizən ˈɛˌnɛˈfɛl ˈtɛləˌkæsts ˈævrɪʤd ən juz. ˈreɪtɪŋ ənd ˈmɪljən vjuərz ɔn, daʊn 2 ɪn ˈreɪtɪŋz ənd 3 ɪn vˈjuərˌʃɪp frəm læst jɪr 13.3m*), ənd daʊn 10 ənd 13 rɪˈspɛktɪvli, frəm 2010 14.6m*). ðɪs mɑrks ðə ənd naɪt football”*” ˈsizən sɪns 2008 12.0m*). pɑrt əv ðə ˈprɑbləm ðɪs ˈsizən wɑz ə ˈskɛʤʊl ðət ˈfiʧərd ˈsɛvərəl timz. ðə ˈfaɪnəl faɪv wiks əv ðə ˈsizən ˌɪnˈkludɪd ðə ˈpænθərz əˈgɛnst ðə ˈigəlz), ðə ʤɛts əˈgɛnst ðə ˈtaɪtənz), ənd ðə laɪənz ˈfeɪsɪŋ ðə ˈlidɪŋ ˈfælkənz). ˌædvərˈtaɪzmənt nɑt səˈpraɪzɪŋli, ðə haɪəst ˈreɪtɪd ənd ““mnf”*” geɪm əv ðə ˈsizən wɑz ðə ˈoʊnli wən ðə ˈfiʧər ðə ˈkaʊˌbɔɪz ɪn wik 4). ðə ˈreɪtɪd wɑz ðə ˌkɑntrəˈvərʃəl geɪm ɪn wik 3 ənd ðə vjud wɑz ɪn wik 13). ɔn ðə ˈəðər ɛnd əv ðə ˈspɛktrəm, ðə geɪm ɪn wik 16 wɑz ðə loʊəst ˈreɪtɪd ənd geɪm əv ðə ˈsizən). ðə ˈreɪtɪŋ wɑz ə fər boʊθ ɪn wik 15 ənd ɪn wik 7 ðə wik 7 geɪm ɛrd ˈɑpəzɪt geɪm 7 əv ðə ɔn fɑks ənd ə ˌprɛzɪˈdɛnʃəl dəˈbeɪt. dɪˈspaɪt ðə ˌfɔˈrjɪr loʊ, naɪt football”*” wɑz stɪl ðə ˈdɑmənənt ˈtɛləˌvɪʒən ˈproʊˌgræm əv ðə jɪr ɔn ˈkeɪbəl ˈtɛləˌvɪʒən. ɪn ˈɛvəri wik əv ðə ˈsizən, ““mnf”*” wən ðə naɪt əˈməŋ ˈædəlts ənd ɔl θri ki meɪl ˌdɛməˈgræfɪks ənd fər ˈɛˌnɛˈfɛl ɔn 2012 ˈrɛgjələr ˈsizən deɪt əˈweɪ hoʊm nɛt ˈreɪtɪŋ vjuərz 1 mɑn., ˈbɛŋgəlz ˈreɪvənz ˈʧɑrʤərz ˈreɪdərz 2 mɑn., ˈbrɑŋkoʊz ˈfælkənz 3 mɑn., ˈpækərz ˈsiˌhɔks 4 mɑn., bɛrz ˈkaʊˌbɔɪz 5 mɑn., ˈtɛksənz ʤɛts 6 mɑn., ˈbrɑŋkoʊz ˈʧɑrʤərz 7 mɑn., laɪənz bɛrz 8 mɑn., ˈnaɪnərz ˈkɑrdɪnəlz 9 mɑn., ˈigəlz seɪnts 10 mɑn., ʧifs ˈstilərz 11 mɑn., bɛrz ˈnaɪnərz 12 mɑn., ˈpænθərz ˈigəlz 13 mɑn., ʤaɪənts ˈwɔʃɪŋtən 14 mɑn., ˈtɛksənz ˈpeɪtriəts 15 mɑn., ʤɛts ˈtaɪtənz 16 sæt., ˈfælkənz laɪənz (ˈsizən ˈævrɪʤɪz frəm)
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saddled with a fairly weak schedule, “monday night football” stumbled to a four-year low on espn.
seventeen regular season nfl telecasts averaged an 8.2 u.s. rating and 12.8 million viewers on espn, down 2% in ratings and 3% in viewership from last year (8.4, 13.3m), and down 10% and 13%, respectively, from 2010 (9.1, 14.6m).
this marks the lowest-rated and least-viewed “monday night football” season since 2008 (7.6, 12.0m).
part of the problem this season was a second-half schedule that featured several sub-.500 teams. the final five weeks of the season included the 3-7 panthers against the 2-8 eagles (7.0, 10.8m), the 6-7 jets against the 4-9 titans (6.6, 10.1m), and the 4-10 lions facing the nfc leading falcons (6.0, 9.7m).
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not surprisingly, the highest rated and most-viewed “mnf” game of the season was the only one the feature the cowboys — bears/cowboys in week 4 (10.5, 16.6m). the second-highest rated was the controversial packers/seahawks game in week 3 (10.3), and the second-most viewed was giants/washington in week 13 (16.2m).
on the other end of the spectrum, the previously-mentioned falcons/lions game in week 16 was the lowest rated and least-viewed game of the season (6.0, 9.7m). the second-lowest rating was a 6.6 for both jets/titans in week 15 and lions/bears in week 7. the week 7 game aired opposite game 7 of the nlcs on fox and a presidential debate.
despite the four-year low, “monday night football” was still the dominant television program of the year on cable television. in every week of the season, “mnf” won the night among adults 18-34 and all three key male demographics (18-34, 18-49 and 25-54).
ratings/viewership for nfl on espn
2012 regular season
wk # date away home net rating viewers 1 mon., 9/10/12 bengals ravens espn 7.0 10.9m chargers raiders espn 6.8 10.5m 2 mon., 9/17/12 broncos falcons espn 10.0 15.5m 3 mon., 9/24/12 packers seahawks espn 10.3 16.2m 4 mon., 10/1/12 bears cowboys espn 10.5 16.6m 5 mon., 10/8/12 texans jets espn 9.0 14.0m 6 mon., 10/15/12 broncos chargers espn 8.2 12.8m 7 mon., 10/22/12 lions bears espn 6.6 10.7m 8 mon., 10/29/12 niners cardinals espn 6.8 10.7m 9 mon., 11/5/12 eagles saints espn 8.2 12.9m 10 mon., 11/12/12 chiefs steelers espn 8.2 12.8m 11 mon., 11/19/12 bears niners espn 7.9 12.5m 12 mon., 11/26/12 panthers eagles espn 7.0 10.8m 13 mon., 12/3/12 giants washington espn 10.2 16.2m 14 mon., 12/10/12 texans patriots espn 9.0 14.5m 15 mon., 12/17/12 jets titans espn 6.6 10.1m 16 sat., 12/22/12 falcons lions espn 6.0 9.7m
(season averages from espn)
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ˌɪzˈreɪli sɪˈkjʊrəti əˈfɪʃəlz seɪ ˈmɛmbərz əv sɛl traɪd æt list wəns tɪ bərn ˌpælɪˈstɪniən haʊs wɪθ ˈfæməli ˌɪnˈsaɪd ˌɪzˈreɪli sɪˈkjʊrəti əˈfɪʃəlz hæv əˈnaʊnst ðə ərˈɛst əv ən əˈlɛʤd ʤuɪʃ ɪkˈstrimɪst sɛl sɛd tɪ bi ˈɔpərˌeɪtɪŋ ɪn ðə ˈɑkjəˌpaɪd wɛst bæŋk, wɪʧ hæd traɪd ˌənsəkˈsɛsfəli ɔn æt list wən əˈkeɪʒən tɪ bərn ə ˌpælɪˈstɪniən haʊs wɪθ ðə ˈfæməli ˌɪnˈsaɪd. ðə sɛl əˈkɔrdɪŋ tɪ ðə ˌɪzˈreɪli dəˈmɛstɪk sɪˈkjʊrəti ˈeɪʤənsi ðə ʃɪn bɛt ˌɪnˈkludɪd ə ˈɪzriəl dɪˈfɛns ˈfɔrsɪz ˈsoʊlʤər ɛz wɛl ɛz tu ˈtiˌneɪʤərz. ˈdʊrɪŋ ˌɪnˌtɛrəˈgeɪʃən ˈsɛvərəl ˈmɛmbərz kənˈfɛst ðeɪ hæd bɪn ““inspired”*” baɪ ðə ˈɑrsən ˈmərdərz əv θri ˈmɛmbərz əv ðə ˈfæməli ˌɪnˈkludɪŋ ən ˈtɑdlər ɪn ðə ˈvɪlɪʤ əv ˈdumə ɪn ˌʤuˈlaɪ 2015 əˈlɛʤədli baɪ ʤuɪʃ ɪkˈstriməsts. əˈkɔrdɪŋ tɪ ə ˈsteɪtmənt ˈɪʃud baɪ ðə ʃɪn bɛt, ðə nu grup wɑz ˈæktɪv ɪn ðə ˈnɔrðərn wɛst bæŋk ˌbiˈfɔr ənd ˈæftər ðə ˈdumə ˈmərdərz ənd wɑz bɪˈhaɪnd ə ˈnəmbər əv əˈtæks ˌɪnˈkludɪŋ ən ˈɑrsən əˈtæk ɔn ən ˌɪnˈhæbətəd ˌpælɪˈstɪniən hoʊm. ənd ðə kənˈfɛʃənz əv ðə ˈsəˌspɛkts rɪˈvild ə ˈvaɪələnt ənd ɪkˈstrimɪst ˈnɛtˌwərk wɪʧ ˌsɪstəˈmætɪkli əˈtækt ˌpælɪˈstɪniənz ənd ðɛr ˈprɑpərti ˈivɪn waɪl ðeɪ wər ˈfʊli əˈwɛr əv ðə ˌpɑsəˈbɪləˌti əv ˈkɪlɪŋ ˈsəmˌwən ˈæftər ðə ˈɑrsən ɪn ˈdumə, ənd wər ˈivɪn ˌɪnˈspaɪərd baɪ it,”*,” ðə ʃɪn bɛt sɛd. ˌɪnˈtɛləʤəns wi ˈgæðərd əraʊnd ðiz əˈtæks ˈpɔɪntɪd tɪ ðə ɪgˈzɪstəns əv ə ʤuɪʃ ˈtɛrər ˌɔrgənɪˈzeɪʃən ɪn [ðə ˌɪzˈreɪli ˈsɛtəlmənt əv]. ðə ˈlætər hæf əv 2015 ðɛr wər ə ˈnəmbər əv ˈtɛrər əˈtæks ənd ˈvaɪələnt ˈɪnsədənts əˈgɛnst ˌpælɪˈstɪniənz. tu ˈnoʊtəbəl əˈtæks wər əˈgɛnst ˈbɪldɪŋz ðət hæd ˌpælɪˈstɪniənz inside.”*.” ðə ˈsteɪtmənt ˈædɪd ðət ˈmɛmbərz əv ðə nu sɛl hæd lɪŋks wɪθ ðə ˈsoʊˈkɔld ““revolt”*” ə ˈlusli əˈfɪliˌeɪtɪd ˌmɛsiˈænɪk ˈmuvmənt əv ˈsɛtələr ˈtiˌneɪʤərz ɪn ˈkɑnflɪkt wɪθ boʊθ ˌpælɪˈstɪniənz ənd ðə steɪt əv ˈɪzriəl. ðə ˌdɪˈskəvri əv ðə ˈleɪtəst əˈlɛʤd ˈæktɪv grup əv ʤuɪʃ ɪkˈstriməsts ˈfɑloʊz rɪˈnud ˈɛfərts tɪ ˈtərgət ðə rɪˈsərʤənt fəˈnɑməˌnɑn əv ʤuɪʃ ɪkˈstrimɪst ˈvaɪələns ɪn ðə wɛst bæŋk ˈfɑloʊɪŋ ˈdumə. ðə ʃɪn bɛt ˈædɪd ðət ðoʊz ərˈɛstɪd hæd tɪ ˈkɛriɪŋ aʊt ˈwaɪdˈsprɛd ˈtɛrər ækˈtɪvɪtiz, wɪʧ ˌɪnˈkludɪd əˈtɛmpts tɪ hɑrm ˌɪnˈhæbətəd ˌpælɪˈstɪniən hoʊmz, əˈtækɪŋ məˈnɔrətiz, ˈɑrsən, ənd ˌpælɪˈstɪniən vehicles”*”, ənd ðət ðə ˈsəˌspɛkts hæd əˈlɛʤədli ˈɔlsoʊ hərld rɑks frəm ə ˈpæsɪŋ ˈviɪkəl æt ˌpælɪˈstɪniən kɑz. ðə sɪks, 22 ˈitəˌmɑr bɛn ˈæhərɑn, 20 ˈmaɪkəl ˈkæplən, 20 ənd tu ənˈneɪmd ˈtiˌneɪʤərz ənd ən ənˈneɪmd ˈsoʊlʤər ɔl lɪv ɪn ðə ˈsɛtəlmənts əv ənd ˈɑrbə ɔn ðə wɛst bæŋk. əˈkɔrdɪŋ tɪ rɪˈpɔrts ɪn ðə ˌɪzˈreɪli ˈmidiə, æt ðə ˈsɛntər əv ðə əˈlɛʤd sɛl wər θri ˈbrəðərz frəm ðə ˈfæməli, sənz əv ðə ˈræˌbaɪ əv, hu aɪˈdɛntəˌfaɪz wɪθ ðə ɪkˈstrim raɪt wɪŋ. ðə ˈsɛvən əˈtæks əˈtrɪbjətəd tɪ ðə grup ˌɪnˈkludɪd wən ɔn ə ˈfɑrmər wɪθ stɪks ənd teargas*, ðə ˈfaɪərˌbɑmɪŋ əv ə ˌpælɪˈstɪniən hoʊm ɪn ðə ˈvɪlɪʤ əv waɪl ˈfæməli ˈmɛmbərz wər əsˈlip ənd ðə ˈbərnɪŋ əv ˌpælɪˈstɪniən kɑz. ˈsɪriəs ˈʧɑrʤɪz ər ɪkˈspɛktɪd tɪ bi faɪld əˈgɛnst ðə sɪks ɪn ðə ˈkəmɪŋ deɪz. honenu*, ə ˈraɪtˌwɪŋ ˈligəl ˈædvəkəsi grup ˌrɛprɪˈzɛnɪŋ ðə ˈsəˌspɛkts, əˈlɛʤd ðɛr ˈækˌsɛs tɪ ˈlɔjərz wɑz ˈlɪmɪtɪd tɪ hɛlp ˈprɛʃər ðoʊz ərˈɛstɪd ˈɪntu ədˈmɪtɪŋ tɪ ðə kraɪmz.
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israeli security officials say members of cell tried at least once to burn palestinian house with family inside
israeli security officials have announced the arrest of an alleged jewish extremist cell said to be operating in the occupied west bank, which had tried unsuccessfully on at least one occasion to burn a palestinian house with the family inside.
the six-strong cell – according to the israeli domestic security agency the shin bet – included a 19-year-old israel defence forces soldier as well as two teenagers.
during interrogation several members confessed they had been “inspired” by the arson murders of three members of the dawabshe family – including an 18-month-old toddler – in the village of duma in july 2015 allegedly by jewish extremists.
according to a statement issued by the shin bet, the new group was active in the northern west bank before and after the duma murders and was behind a number of attacks including an arson attack on an inhabited palestinian home.
“re-enactments and the confessions of the suspects revealed a violent and extremist network which systematically attacked palestinians and their property even while they were fully aware of the possibility of killing someone after the arson in duma, and were even inspired by it,” the shin bet said.
“the intelligence we gathered around these attacks pointed to the existence of a jewish terror organisation in [the israeli settlement of] nahliel.
“during the latter half of 2015, there were a number of terror attacks and violent incidents against palestinians. two notable attacks were against buildings that had palestinians inside.”
the statement added that members of the new cell had links with the so-called “revolt” – a loosely affiliated messianic movement of settler teenagers in conflict with both palestinians and the state of israel.
the discovery of the latest alleged active group of jewish extremists follows renewed efforts to target the resurgent phenomenon of jewish extremist violence in the west bank following duma.
the shin bet added that those arrested had “confessed to carrying out widespread terror activities, which included attempts to harm inhabited palestinian homes, attacking minorities, arson, and vandalising palestinian vehicles”, and that the suspects had allegedly also hurled rocks from a passing vehicle at palestinian cars.
the six – pinchas sandorfi, 22, itamar ben aharon, 20, michael kaplan, 20, and two unnamed teenagers and an unnamed soldier – all live in the settlements of nahliel and kirya arba on the west bank.
according to reports in the israeli media, at the centre of the alleged cell were three brothers from the sandorfi family, sons of the rabbi of nahliel, who identifies with the extreme right wing.
the seven attacks attributed to the group included one on a farmer with sticks and teargas, the night-time firebombing of a palestinian home in the village of mazra kabaliya while family members were asleep and the burning of palestinian cars.
serious charges are expected to be filed against the six in the coming days. honenu, a rightwing legal advocacy group representing the suspects, alleged their access to lawyers was limited to help pressure those arrested into admitting to the crimes.
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ʤɪst wɪn ɪt simd moʊst ˈɛvriˌwən ɪn ðə tɛk ˈɪndəstri wɑz ˈgɪrɪŋ əp fər ðə riˈlis əv ˈwɪndoʊz 7 ðɪs ˈkrɪsməs, ðə juz. ˈɑrmi həz əˈnaʊnst ɪt wɪl sun ˈəpˈgreɪd ɪts ˈpiˈsi ˈsɪstəmz tɪ ðə ˈwɪndoʊz ˈvɪstə ˈɔpərˌeɪtɪŋ ˈsɪstəm. ɪts səˈpraɪzɪŋ bət ˈwɛlkəm nuz fər ˈmaɪˌkroʊˈsɔft, wɪʧ həz bɪn ˈkrɪtəˌsaɪzd fər ˈvɪstəz fɔlts sɪns ðə ɑs riˈlis ɪn 2007 ðə dɪˈsɪʒən tɪ ˈəpˈgreɪd juˈnaɪtɪd steɪts ˈɑrmi ˈpiˈsi ˈdɛskˌtɑps frəm ˈwɪndoʊz tɪ ˈwɪndoʊz ˈvɪstə wɑz əˈnaʊnst ˈjɛstərˌdeɪ, ənd ˈərli rɪˈpɔrts səˈʤɛst ðə ˈmɪlɪˌtɛri plænz tɪ kəmˈplit ðə ʧeɪnʤ baɪ nɛkst jɪr. ðə əˈnaʊnsmɛnt ɪz gʊd nuz fər ˈmaɪˌkroʊˈsɔft, wɪʧ həz feɪst ˈnumərəs ˈstədiz səˈʤɛstɪŋ ðət ˈbɪznɪs ənd hoʊm ˈjuzərz əˈlaɪk ər ˈplænɪŋ tɪ skɪp ˈvɪstə ˌɔltəˈgɛðər, ˈɑptɪŋ tɪ meɪk ðə lip frəm ɔl ðə weɪ tɪ ˈwɪndoʊz 7 ˈrəbɪŋ sɔlt ɪn ðə wund wər ðə fiˈæskoʊ əˈwɔrdz, wɪʧ ʧoʊz ˈwɪndoʊz ˈvɪstə ˈoʊvər ˈsɛkənd laɪf ˈraɪvəl 'ˈlaɪvli' ənd ðə ˈstəntɪd wən ˈlæpˌtɑp pər ʧaɪld kæmˈpeɪn fər tɔp "ˈɑnərz". fiˈæskoʊ ər nɑt, ˈvɪstə məʧ ˌɪmˈpruvd ˌhaʊˈɛvər, ˈmaɪˌkroʊˈsɔft həz wərkt hɑrd tɪ ˌɪmˈpruv ðə kəmˌpætəˈbɪləˌti ənd sɪˈkjʊrəti ˈprɑbləmz əˈflɪktɪŋ ˈvɪstə. ðə ˈkəmpəˌni həz ˈɔlsoʊ əˈʃʊrd pəˈtɛnʃəl ˈwɪndoʊz 7 baɪərz ðət ðə ˈəpˈgreɪd frəm ˈvɪstə tɪ wɪl bi ˈiziər ðən ðə trænˈzɪʃən meɪd frəm. ˈklɪrli, ðə juz. ˈɑrmi bɔt ˈɪntu ðət. ɪn əˈdɪʃən tɪ ðə ˈɔpərˌeɪtɪŋ ˈsɪstəm ˈoʊvərˌhɔl, ɪt wɪl ˈɔlsoʊ ˈəpˈgreɪd ɔl ˈkɑpiz əv ˈmaɪˌkroʊˈsɔft ˈɔfəs 2003 tɪ ˈɔfəs 2007 ðət minz ɪt woʊnt weɪt ənˈtɪl ðə 2010 ˈvərʒən; rɪˈpɔrts səˈʤɛst ðɪs dɪˈsɪʒən wɑz meɪd fər sɪˈkjʊrəti kənˈsərnz, ə pɔɪnt ˈmaɪˌkroʊˈsɔft meɪ ˈsəmˌdeɪ sun nid tɪ ˈkɑmɛnt ɔn. (sɔrs: neoseeker.com*) ˈɑrmi ˈəpˈgreɪd ˌɪnˈkludz ˈpiˈsiz ɛz ju maɪt ɪkˈspɛkt, ðɪs mɑrks ən ɪˈnɔrmɪs ˈvɪktəri fər ˈmaɪˌkroʊˈsɔfts əˈtɛmpts tɪ kip ˈvɪstə ˌpɑpjəˈlɛrəti əp praɪər tɪ ðə riˈlis əv ˈwɪndoʊz 7 ˈsəmˌtaɪm ðɪs ˈhɑlɪˌdeɪ ˈsizən. ðə juz. ˈɑrmi swɪʧ mɑrks wən əv ðə ˈbɪgəst ɪn ðə ˈhɪstəri əv əˈmɛrɪkən kəmˈpjutɪŋ. ˈsɔrsəz rɪˈvil ðət ðə ˈɑrmi kʊd meɪk ðə swɪʧ ɔn ɔl əv ɪts θˌrikˈwɔrtərz əv ə ˈmɪljən ˈdɛskˌtɑp ˈpiˈsiz. (sɔrs: techradar.com*) rɪˈpɔrts səˈʤɛst ðə ˈmɪlɪˌtɛri həz bɪn ˈpɑndərɪŋ ðɪs dɪˈsɪʒən fər səm taɪm, ˈsɛtəlɪŋ əˈpɑn ˈvɪstə bɪˈkəz əv ɪts suˈpɪriər ˈdætə ɛnˈkrɪpʃən ˈfiʧərz.
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just when it seemed most everyone in the tech industry was gearing up for the release of windows 7 this christmas, the u.s. army has announced it will soon upgrade its pc systems to the much-maligned windows vista operating system. it's surprising but welcome news for microsoft, which has been criticized for vista's faults since the os release in 2007.
the decision to upgrade united states army pc desktops from windows xp to windows vista was announced yesterday, and early reports suggest the military plans to complete the change by next year.
the announcement is good news for microsoft, which has faced numerous studies suggesting that business and home users alike are planning to skip vista altogether, opting to make the leap from xp all the way to windows 7.
rubbing salt in the wound were the fiasco awards, which chose windows vista over google's second life rival 'lively' and the stunted one laptop per child campaign for top "honors".
fiasco or not, vista much improved
however, microsoft has worked hard to improve the compatibility and security problems afflicting vista. the company has also assured potential windows 7 buyers that the upgrade from vista to win7 will be easier than the transition made from xp.
clearly, the u.s. army bought into that. in addition to the operating system overhaul, it will also upgrade all copies of microsoft office 2003 to office 2007. that means it won't wait until the 2010 version; reports suggest this decision was made for security concerns, a point microsoft may someday soon need to comment on. (source: neoseeker.com)
army upgrade includes 700,000+ pcs
as you might expect, this marks an enormous victory for microsoft's attempts to keep vista popularity up prior to the release of windows 7 sometime this holiday season. the u.s. army switch marks one of the biggest mass-upgrades in the history of american computing. sources reveal that the army could make the switch on all of its three-quarters of a million desktop pcs. (source: techradar.com)
reports suggest the military has been pondering this decision for some time, settling upon vista because of its superior data encryption features.
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wɪn ðə steɪt dɪˈpɑrtmənt ˈrisəntli æst ðə siaɪeɪ fər neɪmz əv ˌɪˈrɑniənz hu kʊd bi ˈsæŋkʃənd fər ðɛr ˌɪnˈvɑlvmənt ɪn ə klænˈdɛstɪn ˈnukliər ˈwɛpənz ˈproʊˌgræm, ðə ˈeɪʤənsi rɪfˈjuzd, ˈsaɪtɪŋ ə lɑrʤ ˈwərˌkloʊd ənd ə dɪˈzaɪər tɪ prəˈtɛkt ɪts ˈsɔrsəz ənd tradecraft*. ˈfrəˌstreɪtəd, ðə steɪt dɪˈpɑrtmənt əˈsaɪnd ə ˈʤunjər ˈfɔrən ˈsərvɪs ˈɔfɪsər tɪ faɪnd ðə neɪmz əˈnəðər weɪ baɪ ˈjuzɪŋ ˈgugəl. ðoʊz wɪθ ðə moʊst hɪts ˈəndər sərʧ tərmz səʧ ɛz "ˌɪˈrɑn ənd ˈnukliər," θri əˈfɪʃəlz sɛd, bɪˈkeɪm ˈtɑrgəts fər ˌɪnərˈnæʃənɑl rɪˈbjuk ˈfraɪˌdeɪ wɪn ə ˈsæŋkʃənz ˌrɛzəˈluʃən ˈsərkjəˌleɪtɪd æt ðə juˈnaɪtɪd ˈneɪʃənz. ˈpɑləsiˌmeɪkərz ənd ˌɪnˈtɛləʤəns əˈfɪʃəlz hæv ˈɔlˌweɪz ˈstrəgəld wɪn ɪt kəmz tɪ ˌdɪˈsaɪdɪŋ haʊ ənd wɪn tɪ dɪˈskloʊz ˈsikrɪt ˌɪnˌfɔrˈmeɪʃən, səʧ ɛz neɪmz əv ˌɪˈrɑniənz wɪθ səˈspɛktɪd taɪz tɪ ˈnukliər ˈwɛpənz. ɪn səm ˌɪnˈtərnəl dəˈbeɪts, ˈpɑləsiˌmeɪkərz wɪn aʊt ənd ˌɪnˈtɛləʤəns ɪz meɪd ˈpəblɪk tɪ ˈfərðər pəˈlɪtɪkəl ər ˌdɪpləˈmætɪk goʊlz. ɪn ˈəðər ˈkeɪsɪz, səʧ ɛz ðɪs wən, ðə ˌɪnˈtɛləʤəns kəmˈjunɪti səkˈsɛsfəli ˈɑrgjuz ðət prəˈtɛktɪŋ ˌɪnˌfɔrˈmeɪʃən ˈaʊtˌweɪz ðə dɪˈzaɪərz əv səm tɪ ʃɛr ɪt wɪθ ðə wərld. bət ðət ˈɑrgjəmənt kən ˈɔlsoʊ pʊt ðə juz. ˈgəvərnmənt ɪn ðə ˈɔkwərd pəˈzɪʃən əv riˈlaɪɪŋ, ɪn pɑrt, ɔn ən ˈɪntərˌnɛt sərʧ tɪ səˈlɛkt ˈtɑrgəts fər ˌɪnərˈnæʃənɑl ˈsæŋkʃənz. nən əv ðə 12 ˌɪˈrɑniənz ðət ðə steɪt dɪˈpɑrtmənt ɪˈvɛnʧəwəli ˈsɪŋgəld aʊt fər pəˈtɛnʃəl bænz ɔn ˌɪnərˈnæʃənɑl ˈtrævəl ənd ˈbɪznɪs ˈdilɪŋz ɪz bɪˈlivd baɪ ðə siaɪeɪ tɪ bi dɪˈrɛkli kəˈnɛktɪd tɪ ˌɪˈrænz moʊst səˈspɪʃəs ˈnukliər ækˈtɪvɪtiz. "ðɛr ɪz ˈnəθɪŋ ðət pruvz ˌɪnˈvɑlvmənt ɪn ə klænˈdɛstɪn ˈwɛpənz ˈproʊˌgræm, ənd ðɛr ɪz ˈvɛri ˈlɪtəl aʊt ðɛr æt ɔl ðət ˈivɪn kəˈnɛkts ˈpipəl tɪ ə klænˈdɛstɪn ˈwɛpənz ˈproʊˌgræm," sɛd wən əˈfɪʃəl fəˈmɪljər wɪθ ðə ˌɪnˈtɛləʤəns ɔn ˌɪˈrɑn. laɪk ˈəðərz ˈɪntərvˌjud fər ðɪs ˈstɔri, ðə əˈfɪʃəl ˌɪnˈsɪstɪd ɔn ˌænəˈnɪmɪti wɪn dɪˈskəsɪŋ ðə juz əv ˌɪnˈtɛləʤəns. wət ˈlɪtəl ˌɪnˌfɔrˈmeɪʃən ðɛr ɪz həz bɪn ˈgɑrdɪd æt siaɪeɪ ˈhɛdˌkɔrtərz. ðə ˈeɪʤənsi dɪˈklaɪnd tɪ dɪˈskəs ðə keɪs ɪn ˈditeɪl, bət ə ˈsinjər ˌɪnˈtɛləʤəns əˈfɪʃəl sɛd: "ðɛr wər ˈsɛvərəl ˈfæktərz ðət meɪd ɪt ə ˈkɑmpləˌkeɪtəd ənd rɪkˈwɛst, nɑt ðə list əv wɪʧ wər kənˈsərnz" əˈbaʊt rɪˈvilɪŋ ðə weɪ ðə siaɪeɪ ˈgæðərz ˌɪnˈtɛləʤəns ɔn ˌɪˈrɑn. ðət meɪ bi waɪ ðə ˈʤunjər steɪt dɪˈpɑrtmənt ˈɔfɪsər, hu həz bɪn wɪθ ðə nɑnprəˌlɪfərˈeɪʃən ˈbjʊroʊ fər ˈoʊnli ə fju mənθs, wɑz pʊt ɪn frənt əv ə kəmˈpjutər. ən ˌɪˈnɪʃəl ˈɪntərˌnɛt sərʧ ˈjildɪd ˈoʊvər 100 neɪmz, ˌɪnˈkludɪŋ ˈdəzənz əv ˌɪˈrɑniən ˈdɪpləˌmæts hu hæv ˈpəblɪkli dɪˈfɛndɪd ðɛr ˈkəntriz ˈɛfərts ɛz ˌɪnˈtɛndɪd tɪ ˈproʊdus ˈɛnərʤi, nɑt bɑmz, ðə ˈsɔrsəz sɛd. ðə lɪst ˈɔlsoʊ ˌɪnˈkludɪd neɪmz əv ˌɪˈrɑniənz hu hæv ˈspoʊkən wɪθ u.n*. ˌɪnˈspɛktərz ər hæv ˈtrævəld tɪ viˈɛnə tɪ əˈtɛnd ˌɪnərˈnæʃənɑl əˈtɑmɪk ˈɛnərʤi ˈeɪʤənsi ˈmitɪŋz əˈbaʊt ˌɪˈrɑn. ɪt wɑz səbˈmɪtəd tɪ ðə siaɪeɪ fər əˈpruvəl bət ðə ˈeɪʤənsi rɪfˈjuzd tɪ lʊk əp səʧ ə lɑrʤ ˈnəmbər əv ˈpipəl, əˈkɔrdɪŋ tɪ θri ˈgəvərnmənt ˈsɔrsəz. tu, ðə ˌɪnˈtɛləʤəns kəmˈjunɪti sɛd, fər ðə ˌɪˈrɑn dɛsk stæf əv 140 ˈpipəl. ðə lɪst wʊd nid tɪ bi pɛrd daʊn. soʊ ðə steɪt dɪˈpɑrtmənt kət ðə lɪst ɪn hæf ənd ˌrisəbˈmɪtɪd ðə neɪmz. ɪn ðə ɛnd, ðə siaɪeɪ əˈpruvd ə ˈhændˌfʊl əv ˌɪndəˈvɪʤəwəlz, ðoʊ nən ɪz bɪˈlivd kəˈnɛktɪd tɪ ˈprɑʤɛkt ˌɪˈrænz ˈsikrɪt ˈmɪlɪˌtɛri ˈɛfərt tɪ dɪˈzaɪn ə ˈwɛpənz ˈsɪstəm ˈkeɪpəbəl əv ˈkɛriɪŋ ə ˈnukliər ˈwɔˌrhɛd. ðə neɪmz əv ˈprɑʤɛkt stæf ˈmɛmbərz hæv ˈnɛvər bɪn riˈlist baɪ ˈɛni ˈgəvərnmənt ənd duɪŋ soʊ meɪ hæv reɪzd kˈwɛsʧənz ðət ðə siaɪeɪ wɑz nɑt ˈwɪlɪŋ ər ˈfʊli ˈeɪbəl tɪ ˈænsər. bət ðə ˈeɪʤənsi hæd noʊ kwɑmz əˈbaʊt əˈpruvɪŋ neɪmz ɔˈrɛdi ˈpəblɪkli əˈveɪləbəl ɔn ðə ˈɪntərˌnɛt. "ˈjuzɪŋ ə pis əv ˌɪnˈtɛl ɔn ˈprɑʤɛkt wɪʧ wi ˈkʊdənt ˈʤəstəˌfaɪ ɪn ˈoʊpənˌsɔrs rɪˈpɔrtɪŋ, ər wɪθ ˌwəˈtɛvər ðə ˈrəʃənz hæd, wʊd hæv pʊt ˈjuˈɛs ɪn ə ˈdɪfəkəlt pəˈzɪʃən," ən ˌɪnˈtɛləʤəns əˈfɪʃəl sɛd. "ˌɪˈnɛvətəbli, ˈsəmˌwən wʊd hæv æst, 'waɪ ðɪs gaɪ?' ənd ðɛn wi wʊd hæv bɪn bæk tɪ ðə oʊld ˈprɑbləm əv ˈʤəstəˌfaɪɪŋ ˌɪnˈtɛləʤəns."
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when the state department recently asked the cia for names of iranians who could be sanctioned for their involvement in a clandestine nuclear weapons program, the agency refused, citing a large workload and a desire to protect its sources and tradecraft.
frustrated, the state department assigned a junior foreign service officer to find the names another way -- by using google. those with the most hits under search terms such as "iran and nuclear," three officials said, became targets for international rebuke friday when a sanctions resolution circulated at the united nations.
policymakers and intelligence officials have always struggled when it comes to deciding how and when to disclose secret information, such as names of iranians with suspected ties to nuclear weapons. in some internal debates, policymakers win out and intelligence is made public to further political or diplomatic goals. in other cases, such as this one, the intelligence community successfully argues that protecting information outweighs the desires of some to share it with the world.
but that argument can also put the u.s. government in the awkward position of relying, in part, on an internet search to select targets for international sanctions.
none of the 12 iranians that the state department eventually singled out for potential bans on international travel and business dealings is believed by the cia to be directly connected to iran's most suspicious nuclear activities.
"there is nothing that proves involvement in a clandestine weapons program, and there is very little out there at all that even connects people to a clandestine weapons program," said one official familiar with the intelligence on iran. like others interviewed for this story, the official insisted on anonymity when discussing the use of intelligence.
what little information there is has been guarded at cia headquarters. the agency declined to discuss the case in detail, but a senior intelligence official said: "there were several factors that made it a complicated and time-consuming request, not the least of which were well-founded concerns" about revealing the way the cia gathers intelligence on iran.
that may be why the junior state department officer, who has been with the nonproliferation bureau for only a few months, was put in front of a computer.
an initial internet search yielded over 100 names, including dozens of iranian diplomats who have publicly defended their country's efforts as intended to produce energy, not bombs, the sources said. the list also included names of iranians who have spoken with u.n. inspectors or have traveled to vienna to attend international atomic energy agency meetings about iran.
it was submitted to the cia for approval but the agency refused to look up such a large number of people, according to three government sources. too time-consuming, the intelligence community said, for the cia's iran desk staff of 140 people. the list would need to be pared down. so the state department cut the list in half and resubmitted the names.
in the end, the cia approved a handful of individuals, though none is believed connected to project 1-11 -- iran's secret military effort to design a weapons system capable of carrying a nuclear warhead. the names of project 1-11 staff members have never been released by any government and doing so may have raised questions that the cia was not willing or fully able to answer. but the agency had no qualms about approving names already publicly available on the internet.
"using a piece of intel on project 1-11, which we couldn't justify in open-source reporting, or with whatever the russians had, would have put us in a difficult position," an intelligence official said. "inevitably, someone would have asked, 'why this guy?' and then we would have been back to the old problem of justifying intelligence."
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ʤɔrʤ ˈrɑskoʊ, 91 trɪpt ənd smæʃt hɪz feɪs ɔn ðə ˈpeɪvmənt wɪn hi wɛnt aʊt tɪ kənˈfrənt ˈskulˌgərlz θroʊɪŋ ˈæpəlz æt hɪz haʊs (ˈpɪkʧər: kæˈskeɪd nuz) ə wɔr ˈvɛtərən wɑz lɛft ˈblədid ənd bruzd ˈæftər hi kənˈfrəntɪd ˈskulˌgərlz hu wər θroʊɪŋ ˈæpəlz æt hɪz haʊs. bɔɪ, 16 ʤeɪld fər ˈsɛtɪŋ ɔf ˈhoʊˈmeɪd bɔm ɪn ˈtɔɪlət ʤɔrʤ ˈrɑskoʊ, 91 wɛnt aʊt tɪ kənˈfrənt ðə ˈtiˌneɪʤərz bət trɪpt ənd smæʃt hɪz feɪs ɔn ðə ˈpeɪvmənt. ðə ˈfɔrmər rɔɪəl ɑrˈtɪləri mæn, hu sərvd ɪn ˈɪndiə frəm 1945 tɪ 1947 ˈsəfərd tu ˈbroʊkən rɪbz, ə gæʃt hɛd, ə ˈblidɪŋ lɛg ənd səˈvɪr ˈbruzɪŋ tɪ hɪz ɑrm ənd ˈbɑdi. hɪz waɪf, ˈdɔrθi, ˈɔlsoʊ 91 sɛd: θɔt hæd ɪt. aɪ stɑp shaking.’*.’ ˈləkəli ʤɔrʤ wɑz faʊnd baɪ tu ˈpæsərzˌbaɪ hu kɔld ən ˈæmbjələns. ðə ˈfɔrmər rɔɪəl ɑrˈtɪləri mæn ˈsəfərd tu ˈbroʊkən rɪbz, ə gæʃt hɛd, ə ˈblidɪŋ lɛg ənd səˈvɪr ˈbruzɪŋ tɪ hɪz ɑrm ənd ˈbɑdi. (ˈpɪkʧər: kæˈskeɪd) hi wɑz rəʃt tɪ ˈboʊltən ɪnˈfərməri ənd wɑz əˈlaʊd hoʊm ə fju aʊərz ˈleɪtər bət həz stɪl nɑt ˈvɛnʧərd aʊt ɛz hi wɔnt tɪ skɛr ˈʧɪldrən wɪθ hɪz hɔˈrɪfɪk ˈɪnʤəriz. hɪz ˈgrænˌdɔtər ˈlisə wɑz soʊ əˈpɔld ðət ʃi ˈpoʊstɪd ə ˈfeɪsˌbʊk ˈfoʊˌtoʊ əv ʤɔrʤ ˈspɔrtɪŋ ə juʤ blæk aɪ ənd ɪt wɛnt ˈvaɪrəl wɪθ ʃɛrz ənd ˈkɑmɛnts kənˈdɛmɪŋ ðə ˈjəŋstərz. məm slæmz ‘‘strict’*’ ˈjunəˌfɔrm ˈpɑləsi wɪʧ sɪz bɔɪz məst wɛr ˈtraʊzərz ʤɔrʤ sɛd: haʊ kɪdz ækt ðiz deɪz. ðə faɪnd ˈsəmˌwən tɪ ˈtɔrˌmɛnt. bət wɪn 14 ənd 15 θɪŋk ðeɪ hæd ˈsəmθɪŋ ˈbɛtər tɪ du. wɑz tu gərlz. aɪ hæd sin ə læd wɪθ ðɛm ˌbiˈfɔr. ðeɪ hæd bɪn duɪŋ ɪt ɔl wik. ðeɪ wər θroʊɪŋ bɪg ˈæpəlz ənd stoʊnz æt ðə window.’*.’ ðə ˈkəpəl, hu hæv tu ˈʧɪldrən, θri ˈgrænˌʧɪldrən ənd sɪks greɪt ˈgrænˌʧɪldrən, stʊd əp tɪ ðə tinz ˈæftər ˈsəfərɪŋ deɪz əv əˈbjuz æt ðɛr haʊs ɪn ˈlɪtəl ˈlɛvər, ˈgreɪtər ˈmænˌʧɛstər. ʤɔrʤ ɪz tu skɛrd tɪ goʊ aʊt əv ðə haʊs now(picture*: kæˈskeɪd) ˈdɔrθi wɛnt aʊt fərst ˈæftər ˈhirɪŋ ˈsɛvərəl laʊd bæŋz. ʃi sɛd: sɛd tɪ ðɛm ju nɑt gɑt ˈɛniˌθɪŋ ˈbɛtər tɪ du ðən θroʊ ˈæpəlz ənd ˈtɔrˌmɛnt people”*”. ˈbɪgər gərl ʤɪst æt mi. aɪ keɪm bæk ɪn ənd toʊld ʤɔrʤ nɑt tɪ ˈbɑðər goʊɪŋ out.’*.’ bət ʤɔrʤ wɑz fɛd əp wɪθ ðə ˈkɑnstənt əˈtæks ənd gɑt əp frəm ˈwɑʧɪŋ ˌtɛləˈvɪʒən ənd wɛnt aʊt tɪ feɪs ðɛr ˈtɔrˌmɛntərz. ˈbrɪtɪʃ ˈskulˌgərl bɪˈkəmz fərst ˈɛvər ˈwɪnər əv pərˈstiʤəs ˈkɑntɛst hi sɛd: ʤɪst wɛnt tɪ ðə frənt dɔr ənd toʊld ðɛm tɪ klɪr ɔf. aɪ wɔnt tɪ bi sæt ɪn ðə haʊs ɔl deɪ ˈweɪtɪŋ fər ðə ˈwɪndoʊ tɪ breɪk. aɪ rɪˈmɛmbər ˈfɑlɪŋ, ɔl stɪl ə bɪt ˈheɪzi. bət aɪ rɪˈmɛmbər ðə ˈæmbjələns coming.’*.’ ðə tu gərlz flɛd bət ˈləkəli ə ˈkəpəl ˈwɔkɪŋ pæst faʊnd ʤɔrʤ wɪθ bləd ˈpɔrɪŋ frəm hɪz hɛd ənd kɔld fər ən ˈæmbjələns. ˈdɔrθi ˈædɪd: noʊ hi hæd gɔn ˈaʊtˈsaɪd. aɪ prɪˈzumd hi hæd gɔn əpˈstɛrz ənd ˈbɑðərd. ʤɔrʤ sərvd ɪn ˈɪndiə frəm 1945 tɪ 1947 (ˈpɪkʧər: kæˈskeɪd) jəŋ ˈkəpəl wər ˈpæsɪŋ ənd ðeɪ nɑkt ɔn ðə dɔr ənd sɛd ˈhəzbənd ɪz ɔn ðə floor’*’. aɪ θɔt hæd ɪt. aɪ wɑz ˈʃeɪkɪŋ, ˈθɪŋkɪŋ ɔl sorts.’*.’ ˈgrænˌdɔtər ˈlisə, 39 ɪz stənd baɪ ðə riˈækʃən tɪ hər ˈfeɪsˌbʊk poʊst ˌɪnˈkludɪŋ ə ˈmɛsɪʤ frəm ə ˈwʊmən frəm ˈtɛksəs. ʃi sɛd: ɪz ˈʃɑkɪŋ ðət ðeɪ wər gərlz, ðeɪ ʃoʊd noʊ ˈɛmpəθi. wi ɔl juzd tɪ pleɪ nɑk ə dɔr rən wɪn wi wər kɪdz, bət ˈteɪkən ɪt stɛp ˈfərðər baɪ θroʊɪŋ stoʊnz ənd ˈgoʊdɪŋ oʊld people.’*.’ mɔr: ˈbrɪtɪʃ ˈskulˌgərl bɪˈkəmz fərst ˈɛvər ˈwɪnər əv pərˈstiʤəs ˈkɑntɛst mɔr: ˈwʊmən ərˈɛstɪd ˈæftər əˈbjuzɪŋ ˈməzlɪmz hu wər peɪɪŋ rɪˈspɛkts æt ˈsɛmɪˌtɛri ˈdʊrɪŋ eid’*’
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george roscoe, 91, tripped and smashed his face on the pavement when he went out to confront schoolgirls throwing apples at his house (picture: cascade news)
a war veteran was left bloodied and bruised after he confronted schoolgirls who were throwing apples at his house.
boy, 16, jailed for setting off homemade bomb in sainsbury’s toilet
george roscoe, 91, went out to confront the teenagers but tripped and smashed his face on the pavement.
the former royal artillery man, who served in india from 1945 to 1947, suffered two broken ribs, a gashed head, a bleeding leg and severe bruising to his arm and body.
his wife, dorothy, also 91, said: ‘i thought he’d had it. i couldn’t stop shaking.’
luckily george was found by two passers-by who called an ambulance.
the former royal artillery man suffered two broken ribs, a gashed head, a bleeding leg and severe bruising to his arm and body. (picture: cascade)
he was rushed to bolton infirmary and was allowed home a few hours later but has still not ventured out as he doesn’t want to scare children with his horrific injuries.
his granddaughter lisa gerrard was so appalled that she posted a facebook photo of george sporting a huge black eye – and it went viral with 23,470 shares and 7,000 comments condemning the youngsters.
mum slams school’s ‘strict’ uniform policy which says boys must wear £16 trousers
george said: ‘that’s how kids act these days. the find someone to torment. but when they’re 14 and 15, you’d think they had something better to do.
‘it was two girls. i had seen a lad with them before. they had been doing it all week. they were throwing big apples and stones at the window.’
the couple, who have two children, three grandchildren and six great grandchildren, stood up to the teens after suffering days of anti-social abuse at their house in little lever, greater manchester.
george is too scared to go out of the house now(picture: cascade)
dorothy went out first after hearing several loud bangs. she said: ‘i said to them “have you not got anything better to do than throw apples and torment people”.
‘the bigger girl just smirked at me. i came back in and told george not to bother going out.’
but george was fed up with the constant attacks and got up from watching tv and went out to face their tormentors.
british schoolgirl becomes first ever non-japanese winner of prestigious contest
he said: ‘i just went to the front door and told them to clear off. i didn’t want to be sat in the house all day waiting for the window to break. i don’t remember falling, it’s all still a bit hazy. but i remember the ambulance coming.’
the two girls fled but luckily a couple walking past found george with blood pouring from his head and called for an ambulance.
dorothy added: ‘i didn’t know he had gone outside. i presumed he had gone upstairs and wasn’t bothered.
george served in india from 1945 to 1947 (picture: cascade)
‘a young couple were passing and they knocked on the door and said ‘your husband is on the floor’. i thought he’s had it. i was shaking, thinking all sorts.’
granddaughter lisa gerrard, 39, is stunned by the reaction to her facebook post including a message from a woman from flood-hit texas.
she said: ‘it is shocking that they were girls, they showed no empathy. we all used to play knock a door run when we were kids, but they’ve taken it step further by throwing stones and goading old people.’
more: british schoolgirl becomes first ever non-japanese winner of prestigious contest
more: woman arrested after ‘racially abusing muslims who were paying respects at cemetery during eid’
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ɪn hɪz fərst spiʧ sɪns ðə rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl dəˈbeɪts læst wik, rɪˈpəblɪkən ənd ril ɛˈsteɪt ˈmoʊgəl ˈdɑnəld trəmp təʧt ɔn ə reɪnʤ əv ˈtɑpɪks frəm ˈʧaɪnə tɪ ˈmɛksəˌkoʊ tɪ ˈfɔrmər ˈflɔrɪdə gəv. ʤɛb bʊʃ ˌbiˈfɔr ˈrɪdəˌkjulɪŋ ðə əˈpɔɪntmənt əv ˈkɛrəˌlaɪn ˈkɛnədi ɛz ðə əˈmɛrɪkən æmˈbæsədər tɪ ʤəˈpæn. ˈkɛnədi, əˈkɔrdɪŋ tɪ trəmp, ˈoʊnli ˈrɪli gɑt hər æmˈbæsədər gɪg bɪˈkəz ʃi wɑz ə ˈwɛlθi, kəˈnɛktɪd ˈwʊmən. ˈkɛnədi, ðə ˈdɔtər əv ˈprɛzɪdənt ʤɑn ɛf. ˈkɛnədi ənd ˈrɛlətɪv əv ˈmɛni ˈəðər ˈpipəl hu hæv hɛld ˈpəblɪk ˈɔfəs ɪn ðə juˈnaɪtɪd steɪts, həz sərvd ɛz ðə juz. æmˈbæsədər tɪ ʤəˈpæn sɪns 2013 ˌbiˈfɔr ðət, ʃi ˈgræʤəˌweɪtɪd frəm kəˈləmbiə lɔ skul ənd stəmpt ˈfrikwɛntli ɪn 2008 ənd 2012 fər ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə. trəmp ˈleɪtər kənˈtræstəd ðə ˈkɛrɪktər əv ˈpipəl laɪk hɪmˈsɛlf tɪ hər, seɪɪŋ ðət hi ənd ˈpipəl hu ʃɛr hɪz ˈvæljuz steɪ əp ˈwəriɪŋ ənd "tɔs ənd tərn ənd tɔs ənd tərn, ənd wɪr ˈθɪŋkɪŋ θru ðə naɪt." ˈkɛnədi, baɪ ˈkɑntræst, ˈsɪmpli æst fər ðə ʤɑb, trəmp sɛd. trəmp ˈfoʊkɪst kwaɪt ə bɪt ɔn ˈʧaɪnə ˈdʊrɪŋ ðə spiʧ ənd wɪn æˈdrɛsɪŋ rɪˈpɔrtərz ˌbiˈfɔr hɪz ˈkɑmɛnts. hi sɛd ðət ˈʧaɪnə wɑz ˈteɪkɪŋ əˈmɛrɪkən ʤɑbz θru ˈkərənsi məˌnɪpjəˈleɪʃən ðə ˈkəntri dɪˈvæˌljud ðə juɑn æt ə ˈrɛkərd reɪt ɔn ˈtuzˌdeɪ ənd ðət "ʤɛb bʊʃ wɪl nɑt bi ˈeɪbəl tɪ nɪˈgoʊʃiˌeɪt əˈgɛnst ˈʧaɪnə. ʤɛb bʊʃ wɪl nɑt bi ˈeɪbəl tɪ nɪˈgoʊʃiˌeɪt əˈgɛnst nid ə wɔl." ˈʧɑrli gɪts ə kju tɪ trəmp əˈbaʊt ˈmɛksəˌkoʊ. "ðə wɔl ɪz 30 fit tɔl. hoʊm ˈdipoʊ meɪks ˈlædərz. haʊ haɪ du wi bɪld ðə wɔl?" (@daveweigel*) ˈɔgəst 11 2015 wɪn æst haʊ hi wʊd ˈæˌdrɛs ˈreɪʃəl ˈtɛnʃən ɪn ðə ˈkəntri, trəmp priˈskraɪbd ʤɑbz ənd "ˈʧɪˌrlidɪŋ." hi ˈɔlsoʊ sɛd ðət hi "wɪl bi greɪt ɔn ˈwɪmənz hɛlθ ˈɪʃuz. aɪ ˈʧɛrɪʃ ˈwɪmən," ɪn spaɪt əv ˈrisənt ˈkrɪtɪˌsɪzəm ˌɪnˈkludɪŋ ə ˈvɛri ˈpɔɪntɪd kˈwɛʃən ˈdʊrɪŋ ðə dəˈbeɪts wɪn fɑks ˈmɑdərˌeɪtər ˈkɛli æst ɪm əˈbaʊt pæst ˈrɛfərənsɪz tɪ ˈwɪmən ɛz "pɪgz." trəmp həz bɪn ˈpoʊlɪŋ æt ðə tɔp əv ðə rɪˈpəblɪkən fild fər kwaɪt səm taɪm naʊ ənd həz meɪnˈteɪnd ðət lɛd θru ðə dəˈbeɪts læst wik. ɪn ən ˈævərɪʤ əv ˈrisənt poʊlz baɪ ril klɪr ˈpɑləˌtɪks, trəmp teɪks ɪn ˈnɪrli 23 pərˈsɛnt əv ðə voʊt. bʊʃ, hɪz ˈkloʊsəst ˈraɪvəl, gɪts 12 pərˈsɛnt.
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in his first speech since the republican presidential debates last week, republican front-runner and real estate mogul donald trump touched on a range of topics -- from china to mexico to former florida gov. jeb bush -- before ridiculing the appointment of caroline kennedy as the american ambassador to japan. kennedy, according to trump, only really got her ambassador gig because she was a wealthy, connected woman.
kennedy, the daughter of president john f. kennedy and relative of many other people who have held public office in the united states, has served as the u.s. ambassador to japan since 2013. before that, she graduated from columbia law school and stumped frequently in 2008 and 2012 for president barack obama. trump later contrasted the character of people like himself to her, saying that he and people who share his values stay up worrying and "toss and turn and toss and turn, and we're thinking through the night." kennedy, by contrast, simply asked for the job, trump said.
trump focused quite a bit on china during the speech and when addressing reporters before his comments. he said that china was taking american jobs through currency manipulation -- the country devalued the yuan at a record rate on tuesday -- and that "jeb bush will not be able to negotiate against china. jeb bush will not be able to negotiate against mexico...we need a wall."
charlie leduff gets a q to trump about mexico. "the wall is 30 feet tall. home depot makes 32-foot ladders. how high do we build the wall?" — daveweigel (@daveweigel) august 11, 2015
when asked how he would address racial tension in the country, trump prescribed jobs and "cheerleading."
he also said that he "will be great on women's health issues. i cherish women," in spite of recent criticism -- including a very pointed question during the debates when fox moderator megyn kelly asked him about past references to women as "pigs."
trump has been polling at the top of the republican field for quite some time now and has maintained that lead through the raucus debates last week. in an average of recent polls by real clear politics, trump takes in nearly 23 percent of the vote. bush, his closest rival, gets 12 percent.
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yabi* lwoʊ, ən ˈɪməgrənt hu kəˈlɛkts kænz frəm træʃ rɪˈsɛptɪkəlz fər ə ˈlɪvɪŋ, sɔrts hər kænz æt ðə ʃʊr wi kən rɪˈdɛmʃən ˈsɛnər ɪn, ˈbrʊklɪn. taɪmz) sərˈvaɪvɪŋ ɪn nu jɔrk, 5 sɛnts æt ə taɪm ðə laɪf ənd ˈdeɪli ˈstrəgəl əv ə kən kəˈlɛktər nu ʃɑrd əv ˈʃætərd glæs sˈlæʃɪz ðə tɪp əv lɛft rɪŋ ˈfɪŋgər. ʃi grənts, ðɛn ˈpɔzɪz tɪ ɪgˈzæmɪn ðə ˈdrɑplət əv bləd ðət ɪz bɪˈgɪnɪŋ tɪ ˈimərʤ frəm hər ˈdəsti, steɪnd skɪn. ɪt dɪz nɑt əˈpɪr tɪ bi ə dip kət. ðɛr hæv bɪn wərs kəts. ʃi səks ðə bləd frəm hər ˈfɪŋgər ənd ˈrɛzəˌmeɪz hər wərk ˈsɔrtɪŋ ðə ˈstɪki ˈbɑtəlz ənd kænz ðət ʃi kəˈlɛkts frəm ðə træʃ rɪˈsɛptɪkəlz əv nu jɔrk ˈsɪti. lwoʊ ɪz ə ˈkænər, ə ˈpərsən hu kəˈlɛkts kænz, ˈbɑtəlz, ənd ˈəðər ˈplæstɪks fər ə faɪv sɛnt dɪˈpɑzət. fər ðɪs ˌɪˈlɪtərət ʧaɪˈniz ˈɪməgrənt, ˈkænɪŋ ɪz hər soʊl sɔrs fər sərˈvaɪvəl. ʃi ˈɛməˌgreɪtɪd tɪ nu ˈʤərzi wɪθ hər ˈhəzbənd ɪn 1994 ðeɪ wər ˈspɑnsərd baɪ hɪz ɔnt, hu oʊnd ə ʧaɪˈniz ˈrɛˌstrɑnt ɪn lɔŋ biʧ ˈaɪlənd. lwoʊ wɑz wən əv ðə ʃɛfs, hər ˈspɛʃəlti wɑz hɔŋ ʃaʊ fɪʃ, fɪʃ ˈsɪmərd ɪn ˈpiˌnət ɔɪl, sɔɪ sɔs, ʧaɪˈniz rɛd waɪn, ənd ˈʃʊgər. ˈhəzbənd pæst əˈweɪ sɪks jɪrz əˈgoʊ; hər ˈsɪstərɪnˌlɔ pæst əˈweɪ θri jɪrz ˈleɪtər. ðə ˈrɛˌstrɑnt kloʊzd, ənd lwoʊ wɑz lɛft tɪ fɛnd fər hərˈsɛlf. soʊ lwoʊ spɛnz fɔr aʊərz iʧ ˌæftərˈnun ˈsɔrtɪŋ ənd ˈkaʊntɪŋ ðə kænz ʃi kəˈlɛktəd frəm ˈvɛriəs ˈgɑrbɪʤ bɪnz θruaʊt ənd bedstuy*. ʃi wɛrz rɔɪəl blu ɑrm tɪ prəˈtɛkt ðə slivz əv hər sˈwɛtˌʃərt frəm graɪm, ə ʤeɪd ˈbreɪslət tɪ prəˈtɛkt hər soʊl frəm ˈivəl ˈspɪrɪts. ʃi ənd fɔr ˈsɪblɪŋz gru əp ɔn ə fɪʃ fɑrm ɔn ðə koʊst əv ˈrʊrəl ˈʃæŋˈhaɪ. ðɛr ˈfɑðər daɪd wɪn ʃi wɑz 14 ʃi spiks ˈbroʊkən ˈmændərən, ˈtɪdbɪts əv ˈɪŋlɪʃ, ənd ˈnɛvər əˈtɛndəd ˌɛləˈmɛnʧri skul. ʃi həz wən sən ˈlɪvɪŋ ɪn ðə juz, ənd tu ɪn ˈʧaɪnə. bət ðeɪ hæv ðɛr oʊn waɪvz, ˈʧɪldrən, ənd ˈməni ˈwəriz. hər sən hu lɪvz ɪn nu jɔrk ɪz ˌkɑnʧiˈɛnʧəsli ˈseɪvɪŋ tɪ brɪŋ hɪz waɪf ˈoʊvər frəm ˈʧaɪnə. lwoʊ rɪfˈjuzɪz tɪ ˈbərdən ðɛm. jɛt wɛr kən ə ʧaɪˈniz ˈwʊmən wɪθ ˈlɪmɪtɪd ˈɪŋlɪʃ prəˈfɪʃənsi ənd noʊ ˌɛʤəˈkeɪʃən goʊ æt ə taɪm wɪn ðə əˈmɛrɪkən ɪˈkɑnəmi ɪz rɪˈkəvərɪŋ frəm ə ˌriˈsɛʃən? ˈʧaɪnə wʊd bi aɪˈdil, bət ðɛr ɪz noʊ ˈpɛnʃən fər ˈrʊrəl riˈtaɪˈriz. nu jɔrk ˈsɪti, hər ʧaɪˈniz frɛndz toʊld hər. wən ˈsɪti wɪθ ə lɔt əv træʃ. bɪl əv ˈbɑtəlz ɪn 1983 nu jɔrk bɪˈkeɪm wən əv ðə 10 steɪts tɪ ɪˈnækt ðə ˌlɛʤəsˈleɪʃən. ɪt rikˈwaɪərz ˈkəstəmərz tɪ peɪ ə rɪˈfəndəbəl dɪˈpɑzət ɔn iʧ bɪr, ˈsoʊdə, ənd ˈwɔtər kənˈteɪnər ðeɪ baɪ ɪn nu jɔrk. ðə dɪˈpɑzət goʊz tɪ ˈbɛvərɪʤ dɪˈstrɪbjətərz, hu rɪˈtərnz ðə dɪˈpɑzət ɪf ðə ˈkəstəmər ˈʧuzɪz tɪ riˈsaɪkəl ɪts ˈprɑdəkts æt ə ˈsupərˌmɑrkɪt, ˈdrəgˌstɔr, ər əˈnəðər ˈbɪznɪs ˈrɛʤɪstərd ɛz ə rɪˈdɛmʃən ˈsɛnər. ðə dɪˈstrɪbjətər ðɛn riˈsaɪkəlz ðə kænz, ˈplæstɪks ənd ˈglæsɪz. bət kənˈsumərz ˈɔfən goʊ aʊt əv ðɛr weɪ tɪ riˈsaɪkəl ɪn ðɪs fɔrm; hɛns, ən ˌɪnˈfɔrməl ɪˈkɑnəmi ɪz bɔrn. ˈmɛni ˈhoʊmləs nu ˈjɔrkərz, ənd ˈəðərz ˈlɪvɪŋ ɔn ðə ˈmɑrʤən, meɪk ə ˈlɪvɪŋ frəm rɪˈdimɪŋ ðə dɪˈpɑzəts əv θroʊn əˈweɪ ˈbɑtəlz ənd kænz. ənd nɑt ˈizi. laɪk lwoʊ kən weɪt əp tɪ fɔr aʊərz ɪn laɪn æt ə ˈsupərˌmɑrkɪt, wɪʧ ˈligəli riˈstrɪkts ðɛm tɪ rɪˈdim ə ˈmæksəməm əv 12 wərθ əv kænz pər ˈvɪzɪt. ðə ˈbɑtəl ˌlɛʤəsˈleɪʃən kriˈeɪts ə dɪˈlɛmə fər ˈsupərˌmɑrkɪts fər səm ər drəg ˈæˌdɪkts ənd səm hæv dɪˈzizɪz. ˈsəmˌtaɪmz, ðeɪ ˈɔlsoʊ kɔz sinz. ʤɪst hæd ə ˌsɪʧuˈeɪʃən ʤɪst ə fju ˈmoʊmənts ago,”*,” sɪz ˈglɔriə ˈkjuril, 33 ə ˈsupərˌmɑrkɪt ˈmænɪʤər. ˈleɪdi ˈkænər wɑz ˈjɛlɪŋ ənd seɪɪŋ ʃi wɑz goʊɪŋ tɪ kɔl kənˈsumər affairs.”*.” ðɛr ər mɔr ðən 100 hu kəm tɪ rɪˈdim ðɛr riˈsaɪkləbəlz iʧ deɪ æt ðə ɪn ˈʧɛlsi. ər nɑt ðə ˈoʊnli wənz ˈjuzɪŋ ðə rɪˈdɛmʃən məˈʃin, ɪt ɪz ˈoʊpən fər ðə ˈpəblɪk. kən si waɪ ðə məˈʃin fɪlz əp fast,”*,” ˈkjuril sɪz. ˈjuʒəwəli nɑt ə ˈprɑbləm, bət ɔn səm naɪts ɪmˈplɔɪiz kɔl ɪn sɪk ənd ðeɪ ər ʃɔrt ɔn stæf. ɔn ðoʊz ɔˈkeɪʒənz, ðə məˈʃin meɪ rɪˈmeɪn fʊl fər ðə ˈivnɪŋ. ðət ɪz waɪ ɪn 2007 ə ˈroʊmən ˈkæθlɪk nən ənd ə ˈfɔrmər ˈkænər ˌdɪˈsaɪdɪd tɪ kriˈeɪt ə ˌnɑnˈprɔfɪt rɪˈdɛmʃən ˈsɛnər ˈdɛdəkeɪtəd ˈsoʊəli tɪ ðə rɪˈdɛmʃən əv kænz. ʃʊr wi kən ɔn ðə ˈbɔrdər əv ənd ist ˈwɪljəmzbərg, ˌɑptɪˈmɪstɪk grəˈfiti dɛk ðə ˈmɛtəl gərɑʒ dɔrz ðət strɛʧ əˈkrɔs ðə ˈɛntrəns əv ðɪs rɪˈdɛmʃən ˈsɛnər: ə ˈdɑlfən, ˈænəməlz, ənd ə ˈwʊdˌpɛkər ˈpɛkɪŋ æt ə tri waɪl ˈspikɪŋ θru ə ˈbəbəl spiʧ ðət rɛd wi can.”*.” bɪˈhaɪnd ðə ˈmɛtəl gərɑʒ dɔrz, ðə ʃʊr wi kən rɪˈdɛmʃən ˈsɛnər kənˈsɪsts əv ə ˈsɪriz əv ˈtreɪlərz ðət ɪz ðə ˈhəmbəl əˈboʊd tɪ hɛnz hu ˈfərtəˌlaɪz ə kəmˈjunɪti ˈgɑrdən fər ðə. ˈskænti, ˈbɛrən triz groʊ frəm ˈfərtəˌlaɪzər əˈmæst ɪn kɑr taɪərz ˈpeɪnɪd skaɪ blu ənd pɪŋk; kænz hæŋ frəm ɪts ˈbrænʧɪz laɪk ˈkrɪsməs laɪts. ʃʊr wi kən ɪz ðə ˈoʊnli ˈlaɪsənst, ˌnɑnˈprɔfɪt rɪˈdɛmʃən ˈsɛnər ɪn ðə ˈsɪti. ɪts soʊl ˈbɪznɪs ɪz tɪ fəˈsɪləˌteɪt ðə rɪˈdɛmʃən əv kænz ənd ˈbɑtəlz. ɪt wɑz ˈfaʊndɪd baɪ ðə ˈdɛstəˌtut tɪ hɛlp ðə ˈdɛstəˌtut ɪn 2007 rɪˈsiv ˈɛkstrə kæʃ fər ˈsɔrtɪŋ ðɛr oʊn ˈbɑtəlz ənd kænz ənd kən rɪˈdim ən ənˈlɪmɪtɪd ˈnəmbər əv riˈsaɪkləbəlz. moʊst ˌɪmˈpɔrtənt, ər ʃʊr ðeɪ kən gɪt ðɛr fʊl faɪv sɛnts fər ə kən, waɪl ˈpɪˌkəp rɪˈdɛmʃən trəks ˈɔfən ʧit ðɛm tɪ fɔr sɛnts. ðə ˈsɛnər wɑz ˈfaʊndɪd baɪ ˈjuʤin ˈgædzdən, ə ˈfɔrmər ˈkænər tərnd kəmˈjunɪti ˈæktɪvɪst, ənd ˈɑnə mɑrˈtinɛz də, ə ˈroʊmən ˈkæθlɪk nən. də keɪm frəm speɪn tɪ nu jɔrk ɪn 2004 tɪ wərk fər ðə ˈjuˈɛn ˈsɪvəl soʊˈsaɪɪti. ɪn nu jɔrk, ʃi hæd ən ˌɛnˈlaɪtənmənt ðət ʃi ʃʊd tɪ du mɔr fər ðə pur frəm ðə ˈmaɪˌkroʊ ˈrəðər ðən ðə ˈmækroʊ. ʃi ʧoʊz tɪ lɪv ɔn ðə strits ɪn 2005 wɛr ʃi mɛt ˈgædzdən. ðeɪ ˌdɪˈsaɪdɪd tɪ kriˈeɪt ə rɪˈdɛmʃən ˈsɛnər ðət kʊd meɪk ˈkænɪŋ ə ˈlɪtəl ˈiziər. də ˈgæðərd əp hər ˈkɑnˌtækts frəm ðə ərb ənd ˈdəgləs ə wɔl strit ˈbroʊkər neɪmd ˈʤoʊzəf mˈjulə tɪ fɔrm ə bɔrd. ˈoʊvər ˈpitsə, ðeɪ ˈfɪgjərd aʊt ðə ˈbɪznɪs saɪd əv θɪŋz. ʃʊr wi kən sɛt ðə ˈprɛsədəns fər ə ˌnɑnˈprɔfɪt ˈmɑdəl əv rɪˈdɛmʃən ˈsɛnərz ˈdʊrɪŋ ə taɪm wɪn ˈmɛni ˈmeɪʤər rɪˈdɛmʃən ˈsɛnərz hæv kloʊzd du tɪ ˌʤɛntrɪfɪˈkeɪʃən. əˈkɔrdɪŋ tɪ ə rɪˈpɔrt baɪ ˈpɪkʧər ðə ˈhoʊmləs, ə ˈgræsˈruts ˌɔrgənəˈzeɪʃən ˈfaʊndɪd baɪ ˈhoʊmləs ˈpipəl, səm ˈkruʃəl rɪˈdɛmʃən ˈsɛnərz bɪˈloʊ strit ɪn mænˈhætən hæv kloʊzd ɪn ˈrisənt jɪrz. ɛz ə rɪˈzəlt, məst tərn tɪ sˈmɔlər stɔrz ənd ˈfərðər ˈsupərˌmɑrkɪts tɪ kæʃ ðɛr riˈsaɪkləbəlz, wɛr ðɛr ər ˈɔfən ˈlɔŋgər weɪts ənd fʊl məˈʃinz. hæv ðə ˈɔpʃən əv goʊɪŋ tɪ ˈrəfli 282 riˈsaɪkəlɪŋ ˈsɛnərz ɪn kwinz, 103 ˈsɛnərz ɪn ˈbrʊklɪn, ənd 13 ɪn mænˈhætən. bət æt ʃʊr wi kən, ðɛr ɪz ə kəmˈjunɪti ˈgɑrdən tɪ fid ˈhəŋgri ənd fri ˈɪŋlɪʃ ənd kəmˈpjutər ˈlɛsənz tɪ hɛlp ˌɪmˈpruv ðɛr ʤɑb kˌwɑləfəˈkeɪʃənz. ən ˌɪnˈvɪzəbəl kəmˈjunɪti də, 59 həz ˈvɪvɪd blæk ˈaɪˌbraʊz ənd ə hɛd əv ʃɔrt, greɪɪŋ hɛr. ʃi həz wərkt ˈtaɪrləsli tɪ bɪld ə kəmˈjunɪti fər. ʃi ɪz æt ðə rɪˈdɛmʃən ˈsɛnər ˈivɪn wɪn ʃi həz ðə flu. hər ˈɪŋlɪʃ ɪz ˈɛksələnt, bət ˈsəmˌtaɪmz, ʃi ɪz soʊ fəˈtigd ðət ʃi sˈwɪʧɪz tɪ ˈspænɪʃ wɪˈθaʊt ˈriəˌlaɪzɪŋ. ʃi ˈɔrgəˌnaɪzɪz ɪˈvɛnts æt ðə ˈsɛnər, laɪk ə ˈkʊˌkaʊt tɪ ˈsɛləˌbreɪt ərθ deɪ læst mənθ. əraʊnd ˈfɪfti ˈpipəl əˈtɛndəd, ˌɪnˈkludɪŋ ə ˈʤərnəlɪst hu ɪz prəˈdusɪŋ ə ˌdɑkjəˈmɛnəri əˈbaʊt. hi brɔt hɪz waɪf, ðeɪ meɪd ˈpɑstə frɛʃ ɔn ðə spɑt. də ˌɪmˈplɔrz lwoʊ tɪ ʤɔɪn ðɛr fist, bət lwoʊ ˈmɑdəstli dɪˈklaɪnz. ʃi dɪz nɑt wɔnt tɪ stɑp ˈwərkɪŋ. ðə rɪmz əv hər ˈaɪrəsɪz ər bɪˈgɪnɪŋ tɪ mæʧ hər greɪ hɛr. hər θɪn lɪps ər fɪkst ɪn ə fraʊn. hər wərk kloʊðz kənˈsɪst əv ə ˈfeɪdɪd ˈmɪlɪˌtɛri grin hɛd ˈeɪprən, ə plæd vɛst, ənd ə ˈbərgəndi ˈhʊdɪd sˈwɛtˌʃərt. ˈɛvəri naʊ ənd ðɛn, ʃi faɪndz ə ˈsoʊdə kən ðət liks. ʃi stɛps əˈsaɪd tɪ pɔr ɪt əˈweɪ frəm hər ˈprɛʃəs paɪl. hər feɪs kənˈtɔrts, ˌənˈkɑnʃəsli, ˈɪntu ə ˈgrɪməs waɪl ʃi pɔrz ðə oʊld ˈsoʊdə. ʃi ɪz ˈhəŋgri ənd kənˈsɪdərz ˈʤɔɪnɪŋ ðə ˈkʊˌkaʊt, bət ˌdɪˈsaɪdz əˈgɛnst ɪt. lwoʊ dɪz nɑt fil ˈkəmfərtəbəl ˈitɪŋ ˈwɛstərn fud. ʃi θɪŋks əv ðə rɛd waɪn fɪʃ ʃi həz ˈsɪtɪŋ æt hoʊm, ən əˈpɑrtmənt ɔn ˈfləʃɪŋ ˈævəˌnu wɛr ə frɛnd ɪz ˈlɛtɪŋ hər lɪv proʊ ˈboʊnoʊ. lwoʊ həz noʊ sɛl foʊn, noʊ kəmˈpjutər, ənd ə spɑrs səˈlɛkʃən əv kloʊðz. ɪf ʃi nidz tɪ gɪt ɪn təʧ wɪθ wən əv hər sənz, ʃi ˈjuzɪz hər foʊn. ˌnənðəˈlɛs ʃi ˌɪnˈdəlʤɪz ɪn ˈkʊkɪŋ, hər soʊl ˈləgʒəri. ʃi həz ˈkʊkɪŋ juˈtɛnsəlz. ʃi həz rɛd waɪn. ənd ʃi peɪz fər hər ˈgroʊsəriz hərˈsɛlf. lwoʊ ˈkænɑt ˈækˌsɛs fud stæmps bɪˈkəz ʃi dɪz nɑt hæv ə ˈfɔrməl ˈæˌdrɛs. ðə əˈpɑrtmənt ʃi ɪz steɪɪŋ ɪn ɪz ɔˈrɛdi ˈrɛʤɪstərd fər ˈsəmˌwən fud stæmps. bət lwoʊ dɪz nɑt ˌrɛprɪˈzɛnt ðə fəˈnɑməˌnɑn əv ˈkænɪŋ; ðɛr ər ˈmɛni hu, ənˈlaɪk lwoʊ, hæv ˈəðər fʊl taɪm ʤɑbz. ælˈbərtoʊ mɪˈgɛl, 50 ɪz ə ˈkænər baɪ deɪ, ənd ən ˈɪnˌdɔr ˈsɑkər ˌrɛfərˈi fər nu jɔrk ˈsɪti skulz baɪ naɪt. hi ˈɛməˌgreɪtɪd frəm ˈɛkwəˌdɔr ɪn 1980 hi ənd hɪz waɪf hæv bɪn ˈkænɪŋ fər ðə pæst jɪr ənd ə hæf. θru ˈkænɪŋ, ðeɪ brɪŋ ɪn ə ˈlɪtəl ˈɛkstrə səˈpɔrt fər ðə pərˈɛniəl nidz əv ðɛr θri ˈʧɪldrən ənd ˈsɛvən ˈgrænˌʧɪldrən. wɛn, hu dɪz nɑt wɔnt tɪ gɪv hɪz fərst neɪm, ɪz ə ˈkænər hu lɪvz ɪn ə ˈstudiˌoʊ ɪn ˈʧaɪnəˌtaʊn wɪθ hɪz waɪf ənd ðɛr tu ˈædəlt ˈʧɪldrən. hi wɑz ə tɛkˈnɪʃən ɪn ˈʧaɪnə, bət sɪns hi spiks ˈlɪmɪtɪd ˈɪŋlɪʃ hi həz nɑt bɪn ˈeɪbəl tɪ faɪnd ə ʤɑb ɪn ðət ˈsɛktər. hi ˈkərəntli wərks ɪn ˈmeɪntənəns æt ə ˈmætrəs stɔr ɪn mænˈhætən. ðɛn, ðɛr ər ðoʊz hu hæv pæst ðɛr praɪmz ənd jərn tɪ fil ˈjusfəl. wæŋ, hu ˈɔlsoʊ dɪz nɑt wɔnt tɪ gɪv hər fərst neɪm, kəˈlɛkts kænz ˈrəfli twaɪs ə wik. hər hɛr ɪz daɪd blæk ənd ɛmˈbɛlɪʃt wɪθ ə ˈkərli perm*. ˈgrænˌdɔtər, hu wɪl bi əˈtɛndɪŋ ðə ˈfæʃən ˈɪnstɪˌtut əv tɛkˈnɑləʤi ðɪs fɔl, ɪz ðə wən hu pɪkt aʊt ˈstaɪlɪʃ blæk pi koʊt. ðeɪ lɪv ɪn ˈʧaɪnəˌtaʊn ənd wɛˈnɛvər wæŋ ɪz kɔt ˈrəmɪʤɪŋ fər kænz, hər sən skoʊldz hər. juzd tɪ θɪŋk ɪt wɑz ɪmˈbɛrəsɪŋ tu. wi wʊd si hər goʊɪŋ θru ˈəðər træʃ əraʊnd town,”*,” sɪz ˈænʤələ, hər ˈgrænˌdɔtər. naʊ aɪ θɪŋk duɪŋ ɪt, wɛl, ʤɪst tɪ du ˈsəmθɪŋ. ɪt həz tɪ du wɪθ hər eɪʤ. nɑt məʧ ʃi kən du, ʃi wɔnts tɪ fil pərˈdəktɪv. ˈwɛrɪŋ ʤinz, ə blæk ˈtiˌsərt, ənd ʧɪpt hɑt pɪŋk neɪl ˈpɑlɪʃ, ˈgrænˌdɔtər ˈfɑloʊz hər ˈɔkwərdli əraʊnd ðə ʃʊr wi kən ərθ deɪ ˈkʊˌkaʊt. hər ˈpɛrənts du nɑt noʊ ʃi ɪz ðɛr. ɪt ɪz ˈizi tɪ əˈsum, bət ˈdɪfəkəlt tɪ dɪˈtərmən ðə prɪˈsaɪs ˌdɛməˈgræfɪks əv. ðə ˈoʊnli ˈdætə ɔn ðət ər ˈizəli ækˈsɛsəbəl ɪz ə ˈsərˌveɪ kənˈdəktəd baɪ ˈpɪkʧər ðə ˈhoʊmləs ɪn 2005 ““unfortunately*, ðɪs ɪz ən ˈɪʃu wɛr ðɛr ə tən əv foʊks duɪŋ wərk ɔn ðɛr behalf,”*,” sɪz sæm ˈmɪlər, ðə kəmˌjunəˈkeɪʃənz dɪˈrɛktər fər ˈpɪkʧər ðə ˈhoʊmləs. meɪ bi ðə moʊst ˈækjərət ˈdætə ðət ɪgˈzɪsts, ˈivɪn ðoʊ outdated.”*.” ðə ˈnæʃənəl ɪmˈplɔɪmənt lɔ ˈprɑʤɛkt, ə ˌnɑnˈprɔfɪt ˈrisərʧ ˌɔrgənəˈzeɪʃən ðət ˈædvəˌkeɪts fər workers’*’ raɪts, həz ˈnɛvər dɛlt wɪθ bɪˈkəz ðeɪ fɔl ˈəndər ən ˌɪnˈfɔrməl ˈsɛktər. ðə ʧaɪˈniz prəˈgrɛsɪv əˌsoʊʃiˈeɪʃən, ə ˌnɑnˈprɔfɪt ˈfaʊndɪd tɪ reɪz ˈlɪvɪŋ ənd ˈwərkɪŋ ˈstændərdz fər nu ʧaɪˈniz kəmˈjunɪti, həz ˈnɛvər ˈspoʊkən wɪθ, əˈkɔrdɪŋ tɪ ɪts ɪgˈzɛkjətɪv dɪˈrɛktər meɪ li. ˈniðər ˈleɪbər prəˈfɛsərz, ˈʃæˌdoʊ ɪˈkɑnəmi ˈɛkspərts, nɔr ˌsoʊsiˈɑləʤɪsts hu ˈspɛʃəˌlaɪz ɪn ʧaɪˈniz əˈmɛrɪkənz, hæv kənˈdəktəd ˈstədiz ɔn ðə fəˈnɑməˌnɑn əv ˈkænɪŋ. əˈkɔrdɪŋ tɪ ɪmˈplɔɪiz æt ʃʊr wi kən, ə lɑrʤ ˈnəmbər əv ər ˈɛldərli ʧaɪˈniz ˈɪməgrənts. hæf əv ðə ˈrɛgjələr æt ʃʊr wi kən ər ʧaɪˈniz, ðə ˈəðər hæf ər ˈmoʊstli hɪˈspænɪk. mɔr rɪˈdɛmʃən ˈsɛnərz hæv ˈoʊpənd, ðə ʧaɪˈniz hæv dɪˈspərst. bət wi stɪl hæv əˈbaʊt 30 ʧaɪˈniz ˈrɛgjələrz now,”*,” də sɪz. ɪmˈplɔɪiz əv ðə rɪˈdɛmʃən ˈsɛnər seɪ lwoʊ ɪz wən əv ðə ˈhɑrdəst ˈwərkɪŋ ðeɪ hæv sin. ðə ʧaɪˈniz ˈpipəl wərk ˈvɛri hɑrd hir, bət ðə ˈhɑrdəst ˈwərkər, ˈɔlˌweɪz here,”*,” də sɪz. lwoʊ weɪks əp æt sɪks tɪ kəˈlɛkt kænz, ˈsɛvən deɪz ə wik. də wʊd laɪk ʃʊr wi kən tɪ bi kloʊzd ɔn sunday’s*. bət sɪns lwoʊ ˈpɛstərd də soʊ ˈɑrdəntli tɪ kip ɪt ˈoʊpən, ʃi wɑz ˈgɪvɪn hər oʊn ˈstɔrɪʤ speɪs ðət ʃi kʊd ˈækˌsɛs ɔn sunday’s*. waɪ wi hæv ə ˈstɔrɪʤ rum fər her,”*,” də ʃi kən stɪl kip ˈwərkɪŋ ˈivɪn wɪn nɑt open.”*.” ɪn ə rɪˈsidɪŋ ˈsɛkʃən əv ðə rɪˈdɛmʃən ˈsɛnər, ðɛr ər 15 stɔlz fər ðə moʊst ˈfrikˌwɛnt. lwoʊ həz faɪv ˈbəlʤɪŋ bægz əv kænz ənd ˈbɑtəlz ɪn hər ˈstɔrɪʤ fər ˈreɪni deɪz ðət ər nɑt gʊd fər kəˈlɛktɪŋ bət gʊd fər ˈsɔrtɪŋ. æt ðɪs rɪˈdɛmʃən ˈsɛnər ɔn ðə ˈbɔrdər əv ist ˈwɪljəmzbərg ənd, faɪndz ðə ˈkloʊsəst θɪŋ ʃi kən tɪ ə sɛns əv kəmˈjunɪti ənd ə səˈluʃən tɪ ə ˈmɪsɪŋ ˈsoʊʃəl ˈseɪfti nɛt fər ðə ˈrʊrəl ʧaɪˈniz ˈɛldərli. waɪt raɪs ənd ˈvɛʤtəbəlz ræpt ɪn əˈlumənəm fɔɪl ər pleɪst ɔn ə saɪd ˈteɪbəl fər ðoʊz hu nid ɪt; fri ˈɪŋlɪʃ ənd kəmˈpjutər ˈklæsɪz ər ˈɔfərd ɔn saturday’s*. ðɛr ər faɪv hu əˈtɛnd ðə ˈɪŋlɪʃ klæs ˈrɛgjələrli, lwoʊ ɪz nɑt wən əv ðɛm. lwoʊ filz ɪt ɪz ˈpɔɪntləs tɪ lərn ˈɪŋlɪʃ; noʊ wən haɪərz ˈsinjərz. ɪt ɪz ɪˈnəf tɪ noʊ haʊ tɪ seɪ ˈnəmbərz ənd ˈbɛvərɪʤ brændz. ˈhənərd eɪt, heineken!”*!” ʃi jɛld, spərɪŋ, tu ˈhənərd sixteen!”*!” ən ɪmˈplɔɪi ˈglænsɪz æt hər bægz ənd daʊn hər ˈnəmbərz fər ðə deɪ. ðeɪ teɪk hər wərd. ʃi ɪz prɪˈsaɪs ənd dɪz nɑt raʊnd əp. lwoʊ træks hər ˈprɑˌgrɛs baɪ ˈskrɪbəlɪŋ ˈnəmbərz ɔn hər hænz ənd ˈoʊvər ðə wɔlz əv ðə ˈstɔrɪʤ ˈkɔrɪdər ɪn ə blu ˈpərmɑˌnɛnt ˈmɑrkər. wɪn lwoʊ ˈfɔrəʤəz θru ðə ˈgɑrbɪʤ ɪn ðə strits əv ˈbrʊklɪn, ʃi dɪz nɑt teɪk ˈɛvəri ˈbɑtəl ənd kən ʃi siz. ʃi məst noʊ wɪʧ dɪˈstrɪbjətər ðə brænd fɔlz ˈəndər, ˈəðərˌwaɪz ɪt kʊd bi ˈjusləs. ə geɪm əv ɪkˈspɪriəns ənd memorization*. ˈmɪnət meɪd, ˈfɑntə, ˈɛviən, fɔl ˈəndər ðə brænd əv ˌkoʊkəˈkoʊlɑ. moʊst bɪr brændz bɪˈlɔŋ tɪ mænˈhætən bɪr ––corona*-, ˈjunjən bɪr ənd ˈfinɪks ˈbɛvrɪʤɪz ––heineken*-. ˈwɔtər ˈbɑtəlz ər ˈɔfən ˌprɑbləˈmætɪk fər rɪˈdɛmʃən ˈsɛnərz. ðɛr ər soʊ ˈmɛni brændz, ɪt ɪz hɑrd tɪ tɛl wɪʧ dɪˈstrɪbjətər ɪz riˈspɑnsəbəl fər ˈpɪkɪŋ ðɛm əp. ɛz lwoʊ sɔrts hər bæg əv kænz bæk æt ðə rɪˈdɛmʃən ˈsɛnər, ʃi kəmz əˈkrɔs ən ənˈrɛkəgˌnaɪzd brænd ðət snək ˈɪntu ðə paɪl. ˈsɪŋˌtaʊ bɪr. ““loo-yi!”*!” ʃi jɛlz. ə mæn baɪ ðə neɪm əv luɪs ˈrəʃɪz ˈoʊvər. ðɪs? heineken?”*?” ““corona.”*.” ˈmæməθ ˌkɑmpəˈleɪʃənz əv bægz əv kænz ənd ˈbɑtəlz ər paɪld θruaʊt ðə ˈsɛnər. ˈkeɪsɪz ənd ˈkeɪsɪz əv bɪr ˈbɑtəlz ər stækt əˈtɑp wən əˈnəðər. ənd ˈɛvriˌθɪŋ, ˈɛvriˌθɪŋ ɪz məˈtɪkjələsli ˈsɔrtɪd baɪ brænd. ə dɪˈlɛmə ˈsəmˌtaɪmz, dɪˈstrɪbjətərz du nɑt kəm tɪ pɪk əp ənd riˈsaɪkəl ɪts rɪˈdimd kænz ənd ˈbɑtəlz. ɪn mɑrʧ, 600 bægz əv ˈsɔrtɪd ənd rɪˈdimd bɪr kænz ənd 60 ˈpæləts əv glæs ˈbɑtəlz æt ɪn ʃʊr wi kən ˈweɪtɪŋ fər ðə mænˈhætən bɪr dɪˈstrɪbjətərz. dɪˈstrɪbjətərz ər ˈligəli əˈblaɪʤd tɪ pɪk əp ðɛr ˈɛmtiz frəm rɪˈdɛmʃən ˈsɛnərz. ˈmɛni kəm twaɪs ə mənθ, ənd səm kəm ˈɛvəri wik du tɪ ðə lɑrʤ ˈvɑljum əv riˈsaɪkləbəlz ðə ˈsɛnər rɪˈsivz. bət ðə mænˈhætən bɪr dɪˈstrɪbjətərz ˈrisəntli kloʊzd ə brænʧ ɪn ˈbrʊklɪn ənd dɪd nɑt kəm ɪn ˈfɛbruˌɛri ər mɑrʧ, wɪʧ mɛnt ðət ðə stæf æt hæv tɪ weɪt ˈlɔŋgər fər ðɛr ˈsæləri ənd peɪ aʊt əv ðɛr oʊn ˈpɑkət. də həz bɪn ˈfrænəkəli ˈkɔlɪŋ ðə ˈkəmpəˌni, ənd rɪˈsivd noʊ rɪˈspɑns fər ðə fərst tu mənθs. ɪf ðeɪ kəm, ðoʊz kænz ənd ˈbɑtəlz wʊd kɔst ðə ˈsɛnər hæv bɪn ɔn taɪm iʧ mənθ fər sɪks jɪrz, aɪ noʊ ɪt məst bi bɪˈkəz ðeɪ ər struggling,”*,” ʃi sɪz. ðə mænˈhætən bɪr dɪˈstrɪbjətərz ˈfaɪnəli keɪm æt ðə ɛnd əv ˈeɪprəl, wɪθ θri ˈtreɪlərz. jɛt wɪˈθɪn ə wik, ðə ˈsɛnər faɪndz ˌɪtˈsɛlf wɪθ 300 bægz ˈweɪtɪŋ fər ðə mænˈhætən bɪr dɪˈstrɪbjətərz əˈgɛn. ˈməni tɔk ðə dɔr ʃəts ənd ðə ˈklæmər əv kænz ənd ˈbɑtəlz. lwoʊ wɔks əp tɪ ðə əˈkaʊntənt ənd saɪz. ʃi hænz ˈoʊvər hər ˈtɪkɪt ənd spiks ˈlaʊdli ɪn ʧaɪˈniz tɪ ˈɛvəlɪn, 40 ən ɛl ˈrɛfjuʤi hu dɪz nɑt ˌəndərˈstænd ʧaɪˈniz. ˈrɪli noʊ haʊ wi meɪk ɪt θru iʧ day,”*,” sɪz, ʃʊr wi əˈkaʊntənt. ɔl ɪn ðə hænd gesturing.”*.” ə keɪs əv ˈsɔrtɪd glæs minz bət ɪf ə ˈkænər ˈjuzɪz ðə rɪˈdɛmʃən keɪs, ðeɪ rɪˈsiv ə bæg əv 40 2 ˈlitər ˈplæstɪk ˈbɑtəlz, ˈtrænsˌleɪts tɪ ə bæg əv 240 12 ɑz kænz ɪkˈweɪts tɪ ðə ˈsɛnər ɪksˈʧeɪnʤɪz tɪ ə deɪ fər kænz ənd ˈbɑtəlz ɔn ðə ˈwɛðər ənd ɪf ɪt ɪz ˈnɪrɪŋ ə riˈsaɪkəlɪŋ deɪ. lwoʊ teɪks hər kæʃ ənd goʊz bæk ˈaʊtˈsaɪd tɪ swip hər spɑt baɪ ðə ˈstɔrɪʤ rumz. noʊ wən æst hər tɪ klin əp ˈæftər hərˈsɛlf bət ʃi dɪz ɪt ˈɛniˌweɪ. lwoʊ rɪˈtərnz tɪ ðə əˈkaʊnɪŋ rum 10 ˈmɪnəts ˈleɪtər. ɛz ˈjuʒəwəl, ʃi kraɪz ʤɪŋ ɪl) æt ə hɪˈspænɪk mæn ˈrɛstɪŋ ɪn ðə ˈkɔrnər. ə streɪnʤ weɪ tɪ meɪk frɛndz, bət ɪt wərks. hi dɪz nɑt ˌəndərˈstænd hər, hi læfs. ənd ðɛn lwoʊ, hu ˈoʊnli spiks ə ˈhændˌfʊl əv ˈɪŋlɪʃ wərdz, ˈtrænsˌleɪts fər hərˈsɛlf. ““loco!”*!” ʃi jɛlz, ˈpoʊkɪŋ hɪz hɛd wɪθ hər ˈfɪŋgər. ˈlæftər ˌɪˈrəpts θruaʊt ðə rum. lwoʊ goʊz ɔn ˈspikɪŋ ɪn ʧaɪˈniz. ə ˈfəni, ˈləvəbəl lady,”*,” də sɪz. weɪ ʃi ɪkˈsprɛsɪz hərˈsɛlf ɪz θru shouting.”*.” ˈpipəl ˌəndərˈstænd ənd θɪŋk ˈæŋgri, bət ˈrɪli ʃi ʤɪst həz ə lɔt əv love,”*,” də sɪz. hər ˈʃaʊtɪŋ simz tɪ bi ðə rɪˈzəlt əv ən ənˈjuˌʒuəl ˈɛkˌsɛs əv ˈɛnərʤi. wɪn ˈsɔrtɪŋ, ʃi flɪŋz ˈjusləs ˈbɑtəl kæps wɪθ ə ˈtɛrəˌfaɪɪŋ strɛŋθ. lwoʊ meɪd 60 ðət deɪ. ˈnɔrməli ʃi meɪks 80 sɪz. ʃi meɪks ðə moʊst ˈməni aʊt əv ɔl ðə ðɛr. bət lwoʊ ɪz ˈwərkɪŋ sloʊər bɪˈkəz ʃi ˈrisəntli pʊld ə ˈməsəl ɔn hər bæk, wɪʧ ˈkɔzɪz ə ˈkətɪŋ sɛnˈseɪʃən iʧ taɪm ʃi bɛndz ˈoʊvər tɪ pɪk kænz. ˈʧaɪnə, ə ˈdɪstənt pæst ənd fˈjuʧər ˈraɪvəl, wæŋ, θɪŋks ˈkreɪzi. wæŋ həz ə ˈstɔrɪʤ rum, tu, bɪˈkəz ʃi peɪd fər ɪt. lwoʊ θɪŋks wən kən ɪf wən hæv tɪ. wæŋ dɪd nɑt goʊ tɪ ðə ˈsɛnər fər ðə læst fju wiks bɪˈkəz ʃi wɑz ɔn veɪˈkeɪʃən ɪn ˈʧaɪnə. əˈpɑn hər rɪˈtərn, lwoʊ grits hər wɪθ ə ˈvərbəl faɪt. wæŋ ˈkɑmli rɪˈmɑrks ðət lwoʊ ɪz ˈmɛnəli ɪl ənd smaɪlz ə bɪˈnaɪn smaɪl ˌɪnfˈjuzd wɪθ ən ɛr əv ˌsupɪriˈɔrɪti. spik ˈklɪrli, aɪ ˌəndərˈstænd wət saying,”*,” wæŋ sɪz. lwoʊ baɪ ˈkɔlɪŋ wæŋ ən ˌɪˈligəl ˈɪməgrənt, ə kleɪm ðət ɪz ungrounded*. ʃi ˈoʊnli noʊz ðət wæŋ ɪz frəm ˌfuˈʤiən, ə ˈprɑvɪns ɪn ˌsaʊˈθist ˈʧaɪnə ðət həz ə ˌrɛpjəˈteɪʃən fər ˌɪˈligəl ˌɛməˈgreɪʃən. ɪz frəm ˌfuˈʤiən, aɪ æm frəm ˈʃæŋˈhaɪ, haʊ dɛr ʃi seɪ aɪ spik properly,”*,” lwoʊ ˈməmbəlz ˈæftər wæŋ wɔks əˈweɪ. ðə truθ ɪz lwoʊ wʊd laɪk tɪ goʊ bæk tɪ ˈʧaɪnə, tu. bət ˈrʊrəl ʧaɪˈniz ˈwərkərz laɪk lwoʊ du nɑt rɪˈsiv ə rɪˈtaɪərmənt ˈpɛnʃən frəm ðə ʧaɪˈniz ˈgəvərnmənt. ˈlɔŋˈtərm ˈərbən ʧaɪˈniz ˈwərkərz rɪˈsiv səbˈstænʃəl rɪˈtaɪərmənt ˈpɛnʃənz. bət ˈɛldərli ˈrʊrəl ˈsɪtɪzənz ˈʤɛnərəli rɪˈsiv noʊ əˈsɪstəns frəm ðə ʧaɪˈniz ˈgəvərnmənt, əˈkɔrdɪŋ tɪ ə ˈnæʃənəl ˈrisərʧ ˈkaʊnsəl əv ðə ˈnæʃənəl əˈkædəmiz rɪˈpɔrt kɔld ɪn asia.”*.” ðə məˈʤɔrəti əv ˈrʊrəl ˈsinjərz məst rɪˈlaɪ ɔn ˌfaɪˈnænʃəl səˈpɔrt frəm ðɛr ˈʧɪldrən. ɪn ən ɪkˈstrim keɪs, ðə əˈsoʊʃiˌeɪtəd prɛs ˌriˈpɔrtəd ən ˈɪnsədənt wɛr ə ˈməðər sud hər ˈʧɪldrən ɪn ˈʧaɪnə fər nɪˈglɛktɪŋ hər ɪn hər oʊld eɪʤ. ðə ˈrizən waɪ lwoʊ wərks soʊ hɑrd ˈɛvriˈdeɪ æt ðə rɪˈdɛmʃən ˈsɛnər ɪz soʊ ðət ʃi kʊd pərˈhæps wən deɪ seɪv ɪˈnəf tɪ ˌriˈtaɪər ɪn ˈʧaɪnə. ““mother*, ˈməðər kəm back,”*,” hər tu sənz ɪn ˈʧaɪnə wʊd seɪ wɪn ʃi spərˈædɪkli kɔlz ðɛm ɔn hər sɛl foʊn. ðeɪ tɛl hər ðət ðeɪ wʊd hɛlp səˈpɔrt hər. bət lwoʊ noʊz ˈbɛtər ðən tɪ ˈlɪsən tɪ ðɛm; ðeɪ ʃʊd bi ˈseɪvɪŋ fər ðɛr oʊn rɪˈtaɪrmənts ənd skul fər ðɛr ˈʧɪldrən. ɪz hɑrd noʊ ˈmætər wɛr ju ər, ˈʧaɪnə ər america,”*,” ʃi sɪz. æt list aɪ kən baɪ mɔr ɪn ˈʧaɪnə wɪθ wən juz dollar.”*.” ʃi həz seɪvd ə ˈmɪnəməl əˈmaʊnt ɪˈnəf fər hər rɪˈtaɪərmənt. bət ʃi gɪts əp iʧ deɪ tɪ kəˈlɛkt kænz ˈɛniˌweɪ, noʊɪŋ nɑt wɪn ðə læst deɪ wɪl bi. pərˈhæps ɪt wɪl bi ðə deɪ wɪn hər bæk ˈfaɪnəli gɪvz aʊt; pərˈhæps ɪt wɪl bi ðə deɪ wɪn əˈnəðər pɑrt əv hər ˈbɑdi dɪˈsɪntəˌgreɪts frəm oʊld eɪʤ. wɪˈʧɛvər deɪ ɪt ɪz, ðə mɔr ʃi seɪvz, ðə ˈbɛtər. pləs, nɑt soʊ bæd tɪ lɪv ɪn nu jɔrk. aɪ fil lonely?”*?” ʃi sɪz. ““no*, aɪ seɪ ðət aɪ æm, ðiz ˈwɛstərnərz hæv bɪn ˈvɛri kind.”*.”
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yabi luo, an immigrant who collects cans from trash receptacles for a living, sorts her cans at the sure we can redemption center in bushwick, brooklyn. (samira bouaou/epoch times)
surviving in new york, 5 cents at a time
the life and daily struggle of a 72-year-old can collector
new york—a shard of shattered glass slashes the tip of yabi luo’s left ring finger. she grunts, then pauses to examine the droplet of blood that is beginning to emerge from her dusty, stained skin. it does not appear to be a deep cut. there have been worse cuts. she sucks the blood from her finger and resumes her work sorting the sticky bottles and cans that she collects from the trash receptacles of new york city.
luo is a canner, a person who collects cans, bottles, and other plastics for a five cent deposit. for this 72-year-old illiterate chinese immigrant, canning is her sole source for survival.
she emigrated to new jersey with her husband in 1994. they were sponsored by his aunt, who owned a chinese restaurant in long beach island. luo was one of the chefs, her specialty was hong shao fish, fish simmered in peanut oil, soy sauce, chinese red wine, and sugar.
luo’s husband passed away six years ago; her sister-in-law passed away three years later. the restaurant closed, and luo was left to fend for herself.
so luo spends four hours each afternoon sorting and counting the cans she collected from various garbage bins throughout bushwick and bedstuy. she wears royal blue arm warmers to protect the sleeves of her sweatshirt from grime, a jade bracelet to protect her soul from evil spirits.
she and four siblings grew up on a fish farm on the coast of rural shanghai. their father died when she was 14. she speaks broken mandarin, tidbits of english, and never attended elementary school.
she has one son living in the u.s, and two in china. but they have their own wives, children, and money worries. her son who lives in new york is conscientiously saving to bring his wife over from china. luo refuses to burden them.
yet where can a 72-year-old chinese woman with limited english proficiency and no education go at a time when the american economy is languidly recovering from a recession? china would be ideal, but there is no pension for rural retirees.
new york city, her chinese friends told her. it’s one city with a lot of trash.
bill of bottles
in 1983, new york became one of the 10 states to enact the container-deposit legislation. it requires customers to pay a 5-cent refundable deposit on each beer, soda, and water container they buy in new york. the deposit goes to beverage distributors, who returns the deposit if the customer chooses to recycle its products at a supermarket, drugstore, or another business registered as a redemption center. the distributor then recycles the cans, plastics and glasses. but consumers often don’t go out of their way to recycle in this form; hence, an informal economy is born.
many homeless new yorkers, and others living on the margin, make a living from redeeming the deposits of thrown away bottles and cans. and it’s not easy. canners like luo can wait up to four hours in line at a supermarket, which legally restricts them to redeem a maximum of $12 worth of cans per visit.
the bottle legislation creates a dilemma for supermarkets for some canners are drug addicts and some have diseases. sometimes, they also cause scenes.
“we just had a situation just a few moments ago,” says gloria curiel, 33, a gristedes supermarket manager. “a lady canner was yelling and saying she was going to call consumer affairs.”
there are more than 100 canners who come to redeem their recyclables each day at the gristedes in chelsea. canners are not the only ones using the redemption machine, it is open for the public. “you can see why the machine fills up fast,” curiel says.
usually it’s not a problem, but on some nights employees call in sick and they are short on staff. on those occasions, the machine may remain full for the evening.
that is why in 2007 a roman catholic nun and a former canner decided to create a non-profit redemption center dedicated solely to the redemption of cans.
sure we can
on the border of bushwick and east williamsburg, optimistic graffiti deck the metal garage doors that stretch across the entrance of this redemption center: a dolphin, fantastical animals, and a woodpecker pecking at a tree while speaking through a bubble speech that read “sure we can.”
behind the metal garage doors, the sure we can redemption center consists of a series of trailers that is the humble abode to hens who fertilize a community garden for the canners. scanty, barren trees grow from fertilizer amassed in car tires painted sky blue and pink; festive-colored cans hang from its branches like christmas lights.
sure we can is the only licensed, non-profit redemption center in the city. its sole business is to facilitate the redemption of cans and bottles. it was founded by the destitute to help the destitute in 2007. canners receive extra cash for sorting their own bottles and cans and can redeem an unlimited number of recyclables. most important, canners are sure they can get their full five cents for a can, while pick-up redemption trucks often cheat them to four cents.
the center was founded by eugene gadsden, a former canner turned community activist, and ana martinez de luco, a roman catholic nun.
de luco came from spain to new york in 2004 to work for the un civil society. in new york, she had an enlightenment that she should to do more for the poor from the micro rather than the macro. she chose to live on the streets in 2005, where she met gadsden.
they decided to create a redemption center that could make canning a little easier. de luco gathered up her contacts from the un—florence erb and douglas erb—and a wall street broker named joseph mula to form a board. over pizza, they figured out the business side of things.
sure we can set the precedence for a non-profit model of redemption centers during a time when many major business-registered redemption centers have closed due to gentrification. according to a report by picture the homeless, a grassroots organization founded by homeless people, some crucial redemption centers below 125th street in manhattan have closed in recent years. as a result, canners must turn to smaller stores and further supermarkets to cash their recyclables, where there are often longer waits and full machines.
canners have the option of going to roughly 282 recycling centers in queens, 103 centers in brooklyn, and 13 in manhattan. but at sure we can, there is a community garden to feed hungry canners and free english and computer lessons to help improve their job qualifications.
an invisible community
de luco, 59, has vivid black eyebrows and a head of short, graying hair. she has worked tirelessly to build a community for canners. she is at the redemption center even when she has the flu. her english is excellent, but sometimes, she is so fatigued that she switches to spanish mid-sentence without realizing.
she organizes events at the center, like a cookout to celebrate earth day last month. around fifty people attended, including a ny1 journalist who is producing a documentary about canners. he brought his wife, they made pasta fresh on the spot.
de luco implores luo to join their feast, but luo modestly declines. she does not want to stop working.
the rims of her irises are beginning to match her gray hair. her thin lips are fixed in a frown. her work clothes consist of a faded military green boar’s head apron, a plaid vest, and a burgundy hooded sweatshirt. every now and then, she finds a semi-full soda can that leaks. she steps aside to pour it away from her precious pile. her face contorts, unconsciously, into a grimace while she pours the old soda.
she is hungry and considers joining the cookout, but decides against it. luo does not feel comfortable eating western food. she thinks of the red wine fish she has sitting at home, an apartment on flushing avenue where a friend is letting her live pro bono.
luo has no cell phone, no computer, and a sparse selection of clothes. if she needs to get in touch with one of her sons, she uses her friend’s son’s phone. nonetheless she indulges in cooking, her sole luxury. she has cooking utensils. she has red wine. and she pays for her groceries herself. luo cannot access food stamps because she does not have a formal address. the apartment she is staying in is already registered for someone else’s food stamps.
but luo does not represent the phenomenon of canning; there are many canners who, unlike luo, have other full time jobs.
alberto miguel, 50, is a canner by day, and an indoor soccer referee for new york city schools by night. he emigrated from ecuador in 1980. he and his wife have been canning for the past year and a half. through canning, they bring in a little extra support for the perennial needs of their three children and seven grandchildren.
wen, who does not want to give his first name, is a canner who lives in a studio in manhattan’s chinatown with his wife and their two adult children. he was a technician in china, but since he speaks limited english he has not been able to find a job in that sector. he currently works in maintenance at a mattress store in manhattan.
then, there are those who have passed their primes and yearn to feel useful.
sixty-eight-year-old wang, who also does not want to give her first name, collects cans roughly twice a week. her hair is dyed black and embellished with a curly perm. wang’s granddaughter, who will be attending the fashion institute of technology this fall, is the one who picked out wang’s stylish black pea coat. they live in manhattan’s chinatown and whenever wang is caught rummaging for cans, her son scolds her.
“i used to think it was embarrassing too. we would see her going through other people’s trash around town,” says angela, her granddaughter. “but now i think she’s doing it, well, just to do something. it has to do with her age. there’s not much she can do, she wants to feel productive. ”
wearing jeans, a black t-shirt, and chipped hot pink nail polish, wang’s granddaughter follows her awkwardly around the sure we can earth day cookout. her parents do not know she is there.
it is easy to assume, but difficult to determine the precise demographics of canners. the only data on canners that are easily accessible is a survey conducted by picture the homeless in 2005.
“unfortunately, this is an issue where there aren’t a ton of folks doing work on their behalf,” says sam miller, the communications director for picture the homeless. “this may be the most accurate data that exists, even though it’s outdated.”
the national employment law project, a non-profit research organization that advocates for workers’ rights, has never dealt with canners because they fall under an informal sector.
the chinese progressive association, a non-profit founded to raise living and working standards for new york’s chinese community, has never spoken with canners, according to its executive director mae lee.
neither labor professors, shadow economy experts, nor sociologists who specialize in chinese americans, have conducted studies on the phenomenon of canning.
according to employees at sure we can, a large number of canners are elderly chinese immigrants. half of the regular canners at sure we can are chinese, the other half are mostly hispanic. “since more redemption centers have opened, the chinese have dispersed. but we still have about 30 chinese regulars now,” de luco says.
employees of the redemption center say luo is one of the hardest working canners they have seen.
“all the chinese people work very hard here, but she’s the hardest worker, she’s always here,” de luco says. luo wakes up at six a.m to collect cans, seven days a week.
de luco would like sure we can to be closed on sunday’s. but since luo pestered de luco so ardently to keep it open, she was given her own storage space that she could access on sunday’s. “that’s why we have a storage room for her,” de luco says.“so she can still keep working even when we’re not open.”
in a receding section of the redemption center, there are 15 stalls for the center’s most frequent canners.
luo has five bulging bags of cans and bottles in her storage for rainy days that are not good for collecting but good for sorting. at this redemption center on the border of east williamsburg and bushwick, rou finds the closest thing she can to a sense of community and a solution to a missing social safety net for the rural chinese elderly.
white rice and vegetables wrapped in aluminum foil are placed on a side table for those who need it; free english and computer classes are offered on saturday’s. there are five canners who attend the english class regularly, luo is not one of them.
luo feels it is pointless to learn english; no one hires seniors. it is enough to know how to say numbers and beverage brands.
“one hundred eight, heineken!” she yelled, “poland spring, two hundred sixteen!” an employee glances at her bags and jots down her numbers for the day. they take her word. she is precise and does not round up. luo tracks her progress by scribbling numbers on her hands and over the walls of the storage corridor in a blue permanent marker.
when luo forages through the garbage in the streets of brooklyn, she does not take every bottle and can she sees.
she must know which distributor the brand falls under, otherwise it could be useless. it’s a game of experience and memorization. minute maid, fanta, evian, fall under the brand of coca-cola. most beer brands belong to manhattan beer –corona-, union beer –budweiser and phoenix beverages –heineken-. water bottles are often problematic for redemption centers. there are so many brands, it is hard to tell which distributor is responsible for picking them up.
as luo sorts her bag of cans back at the redemption center, she comes across an unrecognized brand that snuck into the pile. tsingtao beer. “loo-yi!” she yells.
a man by the name of louis rushes over.
“what this? heineken?”
“corona.”
mammoth compilations of bags of cans and bottles are piled throughout the center. cases and cases of beer bottles are stacked atop one another. and everything, everything is meticulously sorted by brand.
a distributor’s dilemma
sometimes, distributors do not come to pick up and recycle its redeemed cans and bottles.
in march, 600 bags of sorted and redeemed beer cans and 60 pallets of glass bottles at in sure we can waiting for the manhattan beer distributors. distributors are legally obliged to pick up their empties from redemption centers. many come twice a month, and some come every week due to the large volume of recyclables the center receives.
but the manhattan beer distributors recently closed a branch in brooklyn and did not come in february or march, which meant that the staff at swc have to wait longer for their salary and pay canners out of their own pocket.
de luco has been frantically calling the company, and received no response for the first two months. if they didn’t come, those cans and bottles would cost the center roughly$16,000.
“they have been on time each month for six years, i know it must be because they are struggling,” she says.
the manhattan beer distributors finally came at the end of april, with three trailers. yet within a week, the center finds itself with 300 bags waiting for the manhattan beer distributors again.
money talk
the door shuts and subdues the clamor of cans and bottles. luo walks up to the accountant and sighs. she hands over her ticket and speaks loudly in chinese to evelyn ruez, 40, an el salvadorian refugee who does not understand chinese.
“i really don’t know how we make it through each day,” says ruez, sure we can’s accountant. “it’s all in the hand gesturing.”
a case of sorted glass means $1.50, but if a canner uses the redemption center’s case, they receive $1.40. a bag of 40, 2 liter plastic bottles, translates to $2.50. a bag of 240, 12 oz cans equates to $14.50.
the center exchanges $1,000 to $2,000 a day for cans and bottles —depending on the weather and if it is nearing a recycling day.
luo takes her cash and goes back outside to sweep her spot by the storage rooms. no one asked her to clean up after herself but she does it anyway.
luo returns to the accounting room 10 minutes later. as usual, she cries “shen jing bing”(mentally ill) at a hispanic man resting in the corner. it’s a strange way to make friends, but it works.
he does not understand her, he laughs. and then luo, who only speaks a handful of english words, translates for herself. “loco!” she yells, poking his head with her finger. laughter erupts throughout the room. luo goes on speaking in chinese.
“she’s a funny, lovable lady,” de luco says. “the way she expresses herself is through shouting.”
“some people don’t understand and think she’s angry, but really she just has a lot of love,” de luco says. her shouting seems to be the result of an unusual excess of energy. when sorting, she flings useless bottle caps with a terrifying strength.
luo made $60 that day. normally she makes $80, ruez says. she makes the most money out of all the canners there.
but luo is working slower because she recently pulled a muscle on her back, which causes a cutting sensation each time she bends over to pick cans.
china, a distant past and future
luo’s rival, wang, thinks she’s crazy.
wang has a storage room, too, because she paid for it. luo thinks one shouldn’t can if one doesn’t have to. wang did not go to the center for the last few weeks because she was on vacation in china. upon her return, luo greets her with a verbal fight.
wang calmly remarks that luo is mentally ill and smiles a benign smile infused with an air of superiority. “you don’t speak clearly, i don’t understand what you’re saying,” wang says.
luo retaliates by calling wang an illegal immigrant, a claim that is ungrounded. she only knows that wang is from fujian, a province in southeast china that has a reputation for illegal emigration.
“she is from fujian, i am from shanghai, how dare she say i can’t speak properly,” luo mumbles after wang walks away.
the truth is luo would like to go back to china, too. but rural chinese workers like luo do not receive a retirement pension from the chinese government.
long-term urban chinese workers receive substantial retirement pensions. but elderly rural citizens generally receive no assistance from the chinese government, according to a national research council of the national academies report called “aging in asia.” the majority of china’s rural seniors must rely on financial support from their children. in an extreme case, the associated press reported an incident where a mother sued her children in china for neglecting her in her old age.
the reason why luo works so hard everyday at the redemption center is so that she could perhaps one day save enough to retire in china.
“mother, mother come back,” her two sons in china would say when she sporadically calls them on her landlord’s cell phone.
they tell her that they would help support her. but luo knows better than to listen to them; they should be saving for their own retirements and school for their children.
“life is hard no matter where you are, china or america,” she says. “but at least i can buy more in china with one u.s dollar.”
she has saved a minimal amount enough for her retirement. but she gets up each day to collect cans anyway, knowing not when the last day will be. perhaps it will be the day when her back finally gives out; perhaps it will be the day when another part of her body disintegrates from old age. whichever day it is, the more she saves, the better.
plus, it’s not so bad to live in new york.
“do i feel lonely?” she says. “no, i wouldn’t say that i am, these westerners have been very kind.”
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ˈɪmɪʤ ˈkɑpiˌraɪt ˌeɪˈpi ˈɪmɪʤ ˈkæpʃən ðə ˈjɛməni dɪˈfɛns ˈmɪnɪstri kənˈdɛmd wət ɪt kɔld ðə "ˈkaʊərdli ˈtɛrərɪst əˈtæk" ɪn æt list 25 ˈpipəl, əˈməŋ ðɛm 15 ˈʧɪldrən, hæv bɪn kɪld ɪn twɪn kɑr bɔm əˈtæk ɪn ðə ˈsɛntrəl ˈjɛməni ˈprɑvɪns əv bayda*, rɪˈpɔrts seɪ. ðə ˈʧɪldrən wər ˌɪnˈsaɪd ə skul bəs ðət wɑz ˈpæsɪŋ ə ˈʧɛkˌpɔɪnt mænd baɪ ˈʃiə ˈrɛbəlz ɪn ðə ˈɛriə wɪn ðə fərst bɔm ɪkˈsploʊdɪd. ðə ˈsɛkənd wən wɛnt ɔf sun ˈæftərwərdz nɪr ðə hoʊm əv ə ˈlidər. ðə ˈrɛbəlz bleɪmd ˈsuni ʤiˈhɑˌdɪst ˈmɪlətənts frəm ˌɑlˈkaɪdɑ ɪn ðə əˈreɪbiən pəˈnɪnsələ (aqap*) fər ðə blæsts. ðeɪ hæv bɪn ˈfaɪtɪŋ ɪn sɪns ðə ˈoʊvərˈræn ðə ˈstrɔŋˌhoʊld ɪn ɑkˈtoʊbər, ə mənθ ˈæftər ˈteɪkɪŋ kənˈtroʊl əv ðə ˈkæpɪtəl, səˈnɑ. 'ˈəgliəst kraɪm' ɪt ɪz nɑt klɪr ɪf ðə skul bəs ər ðə ˈʧɛkˌpɔɪnt wɑz ðə ˌɪnˈtɛndɪd ˈtərgət əv ðə fərst kɑr ˈbɑmɪŋ. ðə əˈsoʊʃiˌeɪtəd prɛs nuz ˈeɪʤənsi kˈwoʊtɪd ðə ɛz seɪɪŋ ðə ˈvɪktɪmz wər ɔl gərlz hu hæd əˈtɛndəd ə ˈloʊkəl ˈpraɪˌmɛri skul. ˈɪmɪʤ ˈkɑpiˌraɪt ˈrɔɪtərz ˈɪmɪʤ ˈkæpʃən ˈʃiə ˈrɛbəlz hæv bɪn ˈfaɪtɪŋ ˌɑlˈkaɪdɑ ˈmɪlətənts ɪn sɪns ˈsizɪŋ ðə ˈɛriə ɪn ɑkˈtoʊbər ˈɪmɪʤ ˈkɑpiˌraɪt ˈrɔɪtərz ˈɪmɪʤ ˈkæpʃən læst mənθ, ə ˈsuɪˌsaɪd ˈbɑmər kɪld ˈdəzənz əv ˈpipəl ˈgæðərd æt ðə ˈrɛzɪdəns əv ə ˈloʊkəl ˈtraɪbəl ʧif ðeɪ dɪˈnaʊnst ðə əˈtæk ɛz "ðə ˈəgliəst kraɪm əˈgɛnst ˈʧaɪlˌdhʊd". ðə dɪˈfɛns ˈmɪnɪstri ˈɔlsoʊ kənˈdɛmd ðə "ˈkaʊərdli ˈtɛrərɪst əˈtæk ɔn ðə hoʊm əv ə ˈsɪtɪzən ənd ə skul bəs" ənd hɛld riˈspɑnsəbəl. ðə dɪd nɑt seɪ ɪf ðə 10 ˈpipəl kɪld baɪ ðə ˈsɛkənd blæst wər ˈmɛmbərz əv ðɛr grup ər ˈbaɪˌstændərz, nɔr ˈwɛðər ðə mæn huz haʊs wɑz ˈtɑrgətɪd, ˌæbˈdələ idris*, wɑz əˈməŋ ðə ˈkæʒəwəltiz. ɪt ɪz ðə ˈsɛkənd taɪm ˈmɪstər idris*' hoʊm həz bɪn ˈtɑrgətɪd sɪns ɑkˈtoʊbər, əˈkɔrdɪŋ tɪ ˈrɔɪtərz nuz ˈeɪʤənsi. ðə ˈrɛbəl ˈlidər ɪz ˈɔlsoʊ ə ˈmɛmbər əv ðə ˈʤɛnərəl ˈpipəlz ˈkɑŋgrəs ˈpɑrti əv ˈfɔrmər ˈprɛzɪdənt ˈɑli ˌæbˈdələ ˈsɑlɛh, hu wɑz fɔrst tɪ hænd ˈoʊvər paʊər ɪn 2011 ˈæftər ə ˈpɑpjələr ˈəˌpraɪzɪŋ. læst mənθ, ə ˈsuɪˌsaɪd ˈbɑmər kɪld ˈdəzənz əv ˈpipəl ˈgæðərd æt ðə ˈrɛzɪdəns əv ə ˈtraɪbəl ʧif ɪn.
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image copyright ap image caption the yemeni defence ministry condemned what it called the "cowardly terrorist attack" in radaa
at least 25 people, among them 15 children, have been killed in twin car bomb attack in the central yemeni province of bayda, reports say.
the children were inside a school bus that was passing a checkpoint manned by shia houthi rebels in the radaa area when the first bomb exploded.
the second one went off soon afterwards near the home of a houthi leader.
the rebels blamed sunni jihadist militants from al-qaeda in the arabian peninsula (aqap) for the blasts.
they have been fighting in radaa since the houthis overran the aqap stronghold in october, a month after taking control of the capital, sanaa.
'ugliest crime'
it is not clear if the school bus or the houthi checkpoint was the intended target of the first car bombing.
the associated press news agency quoted the houthis as saying the victims were all girls who had attended a local primary school.
image copyright reuters image caption shia houthi rebels have been fighting al-qaeda militants in radaa since seizing the area in october
image copyright reuters image caption last month, a suicide bomber killed dozens of people gathered at the residence of a local tribal chief
they denounced the attack as "the ugliest crime against childhood".
the defence ministry also condemned the "cowardly terrorist attack on the home of a citizen and a school bus" and held aqap responsible.
the houthis did not say if the 10 people killed by the second blast were members of their group or bystanders, nor whether the man whose house was targeted, abdullah idris, was among the casualties.
it is the second time mr idris' home has been targeted since october, according to reuters news agency.
the rebel leader is also a member of the general people's congress party of former president ali abdullah saleh, who was forced to hand over power in 2011 after a popular uprising.
last month, a suicide bomber killed dozens of people gathered at the residence of a tribal chief in radaa.
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ðə dəˈbeɪt ˈoʊvər eɪʤ ˈlɪmɪts fər ɪˈlɛktərz noʊts ɔn ðə 1922 "canonists*' ˈkɑnˌkleɪv" ˈkɑrdɪnəl (viˈɛnə) kɛpt ˈpraɪvət ˈrɛkərdz ˈdʊrɪŋ ðə ˈpeɪpəl ˈkɑnˌkleɪv ðət ɪˈlɛktɪd əˈkɪli ɛz paɪəs ʃi. ðiz wər dɪˈskəvərd ˈæftər dɛθ ɪn 1932 ənd ˈpəblɪʃt ɪn ðə ˈtæblət ɔn 5 ɔkt. 1963 æt 1060 ðeɪ ər ˈɔlsoʊ əˈveɪləbəl ɪn ʤeɪ. ˈnunən, paʊər tɪ dɪˈzɑlv 1972 æt 407 əˈkɔrdɪŋ tɪ, 15 ˈkænədɪts rɪˈsivd æt list wən voʊt ɪn ðə kɔrs əv 14 ˈbæləts hɛld ˈdʊrɪŋ ðə ˈkɑnˌkleɪv. bɪˈloʊ, ˈkænədɪts neɪmz (ˈkænən ˈlɔjərz ɪn boʊld) ər ˈlɪstɪd baɪ ˈgreɪtəst ˈnəmbər əv voʊts əˈteɪnd ɪn wən ər mɔr ˈbæləts: 42 24 lɑ fɔnˈteɪn 23 ˈmɛri də væl 17 10 bɛlˈmɑnti 8 5 4 væn 4 də laɪ 2 2 ˈʤɔrʤi 1 1 ˈmərˌsiər 1 1 ðiz ˈrɛkərdz səˈʤɛst wət aɪ θɪŋk maɪt wɛl bi kɔld "ðə canonists*' ˈkɑnˌkleɪv əv 1922 ps*: rɪˈteɪnɪŋ ˈpərsɪnəl noʊts səʧ ɛz dɪd ɪz naʊ ˈfɔrbɪdən baɪ ˈpeɪpəl lɔ 71 wət du ˈkænən ˈlɔjərz θɪŋk ɪz ˈfəni? æt wən pɔɪnt ˈdʊrɪŋ ðə ˈprɔˌsɛs əv rɪˈfɔrmɪŋ ˈkænən lɔ, ə "plenaria*" wɑz hɛld ɪn roʊm tɪ dɪˈskəs ˈvɛriəs ˈdɪfəkəlt ˈligəl ˈɪʃuz. wən səʧ ˈkɑntrəˌvərsi kənˈsərnd ə rul ɪˈstæblɪʃt baɪ poʊp pɔl vi wɛrˈbaɪ ˈkɑrdɪnəlz, əˈpɑn ˈriʧɪŋ eɪʤ 80 lɔst ðə raɪt tɪ voʊt ɪn ˈpeɪpəl conclaves*. ðə dɪˈskəʃən əv ðɪs pɔɪnt ɪz rɪˈkɔrdɪd ɪn 1981 (pp*. ˈkɑrdɪnəl, ə ˈvɛri ˌɪnfluˈɛnʃəl ˈroʊmən canonist*, ʧɛrd ðə ˈmitɪŋ. wət ˈfɑloʊz ɪz maɪ ˈvɛri fri trænzˈleɪʃən frəm ðə ˈlætən əv ən ɪksˈʧeɪnʤ ˈdʊrɪŋ ðət ˈmitɪŋ: cdl*. əˈfɪʃəl: kˈwɛʃən fɔr, ˌɑktəʤɪˈnɛriən ˈkɑrdɪnəlz luz ðə raɪt tɪ ɪˈlɛkt ðə ˈroʊmən ˈpɑntɪf. ðɛr ər ˈilɛvən ˈfɑðərz ˈæskɪŋ fər dɪˈskəʃən əv ðɪs pɔɪnt [ɔl neɪmz ər ˈlɪstɪd, lɛd baɪ cdl*. seper's*].: wi muv nɛkst tɪ kˈwɛʃən fɔr, wɪʧ rɪˈfərz tɪ dræft ˈkænən 290 wɛrˈbaɪ ˌɑktəʤɪˈnɛriən ˈkɑrdɪnəlz luz ðə raɪt tɪ voʊt fər ðə səˈprim ˈpɑntɪf. naʊ, ˌbiˈfɔr ðɪs kˈwɛʃən ɪz dɪˈskəst ənd ðə wən hu fərst brɔt ɪt əp ɪkˈspleɪnz hɪz ˈrizənz, ɪt ɪz maɪ ˈduti tɪ tɛl ju ðət aɪ hæv ɔˈrɛdi ˈspoʊkən əˈbaʊt ðɪs ˈmætər wɪθ ðə poʊp waɪl goʊɪŋ ˈoʊvər ˈvɛriəs ˈtɑpɪks tɪ bi lʊkt æt ɪn ðɪs ˈsɛʃən, ənd aɪ æst ɪm ˈwɛðər hi θɔt ɪt wɑz ə gʊd aɪˈdiə tɪ ˌɪnˈklud ðɪs kˈwɛʃən əˈməŋ ðə sɪks tɪ bi rivˈjud. ənd ðə səˈprim ˈpɑntɪf toʊld mi hi wɑz nɑt plizd. tru, hi dɪd nɑt rɪˈvoʊk pərˈmɪʃən tɪ dɪˈskəs ðə ˈtɑpɪk, bət hi wʊd prɪˈfər ðət ɪt nɑt bi ˌɪnˈkludɪd əˈməŋ ðə ˈtɑpɪks, ˈbeɪsɪkli bɪˈkəz ðɪs ˈɪʃu kənˈsərnz ðə səˈprim ˈpɑntɪf, bət fər ɔl ðət, hi dɪd nɑt fərˈbɪd dəˈbeɪt ɪf ðə ˈfɑðərz stɪl wɔnt tɪ tɔk əˈbaʊt ɪt. ðət sɛd, ɪts taɪm fər ˈsəmˌwən hu həz æst fər ðɪs dɪˈskəʃən tɪ ɪkˈspleɪn hɪz ˈrizənz. ˈɛniˌwən? kəm ɔn, ðɛr ər ˈilɛvən ˈsɪgnəʧərz ɔn ðɪs ʃit! kɑrd. seper*. seper*: aɪ meɪ seɪ, ðɛr ˈdəzənt sim tɪ bi məʧ pɔɪnt ɪn dɪˈskəsɪŋ ðɪs naʊ. ˈbrifli ɪkˈspleɪnd ðət hi wɑz nɑt əˈpoʊzd tɪ ðə rul ˌɪtˈsɛlf, bət ðət hi ˈwɔntɪd ɪt ˈtritɪd ˈaʊtˈsaɪd əv ðə nu koʊd.]: ˌoʊˈkeɪ, ɪz ðɛr ˈɛniˌwən ɛls hu wɔnts tɪ seɪ ˈsəmθɪŋ ɔn ðɪs? ˈnoʊˌbɑˌdi? wɛl, lɛts voʊt. əˈfɪʃəl: haʊ ˈmɛni ər lɛft tɪ voʊt ɔn kˈwɛʃən fɔr?: nɑt ˈmɛni. moʊst əv ðɛm hæv lɛft tɪ əˈtɛnd ən ˈɔdiəns wɪθ ðə poʊp. faɪn. ˈpoʊˌskrɪpt: baɪ ˈspɛʃəl ˈsikrɪt ˈbælət, 41 əv ðə 53 ˈkɑrdɪnəlz hu steɪd fər ðə voʊt æst ðət ðə dɪskˌwɑləfəˈkeɪʃən nɑt bi ˌɪnˈkludɪd ɪn ðə 1983 koʊd, ənd ɪn fækt ðə rul dɪz nɑt əˈpɪr ɪn ðə nu koʊd. bət ɪt ɪz stɪl kənˈteɪnd ɪn ðə ˈspɛʃəl lɔ ˈgəvərnɪŋ ˈpeɪpəl ɪˈlɛkʃənz, ənd ðəs ɪz stɪl ɪn fɔrs. ˈɛniˌweɪ, aɪ θɔt ðə ˈlɪtəl ɪksˈʧeɪnʤ əˈbəv wɑz ˈfəni. ˈmeɪbi wən hæd tɪ bi ðɛr.
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the debate over age limits for electors notes on the 1922 "canonists' conclave" cardinal piffl (vienna) kept private records during the papal conclave that elected achille ratti as pius xi. these were discovered after piffl's death in 1932, and published in the tablet on 5 oct. 1963, at 1060. they are also available in j. noonan, power to dissolve (1972), at 407. according to piffl, 15 candidates received at least one vote in the course of 14 ballots held during the four-day conclave. below, candidates names (canon lawyers in bold) are listed by greatest number of votes attained in one or more ballots: ratti 42 gasparri 24 la fontaine 23 merry de val 17 maffi 10 belmonte 8 laurenti 5 bisleti 4 van rossum 4 de lai 2 pompilj 2 giorgi 1 lega 1 mercier 1 sbaretti 1 these records suggest what i think might well be called "the canonists' conclave of 1922." ps: retaining personal notes such as piffl did is now forbidden by papal law (udg 71).
what do canon lawyers think is funny? at one point during the post-conciliar process of reforming canon law, a "plenaria" was held in rome to discuss various difficult legal issues. one such controversy concerned a rule established by pope paul vi whereby cardinals, upon reaching age 80, lost the right to vote in papal conclaves. the discussion of this point is recorded in congregatio plenaria diebus 20-29 octobris 1981 habita (pp. 374-375). cardinal pericles felici, a very influential roman canonist, chaired the meeting. what follows is my very free translation from the latin of an exchange during that meeting: cdl. felici * * * official: question four, octogenarian cardinals lose the right to elect the roman pontiff. there are eleven fathers asking for discussion of this point [all names are listed, led by cdl. seper's]. felici: we move next to question four, which refers to draft canon 290, whereby octogenarian cardinals lose the right to vote for the supreme pontiff. now, before this question is discussed and the one who first brought it up explains his reasons, it is my duty to tell you that i have already spoken about this matter with the pope while going over various topics to be looked at in this session, and i asked him whether he thought it was a good idea to include this question among the six to be reviewed. and the supreme pontiff told me he was not pleased. true, he did not revoke permission to discuss the topic, but he would prefer that it not be included among the topics, basically because this issue concerns the supreme pontiff, but for all that, he did not forbid debate if the fathers still want to talk about it. that said, it's time for someone who has asked for this discussion to explain his reasons. ... anyone? ... come on, there are eleven signatures on this sheet! ... card. seper. seper: i may say, there doesn't seem to be much point in discussing this now. [seper briefly explained that he was not opposed to the rule itself, but that he wanted it treated outside of the new code.] felici: okay, is there anyone else who wants to say something on this? ............ nobody? .......... well, let's vote. official: how many are left to vote on question four? felici: not many. most of them have left to attend an audience with the pope. fine. * * * postscript: by special secret ballot, 41 of the 53 cardinals who stayed for the vote asked that the disqualification not be included in the 1983 code, and in fact the rule does not appear in the new code. but it is still contained in the special law governing papal elections, and thus is still in force. anyway, i thought the little exchange above was funny. maybe one had to be there.
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ɑveɪˈlɑr, ˈpɔrʧəgəl ˈreɪʤɪŋ ˈfɔrɪst faɪərz ɪn ˈsɛntrəl ˈpɔrʧəgəl kɪld æt list 43 ˈpipəl, ˈmɛni əv ðɛm træpt ɪn ðɛr kɑz ɛz fleɪmz swɛpt ˈoʊvər ə roʊd, ɪn wət praɪm ˈmɪnɪstər ænˈtoʊnioʊ ˈkɔstɑ ɔn ˈsənˌdi kɔld "ðə ˈbɪgəst ˈtræʤədi əv ˈjumən laɪf ðət wi hæv noʊn ɪn jɪrz." ˈnɪrli 60 ˈəðər ˈpipəl wər ˈɪnʤərd, ˌɪnˈkludɪŋ fɔr ˈfaɪərˌfaɪtərz ənd ə ˈsɪriəsli ˈɪnʤərd ˈmaɪnər, ˈpəblɪk ˈbrɔdˌkæstər ˌriˈpɔrtəd, ˈsaɪtɪŋ ˌɪnˈtɪriər ˈmɪnɪstri əˈfɪʃəl ˈhɔrheɪ ˈgoʊˌmɛz. ðə fəˈtælɪtiz əˈkərd ɪn ðə grænd ˈɛriə, əˈbaʊt 95 maɪəlz ˌnɔrˈθist əv ˈlɪzbən, wɛr əˈbaʊt 700 ˈfaɪərˌfaɪtərz hæv bɪn traɪɪŋ tɪ pʊt aʊt ðə faɪərz sɪns ˈsæˌtɪˌdeɪ, ˈgoʊˌmɛz sɛd. ˈgoʊˌmɛz sɛd ðət æt list 16 ˈpipəl wər kɪld wɪn ðɛr ˈviɪkəlz wər ɪnˈgəlft baɪ fleɪmz ɔn ə roʊd bɪtˈwin ðə taʊnz əv dɔs ənd də pərə, ənd θri ˈəðərz daɪd frəm smoʊk ˌɪnhəˈleɪʃən ɪn dɔs. noʊ ˌɪnˌfɔrˈmeɪʃən wɑz ˌɪˈmiˌdiətli ˈgɪvɪn ɔn haʊ ðə ˈəðərz wər kɪld. mæn hu lɔst waɪf, tu ˈdɔtərz ɪn tɛn. faɪər fərˈgɪvz ˈsəˌspɛkts ə juʤ wɔl əv θɪk smoʊk ənd braɪt rɛd fleɪmz taʊərd ˈoʊvər ðə tɔp əv triz nɪr ˈhaʊsɪz ɪn ðə ˈwʊdɪd ˈriʤən. ə mæn ɔn ðə ˈbælkəni əv ə haʊs lʊks əp æt ə ˈfɔrɪst faɪər ˈreɪʤɪŋ ɔn ə ˈhɪlˌsaɪd əˈbəv ðə ˈvɪlɪʤ əv ɑveɪˈlɑr. ˈloʊkəl ˈrɛzɪdənt ˈɪzəˌbɛl toʊld ðə əˈsoʊʃiˌeɪtəd prɛs ðət ʃi hæd fɪrd fər hər laɪf. "ˈjɛstərˌdeɪ wi sɔ ðə faɪər bət θɔt ɪt wɑz ˈvɛri fɑr. aɪ ˈnɛvər θɔt ɪt wʊd kəm tɪ ðɪs saɪd," ʃi sɛd. "æt a.m*., maɪ ˈməðərɪnˌlɔ woʊk mi əp kˈwɪkli ənd wi ˈnɛvər wɛnt tɪ slip əˈgɛn. wi wər əˈfreɪd ðə faɪər wʊd riʧ ˈjuˈɛs." ʃoʊd ˈtɛrəˌfaɪɪŋ ˈɪmɪʤɪz əv ˈsɛvərəl ˈpipəl ɔn ə roʊd traɪɪŋ tɪ ɪˈskeɪp ðə ˌɪnˈtɛns smoʊk ðət hæd rɪˈdust ˌvɪzəˈbɪlɪti tɪ ə kˈwɛʃən əv ə fju jɑrdz. ə jəŋ mæn ʃɛrd ə ˈbɑtəl əv ˈwɔtər wɪθ ə dɪˈstrɔt ˈwʊmən ɛz ʃi ˈstəmbəld daʊn ðə roʊd. ˈdɑli ˈpɑrtən ˈhɑrtˌbroʊkən baɪ ˈwaɪldˌfaɪərz ˈtɔrʧɪŋ hər ˈhoʊmˌtaʊn ˈkɔstɑ sɛd ðət ˈfaɪrˌfaɪtɪŋ kruz wər ˈhævɪŋ ˈdɪfɪˌkəltiz ɪn əˈproʊʧɪŋ ðə ˈɛriə bɪˈkəz ðə faɪər wɑz "ˈvɛri ˌɪnˈtɛns." hi ˈædɪd ðət ˈpɔrʧəˌgiz əˈθɔrətiz wər ˈwərkɪŋ ɔn aɪˈdɛntəˌfaɪɪŋ ðə ˈvɪktɪmz ənd ðət ˈspænɪʃ ˈrɛˌskjuərz wʊd əˈsɪst ɪn ˈɛfərts tɪ kənˈtroʊl ðə ˈbleɪzɪz. ðə bleɪz ɪz riˈspɑnsəbəl fər ˈkɪlɪŋ ˈdəzənz ɪn ˈsɛntrəl ˈpɔrʧəgəl, ˌɪnˈkludɪŋ səm ɛz ɪt ɪnˈgəlft ˈsɛvərəl ˈviɪkəlz træpt ɔn ə ˈroʊdˌweɪ. ˈkɔstɑ sɛd ðət waɪl ˌɪnˌvɛstəˈgeɪʃənz ər ˈɔnˌgoʊɪŋ tɪ dɪˈtərmən ðə kɔz əv ðə faɪər, əˈθɔrətiz bɪˈliv ðət ðə haɪ ˈtɛmpərəʧərz əv 104 si ɪn ˈrisənt deɪz meɪ hæv pleɪd ə pɑrt. "ðɪs ɪz ə ˈriʤən ðət həz hæd faɪərz bɪˈkəz əv ɪts ˈfɔrəsts, bət wi ˈkænɑt rɪˈmɛmbər ə ˈtræʤədi əv ðiz prəˈpɔrʃənz," sɛd vɑldeɪˈmɑr ˈɑlvɛs, meɪər əv grænd. "aɪ æm kəmˈplitli stənd baɪ ðə ˈnəmbər əv dɛθs." ˈpɔrʧəgəl, laɪk moʊst ˈsəðərn ˌjʊrəˈpiən ˈkəntriz, ɪz proʊn tɪ ˈfɔrɪst faɪərz ɪn ðə draɪ ˈsəmər mənθs. saɪn əp fər ˈbreɪkɪŋ nuz iˈmeɪlz ˈpraɪvəsi ˈpɑləsi θæŋks fər səbˈskraɪbɪŋ!
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avelar, portugal — raging forest fires in central portugal killed at least 43 people, many of them trapped in their cars as flames swept over a road, in what prime minister antonio costa on sunday called "the biggest tragedy of human life that we have known in years."
nearly 60 other people were injured, including four firefighters and a seriously injured minor, public broadcaster rtp reported, citing interior ministry official jorge gomes.
the fatalities occurred in the pedrogao grande area, about 95 miles northeast of lisbon, where about 700 firefighters have been trying to put out the fires since saturday, gomes said.
gomes said that at least 16 people were killed when their vehicles were engulfed by flames on a road between the towns of figueiro dos vinhos and castanheira de pera, and three others died from smoke inhalation in figueiro dos vinhos. no information was immediately given on how the others were killed.
man who lost wife, two daughters in tenn. fire forgives suspects
a huge wall of thick smoke and bright red flames towered over the top of trees near houses in the wooded region.
a man on the balcony of a house looks up at a forest fire raging on a hillside above the village of avelar.
local resident isabel brandao told the associated press that she had feared for her life.
"yesterday we saw the fire but thought it was very far. i never thought it would come to this side," she said. "at 3:30 a.m., my mother-in-law woke me up quickly and we never went to sleep again. we were afraid the fire would reach us."
rtp showed terrifying images of several people on a road trying to escape the intense smoke that had reduced visibility to a question of a few yards. a young man shared a bottle of water with a distraught woman as she stumbled down the road.
dolly parton heartbroken by wildfires torching her hometown
costa said that firefighting crews were having difficulties in approaching the area because the fire was "very intense." he added that portuguese authorities were working on identifying the victims and that spanish rescuers would assist in efforts to control the blazes.
the blaze is responsible for killing dozens in central portugal, including some as it engulfed several vehicles trapped on a roadway.
costa said that while investigations are ongoing to determine the cause of the fire, authorities believe that the high temperatures of 104 c in recent days may have played a part.
"this is a region that has had fires because of its forests, but we cannot remember a tragedy of these proportions," said valdemar alves, mayor of pedrogao grande. "i am completely stunned by the number of deaths."
portugal, like most southern european countries, is prone to forest fires in the dry summer months.
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f1's* ˈbraɪbəri ˈskændəl kʊd kɔst ðə spɔrt ðə ˌɪnˈvɑlvmənt əv ˈʤərmən ˈkɑrˌmeɪkər mərˈseɪdiz. mərˈseɪdiz, wɪθ ɪts oʊn beɪst wərks tim ənd ˈɔlsoʊ ə ˈmeɪʤər ˈɪnʤən səˈplaɪər, ɪz ˈwɑʧɪŋ ðə ˈgərˌhɑrd əˈfɛr wɪθ ˌpɑˈtɪkjələr əˈtɛnʃən, əˈkɔrdɪŋ tɪ ðə ˈbɪznɪs ˈnuzˌpeɪpər handelsblatt*. ðə rɪˈpɔrt sɛd ðə əˈfɛr, ənd ˌpɑrˈtɪkjələrli ðə ˌɪmpləˈkeɪʃən əv ʧif ɪgˈzɛkjətɪv ˈbərni, wʊd hæv "ˈsɪriəs ˈkɑnsəkˌwɛnsəz" wɪθ rɪˈgɑrdz tɪ mərˈseɪdiz' ˌɪnˈvɑlvmənt ɪn ðə spɔrt. ˈsinjər ˈdɛmlər əˈfɪʃəlz ər rɪˈpɔrtədli ˈvɛri kənˈsərnd ðət, ɪn ðə ɪˈvɛnt ðə kərˈəpʃən ɪz pruvd, mərˈseɪdiz' kənˈtɪnjuɪŋ ˌɪnˈvɑlvmənt wʊd bi ˌdɪsəˈlaʊd du tɪ ðə ˈstətgərt strɪkt ˈstæʧuts. ˈneɪmli, ˈdɛmlər "dɪz nɑt ˈtɑlərˌeɪt ðə ˌɪˈmɔrəl ər kərəpt ˈpræktɪsɪz əv ɪts ɪmˈplɔɪiz ər ɪts ˈbɪznɪs ˈpɑrtnərz", ðə ˈstæʧuts rɛd. ˈlaʊreɪnz ʃmɪt, ə ˈkɔrpərət ˈlɔjər fər ɪn mˈjunɪk, kənˈfərmd ðət ˈbraɪbəri ˈpeɪmənts wʊd fɔl ˈəndər ðɪs ˈkəmpəˌni ˈgaɪˌdlaɪn". əˈnəðər ˈligəl ˈɛkspərt əˈgriz ðət "ɪf ɪz ʧɑrʤd wɪθ ˈbraɪbəri, ˈdɛmlər wʊd hæv tɪ wɪθˈdrɔ frəm ə mərˈseɪdiz ˈspoʊkspərsən toʊld bɪld ˈnuzˌpeɪpər: "wi ˈwɛlkəm ðə ɪˌvæljuˈeɪʃən əv ðə ˈrisənt ˌæləˈgeɪʃənz ɪn ˈfɔrmjələ 1 ənd naʊ əˈweɪt ðə ˌklɛrəfəˈkeɪʃən əv ðə əˈθɔrətiz." nuz ˈeɪʤənsi sɛd ˈkloʊzɪŋ ˈɑrgjəmənts ɪn ðə traɪəl ər biɪŋ ˈgɪvɪn naʊ.
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f1's bribery scandal could cost the sport the involvement of german carmaker mercedes.
mercedes, with its own brackley based works team and also a major engine supplier, is watching the gerhard gribkowsky affair with particular attention, according to the business newspaper handelsblatt.
the report said the affair, and particularly the implication of f1's chief executive bernie ecclestone, would have "serious consequences" with regards to mercedes' involvement in the sport.
senior daimler officials are reportedly very concerned that, in the event the corruption is proved, mercedes' continuing involvement would be disallowed due to the stuttgart marque's strict anti-corruption statutes.
namely, daimler "does not tolerate the immoral or corrupt practices of its employees or its business partners", the statutes read.
laurenz schmitt, a corporate lawyer for linklaters in munich, confirmed that "ecclestone's bribery payments would fall under this company guideline".
another legal expert agrees that "if ecclestone is charged with bribery, daimler would have to withdraw from f1".
a mercedes spokesperson told bild newspaper: "we welcome the evaluation of the recent allegations in formula 1 and now await the clarification of the authorities."
dpa news agency said closing arguments in the gribkowsky trial are being given now.
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tərˈɑntoʊ ˈwɑʧɪŋ jʊr ˈfeɪvərɪt ʃoʊz ɔn ˈkænədə ʤɪst gɑt ə ˈlɪtəl mɔr ɪkˈspɛnsɪv. ðə ˈpɑpjələr ˈvɪdioʊ ˈstrimɪŋ ˈsərvɪs ɪz ˈhaɪkɪŋ ˈpraɪsɪz fər nu ˈmɛmbərz ˈifɛktɪv ˌɪˈmiˌdiətli. ɪt wɪl du ðə seɪm fər ɪgˈzɪstɪŋ ˈjuzərz ˈæftər ˈnoʊtəˌfaɪɪŋ ðɛm baɪ iˈmeɪl ɪn ðə ˈkəmɪŋ wiks. ˈstændərd plæn wɪl naʊ kɔst ə ˈdɔlər mɔr ər ə mənθ tɪ wɔʧ ˈkɑntɛnt ɔn tu skrinz æt ə taɪm. ˈstɔri kənˈtɪnjuz bɪˈloʊ rɛd mɔr: nu ˈzilənd kɪdz nɑt əˈlaʊd tɪ wɔʧ ˈrizənz why’*’ ənˈlɛs ˈpɛrənts ˈprɛzənt ðə ˈbeɪsɪk plæn, wɪʧ dɪz nɑt ˈɔfər haɪ ˌdɛfəˈnɪʃən ˈvɪdioʊ ənd ˈoʊnli ˈpərˌmɪts wən ˈstrimɪŋ skrin æt ə taɪm, ˈɔlsoʊ goʊz əp ə ˈdɔlər tɪ ə mənθ. ˈprimiəm plæn səbˈskraɪbərz wɪl peɪ 2 mɔr fər əp tɪ fɔr ˌsaɪməlˈteɪniəs strimz ənd ˈəltrə ˈkɑntɛnt. ɪt wɪl naʊ kɔst ˈmənθli. ðə fərst praɪs ˌɪnˈkris ɪn ˈnɪrli tu jɪrz ðət əˈfɛkts səbˈskraɪbərz ɪn ˈkænədə. sɪz ɪt meɪd ðə dɪˈsɪʒən ɪn ən ˈɛfərt tɪ ˈboʊlstər ɪts ˈkɑntɛnt ənd ˈsərvɪsɪz. ðə praɪs ʧeɪnʤ ˈoʊnli ˌɪmˈpækts kəˈneɪdiən səbˈskraɪbərz. wɔʧ: kən sərˈvaɪv wɪˈθaʊt ˈdɪzni? taɪm tɪ taɪm, plænz ənd ˈpraɪsɪŋ ər əˈʤəstɪd ɛz wi æd mɔr ɪkˈsklusɪv ˌtɛləˈvɪʒən ʃoʊz ənd ˈmuviz, ˌɪntrəˈdus nu ˈprɑdəkt ˈfiʧərz ənd ˌɪmˈpruv ðə ˈoʊvərˌɔl ɪkˈspɪriəns, tɪ hɛlp ˈmɛmbərz faɪnd ˈsəmθɪŋ greɪt tɪ wɔʧ ˈivɪn faster,”*,” ɪt sɛd ɪn ə ˈsteɪtmənt. həz ˌɪnˈvɛstɪd ˈhɛvəli ɪn prəˈdusɪŋ ɪts oʊn ərˈɪʤənəl ˈkɑntɛnt ɪn ˈrisənt jɪrz, ˌɪnˈkludɪŋ əv cards,”*,” ““ozark”*” ənd ə sleɪt əv ˈfiʧər fɪlmz bɔt æt ˌɪnərˈnæʃənɑl fɪlm ˈfɛstɪvəlz. ðə ˈkəmpəˌni ˈɔlsoʊ ˈfeɪsɪz ə groʊɪŋ ˈnəmbər əv ˈəðər kəmˈpɛtɪtərz hu ər ˈsikɪŋ ðə kəˈneɪdiən raɪts fər ˌtɛləˈvɪʒən ˈsɪriz ənd ˈmuviz, ənd pəˈtɛnʃəli ˈdraɪvɪŋ əp ðə ˌækwəˈzɪʃən kɔsts. ˈstɔri kənˈtɪnjuz bɪˈloʊ wɔʧ: waɪ ɪz ˈʧeɪnʤɪŋ ðə ˈreɪtɪŋz ˈsɪstəm cravetv*, wɪʧ ɪz oʊnd baɪ bɛl ˈmidiə, hoʊldz ðə raɪts tɪ ˈʃoʊˌtaɪm ˌtɛləˈvɪʒən ʃoʊz ənd səm ˈkɑntɛnt frəm juz. ˈstrimɪŋ saɪt hulu*, waɪl ˈæməˌzɑn praɪm ˈvɪdioʊ əkˈwaɪərd ˈstrimɪŋ ˈlaɪsənsɪz fər ““mr*. robot”*” ənd ˈkeɪbəl ˈsɪriz gods.”*.” ˈpərʧəsɪz ðə kəˈneɪdiən raɪts tɪ juz. ˈnɛtˌwərk ʃoʊz ɛz wɛl, ˌɪnˈkludɪŋ ““scandal”*” ənd ðə ““riverdale.”*.” bət ˈərliər ðɪs wik ˈsiˌbiˌɛs ˈkɔrpərˈeɪʃən. əˈnaʊnst plænz tɪ daɪv ˈɪntu ðə kəˈneɪdiən ˈmɑrkɪtˌpleɪs wɪθ ɪts ˈsiˌbiˌɛs ɔl ˈækˌsɛs ˈstrimɪŋ ˈsərvɪs ˈərli nɛkst jɪr. æt wəns bi vaɪɪŋ tɪ əˈtrækt ɪts oʊn səbˈskraɪbərz, waɪl ˈɔlsoʊ kəmˈpitɪŋ fər ˈstrimɪŋ raɪts ənd ˈvæljəbəl ˈlaɪbrɛˌri ˈkɑntɛnt. ˈʤɛnərəli ˈreɪzɪz ɪts ˈpraɪsɪz baɪ ˈkəntri beɪst ɔn ðə ˈloʊkəl ˈmɑrkɪt. ɪn ʤun, ðə ˈkəmpəˌni bəmpt əp ðə ˈmənθli bɪl fər ɔˈstreɪljən ˈjuzərz baɪ ə fju ˈdɔlərz, seɪɪŋ ɪt wɑz rɪˈspɑndɪŋ tɪ ə ˈloʊkəl tæks ˌɪnˈkris. 2017 ðə kəˈneɪdiən prɛs
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toronto — watching your favourite shows on netflix canada just got a little more expensive.
the popular video streaming service is hiking prices for new members effective immediately. it will do the same for existing users after notifying them by email in the coming weeks.
netflix’s standard plan will now cost a dollar more – or $10.99 a month – to watch content on two screens at a time.
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the basic plan, which does not offer high definition video and only permits one streaming screen at a time, also goes up a dollar to $8.99 a month.
premium plan subscribers will pay $2 more for up to four simultaneous streams and ultra high-definition 4k content. it will now cost $13.99 monthly.
it’s the first price increase in nearly two years that affects subscribers in canada.
netflix says it made the decision in an effort to bolster its content and services. the price change only impacts canadian subscribers.
watch: can netflix survive without disney?
“from time to time, netflix plans and pricing are adjusted as we add more exclusive tv shows and movies, introduce new product features and improve the overall netflix experience, to help members find something great to watch even faster,” it said in a statement.
netflix has invested heavily in producing its own original content in recent years, including “house of cards,” “ozark” and a slate of feature films bought at international film festivals.
the company also faces a growing number of other competitors who are seeking the canadian rights for buzzworthy tv series and movies, and potentially driving up the acquisition costs.
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cravetv, which is owned by bell media, holds the rights to showtime tv shows and some content from u.s. streaming site hulu, while amazon prime video acquired streaming licences for “mr. robot” and starz cable series “american gods.”
netflix purchases the canadian rights to u.s. network shows as well, including abc’s “scandal” and the cw’s “riverdale.”
but earlier this week cbs corp. announced plans to dive into the canadian marketplace with its cbs all access streaming service early next year. at once it’ll be vying to attract its own subscribers, while also competing for streaming rights and valuable library content.
netflix generally raises its prices by country based on the local market. in june, the company bumped up the monthly bill for australian users by a few dollars, saying it was responding to a local tax increase.
© 2017 the canadian press
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ðə ˈtrɪbjuts ənd preɪz frəm ˈvɛriəs wərld ˈlidərz, ˌɪnˈkludɪŋ ˈjuˈɛs ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə ənd sˈwidɪʃ ˈfɔrən ˈmɪnɪstər kɑrl bɪlt, fər ˌɪzˈreɪli wɔr ˈkrɪmənəl ˈɛriəl ˈʃɛrən hu daɪd ɔn ˈʤænjuˌɛri 11 ər vaɪl bət ˈsædli prɪˈdɪktəbəl. bət ˈprɑbəˌbli ðə moʊst dɪˈsteɪstfəl əv ɔl kəmz frəm ˈjuˈɛn bæn hu dɪˈklɛrd hɪmˈsɛlf baɪ ðə dɛθ əv ˈɛriəl sharon”*”. ə ˈjuˈɛn ˌɪnˈsaɪdər wɪθ lɪŋks tɪ ðə dɪˈpɑrtmənt əv pəˈlɪtɪkəl əˈfɛrz ɪn nu jɔrk hu æst nɑt tɪ bi neɪmd ɪn ˈɔrdər tɪ spik ˈfrili əˈbaʊt ðə ˈmætər toʊld mi ðət ˈsteɪtmənt ðə təˈwɔrdz ˈɪzriəl tɪ ə nu haɪ ənd ðə ˈstændɪŋ ɪn ðə ˈmɪdəl ist tɪ ə nu low”*”. bæn ˈɔfərd hɪz tɪ ðə bərˈivd ˈfæməli ənd tɪ ðə ˈgəvərnmənt ənd ˈpipəl əv israel”*”. bæn kɔld ˈʃɛrən ˈhɪroʊ tɪ hɪz ˈpipəl, fərst ɛz ə ˈsoʊlʤər ənd ðɛn ə statesman”*”. ˈfaɪnəli, sɪz bæn, ˈmɪnɪstər ˈʃɛrən wɪl bi rɪˈmɛmbərd fər hɪz pəˈlɪtɪkəl kərɪʤ ənd dɪˌtərməˈneɪʃən tɪ ˈkɛri θru wɪθ ðə ˈpeɪnfəl ənd hɪˈstɔrɪk dɪˈsɪʒən tɪ wɪθˈdrɔ ˌɪzˈreɪli ˈsɛtələrz ənd trups frəm ðə ˈgɑzə strip”*”. ˈhɪstəri bæn dɪz nɑt ækˈnɑlɪʤ ðət ““disengagement”*” eɪmd æt ˈaɪsəˌleɪtɪŋ ˈgɑzə fər ““demographic”*” ˈrizənz ənd ˌɪˈnɔgərˌeɪtɪd ə ˈkrəʃɪŋ siʤ ðət kənˈtɪnjuz rɪˈlɛntləsli. bət moʊst ˈstraɪkɪŋ, hi dɪz nɑt ækˈnɑlɪʤ ðət ˈʃɛrən wɪl bi moʊst rɪˈmɛmbərd baɪ ˌpælɪˈstɪniənz, ˈlɛbəˌniz ənd ˌɪnˈdid kwaɪt ə fju ˌɪzˈreɪliz, ɛz ðə ˈɑrkəˌtɛkt əv 1982 ˌɪnˈveɪʒən əv ˈlɛbənən. tɛnz əv ˈθaʊzənz əv ˈpipəl wər sˈlɔtərd. hi wɪl bi rɪˈmɛmbərd baɪ ðə sərˈvaɪvərz fər ðə ˈmæsɪkərz æt ɪn ɑkˈtoʊbər 1953 æt ˈsɑbrə ənd ɪn 1982 ənd æt ˈʤɛnɪn ɪn 2002 tɪ mi, ˈtrɪbjut tɪ ˈʃɛrən ɪz ðə moʊst ˈʤɑrɪŋ bɪˈkəz ɪn ˈmɛni maɪndz ðə juˈnaɪtɪd ˈneɪʃənz ɪz stɪl səˈpoʊzd tɪ stænd fər ðə wɔr aɪˈdil əv prəˈtɛktɪŋ ðə ˈɪnəsənt əˈgɛnst ðə ˈvaɪələns əv steɪts ənd ˈsteɪtsmɪn. θru ðə kəmˈplɪsɪti əv steɪts, ˈʃɛrən ɪˈskeɪpt ˈʤəstɪs. ðə ˈjuˈɛn ˌɪnˈsaɪdər ˈædɪd ðət ðə læk əv hɪˈstɔrɪkəl əˈwɛrnəs jɛt əˈgɛn ˈɪləˌstreɪts ðə ɪkˈstɛnt tɪ wɪʧ ˈjuˈɛn seekers’*’ səʧ ɛz ˈjuˈɛn ˈspɛʃəl koʊˈɔrdəˌneɪtər fər ðə ˈmɪdəl ist pis ˈprɔˌsɛs ˈrɑbərt serry*, huz ˈɔfəs saɪnd ɔf ɔn ɪt, hæv bɔt ˈɪntu ðə ˈzaɪənɪst narrative”*”. 'ill-judged*' maɪ ˈjuˈɛn ˈkɑnˌtækt ædz: ““palestinians*, ˌpɑrˈtɪkjələrli ðoʊz hu ˈsəfərd bɪˈkəz əv wɔr kraɪmz, dɪˈzərv ən əˈpɑləˌʤi, ðoʊ ˈsaɪləns wʊd hæv səˈfaɪst. ˈaʊtˈsaɪd ˈɪzriəl ˈʃɛrən ɪz ə wɔr ˈkrɪmənəl, ˌɪnˈsaɪd hi ɪz ə ˈhɪroʊ. wʊd hæv bɪn ˈbɛtər fər ˌkrɛdəˈbɪlɪti ənd hɪz ˈifɛktɪvnəs ɛz ən broker’*’ ɪn ðə ˈmɪdəl ist, hæd hi ˈʧoʊzən nɑt tɪ ˈɪləˌstreɪt tɪ ðə wərld ɪn ðɪs ˈsteɪtmənt wɛr hi stood.”*.” nɑt ʃʊr aɪ əˈgri ˈsaɪləns wʊd hæv bɪn ˈprɛfərəbəl. æt list naʊ bæn ɪz ʃɔrn əv ðə mæsk əv nuˈtræləti ənd ðɛr kən bi noʊ daʊt ðət hi stændz ɪn fʊl, ɪnˌθuziˈæstɪk kəmˈplɪsɪti wɪθ kraɪmz əˈgɛnst juˈmænɪti. wi lɪv ɪn taɪmz wɪθ fju ˈmɔrəl ˈmɔrɪŋz, wɛr wən deɪ ən ˈətər ˌmidiˈɑkrəti laɪk bæn kən preɪz ˈnɛlsən ˌmænˈdɛlə, ənd ə fju wiks ˈleɪtər kɔl ˈɛriəl ˈʃɛrən, ən ˌənrɪˈpɛntənt mass-murder*, ə ““hero”*”. [riˈprɪntɪd frəm ˌɪˌlɛkˈtrɑnɪk ˌɪntɪˈfɑdə. ˈɑli ɪz ə əv ˌɪˌlɛkˈtrɑnɪk ˌɪntɪˈfɑdə ənd ˈɔθər əv ðə ˈbætəl fər ˈʤəstɪs ɪn ˈpæləˌstaɪn, ˈfɔrθˈkəmɪŋ frəm ˈheɪˌmɑrkɪt bʊks ɪn mɑrʧ.]
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the tributes and praise from various world leaders, including us president barack obama and swedish foreign minister carl bildt, for israeli war criminal ariel sharon who died on january 11, are vile but sadly predictable.
but probably the most distasteful of all comes from un secretary-general ban ki-moon who declared himself “saddened by the death of ariel sharon”.
a un insider with links to the department of political affairs in new york -- who asked not to be named in order to speak freely about the matter -- told me that ban’s statement “brings the un’s obsequiousness towards israel to a new high and the un’s standing in the middle east to a new low”.
ban offered his “condolences to the bereaved family and to the government and people of israel”. ban called sharon “a hero to his people, first as a soldier and then a statesman”.
finally, says ban, “prime minister sharon will be remembered for his political courage and determination to carry through with the painful and historic decision to withdraw israeli settlers and troops from the gaza strip”.
re-writing history
ban does not acknowledge that sharon’s “disengagement” aimed at isolating gaza for “demographic” reasons and inaugurated a crushing siege that continues relentlessly.
but most striking, he does not acknowledge that sharon will be most remembered by palestinians, lebanese and indeed quite a few israelis, as the architect of israel’s 1982 invasion of lebanon. tens of thousands of people were slaughtered.
he will be remembered by the survivors for the massacres at qibya in october 1953, at sabra and shatila in 1982, and at jenin in 2002.
to me, ban’s tribute to sharon is the most jarring because in many minds the united nations is still supposed to stand for the post-world war ii ideal of protecting the innocent against the violence of states and statesmen.
through the complicity of states, sharon escaped justice.
the un insider added that the statement’s “deliberate lack of historical awareness yet again illustrates the extent to which un ‘job seekers’ such as un special coordinator for the middle east peace process robert serry, whose office signed off on it, have bought into the zionist narrative”.
'ill-judged'
my un contact adds: “palestinians, particularly those who suffered because of sharon’s war crimes, deserve an apology, though ban’s silence would have sufficed. outside israel sharon is a war criminal, inside he is a hero.
“it would have been better for ban’s credibility and his effectiveness as an ‘honest broker’ in the middle east, had he chosen not to illustrate to the world in this ill-judged statement where he stood.”
i’m not sure i agree ban’s silence would have been preferable. at least now ban is shorn of the mask of neutrality and there can be no doubt that he stands in full, enthusiastic complicity with israel’s crimes against humanity.
we live in times with few moral moorings, where one day an utter mediocrity like ban can praise nelson mandela, and a few weeks later call ariel sharon, an unrepentant mass-murder, a “hero”.
[reprinted from electronic intifada. ali abunimah is a co-founder of electronic intifada and author of the battle for justice in palestine, forthcoming from haymarket books in march.]
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ˈbrɪtənz plæn tɪ bɪld ɪts fərst ˈnukliər plænt ɪn tu ˈdɛkeɪdz ˈfaɪnəli gɑt ə grin laɪt ˈfɑloʊɪŋ ðə ənˈsərtənti kæst baɪ. bət ɪt kəmz wɪθ ˈwɛrinɪs ˈoʊvər ˈfɔrən kənˈtroʊl əv ə ˈkrɪtɪkəl ˌɪnfrəˈstrəkʧər ənd ˈskɛptɪˌsɪzəm əˈbaʊt ɪts ˈifɛktɪvnəs ɪn rɪˈdusɪŋ ˈkɑrbən ɪˈmɪʃənz ˈivɪn ɛz səˈpɔrtərz taʊt ðə ˈbɛnəfɪts əv ðə sɔrs əv ˈɛnərʤi. ðə ˈprɑʤɛkt, noʊn ɛz ˈhɪŋkli pɔɪnt si, wɪl bi ˈfəndɪd baɪ ðə ˈʧaɪnə ˈʤɛnərəl ˈnukliər paʊər ˌkɔrpərˈeɪʃən, ə ʧaɪˈniz ˌɪnˈvɛstər, ənd bɪlt baɪ edf*, ə frɛnʧ juˈtɪləti ˈkəmpəˌni ðət ɪz ˈlɑrʤli state-owned*. əˈkɔrdɪŋ tɪ ˈblumbərg, ðə praɪs tæg əv ðə ˈprɑʤɛkt ɪz ɪkˈspɛktɪd tɪ riʧ ˈbɪljən. ðə plænt ɪz sɛt tɪ ˈʤɛnərˌeɪt ɪˌlɛkˈtrɪsəti fər ən ˈɛriə twaɪs ðə saɪz əv ˈləndən ənd rɪˈdus ɪˈmɪʃənz baɪ 9 ˈmɪljən ˈmɛtrɪk tənz əv ˈkɑrbən daɪˈɑkˌsaɪd pər jɪr, ˈhɛlpɪŋ ðə tɪ mit ɪts ˈklaɪmɪt ˈtɑrgəts. ˈɔlsoʊ mɑrks ðə nɛkst ˌʤɛnərˈeɪʃən əv ˈnukliər paʊər ɪn ˈbrɪtən, wɪʧ həz ən ˌɪmˈpɔrtənt pɑrt tɪ pleɪ ɪn kənˈtrɪbjutɪŋ tɪ ɑr fˈjuʧər ˈɛnərʤi nidz ənd ɑr ˈlɔŋgər tərm sɪˈkjʊrəti əv supply,”*,” ˈfɔrmər praɪm ˈmɪnɪstər ˈdeɪvɪd ˈkæmərən sɛd əv ðə plæn ɪn ə prɛs riˈlis tu jɪrz əˈgoʊ wɪn ðə plæn wɑz fərst kənˈsivd. bət ˈkrɪtɪks ər ˈwɛri əv ˈpleɪsɪŋ ə ˈkrɪtɪkəl ˌɪnfrəˈstrəkʧər əˈspɛʃəli ə ˈnukliər paʊər plænt ɪn ðə hænz əv ˈfɔrən ˈkəmpəˌniz, əˈspɛʃəli wɪθ ʧaɪˈniz ˈkəmpəˌniz ðət kʊd bi ˈvəlnərəbəl tɪ əˈlɛʤd ˈhækərz. ðə kɔst əv ðə plænt, wɪʧ meɪ pəˈtɛnʃəli bi ðə moʊst ɪkˈspɛnsɪv ɪn ˈbrɪtənz ˈhɪstəri, ˈɔlsoʊ həz səm ˈwərid. ˈəðərz ər kənˈsərnd əˈbaʊt ˈnukliər weɪst dɪˈspoʊzəl, ɛz rɪˈvild baɪ ə ˈrisənt ˌbibiˈsi ˌɪnˌvɛstəˈgeɪʃən əv ˌɪmˈprɑpərli stɔrd ˌreɪdioʊˈæktɪv məˈtɪriəl ɪn ə ˈrənˌdaʊn ˈnukliər saɪt. ðə kɔst ənd əˈsoʊʃiˌeɪtəd ˈhæzərdz, səm ˈɑrgju, ər nɑt wərθ ɪt wɪn ðɛr ər ˈʧipər ənd ˈseɪfər ɔlˈtərnətɪvz səʧ ɛz riˈnuəbəl ˈɛnərʤi. ðə ˈkɑntrəˌvərsiz stərd baɪ ðə plæn maɪt nɑt bi fɛlt baɪ ðə əˈloʊn. ˈnukliər ˈɛnərʤi ɪz ˌɪnˈkrisɪŋgli biɪŋ dɪˈskəst ɛz ə səˈluʃən tɪ rɪˈdusɪŋ ˈkɑrbən ɪˈmɪʃənz. riˈnuəbəl ˈɛnərʤi ˈɪnˌpʊt kən bi ˌɪntərˈmɪtənt ənd əˈneɪbəl tɪ mit ðə ɪˌlɛkˈtrɪsəti dɪˈmænd, waɪl ˈnukliər kən prəˈvaɪd ə ˈstɛdi loʊd. bət ðiz dɪˈskəʃənz ˈtrɪgər æŋˈzaɪəti əˈspɛʃəli ˈæftər ðə 2015 plænt ɪn fukuˈʃimə, ʤəˈpæn. ˈnukliər paʊər plænts kən poʊz sɪˈkjʊrəti kənˈsərnz, ˈnukliər weɪst kən bi ˌɪmˈprɑpərli dɪˈspoʊzd ənd kɔz hɛlθ ˈhæzərdz, ənd ˈnukliər plænt kənˈstrəkʃən ɪz noʊˈtɔriəs fər kɔst ˈoʊvərˌrənz ənd dɪˈleɪz. səm ˈkəntriz rɪˈmeɪn ˌəndɪˈtərd. fər ɪgˈzæmpəl, ə ˈnəmbər əv ˈæfrɪkɑn ˈneɪʃənz, ɛz ðə ˈkrɪsʧɪn saɪəns ˈmɑnətər ˈpriviəsli ˌriˈpɔrtəd, ər kənˈsɪdərɪŋ ˈnukliər ˈɛnərʤi tɪ ˈæˌdrɛs ˈʃɔrtɪʤ əv ɪˌlɛkˈtrɪsəti, dɪˈspaɪt ˌɪnfrəˈstrəkʧər ˈdɪfɪˌkəltiz feɪst baɪ səm ˈkəntriz. ðə juˈnaɪtɪd steɪts həz ə groʊɪŋ ˈmuvmənt ˈpʊʃɪŋ fər ˈnukliər ˈɛnərʤi, wɪθ boʊθ ˈlidɪŋ ˌprɛzɪˈdɛnʃəl ˈkænədɪts səˈpɔrtɪŋ ðə ˈnoʊʃən. ˈəðər ˈkəntriz ər ˈteɪkɪŋ ðə ˈɑpəzɪt tæk. ˈʤərməni, fər ˈɪnstəns, ʧoʊz tɪ feɪz aʊt ˈnukliər ˈɛnərʤi baɪ 2022 ənd tɪ rɪˈlaɪ ɔn koʊl ˈɛnərʤi waɪl ɪt trænˈzɪʃənz tɪ riˈnuəbəl ˈɛnərʤi. ˈlidɪŋ ˈklaɪmɪt ˈsaɪəntɪst ʤeɪmz ˈhænsən ˈɑrgjud ɪn ən əˈpɪnjən pis fər ðə ˈgɑrdiən læst jɪr ðət ˈnukliər paʊər ɪz ə ˈskeɪləbəl ənd ɪnˌvaɪrənˈmɛnəli advantageous”*” səˈluʃən tɪ ˈdilɪŋ wɪθ ˈklaɪmɪt ʧeɪnʤ. ˈɛnərʤi kən paʊər hoʊl civilisations*, ənd ˈproʊdus weɪst strimz ðət ər ˈtrɪviəl kəmˈpɛrd tɪ ðə weɪst prəˈdust baɪ ˈfɑsəl fjuəl combustion.…*.… ˌhaʊˈɛvər, ˈnukliər dɪz poʊz juˈnik ˈseɪfti ənd ˌproʊlɪfərˈeɪʃən kənˈsərnz ðət məst bi əˈdrɛst wɪθ strɔŋ ənd ˈbaɪndɪŋ ˌɪnərˈnæʃənɑl ˈstændərdz ənd safeguards,”*,” hi roʊt., əˈsoʊʃiˌeɪt hɛd æt dɪˈpɑrtmənt əv ˈnukliər saɪəns ənd ˈɛnʤəˈnɪrɪŋ, sɛd ɪn ə foʊn ˈɪntərvˌju wɪθ ðə ˈkrɪsʧɪn saɪəns ˈmɑnətər ðət waɪl ðə ˈbɪgəst ˈʧælənʤ ɪn ɪkˈspændɪŋ ˈnukliər ˈɛnərʤi ɪz ðə kɔst, ɪt ɪz stɪl ðə moʊst rɪˈlaɪəbəl ɪˈmɪʃən sɔrs. ɪt ɪz ˈɔlsoʊ ˈpruvən tɪ bi seɪf, wɪθ ˈstændərdz ˈtaɪtənd ˈæftər ðə fukuˈʃimə ˈɪnsədənt. ənd ˈkɑmpləmənt iʧ ˈəðər well,”*,” sɪz. ɪz ənd riˈnuəbəl ɪz intermittent.”*.” ɛz fər kənˈsərnz əˈbaʊt ˈkəntriz tɪ ˈmænɪʤ ˈnukliər plænts, sɪz ðɛr ər ˈpɑrtnərˌʃɪps bɪtˈwin ˈkəntriz, səʧ ɛz saʊθ ˌkɔˈriə ənd ðə juˈnaɪtɪd ˈærəb ˈɛmərˌeɪts, ðət əˈlaʊ ðɛm tɪ ʃɛr ˈrisɔrsɪz ənd ˈnɑlɪʤ. ɔn ðə ˈəðər hænd ər ðoʊz hu faɪnd ˈnukliər paʊər plænts tu ɪkˈspɛnsɪv ər tu sloʊ tɪ bɪld. ðɛr ɪz ˈɔlsoʊ ðə ˈʧælənʤ əv ˈdilɪŋ wɪθ ˌreɪdioʊˈæktɪv ˈnukliər weɪst, əv wɪʧ ðɛr ər kənˈsərnz əˈbaʊt ðə pəˈtɛnʃəl fər riˈprɔsɛst weɪst tɪ bi tərnd ˈɪntu ˈnukliər ˈwɛpənz ənd, ɪn ðə juˈnaɪtɪd steɪts, ˈloʊˌkeɪtɪŋ ə lɔŋ tərm riˈpɑzəˌtɔri fər ðə fjuəl. ˈθɪŋkɪŋ əˈbaʊt ˈklaɪmɪt ʧeɪnʤ ɛz ən ˈərʤənt θrɛt, ˈsəmθɪŋ tɪ dil wɪθ ɛz sun ɛz ˈpɑsəbəl, ðɛn ˈnukliər paʊər wɪl nɑt bi ə gʊd strategy,”*,” m.v*., ən əˈsoʊʃiˌeɪt ˈrisərʧ ˈskɑlər æt ðə ˈprɪnstən ˈnukliər fˈjuʧərz ˈlæbrəˌtɔri, tɛlz ðə ˈkrɪsʧɪn saɪəns ˈmɑnətər ɪn ə foʊn ˈɪntərvˌju. ˈsɪriəs əˈbaʊt ˈmɪtəˌgeɪtɪŋ ˈklaɪmɪt ʧeɪnʤ ju hæv tɪ ɪˈvɑlv ə ˈstrætəʤi ðət ɪz ˌɛkəˈnɑmɪk ənd realistic.”*.” ˈdɑktər. ˌrɛkəˈmɛndz dɪˈvɛləpɪŋ riˈnuəbəl ˈɛnərʤi səʧ ɛz ˈsoʊlər ənd wɪnd, ˈstɔrɪʤ tɛkˈnɑləʤi, ˌɪmˈpruvɪŋ ɪˈfɪʃənsi ˈstændərdz, ənd ˌɪnˈkrisɪŋ ˌflɛksəˈbɪləti əv kənˈsumər ˈɛnərʤi ˈjusɪʤ ˌɪnˈstɛd ɛz mɔr ˈifɛktɪv səˈluʃənz. fər ðə, ɪts dɪˈsɪʒən tɪ goʊ wɪθ ˈnukliər baɪ ˈbɪldɪŋ ðɪs plænt ənd feɪz aʊt koʊl baɪ 2025 wɑz ə təf wən. ðə ˈhɪŋkli pɔɪnt si plæn wɑz saɪnd ɔn baɪ ˈfɔrmər praɪm ˈmɪnɪstər ˈdeɪvɪd ˈkæmərən ɪn 2013 bət ɪts ˈstætəs keɪm ˈɪntu kˈwɛʃən ˈoʊvər sɪˈkjʊrəti kənˈsərnz ˈæftər ðə voʊt. ɪn ˌʤuˈlaɪ ðɪs jɪr, ðə nu praɪm ˈmɪnɪstər tərˈisə meɪ meɪd ə səˈpraɪzɪŋ dɪˈsɪʒən tɪ hoʊld ðə ˈprɑʤɛkt fər ˌrivˈju aʊərz ˌbiˈfɔr ðə ˈkɑnˌtrækt wɑz tɪ bi saɪnd, taɪm rɪˈpɔrts. gɪt ðə ˈmɑnətər ˈstɔriz ju kɛr əˈbaʊt dɪˈlɪvərd tɪ jʊr inbox*. baɪ ˈsaɪnɪŋ əp, ju əˈgri tɪ ɑr ˈpraɪvəsi ˈpɑləsi ˈθərzˌdeɪz dɪˈsɪʒən tɪ əˈpruv ðə plæn kəmz wɪθ ðə əˈʃʊrəns əv ˈseɪfˌgɑrdz ðət wɪl prɪˈvɛnt ðə ˈfɔrən ˈkəmpəˌniz ˌɪnˈvɑlvd ɪn ðə kənˈstrəkʃən tɪ geɪn kənˈtroʊl əv ðə paʊər plænt wɪˈθaʊt ˈgəvərnmənt əˈpruvəl. ˈθəroʊli rivˈjud ðə prəˈpoʊzəl fər ˈhɪŋkli pɔɪnt si, wi wɪl ˌɪntrəˈdus ə ˈsɪriz əv ˈmɛʒərz tɪ ɛnˈhæns sɪˈkjʊrəti ənd wɪl ɪnˈʃʊr ˈhɪŋkli ˈkænɑt ʧeɪnʤ hænz wɪˈθaʊt ðə agreement,”*,” sɛd ˈsɛkrəˌtɛri əv steɪt fər ˈbɪznɪs, ˈɛnərʤi ənd ˌɪnˈdəstriəl ˈstrætəʤi grɛg klɑrk ɪn ə prɛs riˈlis. nidz tɪ ˈəpˈgreɪd ɪts səˈplaɪz əv ˈɛnərʤi, ənd wi hæv ˈɔlˌweɪz bɪn klɪr ðət ˈnukliər ɪz ən ˌɪmˈpɔrtənt pɑrt əv ɪnˈʃʊrɪŋ ɑr fˈjuʧər ˈɛnərʤi security.”*.”
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britain's plan to build its first nuclear plant in two decades finally got a green light following the uncertainty cast by brexit. but it comes with wariness over foreign control of a critical infrastructure and skepticism about its effectiveness in reducing carbon emissions even as supporters tout the benefits of the low-carbon source of energy.
the project, known as hinkley point c, will be funded by the china general nuclear power corporation, a state-backed chinese investor, and built by edf, a french utility company that is largely state-owned. according to bloomberg, the price tag of the project is expected to reach $23.6 billion. the plant is set to generate electricity for an area twice the size of london and reduce emissions by 9 million metric tons of carbon dioxide per year, helping the uk to meet its climate targets.
“this also marks the next generation of nuclear power in britain, which has an important part to play in contributing to our future energy needs and our longer term security of supply,” former prime minister david cameron said of the plan in a press release two years ago when the plan was first conceived.
but critics are wary of placing a critical infrastructure especially a nuclear power plant in the hands of foreign companies, especially with chinese companies that could be vulnerable to alleged state-sponsored hackers. the cost of the plant, which may potentially be the most expensive in britain's history, also has some worried. others are concerned about nuclear waste disposal, as revealed by a recent bbc investigation of improperly stored radioactive material in a rundown nuclear site. the cost and associated hazards, some argue, are not worth it when there are cheaper and safer alternatives such as renewable energy.
the controversies stirred by the plan might not be felt by the uk alone. nuclear energy is increasingly being discussed as a solution to reducing carbon emissions. renewable energy input can be intermittent and unable to meet the electricity demand, while nuclear can provide a steady load. but these discussions trigger anxiety especially after the 2015 plant meltdowns in fukushima, japan. nuclear power plants can pose security concerns, nuclear waste can be improperly disposed and cause health hazards, and nuclear plant construction is notorious for cost overruns and delays.
some countries remain undeterred. for example, a number of african nations, as the christian science monitor previously reported, are considering nuclear energy to address shortage of electricity, despite infrastructure difficulties faced by some countries. the united states has a growing movement pushing for nuclear energy, with both leading presidential candidates supporting the notion.
other countries are taking the opposite tack. germany, for instance, chose to phase out nuclear energy by 2022 and to rely on coal energy while it transitions to renewable energy.
leading climate scientist james hansen argued in an opinion piece for the guardian last year that nuclear power is a “uniquely scalable and environmentally advantageous” solution to dealing with climate change.
“nuclear energy can power whole civilisations, and produce waste streams that are trivial compared to the waste produced by fossil fuel combustion.… however, nuclear does pose unique safety and proliferation concerns that must be addressed with strong and binding international standards and safeguards,” he wrote.
jacopo buongiorno, associate head at mit’s department of nuclear science and engineering, said in a phone interview with the christian science monitor that while the biggest challenge in expanding nuclear energy is the cost, it is still the most reliable zero-carbon emission source. it is also proven to be safe, with standards tightened after the fukushima incident.
“nuclear and renewables complement each other well,” buongiorno says. “nuclear is baseload and renewable is intermittent.”
as for concerns about countries under-equipped to manage nuclear plants, buongiorno says there are partnerships between countries, such as south korea and the united arab emirates, that allow them to share resources and knowledge.
on the other hand are those who find nuclear power plants too expensive or too slow to build. there is also the challenge of dealing with radioactive nuclear waste, of which there are concerns about the potential for reprocessed waste to be turned into nuclear weapons and, in the united states, locating a long term repository for the fuel.
“if you’re thinking about climate change as an urgent threat, something to deal with as soon as possible, then nuclear power will not be a good strategy,” m.v. ramana, an associate research scholar at the princeton nuclear futures laboratory, tells the christian science monitor in a phone interview. “if you’re serious about mitigating climate change you have to evolve a strategy that is economic and realistic.”
dr. ramana recommends developing renewable energy such as solar and wind, storage technology, improving efficiency standards, and increasing flexibility of consumer energy usage instead as more effective solutions.
for the uk, its decision to go with nuclear by building this plant and phase out coal by 2025 was a tough one.
the hinkley point c plan was signed on by former prime minister david cameron in 2013 but its status came into question over security concerns after the brexit vote. in july this year, the new prime minister theresa may made a surprising decision to hold the project for review hours before the contract was to be signed, time reports.
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thursday's decision to approve the plan comes with the government’s assurance of safeguards that will prevent the foreign companies involved in the construction to gain control of the power plant without government approval.
“having thoroughly reviewed the proposal for hinkley point c, we will introduce a series of measures to enhance security and will ensure hinkley cannot change hands without the government’s agreement,” said uk secretary of state for business, energy and industrial strategy greg clark in a press release. “britain needs to upgrade its supplies of energy, and we have always been clear that nuclear is an important part of ensuring our future low-carbon energy security.”
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fər smɔl tɪ ˈmidiəm saɪzd ““chatter”*”, ðə poʊst ˈsɪmpli ɪˈreɪsɪz ˈɛni ˈɪnˌpʊts ənd prɪˈvɛnts ðɛm frəm ˈriʧɪŋ jʊr ˈsædəl. ˌhaʊˈɛvər; ðə achilles’*’ hil meɪ bi ɪts spərɪŋz wɪʧ, ɪf ju hɪt ðə raɪt sɔrt əv bəmps ɪn səkˈsɛʃən, kən baʊns ju ɪn ə weɪ ðət kən kɔz ju tɪ lɔnʧ ɔf ðə ˈsædəl. ædˈmɪtɪdli, ɪf ju trit jʊr baɪk laɪk ðə hɑrd teɪl ðət ɪt ɪz, (əˈsumɪŋ ju juz ðə ɛz ˌrɛkəˈmɛndɪd- ɔn ə hɑrd teɪl baɪk), ju ˈprɑbəˌbli wɪl bi ˈgɪtɪŋ aʊt əv ðə ˈsædəl fər ˈmɛni əv ðoʊz sɔrts əv ˌsɪʧuˈeɪʃənz. ðə ɪz ˌaʊtˈstændɪŋ. wən kən daɪəl ɪn ə prɪˈfərd əˈmaʊnt əv ““give”*” wɪθ ˈɛni əv ˈsɛvərəl əˈsɔrtɪd kɔɪl spərɪŋz, ənd ðɪs kən bi ɔn ðə flaɪ wɪθ ðə nu əˈʤəstmənt nɑb ˈsɪrəs ˈsaɪkəlz həz ˈædɪd wɪθ ðɪs ˈleɪtəst ˌɪnˈkɑrˈneɪʃən əv ðə poʊst. dɪˈskəs ənd ʃɛr jʊr kˈwɛsʧənz ər θɔts əˈbaʊt ˈgrævəl baɪks, gɪr, ɪˈvɛnts ənd ˈɛniˌθɪŋ ɛls ɔn ðə ˈraɪdɪŋ ˈgrævəl ˈfɔrəm. səˈspɛnʃən wər ə hɑt ˈaɪtəm ɪn ðə ənd early-2000s*, ˌpɑrˈtɪkjələrli wɪθ ˈmaʊntən baɪk ˈraɪdərz ˈlʊkɪŋ tɪ æd ə bɪt əv kʊʃ tɪ ðɛr oʊld hardtails*. ənˈfɔrʧənətli, ðoʊz ˈərli dɪˈzaɪnz rɪˈflɛktɪd ðɛr ˈstætəs, ənd iʧ hæd flɔz ðət ˈhɪndərd ɪts ˈəltəmət bɪg pləs, ˌpɑrˈtɪkjələrli fər koʊld ˈwɛðər ˈsaɪkəlɪsts, ɪz ðə juz əv kɔɪl spərɪŋz tɪ səˈspɛnd ðə. nɑt ˈoʊnli du ðə kɔɪl spərɪŋz prəˈvaɪd ə ˈnɪrli stictionless*, ˌhaɪkˈwɑləti ˈtrævəl, ðeɪ hæv ˌæbsəˈlutli noʊ ˈtɛmpərəʧər ˌsɛnsɪˈtɪvɪti. ðə greɪt fil ˈgɪtɪŋ təˈdeɪ (ɪn dɪˈgri tɛmps) ʃʊd bi ɪgˈzæktli ðə fil aɪ gɪt ɔn deɪz wɪn ðə θərˈmɑmətər ˈtəʧɪz ˈziroʊ. aɪ laɪk ðət. ˈəðər poʊsts juz ɪˈlæstəmərz ər ˈjərəˌθeɪn ˈbəmpərz tɪ səˈspɛnd ðə ˈraɪdər, ənd ɪn mɔr ðən 25 jɪrz əv ˈsaɪkəlɪŋ, ˈnɛvər ˈrɪdən ən ɪˈlæstəmər ðət æt list ˈsəmˈwət ˈtɛmpərəʧər kɔrs ˈjuzɪŋ ðət tunability*, ˈʧeɪnʤɪŋ əp spərɪŋz ənd ˈsɛtɪŋz tɪ si ɪf wi kən ˌɪmˈpruv ɔn ən ɔˈrɛdi ˈvɛri gʊd ˈsɛˌtəp, ənd rɪˈpɔrt ɑr ˈfaɪndɪŋz ɪn ə fˈjuʧər rɪˈpɔrt. wən əv ðə fərst kˈwɛsʧənz ˈəðər ˈsaɪkəlɪsts æsk ˈæftər ˈteɪkɪŋ ðə fər ə tɛst raɪd ɪz məʧ dɪz ɪt weigh?”*?” ɪn ɔl ˈɑnəsti, ɪn maɪ heɪst tɪ raɪd ðə poʊst, aɪ kəmˈplitli fərˈgɑt tɪ pɑp ɪt ˈɔntu ðə skeɪl, soʊ ðə weɪt wɪl nid tɪ weɪt fər naʊ. ðət sɛd, aɪ hæv noʊ ˈrizən tɪ daʊt ˈsɪrəs cycles’*’ ˈpəblɪʃt weɪt fər ðə poʊst, wɪʧ ɪz 548 ðə ˈmɑdəl ti poʊst gɪˈtɑr tɛd ənd aɪ ər ˈtɛstɪŋ ɪz boʊθ ðə moʊst ɪkˈspɛnsɪv (msrp*: 415 ənd ˈhɛviəst poʊst ˈsɪrəs ˈsaɪkəlz ˌmænjəˈfækʧərz, ðɛr ər ləˈʤɪtəmət ˈrizənz fər ðɪs biɪŋ ðə keɪs. ðə ti poʊst ɪz ðə ˈlɔŋgɪst (baɪ 40mm*), ˈstrɔŋgəst poʊst ðeɪ bɪld, dɪˈzaɪnd fər ðoʊz ˈɪntəˌrɛstɪd ɪn ˈəltəmət strɛŋθ ənd dərəˈbɪlɪti ˈoʊvər laɪt weɪt (θɪŋk tʊr dɪˈvaɪd). ðoʊz ˈɪntəˌrɛstɪd ɪn ˈlaɪtər weɪt ˈɔpʃənz wɪl bi mɔr plizd ðə ˈmɑdəl poʊst ɪz ˈɔlsoʊ əˈveɪləbəl wɪθ ə ˈkɑrbən ʃæft ɪn tu lɛŋθs 428g*) ənd 465g*). ðə ˈkɑrbən poʊsts ər ˈɔlsoʊ sˈlaɪtli lɛs ɪkˈspɛnsɪv, æt 395 aɪ ˈtɛstɪd ðə ˈərliər ˈmɑdəl ˈkɑrbən poʊst ɪn ə lɛŋθ, ənd ɪt wɑz ə greɪt pərˈfɔrmɪŋ, ˈdʊrəbəl poʊst. ˈsɪrəs ˈsaɪkəlz ˈɔlsoʊ ˈɔfərz ə məʧ lɛs ɪkˈspɛnsɪv ˈmɑdəl ˈæˌlɔɪ ˈvərʒən əv ðə, ənd æt 225 ənd 493 græmz, ˈklɪrli ðə ˈvælju ˈlidər əv ðə grup. steɪ tund tɪ fər ˈəpˌdeɪts ɔn ðə pərˈfɔrməns ənd dərəˈbɪlɪti əv ðə ɛz gɪˈtɑr tɛd ənd aɪ pʊt ɑr poʊsts θru ðɛr ˈpeɪsɪz ðɪs fɔl ənd ˈwɪntər. tɪ lərn mɔr əˈbaʊt səˈspɛnʃən frəm ˈsɪrəs ˈsaɪkəlz, hɛd ɔn ˈoʊvər tɪ tɛl sɛnt ya’*’.//
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for small to medium sized “chatter”, the post simply erases any inputs and prevents them from reaching your saddle. however; the post’s achilles’ heel may be its undamped springs which, if you hit the right sort of bumps in succession, can bounce you in a way that can cause you to launch off the saddle. admittedly, if you treat your bike like the hard tail that it is, (assuming you use the bodyfloat as recommended- on a hard tail bike), you probably will be getting out of the saddle for many of those sorts of situations.
the tune-ability is outstanding. one can dial in a preferred amount of “give” with any of several assorted coil springs, and this can be micro-adjusted on the fly with the new pre-load adjustment knob cirrus cycles has added with this latest incarnation of the bodyfloat post.
discuss and share your questions or thoughts about gravel bikes, gear, events and anything else on the riding gravel forum.
suspension seatposts were a hot item in the late-1990s and early-2000s, particularly with mountain bike riders looking to add a bit of cush to their old hardtails. unfortunately, those early designs reflected their first-generation status, and each had flaws that hindered its ultimate performance.another big plus, particularly for cold weather cyclists, is the use of coil springs to suspend the bodyfloat. not only do the coil springs provide a nearly stictionless, high-quality travel, they have absolutely no temperature sensitivity. the great feel i’m getting today (in 60-80 degree temps) should be exactly the feel i get on days when the thermometer touches zero. i like that. other posts use elastomers or microcellular urethane bumpers to suspend the rider, and in more than 25 years of cycling, i’ve never ridden an elastomer that wasn’t at least somewhat temperature sensitive.of course we’re using that tunability, changing up springs and preload settings to see if we can improve on an already very good setup, and we’ll report our findings in a future report. one of the first questions other cyclists ask after taking the bodyfloat for a test ride is “how much does it weigh?” in all honesty, in my haste to ride the post, i completely forgot to pop it onto the scale, so the weight will need to wait for now. that said, i have no reason to doubt cirrus cycles’ published weight for the post, which is 548 grams.while the 420mm model 3.0 ti post guitar ted and i are testing is both the most expensive (msrp: $415) and heaviest post cirrus cycles manufactures, there are legitimate reasons for this being the case. the ti post is the longest (by 40mm), strongest post they build, designed for those interested in ultimate strength and durability over light weight (think tour divide). those interested in lighter weight options will be more pleased the model 3.0 post is also available with a carbon shaft in two lengths – 330mm (428g) and 380mm (465g). the carbon posts are also slightly less expensive, at $395. i tested the earlier model 2.0 carbon post in a 380mm length, and it was a great performing, durable post. cirrus cycles also offers a much less expensive model 2.0 alloy version of the bodyfloat, and at $225 and 493 grams, it’s clearly the value leader of the group. stay tuned to ridinggravel.com for updates on the performance and durability of the bodyfloat seatposts as guitar ted and i put our posts through their paces this fall and winter. to learn more about bodyfloat suspension seatposts from cirrus cycles, head on over to cirruscycles.com . tell ’em ridinggravel.com sent ya’.//
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ˈkɑbʊl, æfˈgænəˌstæn, sɛpt. 28 (upi*) ðə ˈtælɪˌbæn ənd ðə æfˈgænəˌstæn ˈgəvərnmənt hæv bɪn ˌɪnˈvɑlvd ɪn ˈsikrɪt pis tɔks tɪ brɪŋ ən ɛnd tɪ ðə ˈkɑnflɪkt, ðə əbˈzərvər ˌriˈpɔrtəd ˈsənˌdi. ðə ˈbrɪtɪʃ ˈnuzˌpeɪpər sɛd ɪt hæd ˈlərnɪd ə ˈsinjər ˈfɔrmər ˈtælɪˌbæn ˈlidər həz bɪn ˈtɔkɪŋ tɪ ˈkɑbʊl əˈfɪʃəlz ɪn ə lus pis ˈprɔˌsɛs fəˈsɪləˌteɪtɪd baɪ ˈsɔdi əˈreɪbiə ənd ˈgɪvɪn ləˈʤɪstɪkəl səˈpɔrt baɪ ˈbrɪtən. ðə ənˈneɪmd ˈtælɪˌbæn nɪˈgoʊʃiˌeɪtər həz bɪn ˈʃətəlɪŋ bɪtˈwin ðə ˈmɪlətənt ˈɪsləmɪst grups ˈbeɪsɪz, ˈsɔdi əˈreɪbiə ənd ˌjʊrəˈpiən ˈkæpɪtəlz, ˈsɔrsəz toʊld ðə əbˈzərvər. ðə ˌrɛvəˈleɪʃən ˌkɑntrəˈdɪkts ˈbrɪtɪʃ ˈgəvərnmənt ˈsteɪtmənts ðət nɪˌgoʊʃiˈeɪʃənz wɪθ ðə ˈtælɪˌbæn, dɪˈnaʊnst ɛz ə ˈtɛrərɪst ˌɔrgənəˈzeɪʃən, kʊd ˈoʊnli ˈhæpən wɪn ɪt hæd ˈgɪvɪn əp ˈvaɪələns, ðə ˈnuzˌpeɪpər sɛd. ðə ˈsikrɪt tɔks, ˌhaʊˈɛvər, hæv lɔst moʊˈmɛntəm ɪn ˈrisənt wiks, ənˈneɪmd ˈæfˌgæn əˈfɪʃəlz sɛd. "ðeɪ kip ˈʧeɪnʤɪŋ wət ðeɪ ər ˈæskɪŋ fər," wən əˈfɪʃəl toʊld ðə ˈnuzˌpeɪpər. "wən deɪ ɪt ɪz wən θɪŋ, ðə nɛkst əˈnəðər." hi sɛd wən eɪm əv ðə tɔks wɑz tɪ draɪv ə wɛʤ bɪtˈwin ðə ˈtælɪˌbæn ənd oʊˈsɑmə bɪn ˈtɛrərɪst ˌɔrgənəˈzeɪʃən.
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kabul, afghanistan, sept. 28 (upi) -- the taliban and the afghanistan government have been involved in secret peace talks to bring an end to the conflict, the observer reported sunday.
the british newspaper said it had learned a senior former taliban leader has been talking to kabul officials in a loose peace process facilitated by saudi arabia and given logistical support by britain. the unnamed taliban negotiator has been shuttling between the militant islamist group's bases, saudi arabia and european capitals, sources told the observer.
the revelation contradicts british government statements that negotiations with the taliban, denounced as a terrorist organization, could only happen when it had given up violence, the newspaper said.
the secret talks, however, have lost momentum in recent weeks, unnamed afghan officials said.
"they keep changing what they are asking for," one official told the newspaper. "one day it is one thing, the next another."
he said one aim of the talks was to drive a wedge between the taliban and osama bin laden's al-qaida terrorist organization.
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ˈʃərˌlɑk stɑr ˈbɛnəˌdɪkt ˈkəmbərˌbæʧ həz sɛd hi ɪz ˈɑnərd ðə "ˈsoʊsioʊˌpæθ" dɪˈtɛktɪv həz bɪn neɪmd ðə wərldz ˈfeɪvərɪt ˌbibiˈsi ˌtɛləˈvɪʒən ˈkɛrɪktər. sər ˈɑrθər ˈkoʊnən dɔɪlz ˈfeɪbəld spaɪ bit ˌkɑmpəˈtɪʃən frəm əˈkleɪmd ˈbrɪtɪʃ ˈtɛləˌvɪʒən ˈfɪgjərz, ˌɪnˈkludɪŋ ˈbæzəl fawlty*, ðə ˈdɔktər ɪn ˈdɔktər hu ənd ˈhaɪəˌsɪnθ ˈbəkɪt, tɪ teɪk ðə ˈækəˌleɪd. ˌbibiˈsi ˈwərldˈwaɪd ˈsərˌveɪd mɔr ðən 18 tɪ frəm ˈsɛvən ˈkəntriz ˌɪnˈkludɪŋ ɔˈstreɪljə, fræns, ðə ˈjuˈɛs ənd ʤəˈpæn ɪn ðə ˈpəblɪk voʊt, wɪθ ˈɔlˌmoʊst 30 ˈbækɪŋ ˈʃərˌlɑk. ɪn ˈsɛkənd pleɪs wɑz ðə ˈdɔktər, waɪl ˈmərdər dɪˈtɛktɪv ʤɑn ˈluθər keɪm ɪn θərd. ˈkəmbərˌbæʧ ˈɔlsoʊ tʊk ðə kraʊn fər moʊst ˈmɛmərəbəl sin ɛz ˈʃərˌlɑk fər hɪz əˈpɛrənt fɔl tɪ dɛθ æt ðə ɛnd əv ðə ʃoʊz ˈsɛkənd ˈsɪriz. ɪt wɑz neɪmd moʊst ˌaɪˈkɑnɪk ˌbibiˈsi ˈmoʊmənt wɪθ 26 əv ðə voʊt, əˈhɛd əv ˈmɔnti ˈpaɪθɑnz dɛd ˈpɛrət skɛʧ ɪn ˈsɛkənd. ˈkoʊlɪn ˈmɪstər ˈdɑrsi ˈimərʤɪŋ ˈtɑpləs frəm ðə leɪk ɪn praɪd ənd ˈprɛʤədɪs ˈɔlsoʊ meɪd ðə tɔp 10 ɪn fɪθ waɪl ˈdeɪvɪd ˈɪmprəˌvaɪzd dæns æt ə ˈkɑmɪk rɪˈlif ˈpɑrti ɪn ðə ˈɔfəs keɪm ɪn eɪθ. ˈkəmbərˌbæʧ sɛd: "əm ˈɑnərd tɪ hir ðət maɪ pɔrˈtreɪəl əv ˈʃərˌlɑk həz bɪn ˌɪnərˈnæʃənɑli ˈrɛkəgˌnaɪzd ɛz vjuərz' ˈfeɪvərɪt ˌbibiˈsi ˌtɛləˈvɪʒən ˈkɛrɪktər. "hu wʊd hæv θɔt ə ˈsoʊsioʊˌpæθ kʊd bi soʊ ˈpɑpjələr wɪθ ˈpipəl ɔl ˈoʊvər ðə wərld?" ðə kənˈtɛmpərˌɛri əv ˈkoʊnən dɔɪlz ˈʃərˌlɑk, ˈmɑrtɪn ˈfrimən ɛz ˈdɑktər ˈwɑtsən, həz bɪn soʊld baɪ ðə ˌbibiˈsi tɪ 240 ˈtɛrəˌtɔriz ˌɪnərˈnæʃənɑli. ðə ˈsɪriz, kriˈeɪtɪd baɪ mɑrk ənd ˈstivən ˈmɑfət, həz rɪˈsivd ˈnumərəs ˈækəˌleɪdz sɪns ɪts ˈdeɪbju ɔn ðə ˌbibiˈsi ɪn 2010 ˈərliər ðɪs jɪr ðə fɔrθ ˈsɪriz, tɪ bi ɪts læst, ˈbɛnəˌfɪtɪd frəm wən əv ðə ˈbɪgəst busts ɪn ˈreɪtɪŋz ˈɛvər kɔzd baɪ ˈpipəl rɪˈkɔrdɪŋ ə ˌtɛləˈvɪʒən ˈproʊˌgræm ənd ˈwɑʧɪŋ ɪt ˈleɪtər. ðə ˈsɪriz' pɛˈnəltəmət ˈɛpɪˌsoʊd, ˈbrɔdˌkæst ɔn ˈʤænjuˌɛri 8 hæd ən ˈoʊvərˈnaɪt ˈɔdiəns əv ʤɪst sɪks ˈmɪljən ɪn ˈbrɪtən. bət kənˈsɑləˌdeɪtəd ˈreɪtɪŋz ˈpəblɪʃt, wɪʧ ˌɪnˈklud ðoʊz hu rɪˈkɔrdɪd ðə ʃoʊ ənd sɔ ɪt ˈleɪtər, bəmpt ðə ˈfɪgjər əp tɪ ˈmɪljən. pɔl ˈdɛmpsi, ˌbibiˈsi ˈwərldˈwaɪd ˈprɛzɪdənt əv ˈgloʊbəl ˈmɑrkɪts, sɛd: "ðɪs ˈsərˌveɪ ˈdɛmənˌstreɪts ðə ləv ənd əˈfɛkʃən ˈɔdiənsəz hæv fər ɑr ʃoʊz əraʊnd ðə wərld ənd ðoʊz dɪˈfaɪnɪŋ ˌtɛləˈvɪʒən ˈmoʊmənts ðət gɪt vjuərz ˈtɔkɪŋ, wɛˈrɛvər ðeɪ ər." ðə ˈrisərʧ wɑz ˈkɛrid aʊt ɪn ðə tɪ ðə ˌbibiˈsi ˈwərldˈwaɪd ˈʃoʊˌkeɪs 2017 wɪʧ teɪks pleɪs bɪtˈwin ˈfɛbruˌɛri 19 ənd ˈfɛbruˌɛri 22
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sherlock star benedict cumberbatch has said he is honoured the "sociopath" detective has been named the world's favourite bbc tv character.
sir arthur conan doyle's fabled spy beat competition from acclaimed british television figures, including basil fawlty, the doctor in doctor who and hyacinth bucket, to take the accolade.
bbc worldwide surveyed more than 7,000 18 to 64-year-olds from seven countries including australia, france, the us and japan in the public vote, with almost 30% backing cumberbatch's sherlock.
in second place was the doctor, while idris elba's murder detective dci john luther came in third.
cumberbatch also took the crown for most memorable scene as sherlock for his apparent fall to death at the end of the show's second series.
it was named most iconic bbc moment with 26% of the vote, ahead of monty python's dead parrot sketch in second.
colin firth's mr darcy emerging topless from the lake in pride and prejudice also made the top 10 in fifth while david brent's improvised dance at a comic relief party in the office came in eighth.
cumberbatch said: "i'm honoured to hear that my portrayal of sherlock has been internationally recognised as viewers' favourite bbc tv character.
"who would have thought a high-functioning sociopath could be so popular with people all over the world?"
the contemporary reimagining of conan doyle's sherlock, co-starring martin freeman as dr watson, has been sold by the bbc to 240 territories internationally.
the series, created by mark gatiss and steven moffat, has received numerous accolades since its debut on the bbc in 2010.
earlier this year the fourth series, rumoured to be its last, benefited from one of the biggest boosts in ratings ever caused by people recording a tv programme and watching it later.
the series' penultimate episode, broadcast on january 8, had an overnight audience of just six million in britain.
but consolidated ratings published, which include those who recorded the show and saw it later, bumped the figure up to 9.5 million.
paul dempsey, bbc worldwide president of global markets, said: "this survey demonstrates the love and affection audiences have for our shows around the world and those defining tv moments that get viewers talking, wherever they are."
:: the research was carried out in the lead-up to the bbc worldwide showcase 2017 which takes place between february 19 and february 22.
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ˌɪnˈtrɪnsɪk faɪˈnæləti ɪz ðə aɪˈdiə ðət ðɛr ɪz ə ˈnæʧərəl gʊd fər ɔl biɪŋz, ənd ðət ɔl biɪŋz hæv ə ˈnæʧərəl ˈtɛndənsi tɪ pərˈsu ðɛr oʊn gʊd. ɪt ɪz ən ˌəndərˈlaɪɪŋ ˈprɪnsəpəl əv boʊθ ənd ˈmɔrəl objectivism*. ðə ˈkɑnsɛpt əv ˌɪnˈtrɪnsɪk faɪˈnæləti wɑz ˈsəmərˌaɪzd baɪ ˈtɑməs ɛz ˈfɑloʊz: baɪ ðə fɔrm wɪʧ gɪvz ɪt ɪts spɪˈsɪfɪk pərˈfɛkʃən, ˈɛvriˌθɪŋ ɪn ˈneɪʧər həz ən ˌɪnkləˈneɪʃən tɪ ɪts oʊn ˌɑpərˈeɪʃənz ənd tɪ ɪts oʊn ɛnd, wɪʧ ɪt ˈriʧɪz θru ðiz ˌɑpərˈeɪʃənz. ʤɪst ɛz ˈɛvriˌθɪŋ ɪz, səʧ ˈɔlsoʊ ər ɪts ˌɑpərˈeɪʃənz ənd ɪts ˈtɛndənsi tɪ wət ɪz ˈsutəbəl tɪ ˌɪtˈsɛlf. ðə aɪˈdiə əv ˌɪnˈtrɪnsɪk faɪˈnæləti prəˈzumz ən əˈbʤɛktɪv ˌriˈæləˌti ðət oʊˈbeɪz ə ˈnæʧərəl ˈɔrdər ər ˈnæʧərəl lɔ ɪn ðə ˈjunəˌvərs. θɪŋz ər "mɛnt" tɪ bi ənd bɪˈheɪv ə ˈsərtən weɪ, ənd ˈnæʧərəli tɛnd tɪ ækt ðət weɪ. fər ˈɪnstəns, ˈænəməlz hæv ˈnæʧərəl ˈɪnstɪŋkts fər self-preservation*, ˈsikɪŋ fud, ənd ˌriprəˈdəkʃən. ðeɪ du soʊ bɪˈkəz ɪt ɪz ðɛr ˈneɪʧər tɪ du soʊ. ˌθiəˈloʊʤənz goʊ ˈfərðər, tɪ ˈɑrgju ðət ðeɪ du soʊ bɪˈkəz ðeɪ wər kriˈeɪtɪd tɪ du soʊ. ðə ɪgˈzɪstəns əv səʧ ə faɪˈnæləti ɪz ˈɔfən ˈʧælənʤd, ˌpɑrˈtɪkjələrli baɪ fəˈlɑsəfərz tɪ ˌfɪləˈsɑfɪkəl ˈnæʧərəˌlɪzəm. ðeɪ ˈɑrgju ðət ɪt ɪz ənˈriznəbəl tɪ seɪ ðət ɔl biɪŋz ˈnæʧərəli pərˈsu ðɛr oʊn ˈbɛnəfɪt, wɪn səm biɪŋz ˈklɪrli du nɑt. ðeɪ pɔɪnt tɪ ˈɪnstənsɪz əv ˌɪmpərˈfɛkʃən, dɪˈziz, ənd dɛθ ɛz ˈɛvədəns ðət ˈnæʧərəl biɪŋz du nɑt ˈnæʧərəli muv təˈwɔrd pərˈfɛkʃən. bət prəˈpoʊnənts əv ˌɪnˈtrɪnsɪk faɪˈnæləti rɪˈspɑnd ðət ðə ˈvɛri ˌrɛkɪgˈnɪʃən əv səʧ ˌɪmpərˈfɛkʃən rikˈwaɪərz ən aɪˈdil ər ˈstændərd əv ðə ˈpərˌfɪkt ɛnd frəm wɪʧ ðə biɪŋ ɪn kˈwɛʃən fɔlz ʃɔrt oʊɪŋ tɪ ə vərˈaɪəti əv ˈfæktərz ˌɪnˈkludɪŋ ˌɪmˈprɑpər ˌɛʤəˈkeɪʃən, sɪn, ər ˌpriˌdɛstəˈneɪʃən. ˌɪnˈtrɪnsɪk faɪˈnæləti prəˈvaɪdz ðə ˈbeɪsɪs fər ðə ˌtiliəˈlɔʤɪkəl ˈɑrgjəmənt fər ðə ɪgˈzɪstəns əv gɑd ənd ɪts ˈmɑdərn ˈkaʊntərˌpɑrt, ˌɪnˈtɛləʤənt dɪˈzaɪn. prəˈpoʊnənts əv ˈɑrgju ðət ˈdɑrwɪˌnɪzəm dɪz nɑt riˈzɑlv ə ˌfəndəˈmɛnəl ˈdifɛkt ɪn ˌfɪləˈsɑfɪkəl ˈnæʧərəˌlɪzəm; ðət ɪt ˈfoʊkɪsɪz ɪkˈsklusɪvli ɔn ðə ˌɪˈmiˌdiət ˈkɔzɪz ənd ˈmɛkəˌnɪzəmz əv ɪˈvɛnts ənd dɪz nɑt əˈtɛnd tɪ ðə ˈrizən fər ðɛr ˈsɪnθəsəs. fər ɪgˈzæmpəl, ɪf wi teɪk ə klɑk əˈpɑrt, wi dɪˈskəvər ɪn ɪt ˈnəθɪŋ bət spərɪŋz, wilz, ˈpɪvəts, ˈlɛvərz ənd soʊ ɔn bət dɪz ɑr ˈhævɪŋ ɪkˈspleɪnd ðə ˈmɛkəˌnɪzəm wɪʧ ˈkɔzɪz ðə ˌrɛvəˈluʃənz əv ðə hænz ɔn ðə daɪəl meɪk ɪt ˈrizənəbəl tɪ seɪ ðət ðə klɑk wɑz nɑt meɪd tɪ kip taɪm? ˈnæʧərəlɪsts rɪˈspɑnd ðət baɪˈɑləʤi həz bɪn proʊˈfaʊndli kənˈsərnd wɪθ ðə weɪz ˈfəŋkʃən kənˈstreɪnz ˈstrəkʧər sɪns ðə taɪm əv ˈɛrəˌstɑtəl ənd ðət ˈdɑrwɪnz oʊn əˈwɛrnəs əv ɪz ˈɛvədənt ɪn hɪz ˈstədi ɪn ˈfəŋkʃənəl kənˈstreɪnts ɔn ðə ˌɛvəˈluʃəˌnɛri dɪˈvɛləpmənt əv ðə əv gəˈlɑpəgoʊz ˈfɪnʧɪz, əv wɪʧ hi roʊt, "siɪŋ ðɪs greɪˈdeɪʃən ənd dɪˈvərsɪti əv ˈstrəkʧər ɪn wən smɔl, ˈɪntɪmətli rɪˈleɪtɪd grup əv bərdz, wən maɪt ˈrɪli ˈfænsi ðət frəm ən ərˈɪʤənəl ˈpɔsəˌti əv bərdz ɪn ðɪs ˌɑrʧəpəˈleɪˌgoʊ, wən ˈspiʃiz hæd bɪn ˈteɪkən ənd ˈmɑdəˌfaɪd fər ˈdɪfərənt ɛndz." (ˈɔrəʤən əv ˈspiʃiz, ˈʧæptər 19
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intrinsic finality is the idea that there is a natural good for all beings, and that all beings have a natural tendency to pursue their own good. it is an underlying principle of both teleology and moral objectivism. the concept of intrinsic finality was summarized by thomas aquinas[1] as follows:
by the form which gives it its specific perfection, everything in nature has an inclination to its own operations and to its own end, which it reaches through these operations. just as everything is, such also are its operations and its tendency to what is suitable to itself.
the idea of intrinsic finality presumes an objective reality that obeys a natural order or natural law in the universe. things are "meant" to be and behave a certain way, and naturally tend to act that way. for instance, animals have natural instincts for self-preservation, seeking food, and reproduction. they do so because it is their nature to do so. theologians go further, to argue that they do so because they were created to do so.
the existence of such a finality is often challenged, particularly by philosophers ascribing to philosophical naturalism. they argue that it is unreasonable to say that all beings naturally pursue their own benefit, when some beings clearly do not. they point to instances of imperfection, disease, and death as evidence that natural beings do not naturally move toward perfection. but proponents of intrinsic finality respond that the very recognition of such imperfection requires an ideal or standard of the perfect end from which the being in question falls short owing to a variety of factors including improper education, sin, or predestination.
intrinsic finality provides the basis for the teleological argument for the existence of god and its modern counterpart, intelligent design. proponents of teleology argue that darwinism does not resolve a fundamental defect in philosophical naturalism; that it focuses exclusively on the immediate causes and mechanisms of events and does not attend to the reason for their synthesis. for example, if we take a clock apart, we discover in it nothing but springs, wheels, pivots, levers and so on but does our having explained the mechanism which causes the revolutions of the hands on the dial make it reasonable to say that the clock was not made to keep time?
naturalists respond that biology has been profoundly concerned with the ways function constrains structure since the time of aristotle and that darwin's own awareness of teleology is evident in his study in functional constraints on the evolutionary development of the beaks of galapagos finches, of which he wrote, "seeing this gradation and diversity of structure in one small, intimately related group of birds, one might really fancy that from an original paucity of birds in this archipelago, one species had been taken and modified for different ends." (origin of species, chapter 19)
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drɑpt, ɛz ˈjoʊdə wʊd seɪ, ðə ˈəðər ʃu həz. juz. ˈmɑrʃəlz ər naʊ ˈsɛlɪŋ ɔf, əˈbaʊt 18 ˈmɪljən ɪn æt 600 praɪs. ðə seɪl əˈnaʊnsmɛnt droʊv ˈpraɪsɪz daʊn fər ə brif ˈpɪriəd ˈoʊvərˈnaɪt ˈmuvɪŋ ðə ˈnidəl daʊn frəm 620 tɪ 608 əˈnəðər kæˈʃeɪ əv 83 ˈmɪljən wərθ əv ɪz ˈɔlsoʊ biɪŋ əˈlɛʤədli ˈɔkʃənd ɔf baɪ ðə ˈɛfˈbiˈaɪ. ˈɛniˌwən hu si ðɪs ˈkəmɪŋ wɑz dɪˈluʒənəl. noʊt ðət ðə juz. ˈmɑrʃəlz ər ˈɔlsoʊ ˈtritɪŋ ðɪs laɪk ə sizd ˈæˌsɛts seɪl ənd nɑt ə ˈkərənsi seɪl. ðɪs ˈɔlsoʊ dɪz nɑt ˌɪnˈklud rɔs wɪʧ ər stɔrd ɪn əˈnəðər ˈwɔlət ɪn hɪz neɪm. ðə ˈgəvərnmənt ɪz ˈtritɪŋ ðɪs noʊ ˈdɪfərˈɛntli ðən ə drəg ʤɛt ski ər ˈkædəˌlæk. ənd ɪkˈspɛkt tɪ wɔlts ɪn ənd pɪk ðiz əp æt ə sɔŋ ˈɛvəri pəˈtɛnʃəl ˈbɪdər həz tɪ ˈpoʊˌni əp ʤɪst tɪ bi ɪn ðə ˈrənɪŋ. ˈfərðərˌmɔr, ɪkˈspɛkt tɪ ʃɪp ðiz tɪ nɔrθ ˌkɔˈriə ər ˈɪntu jʊr motherfucker”*” ˈwɔlət: blɑk trænˈzækʃənz. ðə wɪl ˈoʊnli sɛl ðə ɪn ðə ˈsɪriz ə ənd bi blɑks ɛz dɪˈskraɪbd əˈbəv. noʊ ˈtrænsfər wɪl bi meɪd ənˈtɪl ðə həz kənˈfərmd rɪˈsit əv ɔl ˈpərʧəs fəndz frəm ðə baɪər. ðə wɪl nɑt ˈtrænsfər tɪ ən əbˈsin ˈpəblɪk ˈæˌdrɛs, ə ˈpəblɪk ˈæˌdrɛs əˈpɛrəntli ɪn ə ˈkəntri riˈstrɪktɪd baɪ ðə ˈɔfəs əv ˈfɔrən ˈæˌsɛts kənˈtroʊl (ofac*), ə ˈpəblɪk ˈæˌdrɛs əˈpɛrəntli əˈsoʊʃiˌeɪtəd wɪθ ˈtɛrəˌrɪzəm, ˈəðər ˈkrɪmənəl ækˈtɪvɪtiz, ər ˈəðərˌwaɪz ˈhɑstəl tɪ ðə juˈnaɪtɪd steɪts. wɛr, ðɛn, dɪz goʊ frəm hir? ðɛr ər ˈnɪrli 13 ˈmɪljən ɪn ˈsərkjəˌleɪʃən raɪt naʊ, ˈmeɪkɪŋ ə ˈpɔltri səm. ɪn ðə ˈskɪtɪʃ, wərld əv, ˌhaʊˈɛvər, ðɪs ɪz ˈnɪrli ðə ɛnd əv ðə wərld. ɛz bəgz bɪˈgɪn ðɛr mæd dæʃ tɪ baɪ ənd sɛl ɔn trɛnz, ðə ˌvɑləˈtɪləti ʃʊd brɪŋ daʊn ˈfərðər ˌbiˈfɔr ɪt goʊz bæk əp ˈɛniˌwɛr nɪr ɪts ˈrisənt haɪz. moʊst ˈɪntəˌrɛstɪŋ, ˌhaʊˈɛvər, ɪz ðət ðə juz. ˈmɑrʃəlz ər naʊ dɪˈrɛkli ˌɪnˈvɑlvd ɪn trænˈzækʃənz. wɪn ˈgəvərnmənts bɪˈgɪn ˈjuzɪŋ nu tulz, ðiz tulz bɪˈkəm ˈprɛsɪdənt, ənd ðiz ˈprɛsəˌdɛnts bɪˈkəm ˈkɑmənˌpleɪs. ˈkəpəld wɪθ ðə lɔnʧ əv fər pəˈlɪtɪkəl doʊˈneɪʃənz, klɪr wərld ˈgəvərnmənts si ɛz ə ˈjuzəbəl (ɪf nɑt ˈdeɪnʤərəs) ɔlˈtərnətɪv tɪ faɪæt ˈkərənsi. wɪl ˈwɛðər ðɪs stɔrm. ðət ðɪs stɔrm ɪgˈzɪsts æt ɔl, ˌhaʊˈɛvər, ɪz ə ˈtɛstəmənt tɪ ðə steɪɪŋ paʊər, ɪf ˈoʊnli ɛz ə ˈmɛkəˌnɪzəm. ɪt kʊd ˈɔlsoʊ lɪˈʤɪtəˌmaɪz ɪn ðə ˈligəl ˈsɪstəm, ʃoʊɪŋ ðət ðeɪ kən bi sizd ənd soʊld ʤɪst laɪk ə drəg 45 ər pəˈleɪʃəl ˈmænʃən. ˈɔlsoʊ ˌɪmˈpɔrtənt tɪ noʊt ðət ðə ˈgəvərnmənt ɪz stəmpt ɛz tɪ wət tɪ θɪŋk əv raɪt naʊ. tɪ wɪt: dɪz nɑt meɪk ˈɛni ˌrɛprəzənˈteɪʃənz ər ˈwɔrəntiz rɪˈgɑrdɪŋ bitcoin,”*,” raɪt ðə juz. ˈmɑrʃəlz. ˈsædli, ˈniðər kən ˈɛniˌwən ɛls.
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dropped, as yoda would say, the other shoe has. u.s. marshals are now selling off 29,656.51306529 btc, about $18 million in bitcoin at today’s $600 price. the sale announcement drove prices down for a brief period overnight moving the needle down from $620 to $608.
another cache of $83 million worth of bitcoin is also being allegedly auctioned off by the fbi. anyone who didn’t see this coming was delusional.
note that the u.s. marshals are also treating this like a seized assets sale and not a currency sale. this also does not include ross ulbricht’s btc which are stored in another wallet in his name. the government is treating this no differently than a drug lord’s jet ski or cadillac. and expect to waltz in and pick these up at a song – every potential bidder has to pony up $200,000 just to be in the running. furthermore, expect to ship these to north korea or into your “bad motherfucker” wallet:
block transactions. the usms will only sell the bitcoins in the series a and b blocks as described above. no bitcoin transfer will be made until the usms has confirmed receipt of all purchase funds from the buyer. the usms will not transfer bitcoins to an obscene public address, a public address apparently in a country restricted by the office of foreign assets control (ofac), a public address apparently associated with terrorism, other criminal activities, or otherwise hostile to the united states.
where, then, does bitcoin go from here? there are nearly 13 million btc in circulation right now, making 29,000 a paltry sum. in the skittish, information-reactive world of bitcoin, however, this is nearly the end of the world. as bitcoin bugs begin their mad dash to buy and sell on trends, the volatility should bring bitcoin down further before it goes back up anywhere near its recent highs.
what’s most interesting, however, is that the u.s. marshals are now directly involved in bitcoin transactions. when governments begin using new tools, these tools become precedent, and these precedents become commonplace. coupled with the launch of coinvox for cryptocurrency political donations, it’s clear world governments see btc as a usable (if not dangerous) alternative to fiat currency.
bitcoin will weather this storm. that this storm exists at all, however, is a testament to the currency’s staying power, if only as a wealth-transfer mechanism. it could also legitimize bitcoins in the legal system, showing that they can be seized and sold just like a drug dealer’s gold-plated .45 or palatial mansion. it’s also important to note that the government is stumped as to what to think of bitcoin right now. to wit: “the usms does not make any representations or warranties regarding bitcoin,” write the u.s. marshals. sadly, neither can anyone else.
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ˌmʊmˈbaɪ: ðə ˈʤɛnərəl ˈbɑdi ɔn ˈθərzˌdeɪ pæst ə ˌrɛzəˈluʃən seɪɪŋ ðə ˈsɪvɪk əˈθɔrəti ʃʊd steɪ kənˈstrəkʃən əv ˈɛni ˌrɛzɪˈdɛnʃəl ˈprɑʤɛkt ɪf ə ˈbɪldər rɪfˈjuzɪz tɪ sɛl flæts ɔn graʊnz əv kæst, rɪˈlɪʤən ər fud preferences.bjp*, wɪʧ ɪz pɑrt əv ðə ˈrulɪŋ əˈlaɪəns æt ðə ˈsɪvɪk ˈbɑdi, wɑz lɛft ˈaɪsəˌleɪtɪd ɔn ðə ˈɪʃu, ˈɪndəˌkeɪtɪŋ haʊ ˈpɑrtiz ər ˈgæŋɪŋ əp əˈgɛnst ənd ɪts trəˈdɪʃənəl vote-bank*. ðə ˌrɛzəˈluʃən ˌɪntrəˈdust baɪ ðə ˌmɑhərˈɑʃˌtrə ˈsɛnə, wɑz səˈpɔrtɪd baɪ ˈsɛnə ˈpɑrtnər, ˈkɑŋgrəs ənd dɪˈvɛləpərz ɪn ðə ˈsɪti ˈrɛfˌjuz tɪ sɛl flæts tɪ baɪərz hu it fud. ˈivɪn ðoʊ flæts ər əˈveɪləbəl fər seɪl, dɪˈvɛləpərz ˈrɛfˌjuz ˈoʊnli bɪˈkəz ðə baɪər ɪz əv ə spɪˈsɪfɪk kæst, rɪˈlɪʤən ər ə. ðə ʃʊd ˌɪˈmiˌdiətli steɪ ðə kəˈmɛnsmənt sərˈtɪfɪkət ənd ˌɪntɪˈmeɪʃən əv dɪsəˈpruvəl, tu ˈdɑkjəmənts ˈnɛsəˌsɛri tɪ stɑrt ənd kənˈtɪnju kənˈstrəkʃən əv ə ˈbɪldɪŋ, tɪ səʧ developers,”*,” sɛd hu muvd ðə ˈnoʊtɪs əv ˈmoʊʃən wɪˈθaʊt ˈneɪmɪŋ ˈɛni ʃʊd əˈmɛnd ðə dɪˈvɛləpmənt kənˈtroʊl rulz tɪ gɪv rɪˈlif tɪ non-vegetarians,”*,” ðə toʊld toi*, ˈædɪŋ: dɪˈvɛləpərz ˈrɛfˌjuz tɪ sɛl ɔn ˈrɛkərd, wɪʧ meɪks ɪt ˈdɪfəkəlt fər ə prəˈspɛktɪv baɪər tɪ muv spɑrkt ə ˈrəkəs ɪn ðə ˈʤɛnərəl ˈbɑdi ˈmitɪŋ, wɪθ ˈsɛnə, ˈkɑŋgrəs ənd ˈmɛmbərz ðə ˌrɛzəˈluʃən ənd əˈpoʊzɪŋ ɪt. ðə meɪər tʊk ə poʊl baɪ ʃoʊ əv hænz ənd dɪˈklɛrd ðət ðə ˌrɛzəˈluʃən hæd pæst wɪθ məˈʤɔrəti (si bɑks). ðə ˌrɛzəˈluʃən wɪl naʊ bi ˈfɔrwərdɪd tɪ ðə mjuˈnɪsəpəl kəˈmɪʃənər fər ˈfərðər rɪˈmɑrks, sɛd ə ˌrɛzəˈluʃən simz tɪ bi mɔr ən ækt əv pəˈlɪtɪkəl ˈpɑsʧərɪŋ ðən ən ækt əv kənˈvɪkʃən. ə ˈsinjər əˈfɪʃəl sɛd ɪt ɪz nɑt ˈnɛsəˌsɛri ðət ðə kəˈmɪʃənər pʊt ðə ˌrɛzəˈluʃən ˈɪntu ˈækʃən. mjuˈnɪsəpəl kəˈmɪʃənər kən ˈriʤɛkt ðə ˌrɛzəˈluʃən ər kip ɪt ɔn hoʊld fər ðə taɪm biɪŋ ər ɪf hi ˈwɪʃɪz, hi kən klɪr ɪt ənd ˈfɔrwərd ɪt tɪ ðə steɪt ˈgəvərnmənt fər ˈfərðər action,”*,” sɛd ðə ˈɛkspərts əˈgri ðət ðə ˌrɛzəˈluʃən ɪz nɑt ˈbaɪndɪŋ ɔn ðə mjuˈnɪsəpəl kəˈmɪʃənər. ækt ɛz wɛl ɛz ðə ˌmɑhərˈɑʃˌtrə ˈriʤənəl taʊn ˈplænɪŋ ækt gɪv ðə kəˈmɪʃənər sˈwipɪŋ paʊərz tɪ pʊt kənˈdɪʃənz ɪn ðə ər kəˈmɛnsmənt sərˈtɪfɪkət ˈɪʃud tɪ ə ˈbɪldər. bət ðɪs ɪz ə dɪˈskrɛʃəˌnɛri paʊər ənd ðə kəˈmɪʃənər ɪz nɑt baʊnd tɪ du ɪt ˈivɪn ɪf ə ˌrɛzəˈluʃən tɪ ðət ˈifɛkt ɪz pæst baɪ ðə corporators,”*,” sɛd waɪ pi ˌrɛzəˈluʃən, ˈivɪn ɪf klɪrd, ɪz ˈlaɪkli tɪ rən ˈɪntu ðə steɪt ˈgəvərnmənt, ˈpɔɪntɪd aʊt ðə ˌrɛzəˈluʃən, ˈpɑrtiz ˈvɛntɪd. ʃʊd nɑt bi ˈɛni dɪˌskrɪməˈneɪʃən ɪn ðə ˈsɪti. ðɛr ʃʊd bi ə dəˈbeɪt ɔn ðə ˈɪʃu əv dɪˈvɛləpmənt ənd nɑt ɔn ˈɪʃuz wɪʧ wʊd lɛd tɪ dɪˈvɪʒənz ɪn ðə community,”*,” sɛd kotak*, ˈlidər ɪn ðə ˈsɛnə ˈlidər hɪt bæk, seɪɪŋ ˈivɪn hɪz ˈpɑrti ˈkɑlig ənd ˈɑrvɪnd hæd bɪn rɪfˈjuzd ə flæt bɪˈkəz hi ɪz. ˈpɑrti ˈlidər reɪs ʃeɪk sɛd ðə ˈsɪti ɪz noʊn fər ɪts ˌkɑzməˈpɑlətən ˈkəlʧər ənd ˈɛvriˌθɪŋ ʃʊd bi dən tɪ prɪˈzərv 2005 ðə səˈprim kɔrt ɔn ə pəˈtɪʃən baɪ ə koʊˈɑpərˌeɪtɪv ˈhaʊzɪŋ soʊˈsaɪɪti əˈphɛld ə ðət əˈlaʊd rɛnt ər seɪl əv flæts ˈoʊnli tɪ ˈmɛmbərz əv ə ˌpɑˈtɪkjələr rɪˈlɪʤən ər kəmˈjunɪti. ðə ˈrulɪŋ həz sɪns ˈimərʤd ɛz ðə ˈjɑrdˌstɪk ɪn ˈdilɪŋ wɪθ moʊst koʊˈɑpərˌeɪtɪv ˈhaʊzɪŋ ˈmɪstri sɛd ə rul ðət proʊˈhɪbəts dɪˌskrɪməˈneɪʃən ɪz ənˈlaɪkli tɪ fɔl faʊl əv ðə lɔ. ʃʊd ˈɛniˌwən bi dɪˈskrɪməˌneɪtɪd əˈgɛnst ɔn ðə ˈbeɪsɪs əv ðɛr daɪət? ðə ˌkɑnstəˈtuʃən prəˈvaɪdz ɪkˈwɑləti ˌbiˈfɔr law,”*,” hi ə ˈbɛtər weɪ ˈfɔrwərd ɔn ðə ˈɪʃu kʊd bi ɪn ðə hænz əv ðə steɪt ˈgəvərnmənt, wɪʧ həz ðə paʊər tɪ meɪk ənd ʧeɪnʤ lɔz. ðə steɪt wɔnts, ɪt kən brɪŋ ˈʧeɪnʤɪz ɪn ðə ˌmɑhərˈɑʃˌtrə ˈoʊnərˌʃɪp əv flæts ækt ər ðə koʊˈɑpərˌeɪtɪv səˈsaɪɪtiz ækt ər ðə ˌdiˈsi rulz tɪ bæn ˈɛni dɪˌskrɪməˈneɪʃən ɔn ðə ˈbeɪsɪs əv kæst, rɪˈlɪʤən ər ˈitɪŋ ˈhæbəts waɪl ˈsɛlɪŋ flats,”*,” sɛd waɪ pi ˈɪnˌpʊts frəm ˈtɑməs)
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mumbai: the bmc general body on thursday passed a resolution saying the civic authority should stay construction of any residential project if a builder refuses to sell flats on grounds of caste, religion or food preferences.bjp, which is part of the ruling alliance at the civic body, was left isolated on the issue, indicating how parties are ganging up against bjp and its traditional vote-bank. the resolution introduced by the maharashtra navnirman sena, was supported by shiv sena , bjp’s partner, congress and sp.“many developers in the city refuse to sell flats to buyers who eat non-vegetarian food. even though flats are available for sale, developers refuse only because the buyer is of a specific caste, religion or a non-vegetarian. the bmc should immediately stay the commencement certificate and intimation of disapproval, two documents necessary to start and continue construction of a building, to such developers,” said mns corporator sandeep deshpande , who moved the notice of motion without naming any community.“the bmc should amend the development control rules to give relief to non-vegetarians,” the corporator told toi, adding: “most developers don’t refuse to sell on record, which makes it difficult for a prospective buyer to complain.”deshpande’s move sparked a ruckus in the general body meeting, with sena, congress and sp members seconding the resolution and bjp opposing it. the mayor took a poll by show of hands and declared that the resolution had passed with majority (see box). the resolution will now be forwarded to the municipal commissioner for further remarks, said a corporator.thursday’s resolution seems to be more an act of political posturing than an act of conviction. a senior bmc official said it is not necessary that the commissioner put the resolution into action. “the municipal commissioner can reject the resolution or keep it on hold for the time being or if he wishes, he can clear it and forward it to the state government for further action,” said the officer.legal experts agree that the resolution is not binding on the municipal commissioner. “the bmc act as well as the maharashtra regional town planning act give the commissioner sweeping powers to put conditions in the iod or commencement certificate issued to a builder. but this is a discretionary power and the commissioner is not bound to do it even if a resolution to that effect is passed by the corporators,” said ips officer-turned-lawyer y p singh.the resolution, even if cleared, is likely to run into the bjp state government, pointed out experts.after the resolution, parties vented. “there should not be any discrimination in the city. there should be a debate on the issue of development and not on issues which would lead to divisions in the community,” said manoj kotak, bjp leader in the bmc.shiv sena leader yashodhar phanse hit back, saying even his party colleague and corporator arvind dudhvadkar had been refused a flat because he is non-vegetarian. samajwadi party leader rais shaikh said the city is known for its cosmopolitan culture and everything should be done to preserve it.in 2005, the supreme court on a petition by a zoroastrian cooperative housing society upheld a bye-law that allowed rent or sale of flats only to members of a particular religion or community. the ruling has since emerged as the yardstick in dealing with most community-based cooperative housing disputes.advocate jamshed mistry said a rule that prohibits discrimination is unlikely to fall foul of the law. “why should anyone be discriminated against on the basis of their diet? the constitution provides equality before law,” he added.perhaps a better way forward on the issue could be in the hands of the state government, which has the power to make and change laws. “if the state wants, it can bring changes in the maharashtra ownership of flats act or the cooperative societies act or the dc rules to ban any discrimination on the basis of caste, religion or eating habits while selling flats,” said y p singh.(with inputs from shibu thomas)
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ˈmuvɪŋ təˈwɔrdz biɪŋ ˈjuθfəl, mɔr ˈərbən, ənd mɔr women”*” ðə ˌɪnərˈnæʃənɑl oʊˈlɪmpɪk kəˈmɪti əˈpruvd ə hoʊst əv ˈʧeɪnʤɪz tɪ ðə ˈʃutɪŋ spɔrts fər ðə ˈəpˌkəmɪŋ ˈtoʊkiˌoʊ geɪmz. ðə grup ɔn ˈfraɪˌdeɪ əˈnaʊnst ðeɪ əˈgrid wɪθ ˈʧeɪnʤɪz prəˈpoʊzd baɪ ðə ˌɪnərˈnæʃənɑl ˈʃutɪŋ spɔrts ˌfɛdərˈeɪʃən, ðə ˈgəvərnɪŋ ˈbɑdi fər ˈʃutɪŋ, ðət eɪmz təˈwɔrd ə ˈlɑrʤər goʊl tɪ bust ˈfiˌmeɪl pɑrˌtɪsəˈpeɪʃən waɪl əˈpilɪŋ tɪ mɔr juθ. ˈfæsəˌneɪtɪŋ nu ɪˈvɛnts ðət wi əˈpruvd təˈdeɪ, təˈgɛðər wɪθ ðə faɪv nu spɔrts ðət wər ˈædɪd tɪ ðə ˈtoʊkiˌoʊ 2020 ˈproʊˌgræm læst jɪr, ˌrɛprɪˈzɛnt ə ɪn ðə oʊˈlɪmpɪk programme,”*,” sɛd ˈprɛzɪdənt ˈtɑməs bɑk. ɪn ər nu ənd əˈdɪʃənz səʧ ɛz ˈbæskətˌbɔl ənd ˈfriˌstaɪl, ɔn tɔp əv spɔrt ˈklaɪmɪŋ ənd ˈskeɪtˌbɔrdɪŋ waɪl trəˈdɪʃənəl spɔrts səʧ ɛz kəˈnu, ˈʤuˌdoʊ, roʊɪŋ, ˈseɪlɪŋ, ˈʃutɪŋ ənd ˈweɪˌtlɪftɪŋ wɪl bɪˈkəm ˈʤɛndər ˈbælənst. ðə ˈəpˈsaɪd əv ðə plæn fər ðə ˈʃutɪŋ spɔrts: ðə ˈtoʊkiˌoʊ geɪmz wɪl si nu træp mɪkst ˈʤɛndər tim, ɛr ˈraɪfəl mɪkst ˈʤɛndər tim, ənd ɛr ˈpɪstəl mɪkst ˈʤɛndər tim ɪˈvɛnts. ðə ˈdaʊnˌsaɪd: tɪ meɪk rum, ðə wɪl riˈmuv ðə ˈkɑrənt ˈdəbəl træp, ˈraɪfəl proʊn, ənd ˈpɪstəl ɪˈvɛnts. ˈsɪmələrli, tɪ mit ə nu kæp ɔn pɑrˌtɪsəˈpeɪʃən æt ðə oʊˈlɪmpɪk geɪmz, ðə kˈwoʊtə əv ˈʃutɪŋ ˈæθˌlits æt ˈtoʊkiˌoʊ 2020 wɪl bi sɛt æt 360 kəmˈpɛrd wɪθ 390 æt ˈrioʊ 2016 wɪʧ minz səm timz wɪl hæv tɪ ʃrɪŋk. ðə ədˈmɪnɪˌstreɪtɪv ˈkaʊnsəl, wɪʧ əˈpruvd ðə ˌrɛkəˈmɛndɪd ˈʧeɪnʤɪz æt ɪts ˈmitɪŋ ɪn nu ˈdɛli, ˈɪndiə ˈərliər ðɪs jɪr, ˈwɛlkəmd ðə nuz frəm ðə oʊˈlɪmpɪk kəˈmɪti. bɪn pɑrt əv ðə spɔrts ˈproʊˌgræm sɪns ðə kriˈeɪʃən əv ðə ˈmɑdərn oʊˈlɪmpɪk geɪmz, ðə ˈgreɪtli ˈvæljuz ɪts ˈpɑrtnərˌʃɪp wɪθ ðə. əv kɔrs, wi ˈrɛkəgˌnaɪz ðə nid tɪ kənˈtɪnjuəli improve,”*,” sɛd ˈprɛzɪdənt raña*, ɪn ə ˈsteɪtmənt. ɪnˈkərəʤd ðə ˌɪnˈkluʒən əv mɪkst ˈʤɛndər tim ɪˈvɛnts, ənd ðɪs ɪz ðə kaɪnd əv ˌɪnəˈveɪʃən ðət ðə həz ə praʊd ˈhɪstəri əv ˈbrɪŋɪŋ tɪ ɑr spɔrt, laɪk ðə ˌɪntrəˈdəkʃən əv ˈfaɪnəlz ənd ˌɪˌlɛkˈtrɑnɪk scoring.”*.” ðə ˈʃutɪŋ ɪˈvɛnts kət ər səm əv ðə ˈlɔŋgɪst ˈrənɪŋ ɪn ˈmɑdərn oʊˈlɪmpɪk ˈhɪstəri. ðə ˈraɪfəl proʊn həz bɪn ə ˈsteɪpəl əv ðə oʊˈlɪmpɪks sɪns 1912 waɪl ðə ˈpɪstəl ˈkɑmənli kɔld fri ˈpɪstəl həz bɪn ɪn ðə geɪmz sɪns 1896 ɪn boʊθ ˈkeɪsɪz wɪθ əˈmɛrɪkənz ˈwɪnɪŋ ðə fərst goʊld ˈmɛdəl əˈwɔrdɪd fər ðə ɪˈvɛnts. ˈdəbəl træp meɪd ɪts oʊˈlɪmpɪk ˈdeɪbju ɪn 1996 wɪθ ðə juz. ˈpɪkɪŋ əp goʊld æt ðə 2008 ˌbeɪˈʒɪŋ oʊˈlɪmpɪks. ˈjuˈɛˈseɪ ˈʃutɪŋ, ðə ˈnæʃənəl ˈgəvərnɪŋ ˈbɑdi fər ðə spɔrt əv ˈʃutɪŋ ɪn ðə juz., meɪd klɪr ðeɪ əˈpoʊzd ðə muv, ˈnoʊtɪŋ tim hɪˈstɔrɪk səkˈsɛs ɪn ðiz ɪˈvɛnts. ɪz ˌɪmˈpɔrtənt tɪ noʊt ðət ðə juz. oʊˈlɪmpɪk kəˈmɪti həz ɪn noʊ weɪ dɪˈrɛktɪd ðiz oʊˈlɪmpɪk ˈʃutɪŋ ˈproʊˌgræm changes,”*,” sɛd ˈdeɪvɪd ˈʤɑnsən, ˈɪnərəm ˈsiˌiˈoʊ əv ˈjuˈɛˈseɪ ˈʃutɪŋ ɪn ə ˈsteɪtmənt ˈɪʃud ˈpriviəsli.
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moving towards being “more youthful, more urban, and more women” the international olympic committee approved a host of changes to the shooting sports for the upcoming tokyo games.
the group on friday announced they agreed with changes proposed by the international shooting sports federation, the governing body for olympic-style shooting, that aims toward a larger goal to boost female participation while appealing to more youth.
“the fascinating new events that we approved today, together with the five new sports that were added to the tokyo 2020 programme last year, represent a step-change in the olympic programme,” said ioc president thomas bach.
in are new youth-focused and urban-based additions such as basketball 3×3 and bmx freestyle, on top of sport climbing and skateboarding while traditional sports such as canoe, judo, rowing, sailing, shooting and weightlifting will become gender balanced.
the upside of the plan for the shooting sports: the tokyo games will see new trap mixed gender team, 10m air rifle mixed gender team, and 10m air pistol mixed gender team events.
the downside: to make room, the ioc will remove the current men’s double trap, men’s 50m rifle prone, and men’s 50m pistol events.
similarly, to meet a new 10,500-athlete cap on participation at the olympic games, the quota of shooting athletes at tokyo 2020 will be set at 360, compared with 390 at rio 2016, which means some teams will have to shrink.
the issf’s administrative council, which approved the recommended changes at its meeting in new delhi, india earlier this year, welcomed the news from the olympic committee.
“having been part of the sports program since the creation of the modern olympic games, the issf greatly values its partnership with the ioc. of course, we recognize the need to continually improve,” said issf president olegario vázquez raña, in a statement. “the ioc encouraged the inclusion of mixed gender team events, and this is the kind of innovation that the issf has a proud history of bringing to our sport, like the introduction of finals and electronic scoring.”
the shooting events cut are some of the longest running in modern olympic history.
the 50m rifle prone has been a staple of the olympics since 1912 while the 50m pistol – commonly called free pistol – has been in the games since 1896, in both cases with americans winning the first gold medal awarded for the events. men’s double trap made its olympic debut in 1996 with the u.s. picking up gold at the 2008 beijing olympics.
usa shooting, the national governing body for the sport of olympic-style shooting in the u.s., made clear they opposed the move, noting team usa’s historic success in these events.
“it is important to note that the u.s. olympic committee has in no way directed these olympic shooting program changes,” said david johnson, interim ceo of usa shooting in a statement issued previously.
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ˈsɛvərəl ˈpipəl hæv bɪn kɪld ɪn rɛr ˈklæʃɪz bɪtˈwin əˈsɪriən ˈkrɪsʧɪnz ənd kərdz ɪn ˈsɪriəz ˈprɑvɪns, æl ʤəˈzirə həz lərnt. ðə ˈprɑvɪns ɪn ðə ˌnɔrˈθist əv ðə ˈkəntri ɪz dɪˈvaɪdɪd ənd ɪn pɑrts kənˈtroʊld baɪ ðə ˌɪzˈlɑmɪk steɪt əv ˌɪˈrɑk ənd ðə ləˈvænt (isil*), kərdz ənd əˈsɪriənz. əˈsɪriən ənd ˈkərdɪʃ ˈsɔrsəz sɛd ðɛr wər ˈkæʒəwəltiz əˈməŋ ˈfaɪtərz ɪn ðə ˈbætəl bɪtˈwin ðə ˈkərdɪʃ ˈpipəlz prəˈtɛkʃən ˈjunɪts (ypg*) ənd əˈsɪriənz ɪn ðə ˈsɪti əv ɔn ˈtuzˌdeɪ. "ðə ˈsɪti əv ɪz kənˈtroʊld baɪ əˈsɪriənz, bət sərˈaʊndɪd baɪ ˈkərdɪʃ ˈfaɪtərz. ðə əˈsɪriənz wər traɪɪŋ tɪ sɛt əp ˈʧɛkˌpɔɪnts ənd wər faɪərd æt baɪ ðə kərdz," yakoub*, ðə ˈʧɛrmən əv ðə əˈsɪriən ˌfɛdərˈeɪʃən əv sˈwidən, wɪʧ ˈmɑnətərz nuz rɪˈleɪtɪd tɪ əˈsɪriənz əˈkrɔs ðə ˈriʤən, toʊld æl ʤəˈzirə. hi sɛd æt list wən əˈsɪriən ənd eɪt ˈkərdɪʃ ˈfaɪtərz wər kɪld. tɑʒ, ə kərd frəm ðə ˈsɪriən ˌdɛməˈkrætɪk ˈfɔrsɪz (sdf*), kənˈfərmd ðət ðə ˈklæʃɪz broʊk aʊt bɪˈkəz əv ðə ˈʧɛkˌpɔɪnts, bət geɪv ə ˈdɪfərənt dɛθ toʊl. "tu əˈsɪriən ˈfaɪtərz wər kɪld ɪn ðə ˈklæʃɪz ənd faɪv ˈəðərz wər ˈɪnʤərd," sɛd. hi ˈædɪd ðət ə səˈvɪljən hæd ˈɔlsoʊ bɪn kɪld. "ˈkərdɪʃ ˈfaɪtərz seɪ ðiz ˈʧɛkˌpɔɪnts hæv ˈbɑðərd ˈrɛzɪdənts ənd məst bi riˈmuvd," hi sɛd. rɛd mɔr: ðə ˌɪˈræki kərdz ənd ðɛn keɪm ðə wɑz ˈfaʊndɪd ɪn ˈsɪriəz ˈmeɪnli ˈkərdɪʃ ˌnɔrˈθistərn ˈriʤən ɪn ɑkˈtoʊbər 2015 ənd ɪz meɪd əp əv æt list 15 ɑrmd ˈfækʃənz ˈmoʊstli ˈfaɪtərz frəm ðə ənd ðə fri ˈsɪriən ˈɑrmi. ðɪs ɪz ðə fərst taɪm ˈklæʃɪz bɪtˈwin əˈsɪriənz ənd kərdz hæv ˈteɪkən pleɪs ˈoʊvər ðə kɔrs əv ˈsɪriəz ˈnɪrli faɪv jɪrz əv ˈsɪvəl wɔr. ˈtɛnʧənz hæv ˌɪnˈkrist ɪn ðə ˈɛriə ˈfɑloʊɪŋ θri ˈsɛpərˌeɪt əˈtæks ɔn dɪˈsɛmbər 30 kleɪmd baɪ wɪʧ lɛft æt list 18 ˈpipəl kɪld. ðə əˈtæks ˈtɑrgətɪd tu ˈrɛˌstrɑnts oʊnd baɪ ˈkrɪsʧɪnz. ɪts ˈfɔrsɪz ˌɪnˈklud ˈkrɪsʧɪnz, ˈærəbz ənd əˈbaʊt 500 ˈfɔrən ˈfaɪtərz, sɛd, ˈædɪŋ ðət səm grups ɪn ənd plɛʤd əˈliʤəns tɪ ðə læst mənθ. həz ˈtɑrgətɪd ˈsɪriəz ˈkrɪsʧɪnz ˈsɛvərəl taɪmz, ənd əbˈdəktɪd ə ˈtoʊtəl əv 215 səˈvɪljənz ɪn ˈfɛbruˌɛri 2015 soʊ fɑr 88 hæv bɪn riˈlist ˈfɑloʊɪŋ nɪˌgoʊʃiˈeɪʃənz ənd ə dil. ðə dil steɪts ðə ˈkrɪsʧɪnz ˈkænɑt wɛr ˈsɪmbəlz əv ðɛr rɪˈlɪʤən, səʧ ɛz ˈkrɔsɪz, ənd məst peɪ ə tæks. ˈdʊrɪŋ əˈfɛnsɪv tɪ siz ˈtɛrɪˌtɔri ɪn ˈsɪriə, ˈθaʊzənz əv ˈpipəl frəm ˈdɪfərənt rɪˈlɪʤəs sɛkts hæv bɪn əbˈdəktɪd ər kɪld.
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several people have been killed in rare clashes between assyrian christians and kurds in syria's al-hasakah province, al jazeera has learnt.
the province in the northeast of the country is divided and in parts controlled by the islamic state of iraq and the levant (isil), kurds and assyrians.
assyrian and kurdish sources said there were casualties among fighters in the battle between the kurdish people's protection units (ypg) and assyrians in the city of qamishli on tuesday.
"the city of qamishli is controlled by assyrians, but surrounded by kurdish fighters. the assyrians were trying to set up checkpoints and were fired at by the kurds," afram yakoub, the chairman of the assyrian federation of sweden, which monitors news related to assyrians across the region, told al jazeera.
he said at least one assyrian and eight kurdish fighters were killed.
taj kordsh, a kurd from the syrian democratic forces (sdf), confirmed that the clashes broke out because of the checkpoints, but gave a different death toll.
"two assyrian fighters were killed in the clashes and five others were injured," kordsh said.
he added that a civilian had also been killed.
"kurdish fighters say these checkpoints have bothered residents and must be removed," he said.
read more: the iraqi kurds and then came isil
the sdf was founded in syria's mainly kurdish northeastern region in october 2015, and is made up of at least 15 armed factions - mostly fighters from the ypg and the free syrian army.
this is the first time clashes between assyrians and kurds have taken place over the course of syria's nearly five years of civil war.
tensions have increased in the area following three separate attacks on december 30 claimed by isil which left at least 18 people killed. the attacks targeted two restaurants owned by christians.
its forces include christians, arabs and about 500 foreign fighters, kordsh said, adding that some groups in aleppo and idlib pledged allegiance to the sdf last month.
isil has targeted syria's christians several times, and abducted a total of 215 civilians in february 2015. so far 88 have been released following negotiations and a deal.
the deal states the christians cannot wear symbols of their religion, such as crosses, and must pay a tax.
during isil's offensive to seize territory in syria, thousands of people from different religious sects have been abducted or killed.
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deɪt: tu, 20 ʤən 2000 0700 (pdt*) frəm: ʤɑn <jk@apple.com*> tɪ: ʤoʊ ˈsoʊkəl ˈsəbʤɪkt: ˌɪnˈtɛl aɪd laɪk tɪ dɪˈskəs ðə ˌpɑsəˈbɪləˌti əv mi bɪˈkəmɪŋ riˈspɑnsəbəl fər ən ˌɪnˈtɛl ˈvərʒən əv ɛks. ˈwɛðər ðæts ʤɪst ɛz ən ˈɛnʤəˈnɪr, ər ɛz ə ˈprɑʤɛkt/ ˈtɛknɪkəl lɛd wɪθ əˈnəðər ˈpərsən ˌwəˈtɛvər. aɪv bɪn ˈwərkɪŋ ɔn ðə ˌɪnˈtɛl ˈplætˌfɔrm fər ðə læst wik ˈgɪtɪŋ ˈwərkɪŋ, aɪv faʊnd ɪt ˈɪntəˌrɛstɪŋ ənd ˌɛnˈʤɔɪəbəl, ənd, ɪf ðɪs (ən ˌɪnˈtɛl ˈvərʒən) ɪz ˈsəmθɪŋ ðət kʊd bi ˌɪmˈpɔrtənt tɪ ˈjuˈɛs aɪd laɪk tɪ dɪˈskəs ˈwərkɪŋ ɔn ɪt ˈfʊlˌtaɪm. fɪr? aɪv bɪn ˈminɪŋ tɪ tɛl ðɪs ˈstɔri fər ə jɪr ɪz 2000 maɪ ˈhəzbənd (jk*) həz bɪn ˈwərkɪŋ æt ˈæpəl fər 13 jɪrz. ɑr sən ɪz ə jɪr oʊld, ənd wi wɔnt tɪ muv bæk tɪ ðə ist koʊst tɪ lɪv nɪr ɑr ˈpɛrənts. tɪ du ðɪs, maɪ ˈhəzbənd wɪl nid tɪ bi ˈgrænɪd pərˈmɪʃən tɪ ˈtɛləkəmˌjut. ðɪs minz hi kænt bi ˈwərkɪŋ ɔn ə tim ˈprɑʤɛkt ənd nidz tɪ faɪnd ˈsəmθɪŋ ˌɪndɪˈpɛndənt tɪ plæn tɪ muv ɪz ə ˈlɔŋˈreɪnʤ plæn. leɪz ðə ˈgraʊndˌwərk ˈərli tɪ stɑrt ˈsplɪtɪŋ hɪz taɪm bɪtˈwin hɪz ˈæpəl ˈɔfəs ənd hɪz hoʊm ˈɔfəs. [baɪ 2002 hi ɪz ˈwərkɪŋ æt hoʊm ˈfʊlˌtaɪm ɪn sɛndz meɪl tɪ hɪz bɔs hu, koʊˌɪnsɪˈdɛntəli, wɑz maɪ ˈhəzbəndz fərst haɪər wɪn hi ˈstɑrtɪd æt ˈæpəl ɪn 1987 *ˈeɪˈtin mənθs goʊ baɪ. ɪn dɪˈsɛmbər 2001 ʤoʊ tɛlz, "aɪ nid tɪ ˈʤəstəˌfaɪ jʊr ˈsæləri ɪn maɪ ˈbəʤɪt. ʃoʊ mi wət jʊr ˈwərkɪŋ ðɪs pɔɪnt, həz θri ˈpiˈsiz ɪn hɪz ˈɔfəs æt ˈæpəl, ənd əˈnəðər θri ɪn ðə ˈɔfəs æt hoʊm, ɔl soʊld tɪ ɪm baɪ ə frɛnd hu sɛlz ˈkəstəm bɪlt ˈpiˈsiz (kænt ˈɔrdər ðɛm θru ðə ˈjuʒəwəl ˈæpəl ˈʧænəlz bɪˈkəz noʊ wən ɪn ðə ˈkəmpəˌni noʊz wət hiz ˈwərkɪŋ ɔn). ɔl ər ˈrənɪŋ ðə mæk ˈɔfəs, ʤoʊ ˈwɑʧɪz ɪn əˈmeɪzmənt ɛz buts əp ən ˌɪnˈtɛl ˈpiˈsi ənd əp ɔn ðə skrin kəmz ðə fəˈmɪljər 'ˈwɛlkəm tɪ ˈpɔzɪz, ˈsaɪlənt fər ə ˈmoʊmənt, ðɛn sɪz, "aɪl bi raɪt kəmz bæk ə fju ˈmɪnəts ˈleɪtər wɪθ ˈbərtrənd (ɑr 1-year-old*) ənd aɪ wər ɪn ðə ˈɔfəs wɪn ðɪs ˈhæpənd bɪˈkəz aɪ wɑz ˈpɪkɪŋ əp frəm wərk. ˈbərtrənd wɔks ɪn, ˈwɑʧɪz ðə ˈpiˈsi but əp, ənd sɪz tɪ, "haʊ lɔŋ wʊd ɪt teɪk ju tɪ gɪt ðɪs ˈrənɪŋ ɔn ə (ˈsoʊni)?" rɪˈplaɪz, "nɑt lɔŋ" ənd ˈbərtrənd sɪz, "tu wiks? sɛd mɔr laɪk tu *aʊərz*. θri aʊərz, tɛlz tɪ goʊ ˈfeɪməs wɛst koʊst kəmˈpjutər ʧeɪn) ənd baɪ ðə tɔp əv ðə laɪn, moʊst ɪkˈspɛnsɪv ðeɪ hæv. soʊ ɔf, mæks ənd aɪ goʊ tɪ frys*. wi rɪˈtərn tɪ ˈæpəl lɛs ðən ən aʊər ˈleɪtər. baɪ ðət ˈivnɪŋ, ðə ɪz ˈrənɪŋ ðə mæk ɑs. [maɪ ˈhəzbənd dɪˈspjuts maɪ ˈmɛməri əv ðɪs ənd sɪz ðət mæt ˈwɑtsən bɔt ðə. ˈmeɪbi mæt wɪl ʧaɪm nɛkst ˈmɔrnɪŋ, stiv ʤɑbz ɪz ɔn ə pleɪn tɪ ʤəˈpæn tɪ mit wɪθ ðə ˈprɛzɪdənt əv *ðeɪ wʊd əˈsaɪn tu mɔr ˈɛnʤəˈnɪrz tɪ ðə ˈprɑʤɛkt ɪn ˈʤænjuˌɛri 2002 ɪn ˈɔgəst 2002 əˈnəðər ˈdəzən ˈstɑrtɪd ˈwərkɪŋ ɔn ɪt. ðæts wɪn ðə fərst ˈrumərz ˈstɑrtɪd tɪ əˈpɪr. bət fər 18 mənθs, ˈoʊnli sɪks ˈpipəl hæd ˈɛni aɪˈdiə ðət ðə ˈprɑʤɛkt ˈivɪn bɛst pɑrt? ˈæftər stiv goʊz tɪ ʤəˈpæn, ˈbərtrənd sɪts daʊn ənd həz ə tɔk wɪθ ɪm əˈbaʊt haʊ noʊ wən kən noʊ əˈbaʊt ðɪs.. ˈsədənli, ðə hoʊm ˈɔfəs həz tɪ bi ˌrikənˈfɪgjərd tɪ mit ˈæpəl sɪˈkjʊrəti pɔɪnts aʊt tɪ ˈbərtrənd ðət aɪ noʊ əˈbaʊt ðə ˈprɑʤɛkt. ɪn fækt, nɑt ˈoʊnli du aɪ noʊ əˈbaʊt ɪt, aɪ æm ðə ˈpərsən hu neɪmd tɛlz ðət aɪ æm tɪ fərˈgɛt ˈɛvriˌθɪŋ aɪ noʊ, ənd hi wɪl nɑt bi əˈlaʊd tɪ spik tɪ mi əˈbaʊt ɪt əˈgɛn ənˈtɪl ɪt ɪz ˈpəblɪkli gɛs hi hæd səm kaɪnd əv 'ˈtoʊtəl ˈriˌkɔl' ˈmɛməri waɪp ɪn *aɪv lɔst træk əv ðə ˈmɛni ˈrizənz ðət hæv bɪn ˈgɪvɪn fər ðə swɪʧ tɪ ˌɪnˈtɛl, bət ðɪs aɪ noʊ fər wən həz ˈɛvər ˌriˈpɔrtəd ðət, fər 18 mənθs, ˈprɑʤɛkt ɪgˈzɪstəd ˈoʊnli bɪˈkəz ə ˈɛnʤəˈnɪr ˈwɔntɪd hɪz sən mæks tɪ bi ˈeɪbəl tɪ lɪv ˈkloʊzər tɪ ˈmæksɪz ˈgrændˌpɛrənts.
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date: tue, 20 jun 2000 10:31:04 -0700 (pdt)
from: john kullmann <jk@apple.com>
to: joe sokol
subject: intel
i'd like to discuss the possibility of me becoming
responsible for an intel version of macos x.
whether that's just as an engineer, or as a project/
technical lead with another person - whatever.
i've been working on the intel platform for the last
week getting continuations working, i've found it
interesting and enjoyable, and, if this (an intel
version) is something that could be important to us i'd
like to discuss working on it full-time.
jk
fear? i've been meaning to tell this story for a while.the year is 2000. my husband (jk) has been working at apple for 13 years. our son is a year old, and we want to move back to the east coast to live near our parents. to do this, my husband will need to be granted permission to telecommute. this means he can't be working on a team project and needs to find something independent to do.the plan to move is a long-range plan. jk lays the groundwork early to start splitting his time between his apple office and his home office. [by 2002, he is working at home full-time in california.]he sends mail to his boss who, coincidentally, was my husband's first hire when he started at apple in 1987:* * *eighteen months go by. in december 2001, joe tells jk, "i need to justify your salary in my budget. show me what you're working on."at this point, jk has three pcs in his office at apple, and another three in the office at home, all sold to him by a friend who sells custom built pcs (can't order them through the usual apple channels because no one in the company knows what he's working on). all are running the mac os.in jk's office, joe watches in amazement as jk boots up an intel pc and up on the screen comes the familiar 'welcome to macintosh'.joe pauses, silent for a moment, then says, "i'll be right back."he comes back a few minutes later with bertrand serlet.max (our 1-year-old) and i were in the office when this happened because i was picking jk up from work. bertrand walks in, watches the pc boot up, and says to jk, "how long would it take you to get this running on a (sony) vaio?" jk replies, "not long" and bertrand says, "two weeks? three?"jk said more like two *hours*. three hours, tops.bertrand tells jk to go to(the famous west coast computer chain) and buy the top of the line, most expensive vaio they have. so off jk, max and i go to frys. we return to apple less than an hour later. by 7:30 that evening, the vaio is running the mac os. [my husband disputes my memory of this and says that matt watson bought the vaio. maybe matt will chime in.]the next morning, steve jobs is on a plane to japan to meet with the president of sony.* * *they would assign two more engineers to the project in january 2002. in august 2002, another dozen started working on it. that's when the first rumors started to appear. but for 18 months, only six people had any idea that the project even existed.the best part? after steve goes to japan, bertrand sits jk down and has a talk with him about how no one can know about this.. suddenly, the home office has to be reconfigured to meet apple security standards.jk points out to bertrand that i know about the project. in fact, not only do i know about it, i am the person who named it.bertrand tells jk that i am to forget everything i know, and he will not be allowed to speak to me about it again until it is publicly announced.i guess he had some kind of 'total recall' memory wipe in mind.* * *i've lost track of the many reasons that have been given for the switch to intel, but this i know for sure:no one has ever reported that, for 18 months, project marklar existed only because a self-demoted engineer wanted his son max to be able to live closer to max's grandparents.
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ˈbərlɪŋtən, ˈaɪəwə (ˈsiˈɛˈnɛn) ˈhɪləri ˈklɪntən, hər vɔɪs ˈsɔfənd ənd toʊn kənˈtɛmplətɪv, strɛst tɪ ˈaɪəwə ˈvoʊtərz ɪn ˈbərlɪŋtən ɔn ˈwɛnzˌdeɪ naɪt ðət waɪl ðɪs kæmˈpeɪn həz nɑt bɪn ˈizi, ʃi noʊz haʊ tɪ "wət ɪt ɪz laɪk tɪ bi nɑkt daʊn bət nɑt nɑkt aʊt." ðə reɪs ɪn ˈaɪəwə, wɪʧ ɪz ˈnɪrɪŋ ɪts ˈfaɪnəl sprɪnt təˈwɔrdz ðə ˈfɛbruˌɛri 1 ˈkɔkəsɪz, həz bɪn ˈtaɪtənɪŋ ɪn ðə læst fju wiks, ənd ðə ˈprɛʃər ɪz ˈmaʊntɪŋ ɔn ˈklɪntən tɪ əˈvɔɪd ə lɔs ɪn ðə fərst ɪn ðə ˈneɪʃən ˈkɔkəs. ðə ˈprɛʃər ɔn hər ˈaɪəwə ˌɑpərˈeɪʃən wɑz ˈræʧətɪd əp ˈivɪn mɔr ɔn ˈtuzˌdeɪ wɪn ə nu ˈhæmʃər poʊl faʊnd ˈklɪntən daʊn baɪ 27 pɔɪnts tɪ vərˈmɑnt sɛn. ˈbərni ˈsændərz, hər ˌənɪkˈspɛktɪdli staʊt əˈpoʊnənt. ˈklɪntən ˈoʊpənd hər fərst əˈpɪrəns sɪns ðə poʊl baɪ ˈfoʊkɪsɪŋ ɔn hər oʊn ˈpərsɪnəl ˈstrəgəlz ənd əˈbɪləˌti tɪ baʊns bæk frəm təf taɪmz. "aɪ hæv hæd ə fju hɑrd taɪmz. aɪ doʊnt noʊ ˈɛnibədi ɪn ðɪs ˈɔdiəns ðət hæv nɑt hæd ðɛr oʊn ʃɛr," ˈklɪntən sɛd. "ɪt ɪz nɑt ˈwɛðər ju gɪt nɑkt daʊn, ɪt ɪz ˈwɛðər ju gɪt bæk əp. ənd aɪ hæv ˈgɔtən bæk əp taɪm ənd taɪm ənd taɪm əˈgɛn." ðə toʊn wɑz səˈpraɪzɪŋ tɪ ˈmɛni ɪn ðə ˈɔdiəns, ˌɪnˈkludɪŋ səm əv ˈklɪntənz eɪdz hu wər ˈteɪkən baɪ ðɛr ˈkændədeɪts ˈkændər əˈbaʊt hər ˈpərsɪnəl ˈstrəgəlz. "ɪt həz nɑt ɔl bɪn ə bɛd əv ˈroʊzɪz. ɪt ɪz təf," ˈklɪntən sɛd əˈbaʊt ðə reɪs. "ðə ˈpɑləˌtɪks ɪn ɑr ˈkəntri kən bi ˈprɪti hɑrʃ. aɪ θɪŋk aɪ hæv bɪn kɔld ˈnɪrli ˈɛvriˌθɪŋ. aɪ ˌəndərˈstænd ðət. ɪt ɪz ə kəmˈpɛtɪtɪv ˈprɔˌsɛs. aɪ wɪʃ ɪt ˈwəzənt soʊ mean-spirited*. aɪ doʊnt θɪŋk ðɪs rɪˈflɛkts wɛl ɔn ˈjuˈɛs. bət wi hæv tɪ kip ˈfɔrʤɪŋ ɑr weɪ ˈfɔrwərd ənd traɪ tɪ brɪŋ ˈpipəl bæk tɪ təˈgɛðər əˈgɛn." ˈklɪntən ˈstɑrtɪd ðə 2016 kæmˈpeɪn ɛz ðə proʊˈhɪbətɪv ˈfeɪvərɪt tɪ wɪn ðə ˈdɛməˌkræts ˌnɑməˈneɪʃən, ˈsəmˌwən huz əˈbɪləˌti tɪ ˈɔrgəˌnaɪz, ənd ˈtərˌnaʊt ˈvoʊtərz ɔl bət ˌgɛrənˈtid hər ðə ˌnɑməˈneɪʃən. bət spərd baɪ ˈæŋgər ənd ən əˈbɪləˌti tɪ reɪz bɪg ˈməni ˈɔnˌlaɪn, ˈsændərz həz ˈrɪzən ɪn ðə poʊlz ənd bɪˈkəm ˈsəmˌwən hu ˈkrɛdəbli kʊd bit ˈklɪntən ɪn ˈaɪəwə ənd nu ˈhæmʃər, ˈsəmθɪŋ ðət wʊd hæv bɪn kənˈsɪdərd aʊˈtreɪʤəs mənθs əˈgoʊ. ðə ˌpɑsəˈbɪləˌti əv hər ˈfɑlɪŋ bɪˈhaɪnd ˈsændərz ɪn ˈaɪəwə ənd nu ˈhæmʃər ɪz naʊ ˈreɪzɪŋ ðə ˈspɛktər əv ə proʊˈtræktɪd ˌnɑməˈneɪʃən faɪt bɪtˈwin ðə tu ˈraɪvəlz, ˈminɪŋ ˈdɛməˌkræts, hu hæd lɔŋ hoʊpt ðɛr ˈkænədɪt kʊd seɪv ˈməni waɪl rɪˈpəblɪkənz spɛnt ˈmɪljənz ˈbləʤənɪŋ iʧ ˈəðər wɪθ ˈnɛgətɪv ædz, naʊ ɪkˈspɛkt ðə reɪs tɪ blid ˈɪntu ðə spərɪŋ ənd ˈpɑsəbli ˈlɔŋgər. waɪl səm əv ˈklɪntənz eɪdz ər ˈsɛnsɪŋ ðə ˈərʤənsi ɪn ðə ˈfaɪnəl 12 deɪz, ðə ˈfɔrmər ˈsɛkrəˌtɛri əv steɪt rɪˈspɑndɪd baɪ ˈθæŋkɪŋ ðə ˈvoʊtərz əv ˈaɪəwə. "aɪ ʤɪst wɔnt tɪ seɪ θæŋk ju," ˈklɪntən sɛd æt ðə ˈoʊpənɪŋ əv hər əˈpɪrəns. "ju ˈsərtənli hæv ˌɪnˈfɔrmd mi, meɪd mi ə ˈbɛtər ˈkænədɪt, geɪv mi ə lɔt mɔr tɪ θɪŋk əˈbaʊt ðən aɪ ˈivɪn hæd ˌbiˈfɔr aɪ ˈstɑrtɪd aɪ bɪˈliv, θæŋks tɪ ju, aɪ wɪl bi ə ˈbɛtər ˈprɛzɪdənt." ˈklɪntən ərʤd ðə ˈvoʊtərz ɪn ðə rum tɪ "ˈkɛrfəli hu ɪz priˈpɛrd, ˈrɛdi, ˈeɪbəl tɪ du ðət ʤɑb ðət weɪts" ənd kloʊzd hər spiʧ baɪ ˈɑrgjuɪŋ ðət ˈkəntri nidz "ə ˈprɛzɪdənt hu kən du ɔl pɑrts əv ðə ʤɑb." ðə ˈfɔrmər fərst ˈleɪdi kənˈtræstəd hərˈsɛlf əˈgɛnst ˈsændərz wɪθ hər dɪˈzaɪər tɪ bɪld ɔn wət ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə həz dən, əˈspɛʃəli ɔn hɛlθ kɛr ənd ˈrɛgjəˌleɪtɪŋ wɔl strit. "wi hæv ˈdɪfərənsɪz ənd ɪt ɪz ðət taɪm ɪn ðə kæmˈpeɪn wɪn hiz ˈmeɪkɪŋ ˈkɑntræst ənd aɪ æm ɛz wɛl," ˈklɪntən sɛd. ˈklɪntən spɛnt ˈbɛrli ˈɛni taɪm ɔn ðə roʊp laɪn əv ðə ˈɔrgəˌnaɪzɪŋ ɪˈvɛnt ɪn ˈbərlɪŋtən, ˈʃeɪkɪŋ ə fju hænz wɪn ʃi kloʊzd ðə spiʧ ənd ðɛn kˈwɪkli ˈɛgzɪtɪŋ. ˈivɪn stɪl, ˈɔdiəns ˈmɛmbərz sɛd ðeɪ əˈpriʃiˌeɪtɪd ðə ˈsɪriəsnəs ʃi brɔt tɪ ðə ɪˈvɛnt. "aɪ θɪŋk ʃi simd ˈsɪriəs ənd ɪt ɪz ə ˈsɪriəs ʤɑb ʃi ɪz ˈlʊkɪŋ æt," ˈkɛli ˈsæmbərg, ə nərs frəm ˈbərlɪŋtən hu plænz tɪ ˈkɔkəs fər ˈklɪntən. "ɪt ɪz nɑt ɔl fən ənd geɪmz." dæn ˈridər, ə prəˈfɛsər frəm ˌoʊkləˈhoʊmə hu droʊv 8 aʊərz tɪ kæʧ ˈklɪntənz ɪˈvɛnt, sɛd hi, tu, wɑz strək baɪ hər toʊn. "aɪ æm ˈlivɪŋ hir ˈivɪn mɔr əv ə səˈpɔrtɪv ðən aɪ wɑz ˌbiˈfɔr," sɛd ˈridər. "maɪ ˌɪˈnɪʃəl θɔts wər ʃi ɪz ˈrɪli ˈteɪkɪŋ ðɪs ˈsɪriəsli."
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burlington, iowa (cnn) hillary clinton, her voice softened and tone contemplative, stressed to iowa voters in burlington on wednesday night that while this campaign has not been easy, she knows how to "what it is like to be knocked down but not knocked out."
the race in iowa, which is nearing its final sprint towards the february 1 caucuses, has been tightening in the last few weeks, and the pressure is mounting on clinton to avoid a loss in the first in the nation caucus. the pressure on her iowa operation was ratcheted up even more on tuesday when a cnn/wmur new hampshire poll found clinton down by 27 points to vermont sen. bernie sanders, her unexpectedly stout opponent.
clinton opened her first appearance since the poll by focusing on her own personal struggles and ability to bounce back from tough times.
"i have had a few hard times. i don't know anybody in this audience that have not had their own share," clinton said. "it is not whether you get knocked down, it is whether you get back up. and i have gotten back up time and time and time again."
the tone was surprising to many in the audience, including some of clinton's aides who were taken by their candidate's candor about her personal struggles.
"it has not all been a bed of roses. it is tough," clinton said about the race. "the politics in our country can be pretty harsh. i think i have been called nearly everything. i understand that. it is a competitive process. i wish it wasn't so mean-spirited. i don't think this reflects well on us. but we have to keep forging our way forward and try to bring people back to together again."
clinton started the 2016 campaign as the prohibitive favorite to win the democrat's nomination, someone whose ability to organize, fundraise and turnout voters all but guaranteed her the nomination.
but spurred by anti-establishment anger and an ability to raise big money online, sanders has risen in the polls and become someone who credibly could beat clinton in iowa and new hampshire, something that would have been considered outrageous months ago.
the possibility of her falling behind sanders in iowa and new hampshire is now raising the specter of a protracted nomination fight between the two rivals, meaning clinton-aligned democrats, who had long hoped their candidate could save money while republicans spent millions bludgeoning each other with negative ads, now expect the race to bleed into the spring and possibly longer.
while some of clinton's aides are sensing the urgency in the final 12 days, the former secretary of state responded by thanking the voters of iowa.
"i just want to say thank you," clinton said at the opening of her appearance. "you certainly have informed me, made me a better candidate, gave me a lot more to think about than i even had before i started ... i believe, thanks to you, i will be a better president."
clinton urged the voters in the room to "carefully who is prepared, ready, able to do that job that waits" and closed her speech by arguing that country needs "a president who can do all parts of the job."
the former first lady contrasted herself against sanders with her desire to build on what president barack obama has done, especially on health care and regulating wall street.
"we have differences and it is that time in the campaign when he's making contrast and i am as well," clinton said.
clinton spent barely any time on the rope line of the organizing event in burlington, shaking a few hands when she closed the speech and then quickly exiting.
even still, audience members said they appreciated the seriousness she brought to the event.
"i think she seemed serious and it is a serious job she is looking at," kelly samberg, a 56-year-old nurse from burlington who plans to caucus for clinton. "it is not all fun and games."
dan reeder, a professor from oklahoma who drove 8 hours to catch clinton's event, said he, too, was struck by her tone.
"i am leaving here even more of a supportive than i was before," said reeder. "my initial thoughts were she is really taking this seriously."
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əˈnəðər fɑks nuz hoʊst hɪt ðə ˈnɛtˌwərk wɪθ ə ˈlɔˌsut ɔn ˈmənˌdeɪ ðət ˌɪnˈkludz ˌæləˈgeɪʃənz əˈgɛnst ˈfɔrmər ˈʧɛrmən ənd ˈsiˌiˈoʊ ˈrɑʤər eɪlz. ˈʤuli, hu əˈpɪrd ˈrɛgjələrli ɔn ðə ˈnɛtˌwərk moʊst ˈnoʊtəbli ɔn nuz dɪˈskəʃən ˈproʊˌgræmz "ˌaʊtˈnəmbərd" ənd "ðə faɪv," faɪld ə ˈlɔˌsut ɪn nu jɔrk səˈprim kɔrt əˈgɛnst eɪlz ənd bɪl ʃaɪn, ˈkleɪmɪŋ ðət eɪlz ˈsɛkʃuəli həræst hər ənd ðət wɪn ʃi rɪfˈjuzd hɪz ədˈvænsɪz, ʃi wɑz dɪˈnaɪd ə ʤɑb ˌɑpərˈtunəti. ɪz ˌrɛprɪˈzɛnɪd baɪ ðə seɪm əˈtərniz hu ˈhændəld ˈgrɛʧən ˈkɑrlsənz ˈlɔˌsut faɪld ɪn ˌʤuˈlaɪ ɪn nu ˈʤərzi. eɪlz rɪˈzaɪnd tu wiks ˈæftər ˈkɑrlsənz sut, faɪld ˈfɑloʊɪŋ ən ˌɪnˈtərnəl ˌɪnˌvɛstəˈgeɪʃən lɛd baɪ ən ˈaʊtˈsaɪd lɔ fərm. ˌædvərˈtaɪzmənt kleɪmz ə pərˈmoʊʃən tɪ ə ˈrɛgjələr spɑt ðə "ðə faɪv" wɑz "kənˈtɪnʤənt əˈpɑn ˈhævɪŋ ə ˈsɛkʃuəl riˈleɪʃənˌʃɪp wɪθ eɪlz." ʃi sɛd ʃi rɪfˈjuzd ənd ðə pəˈzɪʃən wɑz əˈwɔrdɪd tɪ pəˈlɪtɪkəl ˈkɑmənˌteɪtər ənd hɪl kənˈtrɪbjətər wɑn ˈwɪljəmz ˌɪnˈstɛd ɪn leɪt 2015 həz əˈpɪrd ɔn fɑks nuz sɪns 2005 ʃi saɪnd ɛz ən ɪkˈsklusɪv kənˈtrɪbjətər tɪ ðə ˈnɛtˌwərk ɪn 2011 ənd həz bɪn rɪˈnud θri taɪmz sɪns, əˈkɔrdɪŋ tɪ ðə kəmˈpleɪnt. "eɪlz rɪˈpitɪdli kɔld ˈɪntu hɪz ˈɔfəs fər ˌwənɔnˈwən ˈmitɪŋz, ˈtɛlɪŋ hər ðət hi ˈrɪli laɪkt hər ɔn 'ðə faɪv,'" steɪts ðə kəmˈpleɪnt. ðə ˈʤəstɪs dɪˈpɑrtmənt ɪz ˈɔlsoʊ ˈkərəntli ˌɪnˈvɛstəˌgeɪtɪŋ fɑks rɪˈgɑrdɪŋ ˈpeɪmənts tɪ ˈvɛriəs eɪlz kleɪmz ə pərˈmoʊʃən tɪ ə ˈrɛgjələr spɑt ðə "ðə faɪv" wɑz "kənˈtɪnʤənt əˈpɑn ˈhævɪŋ ə ˈsɛkʃuəl riˈleɪʃənˌʃɪp wɪθ eɪlz." ʃi sɛd ʃi rɪfˈjuzd ənd ðə pəˈzɪʃən wɑz əˈwɔrdɪd tɪ pəˈlɪtɪkəl ˈkɑmənˌteɪtər ənd hɪl kənˈtrɪbjətər wɑn ˈwɪljəmz ˌɪnˈstɛd ɪn leɪt həz əˈpɪrd ɔn fɑks nuz sɪns 2005 ʃi saɪnd ɛz ən ɪkˈsklusɪv kənˈtrɪbjətər tɪ ðə ˈnɛtˌwərk ɪn 2011 ənd həz bɪn rɪˈnud θri taɪmz sɪns, əˈkɔrdɪŋ tɪ ðə rɪˈpitɪdli kɔld ˈɪntu hɪz ˈɔfəs fər ˌwənɔnˈwən ˈmitɪŋz, ˈtɛlɪŋ hər ðət hi ˈrɪli laɪkt hər ɔn 'ðə faɪv,'" steɪts ðə kəmˈpleɪnt. "ˈdʊrɪŋ ðiz ˈmitɪŋz, eɪlz wʊd ˈfrikwɛntli stɪr ðə ˌkɑnvərˈseɪʃən tɪ ˈpərsɪnəl laɪf baɪ ˈæskɪŋ, əˈməŋ ˈəðər θɪŋz, ɪf ʃi wɑz ˈdeɪtɪŋ ˈɛniˌwən, waɪ ʃi wɑz nɑt ˈmɛrid, wət ʃi wɑz ˈlʊkɪŋ fər ɪn ə mæn, ənd rɪˈmɑrkɪŋ ðət hi dɪd nɑt ˌəndərˈstænd waɪ ʃi wɑz stɪl ˈsɪŋgəl sɪns ʃi wɑz soʊ əˈtræktɪv." eɪlz wʊd əˈlɛʤədli "kənˈsɪstəntli pəˈzɪʃən hɪmˈsɛlf ɪn səʧ ə weɪ ɛz tɪ lʊk daʊn drɛs," ædz ðə kəmˈpleɪnt. sɛd ɪn ðə kəmˈpleɪnt ðət ʃi ˈwəzənt ˈeɪbəl tɪ gɪt əˈnəðər ˈmitɪŋ wɪθ eɪlz ˈæftər rɪˈʤɛktɪŋ hɪz əˈlɛʤd ədˈvænsɪz. ˈɔlsoʊ əˈlɛʤɪz ðət ðə ˈnɛtˌwərks lɛd ˈlɔjər, daɪæn ˈbrændi, wɑz əˈwɛr əv hər ˌæləˈgeɪʃənz əˈgɛnst eɪlz bət ðət noʊ wən ˌɪnˈtərnəli ˌɪnˈstrəktɪd hər ɔn haʊ tɪ ˈkɑnˌtækt ˌɪnˈvɛstəˌgeɪtərz æt ðə pɔl waɪs lɔ fərm ðət lʊkt ˈɪntu eɪlz ˈfɑloʊɪŋ ðə ˈkɑrlsən sut. ʃi ˈɔlsoʊ kleɪmz ɪgˈzɛkjətɪvz "tʊk noʊ ˈækʃən tɪ ˌɪnˈvɛstəˌgeɪt" ənd "kɛpt eɪlz' ˈkɑndəkt ˈsikrɪt ənd ɪˈneɪbəld ɪt." ðə ˈlɔˌsut ˈʧɑrʤɪz ˈdæmɪʤ tɪ kərɪr ədˈvænsmənt ənd ˈmɛntəl ənd ˈfɪzɪkəl peɪn. ʃi ɪz ˈsikɪŋ kəmˈpɛnsəˌtɔri ənd ˈpjunətɪv ˈdæmɪʤɪz. ðə ˈlɔˌsut kəmz ɔn ðə hilz əv ə nu jɔrk taɪmz ˈɑrtɪkəl ˈsæˌtɪˌdeɪ dɪˈteɪlɪŋ ˈsɛkʃuəl hərˈæsmənt kleɪmz baɪ faɪv ˈwɪmən ðət rɪˈzəltɪd ɪn 13 ˈmɪljən ɪn peɪaʊts frəm ðə ˈnɛtˌwərk ənd hoʊst bɪl oʊˈraɪli. ðə hɪl həz riʧt aʊt tɪ fɑks nuz ənd fər ˈkɑmɛnt.
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another fox news host hit the network with a lawsuit on monday that includes allegations against former chairman and ceo roger ailes.
julie roginsky, who appeared regularly on the network most notably on news discussion programs "outnumbered" and "the five," filed a lawsuit in new york supreme court against ailes and co-president bill shine, claiming that ailes sexually harassed her and that when she refused his advances, she was denied a job opportunity.
roginsky is represented by the same attorneys who handled gretchen carlson's lawsuit filed in july in new jersey. ailes resigned two weeks after carlson's suit, filed following an internal investigation led by an outside law firm.
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roginsky claims a promotion to a regular spot co-hosting the "the five" was "contingent upon having a sexual relationship with ailes." she said she refused and the position was awarded to political commentator and hill contributor juan williams instead in late 2015.
roginsky has appeared on fox news since 2005. she signed as an exclusive contributor to the network in 2011 and has been renewed three times since, according to the complaint.
"ailes repeatedly called roginsky into his office for one-on-one meetings, telling her that he really liked her on 'the five,'" states the complaint. the justice department is also currently investigating fox regarding payments to various ailes accusers.roginsky claims a promotion to a regular spot co-hosting the "the five" was "contingent upon having a sexual relationship with ailes." she said she refused and the position was awarded to political commentator and hill contributor juan williams instead in late 2015.roginsky has appeared on fox news since 2005. she signed as an exclusive contributor to the network in 2011 and has been renewed three times since, according to the complaint."ailes repeatedly called roginsky into his office for one-on-one meetings, telling her that he really liked her on 'the five,'" states the complaint.
"during these meetings, ailes would frequently steer the conversation to roginsky's personal life by asking, among other things, if she was dating anyone, why she was not married, what she was looking for in a man, and remarking that he did not understand why she was still single since she was so attractive."
ailes would allegedly "consistently position himself in such a way as to look down roginsky's dress," adds the complaint.
roginsky said in the complaint that she wasn't able to get another meeting with ailes after rejecting his alleged advances.
roginsky also alleges that the network's lead lawyer, dianne brandi, was aware of her allegations against ailes but that no one internally instructed her on how to contact investigators at the paul weiss law firm that looked into ailes following the carlson suit. she also claims executives "took no action to investigate" and "kept ailes' conduct secret and enabled it."
the lawsuit charges damage to roginsky's career advancement and mental and physical pain. she is seeking compensatory and punitive damages.
the lawsuit comes on the heels of a new york times article saturday detailing sexual harassment claims by five women that resulted in $13 million in payouts from the network and prime-time host bill o'reilly.
the hill has reached out to fox news and roginsky for comment.
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wi ˌrivˈju ðə ɛks ˈkæmərə ənd ˈsɛlˌfi ˈkæmərə, ʤɪst tu əv ðə ˈhaɪˌlaɪts əv ˈleɪtəst smartphone*. ʧɛk aʊt ɑr fʊl θɔts, əˈlɔŋ wɪθ ˈfoʊˌtoʊ ənd ˈvɪdioʊ ˈsæmpəlz. ðə ɛks ɪz wən əv ðə fərst ˈsoʊni foʊnz əv 2016 ənd ˈsoʊni ɪz ˈteɪkɪŋ ə frɛʃ əˈproʊʧ ðɪs jɪr, ˈkətɪŋ bæk ɔn ˈpɔɪntləs ˈprimiəm ˈfiʧərz ðət moʊst ˈpipəl nid tɪ trɪm ðə kɔst. ˈθæŋkfəli ˈsoʊni noʊz ðət moʊst ˈpipəl juz ðɛr foʊn ɛz ðɛr ˈfʊlˌtaɪm ˈkæmərə tu, soʊ ðə sˈnæpər ɪz wən əv ðə bɛst faɪnd ɔn ə ˈmɑdərn ˈmoʊbəl. ɑr fʊl ɛks ˈkæmərə ˌrivˈju, ˌɪnˈkludɪŋ haʊ ɪt skwɛrz əp tɪ ˈraɪvəlz laɪk ðə ˈgæləksi sˈnæpər, ənd ʧɛk aʊt ɑr ɛks ˌrivˈju tɪ si ɑr fʊl θɔts ɔn ðɪs slɪk nu foʊn. nu wɪθ ðə ˈsoʊni ˈkæmərə, kəmˈpɛrd wɪθ ðə ˈfərstli, ðə ˈkæmərə ɪz ˈblədi fæst. hoʊld daʊn ðə ˈʃətər ˈbətən wɪn ðə foʊn ɪz əsˈlip ənd weɪk əp, but ðə ˈkæmərə æp ənd (ɪf ju laɪk) teɪk ə ʃɑt ɪn ˈrəfli ə ˈsɛkənd ˈjuʒəwəli. greɪt nuz ɪf ˈɔlˌweɪz ˈmɪsɪŋ ðoʊz spɑnˈteɪniəs ˈfoʊˌtoʊ ˌɑpərˈtunətiz, wɪʧ ˈpɛrənts ənd pɛt ˈoʊnərz wɪl noʊ ˈoʊnli tu wɛl. ðə ˈkæmərə ˈɔlsoʊ boʊsts ˈleɪtəst autofocus’*’ tɛk. ðɪs træks jʊr ˈmuvmənts ənd ðɛn prɪˈdɪkts ɪts fˈjuʧər bɪˈheɪvjər, tɪ kip ðɛm ʃɑrp ənd kət daʊn ðə taɪm ˈweɪstɪd ɔn riˈfoʊkəsɪŋ wɪn ju hɪt ðə ˈʃətər ˈbətən. ðə ˈsɛlˌfi ˈkæmərə həz ʧeɪnʤd tu, wɪθ ən sɪks ˈɛləmənt lɛnz ɪn pleɪs fər sˈnæpɪŋ jʊr məg. ðə lɑrʤ ˈsɛnsər ənd səm nit ˈfiʧərz hɛlp tɪ ˈproʊdus ʃɑrp ʃɑts, wɪθ ˈlɪmɪtɪd greɪn ənd mɔr ˈnæʧərəl skɪn toʊnz. sɪks ˈpɪkʧərz ər ˈæˌkʧuəli ˈteɪkən ɪn loʊ laɪt ˌsɪʧuˈeɪʃənz ənd ðɛn stɪʧt təˈgɛðər tɪ ˈproʊdus ˈfaɪnər ˈditeɪl, waɪl ˈpɪksəl ˈbɪnɪŋ kəts ðə greɪn (ˌɔlˈðoʊ ˈɔlsoʊ meɪks ðə ɛnd ˈɪmɪʤ sˈmɔlər). ˈfaɪnəli, ðə 3200 ˈkæmərə həz bɪn ˈbustɪd tɪ 6400 ˈsəkɪŋ əp mɔr laɪt. ˈsoʊni ɛks ˈkæmərə ˌrivˈju: ˈfoʊˌtoʊ kˈwɑləti ðə fərst θɪŋ aɪ ˈnoʊtɪst wɪn ˈlʊkɪŋ bæk θru maɪ (ˈmɛni) ˈfoʊˌtoʊz wɑz ðə ˌɪnˈkrɛdəbəl ˈditeɪl pɪkt əp ɪn ˈɛvəri ʃɑt. aɪ wɑz ˈeɪbəl tɪ zum raɪt ˈɪntu ə snæp əv ə strit sin ənd ˈklɪrli rɛd ðə ˈlaɪsəns pleɪt əv ə kɑr ðət məst hæv bɪn ə fju ˈhənərd fit əˈweɪ, ənd ʤɪst wən əv ˈmɛni ɪgˈzæmpəlz. maɪ ˈfoʊˌtoʊz lʊk greɪt ɔn ə bɪg skrin tu, rɪˈmeɪnɪŋ ˈpərfəktli krɪsp. ˈdeɪˌtaɪm ʃɑts ər nɑt ʤɪst ʃɑrp, ðeɪ ˈɔlsoʊ boʊst ˌriəˈlɪstɪk ðət ˈækjərətli ˌrɛprɪˈzɛnt ðə sin, noʊ ˈmætər ðə ˈlaɪtɪŋ. ənd ɛz ðə lɛnz boʊsts kwaɪt ə ˈkæpʧər, ˈeɪbəl tɪ fɪt ə hɛl əv ə lɔt ˈɪntu ˈɛvəri ˈfoʊˌtoʊ. ˈmækroʊ ʃɑts ər ˈɔlsoʊ greɪt, wɪθ ðə lɛnz ˈpɪkɪŋ əp ɔl kaɪnz əv ˈtaɪni ˈditeɪlz. loʊ laɪt pərˈfɔrməns ɔn ðə ɛks ɪz ˈɔlˌmoʊst ɛz strɔŋ ɛz ðə ˈgæləksi ˈɛksələnt ˈkæmərə. ˌɪmˈprɛsɪvli ˈlɪtəl greɪn tɪ ruɪn jʊr snæps ənd ə spɑt əv laɪt ˈtəʧɪŋ ɪn ˈfoʊˌtoʊˌʃɑp wɪl ˈbraɪtən ðɛm əp ə bɪt, ɪf nɑt ˈwɪlɪŋ tɪ ʤəmp ˈɪntu ˈmænjuəl moʊd ənd ˈtɪŋkər wɪθ ˈlɛvəlz ənd ðə rɛst. ɛz fər ðə prɪˈdɪktɪv ˈfoʊkɪs, ɪt simz tɪ wərk wɛl æt list hæf əv ðə taɪm. ju nid tɪ tæp jʊr ˈsəbʤɪkt ˌbiˈfɔr sˈnæpɪŋ əˈweɪ, æt wɪʧ pɔɪnt ðə ˈkæmərə æp ˈpleɪsɪz ə ˈjɛloʊ bɑks əraʊnd ðɛm ənd traɪz ɪts bɛst tɪ træk ðɛm. ˈjuʒəwəli ɪt ˈmænɪʤɪz tɪ kip əp, ˌɔlˈðoʊ fæst ˈmuvɪŋ ˈɑbʤɛkts səʧ ɛz kɑz ər ˈɔlˌmoʊst ˌɪˈmiˌdiətli lɔst. ˌhaʊˈɛvər, ðə prɪˈdɪktɪv ˈfoʊkɪs kən ˈjuʒəwəli ˈhændəl ˈjumənz ənd dɪz sim tɪ spid əp ðə ˈfoʊˌtoʊ ˈteɪkɪŋ ˈprɔˌsɛs, waɪl ɔˈkeɪʒənəˌli ˈkətɪŋ daʊn ɔn blər. ˈsoʊni ɛks ˈkæmərə ˌrivˈju: ˈfoʊˌtoʊ ˈsæmpəlz ə əv səm əv maɪ tɛst ˈfoʊˌtoʊz frəm ˈtoʊkiˌoʊ ənd ˈləndən ənd skroʊl daʊn fər səm ˈlɑrʤər ʃɑts ðət ju kən klɪk tɪ ɪkˈspænd tɪ ðɛr fʊl ˌrɛzəˈluʃən. klɪk ðə ˈfɑloʊɪŋ ˈfoʊˌtoʊz tɪ si ə ˈfʊlˌsaɪzd ˈɪmɪʤ: ˈsoʊni ɛks ˈkæmərə ˌrivˈju: ˈvɪdioʊ pərˈfɔrməns ðə ɛks ʃut ˈvɪdioʊ, bət ju hæv ə fʊl ˈɔpʃən ɪn 30 ər 60 frames-per-second*. ˈsoʊni həz ˈɔlsoʊ ˌɪnˈkludɪd ɪts ˈjuʒəwəl ‘‘steadyshot’*’ ˈɪmɪʤ, tɪ kət ðə frəm jʊr hoʊm ˈmuviz. æt ju kən hæv ˈstændərd ˈæktɪˌveɪtɪd, waɪl ˌɪnˈtɛləʤənt ˈæktɪv moʊd ɪz əˈveɪləbəl fər ˈmuviz. ɪn boʊθ ˈkeɪsɪz, ðə ˈsɔfˌwɛr meɪks ə bɪg ˈdɪfərəns, ˈkətɪŋ daʊn ɔn ˈɪrəˌteɪtɪŋ ʃeɪk wɪn ˈmuvɪŋ ənd ˈʃutɪŋ. hir ər səm ˈvɪdioʊ ˈsæmpəlz ʃɑt ɔn ðə ɛks. ɛks ˈsɛlˌfi ˈkæmərə ˌrivˈju ðə sˈnæpər ɪz ə strɔŋ ˈraɪvəl tɪ ðoʊz faʊnd ɔn ðə ˈgæləksi ənd soʊ ɔn, ənd ˈpərˌfɪkt fər ˈɛniˌwən ˈkɑnstəntli ˈpoʊstɪŋ ˈsɛlˌfiz frəm ðə kləb. ɪn ˈnɔrməl laɪt, ɑr tɛst ʃɑts æt fərst əˈpɪrd ˈoʊvərli touched-up*, wɪθ ˈvɛri sɔft, skɪn. ðɛn aɪ ˈriəˌlaɪzd ðət ðə skɪn effect’*’ ˈfiʧər wɑz ˈæktɪˌveɪtɪd baɪ dɪˈfɔlt. aɪ nɑkt ðɪs ɔf ənd ˈɛvəri pɪk frəm ðɛn ɔn wɑz ʃɑrp ənd pækt wɪθ ˈditeɪl (ə ˈlɪtəl tu məʧ ˈditeɪl, ɛz ju kən tɛl frəm maɪ slip dɪˈpraɪvd əˈpɪrəns), wɪθ ˈnæʧərəl ˈʃaɪnɪŋ θru. drɔp ðə laɪts ənd ðə rɪˈzəlts ər ˈivɪn mɔr ˌɪmˈprɛsɪv. ðə ɛks ˈjuzɪz ɔl əv ðət ˈklɛvər tɛk ˈmɛnʃənd ɪn ðə fərst ˈsɛkʃən ənd prəˈdusɪz səm klɪr, braɪt ˈɪmɪʤɪz ðət ˈivɪn bits wət ˈjumən ˈaɪˌbɔlz kən si, ɪn tərmz əv ˈklɛrɪti, ˈditeɪl ənd əˈθɛnɪk skɪn toʊn. hir ər ə fju ɪgˈzæmpəlz. ʧɛk aʊt ɑr ˈsoʊni ɛks həb fər ɑr ɛks ˌrivˈju ənd ˈəðər ˈfiʧərz ˈvɪdioʊ: ˈsoʊni ɛks ˈkæmərə ˌrivˈju ʧɛk aʊt ɑr ˈvɪdioʊ ˌrivˈju əv ðə ˈkæmərəz, ˌɪnˈkludɪŋ ˈfoʊˌtoʊ ənd ˈvɪdioʊ ˈsæmpəlz. ju kən græb ðə ɛks frəm frəm pər mənθ, wɪθ noʊ ˈəpˌfrənt kɔst.
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we review the 23-megapixel xperia x camera and 13-megapixel selfie camera, just two of the highlights of sony’s latest smartphone. check out our full thoughts, along with photo and video samples.
the xperia x is one of the first sony phones of 2016 and sony is taking a fresh approach this year, cutting back on pointless premium features that most people don’t need to trim the cost. thankfully sony knows that most people use their phone as their full-time camera too, so the xperia x’s 23-megapixel snapper is one of the best you’ll find on a modern mobile.
here’s our full xperia x camera review, including how it squares up to rivals like the galaxy s7 snapper, and check out our in-depth xperia x review to see our full thoughts on this slick new phone.
what’s new with the sony xperia x’s camera, compared with the xperia z5?
firstly, the xperia x’s camera is bloody fast. hold down the shutter button when the phone is asleep and it’ll wake up, boot the camera app and (if you like) take a shot in roughly a second usually. that’s great news if you’re always missing those spontaneous photo opportunities, which parents and pet owners will know only too well.
the camera also boasts sony’s latest ‘predictive autofocus’ tech. this tracks your subject’s movements and then predicts its future behaviour, to keep them sharp and cut down the time wasted on refocusing when you hit the shutter button.
the 13-megapixel selfie camera has changed too, with an f/2.0 six element lens in place for snapping your mug. the large sensor and some neat features help to produce sharp low-light shots, with limited grain and more natural skin tones. six pictures are actually taken in low light situations and then stitched together to produce finer detail, while pixel binning cuts the grain (although also makes the end image smaller). finally, the xperia z5’s iso 3200 camera has been boosted to iso 6400, sucking up more light.
sony xperia x camera review: photo quality
the first thing i noticed when looking back through my (many) photos was the incredible detail picked up in every shot. i was able to zoom right into a snap of a street scene and clearly read the license plate of a car that must have been a few hundred feet away, and that’s just one of many examples. my photos look great on a big screen too, remaining perfectly crisp.
daytime shots are not just sharp, they also boast realistic colours that accurately represent the scene, no matter the lighting. and as the lens boasts quite a wide-angle capture, you’re able to fit a hell of a lot into every photo. macro shots are also great, with the lens picking up all kinds of tiny details.
low light performance on the xperia x is almost as strong as the galaxy s7’s excellent camera. there’s impressively little grain to ruin your snaps and a spot of light touching in photoshop will brighten them up a bit, if you’re not willing to jump into manual mode and tinker with iso levels and the rest.
as for the predictive focus, it seems to work well at least half of the time. you need to tap your subject before snapping away, at which point the camera app places a yellow box around them and tries its best to track them. usually it manages to keep up, although fast moving objects such as cars are almost immediately lost. however, the predictive focus can usually handle humans and does seem to speed up the photo taking process, while occasionally cutting down on blur.
sony xperia x camera review: photo samples
here’s a slideshow of some of my test photos from tokyo and london and scroll down for some larger shots that you can click to expand to their full resolution.
click the following photos to see a full-sized image:
sony xperia x camera review: video performance
the xperia x can’t shoot 4k video, but you have a full hd option in 30 or 60 frames-per-second. sony has also included its usual ‘steadyshot’ image stabilisation, to cut the jitter from your home movies. at 60fps you can have standard steadyshot activated, while sony’s intelligent active steadyshot mode is available for 30fps movies. in both cases, the stabilisation software makes a big difference, cutting down on irritating shake when moving and shooting.
here are some video samples shot on the xperia x.
xperia x selfie camera review
the 13-megapixel front-facing snapper is a strong rival to those found on the galaxy s7, huawei p9 and so on, and perfect for anyone who’s constantly posting selfies from the club.
in normal light, our test shots at first appeared overly touched-up, with very soft, blemish-free skin. then i realised that the ‘soft skin effect’ feature was activated by default. i knocked this off and every pic from then on was sharp and packed with detail (a little too much detail, as you can tell from my sleep deprived appearance), with natural colours shining through.
drop the lights and the results are even more impressive. the xperia x uses all of that clever tech mentioned in the first section and produces some clear, bright images that even beats what human eyeballs can see, in terms of clarity, detail and authentic skin tone. here are a few examples.
check out our sony xperia x hub for our xperia x review and other features
video: sony xperia x camera review
check out our video review of the xperia x’s cameras, including photo and video samples.
you can grab the xperia x from o2 from £32 per month, with no upfront cost.
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bonus:dear* tˈwaɪˌlaɪt ju fər jʊr dɪˈteɪld əˈkaʊnt əv ðɪs vɔɪəʤ. maɪ rɪˈkəvəri goʊz wɛl, ɪt wɪl stɪl bi ə fju deɪz ˌbiˈfɔr aɪ æm bæk ɔn maɪ hʊvz ɪn ˈprɑpər ə məʧ mɔr ˈpərsɪnəl noʊt, aɪ wɔnt ju tɪ noʊ ðət aɪ æm ɪˈtərnəli ˈgreɪtfəl tɪ ju, jʊr frɛndz, ənd ˈlunə. ɪf ðə ˈʃæˌdoʊz hæd juzd maɪ ˈbɑdi tɪ hərt anypony*, aɪ ʤɪst doʊnt noʊ wət aɪ wʊd hæv dən. ðə θɔt ɪz fɑr tu məʧ tɪ bɛr. aɪ æm ˌɪnˈdɛtɪd tɪ ɔl əv ju fər jʊr hɑrd wərk, kərɪʤ, ənd ˌpərsəˈvɪrəns. ɪkˈstɛnd maɪ rɔɪəl ˌɪnvɪˈteɪʃən tɪ ðɪs "ˈdɔktər" frɛnd əv jʊrz, aɪ ˈsɪmpli məst mit ɪm wɪn nɑt ˈəndər ðə pəˈzɛʃən əv ðoʊz ˈhɔrəbəl həz bɪn əˈpɔɪntɪd ðə ˈpərsɪnəl ˈpjupəl əv ˈprɪnsɛs ˈlunə. ðɛr fərst ˈɔrdər əv ˈbɪznɪs ɪz ðə kənˈstrəkʃən əv ðə rɔɪəl ˈlunər riˈpəblɪk ˈhɪstəri mˈjuziəm. ðə ˈbɪldɪŋ wɪl bi ɪn ˈɑnər əv ðə ˈθaʊzənd jɪrz əv pis kriˈeɪtɪd baɪ ðə ˈprɪnsɛs. ɪt wɪl bi kwaɪt ə saɪt, ju wɪl bi əˈməŋ ðə fərst tɪ bi ˌɪnˈvaɪtɪd tɪ ðə grænd dɪr tˈwaɪˌlaɪt, ju ər feɪst wɪθ ə rɛr ˌɑpərˈtunəti. aɪ hæv noʊn ju ˈɛvər sɪns ju wər ə ˈfɪli. aɪ noʊ raɪt naʊ ju ər tɔrn ˈoʊvər wət tɪ du nɛkst. aɪ wʊd laɪk tɪ seɪv ju ðə ˈtrəbəl. aɪ, ˈprɪnsɛs əv ðə sən, əˈpɔɪnt tˈwaɪˌlaɪt ˈspɑrkəl tɪ ˈtrævəl wɪθ ðə ˈdɔktər ɔn hɪz ædˈvɛnʧərz, meɪ ʃi lərn əˈbaʊt ðə ˌɪnˈkrɛdəbəl ˈwəndərz əv ðə ˈjunəˌvərs baɪ ɪkˈspɪriənsɪŋ ðɛm fərst hænd. goʊ maɪ ˈlɪtəl ˈpoʊˌni, si ðət wɪʧ ju ˈnɛvər θɔt praʊd celestiap.s*. aɪ hir ðət ðɪs məˈʃin əv ðə ˈdɑktərz ˈtrævəlz θru taɪm. ɪf ðæts tru, aɪ ɪkˈspɛkt ðə ˈlɛtər frəm jʊr nɛkst ədˈvɛnʧər fərst θɪŋ təˈmɑˌroʊ. steɪ aɪ wʊd prəˈvaɪd ə ˈlɪtəl bɪt mɔr ˈkloʊʒər fər ju fər ˈteɪkɪŋ ðə ˈʤərni wɪθ ju ɔl ɔn ˈdɔktər whoof*: ðə ˈʃætərd stoʊn
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bonus:dear twilight sparkle,thank you for your detailed account of this voyage. my recovery goes well, it will still be a few days before i am back on my hooves in proper form.on a much more personal note, i want you to know that i am eternally grateful to you, your friends, and luna. if the shadows had used my body to hurt anypony, i just don't know what i would have done. the thought is far too much to bare. i am indebted to all of you for your hard work, courage, and perseverance. extend my royal invitation to this "doctor" friend of yours, i simply must meet him when not under the possession of those horrible monsters.viva has been appointed the personal pupil of princess luna. their first order of business is the construction of the royal canterlot lunar republic history museum. the building will be in honor of the thousand years of peace created by the princess. it will be quite a sight, you will be among the first to be invited to the grand opening.my dear twilight, you are faced with a rare opportunity. i have known you ever since you were a filly. i know right now you are torn over what to do next. i would like to save you the trouble. i, princess celestia of the sun, appoint twilight sparkle to travel with the doctor on his adventures, may she learn about the incredible wonders of the universe by experiencing them first hand. go my little pony, see that which you never thought possible.your proud teacher,princess celestiap.s. i hear that this machine of the doctor's travels through time. if that's true, i expect the letter from your next adventure first thing tomorrow. stay safe.*******thought i would provide a little bit more closure for you guys.thanks for taking the journey with mesee you all on doctor whoof: the shattered stone
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tæks ˌɪnˈkrisɪz ðə dɪˈvɛləpmənt kəmz ɛz ˈtrɛʒərər skɑt ˈmɔrɪsən ənd ˈsoʊʃəl ˈsərvɪsɪz ˈmɪnɪstər ˈkrɪsʧɪn ˈpɔrtər hæv θˈrɛtənd tæks ˌɪnˈkrisɪz ənd ˈspɛndɪŋ kəts tɪ rɪˈkup əp tɪ 13 ˈbɪljən ɪn ˈbəʤɪt kəts ðət hæv bɪn mərund ɪn ðə ˈsɛnɪt, ˈmoʊstli sɪns ðə 2014 ˈbəʤɪt, ənd wɪʧ hæv skænt hoʊp əv ˈpæsɪŋ. ðə ˈsoʊˈkɔld "ˈzɑmbi" ˈmɛʒərz ər ˌprɪˈdɑmənənˌtli ðə 6 ˈbɪljən ɪn kəts tɪ ˈwɛlˌfɛr, ɛz ˈbəndəld təˈgɛðər ɪn ðə ˈbəʤɪt ˈɑmnəbəs bɪl ˌbiˈfɔr ˈpɑrləmɛnt, ənd əˈbaʊt 7 ˈbɪljən ɪn kəts tɪ haɪər ˌɛʤəˈkeɪʃən. ɔn ˈtuzˌdeɪ, ðə ɔˈstreɪljən ˌfaɪˈnænʃəl ˌrivˈju ˌriˈpɔrtəd ˈmɪstər ˈmɔrɪsən wɑz pərˈpɛrɪŋ tɪ əˈbændən ðiz kəts ˌbiˈfɔr ðə meɪ ˈbəʤɪt ʃʊd ðə ˈsɛnɪt ˈriʤɛkt ðɛm əˈgɛn, ɛz ɪz ænˈtɪsəˌpeɪtɪd, ənd ˌriˈpleɪs ðə ˈrɛvəˌnu wɪθ tæks haɪks ər ˈspɛndɪŋ kəts ˈɛlsˌwɛr. "wi wɪl hæv tɪ freɪm ə ˈbəʤɪt ðət dilz wɪθ ðɛr ˈəltəmət dɪˈsɪʒən," hi sɛd. ðə dɪˈsɪʒən tɪ dɪʧ ðə "ˈzɑmbi ˈmɛʒərz" ɪz pɑrt əv ə ˈmeɪʤər ˈpɑləsi ˈrisɛt ɪn wɪʧ ðə ˌkoʊəˈlɪʃən wʊd əˈbændən ðə ˈmɛʒərz ðət hæv kɔzd kənˈsɪdərəbəl pəˈlɪtɪkəl ˈdæmɪʤ sɪns ˈtoʊni ˈæbəts noʊˈtɔriəs fərst ˈbəʤɪt. sɔrs: ˈgrætən ˈɪnstɪˌtut ˈrisərʧ: fiˈoʊnə ˌɪnərˈæktɪv: lɛs hjuɪt 6 2 nɛkst pɔl ˈkitɪŋ ˌɪntrəˈdust ə tæks ɔn ˈkæpɪtəl geɪnz ɪn 1985 ˌbiˈfɔr ðɛn, ðɛr wɑz noʊ ˈʤɛnərəl tæks ɔn ˈkæpɪtəl geɪnz ɪn ɔˈstreɪljə. ənˈtɪl 1999 ril ˈkæpɪtəl geɪnz, əˈʤəstɪd fər ˌɪnˈfleɪʃən, wər tækst æt ˈpərsɪnəl reɪts. ʤɑn haʊərd, ədˈvaɪzd baɪ ˈbɪznɪsˌmæn ʤɑn rælf, əˈbɑlɪʃt ˈɪnˌdɛkˈseɪʃən əv ˈkæpɪtəl geɪnz, ɪn 1999 ənd ˌriˈpleɪst ɪt wɪθ ə kənˈsɛʃən tɪ tæks 50 pər sɛnt əv ˈkæpɪtəl geɪnz, tɪ ɪnˈkərəʤ ˈgreɪtər ˌɪnˈvɛstmənt ɪn ““innovative*, companies”*”. 4 ə ʃɔrt ˈhɪstəri əv ðə ˈkæpɪtəl geɪnz tæks 1 5 bɑb hɔk pɔl ˈkitɪŋ ɪn 1985 3 ðiz ˈʧeɪnʤɪz ˌɪnˈkrist ðə əˈtræktɪvnəs əv ˈnɛgətɪv ˈgɪrɪŋ ənd sɪns ðeɪ ˈstɑrtɪd, ɪn 1999 ðə ˈnəmbər əv ˈpipəl ˈmeɪkɪŋ ˈlɔsɪz ɔn ˌrɛzɪˈdɛnʃəl ˈprɑpərti həz ˈdəbəld. ˈpriviəs nɛt rɛnts hæv bɪn ˈnɛgətɪv sɪns ðə ˌɪntrəˈdəkʃən əv ðə ˈdɪskaʊnt. moʊst ˈkæpɪtəl geɪnz ər ərnd baɪ ðoʊz ɔn haɪər ˈɪnˌkəmz. ðə 50 pər sɛnt ˈdɪskaʊnt ɔn ˈnɑmənəl ˈkæpɪtəl geɪnz kən dɪˈstɔrt ˌɪnˈvɛstər bɪˈheɪvjər, ˌpɑrˈtɪkjələrli æt ə taɪm əv ˈræpɪd ˈkæpɪtəl geɪnz. səbˈmɪʃən, ˈɔgəst 2015 ˈkæpɪtəl geɪnz tæks kənˈsɛʃənz fər ˈæˌsɛts hɛld ˈlɔŋgər ðən ə jɪr prəˈvaɪd ˌɪnˈsɪnɪvz tɪ ˌɪnˈvɛst ɪn ˈæˌsɛts fər wɪʧ ænˈtɪsəˌpeɪtɪd ˈkæpɪtəl geɪnz ər ə ˈlɑrʤər kəmˈpoʊnənt əv rɪˈtərnz. rɪˈdusɪŋ ðiz kənˈsɛʃənz wʊd lɛd tɪ ə mɔr ɪˈfɪʃənt ˌæləˈkeɪʃən əv ˈfəndɪŋ ɪn ðə ɪˈkɑnəmi. ˈdeɪvɪd ˌfaɪˈnænʃəl ˈsɪstəm ˌrivˈju, 2014 aɪ si ˈɛni ˈrizən fər ˈtritɪŋ ˈkæpɪtəl geɪnz ˈɛni ˈdɪfərənt frəm ˈɪnˌkəm tæks. ˈfɔrmər ˈprɛzɪdənt ˈtoʊni ˈʃɛpərd, ʤun 2015 ɪt ɪz ˈbrɔdli ækˈsɛptɪd ðət ðə ˈkæpɪtəl geɪnz tæks ˈdɪskaʊnt ɪz tu haɪ ˌɪnˈvɛstər ˈɪntəˌrɛst ɪn ˈprɑpərti həz bɪn əˈspɛʃəli strɔŋ ɪn ˈrisənt jɪrz, noʊ daʊt ˈpɑrtli ɪnˈkərəʤd baɪ loʊ ˈɪntəˌrɛst reɪts ənd ðə ˈprɑspɛkt əv tækst] ˈkæpɪtəl geɪnz. əˈsɪstənt ˈgəvərnər ˈɛlɪs, ˈɔgəst 2015 tæks ˈʧeɪnʤɪz ðət maɪt ˈoʊnli dræg daʊn haʊs ˈpraɪsɪz baɪ 1 ər 2 pər sɛnt ʃʊd bi pʊt ɪn pərˈspɛktɪv. haʊs ˈpraɪsɪz hæv groʊn ˈænjuəli baɪ ən ˈævərɪʤ əv pər sɛnt sɪns 1999 ˈgrætən ˈɪnstɪˌtut, 2016 əˈkɔrdɪŋ tɪ ðə ˈgrætən ˈɪnstɪˌtut, rɪˈdusɪŋ ðə ˈkæpɪtəl geɪnz tæks ˈdɪskaʊnt tɪ 25 pər sɛnt, kʊd reɪz əˈbaʊt ˈbɪljən ə jɪr, ənd wʊd hæv ə ˈmaɪnər ˌɪmˈpækt ɔn haʊs ˈpraɪsɪz. sɔrs: ˈgrætən ˈɪnstɪˌtut ˈrisərʧ: fiˈoʊnə ˌɪnərˈæktɪv: lɛs hjuɪt ə ʃɔrt ˈhɪstəri əv ðə ɔˈstreɪljən ˌfaɪˈnænʃəl ˌrivˈju ˌɪnərˈæktɪv ˌɪnərˈæktɪv baɪ lɛs hjuɪt ˈəpˈsaɪd əv ˈəpɪŋ tæks ˈʧɑrtɪŋ ə nu pæθ, ənd ˈivɪn əˈdɑptɪŋ səm əv ˈleɪbərz tæks prəˈpoʊzəlz, səʧ ɛz ə kənˈsɛʃən ˈkrækˌdaʊn, wʊd ˈsɛvər lɪŋks wɪθ ðə ˌənˈpɑpjələr ˈrɛmnənts əv ðə ˈæbət ˈɪrə ənd ˈlɪmət ðə laɪnz əv əˈtæk fər ðə ˌɑpəˈzɪʃən, wɪʧ həz əˈkjuzd ðə ˈgəvərnmənt əv ˈhərtɪŋ ˈfæməliz ənd traɪɪŋ tɪ fɔɪst dɪˈgriz ɔn ˌjunəˈvərsəti ˈstudənts. ˌædvərˈtaɪzmənt ðə ˈgəvərnmənt wɑz ˌɪnˈsɪstɪŋ ˈjɛstərˌdeɪ ðət ɪt hæd nɑt jɛt ˈgɪvɪn əp ɔn ðə ˈzɑmbi ˈseɪvɪŋz ənd wɑz ˈhoʊpfəl əv ˈpæsɪŋ æt list səm əv ðə ˈmɛʒərz ɪn ðə ˈɑmnəbəs bɪl ˌbiˈfɔr ˈpɑrləmɛnt roʊz æt ðə ɛnd əv mɑrʧ, ðə læst ˈsɪtɪŋ ˌbiˈfɔr ðə meɪ 9 ˈbəʤɪt. "ðeɪ stɪl hæv wiks ənd wiks tɪ θɪŋk əˈbaʊt ðɪs..." ˈmɪstər ˈmɔrɪsən sɛd. "ðə ˈleɪbər ˈpɑrti ər seɪɪŋ 'noʊ', ðeɪ θɪŋk wi ʃʊd bi peɪɪŋ mɔr ənd mɔr ɪn ˈwɛlˌfɛr ənd ˈsɛndɪŋ ðə bɪl tɪ ɑr kɪdz." ðə ˈtrɛʒərər strɛst hi wɑz rɪˈləktənt tɪ ˌɪnˈkris ˈtæksɪz bət ɪf ðə ˈseɪvɪŋz wər blɑkt, ðə ˈoʊnli ˈɔpʃənz wər ˌɪnˈkrisɪŋ ˈtæksɪz ər goʊɪŋ ˈfərðər ˈɪntu dɛt. "aɪ hæv noʊ dɪˈzaɪər tɪ ˌɪnˈkris ˈtæksɪz ər ˌɪnˈkris dɛt..." hi sɛd. aɪərn ɔr ˈwɪndˌfɔl tu ˌənrɪˈlaɪəbəl ˈmɪstər ˈmɔrɪsən sɛd hi wɑz "duɪŋ ˈɛvriˌθɪŋ aɪ kən tɪ əˈvɔɪd ðoʊz ˈɔpʃənz biɪŋ ˈkɑntəmˌpleɪtɪd". dɪˈspaɪt ən ɪkˈspɛktɪd ˈrɛvəˌnu ˈwɪndˌfɔl frəm ə spaɪk ɪn ðə aɪərn ɔr praɪs, ˈmɪstər ˈmɔrɪsən sɛd ɪt wɑz tu ˈvɑlətəl tɪ bi rɪˈlaɪd əˈpɑn ənd ˈbəʤɪt rɪˈpɛr hæd tɪ ˌɪnˈvɑlv səˈsteɪnəbəl, ˈstrəkʧərəl ˈmɛʒərz. praɪm ˈmɪnɪstər ˈmælkəm ˈtərnˌbʊl əˈgrid haɪər ˈtæksɪz wʊd hæv tɪ bi kənˈsɪdərd ɪf ðə ˈsɛnɪt kənˈtɪnjud tɪ blɑk ðə kəts. "ðoʊz hu əˈpoʊz ˈseɪvɪŋz ˈmɛʒərz baɪ ˌdɛfəˈnɪʃən ər səˈpɔrtɪŋ tæks ˌɪnˈkrisɪz, ɪf ju əˈsum ðət ðeɪ wɔnt tɪ brɪŋ ðə ˈbəʤɪt bæk ˈɪntu ˈbæləns," hi sɛd. ˈleɪbər ˈlidər bɪl ˈʃɔrtən sɛd ðə ˈgəvərnmənt ʃʊd skræp ɪts 50 ˈbɪljən ɪn ˈkəmpəˌni tæks kəts, ˈrəðər ðən ˌɪmˈpoʊz nu ˈtæksɪz ɔn ˈpipəl tɪ peɪ fər ðə dəmpt ˈbəʤɪt ˈmɛʒərz. ˌædvərˈtaɪzmənt ðə ˈgəvərnmənt həz meɪd ðə kɔst əv ˈlɪvɪŋ ɪts ˈfoʊkɪs fər ðə jɪr ənd, əˈlɔŋˈsaɪd ˈɛnərʤi kɔsts ənd ˈʧaɪldˌkɛr, ˈhaʊzɪŋ əˌfɔrdəˈbɪləti wɪl bi ə praɪˈɔrəti. ɪˈkɑnəmɪsts hæv ˈfrikwɛntli ˈɑrgjud ðət ˈkərbɪŋ ðə kənˈsɛʃən wʊd bi mɔr ˈifɛktɪv ðən ˈtəʧɪŋ ˈnɛgətɪv ˈgɪrɪŋ. ɪn ə səbˈmɪʃən tɪ ə ˌpɑrləˈmɛntəri ˌɪnkˈwaɪˌri ˈɪntu ˈhaʊzɪŋ əˌfɔrdəˈbɪləti ɪn 2015 ðə rɪˈzərv bæŋk əv ɔˈstreɪljə ˈɔlsoʊ ˈfoʊkɪst ɔn ðə kənˈsɛʃən ɛz ðə meɪn ˈvɪlən. ˈnɛgətɪv ˈgɪrɪŋ ðə ˈɑrgjud ðət ˈnɛgətɪv ˈgɪrɪŋ ðə əˈbɪləˌti tɪ dɪˈdəkt ləˈʤɪtəmət ɪkˈspɛnsɪz ˌɪnˈkərd ɪn ðə kɔrs əv ˈərnɪŋ ˈɪnˌkəm wɑz "ən ˌɪmˈpɔrtənt ˈprɪnsəpəl ɪn ɔˈstreɪljəz tækˈseɪʃən ˈsɪstəm, ənd ˈɪntəˌrɛst ˈpeɪmənts ər noʊ ɪkˈsɛpʃən tɪ ðɪs". "ɪt ɪz wərθ ˈnoʊtɪŋ, ˌhaʊˈɛvər, ðət ðə ˌɪnərˈækʃən əv ˈnɛgətɪv ˈgɪrɪŋ wɪθ ˈəðər pɑrts əv ðə tækˈseɪʃən ˈsɪstəm meɪ hæv ðə ˈifɛkt əv ɪnˈkərəʤɪŋ ˈlɛvərɪʤd ˌɪnˈvɛstmənt ɪn ˈprɑpərti," ɪt sɛd. "ɪn ˌpɑˈtɪkjələr, ðə swɪʧ ɪn 1999 frəm ˈkælkjəˌleɪtɪŋ æt ðə fʊl ˈmɑrʤənəl reɪt ɔn ðə ril geɪn tɪ ˈkælkjəˌleɪtɪŋ ɪt ɛz hæf ðə ˈtækˌspeɪərz ˈmɑrʤənəl reɪt ɔn ðə ˈnɑmənəl geɪn rɪˈzəltɪd ɪn ˈkæpɪtəl ˈæˌsɛts biɪŋ mɔr əˈtræktɪv ðən ˈæˌsɛts fər səm ˌkɑmbəˈneɪʃənz əv tæks reɪts, groʊs rɪˈtərnz ənd ˌɪnˈfleɪʃən. "ðɪs ˈifɛkt ɪz ˈæmpləˌfaɪd ɪf ðə ˈæˌsɛt kən bi ˈpərʧəst wɪθ ˈlɛvərɪʤ, bɪˈkəz ðə ˈɪntəˌrɛst dɪˈdəkʃənz ər ˈkælkjəˌleɪtɪd æt ðə fʊl ˈmɑrʤənəl reɪt waɪl ðə ˈsəbsəkwənt ˈkæpɪtəl geɪnz ər tækst æt hæf ðə ˈmɑrʤənəl reɪt. sɪns ˈprɑpərti kən ˈjuʒəwəli bi ˈpərʧəst ˈjuzɪŋ haɪər ˈlɛvərɪʤ ðən ˈəðər ˈæˌsɛts ðət ˈproʊdus ˈkæpɪtəl geɪnz, ˈprɑpərti ɪz əˈspɛʃəli əˈfɛktɪd baɪ ðɪs ˈfiʧər əv ðə tæks ˈsɪstəm." ɔn ˈmənˌdeɪ, ˈleɪbər muvd ə ˈmoʊʃən ɪn ˈpɑrləmɛnt dɪˈmændɪŋ ðə ˈgəvərnmənt əˈdɑpt ɪts ˈpɑləsiz ɔn ˈnɛgətɪv ˈgɪrɪŋ ənd. ˈʃæˌdoʊ ˈtrɛʒərər krɪs boʊən sɛd ðə ˈhaʊzɪŋ əˌfɔrdəˈbɪləti ˈkraɪsəs hæd ˈwərsənd ˈdʊrɪŋ ðə pæst jɪr ˈəndər ˈmɪstər ˈlidərˌʃɪp, wɪθ haʊs ˈpraɪsɪz ˌɪnˈkrisɪŋ 16 pər sɛnt ɪn ˈsɪdni ənd 12 pər sɛnt ɪn ˈmɛlbərn.
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tax increases
the development comes as treasurer scott morrison and social services minister christian porter have threatened tax increases and spending cuts to recoup up to $13 billion in budget cuts that have been marooned in the senate, mostly since the 2014 budget, and which have scant hope of passing.
the so-called "zombie" measures are predominantly the $6 billion in cuts to welfare, as bundled together in the budget omnibus bill before parliament, and about $7 billion in cuts to higher education.
on tuesday, the australian financial review reported mr morrison was preparing to abandon these cuts before the may budget should the senate reject them again, as is anticipated, and replace the revenue with tax hikes or spending cuts elsewhere. "we will have to frame a budget that deals with their ultimate decision," he said.
the decision to ditch the "zombie measures" is part of a major policy reset in which the coalition would abandon the measures that have caused considerable political damage since tony abbott's notorious first budget.
source: grattan institute | research: fiona buffini | interactive: les hewitt 6 2 next paul keating introduced a tax on capital gains in 1985. before then, there was no general tax on capital gains in australia. until 1999, real capital gains, adjusted for inflation, were taxed at personal rates. john howard, advised by businessman john ralph, abolished indexation of capital gains, in 1999, and replaced it with a concession to tax 50 per cent of capital gains, to encourage greater investment in “innovative, high-growth companies”. 4 a short history of the capital gains tax 1 5 bob hawke & paul keating in 1985 3 these changes increased the attractiveness of negative gearing and since they started, in 1999, the number of people making losses on residential property has doubled. previous net rents have been negative since the introduction of the cgt discount. most capital gains are earned by those on higher incomes. the 50 per cent discount on nominal capital gains can distort investor behaviour, particularly at a time of rapid capital gains. bca submission, august 2015 capital gains tax concessions for assets held longer than a year provide incentives to invest in assets for which anticipated capital gains are a larger component of returns. reducing these concessions would lead to a more efficient allocation of funding in the economy. david murray’s financial system review, 2014 i can’t see any reason for treating capital gains any different from income tax. former bca president tony shepherd, june 2015 it is broadly accepted that the capital gains tax discount is too high investor interest in property has been especially strong in recent years, no doubt partly encouraged by low interest rates and the prospect of [concessionally taxed] capital gains. rba assistant governor luci ellis, august 2015 tax changes that might only drag down house prices by 1 or 2 per cent should be put in perspective. house prices have grown annually by an average of 7.3 per cent since 1999. grattan institute, 2016 according to the grattan institute, reducing the capital gains tax discount to 25 per cent, could raise about $3.7 billion a year, and would have a minor impact on house prices. source: grattan institute research: fiona buffini interactive: les hewitt a short history of the cgt australian financial review interactive infographic interactive infographic by les hewitt
upside of upping tax
charting a new path, and even adopting some of labor's tax proposals, such as a cgt concession crackdown, would sever links with the unpopular remnants of the abbott era and limit the lines of attack for the opposition, which has accused the government of hurting families and trying to foist $100,000 degrees on university students.
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the government was insisting yesterday that it had not yet given up on the zombie savings and was hopeful of passing at least some of the measures in the omnibus bill before parliament rose at the end of march, the last sitting before the may 9 budget.
"they still have weeks and weeks to think about this..." mr morrison said. "the labor party are saying 'no', they think we should be paying more and more in welfare and sending the bill to our kids."
the treasurer stressed he was reluctant to increase taxes but if the savings were blocked, the only options were increasing taxes or going further into debt. "i have no desire to increase taxes or increase debt..." he said.
iron ore windfall too unreliable
mr morrison said he was "doing everything i can to avoid those options being contemplated". despite an expected revenue windfall from a spike in the iron ore price, mr morrison said it was too volatile to be relied upon and budget repair had to involve sustainable, structural measures.
prime minister malcolm turnbull agreed higher taxes would have to be considered if the senate continued to block the cuts.
"those who oppose savings measures by definition are supporting tax increases, if you assume that they want to bring the budget back into balance," he said.
labor leader bill shorten said the government should scrap its $50 billion in company tax cuts, rather than impose new taxes on people to pay for the dumped budget measures.
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the government has made the cost of living its focus for the year and, alongside energy costs and childcare, housing affordability will be a priority.
economists have frequently argued that curbing the cgt concession would be more effective than touching negative gearing. in a submission to a parliamentary inquiry into housing affordability in 2015, the reserve bank of australia also focused on the cgt concession as the main villain.
negative gearing
the rba argued that negative gearing – the ability to deduct legitimate expenses incurred in the course of earning income – was "an important principle in australia's taxation system, and interest payments are no exception to this".
"it is worth noting, however, that the interaction of negative gearing with other parts of the taxation system may have the effect of encouraging leveraged investment in property," it said.
"in particular, the switch in 1999 from calculating cgt at the full marginal rate on the real gain to calculating it as half the taxpayer's marginal rate on the nominal gain resulted in capital gain-producing assets being more attractive than income-producing assets for some combinations of tax rates, gross returns and inflation.
"this effect is amplified if the asset can be purchased with leverage, because the interest deductions are calculated at the full marginal rate while the subsequent capital gains are taxed at half the marginal rate. since property can usually be purchased using higher leverage than other assets that produce capital gains, property is especially affected by this feature of the tax system."
on monday, labor moved a motion in parliament demanding the government adopt its policies on negative gearing and cgt. shadow treasurer chris bowen said the housing affordability crisis had worsened during the past year under mr turnbull's leadership, with house prices increasing 16 per cent in sydney and 12 per cent in melbourne.
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[ˈʤʊrɪst] ðə nəˈvɑdə səˈprim kɔrt [əˈfɪʃəl ˈwɛbˌsaɪt] ɔn ˈθərzˌdeɪ ruld [əˈpɪnjən, pdf*] ðət ˌɪmˈplaɪd kənˈsɛnt lɔ [tɛkst], wɪʧ əˈlaʊz pəˈlis ˈɔfɪsərz tɪ teɪk bləd ˈsæmpəlz əv ˈmoʊtərɪsts tɪ dɪˈtərmən ˌɪmˈpɛrmənt, ɪz ˌənˌkɑnstəˈtuʃənəl. ðə keɪs ˌɪnˈvɑlvd ə mæn neɪmd ˈmaɪkəl baɪərz hu wɑz stɑpt baɪ steɪt ˈtrupərz fər ˈdraɪvɪŋ ˈəndər ðə ˈɪnfluəns əv ə kənˈtroʊld ˈsəbstəns. əˈpɑn kˈwɛsʧənɪŋ ðə ˈsəˌspɛkt ðə ˈɔfɪsərz dɪˈtɛktɪd ðə smɛl əv ˌmɛrəˈwɑnə ənd ərˈɛstɪd baɪərz, hu wɑz ˈleɪtər ˈsəbʤɪkt tɪ bləd ˈtɛstɪŋ əˈlaʊd baɪ ˌɪmˈplaɪd kənˈsɛnt lɔ. ðə nəˈvɑdə səˈprim kɔrt ruld ðət ðə ˌɪmˈplaɪd kənˈsɛnt rul ɛz juzd wɪˈθɪn ðə keɪs wɑz ˌənˌkɑnstəˈtuʃənəl bɪˈkəz ðə ˈwɔrəntləs sərʧ ˈvaɪəleɪtɪd ðə fɔrθ əˈmɛndmənt [tɛkst]. ˌhaʊˈɛvər, ðə ˈɛvədəns faʊnd θru ðə bləd ˈtɛstɪŋ wɑz nɑt səˈprɛst baɪ juz əv ðə ɪkˈskluʒəˌnɛri rul bɪˈkəz ðə kɔrt faʊnd ðə ˈɔfɪsərz ˈæktɪd ɪn gʊd feɪθ. ðə nəˈvɑdə səˈprim kɔrt rɪˈlaɪd ɔn ðə ˈjuˈɛs səˈprim kɔrt [əˈfɪʃəl ˈwɛbˌsaɪt] dɪˈsɪʒən məˈzʊri vi. məkˈnili backgrounder*] wɪʧ hɛld ðət ðə fɔrθ əˈmɛndmənt meɪ ˌrikˈwaɪər ə ˈwɔrənt [ˈʤʊrɪst rɪˈpɔrt] fər ə bləd tɛst ɪn ə dɪˈvaɪdɪd kɔrt ˈəltəmətli hɛld ðət ˌɪnˌvɛstəˈgeɪʃənz, ðə ˈnæʧərəl ˌdɪsɪˈpeɪʃən əv ˈælkəˌhɑl ɪn ðə ˈblədˌstrim dɪz nɑt ˈkɑnstəˌtut ən ˌɛkˈsɪʤənsi ɪn ˈɛvəri keɪs səˈfɪʃənt tɪ ˈʤəstəˌfaɪ ə bləd tɛst wɪˈθaʊt ə warrant.”*.” læst jɪr ðə ˌmɪnɪˈsoʊtə səˈprim kɔrt əˈphɛld [ˈʤʊrɪst rɪˈpɔrt] ðə ˈdraɪvɪŋ waɪl ˌɪnˈtɑksɪˌkeɪtɪd ˌɪmˈplaɪd kənˈsɛnt lɔ, ˈrulɪŋ ɪt ɪz ˌkɑnstəˈtuʃənəl ˈəndər ðə fɔrθ əˈmɛndmənt. ɪn laɪt əv ˈrisənt fɔrθ əˈmɛndmənt ˈkeɪsɪz, səm ˈligəl ˈkɑmənˌteɪtərz hæv ˈɑrgjud [ˈʤʊrɪst op-ed*] ðət ˌɪnˈvɛstəˌgeɪtɪv tɛkˈniks hæv ɪˈroʊdɪd ðə raɪts ɛnˈkəmpəst ɪn ðə fɔrθ əˈmɛndmənt.
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[jurist] the nevada supreme court [official website] on thursday ruled [opinion, pdf] that nevada’s implied consent law [text], which allows police officers to take blood samples of motorists to determine impairment, is unconstitutional. the case involved a man named michael byars who was stopped by state troopers for driving under the influence of a controlled substance. upon questioning the suspect the officers detected the smell of marijuana and arrested byars, who was later subject to blood testing allowed by nevada’s implied consent law. the nevada supreme court ruled that the implied consent rule as used within the case was unconstitutional because the warrantless search violated the fourth amendment [text]. however, the evidence found through the blood testing was not suppressed by use of the exclusionary rule because the court found the officers acted in good faith.
the nevada supreme court relied on the us supreme court [official website] decision missouri v. mcneely [scotusblog backgrounder] which held that the fourth amendment may require a warrant [jurist report] for a blood test in a drunk-driving investigation.the divided court ultimately held that “in drunk-driving investigations, the natural dissipation of alcohol in the bloodstream does not constitute an exigency in every case sufficient to justify a blood test without a warrant.” last year the minnesota supreme court upheld [jurist report] the state’s driving while intoxicated implied consent law, ruling it is constitutional under the fourth amendment. in light of recent fourth amendment cases, some legal commentators have argued [jurist op-ed] that investigative techniques have eroded the rights encompassed in the fourth amendment.
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ðə ˈhæbət əv ˈɔlˌweɪz ˈhævɪŋ ə ˈnoʊtˌbʊk wɪθ ju ɪz ˈlɪstɪd əˈməŋ ðə ˈhæbəts ðət hæv ðə moʊst proʊˈfaʊnd ˌɪmˈpækt ɔn jʊr ɪˈfɪʃənsi ənd səkˈsɛs. ðə ˈhaɪli pərˈdəktɪv ˈpipəl ənd ˈguˌruz əv taɪm ˈmænɪʤmənt ˈɛmfəˌsaɪz ðə ˌɪmˈpɔrtəns əv dɪˈvɛləpɪŋ ə ˈhæbət tɪ hæv ə pleɪs wɛr ju kən hænd raɪt ðə θɪŋz ðət hɛlp ju əˈkɑmplɪʃ jʊr goʊlz ˈfæstər ənd ɪn ə mɔr ˈifɛktɪv weɪ. frəm ˈɛrəˌstɑtəl oʊˈnɑsɪs tɪ ˈrɪʧərd ˈbrænsən ənd ˈwɔrən ˈbəfət, ðə ˈprɑmənənt ˈlidərz ɪmˈplɔɪd ðə ˈhæbət əv ˈkipɪŋ ə ˈʤərnəl. bət waɪ ɪz ɪt soʊ ˈkruʃəl tɪ hæv ə pleɪs tɪ raɪt ˈsəmθɪŋ daʊn ɪn? aɪˈdiəz ˈimərʤ æt ɑd taɪmz. ju ˈkænɑt kənˈtroʊl ðə taɪm wɪn ðə aɪˈdiəz pɑp əp ɪn jʊr maɪnd. ɪt kən ˈhæpən ˈɛniˌtaɪm, ɪn ˈɛni ˌsɪʧuˈeɪʃən, ɪn ˈɛni pleɪs. ðeɪ ˈimərʤ wɪˈθaʊt ˈɛni ˈskɛʤʊl. mɔˈroʊvər, ðeɪ tɛnd tɪ ɪˈvæpərˌeɪt kˈwɪkli. ɪf ju hæv ən aɪˈdiə ðət ɪz wərθ kənˈsɪdərɪŋ ənd simz tɪ bi greɪt, ju wʊd ˈrəðər raɪt ɪt daʊn. ˈəðərˌwaɪz, ju rɪsk ˈluzɪŋ ɪt fərˈɛvər. ɪf ju du nɑt ˈkæpʧər ɪt, ə fju ˈmɪnəts ˈleɪtər ju wɪl nɑt ˈriˌkɔl ɪt. ɪt wɪl bi gɔn. ðə ˌɑpərˈtunəti tɪ rɪˈflɛkt. əˈkɔrdɪŋ tɪ ə ˈwərkɪŋ ˈpeɪpər frəm ˈhɑrvərd ˈbɪznɪs skul, ˈsɛtɪŋ əˈsaɪd 15 ˈmɪnəts tɪ rɪˈflɛkt æt ðə ɛnd əv ðə ˈwərkˌdeɪ kən bust jʊr pərˈfɔrməns ənd ˌɪmˈpækt ˈpɑzətɪvli jʊr kərɪr ənd ˈbɪznɪs səkˈsɛs. ˈpipəl hu kip ˈʤərnəlz fil mɔr ˈkɑnfədənt ðət ðeɪ kən əˈʧiv θɪŋz. ɛz ə rɪˈzəlt, ðeɪ pʊt mɔr ˈɛfərt ˈɪntu wət duɪŋ ənd wət ðeɪ lərn. ˈraɪtɪŋ ˈstrəkʧərz jʊr θɔts. ðə θɔts ənd aɪˈdiəz tɛnd tɪ steɪ ɪn ə keɪˈɑtɪk ˈɔrdər ɪn jʊr maɪnd. ɪt meɪks ˈdɪfəkəlt tɪ boʊθ ˈdaɪʤɛst ənd ɪkˈsprɛs ðɛm. ðə θɪŋ əˈbaʊt kənˈsɪstənt ɪz ðət ɪt ɪz nɑt ʤɪst ðə ækt əv ˈprɑsɛsɪŋ jʊr θɔts. ɪt ɪz ðə ækt əv ˈɔrgəˌnaɪzɪŋ ənd ˈʃeɪpɪŋ ðɛm. ˈraɪtɪŋ dɪz nɑt əˈlaʊ fər ˈræmbəlɪŋ wərdz. ɪt hɛlps ju kənˈveɪ jʊr θɔts ɪn ə ˈmænər. ju ʃʊd nɑt kip ˈɛvriˌθɪŋ ɪn maɪnd. ˈivɪn ɪf ju hæv ə greɪt ˈmɛməri, du nɑt rɪˈlaɪ tu ˈhɛvəli ɔn ɪt. ðə ˈdələst ˈpɛnsəl ɪz ˈbɛtər ðən ðə ˈstrɔŋgəst ˈmɛməri. ˈnidləs tɪ seɪ, ðət ju ˈkænɑt rɪˈmɛmbər ˈɛvriˌθɪŋ. ðə gʊd θɪŋ ɪz ðət ju du nɑt nid tɪ. ˈɛvriˌθɪŋ: ðə kwoʊts ðət kip ju goʊɪŋ, ˈmitɪŋ noʊts, ˈflitɪŋ θɔts, ˈbɪznɪs aɪˈdiəz, ˈskɛʧɪz fər ən ˈəpˌkəmɪŋ ˈprɑʤɛkt, ənd məʧ mɔr. ˈnoʊtˌbʊks ər rɪˈlaɪəbəl. ðə ˌoʊldˈfæʃənd, pleɪn ənd ˈizi tɪ juz tul fər ˈkipɪŋ ðə ˌɪnˌfɔrˈmeɪʃən həz pruvd tɪ bi ðə moʊst rɪˈlaɪəbəl tul ˈiðər. ðə θɪŋz ju roʊt daʊn wəns ər nɑt goʊɪŋ tɪ ˌdɪsəˈpɪr bɪˈkəz əv ˈsərvər ˈɛrərz ər læk əv ˈmɛməri ɔn ðə hɑrd draɪv. ənˈlɛs ju luz ðə θɪŋz ˈizəli, jʊr ˈnoʊtˌbʊk wɪl bɪˈkəm ðə ˈseɪfəst pleɪs fər ˈkipɪŋ jʊr aɪˈdiəz ənd plænz. ˈfɑstərz ˈlərnɪŋ. wɪn ɪt kəmz tɪ ˈraɪtɪŋ baɪ hænd, ðə breɪn əˈpɪrz ɪnˈgeɪʤd ɪn ˈlərnɪŋ. ðə ˈrisənt ˈrisərʧ ˈɛmfəˌsaɪzd ðət ðɛr ɪz ə juˈnik riˈleɪʃənˌʃɪp wɪθ ðə breɪn wɪn ɪt kəmz tɪ kəmˈpoʊzɪŋ θɔts ənd aɪˈdiəz. ˌbiˈsaɪdz, fər ˈvɪʒəwəl ˈθɪŋkərz 65 əv ˈpipəl) ɪt ɪz ˈkruʃəl tɪ pɔrˈtreɪ ðɛr plænz, aɪˈdiəz, ənd θɔts. ɪt hɛlps tɪ hæv ə klɪr ˈvɪʒən əv ðə θɪŋz ðət ˈmætər ənd əbˈzɔrb ˌɪnˌfɔrˈmeɪʃən ˈbɛtər. ˈnoʊtˌbʊks ɪz wɛr aɪˈdiəz groʊ. aɪˈdiəz du noʊ əˈpɪr ˈfʊli fɔrmd. jʊr ˈnoʊtˌbʊk ɪz ə ˈfeɪvərəbəl ɪnˈvaɪrənmənt fər jʊr ˌkrieɪˈtɪvəti ənd ˌɪˌmæʤəˈneɪʃən. ðət ɪz wɛr jʊr aɪˈdiəz flərɪʃ. ðət ɪz wɛr ə ˈfərtəl graʊnd fər jʊr kriˈeɪtɪv sidz ɪz. ðət ɪz wɛr ðə ˈɔrdəˌnɛri θɔts ɪˈvɑlv ˈɪntu ˈgraʊnˌbreɪkɪŋ əˈpɪnjənz. ðət ɪz wɛr jʊr laɪf ɪz biɪŋ əreɪnʤd ənd pʊt ɪn ˈɔrdər. ˈplænɪŋ ɪz ə ki. jʊr ˈnoʊtˌbʊk ɪz nɑt ˈoʊnli ðə pleɪs tɪ kip jʊr aɪˈdiəz ənd ˈflitɪŋ θɔts æt. ɪt ɪz ˈɔlsoʊ ə ˈkænvəs əv jʊr ˈɛvriˈdeɪ laɪf. ˈfloʊtɪŋ əˈlɔŋ ɪn noʊ ˌpɑˈtɪkjələr ˈɔrdər ənd ˈfrikwɛntli duɪŋ ðə θɪŋz ðət du nɑt teɪk ju ˈkloʊzər tɪ jʊr ˌæspərˈeɪʃənz ɪz ə weɪst əv taɪm. ˈminˌwaɪl, ˈhævɪŋ ə ˈbluˌprɪnt əv ðə nɛkst deɪ ɪz ə strɔŋ priˈrɛkwəzət fər pərˈdəktɪv wərk. ə ˈʤərnəl ɪz ə greɪt pleɪs tɪ kip jʊr ˈskɛʤʊl ðət meɪks jʊr laɪf məʧ lɛs ˈtərbjələnt ənd keɪˈɑtɪk bət ˈrəðər mɔr ˈminɪŋfəl ənd ˈɔrgəˌnaɪzd.
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the habit of always having a notebook with you is listed among the habits that have the most profound impact on your efficiency and success.
the highly productive people and gurus of time management emphasize the importance of developing a habit to have a place where you can hand write the things that help you accomplish your goals faster and in a more effective way.
from aristotle onassis to richard branson and warren buffet, the prominent leaders employed the habit of keeping a journal.
but why is it so crucial to have a place to write something down in?
ideas emerge at odd times. you cannot control the time when the ideas pop up in your mind. it can happen anytime, in any situation, in any place. they emerge without any schedule. moreover, they tend to evaporate quickly. if you have an idea that is worth considering and seems to be great, you would rather write it down. otherwise, you risk losing it forever. if you do not capture it, a few minutes later you will not recall it. it will be gone.
the opportunity to reflect. according to a working paper from harvard business school, setting aside 15 minutes to reflect at the end of the workday can boost your performance and impact positively your career and business success. people who keep journals feel more confident that they can achieve things. as a result, they put more effort into what they’re doing and what they learn.
writing structures your thoughts. the thoughts and ideas tend to stay in a chaotic order in your mind. it makes difficult to both digest and express them. the thing about consistent journaling is that it is not just the act of processing your thoughts. it is the act of organizing and shaping them. writing does not allow for rambling words. it helps you convey your thoughts in a well-structured manner.
you should not keep everything in mind. even if you have a great memory, do not rely too heavily on it. the dullest pencil is better than the strongest memory. needless to say, that you cannot remember everything. the good thing is that you do not need to. hand-write everything: the quotes that keep you going, meeting notes, fleeting thoughts, business ideas, sketches for an upcoming project, and much more.
notebooks are reliable. the old-fashioned, plain and easy to use tool for keeping the information has proved to be the most reliable tool either. the things you wrote down once are not going to disappear because of server errors or lack of memory on the hard drive. unless you lose the things easily, your notebook will become the safest place for keeping your ideas and plans.
journaling fosters learning. when it comes to writing by hand, the brain appears engaged in learning. the recent research emphasized that there is a hand’s unique relationship with the brain when it comes to composing thoughts and ideas. besides, for visual thinkers (65% of people) it is crucial to portray their plans, ideas, and thoughts. it helps to have a clear vision of the things that matter and absorb information better.
notebooks is where ideas grow. ideas do no appear fully formed. your notebook is a favorable environment for your creativity and imagination. that is where your ideas flourish. that is where a fertile ground for your creative seeds is. that is where the ordinary thoughts evolve into groundbreaking opinions. that is where your life is being arranged and put in order.
planning is a key. your notebook is not only the place to keep your ideas and fleeting thoughts at. it is also a canvas of your everyday life. floating along in no particular order and frequently doing the things that do not take you closer to your aspirations is a waste of time. meanwhile, having a blueprint of the next day is a strong prerequisite for productive work. a journal is a great place to keep your schedule that makes your life much less turbulent and chaotic but rather more meaningful and organized.
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ˈmɑˌnu wɑz fɔrst ɔf ɪn ðə eɪθ ˈmɪnət əv dɪˈfit baɪ ˈsɛrəsənz ˈɪŋglənd ənd ˈlɛstər ˈsɛntər ˈmɑˌnu wɪl mɪs ðə sɪks ˈneɪʃənz ənd ðə rɛst əv ðə prɛˈmɪrˌʃɪp ˈsizən wɪθ ænˈtɪriər ˈlɪgəmənt ˈdæmɪʤ. ðə ɪz aʊt fər æt list sɪks mənθs ˈæftər hi wɑz ˈɪnʤərd ɪn ˈsənˌdiz prɛˈmɪrˌʃɪp dɪˈfit baɪ ˈsɛrəsənz. hi həz meɪd ʤɪst 23 əˈpɪrənsəz fər ˈtaɪgərz sɪns ðə stɑrt əv ðə ˈsizən bɪˈkəz əv ə strɪŋ əv ˈɪnʤəriz. ˈoʊnli wən əv hɪz 26 ˈɪŋglənd kæps həz bɪn ˈəndər ˈɛdi ʤoʊnz, hu wɑz neɪmd hɛd koʊʧ ɪn noʊˈvɛmbər 2015 ðə pleɪər wɑz fɔrst tɪ pʊl aʊt əv ə ˈtuˌdeɪ ˈtreɪnɪŋ kæmp wɪθ ðə ˈnæʃənəl tim ˈæftər ˈsəfərɪŋ hɪz ˈleɪtəst ˈsɛtˌbæk. ɛz wɛl ɛz ˈmɪsɪŋ ðə sɪks ˈneɪʃənz, wɪʧ stɑrts ɔn 4 ˈfɛbruˌɛri, hi wɪl nɑt bi əˈveɪləbəl fər ðə ˈbrɪtɪʃ ənd ˈaɪrɪʃ laɪənz tʊr əv nu ˈzilənd ɪn ðə ˈsəmər. "ɪts ˈdɛvəˌsteɪtɪŋ fər ɪm," ˈtaɪgərz hɛd koʊʧ ˈɛrən ˈmɔgər sɛd. "hiz gɑt hɪmˈsɛlf ˈɪntu səʧ ə gʊd pəˈzɪʃən, aɪ θɪŋk hiz ˈrɪli məˈtjʊrd ɛz ə ˈpərsən ˈoʊvər ðə læst 12 mənθs ənd ðæts ˈprɑbəˌbli hɛlpt ɪm gɪt bæk tɪ ðə speɪs ðət hiz bɪn ɪn. "hil hæv ˈɛvriˌθɪŋ hi nidz tɪ kəm bæk ə ˈbɛtər pleɪər ənd ə ˈstrɔŋgər ˈpərsən ənd əm ʃʊr hi wɪl." ˈɪnʤəri ˈhɪstəri læst ˈstɑrtɪd ən ˈɪŋglənd geɪm ɪn ʤun 2014 ˌbiˈfɔr səˈsteɪnɪŋ ə grɔɪn ˈɪnʤəri ɪn sɛpˈtɛmbər əv ðət jɪr wɪʧ kɛpt ɪm ˈsaɪˌdlaɪnd fər 15 mənθs. hi hæd ˈpriviəsli mɪst tu geɪmz əv ðə 2012 sɪks ˈneɪʃənz kæmˈpeɪn wɪθ ə ˈhæmˌstrɪŋ ˈprɑbləm, ənd ɔl bət wən geɪm əv ðə 2014 ˈtʊrnəmənt ˈæftər ˈtɪrɪŋ ə ˈpɛktərəl ˈməsəl. ə ˈfərðər rɪˈkərəns əv hɪz grɔɪn ˈɪnʤəri ɪn ˈtaɪgərz' ˈoʊpənɪŋ geɪm əv ðə ˈkɑrənt prɛˈmɪrˌʃɪp ˈsizən ɔn 2 sɛpˈtɛmbər ðɛn fɔrst ɪm tɪ mɪs ˈɔlˌmoʊst θri mənθs əv ˈækʃən, ˈmeɪkɪŋ hɪz rɪˈtərn ɪn ə wɪn ˈoʊvər ˈbrɪstəl ɔn 25 noʊˈvɛmbər.
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manu tuilagi was forced off in the eighth minute of leicester's 16-12 defeat by saracens
england and leicester centre manu tuilagi will miss the six nations and the rest of the premiership season with anterior cruciate ligament damage.
the 25-year-old is out for at least six months after he was injured in sunday's premiership defeat by saracens.
he has made just 23 appearances for tigers since the start of the 2013-14 season because of a string of injuries.
only one of his 26 england caps has been under eddie jones, who was named head coach in november 2015.
the samoa-born player was forced to pull out of a two-day training camp with the national team after suffering his latest setback.
as well as missing the six nations, which starts on 4 february, he will not be available for the british and irish lions tour of new zealand in the summer.
"it's devastating for him," tigers head coach aaron mauger said.
"he's got himself into such a good position, i think he's really matured as a person over the last 12 months and that's probably helped him get back to the space that he's been in.
"he'll have everything he needs to come back a better player and a stronger person and i'm sure he will."
tuilagi's injury history
tuilagi last started an england game in june 2014, before sustaining a groin injury in september of that year which kept him sidelined for 15 months.
he had previously missed two games of the 2012 six nations campaign with a hamstring problem, and all but one game of the 2014 tournament after tearing a pectoral muscle.
a further recurrence of his groin injury in tigers' opening game of the current premiership season on 2 september then forced him to miss almost three months of action, making his return in a win over bristol on 25 november.
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məʧ əv ðə ˈplæstɪk wi ˈproʊdus ɔn lænd ɛndz əp kənˈtæməˌneɪtɪŋ ðə si. bət wɪn ˈrisərʧərz wɛnt ˈsərʧɪŋ fər ə ˈgloʊbəl ˈpɪkʧər əv ɔl ðə ˈplæstɪks stək sˈwərlɪŋ əraʊnd ðə gyres*, ðeɪ faʊnd ðət ə ˈmæsɪv ɛz məʧ ɛz ˈmɪsɪŋ. ə ˈtaɪni fɪʃ wɪθ ə ˈnaɪtli fɪks fər ˈplæstɪk meɪ bi wən əv ðə ˈkəlprɪts. ɛz ˌjunəˈvərsəti əv ˈwɛstərn ɔˈstreɪljə ˈoʊʃənz ˈɪnstɪˌtut dɪˈrɛktər ˈkɑrloʊs dˈwɑrˌteɪ ɪkˈspleɪnd ɪn ə ˈlɛkʧər fər ðə ˌɪnkˈwaɪərɪŋ maɪndz ˈsɪriz, hi ənd ˈpiˌeɪʧˈdi ˈstudənt ˈʤuljə ˈraɪsər ænˈtɪsəˌpeɪtɪd faɪnd ˈplæstɪks ɪn ˈɛkˌsɛs əv ə ˈmɪljən ˈmɛtrɪk tənz ˈæftər ˈsæmplɪŋ ˈwɔtərz ɔf ðə ɔˈstreɪljən koʊst ənd ðə faɪv ˈmeɪʤər gyres*, ər əv ˈoʊʃən kərənts. ˌɪnˈstɛd, ðeɪ ˈoʊnli faʊnd tɪ ˈmɛtrɪk tənz. nɑt ðət wi ˈhæpi tɪ faɪnd ðət ˈlɪtəl əˈmaʊnt əv ˈplæstɪk, bət məʧ lɛs ðən wi θɔt wi wʊd faɪnd. nɑt ðət wi ˈhæpi tɪ faɪnd ðət ˈlɪtəl əˈmaʊnt əv ˈplæstɪk, bət məʧ lɛs ðən wi θɔt wi wʊd find,”*,” dˈwɑrˌteɪ sɛd. min ðət ˈplæstɪk biɪŋ prəˈdust ər riˈlist. ɪt minz ðət ˈplæstɪk ɪz biɪŋ lɔst æt si somewhere.”*.” dˈwɑrˌteɪ ˈlɪstɪd θri ˈpɑsəbəl weɪz ɪn wɪʧ ðə ˈplæstɪk maɪt bi ˈhaɪdɪŋ. ðə fərst kʊd bi ðət ˈplæstɪks ər ˈbroʊkən daʊn baɪ ðə sən ˈɪntu pɑrts soʊ spɛkˈtækjələrli ˈtaɪni ðət ðeɪ dɪˈtɛktɪd baɪ ðə ɪkˈwɪpmənt. əˈnəðər ˈɔpʃən kʊd bi bækˈtɪriə bɪˈgɪnɪŋ tɪ fist ɔn ðə ˈpɑrtɪkəlz. bət dˈwɑrˌteɪ ənd ˈraɪsər faʊnd ðət wən saɪz əv ˈplæstɪk, bɪts tɪ tu tɪ θri ˈsɛntəˌmitərz lɔŋ, wɑz ˈnoʊtəbli ˈæbsənt frəm ðɛr ˈsæmpəlz. ðə saɪz əv ðə preɪ ðeɪ it ɪz ɪgˈzæktli ðə saɪz əv ðə ˈplæstɪk ˈmɪsɪŋ. ˈkjʊriəsli, ðət kaɪnd əv ˈplæstɪk fɪts ðə fɪʃ fud ˈproʊˌfaɪl fər ðə, ə smɔl ˈɔrgəˌnɪzəm wɪθ juʤ aɪz ðət ˈraɪzɪz frəm dɛpθs əv 500 tɪ 700 ˈmitərz æt naɪt tɪ it, ðɛn rɪˈtərnz bɪˈloʊ tɪ əˈvɔɪd ˈprɛdətərz ˈdʊrɪŋ ðə deɪ. saɪz əv ðə preɪ ðeɪ it ɪz ɪgˈzæktli ðə saɪz əv ðə ˈplæstɪk missing,”*,” dˈwɑrˌteɪ sɛd. ðə ɪz ˈɔlsoʊ wən əv ðə moʊst ˈpɑpjələs ˈænəməlz ɪn ðə si. ˌrɛprɪˈzɛnɪŋ səm 660 ˈmɪljən tənz əv fɪʃ, ˈɛstəˌmeɪtɪd ðət ðə ˈspiʃiz kʊd meɪk əp ðə məˈʤɔrəti əv ðə ˈlɪvɪŋ ˈbaɪəmæs.
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much of the plastic we produce on land ends up contaminating the sea. but when researchers went searching for a global picture of all the plastics stuck swirling around the gyres, they found that a massive amount–perhaps as much as 99%–was missing.
a tiny fish with a nightly fix for plastic may be one of the culprits.
as university of western australia oceans institute director carlos duarte explained in a lecture for the university’s inquiring minds series, he and phd student julia reiser anticipated they’d find plastics in excess of a million metric tons after sampling waters off the australian coast and the world’s five major gyres, or vortexes of ocean currents. instead, they only found 10,000 to 30,000 metric tons.
it’s not that we weren’t happy to find that little amount of plastic, but it’s much less than we thought we would find.
“it’s not that we weren’t happy to find that little amount of plastic, but it’s much less than we thought we would find,” duarte said. “this doesn’t mean that plastic isn’t being produced or released. it means that plastic is being lost at sea somewhere.”
duarte listed three possible ways in which the plastic might be hiding. the first could be that plastics are broken down by the sun into parts so spectacularly tiny that they weren’t detected by the team’s equipment. another option could be bacteria beginning to feast on the particles. but duarte and reiser found that one size of plastic, bits to two to three centimeters long, was notably absent from their samples.
the size of the prey they eat is exactly the size of the plastic we’re missing.
curiously, that kind of plastic fits the fish food profile for the lanternfish, a small glow-in-the-dark organism with huge eyes that rises from depths of 500 to 700 meters at night to eat, then returns below to avoid predators during the day. “the size of the prey they eat is exactly the size of the plastic we’re missing,” duarte said.
the lanternfish is also one of the most populous animals in the sea. representing some 660 million tons of fish, it’s estimated that the species could make up the majority of the ocean’s living biomass.
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juz. ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə dɪˈlɪvərz rɪˈmɑrks ˌbiˈfɔr ˈsaɪnɪŋ ðə kleɪ hənt ˈsuɪˌsaɪd priˈvɛnʃən fər əˈmɛrɪkən ˈvɛtərənz ækt ˈɪntu lɔ æt ðə waɪt haʊs ɪn ˈwɔʃɪŋtən ˈfɛbruˌɛri 12 2015 ðə bɪl ɪz neɪmd ˈæftər kleɪ hənt, ə mərˈin hu kəˈmɪtɪd ˈsuɪˌsaɪd ɪn 2011 ˈsəfərɪŋ frəm ˌpoʊstrɔˈmætɪk strɛs dɪˈsɔrdər (ptsd*) ˈæftər ˈsərvɪŋ ɪn ˌɪˈrɑk ənd æfˈgænəˌstæn. ərnst (juˈnaɪtɪd steɪts tægz: ˈpɑləˌtɪks ˈmɪlɪˌtɛri hɛlθ headshot*) pərˈhæps ɪt ɔl ˈstɑrtɪd wɪθ ˈprɛzɪdənt ˈhɛri ˈtrumənz ˌdɛklərˈeɪʃən ðət ˈsɛndɪŋ juz. trups tɪ ˌkɔˈriə wɑz ə "pəˈlis ˈækʃən." ər ˈmeɪbi ɪt wɑz ˈdʊrɪŋ ðət lɔŋ strɪŋ əv ˈərli ˈsɛnʧəri ˈmɪlɪˌtɛri ˌɪntərˈvɛnʃənz ɪn ˈsɛntrəl əˈmɛrɪkə ənd ðə ˌkɛrɪˈbiən, wɪn mərˈinz wər sɛnt əˈʃɔr tɪ prəˈtɛkt juz. ˈbɪznɪs ˈɪntərɪsts ər ˈsɪtɪzənz. ðiz ˈækʃənz wər ˈnɛvər əˈfɪʃəli kɔld wɔr. əˈmɛrɪkənz hæv ə ˈhæbət əv ˈkɔlɪŋ wɔr ˈɛniˌθɪŋ bət, noʊ ˈmætər haʊ ˈmɛni taɪmz wi sɛnd ˈsoʊlʤərz ˈɪntu ˈbætəl. ənd naʊ, ɪn ə taɪm wɪn juz. ˈwɔrˌpleɪnz ər ˈbɑmɪŋ ˈsɪriə ənd ˌɪˈrɑk ənd ðə ˈɑrmi həz pleɪst trups ɪn boʊθ, wɪn ðə juz. ɪz pərˈpɛʧuəli ˈdroʊnɪŋ ˈjɛmən ənd æfˈgænəˌstæn, nən dɛrz kɔl ˈɛni əv ðiz ækˈtɪvɪtiz wət ðeɪ ər. list əv ɔl dɪz ˈprɛzɪdənt ˌoʊˈbɑmə, hu əˈvɔɪdz ðə wərd wɔr laɪk ə pleɪg. bæk ɪn 2013 ˌoʊˈbɑmə dɪˈklɛrd ðə ɛnd əv ðə "pərˈpɛʧuəl wɔr ˈfʊtɪŋ," tɪ bi ˌriˈpleɪst baɪ "ə ˈsɪriz əv pərˈsɪstənt, ˈtɑrgətɪd ˈɛfərts tɪ dɪsˈmænəl spɪˈsɪfɪk ˈnɛtˌwərks əv ˈvaɪələnt ɪkˈstriməsts ðət θˈrɛtən əˈmɛrɪkə." ɪn 2014 hi dɪˈskraɪbd hɪz kæmˈpeɪn əˈgɛnst ðə ˌɪzˈlɑmɪk steɪt ɛz ə "ˈtɑrgətɪd ˈækʃən" ənd ə "səˈsteɪnd ˈstrætəʤi." ˈsəmˌtaɪmz hi kɔlz θɪŋz ðət ər ˈrɪli ˈwɔrˌfɛr ən "ˈɛfərt," ˈsəmˌtaɪmz ʤɪst ə "ˈprɔˌsɛs," ˈsəmˌtaɪmz ə "kæmˈpeɪn." wəns, hi kloʊzd ɪn ɔn ˌriˈæləˌti wɪn hi kɔld ðə ˈbætəl əˈgɛnst ðə ˌɪzˈlɑmɪk steɪt ə "faɪt." ˌoʊˈkeɪ, ˈgɪtɪŋ ˈwɔrmər. ðɪs ˈælfəˌbɛt əv ˈjufəˌmɪzəmz hæv bɪn səkˈsɛsfəl ɪn ˈləlɪŋ ˈɛvriˌwən tɪ slip əˈbaʊt ðə ʃɔrt tərm ənd pəˈtɛnʃəli lɔŋ tərm ˈnɛgətɪv ˈifɛkts əv ˌoʊˈbɑməz ˈməltəpəl wɔrz. ɛz lɔŋ ɛz wi doʊnt si ðɛm ɪts nɑt ˈrɪli wɔr. nɑt ˈmɛni θəroʊ ˈmidiə rɪˈpɔrts kəm aʊt əv ˈjɛmən ər ˈivɪn ˈsɪriə ənd ˌɪˈrɑk ðiz deɪz. ənd ɛz lɔŋ ɛz wi, əˈmɛrɪkənz, ˈsəfər noʊ ˈkæʒəwəltiz, wəts ðə bɪg dil? ˈfɔrmər ˈsɛkrəˌtɛri əv steɪt ˈhɪləri ˈklɪntən, sun tɪ bi ðə ˌdɛməˈkrætɪk ˈpɑrti ˈkænədɪt fər ˈprɛzɪdənt, dɪˈskraɪbd ðə ædˌmɪnɪˈstreɪʃənz 2011 ˌɪntərˈvɛnʃən ɪn ˈlɪˌbiə ɛz ə səkˈsɛs bɪˈkəz ðə juz. "ˈdɪdənt luz ə ˈsɪŋgəl ˈpərsən" ˈdʊrɪŋ ðə ˌɑpərˈeɪʃən. ɛz ˈklɪntən maɪt seɪ, wət ˈdɪfərəns æt ðɪs pɔɪnt dɪz ɪt meɪk ɪf ðə ˈkəntri slɪd ˈɪntu keɪɑs, ənd bɪˈkeɪm ən ˌɪzˈlɑmɪk steɪt ˈaʊtˌpoʊst tɪ but? ɪn ˌɪˈrɑk, juz. ˌɪntərˈvɛnʃən meɪks laɪf ˈiziər fər ðə ˈgəvərnmənt ɪn ˈbægdæd ðət həz feɪld tɪ riʧ aʊt tɪ ðə lɑrʤ, dɪsˈgrənəld ˈsuni ˈməzlɪm ˌpɑpjəˈleɪʃən ðət səˈpɔrts ðə ˌɪzˈlɑmɪk ˌɪnˈsərʤənsi. ɪn ˈsɪriə, ˌoʊˈbɑmə priˈtɛndz hɪz ˈbɑmɪŋ həz noʊ ˈifɛkt ɔn ðə ˈaʊtˌkəm əv ðə ˈsɪvəl wɔr, ˌɔlˈðoʊ ɪt əˈlivieɪts ðə əˈsɑd rəˈʒim frəm ˈhævɪŋ ðə teɪk ɔn ðə ˌɪzˈlɑmɪk steɪt ˌɪtˈsɛlf. bət ðə ril pɔɪnt əv ðiz wərd geɪmz ɪz tɪ əˈvɔɪd ˈʃɛrɪŋ riˌspɑnsəˈbɪləti wɪθ ˈkɑŋgrəs, wɪʧ ɪn ɪts oʊn weɪ, həz bɪn ˈhæpi tɪ sid wɔr ˈmeɪkɪŋ əˈθɔrəti tɪ ðə ˈprɛzɪdənt. kɔl ˈsəmθɪŋ wɔr, ənd ˈkɑŋgrəs maɪt hæv tɪ ˈæˌkʧuəli ˈkɑntəmˌpleɪt əˈpruvəl ənd ˈivɪn æsk kənˈstɪʧuənts wət ðeɪ θɪŋk. ɪn ðə ɪnˈtaɪər ˈhɪstəri əv ðə əˈmɛrɪkən riˈpəblɪk, ˈkɑŋgrəs həz ˈoʊnli dɪˈklɛrd wɔr faɪv taɪmz ɛz ˌkɑnstəˈtuʃənəli rikˈwaɪərd: fər ðə wɔr əv 1812 ðə wɔr ðə ˈspænɪʃ əˈmɛrɪkən wɔr 1898 wərld wɔr aɪ ənd wərld wɔr ii*. ðə juz. həz hæd ˈplɛnti əv mɔr ˈkɑnflɪkts ðən ðət, ˈɑbviəsli. ˈivɪn ðə lɔŋ viˌɛtˈnɑm wɔr, wɪʧ wɑz ˌɪˈnɪʃəli tərmd ðə "viˌɛtˈnɑm ˈkɑnflɪkt," dɪd nɑt ˈmɛrət ə wɔr ˌdɛklərˈeɪʃən, ʤɪst ə ˌrɛzəˈluʃən tɪ rɪˈtæliˌeɪt fər ˌnɑnəgˈzɪstənt əˈtæks ɔn ə juz. ˈneɪvəl ʃɪp ɪn ðə gəlf əv ˈtɑŋkɪn. ˈkɑŋgrəs ˈkænsəld ðət ˌrɛzəˈluʃən ɪn 1971 bət ðə wɔr ˈlɪŋgərd ɔn, ənˈtɪl ðə juz. wɪθˈdrɔəl frəm viˌɛtˈnɑm ɪn 1975 ɪn 1973 ˈkɑŋgrəs traɪd tɪ ɛʤ ˌɪtˈsɛlf bæk ˈɪntu ðə geɪm. ɪt pæst ðə wɔr paʊərz ækt, wɪʧ dɪˈmændɪd kənˈgrɛʃənəl əˈpruvəl fər ə ˈprɛzɪdənt tɪ juz juz. ˈfɔrsɪz ɪn ˈkɑmbæt ɪn ðə ɪˈvɛnt əv "ə ˈnæʃənəl ˈimərʤənsi kriˈeɪtɪd baɪ əˈtæk əˈpɑn ðə juˈnaɪtɪd steɪts, ɪts ˈtɛrəˌtɔriz ər pəˈzɛʃənz, ər ɪts ɑrmd ˈfɔrsɪz." ɪn 2001 ʤɔrʤ ˈdəbəlju. bʊʃ gɑt ˌɔθərəˈzeɪʃən frəm ˈkɑŋgrəs tɪ ækt əˈgɛnst ˈpərpəˌtreɪtərz əv ðə əˈtæks ɔn nu jɔrk ənd ˈwɔʃɪŋtən. hi gɑt əˈnəðər wən ɪn 2002 tɪ lɔnʧ ðə ˌɪˈrɑk wɔr, ðoʊ naʊ ˈɛvriˌwən sɪz ðeɪ gɑt bæd ˈɪnfoʊ ɔn waɪ ðə juz. ʃʊd ˌɪnˈveɪd. ɪts nɑt klɪr waɪ ˈprɛzɪdənts noʊ ˈlɔŋgər sik ə ˌdɛklərˈeɪʃən əv wɔr ɛz ˈaʊˌtlaɪnd ɪn ðə ˌkɑnstəˈtuʃən. ˈmeɪbi ɪts bɪˈkəz ɪt wʊd ˈəpˌsɛt ðə əˈmɛrɪkən ˈpəblɪk, wɪʧ prɪˈfərz tɪ hir əˈbaʊt pəˈlis ˈækʃənz. ˈɛniˌweɪ, ˌoʊˈbɑmə ˈɪzənt kənˈsərnd wɪθ səʧ ˈligəl ˈnaɪsɪtiz, ɛz lus ɛz ðeɪ ər. ɪn 2011 hi wɛnt əˈhɛd ənd meɪd wɔr ɔn ðə ˈlɪˌbiən rəˈʒim əv ˈmoʊəˌmɑr ɔn ðə graʊnz ðət ɪt wɑz ʤɪst ə "ˌjuˌmænəˈtɛriən ˌɪntərˈvɛnʃən" (əˈnəðər grænd ˈjufəˌmɪzəm). ɪn hɪz vju, ðət mɛnt hi kʊd du wət hi ˈwɔntɪd. fər hɪz ˈkɑrənt əˈsɔlt ɔn ðə ˌɪzˈlɑmɪk steɪt, ˌoʊˈbɑmə rɪˈlaɪz ɔn ˈbʊʃɪz oʊld 2001 ˌrɛzəˈluʃən fər ˈivɪn ðoʊ ðə ˌɪzˈlɑmɪk steɪt ˈdɪdənt hæv ˈɛniˌθɪŋ tɪ du wɪθ ɪts rɪˈmɑrkəbəl haʊ ˌæpəˈθɛtɪk boʊθ ˈkɑŋgrəs ənd ðə əˈmɛrɪkən ˈpəblɪk ər tɪ ɔl ðɪs, sɪns ðə ərˈɪʤənəl wɔr paʊərz ækt wɑz pæst tɪ ˈlɪmət ˌprɛzɪˈdɛnʃəl əˈθɔrəti tɪ ənˈliʃ juz. ˈmɪlɪˌtɛri paʊər bət həz dən ˈnəθɪŋ əv ðə sɔrt. ðɪs wɑz pərˈhæps ðə moʊst ˌɪmˈpɔrtənt ˈlɔŋˈreɪnʤ rɪˈzəlt əv ˈprɛzɪdənt ˈrɪʧərd ˈnɪksənz ˌkænsəˈleɪʃən əv ðə ˈmɪlɪˌtɛri dræft ənd kriˈeɪʃən ən ˈɑrmi. ðə muv nɑt ˈoʊnli teɪmd wət rɪˈmeɪnd əv ðə wɔr ˈmuvmənt əv ðə taɪm, bət rɪˈlivd fˈjuʧər ˈprɛzɪˌdɛnts frəm ˈhævɪŋ tɪ feɪs ðə ˈpəblɪk wɪn ˈsɛndɪŋ trups ˈɪntu ˈkɑmbæt. ɪt ˈɔlsoʊ frid moʊst ˈkɑmən ˈsɪtɪzənz frəm ˈhævɪŋ tɪ dil wɪθ ðə ˈɪnɪmət rɪsks əv ˈsɛndɪŋ sənz ənd ˈdɔtərz tɪ faɪt ənd ˈmeɪbi daɪ. ˈoʊnli ˌvɑlənˈtɪrz wʊd hæv tɪ goʊ. əˈbaʊt ðə ˈoʊnli riˌspɑnsəˈbɪləti ʤɑn ənd ˈmɛri doʊ hæv naʊ ɪz tɪ ˈɑnər trups æt ˈbeɪsˈbɔl geɪmz ənd pʊt ˈbəmpər ˈstɪkərz ɔn ðɛr kɑz. ɪts taɪm fər əˈmɛrɪkən soʊˈsaɪɪti ɛz ə hoʊl, θru ˈkɑŋgrəs, tɪ teɪk riˌspɑnsəˈbɪləti fər wɔr, ər ˌwəˈtɛvər ɪt ɪz ðə ˈprɛzɪdənt wɔnts tɪ kɔl ɪt. ˈkɑŋgrəs ɔt tɪ kəm əp wɪθ ə nu ˈvərʒən tɪ mæʧ ðə ˈkɑrənt priˌɑkjəˈpeɪʃən wɪθ non-state*, ˈtɛrərɪst grups. ɪn ðɪs, aɪ æm ɔn ðə saɪd əv ˈfɔrmər vərˈʤɪnjə sɛn. ʤɪm wɛb, ə feɪld ˌdɛməˈkrætɪk ˌprɛzɪˈdɛnʃəl ˈkænədɪt hu ˌnənðəˈlɛs traɪd tɪ reɪn ɪn ðə ˌprɛzɪˈdɛnʃəl wɔr ˈhæbət. bæk ɪn 2011 hi ˈleɪbəld ˈkɑŋgrəs' dɪˈmɪnɪʃt roʊl ɪn wɔr dɪˈsɪʒən ˈmeɪkɪŋ "ðə moʊst ˌɪmˈpɔrtənt ˌkɑnstəˈtuʃənəl ˈʧælənʤ ˈfeɪsɪŋ ðə ˈbæləns əv paʊər bɪtˈwin ðə ˈprɛzɪdənsi ənd ðə ˈkɑŋgrəs ɪn ˈmɑdərn taɪmz." "wət həz ˈhæpənd tɪ rɪˈdus ðə roʊl əv ðə ˈkɑŋgrəs frəm ðə ˈbɑdi wɪʧ wəns ˈklɪrli ˌdɪˈsaɪdɪd ˈwɛðər ər nɑt ðə ˈneɪʃən wʊd goʊ tɪ wɔr, tɪ ðə pɔɪnt ðət wi ər vjud ɛz ˈlɪtəl mɔr ðən ə ˈrəðər ˈmaɪndləs ˈkɑnʤuɪt ðət kəˈlɛkts ˈtækˌspeɪər ˈdɔlərz ənd dɪˈspɛnsɪz ðɛm tɪ ðə ˈprɛzɪdənt fər ˌwəˈtɛvər ˈmɪlɪˌtɛri ˈfəŋkʃənz hi ˌdɪˈsaɪdz tɪ ˈəndərˌteɪk?" hi æst. ɪn 2012 hi ˈnoʊtɪd ðət, "jɪr baɪ jɪr, ˈskərmɪʃ baɪ ˈskərmɪʃ, ðə roʊl əv ðə ˈkɑŋgrəs ɪn dɪˈtərmənɪŋ wɛr ðə juz. ˈmɪlɪˌtɛri wʊd ˈɔpərˌeɪt, ənd wɪn ðə ˈɔsəm paʊər əv ɑr ˈwɛpən ˈsɪstəmz wʊd bi ənˈliʃt, həz dɪˈmɪnɪʃt." wɛb, hu lɛft ðə ˈsɛnɪt ɪn 2012 prəˈpoʊzd tɪ ˈtaɪtən ˈkɑŋgrəs' riˌspɑnsəˈbɪləti tɪ ˈɔθərˌaɪz wɔr. ˈnəθɪŋ ˈhæpənd. wəts ə gʊd ˈjufəˌmɪzəm fər biɪŋ ˈleɪzi, ˌɪnˈdɪfərənt ənd wik? ɪt tərnz aʊt naʊ ðə juz. həz pʊt ə ˈhændˌfʊl əv ˈsoʊlʤərz ɪn ˈlɪˌbiə tɪ skaʊt aʊt ˈpɑsəbəl ˈælaɪz, əˈməŋ ðə ˈkəntriz ˈpæʧˌwərk əv æˈnɑrkɪk ˈtraɪbəl mɪˈlɪʃəz, tɪ faɪt ðə ˌɪzˈlɑmɪk steɪt. ɪf ðə ˈnəmbər əv əˈmɛrɪkən trups groʊz, aɪ ˈwəndər wət ˌoʊˈbɑmə kɔl ðə ˈækʃən. ɪt əˈpɪrz ðə ædˌmɪnɪˈstreɪʃən həz jɛt tɪ ˈsɛtəl ɔn ɪts prɪˈfərd ˌtərmɪˈnɑləʤi. ðə wərd ˌɪntərˈvɛnʃən həz əˈpɛrəntli bɪn ruld aʊt, ɪf ðɪs wɪrd ɪksˈʧeɪnʤ æt ə steɪt dɪˈpɑrtmənt prɛs ˈbrifɪŋ ðə ˈəðər deɪ ɪz ˈɛni ˌɪndəˈkeɪʃən. ðə ˈsɛʃən tʊk pleɪs ɪn ədˈvæns əv ə ˌməlˌtiˈnæʃənəl ˈmitɪŋ ɪn viˈɛnə tɪ bɪld səˈpɔrt fər wən əv ˈlɪˌbiəz ˈwɔrɪŋ ˈgəvərnmənts: kˈwɛʃən: haʊ məʧ du ju ɪkˈspɛkt ðɪs ˌmɪnɪˈstiriəl ˈmitɪŋ tɪ leɪ ðə ˈgraʊndˌwərk tɪ rɪkˈwɛsts fər mɔr ˈmɪlɪˌtɛri ˌɪntərˈvɛnʃən? ˈsinjər steɪt dɪˈpɑrtmənt əˈfɪʃəl: wɛl, wət dɪz ðə wərd "ˌɪntərˈvɛnʃən" min? əm nɑt ʃʊr wət ðət wərd minz. əm nɑt biɪŋ ˈklɛvər əˈbaʊt ðɪs; aɪ doʊnt noʊ wət ðə wərd minz. aɪ θɪŋk ðɛr goʊɪŋ tɪ æsk fər ˈmɪlɪˌtɛri əˈsɪstəns. ðə ˈlɪˌbiənz wɔnt tɪ hæv frɛʃ, ˈjunəˌfaɪd ˈwɛpənz ðət ɪz, ɛz əˈpoʊzd tɪ ˈflɑtsəm ənd ənd ˌwəˈtɛvər ðeɪ ˈhæpən tɪ hæv əraʊnd tɪ bi ˈeɪbəl tɪ goʊ ˈæftər (ðə ˌɪzˈlɑmɪk steɪt). ðə ˈgəvərnmənt əv ˈnæʃənəl əˈkɔrd ˈɔlsoʊ wɔnts tɪ bi ˈeɪbəl tɪ ˈsteɪbəˌlaɪz ˈsɪtiz əˈgɛnst ˈkrɪmənəl grups ənd ˈəðər ɪkˈstrimɪst grups, səʧ ɛz ənd ɪn ðə maghreb*. soʊ əm ˈsərtən ɪt wɪl ˌɪnˈklud rɪkˈwɛsts fər ˈtreɪnɪŋ ənd ɪkˈwɪpmənt, bət "ˌɪntərˈvɛnʃən" əm nɑt ʃʊr wət ðət wərd minz ənd əm nɑt klɪr wət ðə ˈlɪˌbiənz ər goʊɪŋ tɪ æsk fər əˈbaʊt ðət, soʊ əm nɑt ʃʊr.
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u.s. president barack obama delivers remarks before signing the clay hunt suicide prevention for american veterans act into law at the white house in washington february 12, 2015. the bill is named after clay hunt, a marine who committed suicide in 2011, suffering from post-traumatic stress disorder (ptsd) after serving in iraq and afghanistan. reuters/jonathan ernst (united states - tags: politics military health headshot)
perhaps it all started with president harry truman's declaration that sending u.s. troops to korea was a "police action."
or maybe it was during that long string of early 20th century military interventions in central america and the caribbean, when marines were sent ashore willy-nilly to protect u.s. business interests or citizens.
these actions were never officially called war.
americans have a habit of calling war anything but, no matter how many times we send soldiers into battle. and now, in a time when u.s. warplanes are bombing syria and iraq and the army has placed troops in both, when the u.s. is perpetually droning yemen and afghanistan, none dares call any of these activities what they are. least of all does president obama, who avoids the word war like a plague.
back in 2013, obama declared the end of the bush-era "perpetual war footing," to be replaced by "a series of persistent, targeted efforts to dismantle specific networks of violent extremists that threaten america." in 2014, he described his campaign against the islamic state as a "targeted action" and a "sustained counter-terrorism strategy." sometimes he calls things that are really warfare an "effort," sometimes just a "process," sometimes a "campaign." once, he closed in on reality when he called the battle against the islamic state a "fight." okay, getting warmer.
this alphabet of euphemisms have been successful in lulling everyone to sleep about the short term and potentially long term negative effects of obama's multiple wars.
as long as we don't see them it's not really war. not many thorough media reports come out of yemen or even syria and iraq these days. and as long as we, americans, suffer no casualties, what's the big deal? former secretary of state hillary clinton, soon to be the democratic party candidate for president, described the administration's 2011 intervention in libya as a sort-of success because the u.s. "didn't lose a single person" during the operation. as clinton might say, what difference at this point does it make if the country slid into chaos, and became an islamic state outpost to boot?
in iraq, u.s. intervention makes life easier for the government in baghdad that has failed to reach out to the large, disgruntled sunni muslim population that supports the islamic state-backed insurgency. in syria, obama pretends his bombing has no effect on the outcome of the civil war, although it alleviates the assad regime from having the take on the islamic state itself.
but the real point of these word games is to avoid sharing responsibility with congress, which in its own way, has been happy to cede war making authority to the president. call something war, and congress might have to actually contemplate approval and even ask constituents what they think.
in the entire history of the american republic, congress has only declared war five times as constitutionally required: for the war of 1812, the mexican-american war (1846-48), the spanish american war (1898), world war i and world war ii. the u.s. has had plenty of more conflicts than that, obviously. even the ten-year long vietnam war, which was initially termed the "vietnam conflict," did not merit a war declaration, just a resolution to retaliate for non-existent attacks on a u.s. naval ship in the gulf of tonkin. congress cancelled that resolution in 1971, but the war lingered on, until the u.s. withdrawal from vietnam in 1975.
in 1973, congress tried to edge itself back into the war-authorization game. it passed the war powers act, which demanded congressional approval for a president to use u.s. forces in combat in the event of "a national emergency created by attack upon the united states, its territories or possessions, or its armed forces."
in 2001, george w. bush got authorization from congress to act against perpetrators of the 9/11 attacks on new york and washington. he got another one in 2002 to launch the iraq war, though now everyone says they got bad info on why the u.s. should invade. it's not clear why president's no longer seek a declaration of war as outlined in the constitution. maybe it's because it would upset the american public, which prefers to hear about police actions.
anyway, obama isn't concerned with such legal niceties, as loose as they are. in 2011, he went ahead and made war on the libyan regime of moammar gaddafi on the grounds that it was just a "humanitarian intervention" (another grand euphemism). in his view, that meant he could do what he wanted. for his current assault on the islamic state, obama relies on bush's old 2001 resolution for 9/11, even though the islamic state didn't have anything to do with 9/11.
it's remarkable how apathetic both congress and the american public are to all this, since the original war powers act was passed to limit presidential authority to unleash u.s. military power but has done nothing of the sort.
this was perhaps the most important long-range result of president richard nixon's cancellation of the military draft and creation an all-volunteer army. the move not only tamed what remained of the anti-vietnam war movement of the time, but relieved future presidents from having to face the public when sending troops into combat. it also freed most common citizens from having to deal with the intimate risks of sending sons and daughters to fight and maybe die. only volunteers would have to go. about the only responsibility john and mary doe have now is to honor troops at baseball games and put pro-military bumper stickers on their cars.
it's time for american society as a whole, through congress, to take responsibility for war, or whatever it is the president wants to call it. congress ought to come up with a new version to match the current preoccupation with non-state, terrorist groups.
in this, i am on the side of former virginia sen. jim webb, a failed democratic presidential candidate who nonetheless tried to reign in the presidential war habit. back in 2011, he labeled congress' diminished role in war decision making "the most important constitutional challenge facing the balance of power between the presidency and the congress in modern times."
"what has happened to reduce the role of the congress from the body which once clearly decided whether or not the nation would go to war, to the point that we are viewed as little more than a rather mindless conduit that collects taxpayer dollars and dispenses them to the president for whatever military functions he decides to undertake?" he asked.
in 2012, he noted that, "year by year, skirmish by skirmish, the role of the congress in determining where the u.s. military would operate, and when the awesome power of our weapon systems would be unleashed, has diminished."
webb, who left the senate in 2012, proposed to tighten congress' responsibility to authorize war. nothing happened. what's a good euphemism for being lazy, indifferent and weak?
it turns out now the u.s. has put a handful of soldiers in libya to scout out possible allies, among the country's patchwork of anarchic tribal militias, to fight the islamic state. if the number of american troops grows, i wonder what obama call the action.
it appears the administration has yet to settle on its preferred terminology. the word intervention has apparently been ruled out, if this weird exchange at a state department press briefing the other day is any indication. the q&a session took place in advance of a multinational meeting in vienna to build support for one of libya's warring governments:
question: how much do you expect this ministerial meeting to lay the groundwork to requests for more military intervention?
senior state department official: well, what does the word "intervention" mean? i'm not sure what that word means. i'm not being clever about this; i don't know what the word means. i think they're going to ask for military assistance. the libyans want to have fresh, unified weapons - that is, as opposed to flotsam and jetsam and whatever they happen to have around - to be able to go after daesh (the islamic state). the government of national accord also wants to be able to stabilize cities against criminal groups and other extremist groups, such as ansar al-sharia and al-qaida in the maghreb. so i'm certain it will include requests for training and equipment, but "intervention" - i'm not sure what that word means and i'm not clear what the libyans are going to ask for about that, so i'm not sure.
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ˌɪnˈtɪriər ˈnæʃənəl pɑrk ˈsərvɪs ˈbjʊroʊ əv ˈɪndiən əˈfɛrz ənd ˈbjʊroʊ əv ˈɪndiən ˌɛʤəˈkeɪʃən dɪˌpɑrtˈmɛnəl ˈɔfəsɪz juˈnaɪtɪd steɪts fɪʃ ənd ˈwaɪlˌdlaɪf ˈsərvɪs ˈbjʊroʊ əv lænd ˈmænɪʤmənt juˈnaɪtɪd steɪts ˌʤiəˈlɑʤɪkəl ˈsərˌveɪ ˈbjʊroʊ əv ˌrɛkləˈmeɪʃən juˈnaɪtɪd steɪts fɪʃ ənd ˈwaɪlˌdlaɪf ˈsərvɪs ˈproʊˌgræmz ˈɔfəs əv ˈsərfəs ˈmaɪnɪŋ ˌrɛkləˈmeɪʃən ənd ɛnˈfɔrsmənt ˈproʊˌgræmz ˈɪnsələr əˈfɛrz ˈnæʃənəl pɑrk ˈsərvɪs ˈɔfəs əv ðə ˈspɛʃəl ˌtrəˈsti fər əˈmɛrɪkən ˈɪndiənz dɪˌpɑrtˈmɛnəl ˈɔfəsɪz ˈbjʊroʊ əv ˌrɛkləˈmeɪʃən ˈɔfəs əv ðə ˈspɛʃəl ˌtrəˈsti fər əˈmɛrɪkən ˈɪndiənz ˈɔfəs əv ˈsərfəs ˈmaɪnɪŋ ˌrɛkləˈmeɪʃən ənd ɛnˈfɔrsmənt ˈbjʊroʊ əv lænd ˈmænɪʤmənt ˈbjʊroʊ əv ˈoʊʃən ˈɛnərʤi ˈmænɪʤmənt, ˌrɛgjəˈleɪʃən ənd ɛnˈfɔrsmənt ˈbjʊroʊ əv ˈɪndiən əˈfɛrz ənd ˈbjʊroʊ əv ˈɪndiən ˌɛʤəˈkeɪʃən ˈɪnsələr əˈfɛrz ˈɔfəs əv ðə səˈlɪsətər ˈɔfəs əv ˌɪnˈspɛktər ˈʤɛnərəl ˈsɛntrəl ˈjuˌtɔ ˈprɑʤɛkt ˈnæʃənəl ˈɪndiən ˈgeɪmɪŋ kəˈmɪʃən ˈbjʊroʊ əv ˈoʊʃən ˈɛnərʤi ˈmænɪʤmənt, ˌrɛgjəˈleɪʃən ənd ɛnˈfɔrsmənt
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interior
national park service
bureau of indian affairs and bureau of indian education
departmental offices
united states fish and wildlife service
bureau of land management
united states geological survey
bureau of reclamation
united states fish and wildlife service
department-wide programs
office of surface mining reclamation and enforcement
department-wide programs
insular affairs
national park service
office of the special trustee for american indians
departmental offices
bureau of reclamation
office of the special trustee for american indians
office of surface mining reclamation and enforcement
bureau of land management
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““too* sun oʊld ənd tu leɪt smart.”*.” ðət seɪɪŋ wɑz wən əv maɪ ˈfeɪvərɪts, ənd wən hi juzd wɪn wən əv ˈjuˈɛs ɪn ðə ˈfæməli ə pæst mɪˈsteɪk, ˈhævɪŋ nɑt ˈlərnɪd frəm ðə fərst ˈɛrər. aɪ æm ˈgɪlti əv ðət ɪn rɪˈgɑrd tɪ ðə ˈkɑrənt geɪm biɪŋ pleɪd baɪ ˈgeɪbriəl ˈʃoʊnˌfɛld ənd hɪz æt ðə ˈnæʃənəl ˌrivˈju, ðə əˈmɛrɪkən ˈθɪŋkər, ənd ˈəðər ˈɔrgənz əv ðə ˈmidiə. ˈmɪstər. ˈʃoʊnˌfɛld həz əˈkjuzd mi əv ˈlikɪŋ ˌɪnˌfɔrˈmeɪʃən tɪ ðə ˈmidiə əˈbaʊt ən ˈɪsləmɪst hu wɑz ˈrɛndərd tɪ ˈiʤɪpt frəm kroʊˈeɪʃə ɪn 1995 ɔn ðə ˈbeɪsɪs əv ðɪs səˈpoʊzd ˈækʃən ɔn maɪ pɑrt, ˈmɪstər. ˈʃoʊnˌfɛld kəmˈpɛrz mi tɪ ˈfɪlɪp ˈeɪˈʤi ənd ˈɑrgjuz ðət ðə əˈkjuzd ˌɪzˈreɪli spaɪ ˈlɛri ˈfræŋklɪn dɪd ˈnəθɪŋ wərs ðən aɪ dɪd. ˈivɪn fər ˈkɑmənˌtɛri, ðə swip əv ðɪs lie”*” ɪz ˌɪmˈprɛsɪv. naʊ, lɛt ˈjuˈɛs ˈsɛtəl fərst θɪŋz fərst. ˈivɪn ə ˌmidiˈoʊkər ˈfɔrmər siaɪeɪ ˈɔfɪsər ənd aɪ laɪk tɪ bɪˈliv ðət aɪ wɑz æt list ðət wɪl du ə ˈgugəl sərʧ tɪ faɪnd aʊt wət ɪz əˈveɪləbəl ɪn ðə ˈoʊpənˌsɔrs wərld ɔn ðə ˈsəbʤɪkt ə ˈʤərnəlɪst wɔnts tɪ spik tɪ ɪm ər hər əˈbaʊt. ðɪs ɪz əˈspɛʃəli tru wɪn ðə ˈʤərnəlɪst ɪz ə ˌjʊrəˈpiən hu, ðiz deɪz, ɪz ˈlaɪkli tɪ bi anti-american*, əˈspɛʃəli ɔn ðə ˈsəbʤɪkt əv rɛnˈdɪʃən. ðə ˈgugəl sərʧ aɪ dɪd ɔn ðə 1995 rɛnˈdɪʃən ɪn kˈwɛʃən, tərnd əp ɔl əv ðə ˌɪnˌfɔrˈmeɪʃən ðət ɪz kənˈteɪnd ɪn ðə ˈɑrtɪkəl ðət həz ˈmɪstər. ənd hɪz ˈækəˌlaɪts ɪn ðɛr ˈkɑrənt snit*. ə fju ɪgˈzæmpəlz ˈfɑloʊ frəm ə kwɪk sərʧ ˈjuzɪŋ ˈgugəl nuz. fuæd, 38 ə noʊn ˈlidər əv ðə (ðə ˌɪzˈlɑmɪk grup), ən ɪˈʤɪpʃən ɪkˈstrimɪst ˌɔrgənəˈzeɪʃən, ɪz ərˈɛstɪd ənd dɪˈteɪnd ɪn kroʊˈeɪʃə ɛz hi ˈtrævəlz tɪ ˈbɑzniə frəm ˈdɛnˌmɑrk, wɛr hi həz bɪn bɪn ˈlɪvɪŋ ˈæftər biɪŋ ˈgrænɪd pəˈlɪtɪkəl əˈsaɪləm. hi ɪz səˈspɛktɪd əv klænˈdɛstɪn səˈpɔrt əv ˈtɛrərɪst ˌɑpərˈeɪʃənz, ˌɪnˈkludɪŋ ðə 1993 wərld treɪd ˈsɛnər ˈbɑmɪŋ. hi ˈɔlsoʊ əˈlɛʤədli lɛd ˈɛfərts ɪn ˈbɑzniə sɪns 1990 ɪn ə ʤɔɪnt ˌɑpərˈeɪʃən, hi ɪz ərˈɛstɪd baɪ kroʊˈeɪʃən ˌɪnˈtɛləʤəns ˈeɪʤənts ənd ˈhændɪd ˈoʊvər tɪ ðə siaɪeɪ. ɪz ðɛn ˌɪnˈtɛrəˌgeɪtɪd baɪ ˈjuˈɛs əˈfɪʃəlz əˈbɔrd ə ˈjuˈɛs ʃɪp ɔf ðə kroʊˈeɪʃən koʊst ɪn ðə ˌeɪdriˈætɪk si ənd sɛnt tɪ ˈiʤɪpt, wɪʧ həz ə rɛnˈdɪʃən əˈgrimənt wɪθ ðə ˈjuˈɛs. ən ɪˈʤɪpʃən ˈmɪlɪˌtɛri trəˈbjunəl həz ɔˈrɛdi ˈsɛntənst ɪm tɪ dɛθ ɪn æbˈsɛnʃə, ənd hi ɪz ˈɛksəˌkjutɪd sun ˈæftər hi əraɪvz. [əˈsoʊʃiˌeɪtəd prɛs, wɑʃ poʊst, ˈmeɪhəl, 05 pp*. nu ˈjɔrkər, (crhc*) ˈsɛkənd ənd mɔr səˈfɪstɪˌkeɪtəd fɔrm əv kˌwɔpərˈeɪʃən eɪmz æt ˌɪmˈpidɪŋ ˈɪsləmɪst ækˈtɪvɪti ɪn ˈwɛstərn ˈkəntriz, ənd ˈjuzɪŋ ˈligəl minz tɪ træk daʊn fˈjuʤɪtɪv ˈæktɪvɪsts wɪθ ðə ˈmɪnəməm əv fəs. ðə θərd fɔrm əv sɪˈkjʊrəti kˌwɔpərˈeɪʃən ˌɪnˈvɑlvz ðə kəˌlæbərˈeɪʃən əv ɪˈʤɪpʃən ənd ˈwɛstərn sɪˈkjʊrəti əˈθɔrətiz ɪn ˈɛksəˌkjutɪŋ ˈsɛnsɪtɪv ˌɑpərˈeɪʃənz, ˌɪnˈkludɪŋ ðə ˈtreɪsɪŋ ər ərˈɛst əv ˈɪsləmɪsts, ˈpɑsəbli əˈkrɔs ˌɪnərˈnæʃənɑl ˈbɔrdərz, ɛz ɪn ðə keɪs əv fuæd qassem.”*.” ˈwikli, ɑkˈtoʊbər 1998 ˈɪʃu ˈbɑzniən wɔr hɑˈstɪlətiz drɔɪŋ tɪ ə kloʊz ɪn sɛpˈtɛmbər 1995 ˈɑnwɑr ənd hɪz ˈkoʊhɔrts wər fri tɪ tərn ðɛr əˈtɛnʃən ənd ˈrisɔrsɪz tɪ ˈɪʃuz əv critical”*” ˌɪmˈpɔrtəns. ɪn leɪt sɛpˈtɛmbər, wən əv ðə moʊst ˌɪmˈpɔrtənt ˈlidərz ˈhaɪdɪŋ ɪn ˈjʊrəp ˈæbu təˈlɑl (a.k.a*. fuæd) wɑz ˈkæpʧərd baɪ kroʊɑt ˈfɔrsɪz ɛz hi əˈtɛmptəd tɪ krɔs θru kroʊˈeɪʃən ˈtɛrɪˌtɔri ˈɪntu bosnia-herzegovina*. wɪˈθɪn deɪz, ðə kroʊɑts kˈwaɪətli ˈrɛndərd θru juz. ˈkəstədi ˈɪntu ðə hænz əv ɪˈʤɪpʃən əˈθɔrətiz. æt ðə taɪm, ə ˈgəvərnmənt əˈfɪʃəl ɪn ˈkaɪroʊ ˈnoʊtɪd, “[“[al-qasimy’s*] ərˈɛst pruvz wət wi hæv ˈɔlˌweɪz sɛd, wɪʧ ɪz ðət ðiz ˈtɛrər grups ər ˈɔpərˌeɪtɪŋ ɔn ə ˈwərldˈwaɪd skeɪl, ˈjuzɪŋ ˈpleɪsɪz laɪk æfˈgænəˌstæn ənd ˈbɑzniə tɪ fɔrm ðɛr ˈfaɪtərz hu kəm bæk tɪ ðə ˈmɪdəl ist ˌjʊrəˈpiən ˈkəntriz laɪk ˈdɛnˌmɑrk, sˈwidən, sˈwɪtsərlənd, ˈɪŋglənd ənd ˈəðərz, wɪʧ gɪv ˈsæŋkʧuˌɛri tɪ ðiz ˈtɛrəˌrɪsts, ʃʊd naʊ ˌəndərˈstænd ɪt wɪl kəm bæk tɪ hɔnt ðɛm wɛr ðeɪ live.”*.” baɪ, ˈɛvən ɛf. ˈkoʊlmən, ðə ˌmuʤəhɛˈdin ˈnɛtˌwərk ɪn ˈjʊrəp, 04 ðɛr ər ə ˈdəzən ər mɔr ˈəðər ˈoʊpənˌsɔrs dɪˈskrɪpʃənz əv ðɪs ˌɑpərˈeɪʃən əˈveɪləbəl (saɪˈteɪʃənz ɔn rɪkˈwɛst), soʊ wi kən ˈseɪfli əˈsum ðət ˈnəθɪŋ nu həz bɪn rɪˈvild ɪn 2007 ənd ˈmɪstər. ˈʃoʊnˌfɛld, ɛt. æl ər ˈiðər ˌənəˈwɛr əv ðə ˈgugəl nuz sərʧ ˌkeɪpəˈbɪləti, ər ðeɪ ər pleɪɪŋ fər ˈbɪgər geɪm ðən ə ˈkriki ənd ənɪmˈpɔrtənt ˈfɔrmər siaɪeɪ ˈɔfɪsər laɪk mi. ðə truθ ɪz, əv kɔrs, ðət ˈmɪstər. ˈʃoʊnˌfɛld ənd hɪz ˈælaɪz ər nɑt dəm ˈpipəl, ðeɪ ər ˈsɪmpli anti-american*. ðɛr əv ðə rɛnˈdɪʃən ˌɑpərˈeɪʃən dɪˈskraɪbd əˈbəv ɪz ʤɪst pɑrt əv ðɛr ˈɔnˌgoʊɪŋ əˈtɛmpt tɪ dɪˈskrɛdət ðə keɪs ənd tɪ traɪ tɪ kənˈvɪns əˈmɛrɪkənz ðət juz. ənd ˌɪzˈreɪli ˈɪntərɪsts ər aɪˈdɛntɪkəl, ənd soʊ spaɪɪŋ ɔn əˈmɛrɪkə fər ˈɪzriəl ənd əˈmɛrɪkən ˈsɪtɪzənz tɪ kəˈmɪt ˈtrizən ɪz ˈrɪli ən ˌoʊˈkeɪ ənd ˈivɪn ˈædmərəbəl ækˈtɪvɪti. taɪm wɪl tɛl wət ðə ˈfaɪnəl ˈvərdɪkts wɪl bi, bət ˈmɪstər. ˈʃoʊnˌfɛld, ɛt. æl ər ˈklɪrli ˈgɪlti əv traɪɪŋ tɪ kriˈeɪt ən ɪnˈvaɪrənmənt ɪn wɪʧ ðə juz. ˈpəblɪk ækˈsɛpts ðə aɪˈdiə ðət ɪnˈgeɪʤɪŋ ɪn ˈɛspiənɑʤ əˈgɛnst ðɛr oʊn ˈkəntri ɔn bɪˈhæf ɪz ˈkɑnsənənt wɪθ ðə ˈdutiz əv əˈmɛrɪkən ˈsɪtɪzənˌʃɪp. ˈfaɪnəli, aɪ wɪʃ tɪ dɪˈrɛkli rɪfˈjut ˈmɪstər. kleɪm ðət aɪ əˈspərʒənz ɔn əˈmɛrɪkən jews.”*.” aɪ du nɑt kæst əˈspərʒənz, aɪ ˈfɔrθˈraɪtli dæm, ənd preɪ ðət gɑd dæmz, ˈɛni əˈmɛrɪkən ʤu, ˈkæθlɪk, ˌivænˈʤɛlɪkəl, ˈaɪrɪʃ, ˈʤərmən, ˈhɪnˌdu, hərˈmæfrəˌdaɪt, ˈθɛspiən, ər ˈəðərˌwaɪz hu ðə ˌɪnˈseɪn aɪˈdiə ðət əˈmɛrɪkən ənd ˌɪzˈreɪli ˈɪntərɪsts ər wən ənd ðə seɪm. ðə əv ˈɪzriəl ɪz ən ˌɪnˈtɑlərəbəl ˈbərdən tɪ ðə ˈtrɛʒəri ənd sɪˈkjʊrəti əv ðə juˈnaɪtɪd steɪts, ənd ˈkɑrənt riˈleɪʃənˌʃɪp wɪθ ˈɪzriəl ˈsæŋkʃənd baɪ ðə pəˈlɪtɪkəl ˈlidərz əv boʊθ ˈpɑrtiz ɪz wən əv ˈsɛvərəl ˈfæktərz ðət ər ˈlidɪŋ tɪ ˌfʊlˈskeɪl əˈmɛrɪkən pɑrˌtɪsəˈpeɪʃən ɪn ˈəðər peoples’*’ rɪˈlɪʤəs wɔrz, rɪˈlɪʤəs wɔrz ðət ˈdeɪvɪd ˈrisənt əˈwɛrnəs week”*” ˈmænəfɛstli wɔnts tɪ brɪŋ tɪ ðə strits əv ðə juˈnaɪtɪd steɪts. rɛd mɔr baɪ ˈmaɪkəl ʃɔɪər
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“too soon old and too late smart.” that saying was one of my dad’s favorites, and one he used when one of us in the family re-made a past mistake, having not learned from the first error. i am guilty of that in regard to the current game being played by commentary’s gabriel schoenfeld and his goebbels-wannabes at the national review, the american thinker, and other organs of the israel-first media. mr. schoenfeld has accused me of leaking information to the media about an islamist fighter/ideologue who was rendered to egypt from croatia in 1995. on the basis of this supposed action on my part, mr. schoenfeld compares me to philip agee and argues that the accused israeli spy larry franklin did nothing worse than i did. even for commentary, the sweep of this “big lie” is impressive.
now, let us settle first things first. even a mediocre former cia officer and i like to believe that i was at least that will do a google search to find out what is available in the open-source world on the subject a journalist wants to speak to him or her about. this is especially true when the journalist is a european who, these days, is likely to be anti-american, especially on the subject of rendition. the google search i did on the 1995 rendition in question, turned up all of the information that is contained in the article that has mr. schoenfled and his acolytes in their current let’s-hang-scheuer-to-clear-larry-franklin snit. a few examples follow from a quick search using google news.
“talaat fouad qassem, 38, a known leader of the al-gama’a al-islamiyya (the islamic group), an egyptian extremist organization, is arrested and detained in croatia as he travels to bosnia from denmark, where he has been been living after being granted political asylum. he is suspected of clandestine support of terrorist operations, including the 1993 world trade center bombing. he also allegedly led mujaheddin efforts in bosnia since 1990. in a joint operation, he is arrested by croatian intelligence agents and handed over to the cia. qassem is then interrogated by us officials aboard a us ship off the croatian coast in the adriatic sea and sent to egypt, which has a rendition agreement with the us. an egyptian military tribunal has already sentenced him to death in absentia, and he is executed soon after he arrives. [associated press, 10/31/1995; wash post, 3/11/02, a01 ; mahle, 05, pp. 204-205 ; new yorker, 2/8/05 ] ” (crhc)
“a second and more sophisticated form of cooperation aims at impeding islamist activity in western countries, and using legal means to track down fugitive activists with the minimum of fuss. the third form of security cooperation involves the collaboration of egyptian and western security authorities in executing sensitive operations, including the tracing or arrest of islamists, possibly across international borders, as in the case of talaat fouad qassem.” al-ahram weekly, 22-28 october 1998, issue no.400.
“with bosnian war hostilities drawing to a close in september 1995, anwar shaaban and his italian-based al-gama’at al-islamiyya cohorts were free to turn their attention and resources to issues of “more critical” importance. in late september, one of the most important al-gama’at al-islamiyya leaders hiding in europe abu talal al-qasimy (a.k.a. talaat fouad qassem) was captured by croat hvo forces as he attempted to cross through croatian territory into bosnia-herzegovina. within days, the croats quietly rendered al-qasimy through u.s. custody into the hands of egyptian authorities. at the time, a government official in cairo noted, “[al-qasimy’s] arrest proves what we have always said, which is that these terror groups are operating on a worldwide scale, using places like afghanistan and bosnia to form their fighters who come back to the middle east european countries like denmark, sweden, switzerland, england and others, which give sanctuary to these terrorists, should now understand it will come back to haunt them where they live.” by, evan f. kohlmann, the afghan-bosnian mujahideen network in europe, (04)
there are a dozen or more other pre-2007, open-source descriptions of this operation available (citations on request), so we can safely assume that nothing new has been revealed in 2007, and mr. schoenfeld, et. al are either unaware of the google news search capability, or they are playing for bigger game than a creaky and unimportant former cia officer like me.
the truth is, of course, that mr. schoenfeld and his allies are not dumb people, they are simply anti-american. their tarting-up of the rendition operation described above is just part of their ongoing attempt to discredit the case and to try to convince americans that u.s. and israeli interests are identical, and so spying on america for israel and suborning american citizens to commit treason is really an okay and even admirable activity. time will tell what the final verdicts will be, but mr. schoenfeld, et. al are clearly guilty of trying to create an environment in which the u.s. public accepts the idea that engaging in espionage against their own country on israel’s behalf is consonant with the duties of american citizenship.
finally, i wish to directly refute mr. schoenfeld’s claim that i “cast aspersions on american jews.” i do not cast aspersions, i forthrightly damn, and pray that god damns, any american jew, catholic, evangelical, irish, german, hindu, hermaphrodite, thespian, or otherwise who flogs the insane idea that american and israeli interests are one and the same. the nation-state of israel is an intolerable burden to the treasury and security of the united states, and washington’s current relationship with israel sanctioned by the aipac-funded political leaders of both parties is one of several factors that are leading to full-scale american participation in other peoples’ religious wars, religious wars that david horowitz’s recent “islamofascist awareness week” manifestly wants to bring to the streets of the united states.
read more by michael scheuer
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ˈsɛnətər daɪæn trəˈdɪʃənəli ɪz ə ˈstɔlwərt dɪˈfɛndər əv ðə ˌɪnˈtɛləʤəns aʊt sˈwɪŋɪŋ əˈgɛnst ðɛm ðɪs wik. waɪl ɔn ðə flɔr əv ðə ˈsɛnɪt, ʃi leɪd bɛr ə tu jɪr lɔŋ ˈstrəgəl kənˈsərnɪŋ siaɪeɪ spaɪɪŋ ɔn ˈsɛnɪt ˌɪnˈtɛləʤəns kəˈmɪti ˈstæfərz ˌɪnˈvɛstəˌgeɪtɪŋ ˈərli ˈtɔrʧər ənd ɛnˈhænst ˌɪnˌtɛrəˈgeɪʃən tɛkˈniks. ðə spaɪɪŋ baɪ siaɪeɪ ˈkrɔsɪz ə laɪn wɪn ɪt kəmz tɪ kənˈgrɛʃənəl ˈoʊvərˌsaɪt əv ðə ˌɪnˈtɛləʤəns kəmˈjunɪti. ənd ɪts ən ˈɛmbləm əv ðə ɪkˈstrim ɪmˈbæləns bɪtˈwin ðə paʊər əv ˈkɑŋgrəs ənd ðə paʊər əv ðə ˌɪnˈtɛləʤəns kəmˈjunɪti. ɪf ðə ˌɪnˈtɛləʤəns kəmˈjunɪti θɪŋks ðeɪ kən ækt ɪn səʧ ə weɪ təˈwɔrdz ðə ˈpipəl hu ər səˈpoʊzd tɪ ˈoʊvərˌsi ðɛm, wət ɛls du ðeɪ θɪŋk ðeɪ kən du? haʊ dɪd ðɪs ˈhæpən? əˈkɔrdɪŋ tɪ ˈsɛnətər ˈfaɪnˌstin, ðə spaɪɪŋ əˈkərd ɪn ə fəˈsɪlɪti prəˈvaɪdɪd baɪ siaɪeɪ tɪ ˈsɛnɪt ˌɪnˈtɛləʤəns ˈstæfərz. ɛz pɑrt əv ðə ˌɪnˌvɛstəˈgeɪʃən, siaɪeɪ əˈgrid tɪ nɑt ˌɪnərˈfɪr wɪθ ðə fəˈsɪlɪti ər wɪθ ðə ˈsɛnɪt ˌɪnˈtɛləʤəns stæfs kəmˈpjutərz. ˈæftər ðə ˈstæfərz faʊnd ə sˈmoʊkɪŋ gən ˈdɑkjəmɛnt (ən ˌɪnˈtərnəl siaɪeɪ ˌrivˈju) ðət ˌkɑntrəˈdɪktəd oʊn kənˈkluʒənz, ðə laɪk wɪθ ˈpriviəs ɪt bæk tɪ ðɛr oʊn fəˈsɪlɪti ɪn ðə ˈsɛnɪt. sun ˈæftər, ðə siaɪeɪ faʊnd aʊt əˈbaʊt ðə pəˈzɛʃən ənd dɪˈlitəd faɪlz ɔn ðə ˈsɛnɪt ˈstæfərz' kəmˈpjutərz nɑt wəns, bət twaɪs. ˈoʊvər 800 ˈdɑkjəmənts wər dɪˈlitəd. ˈstæfərz du nɑt noʊ wət ðoʊz dɪˈlitəd ˈdɑkjəmənts kənˈteɪnd. ðə ˈoʊvərˌsaɪt rəˈʒim məst bi fɪkst ˈsɛnətər ˈfaɪnˌstinz spiʧ ɪz ðə fərst stɛp tɪ ɪnˈʃʊrɪŋ kənˈgrɛʃənəl ˈoʊvərˌsaɪt prɪˈveɪlz, bət ðə dɪˈpɑrtmənt əv ˈʤəstɪs, wɪʧ ɪz ˈkərəntli kənˈdəktɪŋ ən ˌɪnˌvɛstəˈgeɪʃən, ʃʊd nɑt bi ðə ˈoʊnli ˈɛntɪti tɪ ˌrivˈju ðə ˈditeɪlz. ðə ˈleɪtəst briʧ əv trəst baɪ ðə ˌɪnˈtɛləʤəns kəmˈjunɪti məst spər ˈkɑŋgrəs tɪ ɪgˈzərt ðɛr ˈoʊvərˌsaɪt paʊərz ənd bɪˈgɪn ə fʊl ˌɪnˌvɛstəˈgeɪʃən ˈɪntu ðiz ˈækʃənz ənd ðə ˈoʊvərˌsaɪt rəˈʒim at-large*. ðiz ər ˈprɛsɪŋ ˈtɑpɪks. ɪts klɪr ðət ðə læk əv ˈoʊvərˌsaɪt wɑz ə ki ˈfæktər ɪn ˈmɛni əv ðə ɪˈgriʤəs ˌɪnˈtɛləʤəns ækˈtɪvɪtiz wi ˈlərnɪd əˈbaʊt frəm ðə ˈdɑkjəmənts prəˈvaɪdɪd baɪ ˈɛdwərd sˈnoʊdən. ðə ˌɪnˈtɛləʤəns kəmˈjunɪti ɪˈveɪdɪd ˈænsərɪŋ kˈwɛsʧənz ˈfʊli, ər prəˈvaɪdɪŋ ki ˈdɑkjəmənts tɪ ðə ˌɪnˈtɛləʤəns kəˈmɪtiz. siaɪeɪ spaɪɪŋ ɪz mɔr pruf ðət ðə ˈoʊvərˌsaɪt rəˈʒim nidz ən ˈoʊvərˌhɔl. fərst ənd ˈfɔrˌmoʊst, ðə əˈmɛrɪkən ən ˈoʊvərˌsaɪt rəˈʒim ðət wərks. ə lɔŋ tərm ˈpætərn səm ˈpipəl ər əˈgæst æt ˈækʃənz. ˈditeɪlz əˈbaʊt ðə spaɪɪŋ ər spɑrs; ˌhaʊˈɛvər, ɪt simz siaɪeɪ meɪ bi ðə əbˈstrəkʃən lɔz. bət wiv sin ðɪs ˌbiˈfɔr frəm ðə ˌɪnˈtɛləʤəns kəmˈjunɪti. ənd wi doʊnt hæv tɪ drɔ frəm ɪgˈzæmpəlz ɪn ðə ənd wɪn ðə ˌɪnˈtɛləʤəns kəmˈjunɪti wɑz spaɪɪŋ ɔn ˈmɑrtɪn ˈluθər kɪŋ jr*. ər ˈæktɪvɪsts. ɔl wi hæv tɪ du ɪz lʊk æt ðə pæst ˈdɛkeɪd. ˈæftər ðə əˈtæks ɔn sɛpˈtɛmbər 11 ɪt tʊk jɪrz fər ˈsɛnətər ʤeɪ ðə ˈʧɛrmən əv ðə ˈsɛnɪt ˌɪnˈtɛləʤəns gɪt ə ˈbrifɪŋ ənd ki ˈdɑkjəmənts fər ðə ɪnˈtaɪər kəˈmɪti əˈbaʊt ˌɪnˈtɛləʤəns kəmˈjunɪti ˈækʃənz. mɔr ˈrisəntli, wi sɔ ˌɑbfəˈskeɪʃən baɪ ðə ˌɪnˈtɛləʤəns kəmˈjunɪti ɪn 2009 wɪn ɪt mɪsˈlɛd ðə kɔrt. ənd ʤɪst læst jɪr, ðə dɪˈrɛktər əv ˈnæʃənəl ˌɪnˈtɛləʤəns, ˈʤɛnərəl ʤeɪmz ˈklæpər, laɪd tɪ ˈkɑŋgrəs əˈbaʊt kəˈlɛktɪŋ ˈdætə ɔn ˈɪnəsənt əˈmɛrɪkənz. wi ˈɔlsoʊ noʊ ˈmɛmbərz əv ˈkɑŋgrəs dɪˈskraɪb ˌɪnˈtɛləʤəns ˈbrifɪŋz ɛz ə geɪm əv 20 kˈwɛsʧənz. dɪˈspaɪt ərˈɪʤənəl kˌwɔpərˈeɪʃən, ɪt simz klɪr siaɪeɪ dɪd nɑt wɔnt ðə ˈsɛnɪt ˈstæfərz tɪ ˈkɑndəkt ə fʊl ˌɪnˌvɛstəˈgeɪʃən. ɪt ʃʊd bi ˈɑbviəs tɪ ˈɛniˌwən ðət ðiz ˈækʃənz peɪnt ə kənˈfərm ə ˌɪnˈtɛləʤəns ˈeɪʤənsiz. ðə əˈmɛrɪkən ˈpəblɪk ɪz ˈluzɪŋ ə trɪˈmɛndəs əˈmaʊnt əv trəst ɪn ðə ˌɪnˈtɛləʤəns ðət ɪz ˈnɛsəˌsɛri fər ðə ˌɪnˈtɛləʤəns kəmˈjunɪti tɪ ˈkɑndəkt ɪts ʤɑb. bət ɪts ˈivɪn mɔr ˈdeɪnʤərəs tɪ ðə ˈgəvərnmənt ˈbɑdi ðət ɪz səˈpoʊzd tɪ ˈoʊvərˌsi ðə ˌɪnˈtɛləʤəns kəmˈjunɪti: ˈkɑŋgrəs. ˈkɑŋgrəs məst ækt ˈsɛnətər ˈfaɪnˌstinz kənˈsərn ˈoʊvər siaɪeɪ spaɪɪŋ ɔn hər stæf ʃʊd ɪkˈstɛnd tɪ ə kənˈsərn əˈbaʊt kəˈlɛkʃən əv ɔl əˈmɛrɪkənz' ˈkɔlɪŋ ˈrɛkərdz. boʊθ ˈækʃənz ər ɪgˈzæmpəlz əv ˌɪnˈtɛləʤəns kəmˈjunɪti ˈoʊvərˌriʧ ənd əˈbjuz əv ðɛr əˈθɔrətiz. ðɛr ər ˈsɪriəs ˈprɑbləmz wɪn ðə ˈstɔlwərt dɪˈfɛndər əv ðə ˌɪnˈtɛləʤəns kəmˈjunɪti teɪks tɪ ðə ˈsɛnɪt flɔr tɪ dɪˈskəs ˈprɑbləmz wɪθ ðə kəˈmɪtiz ˈoʊvərˌsaɪt. bɪɔnd ˈsɛnətər ˈfaɪnˌstin, ˈkɑŋgrəs məst ˈriˈteɪk ɪts ˈoʊvərˌsaɪt roʊl. fər fɑr tu lɔŋ həz ðə ˌɪnˈtɛləʤəns kəmˈjunɪti rən ˈrəfˈʃɑd ˈoʊvər ðə ˌɪnˈtɛləʤəns kəˈmɪtiz. taɪm ənd taɪm əˈgɛn, wiv sin ðə ˌɪnəˈbɪlɪti fər ðə ˌɪnˈtɛləʤəns kəˈmɪti tɪ ˈgræpəl wɪθ ðə ˈbihəməθ əv ðə ˌɪnˈtɛləʤəns kəmˈjunɪti. ðɪs məst stɑp. ən ˌɪnˌvɛstəˈgeɪʃən ʃʊd bi ˈkɛrid aʊt nɑt ˈoʊnli ˈɪntu siaɪeɪ spaɪɪŋ, bət ˈɪntu ðə ˈoʊvərˌsaɪt rəˈʒim ɛz ə hoʊl, ðə ˌklæsəfəˈkeɪʃən ˈsɪstəm, ənd ðə ɪˈgriʤəs ˈækʃənz baɪ ðə ˌɪnˈtɛləʤəns ðə ækˈtɪvɪtiz əv nsa*. ɔl əv ðiz ˈtɑpɪks ər kɔr ˈprɑbləmz kənˈsərnɪŋ ðə ˌɪnəˈbɪlɪti fər ðə ˈsɛnɪt ˌɪnˈtɛləʤəns kəˈmɪti tɪ bi ˈfʊli ˈivɪn kəmˈjunɪti ˈækʃənz. ðɪs wik meɪ hæv bɪn ə lɔs fər kənˈgrɛʃənəl ˈoʊvərˌsaɪt, bət ˈmɛmbərz əv ˈkɑŋgrəs məst ˌriəˈsərt ðɛr paʊər. ðɛr ˈduti tɪ sərv ɛz ˌrɛprɪˈzɛnətɪvz əv ðə əˈmɛrɪkən ˈpipəl dɪˈmænd ɪt.
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senator dianne feinstein—who traditionally is a stalwart defender of the intelligence community—came out swinging against them this week. while on the floor of the senate, she laid bare a two year long struggle concerning cia spying on senate intelligence committee staffers investigating cia's early 2000s torture and enhanced interrogation techniques. the spying by cia crosses a line when it comes to congressional oversight of the intelligence community. and it's an emblem of the extreme imbalance between the power of congress and the power of the intelligence community. if the intelligence community thinks they can act in such a way towards the people who are supposed to oversee them, what else do they think they can do?
how did this happen?
according to senator feinstein, the spying occurred in a facility provided by cia to senate intelligence staffers. as part of the investigation, cia agreed to not interfere with the facility or with the senate intelligence staff's computers. after the staffers found a smoking gun document (an internal cia review) that contradicted cia's own conclusions, the staffers—just like with previous documents—transferred it back to their own facility in the senate. soon after, the cia found out about the possession and deleted files on the senate staffers' computers not once, but twice. over 800 documents were deleted. staffers do not know what those deleted documents contained.
the oversight regime must be fixed
senator feinstein's speech is the first step to ensuring congressional oversight prevails, but the department of justice, which is currently conducting an investigation, should not be the only entity to review the details. the latest breach of trust by the intelligence community must spur congress to exert their oversight powers and begin a full investigation into these actions and the oversight regime at-large.
these are pressing topics. it's clear that the lack of oversight was a key factor in many of the egregious intelligence activities we learned about from the documents provided by edward snowden. the intelligence community evaded answering questions fully, or providing key documents to the intelligence committees. cia spying is more proof that the oversight regime needs an overhaul. first and foremost, the american people—and congress—need an oversight regime that works.
a long term pattern
some people are aghast at cia's actions. details about the spying are sparse; however, it seems cia may be guilty—at the minimum—of obstruction laws. but we've seen this before from the intelligence community. and we don't have to draw from examples in the 1960s and 70s when the intelligence community was spying on martin luther king jr. or anti-vietnam activists. all we have to do is look at the past decade.
after the attacks on september 11, it took years for senator jay rockefeller—then the chairman of the senate intelligence community—to get a briefing and key documents for the entire committee about intelligence community actions. more recently, we saw obfuscation by the intelligence community in 2009 when it misled the fisa court. and just last year, the director of national intelligence, general james clapper, lied to congress about collecting data on innocent americans. we also know members of congress describe intelligence briefings as a game of 20 questions. despite cia's original cooperation, it seems clear cia did not want the senate staffers to conduct a full investigation.
it should be obvious to anyone that these actions paint a picture—and confirm a pattern—of out-of-control intelligence agencies. the american public is losing a tremendous amount of trust in the intelligence community—trust that is necessary for the intelligence community to conduct its job. but it's even more dangerous to the government body that is supposed to oversee the intelligence community: congress.
congress must act
senator feinstein's concern over cia spying on her staff should extend to a concern about nsa's collection of all americans' calling records. both actions are examples of intelligence community overreach and abuse of their authorities. there are serious problems when the stalwart defender of the intelligence community takes to the senate floor to discuss problems with the committee's oversight.
beyond senator feinstein, congress must retake its oversight role. for far too long has the intelligence community run roughshod over the intelligence committees. time and time again, we've seen the inability for the intelligence committee to grapple with the behemoth of the intelligence community. this must stop. an investigation should be carried out not only into cia spying, but into the oversight regime as a whole, the classification system, and the egregious actions by the intelligence community—including the activities of nsa. all of these topics are core problems concerning the inability for the senate intelligence committee to be fully briefed—or even grasp—intelligence community actions. this week may have been a loss for congressional oversight, but members of congress must reassert their power. their duty to serve as representatives of the american people demand it.
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nu jɔrk (ˈsiˈɛˈnɛn) wɪθ ðə ˈwiˌkɪnd ərˈaɪvɪŋ ənd ə lɔŋ deɪ ˈfaɪnəli ˈoʊvər, meɪən stɛpt ɔf hər ˈjɛloʊ skul bəs ɔn ə ˈʧɪli ˈfraɪˌdeɪ əraʊnd 4 p.m*. skul ˈfoʊˌtoʊ wɑz juzd ɔn hər ˈmɪsɪŋ ʧaɪld flaɪərz. ðə bəs stɑp wɑz əˈbaʊt 100 jɑrdz frəm hər hoʊm ɪn ˈrʊrəl ˈwɪnˌfild ˈtaʊnʃɪp ɪn ˈwɛstərn ˌpɛnsəlˈveɪnjə. bət dɪd nɑt meɪk ɪt tɪ ðə ˈhɪlˌtɑp ˈtreɪlər ʃi lɪvd ɪn wɪθ hər ˈpɛrənts. ʃi wɑz ˈnɛvər sin əˈgɛn. ˌɪnˈvɛstəˌgeɪtərz seɪ hər ˌdɪsəˈpɪrəns ˈæftər ðə fɔr maɪl raɪd hoʊm frəm ˌɛləˈmɛnʧri skul ɔn ˈfɛbruˌɛri 22 1985 rɪˈmeɪnz ə ˈmɪstəri. "ɪts laɪk ə blæk hoʊl ˈoʊpənd əp ənd ʃi fɛl ɪn,'' sɛd ˈməðər, ˈʤænɪs məˈkɪni. ʃi rɪˈkɔld ðət ʃi ənd ˈstɛpˌfɑðər, ˈliˌrɔɪ, kʊd hir ðə bəs ˈpʊlɪŋ əp ðət deɪ. sun ˈæftər dɪd nɑt əraɪv, hi wɛnt tɪ ðə stɑp tɪ lʊk fər hər. ''hi keɪm flaɪɪŋ bæk əp bɪˈkəz ʃi ˈwəzənt ðɛr,'' məˈkɪni sɛd. wɔʧ wət ðə gərlz mɑm həz tɪ seɪ , ən ˈoʊnli ʧaɪld, wʊd sun bi ˈsɛləˌbreɪtɪŋ hər ˈbərθˌdeɪ, bət ɪn ðə maɪndz əv ˈmɛni, ʃi wɪl ˈɔlˌweɪz rɪˈmeɪn ə ˈmɪsɪŋ gərl. "ˈpipəl stɪl tɔk əˈbaʊt ɪt,'' sɛd ˈtrupər fræŋk, ðə lɛd dɪˈtɛktɪv ˈwərkɪŋ ɔn ðə keɪs fər ðə ˌpɛnsəlˈveɪnjə steɪt pəˈlis fər ðə pæst 15 jɪrz. ðə ˈdraɪvər ənd ˈʧɪldrən ˈraɪdɪŋ ðə bəs rɪˈmɛmbər ˈgɪtɪŋ ɔf ðə bəs wɪθ ə fju ˈəðər ˈstudənts hu lɪvd ˈnɪrˈbaɪ. ˈnænsi greɪs ˈnænsi greɪs hits əp ðə koʊld ˈkeɪsɪz 8 10 p.m*., si fʊl ˈskɛʤʊl wən ˈlɪŋgərɪŋ ˈditeɪl həz ˈbæfəld ˌɪnˈvɛstəˌgeɪtərz fər jɪrz rɪˈpɔrts ðət ə 1976 ˈmɑdəl væn wɑz ˈfɑloʊɪŋ ðə skul bəs. ðə væn, əˈkɔrdɪŋ tɪ ˈstudənts, hæd ə dɪˈstɪŋktɪv ˈpeɪnɪd mˈjʊrəl əv ə ˈmaʊntən ənd skiər ˈwɛrɪŋ rɛd ənd ˈjɛloʊ kloʊðz ˈkəmɪŋ daʊn ðə ˈmaʊntən. dɪˈspaɪt ˈmɛni ˈɛfərts, ðə væn wɑz ˈnɛvər faʊnd ənd ɪt rɪˈmeɪnz ənˈklɪr ˈwɛðər ɪt hoʊldz ə lɪŋk tɪ ðə ˈpəzəl. ''baɪ naʊ ɪts ˈprɑbəˌbli ɪn ə ˈʤəŋˌkjɑrd ər ˈsəmˌwɛr,'' sɛd, hu kənˈsɪdərz ðə keɪs ə ˈkɪdˌnæpɪŋ ər əbˈdəkʃən ˈrəðər ðən ə ˈhɑməˌsaɪd bɪˈkəz ə ˈbɑdi wɑz nɑt faʊnd. "ɪts ðə nɑt noʊɪŋ ðət kɪlz ju,'' məˈkɪni sɛd. ''ˈɛvəri deɪ ju ˈwəndər ənd ju lʊk æt səm gərl huz 33 ənd ju ˈwəndər, 'ɪz ðət hər?' aɪ lʊk æt ˈlɪtəl kɪdz ənd ˈwəndər, 'ɪz ðət maɪ ˈgrænˌʧaɪld?' ˈoʊvər ðə jɪrz, pəˈlis kənˈdəktəd ˈhənərdz əv ˈɪntərvˌjuz ənd klɪrd ˈsɛvərəl ˈpərsənz əv ˈɪntəˌrɛst, waɪl ðə keɪs faɪl gru tɪ mɔr ðən ˈpeɪʤɪz. əˈməŋ hɪz ˈbɪgəst frəˈstreɪʃənz, sɛd: "ðə taɪm læps ənd ə lɔt əv ðə kɔlz aɪv ˈgɔtən ˈoʊvər ðə jɪrz ˈrɪli hæd noʊ ˈrɛləvəns tɪ ðə keɪs.'' ɪn ðə deɪz ˌbiˈfɔr ˈæmbər əˈlərts ənd ˈgreɪtər ˈpəblɪk əˈwɛrnəs əv kraɪmz əˈgɛnst ˈʧɪldrən, məˈkɪni sɛd ɪt tʊk taɪm ˌbiˈfɔr wərd əv hər ˈdɔtərz ˌdɪsəˈpɪrəns bɪˈkeɪm ˈwaɪdˈsprɛd. məˈkɪni sɛd keɪs wɑz ˌɪnˈkludɪd ɛz ə ˈpəblɪk ˈsərvɪs ˌɪnˈsərt ɪn ə dɪˈrɛkt meɪl ˈædvərˌtaɪzɪŋ kæmˈpeɪn, wən əv ðə fərst taɪmz ðət əˈproʊʧ wɑz ˈteɪkən. wɑz əˈspɛʃəli kloʊz wɪθ məˈkɪniz ˈpɛrənts. ʃi dɪˈskraɪbd haʊ ðə gərl wʊd ˈləvɪŋli ˈmɪmɪk hər ˈgrænˌfɑðərz ˈdeɪli ˈmɔrnɪŋ wɔk ɪn ðə ˈgɑrdən wɪθ hɪz hænz bɪˈhaɪnd hɪz bæk. ˈhæŋɪŋ ɪn məˈkɪniz ˈdaɪnɪŋ rum ɪz ə ˈpɪkʧər dru əv ə ˈreɪnˌboʊ, triz, bərdz ənd klaʊdz. ɪt sɪz "mɑm ənd dæd." "aɪ hæv mɔr ˈmɛməriz əv maɪ ˈdɔtər ðən moʊst ˈpipəl gɪt ɪn ə ˈlaɪfˌtaɪm,'' məˈkɪni sɛd, rɪˈmɛmbərɪŋ ðət ləvd ðə ˈʧɪldrənz ˈkɛrɪktər ˈstrɔˌbɛri ˈʃɔrtˌkeɪk, ˌɛnˈʤɔɪd ˈspɛlɪŋ ənd ˈwɔntɪd tɪ bi ən ˌɛləˈmɛnʧri ˈskulˌtiʧər. ðə deɪ wɛnt ˈmɪsɪŋ ʃi wɑz ˈbrɪŋɪŋ hoʊm ˈænjuəl skul ˈpɪkʧərz. ðət ˈfoʊˌtoʊ ənd ðə gərl hu ˈnɛvər meɪd ɪt hoʊm wɪθ ɪt bɪˈkeɪm noʊn tɪ ˈmɛni ɔn ˈmɪsɪŋ ˈpoʊstərz dɪˈstrɪbjətəd əˈkrɔs ðə ˈneɪʃən. "ʃi wɑz wən hɛk əv ə ˈspɛʃəl kɪd,'' məˈkɪni sɛd. "ənd ðɛrz ˈsəmˌbɑdi aʊt ðɛr ðət noʊz. ənd aɪ hoʊp ðət ˈsəmˌdeɪ ðeɪ hæv ə ˈkɑnʃəns ənd ðɛl lɛt ˈjuˈɛs noʊ. bɪˈkəz ðæts ɔl aɪ preɪ fər, ɪz tɪ hæv ən ˈænsər.'' ˈɛniˌwən wɪθ ˌɪnˌfɔrˈmeɪʃən ɔn ðə ˈwɛrəˌbaʊts əv meɪən ər ðoʊz riˈspɑnsəbəl fər hər ˌdɪsəˈpɪrəns ər æst tɪ kɔl ðə ˌpɛnsəlˈveɪnjə steɪt pəˈlis æt 724 ɔl əˈbaʊt ˈmɪsɪŋ ˈʧɪldrən ˈnænsi greɪs
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new york (cnn) -- with the weekend arriving and a long day finally over, 8-year-old cherrie mahan stepped off her yellow school bus on a chilly friday around 4 p.m.
cherrie mahan's third-grade school photo was used on her missing child flyers.
the bus stop was about 100 yards from her home in rural winfield township in western pennsylvania. but cherrie did not make it to the hilltop trailer she lived in with her parents. she was never seen again.
investigators say her disappearance after the four mile ride home from elementary school on february 22, 1985, remains a mystery.
"it's like a black hole opened up and she fell in,'' said cherrie's mother, janice mckinney. she recalled that she and cherrie's stepfather, leroy, could hear the bus pulling up that day. soon after cherrie did not arrive, he went to the stop to look for her.
''he came flying back up because she wasn't there,'' mckinney said. watch what the girl's mom has to say »
cherrie, an only child, would soon be celebrating her 33rd birthday, but in the minds of many, she will always remain a missing girl. "people still talk about it,'' said trooper frank jendesky, the lead detective working on the case for the pennsylvania state police for the past 15 years.
the driver and children riding the bus remember cherrie getting off the bus with a few other students who lived nearby.
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one lingering detail has baffled investigators for years -- reports that a 1976 model van was following the school bus. the van, according to students, had a distinctive painted mural of a snow-capped mountain and skier wearing red and yellow clothes coming down the mountain.
despite many efforts, the van was never found and it remains unclear whether it holds a link to the puzzle.
''by now it's probably in a junkyard or somewhere,'' said jendesky, who considers the case a kidnapping or abduction -- rather than a homicide -- because a body was not found.
"it's the not knowing that kills you,'' mckinney said. ''every day you wonder and you look at some girl who's 33 and you wonder, 'is that her?' i look at little kids and wonder, 'is that my grandchild?' ''
over the years, police conducted hundreds of interviews and cleared several persons of interest, while the case file grew to more than 4,000 pages.
among his biggest frustrations, jendesky said: "the time lapse and a lot of the calls i've gotten over the years really had no relevance to the case.''
in the days before amber alerts and greater public awareness of crimes against children, mckinney said it took time before word of her daughter's disappearance became widespread.
mckinney said cherrie's case was included as a public service insert in a direct mail advertising campaign, one of the first times that approach was taken.
cherrie was especially close with mckinney's parents. she described how the girl would lovingly mimic her grandfather's daily morning walk in the garden with his hands cupped behind his back.
hanging in mckinney's dining room is a picture cherrie drew of a rainbow, trees, birds and clouds. it says "mom and dad."
"i have more memories of my daughter than most people get in a lifetime,'' mckinney said, remembering that cherrie loved the children's character strawberry shortcake, enjoyed spelling and wanted to be an elementary schoolteacher.
the day cherrie went missing she was bringing home annual school pictures. that photo and the girl who never made it home with it became known to many on missing posters distributed across the nation.
"she was one heck of a special kid,'' mckinney said. "and there's somebody out there that knows. and i hope that someday they have a conscience and they'll let us know. because that's all i pray for, is to have an answer.''
anyone with information on the whereabouts of cherrie mahan or those responsible for her disappearance are asked to call the pennsylvania state police at (724) 284-8100.
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leucine* (ˈsɪmbəl lu ər ɪz ən ɛˈsɛnʃəl əˈminoʊ ˈæsəd ðət ɪz juzd ɪn ðə əv ˈproʊˌtinz. ɪz ən ˈæsəd, ˈminɪŋ ɪt kənˈteɪnz ən grup (wɪʧ ɪz ɪn ðə 3 fɔrm ˈəndər ˌbaɪəˈlɑʤɪkəl kənˈdɪʃənz), ən ˈæsəd grup (wɪʧ ɪz ɪn ðə −−coo−*− fɔrm ˈəndər ˌbaɪəˈlɑʤɪkəl kənˈdɪʃənz), ənd ə saɪd ʧeɪn grup, ˈmeɪkɪŋ ɪt ə əˈminoʊ ˈæsəd. ɪt ɪz ɛˈsɛnʃəl ɪn ˈjumənz, ˈminɪŋ ðə ˈbɑdi ˈkænɑt ˈsɪnθəˌsaɪz ɪt: ɪt məst bi əbˈteɪnd frəm ðə daɪət. ˈjumən ˈdaɪəˌtɛri ˈsɔrsəz ər fudz ðət kənˈteɪn ˈproʊˌtin, səʧ ɛz mits, ˈdɛri ˈprɑdəkts, sɔɪ ˈprɑdəkts, ənd binz ənd ˈəðər ˈlɛˌgjumz. ɪt ɪz ɛnˈkoʊdɪd baɪ ðə uua*, uug*, cuu*, cuc*, cua*, ənd cug*. laɪk ənd isoleucine*, ɪz ə əˈminoʊ ˈæsəd. ðə ˈpraɪˌmɛri ˌmɛtəˈbɑlɪk ɛnd ˈprɑdəkts əv məˈtæbəˌlɪzəm ər ənd; ˈkɑnsəkˌwɛntli, ɪt ɪz wən əv ðə tu ɪkˈsklusɪvli əˈminoʊ ˈæsədz, wɪθ ˈlaɪsin biɪŋ ðə ɪt ɪz ðə moʊst ˌɪmˈpɔrtənt əˈminoʊ ˈæsəd ɪn humans.[4]p*. 101 ənd ˈæsəd, ə ˈmaɪnər metabolite*, ɪgˈzɪbɪt ˌfɑrməkəˈlɑʤɪkəl ækˈtɪvɪti ɪn ˈjumənz ənd hæv bɪn ˈdɛmənˌstreɪtɪd tɪ prəˈmoʊt ˈproʊˌtin ˈviə ðə əv ðə ˌmɛkəˈnɪstɪk ˈtərgət əv ˈdaɪəˌtɛri ˈɛdət ɛz ə fud ˈædɪtɪv, həz i ˈnəmbər ənd ɪz ˈklæsəˌfaɪd ɛz ə ˈfleɪvər rɪkˈwaɪrmənts ˈɛdət ðə fud ənd nuˈtrɪʃən bɔrd (fnb*) əv ðə juz. ˈɪnstɪˌtut əv ˈmɛdəsən sɛt ˌrɛkəˈmɛndɪd ˈdaɪəˌtɛri əˈlaʊənsɪz (rdas*) fər ɛˈsɛnʃəl əˈminoʊ ˈæsədz ɪn 2002 fər, fər ˈædəlts 19 jɪrz ənd ˈoʊldər, 42 ˈbɑdi ˈsɔrsəz ˈɛdət hɛlθ ˈifɛkts ˈɛdət ɛz ə ˈdaɪəˌtɛri ˌsəpləˈmɛnt, həz bɪn faʊnd tɪ sloʊ ðə ˌdɛgrəˈdeɪʃən əv ˈməsəl ˈtɪʃu baɪ ˌɪnˈkrisɪŋ ðə ˈsɪnθəsəs əv ˈməsəl ˈproʊˌtinz ɪn ˈeɪʤɪd ˌhaʊˈɛvər, rɪˈzəlts əv kəmˈpærətɪv ˈstədiz ər kənˈflɪktɪd. ˈlɔŋˈtərm dɪz nɑt ˌɪnˈkris ˈməsəl mæs ər strɛŋθ ɪn ˈhɛlθi ˈɛldərli mɔr ˈstədiz ər ˈnidɪd, ˈprɛfərəbli wənz beɪst ɔn ən əˈbʤɛktɪv, ˈrændəm ˈsæmpəl əv soʊˈsaɪɪti. ˈfæktərz səʧ ɛz ˈlaɪfˌstaɪl ˈʧɔɪsɪz, eɪʤ, ˈʤɛndər, daɪət, ˈɛksərˌsaɪz, ˌɛtˈsɛtərə. məst bi ˈfæktərd ˈɪntu ðə æˈnælɪˌsiz tɪ ˈaɪsəˌleɪt ðə ˈifɛkts əv ˌsəpləˈmɛntəl ɛz ə standalone*, ər ɪf ˈteɪkən wɪθ ˈəðər brænʧt ʧeɪn əˈminoʊ ˈæsədz (bcaas*). ənˈtɪl ðɛn, ˈdaɪəˌtɛri ˌsəpləˈmɛntəl ˈkænɑt bi əˈsoʊʃiˌeɪtəd ɛz ðə praɪm ˈrizən fər ˈməskjələr groʊθ ər ˈɑptɪməl ˈmeɪntənəns fər ðə ɪnˈtaɪər ˌpɑpjəˈleɪʃən. boʊθ ənd prəˈtɛkt maɪs əˈgɛnst ˈɔlsoʊ ˈtərmɪˌneɪts ˈsiʒərz ɪn maɪs ˈæftər ðə ˈɔnˌsɛt əv ˈsiʒər ækˈtɪvɪti, æt list ɛz ˈifɛktɪvli ɛz ənd wɪˈθaʊt ˈsɛdətɪv ˈdiˌkrist ˈdaɪəˌtɛri ˈɪnˌteɪk əv prəˈmoʊts ɪn haɪ bləd ˈlɛvəlz əv ər əˈsoʊʃiˌeɪtəd wɪθ ˈɪnsələn rɪˈzɪstəns ɪn ˈjumənz, maɪs, ənd ðɪs maɪt bi du tɪ ðə ˈifɛkt əv tɪ ˈstɪmjəˌleɪt ˈdaɪəˌtɛri riˈstrɪkʃən əv ənd ðə ˈəðər kən rɪˈvərs əˈbisəti ɪn maɪs baɪ ˌɪnˈkrisɪŋ ˈɛnərʤi ɪkˈspɛndɪʧər, ənd kən riˈstrɪkt fæt mæs geɪn əv ˈseɪfti ˈɛdət tɑkˈsɪsəti, ɛz sin ɪn ˈmeɪpəl ˈsɪrəp ˈjʊrən dɪˈziz, ˈkɔzɪz dɪˈlɪriəm ənd ˌnʊrəˈlɑʤɪk ˈkɑmprəˌmaɪz, ənd kən bi ˈlaɪfθˌrɛtnɪŋ. ə haɪ ˈɪnˌteɪk əv meɪ kɔz ər ɪgˈzæsərˌbeɪt ˈsɪmptəmz əv pəˈlægrə ɪn ˈpipəl wɪθ loʊ ˈnaɪəsɪn ˈstætəs bɪˈkəz ɪt ˌɪnərˈfɪrz wɪθ ðə kənˈvərʒən əv tɪ æt ə doʊs ɪkˈsidɪŋ 500 wɑz əbˈzərvd wɪθ ɛz səʧ, ənəˈfɪʃəli, ə ˈtɑlərəbəl ˈəpər ˈɪnˌteɪk ˈlɛvəl (əl) fər ɪn ˈhɛlθi ˈædəlt mɛn kən bi səˈʤɛstɪd æt 500 ər 35 ˈəndər əˈkjut ˈdaɪəˌtɛri ˌfɑrməˈkɑləʤi ˈɛdət ˈɛdət ɪz ə ˈdaɪəˌtɛri əˈminoʊ ˈæsəd wɪθ ðə kəˈpæsɪti tɪ dɪˈrɛkli ˈstɪmjəˌleɪt ˈməsəl ˈproʊˌtin ðɪs ˈifɛkt əv ərˈaɪzɪz rɪˈzəlts frəm ɪts roʊl ɛz ən ˈæktəˌveɪtər əv ðə ˌmɛkəˈnɪstɪk ˈtərgət əv ə ˈproʊˌtin ðət ˈrɛgjəˌleɪts ˈproʊˌtin ənd sɛl groʊθ. ðə ˌæktəˈveɪʃən əv baɪ ɪz ˈmidiˌeɪtɪd θru ræg ˈbaɪndɪŋ tɪ ˈbaɪndɪŋ tɪ ənd ˈpɑsəbli ˈəðər ˈmɛkəˌnɪzəmz. məˈtæbəˌlɪzəm ɪn ˈjumənz ˈɛdət məˈtæbəˌlɪzəm əˈkərz ɪn ˈmɛni ˈtɪʃuz ɪn ðə ˈjumən ˈbɑdi; ˌhaʊˈɛvər, moʊst ˈdaɪəˌtɛri ɪz wɪˈθɪn ðə ˈlɪvər, ˈædəˌpoʊs ˈtɪʃu, ənd ˈməsəl saɪˈteɪʃən ˈnidɪd] ˈædəˌpoʊs ənd ˈməsəl ˈtɪʃu juz ɪn ðə fɔrˈmeɪʃən əv ənd ˈəðər saɪˈteɪʃən ˈnidɪd] kəmˈbaɪnd juz ɪn ðiz tu ˈtɪʃuz ɪz ˈsɛvən taɪmz ˈgreɪtər ðən ɪn ðə ɪn ˈhɛlθi ˌɪndəˈvɪʤəwəlz, əˈprɑksəmətli 60 əv ˈdaɪəˌtɛri ɪz ˈæftər ˈsɛvərəl aʊərz, wɪθ ˈrəfli 5 reɪnʤ) əv ˈdaɪəˌtɛri biɪŋ kənˈvərtɪd tɪ ˈæsəd əraʊnd 40 əv ˈdaɪəˌtɛri ɪz kənˈvərtɪd tɪ, wɪʧ ɪz ˈsəbsəkwəntli juzd ɪn ðə ˈsɪnθəsəs əv ˈəðər ðə væst məˈʤɔrəti əv məˈtæbəˌlɪzəm ɪz ˌɪˈnɪʃəli ˈkætəˌlaɪzd baɪ ðə əˈminoʊ ˈæsəd ˈɛnˌzaɪm, prəˈdusɪŋ ɪz ˈmoʊstli baɪ ðə ˈɛnˌzaɪm, wɪʧ ˈkɑnvərts ɪt tɪ ɪz ˈsəbsəkwəntli baɪ ənd kənˈvərtɪd tɪ, wɪʧ ɪz juzd ɪn ðə ˈsɪnθəsəs əv ənd ˈəðər ˈdʊrɪŋ ˈbaɪətən dɪˈfɪʃənsi, kən bi ˈsɪnθɪˌsaɪzd frəm ˈviə ənd ən ənˈnoʊn wɪʧ ˈkɑnvərt ˈɪntu ənd ˈɪntu ə ˈrɛlətɪvli smɔl əˈmaʊnt əv ɪz ɪn ðə ˈlɪvər baɪ ðə ˈɛnˌzaɪm), wɪʧ ˈkɑnvərts tɪ ɪn ˈhɛlθi ˌɪndəˈvɪʤəwəlz, ðɪs ˈmaɪnər ˈpæθˌweɪ wɪʧ ˌɪnˈvɑlvz ðə kənˈvərʒən əv tɪ ənd ðɛn ɪz ðə prɪˈdɑmənənt rut əv ə smɔl ˈfrækʃən əv məˈtæbəˌlɪzəm lɛs ðən 5 ɪn ɔl ˈtɪʃuz ɪkˈsɛpt ðə ˈtɛˌstiz wɛr ɪt əˈkaʊnts fər əˈbaʊt 33 ɪz ˌɪˈnɪʃəli ˈkætəˌlaɪzd baɪ aminomutase*, prəˈdusɪŋ β-β-leucine*, wɪʧ ɪz ˈsəbsəkwəntli ˈɪntu (β-β-kic*), β-β-ketoisocaproyl-coa*, ənd ðɛn baɪ ə ˈsɪriz əv ðə məˈtæbəˌlɪzəm əv ɪz ˈkætəˌlaɪzd baɪ ən ˈɛnˌzaɪm wɪʧ ˈkɑnvərts ɪt tɪ ɪz baɪ ˈiðər ər əˈnəðər ˈɛnˌzaɪm, prəˈdusɪŋ (mc-coa*) ər (hmg-coa*) ɪz ðɛn kənˈvərtɪd baɪ ðə ˈɛnˌzaɪm tɪ (mg-coa*), wɪʧ ɪz ˈsəbsəkwəntli kənˈvərtɪd tɪ baɪ ɪz ðɛn ˈɪntu ənd baɪ ər juzd ɪn ðə pərˈdəkʃən əv kəˈlɛstərˌɔl ˈviə ðə ˈsɪnθəsəs ɪn nɑnˈhjumən ˈɔrgəˌnɪzəmz ˈɛdət ɪz ən ɛˈsɛnʃəl əˈminoʊ ˈæsəd ɪn ðə daɪət əv ˈænəməlz bɪˈkəz ðeɪ læk ðə kəmˈplit ˈɛnˌzaɪm ˈpæθˌweɪ tɪ ˈsɪnθəˌsaɪz ɪt də ˈnoʊvoʊ frəm pəˈtɛnʃəl priˈkərsər ˈkɑmpaʊndz. ˈkɑnsəkˌwɛntli, ðeɪ məst ˌɪnˈʤɛst ɪt, ˈjuʒəwəli ɛz ə kəmˈpoʊnənt əv ˈproʊˌtinz. plænts ənd ˌmaɪkroʊˈɔrgəˌnɪzəmz ˈsɪnθəˌsaɪz frəm ˈæsəd wɪθ ə ˈsɪriz əv ˈsɪnθəsəs əv ðə smɔl, əˈminoʊ ˈæsəd ˈɔlsoʊ ˌɪnˈkludz ðə ˌɪˈnɪʃəl pɑrt əv ðɪs ˈpæθˌweɪ. ˈkɛmɪstri ˈɛdət (ər ɛl -leucine*), lɛft; (ər di -leucine*), raɪt, ɪn fɔrm æt ˈnutrəl ˈpiˈeɪʧ (or-leucine*), lɛft; (or-leucine*), raɪt, ɪn fɔrm æt ˈnutrəl ˈpiˈeɪʧ ɪz ə əˈminoʊ ˈæsəd (bcaa*) sɪns ɪt pəˈzɛsɪz ən ðət ɪz nɑt ˈlɪniər. hæd bɪn səˈbʤɛktɪd tɪ ˈsərkjələrli ˈpoʊlərˌaɪzd ˌreɪdiˈeɪʃən tɪ ˈbɛtər ˌəndərˈstænd ðə ˈɔrəʤən əv ˌeɪˈsɪmətri. ən ɛnˈhænsmənt əv hæd bɪn ˌɪnˈdust, ˈɪndəˌkeɪtɪŋ ə ˈpɑsəbəl ˌfoʊtoʊˈkɛmɪkəl ˈɔrəʤən əv biomolecules*' si ˈɔlsoʊ ˈɛdət leucines*, ðə ˈaɪsəmərz ənd dərˈɪvətɪvz əv ˈzɪpər, ə ˈkɑmən moʊˈtif ɪn ˌtrænˈskrɪpʃən ˈfæktər ˈproʊˌtinz noʊts ˈɛdət ðɪs riˈækʃən ɪz ˈkætəˌlaɪzd baɪ ən ənˈnoʊn ˈɛnˌzaɪm.
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leucine (symbol leu or l)[2] is an essential amino acid that is used in the biosynthesis of proteins. leucine is an α-amino acid, meaning it contains an α-amino group (which is in the protonated −nh 3 + form under biological conditions), an α-carboxylic acid group (which is in the deprotonated −coo− form under biological conditions), and a side chain isobutyl group, making it a non-polar aliphatic amino acid. it is essential in humans, meaning the body cannot synthesize it: it must be obtained from the diet. human dietary sources are foods that contain protein, such as meats, dairy products, soy products, and beans and other legumes. it is encoded by the codons uua, uug, cuu, cuc, cua, and cug.
like valine and isoleucine, leucine is a branched-chain amino acid. the primary metabolic end products of leucine metabolism are acetyl-coa and acetoacetate; consequently, it is one of the two exclusively ketogenic amino acids, with lysine being the other.[3] it is the most important ketogenic amino acid in humans.[4]p. 101
leucine and β-hydroxy β-methylbutyric acid, a minor leucine metabolite, exhibit pharmacological activity in humans and have been demonstrated to promote protein biosynthesis via the phosphorylation of the mechanistic target of rapamycin (mtor).[5][6]
dietary leucine [ edit ]
as a food additive, l-leucine has e number e641 and is classified as a flavor enhancer.[7]
requirements [ edit ]
the food and nutrition board (fnb) of the u.s. institute of medicine set recommended dietary allowances (rdas) for essential amino acids in 2002. for leucine, for adults 19 years and older, 42 mg/kg body weight/day.[8]
sources [ edit ]
health effects [ edit ]
as a dietary supplement, leucine has been found to slow the degradation of muscle tissue by increasing the synthesis of muscle proteins in aged rats.[10] however, results of comparative studies are conflicted. long-term leucine supplementation does not increase muscle mass or strength in healthy elderly men.[11] more studies are needed, preferably ones based on an objective, random sample of society. factors such as lifestyle choices, age, gender, diet, exercise, etc. must be factored into the analyses to isolate the effects of supplemental leucine as a standalone, or if taken with other branched chain amino acids (bcaas). until then, dietary supplemental leucine cannot be associated as the prime reason for muscular growth or optimal maintenance for the entire population.
both l-leucine and d-leucine protect mice against seizures.[12] d-leucine also terminates seizures in mice after the onset of seizure activity, at least as effectively as diazepam and without sedative effects.[12] decreased dietary intake of l-leucine promotes adiposity in mice.[13] high blood levels of leucine are associated with insulin resistance in humans, mice, and rodents.[14] this might be due to the effect of leucine to stimulate mtor signaling.[15] dietary restriction of leucine and the other bcaas can reverse diet-induced obesity in wild-type mice by increasing energy expenditure, and can restrict fat mass gain of hyperphagic rats.[16][17]
safety [ edit ]
leucine toxicity, as seen in decompensated maple syrup urine disease, causes delirium and neurologic compromise, and can be life-threatening.
a high intake of leucine may cause or exacerbate symptoms of pellagra in people with low niacin status because it interferes with the conversion of l-tryptophan to niacin.[18]
leucine at a dose exceeding 500 mg/kg/d was observed with hyperammonemia.[19] as such, unofficially, a tolerable upper intake level (ul) for leucine in healthy adult men can be suggested at 500 mg/kg/d or 35 g/d under acute dietary conditions.[19][20]
pharmacology [ edit ]
pharmacodynamics [ edit ]
leucine is a dietary amino acid with the capacity to directly stimulate myofibrillar muscle protein synthesis.[21] this effect of leucine arises results from its role as an activator of the mechanistic target of rapamycin (mtor),[6] a serine-threonine protein kinase that regulates protein biosynthesis and cell growth. the activation of mtor by leucine is mediated through rag gtpases,[22][23][24] leucine binding to leucyl-trna synthetase,[22][23] leucine binding to sestrin 2,[25][26][27] and possibly other mechanisms.
metabolism in humans [ edit ]
leucine metabolism occurs in many tissues in the human body; however, most dietary leucine is metabolized within the liver, adipose tissue, and muscle tissue.[medical citation needed] adipose and muscle tissue use leucine in the formation of sterols and other compounds.[medical citation needed] combined leucine use in these two tissues is seven times greater than in the liver.[33] in healthy individuals, approximately 60% of dietary l-leucine is metabolized after several hours, with roughly 5% (2–10% range) of dietary l-leucine being converted to β-hydroxy β-methylbutyric acid (hmb).[31][34][32] around 40% of dietary l-leucine is converted to acetyl-coa, which is subsequently used in the synthesis of other compounds.[32]
the vast majority of l-leucine metabolism is initially catalyzed by the branched-chain amino acid aminotransferase enzyme, producing α-ketoisocaproate (α-kic).[31][32] α-kic is mostly metabolized by the mitochondrial enzyme branched-chain α-ketoacid dehydrogenase, which converts it to isovaleryl-coa.[31][32] isovaleryl-coa is subsequently metabolized by isovaleryl-coa dehydrogenase and converted to mc-coa, which is used in the synthesis of acetyl-coa and other compounds.[32] during biotin deficiency, hmb can be synthesized from mc-coa via enoyl-coa hydratase and an unknown thioesterase enzyme,[28][29][35] which convert mc-coa into hmb-coa and hmb-coa into hmb respectively.[29] a relatively small amount of α-kic is metabolized in the liver by the cytosolic enzyme 4-hydroxyphenylpyruvate dioxygenase (kic dioxygenase), which converts α-kic to hmb.[31][32][36] in healthy individuals, this minor pathway which involves the conversion of l-leucine to α-kic and then hmb is the predominant route of hmb synthesis.[31][32]
a small fraction of l-leucine metabolism less than 5% in all tissues except the testes where it accounts for about 33% is initially catalyzed by leucine aminomutase, producing β-leucine, which is subsequently metabolized into β-ketoisocaproate (β-kic), β-ketoisocaproyl-coa, and then acetyl-coa by a series of uncharacterized enzymes.[32][37]
the metabolism of hmb is catalyzed by an uncharacterized enzyme which converts it to β-hydroxy β-methylbutyryl-coa (hmb-coa).[28][32] hmb-coa is metabolized by either enoyl-coa hydratase or another uncharacterized enzyme, producing β-methylcrotonyl-coa (mc-coa) or hydroxymethylglutaryl-coa (hmg-coa) respectively.[31][32] mc-coa is then converted by the enzyme methylcrotonyl-coa carboxylase to methylglutaconyl-coa (mg-coa), which is subsequently converted to hmg-coa by methylglutaconyl-coa hydratase.[31][32][37] hmg-coa is then cleaved into acetyl-coa and acetoacetate by hmg-coa lyase or used in the production of cholesterol via the mevalonate pathway.[31][32]
synthesis in non-human organisms [ edit ]
leucine is an essential amino acid in the diet of animals because they lack the complete enzyme pathway to synthesize it de novo from potential precursor compounds. consequently, they must ingest it, usually as a component of proteins. plants and microorganisms synthesize leucine from pyruvic acid with a series of enzymes:[38]
synthesis of the small, hydrophobic amino acid valine also includes the initial part of this pathway.
chemistry [ edit ]
s)-leucine (or l -leucine), left; (r)-leucine (or d -leucine), right, in zwitterionic form at neutral ph )-leucine (or-leucine), left; ()-leucine (or-leucine), right, in zwitterionic form at neutral ph
leucine is a branched-chain amino acid (bcaa) since it possesses an aliphatic side-chain that is not linear.
racemic leucine had been subjected to circularly polarized synchrotron radiation to better understand the origin of biomolecular asymmetry. an enantiomeric enhancement of 2.6% had been induced, indicating a possible photochemical origin of biomolecules' homochirality.[39]
see also [ edit ]
leucines, the isomers and derivatives of leucine
leucine zipper, a common motif in transcription factor proteins
notes [ edit ]
^ [28][29] this reaction is catalyzed by an unknown thioesterase enzyme.
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wərldz ˈlɑrʤəst ˈɪŋlɪʃ ˈlæŋgwɪʤ nuz ˈsərvɪs wɪθ ˈoʊvər 500 ˈɑrtɪkəlz ˈəpˌdeɪtɪd ˈdeɪli "ðə nuz ju nid ðə wərld lɪv ɪn təˈmɑˌroʊ." wət ju biɪŋ toʊld əˈbaʊt ðə wərld ju lɪv ɪn haʊ ðə theory”*” ˈleɪbəl wɑz kənˈsivd tɪ dɪˈreɪl ðə truθ ˈmuvmənt haʊ ˈkoʊvərt əˈmɛrɪkən ˈeɪʤənts ˈɪnfɪlˌtreɪt ðə ˈɪntərˌnɛt tɪ məˈnɪpjəˌleɪt, dɪˈsiv, ənd dɪˈstrɔɪ ˌrɛpjəˈteɪʃənz noʊˈvɛmbər 20 2017 ˈrəʃə ˈɪʃuz alert”*” ˈæftər incident”*” æt əˈmɛrɪkən swɪs ˈkɑnsələt baɪ: ˈsɔrkə fɑl, ənd ɛz ˌriˈpɔrtəd tɪ hər ˈwɛstərn səbˈskraɪbərz ə nu ˈmɪnɪstri əv ˈfɔrən əˈfɛrz (mofa*) rɪˈpɔrt ˈsərkjəˌleɪtɪŋ ɪn ðə ˈkrɛmlɪn təˈdeɪ sɪz ðət ðə ˈɪʃuəns ðɪs ˌæftərˈnun əv ən ənˈprɛsɪˌdɛntɪd alert”*” ˈtrævəl ˈnoʊtɪs fər ˌfɛdərˈeɪʃən ˈsɪtɪzənz ɪz related”*” tɪ ðə mɪˈstɪriəs ˈkloʊzɪŋ əv ðə əˈmɛrɪkən ˈkɑnsələt ɪn ˈzʊrɪk, sˈwɪtsərlənd, ˈæftər ə incident”*” əˈkərd ðɛr wɪˈθɪn ən aʊər əv ˈgəvərnmənt ðət bɪˈkeɪm ˈivɪn mɔr əˈlɑrmɪŋ tɪ ðə ˈæftər ðə ˈfɛdərəl sɪˈkjʊrəti ˈsərvɪs (fsb*) ˌriˈpɔrtəd ðət ɔl kəmˌjunəˈkeɪʃən lɪŋks ɪˈstæblɪʃt bɪtˈwin ðɛm ənd ðə ˈfɛdərəl ˈbjʊroʊ əv ˌɪnˌvɛstəˈgeɪʃən (ˈɛfˈbiˈaɪ), ɪn 2014 baɪ ðɛn ˈɛfˈbiˈaɪ dɪˈrɛktər ʤeɪmz hæd tɪ exist”*”. [noʊt: səm wərdz ˈfreɪzɪz əˈpɪrɪŋ ɪn kwoʊts ɪn ðɪs rɪˈpɔrt ər ˈɪŋlɪʃ ˈlæŋgwɪʤ əˌprɑksəˈmeɪʃənz əv ˈrəʃən ˈhævɪŋ noʊ ɪgˈzækt ˈkaʊntərˌpɑrt.] əˈkɔrdɪŋ tɪ ðɪs rɪˈpɔrt, ˈərliər ðɪs ˈmɔrnɪŋ, ðə ɪnˈtaɪər ˌjʊrəˈpiən ˈkɑntənənt bɪˈgæn tɪ wɪθ fear”*” ˈæftər rɪˈpɔrts bɪˈgæn tɪ ˈimərʤ frəm ˈʤərməni ðət ɪz ˈʤərmən fɔrm ˈməðər, ˈmərkəl ɪz ˈænʤələ ˈmərkəl, ˈʧænsələr əv ˈʤərməni] ˈgəvərnmənt wɑz kəˈlæpsɪŋ, ənd ðət wɑz ˈfɑloʊd, æt əˈprɑksəmətli 1 gmt*, baɪ ɪˈlit swɪs pəˈlis ˈfɔrsɪz ɪn ˈzʊrɪk ˈræpədli ɪn force”*” əˈpɑn ðə ˈjuˈɛs ˈkɑnsələt wɛr ə stɪl ənˈklɪr incident”*” wɑz ðət prɛs rɪˈpɔrts seɪ wɑz du tɪ ə parcel”*” biɪŋ dɪˈskəvərd. wɪθ ˈʤərmən ˈprɛzɪdənt ˈgreɪvli ˈwɔrnɪŋ ðət ˈʤərməni ɪz naʊ ˈfeɪsɪŋ ən ənˈprɛsɪˌdɛntɪd ˌsɪʧuˈeɪʃən du tɪ ðə fɔl əv ˈgəvərnmənt, ðɪs rɪˈpɔrt kənˈtɪnjuz, ðə bɪˈkeɪm concerned”*” əˈbaʊt ðə ˈzʊrɪk incident”*” ɛz wɪn ɪt əˈkərd, ˈɛfˈbiˈaɪ ˈeɪʤənts wər ɪn ðə ˈjuˈɛs ˈkɑnsələt ““interviewing/interrogating”*” ðə swɪs ˈdəbəl ˈeɪʤənt spaɪ noʊn ɛz ə ˈʤərmən kɔrt hæd, ðɪs pæst ˈfɔrtˌnaɪt, ˈgrænɪd ə səˈspɛndɪd ˈsɛntəns tɪ fər hɪz spaɪɪŋ kraɪmz. swɪs ˈdəbəl ˈeɪʤənt spaɪ ˈdænjəl ɛm. (ˈsɛnər) ɪn ˈʤərmən ˈkɔrˌtrum ɔn 9 noʊˈvɛmbər 2017 ɛz pər ðə ˈproʊtəˌkɔlz ənd prəˈsiʤərz ɪˈstæblɪʃt ɪn 2014 baɪ ðɛn ˈɛfˈbiˈaɪ dɪˈrɛktər ʤeɪmz fər ðə tɪ ˈkɑnˌtækt ðə ˈɛfˈbiˈaɪ ɪn səʧ ˈmætərz ɛz ðiz ɪn ˈɔrdər tɪ sik ““clarification/substance”*”, ðɪs rɪˈpɔrt noʊts, ðə (ˈdɛzɪgˌneɪtɪd ɛz ðə contact”*” ˈɛntɪti bɪtˈwin ðə ˈjuˈɛs ənd ˈrəʃə) dɪˈskəvərd ðət ɔl ˈʧænəl links”*” wɪθ ðɪs ˈjuˈɛs ˌɪnˈtɛləʤəns ˌɔrgənəˈzeɪʃən hæd tɪ ˈkɔzɪŋ ðə tɪ clarification”*” frəm ðə ˈfɔrən ˌɪnˈtɛləʤəns ˈsərvɪs (svr*) ɛz tɪ wət wɑz əˈkərɪŋ ɪn ðət ðə rɪˈspɑndɪd tɪ baɪ ˌɪnˈfɔrmɪŋ ðə ðət ðə ˈɛfˈbiˈaɪ wɑz naʊ ˈɔpərˌeɪtɪŋ ɪn ˈɪnwərd mode”*” ənd hæd sist ɔl əv ɪts functions”*”. ðə ˈɪnwərd mode”*” ˌɑpərˈeɪʃənz ˈkərəntli biɪŋ dɪˈrɛktɪd baɪ ðə ˈɛfˈbiˈaɪ, tɪ ðə ɪkˈskluʒən əv ˈɛvriˌθɪŋ ɛls, ðɪs rɪˈpɔrt ɪkˈspleɪnz, rɪˈfərz tɪ ðə truɪst ˈpərpəs əv ðɪs ˌɪnˈtɛləʤəns ðət ɪn ðə ˈərli 1900’s*, wɪn ðə ˈɛfˈbiˈaɪ wɑz ˈfaʊndɪd, əˈmɛrɪkən wɔrnd wʊd ˈsəmˌdeɪ bi juzd tɪ prɑp əp ðə ˈrulɪŋ ɪˈlits ənd əˈtæk ðoʊz hu dɛr ˈʧælənʤ ðə ɪˈstæblɪʃmənt. moʊst ˌɪmˈpɔrtənt tɪ noʊ əˈbaʊt ðə ˈɛfˈbiˈaɪ, ðɪs rɪˈpɔrt ˈditeɪlz, ɪz ðət ɪn ˈɔrdər tɪ prəˈtɛkt ɪts ˈneɪʃənz ˈrulɪŋ ɪˈlits, ɪt kriˈeɪtɪd ˌɪtˈsɛlf tɪ bi ə ˈmɪrər ˈɪmɪʤ əv ðə ˈnɑtsi ˈʤərmən ˈsikrɪt steɪt pəˈlis hum ðə ˈɛfˈbiˈaɪ wɑz soʊ ˌɪmˈprɛst wɪθ, ɪn ðə ˈæftərˌmæθ əv wərld wɔr ii*, ðeɪ ˈsikrɪtli haɪərd ˈhənərdz əv ˈnɑtsiz ɛz spaɪz ənd wɪʧ ˈɔrdər tɪ kip ˈsikrɪt ðə ˈnɑlɪʤ əv, ðə ˈɛfˈbiˈaɪ ðɛn ˈkɛrid aʊt ə ˈmæsɪv ˈkəvərˌəp kæmˈpeɪn tɪ ɪnˈʃʊr ðət ðɛr tru aɪˈdɛntɪˌtiz ənd taɪz tɪ ˈhɔləˌkɔst məˈʃin wʊd rɪˈmeɪn ˈɛniˌwən hu dɛrd tɪ bloʊ ðə ˈwɪsəl ɔn ðə ˌɪˈlɪsət ˈnɑtsi taɪz, faʊnd ðɛmˈsɛlvz spaɪd əˈpɑn, ˌɪnˈtɪmɪˌdeɪtɪd, həræst ənd ˈleɪbəld ɛz ə θrɛt tɪ ˈnæʃənəl sɪˈkjʊrəti. wɔnt tɪ noʊ mɔr? klɪk hir. ɛz ðə əˈmɛrɪkən, ˈpipəl praɪər tɪ wərld wɔr ii*, hæd bɪn prəˈtɛktɪd ˈəndər ðɛr ˈneɪʃənz fɔrθ əˈmɛndmənt tɪ ðə ˈjuˈɛs ˌkɑnstəˈtuʃən ðət ɛnˈfɔrst ðə ˈnoʊʃən ðət hoʊm ɪz hɪz castle”*” sɪˈkjʊr frəm ənˈriznəbəl ˈsərʧɪz, ˈɑrbɪˌtrɛri ərˈɛsts, sərˈveɪləns ənd ˈsiʒərz əv ˈprɑpərti baɪ ðə ˈgəvərnmənt, ðɪs rɪˈpɔrt kənˈtɪnjuz, ðə gəˈstɑpoʊ ˈɔfɪsərz ɛmˈbɛdɪd ˈɪntu ðə ˈɛfˈbiˈaɪ ʧeɪnʤd ðɪs prəˈtɛkʃən baɪ ˈsəbstɪˌtutɪŋ ɪn ɪts pleɪs ðə ˈnɑtsi ˈʤərməni fər ðə king”*” ˈθɪri əv ɛz ɪkˈspleɪnd baɪ ðə ʧif əv ˌɪnˈtɛləʤəns, ˈɛdwərd ˈmɪlər, hu sɛd ðət hi tʊk hɪz ˈɑrgjəmənt frəm ðə ˈkɑmən lɔ əv ˈsɛnʧəriz gɔn ðoʊ hi kənˈsidɪd ðət hoʊm ɪz hɪz castle,”*,” hi ˈʃɑkɪŋli ˈædɪd ðət mæn kən meɪnˈteɪn ə ˈkæsəl əˈgɛnst ðə ðoʊ traɪd ənd kənˈvɪktəd fər hɪz kraɪmz əˈgɛnst ðə əˈmɛrɪkən ˈpipəl, ˈmɪlər wɑz, ˌnɛvərðəˈlɛs, ˈpɑrdənd baɪ ˈprɛzɪdənt ˈrɑnəld ðə ɪˈlits ɪn əˈmɛrɪkə ˈɔlˌweɪz prəˈtɛkt ðə ˈɛfˈbiˈaɪ, ənd hu ɪn tərn prəˈtɛkts ðiz ɪˈlits frəm ˈɛvər ˈhævɪŋ tɪ ˈænsər fər ðɛr kraɪmz. wɔnt tɪ noʊ mɔr? klɪk hir. tɪ ðə ˈgreɪtəst ˈdeɪnʤər poʊzd tɪ ðə əˈmɛrɪkən ˈpipəl baɪ ðə ˈɛfˈbiˈaɪ goʊɪŋ ˈɪntu fʊl prəˈtɛkʃən əv ðɛr ɪˈlit ˈmæstərz baɪ ðɛr ˈɪnwərd mode”*” ˌɑpərˈeɪʃənz, ðɪs rɪˈpɔrt ɪkˈspleɪnz, kən bi ˈlaɪkənd tɪ wət əˈkərd wɪθ ðə gəˈstɑpoʊ ɪn ðɛr prəˈtɛkʃən əv ðə ˈʤərmən ˈnɑtsi hu wər soʊ kənˈsumd wɪθ prəˈtɛktɪŋ ðə ɪˈlit ˈnɑtsi ˈrulɪŋ klæs frəm ðɛr ˈneɪʃənz oʊn ˈsɪtɪzənz, ðeɪ feɪld ɪn prəˈtɛktɪŋ ðɛr oʊn ðɛr ˌɪnˈtɛləʤəns ˈfeɪljərz naʊ bɪˈkəmɪŋ ˈlɛʤənˌdɛri, moʊst ˌpɑrˈtɪkjələrli ðɛr ˈstənɪŋ ˈfeɪljər tɪ ˈivɪn noʊ haʊ lɑrʤ ðə ˈsoʊviˌɛt ˈɑrmi wɑz ˌbiˈfɔr ðeɪ əˈtækt ˈrəʃə. ənd ɛz ðə gəˈstɑpoʊ feɪld tɪ prəˈtɛkt ðɛr oʊn ˈkəntri ˈdʊrɪŋ wərld wɔr ii*, ðɪs rɪˈpɔrt kənˈtɪnjuz, soʊ həz ðə ˈɛfˈbiˈaɪ, ˈfeɪməsli praɪər tɪ ðə 11 sɛpˈtɛmbər 2001 ˈæftər ðə ˈjuˈɛs ˈkɑŋgrəs hæd ˈdɛljuʤd ðə ˈɛfˈbiˈaɪ wɪθ ˈɔlˌmoʊst 2 ˈbɪljən tɪ ˈəpˈgreɪd ɪts kəmˈpjutərz ɪn ðə leɪt ðət ɔl wɛnt tɪ weɪst ɛz ˈɛfˈbiˈaɪ ˈeɪʤənts, ɔn wər stɪl ˈjuzɪŋ məˈʃinz ðət wər ˌɪnˈkeɪpəbəl əv ˈsərʧɪŋ ðə wɛb ər ˈsɛndɪŋ wɪθ wən ˈɛfˈbiˈaɪ ˈeɪʤənt əbˈzərvɪŋ ðət ðə ˈbjʊroʊ ˈiθɑs wɑz ðət mɛn type”*” ɛz ðə ˈoʊnli θɪŋ ə ril ˈeɪʤənt nidz ɪz ə ˈnoʊtˌbʊk, ə pɛn ənd gən, ənd ðoʊz θri θɪŋz ju kən ˈkɑŋkər ðə world”*”. fɑr frəm ðə world”*”, ðoʊ, ðɪs rɪˈpɔrt kənˈtɪnjuz, ðə hɔˈrɪfɪk kraɪmz əˈgɛnst ðə əˈmɛrɪkən ˈpipəl ɪn ˈɔrdər tɪ prəˈtɛkt ðɛr ˈneɪʃənz ɪˈlits ər ˈnɪrli tu ˈnumərəs tɪ ðət ðə ˈpʊlətsər praɪz ˈwɪnɪŋ əˈmɛrɪkən ˈɔθər tɪm ˈwaɪnər wɑz ˈeɪbəl tɪ du ɪn hɪz ˈʃɑkɪŋ bʊk ˈtaɪtəld ““enemies*: ə ˈhɪstəri əv ðə ðət ðə ɛˈstimd əˈmɛrɪkən ˈɔθər ʤeɪmz bəˈvɑrd ɪkˈspaʊndəd ɔn ɪn hɪz ˈdɛvəˌsteɪtɪŋ ˈɑrtɪkəl ˈtaɪtəld: ə ˈstɑsi fər wɛˈrɪn bəˈvɑrd ˈstənɪŋli ˈdɑkjəmənts haʊ ðə ˈɛfˈbiˈaɪ həz mɔrft frəm biɪŋ gəˈstɑpoʊ, tɪ ɪts naʊ, təˈdeɪ, ˈhævɪŋ bɪˈkəm ɪgˈzæktli laɪk ist ˈʤərmən ˈkɑmjənəst stændz fər ðə naʊ dɪˈfəŋkt ist ˈʤərmən ˈmɪnɪstri fər steɪt sɪˈkjʊrəti ðət həz bɪn dɪˈskraɪbd ɛz əv ðə moʊst ˈifɛktɪv ənd riˈprɛsɪv ˌɪnˈtɛləʤəns ənd ˈsikrɪt pəˈlis ˈeɪʤənsiz tɪ hæv ˈɛvər existed”*”. 2017 ˈivɪn ˈstreɪnʤər ðən ˈɔrˌwɛl ˌɪˈmæʤənd! ɛz tɪ waɪ ðə əˈmɛrɪkən ˈpipəl jɛt ˈfʊli əˈwɛr əv haʊ ˈdeɪnʤərəs ðə ˈɛfˈbiˈaɪ ˈrɪli ɪz tɪ ðɛr ˈfridəm ənd ˈlɪbərˌti, ðɪs rɪˈpɔrt ɪkˈspleɪnz, ɪz du tɪ ɪts taɪt kənˈtroʊl ˈoʊvər ðə ˈɪmɪʤ əv ˌɪtˈsɛlf ɪt əˈlaʊz ˈɛniˌwən tɪ hu ər, ˈɔlsoʊ, prəˈtɛktɪd baɪ ðə ˈjuˈɛs ˈmeɪnˌstrim ˌprɑpəˈgændə ʤɪst ðɪs pæst wik, ˈpəblɪʃt ən ˈɑrtɪkəl wɪθ ðə ˈhɛˌdlaɪn ˈɪʃuz ˈwɔrənt fər ˈtɛksəs ˈʃutərz ˈaɪˌfoʊn wɪθ truθ biɪŋ ðət ˈɛfˈbiˈaɪ dɪd noʊ səʧ ɪt wɑz ˈtɛksəs ˈreɪnʤər ˈkɛvɪn raɪt hu sɔt ðə ˈwɔrənts bɪˈkəz ðə ˈɛfˈbiˈaɪ rɪfˈjuzd ðə ˈɛfˈbiˈaɪ, ˈɔlsoʊ, rɪfˈjuzɪŋ ˈɔfər əv hɛlp tɪ ənˈlɑk ðɪs ˈaɪˌfoʊn. wɪθ ðə ˈɛfˈbiˈaɪ ˈhævɪŋ kənˈkludɪd ðət ˈhɪləri ˈklɪntən wɑz ˈɪnəsənt əv hər iˈmeɪl kraɪmz ˌbiˈfɔr ðeɪ hæd ˈivɪn ˈbeɪgən ðɛr ˌɪnˌvɛstəˈgeɪʃən, ənd nu əˈbaʊt hər biɪŋ braɪbd, bət tɛl ˈɛniˌwən, waɪl æt ðə seɪm taɪm ðɛr ˈfeɪlɪŋ tɪ tɛl ðə əˈmɛrɪkən ˈpipəl ðət ðeɪ ˈvɛrəˌfaɪ ˈɛni əv ðə vaɪl kleɪmz meɪd əˈgɛnst ˈprɛzɪdənt trəmp ɪn ðə ˈsoʊˈkɔld dossier”*” ðɪs rɪˈpɔrt kənˈkludz, ðɪs ˈjuˈɛs ˌɪnˈtɛləʤəns ˈeɪʤənsiz ˈfeɪljər tɪ rɪˈspɑnd tɪ groʊɪŋ kənˈsərnz du tɪ ɪts ˈoʊnli ˈfoʊkɪsɪŋ ɔn ɪts prəˈtɛktɪŋ əv ðə ɪˈlits wɪˈθɪn ðə əˈmɛrɪkən state”*”, ˈklɪrli ʃoʊz ðət greɪv ˈdeɪnʤərz biɪŋ poʊzd tɪ ðə ɪnˈtaɪər wərld ər biɪŋ ˌɪgˈnɔrd baɪ ˈkɔzɪŋ ðə tɪ ˈɪʃu ɪts alert”*” fər ɔl ˌfɛdərˈeɪʃən ˈsɪtɪzənz ˈtrævəlɪŋ tɪ boʊθ ðə ˈjuˈɛs ənd ðət ðə sɪz ðə θrɛt əv weɪn baɪ 31 ˈʤænjuˌɛri ðət ðə moʊst fɪrd taɪm ˈpɪriəd ɪn wɪʧ ən ɪkˈspɛktɪd flag”*” ɪˈvɛnt meɪ teɪk pleɪs wɪʧ wʊd ˌɪgˈnaɪt ɑr ɪnˈtaɪər wərld ˈɪntu wɔr. noʊˈvɛmbər 20 2017 ənd ˈjuˈɛs ɔl raɪts rɪˈzərvd. pərˈmɪʃən tɪ juz ðɪs rɪˈpɔrt ɪn ɪts ɪnˈtaɪərti ɪz ˈgrænɪd ˈəndər ðə kənˈdɪʃən ɪt ɪz lɪŋkt bæk tɪ ɪts ərˈɪʤənəl sɔrs æt. ˈkɑntɛnt ˈlaɪsənst ˈəndər ənd gfdl*. [noʊt: ˈmɛni ˈgəvərnmənts ənd ðɛr ˌɪnˈtɛləʤəns ˈsərvɪsɪz ˈæktɪvli kæmˈpeɪn əˈgɛnst ðə ˌɪnˌfɔrˈmeɪʃən faʊnd ɪn ðiz rɪˈpɔrts soʊ ɛz nɑt tɪ əˈlɑrm ðɛr ˈsɪtɪzənz əˈbaʊt ðə ˈmɛni ˌkætəˈstrɑfɪk ərθ ˈʧeɪnʤɪz ənd ɪˈvɛnts tɪ kəm, ə stæns ðət ðə ˈsɪstərz əv ˈsɔrkə fɑl ˈstrɔŋli dɪsəˈgri wɪθ ɪn bɪˈlivɪŋ ðət ɪt ɪz ˈɛvəri ˈjumən biɪŋz raɪt tɪ noʊ ðə truθ. du tɪ ɑr ˈmɪʃənz ˈkɑnflɪkts wɪθ ðət əv ðoʊz ˈgəvərnmənts, ðə rɪˈspɑnsɪz əv ðɛr ‘‘agents’*’ həz bɪn ə ˈlɔŋˌstændɪŋ kæmˈpeɪn dɪˈzaɪnd tɪ dɪˈskrɛdət ˈjuˈɛs, ənd ˈəðərz laɪk ˈjuˈɛs, ðət ɪz ɪn ˈnumərəs ˈpleɪsɪz, ˌɪnˈkludɪŋ hir.] [noʊt: ðə ˈwɛbˌsaɪt wɑz kriˈeɪtɪd fər ənd ˈdoʊˌneɪtɪd tɪ ðə ˈsɪstərz əv ˈsɔrkə fɑl ɪn 2003 baɪ ə smɔl grup əv əˈmɛrɪkən kəmˈpjutər ˈɛkspərts lɛd baɪ ðə leɪt ˈgloʊbəl tɛkˈnɑləʤi ˈguˌru weɪn grin tɪ ˈkaʊntər ðə ˌprɑpəˈgændə biɪŋ juzd baɪ ðə wɛst tɪ prəˈmoʊt ðɛr ˌɪˈligəl 2003 ˌɪnˈveɪʒən əv ˌɪˈrɑk.] [noʊt: ðə wərd ˈkrɛmlɪn (ˈfɔrtrəs ˌɪnˈsaɪd ə ˈsɪti) ɛz juzd ɪn ðɪs rɪˈpɔrt rɪˈfərz tɪ ˈrəʃən citadels*, ˌɪnˈkludɪŋ ɪn ˈmɔˌskaʊ ˈhævɪŋ kəˈθidrəlz wɛˈrɪn ˈfiˌmeɪl ˈskimə məŋks (ˈɔrθəˌdɑks nənz) rɪˈzaɪd, ˈmɛni əv hum ər dɪˈvoʊtɪd tɪ ðə ˈmɪʃən əv ðə ˈsɪstərz əv ˈsɔrkə fɑl.] ˌʤeɪˌɛfˈkeɪ əˌsæsəˈneɪʃən faɪl riˈlis bɪˈkəmz ˈpæbləm ˈfidɪŋ ɪˈvɛnt əv heaven”*” əˈpɪrəns stənz ˈsaɪəntɪsts ɛz poʊp muvz tɪ kɑm fɪrz əˈmɛrɪkə ɪz ɪn ə ˈziroʊˌsəm jʊr traɪb ənd ɑrm ˈjɔrsɛlf ðə ˈmɪstəriz əv taɪm ɛz rɪˈvild baɪ ˈprɛzɪdənt ˈdɑnəld trəmp ənd nɪˈkoʊlə ˈtɛzlə rɪˈtərn tɪ meɪn peɪʤ
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how the “conspiracy theory” label was conceived to derail the truth movement
how covert american agents infiltrate the internet to manipulate, deceive, and destroy reputations
november 20, 2017
russia issues us-eu “terror alert” after “terrorist incident” at american swiss consulate
by: sorcha faal, and as reported to her western subscribers
a new ministry of foreign affairs (mofa) report circulating in the kremlin today says that the issuance this afternoon of an unprecedented us-eu “terror alert” travel notice for federation citizens is “directly related” to the mysterious closing of the american consulate in zurich, switzerland, after a “terrorist incident” occurred there within an hour of germany’s government collapsing—and that became even more alarming to the mofa after the federal security service (fsb) reported that all communication links established between them and the federal bureau of investigation (fbi), in 2014, by then fbi director james comey had “ceased to exist”. [note: some words and/or phrases appearing in quotes in this report are english language approximations of russian words/phrases having no exact counterpart.]
according to this report, earlier this morning, the entire european continent began to “reverberate with fear” after reports began to emerge from germany that mutti merkel’s [mutti is german form mother, merkel is angela merkel, chancellor of germany] government was collapsing, and that was followed, at approximately 07:45 +1 gmt, by elite swiss police forces in zurich rapidly “descending in force” upon the us consulate where a still unclear “terrorist incident” was unfolding—and that press reports say was due to a “suspicious parcel” being discovered.
with german president frank-walter steinmeier gravely warning that germany is now facing an unprecedented situation due to the fall of mutti merkel’s government, this report continues, the fsb became “highly concerned” about the zurich “terrorist incident” as when it occurred, fbi agents were in the us consulate “interviewing/interrogating” the swiss double agent spy known as “daniel m.”—whom a german court had, this past fortnight, granted a suspended sentence to for his spying crimes.
swiss double agent spy daniel m. (center) in german courtroom on 9 november 2017
as per the protocols and procedures established in 2014 by then fbi director james comey for the fsb to contact the fbi in such matters as these in order to seek “clarification/substance”, this report notes, the mofa (designated as the “first contact” entity between the us and russia) discovered that all “normal channel links” with this us intelligence organization had “ceased to exist”—thus causing the mofa to “seek clarification” from the foreign intelligence service (svr) as to what was occurring in america—and that the svr scarily responded to by informing the mofa that the fbi was now operating in “only inward mode” and had ceased all of its “normal functions”.
the “only inward mode” operations currently being directed by the fbi, to the exclusion of everything else, this report explains, refers to the truest purpose of this intelligence organization—and that in the early 1900’s, when the fbi was founded, american constitutionalists warned would someday be used to prop up the ruling elites and attack those who dare challenge the establishment.
most important to know about the fbi, this report details, is that in order to protect its nations ruling elites, it created itself to be a mirror image of the nazi german secret state police (gestapo)—and whom the fbi was so impressed with, in the aftermath of world war ii, they secretly hired hundreds of nazis as spies and informants—and which order to keep secret the knowledge of, the fbi then carried out a massive cover-up campaign to ensure that their true identities and ties to hitler’s holocaust machine would remain unknown—and anyone who dared to blow the whistle on the fbi’s illicit nazi ties, found themselves spied upon, intimidated, harassed and labeled as a threat to national security.
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as the american, people prior to world war ii, had been protected under their nations fourth amendment to the us constitution that enforced the notion that “each man’s home is his castle” secure from unreasonable searches, arbitrary arrests, surveillance and seizures of property by the government, this report continues, the gestapo officers embedded into the fbi changed this protection by substituting in its place the nazi germany “except for the king” theory of law—and as explained by the fbi’s chief of intelligence, edward miller, who said that he took his argument from the common law of centuries gone by—and though he conceded that “a man’s home is his castle,” he shockingly added that “no man can maintain a castle against the king”—and though tried and convicted for his crimes against the american people, miller was, nevertheless, pardoned by president ronald reagan—as the elites in america always protect the fbi, and who in turn protects these elites from ever having to answer for their crimes.
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to the greatest danger posed to the american people by the fbi going into full protection of their elite masters by their “only inward mode” operations, this report explains, can be likened to what occurred with the gestapo in their protection of the german nazi regime—and who were so consumed with protecting the elite nazi ruling class from their nations own citizens, they failed in protecting their own country—with their intelligence failures now becoming legendary, most particularly their stunning failure to even know how large the soviet army was before they attacked russia.
and as the gestapo failed to protect their own country during world war ii, this report continues, so has the fbi, too—most famously prior to the 11 september 2001 (9/11) after the us congress had deluged the fbi with almost $2 billion to upgrade its computers in the late 1990’s—but that all went to waste as fbi agents, on 9/11, were still using eight-year-old machines that were incapable of searching the web or sending email—and with one fbi agent observing that the bureau ethos was that “real men type” as the only thing a real agent needs is a notebook, a pen and gun, and “with those three things you can conquer the world”.
far from “conquering the world”, though, this report continues, the fbi’s horrific crimes against the american people in order to protect their nations elites are nearly too numerous to mention—but that the pulitzer prize winning american author tim weiner was able to do in his shocking book titled “enemies: a history of the fbi”—and that the esteemed american author james bovard expounded on in his devastating article titled “fbi: a stasi for america”—and wherein bovard stunningly documents how the fbi has morphed from being america’s gestapo, to its now, today, having become exactly like east german communist stasi—which stands for the now defunct east german ministry for state security that has been described as “one of the most effective and repressive intelligence and secret police agencies to have ever existed”.
2017 ‘1984’ – even stranger than orwell imagined!
as to why the american people aren’t yet fully aware of how dangerous the fbi really is to their freedom and liberty, this report explains, is due to its tight control over the image of itself it allows anyone to see—and who are, also, protected by the us mainstream propaganda media—who just this past week, published an article with the headline “fbi issues warrant for texas shooter's iphone data”—but with truth being that fbi did no such thing—as it was texas ranger kevin wright who sought the warrants because the fbi refused to—with the fbi, also, refusing apple’s offer of help to unlock this iphone.
with the fbi having concluded that hillary clinton was innocent of her email crimes before they had even begun their investigation, and knew about her being bribed, but didn’t tell anyone, while at the same time their failing to tell the american people that they can’t verify any of the vile claims made against president trump in the so-called “russian dossier” this report concludes, this us intelligence agencies failure to respond to russia’s growing concerns due to its only focusing on its protecting of the elites within the american “deep state”, clearly shows that grave dangers being posed to the entire world are being ignored by them—thus causing the mofa to issue its “terror alert” for all federation citizens traveling to both the us and eu—but that the mofa says the threat of “would wane by 31 january 2018”—and that encapsulates the most feared time period in which an expected “false flag” event may take place which would ignite our entire world into war.
november 20, 2017 © eu and us all rights reserved. permission to use this report in its entirety is granted under the condition it is linked back to its original source at whatdoesitmean.com. freebase content licensed under cc-by and gfdl.
[note: many governments and their intelligence services actively campaign against the information found in these reports so as not to alarm their citizens about the many catastrophic earth changes and events to come, a stance that the sisters of sorcha faal strongly disagree with in believing that it is every human beings right to know the truth. due to our missions conflicts with that of those governments, the responses of their ‘agents’ has been a longstanding misinformation/misdirection campaign designed to discredit us, and others like us, that is exampled in numerous places, including here.]
[note: the whatdoesitmean.com website was created for and donated to the sisters of sorcha faal in 2003 by a small group of american computer experts led by the late global technology guru wayne green (1922-2013) to counter the propaganda being used by the west to promote their illegal 2003 invasion of iraq.]
[note: the word kremlin (fortress inside a city) as used in this report refers to russian citadels, including in moscow , having cathedrals wherein female schema monks (orthodox nuns) reside, many of whom are devoted to the mission of the sisters of sorcha faal.]
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baɪ ʤɔrʤ noʊt: ðə pis bɪˈloʊ wɑz ˈrɪtən ˈdʊrɪŋ ðə ˈpraɪˌmɛriz. ˈdɑnəld trəmp ɪz ˈwɪnɪŋ rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˈpraɪˌmɛriz æt səʧ ə greɪt reɪt ðət hi simz ˈlaɪkli tɪ bɪˈkəm ðə nɛkst rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˌnɑməˈni ənd pərˈhæps ðə nɛkst ˈprɛzɪdənt. ˈdɛməˌkræts hæv ˈlɪtəl ˌəndərˈstændɪŋ əv waɪ hi ɪz ˈwɪnɪŋ ənd ˈwɪnɪŋ ˈhændəli, ənd ˈivɪn ˈmɛni rɪˈpəblɪkənz si ɪm ɛz ə rɪˈpəblɪkən ənd ər traɪɪŋ tɪ stɑp ɪm, bət noʊ haʊ. ðɛr ər ˈvɛriəs ˈθɪriz: ˈpipəl ər ˈæŋgri ənd hi spiks tɪ ðɛr ˈæŋgər. ˈpipəl θɪŋk məʧ əv ˈkɑŋgrəs ənd wɔnt ə non-politician*. boʊθ meɪ bi tru. bət waɪ? wət ər ðə ˈditeɪlz? ənd waɪ trəmp? ˈmɛni ˈpipəl ər ˈmɪstəˌfaɪd. hi simz tɪ hæv kəm aʊt əv ˈnoʊˌwɛr. hɪz pəˈzɪʃənz ɔn ˈɪʃuz fɪt ə ˈkɑmən moʊld. hi laɪks plænd ˈpɛrənˌthʊd, ˈsoʊʃəl sɪˈkjʊrəti, ənd ˈmɛdəˌkɛr, wɪʧ ər nɑt ˈstændərd rɪˈpəblɪkən pəˈzɪʃənz. rɪˈpəblɪkənz heɪt ˈɛmənənt doʊˈmeɪn (ðə ˈteɪkɪŋ əv ˈpraɪvət ˈprɑpərti baɪ ðə ˈgəvərnmənt) ənd ləv ðə ˈpɑrtnərˌʃɪp (ðə treɪd dil), bət hi həz ðə ˈɑpəzɪt vjuz ɔn boʊθ. hi ɪz nɑt rɪˈlɪʤəs ənd skɔrnz rɪˈlɪʤəs ˈpræktɪsɪz, jɛt ðə ˌiˌvænˈʤɛlɪkəlz (ðət ɪz, ðə waɪt ˌiˌvænˈʤɛlɪkəlz) ləv ɪm. hi θɪŋks hɛlθ ˌɪnˈʃʊrəns ənd ˌfɑrməˈsutɪkəl ˈkəmpəˌniz, ɛz wɛl ɛz ˈmɪlɪˌtɛri ˈkɑnˌtræktərz, ər ˈmeɪkɪŋ tu məʧ ˈprɑfɪt ənd wɔnts tɪ ʧeɪnʤ ðət. hi ˌɪnˈsəlts ˈmeɪʤər ˈvoʊtɪŋ grups, e.g*., lɑˈtinoʊs, wɪn moʊst rɪˈpəblɪkənz ər traɪɪŋ tɪ kɔrt ðɛm. hi wɔnts tɪ dɪˈpɔrt 11 ˈmɪljən ˈɪməgrənts wɪˈθaʊt ˈpeɪpərz ənd θɪŋks hi kən. hi wɔnts tɪ stɑp ɔl ˈməzlɪmz frəm ˈɛnərɪŋ ðə ˈkəntri. wət ɪz goʊɪŋ ɔn? gɪt ɪn jʊr ðə ˈænsər rikˈwaɪərz ə bɪt əv ˈbækˌgraʊnd nɑt dɪˈskəst ɪn ðə ˈmidiə tɪ deɪt. səm ˈbækˌgraʊnd aɪ wərk ɪn ðə ˈkɑgnɪtɪv ənd breɪn ˈsaɪənsɪz. ɪn ðə 1990’s*, aɪ ˌəndərˈtʊk tɪ ˈænsər ə kˈwɛʃən ɪn maɪ fild: haʊ du ðə ˈvɛriəs ˈpɑləsi pəˈzɪʃənz əv kənˈsərvətɪvz ənd prɑˈgrɛsɪvz hæŋ təˈgɛðər? teɪk kənˈsərvəˌtɪzəm: wət dɪz biɪŋ əˈgɛnst əˈbɔrʃən hæv tɪ du wɪθ biɪŋ fər ˈoʊnɪŋ gənz? wət dɪz ˈoʊnɪŋ gənz hæv tɪ du wɪθ dɪˈnaɪɪŋ ðə ˌriˈæləˌti əv ˈgloʊbəl ˈwɔrmɪŋ? haʊ dɪz biɪŋ fɪt wɪθ ˈwɑnɪŋ ə ˈstrɔŋgər ˈmɪlɪˌtɛri? haʊ kən ju bi ənd fər ðə dɛθ ˈpɛnəlti? prɑˈgrɛsɪvz hæv ðə ˈɑpəzɪt vjuz. haʊ du ðɛr vjuz hæŋ təˈgɛðər? ðə ˈænsər keɪm frəm ə ˈriləˈzeɪʃən ðət wi tɛnd tɪ ˌəndərˈstænd ðə ˈneɪʃən ˌmɛtəˈfɔrɪkli ɪn ˈfæməli tərmz: wi hæv ˈfaʊndɪŋ ˈfɑðərz. wi sɛnd ɑr sənz ənd ˈdɔtərz tɪ wɔr. wi hæv ˈhoʊmˌlænd sɪˈkjʊrəti. ðə kənˈsərvətɪv ənd prəˈgrɛsɪv dɪˈvaɪdɪŋ ɑr ˈkəntri kən moʊst ˈrɛdəli bi ˌəndərˈstʊd ɪn tərmz əv ˈmɔrəl ðət ər ɛnˈkæpsəˌleɪtɪd ɪn tu ˈvɛri ˈdɪfərənt ˈkɑmən fɔrmz əv ˈfæməli laɪf: ðə ˈpɛrənt ˈfæməli (prəˈgrɛsɪv) ənd ðə strɪkt ˈfɑðər ˈfæməli (kənˈsərvətɪv). wət du ˈsoʊʃəl ˈɪʃuz ənd ðə ˈpɑləˌtɪks hæv tɪ du wɪθ ðə ˈfæməli? wi ər fərst ˈgəvərnd ɪn ɑr ˈfæməliz, ənd soʊ wi groʊ əp ˌəndərˈstændɪŋ ˈgəvərnɪŋ ˌɪnstɪˈtuʃənz ɪn tərmz əv ðə ˈgəvərnɪŋ ˈsɪstəmz əv ˈfæməliz. ɪn ðə strɪkt ˈfɑðər ˈfæməli, ˈfɑðər noʊz bɛst. hi noʊz raɪt frəm rɔŋ ənd həz ðə ˈəltəmət əˈθɔrəti tɪ meɪk ʃʊr hɪz ˈʧɪldrən ənd hɪz spaʊs du wət hi sɪz, wɪʧ ɪz ˈteɪkən tɪ bi wət ɪz raɪt. ˈmɛni kənˈsərvətɪv ˈspaʊsɪz əkˈsɛpt ðɪs, əˈphoʊld ðə əˈθɔrəti, ənd ər strɪkt ɪn ðoʊz rɛlmz əv ˈfæməli laɪf ðət ðeɪ ər ɪn ʧɑrʤ əv. wɪn hɪz ˈʧɪldrən ˌdɪsəˈbeɪ, ɪt ɪz hɪz ˈmɔrəl ˈduti tɪ ˈpənɪʃ ðɛm ˈpeɪnfəli ɪˈnəf soʊ ðət, tɪ əˈvɔɪd ˈpənɪʃmənt, ðeɪ wɪl oʊˈbeɪ ɪm (du wət ɪz raɪt) ənd nɑt ʤɪst du wət filz gʊd. θru ˈfɪzɪkəl ˈdɪsəplən ðeɪ ər səˈpoʊzd tɪ bɪˈkəm ˈdɪsəplənd, ˌɪnˈtərnəli strɔŋ, ənd ˈeɪbəl tɪ ˈprɑspər ɪn ðə ɪkˈstərnəl wərld. wət ɪf ðeɪ ˈprɑspər? ðət minz ðeɪ ər nɑt ˈdɪsəplənd, ənd ˈðɛrˌfɔr ˈkænɑt bi ˈmɔrəl, ənd soʊ dɪˈzərv ðɛr ˈpɑvərti. ðɪs ˈrizənɪŋ ʃoʊz əp ɪn kənˈsərvətɪv ˈpɑləˌtɪks ɪn wɪʧ ðə pur ər sin ɛz ˈleɪzi ənd ˌəndɪˈzərvɪŋ, ənd ðə rɪʧ ɛz dɪˈzərvɪŋ ðɛr wɛlθ. riˌspɑnsəˈbɪləti ɪz ðəs ˈteɪkən tɪ bi ˈpərsɪnəl riˌspɑnsəˈbɪləti nɑt ˈsoʊʃəl riˌspɑnsəˈbɪləti. wət ju bɪˈkəm ɪz ˈoʊnli əp tɪ ju; soʊˈsaɪɪti həz ˈnəθɪŋ tɪ du wɪθ ɪt. ju ər riˈspɑnsəbəl fər ˈjɔrsɛlf, nɑt fər ˈəðərz hu ər riˈspɑnsəbəl fər ðɛmˈsɛlvz. ˈwɪnɪŋ ənd ˌɪnˈsəltɪŋ ɛz ðə ˈlɛʤənˌdɛri grin beɪ ˈpækərz koʊʧ, vɪns lɑmˈbɑrdi, ˈɛvriˌθɪŋ. ðə ˈoʊnli thing.”*.” ɪn ə wərld ˈgəvərnd baɪ ˈpərsɪnəl riˌspɑnsəˈbɪləti ənd ˈdɪsəplən, ðoʊz hu wɪn dɪˈzərv tɪ wɪn. waɪ dɪz ˈdɑnəld trəmp ˈpəblɪkli ˌɪnˈsəlt ˈəðər ˈkænədɪts ənd pəˈlɪtɪkəl ˈlidərz ˈmərsələsli? kwaɪt ˈsɪmpli, bɪˈkəz hi noʊz hi kən wɪn ən ˌɑnˈsteɪʤ ˌtɛləˈvɪʒən ˌɪnˈsəlt geɪm. ɪn strɪkt kənˈsərvətɪv aɪz, ðət meɪks ɪm ə ˌfɔrˈmɪdəbəl ˈwɪnɪŋ ˈkænədɪt hu dɪˈzərvz tɪ bi ə ˈwɪnɪŋ ˈkænədɪt. ɪˈlɛktərəl ˌkɑmpəˈtɪʃən ɪz sin ɛz ə ˈbætəl. ˌɪnˈsəlts ðət stɪk ər sin ɛz ˈvɪktəriz dɪˈzərvd ˈvɪktəriz. kənˈsɪdər ˈsteɪtmənt ðət ʤɑn məˈkeɪn ɪz nɑt ə wɔr ˈhɪroʊ. ðə ˈrizənɪŋ: məˈkeɪn gɑt ʃɑt daʊn. ˈhɪroʊz ər ˈwɪnərz. ðeɪ dɪˈfit bɪg bæd gaɪz. ðeɪ gɪt ʃɑt daʊn. ˈpipəl hu gɪt ʃɑt daʊn, ˈbitən əp, ənd stək ɪn ə keɪʤ ər ˈluzərz, nɑt ˈwɪnərz. ðə ˈmɔrəl ˈhaɪˌrɑrki ðə strɪkt ˈfɑðər ˈlɑʤɪk ɪkˈstɛndz ˈfərðər. ðə ˈbeɪsɪk aɪˈdiə ɪz ðət əˈθɔrəti ɪz ˈʤəstəˌfaɪd baɪ ˌmɔˈræləˌti (ðə strɪkt ˈfɑðər ˈvərʒən), ənd ðət, ɪn ə wərld, ðɛr ʃʊd bi (ənd trəˈdɪʃənəli həz bɪn) ə ˈmɔrəl ˈhaɪˌrɑrki ɪn wɪʧ ðoʊz hu hæv trəˈdɪʃənəli ˈdɑməˌneɪtəd ʃʊd ˈdɑməˌneɪt. ðə ˈhaɪˌrɑrki ɪz: gɑd əˈbəv mæn, mæn əˈbəv ˈneɪʧər, ðə ˈdɪsəplənd (strɔŋ) əˈbəv ðə ənˈdɪsɪplɪnd (wik), ðə rɪʧ əˈbəv ðə pur, ɪmˈplɔɪərz əˈbəv ɪmˈplɔɪiz, ˈædəlts əˈbəv ˈʧɪldrən, ˈwɛstərn ˈkəlʧər əˈbəv ˈəðər ˈkəlʧərz, ɑr ˈkəntri əˈbəv ˈəðər ˈkəntriz. ðə ˈhaɪˌrɑrki ɪkˈstɛndz tɪ: mɛn əˈbəv ˈwɪmən, waɪts əˈbəv ˈnɑnˈwaɪts, ˈkrɪsʧɪnz əˈbəv nonchristians*, streɪts əˈbəv geɪz. gɪt ɪn jʊr wi si ðiz ˈtɛndənsiz ɪn moʊst əv ðə rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˈkænədɪts, ɛz wɛl ɛz ɪn trəmp, ənd ɔn ðə hoʊl, kənˈsərvətɪv ˈpɑləsiz floʊ frəm ðə strɪkt ˈfɑðər ənd ðɪs ˈhaɪˌrɑrki ˈmɔrəl rən dip. sɪns ˈpipəl wɔnt tɪ si ðɛmˈsɛlvz ɛz duɪŋ raɪt nɑt rɔŋ, ˈmɔrəl tɛnd tɪ bi pɑrt əv hu ju moʊst ˈdipli ər. ənd ðəs jʊr ˈmɔrəl dɪˈfaɪnz fər ju wət ðə wərld ʃʊd bi laɪk. wɪn ɪt ðət weɪ, wən kən bɪˈkəm ˈfrəˌstreɪtəd ənd ˈæŋgri. ðɛr ɪz ə ˈsərtən əˈmaʊnt əv ˈwɪgəl rum ɪn ðə strɪkt ˈfɑðər ənd ðɛr ər ˌɪmˈpɔrtənt ˌvɛriˈeɪʃənz. ə ˈmeɪʤər splɪt ɪz əˈməŋ 1 waɪt ˌivænˈʤɛlɪkəl ˈkrɪsʧɪnz, 2 fri ˈmɑrkɪt kənˈsərvətɪvz, ənd 3 prægˈmætɪk kənˈsərvətɪvz hu ər nɑt baʊnd baɪ ˌivænˈʤɛlɪkəl bɪˈlifs. waɪt ˌiˌvænˈʤɛlɪkəlz ðoʊz waɪts hu hæv ə strɪkt ˈfɑðər ˈpərsɪnəl ənd hu ər rɪˈlɪʤəs tɛnd təˈwɔrd ˌivænˈʤɛlɪkəl ˌkrɪsʧiˈænɪti, sɪns gɑd, ɪn ˌivænˈʤɛlɪkəl ˌkrɪsʧiˈænɪti, ɪz ðə ˈəltəmət strɪkt ˈfɑðər: ju ˈfɑloʊ hɪz kəˈmændmənts ənd ju goʊ tɪ ˈhɛvən; ju dɪˈfaɪ hɪz kəˈmændmənts ənd ju bərn ɪn hɛl fər ɔl ɪˈtərnəti. ɪf ju ər ə ˈsɪnər ənd wɔnt tɪ goʊ tɪ ˈhɛvən, ju kən bi again”*” baɪ dɪˈklɛrɪŋ jʊr ˈfiəlti baɪ ˈʧuzɪŋ hɪz sən, ˈʤizəs kraɪst, ɛz jʊr ˈpərsɪnəl ˈseɪvjər. səʧ ə ˈvərʒən əv rɪˈlɪʤən ɪz ˈnæʧərəl fər ðoʊz wɪθ strɪkt ˈfɑðər ˌmɔˈræləˌti. ˌivænˈʤɛlɪkəl ˈkrɪsʧɪnz ʤɔɪn ðə ʧərʧ bɪˈkəz ðeɪ ər kənˈsərvətɪv; ðeɪ ər nɑt kənˈsərvətɪv bɪˈkəz ðeɪ ˈhæpən tɪ bi ɪn ən ˌivænˈʤɛlɪkəl ʧərʧ, ðoʊ ðeɪ meɪ groʊ əp wɪθ boʊθ təˈgɛðər. ˌivænˈʤɛlɪkəl ˌkrɪsʧiˈænɪti ɪz ˈsɛntərd əraʊnd ˈfæməli laɪf. hɛns, ðɛr ər ˌɔrgənəˈzeɪʃənz laɪk ˈfoʊkɪs ɔn ðə ˈfæməli ənd ˈkɑnstənt ˈrɛfərəns tɪ values,”*,” wɪʧ ər tɪ teɪk tɪ bi ˌivænˈʤɛlɪkəl strɪkt ˈfɑðər ˈvæljuz. ɪn strɪkt ˈfɑðər ˌmɔˈræləˌti, ɪt ɪz ðə ˈfɑðər hu kənˈtroʊlz ˌsɛkʃuˈæləti ənd ˌriprəˈdəkʃən. wɛr ðə ʧərʧ həz pəˈlɪtɪkəl kənˈtroʊl, ðɛr ər lɔz ðət ˌrikˈwaɪər pərˈɛntəl ənd ˈspaʊzəl ˌnoʊtəfəˈkeɪʃən ɪn ðə keɪs əv prəˈpoʊzd əˈbɔrʃənz. ˌiˌvænˈʤɛlɪkəlz ər ˈhaɪli ˈɔrgəˌnaɪzd ˈplɪtɪkli ənd ɪgˈzərt kənˈtroʊl ˈoʊvər ə greɪt ˈmɛni ˈloʊkəl pəˈlɪtɪkəl ˈreɪsɪz. ðəs rɪˈpəblɪkən ˈkænədɪts ˈmoʊstli hæv tɪ goʊ əˈlɔŋ wɪθ ðə ˌiˌvænˈʤɛlɪkəlz ɪf ðeɪ wɔnt tɪ bi ˈnɑməˌneɪtəd ənd wɪn ˈloʊkəl ɪˈlɛkʃənz. prægˈmætɪk kənˈsərvətɪvz prægˈmætɪk kənˈsərvətɪvz, ɔn ðə ˈəðər hænd, meɪ nɑt hæv ə rɪˈlɪʤəs ˌɔriɛnˈteɪʃən æt ɔl. ˌɪnˈstɛd, ðeɪ meɪ kɛr praɪˈmɛrəli əˈbaʊt ðɛr oʊn ˈpərsɪnəl əˈθɔrəti, nɑt ðə əˈθɔrəti əv ðə ʧərʧ ər kraɪst, ər gɑd. ðeɪ wɔnt tɪ bi strɪkt ˈfɑðərz ɪn ðɛr oʊn doʊˈmeɪnz, wɪθ əˈθɔrəti praɪˈmɛrəli ˈoʊvər ðɛr oʊn lɪvz. ðəs, ə jəŋ, ənˈmɛrid kənˈsərvətɪv meɪl ər ˈfiˌmeɪl wɔnt tɪ hæv sɛks wɪˈθaʊt ˈwəriɪŋ əˈbaʊt ˈmɛrɪʤ. ðeɪ meɪ nid ˈækˌsɛs tɪ ˌkɑntrəˈsɛpʃən, ədˈvaɪs əˈbaʊt ˈsɛkʃuəli trænzˈmɪtəd dɪˈzizɪz, ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ˈsərvɪkəl ˈkænsər, ənd soʊ ɔn. ənd ɪf ə gərl ər ˈwʊmən bɪˈkəmz ˈprɛgnənt ənd ðɛr ɪz noʊ ˌpɑsəˈbɪləˌti ər dɪˈzaɪər fər ˈmɛrɪʤ, əˈbɔrʃən meɪ bi ˈnɛsəˌsɛri. trəmp ɪz ə prægˈmætɪk kənˈsərvətɪv, pɑr ˈɛksələns. ənd hi noʊz ðət ðɛr ər ə lɔt əv rɪˈpəblɪkən ˈvoʊtərz hu ər laɪk ɪm ɪn ðɛr ˈprægməˌtɪzəm. ðɛr ɪz ə ˈrizən ðət hi laɪks plænd ˈpɛrənˌthʊd. ðɛr ər ˈplɛnti əv jəŋ, ənˈmɛrid (ər ˈivɪn ˈmɛrid) prægˈmætɪk kənˈsərvətɪvz, hu meɪ nid wət plænd ˈpɛrənˌthʊd həz tɪ ˈɔfər ˈʧipli ənd ˌkɑnfəˈdɛnʃəli. ˈsɪmələrli, jəŋ ər ˈmɪdəˌleɪgd prægˈmætɪk kənˈsərvətɪvz wɔnt tɪ ˈmæksəˌmaɪz ðɛr oʊn wɛlθ. ðeɪ wɔnt tɪ bi ˈsædəld wɪθ ðə ˌfaɪˈnænʃəl ˈbərdən əv ˈkɛrɪŋ fər ðɛr ˈpɛrənts. ˈsoʊʃəl sɪˈkjʊrəti ənd ˈmɛdəˌkɛr rɪˈliv ðɛm əv moʊst əv ðoʊz riˌspɑnsəˈbɪlətiz. ðət ɪz waɪ trəmp wɔnts tɪ kip ˈsoʊʃəl sɪˈkjʊrəti ənd ˈmɛdəˌkɛr. fri ˌmɑrkəˈtɪrz ɪˈstæblɪʃmənt kənˈsərvətɪv ˈpɑləsiz hæv nɑt ˈoʊnli bɪn ʃeɪpt baɪ ðə pəˈlɪtɪkəl paʊər əv waɪt ˌivænˈʤɛlɪkəl ˈʧərʧɪz, bət ˈɔlsoʊ baɪ ðə pəˈlɪtɪkəl paʊər əv ðoʊz hu sik fri ˈmɑrkɪts, wɛr ˈwɛlθi ˈpipəl ənd ˌkɔrpərˈeɪʃənz sɛt ˈmɑrkɪt rulz ɪn ðɛr ˈfeɪvər wɪθ ˈmɪnəməl ˈgəvərnmənt ˌrɛgjəˈleɪʃən ənd ɛnˈfɔrsmənt. ðeɪ si tækˈseɪʃən nɑt ɛz ˌɪnˈvɛstmənt ɪn ˈpəblɪkli prəˈvaɪdɪd ˈrisɔrsɪz fər ɔl ˈsɪtɪzənz, bət ɛz ˈgəvərnmənt ˈteɪkɪŋ ðɛr ˈərnɪŋz (ðɛr ˈpraɪvət ˈprɑpərti) ənd ˈgɪvɪŋ ðə ˈməni θru ˈgəvərnmənt ˈproʊˌgræmz tɪ ðoʊz hu dɪˈzərv ɪt. ðɪs ɪz ðə sɔrs əv ɪˈstæblɪʃmənt republicans’*’ ənd ʃˈrɪŋkɪŋ ˈgəvərnmənt vjuz. ðɪs ˈvərʒən əv kənˈsərvəˌtɪzəm ɪz kwaɪt ˈhæpi wɪθ ˌaʊtˈsɔrsɪŋ tɪ ˌɪnˈkris ˈprɑfɪts baɪ ˈsɛndɪŋ ˌmænjəˈfækʧərɪŋ ənd ˈmɛni ˈsərvɪsɪz əˈbrɔd wɛr ˈleɪbər ɪz ʧip, wɪθ ðə ˈkɑnsəkwəns ðət ʤɑbz liv əˈmɛrɪkə ənd ˈweɪʤɪz ər ˈdrɪvən daʊn hir. sɪns ðeɪ dɪˈpɛnd ɔn ʧip ˌɪmˈpɔrts, ðeɪ wʊd nɑt bi ɪn ˈfeɪvər əv ˌɪmˈpoʊzɪŋ haɪ ˈtɛrəfs. bət ˈdɑnəld trəmp ɪz nɑt ɪn ə ˈbɪznɪs ðət meɪks ˈprɑdəkts əˈbrɔd tɪ ˌɪmˈpɔrt hir ənd mɑrk əp æt ə ˈprɑfɪt. ɛz ə dɪˈvɛləpər, hi bɪldz hoʊˈtɛlz, kəˈsinoʊz, ˈɔfəs ˈbɪldɪŋz, gɔlf ˈkɔrsɪz. hi meɪ bɪld ðɛm əˈbrɔd wɪθ ʧip ˈleɪbər bət hi ˌɪmˈpɔrt ðɛm. mɔˈroʊvər, hi ˈrɛkəgˌnaɪzɪz ðət moʊst smɔl ˈbɪznɪs ˈoʊnərz ɪn əˈmɛrɪkə ər mɔr laɪk ɪm əˈmɛrɪkən ˈbɪznɪsɪz laɪk draɪ ˈklinərz, ˌpitsərˈiəz, ˈdaɪnərz, ˈpləmərz, ˈhɑrdˌwɛr stɔrz, ˈgɑrdənərz, ˈkɑnˌtræktərz, kɑr ˈwɑʃərz, ənd prəˈfɛʃənəlz laɪk ˈɑrkəˌtɛkts, ˈlɔjərz, ˈdɑktərz, ənd ˈnərsɪz. haɪ ˈtɛrəfs lʊk laɪk ə ˈprɑbləm. ˈmɛni ˈbɪznɪs ˈpipəl ər prægˈmætɪk kənˈsərvətɪvz. ðeɪ laɪk ˈgəvərnmənt paʊər wɪn ɪt wərks fər ðɛm. teɪk ˈɛmənənt doʊˈmeɪn. ɪˈstæblɪʃmənt rɪˈpəblɪkənz si ɪt ɛz ən əˈbjuz baɪ ˈgəvərnmənt ˈgəvərnmənt ˈteɪkɪŋ əv ˈpraɪvət ˈprɑpərti. bət kənˈsərvətɪv ril ɛˈsteɪt dɪˈvɛləpərz laɪk trəmp dɪˈpɛnd ɔn ˈɛmənənt doʊˈmeɪn soʊ ðət hoʊmz ənd smɔl ˈbɪznɪsɪz ɪn ˈɛriəz ðeɪ wɔnt tɪ dɪˈvɛləp kən bi ˈteɪkən baɪ ˈɛmənənt doʊˈmeɪn fər ðə seɪk əv ðɛr dɪˈvɛləpmənt plænz. ɔl ðeɪ hæv tɪ du ɪz gɪt ˈloʊkəl ˈgəvərnmənt əˈfɪʃəlz tɪ goʊ əˈlɔŋ, wɪθ kæmˈpeɪn ˌkɑntrəˈbjuʃənz ənd ðə ˈprɑməs əv ən ˌɪnˈkris ɪn ˈloʊkəl tæks ˈdɔlərz ˈhɛlpɪŋ tɪ əkˈwaɪər ˈɛmənənt doʊˈmeɪn raɪts. trəmp pɔɪnts tɪ əˈtlæntɪk ˈsɪti, wɛr hi bɪld hɪz kəˈsinoʊ ˈjuzɪŋ ˈɛmənənt doʊˈmeɪn tɪ gɪt ðə ˈprɑpərti. ɪf ˈbɪznɪsɪz hæv tɪ peɪ fər ðɛr employees’*’ hɛlθ kɛr ˈbɛnəfɪts, trəmp wʊd wɔnt ðɛm tɪ hæv tɪ peɪ ɛz ˈlɪtəl ɛz ˈpɑsəbəl tɪ ˈmæksəˌmaɪz ˈprɑfɪts fər ˈbɪznɪsɪz ɪn ˈʤɛnərəl. hi wʊd ˈðɛrˌfɔr wɔnt hɛlθ ˌɪnˈʃʊrəns ənd ˌfɑrməˈsutɪkəl ˈkəmpəˌniz tɪ ʧɑrʤ ɛz ˈlɪtəl ɛz ˈpɑsəbəl. tɪ ˌɪnˈkris ˌkɑmpəˈtɪʃən, hi wʊd wɔnt ˌɪnˈʃʊrəns ˈkəmpəˌniz tɪ ˈɔfər plænz ˈnæʃənəli, əˈvɔɪdɪŋ ðə ɪksˈʧeɪnʤɪz ˈəndər ðə əˈfɔrdəbəl kɛr ækt. ðə ɪksˈʧeɪnʤɪz ər ðɛr tɪ ˈmæksəˌmaɪz ˈsɪtɪzən hɛlθ ˈkəvərɪʤ, ənd hɛlp ˌloʊˈɪnkəm ˈpipəl gɪt ˈkəvərɪʤ, ˈrəðər ðən tɪ ˌɪnˈkris ˈbɪznɪs ˈprɑfɪts. trəmp dɪz ˌhaʊˈɛvər wɔnt tɪ kip ðə ˈmændəˌtɔri ˈfiʧər əv ˈækə, wɪʧ ɪˈstæblɪʃmənt kənˈsərvətɪvz heɪt sɪns ðeɪ si ɪt ɛz ˈgəvərnmənt ˈoʊvərˌriʧ, ˈfɔrsɪŋ ˈpipəl tɪ baɪ ə ˈprɑdəkt. fər trəmp, ˌhaʊˈɛvər, ðə ˈmændəˌtɔri ˈfiʧər fər ˌɪndəˈvɪʤəwəlz ˌɪnˈkrisɪz ðə ˌɪnˈʃʊrəns pul ənd brɪŋz daʊn kɔsts fər ˈbɪznɪsɪz. dɪˈrɛkt ˈvərsəz. sɪˈstɛmɪk ˌkɔˈzeɪʃən dɪˈrɛkt ˌkɔˈzeɪʃən ɪz ˈdilɪŋ wɪθ ə ˈprɑbləm ˈviə dɪˈrɛkt ˈækʃən. sɪˈstɛmɪk ˌkɔˈzeɪʃən ˈrɛkəgˌnaɪzɪz ðət ˈmɛni ˈprɑbləmz əraɪz frəm ðə ˈsɪstəm ðeɪ ər ɪn ənd məst bi dɛlt wɪθ ˈviə sɪˈstɛmɪk ˌkɔˈzeɪʃən. sɪˈstɛmɪk ˌkɔˈzeɪʃən həz fɔr ˈvərʒənz: ə ʧeɪn əv dɪˈrɛkt ˈkɔzɪz. ˌɪnərˈæktɪŋ dɪˈrɛkt ˈkɔzɪz (ər ʧeɪnz əv dɪˈrɛkt ˈkɔzɪz). ˈfidˌbæk lups. ənd ˈkɔzɪz. sɪˈstɛmɪk ˌkɔˈzeɪʃən ɪn ˈgloʊbəl ˈwɔrmɪŋ ɪkˈspleɪnz waɪ ˈgloʊbəl ˈwɔrmɪŋ ˈoʊvər ðə pəˈsɪfɪk kən ˈproʊdus juʤ sˈnoʊˌstɔrmz ɪn ˈwɔʃɪŋtən ˌdiˈsi: ˈmæsɪz əv ˈhaɪli ˈɛnərˌʤaɪzd ˈwɔtər ˈmɑləˌkjulz ɪˈvæpərˌeɪt ˈoʊvər ðə pəˈsɪfɪk, bloʊ tɪ ðə ˌnɔrˈθist ənd ˈoʊvər ðə nɔrθ poʊl ənd kəm daʊn ɪn ˈwɪntər ˈoʊvər ðə ist koʊst ənd pɑrts əv ðə ˌmɪdˈwɛst ɛz ˈmæsɪz əv snoʊ. sɪˈstɛmɪk ˌkɔˈzeɪʃən həz ʧeɪnz əv dɪˈrɛkt ˈkɔzɪz, ˌɪnərˈæktɪŋ ˈkɔzɪz, ˈfidˌbæk lups, ənd ˈkɔzɪz ˈɔfən kəmˈbaɪnd. dɪˈrɛkt ˌkɔˈzeɪʃən ɪz ˈizi tɪ ˌəndərˈstænd, ənd əˈpɪrz tɪ bi ˌrɛprɪˈzɛnɪd ɪn ðə əv ɔl ˈlæŋgwɪʤɪz əraʊnd ðə wərld. sɪˈstɛmɪk ˌkɔˈzeɪʃən ɪz mɔr ˈkɑmplɛks ənd ɪz nɑt ˌrɛprɪˈzɛnɪd ɪn ðə ˈgræmər əv ˈɛni ˈlæŋgwɪʤ. ɪt ʤɪst həz tɪ bi ˈlərnɪd. ˌɛmˈpɪrɪkəl ˈrisərʧ həz ʃoʊn ðət kənˈsərvətɪvz tɛnd tɪ ˈrizən wɪθ dɪˈrɛkt ˌkɔˈzeɪʃən ənd ðət prɑˈgrɛsɪvz hæv ə məʧ ˈiziər taɪm ˈrizənɪŋ wɪθ sɪˈstɛmɪk ˌkɔˈzeɪʃən. ðə ˈrizən ɪz θɔt tɪ bi ðət, ɪn ðə strɪkt ˈfɑðər ˈmɑdəl, ðə ˈfɑðər ɪkˈspɛkts ðə ʧaɪld ər spaʊs tɪ rɪˈspɑnd dɪˈrɛkli tɪ ən ˈɔrdər ənd ðət rɪfˈjuzəl ʃʊd bi ˈpənɪʃt ɛz sˈwɪftli ənd dɪˈrɛkli ɛz ˈpɑsəbəl. ˈmɛni əv ˈpɑləsi prəˈpoʊzəlz ər freɪmd ɪn tərmz əv dɪˈrɛkt ˌkɔˈzeɪʃən. ˈɪməgrənts ər ˈflədɪŋ ɪn frəm ˈmɛksəˌkoʊ bɪld ə wɔl tɪ stɑp ðɛm. fər ɔl ðə ˈɪməgrənts hu hæv ˈɛnərd ˌɪˈligəli, ʤɪst dɪˈpɔrt ðɛm ˈivɪn ɪf ðɛr ər 11 ˈmɪljən əv ðɛm ˈwərkɪŋ θruaʊt ðə ɪˈkɑnəmi ənd ˈlɪvɪŋ θruaʊt ðə ˈkəntri. ðə kjʊr fər gən ˈvaɪələns ɪz tɪ hæv ə gən ˈrɛdi tɪ dɪˈrɛkli ʃut ðə ˈʃutər. tɪ stɑp ʤɑbz frəm goʊɪŋ tɪ ˈeɪʒə wɛr ˈleɪbər kɔsts ər loʊər ənd ˈʧipər gʊdz fləd ðə ˈmɑrkɪt hir, ðə səˈluʃən ɪz dɪˈrɛkt: pʊt ə juʤ ˈtɛrəf ɔn ðoʊz gʊdz soʊ ðeɪ ər mɔr ɪkˈspɛnsɪv ðən gʊdz meɪd hir. tɪ seɪv ˈməni ɔn ˌfɑrməˈsutɪkəlz, hæv ðə ˈlɑrʤəst kənˈsumər ðə ˈgəvərnmənt teɪk bɪdz fər ðə loʊəst ˈpraɪsɪz. ɪf ˈaɪsəs ɪz ˈmeɪkɪŋ ˈməni ɔn ˌɪˈræki ɔɪl, sɛnd ˈjuˈɛs trups tɪ ˌɪˈrɑk tɪ teɪk kənˈtroʊl əv ðə ɔɪl. θˈrɛtən ˈaɪsəs ˈlidərz baɪ əˈsæsəˌneɪtɪŋ ðɛr ˈfæməli ˈmɛmbərz (ˈivɪn ɪf ðɪs ɪz ə wɔr kraɪm). tɪ gɪt ˌɪnˌfɔrˈmeɪʃən frəm ˈtɛrərɪst ˈsəˌspɛkts, juz water-boarding*, ər ˈivɪn wərs ˈtɔrʧər ˈmɛθədz. ɪf ə fju ˈtɛrəˌrɪsts maɪt bi ˈkəmɪŋ wɪθ ˈməzlɪm ˈrɛfˌjuʤiz, ʤɪst stɑp əˈlaʊɪŋ ɔl ˈməzlɪmz ˈɪntu ðə ˈkəntri. ɔl ðɪs meɪks sɛns tɪ dɪˈrɛkt ˌkɔˈzeɪʃən ˈθɪŋkərz, bət nɑt ðoʊz hu si ðə ˌɪˈmɛns ˈdɪfɪˌkəltiz ənd daɪər ˈkɑnsəkˌwɛnsəz əv səʧ ˈækʃənz du tɪ ðə kəmˈplɛksɪtiz əv sɪˈstɛmɪk ˌkɔˈzeɪʃən. pəˈlɪtɪkəl kərˈɛktnəs ðɛr ər æt list tɛnz əv ˈmɪljənz əv kənˈsərvətɪvz ɪn əˈmɛrɪkə hu ʃɛr strɪkt ˈfɑðər ˌmɔˈræləˌti ənd ɪts ˈmɔrəl ˈhaɪˌrɑrki. ˈmɛni əv ðɛm ər pur ər ˈmɪdəl klæs ənd ˈmɛni ər waɪt mɛn hu si ðɛmˈsɛlvz ɛz suˈpɪriər tɪ ˈɪməgrənts, ˈnɑnˈwaɪts, ˈwɪmən, non-christians*, geɪz ənd ˈpipəl hu rɪˈlaɪ ɔn ˈpəblɪk əˈsɪstəns. ɪn ˈəðər wərdz, ðeɪ ər wət ˈlɪˌbərəlz wʊd kɔl ““bigots.”*.” fər ˈmɛni jɪrz, səʧ ˈbɪgətri həz nɑt bɪn ˈpəblɪkli əkˈsɛptəbəl, əˈspɛʃəli ɛz mɔr ˈɪməgrənts hæv əraɪvd, ɛz ðə ˈkəntri həz bɪˈkəm lɛs waɪt, ɛz mɔr ˈwɪmən hæv bɪˈkəm ˈɛʤəˌkeɪtɪd ənd muvd ˈɪntu ðə ˈwərkˌpleɪs, ənd ɛz geɪz hæv bɪˈkəm mɔr ˈvɪzəbəl ənd geɪ ˈmɛrɪʤ əkˈsɛptəbəl. ɛz ˈlɪˌbərəl ˌɔrgənəˈzeɪʃənz hæv ˈlaʊdli ˈpɔɪntɪd aʊt ənd meɪd ə ˈpəblɪk ˈɪʃu əv ðə ənəˈmɛrɪkən ˈneɪʧər əv səʧ ˈbɪgətri, ðoʊz kənˈsərvətɪvz hæv fɛlt mɔr ənd mɔr əˈprɛst baɪ wət ðeɪ kɔl correctness”*” ˈpəblɪk ˈprɛʃər əˈgɛnst ðɛr vjuz ənd əˈgɛnst wət ðeɪ si ɛz speech.”*.” ðɪs həz bɪˈkəm ɪgˈzæʤərˌeɪtɪd sɪns 911 wɪn ˈfilɪŋz bɪˈkeɪm strɔŋ. ðə ɪˈlɛkʃən əv ˈprɛzɪdənt ˈbɑrək huˈseɪn ˌoʊˈbɑmə kriˈeɪtɪd ˈaʊˌtreɪʤ əˈməŋ ðoʊz kənˈsərvətɪvz, ənd ðeɪ rɪfˈjuzd tɪ si ɪm ɛz ə ləˈʤɪtəmət əˈmɛrɪkən (ɛz ɪn ðə ˈmuvmənt), məʧ lɛs ɛz ə ləˈʤɪtəmət əˈθɔrəti, əˈspɛʃəli ɛz hɪz ˈlɪˌbərəl vjuz ˌkɑntrəˈdɪktəd ˈɔlˌmoʊst ˈɛvriˌθɪŋ ɛls ðeɪ bɪˈliv ɛz kənˈsərvətɪvz. ˈdɑnəld trəmp ɪkˈsprɛsɪz aʊt laʊd ˈɛvriˌθɪŋ ðeɪ fil wɪθ fɔrs, əˈgrɛʃən, ˈæŋgər, ənd noʊ ʃeɪm. ɔl ðeɪ hæv tɪ du ɪz səˈpɔrt ənd voʊt fər trəmp ənd ðeɪ ˈivɪn hæv tɪ ɪkˈsprɛs ðɛr incorrect’*’ vjuz, sɪns hi dɪz ɪt fər ðɛm ənd hɪz ˈvɪktəriz meɪk ðoʊz vjuz rɪˈspɛktəbəl. hi ɪz ðɛr ˈʧæmpiən. hi gɪvz ðɛm ə sɛns əv ˌsɛlfrɪˈspɛkt, əˈθɔrəti, ənd ðə ˌpɑsəˈbɪləˌti əv paʊər. wɛˈnɛvər ju hir ðə wərdz correctness”*” rɪˈmɛmbər ðɪs. ðɛr ɪz noʊ ˈmɪdəl ɪn əˈmɛrɪkən ˈpɑləˌtɪks. ðɛr ər ˈmɑdərˌeɪts, bət ðɛr ɪz noʊ ˌaɪdiˈɑləʤi əv ðə ˈmɑdərˌeɪt, noʊ ˈsɪŋgəl ˌaɪdiˈɑləʤi ðət ɔl ˈmɑdərˌeɪts əˈgri ɔn. ə ˈmɑdərˌeɪt kənˈsərvətɪv həz səm prəˈgrɛsɪv pəˈzɪʃənz ɔn ˈɪʃuz, ðoʊ ðeɪ ˈvɛri frəm ˈpərsən tɪ ˈpərsən. ˈsɪmələrli, ə ˈmɑdərˌeɪt prəˈgrɛsɪv həz səm kənˈsərvətɪv pəˈzɪʃənz ɔn ˈɪʃuz, əˈgɛn ˈvɛriɪŋ frəm ˈpərsən tɪ ˈpərsən. ɪn ʃɔrt, ˈmɑdərˌeɪts hæv boʊθ pəˈlɪtɪkəl ˈmɔrəl, bət ˈmoʊstli juz wən əv ðɛm. ðoʊz tu ˈmɔrəl ɪn ˈʤɛnərəl ˌkɑntrəˈdɪkt iʧ ˈəðər. haʊ kən ðeɪ rɪˈzaɪd ɪn ðə seɪm breɪn æt ðə seɪm taɪm? boʊθ ər ˈkɛrɪktərˌaɪzd ɪn ðə breɪn baɪ ˈnʊrəl ˈsərkətri. ðeɪ ər lɪŋkt baɪ ə ˈkɑmənˌpleɪs ˈsərkət: mˈjuʧuəl ˌɪnəˈbɪʃən. wɪn wən ɪz tərnd ɔn ðə ˈəðər ɪz tərnd ɔf; wɪn wən ɪz ˈstrɛŋθənd, ðə ˈəðər ɪz ˈwikənd. wət tərnz ðɛm ɔn ər ɔf? ˈlæŋgwɪʤ ðət fɪts ðət ˈæktəˌveɪts ðət, ˈstrɛŋθənɪŋ ɪt, waɪl ˈtərnɪŋ ɔf ðə ˈəðər ənd ˈwikənɪŋ ɪt. ðə mɔr vjuz ər dɪˈskəst ɪn ðə ˈmidiə, ðə mɔr ðeɪ ər ˈæktɪˌveɪtɪd ənd ðə ˈstrɔŋgər ðeɪ gɪt, boʊθ ɪn ðə maɪndz əv ˈhɑrdˈkɔr kənˈsərvətɪvz ənd ɪn ðə maɪndz əv ˈmɑdərˌeɪt prɑˈgrɛsɪvz. ðɪs ɪz tru ˈivɪn ɪf ju ər əˈtækɪŋ vjuz. ðə ˈrizən ɪz ðət nɪˈgeɪtɪŋ ə freɪm ˈæktəˌveɪts ðət freɪm, ɛz aɪ ˈpɔɪntɪd aʊt ɪn ðə bʊk θɪŋk əv ən ˈɛləfənt! ɪt ˈmætər ɪf ju ər prəˈmoʊtɪŋ trəmp ər əˈtækɪŋ trəmp, ju ər ˈhɛlpɪŋ trəmp. ə gʊd ɪgˈzæmpəl əv trəmp ˈwɪnɪŋ wɪθ prəˈgrɛsɪv ˌɪnˈkludz ˈsərtən ˈjunjəˌnaɪzd ˈwərkərz. ˈmɛni ˈjunjən ˈmɛmbərz ər strɪkt ˈfɑðərz æt hoʊm ər ɪn ðɛr ˈpraɪvət laɪf. ðeɪ bɪˈliv ɪn ˈfæməli values”*” ə kənˈsərvətɪv koʊd wərd ənd ðeɪ meɪ aɪˈdɛntəˌfaɪ wɪθ ˈwɪnərz. waɪ həz trəmp bɪn ˈwɪnɪŋ ɪn ðə rɪˈpəblɪkən ˈpraɪˌmɛriz? lʊk æt ɔl ðə kənˈsərvətɪvz grups hi əˈpilz tɪ! ðə ˌdɛməˈkrætɪk ˈpɑrti həz nɑt bɪn ˈteɪkɪŋ ˈsɪriəsli ˈmɛni əv ðə ˈrizənz fər səˈpɔrt ənd ðə reɪnʤ əv ðət səˈpɔrt. ənd ðə ˈmidiə həz nɑt bɪn dɪˈskəsɪŋ ˈmɛni əv ðə ˈrizənz fər səˈpɔrt. ðət nidz tɪ ʧeɪnʤ. ˈpəblɪʃt wɪθ pərˈmɪʃən frəm ʤɔrʤ
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by george lakoff
editor’s note: the author’s piece below was written during the primaries.
donald trump is winning republican presidential primaries at such a great rate that he seems likely to become the next republican presidential nominee and perhaps the next president. democrats have little understanding of why he is winning — and winning handily, and even many republicans don’t see him as a republican and are trying to stop him, but don’t know how. there are various theories: people are angry and he speaks to their anger. people don’t think much of congress and want a non-politician. both may be true. but why? what are the details? and why trump?
many people are mystified. he seems to have come out of nowhere. his positions on issues don’t fit a common mold.
he likes planned parenthood, social security, and medicare, which are not standard republican positions. republicans hate eminent domain (the taking of private property by the government) and love the trans-pacific partnership (the tpp trade deal), but he has the opposite views on both. he is not religious and scorns religious practices, yet the evangelicals (that is, the white evangelicals) love him. he thinks health insurance and pharmaceutical companies, as well as military contractors, are making too much profit and wants to change that. he insults major voting groups, e.g., latinos, when most republicans are trying to court them. he wants to deport 11 million immigrants without papers and thinks he can. he wants to stop all muslims from entering the country. what is going on?
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the answer requires a bit of background not discussed in the media to date.
some background
i work in the cognitive and brain sciences. in the 1990’s, i undertook to answer a question in my field: how do the various policy positions of conservatives and progressives hang together? take conservatism: what does being against abortion have to do with being for owning guns? what does owning guns have to do with denying the reality of global warming? how does being anti-government fit with wanting a stronger military? how can you be pro-life and for the death penalty? progressives have the opposite views. how do their views hang together?
the answer came from a realization that we tend to understand the nation metaphorically in family terms: we have founding fathers. we send our sons and daughters to war. we have homeland security. the conservative and progressive worldviews dividing our country can most readily be understood in terms of moral worldviews that are encapsulated in two very different common forms of family life: the nurturant parent family (progressive) and the strict father family (conservative).
what do social issues and the politics have to do with the family? we are first governed in our families, and so we grow up understanding governing institutions in terms of the governing systems of families.
in the strict father family, father knows best. he knows right from wrong and has the ultimate authority to make sure his children and his spouse do what he says, which is taken to be what is right. many conservative spouses accept this worldview, uphold the father’s authority, and are strict in those realms of family life that they are in charge of. when his children disobey, it is his moral duty to punish them painfully enough so that, to avoid punishment, they will obey him (do what is right) and not just do what feels good. through physical discipline they are supposed to become disciplined, internally strong, and able to prosper in the external world. what if they don’t prosper? that means they are not disciplined, and therefore cannot be moral, and so deserve their poverty. this reasoning shows up in conservative politics in which the poor are seen as lazy and undeserving, and the rich as deserving their wealth. responsibility is thus taken to be personal responsibility not social responsibility. what you become is only up to you; society has nothing to do with it. you are responsible for yourself, not for others — who are responsible for themselves.
winning and insulting
as the legendary green bay packers coach, vince lombardi, said,“winning isn’t everything. it’s the only thing.”
in a world governed by personal responsibility and discipline, those who win deserve to win. why does donald trump publicly insult other candidates and political leaders mercilessly? quite simply, because he knows he can win an onstage tv insult game. in strict conservative eyes, that makes him a formidable winning candidate who deserves to be a winning candidate. electoral competition is seen as a battle. insults that stick are seen as victories — deserved victories.
consider trump’s statement that john mccain is not a war hero. the reasoning: mccain got shot down. heroes are winners. they defeat big bad guys. they don’t get shot down. people who get shot down, beaten up, and stuck in a cage are losers, not winners.
the moral hierarchy
the strict father logic extends further. the basic idea is that authority is justified by morality (the strict father version), and that, in a well-ordered world, there should be (and traditionally has been) a moral hierarchy in which those who have traditionally dominated should dominate. the hierarchy is: god above man, man above nature, the disciplined (strong) above the undisciplined (weak), the rich above the poor, employers above employees, adults above children, western culture above other cultures, our country above other countries. the hierarchy extends to: men above women, whites above nonwhites, christians above nonchristians, straights above gays.
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we see these tendencies in most of the republican presidential candidates, as well as in trump, and on the whole, conservative policies flow from the strict father worldview and this hierarchy family-based moral worldviews run deep. since people want to see themselves as doing right not wrong, moral worldviews tend to be part of self-definition — who you most deeply are. and thus your moral worldview defines for you what the world should be like. when it isn’t that way, one can become frustrated and angry.
there is a certain amount of wiggle room in the strict father worldview and there are important variations. a major split is among (1) white evangelical christians, (2) laissez-fair free market conservatives, and (3) pragmatic conservatives who are not bound by evangelical beliefs.
white evangelicals
those whites who have a strict father personal worldview and who are religious tend toward evangelical christianity, since god, in evangelical christianity, is the ultimate strict father: you follow his commandments and you go to heaven; you defy his commandments and you burn in hell for all eternity. if you are a sinner and want to go to heaven, you can be ‘born again” by declaring your fealty by choosing his son, jesus christ, as your personal savior.
such a version of religion is natural for those with strict father morality. evangelical christians join the church because they are conservative; they are not conservative because they happen to be in an evangelical church, though they may grow up with both together.
evangelical christianity is centered around family life. hence, there are organizations like focus on the family and constant reference to “family values,” which are to take to be evangelical strict father values. in strict father morality, it is the father who controls sexuality and reproduction. where the church has political control, there are laws that require parental and spousal notification in the case of proposed abortions.
evangelicals are highly organized politically and exert control over a great many local political races. thus republican candidates mostly have to go along with the evangelicals if they want to be nominated and win local elections.
pragmatic conservatives
pragmatic conservatives, on the other hand, may not have a religious orientation at all. instead, they may care primarily about their own personal authority, not the authority of the church or christ, or god. they want to be strict fathers in their own domains, with authority primarily over their own lives. thus, a young, unmarried conservative — male or female —may want to have sex without worrying about marriage. they may need access to contraception, advice about sexually transmitted diseases, information about cervical cancer, and so on. and if a girl or woman becomes pregnant and there is no possibility or desire for marriage, abortion may be necessary.
trump is a pragmatic conservative, par excellence. and he knows that there are a lot of republican voters who are like him in their pragmatism. there is a reason that he likes planned parenthood. there are plenty of young, unmarried (or even married) pragmatic conservatives, who may need what planned parenthood has to offer — cheaply and confidentially.
similarly, young or middle-aged pragmatic conservatives want to maximize their own wealth. they don’t want to be saddled with the financial burden of caring for their parents. social security and medicare relieve them of most of those responsibilities. that is why trump wants to keep social security and medicare.
laissez-faire free marketeers
establishment conservative policies have not only been shaped by the political power of white evangelical churches, but also by the political power of those who seek maximally laissez-faire free markets, where wealthy people and corporations set market rules in their favor with minimal government regulation and enforcement. they see taxation not as investment in publicly provided resources for all citizens, but as government taking their earnings (their private property) and giving the money through government programs to those who don’t deserve it. this is the source of establishment republicans’ anti-tax and shrinking government views. this version of conservatism is quite happy with outsourcing to increase profits by sending manufacturing and many services abroad where labor is cheap, with the consequence that well-paying jobs leave america and wages are driven down here. since they depend on cheap imports, they would not be in favor of imposing high tariffs.
but donald trump is not in a business that makes products abroad to import here and mark up at a profit. as a developer, he builds hotels, casinos, office buildings, golf courses. he may build them abroad with cheap labor but he doesn’t import them. moreover, he recognizes that most small business owners in america are more like him — american businesses like dry cleaners, pizzerias, diners, plumbers, hardware stores, gardeners, contractors, car washers, and professionals like architects, lawyers, doctors, and nurses. high tariffs don’t look like a problem.
many business people are pragmatic conservatives. they like government power when it works for them. take eminent domain. establishment republicans see it as an abuse by government — government taking of private property. but conservative real estate developers like trump depend on eminent domain so that homes and small businesses in areas they want to develop can be taken by eminent domain for the sake of their development plans. all they have to do is get local government officials to go along, with campaign contributions and the promise of an increase in local tax dollars helping to acquire eminent domain rights. trump points to atlantic city, where he build his casino using eminent domain to get the property.
if businesses have to pay for their employees’ health care benefits, trump would want them to have to pay as little as possible to maximize profits for businesses in general. he would therefore want health insurance and pharmaceutical companies to charge as little as possible. to increase competition, he would want insurance companies to offer plans nationally, avoiding the exchanges under the affordable care act. the exchanges are there to maximize citizen health coverage, and help low-income people get coverage, rather than to increase business profits. trump does however want to keep the mandatory feature of aca, which establishment conservatives hate since they see it as government overreach, forcing people to buy a product. for trump, however, the mandatory feature for individuals increases the insurance pool and brings down costs for businesses.
direct vs. systemic causation
direct causation is dealing with a problem via direct action. systemic causation recognizes that many problems arise from the system they are in and must be dealt with via systemic causation. systemic causation has four versions: a chain of direct causes. interacting direct causes (or chains of direct causes). feedback loops. and probabilistic causes. systemic causation in global warming explains why global warming over the pacific can produce huge snowstorms in washington dc: masses of highly energized water molecules evaporate over the pacific, blow to the northeast and over the north pole and come down in winter over the east coast and parts of the midwest as masses of snow. systemic causation has chains of direct causes, interacting causes, feedback loops, and probabilistic causes — often combined.
direct causation is easy to understand, and appears to be represented in the grammars of all languages around the world. systemic causation is more complex and is not represented in the grammar of any language. it just has to be learned.
empirical research has shown that conservatives tend to reason with direct causation and that progressives have a much easier time reasoning with systemic causation. the reason is thought to be that, in the strict father model, the father expects the child or spouse to respond directly to an order and that refusal should be punished as swiftly and directly as possible.
many of trump’s policy proposals are framed in terms of direct causation.
immigrants are flooding in from mexico — build a wall to stop them. for all the immigrants who have entered illegally, just deport them — even if there are 11 million of them working throughout the economy and living throughout the country. the cure for gun violence is to have a gun ready to directly shoot the shooter. to stop jobs from going to asia where labor costs are lower and cheaper goods flood the market here, the solution is direct: put a huge tariff on those goods so they are more expensive than goods made here. to save money on pharmaceuticals, have the largest consumer — the government — take bids for the lowest prices. if isis is making money on iraqi oil, send us troops to iraq to take control of the oil. threaten isis leaders by assassinating their family members (even if this is a war crime). to get information from terrorist suspects, use water-boarding, or even worse torture methods. if a few terrorists might be coming with muslim refugees, just stop allowing all muslims into the country. all this makes sense to direct causation thinkers, but not those who see the immense difficulties and dire consequences of such actions due to the complexities of systemic causation.
political correctness
there are at least tens of millions of conservatives in america who share strict father morality and its moral hierarchy. many of them are poor or middle class and many are white men who see themselves as superior to immigrants, nonwhites, women, non-christians, gays — and people who rely on public assistance. in other words, they are what liberals would call “bigots.” for many years, such bigotry has not been publicly acceptable, especially as more immigrants have arrived, as the country has become less white, as more women have become educated and moved into the workplace, and as gays have become more visible and gay marriage acceptable. as liberal anti-bigotry organizations have loudly pointed out and made a public issue of the unamerican nature of such bigotry, those conservatives have felt more and more oppressed by what they call “political correctness” — public pressure against their views and against what they see as “free speech.” this has become exaggerated since 911, when anti-muslim feelings became strong. the election of president barack hussein obama created outrage among those conservatives, and they refused to see him as a legitimate american (as in the birther movement), much less as a legitimate authority, especially as his liberal views contradicted almost everything else they believe as conservatives.
donald trump expresses out loud everything they feel — with force, aggression, anger, and no shame. all they have to do is support and vote for trump and they don’t even have to express their ‘politically incorrect’ views, since he does it for them and his victories make those views respectable. he is their champion. he gives them a sense of self-respect, authority, and the possibility of power.
whenever you hear the words “political correctness” remember this.
biconceptuals
there is no middle in american politics. there are moderates, but there is no ideology of the moderate, no single ideology that all moderates agree on. a moderate conservative has some progressive positions on issues, though they vary from person to person. similarly, a moderate progressive has some conservative positions on issues, again varying from person to person. in short, moderates have both political moral worldviews, but mostly use one of them. those two moral worldviews in general contradict each other. how can they reside in the same brain at the same time?
both are characterized in the brain by neural circuitry. they are linked by a commonplace circuit: mutual inhibition. when one is turned on the other is turned off; when one is strengthened, the other is weakened. what turns them on or off? language that fits that worldview activates that worldview, strengthening it, while turning off the other worldview and weakening it. the more trump’s views are discussed in the media, the more they are activated and the stronger they get, both in the minds of hardcore conservatives and in the minds of moderate progressives.
this is true even if you are attacking trump’s views. the reason is that negating a frame activates that frame, as i pointed out in the book don’t think of an elephant! it doesn’t matter if you are promoting trump or attacking trump, you are helping trump.
a good example of trump winning with progressive biconceptuals includes certain unionized workers. many union members are strict fathers at home or in their private life. they believe in “traditional family values” — a conservative code word — and they may identify with winners.
why has trump been winning in the republican primaries?
look at all the conservatives groups he appeals to!
the democratic party has not been taking seriously many of the reasons for trump’s support and the range of that support. and the media has not been discussing many of the reasons for trump’s support. that needs to change.
published with permission from george lakoff
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ðə ˈrisənt ˌæləˈgeɪʃənz pʊt fɔrθ baɪ ˈrəʃə ɔn ˈtərki ɔɪl treɪd, wɪʧ ˈɔlsoʊ ˌɪnˈvɑlvd ˈsɪriən ənd ˌɪˈræki kərdz, wər dɪˈnaɪd baɪ ˌɪˈrɑks ˈkərdɪˌstæn ˈriʤənəl ˈgəvərnmənt (krg*) əˈfɪʃəlz., ðə ˈʧɛrmən əv ðə ˈpɑrləmɛnts ˈɛnərʤi kəˈmɪti, sɛd ɔn ˈθərzˌdeɪ ðət ðə ɔɪl ˈtæŋkərz ʃoʊn ɪn ðə ˈɛriəl ˈfoʊˌtoʊz ənd ˈfʊtɪʤ pərˈzɛnəd baɪ ˈrəʃə ɛz ˈɛvədəns əv ðə əˈlɛʤd treɪd ər ɪn fækt ˈkɛriɪŋ ɔɪl frəm ðə tɪ ˈtərmənəl ɪn ˈsəðərn ˈtərki. ˈrəʃəz dɪˈfɛns ˈmɪnɪstri ˈərliər əˈlɛʤd ðət ɔɪl ˈtæŋkərz ˈloʊdɪd ɪn ˈtɛrəˌtɔriz ər ˈpæsɪŋ frəm ˈtɛrəˌtɔriz kənˈtroʊld baɪ ðə ənd tɪ riʧ ˈtərki. ɛz ðə əv ˈtɛrər ˌɔrgənəˈzeɪʃən hu ˈsəfərd ðə moʊst ˈkæʒəwəltiz ɪn ˈbætəlz, boʊθ ðə ənd ər rɪˈsivɪŋ ˈmɪlɪˌtɛri ˈtreɪnɪŋ, ˌæmjəˈnɪʃən ənd ɑrmz frəm boʊθ ðə juz. lɛd ˌkoʊəˈlɪʃən ənd ˈrəʃə. ðə kleɪmz keɪm raɪt ˈæftər ə ˈrəʃən ˈbɑmər ˈbriʧɪŋ ˈtərkiz ˈɛrˌspeɪs wɑz ʃɑt daʊn baɪ ˈtərkɪʃ ʤɛts ɔn noʊˈvɛmbər 24 ˈspikɪŋ tɪ ˈtərkiz ˈeɪʤənsi, sɛd ðə ˈtæŋkərz bɪˈlɔŋ tɪ ðə ənd ˈrəʃəz kleɪmz ər fɑr frəm biɪŋ tru. "ɑr ˈnæʧərəl ˈrisɔrsɪz ˈmɪnɪstri həz ˈərliər əˈnaʊnst ðət ˈhənərdz əv ˈtæŋkərz ər ˈkɛriɪŋ ɔɪl frəm tɪ ˈtərki. ɔɪl ɪz biɪŋ ʃɪpt tɪ ˈtərki wɪθ ˈtæŋkərz ənd ɪt ɪz nɑt ə ˈsikrɪt" sɛd. ˈfərðərˌmɔr, ðə ˈspoʊksmən sɛd hɪz ˈgəvərnmənt ɪz ˈsædənd baɪ ðə ˈrəʃən ˌækjəˈzeɪʃənz, ənd ˈædɪd ðət ðə ɔɪl floʊɪŋ frəm ðə tɪ ˈtərki dɪz nɑt bɪˈlɔŋ tɪ, hu ðə ˌɪˈræki kərdz ər ˈæktɪvli ˈfaɪtɪŋ. "ˈrəʃəz ˌɛkspləˈneɪʃənz ər beɪst ɔn rɔŋ ˈsɔrsəz. wi ˈstrɔŋli ˈriʤɛkt ˈrəʃən ˌækjəˈzeɪʃənz," hi sɛd. ɪkˈspleɪnd ðət ðə ɔɪl ɛkˈstræktɪd frəm ðə ənd ˈriʤənz ɪz ˈlɑrʤli ʃɪpt tɪ ˈtərki θru ˈpaɪˌplaɪnz, ənd ðə rɪˈmeɪnɪŋ əˈmaʊnt ɪz biɪŋ ʃɪpt wɪθ ˈtæŋkərz. ðə ˈspoʊksmən ˈɛmfəˌsaɪzd ðə roʊl əv ˈfaɪtərz ɪn ðə faɪt əˈgɛnst. ɪz ðə ˈlidɪŋ fɔrs ˈfaɪtɪŋ əˈgɛnst. ɪz ɪt ˈpɑsəbəl fər ðə tɪ dɪˈrɛkli ər ˌɪndərˈɛkˌtli sɛl ðə ɔɪl ˈbɛnəfɪtɪŋ? kən ðə ˈmidiˌeɪt treɪd? səʧ ən ˌæləˈgeɪʃən ˈkænɑt bi ɪkˈspleɪnd wɪθ ˈrizən ər ˈlɑʤɪk," sɛd. ˈædɪd ðət ðə ənd ˈrəʃə hæv gʊd ənd ˈfrɛndli riˈleɪʃənz ənd ˈrəʃən ɔɪl ˈkəmpəˌniz ˈɔpərˌeɪt ɪn ðə ˈriʤən. "wi hoʊp ðət ˈrəʃə wɪl rɪˈvaɪz ɪts ˌɪnˌfɔrˈmeɪʃən ˈoʊvər ðə ˈmætər," hi sɛd. ɪn ə ˈkɑnfərəns hɛld ɪn ˈləndən ɔn ˈwɛnzˌdeɪ, ðə ˈnæʧərəl ˈrisɔrsɪz ˈmɪnɪstər sɛd ðət ɪz ən ˌɪmˈpɔrtənt ˈɑbstəkəl əˈgɛnst ɔɪl ˈɛkspɔrts, wɪʧ wʊd hæv riʧt əˈbaʊt wən ˈbɪljən ˈbɛrəlz pər deɪ ɪn ðə ˈæbsəns əv ðə ˈtɛrərɪst ˌɔrgənəˈzeɪʃən ɪn ðə ˈriʤən.
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the recent allegations put forth by russia on turkey – daesh oil trade, which also involved syrian and iraqi kurds, were denied by iraq's kurdistan regional government (krg) officials.
sherko jawdat, the chairman of the krg parliament's energy committee, said on thursday that the oil tankers shown in the aerial photos and footage presented by russia as evidence of the alleged trade are in fact carrying oil from the krg to ceyhan terminal in southern turkey.
russia's defense ministry earlier alleged that oil tankers loaded in daesh-held territories are passing from territories controlled by the krg and pyd to reach turkey. as the arch-enemies of daesh terror organization who suffered the most casualties in battles, both the krg and pyd are receiving military training, ammunition and arms from both the u.s. led coalition and russia. the claims came right after a russian su-24 bomber breaching turkey's airspace was shot down by turkish jets on november 24.
speaking to turkey's state-run anadolu agency, jawdat said the tankers belong to the krg and russia's claims are far from being true.
"our natural resources ministry has earlier announced that hundreds of tankers are carrying oil from krg to turkey. oil is being shipped to turkey with tankers and it is not a secret" jawdat said.
furthermore, the krg spokesman safin dzayi said his government is saddened by the russian accusations, and added that the oil flowing from the krg to turkey does not belong to daesh, who the iraqi kurds are actively fighting. "russia's explanations are based on wrong sources. we strongly reject russian accusations," he said.
dzayi explained that the oil extracted from the duhok and badinan regions is largely shipped to turkey through pipelines, and the remaining amount is being shipped with tankers.
the krg spokesman emphasized the role of peshmerga fighters in the fight against daesh. "peshmerga is the leading force fighting against daesh. is it possible for the krg to directly or indirectly sell the oil benefiting daesh? can the krg mediate daesh's trade? such an allegation cannot be explained with reason or logic," dzayi said.
dzayi added that the krg and russia have good and friendly relations and russian oil companies operate in the region. "we hope that russia will revise its information over the matter," he said.
in a conference held in london on wednesday, the krg's natural resources minister ashti hawrami said that daesh is an important obstacle against krg's oil exports, which would have reached about one billion barrels per day in the absence of the terrorist organization in the region.
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ðɛr ər stɪl səm kul oʊld skul geɪmz ðət, əˈmeɪzɪŋli ɪˈnəf, hæv nɑt bɪn riˈmeɪd tɪ kæʃ ɪn ɔn ˈpipəlz nɔˈstælʤə. hir ər maɪ tɔp 5 pɪks fər oʊld skul geɪmz ðət kʊd stɪl bi mɪlkt, əˈlɔŋ wɪθ ˈkɑnsɛpt ɑrt fər wət ðə ˈriˈmeɪks kʊd lʊk laɪk. 5 waɪl ðɛr wər ˈmɛni ˈfænəsi ɪn ðə leɪt ənd ˈərli 90's*, ˈɔlˌweɪz stʊd aʊt ɛz wən əv ðə ˈkuləst bɪˈkəz ɪt ˈfiʧərd ə ˈfɛrli ˌriəˈlɪstɪk ɑrt dɪˈrɛkʃɪn. ˈriˈmeɪkɪŋ, ðə ˈnæʧərəl ˈgeɪmˌpleɪ fɪt wʊd bi ə brawler*. ðə geɪm wʊd ˈfiʧər ɔl ðə θɪŋz ju wʊd ɪkˈspɛkt, laɪk ðə ˈklæsɪk ˈfleɪmɪŋ sɔrd, juʤ bɔs faɪts, ənd gɔr ðət wʊd meɪk ə mɔrˈtɪʃən pjuk. ɪts laɪk ˈkoʊnən ɛz ə ˈvɪdioʊ geɪm, ɪkˈsɛpt wɪθ 1000 mɔr ɪts laɪk ˈkoʊnən ɛz ə ˈvɪdioʊ geɪm, ɪkˈsɛpt wɪθ 1000 mɔr-- "rawr*! choppin*' jʊr hɛdz!"-- "rawr*! choppin*' jʊr hɛdz!" 4 ˈæləks kɪd ˈsigə ʃʊd du ə nu geɪm wɪθ ðɛr ˈmæˌskɑt. aɪ doʊnt min ˈsɑnɪk aɪ min ðɛr ˈəðər ˈmæˌskɑt, ˈæləks kɪd. bɪˈkəz ðɪs ˈmɑrioʊ kloʊn wɑz wən əv ðə geɪm ˈkɛrɪktərz ˈɛvər meɪd, ðeɪ hæv bɪn traɪɪŋ tɪ kip ɪt ˈbɛrid ˈɛvər sɪns (haʊ dɪd ðət geɪm gɪt riˈlist?). bət ˌɪnˈstɛd əv ˈbɛriɪŋ ðə pæst, ˈsigə ʃʊd ɪmˈbreɪs ɪt. ˈmeɪbi ðɛn wi kən bɪˈgɪn ðə ˈhilɪŋ ˈprɔˌsɛs... hɪz hænz ənd fit wʊd groʊ ˈvɛri lɑrʤ hɪz hænz ənd fit wʊd groʊ ˈvɛri lɑrʤ naʊ hɪz hænz ər juʤ ɔl ðə taɪm naʊ hɪz hænz ər juʤ ɔl ðə taɪm 3 ðə lɔst ˈvaɪkɪŋz ˈstɑrˌkræft ənd ˌdiˈæbloʊ gɪt ə lɔt əv əˈtɛnʃən, bət wət əˈbaʊt ðɛr ˈərliər geɪmz? ðə lɔst ˈvaɪkɪŋz wɑz fərst ril geɪm ˈæftər ˈkətɪŋ ðɛr tiθ ɔn pɔrts ənd ˈriˈmeɪks, ənd wɑz kənˈsɪdərd tɪ bi ə ˈvɛri gʊd ˈpəzəl platformer*. wɪθ koʊɑp ˈfiʧərd ɪn ðə ˈəpˌkəmɪŋ ˈpɔrtəl 2 waɪ nɑt əp ðə ˈænti ɪn ə lɔst ˈvaɪkɪŋz ˈriˈmeɪk ðət həz θri pleɪər koʊɑp? iʧ pleɪərz ˈkɛrɪktər wʊd hæv juˈnik əˈbɪləˌtiz, ʤɪst laɪk ðə ərˈɪʤənəl, ənd ˈprɑˌgrɛs θru ˈpəzəlz wɪθ iʧ pleɪər ˈjuzɪŋ ðɛr ˈspɛʃəl skɪlz tɪ hɛlp ðə ˈəðərz. ðə ˈoʊnli ˈprɑbləm-- ˈfaɪtɪŋ tɪ si hu gɪts tɪ pleɪ ɛz ˈoʊlɑf. ˈblɪzərd-- "ˈkɑnsoʊl geɪmz? bɪn ðɛr, dən ðət." ˈblɪzərd-- "ˈkɑnsoʊl geɪmz? bɪn ðɛr, dən ðət." ðæts ˈoʊlɑf ɔn ðə raɪt, ɪn keɪs ju ˈdɪdənt noʊ ðæts ˈoʊlɑf ɔn ðə raɪt, ɪn keɪs ju ˈdɪdənt noʊ 2 speɪs ˈhɛriər speɪs ˈhɛriər teɪks pleɪs ɪn wərld kɔld ðə ˈfænəsi zoʊn. ɪts ˈprɑbəˌbli ðə ˈkuləst pleɪs ˈɛvər tɪ bi ɪn ə geɪm. wɛr ɛls kən ju faɪt ˈdrægənz, ˈfloʊtɪŋ ˈistər ˈaɪlənd hɛdz ənd ˈeɪliən ˈroʊˌbəts ɔl ɪn ðə seɪm geɪm? sɪns ðə ˈsɛtɪŋ ɪz soʊ kul, ˈɛni ˈriˈmeɪk wʊd hæv tɪ ˈkæpətəˌlaɪz ɔn ɪt. ˈmeɪkɪŋ ðə nu speɪs ˈhɛriər ən ˈoʊpən wərld geɪm ɪz ə ˌnoʊˈbreɪnər. ʃʊd ju meɪk frɛndz wɪθ ðə ʤaɪənt ˈfloʊtɪŋ hɛdz ər blæst ðɛm ˈɪntu dəst? hu noʊz-- ɪt meɪks ˌæbsəˈlutli noʊ sɛns. ˈteɪkɪŋ ə breɪk frəm ˈdɑʤɪŋ ʤaɪənt ˈməʃrumz ənd ˈsaɪˌklɔps tɪ faɪt ə ˈdrægən ˈteɪkɪŋ ə breɪk frəm ˈdɑʤɪŋ ʤaɪənt ˈməʃrumz ənd ˈsaɪˌklɔps tɪ faɪt ə ˈdrægən 1 ˈʃæˌdoʊ əv ðə bist waɪl moʊst ˈgeɪmərz wər stɪl bloʊɪŋ dəst aʊt əv ðɛr nɛs ˈkɑrtrəʤəz, əˈmigə ˈgeɪmərz wər ˈhævɪŋ ðɛr maɪndz bloʊn baɪ ðɪs ˈgræfɪkəl tʊr də fɔrs. geɪmz hæv bɪn traɪɪŋ tɪ pʊʃ ðə ˌtɛknəˈlɑʤɪkəl ˈɛnvəˌloʊp fər ɛz lɔŋ ɛz ðeɪ hæv ɪgˈzɪstəd, bət fju geɪmz mæʧt ˈʃæˌdoʊ əv ðə bist ɪn tərmz əv ʃɪr awesomeness*. waɪl ðə ərˈɪʤənəl geɪm hæd sɪmˈplɪstɪk ˈgeɪmˌpleɪ ənd wɑz ɪkˈstrimli ˈdɪfəkəlt, ɪt dɪd hæv ə greɪt ˈspuki ˈætməsˌfɪr-- ə ˈpərˌfɪkt fɪt fər ə sərˈvaɪvəl ˈhɔrər geɪm. ɪn ðə ˈriˈmeɪk ju pleɪ ɛz ən æmˈniziˌæk hu wɑz tərnd ˈɪntu ə mɑnˈstrɑsəti baɪ ˈmædmən, ənd sɛts aʊt tɪ ənˈkəvər ðɛr əˈkəlt ˈsikrɪts ɛz wɛl ɛz hɪz oʊn ˈʃeɪdi pæst. ðɛr wər ə lɔt əv ˈpɔɪnti bɪts ɪn ðə ərˈɪʤənəl ðɛr wər ə lɔt əv ˈpɔɪnti bɪts ɪn ðə ərˈɪʤənəl ɪts ə gʊd θɪŋ ˈpɔɪnti bɪts ər soʊ kul ɪts ə gʊd θɪŋ ˈpɔɪnti bɪts ər soʊ kul tɪ hum ɪt meɪ kənˈsərn, waɪl aɪ ˌəndərˈstænd ðət ˈriˈmeɪks ər ʤɪst ə weɪ fər ju tɪ skwiz ə fju mɔr ˈdɔlərz frəm maɪ ˈʧaɪlˌdhʊd ˈmɛməriz, aɪ stɪl ˈfʊli ɪkˈspɛkt ju tɪ meɪk ðiz geɪmz. noʊ, ˈsɪriəsli. aɪ wʊd baɪ ðə kræp aʊt əv ðiz geɪmz.
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there are still some cool old school games that, amazingly enough, have not been remade to cash in on people's nostalgia. here are my top 5 picks for old school games that could still be milked, along with concept art for what the remakes could look like.
#5. rastan
while there were many fantasy platformers in the late 80's and early 90's, rastan always stood out as one of the coolest because it featured a fairly realistic art direction.
remaking rastan, the natural gameplay fit would be a god-of-war-style 3d brawler. the game would feature all the things you would expect, like the classic flaming sword, huge boss fights, and gore that would make a mortician puke.
it's like conan as a video game, except with 1000% more snake-men it's like conan as a video game, except with 1000% more snake-men
rastan-- "rawr! choppin' your heads!" rastan-- "rawr! choppin' your heads!"
#4. alex kidd
sega should do a new game with their mascot. i don't mean sonic -- i mean their other mascot, alex kidd. because this mario clone was one of the lamest game characters ever made, they have been trying to keep it buried ever since (how did that wiiware game get released?).
but instead of burying the past, sega should embrace it. maybe then we can begin the healing process...
his hands and feet would grow very large his hands and feet would grow very large
now his hands are freakishly huge all the time now his hands are freakishly huge all the time
#3. the lost vikings
blizzard's starcraft and diablo get a lot of attention, but what about their earlier games? the lost vikings was blizzard's first real game after cutting their teeth on ports and remakes, and was considered to be a very good puzzle platformer.
with co-op featured in the upcoming portal 2, why not up the ante in a lost vikings remake that has three player co-op? each player's character would have unique abilities, just like the original, and progress through mind-bending puzzles with each player using their special skills to help the others. the only problem-- fighting to see who gets to play as olaf.
blizzard-- "console games? been there, done that." blizzard-- "console games? been there, done that."
that's olaf on the right, in case you didn't know that's olaf on the right, in case you didn't know
#2. space harrier
space harrier takes place in world called the fantasy zone. it's probably the coolest place ever to be in a game. where else can you fight dragons, floating easter island heads and alien robots all in the same game?
since the setting is so cool, any remake would have to capitalize on it. making the new space harrier an open world game is a no-brainer. should you make friends with the giant floating heads or blast them into dust? who knows-- it makes absolutely no sense.
taking a break from dodging giant mushrooms and cyclops mastodons to fight a dragon taking a break from dodging giant mushrooms and cyclops mastodons to fight a dragon
#1. shadow of the beast
while most gamers were still blowing dust out of their nes cartridges, amiga gamers were having their minds blown by this graphical tour de force. games have been trying to push the technological envelope for as long as they have existed, but few games matched shadow of the beast in terms of sheer awesomeness.
while the original game had simplistic gameplay and was extremely difficult, it did have a great spooky atmosphere-- a perfect fit for a survival horror game. in the remake you play as an amnesiac who was turned into a freakish monstrosity by madmen, and sets out to uncover their occult secrets as well as his own shady past.
there were a lot of pointy bits in the original there were a lot of pointy bits in the original
it's a good thing pointy bits are so cool it's a good thing pointy bits are so cool
to whom it may concern,
while i understand that remakes are just a way for you to squeeze a few more dollars from my childhood memories, i still fully expect you to make these games. no, seriously. i would buy the crap out of these games.
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lɔs ˈænʤəlɪs (ˈhɑliˌwʊd rɪˈpɔrtər) ɪn ə rum fʊl əv ˈtɛləˌvɪʒən ˈɪndəstri ɪgˈzɛkjətɪvz, noʊ wən simd ˌɪnˈklaɪnd tɪ dɪˈfɛnd ɔn ˈmənˌdeɪ fər wət səm wər ˈkɔlɪŋ ɪts ˈlɪˌbərəl ˈkəvərɪʤ əv ðə ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən. ðə ˈkeɪbəl nuz ˈʧænəl ɪz aʊt əv control,”*,” sɛd ˈlɪndə, ə ˈlɪˌbərəl ˈdɛməˌkræt. ʃi ˈædɪd ðət ʃi wʊd prɪˈfər ə lənʧ deɪt wɪθ fɑks nuz stɑr ʃɔn ˈhænɪti ˈoʊvər stɑr kiθ. wɑz ˈkrɪtəˌsaɪzd baɪ ˈmɛni hu əˈtɛndəd ˈlənʧən ˈspɑnsərd baɪ ðə ˈkɔkəs fər prəˈdusərz, ˈraɪtərz dɪˈrɛktərz æt ðə ˈbɛvərli hɪlz hoʊˈtɛl. ðə ɪˈvɛnt wɑz dəbd ““hollywood*, əˈmɛrɪkə ənd ɪˈlɛkʃən ənd ˈəðərz simd əˈspɛʃəli ˈkrɪtɪkəl əv ðə weɪ ənd ˈəðər ˈmidiə həz əˈtækt rɪˈpəblɪkən vaɪs ˌprɛzɪˈdɛnʃəl ˈkænədɪt ˈsɛrə ˈpælɪn waɪl dɪˈminɪŋ hər səˈpɔrtərz. ʃʊd stɑp ðə demonizing,”*,” ʃi sɛd, ˈædɪŋ ðət ˈdɛməˌkræts hæv bɪn wərs ðən rɪˈpəblɪkənz ɛz fɑr ɛz ˈpərsɪnəl əˈtæks ɔn ˈkænədɪts ər kənˈsərnd. dɪˈmɪnɪʃɪz us,”*,” ʃi sɛd əv hər ˈfɛloʊ ˈdɛməˌkræts. ˈivɪn səˈʤɛstɪd ə dɪˈfɛns əv ˈpælɪn ənd hər səˈpɔrtərz ʃʊd bi ˈrɪtən ˈɪntu ˌtɛləˈvɪʒən ˈproʊˌgræmɪŋ, ʤɪst ɛz ʃi wɛnt aʊt əv hər weɪ tɪ pɔrˈtreɪ ˈsəðərn ˈwɪmən ɛz smɑrt ɪn hər hɪt ˌtɛləˈvɪʒən ʃoʊ women.”*.” əˈtɛnˈdi ˈmaɪkəl ˈrigən, ðə ˈreɪdiˌoʊ hoʊst ənd sən əv ˈprɛzɪdənt ˈrɑnəld ˈrigən, sɛd hi noʊ ˈlɔŋgər wɪl əˈpɪr ɛz ə gɛst ɔn bɪˈkəz ˈæˌkʧuəli gɪt dɛθ threats.”*.” stɑp ˈsɛndɪŋ them,”*,” ʤoʊkt ˈlɛri ˈgɛlˌbɑrt, ðə ˈraɪtər, prəˈdusər ənd dɪˈrɛktər bɛst noʊn fər ðə ““m*a*s*h”*” ˈtɛləˌvɪʒən ˈsɪriz ənd səʧ ˈmuvi ˈskrinˌpleɪz ɛz ““tootsie”*” ənd ““oh*, god!”*!” ˈpoʊlstər fræŋk lənts, ə ˈrɛgjələr gɛst ɔn ðə fɑks nuz, ʤoʊkt ðət ɪz ˈoʊnli ˈnɛtˌwərk wɪθ mɔr ˈlɛtərz ɪn ɪts neɪm ðən viewers.”*.” ɔn ə mɔr ˈsɪriəs noʊt, lənts sɛd ə ˈprɑbləm ðət ðə ɪˈlɛktərət ˈʧuzɪz tɪ wɔʧ nuz ˈproʊˌgræmz nɑt fər ˌɪnˌfɔrˈmeɪʃən bət tɪ kənˈfərm bɪˈlifs, ənd ðət əˈplaɪz tɪ vjuərz əv ˈsiˈɛˈnɛn ənd fɑks nuz ɛz wɛl. lənts prɪˈdɪktɪd ə ˈbɑrək ˌoʊˈbɑmə ˈvɪktəri ənd sɛd ðət wən əv ðə ˈmɛni ˈrizənz ðə ˈdɛməˌkræts hæv bɪn mɔr ˈifɛktɪv wɪθ ðɛr ˈmɛsɪʤ ɪz bɪˈkəz, waɪl rɪˈpəblɪkənz ˈdɑməˌneɪt tɔk ˈreɪdiˌoʊ, ˈdɛməˌkræts hæv ˈbeɪgən tɪ ˈdɑməˌneɪt ðə ˈɪntərˌnɛt. ˈrəðər hæv ðə internet,”*,” hi sɛd. ˌoʊˈbɑmə ˈɔlsoʊ gɪts ˈkrɛdɪt bɪˈkəz ə ˈbɛtər kəmˈjunəˌkeɪtər ðən pæst ˈdɛməˌkræts, lənts sɛd, kəmˈpɛrɪŋ ðə ˈpriviəs ˌdɛməˈkrætɪk ˌprɛzɪˈdɛnʃəl ˌnɑməˈni, ʤɑn ˈkɛri, tɪ wən əv ðoʊz triz ðət θru ˈæpəlz æt ˈdɔrθi ɪn ˈwɪzərd əv oz.”*.” ˈæktrəs pəˈtrɪʃə ˈhitən ˈnoʊtɪd ðət ˈhɑliˌwʊd ˈwərkərz tu ˈɔfən ʤɪst əˈsum ˈɛvriˌwən ðeɪ wərk wɪθ ɪz ə ˈlɪˌbərəl. wɪn ðoʊz əraʊnd hər bɪˈlɪtəl ʤɑn məˈkeɪn ər ˈpælɪn, ðə ˈfɔrmər ləvz raymond”*” pəˈlaɪtli riˈmaɪndz ðɛm ðət ə rɪˈpəblɪkən. wət ju hæv tɪ du ɪn ɑr town,”*,” ʃi sɛd. ˈæktər boʊ ˈbrɪʤɪz ləˈmɛntɪd ðət ðɛr ɪz məʧ entertainment”*” ɪn ɪˈlɛkʃənz ˈnaʊəˌdeɪz. pʊt ɪn ə rum laɪk wi ər naʊ ənd lɛt tɔk əˈbaʊt ðə issues,”*,” hi sɛd. səm əv ðə moʊst ˈspɪrɪtəd dəˈbeɪt keɪm frəm ðə ˈmɑdərˌeɪtər, ˈaʊtˈspoʊkən kənˈsərvətɪv ˈlaɪənəl. ðə ˈraɪtər, dɪˈrɛktər ənd prəˈdusər ˈpæʃənətli dɪˈfɛndɪd ðə ˌɪˈrɑk wɔr ənd ˈpælɪn, hum hi kɔld aɪˈdil ˌʤɛfərˈsoʊniən pəˈlɪtɪkəl figure.”*.” pərˈfɔrməns ˈprɑmptɪd ˈgɛlˌbɑrt tɪ ʤoʊk ðət wɑz ðə moʊst moderator”*” hi hæd ˈɛvər sin. ə ˈlɪˌbərəl organization,”*,” sɛd əv ðə ˈkɔkəs. trying.”*.” rɪˈpɔrtər
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los angeles (hollywood reporter) - in a room full of television industry executives, no one seemed inclined to defend msnbc on monday for what some were calling its lopsidedly liberal coverage of the presidential election.
the cable news channel is “completely out of control,” said writer-producer linda bloodworth-thomason, a self-proclaimed liberal democrat.
she added that she would prefer a lunch date with right-leaning fox news star sean hannity over left-leaning msnbc star keith olbermann.
olbermann was criticized by many who attended monday’s luncheon sponsored by the caucus for producers, writers & directors at the beverly hills hotel. the event was dubbed “hollywood, america and election ‘08.”
bloodworth-thomason and others seemed especially critical of the way msnbc and other media has attacked republican vice presidential candidate sarah palin while demeaning her supporters.
“we should stop the demonizing,” she said, adding that democrats have been worse than republicans as far as personal attacks on candidates are concerned. “it diminishes us,” she said of her fellow democrats.
bloodworth-thomason even suggested a defense of palin and her supporters should be written into tv programing, just as she went out of her way to portray southern women as smart in her hit tv show “designing women.”
attendee michael reagan, the radio talk-show host and son of president ronald reagan, said he no longer will appear as a guest on msnbc because “i actually get death threats.”
“i’ll stop sending them,” joked larry gelbart, the writer, producer and director best known for the “m*a*s*h” television series and such movie screenplays as “tootsie” and “oh, god!”
pollster frank luntz, a regular guest on the fox news, joked that msnbc is “the only network with more letters in its name than viewers.”
on a more serious note, luntz said it’s a problem that the electorate chooses to watch news programs not for information but to confirm already-held beliefs, and that applies to viewers of cnn and fox news as well.
luntz predicted a barack obama victory and said that one of the many reasons the democrats have been more effective with their message is because, while republicans dominate talk radio, democrats have begun to dominate the internet.
“i’d rather have the internet,” he said.
obama also gets credit because he’s a better communicator than past democrats, luntz said, comparing the previous democratic presidential nominee, john kerry, to one of those trees that threw apples at dorothy in “the wizard of oz.”
actress patricia heaton noted that hollywood workers too often just assume everyone they work with is a like-minded liberal. when those around her belittle john mccain or palin, the former “everybody loves raymond” co-star politely reminds them that she’s a republican.
“that’s what you have to do in our town,” she said.
actor beau bridges lamented that there is “too much entertainment” in elections nowadays. “just put ‘em in a room like we are now and let ‘em talk about the issues,” he said.
some of the most spirited debate came from the panel’s moderator, outspoken conservative lionel chetwynd. the writer, director and producer passionately defended the iraq war and palin, whom he called “the ideal jeffersonian political figure.”
chetwynd’s performance prompted gelbart to joke that chetwynd was the most “immoderate moderator” he had ever seen.
“it’s a liberal organization,” chetwynd said of the caucus. “but trying.”
reuters/hollywood reporter
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ˌkɑlərˈɑdoʊ ˈsisˈfaɪər ˈræli ɪn ˈdɛnvər, ˈeɪprəl 2013 (faɪl ˈfoʊˌtoʊ) ə dɪˈstərbɪŋ trɛnd ɔn ðə ˈfrɪnʤɪz əv ðə ˈmuvmənt si ə ˈweɪvɪŋ ɪts ˈpinɪs ˈsəbstəˌtut, ˈɛksət, kɔl pəˈlis. ɑrmd ˈrɑbəri ɪn progress.”*.” soʊ roʊt tˈwɪtər ˈjuzər blæk dog”*” ɔn sɛpˈtɛmbər 13 əv ðɪs jɪr. ðə ˌɪnˈʤəŋʃən wɑz ə ˌpɑrˈtɪkjələrli ˈkələrfəl wən, bət ðə aɪˈdiə bɪˈhaɪnd ɪt, əˈlæs, ɪz nɑt ɛz ənˈkɑmən ɛz wən maɪt wɪʃ. si ju wɪθ ə gən ɪn public,”*,” ə mæn neɪmd villa”*” θˈrɛtənd ˈərliər ðɪs wik, ˈkɔlɪŋ ðə kɑps. ˈsaɪkoʊ bɪˈheɪvɪŋ ɪˈrætɪk. meɪk jʊr day.”*.” ə trænzˈleɪʃən fər ðə mɔr ˈlɪtərət əˈməŋ ˈjuˈɛs: lɔ bi dæmd; ˈɛksərˌsaɪz jʊr raɪts ˈəndər ðə lɔ ənd θˈrɛtən jʊr life.”*.” ə lʊk θru ðə ˈkɑmɛnts θrɛdz ɔn mɑmz dɪˈmænd ˈfeɪsˌbʊk page,”*,” ˈbɛrɪŋ bɑb oʊənz tɛlz mi, si ə lɔt əv this.”*.” ““not,”*,” hi ˈklɛrəˌfaɪz, frəm ðə ˈlidərz əv ðə grup. bət ɪt ɪz ə ˈmaɪndˌsɛt ˈpɑpjələr əˈməŋ ðə ˈfɑloʊərz. ɔn ðɛr, ɔn ðə ˌkoʊəˈlɪʃən tɪ stɑp gən ˈvaɪələns aɪˈrɑnɪkli ənd ɔn, ˈnoʊtɪs ˈkɑmɛntərz ˈædvəˌkeɪtɪŋ ðət ˈpipəl kɔl ðə pəˈlis ənd ɪgˈzæʤərˌeɪt wət ɪz goʊɪŋ ɔn, ˈhoʊpɪŋ tɪ gɪt ðə kɑps tɪ kəm ɪn. ˌædvərˈtaɪzmənt ˌædvərˈtaɪzmənt ə ˈkərsəri θru ðoʊz saɪts rɪˈvilz ðət oʊənz ɪz kərˈɛkt ɪn hɪz əˈsɛsmənt. ðə ʃɛr əv ðə ˈkɑmɛntərz ər ˌɪˈnɑkjuəs ənd ˈkɔrʤəl ˈnəθɪŋ mɔr ðən əˈmɛrɪkənz pɑrˈtɪsəˌpeɪtɪŋ ɪn ˈsɪvəl soʊˈsaɪɪti. ðɛr ər ˈpisfəl ˈprɑməsəz nɑt tɪ ʃɑp æt ˈtərgət ər ˈkroʊgər ər ənˈlɛs ðoʊz ˈbɪznɪsɪz ɪkˈsplɪsətli proʊˈhɪbət ˈkəstəmərz frəm ˈbrɪŋɪŋ ðɛr ˈfaɪˌrɑrmz ɪn wɪθ ðɛm; ðɛr ər səˈʤɛsʧənz ðət ˈɛnibədi hu ˈwɪʃɪz tɪ ˈkɛri ə gən ɪn ˈpəblɪk məst hæv ˈsəmθɪŋ ˈsɪriəsli rɔŋ wɪθ ɪm; ənd ðɛr ər ðə ˈjuʒəwəl ˈɪgnərənt kleɪmz ðət ˈʃutɪŋz ɪn əˈmɛrɪkə ər ɔn ðə ˌɪnˈkris (ɪn fækt, ðə ˈɑpəzɪt ɪz tru). bət, ˈɛvəri 20 ˈkɑmɛnts ər soʊ, wən siz ɪgˈzæktli wət oʊənz dɪˈskraɪbz. riˈæktɪŋ tɪ ə ˈfoʊtəˌgræf əv ə mæn ˈstændɪŋ æt ə ˈʧɛˌkaʊt wɪθ ə ˈhændˌgən əˈpɑn hɪz hɪp, ʤɔɪs wɔrd æsks, ðə pəˈlis kɔld immediately?”*?” ənd ““why,”*,” wɔrd kənˈtɪnjuz, hi ʃɑt baɪ ðə pəˈlis fər ˈhævɪŋ ə weapon”*”? ˈfɛloʊ ˈpoʊstər ˈlisə ʃəˈhin həz ə ˈsɪmələr ˌɪnkˈwaɪˌri, ˈwəndərɪŋ, ˈsəmˌwən kɔld 911 soʊ ðə kɑps kən gən ɪm down?”*?” ˈəðərz goʊ ə ˈlɪtəl ˈfərðər, prəˈpoʊzɪŋ ðət ðeɪ maɪt hɛlp ðɛr kɔz əˈlɔŋ ɪf ðeɪ wər ˈæktɪvli tɪ brɪŋ əˈbaʊt ən ˌɑltərˈkeɪʃən. taɪm aɪ si ˈsəmˌwən wɪθ ə gən ɪn ə stɔr aɪ wɪl kɔl ˈʤɛnəfər ˈdɛkər vaʊz, gɪt taɪərd əv ðət raɪt quick!!!”*!!!” ˈivɪn ðət plæn ɪz tu ˈlɪmɪtɪd fər æn mərˈi. kɔl ðə pəˈlis ˈɛvəri taɪm ju si ˈsəmˌwən wɪθ one,”*,” ʃi ˈkaʊnsəlz, pəˈlis wɪl gɪt sɪk əv ɪt ɪˈvɛnʧəwəli ər hæv ə rən ɪn wɪθ wən əv ðiz klaʊnz ənd ðɛn θɪŋz wɪl change.”*.” ɪn ˈɔlˌmoʊst ˈɛvəri səʧ ˈkɑmɛnt, ɪt ɪz ˈɔlsoʊ əˈsərtəd rɪˈgrɛtfəli ðət ðɛr ɪz ən ˈəgli æt pleɪ ɪn θˈraɪvɪŋ gən ˈkəlʧər. hi wər black,”*,” wən weɪn ləˈmɛnts, ˈfræntɪk waɪt ˈwʊmən wʊd kɔl 911 ənd ðə kɑps wʊd ˈmərdər ɪm ɔn saɪt laɪk ɪn [sɪk] ˈkɪlɪŋ əv ðə blæk mæn ˈhoʊldɪŋ ə tɔɪ ɛr rifle.”*.” prɪˈzuməbli, ˈkænɑt si haʊ pɪˈkjuljər ðɪs ˈsteɪtmənt lʊks tɪ aʊtˈsaɪdərz, ˈnɛsəld ɛz ɪt ɪz əˈməŋ ðə hɪˈstɛrɪkəl ˈaʊtˌpʊt əv waɪt women”*” hu ər ˌrɛkəˈmɛndɪŋ ðət ˈəðərz du ʤɪst ðət. ˈnæʧərəli, wən lɛt fækts gɪt ɪn ðə weɪ əv ə gʊd waɪn. bət wət ˈhæpənd tɪ ˈkrɔfərd ʃʊd sərv ɛz ə ˈwɔrnɪŋ tɪ ðə ˌmælkənˈtɛnts, nɑt ɛz ən ɛnˈkərɪʤmənt. ðə mæn ˈhoʊldɪŋ ə tɔɪ ɛr rifle”*” tɪ hum rɪˈfərz wɑz neɪmd ʤɑn ˈkrɔfərd iii*, ənd hi wɑz kɪld bɪˈkəz, tɪ ˈbɑˌroʊ ə freɪz frəm ˈlisə ʃəˈhin, ə ˈfɛloʊ ˈʃɑpər 911 soʊ ðə kɑps kʊd gən ɪm down.”*.” ju sɪŋk ðə foʊn kɔl tɪ ðə footage,”*,” bɑb oʊənz tɛlz mi, ˈnoʊtɪs ðət ˈrɑnəld ˈrɪʧi, ðə ˈkɔlər, meɪks kleɪmz ðət ər nɑt true.”*.” əˈməŋ ðoʊz kleɪmz, ðə ˈgɑrdiən ˈrɛkərdz, wər ðət wɑz ˈpɔɪntɪŋ ðə ɛr ˈraɪfəl æt customers,”*,” ðət hi θˈrɛtənd children,”*,” ənd ðət hi wɑz ˈrɛkləsli ɪt around.”*.” ðɪs dɪz nɑt əˈpɪr tɪ hæv bɪn ðə keɪs. ˌɪnˈdid, wɪn ðə ˈsteɪtmənt wɑz meɪd, oʊənz noʊts, ˈməzəl wɑz ˈpɔɪntɪd tɪ ðə ground.”*.” soʊ prəˈnaʊnst ər ðə dɪˈskrɛpənsiz bɪtˈwin ˈstɔri ənd ðə sərˈveɪləns ˈfʊtɪʤ ðət ʤɑn ˈfæməli ɪz ˈhoʊpɪŋ tɪ teɪk ˈligəl ˈækʃən. ˈbeɪsɪkli laɪɪŋ wɪθ ðə dispatchers,”*,” ðə əˈtərni, ˈmaɪkəl raɪt ˈɑrgjuz. ˈmeɪkɪŋ əp ðə ˈstɔri. soʊ ʃʊd hi bi ˈprɑsɪˌkjutɪd? jɛs, aɪ bɪˈliv so.”*.” ˌædvərˈtaɪzmənt ˌædvərˈtaɪzmənt ˌædvərˈtaɪzmənt wɪʧ ɪz tɪ seɪ ðət, ˈwɛðər ər nɑt ðə əˈlɛʤədli rɪˈfɔrmərz əv mɑmz dɪˈmænd ˈækʃən ənd ər əˈwɛr əv ɪt, ðeɪ ər ˈflərtɪŋ wɪθ dɪˈzæstər. ɔn ðə ˈsərfəs, æn ˈgrəbi ˈlɪtəl hoʊp ðət pəˈlis wɪl ɪˈvɛnʧəwəli ə rən ɪn wɪθ wən əv ðiz clowns”*” meɪ əˈpɪr tɪ bi lɛs θˈrɛtənɪŋ ðən wɑz ˈrɑnəld ˈfeɪtəl mɛnˈdæsɪti. bət, ɪf mərˈi wər səkˈsɛsfəl, ðə ɛnd rɪˈzəlt wʊd ˈlaɪkli bi ðə seɪm. ðɛr ɪz noʊ kaɪnd weɪ əv ˈpʊtɪŋ ðɪs, əˈfreɪd: ˈəltəmətli, wət wi ər siɪŋ ɔn ðə ˈfrɪnʤɪz əv ðə ˈmuvmənt ɪz ðə səˈʤɛsʧən ðət əˈmɛrɪkən ˈsɪtɪzənz bi ““swatted”*” fər ðɛr ˈʧɔɪsɪz ðət, ɪn ðə neɪm əv ə pəˈlɪtɪkəl dɪsəˈgrimənt, wən ˈpɑrti kɔlz ðə kɑps ɔn əˈnəðər ənd, ˈəndər fɔls priˈtɛnsɪz, pʊts ðɛm ɪn weɪ. ɪz ðɪs wɪθ sense”*” ʧeɪnʤ? ˌædvərˈtaɪzmənt ˈpʊtɪŋ ðə pəˈlis ɪn ə ˌsɪʧuˈeɪʃən wɛr tɪ ðə bɛst əv ðɛr ˈnɑlɪʤ ðə kɔl ɪz ˈkəmɪŋ frəm ˌɪnˈsaɪd ðə house,”*,” oʊənz ɪkˈspleɪnz. ðə wərst keɪs, ðə ˈpərpəˌtreɪtər wɪl seɪ, kɪld maɪ waɪf ənd kɪdz; kəm gɪt mi ɪf ju can.’”*.’” ɪn ˈəðər ˈɪnstənsɪz, hi wɪl ɪgˈzæʤərˌeɪt ər twɪst ðə truθ tɪ lʊr əˈθɔrətiz ˈɪntu ə ˌsɪʧuˈeɪʃən ðət ɪz nɑt æt ɔl ɛz ɪt həz bɪn dɪˈskraɪbd. ɪn ɔl ˈkeɪsɪz, ˌhaʊˈɛvər, ðə ˌɪnˈtɛnʧən ɪz ðə seɪm: tɪ hɑrm ər tɪ skɛr ðə ˈtərgət. ˈrilˌwərld ɪgˈzæmpəlz əˈbaʊnd. ˈsəmˌtaɪmz, ɛz ɪn ðə ˈkeɪsɪz əv kənˈsərvətɪv ˈæktɪvɪsts ˈɛrɪk ˈɛrɪksən ənd ˈɛrən ˈwərθɪŋ, əˈtæks hæv bɪn kənˈtraɪvd baɪ ðoʊz ˈsikɪŋ pəˈlɪtɪkəl ər ˈligəl riˈvɛnʤ. æt ˈəðər taɪmz, ðeɪ hæv bɪn ˈɔrdərd ˈpjʊrli ɛz ˌɛnərˈteɪnmənt. (ˈərliər ðɪs jɪr, ə hu wɑz ˈstrimɪŋ hɪmˈsɛlf pleɪɪŋ ˈkaʊntər straɪk wɑz sˈwɑtɪd baɪ ə ˈʤɛləs əˈpoʊnənt. ðə ˈɪnsədənt, wɪʧ wɑz fɪlmd, meɪks rəf vjuɪŋ: wən ˈmoʊmənt, ðə pleɪər ɪz ˌɛnˈʤɔɪɪŋ hɪz geɪm; ðə nɛkst, hi ɪz biɪŋ θroʊn tɪ ðə graʊnd baɪ ɑrmd ˈɔfɪsərz, ðɛr gənz drɔn.) ˌædvərˈtaɪzmənt ɪt ɪz ðə ˌhaɪˈproʊfaɪl ˈkeɪsɪz ðət meɪk ðə nuz əˈspɛʃəli wɪn ðə ˈmoʊtɪv ɪz ɪkˈsplɪsətli pəˈlɪtɪkəl. bət, fər ɔl ðə ˈdrɑmə ðət ðə ˈtɑrgətɪŋ əv səˈlɛbrɪtiz ˌɪnˈvaɪts, ɪt ɪz ˈdɪfəkəlt tɪ ˌɪˈmæʤən waɪ ən ɑˈstɛnsəbli dɪˈstrɛst kɔl frəm ə ˈgroʊsəri stɔr wʊd ɪn ˈpræktɪs hæv ˈdɪfərənt ˈkɑnsəkˌwɛnsəz ðən ə kɔl rɪˈpɔrtɪŋ ə rɪˈpjutɪd ˈmərdər. ɪf, ɛz blæk dog”*” ənd villa”*” hæv prəˈpoʊzd, ə kɑp rɪˈsivz ə kəmˈpleɪnt əv ən ˈrɑbəri ɪn progress”*” ər ən ɑrmd bɪˈheɪvɪŋ erratic,”*,” hɪz rɪˈspɑns ɪz ˈlaɪkli tɪ bi səˈvɪr. (ˌɪnˈdid, ðoʊz hu daʊt ðət lɔ ɛnˈfɔrsmənt trits ˈɛvəri rɪˈpɔrt wɪθ prəˈnaʊnst ˈsɪriəsnəs ənd ən ˈɛkˌsɛs əv ˈkɔʃən maɪt kənˈsɪdər ˈrɛdɪŋ əp ɔn ðə ˈtɪpɪkəl rɪˈspɑns tɪ proʊˈkleɪmd skul ˈʃutɪŋz.) ˌædvərˈtaɪzmənt ðə ˈmuvmənt kən æt taɪmz bi ˈnidləsli proʊˈvɑkətɪv, ˌɪmpəˈlaɪt, ənd dɪˈprɛsɪŋli counter-productive*. dɪˈmænd ˈmɔkɪʃ ənd ˌnɑrsɪˈsɪstɪk tɪ wən saɪd, aɪ ʃɛr ðə kənˈsərn əv ðoʊz hu fil ðət səm ˈædvəˌkeɪts əv ðə raɪt tɪ bɛr ɑrmz hæv ˈtreɪdɪd ˈʤəstəˌfaɪəbəl kənˈsərn rɪˈgɑrdɪŋ ðə ˌɪnˈtɛgrəti əv ðɛr raɪts fər gratuitousness*, ˌkɑnfrənˈteɪʃən, ənd ˈvænɪti. ˌnɛvərðəˈlɛs, ðɛr ər kənˈstrəktɪv ənd ðɛr ər dɪˈzæstrəs weɪz əv ɪˈstæblɪʃɪŋ ˈsoʊʃəl ənd ˈligəl braɪt laɪnz, ənd ðə prəˈpoʊzəlz ðət ər ˈsɪmərɪŋ əraʊnd ðə ˈfrɪnʤɪz fɔl ˌdɪˈsaɪdədli ˈɪntu ðə ˈlætər kæmp. ˈhævɪŋ bɪn ˈwaɪdli ʧæˈstaɪzd fər ðɛr stuˈpɪdɪˌti, boʊθ blæk dog”*” ənd villa”*” riˈmuvd ðɛr ˈbʊrɪʃ ˈwɔrnɪŋz ənd slunk*, ˈʧeɪsənd, bæk ˈɪntu ðɛr ˈfɛstərɪŋ hoʊlz. ðɛr ˈfrɛndliər ˈælaɪz æt ənd bɪɔnd wʊd du wɛl tɪ ˈfɑloʊ sut, pəˈlaɪtli ædˈvaɪzɪŋ ðə ðət ðɪs ˈrɪli ə geɪm. ˈʧɑrəlz si. ˈdəbəlju. kʊk ɪz ə stæf ˈraɪtər æt ˈnæʃənəl ˌrivˈju.
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colorado ceasefire gun-control rally in denver, april 2013. (file photo)
a disturbing trend on the fringes of the gun-control movement
‘you see a gunfilth waving its penis substitute, exit, call police. armed robbery in progress.” so wrote twitter user “little black dog” on september 13 of this year.
the injunction was a particularly colorful one, but the idea behind it, alas, is not as uncommon as one might wish. “i see you #opencarry with a gun in public,” a man named “joe villa” threatened earlier this week, “i’m calling the cops. psycho behaving erratic. make your day.” a translation for the more literate among us: “the law be damned; exercise your rights under the law and i’ll threaten your life.”
“take a look through the comments threads on moms demand action’s facebook page,” bearing arms’s bob owens tells me, “and you’ll see a lot of this.” “not,” he clarifies,
from the leaders of the group. but it is a mindset popular among the followers. on there, on the coalition to stop gun violence — ironically — and on gunfreezone.net, you’ll notice commenters advocating that people call the police and exaggerate what is going on, hoping to get the cops to come in.
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a cursory trawl through those sites reveals that owens is correct in his assessment. the lion’s share of the commenters are innocuous and cordial — nothing more than law-abiding americans participating in civil society. there are peaceful promises not to shop at target or kroger or chili’s unless those businesses explicitly prohibit customers from bringing their firearms in with them; there are vehement-but-idle suggestions that anybody who wishes to carry a gun in public must have something seriously wrong with him; and there are the usual ignorant claims that shootings in america are on the increase (in fact, the opposite is true). but, every 20 comments or so, one sees exactly what owens describes. reacting to a photograph of a man standing at a checkout with a handgun holstered upon his hip, mom-who-demands-action joyce ward asks, “why weren’t the police called immediately?” and “why,” ward continues, “wasn’t he shot by the police for having a weapon”? fellow poster lisa mclogan shaheen has a similar inquiry, wondering, “why hasn’t someone called 911 so the cops can gun him down?” others go a little further, proposing that they might help their cause along if they were actively to bring about an altercation. “every time i see someone with a gun in a store i will call 911,” jennifer decker vows, “they’ll get tired of that right quick!!!” even that plan is too limited for ann marie. “just call the police every time you see someone with one,” she counsels, “the police will get sick of it eventually or have a run in with one of these clowns and then things will change.”
in almost every such comment, it is also asserted regretfully that there is an ugly double-standard at play in america’s thriving gun culture. “if he were black,” one wayne senftner laments, “some frantic white woman would call 911 and the cops would murder him on sight like in ohios wallmart [sic] killing of the black man holding a toy air rifle.” presumably, senftner cannot see how peculiar this statement looks to outsiders, nestled as it is among the hysterical output of “frantic white women” who are recommending that others do just that. naturally, one shouldn’t let facts get in the way of a good whine. but what happened to crawford should serve as a warning to the malcontents, not as an encouragement. the “black man holding a toy air rifle” to whom senftner refers was named john crawford iii, and he was killed because, to borrow a phrase from lisa mclogan shaheen, a fellow shopper “called 911 so the cops could gun him down.” “if you sync the phone call to the footage,” bob owens tells me, “you’ll notice that ronald ritchie, the caller, makes claims that are not true.” among those claims, the guardian records, were that “crawford was pointing the air rifle at customers,” that he threatened “two children,” and that he was recklessly “waving it around.” this does not appear to have been the case. indeed, when the lattermost statement was made, owens notes, “the gun’s muzzle was pointed to the ground.” so pronounced are the discrepancies between ritchie’s story and the surveillance footage that john crawford’s family is hoping to take legal action. “he’s basically lying with the dispatchers,” the family’s attorney, michael wright argues. “he’s making up the story. so should he be prosecuted? yes, i believe so.”
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which is to say that, whether or not the allegedly well-intentioned reformers of moms demand action and gunfreezone.net are aware of it, they are flirting with disaster. on the surface, ann marie’s grubby little hope that police will eventually “have a run in with one of these clowns” may appear to be less threatening than was ronald ritchie’s fatal mendacity. but, if marie were successful, the end result would likely be the same. there is no kind way of putting this, i’m afraid: ultimately, what we are seeing on the fringes of the gun-control movement is the suggestion that american citizens be “swatted” for their choices — that, in the name of a political disagreement, one party calls the cops on another and, under false pretenses, puts them in harm’s way. is this reconcilable with “common sense” change?
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“you’re putting the police in a situation where to the best of their knowledge the call is coming from inside the house,” owens explains. “in the worst case, the perpetrator will say, ‘i’ve killed my wife and kids; come get me if you can.’” in other instances, he will exaggerate or twist the truth to lure authorities into a situation that is not at all as it has been described. in all cases, however, the intention is the same: to harm or to scare the target. real-world examples abound. sometimes, as in the cases of conservative activists erick erickson and aaron worthing, attacks have been contrived by those seeking political or legal revenge. at other times, they have been ordered purely as entertainment. (earlier this year, a video-gamer who was streaming himself playing counter strike was swatted by a jealous opponent. the incident, which was filmed, makes rough viewing: one moment, the player is enjoying his game; the next, he is being thrown to the ground by armed officers, their guns drawn.)
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it is the high-profile cases that make the news — especially when the motive is explicitly political. but, for all the drama that the targeting of celebrities invites, it is difficult to imagine why an ostensibly distressed call from a grocery store would in practice have different consequences than a call reporting a reputed murder. if, as “little black dog” and “joe villa” have proposed, a cop receives a complaint of an “armed robbery in progress” or an armed “psycho behaving erratic,” his response is likely to be severe. (indeed, those who doubt that law enforcement treats every report with pronounced seriousness and an excess of caution might consider reading up on the typical response to proclaimed school shootings.)
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the open-carry movement can at times be needlessly provocative, unforgivably impolite, and depressingly counter-productive. mom’s demand action’s mawkish and narcissistic hoplophobia to one side, i share the concern of those who feel that some advocates of the right to bear arms have traded justifiable concern regarding the integrity of their rights for gratuitousness, confrontation, and vanity. nevertheless, there are constructive and there are disastrous ways of establishing social and legal bright lines, and the proposals that are simmering around the gun-control movement’s fringes fall decidedly into the latter camp. having been widely chastised for their stupidity, both “little black dog” and “joe villa” removed their boorish warnings and slunk, chastened, back into their festering holes. their friendlier allies at mda and beyond would do well to follow suit, politely advising the hotheads that this really isn’t a game.
— charles c. w. cooke is a staff writer at national review.
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ˈɪmɪʤ: ˈɔnˌlaɪn nuz saɪts træk ˈjuzərz əˈkrɔs ðə wɛb wɪθ mɔr ˈtrækɪŋ koʊd ðən ˈɛni ˈəðər taɪp əv saɪt, ə nu ˈstədi həz faʊnd. ˈjuzɪŋ ə ˈkəstəm ˈoʊpənˌsɔrs ˈmɛʒərmənt tul, ˈprɪnstən ˈrisərʧərz ˈænəˌlaɪzd ðə tɔp 1 ˈmɪljən ˈwɛbˌsaɪts ræŋkt baɪ ðə wɛb ˌænəˈlɪtɪks fərm əˈlɛksə. wət ðeɪ faʊnd ɪz ðət nuz saɪts loʊd fɑr mɔr ˈtrækərz ðən saɪts ɪn ˈəðər ˈkætəˌgɔriz ˌɪnˈkludɪŋ spɔrts, geɪmz ənd ˈivɪn, yes—porn*. pərˈhæps ˌənsərˈpraɪzɪŋli, ðə ˈstədi faʊnd ðət ðə saɪts ðət loʊd ðə moʊst juˈnik ˈtrækərz tɛnd tɪ bi wənz ðət ˈpəblɪʃ ˈkɑntɛnt ənd ər dɪˈpɛndənt ɔn ˈædvərˌtaɪzɪŋ ˈrɛvəˌnu (laɪk motherboard*), wɛˈræz ðoʊz wɪθ ðə list əˈmaʊnt bɪˈlɔŋ tɪ ˌjunəˈvərsətiz, ˌnɑnˈprɔfɪt ˈɛntɪtiz, ənd ˈəðər ˌɔrgənəˈzeɪʃənz ðət ˈlaɪkli rɪˈsiv ˈaʊtˈsaɪd ˈfəndɪŋ. ðə wən səˈpraɪzɪŋ ɪkˈsɛpʃən ɪz pɔrn saɪts, wɪʧ dɪˈspaɪt biɪŋ stɪl loʊd drəˈmætɪkəli lɛs ˈtrækərz ðən nuz saɪts, ˈɔlˌmoʊst baɪ ən ˈɔrdər əv ˈmægnəˌtud. ˈoʊvərˌɔl, ˌhaʊˈɛvər, ðə ˈdætə səˈʤɛsts ðə ˈnəmbər əv juˈnik ˈtrækərz ɪz ˈæˌkʧuəli kənˈsɑləˌdeɪtɪŋ, wɪθ ˈmɛni əv ðə moʊst ˈkɑmən ˈtrækərz biɪŋ kənˈtroʊld baɪ ðə seɪm ənd ˈfeɪsˌbʊk ɪn ˌpɑˈtɪkjələr. "saɪts ɔn ðə haɪ ɛnd əv ðə ˈspɛktrəm ər ˈlɑrʤli ðoʊz wɪʧ prəˈvaɪd ˌɛdəˈtɔriəl ˈkɑntɛnt. sɪns ˈmɛni əv ðiz saɪts prəˈvaɪd ˈɑrtɪkəlz fər fri, ənd læk ən ɪkˈstərnəl ˈfəndɪŋ sɔrs, ðeɪ ər ˈprɛʃərd tɪ peɪʤ vjuz wɪθ sɪgˈnɪfɪkəntli mɔr ˈædvərˌtaɪzɪŋ," raɪt ˈɔθərz ˈstivən ˈɪŋəlhɑrt ənd ˈɑrvɪnd ˌnɑraɪˈɑnən. ˈtrækɪŋ koʊd həz bɪˈkəm juˈbɪkwɪtəs ɪn wɛb ˈpəblɪʃɪŋ, əˈlaʊɪŋ ˈædvərˌtaɪzərz ənd ˌænəˈlɪtɪks fərmz tɪ træk saɪt ˈvɪzɪtərz' ˈbraʊzɪŋ ˈhæbəts, kənˈstrəktɪŋ dɪˈteɪld ˈproʊˌfaɪlz əv ˌɪndəˈvɪʤəwəl ˈjuzərz fər ˈtɑrgətɪd ˈædvərˌtaɪzɪŋ. ˈdəzənz əv ˈtrækərz ˈɔfən loʊd ɔn ə ˈsɪŋgəl saɪt, ənˈlɛs ðə ˈjuzər ˌɪnˈstɔlz ə ɪkˈstɛnʃən laɪk ˈpraɪvəsi ˈbæʤər, ər dɪskəˈnɛkt. ðə ˈstədi ˈɔlsoʊ ʃoʊz ðət ˈtrækərz hæv pleɪd ə ˈmeɪʤər roʊl ɪn prɪˈvɛnɪŋ ðə əˈdɑpʃən əv sɪˈkjʊr kəˈnɛkʃənz. sɪns ðeɪ loʊd ˈtrækɪŋ koʊd frəm soʊ ˈmɛni ˈsɔrsəz, moʊst nuz saɪts kænt prəˈvaɪd sɪˈkjʊr kəˈnɛkʃənz ənˈlɛs ɔl əv ðoʊz du ðə seɪm. ɪf ə saɪt həz ɪˈneɪbəld bət stɪl loʊdz ˈtrækɪŋ koʊd ˈrisɔrsɪz ˈoʊvər ˈɪnsəkjər, ðə rɪˈzəlt wɪl bi "mɪkst" ˈkɑntɛnt ðət kriˈeɪts sɪˈkjʊrəti ˈprɑbləmz ənd ˈʤɛnərˌeɪts ˈbraʊzər ˈwɔrnɪŋz. ðə ˈrisərʧərz faʊnd ðət ðət 27 pərˈsɛnt əv saɪts ðət dɪˈspleɪ ˈɪnsəkjər "mɪkst" ˈkɑntɛnt ər duɪŋ soʊ ˈsoʊəli bɪˈkəz əv ˈtrækərz. ˈivɪn ˈfərðər, ðɛr æˈnælɪsɪs ʃoʊz ðət 26 pərˈsɛnt əv saɪts ðət loʊd baɪ dɪˈfɔlt ˈɔlsoʊ loʊd ˈtrækɪŋ koʊd ðət doʊnt səˈpɔrt, ˈminɪŋ ðət ðeɪd bi əˈneɪbəl tɪ ˈəpˈgreɪd tɪ wɪˈθaʊt ˈiðər ˈdrɑpɪŋ ðɛr æd ˈtrækərz ər ˈbreɪkɪŋ ðɛr saɪt.
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image: pixabay/tookapic
online news sites track users across the web with more third-party tracking code than any other type of site, a new study has found.
using a custom open-source measurement tool, princeton researchers analyzed the top 1 million websites ranked by the web analytics firm alexa. what they found is that news sites load far more third-party trackers than sites in other categories including sports, games and even, yes—porn.
perhaps unsurprisingly, the study found that the sites that load the most unique trackers tend to be ones that publish content and are dependent on advertising revenue (like motherboard), whereas those with the least amount belong to universities, non-profit entities, and other organizations that likely receive outside funding.
the one surprising exception is porn sites, which despite being ad-dependent still load dramatically less trackers than news sites, almost by an order of magnitude. overall, however, the data suggests the number of unique trackers is actually consolidating, with many of the most common trackers being controlled by the same entities—google and facebook in particular.
"sites on the high end of the spectrum are largely those which provide editorial content. since many of these sites provide articles for free, and lack an external funding source, they are pressured to monetize page views with significantly more advertising," write authors steven englehardt and arvind narayanan.
tracking code has become ubiquitous in web publishing, allowing advertisers and analytics firms to track site visitors' browsing habits, constructing detailed profiles of individual users for targeted advertising. dozens of third-party trackers often load on a single site, unless the user installs a tracker-blocking extension like privacy badger, ghostery or disconnect.
the study also shows that third-party trackers have played a major role in preventing the adoption of secure https connections. since they load tracking code from so many sources, most news sites can't provide secure connections unless all of those third-parties do the same. if a site has enabled https but still loads tracking code resources over insecure http, the result will be "mixed" content that creates security problems and generates browser warnings.
the researchers found that that 27 percent of https sites that display insecure "mixed" content are doing so solely because of trackers. even further, their analysis shows that 26 percent of sites that load http by default also load tracking code that don't support https, meaning that they'd be unable to upgrade to https without either dropping their ad trackers or breaking their site.
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boulder’s* prəˈtɛktɪd baɪk leɪn rɪˈmuvəl wʊd bi ʤɪst ðə ˈneɪʃənˈwaɪd ˈmaɪkəl ˈændərsən blɔgz fər ðə grin leɪn ˈprɑʤɛkt, ə ˈproʊˌgræm ðət hɛlps juz. ˈsɪtiz bɪld ˈbɛtər baɪk leɪnz tɪ kriˈeɪt strits. ˈboʊldər, ˌkɑlərˈɑdoʊ, wɪl voʊt təˈdeɪ ɔn ˈwɛðər tɪ bɪˈkəm ðə fɔrθ juz. ˈsɪti tɪ riˈmuv ə ˈmɑdərn prəˈtɛktɪd baɪk leɪn. ðə ˈəðərz ər ˈmɛmpfɪs, wɛr ə ˈrɪvərˌsaɪd ˈprɑʤɛkt wɑz riˈmuvd ðɪs jɪr ˈæftər ðə ɛnd əv ə ˈwənˌjɪr ˈpaɪlət; ˈbɔɪzi, wɛr ə ˈdaʊnˈtaʊn ˈnɛtˌwərk wɑz riˈmuvd læst jɪr ˈæftər ðə ɛnd əv ə traɪəl; ənd ˈpɔrtlənd, ˈɔrəˌgɑn, wɛr ɪn 2012 ðə ˈsɪti ˌdɪˈsaɪdɪd nɑt tɪ ˌriˈpleɪs ə ˈsɪriz əv poʊsts ðət hæd bɪn tɔrn aʊt baɪ kɑr kəˈlɪʒənz ɔn wən əv ɪts ˈbrɪʤɪz. ɛz əv læst mənθ, 75 juz. ˈsɪtiz (ˌɪnˈkludɪŋ ˈmɛmpfɪs, ˈpɔrtlənd, ənd ˈboʊldər) hæv bɪlt ˈpərmɑˌnɛnt prəˈtɛktɪd baɪk leɪnz, ənd ðə ˈnəmbər əv səʧ ˈprɑʤɛkts ɪz ˈdəbəlɪŋ ˈɛvəri tu jɪrz ər soʊ. bət ɪn ˈboʊldər, ɛz ˌriˈpɔrtəd læst wik, ðə ˈleɪtəst ˈprɑʤɛkt həz ˈteɪkən ə tərn. ɔn ˈθərzˌdeɪ, ˈsɪti stæf ˌrɛkəˈmɛndɪd ˈskeɪlɪŋ bæk wət wɑz plænd ɛz ə ˈpaɪlət ʤɪst 11 wiks ɪn. ən ˌənɪkˈspɛktɪd ʧeɪnʤ əv dɪˈrɛkʃɪn fər wən əv ðə fɔr ˈsɪtiz ɪn ðə ˈkəntri ˈreɪtɪd ɛz ““platinum”*” baɪ ðə lig əv əˈmɛrɪkən ˈbaɪˌsɪklɪsts. ɪz nɑt wət wi wʊd ˈɛvər ɪkˈspɛkt tɪ si fər ə ˈplætənəm city,”*,” lig ˈspoʊksmən stiv klɑrk sɛd ɪn ən iˈmeɪl ˈfraɪˌdeɪ. goʊld, ər ˈsɪlvər. ɪkˈstrimli bæd precedent.”*.” ðə prəˈtɛktɪd baɪk leɪnz ɔn ˈfoʊlsəm strit wər ˈædɪd ɪn ˌʤuˈlaɪ ɛz pɑrt əv ə ˌridɪˈzaɪn ðət ˌriˈpleɪst tu ˈʤɛnərəl ˈtrævəl leɪnz ɪn iʧ dɪˈrɛkʃɪn wɪθ wən ˈʤɛnərəl ˈtrævəl leɪn ɪn iʧ dɪˈrɛkʃɪn pləs ə nu ˈsɛnər tərn leɪn. ðə ˈnəmbər əv ˌriˈpɔrtəd kəˈlɪʒənz ɔn ðə strit drɑpt ˌɪˈmiˌdiətli, ˈsɪti ˈdætə ʃoʊ. kənˈsɪstənt wɪθ ˈsɪmələr roʊd daɪət ˈprɑʤɛkts əraʊnd ðə ˈkəntri. ðə ˈfɛdərəl ˈhaɪˌweɪ ædˌmɪnɪˈstreɪʃən sɪz ðiz lɛd tɪ ə 19 tɪ 47 pərˈsɛnt drɔp ɪn kəˈlɪʒənz, bɪˈkəz ðeɪ prɪˈvɛnt ðə moʊst ˈrɛkləs ˈdraɪvərz frəm ˈwivɪŋ bɪtˈwin ˈtrævəl leɪnz ənd bɪˈkəz ðeɪ gɪv ˈɛvriˌwən ˈdraɪvɪŋ ə klɪr vju əv ˈpipəl ˈkrɔsɪŋ ðə strit ɔn fʊt ə kɑr ˈdraɪvɪŋ ɪn ðə ˈkərbˌsaɪd leɪn blɑk ðə saɪt laɪn əv ˈsəmˌwən ɛls ˈdraɪvɪŋ ɪn ðə seɪm dɪˈrɛkʃɪn. ðə nu ˈsɛnər tərn leɪn, ˈminˌwaɪl, ˈkænsəlz aʊt moʊst əv ðə pəˈtɛnʃəl ˈtræfɪk dɪˈleɪ bɪˈkəz ɪt gɪvz kɑz ə pleɪs tɪ weɪt wɪˈθaʊt ˈblɑkɪŋ ˈəðər ˈtræfɪk. frəm ˈviɪkəl ˈkræʃɪz raɪz ɛz ðə wɪdθ əv ə roʊd increases,”*,” sɪz ðə ɪn ɪts fækt ʃit əˈbaʊt ˈprɑʤɛkts. ɪn ðə keɪs əv ˈfoʊlsəm, ðə ˌridɪˈzaɪn hæd ə saɪd ˈbɛnəfɪt: ɪt lɛt ðə ˈsɪti ˈwaɪdən ðə ɪgˈzɪstɪŋ baɪk leɪnz ənd æd ˈplæstɪk poʊsts tɪ tərn ðɛm ˈɪntu prəˈtɛktɪd baɪk leɪnz. ðə ˌɪnstəˈleɪʃən ˌkɔrəˈspɑndɪd wɪθ ðə ˈnɔrməl ˌɪnˈkris ɪn ˈbaɪkɪŋ ˈæftər skul rɪˈtərnd tɪ ˈsɛʃən, soʊ hɑrd tɪ noʊ haʊ məʧ ðə leɪnz kənˈtrɪbjutɪd tɪ ðə ˌɪˈmiˌdiət ʤəmp ɪn baɪk juz. bət bɪˈkəz ˈɔtoʊ ˈvɑljumz wər soʊ haɪ ɔn ˈfoʊlsəm, ənd bɪˈkəz ðə ˈsɪti hæd ˈpriviəsli ˌɪnˈstɔld ə pɛr əv ˈkrɔsɪŋ ˈsɪgnəlz ɪn ən ˈɛfərt tɪ meɪk ðə strit ˈseɪfər tɪ wɔk əˈkrɔs, ˈseɪfti ənd ˌɪnˈkrist baɪk juz ðə ˈoʊnli ˈifɛkts. ˈdʊrɪŋ ɪts ˈbɪziəst taɪm ənd dɪˈrɛkʃɪn, ðə ˈsaʊθˌbaʊnd ˈivnɪŋ rəʃ aʊər, ɪt tʊk ən ˈɛkstrə 104 ˈsɛkəndz ɔn ˈævərɪʤ tɪ ˈtrævəl ðə əv ə maɪl ɔn ˈfoʊlsəm bɪtˈwin ˈvɔlˌmɑnt roʊd ənd ˈkænjən ˈbʊləˌvɑrd. ðɪs meɪd səm ˈboʊldər ˈrɛzɪdənts fˈjʊriəs. ɪn ə ˈlɛtər tɪ ðə ˈboʊldər ˈdeɪli ˈkæmərə, wən wik ˈæftər ðə fərst rɪˈspɑndərz hæd toʊld ðə ˈnuzˌpeɪpər ðət ðə ˌridɪˈzaɪn wʊd hæv noʊ ˈifɛkt ɔn ðɛr wərk, ˈrɛzɪdənt ʤɛf ʃʊlts ˈpeɪnɪd ə daɪər sɪˈnɛrioʊ əv wət maɪt ˈhæpən ɪn ə fˈjuʧər faɪər: ðə ˈboʊldər faɪər dɪˈpɑrtmənt ɪz ˈrɛdi tɪ roʊl, bət, ənˈfɔrʧənətli, rəʃ aʊər ənd ðə ˈrisənt leɪn rɪˈdəkʃənz kəmˈbaɪnd wɪθ ɔl ðə ˈflæʃɪŋ ˈkrɑsˌwɑks hæv kɔzd ˈpərˌfɪkt ˈgrɪˌdlɑk ˈɛvriˌwɛr. smoʊk kən naʊ bi sin frəm ðə ˈdaʊnˈtaʊn wɛr ˈkaʊnsəl ˈmɛmbərz ər pleɪɪŋ tɪ ˌdɪˈsaɪd ɔn hum tɪ treɪn ðɛr ˌhaɪˈpaʊərd bjʊˈrɑkrəsi ˈkænən æt nɛkst. ˈəðər ˈboʊldər ˈrɛzɪdənts ˈfeɪvər ðə ˈfoʊlsəm ˌridɪˈzaɪn. ɪn pɑrt du tɪ ən ˈɔrgəˌnaɪzd ˈɛfərt frəm ˈædvəkəsi grup tɪ ˈræli ðə baɪk səˈpɔrtərz, 57 pərˈsɛnt əv ðə ˈkɑmɛnts ðə ˈsɪti rɪˈsivd əˈbaʊt ðə ˈprɑʤɛkt baɪ leɪt ˈɔgəst wər ɪn səˈpɔrt. bət ðə ˈəðər 43 pərˈsɛnt ˈtɛndɪd tɪ bi ˈæŋgriər, ənd mɔr ˈlaɪkli tɪ hæv ˈkɑnˌtæktɪd ðə ˈsɪti əv ðɛr oʊn voʊˈlɪʃən. kəmˈjunɪti həz bɪn ˈprɪti klɪr ðət pɑrts əv ðɪs ˈprɑʤɛkt ər nɑt səkˈsɛsfəl fər them,”*,” ˈkaʊnsəlmən sæm ˈwivər, hu hæd ˈvoʊtɪd fər ðə plæn ɪn ʤun, toʊld ðə ˈkæmərə ɔn ˈfraɪˌdeɪ. ʧeɪnʤ əv kɔrs fər stæf ənd ˈkaʊnsəl ˈmɛmbərz wən mənθ əˈgoʊ, ˈkaʊnsəl hæd ˈsimɪŋli əˈgrid tɪ stɪk wɪθ ðə ˈfoʊlsəm ˌridɪˈzaɪn fər ə waɪl. ðət ʧeɪnʤd læst wik. goʊ ˈboʊldər ˈmænɪʤər kæθˈlin sɛd ɪn ən ˈɪntərvˌju ðət stæf frəm ðə ˌtrænspərˈteɪʃən, ˈpəblɪk wərks, ənd ˈsɪti ˈɔfəsɪz hæd kəm tɪ ə mˈjuʧuəl dɪˈsɪʒən tɪ ˌrɛkəˈmɛnd rɪˈvərsɪŋ ðə ˈsəðərn hæf əv ˌridɪˈzaɪn, ə ʃɑrp ˈtərnərˌaʊnd frəm ˈɔgəst. su, ɪgˈzɛkjətɪv dɪˈrɛktər əv ˈædvəkəsi grup kəmˈjunɪti ˈsaɪkəlz, sɛd hər ˌəndərˈstændɪŋ wɑz ðət rɪˈnud dɪˈskəʃən əˈməŋ ðə ˈsɪti ˈkaʊnsəl prɪˈsidɪd ðə ˈsədən ʧeɪnʤ əv dɪˈrɛkʃɪn frəm stæf. sɛd ʧeɪnʤ əv dɪˈrɛkʃɪn ɪz əpˈsɛtɪŋ bɪˈkəz ɪt səˈʤɛsts tɪ hər ðət ˈmɛni ˈrɛzɪdənts əv ðə ˈfeɪməsli grin ənd ˈsɪti ˈwɪlɪŋ tɪ ˈæˌkʧuəli ʧeɪnʤ ðɛr ˈhæbəts ɪn ˈɔrdər tɪ prɪˈzərv ðə ˈklaɪmɪt. kən ju nɑt θɪŋk ðət goʊɪŋ tɪ du ə ˈlɪtəl bɪt mɔr bɪˈkəz ˈlivɪŋ jʊr kɪdz wɪθ ə ˈʃɪˌti world?”*?” ʃi sɛd əv ˈboʊldər hu ʃʊd bi ɑr allies.”*.” ðeɪ kən baɪ ðɛr weɪ aʊt əv ðə ˈklaɪmɪt ˈprɑbləm, ðɛn ˈoʊˈkeɪ, bət ɪf bɪˈheɪvjər ʧeɪnʤ ər əˈlaʊɪŋ ˈsəmˌwən ɛls tɪ hæv bɪˈheɪvjər ʧeɪnʤ ðeɪ meɪk ðə connection,”*,” sɛd. ˈnɛvər goʊɪŋ tɪ gɪt ˈɛvriˌbɑdi ˈɛvriˌwɛr ðeɪ wɔnt tɪ goʊ ɔn paths.”*.” nɑt anti-car,”*,” ˈædɪd. wi ər proʊ ˈmeɪkɪŋ seɪf ˈpleɪsɪz fər ˈpipəl tɪ raɪd ˈbaɪsɪkəlz. ənd ˈsəmˌtaɪmz ðət minz ðət ə dɪˈsɪʒən nidz tɪ bi meɪd bɪtˈwin 100 pərˈsɛnt əˌkɑməˈdeɪʃən əv ˌɔtəmoʊˈbilz ənd ˈsəmθɪŋ lɛs ðən that.”*.” ɪf kɑr leɪnz ər ənˈtəʧəbəl, haʊ kən kɑr dɪˈpɛndəns bi rɪˈdust? ˈfɔrmər ˈboʊldər meɪər wɪl sɛd ɪn ən ˈɪntərvˌju ðət ðə faɪt ˈoʊvər ˈfoʊlsəm riˈmaɪndɪd ɪm əv ə ˈsɪmələr ˈbætəl, wɪn hi wɑz ɪˈlɛktɪd meɪər ɪn 1998 ˈoʊvər ˈwɛðər ðə ˈsɪti ʃʊd ˌɪnˈvɛst ɪn ˈbaɪkɪŋ ənd ˈwɔkɪŋ ər ʃʊd kip ˈbɪldɪŋ roʊdz. ˈrɪli brɔt ðə kəmˈjunɪti tɪ ə consensus…*… wɑz ðət ðɪs ɪz əˈbaʊt ˈgɪvɪŋ ˈpipəl ˈʧɔɪsɪz ðət ðeɪ hæv today,”*,” hi sɛd. gɑt lɑts əv weɪz ðət ju kən ˈseɪfli draɪv əraʊnd taʊn. wi hæv ə lɔt əv weɪz ðət ju kən ˈseɪfli baɪk əraʊnd town.”*.” simd tɪ bi ə ˈrɪli ˈpaʊərfəl ənd ˈpɑzətɪv ˈɑrgjəmənt ðət ə waɪd vərˈaɪəti əv ˈpipəl ɪn ðə kəmˈjunɪti wər ˈeɪbəl tɪ see,”*,” sɛd. ɛz fər ˈkɑrənt ˈkaʊnsəl, sɛd ðət ɪf ðeɪ əˈgri tɪ rɪˈvərs ðə ˈʧeɪnʤɪz tɪ ˈfoʊlsəm, hi hoʊps prəˈpoʊz ɔlˈtərnətɪv weɪz tɪ rɪˈdus ðə dɪˈpɛndəns ɔn kɑz. ˈɛvriˌbɑdi ɔn ˈkaʊnsəl ənd hu ɪz ˈrənɪŋ fər ˈkaʊnsəl hu ɪz əˈpoʊzd tɪ ðə prəˈtɛktɪd leɪnz kips seɪɪŋ ðət ðeɪ wɔnt tɪ meɪk ˈbaɪkɪŋ ˈseɪfər ənd mɔr attractive,”*,” sɛd. teɪk ðɛm æt ðɛr wərd. wət aɪ wʊd laɪk tɪ si ˈpipəl ˈæskɪŋ ɪz, ɪf ju θɪŋk ðɪs ɪz ðə səˈluʃən, wət du ju θɪŋk ðə səˈluʃənz ər, əˈspɛʃəli fər ðoʊz routes?”*?” prɪˈdɪktɪd ðət səʧ ə ˌhaɪˈproʊfaɪl riˈtrit baɪ ðə ˈsɪti wʊd min ðət goʊɪŋ tɪ bi ə lɔŋ taɪm ˌbiˈfɔr ju kən du ˈɛni ˈmeɪʤər improvements.”*.” ʃi sɛd ðə ˈsɪti wɪl ˈprɑbəˌbli traɪ tɪ riˈfoʊkəs ɪts ˈbaɪkɪŋ ˌɪnˈvɛstmənts ɔn mɔr pæθs wɛr ˈpɑsəbəl. ju bɪld ðət ɪn ˈɛvəri situation?”*?” ʃi sɛd. ““no*. ˈivɪn ɪn ˈboʊldər. ˈivɪn wɪθ ɔl ðə ˈməni ɪn ðə world.”*.” kərˈɛkʃən: ə ˈpriviəs ˈvərʒən əv ðɪs poʊst ˈmɛnʃən ðət ðə ˌɪnˈkris ɪn baɪk ˈtræfɪk ɔn ˈfoʊlsəm ˌkɔrəˈspɑndɪd tɪ ðə rɪˈtərn əv ðə skul jɪr. ju kən ˈfɑloʊ ðə grin leɪn ˈprɑʤɛkt ɔn linkedin*, tˈwɪtər ənd ˈfeɪsˌbʊk ər saɪn əp fər ɪts ˈwikli nuz ˈdaɪʤɛst əˈbaʊt prəˈtɛktɪd baɪk leɪnz.
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boulder’s protected bike lane removal would be just the 4th nationwide
michael andersen blogs for the green lane project, a peopleforbikes program that helps u.s. cities build better bike lanes to create low-stress streets.
boulder, colorado, will vote today on whether to become the fourth u.s. city to remove a modern protected bike lane.
the others are memphis, where a riverside project was removed this year after the end of a one-year pilot; boise, where a downtown network was removed last year after the end of a one-month trial; and portland, oregon, where in 2012 the city decided not to replace a series of posts that had been torn out by car collisions on one of its bridges.
as of last month, 75 u.s. cities (including memphis, portland, and boulder) have built permanent protected bike lanes, and the number of such projects is doubling every two years or so.
but in boulder, as streetsblog reported last week, the latest project has taken a turn. on thursday, city staff recommended scaling back what was planned as a year-long pilot just 11 weeks in.
that’s an unexpected change of direction for one of the four cities in the country rated as “platinum” by the league of american bicyclists.
“this is not what we would ever expect to see for a platinum city,” league spokesman steve clark said in an email friday. “or gold, or silver. extremely bad precedent.”
the protected bike lanes on folsom street were added in july as part of a redesign that replaced two general travel lanes in each direction with one general travel lane in each direction plus a new center turn lane.
the number of reported collisions on the street dropped immediately, city data show.
that’s consistent with similar turn-lane road diet projects around the country. the federal highway administration says these redesigns lead to a 19 to 47 percent drop in collisions, because they prevent the most reckless drivers from weaving between travel lanes and because they give everyone driving a clear view of people crossing the street on foot — a car driving in the curbside lane won’t block the sight line of someone else driving in the same direction.
the new center turn lane, meanwhile, cancels out most of the potential traffic delay because it gives left-turning cars a place to wait without blocking other traffic.
“injuries from vehicle crashes rise as the width of a road increases,” says the aarp in its fact sheet about turn-lane projects.
in the case of folsom, the redesign had a side benefit: it let the city widen the existing bike lanes and add plastic posts to turn them into protected bike lanes.
the project’s installation corresponded with the normal increase in biking after school returned to session, so hard to know how much the lanes contributed to the immediate jump in bike use.
but because rush-hour auto volumes were so high on folsom, and because the city had previously installed a pair of mid-block crossing signals in an effort to make the street safer to walk across, safety and increased bike use weren’t the only effects.
during its busiest time and direction, the southbound evening rush hour, it took an extra 104 seconds on average to travel the eight-tenths of a mile on folsom between valmont road and canyon boulevard.
this made some boulder residents furious.
in a letter to the boulder daily camera, one week after the city’s first responders had told the newspaper that the redesign would have no effect on their work, resident jeff schulz painted a satirically dire scenario of what might happen in a future fire:
the boulder fire department is ready to roll, but, unfortunately, rush hour and the recent lane reductions combined with all the flashing crosswalks have caused perfect gridlock everywhere. smoke can now be seen from the downtown treehouse where council members are playing rock-paper-scissors to decide on whom to train their high-powered bureaucracy cannon at next.
other boulder residents favor the folsom redesign. in part due to an organized effort from boulder-based advocacy group peopleforbikes to rally the city’s bike supporters, 57 percent of the comments the city received about the project by late august were in support.
but the other 43 percent tended to be angrier, and more likely to have contacted the city of their own volition.
“the community has been pretty clear that parts of this project are not successful for them,” councilman sam weaver, who had voted for the plan in june, told the camera on friday.
change of course for staff and council members
one month ago, boulder’s council had seemingly agreed to stick with the folsom redesign for a while.
that changed last week. go boulder manager kathleen bracke said in an interview that staff from the city’s transportation, public works, and city manager’s offices had come to a mutual decision to recommend reversing the southern half of folsom’s redesign, a sharp turnaround from august.
sue prant, executive director of boulder-based advocacy group community cycles, said her understanding was that renewed discussion among the city council preceded the sudden change of direction from staff.
prant said boulder’s change of direction is upsetting because it suggests to her that many residents of the famously green and well-to-do city aren’t willing to actually change their habits in order to preserve the climate.
“how can you not think that you’re going to do a little bit more because you’re leaving your kids with a shitty world?” she said of boulder “environmentalists who should be our allies.”
“if they can buy their way out of the climate problem, then ok, but if behavior change — or allowing someone else to have behavior change — they can’t make the connection,” prant said. “you’re never going to get everybody everywhere they want to go on multi-use paths.”
“we’re not anti-car,” prant added. “but we are pro making safe places for people to ride bicycles. and sometimes that means that a decision needs to be made between 100 percent accommodation of automobiles and something less than that.”
if car lanes are untouchable, how can car dependence be reduced?
former boulder mayor will toor said in an interview that the fight over folsom reminded him of a similar battle, when he was elected mayor in 1998, over whether the city should invest in biking and walking or should keep building ever-wider roads.
“what really brought the community to a consensus… was that this is about giving people choices that they don’t have today,” he said. “we’ve got lots of ways that you can safely drive around town. we don’t have a lot of ways that you can safely bike around town.”
“that seemed to be a really powerful and positive argument that a wide variety of people in the community were able to see,” toor said.
as for boulder’s current council, toor said that if they agree to reverse the changes to folsom, he hopes they’ll propose alternative ways to reduce the city’s dependence on cars.
“certainly everybody on council and who is running for council who is opposed to the protected lanes keeps saying that they want to make biking safer and more attractive,” toor said. “i’ll take them at their word. what i would like to see people asking is, if you don’t think this is the solution, what do you think the solutions are, especially for those north-south routes?”
prant predicted that such a high-profile retreat by the city would mean that “it’s going to be a long time before you can do any major on-street improvements.” she said the city will probably try to refocus its biking investments on more off-street paths where they’re possible.
“can you build that in every situation?” she said. “no. even in boulder. even with all the money in the world.”
correction: a previous version of this post didn’t mention that the increase in bike traffic on folsom corresponded to the return of the school year.
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ə nu ˈstədi səˈʤɛsts ðət hæf əv ɔl nɔrˈwiʤənz wɔnt tɪ ʃət ˈbɔrdərz tɪ nu ˈɪməgrənts. ʤɪst ɛz ˈmɛni bɪˈliv ˌɪnəˈgreɪʃən ˈɛfərts hæv feɪld. ˈɪməgrənts frəm nɔrθ əˈmɛrɪkə, ˈeɪʒə, ˈæfrɪkɑ ənd ˈəðər pɑrts əv ðə wərld ˈoʊnli meɪk əp əraʊnd 10 pərˈsɛnt əv ðə ˌpɑpjəˈleɪʃən ɪn ˈnɔrˌweɪ, bət ɪt əˈpɪr ˈmɛni mɔr ər ˈwɛlkəm. ˈnuzˌpeɪpər ˌriˈpɔrtəd ˈθərzˌdeɪ ðət ðə ˈstədi, kənˈdəktəd ɛz ən barometer”*” fər ðə steɪt ˈeɪʤənsi ˈdilɪŋ wɪθ ˌɪnəˈgreɪʃən ˈɪʃuz (integrerings*- ɑg mangfoldsdirektoratet*), ˈɔlsoʊ rɪˈvild ðət ˈfʊli 80 pərˈsɛnt əv nɔrˈwiʤənz θɪŋk ˈsɪtɪzənˌʃɪp ɪn ˈnɔrˌweɪ ʃʊd ˈoʊnli bi ˈgrænɪd tɪ ðoʊz hu pæs ə tɛst ɪn ðə ˌnɔrˈwiʤən ˈlæŋgwɪʤ. prəˈfɪʃənsi ɪn ˌnɔrˈwiʤən həz ˈrisəntli bɪˈkəm ə priˈrɛkwəzət fər moʊst ˈɪməgrənts. krɪs ˈpɑrsən, hu muvd tɪ ˈnɔrˌweɪ frəm ˈkænədə fɔr jɪrz əˈgoʊ, toʊld ðət hi hæd tɪ ʧuz bɪtˈwin ˈteɪkɪŋ ə ˈlæŋgwɪʤ kɔrs ər traɪɪŋ tɪ pæs ə ˈlæŋgwɪʤ tɛst ɔn hɪz oʊn. hi ʧoʊz ðə tɛst, seɪɪŋ ðət ˈprɑbləm wɪθ ðə kɔrs ɪz ðət ˈmɛni teɪk pɑrt bɪˈkəz ðeɪ məst, wɪˈθaʊt ˈfɑloʊɪŋ along.”*.” hi əˈgriz wɪθ hɪz ˌnɔrˈwiʤən ˈpɑrtnər ənd ˈəðərz hu bɪˈliv ˌɪnəˈgreɪʃən ˈmɛθədz nid səm rɪˈnuəl. ˈrɛkərd haɪ ˌɑpəˈzɪʃən ˈnɛvər ˌbiˈfɔr hæv mɔr nɔrˈwiʤənz ˈɪndəˌkeɪtɪd ðət ðeɪ wɔnt tɪ hɔlt ˌɪməˈgreɪʃən, əˈkɔrdɪŋ tɪ ðə ˈstədi. ɪt ʃoʊd ðət pərˈsɛnt əv ˈpərsənz kˈwɛsʧənd baɪ ˈgæləp rɪˈspɑndɪd ðət ðeɪ dɪd nɑt wɔnt mɔr ˈɪməgrənts ɪn ˈnɔrˌweɪ. ɪn 2005 wɪn ðə ˌɪnəˈgreɪʃən ˈeɪʤənsi kənˈdəktəd ɪts fərst səʧ ˈstədi, ðə ˌkɔrəˈspɑndɪŋ ˈfɪgjər wɑz pərˈsɛnt, rɪˈpɔrts. æt ðə seɪm taɪm, pərˈsɛnt bɪˈliv ˌɪnəˈgreɪʃən ˈɛfərts ər nɑt goʊɪŋ wɛl æt ɔl, əp 12 pərˈsɛnɪʤ pɔɪnts sɪns 2005 əraʊnd 60 pərˈsɛnt pʊt ðə bleɪm ɔn nɔrˈwiʤənz ðɛmˈsɛlvz, fər dɪˈfɪʃənt ˌkɑntrəˈbjuʃənz təˈwɔrdz səkˈsɛsfəl ˌɪnəˈgreɪʃən əv ˈnuˌkəmərz ˈɪntu ˌnɔrˈwiʤən soʊˈsaɪɪti, waɪl pərˈsɛnt bleɪm ðə ˈɪməgrənts fər ˈfeɪlɪŋ tɪ ˈɪnəˌgreɪt. ðət ˈfeɪljər ɪz ˈɔfən taɪd tɪ ˈfeɪljər tɪ lərn ðə ˌnɔrˈwiʤən ˈlæŋgwɪʤ, ˈivɪn ðoʊ prəˈfɪʃənsi ɪn ˌnɔrˈwiʤən kən bi ə ˈdɔntɪŋ ˈʧælənʤ fər ˈivɪn ðə moʊst ˈhaɪli ˈɛʤəˌkeɪtɪd ˈædəlts ˈmuvɪŋ tɪ ˈnɔrˌweɪ. steɪt stəˈtɪstɪks ˈbjʊroʊ (stəˈtɪstɪks ˈnɔrˌweɪ) həz ˌriˈpɔrtəd ðət ˈpərsənz ˈɪməˌgreɪtɪd tɪ ˈnɔrˌweɪ tɪ 2010 mɔr ðən twaɪs ðə əˈmaʊnt ɪn 2005 əˈnəðər sɔt əˈsaɪləm ɪn ˈnɔrˌweɪ læst jɪr, daʊn frəm ɪn 2009 ɛz əv ˈʤænjuˌɛri 1 əraʊnd ˈɪməgrənts wər ˈlɪvɪŋ ɪn ˈnɔrˌweɪ, wɪʧ həz ə ˌpɑpjəˈleɪʃən əv ˈmɪljən ənd ɪz ɪkˈspɛktɪd tɪ pæs 5 ˈmɪljən ˈleɪtər ðɪs jɪr. səm ˈpɑzətɪv vjuz ðə nu ˈstədi ˈɪndɪˌkeɪts ðət ˈnɔrˌweɪ, wɪʧ prəˈdust ˈrɛkərd ˈnəmbərz əv ˈɛməgrənts ˌɪtˈsɛlf wɪn ɪt wɑz stɪl ə pur ənd dɪˈvɛləpɪŋ ˈneɪʃən, ˈklɪrli kənˈtɪnjuz tɪ ˈstrəgəl wɪθ əkˈsɛptɪŋ ˈɪməgrənts naʊ ðət bɪˈkəm ən ˈæfluənt ˈneɪʃən. dɪˈspaɪt ðə ˈraɪzɪŋ ˈskɛptɪˌsɪzəm pɔrˈtreɪd ɪn ðə ˈstədi, səm ˈpɔrʃənz əv ɪt ʃoʊd mɔr ˈpɑzətɪv vjuz ɔn ˈrɛlətɪvli ˈrisənt trænˈzɪʃən frəm ə ˈlɑrʤli həˈmɑʤənəs tɪ ə mɔr soʊˈsaɪɪti. ˈfʊli 80 pərˈsɛnt, fər ɪgˈzæmpəl, əˈgrid ðət ɪt wɑz ““positive”*” fər ˈʧɪldrən tɪ goʊ tɪ skul wɪθ ˈəðər ˈʧɪldrən frəm cultures,”*,” ənd əraʊnd hæf əv ðoʊz kˈwɛsʧənd θɪŋk ˌnɔrˈwiʤən ˈbɪznɪsɪz ʃʊd ɪmˈplɔɪ mɔr ˈɪməgrənts. ðə ˈstədi ˈɔlsoʊ ˈɪndəˌkeɪtɪd ðət ˈmɛni mɔr nɔrˈwiʤənz naʊ hæv ˈrɛgjələr ˈkɑnˌtækt wɪθ ˈɪməgrənts ðən ðeɪ dɪd ɪn 2005 ənd ˈnɪrli 90 pərˈsɛnt sɛd ðoʊz ˈɪməgrənts hu ər ˈgrænɪd ˈpərmɑˌnɛnt ˈrɛzɪdəns ɪn ˈnɔrˌweɪ ʃʊd hæv ðə seɪm raɪts ɛz nɔrˈwiʤənz. vjuz ənd nuz frəm ˈbərglənd ʤɔɪn ɑr readers’*’ ˈfɔrəm ər ˈkɑmɛnt bɪˈloʊ. tɪ səˈpɔrt ɑr nuz ˈsərvɪs, pliz klɪk ðə ““donate”*” ˈbətən naʊ.
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a new study suggests that half of all norwegians want to shut norway’s borders to new immigrants. just as many believe integration efforts have failed. immigrants from north america, asia, africa and other parts of the world only make up around 10 percent of the population in norway, but it doesn’t appear many more are welcome.
newspaper aftenposten reported thursday that the study, conducted as an “integration barometer” for the state agency dealing with integration issues (integrerings- og mangfoldsdirektoratet), also revealed that fully 80 percent of norwegians think citizenship in norway should only be granted to those who pass a test in the norwegian language. proficiency in norwegian has recently become a prerequisite for most immigrants.
chris parson, who moved to norway from canada four years ago, told aftenposten that he had to choose between taking a 300-hour language course or trying to pass a language test on his own. he chose the test, saying that “the problem with the course is that many take part because they must, without following along.” he agrees with his norwegian partner and others who believe integration methods need some renewal.
record high opposition
never before have more norwegians indicated that they want to halt immigration, according to the study. it showed that 53.7 percent of 1,380 persons questioned by tns gallup responded that they did not want more immigrants in norway. in 2005, when the integration agency conducted its first such study, the corresponding figure was 45.8 percent, reports aftenposten.
at the same time, 48.7 percent believe integration efforts are not going well at all, up 12 percentage points since 2005. around 60 percent put the blame on norwegians themselves, for deficient contributions towards successful integration of newcomers into norwegian society, while 83.5 percent blame the immigrants for failing to integrate. that failure is often tied to failure to learn the norwegian language, even though proficiency in norwegian can be a daunting challenge for even the most highly educated adults moving to norway.
state statistics bureau ssb (statistics norway) has reported that 65,065 persons immigrated to norway to 2010, more than twice the amount in 2005. another 10,064 sought asylum in norway last year, down from 17,226 in 2009. as of january 1, around 500,000 immigrants were living in norway, which has a population of 4.9 million and is expected to pass 5 million later this year.
some positive views
the new study indicates that norway, which produced record numbers of emigrants itself when it was still a poor and developing nation, clearly continues to struggle with accepting immigrants now that become an affluent nation. despite the rising skepticism portrayed in the study, some portions of it showed more positive views on norway’s relatively recent transition from a largely homogenous to a more multi-cultural society.
fully 80 percent, for example, agreed that it was “positive” for children to go to school with other children from “various cultures,” and around half of those questioned think norwegian businesses should employ more immigrants.
the study also indicated that many more norwegians now have regular contact with immigrants than they did in 2005, and nearly 90 percent said those immigrants who are granted permanent residence in norway should have the same rights as norwegians.
views and news from norway/nina berglund
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ˌʤoʊˈhænɪsbərg, saʊθ ˈæfrɪkɑ ˌtænˈzeɪnjə, wɪθ pəˈtɛnʃəl rɪˈzərvz əv 5 ˈbɪljən tənz əv koʊl, ɪz ˈplænɪŋ ɪts fərst paʊər plænt. ˈkɛnjə wɔnts tɪ bɪld fər ɪts oʊn plænt, waɪl ˈgænə ənd naɪˈʤɪriə ər aɪɪŋ ɪkˈspændɪd juz əv koʊl fər ɪˌlɛkˈtrɪsəti. ˈlænˌdlɑkt bɑtsˈwɑnə ɪz ˈbɪldɪŋ ə ˈreɪlˌweɪ tɪ ˈtrænspɔrt koʊl tɪ ə pɔrt ɪn ˈneɪbərɪŋ nəˈmɪbiə fər ˈɛkspɔrt tɪ ðə wərld. ɪf ə ɔn coal”*” ɪn ˈæfrɪkɑ, koʊl meɪ bi ˈwɪnɪŋ. ðə kənˈsərnz əˈbaʊt koʊl ɪkˈsprɛst baɪ ɛnˈvaɪrənˌmɛnəlɪsts ənd ˈklaɪmɪt ˈrisərʧərz ɪn ðə wɛst ər vɔɪst hir ˈmoʊstli baɪ waɪt ɛkˈspeɪtriˌeɪts ənd ˈfɔrən nɑnˌgəvərnˈmɛntəl ˌɔrgənəˈzeɪʃənz. koʊl ɪn ˈæfrɪkɑ ɪz ən əˈbəndənt ˈrisɔrs fər ə ˈkɑntənənt stɪl ˈhəsəlɪŋ tɪ kæʧ əp wɪθ ðə dɪˈvɛləpt wərld. saʊθ ˈæfrɪkɑ, ðə ˌɛkəˈnɑmɪk ˈɪnʤən əv ðə ˈriʤən, gɪts 93 pərˈsɛnt əv ɪts ɪˌlɛkˈtrɪsəti frəm koʊl, wən əv ðə haɪəst pərˈsɛnɪʤɪz ɪn ðə wərld. ʤɑn, ə rɪˈtaɪrd ˈɛnʤəˈnɪr ərˈɪʤənəli frəm ˈgænə, wərkt fər 50 jɪrz əˈkrɔs ɔl ˈriʤənz əv ˈæfrɪkɑ ənd wɑz ən ˈərli dɪˈsaɪpəl əv klin ˈɛnərʤi. hi ˌəndərˈstændz ˈæpəˌtaɪt fər ə ˈfɑsəl fjuəl ðət ɪz ɪn dɪˈklaɪn ɪn ðə juz. ənd ˈəðər ədˈvænst ɪˈkɑnəmiz, ɛz wɛl ɛz ðə rɪˈləktəns tɪ ɪmˈbreɪs ɔlˈtərnətɪv fjuəl ˈsɔrsəz. θɪŋk əv ðɪs ˈkɑntənənt ɛz ˈʤəŋgəl ənd ˈsənˌʃaɪn, bət wi hæv ə lɔŋ ˈreɪni ˈsizən ɪn ðə ˈtrɑpɪks, mɔr laɪk ə mɑnˈsun, ənd noʊ sən fər days,”*,” ˈmɪstər. sɛd. meɪks ɪt hɑrd tɪ rɪˈlaɪ ɔn ˈsəmθɪŋ laɪk ˈsoʊlər. wɪnd ˈtərbaɪnz meɪk mɔr sɛns, bət ju stɪl nid ˈbætəriz tɪ stɔr ðə power.”*.” ˌtænˈzeɪnjə, wɪθ ə groʊs dəˈmɛstɪk ˈprɑdəkt əv ʤɪst 50 ˈbɪljən ə jɪr ˈrəfli ˈkɑmprəbəl tɪ nɔrθ həz ə ˌpɑpjəˈleɪʃən əv 52 ˈmɪljən, 85 pərˈsɛnt əv hum ər nɑt lɪŋkt tɪ ðə paʊər grɪd. ju kʊk ɔn ən ˈoʊpən faɪər, hæv noʊ ɪˌlɛkˈtrɪsəti ənd goʊ tɪ bɛd ˈhəŋgri, ju laɪ əˈweɪk ˈwəndərɪŋ əˈbaʊt ðə ˈvərʧu əv koʊl, gæs ər solar,”*,” sɛd ˈmɪstər.. ɪf noʊ ɪˌlɛkˈtrɪsəti ɪn jʊr taʊn, nɑt məʧ ˌɪnˈvɛstmənt ənd noʊ nu jobs.”*.” ˈivɪn ə hɛlθ ˈifɛkt frəm ənˈsərtən ˈɛnərʤi ˈsɔrsəz: ““vaccines*, sˈneɪkˌbaɪt ˈsɪrəm, ˈivɪn drəgz ʃʊd bi kɛpt ɪn ə frɪʤ. ɪn ˈmɛni ˈpleɪsɪz, ʤɪst nɑt possible,”*,” hi sɛd. dɪˈfɛndɪŋ koʊl ˈæpəˌtaɪt fər koʊl həz səm ˌhaɪˈproʊfaɪl dɪˈfɛndərz. ˈfɔrmər u.n*. ˈkoʊfi ˈænən ˈrisəntli toʊld ðə ˈgænə nuz ˈeɪʤənsi ðət koʊl ənd ˈəðər ˈfɑsəl fjuəlz ər ˈkrɪtɪkəl æt list ɪn ðə ʃɔrt tərm tɪ brɪʤ ðə ˈmæsɪv ˈɛnərʤi gæp. ˈmɪstər. ˈænən ʧɛrd ə rɪˈpɔrt frəm ðə ˈæfrɪkɑ ˈprɑˌgrɛs ˈpænəl ɔn ˈɛnərʤi ðɪs mənθ ðət kənˈkludɪd ən əˈbrəpt ʃɪft əˈweɪ frəm koʊl wɑz ˈsɪmpli nɑt ˌriəˈlɪstɪk fər moʊst ˈæfrɪkɑn ˈgəvərnmənts. wi ər ˈædvəˌkeɪtɪŋ ɪz ðət ˈæfrɪkɑn ˈgəvərnmənts ˈhɑrnɪs ˈɛvəri əˈveɪləbəl ˈɛnərʤi ˈɔpʃən, ɪn ɛz ənd ˌtɛknəˈlɑʤɪkəli ɪˈfɪʃənt ˈmænər ɛz ˈpɑsəbəl, soʊ ðət noʊ wən ɪz lɛft behind,”*,” ˈmɪstər. ˈænən toʊld ðə nuz ˈeɪʤənsi. ðɛr ˈɔlsoʊ ɪz ˈlɪŋgərɪŋ rɪˈzɛntmənt ðət dɪˈvɛləpt ˈkəntriz, huz wɛlθ hɪˈstɔrɪkəli həz rɪˈlaɪd ˈhɛvəli ɔn koʊl ənd ˈəðər ˈfɑsəl fjuəlz, ər ˈtɛlɪŋ ˈæfrɪkənz nɑt tɪ ˌɛkˈsplɔɪt ðɛr væst koʊl rɪˈzərvz. ˈænəlɪsts seɪ ˈæfrɪkɑn ˈneɪʃənz hæv ən ˈɛstəˌmeɪtɪd 35 ˈbɪljən tənz əv rɪˈkəvərəbəl koʊl rɪˈzərvz ðət kʊd səˈplaɪ ðə ˈkɑrənt nidz fər mɔr ðən ə ˈsɛnʧəri. ɪn naɪˈʤɪriə hæv koʊl, bət wi hæv ə paʊər ˈprɑbləm. jɛt bɪn blɑkt bɪˈkəz ɪt ɪz nɑt ‘‘green,’”*,’” naɪˈʤɪriən ˈfaɪˌnæns ˈmɪnɪstər toʊld ə ʤɔɪnt bæŋk ˈmitɪŋ leɪt læst jɪr. ɪz səm hɪˈpɑkrəsi bɪˈkəz wi hæv ðə ɪnˈtaɪər ˈwɛstərn ˌɪnˌdəstriəlɪˈzeɪʃən bɪlt ɔn koʊl energy.”*.” ɪnˈdʊrɪŋ sweɪ ɪz ˈɛvədənt ˈivɪn ɪn saʊθ ˈæfrɪkɑ, wɪθ ɪts goʊld maɪnz, ˈhaɪˌweɪz, ə səˈfɪstɪˌkeɪtəd ˌfaɪˈnænʃəl ˈsɛktər ənd ˈdeɪli flaɪts kəˈnɛktɪŋ ˌʤoʊˈhænɪsbərg tɪ ˈkæpɪtəlz əraʊnd ðə wərld. ðə ˈkəntri həz ə ˈnukliər paʊər ˈsteɪʃən, ənd ˈnɪrli ɔl əv ɪts ˈpipəl hæv laɪts æt ðə flɪk əv ə swɪʧ, ðoʊ ˈkəˌtɔfs ər ˈkɑmən fər nɑnˈpeɪmənt. bət ðə ˌoʊvərˈwɛlmɪŋ məˈʤɔrəti əv ɪˌlɛkˈtrɪsəti paʊər kəmz frəm juˈtɪlətiz, ənd saʊθ ˈæfrɪkɑ həz səm əv ˈrɪʧəst simz əv koʊl ɪn ðə wərld. ˈdɛzərts laɪk ðə səˈhɛrə ər ər ˈpərˌfɪkt tɪ meɪk ˈɛnərʤi frəm ðə sən, bət ɔn ə ˈkɑntənənt wɛr ə θərd əv ðə ˌpɑpjəˈleɪʃən lɪvz ˈəndər ðə əˈfɪʃəl u.n*. ˈpɑvərti laɪn, ˈsoʊlər paʊər ˈjuzərz nid tɪ haɪər ɑrmd gɑrdz tɪ prɪˈvɛnt ðə ˈkəvətɪd ˈpænəlz frəm biɪŋ ˈstoʊlən. mərˈiə rənz ə smɔl ˈwaɪnəri nɔrθ əv keɪp taʊn. θri jɪrz əˈgoʊ, ʃi kənˈvərtɪd tɪ ˈsoʊlər paʊər. wɑz ə ˈwəndərfəl 10 months,”*,” ʃi rɪˈkɔld, ɔn ˈklaʊdi deɪz wi juzd ə ˈdizəl ˈʤɛnərˌeɪtər. ðɛn wən naɪt, ə ˈtrəˌkloʊd əv ˈrɑbərz əraɪvd wɪθ gənz, taɪd əp maɪ stæf ənd tʊk ðə ˈpænəlz ənd hæf maɪ ˈbætəriz. naʊ bæk ɔn ðə grid.”*.” hər teɪl ɪz ˈkɑmən əˈkrɔs ˈæfrɪkɑ, ˈeɪʒə ənd ˈivɪn brəˈzɪl. ɪn ðə ˈrʊrəl ˈdɪstrɪkts nɪr ˌmʊmˈbaɪ ɔn ðə wɛst koʊst əv ˈɪndiə, ˈnɪrli ˈvɪlɪʤɪz ənd sˈmɔlər ˈsɛtəlmənts wər ɪˈlɛktrəˌfaɪd fər ðə fərst taɪm ɪn 2012 ˈjuzɪŋ ˈsoʊlər paʊər, səm əv ɪt ˈfəndɪd baɪ eɪd ˈprɑʤɛkts. sɪns ðɛn, ˈnɪrli ɔl ðə ɪkˈwɪpmənt həz bɪn ˈbroʊkən ər ˈstoʊlən ənd ðə ˈgəvərnmənt ɪz ˈpʊtɪŋ ðə ˈriʤən ɔn ðə grɪd. ˈɪndiə gɪts mɔr ðən hæf əv ɪts ɪˌlɛkˈtrɪsəti frəm koʊl. rum tɪ groʊ ˈaʊtˈsaɪd saʊθ ˈæfrɪkɑ, koʊl ɪz stɪl juzd æt ˈrɛlətɪvli loʊ ˈlɛvəlz ɪn ˈmɛni ˈæfrɪkɑn ˈkəntriz kəmˈpɛrd wɪθ ˈʧaɪnə ənd ðə juz. ɪn ə ˈsɪŋgəl wik, ˈʧaɪnə ˌɪmˈpɔrts 60 taɪmz mɔr koʊl ðən ˌtænˈzeɪnjə maɪnz ɪn ə jɪr. bət ðə ˈpɪkʧər meɪ bi ˈʧeɪnʤɪŋ. ˈkɛnjə həz kəˈmɪʃənd ɪts fərst paʊər ˈsteɪʃən nɪr lamu*, wən əv ˈoʊldəst ˈsɛtəlmənts ˈfaʊndɪd baɪ ˈærəb ɪn 1370 ˌɔlˈðoʊ ˈkɛnjə ɪz ist ˈlɑrʤəst ənd moʊst ˈmɑdərn ɪˈkɑnəmi, 60 pərˈsɛnt əv ˈkɛnjənz hæv noʊ ˈækˌsɛs tɪ ðə paʊər grɪd. ɪn ðə ˈkɑŋgoʊ ˈbeɪsən, ˈfɔrəsts ər biɪŋ klɪrd twaɪs ɛz fæst ɛz ɪn ðə ˈæməˌzɑn, ənd məʧ əv ðə wʊd ɪz juzd fər ˈkʊkɪŋ ənd ˈhitɪŋ. ˈrisərʧərz seɪ naɪˈʤɪriə həz lɔst θˌrikˈwɔrtərz əv ɪts triz ɪn ðə pæst 40 jɪrz. ɔn ðə ˈpurɪst ˈkɑntənənt, ðə læk əv paʊər ɪz sin ɛz ə ˈgreɪtər ˈpəblɪk ˈkraɪsəs ðən ðə ˈrɛlətɪv ɪnˌvaɪrənˈmɛnəl ˈvərʧuz əv koʊl kəmˈpɛrd wɪθ ˈsoʊlər, ˈnæʧərəl gæs, wɪnd ər ˈəðər paʊər ˈsɔrsəz. æt mtwara*, ən ənˈjuzd pɔrt ərˈɪʤənəli dɪˈvɛləpt baɪ ðə ˈbrɪtɪʃ ɪn ðə fər ən ˈpiˌnət ˈfɑrmɪŋ ˈvɛnʧər, ˌtænˈzeɪnjə həz riˈfərbɪʃt ðə dɑks tɪ ˈɛkspɔrt koʊl frəm ˈnɪrˈbaɪ maɪnz. ə paʊər ˈsteɪʃən ɪz ˈɔlsoʊ ɔn ðə kɑrdz, wɪθ ˈbɛrli ə wərd əv ˈproʊˌtɛst. waɪl əˈmɛrɪkənz ˈhɑrdli ˈɛni əv hum hæv lɪvd ə deɪ wɪˈθaʊt ɪˌlɛkˈtrɪsəti dəˈbeɪt ˈprɛzɪdənt plæn tɪ riˈoʊpən pɪts ɪn ˌwaɪˈoʊmɪŋ ənd maɪnz ɪn kənˈtəki ənd wɛst vərˈʤɪnjə, ˈæfrɪkɑ maɪnz ənd ˈjuzɪz ˈfɑsəl fjuəl ɪn ˈɛvər ˈgreɪtər kˈwɑntətiz. bət kʊd ðə coal”*” tɛkˈnɑləʤi ðət ðə trəmp ædˌmɪnɪˈstreɪʃən həz ˈtaʊtɪd bi pɑrt əv ə juz. eɪd ˈpækɪʤ tɪ ˈæfrɪkɑn ˈneɪʃənz? ɪn rɪˈspɑns tɪ ə kˈwɛʃən frəm ðə ˈwɔʃɪŋtən taɪmz, ˈgrɪfɪn ˈtɑmsən, ˈæktɪŋ ˈdɛpjəti əˈsɪstənt ˈsɛkrəˌtɛri əv steɪt fər ˈɛnərʤi ˈrisɔrsɪz, sɛd ɪt maɪt. ɪz ðə ˈpərˈɑgətɪv əv ˈɛvəri ˈkəntri tɪ dɪˈtərmən ðɛr ˈɛnərʤi mix,”*,” hi sɛd. koʊl ər ˈnæʧərəl gæs ər riˈnuəbəl ˈɛnərʤi, wi si ɪt ɛz tɪ ðə ˈpæθˌweɪ təˈwɔrd ˈgreɪtər ˌɛkəˈnɑmɪk growth.”*.” ˈmɪstər. ˈtɑmsən sɛd ðɛr wɑz ə nid tɪ lʊk æt wʊd bi rikˈwaɪərd tɪ fəˈsɪləˌteɪt ðə sɔrt əv koʊl technology”*” ˈəðər ˈkəntriz meɪ nid. ˈkɑpiˌraɪt 2019 ðə ˈwɔʃɪŋtən taɪmz, llc*. klɪk hir fər riˈprɪnt pərˈmɪʃən.
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johannesburg, south africa tanzania, with potential reserves of 5 billion tons of coal, is planning its first coal-fired power plant. kenya wants to build for its own coal-powered plant, while ghana and nigeria are eyeing expanded use of coal for electricity. landlocked botswana is building a 1,000-mile railway to transport coal to a port in neighboring namibia for export to the world.
if there’s a “war on coal” in africa, coal may be winning.
the concerns about coal expressed by environmentalists and climate researchers in the west are voiced here mostly by white expatriates and foreign nongovernmental organizations. coal in africa is an abundant resource for a continent still hustling to catch up with the developed world. south africa, the economic engine of the region, gets 93 percent of its electricity from coal, one of the highest percentages in the world.
john owusu, a retired engineer originally from ghana, worked for 50 years across all regions of africa and was an early disciple of clean energy. he understands africa’s appetite for a fossil fuel that is in decline in the u.s. and other advanced economies, as well as the reluctance to embrace alternative fuel sources.
“people think of this continent as jungle and sunshine, but we have a long rainy season in the tropics, more like a monsoon, and there’s no sun for days,” mr. owusu said. “that makes it hard to rely on something like solar. wind turbines make more sense, but you still need batteries to store the power.”
tanzania, with a gross domestic product of just $50 billion a year roughly comparable to north dakota’s has a population of 52 million, 85 percent of whom are not linked to the power grid.
“if you cook on an open fire, have no electricity and go to bed hungry, you don’t lie awake wondering about the virtue of coal, gas or solar,” said mr. owusu. “and if there’s no electricity in your town, there’s not much investment and no new jobs.”
there’s even a health effect from uncertain energy sources: “vaccines, snakebite serum, even hiv drugs should be kept in a fridge. in many places, that’s just not possible,” he said.
defending coal
africa’s appetite for coal has some high-profile defenders.
former u.n. secretary-general kofi annan recently told the ghana news agency that coal and other fossil fuels are critical at least in the short term to bridge the continent’s massive energy gap. mr. annan chaired a report from the africa progress panel on energy this month that concluded an abrupt shift away from coal was simply not realistic for most african governments.
“what we are advocating is that african governments harness every available energy option, in as cost-effective and technologically efficient manner as possible, so that no one is left behind,” mr. annan told the news agency.
there also is lingering resentment that developed countries, whose wealth historically has relied heavily on coal and other fossil fuels, are telling africans not to exploit their vast coal reserves. analysts say african nations have an estimated 35 billion tons of recoverable coal reserves that could supply the continent’s current needs for more than a century.
“we in nigeria have coal, but we have a power problem. yet we’ve been blocked because it is not ‘green,’” nigerian finance minister kemi adeosun told a joint imf-world bank meeting late last year. “there is some hypocrisy because we have the entire western industrialization built on coal energy.”
coal’s enduring sway is evident even in south africa, with its gold mines, german-style highways, a sophisticated financial sector and daily flights connecting johannesburg to capitals around the world. the country has a nuclear power station, and nearly all of its people have lights at the flick of a switch, though cutoffs are common for nonpayment.
but the overwhelming majority of electricity power comes from coal-powered utilities, and south africa has some of richest seams of coal in the world.
deserts like the sahara or kalahari are perfect to make energy from the sun, but on a continent where a third of the population lives under the official u.n. poverty line, solar power users need to hire armed guards to prevent the coveted panels from being stolen.
maria vanderwalt runs a small winery north of cape town. three years ago, she converted to solar power.
“it was a wonderful 10 months,” she recalled, “though on cloudy days we used a diesel generator. then one night, a truckload of robbers arrived with guns, tied up my staff and took the panels and half my batteries. we’re now back on the grid.”
her tale is common across africa, asia and even brazil. in the rural districts near mumbai on the west coast of india, nearly 2,000 villages and smaller settlements were electrified for the first time in 2012 using solar power, some of it funded by aid projects.
since then, nearly all the equipment has been broken or stolen and the government is putting the region on the coal-powered grid. india gets more than half of its electricity from coal.
room to grow
outside south africa, coal is still used at relatively low levels in many african countries compared with china and the u.s. in a single week, china imports 60 times more coal than tanzania mines in a year.
but the picture may be changing.
kenya has commissioned its first coal-fired power station near lamu, one of region’s oldest settlements founded by arab slavers in 1370. although kenya is east africa’s largest and most modern economy, 60 percent of kenyans have no access to the power grid.
in the congo basin, forests are being cleared twice as fast as in the amazon, and much of the wood is used for cooking and heating. researchers say nigeria has lost three-quarters of its trees in the past 40 years.
on the world’s poorest continent, the lack of power is seen as a greater public crisis than the relative environmental virtues of coal compared with solar, natural gas, wind or other power sources.
at mtwara, an unused port originally developed by the british in the 1940s for an ill-fated peanut farming venture, tanzania has refurbished the docks to export coal from nearby mines. a power station is also on the cards, with barely a word of protest.
while americans hardly any of whom have lived a day without electricity debate president trump’s plan to reopen pits in wyoming and mines in kentucky and west virginia, africa mines and uses fossil fuel in ever greater quantities.
but could the “clean coal” technology that the trump administration has touted be part of a u.s. aid package to african nations?
in response to a question from the washington times, griffin thompson, acting deputy assistant secretary of state for energy resources, said it might.
“it is the prerogative of every country to determine their energy mix,” he said. “whether it’s coal or natural gas or renewable energy, we see it as to the pathway toward greater economic growth.”
mr. thompson said there was a need to look at “what would be required to facilitate the sort of coal technology” other countries may need.
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ˈfɛdərəl ˈfəndɪŋ tɪ rɪˈstɔr ðə ˈʧɛsəˌpik beɪ həz dɪˈklaɪnd ɪn ˈrisənt jɪrz ənd ɪz ˈəndər θrɛt ɪn ˈwɔʃɪŋtən təˈdeɪ, bət kʊd gɪt ə bɪg bust ˈəndər baɪˈpɑrtɪzən bɪlz ʤɪst ˌɪntrəˈdust ɪn ˈkɑŋgrəs. ðə ˈʧɛsəˌpik beɪ fɑrm bɪl ɛnˈhænsmənts ækt əv 2017 wʊd ˈtrɪpəl ðə əˈmaʊnt əv ˌkɑnsərˈveɪʃən fəndz əˈveɪləbəl fər ðə beɪ ənd ˈəðər ˈriʤənz frəm 100 ˈmɪljən tɪ 300 ˈmɪljən, ˌɪnˈkris ˈmændəˌtɔri ˈfəndɪŋ fər ðə beɪ ənd ɛnˈhæns ˌægrɪˈkəlʧərəl ˌkɑnsərˈveɪʃən ˈɛfərts. kəmˈpænjən ˈmɛʒərz wər ˌɪntrəˈdust ˈθərzˌdeɪ ɪn ðə haʊs baɪ juz. rɛpriˈzɛtətɪv. ˈrɑbərt si. ““bobby”*” skɑt əv ˈnupɔrt nuz ənd ɪn ðə ˈsɛnɪt baɪ krɪs væn ˈhɑlən. ɪn ə ˈsteɪtmənt əˈnaʊnsɪŋ hɪz bɪl, skɑt kɔld ɪt əˈnəðər stɛp ɪn fʊlˈfɪlɪŋ ˈprɛzɪdənt ˈrɑnəld ˈprɑməs əv ˈəndərˌteɪkɪŋ ðə ‘‘long*, ˈnɛsəˌsɛri ˈɛfərt tɪ klin əp ðə ˈʧɛsəˌpik bay.’*.’ ˌɪnˈklud juz. rɛps. rɑb ˈwɪtmən, r-westmoreland*, ənd ˈdɑnəld məˈkiʧən, d-henrico*. ɪn ðə ˈsɛnɪt, tɪm keɪn ənd mɑrk ˈwɔrnər, boʊθ ˈdɛməˌkræts, wər əˈməŋ naɪn ˈsɛnətərz frəm beɪ steɪts hu væn bɪl. congress’*’ 2008 fɑrm bɪl fərst ˈɔθərˌaɪzd ðə ˈʧɛsəˌpik beɪ ˈwɔtərˌʃɛd ˌɪˈnɪʃətɪv tɪ prəˈvaɪd ˈfɛdərəl ˌfaɪˈnænʃəl ənd ˈtɛknɪkəl əˈsɪstəns tɪ ˈfɑrmərz ənd ˈfɔrəstərz fər ˌkɑnsərˈveɪʃən ˈmɛʒərz səʧ ɛz strim ˈbəfərz ənd ˈlaɪvˌstɑk ˈfɛnsɪŋ tɪ rɪˈdus ðə əˈmaʊnt əv pəˈlutənts ˈriʧɪŋ ðə ˈwɔtərˌʃɛd. ˈkæpʃən ðɪs deɪ ɪn ˈhɪstəri: ˈʧælɪnʤər dɪˈzæstər ˈʤænjuˌɛri 28 1986 ˈsɛkəndz ˈæftər ɪts a.m*. lɔnʧ, ˈnæsəz speɪs ˈʃətəl ɪkˈsploʊdɪd, ˈkɪlɪŋ ɔl ˈsɛvən kru ˈmɛmbərz. ðɪs deɪ ɪn ˈhɪstəri: ˈʧælɪnʤər dɪˈzæstər ˈʤænjuˌɛri 28 1986 ˈsɛkəndz ˈæftər ɪts a.m*. lɔnʧ, ˈnæsəz speɪs ˈʃətəl ɪkˈsploʊdɪd, ˈkɪlɪŋ ɔl ˈsɛvən kru ˈmɛmbərz. ˈkæpʃən ðɪs deɪ ɪn ˈhɪstəri: ˈʧælɪnʤər dɪˈzæstər ˈʤænjuˌɛri 28 1986 ˈsɛkəndz ˈæftər ɪts a.m*. lɔnʧ, ˈnæsəz speɪs ˈʃətəl ɪkˈsploʊdɪd, ˈkɪlɪŋ ɔl ˈsɛvən kru ˈmɛmbərz. ðɪs deɪ ɪn ˈhɪstəri: ˈʧælɪnʤər dɪˈzæstər ˈʤænjuˌɛri 28 1986 ˈsɛkəndz ˈæftər ɪts a.m*. lɔnʧ, ˈnæsəz speɪs ˈʃətəl ɪkˈsploʊdɪd, ˈkɪlɪŋ ɔl ˈsɛvən kru ˈmɛmbərz. ˈkæpʃən ˈtoʊtəl ˈlunər ɪˈklɪps wɪl teɪk pleɪs ˈsənˌdi naɪt, ˈʤænjuˌɛri 20th*, 2019 ˈtoʊtəl ˈlunər ɪˈklɪps wɪl teɪk pleɪs ˈsənˌdi naɪt, ˈʤænjuˌɛri 20th*, 2019 ˈkæpʃən ˈʤɛfərsən læb ˈfɪzɪsɪst ɪz ˈpɪkʧərd ɪn hɔl bi wɪθ ðə lɑrʤ əkˈsɛptəns spɛkˈtrɑmətər ˈθərzˌdeɪ ˈʤænjuˌɛri 17 2019 wɪl bi pɑrt əv ðə ˈkɑnfərəns fər ˌəndərˈgræʤəwət ˈwɪmən ɪn ˈfɪzɪks ðɪs ˈwiˌkɪnd səˈpɔrtɪŋ ˌəndərˈgræʤəwət ˈwɪmən ɪn ˈfɪzɪks ˈspɑnsərd baɪ ˈwɪljəm ˈmɛri ənd ˈʤɛfərsən læb. ˈʤɛfərsən læb ˈfɪzɪsɪst ɪz ˈpɪkʧərd ɪn hɔl bi wɪθ ðə lɑrʤ əkˈsɛptəns spɛkˈtrɑmətər ˈθərzˌdeɪ ˈʤænjuˌɛri 17 2019 wɪl bi pɑrt əv ðə ˈkɑnfərəns fər ˌəndərˈgræʤəwət ˈwɪmən ɪn ˈfɪzɪks ðɪs ˈwiˌkɪnd səˈpɔrtɪŋ ˌəndərˈgræʤəwət ˈwɪmən ɪn ˈfɪzɪks ˈspɑnsərd baɪ ˈwɪljəm ˈmɛri ənd ˈʤɛfərsən læb. ˈkæpʃən ˈwɪljəm ˈmɛri prəˈfɛsər ˈmɪriəm ˈkɑtən ɪz ˈstədiɪŋ ðə ˈmɛdɪkəl ˌpɑsəˈbɪlətiz əv ə faʊnd ɪn ðə strɪpt bæs ˈjuzɪŋ mægˈnɛtɪk ˈrɛzənəns dɪˈvaɪs (ˈbækˌgraʊnd) ðət ɪz ˈsɪmələr tɪ ə ˈmɛdɪkəl məˈʃin. ðə ɪkˈwɪpmənt kɔld ə ˈnukliər mægˈnɛtɪk ˈrɛzənəns məˈʃin ˈjuzɪz ˈmægnəts tɪ hɛlp ˈsaɪəntɪst dɪˈtərmən ðə ʃeɪp ənd ˌkɑmpəˈzɪʃən əv ðə ˈmɑləˌkjul. ˈwɪljəm ˈmɛri prəˈfɛsər ˈmɪriəm ˈkɑtən ɪz ˈstədiɪŋ ðə ˈmɛdɪkəl ˌpɑsəˈbɪlətiz əv ə faʊnd ɪn ðə strɪpt bæs ˈjuzɪŋ mægˈnɛtɪk ˈrɛzənəns dɪˈvaɪs (ˈbækˌgraʊnd) ðət ɪz ˈsɪmələr tɪ ə ˈmɛdɪkəl məˈʃin. ðə ɪkˈwɪpmənt kɔld ə ˈnukliər mægˈnɛtɪk ˈrɛzənəns məˈʃin ˈjuzɪz ˈmægnəts tɪ hɛlp ˈsaɪəntɪst dɪˈtərmən ðə ʃeɪp ənd ˌkɑmpəˈzɪʃən əv ðə ˈmɑləˌkjul. ˈkæpʃən ˈwɪljəm ˈmɛri kəmˈpjutər saɪəns əˈsoʊʃiˌeɪt prəˈfɛsərz ənd ˈdɛˌnɪs ənd ðɛr ˈstudənts hæv aɪˈdɛntəˌfaɪd sɪˈkjʊrəti ˌvəlnərəˈbɪlɪtiz ɪn smɑrt hoʊm dɪˈvaɪsɪz. ˈwiknəs' ɪn ðə sɪˈkjʊrəti əv ə wɛb ɪˈneɪbəld laɪt bəlb kʊd gɪv ˈhækərz ˈækˌsɛs tɪ wɛb ɪˈneɪbəld ˈkæmərəz ənd sɪˈkjʊrəti dɪˈvaɪsɪz əˈlaʊɪŋ ðɛm tɪ bi dɪˈseɪbəld. ˈwɪljəm ˈmɛri kəmˈpjutər saɪəns əˈsoʊʃiˌeɪt prəˈfɛsərz ənd ˈdɛˌnɪs ənd ðɛr ˈstudənts hæv aɪˈdɛntəˌfaɪd sɪˈkjʊrəti ˌvəlnərəˈbɪlɪtiz ɪn smɑrt hoʊm dɪˈvaɪsɪz. ˈwiknəs' ɪn ðə sɪˈkjʊrəti əv ə wɛb ɪˈneɪbəld laɪt bəlb kʊd gɪv ˈhækərz ˈækˌsɛs tɪ wɛb ɪˈneɪbəld ˈkæmərəz ənd sɪˈkjʊrəti dɪˈvaɪsɪz əˈlaʊɪŋ ðɛm tɪ bi dɪˈseɪbəld. iʧ jɪr, ˈfəndɪŋ fər ðə beɪ ˈævrɪʤd 50 ˈmɪljən. ðɛn, ɪn 2014 ðə ˈriʤənəl ˌkɑnsərˈveɪʃən ˈpɑrtnərˌʃɪp ˈproʊˌgræm wɑz kriˈeɪtɪd tɪ ˈsɛntrəˌlaɪz ənd ˈmænɪʤ ˌkɑnsərˈveɪʃən ˈrisɔrsɪz wəns ˈhændəld baɪ ðə ˈʧɛsəˌpik ˌɪˈnɪʃətɪv ənd ˈsɪmələr ˈproʊˌgræmz ɪn ˈəðər ˈɛriəz. sɪns ðɛn, ðə beɪ həz ˈævrɪʤd ˈoʊnli əraʊnd 13 ˈmɪljən ˈænjuəli. beɪ ˈkliˌnəp ɪz ˈɔlsoʊ ˈstrəgəlɪŋ ɛz ðə trəmp ædˌmɪnɪˈstreɪʃən siks tɪ kət ɔl ˈfɛdərəl ˈfəndɪŋ fər ðə ˈʧɛsəˌpik beɪ ˈproʊˌgræm, ə ˈriʤənəl ˈpɑrtnərˌʃɪp ˈwərkɪŋ sɪns 1983 tɪ rɪˈstɔr ðə beɪ, waɪl ðə prəˈpoʊzd ˈbəʤɪt wʊd kət ɪts ˈænjuəl ˈfəndɪŋ frəm 73 ˈmɪljən tɪ 60 ˈmɪljən. ðə ˈsɛnɪt ɪz stɪl ˈdræftɪŋ ɪts ˈbəʤɪt bɪl. ɪn əˈnaʊnsɪŋ hɪz səˈpɔrt fər ðə nu fɑrm bɪl, keɪn sɛd ɪn ə ˈsteɪtmənt ðət ɪt ˌrɛprɪˈzɛnɪd ə ɪgˈzæmpəl əv haʊ prəˈtɛktɪŋ ðə ɪnˈvaɪrənmənt kən kənˈtrɪbjut tɪ ə səkˈsɛsfəl ˌægrɪˈkəlʧərəl sector.”*.” ənd ˈwɔrnər, hu ˈfrikwɛntli taʊts ðə ˈfɪskəl ˈbɛnəfɪts əv ə ˈhɛlθi ˈʧɛsəˌpik, sɛd ɪt wɪl ðə ˈvaɪtəl ˌɛkəˈnɑmɪk ˌkɑntrəˈbjuʃənz tɪ ˈtʊˌrɪzəm, ˌrɛkriˈeɪʃən ənd kəˈmərʃəl ənd spɔrt fishing.”*.” ðə ˈʧɛsəˌpik beɪ faʊnˈdeɪʃən ˈædvəkəsi grup ˌəndərˈstændəbli preɪzd ðə ˈmɛʒərz. ər duɪŋ ðɛr pɑrt, bət ðeɪ nid ˌfaɪˈnænʃəl help,”*,” sɛd ˈprɛzɪdənt, ˈwɪljəm si. ˈbeɪkər. ˌlɛʤəsˈleɪʃən wɪl prəˈvaɪd ˈtɑrgətɪd fəndz tɪ ˈɛriəz laɪk ðə ˈʧɛsəˌpik ðət feɪs ˈkɑmplɛks, ˈwɔtər kˈwɑləti ˈʧælənʤɪz. ɪt ɪz ə ˈtrɪpəl wɪn klin ˈwɔtər, ˈloʊkəl ˌɛkəˈnɑmɪk ˈbɛnəfɪt ənd ˌɪmˈpruvd ˈbɑtəm laɪn fər farmers.”*.” ˈkɑnˌtækt ˈditrɪk æt ər tdietrich@dailypress.com*. ˈfɑloʊ ɔn tˈwɪtər æt
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federal funding to restore the chesapeake bay has declined in recent years and is under threat in washington today, but could get a big boost under bipartisan bills just introduced in congress.
the chesapeake bay farm bill enhancements act of 2017 would triple the amount of conservation funds available for the bay and other regions from $100 million to $300 million, increase mandatory funding for the bay and enhance agricultural conservation efforts.
companion measures were introduced thursday in the house by virginia’s u.s. rep. robert c. “bobby” scott of newport news and in the senate by maryland’s chris van hollen.
in a statement announcing his bill, scott called it “yet another step in fulfilling president ronald reagan’s promise of undertaking the ‘long, necessary effort to clean up … the chesapeake bay.’ ”
co-sponsors include u.s. reps. rob wittman, r-westmoreland, and donald mceachin, d-henrico.
in the senate, virginia’s tim kaine and mark warner, both democrats, were among nine senators from bay states who co-sponsored van hollen’s bill.
congress’ 2008 farm bill first authorized the chesapeake bay watershed initiative to provide federal financial and technical assistance to farmers and foresters for conservation measures such as stream buffers and livestock fencing to reduce the amount of pollutants reaching the watershed.
caption this day in history: challenger disaster january 28, 1986 seventy-three seconds after its 11:38 a.m. launch, nasa's space shuttle exploded, killing all seven crew members. this day in history: challenger disaster january 28, 1986 seventy-three seconds after its 11:38 a.m. launch, nasa's space shuttle exploded, killing all seven crew members. caption this day in history: challenger disaster january 28, 1986 seventy-three seconds after its 11:38 a.m. launch, nasa's space shuttle exploded, killing all seven crew members. this day in history: challenger disaster january 28, 1986 seventy-three seconds after its 11:38 a.m. launch, nasa's space shuttle exploded, killing all seven crew members. caption total lunar eclipse will take place sunday night, january 20th, 2019. total lunar eclipse will take place sunday night, january 20th, 2019. caption jefferson lab physicist latifa elouadrhiri is pictured in hall b with the large acceptance spectrometer thursday january 17, 2019. elouadrhiri will be part of the conference for undergraduate women in physics this weekend supporting undergraduate women in physics sponsored by william & mary and jefferson lab. jefferson lab physicist latifa elouadrhiri is pictured in hall b with the large acceptance spectrometer thursday january 17, 2019. elouadrhiri will be part of the conference for undergraduate women in physics this weekend supporting undergraduate women in physics sponsored by william & mary and jefferson lab. caption william & mary professor myriam cotten is studying the medical possibilities of a biomolecule found in the stripped bass using magnetic resonance device (background) that is similar to a medical mri machine. the equipment called a nuclear magnetic resonance machine uses magnets to help scientist determine the shape and composition of the molecule. william & mary professor myriam cotten is studying the medical possibilities of a biomolecule found in the stripped bass using magnetic resonance device (background) that is similar to a medical mri machine. the equipment called a nuclear magnetic resonance machine uses magnets to help scientist determine the shape and composition of the molecule. caption william & mary computer science associate professors adwait nadkarni and denys poshyvanyk and their students have identified security vulnerabilities in smart home devices. weakness' in the security of a web enabled light bulb could give hackers access to web enabled cameras and security devices allowing them to be disabled. william & mary computer science associate professors adwait nadkarni and denys poshyvanyk and their students have identified security vulnerabilities in smart home devices. weakness' in the security of a web enabled light bulb could give hackers access to web enabled cameras and security devices allowing them to be disabled.
each year, funding for the bay averaged $50 million.
then, in 2014, the regional conservation partnership program was created to centralize and manage conservation resources once handled by the chesapeake initiative and similar programs in other areas.
since then, the bay has averaged only around $13 million annually.
bay cleanup is also struggling as the trump administration seeks to cut all federal funding for the chesapeake bay program, a regional partnership working since 1983 to restore the bay, while the house’s proposed budget would cut its annual funding from $73 million to $60 million. the senate is still drafting its budget bill.
in announcing his support for the new farm bill, kaine said in a statement that it represented a “perfect example of how protecting the environment can contribute to a successful agricultural sector.”
and warner, who frequently touts the fiscal benefits of a healthy chesapeake, said it will “support the bay’s vital economic contributions to tourism, recreation and commercial and sport fishing.”
the chesapeake bay foundation advocacy group understandably praised the measures.
“farmers are doing their part, but they need financial help,” said cbf’s president, william c. baker. “this legislation will provide targeted funds to areas like the chesapeake that face complex, multi-state water quality challenges. it is a triple win — clean water, local economic benefit and improved bottom line for farmers.”
contact dietrich at 757-247-7892 or tdietrich@dailypress.com. follow on twitter at dp_dietrich
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ˈoʊvər ðə pæst jɪr, aɪv bɪn ˌɪˈmərst ɪn ðə wərld əv ˈtɛksʧər kəmˈprɛʃən. aɪv bɪn ˈθɪŋkɪŋ ɔn wət ðə bɛst səˈluʃənz ər, haʊ θɪŋz kən bi ˌɪmˈpruvd, ˈlərnɪŋ ə lɔt əˈbaʊt ɪgˈzɪstɪŋ ˈmɛθədz, wət wi ɛz ə kəmˈjunɪti nid tɪ du tɪ muv ˈfɔrwərd. ðə səˈluʃən ɪz ˈɑbviəs tɪ mi naʊ. ɪts ə ˌjunəˈvərsəl,, ˈstændərˌdaɪzd ˌɪnərˈmidiɪt ˈfɔrˌmæt. ənd wi ər ˈbɪldɪŋ ɪt. ənd wi ər mɔr ðən ˈhæpi tɪ ˈdoʊˌneɪt ðɪs ˈstændərˌdaɪzd ˈfɔrˌmæt tɪ ðə ˈgreɪtər kəmˈjunɪti. raɪt naʊ, tɪ hæv ə ˈwərkɪŋ səˈluʃən dɪˈvɛləpərz hæv tɪ stɔr æt list θri ˈkɑpiz əv ˈɛvəri ˈtɛksʧər. ðeɪ nid tɪ əˈkaʊnt fər ɔl ðə ˈdɪfərənt ðeɪ nid tɪ səˈpɔrt. ˈvɛndərz ˈhævənt əˈgrid ɔn ə ˈstændərˌdaɪzd ˈfɔrˌmæt. ˈdəzənt ˈkəvər ɪˈnəf əv ðə ˈikoʊˌsɪstəm ðeɪ nid tɪ səˈpɔrt. ju noʊ wət? ˈmeɪbi ˈvɛndərz ˈʃʊdənt ˈstændərˌdaɪz ðɛr ˈfɔrˌmæts jɛt. ər stɪl ˈkɑnstəntli ˈʧeɪnʤɪŋ ənd ˌɪnəˈveɪtɪŋ, ənd aɪ ˌɛnˈʤɔɪ siɪŋ nu ˈfɔrˌmæts riˈlist ðət teɪk ædˈvæntɪʤ əv ðiz ɪkˈsaɪtɪŋ ˌɪnəˈveɪʃənz. bət tɪ hæv ə səˈluʃən naʊ, jʊr ˈstɔrɪŋ 3 ˈkɑpiz əv ˈɛvəri ˈtɛksʧər. ðæts ɪf ju doʊnt wɔnt tɪ səˈpɔrt haɪ kˈwɑləti ˈfɔrˌmæts, ɪf ju wɔnt ðət ju nid ˈivɪn mɔr. ənd ˈtɛksʧərz teɪk əp ə lɔt əv ˈdætə. ˈfɔrˌmæts nid ˈdɪfərənt tulz, ˈdɪfərənt ˈspɛʃəˌlaɪzd ˈnɑlɪʤ sɛts, ənd ən ˈɛkˌsɛs əv ˈmɛməri ðət meɪks səm æps ˈsɪmpli nɑt ˈpɑsəbəl. wɪθ ˈbeɪsɪs, ju ʤɪst nid wən faɪl ənd wən tul. ðət ˈfɔrˌmæt kən ðɛn bi ˈɪntu ˈɛni ˈfɔrˌmæt jʊd laɪk. ənd bɪˈkəz ɪts ə ˈkəstəˌmaɪzd ˌɪnərˈmidiɪt ˈfɔrˌmæt ðət noʊz ɪts ˈstɔrɪŋ ˈtɛksʧər ˈdætə (ɛz əˈpoʊzd tɪ ə ʤəˈnɛrɪk əˈplaɪd ɔn tɔp əv ə ˈfɔrˌmæt), wi kən ˈɑptɪˌmaɪz ɪt ənd rɪˈdus ˈdætə ˈstɔrɪʤ ˈivɪn mɔr. wɪθ ˈbeɪsɪs, ˈnoʊˌbɑˌdi nidz tɪ θɪŋk əˈbaʊt ˈfɔrˌmæts. ˈvɛndərz kən hæv fən ˈkræftɪŋ nu ˈfɔrˌmæts ənd ˌɪnəˈveɪtɪŋ, soʊ lɔŋ ɛz ðeɪ hæv ə ˈbeɪsɪs ɪn pleɪs. ənd ˈfɔrˌmæts wər ˈnɛvər mɛnt fər ˈstɔrɪʤ ˈɛniˌweɪ-- ˈhævɪŋ ðɪs ˈsɛpərˌeɪt ˈfɔrˌmæt mɛnt fər ˈstɔrɪʤ ɪz aɪˈdil ɪn tərmz əv pərˈfɔrməns ɛz wɛl ɛz səˈpɔrt. wɪl lʊk bæk ɔn ðɪs taɪm ɪn kəmˈprɛʃən ˈhɪstəri ənd ˈwəndər waɪ ɔn ərθ wi wər ˈmeɪkɪŋ dɪˈvɛləpərz wɪθ ˈbɛtər θɪŋz tɪ du ˈwəri əˈbaʊt ðə ˈɪntrəkəsiz əv ˈfɔrˌmæts, waɪ ðɛr ˈwəzənt ʤɪst ə ˈstændərd. ðɪs ɪz ə bɪg ˈrizən wɪr ˈʤɔɪnɪŋ khronos*. ðɪs ˈʃʊdənt bi prəˈpraɪəˌtɛri. ðɪs kʊd ʧeɪnʤ ˈtɛksʧər kəmˈprɛʃən ɛz wi noʊ ɪt ɪn ðə ˈɪndəstri, bɪˈkəz ɪt ɪz ðə ˈoʊnli ˈwərkɪŋ səˈluʃən raɪt naʊ. θɪŋk əv ðə æps ˈðætəl bi ˈpɑsəbəl wɪθ ðɪs ˌɪnəˈveɪʃən. wɪn ju ər ˈstɔrɪŋ soʊ məʧ lɛs ˈdætə. wɪn ju ər ˈwərkɪŋ wɪθ ə ˈtruli ˈfɔrˌmæt. kən wi ˈɪnəˌgreɪt ðə stɛp ˈɪntu ˈdraɪvərz? ˈhɑrdˌwɛr ˌɪtˈsɛlf? wət kaɪnd əv æps wɪl bi ˌɪnˈvɛntɪd wɪθ ðɪs nu stɛp ˈfɔrwərd ɪn kəmˈprɛʃən? əm ˈvɛri ɪkˈsaɪtɪd tɪ si haʊ ðɪs ɪˈvɑlvz, ənd fil ˈɑnərd tɪ bi ˈeɪbəl tɪ hɛlp muv ðə ˈɪndəstri ɪn ðɪs dɪˈrɛkʃɪn.
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over the past year, i've been immersed in the world of texture compression. i've been thinking on what the best solutions are, how things can be improved, learning a lot about existing methods, what we as a community need to do to move forward.
the solution is obvious to me now.
it's a universal, multiplatform, standardized intermediate format. and we are building it. and we are more than happy to donate this standardized format to the greater community.
right now, to have a working solution webgl developers have to store at least three copies of every texture.
they need to account for all the different gpus they need to support. gpu vendors haven't agreed on a standardized format. astc doesn't cover enough of the ecosystem they need to support. you know what? maybe gpu vendors shouldn't standardize their formats yet. gpus are still constantly changing and innovating, and i enjoy seeing new formats released that take advantage of these exciting innovations.
but to have a multiplatform solution now, you're storing 3+ copies of every texture. that's if you don't want to support high quality formats, if you want that you need even more. and textures take up a lot of data. formats need different tools, different specialized knowledge sets, and an excess of memory that makes some apps simply not possible.
with basis, you just need one file and one tool. that format can then be transcoded into any gpu format you'd like. and because it's a customized intermediate format that knows it's storing texture data (as opposed to a generic lossless codec applied on top of a gpu format), we can optimize it and reduce data storage even more.
with basis, nobody needs to think about gpu formats. gpu vendors can have fun crafting new gpu formats and innovating, so long as they have a basis transcoder in place. and gpu formats were never meant for cpu storage anyway-- having this separate format meant for cpu storage is ideal in terms of performance as well as multiplatform support.
we'll look back on this time in compression history and wonder why on earth we were making developers with better things to do worry about the intricacies of gpu formats, why there wasn't just a standard.
this is a big reason we're joining khronos. this shouldn't be proprietary. this could change texture compression as we know it in the industry, because it is the only working solution right now.
think of the apps that'll be possible with this innovation. when you are storing so much less data. when you are working with a truly multiplatform format. can we integrate the transcoding step into drivers? gpu hardware itself? what kind of apps will be invented with this new step forward in compression?
i'm very excited to see how this evolves, and feel honored to be able to help move the industry in this direction.
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ˈrɛdɪŋ taɪm: 2 ˈmɪnəts ðə ʧaɪˈniz ˈbæskətˌbɔl əˌsoʊʃiˈeɪʃən (cba*) ˈfaɪnəlz wʊd nɑt bi ˈnɔrməl wɪˈθaʊt səm sɔrt əv faɪt. ðə lig ɪz noʊˈtɔriəs fər ɪts hoʊld mi back”*” ˈmoʊmənts. bət ðɪs jɪr, ðeɪ maɪt hæv ˈteɪkən ɪt tu fɑr. ðə ˌsɪʧˈwɑn blu weɪlz ˈhoʊstɪd ðə ˈlɛpərdz fər geɪm 3 əv ðə 2016 ˈfaɪnəlz ɔn ˈwɛnzˌdeɪ naɪt wɛr ðeɪ tʊk ə ˈsɪriz lɛd ˈbitɪŋ ðə ˈvɪzɪtɪŋ ˈlɛpərdz baɪ ə skɔr əv ðə geɪm wɑz ˈoʊvər, bət ðə ˈdrɑmə wɑz ʤɪst ˈgɪtɪŋ ˈstɑrtɪd. ɛz ðə ˈlɛpərdz gɑt ɔn ðə bəs ənd ˈhɛdɪd bæk tɪ ðə hoʊˈtɛl, ðeɪ wər ““welcomed”*” baɪ ən ˈɑrmi əv ˌsɪʧˈwɑn fænz. ɛz ðə tim gɑt ɔf ðə bəs, ə gaɪ ɪn ə rɛd ˈʤækɪt ˈstɑrtɪd ˈjɛlɪŋ æt ðə kraʊd traɪɪŋ tɪ nɑk foʊnz aʊt əv hænz. wɪn ɔl hɛl broʊk lus. ðɛr ər ˈvɛriəs rɪˈpɔrts aʊt əv ˈʧaɪnə ðət gɪv ˈænsərz tɪ ðə kˈwɛʃən ““why?”*?”. fərst ˈrumər: ʃəvd ə ˌsɪʧˈwɑn fæn ˈæftər ðə geɪm, soʊ ðət fæn rəʃt tɪ ðə hoʊˈtɛl tɪ mit ɪm ðɛr. ðət fæn sɔ ðə ˈstɑrtɪŋ pɔɪnt ˈpɛrənts ənd əˈtɛmptəd tɪ ʃəv ðɛm laɪk ðɛr sən əˈlɛʤədli dɪd tɪ him/them*. wɪn ðə ˈpɛrənts ˈnoʊtəˌfaɪd ðə tim, pleɪərz gɑt ɔf ðə bəs ˈsikɪŋ riˈvɛnʤ. ˈsɛkənd ˈrumər: waɪl ðɪs maɪt bi ˈvɛri tru, ɪt ˈrɪli ˈænsər ðə kˈwɛʃən dɪd ðə faɪt ˈhæpən ɪn ðə fərst place?”*?”. tim əˈfɪʃəlz rɪkˈwɛstɪd sɪˈkjʊrəti æt ðə hoʊˈtɛl. ðɪs ɪz ə ˈvɛri ˈnɔrməl rɪkˈwɛst ɪn ˈʧaɪnə, əˈspɛʃəli ɪn ˈzɪnʤiˈæŋ wɛr ˈmɑrˌbɛri wɑz wəns əˈtækt. ˌsɪʧˈwɑn əˈfɪʃəlz feɪld tɪ mit rɪkˈwɛst ˈkɔzɪŋ ən ˌoʊvərˈfloʊ əv ˌsɪʧˈwɑn fænz ˈweɪtɪŋ æt ðə hoʊˈtɛl. wəns ðə gaɪ ɪn ðə rɛd ˈʤækɪt gaɪ) ˈstɑrtɪŋ goʊɪŋ ˈkreɪzi, ɪt ˌɪgˈnaɪtɪd ðə reɪʤ ənd ɔl hɛl broʊk lus. ɪn ðə rul bʊk, ə ˈsɛkʃən ɪz ˈdɛdəkeɪtəd fər ðɪs taɪp əv ɪˈvɛnt. ɪt ridz: ˈʧæptər ii*, ˈɑrtɪkəl 10 ˈdʊrɪŋ ðə ˈsizən, ɪf ə ˌkɑmpəˈtɪʃən ˈvɛnju dɪˈstərbz ðə pleɪərz baɪ əˈsɔltɪŋ ənd ˈəðər ˈsɪriəs vaɪəˈleɪʃənz əv lɔ baɪ ðə ˈpəblɪk sɪˈkjʊrəti ənd ʤuˈdɪʃəl ˈprɔˌsɛs ˈwɛðər ˈəðər ˈæθˌlits ər ˈəðər ˈpərsənz ðə ˈɔrgəˌnaɪzərz wɪl bi ˈgɪvɪn, dɪˈpɛndɪŋ ɔn ðə ˈsɪriəsnəs əv ðə ɪˈvɛnt, ə səˈspɛnʃən əv geɪmz, ɪn ˈsɪriəs ˈkeɪsɪz, ˈkænsəl ðə ˈsizən ˌɔltəˈgɛðər. ˈʧæptər iii*, ˈɑrtɪkəl 11 ɪf ə ˈmɛmbər əv ðə ˈkoʊʧɪŋ stæf ər ðə kləb pərˈfɔrm ə mɪˈskɑndəkt, ˈgɪvɪn ɪts ˈrɛprəˌmænd, ðɛr wɪl bi ə səˈspɛnʃən əv geɪmz ənd ə faɪn əv ˈmɪljən rmb*. soʊ ðɪs minz ðə blu weɪlz kʊd moʊst ˈlaɪkli luz ðə ˈʧæmpiənˌʃɪp, əˈkɔrdɪŋ tɪ ðə rulz. bət sɪns ðiz rulz wər ˈrɪtən baɪ ðə, ənd noʊɪŋ ðɛr træk ˈrɛkərd, ˈnəθɪŋ wɪl ˈrɪli kəm əv ðɪs. ðə ʃoʊ məst goʊ ɔn.
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the chinese basketball association (cba) finals would not be normal without some sort of fight. the league is notorious for its “don’t hold me back” moments. but this year, they might have taken it too far.
the sichuan blue whales hosted the liaoning leopards for game 3 of the 2016 cba finals on wednesday night where they took a 2-1 series lead beating the visiting leopards by a score of 109-104. the game was over, but the drama was just getting started.
as the liaoning leopards got on the bus and headed back to the hotel, they were “welcomed” by an army of sichuan fans. as the team got off the bus, a guy in a red jacket started yelling at the crowd trying to knock phones out of people’s hands. that’s when all hell broke loose.
there areious reports out of china that give answers to the question “why?”.
first rumor: liaoning pg guo ailun shoved a sichuan fan after the game, so that fan rushed to the hotel to meet him there. that fan saw the starting point guard’s parents and attempted to shove them like their son allegedly did to him/them. when the parents notified the team, players got off the bus seeking revenge. .
second rumor: while this might be very true, it doesn’t really answer the question “why did the fight happen in the first place?”. liaoning team officials requested security at the hotel. this is a very normal request in china, especially in xinjiang where stephon marbury was once attacked. sichuan officials failed to meet liaoning’s request causing an overflow of sichuan fans waiting at the hotel. once the guy in the red jacket (liaoning guy) starting going crazy, it ignited the rage and all hell broke loose.
in the cba rule book, a section is dedicated for this type of event. it reads:
chapter ii, article 10: during the season, if a competition venue disturbs the players by assaulting and other serious violations of law by the public security and judicial process whether it’s other athletes or other persons , the organizers will be given, depending on the seriousness of the event, a suspension of 8-10 games, in serious cases, cancel the season altogether.
chapter iii, article 11: if a member of the coaching staff or the club perform a misconduct, given its reprimand, there will be a suspension of 2-5 games and a fine of 2-5 million rmb.
so this means the blue whales could most likely lose the championship, according to the rules. but since these rules were written by the cba, and knowing their track record, nothing will really come of this.
the show must go on.
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aɪ spɛnt ðə ˌæftərˈnun pleɪɪŋ əraʊnd wɪθ ˈgugəl gɪrz ɪn ˈɔrdər tɪ gɪt ə ˈbeɪsɪk fil fər haʊ ɪt wərks. spəˈsɪfɪkli, aɪ ˈwɔntɪd tɪ si haʊ məʧ wərk ɪt wʊd teɪk tɪ æd səˈpɔrt fər ˈɔˌflaɪn vjuɪŋ fər (ən ˈɔnˌlaɪn bʊk saɪt). aɪ juzd ðə gɪrz wɪʧ "əˈlaʊz ə wɛb ˌæpləˈkeɪʃən tɪ kæˈʃeɪ ənd sərv ɪts ˈrisɔrsɪz ˈloʊkəli, wɪˈθaʊt ə ˈnɛtˌwərk kəˈnɛkʃən". ðə ˌɪmpləmɛnˈteɪʃən kən bi ðoʊ əv ɛz ə smɔl wɛb ˈsərvər ðət ˌɪnərˈsɛpts rɪkˈwɛsts fər rɪˈmoʊt ˈrisɔrsɪz ənd sərvz ðɛm (ˈsimləsli) frəm ə ˈloʊkəl kæˈʃeɪ. ðɪs həz ə ˈkəpəl əv ædˈvæntɪʤɪz: kən ˈækˌsɛs ˈkɑntɛnt ˈɔˌflaɪn ˈivɪn wɪn ˈɔnˌlaɪn, ˈkɑntɛnt ɪz pʊld frəm kæˈʃeɪ, soʊ ˈækˌsɛs ɪz ˈvɛri fæst ðə meɪn ˌdɪsədˈvænɪʤz ər rɪˈleɪtɪd tɪ 2 sɪns ˈkɑntɛnt ɪz pʊld frəm ðə ˈloʊkəl kæˈʃeɪ, ˈivɪn wɪn ˈɔnˌlaɪn, ˈjuzərz meɪ vju steɪl ˈkɑntɛnt. ðɪs kən ˈɔlsoʊ meɪk ɪt ə bɪt əv ə ˈhæsəl tɪ dɪˈvɛləp, ɛz ju hæv tɪ rɪˈmɛmbər tɪ klɪr ðə gɪrz kæˈʃeɪ əv ðə ˈkɑntɛnt wɪn traɪɪŋ tɪ vju ˈʧeɪnʤɪz. gɪrz wɪl ˌpiriˈɑdɪkəli ʧɛk fər ˈəpˌdeɪtɪd ˈkɑntɛnt ənd sɪŋk ˈɛniˌθɪŋ ðət ɪz ˈəpˌdeɪtɪd. ɪt ˈɔlsoʊ prəˈvaɪdz ən tɪ əˈlaʊ dɪˈvɛləpərz tɪ fɔrs ʧɛks fər nu ˈkɑntɛnt, ɛz wɛl ɛz faɪn greɪnd kənˈtroʊl ˈoʊvər wət ˈkɑntɛnt ɪz kæʃt ˈloʊkəli. ɪt tʊk mi moʊst əv ðə ˌæftərˈnun tɪ ˈɪmpləmənt ðə ˌfəŋkʃəˈnælɪti, bət ðə væst məˈʤɔrəti əv ðət taɪm wɑz spɛnt ˈraɪtɪŋ ˈpaɪθɑn ənd koʊd (wɪʧ aɪ wɑz ə ˈlɪtəl ˈrəsti ɔn), ənd ˈlərnɪŋ səm əv ðə ˈʤɑvəˌskrɪpt ˈlaɪbrɛˌri wɪʧ aɪ juzd tɪ prəˈvaɪd ˈvɪʒəwəl ˈfidˌbæk waɪl ðə wɑz əˈkərɪŋ. ðə ˈækʧəwəl gɪrz ˌɪmpləmɛnˈteɪʃən wɑz ˈprɪti ˈtrɪviəl ənd tʊk ˈmeɪbi ə ˈtoʊtəl əv 30 ˈmɪnəts (wɪʧ ˌɪnˈkludɪd ˈlərnɪŋ ðə ənd ˈɪmpləˌmɛnɪŋ ðɛm). hir ɪz ðə kəmˈplit ˈʤɑvəˌskrɪpt koʊd (hæf əv wɪʧ prəˈvaɪdz ˈfidˌbæk tɪ ðə ˈjuzər waɪl ðə ˈpeɪʤɪz ər biɪŋ). ˈfəŋkʃən rɪˈtərn ˈwɪndoʊ ˈgugəl ˈgugəl gɪrz ˈfəŋkʃən '#ˈprɑˌgrɛs' tɛkst ˈfəŋkʃən ɪˈvɛnt mæθ ɪˈvɛnt ɪˈvɛnt 100 ˈfəŋkʃən "sɪŋk kəmˈplit." ˈfəŋkʃən ɪˈvɛnt "ˈɛrər." ˈfəŋkʃən ˈgugəl gɪrz ˈfæktəri kriˈeɪt 'beta.localserver*' stɔr 'tostring-store*' stɔr '/gearsmanifest*' stɔr stɔr stɔr stɔr ˈfəŋkʃən ɪˈvɛnt ɪˈvɛnt ˈfəŋkʃən ɪf "#offline_span*" "ˌvɪzəˈbɪlɪti" "ˈvɪzəbəl" "#offline_span*" klɪk ˈdɑkjəmɛnt ˈrɛdi wɪn ə ˈjuzər hu həz gɪrz ˌɪnˈstɔld ˈvɪzɪts ðə saɪt ðeɪ ər bi pərˈzɛnəd wɪθ ə lɪŋk ˈtaɪtəld "seɪv ˈɔˌflaɪn" (tɔp raɪt). ˈjuzərz hu du nɑt hæv gɪrz wɪl nɑt si ðɪs lɪŋk. ɪf ðə ˈjuzər klɪks ðə lɪŋk, ðeɪ ər pərˈzɛnəd wɪθ ə gɪrz ˈdaɪəlɔg ˈæskɪŋ fər pərˈmɪʃən (aɪ kən ˈkəstəˌmaɪz ðɪs, bət dɪd nɑt). ɪf ðeɪ əˈlaʊ ðə ˈækʃən, ðɛn ðə gɪrz ˈlaɪbrɛˌri loʊdz ə beɪst ˈmænəˌfɛst faɪl wɪθ ˌɪnˌfɔrˈmeɪʃən ɔn haʊ ðə saɪt ʃʊd bi (ˌɪnˈkludɪŋ wɪʧ spɪˈsɪfɪk ˈrisɔrsɪz ʃʊd bi ˌɪnˈkludɪd). ju kən vju ðə fʊl ˈmænəˌfɛst fər æt: hir ɪz ə sˈnɪpət: "betamanifestversion*" 1 "ˈvərʒən" "ˈɛntriz" "url*" "url*" "/ˈtrænsˌleɪtɪŋ/" "url*" "/əˈbaʊt/" "url*" "/dmedia/books/scripts/grids-min.css*" "url*" "/dmedia/books/css/styles.css*" "url*" "/dmedia/books/scripts/jquery.min.js*" "url*" "/books/adobe-air-for-javascript-developers-pocketguide/1.0/sv/introduktion-till-adobe-air*/" gɪrz rɪˈmɛmbərz ðə ˈvərʒən strɪŋ, ənd ˌpiriˈɑdɪkəli ʧɛks tɪ si ɪf ɪt həz ʧeɪnʤd. ɪf ɪt həz, ɪt wɪl ðə ˈkɑntɛnt (ju kən du səm mɔr ədˈvænst stəf wɪθ ˈsərvər rɪˈspɑnsɪz tɪ tɛl gɪrz ðət ə ˌpɑˈtɪkjələr pis əv ˈkɑntɛnt həz nɑt bɪn ˈəpˌdeɪtɪd). waɪl ðə ˈkɑntɛnt ɪz, aɪ ˈprɛzənt ə smɔl ˈprɑˌgrɛs ˈɪndəˌkeɪtər tɪ ðə ˈjuzər. wəns ðə sɪŋk ɪz kəmˈplit, ðə ˈkɑntɛnt ɪz vjud frəm ðə kæˈʃeɪ, rəˈgɑrdləs əv ˈwɛðər ðə ˈjuzər ɪz ˈɔnˌlaɪn ər ˈɔˌflaɪn. ju kən tɛst ðɪs ɪn ˈviə faɪl wərk ˈɔˌflaɪn. ɔl ɪn ɔl, ɪt wɑz ˈvɛri ˈizi tɪ ˈɪmpləmənt ənd aɪ æm ˌɪmˈprɛst wɪθ ðə rɪˈzəlts. ˈkəpəl əv ˈɪʃuz: ðɛr dɪz nɑt əˈpɪr tɪ bi ə weɪ tɪ dɪˈtɛkt ˈwɛðər ðə peɪʤ ɪz ˈrənɪŋ ˈɔnˌlaɪn ər ˈɔˌflaɪn, ənd ɪt lʊk laɪk ˈgugəl plænz tɪ æd ɪt. ɪt ɪz ˈdɛfənətli ə ˈtrɪki ˈprɑbləm, bət aɪ θɪŋk ðət əˈdoʊbi ɛr ˈhændəlz ɪt wɛl, ənd æt list meɪks ɪt ˈiziər fər ðə dɪˈvɛləp. ðɛr ɪz nɑt ə weɪ tɪ dɪˈtɛkt ˈwɛðər ˈkɑntɛnt həz ɔˈrɛdi bɪn kæʃt (æt list nɑt wɪˈθaʊt ˈprɑmptɪŋ əˈnəðər sɪˈkjʊrəti ˈdaɪəlɔg) ðɛr ɪz noʊ ˌɪndəˈkeɪʃən ər ˈɪndəˌkeɪtɪŋ ˈwɛðər ju ər vjuɪŋ "lɪv" ˈkɑntɛnt ər kæʃt ˈkɑntɛnt. ju kən ˈoʊnli kæˈʃeɪ sɪŋk ˈpeɪʤɪz frəm ðə seɪm doʊˈmeɪn ðət ðə wɛb peɪʤ ərˈɪʤəˌneɪtəd frəm. ðɪs minz ɪz ju ər ˈloʊdɪŋ ˈɛni rɪˈmoʊt ˈlaɪbrɛˌriz ər ˈrisɔrsɪz (səʧ ɛz rɪˈmoʊt ˈʤɑvəˌskrɪpt ˈlaɪbrɛˌriz), ju wɪl nid tɪ stɑrt ˈhoʊstɪŋ ðɛm ˈjɔrsɛlf ɪf ju wɔnt ðɛm tɪ bi wɪθ jʊr ˈkɑntɛnt. ɪt simz ðət ˈkɔlɪŋ ˈɛni əv ðə wɪl rɪˈzəlt ɪn ə sɪˈkjʊrəti pərˈmɪʃən ˈdaɪəlɔg biɪŋ reɪzd (ˈivɪn ðoʊ səm əv ðə dɑks səˈʤɛst ˈəðərˌwaɪz). wɪʧ ðə bɛst ɪkˈspɪriəns wɪn ˈjuzɪŋ ˈməltəpəl. wən ˈɪntəˌrɛstɪŋ θɪŋ əˈbaʊt ðə ɪz ðət ɪt kən bi juzd fər mɔr ðən ʤɪst ˈmeɪkɪŋ wɛb ˈkɑntɛnt əˈveɪləbəl ˈɔˌflaɪn. ju kʊd ˈɔlsoʊ juz tɪ tɪ kæˈʃeɪ ˈfrikwɛntli juzd ˈæˌsɛts tɪ: spid əv ˈloʊdɪŋ əv wɛb ˈpeɪʤɪz ənd ˌæpləˈkeɪʃənz rɪˈdus loʊd ənd ɔn ðə ˈsərvər ˌɪnˈdid, ɪz ˈjuzɪŋ gɪrz tɪ hɛlp meɪk ðɛr ˈædmɪn ˌæpləˈkeɪʃən mɔr rɪˈspɑnsɪv. ðə nɛkst stɛp wɪl bi tɪ æd ə ˈdɛskˌtɑp ˈʃɔrtˌkət fər ðə ˌæpləˈkeɪʃən ˈjuzɪŋ ðə ˈdɛskˌtɑp. ðɪs ˈɔlsoʊ lʊks tɪ bi ˈprɪti ˈtrɪviəl ˌɔlˈðoʊ aɪ æm kənˈsərnd ðət ðə ˈjuzər maɪt bi pərˈzɛnəd wɪθ tu pərˈmɪʃən dialogs*. ɪf ju hæv gɪrz ˌɪnˈstɔld, ju kən si ðɪs ɪgˈzæmpəl ɪn ˈækʃən æt. ɪf ju hæv ˈɛni kˈwɛsʧənz ər səˈʤɛsʧənz, ər faɪnd ˈɛni ˈɛrərz ɪn maɪ koʊd (ˈlaɪkli), ðɛn poʊst ðɛm ɪn ðə ˈkɑmɛnts.
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i spent the afternoon playing around with google gears in order to get a basic feel for how it works. specifically, i wanted to see how much work it would take to add support for offline viewing for tostring.org (an online book site).
i used the gears localserver api which "allows a web application to cache and serve its http resources locally, without a network connection". the implementation can be though of as a small web server that intercepts requests for remote resources and serves them (seamlessly) from a local cache. this has a couple of advantages:
can access content offline
even when online, content is pulled from cache, so access is very fast
the main disadvantages are related to #2. since content is pulled from the local cache, even when online, users may view stale content. this can also make it a bit of a hassle to develop, as you have to remember to clear the gears cache of the content when trying to view changes.
gears will periodically check for updated content and sync anything that is updated. it also provides an api to allow developers to force checks for new content, as well as fine grained control over what content is cached / synced locally.
it took me most of the afternoon to implement the functionality, but the vast majority of that time was spent writing python and django code (which i was a little rusty on), and learning some of the jquery javascript library which i used to provide visual feedback while the syncing was occurring. the actual gears implementation was pretty trivial and took maybe a total of 30 minutes (which included learning the apis and implementing them).
here is the complete javascript code (half of which provides feedback to the user while the pages are being synced).
function hasgears () { return ( window . google && google . gears ); } function updateprogressfield ( msg ) { $ ( '#progress' ). text ( msg ); } function onsyncprogress ( event ) { updateprogressfield ( math . ceil ((( event . filescomplete / event . filestotal ) * 100 )) + "%" ); } function onsynccomplete () { updateprogressfield ( "sync complete." ); } function onsyncerror ( event ) { updateprogressfield ( "error syncing." ); } function storeforoffline () { var localserver = google . gears . factory . create ( 'beta.localserver' ); var store = localserver . createmanagedstore ( 'tostring-store' ); store . manifesturl = '/gearsmanifest' ; store . onerror = onsyncerror ; store . oncomplete = onsynccomplete ; store . onprogress = onsyncprogress store . checkforupdate (); } function onstoreclick ( event ) { event . preventdefault (); storeforoffline (); } function onready () { if ( hasgears ()) { $ ( "#offline_span" ). css ( "visibility" , "visible" ); $ ( "#offline_span" ). click ( onstoreclick ); } } $ ( document ). ready ( onready );
when a user who has gears installed visits the site they are be presented with a link titled "save offline" (top right). users who do not have gears will not see this link. if the user clicks the link, they are presented with a gears dialog asking for permission (i can customize this, but did not). if they allow the action, then the gears library loads a json based manifest file with information on how the site should be synced (including which specific resources should be included).
you can view the full manifest for tostring.org at:
http://www.tostring.org/gearsmanifest
here is a snippet:
{ "betamanifestversion" : 1 , "version" : "2008-08-27 14:18:04" , "entries" : [ { "url" : "/" }, { "url" : "/translating/" }, { "url" : "/about/" }, { "url" : "/dmedia/books/scripts/grids-min.css" }, { "url" : "/dmedia/books/css/styles.css" }, { "url" : "/dmedia/books/scripts/jquery.min.js" }, { "url" : "/books/adobe-air-for-javascript-developers-pocketguide/1.0/sv/introduktion-till-adobe-air/" }, ]}
gears remembers the version string, and periodically checks to see if it has changed. if it has, it will resync the content (you can do some more advanced stuff with server responses to tell gears that a particular piece of content has not been updated).
while the content is syncing, i present a small progress indicator to the user.
once the sync is complete, the content is viewed from the cache, regardless of whether the user is online or offline. you can test this in firefox via file > work offline.
all in all, it was very easy to implement and i am impressed with the results.
couple of issues:
there does not appear to be a way to detect whether the page is running online or offline, and it doesnt look like google plans to add it. it is definitely a tricky problem, but i think that adobe air handles it well, and at least makes it easier for the develop.
there is not a way to detect whether content has already been cached (at least not without prompting another security dialog)
there is no indication or ui indicating whether you are viewing "live" content or cached content.
you can only cache / sync pages from the same domain that the web page originated from. this means is you are loading any remote libraries or resources (such as remote javascript libraries), you will need to start hosting them yourself if you want them to be synced with your content.
it seems that calling any of the apis will result in a security / permission dialog being raised (even though some of the docs suggest otherwise). which ist the best experience when using multiple apis.
one interesting thing about the api is that it can be used for more than just making web content available offline. you could also use to to cache frequently used assets to:
speed of loading of web pages and applications
reduce load and bandwith on the server
indeed, wordpress is using gears to help make their admin application more responsive.
the next step will be to add a desktop shortcut for the application using the desktop api. this also looks to be pretty trivial although i am concerned that the user might be presented with two permission dialogs.
if you have gears installed, you can see this example in action at tostring.org.
if you have any questions or suggestions, or find any errors in my code (likely), then post them in the comments.
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wi ˈɪnəˌgreɪt ˈklæsˌrum ˈlərnɪŋ wɪθ ɪkˈstɛnsɪv ˈpræktɪkəl ˈtreɪnɪŋ. ˈdʊrɪŋ jʊr ˈtreɪnɪŋ ɪn ɑr "ˈgɪrɪŋ əp" kɔrs wi səˈplaɪ ðə ˈmoʊtərˌsaɪkəlz. tjuˈɪʃən tæks ˈkrɛdɪt ɪz əˈveɪləbəl tɪ ɔl ˈstudənts hu əˈtɛnd ðɪs ˈbeɪsɪk kɔrs ðɪs kɔrs ɪz ðə moʊst ˈpruvən ənd ˈrɛkəgˌnaɪzd ˈtreɪnɪŋ ˈmɛθəd ɪn ˈkænədə. kju. haʊ fɑr ɪn ədˈvæns ʃʊd aɪ ˈrɛʤɪstər? wɪl ə dɪˈpɑzət hoʊld maɪ spɑt? ə. ɪf ju kən ˈoʊnli teɪk ðə kɔrs ɔn ðə ˈwiˌkɪnd ðɛn ðə ˈsunər ju kən ˈfaɪnəˌlaɪz ə deɪt ju ʃʊd bʊk, ɛz ðə ˈərli spərɪŋ ˈwiˌkɛndz sɛl aʊt ˈvɛri fæst! ɪf ju kən kəm tɪ wən əv ɑr ˈwikˌdeɪ ˈkɔrsɪz ðɛn ðeɪ ər ˈiziər tɪ gɪt ˈɪntu soʊ ðə ˈprɛʃər tɪ bʊk ˈərli ɪz nɑt ɛz haɪ. ɪn rɪˈgɑrdz tɪ fiz, ðə hoʊl əˈmaʊnt ɪz du æt ðə taɪm əv ˌrɛʤɪˈstreɪʃən. kju. du aɪ nid maɪ klæs 6 ˈlərnərz ˌbiˈfɔr aɪ teɪk ðə kɔrs? du aɪ nid ə ˈdraɪvərz ˈlaɪsəns tɪ teɪk ðə kɔrs? ə. ju du nɑt nid tɪ hæv jʊr klæs 6 ˈlərnərz ˌbiˈfɔr ˈteɪkɪŋ ɑr kɔrs. ɛz wɛl, ju du nɑt ˈivɪn nid tɪ hæv ə ˈlaɪsəns. ju məst bi æt list 16 əv eɪʤ ðoʊ tɪ teɪk ˈgɪrɪŋ əp. ɪf ju ər ˈplænɪŋ ɔn ˈhævɪŋ ə ˈmoʊtərˌsaɪkəl klæs 6 ˈlaɪsəns ɛz jʊr ˈvɛri fərst ˈlaɪsəns, pliz ʧɛk wɪθ æb ˌtrænspərˈteɪʃən ɛz tɪ haʊ ðət wɪl əˈfɛkt ju ˈgræʤəˌweɪtɪŋ frəm ðə gdl*. kju. kən aɪ juz maɪ oʊn baɪk fər ðə ˈlɛsənz? ə. ənˈfɔrʧənətli noʊ. ˌɪnˈʃʊrəns ˈrizənz ˈmænˌdeɪt ðət ju juz wən əv ɑr ˈtreɪnɪŋ baɪks. kju. wɪl aɪ hæv maɪ ˈmoʊtərˌsaɪkəl ˈlaɪsəns æt ðə ɛnd əv ðə kɔrs? haʊ du aɪ gɪt ɪt? ə. ðɪs kɔrs wɪl nɑt gɪv ju ə ˈlaɪsəns wɪn ɪt ɪz kəmˈplit. ɔl məst pæs ə roʊd tɛst wɪθ ə ˈrɛʤɪstri ˈeɪʤənt tɪ rɪˈsiv ə klæs 6 endorsment*. ju kən əˈtɛmpt jʊr roʊd tɛst wɪθ ˈɛni ˈrɛʤɪstriz fər ðə klæs 6 ɪgˈzæm. ɪf ju ər səkˈsɛsfəl æt ɑr kɔrs wi kən rɛnt ju ə roʊd tɛst baɪk ənd ju kən wərk wɪθ ɑr ˈdɛdəkeɪtəd ˈrɛʤɪstriz ˈeɪʤənt tɪ əˈtɛmpt jʊr klæs 6 ɪgˈzæm. ðə ɪgˈzæm wʊd stɑrt ənd ˈfɪnɪʃ frəm ɑr ˈtreɪnɪŋ saɪt, ʤɪst nɑt ɔn ðə seɪm ˈwiˌkɪnd ðət ju ˈfɪnɪʃ jʊr kɔrs wɪθ ˈjuˈɛs. **du tɪ ˈwɛðər ər ɪgˈzæmənər availablity*, roʊd tɛsts wɪθ ɑr ˈdɛdəkeɪtəd ˈrɛʤɪstri ər nɑt ˌgɛrənˈtid ɛz wi muv ˈɪntu leɪt sɛpˈtɛmbər. kju. wɪl ðɛr bi ə tɛst æt ðə ɛnd əv ðə kɔrs? ə. jɛs. ɔl ˈstudənts wɪl bi pʊt θru ə skɪlz ɪˌvæljuˈeɪʃən ɔn ðə ˈfaɪnəl deɪ. ju məst dɪˈspleɪ ˈbeɪsɪk ˈmoʊtərˌsaɪkəl skɪlz tɪ əbˈteɪn ðə ˈkænədə ˈseɪfti ˈkaʊnsəl ˈgɪrɪŋ əp sərˈtɪfɪkət. ɪf ju ər ˌənsəkˈsɛsfəl æt ðə skɪlz tɛst ju meɪ kəm bæk, ənd æt noʊ ʧɑrʤ, əˈtɛmpt ðə ɪˌvæljuˈeɪʃən əˈgɛn. kju. wɪl wi du ˈɛni ˈpræktɪs? ə. noʊ. æt ðɪs taɪm ðɛr ɪz noʊ ˈpɔrʃən tɪ ðɪs kɔrs. kju. du wi ˈɔfər ˈskutər ˈlɛsənz, ɪf nɑt hu dɪz? ə. wi du nɑt ˈɔfər ˈskutər ˈlɛsənz æt ðɪs taɪm. wi ər nɑt ʃʊr ɪf ˈɛniˌwən dɪz bət kɔl əraʊnd tɪ ðə ˈəðər skulz tɪ si ɪf ðeɪ ˈɔfər ðɛm. ˌɛfˈwaɪˌaɪ ɑr ˈgɪrɪŋ əp kɔrs wʊd stɪl bi ə ˈvɛri gʊd weɪ fər ˈsəmˌwən tɪ lərn ˈɛksələnt ˈseɪfti ˈskutər skɪlz. moʊst skɪlz wʊd ˈtrænsfər tɪ ə ˈskutər ˈraɪdər ɪkˈsɛpt fər ˈlərnɪŋ haʊ tɪ juz ə kləʧ.
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we integrate instructor-led classroom learning with extensive practical training. during your training in our "gearing up" course we supply the motorcycles. tuition tax credit is available to all students who attend this basic course . this course is the most proven and recognized training method in canada.
faq
q. how far in advance should i register? will a deposit hold my spot?
a. if you can only take the course on the weekend then the sooner you can finalize a date you should book, as the early spring weekends sell out very fast! if you can come to one of our weekday courses then they are easier to get into so the pressure to book early is not as high.
in regards to fees, the whole amount is due at the time of registration.
q. do i need my class 6 learners before i take the course? do i need a driver's license to take the course?
a. you do not need to have your class 6 learners before taking our course. as well, you do not even need to have a license. you must be at least 16 yrs of age though to take gearing up. ** if you are planning on having a motorcycle class 6 license as your very first license, please check with ab transportation as to how that will affect you graduating from the gdl.
q. can i use my own bike for the lessons?
a. unfortunately no. insurance reasons mandate that you use one of our training bikes.
q. will i have my motorcycle license at the end of the course? how do i get it?
a. this course will not give you a license when it is complete. all albertans must pass a road test with a registry agent to receive a class 6 endorsment. you can attempt your road test with any registries for the class 6 exam. if you are successful at our course we can rent you a road test bike and you can work with our dedicated registries agent to attempt your class 6 exam. the exam would start and finish from our training site, just not on the same weekend that you finish your course with us.
**due to weather or examiner availablity, road tests with our dedicated registry are not guaranteed as we move into late september.
q. will there be a test at the end of the course?
a. yes. all students will be put through a skills evaluation on the final day. you must display basic motorcycle skills to obtain the canada safety council gearing up certificate. if you are unsuccessful at the skills test you may come back, and at no charge, attempt the evaluation again.
q. will we do any on-road practice?
a. no. at this time there is no on-road portion to this course.
q. do we offer scooter lessons, if not who does?
a. we do not offer scooter lessons at this time. we are not sure if anyone does but call around to the other schools to see if they offer them. fyi our gearing up course would still be a very good way for someone to learn excellent safety scooter skills. most motorcycling skills would transfer to a scooter rider except for learning how to use a clutch.
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ə nu ˈstədi ˈpəblɪʃt təˈdeɪ ɪn əˈbisəti, ðə ˈʤərnəl əv ðə əˈbisəti soʊˈsaɪɪti, kənˈfərmz ðət ˈdrɪŋkɪŋ daɪət ˈbɛvrɪʤɪz kən hɛlp ˈpipəl luz weɪt. "ðɪs ˈstədi ˈklɪrli ˈdɛmənˌstreɪts ðət daɪət ˈbɛvrɪʤɪz kən ɪn fækt hɛlp ˈpipəl luz weɪt, dɪˈrɛkli ˈkaʊnərɪŋ mɪθs ɪn ˈrisənt jɪrz ðət səˈʤɛst ðə ˈɑpəzɪt ˈifɛkt weɪt geɪn," sɛd ʤeɪmz oʊ. hɪl, ph.d*., ɪgˈzɛkjətɪv dɪˈrɛktər əv ðə ˌjunəˈvərsəti əv ˌkɑlərˈɑdoʊ ˈænʃəts hɛlθ ənd ˈwɛlnəs ˈsɛnər ənd ə əv ðə ˈstədi. "ɪn fækt, ðoʊz hu dræŋk daɪət ˈbɛvrɪʤɪz lɔst mɔr weɪt ənd ˌriˈpɔrtəd ˈfilɪŋ sɪgˈnɪfɪkəntli lɛs ˈhəŋgri ðən ðoʊz hu dræŋk ˈwɔtər əˈloʊn. ðɪs ˌriɪnˈfɔrsɪz ðət ɪf jʊr traɪɪŋ tɪ ʃɛd paʊnz, ju kən ˌɛnˈʤɔɪ daɪət ˈbɛvrɪʤɪz." ðə ˈklɪnɪkəl ˈstədi əv 303 pɑrˈtɪsəpənts ɪz ðə fərst prəˈspɛktɪv, ˈrændəˌmaɪzd ˈklɪnɪkəl traɪəl tɪ dɪˈrɛkli kəmˈpɛr ðə ˈifɛkts əv ˈwɔtər ənd daɪət ˈbɛvrɪʤɪz ɔn weɪt lɔs wɪˈθɪn ə bɪˈheɪvjərəl weɪt lɔs ˈproʊˌgræm. kənˈdəktəd ˌsaɪməlˈteɪniəsli baɪ ˈrisərʧərz æt ðə ˌjunəˈvərsəti əv ˌkɑlərˈɑdoʊ ˈænʃəts ˈsɛnər fər hɛlθ ənd ˈwɛlnəs ɪn ərˈɔrə ənd ˈtɛmpəl ˌjunəˈvərsətiz ˈsɛnər fər əˈbisəti ˈrisərʧ ənd ˌɛʤəˈkeɪʃən ɪn ˌfɪləˈdɛlfiə, ðə ˈstədi ʃoʊz ðət ˈsəbʤɪkts hu kənˈsumd daɪət ˈbɛvrɪʤɪz lɔst ən ˈævərɪʤ əv 13 paʊnz 44 pərˈsɛnt mɔr ðən ðə kənˈtroʊl grup, wɪʧ lɔst ən ˈævərɪʤ əv 9 paʊnz. mɔr ðən hæf əv ðə pɑrˈtɪsəpənts ɪn ðə daɪət ˈbɛvərɪʤ grup 64 pərˈsɛnt lɔst æt list faɪv pərˈsɛnt əv ðɛr ˈbɑdi weɪt, kəmˈpɛrd wɪθ ˈoʊnli 43 pərˈsɛnt əv ðə kənˈtroʊl grup. ˈluzɪŋ ʤɪst faɪv pərˈsɛnt əv ˈbɑdi weɪt həz bɪn ʃoʊn tɪ sɪgˈnɪfɪkəntli ˌɪmˈpruv hɛlθ, ˌɪnˈkludɪŋ loʊərɪŋ ðə rɪsk əv hɑrt dɪˈziz, haɪ bləd ˈprɛʃər ənd taɪp 2 ˌdaɪəˈbitiz. ðə ˈstədi wɑz səˈpɔrtɪd baɪ ən ˌənriˈstrɪktɪd ˌɛʤəˈkeɪʃənəl grænt frəm ðə əˈmɛrɪkən ˈbɛvərɪʤ əˌsoʊʃiˈeɪʃən. "ðɛrz soʊ məʧ ˌmɪsɪnfərˈmeɪʃən əˈbaʊt daɪət ˈbɛvrɪʤɪz ðət ˈɪzənt beɪst ɔn ˈstədiz dɪˈzaɪnd tɪ tɛst kɔz ənd ˈifɛkt, əˈspɛʃəli ɔn ðə ˈɪntərˌnɛt," sɛd ʤɑn si. ˈpitərz, əv ðə ˈstədi ənd ðə ʧif ˈstrætəʤi ˈɔfɪsər əv ðə ˈænʃəts hɛlθ ənd ˈwɛlnəs ˈsɛnər. "ðɪs ˈrisərʧ əˈlaʊz ˈdaɪətərz tɪ fil ˈkɑnfədənt ðət loʊ- ənd sˈwitənd ˈbɛvrɪʤɪz kən pleɪ ən ˌɪmˈpɔrtənt ənd ˈhɛlpfəl roʊl ɛz pɑrt əv ən ˈifɛktɪv ənd ˌkɑmpriˈhɛnsɪv weɪt lɔs ˈstrætəʤi." ˈstədi pɑrˈtɪsəpənts wər ˈrændəmli əˈsaɪnd tɪ wən əv tu grups: ðoʊz hu wər əˈlaʊd tɪ drɪŋk daɪət ˈbɛvrɪʤɪz, səʧ ɛz daɪət ˈsoʊdəz, tiz ənd ˈfleɪvərd ˈwɔtərz, ər ðoʊz hu wər ɪn ə kənˈtroʊl grup ðət dræŋk ˈwɔtər ˈoʊnli. wɪθ ðə ɪkˈsɛpʃən əv ˈbɛvərɪʤ ˈɔpʃənz, boʊθ grups ˈfɑloʊd ən aɪˈdɛntɪkəl daɪət ənd ˈɛksərˌsaɪz ˈproʊˌgræm fər ðə ˈdʊˈreɪʃən əv ðə ˈstədi. ɪn əˈdɪʃən tɪ ˈluzɪŋ 44 pərˈsɛnt mɔr weɪt ðən ðə kənˈtroʊl grup, ðə daɪət ˈbɛvərɪʤ grup ˈɔlsoʊ: ˌriˈpɔrtəd ˈfilɪŋ sɪgˈnɪfɪkəntli lɛs ˈhəŋgri; ʃoʊd sɪgˈnɪfɪkəntli ˈgreɪtər ˌɪmˈpruvmənts ɪn ˈsɪrəm ˈlɛvəlz əv ˈtoʊtəl kəˈlɛstərˌɔl ənd ˌlɪpəˈproʊtin (ldl*) ðə ˈsoʊˈkɔld "bæd" kəˈlɛstərˌɔl; ənd sɔ ə sɪgˈnɪfɪkənt rɪˈdəkʃən ɪn ˈsɪrəm traɪˈglɪsərˌaɪdz. boʊθ daɪət ˈsoʊdə ənd ˈwɔtər grups sɔ rɪˈdəkʃənz ɪn weɪst ˌsərˈkəmfrəns, ənd bləd ˈprɛʃər. ðɪs ˈleɪtəst ˈstədi ædz tɪ ðə ˈbɑdi əv ˈrisərʧ ˈdɛmənˌstreɪtɪŋ ðət daɪət ˈbɛvrɪʤɪz du nɑt ˈhɪndər, bət ɪn fækt hɛlp, wɪθ weɪt lɔs. ɪn ˌpɑˈtɪkjələr, tu ˈstədiz ˈpəblɪʃt ɪn ðə əˈmɛrɪkən ˈʤərnəl əv ˈklɪnɪkəl nuˈtrɪʃən baɪ ˈrisərʧərz frəm ðə ˌjunəˈvərsəti əv nɔrθ ˌkɛrəˈlaɪnə ɪn 2012 ənd 2013 ˈrændəmli əˈsaɪnd pɑrˈtɪsəpənts tɪ drɪŋk ˈiðər ˈwɔtər ər daɪət ˈbɛvrɪʤɪz. waɪl boʊθ grups kət ðɛr fud ˈɪnˌteɪk sɪgˈnɪfɪkəntli, ˈæftər sɪks mənθs ðə daɪət ˈbɛvərɪʤ grup hæd ə ˈgreɪtər ˈlaɪkliˌhʊd əv ˈriʧɪŋ ə ˈminɪŋfəl 5 pərˈsɛnt) əˈmaʊnt əv weɪt lɔs kəmˈpɛrd tɪ ðə kənˈtroʊl grup. ðə daɪət ˈbɛvərɪʤ grup ˈɔlsoʊ ɪkˈspɪriənst ə ˈgreɪtər rɪˈdəkʃən ɪn dɪˈzərt kənˈsəmʃən ðən ðə ˈwɔtər grup. ˈoʊvərˌɔl, ðə ˈfaɪndɪŋz səˈʤɛst ðət daɪət ˈbɛvrɪʤɪz du nɑt fjuəl ə ˈprɛfərəns fər swit fudz ənd drɪŋks. əˈdɪʃənəl ˈrisərʧ ˈpəblɪʃt ɪn 2009 ɔn weɪt lɔs ˈmeɪntənəns, drɔn frəm ðə ˈnæʃənəl weɪt kənˈtroʊl ˈrɛʤɪstri, faʊnd ðət səkˈsɛsfəl weɪt lɔs dræŋk θri taɪmz mɔr daɪət ˈbɛvrɪʤɪz ðən ðoʊz hu hæd ˈnɛvər lɔst weɪt. ðə ˈstədi wɑz səˈpɔrtɪd baɪ ðə əˈmɛrɪkən ˈbɛvərɪʤ əˌsoʊʃiˈeɪʃən (ˌeɪˌbiˈeɪ), ə treɪd əˌsoʊʃiˈeɪʃən ɪn ˈwɔʃɪŋtən, wɑz ənd ˈpoʊstɪd ɔn www.clinicaltrials.gov*. ˈniðər ˌeɪˌbiˈeɪ, nɔr ˈɛni əv ɪts ˈmɛmbərz, wɑz ˌɪnˈvɑlvd ɪn ˈɛni pɑrt əv ðə ˈstədi, ɪts æˈnælɪsɪs ər ðə ˈraɪtɪŋ əv ðɪs ˈpeɪpər.
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a new study published today in obesity, the journal of the obesity society, confirms that drinking diet beverages can help people lose weight.
"this study clearly demonstrates that diet beverages can in fact help people lose weight, directly countering myths in recent years that suggest the opposite effect -- weight gain," said james o. hill, ph.d., executive director of the university of colorado anschutz health and wellness center and a co-author of the study. "in fact, those who drank diet beverages lost more weight and reported feeling significantly less hungry than those who drank water alone. this reinforces that if you're trying to shed pounds, you can enjoy diet beverages."
the 12-week clinical study of 303 participants is the first prospective, randomized clinical trial to directly compare the effects of water and diet beverages on weight loss within a behavioral weight loss program. conducted simultaneously by researchers at the university of colorado anschutz center for health and wellness in aurora and temple university's center for obesity research and education in philadelphia, the study shows that subjects who consumed diet beverages lost an average of 13 pounds -- 44 percent more than the control group, which lost an average of 9 pounds. more than half of the participants in the diet beverage group -- 64 percent -- lost at least five percent of their body weight, compared with only 43 percent of the control group. losing just five percent of body weight has been shown to significantly improve health, including lowering the risk of heart disease, high blood pressure and type 2 diabetes. the study was supported by an unrestricted educational grant from the american beverage association.
"there's so much misinformation about diet beverages that isn't based on studies designed to test cause and effect, especially on the internet," said john c. peters, co-author of the study and the chief strategy officer of the cu anschutz health and wellness center. "this research allows dieters to feel confident that low- and no-calorie sweetened beverages can play an important and helpful role as part of an effective and comprehensive weight loss strategy."
study participants were randomly assigned to one of two groups: those who were allowed to drink diet beverages, such as diet sodas, teas and flavored waters, or those who were in a control group that drank water only. with the exception of beverage options, both groups followed an identical diet and exercise program for the duration of the study.
in addition to losing 44 percent more weight than the control group, the diet beverage group also:
reported feeling significantly less hungry;
showed significantly greater improvements in serum levels of total cholesterol and low-density lipoprotein (ldl) -- the so-called "bad" cholesterol; and
saw a significant reduction in serum triglycerides.
both diet soda and water groups saw reductions in waist circumference, and blood pressure.
this latest study adds to the body of research demonstrating that diet beverages do not hinder, but in fact help, with weight loss. in particular, two studies published in the american journal of clinical nutrition by researchers from the university of north carolina in 2012 and 2013 randomly assigned non-dieting participants to drink either water or diet beverages. while both groups cut their food intake significantly, after six months the diet beverage group had a greater likelihood of reaching a meaningful (5 percent) amount of weight loss compared to the control group. the diet beverage group also experienced a greater reduction in dessert consumption than the water group. overall, the findings suggest that diet beverages do not fuel a preference for sweet foods and drinks.
additional research published in 2009 on weight loss maintenance, drawn from the national weight control registry, found that successful weight loss maintainers drank three times more diet beverages than those who had never lost weight.
the study was supported by the american beverage association (aba), a trade association in washington, dc.it was peer-reviewed and posted on www.clinicaltrials.gov. neither aba, nor any of its members, was involved in any part of the study, its analysis or the writing of this paper.
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seɪv ðə ˈʧɪldrən həz wɔrnd ðət ər ˈsəfərɪŋ səˈvɪr ˈfæmən ɪn ðɛr ˈkəntri. ˈmɪljən ˈʧɪldrən ənd ˈprɛgnənt ər ɪn ˈərʤənt nid əv nuˈtrɪʃən ˈsərvɪsɪz ənd baɪ ðə ɛnd əv ðə jɪr, mɔr ðən ˈjɛməni ˈʧɪldrən ər ˈlaɪkli tɪ daɪ. ðə ˈjuˈɛs ˈneɪvəl ˌblɑˈkeɪd əv ˈjɛmən həz bɪn ˌənriˈlɛntɪŋ sɪns mɑrʧ 2015 ˈrisəntli, kraʊn prɪns əv ˈsɔdi əˈreɪbiə, moʊˈhæmɪd bɪn ˈsæmən əˈnaʊnst ðət hi hæd ˌdɪˈsaɪdɪd tɪ close”*” ɔl pɔrts ɪn ˈjɛmən, wɛr 7 ˈmɪljən ˈpipəl ər æt rɪsk əv stɑrˈveɪʃən. ðə ˌblɑˈkeɪd həz kloʊzd ðə ˈmeɪʤər ˈɛntri pɔrts əv ənd saleef*, ɛz wɛl ɛz ðə ˈɛrˌpɔrt ɪn ðə ˈkæpɪtəl səˈnɑ, wɪʧ həz səˈvɪrli ˈhɪndərd ðə ˈækˌsɛs əv fud ənd eɪd. ˈsɔdi əˈreɪbiə ənd ɪts ˈælaɪz, ðə ˈjuˈɛs ˈneɪvi hæv bɪn ɛˈsɛnʃəl ˈɛləmənts əv ðɪs pərˈpɛʧuəl wɔr kraɪm ɪn ˈjɛmən ənd ˈɛndləs əˈsɔlt ɔn 25 ˈmɪljən səˈvɪljənz. wərst ˈkɑlərə ˈaʊtˌbreɪk ɪn ðə mɪst əv ðə ˈlɑrʤəst ˌjuˌmænəˈtɛriən crisis”*” ðə ˈjuˈɛn həz wɔrnd. ðə ˈkɑnflɪkt bɪtˈwin ðə ˌkoʊəˈlɪʃən ənd ˈrɛbəlz hæv kɔzd dɪˈstrəkʃən tɪ ðə ˌɪnfrəˈstrəkʧər ˈlivɪŋ ˈmɪljənz ˈfeɪsɪŋ ˈfæmən. ˈɛvəri deɪ, ən ˈɛstəˌmeɪtɪd 130 ˈjɛməni ˈʧɪldrən ər daɪɪŋ ənd ˈʧɪldrən wɪl nid ˈtritmənt fər səˈvɪr ˌmælnuˈtrɪʃən ðɪs jɪr. ˈbɪzˌmɑrk, ə kəmˌjunəˈkeɪʃən ˈspɛʃəlɪst fər ˈjunəˌsɛf ˈjɛmən wɔrnz əˈbaʊt ˈkraɪsəs ənd sɪz: əv ɔl səˈspɛktɪd ˈkeɪsɪz ənd ə kˈwɔrtər əv ɔl dɛθs əˈfɛktɪd children”*” dɪˈskraɪbz hɔˈrɪfɪk sinz ɪn hɛlθ ˈklɪnɪks ənd ˈhɑˌspɪtəlz, wɪθ ˈʧɪldrən laɪɪŋ ɔn ðə flɔr əˈneɪbəl tɪ muv ənd ˈpɛrənts ˈstændɪŋ baɪ ˈhɛlpləsli. ðə eɪd ˈeɪʤənsiz bɪˈliv ðət ˈoʊnli əraʊnd hæf əv ðoʊz ər rɪˈsivɪŋ ˈtritmənt.
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save the children has warned that yemenis are suffering severe famine in their war-torn country. 4.5 million children and pregnant are in urgent need of nutrition services and by the end of the year, more than 50,000 yemeni children are likely to die.
the us naval blockade of yemen has been unrelenting since march 2015. recently, crown prince of saudi arabia, mohammed bin salman announced that he had decided to “temporarily close” all ports in yemen, where 7 million people are at risk of starvation. the blockade has closed the major entry ports of hodeidah and saleef, as well as the airport in the capital sanaa, which has severely hindered the access of food and aid.
saudi arabia and its allies, the us navy have been essential elements of this perpetual war crime in yemen and endless assault on 25 million civilians.
“the world’s worst cholera outbreak in the midst of the world’s largest humanitarian crisis” the un has warned.
the conflict between the saudi-led coalition and houthi rebels have caused destruction to the country’s infrastructure leaving millions facing famine. every day, an estimated 130 yemeni children are dying and 400,000 children will need treatment for severe malnutrition this year.
bismarck swangin, a communication specialist for unicef yemen warns about children’s crisis and says: “half of all suspected cases and a quarter of all cholera-related deaths affected children”
swangin describes horrific scenes in health clinics and hospitals, with children lying on the floor unable to move and parents standing by helplessly. the aid agencies believe that only around half of those are receiving treatment.
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ˈneɪʃənˈwaɪd rɑk əˈgɛnst ðə səˈlɛbrɪti ˈkɑnsərt tʊr tɪ kəmz tɪ ˈpɔrtlənd ˈæktrəs ɪˈvænʤɪˌlaɪn ˈlɪli, anti-flag*, ˈhɑri kondabolu*, makana*, ənd mɔr wɪl lɛd fri ˈkɑnsərt ˈkərtəsi: faɪt fər ðə fˈjuʧər. (ˈpɔrtlənd, ɔr.) ˈwɛlˈnoʊn mjuˈzɪʃənz, kəˈmidiənz, ənd səˈlɛbrɪtiz wɪl ˈgæðər fər ə fri ˈkɑnsərt ɪˈvɛnt æt dɪˈrɛktər pɑrk ɔn ˈsæˌtɪˌdeɪ, ˈɔgəst frəm 5 p.m*. 10 p.m*. ðə fri ɪˈvɛnt ɪz pɑrt əv ðə ˈneɪʃənˈwaɪd rɑk əˈgɛnst ðə tʊr, ə ˈsɪriz əv ˈlɑrʤˌskeɪl ˈkɑnsərts, teach-ins*, ənd ˈproʊˌtɛsts ˈmoʊbəˌlaɪzɪŋ tɪ reɪz əˈwɛrnəs əˈbaʊt ðə ˈpɑrtnərˌʃɪp (tpp*) əˈgrimənt, ðə ˌənˈpɑpjələr, treɪd dil ðət həz bɪn ə hɑt ˈtɑpɪk ɪn ðə ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən. ˈɔrgəˌnaɪzd baɪ ˈlɛʤənˌdɛri ˌgɪˈtɑrɪst tɑm mərˈɛloʊ (ˈprɑfəts əv reɪʤ, reɪʤ əˈgɛnst ðə məˈʃin, audioslave*), ðə ˈlaɪˌnəp ˌɪnˈkludz ˈgoʊldən gloʊb ˈnɑməˌneɪtəd ˈæktrəs ɪˈvænʤɪˌlaɪn ˈlɪli (lɔst, ðə ˈhɔbɪt, ant-man*), kəˈmidiən ˈhɑri kondabolu*, ˈpɑpjələr pəŋk bænd anti-flag*, həˈwaɪən gɪˈtɑr ˈlɛʤənd makana*, əv sɛnˈseɪʃən chumbawamba*, ənd baɪˈlɪŋgwəl ˈrɑkərz ˈdaʊnˈtaʊn bɔɪz. ðə ˈkɑnsərt wɪl ˈfiʧər haɪ ˈproʊˌfaɪl pərˈfɔrmərz ənd ˈspikərz frəm ə waɪd reɪnʤ əv ˌɔrgənəˈzeɪʃənz əˈpoʊzɪŋ ðə. ðɛr wɪl bi fud trəks, ə bɪr ˈgɑrdən, ənd geɪmz fər kɪdz, ɔl ˈstɑrtɪŋ æt 5 p.m*. ˈɔgəst 20 ɪˈvænʤɪˌlaɪn ˈlɪli ənd ˈɛkspərts wɪl hoʊst ə fri ðə ˈfɑloʊɪŋ deɪ, ˈsənˌdi, ˈɔgəst 21 æt fərst ˌjunəˈtɛriən ʧərʧ æt 1:00pm*. si ə fʊl ˈlaɪˌnəp ənd ˈditeɪlz fər ðə ˈpɔrtlənd stɑp hir:
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nationwide rock against the tpp celebrity concert tour to comes to portland
actress evangeline lilly, anti-flag, hari kondabolu, makana, and more will lead free concert
courtesy: fight for the future.
(portland, ore.) - well-known musicians, comedians, and celebrities will gather for a free concert event at director park on saturday, august 20th from 5 p.m. - 10 p.m.
the free event is part of the nationwide rock against the tpp tour, a series of large-scale concerts, teach-ins, and protests mobilizing to raise awareness about the trans-pacific partnership (tpp) agreement, the unpopular, anti-democratic trade deal that has been a hot topic in the presidential election.
organized by legendary guitarist tom morello (prophets of rage, rage against the machine, audioslave), the lineup includes golden globe nominated actress evangeline lilly (lost, the hobbit, ant-man), comedian hari kondabolu, popular punk band anti-flag, hawaiian slack-key guitar legend makana, danbert nobacon of uk sensation chumbawamba, and buzzworthy bilingual rockers downtown boys.
the festival-style concert will feature high profile performers and speakers from a wide range of organizations opposing the tpp. there will be food trucks, a beer garden, and games for kids, all starting at 5 p.m. august 20.
evangeline lilly and tpp experts will host a free teach-in the following day, sunday, august 21, at first unitarian church at 1:00pm.
see a full lineup and details for the portland stop here: https://www.rockagainstthetpp.org/portland-or
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ˈfɪfti jɪrz əˈgoʊ, θri greɪt mɛn daɪd wɪˈθɪn ə fju aʊərz əv iʧ ˈəðər: si. ɛs. luɪs, ʤɑn ɛf. ˈkɛnədi ənd ˈɑldəs ˈhəksli. ɪn 1982 fəˈlɑsəfi prəˈfɛsər ˈpitər ˌɪˈmæʤənd ðə θri əv ðɛm ɪn ˌkɑnvərˈseɪʃən ˈæftər ðɛr dɛθs. pəˈzɪʃənɪŋ luɪs ɛz ə prəˈpoʊnənt əv ˈeɪnʧənt ˈwɛstərn ˈθiɪzəm, ˈkɛnədi ɛz ə ˈmɑdərn ˈwɛstərn ˈhjumənɪst, ənd ˈhəksli ɛz ən ˈeɪnʧənt ˈistərn pantheist*, roʊt ə ˌkɑnvərˈseɪʃənəl bʊk ɛnˈtaɪtəld bɪtˈwin ˈhɛvən ənd hɛl: ə ˈdaɪəlɔg ˈsəmˌwɛr bɪɔnd dɛθ wɪθ ʤɑn ɛf. ˈkɛnədi, si. ɛs. luɪs ˈɑldəs ˈhəksli. fər jɪrz hərd əˈbaʊt ðɪs bʊk. ðɪs fɔl, aɪ ˌdɪˈsaɪdɪd tɪ rɛd ɪt. aɪ wɑz nɑt ˌdɪsəˈpɔɪnɪd. ðə kˈwɛʃən əv jesus’*’ aɪˈdɛntəˌti ðə bʊk bɪˈgɪnz wɪθ luɪs wɪθ ˈkɛnədi əˈbaʊt ˈʤizəs kraɪst ɛz ðə ˈsɛntrəl ˈfoʊkɪs əv ˈhɪstəri. ðɛr ˌkɑnvərˈseɪʃən riˈvɑlvz əraʊnd ðə aɪˈdɛntəˌti əv ˈʤizəs ɛz dɪˈskraɪbd ɪn ðə ˈskrɪpʧərz ˈvərsəz ðə riɪnˌtərprəˈteɪʃən əv jesus’*’ laɪf ənd ˈlɛgəsi ɛz tɔt baɪ ˈmɑdərn ˌθiəˈloʊʤənz. ˈkɑmən əˈbʤɛkʃənz tɪ trəˈdɪʃənəl ˌkrɪsʧiˈænɪti ər reɪzd baɪ ˈkɛnədi. æt wən pɔɪnt, hi ədˈmɪts tɪ luɪs: nɑt ɛz ˈbɑðərd baɪ ðə ˌpɑsəˈbɪləˌti əv biɪŋ ɪn hɛl ɛz aɪ æm baɪ jʊr bɪˈlif ɪn hɛl. aɪ faɪnd ðə fərst kwaɪt rɪˈmoʊt, bət ðə ˈsɛkənd kwaɪt ˈprɛzənt ənd threatening.”*.” ˈminˌwaɪl, luɪs ˈʧɪrfəli dɪsˈmæntəlz ðə ˈmɑdərn vju ðət ˈʤizəs wɑz ə gʊd mæn, bət nɑt gɑd. ˈsoʊˈkɔld nu ˌkrɪsʧiˈænɪti ɪz ˈnəθɪŋ bət ðə oʊld ˈæriən ˈhɛrəsi ɪn nu dress.”*.” fænz əv luɪs wɪl ˌɛnˈʤɔɪ ˈwɑʧɪŋ hɪz dɪˈsteɪst fər snobbery”*” teɪk ə fɔrm ɪn hɪz ˌkɑnvərˈseɪʃən wɪθ ˈkɛnədi: ˈkɛnədi: soʊ soʊ ˈaʊtˌdeɪtɪd. soʊ ˌənɛnˈlaɪtənd. soʊ mɪˈdjivəl. soʊ ˈprɪmɪtɪv. luɪs: ʤæk, du ju tɛl taɪm wɪθ ən ˈɑrgjəmənt? ˈkɛnədi: wət? luɪs: aɪ sɛd, du ju tɛl taɪm wɪθ ən ˈɑrgjəmənt? ˈkɛnədi: wət ɪn ðə wərld du ju min baɪ ðət? luɪs: wɪn ju wɔnt tɪ noʊ wət taɪm ɪt ɪz, wət du ju lʊk æt? ən ˈɑrgjəmənt ər ə klɑk? ˈkɛnədi: ə klɑk, əv kɔrs. luɪs: ənd wət du ju juz ən ˈɑrgjəmənt fər, ɪf nɑt tɪ tɛl taɪm? ˈkɛnədi: waɪ, tɪ pruv ˈsəmθɪŋ, əv kɔrs. ər tɪ traɪ tɪ. luɪs: ˈsəmθɪŋ fɔls ər ˈsəmθɪŋ tru? ˈkɛnədi: ˈsəmθɪŋ tru. luɪs: soʊ ju tɛl taɪm baɪ ðə klɑk ənd truθ baɪ ən ˈɑrgjəmənt. ˈkɛnədi: əˈməŋ ˈəðər minz, jɛs. luɪs: nɑt vaɪs ˈvərsə? ˈkɛnədi: noʊ. ˈtɛlɪŋ ðə truθ wɪθ ðə klɑk luɪs: bət ju wər traɪɪŋ tɪ tɛl truθ baɪ ðə klɑk ə ˈmɪnət əˈgoʊ. ˈkɛnədi: truθ baɪ ðə klɑk? luɪs: wɪn aɪ wɔnt tɪ dɪˈspruv ən aɪˈdiə, aɪ traɪ tɪ pruv ðət ɪt ɪz fɔls. jʊr ˈɑrgjəmənt əˈgɛnst maɪ aɪˈdiə ðət jʊr bɪˈlif wɑz ə ˈhɛrəsi wɑz ˈsɪmpli ðət maɪ aɪˈdiə wɑz oʊld. ˈaʊtˌdeɪtɪd, aɪ bɪˈliv ju sɛd. mɪˈdjivəl ənd ˈprɪmɪtɪv wər tu mɔr əv jʊr tərmz. ðoʊz ər ɔl klɑk wərdz, ər ˈkæləndər wərdz. (ˈkæləndərz ər ˈoʊnli bɪg, lɔŋ klɑks, ˈæftər ɔl.) ðə bɛst weɪ tɪ rɛd ðə ˈbaɪbəl ˈmɪdˌweɪ θru ðə bʊk, ˈhəksli bɪˈkəmz mɔr ˌɪnˈvɑlvd, ənd hi meɪks ə keɪs fər ən ˈistərn ˌɪnˌtərprɪˈteɪʃən əv jesus’*’ sɪgˈnɪfɪkəns. luɪs ənd ˈhəksli hæv ə roʊˈbəst ˌkɑnvərˈseɪʃən, ənd ðə ˈtɛnʃən ˈraɪzɪz bɪˈkəz ˈhəksli kəmz əˈkrɔs məʧ mɔr priˈpɛrd ðən ˈkɛnədi. əˈgɛnst ˈistərn ˌɪnˌtərprɪˈteɪʃən, luɪs ˈjuzɪz hɪz ˈlɪtərˌɛri ˈbækˌgraʊnd tɪ meɪk ðə keɪs fər ðə ˌəndərˈstændɪŋ əv ˈskrɪpʧər: luɪs: fərst əv ɔl, ə ˈlɪtərˌɛri ˈkrɪtɪk ʃʊd æsk əv ə ˈstɔri fərst əv ɔl wət ðə hoʊl ˈstɔri ɪz əˈbaʊt, ənd ˌɪnˈtərprət ˌpɑˈtɪkjələr ɪˈvɛnts ɪn ðə ˈkɑntɛkst əv ðə hoʊl ˈstɔri. ənd ðə ˈstɔri ɪn ðə ˈbaɪbəl ɪz əˈbaʊt sərʧ fər mæn sərʧ fər gɑd ˈvərsəz. sərʧ fər mæn ˈhəksli: ju min sərʧ fər gɑd. luɪs: noʊ. frəm ðə ˈbɪblɪkəl pɔɪnt əv vju, ˈspikɪŋ əˈbaʊt sərʧ fər gɑd ɪz laɪk ˈspikɪŋ əˈbaʊt ðə sərʧ fər ðə kæt. ˈhəksli: ju roʊt ðət ˈsəmˌwɛr. luɪs: jɛs. əˈlaʊd tɪ ˈpleɪʤərˌaɪz ˌmaɪˈsɛlf. ðə pɔɪnt ɪz ðət ðə gɑd əv ðə ˈbaɪbəl ˌɪnˈveɪdz wərld əv taɪm ˈrəðər ðən mæn ˌɪnˈveɪdɪŋ ɪˈtərnəti. mæn ˈsərʧɪz fər gɑd ɪn hoʊm, ɪˈtərnəti, bət gɑd ˈsərʧɪz fər mæn ɪn hoʊm, taɪm. ənd ðə gɑd əv ðə ˈbaɪbəl, ðə haʊnd əv ˈhɛvən, ðə dɪˈvaɪn ˈləvər, ðə ˈfɑðər ˈlʊkɪŋ fər hɪz ˈprɑdɪgəl sən, ðə ˈʃɛpərd fər hɪz lɔst ʃip. gɑd teɪks ðə ˌɪˈnɪʃətɪv. gɑd ˈɔlˌweɪz teɪks ðə ˌɪˈnɪʃətɪv, frəm ðə ækt əv kriˈeɪʃən ɔn. ðə səˈprim ɪgˈzæmpəl ɪz ðə ˌɪnˈkɑrˈneɪʃən, ðə səˈprim ɪgˈzæmpəl əv ˈteɪkɪŋ ˈhɪstəri ənd taɪm ənd ðə kriˈeɪtɪd wərld ˈsɪriəsli. ˌɪnˈstɛd əv ðə ˈpæsɪv ˈistərn gɑd rɪˈsivɪŋ sərʧ, ˈspɪrɪˌʧuəl ˈɛfərts, ˈʤizəs ɪz hɪmˈsɛlf ðə ˈæktɪv ˈwɛstərn gɑd ˈbɑrʤɪŋ ˈɪntu wərld ˈfɪzɪkəli. ˈleɪtər, luɪs meɪks ə keɪs fər juˈniknəs ənd waɪ wi məst ˈəltəmətli ˈriʤɛkt ˈɛni əˈtɛmpt tɪ ləmp ˈʤizəs ɪn wɪθ ˈəðər rɪˈlɪʤəs ˈlidərz: luɪs: ləv fɪts ðə ɪˌgæləˈtɛriən rɪˈlɪʤən əv ðə ˈmɑdərn wərld məʧ ˈbɛtər ðən feɪθ dɪz, ɪf ju min feɪθ ɪn ðə gɑd əv ˈbɪblɪkəl ˌrɛvəˈleɪʃən, nɑt ʤɪst feɪθ ɪn ə veɪg fɔrs əv jʊr oʊn ˌɪˌmæʤəˈneɪʃən, ər feɪθ ɪn feɪθ. ˈnɪrli ˈɛvriˌwən ədˈmɪts ðə kleɪmz əv ləv, æt list ɪn ˈprɪnsəpəl ɪf nɑt ɪn ˈpræktɪs; bət ˈoʊnli bɪˈlivərz ədˈmɪt ðə kleɪmz əv feɪθ. ˈhəksli: tru. naʊ haʊ dɪz ðɪs əˈplaɪ tɪ ˈʤizəs? luɪs: ˈnɪrli ˈɛvriˌwən əˈgriz wɪθ jesus’*’ ˈɛθɪkəl ˈtiʧɪŋz, bɪˈkəz ˈvɛri ˈsɪmələr tɪ ðoʊz əv ˈbudə ənd ənd ðə ˈəðərz ˈhəksli: soʊ ju ədˈmɪt ðət wən əv ðə ˈguˌruz! luɪs: ɛz fɑr ɛz hɪz ˈɛθɪks ɪz kənˈsərnd, jɛs. bət hɪz kleɪm tɪ dɪˈvɪnəti ɪz juˈnik, ənd əˈfɛnsɪv. soʊ ɪf ju kən ˈoʊnli ˈklæsəˌfaɪ ˈʤizəs wɪθ ˈəðər ˈɛθɪkəl ˈtiʧərz ənd fərˈgɛt ðə kleɪm tɪ dɪˈvɪnəti, hoʊm fri wɪθ ˈhjuməˌnɪzəm. ju kən ˈklæsəˌfaɪ kraɪst wɪθ ðə ˈguˌruz ənd ˌkrɪsʧiˈænɪti wɪθ wərld riˈlɪʤənz. ju ðəs riˈmuv ðə əv dɪˈstɪŋktɪvnəs, ðə teɪnt əv ˈɛlɪˌtɪzəm, ðə ˈskændəl əv biɪŋ raɪt wɛr ˈəðərz ər rɔŋ. ju ˈsætɪsˌfaɪ ðə dɪˈmændz əv jʊr gɑd iˌgæləˈtɛriəˌnɪzəm. kənˈkluʒən bɪtˈwin ˈhɛvən ənd hɛl meɪ bi ˈmɑrkətɪd ɛz ə ˌkɑnvərˈseɪʃən bɪtˈwin luɪs, ˈkɛnədi, ənd ˈhəksli, bət ðɪs ɪz ˈklɪrli lewis’*’ ʃoʊ. dɪz ə tərˈɪfɪk ʤɑb əv ˈgɪvɪŋ vɔɪs tɪ lewis’*’ θɔt, ənd lewis’*’ vju ðət ɛndz əp moʊst pərsˈweɪsɪv. ɪf ju wɔnt tɪ rɛd ən ɪnˈgeɪʤɪŋ bʊk ðət ʃoʊz ðə kəˈlɪʒən əv θri worldviews*, ju kən ˈhɑrdli faɪnd ə ˈbɛtər wən ðən ðɪs.
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fifty years ago, three great men died within a few hours of each other: c. s. lewis, john f. kennedy and aldous huxley. in 1982, philosophy professor peter kreeft imagined the three of them in conversation after their deaths.
positioning lewis as a proponent of ancient western theism, kennedy as a modern western humanist, and huxley as an ancient eastern pantheist, kreeft wrote a conversational book entitled between heaven and hell: a dialog somewhere beyond death with john f. kennedy, c. s. lewis & aldous huxley.
for years i’d heard about this book. this fall, i decided to read it. i was not disappointed.
the question of jesus’ identity
the book begins with lewis dialoguing with kennedy about jesus christ as the central focus of history. their conversation revolves around the identity of jesus as described in the scriptures versus the reinterpretation of jesus’ life and legacy as taught by modern theologians.
common objections to traditional christianity are raised by kennedy. at one point, he admits to lewis:
“i’m not as bothered by the possibility of being in hell as i am by your belief in hell. i find the first quite remote, but the second quite present and threatening.”
meanwhile, lewis cheerfully dismantles the modern view that jesus was a good man, but not god.
“your so-called new christianity is nothing but the old arian heresy in new dress.”
fans of lewis will enjoy watching his distaste for “chronological snobbery” take a dialogical form in his conversation with kennedy:
kennedy: . . . so . . . so outdated. so unenlightened. so medieval. so primitive. lewis: jack, do you tell time with an argument? kennedy: what? lewis: i said, do you tell time with an argument? kennedy: what in the world do you mean by that? lewis: when you want to know what time it is, what do you look at? an argument or a clock? kennedy: a clock, of course. lewis: and what do you use an argument for, if not to tell time? kennedy: why, to prove something, of course. or to try to. lewis: something false or something true? kennedy: something true. lewis: so you tell time by the clock and truth by an argument. kennedy: among other means, yes. lewis: not vice versa? kennedy: no. telling the truth with the clock lewis: but you were trying to tell truth by the clock a minute ago. kennedy: truth by the clock? lewis: when i want to disprove an idea, i try to prove that it is false. your argument against my idea that your belief was a heresy was simply that my idea was old. outdated, i believe you said. medieval and primitive were two more of your terms. those are all clock words, or calendar words. (calendars are only big, long clocks, after all.)
the best way to read the bible
midway through the book, huxley becomes more involved, and he makes a case for an eastern interpretation of jesus’ significance. lewis and huxley have a robust conversation, and the tension rises because kreeft’s huxley comes across much more prepared than kennedy.
against huxley’s eastern interpretation, lewis uses his literary background to make the case for the church’s understanding of scripture:
lewis: first of all, a literary critic should ask of a story first of all what the whole story is about, and interpret particular events in the context of the whole story. and the story in the bible is about god’s search for man … man’s search for god vs. god’s search for man huxley: you mean man’s search for god. lewis: no. from the biblical point of view, speaking about man’s search for god is like speaking about the mouse’s search for the cat. huxley: you wrote that somewhere. lewis: yes. i’m allowed to plagiarize myself. the point is that the god of the bible invades man’s world of time rather than man mystically invading god’s eternity. man searches for god in god’s home, eternity, but god searches for man in man’s home, time. and that’s the god of the bible, the hound of heaven, the divine lover, the father looking for his prodigal son, the shepherd for his lost sheep. god takes the initiative. god always takes the initiative, from the act of creation on. the supreme example is the incarnation, the supreme example of taking history and time and the created world seriously. instead of the passive eastern god receiving man’s search, man’s spiritual efforts, jesus is himself the active western god barging into man’s world physically.
later, lewis makes a case for christ’s uniqueness and why we must ultimately reject any attempt to lump jesus in with other religious leaders:
lewis: love fits the egalitarian religion of the modern world much better than faith does, if you mean faith in the god of biblical revelation, not just faith in a vague force of your own imagination, or faith in faith. nearly everyone admits the claims of love, at least in principle if not in practice; but only believers admit the claims of faith. huxley: true. now how does this apply to jesus? lewis: nearly everyone agrees with jesus’ ethical teachings, because they’re very similar to those of buddha and lao-tzu and the others … huxley: so you admit that he’s one of the gurus! lewis: as far as his ethics is concerned, yes. but his claim to divinity is unique, and offensive. so if you can only classify jesus with other ethical teachers and forget the claim to divinity, you’re home free with humanism. you can classify christ with the gurus and christianity with world religions. you thus remove the odium of distinctiveness, the taint of elitism, the scandal of being right where others are wrong. you satisfy the demands of your god egalitarianism.
conclusion
between heaven and hell may be marketed as a conversation between lewis, kennedy, and huxley, but this is clearly lewis’ show. kreeft does a terrific job of giving voice to lewis’ thought, and lewis’ view that ends up most persuasive. if you want to read an engaging book that shows the collision of three worldviews, you can hardly find a better one than this.
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ˈɛdɪtərz noʊt: ðɪs poʊst wɑz ərˈɪʤənəli ˈpəblɪʃt ɪn noʊˈvɛmbər 2016 ənd həz bɪn ˈəpˌdeɪtɪd wɪθ ðə moʊst ˈrisənt ˌɪnˌfɔrˈmeɪʃən. ˈtɛmpərəʧərz maɪt bi ˈdrɑpɪŋ əraʊnd ðə ˈkəntri, bət ðət dɪˈtər ju frəm ˈvɛnʧərɪŋ ˈaʊtˈsaɪd. ʃʊr, ju meɪ nid ə fju mɔr leɪərz ðən ɪn ˈsəmər bət, ɪn ˈwɪntər, ˈmɛni əv ˈnæʃənəl pɑrks ˈɔfər fjuər kraʊdz ənd ˈlænˌskeɪps. ˈwɛðər ə snoʊi trɛk θru ə ˈnæʃənəl pɑrk ɪn ˈjuˌtɔ, ər ə ˌwənɔnˈwən ɪnˈkaʊnər wɪθ ə ˈmænəˌti ɪn bɪˈskeɪn ˈnæʃənəl pɑrk, ˈɛni əv ðiz ˈgɔrʤəs ˌdɛstəˈneɪʃənz ɪz wərθ ðə trɪp. ˈraʊndɪd əp 10 əv ðə bɛst ˈnæʃənəl pɑrks tɪ ˈvɪzɪt ðɪs ˈwɪntər. wɔnt ˈivɪn mɔr ˈnæʃənəl pɑrk ˈgʊdnɪs? ʧɛk aʊt ɑr gaɪd tɪ ðə bɛst hoʊˈtɛlz nɪr 9 əv tɔp ˈnæʃənəl pɑrks ər ɑr dip daɪv ˈɪntu ˈnæʃənəl pɑrk ˈɑrkəˌtɛkʧər. ˈɑrʧɪz ˈnæʃənəl pɑrk, ˈjuˌtɔ ðə ˈbrɪljənt rɛd rɑk əv ˈɑrʧɪz ˈnæʃənəl pɑrk ɪz ˈmɛmərəbəl ˈɛniˌtaɪm əv ðə jɪr, ənd ˈwɪntər ˈɔfərz rɪˈlif frəm boʊθ ðə ˈbleɪzɪŋ ˈsəmər ˈjuˌtɔ hit ənd kraʊdz. moʊst əv ðə ˈhaɪkɪŋ treɪlz ər ˈoʊpən jɪr raʊnd, bət ˈpɑpjələr treɪlz laɪk ˈdɛləkət ɑrʧ wɪl ˈlaɪkli ˌrikˈwaɪər ˈtrækʃən dɪˈvaɪsɪz ənd ˈtrɛkɪŋ poʊlz θæŋks tɪ pækt snoʊ ənd aɪs. dɛθ ˈvæli ˈnæʃənəl pɑrk, ˌkæləˈfɔrnjə ənd nəˈvɑdə ɪn ðə ˈsəmər, dɛθ ˈvæli ˈrɛgjələrli lɔgz səm əv ðə ˈhɑtəst əraʊnd 120 dɪˈgriz ðə wərld, ˈmeɪkɪŋ ɪt ðə ˈpərˌfɪkt ˈwɪntər ˌdɛstɪˈneɪʃən. ju kən ɪkˈspɛkt ˈmoʊstli ˈsəni deɪz ɪn ðə loʊ 70s*, ðə rɛr ˈreɪnˌstɔrm, ənd səm əv ðə bɛst ɪn ðə wərld. bi əˈwɛr ðət ˈwɪntər ɪz dɛθ pik ˈsizən, soʊ ədˈvæns ˌrɛzərˈveɪʃənz maɪt bi ˈnɛsəˌsɛri. ðə grænd ˈkænjən, ˌɛrɪˈzoʊnə hɛd tɪ ðə saʊθ rɪm əv ðə grænd ˈkænjən ɪn ðə ˈwɪntər, ɛz ðə nɔrθ rɪm ɪz ˈoʊnli ˈoʊpən frəm meɪ ənˈtɪl ɑkˈtoʊbər. stɪl gɪt əˈmeɪzɪŋ ˈvɪstəz æt ˈɛni taɪm əv ðə jɪr, bət ɪn ˈwɪntər ðə ˈsəmˌtaɪmz ˌoʊvərˈwɛlmɪŋ kraʊdz dˈwɪndəl tɪ ʤɪst ə ˈtrɪkəl. ðət min læk fər θɪŋz tɪ treɪlz əˈbaʊnd ənd ˈtɛmpərəʧərz bɪˈloʊ ðə rɪm əv ðə ˈkænjən kən ˈɔfən bi ə bɪt ˈwɔrmər. bɪˈskeɪn ˈnæʃənəl pɑrk, ˈflɔrɪdə ə draɪv saʊθ əv maɪˈæmi, bɪˈskeɪn ˈnæʃənəl pɑrk ɪz juˈnik tɪ ˈnæʃənəl pɑrk ˈsɪstəm bɪˈkəz moʊst əv ðə ˈeɪkərz ər səbˈmərʤd. ðə beɪ ɪz ˈtimɪŋ wɪθ ʃɑrks, reɪz, si ˈtərtəlz, ˈʤɛliˌfɪʃ, ənd mɔr ðən 500 ˈspiʃiz əv ðə ˈwɪntər mənθs si fjuər bəgz ənd məˈskitoʊz. bʊk ə kəˈnu trɪp θru ðə ənd bi ɔn ðə ˈlʊˌkaʊt fər ˈmænəˌti; ðɛr praɪm ˈsizən ɪz noʊˈvɛmbər θru ˈeɪprəl. bɪg bɛnd ˈnæʃənəl pɑrk, ˈtɛksəs wɪθ mɔr ðən skwɛr maɪəlz əv ˈrəgəd ˈdɛzərt ənd ˈmaʊntənz, bɪg bɛnd ˈnæʃənəl pɑrk meɪ nɑt bi ɛz ˈpɑpjələr ɛz ɑr ˈbɪziəst pɑrks, bət wərθ ðə trɛk ɪn ðə ˈwɪntər. ˈwɪntər haɪz ər ˈjuʒəwəli ɪn ðə, ˈpərˌfɪkt ˈwɛðər fər ˈhaɪkɪŋ, ˈfloʊtɪŋ daʊn ðə ˈrioʊ grænd, ənd ɪkˈsplɔrɪŋ hɪˈstɔrɪk hɑt spərɪŋz. hɛd tɪ ðə ˈmaʊntən ˈoʊnli ˈlɑʤɪŋ ɪn ðə ˈrəstɪk əˌkɑməˈdeɪʃənz ənd ə gʊd ˈsɛntrəl loʊˈkeɪʃən. ˈnæʃənəl pɑrk, əˈlæskə ʃʊr, ɪt meɪ bi dɑrk ɪn əˈlæskə ɪn ðə kən rɪˈsiv lɛs ðən faɪv aʊərz əv ðət min ðɪs ˈnæʃənəl pɑrk wərθ ə ˈvɪzɪt. məʧ əv ðə soʊl roʊd ɪz kloʊzd ɪn ðə ˈwɪntər, bət maɪəlz əv treɪlz aʊt əv ðə ˈwɪntər ˈvɪzɪtər ˈsɛnər əˈlaʊ fər boʊθ ʃɔrt ənd ɪkˈstɛndɪd trɪps baɪ ski, sˈnoʊˌʃu, fʊt, ər dogsledding*. ˈɔlsoʊ ˈɔfərz ə glɪmps əv ðə ərˈɔrə ˌbɔriˈæləs ənd səm əv ðə moʊst ˌɪmˈprɛsɪv ˈgleɪʃərz. ˈʤɑˌʃuə tri ˈnæʃənəl pɑrk, ˌkæləˈfɔrnjə wɪθ ˈdeɪˌtaɪm ˈtɛmpərəʧərz ˈɔfən əˈbəv 100 dɪˈgriz ˈfɛrənˌhaɪt ɪn ðə ˈsəmər, ˈʤɑˌʃuə tri ˈnæʃənəl pɑrk ɪn ðə ˈwɪntər ɪz ə ˈpərˌfɪkt taɪm tɪ si ðə ˌaɪˈkɑnɪk spaɪkt triz ənd ˈtaʊrɪŋ ˈboʊldər fɔrˈmeɪʃənz. sˈnoʊfɑl dɪz ˈhæpən ɪn ðə ˈwɪntər mənθs, bət moʊst ˈɔfən ˈvɪzɪtərz ər ˈtritɪd tɪ ˈpərˌfɪkt ˈhaɪkɪŋ ənd ˈklaɪmɪŋ weather—*— θɪŋk haɪz ɪn ðə ənd klɪr skaɪz. həˈwaɪˌi vɑlˈkeɪnoʊz ˈnæʃənəl pɑrk, həˈwaɪˌi ə ˈwɪntər ˈgɛtəˌweɪ tɪ həˈwaɪˌi simz laɪk ə noʊ ˈbreɪnər, bət bɪɔnd ðə ˌənfərˈgɛtəbəl ˈbiʧɪz, ˈvɪzɪtərz ˈɔlsoʊ mɪs ə trɪp tɪ həˈwaɪˌi vɑlˈkeɪnoʊz ˈnæʃənəl pɑrk. ɔn ðə meɪn ˈaɪlənd ʧɛk aʊt kilauea*, wən əv ðə moʊst ˈæktɪv vɑlˈkeɪnoʊz, ənd ˈmɔnə loa*, ə ˈmæsɪv ʃild vɑlˈkeɪnoʊ. ər draɪv əp tɪ ðə tɔp əv ˈnæʃənəl pɑrk ɔn maʊi ənd ˌɛnˈʤɔɪ ðə ˈnumərəs ˈhaɪkɪŋ treɪlz ənd ˈsinɪk ˈvɪstəz. sɪkˈwɔɪə ˈnæʃənəl pɑrk, ˌkæləˈfɔrnjə hɛd tɪ ðə ˈvɪlɪʤ ənd lɑʤ ɪn sɪkˈwɔɪə ˈnæʃənəl pɑrk tɪ si səm əv nɔrθ ˈoʊldəst ˈfɔrəsts ˈkəvərd ɪn snoʊ. ˈwɪntər ˈvɪzɪtərz hæv tɪ dil wɪθ sˈmɔlər kraʊdz ənd hæv ˈækˌsɛs tɪ ˈoʊvər 50 maɪəlz əv mɑrkt sˈnoʊˌʃu ənd ˈkrɔˌskəntri treɪlz. joʊˈsɛmɪti ˈnæʃənəl pɑrk, ˌkæləˈfɔrnjə joʊˈsɛmɪti ˈɔfərz ˈsəmθɪŋ fər ˈɛvriˌwən æt ˈɛni taɪm əv ðə jɪr, bət ɪn ˈwɪntər ðə ˈvæliz teɪk ɔn ən ɪˈθɪriəl kˈwɑləti. traɪ aɪs ˈskeɪtɪŋ, krɔs ˈkəntri skiɪŋ, ənd ʧɛk aʊt ðə məˈʤɛstɪk hoʊˈtɛl ənd joʊˈsɛmɪti ˈvæli pɑrk ˈlɑʤɪz ˈoʊpən θruaʊt ðə jɪr. wɔʧ: ə ˌsɛlfsəˈfɪʃɪnt ˈkæmpər ðət ˈroʊˌteɪts 360 dɪˈgriz
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editor's note: this post was originally published in november 2016 and has been updated with the most recent information.
temperatures might be dropping around the country, but that shouldn’t deter you from venturing outside. sure, you may need a few more layers than in summer but, in winter, many of america’s national parks offer fewer crowds and jaw-dropping landscapes.
whether it’s a snowy trek through a national park in utah, or a one-on-one encounter with a manatee in florida’s biscayne national park, any of these gorgeous destinations is worth the trip. we’ve rounded up 10 of the best national parks to visit this winter.
want even more national park goodness? check out our guide to the best hotels near 9 of america’s top national parks or our deep dive into national park architecture.
arches national park, utah
the brilliant red rock of arches national park is memorable anytime of the year, and winter offers relief from both the blazing summer utah heat and crowds. most of the park’s hiking trails are open year round, but popular trails like delicate arch will likely require traction devices and trekking poles thanks to packed snow and ice.
death valley national park, california and nevada
in the summer, death valley regularly logs some of the hottest temperatures—hovering around 120 degrees fahrenheit—in the world, making it the perfect winter destination. you can expect mostly sunny days in the low 70s, the rare rainstorm, and some of the best stargazing in the world. be aware that winter is death valley’s peak season, so advance reservations might be necessary.
the grand canyon, arizona
head to the south rim of the grand canyon in the winter, as the north rim is only open from may until october. you’ll still get amazing vistas at any time of the year, but in winter the sometimes overwhelming crowds dwindle to just a trickle. that doesn’t mean you’ll lack for things to do—hiking trails abound and temperatures below the rim of the canyon can often be a bit warmer.
biscayne national park, florida
a 45-minute drive south of miami, biscayne national park is unique to america’s national park system because most of the park’s 173,000 acres are submerged. the bay is teaming with wildlife—including sharks, rays, sea turtles, jellyfish, and more than 500 species of fish—and the winter months see fewer bugs and mosquitos. book a canoe trip through the mangroves and be on the lookout for manatee; their prime season is november through april.
big bend national park, texas
with more than 1,200 square miles of rugged desert and mountains, big bend national park may not be as popular as our country’s busiest parks, but it’s worth the trek in the winter. winter highs are usually in the 60s, perfect weather for hiking, floating down the rio grande, and exploring historic hot springs. head to the 72-room chisos mountain lodge—the only lodging in the park—for rustic accommodations and a good central location.
denali national park, alaska
sure, it may be dark in alaska in the winter—denali can receive less than five hours of daylight—but that doesn’t mean this national park isn’t worth a visit. much of the park’s sole road is closed in the winter, but miles of trails out of the winter visitor center allow for both short and extended trips by ski, snowshoe, foot, or dogsledding. denali also offers a glimpse of the aurora borealis and some of the world’s most impressive glaciers.
joshua tree national park, california
with daytime temperatures often above 100 degrees fahrenheit in the summer, joshua tree national park in the winter is a perfect time to see the iconic spiked trees and towering boulder formations. snowfall does happen in the winter months, but most often visitors are treated to perfect hiking and climbing weather— think highs in the 60s and clear skies.
hawaii volcanoes national park, hawaii
a winter getaway to hawaii seems like a no brainer, but beyond the island’s unforgettable beaches, visitors also shouldn’t miss a trip to hawaii volcanoes national park. on the main island check out kilauea, one of the world’s most active volcanoes, and mauna loa, a massive shield volcano. or drive up to the top of haleakala national park on maui and enjoy the numerous hiking trails and scenic vistas.
sequoia national park, california
head to the 102-room wuksachi village and lodge in sequoia national park to see some of north america’s oldest forests covered in snow. winter visitors have to deal with smaller crowds and have access to over 50 miles of marked snowshoe and cross-country trails.
yosemite national park, california
yosemite offers something for everyone at any time of the year, but in winter the valleys take on an ethereal quality. try ice skating, cross country skiing, and check out the majestic hotel and yosemite valley lodge—national park lodges open throughout the year.
watch: a self-sufficient camper that rotates 360 degrees
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ðə ˈlɛʤənd əv ˈzɛldə: brɛθ əv ðə waɪld wɪl lɔnʧ ɔn mɑrʧ 3 ɪn nɔrθ əˈmɛrɪkə, nɪnˈtɛndoʊ rɪˈvild ˈdʊrɪŋ ə ˈspɛʃəl nɪnˈtɛndoʊ swɪʧ livestream*. ðə geɪm, wɪʧ ɪz du fər boʊθ ðə swɪʧ ənd wi ju, wɪl bi ə lɔnʧ ˈtaɪtəl fər ðə nu ˈkɑnsoʊl. nɪnˈtɛndoʊ həz ˈdeɪbjutɪd ˈsɛvərəl ˈtreɪlərz əv brɛθ əv ðə waɪld sɪns ɪt wɑz ˈfʊli ənˈveɪld læst jɪr, ˈdʊrɪŋ 2016 ðət stɑp ðə ˈkəmpəˌni frəm ʃoʊɪŋ əˈnəðər wən təˈnaɪt. ðə ˈvɪdioʊ wɑz læst thing”*” ˈdʊrɪŋ ðə ˈspɛʃəl swɪʧ ɪˈvɛnt, ʃoʊɪŋ ðə ˈoʊpən wərld ədˈvɛnʧər ɪkˈspænsɪv ˈlænˌskeɪp. wi sɔ lɪŋk ˈskeɪlɪŋ ə ˈmaʊntən, ˈrənɪŋ θru fildz ənd ˈraɪdɪŋ əraʊnd ɔn hɪz ˈtrəsti stid, ɔl ɪn ðə hoʊps əv ˈseɪvɪŋ ðə ˈkɪŋdəm əv hyrule*. ðə swɪʧ ˈvərʒən əv brɛθ əv ðə waɪld wɪl bi ˈkɑmprəbəl tɪ ðə wən ɔn wi ju, ˌɔlˈðoʊ ɪt wɪl teɪk ædˈvæntɪʤ əv ðə nuər ˌɪnˈkrist ˌkeɪpəˈbɪlətiz. ɪt wɪl ˈɔlsoʊ bi kəmˈpætəbəl wɪθ nu, ɛz wɛl ɛz ðə wʊlf lɪŋk ˈfɪgjər. ərˈɪʤənəli riˈlist wɪθ tˈwaɪˌlaɪt ˈprɪnsɛs ɔn wi ju, ðə ˈfɪgjər wɪl bi soʊld ˈsɛpərətli ˈstɑrtɪŋ ˈfɛbjəˌwɛri. 3 θri ˈdɪfərənt ɪˈdɪʃənz əv brɛθ əv ðə waɪld wɪl bi soʊld: ˈstændərd, ˈspɛʃəl ənd ˈmæstər ɪˈdɪʃən. ðə ˈspɛʃəl ɪˈdɪʃən wɪl ˌɪnˈklud ə ˈkɛriɪŋ keɪs, kəˈlɛktəbəl kɔɪn, mæp, ˈtæpəstri ənd ðə ˈsaʊnˌtræk. ðə ˈmæstər ɪˈdɪʃən, wɪʧ wɪl kɔst wɪl ˌɪnˈklud ɔl əv ðə əˈbəv ənd ə ˈspɛʃəl ˈmæstər sɔrd ˈfɪgjər. ðə geɪm ɪz əˈveɪləbəl tɪ pleɪ ˈdʊrɪŋ ðə nɪnˈtɛndoʊ swɪʧ ˌhænˈzɔn ɪˈvɛnts, wɪʧ kɪk ɔf ɪn nu jɔrk ˈsɪti ənd ˈtoʊkiˌoʊ ðɪs ˈwiˌkɪnd. brɛθ əv ðə waɪld ɪz ðə fərst ərˈɪʤənəl ˈzɛldə geɪm tɪ hɪt wi ju. ɪt wɑz ərˈɪʤənəli du ɪn 2015 bət nɪnˈtɛndoʊ əˈnaʊnst ɪn ðə spərɪŋ əv ðət jɪr ðət ðə geɪm meɪk ɪt ənˈtɪl məʧ ˈleɪtər. mɔr nɪnˈtɛndoʊ swɪʧ goʊ hir tɪ wɔʧ ðə nɪnˈtɛndoʊ swɪʧ ˌprɛzənˈteɪʃən lɪv. ənd goʊ hir fər ɔl ðə ˈleɪtəst nɪnˈtɛndoʊ swɪʧ nuz ənd ˌɪnˌfɔrˈmeɪʃən. wɔnt ðə ˈleɪtəst nuz, ˈvɪdioʊz ənd sɛnt tɪ jʊr wəns ˈɛvəri ˈwikˌdeɪ? ðɛn saɪn əp fər ðə ˈpɑlɪˌgɑn ˈnuzˌlɛtər bɪˈloʊ.
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the legend of zelda: breath of the wild will launch on march 3 in north america, nintendo revealed during a special nintendo switch livestream. the game, which is due for both the switch and wii u, will be a launch title for the new console.
nintendo has debuted several trailers of breath of the wild since it was fully unveiled last year, during e3 2016. that didn’t stop the company from showing another one tonight. the video was nintendo’s “one last thing” during the special switch event, showing the open world adventure game’s expansive landscape. we saw link scaling a mountain, running through snow-covered fields and riding around on his trusty steed, all in the hopes of saving the kingdom of hyrule.
the switch version of breath of the wild will be comparable to the one on wii u, although it will take advantage of the newer console’s increased capabilities. it will also be compatible with new amiibo, as well as the wolf link amiibo figure. originally released with twilight princess hd on wii u, the figure will be sold separately starting feb. 3.
three different editions of breath of the wild will be sold: standard, special and master edition. the special edition will include a carrying case, collectible coin, map, tapestry and the game’s soundtrack. the master edition, which will cost $129.99, will include all of the above and a special master sword figure.
the game is available to play during the nintendo switch hands-on events, which kick off in new york city and tokyo this weekend.
breath of the wild is the first original zelda game to hit wii u. it was originally due in 2015, but nintendo announced in the spring of that year that the game wouldn’t make it until much later.
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ʃɔrt əv ˈkænəbəˌlɪzəm, ðə moʊst ˌkɑntrəˈvərʃəl ˈɪʃuz ɪn ˈmiˌtitɪŋ təˈdeɪ ər ˈlaɪkli ðə kənˈsəmʃən əv dɔg tɪ ɑr ˈsoʊʃəl ənd ˌsɛnəˈmɛnəl əˈtæʧmənts tɪ ðə ˈkeɪˌnaɪn ðə ˈpræktɪs əv ˈitɪŋ lɪv ˈænəməlz. ə 2010 ˈɑrtɪkəl ɪn ðə ˈgɑrdiən ˌɪgˈnaɪtɪd ˈhɛvi əˈpɪnjənz fər ˈoʊpənɪŋ dɪˈskəʃən əˈbaʊt ˈkoʊpənˌhɑgən ˈrɛˌstrɑnt dɪʃ əv langoustine*; sɪns, ðə ˈɪʃu həz pɑpt əp hir ənd ðɛr ɪn ˌɛdəˈtɔriəlz ənd ˈjuˌtub ˈvɪdioʊz. bət ɪn səm ˈkɔrnərz əv ðə wərld, ðɛr ɪz lɛs tæˈbu əˈsaɪnd tɪ ˈitɪŋ ðə still-breathing*. ɪn soʊl, saʊθ ˌkɔˈriə, ðɛr ər ɪnˈtaɪər ˈrɛˌstrɑnts ˈsɛntərd əraʊnd ˈdaɪnɪŋ ɔn huz ɑrmz kənˈtɪnju tɪ skwərm wɪn ðɛr pleɪst ɔn jʊr ɛz ðeɪ ˈrɪgəl daʊn jʊr θroʊt. wɔʧ: haʊ tɪ it lɪv ˈɑktəˌpʊs ðə ˌdɛzəgˈneɪʃənz əv ˈwɛlˌfɛr, ˈkruəlti, ənd ˈsɪmpəl skˈwimɪʃnəs ər nɑt ˈɔlˌweɪz ɪn ˈɪʃuz sərˈaʊndɪŋ ðə taɪps əv ˈænəməlz ðət wi doʊnt hoʊld ˌpɑrˈtɪkjələrli nɪr ənd dɪr. waɪ ɪz ɪt ðət wi ˈɔlˌmoʊst ˌjunəˈvərsəli kənˈdɛm ˈlivɪŋ ə dɔg aʊt ɪn ðə reɪn ər ˈkɪkɪŋ ə kæt, bət ˈhævənt jɛt ˌdɪˈsaɪdɪd ˈwɛðər sˈloʊli dɪsˈmɛmbərɪŋ ə si ˈkriʧər ɪz ˈtruli ˌdɪsəˈgriəbəl? ˈrəðər ðən traɪɪŋ tɪ ˈrɛkən wɪθ ˈæpəlz ənd ˈɔrɪnʤɪz (ər ənd squids*), aɪ kənˈsəltɪd ˈsɛfələˌpɑd ˈɛkspərt ˈʤɛnəfər ˈmæðər, ˈpiˌeɪʧˈdi, ə prəˈfɛsər əv saɪˈkɑləʤi æt ðə ˌjunəˈvərsəti əv ɪn ælˈbərtə ənd ˈɔθər əv ˈnumərəs ˈstədiz ɔn ˈɑktəˌpʊs ənd ˈsɛfələˌpɑd, ˌɪnˈkludɪŋ "ˈsɛfələˌpɑd ˈkɑnʃəsnəs: bɪˈheɪvjərəl ˈɛvədəns" ənd "ˈɛθɪks ənd ˌɪnˈvərtəˌbreɪts: ə ˈsɛfələˌpɑd pərˈspɛktɪv." ʃi həz ˈstədid ənd ðɛr kloʊz ˈrɛlətɪvz sɪns 1978 ənd həz dən ɪkˈstɛnsɪv fild ˈrisərʧ ˈɪntu ðə ˈsɛfələˌpɑd maɪnd. aɪ hoʊpt ðət ʃi kʊd ˈɔfər ˈgreɪtər ˈɪnˌsaɪt ˈɪntu peɪn ənd ɪn ˈɑktəˌpʊs tərmz. ˈmənˌʧiz: hæv ju kəm əˈkrɔs ðə ˈpræktɪs əv ˈitɪŋ lɪv ˈɑktəˌpʊs ˈoʊvər ðə kɔrs əv jʊr ˈrisərʧ ɔn cephalopods*? ˈʤɛnəfər ˈmæðər, ˈpiˌeɪʧˈdi: ɪts nɑt ˈsəmθɪŋ aɪv kəm əˈkrɔs ɪn maɪ ˈrisərʧ. bət ðɛr wɑz ə dɪˈskəʃən aɪ hæd wɪθ ˈpitə əˈbaʊt ˈsəmˌwən hu wɑz fraɪɪŋ əˈlaɪv ɪn nu jɔrk, ənd aɪ wɑz æst tɪ ˈkɑmɛnt ɔn ðət. wət du ju θɪŋk ən ˈɑktəˌpʊs ɪz ɪkˈspɪriənsɪŋ wɪn ɪts biɪŋ kət ˈɪntu ˈpisɪz ənd ˈitən əˈlaɪv? wəts goʊɪŋ ɔn ˈfɪzɪkəli wɪn ðɛr ɑrmz kənˈtɪnju tɪ muv ˈæftər ðeɪv bɪn kət ɔf? ɪts ˈprɑbəbəl ðət ðə riˈækʃən tɪ peɪn ɪz ˈsɪmələr tɪ ə ˈvərtəˌbreɪt. ðeɪ kən ænˈtɪsəˌpeɪt ə ˈpeɪnfəl, ˈdɪfəkəlt, ˈstrɛsfəl kən rɪˈmɛmbər ɪt. ðɛr ɪz ˌæbsəˈlutli noʊ daʊt ðət ðeɪ fil peɪn. ðə ˈɑktəˌpʊs həz ə ˈnərvəs ˈsɪstəm wɪʧ ɪz məʧ mɔr dɪˈstrɪbjətəd ðən ɑrz. ɪf ju lʊk æt ˈjuˈɛs, moʊst əv ɑr ˈnʊrɑnz ər ɪn ɑr breɪn, ənd fər ðə ˈɑktəˌpʊs, əv ɪts ˈnʊrɑnz ər ɪn ɪts ɑrmz. ɪf juv gɑt ˈpisɪz əv ɑrm, bɪˈkəz ðɛrz soʊ məʧ ˈloʊkəl kənˈtroʊl, ðeɪ maɪt riækt tɪ ðə ˈpeɪnfəl ˈstɪmjəˌlaɪ ðət ðeɪ gɪt, bət ðɛr ˈprɑbəˌbli nɑt ɪgˈzæktli "ˈfilɪŋ peɪn," bɪˈkəz ðɛr ˌdɪskəˈnɛktɪd frəm ðə breɪn. bət ðə ˈɑktəˌpʊs, wɪʧ juv bɪn ˈʧɑpɪŋ tɪ ˈpisɪz, ɪz ˈfilɪŋ peɪn ˈɛvəri taɪm ju du ɪt. ɪts ʤɪst ɛz ˈpeɪnfəl ɛz ɪf ɪt wər ə hɑg, ə fɪʃ, ər ə ˈræbɪt, ɪf ju ʧɑpt ə lɛg ɔf pis baɪ pis. soʊ ɪts ə bɑrˈbɛrɪk θɪŋ tɪ du tɪ ðə ˈænəməl. maɪ θɔt ɪz ðət ɪf ju hæd ə hoʊl ˈɑktəˌpʊs ənd traɪd tɪ it ɪt, ɪt wʊd bi ə kəmˈplitli ˌsɪʧuˈeɪʃən bɪˈkəz ðə ˈɑktəˌpʊs wʊd traɪ tɪ klaɪm aʊt. aɪ faɪnd ɪt ˈdɪfəkəlt tɪ hæv ˈɛni ˈsɪmpəθi fər ˈpipəl hu ʧoʊk ɔn ə lɪv ˈænəməl ðət ðɛr ˈitɪŋ pis baɪ pis. haʊ kən wi əˈkaʊnt fər ˈdɪfərənsɪz ɪn ðə pərˈsɛpʃən əv wət ˈkɑnstəˌtuts ˈkruəlti bɪtˈwin ˈkəlʧərz? aɪv tɔkt tɪ ˈəðər ˈpipəl əˈbaʊt ɪz ˈkəlʧərəl ˌsɛnsɪˈtɪvɪti, ənd ðɛr ɪz ˈsəfərɪŋ. aɪ ˈsəˌspɛkt ðət ðɛr ʤɪst θroʊɪŋ ən ˈɑktəˌpʊs ɔn ə ˈʧɑpɪŋ blɑk ənd ˈkətɪŋ ɔf ˈpisɪz ɛz ðeɪ goʊ, ənd ðeɪ ər ˌæbsəˈlutli ˈkɔzɪŋ ðət ˈænəməl ˈsəfərɪŋ. ðɛrz noʊ daʊt əˈbaʊt ɪt. bət ˈgʊdnɪs noʊz, aɪ hæv ˈitən rɑ ˈɔɪstərz ənd rɑ klæmz. bət ðeɪ ˈrɪli doʊnt hæv ðə ˈsɛntrəl ˈnərvəs ˈsɪstəm tɪ bi, soʊ tɪ spik, ˈmeɪkɪŋ dɪˈsɪʒənz ənd ˈsəfərɪŋ. wət əˈbaʊt ˈəðər taɪps əv si lɪv langoustine*, fər ɪgˈzæmpəl, ðət kɔzd weɪvz fər ˈkoʊpənˌhɑgənz noma*? ðɛrz ən ˈɪntəˌrɛstɪŋ ˌsɪʧuˈeɪʃən bɪˈkəz ðə ˌjʊrəˈpiən ˈjunjən, ˈoʊvər ðə læst fju jɪrz, lʊkt æt ɔl əv ðɛr ˈænəməl ˈwɛlˌfɛr rulz. ənd wən əv ðə θɪŋz ðeɪ lʊkt æt ɪn tərmz əv rulz wɑz, ˈoʊˈkeɪ, wi hæv tɪ gɪv kənˌsɪdərˈeɪʃən tɪ ˈvərtəˌbreɪts, bət ər ðɛr ˈɛni ˌɪnˈvərtəˌbreɪts ðət wi ʃʊd gɪv ˈɛθɪkəl kənˌsɪdərˈeɪʃən tɪ? ˈæftər kwaɪt səm dɪˌlɪbərˈeɪʃən, ðeɪ ˌdɪˈsaɪdɪd ðət ɪn tərmz əv ˈrisərʧ, ju ʃʊd gɪv kənˌsɪdərˈeɪʃən tɪ cephalopods*, ˌɪnˈkludɪŋ ˈɑktəˌpʊs ənd skwɪd, bət ðeɪ dɪd nɑt ˌɪnˈklud krəˈsteɪʃənz. bət ðət ˈdəzənt min ðət krəˈsteɪʃənz kænt ɪkˈspɪriəns ðə seɪm peɪn ˈstɪmjəˌlaɪ, ænˌtɪsəˈpeɪʃən, ənd ˈmɛməri əv ˈpeɪnfəl ɪˈvɛnts ðət ən ˈɑktəˌpʊs dɪz. ər ðɛr ˈɛni weɪz, ʃɔrt əv ˈmɛdɪkəl səˈdeɪʃən, ðət wən kʊd rɪˈdus ðə əˈmaʊnt əv ˈsəfərɪŋ waɪl stɪl ˈitɪŋ ən ˈænəməl əˈlaɪv? ɪf ðeɪ stək ə ʃrɪmp ɔn ə blɑk əv aɪs ənˈtɪl ɪts unreactive*, ɪts ˈprɑbəˌbli lɛs əˈwɛr ðən ɪt wʊd bi ɪf ju pɪkt ɪt aʊt əv ðə ˈwɔtər ənd ˈstɑrtɪd ʧuɪŋ ɪt frəm ðə teɪl əp. ju kən gɪv ən ˈænəməl ə kwɪk ənd ˈmɪnəməli ˈpeɪnfəl dɛθ ˌbiˈfɔr ju it ðə list, ju kən dɪˈstrɔɪ ðə breɪn. əv ɔl ˈpipəl, ˈʤuljə ʧaɪld hæd ˌɪnˈstrəkʃənz fər ˈkətɪŋ ðə breɪn əv ə ˈlɑbstər tɪ kɪl ɪt ˌbiˈfɔr ju bɔɪl ɪt. wət wʊd bi ðə bɛst weɪ tɪ kɪl ən ˈɑktəˌpʊs kˈwɪkli ənd wɪθ ˈmɪnəməl peɪn tɪ ðə ˈænəməl? aɪ θɪŋk ɪt wɑz ðə həˈwaɪənz hu juzd tɪ baɪt daʊn ɔn ðə breɪn tɪ kɪl ɪt kˈwɪkli. wət aɪ wʊd du ɪz pʊt ɪt ɪn ðə ˈfrizər. krəˈsteɪʃənz, cephalopods*, ənd ˈmɑləsks doʊnt hæv ˈɛni ˌɪnˈtərnəl ˈtɛmpərəʧər ˌrɛgjəˈleɪʃən, soʊ ɪf ju friz ðɛm ju kən gɪt ðɛm tɪ ðə pɔɪnt wɛr ðɛr ˈrɪli nɑt ˈkɑnʃəs. ðət wʊd bi ðə kˈwɪkɪst, ˈiziəst weɪ tɪ ˈrɛndər ən ˈænəməl ðət maɪt bi ˈkɑnʃəs nɑt ˈkɑnʃəs. ju doʊnt hæv tɪ ˈfɪgjər aʊt ɪgˈzæktli wɛr ðə breɪn ɪz, ənd ju doʊnt hæv tɪ ˈwəri əˈbaʊt ən ˌænəsˈθɛtɪk ˈteɪntɪŋ ðə ˈfleɪvər əv ðə mit. ju ʤɪst stɪk ɪt ɪn ðə ˈfrizər. ɪn jʊr ˈrisərʧ, ˌpɑrˈtɪkjələrli wɪθ ˈɑktəˌpʊs, wət wɑz ðə moʊst səˈpraɪzɪŋ ˈɛvədəns əv ˈænɪkˌdoʊt ju faʊnd əˈbaʊt ðɛr ˌɪnˈtɛləʤəns ər sɛns əv? ðeɪ juz tulz, ənd ðɛl θɪŋk əˈbaʊt wət ðeɪ wɔnt tɪ du wɪθ ˈsəmθɪŋ ˈivɪn ˌbiˈfɔr ðeɪ du ɪt. ðɛrz ə ˈwəndərfəl ˈvɪdioʊ frəm səm gaɪz ɪn ər ˈsɛvərəl ðət hæv dən ðɪs nid ˈsəmˌpleɪs tɪ haɪd waɪl ðeɪ rɛst. wən əv ðɛm dəg əp ə ˈkoʊkəˌnət ʃɛl ənd hɔld ɪt əraʊnd wɪθ ɪt, ənd wɪn ɪt gɑt tɪ ðə pɔɪnt wɛr ɪt ˈwɔntɪd tɪ rɛst, ɪt pɪkt əp ðə ʃɛl, təkt ˌɪtˈsɛlf ˌɪnˈsaɪd əv ɪt, ənd wɛnt tɪ slip. aɪ hæv ˈɔlsoʊ sin ʤɑr lɪdz ˈizəli tɪ gɪt ə smɔl kræb ˌɪnˈsaɪd. ðeɪ ˈɔlsoʊ hæv ˈspeɪʃəl ˈmɛməri. nɑt ˈoʊnli kən ðeɪ rɪˈmɛmbər wɛr hoʊm ɪz, bət ðeɪ kən goʊ aʊt ənd hənt, kəm bæk, ənd ðɛn goʊ aʊt ðə nɛkst deɪ ənd hənt ɪn ə ˈdɪfərənt pleɪs. ɪts nɑt ʤɪst ə sɛns əv dɪˈrɛkʃɪn, ɪts ə sɛns əv wɛr juv bɪn. ˌəndərˈstændɪŋ ðət ɪf ðɛrz ə kræb ˈəndər ə rɑk ənd ju gɑt ɪt, ðɛr maɪt nɑt bi əˈnəðər kræb fər ðət rɑk fər ə waɪl. ðɛr ˈwəndərfəl ˈænəməlz. ðɛrz ˈɛvriˌθɪŋ tɪ lərn əˈbaʊt ðɛm. ðɛr ˈfæsəˌneɪtɪŋ. θæŋks fər ˈtɔkɪŋ wɪθ ˈjuˈɛs. ðɪs ˈɑrtɪkəl ərˈɪʤənəli əˈpɪrd ɔn ˈmənˌʧiz ɪn dɪˈsɛmbər 2014
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short of cannibalism, the most controversial issues in meat-eating today are likely the consumption of dog meat—due to our social and sentimental attachments to the canine species—and the practice of eating live animals. a 2010 article in the guardian ignited heavy opinions for opening discussion about copenhagen restaurant noma's dish of still-writhing langoustine; since, the issue has popped up here and there in editorials and youtube videos.
but in some corners of the world, there is less taboo assigned to eating the still-breathing. in seoul, south korea, there are entire restaurants centered around dining on octopuses whose arms continue to squirm when they're placed on your plate—and as they wriggle down your throat.
watch: how to eat live octopus
the designations of welfare, cruelty, and simple squeamishness are not always clear-cut—especially in issues surrounding the types of animals that we don't hold particularly near and dear. why is it that we almost universally condemn leaving a dog out in the rain or kicking a cat, but haven't yet decided whether slowly dismembering a sea creature is truly disagreeable?
rather than trying to reckon with apples and oranges (or spaniels and squids), i consulted cephalopod expert jennifer mather, phd, a professor of psychology at the university of lethbridge in alberta and author of numerous studies on octopus and cephalopod sentience, including "cephalopod consciousness: behavioral evidence" and "ethics and invertebrates: a cephalopod perspective." she has studied octopuses and their close relatives since 1978, and has done extensive field research into the cephalopod mind. i hoped that she could offer greater insight into pain and sentience in octopus terms.
munchies: have you come across the practice of eating live octopus over the course of your research on cephalopods? jennifer mather, phd: it's not something i've come across in my research. but there was a discussion i had with peta about someone who was frying octopuses alive in new york, and i was asked to comment on that.
what do you think an octopus is experiencing when it's being cut into pieces and eaten alive? what's going on physically when their arms continue to move after they've been cut off? it's probable that the octopus's reaction to pain is similar to a vertebrate. they can anticipate a painful, difficult, stressful situation—they can remember it. there is absolutely no doubt that they feel pain. the octopus has a nervous system which is much more distributed than ours. if you look at us, most of our neurons are in our brain, and for the octopus, three-fifths of its neurons are in its arms.
if you've got pieces of arm, because there's so much local control, they might react to the painful stimuli that they get, but they're probably not exactly "feeling pain," because they're disconnected from the brain. but the octopus, which you've been chopping to pieces, is feeling pain every time you do it. it's just as painful as if it were a hog, a fish, or a rabbit, if you chopped a rabbit's leg off piece by piece. so it's a barbaric thing to do to the animal.
my thought is that if you had a whole octopus and tried to eat it, it would be a completely repellant situation because the octopus would try to climb out. i find it difficult to have any sympathy for people who choke on a live animal that they're eating piece by piece.
how can we account for differences in the perception of what constitutes cruelty between cultures? i've talked to other people about this—there is cultural sensitivity, and there is suffering. i suspect that they're just throwing an octopus on a chopping block and cutting off pieces as they go, and they are absolutely causing that animal suffering. there's no doubt about it. but goodness knows, i have eaten raw oysters and raw clams. but they really don't have the central nervous system to be, so to speak, making decisions and suffering.
what about other types of sea creatures—the live langoustine, for example, that caused waves for copenhagen's noma? there's an interesting situation because the european union, over the last few years, looked at all of their animal welfare rules. and one of the things they looked at in terms of rules was, ok, we have to give consideration to vertebrates, but are there any invertebrates that we should give ethical consideration to? after quite some deliberation, they decided that in terms of research, you should give consideration to cephalopods, including octopus and squid, but they did not include crustaceans. but that doesn't mean that crustaceans can't experience the same pain stimuli, anticipation, and memory of painful events that an octopus does.
are there any ways, short of medical sedation, that one could reduce the amount of suffering while still eating an animal alive? if they stuck a shrimp on a block of ice until it's unreactive, it's probably less aware than it would be if you picked it out of the water and started chewing it from the tail up. you can give an animal a quick and minimally painful death before you eat it—at the least, you can destroy the brain. of all people, julia child had instructions for cutting the brain of a lobster to kill it before you boil it.
what would be the best way to kill an octopus quickly and with minimal pain to the animal? i think it was the hawaiians who used to bite down on the brain to kill it quickly. what i would do is put it in the freezer. crustaceans, cephalopods, and mollusks don't have any internal temperature regulation, so if you freeze them you can get them to the point where they're really not conscious. that would be the quickest, easiest way to render an animal that might be conscious not conscious. you don't have to figure out exactly where the brain is, and you don't have to worry about an anaesthetic tainting the flavor of the meat. you just stick it in the freezer.
in your research, particularly with octopus, what was the most surprising evidence of anecdote you found about their intelligence or sense of sentience? they use tools, and they'll think about what they want to do with something even before they do it. there's a wonderful video from some guys in australia—there are several that have done this actually—they need someplace to hide while they rest. one of them dug up a coconut shell and hauled it around with it, and when it got to the point where it wanted to rest, it picked up the shell, tucked itself inside of it, and went to sleep. i have also seen octopuses unscrewing jar lids easily to get a small crab inside.
they also have spatial memory. not only can they remember where home is, but they can go out and hunt, come back, and then go out the next day and hunt in a different place. it's not just a sense of direction, it's a sense of where you've been. understanding that if there's a crab under a rock and you got it, there might not be another crab for that rock for a while.
they're wonderful animals. there's everything to learn about them. they're fascinating.
thanks for talking with us.
this article originally appeared on munchies in december 2014.
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ˈʤɛnərəl ˈædɪd ə sˈlaɪdər fər eɪm sˈmuðɪŋ. ðɪs kən bi faʊnd ˈəndər ðə ““controls”*” tæb ɪn ðə ˈmɛnju. klɪk ““advanced”*” ˈəndər ðə ““controller”*” ˈhɛdɪŋ pleɪərz kən naʊ səˈlɛkt ə nu eɪm tɛkˈnik: ˈlɪniər ræmp. ðɪs kən bi faʊnd ˈəndər ðə ““controls”*” tæb ɪn ðə ˈmɛnju, əˈlɔŋ wɪθ ðə ənd ˌɛkspoʊˈnɛnʃəl ræmp ˈɔpʃən. klɪk ““advanced”*” ˈəndər ðə ““controller”*” ˈhɛdɪŋ ɔn əˈsɔlt ənd mæps, timz naʊ nid tɪ ˈkæpʧər æt list 33 əv ðə əˈbʤɛktɪv ˌbiˈfɔr ðə ˈsɪstəm ɪz ˈæktɪˌveɪtɪd bəg ˈfɪksɪz fɪkst ə kræʃ ðət kʊd əˈkər ˈdʊrɪŋ ðə skrin fɪkst ə bəg ðət prɪˈvɛnɪd ðə ˈpeɪˌloʊd frəm ʃoʊɪŋ ˈdæmɪʤ ənˈtɪl ˈæftər ðə ˈɛskɔrt feɪz ɪn ðə ˈəˌpraɪzɪŋ brɔl fɪkst ə bəg ðət əˈlaʊd pleɪərz tɪ gɪt ˈəndər ðə ˈpeɪˌloʊd ˈjuzɪŋ ˈsərtən heroes’*’ ˈmuvmənt əˈbɪləˌtiz ɪn ðə ˈəˌpraɪzɪŋ brɔl [ˈpiˈsi] fɪkst ə bəg ðət kɔzd ðə hɛlθ bɑr tɪ ˌɪnərˈfɪr wɪθ ðə ˈskɔrˌbɔrd, ˈfɔrsɪŋ pleɪərz tɪ hoʊld daʊn ðə tɪ vju ðə ˈskɔrˌbɔrd ɪn ðə ˈəˌpraɪzɪŋ brɔl fɪkst ə bəg ðət kɔzd ˈrɛskjud mi əˈgɛn, ˈdɑktər. ziegler”*” vɔɪs laɪn tɪ pleɪ ˈæftər biɪŋ ˌrɛzərˈɛktɪd ɪn ðə ˈəˌpraɪzɪŋ brɔl, rəˈgɑrdləs əv wɪʧ ˈhɪroʊ pərˈfɔrmd ðə ˌrɛzərˈɛkʃən fɪkst ən ˈɪʃu ˈkɔzɪŋ ðə ʧæt ˈwɪndoʊ tɪ blɑk ðə ‘‘refresh’*’ ˈbətən wɪn ðə ˈəˌpraɪzɪŋ wər ˈoʊpən ðə wɪθ care”*” əˈʧivmənt naʊ kərˈɛktli steɪts ðə ˈpeɪˌloʊd məst rɪˈmeɪn əˈbəv 80 hɛlθ ðə ˈəˌpraɪzɪŋ ˈskɔrˌkɑrd naʊ kərˈɛktli træks stæts frəm hæk ðə ˈəˌpraɪzɪŋ ˈskɔrˌkɑrd naʊ kərˈɛktli træks ˈhilɪŋ stæts fɪkst ə bəg ðət prɪˈvɛnɪd ðə geɪm mode’*’ ˈbətən frəm əˈpɪrɪŋ wɪn kriˈeɪtɪŋ ə ˈkæpʧər ðə flæg ər ɪˌlɪməˈneɪʃən geɪm fɪkst ə bəg ðət geɪv əˈbɪləˌti ə sˈlaɪtli ˌɪnˈkrist swɪŋ spid waɪl æt ə haɪər ˈleɪtənsi. dɪˈfɔlt swɪŋ spid həz bɪn sˈlaɪtli ˌɪnˈkrist tɪ ˈkɑmpənˌseɪt fɪkst ə bəg ðət prɪˈvɛnɪd əˈbɪləˌti frəm ˈrɛʤɪstərɪŋ hɪts kərˈɛktli fɪkst ə bəg tɪ prɪˈvɛnt hɪt ˈifɛkts frəm biɪŋ ˌɪnˈflɪktɪd ɔn ˈjumən fɔrm waɪl ˈpaɪlətɪŋ ðə mɛk fɪkst ə bəg ˈkɔzɪŋ hɛr tɪ əˈpɪr ˌɪnˈflɛksəbəl ˈdʊrɪŋ hər ˈsɛlˌfi ˈhaɪˌlaɪt ˈɪntroʊ wɪn hər skɪn wɑz ɪkˈwɪpt fɪkst ə bəg ˈkɔzɪŋ ðə aɪs ɔn ˈfrɔstˌbaɪt skɪn tɪ strɛʧ wɪn hər flɛr wɑz ˈæktɪˌveɪtɪd fɪkst ə bəg ˈkɔzɪŋ ˈtɛksʧərz tɪ ˈflɪkər ˈdʊrɪŋ fist ˈhaɪˌlaɪt ˈɪntroʊ fɪkst ə bəg ˈkɔzɪŋ ˈsoʊlʤər: keɪp tɪ klɪp ˈdʊrɪŋ ðə ˈpʊˌʃəps wɪn hɪz straɪk kəˈmændər ˈmɔrɪsən, ˈdɛrˌdɛvəl: 76 ər stənt ˈraɪdər: 76 skɪn wɑz ɪkˈwɪpt fɪkst ə bəg ˈkɔzɪŋ glæs ðət həz bɪn ˈʃætərd baɪ ən ɪkˈsploʊʒən tɪ bi ˈkələrd blæk ə nu pæʧ ɪz naʊ lɪv ɔn ˈwɪndoʊz ˈpiˈsi, ˈpleɪˌsteɪʃən 4 ənd wən. rɛd bɪˈloʊ tɪ lərn mɔr əˈbaʊt ðə ˈleɪtəst ʃɛr jʊr ˈfidˌbæk, pliz poʊst ɪn ðə ˈʤɛnərəl dɪˈskəʃən ə lɪst əv noʊn ˈɪʃuz, ˈvɪzɪt ɑr bəg rɪˈpɔrt əˈsɪstəns, ˈvɪzɪt ɑr ˈtɛknɪkəl səˈpɔrt dɪˈfɔlt, eɪm ɪz sɛt tɪ ðə seɪm ˈvælju ðət pleɪərz ər juzd tɪ (fʊl sˈmuðɪŋ, loʊ ˌækˌsɛlərˈeɪʃən), bət ɛz ju dræg ðə sˈlaɪdər təˈwɔrd 0 jul ɪkˈspɪriəns lɛs sˈmuðɪŋ (haɪər ˌækˌsɛlərˈeɪʃən). wəns ðə ˈvælju hɪts 0 sˈmuðɪŋ wɪl bi ɪnˈtaɪərli dɪˈseɪbəld (ˈɪnstənt tɛkˈnik, əˈlɔŋ wɪθ dɪˈseɪbəld eɪm sˈmuðɪŋ, wɪl kɔz jʊr tɪ ˈroʊˌteɪt prəˈpɔrʃənəli wɪθ ðə ˈæŋgəl ðət ðə stɪk ɪz dɪˈflɛktɪd. ðə ˈifɛkt ɪz ˈməltəˌplaɪd beɪst ɔn jʊr ˌsɛnsɪˈtɪvɪti ðə nu ˈsɪstəm wɑz ˈɪmpləˌmɛnəd ɔn ˈeɪprəl 11 2017 timz ˈoʊnli ˈnidɪd tɪ ˈkæpʧər 1 tɪ ˈtrɪgər ðə ˈsɪstəm. ðɪs ɔˈkeɪʒənəˌli rɪˈzəltɪd ɪn kənfˈjuzɪŋ ˌsɪʧuˈeɪʃənz wɪn geɪmz wʊd ɛnd wɪˈθaʊt ə lɔt əv ˌɪnˌfɔrˈmeɪʃən əˈbaʊt haʊ ðə pɔɪnt wɑz ˈkæpʧərd, du tɪ ðə brif ˈkæpʧər taɪm. tɪ əˈliviˌeɪt ðɪs ˈprɑbləm, rikˈwaɪərɪŋ ðət timz ˈprɑˌgrɛs pæst 33 ˌbiˈfɔr ðə ˈsɪstəm bɪˈgɪnz ˈtrækɪŋ ˈprɑˌgrɛs. ɪf ˈniðər tim ˈmænɪʤɪz tɪ krɔs 33 ðə mæʧ wɪl ɛnd ɪn ə drɔ. ɪf laɪk tɪ noʊ mɔr, klɪk hir
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general
added a slider for aim smoothing. this can be found under the “controls” tab in the “options menu. click “advanced” under the “controller” heading
players can now select a new aim technique: linear ramp. this can be found under the “controls” tab in the “options menu, along with the dual-zone and exponential ramp option. click “advanced” under the “controller” heading
on assault and assault/escort maps, teams now need to capture at least 33% of the objective before the tie-breaking system is activated
bug fixes
fixed a crash that could occur during the end-of-round screen
fixed a bug that prevented the payload from showing damage until after the escort phase in the overwatch uprising brawl
fixed a bug that allowed players to get under the payload using certain heroes’ movement abilities in the overwatch uprising brawl
[pc] fixed a bug that caused the payload’s health bar to interfere with the scoreboard, forcing players to hold down the spacebar to view the scoreboard in the overwatch uprising brawl
fixed a bug that caused genji’s “you’ve rescued me again, dr. ziegler” voice line to play after being resurrected in the overwatch uprising brawl, regardless of which hero performed the resurrection
fixed an issue causing the chat window to block the ‘refresh’ button when the overwatch uprising leaderboards were open
[ps4] the “handle with care” achievement now correctly states the payload must remain above 80% health
[ps4/xb1] the overwatch uprising scorecard now correctly tracks stats from sombra’s hack
[ps4/xb1] the overwatch uprising scorecard now correctly tracks ana’s healing stats
fixed a bug that prevented the ‘start game mode’ button from appearing when creating a capture the flag or elimination game
fixed a bug that gave genji’s dragonblade ability a slightly increased swing speed while at a higher latency. dragonblade’s default swing speed has been slightly increased to compensate
fixed a bug that prevented genji’s dragonblade ability from registering hits correctly
fixed a bug to prevent hit effects from being inflicted on d.va’s human form while piloting the mech
[ps4/xb1] fixed a bug causing d.va’s hair to appear inflexible during her selfie highlight intro when her palanquin skin was equipped
[ps4/xb1] fixed a bug causing the ice on pharah’s frostbite skin to stretch when her flair emote was activated
[ps4/xb1] fixed a bug causing textures to flicker during roadhog’s feast highlight intro
[ps4/xb1] fixed a bug causing soldier: 76’s cape to clip during the push-ups emote when his strike commander morrison, daredevil: 76, or stunt rider: 76 skin was equipped
fixed a bug causing glass that has been shattered by an explosion to be colored black
a new patch is now live on windows pc, playstation 4, and xbox one. read below to learn more about the latest changes.to share your feedback, please post in the general discussion forum.for a list of known issues, visit our bug report forum.for troubleshooting assistance, visit our technical support forum.by default, aim smoothing/acceleration is set to the same value that players are used to (full smoothing, low acceleration), but as you drag the slider toward 0, you'll experience less smoothing (higher acceleration). once the value hits 0, smoothing will be entirely disabled (instant acceleration).this technique, along with disabled aim smoothing, will cause your crosshair to rotate proportionally with the angle that the stick is deflected. the effect is multiplied based on your sensitivity settings.when the new tie-breaking system was implemented on april 11, 2017, teams only needed to capture 1% to trigger the system. this occasionally resulted in confusing situations when games would end without a lot of information about how the point was captured, due to the brief capture time. to alleviate this problem, we’re requiring that teams progress past 33% before the tie-breaking system begins tracking progress. if neither team manages to cross 33%, the match will end in a draw. if you’d like to know more, click here
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nɑt ˈoʊnli dɪd di mərˈiəz oʊld ˈtræfərd swɪʧ brɪŋ ɪn fər ril məˈdrɪd, lɔs wɪl reɪk ɪn əˈnəðər ɪf ðə ˈɑrʤənˌtin ɪz neɪmd ðə wərldz bɛst pleɪər ril dɪˈsɪʒən tɪ sɛl ˈɑrʤənˌtin eɪs ˈeɪnʤəl di mərˈiə tɪ ˈmænˌʧɛstər juˈnaɪtɪd lʊks tɪ bi wən tɪ rip sɪgˈnɪfɪkənt ˈprɑfɪt. ðə ˈfɔrmər stɑr kəmˈplitɪd hɪz ˈwɑpɪŋ oʊld ˈtræfərd swɪʧ læst mənθ ɪn ðə 2014 ˈsəmər ˈtrænsfər ˈwɪndoʊ fər ə ˈɪŋlɪʃ prɛˈmɪr lig ˈtrænsfər fi. ənd naʊ, ɛz ˌriˈpɔrtəd baɪ ˈʤeɪsən bərt əv ðə ˈtɛləˌgræf, ɪn ə ˈsɪriəs əv ənˈjuˌʒuəl ɪn ðə pleɪərz ˈkɑnˌtrækt wɪθ ðə rɛd ˈdɛvəlz, lɔs wɪl ˈpɑkət ən ˈɛkstrə ɪf di mərˈiə wɪnz ðə ˈkəvətɪd ˈbælən dɔr ˈdʊrɪŋ hɪz taɪm æt ðə ˈθiətər əv drimz. əˈkɔrdɪŋ tɪ ðə rɪˈpɔrt, ðɪs ˈɛkstrə klɔz wɑz səˈʤɛstɪd baɪ ðə ʤaɪənts' nɪˈgoʊʃiˌeɪtərz ənd ðə pleɪərz ˌrɛprɪˈzɛnətɪvz ˈdʊrɪŋ tɔks wɪθ ðə ˈɪŋlɪʃ prɛˈmɪr lig ˈʧæmpiənz, ə ˌstɪpjəˈleɪʃən luɪs væn saɪd wər ““comfortable”*” əˈgriɪŋ tɪ. ðɪs ərˈeɪnʤmənt meɪ ˈfərðər ˈvɪndəkeɪt lɛs ˈprɛzɪdənt flɔrɛnˈtinoʊ dɪˈsɪʒən tɪ kæʃ ɪn ɔn ðə ˈwɪŋər, ə muv ðət həz spɑrkt ə ˈbɪtər bɪtˈwin ðə tu. ril məˈdrɪd wɪl ˈprɑfɪt ɪf ˈeɪnʤəl di mərˈiə wɪnz ə ˈbælən dɔr waɪlst æt mæn juˈnaɪtɪd ðɪs ˈbælən dɔr ɪz pɑrt əv ə ˈsɪriəs əv ənˈjuˌʒuəl ˈklɔzɪz ɪn ðə ˈtrænsfər tɪ ðə rɛd ˈdɛvəlz ðə ˈleɪtəst spæt bɪtˈwin fideo”*” ənd həz sin ðə ˈmænˌʧɛstər juˈnaɪtɪd ˈeɪʤənt ˌjuˈʤinioʊ kleɪm ðə ˈɑrʤənˌtin wʊd hæv rɪˈmeɪnd æt ˌsæntiˈɑgoʊ fər fɑr lɛs ðən hɪz ˈkɑrənt ˈsæləri æt ˈmænˌʧɛstər juˈnaɪtɪd, ˈpɔɪntɪŋ təˈwɔrdz mɪˈstritmənt ɔn ðə ˈʧæmpiənz lig ˈwɪnərz' pɑrt. "di saɪnd fər ˈmænˌʧɛstər juˈnaɪtɪd wɪθ ə nɛt ˈsæləri əv ˈmɪljən. hi wʊd hæv steɪd æt ril fər məʧ lɛs," ˈsteɪtɪd. ˈwɔntɪd tɪ steɪ. ðə ˈdɪfərəns wɑz ˈmɪljən pər jɪr. ril bɪˈgæn ðə nɪˌgoʊʃiˈeɪʃənz bət dɪd nɑt wɔnt ðɛm tɪ ədˈvæns" "wɪn hi ʤɔɪnd ril hi ækˈsɛptɪd ə loʊər ˈsæləri ðən ðə wən əˈgrid. ðɛn hi wɑz ˈprɑməst ən ˌɪmˈpruvd ˈkɑnˌtrækt ˈæftər sɪks mənθs, bət ðeɪ tʊk tu jɪrz tɪ du ɪt."
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not only did di maria's old trafford switch bring in £59.7m for real madrid, los blancos will rake in another £4m if the argentine is named the world's best player
real madrid's decision to sell argentine ace angel di maria to manchester united looks to be one to reap significant profit.
the 26-year-old former benfica star completed his whopping £59.7m old trafford switch last month in the 2014 summer transfer window for a record-breaking english premier league transfer fee.
and now, as reported by jason burt of the telegraph, in a serious of unusual add-ons in the player's contract with the red devils, los blancos will pocket an extra £4m if di maria wins the coveted ballon d'or during his time at the theatre of dreams.
according to the report, this extra clause was suggested by the liga bbva giants' negotiators and the player's representatives during talks with the 20-time english premier league champions, a stipulation louis van gaal's side were “comfortable” agreeing to.
this arrangement may further vindicate les merengues president florentino pérez's decision to cash in on the albiceleste winger, a move that has sparked a bitter war-of-words between the two.
real madrid will profit £4m if angel di maria wins a ballon d'or whilst at man united
this ballon d'or add-on is part of a serious of unusual clauses in the argentine's record-breaking £59.7m epl transfer to the red devils
the latest spat between “el fideo” and pérez has seen the manchester united attacker's agent eugenio lópez claim the argentine would have remained at santiago bernabeu for far less than his current salary at manchester united, pointing towards mistreatment on the 10-time champions league winners' part.
"di maría signed for manchester united with a net salary of €8 million. he would have stayed at real for much less," lópez stated.
“ángel wanted to stay. the difference was €1 million per year. real began the negotiations but did not want them to advance"
"when he joined real he accepted a lower salary than the one agreed. then he was promised an improved contract after six months, but they took two years to do it."
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(jta*) ˈsiˈɛˈnɛn ˈkænsəld ““dr*. dru ɔn call”*” eɪt deɪz ˈæftər ðə ʤuɪʃ səˈlɛbrɪti fəˈzɪʃən sɛd hi wɑz concerned”*” əˈbaʊt ˈhɪləri hɛlθ ənd ˈmɛdɪkəl ˈtritmənt. ““dr*. dru ənd aɪ hæv mˈjuʧuəli əˈgrid tɪ ɛr ðə ˈfaɪnəl ˈɛpɪˌsoʊd əv hɪz ʃoʊ ɔn sɛpt. sɛd ˈsiˈɛˈnɛn ɪgˈzɛkjətɪv vaɪs ˈprɛzɪdənt kɛn jautz*, əˈkɔrdɪŋ tɪ ˈsiˈɛˈnɛn ˈməni. ðə ˈʧeɪnʤɪz, wɪʧ wər əˈnaʊnst ˈθərzˌdeɪ, keɪm ˈʃɔrtli ˈæftər dru ˈpɪnski ɪkˈsprɛst hɪz ˈwəriz əˈbaʊt hɛlθ ɪn ə ˈreɪdiˌoʊ ˈɪntərvˌju, ˈdʊrɪŋ wɪʧ hi ˌdaɪəgˈnoʊst hər wɪθ breɪn ˈdæmɪʤ ənd sɛd ʃi wɑz rɪˈsivɪŋ care.”*.” ˈpɪnski sɛd hi ənd ə ˈfɛloʊ fəˈzɪʃən hæd ˈstədid ðə ˌdɛməˈkrætɪk ˌprɛzɪˈdɛnʃəl ˈmɛdɪkəl ˈrɛkərdz ənd ˈgreɪvli kənˈsərnd nɑt ʤɪst əˈbaʊt hər hɛlθ bət hər hɛlθ care.”*.” ɪz goʊɪŋ ɔn wɪθ hər hɛlθ kɛr? bizarre,”*,” hi sɛd, əˈkɔrdɪŋ tɪ ðə ˈwɔʃɪŋtən fri ˈbikən. ɔt tɪ bi səm sɔrt əv ˈstændərd fər ˈpipəl ðət ər goʊɪŋ tɪ lɛd ðə ˈkəntri ər ər goʊɪŋ tɪ ˈmeɪkɪŋ ðiz ˌɪmˈpɔrtənt dɪˈsɪʒənz. əˈgɛn, ˈhɪləri meɪ bi faɪn wɪθ ɔl əv this.”*.” rɪˈpəblɪkən ˈkænədɪt ˈdɑnəld trəmp həz reɪzd kˈwɛsʧənz əˈbaʊt hɛlθ ɪn ˈrisənt əˈtæks. ˈklɪntən ðə ˈmɛntəl ənd ˈfɪzɪkəl ˈstæmənə tɪ teɪk ɔn ˈaɪsəs, ənd ɔl ðə ˈmɛni ˈædvərˌsɛriz wi face,”*,” trəmp sɛd læst wik. ˌɔlˈðoʊ ˈklɪntən, laɪk trəmp, həz nɑt riˈlist ə fʊl ˈmɛdɪkəl ˈrɛkərd, ʃi dɪd riˈlis ə hɛlθ kɛr ˈsteɪtmənt frəm hər fəˈzɪʃən ɪn ˌʤuˈlaɪ 2015 seɪɪŋ ʃi ɪz ɪn ˈfɪzɪkəl kənˈdɪʃən ənd fɪt tɪ sərv ɛz ˈprɛzɪdənt əv ðə juˈnaɪtɪd states.”*.” ˈdɑktər. ˈɑrθər ˈkæplən, hɛd əv ðə dɪˈvɪʒən əv ˈmɛdɪkəl ˈɛθɪks æt nu jɔrk lɑŋˈgoʊni ˈmɛdɪkəl ˈsɛnər, ˈkrɪtəˌsaɪzd ˈmɛdɪkəl prəˈfɛʃənəlz hu ˈɔfər ˌdaɪəgˈnoʊsiz əv ˈpeɪʃənz nɑt ˈəndər ðɛr kɛr. ju bɪˈliv ɪn ˈsaɪkɪk ˌdaɪəgˈnoʊsəs, ɪt ɪz kəmˈplitli ˌɪrəˈspɑnsəbəl ənd ˌənprəˈfɛʃənəl tɪ du it,”*,” hi toʊld ðə ˈlɪˌbərəl ˈwɑʧˌdɔg grup ˈmidiə ˈmætərz. ““dr*. dru ɔn call”*” prɛˈmɪrd ɔn ˈsɪstər ˈnɛtˌwərk ɪn ˈeɪprəl 2011 ɪz ɪn ðə ˈprɔˌsɛs riˈvæmpɪŋ ɪts ˈkɑntɛnt ənd ˈfoʊkɪsɪŋ ɔn mɔr ˈproʊˌgræmɪŋ, əˈkɔrdɪŋ tɪ ˈdɛˌdlaɪn.
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(jta) — cnn canceled “dr. drew on call” eight days after the jewish celebrity physician said he was “gravely concerned” about hillary clinton’s health and medical treatment.
“dr. drew and i have mutually agreed to air the final episode of his show on sept. 22,” said cnn executive vice president ken jautz, according to cnn money.
the changes, which were announced thursday, came shortly after drew pinsky expressed his worries about clinton’s health in a radio interview, during which he diagnosed her with brain damage and said she was receiving “sort-of 1950-level care.”
pinsky said he and a fellow physician had studied the democratic presidential candidate’s medical records and “were gravely concerned not just about her health but her health care.”
“what is going on with her health care? bizarre,” he said, according to the washington free beacon. “there ought to be some sort of standard for people that are going to lead the country or are going to making these important decisions. again, hillary may be fine with all of this.”
republican candidate donald trump has raised questions about clinton’s health in recent attacks. clinton “lacks the mental and physical stamina to take on isis, and all the many adversaries we face,” trump said last week.
although clinton, like trump, has not released a full medical record, she did release a two-page health care statement from her physician in july 2015 saying she is in “excellent physical condition and fit to serve as president of the united states.”
dr. arthur caplan, head of the division of medical ethics at new york university’s langone medical center, criticized medical professionals who offer diagnoses of patients not under their care.
“[u]nless you believe in psychic diagnosis, it is completely irresponsible and unprofessional to do it,” he told the liberal watchdog group media matters.
“dr. drew on call” premiered on cnn’s sister network hln in april 2011.
hln is in the process revamping its content and focusing on more news-related programming, according to deadline.
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təˈdeɪ, brɔt tɪ laɪt ðə ˈstɔri əv ə ˈmæsɪv ˈwɛlˌfɛr ənd tæks frɔd keɪs frəm ˈpɔrtlənd, meɪn, ˈhaɪˌlaɪtɪŋ ə skim ðət sˈwɪndəld ˈtækˌspeɪərz aʊt əv ˈhənərdz əv ˈθaʊzənz əv ˈdɔlərz. ju meɪ bi ˈwəndərɪŋ waɪ ə ˈwɔʃɪŋtən, d.c*. beɪst nuz sɔrs, həz brɔt ðɪs ˈstɔri ˈfɔrwərd. ðə ˈænsər ɪz ˈsɪmpəl, nuz ˈmidiə ˈaʊˌtlɛts ˌdɪˈsaɪdɪd tɪ nɑt brɪŋ ðɪs ˈstɔri tɪ laɪt. əˈkɔrdɪŋ tɪ ˈɛdɪtər ˈgɛrɪt mərk, meɪn nuz ˈaʊˌtlɛts hæd ðɪs ˈstɔri bət ˌdɪˈsaɪdɪd nɑt tɪ ˈkəvər it.”*.” bət pərˈhæps ˈmidiə ˈaʊˌtlɛts hæv ˈteɪkən ðɛr kju frəm ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən, wɪʧ həz feɪld tɪ brɪŋ ˈʧɑrʤɪz ˈfɔrwərd, ɪn spaɪt əv ə ˈdæmɪŋ ˌæfəˈdeɪvət baɪ ən ˈɛfˈbiˈaɪ ˈeɪʤənt. ðə ˌæfəˈdeɪvət tɛlz ðə ˈstɔri əv haʊ ˈɑli, ˈoʊnər əv ðə ˈmɑrkɪt ɪn ˈpɔrtlənd, ənd hɪz əˈkɑmpləs juzd ðə ˈstɔrˌfrɑnt tɪ rɪp ɔf ðə ˈgəvərnmənt, ˈfɔlsəˌfaɪ ˈdɑkjəmənts ənd faɪl ˈfrɔʤələnt tæks fɔrmz fər ˈrisənt ˈɪməgrənts tɪ ðə ˈpɔrtlənd ˈɛriə. læst ˈsəmər, ðə meɪn dɪˈpɑrtmənt əv hɛlθ ənd ˈjumən ˈsərvɪsɪz ˌriˈpɔrtəd ðə keɪs tɪ ˈfɛdərəl ˌɪnˈvɛstəˌgeɪtərz ˈæftər ðə ˈnəmbər əv fud stæmp ənd ˈwɪmən, ˈɪnfənt ənd ˈʧɪldrən (wic*) ˈwɛlˌfɛr ˈproʊˌgræm rɪˈdɛmʃənz kleɪmd baɪ ðə stɔr ˈskaɪˌrɑkətɪd wɪˈθɪn ə ˈpɪriəd. əˈkɔrdɪŋ tɪ ðə ˌæfəˈdeɪvət, ˌɛkspoʊˈnɛnʃəl groʊθ əv rɪˈdɛmʃənz əˈlɔŋ wɪθ ðɛr ˈtoʊtəl ˈdɔlər ˈvɑljum əv rɪˈdɛmʃənz ər ˌɪnˈdɪkətɪv əv ˈtræfɪkɪŋ ɪn vouchers.”*.” ɛz ə rɪˈzəlt, ðə fɛdz ˈoʊpənd əp ə keɪs ɪn ˌʤuˈlaɪ əv 2015 ənd rɪˈpitɪdli sɛnt ən ˌəndərˈkəvər ˈwɪtnəs ˈɪntu ðə ˈmɑrkɪt bɪˈgɪnɪŋ leɪt læst jɪr. ðə ˌəndərˈkəvər ˈwɪtnəs, hu poʊzd ɛz ə ˈrisənt ˈɪməgrənt, wɑz koʊʧt baɪ ɔn haʊ tɪ ˈfɔlsəˌfaɪ ˌɪnˌfɔrˈmeɪʃən tɪ əbˈteɪn ðə moʊst ˈwɛlˌfɛr ˈdɔlərz, haʊ tɪ ɪˈveɪd wərk rɪkˈwaɪrmənts ənd haʊ tɪ ˈfrɔduləntli əbˈteɪn ˌdɪsəˈbɪlɪti ˈpeɪmənts. wəns ðə rɪˈzəltɪŋ ˈwɛlˌfɛr ˈbɛnəfɪts bɪˈgæn tɪ floʊ, ðə ˈwɪtnəs rɪˈpitɪdli wɛnt ˈɪntu ðə stɔr tɪ meɪk smɔl ˈpərʧəsɪz, ˈwɔkɪŋ aʊt wɪθ ə ˈpɑkət fʊl əv kæʃ frəm ˈiðər ðə kæʃ ˈrɛʤɪstər ər ðə stɔr ˈpɑkət iʧ taɪm. əˈkɔrdɪŋ tɪ, ˌrivˈju əv bæŋk əˈkaʊnt ʃoʊd ə ˈpætərn əv lɑrʤ kæʃ wɪθˈdrɔəlz ɪn ðə ˈmɪdəl əv iʧ mənθ, ˌkoʊənˈsaɪdɪŋ wɪθ wɪn fud stæmp rɪˈsɪpiənts rɪˈsiv ðɛr ˈbɛnəfɪts ɪn meɪn, əˈkɔrdɪŋ tɪ ðə ˌæfəˈdeɪvət. ðə ˈɛfˈbiˈaɪ ˈeɪʤənt hu roʊt ðə ˈdɑkjəmɛnt ˈɪndəˌkeɪtɪd ðət ðə wɪθˈdrɔəlz wər ˈnɛsəˌsɛri ɪn ˈɔrdər tɪ hæv ɪˈnəf kæʃ tɪ ““buy”*” fud stæmp fəndz frəm recipients.”*.” ɛz ɪf ðɪs bæd ɪˈnəf, ðə skim ˈɔlsoʊ ˌɪnˈkludɪd ɪkˈstɛnsɪv tæks frɔd. ɪn ˈeɪprəl, ðə ˌəndərˈkəvər ˈwɪtnəs juzd səm əv ðə kæʃ hɛlpt ɪm rɪp ɔf frəm ðə ˈgəvərnmənt tɪ peɪ tɪ priˈpɛr ə kəmˈplitli ˈfɔlsəˌfaɪd tæks rɪˈtərn aʊt əv ən ˈɔfəs baɪ ðə mit ˈkaʊntər ɪn ðə ˈpɔrtlənd stɔr. ðə tæks rɪˈtərn ˈjutəˌlaɪzd ðə ərnd ˈɪnˌkəm tæks ˈkrɛdɪt tɪ əbˈteɪn ə ˈriˌfənd əv əˈkɔrdɪŋ tɪ ðə ˌæfəˈdeɪvət, faɪld 66 rɪˈtərnz ɪn 2014 ˈtoʊtəlɪŋ ɪn rɪˈtərnz ənd əˈnəðər 192 rɪˈtərnz læst jɪr, əv wɪʧ ɔl kleɪmz rɪˈsivd ˈriˌfəndz. tɪ rɛd ðə fʊl ˈstɔri ənd ðə ˌæfəˈdeɪvət fər ˈjɔrsɛlf, klɪk hir. waɪl ðə ˈnɛrətɪv əv ðɪs ˈstɔri goʊz əˈgɛnst ðoʊz pərˈpɛʧəˌweɪtɪd baɪ səm ˈmeɪʤər ˈmidiə ˈaʊˌtlɛts ɪn meɪn, hɑrd tɪ ˌɪˈmæʤən ðət nɑt wən əv ðɛm dimd ðɪs ˈstɔri ˈwərði əv ˈkəvərɪʤ, jɛt rum fər baɪəst, ˌwənˈsaɪdəd hɪt ˈstɔriz səʧ ɛz ðɪs wən. taɪm tɪ brɪŋ səm ˌɪnˈtɛgrəti bæk tɪ meɪn ˈʤərnəˌlɪzəm.
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today, lifezetteought to light the story of a massive welfare and tax fraud case from portland, maine, highlighting a scheme that swindled taxpayers out of hundreds of thousands of dollars.
you may be wondering why a washington, d.c. based news source, hasought this story forward. the answer is simple, maine’s news media outlets decided to noting this story to light. according to lifezette editor garrett murch, “multiple maine news outlets had this story but decided not to cover it.”
but perhaps maine’s media outlets have taken their que from the obama administration, which has failed toing charges forward, in spite of a damning 52-page affidavit by an fbi agent.
the affidavit tells the story of how ali ratib daham, owner of the ahram halal market in portland, and his accomplice ashraf eldeknawey used the storefront to rip off the government, falsify documents and file fraudulent tax forms for recent immigrants to the portland area.
last summer, the maine department of health and human services reported the case to federal investigators after the number of food stamp and women, infant and children (wic) welfare program redemptions claimed by the store skyrocketed within a two-year period.
according to the affidavit, “…the exponential growth of ahram’s wic redemptions along with their total dollar volume of wic redemptions are indicative of trafficking in wic vouchers.”
as a result, the feds opened up a case in july of 2015 and repeatedly sent an undercover witness into the market beginning late last year. the undercover witness, who posed as a recent immigrant, was coached by daham on how to falsify information to obtain the most welfare dollars, how to evade work requirements and how to fraudulently obtain disability payments.
once the resulting welfare benefits began to flow, the witness repeatedly went into the store to make small purchases, walking out with a pocket full of cash from either the cash register or the store owner’s pocket each time.
according to lifezette, “a review of daham’s bank account showed a pattern of large cash withdrawals in the middle of each month, coinciding with when food stamp recipients receive their benefits in maine, according to the affidavit. the fbi agent who wrote the document indicated that the withdrawals were necessary in order to have enough cash to “buy” food stamp funds from recipients.”
as if this isn’t bad enough, the scheme also included extensive tax fraud. in april, the undercover witness used some of the cash daham helped him rip off from the government to pay eldeknawey to prepare a completely falsified tax return out of an office by the meat counter in the portland store. the tax return utilized the earned income tax credit to obtain a refund of $2,326.
according to the affidavit, eldeknawey filed 66 returns in 2014 totaling $235,784 in returns and another 192 returns last year, of which all claims received refunds.
to read the full story and the affidavit for yourself, click here.
while the narrative of this story goes against those perpetuated by some major media outlets in maine, it’s hard to imagine that not one of them deemed this story worthy of coverage, yet there’s room for biased, one-sided hit stories such as this one.
it’s time toing some integrity back to maine journalism.
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əˈbaʊt (thx*) doʊnt fil laɪk ˈrɛdɪŋ raɪt naʊ? ʤɪst prɛs pleɪ ənd ˈlɪsən. aɪ ˈkʊdəv trɪmd ɪt daʊn bət aɪ wɔnt jɔl tɪ ˈrɪli hir mi. jul nid ən ˈkeɪpəbəl ˈbraʊzər tɪ si ðɪs ˈkɑntɛnt. pleɪ riˈpleɪ wɪθ saʊnd pleɪ wɪθ saʊnd ɪz ə ˈlaɪfˌstaɪl brænd ˈfoʊkɪst ɔn ˈɛkˌsplɔɪtɪŋ ðə ˈfʊləst pəˈtɛnʃəl əv interconnectivity*. baɪ ˈjuzɪŋ ðə ˈpætərn ɛz hər ˈmæˌskɑt tɪ stæmp hər ˈvɪʤələnt əˈtɛmpts tɪ sprɛd ləv ɔn ɑr ərθ, ɛnˈrɪʧɪz hoʊp ənd eɪmz tɪ ˌɪnˈspaɪr ˌɪndəˈvɪʤəwəlz tɪ dɪˈskəvər ðɛr ˈpərpəs wɪθ. ðɪs ɪz ən əˈtɛmpt tɪ fənd ðə ˈstɑrˌtəp kɔsts əˈsoʊʃiˌeɪtəd wɪθ prəˈdusɪŋ ˈhɛdˌkɔrtərz,. wɪl bi hoʊm tɪ ə ˈgɑrdən, ˈlaɪbrɛˌri, ˌplænəˈtɛriəm ˈθieɪtər, ˈfənˌdreɪzər ʃɑps ənd ə fri fʊl əv kriˈeɪtɪv ˈgeɪtˌweɪz fər ðoʊz ɔn ðɛr ˈʤərni tɪ ɪˈlɪməˌneɪt fɪr ənd ˈleɪzinəs frəm ðɛr lɪvz. (thxlevel*) ɪz ə ˈlaɪbrɛˌri ənd wɛr ˈpərpəs ˈdrɪvən ˌɪndəˈvɪʤəwəlz ər fri tɪ tiʧ ðɛmˈsɛlvz ənd kriˈeɪt ˌwəˈtɛvər ðeɪ wɔnt, fər fri. jʊr ˈplɛʤɪz grænt ðə ˈrisɔrsɪz ʃi læks ɪn ˈɔrdər tɪ ɪˈfɪʃəntli kriˈeɪt dɪˈzaɪnz ðət ʃi kən ˈɔfər ənd fər. ɪz ɪkˈspɛktɪd tɪ ˈoʊpən ɪts dɔrz ɪn dɪˈsɛmbər 2017 əˈsumɪŋ ðə ˈmɪnəməm ˈfəndɪŋ goʊl ɪz mɛt, ənd ɛz ˈərli ɛz mɑrʧ 2017 əˈsumɪŋ ðə aɪˈdil ˈfəndɪŋ goʊl ɪz mɛt. (thxchest*) ɪz ən ˈɔnˌlaɪn ˈvərʒən əv ðət wɪl bi əˈveɪləbəl fər kriˈeɪtɪv ˌɪndəˈvɪʤəwəlz tɪ ˌɛnˈʤɔɪ audiobooks*, bʊk rəvˈjuz, ˈkɑmɪks, ebooks*, fɪlm ˈkɑmənˌtɛriz, ˈmægəˌzinz, ˈpoʊətri ˈridɪŋz, ˈrɛkərdz ənd ˈɛni ˈəðər ˈtrɛʒərz kən gɪt hər hænz ɔn, fər fri. ˈtrɛʒərz dɪˈskəvərd ɪn wɪl bi ˈkætəgərˌaɪzd baɪ ˈsoʊʃəl ənd kriˈeɪtɪv ˈɪnfluəns ˌɪnˈtɛndɪd tɪ ˈɛmfəˌsaɪz ˈfæktərz ɪn ɔl θɪŋz. ˈvɪzɪtərz kən ˈɔlsoʊ braʊz ˈmərʧənˌdaɪz ɪn. ɪz lɪv ˈdʊrɪŋ ðə dɪˈvɛləpɪŋ steɪʤ. ə ˈbeɪtə ˈvərʒən əv kən bi ɪkˈspɛktɪd ˈɔnˌlaɪn baɪ ˈɔgəst 2016 əˈsumɪŋ ðə ˈmɪnəməm ˈfəndɪŋ goʊl ɪz mɛt. (thxcouture*) ˈaʊtˈsaɪd əv, ɪz əkˈsɛptɪŋ doʊˈneɪʃənz bət, aɪˈdili, wɪl fənd ɪts oʊn ˌɑpərˈeɪʃənz wɪθ ðə seɪlz frəm dɪˈzaɪn ˈhaʊsɪz. ðə fərst tɪ bi ˌɪntrəˈdust ɪz. ˈvɪntɪʤ ˈfæʃənz ənd ˈɔfərz ðɛm ɛz wən əv ə kaɪnd kuˈtʊr dɪˈzaɪnz. ɪz ðə ˈprɔˌsɛs əv ˈteɪkɪŋ ˈɛni ɪgˈzɪstɪŋ dɪˈzaɪn ənd ˈmeɪkɪŋ ɪt wɪθ ˈpərpəs ɪn maɪnd.) wɪl ɪkˈsklusɪvli ˈɔfər ækˈsɛsəriz, əˈpærəl, ˈhaʊsˌwɛrz ənd ˈfʊtˌwɛr. ˈjuzɪz ə dɪˈvərs sɔrt əv ˈmɛθədz tɪ houndsztoothify*, ˌɪnˈkludɪŋ beading*, ˈkələrɪŋ, ɛmˈbrɔɪdərɪŋ, ˈpeɪnɪŋ ənd soʊɪŋ. jʊr ˈplɛʤɪz wɪl kənˈtrɪbjut tɪ ðə pərˈdəkʃən kɔsts. əˈdɪʃəˌnəli, dɪˈzaɪnz wɪl bi kriˈeɪtɪd boʊθ ˌɪnˈhaʊs fər ənd baɪ ˈkəstəm ˈɔrdər. dɪˈzaɪnz wɪl bi kəmˈplitli meɪd baɪ hænd wɪθ frɛʃ, ˈɛkoʊ ˈfrɛndli məˈtɪriəlz ənd iʧ dɪˈzaɪn wɪl ˈoʊnli bi ˈrɛkriˌeɪtɪd wəns. əˈsumɪŋ ðə ˈmɪnəməm ˈfəndɪŋ goʊl ɪz mɛt, ənd wɪl bi deɪˈbjutɪŋ ɪn ˌʤuˈlaɪ 2016 wɪθ ˈoʊvər 200 dɪˈzaɪnz ˈfiʧərd ɪn moʊst ˈsaɪzɪz fər ˈleɪdiz, ˈʤɛnəlmɪn, ˈʧɪldrən ənd hoʊm. (ˈhɛdˌkɔrtərz əv) ɪz ˈkərəntli ˈɔpərˌeɪtɪŋ aʊt əv ˈvæli, ˈɔrəˌgɑn θæŋks tɪ ə ˈʤɛnərəs ˈspɑnsər rɪˈfərd tɪ ɛz thxboo*. θæŋks tɪ thxboo*, ˈkərəntli həz ˈlɪmɪtɪd ˈækˌsɛs tɪ əˈprɑksəmətli wən ənd ə kˈwɔrtər ˈeɪkərz kənˈsɪstɪŋ əv ə haʊs, tu ˈspeɪʃəs ʃɛdz, θri ʃɑps fɪld wɪθ ˈtrɛʒərz ðət ju meɪ dɪˈskəvər æt ənd lænd tɪ ɪkˈspænd. ɪt ɪz ə praɪˈɔrəti tɪ ˈpərmɑˌnɛnˌtli sɪˈkjʊr ðɪs loʊˈkeɪʃən soʊ ðət ɪz pərˈmɪtɪd fʊl juz əv ðə ˈprɛməsəz ənd kən ˈəltəmətli dɪˈvɛləp. ənˈfɔrʧənətli, ðə ˈprɑpərti ɪz ˈnɪrli soʊld ɔˈrɛdi. ˌhaʊˈɛvər, ðə ˈoʊnər həz ˈʤɛnərəsli əˈgrid tɪ ˈɔfər ðə bɛst pɪk əv ðə ˌɪnvənˈtɔri tɪ rɪˈzərv fər æt ə ˈhɛvəli ˈdɪˌskaʊnɪd praɪs. aɪˈdili, ðə ˈrɛrəst ænˈtiks, bʊks, ˈkɑmɪks, ˈmægəˌzinz, ənd ˈrɛkərdz wɪl bi rɪˈzərvd (praɪst æt əˈprɑksəmətli ˈtoʊtəl). bɪˈloʊ ɪz ə ˈvɪdioʊ əv ˈbraʊzɪŋ wən əv ðə ʃɑps. jul nid ən ˈkeɪpəbəl ˈbraʊzər tɪ si ðɪs ˈkɑntɛnt. pleɪ riˈpleɪ wɪθ saʊnd pleɪ wɪθ saʊnd loʊˈkeɪʃən ˈkaʊnti, ər 97114 ˈeɪkərz 4 haʊs gərɑʒ tu ʃɑps tu ʃɛdz kəmˈplit ˌɪnvənˈtɔri bʊks ənd ˈkaʊntɪŋ ˈkjʊrioʊ ænˈtik ˈaɪtəmz ˈmægəˌzinz ˈrɛkərdz lænd (tɪ ɪkˈspænd): ˈgrinˌhaʊs ˈgɑrdən əˈnəðər kəˈmərʃəl ˈbɪldɪŋ pɑnd ˌplænəˈtɛriəm ˈfəndɪŋ ɪz ə ðət wɪl bi fri tɪ əˈpruvd gɛsts ənd ˈoʊnli əˈpruvd gɛsts wɪl bi ədˈmɪtəd. ˌhaʊˈɛvər, stɪl ˌɪnˈtɛndz tɪ bi ɪts oʊn ˈpraɪˌmɛri ˈfəndɪŋ sɔrs wɪθ ðə seɪlz frəm ˈhaʊsɪz. wɪl ɪˈvɛnʧəwəli bi ərθs ˈlɑrʤəst səˈplaɪər əv gʊdz ənd həz ˌɪˈnɪʃiˌeɪtɪd ɪts stɑrt wɪθ ˈhaʊsɪz. jʊr ˈplɛʤɪz wɪl fənd ðə lɔnʧ əv ɛz ə ˈlaɪfˌstaɪl brænd wɪθ biɪŋ ðə ˈəltəmət ˈprɑʤɛkt ˈfoʊkɪs ənd ˈhaʊsɪz biɪŋ ðə meɪn sɔrs əv ˈfəndɪŋ. wəns ɪz ɪˈstæblɪʃt, ɔl ˈfəŋkʃənz əv wɪl bi fri tɪ sərv æmˈbɪʃəs ˌɪndəˈvɪʤəwəlz, mɔr ˈtrɛʒərz wɪl bi əˈveɪləbəl ɪn ənd dɪˈzaɪn ˈhaʊsɪz wɪl bi groʊ ɪn ˈɛfərts tɪ ɪkˈspænd ðə ˌɪmˈpækt əv ˈəndər ðə dɪˈvoʊtɪd ˈnərʧər əv. ðə ˈmɪnəməm ˈfəndɪŋ goʊl wɪl ˈkəvər: sɪˈkjʊrɪŋ 30 ˌɪnvənˈtɔri fər (ˈæbsəˌlut ˈrɛrəst ænˈtiks, bʊks, ˈkɑmɪks, ˈmægəˌzinz ənd ˈrɛkərdz) pərˈdəkʃən kɔsts fər ˈhaʊsɪz (məˈtɪriəlz, səˈplaɪz ɪkˈwɪpmənt, e.g*. soʊɪŋ məˈʃin) pərˈdəkʃən kɔsts fər ɪn ˈbeɪtə kənˈvərʒənz, ˌɪnvənˈtɔri ˈmænɪʤmənt) kæmˈpeɪn (ədˈmɪnɪˌstreɪtɪv kɔsts, wɛb fiz) ðə aɪˈdil ˈfəndɪŋ goʊl wɪl ˈkəvər: sɪˈkjʊrɪŋ 100 ˌɪnvənˈtɔri fər (ˈrɛrəst ænˈtiks, bʊks, ˈkɑmɪks, ˈmægəˌzinz ənd ˈrɛkərdz) pərˈdəkʃən kɔsts fər ˈhaʊsɪz (məˈtɪriəlz, səˈplaɪz ɪkˈwɪpmənt, e.g*. soʊɪŋ məˈʃin) pərˈdəkʃən kɔsts fər ɪn ˈbeɪtə kənˈvərʒənz, ˌɪnvənˈtɔri ˈmænɪʤmənt) kæmˈpeɪn (ədˈmɪnɪˌstreɪtɪv kɔsts, wɛb fiz) ˈɔfəs speɪs ˈtɛmpərˌɛri kəˈmərʃəl loʊˈkeɪʃən fər (fər æt list wən jɪr, ˌɪnˈkludɪŋ juˈtɪlətiz) ˈligəl ˌrɛʤɪˈstreɪʃənz (ˈkɑpiˌraɪt, ˈtreɪdˌmɑrk, tæks ɪgˈzɛmpt ˈstætəs) kriˈeɪtɪv ˈtɛknɪkəl ɪkˈwɪpmənt fər ˈfəndɪŋ goʊl wɪl ˈkəvər: sɪˈkjʊrɪŋ 100 ˌɪnvənˈtɔri fər (ˈrɛrəst ænˈtiks, bʊks, ˈkɑmɪks, ˈmægəˌzinz ənd ˈrɛkərdz) pərˈdəkʃən kɔsts fər ˈhaʊsɪz (məˈtɪriəlz, səˈplaɪz ɪkˈwɪpmənt, e.g*. soʊɪŋ məˈʃin) pərˈdəkʃən kɔsts fər ɪn ˈbeɪtə kənˈvərʒənz, ˌɪnvənˈtɔri ˈmænɪʤmənt) kæmˈpeɪn (ədˈmɪnɪˌstreɪtɪv kɔsts, wɛb fiz) ˈɔfəs speɪs ˈtɛmpərˌɛri kəˈmərʃəl loʊˈkeɪʃən fər (fər æt list wən jɪr, ˌɪnˈkludɪŋ juˈtɪlətiz) ˈligəl ˌrɛʤɪˈstreɪʃənz (ˈkɑpiˌraɪt, ˈtreɪdˌmɑrk, tæks ɪgˈzɛmpt ˈstætəs) ˈtɛknɪkəl ɪkˈwɪpmənt fər kriˈeɪtɪv juz æt kənˈstrəkʃən ˈplænɪŋ lænd ˈsɔrsɪŋ fər ˈpərmɑˌnɛnt loʊˈkeɪʃən əv ˈstæfɪŋ, baɪ ˈkɑnˌtrækt, ɛz ˈnidɪd θɔt ˈprɔˌsɛs məʧ əv juˈmænɪti ɪz fəˈmɪljər wɪθ ðə ˈfilɪŋ əv biɪŋ əˈloʊn bət ðɛr ɪkˈspɪriəns ɪz mɪsˈgaɪdɪd bɪˈkəz moʊst əv ðoʊz ˈpipəl du nɑt ˈtruli ləv hu ðeɪ ər. səm du ləv ðɛr aɪˈdil ˈvərʒənz əv ðɛmˈsɛlvz, ənd waɪl ðeɪ ər ˈkloʊzər tɪ dɪˈskəvərɪŋ ðɛr ˈpərpəs, bɪˈkəz ðeɪ fil ðeɪ hæv ˈoʊnli jɛt tɪ bɪˈkəm ðət aɪˈdil ˈvərʒən, ðeɪ stɪl fɔl ʃɔrt ɔn pəˈzɛsɪŋ ðə ˈkɑnfədɛns ðət kəmz wɪθ ˈtruli ˈləvɪŋ ˈækʧəwəl sɛlf ənd ˈfɑloʊɪŋ ˈpərpəs. sɪgˈnɪfɪkəntli mɔr ˈpipəl məst fərst kəm tɪ ə θəroʊ ˌəndərˈstændɪŋ əv ðɛmˈsɛlvz ˌbiˈfɔr ðeɪ ˈriəˌlaɪz haʊ məʧ pəˈtɛnʃəl ðeɪ hæv tɪ bɪˈkəm ðɛr aɪˈdil sɛlvz wɪʧ ðeɪ kən ˈækˌsɛs baɪ ˈləvɪŋ hu ðeɪ ər ˈmoʊmənt baɪ ˈmoʊmənt. ɪt ɪz ɪn ðə mɪst əv ðət ˈimərʤɪŋ ˈkɑnfədɛns ðət ˈpərpəs ɪt ˈriəˌlaɪzd. bɪˈkəz ɪt ɪz ˈiziəst tɪ kəm tɪ ən ˌəndərˈstændɪŋ əv hu ju ər ˈæftər ju hæv ɪkˈsplɔrd jʊr ænˈsɛstrəl ˈkəlʧərz ənd ˈʤɛnərəl ˈɪntərɪsts, ðə ˈtrɛʒərz ɪn ər ə ˈbrɪljənt sɔrs əv ˈrɛləvənt ˌdɪˈskəvri. wəns wən dɪˈskəvərz ðɛr ˈpərpəs, ɪt bɪˈkəmz ˈsɛnsləs tɪ bɪˈliv ðət ˈɛniˌθɪŋ ˌbiˈsaɪdz ðət ˈpərsənəˌlaɪzd səˈlɛsʧəl ˈkɑrənt kən lɛd ðɛm tɪ ðɛr dɪˈzaɪərd ˌdɛstɪˈneɪʃən ðə kˈwɪkɪst. ðɪs ɪz wɛr ˌkrieɪˈtɪvəti əˈbɑlɪʃɪz ˈleɪzinəs ənd ˈkɑnfədɛns əˈbɑlɪʃɪz fɪr. ɪt ɪz ˈɑbviəs ɪˈnəf haʊ ˈkɑnfədɛns əˈbɑlɪʃɪz fɪr bət ɪt kʊd nɑt hərt tɪ ɪˈlæbərˌeɪt ɔn haʊ ˌkrieɪˈtɪvəti əˈbɑlɪʃɪz ˈleɪzinəs. biɪŋ ˈtruli kriˈeɪtɪv ɪz tɪ mɔrf ɔl ju si ənd ɪkˈspɪriəns ˈɪntu wət ju ləv. ðɪs teɪks wərk ənd ɪz ɛˈsɛnʃəli ə ˈprɔˌsɛs əv ˈhækɪŋ ˈɪntu ˈvɛri oʊn breɪn ˈkɛmɪstri baɪ ˈpərsənəˌlaɪzɪŋ ənd ˈstɔrɪŋ ɔl ðə gʊd ju kənˈsum. noʊt ðət ɑr maɪndz ər ˈkɑnstəntli biɪŋ ʧeɪnʤd baɪ pərˈsɛpʧəwəl ˈɪnˌfluənsɪz ənd ðə ˈoʊnli wən ðət kən ˈtrænsfɔrm jʊr pərˈsɛpʃənz ɪz ˈəltəmətli ju. ɪt ɪz əp tɪ ju wɪʧ ˈɪnˌfluənsɪz ˌɪmˈpækt jʊr pərˈsɛpʃən ənd ɪn wɪʧ weɪ. ðɪs ˈriləˈzeɪʃən ɪz ˌmoʊtəˈveɪʃən tɪ bɪˈkəm ðə ˈəltəmət ˈɪnfluəns ɔn jʊr oʊn pərˈsɛpʃənz, mɔr ˈkɑmənli rɪˈfərd tɪ ɛz ““doing*, siɪŋ ənd biɪŋ ˈɛvriˌθɪŋ ju love”*”. ðɪs ˈmɔrfɪŋ pərˈsɛpʧəwəl ˈprɔˌsɛs ɪz ðə ˈpərpəs əv ɑr əˈbɪləˌti tɪ bi kriˈeɪtɪv. ˌɪndəˈvɪʤəwəlz məst kriˈeɪt ðɛr baɪ ˈʧuzɪŋ ðɛr ˈɪnˌfluənsɪz. wɪn wən ɪz ɪnˈgəlft ɪn ə fɔrs fild əv ˈbəlʤɪŋ veɪnz fɪld wɪθ ðə rɑ ˈɛnərʤi əv ðɛr ˈfeɪvərɪt streɪnz, ˈleɪzinəs kən ˈnɛvər ˈpɛnəˌtreɪt. ɛz fɪr ənd ˈleɪzinəs dɪˈmɪnɪʃɪz, ˌɪndəˈvɪʤəwəlz hæv ˈbaʊnɪfəl ˈkɑnfədɛns ənd kriˈeɪtɪv ˌmoʊtəˈveɪʃən tɪ əbˈteɪn ðɛr ˈʧoʊzən rɪkˈwaɪrmənts ɪn tərmz əv ˈnɑlɪʤ, ˈtaɪmɪŋ ənd ˈrisɔrsɪz ˈnɛsəˌsɛri tɪ fʊlˈfɪl ðɛr ˈpərpəs. soʊ naʊ wən həz kəm frəm ˈfilɪŋ ˌɪnˈspaɪərd baɪ ˈbraʊzɪŋ, tɪ ˌəndərˈstændɪŋ ðɛmˈsɛlvz ənd ðɛr pleɪs ɪn ðɪs ˌɪntərkəˈnɛktɪd ɪgˈzɪstəns, ðɛn tɪ ˈləvɪŋ ðɛmˈsɛlvz ənd ər naʊ kriˈeɪtɪvli ɛmˈbɑrkɪŋ ɔn ə laɪf fjuəld baɪ ðɛr ˌɪndəˈvɪʤəwəl ˈpərpəs. fər səm, laɪf ɪz pjʊr blɪs ˈæftər ðɪs, bət fər moʊst ðət ˈnɑlɪʤ, ðoʊz ˈrisɔrsɪz ənd ˈækjərət ˈtaɪmɪŋ ər ə ˈʧælənʤ tɪ kəm baɪ du tɪ ə waɪd reɪnʤ əv ˈsərkəmˌstænsɪz. ɪz ən ænˈtɪsəˌpeɪtɪd brænʧ əv tɪ prəˈvaɪd əˈsɪstəns tɪ dɪˈzərvɪŋ ˌɪndəˈvɪʤəwəlz hu ər ɪn sɛd ˌsɪʧuˈeɪʃən. wɪl ˈkeɪtər tɪ ə ˈsɪŋgəl ˌɪndəˈvɪʤəwəl ər smɔl grup æt ə taɪm, ˈkəstəˌmaɪzɪŋ ðɛr ˌɪnspərˈeɪʃənəl ɪkˈspɪriəns. gɛsts wɪl bi æst tɪ prəˈvaɪd ən ˌæpləˈkeɪʃən dɪˈteɪlɪŋ ðɛr ˈpərpəs fər ðə ˈvɪzɪt ɛz wɛl ɛz dɪˈzaɪərd ˈaʊtˌkəm. ən ɪgˈzæmpəl sɪˈnɛrioʊ ɪz ən əˈspaɪrɪŋ fɪlm kəmˈpoʊzər wɔnts tɪ ˈstədi ðə ˈmɛlədiz əv ˈvɪntɪʤ ˈrɛkərdz ənd kəmˈpɛr ðɛm tɪ ˈmɑdərn fɪlm skɔrz. ðeɪ kən braʊz ðə kəˈlɛkʃən əv ˈrɛləvənt məˈtɪriəl ˈɔnˌlaɪn ənd ˈspɛsəˌfaɪ wɪʧ məˈtɪriəlz ðeɪ fil wɪl ˈbɛnəfɪt ðɛr ˈpərpəs ɪn ðɛr ˌæpləˈkeɪʃən. ˈsɛʃənz wɪl reɪnʤ frəm tu ər mɔr aʊərz, dɪˈpɛndɪŋ ɔn ðə nid ənd ˈmɛrət əv ðə ˌæpləˈkeɪʃən. gɛsts wɪl hæv ˈækˌsɛs tɪ ɔl bʊks, ˈmægəˌzinz, ˈrɛkərdz, fɪlmz əˈveɪləbəl. ˈɛniˌwən wɪl bi ˈeɪbəl tɪ əˈplaɪ, ˌhaʊˈɛvər, eɪmz tɪ əˈtrækt pərˈdəktɪv ənd ˈfoʊkɪst ˌɑntrəprəˈnəriəl ˈspɪrɪts. wɪl ˈɔlsoʊ bi hoʊm tɪ ˈvɛriəs kriˈeɪtɪv ˈstudiˌoʊz əˈspɛʃəli fər ˈæplɪkənts dɪˈvɛləpɪŋ ðɛr oʊn ˈbɪznɪs ər ˈprɑʤɛkt ɪn nid əv spɪˈsɪfɪk ˈrisɔrsɪz tɪ kənˈtɪnju ðɛr dɪˈvɛləpmənt. ən ɪgˈzæmpəl ɪz ən əˈspaɪrɪŋ ˈbɛli dæns ˌɪnˈstrəktər əˈplaɪz tɪ ˈrɛkərd ə pərˈmoʊʃənəl ˈvɪdioʊ. ʃi həz ɔˈrɛdi ˈkɔriəˌgræft hər ˈdeɪbju pərˈfɔrməns bət nidz ðə ˈprɑpər ɪkˈwɪpmənt, ˈkɑstum ənd loʊˈkeɪʃən tɪ fɪlm ə ˈproʊˌmoʊ ˈvɪdioʊ fər hər ˈwɛbˌsaɪt. wɪl ˈɔfər ɔl ˈrɛləvənt ˈrisɔrsɪz æt ɪts dɪˈspoʊzəl ənd hɛlp hər dɪˈvɛləp hər dɪˈzaɪərd ˈvɪʒən. ɪn əˈdɪʃən tɪ ðə ˈstudiˌoʊz, hir ər səm ˈəðər taɪps əv əˈsɪstəns wɪl ˈɔfər: kriˈeɪtɪv ˈsɔfˌwɛr səbˈskrɪpʃənz kəmˈpjutərz ˈlæpˌtɑps ˈvərʧuəl tuˈtɔriəlz ˈbɪznɪs grænts ˈbɪznɪs plæn kriˈeɪtɪv riˈtrits ˈkɑnsərt ɪˈvɛnt ɪgˈzɪbɪt lɪv ɑrt ɪkˈspɪriəns ˈhoʊstɪŋ ˈspɑnsərˌʃɪp ˈtɛknɪkəl ɪkˈwɪpmənt kriˈeɪtɪŋ jʊr oʊn wərld tɪ ɪgˈzɪst ɪn meɪ sim ˈsɛlfɪʃ, bət ˈriəˌlaɪz wi ləv ˈəðərz mɔr wɪn wi ləv ɑrˈsɛlvz. ˌəndərˈstænd ðət ˈgrætəˌtud fər ðət ləv kips ərθ ɪn roʊˈteɪʃən. soʊ wɪn wən dɪˈskəvərz ðɛr ˈpərpəs, mɔr ðən ˈlaɪkli, ðeɪ wɪl wɔnt tɪ ʃɛr ðə ləv ðeɪ hæv fər ɪt wɪθ ðə rɛst əv ˈjuˈɛs. ˌɔlˈðoʊ ˈpərpəs meɪ nɑt əˈpil tɪ ˈɛvriˌwən, ðɛr ləv ənd ˈkɑnfədɛns ɪn ɪt stɪl ˌɪnˈspaɪrz. ðə ˈpərpəs əv dɪˈskəvərɪŋ jʊr ˈpərpəs ɪz tɪ ɪkˈspɪriəns ðə ˈfridəm ɪn ˈʃɛrɪŋ ɪt. bɪˈkəm ə ˌbɛnəˈfɪʃəl ˌkɑntrəˈbjuʃən ɪn ðɪs ˌɪntərkəˈnɛktɪd dɪˈmɛnʃən əv səˈlɛsʧəl biɪŋz soʊ wi kən ɔl ɪkˈspɪriəns ðə pis ɪn ˈfridəm æt ɑr ˈkɑrənt ˈplænəˌtɛri hoʊm.
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about
thehoundsztoothx (thx)
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thehoundztoothx is a lifestyle brand focused on exploiting the fullest potential of interconnectivity. by using the houndstooth pattern as her mascot to stamp her vigilant attempts to spread love on our earth, thxqueen enriches hope and aims to inspire individuals to discover their purpose with thx. this kickstarter is an attempt to fund the start-up costs associated with producing thx headquarters, thxlevel. thxlevel will be home to a garden, library, planetarium / theater, thx fundraiser shops and a free makerspace full of creative gateways for those on their journey to eliminate fear and laziness from their lives.
thehoundsztoothxlevel (thxlevel)
thxlibrary is a library and makerspace where purpose driven individuals are free to teach themselves and create whatever they want, for free. your pledges grant thxqueen the resources she lacks in order to efficiently create designs that she can offer and fundraise for thxlibrary. thxlibrary is expected to open its doors in december 2017, assuming the minimum funding goal is met, and as early as march 2017, assuming the ideal funding goal is met.
thehoundsztoothxchest (thxchest)
thxchest is an online version of thxlibrary that will be available for creative individuals to enjoy audiobooks, book reviews, comics, ebooks, film commentaries, magazines, poetry readings, records and any other treasures thxqueen can get her hands on, for free. treasures discovered in thxchest will be categorized by social and creative influence intended to emphasize interconnecting factors in all things. visitors can also browse thx merchandise in thxchest. thxchest is live during the developing stage. a beta version of thxchest can be expected online by august 2016 assuming the minimum funding goal is met.
thehoundsztoothxcouture (thxcouture)
outside of kickstarter, thx is accepting donations but, ideally, thx will fund its own operations with the sales from thx design houses. the first to be introduced is thxcouture. thxqueen houndsztoothifies vintage fashions and offers them as one of a kind couture designs. (houndsztoothifying is the process of taking any existing design and making it houndsztooth with thx purpose in mind.) thxcouture will exclusively offer houndsztoothified accessories, apparel, housewares and footwear. thxqueen uses a diverse sort of methods to houndsztoothify, including beading, coloring, embroidering, painting and sewing. your pledges will contribute to the houndsztoothification production costs. additionally, thxhautecouture designs will be created both in-house for thxqueen and by custom order. thxhautecouture designs will be completely made by hand with fresh, eco friendly materials and each design will only be recreated once. assuming the minimum funding goal is met, thxcouture and thxhautecouture will be debuting in july 2016 with over 200 designs featured in most sizes for ladies, gentlemen, children and home.
thxlevel (headquarters of thx)
thx is currently operating out of yamhill valley, oregon thanks to a generous sponsor referred to as thxboo. thanks to thxboo, thx currently has limited access to approximately one and a quarter acres consisting of a house, two spacious sheds, three shops filled with treasures that you may discover at thxchest and land to expand. it is a priority to permanently secure this location so that thx is permitted full use of the premises and can ultimately develop. unfortunately, the property is nearly sold already. however, the owner has generously agreed to offer the best pick of the inventory to reserve for thxlibrary at a heavily discounted price. ideally, the rarest antiques, books, comics, magazines, and records will be reserved (priced at approximately $10,000 total).
below is a video of thxqueen browsing one of the shops.
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location
yamhill county, or 97114
1.27 acres
4 br house
garage
two shops
two sheds
complete inventory
5,000+ books and counting
2,000+ curio & antique items
1,000+ magazines
2,500+ records
land (to expand):
greenhouse garden
another commercial building
pond
planetarium
funding
thxlibrary is a makerspace that will be free to approved guests and only approved guests will be admitted. however, thx still intends to be its own primary funding source with the sales from thxcouture houses. thxlevel will eventually be earth's largest supplier of houndstooth goods and has initiated its start with thxcouture houses. your pledges will fund the launch of thx as a lifestyle brand with thxlevel being the ultimate project focus and thxcouture houses being the main source of funding. once thxlevel is established, all functions of thxlibrary will be free to serve ambitious individuals, more treasures will be available in thxchest and thx design houses will be grow in efforts to expand the impact of thx under the devoted nurture of thxqueen.
$7,000 - the minimum funding goal will cover:
securing 30% inventory for thxlibrary (absolute rarest antiques, books, comics, magazines and records)
production costs for thxcouture houses (materials, supplies & equipment, e.g. sewing machine)
production costs for thxchest in beta (ebook conversions, inventory management)
thx campaign (administrative costs, web fees)
$45,000 - the ideal funding goal will cover:
securing 100% inventory for thxlibrary (rarest antiques, books, comics, magazines and records)
production costs for thxcouture houses (materials, supplies & equipment, e.g. sewing machine)
production costs for thxchest in beta (ebook conversions, inventory management)
thx campaign (administrative costs, web fees)
office space / temporary commercial location for thxlevel (for at least one year, including utilities)
legal registrations (copyright, trademark, tax exempt status)
creative technical equipment for thxlibrary
$115,000 + thx funding goal will cover:
securing 100% inventory for thxlibrary (rarest antiques, books, comics, magazines and records)
production costs for thxcouture houses (materials, supplies & equipment, e.g. sewing machine)
production costs for thxchest in beta (ebook conversions, inventory management)
thx campaign (administrative costs, web fees)
office space / temporary commercial location for thxlevel (for at least one year, including utilities)
legal registrations (copyright, trademark, tax exempt status)
technical equipment for creative use at thxlibrary
construction planning & land sourcing for permanent location of thxlevel
staffing, by contract, as needed
thxqueen's thought process
much of humanity is familiar with the feeling of being alone but their experience is misguided because most of those people do not truly love who they are. some do love their ideal versions of themselves, and while they are closer to discovering their purpose, because they feel they have only yet to become that ideal version, they still fall short on possessing the confidence that comes with truly loving one’s actual self and following one’s purpose.
significantly more people must first come to a thorough understanding of themselves before they realize how much potential they have to become their ideal selves which they can access by loving who they are moment by moment. it is in the midst of that emerging confidence that one’s purpose it realized. because it is easiest to come to an understanding of who you are after you have explored your ancestral cultures and general interests, the treasures in thxchest are a brilliant source of relevant discovery. once one discovers their purpose, it becomes senseless to believe that anything besides that personalized celestial current can lead them to their desired destination the quickest. this is where creativity abolishes laziness and confidence abolishes fear.
it is obvious enough how confidence abolishes fear but it could not hurt to elaborate on how creativity abolishes laziness. being truly creative is to morph all you see and experience into what you love. this takes work and is essentially a process of hacking into one’s very own brain chemistry by personalizing and storing all the good you consume. note that our minds are constantly being changed by perceptual influences and the only one that can transform your perceptions is ultimately you. it is up to you which influences impact your perception and in which way. this realization is motivation to become the ultimate influence on your own perceptions, more commonly referred to as “doing, seeing and being everything you love”. this morphing perceptual process is the purpose of our ability to be creative. individuals must create their existences by choosing their influences. when one is engulfed in a force field of bulging veins filled with the raw energy of their favorite strains, laziness can never penetrate. as fear and laziness diminishes, individuals have bountiful confidence and creative motivation to obtain their chosen requirements in terms of knowledge, timing and resources necessary to fulfill their purpose.
so now one has come from feeling inspired by browsing thxchest, to understanding themselves and their place in this interconnected existence, then to loving themselves and are now creatively embarking on a life fueled by their individual purpose. for some, life is pure bliss after this, but for most that knowledge, those resources and accurate timing are a challenge to come by due to a wide range of circumstances.
thxlibrary is an anticipated branch of thx to provide assistance to deserving individuals who are in said situation. thxlibrary will cater to a single individual or small group at a time, customizing their inspirational experience. guests will be asked to provide an application detailing their purpose for the visit as well as desired outcome. an example scenario is an aspiring film composer wants to study the melodies of vintage records and compare them to modern film scores. they can browse the collection of relevant material online and specify which materials they feel will benefit their purpose in their application. sessions will range from two or more hours, depending on the need and merit of the guest’s application. guests will have access to all books, magazines, records, films available. anyone will be able to apply, however, thxlibrary aims to attract productive autodidacts and focused entrepreneurial spirits. thxlibrary will also be home to various creative studios especially for applicants developing their own business or project in need of specific resources to continue their development. an example is an aspiring belly dance instructor applies to record a promotional video. she has already choreographed her debut performance but needs the proper equipment, costume and location to film a promo video for her website. thxlibrary will offer all relevant resources at its disposal and help her develop her desired vision.
in addition to the studios, here are some other types of assistance thxlibrary will offer:
creative software subscriptions
computers & laptops
virtual tutorials
business grants
business plan
creative retreats
concert / event / exhibit / live art experience hosting
sponsorship
technical equipment
creating your own world to exist in may seem selfish, but realize we love others more when we love ourselves. understand that gratitude for that love keeps earth in rotation. so when one discovers their purpose, more than likely, they will want to share the love they have for it with the rest of us. although one’s purpose may not appeal to everyone, their love and confidence in it still inspires. the purpose of discovering your purpose is to experience the freedom in sharing it. become a beneficial contribution in this interconnected dimension of celestial beings so we can all experience the peace in freedom at our current planetary home.
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plænd ˌɑbsəˈlɛsəns, ər ˈbɪlˌtɪn ˌɑbsəˈlɛsəns, ɪn ˌɪnˈdəstriəl dɪˈzaɪn ənd ˌɛkəˈnɑmɪks ɪz ə ˈpɑləsi əv ˈplænɪŋ ər dɪˈzaɪnɪŋ ə ˈprɑdəkt wɪθ ən ˌɑrtəˈfɪʃəli ˈlɪmɪtɪd ˈjusfəl laɪf, soʊ ɪt wɪl bɪˈkəm ˌɑbsəˈlit (ðət ɪz, ənˈfæʃənəbəl ər noʊ ˈlɔŋgər ˈfəŋkʃənəl) ˈæftər ə ˈsərtən ˈpɪriəd əv ðə ˌræʃəˈnæl bɪˈhaɪnd ðə ˈstrætəʤi ɪz tɪ ˈʤɛnərˌeɪt ˈlɔŋˈtərm seɪlz ˈvɑljum baɪ rɪˈdusɪŋ ðə taɪm bɪtˈwin rɪˈpit ˈpərʧəsɪz (rɪˈfərd tɪ ɛz "ˈʃɔrtənɪŋ ðə rɪˈpleɪsmənt prəˈdusərz ðət pərˈsu ðɪs ˈstrætəʤi bɪˈliv ðət ðə əˈdɪʃənəl seɪlz ˈrɛvəˌnu ɪt kriˈeɪts mɔr ðən ˈɔfˌsɛts ðə əˈdɪʃənəl kɔsts əv ˈrisərʧ ənd dɪˈvɛləpmənt, ənd ˈɔfˌsɛts ðə ˌɑpərˈtunəti kɔsts əv ən ɪgˈzɪstɪŋ ˈprɑdəkt laɪn. ɪn ə kəmˈpɛtɪtɪv ˈɪndəstri, ðɪs ɪz ə ˈrɪski ˈpɑləsi, bɪˈkəz kənˈsumərz meɪ ˌdɪˈsaɪd tɪ baɪ frəm kəmˈpɛtɪtərz ˌɪnˈstɛd ɪf ðeɪ ˈnoʊtɪs ðə ˈstrætəʤi. plænd ˌɑbsəˈlɛsəns tɛndz tɪ wərk bɛst wɪn ə prəˈdusər həz æt list ən ˌbiˈfɔr ˌɪntrəˈdusɪŋ ə plænd ˌɑbsəˈlɛsəns, ðə prəˈdusər həz tɪ noʊ ðət ðə kənˈsumər ɪz æt list ˈsəmˈwət ˈlaɪkli tɪ baɪ ə rɪˈpleɪsmənt frəm ðɛm. ɪn ðiz ˈkeɪsɪz əv plænd ˌɑbsəˈlɛsəns, ðɛr ɪz ən ˌɪnˌfɔrˈmeɪʃən ˌeɪˈsɪmətri bɪtˈwin ðə prəˈdusər, hu noʊz haʊ lɔŋ ðə ˈprɑdəkt wɑz dɪˈzaɪnd tɪ læst, ənd ðə kənˈsumər, hu dɪz nɑt. wɪn ə ˈmɑrkɪt bɪˈkəmz mɔr kəmˈpɛtɪtɪv, ˈprɑdəkt ˈlaɪfˌspænz tɛnd tɪ fər ɪgˈzæmpəl, wɪn ˌʤæpəˈniz ˈviɪkəlz wɪθ ˈlɔŋgər ˈlaɪfˌspænz ˈɛnərd ðə əˈmɛrɪkən ˈmɑrkɪt ɪn ðə ənd 1970s*, əˈmɛrɪkən ˈkɑrˌmeɪkərz wər fɔrst tɪ rɪˈspɑnd baɪ ˈbɪldɪŋ mɔr ˈdʊrəbəl ˈhɪstəri ənd ˈɔrəʤɪnz əv ðə freɪz ˈɛdət 7 ðə 1923 ˌʃɛvroʊˈleɪ ɪz ˈsaɪtɪd ɛz wən əv ðə ˈərliəst ɪgˈzæmpəlz əv ˈænjuəl ɪn ðə kɑr ˈɪndəstri, bɪˈkəz ɪt hæd ə riˈstaɪld ˈbɑdi ˈkəvərɪŋ wət ɛˈsɛnʃəli wɑz tɛkˈnɑləʤi. ˈælfrɪd pi. sloʊn jr*. ˈɛdət ɪn ðə juˈnaɪtɪd steɪts, ˌɔtəˈmoʊtɪv dɪˈzaɪn riʧt ə ˈtərnɪŋ pɔɪnt ɪn 1924 wɪn ðə əˈmɛrɪkən ˈnæʃənəl ˌɔtəmoʊˈbil ˈmɑrkɪt bɪˈgæn ˈriʧɪŋ ˌsæʧərˈeɪʃən. tɪ meɪnˈteɪn ˈjunɪt seɪlz, ˈʤɛnərəl ˈmoʊtərz hɛd ˈælfrɪd pi. sloʊn jr*. səˈʤɛstɪd ˈænjuəl dɪˈzaɪn ˈʧeɪnʤɪz tɪ kənˈvɪns kɑr ˈoʊnərz ðət ðeɪ ˈnidɪd tɪ baɪ ə nu rɪˈpleɪsmənt iʧ jɪr, ən aɪˈdiə ˈbɑˌroʊd frəm ðə ˈbaɪsɪkəl ˈɪndəstri, ðoʊ ðə ˈkɑnsɛpt ɪz ˈɔfən tɪ ˈkrɪtɪks kɔld hɪz ˈstrætəʤi "plænd ˌɑbsəˈlɛsəns". sloʊn prɪˈfərd ðə tərm "daɪˈnæmɪk ðɪs ˈstrætəʤi hæd ˈifɛkts ɔn ðə ˈɔtoʊ ˈbɪznɪs, ðə fild əv ˈprɑdəkt dɪˈzaɪn, ənd ɪˈvɛnʧəwəli ðə əˈmɛrɪkən ɪˈkɑnəmi. ðə sˈmɔlər pleɪərz kʊd nɑt meɪnˈteɪn ðə peɪs ənd ɪkˈspɛns əv ˈjɪrli re-styling*. ˈhɛnri fɔrd dɪd nɑt laɪk ðə ˈkɑnstənt strim əv ˈʧeɪnʤɪz bɪˈkəz hi kləŋ tɪ ən ˌɛnʤəˈnirz ˈnoʊʃənz əv sɪmˈplɪsɪti, ɪˈkɑnəmiz əv skeɪl, ənd dɪˈzaɪn ˌɪnˈtɛgrəti. sərˈpæst fɔrdz seɪlz ɪn 1931 ənd bɪˈkeɪm ðə ˈdɑmənənt ˈkəmpəˌni ɪn ðə ˈɪndəstri ðɛˈræftər. ðə ˈfrikˌwɛnt dɪˈzaɪn ˈʧeɪnʤɪz ˈɔlsoʊ meɪd ɪt ˈnɛsəˌsɛri tɪ juz ə ˈrəðər ðən ðə ˈlaɪtər, bət lɛs ˈizi tɪ ˈmɑdəˌfaɪ, dɪˈzaɪn juzd baɪ moʊst ˌjʊrəˈpiən ˈɔtoʊˌmeɪkərz. ˈbərnərd ˈləndən ˈɛdət ˈɛndɪŋ ðə dɪˈprɛʃən θru plænd ˌɑbsəˈlɛsəns, baɪ baɪ ˈbərnərd ˈləndən 1932 ðə ˈɔrəʤɪnz əv freɪz plænd ˌɑbsəˈlɛsəns goʊ bæk æt list ɛz fɑr ɛz 1932 wɪθ ˈbərnərd ˈləndənz ˈpæmflət ˈɛndɪŋ ðə dɪˈprɛʃən θru plænd ðə ˈɛsəns əv ˈləndənz plæn wʊd hæv ðə ˈgəvərnmənt ˌɪmˈpoʊz ə ˈligəl ˌɑbsəˈlɛsəns ɔn kənˈsumər ˈɑrtɪkəlz, tɪ ˈstɪmjəˌleɪt ənd pərˈpɛʧəˌweɪt kənˈsəmʃən. brʊks ˈstivənz ˈɛdət ˌhaʊˈɛvər, ðə freɪz wɑz fərst ˈpɑpjələrˌaɪzd ɪn 1954 baɪ brʊks ˈstivənz, ən əˈmɛrɪkən ˌɪnˈdəstriəl dɪˈzaɪnər. ˈstivənz wɑz du tɪ gɪv ə tɔk æt ən ˈædvərˌtaɪzɪŋ ˈkɑnfərəns ɪn ˌmɪniˈæpəlɪs ɪn 1954 wɪˈθaʊt ˈgɪvɪŋ ɪt məʧ θɔt, hi juzd ðə tərm ɛz ðə ˈtaɪtəl əv hɪz tɔk. frəm ðət pɔɪnt ɔn, "plænd ˌɑbsəˈlɛsəns" bɪˈkeɪm ˈstivənz' catchphrase*. baɪ hɪz ˌdɛfəˈnɪʃən, plænd ˌɑbsəˈlɛsəns wɑz "ˌɪnˈstɪlɪŋ ɪn ðə baɪər ðə dɪˈzaɪər tɪ oʊn ˈsəmθɪŋ ə ˈlɪtəl nuər, ə ˈlɪtəl ˈbɛtər, ə ˈlɪtəl ˈsunər ðən ɪz ˈnɛsəˌsɛri." ˈvoʊlksˌwægən ˈɛdət ðə freɪz wɑz kˈwɪkli ˈteɪkən əp baɪ ˈəðərz, bət ˈstivənz' ˌdɛfəˈnɪʃən wɑz ˈʧælənʤd. baɪ ðə leɪt 1950s*, plænd ˌɑbsəˈlɛsəns hæd bɪˈkəm ə ˈkɑmənli juzd tərm fər ˈprɑdəkts dɪˈzaɪnd tɪ breɪk ˈizəli ər tɪ kˈwɪkli goʊ aʊt əv staɪl. ɪn fækt, ðə ˈkɑnsɛpt wɑz soʊ ˈwaɪdli ˈrɛkəgˌnaɪzd ðət ɪn 1959 ˈvoʊlksˌwægən mɑkt ɪt ɪn ən ˈædvərˌtaɪzɪŋ kæmˈpeɪn. waɪl ækˈnɑlɪʤɪŋ ðə ˈwaɪdˈsprɛd juz əv plænd ˌɑbsəˈlɛsəns əˈməŋ ˌɔtəmoʊˈbil ˌmænjəˈfækʧərərz, ˈvoʊlksˌwægən pɪʧt ˌɪtˈsɛlf ɛz ən ɔlˈtərnətɪv. "wi du nɑt bɪˈliv ɪn plænd ˌɑbsəˈlɛsəns", ðə ædz səˈʤɛstɪd. "wi doʊnt ʧeɪnʤ ə kɑr fər ðə seɪk əv ɪn ðə ˈfeɪməs ˈvoʊlksˌwægən ˈædvərˌtaɪzɪŋ kæmˈpeɪn baɪ dɔɪl deɪn ˈbərnˌbɑk, wən ʃoʊd ən ˈɔlˌmoʊst blæŋk peɪʤ wɪθ ðə "noʊ pɔɪnt ɪn ʃoʊɪŋ ðə 1962 ˈvoʊlksˌwægən, ɪt stɪl lʊks ðə seɪm". væns ˈpækərdz ðə weɪst ˈmeɪkərz ˈɛdət ɪn 1960 ˈkəlʧərəl ˈkrɪtɪk væns ˈpækərd ˈpəblɪʃt ðə weɪst ˈmeɪkərz, prəˈmoʊtəd ɛz ən exposé*é əv "ðə ˌsɪstəˈmætɪk əˈtɛmpt əv ˈbɪznɪs tɪ meɪk ˈjuˈɛs ˈweɪstfəl, debt-ridden*, ˈpərmɑˌnɛnˌtli ˌdɪskənˈtɛntɪd ˌɪndəˈvɪʤəwəlz". ˈpækərd dɪˈvaɪdɪd plænd ˌɑbsəˈlɛsəns ˈɪntu tu səb ˈkætəˌgɔriz: ˌɑbsəˈlɛsəns əv dɪˌzaɪrəˈbɪlɪti; ənd ˌɑbsəˈlɛsəns əv ˈfəŋkʃən. "ˌɑbsəˈlɛsəns əv dɪˌzaɪrəˈbɪlɪti", a.k.a*. "ˌsaɪkəˈlɑʤɪkəl ˌɑbsəˈlɛsəns", rɪˈfərd tɪ ˌmɑrkətərz' əˈtɛmpts tɪ wɛr aʊt ə ˈprɑdəkt ɪn ðə ˈoʊnərz maɪnd. ˈpækərd kˈwoʊtɪd ˌɪnˈdəstriəl dɪˈzaɪnər ʤɔrʤ ˈnɛlsən, hu roʊt: "dɪˈzaɪn... ɪz ən əˈtɛmpt tɪ meɪk ə ˌkɑntrəˈbjuʃən θru ʧeɪnʤ. wɪn noʊ ˌkɑntrəˈbjuʃən ɪz meɪd ər kən bi meɪd, ðə ˈoʊnli ˈprɔˌsɛs əˈveɪləbəl fər ˈgɪvɪŋ ðə ˌɪˈluʒən əv ʧeɪnʤ ɪz 'ˈstaɪlɪŋ!'" taɪps ˈɛdət kənˈtraɪvd dərəˈbɪlɪti ˈɛdət kənˈtraɪvd dərəˈbɪlɪti ɪz ə ˈstrætəʤi əv ˈʃɔrtənɪŋ ðə ˈprɑdəkt ˈlaɪfˌtaɪm ˌbiˈfɔr ɪt ɪz riˈlist ˈɔntu ðə ˈmɑrkɪt, baɪ dɪˈzaɪnɪŋ ɪt tɪ dɪˈtɪriərˌeɪt ðə dɪˈzaɪn əv ɔl kənˈsumər ˈprɑdəkts ˌɪnˈkludz ən ɪkˈspɛktɪd ˈævərɪʤ ˈlaɪfˌtaɪm ˈpərmiˌeɪtɪŋ ɔl ˈsteɪʤɪz əv dɪˈvɛləpmənt. ðəs, ɪt məst bi ˌdɪˈsaɪdɪd ˈərli ɪn ðə dɪˈzaɪn əv ə ˈkɑmplɛks ˈprɑdəkt haʊ lɔŋ ɪt ɪz dɪˈzaɪnd tɪ læst soʊ ðət iʧ kəmˈpoʊnənt kən bi meɪd tɪ ðoʊz ˌspɛsəfəˈkeɪʃənz. sɪns ɔl ˈmætər ɪz ˈsəbʤɪkt tɪ ˈɛntrəpi, ɪt ɪz ˌɪmˈpɑsəbəl fər ˈɛni dɪˈzaɪnd ˈɑbʤɛkt tɪ rɪˈteɪn ɪts fʊl ˈfəŋkʃən fərˈɛvər; ɔl ˈprɑdəkts wɪl ˈəltəmətli breɪk daʊn, noʊ ˈmætər wət stɛps ər ˈteɪkən. ˈlɪmɪtɪd ˈlaɪfˌspæn ɪz ˈoʊnli ə saɪn əv plænd ˌɑbsəˈlɛsəns ɪf ðə ˈlaɪfˌspæn əv ðə ˈprɑdəkt ɪz meɪd ˌɑrtəˈfɪʃəli ʃɔrt baɪ dɪˈzaɪn. ðə ˈstrætəʤi əv kənˈtraɪvd dərəˈbɪlɪti ɪz ˈʤɛnərəli nɑt proʊˈhɪbətəd baɪ lɔ, ənd ˌmænjəˈfækʧərərz ər fri tɪ sɛt ðə dərəˈbɪlɪti ˈlɛvəl əv ðɛr ə ˈpɑsəbəl ˈmɛθəd əv ˈlɪmətɪŋ ə ˈprɑdəkts dərəˈbɪlɪti ɪz tɪ juz ˌɪnˈfɪriər məˈtɪriəlz ɪn ˈkrɪtɪkəl ˈɛriəz, ər kəmˈpoʊnənt leɪaʊts wɪʧ kɔz ɪkˈsɛsɪv wɛr. ˈjuzɪŋ sɔft ˈmɛtəl ɪn skruz ənd ʧip ˈplæstɪk ˌɪnˈstɛd əv ˈmɛtəl ɪn kəmˈpoʊnənts wɪl ˌɪnˈkris ðə spid æt wɪʧ ə ˈprɑdəkt wɪl bɪˈkəm ˌɪˈnɑpərəbəl θru ˈnɔrməl ˈjusɪʤ ənd meɪk ɪt proʊn tɪ ˈbreɪkɪʤ frəm ˈivɪn ˈmaɪnər fɔrmz əv æbˈnɔrməl ˈjusɪʤ. fər ɪgˈzæmpəl, smɔl, ˈbrɪtəl ˈplæstɪk gɪrz ɪn tɔɪz ər ɪkˈstrimli proʊn tɪ ˈdæmɪʤ ɪf ðə tɔɪ ɪz pleɪd wɪθ ˈrəfli, wɪʧ kən ˈizəli dɪˈstrɔɪ ki ˈfəŋkʃənz əv ðə tɔɪ ənd fɔrs ðə ˈpərʧəs əv ə rɪˈpleɪsmənt. ðə ʃɔrt laɪf ɪkˈspɛktənsi əv ənd ˈəðər ˈhænˈdhɛld ˌɪˌlɛkˈtrɑnɪks ɪz ə rɪˈzəlt əv ˈkɑnstənt ˈjusɪʤ, ˈfræʤəl ˈbætəriz, ənd ðə əˈbɪləˌti tɪ ˈizəli ˈdæmɪʤ priˈvɛnʃən əv rɪˈpɛrz ˈɛdət skruz juzd ɪn ən ˈaɪˌfoʊn ˈkrɪtɪks hæv ˈɑrgjud ðət ˈæpəlz juz əv skruz ɪn ðɛr nuər dɪˈvaɪsɪz ɪz ən əˈtɛmpt tɪ prɪˈvɛnt ðə kənˈsumər frəm rɪˈpɛrɪŋ ðə dɪˈvaɪs ðɛmˈsɛlvz. ðə ˈəltəmət ɪgˈzæmpəlz əv səʧ dɪˈzaɪn ər ˈvərʒənz əv trəˈdɪʃənəli ˈdʊrəbəl gʊdz, səʧ ɛz dɪˈspoʊzəbəl ˈkæmərəz, wɛr ðə ˈkəstəmər məst ˈpərʧəs ən ɪnˈtaɪər nu ˈprɑdəkt ˈæftər ˈjuzɪŋ ðɛm ə ˈsɪŋgəl taɪm. səʧ ˈprɑdəkts ər ˈɔfən dɪˈzaɪnd tɪ bi ˌɪmˈpɑsəbəl tɪ ˈsərvɪs; fər ɪgˈzæmpəl, ə ʧip "θˈroʊəˌweɪ" ˈdɪʤɪtəl wɔʧ meɪ hæv ə ˈkeɪsɪŋ wɪʧ ɪz ˈsɪmpli sild ɪn ðə ˈfæktəri, wɪθ noʊ dɪˈzaɪnd əˈbɪləˌti fər ðə ˈjuzər tɪ ˈækˌsɛs ðə ˌɪnˈtɪriər wɪˈθaʊt dɪˈstrɔɪɪŋ ðə wɔʧ ˈnidɪd] ˌmænjəˈfækʧərərz meɪ meɪk rɪˈpleɪsmənt pɑrts ˈiðər ˌənəˈveɪləbəl ər soʊ ɪkˈspɛnsɪv ðət ɪt meɪks ðə ˈprɑdəkt əˌnɛkəˈnɑmɪk tɪ rɪˈpɛr, fər ɪgˈzæmpəl ˈɪŋˌkʤɛt ˈprɪnərz meɪd baɪ ˈkænən ˌɪnˈkɔrpərˌeɪt ə prɪnt hɛd wɪʧ ɪˈvɛnʧəwəli feɪlz, ˌhaʊˈɛvər ðə haɪ kɔst əv ə rɪˈpleɪsmənt ˈfɔrsɪz ðə ˈoʊnər tɪ skræp ðə ɪnˈtaɪər dɪˈvaɪs. ˈəðər ˈprɑdəkts meɪ ˈɔlsoʊ kənˈteɪn dɪˈzaɪn ˈfiʧərz mɛnt tɪ ˈfrəˌstreɪt rɪˈpɛrz, səʧ ɛz ˈæpəlz "tamper-resistant*" skruz ðət ˈkænɑt ˈizəli bi riˈmuvd wɪθ ˈkɑmən kənˈsumər frənt ˈloʊdɪŋ ˈwɑʃɪŋ məˈʃinz ˈɔfən hæv ðə drəm ˈbɛrɪŋ ə ˈkrɪtɪkəl ənd məˈkænɪkəl kəmˈpoʊnənt ˈpərmɑˌnɛnˌtli ˈmoʊldɪd ˈɪntu ðə wɑʃ təb, ər ˈivɪn hæv ə sild ˈaʊtər təb, ˈmeɪkɪŋ ɪt ˌɪmˈpɑsəbəl tɪ rɪˈnu ðə ˈbɛrɪŋz wɪˈθaʊt rɪˈpleɪsɪŋ ðə ɪnˈtaɪər təb. ðə kɔst əv ðɪs rɪˈpɛr meɪ ɪkˈsid ðə rɪˈzɪʤuəl ˈvælju əv ðə əˈplaɪəns, ˈfɔrsɪŋ ɪt tɪ bi əˈkɔrdɪŋ tɪ kaɪl winz, əv ən ˈɔnˌlaɪn rɪˈpɛr kəmˈjunɪti, ə ˈpɑsəbəl goʊl fər səʧ dɪˈzaɪn ɪz tɪ meɪk ðə kɔst əv rɪˈpɛrz ˈkɑmprəbəl tɪ ðə rɪˈpleɪsmənt kɔst, ər tɪ prɪˈvɛnt ˈɛni fɔrm əv ˈsərvɪsɪŋ əv ðə ˈprɑdəkt æt ɔl. ɪn 2012 toʊˈʃibə wɑz ˈkrɪtəˌsaɪzd fər ˈɪʃuɪŋ ˈlɛtərz tɪ ðə ˈoʊnər əv ə ˈwɛbˌsaɪt ðət ˈhoʊstɪd ɪts ˈkɑpiˌraɪtɪd rɪˈpɛr ˈmænjuəlz, tɪ ðə ˈdɛtrəmənt əv ðə ˌɪndɪˈpɛndənt ənd hoʊm rɪˈpɛr səm ˈprɑdəkts kənˈteɪn ˈbætəriz ðət ər nɑt ˈæftər ðeɪ hæv wɔrn daʊn. waɪl səʧ ə dɪˈzaɪn kən hɛlp meɪk ðə dɪˈvaɪs ˈθɪnər, ɪt kən ˈɔlsoʊ meɪk ɪt ˈdɪfəkəlt tɪ ˌriˈpleɪs ðə ˈbætəri wɪˈθaʊt ˈsɛndɪŋ ðə ɪnˈtaɪər dɪˈvaɪs əˈweɪ fər rɪˈpɛrz ər ˈpərʧəsɪŋ ə pərˈsivd ˌɑbsəˈlɛsəns ˈɛdət ˌɑbsəˈlɛsəns əv dɪˌzaɪrəˈbɪlɪti ər staɪˈlɪstɪk ˌɑbsəˈlɛsəns əˈkərz wɪn dɪˈzaɪnərz ʧeɪnʤ ðə ˈstaɪlɪŋ əv ˈprɑdəkts soʊ ˈkəstəmərz wɪl ˈpərʧəs ˈprɑdəkts mɔr ˈfrikwɛntli du tɪ ðə ˈdiˌkris ɪn ðə pərˈsivd dɪˌzaɪrəˈbɪlɪti əv ənˈfæʃənəbəl ˈaɪtəmz. ˈmɛni ˈprɑdəkts ər praɪˈmɛrəli dɪˈzaɪərəbəl fər ɛsˈθɛtɪk ˈrəðər ðən ˈfəŋkʃənəl ˈrizənz. ən ˈɑbviəs ɪgˈzæmpəl əv səʧ ə ˈprɑdəkt ɪz ˈkloʊðɪŋ. səʧ ˈprɑdəkts ɪkˈspɪriəns ə ˈsaɪkəl əv dɪˌzaɪrəˈbɪlɪti rɪˈfərd tɪ ɛz ə "ˈfæʃən ˈsaɪkəl". baɪ kənˈtɪnjuəli ˌɪntrəˈdusɪŋ nu ɛsˈθɛtɪks, ənd ər dɪskənˈtɪnjuɪŋ ˈoʊldər dɪˈzaɪnz, ə ˌmænjəˈfækʧərər kən "raɪd ðə ˈfæʃən ˈsaɪkəl", əˈlaʊɪŋ fər ˈkɑnstənt seɪlz dɪˈspaɪt ðə ərˈɪʤənəl ˈprɑdəkts rɪˈmeɪnɪŋ ˈfʊli ˈfəŋkʃənəl. sˈnikərz ər ˈpɑpjələr ˈfæʃən ˈɪndəstri wɛr ðɪs ɪz ˈprɛvələnt ˈnaɪkiz ɛr mæks laɪn əv ˈrənɪŋ ʃuz ɪz ə praɪm ɪgˈzæmpəl wɛr ə ˈsɪŋgəl ˈmɑdəl əv ʃu ɪz ˈɔfən prəˈdust fər jɪrz, bət ðə ˈkələr ənd məˈtɪriəl ˌkɑmbəˈneɪʃən ("colorway*") ɪz ʧeɪnʤd ˈɛvəri fju mənθs, ər ˈdɪfərənt ər ˈɔfərd ɪn ˈdɪfərənt ˈmɑrkɪts. ðɪs həz ðə ˈəpˌʃɑt əv ɪnˈʃʊrɪŋ ˈkɑnstənt dɪˈmænd fər ðə ˈprɑdəkt, ˈivɪn ðoʊ ɪt rɪˈmeɪnz ˌfəndəˈmɛnəli ðə seɪm. tɪ ə mɔr ˈlɪmɪtɪd ɪkˈstɛnt ðɪs ɪz ˈɔlsoʊ tru əv səm kənˈsumər ˌɪˌlɛkˈtrɑnɪk ˈprɑdəkts, wɛr ˌmænjəˈfækʧərərz wɪl riˈlis sˈlaɪtli ˈəpˌdeɪtɪd ˈprɑdəkts æt ˈrɛgjələr ˈɪntərvəlz ənd ˈɛmfəˌsaɪz ðɛr ˈvælju ɛz ˈstætəs ˈsɪmbəlz. sɪˈstɛmɪk ˌɑbsəˈlɛsəns ˈɛdət plænd sɪˈstɛmɪk ˌɑbsəˈlɛsəns ɪz ðə dɪˈlɪbərˌeɪt əˈtɛmpt tɪ meɪk ə ˈprɑdəkt ˌɑbsəˈlit baɪ ˈɔltərɪŋ ðə ˈsɪstəm ɪn wɪʧ ɪt ɪz juzd ɪn səʧ ə weɪ ɛz tɪ meɪk ɪts kənˈtɪnjud juz ˈdɪfəkəlt. ˈkɑmən ɪgˈzæmpəlz əv plænd sɪˈstɛmɪk ˌɑbsəˈlɛsəns ˌɪnˈklud nɑt əˈkɑməˌdeɪtɪŋ ˈfɔrwərd kəmˌpætəˈbɪləˌti ɪn ˈsɔfˌwɛr, ər ruˈtinli ˈʧeɪnʤɪŋ skruz ər ˈfæsənərz soʊ ðət ðeɪ ˈkænɑt ˈizəli bi ˈɑpərˌeɪtəd ɔn wɪθ ɪgˈzɪstɪŋ tulz. ðɪs əˈproʊʧ wɑz ɪmˈplɔɪd baɪ ˈsæmˌsəŋ ɪn ðə keɪs əv ðə ˈsæmˌsəŋ ˈgæləksi noʊt 7 ðɪs dɪˈvaɪs wɑz rɪˈkɔld du tɪ ˈbætəri ˈdifɛkts ðət kɔzd ˈsɛvərəl ˈjunɪts tɪ kæʧ faɪər ər ɪkˈsploʊd. ðɛr ər ˈsɛvərəl ˈhoʊlˌdaʊts, ˌhaʊˈɛvər, wɪθ ˈpipəl rɪfˈjuzɪŋ tɪ sɛnd ðə dɪˈvaɪs bæk ənd ðiz ˈkɑnstəˌtutəd 4 pərˈsɛnt əv kloʊz tɪ 2 ˈmɪljən ˈtoʊtəl dɪˈvaɪsɪz soʊld ɪn ðə juˈnaɪtɪd tɪ ˈæˌdrɛs ðɪs ənd əˈvɔɪd mɔr ˈkeɪsɪz əv ˈoʊvərˌhitɪŋ dɪˈvaɪsɪz, ðə saʊθ ˌkɔˈriən ˈkəmpəˌni bɪˈgæn ˈroʊlɪŋ aʊt ˈsɔfˌwɛr ˈəpˌdeɪts fər ðə noʊt 7 ðət θˈrɑtəld ɪts functionalities*. ðə ˈfaɪnəl ˈəpˌdeɪt ˈlændɪd ɔn dɪˈsɛmbər 19 2016 wɪθ ən ˈəpˌdeɪt ðət prɪˈvɛnɪd ðə ˈbætəriz frəm ˈʧɑrʤɪŋ, ˈifɛktɪvli ðə ˈproʊˌgræmd ˌɑbsəˈlɛsəns ˈɛdət ɪn səm ˈkeɪsɪz, ˌnoʊtəfəˈkeɪʃən meɪ bi kəmˈbaɪnd wɪθ ðə dɪˈlɪbərˌeɪt ˌdɪˈseɪblɪŋ əv ə ˈprɑdəkt tɪ prɪˈvɛnt ɪt frəm ˈwərkɪŋ, ðəs rikˈwaɪərɪŋ ðə baɪər tɪ ˈpərʧəs ə rɪˈpleɪsmənt. fər ɪgˈzæmpəl, ˈɪŋˌkʤɛt ˈprɪnər ˌmænjəˈfækʧərərz ɪmˈplɔɪ smɑrt ʧɪps ɪn ðɛr ɪŋk ˈkɑrtrəʤəz tɪ prɪˈvɛnt ðɛm frəm biɪŋ juzd ˈæftər ə ˈsərtən θˈrɛˌʃoʊld (ˈnəmbər əv ˈpeɪʤɪz, taɪm, ˌɛtˈsɛtərə.), ˈivɪn ðoʊ ðə ˈkɑrtrɪʤ meɪ stɪl kənˈteɪn ˈjuzəbəl ɪŋk ər kʊd bi riˈfɪld (wɪθ ɪŋk toners*, əp tɪ 50 pərˈsɛnt əv ðə ˈtoʊnər ˈkɑrtrɪʤ ɪz ˈɔfən stɪl ðɪs ˈkɑnstəˌtuts "ˈproʊˌgræmd ˌɑbsəˈlɛsəns", ɪn ðət ðɛr ɪz noʊ ˈrændəm kəmˈpoʊnənt kənˈtrɪbjutɪŋ tɪ ðə dɪˈklaɪn ɪn ˈfəŋkʃən. ɪn ðə ˈʤæki vi. klæs ˈækʃən sut, ɪt wɑz kleɪmd ðət ˈhjulɪt ˈpækərd dɪˈzaɪnd ˈsərtən ˈɪŋˌkʤɛt ˈprɪnərz ənd ˈkɑrtrəʤəz tɪ ʃət daʊn ɔn ən ˌəndɪˈskloʊzd ˌɛkspərˈeɪʃən deɪt, ənd æt ðɪs pɔɪnt kənˈsumərz wər prɪˈvɛnɪd frəm ˈjuzɪŋ ðə ɪŋk ðət rɪˈmeɪnd ɪn ðə ɪkˈspaɪrd ˈkɑrtrɪʤ. dɪˈnaɪd ðiz kleɪmz, bət əˈgrid tɪ dɪskənˈtɪnju ðə juz əv ˈsərtən ˈmɛsɪʤɪz, ənd tɪ meɪk ˈsərtən ˈʧeɪnʤɪz tɪ ðə dɪˈskloʊʒərz ɔn ɪts ˈwɛbˌsaɪt ənd ˈpækɪʤɪŋ, ɛz wɛl ɛz ˈkɑmpənˌseɪtɪŋ əˈfɛktɪd kənˈsumərz wɪθ ə ˈtoʊtəl ˈkrɛdɪt əv əp tɪ fər fˈjuʧər ˈpərʧəsɪz frəm ðɛr ər səm fər ˈjuzərz, fər ˈɪnstəns, ðət wɪl mɔr ðən ˈdəbəl ðə laɪf əv ðə ˈprɪnər ðət həz stɑpt wɪθ ə ˈmɛsɪʤ tɪ ˌriˈpleɪs ðə ˈɪmɪʤɪŋ ædˈvæntɪʤɪz ənd ˌdɪsədˈvænɪʤz ˈɛdət ˈɛstəˌmeɪts əv plænd ˌɑbsəˈlɛsəns kən ˈɪnfluəns ə ˈkəmpəniz dɪˈsɪʒənz əˈbaʊt ˈprɑdəkt ˈɛnʤəˈnɪrɪŋ. ˈðɛrˌfɔr, ðə ˈkəmpəˌni kən juz ðə list ɪkˈspɛnsɪv kəmˈpoʊnənts ðət ˈsætɪsˌfaɪ ˈprɑdəkt ˈlaɪfˌtaɪm prɑˈʤɛkʃənz. ˈɔlsoʊ, fər ˈɪndəstriz, plænd ˌɑbsəˈlɛsəns ˈstɪmjəˌleɪts dɪˈmænd baɪ ɪnˈkərəʤɪŋ ðɛm ˈəndər ˈprɛʃər tɪ baɪ ˈsunər ɪf ðeɪ stɪl wɔnt ə ˈfəŋkʃənɪŋ ˈprɑdəkt. ðiz ˈprɑdəkts kən bi bɔt frəm ðə seɪm ˌmænjəˈfækʧərər (ə rɪˈpleɪsmənt pɑrt ər ə nuər ˈmɑdəl), ər frəm ə kəmˈpɛtɪtər hu maɪt ˈɔlsoʊ rɪˈlaɪ ɔn plænd ˌɑbsəˈlɛsəns. əˈspɛʃəli ɪn dɪˈvɛləpt ˈkəntriz (wɛr ˈmɛni ˈɪndəstriz ɔˈrɛdi feɪs ə ˈsæʧərˌeɪtɪd ˈmɑrkɪt), ðɪs tɛkˈnik ɪz ˈɔfən ˈnɛsəˌsɛri fər prəˈdusərz tɪ meɪnˈteɪn ðɛr ˈlɛvəl əv ˈrɛvəˌnu. waɪl plænd ˌɑbsəˈlɛsəns ɪz əˈpilɪŋ tɪ prəˈdusərz, ɪt kən ˈɔlsoʊ du sɪgˈnɪfɪkənt hɑrm tɪ ðə soʊˈsaɪɪti ɪn ðə fɔrm əv ˈnɛgətɪv externalities*. kənˈtɪnjuəsli rɪˈpleɪsɪŋ ˈprɑdəkts, ˈrəðər ðən rɪˈpɛrɪŋ ðɛm, kriˈeɪts mɔr weɪst ənd pəˈluʃən, ˈjuzɪz mɔr ˈnæʧərəl ˈrisɔrsɪz, ənd rɪˈzəlts ɪn mɔr kənˈsumər ˈspɛndɪŋ. plænd ˌɑbsəˈlɛsəns kən ðəs hæv ə ˈnɛgətɪv ˌɪmˈpækt ɔn ðə ɪnˈvaɪrənmənt ɪn ˈægrəgət. ˈivɪn wɪn plænd ˌɑbsəˈlɛsəns maɪt hɛlp tɪ seɪv skɛrs ˈrisɔrsɪz pər ˈjunɪt prəˈdust, ɪt tɛndz tɪ ˌɪnˈkris ˈaʊtˌpʊt ɪn ˈægrəgət, sɪns du tɪ lɔz əv səˈplaɪ ənd dɪˈmænd ˈdiˌkrisɪz ɪn kɔst ənd praɪs wɪl ɪˈvɛnʧəwəli rɪˈzəlt ɪn ˌɪnˈkrisɪz ɪn dɪˈmænd ənd kənˈsəmʃən. ˌhaʊˈɛvər, ðə ˈnɛgətɪv ɪnˌvaɪrənˈmɛnəl ˌɪmˈpækts əv plænd ˌɑbsəˈlɛsəns ər dɪˈpɛndənt ˈɔlsoʊ ɔn ðə ˈprɔˌsɛs əv ðɛr ɪz ˈɔlsoʊ ðə pəˈtɛnʃəl ˈbæˌklæʃ əv kənˈsumərz hu lərn ðət ðə ˌmænjəˈfækʧərər ˌɪnˈvɛstɪd ˈməni tɪ meɪk ðə ˈprɑdəkt ˌɑbsəˈlit ˈfæstər; səʧ kənˈsumərz maɪt tərn tɪ ə prəˈdusər (ɪf ˈɛni ɪgˈzɪsts) ðət ˈɔfərz ə mɔr ˈdʊrəbəl ɔlˈtərnətɪv. ˌrɛgjəˈleɪʃən ˈɛdət ɪn 2015 ɛz pɑrt əv ə ˈlɑrʤər ˈmuvmənt əˈgɛnst plænd ˌɑbsəˈlɛsəns əˈkrɔs ðə ˌjʊrəˈpiən ˈjunjən, fræns həz pæst ˌlɛʤəsˈleɪʃən rikˈwaɪərɪŋ ðət əˈplaɪəns ˌmænjəˈfækʧərərz ənd ˈvɛndərz dɪˈklɛr ðə ˌɪnˈtɛndɪd ˈprɑdəkt ˈlaɪfˌspænz, ənd tɪ ˌɪnˈfɔrm kənˈsumərz haʊ lɔŋ spɛr pɑrts fər ə ˈgɪvɪn ˈprɑdəkt wɪl bi prəˈdust. frəm 2016 əˈplaɪəns ˌmænjəˈfækʧərərz ər rikˈwaɪərd tɪ rɪˈpɛr ər ˌriˈpleɪs, fri əv ʧɑrʤ, ˈɛni dɪˈfɛktɪv ˈprɑdəkt wɪˈθɪn tu jɪrz frəm ɪts ərˈɪʤənəl ˈpərʧəs deɪt. ðɪs ˈifɛktɪvli kriˈeɪts ə ˈmændəˌtɔri ˈkrɪtɪks ənd səˈpɔrtərz ˈɛdət ˈʃɔrtənɪŋ ðə rɪˈpleɪsmənt ˈsaɪkəl həz ˈkrɪtɪks ənd səˈpɔrtərz. ˈfɪlɪp ˈkɑtlər ˈɑrgjuz ðət: "məʧ ˈsoʊˈkɔld plænd ˌɑbsəˈlɛsəns ɪz ðə ˈwərkɪŋ əv ðə kəmˈpɛtɪtɪv ənd ˌtɛknəˈlɑʤɪkəl ˈfɔrsɪz ɪn ə fri ðət lɛd tɪ gʊdz ənd ˈkrɪtɪks səʧ ɛz væns ˈpækərd kleɪm ðə ˈprɔˌsɛs ɪz ˈweɪstfəl ənd ˈɛkˌsplɔɪts ˈkəstəmərz. wɪθ ˌsaɪkəˈlɑʤɪkəl ˌɑbsəˈlɛsəns, ˈrisɔrsɪz ər juzd əp ˈmeɪkɪŋ ˈʧeɪnʤɪz, ˈɔfən kɑzˈmɛtɪk ˈʧeɪnʤɪz, ðət ər nɑt əv greɪt ˈvælju tɪ ðə ˈkəstəmər. maɪəlz pɑrk ˈædvəˌkeɪts nu ənd kəˈlæbərˌeɪtɪv əˈproʊʧɪz bɪtˈwin ðə dɪˈzaɪnər ənd ðə kənˈsumər tɪ ˈʧælənʤ ˌɑbsəˈlɛsəns ɪn ˈsɛktərz səʧ ɛz kənˈsumər səm ˈpipəl, səʧ ɛz ˈrɑni balcaen*, hæv prəˈpoʊzd tɪ kriˈeɪt ə nu ˈleɪbəl tɪ ˈkaʊntər ðə dɪˈmɪnɪʃɪŋ kˈwɑləti əv ˈprɑdəkts du tɪ ðə plænd ˌɑbsəˈlɛsəns ɪn ˈsɔfˌwɛr ˈɛdət ˈsɔfˌwɛr ˈkəmpəˌniz ˈsəmˌtaɪmz dɪˈlɪbərətli drɔp səˈpɔrt fər ˈoʊldər tɛkˈnɑləʤiz ɛz ə ˈkælkjəˌleɪtɪd əˈtɛmpt tɪ fɔrs ˈjuzərz tɪ ˈpərʧəs nu ˈprɑdəkts tɪ ˌriˈpleɪs ðoʊz meɪd moʊst prəˈpraɪəˌtɛri ˈsɔfˌwɛr wɪl ˈəltəmətli riʧ ən pɔɪnt ˈjuʒəwəli bɪˈkəz ðə kɔst əv səˈpɔrt ɪkˈsidz ðə ˈrɛvəˌnu ˈʤɛnərˌeɪtɪd baɪ səˈpɔrtɪŋ ðə oʊld ˈvərʒən æt wɪʧ ðə səˈplaɪər wɪl sis ˈəpˌdeɪts ənd səˈpɔrt. ɛz fri ˈsɔfˌwɛr ənd ˈoʊpən sɔrs ˈsɔfˌwɛr kən ˈɔlˌweɪz bi ˈəpˌdeɪtɪd ənd meɪnˈteɪnd baɪ ˈsəmˌbɑdi ɛls, ðə ˈjuzər ɪz nɑt æt ðə soʊl ˈmərsi əv ə prəˈpraɪəˌtɛri ˈsɔfˌwɛr wɪʧ ɪz əˈbændənd baɪ ðə ˌmænjəˈfækʧərər wɪθ rɪˈgɑrd tɪ ˌmænjəˈfækʧərər səˈpɔrt ɪz ˈsəmˌtaɪmz kɔld abandonware*. ɪn ˌækəˈdimiə ˈɛdət ˈrəsəl ʤəˈkoʊbi, ˈraɪtɪŋ ɪn ðə 1970s*, əbˈzərvz ðət ˌɪnəˈlɛkʧuəl pərˈdəkʃən həz səˈkəmd tɪ ðə seɪm ˈpætərn əv plænd ˌɑbsəˈlɛsəns juzd baɪ ˌmænjəˈfækʧərɪŋ ˈɛnərˌpraɪzɪz tɪ ˈʤɛnərˌeɪt dɪˈmænd fər ðɛr ˈprɑdəkts. ðə ˌæpləˈkeɪʃən əv plænd ˌɑbsəˈlɛsəns tɪ θɔt ˌɪtˈsɛlf həz ðə seɪm ˈmɛrət ɛz ɪts ˌæpləˈkeɪʃən tɪ kənˈsumər gʊdz; ðə nu ɪz nɑt ˈoʊnli ðən ðə oʊld, ɪt fjuəlz ən ˌɑbsəˈlit ˈsoʊʃəl ˈsɪstəm ðət steɪvz ɔf ɪts rɪˈpleɪsmənt baɪ ˌmænjəˈfækʧərɪŋ ðə ˌɪˈluʒən ðət ɪt ɪz pərˈpɛʧuəli kəˈmil ˈpægliə ˈkɛrɪktərˌaɪzəz kənˈtɛmpərˌɛri ˌækəˈdɛmɪk ˈdɪskɔrs ˈɪnfluənst baɪ frɛnʧ θiərɪsts səʧ ɛz lacan*, derrida*, ənd ˌfuˈkoʊ ɛz ðə ˌækəˈdɛmɪk ɪkˈwɪvələnt əv neɪm brænd kənˈsumərˌɪzəm. "lacan*, derrida*, ənd ˌfuˈkoʊ," ʃi sɪz, "ər ðə ˌækəˈdɛmɪk ɪkˈwɪvələnts əv ˈbiˌɛmˈdəbəlju, ˈroʊlɛks, ənd ˈəndər ðə ˌɪnspərˈeɪʃən əv ðə ˈleɪtəst ˌækəˈdɛmɪk ˈfæʃənz, ˌækəˈdɛmɪk plænd ˌɑbsəˈlɛsəns ɪz tɪ ˌmænjəˈfækʧər ˈkɑntɛnt wɪθ ˈlɪtəl ˈmɛrət fər ðə seɪm ˈrizən ˈfæʃən dɪˈzaɪnərz kəm aʊt wɪθ nu ˈfæʃənz. ˈɛdət plænd ˌɑbsəˈlɛsəns həz bɪn əˈsumd ə nəˈsɛsɪti wɪn ɪt kəmz tɪ ˈstɪmjəˌleɪtɪŋ kənˈsəmʃən; ˌhaʊˈɛvər, ðɪs ˈpræktɪs həz kəm ˈɪntu kˈwɛʃən. ɪn 2015 ðə frɛnʧ ˈpɑrləmɛnt ruld ənd ˈfərðər ɪˈstæblɪʃt ə faɪn əv əp tɪ ˈjuˌroʊz ənd ʤeɪl tərmz əv əp tɪ tu jɪrz fər ðoʊz ˌmænjəˈfækʧərərz ˈplænɪŋ ðə dɛθ əv ðɛr ˈprɑdəkts ɪn ədˈvæns. ðə rul ɪz nɑt ˈoʊnli ˈrɛləvənt bɪˈkəz əv ðə ˈsæŋkʃənz ðət ɪt ɪˈstæblɪʃɪz bət ˈɔlsoʊ bɪˈkəz ɪt ɪz ðə fərst taɪm ðət ə ˈlɛʤəsˌleɪʧər ˈoʊpənli ˈrɛkəgˌnaɪzɪz ðə ɪgˈzɪstəns əv plænd ˌɑbsəˈlɛsəns. ðiz tɛkˈniks meɪ ˌɪnˈklud "ə dɪˈlɪbərˌeɪt ˌɪntrəˈdəkʃən əv ə flɔ, ə ˈwiknəs, ə ˈskɛʤʊld stɑp, ə ˈtɛknɪkəl ˌlɪmɪˈteɪʃən, ˌɪnˌkɑmpətɪˈbɪlɪti ər ˈəðər ˈɑbstəkəlz fər rɪˈpɛr", ridz ðə tɛkst rɪˈgɑrdɪŋ wət meɪ bi kənˈsɪdərd ɛz plænd ˌɑbsəˈlɛsəns. ðə ˌjʊrəˈpiən ˈjunjən ɪz ˈɔlsoʊ bɪˈgɪnɪŋ tɪ ˈæˌdrɛs ðɪs ˈprɑbləm. ðə ˌjʊrəˈpiən ˌɛkəˈnɑmɪk ənd ˈsoʊʃəl kəˈmɪti (eesc*), ən ædˈvaɪzəri ˈbɑdi əv ðə əˈnaʊnst ɪn 2013 ðət ɪt wɑz ˈstədiɪŋ "ə ˈtoʊtəl bæn ɔn plænd ˌɑbsəˈlɛsəns". ɪt sɛd rɪˈpleɪsɪŋ ˈprɑdəkts ðət ər dɪˈzaɪnd tɪ stɑp ˈwərkɪŋ wɪˈθɪn tu ər θri jɪrz əv ðɛr ˈpərʧəs wɑz ə weɪst əv ˈɛnərʤi ənd ˈrisɔrsɪz ənd ˈʤɛnərˌeɪtɪd ðə ə raʊnd ˈteɪbəl ɪn məˈdrɪd ɪn 2014 ɔn 'bɛst ˈpræktɪsɪz ɪn ðə doʊˈmeɪn əv ˈbɪlˌtɪn ˌɑbsəˈlɛsəns ənd kəˈlæbərˌeɪtɪv kənˈsəmʃən' wɪʧ kɔld fər səˈsteɪnəbəl kənˈsəmʃən tɪ bi ɛnʃˈraɪnd ɛz ə kənˈsumər raɪt ɪn ˈkɑrloʊs ˈpɪnˌtoʊ, ˈprɛzɪdənt əv ðə kənˈsəltətɪv kəˈmɪʃən ɔn ˌɪnˈdəstriəl səˈpɔrts "ðə ˌɪntrəˈdəkʃən əv ə ˈleɪbəlɪŋ ˈsɪstəm wɪʧ ˈɪndɪˌkeɪts ðə dərəˈbɪlɪti əv ə dɪˈvaɪs, soʊ ðə kənˈsumər həz ðə ˌpɑsəˈbɪləˌti əv ˈʧuzɪŋ ˈwɛðər prɪˈfərz tɪ baɪ ə ʧip ˈprɑdəkt ər ə mɔr ɪkˈspɛnsɪv, mɔr ˈdʊrəbəl si ˈɔlsoʊ ˈɛdət ˈrɛfərənsɪz ˈɛdət ˈfərðər ˈrɛdɪŋ ˈɛdət
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planned obsolescence, or built-in obsolescence, in industrial design and economics is a policy of planning or designing a product with an artificially limited useful life, so it will become obsolete (that is, unfashionable or no longer functional) after a certain period of time.[1] the rationale behind the strategy is to generate long-term sales volume by reducing the time between repeat purchases (referred to as "shortening the replacement cycle").[2]
producers that pursue this strategy believe that the additional sales revenue it creates more than offsets the additional costs of research and development, and offsets the opportunity costs of repurposing an existing product line. in a competitive industry, this is a risky policy, because consumers may decide to buy from competitors instead if they notice the strategy.
planned obsolescence tends to work best when a producer has at least an oligopoly.[3] before introducing a planned obsolescence, the producer has to know that the consumer is at least somewhat likely to buy a replacement from them. in these cases of planned obsolescence, there is an information asymmetry between the producer, who knows how long the product was designed to last, and the consumer, who does not. when a market becomes more competitive, product lifespans tend to increase.[4][5] for example, when japanese vehicles with longer lifespans entered the american market in the 1960s and 1970s, american carmakers were forced to respond by building more durable products.[6]
history and origins of the phrase [ edit ]
[7] the 1923 chevrolet is cited as one of the earliest examples of annual facelifts in the car industry, because it had a restyled body covering what essentially was nine-year-old technology.
alfred p. sloan jr. [ edit ]
in the united states, automotive design reached a turning point in 1924 when the american national automobile market began reaching saturation. to maintain unit sales, general motors head alfred p. sloan jr. suggested annual model-year design changes to convince car owners that they needed to buy a new replacement each year, an idea borrowed from the bicycle industry, though the concept is often misattributed to sloan.[8] critics called his strategy "planned obsolescence". sloan preferred the term "dynamic obsolescence".[9]
this strategy had far-reaching effects on the auto business, the field of product design, and eventually the american economy. the smaller players could not maintain the pace and expense of yearly re-styling. henry ford did not like the constant stream of model-year changes because he clung to an engineer's notions of simplicity, economies of scale, and design integrity. gm surpassed ford's sales in 1931 and became the dominant company in the industry thereafter. the frequent design changes also made it necessary to use a body-on-frame rather than the lighter, but less easy to modify, unibody design used by most european automakers.
bernard london [ edit ]
ending the depression through planned obsolescence, by , by bernard london , 1932
the origins of phrase planned obsolescence go back at least as far as 1932 with bernard london's pamphlet ending the depression through planned obsolescence.[10] the essence of london's plan would have the government impose a legal obsolescence on consumer articles, to stimulate and perpetuate consumption.
brooks stevens [ edit ]
however, the phrase was first popularized in 1954 by brooks stevens, an american industrial designer. stevens was due to give a talk at an advertising conference in minneapolis in 1954. without giving it much thought, he used the term as the title of his talk. from that point on, "planned obsolescence" became stevens' catchphrase. by his definition, planned obsolescence was "instilling in the buyer the desire to own something a little newer, a little better, a little sooner than is necessary."
volkswagen [ edit ]
the phrase was quickly taken up by others, but stevens' definition was challenged. by the late 1950s, planned obsolescence had become a commonly used term for products designed to break easily or to quickly go out of style. in fact, the concept was so widely recognized that in 1959 volkswagen mocked it in an advertising campaign. while acknowledging the widespread use of planned obsolescence among automobile manufacturers, volkswagen pitched itself as an alternative. "we do not believe in planned obsolescence", the ads suggested. "we don't change a car for the sake of change."[11] in the famous volkswagen advertising campaign by doyle dane bernbach, one advert showed an almost blank page with the strapline "no point in showing the 1962 volkswagen, it still looks the same".
vance packard's the waste makers [ edit ]
in 1960, cultural critic vance packard published the waste makers, promoted as an exposé of "the systematic attempt of business to make us wasteful, debt-ridden, permanently discontented individuals". packard divided planned obsolescence into two sub categories:
obsolescence of desirability; and
obsolescence of function.
"obsolescence of desirability", a.k.a. "psychological obsolescence", referred to marketers' attempts to wear out a product in the owner's mind. packard quoted industrial designer george nelson, who wrote: "design... is an attempt to make a contribution through change. when no contribution is made or can be made, the only process available for giving the illusion of change is 'styling!'"
types [ edit ]
contrived durability [ edit ]
contrived durability is a strategy of shortening the product lifetime before it is released onto the market, by designing it to deteriorate quickly.[3] the design of all consumer products includes an expected average lifetime permeating all stages of development. thus, it must be decided early in the design of a complex product how long it is designed to last so that each component can be made to those specifications. since all matter is subject to entropy, it is impossible for any designed object to retain its full function forever; all products will ultimately break down, no matter what steps are taken. limited lifespan is only a sign of planned obsolescence if the lifespan of the product is made artificially short by design.
the strategy of contrived durability is generally not prohibited by law, and manufacturers are free to set the durability level of their products.[3]
a possible method of limiting a product's durability is to use inferior materials in critical areas, or suboptimal component layouts which cause excessive wear. using soft metal in screws and cheap plastic instead of metal in stress-bearing components will increase the speed at which a product will become inoperable through normal usage and make it prone to breakage from even minor forms of abnormal usage. for example, small, brittle plastic gears in toys are extremely prone to damage if the toy is played with roughly, which can easily destroy key functions of the toy and force the purchase of a replacement. the short life expectancy of smartphones and other handheld electronics is a result of constant usage, fragile batteries, and the ability to easily damage them.[12]
prevention of repairs [ edit ]
pentalobe screws used in an iphone 6s . critics have argued that apple's use of pentalobe screws in their newer devices is an attempt to prevent the consumer from repairing the device themselves.
the ultimate examples of such design are single-use versions of traditionally durable goods, such as disposable cameras, where the customer must purchase an entire new product after using them a single time. such products are often designed to be impossible to service; for example, a cheap "throwaway" digital watch may have a casing which is simply sealed in the factory, with no designed ability for the user to access the interior without destroying the watch entirely.[citation needed] manufacturers may make replacement parts either unavailable or so expensive that it makes the product uneconomic to repair, for example inkjet printers made by canon incorporate a print head which eventually fails, however the high cost of a replacement forces the owner to scrap the entire device.
other products may also contain design features meant to frustrate repairs, such as apple's "tamper-resistant" pentalobe screws that cannot easily be removed with common consumer tools.[13] front loading washing machines often have the drum bearing - a critical and wear-prone mechanical component - permanently molded into the wash tub, or even have a sealed outer tub, making it impossible to renew the bearings without replacing the entire tub. the cost of this repair may exceed the residual value of the appliance, forcing it to be scrapped.[14][15]
according to kyle wiens, co-founder of an online repair community, a possible goal for such design is to make the cost of repairs comparable to the replacement cost, or to prevent any form of servicing of the product at all. in 2012, toshiba was criticized for issuing cease-and-desist letters to the owner of a website that hosted its copyrighted repair manuals, to the detriment of the independent and home repair market.[16]
some products contain batteries that are not user-replaceable after they have worn down. while such a design can help make the device thinner, it can also make it difficult to replace the battery without sending the entire device away for repairs or purchasing a replacement.[17]
perceived obsolescence [ edit ]
obsolescence of desirability or stylistic obsolescence occurs when designers change the styling of products so customers will purchase products more frequently due to the decrease in the perceived desirability of unfashionable items.
many products are primarily desirable for aesthetic rather than functional reasons. an obvious example of such a product is clothing. such products experience a cycle of desirability referred to as a "fashion cycle". by continually introducing new aesthetics, and retargeting or discontinuing older designs, a manufacturer can "ride the fashion cycle", allowing for constant sales despite the original products remaining fully functional. sneakers are popular fashion industry where this is prevalent - nike's air max line of running shoes is a prime example where a single model of shoe is often produced for years, but the color and material combination ("colorway") is changed every few months, or different colorways are offered in different markets. this has the upshot of ensuring constant demand for the product, even though it remains fundamentally the same.
to a more limited extent this is also true of some consumer electronic products, where manufacturers will release slightly updated products at regular intervals and emphasize their value as status symbols.
systemic obsolescence [ edit ]
planned systemic obsolescence is the deliberate attempt to make a product obsolete by altering the system in which it is used in such a way as to make its continued use difficult. common examples of planned systemic obsolescence include not accommodating forward compatibility in software, or routinely changing screws or fasteners so that they cannot easily be operated on with existing tools.
this approach was employed by samsung in the case of the samsung galaxy note 7. this device was recalled due to battery defects that caused several units to catch fire or explode. there are several holdouts, however, with people refusing to send the device back and these constituted 4 percent of close to 2 million total devices sold in the united states.[18][19] to address this and avoid more cases of overheating devices, the south korean company began rolling out software updates for the note 7 that throttled its functionalities. the final update landed on december 19, 2016, with an update that prevented the batteries from charging, effectively bricking the phones.[20]
programmed obsolescence [ edit ]
in some cases, notification may be combined with the deliberate disabling of a product to prevent it from working, thus requiring the buyer to purchase a replacement. for example, inkjet printer manufacturers employ smart chips in their ink cartridges to prevent them from being used after a certain threshold (number of pages, time, etc.), even though the cartridge may still contain usable ink or could be refilled (with ink toners, up to 50 percent of the toner cartridge is often still full[21]). this constitutes "programmed obsolescence", in that there is no random component contributing to the decline in function.
in the jackie blennis v. hp class action suit, it was claimed that hewlett packard designed certain inkjet printers and cartridges to shut down on an undisclosed expiration date, and at this point consumers were prevented from using the ink that remained in the expired cartridge. hp denied these claims, but agreed to discontinue the use of certain messages, and to make certain changes to the disclosures on its website and packaging, as well as compensating affected consumers with a total credit of up to $5,000,000 for future purchases from hp.[22]
there are some workarounds for users, for instance, that will more than double the life of the printer that has stopped with a message to replace the imaging drum.[23]
advantages and disadvantages [ edit ]
estimates of planned obsolescence can influence a company's decisions about product engineering. therefore, the company can use the least expensive components that satisfy product lifetime projections.
also, for industries, planned obsolescence stimulates demand by encouraging purchasers/putting them under pressure to buy sooner if they still want a functioning product. these products can be bought from the same manufacturer (a replacement part or a newer model), or from a competitor who might also rely on planned obsolescence. especially in developed countries (where many industries already face a saturated market), this technique is often necessary for producers to maintain their level of revenue.
while planned obsolescence is appealing to producers, it can also do significant harm to the society in the form of negative externalities. continuously replacing products, rather than repairing them, creates more waste and pollution, uses more natural resources, and results in more consumer spending. planned obsolescence can thus have a negative impact on the environment in aggregate. even when planned obsolescence might help to save scarce resources per unit produced, it tends to increase output in aggregate, since due to laws of supply and demand decreases in cost and price will eventually result in increases in demand and consumption. however, the negative environmental impacts of planned obsolescence are dependent also on the process of production.[24]
there is also the potential backlash of consumers who learn that the manufacturer invested money to make the product obsolete faster; such consumers might turn to a producer (if any exists) that offers a more durable alternative.
regulation [ edit ]
in 2015, as part of a larger movement against planned obsolescence across the european union, france has passed legislation requiring that appliance manufacturers and vendors declare the intended product lifespans, and to inform consumers how long spare parts for a given product will be produced. from 2016, appliance manufacturers are required to repair or replace, free of charge, any defective product within two years from its original purchase date. this effectively creates a mandatory two-year warranty.[25]
critics and supporters [ edit ]
shortening the replacement cycle has critics and supporters. philip kotler argues that: "much so-called planned obsolescence is the working of the competitive and technological forces in a free society—forces that lead to ever-improving goods and services."[26]
critics such as vance packard claim the process is wasteful and exploits customers. with psychological obsolescence, resources are used up making changes, often cosmetic changes, that are not of great value to the customer. miles park advocates new and collaborative approaches between the designer and the consumer to challenge obsolescence in fast-moving sectors such as consumer electronics.[27] some people, such as ronny balcaen, have proposed to create a new label to counter the diminishing quality of products due to the planned obsolescence technique.[21]
in software [ edit ]
software companies sometimes deliberately drop support for older technologies as a calculated attempt to force users to purchase new products to replace those made obsolete.[28] most proprietary software will ultimately reach an end-of-life point - usually because the cost of support exceeds the revenue generated by supporting the old version - at which the supplier will cease updates and support. as free software and open source software can always be updated and maintained by somebody else, the user is not at the sole mercy of a proprietary vendor.[29] software which is abandoned by the manufacturer with regard to manufacturer support is sometimes called abandonware.
in academia [ edit ]
russell jacoby, writing in the 1970s, observes that intellectual production has succumbed to the same pattern of planned obsolescence used by manufacturing enterprises to generate ever-renewed demand for their products.
the application of planned obsolescence to thought itself has the same merit as its application to consumer goods; the new is not only shoddier than the old, it fuels an obsolete social system that staves off its replacement by manufacturing the illusion that it is perpetually new.[30]
camille paglia characterizes contemporary academic discourse influenced by french theorists such as lacan, derrida, and foucault as the academic equivalent of name brand consumerism. "lacan, derrida, and foucault," she says, "are the academic equivalents of bmw, rolex, and cuisinart."[31] under the inspiration of the latest academic fashions, academic planned obsolescence is to manufacture content with little merit for the same reason fashion designers come out with new fashions.
2010s [ edit ]
planned obsolescence has been assumed a necessity when it comes to stimulating consumption; however, this practice has come into question. in 2015 the french parliament ruled and further established a fine of up to 300,000 euros and jail terms of up to two years for those manufacturers planning the death of their products in advance. the rule is not only relevant because of the sanctions that it establishes but also because it is the first time that a legislature openly recognizes the existence of planned obsolescence. these techniques may include "a deliberate introduction of a flaw, a weakness, a scheduled stop, a technical limitation, incompatibility or other obstacles for repair", reads the text regarding what may be considered as planned obsolescence.
the european union is also beginning to address this problem. the european economic and social committee (eesc), an advisory body of the eu,[32] announced in 2013 that it was studying "a total ban on planned obsolescence". it said replacing products that are designed to stop working within two or three years of their purchase was a waste of energy and resources and generated pollution.[33] the eesc organised a round table in madrid in 2014 on 'best practices in the domain of built-in obsolescence and collaborative consumption' which called for sustainable consumption to be enshrined as a consumer right in eu legislation.[34] carlos trias pinto, president of the eesc's consultative commission on industrial change[35] supports "the introduction of a labeling system which indicates the durability of a device, so the consumer has the possibility of choosing whether he/she prefers to buy a cheap product or a more expensive, more durable product".[36]
see also [ edit ]
references [ edit ]
further reading [ edit ]
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ifedapo* ɪz ə ˈsɔfˌwɛr ˈɛnʤəˈnɪr frəm ˈleɪgɔs, naɪˈʤɪriə. hi həz wərkt ɛz ə kənˈsəltənt fər ˈmɛni ˈdɪfərənt ˈstɑrˌtəps ənd ˌkɔrpərˈeɪʃənz, ɛz ə rɪˈzəlt əv wɪʧ hi həz bɪn ˈpɪkɪŋ əp ˈmɛni nu skɪlz ɪn ˈvɛriəs tɛkˈnɑləʤiz. hi həz kənˈsɪdərəbəl ɪkˈspɪriəns wɪθ ˈpaɪθɑn, ˈʤɑvəˌskrɪpt, ənd ˈʤɑvə. ɪn hɪz spɛr taɪm, hi ləvz ˈpɪkɪŋ əp mɔr tɛkˈnɑləʤiz ənd hi wʊd laɪk tɪ lɔnʧ mɔr ˈoʊpən sɔrs ˈprɑʤɛkts, ɛz wɛl ɛz ə ˈstɑrˌtəp əv hɪz oʊn. ju kən ʧɛk aʊt hir æt, ɪz ˈwərkɪŋ ɔn meɪnˈteɪnɪŋ ənd ˈmɑdərˌnaɪzɪŋ ɔl əv ɑr sdk’s*. hi ɪz ˈɔlsoʊ pɑrt əv ðə tim ɛz ðə lɛd dɛv əv uppy-server*. wi mɛnt ɪt wɪn wi sɛd ðət ðɛr wɑz səm ɪkˈsaɪtɪŋ nuz ˈkəmɪŋ əp əˈbaʊt ɑr ənd tɪ pruv ðət, wid laɪk tɪ gɪv ju ə teɪst əv wət wi hæv ɪn stɔr. təˈdeɪ, wi ər plizd tɪ əˈnaʊns ðə əˈfɪʃəl riˈlis əv ɑr ˈʤɑvə! ˈhævɪŋ ə toʊst ɔn ɑr brænd nu ˈʤɑvə ðɪs kəmz wɪθ ðə ˈfɑloʊɪŋ ˈfiʧərz ənd ˈɔlsoʊ ˌɪnˈkludz səˈpɔrt fər ɑr ˈrisəntli ˈædɪd: kriˈeɪt ən əˈsɛmbli (əv kɔrs). ðɪs səˈpɔrts, wɪʧ ɪz greɪt fər wɪn ju ər ˈəˌploʊdɪŋ lɑrʤ faɪlz ɔn ən ˌənrɪˈlaɪəbəl ˈnɛtˌwərk. (əv kɔrs). ðɪs səˈpɔrts, wɪʧ ɪz greɪt fər wɪn ju ər ˈəˌploʊdɪŋ lɑrʤ faɪlz ɔn ən ˌənrɪˈlaɪəbəl ˈnɛtˌwərk. gɪt ən əˈsɛmbli ˈkænsəl ðə ˌɛksəˈkjuʃən əv ən əˈsɛmbli lɪst əˈsɛmbliz kriˈeɪt ə ˈtɛmplət ˈəpˌdeɪt ə ˈtɛmplət dɪˈlit ə ˈtɛmplət lɪst gɪt ə ˈtɛmplət gɪt ðə ˈmənθli bɪl fər jʊr əˈkaʊnt hir ər ə fju kwɪk stɛps tɪ hɛlp ju gɪt ˈstɑrtɪd: 1 ˌɪnˈstɔl ðə baɪ ˈdaʊnˌloʊdɪŋ ɪt ˈmænjuəli frəm ɑr ˈprɑʤɛkt, ər ju kən ˌɪnˈstɔl ɪt frəm ɑr ˈmeɪvən ənd riˈpɑzəˌtɔriz. gradle*: kəmˈpaɪl ˈmeɪvən: <dɪˈpɛndənsi> <groupid>com.transloadit.sdk</groupid*> <artifactid>transloadit</artifactid*> <version>0.0.3</version*> </dɪˈpɛndənsi> 2 kriˈeɪt ən ɪgˈzæmpəl klæs, ˌɪnˈstænʃiˌeɪtɪŋ ðə klaɪənt wɪˈθɪn ɪt. ðɪs wɪl ˌrikˈwaɪər ju tɪ ˈɛnər jʊr krəˈdɛnʃəlz: ˌɪmˈpɔrt com.transloadit.sdk.transloadit*; ˈpəblɪk klæs ɪgˈzæmpəl ˈpəblɪk ˈstætɪk vɔɪd main(string*[] args*) nu transloadit("your_transloadit_key*", "your_transloadit_secret*"); 3 kriˈeɪt ə nu əˈsɛmbli ˈɪnstəns ənd æd ðə faɪl ðət ju wɔnt tɪ ˈəˌploʊd, əˈlɔŋ wɪθ ðə əˈsɛmbli stɛps ənd ˌɪnˈstrəkʃənz ɪn ˈɔrdər tɪ ˈprɔˌsɛs ɪt. ˈæftər duɪŋ soʊ, jʊr ˈəpˌdeɪtɪd klæs ʃʊd lʊk laɪk ðɪs: ˌɪmˈpɔrt com.transloadit.sdk.transloadit*; ˌɪmˈpɔrt java.io.file*; ˌɪmˈpɔrt java.util.hashmap*; ˈpəblɪk klæs meɪn ˈpəblɪk ˈstætɪk vɔɪd main(string*[] args*) nu transloadit("your_transloadit_key*", "your_transloadit_secret*"); əˈsɛmbli əˈsɛmbli transloadit.newassembly*(); map<string*, ˈɑbʤɛkt> nu hashmap*<>(); stepoptions.put("width*", 75 stepoptions.put("height*", 75 assembly.addstep("resize*", "/image/resize*",); file("path/to/file.jpg*")); 4 səbˈmɪt ðə əˈsɛmbli tɪ baɪ ˈkɔlɪŋ ðə seɪv ˈmɛθəd. ðɪs ˈmɛθəd ɪˈneɪbəlz' baɪ dɪˈfɔlt. ɑr ˈəpˌdeɪtɪd ɪgˈzæmpəl klæs ʃʊd naʊ lʊk laɪk ðɪs: ˌɪmˈpɔrt com.transloadit.sdk.transloadit*; ˌɪmˈpɔrt com.transloadit.sdk.exceptions.localoperationexception*; ˌɪmˈpɔrt com.transloadit.sdk.exceptions.requestexception*; ˌɪmˈpɔrt com.transloadit.sdk.response.assemblyresponse*; ˌɪmˈpɔrt java.io.file*; ˌɪmˈpɔrt java.util.hashmap*; ˈpəblɪk klæs meɪn ˈpəblɪk ˈstætɪk vɔɪd main(string*[] args*) nu transloadit("your_transloadit_key*", "your_transloadit_secret*"); əˈsɛmbli əˈsɛmbli transloadit.newassembly*(); map<string*, ˈɑbʤɛkt> nu hashmap*<>(); stepoptions.put("width*", 75 stepoptions.put("height*", 75 assembly.addstep("resize*", "/image/resize*",); file("path/to/file.jpg*")); traɪ rɪˈspɑns assembly.save*(); kæʧ i) ˈhændəl ɪkˈsɛpʃən hir e.printstacktrace*(); 5 bɪˈkəz wi wɔnt tɪ weɪt ənˈtɪl ðə əˈsɛmbli ˌɛksəˈkjuʃən ɪz kəmˈplitɪd ˌbiˈfɔr vjuɪŋ ðə rɪˈzəlt, wi wɪl naʊ æd wən mɔr sˈnɪpət tɪ meɪk ðə klæs lʊk laɪk ðɪs: ˌɪmˈpɔrt com.transloadit.sdk.transloadit*; ˌɪmˈpɔrt com.transloadit.sdk.exceptions.localoperationexception*; ˌɪmˈpɔrt com.transloadit.sdk.exceptions.requestexception*; ˌɪmˈpɔrt com.transloadit.sdk.response.assemblyresponse*; ˌɪmˈpɔrt java.io.file*; ˌɪmˈpɔrt java.util.hashmap*; ˈpəblɪk klæs meɪn ˈpəblɪk ˈstætɪk vɔɪd main(string*[] args*) nu transloadit("your_transloadit_key*", "your_transloadit_secret*"); əˈsɛmbli əˈsɛmbli transloadit.newassembly*(); map<string*, ˈɑbʤɛkt> nu hashmap*<>(); stepoptions.put("width*", 75 stepoptions.put("height*", 75 assembly.addstep("resize*", "/image/resize*",); file("path/to/file.jpg*")); traɪ rɪˈspɑns assembly.save*(); weɪt fər əˈsɛmbli tɪ ˈfɪnɪʃ ˈɛksəˌkjutɪŋ. waɪl (!response.isfinished*()) rɪˈspɑns transloadit.getassemblybyurl(response.getsslurl*()); strɪŋ response.getstepresult("resize").getjsonobject(0).getstring("url*"); jʊr əˈsɛmbli rɪˈzəlt: ); kæʧ i) ˈhændəl ɪkˈsɛpʃən hir e.printstacktrace*(); ənd ðɛr ju hæv ɪt! ɪts ðət ˈizi tɪ gɪt ɑr nu ˈʤɑvə əp ənd ˈrənɪŋ. fər mɔr dɪˈteɪld ˌdɑkjəmɛnˈteɪʃən ənd ɪgˈzæmpəlz, pliz teɪk ə lʊk æt: wi hoʊp ju wɪl ˌɛnˈʤɔɪ ɑr nu riˈlis. steɪ tund fər mɔr!
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ifedapo is a software engineer from lagos, nigeria. he has worked as a consultant for many different startups and corporations, as a result of which he has been picking up many new skills in various technologies. he has considerable experience with python, javascript, and java. in his spare time, he loves picking up more technologies and he would like to launch more open source projects, as well as a startup of his own. you can check out ife’s github here . at transloadit, ife is working on maintaining and modernizing all of our sdk’s. he is also part of the uppy team as the lead dev of uppy-server.
we meant it when we said that there was some exciting news coming up about our sdks and to prove that, we'd like to give you a taste of what we have in store.
today, we are pleased to announce the official release of our java sdk!
having a toast on our brand new java sdk
this sdk comes with the following features and also includes support for our recently added tus api:
create an assembly (of course). this supports tus resumable uploads, which is great for when you are uploading large files on an unreliable network.
(of course). this supports tus resumable uploads, which is great for when you are uploading large files on an unreliable network. get an assembly
cancel the execution of an assembly
list assemblies
create a template
update a template
delete a template
list templates
get a template
get the monthly bill for your account
here are a few quick steps to help you get started:
1. install the sdk by downloading it manually from our bintray project, or you can install it from our maven and jcenter repositories.
gradle:
compile 'com.transloadit.sdk:transloadit:0.0.3'
maven:
<dependency> <groupid>com.transloadit.sdk</groupid> <artifactid>transloadit</artifactid> <version>0.0.3</version> </dependency>
2. create an example class, instantiating the transloadit client within it. this will require you to enter your api credentials:
import com.transloadit.sdk.transloadit; public class example { public static void main(string[] args) { transloadit transloadit = new transloadit("your_transloadit_key", "your_transloadit_secret"); } }
3. create a new assembly instance and add the file that you want to upload, along with the assembly steps and instructions , in order to process it. after doing so, your updated class should look like this:
import com.transloadit.sdk.transloadit; import java.io.file; import java.util.hashmap; public class main { public static void main(string[] args) { transloadit transloadit = new transloadit("your_transloadit_key", "your_transloadit_secret"); assembly assembly = transloadit.newassembly(); map<string, object> stepoptions = new hashmap<>(); stepoptions.put("width", 75); stepoptions.put("height", 75); assembly.addstep("resize", "/image/resize", stepoptions); assembly.addfile(new file("path/to/file.jpg")); } }
4. submit the assembly to transloadit by calling the save method. this method enables tus' resumable uploads by default. our updated example class should now look like this:
import com.transloadit.sdk.transloadit; import com.transloadit.sdk.exceptions.localoperationexception; import com.transloadit.sdk.exceptions.requestexception; import com.transloadit.sdk.response.assemblyresponse; import java.io.file; import java.util.hashmap; public class main { public static void main(string[] args) { transloadit transloadit = new transloadit("your_transloadit_key", "your_transloadit_secret"); assembly assembly = transloadit.newassembly(); map<string, object> stepoptions = new hashmap<>(); stepoptions.put("width", 75); stepoptions.put("height", 75); assembly.addstep("resize", "/image/resize", stepoptions); assembly.addfile(new file("path/to/file.jpg")); try { assemblyresponse response = assembly.save(); } catch (requestexception | localoperationexception e) { // handle exception here e.printstacktrace(); } } }
5. because we want to wait until the assembly execution is completed before viewing the result, we will now add one more snippet to make the class look like this:
import com.transloadit.sdk.transloadit; import com.transloadit.sdk.exceptions.localoperationexception; import com.transloadit.sdk.exceptions.requestexception; import com.transloadit.sdk.response.assemblyresponse; import java.io.file; import java.util.hashmap; public class main { public static void main(string[] args) { transloadit transloadit = new transloadit("your_transloadit_key", "your_transloadit_secret"); assembly assembly = transloadit.newassembly(); map<string, object> stepoptions = new hashmap<>(); stepoptions.put("width", 75); stepoptions.put("height", 75); assembly.addstep("resize", "/image/resize", stepoptions); assembly.addfile(new file("path/to/file.jpg")); try { assemblyresponse response = assembly.save(); // wait for assembly to finish executing. while (!response.isfinished()) { response = transloadit.getassemblybyurl(response.getsslurl()); } string resulturl = response.getstepresult("resize").getjsonobject(0).getstring("url"); system.out.println("here's your assembly result: " + resulturl); } catch (requestexception | localoperationexception e) { // handle exception here e.printstacktrace(); } } }
and there you have it! it's that easy to get our new java sdk up and running.
for more detailed documentation and examples, please take a look at:
we hope you will enjoy our new release. stay tuned for more!
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ʧaɪˈniz ˈfaɪtər ʤɛts flu wɪˈθɪn ə fju ˈdəzən ˈmitərz əv ˌʤæpəˈniz ˈmɪlɪˌtɛri pleɪnz ˈoʊvər ðə ist ˈʧaɪnə si, əˈfɪʃəlz ɪn ˈtoʊkiˌoʊ sɛd ˈsənˌdi, ˈprɑmptɪŋ dɪˈfɛns ˈmɪnɪstər tɪ əˈkjuz ˌbeɪˈʒɪŋ əv goʊɪŋ ðə top”*” ɪn ɪts əˈproʊʧ tɪ dɪˈspjutɪd ˈtɛrɪˌtɔri. ðə ʧaɪˈniz ˈfaɪtərz keɪm ɛz kloʊz ɛz 50 ˈmitərz tɪ ə ˌʤæpəˈniz sərˈveɪləns pleɪn nɪr ðə ˌənɪnˈhæbətɪd ˈaɪləndz ɔn ˈsæˌtɪˌdeɪ, ənd wɪˈθɪn 30 ˈmitərz əv ˌɪˌlɛkˈtrɑnɪk ˌɪnˈtɛləʤəns ˈɛrˌkræft, ðə ˈmɪnɪstri sɛd. ə ˈmɪnɪstri əˈfɪʃəl sɛd ɪt wɑz ðə ˈkloʊsəst ʧaɪˈniz ˈwɔrˌpleɪnz hæd kəm tɪ ˌsɛlfdɪˈfɛns ˈfɔrsɪz ˈɛrˌkræft. ɪn waɪl flaɪɪŋ ˈnɔrməli ˈoʊvər ðə haɪ siz ɪz impossible,”*,” toʊld rɪˈpɔrtərz ɪn ˈkɑmɛnts ˈbrɔdˌkæst ɔn ˌtɛləˈvɪʒən əˈsɑhi. ɪz ə kloʊz ɪnˈkaʊnər ðət ɪz ˈaʊˈtraɪt ˈoʊvər ðə top.”*.” sɛd ðə ˈgəvərnmənt hæd kənˈveɪd ɪts kənˈsərnz tɪ ˌbeɪˈʒɪŋ ˈviə ˌdɪpləˈmætɪk ˈʧænəlz. hi ˈædɪd ðət ðə ʧaɪˈniz pleɪnz wər ˈkɛriɪŋ ˈmɪsəlz. ðə tu ˈɛrˌkræft wər ˈmɑnətərɪŋ ə ʤɔɪnt ˈneɪvəl drɪl biɪŋ kənˈdəktəd baɪ ˈʧaɪnə ənd ˈrəʃə nɪr ˌʤæpəˈniz ˌtɛrɪˈtɔriəl ˈwɔtərz, ə ˈgəvərnmənt sɔrs sɛd. ðə ʧaɪˈniz dɪˈfɛns ˈmɪnɪstri ˈminˌwaɪl sɛd ɔn ɪts ˈwɛbˌsaɪt ˈsənˌdi ðət ðə pleɪnz hæd ˈɛnərd ən ɛr dɪˈfɛns aɪˌdɛntəfəˈkeɪʃən zoʊn ˈsæˌtɪˌdeɪ dɪˈspaɪt fly”*” ˈnoʊtɪsɪz ˈɪʃud baɪ ˌbeɪˈʒɪŋ ˌbiˈfɔr ðə ˈɛksərˌsaɪzɪz. ˈʧaɪnə dɪˈklɛrd ðə nu læst jɪr dɪˈspaɪt ˈproʊˌtɛsts baɪ ʤəˈpæn ənd ðə juˈnaɪtɪd steɪts, wɪʧ hæv ˌɪgˈnɔrd ɪt. ˈmɪlɪˌtɛri pleɪnz ˌɪnˈtrudəd ɔn ðə ˈɛrˌspeɪs wɪˈθaʊt pərˈmɪʃən ənd ˈkɛrid aʊt ˈdeɪnʤərəs ˈækʃənz, ɪn ə ˈsɪriəs vaɪəˈleɪʃən əv ˌɪnərˈnæʃənɑl lɔz ənd ˈstændərdz wɪʧ kʊd hæv ˈizəli kɔzd ə ˌmɪsəndərˈstændɪŋ ənd ˈivɪn lɛd tɪ ə ˈmɪˈdɛr accident,”*,” ðə ʧaɪˈniz ˈsteɪtmənt kleɪmd. ˈtɛnʧənz bɪtˈwin ˈʧaɪnə ənd ɪts ˈneɪbərz hæv bɪn ˈrənɪŋ haɪ ˈoʊvər ˌɪnˈkrisɪŋgli əˈsərtɪv stæns təˈwɔrd ˌtɛrɪˈtɔriəl dɪˈspjuts ɪn ðə ˈriʤən. ˈʧaɪnə leɪz kleɪm tɪ ðə ˈaɪləndz ɪn ðə ist ˈʧaɪnə si, wɪʧ ər kɔld baɪ ˈʧaɪnə. ɪt ɪz ˈɔlsoʊ ˈprɛsɪŋ ɪts kleɪm tɪ ˈɔlˌmoʊst ɔl əv ðə saʊθ ˈʧaɪnə si ˈbrəʃɪŋ əˈsaɪd kleɪmz baɪ ˈsɛvərəl ˌsaʊˈθist ˈeɪʒən ˈneɪʃənz. ˌprɑkləˈmeɪʃən læst noʊˈvɛmbər əv ðə ˈkəvərɪŋ ðə dɪˈspjutɪd aɪlz ənd ˈɛriəz ɪn ðə saʊθ ˈʧaɪnə si reɪzd kənˈsərnz ðət ə ˈmaɪnər ˈɪnsədənt ɪn wən əv ðə kənˈtɛstəd ˈɛriəz kʊd ˈræpədli ˈɛskəˌleɪt ˈɪntu ə ˈmeɪʤər ˈkɑnflɪkt. taɪz hæv lɔŋ bɪn streɪnd baɪ ˌæləˈgeɪʃənz ðət ʤəˈpæn həz nɑt ˈprɑpərli fər ɪts ˈwɔrˌtaɪm əˈgrɛʃən, ɛz wɛl ɛz ðə ˈɔnˌgoʊɪŋ roʊ ˈoʊvər ðə senkakus*. ðə ˈskræmbəld ˈfaɪtər ʤɛts əˈgɛnst ʧaɪˈniz pleɪnz 415 taɪmz ɪn ðə ˈfɪskəl jɪr ðət ˈɛndɪd ɪn mɑrʧ əp 36 pərˈsɛnt ɔn ðə ˈpriviəs jɪr waɪl pəˈtroʊl ʃɪps frəm boʊθ ˈkəntriz hæv bɪn pleɪɪŋ kæt ənd maʊs ɪn ˈwɔtərz nɪr ðə dɪˈspjutɪd ˈaɪləndz, ˈræʧətɪŋ əp fɪrz əv ən ˌæksəˈdɛnəl klæʃ. ˌʤæpəˈniz lænd, si ənd ɛr ˈfɔrsɪz ʤɔɪnd təˈgɛðər læst wik tɪ ˈsɪmjəˌleɪt ðə riˈkæpʧər əv ə rɪˈmoʊt ˈaɪlənd, ˌəndərˈskɔrɪŋ ˈkɑnstənt kənˈsərn əˈbaʊt ðə sɪˈkjʊrəti əv ɪts ˈɛriəz. ˈʧaɪnə həz ˈɔlsoʊ reɪzd ˈtɛnʧənz wɪθ ˈneɪbərz ɪn ˈrisənt wiks ˈoʊvər ðə dɪˈplɔɪmənt əv ən ɔɪl rɪg ɪn ˈwɔtərz ɪn ðə saʊθ ˈʧaɪnə si ˈɔlsoʊ kleɪmd baɪ viˌɛtˈnɑm. ðə dɪˈplɔɪmənt əv ðə rɪg spɑrkt deɪz əv raɪəts ɪn viˌɛtˈnɑm. ðə ˈfɪləˌpin ˈfɔrən ˈmɪnɪstri ðɪs mənθ əˈkjuzd ˈʧaɪnə əv riˈkleɪmɪŋ lænd ɔn ə dɪˈspjutɪd rif ɪn ðə saʊθ ˈʧaɪnə si, ˈædɪŋ ðət ˌbeɪˈʒɪŋ əˈpɪrd tɪ bi ˈjuzɪŋ ðə rif tɪ bɪld ən ˈɛrˌstrɪp.
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chinese fighter jets flew within a few dozen meters of japanese military planes over the east china sea, officials in tokyo said sunday, prompting defense minister itsunori onodera to accuse beijing of going “over the top” in its approach to disputed territory.
the chinese su-27 fighters came as close as 50 meters to a japanese p-3c surveillance plane near the uninhabited senkaku islands on saturday, and within 30 meters of ys-11eb electronic intelligence aircraft, the ministry said.
a ministry official said it was the closest chinese warplanes had come to self-defense forces aircraft.
“closing in while flying normally over the high seas is impossible,” onodera told reporters in comments broadcast on tv asahi. “this is a close encounter that is outright over the top.”
onodera said the government had conveyed its concerns to beijing via diplomatic channels. he added that the chinese planes were carrying missiles.
the two sdf aircraft were monitoring a joint naval drill being conducted by china and russia near japanese territorial waters, a government source said.
the chinese defense ministry meanwhile said on its website sunday that the sdf planes had entered an air defense identification zone saturday despite “no fly” notices issued by beijing before the exercises. china declared the new adiz last year despite protests by japan and the united states, which have ignored it.
“japanese military planes intruded on the exercise’s airspace without permission and carried out dangerous actions, in a serious violation of international laws and standards which could have easily caused a misunderstanding and even led to a midair accident,” the chinese statement claimed.
tensions between china and its neighbors have been running high over beijing’s increasingly assertive stance toward territorial disputes in the region. china lays claim to the japanese-administered senkaku islands in the east china sea, which are called diaoyu by china. it is also pressing its claim to almost all of the south china sea — brushing aside claims by several southeast asian nations.
china’s proclamation last november of the adiz covering the disputed isles and areas in the south china sea raised concerns that a minor incident in one of the contested areas could rapidly escalate into a major conflict.
sino-japanese ties have long been strained by beijing’s allegations that japan has not properly atoned for its wartime aggression, as well as the ongoing row over the senkakus.
the sdf scrambled fighter jets against chinese planes 415 times in the fiscal year that ended in march — up 36 percent on the previous year — while patrol ships from both countries have been playing cat and mouse in waters near the disputed islands, ratcheting up fears of an accidental clash.
japanese land, sea and air forces joined together last week to simulate the recapture of a remote island, underscoring tokyo’s constant concern about the security of its furthest-flung areas.
china has also raised tensions with neighbors in recent weeks over the deployment of an oil rig in waters in the south china sea also claimed by vietnam.
the deployment of the rig sparked days of anti-chinese riots in vietnam. the philippine foreign ministry this month accused china of reclaiming land on a disputed reef in the south china sea, adding that beijing appeared to be using the reef to build an airstrip.
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ˈdɛnvər (ˈrɔɪtərz) mɔr ðən hæf əv ˌkɑlərˈɑdoʊ ˈvoʊtərz poʊld bɪˈliv ˈligəˌlaɪzɪŋ ˌrɛkriˈeɪʃənəl ˌmɛrəˈwɑnə həz bɪn gʊd fər ðə steɪt bət wər ənˈlaɪkli tɪ voʊt fər ə ˈkænədɪt fər ˈpəblɪk ˈɔfəs hu ˈrɛgjələrli ˈjuzɪz pɑt, ə poʊl riˈlist ɔn ˈmənˌdeɪ ʃoʊd. ə mæn hoʊldz ə saɪn rɪˈfərɪŋ tɪ ˌkɑlərˈɑdoʊ ˈligəˌlaɪzɪŋ ˌmɛrəˈwɑnə wɪθ ðə steɪt ˈkæpɪtəl doʊm ɪn ðə ˈbækˌgraʊnd æt ðə ˌmɛrəˈwɑnə ˈhɑlɪˌdeɪ ɪn ˈsɪvɪk ˈsɛnər pɑrk ɪn ˈdaʊnˈtaʊn ˈdɛnvər ɪn ðɪs ˈeɪprəl 20 2013 faɪl ˈfoʊˌtoʊ. ðə ˈtɛləˌfoʊn ˈsərˌveɪ kənˈdəktəd baɪ ˌjunəˈvərsəti ʃoʊd 52 pərˈsɛnt əv səm ˈvoʊtərz poʊld ðɪs mənθ vju ˌligələˈzeɪʃən ɛz ə ˈpɑzətɪv fər ðə steɪt. ˌkɑlərˈɑdoʊ ənd ˈwɔʃɪŋtən bɪˈkeɪm ðə fərst juz. steɪts tɪ ˈligəˌlaɪz ðə pəˈzɛʃən ənd juz əv ˌrɛkriˈeɪʃənəl ˈkænəbəs ɪn ˈvoʊtər ˌɪˈnɪʃətɪvz ɪn 2012 ənd ðə fərst ˈriˌteɪl pɑt ʃɑps ˈoʊpənd ɪn ˌkɑlərˈɑdoʊ ɪn ˈʤænjuˌɛri. ˈoʊvərˌɔl hæv ə ˈpɑzətɪv vju əv ðə ˌkɑlərˈɑdoʊ ˌmɛrəˈwɑnə experiment,”*,” ðə ˌjunəˈvərsəti sɛd ɪn ə ˈsteɪtmənt əˈkəmpəniɪŋ ðə poʊl rɪˈzəlts. ə məˈʤɔrəti θɪŋk ˈligəˌlaɪzd pɑt wɪl ˌɪnˈkris ˈpərsɪnəl ˈfridəmz, ənd ˈlaɪkˌwaɪz du nɑt θɪŋk ˈkænəbəs ˌligələˈzeɪʃən həz meɪd ˌkɑlərˈɑdoʊ roʊdz lɛs seɪf ər ðə ˈmɔrəl fiber”*” əv ðə steɪt, ðə poʊl ʃoʊd. ˈnɪrli hæf əv ðoʊz poʊld sɛd ðeɪ hæd traɪd ˌmɛrəˈwɑnə, bət ʤɪst 15 pərˈsɛnt sɛd ðeɪ hæv juzd pɑt sɪns kəˈmərʃəl seɪlz hæv bɪn əˈlaʊd. bət əˈməŋ rɪˈpəblɪkənz ənd ˌkɑlərˈɑdoʊ ˈvoʊtərz ˈoʊvər eɪʤ 65 səm 68 pərˈsɛnt sɛd ˌligələˈzeɪʃən həz bɪn bæd fər ðə steɪt. waɪl ðə poʊl ʃoʊd ə məˈʤɔrəti əv ˈpipəl səˈpɔrt ˈligəˌlaɪzd pɑt, 52 pərˈsɛnt sɛd ðeɪ wʊd nɑt voʊt fər ə ˈkænədɪt hu kənˈsumz ˈkænəbəs mɔr ðən twaɪs ə wik, sɛd tɪm məˈlɔɪ, əˈsɪstənt dɪˈrɛktər əv ðə poʊl. ˈvoʊtərz ər ˈʤɛnərəli gʊd tɪ goʊ ɔn græs, əˈkrɔs ðə ˈspɛktrəm, frəm ˈpərsɪnəl ˈfridəm tɪ ɪts ˈtækˌspeɪər ˈbɛnəfɪts tɪ ɪts ˈpɑzətɪv ˌɪmˈpækt ɔn ðə ˈkrɪmənəl ˈʤəstɪs system,”*,” məˈlɔɪ sɛd. ɪf ju ər ə ˌpɑləˈtɪʃən, θɪŋk twaɪs ˌbiˈfɔr smokin’*’ ðɛm ɪf ju gɑt ‘‘em,”*,” məˈlɔɪ sɛd. ðə seɪm poʊl ˈɔlsoʊ ʃoʊd ðət 61 pərˈsɛnt əv ˌkɑlərˈɑdoʊ ˈvoʊtərz əˈpruv əv ˌseɪmˈsɛks ˈmɛrɪʤ. ə steɪt ˌkɑnstəˈtuʃənəl əˈmɛndmənt dɪˈfaɪnz ˈmɛrɪʤ ɛz ə ˈjunjən əv wən mæn ənd wən ˈwʊmən, bət ˈsɪvəl ˈjunjənz ər əˈlaʊd ˈəndər ə lɔ pæst læst jɪr. ðə poʊl, kənˈdəktəd bɪtˈwin ˈeɪprəl 15 ənd ˈeɪprəl 21 həz ə ˈmɑrʤən əv ˈɛrər əv pərˈsɛnɪʤ pɔɪnts.
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denver (reuters) - more than half of colorado voters polled believe legalizing recreational marijuana has been good for the state but were unlikely to vote for a candidate for public office who regularly uses pot, a poll released on monday showed.
a man holds a sign referring to colorado legalizing marijuana with the state capitol dome in the background at the 4/20 marijuana holiday in civic center park in downtown denver in this april 20, 2013 file photo. reuters/rick wilking/files
the telephone survey conducted by quinnipiac university showed 52 percent of some 1,298 voters polled this month view legalization as a positive for the state.
colorado and washington became the first u.s. states to legalize the possession and use of recreational cannabis in voter initiatives in 2012, and the first retail pot shops opened in colorado in january.
“voters overall have a positive view of the colorado marijuana experiment,” the university said in a statement accompanying the poll results.
a majority think legalized pot will increase personal freedoms, and likewise do not think cannabis legalization has made colorado roads less safe or “eroded the moral fiber” of the state, the poll showed.
nearly half of those polled said they had tried marijuana, but just 15 percent said they have used pot since commercial sales have been allowed. but among republicans and colorado voters over age 65, some 68 percent said legalization has been bad for the state.
while the poll showed a majority of people support legalized pot, 52 percent said they would not vote for a candidate who consumes cannabis more than twice a week, said tim malloy, assistant director of the poll.
“colorado voters are generally good to go on grass, across the spectrum, from personal freedom to its taxpayer benefits to its positive impact on the criminal justice system,” malloy said. “but if you are a politician, think twice before smokin’ them if you got ‘em,” malloy said.
the same poll also showed that 61 percent of colorado voters approve of same-sex marriage. a state constitutional amendment defines marriage as a union of one man and one woman, but civil unions are allowed under a law passed last year.
the poll, conducted between april 15 and april 21, has a margin of error of 2.7 percentage points.
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ˈɪmɪʤ ˈkɑpiˌraɪt ˈgɛti ˈɪmɪʤɪz ʃɛrz ɪn dɔɪʧ bæŋk kənˈtɪnjud tɪ fɔl ɔn ˈtuzˌdeɪ, dɪˈspaɪt əˈʃʊrəntsɪz frəm ðə bæŋk ðət ɪts ˈbæləns ʃit wɑz "rɑk ˈsɑləd". ðə bæŋks ʃɛrz ɪn ˈfræŋkfərt kloʊzd 5 loʊər, dɪˈspaɪt ə ˈsteɪtmənt frəm ðə bæŋk ðət ɪt hæd səˈfɪʃənt rɪˈzərvz tɪ meɪk bɑnd ˈpeɪmənts. ɔn ˈmənˌdeɪ, ʃɛrz sləmpt ənd hæv ˈfɑlən mɔr ðən 40 ðɪs jɪr. ˈərliər, ˈʤərmən ˈfaɪˌnæns ˈmɪnɪstər ˈwʊlfˌgæŋ sɛd hi hæd "noʊ kənˈsərnz" əˈbaʊt ðə bæŋk. hi wɑz ˈspikɪŋ tɪ ˈʤərnəlɪsts ˈæftər ə ˈmitɪŋ ɪn ˈpɛrɪs. ɔn ˈtuzˌdeɪ, ðə bæŋks ɪgˈzɛkjətɪv ʤɑn kraɪən, sɛnt ə ˈmɛsɪʤ tɪ ɔl stæf ɪn wɪʧ hi əˈʃʊrd ðɛm ðə bæŋk wɑz ɪn ə strɔŋ ˌfaɪˈnænʃəl pəˈzɪʃən, dɪˈspaɪt ˈgloʊbəl groʊθ fɪrz, loʊ ɔɪl ənd ˈəðər kəˈmɑdəti ˈpraɪsɪz, ənd ðə fækt ðət ðə bæŋk wʊd bi ˈbʊkɪŋ ɪn ɪts fɔrθ kˈwɔrtər. hi sɛd ðət waɪl ðə stɑk ˈmɑrkɪts hæd "ɪkˈsprɛst səm kənˈsərn əˈbaʊt ðə ˈædəkwəsi əv ɑr ˈligəl prəˈvɪʒənz", hi dɪd nɑt "ʃɛr ðət kənˈsərn". "wi wɪl ˈɔlˌmoʊst ˈsərtənli hæv tɪ æd tɪ ɑr ˈligəl prəˈvɪʒənz ðɪs jɪr, bət ðɪs ɪz ɔˈrɛdi əˈkaʊntɪd fər ɪn ɑr ˌfaɪˈnænʃəl plæn," hi sɛd. ˈmɪstər kraɪən ˈædɪd: "ˌvɑləˈtɪləti ɪn ðə fɔrθ kˈwɔrtər ˌɪmˈpæktɪd ðə ˈərnɪŋz əv moʊst ˈmeɪʤər bæŋks, əˈspɛʃəli ðoʊz ɪn ˈjʊrəp, ənd klaɪənts meɪ æsk ju əˈbaʊt haʊ ðə ˌvɑləˈtɪləti ɪz ˌɪmˈpæktɪŋ dɔɪʧ bæŋk." hi sɛd stæf æt ðə bæŋk kʊd tɛl ˈkəstəmərz kənˈsərnd əˈbaʊt ˌɪnˈvɛstɪŋ wɪθ ðə bæŋk ðət "dɔɪʧ bæŋk rɪˈmeɪnz ˌæbsəˈlutli rock-solid*, ˈgɪvɪn ɑr strɔŋ ˈkæpɪtəl ənd rɪsk pəˈzɪʃən". ðə iˈmeɪl tɪ stæf, meɪd ˈpəblɪkli əˈveɪləbəl ˈviə ðə bæŋks əˈfɪʃəl tˈwɪtər əˈkaʊnt, ɪz ən ənˈjuˌʒuəl stɛp. ɪt ˈfɑloʊz ˈmənˌdeɪz ˈsteɪtmənt tɪ ˌɪnˈvɛstərz ɪn wɪʧ ðə bæŋk ˈsteɪtɪd ɪts 2016 ˈpeɪmənt kəˈpæsɪti wɑz ˈɛstəˌmeɪtɪd tɪ bi əˈbaʊt £783m*), səˈfɪʃənt tɪ peɪ ˈsoʊˈkɔld əˈdɪʃənəl tir 1 ˈkuˌpɔnz əv əˈprɑksəmətli ɔn 30 ˈeɪprəl. səʧ ˈsteɪtmənts ər rɛr ənd ˈɪləˌstreɪt ðə ˈlɛvəl əv fɪr ˈkərəntli ˈstɔkɪŋ ðə ˈmɑrkɪts, ɪn ˈrisənt wiks, bæŋk stɑks hæv ˈsəfərd ˈhɛvi ˈlɔsɪz, wɪθ ˈtreɪdərz ˈsaɪtɪŋ kənˈsərnz əˈbaʊt ðə ˈlɛvəl əv ɪkˈspoʊʒər səm bæŋks meɪ hæv tɪ kəˈmɑdəti ənd ɔɪl ˈkəmpəˌni dɛt, əˈmɪd ə dɪˈzaɪər əˈməŋ səm ˈmaɪnɪŋ ənd ɔɪl fərmz tɪ meɪnˈteɪn ˈdɪvɪˌdɛnd ˈpeɪmənts ˈivɪn ɪf ðeɪ hæv tɪ ˈbɑˌroʊ tɪ du soʊ. ˈɪmɪʤ ˈkɑpiˌraɪt ˈgɛti ˈɪmɪʤɪz ˈɪmɪʤ ˈkæpʃən dɔɪʧ bæŋk ɪgˈzɛkjətɪv, ʤɑn kraɪən, roʊt tɪ stæf tɪ əˈʃʊr ðɛm ðə bæŋks ˈbæləns ʃit wɑz "rɑk ˈsɑləd". ðə bæŋk ɪz ˈɔlsoʊ ðə ˈsəbʤɪkt əv ˈteɪˌkoʊvər ˌspɛkjəˈleɪʃən ɪn ˈʤərmən ˈmidiə, ˈgɪvɪn ðə loʊ ˈvælju əv ɪts ʃɛr praɪs. dɔɪʧ bæŋk həz hæd ˈnɛgətɪv prɛs fər jɪrz naʊ əˈmɪd ə ˈsɪriz əv ˈskændəlz ənd ˌlɪtəˈgeɪʃən. ɪt ʧɔkt əp ə ˈrɛkərd lɔs əv læst jɪr. fɪrz ðət bæŋks du nɑt hæv ðə ˌfaɪˈnænʃəl rɪˈzərvz tɪ koʊp wɪθ ə ˈmeɪʤər ɔɪl ər kəˈmɑdətiz ˈkəmpəˌni rɪˈnɪgɪŋ ɔn ɪts dɛt ˈpeɪmənts wər rɪˈflɛktɪd ɪn ˌjʊrəˈpiən stɑk ˈmɑrkɪts ɔn ˈtuzˌdeɪ, wɪθ ˈbæŋkɪŋ stɑks ənd kəˈmɑdətiz fərmz ˈəndər ˌpɑˈtɪkjələr ˈprɛʃər ɪn ˌæftərˈnun treɪd əˈkrɔs ɔl ðə ˈmeɪʤər ˌjʊrəˈpiən ˈɪndɛksɪz. ɪn ðə uk*, ˈmaɪnərz lɛd ðə ˈluzərz' bɔrd ɔn ðə 100 wɪθ ˈæŋgloʊ əˈmɛrɪkən daʊn ˈɔlˌmoʊst 10 æt 339.20p*, daʊn æt ənd daʊn mɔr ðən æt 95.28p*. rɔɪəl bæŋk əv ˈskɑtlənd wɑz loʊər æt 226.20p*, ˈbɑrkliz wɑz loʊər æt ənd wɑz loʊər baɪ æt 434.30p*.
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image copyright getty images
shares in deutsche bank continued to fall on tuesday, despite assurances from the bank that its balance sheet was "rock solid".
the bank's shares in frankfurt closed 5% lower, despite a statement from the bank that it had sufficient reserves to make bond payments.
on monday, shares slumped 9.5% and have fallen more than 40% this year.
earlier, german finance minister wolfgang schaeuble said he had "no concerns" about the bank.
he was speaking to journalists after a meeting in paris.
on tuesday, the bank's co-chief executive john cryan, sent a message to all staff in which he assured them the bank was in a strong financial position, despite global growth fears, low oil and other commodity prices, and the fact that the bank would be booking write-downs in its fourth quarter.
he said that while the stock markets had "expressed some concern about the adequacy of our legal provisions", he did not "share that concern".
"we will almost certainly have to add to our legal provisions this year, but this is already accounted for in our financial plan," he said.
mr cryan added: "volatility in the fourth quarter impacted the earnings of most major banks, especially those in europe, and clients may ask you about how the market-wide volatility is impacting deutsche bank."
he said staff at the bank could tell customers concerned about investing with the bank that "deutsche bank remains absolutely rock-solid, given our strong capital and risk position".
the email to staff, made publicly available via the bank's official twitter account, is an unusual step.
it follows monday's statement to investors in which the bank stated its 2016 payment capacity was estimated to be about €1bn (£783m), sufficient to pay so-called additional tier 1 (at1) coupons of approximately €350m on 30 april.
such statements are rare and illustrate the level of fear currently stalking the markets,
in recent weeks, bank stocks have suffered heavy losses, with traders citing concerns about the level of exposure some banks may have to commodity and oil company debt, amid a desire among some mining and oil firms to maintain dividend payments even if they have to borrow to do so.
image copyright getty images image caption deutsche bank co-chief executive, john cryan, wrote to staff to assure them the bank's balance sheet was "rock solid".
the bank is also the subject of takeover speculation in german media, given the low value of its share price. deutsche bank has had negative press for years now amid a series of scandals and litigation. it chalked up a record loss of €6.8bn last year.
fears that banks do not have the financial reserves to cope with a major oil or commodities company reneging on its debt payments were reflected in european stock markets on tuesday, with banking stocks and commodities firms under particular pressure in afternoon trade across all the major european indexes.
in the uk, miners led the losers' board on the ftse 100, with anglo american down almost 10% at 339.20p, antofagasta down 8.9% at 412.90p and glencore down more than 7.3% at 95.28p.
royal bank of scotland was 1.95% lower at 226.20p, barclays was 3.6% lower at 158.05p and hsbc was lower by 0.95% at 434.30p.
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wɪn ðə ˈpɑrtnərˌʃɪp bɪtˈwin ðə ənd ˈmeɪʤər lig ˈsɑkər bɪˈgæn, ðə ænˌtɪsəˈpeɪʃən wɑz ɪt wʊd prəˈvaɪd ə ki ˈpæθˌweɪ fər pleɪərz tɪ meɪk ðə trænˈzɪʃən tɪ nɔrθ tɔp flaɪt. ˈpruvən ðə keɪs, wɪθ 2016 moʊst ˈvæljəbəl pleɪər ʃɔn bɪˈkəmɪŋ ðə pleɪər ðɪs jɪr tɪ saɪn wɪθ ən kləb frəm ə wən, ˈʤɔɪnɪŋ ðə laɪks əv ˈfɛloʊ səˈlɛkʃənz ʤæk məkˈbin, rɑb ˈvɪnsɪnt ənd jəŋ ˈstænˌdaʊts ælˈfɑnsoʊ ˈdeɪviz ənd ˈdɛrɪk ʤoʊnz. wət maɪt nɑt hæv bɪn ˌfɔrˈsin, ˌhaʊˈɛvər, wɑz ðə ˈpæθˌweɪ ˈoʊpənɪŋ əp fər tɔp jəŋ ˈkoʊʧɪz tɪ meɪk ðə muv tɪ ˈmeɪʤər lig ˈsɑkər. wɪθ kərt əˈpɔɪntmənt ɔn ˈtuzˌdeɪ baɪ ðə lɑ ˈgæləksi ˈæftər θri strɔŋ ˈsizənz wɪθ ðə lɑ ˈgæləksi ii*, ðɛr ər sɛt tɪ bi θri ˈfɔrmər hɛd ˈkoʊʧɪz ˈlidɪŋ skwɑdz ɪn ɪn 2017 ə ˈtreɪlˌbleɪzər ɛz ðə fərst hɛd koʊʧ əv ən saɪd, ˈmoʊldɪd ə tim ðət riʧt ðə ɪn ɔl θri ˈsizənz, ˌɪnˈkludɪŋ ə ˈwɛstərn ˈkɑnfərəns ˈʧæmpiənˌʃɪp ɪn 2015 ˌbiˈfɔr ə ˈhɑrtˌbreɪkɪŋ ˈoʊvərˌtaɪm dɪˈfit tɪ ˈrɑˌʧɛstər ɪn ðə kəp ˈfaɪnəl.
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when the partnership between the usl and major league soccer began, the anticipation was it would provide a key pathway for players to make the transition to north america’s top flight.
that’s proven the case, with 2016 usl most valuable player sean okoli becoming the 24th player this year to sign with an mls club from a usl one, joining the likes of fellow all-league selections jack mcbean, rob vincent and young standouts alphonso davies and derrick jones.
what might not have been foreseen, however, was the pathway opening up for top young coaches to make the move to major league soccer. with curt onalfo’s appointment on tuesday by the la galaxy after three strong seasons with the la galaxy ii, there are set to be three former usl head coaches leading squads in mls in 2017.
a trailblazer as the first head coach of an mls owned-and-operated usl side, onalfo molded a high-performing team that reached the postseason in all three seasons, including a western conference championship in 2015 before a heartbreaking overtime defeat to rochester in the usl cup final.
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there’s* stɪl ə ʧæns ˈtɛksənz kʊd bi səm əv ðə fərst ˈpipəl ɪn ðə wərld tɪ wɪsk əˈlɔŋ ɪn tubz æt 700 ˈɛmˈpiˈeɪʧ. ˈtɛksəs, ə ʤɔɪnt prəˈpoʊzəl əv ˈɛnʤəˈnɪrɪŋ fərm ənd ˈpəblɪk ˈeɪʤənsiz ɪn ðə steɪt, ɪz wən əv 10 ˈwɪnərz əv ðə wən ˈgloʊbəl ˈʧælənʤ, ə ˌkɑmpəˈtɪʃən tɪ faɪnd ðə bɛst rʊts fər ðə ˈsɪstəm., ðə ˈbreɪnˌʧaɪld əv ˈtɛzlə ˈfaʊndər məsk, ɛnˈvɪʒənz ˈvækjum tubz ənd ˈtrævəl pɑdz ˈmeɪkɪŋ ˌɪntərˈsteɪt ˈtrævəl æt spidz. ɪn ðɛr prəˈpoʊzəl, ˈɛstəˌmeɪtɪd ðə trɪp frəm ˈhjustən tɪ sæn ænˈtoʊnioʊ kʊd bi meɪd ɪn 21 ˈmɪnəts. ˈgɪtɪŋ tɪ ˈɔstən wʊd teɪk əˈnəðər eɪt ˈmɪnəts., nɑt ˌɪnˈkludɪŋ ðə taɪm fər ˈleɪˌoʊvərz, wʊd teɪk 48 ˈmɪnəts. ə freɪt kəmˈpoʊnənt wʊd juz ðə ˈsɪstəm tɪ ˈfɛri gʊdz frəm lərˈeɪdoʊ tɪ ðə pɔrt əv ˈhjustən. əˈlɔŋ wɪθ ðə ˈtɛksəs ˈtraɪˌæŋgəl tim, timz ɪn ˌkɑlərˈɑdoʊ, ˈflɔrɪdə ənd ðə rəst bɛlt wər ˈʧoʊzən ɪn ðə juˈnaɪtɪd steɪts. ðə ˈəðər ˈwɪnɪŋ prəˈpoʊzəlz ˈmɛksəˌkoʊ, ˈkænədə, ðə juˈnaɪtɪd ˈkɪŋdəm ənd ˈɪndiə. ˈwɪnɪŋ rʊts baɪ ɔn ɪn əˈnaʊnsɪŋ ðə ˈwɪnərz, wən ðə ˈkəmpəˌni prəˈmoʊtɪŋ ðə aɪˈdiə ˈɔlsoʊ sɛd ɪt wʊd wərk wɪθ ðə ˌkɑlərˈɑdoʊ dɪˈpɑrtmənt əv ˌtrænspərˈteɪʃən tɪ dɪˈvɛləp ə ˌfizəˈbɪləti ˈstədi əv ðə prəˈpoʊzəl. ɪnˈkərəʤd baɪ ðiz kəmˈpɛlɪŋ ˈprɑʤɛkts ðət eɪm tɪ ˌɪnˈkris ˈpæsənʤər moʊˈbɪlɪti, kəˈnɛkt ˈərbən ˈsɛnərz, treɪd ənd ˈkɑrˌgoʊ ənd ɛnˈhæns kˈwɑləti əv life,”*,” sɛd ʤɑʃ giegel*, ənd ˈprɛzɪdənt əv ˈɛnʤəˈnɪrɪŋ əv wən. ˈwɪnɪŋ min ˈɛniˌθɪŋ wɪl gɪt bɪlt, bət wən sɛd ɪn ə riˈlis ɪt kəˈmɪt ˈminɪŋfəl ˈbɪznɪs ənd ˈɛnʤəˈnɪrɪŋ ˈrisɔrsɪz ənd wərk ˈkloʊsli wɪθ iʧ əv ðə ˈwɪnɪŋ tɪ dɪˈtərmən ðɛr kəˈmərʃəl viability.”*.” ˈmɛni prəˈpoʊzəlz ˈoʊvər ðə jɪrz hæv sɛd ðɛr ɪz juʤ ˈbɛnəfɪt tɪ ˈlɪŋkɪŋ texas’*’ ˈmeɪʤər ˈsɪtiz baɪ ˈsəmθɪŋ ˈəðər ðən ˈfriˌweɪz ənd ˈɛrˌpɔrts, bət nən soʊ fɑr hæv ˈʤɛnərˌeɪtɪd ðə ˈpəblɪk wɪl ər ˈpraɪvət ˌɪnˈvɛstmənt tɪ ˈɔpərˌeɪt. ˈbækərz əv ə plænd haɪ spid reɪl ˈsɪstəm sɛd ˈərliər ðɪs jɪr ðət ðeɪ hoʊp tɪ hæv ˈfɛdərəl əˈpruvəlz ənd fɪˈnænsɪŋ tɪ bɪˈgɪn kənˈstrəkʃən əv ðɛr laɪn nɛkst jɪr. ðə ˈkəmpəˌni, ˈtɛksəs ˈsɛntrəl ˈpɑrtnərz, ɔˈrɛdi həz ˈstɑrtɪd baɪɪŋ səm ˈprɑpərti əˈlɔŋ ðə ˈpɑsəbəl rut, wɪʧ həz bɪn ˌkɑntrəˈvərʃəl ɪn ˈrʊrəl ˈɛriəz bɪtˈwin ðə tu ˈmɛˌtroʊ ˈɛriəz.
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there’s still a chance texans could be some of the first people in the world to whisk along in tubes at 700 mph.
hyperloop texas, a joint proposal of engineering firm aecom and public agencies in the state, is one of 10 winners of the hyperloop one global challenge, a competition to find the best routes for the system.
hyperloop, the brainchild of tesla founder elon musk, envisions vacuum tubes and travel pods making interstate travel at faster-than-flight speeds. in their proposal, aecom estimated the trip from houston to san antonio could be made in 21 minutes. getting to austin would take another eight minutes. houston-to-dallas, not including the time for layovers, would take 48 minutes.
a freight component would use the hyperloop system to ferry goods from laredo to the port of houston.
along with the texas triangle team, hyperloop teams in colorado, florida and the rust belt were chosen in the united states. the other winning proposals mexico, canada, the united kingdom and india.
h1gc winning routes by dugbegley on scribd
in announcing the winners, hyperloop one – the company promoting the idea – also said it would work with the colorado department of transportation to develop a feasibility study of the cheyenne-denver-pueblo proposal.
“we're encouraged by these compelling projects that aim to increase passenger mobility, connect urban centers, reimagine trade and cargo and enhance quality of life,” said josh giegel, co-founder and president of engineering of hyperloop one.
winning doesn’t mean anything will get built, but hyperloop one said in a release it “will commit meaningful business and engineering resources and work closely with each of the winning teams/routes to determine their commercial viability.”
many proposals over the years have said there is huge benefit to linking texas’ major cities by something other than freeways and airports, but none so far have generated the public will or private investment to operate.
backers of a planned houston-to-dallas high speed rail system said earlier this year that they hope to have federal approvals and financing to begin construction of their japanese-styled line next year. the company, texas central partners, already has started buying some property along the possible route, which has been controversial in rural areas between the two metro areas.
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ˈpipəl ər goʊɪŋ tɪ kip ˈjuzɪŋ ɔɪl, ɪt simz, ˈivɪn ðoʊ ɪt hərts ðə ɪnˈvaɪrənmənt ənd kɔsts mɔr ðən ðeɪ kən əˈfɔrd. ə rɪˈpɔrt riˈlist ˈwɛnzˌdeɪ baɪ ðə ˈɛnərʤi ˌɪnˌfɔrˈmeɪʃən ædˌmɪnɪˈstreɪʃən sɛd ðət kənˈsəmʃən əv environment-harming*, ˈfɑsəl fjuəlz ɪz goʊɪŋ tɪ ˈdəbəl ˈoʊvər ðə nɛkst 20 jɪrz du tɪ groʊɪŋ juz baɪ ˈimərʤɪŋ ɪˈkɑnəmiz. ðə ˈgəvərnmənt rɪˈpɔrt prɪˈdɪktɪd ðə ˈstipəst klaɪm ɪn ˈʧaɪnə, wɛr kənˈsəmʃən əv θɪŋz laɪk ɔɪl ənd koʊl wɪl ˌɪnˈkris baɪ 85 ˈoʊvər ˈkɑrənt ˈlɛvəlz baɪ 2030 ðə raɪz ɪn ˈɛnərʤi dɪˈmænd wɪl ˈɔlsoʊ bəmp əp ðə əˈmaʊnt əv ˈkɑrbən daɪˈɑkˌsaɪd ɪn ðə ˈætməsˌfɪr baɪ 50 ˈoʊvər ðə nɛkst tu ˈdɛkeɪdz, ˌɪnˈkrisɪŋ ðə ˈifɛkts əv ˈgloʊbəl ˈwɔrmɪŋ. ðə rɪˈpɔrt ˈkɔʃənd ðət ˈsɪriəs ˈækʃən ʃʊd bi ˈteɪkən tɪ prɪˈvɛnt ðɪs. ɪt sɛd ðət ˈgloʊbəl ɔɪl kənˈsəmʃən wɪl ˌɪnˈkris tɪ 113 ˈmɪljən ˈbɛrəlz pər deɪ baɪ 2030 dɪˈspaɪt ˈrɛkərd ˈpraɪsɪz. ðɪs ɪz ə θərd mɔr ðən ɪz ˈkərəntli juzd. "ˈgloʊbəl ˈɛnərʤi dɪˈmænd groʊz dɪˈspaɪt ðə səˈsteɪnd haɪ wərld ɔɪl ˈpraɪsɪz ðət ər prɑˈʤɛktəd tɪ pərˈsɪst ˈoʊvər ðə lɔŋ tərm," sɛd ðə rɪˈpɔrt. juz. krud ɔɪl ˌɪnvənˈtɔriz roʊz baɪ ˈbɛrəlz tɪ ˈmɪljən ˈbɛrəlz ɪn ðə wik tɪ ʤun 20 ðə ˈɛnərʤi ˌɪnˌfɔrˈmeɪʃən ædˌmɪnɪˈstreɪʃən ˌriˈpɔrtəd, kəmˈpɛrd wɪθ ˈænəlɪst ˌɛkspɛkˈteɪʃənz əv ə ˈmɪljən ˈbɛrəl drɔ. koʊl ˈbərnɪŋ ɪz prɪˈdɪktɪd tɪ ˌɪnˈkris æt ə reɪt əv 2 pər jɪr wɪθ ˈʧaɪnə ˈmeɪkɪŋ əp ðə məˈʤɔrəti əv ðət juz. koʊl ɪz ðə fjuəl əv ʧɔɪs fər ɪˌlɛkˈtrɪsəti ɪn ˈimərʤɪŋ ˈneɪʃənz. ɔn ə ˈbɛtər noʊt, ðə ɪkˈspɛkts ˈɛθəˌnɔl juz fər ˈgæsəˌlin ˈblɛndɪŋ tɪ groʊ ˈbɪljən ˈgælənz ɪn 2030 ðə ˈɛθəˌnɔl səˈplaɪ ɪz ɪkˈspɛktɪd tɪ bi prəˈdust frəm boʊθ kɔrn ənd ˈsɛljəˌloʊs ˈfidˌstɑks, wɪθ kɔrn əˈkaʊnɪŋ fər ˈbɪljən ˈgælənz əv ˈɛθəˌnɔl pərˈdəkʃən ɪn 2030 juz ɪz ɪkˈspɛktɪd tɪ ˌɪnˈkris tɪ ˈbɪljən ˈgælənz ɪn 2030 ər əˈbaʊt əv ˈtoʊtəl ˈdizəl kənˈsəmʃən baɪ ˈvɑljum.
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people are going to keep using oil, it seems, even though it hurts the environment and costs more than they can afford.
a report released wednesday by the energy information administration said that consumption of environment-harming, incredibly-expensive fossil fuels is going to double over the next 20 years due to growing use by emerging economies.
the government report predicted the steepest climb in china, where consumption of things like oil and coal will increase by 85% over current levels by 2030. the rise in energy demand will also bump up the amount of carbon dioxide in the atmosphere by 50% over the next two decades, increasing the effects of global warming.
the report cautioned that serious action should be taken to prevent this. it said that global oil consumption will increase to 113 million barrels per day by 2030, despite record prices. this is a third more than is currently used.
"global energy demand grows despite the sustained high world oil prices that are projected to persist over the long term," said the report.
u.s. crude oil inventories rose by 800,000 barrels to 301.8 million barrels in the week to june 20, the energy information administration reported, compared with analyst expectations of a 1.4 million barrel draw.
coal burning is predicted to increase at a rate of 2% per year with china making up the majority of that use. coal is the fuel of choice for electricity in emerging nations.
on a better note, the eia expects ethanol use for gasoline blending to grow to13.4 billion gallons in 2030. the ethanol supply is expected to be produced from both corn and cellulose feedstocks, with corn accounting for 15.0 billion gallons of ethanol production in 2030. biodiesel use is expected to increase to 1.2 billion gallons in 2030, or about 1.5% of total diesel consumption by volume.
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ɪt stɑp. ɪn kəˈləmbiə, saʊθ ˌkɛrəˈlaɪnə tu mɔr ˈfaɪərˌfaɪtərz wər faɪərd təˈdeɪ ˈoʊvər ˈkɑmɛnts ɔn ˈfeɪsˌbʊk əˈbaʊt blæk lɪvz ˈmætər ənd ˈproʊˌtɛstərz hu blɑkt ˈroʊdˌweɪz ɔn ˈsənˌdi. ɪn ˈrɪʧlənd ˈkaʊnti ə ˈsinjər ˌpɛrəˈmɛdɪk həz bɪn faɪərd. ˈpriviəsli: ˈrisənt ˈfeɪsˌbʊk poʊsts frəm 8 ˈfaɪərˌfaɪtərz kɑps brɪŋz ˈfaɪərrɪŋz, dɪˈmoʊʃənz mɔr klɪf ləˈblæŋk, ðə steɪt: faɪər ʧif ˈɔbri ˈʤɛŋkɪnz əˈnaʊnst ðə ˈtoʊtəl ˈnəmbər əv ˈfaɪərˌfaɪtərz hu hæv lɔst ðɛr ʤɑbz ɪz naʊ θri. ðə ˈfaɪərˌfaɪtərz ˈtərməˌneɪtɪd ˈwɛnzˌdeɪ ər deɪv ˈdəbəlju. ˈprɑktər, ə ˈsinjər ˈfaɪrˌfaɪtər hu wɑz haɪərd ɪn ɑkˈtoʊbər 2013 ənd proʊˈbeɪʃəˌnɛˌri ˈfaɪrˌfaɪtər ˈɛdwərd aʊˈgəstɪn, hu wɑz haɪərd ɪn ˈfɛbruˌɛri, sɛd dɪˈpɑrtmənt ˈspoʊksmən brɪk luɪs. luɪs sɛd ðət rɪˈspɑnsɪz tɪ ðə ˌɪˈnɪʃəl poʊsts baɪ capt*. ˈʤɪmi ˈmɔrɪs wər θˈrɛtənɪŋ ɪˈnəf ðət ðə oʊ klɛr faɪər ˈsteɪʃən, wɛr ˈmɔrɪs wɑz ɔn ˈduti, wɑz kloʊzd ˌtɛmpərˈɛrəli. ðə ˈspoʊksmən sɛd hi dɪz nɑt noʊ ðə ˈlæŋgwɪʤ ɪn ðə poʊsts. ˌhaʊˈɛvər, wɪn ˈʤɛŋkɪnz sɛd ˈtuzˌdeɪ hi wɑz ˌɪnˈvɛstəˌgeɪtɪŋ ə ˈsɛkənd ˈfaɪrˌfaɪtər, ðə poʊst sɛd ɪn pɑrt, ˈrənɪŋ ˈpipəl over.”*.”
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it doesn’t stop. in columbia, south carolina two more firefighters were fired today over comments on facebook about black lives matter and protesters who blocked roadways on sunday. in richland county a senior paramedic has been fired.
previously:
recent facebook posts from 8 firefighters & cops brings firings, demotions & more
clif leblanc, the state:
fire chief aubrey jenkins announced the total number of firefighters who have lost their jobs is now three. the firefighters terminated wednesday are dave w. proctor, a senior firefighter who was hired in october 2013, and probationary firefighter edward augustyn, who was hired in february, said department spokesman brick lewis.
lewis said that responses to the initial posts by since-fired capt. jimmy morris were threatening enough that the eau claire fire station, where morris was on duty, was closed temporarily.
the spokesman said he does not know the language in the posts. however, when jenkins said tuesday he was investigating a second firefighter, the employee’s post said in part, “start running people over.”
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—* ðə ˈɛnˌbiˈeɪ ənd ðə ˈnæʃənəl ˈbæskətˌbɔl pleɪərz əˌsoʊʃiˈeɪʃən əˈnaʊnst təˈdeɪ ðət bləd ˈtɛstɪŋ fər ˈjumən groʊθ ˈhɔrˌmoʊn (ˈeɪˈʧʤiˈeɪʧ) wɪl kəˈmɛns ˈəndər ðə ligz ˈproʊˌgræm, ˈifɛktɪv wɪθ ðə ˈɛnˌbiˈeɪ ˈsizən. ɛz pɑrt əv ðə kəˈlɛktɪv ˈbɑrgɪnɪŋ nɪˌgoʊʃiˈeɪʃənz ɪn 2011 ðə ˈɛnˌbiˈeɪ ənd ðə pleɪərz əˌsoʊʃiˈeɪʃən əˈgrid tɪ ə ˈprɔˌsɛs fər dɪˈtərmənɪŋ haʊ ˈeɪˈʧʤiˈeɪʧ bləd ˈtɛstɪŋ wʊd bi ˈɪmpləˌmɛnəd ɪn ðə ˈɛnˌbiˈeɪ. wɪθ ðət ˈprɔˌsɛs naʊ kəmˈplitɪd, bɪˈgɪnɪŋ wɪθ ðə stɑrt əv 2015 ˈɛnˌbiˈeɪ ˈtreɪnɪŋ kæmps, ɔl ˈɛnˌbiˈeɪ pleɪərz wɪl bi ˈsəbʤɪkt tɪ θri ˈrændəm, ˌənəˈnaʊnst ˈeɪˈʧʤiˈeɪʧ tɛsts ˈænjuəli (tu in-season*, wən off-season*), ənd pleɪərz wɪl ˈɔlsoʊ bi ˈsəbʤɪkt tɪ ˈrizənəbəl kɔz ˈtɛstɪŋ fər ˈeɪˈʧʤiˈeɪʧ. ɪf ə pleɪər tɛsts ˈpɑzətɪv fər ˈeɪˈʧʤiˈeɪʧ, hi wɪl bi səˈspɛndɪd 20 geɪmz fər hɪz fərst vaɪəˈleɪʃən ənd 45 geɪmz fər hɪz ˈsɛkənd vaɪəˈleɪʃən, ənd hi wɪl bi dɪsˈmɪst ənd dɪskˈwɑləˌfaɪd frəm ðə ˈɛnˌbiˈeɪ fər hɪz θərd vaɪəˈleɪʃən.
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— the nba and the national basketball players association announced today that blood testing for human growth hormone (hgh) will commence under the league's anti-drug program, effective with the 2015-16 nba season.
as part of the collective bargaining negotiations in 2011, the nba and the players association agreed to a process for determining how hgh blood testing would be implemented in the nba. with that process now completed, beginning with the start of 2015 nba training camps, all nba players will be subject to three random, unannounced hgh tests annually (two in-season, one off-season), and players will also be subject to reasonable cause testing for hgh.
if a player tests positive for hgh, he will be suspended 20 games for his first violation and 45 games for his second violation, and he will be dismissed and disqualified from the nba for his third violation.
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ɔn ʤæn. 23 ˈprɛzɪdənt trəmp saɪnd ən ɪgˈzɛkjətɪv ˈɔrdər ˈɪnstɪˌtutɪŋ ə ˈfɛdərəl ˈhaɪrɪŋ friz, ɛz ðə fərst stɛp ɪn ə "ˈlɔŋˈtərm plæn" tɪ kət ðə ˈfɛdərəl ˈwərkˌfɔrs. ɪts ənˈklɪr haʊ fɑr əˈlɔŋ ðət plæn ɪz, bət 79 deɪz ˈɪntu hɪz ˈprɛzɪdənsi, ðə ˈifɛkts əv trəmps friz ər ɔˈrɛdi biɪŋ fɛlt æt ˈgəvərnmənt ˈeɪʤənsiz laɪk ðə ˈsoʊʃəl sɪˈkjʊrəti ædˌmɪnɪˈstreɪʃən, ðə ˈvɛtərənz əˈfɛrz dɪˈpɑrtmənt, ənd ðə juz. ˈbjʊroʊ əv ˈprɪzənz, ðə wɔl strit ˈʤərnəl ˌriˈpɔrtəd ˈsənˌdi ənd ðə ˈpəblɪk ɪz ˈstɑrtɪŋ tɪ fil ðə rɪˈdust ˈstæfɪŋ ˈlɛvəlz, tu. ˈfɛdərəl ˈeɪʤənsiz luz əˈbaʊt 10 pərˈsɛnt əv ðɛr ˈwərkˌfɔrs iʧ jɪr, ənd ðə həz ən ənˈjuˌʒuəli lɑrʤ pəˈzɪʃənz ənˈfɪld. ˈsɛkrəˌtɛri ˈdeɪvɪd ɪgˈzɛmptɪd ʤɑbz taɪd tɪ ˈprɑsɛsɪŋ ˈbɛnəfɪts kleɪmz ɪn mid-march*, sɪks wiks ˈɪntu ðə friz, bət ðɛr ər naʊ mɔr ðən kleɪmz əˈweɪtɪŋ ˈprɑsɛsɪŋ. ˈvɛtərənz hæv ˈɔlsoʊ bɪn hɪt hɑrd, ðə ˈʤərnəl noʊts, bɪˈkəz ðə ˈfɛdərəl ˈgəvərnmənt ˈɔfən haɪərz ðɛm ˈæftər ðɛr ˈmɪlɪˌtɛri ˈsərvɪs. æt ðə ˈsoʊʃəl sɪˈkjʊrəti ædˌmɪnɪˈstreɪʃən, ən ˌɪnəˈbɪlɪti tɪ ˌriˈpleɪs ðə ˈwərkˌfɔrs ˈæftər dɪˈpɑrʧərz, kəmˈbaɪnd wɪθ ə raɪz ɪn kleɪmz ɛz ˈbeɪbi ˈbumərz ˌriˈtaɪər, həz lɛd tɪ ˈlɔŋgər laɪnz æt ˈɔfəsɪz ənd ɔn ðə foʊn. "ðə ˈeɪʤənsi ɪz duɪŋ θɪŋz ðeɪ ˈnɛvər dɪd ˌbiˈfɔr, laɪk ˈsɛndɪŋ ˈpipəl hoʊm wɪˈθaʊt ˈɛni ˈsərvɪs," skwierczynski*, ˈprɛzɪdənt əv ə ˈjunjən ðət ˌrɛprɪˈzɛnts ˈsoʊʃəl sɪˈkjʊrəti ɪmˈplɔɪiz, tɛlz ðə wɔl strit ˈʤərnəl. "ju kænt ʤɪst ɪˈstæblɪʃ ə ˈhaɪrɪŋ friz ənd ɪkˈspɛkt ˈjuˈɛs tɪ kənˈtɪnju tɪ du ɔl ɑr wərk." æt ðə juz. ˈprɪzənz ˈbjʊroʊ, əˈbaʊt 10 pərˈsɛnt əv pəˈzɪʃənz ər ˈveɪkənt, ənd ðə ˈwaɪdˈsprɛd ˈʃɔrtɪʤɪz ər ˈfɔrsɪŋ ˈprɪzən gɑrdz ənd ˈmɛdɪkəl ˌpərsəˈnɛl tɪ wərk ˈoʊvərˌtaɪm ənd æt haɪər ˈpərsɪnəl rɪsk. əˈkɔrdɪŋ tɪ ˈjuˈɛˈseɪ təˈdeɪ, ˈnərsɪz, ˈfɪzɪkəl ˈθɛrəpɪsts, ənd ˈəðər ˈmɛdɪkəl stæf ˈmɛni əv hum bɪˈlɔŋ tɪ ðə ˈjunəˌfɔrmd juz. ˈpəblɪk hɛlθ ˈsərvɪs (phs*) ənd hæv noʊ ˈtreɪnɪŋ fər sɪˈkjʊrəti ɪn ˈoʊvərˌkraʊdɪd ˈprɪzənz ər biɪŋ fɔrst ˈɪntu gɑrd ənd sɪˈkjʊrəti ˈdutiz. (ˈjuˈɛˈseɪ təˈdeɪ ˈɔlsoʊ ˈnoʊtɪd ðət dɪˈspaɪt ðə ˈtɛrəbəl kənˈdɪʃənz feɪs baɪ ˈwərkərz ənd ˈɪnˌmeɪts, ðə juz. ˈbjʊroʊ əv ˈprɪzənz əˈwɔrdɪd mɔr ðən 2 ˈmɪljən ɪn ˈboʊnəsɪz tɪ ˈwɔrdənz ənd tɔp ædˈmɪnɪˌstreɪtərz ˈoʊvər ðə pæst θri jɪrz.) ðə rɪˈzəlt əv trəmps ˈhaɪrɪŋ friz, sɪz, ɪz ðət "ɪn əˈtɛmptɪŋ tɪ fʊlˈfɪl wən kæmˈpeɪn ˈprɑməs tɪ 'dreɪn ðə swɔmp' ənd rɪˈdus ðə saɪz əv ðə ˈfɛdərəl ˈgəvərnmənt ˈmɪstər. trəmp ɪz pəˈtɛnʃəli ˈəndərˌmaɪnɪŋ ˈəðər ˈprɑməsəz, ˌɪnˈkludɪŋ hɪz ˈplɛʤɪz tɪ ˈʧæmpiən ˈvɛtərənz ənd lɔ ɛnˈfɔrsmənt." ju kən rɛd mɔr æt ðə wɔl strit ˈʤərnəl. ˈpitər ˈwɛbər
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on jan. 23, president trump signed an executive order instituting a 90-day federal hiring freeze, as the first step in a "long-term plan" to cut the federal workforce. it's unclear how far along that plan is, but 79 days into his presidency, the effects of trump's freeze are already being felt at government agencies like the social security administration, the veterans affairs department, and the u.s. bureau of prisons, the wall street journal reported sunday — and the public is starting to feel the reduced staffing levels, too.
federal agencies lose about 10 percent of their workforce each year, and the va has an unusually large 45,000 positions unfilled. va secretary david shulkin exempted jobs tied to processing benefits claims in mid-march, six weeks into the freeze, but there are now more than 100,000 claims awaiting processing. veterans have also been hit hard, the journal notes, because the federal government often hires them after their military service.
at the social security administration, an inability to replace the workforce after departures, combined with a rise in claims as baby boomers retire, has led to longer lines at offices and on the phone. "the agency is doing things they never did before, like sending people home without any service," witold skwierczynski, president of a union that represents 25,000 social security employees, tells the wall street journal. "you can't just establish a hiring freeze and expect us to continue to do all our work."
at the u.s. prisons bureau, about 10 percent of positions are vacant, and the widespread shortages are forcing prison guards and medical personnel to work overtime and at higher personal risk. according to usa today, nurses, physical therapists, and other medical staff — many of whom belong to the uniformed u.s. public health service (phs) and have no training for security in overcrowded prisons — are being forced into guard and security duties. (usa today also noted that despite the terrible conditions face by workers and inmates, the u.s. bureau of prisons awarded more than $2 million in bonuses to wardens and top administrators over the past three years.)
the result of trump's hiring freeze, wsj says, is that "in attempting to fulfill one campaign promise — to 'drain the swamp' and reduce the size of the federal government — mr. trump is potentially undermining other promises, including his pledges to champion veterans and law enforcement." you can read more at the wall street journal. peter weber
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singer-songwriter* ˈleɪdi ˈgɑˌgə əˈtɛndz ˈbɪlˌbɔrdz ˈænjuəl ˈwɪmən ɪn mˈjuzɪk æt ʧipriˈɑni strit ɔn dɪˈsɛmbər 11 2015 ɪn nu jɔrk ˈsɪti. ˈfoʊtəˌgræf baɪ ˈgɪlbərt ˈɪmɪʤɪz ˈlʊkɪŋ tɪ meɪk ðə ˈɪntərˌnɛt ə ˈseɪfər speɪs. ˌɪnˈtɛl, vɑks ˈmidiə, ˈleɪdi ˈgɑˌgə? ðə ˈpɑrtnərˌʃɪp meɪ saʊnz streɪnʤ æt fərst, bət nɑt wɪn ju kənˈsɪdər ðə kɔz: ˈɔnˌlaɪn hərˈæsmənt. ðə pɑp bɔrn ðɪs weɪ faʊnˈdeɪʃən, wɪʧ ɪz ˈdɛdəkeɪtəd tɪ ɪmˈpaʊərɪŋ ənd prəˈmoʊtɪŋ juθ ˈwɛlnəs, wɪl bi ˈwərkɪŋ wɪθ ðə tɛk ənd ˈmidiə pleɪərz ɔn ə nu ˌɪˈnɪʃətɪv kɔld hæk harrassment*. əˈnaʊnst ɔn ˈθərzˌdeɪ æt ðə kənˈsumər ˌɪˌlɛkˈtrɑnɪks ʃoʊ ɪn ˈɛˈleɪˈɛs ˈveɪgəs, ðə kæmˈpeɪn eɪmz tɪ faɪt ˈɔnˌlaɪn hərˈæsmənt ənd prəˈvaɪd ˈseɪfər, mɔr ˌɪnˈklusɪv ˈɔnˌlaɪn ɪkˈspɪriənsɪz. hərˈæsmənt ɪz pərˈveɪsɪv ənd kən bi vicious,”*,” sɛd braɪən ɪn ə ˈsteɪtmənt. tɪ ˈtruli səkˈsid ɪn ə smɑrt ənd kəˈnɛktɪd wərld, wi nid tɪ rɪˈmɛmbər ðət bɪˈhaɪnd ˈɛvəri dɪˈvaɪs, geɪm, ˈsɛnsər ər ˈnɛtˌwərk ɪz ə ril ˈpərsən wɪθ ril ˈfilɪŋz ənd ril nidz fər ˈseɪfti. noʊ wən ˈkəmpəˌni kən ˈæˌdrɛs ðɪs ˈɪʃu ən ˈɪndəstri, wi nid tɪ wərk təˈgɛðər tɪ kriˈeɪt ə ˈseɪfər, mɔr ˌɪnˈklusɪv ˈɔnˌlaɪn experience.”*.” hərˈæsmənt həz bɪn ə pərˈveɪsɪv ˈɪʃu ɪn ðə tɛk ˈɪndəstri, ˈnoʊtəbli fər fər ˈfiˌmeɪl ˈgeɪmərz. læst ɑkˈtoʊbər, ˈkænsəld ə pɛr əv ˈgeɪmɪŋ ənd ˈɔnˌlaɪn hərˈæsmənt ˈpænəlz du tɪ θrɛts əv ˈvaɪələns, ə jɪr ˈæftər ðə ˈɪnfəməs ˈkəlʧər wɔr fərst bɪˈgæn.
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singer-songwriter lady gaga attends billboard's 10th annual women in music at cipriani 42nd street on december 11, 2015 in new york city. photograph by gilbert carrasquillo—filmmagic/getty images
looking to make the internet a safer space.
intel, vox media, re/code…and lady gaga?
the partnership may sounds strange at first, but not when you consider the cause: online harassment. the pop diva’s born this way foundation, which is dedicated to empowering and promoting youth wellness, will be working with the tech and media players on a new initiative called hack harrassment.
announced on thursday at the consumer electronics show in las vegas, the campaign aims to fight online harassment and provide safer, more inclusive online experiences.
( intc -1.04% ) “online harassment is pervasive and can be vicious,” said intelceo brian krzanich in a statement. “if to truly succeed in a smart and connected world, we need to remember that behind every device, game, sensor or network is a real person with real feelings and real needs for safety. no one company can address this issue alone—as an industry, we need to work together to create a safer, more inclusive online experience.”
harassment has been a pervasive issue in the tech industry, notably for for female gamers. last october, sxsw canceled a pair of gaming and online harassment panels due to threats of violence, a year after the infamous gamergate culture war first began.
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we’re* ˌɪˈnɔgjəˌreɪtɪŋ ɑr ˈɛnˌbiˈeɪ pleɪər prɑˈʤɛkʃən ˈsɪstəm, kɑrˈmɛloʊ, wɪθ ˈsizən ˈprivˌjuz fər ˈɛvəri tim ɪn ðə lig. ʧɛk aʊt ðə timz ɔˈrɛdi ˈprivˌjud hir. lərn mɔr əˈbaʊt kɑrˈmɛloʊ hir. ɛz dən iʧ əv ðə pæst tu ˈsizənz, ðə ˌfɪləˈdɛlfiə wɪl ˈfoʊkɪs ɔn pleɪər dɪˈvɛləpmənt æt ðə ɪkˈspɛns əv wɪnz. noʊɛl, ʤoʊəl ənd gɪv ðə tim ə bɪg mæn frəm iʧ əv ðə læst θri dræfts, bət wɪl mɪs hɪz ˈsɛkənd streɪt ˈsizən rɪˈkəvərɪŋ frəm fʊt ˈɪnʤəriz. ðət minz wən əv koʊʧ brɛt ˈmeɪʤər tæsks ɪn ɪz ˈfɪgjərɪŋ aʊt haʊ tɪ meɪk dɪˈfɛnsɪv ˈtælənts ənd əˈfɛnsɪv ˌlɪmɪˈteɪʃənz mɛʃ wɪθ, huz skɪlz ər ðə ˈpoʊlər ˈɑpəzɪt. əraʊnd ðɛm, ˌfɪləˈdɛlfiə həz əˈkjumjəˌleɪtɪd ə glət əv jəŋ wɪŋz, frəm wɪʧ braʊn wɪl nid tɪ sɔrt aʊt ˈjusfəl pɑrts fər ðə fˈjuʧər. soʊ waɪl ðɛr ər skɪlz tɪ rɪˈfaɪn, ə ˈsɪstəm tɪ lərn ənd ən aɪˈdɛntəˌti tɪ ɪˈstæblɪʃ ðɪs ˈsizən, ˈsɪksərz fænz kən bi fərˈgɪvən fər ˈlɛtɪŋ ðɛr ˌɪˌmæʤəˈneɪʃənz drɪft bæk təˈwɔrd ðə ˈɛnˌbiˈeɪ dræft ˈæftər əˈnəðər jɪr spɛnt riˈbɪldɪŋ. kɑrˈmɛloʊ prɑˈʤɛkʃən ˈsɪstəm həz ðə ˈsɪksərz goʊɪŋ wɪθ ðə hɛlp əv kɑrˈmɛloʊ, ɪn stɔr fər ðə ɪn ɪn hɪz fərst fʊl ˈɛnˌbiˈeɪ ˈsizən, noʊɛl wɑz ə dɪˈfɛnsɪv fɔrs, ˈræŋkɪŋ əˈməŋ ðə tɔp 5 pərˈsɛnt əv ɔl pleɪərz ɪn stil reɪt, blɑk reɪt ənd ˈoʊvərˌɔl dɪˈfɛnsɪv plus-minus*. ðə kˈwɛʃən naʊ ɪz ˈwɛðər hi kən æd ˈɛni pərˈdəkʃən ɔn əˈfɛns. nin ɪz ɪnˈkərəʤɪŋ ɛz ə noʊ. 1 ˈkɑmprəbəl ðə ˈlɔŋˌtaɪm ˈnəgəts ənd ˈwɪzərdz bɪg mæn ɪz ə slaɪt ˈpɑzətɪv ɔn əˈfɛns ˈoʊvər hɪz kərɪr, ənd ðə ˈsɪksərz wʊd bi dɪˈlaɪtɪd ɪf noʊɛl tərnd aʊt soʊ wɛl æt ðət ɛnd əv ðə flɔr. ˈfɪgjərz tɪ bi ən ɪkˈstrimli strɔŋ ənd ˈpɑlɪʃt poʊst ˈskɔrər, bət hi həz ə lɔt tɪ pruv əˈbaʊt hɪz əˈbɪləˌti tɪ pleɪ ˈɛnˌbiˈeɪ dɪˈfɛns. soʊ, ˈlʊkɪŋ æt hɪz, ðə ˈsɪksərz wʊd bi θrɪld ɪf hi tərnd aʊt mɔr ˈdɛrɪk ˈfeɪvərz (ə ˈsɑləd dɪˈfɛndər) ðən ˈdɛrɪk ˈwɪljəmz (ə ˈdrɛdfəl wən). ənd noʊɛl ər ðə əv ðə fˈjuʧər fər ðə ˈsɪksərz, bət ɪt wɪl bi ˌɪmˈpɔrtənt ðət ðeɪ ˈfɪgjər aʊt haʊ tɪ ˈkɑmpləmənt iʧ geɪmz ðɪs ˈsizən. ə daɪˈnæmɪk ʃɑt kriˈeɪtər saʊnz nis, bət ˈtoʊni ˈroʊtən ˈɔlsoʊ ˈhæpənz tɪ bi wən əv ðə wərst ˈʃutərz ðə ˈɛnˌbiˈeɪ həz ˈɛvər sin. blɛnd əv ˈʃutɪŋ ənd loʊ ɪˈfɪʃənsi kən kɪl ən əˈfɛns, ənd hɪz pleɪər kəmˈpɛrəsənz ˈɔfər ˈsɛvərəl riˈmaɪndərz əv ðət fækt. (ˈlʊkɪŋ æt ju, diɔn ˈweɪtərz.) ˈæftər ə dɪˈzæstrəs ˈrʊki ˈsizən ɪn ˌsækrəˈmɛntoʊ, nɪk gɪts ə ˈsɛkənd ʧæns wɪθ ðə ˈsɪksərz. hɪz ˈvælju ɪz ˌɪnˈdɛləbli taɪd tɪ hɪz əˈbɪləˌti tɪ hɪt 3-pointers*, wɪʧ hi dɪd nɑt du ɪˈnəf əv ə jɪr əˈgoʊ. koʊˌɪnsɪˈdɛntəli, kɑrˈmɛloʊ sɪz ɪz moʊst ˈsɪmələr tɪ bɛn məˈklɛmər ðə gaɪ wɑz əˈneɪbəl tɪ səˈplænt ɛz ðə kings’*’ ˈstɑrtɪŋ ˈʃutɪŋ gɑrd læst ˈsizən. wɪθ hɪz əˈbɪləˌti tɪ ˈkəvər ˈməltəpəl pəˈzɪʃənz, grænt ɪz ðə kaɪnd əv dɪˈfɛndər ˈɛni tim kʊd juz. bət ɔn əˈfɛns, ə ˈtərˌnoʊvər məˈʃin wɪθ ən ˈəgli ʤəmp ʃɑt. hɪz tɔp fɔr kˈwɪnsi ˈmɪlər, raɪt, ˈʤɑnsən ənd ˈtrævɪs ˈaʊˌtlɔ ɔl ʃoʊd ˈsɪmələr ˈprɑməs wɪn ðeɪ ˈɛnərd ðə lig, bət nən ˈfɪgjərd aʊt haʊ tɪ tərn ɪt ˈɪntu pərˈdəkʃən. si ɪf grænt kən breɪk ðə ˈsaɪkəl əv ˌdɪsəˈpɔɪntmənt. ˈrɑbərt ˈkəvɪŋtən ɪgˈzæktli ə ˈhaʊsˌhoʊld neɪm, bət ɛz ə fəˈnɑmənəl ˈʃutər hu ɪz groʊɪŋ ˈɪntu ə ˈsərvəsəbəl wɪŋ dɪˈfɛndər, hi kʊd prəˈvaɪd ˈjusfəl dɛpθ wɪn (ɪf?) ðə ˈsɪksərz ˈpɪvət təˈwɔrd ˈʧeɪsɪŋ ðə pleɪɔfs. noʊ. 1 kɑmp ˈdæni grin ɪz ə greɪt roʊl ˈmɑdəl fər ˈɛni ˈbədɪŋ pleɪər. rɛd mɔr: ˈɛnˌbiˈeɪ ˈprivˌjuz
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we’re inaugurating our nba player projection system, carmelo, with 2015-16 season previews for every team in the league. check out the teams we’ve already previewed here. learn more about carmelo here.
as they’ve done each of the past two seasons, the philadelphia 76ers will focus on player development at the expense of wins. nerlens noel, joel embiid and jahlil okafor give the team a top-six big man from each of the last three drafts, but embiid will miss his second straight season recovering from foot injuries. that means one of coach brett brown’s major tasks in 2015-16 is figuring out how to make noel’s defensive talents — and offensive limitations — mesh with okafor, whose skills are the polar opposite. around them, philadelphia has accumulated a glut of one-dimensional young wings, from which brown will need to sort out useful parts for the future. so while there are skills to refine, a system to learn and an identity to establish this season, sixers fans can be forgiven for letting their imaginations drift back toward the nba draft after another year spent rebuilding.
fivethirtyeight’s carmelo projection system has the sixers going 25-57.
with the help of carmelo, here’s what’s in store for the 76ers in 2015-16:
in his first full nba season, nerlens noel was a defensive force, ranking among the top 5 percent of all players in steal rate, block rate and overall defensive plus-minus. the question now is whether he can add any production on offense. nene is encouraging as a no. 1 comparable — the longtime nuggets and wizards big man is a slight positive on offense over his career, and the sixers would be delighted if noel turned out so well at that end of the floor.
jahlil okafor figures to be an extremely strong and polished post scorer, but he has a lot to prove about his ability to play nba defense. so, looking at his comparables, the sixers would be thrilled if he turned out more derrick favors (a solid defender) than derrick williams (a dreadful one). okafor and noel are the frontcourt of the future for the sixers, but it will be important that they figure out how to complement each other’s games this season.
a dynamic off-the-dribble shot creator sounds nice, but tony wroten also happens to be one of the worst 3-point shooters the nba has ever seen. wroten’s blend of high-volume shooting and low efficiency can kill an offense, and his player comparisons offer several reminders of that fact. (looking at you, dion waiters.)
after a disastrous rookie season in sacramento, nik stauskas gets a second chance with the sixers. his value is indelibly tied to his ability to hit 3-pointers, which he did not do enough of a year ago. coincidentally, carmelo says stauskas is most similar to ben mclemore — the guy stauskas was unable to supplant as the kings’ starting shooting guard last season.
with his ability to cover multiple positions, jerami grant is the kind of defender any team could use. but on offense, he’s a turnover machine with an ugly jump shot. his top four comparables — quincy miller, dorell wright, dermarr johnson and travis outlaw — all showed similar promise when they entered the league, but none figured out how to turn it into production. let’s see if grant can break the cycle of disappointment.
robert covington isn’t exactly a household name, but as a phenomenal 3-point shooter who is growing into a serviceable wing defender, he could provide useful depth when (if?) the sixers pivot toward chasing the playoffs. no. 1 comp danny green is a great role model for any budding 3-and-d player.
read more: 2015-16 nba previews
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ðə əˈfɪʃəl ˈwɛbˌsaɪt fər ðə ˈtɛləˌvɪʒən əv naɪts ˈmæʤɪk laɪt ˈnɑvəl ˈsɪriz bɪˈgæn ˈstrimɪŋ ə pərˈmoʊʃənəl ˈvɪdioʊ ɔn ˈwɛnzˌdeɪ. ðə ˈvɪdioʊ rɪˈvilz ðə meɪn kæst, stæf, ənd ˈsəmər prɛˈmɪr. ðə meɪn kæst ˌɪnˈkludz (noʊt: ˈkɛrɪktər neɪm ər nɑt əˈfɪʃəl): tɑkɑˈhɑʃi ɛz "eru*" ˌɛʧeɪˈvɑˌriə, ə ˈtæləntɪd ˈproʊˌgræmər ɪn hɪz ˈpriviəs laɪf, naʊ ˌriɪnˈkɑrˌneɪtɪd ˈɪntu ə ˈfænəsi wərld. hi ˈjuzɪz hɪz ˈnɑlɪʤ tɪ ðə ˈfʊləst ɪn ən ˈɛfərt tɪ meɪk hɪz oʊn aɪˈdil ˌsɪləˈwɛt naɪt. oʊˈhɑʃi ɛz "adi*" ˈɔltər, ˈʧaɪlˌdhʊd frɛnd. ʃi həz ə ˈwiknəs fər kjut θɪŋz, ənd ˈɔlˌweɪz həgz ɛz ɪf hi wər ə stəft tɔɪ. kɪd ɪz hər twɪn ˈbrəðər ɛz "kɪd" ˈɔltər, ˈʧaɪlˌdhʊd frɛnd. hi ˈlərnɪd ˈmæʤɪk frəm wɪn ðeɪ wər ˈʧɪldrən, ənd hi həz groʊn ɪn paʊər ənd ˈkɑmbæt əˈbɪləˌti ˈɛvər sɪns. ɪz hɪz twɪn ˈsɪstər. jɑmɑˈmoʊtoʊ ˈwɛlkəm tɪ ðə ˈwɔkjər ɪz dɪˈrɛktɪŋ ðə æt ðə ˈstudiˌoʊ 8-bit*. ɪz ɪn ʧɑrʤ əv ðə ˈsɪriz skrɪpts. 7 maɪ ˈlɪtəl ˈsɪstər ɪz əˈməŋ ðɛm! ɪz dɪˈzaɪnɪŋ ðə ˈkɛrɪktərz, ənd ɪz ɪn ʧɑrʤ əv dɪˈzaɪn. mərˈiə ðə ˈvərʤɪn wɪʧ gɑdz ˈblɛsɪŋ ɔn ðɪs ˈwəndərfəl wərld!! ɪz kəmˈpoʊzɪŋ ðə mˈjuzɪk. ɪn ðə ˈstɔri, ə ˌʤæpəˈniz daɪz ɪn ə kɑr ˈæksədənt ənd hɪz soʊl ɪz ˌriɪnˈkɑrˌneɪtɪd ˈɪntu əˈnəðər wərld ɛz ˌɛʧeɪˈvɑˌriə. ˌɪnˈhɛrəts ˈmɛməriz ənd ˈɪntərɪsts frəm hɪz ˈpriviəs laɪf, ənd eɪmz tɪ bi ə ˈpaɪlət əv ə ˌsɪləˈwɛt naɪt, ə lɑrʤ ˈhjuməˌnɔɪd ˈwɛpən ðət ˈrɪli ɪgˈzɪsts ɪn hɪz wərld. bɪˈgæn ðə ˈɔnˌgoʊɪŋ ˈstɔri ɪn ɑkˈtoʊbər 2010 ɔn ðə ˈɔnˌlaɪn ˈnɑvəl ˈplætˌfɔrm ni narō*ō. ˈhɪroʊ ˌɪmˈprɪnt pɪkt əp ðə ˈsɪriz ənd ˈpəblɪʃt ðə fərst ˈnɑvəl wɪθ ˌɪləˈstreɪʃənz baɪ ɪn ˈʤænjuˌɛri 2013 ˈhɪroʊ ˈpəblɪʃt ðə sɪksθ ˈvɑljum ɪn mɑrʧ 2016 ənd ðə ˈsɛvənθ ˈvɑljum wɪl ʃɪp ɔn mɑrʧ 25 katō*ō bɪˈgæn ðə ˈmæŋgə ˌædəpˈteɪʃən ɪn skwɛr jəŋ ˈmægəˌzin ɔn ˈeɪprəl 15 sɔrs: ˈmoʊkə nuz
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the official website for the television anime of hisago amazake-no's knight's & magic light novel series began streaming a promotional video on wednesday. the video reveals the anime's main cast, staff, and summer premiere.
the main cast includes (note: character name romanizations are not official):
rie takahashi as ernesti "eru" echevarria, a talented programmer in his previous life, now reincarnated into a fantasy world. he uses his mecha otaku knowledge to the fullest in an effort to make his own ideal silhouette knight.
ayaka ohashi as adeltroot "adi" alter, eru's childhood friend. she has a weakness for cute things, and always hugs eru as if he were a stuffed toy. kid is her twin brother
shinsuke sugawara as akidd "kid" alter, eru's childhood friend. he learned magic from eru when they were children, and he has grown in power and combat ability ever since. adi is his twin sister.
yusuke yamamoto ( welcome to the nhk , walkure romanze ) is directing the anime at the studio 8-bit. michiko yokote ( shirobako , relife ) is in charge of the series scripts. kenichiro katsura ( macross 7 , nakaimo - my little sister is among them! ) is designing the characters, and kurogin is in charge of mecha design. masato kōda ( maria the virgin witch , konosuba – god's blessing on this wonderful world!! ) is composing the music.
in the story, a japanese mecha otaku dies in a car accident and his soul is reincarnated into another world as ernesti echevarria. eru inherits memories and interests from his previous life, and aims to be a pilot of a silhouette knight, a large humanoid weapon that really exists in his world.
amazake-no began the ongoing story in october 2010 on the online novel platform shōsetsuka ni narō. shufunotomo's hero bunko imprint picked up the series and published the first novel with illustrations by kurogin in january 2013. hero bunko published the sixth volume in march 2016, and the seventh volume will ship on march 25.
takuji katō began the manga adaptation in square enix's young gangan magazine on april 15.
source: moca news
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ˈkəmɪŋ sun speɪs fɔrs ə ˈkɑmədi ˈsɪriz əˈbaʊt ðə ˈpipəl tæskt wɪθ kriˈeɪtɪŋ speɪs fɔrs, ə nu brænʧ əv ðə juz. ˈmɪlɪˌtɛri. frəm grɛg ˈdænjɛlz ənd stɑr stiv carell*. ðə ðə ənˈtoʊld ˈstɔri əv ðə dɪˈtɛktɪvz hu brɔt daʊn ˈbɑni ənd klaɪd kəmz tɪ laɪf ɪn ðɪs kraɪm ˈdrɑmə ˈstɑrɪŋ ˈwʊdi ˈhɛrɪlsən ənd ˈkɛvɪn ˈkɑstnər. seɪnt: naɪts əv ðə ˈzoʊdiˌæk ənd ðə naɪts əv ðə ˈzoʊdiˌæk vaʊ tɪ prəˈtɛkt ðə ˌriɪnˈkɑrˌneɪtɪd grik ˈgɑdəs æˈθinə ɪn hər ˈbætəl əˈgɛnst ˈivəl ˈfɔrsɪz bɛnt ɔn dɪˈstrɔɪɪŋ juˈmænɪti. ðə ˈɔrdər aʊt tɪ əˈvɛnʤ hɪz ˈməðərz dɛθ, ə ˈkɑlɪʤ ˈstudənt ˈplɛʤɪz ə ˈsikrɪt ˈɔrdər ənd lændz ɪn ə wɔr bɪtˈwin ˈwɛrˌwʊlvz ənd prækˈtɪʃənərz əv dɑrk ˈmæʤɪk. ɑr ˈplænət frəm ðə kriˈeɪtər əv "ˈplænət ərθ," ðɪs ˈsɪriz teɪks vjuərz ɔn ən ənˈprɛsɪˌdɛntɪd ˈʤərni θru səm əv ðə wərldz moʊst ˈprɛʃəs ˈnæʧərəl ˈhæbəˌtæts. klaʊs reɪz ðə bɑr ɪn ðɪs ˈænəˌmeɪtɪd ˈsɪriz, ə haɪ skul gərl əˈtɛmpts tɪ ˈoʊvərˌkəm ðə ɑdz ənd bɪˈkəm ə ˈʧæmpiən ˈweɪˌtlɪftər ɪn ðə oʊˈlɪmpɪks. ˈdrimɪŋ əv bɪˈkəmɪŋ ə ˈʃeɪmən, ən ˈɪmpɪʃ bɔɪ frəm ðə ˈændiz ˈʤərniz əˈkrɔs ənˈʧɑrtɪd lændz tɪ rɪˈkəvər ə ˈstoʊlən ˈtrɛʒər ɪn ðɪs ˈænəˌmeɪtɪd ədˈvɛnʧər.
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coming soon
space force
a comedy series about the people tasked with creating space force, a new branch of the u.s. military. from greg daniels and star steve carell.
the highwaymen
the untold story of the detectives who brought down bonnie and clyde comes to life in this crime drama starring woody harrelson and kevin costner.
saint seiya: knights of the zodiac
seiya and the knights of the zodiac vow to protect the reincarnated greek goddess athena in her battle against evil forces bent on destroying humanity.
the order
out to avenge his mother's death, a college student pledges a secret order and lands in a war between werewolves and practitioners of dark magic.
our planet
from the creator of "planet earth," this series takes viewers on an unprecedented journey through some of the world's most precious natural habitats.
klaus
raise the bar
in this animated series, a high school girl attempts to overcome the odds and become a champion weightlifter in the olympics.
pachamama
dreaming of becoming a shaman, an impish boy from the andes journeys across uncharted lands to recover a stolen treasure in this animated adventure.
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waɪl ˈvɪzɪtɪŋ ðə ˈstudiˌoʊ fər ðɪs mənθs ˈkəvər ˈstɔri, ˈsiˈdi rɛd wɑz ˈigər tɪ ʃoʊ ɔf ɪts nu ˌɪnˈhaʊs ˈmoʊʃən ˈkæpʧər ˈstudiˌoʊ. waɪl ðə meɪn ˈæktərz ənd ər rɪˈkɔrdɪd ˈɛlsˌwɛr, lɛd ˈænəˌmeɪtər zɑˈwɑdə ɪz ˈteɪkɪŋ ædˈvæntɪʤ əv ðə nu speɪs ənd ɪkˈwɪpmənt tɪ ɪnˈʃʊr ðət ðə ˈwɪʧər 3 həz ə məʧ ˈlɑrʤər ˈlaɪbrɛˌri əv ˌænəˈmeɪʃənz ðən ˈpriviəs ˈɛntriz. wɪθ ðə hɛlp əv ˈmæstər kwiətˈkɔfski (frəm ðə stənt grup kɔld stənt ˈfɔrsɪz), ðə speɪs ɪz ˈɔlsoʊ juzd tɪ ˈpræktɪs ənd ˈkæpʧər ˈmuvmənts ənd ɔl əv ðə ˈəðər ˈkɑmbæt ˌænəˈmeɪʃənz fər ðə geɪm. wɔʧ ðə ˈvɪdioʊ bɪˈloʊ tɪ lərn haʊ ðə tim ˈkæpʧərz ˈkɛrɪktərz, ˈmɑnstərz, ənd ˈbætəlz fər ðə ˈwɪʧər 3 waɪld hənt. ɪt ɪz wərθ ˈnoʊtɪŋ ðət ðə ˈmɑdəl əv ɪn ðə ˈvɪdioʊ ɪz frəm ðə ˈwɪʧər 2 ənd ðət ðə ˈwʊmən ɪn ðə sut ɪz nɑt hər ˈæktrəs, bət ʤɪst ə ˌvɑlənˈtɪr frəm ðə ˈstudiˌoʊ. tɪ lərn mɔr əˈbaʊt ðə ˈwɪʧər 3 waɪld hənt, steɪ tund tɪ ɑr həb bɪˈloʊ fər ə fʊl mənθ əv ɪkˈsklusɪv ˈvɪdioʊ ˈkəvərɪʤ.
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while visiting the studio for this month's cover story, cd projekt red was eager to show off its new in-house motion capture studio. while the main actors and cutscenes are recorded elsewhere, lead animator tomasz zawada is taking advantage of the new space and equipment to ensure that the witcher 3 has a much larger library of animations than previous entries. with the help of master swordsman maciej kwiatkowski (from the stunt group called stunt forces), the space is also used to practice and capture geralt's movements and all of the other combat animations for the game.
watch the video below to learn how the team captures characters, monsters, and battles for the witcher 3: wild hunt.
it is worth noting that the model of triss in the video is from the witcher 2 and that the woman in the suit is not her actress, but just a volunteer from the studio.
to learn more about the witcher 3: wild hunt, stay tuned to our hub below for a full month of exclusive video coverage.
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president-elect* ˈdɑnəld trəmp wɑz neɪmd taɪm ˈmægəˌzinz ˈpərsən əv ðə jɪr ɪn 2016 wɛst pɑm biʧ, fla*. ˈprɛzɪdənt trəmp sɪz ðət taɪm ˈmægəˌzin wɑz ˈkɑntəmˌpleɪtɪŋ ˈneɪmɪŋ ɪm ðə əv ðə year”*” fər ə ˈsɛkənd jɪr ɪn ə roʊ bət ðət hi pʊld hɪmˈsɛlf aʊt əv ðə ˈrənɪŋ bɪˈkəz hi ˈdɪdənt wɔnt tɪ pɑrˈtɪsəˌpeɪt ɪn ən ˈɪntərvˌju ənd ˈfoʊˌtoʊ ʃut. ˈmægəˌzin kɔld tɪ seɪ ðət aɪ wɑz ˈprɑbəˌbli goʊɪŋ tɪ bi neɪmd 'mæn (ˈpərsən) əv ðə jɪr,' laɪk læst jɪr, bət aɪ wʊd hæv tɪ əˈgri tɪ ən ˈɪntərvˌju ənd ə ˈmeɪʤər ˈfoʊˌtoʊ shoot,”*,” trəmp ɔn ˈfraɪˌdeɪ ˈivnɪŋ. sɛd ˈprɑbəˌbli ɪz noʊ gʊd ənd tʊk ə pæs. θæŋks anyway!”*!” ðə ˈmægəˌzin rɪˈspɑndɪd ɔn tˈwɪtər ˈleɪtər ɪn ðə ˈivnɪŋ, ˈraɪtɪŋ: "ðə ˈprɛzɪdənt ɪz ˌɪnkərˈɛkt əˈbaʊt haʊ wi ʧuz ˈpərsən əv ðə jɪr. taɪm dɪz nɑt ˈkɑmɛnt ɔn ɑr ʧɔɪs ənˈtɪl ˌpəblɪˈkeɪʃən, wɪʧ ɪz dɪˈsɛmbər 6 ˈrɪʧərd stengel*, ə ˈfɔrmər taɪm ˈɛdɪtər, ˈɔlsoʊ: tɪ tɛl ju bət ðət ˈprɑbəˌbli minz nɑt ˈpərsən əv ðə jɪr. ðeɪ ʤɪst ˈwɔntɪd ə ˈfoʊˌtoʊ ʃut. bət ʃʊr ju stɪl hæv ðət feɪk taɪm ˈkəvər ˈsəmˌwɛr ɪn storage.”*.” ˈleɪtər ˈfraɪˌdeɪ ˈivnɪŋ, taɪm dɪˈspjutɪd ðə ˈprɛzɪdənts kleɪm, ðət hi ˌɪnkərˈɛkt əˈbaʊt haʊ wi ʧuz ˈpərsən əv ðə year.”*.” ðə ˈmægəˌzin sɛd ɪt ˈkɑmɛnt ɔn ɪts ʧɔɪs ənˈtɪl ˌpəblɪˈkeɪʃən, ðə əˈsoʊʃiˌeɪtəd prɛs ˌriˈpɔrtəd. kənˈtɛndərz fər ðə 2017 ˈɑnər ˌɪnˈklud trəmps ˈfɔrmər ʧif ˈstrætɪʤɪst ˈstivən keɪ. ˈbænən, ˈsɪŋər ɑriˈænə grænd, sæn wɑn meɪər ˈkɑrmən kruz, ˈfʊtˌbɔl pleɪər ˈkoʊlɪn kaepernick*, frɛnʧ ˈprɛzɪdənt ɪˈmænjuəl macron*, ˈfɔrmər ˈɛfˈbiˈaɪ dɪˈrɛktər ʤeɪmz bi. comey*, ˈspɛʃəl ˈkaʊnsəl ˈrɑbərt ɛs. mˈjulər iii*, ˈleɪtˌnaɪt hoʊst ˈʤɪmi ˈkɪməl, sɛn. ʤɑn məˈkeɪn (r-ariz*.), kəˈneɪdiən praɪm ˈmɪnɪstər ˈʤəstɪn truˈdoʊ, nɔrθ ˌkɔˈriən ˈlidər kɪm ʤɔŋ ˈjuˈɛn, kraʊn prɪns moʊˈhæmɪd bɪn ˈsæmən əv ˈsɔdi əˈreɪbiə, poʊp ˈfrænsɪs ənd ˈwɪmən hu hæv ʃɛrd ðɛr ˈstɔriz əˈbaʊt biɪŋ ˈsɛkʃuəli həræst ər əˈsɔltɪd ˈjuzɪŋ ðə ˈhæʃˌtæg #metoo*. trəmp həz lɔŋ bɪn əbˈsɛst wɪθ ˈhævɪŋ hɪz feɪs ɔn ðə ˈkəvər əv ˈmægəˌzinz, əˈspɛʃəli taɪm ˈmægəˌzin, ənd hi həz kəmˈpɛrd hɪmˈsɛlf tɪ ə ““supermodel*, ɪkˈsɛpt, laɪk, taɪmz ˈmɛni əv hɪz kləbz ər ˈdɛkərˌeɪtɪd wɪθ ˈmɛni əv ðiz ˈkəvərz ˌɪnˈkludɪŋ, əp ənˈtɪl ˈrisəntli, ə feɪk mɑrʧ 2009 taɪm ˈkəvər ðət ˈfiʧərd ðə ril ɛˈsteɪt dɪˈvɛləpər ənd proʊˈkleɪmd: ɪz ˈhɪtɪŋ ɔn ɔl frənts ˈivɪn tv!”*!” ɪn dɪˈsɛmbər 2016 taɪm ˈɛdɪtərz əˈnaʊnst ðeɪ hæd səˈlɛktɪd trəmp ɛz ðɛr əv ðə year,”*,” ˈbitɪŋ aʊt ˈhɪləri ˈklɪntən, ˈtərkɪʃ ˈprɛzɪdənt erdogan*, juˈnaɪtɪd ˈkɪŋdəm ˌɪndɪˈpɛndəns ˈpɑrti ˈlidər ˈnaɪʤəl farage*, ˈsɪŋər beyoncé*é, ˈɪndiən praɪm ˈmɪnɪstər ˈmoʊdi ənd ˈwɪsəlˌbloʊərz ɪn flɪnt, mɪʧ. [trəmp ɪz (ˈfaɪnəli) neɪmd taɪmz 'ˈpərsən əv ðə jɪr'] minz ə lot,”*,” trəmp sɛd ɪn ən ˈɛnˌbiˈsi nuz ˈɪntərvˌju æt ðə taɪm, mi groʊɪŋ əp ˈrɛdɪŋ taɪm ˈmægəˌzin. ənd ɪts ə ˈvɛri ˌɪmˈpɔrtənt ˈmægəˌzin, ənd aɪv bɪn ˈləki ɪˈnəf tɪ bi ɔn ðə ˈkəvər ˈmɛni taɪmz ðɪs jɪr ənd læst jɪr. bət aɪ kənˈsɪdər ðɪs ə ˈvɛri, ˈvɛri greɪt honor.”*.” ðə ˈpriviəs jɪr, trəmp hæd bɪn pæst ˈoʊvər fər ðə ˈɑnər, wɪʧ wɛnt tɪ ˈʤərmən ˈʧænsələr ˈænʤələ ˈmərkəl, hum ðə ˈmægəˌzin ˈkrɛdɪtɪd wɪθ ˈoʊpənɪŋ hər ˈbɔrdər tɪ ˈhənərdz əv ˈθaʊzənz əv ˈrɛfˌjuʤiz ənd ˈmænəʤɪŋ ˈjʊrəps dɛt ˈkraɪsəs. trəmp ˈfrikwɛntli brɔt əp ðɪs graɪp ɔn ðə kæmˈpeɪn treɪl. toʊld ju @taɪm ˈmægəˌzin wʊd ˈnɛvər pɪk mi ɛz ˈpərsən əv ðə jɪr dɪˈspaɪt biɪŋ ðə bɪg favorite,”*,” trəmp æt ðə taɪm. pɪkt [ðə] ˈpərsən hu ɪz ˈruɪnɪŋ germany.”*.”
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president-elect donald trump was named time magazine's person of the year in 2016.
west palm beach, fla. — president trump says that time magazine was contemplating naming him the “person of the year” for a second year in a row but that he pulled himself out of the running because he didn't want to participate in an interview and photo shoot.
“time magazine called to say that i was probably going to be named 'man (person) of the year,' like last year, but i would have to agree to an interview and a major photo shoot,” trump tweeted on friday evening. “i said probably is no good and took a pass. thanks anyway!”
the magazine responded on twitter later in the evening, writing: "the president is incorrect about how we choose person of the year. time does not comment on our choice until publication, which is december 6."
richard stengel, a former time editor, also tweeted: “hate to tell you but that probably means you’re not person of the year. they just wanted a photo shoot. but i’m sure you still have that fake time cover somewhere in storage.”
later friday evening, time disputed the president's claim, tweeting that he “is incorrect about how we choose person of the year.” the magazine said it doesn’t comment on its choice until publication, the associated press reported.
contenders for the 2017 honor include trump's former chief strategist stephen k. bannon, singer ariana grande, san juan mayor carmen yulín cruz, football player colin kaepernick, french president emmanuel macron, former fbi director james b. comey, special counsel robert s. mueller iii, late-night host jimmy kimmel, sen. john mccain (r-ariz.), canadian prime minister justin trudeau, north korean leader kim jong un, crown prince mohammed bin salman of saudi arabia, pope francis and women who have shared their stories about being sexually harassed or assaulted using the hashtag #metoo.
trump has long been obsessed with having his face on the cover of magazines, especially time magazine, and he has compared himself to a “supermodel, except, like, times 10.” many of his clubs are decorated with many of these covers — including, up until recently, a fake march 2009 time cover that featured the real estate developer and proclaimed: “trump is hitting on all fronts . . . even tv!”
in december 2016, time editors announced they had selected trump as their “person of the year,” beating out hillary clinton, turkish president recep tayyip erdogan, united kingdom independence party leader nigel farage, singer beyoncé, indian prime minister narendra modi and whistleblowers in flint, mich.
[trump is (finally) named time's 'person of the year']
“it means a lot,” trump said in an nbc news interview at the time, “especially me growing up reading time magazine. and it's a very important magazine, and i've been lucky enough to be on the cover many times this year — and last year. but i consider this a very, very great honor.”
the previous year, trump had been passed over for the honor, which went to german chancellor angela merkel, whom the magazine credited with opening her nation’s border to hundreds of thousands of refugees and managing europe's debt crisis. trump frequently brought up this gripe on the campaign trail.
“i told you @time magazine would never pick me as person of the year despite being the big favorite,” trump tweeted at the time. “they picked [the] person who is ruining germany.”
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yevgeniy* ˈfeɪsɪz mɔr taɪm ɪn rɪˈmoʊt ˈprɪzən ˈkɑləni bɪˈkəz əv əbˈsərd ‘‘violations’*’ əv ˈprɪzən rulz ðə ˈrəʃən əˈθɔrətiz məst ˌɪˈmiˌdiətli ənd ˌənkənˈdɪʃənəli riˈlis ɪnˌvaɪrənˈmɛnəlɪst ənd ˈprɪzənər əv ˈkɑnʃəns, ˈæmnəsti ˌɪnərˈnæʃənɑl sɛd əˈhɛd əv hɪz pəroʊl ˈhirɪŋ təˈmɑˌroʊ. ˈmɪstər, frəm ðə ɛŋˈgoʊ ɪnˌvaɪrənˈmɛnəl wɔʧ ɔn nɔrθ ˈkɔkəsəs, ɪz ˈsərvɪŋ ə θˈriˌjɪr ˈsɛntəns ɪn ə ˈprɪzən ˈkɑləni ɪn rɪˈmoʊt ˈriʤən. hi wɑz sɛnt ðɛr ɪn ˈfɛbruˌɛri 2014 ˈæftər ə strɪŋ əv ˈʧɑrʤɪz wər brɔt əˈgɛnst ɪm ɪn ðə tɪ ðə ˈsoʊʧi ˈwɪntər oʊˈlɪmpɪk geɪmz. ənd hɪz ˈkɑligz hæd ˈproʊˌtɛstəd əˈgɛnst ðə ɪnˌvaɪrənˈmɛnəl ˌɪmˈpækt əv ˈræmpənt kənˈstrəkʃən ənd dɪˌfɔrɪˈsteɪʃən ɪn ˌprɛpərˈeɪʃən fər ðə geɪmz. ˈæmnəsti fɪrz ðət wɪl bi dɪˈnaɪd pəroʊl ənd ˈðɛrˌfɔr rɪfˈjuzd ˈivɪn kənˈdɪʃənəl riˈlis, bɪˈkəz əv ˈvɛriəs ““violations”*” hi həz bɪn əˈkjuzd əv kəˈmɪtɪŋ ɪn ðə ˈpinəl ˈkɑləni. ðiz ˌɪnˈklud: ˈgɪvɪŋ ən ˈaɪtəm əv ˈkloʊðɪŋ tɪ əˈnəðər ˈprɪzənər hu wɑz koʊld; ˈsɪtɪŋ ɔn hɪz bɛd æt ən taɪm; ˈstɔrɪŋ fud ɪn ən pleɪs; rɪˈsivɪŋ ˌkɔrəˈspɑndəns frəm ə ˈlɔjər wɪˈθaʊt ˈnoʊtəˌfaɪɪŋ ðə ˈpinəl ædˌmɪnɪˈstreɪʃən; ənd ˈivɪn ˈhævɪŋ ə ˈætəˌtud təˈwɔrdz ˈwidɪŋ tomatoes”*” ɛz pɑrt əv hɪz kəmˈpəlsəri ˈleɪbər. ɪn ðə ˈrəʃən ˈpinəl ˈsɪstəm, səʧ əbˈsərd ““violations”*” ər ˈtɪpɪkəli juzd ɛz ə ˈbeɪsɪs fər dɪˈnaɪɪŋ ˈprɪzənərz pəroʊl. ðɛr ər ˈɔlsoʊ fɪrz fər hɛlθ. hi həz bɪn ɔn ˈhəŋgər straɪk sɪns 7 ˈeɪprəl, ə deɪ ˈæftər səˈprim kɔrt rɪfˈjuzd tɪ ˌrivˈju ən əˈpil ɪn hɪz keɪs. ˈæmnəsti ɪz ˈkɔlɪŋ ɔn ðə ˈpinəl ˈkɑləni ædˌmɪnɪˈstreɪʃən tɪ ɪnˈʃʊr ðət hi həz ˈækˌsɛs tɪ ˈɛni ˈmɛdɪkəl əˈtɛnʃən hi nidz, ɛz ə ˈpərsənz ˈhəŋgər straɪk məst nɑt ˈprɛʤədɪs ðɛr ˈækˌsɛs tɪ hɛlθ kɛr. pəroʊl ˈhirɪŋ ɪz du æt ˈloʊkəl taɪm təˈmɑˌroʊ ɪn ˈdɪstrɪkt kɔrt, rum ˈnəmbər 6 ɪn rɪˈmoʊt ˈriʤən. ðə ˈsɪti əv ɪz ˈloʊˌkeɪtəd mɔr ðən 600 maɪəlz frəm ðə hoʊm ɪn krasnodar*. ˈminˌwaɪl, təˈmɑˌroʊ səˈprim kɔrt ɪz du tɪ hir ən əˈpil baɪ ɪnˌvaɪrənˈmɛnəl wɔʧ ɔn nɔrθ ˈkɔkəsəs əˈgɛnst ə loʊər dɪˈsɪʒən ðət ðə ɛŋˈgoʊ ʃʊd bi ““liquidated”*”. ˈæmnəsti ˌɪnərˈnæʃənɑl ˈjʊrəp ənd ˈsɛntrəl ˈeɪʒə ˈdɛpjəti dɪˈrɛktər ˈdɛnɪs sɛd:
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yevgeniy vitishko faces more time in remote prison colony because of absurd ‘violations’ of prison rules
the russian authorities must immediately and unconditionally release environmentalist and prisoner of conscience yevgeniy vitishko, amnesty international said ahead of his parole hearing tomorrow.
mr vitishko, from the ngo environmental watch on north caucasus, is serving a three-year sentence in a prison colony in russia’s remote tambov region. he was sent there in february 2014 after a string of trumped-up charges were brought against him in the run-up to the sochi winter olympic games. vitishko and his colleagues had protested against the environmental impact of rampant construction and deforestation in preparation for the games.
amnesty fears that vitishko will be denied parole and therefore refused even conditional release, because of various “violations” he has been accused of committing in the penal colony. these include: giving an item of clothing to another prisoner who was cold; sitting on his bed at an unauthorised time; storing food in an unauthorised place; receiving correspondence from a lawyer without notifying the penal colony’s administration; and even having a “negligent attitude towards weeding tomatoes” as part of his compulsory labour.
in the russian penal system, such absurd “violations” are typically used as a basis for denying prisoners parole.
there are also fears for vitishko’s health. he has been on hunger strike since 7 april, a day after russia’s supreme court refused to review an appeal in his case. amnesty is calling on the penal colony administration to ensure that he has access to any medical attention he needs, as a person's hunger strike must not prejudice their access to health care.
vitishko’s parole hearing is due at 10am local time tomorrow in kirsanovskiy district court, room number 6, in russia’s remote tambov region. the city of kirsanov is located more than 600 miles from the environmentalist’s home in krasnodar. meanwhile, tomorrow russia’s supreme court is due to hear an appeal by environmental watch on north caucasus against a lower court’s decision that the ngo should be “liquidated”.
amnesty international europe and central asia deputy director denis krivosheev said:
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i’ve* hæd ðə ˈplɛʒər əv ˈwərkɪŋ ɔn ˌuˈbuˌtu fər jɪrz naʊ, ənd ˈdʊrɪŋ ðət taɪm juzd əp ən ɪnˈtaɪər ˈlætən ˈælfəˌbɛt əv riˈlis neɪmz! (wɛl, ə ənd si ər stɪl fri, bət wi juzd eɪʧ ənd ˈdəbəlju twaɪs, soʊ ɔn ˈævərɪʤ.. ðɪs həz fər ʃʊr bɪn ðə moʊst ɪkˈsaɪtɪŋ taɪm ɪn maɪ laɪf wɪθ tənz əv gʊd ˈmɛməriz! ˈvɛri fju ˈhaɪˌlaɪts: ˈgɪtɪŋ səm spæm meɪl frəm ə saʊθ ˈæfrɪkɑn əˈbaʊt ə greɪt ˌɑpərˈtunəti ˈʤɔɪnɪŋ (maɪ fərst ɪkˈspɪriəns) ənd kəˈlɛktɪŋ maɪ fərst ˈbaʊntiz fər ““derooting”*” (aɪ. i. drɔp ˈprɪvɪˌlɪʤɪz frəm rut ənd ˈbaɪnəˌriz) ˈgɪtɪŋ ˌɪnˈvaɪtɪd tɪ ˈɑksfərd tɪ mit ə bənʧ əv ˈpipəl fər wɪʧ aɪ hæd ˌæbsəˈlutli ˈziroʊ pruf əv ɪgˈzɪstəns, ənd ˈtɔsɪŋ ˌmaɪˈsɛlf ˈɪntu dɛts fər baɪɪŋ ə ˈlæpˌtɑp fər ðət əˈkeɪʒən wəns biɪŋ ðɛr, ˈlʊkɪŋ ˈɪntu maɪ fellows’*’ stərn ənd ˈsɪriəs ˈfeɪsɪz ənd biɪŋ əˈmeɪzd baɪ ðɛr prəˈfɛʃənəˌlɪzəm: ðə ɪkˈsaɪtmənt ənd haɪp əraʊnd goʊɪŋ ˈpəblɪk wɪθ ˈbeɪtə ˈmitɪŋ lɑts əv gʊd foʊks æt ˈmɛni, wɪθ greɪt aɪˈdiəz ənd lɑts əv ɪnˈθuziˌæzəm, ənd ˈsəmˌtaɪmz əv death”*”. grup ˈfoʊˌtoʊ frəm ˌuˈbuˌtu daʊn ˈəndər: ˈɔrgəˌnaɪzɪŋ wɪˈθaʊt ər ˈəðər ˌɪˌlɛkˈtrɑnɪk hɛlp: pleɪɪŋ ju wər here”*” wɪθ bɪl, ˈtoʊni, jono*, ənd ðə ˈəðər ɔl stɑrz siɪŋ bəg 1 ˈgɪtɪŋ kloʊzd, ənd ˈwɑʧɪŋ ðə ˌtrænsfərˈmeɪʃən əv ˈmaɪˌkroʊˈsɔft frəm biɪŋ ˈivəl əv ðə fɑs wərld tɪ ɑr ˈbɪznɪs ˈpɑrtnər ˈgɪtɪŋ tɪ noʊ lɑts əv greɪt ˈpleɪsɪz əraʊnd ðə wərld. maɪ ˈfeɪvərɪt: ˈlʊrɪŋ ə fju ˈkɑligz fər ə wɔk θru sæn francisco”*” bət ˈruɪnɪŋ ðɛr fit wɪθ ə 9 aʊər haɪk θruaʊt ðə ˈsɪti, ˈgoʊldən geɪt pɑrk ənd ˈdɪpɪŋ toʊz ˈɪntu ðə pəˈsɪfɪk. siɪŋ ˌuˈbuˌtu groʊ frəm ðət ˈkreɪzi aɪˈdiə ˈɪntu wən əv ðə meɪn ˈpɪlərz əv ðə fri ˈsɔfˌwɛr wərld bəg! ˈgɪtɪŋ ˈrɪli ɪkˈsaɪtɪd wɪn ˈmɪlˌbæŋk ənd ðə kəˈnɑnəkəl ˈɔfəs əˈpɪrd ɪn ðə ˈhɛri ˈpɑtər ˈmuvi ˈmuvɪŋ bɪtˈwin ənd ˈgɪtɪŋ tɪ noʊ ˈmɛni ˈdɪfərənt timz frəm ðə ˌɪnˈsaɪd (sɪˈkjʊrəti, ˈdɛskˌtɑp, oem*, qa*, ci*, faʊnˈdeɪʃənz, riˈlis, sru*, tɛk bɔrd, tɪ əˈpriʃiˌeɪt ənd ˌəndərˈstænd ðə ˈvælju əv ˈdɪfərənt pərˈspɛktɪvz ˈbreɪkɪŋ ˈbərnɪŋ wʊd bɔrdz, ˈmeɪkɪŋ greɪt ənd ˈsɪli ˈvɪdioʊz, ənd tim geɪmz ɪn ðə ˈfɔrɪst (ðət wɑz lɑ ˈmoʊlə) æt ˈvɛriəs ɔl hænz bət ɔl gʊd θɪŋz məst kəm tɪ ən ɛnd ˈæftər ˈtɔsɪŋ ənd ˈtərnɪŋ ðɪs aɪˈdiə fər ə lɔŋ taɪm, aɪ wɪl liv kəˈnɑnəkəl æt ðə ɛnd əv ðə jɪr. wən ˈmeɪʤər ˈrizən fər mi ˈlivɪŋ ɪz ðət ˈæftər ðət lɔŋ taɪm aɪ æm ˈsɪmpli ɪn nid fər ə ““reboot”*”: paɪld əp soʊ ˈmɛni ˈlɪtəl ənd lɑrʤ θɪŋz ðət aɪ kən ˈhɑrdli spɛnd wən deɪ ɔn dɪˈvɛləpɪŋ ˈsəmθɪŋ nu wɪˈθaʊt ˈhoʊpləsli ˈfɑlɪŋ bɪˈhaɪnd ɪn rɪˈspɑndɪŋ tɪ pɪŋz əˈbaʊt ˈfɪksɪŋ ˌloʊˈlɛvəl stəf, diˈbəgɪŋ wɪrd θɪŋz, ˈhænˌdhoʊldɪŋ ˌɪnfrəˈstrəkʧər, ɪkˈspleɪnɪŋ haʊ θɪŋz (ʃʊd) wərk, du ˈərʤənt tæsks, ənd ˈwətˌnɑt rɪˈleɪtɪd tɪ but, ɪt ˈprɑbəˌbli həz ɪn ðə neɪm, hænd ɪt tɪ pitti”*”). rɪˈpitɪdli traɪd tɪ rɪd ˌmaɪˈsɛlf əv səm əv ðoʊz ər æt list faɪnd ˈsəmˌwən ɛls tɪ ʃɛr ðə loʊd wɪθ, bət tu ˈstɪki soʊ aɪ spɛnt ðə læst fju wiks wɪθ ˈfɪnɪʃɪŋ səm luz ɛndz ənd ˈhændɪŋ ˈoʊvər səm əv maɪ meɪn riˌspɑnsəˈbɪlətiz. təˈdeɪ ɪz maɪ læst deɪ æt wərk, wɪʧ aɪ spɛnd ˈmoʊstli ɔn frəm ˈpækɪʤ bəgz, ˈlivɪŋ timz, ənd ˈkæʧɪŋ əp wɪθ iˈmeɪlz ənd bəgz, aɪ. i. əp maɪ ˈɔfəs desk”*”. frəm təˈmɑˌroʊ ɔn ˌɛnˈʤɔɪ səm ˈlɔŋgər ˈhɑləˌdeɪz, ˌbiˈfɔr ˈstɑrtɪŋ maɪ nu ʤɑb ɪn ˈʤænjuˌɛri. aɪ gɑt ˈɔfərd tɪ wərk ɔn ˈkɑkˌpɪt, ɔn ðə ˈprɑdəkt ˌɪtˈsɛlf ənd ɪts taɪz ˈɪntu ðə ˈlɪnəks ˈpləmɪŋ stæk (storaged/udisks*,, ənd ðə laɪk). soʊ frəm nɛkst jɪr ɔn ʧeɪnʤ maɪ hæt tɪ bɪˈkəm rɛd ˌɪnˈstɛd əv ˈɔrɪnʤ. ˈkjʊriəs tɪ siɪŋ fər ˌmaɪˈsɛlf haʊ ðət ˈəðər saɪd əv ðə fɛns lʊks laɪk! ðɪs bi ə ˈpərsɪnəl ˈgʊdˌbaɪ. aɪ wɪl kənˈtɪnju tɪ si ə lɔt əv ju ˌuˈbuˌtu foʊks ɔn fosdems*, debconfs*, plumber’s*, ər ɔn. bət ˈsərtənli məʧ lɛs ˈɔfən, ənd ðə pɑrt ðət aɪ rɪˈgrɛt moʊst ˈmɛni əv ju hæv bɪˈkəm kloʊz frɛndz, ənd kəˈnɑnəkəl filz məʧ mɔr laɪk ə ˈfæməli ðən ə ˈkəmpəˌni. soʊ, θæŋks tɪ ɔl ju fər biɪŋ ɔn ðət ˈʤərni wɪθ mi, ənd əv kɔrs ə ˈspɛʃəl ənd bɪg θæŋk ju tɪ mɑrk ˈʃətəlˌwərθ fər ˈkəmɪŋ əp wɪθ ðɪs greɪt ˌuˈbuˌtu ˈvɪʒən ənd ˈmeɪkɪŋ ɔl əv ðɪs ˈpɑsəbəl!
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i’ve had the pleasure of working on ubuntu for 12½ years now, and during that time used up an entire latin alphabet of release names! (well, a and c are still free, but we used h and w twice, so on average.. ☺ ) this has for sure been the most exciting time in my life with tons of good memories! very few highlights:
getting some spam mail from a south african multi-millionaire about a great opportunity
joining #warthogs (my first irc experience) and collecting my first bounties for “derooting” debian (i. e. drop privileges from root daemons and suid binaries)
getting invited to oxford to meet a bunch of people for which i had absolutely zero proof of existence, and tossing myself into debts for buying a laptop for that occasion
once being there, looking into my fellows’ stern and serious faces and being amazed by their professionalism:
the excitement and hype around going public with warty warthogs beta
meeting lots of good folks at many udses, with great ideas and lots of enthusiasm, and sometimes “bags of death”. group photo from ubuntu down under:
organizing udses without launchpad or other electronic help:
playing “wish you were here” with bill, tony, jono, and the other all stars
seeing bug #1 getting closed, and watching the transformation of microsoft from being teh evil of the foss world to our business partner
getting to know lots of great places around the world. my favourite: luring a few colleagues for a “short walk through san francisco” but ruining their feet with a 9 hour hike throughout the city, golden gate park and dipping toes into the pacific.
seeing ubuntu grow from that crazy idea into one of the main pillars of the free software world
itz gtk bug!
getting really excited when milbank and the canonical office appeared in the harry potter movie
moving between and getting to know many different teams from the inside (security, desktop, oem, qa, ci, foundations, release, sru, tech board, …) to appreciate and understand the value of different perspectives
breaking burning wood boards, making great and silly videos, and team games in the forest (that was la mola) at various all hands
but all good things must come to an end — after tossing and turning this idea for a long time, i will leave canonical at the end of the year. one major reason for me leaving is that after that long time i am simply in need for a “reboot”: i’ve piled up so many little and large things that i can hardly spend one day on developing something new without hopelessly falling behind in responding to pings about fixing low-level stuff, debugging weird things, handholding infrastructure, explaining how things (should) work, do urgent archive/sru/maintenance tasks, and whatnot (“it’s related to boot, it probably has systemd in the name, let’s hand it to pitti”). i’ve repeatedly tried to rid myself of some of those or at least find someone else to share the load with, but it’s too sticky :-/ so i spent the last few weeks with finishing some lose ends and handing over some of my main responsibilities.
today is my last day at work, which i spend mostly on unsubscribing from package bugs, leaving launchpad teams, and catching up with emails and bugs, i. e. “clean up my office desk”. from tomorrow on i’ll enjoy some longer eoy holidays, before starting my new job in january.
i got offered to work on cockpit, on the product itself and its ties into the linux plumbing stack (storaged/udisks, systemd, and the like). so from next year on i’ll change my hat to become red instead of orange. i’m curious to seeing for myself how that other side of the fence looks like!
this won’t be a personal good-bye. i will continue to see a lot of you ubuntu folks on fosdems, debconfs, plumber’s, or on irc. but certainly much less often, and that’s the part that i regret most — many of you have become close friends, and canonical feels much more like a family than a company. so, thanks to all lof you for being on that journey with me, and of course a special and big thank you to mark shuttleworth for coming up with this great ubuntu vision and making all of this possible!
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ðə ˈlaɪsəns ɪz ˈrəðər juˈnik ənd ˌɪdioʊˌsɪnˈkrætɪk. ɪt rɪˈflɛkts vjuz frəm wɪn ɪts ˈprɛdəˌsɛsər, ssleay*, ˈstɑrtɪd tˈwɛnti jɪrz əˈgoʊ. ɛz ə ˈfərðər ˌkɑmpləˈkeɪʃən, ðə ərˈɪʤənəl ˈɔθərz wər haɪərd baɪ ɪn 1998 ənd ðə koʊd fɔrkt ˈɪntu tu ˈvərʒənz: ənd ssl-c*. (si ˈwɪkiˌpiˌdiə fər dɪˈskəʃən.) aɪ wɔnt gɪt ˈɪntu ˈɛni spɪˈsɪfɪk ˈditeɪlz, ənd aɪ ˈsərtənli noʊ ðɛm ɔl. θɪŋz hæv ɪˈvɑlvd sɪns ðɛn, ənd ˈoʊpən sɔrs ɪz ən ˌɪmˈpɔrtənt pɑrt əv ðə ˈlænˌskeɪp ðə ˈɪntərˌnɛt kʊd nɑt ɪgˈzɪst wɪˈθaʊt ɪt. ðɛr ər gʊd ˈrizənz waɪ ˈmaɪˌkroʊˈsɔft ɪz ə ˈfaʊndɪŋ ˈmɛmbər əv ðə kɔr ˌɪnfrəˈstrəkʧər ˌɪˈnɪʃətɪv (cii*). ɑr plæn ɪz tɪ ˈəpˌdeɪt ðə ˈlaɪsəns tɪ ðə əˈpæʧi ˈlaɪsəns ˈvərʒən wi ər ɪn ˌkɑnsəlˈteɪʃən wɪθ ˈvɛriəs ˈkɔrpərət ˈpɑrtnərz, ðə cii*, ənd ðə ˈligəl ˈɛkspərts æt ðə ˈsɔfˌwɛr ˈfridəm lɔ ˈsɛnər. ɪn ˈəðər wərdz, wi hæv ə greɪt dil əv ˌɛkspərˈtiz ənd ˈɪntəˌrɛst æt ɑr ˈfɪŋgərˌtɪps. bət ɪn ˈɔrdər tɪ du ðɪs, wi nid tɪ du tu θɪŋz: stɑp ˈmeɪkɪŋ ɪt wərs klin əp ðə ˈbæˌklɔg tɪ stɑp ˈmeɪkɪŋ ɪt wərs, wi wɪl sun ˌrikˈwaɪər ˈɔlˌmoʊst ˈɛvəri kənˈtrɪbjətər tɪ hæv ə saɪnd ə kənˈtrɪbjətər ˈlaɪsəns əˈgrimənt (cla*) ɔn faɪl. ə ɪz ˌɪmˈpɔrtənt tɪ ɪnˈʃʊr ðət wi hæv ðə raɪts tɪ dɪˈstrɪbjut ðə koʊd. ɪt ɪz ə ˈlaɪtˈweɪt əˈgrimənt, saɪnd baɪ ðə ˈkɑpiˌraɪt ˈhoʊldər, ðət grænts ˈjuˈɛs ðə raɪts tɪ ˌridɪˈstrɪbjut jʊr ˌkɑntrəˈbjuʃən ɛz pɑrt əv. noʊt ðət ɑr dɪz nɑt ˈtrænsfər ˈkɑpiˌraɪt tɪ ˈjuˈɛs, nɔr dɪz ɪt ˈlɪmət ˈɛni əv jʊr raɪts. ðɛr wɪl ˈprɑbəˌbli bi səm ɪkˈsɛpʃənz, laɪk ɪf jʊr ʧeɪnʤ ɪz ə ˈsɪmpəl ər ˈɑbviəs pæʧ. nɑt ˈlɔjərz, wi wɔnt tɪ bi ˈlɔjərz, ənd wi wɔnt tɪ bi ɪn ðə ˈbɪznɪs əv ˈraɪtɪŋ ˈligəl əˈpɪnjənz ər ˈkaʊntɪŋ haʊ ˈmɛni ˈlɔjərz kən dæns ɔn ðə hɛd əv ə pɪn. ɪf ðɪs kaɪnd əv θɪŋ dɪz ˈɪntəˌrɛst ju, ju maɪt faɪnd ðɪs ˈɑrtɪkəl frəm ɔs wɔʧ ɪn ˈɔgəst 2012 wərθ ˈrɛdɪŋ: [http://oss-watch.ac.uk/resources/cla*]. wi hæv tu ˈvərʒənz əv ðə əˈveɪləbəl: wən fər ˌɪndəˈvɪʤəwəlz ənd wən fər ˌkɔrpərˈeɪʃənz. æt ðɪs pɔɪnt, ˈɛvəri ˈmɛmbər əv ðə dɛv tim həz saɪnd ðə icla*, ənd moʊst əv ɑr ɪmˈplɔɪərz hæv saɪnd ðə. ɪf jʊr ɪmˈplɔɪər ˈspɑnsərz wərk ɔn ɛz pɑrt əv jʊr ʤɑb, ðɛn ɪt ˈprɑbəˌbli meɪks sɛns tɪ gɪt ðə saɪnd. boʊθ ər ˈbeɪsɪkli ðə əˈpæʧi, wɪθ ʤɪst ðə ˈɑbviəs ˌɛdəˈtɔriəl ˈʧeɪnʤɪz. ju kən faɪnd ðə hir: ɪf ju ər jʊr ɪmˈplɔɪər həz meɪd koʊd ˌkɑntrəˈbjuʃənz tɪ, ər ju ər ˈplænɪŋ ɔn duɪŋ soʊ ɪn ðə fˈjuʧər, pliz ˈdaʊnˌloʊd, saɪn, skæn, ənd iˈmeɪl ðə tɪ ˈjuˈɛs. ðə ˈkɑnˌtækt ˌɪnˌfɔrˈmeɪʃən ɪz ɔn ðə. ɪf jʊr ɪmˈplɔɪər həz ˈɛni ɪkˈspɪriəns wɪθ ˈoʊpən sɔrs, ðə ʃʊd bi ˈvɛri ˈstreɪtˈfɔrwərd. fər ˌɪndəˈvɪʤəwəlz, steɪ tund ɛz wi sɛt əp ə səbˈmɪʃən ˈprɔˌsɛs. nɑt jɛt ˈeɪbəl tɪ əˈnaʊns mɔr ˈditeɪlz ɔn ðə ˈlaɪsəns ʧeɪnʤ. ðɛr ɪz ə lɔt əv grənt wərk ˈnidɪd tɪ klin əp ðə ˈbæˌklɔg ənd ənˈtæŋgəl ɔl ðə jɪrz əv wərk frəm ðə taɪm wɪn ˈnoʊˌbɑˌdi peɪd məʧ əˈtɛnʃən tɪ ðɪs sɔrt əv ˈditeɪl. bət taɪmz ər ˈdɪfərənt, wi ɔl kɛr, ənd goʊɪŋ tɪ du ðə raɪt θɪŋ. ɪt wɪl ʤɪst teɪk səm taɪm, ənd wi əˈpriʃiˌeɪt jʊr ˈpeɪʃəns.
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the openssl license is rather unique and idiosyncratic. it reflects views from when its predecessor, ssleay, started twenty years ago. as a further complication, the original authors were hired by rsa in 1998, and the code forked into two versions: openssl and rsa bsafe ssl-c. (see wikipedia for discussion.) i don’t want get into any specific details, and i certainly don’t know them all.
things have evolved since then, and open source is an important part of the landscape – the internet could not exist without it. there are good reasons why microsoft is a founding member of the core infrastructure initiative (cii).
our plan is to update the license to the apache license version 2.0. we are in consultation with various corporate partners, the cii, and the legal experts at the software freedom law center. in other words, we have a great deal of expertise and interest at our fingertips.
but in order to do this, we need to do two things:
stop making it worse clean up the backlog
to stop making it worse, we will soon require almost every contributor to have a signed a contributor license agreement (cla) on file.
a cla is important to ensure that we have the rights to distribute the code. it is a lightweight agreement, signed by the copyright holder, that grants us the rights to redistribute your contribution as part of openssl. note that our cla does not transfer copyright to us, nor does it limit any of your rights.
there will probably be some exceptions, like if your change is a simple or obvious patch. we’re not lawyers, we don’t want to be lawyers, and we don’t want to be in the business of writing legal opinions or counting how many lawyers can dance on the head of a pin. if this kind of thing does interest you, you might find this article from oss watch in august 2012 worth reading: [http://oss-watch.ac.uk/resources/cla].
we have two versions of the cla available: one for individuals and one for corporations. at this point, every member of the openssl dev team has signed the icla, and most of our employers have signed the ccla.
if your employer sponsors work on openssl as part of your job, then it probably makes sense to get the ccla signed. both cla’s are basically the apache cla, with just the obvious editorial changes.
you can find the cla’s here:
if you or your employer has made code contributions to openssl, or you are planning on doing so in the future, please download, sign, scan, and email the ccla to us. the contact information is on the cla. if your employer has any experience with open source, the ccla should be very straightforward. for individuals, stay tuned as we set up a minimal-hassle submission process.
we’re not yet able to announce more details on the license change. there is a lot of grunt work needed to clean up the backlog and untangle all the years of work from the time when nobody paid much attention to this sort of detail. but times are different, we all care, and we’re going to do the right thing. it will just take some time, and we appreciate your patience.
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ðə ˈhɔrəˌfaɪɪŋ ənd ˈtræʤɪk nuz əv ðə ˈʃutɪŋ ɪn ərˈɔrə, ˌkɑlərˈɑdoʊ ðɪs ˈwiˌkɪnd rikˈwaɪərz səm dɪˈgri əv rɪˈflɛkʃən ɔn ɑr pɑrts. ɛz ˈsəmˌwən hu faʊnd hɪmˈsɛlf ˈvɛri məʧ ˌɪnˈvɑlvd ɪn ðə ˈnæʃənəl dəˈbeɪts sərˈaʊndɪŋ ðə ˈkɑləmˌbaɪn ˈʃutɪŋz ɪn ðə leɪt 1990s*, ðɛr ɪz ə ˈtɛrəbəl sɛns əv ˈdiʤə vu: wi ɔl noʊ ɔl tu wɛl ðə twɪsts ənd tərnz ðə ˈnæʃənəl dəˈbeɪt wɪl teɪk ənd ðə ˈdeɪnʤərz əv wət ˈhæpənz wɪn "ˈmɔrəl ˈpænɪk" spɪnz ˈhoʊpləsli aʊt əv kənˈtroʊl. aɪ wɑz ˈdipli muvd ðɪs ˈwiˌkɪnd baɪ ə ˈvɪdioʊ blɔg prəˈdust baɪ ə jəŋ ˈwʊmən ˈlɔrən bərd frəm ðə ˈhɛri ˈpɑtər əˈlaɪəns hu həz soʊ ˈmɛni ˈθɔtfəl θɪŋz tɪ seɪ əˈbaʊt ðə ˈsoʊʃəl ˈvælju əv ˈpɑpjələr ˌɛnərˈteɪnmənt, ðə ʃɛrd ˈrɪʧuəl əv ðə ˈmɪdˌnaɪt ˈmuvi, ənd ðə ˈdeɪnʤərz əv ɑr dɪˈzaɪər tɪ pɑrˈtɪsəˌpeɪt ɪn ðə ˈkəlʧər. (bət, əv kɔrs, ðə ˈnæʃənəl ˈeɪˌɛmˈsi ʧeɪn həz ɔˈrɛdi əˈnaʊnst ðət ðeɪ ər ˈbænɪŋ ðə ˈwɛrɪŋ əv ˈɛni ˈkɑstumz ˈɪntu ðɛr ˈθiətərz, ɛz ɪf ðə ˈprɑbləm wɪθ ðə ˈʃutər ɪn ðɪs keɪs wɑz ðət hi wɑz ə "ˈkreɪzi fæn" hu ʃoʊd əp ɪn ˈkɑstum.) təˈdeɪ, aɪ ˈwɔntɪd tɪ ʃɛr səm ˌpɛdəˈgɑʤɪkəl məˈtɪriəlz wɪʧ aɪ dɪˈvɛləpt θru ðə nu ˈmidiə ˈprɑʤɛkt ɪn ðə ˈæftərˌmæθ əv ðə vərˈʤɪnjə tɛk ˈʃutɪŋz, wɛr, wəns əˈgɛn, æŋˈzaɪətiz əˈbaʊt ˈpɑpjələr ˈkəlʧər ˈsəbstəˌtutəd fər ˈsɪriəs rɪˈflɛkʃənz ɔn ðə ˈmɛni rut ˈkɔzɪz əv ˈvaɪələns ɪn əˈmɛrɪkən ˈkəlʧər. tɪ bi ˈɛkstrə klɪr, aɪ du nɑt θɪŋk ˈmidiə ɪz wɛr ðɪs dəˈbeɪt ʃʊd bi ˈfoʊkɪst. ðə ˌkɑnvərˈseɪʃən nidz tɪ bi ˈsɛntərd əraʊnd ðə rut ˈkɔzɪz əv ˈvaɪələns ənd ðə nid tɪ dɪˈvɛləp ə məʧ ˈstrɔŋgər ˌɪnfrəˈstrəkʧər əraʊnd ˈmɛntəl hɛlθ ˈɪʃuz ɪn ðɪs ˈkəntri. bət, ˈmidiə ˈvaɪələns ˈɪʃuz ər ˈɔfən juzd ɛz ə dɪˈstrækʃən frəm ˈsɪriəs ˌkɑnvərˈseɪʃənz əˈbaʊt ˈpəblɪk ˈpɑləsiz ɪn ðə ˈæftərˌmæθ əv səʧ ˈɪnsədənts. ɪf wi ər goʊɪŋ tɪ bi dɪˈskəsɪŋ "ˈmidiə ˈvaɪələns," wi nid tɪ du soʊ wɪθ səˈfɪʃənt nuɑns tɪ hæv ə ˈminɪŋfəl dɪˈskəʃən, ənd aɪˈdili, wi nid tɪ du soʊ ɪn ə weɪ wɪʧ muvz ˈjuˈɛs frəm ˈθɪŋkɪŋ əˈbaʊt sɪmˈplɪstɪk ˈmɑdəlz əv "ˈmidiə ˈifɛkts" təˈwɔrdz ə ˈfoʊkɪs ɔn ðə ˈminɪŋz əv ˌrɛprəzənˈteɪʃənz əv ˈvaɪələns ɛz ˌəndərˈstʊd ɪn ðə ˈkɑntɛkst əv ðə wərk ɛz ə hoʊl. si maɪ ˈɛˌseɪ ɔn "ðə wɔr bɪtˈwin ˈifɛkts ənd ˈminɪŋz" ɪn fænz, ˈblɔgərz, ənd ˈgeɪmərz, fər ən ˌɛkspləˈneɪʃən əv ðɪs dɪˈstɪŋkʃən. fərst, aɪ ˈwɔntɪd tɪ ʃɛr ə ˈpæsɪʤ frəm ə ˈsteɪtmənt əˈbaʊt ˈvaɪələns aɪ roʊt fər ˈtiʧərz, wɪʧ ɪkˈsprɛsɪz ˈsəmθɪŋ aɪ wɑz əˈneɪbəl tɪ ˈminɪŋfəli kəmˈjunəˌkeɪt ˈviə tˈwɪtər ɪn ən ˈɔnˌlaɪn ɪksˈʧeɪnʤ ˈjɛstərˌdeɪ: waɪ ɪz ˈvaɪələns soʊ pərˈsɪstənt ɪn ɑr ˈpɑpjələr ˈkəlʧər? bɪˈkəz ˈvaɪələns həz bɪn pərˈsɪstənt əˈkrɔs ˈstɔriˌtɛlɪŋ ˈmidiə əv ɔl kaɪnz. ə θəroʊ əˈkaʊnt əv ˈvaɪələns ɪn ˈmidiə wʊd ˌɪnˈklud: ˈfɛri teɪlz səʧ ɛz ˈhænsəl ənd ˈgrɛtəl, ˈɔrəl ˈɛpɪks səʧ ɛz ˈhoʊmərz ˈɪliəd, ðə steɪʤd ˈvaɪələns əv ˈʃeɪkˌspirz pleɪz, ˈpeɪnɪŋz əv ðə reɪp əv ðə səˈbin ˈwɪmən, ənd steɪnd glæs ˈwɪndoʊ ˌrɛprəzənˈteɪʃənz əv seɪnts biɪŋ pəmpt fʊl əv ˈɛroʊz, ər, fər ðət ˈmætər, tɔk ʃoʊ ˌkɑnvərˈseɪʃənz əˈbaʊt ðə ˈkɔzɪz əv skul ˈʃutɪŋz. ˈvaɪələns ɪz ˌfəndəˈmɛnəl tɪ ðiz ˈvɛriəs ˈmidiə bɪˈkəz əˈgrɛʃən ənd ˈkɑnflɪkt ər kɔr ˈæˌspɛkts əv ˈjumən ɪkˈspɪriəns. wi nid ɑr ɑrt tɪ prəˈvaɪd səm ˈmɔrəl ˈɔrdər, tɪ hɛlp ˈjuˈɛs sɔrt θru ɑr ˈfilɪŋz, tɪ prəˈvoʊk ˈjuˈɛs tɪ muv bɪɔnd ˈizi ˈænsərz ənd tɪ æsk hɑrd kˈwɛsʧənz. ɑr ˈkɑrənt ˈfreɪmɪŋ əv ˈmidiə ˈvaɪələns əˈsumz ðət ɪt moʊst ˈɔfən əˈtrækts ˈjuˈɛs, ðət ɪt ˌɪnˈspaɪrz ˌɪməˈteɪʃən, wɛˈræz θruaʊt məʧ əv ˈjumən ˈhɪstəri, ˌrɛprəzənˈteɪʃənz əv ˈvaɪələns wər sin ɛz ˈmɔrəli ˌɪnˈstrəktɪv, ɛz ˈmeɪkɪŋ ɪt lɛs ˈlaɪkli ðət wi ər goʊɪŋ tɪ trænzˈgrɛs əˈgɛnst ˈvɛriəs ˈsoʊʃəl ˌproʊəˈbɪʃənz. wɪn wi rɛd ðə lɪvz əv seɪnts, fər ɪgˈzæmpəl, wi ər ˌɪnˈvaɪtɪd tɪ aɪˈdɛntəˌfaɪ wɪθ ðə wən ˈsəfərɪŋ ðə ˈvaɪələns ənd nɑt ðə wən kəˈmɪtɪŋ ɪt. ˈvaɪələns wɑz θɔt tɪ prəˈvoʊk ˈɛmpəθi, wɪʧ wɑz gʊd fər ðə soʊl. ˈvaɪələns wɑz θɔt tɪ meɪk ˈmɔrəl ˈlɛsənz mɔr ˈmɛmərəbəl. ˈmɔrəl rɪˈfɔrmərz ˈrɛrli teɪk eɪm æt mənˈdeɪn ənd bəˈnɑl ˌrɛprəzənˈteɪʃənz əv ˈvaɪələns, ðoʊ ˌfɔrmjəˈleɪɪk ˈvaɪələns ɪz pərˈveɪsɪv ɪn ɑr ˈkəlʧər. ˈɔlˌmoʊst ˈɔlˌweɪz, ðeɪ goʊ ˈæftər wərks ðət ər əˈkleɪmd ˈɛlsˌwɛr ɛz wərks əv ˈmɑrtɪn ˌskɔrˈsiz ər kˈwɛntɪn tɑrɑnˈtinoʊ, bɪˈkəz ðiz wərks ˈmænɪʤ tɪ gɪt ˈəndər ðɛr skɪn. fər səm əv ˈjuˈɛs, ðɪs ˌprɑvəˈkeɪʃən gɪts ˈjuˈɛs ˈθɪŋkɪŋ mɔr ˈdipli əˈbaʊt ðə ˈmɔrəl ˈkɑnsəkˌwɛnsəz əv ˈvaɪələns, wɛˈræz ˈəðərz kənˈdɛm ðə wərks ðɛmˈsɛlvz, əˈneɪbəl tɪ ˈprɔˌsɛs ðə aɪˈdiə ðət səʧ ə wərk maɪt prəˈvoʊk ˈjuˈɛs tɪ rɪˈflɛkt əˈbaʊt ðə ˈvaɪələns ðət ɪt ˌrɛprɪˈzɛnts. ðə ˈstədi əv ˈlɪtərəʧər ˈɔfərz ə rɪˈmɑrkəbəl ˌɑpərˈtunəti tɪ ɪnˈgeɪʤ jəŋ ˈpipəl ɪn ˌkɑnvərˈseɪʃənz əˈbaʊt səʧ ˈɪʃuz, ɪkˈspændɪŋ ðə reɪnʤ əv ˈstɔriz əˈbaʊt ˈvaɪələns wɪʧ ðeɪ ɪnˈkaʊnər, ˌɪntrəˈdusɪŋ ðɛm tɪ wərks ðət ɪnˈkərəʤ rɪˈflɛkʃən əˈbaʊt ðə ˈjumən ˈkɑnsəkˌwɛnsəz əv riˈvɛnʤ ənd əˈgrɛʃən, ənd ˈbrɔdənɪŋ ðə reɪnʤ əv ˈminɪŋz ðeɪ əˈtæʧ tɪ səʧ ˌrɛprəzənˈteɪʃənz. ɪn ˈɔrdər tɪ ɪnˈkərəʤ səʧ rɪˈflɛkʃənz ɪn ðə ˈklæsˌrum, aɪ dɪˈvɛləpt ə sɛt əv ˈbeɪsɪk kˈwɛsʧənz wi ʃʊd æsk əˈbaʊt ˈɛni ˌrɛprəzɛnˈteɪʃən əv ˈvaɪələns. ðɛr ər pərˈsɪstənt ˈrɛfərənsɪz θruaʊt ðɪs tɪ bɪˈkəz ɪt wɑz pɑrt əv ə ˈtiʧərz ˈstrætəʤi gaɪd fər. ɑr bʊk ɔn ðɪs ˈlɑrʤər ˈprɑʤɛkt, ˈrɛdɪŋ ɪn ə ˌpɑrˈtɪsəpəˌtɔri ˈkəlʧər ɪz ˈkəmɪŋ aʊt frəm ˈtiʧərz ˈkɑlɪʤ prɛs ˈleɪtər ðɪs jɪr. aɪ wɑz strək ðɪs təˈdeɪ ðət aɪ hæd ɔˈrɛdi ˈrɪtən hir əˈbaʊt ðə roʊl əv ˈvaɪələns ɪn ðə ˈbætˌmæn ˈsɑgə, ðoʊ ðɪs keɪm aʊt praɪər tɪ ðə dɑrk naɪt fɪlmz baɪ ˈkrɪstəfər ˈnoʊlən. tɛn ˈkrɪtɪkəl kˈwɛsʧənz tɪ æsk əˈbaʊt ˈfɪkʃənəl ˌrɛprəzənˈteɪʃənz əv ˈvaɪələns 1 wət ˈbeɪsɪk ˈkɑnflɪkts ər biɪŋ ɛˈnæktəd θru ðə ˈvaɪələns? ˈlɪtərˌɛri ˈkrɪtɪks hæv lɔŋ aɪˈdɛntəˌfaɪd ðə kɔr ˈkɑnflɪkts ðət ʃeɪp məʧ əv ðə wərldz ˈlɪtərəʧər: ˈjumən ˈvərsəz. ˈjumən, ˈjumən ˈvərsəz. ˈneɪʧər, ˈjumən ˈvərsəz. sɛlf, ənd ˈsəmˌtaɪmz ˈjumən ˈvərsəz. məˈʃin. səʧ ˈkɑnflɪkts spɑrk ˈdrɑmə. kən bi ˌəndərˈstʊd ɛz ˌɪnˈkludɪŋ ɔl θri ˈkɑnflɪkts: ðə ˈkɑnflɪkt bɪtˈwin ˈeɪˌhæb ənd ˈstɑrˌbək ɛmˈbɑdiz ˈdipər dɪˈvɪʒənz wɪˈθɪn ðə ʃɪps kru ˈoʊvər ðə ˈkæptənz dɪˈsɪʒən tɪ pleɪs hɪz oʊn ˈpərsɪnəl goʊlz əˈbəv ðɛr kəˈlɛktɪv wɛl biɪŋ ər əˈbəv ðə ˈbɪznɪs əv ˈweɪlɪŋ; ðə ˈkɑnflɪkt bɪtˈwin ˈeɪˌhæb ənd ˈmoʊbi dɪk meɪ bi ˌəndərˈstʊd ɛz ə ˈjumən biɪŋ θroʊɪŋ hɪmˈsɛlf fʊl fɔrs əˈgɛnst ðə ˈnæʧərəl wərld; ˈeɪˌhæb ˈstrəgəlz wɪθ hɪz oʊn ˈbɛtər ˈneɪʧər ənd ˈstɑrˌbək ˈsərʧɪz hɪz soʊl traɪɪŋ tɪ ˈfɪgjər aʊt haʊ tɪ rɪˈspɑnd tɪ hɪz kənˈflɪktɪŋ ˈdutiz. ˈɛni əv ðiz ˈkɑnflɪkts kən ˈirəpt ɪn əˈgɛnst ˈəðər ˈpipəl, əˈgɛnst ðə ˈnæʧərəl wərld, ər əˈgɛnst ɑrˈsɛlvz. ju maɪt æsk jʊr ˈstudənts tɪ aɪˈdɛntəˌfaɪ wɪʧ əv ðiz fɔrmz əv ˈkɑnflɪkt ər moʊst ˈvɪzəbəl ɪn kənˈtɛmpərˌɛri ˈvɪdioʊ geɪmz, ɔn ˈtɛləˌvɪʒən, ər ɪn ðə ˈsɪnəmə ənd waɪ səm fɔrmz əv ˈkɑnflɪkt əˈpɪr mɔr ˈɔfən ɪn ðiz ˈmidiə ðən ˈəðərz. fər ɪgˈzæmpəl, ˈvɪdioʊ geɪm dɪˈzaɪnərz hæv hɪˈstɔrɪkəli faʊnd ɪt ˈdɪfəkəlt tɪ dɪˈpɪkt ˈkɛrɪktərz' ˌɪnˈtərnəˌlaɪzd ˈkɑnflɪkt (ˈjumən ˈvərsəz. sɛlf), ɪn pɑrt bɪˈkəz ˈkɑntɛst ər ˈkɑmbæt ər ˈsɛntrəl ˈbɪldɪŋ blɑks əv moʊst geɪmz. 2 du ðə ˈkɛrɪktərz meɪk ˈkɑnʃəs ˈʧɔɪsɪz tɪ ɪnˈgeɪʤ ɪn ækts əv ˈvaɪələns? haʊ du ðeɪ traɪ, θru ˈlæŋgwɪʤ ər ˈækʃən, tɪ ɪkˈspleɪn ənd ˈʤəstəˌfaɪ ðoʊz ˈʧɔɪsɪz? ɪn ðə ril wərld, ən ækt əv ˈvaɪələns meɪ ˈirəpt ɪn ə splɪt ˈsɛkənd: wən ˈmoʊmənt, ˈpipəl wi kɛr əˈbaʊt ər əˈlaɪv; ðə nɛkst, ðeɪ ər dɛd. ðə ˈvaɪələns meɪ bi ˈrændəm: ðɛr ɪz noʊ ril ˈrizən waɪ ðiz ˈvɪktɪmz wər ˈsɪŋgəld aʊt ˈoʊvər ˈəðərz; ðeɪ wər ɪn ðə rɔŋ pleɪs æt ðə rɔŋ taɪm. jɛt, wərks əv ˈfɪkʃən ˈɔfən ˈfoʊkɪs ɑr əˈtɛnʃən ɔn ˈmoʊmənts wɪn ˈkɛrɪktərz meɪk dɪˈsɪʒənz, ˈɔfən beɪst ɔn ˈæˌspɛkts əv ðɛr ˌpərsəˈnælɪtiz wɪʧ ðeɪ ˈlɪtəl ˈrɛkəgˌnaɪz ər kənˈtroʊl, ənd ðoʊz ˈʧɔɪsɪz meɪ hæv ˌripərˈkəʃənz ðət ˈɛkoʊ əˈkrɔs ðə wərk ɛz ə hoʊl. soʊ, ðə ækt ðət tʊk lɛg meɪ hæv bɪn ˈtoʊtəli ˈrændəm, ənd wi si ˈsɛvərəl ɪgˈzæmpəlz θruaʊt ðə ˈnɑvəl wɛr ə dɪˈsɪʒən meɪ kɔz ə ˈkɛrɪktər tɪ bi ˈwundɪd ər kɪld. wi maɪt kəmˈpɛr ˌæmpjəˈteɪʃən wɪθ ðə ɪˈvɛnts ðət lɛd tɪ pɪp biɪŋ θroʊn frəm ðə boʊt, lɛft əˈdrɪft, ənd ˈəltəmətli ˈdrɪvən ˌɪnˈseɪn, ər tɪ ðə ənˈneɪmd mæn hu fɔlz frəm ðə ʃɪps mæst ənd draʊnz. baɪ ˈkɑntræst, ðə ˈnɑvəl ˌɪnˈvaɪts ˈjuˈɛs tɪ kənˈsɪdər ðə ˈʧɔɪsɪz ˈeɪˌhæb meɪks æt iʧ stɛp ənd haʊ ðə ˈəðər ˈkɛrɪktərz rɪˈspɑnd tɪ ðoʊz ˈʧɔɪsɪz. ˈmɛlvɪl ʃoʊz ˈjuˈɛs ˈmɛni pɔɪnts wɛr ðə ʃɪp kʊd tərn bæk ənd əˈvɔɪd ɪts feɪt. hi spɛlz aʊt wət ðə ˈkɛrɪktərz ər ˈθɪŋkɪŋ ənd waɪ ðeɪ meɪk ðə dɪˈsɪʒənz ðeɪ du. ðə ɪˈvɛnts kʊd teɪk ə ˈdɪfərənt ʃeɪp, ðoʊ ðə ʃeɪp əv ə plɑt kən gɪv dɪˈpɪktɪd ɪˈvɛnts ə sɛns əv ˌɪˌnɛvɪtəˈbɪlɪti. səm fɔrmz əv ˈtræʤədi, fər ɪgˈzæmpəl, rɪˈlaɪ ɔn ðə ˈnoʊʃən ðət ˈkɛrɪktərz ər əˈneɪbəl tɪ ɪˈskeɪp ðɛr feɪts, noʊ ˈmætər wət ˈʧɔɪsɪz ðeɪ meɪk, ər ðət ðə ˈfaɪnəl ækts əv ˈvaɪələns ənd dɪˈstrəkʃən floʊ ˈlɑʤɪkli frəm səm "ˈtræʤɪk flɔ." ɪn traɪɪŋ tɪ meɪk sɛns əv ə ˈfɪkʃənəl ˌrɛprəzɛnˈteɪʃən əv ˈvaɪələns, ju wɔnt tɪ ɪnˈkərəʤ jʊr ˈstudənt tɪ sik aʊt ˈmoʊmənts wɛr ðə ˈkɛrɪktərz meɪk ˈʧɔɪsɪz ðət ˈəltəmətli lɛd təˈwɔrdz ækts əv əˈgrɛʃən ər dɪˈstrəkʃən. ˈɔfən, ˈɔθərz prəˈvaɪd ðoʊz ˈkɛrɪktərz wɪθ ˌræʃənəlɪˈzeɪʃənz fər ðɛr ˈʧɔɪsɪz, ˈɔfərɪŋ səm kluz θru ðɛr wərdz, θɔts, ər ˈækʃənz əˈbaʊt waɪ ðeɪ du wət ðeɪ du. æt səʧ ˈmoʊmənts, ðə wərk ˈɔlsoʊ ˈɔfən ˈɔfərz ˈjuˈɛs ɔlˈtərnətɪvz tɪ ˈvaɪələns, ˈəðər ˈʧɔɪsɪz ðə ˈkɛrɪktərz kʊd hæv meɪd, ðoʊ səʧ ˈʧɔɪsɪz meɪ rɪˈmeɪn ˌɪmˈplɪsət ˈrəðər ðən biɪŋ ɪkˈsplɪsətli ˈsteɪtɪd. ˈdɪfərənt wərks ənd ˈdɪfərənt ˈʒɑnrəz meɪ si ðiz ɔlˈtərnətɪvz tɪ ˈvaɪələns ɛz mɔr ər lɛs ˈplɔzəbəl, əˈtræktɪv, ər ˈræʃənəl. soʊ, ɪf ju ər biɪŋ ʧeɪst baɪ ə mæd mæn ˈweɪvɪŋ ə ʧeɪn sɔ ɪn ə ˈhɔrər fɪlm, ɪnˈgeɪʤɪŋ ɪm ɪn ə ˌkɑnvərˈseɪʃən meɪ nɑt bi ə ˈræʃənəl, ˈplɔzəbəl, ər əˈtræktɪv ɔlˈtərnətɪv. ˈʒɑnrə ˈfɪkʃən ˈkɑnstrəkts ˈkɑnˌtɛksts wɛr ðə proʊˈtægənəst həz noʊ ʧɔɪs bət tɪ rɪˈzɔrt tɪ ˈvaɪələns, ðoʊ wət ˈsɛpərˌeɪts ˈhɪroʊz frəm ˈvɪlənz meɪ bi ðɛr ˈrɛlətɪv ˈkəmfərt ɪn dɪˈplɔɪɪŋ ˈvaɪələns tɪ sərv ðɛr oʊn ˈɪntərɪsts. ɪn ˈmɛni əˈmɛrɪkən ˈmuviz, ðə ˈhɪroʊ ɪz rɪˈləktənt tɪ tərn təˈwɔrdz ˈvaɪələns, siɪŋ ɪt ɛz ə læst rɪˈzɔrt. baɪ ˈkɑntræst, ðə ˈvɪlən meɪ dɪˈplɔɪ ˈvaɪələns ɪn ˌsɪʧuˈeɪʃənz wɛr ʃi həz ˈəðər ɔlˈtərnətɪvz, səˈʤɛstɪŋ ˈkruəlti ər ˌɪnˈdɪfərəns. ɪn ˈdilɪŋ wɪθ ˈvaɪələns ɪn ˈvɪdioʊ geɪmz, ðɛn, ju meɪ wɔnt tɪ æsk wət ˈɔpʃənz ər əˈveɪləbəl tɪ ðə pleɪər fər ˈdilɪŋ wɪθ ə ˈsərtən ˌsɪʧuˈeɪʃən. ɪn səm geɪmz, ðɛr meɪ bi noʊ ˈɔpʃənz ˈəðər ðən ˈvaɪələns, ənd ðə geɪm ˌɪtˈsɛlf meɪ spɛnd ˈvɛri ˈlɪtəl taɪm ˈɔfərɪŋ ðə ˈkɛrɪktər ə ˌræʃənəlɪˈzeɪʃən fər səʧ ˈækʃənz. ɪt ɪz faɪt ər flaɪt, kɪl ər bi kɪld. ˈmɛni geɪmz ər ˈsɪmpli ˈdɪʤɪtəl ˈvərʒənz əv ðə ˈklæsɪk ˈʃutɪŋ ˈgæləriz: ðə geɪm speɪs ɪz dɪˈzaɪnd ɛz ən ərˈinə wɛr pleɪərz kən ʃut ɪt aʊt wɪθ ˈəðər pleɪərz ər wɪθ ˈkɛrɪktərz. ɪn ˈəðər geɪmz, ðɛr meɪ bi ˈɔpʃənz ðət əˈlaʊ ðə proʊˈtægənəst tɪ əˈvɔɪd ˈvaɪələns, bət ðeɪ meɪ nɑt bi ˈiˌmoʊʃnəli ˈsætɪsˌfaɪɪŋ; ðeɪ meɪ pʊt ðə pleɪər æt ə sɪgˈnɪfɪkənt ˌdɪsədˈvænɪʤ; ðeɪ meɪ bi hɑrd tɪ ˈɛksəˌkjut. soʊ, ˈhɛlpɪŋ ˈstudənts tɪ ˌɪnˈtərprət ðə ˈɔpʃənz əˈveɪləbəl tɪ ˈkɛrɪktərz ɪn ə ˈlɪtərˌɛri ˈfɪkʃən meɪ hɛlp ðɛm tɪ rɪˈflɛkt mɔr ˈkɑnʃəsli ɔn ðə mɔr ˈlɪmɪtɪd ˈʧɔɪsɪz əˈveɪləbəl tɪ ðɛm ɛz ˈgeɪmərz. 3 wət ər ðə ˈkɑnsəkˌwɛnsəz əv ðə ˈvaɪələns dɪˈpɪktɪd ɪn ðə wərk? ˈmɛni ˈpɑpjələr ˈstɔriz doʊnt peɪ səˈfɪʃənt əˈtɛnʃən tɪ ðə ˈkɑnsəkˌwɛnsəz əv ˈvaɪələns. ˈræmboʊ meɪ sˈlɔtər ˈhənərdz ənd jɛt, məʧ ɛz ɪn ə ˈvɪdioʊ geɪm, ðə ˈbɑdiz ˈsɪmpli ˌdɪsəˈpɪr. wi gɪt noʊ sɛns əv ðə ˈjumən kɔsts ˌɪnˈvɑlvd ɪn ˈkɑmbæt ɔn səʧ ə skeɪl. ˈmɛni mɪˈdjivəl ˈɛpɪks kənˈsɪstɪd praɪˈmɛrəli əv hæk ənd slæʃ ˈbætəl ˈsikwənsɪz; jɛt, ˌpiriˈɑdɪkəli, ðə ˈækʃən wʊd stɑp, ənd ðə bɑrd wʊd ɪˈnumərˌeɪt ðə neɪmz əv ðə dɛd ɔn boʊθ saɪdz, ækˈnɑlɪʤɪŋ ðət ðiz ˈwɔrjərz peɪd ə praɪs ˈivɪn ɪf ðɛr ˈækʃənz hɛlp tɪ ɪˈstæblɪʃ ðə ˈneɪʃən steɪt ər rɪˈstɔr ˈɔrdər tɪ ðə ˈkɪŋdəm. ˈfrɑskə həz ˈɑrgjud ðət ˈvɪdioʊ geɪmz ˌɪnˈhɛrəntli ˈtrɪviəˌlaɪz ˈvaɪələns bɪˈkəz ðeɪ ˈɔpərˌeɪt ɪn ə wərld wɛr ðə pleɪər kən ˈsɪmpli riˈbut ənd stɑrt ˈoʊvər ɪf ðɛr ˈkɛrɪktər daɪz. ɪn ˈkɑntræst, ˈwɛstərnz ˈfɑloʊ ə ˈbeɪsɪk ˈfɔrmjələ: ðə proʊˈtægənəst (moʊst ˈɔfən meɪl) wʊd rɪˈzɔrt tɪ ˈvaɪələns tɪ ˈbætəl ˈəðər əˈgrɛsɪv ˈfɔrsɪz ðət θˈrɛtən hɪz kəmˈjunɪti; hɪz hɪˈroʊɪk ˈækʃənz wʊd rɪˈstɔr ˈʤəstɪs ənd ˈɔrdər, bət ðə ˈhɪroʊ kʊd nɑt lɪv wɪˈθɪn ðə ˈɔrdər hi hæd hɛlpt tɪ kriˈeɪt ənd wʊd bi fɔrst tɪ raɪd ɔf ˈɪntu ðə ˈsənˌsɛt æt ðə ɛnd əv ðə ˈstɔri. ˈsuzən ˈsɑnˌtæg həz ˈrɪtən əˈbaʊt "ðə ˌɪˌmæʤəˈneɪʃən əv dɪˈzæstər," səˈʤɛstɪŋ ðət fɪlmz əˈbaʊt əˌpɑkəˈlɪptɪk ɪˈvɛnts ˈɔfən kriˈeɪt ə rəf ˈmɔrəl ˈɔrdər ɪn wɪʧ ˈkɛrɪktərz ər rɪˈwɔrdɪd ər ˈpənɪʃt beɪst ɔn ðə ˈvæljuz ðeɪ dɪˈspleɪ ˈəndər ɪkˈstrim ˈsərkəmˌstænsɪz. kən bi sɛd tɪ hæv ɪts oʊn ˈmɛkəˌnɪzəmz fər ˈpənɪʃɪŋ ˈvaɪələns: sərʧ fər ˈvɛnʤəns æt ɔl kɔsts minz ðət hi ənd hɪz kru məst peɪ ðə ˈəltəmət praɪs. 4 wət paʊər riˈleɪʃənˌʃɪps, ril ər sɪmˈbɑlɪk, dɪz ðə ˈvaɪələns səˈʤɛst? ɪn ˈmɛni ˈkeɪsɪz, ˈstɔriˌtɛlərz dɪˈplɔɪ ˈvaɪələns ɛz ə minz əv ɪmˈbɑdiɪŋ paʊər. wi ʃʊd nɑt bi səˈpraɪzd baɪ ðɪs ˈtɛndənsi ˈgɪvɪn ðə weɪ ˌsoʊsiˈɑləʤɪsts hæv ˈkɛrɪktərˌaɪzd reɪp ɛz ðə dɪˈplɔɪmənt əv meɪl paʊər əˈgɛnst ˈwɪmən ər ˈlɪnʧɪŋ ɛz ðə ɛˈnæktmənt əv waɪt paʊər əˈgɛnst blæks. hɪˈstɔrɪkəli, wɔrz hæv bɪn sin ɛz ə weɪ əv riˈzɑlvɪŋ ˈkɑnflɪkts bɪtˈwin ˈneɪʃənz θru ðə ˈɛksərˌsaɪz əv paʊər, waɪl traɪəl baɪ ˈkɑmbæt wɑz ə minz əv dɪˈplɔɪɪŋ paʊər tɪ riˈzɑlv ˌɪndəˈvɪʤəwəl ˈkɑnflɪkts ənd ˌdɪsəˈgrimənts. ˈmidiə ˌrɛprəzənˈteɪʃənz əv ˈvaɪələns kən gɪv vjuərz ə sɪˈdəktɪv sɛns əv ɪmˈpaʊərmənt ɛz ðeɪ wɔʧ ˈkɛrɪktərz hu ər ˈhoʊpləsli traɪəmf ər ðeɪ wɔʧ ˌsɛgˈmɛnts əv ðə ˌpɑpjəˈleɪʃən hu sim ɪn ðə ril wərld dɪˈplɔɪ ˈvaɪələns tɪ raɪt pæst rɔŋz. səm hæv ˈɑrgjud ðət jəŋ ˈpipəl pleɪ ˈvaɪələnt ˈvɪdioʊ geɪmz, ɪn pɑrt, ɛz ə minz əv ˈkɑmpənˌseɪtɪŋ fər ə sɛns əv ðeɪ meɪ fil æt skul. ˈkɑnvərsli, ˈstɔriz meɪ ɪnˈkərəʤ ɑr sɛns əv ˈaʊˌtreɪʤ wɪn wi si ˈpaʊərfəl grups ər ˌɪndəˈvɪʤəwəlz əˈbjuzɪŋ ðɛr paʊər, ˈwɛðər ɪn ðə fɔrm əv ˈbʊliz dɪˈgreɪdɪŋ ðɛr ˈvɪktɪmz ər ˈneɪʃənz səˈprɛsɪŋ ðɛr ˈsɪtɪzənz. ðɪs əˈbjuz əv paʊər baɪ ˈpaʊərfəl ˈfɔrsɪz meɪ priˈpɛr ˈjuˈɛs fər səm ˈɛksərˌsaɪz əv paʊər, ˈsɛtɪŋ əp ðə ˈbeɪsɪk ˈmɔrəl ˌɑpəˈzɪʃənz əˈpɑn wɪʧ ə ˈstɔri dɪˈpɛndz. ɛz ju tiʧ ˈstudənts tɪ θɪŋk ˈkrɪtɪkəli əˈbaʊt ˌrɛprəzənˈteɪʃənz əv ˈvaɪələns, ə ki ˈʧælənʤ wɪl bi tɪ aɪˈdɛntəˌfaɪ ðə ˈdɪfərənt fɔrmz əv paʊər æt pleɪ wɪˈθɪn ðə ˈnɛrətɪv ənd tɪ mæp ðə riˈleɪʃənz bɪtˈwin ðɛm. wɪʧ ˈkɛrɪktərz ər ɪn ðə moʊst ˈpaʊərfəl pəˈzɪʃənz ənd wət ər ðɛr ˈsɔrsəz əv paʊər? wɪʧ ˈkɛrɪktərz ər əˈbjuzɪŋ ðɛr paʊər? wət ˈsɔrsəz əv paʊər ər əˈskraɪbd tɪ ˈkɛrɪktərz hu maɪt ˌɪˈnɪʃəli sim ˈpaʊərləs, ənd tɪ wət dɪˈgri ɪz ˈvaɪələns dɪˈpɪktɪd ɛz ə minz əv ɪmˈpaʊərmənt? 5 haʊ ˈgræfɪk ɪz ðə dɪˈpɪkʃən əv ˈvaɪələns? wən əv ðə ˈlɪmɪts əv ðə ˈstədi ɔn ˈvaɪələns ɪn əˈmɛrɪkən kɑrˈtunz riˈlist baɪ ðə əˈmɛrɪkən əˈkædəmi əv ˌpidiˈætrɪks ɪz ðət ɪt kaʊnts "ˈvaɪələnt ækts" wɪˈθaʊt kənˈsɪdərɪŋ ˈdɪfərɪŋ dɪˈgriz əv stylization*. ɪn fækt, ˈʧɪldrən æt ə ˈprɪti jəŋ baɪ ðə taɪm ðeɪ riʧ ˌɛləˈmɛnʧri ˈkeɪpəbəl əv ˈmeɪkɪŋ æt list krud dɪˈstɪŋkʃənz bɪtˈwin mɔr ər lɛs ˌriəˈlɪstɪk ˌrɛprəzənˈteɪʃənz əv ˈvaɪələns. ðeɪ kən bi fuld baɪ ˈmidiə wɪʧ ˈɔfərz æmˈbɪgjuəs kjuz, bət ðeɪ ˈʤɛnərəli rɛd ˈmidiə ðət simz ˌriəˈlɪstɪk ˈvɛri ˈdɪfərˈɛntli frəm ˈmidiə ðət simz ər ˈlɑrʤər ðən laɪf. fər ðət ˈrizən, ðeɪ ər ˈɔfən mɔr ˈiˌmoʊʃnəli dɪˈstərbd baɪ ˌdɑkjəˈmɛnəriz ðət dɪˈpɪkt ˈprɛdətərz ənd preɪ, wɔr, ər kraɪm, ðən ðeɪ ər baɪ ðə ˌhaɪpərˈbɑlɪk ˌrɛprəzənˈteɪʃənz wi moʊst ˈɔfən ər ˈtɔkɪŋ əˈbaʊt wɪn wi rɪˈfər tɪ ˈmidiə ˈvaɪələns. waɪl moʊst əv ˈjuˈɛs hæv ˈvɛri ˈlɪmɪtɪd fər dɪˈskəsɪŋ ðiz ˈdɪfərənt dɪˈgriz əv explicitness*, səʧ ˌɪmˈplɪsət dɪˈstɪŋkʃənz ʃeɪp ðə weɪz wi rɪˈspɑnd tɪ ˌrɛprəzənˈteɪʃənz əv ˈvaɪələns wɪˈθɪn ˈfɪkʃənz. wi iʧ noʊ wət wi kən ˈtɑlərˌeɪt ənd tɛnd tɪ əˈvɔɪd moʊdz əv ˌrɛprəzɛnˈteɪʃən wi faɪnd tu ˌɪnˈtɛns ər dɪˈstərbɪŋ. moʊst ˈreɪtɪŋz ˈsɪstəmz dɪˈstɪŋgwɪʃ bɪtˈwin ənd ˌriəˈlɪstɪk fɔrmz əv ˈvaɪələns. wi nid tɪ gɑrd əˈgɛnst ðə əˈsəmpʃən, ˌhaʊˈɛvər, ðət ðə mɔr ˈgræfɪk fɔrmz əv ˈvaɪələns ər ˌnɛsəˈsɛrəli "sɪk" ər ˌɪnəˈproʊpriɪt. mɔr ˈstaɪˌlaɪzd fɔrmz kən meɪk ɪt məʧ ˈiziər tɪ ˌɪgˈnɔr ðə ˈgrævɪti əv ril wərld ˈvaɪələns θru ə ˈprɔˌsɛs əv sanitization*. ɪn səm ˈkeɪsɪz, mɔr ˈgræfɪk dɪˈpɪkʃənz əv ˈvaɪələns ˈʃætər ðət kəmˈpleɪsənsi ənd kən fɔrs ˈjuˈɛs tɪ kənˈfrənt ðə ˈjumən kɔsts əv ˈvaɪələns. ˈlɪtərˌɛri ˈkrɪtɪks hæv lɔŋ meɪd ə dɪˈstɪŋkʃən bɪtˈwin ʃoʊɪŋ ənd ˈtɛlɪŋ. wi maɪt ɪkˈstɛnd ðɪs dɪˈstɪŋkʃən tɪ θɪŋk əˈbaʊt ˈmidiə ˌrɛprəzənˈteɪʃənz əv ˈvaɪələns. ən ˈɑrtɪst meɪ æsk ˈjuˈɛs tɪ dɪˈrɛkli kənˈfrənt ðə ækt əv ˈvaɪələns, ər ʃi meɪ æsk ˈjuˈɛs tɪ dil wɪθ ɪts ˌripərˈkəʃənz, ˈhævɪŋ ə ˈkɛrɪktər dɪˈskraɪb ən ɪˈvɛnt wɪʧ əˈkərd ˌbiˈfɔr ðə ˈoʊpənɪŋ əv ðə ˈnɛrətɪv ər wɪʧ tʊk pleɪs ɔf steɪʤ. səm ˈvɛri ˈfeɪməs ɪgˈzæmpəlz əv ˈmidiə ɛz ðə ˈtɔrʧər ˈsikwənsɪz ɪn ˈrɛzəvˌwɑr dɔgz ər pəlp ˈfɪkʃən --pʊl ðə ˈkæmərə əˈweɪ æt ðə ˈmoʊmənts əv pik ˌɪnˈtɛnsɪti, ˈkaʊntɪŋ ɔn ðə vjuərz ˌɪˌmæʤəˈneɪʃən tɪ fɪl ɪn wət ˈhæpənz, ˈɔfən beɪst ɔn kjuz frəm ðə ˈsaʊnˌtræk, ər ɪn ðə keɪs əv pəlp ˈfɪkʃən ðə ˈsplætəˌrɪŋ əv bləd frəm off-camera*. əˈgɛn, wi nid tɪ gɪt ˈstudənts tɪ ˈfoʊkɪs ɔn ðə kriˈeɪtɪv ˈʧɔɪsɪz meɪd baɪ ðə ˈstɔriˌtɛlərz ənd ˈɑrtɪsts ɪn ðɛr kənˈstrəkʃən əv ðiz ˈɛpɪˌsoʊdz, ˈʧɔɪsɪz əˈspɛʃəli əˈbaʊt wət tɪ ʃoʊ ənd wət nɑt tɪ ʃoʊ. 6 wət ˈfəŋkʃən dɪz ðə ˈvaɪələns sərv ɪn ðə ˈnɛrətɪv? ˈkrɪtɪks ˈɔfən kəmˈpleɪn əˈbaʊt "grəˈtuətəs ˈvaɪələns." ðə freɪz həz bɪn juzd soʊ ˈɔfən ðət wi kən luz təʧ wɪθ wət ɪt minz. əˈkɔrdɪŋ tɪ ðə ˈdɪkʃəˌnɛri, "grəˈtuətəs" minz "biɪŋ wɪˈθaʊt əˈpɛrənt ˈrizən, kɔz, ər ˌʤəstəfəˈkeɪʃən." soʊ, ˌbiˈfɔr wi kən ˌdɪˈsaɪd ɪf ən ˈɛləmənt ɪn ə ˈfɪkʃənəl wərk ɪz grəˈtuətəs, wi hæv tɪ lʊk mɔr ˈkloʊsli æt waɪ ɪt ɪz ˈprɛzənt (ɪts ˌmoʊtəˈveɪʃən) ənd wət ˈpərpəsɪz ɪt sərvz (ɪts ˈfəŋkʃən). kip ɪn maɪnd ðət wi ər nɑt ˈtɔkɪŋ hir əˈbaʊt waɪ ðə ˈkɛrɪktər pərˈfɔrmz ðə ˈvaɪələnt ækt bət ˈrəðər waɪ ðə ˈɑrtɪst ˌɪnˈkludz ɪt ɪn ðə wərk. ən ˈɑrtˌwərk maɪt dɪˈpɪkt ˈsɛnsləs ˈkɪlɪŋz, ɛz əˈkər æt ˈsərtən ˈmoʊmənts ɪn noʊ ˈkəntri fər oʊld mɛn wɛr ðə ˈkɪlər ɪz sˈlɔtərɪŋ ˈpipəl ˈsimɪŋli æt ˈrændəm. ðɪs ˈdəzənt ˌnɛsəˈsɛrəli min ðət ðə ˈvaɪələns ɪz "grəˈtuətəs" sɪns ɪn ðɪs keɪs, ðə ˈvaɪələns sɛts ðə ˈækʃən əv ðə ˈstɔri ˈɪntu ˈmoʊʃən, ənd ðə wərk ɪz ˈvɛri ˈɪntəˌrɛstɪd ɪn haʊ ˈəðər ˈkɛrɪktərz riækt tɪ ðə θrɛt poʊzd baɪ ðɪs ˈsɛnsləs ˈvaɪələns. ðɛr ɪz ɑrˈtɪstɪk ˌmoʊtəˈveɪʃən fər ˌɪnˈkludɪŋ ðə ˈvaɪələns, ˈivɪn ɪf ðə dɪˈrɛktərz, ðə koʊɪn ˈbrəðərz, ər əˈnɪntrəstəd ɪn ðə ˈkɪlərz ˌsaɪkəˈlɑʤɪkəl ˈmoʊtɪvz. ən ˈɛləmənt ɪn ə wərk əv ˈfɪkʃən meɪ bi ˈmoʊtəˌveɪtəd ɔn ˈsɛvərəl ˈdɪfərənt ˈlɛvəlz: ɪt meɪ bi ˈmoʊtəˌveɪtəd ˌriəˈlɪstɪkli, ɪn ðə sɛns ðət ə ˈstɔri əˈbaʊt kənˈtɛmpərˌɛri ˈərbən strit gæŋz maɪt bi ɪkˈspɛktɪd tɪ dɪˈpɪkt ˈvaɪələns ɛz pɑrt əv ðɛr ril wərld ɪkˈspɪriəns; ɪt maɪt bi ˈmoʊtəˌveɪtəd ʤəˈnɛrɪkli, ɪn ðə sɛns ðət ˈpipəl goʊɪŋ tɪ si ə ˈhɔrər ˈmuvi ɪkˈspɛkt tɪ si ə ˈsərtən əˈmaʊnt əv gɔr ənd ˈblədi ˈmeɪˌhɛm; ɪt meɪ bi ˈmoʊtəˌveɪtəd θəˈmætɪkli, ɪn ðə sɛns ðət ən ækt əv ˈvaɪələns meɪ fɔrs ˈkɛrɪktərz tɪ teɪk ðə ˈmɛʒər əv ðɛr oʊn ˈvæljuz ənd ˈɛθɪkəl kəˈmɪtmənts; ɪt meɪ bi ˈmoʊtəˌveɪtəd sɪmˈbɑlɪkəli, ɪn ðə sɛns ðət ə ˈkɛrɪktər drimz əˈbaʊt pərˈfɔrmɪŋ ˈvaɪələns ənd ðoʊz drimz ˈɔfər ˈjuˈɛs ə ˈwɪndoʊ ˈɪntu hɪz ər hər ˈθɪŋkɪŋ ˈprɔˌsɛs. ɪn iʧ keɪs, ðə ˈvaɪələns həz ə ˈdɪfərənt ˌmoʊtəˈveɪʃən, ˈivɪn ðoʊ ðə ˈækʃənz dɪˈpɪktɪd meɪ bi ˈrɛlətɪvli ˈsɪmələr. baɪ ðə seɪm ˈtoʊkən, wi maɪt æsk wət ˈfəŋkʃənz ən ækt əv ˈvaɪələns pleɪz ɪn ðə wərk. wən weɪ tɪ ˈænsər ðət kˈwɛʃən ɪz tɪ ˌɪˈmæʤən haʊ ðə wərk wʊd bi ˈdɪfərənt ɪf ðɪs ˈɛləmənt wər nɑt ˌɪnˈkludɪd. wʊd ðə ˈstɔri hæv ðə seɪm ʃeɪp? wʊd ðə ˈkɛrɪktərz bɪˈheɪv ɪn ðə seɪm weɪ? wʊd ðə wərk hæv ðə seɪm ˈiˌmoʊʃənəl ˌɪmˈpækt? səm ækts əv ˈvaɪələns ˈmoʊtəˌveɪt ðə ˈækʃənz əv ðə ˈstɔri; səm brɪŋ əˈbaʊt ə ˌrɛzəˈluʃən ɪn ðə kɔr ˈkɑnflɪkt; stɪl ˈəðərz mɑrk ˌpɑˈtɪkjələr stɛps ɪn ðə trəˈʤɛktəri əv ðə plɑt; ənd ɪn səm rɛr ˈkeɪsɪz, ðə ˈvaɪələnt ækts meɪ ˌɪnˈdid bi grəˈtuətəs, ɪn ðət ðɛr ɪkˈskluʒən wʊd ʧeɪnʤ ˈlɪtəl ər ˈnəθɪŋ ɪn ɑr ɪkˈspɪriəns əv ðə wərk bət kip ɪn maɪnd ðət ðə ˈvaɪələns wɪʧ dɪˈstərbz ˈjuˈɛs ðə moʊst ɔn fərst vjuɪŋ ɪz nɑt ˌnɛsəˈsɛrəli grəˈtuətəs ənd ɪz ˈɔfən ˈvaɪələns wɪʧ həz ˌræməfəˈkeɪʃənz θruaʊt ðə rɛst əv ðə ˈstɔri. dɪˈskraɪbɪŋ ə sin ɛz "grəˈtuətəs" ɪz ˈizi, əˈspɛʃəli wɪn ɪt ˈʃɔrtˌkəts ðə ˈprɔˌsɛs əv ɪnˈgeɪʤɪŋ mɔr ˈkrɪtɪkəli wɪθ ðə ˈstrəkʧər ənd ˈmɛsɪʤɪz əv ðə wərk ɪn kˈwɛʃən. fər ɪgˈzæmpəl, ðə fɪlm ˈbæskətˌbɔl ˈdaɪəriz bɪˈkeɪm ðə ˈfoʊkɪs əv ˈkɑntrəˌvərsi ˈfɑloʊɪŋ ðə ˈkɑləmˌbaɪn ˈʃutɪŋz praɪˈmɛrəli bɪˈkəz əv ə ˈsɪŋgəl sin ɪn wɪʧ ðə proʊˈtægənəst wɛrz ə lɔŋ blæk koʊt ənd ˌɪˈmæʤənz ˈʃutɪŋ əp ə skul. ðoʊz dɪˈskəsɪŋ ðə ˈsikwəns feɪld tɪ ɪkˈspleɪn ðət ɪt wɑz ə drim ˈsikwəns, nɑt ən ˈækʃən pərˈfɔrmd baɪ ðə fɪlmz proʊˈtægənəst, ənd ðət ɪt ɪz pɑrt əv ə ˈlɑrʤər ˈstɔri wɪʧ ɪkˈsplɔrz haʊ ə jəŋ mæn ˈoʊvərˈkeɪm hɪz reɪʤ, hɪz əˈdɪkʃənz, ənd hɪz ˌæntɪˈsoʊʃəl ˌɪmˈpəlsɪz tɪ bɪˈkəm ə poʊət. wɪˈθaʊt ðə ˌrɛprəzɛnˈteɪʃən əv hɪz əˈgrɛʃən, ðə paʊər əv ðə ˈstɔri əv rɪˈdɛmʃən wʊd bi ˈwikənd, wɛˈræz ðə sin riˈmuvd frəm ˈkɑntɛkst simd tɪ ɛnˈdɔrs ðə ˌæntɪˈsoʊʃəl ˈvæljuz ðə wərk ˌɪtˈsɛlf ˈriʤɛkts. 7 wət perspective(s*) dɪz ðə wərk ˈɔfər ˈjuˈɛs təˈwɔrdz ðə ˈkɛrɪktər ɪnˈgeɪʤɪŋ ɪn ˈvaɪələns? ˈmidiə θiərɪsts hæv spɛnt ə greɪt dil əv taɪm traɪɪŋ tɪ dɪˈtərmən wət wi min wɪn wi seɪ wi aɪˈdɛntəˌfaɪ wɪθ ə ˈkɛrɪktər ɪn ə ˈfɪkʃənəl wərk. æt ðə moʊst ˈbeɪsɪk ˈlɛvəl, ɪt minz wi ˈrɛkəgˌnaɪz ðə ˈkɛrɪktər; wi dɪˈstɪŋgwɪʃ ðə ˈfɪkʃənəl ˈfɪgjər frəm ˈəðərz dɪˈpɪktɪd ɪn ðə seɪm wərk. frəm ðɛr, wi meɪ min ðət ðə wərk dɪˈvoʊts ə greɪt dil əv taɪm ənd speɪs tɪ dɪˈpɪktɪŋ ðə ˈækʃənz əv ðɪs ˌpɑˈtɪkjələr ˈkɛrɪktər. ˈtɪpɪkəli, ðə mɔr taɪm wi spɛnd wɪθ ə ˈkɛrɪktər, ðə mɔr ˈlaɪkli wi ər tɪ si ðə wərld frəm hər pɔɪnt əv vju. jɛt, ðɪs ɪz nɑt ˈɔlˌweɪz ðə keɪs. wi meɪ bi æst tɪ əbˈzərv ənd ʤəʤ ˈkɛrɪktərz, əˈspɛʃəli ɪf ðɛr ˈækʃənz ənd ðə ˈvæljuz ðeɪ ɪmˈbɑdi fɔl ˈaʊtˈsaɪd əv ðə ˈsteɪtɪd pərˈspɛktɪv əv ðə wərk. wi meɪ groʊ kloʊz tɪ ə ˈkɛrɪktər ˈoʊnli tɪ bi pʊʃt əˈweɪ əˈgɛn wɪn ðə ˈkɛrɪktər teɪks ən ˈækʃən wi faɪnd ˌrɛprɪˈhɛnsəbəl ənd ˌənˌʤəstɪˈfaɪəbəl. ðɛr ɪz ə dɪˈstɪŋkʃən tɪ bi drɔn hir bɪtˈwin ðə ˈstrəkʧərɪŋ əv ˈnɛrətɪv pɔɪnt əv vju ənd ðə ˈstrəkʧərɪŋ əv ˈmɔrəl ˈʤəʤmənts ɔn ðə ˈkɛrɪktər. pɑrt əv wət hɛlps ˈjuˈɛs tɪ nɪˈgoʊʃiˌeɪt bɪtˈwin ðə tu ɪz ðə dɪˈgri tɪ wɪʧ wi ər ˈgɪvɪn ˈækˌsɛs tɪ ðə θɔts ənd ˈfilɪŋz əv ðə ˈkɛrɪktər (ənd ɪn ðə keɪs əv ən wərk, ðə dɪˈgri tɪ wɪʧ wi si ðə wərld frəm hɪz ər hər ˈɑptɪkəl pɔɪnt əv vju). kənˈsɪdər, fər ɪgˈzæmpəl, ðə juz əv fərst ˈpərsən ˈkæmərə ɪn ə wərk laɪk ʤɔz wɛr sinz ər ˈsəmˌtaɪmz ʃɑt frəm ðə pərˈspɛktɪv əv ðə ʃɑrk ɛz ɪt swɪmz θru ðə ˈwɔtər əˈproʊʧɪŋ ɪts ˈjumən preɪ. æt səʧ ˈmoʊmənts, wi fil fɪr ənd drɛd fər ðə ˈjumən ˈvɪktɪmz, nɑt ˈsɪmpəθi fər ðə ʃɑrks. ˈfɪlˌmeɪkərz kˈwɪkli ˈlərnɪd tɪ məˈnɪpjəˌleɪt ðɪs fərst ˈpərsən ˈkæmərə, ˈsəmˌtaɪmz ˈduplɪˌkeɪtɪŋ ðə seɪm ˈkæmərə ˈmuvmənt, ˈtrɪkɪŋ ˈjuˈɛs ˈɪntu ˈθɪŋkɪŋ ðə ˈmɑnstər ɪz əˈproʊʧɪŋ, ənd ðɛn, ˈdɛmənˌstreɪtɪŋ ðɪs tɪ bi ə fɔls əˈlɑrm. soʊ, ɪt ɪz ˈpɑsəbəl tɪ ˈfɑloʊ ˈkɛrɪktərz bət nɑt gɪt ˌɪnˈsaɪd ðɛr hɛd, ənd ɪt ɪz ˈpɑsəbəl tɪ hæv ˈækˌsɛs tɪ ˈkɛrɪktərz' θɔts ənd stɪl nɑt ʃɛr ðɛr ˈmɔrəl pərˈspɛktɪv. ənd ˌɪnˈdid, ɔl əv ðiz riˈleɪʃənˌʃɪps meɪ ʃɪft ɪn ðə kɔrs əv ˈrɛdɪŋ ə bʊk ɛz wi meɪ fil ðə ˈkɛrɪktərz ˈækʃənz ər ˈʤəstəˌfaɪd əp ənˈtɪl ə ˈsərtən pɔɪnt ənd ðɛn krɔs ən ˌɪmˈplɪsət laɪn wɛr ðeɪ bɪˈkəm ˈmɑnstrəs. ˈhoʊmər ʃɛrz pɔɪnt əv vju θruaʊt məʧ əv ðə ˈɑdəsi, bət wi stɪl ər ˌɪnˈklaɪnd tɪ pʊl bæk frəm ɪm æt ə ˈsərtən pɔɪnt ɛz hi brɪŋz ˈblədi ˈvɛnʤəns əˈpɑn ˈsutərz ɪn ðə ˈfaɪnəl ˈmoʊmənts əv ðə ˈɛpɪk. ˈkɛli aɪˈdɛntəˌfaɪz ə ˈsɪmələr ˈpætərn ɪn wɛr wi ər ˌɪnˈvaɪtɪd tɪ ɪkˈspɪriəns wət ˈweɪlɪŋ wʊd bi laɪk frəm ðə pɔɪnt əv vju əv ðə weɪl, ənd ɪn ðə ˈprɔˌsɛs, wi ər ɪnˈkərəʤd tɪ rɪˈflɛkt ɔn ðə ˈblədi bruˈtælɪti əv sˈlɔtərɪŋ ən ˈɪnəsənt ˈænəməl, ˈstrɪpɪŋ ðə mit ɔf ɪts boʊnz, ənd ˈbɔɪlɪŋ ɪts flɛʃ tɪ kriˈeɪt ɔɪl. hir, ə breɪk ɪn ðə ˈfɑloʊɪŋ ˈpætərn gɪvz ˈjuˈɛs ən ˌɑpərˈtunəti tɪ riəˈsɛs haʊ wi fil əˈbaʊt ðə ˈkɛrɪktərz wɪθ hum wi hæv əp ənˈtɪl ðət pɔɪnt bɪn ˈkloʊsli əˈlaɪnd. wi maɪt θɪŋk əˈbaʊt ə ˈkɑmən dɪˈvaɪs ɪn ˈtɛləˌvɪʒən ˈmɛləˌdrɑmə wɛr wiv sin ə sin əv ˈkɑnflɪkt bɪtˈwin tu ˈkɛrɪktərz hu bɪˈliv ðeɪ ər əˈloʊn ənd ðɛn æt ðə ɛnd, ðə ˈkæmərə pʊlz bæk tɪ ʃoʊ ðə riˈækʃən əv ə ˈpriviəsli ˌəndɪˈskloʊzd ˈfɪgjər hu həz bɪn ˈwɑʧɪŋ ər ˌoʊvərˈhirɪŋ ðə ˈækʃən. səʧ ˈmoʊmənts ˌɪnˈvaɪt ˈjuˈɛs tɪ riəˈsɛs wət wiv ʤɪst sin frəm əˈnəðər ˈvæntɪʤ pɔɪnt. ɪn ˈvɪdioʊ geɪmz, ðə ˈkætəˌgɔri əv "fərst ˈpərsən ˈʃutərz" həz bɪn əˈspɛʃəli ˌkɑntrəˈvərʃəl wɪθ ˈkrɪtɪks kənˈsərnd əˈbaʊt ðə ˌɪmpləˈkeɪʃənz əv pleɪərz ˈteɪkɪŋ ɔn ðə ˈɑptɪkəl pɔɪnt əv vju əv ə ˈkɛrɪktər pərˈfɔrmɪŋ ækts əv ˈvaɪələns; ˈɔfən, ˈkrɪtɪks ˈɑrgju, ðə pleɪər ˈdəzənt ʤɪst wɔʧ ə ˈvaɪələnt ækt bət ɪz ˈæktɪvli ɪnˈkərəʤd tɪ pɑrˈtɪsəˌpeɪt. ˈgeɪmərz wɪl ˈsəmˌtaɪmz rɪˈfər tɪ ðɛr ˈkɛrɪktərz ɪn ðə θərd ˈpərsən ("hi") ənd ˈsəmˌtaɪmz ɪn ðə fərst ˈpərsən ("aɪ"), ˈproʊnaʊn ðət səˈʤɛst səm kənfˈjuʒənz brɔt əˈbaʊt baɪ ðə ˌɪnˈtɛns aɪˌdɛntəfəˈkeɪʃən pleɪərz ˈsəmˌtaɪmz fil təˈwɔrdz ðɛr ˈævəˌtɑrz. jɛt, ˈivɪn hir, wi nid tɪ bi ˈkɛrfəl tɪ dɪˈstɪŋgwɪʃ bɪtˈwin ˈfɑloʊɪŋ ˈpætərn, ˈɑptɪkəl pɔɪnt əv vju, ənd ˈmɔrəl ˈætəˌtud. ɪn geɪmz, wi ˈtɪpɪkəli rɪˈmeɪn əˈtæʧt tɪ ə ˈsɪŋgəl ˈkɛrɪktər hum wi kənˈtroʊl, ənd ðəs wi hæv ə ˈvɛri strɔŋ ˈfɑloʊɪŋ ˈpætərn. ɪn fərst ˈpərsən ˈʃutərz, wi si ðə ˈækʃən θru ðə ˈɑptɪkəl pɔɪnt əv vju əv ðət ˈkɛrɪktər, ðoʊ wi meɪ fil noʊ lɛs kəˈnɛktɪd tɪ ðə ˈkɛrɪktərz wi kənˈtroʊl ɪn ə θərd ˈpərsən geɪm (wɛr wi si ðə fʊl ˈbɑdi əv ðə ˈkɛrɪktər frəm ən ɪkˈstərnəl pərˈspɛktɪv). ðə ˈsɛkənd ˈpərsən ˈvɪdioʊ geɪm kənˈfaʊndz ɑr ˈnɔrməl ˌɛkspɛkˈteɪʃənz əˈbaʊt ˈɑptɪkəl pɔɪnt əv vju, ˌɪnˈvaɪtɪŋ ˈjuˈɛs tɪ si ðə ˈækʃən frəm ən ˌənfəˈmɪljər pərˈspɛktɪv, ənd ðəs ɪt meɪ ʃeɪk əp ɑr ˈtɪpɪkəl weɪz əv ˈmeɪkɪŋ sɛns əv ðə ˈækʃən. ðoʊz hu hæv spɛnt taɪm ˈwɑʧɪŋ pleɪərz pleɪ ənd ˈɪntərvˌjuɪŋ ðɛm əˈbaʊt ðɛr geɪm ɪkˈspɪriənsɪz faɪnd ðət ɪn fækt, aɪˌdɛntəfəˈkeɪʃən wərks ɪn ˈkɑmplɛks weɪz, sɪns ðə pleɪər ɪz ˈɔlˌmoʊst ˈɔlˌweɪz ˈθɪŋkɪŋ ˈtæktɪkəli əˈbaʊt ðə ˈʧɔɪsɪz ðət wɪl əˈlaʊ hər tɪ bit ðə geɪm. ˈwɪnɪŋ ˈɔfən ˌɪnˈvɑlvz ˈstɛpɪŋ ˈaʊtˈsaɪd ə ˈsɪmpəl ˈiˌmoʊʃənəl ər ˈmɔrəl kəˈnɛkʃən wɪθ ən ˌɪndəˈvɪʤəwəl ˈkɛrɪktər. pleɪərz ər ɪnˈkərəʤd tɪ θɪŋk əv ðə geɪm ɛz ə ˈsɪstəm, nɑt ənˈlaɪk ˈteɪkɪŋ ə mɔr ɑmˈnɪʃənt pərˈspɛktɪv ɪn ˈrɛdɪŋ ə wərk əv ˈfɪkʃən, ˈivɪn ɛz ˈəðər ˈæˌspɛkts əv ðə geɪmz ˈfɔrməl ˈstrəkʧər meɪ ɪnˈkərəʤ ðɛm tɪ fil ə kloʊz əˈlaɪnmənt wɪθ ə ˌpɑˈtɪkjələr ˈkɛrɪktər huz ˈækʃənz ər ʃeɪpt baɪ ðɛr oʊn dɪˈsɪʒənz. geɪm dɪˈzaɪnər wɪl raɪt (ðə sɪmz, sɪm ˈsɪti) həz ˈɑrgjud ðət geɪmz meɪ hæv ə juˈnik əˈbɪləˌti tɪ meɪk pleɪərz ɪkˈspɪriəns gɪlt fər ðə ˈʧɔɪsɪz ðɛr ˈkɛrɪktərz hæv meɪd ɪn ðə kɔrs əv ðə ˈækʃən. wɪn wi wɔʧ ə fɪlm ər rɛd ə ˈnɑvəl, wi ˈɔlˌweɪz rɪˈzərv ðə əˈbɪləˌti tɪ pʊl bæk frəm ə ˈkɛrɪktər wi meɪ ˈəðərˌwaɪz ædˈmaɪr ənd ɪkˈsprɛs ˈæŋgər ˈoʊvər ˈʧɔɪsɪz hi ər ʃi həz meɪd ər tɪ dɪˈrɛkt ðət ˈæŋgər təˈwɔrdz ðə ˈɔθər hu ɪz rɪˈflɛktɪŋ ə wərld vju wi faɪnd rɪˈpəgnənt. jɛt, ɪn ə geɪm, bɪˈkəz pleɪərz ər ˈmeɪkɪŋ ˈʧɔɪsɪz, ˌhaʊˈɛvər ˈlɪmɪtɪd ðə ˈɔpʃənz prəˈvaɪdɪd baɪ ðə dɪˈzaɪnər, ðeɪ fil səm dɪˈgri əv ˌkəlpəˈbɪlɪti. ənd ə geɪm dɪˈzaɪnər həz ðə əˈbɪləˌti tɪ fɔrs ðɛm tɪ rɪˈflɛkt bæk ɔn ðoʊz ˈʧɔɪsɪz ənd ðəs tɪ hæv ən ɪkˈspɪriəns əv gɪlt. 8 wət roʊlz (əˈgrɛsər, ˈvɪktɪm, ˈəðər) dɪz ðə proʊˈtægənəst pleɪ ɪn ðə dɪˈpɪkʃən əv ˈvaɪələns? ˈmɛni əv ðə ˈmidiə tɛksts wɪʧ hæv bɪn moʊst ˌkɑntrəˈvərʃəl ər wərks wɪʧ brɪŋ ðə vjuər ˈɪntu ðə hɛd əv ðə ðə ˈgæŋstər fɪlmz əv ðə θru kənˈtɛmpərˌɛri fɪlmz laɪk ˈnæʧərəl bɔrn ˈkɪlərz ənd əˈmɛrɪkən ˈsaɪkoʊ, ˈtɛləˌvɪʒən ˈsɪriz laɪk ˈdɛkstər ənd ðə səˈprænoʊz, ənd geɪmz laɪk grænd θɛft ˈɔtoʊ. ɔl əv ðiz wərks ər əˈkjuzd əv ˈglæməraɪzɪŋ kraɪm. ɛz wiv ɔˈrɛdi dɪˈskəst, wi nid tɪ dɪˈstɪŋgwɪʃ bɪtˈwin ˈfɑloʊɪŋ ˈpætərn, ˈɑptɪkəl ənd ˌsaɪkəˈlɑʤɪkəl pɔɪnt əv vju, ənd ˈmɔrəl əˈlaɪnmənt. ˈmɛni əv ðiz wərks brɪŋ ˈjuˈɛs ˈkloʊzər tɪ səʧ ˈfɪgjərz prɪˈsaɪsli soʊ ðət wi kən fil ə ˈgreɪtər sɛns əv ˈhɔrər ˈoʊvər ðɛr bɪˈheɪvjər. kənˈsɪdər, fər ɪgˈzæmpəl, sˈwini tɑd, wɪʧ dɪˈpɪkts ə ˈmərdərəs ˈbɑrbər ənd hɪz ˈpɑrtnər, ə ˈbeɪkər, hu tərnz ðə ˈbɑdiz əv hɪz ˈvɪktɪmz ˈɪntu mit paɪz ʃi sɛlz tɪ hər ˈkəstəmərz. wi rɛd ðə ˈstɔri frəm ðɛr pərˈspɛktɪv ənd wi ər ˈivɪn ɪnˈkərəʤd tɪ læf æt ðɛr ˈpeɪnfəl ənd ˈhɑrtləs pənz əˈbaʊt ðə pəˈtɛnʃəl ˈvælju əv ˈdɪfərənt ˈpipəl ɛz ˈsɔrsəz fər ˈjumən mit. jɛt, ɑr strɔŋ aɪˌdɛntəfəˈkeɪʃən wɪθ ðiz ˈkɛrɪktərz əˈlaʊz ˈjuˈɛs tɪ fil ˈgreɪtər ˈhɔrər ənd ˈsɑroʊ ˈoʊvər ðə ˈfaɪnəl ˈkɑnsəkˌwɛnsəz əv ðɛr ˈækʃənz. æt ðə ˈəðər ɛnd əv ˈspɛktrəm, ˈlɪtərˌɛri ˈskɑlər ʤeɪmz keɪn dɪˈskraɪbz haʊ ə hoʊl ˈʒɑnrə əv ˈlɪtərˌɛri wərks əroʊz ɪn ðə ˈmɪdəl ˈeɪʤɪz əraʊnd ˌrɛprəzənˈteɪʃənz əv seɪnts ɛz ˈvɪktɪmz: "ðə ˌpərsəˈkjuʃəns əv ˈərli ˈkrɪsʧɪnz geɪv raɪz tɪ ən ˌɛkstrəˈɔrdəˌnɛri kəˈlɛkʃən əv teɪlz kəˈmɛmərˌeɪtɪŋ ðə ˌsupərˈnæʧərəl ˈɛndərəns əv ˈvɪktɪmz hu ˈwɪlɪŋli ˈsəfərd ˈheɪnəs əˈtrɑsətiz ənd ˈəltəmətli geɪv ðɛr lɪvz ˈbɛrɪŋ ˈwɪtnəs tɪ ðɛr feɪθ. frəm əˈkaʊnts əv ðə ˈstoʊnɪŋ əv ðə fərst ˈmɑrtər, st*. ˈstivən, tɪ ðə ˈbrɔɪlɪŋ əv st*. ˈlɔrəns ɔn ən ˈoʊpən grɪl, ðə ˈstræpɪŋ əv st*. ˈkæθərɪn tɪ ə məˈkænɪkəl wil əv ˈtɔrʧər, ðə əv st*. ˈlusiz ˈaɪˌbɔlz, ðə əv st*. θroʊt, ðə əv st*. brɛsts, ðə ˈfidɪŋ əv st*. pərˈpɛʧuə ənd st*. tɪ ðə laɪənz, ðə ˈpɪrsɪŋ əv st*. səˈbæsʧən wɪθ ə bərɑʒ əv ˈgræfɪk bruˈtælɪti ənˈdaʊtɪdli ɪkˈsidz ˈivɪn ðə moʊst ˈvaɪələnt ˈɪmɪʤɪz ɪn ˈmidiə təˈdeɪ.... ðə strɔŋ ˈiˌmoʊʃənəl rɪˈspɑnsɪz ðiz ˈɪmɪʤɪz ˈkɑnʤərd əp ɪn ðɛr əbˈzərvərz wər dɪˈlɪbərətli dɪˈzaɪnd tɪ ˈproʊdus ˈlæstɪŋ ˌɪmˈprɛʃənz ɪn ˈpipəlz ˈmɛməriz ənd ˌɪˌmæʤəˈneɪʃənz, tɪ ɪˈneɪbəl ˈfərðər rɪˈflɛkʃən." fɑr frəm biɪŋ kərˈəptɪŋ, ˌrɛprəzənˈteɪʃənz əv ˈvaɪələns ər sin ɛz ə sɔrs əv ˈmɔrəl ˌɪnˈstrəkʃən, ɪn pɑrt bɪˈkəz əv ɑr ɪˈnɔrmɪs sɛns əv ˈɛmpəθi fər ðə seɪnts' əˈbɪləˌti tɪ ɪnˈdʊr ˈsəfərɪŋ. moʊst əˈmɛrɪkən ˈpɑpjələr ˈkəlʧər nɪˈgoʊʃiˌeɪts bɪtˈwin ðə tu ɪkˈstrimz. ɪn ðə keɪs əv ˌsupərˈhiroʊz, fər ɪgˈzæmpəl, ðɛr ˈɔrəʤən ˈstɔriz ˈɔfən ˌɪnˈklud ˈmoʊmənts əv ˌvɪktəməˈzeɪʃən ənd lɔs, ɛz wɪn jəŋ brus weɪn ˈwɑʧɪz hɪz ˈməðər ənd ˈfɑðər gɪt kɪld ˌbiˈfɔr ˌdɪˈsaɪdɪŋ tɪ dɪˈvoʊt hɪz laɪf tɪ ˈbætəlɪŋ kraɪm ɛz ðə ˈbætˌmæn, ər wɪn ˈpitər ˈpɑrkər lərnz ðət "wɪθ greɪt paʊər kəmz greɪt riˌspɑnsəˈbɪləti" ðə hɑrd weɪ wɪn hɪz læk əv riˌspɑnsəˈbɪləti rɪˈzəlts ɪn ðə dɛθ əv hɪz bɪˈləvəd ˈəŋkəl. ɪn ðə wərld əv ðə ˌsupərˈhiroʊz, ðə ˈvɪlənz ər ˈɔlsoʊ ˈɔfən ˈvɪktɪmz əv ækts əv ˈvaɪələns, ɛz wɪn ðə feɪs (ənd ˈsaɪki) ər skɑrd baɪ biɪŋ pʊʃt ˈɪntu ə væt əv ˈæsəd. ðə ˌsupərˈhiroʊ ˈʒɑnrə tɛndz tɪ səˈʤɛst ðət wi hæv ə ʧɔɪs haʊ wi rɪˈspɑnd tɪ ˈtrɔmə ənd lɔs. fər səm, wi ˈimərʤ ˈstrɔŋgər ənd mɔr ˈɛθɪkəli kəˈmɪtɪd, waɪl fər ˈəðərz, wi ər ˈdɛvəˌsteɪtɪd ənd ˈbɪtər, ˈtərnɪŋ təˈwɔrdz ˈækʃənz ənd ˈsɛlfdɪˈstrəkts. ə wərk laɪk ˈdeɪvɪd ə ˈhɪstəri əv ˈvaɪələns ɪz ˌpɑrˈtɪkjələrli ˈkɑmplɛks, sɪns wi lərn mɔr ənd mɔr əˈbaʊt ðə ˈkɛrɪktərz pæst ɛz wi muv mɔr ˈdipli ˈɪntu ðə ˈnɛrətɪv ənd sɪns ðə proʊˈtægənəst muvz frəm ˈbaɪˌstændər tɪ ˈvɪktɪm ənd ðɛn rɪˈvərsɪz θɪŋz, ˈteɪkɪŋ hɪz ˈbætəl tɪ ðə ˈgæŋstərz, ənd əˈlɔŋ ðə weɪ, bɪˈkəmz ˌɪnˈkrisɪŋgli səˈdɪstɪk ɪn hɪz juz əv ˈvaɪələns. wɔnts tɪ hæv ðə vjuər riˈθɪŋkɪŋ ənd riəˈsɛsɪŋ ðə ˈminɪŋ əv ˈvaɪələns ɪn ˈɔlˌmoʊst ˈɛvəri sin əv ðə fɪlm. ðə ˈfɪlˌmeɪkər ʤin rɛnˈwɑr ˈfeɪməsli sɛd "ˈɛvəri ˈkɛrɪktər həz hɪz ˈrizən." hɪz pɔɪnt wɑz ðət ɪf wi ʃɪft pɔɪnt əv vju, wi kən rɛd ðə əˈgrɛsər ɛz ˈvɪktɪm ər vaɪs ˈvərsə. fju ˈpipəl si ðɛmˈsɛlvz ɛz kruəl; moʊst faɪnd weɪz tɪ ˈʤəstəˌfaɪ ənd ˈræʃənəˌlaɪz ækts əv ˈivɪn ðə rɑəst əˈgrɛʃən. ənd ə ˈlɪtərˌɛri wərk meɪ ˌɪnˈvaɪt ˈjuˈɛs tɪ si ðə seɪm ˈækʃən frəm ˈsɛvərəl ˈdɪfərənt pərˈspɛktɪvz, ˈʃɪftɪŋ ɑr aɪˌdɛntəfəˈkeɪʃənz ənd ˈɛmpəθi ɪn ðə ˈprɔˌsɛs. soʊ, fər ɪgˈzæmpəl, ðə ˈmoʊmənt wɪn wi si ðə hənt frəm ðə weɪlz pɔɪnt əv vju rɪˈvərsɪz ðə lɛnz, siɪŋ flæsk ənd hɪz kru ɛz ðə əˈgrɛsərz ənd ðə weɪl ɛz ðə ˈvɪktɪm, ə pərˈspɛktɪv wi doʊnt gɪt ɪn ðə rɛst əv ðə ˈnɑvəl. ˈivɪn wɪn ðə ˈɑrtɪst ˈdəzənt fɪl ɪn ðiz ˈəðər pərˈspɛktɪvz, ˈkrɪtɪks ənd ˈspɛkteɪtərz kən stɛp bæk frəm ə sin, pʊt ðɛmˈsɛlvz ɪn ðə hɛdz əv ðə ˈvɛriəs ˈkɛrɪktərz, ənd ˌɪˈmæʤən wət ðə wərld maɪt lʊk laɪk frəm ðɛr pɔɪnt əv vju. kənˈsɪdər ðə ˈnɑvəl ənd steɪʤ pleɪ, ˈwɪkəd, wɪʧ ðə ˈwɪzərd əv ɑz frəm ðə ˈvæntɪʤ pɔɪnt əv ðə ˈwɪkəd wɪʧ ənd pɔrˈtreɪz ˈdɔrθi ɛz ə min ˈspɪrɪtəd hu həz ˈmərdərd ðə ˈwɪʧɪz ˈsɪstər. 9 wət ˈmɔrəl freɪm (pro-social*, ˌæntɪˈsoʊʃəl, æmˈbɪgjuəs) dɪz ðə wərk pleɪs əraʊnd ðə dɪˈpɪktɪd ˈvaɪələns? səm ˈfɪkʃənz ˈfoʊkɪs ɔn ˈvaɪələns ɛz ðə pərˈfɔrməns əv ˈduti. ðə pəˈlis, fər ɪgˈzæmpəl, ər ˈɔθərˌaɪzd tɪ juz ˈsərtən ˈsæŋkʃənd fɔrmz əv ˈvaɪələns ɪn ðə pərˈsut əv ˈkrɪmənəlz ənd ɪn ðə neɪm əv meɪnˈteɪnɪŋ lɔ ənd ˈɔrdər. səm əv ɪgˈzæmpəl, ðə ˈtɛləˌvɪʒən ˈsɪriz ðə ʃild --faɪnd greɪt ˈdrɑmə ɪn ɪkˈsplɔrɪŋ kɑps hu "krɔs ðə laɪn," siɪŋ bruˈtælɪti ər ənˈnɛsəˌsɛri juz əv fɔrs ɛz ə ˈsɪmptəm əv ə pəˈlis fɔrs noʊ ˈlɔŋgər əˈkaʊntəbəl tɪ ɪts ˈpəblɪk. ˈsɪmələrli, məʧ ˈfɪkʃən ˈsɛnərz ɔn θimz əv wɔr, wɪθ wərks ˈiðər ɛnˈdɔrsɪŋ ər ˈkrɪtɪˌsaɪzɪŋ ˈmɪlɪˌtɛri ˈækʃənz ɛz fɔrmz əv ˈvaɪələns ɪn ðə ˈsərvɪs əv ðə steɪt ənd əv ðə ˈpəblɪk. ðɛr ɪz ə lɔŋ trəˈdɪʃən əv ˈnæʃənəl ˈɛpɪks, goʊɪŋ bæk tɪ ˈklæsɪkəl taɪmz, wɪʧ dɪˈpɪkt ðə ˈstrəgəlz tɪ ɪˈstæblɪʃ ər dɪˈfɛnd ðə ˈneɪʃən wɪθ ˈvaɪələns ˈɔfən lɪŋkt tɪ ˌpeɪtriˈɑtɪk θimz ənd ˈvæljuz. ɪn ðə əˈmɛrɪkən trəˈdɪʃən, ðɪs ˈfəŋkʃən wɑz wəns pərˈfɔrmd baɪ ðə ˈwɛstərn, wɪʧ dɪˈpɪkts ðə ˈprɔˌsɛs baɪ wɪʧ "ˈsævɪˌʤɛri" geɪv weɪ tɪ "ˌsɪvəlɪˈzeɪʃən," ðoʊ mɔr ˈrisənt ˈwɛstərnz hæv ˈsəmˌtaɪmz ɪkˈsplɔrd ðə sˈlɔtər əv ðə ˈɪndiənz frəm ə mɔr ˈkrɪtɪkəl pərˈspɛktɪv ɛz ə fɔrm əv ˈreɪʃəl ˈklɛnzɪŋ. soʊ, ˈivɪn wɪˈθɪn ˈʒɑnrəz ðət dɪˈpɪkt ðə juz əv fɔrs ɪn ər ˌpeɪtriˈɑtɪk tərmz, ðɛr ər ˌɑpərˈtunətiz fər ˈreɪzɪŋ kˈwɛsʧənz əˈbaʊt ðə ˈneɪʧər ənd ˈvælju əv ˈvaɪələns ɛz ə tul fər ˈbrɪŋɪŋ əˈbaʊt ˈɔrdər ənd stəˈbɪlɪti. ɔn ðə ˈəðər hænd, ˈmɛni ˈstɔriz dɪˈpɪkt ˈvaɪələns ɛz, ˈfoʊkɪsɪŋ ɔn ˈkrɪmənəlz, ˈgæŋstərz, ər ˈtɛrəˌrɪsts, hu ˈɔpərˌeɪt ˈaʊtˈsaɪd ðə lɔ ənd ɪn ˌɑpəˈzɪʃən tɪ ðə steɪt ər ðə kəmˈjunɪti. ðə ˈkəlʧərəl ˈkrɪtɪk ˈrɑbərt dɪˈskəsɪz ðə ˈvɛri ˈdɪfərənt ˌrɛprəzənˈteɪʃənz əv "mɛn wɪθ gənz" faʊnd ɪn ðə ˈwɛstərn, ðə ˈgæŋstər fɪlm, ənd ðə wɔr ˈmuvi, səˈʤɛstɪŋ ðət ɔl θri ˈʒɑnrəz hæv strɔŋ ˈmɔrəl koʊdz wɪʧ ɪkˈspleɪn wɪn ɪt ɪz ˈʤəstəˌfaɪəbəl tɪ juz fɔrs ənd dɪˈpɪktɪŋ wət ˈhæpənz tɪ ˈkɛrɪktərz hu trænzˈgrɛs ðoʊz nɔrmz. ðə ˈwɛstərnər kən nɑt lɪv ɪn ðə kəmˈjunɪti hi həz hɛlpt tɪ kriˈeɪt θru hɪz juz əv fɔrs; ðə ˈgæŋstər (si ˈskɑrˌfeɪs fər ɪgˈzæmpəl) ˈfrikwɛntli ɪz dɪˈstrɔɪd baɪ ðə ˈvaɪələns hi həz əˈbjuzd tɪ mit hɪz ˈpərsɪnəl dɪˈzaɪərz ənd æmˈbɪʃənz; ənd ðə ˈhɪroʊ rɪˈtərnz hoʊm æt ðə ɛnd əv ðə wɔr, ɔlˈbiɪt ˈɔfən ˌsaɪkəˈlɑʤɪkli trænsˈfɔrmd baɪ ðə ˈvaɪələns hi həz ɪkˈspɪriənst. ʤɪst ɛz ˈfɪkʃənz ðət sim tɪ dɪˈpɪkt ðə juz əv ˈvaɪələns meɪ kənˈteɪn krɪˈtiks əv ðə əˈbjuz əv paʊər baɪ ðə pəˈlis ər ðə ˈhɔrərz əv wɔr, ˈfɪkʃənz wɪʧ dɪˈpɪkt ðə juz əv ˈvaɪələns meɪ ˌɪnˈklud strɔŋ krɪˈtiks əv ðə ˈgæŋstər ˈlaɪfˌstaɪl. ˈrɑbɪn wʊdz həz ˈfeɪməsli səmd əp ðə ˈbeɪsɪk ˈfɔrmjələ əv ðə ˈhɔrər fɪlmz ɛz "ˌnɔrˈmæləti ɪz θˈrɛtənd baɪ mɑnˈstrɑsəti." ɪn səʧ ə ˈfɔrmjələ, ðɛr ər θri ˌɪmˈpɔrtənt tərmz tɪ ˈkɑnstəˌtuts ˌnɔrˈmæləti, wət ˈkɑnstəˌtuts ðə ˈmɑnstrəs, ənd wət riˈleɪʃənˌʃɪp ɪz biɪŋ ˈpɑzətəd bɪtˈwin ðə tu. səm ˈhɔrər fɪlmz ər ˈhaɪli ˌmɔrəˈlɪstɪk, ˈsikɪŋ tɪ dɪˈstrɔɪ ˈɛniˌθɪŋ wɪʧ fɔlz ˈaʊtˈsaɪd əv ˈnɛroʊ nɔrmz; ˈəðərz juz ðə ˈmɑnstər ɛz ðə minz əv ˈkrɪtɪˌsaɪzɪŋ ənd kˈwɛsʧənɪŋ ðə ˈlɪmɪts əv ˌnɔrˈmæləti. ɪn ˈmɛni wərks, ðɛr ɪz ə kɔr ˌæmbɪˈgjuəti əˈbaʊt ðə ˈneɪʧər əv ðə ˈvaɪələns biɪŋ dɪˈpɪktɪd. wi meɪ bi æst tɪ aɪˈdɛntəˌfaɪ wɪθ ˈsɛvərəl ˈkɛrɪktərz hu hæv ˈdɪfərənt ˈmɔrəl koʊdz ənd ðəs hu si ðɛr ˈækʃənz ɪn ˈdɪfərənt tərmz. ɑr ˈʤəʤmənts meɪ ʃɪft ɪn ðə kɔrs əv ðə ˈnɛrətɪv. ðə ˈkɛrɪktərz meɪ ˌəndərˈstænd ðɛr ˈækʃənz ɛz ˈivɪn ɛz ðə ˈɔθər ˌɪnˈvaɪts ˈjuˈɛs tɪ rɛd ðɛm ɛz ˌæntɪˈsoʊʃəl. ər ðə wərk meɪ bi seɪɪŋ ðət ðɛrz noʊ ˈsɪmpəl dɪˈstɪŋkʃən tɪ bi drɔn bɪtˈwin ˈdɪfərənt fɔrmz əv ˈvaɪələns: ɪts ɔl ˈikwəli dɪˈstrəktɪv. wi maɪt ˈivɪn ˌɪˈmæʤən ə ˈtruli wərk ɪn wɪʧ ɔl ˈvaɪələns ɪz ˈʤəstəˌfaɪd. ɪt ˈɪzənt ðət wi wɔnt ˈstudənts tɪ fɪt wərks ˈɪntu ˈsɪmpəl ˈkætəˌgɔriz hir. ˈrəðər, ˈæskɪŋ ðɪs kˈwɛʃən kən fɔrs ðɛm təˈwɔrdz ə mɔr ˈkɑmplɛks ˌəndərˈstændɪŋ əv ðə ˈmɔrəl ˈʤəʤmənts ðə wərk ɪz əˈpoʊzd tɪ ˈsɪmpli ðoʊz biɪŋ meɪd baɪ ðə ðə ˈvælju əv ðə ˈvaɪələns tɪ soʊˈsaɪɪti. 10 wət toʊn dɪz ðə wərk teɪk təˈwɔrdz ðə ˌrɛprɪˈzɛnɪd ˈvaɪələns? wiv ɔˈrɛdi sin ðə ˌɪmˈpɔrtəns əv dɪˈstɪŋgwɪʃɪŋ bɪtˈwin ðə fɔrmz əv ˈvaɪələns biɪŋ dɪˈpɪktɪd ɪn ə wərk ənd ðə pəˈzɪʃən ðə wərk teɪks ɔn ðoʊz ˈækʃənz. wiv sin ðət aɪˌdɛntəfəˈkeɪʃən wɪθ ə proʊˈtægənəst ɪz ˈfræʤəl ənd ˈʃɪftɪŋ əˈkrɔs ə wərk, soʊ ðət wi meɪ ˈsəmˌtaɪmz fil ə strɔŋ ˈiˌmoʊʃənəl bɑnd wɪθ ə ˈkɛrɪktər fər məʧ əv ðə ˈstɔri ənd jɛt stɪl fil ɛˈstreɪnʤd frəm hər wɪn ðə ˈɔθər rɪˈvilz səm ˈdɑrkər saɪd əv hər ˌpərsəˈnælɪti. ə wərk meɪ dɪˈpɪkt ðə juz əv ˈvaɪələns ənd ˈiðər ɛnˈdɔrs ər ˈkrɪtɪˌsaɪz ðə ɪˈstæblɪʃmənt biɪŋ dɪˈpɪktɪd. ə wərk meɪ dɪˈpɪkt fɔrmz əv ˈvaɪələns ɪn weɪz wɪʧ ər kənˈsərvətɪv ɪn ðɛr pərˈspɛktɪv ɔn ðoʊz grups hu juz fɔrs ˈaʊtˈsaɪd ˈligəl ˈkɑnˌtɛksts. ər ə wərk meɪ dɪˈpɪkt fɔrmz əv ˈvaɪələns ðət ər hɑrd tɪ ˈklæsəˌfaɪ ɪn ðoʊz tərmz ənd ðəs ˌɪnˈvaɪt ˈridərz tɪ ˈstrəgəl wɪθ ðət ˌæmbɪˈgjuəti. ˈsɪmələrli, wi nid tɪ kənˈsɪdər ðə reɪnʤ əv ˈdɪfərənt ˈiˌmoʊʃənəl rɪˈspɑnsɪz ə wərk meɪ ɪˈvoʊk θru ɪts juz əv ˈvaɪələnt ˈɪmɪʤɪz. səm ˈfɪkʃənz əˈbaʊt ˈvaɪələns, səʧ ɛz ðə ˈækʃən ˈsikwənsɪz ɪn ən ˌɪndiˈænə ʤoʊnz ˈmuvi, meɪ θrɪl ˈjuˈɛs wɪθ ɪkˈsaɪtɪŋ, ˈlɑrʤər ðən laɪf hɪˈroʊɪks. səm, səʧ ɛz ˈseɪvɪŋ ˈpraɪvət raɪən ər ˈglɔri, meɪ əˈpil tɪ ɑr sɛns əv ˈnæʃənəl praɪd təˈwɔrdz ðə breɪv mɛn hu geɪv ðɛr lɪvz dɪˈfɛndɪŋ ðɛr ˈkəntri. səm, səʧ ɛz ðə sin ɪn oʊld wɛr ðə bɔɪ ɪz fɔrst tɪ ʃut hɪz dɔg, meɪ ˈʤɛnərˌeɪt ɪˈnɔrmɪs ˈɛmpəθi ɛz wi fil ˈsɑri fər ðə ˈkɛrɪktərz hu ər fɔrst tɪ dɪˈplɔɪ ər ˈsəfər ˈvaɪələns əˈgɛnst ðɛr wɪl. səm, səʧ ɛz dɪˈpɪkʃənz əv ˈjumən ˈsəfərɪŋ əraʊnd ðə wərld, meɪ sik tɪ ʃɑk ˈjuˈɛs ˈɪntu ˈgreɪtər ˈsoʊʃəl ˈkɑnʃəsnəs ənd ˈsɪvɪk ˈækʃən. səm, səʧ ɛz sˈlæpˌstɪk ˈkɑmədi, meɪ ɪnˈkərəʤ ˈjuˈɛs tɪ læf æt ˈhaɪli ˈstaɪˌlaɪzd dɪˈpɪkʃənz əv ˈfɪzɪkəl əˈgrɛʃən. ənd stɪl ˈəðərz, səʧ ɛz sɔ ər ˈnaɪtˌmɛr ɔn ɛlm strit, meɪ prəˈvoʊk ə sɛns əv ˈhɔrər ər dɪsˈgəst ɛz wi pʊt ɑrˈsɛlvz θru ə ˈsɪriz əv ˌɪnˈtɛns ˈiˌmoʊʃənəl ʃɑks ɪn ðə neɪm əv ˌɛnərˈteɪnmənt. wi kən nɑt ˌəndərˈstænd wət ˌrɛprəzənˈteɪʃənz əv ˈvaɪələns min, ðɛn, wɪˈθaʊt peɪɪŋ əˈtɛnʃən tɪ ˈɪʃuz əv toʊn, ənd pɑrt əv ˈtiʧɪŋ kloʊz ˈrɛdɪŋ skɪlz ɪz ˈhɛlpɪŋ ˈstudənts aɪˈdɛntəˌfaɪ ðə ˈsətəl ˈmɑrkɪŋz ɪn ə tɛkst wɪʧ ˈɪndəˌkeɪt ðə toʊn ðə ˈɔθər ɪz ˈteɪkɪŋ təˈwɔrdz ðə dɪˈpɪktɪd ɪˈvɛnts. ˈpɑpjələr tɛksts tɛnd tɪ kriˈeɪt ˈbrɔdli ˌrɛkəgˈnaɪzəbəl ənd ˈizəli ˈlɛʤəbəl saɪnz əv toʊn, ðoʊ ˈmɛni əv ðə wərks əv ˈfɪlˌmeɪkərz laɪk tɑrɑnˈtinoʊ ər ˌskɔrˈsiz ˈʤɛnərˌeɪt ˈkɑntrəˌvərsi bɪˈkəz ðeɪ əˈdɑpt ə məʧ mɔr ˈkɑmplɛks ənd toʊn ðən wi ɪkˈspɛkt frəm ˈəðər tɛksts ɪn ðə seɪm ˈʒɑnrə. wi maɪt kəmˈpɛr tɑrɑnˈtinoʊ ər ˌskɔrˈsiz tɪ ˈsərtən ˈfɔknər ər ˈflænəri oʊˈkɑnər kəm tɪ ˈɔlsoʊ sik ˈkɑmpləˌkeɪtəd ər ˌkɑntrəˈdɪktəri ˈiˌmoʊʃənəl riˈækʃənz tɪ groʊˈtɛsk ənd ˈvaɪələnt ˈɛləmənts ɪn ðɛr ˈnɛrətɪvz.
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the horrifying and tragic news of the shooting in aurora, colorado this weekend requires some degree of reflection on our parts. as someone who found himself very much involved in the national debates surrounding the columbine shootings in the late 1990s, there is a terrible sense of deja vu: we all know all too well the twists and turns the national debate will take and the dangers of what happens when "moral panic" spins hopelessly out of control.
i was deeply moved this weekend by a video blog produced by a young woman -- lauren bird -- from the harry potter alliance who has so many thoughtful things to say about the social value of popular entertainment, the shared ritual of the midnight movie, and the dangers of pathologizing our desire to participate in the culture. (but, of course, the national amc chain has already announced that they are banning the wearing of any costumes into their theaters, as if the problem with the shooter in this case was that he was a "crazy fan" who showed up in costume.)
today, i wanted to share some pedagogical materials which i developed through the new media literacies project in the aftermath of the virginia tech shootings, where, once again, anxieties about popular culture substituted for serious reflections on the many root causes of violence in american culture.
to be extra clear, i do not think media is where this debate should be focused. the conversation needs to be centered around the root causes of violence and the need to develop a much stronger infrastructure around mental health issues in this country. but, media violence issues are often used as a distraction from serious conversations about public policies in the aftermath of such incidents. if we are going to be discussing "media violence," we need to do so with sufficient nuance to have a meaningful discussion, and ideally, we need to do so in a way which moves us from thinking about simplistic models of "media effects" towards a focus on the meanings of representations of violence as understood in the context of the work as a whole. see my essay on "the war between effects and meanings" in fans, bloggers, and gamers, for an explanation of this distinction.
first, i wanted to share a passage from a statement about violence i wrote for teachers, which expresses something i was unable to meaningfully communicate via twitter in an online exchange yesterday:
why is violence so persistent in our popular culture? because violence has been persistent across storytelling media of all kinds. a thorough account of violence in media would include: fairy tales such as hansel and gretel, oral epics such as homer's iliad, the staged violence of shakespeare's plays, paintings of the rape of the sabine women, and stained glass window representations of saints being pumped full of arrows, or, for that matter, talk show conversations about the causes of school shootings. violence is fundamental to these various media because aggression and conflict are core aspects of human experience. we need our art to provide some moral order, to help us sort through our feelings, to provoke us to move beyond easy answers and to ask hard questions. our current framing of media violence assumes that it most often attracts us, that it inspires imitation, whereas throughout much of human history, representations of violence were seen as morally instructive, as making it less likely that we are going to transgress against various social prohibitions. when we read the lives of saints, for example, we are invited to identify with the one suffering the violence and not the one committing it. violence was thought to provoke empathy, which was good for the soul. violence was thought to make moral lessons more memorable. moral reformers rarely take aim at mundane and banal representations of violence, though formulaic violence is pervasive in our culture. almost always, they go after works that are acclaimed elsewhere as art--the works of martin scorsese or quentin tarantino, say--precisely because these works manage to get under their skin. for some of us, this provocation gets us thinking more deeply about the moral consequences of violence, whereas others condemn the works themselves, unable to process the idea that such a work might provoke us to reflect about the violence that it represents. the study of literature offers a remarkable opportunity to engage young people in conversations about such issues, expanding the range of stories about violence which they encounter, introducing them to works that encourage reflection about the human consequences of revenge and aggression, and broadening the range of meanings they attach to such representations.
in order to encourage such reflections in the classroom, i developed a set of basic questions we should ask about any representation of violence. there are persistent references throughout this to moby-dick because it was part of a teacher's strategy guide for moby-dick. our book on this larger project, reading in a participatory culture , is coming out from teacher's college press later this year. i was struck re-reading this today that i had already written here about the role of violence in the batman saga, though this came out prior to the dark knight films by christopher nolan.
ten critical questions to ask about fictional representations of violence
1. what basic conflicts are being enacted through the violence?
literary critics have long identified the core conflicts that shape much of the world's literature: human vs. human, human vs. nature, human vs. self, and sometimes human vs. machine. such conflicts spark drama. moby-dick can be understood as including all three conflicts: the conflict between ahab and starbuck embodies deeper divisions within the ship's crew over the captain's decision to place his own personal goals above their collective well being or above the business of whaling; the conflict between ahab and moby dick may be understood as a human being throwing himself full force against the natural world; ahab struggles with his own better nature and starbuck searches his soul trying to figure out how to respond to his conflicting duties. any of these conflicts can erupt in violence--directly against other people, against the natural world, or against ourselves.
you might ask your students to identify which of these forms of conflict are most visible in contemporary video games, on television, or in the cinema and why some forms of conflict appear more often in these media than others. for example, video game designers have historically found it difficult to depict characters' internalized conflict (human vs. self), in part because contest or combat are central building blocks of most games.
2. do the characters make conscious choices to engage in acts of violence? how do they try, through language or action, to explain and justify those choices?
in the real world, an act of violence may erupt in a split second: one moment, people we care about are alive; the next, they are dead. the violence may be random: there is no real reason why these victims were singled out over others; they were in the wrong place at the wrong time. yet, works of fiction often focus our attention on moments when characters make decisions, often based on aspects of their personalities which they little recognize or control, and those choices may have repercussions that echo across the work as a whole.
so, the act that took ahab's leg may have been totally random, and we see several examples throughout the novel where a split-second decision may cause a character to be wounded or killed. we might compare ahab's amputation with the events that lead to pip being thrown from the boat, left adrift, and ultimately driven insane, or to the unnamed man who falls from the ship's mast and drowns. by contrast, the novel invites us to consider the choices ahab makes at each step and how the other characters respond to those choices. melville shows us many points where the ship could turn back and avoid its fate. he spells out what the characters are thinking and why they make the decisions they do.
the events could take a different shape, though the shape of a plot can give depicted events a sense of inevitability. some forms of tragedy, for example, rely on the notion that characters are unable to escape their fates, no matter what choices they make, or that the final acts of violence and destruction flow logically from some "tragic flaw." in trying to make sense of a fictional representation of violence, you want to encourage your student to seek out moments where the characters make choices that ultimately lead towards acts of aggression or destruction. often, authors provide those characters with rationalizations for their choices, offering some clues through their words, thoughts, or actions about why they do what they do.
at such moments, the work also often offers us alternatives to violence, other choices the characters could have made, though such choices may remain implicit rather than being explicitly stated. different works and different genres may see these alternatives to violence as more or less plausible, attractive, or rational. so, if you are being chased by a mad man waving a chain saw in a horror film, engaging him in a conversation may not be a rational, plausible, or attractive alternative. genre fiction constructs contexts where the protagonist has no choice but to resort to violence, though what separates heroes from villains may be their relative comfort in deploying violence to serve their own interests. in many american movies, the hero is reluctant to turn towards violence, seeing it as a last resort. by contrast, the villain may deploy violence in situations where she has other alternatives, suggesting cruelty or indifference.
in dealing with violence in video games, then, you may want to ask what options are available to the player for dealing with a certain situation. in some games, there may be no options other than violence, and the game itself may spend very little time offering the character a rationalization for such actions. it is fight or flight, kill or be killed. many games are simply digital versions of the classic shooting galleries: the game space is designed as an arena where players can shoot it out with other players or with computer-controlled characters. in other games, there may be options that allow the protagonist to avoid violence, but they may not be emotionally satisfying; they may put the player at a significant disadvantage; they may be hard to execute. so, helping students to interpret the options available to characters in a literary fiction may help them to reflect more
consciously on the more limited choices available to them as gamers.
3. what are the consequences of the violence depicted in the work?
many popular stories don't pay sufficient attention to the consequences of violence. rambo may slaughter hundreds and yet, much as in a video game, the bodies simply disappear. we get no sense of the human costs involved in combat on such a scale. many medieval epics consisted primarily of hack and slash battle sequences; yet, periodically, the action would stop, and the bard would enumerate the names of the dead on both sides, acknowledging that these warriors paid a price even if their actions help to establish the nation state or restore order to the kingdom. gonzala frasca has argued that video games inherently trivialize violence because they operate in a world where the player can simply reboot and start over if their character dies.
in contrast, westerns follow a basic formula: the protagonist (most often male) would resort to violence to battle other aggressive forces that threaten his community; his heroic actions would restore justice and order, but the hero could not live within the order he had helped to create and would be forced to ride off into the sunset at the end of the story. susan sontag has written about "the imagination of disaster," suggesting that films about apocalyptic events often create a rough moral order in which characters are rewarded or punished based on the values they display under extreme circumstances.
moby-dick can be said to have its own mechanisms for punishing violence: ahab's search for vengeance at all costs means that he and his crew must pay the ultimate price.
4. what power relationships, real or symbolic, does the violence suggest?
in many cases, storytellers deploy violence as a means of embodying power. we should not be surprised by this tendency given the way sociologists have characterized rape as the deployment of male power against women or lynching as the enactment of white power against blacks. historically, wars have been seen as a way of resolving conflicts between nations through the exercise of power, while trial by combat was a means of deploying power to resolve individual conflicts and disagreements.
media representations of violence can give viewers a seductive sense of empowerment as they watch characters who are hopelessly out-numbered triumph or they watch segments of the population who seem disempowered in the real world deploy violence to right past wrongs. some have argued that young people play violent video games, in part, as a means of compensating for a sense of disempowerment they may feel at school.
conversely, stories may encourage our sense of outrage when we see powerful groups or individuals abusing their power, whether in the form of bullies degrading their victims or nations suppressing their citizens. this abuse of power by powerful forces may prepare us for some counter-balancing exercise of power, setting up the basic moral oppositions upon which a story depends.
as you teach students to think critically about representations of violence, a key challenge will be to identify the different forms of power at play within the narrative and to map the relations between them. which characters are in the most powerful positions and what are their sources of power? which characters are abusing their power? what sources of power are ascribed to characters who might initially seem powerless, and to what degree is violence depicted as a means of empowerment?
5. how graphic is the depiction of violence?
one of the limits of the study on violence in american cartoons released by the american academy of pediatrics is that it counts "violent acts" without considering differing degrees of stylization. in fact, children at a pretty young age--certainly by the time they reach elementary school--are capable of making at least crude distinctions between more or less realistic representations of violence. they can be fooled by media which offers ambiguous cues, but they generally read media that seems realistic very differently from media that seems cartoonish or larger than life. for that reason, they are often more emotionally disturbed by documentaries that depict predators and prey, war, or crime, than they are by the hyperbolic representations we most often are talking about when we
refer to media violence.
while most of us have very limited vocabularies for discussing these different degrees of explicitness, such implicit distinctions shape the ways we respond to representations of violence within fictions. we each know what we can tolerate and tend to avoid modes of representation we find too intense or disturbing. most ratings systems distinguish between cartoonish and realistic forms of violence. we need to guard against the assumption, however, that the more graphic forms of violence are necessarily "sick" or inappropriate. more stylized forms can make it much easier to ignore the gravity of real world violence through a process of sanitization. in some cases, more graphic depictions of violence
shatter that complacency and can force us to confront the human costs of violence.
literary critics have long made a distinction between showing and telling. we might extend this distinction to think about media representations of violence. an artist may ask us to directly confront the act of violence, or she may ask us to deal with its repercussions, having a character describe an event which occurred before the opening of the narrative or which took place off stage. some very famous examples of media violence--such as the torture sequences in reservoir dogs or pulp fiction --pull the camera away at the moments of peak intensity, counting on the viewer's imagination to fill in what happens, often based on cues from the soundtrack, or in the case of pulp fiction , the splattering of blood from off-camera. again, we need to get students to focus on the creative choices made by the storytellers and artists in their construction of these episodes, choices especially about what to show and what not to show.
6. what function does the violence serve in the narrative?
critics often complain about "gratuitous violence." the phrase has been used so often that we can lose touch with what it means. according to the dictionary, "gratuitous" means "being without apparent reason, cause, or justification." so, before we can decide if an element in a fictional work is gratuitous, we have to look more closely at why it is present (its motivation) and what purposes it serves (its function).
keep in mind that we are not talking here about why the character performs the violent act but rather why the artist includes it in the work. an artwork might depict senseless killings, as occur at certain moments in no country for old men where the killer is slaughtering people seemingly at random. this doesn't necessarily mean that the violence is "gratuitous" since in this case, the violence sets the action of the story into motion, and the work is very interested in how other characters react to the threat posed by this senseless violence. there is artistic motivation for including the violence, even if the directors, the coen brothers, are uninterested in the killer's psychological motives.
an element in a work of fiction may be motivated on several different levels: it may be motivated realistically, in the sense that a story about contemporary urban street gangs might be expected to depict violence as part of their real world experience; it might be motivated generically, in the sense that people going to see a horror movie expect to see a certain amount of gore and bloody mayhem; it may be motivated thematically, in the sense that an act of violence may force characters to take the measure of their own values and ethical commitments; it may be motivated symbolically, in the sense that a character dreams about performing violence and those dreams offer us a window into his or her thinking process. in each case, the violence has a different motivation, even though the actions depicted may be relatively similar.
by the same token, we might ask what functions an act of violence plays in the work. one way to answer that question is to imagine how the work would be different if this element were not included. would the story have the same shape? would the characters behave in the same way? would the work have the same emotional impact? some acts of violence motivate the actions of the story; some bring about a resolution in the core conflict; still others mark particular steps in the trajectory of the plot; and in some rare cases, the violent acts may indeed be gratuitous, in that their exclusion would change little or nothing in our experience of the work
but keep in mind that the violence which disturbs us the most on first viewing is not necessarily gratuitous and is often violence which has ramifications throughout the rest of the story. describing a scene as "gratuitous" is easy, especially when it shortcuts the process of engaging more critically with the structure and messages of the work in question. for example, the film basketball diaries became the focus of controversy following the columbine shootings primarily because of a single scene in which the protagonist wears a long black coat and imagines shooting up a school. those discussing the sequence failed to explain that it was a dream sequence, not an action performed by the film's protagonist, and that it is part of a larger story which explores how a young man overcame his rage, his addictions, and his antisocial impulses to become a poet. without the representation of his aggression, the power of the story of redemption would be weakened, whereas the scene removed from context seemed to endorse the antisocial values the work itself rejects.
7. what perspective(s) does the work offer us towards the character engaging in violence?
media theorists have spent a great deal of time trying to determine what we mean when we say we identify with a character in a fictional work. at the most basic level, it means we recognize the character; we distinguish the fictional figure from others depicted in the same work. from there, we may mean that the work devotes a great deal of time and space to depicting the actions of this particular character. typically, the more time we spend with a character, the more likely we are to see the world from her point of view. yet, this is not always the case. we may be asked to observe and judge characters, especially if their actions and the values they embody fall outside of the stated perspective of the work. we may grow close to a character only to be pushed away again when the character takes an action we find reprehensible and unjustifiable.
there is a distinction to be drawn here between the structuring of narrative point of view and the structuring of moral judgments on the character. part of what helps us to negotiate between the two is the degree to which we are given access to the thoughts and feelings of the character (and in the case of an audio-visual work, the degree to which we see the world from his or her optical point of view).
consider, for example, the use of first person camera in a work like jaws where scenes are sometimes shot from the perspective of the shark as it swims through the water approaching its human prey. at such moments, we feel fear and dread for the human victims, not sympathy for the sharks. filmmakers quickly learned to manipulate this first person camera, sometimes duplicating the same camera movement, tricking us into thinking the monster is approaching, and then, demonstrating this to be a false alarm.
so, it is possible to follow characters but not get inside their head, and it is possible to have access to characters' thoughts and still not share their moral perspective.
and indeed, all of these relationships may shift in the course of reading a book as we may feel the character's actions are justified up until a certain point and then cross an implicit line where they become monstrous. homer shares ulysses's point of view throughout much of the odyssey, but we still are inclined to pull back from him at a certain point as he brings bloody vengeance upon penelope's suitors in the final moments of the epic.
wyn kelley identifies a similar pattern in moby-dick where we are invited to experience what whaling would be like from the point of view of the whale, and in the process, we are encouraged to reflect on the bloody brutality of slaughtering an innocent animal, stripping the meat off its bones, and boiling its flesh to create oil. here, a break in the following pattern gives us an opportunity to reassess how we feel about the characters with whom we have up until that point been closely aligned. we might think about a common device in television melodrama where we've seen a scene of conflict between two characters who believe they are alone and then at the end, the camera pulls back to show the reaction of a previously undisclosed third-party figure who has been watching or overhearing the action. such moments invite us to reassess what we've just seen from another vantage point.
in video games, the category of "first person shooters" has been especially controversial with critics concerned about the implications of players taking on the optical point of view of a character performing acts of violence; often, critics argue, the player doesn't just watch a violent act but is actively encouraged to participate. gamers will sometimes refer to their characters in the third person ("he") and sometimes in the first person ("i"), pronoun slippages that suggest some confusions brought about by the intense identification players sometimes feel towards their avatars.
yet, even here, we need to be careful to distinguish between following pattern, optical point of view, and moral attitude. in games, we typically remain attached to a single character whom we control, and thus we have a very strong following pattern. in first person shooters, we see the action through the optical point of view of that character, though we may feel no less connected to the characters we control in a third person game (where we see the full body of the character from an external perspective). the second person video game confounds our normal expectations about optical point of view, inviting us to see the action from an unfamiliar perspective, and thus it may shake up our typical ways of making sense of the action.
those who have spent time watching players play and interviewing them about their game experiences find that in fact, identification works in complex ways, since the player is almost always thinking tactically about the choices that will allow her to beat the game. winning often involves stepping outside a simple emotional or moral connection with an individual character. players are encouraged to think of the game as a system, not unlike taking a more omniscient perspective in reading a work of fiction, even as other aspects of the game's formal structure may encourage them to feel a close alignment with a
particular character whose actions are shaped by their own decisions.
game designer will wright (the sims, sim city) has argued that games may have a unique ability to make players experience guilt for the choices their characters have made in the course of the action. when we watch a film or read a novel, we always reserve the ability to pull back from a character we may otherwise admire and express anger over choices he or she has made or to direct that anger towards the author who is reflecting a world view we find repugnant. yet, in a game, because players are making choices, however limited the options provided by the designer, they feel some degree of culpability. and a game designer has the ability to force them to reflect back on those choices and thus to have an experience of guilt.
8. what roles (aggressor, victim, other) does the protagonist play in the depiction of violence?
many of the media texts which have been most controversial are works which bring the viewer into the head of the aggressor--from the gangster films of the 1930s through contemporary films like natural born killers and american psycho, television series like dexter and the sopranos, and games like grand theft auto. all of these works are accused of glamorizing crime.
as we've already discussed, we need to distinguish between following pattern, optical and psychological point of view, and moral alignment. many of these works bring us closer to such figures precisely so that we can feel a greater sense of horror over their anti-social behavior. consider, for example, sweeney todd, which depicts a murderous barber and his partner, a baker, who turns the bodies of his victims into meat pies she sells to her customers. we read the story from their perspective and we are even encouraged to laugh at their painful and heartless puns about the potential value of different people as sources for human meat. yet, our strong identification with these characters allows us to feel greater horror and sorrow over the final consequences of their actions.
at the other end of spectrum, literary scholar james cain describes how a whole genre of literary works arose in the middle ages around representations of saints as victims:
"the persecutions of early christians gave rise to an extraordinary collection of tales commemorating the supernatural endurance of victims who willingly suffered heinous atrocities and ultimately gave their lives bearing witness to their faith. from accounts of the stoning of the first martyr, st. stephen, to the broiling of st. lawrence on an open grill, the strapping of st. catherine to a mechanical wheel of torture, the gouging-out of st. lucy's eyeballs, the slitting-open of st. cecilia's throat, the slicing-off of st. agatha's breasts, the feeding of st. perpetua and st. felicitas to the lions, the piercing of st. sebastian with a barrage of arrows--the graphic brutality undoubtedly exceeds even the most violent images in media today.... the strong emotional responses these images conjured up in their observers were deliberately designed to produce lasting impressions in people's memories and imaginations, to enable further reflection."
far from being corrupting, representations of violence are seen as a source of moral instruction, in part because of our enormous sense of empathy for the saints' ability to endure suffering.
most american popular culture negotiates between the two extremes. in the case of superheroes, for example, their origin stories often include moments of victimization and loss, as when young bruce wayne watches his mother and father get killed before deciding to devote his life to battling crime as the batman, or when peter parker learns that "with great power comes great responsibility" the hard way when his lack of responsibility results in the death of his beloved uncle. in the world of the superheroes, the villains are also often victims of acts of violence, as when the joker's face (and psyche) are scarred by being pushed into a vat of acid. the superhero genre tends to suggest that we have a choice how we respond to trauma and loss. for some, we emerge stronger and more ethically committed, while for others, we are devastated and bitter, turning towards anti-social actions and self-destruction.
a work like david cronenberg's a history of violence is particularly complex, since we learn more and more about the character's past as we move more deeply into the narrative and since the protagonist moves from bystander to victim and then reverses things, taking his battle to the gangsters, and along the way, becomes increasingly sadistic in his use of violence. cronenberg wants to have the viewer rethinking and reassessing the meaning of violence in almost every scene of the film.
the filmmaker jean renoir famously said "every character has his reason." his point was that if we shift point of view, we can read the aggressor as victim or vice versa. few people see themselves as cruel; most find ways to justify and rationalize acts of even the rawest aggression. and a literary work may invite us to see the same action from several different perspectives, shifting our identifications and empathy in the process. so, for example, the moment when we see the hunt from the whale's point of view reverses the lens, seeing flask and his crew as the aggressors and the whale as the victim, a perspective we don't get in the rest of the novel.
even when the artist doesn't fill in these other perspectives, critics and spectators can step back from a scene, put themselves in the heads of the various characters, and imagine what the world might look like from their point of view. consider the novel and stage play, wicked, which rereads the wizard of oz from the vantage point of the wicked witch and portrays dorothy as a mean spirited trespasser who has murdered the witch's sister.
9. what moral frame (pro-social, antisocial, ambiguous) does the work place around the depicted violence?
some fictions focus on violence as the performance of duty. the police, for example, are authorized to use certain sanctioned forms of violence in the pursuit of criminals and in the name of maintaining law and order. some of these--for example, the television series the shield --find great drama in exploring cops who "cross the line," seeing brutality or unnecessary use of force as a symptom of a police force no longer accountable to its public.
similarly, much fiction centers on themes of war, with works either endorsing or criticizing military actions as forms of violence in the service of the state and of the public. there is a long tradition of national epics, going back to classical times, which depict the struggles to establish or defend the nation with violence often linked to patriotic themes and values. in the american tradition, this function was once performed by the western, which depicts the process by which "savagery" gave way to "civilization," though more recent westerns have sometimes explored the slaughter of the indians from a more critical perspective as a form of racial cleansing.
so, even within genres that depict the use of force in pro-social or patriotic terms, there are opportunities for raising questions about the nature and value of violence as a tool for bringing about order and stability.
on the other hand, many stories depict violence as anti-social, focusing on criminals, gangsters, or terrorists, who operate outside the law and in opposition to the state or the community. the cultural critic robert warshow discusses the very different representations of "men with guns" found in the western, the gangster film, and the war movie, suggesting that all three genres have strong moral codes which explain when it is justifiable to use force and depicting what happens to characters who transgress those norms. the westerner can not live in the community he has helped to create through his use of force; the gangster (see scarface for example) frequently is destroyed by the violence he has abused to meet his personal desires and ambitions; and the hero returns home at the end of the war, albeit often psychologically transformed by the violence he has experienced.
just as fictions that seem to depict the pro-social use of violence may contain critiques of the abuse of power by the police or the horrors of war, fictions which depict the anti-social use of violence may include strong critiques of the gangster lifestyle. robin woods has famously summed up the basic formula of the horror films as "normality is threatened by monstrosity." in such a formula, there are three important terms to consider--what constitutes normality, what constitutes the monstrous, and what relationship is being posited between the two. some horror films are highly moralistic, seeking to destroy anything which falls outside of narrow norms; others use the monster as the means of criticizing and questioning the limits of normality.
in many works, there is a core ambiguity about the nature of the violence being depicted. we may be asked to identify with several characters who have different moral codes and thus who see their actions in different terms. our judgments may shift in the course of the narrative. the characters may understand their actions as pro-social even as the author invites us to read them as antisocial. or the work may be saying that there's no simple distinction to be drawn between different forms of violence: it's all equally destructive. we might even imagine a truly nihilistic work in which all violence is justified. it isn't that we want students to fit works into simple either/or categories here. rather, asking this question can force them towards a more complex understanding of the moral judgments the work is making--as opposed to simply those being made by the characters--about the value of the violence to society.
10. what tone does the work take towards the represented violence?
we've already seen the importance of distinguishing between the forms of violence being depicted in a work and the position the work takes on those actions. we've seen that identification with a protagonist is fragile and shifting across a work, so that we may sometimes feel a strong emotional bond with a character for much of the story and yet still feel estranged from her when the author reveals some darker side of her personality.
a work may depict the pro-social use of violence and either endorse or criticize the establishment being depicted. a work may depict anti-social forms of violence in ways which are conservative in their perspective on those groups who use force outside legal contexts. or a work may depict forms of violence that are hard to classify in those terms and thus invite readers to struggle with that ambiguity.
similarly, we need to consider the range of different emotional responses a work may evoke through its use of violent images. some fictions about violence, such as the action sequences in an indiana jones movie, may thrill us with exciting, larger than life heroics. some, such as saving private ryan or glory, may appeal to our sense of national pride towards the brave men who gave their lives defending their country. some, such as the scene in old yeller where the boy is forced to shoot his dog, may generate enormous empathy as we feel sorry for the characters who are forced to deploy or suffer violence against their will. some, such as depictions of human suffering around the world, may seek to shock us into greater social consciousness and civic action. some, such as slapstick comedy, may encourage us to laugh at highly stylized depictions of physical aggression. and still others, such as saw or nightmare on elm street, may provoke a sense of horror or disgust as we put ourselves through a series of intense emotional shocks in the name of entertainment.
we can not understand what representations of violence mean, then, without paying attention to issues of tone, and part of teaching close reading skills is helping students identify the subtle markings in a text which indicate the tone the author is taking towards the depicted events. popular texts tend to create broadly recognizable and easily legible signs of tone, though many of the works of filmmakers like tarantino or scorsese generate controversy because they adopt a much more complex and multivalent tone than we expect from other texts in the same genre. we might compare tarantino or scorsese to certain writers--william faulkner or flannery o'connor come to mind--who also seek complicated or contradictory emotional reactions to grotesque and violent elements in their narratives.
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ˈpɪtsbərg ðə ˈstilərz plæn tɪ wɛr ə pæʧ ɔn ðɛr ˈʤərziz ðɪs ˈsizən ɪn ˈmɛməri əv ˌaɪˈkɑnɪk koʊʧ ʧək noʊl, əˈkɔrdɪŋ tɪ ə sɔrs. noʊl daɪd læst ˈfraɪˌdeɪ naɪt æt ðə eɪʤ əv 82 ðə ˌɔrgənəˈzeɪʃən ɪz ɪn ðə ˈprɔˌsɛs əv ˌdɪˈsaɪdɪŋ haʊ bɛst tɪ ˈɑnər noʊl, ənd ðə ˈstilərz ˈrisəntli əˈnaʊnst plænz tɪ wɛr ə pæʧ ðət kəˈmɛmərˌeɪts ðɛr fərst ˈsupər boʊl ˈvɪktəri fər ðɛr noʊv. 30 geɪm əˈgɛnst ðə ˈvɪzɪtɪŋ nu ˌɔˈrlinz seɪnts. ˈɛdɪtərz pɪks braʊn: fˈjunərəl ˈpərfəktli ˈəndərˌsteɪtɪd ʧək noʊl wɑz leɪd tɪ rɛst ˈtuzˌdeɪ wɪθ ˈlɪtəl ˈfænˌfɛr, ə ˈfɪtɪŋ ˌfɛrˈwɛl tɪ ə ˈhəmbəl ˈkoʊʧɪŋ ˈlɛʤənd, skɑt braʊn raɪts. ðɪs mɑrks ðə jɪr sɪns ðə ˈstilərz bit ðə ˌmɪnɪˈsoʊtə ˈvaɪkɪŋz, ɪn ˈsupər boʊl ix*. ðət ˈvɪktəri, wɪʧ tʊk pleɪs ɪn nu ˌɔˈrlinz, ˈstɑrtɪd ə rən ɪn wɪʧ ðə ˈstilərz wən fɔr ˈsupər boʊlz ɪn sɪks ˈsizənz. noʊl, ðə ˈoʊnli koʊʧ tɪ wɪn fɔr ˈsupər boʊlz, wɑz leɪd tɪ rɛst ˈtuzˌdeɪ ˈfɑloʊɪŋ ə fˈjunərəl æt st*. pɔlz kəˈθidrəl ʧərʧ ɪn ðə ˈoʊklənd ˈsɛkʃən əv ˈpɪtsbərg. tim ˈprɛzɪdənt ɑrt ˈruni ənd ˈfɔrmər ˈstilərz greɪt ʤoʊ grin wər əˈməŋ ðoʊz hu sərvd ɛz pallbearers*, ənd ðə fˈjunərəl wɑz əˈtɛndəd baɪ skɔrz əv ˈfɔrmər ˈstilərz hu pleɪd fər noʊl. ə ˈhændˌfʊl əv ˈkɑrənt pleɪərz, ˌɪnˈkludɪŋ kˈwɔrtərˌbæk bɛn roethlisberger*, ˈkɔrnərˌbæk aɪk ˈteɪlər, ˈsɛnər ˈpaʊnsi ənd dɪˈfɛnsɪv ɛnd ˈkæmərən ˈheɪwərd ˌrɛprɪˈzɛnɪd ðə ˈstilərz æt ˈsərvɪs. "aɪ meɪ nɑt hæv noʊn ɪm ˈpərsənəli bət ˌrɛpjəˈteɪʃən ənd ðə weɪ hi wɛnt əˈbaʊt θɪŋz spiks fər ˌɪtˈsɛlf. aɪ fɛlt ɪt wɑz ˈoʊnli raɪt fər mi tɪ peɪ ˈtrɪbjut," ˈheɪwərd sɛd. "wɪˈθaʊt ɪm, aɪ ˈwʊdənt gɪt ə ʧæns tɪ lʊk əp tɪ ʤoʊ grin. aɪ ˈrɪli əˈpriʃiˌeɪt wət hi dɪd fər ðɪs geɪm, ənd ʤɪst ɛz ə ˈjumən biɪŋ ju si ðə weɪ hi wɑz ləvd ənd ju ʤɪst əˈpriʃiˌeɪt ɪt. ðə ˈstændərd wɑz sɛt baɪ ɪm." trɔɪ polamalu*, hu mɛt noʊl wən taɪm ˈərli ɪn hɪz kərɪr, əˈgrid. "ðɛr ɪz noʊ ˈstilərz ˈlɛgəsi wɪˈθaʊt ɪm," ðə proʊ boʊl ˈseɪfti sɛd. "hiz ɛz bɪg ə pɑrt əv ðɪs ˌɔrgənəˈzeɪʃən ɛz ðə ər. hi ˈdɛfənətli ɪmˈbɑdid ə ˈsərtən ˈɔrə əˈbaʊt ɪm ðət wɑz ˈvɛri ˈspɛʃəl."
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pittsburgh -- the steelers plan to wear a patch on their jerseys this season in memory of iconic coach chuck noll, according to a source.
noll died last friday night at the age of 82.
the organization is in the process of deciding how best to honor noll, and the steelers recently announced plans to wear a patch that commemorates their first super bowl victory for their nov. 30 game against the visiting new orleans saints.
editor's picks brown: noll's funeral perfectly understated chuck noll was laid to rest tuesday with little fanfare, a fitting farewell to a humble coaching legend, scott brown writes.
this marks the 40th year since the steelers beat the minnesota vikings, 16-6, in super bowl ix. that victory, which took place in new orleans, started a run in which the steelers won four super bowls in six seasons.
noll, the only coach to win four super bowls, was laid to rest tuesday following a funeral at st. paul's cathedral church in the oakland section of pittsburgh.
team president art rooney ii and former steelers great joe greene were among those who served as pallbearers, and the funeral was attended by scores of former steelers who played for noll. a handful of current players, including quarterback ben roethlisberger, cornerback ike taylor, center maurkice pouncey and defensive end cameron heyward represented the steelers at noll's service.
"i may not have known him personally but reputation and the way he went about things speaks for itself. i felt it was only right for me to pay tribute," heyward said. "without him, i wouldn't get a chance to look up to joe greene. i really appreciate what he did for this game, and just as a human being you see the way he was loved and you just appreciate it. the standard was set by him."
troy polamalu, who met noll one time early in his career, agreed.
"there is no steelers legacy without him," the eight-time pro bowl safety said. "he's as big a part of this organization as the rooneys are. he definitely embodied a certain aura about him that was very special."
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səm goʊ fɛst əˈtɛnˈdiz ər ˈfaɪlɪŋ ə ˈlɔˌsut əˈgɛnst dɪˈvɛləpər. ðə əˈtɛnˈdiz ər ˈsikɪŋ ˈtrævəl ˌriɪmˈbərsmənt sɪns ˈeɪbəl tɪ dɪˈlɪvər ɔn ɪts ˈprɑməsəz wɪn ðə goʊ fɛst tərnd aʊt tɪ bi ə dɪˈzæstər. əˈtərni ˈtɑməs ˈzɪmərmən sɛd ðət hi wɑz ˈkɑnˌtæktɪd baɪ ˈʤɑnəθən ˈnɔrtən, ə go”*” pleɪər frəm ˌkæləˈfɔrnjə hu ˈtrævəld ɔl ðə weɪ tɪ ʃəˈkɑˌgoʊ fər ɪˈvɛnt ðɪs pæst ˈwiˌkɪnd. ˈzɪmərmən sɪz ðət ər ˈəðər pleɪərz hæv ʤɔɪnd ðə sut, ɛz fərst ˌriˈpɔrtəd baɪ ˈpɑlɪˌgɑn. wɪn ˈnɔrtən ənd ˈmɛni ˈəðərz əraɪvd ɪn ʃəˈkɑˌgoʊ fər ðə goʊ fɛst, ðə geɪm wɑz ˈsɪmpli nɑt ˈwərkɪŋ. ˈprɑməst ðət ðə ˈfɛstɪvəl wʊd gɪv əˈtɛnˈdiz ðə ʧæns tɪ ˈkæpʧər rɛr, bət ðət ðə keɪs ɛz ˈɛvriˌwən wɑz əˈneɪbəl tɪ kəˈnɛkt tɪ ðə geɪm. rɛd: go’*’ ˈəpˌdeɪt: moltres*, riˈlis deɪts əˈnaʊnst ˈæftər dɪˈzæstrəs fɛst ˈɔfərd ˈriˌfəndz tɪ əˈtɛnˈdiz hu æst fər ɪt ˈleɪtər ðət ˌæftərˈnun, waɪl ˈɛvriˌwən æt ðə ˈfɛstɪvəl wər ˈgɪvɪn 100 wərθ əv pokécoins*. ˌhaʊˈɛvər, ˈzɪmərmən sɛd ðət wət həz ˈɔfərd wɑz ˈsɪmpli nɑt ɪˈnəf. nɑt ˈsikɪŋ ˈɛni rɪˈlif wɪθ rɪˈspɛkt tɪ ðə ˈfeɪljər tɪ gɪt ˈlɛʤənˌdɛri, bɪˈkəz ɪz ˈɔfərɪŋ that,”*,” ˈzɪmərmən sɛd. ɪz nɑt ˈɔfərɪŋ tɪ ˈriˌfənd ˈtrævəl ɪkˈspɛnsɪz fər ˈkəmɪŋ tɪ ʃəˈkɑˌgoʊ. moʊst əv ðə ˈpipəl keɪm frəm aʊt əv steɪt, ˈmɛni ˈpipəl frəm ˈəðər ˈkəntriz aɪ tɔkt tɪ ˈsəmˌwən hu flu ɪn frəm japan.”*.” hɪz klaɪənts ər ˈæskɪŋ fər ðə əˈmaʊnt əv ˈməni ðət spɛnt tɪ ˈtrævəl tɪ ʃəˈkɑˌgoʊ ʤɪst tɪ pɑrˈtɪsəˌpeɪt ɪn ðə goʊ fɛst. ˈzɪmərmən ˈɔlsoʊ ˈsteɪtɪd ðət meɪd ðət wər nɑt kept”*” wɪn ɪt kəmz tɪ ðə taɪp əv ɪkˈspɪriəns ðət hɪz klaɪənts wər ɪkˈspɛktɪŋ. ˈɔlsoʊ ɪkˈstɛndɪd ðə əˈmaʊnt əv taɪm ənd loʊˈkeɪʃənz wɛr rɛr kʊd bi kɔt əraʊnd ðə ʃəˈkɑˌgoʊ ˈɛriə. ðə ˈkəmpəˌni ˈɔlsoʊ ˈprɑməst ðət ɔl əˈtɛnˈdiz wʊd rɪˈsiv ˈlɛʤənˌdɛri ɪn ðɛr əˈkaʊnts. dɪˈspaɪt ɔl əv ðɪs, ɪt dɪz lʊk laɪk ˈmɛni ər stɪl ənˈhæpi wɪθ wət ˈhæpənd ˈdʊrɪŋ ðə bɪg ɪˈvɛnt. ˈərliər ðɪs wik, ˈsiˌiˈoʊ ʤɑn hæŋk ˈpəblɪʃt ə ˈlɛŋθi blɔg poʊst əˈpɑləˌʤaɪzɪŋ tɪ fænz. hæŋk ˈɔlsoʊ tʊk ðə taɪm tɪ ɪkˈspleɪn wət ˈhæpənd æt ðə goʊ fɛst, ˈbleɪmɪŋ ðə ˈsɛljələr ˈdætə kənˈʤɛsʧən ˈdʊrɪŋ ðə ɪˈvɛnt. rɛd: go’*’ ˈboʊnəsɪz ɪkˈstɛndɪd ˈæftər ʃəˈkɑˌgoʊ ɪˈvɛnt fiasco* ˈɪʃuz wɪθ ɑr geɪm ˈsɔfˌwɛr kɔzd klaɪənt ˈkræʃɪz ənd ˌɪnərˈfɪrd wɪθ ˈgeɪmˌpleɪ fər səm ˈjuzərz. ðə ˈgeɪmˌpleɪ ˈɪʃu wɑz riˈzɑlvd wɪθ ə ˈsərvər kənˌfɪgjərˈeɪʃən ʧeɪnʤ ənd ðə ˈkræʃɪz wər ˈɔlsoʊ əˈdrɛst fər ˈmɛni bət nɑt ɔl users,”*,” hæŋk ɪkˈspleɪnd. mɔr proʊˈtræktɪd ˈprɑbləm wɑz kɔzd baɪ əv ðə ˈmoʊbəl ˈdætə ˈnɛtˌwərks əv səm ˈnɛtˌwərk prəˈvaɪdərz. ðɪs kɔzd ˈmɛni əˈtɛnˈdiz tɪ bi əˈneɪbəl tɪ ˈækˌsɛs go’*’ ər ˈəðər ˈɪntərˌnɛt ˈsərvɪsɪz. ˈnɛtˌwərk kənˈʤɛsʧən ˈɔlsoʊ lɛd tɪ ə ˈɪʃu wɪʧ əˈfɛktɪd səm ˈjuzərz ˈeɪbəl tɪ ˈækˌsɛs ðə internet,”*,” hi ˈædɪd.
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some pokémon go fest attendees are filing a lawsuit against developer niantic. the attendees are seeking travel reimbursement since niantic wasn’t able to deliver on its promises when the pokémon go fest turned out to be a disaster.
chicago-based attorney thomas zimmerman said that he was contacted by jonathan norton, a “pokémon go” player from california who travelled all the way to chicago for niantic’s event this past weekend. zimmerman says that “20 or 30” other players have joined the class-action suit, as first reported by polygon.
when norton and many others arrived in chicago for the pokémon go fest, the game was simply not working. niantic promised that the festival would give attendees the chance to capture rare pokémon, but that wasn’t the case as everyone was unable to connect to the game.
read: ‘pokémon go’ legendaries update: moltres, zapdos release dates announced after disastrous fest
niantic offered refunds to attendees who asked for it later that afternoon, while everyone at the festival were given $100 worth of pokécoins. however, zimmerman said that what niantic has offered was simply not enough.
“we’re not seeking any relief with respect to the failure to get legendary pokémon, because niantic is offering that,” zimmerman said. “but niantic is not offering to refund people’s travel expenses for coming to chicago. most of the people came from out of state, many people from other countries i talked to someone who flew in from japan.”
his clients are asking for the amount of money that they’ve spent to travel to chicago just to participate in the pokémon go fest. zimmerman also stated that niantic made “promises that were not kept” when it comes to the type of experience that his clients were expecting.
niantic also extended the amount of time and locations where rare pokémon could be caught around the chicago area. the company also promised that all attendees would receive legendary pokémon in their accounts. despite all of this, it does look like many are still unhappy with what happened during the big event.
earlier this week, niantic ceo john hanke published a lengthy blog post apologizing to fans. hanke also took the time to explain what happened at the pokémon go fest, blaming the cellular data congestion during the event.
read: ‘pokémon go’ in-game bonuses extended after chicago event fiasco
“technical issues with our game software caused client crashes and interfered with gameplay for some users. the gameplay issue was resolved with a server configuration change and the crashes were also addressed for many but not all users,” hanke explained.
“a more protracted problem was caused by over-saturation of the mobile data networks of some network providers. this caused many attendees to be unable to access ‘pokémon go’ or other internet services. network congestion also led to a login issue which affected some users able to access the internet,” he added.
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soʊ məʧ ˈsəkɪŋ əp. əˈmɛrɪkən ˈmidiə taɪˈkun ənd oʊld groʊθ ɔn ðə ɑrs əv ˈdisənt ˈʤərnəˌlɪzəm ˈrupərt ˈmərdɑk həz ˈmænɪʤd tɪ ˈgrəmbəl ənd moʊn hɪz weɪ θru ən ˈɪntərvˌju fər skaɪ nuz ðət ɛrd ˈjɛstərˌdeɪ. ɛz wən maɪt ɪkˈspɛkt, ˈmərdɑk spjud fɔrθ ɔl kaɪnz əv əˈbʤɛkʃənəbəl ˈbʊlˌʃɪt əˈbaʊt ðə nbn*, ˈklaɪmɪt ʧeɪnʤ nɑt ɪgˈzɪstɪŋ ənd waɪ ə ˈgoʊldən ˈstæˌʧu əv hɪmˈsɛlf fɪld wɪθ ðə ˈbroʊkən ˈbɑdiz əv ðə ˈθaʊzənz əv sleɪvz ðət daɪd ɪn ɪts kənˈstrəkʃən bɪn ɪˈrɛktɪd ˈoʊvər ˈpɑrləmɛnt haʊs jɛt. ɔl ˈfɛrli ˈstændərd ˈrupərt, ˈrɪli oʊld ˈtaɪrənt aʊt ˈnæsti opinions”*” ˈɛniˌθɪŋ nu. wət wɑz ˈrɪli ˈɪntəˌrɛstɪŋ tɪ wɔʧ, ðoʊ, wɑz ðə weɪ ðə ˈɪntərvˌjuər, ɔˈstreɪljən pɔl ˈkɛli, soʊ məʧ æsk ˈmərdɑk kˈwɛsʧənz ɛz gɪv ɪm ə ˈsuðɪŋ məˈsɑʒ wɪθ ˈbeɪbi ɔɪl ˈθɪnli dɪsˈgaɪzd ɛz wərdz. pɔl ˈkɛli, fər ðoʊz pleɪɪŋ æt hoʊm, həz bɪn ˈkɪkɪŋ əraʊnd ɔn ˈkæpɪtəl hɪl sɪns ðə ənd sɛlz hɪmˈsɛlf ɛz wən əv moʊst ˈɛmənənt ənd pəˈlɪtɪkəl ˈʤərnəlɪsts. ðə ɑz ˈrɛgjələrli fɪlz ɪts ˈlɛtərz peɪʤ wɪθ trækts frəm ɪts ˈeɪˈtin ˈridərz ɪn ə rɪˈtaɪərmənt ˈvɪlɪʤ əˈbaʊt wət ə ˈʃaɪnɪŋ ˈbikən əv ˈwɪzdəm ənd ˈwəndər ˈkɛli ɪz; ʤɪst fɔr deɪz əˈgoʊ, ðə ˈlɛtərz peɪʤ ræn ðə ˈhɛˌdlaɪn ˈkɛli prəˈvaɪdz ˈkɑnfədɛns ɪn ðə ˈrɪtən media”*”, wɪʧ ɪz ən ˈɪntəˌrɛstɪŋ weɪ əv ðə freɪz ˈkɛli səks əp tɪ hɪz bɔs ˈhɑrdər ðən sˈmɪðərz dɪz tɪ ˈmɪstər burns”*”. teɪk ðɪs ˈfɪrləs kˈwɛʃən: ˈkɛli: əv ðə greɪt ˈɪʃuz ðə bɪn ˈrɛsəlɪŋ wɪθ ɪn ˈrisənt jɪrz ɪz ðə ˈbæləns bɪtˈwin ɪnˌvaɪrənˈmɛnəl kənˈsərnz; ˈklaɪmɪt ʧeɪnʤ kənˈsərnz, ɔn ðə wən hænd, ənd ðə nid ɔn ðə ˈəðər hænd tɪ meɪnˈteɪn ə kəmˈpɛtɪtɪv ɪˈkɑnəmi ənd tɪ ɪnˈʃʊr ðət kɔsts ˈɛskəˌleɪt tu məʧ. ðə weɪ wi ʃʊd əˈproʊʧ this?”*?” ðət ˈtɛkstˌbʊk ɪgˈzæmpəl əv ˈʤərnəˌlɪzəm lɛd tɪ ðɪs kənˈtɪnjuəs wiz, ɪn wɪʧ ˈmərdɑk sɪz ˈklaɪmɪt ʧeɪnʤ ɪz ˈnəθɪŋ tɪ ˈwəri əˈbaʊt soʊ lɔŋ ɛz wi stɑrt ˈbɪldɪŋ stəf əˈweɪ frəm ðə si. ˌɪnˈtərprət frəm ðət ˈænsər ðət kənˈsərnd ðət ɔˈstreɪljə maɪt gɪt træpt ˈɪntu ə ˈsɪriz əv dɪˈsɪʒənz ɔn ˈklaɪmɪt ʧeɪnʤ wɪʧ maɪt ˌdɪsədˈvænɪʤ ɪts economy”*”, ˈkɛli rɪˈplaɪz ˌbiˈfɔr ˈroʊlɪŋ ˈɔntu hɪz bæk fər ˈrupərt tɪ skræʧ hɪz ˈtəmi. əˈbrəptli brɔt bæk frəm ðə dɑrk ˈtənəl ˈɪntu ðə laɪt, ˈrupərt nɑdz sagely*. ɪkˈspɛnsɪv ones.”*.” ðə ˈfɔnɪŋ ˈætəˌtud təˈwɔrdz ɪts bɔs ɪz ˈwɛlˈnoʊn, ɛz ər ɪts əˈmeɪzɪŋli kənˈsitəd dɪˈluʒənz əv grænˈdur, bət ˈɔlˌweɪz nis tɪ si boʊθ aʊt ɪn ðə ˈoʊpən soʊ ˈbleɪtəntli ðət ðeɪ ˈprɑmptli ˈwɪðər ənd daɪ laɪk ə ˈkəpəl əv ˈlɛtəs livz ɪn ðə draɪər. ju kən wɔʧ ðə hoʊl θɪŋ hir ɪf ˈfilɪŋ ˈmæsəkɪstɪk ər ɪn ðə mud fər wət ɪz, ˈrɪli, ˈvɛri oʊld mæn pɔrn.
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so much sucking up.
american media tycoon and scrofulous old growth on the arse of decent journalism rupert murdoch has managed to grumble and moan his way through an interview for sky news that aired yesterday. as one might expect, murdoch spewed forth all kinds of objectionable bullshit about the nbn, climate change not existing and why a golden statue of himself filled with the broken bodies of the thousands of slaves that died in its construction hasn’t been erected over parliament house yet.
all fairly standard rupert, really — “gross old tyrant vomits out nasty opinions” isn’t anything new. what was really interesting to watch, though, was the way the interviewer, australian editor-at-large paul kelly, didn’t so much ask murdoch questions as give him a soothing massage with baby oil thinly disguised as words.
paul kelly, for those playing at home, has been kicking around on capital hill since the ’70s and sells himself as one of australia’s most eminent and well-respected political journalists. the oz regularly fills its letters page with frothing tracts from its eighteen readers in a warrnambool retirement village about what a shining beacon of wisdom and wonder kelly is; just four days ago, the letters page ran the headline “paul kelly provides confidence in the written media”, which is an interesting way of rejigging the phrase “paul kelly sucks up to his boss harder than smithers does to mr burns”.
take this fearless question:
kelly: “one of the great issues the paper’s been wrestling with in recent years is the balance between environmental concerns; climate change concerns, on the one hand, and the need on the other hand to maintain a competitive economy and to ensure that costs don’t escalate too much. what’s the way we should approach this?”
that textbook example of inquisitorial journalism led to this two-minute continuous wheeze, in which murdoch says climate change is nothing to worry about so long as we start building stuff away from the sea.
“i interpret from that answer that you’re concerned that australia might get trapped into a series of decisions on climate change which might disadvantage its economy”, kelly replies before rolling onto his back for rupert to scratch his tummy. abruptly brought back from the dark tunnel into the light, rupert nods sagely.
“very expensive ones.”
the australian‘s fawning attitude towards its boss is well-known, as are its amazingly conceited delusions of grandeur, but it’s always nice to see both out in the open so blatantly that they promptly wither and die like a couple of lettuce leaves in the dryer. you can watch the whole thing here if you’re feeling masochistic or in the mood for what is, really, very soft-core old man porn.
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ˈdeɪvɪd bjuˈkænən tɔst ˈʃəˌtaʊt ˌaɪˌpi, ˈdærɪn rəf hɪt tu hoʊm rənz ənd ðə ˈliˌhaɪ ˈvæli pɪkt əp ə wɪn ˈoʊvər ðə ˈluiˌvɪl bæts ɔn ˈsənˌdi naɪt æt ˈluiˌvɪl sˈləgər fild. bjuˈkænən geɪv əp fɔr hɪts waɪl ˈwɔkɪŋ wən ənd ˈfænɪŋ tu ɪn hɪz ˌaɪˌpi. ʤeɪmz ˈrəsəl ˌaɪˌpi, eɪʧ, ɑr, ər, keɪ) ənd hinoʊˈʤoʊsə ˌaɪˌpi, eɪʧ, keɪ) kəmˈbaɪnd tɪ tɔs ðə ˈfaɪnəl ˌaɪˌpi fər ˈmænɪʤər deɪv skwɑd. wɪθ ðə wɪn, ðə ər 20 geɪmz ˈoʊvər 500 fər ðə fərst taɪm ɪn ˈfrænˌʧaɪz ˈhɪstəri ənd hæv sɛt ə nu mɑrk. blæst ɔf əv bæts ˈstɑrtər əˈmɪr ˈgɛrɪt ɪn ðə tɔp əv ðə fərst geɪv ðə ən ˈərli lɛd. ˈgɛrɪt geɪv əp ðə tu rənz ɔn θri hɪts waɪl ˈwɔkɪŋ wən ənd ˈfænɪŋ tu ɪn sɪks ˈɪnɪŋz əv wərk. ðə rɪˈtaɪrd ðə ˈfaɪnəl 16 ˈbætərz hi feɪst. ɪn ðə tɔp əv ðə eɪθ, ən ˈdəbəl frəm ɪˈmænjuəl ˈbərɪsɪz ənd ən ˈsɪŋgəl frəm j.p*. ˈkrɔfərd) ɪkˈstɛndɪd ðə lɛd fər ˈliˌhaɪ ˈvæli tɪ ˈluiˌvɪl kət ðə lɛd tɪ ɪn ðə hoʊm hæf əv ðə freɪm wɪθ skɑt ˈsoʊˌloʊ ʃɑt ɔf əv ˈrəsəl. rəf hr*, 3, 2 ɑr) strək əˈgɛn ɪn ðə tɔp əv ðə naɪnθ wɪθ ə ˈsoʊˌloʊ hoʊm rən ɔf əv deɪən diɑz ˌaɪˌpi, eɪʧ, ɑr, ər, keɪ). ðə hoʊm rənz wər ənd əv ðə ˈsizən. ðə pɪgz rɪˈtərn hoʊm tɪ ˈoʊpən ə sɛt wɪθ ðə ˈsɪrəˌkjuz ʧifs ɔn ˈmənˌdeɪ naɪt æt ˌkoʊkəˈkoʊlɑ pɑrk. fərst pɪʧ ɪz sɛt fər p.m*. ɛz ʤeɪk ˈtɑmsən gɪts ðə bɔl fər ˈliˌhaɪ ˈvæli əˈgɛnst ˈsɪrəˌkjuz ˈteɪlər hɪl
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david buchanan tossed 6.1 shutout ip, darin ruf hit two home runs and the lehigh valley ironpigs (61-41) picked up a 5-1 win over the louisville bats (50-52) on sunday night at louisville slugger field.
buchanan (7-5) gave up four hits while walking one and fanning two in his 6.1 ip. lhp james russell (1.2 ip, h, r, er, k) and rhp dalier hinojosa (1.0 ip, h, k) combined to toss the final 2.2 ip for manager dave brundage's squad.
with the win, the ironpigs are 20 games over .500 for the first time in franchise history and have set a new high-water mark.
ruf's two-run blast off of bats starter amir garrett in the top of the first gave the ironpigs an early 2-0 lead.
garrett (2-2) gave up the two runs on three hits while walking one and fanning two in six innings of work. the southpaw retired the final 16 batters he faced.
in the top of the eighth, an rbi double from emmanuel burriss and an rbi single from j.p. crawford (2-4, rbi) extended the lead for lehigh valley to 4-0.
louisville cut the lead to 4-1 in the home half of the frame with scott schebler's solo shot off of russell.
ruf (2-4, hr, 3 rbi, 2 r) struck again in the top of the ninth with a solo home run off of rhp dayan diaz (1.2 ip, h, r, er, k). the home runs were ruf's 11th and 12th of the season.
the pigs return home to open a three-game set with the syracuse chiefs on monday night at coca-cola park. first pitch is set for 7:05 p.m. as rhp jake thompson (9-5, 2.29) gets the ball for lehigh valley against syracuse rhp taylor hill (4-8, 4.25).
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wɑz ˈdɑktər ˈkɛli vɪns ˈfɑstərd? ðɪs taɪm ɔl ðoʊz kənˈspɪrəsi nəts ˈstɑrtɪd ðɛr swɪm frəm ðə ˈəðər saɪd əv ðə pɑnd. wi ɔl noʊ ðət ðə ˈɪŋlɪʃ ər ˈʃʊrli əˈbəv ˌɪnˈtrig ənd ˈsɪnɪstər didz, ʤɪst æsk rəˈbɛrtoʊ ˈkɑlvi ju noʊ banker”*”, ɛz hi həŋ frəm brɪʤ. ɔl ðoʊz ˈsəˌspɛkt ənd ˈsikrɪt ˌfaɪˈnænʃəl ˈdilɪŋz wɪθ ðə ˈvætɪkən hæd ðə ˈhoʊli si ˈdɪstəns ðɛmˈsɛlvz frəm ðə ‘‘suicide’*’ bæk ɪn 1987 ðət kəˈlæps əv ˈbæŋkoʊ æmˌbroʊsiˈɑnoʊ ənd ˈsəbsəkwənt ˈʃʊrli ˌɪnˈvɑlv əˈmɛrɪkən ˈɑrʧˈbɪʃəp pɔl ˌmɑrˈsɪŋkəs, ðɛn ˈprɛzɪdənt əv ðə ˈɪnstɪˌtut fər rɪˈlɪʤəs wərks (ior*), ðə əˈfɪʃəl neɪm əv ðə ˈvætɪkən bæŋk. əˈmeɪzɪŋ ðət ðə əˈfɪʃəl ˈstɔri əv dɛθ wɑz ˈfaɪnəli rɪˈʤɛktɪd ɛz ðə ril kɔz əv hɪz feɪt. ˈʃʊrli ðɛr kən bi noʊ daʊt əˈbaʊt ɔl ðət kəˈmoʊʃən ˈoʊvər vɪns ˈfɑstər ˈteɪkɪŋ hɪz oʊn laɪf, raɪt? ɔl ðoʊz ˈjæŋki kuks ðət θɪŋk ðə wərst əˈbaʊt ˈbɛltˌweɪ spuks ˈʃʊrli hæv ˈɛni pruf ðət kəˈluʒən wɑz ˌɪnˈvɑlvd wɪθ ˈəðər ‘‘suicide’*’. hu wʊd bɪˈliv ðoʊz ˈstɔriz əˈbaʊt ɪm biɪŋ ə bæg mæn fər ɔl ðoʊz ˈnəmbərd əˈkaʊnts ənd ˈfrikˌwɛnt flaɪər maɪəlz ɪn ənd aʊt əv ʤəˈnivə? pur oʊld vɪns lɛft ðət noʊt ˌbiˈfɔr hi hɪmˈsɛlf, hi? ˈʃʊrli wi ɔl əkˈsɛpt ðə fækts ɪn ðət fɪsk rɪˈpɔrt, ˈivɪn ɪf ɪt wɑz prɪˈlɪməˌnɛri ənd sild, raɪt? liks ənd spɪn ˈɔlˌweɪz simz tɪ brɪŋ aʊt ðə bɛst ɪn ðə prɛs ənd ðə ˈpəblɪk ˈsərvənts. wi kən bɪˈliv ðɛm, ˈoʊnli ə ˈkrækˌpɑt siz ə plɑt ɪn ˈɛvəri pɑrk soʊ ˈʃʊrli, wi kən əkˈsɛpt ðət ˈdɑktər ˈdeɪvɪd ˈkɛli blɛd tɪ dɛθ, ðə nu jɔrk taɪmz ˌriˈpɔrtəd ɪt, ənd ðeɪ ˈnɛvər laɪ! waɪf, ʤæn, sɛd ɔn ˈfraɪˌdeɪ ðət hi hæd kəˈmɪtɪd suicide”*”. ju glæd ju gɪt səʧ kˈwɑləti rɪˈpɔrtɪŋ frəm ə sɔrs ju kən trəst? ɪf ju daʊt ðə brɪts, haʊ əˈbaʊt ðət nuz waɪər rɪˈpɔrt, ju kən bɪˈliv ðə frɛnʧ. ˈʃʊrli ju kən ðət stɑk ɪn ðə tɛmz ˈvæli pəˈlis ˈspoʊksmən wɪn hi sɛd: wɑz noʊ ˈɛvədəns ˈɛniˌwən ɛls wɑz involved.”*.” bət fər ðə ˈpjʊrəst, ˈoʊnli ðə ˌbibiˈsi kən bi rɪˈlaɪəbəl. nuz ju noʊ tɪ bi əˈbəv ðə freɪ ənd lik pruf. ˈwɛpənz ˈɛkspərt ˈdɑktər ˈdeɪvɪd ˈkɛli rɪˈpɔrtədli wɔrnd əv "ˈmɛni dɑrk ˈæktərz pleɪɪŋ geɪmz" ɪn ən ˈiˌmeɪl sɛnt aʊərz ˌbiˈfɔr hi blɛd tɪ dɛθ frəm ə slæʃt rɪst. ðə ˈmɛsɪʤ, sɛnt tɪ ə ˈʤərnəlɪst, əˈpɪrd tɪ rɪˈfər tɪ əˈfɪʃəlz wɪˈθɪn ðə ˈmɪnɪstri əv dɪˈfɛns ənd ˈbrɪtɪʃ ˌɪnˈtɛləʤəns ˈeɪʤənsiz wɪθ hum hi hæd spɑrd ˈoʊvər ˌɪnˌtərprɪˈteɪʃənz əv ˈwɛpənz rɪˈpɔrts, əˈkɔrdɪŋ tɪ ðə nu jɔrk taɪmz. bət hɪz ˈiˌmeɪl geɪv noʊ ˌɪndəˈkeɪʃən hi wɑz dɪˈprɛst ənd sɛd hi wɑz ˈweɪtɪŋ "ənˈtɪl ðə ɛnd əv ðə wik" ˌbiˈfɔr ˈʤəʤɪŋ haʊ hɪz əˈpɪrəns ˌbiˈfɔr ðə kəˈmɪti hæd gɔn, ðə ˈnuzˌpeɪpər said.”*.” ɪf ju sim ə ˈlɪtəl kənfˈjuzd, ˈʃʊrli, ju kən hæv ˈkɑnfədɛns ɪn ˈtoʊni blɛr wɪn æst, hɑrd æt wərk ɪn ˈeɪʒə, ðə ˈkraɪsəs wʊd kɔz ɪm ər ˈɛni əv hɪz tɔp eɪdz tɪ rɪˈzaɪn ənd æst ɪf hi fɛlt hi hæd ɔn hɪz hands”*”, hɪz rɪˈplaɪ wɑz: hoʊp wi kən sɛt əˈsaɪd ðə ˌspɛkjəˈleɪʃən ənd ðə ˈkaʊntərˌkleɪmz ənd əˈlaʊ ðət du ˈprɔˌsɛs tɪ teɪk ɪts ˈprɑpər kɔrs. ənd ɪn ðə min taɪm, ɔl əv ˈjuˈɛs, ðə ˌpɑləˈtɪʃənz ənd ˈmidiə əˈlaɪk, ʃʊd ʃoʊ səm rɪˈspɛkt ənd restraint.”*.” bɔɪ, ˈtoʊni məst bi rɪˈteɪnɪŋ ˈrɑbərt fɪsk tɪ ədˈvaɪz ɔn pərˈfɛktɪŋ rɪˈstreɪnt, ɪn laɪt əv ‘‘suicide’*’ ˌɪnˌvɛstəˈgeɪʃənz. naʊ ðət ðə ˌbibiˈsi həz dɪˈskloʊzd ðət ˈdɑktər ˈdeɪvɪd ˈkɛli wɑz ðə ˈprɪnsəpəl sɔrs fər ɪts ˌkɑntrəˈvərʃəl rɪˈpɔrt ˈkleɪmɪŋ ˈdaʊnɪŋ strit "sɛkst əp" ən ˌɪˈrɑk ˈwɛpənz ˌdɔsˈjeɪ, wət wɪl ə praɪm ˈmɪnɪstər du? ˈʃʊrli, skaɪ nuz rɪˈflɛkts ðə ˈsɛnəmənt əv ðə ˈɪŋlɪʃ ˈkɛli wɑz ðə moʊl, ənd nɪr θri kˈwɔrtərz əv ðɛr poʊlz seɪ ðət blɛr ʃʊd rɪˈzaɪn. waʊ, ɪf ˈoʊnli əˈmɛrɪkənz hæd ðə seɪm ˈaʊˌtreɪʤ wɪn vɪns wɑz ˈgreɪzɪŋ ɔn ðə græs. ɪt ʃʊd nɑt bi ˈoʊvərˌlʊkt ðət ˈdɑktər ˈkɛli wɑz ðə ˈsinjər ædˈvaɪzər ɔn ˌbaɪəˈlɑʤɪkəl ˈwɛpənz tɪ ðə ˈjuˈɛn ˌbaɪəˈlɑʤɪkəl ˈwɛpənz ˌɪnˈspɛkʃənz timz (ˈənˌskɔm) frəm 1994 tɪ 1999 hi wɑz ˈɔlsoʊ, ɪn ðə əˈpɪnjən əv hɪz pɪrz, ɪn hɪz fild, nɑt ˈoʊnli ɪn ðɪs ˈkəntri, bət ɪn ðə wərld. kʊd ɪt bi ˈpɑsəbəl ˈʃʊrli ʤɪst koʊˌɪnsəˈdɛntəl ðət ðə wərldz tɔp ˌmaɪkroʊbiˈɑləʤɪsts ər daɪɪŋ noʊt ə ˈpætərn? 1 noʊv. 12 2001 bɪˈniˌtoʊ kju wɑz sɛd tɪ hæv bɪn ˈbitən ɪn ə maɪˈæmi ˈpɑrkɪŋ lɔt ənd daɪd ˈleɪtər. 2 noʊv. 16 2001 dɑn si. ˈwaɪli wɛnt ˈmɪsɪŋ. wɑz faʊnd dɛk. 20 ˌɪnˈvɛstəˌgeɪtərz sɛd hi gɑt ˈdɪzi ɔn ə ˈmɛmpfɪs brɪʤ ənd fɛl tɪ hɪz dɛθ ɪn ə ˈrɪvər. 3 noʊv. 21 2001 vˈlædəmɪr pasechnik*, ˈfɔrmər ˌhaɪˈlɛvəl ˈrəʃən ˌmaɪkroʊbiˈɑləʤɪst hu dɪˈfɛktɪd ɪn 1989 tɪ ðə u.k*. əˈpɛrəntli daɪd frəm ə stroʊk. 4 dɛk. 10 2001 ˈrɑbərt ɛm. ʃwɔrts wɑz stæbd tɪ dɛθ ɪn leesberg*, va*. θri hæv bɪn ərˈɛstɪd. 5 dɛk. 14 2001 nuˈjɛn væn sɛt daɪd ɪn ən ˈɛˌrlɔk fɪld wɪθ ˈnaɪtrəʤən ɪn hɪz læb ɪn geelong*, ɔˈstreɪljə. 6 ˈfɛbjəˌwɛri. 9 2002 ˈvɪktər hæd hɪz hɛd bæʃt ɪn nɪr hɪz hoʊm ɪn ˈmɔˌskaʊ. 7 ˈfɛbjəˌwɛri. 14 2002 ˈiən ˈlæŋfərd wɑz faʊnd ˈpɑrʃəli ˈneɪkəd ənd wɛʤd ˈəndər ə ʧɛr ɪn ˈnɔrwɪʧ, ˈɪŋglənd. 8 9 ˈfɛbjəˌwɛri. 28 2002 sæn frænˈsɪskoʊ ˈrɛzɪdənt ˈtɑnjə wɑz kɪld baɪ ə ˌmaɪkroʊbiˈɑləʤɪst ˈkɑlig, hwɑŋ, hu ʃɑt hər ɛz ʃi tʊk dɪˈlɪvəri əv ə ˈpitsə ənd ðɛn əˈpɛrəntli ʃɑt hɪmˈsɛlf. 10 mɑrʧ 24 2002 ˈdeɪvɪd daɪd ɪn ə roʊd ˈæksədənt nɪr hɪz hoʊm ɪn ˈkeɪmbrɪʤ, ˈɪŋglənd. 11 mɑrʧ 25 2002 ˈstivən ˈmɑstaʊ əv ðə ˌkɑlərˈɑdoʊ hɛlθ ˈsaɪənsɪz ˈsɛntər, kɪld ɪn ə pleɪn hi wɑz flaɪɪŋ nɪr ˈdɛnvər. 12 ʤun 24 2003 ˈlilənd ˈrɪkmən, əˈsoʊʃiˌeɪt ˈklɪnɪkəl prəˈfɛsər əv ˈmɛdəsən æt ðə skul əv ˈmɛdəsən, daɪd ˈsədənli ɔn ʤun 24 waɪl ˈtrævəlɪŋ ənd ˈtiʧɪŋ ˈmɛdəsən ɪn lɛˈsoʊθoʊ, ˈæfrɪkɑ. ˈækʧəwəl kɔz əv dɛθ, əˈpɛrəntli du tɪ ˈnæʧərəl ˈkɔzɪz, ɪz nɑt noʊn. æt list, ɔn ðə ˈsərfəs, ɪz ðə ˈæbsəns əv ðə vɪns ˈfɑstər ˈfɔrmjələ. ˈivɪn ˈʤəʤmənt ɪz ˈkərəntli biɪŋ wɪθˈhɛld əˈbaʊt ə ˈdɑktər ˈkɛli loʊ tɛk ˈmɛθəd fər ˈhɑrɪˈkɪri. ˈʃʊrli, ðɛr kʊd nɑt bi ˈɛni kəˈnɛkʃən? wi ɔl noʊ ðət li ˈhɑrvi ˈɔzwɔld wɑz ðə ɪkˈsɛpʃən, waɪl ə prəˈfɛʃənəl ˈkəvərz ðɛr træks, hu ˈrɪli θɪŋks hi wɑz ə ˈpætsi! ɔl ðoʊz wʊd hæv ju bɪˈliv ðət ju trəst ðə ˈtoʊni əv ðə wərld. haʊ rɪˈdɪkjələs, laɪk seɪɪŋ ðə ˈvætɪkən kʊd du ˈbɪznɪs wɪθ ðə ˈəndərˌwərld! ənd ˈʃʊrli, ˈoʊnli ə ˈwɪrdoʊ wʊd bɪˈliv ðət vɪns ækt əˈloʊn. ˈoʊnli ˈɑdˌbɔlz wʊd ˈfɑstər səʧ ə mɪθ. ju glæd ðət ju ər əˈbəv səʧ ˌspɛkjəˈleɪʃən ənd ˌɪnjuˈɛndoʊ? ɔl ðə believers”*”, noʊ ðət ðɛr ɪz noʊ kənˈspɪrəsi, kɔz ðə gʊd gaɪz tɛl ˈjuˈɛs soʊ ˈʃʊrli, ˈoʊnli ðə ˌnɑnkənˈfɔrməsts wʊd bi ˈsɪnɪkəl, ənd hu wʊd wɔnt tɪ bi wən əv ðoʊz lamebrains*? biɪŋ ˈskɛptɪkəl kən ˈoʊnli ˈəpˌsɛt ɔl ðə foʊks. ˈbɛtər tɪ θraɪv ɪn ˈfænəsi ðən rɪsk ˌriˈæləˌti. ˈæskɪŋ tu ˈmɛni kˈwɛsʧənz meɪ, ˈʃʊrli, sprɛd ðə pleɪg. ənd hu wʊd wɔnt ðət? ˈʃʊrli, wi ɔl kən du ˈbɛtər ʤɪst bɪˈliv ðə ˌɪnˈfizəbəl ɪt wɪl ɪˈmænsəˌpeɪt ˈsəbstəns frəm dɪˈdəkʃən. ɑ, wət ə ˈplɛzənt weɪ tɪ goʊ ˈsɑrtrə ˌʤuˈlaɪ 20 2003 kənˈgrɛʃənəl rɪˈpɔrts: ʤɔɪnt ˌɪnkˈwaɪˌri ˈɪntu ˌɪnˈtɛləʤəns kəmˈjunɪti ækˈtɪvɪtiz ˌbiˈfɔr ənd ˈæftər ðə ˈtɛrərɪst əˈtæks əv sɛpˈtɛmbər 11 2001 rɪˈpɔrt: ʤɔɪnt kənˈgrɛʃənəl ˌɪnkˈwaɪˌri ˈɛnər ˈkɑntɛnt hir wət ˈɛrəgəns! ˌɪnˈtɛləʤəns ˈeɪʤənsiz kriˈeɪtɪd ðɪs ˈdɪfərənt wərld dɪˈzaɪnd tɪ stil ˈlɪbərˌti frəm ðə ˈpipəl. ðɛr ɪz noʊ pleɪs ɪn ə fri soʊˈsaɪɪti fər əˈfɪʃəl ˈdɛspəˌtɪzəm ɪn ðə neɪm əv ˈnæʃənəl sɪˈkjʊrəti. ðə mɪθ ðət ˈtɛrəˌrɪzəm ɪz ðə ˈgreɪtəst ˈivəl ðət θˈrɛtənz ɑr ˈkəntri, həz bɪn ˈfæbrɪˌkeɪtɪd tɪ ˈfərðər ðə paʊər əv ðə ˈrulɪŋ kəˈbɑl. ðə ˈhɪdən ˈpərpəs əv ðə ɪnˈtaɪər ˌɪnˈtɛləʤəns kəmˈjunɪti ɪz dəˈmɛstɪk kənˈtroʊl əv əˈmɛrɪkən ˈsɪtɪzənz. wɔr hɪˈstɛriə həz daɪər ˈkɑnsəkˌwɛnsəz ər ju ʃʊr ju ər ˈrɛdi fər ðə truθ? kən ju ˈhændəl ðə truθ? wɛl, ðə ʃɪp ɪz biɪŋ ˈbɔrdɪd ənd wɪl ɪmˈbɑrk ˈvɛri sun. ðɪs ˈkəntri wɪl ˈnɛvər rɪˈtərn tɪ ðə ˈbikən əv laɪt ɔn ðə hɪl wət ɪz ɪt wɪˈθɪn ðə əˈmɛrɪkən ˈkɛrɪktər ðət ɛmˈbreɪsɪz sɛlf dɪˈluʒən? ɪz ɪt ðə ðət ˈpərmiˌeɪts ðə ˈkəlʧər, ər ɪz ɪt ðə ˈiˌmoʊʃənəl ˈneɪʧər əv ˈpəblɪk kənˈsɛnsəs ðət ˈriʤɛkts ðə ˈlɛsənz əv ˈhɪstəri ənd ˈkɑmən sɛns? jɛs, wi ər ɔn ə kəˈlɪʒən kɔrs tɪ əˈblɪviən. ðə tˈwaɪˌlaɪt zoʊn əv ðə əbˈsərd həz naʊ kloʊzd ɪn ɔn ɑr fˈjuʧər. ə fˈjuʧər əv ˌkɔˈzælɪtiz ðət wɪl lʊk peɪl ɪn kəmˈpɛrəsən tɪ ðə ˈtræʤɪk ˈhɔrər ðət həz snæʧt ðə laɪf bləd frəm ðə ˈbægdæd ɔn ðə ˈhədsən. ðə rɪsk əv ˈfərðər ˌɛskəˈleɪʃən ɪz əˈʃʊrd tɪ bɛr ˈsəfərɪŋ ðət wɪl kæst ə ˈʃæˌdoʊ əv ˈtræʤədi ˈoʊvər ɔl ðə lænd. ɪz ðɪs jʊr ˌæspərˈeɪʃən, ɛz ðə praɪs fər ˌrɛtrəˈbjuʃən? ðə kərɪʤ ənd ˈspɪrɪt əv ˈbrəðərli ləv əv ɔl nu ˈjɔrkərz dɪˈzərvz əˈkleɪm ənd ˌædmərˈeɪʃən. ðə wərld naʊ noʊz waɪ wi ər praʊd tɪ bi pɑrt əv ðə ˈɛmpaɪər steɪt. "aɪ ləv nu jɔrk" ɪz noʊ ˈhɑloʊ ˈʤɪŋgəl. ɪt ɪz ɑr kəmˈjunəl ˈɛsəns. waɪl wi ˈsɛləˌbreɪt ðə ˈbreɪvəri əv ˈkaʊntləs ˌɪndəˈvɪʤəwəlz, wi ʃʊd nɑt ˌɪgˈnɔr ðə ˈkɔzɪz fər ˈheɪtrəd ðət həz ˈfɛstərd fər ˈdɛkeɪdz, ənd meɪd ðɪs ˌɪnˈsænɪti thinkable*! "ðə əˈmɛrɪkən ˈpipəlz ʃʊd rɪˈmɛmbər ðət noʊ wən θruaʊt ˈhɪstəri hæd krɔst ðə əˈtlæntɪk ˈkɛriɪŋ ɑrmz əˈgɛnst ðɛm, bət ɪt wɑz ðeɪ hu krɔst ˈoʊvər ˈkɛriɪŋ wɪθ ðɛm dɛθ, dɪˈstrəkʃən ənd ˈtɛrəbəl ˌɛkˌsplɔɪˈteɪʃən tɪ ðə hoʊl wərld." hu sɛd ðɪs? wɪθ ðə ɪkˈsɛpʃən əv 1812 ənd ˈivɪn ˈpænʧoʊ ˈvɪlə, ɪz ðɪs əˈsərʃən tru? noʊ daʊt, əˈmɛrɪkənz ər ðə moʊst ˈʤɛnərəs əv ˈpipəlz. bət kən ðə seɪm bi sɛd fər ðɛr ˈgəvərnmənt? əˈgrid, ðət ˈɔrdəˌnɛri ˈsɪtɪzənz rɪˈspɛkt ðə lɔ ənd sik ˈpisfəl ˌɪnərˈækʃən. bət kən ðə seɪm bi sɛd fər ðɛr əˈfɪʃəl ˈpɑləsi? ənd ɪt ɪz kərˈɛkt tɪ əˈsərt ðət moʊst əˈmɛrɪkənz ər 'gʊd'. naʊ kən wi ˈrɪli kleɪm ðət seɪm kˈwɑləti fər ðə ˈæftərˌmæθ ɪn ðə weɪk əv ˈfɔrən ˌɪnˈvɑlvmənts? 'gʊd ˌɪnˈtɛnʧənz' doʊnt əbˈzɑlv ðə ˈbərdən frəm kəˈmɪtɪŋ ˈivəl didz. ðɪs seɪm ˈstændərd əˈplaɪz tɪ ˈɛni ˈpɑrti, ˈɛvəri saɪd ənd ɔl ˈfækʃənz. du ju stɪl vju ðə læst rɪˈmeɪnɪŋ ˌsupərˈpaʊər ɛz ən ənˈweɪvərɪŋ dɪˈfɛndər əv ˈfridəm? ɪf ju du, ju məst saɪd wɪθ ðoʊz hu ˈʧæmpiən ˈɛmpaɪər. ju ʃʊd nɑt ˈfɔlsli kənˈklud ðət ˈɛni ˈkrɪtɪˌsɪzəm əv ˈfɔrən ˌɪntərˈvɛnʃən ɪz ðə seɪm ɛz biɪŋ dɪsˈlɔɪəl. kwaɪt tɪ ðə ˈkɑntrɛri. ɪt ɪz bɪˈkəz əv dɪˈvoʊʃən tɪ ðə ˈprɪnsəpəlz əv ˈlɪbərˌti, ðət iʧ ˈsɪtɪzən həz ðə ˈmɔrəl riˌspɑnsəˈbɪləti tɪ hoʊld jʊr ˈpəblɪk ˈsərvənts əˈkaʊntəbəl tɪ əˈdhɪr tɪ ðə ˈwɪzdəm ðət rɪˈzaɪdz ɪn ˈwɔʃɪŋtənz ˌfɛrˈwɛl ˈæˌdrɛs. kʊd ðə ˈɔθər əv ðət kwoʊt bi kərˈɛkt? fər ðoʊz huz ˌkɑzməˈpɑlətən ɪkˈspɪriəns ɪz kənˈfaɪnd tɪ ˈhævɪŋ lənʧ æt ən ˈɛpˌkɔt ˈrɛˌstrɑnt, məʧ əv ðə rɛst əv ðə wərld dɪz nɑt vju ðə juˈnaɪtɪd steɪts ɛz ə bəˈnɛvələnt ˈneɪbər. jɛs ðeɪ wɪl əkˈsɛpt ɑr eɪd ənd treɪd ðɛr gʊdz, bət moʊst əv ðə rɛst əv ðə ˈplænət ɪz ˈɪgnərənt əˈbaʊt ðə ˈʤɛnjuənɪs ɪn ˈjumən kənˈsərn ðət ɪz pɑrt əv ðə əˈmɛrɪkən ˈkɛrɪktər. wət ə məˈʤɔrəti si; ɪz ə ˈtaɪrənt hu siks tɪ ɪkˈstɛnd ðɛr ˌdɑməˈneɪʃən ənd kənˈtroʊl ˈoʊvər ðɛr ˈkəlʧər ənd ˌsɪstəˈmætɪkli ˈɛkˌsplɔɪts ðɛr ɪˈkɑnəmi. ðeɪ meɪ bi ɪnˈtaɪərli rɔŋ ɪn ðɛr əˈsɛsmənt, bət ðət dɪz nɑt ˈɔltər ðə ˌriˈæləˌti ðət ðɪs pərˈsɛpʃən ɪz wət draɪvz ðɛr ˈsɛnəmənts. ˈstɑrtɪŋ tɪ əˈgri wɪθ ðɪs ˈfɛloʊ ˈspikɪŋ ðɪs kwoʊt; maɪt bi ɔn tɪ ˈsəmθɪŋ? bət ju rɪˈplaɪ ðət ðə ˈmɑrʃəl plæn pruvd ðə ˌʤɛnərˈɑsəti əv ðə juz.! əˈgrid; bət lɛst ju fərˈgɛt, ˈbɑmər ˈhɛrɪs ənd ˈkərtɪs ˈlɛmeɪ pərˈfɛktəd ˈkɑrpət ˈbɑmɪŋ ɔn səˈvɪljən ˈtɑrgəts. ðə ˈhɔrər əv wɔr ʃʊd ˈnɛvər bi fərˈgɑtən. ðə ˈnoʊʃən ðət ðə juz. ɪz ˈɔlˌweɪz ɔn ðə saɪd əv ˈʤəstɪs dɪz nɑt skwɛr wɪθ ðə ˈrɛkərd, ɛz sin frəm ɪgˈzɑtɪk ənd ˈfɔrən pərˈspɛktɪvz. ðeɪ meɪ bi ˈtoʊtəli rɔŋ, bət waɪ doʊnt ju kənˈsɪdər ðə ˌpɑsəˈbɪləˌti ðət ðɛr vˈjuˌpɔɪnt kʊd hæv səm ˈmɛrət? ðə 'blowback*' frəm ðə ˈkəmɪŋ ˈkɑnflɪkt wɪl ˈtəfən ˈɛvəri əˈmɛrɪkən. ɑr sɔɪl həz bɔrn ðə teɪnt əv bləd. ɪt ɪz ˌəndərˈstændəbəl ðət ˈɪˌmoʊʃənz rən haɪ wɪθ ðə kɔl fər riˈvɛnʤ. ðə ˈkrɪmənəlz ˌɪnˈvɑlvd ənd ðɛr səˈpɔrts nid tɪ bi hɛld əˈkaʊntəbəl. bət wɪl ðə ˈkɑnsəkˌwɛnsəz əv riˌtæliˈeɪʃən', əˈgɛnst ə ˈtərgət ðət bəroʊz ɪn ðə sændz əv ˌdɛsəˈleɪʃən, brɪŋ ðə dɛd bæk tɪ laɪf? ˈʤəstɪs dɪˈmændz ðə nid tɪ bi ˈtɛmpərd wɪθ ˈprudəns ənd prəˈpɔrʃənət fɔrs. ɔl wɔr ˈvæləˌdeɪts ðə ˈivəl ˈneɪʧər əv ɑr ˈspiʃiz. ðɪs wən ənˈdaʊtɪdli wɪl kəm bæk tɪ ɑr saɪd əv ðə ˈoʊʃənz, wɪθ ən əˈbhɔrəns ðət fju əv ˈjuˈɛs kən ˈivɪn ˌɪˈmæʤən. θɪŋk ðɪs kwoʊˈteɪʃən maɪt hæv səm ˈmɛrət ɪf ju wər wən əv ðoʊz biɪŋ bɑmd? naʊ ju seɪ, ðɪs taɪm; ðeɪ brɔt ðɪs əˈpɑn ðɛmˈsɛlvz wɪn ðeɪ krɔst ðə əˈtlæntɪk! wɛl ju ər ˈprɑbəˌbli raɪt hɑrd tɪ ˈɑrgju ðət ˈivəl məst nɑt goʊ ənˈpənɪʃt. bət ðə ˈsɪriəsnəs əv ðə ˈsərkəmˌstæns nidz tɪ bi ˈriəˌlaɪzd baɪ ɔl əˈmɛrɪkənz ˌbiˈfɔr səm goʊ ɔf wɪθ blaɪnd ˈʤɪŋˌgoʊɪzəm ənd ˌɪnˈvaɪt ə rɪˈspɑns ðət wɪl rɪˈzəlt ɪn ˈməʃrum klaʊdz ɔn ɑr hərˈaɪzən. ðə steɪks ˈkænɑt bi ˈɛni haɪər. kənˈsɪdər ðət juz. ˈfɔrən ˈpɑləsi fər ðə ˈmɪdəl ist həz ˈnɛvər bɪn ˈbælənst. ˈpɑndər ðət ðə ˈɛrəgəns əv ðə 'wərld kəmˈjunɪti' bridz ðə ˈɛnmɪti ənd ˈheɪtrəd ðət draɪvz ˈdɛspərɪt ˈpipəl tɪ əkˈsɛpt ˈsuɪˌsaɪd. rɪˈflɛkt ɔn ðə ˌkəlpəˈbɪlɪti əv ðə wɛst, fər ðə kənˈtɪnjuəs ənd ənˈkɑnʃənəbəl ˈsəfərɪŋ ðət həz strɪpt ɔl hoʊp frəm ˌʤɛnərˈeɪʃənz əv ˈsteɪtlɪs ˈnoʊˌmædz. ðɛn rɛd ðɪs kwoʊt wɪθ ə ˈdɪfərənt ˈætəˌtud. fər ɪt wɑz spoʊk baɪ ə ˈpərsən hu ɪz ˈivəl. ˌhaʊˈɛvər, ðə fækt ðət hi ɪz ə ˈsɪmbəl ənd ˈpərpəˌtreɪtər əv dɪˈprævəti, dɪz nɑt dɪˈmɪnɪʃ ðə sɪgˈnɪfɪkəns əv hɪz wərdz. du wi ˈrɪli wɔnt tɪ weɪʤ ə nu kruˈseɪd ðət wɪl ˌɪgˈnaɪt ðə əˈpɑkəˌlɪps ðət moʊst əv ju ˈsɛkjələr ˈhjumənɪst ˈrɪdəˌkjul? θɪŋk əˈgɛn, ˌbiˈfɔr ˈhəŋgər fər ˈvɛnʤəns ˌsupərˈsidz jʊr ˈræʃənəl ˈʤəʤmənt. ˈɔlsoʊ, rɪˈmɛmbər ðət wɪn ju hæd ðə ʧæns tɪ rɪˈfɔrm juz. ˈfɔrən ˈpɑləsi, ju kloʊzd jʊr aɪz. ʤɔrʤ ˈwɔʃɪŋtən wɑz prəˈfɛtɪk, wi dɪd nɑt ˈlɪsən. naʊ ðə kreɪzd ənd dɪˈmɛntɪd ər ˈmeɪkɪŋ ðə dɪˈsɪʒənz, ənd wi ər ɔl lɛft tɪ peɪ ðə ˈkɑnsəkˌwɛnsəz. dɪˈploʊməsi həz feɪld, ðə wɔr ˈpɑrti kɔlz ðə ʃɑts, ənd ɪˈvɛnts ər ˈræpədli ˈspɪnɪŋ aʊt əv kənˈtroʊl ɪf wi ˈhidɪd ðə ˈmɛsɪʤ ɪn ðɪs kwoʊt, wʊd wi hæv dən ˈɛniˌθɪŋ ˈdɪfərənt? ˈsædli, ɪt simz ˈvɛri ənˈlaɪkli. ˈsɑrtrə sɛpˈtɛmbər 13 2001 kˈwoʊtɪd ˈɔθər
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was dr kelly vince fostered? this time all those conspiracy nuts started their swim from the other side of the pond. we all know that the english are surely above intrigue and sinister deeds, just ask roberto calvi , you know “god’s banker”, as he hung from blackfriars bridge. all those suspect and secret financial dealings with the vatican had the holy see distance themselves from the ‘suicide’ back in 1987. that collapse of banco ambrosiano and subsequent fraudulent-bankruptcy surely couldn’t involve american archbishop paul marcinkus, then president of the institute for religious works (ior), the official name of the vatican bank. amazing that the official story of calvi’s death was finally rejected as the real cause of his fate. surely there can be no doubt about all that commotion over vince foster taking his own life, right? all those yankee kooks that think the worst about beltway spooks surely have any proof that collusion was involved with hillary’s other partner’s ‘suicide’. who would believe those stories about him being a bag man for all those numbered accounts and frequent flyer miles in and out of geneva? poor old vince left that note before he offed himself, didn’t he? surely we all accept the facts in that fiske report, even if it was preliminary and sealed, right? leaks and spin always seems to bring out the best in the press and the public servants. we can believe them, only a crackpot sees a plot in every park . . . so surely, we can accept that dr david kelly bled to death, the new york times reported it, and they never lie! “his wife, jan, said on friday that he had committed suicide”. aren’t you glad you get such quality reporting from a source you can trust? if you doubt the brits, how about that afp news wire report, you can believe the french. surely you can that stock in the thames valley police spokesman when he said: “there was no evidence anyone else was involved.” but for the purest, only the bbc can be reliable. news you know to be above the fray and leak proof. “iraq weapons expert dr david kelly reportedly warned of "many dark actors playing games" in an e-mail sent hours before he bled to death from a slashed wrist. the message, sent to a journalist, appeared to refer to officials within the ministry of defence and british intelligence agencies with whom he had sparred over interpretations of weapons reports, according to the new york times. but his e-mail gave no indication he was depressed and said he was waiting "until the end of the week" before judging how his appearance before the committee had gone, the newspaper said.” if you seem a little confused, surely, you can have confidence in tony blair ! when asked, hard at work in asia, “whether the crisis would cause him or any of his top aides to resign and asked if he felt he had “blood on his hands”, his reply was: “i hope we can set aside the speculation and the counterclaims and allow that due process to take its proper course. and in the mean time, all of us, the politicians and media alike, should show some respect and restraint.” boy, tony must be retaining robert fiske to advise on perfecting restraint, in light of ‘suicide’ investigations. now that the bbc has disclosed that dr david kelly was the principal source for its controversial report claiming downing street "sexed up" an iraq weapons dossier, what will a prime minister do? surely, sky news reflects the sentiment of the english - kelly was the mole, and near three quarters of their polls say that blair should resign. wow, if only americans had the same outrage when vince was grazing on the grass. it should not be overlooked that dr kelly was the senior adviser on biological weapons to the un biological weapons inspections teams (unscom) from 1994 to 1999, he was also, in the opinion of his peers, pre-eminent in his field, not only in this country, but in the world. could it be possible - surely just coincidental - that the world's top microbiologists are dying . note a pattern? 1. nov. 12, 2001: benito que was said to have been beaten in a miami parking lot and died later. 2. nov. 16, 2001: don c. wiley went missing. was found dec. 20. investigators said he got dizzy on a memphis bridge and fell to his death in a river. 3. nov. 21, 2001: vladimir pasechnik, former high-level russian microbiologist who defected in 1989 to the u.k. apparently died from a stroke. 4. dec. 10, 2001: robert m. schwartz was stabbed to death in leesberg, va. three satanists have been arrested. 5. dec. 14, 2001: nguyen van set died in an airlock filled with nitrogen in his lab in geelong, australia. 6. feb. 9, 2002: victor korshunov had his head bashed in near his home in moscow. 7. feb. 14, 2002: ian langford was found partially naked and wedged under a chair in norwich, england. 8. 9. feb. 28, 2002: san francisco resident tanya holzmayer was killed by a microbiologist colleague, guyang huang, who shot her as she took delivery of a pizza and then apparently shot himself. 10. march 24, 2002: david wynn-williams died in a road accident near his home in cambridge, england. 11. march 25, 2002: steven mostow of the colorado health sciences centre, killed in a plane he was flying near denver. 12. june 24, 2003: leland rickman, associate clinical professor of medicine at the ucsd school of medicine, died suddenly on june 24 while traveling and teaching medicine in lesotho, africa. actual cause of death, apparently due to natural causes, is not known. at least, on the surface, is the absence of the vince foster formula. even judgment is currently being withheld about a dr kelly low tech method for hara-kiri. surely, there could not be any connection? we all know that lee harvey oswald was the exception, while a professional covers their tracks, who really thinks he was a patsy! all those wacko’s would have you believe that you can’t trust the tony blair’s of the world. how ridiculous, like saying the vatican could do business with the underworld! and surely, only a weirdo would believe that vince didn’t act alone. only oddballs would foster such a myth. aren’t you glad that you are above such speculation and innuendo? all the “true believers”, know that there is no conspiracy, cause the good guys tell us so . . . surely, only the non-conformists would be cynical, and who would want to be one of those lamebrains? being skeptical can only upset all the folks. better to thrive in fantasy than risk reality. asking too many questions may, surely, spread the fosterized plague. and who would want that? surely, we all can do better - just believe the infeasible - it will emancipate substance from deduction. ah, what a pleasant way to go . . . sartre - july 20, 2003 congressional reports: joint inquiry into intelligence community activities before and after the terrorist attacks of september 11, 2001 9/11 report: joint congressional inquiry enter content here
what arrogance! intelligence agencies created this different world designed to steal liberty from the people. there is no place in a free society for official despotism in the name of national security. the myth that terrorism is the greatest evil that threatens our country, has been fabricated to further the power of the ruling cabal. the hidden purpose of the entire intelligence community is domestic control of american citizens. war hysteria has dire consequences are you sure you are ready for the truth? can you handle the truth? well, the ship is being boarded and will embark very soon. this country will never return to the beacon of light on the hill . . . what is it within the american character that embraces self delusion? is it the anti-intellectualism that permeates the culture, or is it the emotional nature of public consensus that rejects the lessons of history and common sense? yes, we are on a collision course to oblivion. the twilight zone of the absurd has now closed in on our future. a future of causalities that will look pale in comparison to the tragic horror that has snatched the life blood from the baghdad on the hudson. the risk of further escalation is assured to bear suffering that will cast a shadow of tragedy over all the land. is this your aspiration, as the price for retribution? the courage and spirit of brotherly love of all new yorkers deserves acclaim and admiration. the world now knows why we are proud to be part of the empire state. "i love new york" is no hollow jingle. it is our communal essence. while we celebrate the bravery of countless individuals, we should not ignore the causes for hatred that has festered for decades, and made this insanity thinkable! "the american peoples should remember that no one throughout history had crossed the atlantic carrying arms against them, but it was they who crossed over carrying with them death, destruction and terrible exploitation to the whole world." who said this? with the exception of 1812 and even pancho villa, is this assertion true? no doubt, americans are the most generous of peoples. but can the same be said for their government? agreed, that ordinary citizens respect the law and seek peaceful interaction. but can the same be said for their official policy? and it is correct to assert that most americans are 'good'. now can we really claim that same quality for the aftermath in the wake of foreign involvements? 'good intentions' don't absolve the burden from committing evil deeds. this same standard applies to any party, every side and all factions. do you still view the last remaining superpower as an unwavering defender of freedom? if you do, you must side with those who champion empire. you should not falsely conclude that any criticism of foreign intervention is the same as being disloyal. quite to the contrary. it is because of devotion to the principles of liberty, that each citizen has the moral responsibility to hold your public servants accountable to adhere to the wisdom that resides in washington's farewell address. could the author of that quote be correct? for those who's cosmopolitan experience is confined to having lunch at an epcot restaurant, much of the rest of the world does not view the united states as a benevolent neighbor. yes they will accept our aid and trade their goods, but most of the rest of the planet is ignorant about the genuineness in human concern that is part of the american character. what a majority see; is a tyrant who seeks to extend their domination and control over their culture and systematically exploits their economy. they may be entirely wrong in their assessment, but that does not alter the reality that this perception is what drives their sentiments. starting to agree with this fellow speaking this quote; might be on to something? but you reply that the marshall plan proved the generosity of the u.s.! agreed; but lest you forget, bomber harris and curtis lemay perfected carpet bombing on civilian targets. the horror of war should never be forgotten. the notion that the u.s. is always on the side of justice does not square with the record, as seen from exotic and foreign perspectives. they may be totally wrong, but why don't you consider the possibility that their viewpoint could have some merit? the 'blowback' from the coming conflict will toughen every american. our soil has born the taint of blood. it is understandable that emotions run high with the call for revenge. the criminals involved and their supports need to be held accountable. but will the consequences of 'satiation retaliation', against a target that burrows in the sands of desolation, bring the dead back to life? justice demands the need to be tempered with prudence and proportionate force. all war validates the evil nature of our species. this one undoubtedly will come back to our side of the oceans, with an abhorrence that few of us can even imagine. think this quotation might have some merit if you were one of those being bombed? now you say, this time; they brought this upon themselves when they crossed the atlantic! well you are probably right . . . hard to argue that evil must not go unpunished. but the seriousness of the circumstance needs to be realized by all americans before some go off with blind jingoism and invite a response that will result in mushroom clouds on our horizon. the stakes cannot be any higher. consider that u.s. foreign policy for the middle east has never been balanced. ponder that the arrogance of the 'world community' breeds the enmity and hatred that drives desperate people to accept suicide. reflect on the culpability of the west, for the continuous and unconscionable suffering that has stripped all hope from generations of stateless nomads. then read this quote with a different attitude. for it was spoke by a person who is evil. however, the fact that he is a symbol and perpetrator of depravity, does not diminish the significance of his words. do we really want to wage a new crusade that will ignite the apocalypse that most of you secular humanist ridicule? think again, before hunger for vengeance supersedes your rational judgment. also, remember that when you had the chance to reform u.s. foreign policy, you closed your eyes. george washington was prophetic, we did not listen. now the crazed and demented are making the decisions, and we are all left to pay the consequences. diplomacy has failed, the war party calls the shots, and events are rapidly spinning out of control . . . if we heeded the message in this quote, would we have done anything different? sadly, it seems very unlikely. sartre - september 13, 2001 quoted author
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ðə ˈnuˌkæsəl ʤɛts wɪl hɛd wɛst tɪ feɪs pərθ ˈglɔri ɪn raʊnd 10 əv ðə ˈhənˌdeɪ. ðə klæʃ pruvz tɪ bi ə ˈkruʃəl wən fər boʊθ saɪdz, ɛz ðə ʤɛts ənd ˈglɔri lʊk tɪ baʊns bæk frəm læst stɑrt ˈlɔsɪz tɪ ˈmɛlbərn ˈsɪti ənd ðə ˈsɛntrəl koʊst rɪˈspɛktɪvli. midfielder*, bɛn wɪl laɪn əp ɪn fər ðə taɪm ɛz ðə ræks əp ə sɪgˈnɪfɪkənt ˈhənˌdeɪ ˈmaɪlˌstoʊn. ɪt wʊd bi fɛr tɪ seɪ ðət boʊθ saɪdz hæv mɔr ðən ðɛr fɛr ʃɛr əv ˈɪnʤəriz, ɛz ðə dɛpθ əv iʧ skwɑd ɪz ˈtɛstɪd ɪn ðə ˈərli pɑrt əv ðə ˈsizən. ðə ʤɛts ər ˈboʊlstərd baɪ ðə əˈdɪʃənz əv rɔɪ ənd weɪn braʊn tɪ ðə ˈtrævəlɪŋ skwɑd, bət ˈərni ˈmɛrɪk meɪk ˈɛni dɪˈsɪʒən ɔn ðɛr ˌɪnˈkluʒən ɪn hɪz saɪd ənˈtɪl match-day*. ˈmɛrɪk sɛd ðət waɪl ðə trɪp tɪ pərθ wɑz ə bɪg æsk, ðə kləb hæd ə ˈfeɪvərəbəl drɔ ɪn ðə ˈsizən. gɑt kwaɪt ə gʊd drɔ ðɪs ˈsizən, ˈoʊnli ˈtrævəlɪŋ tɪ boʊθ pərθ ənd nu ˈzilənd once–*– soʊ wi hæv məʧ tɪ kəmˈpleɪn əˈbaʊt there,”*,” sɛd ˈmɛrɪk. noʊ daʊt ðət flaɪɪŋ ðət sɔrt əv ˈdɪstəns dɪz ˌɪmˈpækt pərˈfɔrməns ənd wi hæv tɪ du ɑr bɛst tɪ ˈmænɪʤ ðət. gɑt ə ˈvɛri pərˈoʊkiəl kraʊd ˈoʊvər ɪn pərθ ənd ə greɪt ædˈvæntɪʤ fər ðɛm, bi praɪmd fər ə bɪg mæʧ ˈæftər ə təf rən ˈoʊvər ðə læst mənθ pleɪɪŋ ə ˈnəmbər əv əˈweɪ games.”*.” ɔn ðə ˈɪnʤəriz ðət boʊθ saɪdz wər ˈdilɪŋ wɪθ, ˈmɛrɪk sɛd hi fɛlt ɪt wʊd prəˈvaɪd ən ˈivɪn ˈkɑntɛst æt nɪb ˈsteɪdiəm. gɑt ə ˈkəpəl əv pleɪərz aʊt, gɑt ə ˈkəpəl əv pleɪərz aʊt, soʊ aɪ θɪŋk ɪt wɪl meɪk fər ən ˈivɪn geɪm bət wi ˈfʊli ˌɪnˈtɛnd ɔn goʊɪŋ ˈoʊvər ðɛr tɪ gɪt ɔl θri points,”*,” ˈædɪd ˈmɛrɪk. bi ˈlʊkɪŋ tɪ tərn θɪŋz əraʊnd ənd gɪt bæk ˈɪntu ðə ˈsərkəl, ənd aɪ θɪŋk si ən ˈoʊpən, əˈtækɪŋ staɪl əv pleɪ frəm pərθ wɪʧ ˈrɪli suts ðə weɪ wi wɔnt tɪ goʊ əˈbaʊt θɪŋz. wɔnt tɪ pleɪ ˌɛnərˈteɪnɪŋ ˈfʊtˌbɔl nɑt ʤɪst fər ˌɛnərˈteɪnmənt əˈbaʊt ˈwɪnɪŋ. θɪŋk ðə bɛst weɪ tɪ wɪn ˈmæʧɪz, baɪ kriˈeɪtɪŋ ɛz ˈmɛni ˈskɔrɪŋ ˈʧænsɪz ɛz ˈpɑsəbəl, wɪʧ aɪ θɔt wi ˈrɪli wɛl læst wik (əˈgɛnst ˈsɪti) dɪˈspaɪt ˈluzɪŋ ðə match.”*.” baɪ ðə ˈnəmbərz: jets’*’ midfielder*, bɛn wɪl laɪn əp fər hɪz 150 ˈtiˈeɪʧ mæʧ. mæʧ. ˈnuˌkæsəl ʤɛts hæv skɔrd mɔr goʊlz ðən ˈɛni ˈəðər tim ðɪs tərm 12 waɪlst ˈoʊnli wən ˈəðər saɪd həz rɪˈkɔrdɪd fjuər ðən ˈglɔri 4 ɪn ðə ˈoʊpənɪŋ 45 ˈmɪnəts ðɪs ˈsizən (ˈmɛlbərn ˈvɪktəri, 2 ˈændru həz bɪn dɪˈrɛkli ˌɪnˈvɑlvd ɪn mɔr goʊlz ðən ˈɛni ˈəðər pleɪər ðɪs ˈsizən 9 5 goʊlz, 4 əˈsɪsts). həz rɪˈkɔrdɪd 13 ʃɑts ɔn ˈtərgət ðɪs ˈsizən; ˈoʊnli wən pleɪər həz ˈrɛʤɪstərd mɔr (məˈkɔrmək, 15 ˈsæˌtɪˌdeɪ, 9 dɪˈsɛmbər 2017 pərθ ˈglɔri vi ˈnuˌkæsəl ʤɛts nɪb ˈsteɪdiəm, pərθ kick-off*: (ˈloʊkəl) ənd (aedst*) ˌrɛfərˈi: ˈædəm ˈkərsi ˌtɛləˈvɪʒən ˈbrɔdˌkæst: lɪv ˈkəvərɪʤ ɔn fɑks spɔrts 501 frəm (aedst*) ənd skaɪ spɔrts 1 (nu ˈzilənd) ˈreɪdiˌoʊ ˈbrɔdˌkæst: 6pr*). ˈeɪˌbiˌsi nuz ɔn ˈreɪdiˌoʊ, ˈgrændˌstænd ˈdɪʤɪtəl, ˈɔnˌlaɪn ˈviə ðə ˈeɪˌbiˌsi ˈlɪsən æp lɪv. ʤɔɪn ðə ˌkɑnvərˈseɪʃən ɔn tˈwɪtər ˈjuzɪŋ ðə ˈnuˌkæsəl ʤɛts: ˈhɔfmən, boogaard*,, ugarkovic*, petratos*,, braʊn, shabow*, vujica*,, cowburn*, koutroumbis*, petratos*, mɔs, ˈʤæksən, champness*, necevski*, **tu tɪ bi ˈaɪˈɛˈnɛs: (prəˈmoʊtəd), braʊn (prəˈmoʊtəd) aʊts: ˌənəˈveɪləbəl: ˈdəŋkən (fʊt 5 wiks), ˈvɑrgəs (ˈæŋkəl ˌɪnˈdɛfənət) 17 ˈdænjəl (ni 2 wiks) pərθ ˈglɔri skwɑd: grænt, ˈlaʊri (si), poscoliero*, ˈnɪkəlz, ˈtɔˌrɛz, 11 mɪʧ ˈmɑliə, 13 nɪk ˈfili (gk*), ˈhɛrəld, ˈwɪlsən, mɪlz, noʊlz, ˈbrɪmər, ˈtɪmɪnz, ˌɪtɑliˈɑnoʊ, ˈwɔkər, ˈrɛdi (gk*), muˈstɑfə **wən tɪ bi ˈaɪˈɛˈnɛs: ˈtɪmɪnz (prəˈmoʊtəd) aʊts: ˌənəˈveɪləbəl: ˈwɔrən (ˈæŋkəl wiks), kiɑˈneɪzi (ˈkɑlər boʊn 1 wik), ˈkioʊ (grɔɪn 1 wik), ˈtægərt (ˈhæmˌstrɪŋ wiks), ˈkæstroʊ (kæf wiks), 18 ˈændru (kæf wiks), ˈnɛvɪl (grɔɪn wiks), (ˈhæmˌstrɪŋ wiks), (ˈbroʊkən lɛg ənd bæk 6 mənθs)
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the newcastle jets will head west to face perth glory in round 10 of the hyundai a-league.
the clash proves to be a crucial one for both sides, as the jets and glory look to bounce back from last start losses to melbourne city and the central coast respectively.
midfielder, ben kantarovski will line up in jet’s colours for the 150th time as the 25-year-old racks up a significant hyundai a-league milestone.
it would be fair to say that both sides have more than their fair share of injuries, as the depth of each squad is tested in the early part of the season.
the jets are bolstered by the additions of roy o’donovan and wayne brown to the travelling squad, but ernie merrick make any decision on their inclusion in his side until match-day.
merrick said that while the trip to perth was a big ask, the club had a favorable draw in the 2017/18 season.
“we’ve got quite a good draw this season, only travelling to both perth and new zealand once– so we have much to complain about there,” said merrick.
“but there’s no doubt that flying that sort of distance does impact performance and we have to do our best to manage that.
“they’ve got a very parochial crowd over in perth and a great advantage for them, they’ll be primed for a big match after a tough run over the last month playing a number of away games.”
on the injuries that both sides were dealing with, merrick said he felt it would provide an even contest at nib stadium.
“we’ve got a couple of players out, they’ve got a couple of players out, so i think it will make for an even game – but we fully intend on going over there to get all three points,” added merrick.
“they’ll be looking to turn things around and get back into the winner’s circle, and i think we’ll see an open, attacking style of play from perth which really suits the way we want to go about things.
“we want to play entertaining football – not just for entertainment – about winning.
“i think the best way to win matches, by creating as many scoring chances as possible, which i thought we really well last week (against city) despite losing the match.”
by the numbers:
jets’ midfielder, ben kantarovski will line up for his 150 th a-league match.
a-league match. newcastle jets have scored more first-half goals than any other team this term (12) whilst only one other side has recorded fewer than glory (4) in the opening 45 minutes this season (melbourne victory, 2).
andrew nabbout has been directly involved in more goals than any other player this season (9 - 5 goals, 4 assists).
nabbout has recorded 13 shots on target this season; only one player has registered more (mccormack, 15).
saturday, 9 december 2017
perth glory v newcastle jets
nib stadium, perth
kick-off: 7pm (local) and 10pm (aedst)
referee: adam kersey
tv broadcast: live coverage on fox sports 501 from 10pm (aedst) and sky sports 1 (new zealand)
radio broadcast: myfootballnation.com (6pr). abc news on radio, grandstand digital, online & via the abc listen app – a-league live.
join the conversation on twitter using the hash-tag #pervnew
newcastle jets: 3.jason hoffman, 4.nigel boogaard, 5.ben kantarovski, 6.steven ugarkovic, 7.dimitri petratos, 9.roy o’donovan, 10.wayne brown, 12.mario shabow, 13.ivan vujica, 15.andrew nabbout, 16.nick cowburn, 18.johnny koutroumbis, 19.kosta petratos, 20.glenn moss, 22.lachlan jackson, 24.joe champness, 30.ivan necevski, 44.nikolai topor-stanley
**two to be omitted**
ins: 9.roy o’donovan (promoted), 10.wayne brown (promoted)
outs: n/a
unavailable: 1.jack duncan (foot – 5 weeks), 8.ronald vargas (ankle – indefinite) 17. daniel georgievski (knee – 2 weeks)
perth glory squad: 2.alex grant, 4.shane lowry (c), 5.jacob poscoliero, 6.mitch nichols, 8.xavi torres, 11. mitch mallia, 13 nick feely (gk), 14.chris harold, 15.brandon wilson, 16.joseph mills, 19.joe knowles, 20.jake brimmer, 24.callum timmins, 26.jacob italiano, 29.jeremy walker, 33.liam reddy (gk), 34.yagoub mustafa
**one to be omitted**
ins: 24.callum timmins (promoted)
outs: n/a
unavailable: 3.marc warren (ankle – 4-5 weeks), 7.joel chianese (collar bone – 1 week), 9.andy keogh (groin – 1 week), 22.adam taggart (hamstring – 1-2 weeks), 17.diego castro (calf – 1-2 weeks), 18. andreu guerao (calf – 1-2 weeks), 23.scott neville (groin – 1-2 weeks), 25.daniel stynes (hamstring – 1-2 weeks), 66.mace windu (broken leg and back – 6 months)
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it’s* ə nu eɪʤ fər ˈænəməl ˈkɪŋdəm. fər ðə fərst taɪm pɑrk aʊərz ɪkˈstɛnd ˈɪntu ðə naɪt ˈoʊpənɪŋ ə hoʊl nu reɪnʤ əv ˌɛnərˈteɪnmənt ˌpɑsəˈbɪlətiz ənd ɪkˈspɪriənsɪz tɪ pɑrk gɛsts. ˈdɪzni spɛnt ə lɔt əv ˈməni pərˈpɛrɪŋ ðə ˌdɪˈskəvri ˈrɪvər ˈæmfəθiˈeɪtər tɪ ˌɛnərˈteɪn ˈθaʊzənz əv pɑrk gɛsts ə naɪt. ɪf bɪn ˈrɛdɪŋ ðɪs blɔg, ju ˈprɑbəˌbli noʊ əv light,”*,” ðə ərˈɪʤənəl ʃoʊ ˌɪnˈtɛndɪd fər ðə speɪs wɑz poʊstˈpoʊnd, soʊ ˈdɪzni kˈwɪkli kriˈeɪtɪd ˈʤəŋgəl bʊk: əˈlaɪv wɪθ magic”*” ɛz ˌɪnˈspaɪərd baɪ ðə nu ˈmuvi ðət həz bɪn pərˈfɔrmɪŋ ˈwəndərfəli ɪn ˈθiətərz. wi wɔʧt ðə fərst ˈɛvər pərˈfɔrməns fər gɛsts ˈfraɪˌdeɪ naɪt. wət dɪd aɪ ləv əˈbaʊt ðə ʃoʊ? ðə mˈjuzɪk, ðə ˈɛnərʤi frəm ðə pərˈfɔrmərz, ðə loʊˈkeɪʃən. ɪt həz səm ˈwəndərfəl ˈmoʊmənts əv ˈkələr ənd ˈmuvmənt. ðə ˌɪnspərˈeɪʃən frəm boʊθ ˈɪndiən ˈkəlʧər ənd ðə ˈmuvi ˈrɪli keɪm θru. frəm ðə mˈjuzɪk ˌɪnfˈjuzd wɪθ ðə saʊnz əv ˈɪndiə tɪ ðə lɪv pərˈfɔrmərz ˈjuzɪŋ ˈɪnstrəmənts ˈkɑmən tɪ ˈɪndiən mˈjuzɪk, ðɪs ɪz nɑt jʊr ˈtɪpɪkəl ˈdɪzni mˈjuzɪkəl. klɪr ðə pərˈfɔrmərz wər ˈgɪvɪŋ ðɛr ɔl. ðə məˈʤɔrəti əv pərˈfɔrmərz ər ɔn ðə lɔŋ ˈbɑrʤɪz taɪd əp tɪ ðə saɪdz əv ðə ˈsteɪdiəm wɪθ naɪn pərˈfɔrmərz dɪˈvaɪdɪd ˈikwəli əˈməŋ θri ˈfloʊtɪŋ ˈsteɪʤɪz ˈkloʊzər tɪ ðə ˈmɪdəl əv ðə ləˈgun. ðɛr ər ˈɔlsoʊ ˈmoʊmənts wɪn pərˈfɔrmərz kəm θru ðə ˈɔdiəns, ˈivɪn ˈbrɪŋɪŋ ə fju gɛsts aʊt tɪ dæns wɪθ ðɛm æt wən pɔɪnt (ə lɑ ˈfɛstɪvəl əv ðə laɪən kɪŋ). ðə ʃoʊ ˈɔlsoʊ ˈjuzɪz θri ˈbɑrʤɪz ˈdrɪvən baɪ tɛks toʊld ðiz wər brɔt ˈoʊvər frəm ˈdɪzniˌlænd). ˈlaɪtli θimd ənd juzd ˈmoʊstli ɛz ˈtrænspɔrts tɪ gɪt pərˈfɔrmərz ˈɔntu ənd ɔf əv ðə ˈsɛnər ˈsteɪʤɪz. ðeɪ ˈɔlsoʊ pleɪ ə ki roʊl ˈdʊrɪŋ ðə faɪər pərˈfɔrmənsɪz wɛr ðeɪ hæv fɔr ˈtɔrʧɪz tɪ mæʧ ðə faɪər pərˈfɔrmərz. siɪŋ ðə ʃoʊ: ðə ˈæmfəθiˈeɪtər sits əˈbaʊt gɛsts wɪθ ə ˈpɔrʃən əv ðoʊz sits rɪˈzərvd fər ənd ˈdaɪnɪŋ ˈpækɪʤ ˈhoʊldərz. ðoʊz ˈwɪʃɪŋ tɪ goʊ ˈstændˈbaɪ wɪl hæv tɪ laɪn əp ˈərli ɪn dino-land*. aɪ hæv tɪ seɪ aɪ ˌɛnˈʤɔɪ kjuɪŋ ɪn dino-land*. ɪt wɑz laʊd (boʊθ ˈnɪrˈbaɪ ˈnɔɪzi əˈtrækʃənz ənd ə dj*). ˈrəðər ðeɪ juz ðə ˈwɔkˌweɪ bɪtˈwin ˈfaɪndɪŋ ˈnɛmoʊ ənd ðə brɪʤ tɪ ˌdɪˈskəvri lænd. lɛs ˈwəri wɪθ ˌɪnərˈfɪrəns tu. wi ˈɛndɪd əp ˈweɪtɪŋ mɔr ðən ən aʊər ənd ə hæf tɪ si ðə ʃoʊ. wi wər lɛt ɪn tɪ bi ˈsitɪd əˈbaʊt 80 ˈmɪnəts praɪər tɪ ðə ʃoʊ ˈstɑrtɪŋ ənd ðə ərˈinə wɑz fʊl əˈbaʊt 25 ˈmɪnəts praɪər tɪ ðə ʃoʊ. ðə ˈbɪgəst tɪp ɪz tɪ si ðə ˈsɛkənd ʃoʊ əv ðə naɪt ɪf ju kən. ˈfæməliz wɪθ kɪdz ˈprɑbəˌbli stɪk əraʊnd fər ðə ʃoʊ, soʊ bi ˈeɪbəl tɪ ʃoʊ əp ˈmɪnəts əˈhɛd ənd stɪl gɪt ə ˈdisənt sit. ðɪs ˈɔlsoʊ gɪvz ju ə ʧæns tɪ ˌɛnˈʤɔɪ ðə ˈəðər naɪt taɪm ækˈtɪvɪtiz ɪn ðə pɑrk ˌbiˈfɔr ˈɛndɪŋ ðə naɪt wɪθ ə ʃoʊ. ðɛr ər tu taɪps əv ˈsitɪŋ ənd səm ˈstændɪŋ rum ˈɛriəz. ˈwʊdən ˈbɛnʧɪz ər nɪr ðə tɔp, ðə sloʊp ɪz ˈʤɛnəl hir, wɪʧ meɪ prəˈvaɪd səm ˈɑbstəkəlz ɪf ˈsəmˌwən tɔl sɪts ɪn frənt əv ju ər ju hæv ʃɔrt ˈʧɪldrən. ðə stoʊn ˈbɛnʧɪz ər ˈkloʊzər tɪ ðə ˈwɔtər frənt ənd hæv ə ˈstipər sloʊp prəˈvaɪdɪŋ ə ˈbɛtər, bət ˈsəmˌtaɪmz əbˈstrəktɪd, vju. wi hərd səm rɪˈpɔrts ðət ðə stoʊn ˈbɛnʧɪz rɪˈteɪn hit soʊ wɛl, ðət səm rɪr ɛndz wər sˈlaɪtli ˈtoʊstɪd ˈæftər ˈsɪtɪŋ ɔn ðɛm (pərˈhæps ðeɪ nid tɪ əˈplaɪ səm əv ðət pul dɛk məˈtɪriəl ðət kips ɪt frəm ˈgɪtɪŋ hɑt ɪn ðə sən). noʊ sits ər soʊ fɑr əˈweɪ ðət ju si ðə ʃoʊ. bət ðɛr meɪ bi səm ɑd ˈæŋgəlz tɪ ðə steɪʤ ənd prɑˈʤɛkʃən ˈwɔtər fæn skrinz frəm ˈsərtən sits. ˈwiˌlʧɛr ækˈsɛsəbəl ˈsitɪŋ ɪz əˈveɪləbəl nɪr ðə ɛʤ ənd æt ðə tɔp. boʊθ prɪˈvɛnt ðɛr ˈʧælənʤɪz, ðə ˈbɑtəm ˈlɛvəl ɪz raɪt nɪr ðə pərˈfɔrmərz, bət əbˈstrəktɪd frəm ðə ˈwɔtər skrinz ənd ˈsɛnər ˈsteɪʤɪz. ðə tɔp ɪz bɪˈhaɪnd ə ˈsəmˌwən haɪ wɔl, ˈminɪŋ ðoʊz hu sɪt loʊ ɪn ðɛr sits bi ˈeɪbəl tɪ si ˈoʊvər ɪt. ðɛr ɪz ˈɔlsoʊ səm ˈstændɪŋ rum ˈoʊnli ˈɛriəz æt ðə tɔp nɪr dino-land*. ðɛr wər səm kraʊd kənˈtroʊl ˈɪʃuz wɪθ ʃoʊz ˈɛgzɪtɪŋ ðə ˈfaɪndɪŋ ˈnɛmoʊ ʃoʊ æt ðə seɪm taɪm gɛsts wər ˈloʊdɪŋ ˈɪntu ənd aʊt əv ðə ˌdɪˈskəvri ˈrɪvər ˈæmfəθiˈeɪtər. ðət kən bi sɑlvd baɪ ˈmuvɪŋ ˈnɛmoʊ ʃoʊz ˈərliər ɪn ðə deɪ. ðə ˈæmfəθiˈeɪtər ˌɪtˈsɛlf ˈæˌkʧuəli ˈɛmtid ˈfɛrli kˈwɪkli ˈæftər ðə ʃoʊ (əˈbaʊt 10 ˈmɪnəts), bət ðɛn ˌdɪˈskəvri ˈaɪlənd bɪˈkeɪm pækt wɪθ gɛsts. tɪ ˈkrɛdɪt, ðeɪ hæd ˈplɛnti əv kæst ˈmɛmbərz wɪθ saɪnz ˈpɔɪntɪŋ ɪn ˈvɛriəs dɪˈrɛkʃɪnz (ˈstændˈbaɪ kju, pɑrk ˈɛksət, ˌɛtˈsɛtərə). ə fju kənˈsərnz: ðɛr wər tu ˈmeɪʤər ˈprɑbləmz wɪθ ðə ʃoʊ fər mi ənd ə fju ˈmaɪnər wənz: ˈmeɪʤər ˈprɑbləm ˈnəmbər 1 ðə bɪg skrin ʤɪst wərk. ðə 140 fʊt wɪdθ fər ðə tu ˈwɔtər fænz wɑz ʤɪst tu bɪg ə gæp fər ðə ʤɛts ˈlivɪŋ ə bɪg gæp ɪn ðə ˈmɪdəl, raɪt wɛr ðə ki pɑrt əv ðə prɑˈʤɛkʃənz wər ˈloʊˌkeɪtəd. ðə bɪg skrin ɪz ˈɔlsoʊ ə ˈprɪti ˈsaɪzəbəl ˈdɪstəns frəm ðə ˈɔdiəns ˈlivɪŋ tɪ dɑrk ənd ˈɔfən əbˈskjʊrd vjuz əv ðə prɑˈʤɛkʃənz. ðət meɪ hæv bɪn ə ʤaɪənt ˈtaɪgər ˈstɔkɪŋ ðə skrin, bət aɪ tɛl. ɛz ən ɪgˈzæmpəl, ðə fərst ˈfoʊˌtoʊ hir ɪz əˈfɪʃəl ˈfoʊˌtoʊ əv ðə skrinz, ðə nɛkst ɪz wət ɪt lʊkt laɪk ðə naɪt aɪ sɔ ɪt. ðət gæp meɪks ə bɪg ˈdɪfərəns ˈmeɪʤər ˈprɑbləm ˈnəmbər 2 ðɛr ər səm ˈsteɪʤɪŋ ˈprɑbləmz. aɪ wɑz ˈsɪtɪŋ əˈbaʊt ɛz dɛd ˈsɛnər ɛz ju kən gɪt ɪn ðə ˈæmfəθiˈeɪtər, bət aɪ stɪl hæd ə ˈhɔrəbəl vju əv ðə ˈsɛnər floʊt wɛr ðə ˈtriˌoʊ əv ˈsɪŋərz wər ˈloʊˌkeɪtəd. aɪ ˈivɪn ˈriəˌlaɪz ðeɪ wər ˈsɪŋərz ənˈtɪl ðə wən əv ðɛm ˈstɑrtɪd ˈtɔkɪŋ tɪ ðə ˈɔdiəns əˈbaʊt ˈhæfˈweɪ θru ðə ʃoʊ. ˈivɪn ðə tu saɪd ˈsteɪʤɪz ˈoʊnli hæv θri pərˈfɔrmərz ɔn ðɛm ənd wər fɑr ɪˈnəf əˈweɪ frəm mi ðət aɪ hæd ə hɑrd taɪm ˈfɑloʊɪŋ ˈɛni əv ðə ˌkɔriˈɑgrəfi ɔn ðɛm æt ɔl. ðə nid tɪ fɪks ðə ˈprɑbləm wɪθ ðə skrin kwɪk. wɪndz wər ˈoʊnli əraʊnd 4 ˈɛmˈpiˈeɪʧ ˈdʊrɪŋ ɑr ʃoʊ, bət stɪl ðət wɑz strɔŋ ɪˈnəf tɪ ruɪn ðə ˈifɛkt. ɪf ðeɪ kænt gɪt ðə tu ˈwɔtər fænz tɪ meɪk wən ʤaɪənt fæn kənˈsɪstəntli, pərˈhæps ðeɪ ʃʊd trit ðɛm ɛz tu ˈsɛpərˌeɪt fænz. nɑt ʃʊr wət ðeɪ kən du tɪ brɪŋ ðɛm ˈkloʊzər tɪ ðə ˈɔdiəns, soʊ mɔr ˈvɪzəbəl. bət ˈɛniˌθɪŋ wʊd hɛlp. nɑt ʃʊr wət ðeɪ kən du əˈbaʊt ðə ˈprɑbləmz wɪθ ðə ˈdɪstəns bɪtˈwin ðə ˈsɛnər floʊt ˈhoʊldɪŋ ðə ˈsɪŋərz ənd ðə ˈɔdiəns, wɪʧ ər splɪt bɪtˈwin tu saɪdz. aɪ laɪk ðət ðeɪ hæv lɪv ˈsɪŋərz, bət ðə ʃoʊ nidz tɪ du mɔr wɪθ ðɛm, ˈkloʊzər tɪ ðə ˈɔdiəns wɛr ðeɪ kən ˈæˌkʧuəli bi sin. ɪf aɪ kʊd ˈbɛrli si ðɛm ʤɪst ə fju fit əˈweɪ frəm ðə ˈsɛnər əv ðə ˈæmfəθiˈeɪtər, ˈɛniˌwən ˈfərðər əˈweɪ frəm ˈsɛnər, wʊd nɑt bi ˈeɪbəl tɪ si ðɛm məʧ ɪf æt ɔl. səm əv ðə ˈəðər ˈkrɪtɪˌsɪzəmz ər ðət ðə ʃoʊ hæd noʊ ˈstɔri, bət nɑt tru. ɪt ˈfɑloʊz ðə ˈmuvi plotline*, bət ɪz, ˈɑbviəsli, ˈvɛri əˈbriviˌeɪtɪd tɪ fɪt ðə 25 ˈmɪnət lɛŋθ. ˈdɪzni ɪz riˈlaɪɪŋ ɔn ðə fəˌmɪˈljɛrəti wɪθ ðə mˈjuzɪk tɪ muv ðə ʃoʊ əˈlɔŋ. ðɛr ɪz ə lɔt tɪ si ɪn ðə ʃoʊ. ˌhaʊˈɛvər, aɪ hæd səm kˈwɛsʧənz əˈbaʊt waɪ ðeɪ wɛnt wɪθ lɪv mjuˈzɪʃənz ˌɪnˈstɛd əv ə rɪˈkɔrdɪŋ. ˈhævɪŋ ə ˈdəzən mɔr ˈdænsərz ɔn ðə ˈsɛnər floʊts wʊd hæv ˈædɪd məʧ mɔr ˈɛnərʤi tɪ ðə ʃoʊ ənd meɪd ðɛm mɔr ə pɑrt əv ðə ʃoʊ, ˈrəðər ðən ˈsəmθɪŋ ju ˈrɪli peɪ əˈtɛnʃən tɪ məʧ. səm əv ðə ˌkɔriˈɑgrəfi wɑz ə bɪt ˈbeɪsɪk, aɪ ˈsəˌspɛkt ˈlɪmɪtɪd baɪ ðə steɪʤ dɪˈzaɪn, bət ðɛr wər səm ˈhaɪˌlaɪts ˌpɑrˈtɪkjələrli wɪn ðeɪ ˌɪnˈkɔrpərˌeɪtɪd prɑps ˈɪntu ðə ˈdænsɪŋ. aɪ wʊd hæv laɪkt tɪ si mɔr ‘‘bollywood’*’ staɪl (ðə ˈmoʊmənt wɪθ ðə əmˈbrɛləz wɑz nis). ðɛr wɑz ˈrɪli ən ˌɑpərˈtunəti tɪ goʊ hir wɪθ lɑts əv ˈkələr, ˈfæbrɪk, ənd ˈsɪŋkrəˌnaɪzd kloʊz ˌkɔriˈɑgrəfi. ɪn ðə ʃoʊ aɪ sɔ, ə fju ˈmɛmbərz əv ˈɔdiəns gɑt əp tɪ liv əˈbaʊt θru. ðɛr ʤɪst ɪˈnəf dɪˈvərsɪti ɪn ðə ˈsteɪʤɪŋ tɪ kip ðɛr əˈtɛnʃən, aɪ gɛs. wi ˈɔlsoʊ hərd səm ˈfæməliz ˈwɪʃɪŋ ðɛr wər ˈdɪzni ˈkɛrɪktərz ɪn ðə ʃoʊ. ən əˈpɪrəns baɪ wʊd hæv fɪt ɪn wɪθ ðə nu ˈmuvi, bət ˈkɛrɪktərz frəm ðə ˈænəˌmeɪtɪd ˈmuvi mɛʃ wɪθ ðə kəmˈpjutər kriˈeɪtɪd ˈænəməlz ɪn ðə nu ˈmuvi. bət stɪl ɪt ɪz ˈænəməl ˈkɪŋdəm. wɛr wər ðə ˈænəməlz, ˈivɪn ɪf ðeɪ wər ʤɪst ənd kɪŋ lui ɔn ə bɑrʤ? hɛk, θroʊ ɪn səm əv ðə ˈməŋki ˈkɑstumz frəm. nɑt ˈrənɪŋ æt ðə ˈmoʊmənt. ðeɪ nid ðɛm. nɑt ʃʊr ˈdɪzni kən wɪn hir, ðeɪ gɪt ən ə fər ˈɛfərt fər traɪɪŋ tɪ du ˈsəmθɪŋ ˈɪntəˌrɛstɪŋ, bət ˈɔlsoʊ gɪt ˈpɪlərid fər ˈlivɪŋ aʊt bɪˈləvəd ˈdɪzni ˈprɑdəkt. ˈbɛtər tɪ meɪk ən ɑrˈtɪstɪk ˈsteɪtmənt? aɪ noʊ. aɪ wʊd laɪk tɪ hæv sin səm ˈwɔtər ˈfaʊntənz juzd ɪn ðə ʃoʊ (ˌpɑrˈtɪkjələrli ɪn ðə fəˈnæli). nɑt wərld əv ˈkələr ɪn skoʊp, bət 5 ər 6 ˈdænsɪŋ ˈfaʊntənz wʊd hæv ˈædɪd ə lɔt. ðə ˈloʊtəs flaʊər floʊts frəm ˈrɪvərz əv laɪt hæv ðə əˈbɪləˌti tɪ ˈɔpərˌeɪt ɛz pərˈfɔrmɪŋ ˈfaʊntənz ðeɪ kʊd hæv juzd ðoʊz. aɪ noʊ ˈjuzɪŋ ðə ˈloʊtəs flaʊər floʊts ˈprɛzənt ˈprɑbləmz fər ˈgɪtɪŋ ˈrɪvərz əv laɪt ˈrɛdi ˈɛniˌtaɪm sun. aɪ ˈɔlsoʊ ˈriəˌlaɪz ə lɔt əv ˌɪnfrəˈstrəkʧər tɪ bɪld ɪn ə mənθ, bət aɪ θɪŋk ɪt wʊd hæv meɪd ðə ʃoʊ məʧ ˈstrɔŋgər ənd ˈteɪkən səm əv ðə ˈprɛʃər ɔf ðə ˈdænsərz tɪ prəˈvaɪd ɔl ðə ˌɛnərˈteɪnmənt. aɪ hæv tɪ gɪv kriˈeɪtɪv tim ˈkrɛdɪt fər ˈpʊlɪŋ ɔf ɛz gʊd ɛz ʃoʊ ɛz ðeɪ ˈmænɪʤd tɪ du ɪn ðə taɪm ðeɪ wər ˈgɪvɪn. wɪn aɪ tɔkt wɪθ ˈpipəl ˈwərkɪŋ ɔn ðə ʃoʊ təˈwɔrd ðə ɛnd əv ˈeɪprəl, ðeɪ stɪl ˌdɪˈsaɪdɪd ɪgˈzæktli wət ðeɪ wər goʊɪŋ tɪ du. ðeɪ nu ðeɪ wər goʊɪŋ tɪ juz ðə ˈwɔtər skrin tɪ ʃoʊ sinz frəm ðə fɪlm, hæv mˈjuzɪk frəm ðə fɪlm, ənd ðət ðeɪ goʊɪŋ tɪ juz ˈɛni ˈəðər ˈɛləmənts frəm ˈrɪvərz əv laɪt. bət ðət wɑz əˈbaʊt ɪt. ɪn lɛs ðən ə mənθ, ðeɪ bɪlt 7 ˈfloʊtɪŋ ˈsteɪʤɪz, ˌɪmˈpɔrtɪd ˈbɑrʤɪz, kriˈeɪtɪd ˈkɑstumz, ənd ˌɔˈdɪʃənd ənd riˈhərst ə kæst əv ˈdəzənz. ə ˈdænsər aɪ spoʊk tɪ sɛd ðeɪ gɪt ðə kɔl tɪ ɑˈdɪʃən ənˈtɪl meɪ ənd stɑrt rɪˈhərsəlz ənˈtɪl əˈbaʊt tu wiks ˌbiˈfɔr ˈoʊpənɪŋ naɪt. ə fæn əv ʃoʊz. soʊ aɪ laɪkt wət aɪ sɔ. goʊɪŋ tɪ si ɪt əˈgɛn sun frəm ə ˈdɪfərənt loʊˈkeɪʃən ənd wɪl kəm bæk wɪθ səm mɔr θɔts. ɪf sin ɪt, wət dɪd ju θɪŋk? ˈpriviəsli: dɪˈrɛktər əv ˈʤəŋgəl book”*” ˈmuvi, ʤɑn fəvˈroʊ, mits wɪθ kæst əv ˈʤəŋgəl bʊk: əˈlaɪv wɪθ magic”*” ənd ʃɛrz hɪz θɔts ɔn ðə ʃoʊ.
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it’s a new age for disney’s animal kingdom. for the first time park hours extend into the night opening a whole new range of entertainment possibilities and experiences to park guests. disney spent a lot of money preparing the discovery river amphitheater to entertain thousands of park guests a night. if you’ve been reading this blog, you probably know “rivers of light,” the original show intended for the space was postponed, so disney quickly created “the jungle book: alive with magic” as inspired by the new movie that has been performing wonderfully in theaters. we watched the first ever performance for guests friday night.
what did i love about the show? the music, the energy from the performers, the location. it has some wonderful moments of color and movement. the inspiration from both indian culture and the movie really came through. from the music infused with the sounds of india to the live performers using instruments common to indian music, this is not your typical disney musical.
it’s clear the performers were giving their all. the majority of performers are on the long barges tied up to the sides of the stadium with nine performers divided equally among three floating stages closer to the middle of the lagoon. there are also moments when performers come through the audience, even bringing a few guests out to dance with them at one point (a la festival of the lion king).
the show also uses three fantasmic barges driven by techs (i’m told these were brought over from disneyland). lightly themed and used mostly as transports to get performers onto and off of the center stages. they also play a key role during the fire performances where they have four torches to match the fire performers.
seeing the show:
the amphitheater seats about 5,000 guests with a portion of those seats reserved for fastpass and dining package holders. those wishing to go standby will have to line up early in dino-land. i have to say i didn’t enjoy queuing in dino-land. it was loud (both nearby noisy attractions and a dj). i’d rather they use the walkway between finding nemo and the bridge to discovery land. less worry with cross-traffic interference too.
we ended up waiting more than an hour and a half to see the show. we were let in to be seated about 80 minutes prior to the show starting and the arena was full about 25 minutes prior to the show. the biggest tip is to see the second show of the night if you can. families with kids probably won’t stick around for the 10:30 show, so be able to show up 30-45 minutes ahead and still get a decent seat. this also gives you a chance to enjoy the other night time activities in the park before ending the night with a show.
there are two types of seating and some standing room areas. wooden benches are near the top, the slope is gentle here, which may provide some obstacles if someone tall sits in front of you or you have short children. the stone benches are closer to the water front and have a steeper slope providing a better, but sometimes obstructed, view. we heard some reports that the stone benches retain heat so well, that some rear ends were slightly toasted after sitting on them (perhaps they need to apply some of that pool deck material that keeps it from getting hot in the sun). no seats are so far away that you can’t see the show. but there may be some odd angles to the stage and projection water fan screens from certain seats.
wheelchair accessible seating is available near the water’s edge and at the top. both prevent their challenges, the bottom level is right near the performers, but obstructed from the water screens and center stages. the top is behind a someone high wall, meaning those who sit low in their seats won’t be able to see over it. there is also some standing room only areas at the top near dino-land.
there were some crowd control issues with shows exiting the finding nemo show at the same time guests were loading into and out of the discovery river amphitheater. that can be solved by moving nemo shows earlier in the day. the amphitheater itself actually emptied fairly quickly after the show (about 10 minutes), but then discovery island became packed with guests. to disney’s credit, they had plenty of cast members with signs pointing in various directions (standby queue, park exit, etc).
a few concerns:
there were two major problems with the show for me and a few minor ones:
major problem number 1: the big screen just didn’t work. the 140+ foot width for the two water fans was just too big a gap for the jets leaving a big gap in the middle, right where the key part of the projections were located. the big screen is also a pretty sizable distance from the audience leaving to dark and often obscured views of the projections. that may have been a giant tiger stalking the screen, but i couldn’t tell.
as an example, the first photo here is disney’s official photo of the screens, the next is what it looked like the night i saw it. that gap makes a big difference
major problem number 2. there are some staging problems. i was sitting about as dead center as you can get in the amphitheater, but i still had a horrible view of the center float where the trio of singers were located. i didn’t even realize they were singers until the one of them started talking to the audience about halfway through the show. even the two side stages only have three performers on them and were far enough away from me that i had a hard time following any of the choreography on them at all.
the need to fix the problem with the screen quick. winds were only around 4 mph during our show, but still that was strong enough to ruin the effect. if they cant get the two water fans to make one giant fan consistently, perhaps they should treat them as two separate fans. i’m not sure what they can do to bring them closer to the audience, so more visible. but anything would help.
not sure what they can do about the problems with the distance between the center float holding the singers and the audience, which are split between two sides. i like that they have live singers, but the show needs to do more with them, closer to the audience where they can actually be seen. if i could barely see them just a few feet away from the center of the amphitheater, anyone further away from center, would not be able to see them much if at all.
some of the other criticisms are that the show had no story, but not true. it follows the movie plotline, but is, obviously, very abbreviated to fit the show’s 25 minute length. disney is relying on the audience’s familiarity with the music to move the show along.
there is a lot to see in the show. however, i had some questions about why they went with live musicians instead of a recording. having a dozen more dancers on the center floats would have added much more energy to the show and made them more a part of the show, rather than something you really didn’t pay attention to much.
some of the choreography was a bit basic, i suspect limited by the stage design, but there were some highlights particularly when they incorporated props into the dancing. i would have liked to see more ‘bollywood’ style close-choreography (the moment with the umbrellas was nice). there was really an opportunity to go full-bollywood here with lots of color, fabric, and synchronized close choreography. in the show i saw, a few members of audience got up to leave about 2/3rds through. there just wasn’t enough diversity in the staging to keep their attention, i guess.
we also heard some families wishing there were disney characters in the show. an appearance by mowgli would have fit in with the new movie, but characters from the animated movie mesh with the photo-realistic computer created animals in the new movie. but still it is disney’s animal kingdom. where were the animals, even if they were just baloo and king louie on a barge? heck, throw in some of the monkey costumes from disneyland’s fantasmic. not running at the moment. they need them. i’m not sure disney can win here, they get an a for effort for trying to do something interesting, but also get pilloried for leaving out beloved disney product. better to make an artistic statement? i know.
i would like to have seen some water fountains used in the show (particularly in the finale). not world of color in scope, but 5 or 6 dancing fountains would have added a lot. the lotus flower floats from rivers of light have the ability to operate as performing fountains they could have used those. i know using the lotus flower floats present problems for getting rivers of light ready anytime soon. i also realize a lot of infrastructure to build in a month, but i think it would have made the show much stronger and taken some of the pressure off the dancers to provide all the entertainment.
i have to give disney’s creative team credit for pulling off as good as show as they managed to do in the time they were given. when i talked with people working on the show toward the end of april, they still hadn’t decided exactly what they were going to do. they knew they were going to use the water screen to show scenes from the film, have music from the film, and that they weren’t going to use any other elements from rivers of light. but that was about it. in less than a month, they built 7 floating stages, imported fantasmic barges, created costumes, and auditioned and rehearsed a cast of dozens. a dancer i spoke to said they didn’t get the call to audition until may 5th and didn’t start rehearsals until about two weeks before opening night.
i’m a fan of non-tradtional shows. so i liked what i saw. i’m going to see it again soon from a different location and will come back with some more thoughts. if you’ve seen it, what did you think?
previously: director of “the jungle book” movie, jon favreau, meets with cast of “the jungle book: alive with magic” and shares his thoughts on the show.
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ˈmeɪkɪŋ ə ˈrɛˌstrɑnt ˌrɛzərˈveɪʃən həz bɪˈkəm ˈiziər wɪθ wɛb ˈsərvɪsɪz laɪk. bət wɪn ðeɪ ər tu ˈizi tɪ meɪk, ˈsəmˌtaɪmz ˈdaɪnərz doʊnt ʃoʊ əp. nu ˈsərvɪsɪz, laɪk ˈtɪkɪts, ər ˈlʊkɪŋ tɪ ˈɪnəˌveɪt ðə ˈdaɪnɪŋ ˈɪndəstri ənd ˌgɛrənˈti ˈpeɪtrənz ˈfɑloʊ θru ɔn ðɛr ˌrɛzərˈveɪʃənz. (ʤeɪn ˈwɔʃɪŋtən poʊst) du ju hæv ə reservation?”*?” juzd tɪ bi ðə ˈstændərd laɪn æt ə ˈbɪzi hoʊst stænd. naʊ, ɪn ə groʊɪŋ ˈnəmbər əv ˈpleɪsɪz, ju hæv ə ticket?”*?” jɛp, ʤɪst laɪk ə ˈmuvi ər ə ˈkɑnsərt. ˈtɪkətɪd ˈdaɪnɪŋ həz əraɪvd əˈlɔŋ wɪθ æps ðət ʧɑrʤ fiz fər ˌrɛzərˈveɪʃənz, əˈplaɪ ˌɔtəˈmætɪk ˈpeɪmənt ər sərʤ ˈpraɪsɪŋ ənd əˈlaʊ ˈbɪdɪŋ ɔn hɑt ˌrɛzərˈveɪʃənz. æt səm ˈrɛˌstrɑnts, ˈmeɪkɪŋ ə ˌrɛzərˈveɪʃən ɪz noʊ ˈlɔŋgər ə ˈmætər əv ˈklɪkɪŋ ə taɪm ɔn ər ˈpɪkɪŋ əp ðə foʊn. ɪn ðə ˈdɪstrɪkt, ðə ˈnuli riˈoʊpənd kəˈləmbiə rum ɪz ˈtɪkətɪd. ðə ʃɔ, ðə ˈfɔrθˈkəmɪŋ ˈrɛˌstrɑnt frəm chef”*” kəmˈpɛtɪtər onwuachi*, wɪl bi ˈtɪkətɪd. soʊ, tu, wɪl ˈpaɪˌnæpəl ənd pərlz, ðə ˈsɪstər ˈrɛˌstrɑnt tɪ ˈləgʒəri, wɪʧ həz ˈnɛvər stək tɪ kənˈvɛnʃən wɪn ɪt kəmz tɪ ˌrɛzərˈveɪʃənz. (ɪt ˈdəzənt teɪk ðɛm.) [ʃɛf ˈrɛdi tɪ ʃoʊ d.c*. ə ɪkˈspɪriəns ənˈlaɪk ˈɛni ˈəðər] (ˈʤeɪsən ðə ˈwɔʃɪŋtən poʊst) ˈwɔntɪd tɪ kriˈeɪt ən ɪkˈspɪriəns wɛr ðə gɛsts wʊd nɑt hæv ə bɪl æt ðə ɛnd əv ðɛr meal,”*,” ˈpaɪˌnæpəl ənd pərlz ˈɛrən ˈsɪlvərˌmæn sɛd ˈviə iˈmeɪl. kəˈləmbiə rum ˈoʊnər ˈdɛrɪk braʊn sɛd hi wɑz ˈsɪmələrli ˈmoʊtəˌveɪtəd. tæp jʊr deɪt ɔn ðə ˈʃoʊldər ənd laɪk, go,’*,’ hi sɛd. nən əv ðət ˈʤɑsəlɪŋ ðət ju hæv tɪ du æt ðə end.”*.” bət ˈklɪrli nɑt ɔl əˈbaʊt ðə kənˈsumər. əˈkrɔs ðə ˈkəntri, səʧ nu ˈsɪstəmz ər ˈɔlsoʊ rɪˈtərnɪŋ səm kənˈtroʊl tɪ ˈrɛˌstrɑnts, ˈreɪzɪŋ kˈwɛsʧənz əˈbaʊt paʊər, ˈfɛrnəs ənd rɪsk ənd wət ɪgˈzæktli peɪɪŋ fər, ˈəðər ðən ðə fud, wɪn wi goʊ aʊt tɪ it. æt ˈleɪzi bɛr ˈrɛˌstrɑnt ɪn sæn frænˈsɪskoʊ, gɛsts baɪ ˈtɪkɪts ðət reɪnʤ ɪn praɪs frəm 145 tɪ 175 dɪˈpɛndɪŋ ɔn ðə deɪ ənd taɪm, fər ə ˈteɪstɪŋ ˈmɛnju sərvd æt kəmˈjunəl ˈteɪbəlz. (mɛˈlinə ˈwɔʃɪŋtən poʊst) ˈrɛˌstrɑnt ˌrɛzərˈveɪʃənz deɪt tɪ ðə leɪt ˈsɛnʧəri, wɪn gɛsts kʊd əreɪnʤ ə rum fər ˈkeɪtərd ˈbæŋkwəts ɪf ðeɪ ˈwɔntɪd tɪ ˌɛnərˈteɪn ənd hæd ðə ˈməni bət nɑt ðə ˈbətlər, meɪdz ənd kʊks tɪ səˈpɔrt ɪt. ðə ˈpræktɪs əv rɪˈzərvɪŋ ʤɪst ə ˈteɪbəl ˈimərʤd tɪ əˈkɑməˌdeɪt ˈæfluənt ˈbæʧlərz ˈlʊkɪŋ fər weɪz tɪ kɔrt ˈsɪŋgəl ˈleɪdiz wɪˈθaʊt ðə ˌɪmprəˈpraɪəti əv ˈhoʊstɪŋ ðɛm æt hoʊm. ˈrɛˌstrɑnts ˈɔlsoʊ rɪˈzərvd ˈteɪbəlz tɪ ɪnˈtaɪs ˈrɛgjələrz, ˈjuʒəwəli ˈbɪznɪsˌmɛn. ɛz ðə kənˈsumər ˈkəlʧər əv ðə flərɪʃt, soʊ dɪd ˈteɪkɪŋ ˌrɛzərˈveɪʃənz baɪ ˈtɛləˌfoʊn. ðə nɛkst bɪg ˌɪnəˈveɪʃən, ðoʊz ˈbəzɪŋ ˈpeɪʤərz ðət hoʊsts hænd aʊt tɪ ˈweɪtɪŋ gɛsts, wər ˌɪntrəˈdust ɪn ðə ˈərli ’90s*. wɪθ ðə bum keɪm ðə ˈoʊpən ˈteɪbəl ˌrɛzərˈveɪʃən ˈsərvɪs, wɪʧ wɑz ˈfaʊndɪd ɪn 1998 ənd həz bɪn ðə ˈɪndəstri ˈlidər ˈɛvər sɪns. ðə kɔst əv bət ɛz ɪt bɪˈkeɪm ˈiziər tɪ meɪk ˌrɛzərˈveɪʃənz wɪθ ʤɪst wən klɪk, ɪt ˈɔlsoʊ bɪˈkeɪm ˈiziər tɪ dɪʧ ðɛm. ju maɪt θɪŋk noʊ bɪg dil tɪ meɪk ə 7 p.m*. ˌrɛzərˈveɪʃən fər nɛkst ˈfraɪˌdeɪ ənd ðɛn ʧeɪnʤ jʊr maɪnd æt ðə læst ˈmɪnət, bət fər səm ˈrɛˌstrɑnts, ə ˈmeɪʤər ˈprɑbləm. ɪn ðə ˈrɛˌstrɑnt ˈbɪznɪs, taɪm ənd speɪs nɑt ʤɪst fud ər ˈməni, ənd ˈɛvəri ˈmɪnət ə ˈteɪbəl sɪts ˈɛmti ɪz wən wɪˈθaʊt ænˈtɪsəˌpeɪtɪd ˈɪnˌkəm. ɪf ju kɔld tɪ ˈkænsəl, ə ˈrɛˌstrɑnt wɪl hoʊld jʊr ˈteɪbəl fər ə bɪt, ˈɪrəˌteɪtɪŋ ˈpipəl ɔn ðə waitlist*. (ˈɛvər bɪn toʊld ə weɪt wɪn ju kən si ˈsɛvərəl ˈɛmti ˈteɪbəlz? ˈɔfən waɪ.) ənd ðə ˈrɛˌstrɑnt həz ɔˈrɛdi peɪd fər ðə fud fər jʊr mil nɑt tɪ ˈmɛnʃən ðə stæf tɪ kʊk ɪt ənd weɪt ɔn ju ənd klin əp ˈæftər ju. ˈrɛˌstrɑnts ˈɔpərˌeɪt ɔn ə ˈmɑrʤən, soʊ kən æd əp tɪ ˈθaʊzənz əv ˈdɔlərz lɔst iʧ jɪr. ˈtərmɪˌneɪts əˈkaʊnts ðət beɪl ɔn fɔr ˌrɛzərˈveɪʃənz ɪn ə ˈpɪriəd. bət ju kən ˈsɪmpli ˈoʊpən əˈnəðər əˈkaʊnt ˈjuzɪŋ əˈnəðər iˈmeɪl ˈæˌdrɛs.) 5 nu weɪz tɪ meɪk ˈrɛˌstrɑnt ˌrɛzərˈveɪʃənz.] ɪf tu ˈpipəl skɪp ðɛr ˌrɛzərˈveɪʃən æt ðə ɪn ʃəˈkɑˌgoʊ wən naɪt, ʤɪst priˈpɛrd tu milz sɪns 6 ðət ˈmɔrnɪŋ fər ghosts,”*,” sɛd nɪk. ˈfɔrmərli kɔst ðə ˈrɛˌstrɑnt ən ˈævərɪʤ əv ə jɪr. ðət ˈnəmbər drɑpt drəˈmætɪkəli wɪn swɪʧt tɪ ə ˈtɪkətɪd ˈsɪstəm ɪn ˈɔgəst 2012 ɪn dɪˈsɛmbər 2014 gru ðət ˈɪntu tɑk, ə ˈmænɪʤmənt ˈsɪstəm ðət prəˈvaɪdz ˈtɪkətɪŋ ˈsərvɪsɪz tɪ ˈəðər ˈrɛˌstrɑnts fər ə 695 ˈmənθli fi. ɪts klaɪənts wɪʧ ˌɪnˈklud ðə ʃɔ ənd kəˈləmbiə rum ɪn ðə ˈdɪstrɪkt, pləs ˈəðərz ɪn ðə juˈnaɪtɪd steɪts, ˈɪŋglənd ənd ɔˈstreɪljə ər, æt list soʊ fɑr, ˈmoʊstli, θiˈætrɪkəl ˈrɛˌstrɑnts. ðə ˈsɪstəm ˈɔlsoʊ əˈlaʊz ˈrɛˌstrɑnts tɪ ˌɪntrəˈdus ˈpraɪsɪŋ: ˈmeɪkɪŋ, seɪ, 8 p.m*. ˈsæˌtɪˌdeɪ ˈsitɪŋz mɔr ɪkˈspɛnsɪv. rɪˈzɪsts kəmˈpɛrəsənz tɪ ˈubər ənd ɪts sərʤ ˈpraɪsɪŋ, ðoʊ. tɑk ɪz nɑt ən æp, ənd ɪts ˈpraɪsɪŋ goʊz boʊθ weɪz: ə ˈrɛˌstrɑnt kən ˈɔlsoʊ meɪk ə 5 p.m*. ˈsitɪŋ ɔn ə ˈtuzˌdeɪ kɔst lɛs, ɛz ən ækˈnɑlɪʤmənt ðət ən ˌənˈpɑpjələr taɪm tɪ daɪn. (nɑt ə nu ˈkɑnsɛpt: rɪˈmɛmbər ðə ˈspɛʃəl?) ðɛr hæv bɪn kənˈsərnz əˈbaʊt ˈtɪkɪt ˈskælpɪŋ, bət ðət həz bɪn rɛr. sɪz tɑk həz ˈnoʊtɪst lɑrʤ ˈbæʧɪz əv ˈtɪkɪts fər ˈrɛˌstrɑnts ˈpərʧəst frəm ðə seɪm ˌaɪˌpi ˈæˌdrɛs, ənd ɪt həz ˈvɔɪdɪd ðoʊz ˈɔrdərz. ˈtɪkətɪŋ maɪt bi ðə moʊst ˈprɑmənənt ɪgˈzæmpəl, bət nɑt ðə ˈoʊnli weɪ ˌɑntrəprəˈnərz ər traɪɪŋ tɪ dɪsˈrəpt ðə ˌrɛzərˈveɪʃənz geɪm, wɪʧ həz bɪn ˈfərtəl graʊnd fər æp ˈbɪldərz ɪn ðə læst tu jɪrz. resy*, frəm ˈitər bɛn ˈlɛvənˌθɔl, wɪʧ, əˈməŋ ˈəðər ˈfiʧərz, gɪvz ˈjuzərz ə ʧæns tɪ snæg ˌrɛzərˈveɪʃənz fər ə praɪs, əˈbaʊt 20 rɪˈzərv, wɪθ ə ˈkəstəm ˌkɑnsiˈɛrʒ ˈsərvɪs ənd ən ˌɔtəˈmætɪk ˈpeɪmənt ˈsɪstəm ðət, laɪk ˈubər, ɪˈlɪməˌneɪts ðə nid tɪ pʊl aʊt jʊr ˈwɔlət æt ðə ɛnd əv ðə mil. ˈpɑrtnər ˈrɛˌstrɑnts kən tərn ɔn ə ˈfiʧər ðət əˈlaʊz ˈjuzərz tɪ ˌvɑlənˈtɪr tɪ ˈoʊvərˌpeɪ fər ðɛr mil ˈmeɪbi ən ˈɛkstrə 25 pərˈsɛnt ənd ðə ˈteɪbəl wɪl goʊ tɪ ðə haɪəst ˈbɪdər. (noʊ ˈrɛˌstrɑnts ɪn ˈwɔʃɪŋtən hæv jɛt ɪˈneɪbəld ðət ˈfiʧər, ə rɪˈzərv ˈspoʊksˌwʊmən sɛd.) ˈɔlsoʊ wɪʧ ˈstɑrtɪd ɪn ðə peɪd ˌrɛzərˈveɪʃənz fild bət ɪz sˈwɪʧɪŋ tɪ ə ˈsɪstəm ɪn wɪʧ ə ˈjɪrli fi əv 95 gɪts ɪts ˈmɛmbərz ˈmoʊstli ˈbɪznɪs ˈtrævələrz ənˈlɪmɪtɪd fri ˌlæsˈmɪnət ˌrɛzərˈveɪʃənz æt tɔp ˈrɛˌstrɑnts ɪn 11 ˈsɪtiz. gɛsts əraɪv æt ðə hoʊst stænd æt ˈləgʒəri ɪn ˌsaʊˈθist ˈwɔʃɪŋtən ˈæftər ˈweɪtɪŋ ɪn laɪn tɪ gɪt ɪn. ðə ˈpɑpjələr ˈrɛˌstrɑnt əˈlaʊ ˌrɛzərˈveɪʃənz. (mɛˈlinə ˈwɔʃɪŋtən poʊst) ˈkəstəmər rɪˈzɪstəns ɪf ðə aɪˈdiə əv peɪɪŋ fər ˌrɛzərˈveɪʃənz meɪks ju luz jʊr ˈæpəˌtaɪt, jʊr nɑt əˈloʊn. ˈʃɛri kaɪmz, prəˈfɛsər əv ˌɑpərˈeɪʃənz ˈmænɪʤmənt æt kɔrˈnɛl skul əv hoʊˈtɛl ædˌmɪnɪˈstreɪʃən, həz bɪn riˈsərʧɪŋ ˈkəstəmər əˈpɪnjənz əˈbaʊt ðə ˈpræktɪs, wɪθ ˌənɪkˈwɪvəkəl rɪˈzəlts. ““overall*, ˈpipəl θɔt ɪt wɑz horrible,”*,” ʃi sɛd. æt ɪt frəm ə pjʊr ˌækəˈdɛmɪk standpoint,”*,” kaɪmz sɛd, səʧ ˈsɪstəmz ˈvɛri logical,”*,” bɪˈkəz ðeɪ ækˈnɑlɪʤ ðət ˈdaɪnərz ər baɪɪŋ nɑt ʤɪst fud bət ə speɪs ənd taɪm. ʤɪst bɪˈkəz ˈsəmθɪŋ ɪz ˈlɑʤɪkəl min ðət ˈkəstəmərz laɪk it.”*.” wən ˈrizən ˈdaɪnərz meɪ bi ˌɪˈnɪʃəli tərnd ɔf ɪz ðət ðiz nu ˈsɪstəmz dɪsˈrəpt ðə ˈbæləns əv paʊər bɪtˈwin ðɛm ənd ə ˈrɛˌstrɑnt. ɪn ðə trəˈdɪʃənəl ˈmɑdəl ˈjuzɪŋ ˈoʊpən ˈteɪbəl ər ˈæˌkʧuəli ˈkɔlɪŋ, ðə ˌoʊldˈfæʃənd weɪ ðə ˈdaɪnər, hu əˈsumz noʊ rɪsk ɪn rɪˈzərvɪŋ ənd kən ˈnoʊˌʃoʊ wɪθ ˈmɪnəməl ˈkɑnsəkˌwɛnsəz, hu həz ðə ˈəpər hænd. ðət livz ðə ˈrɛˌstrɑnt, wɪʧ noʊ ɪf ɪt wʊd hæv meɪd 70 ər 700 ɪn ðə lərʧ. wɪn ˈrɛˌstrɑnts ər θərd ˈpɑrtiz sɛl ˈtɪkɪts ər ˌrɛzərˈveɪʃənz, ðeɪ ˈtrænsfər səm əv ðət ˈbərdən əv rɪsk tɪ ðə kənˈsumər. wɪθ ˈtɪkətɪŋ, ðə ˈrɛˌstrɑnt noʊz ɪgˈzæktli haʊ məʧ fud tɪ ˈpərʧəs ənd priˈpɛr ənd ɪt stɪl gɪts peɪd ɪf ə ˈkəstəmər ʃoʊ əp. ˈstədiz hæv ˈɔlsoʊ faʊnd ðət ˈkəstəmərz hu peɪ ɪn ədˈvæns, pʊt daʊn ə dɪˈpɑzət ər ər ˈsəbʤɪkt tɪ ə ˈnoʊˌʃoʊ fi (i.e*., ðə ˈpræktɪs əv ˈhoʊldɪŋ ə ˈkrɛdɪt kɑrd ˈnəmbər) ər mɔr ˈlaɪkli tɪ kip ðɛr kəˈmɪtmənt du tɪ cost”*” baɪəs. ər, ɛz kəˈləmbiə braʊn pʊts ɪt, ˈoʊnli ˈpərsən hu ɪz goʊɪŋ tɪ bi hərt baɪ ðɪs ˈsɪstəm ɪz ˈsəmˌwən hu ˈnɛvər ˌɪnˈtɛndɪd tɪ ʃoʊ əp, bət ðət ˈpərsən ɪz ən [expletive].”*].” tru fər ˈtɪkətɪd ˈrɛˌstrɑnts, bət mɔr ˈkɑmpləˌkeɪtəd wɪθ peɪd ˌrɛzərˈveɪʃənz. ðoʊz ˈsɪstəmz ˈbɛnəfɪt ˈpipəl hu ər ˈwɪlɪŋ tɪ ʃɛl aʊt ə ˈprimiəm fər ˌflɛksəˈbɪləti ənd ˈækˌsɛs. raɪt naʊ, ˈrɛˌstrɑnts ðət wərk wɪθ ðoʊz æps rɪˈzərv ə fju ˈteɪbəlz fər ðiz haɪɛnd ˈkəstəmərz, wɪʧ dɪˈmɪnɪʃɪz ðə ˈteɪbəl ˌɪnvənˈtɔri fər ˈrɛgjələr gɛsts. wɪn ˈpraɪsɪŋ kəmz ˈɪntu ðə ˈpɪkʧər, ˈɛniˌwən ɔn ə ˈbəʤɪt meɪ bi ˈrɛləˌgeɪtɪd tɪ ˈtuzˌdeɪ naɪt deɪts. ˈrɛˌstrɑnts, dɪˈspaɪt ðɛr kleɪm, ˈɛni mɔr ɪˌgæləˈtɛriən. ju noʊ ˈstændɪŋ ɪn laɪn? tæsk rabbits,”*,” sɛd, rɪˈfərɪŋ tɪ ə ˈwɛbˌsaɪt ðət əˈlaʊz ˈpipəl tɪ haɪər ˈleɪbər fər smɔl ʤɑbz. tɛlz mi ðət ˈsəmθɪŋ ˌfəndəˈmɛnəli rɔŋ wɪθ ðə weɪ ˈɔpərˌeɪtɪŋ. ə mɛnˈtælɪti ðət ðə ˈvɛlvət roʊp ɪz ə gʊd θɪŋ, ənd ɪt ˈpipəl. aɪ θɪŋk ðə case.”*.” æt, ə ˈtɪkɪt baɪz ju ˈdɪnər ənd ə ʃoʊ: θiˈætrɪkəl ˈɛdəbəl kriˈeɪʃənz səʧ ɛz ðiz grin ˈæpəl bəˈlunz, wɪʧ ər fɪld wɪθ ˈhiliəm. wər ə ˈkɔstli ˈprɑbləm fər ənˈtɪl ɪt swɪʧt tɪ ə ˈtɪkətɪd ˌrɛzərˈveɪʃən ˈsɪstəm ɪn ˈɔgəst 2012 (mɛˈlinə ˈwɔʃɪŋtən poʊst) ˈəltəmət currency’*’ ˈæftər ðə ni ʤərk, ˈdaɪnərz kən bɪˈgɪn tɪ si səm ˈbɛnəfɪts tɪ ðə nu ˌrɛzərˈveɪʃən ˈsɪstəmz. ðə kənˈsumər pərˈspɛktɪv, ɪn ə weɪ ɪt gɪvz ðɛm mɔr power,”*,” sɛd kaɪmz. ɪf nɑt ə ˌviˌaɪˈpi, ðeɪ kən gɪt in.”*.” wɪn baɪɪŋ ə ˈtɪkɪt, ju si ɪgˈzæktli haʊ ˈmɛni ˈteɪbəlz ər əˈveɪləbəl ɔn ə ˈgɪvɪn naɪt, ˈrəðər ðən ʤɪst ˈteɪkɪŋ ðə wərd fər ɪt. ɪf jʊr plænz ʧeɪnʤ, ju kən ɪksˈʧeɪnʤ ər sɛl jʊr ˈtɪkɪt. peɪɪŋ fər ə ˌlæsˈmɪnət ˌrɛzərˈveɪʃən gɪvz ju ˌflɛksəˈbɪləti ənd əˈlaʊz ˌspɑntəˈniəti (ənd, ɪf ə spaʊs hu ˈɔlˌweɪz fərˈgɛts ən ˌænəˈvərsəri, kʊd pəˈtɛnʃəli seɪv jʊr ˈmɛrɪʤ). æt ˈrɛˌstrɑnts wɪθ ˈpraɪsɪŋ, ju kʊd gɪt ə ˈdɪskaʊnt ɔn ə ˈfænsi ˈdɪnər ɪf ˈwɪlɪŋ tɪ it ˈərli ɔn ə weeknight*. ɪf ju stɪl rɪˈzɛnt ðə aɪˈdiə əv ˈspɛʃəl ˈtritmənt fər ˈpipəl wɪθ mɔr ˈməni ðən ju, ðə ˈdɪfərəns bɪtˈwin ðiz æps ənd ə ˈpərsən hu pɑmz ðə ə krɪsp 100 bɪl? ðə apps’*’ ˈfaʊndərz ˈɑrgju ðət ˈmɪrli ˈfɔrməˌlaɪzɪŋ ðə ˈsɪstəm ənd ˈmeɪkɪŋ ɪt ækˈsɛsəbəl tɪ ˈɛvriˌwən. wɔnt ˈdɪfərənt ˈʧænəlz əv ˈækˌsɛs, ənd ɪf ju gɪv tɪ tɪ ðɛm, goʊɪŋ tɪ muv ɔn tɪ ˈdɪfərənt places,”*,” sɛd ˈsɑnˌtɑʃ jayaram*, əv ɪz ðə ˈəltəmət currency.”*.” juzd tɪ ˈgɪtɪŋ ˈɪnstənt ˈækˌsɛs θru səʧ æps ɛz ˈubər ənd postmates*. ənd ɔˈrɛdi juzd tɪ ˈvɛriəbəl ˈpraɪsɪŋ ɪn ˈəðər ˈɛriəz əv ˌhɑspəˈtæləti, ˌɪnˈkludɪŋ hoʊˈtɛlz ənd ˈɛrˌfɛr. (ˈfərðərɪŋ ðə ˈɛˌrlaɪn əˈnæləʤi, ˈpaɪˌnæpəl ənd pərlz əˈlaʊz gɛsts tɪ səˈlɛkt ðɛr prɪˈfərd ˈsɛkʃən əv ðə ˈdaɪnɪŋ rum ənd ˈʧɑrʤɪz 150 fər sits æt ðə bɑr: 100 lɛs ðən ðə ˈdaɪnɪŋ rum, bət ˈbɛvrɪʤɪz ər ɪkˈskludɪd. ðə ˈtɪkətɪŋ ˈsɪstəm ˈʧɑrʤɪz hæf əv ðə praɪs ˈəpˌfrənt ənd ðə ˈsɛkənd hæf ðə ˈmɔrnɪŋ əv ðə ˌrɛzərˈveɪʃən, wɪθ ə ˈwɪndoʊ fər ˌkænsəˈleɪʃən.) bət moʊst ˈrɛˌstrɑnts hæv bɪn sloʊ tɪ ɪmˈbreɪs ðə aɪˈdiə. ɪn ðɪs ˈdɪʤɪtəl ˈklaɪmɪt, ðeɪ wɪl hæv tɪ ɪˈvɑlv, sɪz jayaram*. pɪk əp ðə foʊn, kɔl someone,”*,” hi sɛd. wɔnt tɪ ˈoʊpən ðə foʊn [æp], klɪk ə ˈbətən ənd noʊ goʊɪŋ tɪ gɪt ˈækˌsɛs tɪ ðə best.”*.” əˈnəðər ˈɪndəstri frəm wɪʧ ˈrɛˌstrɑnts ər ˈteɪkɪŋ kjuz: ðə ˈθieɪtər wərld. goʊz tɪ ðə ˈθieɪtər ənd sɪts ɪn ðə læst roʊ ənd ɪkˈspɛkts tɪ peɪ ðə seɪm ɛz ə gaɪ ɪn ðə roʊ center,”*,” sɛd. waɪ wi trit ə naɪt æt ə ˈrɛˌstrɑnt ðə seɪm ɛz ə naɪt æt ðə ˈθieɪtər? fud ənd ˌɛnərˈteɪnmənt hæv lɔŋ bɪn ˌɪˈnɛkstrɪˌkəbli lɪŋkt pɔɪnts tɪ ðə 1964 ˈoʊpənɪŋ əv ðə fərst ˌbɛnɪˈhɑnə ənd naʊ, æt ə taɪm wɪn səˈlɛbrɪti ʃɛfs ənd ˈrɛˌstrɑnt ˈoʊpənɪŋz ər ˈkəvərd wɪθ ɛz məʧ ˈfænˌfɛr ɛz ˈmuvi prɛˈmɪrz, səm wʊd ˈɑrgju ðət fud həz sərˈpæst ðə ɑrts ɛz ɑr prɪˈfərd dɪˈvərʒən. ðɛr tɪ waʊ you,”*,” sɛd braʊn. ə ˈləgʒəri, ənd ə ˈʃeɪˌkaʊt? ɪf, laɪk ˈstədi pɑrˈtɪsəpənts, nɑt waʊd baɪ ðiz nu dɪˈvɛləpmənts, ju ˈwəri. fər wən θɪŋ, ɔl ðə d.c*. ˈrɛˌstrɑnts ðət juz resy*, ənd ˈəðər saɪts teɪk trəˈdɪʃənəl ˌrɛzərˈveɪʃənz, tu. ɛz lɔŋ ɛz nɑt ˈæŋglɪŋ fər ə ˌlæsˈmɪnət 8 p.m*. ˈsæˌtɪˌdeɪ ˈteɪbəl fər sɪks, ˈprɑbəˌbli bi ˈeɪbəl tɪ gɪt wət ju wɔnt wɪˈθaʊt ˈhævɪŋ tɪ peɪ ˈɛkstrə. ðət livz ðə ˈrɛˌstrɑnts ðət ər ˈlɪmətɪŋ ðɛr ˌrɛzərˈveɪʃənz tɪ ˈtɪkɪts. noʊ weɪ əraʊnd ɪt, bət nɑt peɪɪŋ ˈɛkstrə; ʤɪst fər jʊr mil, ˌɪnˈkludɪŋ ðə tɪp. kaɪmz ʃʊr ɔl əv ðiz ˌɑntrəprəˈnərz wɪl bi ɪn ɪt fər ðə lɔŋ hɔl, ˈɛniˌweɪ; ˈoʊpən ˈteɪbəl, wɪʧ ˌɛnˈʤɔɪz ə væst ˈmɑrkɪt ʃɛr, ˈprɑbəˌbli nid tɪ wɔʧ ɪts bæk. θɪŋk goʊɪŋ tɪ bi səm ˈʃeɪˌkaʊt ɪn ðiz ˈkəmpəˌniz, əˈspɛʃəli ɪf ðə ɪˈkɑnəmi stɑrts tɪ tank,”*,” sɛd kaɪmz. peɪd ˌrɛzərˈveɪʃənz, ʃi ˈædɪd, ər əv ə luxury,”*,” ənd wən ˈlaɪkli tɪ teɪk hoʊld ˈoʊnli ɪn ðə ˈbɪgəst ˈsɪtiz. fər ðə taɪm biɪŋ, æt list, ðə ˌrɛzərˈveɪʃənz geɪm rɪˈmeɪnz ə ˈmætər əv praɪˈɔrətiz: ɪf ˈgɪtɪŋ ðə raɪt ˈteɪbəl æt ðə raɪt ˈrɛˌstrɑnt æt ðə raɪt taɪm ɪz əv ðə ˈətˌmoʊst ˌɪmˈpɔrtəns, ju naʊ hæv mɔr weɪz tɪ meɪk ɪt ˈhæpən. fər ðə rɛst əv ˈjuˈɛs, ˈɛni oʊld ˈteɪbəl wɪl du.
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making a restaurant reservation has become easier with web services like opentable. but when they are too easy to make, sometimes diners don't show up. new services, like pre-paid tickets, are looking to innovate the dining industry and guarantee patrons follow through on their reservations. (jayne orenstein,julio negron/the washington post)
do you have a reservation?” used to be the standard brush-off line at a busy restaurant’s host stand. now, in a growing number of places, it’s “do you have a ticket?”
yep, just like a movie or a concert. ticketed dining has arrived — along with apps that charge fees for in-demand reservations, apply automatic payment or uber-style surge pricing and allow ebay-style bidding on hot reservations. at some restaurants, making a reservation is no longer a matter of clicking a time on opentable or picking up the phone.
in the district, the newly reopened columbia room is ticketed. the shaw bijou, the forthcoming restaurant from “top chef” competitor kwame onwuachi, will be ticketed. so, too, will pineapple and pearls, the soon-to-open sister restaurant to rose’s luxury, which has never stuck to convention when it comes to reservations. (it doesn't take them.)
[chef kwame’s ready to show d.c. a fine-dining experience unlike any other]
(jason raish/for the washington post)
“we wanted to create an experience where the guests would not have a bill at the end of their meal,” pineapple and pearls chef-owner aaron silverman said via email.
columbia room owner derek brown said he was similarly motivated. “you tap your date on the shoulder and you’re like, ‘let’s go,’ he said. “there’s none of that jostling that you have to do at the end.”
but it’s clearly not all about the consumer. across the country, such new systems are also returning some control to restaurants, raising questions about power, fairness and risk — and what exactly we’re paying for, other than the food, when we go out to eat.
at lazy bear restaurant in san francisco, guests buy tickets that range in price from $145 to $175, depending on the day and time, for a multi-course tasting menu served at communal tables. (melina mara/the washington post)
restaurant reservations date to the late 19th century, when guests could arrange a room for catered banquets if they wanted to entertain and had the money — but not the butler, maids and cooks — to support it. the practice of reserving just a table emerged to accommodate affluent bachelors looking for ways to court single ladies without the impropriety of hosting them at home. restaurants also reserved tables to entice regulars, usually businessmen. as the consumer culture of the post-war flourished, so did taking reservations by telephone. the next big innovation, those buzzing pagers that hosts hand out to waiting guests, were introduced in the early ’90s. with the dot-com boom came the open table reservation service, which was founded in 1998 and has been the industry leader ever since.
the cost of no-shows
but as it became easier to make reservations with just one click, it also became easier to ditch them.
you might think it’s no big deal to make a 7 p.m. reservation for next friday and then change your mind at the last minute, but for some restaurants, it’s a major problem. in the restaurant business, time and space — not just food — are money, and every minute a table sits empty is one without anticipated income. if you haven’t called to cancel, a restaurant will hold your table for a bit, irritating people on the waitlist. (ever been told there’s a 20-minute wait when you can see several empty tables? that’s often why.) and the restaurant has already paid for the food for your meal — not to mention the staff to cook it and wait on you and clean up after you. restaurants operate on a razor-thin margin, so no-shows can add up to thousands of dollars lost each year. (opentable terminates accounts that bail on four reservations in a 12-month period. but you can simply open another account using another email address.)
[5 new ways to make restaurant reservations.]
if two people skip their reservation at the 64-seat alinea in chicago one night, “we just prepared two 18-course meals since 6 that morning for ghosts,” said co-owner nick kokonas. no-shows formerly cost the restaurant an average of $260,000 a year. that number dropped dramatically when alinea switched to a ticketed system in august 2012. in december 2014, kokonas grew that into tock, a management system that provides ticketing services to other restaurants for a $695 monthly fee. its clients — which include the shaw bijou and columbia room in the district, plus others in the united states, england and australia — are, at least so far, mostly multi-course, theatrical restaurants.
the system also allows restaurants to introduce demand-based pricing: making, say, 8 p.m. saturday seatings more expensive. kokonas resists comparisons to uber and its surge pricing, though. tock is not an app, and its pricing goes both ways: a restaurant can also make a 5 p.m. seating on a tuesday cost less, as an acknowledgement that it’s an unpopular time to dine. (not a new concept: remember the early-bird special?) there have been concerns about ticket scalping, but that has been rare. kokonas says tock has noticed large batches of tickets for super-elite restaurants purchased from the same ip address, and it has voided those orders.
ticketing might be the most prominent example, but it’s not the only way entrepreneurs are trying to disrupt the reservations game, which has been fertile ground for app builders in the last two years. there’s resy, from eater co-founder ben leventhal, which, among other features, gives users a chance to snag hard-to-get reservations for a price, about $20. there’s reserve, with a custom concierge service and an automatic payment system that, like uber, eliminates the need to pull out your wallet at the end of the meal. reserve’s partner restaurants can turn on a feature that allows users to volunteer to overpay for their meal — maybe an extra 25 percent — and the table will go to the highest bidder. (no restaurants in washington have yet enabled that feature, a reserve spokeswoman said.) there’s also table8, which started in the paid reservations field but is switching to a system in which a yearly fee of $95 gets its members — mostly business travelers — unlimited free last-minute reservations at top restaurants in 11 cities.
guests arrive at the host stand at rose’s luxury in southeast washington after waiting in line to get in. the popular restaurant allow reservations. (melina mara/the washington post)
customer resistance
if the idea of paying for reservations makes you lose your appetite, you're not alone. sherri kimes, professor of operations management at cornell university’s school of hotel administration, has been researching customer opinions about the practice, with unequivocal results. “overall, people thought it was horrible,” she said.
“looking at it from a pure academic standpoint,” kimes said, such systems “seem very logical,” because they acknowledge that diners are buying not just food but a restaurant’s space and time. “but just because something is logical mean that customers like it.”
one reason diners may be initially turned off is that these new systems disrupt the balance of power between them and a restaurant. in the traditional model — using open table or actually calling, the old-fashioned way — it’s the diner, who assumes no risk in reserving and can no-show withl consequences, who has the upper hand. that leaves the restaurant, which know if it would have made $70 or $700, in the lurch.
when restaurants or third parties sell tickets or reservations, they transfer some of that burden of risk to the consumer. with ticketing, the restaurant knows exactly how much food to purchase and prepare — and it still gets paid if a customer show up. studies have also found that customers who pay in advance, put down a deposit or are subject to a no-show fee (i.e., the once-controversial practice of holding a diner’s credit card number) are more likely to keep their commitment due to “sunk cost” bias.
or, as columbia room’s brown puts it, “the only person who is going to be hurt by this system is someone who never intended to show up, but that person is an [expletive].”
that’s true for fixed-price ticketed restaurants, but it’s more complicated with paid reservations. those systems benefit people who are willing to shell out a premium for flexibility and access. right now, restaurants that work with those apps reserve a few tables for these high-end customers, which diminishes the table inventory for regular guests. when demand-based pricing comes into the picture, anyone on a budget may be relegated to tuesday night dates.
no-reservations restaurants, despite their claim, aren’t any more egalitarian.
“do you know who’s standing in line? task rabbits,” said kokonas, referring to a website that allows people to hire labor for small jobs. “that tells me that there’s something fundamentally wrong with the way they’re operating. there’s a mentality that the velvet rope is a good thing, and it entices people. i think that’s the case.”
at chicago’s alinea, a ticket buys you dinner and a show: theatrical edible creations such as these green apple balloons, which are filled with helium. no-shows were a costly problem for alinea until it switched to a ticketed reservation system in august 2012. (melina mara/the washington post)
‘the ultimate currency’
after the knee jerk, diners can begin to see some benefits to the new reservation systems.
“from the consumer perspective, in a way it gives them more power,” said kimes. “even if they’re not a vip, they can get in.”
when buying a ticket, you see exactly how many tables are available on a given night, rather than just taking the host’s word for it. if your plans change, you can exchange or sell your ticket. paying for a last-minute reservation gives you flexibility and allows spontaneity (and, if you’re a spouse who always forgets an anniversary, could potentially save your marriage). at restaurants with variable-peak pricing, you could get a discount on a fancy dinner if you’re willing to eat early on a weeknight.
if you still resent the idea of special treatment for people with more money than you, what’s the difference between these apps and a person who palms the maitre’d a crisp $100 bill? the apps’ founders argue that they’re merely formalizing the system and making it accessible to everyone.
“people want different channels of access, and if you give to to them, they’re going to move on to different places,” said santosh jayaram, co-founder of table8. “access is the ultimate currency.”
we’re used to getting instant access through such apps as uber and postmates. and we’re already used to variable pricing in other areas of hospitality, including hotels and airfare. (furthering the airline analogy, pineapple and pearls allows guests to select their preferred section of the dining room and charges $150 for seats at the bar: that’s $100 less than the dining room, but beverages are excluded. the custom-built ticketing system charges half of the price upfront and the second half the morning of the reservation, with a 72-hour window for cancellation.) but most restaurants have been slow to embrace the idea.
in this digital climate, they will have to evolve, says jayaram.
“millennials pick up the phone, millennials call someone,” he said. “they want to open the phone [app], click a button and know they’re going to get access to the best.”
another industry from which restaurants are taking cues: the theater world. “nobody goes to the theater and sits in the last row and expects to pay the same as a guy in the 10th row center,” said kokonas.
why shouldn’t we treat a night at a restaurant the same as a night at the theater? food and entertainment have long been inextricably linked — kokonas points to the 1964 opening of the first benihana — and now, at a time when celebrity chefs and restaurant openings are covered with as much fanfare as movie premieres, some would argue that food has surpassed the arts as our preferred diversion.
“we’re there to wow you,” said brown.
a luxury, and a shakeout?
if, like kimes’s study participants, you’re not wowed by these new developments, you shouldn’t worry. for one thing, all the d.c. restaurants that use resy, table8 and other paid-reservations sites take traditional reservations, too. as long as you’re not angling for a last-minute 8 p.m. saturday table for six, you’ll probably be able to get what you want without having to pay extra. that leaves the restaurants that are limiting their reservations to tickets. there’s no way around it, but you’re not paying extra; you’re just pre-paying for your meal, including the tip.
kimes isn’t sure all of these entrepreneurs will be in it for the long haul, anyway; open table, which enjoys a vast market share, probably need to watch its back.
“i think there’s going to be some shakeout in these companies, especially if the economy starts to tank,” said kimes. paid reservations, she added, are “kind of a luxury,” and one likely to take hold only in the biggest cities.
for the time being, at least, the reservations game remains a matter of priorities: if getting the right table at the right restaurant at the right time is of the utmost importance, you now have more ways to make it happen. for the rest of us, any old table will do.
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gɛst poʊst baɪ, bi. tɛk, masc*, ˈpiˌeɪʧˈdi ðə ˌɪntərˌgəvərnˈmɛntəl ˈpænəl ɔn ˈklaɪmɪt ʧeɪnʤ (ipcc*) kleɪmz ðət ˈjumən ɪˈmɪʃən əv ˈkɔzɪz ˌkætəˈstrɑfɪk ˈgloʊbəl ˈwɔrmɪŋ. wɪn səʧ ˌɛkstrəˈɔrdəˌnɛri kleɪm ɪz meɪd, ˈɛvəri wən wɪθ ˈbækˌgraʊnd ɪn saɪəns həz tɪ lʊk æt ðə ˈdætə ənd ˈvɛrəˌfaɪ ˈwɛðər ðə kleɪm ɪz ˈʤəstəˌfaɪd ər nɑt. ɪn ðɪs ˈɑrtɪkəl, ə ˌmæθəˈmætɪkəl ˈmɑdəl wɑz dɪˈvɛləpt ðət əˈgriz wɪθ əbˈzərvd ˈgloʊbəl min ˈtɛmpərəʧər əˈnɑməli (gmta*), ənd ɪts priˈdɪkʃən ʃoʊz ˈgloʊbəl ˈkulɪŋ baɪ əˈbaʊt si ənˈtɪl 2030 ˈɔlsoʊ, kəmˈpɛrəsən əv əbˈzərvd ˌɪnˈkris ɪn ˈjumən ɪˈmɪʃən əv wɪθ ˌɪnˈkris ɪn ˈdʊrɪŋ ðə ˈsɛnʧəri ʃoʊz noʊ riˈleɪʃənˌʃɪp bɪtˈwin ðə tu. ɛz ə rɪˈzəlt, ðə kleɪm baɪ ðə əv ˈklaɪmɪt kəˈtæstrəfi ɪz nɑt səˈpɔrtɪd baɪ ðə ˈdætə. ˈfɑsəl fjuəlz əˈlaʊd mæn tɪ lɪv hɪz laɪf ɛz ə praʊd ˈjumən, bət ðə əˈsərts ɪts juz ˈkɔzɪz ˌkætəˈstrɑfɪk ˈgloʊbəl ˈwɔrmɪŋ. ˈfɔrʧənətli, ðə ˈgloʊbəl ˈwɔrmɪŋ kleɪm baɪ ðə ðət ðə nɛkst tu ˈdɛkeɪdz, ə ˈwɔrmɪŋ əv əˈbaʊt pər ˈdɛkeɪd ɪz prɑˈʤɛktəd fər ə reɪnʤ əv ɪˈmɪʃən scenario”*” 1 ɪz nɑt səˈpɔrtɪd baɪ ˌɑbzərˈveɪʃənz ɛz ʃoʊn ɪn ˈfɪgjər 1 wɪʧ ʃoʊz ə plæˈtoʊ fər ðə ˈgloʊbəl min ˈtɛmpərəʧər trɛnd fər ðə læst ˈdɛkeɪd. ˈfɪgjər 1 ˈɔlsoʊ ʃoʊz ðət ðə əbˈzərvd ˈtɛmpərəʧərz ər ˈivɪn lɛs ðən ðə prɑˈʤɛkʃənz fər ɪˈmɪʃən hɛld ˈkɑnstənt æt ðə 2000 ˈlɛvəl. ɛz ə rɪˈzəlt, ðə ˈsteɪtmənt wi ˈɔfən hir frəm əˈθɔrətiz laɪk ˈjuˈɛn bæn ðət ʧeɪnʤ ɪz ækˈsɛlərˌeɪtɪŋ æt ə məʧ ˈfæstər peɪs ðən wɑz ˈpriviəsli θɔt baɪ scientists”*” 3 ɪz ˌɪnkərˈɛkt. θæŋks fər ðə riˈlis əv ˈpraɪvət iˈmeɪlz əv ˈklaɪmɪt ˈsaɪəntɪsts, wi kən naʊ lərn frəm ðɛr oʊn wərdz ˈwɛðər ˈgloʊbəl ˈwɔrmɪŋ ækˈsɛlərˌeɪtɪŋ æt ə məʧ ˈfæstər pace”*” ər nɑt. ɪn ən iˈmeɪl ˈdeɪtɪd maɪk roʊt tɪ fɪl ʤoʊnz, ˈfɑlənd ənd krɪs 4 aɪ θɪŋk wi hæv bɪn tu ˈrɛdəli ɪkˈspleɪnɪŋ ðə sloʊ ˈʧeɪnʤɪz ˈoʊvər pæst ˈdɛkeɪd ɛz ə rɪˈzəlt əv ˌɛkspləˈneɪʃən ɪz ˈwɛrɪŋ θɪn. aɪ wʊd ʤɪst səˈʤɛst, ɛz ə ˈbæˌkəp tɪ jʊr priˈdɪkʃən, ðət ju ˈɔlsoʊ du səm ˈʧɛkɪŋ ɔn ðə ˈsəlˌfeɪt ˈɪʃu, ʤɪst soʊ ju maɪt hæv ə kˈwɑntɪˌfaɪd ˌɛkspləˈneɪʃən ɪn keɪs ðə priˈdɪkʃən ɪz rɔŋ. ˈəðərˌwaɪz, ðə ˈskɛptɪks wɪl bi ɔl ˈoʊvər wərld ɪz ˈrɪli ˈkulɪŋ, ðə ˈmɑdəlz ər noʊ gʊd, ˌɛtˈsɛtərə. ənd ɔl ðɪs ʤɪst ɛz ðə ˈjuˈɛs ɪz əˈbaʊt ˈrɛdi tɪ gɪt ˈsɪriəs ɔn ðə ˈɪʃu. wi ɔl, ənd ju ɔl ɪn ˌpɑˈtɪkjələr, nid tɪ bi priˈpɛrd. ˈsɪmələrli, ɪn ən iˈmeɪl ˈdeɪtɪd mɪk ˈkɛli roʊt tɪ fɪl ʤoʊnz 5 ʤɪst ˈəpˌdeɪtɪd maɪ ˈgloʊbəl ˈtɛmpərəʧər trɛnd ˈgræfɪk fər ə ˈpəblɪk tɔk ənd ˈnoʊtɪd ðət ðə ˈlɛvəl həz ˈrɪli bɪn kwaɪt ˈsteɪbəl sɪns 2000 ər soʊ ənd 2008 lʊk tu hɑt. bi ˈɔkwərd ɪf wi wɛnt θru ə ˈərli taɪp swɪŋ! ðə əˈbəv ˈsteɪtmənts frəm ðə iˈmeɪlz kənˈklusɪvli pruv ðət ðə ˈwaɪdli juzd freɪz baɪ əˈθɔrətiz ɪn ˈpəblɪk ðət ˈgloʊbəl ˈwɔrmɪŋ ækˈsɛlərˌeɪtɪŋ æt ə məʧ ˈfæstər pace”*” ɪz səˈpɔrtɪd ˈniðər baɪ ˈklaɪmɪt ˈsaɪəntɪsts ɪn ˈpraɪvət nɔr baɪ ðə əbˈzərvd ˈdætə. θæŋks ˈɔlsoʊ goʊz tɪ ðə ˈklaɪmɪt ˈrisərʧ ˈjunɪt (cru*) əv ðə ˈhædli ˈsɛnər fər ˈdɛrɪŋ tɪ ˈpəblɪʃ ˈgloʊbəl min ˈtɛmpərəʧər ˈdætə ðət ɪz ˈsteɪbəl sɪns wɪʧ ɪz ˈkɑntrɛri tɪ prɑˈʤɛkʃənz əv si ˈwɔrmɪŋ pər ˈdɛkeɪd. ɪf ðə hæd nɑt dən ðɪs, wi wʊd hæv bɪn fɔrst tɪ sˈwɔloʊ ðə ɪkˈstrimli ˌɪˈræʃənəl ˈkɑnsɛpt ðət ðə gæs ə plænt fud, i.e*. faʊnˈdeɪʃən əv laɪf, ɪz ə pəˈlutənt bɪˈkəz ɪt ˈkɔzɪz ˌkætəˈstrɑfɪk ˈgloʊbəl ˈwɔrmɪŋ. ɛz ər noʊ good”*”, ɪt ɪz ðə əˈbʤɛktɪv əv ðɪs ˈɑrtɪkəl tɪ dɪˈvɛləp ə ˈvælɪd ˌmæθəˈmætɪkəl ˈgloʊbəl min ˈtɛmpərəʧər ˈmɑdəl beɪst ɔn əbˈzərvd ˈtɛmpərəʧər ˈpætərnz. ˌmæθəˈmætɪkəl ˈmɑdəl fər ðə ˈgloʊbəl min ˈtɛmpərəʧər əˈnɑməli (gmta*) beɪst ɔn əbˈzərvd ˈtɛmpərəʧər ˈpætərnz ðə ˈgloʊbəl min ˈtɛmpərəʧər əˈnɑməli (gmta*) ˈdætə frəm ðə ˈklaɪmɪt ˈrisərʧ ˈjunɪt (cru*) əv ðə ˈhædli ˈsɛnər ʃoʊn ɪn ˈfɪgjər 2 wɪl bi juzd tɪ dɪˈvɛləp ðə ˌmæθəˈmætɪkəl ˈmɑdəl. ɪn ðɪs ˈɑrtɪkəl, ðə əbˈzərvd ˈdætə frəm ðə ər əˈsumd tɪ bi ˈvælɪd. ɪgˌzæməˈneɪʃən əv ˈfɪgjər 2 ʃoʊz ðət ðə gloʊb ɪz ˈwɔrmɪŋ æt ə ˈlɪniər reɪt ɛz ʃoʊn baɪ ðə list skwɛr trɛnd ˈsɛntrəl laɪn ˈgɪvɪn baɪ ðə ɪkˈweɪʒən ˈlɪniər əˈnɑməli ɪn si ɪkˈweɪʒən 1 ˈfɪgjər 2 ˈɔlsoʊ ʃoʊz ðət ˌsupərəmˈpoʊzd ɔn ðɪs ˈlɪniər əˈnɑməli laɪn ðɛr ɪz ən ˈɑsəˌleɪtɪŋ əˈnɑməli ðət gɪvz ðə ˈgloʊbəl min ˈtɛmpərəʧər əˈnɑməli (gmta*) ðə ˌkɛrɪktərˈɪstɪks ˈsəmərˌaɪzd ɪn ˈteɪbəl 1 ˈteɪbəl 1 ˌkɛrɪktərˈɪstɪks əv ðə əbˈzərvd ˈgloʊbəl min ˈtɛmpərəʧər əˈnɑməli (gmta*) ʃoʊn ɪn ˈfɪgjər 2 frəm tɪ ɛnd əv ˈwɔrmɪŋ, plæˈtoʊ æt si ðɛn ˈkulɪŋ trɛnd frəm tɪ ɛnd əv ˈkulɪŋ, plæˈtoʊ æt si ðɛn ˈwɔrmɪŋ trɛnd frəm tɪ ɛnd əv ˈwɔrmɪŋ, plæˈtoʊ æt si ðɛn ˈkulɪŋ trɛnd frəm tɪ ɛnd əv ˈkulɪŋ, plæˈtoʊ æt si ðɛn ˈwɔrmɪŋ trɛnd frəm tɪ ɛnd əv ˈwɔrmɪŋ, plæˈtoʊ æt si ðɛn trɛnd ə ˌmæθəˈmætɪkəl ˈmɑdəl kən bi dɪˈvɛləpt ðət ˈsætɪsˌfaɪz ðə rɪkˈwaɪrmənts ˈlɪstɪd ɪn ˈteɪbəl 1 ɪf ðə ˈmɑdəl tɪ bi dɪˈvɛləpt gɪvz gʊd əˌprɑksəˈmeɪʃən fər ðə ˈvæljuz æt ɪts ˈtərnɪŋ pɔɪnts (plateaus*) ənd ðə trɛnz bɪtˈwin ɪts səkˈsɛsɪv ˈtərnɪŋ pɔɪnts ɛz ˈsəmərˌaɪzd ɪn ˈteɪbəl 1 ðə ˈmɑdəl meɪ bi juzd fər priˈdɪkʃən. fər ðə ˈɑsəˌleɪtɪŋ əˈnɑməli, ðə ˈsaɪnəˌsɔɪdəl ˈfəŋkʃən mits ðə rɪkˈwaɪrmənts ˈlɪstɪd ɪn ˈteɪbəl 1 frəm ˈfɪgjər 2 ðə ˈæmpləˌtud əv ðə ˈɑsəˌleɪtɪŋ əˈnɑməli ɪz ˈgɪvɪn baɪ ðə ˈvərtɪkəl ˈdɪstəns ɪn si frəm ðə ˈsɛntrəl ˈlɪniər əˈnɑməli laɪn tɪ ˈiðər ðə tɔp ər ˈbɑtəm ˈpɛrəˌlɛl laɪnz, ənd ɪt ɪz əˈbaʊt si. frəm ˈfɪgjər 2 ðə ˈɑsəˌleɪtɪŋ əˈnɑməli wɑz æt ɪts ˈmæksəməm ɪn ðə,, ; ɪt wɑz æt ɪts ˈmɪnəməm ɪn ðə ənd. ðə jɪrz bɪtˈwin səkˈsɛsɪv ˈmæksəmə ər əv ðə ˈɑsəˌleɪtɪŋ əˈnɑməli ɪz ðə ˈpɪriəd əv ðə ˈfəŋkʃən, ənd ɪt ɪz əˈbaʊt jɪrz. fər ðə ˈfəŋkʃən, wəns ɪts ˈæmpləˌtud əv si ənd ɪts ˈpɪriəd əv 60 jɪrz ər dɪˈtərmənd, ðə ˌmæθəˈmætɪkəl ɪkˈweɪʒən fər ðə ˈɑsəˌleɪtɪŋ əˈnɑməli, fər ðə jɪrz ˈstɑrtɪŋ frəm 1880 kən bi ˈrɪtən ɛz ˈɑsəˌleɪtɪŋ əˈnɑməli ɪn si cos(((year-1880)/60)*2*3.1416* ɪkˈweɪʒən 2 ɪn ðə əˈbəv ɪkˈweɪʒən, ðə ˈfæktər ɪz juzd tɪ ˈkɑnvərt ðə ˈɑrgjəmənt əv ðə ˈfəŋkʃən tɪ radians*, wɪʧ ɪz rikˈwaɪərd fər ˌkɑmpjəˈteɪʃən ɪn ˈmaɪˌkroʊˈsɔft ɪkˈsɛl. ɪf ðə ˈæŋgəl rikˈwaɪərd ɪz ɪn dɪˈgriz, ˌriˈpleɪs wɪθ 360 kəmˈbaɪnɪŋ ðə ˈlɪniər əˈnɑməli ˈgɪvɪn baɪ ɪkˈweɪʒən 1 ənd ðə ˈɑsəˌleɪtɪŋ əˈnɑməli ˈgɪvɪn baɪ ɪkˈweɪʒən 2 gɪvz ðə ɪkˈweɪʒən fər ðə ˈgloʊbəl min ˈtɛmpərəʧər əˈnɑməli (gmta*) ɪn si fər ðə jɪrz sɪns 1880 ɛz cos(((year-1880)/60)*2*3.1416* ɪkˈweɪʒən 3 ðə vəˈlɪdɪti əv ðɪs ˈmɑdəl meɪ bi ˈvɛrəˌfaɪd baɪ kəmˈpɛrɪŋ ɪts ˈɛstəˌmeɪt wɪθ əbˈzərvd ˈvæljuz æt ðə ˈtərnɪŋ pɔɪnts ɛz ˈsəmərˌaɪzd ɪn ˈteɪbəl 2 ˈteɪbəl 2 kəmˈpɛrəsən əv ðə ˈmɑdəl wɪθ ˌɑbzərˈveɪʃənz fər ɪn si æt ɪts ˈtərnɪŋ pɔɪnts. jɪr əbˈzərvd (ˈteɪbəl 1 ˈmɑdəl (ɪkˈweɪʒən 3 ˈwɔrmɪŋ plæˈtoʊ fər ðə ˈkulɪŋ plæˈtoʊ fər ðə ˈwɔrmɪŋ plæˈtoʊ fər ðə ˈkulɪŋ plæˈtoʊ fər ðə ˈwɔrmɪŋ plæˈtoʊ fər ðə ˈteɪbəl 2 ʃoʊz ˈɛksələnt əˈgrimənt fər ðə ˈvæljuz bɪtˈwin ˌɑbzərˈveɪʃən ənd ˌmæθəˈmætɪkəl ˈmɑdəl fər ɔl əbˈzərvd ˈtərnɪŋ pɔɪnts. ə græf əv ðə ˈmɑdəl ˈgɪvɪn baɪ ɪkˈweɪʒən 3 ɪz ʃoʊn ɪn ˈfɪgjər 3 wɪʧ ˌɪnˈkludz ðə əbˈzərvd ənd ˌʃɔrtˈtərm prɑˈʤɛkʃənz fər frəm 2000 tɪ 2025 ɪn əˈdɪʃən tɪ ðə ˌvɛrəfəˈkeɪʃən ʃoʊn ɪn ˈteɪbəl 2 ˈfɪgjər 3 ʃoʊz gʊd əˈgrimənt fər ðə trɛnz θruaʊt əbˈzərvd ˈtɛmpərəʧər ˈrɛkərdz, soʊ ðə ˈmɑdəl meɪ bi juzd fər priˈdɪkʃən. ɛz ə rɪˈzəlt, ˈfɪgjər 3 ˌɪnˈkludz priˈdɪkʃənz ənˈtɪl 2100 wɛr ðə jɪr ənd ðə ˌkɔrəˈspɑndɪŋ ˈvæljuz ər ˈgɪvɪn ɪn pərˈɛnθəˌsiz fər ɔl ðə ˈtərnɪŋ pɔɪnts. ɛz ʃoʊn ɪn ˈfɪgjər 3 ə slaɪt dɪˈskrɛpənsi ɪgˈzɪst bɪtˈwin əbˈzərvd ənd ˈmɑdəl ˈvæljuz æt ðə ɛnd əv ðə wɪn ðə əbˈzərvd ˈvæljuz wər sɪgˈnɪfɪkəntli ˈwɔrmər ðən ðə ˈmɑdəl ˈpætərn, ənd ɪn ðə wɪn ðə əbˈzərvd ˈvæljuz wər sɪgˈnɪfɪkəntli ˈkoʊldər ðən ðə ˈmɑdəl ˈpætərn. frəm ðə ˈmɑdəl ɪn ˈfɪgjər 3 ˈdʊrɪŋ ðə əbˈzərvd ˈtɛmpərəʧər ˈrɛkərd, ðɛr wər tu ˈgloʊbəl ˈwɔrmɪŋ ˈfeɪzɪz. ðə fərst wɑz frəm 1910 tɪ 1940 wɪθ ə ˈwɔrmɪŋ əv si ɪn 30 jɪrz. ðə ˈsɛkənd wɑz frəm 1970 tɪ 2000 wɪθ ə ˈwɔrmɪŋ əv si ɪn 30 jɪrz. noʊt ðət boʊθ ˈwɔrmɪŋ ˈfeɪzɪz hæv ən aɪˈdɛntɪkəl ˌɪnˈkris ɪn əv si ɪn 30 jɪrz, wɪʧ gɪvz ən ˈævərɪʤ ˈwɔrmɪŋ reɪt əv si pər ˈdɛkeɪd. frəm ðə ˈmɑdəl ɪn ˈfɪgjər 3 ˈdʊrɪŋ ðə əbˈzərvd ˈtɛmpərəʧər ˈrɛkərd, ðɛr wər tu ˈgloʊbəl ˈkulɪŋ ˈfeɪzɪz. ðə fərst wɑz frəm 1880 tɪ 1910 wɪθ ə ˈkulɪŋ əv si ɪn 30 jɪrz. ðə ˈsɛkənd wɑz frəm 1940 tɪ 1970 wɪθ ə ˈkulɪŋ əv si ɪn 30 jɪrz. noʊt ðət boʊθ ˈkulɪŋ ˈfeɪzɪz hæv ən aɪˈdɛntɪkəl ˈdiˌkris ɪn əv si ɪn 30 jɪrz, wɪʧ gɪvz ən ˈævərɪʤ ˈkulɪŋ reɪt əv si pər ˈdɛkeɪd. ðə əˈbəv rɪˈzəlts fər ðə ˈnɔrməl ˈreɪnʤɪz əv dɪˈtərmənd frəm ðə ˈmɑdəl kən ˈɔlsoʊ bi ˈkælkjəˌleɪtɪd ˈjuzɪŋ ˈsɪmpəl ʤiˈɑmətri ɪn ˈfɪgjər 2 ɪn ðɪs ˈfɪgjər, ˈɔlˌmoʊst ɔl əbˈzərvd ˈvæljuz ər ɛnˈvɛləpt baɪ ðə tu ˈpɛrəˌlɛl laɪnz ðət ər si əˈpɑrt. ˈðɛrˌfɔr, ɛz ə fərst əˌprɑksəˈmeɪʃən, ðə ˈnɔrməl reɪnʤ əv ɪz si. frəm ˈfɪgjər 2 ðə ˈpɪriəd fər ə ˈgloʊbəl ˈwɔrmɪŋ ər ˈkulɪŋ feɪz ɪz əˈbaʊt 30 jɪrz. ˈðɛrˌfɔr, ɛz ə fərst əˌprɑksəˈmeɪʃən, ðə ˈnɔrməl reɪt əv ˈgloʊbəl ˈwɔrmɪŋ ər ˈkulɪŋ ɪz si pər ˈdɛkeɪd. ðə əˈbəv əˌprɑksəˈmeɪʃən əv si fər ðə ˈnɔrməl reɪnʤ əv ʃʊd bi rɪˈfaɪnd baɪ ˌɪnˈkludɪŋ ðə ˈifɛkt əv ðə ˈlɪniər ˈwɔrmɪŋ əˈnɑməli ˈgɪvɪn baɪ ɪkˈweɪʒən 1 əv si pər jɪr, wɪʧ ɪz ðə sloʊp əv ðə tu ˈɛnvəˌloʊp ˈpɛrəˌlɛl laɪnz ɪn ˈfɪgjər 2 ɛz ðə ˈɑsəˌleɪtɪŋ əˈnɑməli ˈʧeɪnʤɪz baɪ si ɪn 30 jɪrz bɪtˈwin ɪts ˈtərnɪŋ pɔɪnts, ðə ˈlɪniər əˈnɑməli ˌɪnˈkrisɪz baɪ30=0.18* si. du tɪ ðɪs pərˈsɪstənt ˈwɔrmɪŋ, ˌɪnˈstɛd əv ðə ˌɪnˈkrisɪŋ ər ˈdiˌkrisɪŋ baɪ ðə seɪm si, ɪt ˌɪnˈkrisɪz baɪ si ˈdʊrɪŋ ɪts ˈwɔrmɪŋ feɪz, ənd ˈdiˌkrisɪz baɪ si ˈdʊrɪŋ ɪts ˈkulɪŋ feɪz. ɛz ə rɪˈzəlt, ðə rɪˈfaɪnd ˈnɔrməl ˈreɪnʤɪz əv ər si ɪn 30 jɪrz ˈdʊrɪŋ ɪts ˈwɔrmɪŋ feɪz, ənd si ɪn 30 jɪrz ˈdʊrɪŋ ɪts ˈkulɪŋ feɪz. ðiz rɪˈzəlts fər ðə ˈnɔrməl ˈreɪnʤɪz əv əbˈteɪnd ˈjuzɪŋ ˈsɪmpəl ʤiˈɑmətri ɪn ˈfɪgjər 2 əˈgri wɪθ ðoʊz əbˈteɪnd frəm ðə ˈmɑdəl ɪn ˈfɪgjər 3 ˌkɔrəˈleɪʃən əv ˈmɑdəl ənd əbˈzərvd ˈgloʊbəl min ˈtɛmpərəʧər əˈnɑməli (gmta*) ɪn ˈteɪbəl 2 ˈdætə pɔɪnts fər ˈoʊnli faɪv jɪrz wər juzd tɪ ˈvɛrəˌfaɪ ðə vəˈlɪdɪti əv ɪkˈweɪʒən 3 tɪ ˈmɑdəl ðə əbˈzərvd ˈdætə. ˌhaʊˈɛvər, ɪt ɪz ˌɪmˈpɔrtənt tɪ ˈvɛrəˌfaɪ haʊ wɛl ðə əbˈzərvd ɪz ˈmɑdəld fər ˈɛni jɪr. haʊ wɛl ðə əbˈzərvd ˈdætə ɪz ˈmɑdəld kən bi ɪˈstæblɪʃt frəm ə ˈskætər plɑt əv ðə əbˈzərvd ənd ˈmɑdəl ˈvæljuz ɛz ʃoʊn ɪn ˈfɪgjər 4 fər ɪgˈzæmpəl, fər jɪr 1998 ðə əbˈzərvd wɑz si ənd ðə ˈmɑdəl ɪz si. ɪn ˈfɪgjər 4 fər jɪr 1998 ðə pɛr ɪz ˈplɑtɪd ɛz ə dɑt. ɪn ə ˈsɪmələr ˈmænər, ɔl ðə pɛrd ˈdætə fər ˈmɑdəl ənd əbˈzərvd ˈvæljuz fər jɪrz frəm 1880 tɪ 2009 ər ˈplɑtɪd ɛz ʃoʊn ɪn ˈfɪgjər 4 ˈfɪgjər 4 ʃoʊz ə strɔŋ ˈlɪniər riˈleɪʃənˌʃɪp (ˌkɔrəˈleɪʃən ˌkoʊəˈfɪʃənt, bɪtˈwin ðə ˈmɑdəl ənd əbˈzərvd. wɪθ haɪ ˌkɔrəˈleɪʃən ˌkoʊəˈfɪʃənt əv ˈfɪgjər 4 ʃoʊz ðə ˌɪmˈpɔrtənt rɪˈzəlt ðət ðə əbˈzərvd kən bi ˈmɑdəld baɪ ə ˌkɑmbəˈneɪʃən əv ə ˈlɪniər ənd ˈsaɪnəˌsɔɪdəl ˈpætərn ˈgɪvɪn baɪ ɪkˈweɪʒən 3 ðə ˈpɑzətɪv sloʊp əv ðə trɛnd laɪn ˈɪndɪˌkeɪts ə ˈpɑzətɪv riˈleɪʃənˌʃɪp bɪtˈwin ˈmɑdəl ənd əbˈzərvd. ðət ɪz, ˈgloʊbəl ˈkulɪŋ frəm ðə ˈmɑdəl ˈɪndɪˌkeɪts əbˈzərvd ˈgloʊbəl ˈkulɪŋ, ənd ˈgloʊbəl ˈwɔrmɪŋ frəm ðə ˈmɑdəl ˈɪndɪˌkeɪts əbˈzərvd ˈgloʊbəl ˈwɔrmɪŋ. ˈgloʊbəl min ˈtɛmpərəʧər priˈdɪkʃən ˌkælkjəˈleɪʃənz ðə ˈfɑloʊɪŋ ˈpætərnz meɪ bi ˌɪnˈfərd frəm ðə græf əv ðə ˈgloʊbəl min ˈtɛmpərəʧər əˈnɑməli (gmta*) ˈmɑdəl ʃoʊn ɪn ˈfɪgjər 3 fər ðə ˈdætə frəm ðə ˈklaɪmɪt ˈrisərʧ ˈjunɪt əv ðə ˈhædli ˈsɛnər 2 jɪr 1880 wɑz ðə stɑrt əv ə ˈkulɪŋ feɪz ənd hæd ə əv si. ˈdʊrɪŋ ðə ˈgloʊbəl ˈkulɪŋ feɪz, ðə ˈdiˌkrisɪz baɪ si ɪn 30 jɪrz. ˈgloʊbəl ˈkulɪŋ ənd ˈwɔrmɪŋ ˈfeɪzɪz ˈɔltərˌneɪt wɪθ iʧ ˈəðər. ˈdʊrɪŋ ðə ˈgloʊbəl ˈwɔrmɪŋ feɪz, ðə ˌɪnˈkrisɪz baɪ si ɪn 30 jɪrz. ðə ˈpætərnz ɪn ðə lɪst əˈbəv ər səˈfɪʃənt tɪ ˈɛstəˌmeɪt ðə ˈvæljuz æt ɔl əv ɪts ˈtərnɪŋ pɔɪnts sɪns 1880 fər ɪgˈzæmpəl, ɛz jɪr 1880 wɪθ əv si wɑz ðə stɑrt əv ə ˈkulɪŋ feɪz əv si ɪn 30 jɪrz, ðə nɛkst ˈtərnɪŋ pɔɪnt wɑz nɪr wɪθ əv si. ðɪs ˈvælju fər 1910 ɪz ʃoʊn ɛz ɪn ˈfɪgjər 3 ɛz jɪr 1910 wɪθ əv si wɑz ðə ɛnd əv ə ˈgloʊbəl ˈkulɪŋ feɪz, ɪt ɪz ˈɔlsoʊ ðə stɑrt əv ə ˈgloʊbəl ˈwɔrmɪŋ feɪz əv si ɪn 30 jɪrz. ɛz ə rɪˈzəlt, ðə nɛkst ˈtərnɪŋ pɔɪnt wɑz nɪr wɪθ əv si. ðɪs ˈvælju fər 1940 ɪz ʃoʊn ɛz ɪn ˈfɪgjər 3 ɛz jɪr 1940 wɪθ əv si wɑz ðə ɛnd əv ə ˈgloʊbəl ˈwɔrmɪŋ feɪz, ɪt ɪz ˈɔlsoʊ ðə stɑrt əv ə ˈgloʊbəl ˈkulɪŋ feɪz əv si ɪn 30 jɪrz. ɛz ə rɪˈzəlt, ðə nɛkst ˈtərnɪŋ pɔɪnt wɑz nɪr wɪθ əv si. ðɪs ˈvælju fər 1970 ɪz ʃoʊn ɛz ɪn ˈfɪgjər 3 ɛz jɪr 1970 wɪθ əv si wɑz ðə ɛnd əv ə ˈgloʊbəl ˈkulɪŋ feɪz, ɪt ɪz ˈɔlsoʊ ðə stɑrt əv ə ˈgloʊbəl ˈwɔrmɪŋ feɪz əv si ɪn 30 jɪrz. ɛz ə rɪˈzəlt, ðə nɛkst ˈtərnɪŋ pɔɪnt wɑz nɪr wɪθ əv si. ðɪs ˈvælju fər 2000 ɪz ʃoʊn ɛz ɪn ˈfɪgjər 3 ɛz ðə ˈvæljuz ˈkælkjəˌleɪtɪd əˈbəv ˈjuzɪŋ ðə ˈgloʊbəl ˈtɛmpərəʧər ˈpætərnz ˈlɪstɪd æt ðə bɪˈgɪnɪŋ əv ðɪs ˈsɛkʃən gɪv gʊd əˌprɑksəˈmeɪʃən əv əbˈzərvd ˈvæljuz æt ɔl ˈtərnɪŋ pɔɪnts 1880 1910 1940 1970 2000 ɪt ɪz ˈrizənəbəl tɪ əˈsum ðət ðə ˈpætərnz meɪ ˈɔlsoʊ bi juzd fər priˈdɪkʃən. ɛz ə rɪˈzəlt, ɛz jɪr 2000 wɪθ əv si wɑz ðə ɛnd əv ə ˈgloʊbəl ˈwɔrmɪŋ feɪz, ɪt ɪz ˈɔlsoʊ ðə stɑrt əv ə ˈgloʊbəl ˈkulɪŋ feɪz əv si ɪn 30 jɪrz. ɛz ə rɪˈzəlt, ðə nɛkst ˈtərnɪŋ pɔɪnt wɪl bi nɪr wɪθ əv si. ðɪs ˈvælju fər 2030 ɪz ʃoʊn ɛz ɪn ˈfɪgjər 3 ɪn ə ˈsɪmələr ˈmænər, ðə ˈvæljuz fər ðə rɪˈmeɪnɪŋ ˈtərnɪŋ pɔɪnts fər ðɪs ˈsɛnʧəri kən bi ˈkælkjəˌleɪtɪd, ənd ðə rɪˈzəlts ər ʃoʊn ɪn ˈfɪgjər 3 ˈfɪgjər 3 ʃoʊz ə ˈvɛri ˈɪntəˌrɛstɪŋ rɪˈzəlt ðət fər ðə ˈsɛnʧəri, ðə ˈgloʊbəl ˈwɔrmɪŋ frəm 1910 tɪ 2000 wɑz si. ɪn ˈkɑntræst, fər ðə ˈsɛnʧəri, ðə ʧeɪnʤ ɪn frəm 2000 tɪ 2090 wɪl bi ˈoʊnli si. ðɪs minz ðət ðɛr wɪl bi ˈlɪtəl ʧeɪnʤ ɪn ðə fər ðə ˈsɛnʧəri! waɪ? waɪ dɪz ðə seɪm ˈmɑdəl gɪv ə ˈgloʊbəl ˈwɔrmɪŋ əv əˈbaʊt 1 si fər ðə ˈsɛnʧəri bət ˈnɪrli nən fər ðə ˈsɛnʧəri? əˈkɔrdɪŋ tɪ ðə ˈdætə ʃoʊn ɪn ˈfɪgjər 3 ɪt ɪz tru ðət ðə ˈgloʊbəl ˈwɔrmɪŋ əv ðə ˈsɛnʧəri wɑz ənˈprɛsɪˌdɛntɪd. ɛz ə rɪˈzəlt, ɪt ɪz tru ðət ðə ˌkɔrəˈspɑndɪŋ si ˈlɛvəl raɪz, ˈmɛltɪŋ əv si aɪs ər ðə ˌkɔrəˈspɑndɪŋ ˈklaɪmɪt ʧeɪnʤ ɪn ˈʤɛnərəl wər ənˈprɛsɪˌdɛntɪd. ˌhaʊˈɛvər, ðɪs wɑz bɪˈkəz ðə ˈsɛnʧəri ˈstɑrtɪd wɪn ðə ˈɑsəˌleɪtɪŋ əˈnɑməli wɑz æt ɪts ˈmɪnəməm nɪr 1910 wɪθ əv si ənd ˈɛndɪd wɪn ɪt wɑz æt ɪts ˈmæksəməm nɪr 2000 wɪθ əv si, ˈgɪvɪŋ ə lɑrʤ ˈgloʊbəl ˈwɔrmɪŋ əv si. ðɪs lɑrʤ ˈwɔrmɪŋ wɑz du tɪ ðə rɛr ɪˈvɛnts əv tu ˈgloʊbəl ˈwɔrmɪŋ ˈfeɪzɪz əv si iʧ bət ˈoʊnli wən ˈkulɪŋ feɪz əv si əˈkərɪŋ ɪn ðə ˈsɛnʧəri, ˈgɪvɪŋ ə ˈgloʊbəl ˈwɔrmɪŋ əv si. ɪn ˈkɑntræst tɪ ðə ˈsɛnʧəri, frəm ˈfɪgjər 3 ðɛr wɪl bi ˈnɪrli noʊ ʧeɪnʤ ɪn ɪn ðə ˈsɛnʧəri. ðɪs ɪz bɪˈkəz ðə ˈsɛnʧəri ˈstɑrtɪd wɪn ðə ˈɑsəˌleɪtɪŋ əˈnɑməli wɑz æt ɪts ˈmæksəməm nɪr 2000 wɪθ əv si ənd wɪl ɛnd wɪn ɪt ɪz æt ɪts ˈmɪnəməm nɪr 2090 wɪθ əv si, ˈgɪvɪŋ ə ˈnɛglɪʤəbəl ʧeɪnʤ ɪn əv si. ðɪs ˈnɛglɪʤəbəl ʧeɪnʤ ɪn ɪz du tɪ ðə rɛr ɪˈvɛnts əv tu ˈgloʊbəl ˈkulɪŋ ˈfeɪzɪz əv si iʧ bət ˈoʊnli wən ˈwɔrmɪŋ feɪz əv si əˈkərɪŋ ɪn ðə ˈsɛnʧəri, ˈgɪvɪŋ ðə ˈnɛglɪʤəbəl ʧeɪnʤ ɪn əv si. noʊt ðət ðɪs ˈlɪtəl ʧeɪnʤ ɪn fər ðə ˈsɛnʧəri ɪz aɪˈdɛntɪkəl tɪ ðət frəm 1880 tɪ 1970 wɪʧ meɪks ðə ˈgloʊbəl ˈwɔrmɪŋ frəm 1970 tɪ 2000 baɪ si əˈpɪr tɪ bi æbˈnɔrməli haɪ. ɪf ðə ˈpɪriəd fər ə ˈsɛnʧəri hæd bɪn 120 jɪrz, wi hæv ðɪs kəˈnəndrəm əv ˈnɪrli 1 si ˈwɔrmɪŋ ɪn ðə ˈsɛnʧəri bət ˈnɪrli nən ɪn ðə nɛkst! ˈoʊʃən ˈkɑrənt ˈsaɪkəlz wən əv ðə moʊst ˌɪmˈpɔrtənt ˈvɛriəbəlz ðət əˈfɛkt ˈgloʊbəl min ˈsərfəs ˈtɛmpərəʧər ɪz ˈoʊʃən ˈkɑrənt ˈsaɪkəlz. ðə ˈraɪzɪŋ əv koʊld ˈwɔtər frəm ðə ˈbɑtəm əv ðə si tɪ ɪts ˈsərfəs rɪˈzəlts ɪn ˈkoʊldər ˈgloʊbəl min ˈsərfəs ˈtɛmpərəʧər; ˈwikənɪŋ əv ðɪs ˈmuvmənt rɪˈzəlts ɪn ˈwɔrmər ˈgloʊbəl min ˈsərfəs ˈtɛmpərəʧər. ˈvɛriəs ˈoʊʃən ˈsaɪkəlz hæv bɪn aɪˈdɛntəˌfaɪd. ðə moʊst ˈrɛləvənt tɪ ˈgloʊbəl min ˈtɛmpərəʧər ˈtərnɪŋ pɔɪnts ɪz ðə 20 tɪ 30 jɪrz lɔŋ ˈoʊʃən ˈsaɪkəl kɔld pəˈsɪfɪk ˌɑsəˈleɪʃən (pdo*) 6 ˈsɛvərəl ˌɪndɪˈpɛndənt ˈstədiz faɪnd ˈɛvədəns fər ʤɪst tu fʊl ˈsaɪkəlz ɪn ðə pæst ˈsɛnʧəri: ““cool”*” rəˈʒimz prɪˈveɪld frəm ənd əˈgɛn frəm waɪl ““warm”*” rəˈʒimz ˈdɑməˌneɪtəd frəm ənd frəm 1977 θru (æt list) ðə (ˈmænʧuə ɛt æl. 1997 1997 ðiz kul ənd wɔrm rəˈʒimz ˈkɔrəˌleɪt wɛl wɪθ ðə ˈkulɪŋ ənd ˈwɔrmɪŋ ˈfeɪzɪz əv ʃoʊn ɪn ˈfɪgjər 3 ðə ˈmɑdəl ɪn ˈfɪgjər 3 prɪˈdɪkts ˈgloʊbəl ˈkulɪŋ ənˈtɪl 2030 ðɪs rɪˈzəlt ɪz ˈɔlsoʊ səˈpɔrtɪd baɪ ʃɪfts ɪn ðət əˈkərd æt ðə ɛnd əv ðə læst ˈsɛnʧəri, wɪʧ ɪz ɪkˈspɛktɪd tɪ rɪˈzəlt ɪn ˈgloʊbəl ˈkulɪŋ ənˈtɪl əˈbaʊt 2030 7 ˈifɛkt əv ɪˈmɪʃən ɔn ˈgloʊbəl min ˈtɛmpərəʧər ɪgˌzæməˈneɪʃən əv ˈfɪgjər 3 ʃoʊz ðət ðə ˈgloʊbəl min ˈtɛmpərəʧər əˈnɑməli (gmta*) fər 1940 əv si ɪz ˈgreɪtər ðən ðət fər 1880 əv si. ˈɔlsoʊ, ðə fər 2000 əv si ɪz ˈgreɪtər ðən ðət fər 1940 əv si. ðɪs minz ðət ðə ˈvælju, wɪn ðə ˈɑsəˌleɪtɪŋ əˈnɑməli ɪz æt ɪts ˈmæksəməm, ˌɪnˈkrisɪz ɪn ˈɛvəri nu ˈsaɪkəl. ɪz ðɪs ˈgloʊbəl ˈwɔrmɪŋ kɔzd baɪ ˈjumən ɪˈmɪʃən əv ðə ˈdætə rikˈwaɪərd tɪ ɪˈstæblɪʃ ðə ˈifɛkt əv ɪˈmɪʃən ɔn ˈgloʊbəl min ˈtɛmpərəʧər ɔˈrɛdi ɪgˈzɪst. ðə ˈgloʊbəl min ˈtɛmpərəʧər ˈdætə ər əˈveɪləbəl frəm ðə ˈklaɪmɪt ˈrisərʧ ˈjunɪt əv ðə ˈhædli ˈsɛntər ʃoʊn ɪn ˈfɪgjər 3 ənd ðə ɪˈmɪʃən ˈdætə ər əˈveɪləbəl frəm ðə ˈkɑrbən daɪˈɑkˌsaɪd ˌɪnˌfɔrˈmeɪʃən æˈnælɪsɪs ˈsɛntər 8 fər ðə ˈpɪriəd frəm 1880 tɪ 1940 ðə ˈævərɪʤ ɪˈmɪʃən əv wɑz əˈbaʊt g-ton*, ənd ðə ˌɪnˈkris ɪn ðə wɑz si. fər ðə ˈpɪriəd frəm 1940 tɪ 2000 ðə ˈævərɪʤ ɪˈmɪʃən əv wɑz əˈbaʊt 4 g-ton*, bət ðə ˌɪnˈkris ɪn wɑz ðə seɪm si. ðɪs minz ðət ən ˌɪnˈkris ɪn ɪˈmɪʃən baɪ həz noʊ ˈifɛkt ɪn ðə ˌɪnˈkris ɪn ðə. ðɪs kənˈklusɪvli pruvz ðət ðə ˈifɛkt əv ˈsɛnʧəri ˈjumən ɪˈmɪʃən əv ɔn ˈgloʊbəl min ˈtɛmpərəʧər ɪz nɪl. noʊt ðət ðə ˌɪnˈkris ɪn əv si frəm 1880 tɪ 1940 (ər frəm 1940 tɪ 2000 ɪn ə 60 jɪr ˈpɪriəd həz ə ˈwɔrmɪŋ reɪt əv pər jɪr, wɪʧ ɪz ðə sloʊp əv ðə ˈlɪniər əˈnɑməli ˈgɪvɪn baɪ ɪkˈweɪʒən 1 ɛz ə rɪˈzəlt, ðə ˈlɪniər əˈnɑməli ɪz nɑt əˈfɛktɪd baɪ ɪˈmɪʃən. ˈɑbviəsli, ɛz ðə ˈɑsəˌleɪtɪŋ əˈnɑməli ɪz ˈsaɪklɪk, ɪt ɪz nɑt rɪˈleɪtɪd tɪ ðə ˌɪnˈkris ɪn ˈjumən ɪˈmɪʃən əv ˈfɪgjər 4 wɪθ haɪ ˌkɔrəˈleɪʃən ˌkoʊəˈfɪʃənt əv ʃoʊz ðə ˌɪmˈpɔrtənt rɪˈzəlt ðət ðə əbˈzərvd kən bi ˈmɑdəld baɪ ə ˌkɑmbəˈneɪʃən əv ə ˈlɪniər ənd ˈsaɪnəˌsɔɪdəl ˈpætərn ˈgɪvɪn baɪ ɪkˈweɪʒən 3 ðɪs ˈsɪŋgəl ˈpætərn ðət wɑz ˈvælɪd ɪn ðə ˈpɪriəd frəm 1880 tɪ 1940 wɑz ˈɔlsoʊ ˈvælɪd ɪn ðə ˈpɪriəd frəm 1940 tɪ 2000 ˈæftər əˈbaʊt ˌɪnˈkris ɪn ˈjumən ɪˈmɪʃən əv ɛz ə rɪˈzəlt, ðə ˈifɛkt əv ˈjumən ɪˈmɪʃən əv ɔn ɪz nɪl. ˈfərðər ˈɛvədəns fər ðə ˌnɑnəgˈzɪstənt riˈleɪʃənˌʃɪp bɪtˈwin ənd ɪz prɑˈʤɛkʃən əv ə ˈgloʊbəl ˈwɔrmɪŋ əv si pər ˈdɛkeɪd, waɪl ðə əbˈzərvd trɛnd wɑz ˈsteɪbəl sɪns 5 ðə ˈɛvədəns wɪl bi ““unequivocal”*” ɪf ˈgloʊbəl ˈkulɪŋ baɪ əˈbaʊt si stɑrts sun ənd kənˈtɪnjuz ənˈtɪl əˈbaʊt 2030 ɛz ʃoʊn baɪ ðə ˈmɑdəl ɪn ˈfɪgjər 3 ðə prɑˈʤɛkʃən fər ðə fər 2020 ɪz si, waɪl ðə priˈdɪkʃən frəm ðə ˈmɑdəl fər ðɪs ˈvælju ɪz si, ə lɑrʤ dɪˈskrɛpənsi əv si. ɪf ðɪs ˈgloʊbəl ˈkulɪŋ ɪz kənˈfərmd, ɪt wɪl ðɛn bi taɪm tɪ ˈbɛri ðə ˈθɪri ðət ə plænt fud, ˈkɔzɪz ˌkætəˈstrɑfɪk ˈgloʊbəl ˈwɔrmɪŋ. ˈfɔrʧənətli, wi hæv tɪ weɪt tu lɔŋ fər ðə ˈbɛriəl. lɛs ðən tɛn jɪrz. ɪt wɪl bi ˈʧɪrɪŋ nuz! prɑˈʤɛkʃənz əˈkɔrdɪŋ tɪ ðə 1 ðə nɛkst tu ˈdɛkeɪdz, ə ˈwɔrmɪŋ əv əˈbaʊt pər ˈdɛkeɪd ɪz prɑˈʤɛktəd fər ə reɪnʤ əv ɪˈmɪʃən scenario.”*.” ɪkˈspleɪnz ðɪs prɑˈʤɛkʃən ɛz ʃoʊn ɪn ˈfɪgjər 5 wɛr trɛnd laɪnz wər drɔn fər fɔr ˈpɪriədz frəm 2005 tɪ 1856 1906 1956 1981 ðiz trɛnd laɪnz gɪv ˌɪnˈkrisɪŋ ˈwɔrmɪŋ reɪt frəm ə loʊ ˈvælju əv si pər ˈdɛkeɪd fər ðə rɛd trɛnd laɪn fər ðə fərst ˈpɪriəd frəm 1856 tɪ 2005 tɪ ə ˈgreɪtər ˈvælju əv si pər ˈdɛkeɪd fər ðə ˈpərpəl trɛnd laɪn fər ðə ˈsɛkənd ˈpɪriəd frəm 1906 tɪ 2005 tɪ ə stɪl ˈgreɪtər ˈvælju əv si pər ˈdɛkeɪd fər ðə ˈɔrɪnʤ trɛnd laɪn fər ðə θərd ˈpɪriəd frəm 1956 tɪ 2005 ənd tɪ ə ˈmæksəməm ˈvælju əv si pər ˈdɛkeɪd fər ðə ˈjɛloʊ trɛnd laɪn fər ðə fɔrθ ˈpɪriəd frəm 1981 tɪ 2005 ðɛn kənˈkludz, ðət fər ˈʃɔrtər ˈrisənt ˈpɪriədz, ðə sloʊp ɪz ˈgreɪtər, ˈɪndəˌkeɪtɪŋ ækˈsɛlərˌeɪtɪd warming”*” 9 ɪf ðɪs ˌɪnˌtərprɪˈteɪʃən ɪz kərˈɛkt, ˌkætəˈstrɑfɪk ˈgloʊbəl ˈwɔrmɪŋ ɪz ˈɪmənənt, ənd ɪt ɪz ˈʤəstəˌfaɪd fər ðə wərld tɪ bi graɪpt baɪ fɪr əv ˈgloʊbəl ˈwɔrmɪŋ. ˌhaʊˈɛvər, ɪz warming”*” kənˈkluʒən ʃoʊn ɪn ˈfɪgjər 5 kərˈɛkt? wət ðə ˈpætərn ɪn ˈfɪgjər 3 ʃoʊz ɪz ðət ɪt həz ˈkulɪŋ ənd ˈwɔrmɪŋ ˈfeɪzɪz. ɛz ə rɪˈzəlt, ɪn ˈfɪgjər 5 kəmˈpɛrɪŋ ðə ˈwɔrmɪŋ reɪt əv wən ˈpɪriəd ðət həz ˈoʊnli wən ˈwɔrmɪŋ feɪz wɪθ əˈnəðər ˈpɪriəd ðət həz ə ˌkɑmbəˈneɪʃən əv ˈwɔrmɪŋ ənd ˈkulɪŋ ˈfeɪzɪz wɪl ˈɑbviəsli ʃoʊ ðə ˈmæksəməm ˈwɔrmɪŋ reɪt fər ðə fərst ˈpɪriəd. ðɪs ɪz kəmˈpɛrɪŋ ˈæpəlz tɪ ˈɔrɪnʤɪz. kəmˈpɛrɪŋ ˈæpəlz tɪ ˈæpəlz ɪz tɪ kəmˈpɛr tu ˈpɪriədz ðət hæv ðə seɪm ˈnəmbər əv ˈkulɪŋ ˈwɔrmɪŋ ˈfeɪzɪz. wən ɪgˈzæmpəl əv kəmˈpɛrɪŋ ˈæpəlz tɪ ˈæpəlz ɪz tɪ kəmˈpɛr wən ˈpɪriəd ðət həz wən ˈwɔrmɪŋ feɪz wɪθ əˈnəðər ðət ˈɔlsoʊ həz wən ˈwɔrmɪŋ feɪz. frəm ˈfɪgjər 3 tu ˈpɪriədz ðət hæv ˈoʊnli wən ˈwɔrmɪŋ feɪz ər ðə ˈpɪriədz frəm 1910 tɪ 1940 ənd frəm 1970 tɪ 2000 fər ðə ˈpɪriəd frəm 1910 tɪ 1940 ðə ˌɪnˈkris ɪn wɑz si, ˈgɪvɪŋ ə ˈwɔrmɪŋ reɪt əv si pər ˈdɛkeɪd. ˈsɪmələrli, fər ðə ˈpɪriəd frəm 1970 tɪ 2000 ðə ˌɪnˈkris ɪn wɑz si, ˈgɪvɪŋ ən aɪˈdɛntɪkəl ˈwɔrmɪŋ reɪt əv si pər ˈdɛkeɪd. ˈðɛrˌfɔr, ðɛr ɪz noʊ warming”*” ɪn ðə ˈpɪriəd frəm 1970 tɪ 2000 kəmˈpɛrd tɪ ðə ˈpɪriəd frəm 1910 tɪ 1940 ə ˈsɛkənd ɪgˈzæmpəl əv kəmˈpɛrɪŋ ˈæpəlz tɪ ˈæpəlz ɪz tɪ kəmˈpɛr wən ˈpɪriəd ðət həz wən ˈkulɪŋ ənd ˈwɔrmɪŋ ˈfeɪzɪz wɪθ əˈnəðər ðət ˈɔlsoʊ həz wən ˈkulɪŋ ənd ˈwɔrmɪŋ ˈfeɪzɪz. frəm ˈfɪgjər 3 tu ˈpɪriədz ðət hæv ˈoʊnli wən ˈkulɪŋ ənd ˈwɔrmɪŋ ˈfeɪzɪz ər ðə ˈpɪriədz frəm 1880 tɪ 1940 ənd frəm 1940 tɪ 2000 fər ðə ˈpɪriəd frəm 1880 tɪ 1940 ðə ˌɪnˈkris ɪn wɑz si, ˈgɪvɪŋ ə ˈwɔrmɪŋ reɪt əv si pər ˈdɛkeɪd. ˈsɪmələrli, fər ðə ˈpɪriəd frəm 1940 tɪ 2000 ðə ˌɪnˈkris ɪn wɑz si, ˈgɪvɪŋ ən aɪˈdɛntɪkəl ˈwɔrmɪŋ reɪt əv si pər ˈdɛkeɪd. ˈðɛrˌfɔr, ðɛr ɪz noʊ warming”*” ɪn ðə ˈpɪriəd frəm 1940 tɪ 2000 kəmˈpɛrd tɪ ðə ˈpɪriəd frəm 1880 tɪ 1940 frəm ðə əˈbəv æˈnælɪsɪs, kənˈkluʒən əv warming”*” ɪz ˌɪnkərˈɛkt, ənd ɪts græf ʃoʊn ɪn ˈfɪgjər 5 ɪz ən ˌɪnkərˈɛkt ˌɪnˌtərprɪˈteɪʃən əv ðə ˈdætə. beɪst ɔn əbˈzərvd ˈpætərn ʃoʊn ɪn ˈfɪgjər 3 ə ˈgloʊbəl ˈwɔrmɪŋ feɪz læsts fər 30 jɪrz, ənd ɪt ɪz ˈfɑloʊd baɪ ˈgloʊbəl ˈkulɪŋ. ɛz ə rɪˈzəlt, ðə ˈrisənt ˈgloʊbəl ˈwɔrmɪŋ feɪz ðət ˈstɑrtɪd ɪn ðə ˈɛndɪd ɪn ðə ɛz ʃoʊn baɪ ðə ˈkɑrənt plæˈtoʊ, ənd ˈgloʊbəl ˈkulɪŋ ʃʊd ˈfɑloʊ. ˈðɛrˌfɔr, prɑˈʤɛkʃən fər ˈgloʊbəl ˈwɔrmɪŋ əv si pər ˈdɛkeɪd fər ðə nɛkst tu ˈdɛkeɪdz ɪz ˌɪnkərˈɛkt. ˈɔlsoʊ, dɪˈvərʤəns bɪtˈwin prɑˈʤɛkʃənz ənd əbˈzərvd ˈvæljuz fər ðə həz ˈstɑrtɪd tɪ bi ““discernible”*” sɪns 2005 ɛz ʃoʊn ɪn ˈfɪgjər 3 əˈkɔrdɪŋ tɪ ðə ˈreɪzər ˈprɪnsəpəl, ˈgɪvɪn ə ʧɔɪs bɪtˈwin tu ˌɛkspləˈneɪʃənz, ʧuz ðə ˈsɪmpləst wən ðət rikˈwaɪərz ðə fjuəst əˈsəmpʃənz. ˌɪnˈstɛd əv əˈplaɪɪŋ ðə ˈreɪzər ˈprɪnsəpəl baɪ əˈsumɪŋ ðə kɔz əv ˈtərnɪŋ pɔɪnts tɪ bi ˈnæʧərəl, ðə əˈsumd ðə kɔz tɪ bi ˈmænˌmeɪd 9 frəm əˈbaʊt 1940 tɪ 1970 ðə ˌɪnˈkrisɪŋ ˈfɑloʊɪŋ wərld wɔr ˌɪnˈkrist pəˈluʃən ɪn ðə ˈnɔrðərn ˈhɛmɪsˌfɪr, kənˈtrɪbjutɪŋ tɪ ˈkulɪŋ, ənd ˌɪnˈkrisɪz ɪn ˈkɑrbən daɪˈɑkˌsaɪd ənd ˈəðər ˈgrinˌhaʊs ˈgæsɪz ˈdɑməˌneɪt ðə əbˈzərvd ˈwɔrmɪŋ ˈæftər ðə mid-1970s*. laɪk ɪn ðə , wət ɪf ðə ˈkɔzɪz əv ðə ˈtərnɪŋ pɔɪnts ɪn ðə ənd wər ˈɔlsoʊ ˈnæʧərəl? ˈfɪgjər 4 wɪθ haɪ ˌkɔrəˈleɪʃən ˌkoʊəˈfɪʃənt əv ʃoʊz ðə ˌɪmˈpɔrtənt rɪˈzəlt ðət ðə əbˈzərvd kən bi ˈmɑdəld baɪ ə ˌkɑmbəˈneɪʃən əv ə ˈlɪniər ənd ˈsaɪnəˌsɔɪdəl ˈpætərn ˈgɪvɪn baɪ ɪkˈweɪʒən 3 ðɪs ˈsɪŋgəl ˈpætərn ðət wɑz ˈvælɪd ɪn ðə ˈpɪriəd frəm 1880 tɪ 1940 wɑz ˈɔlsoʊ ˈvælɪd ɪn ðə ˈpɪriəd frəm 1940 tɪ 2000 ˈæftər əˈbaʊt ˌɪnˈkris ɪn ˈjumən ɪˈmɪʃən əv ɛz ə rɪˈzəlt, ðə ˈifɛkt əv ˈjumən ɪˈmɪʃən əv ɔn ɪz nɪl. ˈɔlsoʊ, kənˈkluʒən əv warming”*” ʃoʊn ɪn ˈfɪgjər 5 ɪz ˌɪnkərˈɛkt. wət ɪz ðə kɔz əv ðə ˈtərnɪŋ pɔɪnt frəm ˈwɔrmɪŋ tɪ plæˈtoʊ ɪn ðə? hir ɪz ðə səˈʤɛsʧən baɪ maɪk 4 aɪ θɪŋk wi hæv bɪn tu ˈrɛdəli ɪkˈspleɪnɪŋ ðə sloʊ ˈʧeɪnʤɪz ˈoʊvər pæst ˈdɛkeɪd ɛz ə rɪˈzəlt əv ˌɛkspləˈneɪʃən ɪz ˈwɛrɪŋ θɪn. aɪ wʊd ʤɪst səˈʤɛst, ɛz ə ˈbæˌkəp tɪ jʊr priˈdɪkʃən, ðət ju ˈɔlsoʊ du səm ˈʧɛkɪŋ ɔn ðə ˈsəlˌfeɪt ˈɪʃu, ʤɪst soʊ ju maɪt hæv ə kˈwɑntɪˌfaɪd ˌɛkspləˈneɪʃən ɪn keɪs ðə priˈdɪkʃən ɪz rɔŋ. əˈkɔrdɪŋ tɪ ðə ənd ðə əˈbəv səˈʤɛsʧən, ðə 1940 ˈtərnɪŋ pɔɪnt frəm ˈgloʊbəl ˈwɔrmɪŋ tɪ ˈkulɪŋ wɑz kɔzd baɪ sulfates*, ðə 1970 ˈtərnɪŋ pɔɪnt frəm ˈkulɪŋ tɪ ˈwɔrmɪŋ wɑz kɔzd baɪ ˈkɑrbən daɪˈɑkˌsaɪd, ənd ðə 2000 ˈtərnɪŋ pɔɪnt frəm ˈwɔrmɪŋ tɪ plæˈtoʊ wɑz kɔzd baɪ sulfates*. ɪt ɪz ˈɪntəˌrɛstɪŋ tɪ noʊt ðət ˈsəlˌfeɪt ənd ˈkɑrbən daɪˈɑkˌsaɪd geɪv ðə gloʊb ə ˈɔltərˌneɪt ˈkulɪŋ ənd ˈwɔrmɪŋ ˈfeɪzɪz frəm 1940 tɪ 2000 ðɪs ɪz ʤɪst əbˈsərd. ˌɪnˈstɛd əv seɪɪŋ, ˈɔkwərd ɪf wi wɛnt θru ə ˈərli taɪp swing!”*!” ɪn ˈpraɪvət, bət ˈgloʊbəl ˈwɔrmɪŋ ækˈsɛlərˌeɪtɪŋ æt ə məʧ ˈfæstər pace”*” ɪn ˈpəblɪk, pliz riˈlis ðə wərld frəm ðə fɪr əv ˈklaɪmɪt kəˈtæstrəfi frəm juz əv ˈfɑsəl fjuəlz, ɛz ðɪs kəˈtæstrəfi ɪz nɑt səˈpɔrtɪd baɪ jʊr oʊn ˈdætə. ɪt ɪz ɪkˈstrimli ˈkæləs nɑt tɪ du soʊ. ɪz ðə ˈθɪri ðət ɪˈmɪʃən əv ˈkɔzɪz ˌkætəˈstrɑfɪk ˈgloʊbəl warming”*” wən əv ðə ˈgreɪtəst ˈbləndərz ər ˈsəmθɪŋ wərs əv ““science”*”? wi wɪl faɪnd ðə ˌənæmˈbɪgjəwəs ˈænsər wɪˈθɪn ðə nɛkst tɛn jɪrz. hoʊp ðeɪ səkˈsid ɪn ˈkɔlɪŋ ðə plænt fud ə pəˈlutənt ənd tæks ˈjuˈɛs ˌbiˈfɔr ðɛn. ðɪs ˈdɑkjəmɛnt ɪz ˈɔlsoʊ əˈveɪləbəl ɛz ə faɪl, lɪŋk bɪˈloʊ: priˈdɪkʃənz əv fər ˈɛni ˈkrɪtɪˌsɪzəm, pliz liv ə ˈkɑmɛnt bɪˈloʊ, ər ˈkɑnˌtækt mi æt ʤeɪ ˈbæʧələr əv tɛkˈnɑləʤi ɪn məˈkænɪkəl ˈɛnʤəˈnɪrɪŋ, ˌjunəˈvərsəti əv calicut*, calicut*, ˈɪndiə ˈmæstər əv əˈplaɪd saɪəns, ˌjunəˈvərsəti əv ˈbrɪtɪʃ kəˈləmbiə, vænˈkuvər, ˈkænədə ˈdɔktər əv fəˈlɑsəfi, ˌjunəˈvərsəti əv nu saʊθ weɪlz, ˈsɪdni, ɔˈstreɪljə ˈrɛfərənsɪz 1 fɔrθ əˈsɛsmənt rɪˈpɔrt: ˈklaɪmɪt ʧeɪnʤ 2007 ˈwɔrmɪŋ əv əˈbaʊt pər ˈdɛkeɪd ɪz projected”*” 2 əbˈzərvd ˈgloʊbəl min ˈsərfəs ˈtɛmpərəʧərz frəm ðə ˈklaɪmɪt ˈrisərʧ ˈjunɪt əv ðə ˈhædli ˈsɛnər. 3 ˈklaɪmɪt ʧeɪnʤ saɪəns kəmˈpɛndiəm 2009 ækˈsɛlərˌeɪtɪŋ æt ə məʧ ˈfæstər pace”*” 4 iˈmeɪl frəm maɪk tɪ fɪl ʤoʊnz, ˈfɑlənd ənd krɪs ˌɛkspləˈneɪʃən ɪz ˈwɛrɪŋ thin”*” 5 iˈmeɪl frəm mɪk ˈkɛli tɪ fɪl ʤoʊnz ˈɔkwərd ɪf wi wɛnt θru ə ˈərli taɪp swing!”*!” 6 ðə pəˈsɪfɪk ˌɑsəˈleɪʃən (pdo*) http://jisao.washington.edu/pdo*/ 7 pəˈsɪfɪk ˈoʊʃən ʃoʊɪŋ saɪnz əv ˈmeɪʤər ʃɪfts ɪn ðə ˈklaɪmɪt 8 ˈkɑrbən daɪˈɑkˌsaɪd ˌɪnˌfɔrˈmeɪʃən æˈnælɪsɪs ˈsɛnər ˈgloʊbəl ɪˈmɪʃənz frəm ˈbərnɪŋ, sɪˈmɛnt ˌmænjəˈfækʧər, ənd gæs ˈflɛrɪŋ 9 ˈklaɪmɪt ʧeɪnʤ 2007 ˈwərkɪŋ grup aɪ: ðə ˈfɪzɪkəl saɪəns ˈbeɪsɪs haʊ ər ˈtɛmpərəʧərz ɔn ərθ ˈʧeɪnʤɪŋ? ˈædvərˌtaɪzmənts ʃɛr ðɪs: prɪnt iˈmeɪl tˈwɪtər ˈfeɪsˌbʊk
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guest post by girma orssengo, b. tech, masc, phd
the intergovernmental panel on climate change (ipcc) claims that human emission of co2 causes catastrophic global warming. when such extraordinary claim is made, every one with background in science has to look at the data and verify whether the claim is justified or not. in this article, a mathematical model was developed that agrees with observed global mean temperature anomaly (gmta), and its prediction shows global cooling by about 0.42 deg c until 2030. also, comparison of observed increase in human emission of co2 with increase in gmta during the 20th century shows no relationship between the two. as a result, the claim by the ipcc of climate catastrophe is not supported by the data.
fossil fuels allowed man to live his life as a proud human, but the ipcc asserts its use causes catastrophic global warming. fortunately, the global warming claim by the ipcc that “for the next two decades, a warming of about 0.2°c per decade is projected for a range of sres emission scenario” [1] is not supported by observations as shown in figure 1, which shows a plateau for the global mean temperature trend for the last decade.
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figure 1 also shows that the observed temperatures are even less than the ipcc projections for emission held constant at the 2000 level.
as a result, the statement we often hear from authorities like un secretary-general ban ki-moon that “climate change is accelerating at a much faster pace than was previously thought by scientists” [3] is incorrect.
thanks for the release of private emails of climate scientists, we can now learn from their own words whether global warming “is accelerating at a much faster pace” or not. in an email dated 3-jan-2009, mike maccracken wrote to phil jones, folland and chris [4]:
i think we have been too readily explaining the slow changes over past decade as a result of variability–that explanation is wearing thin. i would just suggest, as a backup to your prediction, that you also do some checking on the sulfate issue, just so you might have a quantified explanation in case the prediction is wrong. otherwise, the skeptics will be all over us–the world is really cooling, the models are no good, etc. and all this just as the us is about ready to get serious on the issue. … we all, and you all in particular, need to be prepared.
similarly, in an email dated 24-oct-2008, mick kelly wrote to phil jones [5]:
just updated my global temperature trend graphic for a public talk and noted that the level has really been quite stable since 2000 or so and 2008 doesn’t look too hot. … be awkward if we went through a early 1940s type swing!
the above statements from the climategate emails conclusively prove that the widely used phrase by authorities in public that global warming “is accelerating at a much faster pace” is supported neither by climate scientists in private nor by the observed data.
thanks also goes to the climate research unit (cru) of the hadley center for daring to publish global mean temperature data that is “quite stable since 2000”, which is contrary to ipcc projections of 0.2 deg c warming per decade. if the cru had not done this, we would have been forced to swallow the extremely irrational concept that the gas co2, a plant food, i.e. foundation of life, is a pollutant because it causes catastrophic global warming.
as ipcc’s “models are no good”, it is the objective of this article to develop a valid mathematical global mean temperature model based on observed temperature patterns.
mathematical model for the global mean temperature anomaly (gmta) based on observed temperature patterns
the global mean temperature anomaly (gmta) data from the climate research unit (cru) of the hadley center shown in figure 2 will be used to develop the mathematical model. in this article, the observed gmta data from the cru are assumed to be valid.
examination of figure 2 shows that the globe is warming at a linear rate as shown by the least square trend central line given by the equation
linear anomaly in deg c = 0.0059*(year-1880) – 0.52 equation 1
figure 2 also shows that superimposed on this linear anomaly line there is an oscillating anomaly that gives the global mean temperature anomaly (gmta) the characteristics summarized in table 1.
table 1. characteristics of the observed global mean temperature anomaly (gmta) shown in figure 2.
from 1880s to 1910s end of warming, plateau at –0.2 deg c & then cooling trend from 1910s to 1940s end of cooling, plateau at –0.6 deg c & then warming trend from 1940s to 1970s end of warming, plateau at 0.1 deg c & then cooling trend from 1970s to 2000s end of cooling, plateau at –0.3 deg c & then warming trend from 2000s to 2030s end of warming, plateau at 0.5 deg c & then ? trend
a mathematical model can be developed that satisfies the requirements listed in table 1. if the model to be developed gives good approximation for the gmta values at its turning points (plateaus) and the gmta trends between its successive turning points as summarized in table 1, the model may be used for prediction.
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for the oscillating anomaly, the sinusoidal function cosine meets the requirements listed in table 1. from figure 2, the amplitude of the oscillating anomaly is given by the vertical distance in deg c from the central linear anomaly line to either the top or bottom parallel lines, and it is about 0.3 deg c. from figure 2, the oscillating anomaly was at its maximum in the 1880s, 1940s, & 2000s; it was at its minimum in the 1910s and 1970s. the years between successive maxima or minima of the oscillating anomaly is the period of the cosine function, and it is about 1940–1880=1970–1910=60 years. for the cosine function, once its amplitude of 0.3 deg c and its period of 60 years are determined, the mathematical equation for the oscillating anomaly, for the years starting from 1880, can be written as
oscillating anomaly in deg c = 0.3*cos(((year-1880)/60)*2*3.1416) equation 2
in the above equation, the factor 2*3.1416 is used to convert the argument of the cosine function to radians, which is required for computation in microsoft excel. if the angle required is in degrees, replace 2*3.1416 with 360.
combining the linear anomaly given by equation 1 and the oscillating anomaly given by equation 2 gives the equation for the global mean temperature anomaly (gmta) in deg c for the years since 1880 as
gmta = 0.0059*(year-1880) – 0.52 + 0.3*cos(((year-1880)/60)*2*3.1416) equation 3
the validity of this model may be verified by comparing its estimate with observed values at the gmta turning points as summarized in table 2.
table 2. comparison of the model with observations for gmta in deg c at its turning points.
year observed (table 1) model (equation 3) warming plateau for the 1880s -0.2 -0.22 cooling plateau for the 1910s -0.6 -0.64 warming plateau for the 1940s +0.1 +0.13 cooling plateau for the 1970s -0.3 -0.29 warming plateau for the 2000s +0.5 +0.48
table 2 shows excellent agreement for the gmta values between observation and mathematical model for all observed gmta turning points.
a graph of the gmta model given by equation 3 is shown in figure 3, which includes the observed gmta and short-term ipcc projections for gmta from 2000 to 2025. in addition to the verification shown in table 2, figure 3 shows good agreement for the gmta trends throughout observed temperature records, so the model may be used for prediction. as a result, figure 3 includes gmta predictions until 2100, where the year and the corresponding gmta values are given in parentheses for all the gmta turning points.
as shown in figure 3, a slight discrepancy exist between observed and model gmta values at the end of the 1890s when the observed values were significantly warmer than the model pattern, and in the 1950s when the observed values were significantly colder than the model pattern.
from the model in figure 3, during the observed temperature record, there were two global warming phases. the first was from 1910 to 1940 with a warming of 0.13+0.64=0.77 deg c in 30 years. the second was from 1970 to 2000 with a warming of 0.48+0.29=0.77 deg c in 30 years. note that both warming phases have an identical increase in gmta of 0.77 deg c in 30 years, which gives an average warming rate of (0.77/30)*10=0.26 deg c per decade.
from the model in figure 3, during the observed temperature record, there were two global cooling phases. the first was from 1880 to 1910 with a cooling of 0.64-0.22=0.42 deg c in 30 years. the second was from 1940 to 1970 with a cooling of 0.13+0.29=0.42 deg c in 30 years. note that both cooling phases have an identical decrease in gmta of 0.42 deg c in 30 years, which gives an average cooling rate of (0.42/30)*10=0.14 deg c per decade.
the above results for the normal ranges of gmta determined from the model can also be calculated using simple geometry in figure 2. in this figure, almost all observed gmta values are enveloped by the two parallel lines that are 0.6 deg c apart. therefore, as a first approximation, the normal range of gmta is 0.6 deg c. from figure 2, the period for a global warming or cooling phase is about 30 years. therefore, as a first approximation, the normal rate of global warming or cooling is (0.6/30)*10=0.2 deg c per decade.
the above approximation of 0.6 deg c for the normal range of gmta should be refined by including the effect of the linear warming anomaly given by equation 1 of 0.006 deg c per year, which is the slope of the two envelope parallel lines in figure 2. as the oscillating anomaly changes by 0.6 deg c in 30 years between its turning points, the linear anomaly increases by 0.006*30=0.18 deg c. due to this persistent warming, instead of the gmta increasing or decreasing by the same 0.6 deg c, it increases by 0.6+0.18=0.78 deg c during its warming phase, and decreases by 0.6–0.18=0.42 deg c during its cooling phase. as a result, the refined normal ranges of gmta are 0.77 deg c in 30 years during its warming phase, and 0.42 deg c in 30 years during its cooling phase. these results for the normal ranges of gmta obtained using simple geometry in figure 2 agree with those obtained from the model in figure 3.
correlation of model and observed global mean temperature anomaly (gmta)
in table 2, data points for only five years were used to verify the validity of equation 3 to model the observed data. however, it is important to verify how well the observed gmta is modeled for any year.
how well the observed data is modeled can be established from a scatter plot of the observed and model gmta values as shown in figure 4. for example, for year 1998, the observed gmta was 0.53 deg c and the model gmta is 0.47 deg c. in figure 4, for year 1998, the pair (0.47,0.53) is plotted as a dot. in a similar manner, all the paired data for model and observed gmta values for years from 1880 to 2009 are plotted as shown in figure 4.
figure 4 shows a strong linear relationship (correlation coefficient, r=0.88) between the model and observed gmta. with high correlation coefficient of 0.88, figure 4 shows the important result that the observed gmta can be modeled by a combination of a linear and sinusoidal pattern given by equation 3. the positive slope of the trend line indicates a positive relationship between model and observed gmta. that is, global cooling from the model indicates observed global cooling, and global warming from the model indicates observed global warming.
global mean temperature prediction calculations
the following patterns may be inferred from the graph of the global mean temperature anomaly (gmta) model shown in figure 3 for the data from the climate research unit of the hadley center [2]:
year 1880 was the start of a cooling phase and had a gmta of –0.22 deg c. during the global cooling phase, the gmta decreases by 0.42 deg c in 30 years. global cooling and warming phases alternate with each other. during the global warming phase, the gmta increases by 0.77 deg c in 30 years.
the patterns in the list above are sufficient to estimate the gmta values at all of its turning points since 1880.
for example, as year 1880 with gmta of –0.22 deg c was the start of a cooling phase of 0.42 deg c in 30 years, the next gmta turning point was near 1880+30=1910 with gmta of –0.22–0.42=-0.64 deg c. this gmta value for 1910 is shown as (1910,-0.64) in figure 3.
as year 1910 with gmta of –0.64 deg c was the end of a global cooling phase, it is also the start of a global warming phase of 0.77 deg c in 30 years. as a result, the next gmta turning point was near 1910+30=1940 with gmta of 0.77–0.64=0.13 deg c. this gmta value for 1940 is shown as (1940,0.13) in figure 3.
as year 1940 with gmta of 0.13 deg c was the end of a global warming phase, it is also the start of a global cooling phase of 0.42 deg c in 30 years. as a result, the next gmta turning point was near 1940+30=1970 with gmta of 0.13–0.42=-0.29 deg c. this gmta value for 1970 is shown as (1970,-0.29) in figure 3.
as year 1970 with gmta of -0.29 deg c was the end of a global cooling phase, it is also the start of a global warming phase of 0.77 deg c in 30 years. as a result, the next gmta turning point was near 1970+30=2000 with gmta of 0.77–0.29=0.48 deg c. this gmta value for 2000 is shown as (2000,0.48) in figure 3.
as the gmta values calculated above using the global temperature patterns listed at the beginning of this section give good approximation of observed gmta values at all gmta turning points (1880, 1910, 1940, 1970 & 2000), it is reasonable to assume that the patterns may also be used for prediction.
as a result, as year 2000 with gmta of 0.48 deg c was the end of a global warming phase, it is also the start of a global cooling phase of 0.42 deg c in 30 years. as a result, the next gmta turning point will be near 2000+30=2030 with gmta of 0.48–0.42=0.06 deg c. this gmta value for 2030 is shown as (2030,0.06) in figure 3.
in a similar manner, the gmta values for the remaining gmta turning points for this century can be calculated, and the results are shown in figure 3.
figure 3 shows a very interesting result that for the 20th century, the global warming from 1910 to 2000 was 0.48+0.64=1.12 deg c. in contrast, for the 21st century, the change in gmta from 2000 to 2090 will be only 0.41–0.48=-0.07 deg c. this means that there will be little change in the gmta for the 21st century! why?
why does the same model give a global warming of about 1 deg c for the 20th century but nearly none for the 21st century?
according to the data shown in figure 3, it is true that the global warming of the 20th century was unprecedented. as a result, it is true that the corresponding sea level rise, melting of sea ice or the corresponding climate change in general were unprecedented. however, this was because the century started when the oscillating anomaly was at its minimum near 1910 with gmta of –0.64 deg c and ended when it was at its maximum near 2000 with gmta of 0.48 deg c, giving a large global warming of 0.48+0.64=1.12 deg c. this large warming was due to the rare events of two global warming phases of 0.77 deg c each but only one cooling phase of 0.44 deg c occurring in the 20th century, giving a global warming of 2*0.77-0.42=1.12 deg c.
in contrast to the 20th century, from figure 3, there will be nearly no change in gmta in the 21st century. this is because the century started when the oscillating anomaly was at its maximum near 2000 with gmta of 0.48 deg c and will end when it is at its minimum near 2090 with gmta of 0.41 deg c, giving a negligible change in gmta of 0.41-0.48=-0.07 deg c. this negligible change in gmta is due to the rare events of two global cooling phases of 0.42 deg c each but only one warming phase of 0.77 deg c occurring in the 21st century, giving the negligible change in gmta of 0.77-2*0.42=-0.07 deg c. note that this little change in gmta for the 21st century is identical to that from 1880 to 1970, which makes the global warming from 1970 to 2000 by 0.77 deg c appear to be abnormally high.
if the period for a century had been 120 years, we wouldn’t have this conundrum of nearly 1 deg c warming in the 20th century but nearly none in the next!
ocean current cycles
one of the most important variables that affect global mean surface temperature is ocean current cycles. the rising of cold water from the bottom of the sea to its surface results in colder global mean surface temperature; weakening of this movement results in warmer global mean surface temperature. various ocean cycles have been identified. the most relevant to global mean temperature turning points is the 20 to 30 years long ocean cycle called pacific decadal oscillation (pdo) [6]:
several independent studies find evidence for just two full pdo cycles in the past century: “cool” pdo regimes prevailed from 1890-1924 and again from 1947-1976, while “warm” pdo regimes dominated from 1925-1946 and from 1977 through (at least) the mid-1990’s (mantua et al. 1997, minobe 1997).
these cool and warm pdo regimes correlate well with the cooling and warming phases of gmta shown in figure 3.
the model in figure 3 predicts global cooling until 2030. this result is also supported by shifts in pdo that occurred at the end of the last century, which is expected to result in global cooling until about 2030 [7].
effect of co2 emission on global mean temperature
examination of figure 3 shows that the global mean temperature anomaly (gmta) for 1940 of 0.13 deg c is greater than that for 1880 of –0.22 deg c. also, the gmta for 2000 of 0.48 deg c is greater than that for 1940 of 0.13 deg c. this means that the gmta value, when the oscillating anomaly is at its maximum, increases in every new cycle. is this global warming caused by human emission of co2?
the data required to establish the effect of co2 emission on global mean temperature already exist. the global mean temperature data are available from the climate research unit of the hadley centre shown in figure 3, and the co2 emission data are available from the carbon dioxide information analysis centre [8]. for the period from 1880 to 1940, the average emission of co2 was about 0.8 g-ton, and the increase in the gmta was 0.13+0.22=0.35 deg c. for the period from 1940 to 2000, the average emission of co2 was about 4 g-ton, but the increase in gmta was the same 0.48-0.13=0.35 deg c. this means that an increase in co2 emission by 4/0.8=5-fold has no effect in the increase in the gmta. this conclusively proves that the effect of 20th century human emission of co2 on global mean temperature is nil.
note that the increase in gmta of 0.35 deg c from 1880 to 1940 (or from 1940 to 2000) in a 60 year period has a warming rate of 0.35/60=0.0058 deg per year, which is the slope of the linear anomaly given by equation 1. as a result, the linear anomaly is not affected by co2 emission. obviously, as the oscillating anomaly is cyclic, it is not related to the 5-fold increase in human emission of co2.
figure 4, with high correlation coefficient of 0.88, shows the important result that the observed gmta can be modeled by a combination of a linear and sinusoidal pattern given by equation 3. this single gmta pattern that was valid in the period from 1880 to 1940 was also valid in the period from 1940 to 2000 after about 5-fold increase in human emission of co2. as a result, the effect of human emission of co2 on gmta is nil.
further evidence for the non-existent relationship between co2 and gmta is ipcc’s projection of a global warming of 0.2 deg c per decade, while the observed gmta trend was “quite stable since 2000” [5]. the evidence will be “unequivocal” if global cooling by about 0.42 deg c starts soon and continues until about 2030, as shown by the model in figure 3. the ipcc projection for the gmta for 2020 is 0.8 deg c, while the prediction from the model for this value is 0.2 deg c, a large discrepancy of 0.6 deg c. if this global cooling is confirmed, it will then be time to bury the theory that co2, a plant food, causes catastrophic global warming. fortunately, we don’t have to wait too long for the burial. less than ten years. it will be cheering news!
ipcc projections
according to the ipcc [1], “for the next two decades, a warming of about 0.2°c per decade is projected for a range of sres emission scenario.”
ipcc explains this projection as shown in figure 5 where gmta trend lines were drawn for four periods from 2005 to 1856, 1906, 1956 & 1981. these trend lines give increasing warming rate from a low value of 0.045 deg c per decade for the red trend line for the first period from 1856 to 2005, to a greater value of 0.074 deg c per decade for the purple trend line for the second period from 1906 to 2005, to a still greater value of 0.128 deg c per decade for the orange trend line for the third period from 1956 to 2005, and to a maximum value of 0.177 deg c per decade for the yellow trend line for the fourth period from 1981 to 2005. ipcc then concludes, “note that for shorter recent periods, the slope is greater, indicating accelerated warming” [9].
if this ipcc interpretation is correct, catastrophic global warming is imminent, and it is justified for the world to be griped by fear of global warming. however, is ipcc’s “accelerated warming” conclusion shown in figure 5 correct?
what the gmta pattern in figure 3 shows is that it has cooling and warming phases. as a result, in figure 5, comparing the warming rate of one period that has only one warming phase with another period that has a combination of warming and cooling phases will obviously show the maximum warming rate for the first period. this is comparing apples to oranges.
comparing apples to apples is to compare two periods that have the same number of cooling and/or warming phases.
.”]
one example of comparing apples to apples is to compare one period that has one warming phase with another that also has one warming phase. from figure 3, two 30-year periods that have only one warming phase are the periods from 1910 to 1940 and from 1970 to 2000. for the period from 1910 to 1940, the increase in gmta was 0.13+0.64=0.77 deg c, giving a warming rate of (0.77/30)*10=0.26 deg c per decade. similarly, for the period from 1970 to 2000, the increase in gmta was 0.48+0.29=0.77 deg c, giving an identical warming rate of 0.26 deg c per decade. therefore, there is no “accelerated warming” in the period from 1970 to 2000 compared to the period from 1910 to 1940.
a second example of comparing apples to apples is to compare one period that has one cooling and warming phases with another that also has one cooling and warming phases. from figure 3, two 60-year periods that have only one cooling and warming phases are the periods from 1880 to 1940 and from 1940 to 2000. for the period from 1880 to 1940, the increase in gmta was 0.13+0.22=0.35 deg c, giving a warming rate of (0.35/60)*10=0.06 deg c per decade. similarly, for the period from 1940 to 2000, the increase in gmta was 0.48-0.13=0.35 deg c, giving an identical warming rate of 0.06 deg c per decade. therefore, there is no “accelerated warming” in the period from 1940 to 2000 compared to the period from 1880 to 1940.
from the above analysis, ipcc’s conclusion of “accelerated warming” is incorrect, and its graph shown in figure 5 is an incorrect interpretation of the data.
based on observed gmta pattern shown in figure 3, a global warming phase lasts for 30 years, and it is followed by global cooling. as a result, the recent global warming phase that started in the 1970s ended in the 2000s as shown by the current gmta plateau, and global cooling should follow. therefore, ipcc’s projection for global warming of 0.2 deg c per decade for the next two decades is incorrect. also, divergence between ipcc projections and observed values for the gmta has started to be “discernible” since 2005 as shown in figure 3.
according to the occam’s razor principle, given a choice between two explanations, choose the simplest one that requires the fewest assumptions. instead of applying the occam’s razor principle by assuming the cause of gmta turning points to be natural, the ipcc assumed the cause to be man-made [9]:
from about 1940 to 1970 the increasing industrialisation following world war ii increased pollution in the northern hemisphere, contributing to cooling, and increases in carbon dioxide and other greenhouse gases dominate the observed warming after the mid-1970s.
like in the 1880s & 1910s, what if the causes of the gmta turning points in the 1940s and 1970s were also natural?
figure 4, with high correlation coefficient of 0.88, shows the important result that the observed gmta can be modeled by a combination of a linear and sinusoidal pattern given by equation 3. this single gmta pattern that was valid in the period from 1880 to 1940 was also valid in the period from 1940 to 2000 after about 5-fold increase in human emission of co2. as a result, the effect of human emission of co2 on gmta is nil. also, ipcc’s conclusion of “accelerated warming” shown in figure 5 is incorrect.
what is the cause of the gmta turning point from warming to plateau in the 2000s? here is the suggestion by mike maccracken [4]:
i think we have been too readily explaining the slow changes over past decade as a result of variability–that explanation is wearing thin. i would just suggest, as a backup to your prediction, that you also do some checking on the sulfate issue, just so you might have a quantified explanation in case the prediction is wrong.
according to the ipcc and the above suggestion, the 1940 gmta turning point from global warming to cooling was caused by sulfates, the 1970 gmta turning point from cooling to warming was caused by carbon dioxide, and the 2000 gmta turning point from warming to plateau was caused by sulfates. it is interesting to note that sulfate and carbon dioxide gave the globe a 30-year alternate cooling and warming phases from 1940 to 2000. this is just absurd.
instead of saying, “be awkward if we went through a early 1940s type swing!” in private, but global warming “is accelerating at a much faster pace” in public, please release the world from the fear of climate catastrophe from use of fossil fuels, as this catastrophe is not supported by your own data. it is extremely callous not to do so.
is the theory that “human emission of co2 causes catastrophic global warming” one of the greatest blunders or something worse of “science”? we will find the unambiguous answer within the next ten years. hope they don’t succeed in calling the plant food a pollutant and tax us before then.
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this document is also available as a pdf file, link below:
predictions of gmt
for any criticism, please leave a comment below, or contact me at orssengo@lycos.com
girma j orssengo
bachelor of technology in mechanical engineering, university of calicut, calicut, india
master of applied science, university of british columbia, vancouver, canada
doctor of philosophy, university of new south wales, sydney, australia
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references
[1] ipcc fourth assessment report: climate change 2007
“a warming of about 0.2°c per decade is projected”
http://www.ipcc.ch/publications_and_data/ar4/wg1/en/spmsspm-projections-of.html
[2] observed global mean surface temperatures from the climate research unit of the hadley center.
http://www.woodfortrees.org/plot/hadcrut3vgl/compress:12/from:1880/plot/hadcrut3vgl/from:1880/trend/plot/hadcrut3vgl/from:1880/trend/offset:0.3/plot/hadcrut3vgl/from:1880/trend/offset:-0.3
[3] climate change science compendium 2009
“is accelerating at a much faster pace”
http://www.unep.org/pdf/ccsciencecompendium2009/cc_sciencecompendium2009_full_en.pdf
[4] climategate email from mike maccracken to phil jones, folland and chris
“that explanation is wearing thin”
http://www.eastangliaemails.com/emails.php?eid=947&filename=1231166089.txt
[5] climategate email from mick kelly to phil jones
“be awkward if we went through a early 1940s type swing!”
http://www.eastangliaemails.com/emails.php?eid=927&filename=1225026120.txt
[6] the pacific decadal oscillation (pdo)
http://jisao.washington.edu/pdo/
[7] pacific ocean showing signs of major shifts in the climate
http://www.nytimes.com/library/national/science/012000sci-environ-climate.html
[8] carbon dioxide information analysis center
global co2 emissions from fossil-fuel burning, cement manufacture, and gas flaring
http://cdiac.ornl.gov/ftp/ndp030/global.1751_2006.ems
[9] climate change 2007: working group i: the physical science basis
how are temperatures on earth changing?
http://www.ipcc.ch/publications_and_data/ar4/wg1/en/faq-3-1.html
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dɪr ʤoʊ, ə frɛnd ˈfɔrwərdɪd jʊr ˈɑrtɪkəl tɪ mi ənd aɪ wɑz θrɪld æt fərst bɪˈkəz, wɪθ jʊr neɪm, aɪ θɔt ju maɪt bi ə mæn əv ðə klɔθ. ˌɪnˈstɛd aɪ faɪnd ðət ju ər əraʊnd ɪn ðə moʊst ˌɪnəˈproʊpriɪt əv klɔθs, boʊθ ˈlɪtərəli ənd fɪˈgjʊrətɪvli. jʊr pərˈsoʊnə ˈʃʊrli ɪz ə ˈfɪrsəm saɪt tɪ bɪˈhoʊld ənd aɪ preɪ fər ðə ˈməðərz ənd ˈfæməliz ɪn jʊr kəmˈjunɪti hu kˈwɪvər æt ðə mɪr ˈmɛnʃən əv ju. du ju kɛr wən ˌaɪˈoʊtə fər jʊr ˈneɪbərz? ˈprɑbəˌbli nɑt, wɪn ju ɪnˈgeɪʤ ɪn ɔl naɪt sɛks reɪvz wɪθ ðət ˈɔfəl kləb mˈjuzɪk. əm ʃʊr ˈmɛni ə ˈneɪbər həz ˈwɔntɪd tɪ kɔl ðə pəˈlis ɔn ju bət wɑz tu əˈfreɪd tɪ bi ˈleɪbəld ə baɪ ðə θɔt ˈɔfɪsərz naʊ ˈrənɪŋ ðɪs ˈkəntri (ər tɪ si ðə hərd əv ˈneɪkəd ˈhɛri ˈvɪlɪʤ mɛn ˈʃɛpərdɪd aʊt əv jʊr dˈwɛlɪŋ ɪn frənt əv ðə glɛr əv pəˈlis laɪts ənd nuz ˈkæmərəz fər ˈkjʊriəs ˈʧɪldrən tɪ ˈwɪtnəs frəm ðɛr ˈbɛˌdrum ˈwɪndoʊz.) ɔn əˈnəðər noʊt, jʊr ˈfɪgjərətɪv klɔθs- ənd baɪ ðət aɪ min jʊr wərdz-- ðə poʊsts ɔn jʊr blɔg, ʃoʊ jʊr ˌhɔˈrɛndəs ˈlɪˌbərəl baɪəs, draɪ ˈɛvəri nuz ˈstɔri ɔn ˈspɛʃəl geɪ raɪts. du ðə geɪz ˈrɪli rɛd ðət məʧ nuz? aɪ du nɑt bɪˈliv moʊst ər ˈlɪtərət ər ˈsoʊbər ɪˈnəf tɪ meɪk ɪt θru ə tɛkst ˈmɛsɪʤ, lɛt əˈloʊn ən ˈɑrtɪkəl ɔn daɪˈænə rɔs (ˈrɪli?) ər ðə fækt ðət ˈivɪn ə fju ˈdɛməˌkræts laɪk ˈmoʊkli si ðə ˈivəlz əv ənd nɑt ʤɪst fər pəˈlɪtɪkəl ɪkˈspidiənsi ɪn ə ˈhaɪli ˈkæθlɪk steɪt. ðæts wɛr jʊr ˈheɪvən əv ˈprɑvənˌstaʊn ɪz ˈloʊˌkeɪtəd, kərˈɛkt? (baɪ ðə weɪ, aɪ æm ˌhɛtəroʊˈsɛkˌʃuəl.) ju ˈklɪrli kʊd nɑt səˈpɔrt ˈjɔrsɛlf ˈraɪtɪŋ səʧ fɪlθ fər ðə ˈdəzən ər soʊ ˌhoʊmoʊˈsɛkˌʃuəlz aʊt ðɛr hu ˈɑrənt ˈlərkɪŋ ɔn kreɪgz lɪst ər mæn fər səm ˈvɪrəl jəŋ mæn tɪ paʊns ɔn laɪk ə pæk əv dɪˈreɪnʤd dɔgz θrɪld baɪ ðə sɛnt əv ˈɪnəsəns ənd dəv soʊp, nu ˈnaɪkiz ənd ə tæŋk tɔp. oʊ ju ər dɪsˈgəstɪŋ. ɪn ləv ənd prɛr, ˈstivənsən ˈbɪlɪŋz, ˌɪnˈvɛstəˌgeɪtɪv ˈʤərnəlɪst
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dear joe,
a friend forwarded your article to me and i was thrilled at first because, with your blog's name, i thought you might be a man of the cloth. instead i find that you are gallivanting around in the most inappropriate of cloths, both literally and figuratively. your leather-clad persona surely is a fearsome sight to behold and i pray for the mothers and families in your community who quiver at the mere mention of you. do you care one iota for your neighbors? probably not, when you engage in all night sex raves with that awful club music. i'm sure many a neighbor has wanted to call the police on you but was too afraid to be labeled a " homophobe " by the thought officers now running this country (or to see the herd of naked hairy village people-styled men shepherded out of your dwelling in front of the glare of police lights and news cameras for curious children to witness from their bedroom windows.)
on another note, your figurative cloths- and by that i mean your words-- the posts on your blog, show your horrendous liberal bias, dry humping every news story on special gay rights. do the gays really read that much news? i do not believe most are literate or sober enough to make it through a text message, let alone an article on diana ross (really?) or the fact that even a few democrats like moakley see the evils of doma , and not just for political expediency in a highly catholic state. that's where your haven of horniness , provincetown , is located, correct? (by the way, i am heterosexual.) you clearly could not support yourself writing such filth for the dozen or so homosexuals out there who aren't lurking on craig's list or man hunting.com for some virile young man to pounce on like a pack of deranged dogs thrilled by the scent of innocence and dove soap, new nikes and a tank top. oh you are disgusting.
in love and prayer,
stephenson billings, investigative journalist
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wən ɪn fɔr naʊ hæv ə ˈkrɛdɪt ˈjunjən əˈkaʊnt ɛz ðə ˈsɪti busts kəmˈjunɪti ˈlɛndɪŋ tɪ ˈtækəl ˈspaɪrəlɪŋ ˈpərsɪnəl dɛt ˈpeɪˌdeɪ ˈlɛndərz ər ˈəndər əˈtæk ɪn ˈglæˌskoʊ ɛz ˈnoʊˌwɛr ɛls. wɪˈθaʊt ˈweɪtɪŋ fər ˌwɛstˈmɪnstər ˌpɑləˈtɪʃənz tɪ ˈtækəl ðə ˈbərʤənɪŋ ˈɪnstənt loʊn ˈɪndəstri, ðə ˈsɪtiz ˈkaʊnsəl həz bænd ɔl ˈækˌsɛs tɪ ənd ɪts ɪn ˈlaɪbrɛˌriz ənd ˈkɑlɪʤɪz. ðə ˈsɪtiz ˈtreɪdɪŋ ˈstændərdz ˈɔfɪsərz tʊr ˈʃɑpɪŋ pəreɪdz tɪ ʧɛk ɔn ˈɔfərz fər loʊnz əˈgrimənts ənd ðət briʧ ðə kənˈsumər ˈkrɛdɪt ækt. maɪk, hu rənz ə lɔ ˈsɛntər ɪn ˈgoʊvən, ɪz ˈʧælənʤɪŋ ðə ˈkɑnˌtrækts ðət əˈlaʊ ˈpeɪˌdeɪ ˈlɛndərz tɪ snæʧ ðɛr ˈkəstəmərz' fəndz, waɪl ˈɔlsoʊ dɪˈfɛndɪŋ ˈpipəl hu, ɪn ðə moʊst ɪkˈstrim ˈkeɪsɪz, teɪk aʊt loʊnz ˈoʊnli tɪ faɪnd ðɛr hoʊm biɪŋ ˌripəˈzɛst. ðə ˈkrækˌdaʊn ˌkoʊɪnˈsaɪdz wɪθ ðə ˈbɪgəst pərˈmoʊʃən əv ˈkrɛdɪt ˈjunjənz ˈɛniˌwɛr ɪn ðə uk*. ɛz ən ɔlˈtərnətɪv tɪ bæŋks, ðiz ˈjunjənz meɪ ˈkɑnʤər əp ən ˌoʊldˈfæʃənd ˈɪmɪʤ ɪn ðə maɪndz əv ˈmɛni ˈpipəl, bət ɪn ˈglæˌskoʊ ðeɪ ər ˈteɪkɪŋ tɪ ðə haɪ strit ənd kən bi faʊnd ˌɪnˈsaɪd ðə ˈʃɑpɪŋ ˈsɛntərz. wən ɪn fɔr naʊ hæv ə ˈkrɛdɪt ˈjunjən əˈkaʊnt. əˈkɔrdɪŋ tɪ ðə ˈkaʊnsəl ˈtrɛʒərər pɔl ˈruni, ðɪs əˈproʊʧ ɪz ˈnɛsəˌsɛri tɪ skeɪl daʊn ən ˈænjuəl bɪnʤ ɔn ˈpeɪˌdeɪ loʊnz, ˈkrɛdɪt ənd ðət əˈfɛkts wən ɪn faɪv əv ðə ˈsɪtiz ˌpɑpjəˈleɪʃən. ɪn noʊˈvɛmbər, ðə ˈkaʊnsəl wɪl bɪˈgɪn ˈæləˌkeɪtɪŋ ˈkrɛdɪt ˈjunjən əˈkaʊnts tɪ nu ˈsɛkənˌdɛri skul ˈpjupəlz ənd ˈhændɪŋ ðɛm təˈwɔrd ðɛr ˈseɪvɪŋz. ɪn ðə ˈsəmər, iʧ haɪ skul wɑz ˈæləˌkeɪtɪd ə ˈkrɛdɪt ˈjunjən ˈpɑrtnər. ðɛr ˈlidərz wɪl sun stɑrt ˈvɪzɪtɪŋ skulz tɪ ɪkˈspleɪn haʊ ðə nu rɪˈkruts kən seɪv ˈɪntu ðɛr əˈkaʊnts ənd, wəns ðeɪ ər 18 teɪk aʊt ə loʊn. səʧ ɪz ðə ˈoʊvər ðə drəˈmætɪk raɪz əv ˈpeɪˌdeɪ ˈlɛndərz ðət ˈlɪˌbərəl ˈdɛməˌkræt ˈmɪnɪstər ʤoʊ sˈwɪnsən ˈprɑməst tɪ kip ə kloʊz aɪ ɔn ðə ˈsɛktər æt ðə ˈpɑrti ˈkɑnfərəns ɪn ˈglæˌskoʊ læst ˈwiˌkɪnd. ˈspikɪŋ æt ə frɪnʤ ˈmitɪŋ, ʃi sɛd: "ɪn ˌʤuˈlaɪ, aɪ kənˈvind ə ˈsəmɪt tɪ meɪk ɪt ˈkrɪstəl klɪr tɪ ðə ˈɪndəstri ðət ðeɪ nid tɪ gɪt ðɛr haʊs ɪn ˈɔrdər ər ʃət əp ʃɑp. ənd ɛz ə rɪˈzəlt əv ðɪs təf ˈækʃən, 19 əv ðə tɔp 50 ˈpeɪˌdeɪ ˈlɛndərz hæv lɛft ðə ˈmɑrkɪt, ənd ə ˈfərðər θri hæv hæd ðɛr ˈkrɛdɪt ˈlaɪsənsɪz rɪˈvoʊkt." ɪn mɑrʧ, ðə ˈɔfəs əv fɛr ˈtreɪdɪŋ sɛd ðə ˈɪndəstri feɪld tɪ trit ˈkəstəmərz ˈfɛrli, ənd ɪn ʤun ðə ˈɪndəstri wɑz rɪˈfərd tɪ ðə ˌkɑmpəˈtɪʃən kəˈmɪʃən. nɛkst spərɪŋ, ðə nu ˌfaɪˈnænʃəl ˈkɑndəkt əˈθɔrəti teɪks ˈoʊvər ˌrɛgjəˈleɪʃən əv ˈfaɪˌnæns ˈkəmpəˌniz, ˈhævɪŋ bɪn ˈgɪvɪn, ɪn wərdz, "sˈwipɪŋ nu paʊərz tɪ bæn ˈprɑdəkts, ˌɪmˈpoʊz ənˈlɪmɪtɪd faɪnz ənd ˈɔrdər fərmz tɪ peɪ bæk ˈməni tɪ ˈkəstəmərz". æt ðə hɑrt əv ðə ˈpeɪˌdeɪ loʊn ˈprɑfɪt bəˈnænzə ɪz ðə "kənˈtɪnjuəs ˈpeɪmənt əˈθɔrəti" (cpa*) əˈgrimənt, wɪʧ əˈlaʊz ˈlɛndərz tɪ ˈækˌsɛs ˈkəstəmər bæŋk əˈkaʊnts tɪ rɪˈtriv fəndz. ɪf ə ˈpeɪmənt ɪz mɪst, ˈɪntəˌrɛst roʊlz əp ənd ðə səmz tɪ bi riˈtrivd ˌɪnˈkris. sɪz juˈtɪləti ˈpeɪmənts, ˈmɔrgɪʤ ənd ˈəðər ˈpeɪmənts gɪt skwizd aʊt ɪn ˈfeɪvər əv ðə ˈlɛndərz' dɪˈmændz fər riˈpeɪmənt. fər ˈmɛni ˈpipəl, ðə ˈænsər ɪz əˈnəðər ˈpeɪˌdeɪ loʊn wɪθ əˈnəðər ˈkəmpəˌni. ˈhævɪŋ naɪn ər 10 loʊnz əv ər ɪz ˈkɑmən bɪˈkəz ˈpeɪˌdeɪ ˈlɛndərz gɪv ˈɪnstənt dɪˈsɪʒənz ɔn ər kəmˈpjutərz. ðɛr ɪz nɑt ɪˈnəf taɪm fər ə ˈkrɛdɪt ʧɛk tɪ pɪk əp ˈəðər loʊnz. ˈpeɪˌdeɪ ˈlɛndərz ər ˈvəlnərəbəl tɪ ˈʧælənʤ wɪn ðeɪ feɪl tɪ ˈkɛri aʊt ə ˈfərðər ʧɛk wɪn ðə loʊn roʊlz ˈɪntu ə nu, ˈbɪgər dɛt, ənd ðɛr juz əv nidz tɪ bi kərˈteɪld, hi sɪz., hu ʧɛrz wən əv tu ˈwərkɪŋ grups əv ðə kənˈsumər ˈpænəl, həz fɔrst ˈsɛvərəl ˈlɛndərz tɪ raɪt ɔf məʧ əv ə ˈkəstəmərz dɛt. "ðɛr ɪz ˈnəθɪŋ tɪ stɑp ðə seɪɪŋ tɪ ə ˈpeɪˌdeɪ ˈlɛndər ðət ðɛr ˈlaɪsəns ɪz kənˈdɪʃənəl ɔn ðɛm nɑt ˈjuzɪŋ ə cpa*," hi sɪz. ˈkaʊnsəl ˈtrɛʒərər ˈruni ɪz prəˈmoʊtɪŋ ˈkrɛdɪt ˈjunjənz bɪˈkəz hi ˈriəˌlaɪzɪz ðət ˈpʊʃɪŋ aʊt ˈpraɪvət loʊn fərmz kriˈeɪts ə ˈvækjum. ðə ˈkaʊnsəl həz kət ˈbɪznɪs reɪts fər ˈkrɛdɪt ˈjunjənz tɪ ˈziroʊ ənd ðɪs jɪr rɪˈdust rɛnts baɪ 50 ɔn ʃɑps ðeɪ juz. səm ˈkrɛdɪt ˈjunjənz ər ˈkɑntɛnt tɪ steɪ smɔl ənd sərv ðɛr ˈloʊkəl kəmˈjunɪti. ðə ˈkrɛdɪt ˈjunjən, rən baɪ ˈtrɪʃə ˈbətlər, sərvz ˈpipəl, moʊst əv ðɛm sərˈvaɪvɪŋ ɔn loʊ ˈweɪʤɪz ər ˈbɛnəfɪts. ə stæf əv ˈmoʊstli ˌvɑlənˈtɪrz ˈoʊvərˌsiz əv ˈseɪvɪŋz ənd əv loʊnz frəm ə ˈfɔrmər skaʊt hət. əˈkrɔs ðə ˈsɪti ɪn ðə ˈʃɑpɪŋ ˈsɛntər, ʤɪm ˈgɛrɪti ɪz ˈlʊkɪŋ tɪ ɪkˈspænd. ˈnɛsəld əˈlɔŋˈsaɪd ɔl ðə meɪn haɪ strit bæŋks, hɪz ˈpɑlək ˈkrɛdɪt ˈjunjən ɪmˈplɔɪz 12 stæf ənd rənz ə bæŋk wɪθ foʊn ənd ˈɪntərˌnɛt ˈækˌsɛs, ənd ˈdɛbɪt kɑrdz. ˈgɛrɪti sɪz ðə reɪt kət seɪvz ɪm əp tɪ ə jɪr ənd həz əˈlaʊd ɪm tɪ teɪk ˈoʊvər ðə ˈloʊkəl poʊst ˈɔfəs ənd ˈɪnəˌgreɪt ɪt ˈɪntu ðə ˈkrɛdɪt ˈjunjən. ɪn rɪˈspɑns tɪ ðə ˈkaʊnsəlz muv, ðə kənˈsumər ˈfaɪˌnæns əˌsoʊʃiˈeɪʃən, wɪʧ ˌrɛprɪˈzɛnts ˈpeɪˌdeɪ ˈlɛndərz, sɛd ˈkrɛdɪt ˈjunjənz wʊd ˈnɛvər koʊp wɪθ ˈɪnstənt loʊn prəˈvɪʒən. ðɪs ˈɑrtɪkəl wɑz əˈmɛndɪd ɔn 25 sɛpˈtɛmbər 2013 ən ˈərliər ˈvərʒən sɛd ðət maɪk ʧɛrz ðə kənˈsumər ˈpænəl, wɛˈræz hi ɪz ʧɛr əv wən əv tu ˈwərkɪŋ grups əv ðə kənˈsumər ˈpænəl. ðə ʧɛr əv ðə kənˈsumər ˈpænəl ɪz su luɪs.
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one in four glaswegians now have a credit union account as the city boosts community lending to tackle spiralling personal debt
payday lenders are under attack in glasgow as nowhere else. without waiting for westminster politicians to tackle the burgeoning instant loan industry, the city's council has banned all access to wonga and its lookalikes in libraries and colleges.
the city's trading standards officers tour shopping parades to check on offers for loans agreements and aprs that breach the consumer credit act.
mike dailly, who runs a law centre in govan, is challenging the contracts that allow payday lenders to snatch their customers' bank-account funds, while also defending people who, in the most extreme cases, take out £200 loans only to find their home being repossessed.
the crackdown coincides with the biggest promotion of credit unions anywhere in the uk. as an alternative to banks, these unions may conjure up an old-fashioned image in the minds of many people, but in glasgow they are taking to the high street and can be found inside the swankiest shopping centres. one in four glaswegians now have a credit union account.
according to the council treasurer paul rooney, this go-it-alone approach is necessary to scale down an annual £57m binge on payday loans, door-to-door credit and pawnbrokers that affects one in five of the city's population. in november, the council will begin allocating credit union accounts to new secondary school pupils and handing them £10 toward their savings.
in the summer, each high school was allocated a credit union partner. their leaders will soon start visiting schools to explain how the 5,000 new recruits can save into their accounts and, once they are 18, take out a loan.
such is the furore over the dramatic rise of payday lenders that liberal democrat minister jo swinson promised to keep a close eye on the sector at the party conference in glasgow last weekend. speaking at a fringe meeting, she said: "in july, i convened a summit to make it crystal clear to the industry that they need to get their house in order or shut up shop. and as a result of this tough action, 19 of the top 50 payday lenders have left the market, and a further three have had their credit licences revoked."
in march, the office of fair trading said the industry failed to treat customers fairly, and in june the industry was referred to the competition commission. next spring, the new financial conduct authority takes over regulation of finance companies, having been given, in swinson's words, "sweeping new powers to ban products, impose unlimited fines and order firms to pay back money to customers".
at the heart of the payday loan profit bonanza is the "continuous payment authority" (cpa) agreement, which allows lenders to access customer bank accounts to retrieve funds. if a payment is missed, interest rolls up and the sums to be retrieved increase.
dailly says utility payments, mortgage and other payments get squeezed out in favour of the lenders' demands for repayment. for many people, the answer is another payday loan with another company. having nine or 10 loans of £200 or £300 is common because payday lenders give instant decisions on smartphones or computers. there is not enough time for a credit check to pick up other loans.
payday lenders are vulnerable to challenge when they fail to carry out a further check when the loan rolls into a new, bigger debt, and their use of cpas needs to be curtailed, he says.
dailly, who chairs one of two working groups of the fca's consumer panel, has forced several lenders to write off much of a customer's rolled-over debt. "there is nothing to stop the fca saying to a payday lender that their licence is conditional on them not using a cpa," he says.
council treasurer rooney is promoting credit unions because he realises that pushing out private loan firms creates a vacuum. the council has cut business rates for credit unions to zero and this year reduced rents by 50% on council-owned shops they use.
some credit unions are content to stay small and serve their local community. the drumchapel credit union, run by trisha butler, serves 3,000 people, most of them surviving on low wages or benefits. a staff of mostly volunteers oversees £2.5m of savings and £1.4m of loans from a former scout hut.
across the city in the silverburn shopping centre, jim garrity is looking to expand. nestled alongside all the main high street banks, his pollock credit union employs 12 staff and runs a full-service bank with phone and internet access, and debit cards.
garrity says the rate cut saves him up to £50,000 a year and has allowed him to take over the local post office and integrate it into the credit union.
in response to the council's move, the consumer finance association, which represents payday lenders, said credit unions would never cope with instant loan provision.
• this article was amended on 25 september 2013. an earlier version said that mike dailly chairs the fca's consumer panel, whereas he is chair of one of two working groups of the fca consumer panel. the chair of the fca consumer panel is sue lewis.
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ˈpəblɪʃt ˈɔθər ˈlukəs ˈeɪˌkrɔɪd sˈwidən bit sˈwɪtsərlənd fər ɪts ˈsɛkənd streɪt bɛl ˈsɛntər wɪn ɔn ˈwɛnzˌdeɪ. ˈkæptən ʤoʊəl ˈɛrɪksən ˈiˈkeɪ skɔrd twaɪs, ˌɪnˈkludɪŋ ðə ˈwɪnər. ˈɛrɪksən ˈiˈkeɪ ækˈsɛptɪd kɑrl ˈləvli ˈbæˌkhændɪd fid frəm bɪˈhaɪnd ðə nɛt ənd zɪpt ðə pək θru swɪs ˈgoʊli væn wɪθ rɪˈmeɪnɪŋ. pleɪɪŋ wɪθ gʊd pleɪərz," sɛd ˈɛrɪksən sɛt mi əp ənd aɪ ʤɪst traɪ tɪ ʃut. təˈdeɪ aɪ wɑz ˈləki ənd tu wɛnt ɪn." ˈændərsən ənd ˈlukəs ˈkɑrlsən ˈɔlsoʊ skɔrd fər sˈwidən, ənd ˈgrəndstrəm ənd ˌælɪgˈzændər ˈnɪləndər hæd tu əˈsɪsts əˈpis. ˈʤoʊnəs ˈsigɪnθələr nɑʧt ə goʊl ənd ən əˈsɪst fər sˈwɪtsərlənd, ənd ˈkælvɪn hæd ðə ˈəðər goʊl. væn dɪd hɪz bɛst tɪ kip hɪz timz hoʊps əˈlaɪv ɛz sˈwidən sˈwɪtsərlənd ɪn sˈwɪtsərləndz ˈoʊpənɪŋ ˈoʊvərˌtaɪm wɪn ˈvərsəz ðə ʧɛks, hi feɪst 39 ʃɑts. ə greɪt ˈbustər wɪn wi noʊ wi hæv ə gaɪ ɪn ðə bæk ðət kən meɪk seɪvz wɪn wi nid ðɛm," sɛd. həz bɪn əˈstɑnɪʃɪŋ ˈoʊvər ðə læst tu geɪmz. wi hoʊp wi kən kaʊnt ɔn ðət fər ðə rɛst əv ðə ˈtʊrnəmənt." ðə swidz, hu sɪt fərst ɪn grup ə, feɪs ˈnɔrdɪk ˈraɪvəl ˈfɪnˌlænd ɔn ˈθərzˌdeɪ. sˈwɪtsərlənd ˈbætəlz ˈdɛnˌmɑrk ɪn ə ˈkruʃəl ˈmæʧəp ɔn ˈfraɪˌdeɪ. læst jɪr, ðə fɪnz ɛʤd sˈwidən ɪn ðə ɛn rut tɪ goʊld ɪn ˈhɛlsɪŋki. soʊ ðɛrz ə grəʤ mæʧ ˈkəmɪŋ əp. "aɪ θɪŋk goʊɪŋ tɪ bi ə gʊd ˈbætəl," sɛd ˈnɪləndər. lɔst tu, soʊ bi ˈkəmɪŋ æt ˈjuˈɛs hɑrd. bət wi ər mæd frəm læst jɪr, soʊ bi ɔn tɔp əv ɑr geɪm tu, aɪ θɪŋk." ðɪs geɪm wɑz taɪd ˈhɛdɪŋ ˈɪntu ðə θərd ˈpɪriəd, ənd swɪs fænz preɪd ðɛr tim kʊd ˈɛmjəˌleɪt ˈdɛnˌmɑrks ˈəpˌsɛt ˈoʊvər ˈfɪnˌlænd ðə naɪt ˌbiˈfɔr. əˈlæs, ɪt wɑz nɑt tɪ bi. "fər ʃʊr praʊd ðət wi pleɪd ə ˈprɪti gʊd geɪm," sɛd. "bət ɪn ðə ɛnd, wi lɔst ə ˈvɛri ˌɪmˈpɔrtənt geɪm ðət wi ʃʊd hæv wən, ər æt list ˈgɔtən wən ər tu pɔɪnts aʊt əv ɪt." sˈwidən strək ˈərli. ɔn ə ˈnɪləndər ˈsɛˌtəp, ˈɛrɪksən ˈiˈkeɪ fuld væn wɪθ hɪz kwɪk riˈlis frəm ðə ɛʤ əv ðə lɛft ˈsərkəl æt naɪn ˈsɛkəndz ˈɪntu ðɛr fərst paʊər pleɪ, sˈwɪtsərlənd meɪd ɪt æt ˈsɛntər pɔɪnt blæst, ðə fərst swɪs ʃɑt ɔn goʊl, ɪˈludɪd ˈgoʊli ˈfilɪks ˈsændstrəm. ðə bɔɪz lʊkt ənˈfeɪzd. ˈgrəndstrəm bərst daʊn ðə lɛft saɪd ənd dɪʃt ɪt tɪ ˈændərsən, hu ðə pək ənd snæpt ə ʃɑt haɪ gləv saɪd fər ə lɛd æt ɪt wɑz ðə fərst wərld ˈʤunjər goʊl fər ðə ˈfɔrwərd, hu hæd naɪn pɔɪnts fər tim ɪn ˈeɪprəl. ˈsændstrəm slɪd əˈkrɔs tɪ meɪk ə nis seɪv ɔn ˈdeɪmiən one-timer*. hi ˈwəzənt ˈbɪzi ˈoʊvərˌɔl, ɛz sˈwidən ðə swɪs ɪn ðə ˈoʊpənɪŋ freɪm. ˌhaʊˈɛvər, sˈwɪtsərlənd ˈvæljəntli ˌpərsəˈvɪrd ɪn ðə ˈsɛkənd ˈpɪriəd, taɪɪŋ ɪt əp æt ɪt tʊk ʤɪst 21 ˈsɛkəndz tɪ kæʃ ɪn ɔn ðə paʊər pleɪ. fɛd daʊn loʊ, ənd ðə swɪs ˈkæptən slæmd ɪn ə fər hɪz ˈsɛkənd əv ðə ˈtʊrnəmənt. ðə swidz kɛpt ˈfaɪərrɪŋ əˈweɪ, bət ˈkʊdənt ˈkɑnvərt. wɪθ ʤɪst ˈoʊvər θri ˈmɪnəts lɛft ɪn ðə ˈmɪdəl freɪm, væn meɪd ə ʃɑrp gləv seɪv ɔn ˈɑlɪvər kylington*, hu kət tɪ ðə nɛt wɪθ ə kwɪk ˈbæˌkhænd. "wi hæd ə lɔt əv ʃɑts, bət ðə ˈgoʊli wɑz pleɪɪŋ gʊd," sɛd ˈɛrɪksən ˈiˈkeɪ. "wi nid tɪ bi ɪn frənt ənd nɑt əˈlaʊ ɪm tɪ si ðə pək." ðə swɪs kɔld ðɛr tɪ ˈstrætəʤaɪz ˌbiˈfɔr ə paʊər pleɪ ˈərli ɪn ðə θərd ˈpɪriəd, bət ɪt pruvd ˌɪnɪˈfɛktɪv. ˈæftər ˈɛrɪksən goʊl, ˈlukəs ˈkɑrlsən geɪv sˈwidən səm ˌɪnˈʃʊrəns, ˈskɔrɪŋ ɔn ə haɪ ʃɑt wɪθ lɛft. ɪt wɑz dɪˈzərvd, ɛz ʃɑts ˈfeɪvərd sˈwidən ɪn ðə θərd. "wi pleɪd ə ˈlɪtəl bɪt ˈkɑmpləˌkeɪtəd ɪn səm əv ðə ˈɛriəz," sɛd ˈnɪləndər. "wi nid tɪ kip ɪt mɔr ˈsɪmpəl ənd du ˈbɛtər. bət ðeɪ hæd ə gʊd geɪm. ðeɪ pleɪd gʊd tu. ɪt wɑz nis tɪ gɪt ðə wɪn." ˈhaɪli ˈtaʊtɪd sˈwidɪʃ ˈræzmɪs ˈdɑlɪn ˈdɪdənt kræk ðə ɪn ðɪs geɪm, bət ˌɪmˈprɛst əˈgɛn wɪθ hɪz ˈskeɪtɪŋ, pəˈzɪʃənɪŋ ənd playmaking*. hi hæd tu pɔɪnts ɪn ðə ˈoʊpənɪŋ wɪn ˈoʊvər ˈdɛnˌmɑrk, ə sˈwidɪʃ wərld ˈʤunjər ˈrɛkərd fər ə pleɪər hɪz eɪʤ. ɪt wɑz eɪθ streɪt wɪn ˈoʊvər sˈwɪtsərlənd æt ðə wərld ˈʤunjərz. ðə læst swɪs ˈvɪktəri ˈoʊvər sˈwidən wɑz ɔn 3 ˈʤænjuˌɛri, 2003 ɪn pleɪ. ɪn 2010 sˈwidən traʊnst sˈwɪtsərlənd ɪn ðə brɑnz ˈmɛdəl geɪm, ðə ˈlɑrʤəst ˈmɑrʤən əv ˈvɪktəri ˈɛvər ɪn ə wərld ˈʤunjər ˈmɛdəl geɪm. bæk tɪ ˈoʊvərvˌju
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