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1. stevie nicks - landslide - the voice 06-29-2011 (5:13)
2. the beatles - day tripper (2:49)
3. the beatles - i saw her standing there (2:55)
4. the beatles - it won't be long (2:13)
5. the beatles - no reply (2:17)
6. javier colon - stitch by stitch (the voice performance) (3:16)
7. the beatles - two of us (3:36)
8. the beatles - all i've got to do (2:04)
9. the beatles - dig a pony (3:54)
10. the beatles - i should have known better (2:44)
11. the beatles - norwegian wood (this bird has flown) (2:05)
12. the beatles - we can work it out (2:15)
13. the lonely island - mama (1:59)
14. glee cast - keep holding on (4:05)
15. the beatles - across the universe (3:48)
16. the beatles - all my loving (2:09)
17. the beatles - anna (go to him) (2:57)
18. the beatles - if i fell (2:22)
19. the beatles - hey bulldog (3:14)
20. the beatles - oh! darling (3:26)
21. u2 - i'll go crazy if i don't go crazy tonight (4:14)
22. coldplay - yellow (4:31)
23. the beatles - boys (2:27)
24. the beatles - i'll follow the sun (1:51)
25. the beatles - think for yourself (2:19)
26. the lonely island - attracted to us (feat. beck) (1:52)
27. the beatles - i want you (7:47)
28. the beatles - tell me why (2:10)
29. the beatles - the word (2:43)
30. the beatles - till there was you (2:16)
31. the beatles - you're going to lose that girl (2:20)
32. the beatles - please mister postman (2:36)
33. the beatles - because (2:45)
34. the beatles - strawberry fields forever (4:10)
35. the beatles - within you without you (5:05)
36. the beatles - and your bird can sing (2:01)
37. the beatles - girl (2:33)
38. the shins - split needles (3:45)
39. the beatles - when i'm sixty-four (2:37)
40. the beatles - you never give me your money (4:02)
41. the beatles - baby it's you (2:38)
42. the beatles - don´t let me down (with billy preston) (3:34)
43. the beatles - for no one (2:01)
44. the beatles - i'm looking through you (2:27)
45. 10. marcianita(1) (2:56)
46. the beatles - do you want to know a secret (1:59)
47. the beatles - eight days a week (2:49)
48. the beatles - in my life (2:27)
49. the beatles - a day in the life (5:33)
50. the beatles - i'll be back (2:20)
51. the beatles - there's a place (1:52)
52. the beatles - 14 - golden slumbers (1:31)
53. the beatles - tomorrow never knows (2:57)
54. the lonely island - japan (2:30)
55. the lonely island - after party (feat. santigold) (2:52)
56. the lonely island - no homo (outro) (0:41)
57. 3 doors down - kryptonite (3:54)
58. israel kamakawiwo'ole - somewhere over the rainbow & (4:49)
59. aerosmith - amazing (5:58)
60. aerosmith - aerosmith - crazy (5:13)
61. aerosmith - cryin' (5:09)
62. aerosmith - dream on (4:27)
63. aerosmith - aerosmith - hole in my soul (6:10)
64. aerosmith - janie's got a gun (5:30)
65. aerosmith - love in an elevator (5:21)
66. aerosmith - pink (3:54)
67. alanis morissette - hand in my pocket (3:41)
68. alanis morisette - you live, you learn (3:59)
69. alanis morissette - i am a bitch i'm a lover (4:08)
70. alanis morissette - ironic (3:49)
71. alanis morisette - jagged little pill (3:59)
72. alanis morisette - thank you (4:03)
73. alanis morisette - you oughta know (4:10)
74. alicia keys - a woman's worth (5:03)
75. alicia keys - fallin' (3:16)
76. alicia keys - if i aint got you (3:48)
77. alicia keys - like you'll never see me again (3:47)
78. alicia keys - alicia keys - lovin you (3:50)
79. alicia keys - no one (2oo7) (4:10)
80. alicia keys - no one (reggae remix) feat.damian marley (4:40)
81. alicia keys - karma (4:16)
82. alien ant farm - attitude (4:54)
83. alien ant farm - movies (3:15)
84. alien ant farm - smooth criminal (3:28)
85. andrea bocelli - andrea bocelli - amore - 02 - besame mucho (4:02)
86. andrea bocelli - besame mucho (4:02)
87. andrea bocelli - por ti volare (4:05)
88. andrea bocelli florent pagny - vivo per lei (4:23)
89. andres calamaro - hace calor (4:06)
90. andres calamaro, joaquin sabina y fito paez - mas guapa que cualquiera (4:17)
91. ariztia - aveces me parece (4:48)
92. ariztia - no te olvido (4:11)
93. arturo zambo cavero - contigo peru (4:17)
94. soda estereo - te para tres (4:07)
95. aventura - aventura- mi corazonsito (4:00)
96. b.o.b. ft hayley williams & eminem - airplanes pt 2 (5:10)
97. beach boys - wouldnt it be nice (2:32)
98. beyonce feat. shakira - beatiful liar (2:56)
99. bill withers - lean on me (4:21)
100. bjork - it's oh so quiet (3:38)
101. black eyed peas feat. justin timberlake - black eyed peas & justin timberlake - where is the love (3:47)
102. blake shelton - honeybee (3:29)
103. blind melon - change (acoustic) (6:07)
104. blind melon - change (3:41)
105. blind melon - lemon tree (3:10)
106. blind melon - no rain (3:39)
107. bob marley - bob marley - stir it up (5:33)
108. bob marley & ub 40 - ub40 - red red wine (5:20)
109. bob marley & ub40 - a lalalala long (3:44)
110. bob marley - could you be loved (3:54)
111. bob marley - get up stand up (3:16)
112. bob marley - jammin (3:17)
113. bob marley - stir it up (5:33)
114. bob marley - three little birds (3:00)
115. bob marly - bob marley - buffalo soldier (4:17)
116. bob marly - bob marley - redemption song (3:49)
117. i know what you want feat. mariah carey & flipmode squad (5:24)
118. calle 13 ft cafe tacuba - no hay nadie como tu (los de atras viene conmigo) (www.flowhot.net) (4:52)
119. calle 13 ft orishas - me voy pal norte (4:41)
120. carlos vives - ahi llego yo (3:02)
121. carlos vives - carito (3:38)
122. carlos vives - carlos vives - el amor de mi tierra (3:25)
123. carlos vives - mi consentida (4:34)
124. cee lo green - fuck you (3:45)
125. charly garcia y seru giran - sui generis - cancion para mi mu (3:36)
126. charly garcia y sui generis - fabricante de mentiras (5:10)
127. charly garcía sui generis - presente (2:29)
128. chichi peralta - amor narcotico (5:17)
129. chichi peralta - la ciguapa (4:35)
130. chichi peralta - chichi peralta - mi niña bonita (4:08)
131. chichi peralta - procura (4:32)
132. coldplay - viva la vida (4:04)
133. coldplay - clocks (5:06)
134. coldplay - don't panic (2:17)
135. coldplay - fix you (4:55)
136. coldplay - sparks (3:46)
137. coldplay - speed of sound (4:49)
138. coldplay - the scientist (5:11)
139. coldplay - trouble (4:31)
140. control machete molotov - frijolero (sin censura) (3:28)
141. derek & the dominos - layla (7:01)
142. dido - dido - thank you (acoustic) (2:26)
143. dido - thank you (3:45)
144. diego torres y vicentico - usted (5:57)
145. disney- aladdin - disney - aladdin and jasmine - a whole new world (2:40)
146. disney - toy story - you've got a friend in me (randy newman & lyle lovett) (2:41)
147. disney songs - little mermaid - kiss the girl (2:43)
148. dlg - a puro dolor (bachata)(1) (3:59)
149. dlg - juliana (4:54)
150. dlg - la quiero a morir - (merengue, bachata, salsa) (5:06)
151. glee cast - don't stop believing (3:50)
152. eamon - fuck what i said (3:23)
153. el gran combo y andy montañez - casi te envidio (5:20)
154. ella baila sola - amores de barra (3:13)
155. ella baila sola - cuando los sapos bailen flamenco (1) (3:15)
156. ella baila sola - mejor sin ti (3:03)
157. ella baila sola - por ti (2:53)
158. ella baila sola - te vas y te pierdo (3:17)
159. elvis presley - a little less conversation (jxl remix) (6:22)
160. elvis presley - elvis presley - crazy little thing called love (2:20)
161. elvis presley - that's alright mama (1:57)
162. eminem - stan (ft. dido) (6:43)
163. eminem - beautiful (6:32)
164. eminem - eminem - cleaning out my closet (4:57)
165. eminem - gorillaz & d12 - 911 (5:48)
166. eminem - eminem - hailie's song (5:20)
167. eminem - like toy soldiers (produced by eminem) (4:56)
168. eminem - lose yourself (5:31)
169. eminem - the way i am (4:49)
170. eminem - we made you (4:47)
171. emimen - when i'm gone (clean radio edit) (4:42)
172. eminem feat dr. dre & 50 cent - crack a bottle (5:41)
173. eminem ft lil wayne - no love (4:59)
174. eminem ft. lil wayne - no love (4:59)
175. eminem - love the way you lie (feat rihanna) (4:23)
176. eminem - mockingbird (produced by eminem) (4:10)
177. soda stereo - en la ciudad de la furia (6:40)
178. eros ramazzotti - l'equilibrista (3:52)
179. eros ramazzotti - la cosa mas bella (4:24)
180. soca(spaprogress1) (3:22)
181. eva ayllon & gian marco - la flor de la canela (3:39)
182. eva ayllon - enamorada de mi pais negroide peru (3:55)
183. eva ayllon - fina estampa (2:24)
184. evanescence - wake me up (3:58)
185. fanny lu & eddy herrera - y si te digo (merengue) (4:03)
186. fanny lú - no te pido que me traigas flores (4:05)
187. fanny lu - tu no eres para mi (3:26)
188. fito paez & mercedes sosa - y dale alegria a mi corazon (5:13)
189. foo fighters - all my life (4:13)
190. foo fighters - everlong (4:10)
191. foo fighters - my hero (4:20)
192. frankie ruiz - la rueda (6:22)
193. the fugees - killing me softly (4:43)
194. gian marco - gian marco - cuando llora mi guitarra (3:29)
195. gian marco - el ultimo adios (2:53)
196. gian marco - fragilidad (4:23)
197. gian marco - gianmarco - al otro lado de la luna (4:11)
198. gian marco - gian marco - gianmarco - dos historias (4:10)
199. gian marco - gianmarco - parte de este juego(1) (5:17)
200. gian marco - gianmarco - parte de este juego (5:17)
201. gian marco - gianmarco - retrato (3:37)
202. gian marco - somos dos (4:46)
203. gian marco - lamento (3:58)
204. gian marco - se me olvido (4:08)
205. gian marco - te mentiria (4:44)
206. gianmarco - gian marco - no puedo amarte (3:43)
207. gianmarco - gian marco - se que piensas en mi (4:53)
208. gianmarco - gian marco - te extrañare (3:55)
209. gian marco - sin querer (3:44)
210. gian marco - hasta que vuelvas conmigo (3:26)
211. gipsy kings - gypsy passion - tango flamenco (4:56)
212. gypsy kings - volare (3:40)
213. glee cast - landslide (3:45)
214. glee cast - defying gravity (glee cast version) (2:29)
215. glee cast - no air (glee cast version) (4:22)
216. glee cast - somewhere over the rainbow (2:32)
217. gloria estefan - hoy (3:28)
218. goo goo dolls - iris (4:51)
219. gorillaz - gorillaz - battlesong (4:07)
220. gorillaz - clint eastwood (5:55)
221. gorillaz - feel good inc. (3:42)
222. gorillaz - it's the music that we choose (3:31)
223. gorillaz - sunshine in a bag (5:29)
224. gorillaz - dare (4:04)
225. john travolta & olivia - summer nights (3:36)
226. john travolta & olivia newton - you're the one that i want (2:50)
227. grease - grease lightning (3:14)
228. guns n roses - don't you cry tonight (4:42)
229. guns n roses - sweet child of mine (5:56)
230. guns n roses - welcome to the jungle (4:33)
231. guns'n roses - november rain (8:55)
232. gym class heroes ft adam levine - stereo hearts (3:31)
233. gym class heroes - cupids chokehold (4:03)
234. gypsy kings - gypsie kings - bambaleo (3:25)
235. gypsy kings - hotel california (spanish). (5:47)
236. the beatles - happiness is a warm gun (2:43)
237. the lonely island & akon - i just had sex by the lonely island & akon (2:48)
238. incubus - drive (3:51)
239. incubus - i miss you (acoustic) (2:33)
240. incubus - incubus - i wish you were here (3:33)
241. incubus - new - are you in (4:26)
242. james taylor - you've got a friend (4:27)
243. jamiroquai - canned heat (5:30)
244. jamiroquai - cosmic girl (4:03)
245. jamiroquai - deeper underground (4:41)
246. jamiroquai - jamiroquai - dynamite -(don't) give hate a chance (5:02)
247. jamiroquai - feels so good (5:20)
248. jamiroquai - love foolsophy (3:45)
249. jamiroquai - runaway (3:43)
250. jamiroquai - seven days in sunny june (3:59)
251. jamiroquai - you give me something (3:23)
252. jamiroquai - virtual insanity (3:45)
253. jamiroquai - electric mistress (3:56)
254. jandy feliz - despertaras (4:30)
255. jason mraz - lucky (3:09)
256. jason mraz - geek in the pink (3:42)
257. jason mraz - i'm yours (4:17)
258. jason mraz - geek in the pink (3:55)
259. jason mraz ft. colbie caillat - lucky (3:08)
260. javier colon - time after time (3:23)
261. jay-z ft linkin park - numb vs encore (3:23)
262. jerry rivera - cuenta conmigo (5:06)
263. jerry rivera - ese soy yo (4:16)
264. jerry rivera - jerry rivera - no hieras mi vida (4:52)
265. jerry rivera - que hay de malo (4:58)
266. jet - jet - are you going to be my girl (3:50)
267. joe cocker - with a little help from my friends (5:01)
268. jose luis perales - caminante (4:25)
269. jose luis perales - y como es el (4:08)
270. juan luis guerra & chichi peralta - amor narcotico (5:17)
271. juan luis guerra - burbujas de amor (4:11)
272. juan luis guerra - frio frio (bachata) (4:08)
273. juan luis guerra - te regalo una rosa (4:20)
274. juan luis guerra- el niagara en bicicleta (4:24)
275. juan luis guerra - las avispas (3:17)
276. juanes y nelly furtado - fotografia (3:58)
277. kansas - carry on my wayward son (5:21)
278. kansas - dust in the wind (3:26)
279. lion king - hakuna matata (3:35)
280. k'naan - wavin' flag (fifa world cup anthem "south africa 2010") (3:38)
281. young artists for haiti - wavin' flag w/ k'naan, nikki yanofsky, justin bieber, jim cuddy, emily haines, hedley, the arkells, drake, justin bieber, avril lavigne, jully black, sam roberts & kardinal offishall (3:55)
282. knaan - wavin' flag (3:40)
283. led zeplin - led zeppelin - dyer maker (4:22)
284. led zeplin - led zeppelin - kashmere (8:32)
285. led zeppelin - black dog (4:54)
286. led zepplin - led zeppelin - stairway to heaven (8:02)
287. lenny kravitz - again.mp3 (4:22)
288. lil wayne ft. t-pain - got money (4:24)
289. lil wayne - lilwayne - grown man (4:33)
290. limp bizkit - faith (3:52)
291. limp bizkit - nookie (4:26)
292. linkin park - faint (2:42)
293. linkin park - numb (3:07)
294. linking park - in the end (3:36)
295. linking park - meteora - 03 - somewhere i belong (3:33)
296. enanitos verdes - eterna soledad (2:50)
297. enanitos verdes - la muralla verde (2:46)
298. los enanitos verdes - mil horas (2:49)
299. enanitos verdes - tu carcel (3:36)
300. los fabulosos cadillacs - vasos vacios (con celia cruz) (4:41)
301. los prisioneros - para amar (3:47)
302. luis alberto spinetta - durazno sangrando (3:42)
303. lynard skynard - free bird (10:07)
304. mamas & the papas - so happy together (2:52)
305. mana - angel de amor (4:58)
306. mana - arde el cielo (4:33)
307. mana - clavado en un bar (5:12)
308. mana - mana - la chula (4:09)
309. mar de copas - a dios (2:38)
310. mar de copas - entre los arboles *en vivo* (3:43)
311. mar de copas - mujer noche (5:06)
312. mar de copas - pais de tus sueños (3:38)
313. mar de copas - ramera (2:38)
314. mar de copas - suna - la maquina del tiempo (4:39)
315. maroon 5 - maroon 5 - this love (4:26)
316. maroon 5 - back at your door (3:43)
317. maroon 5 - give a little more (3:00)
318. maroon 5 - harder to breathe (2:53)
319. maroon 5 - makes me wonder (3:31)
320. maroon 5 - misery (3:36)
321. maroon 5 - maroon 5 - she will be loved (4:17)
322. maroon 5 ft. rihanna - if i never see your face again (3:20)
323. maroon 5 - won't go home without you (3:48)
324. maroon 5 - maroon 5 - not coming home (4:27)
325. the beatles - martha my dear (2:28)
326. mdo - es que no puedo olvidarte (3:28)
327. mdo - me huele a soledad (3:44)
328. mdo - menudo - sigue pareciendo frio (3:08)
329. mdo - sin ti (el clon)(1) (3:25)
330. mdo - sin ti (3:55)
331. tommy torres - como olvidar (balada) (4:12)
332. mdo - esque no puedo olvidarte (3:28)
333. mdo - te quise olvidar (4:23)
334. menudo - claridad (3:54)
335. mercedes sosa & gian marco - ojos azules (2:44)
336. mgmt - boogie down (3:33)
337. mgmt - everything's happenin' so fast (3:30)
338. mgmt - indie rokkers (4:24)
339. mgmt - kids (5:27)
340. mgmt - love always remains (5:37)
341. cuban cigar crisis - love between the sheets (3:02)
342. mgmt - of moons, birds & monsters (4:46)
343. mgmt - the handshake (3:39)
344. mgmt - the youth (3:47)
345. mgmt - time to pretend (4:28)
346. mgmt - weekend wars (4:08)
347. mgmt - 4th dimensional transition (3:57)
348. mgmt - electric feel (3:49)
349. mgmt - pieces of what (2:43)
350. michael jackson - bad (4:07)
351. michael jackson - beat it (4:19)
352. michael jackson - billie jean (4:54)
353. michael jackson - black or white (4:15)
354. michael jackson - michael jackson - don't stop till you get enough - copy (6:05)
355. michael jackson - michael jackson - don't stop till you get enough (6:05)
356. michael jackson - michael jackson - pyt (pretty young thing) - copy (3:59)
357. michael jackson - michael jackson - pyt (pretty young thing) (3:59)
358. michael jackson - michael jackson - remember the time - copy (4:00)
359. michael jackson - michael jackson - remember the time (4:00)
360. michael jackson - smooth criminal (4:17)
361. michael jackson - smooth criminal (4:17)
362. michael jackson & paul mc cartney - michael jackson - the girl is mine - copy (3:42)
363. michael jackson & paul mc cartney - michael jackson - the girl is mine (3:42)
364. michael jackson - thriller (5:57)
365. michael jackson - thriller (5:57)
366. michael jackson - you rock my world (4:25)
367. michael jackson ft. akon & will i. am - wanna be starting something 2008 (4:12)
368. michael jackson - dangerous (7:00)
369. michael jackson - dangerous (7:00)
370. michael jackson - man in the mirror (5:19)
371. michael jackson - man in the mirror (5:19)
372. michael jackson - rock with you (3:40)
373. michael jackson - rock with you (3:40)
374. molotov - puto (2:07)
375. the beatles - mother nature's son (2:48)
376. musica peruana - arturo zambo cavero-oscar aviles - el alcatraz (2:57)
377. my chemical romance - teenagers (2:41)
378. my chemical romance - welcome to the black parade (5:08)
379. nelly - nelly - ride with me(1) (4:51)
380. nelly ft. kelly rowland - dillema (4:49)
381. nelly furtado - im like a bird (4:06)
382. nelly furtado ft. timbaland - promiscuous girl (4:04)
383. nirvana - all apologies (3:47)
384. nirvana - come as you are (3:39)
385. nirvana - heart shaped box (4:39)
386. nirvana - smells like teens spirit (4:57)
387. nirvana - the man who sold the world (4:20)
388. oasis - don't look back in anger (4:48)
389. oasis - oasis - dont go away (4:48)
390. oasis - morning glory (5:03)
391. oasis - oasis - my generation (3:33)
392. oasis - stop crying your heart out (4:59)
393. oasis - supersonic (4:43)
394. oasis - wonderwall (4:18)
395. oasis - stand by me (5:56)
396. oasis-dont look back in anger (4:48)
397. outkast - back of the bus (5:23)
398. outkast - hey ya remix(feat. sean paul) (3:48)
399. outkast - hey ya (4:10)
400. outkast - the way you move (3:55)
401. outkast - roses (6:09)
402. outkast - ms jackson (4:34)
403. outkast-01-the whole world(rad - outkast - the whole world (4:57)
404. paul simon & art garfunkel - mrs robinson (3:50)
405. paul simon & art garfunkel - the boxer (5:10)
406. pearl jam - daughter (3:50)
407. pharrell - that girl (feat. snoop dogg) (4:01)
408. pink floyd - comfortably numb (6:24)
409. pink floyd - dark side of the moon (3:50)
410. pink floyd - have a cigar (5:24)
411. pink floyd - hey you (4:42)
412. pink floyd - shine on you crazy diamond (13:34)
413. pink floyd - wish you were here (5:17)
414. polo montanez - polo montañez - tabaco y chanel (5:11)
415. polo montañez - un montón de estrellas (6:02)
416. pretenders, the - i'll stand by you (slow love songs 80s) (3:55)
417. queen & david bowie - under pressure (4:01)
418. queen - bohemian rhapsody.mp3 (5:53)
419. queen - crazy little thing called love (2:43)
420. queen - dont stop me now (3:29)
421. queen - i want to break free (4:23)
422. queen - killer queen (3:01)
423. queen - somebody to love (4:52)
424. queen - we are the champions (3:00)
425. queen - we will rock you (5:03)
426. queens of the stone age - no one knows (4:38)
427. radiohead - creep (3:56)
428. radio head - ideoteque (5:09)
429. radiohead & bjork - i've seen it all (5:18)
430. radiohead - radiohead - black star (acoustic) (4:05)
431. radiohead - fake plastic trees (4:50)
432. radiohead - there there (5:24)
433. radiohead - radiohead - i want you (4:14)
434. radiohead - idioteque (5:07)
435. radiohead - in limbo (3:32)
436. radiohead - inside my head (3:08)
437. radiohead - just (3:53)
438. radiohead - karma police (4:21)
439. radiohead - lucky (4:19)
440. radiohead - my iron lung (4:36)
441. radio head - radiohead - no suprises(1) (3:48)
442. radiohead - optimistic (5:17)
443. radio head - paranoid android (6:26)
444. radiohead - radiohead - romeo and juliet (4:14)
445. radiohead - the bends (4:06)
446. red hot chilli peppers - can`t stop (4:27)
447. red hot chilli peppers - purple stain (4:13)
448. red hot chili peppers - scar tissue (red hot chilli pepers) (3:35)
449. red hot chilli peppers - red hot chili peppers - under the bridge (4:21)
450. red hot chilli peppers - zepher song (3:53)
451. red hot chilli pepers - red hot chili peppers - give it away now (4:41)
452. red hot chilli peppers - aeroplane (4:45)
453. red hot chilli peppers - higher ground (3:23)
454. red hot chili peppers - snow ((hey oh)) (5:34)
455. red hot chilli peppers- soul to squeeze (4:53)
456. red hot chillie peppers - by the way (4:17)
457. red hot chillie peppers - give it away (4:41)
458. red hot chili peppers - otherside (4:15)
459. red hot chillie peppers - zephyr song (3:53)
460. red hot chillie peppers- dani california (4:45)
461. residente calle 13 - japon pon (3:43)
462. residente calle 13 ft. nelly furtado- no hay igual (3:34)
463. the beatles - revolution 1 (4:15)
464. robbie williams - angels (4:24)
465. robbie williams - robbie williams - love supreme (4:16)
466. robbie williams - millenium (4:08)
467. robbie williams - robie wiliams rock dj (3:16)
468. robbie williams - rock dj (4:18)
469. rock en español - soda stereo y aterciopelados - ciudad de la furia (8:41)
470. the beatles - rocky raccoon (3:41)
471. rolling stones - beast of burden (4:24)
472. rolling stones - brown sugar (3:49)
473. the rolling stones - honky tonk women (3:06)
474. rolling stones - ruby tuesday 2 (3:20)
475. rolling stones - start me up (3:34)
476. rolling stones - wild horses (5:39)
477. the rolling stones - you can't always get what you (7:32)
478. rossana - rosana - pa ti no estoy (4:11)
479. rossana - si tu no estas aqui (4:12)
480. rossana- a fuego lento (3:39)
481. salsa & bachata - chichi peralta - te quiero asi (5:21)
482. pedro navaja (7:19)
483. salsa- eddie santiago - ven deborame (5:07)
484. sean paul & carlos santana - all that i am - cry baby cry (ft joss stone) (3:50)
485. sean paul - sean paul - get busy (3:34)
486. sean paul ft keisha cole - give it up to me (radio) (4:04)
487. sean paul ft. rhianna- break it off (3:33)
488. sean paul- we'll be burning (3:27)
489. sean paul - sean paul-temperature (3:32)
490. gian marco - sentirme vivo (2:37)
491. servando y florentino-aliviame (4:50)
492. shaggy - it wasn't me (3:47)
493. shaggy and sean paul - shaggy ft sean paul - hey sexy lady (3:52)
494. shaggy - shaggy-angel (3:55)
495. shakira - antología (4:14)
496. shakira - donde estan los ladrones (3:16)
497. shakira - estoy aqui (3:55)
498. shakira - inevitable (3:13)
499. shakira - moscas en la casa (3:52)
500. shakira - no (4:45)
501. shakira - ojos asi (3:56)
502. shakira - shakira - pies descalzos (3:26)
503. shakira - shakira - si te vas (3:31)
504. shakira - shakira - suerte (3:14)
505. shakira mebarak - te necesito (4:03)
506. shakira - shakira - tu (3:36)
507. alejandro sanz/shakira - la tortura (3:31)
508. shakira - shakira-hay amores (el amor en los tiempos del colera) (3:28)
509. sin bandera & franco de vita - si la ves (4:09)
510. sin bandera - kilómetros (3:41)
511. sin banderas - si me besas (4:12)
512. sin banderas - entra en mi vida (4:09)
513. sin banderas - eres sirena (4:28)
514. sin banderas - luis fonsi - quisiera poder olvidarme de ti (4:06)
515. sin bandera - mientes tambien (3:48)
516. sin bandera - suelta mi mano (4:00)
517. sin banderas - usted se me llevo la vida (3:35)
518. sin banderas - tranzas yo ya no estoy aqui (3:34)
519. sin banderas, tranzas, juanes y elefante - a encontrarte (3:53)
520. beautiful (ft pharell uncle charlie wilson) (4:58)
521. soda stereo - de musica ligera (4:00)
522. soda stereo - ella usó mi cabeza como un rev (4:39)
523. soda stereo - trátame suavemente (4:03)
524. soda stereo - tratame suavemente (3:23)
525. soda stereo - dia comun(doble vida) (4:39)
526. soda stereo - gustavo cerati & cafe tacuba - juegos de seducciu n (vivo) (5:37)
527. soda stereo - soda stereo - lo que sangra (la cupula) (4:37)
528. soda estereo - nada personal (4:51)
529. soda stereo - persiana americana (4:55)
530. soda stereo y aterciopelados - ciudad de la furia (8:41)
531. son by four 4- a puro dolor(1) (3:32)
532. soundtracks- disney - little mermaid - kiss the girl (2:43)
533. stevie nicks - landslide - the voice 06-29-2011 (5:13)
534. sting & the police - cant stand losing you (2:59)
535. sting & the police - every little thing she does is magic (4:22)
536. sting & the police - message in a bottle (4:51)
537. stone roses - love spreads (5:45)
538. sui generis - sui generis - amigo, vuelve a casa pronto (3:21)
539. sui generis - aprendizaje (3:45)
540. sui generis - necesito (2:11)
541. te mando flores (3:47)
542. the beatles - twist and shout (2:33)
543. the beatles - while my guitar gently wheeps (4:45)
544. the calling - adrienne (4:31)
545. the calling - wherever you will go (3:27)
546. the cure - boys don't cry (2:33)
547. the cure - the cure - come on eileen (4:13)
548. the cure - just like heaven (3:33)
549. the cure - love song (3:30)
550. the cure - lullaby (4:09)
551. the cure - pictures of you (4:45)
552. the cure - the love cats (3:39)
553. the cure - the cure - to wish impossible things (1) (4:43)
554. the cure - in between days (2:58)
555. the darkness - dinner lady arms (3:16)
556. the darkness - friday night (2:55)
557. the darkness - i believe in a thing called love (3:36)
558. the darkness - love is only a feeling (4:21)
559. the darkness - black shuck (3:21)
560. the lonely island - cool guys don't look at explosions (feat. will ferrel and jj abrams) (2:30)
561. the lonely island - dick in a box (2:38)
562. the lonely island - dreamgirl (feat. norah jones) (3:13)
563. the lonely island - i'm on a boat (feat t-pain) (2:36)
564. the lonely island - iran so far away (2:54)
565. the lonely island - jizz in my pants (2:32)
566. snl - jizzed in my pants (2:32)
567. the lonely island - lazy sunday (2:16)
568. the lonely island - like a boss (1:46)
569. the lonely island ft justin timberlake - mother lover (3:04)
570. the lonely island - natalie's rap (feat. natalie portman & chris parnell) (2:26)
571. the lonely island - the lonely island - punch you in the jeans (2:47)
572. storkpatrol (2:43)
573. the lonely island - we like sportz (2:03)
574. the lonely island - boombox (feat. julian casablancas) (3:13)
575. the lonely island - jack sparrow (feat. michael bolton) (3:07)
576. the mars volta - concertina (4:54)
577. the mars volta - inertiatic esp (4:24)
578. the mars volta - l' via l' viaquez (12:21)
579. the mars volta - the widow (3:20)
580. the police - roxanne (3:14)
581. the pretenders - don't get me wrong (3:48)
582. the pretenders - i'll stand by you (3:58)
583. the rolling stones - angie (4:32)
584. rolling stones - paint it black (3:45)
585. the rolling stones - satisfaction (3:46)
586. the rolling stones - start me up (3:34)
587. the shins - those to come (4:34)
588. the shins - kissing the lipless (3:18)
589. the shins - know your onion! (2:29)
590. the shins - mine's not a high horse (3:28)
591. the shins - phantom limb (4:47)
592. the shins - turn on me (3:41)
593. the stone roses - i wanna be adored (4:52)
594. the stone roses - love spreads (5:47)
595. the stone roses - made of stone (4:15)
596. the white stripes - seven nation army (3:50)
597. the who - baba o'riley (5:08)
598. the who - behind blue eyes (3:43)
599. the who - mama's got a squeeze box (2:41)
600. the who - my generation (3:24)
601. tool - sober(1) (5:03)
602. toto - africa (4:22)
603. u2 - beautiful day (4:04)
604. u2 - i'll go crazy if i don't go crazy tonight (4:14)
605. u2 - she moves in mysterious ways (4:03)
606. u2 - stuck in a moment (4:34)
607. ub40 - ub40 - girl i wanna make you sweat (3:46)
608. ub40 - kingston town (3:48)
609. sin bandera - maldita suerte (4:10)
610. victor manuel - victor manuelle ft. sin banderas - maldita suerte (4:10)
611. weezer - buddy holly (2:39)
612. weezer - buddy holly (2:39)
613. weezer - hash pipe (3:05)
614. weezer - my name is jonas (3:25)
615. weezer - say it ain't so (4:17)
616. weezer - island in the sun (3:30)
617. weird al yankovic - trapped in the drive thru (10:53)
618. wheatus - little respect (3:27)
619. wheatus - teenage dirtbag (2:48)
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bɪˈloʊ ɪz ən ˈɪntərvˌju wɪʧ ðə ˈrəʃən ˈnuzˌpeɪpər fri press”*” geɪv tɪ ðə kriˈeɪtərz əv ðə gɑz ˈtaɪgər graʊnd moʊˈbɪlɪti ˈviɪkəl (dəbd ðə ˈrəʃən ˈhəmər) tɪ faɪnd aʊt waɪ mɔd (ˈmɪnɪstri əv dɪˈfɛns) ʧoʊz ðə ˈoʊvər ðə dəˈmɛstɪk ˈtaɪgər. ðeɪ rɪˈsivd səm ˈɪntəˌrɛstɪŋ ˈænsərz. ɔn ˈʤænjuˌɛri 18th*, ðə ˈnuzˌpeɪpər ““izvestiya”*” ɔn bɪˈhæf əv mɔd (ˈmɪnɪstri əv dɪˈfɛns), əˈnaʊnst ðət ˈstɑrtɪŋ ɪn 2014 pərˈdəkʃən əv ˈrəʃən gɑz ˈtaɪgər graʊnd moʊˈbɪlɪti ˈviɪkəlz wɪl bi sist. ɪn ðɛr pleɪs, ˈfɔrsɪz wɪl rɪˈsiv ðə ˌɪˈtæljən wɪʧ həz bɪn ˈgɪvɪn ðə neɪm ““cougar”*” ɪn ˈrəʃə. ɪf wi ɪkˈwɪp ðə ˈtaɪgər wɪθ ˈlɛvəl 5 prəˈtɛkʃən, ɛz ɪz rikˈwaɪərd, ðə ˈviɪkəl wɪl nɑt bi ˈeɪbəl tɪ muv, ɛz ɪt wɪl bi tu ˈhɛvi ənd ðə ˈɪnʤən ɪz tu wik. (ðə ˈkəmpəˌni ðət prəˈdusɪz ðə ˈtaɪgər) ˈsteɪtɪd ðət ɪt nidz 3 jɪrz tɪ æd ðiz ˌmɑdəfəˈkeɪʃənz tɪ ðə ʃʊd wi weɪt ðɪs lɔŋ wɪn wi kən stɑrt rɪˈsivɪŋ ðə ˈkugərz now?”*?”, ˈsteɪtɪd ˌrɛprɪˈzɛnɪŋ ðə mɔd, hu ˌdɪˈsaɪd ɔn wɪʧ ˈmɪlɪˌtɛri ɪkˈwɪpmənt ɪz tɪ bi ˈpərʧəst. soʊ əˈkɔrdɪŋ tɪ hɪz wərdz, ðə gɑz ˈtaɪgər, wɪʧ həz kəmˈplitɪd ˈtɛstɪŋ ənd ɪz ˈkərəntli ˈsərvɪŋ ɪn ɑrmd ˈfɔrsɪz, həz ˈlɛvəl 3 prəˈtɛkʃən (prəˈtɛkʃən frəm əˈsɔlt ˈraɪfəlz frəm ə ˈdɪstəns əv 10 ˈmitərz), waɪl ðə həz ˈlɛvəl 5 prəˈtɛkʃən. ɪt ɪz klɪr ðət ɑr mɔd ɪz kənˈtɪnjuɪŋ tɪ ˈkrɪtɪˌsaɪz dəˈmɛstɪk tɛkˈnɑləʤi ɪn ˈɔrdər tɪ hæv ɪkˈskjuzɪz tɪ baɪ ˈfɔrən tɛkˈnɑləʤi. rɪˈmɛmbər ðə ˈstɔri əv ðə ənd ðə ðə ˈkrɪtɪˌsɪzəm əv dəˈmɛstɪk uav’s*, ðə ˈpərʧəs əv ðə frɛnʧ ““mistral”*”, ˌɪzˈreɪli uav’s*, ˈʤərmən ˈɑrmər, ðə ˌɪˈtæljən ər ʤɪst ə fju ɪgˈzæmpəlz əv ˈpɑləˌtɪks wɪn ɪt kəmz tɪ ˈpərʧəsɪŋ ˈmɪlɪˌtɛri ɪkˈwɪpmənt. ðə ˈnuzˌpeɪpər fri press”*” dɪˈrɛkli əˈdrɛst ðə ˈkəmpəˌni ɪn ʧɑrʤ əv prəˈdusɪŋ ðə ˈtaɪgərz tɪ gɪt səm ˈænsərz. prɛs ˈsɛkrəˌtɛri əv ðə company”*” ˈsɛrˌgeɪ ˈænsərd ðɛr kˈwɛsʧənz. fp*: ɪt ɪz ɔˈrɛdi klɪr ðət baɪ 2014 pərˈdəkʃən əv ðə hummer”*” wɪl bi sist. haʊ ˈmɛni ˈtaɪgərz wɪl bi prəˈdust baɪ ðət taɪm? ss*: ðə ˈnəmbər ðət wɪl bi prəˈdust ɪz ˈklæsəˌfaɪd, bət ðɛr ər ˈkərəntli ˈoʊvər 500 əv ðiz ˈviɪkəlz ɪn ˈvɛriəs ˌmɑdəfəˈkeɪʃənz fər ðə pis ˈkipɪŋ ˈfɔrsɪz, ðə, ðə fsb*, ðə fso*, ənd ðət ɪz nɑt ˈkaʊntɪŋ ðoʊz prəˈdust fər ˈɛkspɔrt. aʊt əv ɔl ðoʊz ˈviɪkəlz, ə ˈtoʊtəl əv 200 ər ˈɑpərˌeɪtəd baɪ ðə mɔd, nɑt 50 ɛz wɑz ˈpriviəsli ˈsteɪtɪd, aʊt əv wɪʧ 30 ər əv ðə ˈmɑdərˌnaɪzd taɪp, wɪθ ðə nu ˈɪnʤən. fp*: tɔk əˈbaʊt kleɪmz. kleɪmd ðət jʊr ˈtaɪgər həz ə ˈvɛri loʊ ˈlɛvəl əv prəˈtɛkʃən kəmˈpɛrd tɪ ðə, ənd ðət ju wɪl nid 3 jɪrz tɪ meɪk ðə ˈnɛsəˌsɛri ˌmɑdəfəˈkeɪʃənz tɪ up”*”. ɪz ðɪs tru? ss*: 3 jɪrz?! ðə (ˈmɪnɪstri əv ˌɪnˈtərnəl əˈfɛrz) həz bɪn ˈpərʧəsɪŋ ˈtaɪgərz frəm ˈjuˈɛs fər ə lɔŋ taɪm, wɪʧ hæv ðə ˈlɛvəl 5 prəˈtɛkʃən ðət ðeɪ dɪˈskəst ɪn ðə ˈɑrtɪkəl. ˈɔlsoʊ, ɪn ðət seɪm ˈɑrtɪkəl, ɪt wɑz ˈsteɪtɪd baɪ ə ˈsinjər əˈfɪʃəl (əˈpɛrəntli ðə ʧif əv ˈmænɪʤmənt (gabtu*) ˌæləkˈsændər shevchenko*) ðət sərˈtɪfɪkəts ˈɪʃud baɪ ðə əv ər nɑt ˈnɛsəˌsɛri pruf, ənd ðət ðeɪ du nɑt bɪˈliv ɪn ðə ɪgˈzɪstəns əv ə klæs əv ˈtaɪgərz wɪθ səʧ ə ˈlɛvəl əv prəˈtɛkʃən. soʊ ˈbeɪsɪkli, ðə ˈsteɪtɪd ˌkɛrɪktərˈɪstɪks, wɪʧ wər kənˈfərmd baɪ rɪˈgɑrdɪŋ ˈlɛvəl 5 prəˈtɛkʃən, ər nɑt biɪŋ ækˈsɛptɪd baɪ ðə mɔd. æt ðə seɪm taɪm, hi steɪts ðət tɛsts ðət wər pərˈfɔrmd ɪn ˈʤərməni ər ˈvælɪd pruf rɪˈgɑrdɪŋ ðə ˈlɛvəl əv prəˈtɛkʃən əv ðə. soʊ ˈbeɪsɪkli hi steɪts ðət mɔd həz meɪd ðə kənˈkluʒən ðət ðə həz ˈlɛvəl 6 prəˈtɛkʃən beɪst ɔn tɛsts meɪd ɪn ˈʤərməni, jɛt ðeɪ ər nɑt ˈsætɪsˌfaɪd wɪθ kənˈkluʒənz. fp*: ðɛn waɪ wɑz ɪt ˈsteɪtɪd ðət ðə ˈtaɪgərz ɪn ˈsərvɪs wɪθ ðə mɔd hæv ˈlɛvəl 3 prəˈtɛkʃən? ss*: ɛz ə ˈmætər əv fækt, wɪn mɔd ˈɔrdərd ðə gɑz ˈtaɪgərz frəm ˈjuˈɛs, ɪt wɑz spəˈsɪfɪkli ˈsteɪtɪd ɪn ðɛr rɪkˈwaɪrmənts ðət ðeɪ ˈnidɪd ə ˈviɪkəl wɪθ ˈlɛvəl 3 prəˈtɛkʃən. wi ˈsætɪsˌfaɪd ðɛr rɪkˈwaɪrmənts. ðə ɔn ðə ˈəðər hænd, ˈstɑrtɪŋ ɪn 2005 spəˈsɪfɪkli æst fər ˈlɛvəl 5 prəˈtɛkʃən. wi mɛt ðɛr rɪkˈwaɪrmənts ɛz wɛl, ənd ðət wɑz ɪn 2005 maɪnd ju. wɪn wi rɪˈsivd nuz əv ðə plænd ˈpərʧəs əv ðə, ə səˈpoʊzədli suˈpɪriər ˈviɪkəl, wi ˌɪˈmiˌdiətli tʊk ɪt əˈpɑn ɑrˈsɛlvz tɪ ˈəpˈgreɪd ðə ˈtaɪgər tɪ ˈlɛvəl prəˈtɛkʃən, wɪʧ wi dɪd ɔn ɑr ˈfəndɪŋ. ɪt tʊk ˈjuˈɛs ʤɪst hæf ə jɪr tɪ ˈəpˈgreɪd ðə ˈviɪkəl. haʊ kən ðeɪ seɪ ðət ɪt wʊd teɪk ˈjuˈɛs 3 jɪrz? wi brɔt ðə ˈviɪkəl tɪ ðət ˈlɛvəl ɪn spərɪŋ əv 2011 ənd ɪn ʤun wi ˈdɛmənˌstreɪtɪd ɪt tɪ ðə mɔd. ɪn sɛpˈtɛmbər, vˈlædəmɪr ˈputɪn ʧɛkt aʊt ðə ˈviɪkəl ənd sɛd job”*”! aɪ wɑz ˈprɛzənt ðɛr. fp*: ˈɪntəˌrɛstɪŋ ˈditeɪlz. wət ɪz ðə kəmˈpɛrəsən bɪtˈwin ðə praɪs əv ən ənd ə ˈtaɪgər? ss*: wɪn ðeɪ ˈpərʧəst tu ˈsæmpəlz frəm ˈɪtəli ɪn 2009 ðeɪ peɪd ˈdɔlərz fər iʧ, bət ðə pərˈspɛktɪv praɪs fər iʧ kən riʧ ɛz haɪ ɛz ˈdɔlərz. ə ˈsɪŋgəl ˈtaɪgər, dɪˈpɛndɪŋ ɔn ˌmɑdəfəˈkeɪʃənz, kən kɔst ˈθaʊzənd ˈdɔlərz. fp*: ðeɪ seɪ wi ər ˈpərʧəsɪŋ ðə bɪˈkəz əv ədˈvænst ˌɪˈtæljən tɛkˈnɑləʤi. ss*: ðət ɪz streɪnʤ tɪ hir. fərst əv ɔl, ˌɪˈtæljən tɛkˈnɑləʤiz meɪk əp ʤɪst əv ðə ˈviɪkəl, waɪl ðə rɛst əv ðə tɛkˈnɑləʤiz ər əˈmɛrɪkən, ˈʤərmən, dəʧ, ˌɛtˈsɛtərə. ðə ˈɑrmər ɪz meɪd baɪ 3 ˈkəntriz, ðə trænzˈmɪʃən ɪz ˈʤərmən, ðə ˈɪnʤən ɪz ˌɪˈtæljən. ˈsɛkəndli, ðiz tɛkˈnɑləʤiz ˈprɛzənt noʊ ˈvælju tɪ ˈjuˈɛs. ðə ɪz ən ˈeɪnʧənt ˈviɪkəl, beɪst əˈpɑn ðə ʤip. baɪ 2014 ɪt wɪl bi ˌɑbsəˈlit. baɪ ðə weɪ, waɪ ðə? ðə wɛst pəˈzɛsɪz ˈsɪriəs, kəmˈpɛtɪtɪv ˈviɪkəlz, ðoʊz meɪd baɪ ˈʤərməni ənd sˈwɪtsərlənd, fər ɪgˈzæmpəl. ənd ðɛr ˈviɪkəlz du, ˌɪnˈdid, pəˈzɛs ədˈvænst tɛkˈnɑləʤi. fp*: soʊ waɪ ɪz ðə biɪŋ ˈpərʧəst? ss*: æsk mi, æsk ðə mɔd. əˈkɔrdɪŋ tɪ ðɛm, ɪt həz suˈpɪriər prəˈtɛkʃən. fp*: ˈoʊˈkeɪ, soʊ wət əˈbaʊt ðə tɛsts ɪn ˈrəʃə? wət dɪd ðeɪ ʃoʊ? ss*: ðə ˈɑrmər wɑz nɑt ˈtɛstɪd. aɪ hæv ˌɪnˌfɔrˈmeɪʃən ðət ˈɪtəli fərˈbeɪd ˈrəʃə frəm ˈtɛstɪŋ ðə ˈviɪkəlz rɪˈzɪstəns tɪ smɔl ɑrmz faɪər ənd maɪnz. rɪˈgɑrdɪŋ moʊˈbɪlɪti ˈtɛstɪŋ, ðeɪ wər traɪd wəns ɪn ˈfɛbruˌɛri əv 2010 ənd ðɛr ɪz ə ˈvɪdioʊ ɔn ˈjuˌtub (ðə ˈvɪdioʊ æt ðə ˈvɛri bɪˈgɪnɪŋ əv ðɪs poʊst) ɔn wɪʧ ju kən si ðə rɪˈzəlts fər ˈjɔrsɛlf. fp*: əˈkɔrdɪŋ tɪ ˌənkənˈfərmd rɪˈpɔrts, fər ðə ˈlikɪŋ əv ðɪs ˈvɪdioʊ, ðə dɪˈfɛns ˈmɪnɪstər dɪsˈmɪst ə ˈkərnəl ɪn ðə ənd tu mɔr ɪn ðə ˈɪnstɪˌtut əv dɪˈfɛns. fp*: greɪt. ðɪs ɪz nɑt ðə fərst taɪm ðə mɔd ˈkrɪtɪˌsaɪzɪz jʊr ˈprɑdəkts. wi rɪˈmɛmbər ðə ˈrisənt ˌsɪʧuˈeɪʃən ɪn wɪʧ ðə nu wɑz ˈkrɪtəˌsaɪzd ənd ˈkænsəld. ss*: ɪt əˈbaʊt ðə ˈkrɪtɪˌsɪzəm, bət mɔr əˈbaʊt ðə ˈprɪnsəpəl pəˈzɪʃən, wɪʧ wɑz ˈteɪkən ɪn riˈleɪʃən tɪ ðə ˌprɛzənˈteɪʃən əv wən əv ðə pərˈæmətərz, bɪˈkəz əv wɪʧ ðeɪ ˌdɪˈsaɪdɪd nɑt tɪ ˈpərʧəs ðə læk əv dɔrz fər trups tɪ dɪsɛmˈbɑrk frəm ðə bæk əv ðə ˈviɪkəl. ˈɔlˌmoʊst ɔl ˈwɛstərn ˈviɪkəlz hæv dɔrz ɪn ðə bæk, waɪl ɑr ˈviɪkəlz hæv dɔrz ɔn ðə saɪdz, ənd aɪ gɛs ðeɪ wɔnt ˈjuˈɛs tɪ du ɪt ðə seɪm weɪ ðə wɛst dɪz. bət frəm ə ˈtæktɪkəl vˈjuˌpɔɪnt, ðət ɪz ˈətər none-sense*. baɪ ðə weɪ, əˈkɔrdɪŋ tɪ ˌɪnˌfɔrˈmeɪʃən ðət wi pəˈzɛs, ðə wɛst ɪz ˈwərkɪŋ ɔn nu wɪθ saɪd dɔrz. fp*: wət fər? ss*: ɪn ðə kənˈdɪʃənz əv wɔrz, wɪʧ ər ˈmoʊstli urban/counter-terrorism*, ˈdʊrɪŋ ən ˈæmˌbʊʃ əˈtæk ɔn ə ˈmɪlɪˌtɛri ˈkɑnˌvɔɪ, frəm ðə bæk kən min dɛθ. ˌɪˈmæʤən ju ər wən əv ðoʊz pɑrˈtɪsəˌpeɪtɪŋ ɪn ðə ˈæmˌbʊʃ. ju si ðə bæk dɔr əv ðə ˈviɪkəl ˈoʊpən, ənd ðə trups dɪsɛmˈbɑrk wən baɪ wən, ˈmeɪkɪŋ ˈizi ˈtɑrgəts fər ju. ˌhaʊˈɛvər, ɪf ðət wɑz ə ˈviɪkəl wɪθ saɪd dɔrz, ðə trups kən dɪsɛmˈbɑrk frəm ðə saɪd ˈɑpəzɪt ðə ˈɛnəmi ənd gɪt ə ʧæns tɪ rɪˈtərn faɪər. fp*: haʊ dɪd ðə ˈwərkərz əv ðə ˈfæktəri riækt tɪ ðə dɪˈsɪʒən? ss*: ɪn rɪˈgɑrdz tɪ ðɪs, wi hæv ʤɪst wən ʧɔɪs: wi hæv tɪ wərk ənd kriˈeɪt ə nu ˈviɪkəl wɪθ suˈpɪriər ˌkɛrɪktərˈɪstɪks, suˈpɪriər kˈwɑləti, ənd ə loʊ praɪs. wɪʧ ɪz ɪgˈzæktli wət duɪŋ. wi ˈɔlsoʊ ˈkɑnˌtæktɪd ðə dɪˈvɛləpər əv ðə ˈtaɪgər, ˌælɪgˈzændər masyagin*. æm: ərˈɪʤənəli, wi kriˈeɪtɪd ðə ˈtaɪgər fər ðə uae*, bɪˈkəz ðeɪ ˈnidɪd ən ɔlˈtərnətɪv fər ˈhəmər. ðɛn, ˈæftər ðeɪ rɪfˈjuzd tɪ baɪ ðə ˈviɪkəl, wi ˌdɪˈsaɪdɪd tɪ ˌmænjəˈfækʧər ɪt fər ˈrəʃə. ˌhaʊˈɛvər, ˈrisəntli aɪ faʊnd aʊt ðət ðeɪ ər kənˈtɪnjuɪŋ wərk ɔn ðə ˈprɑʤɛkt, ənd hæv soʊld ˈoʊvər 500 əv ðɛr oʊn ˈtaɪgərz tɪ ˈəðər ˈkəntriz. aɪ noʊ waɪ ðə mɔd laɪks ðɪs soʊ məʧ, bət lɛt mi pɔɪnt aʊt ðət ðə ˈtaɪgər həz ə haɪ ˈvɑljum ˈbɑdi wɪʧ əˈlaʊz ɪt tɪ ˈtrænspɔrt əp tɪ 9 trups, waɪl ðə kən ˈoʊnli ˈkɛri soʊ waɪl ən ɪnˈtaɪər ˈrəʃən skwɑd kən fɪt ˌɪnˈsaɪd ə ˈsɪŋgəl ˈtaɪgər, ðət seɪm skwɑd wʊd nid ˌrikˈwaɪər tu. ˈɔlsoʊ, ðə ɪz bɪlt ɔn ə freɪm ˈbeɪsɪs wɪθ ˈɑrmər pleɪts, soʊ ɪt ɪz nɑt kəmˈplitli prəˈtɛktɪd, waɪl ðə ˈtaɪgər həz ə body”*”. ˈɔlsoʊ, aɪ θɪŋk ðət ðə ˈtaɪgər ɪz ˈbɛtər ˈsutɪd fər ˈrəʃən təreɪn, ɛz wɑz ʃoʊn ɪn ðə ˈvɪdioʊ əv ðə reɪs ɪn ðə snoʊ. fp*: wɑz ðə ˈtaɪgər ˈtɛstɪd əˈgɛnst maɪnz? æm: jɛs, bət ðiz wər ɪkˈwɪvələnts əv grəˈneɪdz ər 200 græmz əv. ðə fækt əv ðə ˈmætər ɪz, wi ərˈɪʤənəli ˈɔrdərd tɪ meɪk ə ˈviɪkəl ðət kən wɪθˈstænd ɪkˈsploʊʒənz əv 1 2 ər 6 əv frəm ˌəndərˈniθ. ɪf səʧ rɪkˈwaɪrmənts ər ˈgɪvɪn, ðeɪ wɪl bi fʊlˈfɪld. bət ðeɪ geɪv ˈjuˈɛs ˈdɪfərənt rɪkˈwaɪrmənts, wɪʧ wi mɛt, ənd jɛt wi ər æt fɔlt ɪz sˈlaɪtli əbˈsərd. fp*: ɛz ðə kriˈeɪtər əv ðə ˈtaɪgər, haʊ du ju fil əˈbaʊt ɪts ˌkænsəˈleɪʃən? æm: ə ʃeɪm. ɪf ðeɪ laɪk ˈsəmθɪŋ, wi kən ˌɪmˈpruv ðə ˈviɪkəl. ˈivɪn ðə ˈærəbz ˌəndərˈstʊd ðət ɑr ˈviɪkəl ɪz ˈbɛtər ðən ðə ˈhəmər, ˈivɪn ðoʊ ɪt ɪz kənˈtɪnjuəsli ˌɪmˈpruvd. ɪn əˈdɪʃən, wi hæv tɪ rɪˈmɛmbər ðət ɑr roʊdz ər nɑt laɪk ðoʊz ɪn ˈjʊrəp, ər ˈivɪn æfˈgænəˌstæn. wi nid ən ˈviɪkəl. ɪn ˈɔrdər tɪ meɪk ðə dɪˈsɪʒən, wi hæv tɪ ˈɪntərvˌju ðoʊz hu ˈɑpərˌeɪtəd ðə wi kən ˌəndərˈstænd ðə dɪˈsɪʒən. ˈæftər ɔl, goʊɪŋ ˈɪntu ˈbætəl bi ðoʊz haɪ ˈræŋkɪŋ əˈfɪʃəlz, bət ˈsoʊlʤərz, hu hæv tɪ əˈkɑmplɪʃ ˈmɪʃənz ˈɛvəri deɪ. ðɛr əˈpɪnjən, aɪ bɪˈliv, wʊd bi mɔr ˈkrɛdəbəl ðən ðət əv ðə mɔd. noʊt: ɪn ðə ˈɪntərvˌju, ðə wərd ““hummer”*” wɑz juzd tɪ dɪˈskraɪb ðə əˈmɛrɪkən ˈmɪlɪˌtɛri graʊnd moʊˈbɪlɪti ˈviɪkəl noʊn ɛz ðə (ər hum-vee*), nɑt ðə səˈvɪljən ˈvərʒən əv ðə ˈviɪkəl. ˈædvərˌtaɪzmənts
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below is an interview which the russian newspaper “the free press” gave to the creators of the gaz tiger ground mobility vehicle (dubbed the russian hummer) to find out why russia’s mod (ministry of defense) chose the iveco over the domestic tiger. they received some interesting answers.
on january 18th, the newspaper “izvestiya” on behalf of russia’s mod (ministry of defense), announced that starting in 2014, production of russian gaz tiger ground mobility vehicles will be ceased. in their place, russia’s forces will receive the italian iveco lvm-m65, which has been given the name “cougar” in russia. “even if we equip the tiger with level 5 protection, as is required, the vehicle will not be able to move, as it will be too heavy and the engine is too weak. vpk (the company that produces the tiger) stated that it needs 3 years to add these modifications to the tiger.why should we wait this long when we can start receiving the cougars now?”, stated izvestiya representing the mod, who decide on which military equipment is to be purchased.
so according to his words, the gaz tiger, which has completed testing and is currently serving in russia’s armed forces, has level 3 protection (protection from assault rifles from a distance of 10 meters), while the iveco has level 5 protection. it is clear that our mod is continuing to criticize domestic technology in order to have excuses to buy foreign technology. let’s remember the story of the t-90 and the btr-90, the criticism of domestic uav’s, the purchase of the french “mistral”, israeli uav’s, german armor, the italian iveco-these are just a few examples of mod’s politics when it comes to purchasing military equipment. the newspaper “the free press” directly addressed the company in charge of producing the tigers to get some answers. press secretary of the “military-industrial company” sergei suvorov answered their questions.
fp: it is already clear that by 2014, production of the “russian hummer” will be ceased. how many tigers will be produced by that time?
ss: the number that will be produced is classified, but there are currently over 500 of these vehicles in various modifications for the peace keeping forces, the mvd, the fsb, the fso, and that is not counting those produced for export. out of all those vehicles, a total of 200 are operated by the mod, not 50 as was previously stated, out of which 30 are of the modernized tiger-m type, with the new yaroslavskiy engine.
fp: let’s talk about mod’s claims. izvestiya claimed that your tiger has a very low level of protection compared to the iveco, and that you will need 3 years to make the necessary modifications to “catch up”. is this true?
ss: 3 years?! the mvd (ministry of internal affairs) has been purchasing tigers from us for a long time, which have the level 5 protection that they discussed in the article. also, in that same article, it was stated by a senior official (apparently the chief of tank-automotive management (gabtu) aleksandr shevchenko) that certificates issued by the mvd of rf are not necessary proof, and that they do not believe in the existence of a class of tigers with such a level of protection. so basically, the stated characteristics, which were confirmed by mvd regarding level 5 protection, are not being accepted by the mod. at the same time, he states that tests that were performed in germany are valid proof regarding the level of protection of the iveco. so basically he states that mod has made the conclusion that the iveco has level 6 protection based on tests made in germany, yet they are not satisfied with russia’s mvd’s conclusions.
fp: then why was it stated that the tigers in service with the mod have level 3 protection?
ss: as a matter of fact, when mod ordered the gaz tigers from us, it was specifically stated in their requirements that they needed a vehicle with level 3 protection. we satisfied their requirements. the mvd on the other hand, starting in 2005, specifically asked for level 5 protection. we met their requirements as well, and that was in 2005, mind you. when we received news of the planned purchase of the iveco, a supposedly superior vehicle, we immediately took it upon ourselves to upgrade the tiger to level 6a protection, which we did on our funding. it took us just half a year to upgrade the vehicle. how can they say that it would take us 3 years? we brought the vehicle to that level in spring of 2011, and in june we demonstrated it to the mod. in september, vladimir putin checked out the vehicle and said “great job”! i was present there.
fp: interesting details. what is the comparison between the price of an iveco and a tiger?
ss: when they purchased two samples from italy in 2009, they paid 386,000 dollars for each, but the perspective price for each can reach as high as 644,000 dollars. a single tiger, depending on modifications, can cost 200-230 thousand dollars.
fp: they say we are purchasing the iveco’s because of advanced italian technology.
ss: that is strange to hear. first of all, italian technologies make up just 20-30% of the vehicle, while the rest of the technologies are american, german, dutch, etc. the armor is made by 3 countries, the transmission is german, the engine is italian. secondly, these technologies present no value to us. the iveco is an ancient vehicle, based upon the jeep. by 2014, it will be obsolete. by the way, why the iveco? the west possesses serious, competitive vehicles, those made by germany and switzerland, for example. and their vehicles do, indeed, possess advanced technology.
fp: so why is the iveco being purchased?
ss: don’t ask me, ask the mod. according to them, it has superior protection.
fp: ok, so what about the tests in russia? what did they show?
ss: the armor was not tested. i have information that italy forbade russia from testing the vehicles resistance to small arms fire and mines. regarding mobility testing, they were tried once in february of 2010, and there is a video on youtube (the video at the very beginning of this post) on which you can see the results for yourself.
fp: according to unconfirmed reports, for the leaking of this video, the defense minister dismissed a colonel in the gabtu and two more in the 21st institute of defense.
fp: great. this is not the first time the mod criticizes your products. we remember the recent situation in which the new btr-90 was criticized and cancelled.
ss: it wasn’t about the criticism, but more about the principle position, which was taken in relation to the presentation of one of the parameters, because of which they decided not to purchase the btr-the lack of doors for troops to disembark from the back of the vehicle. almost all western vehicles have doors in the back, while our vehicles have doors on the sides, and i guess they want us to do it the same way the west does. but from a tactical viewpoint, that is utter none-sense. by the way, according to information that we possess, the west is working on new apc’s with side doors.
fp: what for?
ss: in the conditions of today’s wars, which are mostly urban/counter-terrorism, during an ambush attack on a military convoy, disembarking from the back can mean death. imagine you are one of those participating in the ambush. you see the back door of the vehicle open, and the troops disembark one by one, making easy targets for you. however, if that was a vehicle with side doors, the troops can disembark from the side opposite the enemy and get a chance to return fire.
fp: how did the workers of the factory react to the mod’s decision?
ss: in regards to this, we have just one choice: we have to work and create a new vehicle with superior characteristics, superior quality, and a low price. which is exactly what we’re doing.
we also contacted the developer of the tiger, alexander masyagin.
am: originally, we created the tiger for the uae, because they needed an alternative for hummer. then, after they refused to buy the vehicle, we decided to manufacture it for russia. however, recently i found out that they are continuing work on the project, and have sold over 500 of their own tigers to other countries. i don’t know why the mod likes this iveco so much, but let me point out that the tiger has a high volume body which allows it to transport up to 9 troops, while the iveco can only carry 4-5. so while an entire russian squad can fit inside a single tiger, that same squad would need require two iveco’s. also, the iveco is built on a frame basis with armor plates, so it is not completely protected, while the tiger has a “one-piece body”. also, i think that the tiger is better suited for russian terrain, as was shown in the video of the race in the snow.
fp: was the tiger tested against mines?
am: yes, but these were equivalents of grenades or 200 grams of tnt. the fact of the matter is, we originally weren’t ordered to make a vehicle that can withstand explosions of 1, 2, or 6 kg of tnt from underneath. if such requirements are given, they will be fulfilled. but they gave us different requirements, which we met, and yet we are at fault now-which is slightly absurd.
fp: as the creator of the tiger, how do you feel about its cancellation?
am: it’s a shame. if they don’t like something, we can improve the vehicle. even the arabs understood that our vehicle is better than the hummer, even though it is continuously improved. in addition, we have to remember that our roads are not like those in europe, or even afghanistan. we need an off-road vehicle. in order to make the decision, we have to interview those who operated the vehicle-then we can understand the decision. after all, going into battle won’t be those high ranking officials, but soldiers, who have to accomplish missions every day. their opinion, i believe, would be more credible than that of the mod.
note: in the interview, the word “hummer” was used to describe the american military ground mobility vehicle known as the hmmwv (or hum-vee), not the civilian version of the vehicle.
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ˈrɪtən baɪ ˈdinə fər kɔrt ˈwərkɪŋ mɑmz wi ˈblɔgərz hæv ə ˈsupər ˈsikrɪt ˈblɔgər grup ɔn ˈfeɪsˌbʊk. ɪts ə weɪ fər ˈjuˈɛs tɪ θroʊ əraʊnd aɪˈdiəz, æsk iʧ ˈəðər kˈwɛsʧənz ənd ʤɪst pleɪn oʊld kibitz*. ə waɪl bæk, ˈsəmˌwən ˈmɛnʃənd ðeɪ wər skɛrd tɪ klɪk ɔn ə lɪŋk tɪ ˈbɑdi ˈæftər ˈbeɪbi." aɪ θɪŋk wi ɔl noʊ wət ðiz ˈhɛˌdlaɪnz brɪŋ. ɔl ju hæv tɪ du ɪz du ə ˈsɪmpəl ˈgugəl sərʧ fər "ˈbɑdi ˈæftər ˈbeɪbi" ənd ju si ðiz səˈlɛbrɪtiz wɪθ ðɛr ˈfoʊˌtoʊ sprɛd ɪn ðə ˈleɪtəst ˈgɑsəp mæg. naʊ doʊnt gɪt mi rɔŋ, ðoʊz ˈwɪmən ˈprɑbəˌbli wərkt ˈrɪli hɑrd tɪ teɪk ðə ˈbeɪbi weɪt ɔf ənd mɔr paʊər tɪ ðɛm, bət wi ˈævərɪʤ ˈsikrɪts ˈmɑdəlz du nɑt hæv ðə ˈləgʒəri əv ˈfoʊˌtoʊˌʃɑp, airbrushing*, ˈpərsɪnəl ˈtreɪnərz, ˈpraɪvət ʃɛfs, ˈnæniz ər ˈsɛvərəl pɛrz əv spanx*. ɛz ðə waɪz ˈkeɪti ʃəŋk ˈsteɪtɪd, "aɪ wʊd bi ɪn mæd ʃeɪp ɪf maɪ ˈpeɪˌʧɛk dɪˈpɛndɪd ɔn ɪt!" soʊ wi gɑt tɪ ˈtɔkɪŋ ənd ðə aɪˈdiə keɪm əp tɪ du ɑr oʊn ˈfoʊˌtoʊ ʃut wɛr wi wʊd bɛr ɑr ˈbɛliz (ɪn ə spɔrts brɑ, əv kɔrs). wi ˈwɔntɪd tɪ ɪmˈbreɪs ɑr ˈbɑdiz ənd lɛt ðə wərld noʊ wi ər praʊd əv ɑr straɪps! wi pɪkt ə deɪt, faʊnd ɑr əˈmeɪzɪŋ fəˈtɑgrəfər (ðə ˈʤinjəs ðət ɪz ʤin frəm aɪ vju fəˈtɑgrəfi) ənd keɪt strit ˈoʊpənd hər hoʊm tɪ ðɪs ˈraʊdi kru əv mɑmz. wi gɑt təˈgɛðər fər ɑr deɪt ənd brɔt fud ənd waɪn (lɑts əv waɪn wi wərənt ˈkreɪzi ɪˈnəf tɪ du ðɪs ˈsoʊbər!) ənd ˈstɑrtɪd tɪ ʧæt laɪk ˈɛni oʊld gərlz naɪt aʊt. ɪt wɑz kaɪnd əv laɪk ən ˈædəlt sˈləmbər ˈpɑrti ˈgɪdi ˈwɪmən ˈtɔkɪŋ əˈbaʊt ɑr kɪdz ənd hubbies*, duɪŋ iʧ ˈəðərz hɛr ənd ˈmeɪˌkəp. wi wər ʤɪst ˈhævɪŋ fən ˈlæfɪŋ ənd ˈgɪgəlɪŋ, bət wi hæd jɛt tɪ teɪk ɑr ʃərts ɔf. aɪ doʊnt θɪŋk ˈɛni əv ˈjuˈɛs ænˈtɪsəˌpeɪtɪd wət wʊd ˈhæpən nɛkst. ɪt wɑz ə kəmˈplitli ˈlɪˌbərˌeɪtɪŋ ˈmoʊmənt. səm əv ˈjuˈɛs ˈstɑrtɪd aʊt ə bɪt ˈnərvəs ənd ʃaɪ, bət ɪnˈkərəʤɪŋ ˈkɑmɛnts ənd ˈkætˌkɔlz frəm ðə ˈəðər ˈleɪdiz, ənd lɛts feɪs ɪt ðə waɪn meɪd ɪt ˈiziər. fər mi, aɪ noʊ aɪ æm fɑr frəm wət aɪ meɪ ˈəltəmətli wɔnt maɪ ˈbɑdi tɪ lʊk laɪk, bət aɪ noʊ aɪ hæv ˈnɛvər fɛlt mɔr ˈbjutəfəl ənd əkˈsɛptɪŋ əv maɪ ˈbɑdi ðən aɪ dɪd ðət naɪt. ðɪs tərnd aʊt tɪ bi mɔr ðən ʤɪst ə ˈfoʊˌtoʊ ʃut tɪ ʃoʊ wət ril ˈmɑmi ˈbɛliz lʊk laɪk ər tɪ hɛlp ˈjuˈɛs ɪmˈbreɪs ɑr ˈbɑdi ˈɪmɪʤ ˈdɪfərənsɪz ðɛr ər ə tən əv ˈwɛbˌsaɪts aʊt ðɛr ðət ɔˈrɛdi du ðɪs. ðɪs wɑz nɑt ʤɪst əˈnəðər gərlz naɪt aʊt ju kən goʊ tɪ ə ˈrɛˌstrɑnt fər ðət. ðɪs wɑz ə ˈgæðərɪŋ əv ˈgɑdəsɪz. ˈʃɛdɪŋ ɑr ʃərts ənd rɪˈvilɪŋ ðə ˈpleɪsɪz wɛr wi gru ˈjumənz (ənd wən wɑz ˈæktɪvli groʊɪŋ) fɛlt soʊ friɪŋ, ˌɪnˈspaɪərɪŋ ənd ˈpaʊərfəl ɪt ɪz hɑrd tɪ pʊt ɪt ˈɪntu wərdz. ˈθæŋkfəli, ðə smaɪlz ɔn ɑr ˈfeɪsɪz, ðə ˈlæftər tɪ ðə pɔɪnt əv tɪrz ənd ðə ˌɛnərˈʤɛtɪk ʤɔɪ ˈreɪdiˌeɪtɪŋ frəm iʧ əv ˈjuˈɛs spiks fər ˌɪtˈsɛlf. ɛz mərˈi ʃˈwaɪtsər pʊt ɪt, "ɪt wɑz wən əv maɪ ˈfeɪvərɪt θɪŋz aɪv ˈɛvər dən!!!" aɪ wɪl ədˈmɪt ðət wɪn aɪ lʊk æt ˈpɪkʧərz əv ˌmaɪˈsɛlf (laɪk əm ʃʊr moʊst ˈwɪmən du), aɪ pɪk əˈpɑrt ɔl əv ðə θɪŋz aɪ wɪʃ wər ˈdɪfərənt, mɔr səkt ɪn ər ʤɪst sˈmɔlər. aɪ ɛnd əp ˈfilɪŋ bæd əˈbaʊt ˌmaɪˈsɛlf ənd, ˌɪnˈstɛd əv θroʊɪŋ ɪn ə ˈwərˌkaʊt ˌdiˌviˈdi, aɪ hɛd tɪ ðə ˈfrizər fər ə ˈlɪtəl ˈθɛrəpi ɪn ən aɪs krim paɪnt. wɪn aɪ lʊkt θru ðə ˈfoʊˌtoʊz əv ɑr ʃut, aɪ dɪd du ə bɪt əv træʃ tɔk əˈbaʊt maɪ ˈprɑbləm ˈɛriəz, bət ðə ˈfilɪŋ ˌɪnˈsaɪd wɑz kəmˈplitli ˈdɪfərənt. aɪ ˈdɪdənt fil dɪˈprɛst, aɪ fɛlt ðə ˈɛnərʤi əv ðə naɪt. aɪ fɛlt ðə ʤɔɪ, ləv ənd ˈsɪstərhʊd əv ðət ˈmoʊmənt ənd əˈgɛn fɛlt ˈbjutəfəl. soʊ mɑmz, ˌbiˈfɔr ju skɪp daʊn ənd lʊk æt ɑr ˈfoʊˌtoʊz ɪn ðə bɪˈloʊ, wi hæv ə ˈmɪʃən fər ju. wi wɔnt ju tɪ hoʊld jʊr oʊn ˈgɑdəs ˈgæðərɪŋ. græb səm waɪn, ə spɔrts brɑ, ə ˈkæmərə ənd jʊr ˈgərlˌfrɛndz ənd teɪk ˈpɪkʧərz əv jʊr ˈbɛliz təˈgɛðər. wi hæv kriˈeɪtɪd ə nu pleɪs ɔn ðə ˈwɛbˌsaɪt fər ɑr "ˈgɑdəs ˈgæləri" ənd wi wɔnt tɪ ˌɪnˈklud jʊrz ɛz wɛl. sɛnd mi jʊr ˈfoʊˌtoʊz æt əˈlɔŋ wɪθ ə ʃɔrt ˌɛkspləˈneɪʃən əv haʊ jʊr ɪˈvɛnt wɛnt ənd wi wɪl poʊst ɪt ɔn ðə saɪt. ðə mɔr ˈwɪmən hu pɑrˈtɪsəˌpeɪt ɪn ðiz ɪˈvɛnts, ðə mɔr wi wɪl əkˈsɛpt ɑr ˈbɑdiz ənd ɪmˈbreɪs ðɛm. ɪt wɪl bi ˈlaɪfˌʧeɪnʤɪŋ! ðɪs poʊst ənd ɔl əv ɑr ˈpɪkʧərz ərˈɪʤənəli əˈpɪrd ɔn ənd ɑr ˈfeɪsˌbʊk peɪʤ.
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written by dena fleno for ct working moms
we bloggers have a super secret blogger group on facebook. it's a way for us to throw around ideas, ask each other questions and just plain old kibitz.
a while back, someone mentioned they were scared to click on a link to "beyonce's body after baby." i think we all know what these headlines bring. all you have to do is do a simple google search for "body after baby" and you see these celebrities with their impossible-to-attain-their-normal-size-nevermind-their-post-preggo-size photo spread in the latest gossip mag.
now don't get me wrong, those women probably worked really hard to take the baby weight off and more power to them, but we average non-victoria secrets models do not have the luxury of photoshop, airbrushing, personal trainers, private chefs, nannies or several pairs of spanx. as the wise katie schunk stated, "i would be in mad shape if my paycheck depended on it!"
so we got to talking and the idea came up to do our own photo shoot where we would bare our post-baby bellies (in a sports bra, of course). we wanted to embrace our bodies and let the world know we are proud of our saggy stripes!
we picked a date, found our amazing photographer (the genius that is jean molodetz from i view photography) and kate street opened her home to this rowdy crew of moms. we got together for our date and brought food and wine (lots of wine -- we weren't crazy enough to do this sober!) and started to chat like any old girls night out. it was kind of like an adult slumber party -- giddy women talking about our kids and hubbies, doing each others hair and makeup. we were just having fun laughing and giggling, but we had yet to take our shirts off.
i don't think any of us anticipated what would happen next.
it was a completely liberating moment. some of us started out a bit nervous and shy, but encouraging comments and catcalls from the other ladies, and let's face it -- the wine -- made it easier. for me, i know i am far from what i may ultimately want my body to look like, but i know i have never felt more beautiful and accepting of my body than i did that night.
this turned out to be more than just a photo shoot to show what real mommy bellies look like or to help us embrace our body image differences -- there are a ton of websites out there that already do this. this was not just another girl's night out -- you can go to a restaurant for that.
this was a gathering of goddesses.
shedding our shirts and revealing the places where we grew humans (and one was actively growing) felt so freeing, inspiring and powerful it is hard to put it into words. thankfully, the smiles on our faces, the laughter to the point of tears and the energetic joy radiating from each of us speaks for itself. as marie schweitzer put it, "it was one of my favorite things i've ever done!!!"
i will admit that when i look at pictures of myself (like i'm sure most women do), i pick apart all of the things i wish were different, more sucked in or just smaller. i end up feeling bad about myself and, instead of throwing in a workout dvd, i head to the freezer for a little therapy in an ice cream pint. when i looked through the photos of our shoot, i did do a bit of trash talk about my problem areas, but the feeling inside was completely different. i didn't feel depressed, i felt the energy of the night. i felt the joy, love and sisterhood of that moment and again felt beautiful.
so moms, before you skip down and look at our photos in the slideshow below, we have a mission for you. we want you to hold your own goddess gathering. grab some wine, a sports bra, a camera and your girlfriends -- and take pictures of your bellies together.
we have created a new place on the website for our "goddess gallery" and we want to include yours as well. send me your photos at dena@ctworkingmoms.com along with a short explanation of how your event went and we will post it on the site. the more women who participate in these events, the more we will accept our bodies and embrace them. it will be life-changing!
this post and all of our pictures originally appeared on ctworkingmoms.com and our facebook page.
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ən ˈɑptɪmɪst ənd ə ˈpɛsəməst ər shipwrecked*, ənd wɑʃ əp təˈgɛðər ɔn ə ˈdɛzərt ˈaɪlənd. ðə ˈɑptɪmɪst ˌdɪˈsaɪdz ðət, ðoʊ ðɛrz noʊ fud ər frɛʃ ˈwɔtər wɛr ðeɪ ər, ɪts wərθ ɪkˈsplɔrɪŋ ðə ˈəðər saɪd əv ðə ˈaɪlənd tɪ si ˈwɛðər ðɛrz ˈɛniˌθɪŋ ˈɛdəbəl ər ˈpoʊtəbəl ðɛr. "kəm ɔn!" hi sɪz. "wɛr ðɛrz laɪf, ðɛrz hoʊp!" "noʊ ðɛr ˈɪzənt," sɪz ðə ˈpɛsəməst. "ðɪs ɪz ə ˈdɛzərt ˈaɪlənd. ðɛrz ˈnəθɪŋ hir. wi maɪt ɛz wɛl ʤɪst laɪ daʊn ənd daɪ." "wɛl, kəm ɔn, ɪts wərθ ə traɪ, ˈɪzənt ɪt?" "noʊ ɪt ˈɪzənt. wɪr goʊɪŋ tɪ daɪ." soʊ ðə ˈɑptɪmɪst, nɑt ə maɪt dɪˈskərɪʤd, sɛts ɔf baɪ hɪmˈsɛlf fər ðə ˈəðər saɪd əv ðə ˈaɪlənd, wɛr hi ɪz ˈitən baɪ ə ˈkrɑkəˌdaɪl. ənd ðə ˈpɛsəməst stɑrvz tɪ dɛθ. ðoʊz əv ˈjuˈɛs hu nɑd wɪθ sæd ˌrɛkɪgˈnɪʃən æt ðɪs ˈstɔri hæv frɛʃ kɔz fər glum wɪθ ðə ərˈaɪvəl ɔn ɑr ˈkɔfi ˈteɪbəlz əv ðə ˈleɪtəst ˈɪʃu əv ðə prəˈsidɪŋz əv ðə rɔɪəl soʊˈsaɪɪti. saɪˈkɑləʤəsts hæv kənˈdəktəd ə ˈstədi əv mɔr ðən 100 ˈpipəl ənd kleɪm tɪ hæv aɪˈdɛntəˌfaɪd ən ˈɑptɪˌmɪzəm ʤin. "wiv ʃoʊn fər ðə fərst taɪm ðət ə ʤəˈnɛtɪk ˌvɛriˈeɪʃən ɪz lɪŋkt wɪθ ə ˈtɛndənsi tɪ lʊk ɔn ðə braɪt saɪd əv laɪf," sɪz ˌiˈleɪn fɑks əv ðə ˌjunəˈvərsəti əv ˈɛsɪks. "ðɪs ɪz ə ki ˈmɛkəˌnɪzəm ˌəndərˈlaɪɪŋ rɪˈzɪljəns tɪ ˈʤɛnərəl laɪf strɛs." ðə feɪts əv ɑr ənˈfɔrʧənət ər dɪˈtərmənd nɑt, ðɛn, baɪ ðɛr ˈkɛrɪktərz bət baɪ ðə ʤəˈnɛtɪk dɪˈtərmənənts ɔn ðɛr ˈkɛrɪktərz. ðə ˈkrɑkəˌdaɪl ˈvɪktɪm həz tu lɔŋ ˈvɛriənts əv ə ˌpɑˈtɪkjələr ʤin, ənd ðæts ðət. hiz ˈɔlˌweɪz goʊɪŋ tɪ bi ðə ˈɑptɪmɪst. ðə ˈstədi saʊnz, ɪt həz tɪ bi sɛd, ə bɪt prɪˈlɪməˌnɛri. ə ˈsæmpəl saɪz əv "mɔr ðən 100 ˈpipəl", ɛz fɑr ɛz ˌsaɪənˈtɪfɪk ˈstədiz goʊz, ˈɪzənt ə greɪt boʊst. ɪts laɪk seɪɪŋ ju hæv "ə kəˈlɛkʃən əv mɔr ðən faɪv stæmps". ðə aɪˈdiə ðət ə ˈsɪŋgəl ʤin, ˈivɪn ə ʤin", kənˈtroʊlz jʊr ɪnˈtaɪər ˈaʊˌtlʊk ɔn laɪf ɪz haʊ tɪ pʊt ɪt? ə strɔŋ kleɪm. ənd ðə ˈrisərʧ kənˈsɪstɪd əv wət? ðeɪ ʃoʊd ðiz ˈpipəl səm ˈpɪkʧərz əv ˈʧɪrfəl stəf ənd dɪˈprɛsɪŋ stəf ənd ˈnoʊtɪd wɪʧ ðeɪ spɛnt mɔr taɪm ɔn. ðə ˈpɑzətɪv ˈpɪkʧərz ˌɪnˈkludɪd ə ˈkəpəl ˈhəgɪŋ ənd ˈsəmˌwən ˈseɪlɪŋ ə ˈnɛgətɪv ˈɪmɪʤɪz ˌɪnˈkludɪd ə ˈfoʊˌtoʊ əv ˈsəmˌwən biɪŋ məgd. huz tɪ seɪ wɪʧ ɪz ˈpɑzətɪv ənd wɪʧ ɪz ˈnɛgətɪv? səm ˈpipəl ər ˈtɛrəˌfaɪd əv ˈseɪlɪŋ boʊts, ənd pərˈhæps ɪt wɑz krɪs ˈtɑrənt biɪŋ məgd. aɪl liv ˈkloʊzər ˈskrutəni əv ðə ˌmɛθəˈdɑləʤi tɪ bɛn ɔn ˈsæˌtɪˌdeɪ. aɪ ʧuz tɪ bɪˈliv ðə rɪˈzəlt, ðoʊ, bɪˈkəz ɪt kənˈfərmz wət aɪ səˈspɛktɪd: wi ər ðə ˈvɪktɪmz əv ɑr oʊn breɪnz. ˈæˌkʧuəli, aɪ ʃʊd riˈkæst ðət ˈsɛntəns. ˈrəðər ðən ˈʧuzɪŋ tɪ bɪˈliv ðɪs ˈstədi bɪˈkəz ɪt kənˈfərmz wət aɪ ɔˈrɛdi səˈspɛktɪd, aɪ wɑz ʤəˈnɛtɪkli dumd tɪ bɪˈliv ɪt bɪˈkəz ɪt kənˈfərmz wət aɪ æm ʤəˈnɛtɪkli dumd tɪ bɪˈliv əˈbaʊt ðə ˈsɛˌtəp əv ðə ˈjunəˌvərs. aɪ wəns ˌɪˈmæʤənd ðət ˈɑptɪˌmɪzəm wɑz ə ˈmætər əv ˈwɪlˌpaʊər. wɪn laɪf sərvz ju ə ʃɪt ˈsænwɪʧ, aɪ θɔt, ju kən meɪk ə ˈpɑzətɪv dɪˈsɪʒən tɪ kloʊz jʊr aɪz ənd ˌɛnˈʤɔɪ ðə bɪts. maɪ groʊɪŋ ˈfilɪŋ əv ˈhævɪŋ bɪn rɔŋ əˈbaʊt ðət naʊ ˌɛnˈʤɔɪz ˌsaɪənˈtɪfɪk ˌkɑnfərˈmeɪʃən. aɪ teɪk noʊ ˈplɛʒər ɪn ðə ˈnɑlɪʤ. ˈɛvəri bʊk aɪ rɛd ˈleɪtli, ˈɛvəri nuz rɪˈpɔrt aɪ kəm əˈkrɔs, simz tɪ æd tɪ ðə sɛns ðət nɑt ˈoʊnli æm aɪ nɑt ɪn ʧɑrʤ əv maɪ ˈdɛstəni, əm nɑt ˈivɪn ɪn ʧɑrʤ əv haʊ aɪ fil əˈbaʊt nɑt biɪŋ ɪn ʧɑrʤ əv maɪ ˈdɛstəni. ðə ˈæŋgloʊ ˈsæksənz wər raɪt ˈæftər ɔl: aræd*. ˈhənərdz əv jɪrz əv ˌɛnˈlaɪtənmənt ˈhjuməˌnɪzəm ɪz ɔn ðə vərʤ əv ˈbrɪŋɪŋ ˈjuˈɛs bæk tɪ wɛr wi ˈstɑrtɪd. aɪ ˈrisəntli rɛd ˈʤoʊnə nu bʊk, ðə dɪˈsaɪsɪv ˈmoʊmənt, əˈbaʊt ðə nʊˈrɑləʤi əv dɪˈsɪʒənˌmeɪkɪŋ, ənd ðə ˈlɛsən wɑz, mɔr ər lɛs, ðət wi doʊnt meɪk dɪˈsɪʒənz: ɑr breɪnz meɪk ðɛm fər ˈjuˈɛs. aɪ maɪt wɪl ə ˌpɑˈtɪkjələr ˈaʊtˌkəm, bət ɪz maɪ wɪl, ɛz aɪ θɪŋk ɪt wɑz hu ˈwəndərd, nɑt ˈsɪmpli ən ɪˈvɛnt ɪn maɪ breɪn ˈɔlsoʊ? haʊ dɪd ðət mæn slip æt naɪt? bi ˈitən baɪ ə ˈkrɑkəˌdaɪl? ər stɑrv tɪ dɛθ? ðə ʧɔɪs ɪz jʊrz. ɪkˈsɛpt ɪt ˈɪzənt. haʊ bleedin*' dɪˈprɛsɪŋ. aɪ wɑz ɪn ðə ˈleɪtˌnaɪt ɪn wɛst ˈləndən ðə ˈəðər naɪt, wɪn aɪ wɑz strək baɪ ðət feɪnt θrɪl ju gɪt wɪn ju ˈnoʊtɪs ðət ðə mæn ɪn frənt əv ju ɪn ə kju ɪz lɔrd ləˈmɑnt. ðə drəŋk bloʊks bɪˈhaɪnd mi ˈspɑtɪd ɪm tu. "ɔl raɪt ˈnɔrmən!" ˈʃaʊtɪd wən əv ðɛm ɪn ə sɔrt əv ˈmɛnəsɪŋ weɪ. "jæ, ˈnɔrmən!" əˈnəðər wən riposted*. hi ˈməmbəld ˈsəmθɪŋ ˈɪntu ðə ˈkɑlər əv hɪz koʊt ənd ˈskətəld ɔf ˈlʊkɪŋ ˈmɪzərəbəl. du ˈfɔrmər ˈtɔri ˈʧænsələrz spɛnd ðə rɛst əv ðɛr lɪvz ɛz wət maɪ ˈlɪtəl ˈbrəðər juzd tɪ kɔl "ˈbʊli ˈmægnəts"? ˈɛniˌweɪ, ɪt wɑz ə sˈlaɪtli ˈəgli sin ənd aɪ fɛlt ˈsɑri fər ɪm. ʃeɪm ɔn ju, drəŋk ˈpipəl. lɛt ðə pur mæn baɪ hɪz ɪn pis. ˈrɪʧərd ˈwɪljəmsən, ðə ˈkæθlɪk ˈbɪʃəp, simz tɪ bi ə ˈsəbʤɪkt fɪt mɔr fər ˌkjʊriˈɑsəti ðən ˈaʊˌtreɪʤ. fərst ðɛrz hɪz kənˈvɪkʃən ðət ðɛr wər noʊ gæs ˈʧeɪmbərz ənd ˈoʊnli daɪd ɪn ðə kæmps. ðɛn ðɛrz hɪz prəˈfɛst ˈwɪlɪŋnəs tɪ "ˌrivˈju ðə hɪˈstɔrɪkəl ˈɛvədəns". wɑz hi ˈhoʊldɪŋ ɪt ˌəpˈsaɪˌdaʊn ðə fərst taɪm? rɪˈmɛmbər ðə mæn ɪn ðə ˈmɔnti ˈpaɪθɑn skɛʧ hu sɪz hi roʊt ðə pleɪz əˈtrɪbjətəd tɪ ˈʃeɪkˌspir? hi ɪz cross-examined*: "haʊ ɪz ɪt ˈpɑsəbəl fər ju tɪ hæv ˈrɪtən pleɪz pərˈfɔrmd ˈoʊvər 300 jɪrz ˌbiˈfɔr ju wər bɔrn?" "ɑ wɛl," hi rɪˈspɑndz ˈgʊdˈneɪʧərdli. "ðɪs ɪz wɛr maɪ kleɪm fɔlz tɪ ðə graʊnd." ðɪs wik sæm əˈtɛndəd ðə ˈoʊldi əv ðə jɪr əˈwɔrdz. "ɪt wɑz blɪs. oʊld səˈlɛbrɪtiz ər məʧ ˈfrɛndliər tɪ iʧ ˈəðər ðən jəŋ wənz. aɪ gɑt tɪ mit ˈkɑmədi ˈskrɪpˌtraɪtərz ˈgæltən ənd ˈsɪmpsən, ənd ˈleɪdi wɛst, ðə waɪf əv ðə ˈfɔrmər fərst si lɔrd. ˈtɛri ˈwoʊgən gɑt ənd toʊld ˈkɔrni ʤoʊks, æt wɪʧ ˈɛvriˌwən læft fɪt tɪ bəst. aɪ kænt weɪt tɪ bi oʊld, bət aɪ səˈpoʊz aɪ hæv tɪ."
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an optimist and a pessimist are shipwrecked, and wash up together on a desert island. the optimist decides that, though there's no food or fresh water where they are, it's worth exploring the other side of the island to see whether there's anything edible or potable there.
"come on!" he says. "where there's life, there's hope!"
"no there isn't," says the pessimist. "this is a desert island. there's nothing here. we might as well just lie down and die."
"well, come on, it's worth a try, isn't it?"
"no it isn't. we're going to die."
so the optimist, not a mite discouraged, sets off by himself for the other side of the island, where he is eaten by a crocodile. and the pessimist starves to death.
those of us who nod with sad recognition at this story have fresh cause for gloom with the arrival on our coffee tables of the latest fun-filled issue of the proceedings of the royal society. psychologists have conducted a study of more than 100 people and claim to have identified an optimism gene.
"we've shown for the first time that a genetic variation is linked with a tendency to look on the bright side of life," says elaine fox of the university of essex. "this is a key mechanism underlying resilience to general life stress."
the fates of our unfortunate crusoes are determined not, then, by their characters but by the genetic determinants on their characters. the crocodile victim has two long variants of a particular gene, and that's that. he's always going to be the optimist.
the study sounds, it has to be said, a bit preliminary. a sample size of "more than 100 people", as far as scientific studies goes, isn't a great boast. it's like saying you have "a collection of more than five stamps". the idea that a single gene, even a "bright-side gene", controls your entire outlook on life is - how to put it? - a strong claim. and the research consisted of what? they showed these people some pictures of cheerful stuff and depressing stuff and noted which they spent more time on.
the positive pictures included a couple hugging and someone sailing a boat.the negative images included a photo of someone being mugged. who's to say which is positive and which is negative? some people are terrified of sailing boats, and perhaps it was chris tarrant being mugged. i'll leave closer scrutiny of the methodology to ben goldacre on saturday.
i choose to believe the result, though, because it confirms what i suspected: we are the victims of our own brains. actually, i should recast that sentence. rather than choosing to believe this study because it confirms what i already suspected, i was genetically doomed to believe it because it confirms what i am genetically doomed to believe about the setup of the universe.
i once imagined that optimism was a matter of willpower. when life serves you a shit sandwich, i thought, you can make a positive decision to close your eyes and enjoy the gherkiny bits. my growing feeling of having been wrong about that now enjoys scientific confirmation. i take no pleasure in the knowledge.
every book i read lately, every news report i come across, seems to add to the sense that not only am i not in charge of my destiny, i'm not even in charge of how i feel about not being in charge of my destiny. the anglo saxons were right after all: wyrd bith ful aræd. hundreds of years of enlightenment humanism is on the verge of bringing us back to where we started.
i recently read jonah lehrer's new book, the decisive moment, about the neurology of decision-making, and the lesson was, more or less, that we don't make decisions: our brains make them for us. i might will a particular outcome, but is my will, as i think it was wittgenstein who wondered, not simply an event in my brain also? how did that man sleep at night?
be eaten by a crocodile? or starve to death? the choice is yours. except it isn't. how bleedin' depressing.
i was in the late-night newsagent in west london the other night, when i was struck by that faint thrill you get when you notice that the man in front of you in a queue is lord lamont. the drunk blokes behind me spotted him too. "all right norman!" shouted one of them in a sort of menacing way. "yeah, norman!" another one riposted. he mumbled something into the collar of his coat and scuttled off looking miserable.
do former tory chancellors spend the rest of their lives as what my little brother used to call "bully magnets"? anyway, it was a slightly ugly scene and i felt sorry for him. shame on you, drunk people. let the poor man buy his chewits in peace.
richard williamson, the holocaust-denying catholic bishop, seems to be a subject fit more for curiosity than outrage. first there's his conviction that there were no gas chambers and only 300,000 died in the camps. then there's his professed willingness to "review the historical evidence". was he holding it upside-down the first time? remember the man in the monty python sketch who says he wrote the plays attributed to shakespeare? he is cross-examined: "how is it possible for you to have written plays performed over 300 years before you were born?" "ah well," he responds good-naturedly. "this is where my claim falls to the ground."
* this week sam attended the oldie of the year awards. "it was bliss. old celebrities are much friendlier to each other than young ones. i got to meet comedy scriptwriters galton and simpson, and lady west, the wife of the former first sea lord. terry wogan got squiffy and told corny jokes, at which everyone laughed fit to bust. i can't wait to be old, but i suppose i have to."
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wən θɪŋ kəmz θru laʊd ənd klɪr ɪn ðə nu strit ˈʤərnəl ˈnæʃənəl poʊl: rɪˈpəblɪkənz hæv ə ˈmeɪʤər brænd ˈprɑbləm. kənˈsɪdər ðə ˈfɑloʊɪŋ ˈfaɪndɪŋz ɪn ðə poʊl: æst ən ˈoʊpəˌnɛndəd kˈwɛʃən ɛz tɪ wət ˈsɪŋgəl wərd ər ʃɔrt freɪz ˈpipəl wʊd juz tɪ dɪˈskraɪb ðə rɪˈpəblɪkən ˈpɑrti, 65 pərˈsɛnt əv ðə rɪˈspɑnsɪz wər ˈnɛgətɪv, waɪl ʤɪst 17 pərˈsɛnt wər ˈpɑzətɪv. (fər ˈdɛməˌkræts, 35 pərˈsɛnt wər ˈpɑzətɪv, waɪl 37 pərˈsɛnt wər ˈnɛgətɪv.) əˈməŋ ðə moʊst ˈfreɪzɪz juzd tɪ dɪˈskraɪb rɪˈpəblɪkənz: "bad/weak/negative*" 8 pərˈsɛnt), tɪ wərk təˈgɛðər" 6 pərˈsɛnt) ənd "broken/disorganized/lost*" 6 pərˈsɛnt). soʊ, ðət ˈhæpənd. ðə poʊl ˈtɛstɪd ðə ˈpɑzətɪv ənd ˈnɛgətɪv ˈreɪtɪŋz fər 11 ˌpɑləˈtɪʃənz ər pəˈlɪtɪkəl ˌɪnstɪˈtuʃənz. ðə loʊəst ˈreɪtɪd ɪn tərmz əv ðə ˌdɪfərˈɛnʃəl bɪtˈwin ˈpɑzətɪv ənd ˈnɛgətɪv ˈreɪtɪŋz wɑz ðə rɪˈpəblɪkən ˈpɑrti, wɪθ ə 30 pərˈsɛnt ˈpɑzətɪv skɔr ənd ə 45 pərˈsɛnt ˈnɛgətɪv skɔr. əv ðə faɪv wərst ˈreɪʃiˌoʊz, rɪˈpəblɪkənz kleɪmd fɔr əv ðɛm. (ðə loʊn ɪkˈsɛpʃən: ˈsuzən raɪs wɪθ ə 20 pərˈsɛnt skɔr.) wɪn æst hu ðeɪ ˈtrəstɪd mɔr ɪn "ˈhændəlɪŋ ðə ˈfɪskəl klɪf," 38 pərˈsɛnt neɪmd ˈprɛzɪdənt ˌoʊˈbɑmə waɪl ʤɪst 19 pərˈsɛnt neɪmd haʊs ˈspikər ʤɑn ˈboʊnər ənd rɪˈpəblɪkənz ɪn ˈkɑŋgrəs. (ˌfɔrˈtin pərˈsɛnt sɛd ðeɪ ˈtrəstɪd boʊθ ˈikwəli, ənd əˈnəðər 28 pərˈsɛnt sɛd ðeɪ ˈtrəstɪd ˈniðər saɪd.) wət ðoʊz ˈnəmbərz meɪk klɪr ɪz ðət ðə rɪˈpəblɪkən brænd ɪz ˈbædli ˈdæmɪʤd. ɪt ɪz rɪˈgɑrdɪd baɪ tu ˈmɛni ˈpipəl ɛz ən ənˈkɑmprəmaɪzɪŋ ˈrɛlɪk əv ðə pæst ə ˈpɑrti ðət læks nu aɪˈdiəz ənd ɪz, ˈðɛrˌfɔr, fɔrst tɪ ˈlɑrʤli sərv ɛz ə ˌblɑˈkeɪd tɪ ðə ˈəðər saɪd. (ðæts ðə ˈbɪgəst ˈrizən, baɪ ðə weɪ, waɪ rɪˈpəblɪkənz ʃʊd bi ˈɪntəˌrɛstɪd ɪn ˈkɑmprəˌmaɪzɪŋ ɔn ðə ˈfɪskəl klɪf. ðeɪ gæp bɪtˈwin haʊ ˌoʊˈbɑmə ɪz rɪˈgɑrdɪd ənd haʊ ðeɪ ər sin ɪz ɪˈnəf tɪ meɪk goʊɪŋ ˈoʊvər ðə klɪf ə ˈʤɛnjuˌaɪn pəˈlɪtɪkəl ˈluzər fər ðɛm.) rɪˈpəblɪkənz hæv ənd wɪl kənˈtɪnju tɪ ˌɪnˈsɪst ðət ðeɪ hæv pʊt aʊt nu aɪˈdiəz, bət ðə ˌriˈæləˌti ɪz ðət ðə əˈmɛrɪkən ˈpəblɪk ˈdəzənt pərˈsiv ðɛm ðət weɪ. ðə gʊd nuz fər rɪˈpəblɪkənz ɪz ðət səm əv ðə ˈpɑrtiz brænd ˈɪʃuz meɪ wɛl teɪk kɛr əv ðɛmˈsɛlvz. mɪt ˈrɑmni ɪz ˈhɛdɪd ɔf ðə ˈnæʃənəl steɪʤ æt ˈlaɪtnɪŋ spid ənd ɪz biɪŋ ˌriˈpleɪst baɪ ðə laɪks əv ˈflɔrɪdə sɛn. ˈmɑrkoʊ ˈrubioʊ ənd luˌiziˈænə gəv. ˈbɑbi, hu nɑt ˈoʊnli lʊk ˈdɪfərənt ðən ðə rɪˈpəblɪkən ˈstɛrioʊˌtaɪp (ˈrubioʊ ɪz ləˈtinoʊ, ɪz indian-american*) bət ər ˈɔlsoʊ əv ə ˈdɪfərənt ˌʤɛnərˈeɪʃən (boʊθ mɛn ər ɪn ðə ˈərli 40s*) ðən moʊst əv ðə ˈkɑrənt ˈnæʃənəl ˈlidərz əv ðə rɪˈpəblɪkən ˈpɑrti. bət, ðæts ˈoʊnli pɑrt əv ðə ɪkˈweɪʒən. nu ˈfeɪsɪz hɛlp, bət wɪˈθaʊt wən klɪr ˈlidər ɪt wɪl bi hɑrd fər ˈɛniˌwən ɔn ðə rɪˈpəblɪkən saɪd tɪ breɪk θru. aɪˈdiəz ˈɔlsoʊ ˈmætər, ənd rɪˈpəblɪkənz nidz tɪ faɪnd weɪz tɪ ˈsərfəs nu θɔts ɔn ˈɪʃuz ˈpipəl kɛr əˈbaʊt laɪk ˌɛʤəˈkeɪʃən. rɪˈmɛmbər ðət ˈpəblɪk pərˈsɛpʃən əv ə brænd teɪks jɪrz (ənd ˈivɪn ˈdɛkeɪdz); ɪts nɑt ən ˈoʊvərˈnaɪt fɪks. ðə fɪks wɛl rɪˈmɛmbərz ðə pərˈsɛpʃən frəm ɑr ˈʧaɪlˌdhʊd əv ˈæpəl ɛz ðə sæd ˈlɪtəl ˈbrəðər tɪ ˈmaɪˌkroʊˈsɔft. ðæts ˈɑbviəsli ʧeɪnʤd, bət ɪt tʊk taɪm. ðɪs ˌriˈæləˌti minz rɪˈpəblɪkənz nid tɪ stɑrt naʊ ɪf ðeɪ wɔnt tɪ ʧeɪnʤ haʊ ˈpipəl θɪŋk əv ðɛm ˌbiˈfɔr ðə nɛkst ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən. ðeɪ hæv ðɛr wərk kət aʊt fər ðɛm. ˈikwəl bleɪm ɔn ˈfɪskəl klɪf?: ɪn ˈkɑntræst tɪ ˈpriviəs poʊlz, ðə poʊl ˈdəzənt ʃoʊ rɪˈpəblɪkənz wʊd gɪt məʧ mɔr bleɪm 24 pərˈsɛnt) ðən ˌoʊˈbɑmə ənd ðə ˈdɛməˌkræts 19 pərˈsɛnt) ɪf ðə ˈfɪskəl klɪf ˈɪzənt əˈvərtəd. ˌɪnˈstɛd, ə məˈʤɔrəti 56 pərˈsɛnt) seɪ ðeɪ wʊd bleɪm boʊθ ˈikwəli. moʊst ˈəðər poʊlz, ˌɪnˈkludɪŋ ə ˈwɔʃɪŋtən nuz poʊl læst wik, hæv ʃoʊn rɪˈpəblɪkənz wʊd bɛr ðə brənt əv ə feɪld sɛt əv "ˈfɪskəl klɪf" nɪˌgoʊʃiˈeɪʃənz. bət ðə nu poʊl səˈʤɛsts ðɛr wɪl bi ˈplɛnti əv bleɪm tɪ goʊ əraʊnd. fixbits*: ˈsɛkrəˌtɛri əv steɪt ˈhɪləri ˈklɪntən wɪl ˈtɛstɪˌfaɪ nɛkst ˈθərzˌdeɪ ɪn frənt əv ə haʊs kəˈmɪti ɔn ðə ˈkɑntɛnts əv ə rɪˈpɔrt ɔn ðə ˈkɪlɪŋz əv fɔr əˈmɛrɪkənz ɪn benghazi*, ˈlɪˌbiə. mɪt ˈrɑmniz ʤip æd ərnz "laɪ əv ðə jɪr." ɛz ɪkˈspɛktɪd, ɪˈlɪzəbɪθ ˈwɔrən (d-mass*.) wɪl bi ɔn ðə ˈsɛnɪt ˈbæŋkɪŋ kəˈmɪti. hir ər ðə ˈhaɪˌlaɪts əv ðə ˈdɛməˌkræts' kəˈmɪti əˈsaɪnmənts. ðə poʊsts ɛd oʊˈkif ˈriˌkæps ðə ˈsɛnɪts rɪˈtaɪərmənt ˈspiʧɪz ɪn θri ˈmɪnəts. nu jɔrk gəv. ˈændru kˈwoʊmoʊ (di) sɛndz ə ˈwɔrnɪŋ ʃɑt tɪ rɪˈpəblɪkənz ɪn ðə steɪt ˈsɛnɪts ˌkɑntrəˈvərʃəl nu ərˈeɪnʤmənt. ʃəˈkɑˌgoʊ ˈdɛməˌkræts ər goʊɪŋ tɪ səˈlɛkt ðɛr ˌnɑməˈni fər ˈfɔrmər ˈkɑŋgrəsmən ˈʤɛsi ˈʤæksən jr's*. (d-ill*.) sit ɔn ˈsæˌtɪˌdeɪ. rɛpriˈzɛtətɪv. ɛˈlaɪʤə ˈkəmɪŋz (d-md*.) əˈkjuzɪz ðə ˈnæʃənəl ˈfʊtˌbɔl lig pleɪərz əˌsoʊʃiˈeɪʃən əv traɪɪŋ tɪ bæk aʊt əv ˈjumən groʊθ ˈhɔrˌmoʊn ˈtɛstɪŋ. ˌkæləˈfɔrnjə gəv. ˈʤɛri braʊn (di) ɪz biɪŋ ˈtritɪd fər ˈprɑˌsteɪt ˈkænsər. must-reads*: "ʧuz jʊr oʊn ˈvoʊtərz" ˈdeɪvɪd ˈwaɪgəl, sleɪt "grups vaʊ tɪ pʊʃ tɪ work’*’ ɪn ˈəðər steɪts" fəˈliʃə ənd ˈdeɪvɪd ə. fahrenthold*, ˈwɔʃɪŋtən poʊst "tɪ seɪv hɪz ˈsɛkənd tərm, ˌoʊˈbɑmə məst goʊ ˈoʊvər ðə ˈfɪskəl klɪf" noʊm ˈʃaɪbər, ðə nu riˈpəblɪk
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one thing comes through loud and clear in the new nbc/wall street journal national poll: republicans have a major brand problem.
consider the following findings in the nbc/wsj poll:
* asked an open-ended question as to what single word or short phrase people would use to describe the republican party, 65 percent of the responses were negative, while just 17 percent were positive. (for democrats, 35 percent were positive, while 37 percent were negative.) among the most oft-mentioned phrases used to describe republicans: "bad/weak/negative" (8 percent), "uncompromising/need to work together" (6 percent) and "broken/disorganized/lost" (6 percent). so, that happened.
* the poll tested the positive and negative ratings for 11 politicians or political institutions. the lowest rated -- in terms of the differential between positive and negative ratings -- was the republican party, with a 30 percent positive score and a 45 percent negative score. of the five worst positive-to-negative ratios, republicans claimed four of them. (the lone exception: susan rice with a 20 positive/24 percent net-negative score.)
* when asked who they trusted more in "handling the fiscal cliff," 38 percent named president obama while just 19 percent named house speaker john boehner and republicans in congress. (fourteen percent said they trusted both equally, and another 28 percent said they trusted neither side.)
what those numbers make clear is that the republican brand is badly damaged. it is regarded by too many people as an uncompromising relic of the past -- a party that lacks new ideas and is, therefore, forced to largely serve as a blockade to the other side. (that's the biggest reason, by the way, why republicans should be interested in compromising on the fiscal cliff. they gap between how obama is regarded and how they are seen is enough to make going over the cliff a genuine political loser for them.)
republicans have and will continue to insist that they have put out new ideas, but the reality is that the american public doesn't perceive them that way.
the good news for republicans is that some of the party's brand issues may well take care of themselves. mitt romney is headed off the national stage at lightning speed and is being replaced by the likes of florida sen. marco rubio and louisiana gov. bobby jindal, who not only look different than the republican stereotype (rubio is latino, jindal is indian-american) but are also of a different generation (both men are in the early 40s) than most of the current national leaders of the republican party.
but, that's only part of the equation. new faces help, but without one clear leader it will be hard for anyone on the republican side to break through. ideas also matter, and republicans needs to find ways to surface new thoughts on issues people care about like education.
remember that re-setting public perception of a brand takes years (and even decades); it's not an overnight fix. the fix well remembers the perception from our childhood of apple as the sad little brother to microsoft. that's obviously changed, but it took time.
this reality means republicans need to start now if they want to change how people think of them before the next presidential election. they have their work cut out for them.
equal blame on fiscal cliff?: in contrast to previous polls, the nbc/wsj poll doesn't show republicans would get much more blame (24 percent) than obama and the democrats (19 percent) if the fiscal cliff isn't averted.
instead, a majority (56 percent) say they would blame both equally.
most other polls, including a washington post-abc news poll last week, have shown republicans would bear the brunt of a failed set of "fiscal cliff" negotiations.
but the new poll suggests there will be plenty of blame to go around.
fixbits:
secretary of state hillary clinton will testify next thursday in front of a house committee on the contents of a report on the killings of four americans in benghazi, libya.
mitt romney's jeep ad earns politifact's "lie of the year."
as expected, sen.-elect elizabeth warren (d-mass.) will be on the senate banking committee. here are the highlights of the democrats' committee assignments.
the post's ed o'keefe recaps the senate's retirement speeches in three minutes.
new york gov. andrew cuomo (d) sends a warning shot to republicans in the state senate's controversial new power-sharing arrangement.
chicago democrats are going to select their nominee for former congressman jesse jackson jr's. (d-ill.) seat on saturday.
rep. elijah cummings (d-md.) accuses the national football league players association of trying to back out of human growth hormone testing.
california gov. jerry brown (d) is being treated for prostate cancer.
must-reads:
"choose your own voters" -- david weigel, slate
"groups vow to push ‘right to work’ in other states" -- felicia sonmez and david a. fahrenthold, washington post
"to save his second term, obama must go over the fiscal cliff" -- noam scheiber, the new republic
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ðɪs wɑz daɪˈænəz ˈdɔtərz (rebekah*) ˌɪnkˈwaɪˌri ɔn maɪ ˈwɛdɪŋ ˈkɑnˌtækt fɔrm: 'heɪ ˈɛrɪn du tɪ ˈrisənt ɪˈvɛnts, maɪ mɑm ənd hər ˈpɑrtnər əv 26 jɪrz ər ˈgɪtɪŋ ˈmɛrid! aɪ noʊ ɪts ˈsupər læst ˈmɪnət, bət ðɛr ˈhoʊpɪŋ tɪ meɪk ɪt əˈfɪʃəl ˌbiˈfɔr lɔz hæv ə ʧæns tɪ bi ʧeɪnʤd. soʊ, maɪ fərst kˈwɛʃən ɪz: ər ju səˈpɔrtɪv əv seɪm sɛks ˈmɛrɪʤ? ɪf ju ər, ər ju əˈveɪləbəl ɔn ˈʤænjuˌɛri 6th*? ɪts goʊɪŋ tɪ bi ə ˈvɛri smɔl ˈsɛrəˌmoʊni ˈmeɪbi 20 ˈpipəl ˈtoʊtəl. ɪf jʊr ˈænsər tɪ ˈiðər kˈwɛʃən ɪz noʊ, du ju noʊ ˈɛniˌwən hu wʊd seɪ jɛs? θæŋks fər ˈteɪkɪŋ ðə taɪm tɪ ˈænsər! hoʊp jʊr ˈhævɪŋ ə greɪt ˈwiˌkɪnd. aɪ wɑz soʊ ˈhæpi ðət hæd iˈmeɪld mi, bət æt ðə seɪm taɪm aɪ wɑz ə ˈlɪtəl sæd. waɪ? fərst, ʃi hæd tɪ meɪk ʃʊr ðət ˈsəmˌwən wʊd wɔnt tɪ ˈfoʊtəˌgræf hər mɑmz ˈwɛdɪŋ wɪθ hər ˈpɑrtnər əv 26 jɪrz 26 jɪrz!). ˈsɛkənd, ðə ˈrizən fər ðɛm ˈfaɪnəli ˌdɪˈsaɪdɪŋ tɪ taɪ ðə nɑt wɑz ɑr ˈʧeɪnʤɪŋ pəˈlɪtɪkəl ˈklaɪmɪt ɪn ɑr ˈkəntri. aɪ ˌɪˈmiˌdiətli rɪˈspɑndɪd wɪθ ə jɛs! əv kɔrs aɪ wʊd. haʊ kʊd ˈɛniˌwən seɪ noʊ tɪ ðɪs? aɪ doʊnt noʊ ɪf daɪˈænə ənd su ər "geɪm ˈʧeɪnʤərz" bət aɪ bɪˈliv ðət ðeɪ hæv ˈbitən ðə geɪm. ðeɪ hæv ˈoʊvərˌkəm soʊ məʧ ɪn rɪˈgɑrdz tɪ ðɛr ˈlaɪfˌstaɪl ənd ðɛr riˈleɪʃənˌʃɪp, ənd ɪn ə wərld wɛr ˈpipəl seɪ "noʊ" ðeɪ sɛd "jɛs."
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this was diana's daughter's (rebekah) inquiry on my wedding contact form: 'hey erin — due to recent events, my mom and her partner of 26 years are getting married! i know it's super last minute, but they're hoping to make it official before laws have a chance to be changed. so, my first question is: are you supportive of same sex marriage? if you are, are you available on january 6th? it's going to be a very small ceremony — maybe 20 people total. if your answer to either question is no, do you know anyone who would say yes? thanks for taking the time to answer! hope you're having a great weekend.
i was so happy that rebekah had emailed me, but at the same time i was a little sad. why? first, she had to make sure that someone would want to photograph her mom's wedding with her partner of 26 years (26 years!). second, the reason for them finally deciding to tie the knot was our changing political climate in our country. i immediately responded with a yes! of course i would. how could anyone say no to this?
i don't know if diana and sue are "game changers" but i believe that they have beaten the game. they have overcome so much in regards to their lifestyle and their relationship, and in a world where people say "no" they said "yes."
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ˈpɛrəˌmaʊnts (ˈvaɪəkɑm, ɪŋk.) ˈtiˌneɪʤ mˈjutənt ˈnɪnʤə ˈtərtəlz ɪts weɪ tɪ ə tərˈɪfɪk ˈmɪljən ˈoʊpənɪŋ ˈfraɪˌdeɪ, ˌɪnˈkludɪŋ ɔn ˈθərzˌdeɪ. brif daɪˈgrɛʃən: fər ə ˈsəmər bɑks ˈɔfəs ðæts əˈlɛʤədli ɪn səm kaɪnd əv sləmp, ðɪs ɪz ðə fɔrθ wik əv tərˈɪfɪk ˈdeɪbjuz fər ðə nu riˈlis. wɪl ˈpəndɪts stɪl kraɪ faʊl ɪf ðɪs ˈɔgəst tərnz aʊt tɪ bi ðə ˈbɪgəst ɔn ˈrɛkərd? ˈɛniˌweɪ, ˈtiˌneɪʤ mˈjutənt ˈnɪnʤə ˈtərtəlz, ðə ˈfrænˌʧaɪz riˈbut prəˈdust baɪ ˈmaɪkəl beɪ, dɪˈrɛktɪd baɪ ˈʤɑnəθən liebesman*, ənd ˈstɑrɪŋ ˈmeɪgən fɑks, wɑz prɑˈʤɛktəd tɪ ˈoʊpən æt əraʊnd ˈoʊvər ɪts ˈdeɪbju ˈwiˌkɪnd. bət ˈivɪn wɪθ pur rəvˈjuz ənd ˈgɑrdiənz əv ðə ˈgæləksi ˈɔfərɪŋ ˌkɑmpəˈtɪʃən, ðə riˈvæmp ɪz ɔn træk tɪ ərn əraʊnd fər ðə ˈwiˌkɪnd. ðɪs ɪz ˈfræŋkli ðə kaɪnd əv "wi ʃʊd hæv sin ðɪs ˈkəmɪŋ!" bɑks ˈɔfəs səˈpraɪz ðət meɪks ðɪs geɪm fən. ðə bɪg kˈwɛʃən fər ðə ˈwiˌkɪnd ɪz haʊ məʧ ðə fɪlm pleɪz laɪk ə hɪt (wɪθ ˈrɪli strɔŋ ˈsæˌtɪˌdeɪ ˈmætɪˌneɪ ˈbɪznɪs ənd ðəs ə haɪər ˈməltəˌplaɪər) ər ə ˈʤɛnərəl hɪt (wɪθ ðə naʊ ˈstændərd ˈməltəˌplaɪər). gɪvz ðə fɪlm ə roʊˈbəst waɪl gɪvz ðə fɪlm ə ˈsəmˈwət ˌɪnˈseɪn fər ðə freɪm. bət ˈiðər weɪ ðɪs ɪz ə ˈdaɪnəˌmaɪt ˈdeɪbju ˈwiˌkɪnd fər ə ˈprɑʤɛkt ðət wɑz ðə ˈɑbʤɛkt əv skɔrn frəm ðə ˈmoʊmənt əv ɪts ˌɪnˈsɛpʃən. wət wɑz ˈpɛrəˌmaʊnts ˈmɑrkətɪŋ ˈstrætəʤi? noʊ fɪr. ðeɪ ˈdɪdənt rɪˈspɑnd tɪ ˈkrɪtɪks ənd ˈpəndɪts dɪˈkraɪɪŋ ˈmaɪkəl beɪ ɛz ðə əv ˈʧaɪlˌdhʊdz, ðə wɪrd nu dɪˈzaɪnz, ər hu wɑz ər ˈwəzənt pleɪɪŋ ʃˈrɛdər ənd ɪf ðə ˈtərtəlz wər ər wər nɑt ˈeɪliənz. ˈpɛrəˌmaʊnt nu ðət ðə væst məˈʤɔrəti əv ˈmuˌviˌgoʊərz (ənd ɪn ðɪs keɪs ˈjəŋgər ˈmuˌviˌgoʊərz hu dɪˈskəvərd ðə ˈtaɪtəl ˈkɛrɪktərz θru ðə nuəst ˈænəˌmeɪtɪd ˌɪnˈkɑrˈneɪʃən) wərənt goʊɪŋ tɪ kɛr əˈbaʊt ðət stəf, ˈivɪn ɪf ə ˈklɪrli "ˈtɪŋkərd ənd ɪn poʊst pərˈdəkʃən" ˈfaɪnəl ˈprɑdəkt ˌɪmˈplaɪz ðət ˈsəmˌwən dɪd. ˈpɛrəˌmaʊnt ˈɔlsoʊ dɪˈzərvz ˈkudoʊs fər ə ˈrɛlətɪvli riˈstreɪnd ənd ˌɛkskˈwɪzɪtli taɪmd kæmˈpeɪn. ðeɪ drɑpt ðə fərst ˈtizər ɔn ðə ˈoʊpənɪŋ ˈwiˌkɪnd əv ˈkæptən əˈmɛrɪkə: ðə ˈwɪntər ˈsoʊlʤər, ˌgɛrənˈtiɪŋ ðət moʊst əv ðə 95 əv ˈtɪkɪt baɪərz sɔ ðə ˈtizər tɪ ðə ˈəpˌkəmɪŋ ˈmuvi. ðɛn ðeɪ ˈweɪtɪd, nɑt ˈdrɑpɪŋ əˈnəðər ˈhoʊli nu ˈtreɪlər ənˈtɪl ðə ɛnd əv ʤun raɪt ɪn taɪm tɪ bi əˈtæʧt tɪ ðɛr oʊn trænsˈfɔrmərz: eɪʤ əv ɪkˈstɪŋʃən, ˌgɛrənˈtiɪŋ ðət ˈɛvəri ˈsɪŋgəl tɪ ˈmaɪkəl beɪz fɔrθ ədˈvɛnʧər wʊd si ðə ˈsɛkənd ˈtreɪlər. ˈəðər ðən ðət, ɪt wɑz ʤɪst ə fju ˌtɛləˈvɪʒən spɑts ənd ə "ʃɛl ʃɑkt" ræp ˈvɪdioʊ ðət brɔt bæk nɔˈstælʤɪk ˈmɛməriz (ənd ðəs fri ˈædvərˌtaɪzɪŋ sərˈaʊndɪŋ ðə nu fɪlm) fər vəˈnɪlə aɪs "goʊ ˈnɪnʤə, goʊ!" ræp ˈvɪdioʊ fər ˈtiˌneɪʤ mˈjutənt ˈnɪnʤə ˈtərtəlz ii*: ðə ˈsikrɪt əv ðə uz bæk ɪn 1991 ˈpɛrəˌmaʊnt nu ðə ˈkɛrɪktərz ər ˌaɪˈkɑnɪk ɪˈnəf tɪ draɪv ðə ˈkjʊriəs, ðə fəˈnætɪk, ənd ðə ˈʤɛnərəl ˈmuvi goʊər ˈɪntu ðə ˈθieɪtər wɪθ ðə seɪm ˌɪnˈdɪfərəns tɪ ˈkrɪtɪkəl ˈnoʊtɪsɪz ðət droʊv trænsˈfɔrmərz 4 tɪ ə ˈdeɪbju. ðə ˈoʊnli "flɔ," ɪz ðət ðə fɪlm ˈnidləsli ˈɛndɪd əp wɪθ ə ɛz ðə ˈpɪkʧər kʊd hæv pleɪd ˈivɪn ˈstrɔŋgər tɪ ˈivɪn ˈjəŋgər ˈʧɪldrən wɪθ ə ˈreɪtɪŋ. stɪl, ɪt wɑz ə ˈprɪti tərˈɪfɪk kæmˈpeɪn, ˈsərtənli aʊt ɪn fʊl fɔrs ˈviə ˈvɛriəs (ˈpitsə hət, pringles*, ˌɛtˈsɛtərə.) ənd cross-promotions*, bət ɪt wɑz ˈeɪbəl tɪ ˈsæʧərˌeɪt ðə ˌdɛməˈgræfɪks ənd meɪk ˈɛvriˌwən əˈwɛr əv ðə fɪlm wɪˈθaʊt ˈbleɪtəntli rɪˈvilɪŋ məʧ əv ðə fɪlmz plɑt ər ˈvɪʒəwəl bits. ðə fɪlm pleɪd 61 meɪl ənd 55 jɪrz oʊld. ðɛr wər θri ˈəðər waɪd rɪˈlisɪz ðɪs ˈwiˌkɪnd. ðə nɛkst ˈbɪgəst ˈdeɪbju wɑz ˈwɔrnər bros*.' (taɪm ˈwɔrnər, ɪŋk.) ˈɪntu ðə stɔrm. ðə 50 ˈmɪljən nu laɪn ˈroʊdˌʃoʊ tɔrˈneɪˌdoʊ ˈdrɑmə, pəˈzɪʃənd ɛz ə faʊnd ˈfʊtɪʤ tˈwɪstər fər ðə ˈjuˌtub ˈɪrə, ərnd ə ˈrɛlətɪvli ˈsɑləd ɔn ɪts ˈoʊpənɪŋ deɪ, ˌɪnˈkludɪŋ wərθ əv ˈθərzˌdeɪ ˈprivˌjuz. ðə fɪlm ʃʊd ɛnd ðə ˈwiˌkɪnd wɪθ əraʊnd 17m*, wɪʧ ˈɪzənt riˈmoʊtli ˈʃæbi kənˈsɪdərɪŋ wət ə riˈlis ɪt ɪz. ðə ˈʤərni, frəm wɔlt ˈdɪzni, ərnd ɔn ɪz ˈoʊpənɪŋ deɪ. ðə ˈhɛlən ˈmɪrən ˈfudi ˈdrɑmə ɪz sɛt tɪ ərn əraʊnd ˈoʊvər ɪts ˈdeɪbju ˈwiˌkɪnd, wɪʧ ˈɪzənt ˈtɛrəbəl fər ðə ˈhælstrəm ˈpɪkʧər. ˈdɪzni wɑz ˈɑrgjuəbli ˈhoʊpɪŋ ðɪs wən wʊd bi ðə prəˈvərbiəl ʤulz ənd ˈʤuljə ər hoʊp spərɪŋz əv ˈsəmər 2013 ˌɔlˈðoʊ ˈhɛlən ˈmɪrən ˈɪzənt kwaɪt ðə bɑks ˈɔfəs drɔ əv ˈmɛrəl strip, wi kʊd stɪl si ə ˈməltəˌplaɪər wɪʧ wʊd gɪv ðə fɪlm əraʊnd baɪ ðə taɪm ɪt livz dəˈmɛstɪk ˈθiətərz. stɛp əp: ɔl ɪn ərnd ʤɪst ˈmɪljən ɔn ɪts ˈoʊpənɪŋ deɪ fər ə ˈprɑbəbəl ˈdeɪbju ˈwiˌkɪnd. ðə fɪθ ˈɛntri ɪn ðə ˈsɪriz (ðə fərst θri wər ˈdɪzni, ðə læst tu wər dɪˈstrɪbjətəd baɪ lionsgate*) həz ˈsædli feɪld tɪ bɪld ɪts ˈɔdiəns ˈoʊvər ðə læst eɪt jɪrz, wɪθ iʧ fɪlm ˈoʊpənɪŋ lɛs ənd ˈərnɪŋ lɛs dəˈmɛstɪkli ðən ðə praɪər ˌɪnˈstɔlmənt. ðə gʊd nuz ɪz ðət ðɪs ˈsɪriz ɪz ðə kaɪnd ðət bərnz əp ðə bɑks ˈɔfəs ˈoʊvərˈsiz, ɛz ðə læst θri ˈɛntriz ərnd 140m*+ ˈwərldˈwaɪd wɪˈθaʊt ˈbreɪkɪŋ ˈsteɪtˈsaɪd. ɪts ðə ˈrɛzɪdənt ˈivəl əv ˈhɪˌphɔp dæns ædˈvɛnʧərz. ðiz fɪlmz ər ə lɔt əv dəm fən ˈʃoʊkeɪsɪŋ səm ˈstupəˌdli ˈtæləntɪd ˈdænsərz, ənd ðɪs fɪθ wən ɪz wən əv ðə bɛst əv ðə ˈfrænˌʧaɪz (stɛp əp ɪz stɪl ðə ˈɛmpaɪər straɪks bæk əv stɛp əp fɪlmz). aɪ doʊnt noʊ ðə ˈbəʤɪt ðɪs taɪm əraʊnd (stɛp əp: ˌrɛvəˈluʃən kɔst 33m*), bət ðə fɪlm həz ɔˈrɛdi meɪd ˈoʊvərˈsiz praɪər tɪ ɪts ˈjuˈɛs ˈdeɪbju. ɪn ə wərld əv ˈfrænˌʧaɪzɪz, əm kwaɪt glæd ə tru ˈfrænˌʧaɪz laɪk ðɪs ɪgˈzɪsts. aɪ hoʊp wi stɪl gɪt stɛp əp: ðə weɪ əv ɔl flɛʃ ɪn ˈsəmər 2016 ɪn ˈhoʊlˌdoʊvər nuz, wi maɪt wɔnt tɪ pʊt ə ˌmɔrəˈtɔriəm ɔn θɪŋk ˈpisɪz əˈbaʊt ɔl ðə ˈwəndərfəl ˈlɛsənz frəm ˈgɑrdiənz əv ðə ˈgæləksi. dɪˈspaɪt reɪv rəvˈjuz ənd bəz, ðə ˈmɑrvəl ədˈvɛnʧər ɪz stɪl sɛt tɪ teɪk ə ˈtəmbəl ɪn ˈwiˌkɪnd tu. ðə fɪlm ərnd əraʊnd ˈmɪljən ɔn ɪts ˈsɛkənd ˈfraɪˌdeɪ, daʊn 67 frəm læst ˈfraɪˌdeɪ (daʊn 53 nɑt ˈkaʊntɪŋ ðə ˈθərzˌdeɪ ˈprivˌju ˈgroʊsɪz) ənd ˈbrɪŋɪŋ ðə fɪlmz dəˈmɛstɪk ˈtoʊtəl əp tɪ 146.7m*. æt bɛst ðə fɪlm ɛndz əp wɪθ 54 tɪ 57 frəm læst ˈwiˌkɛndz ˈdeɪbju) fər ðə freɪm, ˌɔlˈðoʊ ðət ˌprisəˈpoʊzɪz ðət ðə ənkˈwɛsʧənəbli ˈtiˌneɪʤ mˈjutənt ˈnɪnʤə ˈtərtəlz woʊnt liʧ ðə ˈfæməli ˈɔdiəns təˈdeɪ. ðə ˈoʊpənɪŋ læst ˈwiˌkɪnd wɑz stɪl ə traɪəmf əv ˈmɑrkətɪŋ ənd aɪ stɪl əˈdɔr ðə fɪlm, bət ðə fækt ðət ɪt ˈdɪdənt hoʊld məʧ ˈbɛtər ðən ðə laɪks əv əˈmeɪzɪŋ ˈspaɪdərmæn 2 61 ər trænsˈfɔrmərz 4 63 meɪ min ɪts ˈmɪrli əˈnəðər traɪəmf əv ˈɪntəˌrɛst ənd ˈmɑrkətɪŋ ɛz əˈpoʊzd tɪ ˈhɪtɪŋ ˈɛni kaɪnd əv ˈkəlʧərəl tˈsaɪtˌgaɪst. bət, ənd ðɪs ɪz ə ˈvɛri bɪg "bət," ˈɪtəl stɪl bi æt əraʊnd baɪ təˈmɑˌroʊ ənd ɪt stɪl meɪ ɛnd əp ðə jɪrz dəˈmɛstɪk hɪt. ðət ɪz ˈnəθɪŋ tɪ sniz æt ɪn ˈɛni weɪ, ʃeɪp, ər fɔrm. jɛt ðə fækt ðət ðə fɪlm ˈdɪdənt dɪˈspleɪ məʧ steɪɪŋ paʊər ənd ðə fækt ðət wɪr ˈsɛləˌbreɪtɪŋ ə fɪlm ðət ˈdeɪbjutɪd wɪθ prɪˈzuməbli ˈhɪtɪŋ dəˈmɛstɪk sɪz ˈsəmθɪŋ əˈbaʊt ðə ˈkɑrənt ˈmɑrkɪtˌpleɪs. ˈskɑrlɪt ˈlusi ɪz ˈfɑlɪŋ ˈprɪti fæst, ˈhævɪŋ ərnd ˈmɪljən ɔn ˈfraɪˌdeɪ, ˈsɛtɪŋ ˌɪtˈsɛlf əp fər ə ˈwiˌkɪnd 51 frəm læst ˈwiˌkɪnd). stɪl, ðə luk ˈbɛsən θˈrɪlər wɪl krɔs ˈsəmˌtaɪm ɪn ðə ˈmɪdəl əv nɛkst wik. dweɪn ˈʤɑnsənz ˈhərkjəˌliz ɪz ˈfɑlɪŋ hɑrd tu, wɪθ ˈpɛrəˌmaʊnts brɛt ˈprɑʤɛkt ˈərnɪŋ ʤɪst ɔn ɪts θərd ˈfraɪˌdeɪ ɛz ɪt blidz 662 skrinz ɪn ɪts θərd freɪm. ɪkˈspɛkt ə ˈwiˌkɪnd ənd ə ˈtoʊtəl, ˌɔlˈðoʊ ðə ˈpɪkʧər wɑz æt ˈwərldˈwaɪd ˈhɛdɪŋ ˈɪntu ðə ˈwiˌkɪnd. gɪt ɔn əp ɪz ˈfɑlɪŋ hɑrd tu, wɪθ nɑt ɪˈnəf bəz tɪ hoʊld strɔŋ ˈæftər ə ˈsəmˈwət wik ˈoʊpənɪŋ ˈwiˌkɪnd. ðə ʤeɪmz braʊn frəm ˌjunəˈvərsəl ərnd ɔn ɪts ˈsɛkənd ˈfraɪˌdeɪ 66 frəm læst ˈfraɪˌdeɪ) ənd ʃʊd ərn fər ðə freɪm tɪ pʊʃ ðə fɪlm tɪ 23m*. dɔn əv ðə ˈplænət əv ðə eɪps ʃʊd ərn əraʊnd ɔn ɪts θərd ˈwiˌkɪnd 48 ˈæftər ˈərnɪŋ təˈdeɪ. ɪkˈspɛkt ə nu dəˈmɛstɪk. ɪts ˈɔlsoʊ æt ˈwərldˈwaɪd goʊɪŋ ˈɪntu ðə ˈwiˌkɪnd, soʊ əm ʃʊr fɑks ˈɪzənt tu ˈəpˌsɛt. ðə ˈsikwəl meɪ ˈivɪn sərˈpæs ðə ˈgloʊbəl əv raɪz əv ðə ˈplænət əv ðə eɪps baɪ təˈmɑˌroʊ. ˈfaɪnəli ˈdɪzniz pleɪnz: faɪər ənd ˈrɛskju ʃʊd ərn əˈbaʊt fər ðə ˈwiˌkɪnd tɪ brɪŋ ɪts dəˈmɛstɪk tɪ 53m*. noʊ greɪt ʃeɪks, bət nɑt ə dɪˈzæstər ˈiðər. ðæts ɪt fər təˈdeɪ. ʤɔɪn ˈjuˈɛs təˈmɑˌroʊ fər ˈwiˌkɪnd ˈɛstəˌmeɪts ənd mɔr ˈhoʊlˌdoʊvər nuz.
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paramount's (viacom, inc.) teenage mutant ninja turtles turtle-powered its way to a terrific $25.6 million opening friday, including $4.6m on thursday. brief digression: for a summer box office that's allegedly in some kind of slump, this is the fourth week of terrific debuts for the would-be new release. will pundits still cry foul if this august turns out to be the biggest on record? anyway, teenage mutant ninja turtles, the $125m franchise reboot produced by michael bay, directed by jonathan liebesman, and starring megan fox, was projected to open at around $40-$45m over its debut weekend. but even with poor reviews and guardians of the galaxy offering buzz-stealing competition, the tmnt revamp is on track to earn around $60m-65m for the weekend. this is frankly the kind of "we should have seen this coming!" box office surprise that makes this game fun.
the big question for the weekend is how much the film plays like a kid-centric hit (with really strong saturday matinee business and thus a higher multiplier) or a general hit (with the now standard 2.5x multiplier). 2.5x gives the film a robust $64m while 2.75x gives the film a somewhat insane $70m for the frame. but either way this is a dynamite debut weekend for a project that was the object of scorn from the moment of its inception. what was paramount's marketing strategy? no fear. they didn't respond to critics and pundits decrying michael bay as the ruiner of childhoods, the weird new designs, or who was or wasn't playing shredder and if the turtles were or were not aliens. paramount knew that the vast majority of moviegoers (and in this case younger moviegoers who discovered the title characters through the newest animated incarnation) weren't going to care about that stuff, even if a clearly "tinkered and re-shot in post production" final product implies that someone did.
paramount also deserves kudos for a relatively restrained and exquisitely timed campaign. they dropped the first teaser on the opening weekend of captain america: the winter soldier, guaranteeing that most of the $95 million-worth of ticket buyers saw the teaser to the upcoming tmnt movie. then they waited, not dropping another wholly new trailer until the end of june right in time to be attached to their own transformers: age of extinction, guaranteeing that every single ticket-buyer to michael bay's fourth robot-smashing adventure would see the second tmnt trailer. other than that, it was just a few tv spots and a well-timed "shell shocked" rap video that brought back nostalgic memories (and thus free advertising surrounding the new film) for vanilla ice "go ninja, go!" rap video for teenage mutant ninja turtles ii: the secret of the ooze back in 1991.
paramount knew the characters are iconic enough to drive the curious, the fanatic, and the general movie goer into the theater with the same indifference to critical notices that drove transformers 4 to a $100m debut. the only "flaw," is that the film needlessly ended up with a pg-13, as the picture could have played even stronger to even younger children with a mostly-appropriate pg rating. still, it was a pretty terrific campaign, certainly out in full force via various tie-ins (pizza hut, pringles, etc.) and cross-promotions, but it was able to saturate the demographics and make everyone aware of the film without blatantly revealing much of the film's plot or visual beats. the film played 61% male and 55% over-25 years old.
there were three other wide releases this weekend. the next biggest debut was warner bros.' (time warner, inc.) into the storm. the $50 million new line cinema/village roadshow tornado drama, positioned as a found footage twister for the youtube era, earned a relatively solid $6.5m on its opening day, including $800k worth of thursday previews. the film should end the weekend with around $17m, which isn't remotely shabby considering what a low-profile release it is. the hundred-foot journey, from walt disney, earned $3.65m on is opening day. the helen mirren foodie drama is set to earn around $10m over its debut weekend, which isn't terrible for the $22m lasse hallstrom picture. disney was arguably hoping this one would be the proverbial jules and julia or hope springs of summer 2013. although helen mirren isn't quite the box office draw of meryl streep, we could still see a 4x weekend-to-final multiplier which would give the film around $40m by the time it leaves domestic theaters.
step up: all in earned just $2.84 million on its opening day for a probable $8m debut weekend. the fifth entry in the long-running dancing-and-drama series (the first three were disney, the last two were distributed by lionsgate) has sadly failed to build its audience over the last eight years, with each film opening less and earning less domestically than the prior installment. the good news is that this series is the kind that burns up the box office overseas, as the last three entries earned $140m+ worldwide without breaking $60m stateside. it's the resident evil of hip-hop dance adventures. these films are a lot of dumb fun showcasing some stupidly talented dancers, and this fifth one is one of the best of the franchise (step up 3d is still the empire strikes back of step up films). i don't know the budget this time around (step up: revolution cost $33m), but the film has already made $26m overseas prior to its us debut. in a world of mega-budget franchises, i'm quite glad a true b-movie franchise like this exists. i hope we still get step up: the way of all flesh in summer 2016.
in holdover news, we might want to put a moratorium on think pieces about all the wonderful lessons from guardians of the galaxy. despite rave reviews and white-hot buzz, the marvel adventure is still set to take a now-standard 55-60% tumble in weekend two. the film earned around $12.33 million on its second friday, down 67% from last friday (down 53% not counting the thursday preview grosses) and bringing the film's domestic total up to $146.7m. at best the film ends up with $40-$43m (-54% to -57% from last weekend's $94m debut) for the frame, although that presupposes that the unquestionably overperforming teenage mutant ninja turtles won't leach the family audience today.
the opening last weekend was still a triumph of marketing and i still adore the film, but the fact that it didn't hold much better than the likes of amazing spider-man 2 (-61%) or transformers 4 (-63%) may mean its merely another triumph of front-loaded interest and top-notch marketing as opposed to hitting any kind of cultural zeitgeist. but, and this is a very big "but," it'll still be at around $175m by tomorrow and it still may end up the year's biggest-grossing domestic hit. that is nothing to sneeze at in any way, shape, or form. yet the fact that the film didn't display much staying power and the fact that we're celebrating a film that debuted with $94m presumably hitting $250m-$260m domestic says something about the current marketplace.
scarlett johansson's lucy is falling pretty fast, having earned $2.8 million on friday, setting itself up for a $9m weekend (-51% from last weekend). still, the $40m luc besson thriller will cross $100m sometime in the middle of next week. dwayne johnson's hercules is falling hard too, with paramount's brett ratner-helmed project earning just $1.3m on its third friday as it bleeds 662 screens in its third frame. expect a $4m weekend and a $62m 17-day total, although the $110m picture was at $114m worldwide heading into the weekend.
get on up is falling hard too, with not enough buzz to hold strong after a somewhat weak opening weekend. the $30m james brown biopic from universal earned $1.5m on its second friday (-66% from last friday) and should earn $5.5m for the frame to push the film to $23m. dawn of the planet of the apes should earn around $4.5m on its third weekend (-48%) after earning $1.25m today. expect a new $198m domestic cume. it's also at $451m worldwide going into the weekend, so i'm sure fox isn't too upset. the $170m sequel may even surpass the $480m global cume of rise of the planet of the apes by tomorrow. finally disney's planes: fire and rescue should earn about $2.6m for the weekend to bring its domestic cume to $53m. no great shakes, but not a disaster either.
that's it for today. join us tomorrow for weekend estimates and more holdover news.
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hɛˈloʊ gaɪz! θæŋks fər ˈteɪkɪŋ ðə taɪm tɪ gɪv ən ˈɪntərvˌju. ˈfərstli, fər ɔl ðə ˈpipəl hu noʊ ju, tɛl ˈjuˈɛs hu ju ər ənd wɛr frəm. ˈʤɛfri væn dər, nɪk væn dər ənd ˈpitər spaargaren*. wi ɔl lɪv nɪr ðə ˈkæpɪtəl əv ðə ˈnɛðərləndz, ˈæmstərˌdæm. təˈgɛðər wi fɔrm ðə ˈprɑʤɛkt ˈizəli ɪmˈbɛrəst, wɪʧ stændz fər ˌɪˌlɛkˈtrɑnɪk mˈjuzɪk wɪθ ˌætməsˈfɛrɪk weɪvz, ˌsaɪkəˈdɛlɪk ˈɪnˌfluənsɪz ənd rɑ ˈrɛtroʊ ˈsɪnθəˌsaɪzər ɔn tɔp. wət ər jʊr mˈjuzɪkəl ˈbækˌgraʊndz? wɛr du ju kəm frəm mˈjuzɪkli ənd wət lɛd ju tɪ ˌsaɪkəˈdɛlɪk? ˈʤɛfri: bɪn ə lɔŋ ˈʤərni; groʊɪŋ əp wɪθ ə ˈkɑməˌdɔr 64 spɑrkt maɪ ˈɪntəˌrɛst ɪn ðə saʊnd əv ˈsɪnθəˌsaɪzərz. maɪ teɪsts swɪʧt frəm ˈʤɛnərəl ənd pɑp mˈjuzɪk, tɪ haʊs, tɪ ˈhɑrdˈkɔr, tɪ kləb træns, tɪ goʊə træns ənd ɪˈvɛnʧəwəli aɪ ˈɛndɪd əp ɪn ɪkˈsplɔrɪŋ stəfs ˈreɪnʤɪŋ frəm breɪn ˈɛnoʊ ənd ʤin ˈmɪʧəl tɪ, ˈkɑrbən beɪst ənd ˈsoʊlər fildz. nɪk: aɪ gru əp wɪθ ðə seɪm ˈɪntərɪsts ɛz maɪ ˈbrəðər ˈʤɛfri. ɪt ɔl ˈstɑrtɪd wɪθ ðə greɪt ˈsɪnθəˌsaɪzər saʊnz əv ðə ˈkɑməˌdɔr 64 aɪ ˈstɑrtɪd pleɪɪŋ ðə əˈkustɪk gɪˈtɑr æt ðə eɪʤ əv 10 aɪ ˈlɪsənd tɪ ə lɔt əv mˈjuzɪk frəm maɪ ˈbrəðər, soʊ aɪ gru əp wɪθ ðə seɪm teɪst fər mˈjuzɪk. bət aɪ θɪŋk aɪ dɪˈskəvərd ðə ˌsaɪkəˈdɛlɪk mˈjuzɪk əraʊnd 2000 ˈstɑrtɪd wɪθ ˌsaɪkəˈdɛlɪk goʊə træns laɪk ˌɪnˈfɛktɪd ˈməʃrum, bət keɪm əˈkrɔs ɛz wɛl. aɪ meɪd səm ˌsaɪkəˈdɛlɪk goʊə ɛz ˈsoʊˌloʊ ˈɑrtɪst ənd ˈleɪtər ˈstɑrtɪd tɪ wərk wɪθ ˈpitər ɔn ə goʊə træns ˈprɑʤɛkt, bət wɪθ noʊ ril səkˈsɛs. ðə ril ˌsaɪkəˈdɛlɪk ˈʤərni bɪˈgæn wɪθ ðə stɑrt əv ˈizəli ɪmˈbɛrəst bæk ɪn 2006 ənd ˈɔlˌweɪz bɪn ˈlɪsənɪŋ tɪ ðət staɪl ˈɛvər sɪns. ˈpitər: aɪ ˈstɑrtɪd ˈmeɪkɪŋ ˈhɑrdˈkɔr əraʊnd 2000 ˈæftər ðət aɪ ˈrɪli gɑt ˈɪntu ɪkˌspɛrɪˈmɛntəl mˈjuzɪk ənd ˈtɛknoʊ. aɪ ðɛn gɑt ˌɪnˈtrigd baɪ ˌsaɪkəˈdɛlɪk mˈjuzɪk wɪn ə frɛnd ˌɪntrəˈdust mi tɪ ˌɪnˈfɛktɪd ˈməʃrum ənd. ˈnaʊəˌdeɪz aɪ stɪl meɪk ˈtɛknoʊ (ənd ˈəðər streɪnʤ θɪŋz aɪ fɪt ɪn i) ɛz ə ˈsoʊˌloʊ side-project*. 4 jɪrz laɪk ˈjɛstərˌdeɪ fʊl lɛŋθ mɪks baɪ ˈizəli ɪmˈbɛrəst ɪt simz ju ɔl hæv ə ʃɛrd ləv əv ðə saʊnd. haʊ wʊd ju seɪ ðət həz ˈɪnfluənst jʊr mˈjuzɪk? nɪk: aɪ gru əp wɪθ ðɪs dɪˈvaɪs. moʊst ˈpipəl frəm ðiz deɪz wʊd seɪ ˈkreɪzi. ɔl ðoʊz ənd ər ˈoʊnli əˈnɔɪɪŋ saʊnz raɪt? bət ˈæˌkʧuəli ðɛr wər səm greɪt kəmˈpoʊzərz hu meɪd ˈmæstərˌpisɪz frəm ən ˈoʊnli 3 ˈʧænəl ˈsɪnθəˌsaɪzər. neɪmz laɪk rɑb ˈhəbərd, ˈmɑrtɪn ˈgɑlweɪ ənd tɛl ər 3 əv ðoʊz. aɪ ˈlərnɪd ðət mˈjuzɪk kən meɪk ər breɪk ə geɪm. mˈjuzɪk kən brɪŋ ju ɪn ə spɪˈsɪfɪk mud ənd ɪf ðə mˈjuzɪk ɪz gʊd ɪˈnəf tɪ gɪv ju ðɪs ˈspɛʃəl ˈfilɪŋ ɪt kən meɪk ə geɪm fər ˈoʊvər 50 ə ˈwɪnər. ˈrɪli wət həz ˈkipɪŋ mi ɔn ɪn maɪ pæst. ə lɔt əv mˈjuzɪk kəmˈpoʊzərz wər ˌɪnˈspaɪərd baɪ neɪmz laɪk ʤin ˈmɪʧəl, ər ˌtænʤərˈin drim. ˈsɪnθəˌsaɪzər mˈjuzɪk wɪθ ə ˈklæsɪk ˈrɛtroʊ saʊnz. ˈmoʊstli pleɪd ɪn ˈmaɪnər skeɪl. ənd aɪ θɪŋk ɪgˈzæktli wət wi du. əv kɔrs ˈlʊkɪŋ ˈfɔrwərd ənd ɪkˈstɛndɪŋ ɑr ˈmɛlədi laɪnz tɪ ˈkɑmbaɪn mɔr staɪlz wɪθ iʧ ˈəðər, bət ðə ɪz wɛr ɪt ɔl ˈstɑrtɪd fər mi. ˈʤɛfri: ə lɔt! ðə saʊnd ɪz wət gɑt mi hʊkt tɪ ˈfɪltərz ənd ðə ˈifɛkts əv ˈfeɪzɪŋ ənd wɪʧ ðeɪ kʊd əˈʧiv baɪ ˈɔfˌsɛtɪŋ ðə fju ˈɑsəˌleɪtərz ðeɪ hæd ɪn ðə ˈɔlsoʊ ðə mˈjuzɪk ɪn ðə geɪmz ənd ˈdɛmoʊ məˈtɪriəl wʊd ɔl teɪk juʤ ˈɪnˌfluənsɪz frəm ðə ˈɛpɪk leɪt ʤin ˈmɪʧəl stəf ənd ðɛr wɑz lɑts əv ˈklæsɪkəl mˈjuzɪk ˌɪnˈspaɪərd stəf, ər ˈækʧəwəl ˈklæsɪkəl ˈpisɪz pleɪd trɔf ðə sɪd saʊnd ənd ðɛr wər ˈɔlsoʊ lɑts əv rɑk tunz pleɪd trɔf ðə wɪʧ meɪks ɪt rɑk laɪk əv kɔrs. ɔl ðət ˈdɛfənətli meɪd ɪt bæk ˈɪntu ɑr mˈjuzɪk. ˈpitər: ɔl əv ðə əˈbəv! ɪt ˈɔlsoʊ wɑz ə juʤ ˈɪnfluəns tɪ mi. aɪ ˈɔlsoʊ θɪŋk ðət ðə fækt ðə saʊnd əv ðə sɪd ʧɪp bi ˈɛmjəˌleɪt baɪ ˈɛni ɪz ˈrɪli intrueging*. ʤɪst laɪk səm oʊld ˈænəˌlɔg ˈsɪnθəˌsaɪzərz ʤɪst ˈnəθɪŋ ðət ˈmæʧɪz ɪt. ju ˈmɛnʃən ˈrənɪŋ ə ɔn ðə saɪd, ˈpitər. ɪt kɔld? ənd dɪz ˈʤɛfri ənd nɪk ˈɔlsoʊ hæv ˈprɑʤɛkt ˌbiˈsaɪdz ˈizəli ɪmˈbɛrəst? ɔl əv ˈjuˈɛs juzd tɪ hæv ɑr ˈlɪtəl ˈhɑbi ˈprɑʤɛkts, laɪk ““saiko”*”, ““nekativ”*” ənd nɪk ənd ““plantbane”*”. ju maɪt bi ˈeɪbəl tɪ faɪnd səm əv ðiz əraʊnd ðə wɛb ɪf ju dɪg hɑrd ɪˈnəf, bət ðə kˈwɑləti əv ðiz ˈprɑʤɛkts ɪz nɑt ˈrɪli əp tɪ ɑr poʊst i ˈstændərdz ˈoʊnli pointer”*” ˈprɑʤɛkt ɪz rɪˈmeɪnz ˈæktɪv təˈdeɪ (ˌɔlˈðoʊ hɪz ˈfoʊkɪs ˈmoʊstli laɪz ɔn ˈizəli ɪmˈbɛrəst). wət ɪz ðə ˈɔrəʤən əv ðə neɪm ˈizəli ɪmˈbɛrəst? frəm ˈwɑʧɪŋ ɪmˈbɛrəst ˈlɪtəl gərlz ɪn ˌʤæpəˈniz ˌænəˈmeɪʃən waɪl ˈwərkɪŋ ɔn ɑr ˈvɛri fərst træk gardening”*”. ˈsæmpəlz frəm hæv ˈfrikwəntɪd ɑr pərˈdəkʃənz ɪn ðə pæst bɪˈkəz əv ðət, bət ðə neɪm dɪz nɑt hæv məʧ ˈminɪŋ bɪɔnd ðət du ju ˈɛvər hæv kriˈeɪtɪv ˈdɪfərənsɪz ər ˈdɪfərənt vjuz əv haʊ ju wɔnt ə træk tɪ ˈprɑˌgrɛs? (ənd haʊ du ju sɑlv ɪt?) jɛs, wi ˈsərtənli hæv! ˈfɔrʧənətli wi wərk ɪn ə ˌdɛməˈkrætɪk ɪnˈvaɪrənmənt, wɪʧ minz ðət ˌwəˈtɛvər gɪts ðə moʊst voʊts (biɪŋ ə ˈtriˌoʊ ɪz ˈsərtənli ə pləs ɪn ðɪs keɪs) wɪl gɪt θru. wət ˌɪnˈspaɪrz ju tɪ meɪk ðə mˈjuzɪk ju du? nɪk: ˈrɪli ə lɔt əv θɪŋz. fər ɪgˈzæmpəl ˈmuviz ənd geɪmz kən ˌɪnˈspaɪr mi ə lɔt. ðə ˈwɛðər ˈaʊtˈsaɪd kən gɪv ju ˈsərtən mud wɪʧ kən ˌɪnˈspaɪr mi tɪ sɛt ɪn mi ɪn ə spɪˈsɪfɪk mud. ðə ˈpipəl əraʊnd mi, ə gʊd mˈjuzɪkəl ˈpɑrti kən ˌɪnˈspaɪr mi ə lɔt ɛz wɛl. ˈlɪsənɪŋ tɪ ˈəðər mˈjuzɪk frəm ɔl kaɪnd əv ənd soʊ ɔn. ˈpitər: aɪ θɪŋk ˈɔlˌmoʊst ˈɛvriˌθɪŋ kən bi ən ˌɪnspərˈeɪʃən. ˈʤɛfri: laɪk ˈpitər sɛd, ɪt kən kəm frəm ˈɛniˌθɪŋ. bət tɪ gɪv ən ɪgˈzæmpəl, ˌbiˈfɔr ənd ˈdʊrɪŋ ðə pərˈdəkʃən əv ˈplænət ˌdɪˈskəvri, nɪk ənd aɪ hæd ə fju jɪrz əv ðət wɔʧ ə lɔt əv speɪs ˈtrævəl, ˌsaɪˈfaɪ ənd ˈeɪliən rɪˈleɪtɪd ˌdɑkjəˈmɛnəriz, ˈsɪriz ənd ˈmuviz. aɪ wɑz ˈɔlsoʊ hʊkt tɪ pleɪɪŋ ə ˈkəpəl əv speɪs geɪmz, laɪk mæs ˈifɛkt, stɑr ˈoʊʃən, tɪ neɪm ə fju. ðɪs ɔl ˈædɪd tɪ ðə mud wi wər ɪn, waɪl prəˈdusɪŋ ɑr mˈjuzɪk. teɪk ˈjuˈɛs θru jʊr ˈprɔˌsɛs əv ˈraɪtɪŋ mˈjuzɪk. ˈsəmˌtaɪmz ʤɪst skruɪŋ əraʊnd wɪn ˈsəmθɪŋ pəˈtɛnʃəli gʊd pɑps əp. ˈəðər taɪmz ˈsəmˌwən ɔˈrɛdi həz ən aɪˈdiə ənd ˈəðərz gɪt ˌɪnˈspaɪərd baɪ ɪt. ðɛr ɪz noʊ ˈmæʤɪk ˈfɔrmjələ. stəf ʤɪst ˈhæpənz! jʊr ˈælbəm teɪlz əv ðə hæd ə strɔŋ ˈnɛrətɪv ənd ə ˈlɪtəl ˈstɔri ˌɪnˈkludɪd. wɛr dɪd ðə aɪˈdiə əv ðə ˈstɔri kəm frəm? ˈʤɛfri: ɪt ˈstɑrtɪd wɪθ nɪk ˈspɪnɪŋ ə kɔɪn ɔn ə ˈteɪbəl ənd ˌɪˈmæʤənɪŋ ðɪs sin ɪn hɪz hɛd əˈbaʊt ən oʊld gaɪ ˈspɪnɪŋ kɔɪnz ɔn ə ˈteɪbəl ɪn ðə ˈmɪdəl əv ə kraʊd. wi rɪˈkɔrdɪd ðə saʊnd əv ðə kɔɪn ənd juzd ɪt fər ðə træk kɔɪn spinner”*”. ðət sɛt ðə mud fər əˈdɪʃənəl sinz meɪk əp ɔn ðə goʊ, laɪk ðɪs oʊld ˈwʊdən haʊs ðət oʊld gaɪ wʊd lɪv ɪn. ənd ðə haʊs wɑz ˈloʊˌkeɪtəd ɪn ðə ˈmɪdəl əv ə dɑrk ˈfɔrɪst ənd ˌɪˈluməˌneɪtəd baɪ ðə laɪt əv ðə bɪg fʊl mun. ðɛn ðə gərl ənd ðə ˈlɪtəl ˈʤɛstər wər ˌɪntrəˈdust ənd ɔl ðiz ˈɛləmənts meɪd ɪt ˈɪntu ðə ˈælbəm wən weɪ ər əˈnəðər. nɪk: ðɛr wɑz ə spɪˈsɪfɪk mud aɪ θɪŋk waɪl wi roʊt ðə træks. ʤɪst ˈæftər ə træk wɑz ˈfɪnɪʃt ɪt ˈrɪli hɑrd tɪ keɪm əp wɪθ ðə ˈtaɪtəl neɪmz. waɪl ˈlɪsənɪŋ tɪ ðə træks wi ʤɪst sɔ ðə ˈstɔri goʊɪŋ ənd goʊɪŋ. wɪn nɑt ɪn ðə ˈstudiˌoʊ, wət du ju laɪk duɪŋ? haʊ du ju spɛnd jʊr taɪm? nɪk: aɪ wərk ɛz ɪlɛkˈtrɪʃən. aɪ ˈɔlsoʊ ləv tɪ hæŋ aʊt wɪθ frɛndz. ˈspɛndɪŋ taɪm wɪθ maɪ ˈləvli ˈgərlˌfrɛnd (wɪʧ nɑt lɪv nɛkst dɔr æt ðə ˈmoʊmənt). pleɪɪŋ səm geɪmz ɔn ənd ˈpiˈsi. pleɪɪŋ ðə gɪˈtɑr frəm taɪm tɪ taɪm ənd ˈfɑloʊɪŋ ˈlɛsənz fər ɪt. ˈwɑʧɪŋ səm ˈmuviz ər ˈsɪriz. ə ˈvɛri ˈbɪzi preson*, bət aɪ ˌɛnˈʤɔɪ laɪf ɛz məʧ ɛz posible*. ˈpitər: aɪ laɪk tɪ goʊ aʊt ənd ˌɛnˈʤɔɪ laɪf. ðət ˌɪnˈkludz ˈdrɪŋkɪŋ waɪn ənd ˈdænsɪŋ aɪ kən ˈɔlsoʊ ˌɛnˈʤɔɪ ə gʊd ˈmuvi ər ˈsɪriz ˌɪnˈtɛnsli. aɪ ləv stəf ðət kən muv ju ˈiˌmoʊʃnəli. ˈbɪtərsˌwit ˈɛndɪŋz kəm tɪ maɪnd.. ˈleɪtli ˈɪntu geɪmz ðə ˈwɔkɪŋ dɛd ənd ðə wʊlf əˈməŋ ˈjuˈɛs. wət wɑz jʊr fərst ˈkɑnsərt ər dæns ˈpɑrti? nɪk: maɪ fərst bɪg ˈpɑrti wɑz ɪn 2004 ə bɪg ˈaʊtˌdɔr ˈfɛstɪvəl wɪθ lɑts əv ˈdɪfərənt staɪlz ənd ˈsteɪʤɪz. ðə ˈwɛðər wɑz greɪt ənd ðə ˈpipəl wər ˈɔsəm! ə ˈpɑrti aɪ ˈnɛvər fərˈgɛt. ˈpitər: aɪ θɪŋk wən əv ðə fərst ɪˈvɛnts aɪ wɛnt tɪ wɑz træns ˈɛnərʤi 2004 ɪn utrecht*. ɪt ˈʃʊrli wɑz ən tɪ mi haʊ mˈjuzɪk ˈdʊrɪŋ ən ɪˈvɛnt ɪz ə kəmˈplitli ˈdɪfərənt ɪkˈspɪriəns frəm ˈlɪsənɪŋ æt hoʊm. ˈʤɛfri: kəm tɪ θɪŋk əv ɪt, maɪ fərst wɑz ə weɪ bæk wɪn ɪt wɑz stɪl mɔr əv ə ˈpɑrti, ðət wɑz ˈgeɪnɪŋ ɪn ˌpɑpjəˈlɛrəti ɛz ðə reɪv ˈpɑrti tɪ goʊ tɪ bæk ðɛn ɪn ðə ˈnɛðərləndz. nɑt ʃʊr ɪgˈzæktli wɪn, bət ˈprɑbəˌbli ˈsəmˌwɛr əraʊnd kɔz aɪ rɪˈmɛmbər aɪ 18 jɛt. hæd noʊ ˈtrəbəl ˈgɪtɪŋ ɪn bæk ðɛn ðoʊ, waɪl ɪt wɑz rikˈwaɪərd. təˈdeɪ ðət maɪt bi ə ˈlɪtəl ˈdɪfərənt. jʊr ˈfeɪvərɪt ˈsɪnθəˌsaɪzər? nɪk: aɪ juz ðə ˈvaɪrəs ti ˈprɪti məʧ ənd aɪ ˈrɪli əˈdɔr ðə saʊnz ɔn ðət θɪŋ, bət dip ɪn maɪ hɑrt ðə sɪd ʧɪp wɪʧ wɑz bɪld ɪn ðə ˈkɑməˌdɔr 64 ɪz maɪ ˈfeɪvərɪt ˈsɪnθəˌsaɪzər. ˈnəθɪŋ kən bit ðə saʊnd əv ðət ˈləvli. ˈpitər: aɪ θɪŋk ɪt məst bi ðə wi meɪd ə pæʧ jɪrz əˈgoʊ kɔld zaag”*” (ˈrəfli tɪ: sɔ) wɪʧ stɪl gɪvz mi goosebumps*. ðə ˈfɪlθi ˈfɪltər ɪz ʤɪst ˈɔsəm! aɪ ˈɔlsoʊ əˈdɔr ðə sɪd saʊnd. ˈʤɛfri: ˈɔlˌweɪz ləvd ɑr nɔrd lɛd frəm ðə ˈmoʊmənt wi gɑt ɪt əp tɪl naʊ. noʊ aɪˈdiə waɪ. wɛr wɪl ju bi pərˈfɔrmɪŋ ˈdʊrɪŋ ðɪs ˈfɛstɪvəl ˈsizən? wi ˈkərəntli hæv tu gɪgz plænd, wən ʃoʊ ɪn ˈmɔltə wɛr wi wɪl bi ˈhɛˌdlaɪnɪŋ, ənd ðə ˈfɛstɪvəl ““psy-fi”*” ɪn ðə ˈnɛðərləndz. bɪn ˈɔlˌmoʊst wən ənd ə hæf jɪr sɪns jʊr læst riˈlis, ˈdɪfərənt dɪˈmɛnʃənz. du ju hæv ˈɛniˌθɪŋ nu ˈkʊkɪŋ? ðɛr ɪz ˈsərtənli ˈsəmθɪŋ ˈkʊkɪŋ! wi ər ˈkərəntli ˈwərkɪŋ ɔn ˈsəmθɪŋ bɪg. stɑrt rɪˈvilɪŋ ˈleɪtər ðɪs jɪr ər ˈərli 2015 ɪf ju wɪʃ tɪ ɪkˈspɪriəns ˈizəli ɪmˈbɛrəst pərˈfɔrmɪŋ lɪv ðɛr ʃoʊ ɪn ˈmɔltə ɪz ˈskɛʤʊld fər əv ˌʤuˈlaɪ əˈlɔŋˈsaɪd ˈælfə sɛnˈtɑri, ənd ɪn ˈspɪrɪt æt l-ahmar*, mosta*, ˈmɔltə. ɪn ˈmɔltə: ðə vortex”*” ɪz hɛld ˈɔgəst θru sɛpˈtɛmbər ənd ˈfiʧərz ˈməltəpəl ˈsteɪʤɪz əv ˌsaɪkəˈdɛlɪk træns, ənd dəb ɛz wɛl ɛz ˈvɛriəs ˈlɛkʧərz, ˈsɛrəˌmoʊniz ənd ˈwərkˌʃɑps. ɪn ˈhɑlənd: lɪŋks tɪ ðə mˈjuzɪk əv ˈizəli ɪmˈbɛrəst: http://easilyembarrassed.bandcamp.com*/ ˈɪntərvˌju ˈteɪkən baɪ fər ˈprɑʤɛkt http://www.moensterhed.info*/
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hello guys! thanks for taking the time to give an interview. firstly, for all the people who don’t know you, tell us who you are and where you’re from.
we’re jeffrey van der schilden, nick van der schilden and peter spaargaren. we all live near the capital of the netherlands, amsterdam. together we form the project easily embarrassed, which stands for electronic music with atmospheric waves, psychedelic influences and raw retro synthesizer soundscapes on top.
what are your musical backgrounds? where do you come from musically and what led you to psychedelic downtempo?
jeffrey: it’s been a long journey; growing up with a commodore 64 sparked my interest in the sound of synthesizers. my tastes switched from general 70’s and 80’s pop music, to house, to hardcore, to club trance, to goa / psy trance and eventually i ended up in 2003,2004 exploring stuffs ranging from brain eno and jean michel jarre to shpongle, carbon based lifeforms and solar fields.
nick: i grew up with the same interests as my brother jeffrey. it all started with the great synthesizer sounds of the commodore 64. i started playing the acoustic guitar at the age of 10. i listened to a lot of music from my brother, so i grew up with the same taste for music. but i think i discovered the psychedelic music around 2000. started with psychedelic goa trance like infected mushroom, but shpongle came across as well. i made some psychedelic goa as solo artist and later started to work with peter on a goa trance project, but with no real success. the real downtempo psychedelic journey began with the start of easily embarrassed back in 2006 and always been listening to that style ever since.
peter: i started making hardcore around 2000. after that i really got into experimental music and techno. i then got intrigued by psychedelic music when a friend introduced me to infected mushroom and shpongle. nowadays i still make techno (and other strange things i can’t fit in ee) as a solo side-project.
4 years like yesterday – full length mix by easily embarrassed
it seems you all have a shared love of the c64 sound. how would you say that has influenced your music?
nick: i grew up with this device. most people from these days would say i’m crazy. all those bleeps and bobs are only annoying sounds right? but actually there were some great composers who made masterpieces from an only 3 channel synthesizer. names like rob hubbard, martin galway and jeroen tel are 3 of those. i learned that music can make or break a game. music can bring you in a specific mood and if the music is good enough to give you this special feeling it can make a game for over 50% a winner. that’s really what has keeping me on in my past. a lot of c64 music composers were inspired by names like jean michel jarre, or tangerine dream. synthesizer music with a classic retro sounds. mostly played in minor scale. and i think that’s exactly what we do. of course we’re looking forward and extending our melody lines to combine more styles with each other, but the c64 is where it all started for me.
jeffrey: a lot! the sound is what got me hooked to filters and the effects of phasing and flanging which they could achieve by offsetting the few oscillators they had in the c64. also the music in the c64 games and demo material would all take huge influences from the epic late 70s jean michel jarre stuff and there was lots of classical music inspired stuff, or actual classical pieces played trough the c64 sid sound and there were also lots of rock tunes played trough the c64, which makes it synth rock like of course. all that definitely made it back into our music.
peter: all of the above! it also was a huge influence to me. i also think that the fact the sound of the sid chip can’t be emulate by any softsynth is really intrueging. just like some old analog synthesizers there’s just nothing that matches it.
you mention running a solo-project on the side, peter. what’s it called? and does jeffrey and nick also have project besides easily embarrassed?
all of us used to have our little hobby projects, like nick’s “saiko”, jeffrey’s “nekativ” and nick and peter’s “plantbane”. you might be able to find some of these around the web if you dig hard enough, but the quality of these projects is not really up to our post ee standards :) only peter’s “void pointer” project is remains active today (although his focus mostly lies on easily embarrassed).
what is the origin of the name easily embarrassed?
from watching embarrassed little girls in japanese animation while working on our very first track “organic gardening”. samples from anime have frequented our productions in the past because of that, but the name does not have much meaning beyond that :)
do you ever have creative differences or different views of how you want a track to progress? (and how do you solve it?)
yes, we certainly have! fortunately we work in a democratic environment, which means that whatever gets the most votes (being a trio is certainly a plus in this case) will get through.
what inspires you to make the music you do?
nick: really a lot of things. for example movies and games can inspire me a lot. the weather outside can give you certain mood which can inspire me to set in me in a specific mood. the people around me, a good musical party can inspire me a lot as well. listening to other music from all kind of genre’s and so on.
peter: i think almost everything can be an inspiration.
jeffrey: like peter said, it can come from anything. but to give an example, before and during the production of planet discovery, nick and i had a few years of that we’d watch a lot of space travel, sci-fi and alien related documentaries, series and movies. i was also hooked to playing a couple of space games, like mass effect, x3, star ocean, to name a few. this all added to the mood we were in, while producing our music.
take us through your process of writing music.
sometimes we’re just screwing around when something potentially good pops up. other times someone already has an idea and others get inspired by it. there is no magic formula. stuff just happens!
your album tales of the coinspinner had a strong narrative and a little story included. where did the idea of the story come from?
jeffrey: it started with nick spinning a coin on a table and imagining this scene in his head about an old guy spinning coins on a table in the middle of a crowd. we recorded the sound of the coin and used it for the track “the coin spinner”. that set the mood for additional scenes we’d make up on the go, like this old wooden house that old guy would live in. and the house was located in the middle of a dark forest and illuminated by the light of the big full moon. then the girl and the little jester were introduced and all these elements made it into the album one way or another.
nick: there was a specific mood i think while we wrote the tracks. just after a track was finished it wasn’t really hard to came up with the title names. while listening to the tracks we just saw the story going and going.
when you’re not in the studio, what do you like doing? how do you spend your time?
nick: i work as electrician. i also love to hang out with friends. spending time with my lovely girlfriend (which not live next door at the moment). playing some games on xbox and pc. playing the guitar from time to time and following lessons for it. watching some movies or series. i’m a very busy preson, but i enjoy life as much as posible.
peter: i like to go out and enjoy life. that includes drinking wine and dancing . i can also enjoy a good movie or series intensely. i love stuff that can move you emotionally. bittersweet endings come to mind.. lately i’m rrrrrreally into telltale’s games the walking dead and the wolf among us.
what was your first concert or dance party?
nick: my first big party was mysteryland in 2004. a big outdoor festival with lots of different styles and stages. the weather was great and the people were awesome! a party i never forget.
peter: i think one of the first events i went to was trance energy 2004 in utrecht. it surely was an eye-opener to me how music during an event is a completely different experience from listening at home.
jeffrey: come to think of it, my first was a mysteryland way back when it was still more of a hardcore/gabber party, that was gaining in popularity as the rave party to go to back then in the netherlands. not sure exactly when, but probably somewhere around 1997-1998, cause i remember i wasn’t 18 yet. had no trouble getting in back then though, while it was required. today that might be a little different.
what’s your favourite synthesizer?
nick: i use the virus ti pretty much and i really adore the sounds on that thing, but deep in my heart the sid chip which was build in the commodore 64 is my favorite synthesizer. nothing can beat the sound of that lovely synth.
peter: i think it must be the korg ms-2000. we made a patch years ago called “vette zaag” (roughly translately to: phat saw) which still gives me goosebumps. the filthy filter is just awesome! i also adore the c64’s sid sound.
jeffrey: always loved our nord lead 2x from the moment we got it up till now. no idea why.
where will you be performing during this festival season?
we currently have two gigs planned, one show in malta where we will be headlining, and the festival “psy-fi” in the netherlands.
it’s been almost one and a half year since your last release, different dimensions. do you have anything new cooking?
there is certainly something cooking! we are currently working on something big. we’ll start revealing later this year or early 2015 :)
if you wish to experience easily embarrassed performing live their show in malta is scheduled for 12th of july alongside alpha centauri, moodshifter and in spirit at razzett l-ahmar, mosta, malta.
natura in malta: https://www.facebook.com/events/649676851748698/?fref=ts
psy-fi “inside the vortex” is held august 28th through september 1st and features multiple stages of psychedelic trance, chillout and dub as well as various lectures, ceremonies and workshops.
psy-fi in holland: https://www.facebook.com/events/120104884848274/?fref=ts
links to the music of easily embarrassed:
http://easilyembarrassed.bandcamp.com/
http://www.ektoplazm.com/free-music/easily-embarrassed-tales-of-the-coin-spinner
http://www.ektoplazm.com/free-music/easily-embarrassed-different-dimensions
interview taken by mønsterhed for psybient.org project
http://www.moensterhed.info/
https://www.facebook.com/moensterhed
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ʃəˈkɑˌgoʊ (fɑks 32 nuz) ðə ˈmɑtoʊ əv ðə ʃəˈkɑˌgoʊ pəˈlis dɪˈpɑrtmənt ɪz tɪ "prəˈtɛkt ənd sərv." ˌhaʊˈɛvər, ðə ˈleɪtəst ˌæləˈgeɪʃənz ˌɪnˈvɑlvɪŋ æt list tu ˈɔfɪsərz wɪθ mɔr mɔr ðən 20 jɪrz ɪkˈspɪriəns ɪz ðət ðeɪ wər duɪŋ ˈɛniˌθɪŋ bət ðət. ˌɪnˈstɛd, ðeɪ ər əˈkjuzd əv ə gərl ənd ðɛr meɪ hæv bɪn ˈəðər ˈvɪktɪmz ɛz wɛl. ɔn ˈθərzˌdeɪ æt ðə pəˈlis bɔrd ˈmitɪŋ, ˌsupərɪnˈtɛndənt ˈgɛri məˈkɑrθi meɪd noʊ ˈkɑmɛnt əˈbaʊt ðə ˌɪnˌvɛstəˈgeɪʃən. ˈsɔrsəz seɪ ðə ˈɔfɪsərz wər fərst kɔt wɪθ ʧaɪld pɔrˈnɑgrəfi, bət ɛz ˌɪnˈtərnəl əˈfɛrz ˌɪnˈvɛstəˌgeɪtərz lʊkt ˈfərðər ˈɪntu ðə keɪs, ðeɪ ənˈkəvərd əˈdɪʃənəl ˈɛvədəns ðə ˈɔfɪsərz hæd bɪn ˈjuzɪŋ səm ˈɔnˌlaɪn wɛb ˈpeɪʤɪz tɪ ˈædvərˌtaɪz ðə gərl, ər gərlz, fər ˌprɑstəˈtuʃən. ðə əˈlɛʤd ˈpɪmpɪŋ ækˈtɪvɪtiz wər biɪŋ kənˈdəktəd waɪl ðə ˈɔfɪsərz wər ˌɔfˈduti, əˈkɔrdɪŋ tɪ ə pəˈlis sɔrs. æt list tu ˈɔfɪsərz hæv sɪns bɪn strɪpt əv ðɛr pəˈlis paʊərz ənd ˌriəˈsaɪnd ədˈmɪnɪˌstreɪtɪv ˈdutiz ˈpɛndɪŋ ðə ˈaʊtˌkəm əv ðə ˌɪnˌvɛstəˈgeɪʃən. ðeɪ hæv nɑt bɪn ʧɑrʤd, soʊ wi ər nɑt ˈneɪmɪŋ ðɛm. bɪˈkəz əv ðə ˈneɪʧər əv ðə keɪs, ənd fər ˌɪnˈtɛgrəti ˈrizənz, ʃəˈkɑˌgoʊ pəˈlis hæv brɔt ɪn ðə ˈɛfˈbiˈaɪ tɪ hɛlp ɪn ðə ˌɪnˌvɛstəˈgeɪʃən.
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chicago (fox 32 news) - the motto of the chicago police department is to "protect and serve." however, the latest allegations involving at least two officers with more more than 20 years experience is that they were doing anything but that.
instead, they are accused of sex-trafficking a 14-year-old girl and there may have been other victims as well.
on thursday at the police board meeting, superintendent garry mccarthy made no comment about the investigation.
sources say the officers were first caught with child pornography, but as internal affairs investigators looked further into the case, they uncovered additional evidence the officers had been using some online web pages to advertise the girl, or girls, for prostitution.
the alleged pimping activities were being conducted while the officers were off-duty, according to a police source.
at least two officers have since been stripped of their police powers and reassigned administrative duties pending the outcome of the investigation. they have not been charged, so we are not naming them.
because of the nature of the case, and for integrity reasons, chicago police have brought in the fbi to help in the investigation.
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google’s* ˈleɪtəst ˈprɑʤɛkt meɪ bi ðə moʊst ˈwaɪdli ækˈsɛsəbəl ənd ˌkɑmpriˈhɛnsɪv ˈfæʃən kəˈlɛkʃən ɔn ðə ˈplænət. ɔl ju nid tɪ vju ɪt ɪz ən ˈɪntərˌnɛt kəˈnɛkʃən. wɛr culture”*” ɪz ə kəˌlæbərˈeɪʃən bɪtˈwin ˈgugəl ənd mɔr ðən 180 mˈjuziəmz, skulz, ˈfæʃən ˌɪnstɪˈtuʃənz, ənd ˈəðər ˌɔrgənəˈzeɪʃənz frəm ɔl pɑrts əv ðə gloʊb. pɑrt əv ɑrts ˈkəlʧər ˈplætˌfɔrm, wɪʧ ɪz ˈdɪʤəˌtaɪzɪŋ ðə ˈkəlʧərəl ˈtrɛʒərz, ənd ˈfəŋkʃənz ɛz ə gaɪd tɪ ə kəˈlɛktɪv ˈɑrˌkaɪv əv səm ˈfæʃən ˈpisɪz ðət pʊts məˈlɛniə əv ˈfæʃən æt jʊr fingertips,”*,” ˈgugəl sɪz. bət ɪt ʤɪst ə ˈdætəˌbeɪs. ˈgugəl həz wərkt wɪθ ˈkjʊrətərz tɪ kriˈeɪt mɔr ðən 450 ɪgˈzɪbəts ɔn ˈdɪfərənt topics—say*, haʊ ðə ʧeɪnʤd ðə weɪ ʧaɪˈniz ˈwɪmən ðə saɪt ən ˈɛndləsli ˌɛnərˈteɪnɪŋ, ˌɛʤəˈkeɪʃənəl ˈpɔrtəl fɪld wɪθ ˈstənɪŋ ˈɪmɪʤri ˈtəʧɪŋ ɔn ˈɛvriˌθɪŋ frəm ˈmɑdərn ˌʤæpəˈniz tɪ ðə kloʊðz wɔrn æt ðə kɔrt əv vɛrˈseɪlz. ðə ˈsprɔlɪŋ saɪt ˈjuzɪz ə vərˈaɪəti əv ˈdɪfərənt ˈfɔrˌmæts tɪ lɛt vjuərz ɪkˈsplɔr ˈɑbʤɛkts. ən ˌɪnərˈæktɪv ˈvɪdioʊ əˈbaʊt ə pis baɪ ˈkoʊˌkoʊ ʃəˈnɛl ˈbrifli ˈaʊˌtlaɪnz ðə ˈhɪstəri əv blæk ˈkloʊðɪŋ ənd haʊ ʃəˈnɛl meɪd ðə ˈlɪtəl blæk drɛs ə ˈwɔrˌdroʊb ˈsteɪpəl. skrin ˈkæpʧər frəm "wi wɛr ˈkəlʧər" əp kloʊz wɪθ ðə ˈdɛvərˌu ˈbɑdɪs. əˈnəðər ˈsɛkʃən lɛts ju ɪkˈsplɔr ˈgɑrmənts ɪn ˈɪntrəkət ˈditeɪl θru ˌrɛzəˈluʃən fəˈtɑgrəfi. wən ˈsɛnʧəri ˈbɑdɪs rɪˈpjutɪdli ˈgɪvɪn tɪ ɪˈlɪzəbɪθ aɪ əv ˈɪŋglənd baɪ ðə ˈməðər əv ˈrɑbərt ˈdɛvərˌu, ərl əv ˈɛsɪks, ɪz ə ˈbjutəfəl ɪgˈzæmpəl əv ˈkræftsmənˌʃɪp ənd ˈpɑpjələr ɛmˈbrɔɪdəri moʊˈtifs æt ðə taɪm. ðə gɪft wɑz ə pli əv ˈklɛmənsi fər ˈdɛvərˌu, wɪʧ ˈɛvədəntli wərk; ðə saɪt noʊts hi wɑz ˈleɪtər ˈɛksəˌkjutɪd fər ˈtrizən. ˈwɔntɪd tɪ ʃoʊ ðət ˈfæʃən ɪz məʧ ˈdipər ðən ʤɪst wət ju wɛr; ðət ə ˈstɔri bɪˈhaɪnd ɪt, ˈpipəl bɪˈhaɪnd ɪt, ˈɪnˌfluənsɪz ðət kəm frəm ɑrt, ðət kəm frəm mˈjuzɪk, ðət kəm frəm ˈkəlʧər mɔr broadly,”*,” keɪt ˈlaʊtərbɑk, ˈproʊˌgræm ˈmænɪʤər fər ˈgugəl ɑrts ˈkəlʧər, toʊld ˈbɪznɪs əv ˈfæʃən (paywall*). wi θɔt ðət ɪf ju kən hæv ðɪs kaɪnd əv ˈsɪŋgjələr ˈrisɔrs ˈɔnˌlaɪn wɛr ɔl əv ðɪs wɑz ˈstɑrtɪŋ tɪ bi hir ɪt frəm ðə əˈθɔrəti, aɪ θɪŋk ˈrɪli wʊd bi valuable.”*.” ˈizi tɪ gɪt səkt ˈɪntu ðə saɪt, pərˈhæps θru ə ˈtaɪmlaɪn ɔn ðə ˈhɪstəri əv ʃuz, ənd ðɛn ˈskɪmɪŋ θru ðə ˈstɔriz əv ˈdɪfərənt dɪˈzaɪnərz ənd trendsetters*. ə ˈplɛzənt weɪ tɪ luz ən ˌæftərˈnun, ənd meɪ gɪv ju ə nu ˌəndərˈstændɪŋ əv ˈhæŋɪŋ ɪn jʊr oʊn ˈklɑzət.
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google’s latest project may be the most widely accessible and comprehensive fashion collection on the planet. all you need to view it is an internet connection.
“we wear culture” is a collaboration between google and more than 180 museums, schools, fashion institutions, and other organizations from all parts of the globe. it’s part of google’s arts & culture platform, which is digitizing the world’s cultural treasures, and functions as a searchable guide to a collective archive of some 30,000 fashion pieces that puts “three millennia of fashion at your fingertips,” google says.
but it isn’t just a database. google has worked with curators to create more than 450 exhibits on different topics—say, how the cheongsam changed the way chinese women dress—making the site an endlessly entertaining, educational portal filled with stunning imagery touching on everything from modern japanese streetwear to the clothes worn at the court of versailles.
the sprawling site uses a variety of different formats to let viewers explore objects. an interactive video about a piece by coco chanel briefly outlines the history of black clothing and how chanel made the little black dress a wardrobe staple.
screen capture from google's "we wear culture" up close with the devereux bodice.
another section lets you explore garments in intricate detail through ultra-high resolution photography. one 16th century bodice reputedly given to elizabeth i of england by the mother of robert devereux, 2nd earl of essex, is a beautiful example of craftsmanship and popular embroidery motifs at the time. the gift was a plea of clemency for devereux, which evidently didn’t work; the site notes he was later executed for treason.
“we wanted to show that fashion is much deeper than just what you wear; that there’s a story behind it, there’s people behind it, there’s influences that come from art, that come from music, that come from culture more broadly,” kate lauterbach, program manager for google arts & culture, told business of fashion (paywall). “and we thought that if you can have this kind of singular resource online where all of this was starting to be discussed—and hear it from the authority, i think really critical—it would be valuable.”
it’s easy to get sucked into the site, perhaps scrolling through a timeline on the history of shoes, and then skimming through the stories of different designers and trendsetters. it’s a pleasant way to lose an afternoon, and may give you a new understanding of what’s hanging in your own closet.
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ʤɑn ˈkɛri rɪˈvilz ˈærəb ˈkəntriz hæv ˈɔfərd tɪ peɪ əˈmɛrɪkə tɪ ˈkɛri aʊt ˌfʊlˈskeɪl ˌɪnˈveɪʒən əv ˈsɪriə ˈsɛkrəˌtɛri əv steɪt ʤɑn ˈkɛri sɛd ˈdʊrɪŋ ə ˈhirɪŋ ˈwɛnzˌdeɪ ɪn ðə haʊs əv ˌrɛprɪˈzɛnətɪvz ðət ˈkaʊntiz ɪn ðə ˈærəb wərld hæv ˈɔfərd tɪ fʊt ðə ɪnˈtaɪər bɪl fər ə juz. ˈmɪlɪˌtɛri ˈmɪʃən ðət dɪˈstrɔɪz ðə bəˈʃɑr rəˈʒim ɪn ˈsɪriə. 'wɪθ rɪˈspɛkt tɪ ˈærəb ˈkəntriz ˈɔfərɪŋ tɪ bɛr kɔsts ənd tɪ əˈsɪst, ðə ˈænsər ɪz proʊˈfaʊndli jɛs,' ˈkɛri sɛd. 'ðeɪ hæv. ðət ˈɔfər ɪz ɔn ðə ˈteɪbəl.' ˈkɛri, wɪθ ə ˈkædri əv ˈæktɪvɪsts ˈsɪtɪŋ bɪˈhaɪnd ɪm ənd ˈhoʊldɪŋ hænz əˈlɔft ɪn ˈproʊˌtɛst, dɪˈklaɪnd tɪ neɪm ðə ˈkəntriz ðət hæv prəˈpoʊzd ˈoʊpənɪŋ ðɛr ˈpərsɪz. skroʊl daʊn fər ˈvɪdioʊ juz. ˈsɛkrəˌtɛri əv steɪt ʤɑn ˈkɛri, ən ˈproʊˌtɛstər hɪmˈsɛlf 40 jɪrz əˈgoʊ, ɪz kæst ɪn ðə roʊl əv wɔr tɪ ðə ˈprɛzɪdənt. hi sɛd ˈwɛnzˌdeɪ ðət ˈærəb ˈkəntriz hæd ˈɔfərd tɪ peɪ əˈmɛrɪkəz ɪkˈspɛnsɪz fər ə ˈmɪlɪˌtɛri ˌɑpərˈeɪʃən ɪf ɪt bəˈʃɑr frəm ˈsɪriə ðə dɪˈstrɔɪər ˈjuˈɛˈsɛs ˈbɛri, ˈfɔrˌgraʊnd, ɪz wən əv fɔr ˈjuˈɛs ˈneɪvi dɪˈstrɔɪərz tɪ bi dɪˈplɔɪd ɪn ðə ˌmɛdətərˈeɪniən si ɔn sɛpt. 3 ɔl əv wɪʧ ər ˈkɑmbæt ˈrɛdi əˈgɛnst ˈsɪriə ɪf ðə ˈɔrdər fər ə straɪk ɪz ˈgɪvɪn ˈsɪriən ˈwɪmən hu lɪv ɪn ˈlɛbənən əˈnəðər əv ˈsɪriəz ˈneɪbərz laɪt ˈkændəlz ˈdʊrɪŋ ə ˈvɪʤəl əˈgɛnst ˈkɛmɪkəl ˈwɛpənz əˈtæks nɪr dəˈmæskəs, ɪn frənt ðə juˈnaɪtɪd ˈneɪʃənz ˈhɛdˌkɔrtərz ɪn beɪˈrut ˈflɔrɪdə rɪˈpəblɪkən rɛpriˈzɛtətɪv. ˌɪliˈænə hæd æst ˈkɛri tɪ ˈkɑmɛnt ɔn ðə ɪkˈspɛnsɪz rɪˈleɪtɪd tɪ ˈkɛriɪŋ aʊt əˈtæks ɔn ˈsɪriə ɪf ˈkɑŋgrəs wər tɪ ˈɔθərˌaɪz ðɛm. ˈfɑloʊɪŋ θru ɔn ə ˌrɛzəˈluʃən, ʃi sɛd, 'kʊd pəˈtɛnʃəli kɔst ˈbɪljənz.' bət ˈkɛri sɛd ˈəðər ˈneɪʃənz ðət si əˈsɑd ɛz ə dɪˈsteɪbəˌlaɪzɪŋ fɔrs ɪn ðə ˈriʤən hæv prəˈpoʊzd tɪ ˈkəvər ðə kɔsts. ɛz fər 'ðə ˈditeɪlz əv ðə ˈɔfər, ənd ðə prəˈpoʊzəl ɔn ðə ˈteɪbəl,' æst ˈkɛri, 'wət ər ðə ˈfɪgjərz wi ər ˈtɔkɪŋ əˈbaʊt? 'wi noʊ wət ˈækʃən wi [wɪl bi] ɪnˈgeɪʤd ɪn raɪt naʊ,' ˈkɛri rɪˈplaɪd, 'bət ðeɪ hæv bɪn kwaɪt sɪgˈnɪfɪkənt. aɪ min, ˈvɛri sɪgˈnɪfɪkənt.' 'ɪn fækt, səm əv ðɛm hæv sɛd ðət ɪf ðə juz. ɪz priˈpɛrd tɪ goʊ du ðə hoʊl θɪŋ, ðə weɪ dən ɪt ˈpriviəsli ɪn ˈəðər ˈpleɪsɪz, ˈkɛri ðət kɔst. haʊ ˈdɛdəkeɪtəd ðeɪ ər tɪ ðɪs.' ˈtərkɪʃ ˈsoʊlʤərz ɔˈrɛdi ˈrɛgjələrli pəˈtroʊl ə lɔŋ ˈbɔrdər wɪθ ˈsɪriə, ˈmeɪkɪŋ ðət ˈneɪʃən wən əv ˈsɛvərəl wɪθ ən ˈɪntəˌrɛst ɪn siɪŋ əˈsɑd dɪˈpɑrt ðə ˈriʤən nɑt ˈhɛlpɪŋ: əˈsɑd mɛt sɛpt. 1 wɪθ (ɛl), hu ʧɛrz ðə ˌɪˈrɑniən ˈkaʊnsəlz kəˈmɪti fər ˈfɔrən ˈpɑləsi ənd ˈnæʃənəl sɪˈkjʊrəti. ˌɪˈrɑn hæd sɛnt ˈsinjər ˈlɔˌmeɪkərz tɪ dəˈmæskəs ɛz ə saɪn əv ˌsɑləˈdɛrəti juz. rɛpriˈzɛtətɪv. ˌɪliˈænə wɑz ə dɔgd kˈwɛsʧənər, dɪˈmændɪŋ tɪ noʊ haʊ məʧ ə ˈmɪlɪˌtɛri ˈækʃən ɪn ˈsɪriə wʊd kɔst. ɪt wɑz hər laɪn əv kˈwɛsʧənɪŋ ðət lɛd ˈkɛri tɪ dɪˈskloʊz ðət ˈəðər ˈneɪʃənz hæd ˈɔfərd tɪ ˈkəvər ðə bɪlz ˈkɛri kˈwɪkli ˈklɛrəˌfaɪd ðət ðə ˈpɛnɪˌgɑn wɑz nɑt ˈplænɪŋ tɪ ʃeɪk ə tɪn kəp ɪn ðə ˈmɪdəl ist ɪn ðə hoʊp əv kəˈlɛktɪŋ doʊˈneɪʃənz. 'ˈɑbviəsli, ðət ɪz nɑt ɪn ðə kɑrdz ənd ˈnoʊˌbɑˌdi ɪz ˈtɔkɪŋ əˈbaʊt ɪt,' hi sɛd. 'bət ðeɪ ər ˈtɔkɪŋ əˈbaʊt ˈteɪkɪŋ ˈsɪriəsli ˈgɪtɪŋ ðɪs ʤɑb dən.' ˈkɛri ˈɔlsoʊ kloʊzd ðə lup ɔn ən ɪmˈbɛrəsɪŋ ˈɛpɪˌsoʊd frəm hɪz ˈsɛnɪt ˈtɛstɪˌmoʊni ɔn ˈtuzˌdeɪ, wɪn hi sɛd hi ˈwʊdənt rul aʊt ðə juz əv graʊnd trups ɪf hɑˈstɪlətiz ɪn ˈsɪriə wər tɪ ˈɛskəˌleɪt. 'ðɛr wɪl bi noʊ buts ɔn ðə graʊnd,' hi sɛd ˈwɛnzˌdeɪ. 'ðə ˈprɛzɪdənt həz sɛd ðət əˈgɛn ənd əˈgɛn. ənd ðɛr ɪz ˈnəθɪŋ ɪn ðɪs ˌɔθərəˈzeɪʃən ðət ʃʊd ˈkɑntəmˌpleɪt ɪt. ənd, wi riˈɪtərˌeɪt, noʊ buts ɔn ðə graʊnd.' æst θri ˈdɪfərənt dɪˈfɛns ənd ˈnæʃənəl sɪˈkjʊrəti ˈænəlɪsts tɪ ˈɛstəˌmeɪt ðə kɔst əv ə ˈmɪlɪˌtɛri ˈækʃən ɪn ˈsɪriə, tɪ ˌɪnˈklud æt ˈmɪnəməm smɔl ɑrmz fər rɪˈzɪstəns grups, ˈmɪsəlz ənd ɑrmd droʊnz lɔnʧt frəm ðə ˌmɛdətərˈeɪniən si, ənd ˈmɪlɪˌtɛri flaɪts ˈoʊvər ˈsɪriə, lɔnʧt frəm ˈtərki, ˈæftər ˈwɛpənz lɔnʧ saɪts ənd pəˈzɪʃənz ər dɪˈstrɔɪd. waɪl ˈkɔʃənɪŋ ðət ðɛr ˈɛstəˌmeɪts məst nɑt bi əˈtrɪbjətəd tɪ ðɛm baɪ neɪm, ənd wɪθ ə ˈkeɪviˌæt ɪkˈsprɛst baɪ wən ˈænəlɪst ðət 'ðɪs ɪz ɔl ˈɛʤəˌkeɪtɪd ˈgɛsˌwərk,' ðə ˈɛstəˌmeɪts reɪnʤd frəm 5 tɪ 21 ˈbɪljən. 'jʊd θɪŋk ˈrɑkət ənd ʤɛt fjuəl wʊd bi ˈʧipər ɪn ðət pɑrt əv ðə wərld,' sɛd wən, 'bət noʊ səʧ lək. ðɪs woʊnt bi ə ʧip ˈmɪʃən.'
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john kerry reveals arab countries have offered to pay america to carry out full-scale invasion of syria
secretary of state john kerry said during a hearing wednesday in the house of representatives that counties in the arab world have offered to foot the entire bill for a u.s. military mission that destroys the bashar al-assad regime in syria.
'with respect to arab countries offering to bear costs and to assist, the answer is profoundly yes,' kerry said. 'they have. that offer is on the table.'
kerry, with a cadre of anti-war activists sitting behind him and holding red-painted hands aloft in protest, declined to name the countries that have proposed opening their purses.
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u.s. secretary of state john kerry, an anti-war protester himself 40 years ago, is cast in the role of war consigliere to the president. he said wednesday that arab countries had offered to pay america's expenses for a military operation if it ousts bashar al-assad from syria
the guided-missile destroyer uss barry, foreground, is one of four us navy destroyers to be deployed in the mediterranean sea on sept. 3, all of which are combat ready against syria if the order for a strike is given syrian women who live in lebanon -- another of syria's neighbors -- light candles during a vigil against chemical weapons attacks near damascus, in front the united nations headquarters in beirut
florida republican rep. ileana ros-lehtinen had asked kerry to comment on the expenses related to carrying out attacks on syria if congress were to authorize them.
following through on a use-of-force resolution, she said, 'could potentially cost ... billions.'
but kerry said other nations that see assad as a destabilizing force in the region have proposed to cover the costs.
as for 'the details of the offer, and the proposal on the table,' ros-lehtinen asked kerry, 'what are the figures we are talking about?
'we don’t know what action we [will be] engaged in right now,' kerry replied, 'but they have been quite significant. i mean, very significant.'
'in fact, some of them have said that if the u.s. is prepared to go do the whole thing, the way we’ve done it previously in other places, they’ll carry that cost. that’s how dedicated they are to this.'
turkish soldiers already regularly patrol a long border with syria, making that nation one of several with an interest in seeing assad depart the region not helping: assad met sept. 1 with alaeddin boroujerdi (l), who chairs the iranian shura council's committee for foreign policy and national security. iran had sent senior lawmakers to damascus as a sign of solidarity u.s. rep. ileana ros-lehtinen was a dogged questioner, demanding to know how much a military action in syria would cost. it was her line of questioning that led kerry to disclose that other nations had offered to cover the bills
kerry quickly clarified that the pentagon was not planning to shake a tin cup in the middle east in the hope of collecting donations.
'obviously, that is not in the cards and nobody is talking about it,' he said. 'but they are talking about taking seriously getting this job done.'
kerry also closed the loop on an embarrassing episode from his senate testimony on tuesday, when he said he wouldn't rule out the use of ground troops if hostilities in syria were to escalate.
'there will be no boots on the ground,' he said wednesday.
'the president has said that again and again. and there is nothing in this authorization that should contemplate it. and, we reiterate, no boots on the ground.'
mailonline asked three different defense and national security analysts to estimate the cost of a 90-day military action in syria, to include at minimum small arms for anti-assad resistance groups, missiles and armed drones launched from the mediterranean sea, and military flights over syria, launched from turkey, after weapons launch sites and anti-aircraft positions are destroyed.
while cautioning that their estimates must not be attributed to them by name, and with a caveat expressed by one analyst that 'this is all educated guesswork,' the estimates ranged from $5 to $21 billion.
'you'd think rocket and jet fuel would be cheaper in that part of the world,' said one, 'but no such luck. this won't be a cheap mission.'
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ˈspikɪŋ ˈæftər hɪz ˈvɪktəri ɪn ðə məˈkaʊ grænd pri, sɛd ðət rɛd bʊlz kənˈvɪkʃən ɪn hɪz ˈtælənt ˈfɑloʊɪŋ ə bæn frəm ˈreɪsɪŋ wɑz ˈsəmθɪŋ fju wʊd hæv hæd ðə ˈbreɪvəri tɪ du. "aɪ kænt θæŋk ˌpɑrˈtɪkjələrli ˈhɛlmət ˈmɑrkoʊ ɪˈnəf fər biɪŋ ˈeɪbəl tɪ si ðət spɑrk ɪn mi," toʊld motorsport.com*. "aɪ hæv tɪ seɪ ðɪs æt ðɪs pɔɪnt bət aɪ daʊt ˈəðər timz wʊd hæv ˈteɪkən ðə rɪsk ɪn ˈsaɪnɪŋ mi. ənd aɪ æm goʊɪŋ tɪ meɪk ɪt peɪ ɔf fər ˈhɛlmət." wɑz ˈhændɪd ə bæn (ðə ˈsɛkənd əv wɪʧ wɑz səˈspɛndɪd) ɪn 2015 fər ˈhævɪŋ dɪˈlɪbərətli kræʃt ˈɪntu ə ˈraɪvəl ˈdʊrɪŋ ə ˈseɪfti kɑr ˈpɪriəd æt ən ˈfɔrmjələ reɪs æt ˈsɪlvərˌstoʊn. hi rɪˈtərnd tɪ kəmˈpɛtɪtɪv ˈækʃən læst jɪr ɪn tu ˈreɪsɪz, bət hɪz pəˈtɛnʃəl wɑz ɪˈnəf fər rɛd bʊl tɪ saɪn ɪm əp tɪ ɪts ˈʤunjər ˈdraɪvər ˈproʊˌgræm læst ˈwɪntər. ənd ˌɔlˈðoʊ hi həz ɪnˈdʊrd səm frəˈstreɪʃənz ɪn ˈfɔrmjələ rɪˈnɔlt ðɪs jɪr, hi sɪz hɪz traɪəmf ɪn məˈkaʊ æt ðə ˈwiˌkɪnd wɪl bi ə ˈsprɪŋˌbɔrd ɪn hɪz kərɪr əˈhɛd əv ə ˈlaɪkli stɛp əp tɪ ˈfʊlˌtaɪm ɪn 2018 "ɪts ðə ˈbɪgəst wɪn ɪn maɪ laɪf baɪ kwaɪt ə lɔŋ weɪ," hi sɛd. "aɪv hæd səm ˌɪnˈkrɛdəbəl ˈmoʊmənts ɪn wɪn aɪ wɑz ˈjəŋgər. aɪ rɪˈmɛmbər ðɪs sɛns əv ˈhæpinəs ənd ɪˈleɪʃən, bət aɪ ˈhævənt hæd ɪt fər ə lɔŋ taɪm, tɪ bi ˈɑnəst. ɪt ɪz ˈrɪli nis tɪ hæv ðɪs ˈfilɪŋ əˈgɛn. "ðɪs ɪz ðə pɔɪnt. ɪt ɪz goʊɪŋ tɪ bi ən ˌɪnˈkrɛdəbəl ˈʤərni, aɪ æm ʃʊr. ðɪs ɪz ˈɛvriˌθɪŋ aɪ ˈɛvər ˈwɔntɪd, soʊ aɪ pʊt maɪ hɑrt ənd soʊl ˈɪntu ɪt tɪ gɪt tɪ ðɪs pɔɪnt. "aɪ ˌoʊvərˈtʊk wɪn aɪ ˈnidɪd tɪ. aɪ wɑz ˈpeɪʃənt wɪn aɪ ˈnidɪd tɪ bi. soʊ aɪ θɪŋk aɪ kən ˈseɪfli seɪ frəm maɪ pɔɪnt əv vju ɪt wɑz ə məˈʧʊr draɪv, wɪʧ ɪz ˈsəmθɪŋ ðət ˈpipəl ˈhævənt sin ˌbiˈfɔr ɪn mi. bət aɪ hæv ˈpruvən ðət aɪ kən ˈhændəl ə lɔt əv ˌsɪʧuˈeɪʃənz." səkˈsɛs æt məˈkaʊ kəmz æt ðə ˈpərˌfɪkt taɪm fər ðə ˈbrɪtən, wɪθ ðə ˈɛnərʤi drɪŋks ˈkəmpəˌni ˈigər tɪ faɪnd fˈjuʧər ˈtælənt ˈæftər ˈhævɪŋ noʊ ˈɑbviəs rɪˈpleɪsmənt æt ˈtɔroʊ ˈroʊsoʊ fər əˈməŋ ɪts jəŋ ˈdraɪvərz ənd ˈhævɪŋ ˈɑptɪd fər ˈbrɛndən ˈhɑrtli. æst əˈbaʊt ðə skoʊp tɪ muv əp wɪθ rɛd bʊl, sɛd: "aɪ θɪŋk ɪf ju ər ə ˈdraɪvər ɪn ðə rɛd bʊl ˈproʊˌgræm, ðɛn ˈhɛlmət həz ɪˈstæblɪʃt ðət ju ər ˈblədi fæst ənˈlɛs ˈsəmθɪŋ ɛls həz gɔn rɔŋ wɪθ ðə tim ənd hi ˈkænɑt kwaɪt geɪʤ wət ðə ˈdraɪvər ɪz duɪŋ. "aɪ θɪŋk hi noʊz aɪ æm ˈvɛri, ˈvɛri fæst, aɪ æm kwaɪt ˈkɑnfədənt hi dɪz. aɪ θɪŋk naʊ ɪt ɪz əˈbaʊt ʃoʊɪŋ aɪ kən pʊt ə ˈpækɪʤ təˈgɛðər, ənd steɪɪŋ kɑm ənd məˈʧʊr wɪθ ˌwəˈtɛvər ɪz θroʊn æt mi. ənd wɪθ ə ki ˈmoʊmənt əv hɪz ˈvɪktəri ɪn məˈkaʊ ˈhævɪŋ bɪn wɪn hi pʊld ɔf ə ˈbrɪljənt ˈoʊvərˌteɪkɪŋ muv ɔn ˈlændoʊ ˈnɔrɪs ənd ˈgənθər, sɛd: "ðɛr ər ə fju θɪŋz aɪ æm nɑt ˌæbsəˈlutli ˈkɑnfədənt əv. bət wət aɪ æm ˈkɑnfədənt əv ɪz ðət aɪ hæv mɔr bɔlz ðən anyone…*…"
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speaking after his victory in the macau grand prix, ticktum said that red bull's conviction in his talent following a ban from racing was something few would have had the bravery to do.
"i can't thank particularly helmut marko enough for being able to see that spark in me," ticktum told motorsport.com.
"i have to say this at this point – but i doubt other teams would have taken the risk in signing me. and i am going to make it pay off for helmut."
ticktum was handed a two-year ban (the second of which was suspended) in 2015 for having deliberately crashed into a rival during a safety car period at an msa formula race at silverstone.
he returned to competitive action last year in two f3 races, but his potential was enough for red bull to sign him up to its junior driver programme last winter.
and although he has endured some frustrations in formula renault this year, he says his triumph in macau at the weekend will be a springboard in his career ahead of a likely step up to f3 full-time in 2018.
"it's the biggest win in my life by quite a long way," he said. "i've had some incredible moments in karting when i was younger. i remember this sense of happiness and elation, but i haven't had it for a long time, to be honest. it is really nice to have this feeling again.
"this is the take-off point. it is going to be an incredible journey, i am sure. this is everything i ever wanted, so i put my heart and soul into it to get to this point.
"i overtook when i needed to. i was patient when i needed to be. so i think i can safely say from my point of view it was a mature drive, which is something that people haven't seen before in me. but i have proven that i can handle a lot of situations."
ticktum's success at macau comes at the perfect time for the briton, with the energy drinks company eager to find future talent after having no obvious replacement at toro rosso for daniil kvyat among its young drivers – and having opted for brendon hartley.
asked about the scope to move up with red bull, ticktum said: "i think if you are a second-year driver in the red bull programme, then helmut has established that you are bloody fast – unless something else has gone wrong with the team and he cannot quite gauge what the driver is doing.
"i think he knows i am very, very fast, i am quite confident he does. i think now it is about showing i can put a package together, and staying calm and mature with whatever is thrown at me. "
and with a key moment of his victory in macau having been when he pulled off a brilliant late-braking overtaking move on lando norris and maximillian gunther, ticktum said: "there are a few things i am not absolutely confident of. but what i am confident of is that i have more balls than anyone…"
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shard_production* ˈflɪkər fɪrz ðət nu ˈbəsɪz ənd treɪnz wɪl brɪŋ "ənˈseɪvəri ˈpipəl" pərˈsɪst, dɪˈspaɪt ˈɛvədəns tɪ ðə ˈkɑntrɛri. læst mənθ, ˌmɛtrəˈpɑlətən æˈtlæntə ˈsɛləˌbreɪtɪd ən ɪˈnɔrmɪs ˈvɪktəri fər ˈpəblɪk ˌtrænspərˈteɪʃən wɪn səˈbərbən ˈkleɪtən ˈkaʊnti ˈvoʊtɪd tɪ ʤɔɪn ðə ˈmɑrtə ˈtrænzɪt ˈnɛtˌwərk. ðə muv ɪz nɑt ˈoʊnli həz rɪˈʤɛktɪd ˈmɑrtə sɪns ðə ˈeɪʤənsiz ˌɪnˈsɛpʃən bæk ɪn ˈvaɪtəl tɪ ðə ˈriʤənz moʊˈbɪlɪti. ˈmɑrtə wɪl stɑrt ˈrənɪŋ ˈbəsɪz ɪn ˈkleɪtən nɛkst jɪr (ðə ˈkaʊntiz oʊn ˈsərvɪs stɑpt ɪn 2010 ənd wɪl plæn ə reɪl ər ˈræpɪd bəs rut fər ðə fˈjuʧər. bət dɪˈspaɪt ðə ˌoʊvərˈwɛlmɪŋ səˈpɔrt fər ˈʤɔɪnɪŋ ˈmɑrtə əˈməŋ ˈkleɪtən ˈrɛzɪdənts, wɪθ θˌrikˈwɔrtərz ˈhævɪŋ ˈvoʊtɪd ɪn ˈfeɪvər əv ðə ˈækʃən, nɑt ˈɛvriˌwən ɪz ˈkəmfərtəbəl wɪθ ðə ʧeɪnʤ. æt ə ˈpəblɪk ˈmitɪŋ lɛd baɪ ˈmɑrtə ðɛr læst wik, æt list tu ˈloʊkəlz rɪˈpɔrtədli spoʊk aʊt ðət ðeɪ ˈdɪdənt wɔnt ðɛr ˈneɪbərˌhʊdz tɪ bi pɑrt əv ˈɛni nu ˈtrænzɪt rʊts, fər fɪr əv drɔɪŋ ˈkrɪmənəlz tɪ ðə ˈɛriə. hɪrz haʊ wən ˈwʊmən dɪˈskraɪbd hər ɪkˈspɪriəns wɪθ ðə ˈpriviəs ˈkaʊnti bəs ˈsərvɪs, ˈviə ðə ˈkleɪtən nuz ˈdeɪli: "aɪ ˈpərsənəli sɔ ənˈseɪvəri ˈpipəl bɪˈgɪn tɪ kəm frəm ˈrɪvərˌdeɪl roʊd daʊn ˈɪntu ðə ˈsəbdɪˌvɪʒən." "ənˈseɪvəri ˈpipəl." hə. lɛts ɪkˈstɛnd ðə fʊl ˈbɛnəfɪt əv ðə daʊt hir ənd grænt ðət ðiz wərdz rɪˈfər tɪ ˈkrɪmənəlz, ənd ˈoʊnli ˈkrɪmənəlz. fər ɔl wi noʊ, ðɪs ˈwʊmən ˈæˌkʧuəli ˈwɪtnəst ˈsəmˌwən gɪt ɔf ə bəs, kəˈmɪt ə kraɪm, ðɛn gɪt bæk ɔn ðə bəs ənd ɪkˈsplɪsətli θæŋk ðə ˈdraɪvər fər ˈmeɪkɪŋ ɪt ɔl ˈərnɪŋ ðə dɪˈskrɪpʃən əv biɪŋ, fər ðɪs ənd noʊ ˈəðər ˌsupərˈfɪʃəl ˈrizən, ən "ənˈseɪvəri" ˈpərsən. "ɪt ɪz aɪˈrɑnɪk ðət reɪl ˈækˌsɛs ɪz ˈæˌkʧuəli faʊnd tɪ rɪˈdus kraɪm ɪn ðə ˌrɛprɪˈzɛnətɪv waɪt səˈbərbən ˈneɪbərˌhʊd, bɪˈkəz moʊst əv ðə ˌɑpəˈzɪʃən tɪ reɪl ˈtrænzɪt həz kəm frəm waɪt səˈbərbən ˈrɛzɪdənts." ðɛrz ə ˈhɪstəri ɪn æˈtlæntə əv ˈtrænzɪt əˈpoʊnənts ˈwəriɪŋ ðət nu ˈbəsɪz ənd treɪnz wɪl ˈɛkspɔrt ˈkrɪmənəlz frəm ðə ˈsɪti tɪ ðə ˈsəbərbz. ðə ˈnoʊʃən wɑz kənˈsɪdərd ə ˈfæktər ɪn gwɪˈnɛt ˈkaʊntiz dɪˈsɪʒən tɪ ˈsaʊndli ˈriʤɛkt ˈʤɔɪnɪŋ ˈmɑrtə bæk ɪn 1990 fər ˈɪnstəns. ɪts ˈɔlsoʊ bɪn ə dɪˈskəʃən pɔɪnt rɪˈgɑrdɪŋ wɛr tɪ pleɪs ˈtrænzɪt ˈsteɪʃənz ɪn ˈɛriəz ðət ər sərvd baɪ ðə ˈsɪstəm; hɪrz wən æˈtlæntə ˈrɛzɪdənt kˈwoʊtɪd ɪn ðə æˈtlæntə ˈʤərnəl ˌkɑnstəˈtuʃən ɪn 1997 (ˈviə ə ˈsɛkənˌdɛri sɔrs): "ˈhævɪŋ ˈmɑrtə [reɪl] ˌɪnˈkrisɪz ðə ˈʧænsɪz əv kraɪm. ðə ˈkrɪmənəlz kən gɪt ɔf ðə treɪn ənd breɪk ˈɪntu jʊr hoʊm ənd gɪt bæk ˈɔntu ðə treɪn. aɪ doʊnt θɪŋk ðæts ɛz ˈlaɪkli tɪ ˈhæpən ɔn ˈbəsɪz, wɛr ðeɪ hæv tɪ wɔk pæst ðə ˈdraɪvər tɪ gɪt ɔn bɔrd." əv kɔrs, æˈtlæntə ɪz nɑt ðə ˈoʊnli pleɪs wɛr səʧ pərˈsɛpʃənz pərˈsɪst. ˈsɪmələr fɪrz ər vɔɪst ɪn kəmˈjunɪtiz əˈkrɔs ðə juˈnaɪtɪd steɪts waɪl dəˈbeɪtɪŋ ˈwɛðər ər nɑt tɪ ˌɪmˈpruv ˈpəblɪk ˌtrænspərˈteɪʃən. tɪ gɪv wən ˈrisənt ɪgˈzæmpəl, ə ˈlidɪŋ ˈtrænzɪt əˈpoʊnənt ɪn trɔɪ, ˈmɪʃɪgən, ˈoʊpənli rɪˈfərd tɪ ˈpəblɪk ˌtrænspərˈteɪʃən ɛz ə "ˈməgər ˈmuvər." ənd ɪn ˈθɪri, ʃʊr, nu ˈtrænzɪt rʊts kʊd gɪv ˈkrɪmənəlz ˈækˌsɛs tɪ nu ˈɛriəz ənd nu ˈvɪktɪmz. bət ɪn ˌækʧuˈæləˌti, ðət ˈnoʊʃən ɪz ˈlɪtəl mɔr ðən ə ˌənsəbˈstænʃiˌeɪtɪd æt bɛst, ənd ən ˈɔfəl ˈpriˌtɛkst fər ˈprɛʤədɪs æt wərst. səm ˈstədiz hæv gɔn soʊ fɑr ɛz tɪ ʃoʊ ðət nɑt ˈoʊnli dɪz ˈtrænzɪt nɑt ˌɪnˈkris kraɪm, bət ɪt meɪ ˈæˌkʧuəli rɪˈdus kraɪm ɪn ən ˈɛriə. ˈrisənt wərk həz faʊnd ðət tɪ bi ðə keɪs əˈlɔŋ ðə lɪŋks laɪt reɪl ˈsɪstəm ɪn ˈʃɑrlət, ənd ðə reɪl ˈsɪstəm ɪn vænˈkuvər. pərˈhæps ðɛr ər mɔr aɪz ɔn ðə strit. pərˈhæps ˈkrɪmənəlz juzd ðə ˈbɛtər ʤɑb ˈækˌsɛs prəˈvaɪdɪd baɪ nu ˈtrænzɪt tɪ geɪn ləˈʤɪtəmət ɪmˈplɔɪmənt. pərˈhæps ˌɪnˈvɛstmənts əraʊnd ə ˈsteɪʃən lɛd tɪ ˈʤɛnərəl ˌɪmˈpruvmənt ɪn kˈwɑləti əv laɪf. ər pərˈhæps ðə hoʊl kənˈsərn wɑz ˈsɔrli mɪsˈgaɪdɪd ɪn ðə fərst pleɪs. ðæts nɑt tɪ seɪ ðə kˈwɛʃən əv ˈwɛðər ˈtrænzɪt ɪnˈkərəʤəz kraɪm ɪz kəmˈplitli ˈsɛtəld. ˈsoʊʃəl saɪəns ˈrɛrli wərks soʊ ˈklinli. səm ˈstədiz hæv bɪn ˌɪnkənˈklusɪv; səm hæv ˈivɪn ˈgɪvɪn (ædˈmɪtɪdli ˈkɔʃəs) səˈpɔrt tɪ ðə lɪŋk. ðiz ˈkeɪviˌæts əˈsaɪd, ə ˈskɛptɪk maɪt stɪl ˈwəndər haʊ əˈproʊpriˌeɪt ɪt ɪz tɪ əˈplaɪ ˈfaɪndɪŋz frəm wən ˈmɛˌtroʊ ˈɛriə tɪ əˈnəðər. bət ɪt soʊ ˈhæpənz ðət ðə kˈwɛʃən həz bɪn ˈstədid dɪˈrɛkli ɪn æˈtlæntə æt list ɪn boʊθ ˈkeɪsɪz, ðə rɪˈzəlts ˈɔfər ˈvɛri ˈlɪtəl ˈrizən tɪ fɪr ə kəˈnɛkʃən.
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shard_production / flickr
fears that new buses and trains will bring "unsavory people" persist, despite evidence to the contrary.
last month, metropolitan atlanta celebrated an enormous victory for public transportation when suburban clayton county voted to join the marta transit network. the move is not only historic—clayton has rejected marta since the agency's inception back in 1971—it's vital to the region's mobility. marta will start running buses in clayton next year (the county's own service stopped in 2010) and will plan a rail or rapid bus route for the future. but despite the overwhelming support for joining marta among clayton residents, with three-quarters having voted in favor of the action, not everyone is comfortable with the change. at a public meeting led by marta there last week, at least two locals reportedly spoke out that they didn't want their neighborhoods to be part of any new transit routes, for fear of drawing criminals to the area. here's how one woman described her experience with the previous county bus service, via the clayton news daily: "i personally saw unsavory people begin to come from riverdale road down into the subdivision." "unsavory people." huh. let's extend the full benefit of the doubt here and grant that these words refer to criminals, and only criminals. for all we know, this woman actually witnessed someone get off a bus, commit a crime, then get back on the bus and explicitly thank the driver for making it all possible—hence earning the description of being, for this and no other superficial reason, an "unsavory" person. "it is ironic that rail access is actually found to reduce crime in the representative white suburban neighborhood, because most of the opposition to rail transit has come from white suburban residents." there's a history in atlanta of transit opponents worrying that new buses and trains will export criminals from the city to the suburbs. the notion was considered a factor in gwinnett county's decision to soundly reject joining marta back in 1990, for instance. it's also been a discussion point regarding where to place transit stations in areas that are served by the system; here's one atlanta resident quoted in the atlanta journal constitution in 1997 (via a secondary source): "having marta [rail] increases the chances of crime. the criminals can get off the train and break into your home and get back onto the train. i don't think that's as likely to happen on buses, where they have to walk past the driver to get on board." of course, atlanta is not the only place where such perceptions persist. similar fears are voiced in communities across the united states while debating whether or not to improve public transportation. to give one recent example, a leading transit opponent in troy, michigan, openly referred to public transportation as a "mugger mover." and in theory, sure, new transit routes could give criminals access to new areas and new victims.
but in actuality, that notion is little more than a myth—wholly unsubstantiated at best, and an awful pretext for prejudice at worst. some studies have gone so far as to show that not only does transit not increase crime, but it may actually reduce crime in an area. recent work has found that to be the case along the lynx light rail system in charlotte, and the skytrain rail system in vancouver. perhaps there are more eyes on the street. perhaps would-be criminals used the better job access provided by new transit to gain legitimate employment. perhaps investments around a station led to general improvement in quality of life. or perhaps the whole concern was sorely misguided in the first place. that's not to say the question of whether transit encourages crime is completely settled. social science rarely works so cleanly. some studies have been inconclusive; some have even given (admittedly cautious) support to the transit-crime link. these caveats aside, a skeptic might still wonder how appropriate it is to apply findings from one metro area to another. but it so happens that the transit-crime question has been studied directly in atlanta at least twice—and in both cases, the results offer very little reason to fear a connection.
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tu hu ˈrɛntɪd aʊt ðɛr nɔrθ ˈləndən hoʊm ɔn rɪˈtərnd tɪ faɪnd ðɛr prɪnt ˈstoʊlən ənd ðɛr ˈprɑpərti træʃt. ʤæk klɑrk, 33 ənd ˈdɑmənɪk ʤoʊnz, 32 ˌdɪˈsaɪdɪd tɪ rɛnt aʊt ðɛr flæt ɪn tɪ meɪk ə bɪt əv ˈɛkstrə ˈməni wɪn ˈmɪstər klɑrk wɛnt əˈweɪ tɪ ˈjɔrkʃər fər ə ˈwɛdɪŋ. bət ðeɪ keɪm hoʊm tɪ faɪnd ˈkɑndəmz, ˈlæfɪŋ gæs ˈkænɪstərz ənd ˈkænəbəs ʤɔɪnts strun θruaʊt ðə ˈprɑpərti, waɪl ʧuɪŋ gəm ənd fud hæd bɪn ˈtrɑdən ˈɪntu ðə ˈkɑrpət. tu hu ˈrɛntɪd aʊt ðɛr nɔrθ ˈləndən hoʊm ɔn rɪˈtərnd tɪ faɪnd ðɛr prɪnt ɛnˈtaɪtəld ˈlɛpərd ənd (ˈpɪkʧərd) ˈstoʊlən ənd ðɛr ˈprɑpərti træʃt ʤæk klɑrk ənd ˈdɑmənɪk ʤoʊnz dɪˈskəvərd ˈkɑndəmz, ˈlæfɪŋ gæs ˈkænɪstərz ənd ˈkænəbəs ʤɔɪnts strun θruaʊt ðə ˈprɑpərti, waɪl ʧuɪŋ gəm ənd fud hæd bɪn ˈtrɑdən ˈɪntu ðə ˈkɑrpət ðə θivz hæd ˈɔlsoʊ ˈteɪkən ə ˈvæljəbəl prɪnt baɪ strit ˈɑrtɪst ɛnˈtaɪtəld ˈlɛpərd ənd, wɪʧ ˈmɪstər ʤoʊnz hæd bɔt tɛn jɪrz əˈgoʊ wɪθ ˈməni hi rɪˈsivd fər hɪz ˈbərθˌdeɪ. ðə ˈpɪkʧər, wɪʧ dɪˈpɪkts ə ˈlɛpərd ˈwɔkɪŋ aʊt əv ə keɪʤ, həz sɔrd ɪn praɪs sɪns ənd ɪz naʊ wərθ əraʊnd ɪt wɑz ðə ˈoʊnli ˈvæljəbəl wɪʧ ðə pɛr hæd nɑt pʊt ɪn ˈstɔrɪʤ. ðə tu mɛn ˌɪˈmiˌdiətli ˌriˈpɔrtəd ðə ˈɪnsədənt tɪ ðə pəˈlis ənd. bət ðeɪ kleɪm ðə ˈkəmpəˌni ɪz ˈdrægɪŋ ɪts fit ənd rɪfˈjuzɪŋ tɪ pæs ˈoʊvər ðə ˈditeɪlz əv ðə ˈsəˌspɛkt. ˈmɪstər klɑrk, hu həz oʊnd ðə flæt fər sɪks jɪrz, ˈædɪd: 'ɪt lɛft mi ˌæbsəˈlutli fˈjʊriəs. ɪt ɪz mɔr ə vaɪəˈleɪʃən əv jʊr oʊn speɪs. 'aɪ gɛs aɪ hæd ʤɪst bɪn naɪiv wɪθ ɔl ðə gʊd ɪkˈspɪriənsɪz aɪ hæv hæd. bət wɪn dɑm ˈriəˌlaɪzd ðə ˈpɪkʧər hæd bɪn ˈteɪkən, wi θɔt ðɪs ɪz sˈlaɪtli ˈdɪfərənt.' ˈmɪstər klɑrk, hu ˈfaʊndɪd ə ˈbɪznɪs kɔld soleshare*, wɪʧ sɛlz fɪʃ əˈkrɔs ˈləndən, sɛd ðə pleɪs wɑz lɛft 'ə ril tɪp'. 'ðeɪ tərnd ðə haʊs ˈəpˈsaɪd daʊn, nɑkt lɑts əv ˈpɪkʧərz ɔf ðə wɔlz, ənd stəbd aʊt ˌsɪgəˈrɛts aʊt ɔn ˈfərnɪʧər. 'aɪ hæv hæd bɪg ˈpɑrtiz hir, aɪ æm ˈfɛrli jəŋ, aɪ noʊ wət ɪt ɪz laɪk. bət ðeɪ ˈdɪdənt ˈivɪn ˈbɑðər ˈɛniˌθɪŋ əp. ɪt wɑz ʤɪst ə ˈtoʊtəl læk əv rɪˈspɛkt. ˈmɪstər klɑrk, hu rənz hɪz oʊn ˈbɪznɪs, dɪˈskraɪbd wət hi faʊnd ɛz ə 'tɪp'. ˈpɪkʧərd: ˈɛmti ˈælkəˌhɑl kænz ənd ˈdərti kəps ənd məgz wər lɛft ˈlɪtərd θruaʊt ðə flæt 'ðɛr wɑz fud ˈtrɑdən ˈɪntu ˈɛvriˌθɪŋ, ənd ɪt stæŋk. aɪ θɔt aɪ hæd kəm ɪn tu ˈərli, soʊ aɪ wɛnt bæk ˈɪntu maɪ kɑr ənd ˈdəbəl ʧɛkt aɪ wɑz nɑt ˌɪntərˈəptɪŋ ðɛm.' ˈmɪstər klɑrk sɛd ðə ˈjuzər hu ˈrɛntɪd ðə flæt hæd noʊ ˈreɪtɪŋ ɔn ðə ˈwɛbˌsaɪt. ðə sɛd: 'hi toʊld ˈjuˈɛs hi hæd ˈnɛvər juzd ɪt ˌbiˈfɔr bət hi ˈwɔntɪd tɪ trit hɪz ˌfiˌɑnˈseɪ tɪ ə nis ˈwiˌkɪnd. 'aɪ wɑz goʊɪŋ əˈweɪ fər ə ˈkəpəl əv deɪz tɪ ə ˈwɛdɪŋ, ənd aɪ θɔt ɪt wɪl peɪ fər maɪ trɪp əp tɪ ˈjɔrkʃər fər ðə ˈwiˌkɪnd. 'ɪt ɪz ə nis, kaɪnd, ˈʃɛrɪŋ kəmˈjunɪti ənd aɪ hæv steɪd æt lɑts əv ˈpleɪsɪz ɔl ˈoʊvər ðə wərld. moʊst əv ðə taɪm wət ðeɪ ˈɔfər ɪz ˈvɛri gʊd.' pəˈlis ər ˌɪnˈvɛstəˌgeɪtɪŋ bət ˈmɪstər klɑrk sɛd hæd nɑt bɪn 'ˈfɔrθˈkəmɪŋ' wɪθ ˌɪnˌfɔrˈmeɪʃən, ˈsəmθɪŋ ðə fərm dɪˈnaɪz. ˈmɪstər klɑrk (lɛft), 33 ənd ˈmɪstər ʤoʊnz, 32 (raɪt) ˌɪˈmiˌdiətli ˌriˈpɔrtəd ðə ˈɪnsədənt tɪ ðə pəˈlis ənd. bət ðeɪ kleɪm ðə ˈkəmpəˌni ɪz ˈdrægɪŋ ɪts fit ənd rɪfˈjuzɪŋ tɪ pæs ˈoʊvər ðə ˈditeɪlz əv ðə ˈsəˌspɛkt ðə flæt, wɛr ˈmɪstər klɑrk həz lɪvd fər sɪks jɪrz, ɪz əˈbəv ə ʃɑp ɔn ə ˈlifi strit ɪn, nɔrθ ˈləndən hi sɛd: 'aɪ æm ʃʊr ðɪs ɪz ə ˈrɛrɪti, bət ɪt məst ˈhæpən ɪˈnəf ðət ðeɪ hæv ˈprɑsɛsəz ɪn pleɪs soʊ ðeɪ ər ˈeɪbəl tɪ dil wɪθ ðɪs, ənd tɪ dil wɪθ ðə pəˈlis sˈwɪftli. 'ðeɪ ər ə paʊnd ˈbɪznɪs, ɪt ʃʊd teɪk ˈmɪnəts.' hi ˈædɪd: 'ðə ˈʧænsɪz əv ˈjuˈɛs ˈgɪtɪŋ ɪt bæk ər ˈziroʊ. aɪ du nɑt noʊ ˈwɛðər ɪt ɪz ə læk əv wɪl ɔn pɑrt ər ə kəmˈplit læk əv boʊθ ˈpɑrtiz tɪ kəmˈjunəˌkeɪt ˈprɑpərli. 'aɪ sɛd aɪ wɑz kwaɪt əˈmeɪzd tɪ hir ju hæv nɑt bɪn ˈfɔrθˈkəmɪŋ wɪθ ðə neɪm, ˈæˌdrɛs ənd ˈditeɪlz əv ðə gaɪ hu lɛt ɪt. gɑt bæk tɪ mi seɪɪŋ ðeɪ wər əˈgrɛsɪvli pərˈsuɪŋ ðə keɪs, bət sɪks wiks əv nɑt ˈbɑðərɪŋ tɪ spik tɪ ðə pəˈlis ɪz nɑt əˈgrɛsɪv ɪn maɪ aɪz.' ə ˈspoʊksmən fər sɛd: 'wi hæv ˈziroʊ ˈtɑlərəns fər ðɪs kaɪnd əv bɪˈheɪvjər ənd hæv riˈmuvd ðɪs gɛst frəm ɑr ˈplætˌfɔrm. 'wi ər əˈsɪstɪŋ ðə pəˈlis wɪθ ðɛr ˌɪnˌvɛstəˈgeɪʃən ənd ər prəˈvaɪdɪŋ ðə hoʊst wɪθ ɑr səˈpɔrt.'
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two flatmates who rented out their £1m north london home on airbnb returned to find their £8,000 banksy print stolen and their property trashed.
jack clarke, 33, and dominic jones, 32, decided to rent out their flat in islington to make a bit of extra money when mr clarke went away to yorkshire for a wedding.
but they came home to find condoms, laughing gas canisters and cannabis joints strewn throughout the property, while chewing gum and food had been trodden into the carpet.
two flatmates who rented out their £1m north london home on airbnb returned to find their £8,000 banksy print - entitled leopard and barcode (pictured) - stolen and their property trashed
jack clarke and dominic jones discovered condoms, laughing gas canisters and cannabis joints strewn throughout the islington property, while chewing gum and food had been trodden into the carpet
the thieves had also taken a valuable print by street artist banksy entitled leopard and barcode, which mr jones had bought ten years ago with money he received for his 21st birthday.
the picture, which depicts a leopard walking out of a barcode-shaped cage, has soared in price since and is now worth around £8,000. it was the only valuable which the pair had not put in storage.
the two men immediately reported the incident to the police and airbnb. but they claim the company is dragging its feet and refusing to pass over the details of the suspect.
mr clarke, who has owned the flat for six years, added: 'it left me absolutely furious. it is more a violation of your own space.
'i guess i had just been naive with all the good experiences i have had. but when dom realised the picture had been taken, we thought this is slightly different.'
mr clarke, who founded a business called soleshare, which sells fish across london, said the place was left 'a real tip'.
'they turned the house upside down, knocked lots of pictures off the walls, and stubbed out cigarettes out on furniture.
'i have had big parties here, i am fairly young, i know what it is like. but they didn't even bother tidying anything up. it was just a total lack of respect.
mr clarke, who runs his own business, described what he found as a 'tip'. pictured: empty alcohol cans and dirty cups and mugs were left littered throughout the flat
'there was food trodden into everything, and it stank. i thought i had come in too early, so i went back into my car and double checked i was not interrupting them.'
mr clarke said the user who rented the flat had no rating on the website.
the 33-year-old said: 'he told us he had never used it before but he wanted to treat his fiance to a nice weekend.
'i was going away for a couple of days to a wedding, and i thought it will pay for my trip up to yorkshire for the weekend.
'it is a nice, kind, sharing community and i have stayed at lots of airbnb places all over the world. most of the time what they offer is very good.'
police are investigating but mr clarke said airbnb had not been 'forthcoming' with information, something the firm denies.
mr clarke (left), 33, and mr jones, 32, (right) immediately reported the incident to the police and airbnb. but they claim the company is dragging its feet and refusing to pass over the details of the suspect
the flat, where mr clarke has lived for six years, is above a shop on a leafy street in islington, north london
he said: 'i am sure this is a rarity, but it must happen enough that they have processes in place so they are able to deal with this, and to deal with the police swiftly.
'they are a multi-million pound business, it should take minutes.'
he added: 'the chances of us getting it back are zero. i do not know whether it is a lack of will on airbnb's part or a complete lack of both parties to communicate properly.
'i said i was quite amazed to hear you have not been forthcoming with the name, address and details of the guy who let it.
'airbnb got back to me saying they were aggressively pursuing the case, but six weeks of not bothering to speak to the police is not aggressive in my eyes.'
a spokesman for airbnb said: 'we have zero tolerance for this kind of behaviour and have removed this guest from our platform.
'we are assisting the police with their investigation and are providing the host with our support.'
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tu leɪt tɪ ðɪs-- gɪt ɪn təʧ wɪθ kul stəf, ɪŋk tɪ rɪˈzərv jʊr ˈkɑpi! nuz flæʃ ˈeɪprəl 2 2015 ˈiziər tɪ əˈteɪn strɛʧ goʊlz naʊ stɑrt æt 50k*! ðə ɪz ɪn! θæŋks ˈbækərz! ðɪs ɪz ðə ˌɪˈnɪʃəl riˈlis əv ðɪs brænd nu ˈvərʒən əv tumblin’*’ daɪs dɪˈvɛləpt əˈspɛʃəli baɪ kriˈeɪtər rɪk əv geɪmz ənd geɪm dɪˈzaɪnər ˈrændi næʃ. jul gɪt ə nu, bɔrd meɪd əv ˌhaɪkˈwɑləti, wʊd, wɪθ daɪs, pɛgz ənd lɛgz ənd ɔl fər ðə sɛnˈseɪʃənəl praɪs əv 60 tumblin’*’ daɪs ɪz ə dɛkˈstɛrɪti daɪs bɔrd geɪm kənˈsɪstɪŋ əv ə pleɪɪŋ fild wɪθ fɔr sɛts əv ˈkələrd daɪs ðət ə pleɪər kən slaɪd, roʊl, ənd flɪk daʊn ɪts stɛpt ˈsərfəs. ˈæftər iʧ ˈpərsən ər tim həz θroʊn ðɛr 4 daɪs, pɔɪnts ər ˈtælid ənd ˈtoʊtəld. ə pleɪər kən skɔr ə ˈməltəˌplaɪər wɪθ iʧ daɪ roʊl, ˈgeɪnɪŋ əp tɪ 1x*,,, ər dɪˈpɛndɪŋ ɔn wɪʧ ˈɛriə əv ðə bɔrd ðə daɪs rɛst ɪn. (daɪs wɪʧ lænd ɪn ðə ˈriʤən ər ˌɪˈmiˌdiətli riˈmuvd frəm pleɪ.) ʤɪst laɪk ər ˈkərlɪŋ, haɪ ˈskɔrɪŋ roʊlz kən bɪˈkəm ˈtɑrgəts fər əˈpoʊnənts hu meɪ hoʊp tɪ nɑk ðə daɪ aʊt əv ðə geɪm. fɔr raʊnz ər pleɪd ənd ðə pleɪər wɪθ ðə moʊst pɔɪnts wɪnz! juˈnik ˈgeɪmˌpleɪ! brɪŋ ðə fən əv jɑrd geɪm ˈklæsɪks tɪ jʊr ˈlɪvɪŋ rum. ˈpərˌfɪkt fər ə ˈreɪni deɪ ər ən ˈivnɪŋ ɪn! gɪt ə greɪt praɪs! ˈoʊnli 60 fər ˈbækərz. wɪn ðɪs geɪm ɪz riˈlist fər seɪl tɪ ðə ˈpəblɪk, ɪt wɪl ˈriˌteɪl fər fər ˈbækərz. wɪn ðɪs geɪm ɪz riˈlist fər seɪl tɪ ðə ˈpəblɪk, ɪt wɪl ˈriˌteɪl fər strɛʧ goʊlz wɪl bi ˌɪnˈkludɪd tɪ meɪk jʊr ˈvərʒən əv ðə geɪm, ənd ðɪs dil, ðət məʧ ˈbɛtər. wɪl bi ˌɪnˈkludɪd tɪ meɪk jʊr ˈvərʒən əv ðə geɪm, ənd ðɪs dil, ðət məʧ ˈbɛtər. ˈbəndəld dilz! wɪθ tərˈɪfɪk ˈpraɪsɪz ɔn ˈəðər geɪmz ˈfiʧərɪŋ daɪs kən bi ˈædɪd tɪ ˈɛni plɛʤ əv 55 ər mɔr. ˈtəmblɪn' daɪs ˌɪnˈkludz: haɪ kˈwɑləti ənd ˈwʊdən geɪm bɔrd wɪθ fɔr ˈɪntərˌlɑkɪŋ ˈpisɪz 7 lɛgz ənd 12 ˈbəmpər pɛgz 16 daɪs ɪn 4 ˈkələrz ˈrulˌbʊk brænd nu ˈvɛriənts fər tumblin’*’ daɪs hæv bɪn kriˈeɪtɪd, ˌɪnˈkludɪŋ: tumblin’*’ ˈkrɪkɪt: skɔr wɪθ iʧ saɪd əv ðə daɪ fɔr taɪmz. ˈroʊlɪŋ ə daɪ feɪs ɔn ðə ˈməltəˌplaɪər stɛp kaʊnts ɛz ˈskɔrɪŋ ˈməltəpəl taɪmz (e.g*. ˈroʊlɪŋ ə tu ɔn ðə ˈməltəˌplaɪər stɛp wʊd kaʊnt ɛz ˈroʊlɪŋ ə tu twaɪs; waɪl ˈroʊlɪŋ ə θri ɔn ðə ˈməltəˌplaɪər stɛp wʊd kaʊnt ɛz ə θri θraɪs; ˌɛtˈsɛtərə.) skɔr wɪθ iʧ saɪd əv ðə daɪ fɔr taɪmz. ˈroʊlɪŋ ə daɪ feɪs ɔn ðə ˈməltəˌplaɪər stɛp kaʊnts ɛz ˈskɔrɪŋ ˈməltəpəl taɪmz (e.g*. ˈroʊlɪŋ ə tu ɔn ðə ˈməltəˌplaɪər stɛp wʊd kaʊnt ɛz ˈroʊlɪŋ ə tu twaɪs; waɪl ˈroʊlɪŋ ə θri ɔn ðə ˈməltəˌplaɪər stɛp wʊd kaʊnt ɛz ə θri θraɪs; ˌɛtˈsɛtərə.) oh-one*: stɑrt wɪθ ə skɔr əv 101 201 ər 301 ˌɛtˈsɛtərə. səbˈtrækt iʧ pɔɪnts frəm jʊr skɔr ənˈtɪl wən pleɪər həz ɪgˈzæktli 0 pɔɪnts. stɑrt wɪθ ə skɔr əv 101 201 ər 301 ˌɛtˈsɛtərə. səbˈtrækt iʧ pɔɪnts frəm jʊr skɔr ənˈtɪl wən pleɪər həz ɪgˈzæktli 0 pɔɪnts. ˈtəmbəl daʊn ðə stɛrz: skɔr iʧ saɪd əv ðə daɪs ɪn iʧ zoʊn wəns. fərst tɪ skɔr ɔl ˈpɑsəbəl ˌkɑmbəˈneɪʃənz wɪnz. skɔr iʧ saɪd əv ðə daɪs ɪn iʧ zoʊn wəns. fərst tɪ skɔr ɔl ˈpɑsəbəl ˌkɑmbəˈneɪʃənz wɪnz. tumblin’*’ ˈbeɪsˈbɔl: iʧ daɪ ɪz ə ˈbætər fər jʊr saɪd. iʧ ˈməltəˌplaɪər ɪz ə ˈsɪŋgəl, ˈdəbəl, ˈtrɪpəl, ər hoʊm rən. bət bi ˈkɛrfəl, ɪf ju roʊl ə 1 ər ə tu, jʊr ˈbætər ɪz tægd aʊt baɪ ðə ˈfildɪŋ tim. pleɪər wɪθ ðə haɪəst skɔr ˈæftər 9 ˈɪnɪŋz wɪnz. iʧ daɪ ɪz ə ˈbætər fər jʊr saɪd. iʧ ˈməltəˌplaɪər ɪz ə ˈsɪŋgəl, ˈdəbəl, ˈtrɪpəl, ər hoʊm rən. bət bi ˈkɛrfəl, ɪf ju roʊl ə 1 ər ə tu, jʊr ˈbætər ɪz tægd aʊt baɪ ðə ˈfildɪŋ tim. pleɪər wɪθ ðə haɪəst skɔr ˈæftər 9 ˈɪnɪŋz wɪnz. ˈtəmblərz laɪərz: ə ˌkɑmbəˈneɪʃən əv daɪs ənd tumblin’*’ daɪs. iʧ raʊnd ðə pleɪər wɪθ ðə loʊəst skɔr ˈluzɪz ə daɪ. ɪf ə pleɪər nɑks əˈnəðər daɪ aʊt əv ðə geɪm, ðeɪ kən stil wən daɪ. læst pleɪər ˈstændɪŋ wɪnz. haʊ du aɪ æd ˈsəmθɪŋ ˈɔntu maɪ plɛʤ? ju ˈsɪmpli æd ðə əˈmaʊnt əv ˈməni ˈnidɪd tɪ ˈpərʧəs ˈɛni əv ðə bɪˈloʊ tɪ jʊr plɛʤ! ju kən ˈɔlˌweɪz ʧeɪnʤ ðə əˈmaʊnt əv jʊr plɛʤ (waɪl ðə ˈprɑʤɛkt ɪz ˈæktɪv) baɪ ˈjuzɪŋ ðə "ˈmænɪʤ maɪ plɛʤ" ˈbətən. wɛr ər haʊ du aɪ ˈɪndəˌkeɪt ðə spɪˈsɪfɪk item(s*) aɪ hæv added-on*? əˈbaʊt deɪz ˈæftər ðɪs ˈprɑʤɛkt ɛndz wi wɪl sɛnd ju ə ˈsərˌveɪ ənd æsk ju tɪ ˈɪndəˌkeɪt ɪgˈzæktli haʊ tɪ ˈæləˌkeɪt jʊr plɛʤ bɪtˈwin ðə beɪs geɪm ənd ðə ˈɔfərd hir. ju wɪl wərk wɪθ ɑr plɛʤ ˈmænɪʤər, ruθ, ənˈtɪl ju boʊθ hæv ɔl ðə ˈditeɪlz əv jʊr plɛʤ ənd ˈʃɪpɪŋ wərkt aʊt. wɪn du aɪ gɪv ju maɪ ˈkələr ˈprɛfərənsɪz fər ðə strɛʧ goʊl ər ðə sɛts əv daɪs bɪˈloʊ? ðə ˈsərˌveɪ ðət ju gɪt ˈæftər ðɪs ˈprɑʤɛkt ɛndz wɪl æsk ju fər ðɪs ˈɪnfoʊ. haʊ məʧ ˈʃɪpɪŋ du aɪ æd fər? ɪt dɪˈpɛndz ɔn tu ˈmɛni ˈfæktərz tɪ du ə ʧɑrt fər, soʊ wi wɪl æsk ju tɪ sɛnd ə ˈmɛsɪʤ (nɑt ə ˈkɑmɛnt pliz) tɪ ˈjuˈɛs ənd wi wɪl ˈfɪgjər ɪt aʊt ənd lɛt ju noʊ. ɪn jʊr ˈmɛsɪʤ pliz tɛl ˈjuˈɛs wət ju wɔnt ʃɪpt ənd wɛr tɪ. ˈəðər "daɪs" geɪmz æt rəˈdɪkjələsli gʊd ˈpraɪsɪz: 4 ɪn ðə nu ˈsɪriz ʧɛk ðɛm ɔl aʊt æt ˈvælju əv ðə mənθ greɪt geɪm! greɪt praɪs! wi wɪl gɪv ju ðə "ˈænˌʧoʊvi ɪkˈspænʧən" fər fri waɪl səˈplaɪz læst! ərˈɪʤənəli ə 60 ʤɪst 19 æd ðə ˈkjubɪst ɪkˈspænʧən fər ʤɪst 9 mɔr! æd kænt stɑp ɪkˈspænʧən "ˈroʊlɪn' daʊn ðə ˈhaɪˌweɪ" fər ʤɪst 3 mɔr! noʊt: ˈoʊnli 800 ˈkɑpiz rɪˈmeɪn əv ðɪs ˈlɪmɪtɪd prɪnt rən. gɪt jʊrz naʊ! fʊlˈfɪlmənt ˈpɑrtnər: kul stəf, ɪŋk. wi ər ˈvɛri plizd tɪ ðɪs ˈprɑʤɛkt wɪθ kul stəf, ɪŋk. kul stəf, ɪŋk wɪl ˈhændəl fʊlˈfɪlmənt əv ðɪs! baɪ ˈpɑpjələr dɪˈmænd, kul stəf wɪl əreɪnʤ tɪ hæv ˈpɪˌkəps æt boʊθ ənd ˈpɑsəbəl fər ˈbækərz əv ðɪs geɪm. ðə fi fər ðɪs ˈsərvɪs wɪl bi 5 pliz æd ðət əˈmaʊnt tɪ jʊr plɛʤ ɪf ju ɪkˈspɛkt tɪ pɪk əp æt ˈiðər ər (ju wɪl nid tɪ ˈɪndəˌkeɪt jʊr ˈʃɪpɪŋ ˌdɛstɪˈneɪʃən ɪz ˌæˈnɑrtɪkə tɪ gɪt ðɪs 5 ˈɔpʃən ənd ðɛn ʧeɪnʤ ðət wɪn ju fɪl aʊt jʊr ˈsərˌveɪ tɪ jʊr ˈprɑpər ˈæˌdrɛs). ðɪs ɪz ə bɪg bɑks (wɪθ ˈpækɪʤɪŋ ɪt wɪl bi 18 baɪ 16 baɪ 6 ənd ɪt rikˈwaɪərz prəˈtɛkʃən ɛz wɛl. ˈpækɪʤd, ɪt wɪl weɪ əˈbaʊt paʊndz. 3 kg*). soʊ ˈʃɪpɪŋ ɪz nɑt ʧip bət wi wɪl du ðə bɛst wi kən tɪ faɪnd grup ˌɑpərˈtunətiz ɪn ˈvɛriəs ˈkəntriz wɪʧ maɪt rɪˈdus ˈʃɪpɪŋ kɔsts. wi wɪl ʃɪp ˈjuˈɛs ˈɔrdərz frəm ˈflɔrɪdə; kəˈneɪdiən ˈɔrdərz frəm ɑnˈtɛrioʊ; ɔˈstreɪljən ˈɔrdərz frəm ˌkænˈbɛrə; ənd ˈeɪʒən ˈɔrdərz frəm ˈʧaɪnə (ˈmeɪnˌlænd).
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too late to this kickstarter-- get in touch with cool stuff, inc to reserve your copy!
news flash -- april 2, 2015! easier to attain stretch goals now start at $50k!
the pumm'ler is in! thanks backers!
this is the initial release of this brand new version of tumblin’ dice -- developed especially by creator rick soued of eagle-gryphon games and game designer randy nash. you'll get a new, multi-colored board made of high-quality, light-weight wood, with newly-designed dice, pegs and legs -- and all for the sensational price of $60!
tumblin’ dice is a dexterity dice board game consisting of a multi-colored playing field with four sets of colored dice that a player can slide, roll, and flick down its stepped surface. after each person or team has thrown their 4 dice, points are tallied and totaled.
a player can score a multiplier with each die roll, gaining up to 1x, 2x, 3x, or 4x depending on which area of the board the dice rest in. (dice which land in the 0x region are immediately removed from play.)
just like shuffleboard or curling, high scoring rolls can become targets for opponents who may hope to knock the die out of the game. four rounds are played and the player with the most points wins!
unique gameplay! – bring the fun of yard game classics to your living room. perfect for a rainy day or an evening in!
get a great price! only $60 for ks backers. when this game is released for sale to the public, it will retail for $79.99.
for ks backers. when this game is released for sale to the public, it will retail for $79.99. stretch goals - will be included to make your kickstarter version of the game, and this deal, that much better.
will be included to make your kickstarter version of the game, and this deal, that much better. bundled deals! - add-ons with terrific prices on other eagle-gryphon games featuring dice can be added to any pledge of $55 or more.
tumblin' dice includes:
high quality multi-layered and multi-colored wooden game board with four interlocking pieces
7 legs and 12 bumper pegs
16 six-sided dice in 4 colors
rulebook brand new variants for tumblin’ dice have been created, including: tumblin’ cricket: score with each side of the die four times. rolling a die face on the same-numbered multiplier step counts as scoring multiple times (e.g. rolling a two on the 2x multiplier step would count as rolling a two twice; while rolling a three on the 3x multiplier step would count as a three thrice; etc.)
score with each side of the die four times. rolling a die face on the same-numbered multiplier step counts as scoring multiple times (e.g. rolling a two on the 2x multiplier step would count as rolling a two twice; while rolling a three on the 3x multiplier step would count as a three thrice; etc.) oh-one: start with a score of 101, 201, or 301, etc. subtract each round’s points from your score until one player has exactly 0 points.
start with a score of 101, 201, or 301, etc. subtract each round’s points from your score until one player has exactly 0 points. tumble down the stairs: score each side of the dice in each zone once. first to score all possible combinations wins.
score each side of the dice in each zone once. first to score all possible combinations wins. tumblin’ baseball: each die is a batter for your side. each multiplier is a single, double, triple, or home run. but be careful, if you roll a 1 or a two, your batter is tagged out by the fielding team. player with the highest score after 9 innings wins.
each die is a batter for your side. each multiplier is a single, double, triple, or home run. but be careful, if you roll a 1 or a two, your batter is tagged out by the fielding team. player with the highest score after 9 innings wins. tumblers & liars: a combination of liar’s dice and tumblin’ dice. each round the player with the lowest score loses a die. if a player knocks another player’s die out of the game, they can steal one die. last player standing wins.
how do i add something onto my pledge?
you simply add the amount of money needed to purchase any of the add-ons below to your pledge! you can always change the amount of your pledge (while the ks project is active) by using the "manage my pledge" button.
where or how do i indicate the specific item(s) i have added-on?
about 7-14 days after this ks project ends we will send you a survey and ask you to indicate exactly how to allocate your pledge between the base game and the add-ons offered here. you will work with our pledge manager, ruth, until you both have all the details of your pledge and shipping worked out.
when do i give you my color preferences for the $40,000 stretch goal or the add-on sets of dice below? the survey that you get after this ks project ends will ask you for this info.
how much shipping do i add for add-ons?
it depends on too many factors to do a chart for, so we will ask you to send a message (not a comment please) to us and we will figure it out and let you know. in your message please tell us what you want shipped and where to.
add-on other eagle-gryphon "dice" games at ridiculously good prices:
#4 in the new e*g*g series -- check them all out at eggrules.com
value of the month -- great game! great price!
we will give you the "anchovy expansion" for free while supplies last!
originally a $60 msrp game--now just $19!
add the 18-card cubist expansion for just $9 more!
add can't stop expansion "rollin' down the highway" for just $3 more!
note: only 800 copies remain of this limited print run. get yours now!
co-sponsor & fulfillment partner: cool stuff, inc.
we are very pleased to co-sponsor this project with cool stuff, inc. cool stuff, inc will handle fulfillment of this kickstarter! by popular demand, cool stuff will arrange to have pick-ups at both gencon and bgg.con possible for backers of this game. the fee for this service will be $5, please add that amount to your pledge if you expect to pick up at either gencon or bgg.con (you will need to indicate your shipping destination is antarctica to get this $5 option and then change that when you fill out your survey to your proper address).
this is a big box (with packaging it will be 18" by 16" by 6") and it requires protection as well. packaged, it will weigh about 6.5 lbs. (3 kg). so shipping is not cheap but we will do the best we can to find group opportunities in various countries which might reduce shipping costs. we will ship us orders from florida; canadian orders from ontario; australian orders from canberra; and asian orders from china (mainland).
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aɪ ˈrɪli ˌɛnˈʤɔɪ ˈhaɪkɪŋ ɪn ðə waɪt ˈmaʊntənz. aɪ tʊk ðə ˈpɪkʧər əˈbəv læst ˈsæˌtɪˌdeɪ ɔn saʊθ ɪn ˈʤæksən, nu ˈhæmʃər. ɪt wɑz ə ˈbjutəfəl deɪ bət ɪt wɑz ˈoʊnli əˈbaʊt dɪˈgriz æt ðə tɔp wɪθ ə wɪnd ʧɪl nɪr 0 aɪ hæv tɪ ədˈmɪt ðət aɪ priˈpɛrd fər ðə koʊld ˈwɛðər. soʊ haʊ dɪz ðə lɔ rɪˈleɪt tɪ ˈhaɪkɪŋ ɪn ðə waɪt ˈmaʊntənz? wɛl ɪn 1999 nu ˈhæmʃər pæst (http://www.gencourt.state.nh.us/rsa/html/xii/153-a/153-a-24.htm*) ðət əˈlaʊz ðə steɪt tɪ hoʊld ˈpipəl ˈlaɪəbəl, əp tɪ fər ðə ˈimərʤənsi rɪˈspɑns ðət rɪˈzəlts frəm ə ˈpərsənz ˌɪnˈtɛnʃənəl ər ˈrɛkləs bɪˈheɪvjər. ðə nu ˈhæmʃər fɪʃ ənd geɪm ˈstrɛŋθənd ðə lɔ tɪ ˈɔlsoʊ ˌɪnˈklud ˈnɛglɪʤənt ˈækʃənz, nɑt ʤɪst ˈrɛkləs ər ˌɪnˈtɛnʃənəl ˈkɑndəkt. (http://www.gencourt.state.nh.us/rsa/html/xviii/206/206-26-bb.htm*) ðɪs ɪz ˈsəmˌtaɪmz rɪˈfərd tɪ ɛz ðə "ˈrɛkləs ˈhaɪkər lɔ." ðə ˈligəl sɪgˈnɪfɪkəns bɪtˈwin ˈækʃənz ənd ˈnɛglɪʤənt ˈækʃənz ɪz ˈæˌkʧuəli kwaɪt lɑrʤ. fər ðə steɪt tɪ faɪnd ə ˈpərsən ˈnɛglɪʤənt ɪt məst ˈmɪrli ʃoʊ ðət ə ˈpərsən hæd ə ˈduti ənd ðət ˈduti wɑz briʧt. ðɪs ɪz ə məʧ ˈiziər ˈstændərd tɪ ˈsætɪsˌfaɪ ənd loʊərz ðə əˈmaʊnt əv ““fault”*” rikˈwaɪərd tɪ faɪnd ə ˈhaɪkər ˈlaɪəbəl fər ðə kɔsts əˈsoʊʃiˌeɪtəd wɪθ hɪz ər hər ˈrɛskju. ðə fɪʃ geɪm ˈwɛbˌsaɪt (http://www.hikesafe.com*) traɪz tɪ dɪˈfaɪn ðɪs ˈduti wɪθ ðɛr ˈhaɪkərz riˌspɑnsəˈbɪləti koʊd. ðɪs koʊd sɪz ðət ˈhaɪkərz hæv ə riˌspɑnsəˈbɪləti tɪ: lərn əˈbaʊt ðə təreɪn, kənˈdɪʃənz, ˈwɛðər, ənd ɪkˈwɪpmənt ˈnidɪd tɪ pərˈfɔrm ðə haɪk. lɛt ˈəðərz noʊ wɪn ənd wɛr ðeɪ ər ˈhaɪkɪŋ. steɪ təˈgɛðər ɪf ˈhaɪkɪŋ ɪn ə grup. tərn bæk ər sik ˈʃɛltər du tɪ bæd ˈwɛðər ər fəˈtig. bi priˈpɛrd fər ˈimərʤənsiz. ˈɛvəri jɪr nu ˈhæmʃər spɛnz ɔn ˈrɛskjuɪŋ ˈstrændɪd ənd ˈɪnʤərd ˈhaɪkərz. ɪf ə ˈhaɪkər dɪz rɪˈsiv ə ˈrɛskju bɪl ðeɪ hæv ˈoʊnli 30 deɪz tɪ peɪ ðə əˈmaʊnt ɪn fʊl. ɪf ðə bɪl ɪz nɑt peɪd, fɪʃ ənd geɪm kən əˈtɛmpt tɪ hæv ðət ˈpərsənz ˈdraɪvərz ˈlaɪsəns rɪˈvoʊkt. ðə ˌræʃəˈnæl bɪˈhaɪnd ðɪs lɔ ʤɪst tɪ ˈkəvər ðə kɔst əv ðə ˈrɛskju, bət tɪ prəˈvaɪd ə ˈmɑnəˌtɛri dɪˈtərrənt tɪ ðoʊz hu maɪt kəm tɪ ðə waɪt ˈmaʊntənz ˌənpriˈpɛrd fər ˈhaɪkɪŋ. ˈmɛni ˈpipəl fil ðət ðə lɔ kəmz əˈkrɔs ɛz hɑrʃ ənd unwelcoming*. ˈhaɪkɪŋ ənd ““eco-tourism”*” ɪz wən əv ˈloʊkəl ɪˈkɑnəmiz ˈbɪgəst kənˈtrɪbjətərz. ðə ˌriˈæləˌti ɪz ðət ˈmɛni ˈpipəl ˈəndərˈɛstəˌmeɪt ðə ˈdɪfɪˌkəlti əˈsoʊʃiˌeɪtəd wɪθ ˈhaɪkɪŋ ðə waɪt ˈmaʊntənz ənd nu ˈhæmʃər ˈmɪrli wɔnts ˈpipəl tɪ ˈrɛkəgˌnaɪz ðə ˈdeɪnʤər. ˌpænərˈæmɪk vju frəm saʊθ
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i really enjoy hiking in the white mountains. i took the picture above last saturday on doublehead south in jackson, new hampshire. it was a beautiful day but it was only about 25-30 degrees at the top with a wind chill near 0. i have to admit that i wasn’t prepared for the cold weather.
so how does the law relate to hiking in the white mountains? well in 1999 new hampshire passed rsa 153:a-24 (http://www.gencourt.state.nh.us/rsa/html/xii/153-a/153-a-24.htm) that allows the state to hold people liable, up to $10,000, for the emergency response that results from a person's intentional or reckless behavior. the new hampshire fish and game strengthened the law to also include negligent actions, not just reckless or intentional conduct. (http://www.gencourt.state.nh.us/rsa/html/xviii/206/206-26-bb.htm) this is sometimes referred to as the "reckless hiker law."
the legal significance between reckless/intentional actions and negligent actions is actually quite large. for the state to find a person negligent it must merely show that a person had a duty and that duty was breached. this is a much easier standard to satisfy and lowers the amount of “fault” required to find a hiker liable for the costs associated with his or her rescue.
the fish & game hikesafe website (http://www.hikesafe.com) tries to define this duty with their hikers responsibility code. this code says that hikers have a responsibility to:
learn about the terrain, conditions, weather, and equipment needed to perform the hike.
let others know when and where they are hiking.
stay together if hiking in a group.
turn back or seek shelter due to bad weather or fatigue.
be prepared for emergencies.
every year new hampshire spends $260,000 on rescuing stranded and injured hikers. if a hiker does receive a rescue bill they have only 30 days to pay the amount in full. if the bill is not paid, fish and game can attempt to have that person's driver's licence revoked.
the rationale behind this law isn’t just to cover the cost of the rescue, but to provide a monetary deterrent to those who might come to the white mountains unprepared for hiking. many people feel that the law comes across as harsh and unwelcoming. hiking and “eco-tourism” is one of local economies biggest contributors. the reality is that many people underestimate the difficulty associated with hiking the white mountains and new hampshire merely wants people to recognize the danger.
panoramic view from doublehead south
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ɪn ə hɪˈstɔrɪk fərst, ˈmɛksəˌkoʊz ˈstrəgəlɪŋ ˈpɛˌmɛks ˈɛnərʤi ˈkəmpəˌni wɪl tim əp wɪθ ˈpraɪvət fərmz fər ə ɔɪl ˈprɑʤɛkt, əˈfɪʃəlz sɛd ˈfraɪˌdeɪ. ˈpɛˌmɛks wɪl "fɑrm aʊt" ðə 11 ˈbɪljən fild ɪn ðə gəlf əv ˈmɛksəˌkoʊ, wɪʧ həz pəˈtɛnʃəli 480 ˈmɪljən ˈbɛrəlz əv laɪt krud, sɛd ˈkəmpəˌni dɪˈrɛktər ˈʤɛnərəl ˌhoʊˈzeɪ ænˈtoʊnioʊ gɑnˈzɑləz ɑˈnɑjə. "fər ðə fərst taɪm ɪn ɪts ˈhɪstəri, ˈpɛˌmɛks woʊnt əˈsum ðə ˌʤiəˈlɑʤɪkəl ənd ˌfaɪˈnænʃəl rɪsks əˈloʊn," ˈɛnərʤi ˈmɪnɪstər ˈpeɪdroʊ ˌwɑˈkin ˈkoʊldˌwɛl sɛd æt ə nuz ˈkɑnfərəns. ˈprɛzɪdənt ɛnˈrikeɪ ˈpɛnə ˈniətoʊ pʊʃt θru ə ˈlændˌmɑrk rɪˈfɔrm ɪn 2014 ðət ˈɛndɪd məˈnɑpəli, riˈoʊpənɪŋ ðə ɔɪl ənd gæs ˈsɛktər tɪ ˈpraɪvət ˌɪnˈvɛstərz. wən əv ðə goʊlz wɑz tɪ əˈlaʊ ˈpɛˌmɛks tɪ ʤɔɪn ˈfɔrsɪz wɪθ ˈəðər ˈkəmpəˌniz. ˈpɛˌmɛks ˈpoʊstɪd ˈbɪljən ɪn ˈlɔsɪz ɪn 2015 waɪl pərˈdəkʃən həz drɑpt frəm ˈmɪljən ˈbɛrəlz pər deɪ tɪ ˈmɪljən ɪn 2015 ðə ˈkəmpəˌni ɪz ˈmeɪkɪŋ ˈbɪljən ɪn ˈbəʤɪt kəts ðɪs jɪr, wɪθ dɪˈleɪz ɪn ˌɪnˈvɛstmənts ˌrɛprɪˈzɛnɪŋ ˈbɪljən əv ðoʊz ˈseɪvɪŋz. ðə ˈgəvərnmənt ɪz prəˈvaɪdɪŋ ˈbɪljən ɪn lɪkˈwɪdɪti tɪ hɛlp ˈpɛˌmɛks.
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in a historic first, mexico's struggling state-run pemex energy company will team up with private firms for a deep-water oil project, officials said friday.
pemex will "farm out" the $11 billion trion field in the gulf of mexico, which has potentially 480 million barrels of light crude, said company director general jose antonio gonzalez anaya.
"for the first time in its history, pemex won't assume the geological and financial risks alone," energy minister pedro joaquin coldwell said at a news conference.
president enrique pena nieto pushed through a landmark reform in 2014 that ended pemex's seven-decade monopoly, reopening the oil and gas sector to private investors.
one of the goals was to allow pemex to join forces with other companies.
pemex posted $30.3 billion in losses in 2015 while production has dropped from 3.4 million barrels per day to 2.27 million in 2015.
the company is making $5.5 billion in budget cuts this year, with delays in investments representing $3.6 billion of those savings.
the government is providing $4.2 billion in liquidity to help pemex.
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oslo/bonn* (ˈrɔɪtərz) ˈgloʊbəl ˈwɔrmɪŋ ɪz ˈlaɪkli tɪ ˈoʊvərˌʃut ə 2 dɪˈgriz ˈsɛlsiəs ɛf) raɪz sin baɪ ðə ˌjʊrəˈpiən ˈjunjən ənd ˈmɛni dɪˈvɛləpɪŋ ˈneɪʃənz ɛz ə ˈtrɪgər fər ““dangerous”*” ʧeɪnʤ, ə ˈrɔɪtərz poʊl əv ˈsaɪəntɪsts ʃoʊd ɔn ˈtuzˌdeɪ. ə ˈmaʊntən ɪz rɪˈflɛktɪd ɪn ə beɪ ðət juzd tɪ bi ˈkəvərd baɪ ðə ˈʃɛldən ˈgleɪʃər ɔn ðə æˈnɑrtɪk pəˈnɪnsələ, ˈʤænjuˌɛri 14 2009 dɔɪl naɪn əv 11 ˈɛkspərts, hu wər əˈməŋ ˈɔθərz əv ðə ˈfaɪnəl ˈsəməri baɪ ðə ˌɪntərˌgəvərnˈmɛntəl ˈpænəl ɔn ˈklaɪmɪt ʧeɪnʤ ɪn 2007 (ipcc*), ˈɔlsoʊ sɛd ðə ˈɛvədəns ðət ˈmænˈkaɪnd wɑz tɪ bleɪm fər ˈklaɪmɪt ʧeɪnʤ hæd groʊn ˈstrɔŋgər ɪn ðə pæst tu jɪrz. ˈgɪvɪŋ ˈpərsɪnəl vjuz əv ˈrisənt ˈrisərʧ, moʊst prɑˈʤɛktəd ɔn ˈævərɪʤ ə ˈfæstər mɛlt əv ˈsəmər aɪs ɪn ðə ˈɑrtɪk ənd ə kˈwɪkər raɪz ɪn si ˈlɛvəlz ðən ˈɛstəˌmeɪtɪd ɪn ðə 2007 rɪˈpɔrt, ðə moʊst əˈθɔrəˌteɪtɪv ˈoʊvərvˌju tɪ deɪt drɔɪŋ ɔn wərk baɪ ˈɛkspərts. lɔt əv ðə ˌɪmˈpækts siɪŋ ər ˈrənɪŋ əˈhɛd əv ɑr expectations,”*,” sɛd ˈwɪljəm hɛr əv ðə ˈpɑtsˌdæm ˈɪnstɪˌtut fər ˈklaɪmɪt ˌɪmˈpækt ˈrisərʧ. tɛn əv 11 ˈɛkspərts sɛd ɪt wɑz æt bɛst ““unlikely”*” ər lɛs ðən ə ˌwənˈθərd ʧæns ðət ðə wərld wʊd ˈmænɪʤ tɪ ˈlɪmət ˈwɔrmɪŋ tɪ ə 2 dɪˈgriz ˈsɛlsiəs ˈfɛrənˌhaɪt) raɪz əˈbəv ˈlɛvəlz. ɪt kən bi dən. bət ənˈlaɪkli ˈgɪvɪn ðə ˈlɛvəl əv pəˈlɪtɪkəl will,”*,” sɛd æt ðə ˌɪnərˈnæʃənɑl ˈɪnstɪˌtut fər ɪnˈvaɪrənmənt ənd dɪˈvɛləpmənt ɪn ˈləndən. ənd ˈdeɪvɪd kərˈoʊli, əv ðə ˌjunəˈvərsəti əv ˈmɛlbərn, sɛd ðə wərld wɑz unlikely”*” tɪ riʧ ðə goʊl. ˌkɑnsənˈtreɪʃən əv ˈgrinˌhaʊs ˈgæsɪz ɪn ðə ˈætməsˌfɪr ɪz ɔˈrɛdi ɪˈnəf tɪ kɔz ˈwɔrmɪŋ əv mɔr ðən əˈbəv ˈlɛvəlz, ənd wi ər kənˈtɪnjuɪŋ tɪ ɪˈmɪt mɔr ənd mɔr ˈgrinˌhaʊs ˈgæsɪz ˈɪntu ðə atmosphere,”*,” hi sɛd. bɑn tɔks əˈfɪʃəlz frəm 175 ˈneɪʃənz ər ˈmitɪŋ ɪn bɑn, ˈʤərməni, fər 11 deɪz əv nɪˌgoʊʃiˈeɪʃənz ˈlæstɪŋ ənˈtɪl ˈeɪprəl 8 ɔn ə nu u.n*. ˈklaɪmɪt ˈtriti du tɪ bi əˈgrid ɪn dɪˈsɛmbər. ˈrɔɪtərz gɑt 11 rɪˈplaɪz tɪ faɪv kˈwɛsʧənz, sɛnt tɪ 35 ˈɔθərz. ðə ˌjʊrəˈpiən ˈjunjən, ˈmɛni dɪˈvɛləpɪŋ ˈneɪʃənz ənd ɪnˌvaɪrənˈmɛnəl grups seɪ 2 ˈsɛlsiəs əˈbəv ˈlɛvəlz ɪz ðə ˈmæksəməm tɪ əˈvɔɪd ðə wərst əv ˈraɪzɪŋ si ˈlɛvəlz, flədz, draʊts ər heatwaves*. ˈtɛmpərəʧərz ər ɔˈrɛdi əp ˈsɛlsiəs. ən əˈlaɪəns əv 43 smɔl ˈaɪlənd dɪˈvɛləpɪŋ steɪts, hu fɪr biɪŋ swɔmpt, wɔnt ˈtɛmpərəʧərz ˈlɪmɪtɪd tɪ ən ˈivɪn ˈtəfər goʊl əv bɪˈloʊ ˈsɛlsiəs. ðeɪ seɪ rɪʧ ˈneɪʃənz ʃʊd ˈʃɑrpli kət ˈgrinˌhaʊs gæs ɪˈmɪʃənz, ˈmeɪnli frəm ˈbərnɪŋ ˈfɑsəl fjuəlz. rɪˈmuvəl əv ˈmænˈmeɪd smoʊk ˈəndər klin ɛr lɔz meɪ æd ə 1 ˈsɛlsiəs raɪz waɪl ˈoʊʃənz wɪl wɔrm ˈfərðər ˈəndər ə læg ˈifɛkt, ˌəndərˈskɔrɪŋ haʊ nɪr ðə 2 dɪˈgriz ˈlɪmət ɪz ɔˈrɛdi. ðə sɛd ɪn 2007 ðət ɪt wɑz æt list 90 pərˈsɛnt ˈsərtən ðət ˈjumən ækˈtɪvɪtiz, lɛd baɪ ˈbərnɪŋ ˈfɑsəl fjuəlz, wər ðə meɪn kɔz əv ˈwɔrmɪŋ ɪn ðə pæst 50 jɪrz. naɪn ˈrɛkənd ðət ˈɛvədəns wɑz ˈstrɔŋgər, tu sɛd ɪt wɑz ənˈʧeɪnʤd. sɪks əv ðə ˈsaɪəntɪsts sɛd wərld ˈævərɪʤ ˈænjuəl ˈtɛmpərəʧərz wʊd sɛt ə nu ˈrɛkərd baɪ 2015 ənd əˈnəðər fɔr prɑˈʤɛktəd ðət ɪt wʊd ˈhæpən baɪ 2020 dɪsˈmɪsɪŋ vjuz frəm ˈskɛptɪks ðət ˈgloʊbəl ˈwɔrmɪŋ həz stɑpt. ðə ˈhɑtəst jɪr sɪns ˈrɛkərdz bɪˈgæn ɪn ðə ˈsɛnʧəri wɑz 1998 əˈkɔrdɪŋ tɪ ðə wərld ˌmitiˌɔrəˈlɑʤɪkəl ˌɔrgənəˈzeɪʃən. ənd ðə ˈsaɪəntɪsts ˈʤɛnərəli sɛd ðət si ˈlɛvəlz wʊd raɪz ˈfæstər ðən prɑˈʤɛktəd ɪn ðə rɪˈpɔrt, ɪn ə θrɛt tɪ ˈmɛni ˈsɪtiz, ˈaɪləndz ənd koʊsts frəm ˈbæŋləˌdɛʃ tɪ ˈflɔrɪdə. ðə sɛd siz wʊd raɪz baɪ bɪtˈwin 18 ənd 59 ˈɪnʧɪz) ðɪs ˈsɛnʧəri. bət ɪt ˈpɔɪntɪd tɪ bɪg ənˈsərtəntiz əˈbaʊt aɪs ʃits ɪn ˈgrinˌlænd ər ˌæˈnɑrtɪkə wən ˈɛstəˌmeɪt wɑz ðət ðɪs aɪs kʊd æd əp tɪ 20 tɪ si ˈlɛvəl raɪz. ɪn ðə poʊl, ðə loʊəst prɑˈʤɛkʃən fər si ˈlɛvəl raɪz baɪ 2100 wɑz, ðə haɪəst əp tɪ 140. ənd 10 əv ðoʊz poʊld prɑˈʤɛktəd ðət ˈɑrtɪk leɪt ˈsəmər si aɪs kʊd ˈvænɪʃ ˌbiˈfɔr 2050 wɪθ tu seɪɪŋ ɪt kʊd ˌdɪsəˈpɪr baɪ 2020 ðə hæd sɛd səm sɪˈnɛrioʊz ˈpɔɪntɪd tɪ ə lɔs ɪn ðə ˈlætər hæf əv ðə ˈsɛnʧəri. fər ˈrɔɪtərz ˈleɪtəst ɪnˈvaɪrənmənt blɔgz klɪk ɔn: blogs.reuters.com/environment*/
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oslo/bonn (reuters) - global warming is likely to overshoot a 2 degrees celsius (3.6 f) rise seen by the european union and many developing nations as a trigger for “dangerous” change, a reuters poll of scientists showed on tuesday.
a mountain is reflected in a bay that used to be covered by the sheldon glacier on the antarctic peninsula, january 14, 2009. reuters/alister doyle
nine of 11 experts, who were among authors of the final summary by the u.n.’s intergovernmental panel on climate change in 2007 (ipcc), also said the evidence that mankind was to blame for climate change had grown stronger in the past two years.
giving personal views of recent research, most projected on average a faster melt of summer ice in the arctic and a quicker rise in sea levels than estimated in the 2007 report, the most authoritative overview to date drawing on work by 2,500 experts.
“a lot of the impacts we’re seeing are running ahead of our expectations,” said william hare of the potsdam institute for climate impact research.
ten of 11 experts said it was at best “unlikely” — or less than a one-third chance — that the world would manage to limit warming to a 2 degrees celsius (3.6 fahrenheit) rise above pre-industrial levels.
“scientifically it can be done. but it’s unlikely given the level of political will,” said salemeel huq at the international institute for environment and development in london.
and david karoly, of the university of melbourne, said the world was “very unlikely” to reach the goal.
“the concentration of long-lived greenhouse gases in the atmosphere is already enough to cause warming of more than 2c above pre-industrial levels, and we are continuing to emit more and more greenhouse gases into the atmosphere,” he said.
bonn talks
officials from 175 nations are meeting in bonn, germany, for 11 days of negotiations lasting until april 8 on a new u.n. climate treaty due to be agreed in december. reuters got 11 replies to five questions, sent to 35 ipcc authors.
the european union, many developing nations and environmental groups say 2 celsius above pre-industrial levels is the maximum to avoid the worst of rising sea levels, floods, droughts or heatwaves. temperatures are already up 0.7 celsius.
an alliance of 43 small island developing states, who fear being swamped, want temperatures limited to an even tougher goal of below 1.5 celsius. they say rich nations should sharply cut greenhouse gas emissions, mainly from burning fossil fuels.
removal of manmade sun-blocking smoke under clean air laws may add a 1 celsius rise while oceans will warm further under a lag effect, underscoring how near the 2 degrees limit is already.
the ipcc said in 2007 that it was at least 90 percent certain that human activities, led by burning fossil fuels, were the main cause of warming in the past 50 years. nine reckoned that evidence was stronger, two said it was unchanged.
six of the scientists said world average annual temperatures would set a new record by 2015 — and another four projected that it would happen by 2020 — dismissing views from skeptics that global warming has stopped.
the hottest year since records began in the 19th century was 1998, according to the world meteorological organization.
and the scientists generally said that sea levels would rise faster than projected in the ipcc report, in a threat to many cities, islands and coasts from bangladesh to florida.
the ipcc said seas would rise by between 18 and 59 cms (7-24 inches) this century. but it pointed to big uncertainties about ice sheets in greenland or antarctica — one ipcc estimate was that this ice could add up to 20 cms to sea level rise.
in the poll, the lowest projection for sea level rise by 2100 was 30-40 cms, the highest up to 140 cms.
and 10 of those polled projected that arctic late summer sea ice could vanish before 2050, with two saying it could disappear by 2020. the ipcc had said some scenarios pointed to a loss in the latter half of the century.
-- for reuters latest environment blogs click on: blogs.reuters.com/environment/
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weight-conscious* kənˈsumərz ər ˈɔfən drɔn tɪ fudz səʧ ɛz klɪf bɑrz ənd ˈwitiz, huz ˈpækɪʤɪŋ səˈʤɛsts ðət ðeɪ prəˈmoʊt ˈfɪtnəs. bət əˈkɔrdɪŋ tɪ ə nu ˈstədi ɪn ðə ˈʤərnəl əv ˈmɑrkətɪŋ ˈrisərʧ, səʧ "ˈfɪtnəs ˈbrændɪŋ" ɪnˈkərəʤəz kənˈsumərz tɪ it mɔr əv ðoʊz fudz ənd tɪ ˈɛksərˌsaɪz lɛs, pəˈtɛnʃəli ˈəndərˌmaɪnɪŋ ðɛr ˈɛfərts tɪ luz ər kənˈtroʊl ðɛr weɪt. "ənˈlɛs ə fud wɑz ˈfɔrbɪdən baɪ ðɛr daɪət, ˈbrændɪŋ ðə ˈprɑdəkt ɛz 'fɪt' ˌɪnˈkrist kənˈsəmʃən fər ðoʊz traɪɪŋ tɪ wɔʧ ðɛr weɪt," raɪt ˈɔθərz ʤɔrg münchen*) ənd hɑns ˈbɑmˌgɑrtnər (ˌpɛnsəlˈveɪnjə steɪt ˌjunəˈvərsəti). "tɪ meɪk ˈmætərz wərs, ðiz ˈitərz ˈɔlsoʊ rɪˈdust ðɛr ˈfɪzɪkəl ækˈtɪvɪti, əˈpɛrəntli siɪŋ ðə 'fɪt' fud ɛz ə ˈsəbstəˌtut fər ˈɛksərˌsaɪz. ðə ˈɔθərz ˌɪnˈvɛstəˌgeɪtɪd ðə ˈifɛkts əv fud ɔn kənˈsəmʃən ənd ˈfɪzɪkəl ækˈtɪvɪti ɪn "riˈstreɪnd" ˈitərz ˈitərz hu ər ˈkrɑnɪkəli kənˈsərnd əˈbaʊt ðɛr ˈbɑdi weɪt. pɑrˈtɪsəpənts wər ˈgɪvɪn staɪl snæks mɑrkt ˈiðər "ˈfɪtnəs" ər "treɪl mɪks." tɪ meɪk ðə "ˈfɪtnəs" snæk əˈpɪr ˈivɪn ˈhɛlθiər, ə ˈpɪkʧər əv ˈrənɪŋ ʃuz wɑz ˈædɪd tɪ ðə ˈpækɪʤɪŋ. pɑrˈtɪsəpənts wər toʊld tɪ priˈtɛnd ðət ðeɪ wər æt hoʊm ˈhɛlpɪŋ ðɛmˈsɛlvz tɪ ən ˌæftərˈnun snæk, ənd wər ˈgɪvɪn eɪt ˈmɪnəts tɪ teɪst ənd reɪt ðə ˈprɑdəkt. əˈnəðər feɪz əv ðə ˈstədi geɪv ðɛm ðə ˈɔpʃən tɪ ˈɛksərˌsaɪz ɛz ˈvɪgərəsli ɛz ðeɪ laɪkt ɔn ə ˈsteɪʃəˌnɛri ˈbaɪsɪkəl ˈæftər ˈitɪŋ ðə snæk. fər ðoʊz hu wər spəˈsɪfɪkli traɪɪŋ tɪ wɔʧ ðɛr weɪt, ðə ˈifɛkt əv ˈleɪbəlɪŋ wɑz sɪgˈnɪfɪkənt, ˈkɔzɪŋ ðɛm tɪ it fɑr mɔr əv ðə snæk mɑrkt "ˈfɪtnəs." ˈitɪŋ ðə "ˈfɪtnəs" brænd ˈɔlsoʊ ʧoʊz tɪ ɪkˈspɛnd lɛs ˈɛnərʤi ˈdʊrɪŋ ðə ˈɛksərˌsaɪz feɪz. "ɪt ɪz ˌɪmˈpɔrtənt ðət mɔr ˈɛmfəsɪs bi pleɪst ɔn ˈmɑnətərɪŋ ˈfɪtnəs kjuz ɪn ˈmɑrkətɪŋ. fər ɪgˈzæmpəl, ə brænd kʊd ˈɔfər ʤɪm ˈvaʊʧərz ər ˈɛksərˌsaɪz tɪps ˌɪnˈstɛd əv ʤɪst ˌɪmˈplaɪɪŋ ˈfɪtnəs ˈviə ə ˈleɪbəl ər ˈɪmɪʤ. riˈmaɪndɪŋ ðə kənˈsumər ðət ˈɛksərˌsaɪz ɪz stɪl ˈnɛsəˌsɛri meɪ hɛlp ˈkaʊntərˌækt ðə ˈnɛgətɪv ˈifɛkt əv ðiz fudz," kənˈklud ðə ˈɔθərz.
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weight-conscious consumers are often drawn to foods such as clif bars and wheaties, whose packaging suggests that they promote fitness. but according to a new study in the journal of marketing research, such "fitness branding" encourages consumers to eat more of those foods and to exercise less, potentially undermining their efforts to lose or control their weight.
"unless a food was forbidden by their diet, branding the product as 'fit' increased consumption for those trying to watch their weight," write authors joerg koenigstorfer (technische universität münchen) and hans baumgartner (pennsylvania state university). "to make matters worse, these eaters also reduced their physical activity, apparently seeing the 'fit' food as a substitute for exercise.
the authors investigated the effects of fitness-branded food on consumption and physical activity in "restrained" eaters -- eaters who are chronically concerned about their body weight. participants were given trail-mix style snacks marked either "fitness" or "trail mix." to make the "fitness" snack appear even healthier, a picture of running shoes was added to the packaging. participants were told to pretend that they were at home helping themselves to an afternoon snack, and were given eight minutes to taste and rate the product. another phase of the study gave them the option to exercise as vigorously as they liked on a stationary bicycle after eating the snack.
for those who were specifically trying to watch their weight, the effect of labeling was significant, causing them to eat far more of the snack marked "fitness." snackers eating the "fitness" brand also chose to expend less energy during the exercise phase.
"it is important that more emphasis be placed on monitoring fitness cues in marketing. for example, a brand could offer gym vouchers or exercise tips instead of just implying fitness via a label or image. reminding the consumer that exercise is still necessary may help counteract the negative effect of these fitness-branded foods," conclude the authors.
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ɪkˈspænd pəˈlis ərˈɛst ə mæn ɪn frənt əv ðə pis ˈsɪnəmə ɪn ˈdaʊnˈtaʊn ˈʃæŋˈhaɪ, ˈæftər kɔlz fər ə "ˈʤæzmɪn ˌrɛvəˈluʃən" ˈproʊˌtɛst wɑz ˈɔrgəˌnaɪzd θru ðə ˈɪntərˌnɛt ɔn ˈfɛbruˌɛri 27 2011 2011 ˈrɔɪtərz (nu jɔrk) ðə ʧaɪˈniz juz əv ˌɪˈligəl ɛnˈfɔrst ˌdɪsəˈpɪrənsɪz tɪ ˈsaɪləns dɪˈsɛnərz wɑz ʤɪst wən əv ˈsɛvərəl ˈɑmənəs ˈsɛtˌbæks tɪ ˈjumən raɪts prəˈtɛkʃənz ɪn 2011 ˈjumən raɪts wɔʧ sɛd ɪn ɪts wərld rɪˈpɔrt 2012 riˈlist təˈdeɪ. ðə rɪˈpɔrt əˈsɛsɪz ˈprɑˌgrɛs ɔn ˈjumən raɪts ɪn mɔr ðən 90 ˈkəntriz, ˌɪnˈkludɪŋ ˈpɑpjələr ˈəˌpraɪzɪŋz ɪn ðə ˈærəb wərld ðət fju wʊd hæv ˌɪˈmæʤənd. ɪn ɪts ˈʧæptər ɔn ˈʧaɪnə ˈjumən raɪts wɔʧ ˈaʊˌtlaɪnz ðə θrɛt poʊzd baɪ ə prəˈvɪʒən ɪn dræft ˈkrɪmənəl prəˈsiʤər lɔ tɪ ˈifɛktɪvli ˈligəˌlaɪz səʧ ˌdɪsəˈpɪrənsɪz, wɪʧ rɪˈmeɪn ə ˈsɪriəs kraɪm ɪn ˌɪnərˈnæʃənɑl lɔ. ˈtrɪgərd baɪ ðə ˈnərvəsnəs ˈoʊvər ðə ˈærəb spərɪŋ ˈəˌpraɪzɪŋz ɪn ðə ˈmɪdəl ist ənd baɪ ðə ˌɪˈnɪʃəl feɪz əv ðə ˈlidərˌʃɪp trænˈzɪʃən ɪn ˈʧaɪnə, ðiz dɪˈvɛləpmənts səˈʤɛst ə mɔr rɪˈspɑns ɛz ðə ˈpəblɪk ˌɪnˈkrisɪŋgli dɪˈmændz ðə rul əv lɔ ənd rɪˈspɛkt fər ðə ˈfridəmz əv əˌsoʊʃiˈeɪʃən, bɪˈlif, ənd ɪkˈsprɛʃən. ʧaɪˈniz ʃɑrp ˈkrækˌdaʊn ɔn ˈkrɪtɪks waɪl traɪɪŋ tɪ ˈkəvər əˈbjuzɪz wɪθ ə fɪg lif əv liˈgæləti ɪz ən əˈlɑrmɪŋ saɪn əv wət ðə nɛkst jɪr kʊd bi laɪk fər ʧaɪˈniz ˈsɪtɪzənz, ˈgəvərnmənt ˈkrɪtɪks, ənd ˈjumən raɪts defenders,”*,” sɛd ˈsoʊfi ˈrɪʧərdsən ˈʧaɪnə dɪˈrɛktər æt ˈjumən raɪts wɔʧ. taɪm fər ˈəðər ˈgəvərnmənts tɪ ˈstɪpjəˌleɪt tɪ ˌbeɪˈʒɪŋ ðət ə ˈwərsənɪŋ ɪn ˈjumən raɪts ɪnˈvaɪrənmənt ɪn 2012 wɪl hæv ə dɪˈrɛkt ˌɪmˈpækt ɔn baɪˈlætərəl ties.”*.” bɪˈgɪnɪŋ ɪn ˈfɛbruˌɛri 2011 ʧaɪˈniz sɪˈkjʊrəti ˈeɪʤənsiz ˈraʊndɪd əp ˈdəzənz əv ðə moʊst ˈaʊtˈspoʊkən ˈkrɪtɪks, ˌɪnˈkludɪŋ ðə ˌɪnərˈnæʃənɑli rɪˈnaʊnd ˈɑrtɪst eɪaɪ, ənd ““disappeared”*” ðɛm fər wiks ˈaʊtˈsaɪd əv ˈɛni ˈligəl prəˈtɛkʃən ənd ʤuˈdɪʃəl prəˈsiʤər. əˈpɑn ðɛr riˈlis, ˈsɛvərəl əv ðoʊz ˌɪndəˈvɪʤəwəlz ˌriˈpɔrtəd biɪŋ səˈbʤɛktɪd tɪ fɔrst slip ˌdɛprəˈveɪʃən, ˌɪnˌtɛrəˈgeɪʃənz, ənd threats”*” waɪl ɪn ˈkəstədi. ɪn dɪˈsɛmbər 2011 əˈloʊn, ðə ʧaɪˈniz ˈgəvərnmənt ˈsɪgnəld ɪts ˈpɑləsi fər ˈaʊtˈspoʊkən pəˈlɪtɪkəl dɪˈsɛnt θru ðə ˌpərsəˈkjuʃən əv ˌhaɪˈproʊfaɪl ˈjumən raɪts dɪˈfɛndərz. dɪˈsɛmbər 29 ˈdɪstrɪkt traɪd dɪˈseɪbəld ˈjumən raɪts ˈæktɪvɪst ənd ˈfɔrmər ˈlɔjər ni ənd hər ˈhəzbənd, dɔŋg jiqin*, fər ə disturbance”*” ənd ˈɔlsoʊ traɪd ni fər ““fraud.”*.” ðə ˈvərdɪkt həz nɑt jɛt bɪn riˈlist. ˈæktɪvɪst ənd ˈfɔrmər ˈlɔjər ni ənd hər ˈhəzbənd, dɔŋg jiqin*, fər ə disturbance”*” ənd ˈɔlsoʊ traɪd ni fər ““fraud.”*.” ðə ˈvərdɪkt həz nɑt jɛt bɪn riˈlist. dɪˈsɛmbər 26 ðə ˌɪnərˈmidiɪt kɔrt ɪn ˈprɑvɪns ˈsɛntənst ˈvɛtərən ʧaɪˈniz ˈæktɪvɪst ʧɛn ʃi tɪ ə ˈprɪzən tərm fər səbˈvərʒən əv steɪt power.”*.” ðə kənˈvɪkʃən wɑz beɪst ɔn ˈɑrtɪkəlz ʧɛn hæd ˈpəblɪʃt ɔn ˈvɛriəs ˈwɛbˌsaɪts ˈkrɪtɪˌsaɪzɪŋ rul. dɪˈsɛmbər 23 ðə ˌɪnərˈmidiɪt kɔrt ɪn ˌsɪʧˈwɑn ˈprɑvɪns ˈsɛntənst ˈvɛtərən ˈæktɪvɪst ʧɛn weɪ tɪ ə ˈprɪzən tərm fər səbˈvərʒən əv steɪt power.”*.” ðə kɔrt kənˈvɪktəd ʧɛn ɔn ðə ˈbeɪsɪs əv ˈsɛvərəl ˈɛˌseɪz hi hæd ˈrɪtən ɔn ˌkɑnstəˈtuʃənəl dɪˈmɑkrəsi, ˈsɪvəl soʊˈsaɪɪti ənd ˈjumən raɪts. dɪˈsɛmbər 16 ðə ˌbeɪˈʒɪŋ noʊ. 1 ˌɪnərˈmidiɪt kɔrt əˈbrəptli wɪθˈdru ðə grænt əv proʊˈbeɪʃən fər ðə ˌdɪsəˈpɪrd ˈjumən raɪts ˈlɔjər ənd ˈɔrdərd ɪm tɪ sərv ðə ɪnˈtaɪərti əv ə θˈriˌjɪr ˈsɛntəns fər səbˈvərʒən əv steɪt power,”*,” ˈhændɪd daʊn ɔn dɪˈsɛmbər 22 2006 ðə kɔrt ˈʤəstəˌfaɪd ɪts dɪˈsɪʒən ɔn ðə ˈbeɪsɪs ðət hæd ˈvaɪəleɪtɪd proʊˈbeɪʃən rules”*” dɪˈspaɪt ðə fækt ðət hi hæd bɪn ðə ˈvɪktɪm əv ən əˈpɛrənt ɛnˈfɔrst ˌdɪsəˈpɪrəns ənd ðəs ɪn pəˈlis ˈkəstədi sɪns ˈeɪprəl 2010 ðə rɪˈpɔrt ˈɔlsoʊ ˈditeɪlz kənˈsɪdərəbəl rɪsks ʧaɪˈniz ˈsɪtɪzənz tʊk tɪ ɪkˈsprɛs ðɛr ˌdɪsætɪsˈfækʃən wɪθ əˈbjuzɪz. wən əv ðə mɔr drəˈmætɪk ˈpəblɪk ˈʧælənʤɪz ˌɪnˈvɑlvd əˈtɛmpts baɪ ˈdəzənz əv ʧaɪˈniz ˈsɪtɪzənz tɪ ˈvɪzɪt ðə ˌɪˈligəli dɪˈteɪnd ˈjumən raɪts dɪˈfɛndər ʧɛn ɪn ˌʃɑnˈdoʊŋ ˈprɑvɪns. sɪns riˈlis frəm ˈprɪzən ɔn sɛpˈtɛmbər 9 2010 ɔn ə kənˈvɪkʃən fər traffic,”*,” hi ənd hɪz ˈfæməli hæv bɪn ˌɪˈligəli dɪˈteɪnd ɪn ðɛr hoʊm ənd rɪˈpɔrtədli səˈbʤɛktɪd tɪ ˈvɪʃəs ˈbitɪŋz fər dɪˈfaɪɪŋ ðɛr ˈkæptərz. ðə sɪˈkjʊrəti ˈkɔrdən əraʊnd ˈvɪlɪʤ, mænd baɪ ˈpleɪnˈkloʊz θəgz hu əˈpɪr tɪ ˈɔpərˌeɪt æt əˈfɪʃəl bɪˈhɛst, əˈpɛrəntli hæv dɪˈteɪnd, ˈbitən ənd səˈbʤɛktɪd tɪ ˌɪˈligəl sərʧ ənd ˈsiʒər ˈmɛni əv ðoʊz hu traɪd tɪ ˈvɪzɪt ɪm. ɪn əˈnəðər ɪkˈsprɛʃən əv ˈpəblɪk ˌsɑləˈdɛrəti, ˈθaʊzənz əv ʧaɪˈniz ˈsɪtɪzənz reɪzd ˈhənərdz əv ˈθaʊzənz əv ˈdɔlərz ɪn noʊˈvɛmbər 2011 tɪ hɛlp peɪ ðə ˈmɪljən tæks bɪl ˌɪmˈpoʊzd ɔn ðə ˈæktɪvɪst eɪaɪ baɪ ˌbeɪˈʒɪŋ mjuˈnɪsəpəl tæks əˈθɔrətiz. dɪˈspaɪt ðə ʧaɪˈniz əˈtæk ɔn ˈjumən raɪts dɪˈfɛndərz ənd ˈsɪvəl soʊˈsaɪɪti ˈæktɪvɪsts ɪn ˈrisənt jɪrz, ɪn ˌʤuˈlaɪ 2011 ðə ʧaɪˈniz ˈgəvərnmənt dɪˈklɛrd ɪts ˈnæʃənəl ˈjumən raɪts ˈækʃənz plæn ə riˈsaʊndɪŋ səkˈsɛs. ɪt rɪˈmeɪnz ənˈklɪr ˈwɛðər ðə ˈfɑloʊ əp ˈækʃən plæn ənd ˈəðər rɪˈtɔrɪkəl kəˈmɪtmənts tɪ ˈbɛtər raɪts prəˈtɛkʃənz ənd ðə rul əv lɔ wɪl bi ˈædəkˌweɪt rɪˈspɑnsɪz tɪ ˈraɪzɪŋ ˈpəblɪk ˈæŋgər. mɔr ðən incidents”*” ər ˈproʊˌtɛsts ər ˈɛstəˌmeɪtɪd tɪ əˈkər ˈænjuəli ɪn ˈʧaɪnə ənd ðə ʧaɪˈniz ˈgəvərnmənt naʊ ˈbəʤɪts mɔr fəndz fər stəˈbɪlɪti maintenance”*” ðən ˈnæʃənəl dɪˈfɛns. fju ˈfɔrən ˈgəvərnmənts geɪv ɛz məʧ əˈtɛnʃən tɪ ðə ˈkrækˌdaʊn ɪn ˈʧaɪnə ər tɪ ðə ʧaɪˈniz ˈfeɪljərz tɪ ˈɑnər ˌɪnərˈnæʃənɑl ˈjumən raɪts ˌɑbləˈgeɪʃənz ɛz ðeɪ dɪd tɪ ˌɛkəˈnɑmɪk ər sɪˈkjʊrəti kənˈsərnz. æt ˈsɛvərəl pɔɪnts ˈdʊrɪŋ 2011 əˈmɛrɪkən, ˌjʊrəˈpiən, ənd juˈnaɪtɪd ˈneɪʃənz əˈfɪʃəlz ɪkˈsprɛst kənˈsərnz əˈbaʊt ˌpɑˈtɪkjələr dɪˈvɛləpmənts, bət kənˈsɪstəntli feɪld tɪ lɪŋk ðoʊz kənˈsərnz tɪ ˈbrɔdər baɪˈlætərəl riˈleɪʃənz ər meɪk ðɛm ən ˌənəˈvɔɪdəbəl ˈtɑpɪk ɪn ɔl ˌhaɪˈlɛvəl ˌɪnərˈækʃənz wɪθ ʧaɪˈniz əˈfɪʃəlz. ɛz ə rɪˈzəlt, ðə ʧaɪˈniz ˈgəvərnmənt filz ˈlɪtəl ˈprɛʃər tɪ ʧeɪnʤ. ɪz ˌɪnˈkəmbənt ɔn ɔl ðoʊz wɪθ ə steɪk ɪn fˈjuʧər tɪ praɪˈɔrəˌtaɪz ˈhɛlpɪŋ ɛnd ˈjumən raɪts əˈbjuzɪz ɪn ðət ˈkəntri, ˈrəðər ðən ɔˈkeɪʒənəˌli ˈspikɪŋ əp əˈbaʊt ə fju ˌpɑrˈtɪkjələrli ɪˈgriʤəs cases,”*,” sɛd ˈrɪʧərdsən. ʧaɪˈniz ˈgəvərnmənt wɪl ˈoʊnli bi ə ˈtruli rɪˈlaɪəbəl ˈpɑrtnər wɪn ɪt rɪˈspɛkts ðə rul əv lɔ ənd ðə ˈfridəmz əv ɪkˈsprɛʃən, əˈsɛmbli, ənd association.”*.”
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expand police arrest a man in front of the peace cinema in downtown shanghai, after calls for a "jasmine revolution" protest was organized through the internet on february 27, 2011. © 2011 reuters
(new york) – the chinese government’s use of illegal enforced disappearances to silence dissenters was just one of several ominous setbacks to human rights protections in 2011, human rights watch said in its world report 2012, released today.
the 676-page report assesses progress on human rights in more than 90 countries, including popular uprisings in the arab world that few would have imagined. in its chapter on china , human rights watch outlines the threat posed by a provision in china’s draft criminal procedure law to effectively legalize such disappearances, which remain a serious crime in international law.
triggered by the leadership’s nervousness over the arab spring uprisings in the middle east and by the initial phase of the leadership transition in china, these developments suggest a more hard-line response as the public increasingly demands the rule of law and respect for the freedoms of association, belief, and expression.
“the chinese government’s sharp crackdown on critics – while trying to cover abuses with a fig leaf of legality – is an alarming sign of what the next year could be like for chinese citizens, government critics, and human rights defenders,” said sophie richardson , china director at human rights watch. “it’s time for other governments to stipulate to beijing that a worsening in china’s human rights environment in 2012 will have a direct impact on bilateral ties.”
beginning in february 2011, chinese security agencies rounded up dozens of the country’s most outspoken critics, including the internationally renowned artist ai weiwei, and “disappeared” them for weeks outside of any legal protection and judicial procedure. upon their release, several of those individuals reported being subjected to forced sleep deprivation, interrogations, and “abusive threats” while in custody.
in december 2011 alone, the chinese government signaled its no-tolerance policy for outspoken political dissent through the persecution of high-profile human rights defenders.
december 29: beijing’s xicheng district people’s courty tried disabled human rights activist and former lawyer ni yulan and her husband, dong jiqin, for “creating a disturbance” – and also tried ni for “fraud.” the verdict has not yet been released.
activist and former lawyer ni yulan and her husband, dong jiqin, for “creating a disturbance” – and also tried ni for “fraud.” the verdict has not yet been released. december 26: the guiyang intermediate people’s court in guizhou province sentenced veteran chinese pro-democracy activist chen xi to a 10-year prison term for “inciting subversion of state power.” the conviction was based on articles chen had published on various websites criticizing china’s one-party rule.
december 23: the suining intermediate people’s court in sichuan province sentenced veteran pro-democracy activist chen wei to a 9-year prison term for “inciting subversion of state power.” the court convicted chen on the basis of several essays he had written on constitutional democracy, civil society and human rights.
december 16: the beijing no. 1 intermediate people’s court abruptly withdrew the grant of probation for the disappeared human rights lawyer gao zhisheng and ordered him to serve the entirety of a three-year sentence for “inciting subversion of state power,” handed down on december 22, 2006. the court justified its decision on the basis that gao had “seriously violated probation rules” despite the fact that he had been the victim of an apparent enforced disappearance – and thus in police custody – since april 2010.
the report also details considerable risks chinese citizens took to express their dissatisfaction with abuses. one of the more dramatic public challenges involved attempts by dozens of chinese citizens to visit the illegally detained human rights defender chen guangcheng in shandong province. since chen’s release from prison on september 9, 2010, on a politically-motivated conviction for “disrupting traffic,” he and his family have been illegally detained in their home and reportedly subjected to vicious beatings for defying their captors. the security cordon around chen’s village, manned by plainclothes thugs who appear to operate at official behest, apparently have detained, beaten and subjected to illegal search and seizure many of those who tried to visit him. in another expression of public solidarity, thousands of chinese citizens raised hundreds of thousands of dollars in november 2011 to help pay the us$2.4 million tax bill imposed on the activist ai weiwei by beijing municipal tax authorities.
despite the chinese government’s well-documented attack on human rights defenders and civil society activists in recent years, in july 2011, the chinese government declared its national human rights actions plan (2009-2010) a resounding success. it remains unclear whether the follow up action plan and other rhetorical commitments to better rights protections and the rule of law will be adequate responses to rising public anger. more than 100,000 “mass incidents” or protests are estimated to occur annually in china and the chinese government now budgets more funds for “social stability maintenance” than national defense.
few foreign governments gave as much attention to the crackdown in china or to the chinese government’s failures to honor international human rights obligations as they did to economic or security concerns. at several points during 2011, american, european, and united nations officials expressed concerns about particular developments, but consistently failed to link those concerns to broader bilateral relations or make them an unavoidable topic in all high-level interactions with chinese officials. as a result, the chinese government feels little pressure to change.
“it is incumbent on all those with a stake in china’s future to prioritize helping end human rights abuses in that country, rather than occasionally speaking up about a few particularly egregious cases,” said richardson. “the chinese government will only be a truly reliable partner when it respects the rule of law and the freedoms of expression, assembly, and association.”
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'blɑnd' ˈælbəm ˈkəvər ˈfoʊˌtoʊ. ɪn leɪt ˈɔgəst 2016 ˈæftər ə ˌfɔˈrjɪr ˈsaɪləns, fræŋk ˈoʊʃən ˈtritɪd hɪz fænz tɪ wət aɪ dɪˈskraɪbd ɛz "ə ˈmæsɪv, ˌməltiˈmidiə ˈkəlʧərəl ɪˈvɛnt." wət bɪˈgæn ɛz ə mɪˈstɪriəs əv ˈoʊʃən ˈbɪldɪŋ ə ˈstɛrˌkeɪs, ˈkəlməˌneɪtɪd ɪn ðə riˈlis əv tu ˈælbəmz, blɑnd ənd ˈɛndləs; ən "əˈstaʊndɪŋ" mˈjuzɪk ˈvɪdioʊ fər "ˈnaɪkiz"; ðə ˌpəblɪˈkeɪʃən əv bɔɪz doʊnt kraɪ, ə ˈmægəˌzin; ənd fɔr ʃɑps əˈkrɔs ðə gloʊb. ðɪs ˌənkənˈvɛnʃənəl əˈproʊʧ ˈgɑrnərd ən ˌɪnˈkrɛdəbəl əˈmaʊnt əv ˌæʤəˈleɪʃən. əˈkɔrdɪŋ tɪ ˈoʊʃən, blɑnd "soʊld ə wɪˈθaʊt ə ˈleɪbəl." nɑt tɪ ˈmɛnʃən, ɪt wɑz ˈhɛrəldɪd baɪ ˈkrɪtɪks ɛz wən əv ðə bɛst rɪˈlisɪz əv ðə jɪr. ˈsɪmələr tɪ mərˈkjʊriəl ˈɑrtɪsts laɪk sade*, fiˈoʊnə ˈæpəl, ənd hɪl, ðə kənˈtroʊl ənd ˌɪnˈtrig ˈoʊʃən kəˈmændz ənd ɪˈlɪsəts əraʊnd hɪz ˈprɑʤɛkts həz ərnd ɪm ə hɔrd əv əbˈsɛsɪv, fænz. fər ðiz ˈpipəl, ðə ənd tɪ blɑnd wɑz ˈɔlˌmoʊst ɛz ˌtrænsˈfɔrmɑˌtɪv ɛz ðə ˈælbəm ˌɪtˈsɛlf. ˈfɑloʊɪŋ ðə brɛd krəmz əv ˌɪnˌfɔrˈmeɪʃən, ðiz fræŋk ˈoʊʃən ˈsupər fænz faʊnd ðɛmˈsɛlvz ɔn dɪˈvoʊtɪd tɪ ðə ˈɑrtɪst, ˈfɑloʊɪŋ ˈsoʊʃəl ˈmidiə əˈkaʊnts wɪθ pʊʃ ˌnoʊtəfəˈkeɪʃənz, ənd ˈsɛtɪŋ əp slæk ˈʧænəlz tɪ dɪˈskəs ənd θiəraɪz əˈbaʊt wət ˈoʊʃən wɑz ˈrɪli əp tɪ. "ˈnəθɪŋ kəmˈpɛrz tɪ ðə ˈækʧəwəl ˈpipəl hu stæn fræŋk ˈoʊʃən," sɛd ˈʤeɪmi ˈpɛsɛk, hu ˈmænɪʤɪz əv. ðə fæn əˈkaʊnt həz mɔr ðən 40 ˈθaʊzənd ˈfɑloʊərz ənd həz ɛmˈbreɪst ðə ˈmɑtoʊ, "ðɪs ɪz ə kəlt, nɑt ə klik" tɪ ɪgˈzɛmpləˌfaɪ ɪts dɪˈvoʊʃən tɪ ˈoʊʃən. waɪl lɑts əv ˈɑrtɪsts hæv ˌɪnˈtɛns fænz, ˈoʊʃənz stænd əˈpɑrt frəm ˈəðər fandoms*, səʧ ɛz ˈnɪki ər beyhive*. "ðeɪ ər ʧɪl, ˈwɛlkəmɪŋ, ˈoʊpənɪŋ, ənd ˈpæʃənət," sɛd ˈpɛsɛk. "ə lɔt əv ju hæv ər dɪˈfɛnsɪv ənd əˈgrɛsɪv. ðɛrz ˈnəθɪŋ rɔŋ wɪθ ðət, bət wɪθ fræŋk ˈoʊʃən, ju ʤɪst doʊnt faɪnd ðət. hi əˈtrækts ðiz hu ər ˈiˌmoʊtɪv ənd daʊn tɪ ərθ ənd əˈpriʃjətɪv əv gʊd mˈjuzɪk." ɪts bɪn ə jɪr sɪns ˈoʊʃən ˈfaɪnəli ˈoʊpənd əp ðə fləd geɪts əˈgɛn wɪθ ˈɛndləs ənd blɑnd. ðɪs simz laɪk ə ˈpərˌfɪkt taɪm tɪ tɔk tɪ ðoʊz hu ˈweɪtɪd fər jɪrz wɪθ ˈbeɪtɪd brɛθ ənd æsk ðɛm tɪ rɪˈflɛkt ɔn wət ɪt fɛlt laɪk wɪn ðə ˈfaɪnəli geɪv ðɛm ðə troʊv əv ɪkˈsaɪtɪŋ, ˈbjutəfəl nu ɑrt ðeɪd bɪn ˈweɪtɪŋ ɔn. ˈʤeɪmi ˈpɛsɛk (lɛft), ˈmænɪʤər, st*. luɪs aɪ rɪˈmɛmbər ˈweɪkɪŋ əp ənd ˈgɪtɪŋ ˈrɛdi tɪ goʊ tɪ wərk. aɪ sɔ ɔl ðiz ˌnoʊtəfəˈkeɪʃənz goʊɪŋ ɔf ɔn maɪ foʊn ðət ə strim hæd ˈoʊpənd ɔn fræŋk ˈoʊʃənz ˈwɛbˌsaɪt. aɪ wɑz soʊ θroʊn ɔf, ənd aɪ hæd noʊ aɪˈdiə wət wɑz goʊɪŋ ɔn. aɪ ˈfɑloʊd ə bənʧ əv tˈwɪtər fænz ənd ðə ˈfɔrəm kanyetothe*. ðeɪ hæd ðə skup mɔr ðən ˈɛniˌwən ɛls. aɪ spɛnt ə lɔt əv taɪm traɪɪŋ tɪ ˈfɪgjər aʊt wət wɑz ˈhæpənɪŋ. bət ðɛr wɑz noʊ ˈwɔrnɪŋ ər weɪ tɪ ˈfɪgjər aʊt wɪn hi wɑz livestreaming*. soʊ aɪ ʤɪst brɔt ən ˈaɪˌpæd wɪθ mi ˈɛvriˌwɛr ənd strimd ɔl ðə taɪm noʊ ˈmætər wət. hi wɑz goʊɪŋ ɔn æt ˈkreɪzi aʊərz, ˈsəmˌtaɪmz laɪk 3 ɪn ðə ˈmɔrnɪŋ. soʊ ˈsəmˌwən ɪn ðə θrɛd hæd ðə aɪˈdiə ðət wi ʃʊd meɪk ə grup ʧæt wɛr wi kʊd əˈlərt ˈɛvriˌwən ɪf hi wɑz bæk. wi wʊd steɪ əp ɔl naɪt ˈwɑʧɪŋ ðə strim ənd ˈtɔkɪŋ tɪ wən əˈnəðər. ˈdʊrɪŋ ðə strim, aɪ wɑz ˈmuvɪŋ ˈɪntu ə nu əˈpɑrtmənt. wən deɪ, aɪ wɑz maɪ ˈkəzən, ənd aɪ pʊld əp maɪ ˈaɪˌpæd tɪ ʤɪst lʊk æt ðə strim. aɪ rɪˈmɛmbər skrim kraɪɪŋ ənd maɪ feɪs goʊɪŋ braɪt rɛd ɔn facetime*. aɪ ʤɪst sɛd, "aɪ hæv tɪ goʊ, əm ˈsɑri," ənd həŋ əp. aɪ ˈsprɪntɪd θru maɪ əˈpɑrtmənt tɪ sɛt əp ə ˈteɪbəl bɪˈkəz ˈɛvriˌθɪŋ wɑz stɪl ɪn ˈbɑksɪz. ɔl əv ə ˈsədən, aɪ hir hɪz vɔɪs, ənd aɪ ʤɪst fɛl tɪ maɪ niz. ɪt wɑz soʊ drəˈmætɪk, bət aɪ hæd spɛnt soʊ məʧ taɪm ˈləvɪŋ ɪm ənd ˈweɪtɪŋ ɔn ɪm ənd ˈspɛkjəˌleɪtɪŋ ənd ˈθiərˌaɪzɪŋ. wɪn aɪ ˈfaɪnəli hərd hɪz vɔɪs, ɪt wɑz laɪk ə pənʧ ɪn ðə ʧɛst. ðə nɛkst ˈmɔrnɪŋ, aɪ fɛlt laɪk aɪ wɑz drəŋk bɪˈkəz aɪ wɑz stɪl ˈθɪŋkɪŋ əˈbaʊt ˈɛndləs. ənd ðɛn hi riˈlist "ˈnaɪkiz," ənd aɪ θɔt aɪ ˈkʊdənt ˈɛvər ləv ˈɛniˌθɪŋ mɔr ðən ðət. aɪ wɑz ˈlɪsənɪŋ tɪ ɪt ɔn ðiz bɪg ˈspikərz ɪn maɪ nu əˈpɑrtmənt. aɪ ˈhædənt ˈivɪn mɛt maɪ ˈneɪbərz jɛt, bət əm ʃʊr ðət ðeɪ ɔl ˈheɪtɪd mi. ˈlɛmənz, fəˈtɑgrəfər bɪˈhaɪnd ˈsɪriz, nu jɔrk wɪn ˈɛndləs drɑpt læst ˈsəmər, aɪ rɪˈmɛmbər ˈweɪkɪŋ əp ənd steɪɪŋ əp ɔl naɪt tɪ ˈlɪsən tɪ ɪt. ˈɑnəstli, aɪ θɔt hi wɑz goʊɪŋ tɪ pʊl səm ər hɪl ʃɪt ˈæftər ˈʧænəl ˈɔrɪnʤ. aɪ hæd ˈspoʊkən tɪ fræŋk ˈoʊʃən æt ðə deɪzd 100 ˈpɑrti, ənd hi toʊld mi "ɪts dən ənd ɪts ˈkəmɪŋ." aɪ wɑz ˈhæpi hi wɑz ˈsɪriəs. ðə ˈfɑloʊɪŋ deɪ ˈæftər ɪt drɑpt, aɪ lɪŋkt əp wɪθ frɛndz ənd hæd ə foʊ blɑnd ˈlɪsənɪŋ ˈpɑrti dip ɪn ˈbrʊklɪn. ˈθərdiˌfaɪv ˈmɪnəts ˈɪntu ðə ˈpɑrti ən əˈnaʊnsmɛnt wɑz meɪd ðət bɔɪz doʊnt kraɪ wʊd bi ˈgɪvɪn aʊt ɪn ˈsoʊhoʊ, wɪʧ wɑz wən aʊər əˈweɪ. soʊ aɪ hɔld æs tɪ gɪt ðɛr ənd ˈɛndɪd əp ənd ˈkətɪŋ ðə laɪn tɪ gɪt ðə læst ˈkɑpi ɪn nyc*. aɪ ˈstɑrtɪd ˈlɪsənɪŋ tɪ fræŋk ˈoʊʃən wɪn aɪ wɑz 13 aɪ wɑz wən əv hɪz fænz ˈdʊrɪŋ ðə ˈərli nɔˈstælʤə ˈəltrə deɪz. ˈdʊrɪŋ ðət taɪm, ðɛr wɑz noʊ ˈɑrtɪst laɪk ɪm. hi wɑz soʊ ˈoʊpən ənd fɛlt laɪk ðə mˈjuzɪk wɑz meɪd fər mi. ˈɛvəri taɪm ə fræŋk ˈoʊʃən ˈælbəm drɑps, ɪts ˈɔlˌweɪz ˈdʊrɪŋ ə ˈvɛri trænˈzɪʃənəl ˈpɪriəd fər mi. nɔˈstælʤə ˈəltrə wɑz ˈdʊrɪŋ ðə bɪˈgɪnɪŋ əv haɪ skul; ˈʧænəl ˈɔrɪnʤ wɑz ðə ˈdʊrɪŋ ðə ɛnd. blɑnd wɑz ˈdʊrɪŋ maɪ fərst jɪr əv ˈkɑlɪʤ. ðə mˈjuzɪk hɛlps mi θru ðə groʊɪŋ peɪnz əv ˌædəˈlɛsəns. ʃɔn ˈstæntən, dɪˈzaɪnər bɪˈhaɪnd rəst, ˌkæləˈfɔrnjə aɪ wɑz ɔn ðə fər fræŋk ˈdʊrɪŋ ðət fɔr jɪr hoʊl. wɪn wi ˈfaɪnəli gɑt ðə, aɪ ˈdɪdənt kloʊz ɪt ðə ɪnˈtaɪər taɪm ɪt gɑt tɪ ðə pɔɪnt wɛr maɪ ˈgərlˌfrɛnd wɑz əˈnɔɪd, ənd maɪ ˈdætə ˈʧɑrʤɪz wər ˌɪnˈseɪn. ɪt wɑz ən ɪˈnɔrmɪs ˈmoʊmənt wɪn aɪ ˈfaɪnəli hərd səm mˈjuzɪk ɔn ðə bɪˈkəz aɪ hæd bɪn ˈweɪtɪŋ soʊ lɔŋ. aɪ hʊkt əp maɪ kəmˈpjutər tɪ maɪ ˌtɛləˈvɪʒən ənd wɔʧt ɪt waɪl aɪ ˈʧætɪd wɪθ ˈɛvriˌwən ɪn ðə. wi ˈdɪdənt noʊ ɪf wi wər goʊɪŋ tɪ gɪt ən ˈaɪˌtunz ˈvərʒən ər ˈɛniˌθɪŋ. təˈwɔrd ðə ɛnd əv ɪt, hi wɔks tɪ ðə tɔp stɛrz, ənd wi ər ɔl laɪk, ɪz hi goʊɪŋ tɪ ʤəmp?! wəts əˈbaʊt tɪ ˈhæpən? ðɛn ðɛrz ðət flæʃ əv ˈkələr, ənd ðə strim kəts. aɪ wɑz loʊ ki kraɪɪŋ traɪɪŋ tɪ ˈfɪgjər aʊt wət wɑz goʊɪŋ ɔn. ˈæftər ðət, ɪt wɑz ʤɪst ən ɪkˈsploʊʒən wɪθ blɑnd ənd "ˈnaɪkiz." ˈæftər blɑnd keɪm aʊt, aɪ ʤɪst ˌdɪskəˈnɛktɪd frəm ðə ˈɪntərˌnɛt ənd kɛpt ˈlɪsənɪŋ tɪ ðə ˈælbəm. wɪn aɪ gɑt bæk ˈɔnˌlaɪn, aɪ sɔ ðə ˈpoʊstər fər ðə ənd kɔld maɪ frɛnd laɪk "ˈhoʊli ʃɪt!" aɪ droʊv ən aʊər tɪ goʊ tɪ wən, bət ðɛr wɑz ə juʤ ˈæksədənt ənd ˈtræfɪk. wɪn aɪ gɑt ðɛr, aɪ ˈweɪtɪd ɪn laɪn fər laɪk 45 ˈmɪnəts ˌbiˈfɔr ðeɪ sɛd "ðə laɪn ɛndz hir," ənd ðɛr wər laɪk fɔr ˈpipəl ɪn frənt əv ˈjuˈɛs. ðə θɪŋ əˈbaʊt ðət ˈwiˌkɪnd ɪz ðət ɪt wɑz ðɪs hoʊl θɪŋ. ɪt wɑz əˈbaʊt dɪˈskəvərɪŋ ðə mˈjuzɪk, bət ˈɔlsoʊ ðɛr wɑz səʧ ə juˈnik ˌprɛzənˈteɪʃən tɪ ɪt, əˈspɛʃəli wɪθ ˈɛndləs. ˈɛvriˌwən ɪkˈspɛktɪd ˈsəmθɪŋ, bət wɪn ɪt wɑz soʊ ˈdɪfərənt, ðə səˈpraɪz wɑz soʊ gʊd. ˈfrɛdi ˈbɛnɪt, ˈstaɪlɪst, æˈtlæntə aɪv ləvd fræŋk ˌbiˈfɔr nɔˈstælʤə ˈəltrə. ənd aɪv ˈlɪsənd tɪ ˈʧænəl ˈɔrɪnʤ mɔr ðən 100 taɪmz. wɪn hi wɛnt ɔn hɪz haɪˈeɪtəs, aɪ ˈkʊdənt du ˈɛniˌθɪŋ bət ˈlɪsən tɪ "swit laɪf," "lɔst," ənd "bæd rɪˈlɪʤən" tɪ hoʊld mi ˈoʊvər. ðɛn bum, aʊt ðə blu hi ˈstɑrtɪd ˈhɪntɪŋ əˈbaʊt ə nu ˈælbəm. wɪn ðə bəz əraʊnd ˈɛndləs ˈhæpənd, aɪ wɑz əˈbaʊt tɪ flɪp maɪ ʃɪt. aɪ wɑz soʊ kənfˈjuzd baɪ ðə æt fərst ənˈtɪl saʊnz ˈstɑrtɪd əˈpɪrɪŋ. ˈfaɪnəli wən əv maɪ kloʊz frɛndz ˈtɛkstɪd mi ənd toʊld mi ðət ðə ˈælbəm wɑz ˈstrimɪŋ streɪt θru, soʊ aɪ sæt ðɛr peɪɪŋ ˈsupər kloʊz əˈtɛnʃən ənˈtɪl ðə ɛnd. wɪn ɪt wɑz ˈoʊvər, aɪ wɑz ˈθɪŋkɪŋ ðɪs kænt bi ɔl ðɛr ɪz. ðə nɛkst deɪ, hi riˈlist ðə loʊˈkeɪʃənz fər ðə ʃɑps əraʊnd ðə ˈkəntri, ənd əv kɔrs, æˈtlæntə ˈwəzənt ɔn ðə lɪst. aɪ traɪd tɪ gɪt ə frɛnd ɪn lɑ tɪ ʃɑp fər mi, bət ɪt ˈdɪdənt wərk aʊt bɪˈkəz ðeɪ ˈoʊnli əˈlaʊd wən ˈkɑpi əv bɔɪz doʊnt kraɪ pər ˈpərsən. ˌhaʊˈɛvər, maɪ frɛnd wɑz doʊp ɪˈnəf tɪ du ən ənˈræp ðə zaɪn wɪθ mi stɪl ɔn facetime*. wət meɪd blɑnd ənd ˈɛndləs soʊ greɪt aɪ θɪŋk wɑz ðət wi ˈweɪtɪd soʊ lɔŋ fər ðɛm ənd ðət geɪv fræŋk taɪm tɪ goʊ ənd ˈstədi ənd ɪkˈspɪriəns ˈdɪfərənt θɪŋz. aɪ noʊ æt wən pɔɪnt hi wɑz laɪk ˈlɪvɪŋ ˈoʊvərˈsiz ənd ˈhæŋɪŋ wɪθ məˈdɑnə. soʊ əm ʃʊr hi wɑz ˈlərnɪŋ ˈdɪfərənt θɪŋz frəm hər. ɪt geɪv ɪm taɪm tɪ kʊk əp ˈsəmθɪŋ ðət wi ˈhævənt hərd ˌbiˈfɔr. ˈtɪfəni waɪnz, ˈraɪtər, nu jɔrk aɪ rɪˈmɛmbər wɪn ðə ˌɪˈnɪʃəl ˈɛndləs strim drɑpt, aɪ kɛpt ɪt ˈoʊpən ɪn ðə tɔp əv maɪ kəmˈpjutər. aɪ wɑz ˈmɛzmərˌaɪzd baɪ ɪt. wɪn ˈɛndləs ˈæˌkʧuəli ˈstɑrtɪd pleɪɪŋ ɪn ðə, aɪ rɪˈmɛmbər ðə ˌɪˈnɪʃəl riˈækʃən wɑz ˈpipəl biɪŋ laɪk "ɪz ðɪs ɪt?!" bət tɪ mi, ˈɛndləs wɑz ɪts oʊn ˈʧæptər ənd nɑt ə ˈfʊtˌnoʊt. ɪt wɑz koʊˈhisɪv ənd ˈɛkskwəzət ɔn ɪts oʊn. iʧ træk wɑz dɪˈstɪŋkt ənd juˈnik, bət ɪt wɑz ˈɔlsoʊ mɛnt tɪ bi kənˈsumd təˈgɛðər. bət ðɛn wi wər stɪl ˈrilɪŋ frəm ənd ˈprɑsɛsɪŋ ˈɛndləs wɪn ðə "ˈnaɪkiz" ˈvɪdioʊ drɑpt ənd blɑnd ˈfɑloʊd sut. ðə ˈpərsən hu aɪ wɑz ˈdeɪtɪŋ æt ðə taɪm ˈoʊvər tɪ maɪ haʊs. ðɪs wɑz raɪt ˈæftər ˈɛndləs drɑpt, soʊ wi kʊd ˈlɪsən tɪ ɪt təˈgɛðər. wi ˈɛndɪd əp ˈgɪtɪŋ ˈɪntu ðɪs bɪg faɪt, ənd hi lɛft, soʊ ðɛn ðə nɛkst deɪ aɪ ˈdɪdənt tɛl ɪm aɪ wɑz goʊɪŋ tɪ ðə, ənd hi ˈdɪdənt ɛnd əp ˈgɪtɪŋ ə ˈmægəˌzin. wi wərənt ˈspikɪŋ æt ðə taɪm, soʊ aɪ wɑz ʤɪst laɪk "fək ju." aɪ rɪˈmɛmbər siɪŋ ə ˈkɑmplɛks ˈɑrtɪkəl ɔn tˈwɪtər əˈbaʊt bɔɪz doʊnt kraɪ ˈoʊpənɪŋ. aɪ ˈdɪdənt θɪŋk twaɪs əˈbaʊt ɪt. aɪ hæd bɪn ɪn bɛd, ʤɪst ˈlɪsənɪŋ tɪ ðə ˈælbəmz wɪn aɪ sɔ ɪt. aɪ gɑt maɪ ˈruˌmeɪt, ənd wi hɑpt ɪn ə lyft*, ənd wi ʤɪst meɪd ɑr weɪ ðɛr. wɪn wi gɑt ˌɪnˈsaɪd ðə ʃɑp, "ˈnaɪkiz" wɑz ɔˈrɛdi pleɪɪŋ ɔn ə ˌɪnˈsaɪd. ðɛr wɑz ɔl ðiz sɪˈkjʊrəti gɑrdz ənd ˈpipəl laɪk ʤɪst ˈpeɪsɪŋ ɔn ðə strit. wi wər ˈləki tɪ gɪt ðɛr wɪn wi dɪd, bət ðə laɪn wɛnt bæk soʊ fɑr, məʧ ˈfɑrðər ðən aɪ kʊd si, ənd noʊ wən nu wət wi wər ˈivɪn ˈgɪtɪŋ. wəns aɪ ˈfaɪnəli gɑt ə ˈmægəˌzin, maɪ hænz wər ˈʃeɪkɪŋ soʊ hɑrd. aɪ wɛnt aʊt ˈɔntu ðə strit ʤɪst tɪ sɪt daʊn. aɪ wɑz ðət gərl ˈsɪtɪŋ ɔn ðə strit əv nu jɔrk kraɪɪŋ, ənd ˈpipəl kɛpt ˈæskɪŋ wət ɪt wɑz ənd waɪ aɪ wɑz kraɪɪŋ. bət aɪ ˈrɪli ˈkʊdənt meɪk wərdz; aɪ ʤɪst kɛpt ˈʃeɪkɪŋ maɪ hɛd. aɪ rɪˈmɛmbər ˈrɛdɪŋ fræŋks θæŋk ju ˈlɛtər. aɪ kʊd rɪˈleɪt bɪˈkəz aɪ wɑz reɪzd baɪ ə ˈsɪŋgəl ˈməðər, tu. soʊ wɪn hi sɛd "tɪ maɪ ˈməðər, əm breɪv bɪˈkəz ju wər," ɪt ˈrɪli strək mi bɪˈkəz ðæts ɪgˈzæktli haʊ aɪ fil əˈbaʊt maɪ mɑm. wɪθ fræŋk, ðə əˈmaʊnt əv kənˈtroʊl hiz ˈeɪbəl tɪ meɪnˈteɪn ˈoʊvər hɪz ˈnɛrətɪv ɪz ˈrɪli greɪt. aɪ θɪŋk hɪz wərk ɪz ˈkruʃəl, əˈspɛʃəli ðoʊz fər blæk ˈbɑdiz. ðɛrz soʊ məʧ ˌɛkˌsplɔɪˈteɪʃən; ɪts pərˈveɪsɪv. bət ðə ˈpraɪvəsi ˈoʊʃənz bɪn ˈeɪbəl tɪ kip ɪz soʊ ˈædmərəbəl bɪˈkəz ɪt ɪz ˈsəmθɪŋ ðət ɪz ˈrɪli hɑrd tɪ əˈʧiv. ɛz ə kwɪr blæk ˈpərsən, ɪts ˈsəmθɪŋ ðət brɪŋz mi ə pis, noʊɪŋ ðət hiz ˈeɪbəl tɪ lɪv hɪz laɪf ðə weɪ hi wɔnts tɪ. ˈfɑloʊ strit ɔn tˈwɪtər.
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'blond' album cover photo.
in late august 2016, after a four-year silence, frank ocean treated his fans to what i described as "a massive, multimedia cultural event." what began as a mysterious livestream of ocean building a staircase, culminated in the release of two albums, blonde and endless; an "astounding" music video for "nikes"; the publication of boys don't cry, a 360-page magazine; and four pop-up shops across the globe. this unconventional approach garnered an incredible amount of adulation. according to ocean, blonde "sold a million-plus without a label." not to mention, it was heralded by critics as one of the best releases of the year.
similar to mercurial artists like sade, fiona apple, and lauryn hill, the control and intrigue ocean commands and elicits around his projects has earned him a horde of obsessive, die-hard fans. for these people, the run-up and roll-out to blonde was almost as transformative as the album itself. following the bread crumbs of information, these frank ocean super fans found themselves congregating on subreddits devoted to the artist, following social media accounts with push notifications, and setting up slack channels to discuss and theorize about what ocean was really up to.
"nothing compares to the actual people who stan frank ocean," said jamie pesek, who manages of teamfrankdaily. the twitter-based fan account has more than 40 thousand followers and has embraced the motto, "this is a cult, not a clique" to exemplify its devotion to ocean.
while lots of artists have intense fans, ocean's stand apart from other fandoms, such as nicki minaj's barbz or beyonce's beyhive. "they are chill, welcoming, opening, and passionate," said pesek. "a lot of standoms you have are defensive and aggressive. there's nothing wrong with that, but with frank ocean, you just don't find that. he attracts these stans who are emotive and down to earth and appreciative of good music."
it's been a year since ocean finally opened up the flood gates again with endless and blonde. this seems like a perfect time to talk to those who waited for years with bated breath and ask them to reflect on what it felt like when the singer-songwriter finally gave them the trove of exciting, beautiful new art they'd been waiting on.
jamie pesek (left), teamfrankdaily manager, st. louis
i remember waking up and getting ready to go to work. i saw all these notifications going off on my phone that a stream had opened on frank ocean's website. i was so thrown off, and i had no idea what was going on.
i followed a bunch of twitter fans and the forum kanyetothe. they had the scoop more than anyone else. i spent a lot of time trying to figure out what was happening. but there was no warning or way to figure out when he was livestreaming. so i just brought an ipad with me everywhere and streamed all the time no matter what.
he was going on at crazy hours, sometimes like 3 in the morning. so someone in the thread had the idea that we should make a group chat where we could alert everyone if he was back. we would stay up all night watching the stream and talking to one another.
during the stream, i was moving into a new apartment. one day, i was facetiming my cousin, and i pulled up my ipad to just look at the stream. i remember scream crying and my face going bright red on facetime. i just said, "i have to go, i'm sorry," and hung up. i sprinted through my apartment to set up a table because everything was still in boxes. all of a sudden, i hear his voice, and i just fell to my knees. it was so dramatic, but i had spent so much time loving him and waiting on him and speculating and theorizing. when i finally heard his voice, it was like a punch in the chest.
the next morning, i felt like i was drunk because i was still thinking about endless. and then he released "nikes," and i thought i couldn't ever love anything more than that. i was listening to it on these big speakers in my new apartment. i hadn't even met my neighbors yet, but i'm sure that they all hated me.
quil lemons, photographer behind glitterboy series, new york
when endless dropped last summer, i remember waking up and staying up all night to listen to it. honestly, i thought he was going to pull some d'angleo or lauryn hill shit after channel orange. i had spoken to frank ocean at the dazed 100 party, and he told me "it's done and it's coming." i was happy he was serious. the following day after it dropped, i linked up with friends and had a faux blonde listening party deep in brooklyn. thirty-five minutes into the party an announcement was made that boys don't cry would be given out in soho, which was one hour away. so i hauled ass to get there and ended up finessing and cutting the line to get the last copy in nyc.
i started listening to frank ocean when i was 13. i was one of his fans during the early nostalgia ultra days. during that time, there was no artist like him. he was so open and raw—i felt like the music was made for me. every time a frank ocean album drops, its always during a very transitional period for me. nostalgia ultra was during the beginning of high school; channel orange was the during the end. blonde was during my first year of college. the music helps me through the growing pains of adolescence.
sean stanton, designer behind rust, california
i was on the subreddit for frank during that four year hole. when we finally got the livestream, i didn't close it the entire time . it got to the point where my girlfriend was annoyed, and my data charges were insane.
it was an enormous moment when i finally heard some music on the livestream because i had been waiting so long. i hooked up my computer to my tv and watched it while i chatted with everyone in the subreddit. we didn't know if we were going to get an itunes version or anything. toward the end of it, he walks to the top stairs, and we are all like, is he going to jump?! what's about to happen? then there's that flash of color, and the stream cuts. i was low key crying trying to figure out what was going on.
after that, it was just an explosion with blonde and "nikes." after blonde came out, i just disconnected from the internet and kept listening to the album. when i got back online, i saw the poster for the pop-ups and called my friend like "holy shit!" i drove an hour to go to one, but there was a huge accident and traffic. when i got there, i waited in line for like 45 minutes before they said "the line ends here," and there were like four people in front of us.
the thing about that weekend is that it was this whole thing. it was about discovering the music, but also there was such a unique presentation to it, especially with endless. everyone expected something, but when it was so different, the surprise was so good.
freddy bennett, stylist, atlanta
i've loved frank before nostalgia ultra. and i've listened to channel orange more than 100 times. when he went on his hiatus, i couldn't do anything but listen to "sweet life," "lost," and "bad religion" to hold me over. then boom, out the blue he started hinting about a new album. when the buzz around endless happened, i was about to flip my shit. i was so confused by the livestream at first until sounds started appearing. finally one of my close friends texted me and told me that the album was streaming straight through, so i sat there paying super close attention until the end. when it was over, i was thinking this can't be all there is.
the next day, he released the locations for the pop-up shops around the country, and of course, atlanta wasn't on the list. i tried to get a friend in la to shop for me, but it didn't work out because they only allowed one copy of boys don't cry per person. however, my friend was dope enough to do an unwrap the zine with me still on facetime.
what made blonde and endless so great i think was that we waited so long for them and that gave frank time to go and study and experience different things. i know at one point he was like living overseas and hanging with madonna. so i'm sure he was learning different things from her. it gave him time to cook up something that we haven't heard before.
tiffany wines, writer, new york
i remember when the initial endless stream dropped, i kept it open in the top of my computer. i was mesmerized by it. when endless actually started playing in the livestream, i remember the initial reaction was people being like "is this it?!" but to me, endless was its own chapter and not a footnote. it was cohesive and exquisite on it's own. each track was distinct and unique, but it was also meant to be consumed together. but then we were still reeling from and processing endless when the "nikes" video dropped and blonde followed suit.
the person who i was dating at the time longboarded over to my house. this was right after endless dropped, so we could listen to it together. we ended up getting into this big fight, and he left, so then the next day i didn't tell him i was going to the pop-ups, and he didn't end up getting a magazine. we weren't speaking at the time, so i was just like "fuck you."
i remember seeing a complex article on twitter about boys don't cry pop-ups opening. i didn't think twice about it. i had been in bed, just listening to the albums when i saw it. i got my roommate, and we hopped in a lyft, and we just made our way there. when we got inside the pop-up shop, "nikes" was already playing on a inside. there was all these security guards and people like just pacing on the street. we were lucky to get there when we did, but the line went back so far, much farther than i could see, and no one knew what we were even getting.
once i finally got a magazine, my hands were shaking so hard. i went out onto the street just to sit down. i was that girl sitting on the street of new york crying, and people kept asking what it was and why i was crying. but i really couldn't make words; i just kept shaking my head.
i remember reading frank's thank you letter. i could relate because i was raised by a single mother, too. so when he said "to my mother, i'm brave because you were," it really struck me because that's exactly how i feel about my mom.
with frank, the amount of control he's able to maintain over his narrative is really great. i think his work is crucial, especially those for black bodies. there's so much exploitation; it's pervasive. but the privacy ocean's been able to keep is so admirable because it is something that is really hard to achieve. as a queer black person, it's something that brings me a peace, knowing that he's able to live his life the way he wants to.
follow mikelle street on twitter.
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ɪf ju faɪnd ðə beɪs, 280 ˈhɔrˌspaʊər ˈlækɪŋ ɪn grənt bət ðə 'ring-ruling*, ə ˈlɪtəl aʊt əv riʧ, ɪt lʊks laɪk ˈælfə ˈroʊmiˌoʊ ɪz ˈkʊkɪŋ əp ə ˈvərʒən əv ɪts spɔrts səˈdæn ʤɪst fər ju. ˈteɪkɪŋ tɪ tˈwɪtər, ˈɔtoʊ ˈraɪtər ˈspɑtɪd wət əˈpɪrz tɪ bi ə 350 hp*, ˈtərboʊˌʧɑrʤd, ˈɪnʤən ˈɔpʃən fər ðə 2018 ɔn ˈsərvɪs webpage*, tɛk əˈθɔrəti. ðɪs ˈpərfəktli kərˈɔbərˌeɪts ðə ˈrumər əv ə "veloce*" sˈlɑtɪŋ ɪn bɪtˈwin ðə beɪs ˈmɑdəl ənd tɔp dɔg, ə kɑr ðət wʊd meɪk fər ə nis ˌɪˈtæljən fɔɪl tɪ ðə ˈbiˌɛmˈdəbəlju m340i*, ˈɔdi ɛt æl. ˌɪmˈpɔrtəntli noʊts, ˌhaʊˈɛvər, ðət waɪl ðə ˈɛnʤənz ɪgˈzɪstəns ɪz ɔl bət kənˈfərmd, ɪt meɪ ər meɪ nɑt bi ˈkəmɪŋ tɪ ðə juz. ˈmɑrkɪt ɛz ðə saɪt ˈkəvərz faɪæt ˈkraɪslər ˈprɑdəkts əv ɔl ˌʤʊrɪsˈdɪkʃənz. noʊt ðə ˈprɛzəns əv ðə ˈdizəl mɪl ðət ˈɪzənt soʊld ˈsteɪtˈsaɪd.
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if you find the base, 280 horsepower giulia lacking in grunt but the 'ring-ruling, 505-horsepower quadrifoglio a little out of reach, it looks like alfa romeo is cooking up a goldilocks-approved version of its sports sedan just for you.
taking to twitter, auto writer bozi tatarevic spotted what appears to be a 350 hp, turbocharged, 2.0-liter engine option for the 2018 giulia on fca's service webpage, mopar tech authority. this perfectly corroborates the long-running rumor of a giulia "veloce" slotting in between the base model and top dog quadrifoglio, a car that would make for a nice italian foil to the bmw m340i, audi s4, mercedes-amg c43, et al.
tatarevic importantly notes, however, that while the engine's existence is all but confirmed, it may or may not be coming to the u.s. market as the site covers fiat chrysler products of all jurisdictions. note the presence of the 2.2-liter diesel mill that isn't sold stateside.
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ðə ʤəˈpæn ˈɛroʊˌspeɪs ˌɛksplərˈeɪʃən ˈeɪʤənsi (jaxa*) ðət ðɛr ˈsaɪəntɪsts hæv səkˈsɛsfəli trænzˈmɪtəd ˈkɪləˌwɑts əv paʊər tɪ ə rɪˈsivər 170 fit əˈweɪ. ðə ˈdɪstəns lɑrʤ bət ɪt ɪz ə smɔl pruf əv ˈkɑnsɛpt ðət wɪl bi ɛˈsɛnʃəl ɪf ðə speɪs ˈsoʊlər paʊər ˈsɪstəmz (ssps*) ˈproʊˌgræm ɪz ˈɛvər goʊɪŋ tɪ bi ə ˌriˈæləˌti. wɑz ðə fərst taɪm ˈɛniˌwən həz ˈmænɪʤd tɪ sɛnd ə haɪ ˈaʊtˌpʊt əv ˈnɪrli tu ˈkɪləˌwɑts əv ɪˈlɛktrɪk paʊər ˈviə ˈmaɪkroʊˌweɪvz tɪ ə smɔl ˈtərgət, ˈjuzɪŋ ə ˈdɛləkət kənˈtroʊl device,”*,” ə ˈspoʊksmən fər ðə ˈeɪʤənsi toʊld afp*. ðə aɪˈdiə bɪˈhaɪnd ˈproʊˌgræm ɪz tɪ hæv ˈmaɪkrəˌweɪv ɪˈmɪtɪŋ ˈsoʊlər ˈpænəlz ɪn ə ˈɔrbət, maɪəlz frəm ərθ. ðə aɪˈdiə bɪˈhaɪnd speɪs beɪst ˈsoʊlər paʊər wɑz ərˈɪʤənəli ˌɪntrəˈdust, fictionally*, baɪ ˈaɪzɪk ˈæzɪmɑv ɪn 1941 ɪn ðə ʃɔrt ˈstɔri ˈrizən. ɛz ə nɑnˈfɪkʃən ˈkɑnsɛpt ɪt wɑz ərˈɪʤənəli dɪˈskraɪbd ɪn 1968 ənd ˈpætəntɪd baɪ əˈmɛrɪkən ˈɛroʊˌspeɪs ˈɛnʤəˈnɪr ˈpitər ˈgleɪzər ɪn 1968 ˈstɑrtɪŋ ɪn 1978 ðə juz. dɪˈpɑrtmənt əv ˈɛnərʤi (doʊ) ənd ˈnæsə ɪkˈsplɔrd ðə tɛkˈnɑləʤi ˈəndər ðə ˈsætəˌlaɪt paʊər ˈsɪstəm ˈkɑnsɛpt dɪˈvɛləpmənt ənd ɪˌvæljuˈeɪʃən ˈproʊˌgræm. ˈgɪvɪn ðə proʊˈhɪbətɪv kɔst əv ðə ˈproʊˌgræm ˌhaʊˈɛvər, ɪt wɑz ˈkænsəld baɪ ˈrɑnəld ˈrigən ɪn 1986 sɪns ðət taɪm, ʤəˈpæn həz bɪn ðə ˈoʊnli ˈkəntri tɪ ˈsɪriəsli pərˈsu ðə aɪˈdiə. əˈkɔrdɪŋ tɪ ˈsteɪtmənts baɪ ɪn ʤəˈpæn, ˈprɑbəˌbli rɪˈflɛktɪŋ ɑr ˈʃɔrtɪʤ əv ˈɛnərʤi ˈrisɔrsɪz, ˈrisərʧ wɑz ˈstɑrtɪd ˈərli, ənd həz sɪns bɪn pərˈsud baɪ ˈmɛni ˌjunəˈvərsətiz ənd jaxa.”*.” ˈivɪn ˈæftər jɪrz əv ˈrisərʧ, ˌhaʊˈɛvər, ʤəˈpæn stɪl həz ə lɔŋ weɪ tɪ goʊ. trænsˈmɪtɪŋ paʊər baɪ ˈmaɪkroʊˌweɪvz, ə sɪgˈnɪfɪkənt ˌtɛknəˈlɑʤɪkəl ˈʧælənʤ ɪz haʊ tɪ kənˈtroʊl ðə dɪˈrɛkʃɪn, ənd trænzˈmɪt ɪt wɪθ ˈpɪnˌpɔɪnt ˈækjərəsi frəm ə ˈɔrbət tɪ ə rɪˈsivɪŋ saɪt ɔn ðə graʊnd. trænsˈmɪtɪŋ ˈmaɪkroʊˌweɪvz frəm ən ˈæltəˌtud əv ˈkɪləˌmitərz tɪ ə flæt ˈsərfəs 3 ɪn daɪˈæmətər ɪz laɪk θˈrɛdɪŋ ə ˈnidəl. ɪn maɪ əˈpɪnjən, ʤəˈpæn ˈkərəntli həz ðə moʊst ədˈvænst tɛkˈnɑləʤi tɪ du this,”*,” sɛd. ˈsoʊlər paʊər frəm speɪs ˈɑbviəsli həz ˈmɛni ædˈvæntɪʤɪz. ɪn speɪs, wɪˈθaʊt ðə ˌɪnərˈfɪrəns əv ðə ˈætməsˌfɪr, ˈwɛðər, ənd mægˈnɛtɪk fild ðə ˈsoʊlər ˈpænəlz kʊd rɪˈsiv ˈsənˌlaɪt 99 pərˈsɛnt əv ðə taɪm ənd ˈfəŋkʃən æt əˈbaʊt 144 əv ðə ˈmæksəməm əˈteɪnəbəl ˈsoʊlər ˌɪnˈtɛnsɪti əˈveɪləbəl ˈɛniˌwɛr ɔn ərθ. bɪˈkəz ðə plænd rɪˈsivɪŋ ˈplætˌfɔrm ɪz æt si, ɪt wʊd ˈɔlsoʊ teɪk əp noʊ sɪgˈnɪfɪkənt ril ɛˈsteɪt wɪʧ kʊd bi pʊt tɪ ˈəðər ˈpərpəsɪz. ðə ˈkɑnsɛpt ɪz əˈspɛʃəli əˈpilɪŋ ɪn ʤəˈpæn. ˈkərəntli ðə ˈkəntri rɪˈsivz moʊst əv ˈɛnərʤi frəm ˈfɑsəl fjuəlz ənd ˈnukliər plænts, wɪʧ hæv bɪˈkəm ˌɪnˈkrisɪŋgli ˌənˈpɑpjələr ɪn ðə weɪk əv ðə 2011 fukuˈʃimə dɪˈzæstər. ““although*, ʤəˈpæn dɪˈpɛndz ɔn ˌɪmˈpɔrtɪd ˈɛnərʤi ˈrisɔrsɪz təˈdeɪ, ɪf wi kən ɪˈstæblɪʃ tɛkˈnɑləʤi, ɪt meɪ ˈivɪn bɪˈkəm ˈpɑsəbəl fər ˈjuˈɛs tɪ bɪˈkəm ən ˈɛnərʤi ɪkˈspɔrtər. wi wʊd laɪk tɪ kənˈtɪnju tɪ lɛd ðə wərld ɪn tɛkˈnɑləʤi dɪˈvɛləpmənt, soʊ ðət ʤəˈpæn wɪl bi ˈeɪbəl tɪ pleɪ ə ˈmeɪʤər roʊl ɛz ə kənˈtrɪbjətər tɪ ðə ˈɛnərʤi supply,”*,” sɛd. ən ˈoʊvərvˌju əv ðə dɪˈzaɪn biɪŋ ɪkˈsplɔrd baɪ kən bi faʊnd ɪn ən ˈeɪprəl, 2014 ˈɑrtɪkəl æt ˈspɛktrəm. ɪn əˈdɪʃən tɪ ˌtɛknəˈlɑʤɪkəl kˈwɛsʧənz ðɛr ər kənˈsərnz ˈoʊvər boʊθ kɔst ənd ˈseɪfti tɪ bi əˈdrɛst. ˈmɛni ər ənˈkəmfərtəbəl wɪθ ðə aɪˈdiə əv ˈbimɪŋ haɪ ˈɛnərʤi ˈmaɪkroʊˌweɪvz tɪ ərθ. ðə tɛkˈnɑləʤi wʊd hæv tɪ bi əˈdæptɪd tɪ ə pɔɪnt wɛr ðə ˈɔrbətɪŋ ˈsoʊlər ˈpænəlz ˈnɛvər mɪst ðɛr ˈtərgət. ɪt ɪz ˈɔlsoʊ ənˈklɪr wət ˈifɛkt ɪˈvɛnts səʧ ɛz ˈsoʊlər stɔrmz maɪt hæv ɔn ðə trænzˈmɪʃən əv ˈɛnərʤi. ɪt ɪz ˈɔlsoʊ ˈlaɪkli ðət, ɪf ðə tɛkˈnɑləʤi ˈɛvər ˈriʧɪz ðə pɔɪnt əv ˌfizəˈbɪləti, ðət ðə ˈkəntri wɪl hæv tɪ faɪnd ˌɪnərˈnæʃənɑl ˈpɑrtnərz ˌbiˈfɔr ɪt kən bi ˈɪmpləˌmɛnəd. ˈbɪldɪŋ ðə ˈmæsɪv ˈsoʊlər əreɪ ɪn speɪs kʊd bi ɛz lɑrʤ ə ˈprɑʤɛkt ɛz ðə ˌɪnərˈnæʃənɑl speɪs ˈsteɪʃən. ðət ˈprɑʤɛkt bɪˈgæn kənˈstrəkʃən ɪn 1998 ənd stɪl siz ˈrɛgjələr rɪˈpɛrz, ˈbərʤəs ənd ɪkˈspænʧənz təˈdeɪ. ɪt ˈɔlsoʊ ˌɪnˈvɑlvd ðə kˌwɔpərˈeɪʃən əv ðə juˈnaɪtɪd steɪts, ðə ˈrəʃən ˌfɛdərˈeɪʃən, ˈkænədə, ʤəˈpæn ənd 11 ˈmɛmbərz əv ðə ˌjʊrəˈpiən ˈjunjən. əˈkɔrdɪŋ tɪ ə ˈspoʊkspərsən kʊd teɪk ˈdɛkeɪdz ˌbiˈfɔr wi si ˈpræktɪkəl ˌæpləˈkeɪʃən əv ðə ɪn ðə ər later.”*.”
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the japan aerospace exploration agency (jaxa) that their scientists have successfully transmitted 1.8 kilowatts of power wirelessly to a receiver 170 feet away.
the distance isn’t large but it is a small proof of concept that will be essential if the agency’s space solar power systems (ssps) program is ever going to be a reality.
“this was the first time anyone has managed to send a high output of nearly two kilowatts of electric power via microwaves to a small target, using a delicate directivity control device,” a spokesman for the agency told afp.
the idea behind jaxa’s ssps program is to have microwave emitting solar panels in a geosynchronous orbit, 22,300 miles from earth.
the idea behind space based solar power was originally introduced, fictionally, by isaac asimov in 1941 in the shortory reason. as a non-fiction concept it was originally described in 1968 and patented by american aerospace engineer peter glaser in 1968.
starting in 1978 the u.s. department of energy (doe) and nasa explored the technology under the satellite power system concept development and evaluation program. given the prohibitive cost of the program however, it was cancelled by ronald reagan in 1986.
since that time, japan has been the only country to seriously pursue the idea. according toatements by jaxa’s yakuyuki fukumuro “.. in japan, probably reflecting our nation’s shortage of energy resources, ssps research wasarted early, and has since been pursued by many universities and jaxa.”
even after years of research, however, japanill has a long way to go.
“when transmitting power by microwaves, a significant technological challenge is how to control the direction, and transmit it with pinpoint accuracy from a geostationary orbit to a receiving site on the ground. transmitting microwaves from an altitude of 36,000 kilometers to a flat surface 3 km in diameter is like threading a needle. in my opinion, japan currently has the most advanced technology to do this,” said fukumuro.
solar power from space obviously has many advantages. in space, without the interference of the earth’s atmosphere, weather, and magnetic field the solar panels could receive sunlight 99 percent of the time and function at about 144% of the maximum attainable solar intensity available anywhere on earth.
because the planned receiving platform is at sea, it would also take up no significant real estate which could be put to other purposes.
the concept is especially appealing in japan. currently the country receives most of it’s energy from fossil fuels and nuclear plants, which have become increasingly unpopular in the wake of the 2011 fukushima disaster.
“although, japan depends on imported energy resources today, if we can establish ssps technology, it may even become possible for us to become an energy exporter. we would like to continue to lead the world in ssps technology development, so that japan will be able to play a major role as a contributor to the world’s energy supply,” said fukumuro.
an overview of the ssps design being explored by jaxa can be found in an april, 2014 article at ieee spectrum.
in addition to technological questions there are concerns over both cost and safety to be addressed. many are uncomfortable with the idea of beaming high energy microwaves to earth. the technology would have to be adapted to a point where the orbiting solar panels never missed their target. it is also unclear what effect events such as solarorms might have on the transmission of energy.
it is also likely that, if the technology ever reaches the point of feasibility, that the country will have to find international partners before it can be implemented.
building the massive solar array in space could be as large a project as the international spaceation. that project began construction in 1998 andill sees regular repairs, burgess and expansions today. it also involved the cooperation of the unitedates, the russian federation, canada, japan and 11 members of the european union.
according to a jaxa spokesperson “it could take decades before we see practical application of the technology—maybe in the 2040s or later.”
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lɔst ˈɑprəz baɪ ˈklɔdiˌoʊ ðə kəmˈpoʊzər əraʊnd 1640 (ˈmænʧuə, (ˈmænʧuə, lə di (ˈmænʧuə, (ˈmænʧuə, ænˈdrɑmədə (ˈmænʧuə, (ˈmænʧuə, lɑ (ˈmænʧuə, (ˈmænʧuə, ɑrˈmidə (ˈmænʧuə, (ˈmænʧuə, prɑsərˈpinə (ˈvɛnɪs, 1630 (ˈvɛnɪs, 1630 lə kɑn ləˈvɪnjə (ˈvɛnɪs, 1641 ðə ˌɪˈtæljən kəmˈpoʊzər ˈklɔdiˌoʊ ɪn əˈdɪʃən tɪ ə lɑrʤ ˈaʊtˌpʊt əv ʧərʧ mˈjuzɪk ənd ˈmædrɪgəlz, roʊt proʊˈlɪfɪkli fər ðə steɪʤ. hɪz θiˈætrɪkəl wərks wər ˈrɪtən bɪtˈwin 1604 ənd 1643 ənd ˌɪnˈkludɪd tɛn ˈɑprəz, əv wɪʧ 1607 ɪl ɪn 1640 ənd di ˈpɑpiə sərˈvaɪvd wɪθ ðɛr mˈjuzɪk ənd ˌɪnˈtækt. ɪn ðə keɪs əv ðə ˈəðər ˈsɛvən ˈɑprəz, ðə mˈjuzɪk həz ˌdɪsəˈpɪrd ˈɔlˌmoʊst ɪnˈtaɪərli, ˌɔlˈðoʊ səm əv ðə ɪgˈzɪst. ðə lɔs əv ðiz wərks, ˈrɪtən ˈdʊrɪŋ ə ˈkrɪtɪkəl ˈpɪriəd əv ˈərli ˈɑprə ˈhɪstəri, həz bɪn məʧ rɪˈgrɛtɪd baɪ ˈkɑmənˌteɪtərz ənd musicologists*. ˈɑprə, ɛz ə mˈjuzɪkəl ənd θiˈætrɪkəl ˈʒɑnrə, bɪˈgæn tɪ ˈimərʤ ˈdʊrɪŋ ðə ˈərli pɑrt əv kərɪr, ˌɪˈnɪʃəli ɛz ə fɔrm əv ˈkɔrtli ˌɛnərˈteɪnmənt. wɪθ ˈəðər kəmˈpoʊzərz, hi pleɪd ə ˈlidɪŋ pɑrt ɪn ɪts dɪˈvɛləpmənt ˈɪntu ðə meɪn fɔrm əv ˈpəblɪk mˈjuzɪkəl ˈθiətər. hɪz fərst ˈɑprə,, ˈrɪtən ɪn 1607 fər ðə kɔrt, wɪʧ ɪmˈplɔɪd ɪm, wɑz ə ˈmeɪʤər səkˈsɛs. ɪn ðə jɪrz ðət ˈfɑloʊd, æt ˈmænʧuə ənd ɪn hɪz ˈleɪtər kəˈpæsɪti ɛz ˈmaɪstroʊ di kɑˈpɛlə (dɪˈrɛktər əv mˈjuzɪk) æt mɑrks bəˈzɪləkə ɪn ˈvɛnɪs, kənˈtɪnjud tɪ raɪt θiˈætrɪkəl mˈjuzɪk ɪn ˈvɛriəs ˈʒɑnrəz, ˌɪnˈkludɪŋ ˈɑprəz, ˈdænsɪz, ənd (ʃɔrt mˈjuzɪkəl ˈɪntərˌludz ˌɪnˈsərtɪd ˈɪntu streɪt pleɪz). bɪˈkəz ɪn taɪmz steɪʤ mˈjuzɪk wɑz ˈrɛrli θɔt tɪ hæv məʧ juˈtɪləti ˈæftər ɪts ˌɪˈnɪʃəl pərˈfɔrməns, məʧ əv ðɪs mˈjuzɪk ˈvænɪʃt ˈʃɔrtli ˈæftər ɪts kriˈeɪʃən. moʊst əv ðə əˈveɪləbəl ˌɪnˌfɔrˈmeɪʃən rɪˈleɪtɪŋ tɪ ðə ˈsɛvən lɔst ˈɑprəz həz bɪn dɪˈdust frəm kənˈtɛmpərˌɛri ˈdɑkjəmənts, ˌɪnˈkludɪŋ ðə ˈmɛni ˈlɛtərz ðət roʊt. ðiz ˈpeɪpərz prəˈvaɪd ˌɪrəfˈjutəbəl ˈɛvədəns ðət fɔr əv ðiz works—l'arianna*, ænˈdrɑmədə, prɑsərˈpinə ənd lə kɑn kəmˈplitɪd ənd pərˈfɔrmd ɪn ˈlaɪfˌtaɪm, bət əv ðɛr mˈjuzɪk, ˈoʊnli ðə ˈfeɪməs ləˈmɛnt frəm ənd ə ˈtriˌoʊ frəm prɑsərˈpinə ər noʊn tɪ hæv sərˈvaɪvd. ðə ˈəðər θri lɔst di, lɑ ənd ɑrˈmidə əˈbændənd baɪ ˌbiˈfɔr kəmˈpliʃən; haʊ məʧ əv ðɛr mˈjuzɪk wɑz ˈæˌkʧuəli ˈrɪtən ɪz ənˈnoʊn. ˈbækˌgraʊnd ˈɛdət kriˈeɪtɪv laɪf ˈkəvərd mɔr ðən 50 jɪrz. bɪtˈwin 1590 ənd 1612 hi sərvd ɛz ə mjuˈzɪʃən ɪn ðə kɔrt ɪn ˈmænʧuə, ˈfɑloʊd baɪ 30 jɪrz ɛz ˈmaɪstroʊ di kəˈpɛlə æt mɑrks bəˈzɪləkə ɪn ˈvɛnɪs. ðɪs sɔ ˈɑprə dɪˈvɛləp, frəm ɪts bɪˈgɪnɪŋz ɛz ə ˈlɪmɪtɪd fɔrm əv kɔrt ˌɛnərˈteɪnmənt, tɪ bɪˈkəm pɑrt əv ðə ˈmeɪnˌstrim əv ˈpəblɪk mˈjuzɪkəl ˌbiˈfɔr ðə ˌɪˈtæljən wərd fər ˈɑprə ɪn mˈjuzɪkə ("mˈjuzɪkəl ˈɪntu ˈʤɛnərəl juz əraʊnd 1634 mˈjuzɪkəl steɪʤ wərks wər ˈtɪpɪkəli tərmd ɪn mˈjuzɪkə (mˈjuzɪkəl ˈfeɪbəl), ɪn mˈjuzɪkə (mˈjuzɪkəl ˈdrɑmə), ər ɪn mˈjuzɪkə ("mˈjuzɪkəl juzd ðiz ənd ˈsɪmələr dɪˈskrɪpʃənz fər ˈmɛni əv hɪz ˈərli ˌɑpərˈætɪk ðə pəˈlɑzoʊ dɛl ti ˈmænʧuə, sit əv ðə ˈdaɪnəsti hu ruld ðə ˈsɪti frəm 1530 tɪ 1627 wɑz ðɛr kɔrt mjuˈzɪʃən frəm 1590 tɪ 1612 ðə fərst wərk naʊ ˈʤɛnərəli kənˈsɪdərd ɛz ən ˈɑprə ɪz əv 1597 ˈkloʊsli ˈfɑloʊd baɪ 1600 fər wɪʧ ənd ˈʤulioʊ roʊt ˈsɛpərˌeɪt mˈjuzɪkəl ˈsɛtɪŋz. wɑz ðə ləˈbrɛtɪst fər boʊθ ənd ɪn ðə nu ˈʒɑnrə ə kəmˈplit ˈstɔri wɑz toʊld θru ˈkɛrɪktərz, ənd ɪn əˈdɪʃən tɪ ˈkɔrəsɪz ənd ɑnˈsɑmbəlz, ðə ˈvoʊkəl pɑrts ˌɪnˈkludɪd, ˈɑriə ənd ðɪs wɑz ə dɪˈvɛləpmənt frəm ˈvɛriəs ˈoʊldər fɔrmz əv mˈjuzɪkəl ˈθiətər ðət hæd ɪgˈzɪstəd sɪns ðə ˈərliəst jɪrz əv ðə ˌɪˈtæljən ˌrɛnəˈsɑns; səʧ fɔrmz ˌɪnˈkludɪd ðə ("masque*"), ðə ˈbæloʊ (ə dæns ˌɛnərˈteɪnmənt, ˈɔfən wɪθ səŋ ˈpæsɪʤɪz), ənd ˌpɑrˈtɪkjələrli ðə ər intermezzo*, ə ʃɔrt drəˈmætɪk mˈjuzɪkəl ˈɛpɪˌsoʊd ˌɪnˈsərtɪd ɛz ə ˈproʊlɑg ər bɪtˈwin ðə ækts əv streɪt əˈnəðər ˈfɔrˌmæt ɪn ðə ˈleɪtər ˌrɛnəˈsɑns ˈpɪriəd wɑz ðə torneo*, ər "ˈtʊrnəmənt", ə drəˈmætɪk ˈspɛktəkəl ɪn wɪʧ ðə meɪn ˈsɪŋɪŋ wɑz pərˈfɔrmd baɪ ə fɔrmz əv drəˈmætɪk mˈjuzɪk kənˈtɪnjud tɪ θraɪv ɛz ˈɑprə ˌɪtˈsɛlf dɪˈvɛləpt; ðə blərd ˈbaʊndəriz ðət ɪgˈzɪstəd fər ˈmɛni jɪrz bɪtˈwin ðiz fɔrmz ənd "ˈɑprə" həz lɛd tɪ dəˈbeɪt əˈbaʊt haʊ tɪ səm fər ɪgˈzæmpəl, ðə prɪˈsaɪs ˈʒɑnrə əv ɪl di tɑnˈkrɛdi i klɔˈrində 1624 həz pruvd ˌpɑrˈtɪkjələrli ˈdɪfəkəlt tɪ fərst ækˈnɑlɪʤd ˈɑprə ɪz 1607 hi kəmˈpoʊzd, ɪn ɔl, 24 wərks fər ðə steɪʤ. əv ðiz, tɛn ər ˈjuʒəwəli ˈklæsəˌfaɪd ɛz ˈɑprəz, əv wɪʧ ðə mˈjuzɪk fər ˈsɛvən həz bɪn lɔst əˈpɑrt frəm ə fju 1 moʊst əv wət ɪz noʊn əˈbaʊt ðə ˈmɪsɪŋ wərks kəmz frəm sərˈvaɪvɪŋ ənd ˈəðər ˌdɑkjəmɛnˈteɪʃən, ˌɪnˈkludɪŋ oʊn ɪkˈstɛnsɪv ˌkɔrəˈspɑndəns. tɪm ˈkɑrtər, ə ˈlidɪŋ ˈskɑlər, səˈʤɛsts ðət ðə haɪ reɪt əv lɔs ɪz ɛkˈsplɪkəbəl bɪˈkəz, ɪn taɪmz, "ˈmɛməriz wər ʃɔrt ənd ˈlɑrʤˌskeɪl mˈjuzɪkəl wərks ˈɔfən hæd ˈlɪmɪtɪd ˈkərənsi bɪɔnd ðɛr ˌɪˈmiˌdiət fər ˈmænʧuə ˈɛdət roʊt sɪks ækˈnɑlɪʤd ˈɑprəz fər ðə ˈmænʧuə kɔrt, əv wɪʧ ˈoʊnli sərˈvaɪvz wɪθ lɪˈbrɛˌtoʊ ənd mˈjuzɪk ˌɪnˈtækt. fɔr əv ðə faɪv lɔst wərks wər ˈrɪtən ˈæftər ðə kəmˈpoʊzər hæd lɛft ðə ˈsərvɪs əv ðə ɪn 1612 ənd wɑz ɪnˈskɑnst ɪn ˈvɛnɪs, bət stɪl rɪˈteɪnd ˈkɑnˌtækts wɪθ ˈmænʧuə. ənd ænˈdrɑmədə wər kəmˈplitɪd ənd pərˈfɔrmd; ðə ˈəðərz wər ɔl əˈbændənd (ˈɪŋlɪʃ: "ˌɛriˈædni") wɑz kəmˈpoʊzd ɛz ə ˈfɛstɪv pis fər ðə ˈwɛdɪŋ əv ðə ɛr tɪ ðə ˈdəʧi, frænˈʧɛskoʊ, tɪ əv səˈvɔɪ, ɪn meɪ 1608 rɪˈsivd ðə kəˈmɪʃən ˈfɑloʊɪŋ səkˈsɛsfəl prɛˈmɪr æt ðə kɔrt ɪn ˈfɛbruˌɛri ðə lɪˈbrɛˌtoʊ fər wɑz baɪ, huz ˈlɪtərˌɛri skɪlz hæd ˈərliər ˌɪmˈprɛst duk vɪnˈsɛnzoʊ aɪ əv ˈmænʧuə ˈæftər ə pərˈfɔrməns əv ðə ˌkɑmpəˈzɪʃən əv bɪˈkeɪm ə frɔt əˈfɛr fər, biɪŋ ˈoʊnli wən əv θri wərks ðət ðə duk rikˈwaɪərd frəm ɪm fər ðə hæd ˈɔlsoʊ tɪ kəmˈpoʊz ə mˈjuzɪkəl ˈproʊlɑg fər ˌʤioʊˈvɑni bəˈtistə pleɪ l'idropica*, ənd raɪt ðə mˈjuzɪk fər ə drəˈmætɪk dæns, ɪl ˈbæloʊ dɛl hɪz laɪf hæd bɪn dɪsˈrəptɪd baɪ ðə ˈfeɪtəl ˈɪlnəs əv hɪz waɪf ˈklɔdiə; ʃi daɪd ɔn 10 sɛpˈtɛmbər 1607 bət wɑz ˈgɪvɪn noʊ ˈrɛspɪt baɪ ðə wɑz ˈlɑrʤli kəmˈpoʊzd ɪn ðə læst tu mənθs əv ən ɪgˈzərʃən ðət baɪˈɑgrəfər hɑns ˈrɛdlɪk dɪˈskraɪbz ɛz fɛlt sˈlaɪtɪd baɪ ðə læk əv ækˈnɑlɪʤmənt frəm ðə duk fər hɪz ˈnɪrli 20 jɪrz ˈleɪtər, ɪn ə ˈlɛtər tɪ ðə ˈmænʧuə kɔrt ˈsɛkrəˌtɛri ˌɑləˈsænˌdroʊ ðə ˈjəŋgər, hi roʊt ðət hi hæd ˈɔlˌmoʊst kɪld hɪmˈsɛlf wɪn ˈraɪtɪŋ ɪn səʧ ə juzd ˈnumərəs ˈklæsɪkəl ˈsɔrsəz ɛz ðə ˈbeɪsɪs fər hɪz lɪˈbrɛˌtoʊ, ɪn ˌpɑˈtɪkjələr wərks əv ənd ðə poʊəmz frəm ˈæftər ə ˈproʊlɑg, ðə meɪn ˈækʃən bɪˈgɪnz ɛz ˈvinəs tɛlz ˈkjupɪd ðət ˌɛriˈædni ənd hər ˈləvər ˈθiˌziəs, fliɪŋ frəm krit ˈæftər hɪz sleɪɪŋ əv ðə minotaur*, wɪl ˈʃɔrtli əraɪv ɪn naxos*. ˈθiˌziəs, ʃi rɪˈpɔrts, wɪl ðɛn əˈbændən ˌɛriˈædni, ɛz hi bɪˈlivz hər tɪ bi ˌənækˈsɛptəbəl tɪ ðə ˈpipəl əv ˈæθənz ɛz ðɛr kwin. ˈvinəs plænz tɪ mæʧ hər ˌɪnˈstɛd wɪθ ðə gɑd ˈbækɪs, ənd æsks ˈkjupɪd tɪ əreɪnʤ ðɪs. ˈθiˌziəs ənd ɑriˈænə əraɪv; ˈθiˌziəs ˈoʊvər hɪz dɪˈsɪʒən tɪ əˈbændən hər, bət ɪz ədˈvaɪzd baɪ hɪz ˈkaʊnsələr ðət hi ɪz waɪz ɪn hɪz riˈzɑlv, ənd dɪˈpɑrts. ɪn ðə ˈmɔrnɪŋ ˌɛriˈædni, ˈfaɪndɪŋ hərˈsɛlf əˈbændənd, ˈsərʧɪz ˈveɪnli fər ˈθiˌziəs ɔn ðə ʃɔr, wɛr ʃi sɪŋz hər ləˈmɛnt. ə ˈfænˌfɛr ˈɪndɪˌkeɪts ən ˈɪmənənt ərˈaɪvəl; ˌɛriˈædni hoʊps ðɪs ɪz ˈθiˌziəs rɪˈtərnɪŋ, bət ɪt ɪz ˈbækɪs ənd hɪz ˌɑntʊˈrɑʒ. ˈʤupɪtər spiks frəm ðə ˈhɛvənz, ənd əˈmɪd ˈfɛstɪv sinz ˈbækɪs ˈprɑməsəz ˌɛriˈædni ˌɪmɔrˈtælɪti wɪθ ðə gɑdz ɪn rɪˈtərn fər hər ɪkˈstɛndɪd ðə lɪˈbrɛˌtoʊ ˈdʊrɪŋ ðə rɪˈhərsəlz, ˈæftər kəmˈpleɪnts frəm ðə ˈdəʧəs ðət ðə pis wɑz "tu draɪ"; ɛz ə rɪˈzəlt ðə ˈərli sin bɪtˈwin ˈvinəs ənd ˈkjupɪd, ənd ˈʤupɪtərz ˈblɛsɪŋ frəm ˈhɛvən, wər ˌprɛpərˈeɪʃənz fər ðə ˈɑprəz pərˈfɔrməns wər dɪsˈrəptɪd wɪn, ɪn mɑrʧ 1608 ðə ˈlidɪŋ səˈprɑnoʊ daɪd əv ə rɪˈpleɪsmənt hæd tɪ bi faʊnd ˈræpədli, ənd ðə ˈtaɪtəl roʊl fɛl tɪ vərˈʤɪnjə andreidi*, ə rɪˈnaʊnd hu juzd ðə steɪʤ neɪm "lɑ flɔˈrində"; ʃi rɪˈpɔrtədli ˈlərnɪd ðə pɑrt ɪn ˈoʊnli sɪks ɪn hɪz æˈnælɪsɪs əv θiˈætrɪkəl wərks, ˈkɑrtər səˈʤɛsts ðət ðə ləˈmɛnt meɪ hæv bɪn ˈædɪd tɪ ðə wərk tɪ meɪk ðə moʊst əv ˈæktɪŋ ənd ˈvoʊkəl ðə prɛˈmɪr, ɔn 28 meɪ 1608 wɑz steɪʤd ɪn ə ˈspɛʃəli ɪˈrɛktɪd ˈtɛmpərˌɛri ˈθiətər, wɪʧ əˈkɔrdɪŋ tɪ kənˈtɛmpərˌɛri rɪˈpɔrts kʊd hoʊld ən ˈɔdiəns əv ˈsɛvərəl ˈθaʊzənz. ðə pərˈdəkʃən wɑz ˈlævɪʃ; əˈpɛrəntli 300 mɛn wər rikˈwaɪərd tɪ məˈnɪpjəˌleɪt ðə steɪʤ fɛdərˈikoʊ follino*, hu priˈpɛrd ðə kɔrts əˈfɪʃəl rɪˈpɔrt ɔn ðə əˈkeɪʒən, preɪzd ðə ˈbjuti əv ðə wərk, ðə əv ˈkɑstumz ənd məˈʃinəri, ənd ðə sˈwitnəs əv ðə ˈmɑrkoʊ ˈdiˈeɪ gɑgliˈɑnoʊ wɑz ˈikwəli ˌkɑmpləˈmɛntəri, ˈraɪtɪŋ ðət ðə ˈɑprə hæd "ˈvɪzəbli muvd ðə ɪnˈtaɪər ˈɔdiəns tɪ ɪt ɪz ˈpɑsəbəl ðət wɑz pərˈfɔrmd ɪn ˈflɔrəns ɪn 1614 ə prɑˈʤɛktəd pərˈfɔrməns ɪn ˈmænʧuə ɪn meɪ 1620 tɪ ˈsɛləˌbreɪt ˈdəʧəs ˈbərθˌdeɪ wɑz ˈkænsəld fər ənˈnoʊn ˈəðərˌwaɪz, ðɛr ər noʊ ˈrɛkərdz əv ðə ˈɑprəz pərˈfɔrməns ˌbiˈfɔr ɪts rɪˈvaɪvəl ɪn 1640 æt ðə ˈtitroʊ sæn moisè*è, ˈvɛnɪs. ɪn hɪz ˈstədi əv leɪt ˌrɛnəˈsɑns ˈɑprə, ˈgɛri ˈtɑmlɪnsən sərˈmaɪzɪz ðət ðə wərks ɪnˌθuziˈæstɪk rɪˈsɛpʃən ɪn ˈvɛnɪs wɑz ə sɪgˈnɪfɪkənt ˈfæktər ɪn dɪˈsɪʒən tɪ ˈrɛzəˌmeɪ ˈɑprə ˌkɑmpəˈzɪʃən ˈdʊrɪŋ hɪz ˈfaɪnəl əv ðə mˈjuzɪk, ˈoʊnli ðə ləˈmɛnt sərˈvaɪvz. ɪt wɑz ˈpəblɪʃt ˌɪndɪˈpɛndəntli frəm ðə ˈɑprə ɪn ˈvɛriəs fɔrmz; ən ˌædəpˈteɪʃən fər faɪv ˈvɔɪsɪz wɑz ˌɪnˈkludɪd ɪn sɪksθ bʊk əv ˈmædrɪgəlz ɪn 1614 ənd tu ˈvərʒənz əv ðə ərˈɪʤənəl ˈsoʊˌloʊ wər ˈpəblɪʃt ɪn ˈəðər kəmˈpoʊzərz ˈɛmjəˌleɪtɪd ðə ˈrɛdlɪk əˈsərts ðət ɪt ˌɪˈnɪʃiˌeɪtɪd ə mˈjuzɪkəl ðət ˈlæstɪd tɪ ðə ɛnd əv ðə ˈsɛnʧəri ənd ðə lɪˈbrɛˌtoʊ həz bɪn prɪˈzərvd; ˈvərʒənz wər ˈpəblɪʃt ɪn ˈmænʧuə ɪn 1608 ənd ɪn ˈvɛnɪs ɪn 1622 ənd lə di ˈɛdət (ˈɪŋlɪʃ: "ðə ˈmɛrɪʤ əv ˈθitəs") lə di wɑz kəˈmɪʃənd duk, fər huz ˈwɛdɪŋ ˌsɛləˈbreɪʃənz ɪn kəˈmɪʃənd ˈæftər duk dɛθ ɪn ˈfɛbruˌɛri 1612 faʊnd hɪmˈsɛlf aʊt əv ˈfeɪvər æt ðə kɔrt. səkˈsɛsər frænˈʧɛskoʊ hæd noʊ haɪ rɪˈgɑrd fər, ənd dɪsˈmɪst ɪm frəm hɪz poʊst. əˈpɑn frænˈʧɛskoʊz ˈsədən dɛθ ɪn dɪˈsɛmbər 1612 ðə ˈdukdəm pæst tɪ hɪz ˈbrəðər, bət wɑz nɑt rɪˈkɔld tɪ ðə kɔrt ənd wɑz əˈpɔɪntɪd ˈmaɪstroʊ di kəˈpɛlə ɪn ˈɔgəst 1613 æt mɑrks, ˌhaʊˈɛvər, hi rɪˈmeɪnd ɪn ˈkɑnˌtækt wɪθ ənd ˈəðər ˈhaɪli pleɪst ˈkɔrtiərz, θru hum hi wɑz ˈeɪbəl tɪ sɪˈkjʊr ɔˈkeɪʒənəl kəˈmɪʃənz tɪ kəmˈpoʊz θiˈætrɪkəl wərks fər ðə ðəs, leɪt ɪn 1616 æst ɪm tɪ sɛt tɪ mˈjuzɪk sɪpiˈoʊni ˈægˌnɛliz lɪˈbrɛˌtoʊ lə di, ɛz pɑrt əv ðə ˌsɛləˈbreɪʃənz fər duk ˈfɔrθˈkəmɪŋ ˈmɛrɪʤ tɪ ˈkæθərɪn də' mɛˈdisi. ðɪs ˈstɔri, beɪst ɔn ðə ˈwɛdɪŋ əv ðə ˈmɪθɪkəl grik ˈhɪroʊ tɪ ðə hæd ˈpriviəsli bɪn ˈɔfərd tɪ ðə kɔrt baɪ, huz ˈsɛtɪŋ əv ə lɪˈbrɛˌtoʊ baɪ frænˈʧɛskoʊ hæd bɪn rɪˈʤɛktɪd ɪn 1608 ɪn ˈfeɪvər əv ˌɪˈnɪʃəli, hæd ˈlɪtəl ɪnˈθuziˌæzəm fər lə di, ənd sɔt weɪz əv əˈvɔɪdɪŋ ər dɪˈleɪɪŋ wərk ɔn ɪt. hi wʊd əkˈsɛpt ðə kəˈmɪʃən, hi ˌɪnˈfɔrmd ɔn 9 dɪˈsɛmbər 1616 bɪˈkəz ɪt wɑz ðə wɪʃ əv ðə duk, hɪz fˈjudəl lɔrd. ˌhaʊˈɛvər, ðə ˈvərsɪz hi wɑz ˈgɪvɪn wər nɑt, hi fɛlt, kənˈdusɪv tɪ ˈbjutəfəl mˈjuzɪk. hi faʊnd ðə teɪl ˈdɪfəkəlt tɪ ˌəndərˈstænd, ənd dɪd nɑt θɪŋk hi kʊd bi ˌɪnˈspaɪərd baɪ ɪn ˈɛni ɪˈvɛnt hi wɑz ˈɑkjəˌpaɪd fər moʊst əv dɪˈsɛmbər ɪn ˈraɪtɪŋ ə ˈkrɪsməs iv mæs fər mɑrks. ɔn 29 dɪˈsɛmbər, pərˈhæps ˈhoʊpɪŋ ðət ðə kəˈmɪʃən wʊd bi wɪθˈdrɔn, toʊld ðət hi wɑz ˈrɛdi tɪ bɪˈgɪn wərk ɔn lə di "ɪf ju tɛl mi tɪ du ɪn ˈʤænjuˌɛri 1617 ˌhaʊˈɛvər, hi bɪˈkeɪm mɔr ɪnˌθuziˈæstɪk ɔn ˈlərnɪŋ ðət ðə ˈprɑʤɛkt hæd bɪn skeɪld daʊn ənd wɑz naʊ biɪŋ prɑˈʤɛktəd ɛz ə ˈsɪriz əv 2 hi ˌɪnˈfɔrmd ðət wət hi hæd fərst kənˈsɪdərd ə ˈrəðər məˈnɑtənəs pis hi naʊ θɔt ˈfʊli əˈproʊpriˌeɪt tɪ ðə hi bɪˈgæn wərk ɔn ðə ˈsɛkʃənz, bət ˌbiˈfɔr hi kʊd stɑrt ˈsɛtɪŋ ðə mɔr ɪkˈsprɛsɪv ˈnəmbərz, ðə duk hæd ə ʧeɪnʤ əv hɑrt ənd ˈkænsəld lə di wɑz əˈbændənd; ɪts lɪˈbrɛˌtoʊ ənd ˌwəˈtɛvər mˈjuzɪk ɪgˈzɪstəd hæv ænˈdrɑmədə ˈɛdət ə dɪˈpɪkʃən əv ænˈdrɑmədə, ʧeɪnd tɪ ə rɑk ɪn əˈkɔrdəns wɪθ ðə ˈeɪnʧənt grik mɪθ nɛkst kəˈmɪʃən frəm ˈmænʧuə keɪm ˈərli ɪn 1618 wɪn hi wɑz æst tɪ prəˈvaɪd ðə mˈjuzɪk fər ænˈdrɑmədə, ən ˈɑprə beɪst ɔn ðə ˈeɪnʧənt grik mɪθ əv ðə ˈprɪnsɛs ʧeɪnd tɪ ə rɑk. ðə lɪˈbrɛˌtoʊ wɑz ˈrɪtən baɪ duk ˈʧænsələr, ərˈkoʊli, ənd ðə ˈprɑʤɛkt wɑz ˈspɑnsərd baɪ ðə duks ˈjəŋgər ˈbrəðər, dɑn vɪnˈsɛnzoʊ ɪt ɪz ˈprɑbəbəl ðət ðə wərk wɑz ˌɪnˈtɛndɪd fər pərˈfɔrməns æt ðə ˈmænʧuə ˈkɑrnəvəl əv mɑrʧ 1618 bət ɛz ˈkɑrtər ˈrɛkərdz, əˈproʊʧ tɪ hɪz ˈmænʧuə kəˈmɪʃənz wɑz ˈɔfən ˈdɪləˌtɔri ənd hɪz ˌɪnəˈbɪlɪti ər ənˈwɪlɪŋnɪs tɪ wərk ɔn ænˈdrɑmədə dɪˈleɪd ɪts pərˈfɔrməns, fərst tɪ 1619 ənd ðɛn tɪ ˈlɛtərz ˈdʊrɪŋ ðə ˈpɪriəd, ˈmeɪnli tɪ bət ɔˈkeɪʒənəˌli tɪ dɑn vɪnˈsɛnzoʊ ər, ˈɔfər ˈvɛriəs ɪkˈskjuzɪz fər hɪz læk əv ˈprɑˌgrɛs ɔn ænˈdrɑmədə, ˌɪnˈkludɪŋ hɪz ˈdutiz æt mɑrks, hɪz hɛlθ, ənd hɪz ˌɑbləˈgeɪʃənz tɪ prəˈvaɪd ˌsɛrəˈmoʊniəl mˈjuzɪk fər ðə doʊʤ (ˈrulər) əv ɪn ˈfɛbruˌɛri 1619 hæd ˈstɑrtɪd wərk ɔn əˈnəðər ˈprɑʤɛkt, ə ˈbæloʊ (dæns wɪθ səŋ pɑrts) tɪ lɪˈbrɛˌtoʊ ɛnˈtaɪtəld ɔn 9 ˈʤænjuˌɛri 1620 stɪl wɪθ 400 laɪnz əv ðə ænˈdrɑmədə lɪˈbrɛˌtoʊ tɪ sɛt tɪ mˈjuzɪk, prəˈpoʊzd tɪ ðət ðə ɪnˈtaɪər ˈɑprə ˈprɑʤɛkt bi əˈbændənd ənd ðə ˈbæloʊ ðɪs aɪˈdiə wɑz ˈræpədli kwɔʃt; dɑn vɪnˈsɛnzoʊ ˈɔrdərd ðət ðə rɪˈmeɪnɪŋ ænˈdrɑmədə mˈjuzɪk bi sɛnt tɪ ɪm ðə ˈfaɪnəl ˌsɛgˈmɛnt əv ænˈdrɑmədə, ən sɔŋ, wɑz dɪˈlɪvərd tɪ ɔn 15 ˈfɛbruˌɛri nən əv mˈjuzɪk fər ænˈdrɑmədə həz sərˈvaɪvd. ðə lɪˈbrɛˌtoʊ wɑz ˈɔlsoʊ θɔt tɪ hæv bɪn lɔst, ənˈtɪl ɪts ridɪˈskəvri ɪn 1984 ɛz wɑz ˈkəstəˌmɛri ɪn taɪm, ðə ˈmænjəˌskrɪpt meɪks noʊ ˈmɛnʃən əv ðə kəmˈpoʊzərz wər ˈɔfən ðə ˈsəbʤɪkt əv ˈnumərəs ˈsɛtɪŋz baɪ ˈdɪfərənt kəmˈpoʊzərz. ðə kənˈfərmz ðət ænˈdrɑmədə wɑz pərˈfɔrmd ˈdʊrɪŋ ˈkɑrnəvəl, mɑrʧ ən æˈnælɪsɪs əv ɪts ˈkɑntɛnts rɪˈvilz səm ˈɪnfluəns frəm lɪˈbrɛˌtoʊ fər ɑriˈænə, səʧ ɛz juz əv aɪˈdɛntɪkəl ˈmitər ənd lɛŋθ ɪn ðə əv iʧ wərk, ənd ˈsɛvərəl ˈkɑmən ˈkɛrɪktərz ɪn ðə rɪˈspɛktɪv kæst ðə ˈdɑkjəmɛnt rɪˈmeɪnz ɪn ˈpraɪvət hænz ənd həz nɑt bɪn rɪˈkɔrdɪd noʊ əˈpɛrənt ˈɪntəˌrɛst ɪn ðə pərˈfɔrməns əv ænˈdrɑmədə ˈæftər ðə 1620 ˈkɑrnəvəl; ðə lɔŋ ˈlɛtər ðət hi roʊt tɪ ɔn 13 mɑrʧ 1620 meɪks noʊ ˈrɛfərəns tɪ ðə ɪˈvɛnt ənd ɪz ˈʧifli kənˈsərnd wɪθ ˌfaɪˈnænʃəl ˈmætərz. ðə ˈlɛtər ˌɪmˈplaɪz ðət ðə kɔrt wɑz traɪɪŋ tɪ pərsˈweɪd tɪ rɪˈtərn tɪ ˈmænʧuə; ɪn ˈkɔrtli ˈlæŋgwɪʤ ɪˈveɪdz ðə ˈɪʃu, waɪl kəmˈpɛrɪŋ ðə ˈrɛlətɪv ˌʤɛnərˈɑsəti əv hɪz vəˈniʃən ɪmˈplɔɪərz wɪθ ðə ˈpɑrsəˌmoʊni əv ðə tu əˈbɔrtɪv ˈprɑʤɛkts ˈɛdət ˈæftər ænˈdrɑmədə ðɛr ˈfɑloʊd ə ˈpɪriəd əv ˈsɛvərəl jɪrz ɪn wɪʧ ˈmænʧuə meɪd ˈlɪtəl juz əv ˈsərvɪsɪz. duk daɪd ɔn 26 ɑkˈtoʊbər 1626 ənd wɑz səkˈsidɪd baɪ dɑn vɪnˈsɛnzoʊ, hu bɪˈkeɪm duk vɪnˈsɛnzoʊ ii*. ˈərli ɪn 1627 əˈproʊʧt wɪθ ə rɪkˈwɛst fər θiˈætrɪkəl mˈjuzɪk, ˈpɑsəbli fər ðə fɛˈstɪvətiz ðət wʊd ˈsɛləˌbreɪt rɪˈplaɪd ˈɔfərɪŋ θri ˈɔpʃənz: fərst, ɪl di tɑnˈkrɛdi i klɔˈrində ("ðə ˈbætəl əv ənd klɔˈrində"), ə ˈsɛtɪŋ frəm ˈɛpɪk poʊəm ("ʤərˈusələm dɪˈlɪvərd"), wɪʧ hæd bɪn pərˈfɔrmd æt ðə 1624 ˈvɛnɪs 3 ˈsɛkəndli, ə ˈsɛtɪŋ frəm əˈnəðər pɑrt əv poʊəm, ˈkəvərɪŋ ðə ˈstɔri əv ðə ɑrˈmidə ənd hər əˈbændənmənt baɪ ðə ˈkrɪsʧɪn ˈhɪroʊ rɪˈnɑldoʊ; ˈfaɪnəli, hi ˈɔfərd tɪ sɛt ðə wərdz əv ə nu pleɪ baɪ ˈʤulioʊ, d'aminta*, əˈbaʊt ə ˈwʊmən hu ˈmædnəs fər ðə seɪk əv sɛnt ə ˈkɑpi əv pleɪ ɔn 7 meɪ 1627 laɪkt ɪt ənd ˌɪnˈstrəktɪd tɪ bɪˈgɪn ðə lɑ ˈɛdət (ˈɪŋlɪʃ: "ðə feɪnd") wɑz ə vəˈniʃən, bɔrn ɪn 1583 huz ˈlɪtərˌɛri wərks ˌɪnˈkludɪd pleɪz ənd ˈpoʊətri ɛz wɛl ɛz ˈɑprə libretti*; hæd fərst mɛt ɪm ɪn nu mˈjuzɪk, ənd hæd dɪˈvɛləpt ə strɔŋ əˌpriʃiˈeɪʃən əv ðə kəmˈpoʊzərz ˈɪnəˌveɪtɪv ɔn 20 ʤun 1627 ˌɪnˈfɔrmd ðət hæd ɪkˈspændɪd ənd əreɪnʤd ðə tɛkst ˈɪntu faɪv ækts, ˈəndər ðə nu ˈtaɪtəl lɑ feɪnd ˈmædnəs wɑz ə ˈstændərd θim ɪn ðə trəˈdɪʃən ðət hæd ɪˈstæblɪʃt ˌɪtˈsɛlf ɪn ˌɪˈtæljən ˈθiətər ɪn ðə ɪn plɑt, ðə fərst noʊn əˈtɛmpt æt ˈkɑmɪk ðə ˈwʊmən dɪsˈgaɪzɪz hərˈsɛlf ˌɪˈnɪʃəli ɛz ə mæn, ðɛn ɛz ə ˈwʊmən, ənd ðɛn priˈtɛndz tɪ bi mæd, ɔl ɛz pɑrt əv ə ˈstrætəʤi tɪ wɪn ðə hɑrt əv hər ˈləvər, ənd ɑrˈmidə wər kəmˈpoʊzd duk vɪnˈsɛnzoʊ ii*, huz əkˈsɛʃən wɑz ðə ˈlaɪkli ˈrizən kəmˈpoʊzd wɑz, æt list ˌɪˈnɪʃəli, məʧ ˈteɪkən wɪθ ðə pəˈtɛnʃəl əv ðə plɑt, ənd ðə ˌɑpərˈtunətiz ðə lɪˈbrɛˌtoʊ prəˈvaɪdɪd fər ə vərˈaɪəti əv mˈjuzɪkəl strɛst tɪ ðə ˌɪmˈpɔrtəns əv ˈfaɪndɪŋ ə ˈsɪŋər wɪθ ril ˈæktɪŋ əˈbɪləˌti tɪ pleɪ ðə roʊl əv, ˈsəmˌwən ˈkeɪpəbəl əv pleɪɪŋ ə mæn ənd ə ˈwʊmən wɪθ əˈproʊpriˌeɪt ˈɪˌmoʊʃənz ənd ˈleɪtər hi ɪnˈθuzd əˈbaʊt ðə ʧæns tɪ raɪt ə bæˈleɪ fər iʧ əv ðə faɪv ækts, ɔl ɪn ˈdɪfərənt ˈlɛtərz kənˈtɪnjud θruaʊt ðə ˈsəmər, bət hɪz ˈætəˌtud sˈloʊli ʧeɪnʤd, frəm wən əv ˈɛvədənt kəˈmɪtmənt tɪ frəˈstreɪʃən æt ðə dɪˈleɪz ɪn ˈgɪtɪŋ ðə lɪˈbrɛˌtoʊ ˈkɑpid. ðə mˌjuzɪˈkɑləʤəst ˈgɛri ˈtɑmlɪnsən, ɪn hɪz æˈnælɪsɪs əv ðə ˈɑprəz ˈʤɛnəsəs, səˈʤɛsts ðət meɪ hæv bɪn ɪn sɛpˈtɛmbər, ˈhævɪŋ rɪˈsivd, rɛd ənd prɪˈzuməbli nɑt laɪkt ðə ɪkˈspændɪd lɪˈbrɛˌtoʊ, əˈbrəptli ˈkænsəld ðə kəˈmɪʃən ənd ðə wərk ɪz hərd əv noʊ mɔr. wɑz toʊld ˌɪnˈstɛd tɪ wərk ɔn ðə ɑrˈmidə fər ˈmɛni jɪrz ɪt wɑz əˈsumd ðət hæd ˈrɪtən məʧ əv ðə mˈjuzɪk fər ˌbiˈfɔr ɪts ˈsədən ˌkænsəˈleɪʃən; ˈrɛdlɪk sɪz ðə mˈjuzɪk wɑz ˈfɪnɪʃt baɪ 10 sɛpˈtɛmbər 1627 ðə wərks rɪˈʤɛkʃən ənd ˈsəbsəkwənt ˌdɪsəˈpɪrəns hæv bɪn bleɪmd ɔn ˌdɪsrɪˈgɑrd fər ˌhaʊˈɛvər, ˈrɛdɪŋ əv ðə ˌkɔrəˈspɑndəns səˈʤɛsts ə ˈdɪfərənt kənˈkluʒən:, ɪn hɪz vju, "dɪd nɑt ˈivɪn kəm kloʊz tɪ kəmˈplitɪŋ ðə skɔr" ənd meɪ hæv ˈrɪtən ˈvɛri ˈlɪtəl əv ðə mˈjuzɪk. ɪt ɪz ˈlaɪkli ðət hi stɑpt kəmˈpoʊzɪŋ æt ðə ɛnd əv ˌʤuˈlaɪ, ˈhævɪŋ bɪˈkəm səˈspɪʃəs əv tru kəˈmɪtmənt tɪ ðə wərk. ˈtɑmlɪnsən səˈʤɛsts ðət, ˈmaɪndfəl əv ˈərliər ˌkænsəˈleɪʃən əv lə di, əˈvɔɪdɪd ɪkˈstɛndɪŋ hɪmˈsɛlf ɔn ðə nu ˈprɑʤɛkt, waɪl meɪnˈteɪnɪŋ ə ˌdɪpləˈmætɪk ˌɪmˈprɛʃən əv ækˈtɪvɪti. ˈtɑmlɪnsən raɪts: wʊd ˈhɑrdli bi səˈpraɪzɪŋ ɪf wər ˈsɛnsɪtɪv tɪ saɪnz əv ˌvæsəˈleɪʃən [ənd] ɪf, æt ðə fərst səʧ saɪnz ɪn 1627 hi ˌdɪˈsaɪdɪd tɪ muv ˈkɔʃəsli ɪn ðə ˌkɑmpəˈzɪʃən əv lɪˈbrɛˌtoʊ həz ˈvænɪʃt əˈlɔŋ wɪθ ˌwəˈtɛvər mˈjuzɪk ˈmænɪʤd tɪ raɪt, bət roʊt ə ˈsɛkənd lɪˈbrɛˌtoʊ ˈəndər ðə seɪm neɪm, wɪʧ wɑz sɛt baɪ frænˈʧɛskoʊ ənd prəˈdust ɪn ˈvɛnɪs ɪn ɑrˈmidə ˈɛdət (ˈɪŋlɪʃ: "ɑrˈmidə əˈbændənd") ˈtæˌsoʊ, frəm huz poʊˈɛtɪk wərks ˈɔfən faʊnd ˌɪnspərˈeɪʃən ˈæftər ðə rɪˈʤɛkʃən əv, dɪd nɑt ˌɪˈmiˌdiətli tərn hɪz əˈtɛnʃən tɪ ɑrˈmidə. ˌɪnˈstɛd, hi wɛnt tɪ ˈpɑrmə, ˈhævɪŋ bɪn kəˈmɪʃənd tɪ prəˈvaɪd mˈjuzɪkəl ˌɛnərˈteɪnmənts fər ðə ˈmɛrɪʤ ˌsɛləˈbreɪʃənz əv ðə ˈjuθfəl duk əv ˈpɑrmə ənd də' hi spɛnt ˈsɛvərəl wiks ɪn ˈpɑrmə ˈwərkɪŋ ɔn ðiz; ˌnɛvərðəˈlɛs, ɔn 18 dɪˈsɛmbər 1627 hi wɑz ˈeɪbəl tɪ tɛl ðət ðə mˈjuzɪk fər ɑrˈmidə hæd bɪn kəmˈplitɪd ənd wɑz biɪŋ ɪn ðə ˈrɛləvənt ˈsɛkʃən əv poʊəm, ðə ɑrˈmidə lʊrz ðə ˈnoʊbəl rɪˈnɑldoʊ tɪ hər ɛnˈʧænɪd ˈaɪlənd. tu naɪts əraɪv tɪ pərsˈweɪd rɪˈnɑldoʊ tɪ rɪˈtərn tɪ hɪz ˈduti, waɪl ɑrˈmidə plidz wɪθ ɪm tɪ steɪ, ər ɪf hi məst dɪˈpɑrt, tɪ əˈlaʊ hər tɪ bi æt hɪz saɪd ɪn ˈbætəl. wɪn hi rɪfˈjuzɪz ənd əˈbændənz hər, ɑrˈmidə ˈkərsɪz ɪm ˌbiˈfɔr ˈfɑlɪŋ ˈkɑrtər ˈɪndɪˌkeɪts ˈsɛvərəl ˈstrəkʧərəl ˌsɪməˈlɛrətiz tɪ ɪl; boʊθ wərks ˌrikˈwaɪər θri ˈvɔɪsɪz, wən əv wɪʧ ækts ɛz ðə dɪˈspaɪt ðiz ˌsɪməˈlɛrətiz, ɑrˈmidə, ənˈlaɪk ðə ˈərliər wərk, ɪz ˈʤɛnərəli kənˈsɪdərd baɪ ˈskɑlərz əv tɪ bi ən ˈɑprə, ˌɔlˈðoʊ ˈdɛnɪs ˈstivənz, trænzˈleɪtər əv ˈlɛtərz, həz tərmd ɪt ə "parergon*" (səbˈsɪdiˌɛri wərk) tɪ ɪl plænz fər pərˈfɔrməns wər, ˌhaʊˈɛvər, ˈkænsəld wɪn duk vɪnˈsɛnzoʊ daɪd æt ðə ɛnd əv dɪˈsɛmbər ɔn 4 ˈfɛbruˌɛri 1628 wɑz stɪl ˈæskɪŋ fər ə ˈkɑpi əv ɑrˈmidə, pərˈhæps tɪ juz ɪn kəˈnɛkʃən wɪθ ðə nɛkst duks ˈprɑməst tɪ sɛnd ɪm wən, bət ðɛr ɪz noʊ ˌkɑnfərˈmeɪʃən ðət hi dɪd noʊ treɪs əv ðə mˈjuzɪk həz bɪn faʊnd, ðoʊ ˈtɑmlɪnsən həz dɪˈdust səm əv ɪts ˈlaɪkli ˌkɛrɪktərˈɪstɪks frəm ˌkɔrəˈspɑndəns, ˌɪnˈkludɪŋ ɪkˈstɛnsɪv juz əv ðə staɪl ˌɔlˈðoʊ ðɛr ɪz noʊ ˈrɛkərd ðət ɑrˈmidə wɑz ˈɛvər pərˈfɔrmd ɪn ˈmænʧuə, ˈstivənz həz ðə ˌpɑsəˈbɪləˌti ðət ɪt meɪ hæv bɪn steɪʤd ɪn ˈvɛnɪs ɪn 1628 sɪns rɪˈplaɪ tɪ ˈfɛbruˌɛri ˈlɛtər ˈɪndɪˌkeɪts ðət ðə wərk wɑz ɪn ðə hænz əv ʤɪroʊˈlɑmoʊ, ə ˈwɛlθi ˈpeɪtrən əv ðə ɑrts æt huz vəˈniʃən ˈpæləs ɪl hæd bɪn pərˈfɔrmd ɪn ənd ɑrˈmidə wər ˈfaɪnəl θiˈætrɪkəl wərks fər ðə kɔrt. vɪnˈsɛnzoʊ dɛθ ˈɛndɪd ðə meɪn laɪn; ðə ˈdukdəm wɑz ˌɪnˈhɛrətɪd baɪ ə ˈdɪstənt ˈrɛlətɪv, ˈʧɑrəlz əv ˈnɛvərz, ənd ˈmænʧuə wɑz ˈsəbsəkwəntli ɪnˈgəlft ɪn ə ˈsɪriz əv ˈkɑnflɪkts, wɪʧ baɪ 1630 hæd rɪˈdust məʧ əv ðə ˈsɪti tɪ ruɪnz. læst noʊn ˈlɛtər tɪ ɪz ˈdeɪtɪd 8 ˌʤuˈlaɪ daɪd ɪn ˈvɛnɪs ɔn 8 ʤun 1630 waɪl ˈhɛdɪŋ ə ˈmɪʃən rɪkˈwɛstɪŋ eɪd əˈgɛnst ðə ˈɑrmiz ðət wər ɛnˈsərkəlɪŋ fər ˈvɛnɪs ˈɛdət bɪtˈwin 1630 ənd 1643 roʊt fɔr ˈɑprəz fər pərˈfɔrməns ɪn ˈvɛnɪs. ɔl wər steɪʤd ɪn ˈlaɪfˌtaɪm, bət ˈoʊnli ɪl ɪn ənd di ˈpɑpiə prɑsərˈpinə 1630 ˈɛdət (ˈɪŋlɪʃ: "ðə reɪp əv") prɑsərˈpinə wɑz ðə fərst əv ðə θiˈætrɪkəl wərks ðət roʊt spəˈsɪfɪkli fər ˈvɛnɪs, ˈəndər ə kəˈmɪʃən frəm fər hɪz ˈdɔtər ˈwɛdɪŋ ðə lɪˈbrɛˌtoʊ, baɪ, ɪz beɪst ɔn ðə ˈeɪnʧənt grik mɪθ əv ˈplutoʊ ənd. sɪmˈbɑlɪk reɪp wɑz ə ˈkɑmən θim ɪn ˈwɛdɪŋ ˌɛnərˈteɪnmənts dɪˈzaɪnd fər ˌɪˈtæljən kɔrts, ˌɪnˈtɛndɪd ɪn ˈkɑrtərz wərdz "boʊθ tɪ proʊˈkleɪm ðə paʊər əv ləv ənd tɪ sɛt ˈprɑpər baʊndz ɔn ˈfiˌmeɪl ɪn ˈvərʒən əv ðə ˈstɔri, ən ˈæmərəs ˈʃɛpərd ˌɪnˈvoʊks ðə eɪd əv ˈplutoʊ, ˈrulər əv ðə ˈəndərˌwərld, tɪ kjʊr hɪz ˌənrikˈwaɪtɪd əbˈsɛʃən wɪθ. ˈplutoʊ əˈblaɪʤɪz baɪ ˈtərnɪŋ ˈɪntu ə ˈmaʊntən, ðoʊ ˈprɑməsɪŋ hɪz soʊl ə pleɪs ɪn ɪˈlɪziəm. ˈæftər biɪŋ strək baɪ ə faɪərd baɪ ˈkjupɪd, ˈplutoʊ fɔlz fər ənd kleɪmz hər ɛz hɪz kwin. ˌɪˈnɪʃəli ʃi rɪˈzɪsts ɪm, bət wɪn hər prəˈtɛktər ɪz tərnd baɪ ˈplutoʊ ˈɪntu ə spərɪŋ əv ˈwɔtər, ʃi ɪz ˈoʊvərˌkəm. submissively*, ʃi vaʊz oʊˈbidiəns; ðə strɛŋθ əv hər ˈbjuti ɪz səʧ ðət ˈplutoʊ ˈsɔfənz, ənd ˈplɛʤɪz ðət ɪn fˈjuʧər hi wɪl trit ˈləvərz lɛs ðə lɪˈbrɛˌtoʊ wɑz ˈpəblɪʃt ɪn 1630 ɪn ˈvɛnɪs, baɪ ɛvɑŋgɛˈlistə deuchino*. sərˈvaɪvɪŋ ˈkɑpiz ˈɪndəˌkeɪt ðət ðə ərˈɪʤənəl ˈsinəri wɑz kriˈeɪtɪd baɪ ʤɪˈsɛpi albardi*, ənd ðət ˈdænsɪz wər əreɪnʤd baɪ ʤɪroʊˈlɑmoʊ ðə ˈɑprə wɑz steɪʤd ɔn 16 ˈeɪprəl 1630 ɪn ə səˈlɑn əv ðə ˈpæləs. ˈkɑrtər ɪz ðət, ɪn səʧ ə riˈstrɪktɪd ˈvɛnju, ðə pərˈfɔrməns kʊd hæv ˌɪnˈkɔrpərˌeɪtɪd ɔl ðə ˈspɛʃəl ˈifɛkts ˈstɪpjəˌleɪtɪd baɪ ðə ˌnɛvərðəˈlɛs, ən əˈkaʊnt baɪ wən əv ðoʊz ˈprɛzənt ʃoʊz ðət ðə əˈkeɪʒən prəˈvaɪdɪd kənˈsɪdərəbəl ˈspɛktəkəl: ðə ˈivnɪŋ wɪθ ˈtɔrʧɪz ðɛr wɑz ˈæktɪd ənd ˌrɛprɪˈzɛnɪd ɪn mˈjuzɪk ðə reɪp əv prɑsərˈpinə wɪθ moʊst ˈpərˌfɪkt ˈvɔɪsɪz ənd ˈɪnstrəmənts, wɪθ ˈɛriəl ˌæpərˈɪʃənz, sin ˈʧeɪnʤɪz ənd ˈəðər θɪŋz, tɪ ðə əˈstɑnɪʃmənt ənd ˈwəndər əv ɔl wən smɔl ˈfrægmənt əv ðə mˈjuzɪk fər prɑsərˈpinə sərˈvaɪvz, ə sɔŋ fər θri ˈvɔɪsɪz: "kəm ˈdoʊˌlʧeɪ l'auretta*". ðɪs wɑz ˈpəblɪʃt ˈpɑsʧʊməsli ɪn naɪnθ ˈmædrɪgəl bʊk i ə du i treɪ voci*) 4 ˈəðərˌwaɪz, səm ˌɪndəˈkeɪʃən əv ðə mˈjuzɪkəl ˈkɛrɪktər əv ðə wərk ɪz dɪˈsərnəbəl frəm noʊts ɪn ðə lɪˈbrɛˌtoʊ, wɪʧ ˈfæbri səˈʤɛsts, ˈɪndəˌkeɪt ðət ðə wərk meɪ nɑt hæv bɪn səŋ ðə wərk kənˈteɪnd æt list tu səŋ wən əv wɪʧ kənˈkludɪd ðə ˈɑprə wɪθ wərdz ðət prəˈvaɪdɪd ə ˈθɪnli dɪsˈgaɪzd ˈtrɪbjut tɪ ðə kəmˈpoʊzər: nɛl kiˈɑroʊ ˈmɑndoʊ su ˈvɛrdi ˈmɑnti di ti si cantari*?" ("haʊ məʧ ɪn ðə klɪr wərld ɔn grin ˌɑrˈkeɪdiən ˈmaʊntənz wɪl bi səŋ əv mɔr ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə ˈneɪʧər əv ðə mˈjuzɪk ənd ðə ˌɪnstrəˌmɛnˈteɪʃən ɪz ˌɪnˈkludɪd ɪn noʊts wɪˈθɪn ðə ˈpəblɪʃt əˈkɔrdɪŋ tɪ ˈkɑrtər, prɑsərˈpinə ɪz ə trænˈzɪʃənəl wərk. wɪθ ɪts ˈɛmfəsɪs ɔn dæns, ənd ɪn tərmz əv ɪts subject-matter*, ɪt ˌrɛprɪˈzɛnts ðə ˈkɔrtli trəˈdɪʃənz əv ˈərli ˈsɛnʧəri ˈɑprə. æt ðə seɪm taɪm, ɪn tərmz əv ɪt lʊks ˈfɔrwərd tɪ ðə "ˈmɑdərn" wərld əv ˈtriˌoʊ əv leɪt ˈɑprəz, spəˈsɪfɪkli tɪ di ˈpɑpiə. ˈtɛmpərmənt ænˈtɪsəˌpeɪts ðə ˈkɛrɪktər ˈpɑpiə ɪn ðə ˈleɪtər ˈɑprə; ˈlaɪkˌwaɪz meɪ bi ə ˈfɔˌrənər fər ottone*, waɪl səm əv ðə ˈdɪskɔrsɪz ɪn prɑsərˈpinə hæv ðə rɪˈtɔrɪkəl əv ðoʊz bɪtˈwin ˈnɛrən ənd ˈsɛnəkə ɪn ˈrɛdlɪk ˈrɛkərdz ðət ɪn 1644 ðə jɪr ˈfɑloʊɪŋ dɛθ, prɑsərˈpinə wɑz ˈædɪd tɪ ðə ˈrɛpərˌtɔri əv ˈvɛnɪsɪz ˈtitroʊ sæn moisè*è, bət hi prəˈvaɪdz noʊ ˈditeɪlz əv ə ˈsɛkənd ɪˈdɪʃən əv ðə lɪˈbrɛˌtoʊ wɑz ˈpəblɪʃt ɪn ˈvɛnɪs ɪn ðət lə kɑn ləˈvɪnjə 1641 ˈɛdət (ˈɪŋlɪʃ: "ðə ˈmɛrɪʤ əv ˈæniəs tɪ ləˈvɪnjə") ɪn ðə θri jɪrz ˌbiˈfɔr hɪz dɛθ ɪn 1643 kəmˈpoʊzd ə ˈtrɪləʤi əv ˈɑprəz fər ðə vəˈniʃən ˈɑprə ˈθiətərz ˈfɑloʊɪŋ ðə ˈoʊpənɪŋ ɪn 1637 əv ðə ˈtitroʊ sæn tu əv ðiz θri ˈɑprəz sərˈvaɪv ɪn kəmˈplit, ˈvərʒənz: ɪl ɪn 1640 tɪ ə lɪˈbrɛˌtoʊ baɪ ˈʤɑkəˌmoʊ, ənd di ˈpɑpiə 1643 fər wɪʧ ˌʤioʊˈvɑni frænˈʧɛskoʊ prəˈvaɪdɪd ðə 5 bɪtˈwin ðiz, kəmˈpoʊzd lə kɑn ləˈvɪnjə; ðə lɪˈbrɛˌtoʊ sərˈvaɪvz ɪn ˈmænjəˌskrɪpt fɔrm, ðoʊ noʊ treɪs əv ðə mˈjuzɪk həz bɪn ɪn hər æˈnælɪsɪs əv leɪt wərks, ˈɛlən lɪŋks ðə θri ˈɑprəz təˈgɛðər: "[ðə] goʊst ˈɑprə ʤɔɪnz wɪθ ðə tu sərˈvaɪvərz tɪ fɔrm ə koʊˈhɪrənt ˈbɑdi əv wərks ðət əˈtɛsts tɪ pəˈzɪʃən wɪˈθɪn ðə wərld əv vəˈniʃən ˈɑprə." ðə ˈtrɪləʤi ɛnˈkəmpəsəz ə hɪˈstɔrɪkəl trəˈʤɛktəri ðət muvz θru trɔɪ ənd ðə bərθ əv roʊm tɪ ðə dɪˈklaɪn əv ðə ˈroʊmən ˈɛmpaɪər, ənd pɔɪnts ˈfɔrwərd tɪ ðə faʊnˈdeɪʃən ənd ˈəltəmət ˈglɔri əv ðə vəˈniʃən ðə ˈkɑmən θim əv ðə θri wərks ɪz ðə ˈmɪθɪkəl paʊər əv ləv, æt fərst ˌbɛnəˈfɪʃəl bət ˈleɪtər ˈæniəs ənd turnus*, ˈlukə ʤɔrˈdɑnoʊ ˈlukə ʤɔrˈdɑnoʊ bɪˈkəz əv ˈtɛksˌʧuəl ənd ˈstrəkʧərəl ˌsɪməˈlɛrətiz wɪθ ulisse*, ɪt wɑz wəns əˈsumd ðət hæd ˈrɪtən ðə lə ˌhaʊˈɛvər, riˈsərʧɪz rɪˈvil ðə ləˈbrɛtɪst tɪ bi ə kloʊz frɛnd əv badoaro's*, ˌmɪkəˈlænʤəˌloʊ ɪn ə ˈlɛŋθi ˈprɛfəs ˌɪntrəˈdusɪz hɪz ˈstɔri, ˈteɪkən frəm ˈɛpɪk əˈniɪd, ɛz ə di faɪn (ˈtræʤədi wɪθ ə ˈhæpi hi ækˈnɑlɪʤɪz ˈnumərəs dɪˈpɑrʧərz frəm ðə ərˈɪʤənəl, ˌɪnˈkludɪŋ ðə ˌɪntrəˈdəkʃən əv ə ˈkɑmɪk ˈkɛrɪktər, "numanus*". ðɪs wɑz dən, hi ədˈmɪtəd, bɪˈkəz "iro*", ən əˈnæləgəs ˈkɛrɪktər taɪp ɪn ulisse*, hæd pruvd ˈpɑpjələr wɪθ ðə tɛkst hæd bɪn ˈrɪtən tɪ mit rɪkˈwaɪrmənts fər ˈiˌmoʊʃənəl vərˈaɪəti, ðəs ɪˈneɪbəlɪŋ ɪm, sɛd, tɪ ˈdɛmənˌstreɪt ðə fʊl reɪnʤ əv hɪz mˈjuzɪkəl ðə ˈprɪnsəpəl θim əv ðə ˈstɔri ɪz ðə dɪˈzaɪər baɪ ˈʤunoʊ, hu ɪz fˈjudɪŋ wɪθ ˈməðər ˈvinəs tɪ prɪˈvɛnt ðə ˈmɛrɪʤ əv ðə ˈtroʊʤən ˈæniəs tɪ ləˈvɪnjə, ˈdɔtər əv kɪŋ ləˈtinoʊ əv latium*. ʃi ˈjuzɪz ən ˈivəl ˈspɪrɪt tɪ prəˈvoʊk dɪsˈhɑrməni bɪtˈwin ˈtroʊʤənz ənd ˈlætənz; wɪn ə ˈtroʊʤən ˈhəntɪŋ ˈpɑrti fərst wundz ə dɪr ənd ðɛn kɪlz ə ˈlætən ˈʃɛpərd, elminio*, ðɛr ər kɔlz fər wɔr, wɪʧ ləˈtinoʊ ˈriʤɛkts. ˈæniəs, ˈrɛstɪŋ baɪ ðə ˈrɪvər ˈtaɪbər, ɪz ˌənəˈwɛr əv ðiz ˈtrəbəlɪŋ ˈɪnsədənts, ðoʊ hi ɪz wɔrnd baɪ ðə ˈspɪrɪt əv ðə ˈrɪvər. ˈdeɪnʤər əraɪvz ɪn ðə ˈpərsən əv turnus*, kɪŋ əv ðə rutuli*, ən ˈælaɪ əv ðə ˈlætənz huz ləv ləˈvɪnjə həz rɪˈʤɛktɪd. spərd ɔn baɪ ˈklæmər fər wɔr, ˈtroʊʤənz ənd ˈlætənz faɪt, ənd ˈæniəs kɪlz turnus*. ləˈtinoʊ ˌɪnˈvaɪts ˈæniəs tɪ teɪk ðə hænd əv ləˈvɪnjə, hu ɪz dɪˈlaɪtɪd tɪ əkˈsɛpt ɪm. ɪn ðə laɪt əv ˈbreɪvəri, ˈʤunoʊ fərˈgɛts hər ˈfɔrmər ˈɛnmɪti, ənd ʤɔɪnz wɪθ ˈvinəs ənd ˈhaɪmən tɪ blɛs ðə ˈmɛrɪʤ. ðə ˈɑprə ɛndz wɪθ priˈdɪkʃənz əv ðə ˈgreɪtnəs əv roʊm ənd ðə ˈdɪstənt fˈjuʧər ˈglɔriz əv lə kɑn ləˈvɪnjə wɑz pərˈfɔrmd ˈdʊrɪŋ ðə ˈvɛnɪs ˈkɑrnəvəl əv æt ðə ˈtitroʊ ˈsænti ˌʤioʊˈvɑni i ˈpaʊloʊ wɛr ɪt ˈɔltərˌneɪtəd wɪθ ə rɪˈvaɪvəl əv əˈkɔrdɪŋ tɪ ˈkɑrtər ðə wərk wɑz ˈfɛrli ɪn tərmz əv ɪts ˈsteɪʤɪŋ, ðə ˈækʃən ˈteɪkɪŋ pleɪs ˈmeɪnli ɔn ðə bæŋks əv ðə ˈtaɪbər wɪθ fju ˈʧeɪnʤɪz əv ðɛr ɪz noʊ ˈrɛkərd əv ðə vəˈniʃən ˈpəblɪks rɪˈspɑns tɪ ðə ˈɑprə ðət, əˈsərts, wɑz ˈklɪrli eɪmd æt ðɛr ˌpeɪtriˈɑtɪk ˌɪmˈpəlsɪz, wɪθ ɪts ˈfaɪnəl sin ə ˌsɛləˈbreɪʃən əv "ðə bərθ ənd ˈmɑrvəlz əv ðə ˈsɪti əv ɪn ə ˈprɛfəs ˈpəblɪʃt wɪθ ðə lɪˈbrɛˌtoʊ, rɪˈfərz tɪ "ðə sˈwitnəs əv ðə mˈjuzɪk əv ðə preɪzd ˌmɑntɛˈvɛrdi", bət ðə lɪˈbrɛˌtoʊ ˌɪtˈsɛlf prəˈvaɪdz noʊ spɪˈsɪfɪk gaɪdz tɪ ðə mˈjuzɪks ˈrɪŋər ˈrɛkərdz wɪθ rɪˈgrɛt ðət wərdz ər ɔl ðət rɪˈmeɪn əv ðɪs ˈɑprə, ˈɔfərɪŋ feɪnt hɪnts əv lɔst ˈkɑnsəkˌwɛnsəz ˈɛdət ˈmɛni əv lɔst wərks deɪt frəm ðə ənd 1620s*, ənd ðə ˈmænjəˌskrɪpts meɪ hæv ˌdɪsəˈpɪrd ɪn ðə wɔrz ðət ˈoʊvərˈkeɪm ˈmænʧuə ɪn ˈkɑrtər saɪts ɛz ə sɪgˈnɪfɪkənt ˈæˌspɛkt əv ðɛr lɔs ðə dɪˈgri tɪ wɪʧ ðeɪ maɪt hæv prəˈvaɪdɪd mˈjuzɪkəl lɪŋks bɪtˈwin ðə kəmˈpoʊzərz ˈərli kɔrt ˈɑprəz ənd ðə ˈpəblɪk ˈɑprəz hi roʊt ɪn ˈvɛnɪs təˈwɔrdz ðə ɛnd əv hɪz laɪf: "wɪˈθaʊt ðiz lɪŋks ɪt ɪz hɑrd tɪ ə ˈproʊdus ə koʊˈhɪrənt əˈkaʊnt əv hɪz dɪˈvɛləpmənt ɛz ə kəmˈpoʊzər fər ðə ɪn ən ˈɛˌseɪ ɔn ðə ˈɑprə ˈɔrkəstrəz əv deɪ, ˈʤænɪt bit rɪˈgrɛts ðət ðə gæp bɪtˈwin ənd ðə nɛkst ˈɑprə tɪ hæv sərˈvaɪvd, ɪl ɪn, ˈhæmpərz ðə ˈstədi əv haʊ ˈɑprə ˌɔrkəˈstreɪʃən dɪˈvɛləpt ˈdʊrɪŋ ðoʊz ˈkrɪtɪkəl ˈkɑrtər ˈɔlsoʊ rɪˈflɛkts ɔn ðə ˌɪnˈtrigɪŋ ˌpɑsəˈbɪləˌti, ˌhaʊˈɛvər rɪˈmoʊt, ðət ə ˌdɪˈskəvri ɪn ən ˌənɪkˈsplɔrd ˈlaɪbrɛˌri maɪt wən deɪ brɪŋ səm əv ðɪs ˈmɪsɪŋ mˈjuzɪk tɪ ɛz əv 2015 ðɪs həz nɑt əˈkərd; ˌhaʊˈɛvər, ə ˈsɛtɪŋ əv lɪˈbrɛˌtoʊ baɪ ðə ˈbrɪtɪʃ kəmˈpoʊzər ˌælɪgˈzændər wɑz pərˈfɔrmd æt ˈləndənz rɔɪəl ˈɑprə haʊs ɔn 15 sɛpˈtɛmbər 1995 ˈəndər ðə ˈtaɪtəl ɑriˈænə. wərkt frəm ərˈɪʤənəl skrɪpt ənd, ɛz ə ˈtrɪbjut tɪ ðə hɪˈstɔrɪk ˈɑprə, ˌɪnˈkɔrpərˌeɪtɪd ˈsɛkʃənz əv ˈsɛtɪŋ əv ðə ləˈmɛnt ˈɪntu hɪz noʊts ənd ˈrɛfərənsɪz ˈɛdət noʊts (θri lɔst), ˈsɛvən ˈbæli (θri lɔst), tu (wən lɔst) ənd wən lɔst ðə ˈəðər θiˈætrɪkəl wərks kəmˈpraɪz lɔst), lɔst), lɔst) ənd wən lɔst kənfˈjuʒən ˈoʊvər ðə ɪgˈzækt ˈʒɑnrə əv ðɪs lɔst wərk həz pərˈsɪstɪd. ˈkɑmənˌteɪtərz rɪˈfər tɪ ɪt ɪn ə ˈnəmbər əv weɪz: ɛz ən "ˈɑprə", ən "ˌɑpərˈætɪk ˌkɑmpəˈzɪʃən", ər(" si ˈstɔri ðə neɪm baɪ wɪʧ fərst dɪˈskraɪbd ɪt. 58 ðə mˈjuzɪk fər ðɪs wərk həz sərˈvaɪvd; ˈskɑlərz du nɑt ˈklæsəˌfaɪ ɪt ɛz ən ˈɑprə, ˌɔlˈðoʊ ɪts ˈʒɑnrə ɪz ˈdɪfəkəlt tɪ ɪˈstæblɪʃ wɪθ ˈsərtənti. ˈpriˌmoʊ də' əˈpɪrd ɪn 1587 ənd ðə læst ɪn hɪz ˈlaɪfˌtaɪm, ðə eɪθ bʊk, ɪn 1638 ðə naɪnθ bʊk ɪz ə ˈmɪsəˌleɪni ðət, ɛz ˈmædrɪgəlz wər ˈpəblɪʃt ɪn "bʊks"; ðə ɪn 1587 ənd ðə læst ɪn hɪz ˈlaɪfˌtaɪm, ðə eɪθ bʊk, ɪn 1638 ðə naɪnθ bʊk ɪz ə ˈmɪsəˌleɪni ðət, ɛz ˈnaɪʤəl ˈfɔrʧən ˈkɑmɛnts, ˌɪnˈkludz duˈɛts ənd ðət "ər ˈrɪli noʊ ˈlɔŋgər ˈmædrɪgəlz æt ɔl". ɪz ˈʤɛnərəli əˈtrɪbjətəd tɪ, bət ɪt ɪz ˈrɛkəgˌnaɪzd baɪ ˈskɑlərz ðət ðə mˈjuzɪk ˌɪnˈkɔrpərˌeɪts wərk baɪ ˈəðər kəmˈpoʊzərz, ˈpɑsəbli ˈwərkɪŋ ˈəndər ˈgaɪdəns ɪn ðə ˈmænər əv ə ˈmæstər ˈpeɪnərz ˈwərkˌʃɑp. ˈrɪŋər səˈʤɛsts ən əˈnæləʤi wɪθ "ðə ˈwərkˌʃɑp əv ˈrubənz, hu maɪt dɪˈzaɪn ə ˈpeɪnɪŋ ənd ˈhændəl ðə ˌɪmˈpɔrtənt ˈditeɪlz hɪmˈsɛlf bət liv ðə mɔr mənˈdeɪn ˈæˌspɛkts tɪ ˈjəŋgər əˈprɛntɪs ɪz ˈʤɛnərəli əˈtrɪbjətəd tɪ, bət ɪt ɪz ˈrɛkəgˌnaɪzd baɪ ˈskɑlərz ðət ðə mˈjuzɪk ˌɪnˈkɔrpərˌeɪts wərk baɪ ˈəðər kəmˈpoʊzərz, ˈpɑsəbli ˈwərkɪŋ ˈəndər ˈgaɪdəns ɪn ðə ˈmænər əv ə ˈmæstər ˈpeɪnərz ˈwərkˌʃɑp. ˈrɪŋər səˈʤɛsts ən əˈnæləʤi wɪθ "ðə ˈwərkˌʃɑp əv ˈrubənz, hu maɪt dɪˈzaɪn ə ˈpeɪnɪŋ ənd ˈhændəl ðə ˌɪmˈpɔrtənt ˈditeɪlz hɪmˈsɛlf bət liv ðə mɔr mənˈdeɪn ˈæˌspɛkts tɪ ˈjəŋgər əˈprɛntɪs ˈɑrtɪsts." ˈrɛfərənsɪz ˈsɔrsəz
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lost operas by claudio monteverdi the composer around 1640 l'arianna (mantua, 1607–08)
(mantua, 1607–08) le nozze di tetide (mantua, 1616–17)
(mantua, 1616–17) andromeda (mantua, 1618–20)
(mantua, 1618–20) la finta pazza licori (mantua, 1627–28)
(mantua, 1627–28) armida abbandonata (mantua, 1627–28)
(mantua, 1627–28) proserpina rapita (venice, 1630)
(venice, 1630) le nozze d'enea con lavinia (venice, 1641)
the italian composer claudio monteverdi (1567–1643), in addition to a large output of church music and madrigals, wrote prolifically for the stage. his theatrical works were written between 1604 and 1643 and included ten operas, of which three—l'orfeo (1607), il ritorno d'ulisse in patria (1640) and l'incoronazione di poppea (1643)—have survived with their music and librettos intact. in the case of the other seven operas, the music has disappeared almost entirely, although some of the librettos exist. the loss of these works, written during a critical period of early opera history, has been much regretted by commentators and musicologists.
opera, as a musical and theatrical genre, began to emerge during the early part of monteverdi's career, initially as a form of courtly entertainment. with other composers, he played a leading part in its development into the main form of public musical theatre. his first opera, l'orfeo, written in 1607 for the mantuan court, which employed him, was a major success. in the years that followed, at mantua and in his later capacity as maestro di cappella (director of music) at st mark's basilica in venice, monteverdi continued to write theatrical music in various genres, including operas, dances, and intermedi (short musical interludes inserted into straight plays). because in monteverdi's times stage music was rarely thought to have much utility after its initial performance, much of this music vanished shortly after its creation.
most of the available information relating to the seven lost operas has been deduced from contemporary documents, including the many letters that monteverdi wrote. these papers provide irrefutable evidence that four of these works—l'arianna, andromeda, proserpina rapita and le nozze d'enea con lavinia—were completed and performed in monteverdi's lifetime, but of their music, only the famous lament from l'arianna and a trio from proserpina are known to have survived. the other three lost operas—le nozze di tetide, la finta pazza licori and armida abbandonata—were abandoned by monteverdi before completion; how much of their music was actually written is unknown.
background [ edit ]
monteverdi's creative life covered more than 50 years. between 1590 and 1612 he served as a musician in the gonzaga court in mantua, followed by 30 years (1613–43) as maestro di capella at st mark's basilica in venice. this timespan saw opera develop, from its beginnings as a limited form of court entertainment, to become part of the mainstream of public musical theatre.[1] before the italian word "opera"—short for opera in musica ("musical work")—came into general use around 1634, musical stage works were typically termed favola in musica (musical fable), dramma in musica (musical drama), or tragedia in musica ("musical tragedy");[2] monteverdi used these and similar descriptions for many of his early operatic projects.[3]
the palazzo del te , mantua, seat of the gonzaga dynasty who ruled the city from 1530 to 1627. monteverdi was their court musician from 1590 to 1612.
the first work now generally considered as an opera is jacopo peri's dafne of 1597, closely followed by euridice (1600), for which peri and giulio caccini wrote separate musical settings. ottavio rinuccini was the librettist for both dafne and euridice.[4] in the new genre a complete story was told through characters, and in addition to choruses and ensembles, the vocal parts included recitative, aria and arioso.[5] this was a development from various older forms of musical theatre that had existed since the earliest years of the italian renaissance; such forms included the maschera ("masque"), the ballo (a dance entertainment, often with sung passages), and particularly the intermedio or intermezzo, a short dramatic musical episode inserted as a prologue or entr'acte between the acts of straight plays.[6][7] another format in the later renaissance period was the torneo, or "tournament", a stylised dramatic spectacle in which the main singing was performed by a narrator.[8][9] sub-operatic forms of dramatic music continued to thrive as opera itself developed; the blurred boundaries that existed for many years between these forms and "opera" has led to debate about how to categorise some works.[10] for example, the precise genre of monteverdi's il combattimento di tancredi e clorinda (1624) has proved particularly difficult to define.[11]
monteverdi's first acknowledged opera is l'orfeo (1607). he composed, in all, 24 works for the stage. of these, ten are usually classified as operas, of which the music for seven has been lost apart from a few fragments.[3][n 1] most of what is known about the missing works comes from surviving librettos and other documentation, including monteverdi's own extensive correspondence. tim carter, a leading monteverdi scholar, suggests that the high rate of loss is explicable because, in monteverdi's times, "memories were short and large-scale musical works often had limited currency beyond their immediate circumstances".[12]
for mantua [ edit ]
monteverdi wrote six acknowledged operas for the mantua court, of which only l'orfeo survives with libretto and music intact. four of the five lost mantuan works were written after the composer had left the service of the gonzagas in 1612 and was ensconced in venice, but still retained contacts with mantua. l'arianna and andromeda were completed and performed; the others were all abandoned incomplete.[3]
(english: "ariadne")
l'arianna was composed as a festive piece for the wedding of the heir to the duchy, francesco gonzaga, to margherita of savoy, in may 1608. monteverdi received the commission following l'orfeo's successful premiere at the court in february 1607.[13] the libretto for l'arianna was by rinuccini, whose literary skills had earlier impressed duke vincenzo i of mantua after a performance of euridice.[14] the composition of l'arianna became a fraught affair for monteverdi, being only one of three works that the duke required from him for the wedding—he had also to compose a musical prologue for giovanni battista guarini's play l'idropica, and write the music for a dramatic dance, il ballo delle ingrate.[3] his life had been disrupted by the fatal illness of his wife claudia; she died on 10 september 1607, but monteverdi was given no respite by the duke.[13] l'arianna was largely composed in the last two months of 1607,[15] an exertion that monteverdi's biographer hans redlich describes as "superhuman".[16] monteverdi felt slighted by the lack of acknowledgement from the duke for his efforts;[17] nearly 20 years later, in a letter to the mantua court secretary alessandro striggio the younger, he wrote that he had almost killed himself when writing l'arianna in such a hurry.[18]
rinuccini used numerous classical sources as the basis for his libretto, in particular works of ovid—the heroides and the metamorphoses—and poems from catullus.[19] after a prologue, the main action begins as venus tells cupid that ariadne and her lover theseus, fleeing from crete after his slaying of the minotaur, will shortly arrive in naxos. theseus, she reports, will then abandon ariadne, as he believes her to be unacceptable to the people of athens as their queen. venus plans to match her instead with the god bacchus, and asks cupid to arrange this. theseus and arianna arrive; theseus agonises over his decision to abandon her, but is advised by his counsellor that he is wise in his resolve, and departs. in the morning ariadne, finding herself abandoned, searches vainly for theseus on the shore, where she sings her lament. a fanfare indicates an imminent arrival; ariadne hopes this is theseus returning, but it is bacchus and his entourage. jupiter speaks from the heavens, and amid festive scenes bacchus promises ariadne immortality with the gods in return for her love.[20]
rinuccini extended the libretto during the rehearsals, after complaints from the duchess that the piece was "too dry"; as a result the early scene between venus and cupid, and jupiter's blessing from heaven, were added.[21][22] preparations for the opera's performance were disrupted when, in march 1608, the leading soprano caterina martinelli died of smallpox.[22] a replacement had to be found rapidly, and the title role fell to virginia andreidi, a renowned actress-singer who used the stage name "la florinda"; she reportedly learned the part in only six days.[13] in his analysis of monteverdi's theatrical works, carter suggests that the lament may have been added to the work to make the most of andreini's acting and vocal abilities.[23] the premiere, on 28 may 1608, was staged in a specially erected temporary theatre, which according to contemporary reports could hold an audience of several thousands. the production was lavish; apparently 300 men were required to manipulate the stage machinery.[13] federico follino, who prepared the mantuan court's official report on the occasion, praised the beauty of the work, the magnificence of costumes and machinery, and the sweetness of the music.[24] monteverdi's fellow-composer marco da gagliano was equally complimentary, writing that the opera had "visibly moved the entire audience to tears."[25] it is possible that l'arianna was performed in florence in 1614; a projected performance in mantua in may 1620 to celebrate duchess caterina's birthday was cancelled for unknown reasons.[26][27] otherwise, there are no records of the opera's performance before its revival in 1640 at the teatro san moisè, venice. in his study of late renaissance opera, gary tomlinson surmises that the work's enthusiastic reception in venice was a significant factor in monteverdi's decision to resume opera composition during his final years.[28]
of the music, only the lament survives. it was published independently from the opera in various forms; an adaptation for five voices was included in monteverdi's sixth book of madrigals in 1614, and two versions of the original solo were published in 1623.[3] other composers emulated the lament's format;[29] redlich asserts that it initiated a musical subgenre that lasted to the end of the 17th century and beyond.[25] the libretto has been preserved; versions were published in mantua in 1608, and in venice in 1622 and 1639.[30]
le nozze di tetide (1616–17) [ edit ]
(english: "the marriage of thetis")
le nozze di tedite was commissioned duke ferdinando gonzaga, for whose wedding celebrations in 1617was commissioned
after duke vincenzo's death in february 1612, monteverdi found himself out of favour at the mantuan court. vincenzo's successor francesco had no high regard for monteverdi, and dismissed him from his post. upon francesco's sudden death in december 1612, the dukedom passed to his brother ferdinando, but monteverdi was not recalled to the court and was appointed maestro di capella in august 1613 at st mark's, venice.[31][32] however, he remained in contact with striggio and other highly placed gonzaga courtiers, through whom he was able to secure occasional commissions to compose theatrical works for the gonzaga court.[33] thus, late in 1616, striggio asked him to set to music scipione agnelli's libretto le nozze di tetide, as part of the celebrations for duke ferdinando's forthcoming marriage to catherine de' medici. this story, based on the wedding of the mythical greek hero peleus to the sea-goddess thetis,[34] had previously been offered to the mantuan court by peri, whose setting of a libretto by francesco cini[35] had been rejected in 1608 in favour of l'arianna.[36]
initially, monteverdi had little enthusiasm for le nozze di tetide, and sought ways of avoiding or delaying work on it. he would accept the commission, he informed striggio on 9 december 1616, because it was the wish of the duke, his feudal lord. however, the verses he was given were not, he felt, conducive to beautiful music. he found the tale difficult to understand, and did not think he could be inspired by it.[37][38] in any event he was occupied for most of december in writing a christmas eve mass for st mark's. on 29 december, perhaps hoping that the commission would be withdrawn, monteverdi told striggio that he was ready to begin work on le nozze di tetide "if you tell me to do so".[37][39] in january 1617, however, he became more enthusiastic on learning that the project had been scaled down and was now being projected as a series of intermedi.[n 2] he informed striggio that what he had first considered a rather monotonous piece he now thought fully appropriate to the occasion.[42][43] he began work on the recitative sections, but before he could start setting the more expressive numbers, the duke had a change of heart and cancelled monteverdi's commission.[44] le nozze di tetide was abandoned; its libretto and whatever music existed have disappeared.[45]
andromeda (1618–20) [ edit ]
a depiction of andromeda, chained to a rock in accordance with the ancient greek myth
monteverdi's next commission from mantua came early in 1618, when he was asked to provide the music for andromeda, an opera based on the ancient greek myth of the princess chained to a rock. the libretto was written by duke ferdinando's chancellor, ercole marigliani, and the project was sponsored by the duke's younger brother, don vincenzo gonzaga.[46][47] it is probable that the work was intended for performance at the mantua carnival of march 1618, but as carter records, monteverdi's approach to his mantua commissions was often dilatory and half-hearted;[48] his inability or unwillingness to work on andromeda delayed its performance, first to 1619 and then to 1620.[49]
monteverdi's letters during the 1618–20 period, mainly to striggio but occasionally to don vincenzo or marigliani, offer various excuses for his lack of progress on andromeda, including his duties at st mark's, his health, and his obligations to provide ceremonial music for the doge (ruler) of venice.[50][51] in february 1619, monteverdi had started work on another mantuan project, a ballo (dance with sung parts) to striggio's libretto entitled apollo.[52] on 9 january 1620, still with 400 lines of the andromeda libretto to set to music, monteverdi proposed to striggio that the entire opera project be abandoned and the ballo substituted.[47] this idea was rapidly quashed; don vincenzo ordered that the remaining andromeda music be sent to him forthwith.[53] the final segment of andromeda, an eight-part song, was delivered to marigliani on 15 february 1620.[54]
none of monteverdi's music for andromeda has survived. the libretto was also thought to have been lost, until its rediscovery in 1984. as was customary in monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. the libretto's frontispiece confirms that andromeda was performed during mantua's carnival, 1–3 march 1620.[49] an analysis of its contents reveals some influence from rinuccini's libretto for arianna, such as use of identical metre and length in the prologues of each work, and several common characters in the respective cast lists.[49] the document remains in private hands and has not been published.[48]
monteverdi recorded no apparent interest in the performance of andromeda after the 1620 carnival; the long letter that he wrote to striggio on 13 march 1620 makes no reference to the event and is chiefly concerned with financial matters. the letter implies that the gonzaga court was trying to persuade monteverdi to return to mantua; in courtly language monteverdi evades the issue, while comparing the relative generosity of his venetian employers with the parsimony of the gonzaga court.[55][56]
two abortive projects (1627–28) [ edit ]
after andromeda there followed a period of several years in which mantua made little use of monteverdi's services. duke ferdinando died on 26 october 1626 and was succeeded by don vincenzo, who became duke vincenzo ii. early in 1627 striggio approached monteverdi with a request for theatrical music, possibly for the festivities that would celebrate vincenzo's accession.[57] monteverdi replied offering three options: first, il combattimento di tancredi e clorinda ("the battle of tancred and clorinda"), a setting from torquato tasso's epic poem gerusalemme liberata ("jerusalem delivered"), which had been performed at the 1624 venice carnival;[n 3] secondly, a setting from another part of tasso's poem, covering the story of the sorceress armida and her abandonment by the christian hero rinaldo; finally, he offered to set the words of a new play by giulio strozzi, licori finta pazza inamorata d'aminta, about a woman who feigns madness for the sake of love.[18][59] monteverdi sent striggio a copy of strozzi's play on 7 may 1627; striggio liked it and instructed monteverdi to begin the music.[59]
la finta pazza licori [ edit ]
(english: "the feigned madwoman licori")
strozzi was a venetian, born in 1583, whose literary works included plays and poetry as well as opera libretti; monteverdi had first met him in 1621.[60][61] strozzi knew monteverdi's music, and had developed a strong appreciation of the composer's innovative style.[62] on 20 june 1627, monteverdi informed striggio that strozzi had expanded and arranged the text into five acts, under the new title la finta pazza licori.[18] feigned madness was a standard theme in the commedia dell'arte tradition that had established itself in italian theatre in the 16th century.[44] in strozzi's plot, the first known attempt at comic opera,[45] the woman licori disguises herself initially as a man, then as a woman, and then pretends to be mad, all as part of a strategy to win the heart of her lover, aminta.[63]
licori and armida were composed duke vincenzo gonzaga ii, whose accession was the likely reason whyandwere composed
monteverdi was, at least initially, much taken with the potential of the plot, and the opportunities the libretto provided for a variety of musical effects.[40] monteverdi stressed to striggio the importance of finding a singer with real acting ability to play the role of licori, someone capable of playing a man and a woman with appropriate emotions and gestures.[64] later he enthused about the chance to write a ballet for each of the five acts, all in different styles.[65][66] monteverdi's letters continued throughout the summer, but his attitude slowly changed, from one of evident commitment to frustration at the delays in getting the libretto copied. the musicologist gary tomlinson, in his analysis of the opera's genesis, suggests that monteverdi may have been stalling.[67] in september striggio, having received, read and presumably not liked the expanded libretto, abruptly cancelled the commission and the work is heard of no more. monteverdi was told instead to work on the armida setting.[61][68]
for many years it was assumed that monteverdi had written much of the music for licori before its sudden cancellation; redlich says the music was finished by 10 september 1627. the work's rejection and subsequent disappearance have been blamed on striggio's disregard for monteverdi's efforts.[69] however, tomlinson's reading of the correspondence suggests a different conclusion: monteverdi, in his view, "did not even come close to completing the score" and may have written very little of the music. it is likely that he stopped composing at the end of july, having become suspicious of striggio's true commitment to the work. tomlinson suggests that, mindful of mantua's earlier cancellation of le nozze di tetide, monteverdi avoided extending himself on the new project, while maintaining a diplomatic impression of activity. tomlinson writes: "[i]t would hardly be surprising if monteverdi were preternaturally sensitive to signs of mantuan vacillation [and] if, at the first such signs in 1627, he decided to move cautiously in the composition of licori."[67] strozzi's libretto has vanished along with whatever music monteverdi managed to write, but strozzi wrote a second libretto under the same name, which was set by francesco sacrati and produced in venice in 1641.[70]
armida abbandonata [ edit ]
(english: "armida abandoned")
torquato tasso, from whose poetic works monteverdi often found inspiration
after the rejection of licori, monteverdi did not immediately turn his attention to armida. instead, he went to parma, having been commissioned to provide musical entertainments for the marriage celebrations of the youthful duke odoardo farnese of parma and margherita de' medici.[67][71] he spent several weeks in parma working on these; nevertheless, on 18 december 1627 he was able to tell striggio that the music for armida had been completed and was being copied.[72][73] in the relevant section of tasso's poem, the enchantress armida lures the noble rinaldo to her enchanted island. two knights arrive to persuade rinaldo to return to his duty, while armida pleads with him to stay, or if he must depart, to allow her to be at his side in battle. when he refuses and abandons her, armida curses him before falling insensible.[74]
carter indicates several structural similarities to il combattimento; both works require three voices, one of which acts as the narrator.[74] despite these similarities, armida abbandonata, unlike the earlier work, is generally considered by scholars of monteverdi to be an opera, although denis stevens, translator of monteverdi's letters, has termed it a "parergon" (subsidiary work) to il combattimento.[75]
plans for armida's performance were, however, cancelled when duke vincenzo died at the end of december 1627.[61] on 4 february 1628, striggio was still asking for a copy of armida, perhaps to use in connection with the next duke's coronation.[76] monteverdi promised to send him one, but there is no confirmation that he did so.[77] no trace of the music has been found, though tomlinson has deduced some of its likely characteristics from monteverdi's correspondence, including extensive use of the stile concitato effect.[78] although there is no record that armida was ever performed in mantua, stevens has mooted the possibility that it may have been staged in venice in 1628, since monteverdi's reply to striggio's february letter indicates that the work was in the hands of girolamo mocenigo, a wealthy patron of the arts at whose venetian palace il combattimento had been performed in 1624.[79]
licori and armida were monteverdi's final theatrical works for the mantuan court. vincenzo ii's death ended the main gonzaga line; the dukedom was inherited by a distant relative, charles of nevers, and mantua was subsequently engulfed in a series of conflicts, which by 1630 had reduced much of the city to ruins. monteverdi's last known letter to striggio is dated 8 july 1628;[80] striggio died in venice on 8 june 1630, while heading a mission requesting aid against the armies that were encircling mantua.[81]
for venice [ edit ]
between 1630 and 1643 monteverdi wrote four operas for performance in venice. all were staged in monteverdi's lifetime, but only il ritorno d'ulisse in patria and l'incoronazione di poppea survive.[3]
proserpina rapita (1630) [ edit ]
(english: "the rape of proserpine")
proserpina rapita was the first of the theatrical works that monteverdi wrote specifically for venice, under a commission from mocenigo for his daughter giustiniana's wedding celebrations.[82] the libretto, by strozzi, is based on the ancient greek myth of pluto and proserpine. symbolic rape was a common theme in wedding entertainments designed for italian courts, intended in carter's words "both to proclaim the power of love and to set proper bounds on female behaviour".[83]
in strozzi's version of the story, an amorous shepherd pachino invokes the aid of pluto, ruler of the underworld, to cure his unrequited obsession with proserpine. pluto obliges by turning pachino into a mountain, though promising his soul a place in elysium. after being struck by a love-dart fired by cupid, pluto falls for proserpine and claims her as his queen. initially she resists him, but when ciane her protector is turned by pluto into a spring of water, she is overcome. submissively, she vows obedience; the strength of her beauty is such that pluto softens, and pledges that in future he will treat lovers less harshly.[83]
the libretto was published in 1630, in venice, by evangelista deuchino. surviving copies indicate that the original scenery was created by giuseppe albardi, and that dances were arranged by girolamo scolari.[83] the opera was staged on 16 april 1630, in a salon of the mocenigo palace. carter is sceptical that, in such a restricted venue, the performance could have incorporated all the special effects stipulated by the libretto.[84] nevertheless, an account by one of those present shows that the occasion provided considerable spectacle: "[i]n the evening with torches there was acted and represented in music ... the rape of proserpina with most perfect voices and instruments, with aerial apparitions, scene changes and other things, to the astonishment and wonder of all present."[85]
one small fragment of the music for proserpina rapita survives, a song for three voices: "come dolce oggi l'auretta". this was published posthumously in monteverdi's ninth madrigal book (madrigali e canzonette a due e tre voci) (1651).[85][n 4] otherwise, some indication of the musical character of the work is discernible from notes in the libretto, which fabbri suggests, indicate that the work may not have been sung throughout.[88] the work contained at least two sung balli,[89] one of which concluded the opera with words that provided a thinly disguised tribute to the composer: "quanto nel chiaro mondo / su verdi arcadi monti / di te si cantari?" ("how much in the clear world / on green arcadian mountains / will be sung of you?").[88] more information about the nature of the music and the instrumentation is included in notes within the published libretto.[83]
according to carter, proserpina rapita is a transitional work. with its emphasis on dance, and in terms of its subject-matter, it represents the courtly traditions of early 17th century opera. at the same time, in terms of characterisation it looks forward to the "modern" world of monteverdi's trio of late operas, specifically to l'incoronazione di poppea. proserpina's temperament anticipates the character poppea in the later opera; likewise pachino may be a forerunner for ottone, while some of the discourses in proserpina have the rhetorical flavour of those between nerone and seneca in l'incoronazione.[90] redlich records that in 1644, the year following monteverdi's death, proserpina rapita was added to the repertory of venice's teatro san moisè, but he provides no details of performances.[91] a second edition of the libretto was published in venice in that year.[92]
le nozze d'enea con lavinia (1641) [ edit ]
(english: "the marriage of aeneas to lavinia")
in the three years before his death in 1643, monteverdi composed a trilogy of operas for the venetian opera theatres following the opening in 1637 of the teatro san cassiano.[93] two of these three operas survive in complete, performable versions: il ritorno d'ulisse in patria (1640), to a libretto by giacomo badoaro, and l'incoronazione di poppea (1643) for which giovanni francesco busenello provided the text.[94][n 5] between these, monteverdi composed le nozze d'enea con lavinia; the libretto survives in manuscript form, though no trace of the music has been found.[3] in her analysis of monteverdi's late works, ellen rosand links the three operas together: "[the] ghost opera joins with the two survivors to form a coherent body of works that attests to monteverdi's position within the world of venetian opera." the trilogy encompasses a historical trajectory that moves through troy and the birth of rome to the decline of the roman empire, and points forward to the foundation and ultimate glory of the venetian republic.[96] the common theme of the three works is the mythical power of love, at first beneficial but later destructive.[97]
aeneas and turnus, luca giordano , luca giordano
because of textual and structural similarities with ulisse, it was once assumed that badoaro had written the le nozze libretto.[98] however, rosand's researches reveal the librettist to be a close friend of badoaro's, michelangelo torcigliani.[99] in a lengthy preface torcigliani introduces his story, taken from virgil's epic aeneid, as a tragedia di lieto fine (tragedy with a happy ending).[100] he acknowledges numerous departures from the original, including the introduction of a comic character, "numanus". this was done, he admitted, because "iro", an analogous character type in ulisse, had proved popular with theatregoers.[101] the text had been written to meet monteverdi's requirements for emotional variety, thus enabling him, said torcigliani, to demonstrate the full range of his musical genius.[102]
the principal theme of the story is the desire by juno, who is feuding with aeneas's mother venus to prevent the marriage of the trojan aeneas to lavinia, daughter of king latino of latium. she uses an evil spirit to provoke disharmony between trojans and latins; when a trojan hunting party first wounds a deer and then kills a latin shepherd, elminio, there are calls for war, which latino rejects. aeneas, resting by the river tiber, is unaware of these troubling incidents, though he is warned by the spirit of the river. danger arrives in the person of turnus, king of the rutuli, an ally of the latins whose love lavinia has rejected. spurred on by turnus's clamour for war, trojans and latins fight, and aeneas kills turnus. latino invites aeneas to take the hand of lavinia, who is delighted to accept him. in the light of aeneas's bravery, juno forgets her former enmity, and joins with venus and hymen to bless the marriage. the opera ends with predictions of the greatness of rome and the distant future glories of venice.[103]
le nozze d'enea con lavinia was performed during the venice carnival of 1640–41, at the teatro santi giovanni e paolo where it alternated with a revival of ulisse.[104][105] according to carter the work was fairly undemanding in terms of its staging, the action taking place mainly on the banks of the tiber with few changes of set.[106] there is no record of the venetian public's response to the opera that, rosand asserts, was clearly aimed at their patriotic impulses, with its final scene a celebration of "the birth and marvels of the city of venice".[107] in a preface published with the libretto, torcigliani refers to "the sweetness of the music of the never-enough praised monteverde", but the libretto itself provides no specific guides to the music's nature.[1] ringer records with regret that "[t]he words are all that remain of this virgilian opera, offering faint hints of lost melodies".[108]
consequences [ edit ]
many of monteverdi's lost works date from the 1610s and 1620s, and the manuscripts may have disappeared in the wars that overcame mantua in 1630.[109] carter cites as a significant aspect of their loss the degree to which they might have provided musical links between the composer's early mantuan court operas and the public operas he wrote in venice towards the end of his life: "without these links ... it is hard to a produce a coherent account of his development as a composer for the stage".[110] in an essay on the opera orchestras of montverdi's day, janet beat regrets that the 30-year gap between l'orfeo and the next monteverdi opera to have survived, il ritorno d'ulisse in patria, hampers the study of how opera orchestration developed during those critical years.[111]
carter also reflects on the intriguing possibility, however remote, that a discovery in an unexplored library might one day bring some of this missing music to light.[110] as of 2015 this has not occurred; however, a setting of rinuccini's libretto by the british composer alexander goehr was performed at london's royal opera house on 15 september 1995, under the title arianna. goehr worked from rinuccini's original script and, as a tribute to the historic opera, incorporated sections of monteverdi's setting of the lament into his score.[112][113]
notes and references [ edit ]
notes
^ intermedi (three lost), seven balli (three lost), two tornei (one lost) and one lost maschera.[3] the other theatrical works comprise four(three lost), seven(three lost), two(one lost) and one lost ^ favola marittima ("[40][41][42] confusion over the exact genre of this lost work has persisted. commentators refer to it in a number of ways: as an "opera", an "operatic composition", or(" sea story "), the name by which monteverdi first described it. ^ [58] the music for this work has survived; scholars do not classify it as an opera, although its genre is difficult to establish with certainty. ^ primo libro de' madrigali appeared in 1587, and the last in his lifetime, the eighth book, in 1638. the ninth book is a miscellany that, as [86][87] monteverdi's madrigals were published in "books"; the first,appeared in 1587, and the last in his lifetime, the eighth book, in 1638. the ninth book is a miscellany that, as nigel fortune comments, includes duets and trios that "are really no longer madrigals at all". ^ l'incoronazione is generally attributed to monteverdi, but it is recognised by monteverdi scholars that the music incorporates work by other composers, possibly working under monteverdi's guidance in the manner of a master painter's workshop. ringer suggests an analogy with "the workshop of rubens, who might design a painting and handle the important details himself but leave the more mundane aspects ... to younger apprentice artists."[95] is generally attributed to monteverdi, but it is recognised by monteverdi scholars that the music incorporates work by other composers, possibly working under monteverdi's guidance in the manner of a master painter's workshop. ringer suggests an analogy with "the workshop of rubens, who might design a painting and handle the important details himself but leave the more mundane aspects ... to younger apprentice artists."
references
sources
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geɪ mɛnz ˈkɔrəs əv lɔs ˈænʤəlɪs bɪˈlaɪz ɪts neɪm ðə ˈkɔrəl grup ˈwɛlkəmz tu ˈoʊpənli streɪt ˈmɛmbərz. "ɪt wɑz ən ˌɪmˈpɔrtənt ˈmoʊmənt," sɪz ɪgˈzɛkjətɪv dɪˈrɛktər tɑm lɪnʧ, wən ðət hi bɪˈlivz ˌrɛprɪˈzɛnts ðə ˌɛvəˈluʃən əv hɪz ˈkɔrəs spəˈsɪfɪkli ənd əv geɪ ˈkɔrəsɪz ɪn ˈʤɛnərəl. "ðɛr wɑz ə pɔɪnt ɪn ðə ˈərli wɪn ʤɪst ˈhævɪŋ ə grup əv geɪ mɛn ˈstændɪŋ ənd ˈsɪŋɪŋ wɑz pəˈlɪtɪkəl ənd meɪd ə ˈsteɪtmənt. ðiz deɪz, grups laɪk ɑrz ər kəˈmɪtɪd tɪ ˈmeɪkɪŋ spɛkˈtækjələr mˈjuzɪk wɪʧ əˈtrækts ə ˈwaɪdər reɪnʤ əv ˈsɪŋərz ənd ˈɔdiənsəz. ɪts nɑt ðət ðə pəˈlɪtɪkəl ˈɪzənt ðɛr. bət naʊ, ðə weɪ tɪ meɪk ðət ˈsteɪtmənt ɪz tɪ bi ɛz gʊd ɛz wi kən bi." fər ə ˈsɛkənd, ðɛr wɑz ˈsaɪləns "ɪt wɑz ˈdɛfənətli ə səˈpraɪz," ˈriˌkɔlz ənd ðɛn əˈplɔz broʊk aʊt. səm ˈpipəl həgd ɪm. səm toʊld ɪm haʊ praʊd ðeɪ wər. ənd ˈsəmˌwən jɛld, "ˈʤɔrdən, jʊr ˈkæʃeɪ ʤɪst wɛnt daʊn baɪ hæf!" tɪ ˈʤɔrdən bɛl, ə bæs hu hæd bɪn noʊn ɛz ðə ˈoʊnli ˈoʊpənli streɪt ˈsɪŋər. ðə ˈtrɪbjut ˈsɛʃən tʊk ən ˌənɪkˈspɛktɪd tərn wɪn wən əv ðə grups nuəst ˈsɪŋərz reɪzd hɪz hænd tɪ spik. "aɪ wɔnt tɪ θæŋk ˈɛvriˌwən fər ˈwɛlkəmɪŋ mi," sɛd ˈtɛnər krɪs, ə mˈjuzɪk ˈtiʧər frəm ˈigəl rɑk. "ɪt minz ə lɔt bɪˈkəz, noʊ. 1 əm ə ˈlɪtəl ʃaɪ. ənd, noʊ. 2 wɛl, əm ə streɪt gaɪ." nɪr ðə ɛnd əv læst mənθs rən æt ðə lɔs ˈænʤəlɪs ˈθiətər ˈsɛnər, ˈmɛmbərz əv ðə geɪ mɛnz ˈkɔrəs əv lɔs ˈænʤəlɪs pɔzd tɪ ʃɛr səm kwaɪət taɪm ənd ˈrɛkəgˌnaɪz ðoʊz hu kənˈtrɪbjutɪd tɪ ðə ʃoʊz' səkˈsɛs. ");document.close*();})();' scrolling="no*" bɛl, ə ˈmɑrkətɪŋ ˈmænɪʤər frəm ˈəpˈsteɪt nu jɔrk, ˈstədid vɔɪs ənd bɪˈlɔŋd tɪ ə mɛnz ɑnˈsɑmbəl ɪn ˈkɑlɪʤ. wɪn hi muvd tɪ lɔs ˈænʤəlɪs ɪn 2009 hi wɑz ˈhæpi tɪ dɪˈskəvər ðə 220 ˈkɔrəs, wɪʧ həz riˈlist mɔr ðən ə ˈdəzən ˈsiˈdiz ənd tʊrd ˌɪnərˈnæʃənɑli. "ˌɪˈmiˌdiətli, wən kˈwɛʃən pɑpt ˈɪntu maɪ hɛd," bɛl sɪz. "wɑz aɪ əˈlaʊd tɪ ʤɔɪn?" hi iˈmeɪld "ə sɔrt əv ˈʃipɪʃ" kˈwiri ənd rɪˈsivd "ə ˈwɛlkəmɪŋ rɪˈspɑns" frəm ðə ˈmɛmbərˌʃɪp ˈprɛzɪdənt. "hi dɪd æsk ɪf aɪd fil ˈkəmfərtəbəl ɪf ˈpipəl əˈsumd aɪ wɑz geɪ. aɪ hæd θɔt əˈbaʊt ɪt, ənd aɪ nu ɪt wɑz nɑt goʊɪŋ tɪ wɪrd mi aʊt." wət hi ˈdɪdənt noʊ, bɛl sɪz, wɑz wət ɪt wʊd bi laɪk tɪ bi streɪt ɪn ə geɪ grup. hi ˈɔlsoʊ ˈwəndərd haʊ ðə ˈəðər ˈsɪŋərz wʊd riækt wɪn ðeɪ ˈlərnɪd hi ˈwəzənt geɪ. ðə ˈænsər keɪm ˈdʊrɪŋ ðə ˈkɔrəs' ˈænjuəl riˈtrit ɪn ˈmæləbu ˈərli læst jɪr, ə fju wiks ˈæftər hi ʤɔɪnd. wən naɪt, ˈpipəl wər ˈʃɛrɪŋ ˈstɔriz ənd ˈsəmˌwən æst bɛl əˈbaʊt hɪz ɪkˈspɪriənsɪz. æt fərst, hi traɪd tɪ əˈvɔɪd ðə kˈwɛʃən. ðɛn, hi sɪz, "aɪ ˌdɪˈsaɪdɪd tɪ bi ˈɑnəst ənd sɛd, 'aɪ ˈnɛvər keɪm aʊt bɪˈkəz əm streɪt.' ðə gaɪ sɛd, 'waʊ, jʊr streɪt,' bət sɛd ɪt ə ˈlɪtəl tu ˈlaʊdli ənd ə kraʊd ˈgæðərd." ðə nɛkst deɪ, bɛl sɪz, "gaɪz wər stɪl ˈkəmɪŋ əp tɪ mi tɪ seɪ ɪt wɑz ˈrɪli kul ənd ʃoʊ ðɛr kənˈsərn." "sɪns ðɛn, ðeɪv ˈgɔtən tɪ noʊ mi fər maɪ ˌpərsəˈnælɪti ənd trit mi laɪk pɑrt əv ðə ˈfæməli, ˌəndərˈstændɪŋ maɪ ˈdɪfərənsɪz əv ˌɔriɛnˈteɪʃən, ˈæskɪŋ əˈbaʊt maɪ ˈdeɪtɪŋ laɪf." bɛl həz hæd noʊ ˈtrəbəl ˈfɪtɪŋ ɪn, sɪz ˈpitər ˈʤɑnsən, ə ˈfɔrmər ˈmɛmbərˌʃɪp ˈprɛzɪdənt ənd bɛlz "bɪg ˈbrəðər." (ə ˈkɔrəs ˈvɛtərən ɪz əˈsaɪnd tɪ iʧ ˈnuˌkəmər.) "ˈʤɔrdənz soʊ ˈkəmfərtəbəl ɪn hɪz oʊn skɪn. hi ˈivɪn hæd ə ˈsoʊˌloʊ wɪˈθɪn hɪz fərst ˈkəpəl əv ˈkɑnsərts." "wɪn hi əraɪvd, wi ˈdɪdənt meɪk ən əˈnaʊnsmɛnt ər ˈɛniˌθɪŋ," ˈʤɑnsən sɪz, ˈnoʊtɪŋ ðət, ˈoʊvər ðə jɪrz, ˈmɛmbərz hæv aɪˈdɛntəˌfaɪd ðɛmˈsɛlvz ɪn ˈvɛriəs weɪz, ˌɪnˈkludɪŋ wən "hu wɑz trænˈzɪʃənɪŋ frəm mæn tɪ ˈwʊmən." ˈɛniˌwən hu mits ðə ɑˈdɪʃən mˈjuzɪkəl ˈstændərdz ɪz ˈɛlɪʤəbəl fər ədˈmɪʃən, hi sɪz. ˈaʊtˈsaɪd ðə ˈkɔrəs, bɛl sɪz, "ˈmɛni frɛndz gɑt waɪ əm duɪŋ ðɪs raɪt əˈweɪ, ˌɔlˈðoʊ səm ˈpipəl bæk wɛr aɪ gru əp ˈdɪdənt ˈfʊli ˌəndərˈstænd. bət aɪ stʊd maɪ graʊnd. aɪ toʊld ðɛm ʤɪst bɪˈkəz jʊr ɪn ə geɪ ˈkɔrəs ˈdəzənt min jʊr geɪ. əm hir bɪˈkəz ɪts ən ˌaʊtˈstændɪŋ ˈkɔrəs." ðə pæst jɪr "ˈoʊpənd maɪ aɪz" tɪ ə lɔt əv θɪŋz, bɛl sɪz, ˌɪnˈkludɪŋ "ðiz gaɪz' sɛns əv ˈkɛrɪŋ ənd kəˈmɪtmənt" tɪ ðə ˈkɔrəs ənd ˈkɔzɪz səʧ ɛz anti-bullying*. "aɪ ʤɔɪnd fər mˈjuzɪkəl ˈrizənz, bət aɪ steɪd fər ðə kəmˈjunɪti ɪkˈspɪriəns.", hu ˈtiʧɪz æt ˈnoʊtər deɪm əˈkædəmi ɪn wɛst lɔs ˈænʤəlɪs, həz bɪn ɪn ðə ɑnˈsɑmbəl sɪns ˈfɛbruˌɛri. hi ləvz ˈkɔrəl mˈjuzɪk hi ˈɔlsoʊ sɪŋz ɪn əˈnəðər grup ənd kənˈdəkts fɔr mɔr wɪʧ ɪz wən ˈrizən hɪz ˈfæməli, frɛndz ənd hæv ɛmˈbreɪst hɪz dɪˈsɪʒən tɪ ʤɔɪn. ə fju ˈmɛmbərz nu hi wɑz streɪt ˌbiˈfɔr ðə ˈsɛʃən, hi sɪz, "bət aɪ ˈnɛvər meɪd ɪt ə bɪg dil. aɪ spoʊk əp bɪˈkəz aɪ fɛlt soʊ ˈwɛlkəm."
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gay men's chorus of los angeles belies its name
the 32-year-old choral group welcomes two openly straight members.
"it was an important moment," says executive director thom lynch, one that he believes represents the evolution of his 32-year-old chorus specifically and of gay choruses in general. "there was a point in the early '80s when just having a group of gay men standing and singing was political and made a statement. these days, groups like ours are committed to making spectacular music — which attracts a wider range of singers and audiences. it's not that the political isn't there. but now, the way to make that statement is to be as good as we can be."
for a second, there was silence — "it was definitely a surprise," yraola recalls — and then applause broke out. some people hugged him. some told him how proud they were. and someone yelled, "jordan, your cachet just went down by half!" to jordan bell, a second-year bass who had been known as the ensemble's only openly straight singer.
the tribute session took an unexpected turn when one of the group's newest singers raised his hand to speak. "i want to thank everyone for welcoming me," said tenor chris yraola, a 24-year-old music teacher from eagle rock. "it means a lot because, no. 1, i'm a little shy. and, no. 2, well, i'm a straight guy."
near the end of last month's three-concert run at the los angeles theatre center, members of the gay men's chorus of los angeles paused to share some quiet time and recognize those who contributed to the shows' success.
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bell, a 24-year-old marketing manager from upstate new york, studied voice and belonged to a men's ensemble in college. when he moved to los angeles in 2009, he was happy to discover the 220 plus-member chorus, which has released more than a dozen cds and toured internationally.
"immediately, one question popped into my head," bell says. "was i allowed to join?" he emailed "a sort of sheepish" query and received "a welcoming response" from the membership president. "he did ask if i'd feel comfortable if people assumed i was gay. i had thought about it, and i knew it was not going to weird me out."
what he didn't know, bell says, was what it would be like to be straight in a gay group. he also wondered how the other singers would react when they learned he wasn't gay. the answer came during the chorus' annual retreat in malibu early last year, a few weeks after he joined. one night, people were sharing coming-out stories and someone asked bell about his experiences. at first, he tried to avoid the question. then, he says, "i decided to be honest and said, 'i never came out because i'm straight.' ... the guy said, 'wow, you're straight,' but said it a little too loudly and a crowd gathered." the next day, bell says, "guys were still coming up to me to say it was really cool and show their concern."
"since then, they've gotten to know me for my personality and treat me like part of the family, understanding my differences of orientation, asking about my dating life."
bell has had no trouble fitting in, says peter johnson, a former membership president and bell's "big brother." (a chorus veteran is assigned to each newcomer.) "jordan's so comfortable in his own skin. he even had a solo within his first couple of concerts."
"when he arrived, we didn't make an announcement or anything," johnson says, noting that, over the years, members have identified themselves in various ways, including one "who was transitioning from man to woman." anyone who meets the audition musical standards is eligible for admission, he says.
outside the chorus, bell says, "many friends got why i'm doing this right away, although some people back where i grew up didn't fully understand. but i stood my ground. i told them just because you're in a gay chorus doesn't mean you're gay. i'm here because it's an outstanding chorus."
the past year "opened my eyes" to a lot of things, bell says, including "these guys' sense of caring and commitment" to the chorus and causes such as anti-bullying. "i joined for musical reasons, but i stayed for the community experience."
yraola, who teaches at notre dame academy in west los angeles, has been in the ensemble since february. he loves choral music — he also sings in another group and conducts four more — which is one reason his family, friends and fiancée have embraced his decision to join. a few members knew he was straight before the thank-you session, he says, "but i never made it a big deal. i spoke up because i felt so welcome."
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ɪf ju wɔnt tɪ si mɔr, kip ˈrɛdɪŋ ˈæftər ðə breɪk. bət pliz ʤɔɪn ðə dɪˈskəʃən æt, wɛr ə lɔt əv ˈplænɪŋ ɪz meɪd ənd læst ˈsɛkənd dɪˈsɪʒənz ˈfaɪnəˌlaɪzd. ɪf ju hæv kˈwɛsʧənz, pliz stɑp baɪ! wi ˈɔlsoʊ ʤɪst roʊld aʊt ə nu ˈfɔrəm leɪaʊt! ʤɪst laɪk wɪθ ðə ˈkipər ˈɑrtɪkəl fər wik 15 ðɪs wən ɪz goʊɪŋ tɪ bi ʃɔrt ənd ˈmoʊstli wɪl ˈfoʊkɪs ɔn pleɪərz ðət hæv hoʊm geɪmz. soʊ gɪt ɔn tɪ ðə gʊd stəf. dɪˈfɛndərz ˈfɛloʊ mɔd ˈkəli pʊt ɪt bɛst wɪn hi sɛd: nu ˈɪŋglənd defence”*” jæ, ə ˈprɪti gʊd weɪ tɪ pʊt ɪt. ˌhoʊˈzeɪ goʊnˈkɑlvɛs ɪz ˈbeɪsɪkli ə məst hæv fər ðɪs wik ənd ˈændru ˈfɛrɪl ɪz ðə ˈnəmbər tu ʧɔɪs frəm nu ˈɪŋglənd. ɪf, fər səm ˈrizən, ju hæv ðə kæʃ, seɪ treɪd wən əv jʊr bɪg neɪm bɛnʧ gaɪz ər lʊk æt ˈstivən məˈkɑrθi. ðə ˈrizən fər ˈgræbɪŋ səm əv ðiz gaɪz ɪz ðə seɪm ɛz ˈgɪtɪŋ ɛr ˈkipər, ˌdiˈsi hæv ə ˈvɛri pur roʊd ˈrɛkərd fər ˈskɔrɪŋ. aɪ ˈrɪli ˈoʊnli laɪk wən mɔr dɪˈfɛndər ˈæftər ðə nu ˈɪŋglənd kru, frəm siˈætəl. hi həz fænˈtæstɪk dɪˈfɛndɪŋ ˈboʊnəs pɔɪnt pəˈtɛnʃəl ənd aɪ θɪŋk wɛl wərθ ˈgɪtɪŋ ɪm ɪn ðɪs wik ˈivɪn ɪf ju treɪd ɪm ˈdʊrɪŋ baɪ nɛkst wik. ˈæftər ðiz gaɪz, ˈnoʊˌbɑˌdi ˈrɪli ɪkˈsaɪts mi. ðə ˈnəmbərz frəm dɪˈfɛndərz ər nɑt fænˈtæstɪk, ənd ˈɛˈlɛs kʊd ˈɔlˌweɪz ˌdɪˈsaɪd tɪ pleɪ əˈgɛn. kəˈləmbəs həz ə gʊd roʊd ˈskɔrɪŋ ˈrɛkərdz, ənd ˈfɪli hæv nɑt hæd ə strɔŋ dɪˈfɛns ˈleɪtli (ʤɛf pɑrk wʊd bi ðə bɛst ʧɔɪs ɪf ju hæv mɔr ˈkɑnfədɛns ðən aɪ). ʃəˈkɑˌgoʊ həz tu gʊd ˈʧɔɪsɪz wɪθ ˈɔstən ˈbɛri ənd soumare*, bət ˈpɔrtlənd həz ðə bɛst roʊd ˈskɔrɪŋ ˈrɛkərd 12 goʊlz) ənd ðət ʃeɪks maɪ ˈkɑnfədɛns. ju meɪ bi ˈeɪbəl tɪ faɪnd ə ˌdɪfərˈɛnʃəl ɔn ðə vænˈkuvər laɪn. ðeɪ hæv bɪn duɪŋ wɛl ˈleɪtli, bət ər stɪl nɑt ˈvɛri ˈsɑləd ɔn ðə roʊd. bət æt list ju wʊd bi ˈrɛdi fər ðɛr ˈdəbəl hoʊm geɪm ɪn wik 16 ˈændi ənd li ər ðə tɔp ˈʧɔɪsɪz ənd ɪn maɪ əˈpɪnjən, ðə ˈɔrdər aɪ wʊd ræŋk ðɛm tu. ˈfaɪnəl θɔts ʤɪst seɪ noʊ tɪ d.c*. nu ˈɪŋglənd ər ə ˈhɑrtˌbreɪk? wərθ ˈtreɪdɪŋ bɪg neɪm pleɪərz hu hæv baɪ wiks ˈkəmɪŋ əp seɪv jʊr waɪld kɑrd fər wik 16 ər 17 ɪf ju stɪl hæv ɪt. ɔl aɪ gɑt. ləv tɪ hir jʊr ˈfidˌbæk, plænz, ənd ˈɪnˌsaɪts. ðiz ər ɑr pɪks, ɪf ju θɪŋk ðɛr ʃʊd bi mɔr neɪmz ɔn ðɪs lɪst, pliz liv ə ˈkɑmɛnt ər kəm tɪ ənd ˈkɑmɛnt ɔn ðə poʊst. ju kən ˈɔlsoʊ liv ə ˈmɛsɪʤ ɔn ɑr ˈfeɪsˌbʊk peɪʤ ər ju kən faɪnd ˈjuˈɛs ɔn tˈwɪtər @fantasymlstips*. kip ˈʧɛkɪŋ bæk fər mɔr ˈəpˌdeɪts θru ðə wik fər ˈəðər pəˈzɪʃənz. gʊd lək! ˈædvərˌtaɪzmənts
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if you want to see more, keep reading after the break. but please join the discussion at r/fantasymls, that’s where a lot of planning is made and last second decisions finalized. if you have questions, please stop by! we also just rolled out a new forum layout!
just like with the keeper article for week 15, this one is going to be short and mostly will focus on players that have home games. so let’s get on to the good stuff.
defenders
fellow r/fantasymls mod cully put it best when he said: “buy new england defence” yeah, that’s a pretty good way to put it. jose goncalves is basically a must have for this week and andrew farrell is the number two choice from new england. if, for some reason, you don’t have the cash, i’d say trade one of your big name bench guys or look at stephen mccarthy. the reason for grabbing some of these guys is the same as getting heir keeper, dc have a verry poor road record for scoring.
i really only like one more defender after the new england crew, djimi traore from seattle. he has fantastic defending bonus point potential and i think it’s well worth getting him in this week even if you trade him during seattle’s bye next week.
after these guys, nobody really excites me. the numbers from rsl’s defenders are not fantastic, and ls could always decide to play again. columbus has a good road scoring records, and philly have not had a strong defense lately (jeff parke would be the best choice if you have more confidence than i). chicago has two good choices with austin berry and bakary soumare, but portland has the best road scoring record (12 goals) and that shakes my confidence.
you may be able to find a differential on the vancouver line. they have been doing well lately, but are still not very solid on the road. but at least you would be ready for their double home game in week 16. andy o’brien and young-pyo lee are the top choices and in my opinion, that’s the order i would rank them too.
final thoughts
• just say no to d.c.
• new englandw or a one-goal heartbreak?
• it’s worth trading big name players who have bye weeks coming up
• save your wild card for week 16 or 17 if you still have it.
that’s all i got. i’d love to hear your feedback, plans, and insights.
these are our picks, if you think there should be more names on this list, please leave a comment or come to r/fantasymls and comment on the post. you can also leave a message on our facebook page or you can find us on twitter @fantasymlstips. keep checking back for more updates through the week for other positions. good luck!
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branson’s* girl’*’ gɪts ˈrɛdi fər wərk ˈvərʤɪn ˈɔrbət, ə nu neɪm fər sər ˈrɪʧərd ˈvərʤɪn gəˈlæktɪk ˈbɪznɪs, naʊ həz ɪts boʊɪŋ ˈɛˌrlaɪnər æt lɔŋ biʧ ˈɛrˌpɔrt ənd ˈrɛdi fər ɪts ˈfaɪnəl ˌmɑdəfəˈkeɪʃənz ɪn ˈɔrdər tɪ ˈkɛri ˈrɑkəts ˈɪntu speɪs. ðə ˈɛrˌkræft, kɔld girl’*’, wɪl bi ˈfɪtɪd wɪθ ɪkˈstərnəl ɪkˈwɪpmənt wɪʧ ɪˈneɪbəlz ðə 747 tɪ lɔnʧ ɪts ˈrɑkəts frəm ˈmitərz) ˈɪntu speɪs. ðə ˈfaɪnəl ˌmɑdəfəˈkeɪʃənz wɪl ˌɪnˈklud ə nu ˈpaɪˌlɑn səˈspɛndɪd ˈəndər wən əv ðə ˈstrɛŋθənd wɪŋz. ðə ˈprɑʤɛkt ˈɔlsoʊ həz ə ˈfiˌmeɪl ˈpaɪlət, ˈkɛli ˈlætəmər, hu ɪz ə ˈmæsɪvli ɪkˈspɪriənst ˈfɔrmər tɛst ˈpaɪlət fər ˈnæsə. hər tæsk, ʃi ədˈmɪtəd tɪ ˈʤərnəlɪsts, ɪz nɑt goʊɪŋ tɪ bi ˈizi. ɛz wɛl ɛz ˈhævɪŋ ðə ˈrɑkət pləs ɪts fjuəl ˈsɪtɪŋ ˈəndər ðə wɪŋ, ʃi wɪl hæv tɪ tɪlt ðə ˈɛrˌkræft tɪ ˈrəðər ɪkˈstrim angle”*” ɪn ˈɔrdər tɪ sɛt ðə ˈrɑkət ənd ɪts ˈsætəˌlaɪt ˈkɑrˌgoʊ ɔn ən ˈəpwərd pæθ ˈɪntu speɪs. θɪŋk ðə ˈʧælənʤɪz wɪl bi wɪn wi ˈæˌkʧuəli pʊt ɔn ðə ˈpaɪˌlɑn ənd ˈrɑkət, ənd si wət kaɪnd əv dræg ənd lɪft ˈifɛkts wi hæv ɔn ðət wing,”*,” ʃi sɛd. noʊ frəm ðə fluɪd daɪˈnæmɪks ˈdætə ðət goʊɪŋ tɪ bi kwaɪt ə bɪt əv dræg ˈædɪd. ˈhoʊpɪŋ ðət ðə priˈdɪkʃən ɪz kloʊz tɪ wət ɪt ˈrɪli ɪz, bɪˈkəz -[ɪf mɔr dræg ðɛn bi ə ˈlɪtəl bɪt ˈʧælənʤɪŋ æt haɪ ˈæltɪˌtudz tɪ gɪt ðə spid wi nid tɪ bi ˈeɪbəl tɪ pʊl ðə noʊz əp. ðə ˈɛrˌkræft prəˈvaɪdz juʤ ˌflɛksəˈbɪləti fər ðə ˈvərʤɪn ˈsætəˌlaɪt lɔnʧ tim. ɪt kən flaɪ əˈbəv bæd ˈwɛðər, ənd meɪnˈteɪn ə ˈræpɪd rɪˈfrɛʃ reɪt ɛz wɛl ɛz əˈvɔɪdɪŋ ˈəðər ənd mɔr trəˈdɪʃənəl ˈrɑkət lɔnʧ ækˈtɪvɪti. ðɛr wɪl bi səm tɛst flaɪts frəm ðə ˈnɪrˈbaɪ moʊˈhɑvi speɪs pɔrt ənd ˈskɛʤʊld fər ðə əv 2018 bət ðə ril wərk ɪz kəˈmɪtɪd tɪ ˈlɔnʧɪŋ ˈsætəˌlaɪt fər oneweb*, wɛr ˈbrænsən ɪz ən ˌɪnˈvɛstər, ənd hoʊldz ə ˈkɑnˌtrækt tɪ prəˈvaɪd 39 ˈlɔnʧɪz fər ˈlioʊ ˌkɑnstəˈleɪʃən.
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branson’s ‘cosmic girl’ gets ready for work
virgin orbit, a new name for sir richard branson’s virgin galactic satellite-launching business, now has its boeing 747-400 airliner at long beach airport and ready for its final modifications in order to carry branson’s launcherone rockets into space.
the aircraft, called ‘cosmic girl’, will be fitted with external equipment which enables the 747 to launch its rockets from 33,000 ft (10,700 metres) into space.
the final modifications will include a new pylon suspended under one of the aircraft’s strengthened wings. the project also has a female pilot, kelly latimer, who is a massively experienced former test pilot for nasa.
her task, she admitted to journalists, is not going to be easy. as well as having the rocket plus its highly-flammable fuel sitting under the wing, she will have to tilt the aircraft to “a rather extreme angle” in order to set the rocket – and its satellite cargo – on an upward path into space.
“i think the challenges will be when we actually put on the pylon and rocket, and see what kind of drag and lift effects we have on that wing,” she said. “we know from the fluid dynamics data that there’s going to be quite a bit of drag added. we’re hoping that the prediction is close to what it really is, because -[if there’s more drag – then it’ll be a little bit challenging at high altitudes to get the speed we need to be able to pull the nose up.
the aircraft provides huge flexibility for the virgin satellite launch team. it can fly above bad weather, and maintain a rapid refresh rate as well as avoiding other ground-based – and more traditional – rocket launch activity.
there will be some test flights from the nearby mojave space port and scheduled for the first-half of 2018. but the real work is committed to launching satellite for oneweb, where branson is an investor, and holds a contract to provide 39 launches for oneweb’s leo constellation.
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mɑnˈwɛl ˈloʊpɛz (ɛl.) ənd gəˈstɑvoʊ əˈlɑnsoʊ (ɑr.), boʊθ 22 wər ʧɑrʤd wɪθ ˈfɛləni ˈrɑbəri. vju fʊl ˈkæpʃən flickr/vpickering*; ʃəˈkɑˌgoʊ pəˈlis dɪˈpɑrtmənt kʊk ˈkaʊnti ˈkrɪmənəl ˈkɔrˌthaʊs ə ˈbɛlˌmɑnt ˈkræʤɪn mæn wɑz ˈeɪbəl tɪ ɪˈskeɪp tu ˈrɑbərz ˈmənˌdeɪ naɪt ˈæftər hi pənʧt wən əv ðɛm ɪn ðə grɔɪn, ˈprɑsɪˌkjutərz sɛd. ðə ˈvɪktɪm hæd ʤɪst ˈgɔtən ɔf ðə blu laɪn ənd wɑz ˈhɛdɪŋ təˈwɔrd ə bəs wɪn tu mɛn stɑpt ɪm ɪn ðə 2500 blɑk əv nɔrθ ˈsɔjər ˈævəˌnu ɪn ˈloʊgən skwɛr, əˈkɔrdɪŋ tɪ ˈprɑsɪˌkjutərz. wən əv ðə mɛn, mɑnˈwɛl ˈloʊpɛz, ˈʃaʊtɪd "du ju gangbang*?" ˌbiˈfɔr əˈproʊʧɪŋ ðə ˈvɪktɪm, əˈsɪstənt steɪts əˈtərni ləreɪn skɑˈdutoʊ sɛd ˈdʊrɪŋ ə bɑnd ˈhirɪŋ ˈtuzˌdeɪ. ðə ˈvɪktɪm sɛd "noʊ" ənd traɪd tɪ kip ˈwɔkɪŋ, bət ðə ˈsɛkənd mæn, gəˈstɑvoʊ əˈlɑnsoʊ, dɪˈmændɪd kæʃ ənd ə foʊn, skɑˈdutoʊ sɛd. ðə ˈvɪktɪm ˈhændɪd ˈoʊvər hɪz ˈsɛlfoʊn ənd ˈdɛbɪt kɑrd. ɛz əˈlɑnsoʊ æst fər ðə mænz pɪn ˈnəmbər, ðə mæn pənʧt ˈloʊpɛz ɪn ðə grɔɪn ənd ræn əˈweɪ, skɑˈdutoʊ sɛd. hi wɑz ˈeɪbəl tɪ flæg daʊn pəˈlis ənd gɪv ðɛm ə dɪˈskrɪpʃən əv ðə ˈrɑbərz, ʃi sɛd. ˈɔfɪsərz ərˈɛstɪd ˈloʊpɛz ənd əˈlɑnsoʊ əˈbaʊt p.m*. ˈmənˌdeɪ ɪn ðə 3200 blɑk əv wɛst ˈævəˌnu, ə fju blɑks əˈweɪ frəm ðə ˈrɑbəri, əˈkɔrdɪŋ tɪ ə pəˈlis rɪˈpɔrt. ðə ˈvɪktɪmz ˈdɛbɪt kɑrd wɑz ɔn ðə ˈsaɪdˌwɔk. iʧ mæn wɑz ʧɑrʤd wɪθ ˈfɛləni ˈrɑbəri, ənd ˈloʊpɛz ədˈmɪtəd tɪ ðə kraɪm, ˈprɑsɪˌkjutərz sɛd. ˈloʊpɛz, əv ðə 4900 blɑk əv wɛst ˈoʊkˌdeɪl ˈævəˌnu, ɪz ˈkərəntli ɔn proʊˈbeɪʃən fər ə 2014 kənˈvɪkʃən. ɪn ðət keɪs, skɑˈdutoʊ sɛd, ˈloʊpɛz broʊk hɪz ðɛn sənz lɛg. noʊ ˈfərðər ˈditeɪlz wər ˌɪˈmiˌdiətli əˈveɪləbəl. kʊk ˈkaʊnti ʤəʤ mərˈiə ɔn ˈtuzˌdeɪ ˈɔrdərd ˈloʊpɛz hɛld ɪn lu əv beɪl. əˈlɑnsoʊ, əv ðə 800 blɑk əv nɔrθ ˈsprɪŋˌfild ˈævəˌnu, wɑz hɛld ɔn ə beɪl. ðɪs ɪz hɪz fərst əˈfɛns. fər mɔr ˈneɪbərˌhʊd nuz, ˈlɪsən tɪ ˈreɪdiˌoʊ hir:
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manuel lopez (l.) and gustavo alonso (r.), both 22, were charged with felony robbery. view full caption flickr/vpickering; chicago police department
cook county criminal courthouse — a belmont cragin man was able to escape two robbers monday night after he punched one of them in the groin, prosecutors said.
the 24-year-old victim had just gotten off the blue line and was heading toward a bus when two men stopped him in the 2500 block of north sawyer avenue in logan square, according to prosecutors.
one of the men, 22-year-old manuel lopez, shouted "do you gangbang?" before approaching the victim, assistant state's attorney lorraine scaduto said during a bond hearing tuesday.
the victim said "no" and tried to keep walking, but the second man, 22-year-old gustavo alonso, demanded cash and a phone, scaduto said. the victim handed over his cellphone and debit card.
as alonso asked for the man's pin number, the man punched lopez in the groin and ran away, scaduto said. he was able to flag down police and give them a description of the robbers, she said.
officers arrested lopez and alonso about 11:40 p.m. monday in the 3200 block of west wrightwood avenue, a few blocks away from the robbery, according to a police report. the victim's debit card was on the sidewalk.
each man was charged with felony robbery, and lopez admitted to the crime, prosecutors said.
lopez, of the 4900 block of west oakdale avenue, is currently on probation for a 2014 reckless-conduct conviction. in that case, scaduto said, lopez broke his then 4-month-old son's leg. no further details were immediately available.
cook county judge maria kuriakos ciesil on tuesday ordered lopez held in lieu of $125,000 bail.
alonso, of the 800 block of north springfield avenue, was held on a $100,000 bail. this is his first offense.
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wɪn ˈloʊmən fərst mɛt ðə traɪb ɪn ˈpæpjuə nu ˈgɪni ɪn 2003 ðə traɪbz ˈɛldərz toʊld hər tɪ liv. tɪ ˈivɪn gɪt ðɛr rikˈwaɪərd ə fʊl deɪz draɪv, ˈfɑloʊd baɪ ə θriaʊər haɪk ˈɪntu ðə ˈhaɪləndz ɔn ðə wɛst saɪd əv ðə ˈaɪlənd. ˈæftər ˈloʊmən, ə ˈʤərmən fəˈtɑgrəfər ənd ɪnˌvaɪrənˈmɛnəl ˈsaɪəntɪst, meɪd ðə trɛk, ʃi wɑz pəˈlaɪtli toʊld ðət ʃi ˈwəzənt ˈwɛlkəm. ðə traɪb əˈkəstəmd tɪ ˈvɪzɪtərz, ənd ðeɪ ˈdɪdənt laɪk ðɛr ˈkəlʧər tɪ bi sin baɪ aʊtˈsaɪdərz. ðə ˈrizən ðeɪ dɪsˈlaɪkt gɛsts wɑz ðə seɪm ˈrizən ðət ˌɪˈnɪʃəli əˈtræktəd ˈloʊmən tɪ ˈvɪzɪt ðɛm: ðə ər noʊn tɪ ˈməməˌfaɪ ðɛr dɛd. ɪn ən ˈeɪnʧənt ˈsɛrəˌmoʊni, ðə ˈmɛmbərz hæv ə lɔŋ ˈhɪstəri əv kənˈvərtɪŋ ðə ˈbɑdiz əv dɪˈsist ˈrɛlətɪvz ˈɪntu ˈməmɪˌfaɪd ˈkɔrpsɪz ðət sɪt ɔn ə rɑk lɛʤ nɪr ðɛr ˈvɪlɪʤɪz. səʧ ə haɪ pərʧ əˈlaʊz ðə ˈməmiz' ˈfæməliz tɪ fil ɛz ðoʊ ðɛr ˈɛldərz ər ˈwɑʧɪŋ ˈoʊvər ðɛm. ˈloʊmən riˈtritɪd wɪn ʃi wɑz æst, bət nɑt lɔŋ ˈæftər, ʃi wɛnt kənˈtɪnjud tɪ rɪˈtərn ˈrɛgjələrli ˈoʊvər ðə kɔrs əv ə ˈdɛkeɪd. iʧ taɪm ʃi meɪd hər keɪs: ʃi ˈsɪmpli ˈwɔntɪd tɪ lərn frəm ðə traɪb, tɪ si haʊ ɪts ˈmɛmbərz lɪvd ənd haʊ ðeɪ dɛlt wɪθ dɛθ. ˈdʊrɪŋ hər fərst fju ˈvɪzɪts, ʃi wɑz ˈgrænɪd ˌɪnkrəˈmɛntəl ˈækˌsɛs tɪ lərn əˈbaʊt ðə traɪbz ˈfræʤəl ˈstrəkʧər. ənd ˈæftər ˈsɛvərəl mɔr trɛks tɪ ðə ˈhaɪləndz, wən əv ðə traɪbz ˈɛldərz, ə mæn neɪmd, kənˈfaɪdɪd ˈsəmθɪŋ tɪ hər: wɪn hi daɪd, hi ˈwɔntɪd tɪ bi ˈməmɪˌfaɪd. ðə, ə traɪb əv əˈbaʊt ˈpipəl, hæv ə ˌməmɪfɪˈkeɪʃən ˈprɔˌsɛs fɑr ˈdɪfərənt frəm ðə ˈeɪnʧənt ɪˈʤɪpʃənz, hu wʊd dɪsˈmænəl ðə ˈbɑdi frəm ðə ˌɪnˈsaɪd, riˈmuv ˈɔrgənz, ənd ðɛn ræp ðə ˈbɑdi ɪn ə fɔrm əv klɔθ. ðə ˈməməˌfaɪ ðɛr dɛd ˈsɪtɪŋ əp ənd ˈsəbʤɪkt ðɛm tɪ θri mənθs əv sˈmoʊkɪŋ ˈoʊvər ə ˈkɑnstəntli ˈrɔrɪŋ faɪər (ðə sˈmoʊkɪŋ hɛlps tɪ prɪˈzərv ðə kɔrps ɪn ə ˈtrɑpɪkəl ˈkəlʧər wɛr ɪt wʊd ˈnɔrməli ˌdikəmˈpoʊz kˈwɪkli). ðə ˌməmɪfɪˈkeɪʃən ˈmɛθəd ˈfɑloʊz ə strɪkt ˈstrəkʧər. ðə ˈbɑdi ɪz səˈspɛndɪd ˈoʊvər ə faɪər, ənd ɛz ɪt bloʊts, ɪt ɪz poʊkt wɪθ ˈwʊdən stɪks tɪ dreɪn ɪts fluɪdz, ənd ˈleɪtər, ə stɪk ɪz juzd tɪ ˈʤɛntli ˈwaɪdən ðə ˈeɪnəs tɪ əˈlaʊ ðə ˈɔrgənz tɪ fɔl aʊt. frəm stɑrt tɪ ˈfɪnɪʃ, ðə məst rɪˈmeɪn wɪθ ðə ˈbɑdi æt ɔl taɪmz, ənd noʊ pɑrt əv ðə fluɪdz, hɪz ˌɪnˈtɛstənz, ər ˈivɪn hɪz əˈlaʊd tɪ təʧ ðə graʊnd, ə tæˈbu ˌɪnvɪˈteɪʃən fər bæd lək. vju ˈɪmɪʤɪz wɪθ fəˈtɑgrəfər ˈloʊmən ˈfoʊtəˌgræf baɪ ˈloʊmən ðə moʊst ˌɪmˈpɔrtənt pɑrt ɪz tɪ kip ðə feɪs ˌɪnˈtækt. ɪn ə ˈkəlʧər wɪˈθaʊt fəˈtɑgrəfi, ðə ˈoʊnli weɪ tɪ prɪˈzərv ðə ˈɪmɪʤ əv ðə dɪˈpɑrtɪd ɪz tɪ ˈfɪzɪkəli si ðɛr ˌɪˈmɔrtəl ˈfeɪsɪz. "wi hæv ˈpɪkʧərz, ðeɪ hæv ˈməmiz," ˈloʊmən sɪz. "ðə bɪˈliv ðət ðə ˈspɪrɪts roʊm fri ˈdʊrɪŋ ðə deɪ ənd rɪˈtərn tɪ ðɛr ˈməmɪˌfaɪd ˈbɑdiz æt naɪt. wɪˈθaʊt siɪŋ ðə feɪs, ðə ˈspɪrɪts ˈkænɑt faɪnd ðɛr oʊn ˈbɑdi ənd wʊd ˈwɑndər ɪˈtərnəli." ˌməmɪfɪˈkeɪʃən wɑz wəns ˈwaɪdˈsprɛd ɪn ˈpæpjuə nu ˈgɪni ənd ˈəðər saʊθ pəˈsɪfɪk ˈaɪləndz, moʊst ˈprɑmənənt ɪn ðə ənd ˈərli ˈsɛnʧəriz. ˈfaɪndɪŋ ə weɪ tɪ prɪˈzərv ˈfɪzɪkəl ˈbɑdiz wɑz sin ɛz ə weɪ tɪ kip ðɛm frəm biɪŋ ˈbɛrid ˈəndərˌgraʊnd, wɛr ðeɪ kʊd bi ˈizəli fərˈgɑtən. bət ðə ərˈaɪvəl əv ˈkrɪsʧɪn ˈmɪʃəˌnɛriz ənd ˈbrɪtɪʃ ənd ɔˈstreɪljən ˈgəvərnmənt ˈɔfɪsərz ɪn ðə ˈmɪdəl əv ðə ˈsɛnʧəri kæst ˈstɪgmə ɔn ðə ˈpræktɪs, boʊθ fər ˈmætərz əv ˌmɔˈræləˌti ənd ˈhaɪˌʤin. ˈivɪn soʊ,, nɑt noʊɪŋ hɪz ɪgˈzækt eɪʤ bət ˈfilɪŋ təˈwɔrd ðə ɛnd əv hɪz laɪf, bɪˈlivd ɪt wɑz ˌɪmˈpɔrtənt tɪ kip ðə trəˈdɪʃən əˈlaɪv. ɪnˈdʊrɪŋ ɛz ə ˈməmi wʊd əˈlaʊ ɪm tɪ prəˈtɛkt hɪz ˈfæməli. soʊ hi tɔt hɪz groʊn ˈʧɪldrən haʊ tɪ ˈməməˌfaɪ. hi ˈdɛmənˌstreɪtɪd ɔn ə pɪg wɪθ ðə hɛlp əv ˌænθrəˈpɑləʤɪsts ˈrɑnəld ˈbɛkɪt ənd ˈændru ˈnɛlsən, hu hæd ˈstədid ðə ˈprɔˌsɛs. ˈɔlsoʊ æst ˈloʊmən tɪ ˈfoʊtəˌgræf hɪz oʊn ˌməmɪfɪˈkeɪʃən ənd ʃɛr hɪz ˈstɔri. hɪz sənz, laɪk ˈmɛni ˈjəŋgər ˈmɛmbərz əv ðə traɪb, æt fərst rɪˈzɪstɪd. ðə traɪb həz tərnd əˈweɪ frəm ˌməmɪfɪˈkeɪʃən, wɪʧ ɪz taɪm kənˈsumɪŋ ənd ˈleɪbər ˌɪnˈtɛnsɪv, tɪ seɪ ˈnəθɪŋ əv ðə ˈpənʤənt smɛl əv ˈjumən flɛʃ. ðə traɪb həz ˈɔlsoʊ ɪkˈspɪriənst ˈrɛgjələr ˈθɪnɪŋ ɛz ɪts ˈjəŋgər ˈmɛmbərz tɛnd tɪ bi ˈdrɪvən təˈwɔrd pɔrt ˈsɪtiz mɔr təʧt baɪ ˌgloʊbəlɪˈzeɪʃən. bət kənˈtɪnjud tɪ ərʤ hɪz sənz ðət ˌməmɪfɪˈkeɪʃən, æt list fər ɪm, wɑz ˌɪmˈpɔrtənt. ˈhæsəld mi lɔŋ ɪˈnəf soʊ aɪ ˈfaɪnəli kʊd nɑt du ˈɛniˌθɪŋ ɛls ɪkˈsɛpt ˈprɑməsɪŋ ɪm ənd ˈmeɪkɪŋ hɪz wɪʃ kəm true,”*,” sɪz awateng*, wən əv sən. ənd ðɛn, ɪn 2015 daɪd. ɪn ˈkipɪŋ wɪθ hɪz daɪɪŋ wɪʃ, ˈloʊmən rɪˈtərnd tɪ ˈpæpjuə nu ˈgɪni tɪ ˈwɪtnəs ənd ˈfoʊtəˌgræf ðə ˌməmɪfɪˈkeɪʃən. ˈsɛvən mɛn, ˌɪnˈkludɪŋ ˈgrændˌsən, bɪˈgæn ðə ˈprɔˌsɛs wɪθ waɪt kleɪ smɪrd ɔn ðɛr ˈfeɪsɪz, ə saɪn əv grif. ˈəndər ðə ˌsɛrəˈmoʊniəl rulz, ðeɪ wər nɑt pərˈmɪtɪd tɪ drɪŋk ˈɛni ˈʃʊgər keɪn ʤus frəm kʊd ˈoʊnli it fud kʊkt ɪn ðə faɪər ðət wɑz sˈmoʊkɪŋ. wɪn hɪz skɪn bərnd, ðeɪ juzd stɪks tɪ skreɪp ɔf ðə tɔp leɪər. ɛz ˈloʊmən əbˈzərvd ˈoʊvər ə ˈsɪriz əv wiks, ðə ˈbɑdi swɛld, ˈblækənd, ənd ɪˈvɛnʧəwəli ˈhɑrdənd. ðə ˈsɛvən mɛn pərˈfɔrmɪŋ ðə ˈrɪʧuəl smɪrd ˈbɑdi fluɪdz ˈɔntu ðɛmˈsɛlvz, ən ækt tɪ prɪˈzərv hɪz ˈspɪrɪt. ˈəndər ðə strɪkt rulz, ðə mɛn wər nɑt əˈlaʊd tɪ wɑʃ ðɛmˈsɛlvz fər ðə ɪnˈtaɪər θri mənθs əv ˌməmɪfɪˈkeɪʃən, nɔr tɪ liv ðə loʊˈkeɪʃən.
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when ulla lohmann first met the anga tribe in papua new guinea in 2003, the tribe's elders told her to leave. to even get there required a full day's drive, followed by a three-hour hike into the highlands on the west side of the island. after lohmann, a german photographer and environmental scientist, made the trek, she was politely told that she wasn't welcome. the tribe wasn’t accustomed to visitors, and they didn't like their culture to be seen by outsiders.
the reason they disliked guests was the same reason that initially attracted lohmann to visit them: the anga are known to mummify their dead. in an ancient ceremony, the members have a long history of converting the bodies of deceased relatives into mummified corpses that sit on a rock ledge near their villages. such a high perch allows the mummies' families to feel as though their elders are watching over them.
lohmann retreated when she was asked, but not long after, she went back—and continued to return regularly over the course of a decade. each time she made her case: she simply wanted to learn from the tribe, to see how its members lived and how they dealt with death.
during her first few visits, she was granted incremental access to learn about the tribe's fragile structure. and after several more treks to the highlands, one of the tribe's elders, a man named gemtasu, confided something to her: when he died, he wanted to be mummified.
the anga, a tribe of about 45,000 people, have a mummification process far different from the ancient egyptians, who would dismantle the body from the inside, remove organs, and then wrap the body in a form of cloth. the anga mummify their dead sitting up and subject them to three months of smoking over a constantly roaring fire (the smoking helps to preserve the corpse in a tropical culture where it would normally decompose quickly).
the mummification method follows a strict structure. the body is suspended over a fire, and as it bloats, it is poked with wooden sticks to drain its fluids, and later, a stick is used to gently widen the anus to allow the organs to fall out. from start to finish, the mummifiers must remain with the body at all times, and no part of the dead—his fluids, his intestines, or even his body—is allowed to touch the ground, a taboo invitation for bad luck.
view images gemtasu with photographer ulla lohmann photograph by ulla lohmann
the most important part is to keep the face intact. in a culture without photography, the only way to preserve the image of the departed is to physically see their immortal faces. "we have pictures, they have mummies," lohmann says. "the anga believe that the spirits roam free during the day and return to their mummified bodies at night. without seeing the face, the spirits cannot find their own body and would wander eternally."
mummification was once widespread in papua new guinea and other south pacific islands, most prominent in the 19th and early centuries. finding a way to preserve physical bodies was seen as a way to keep them from being buried underground, where they could be easily forgotten. but the arrival of christian missionaries and british and australian government officers in the middle of the century cast stigma on the practice, both for matters of morality and hygiene.
even so, gemtasu, not knowing his exact age but feeling toward the end of his life, believed it was important to keep the tradition alive. enduring as a mummy would allow him to protect his family. so he taught his grown children how to mummify. he demonstrated on a pig with the help of anthropologists ronald beckett and andrew nelson, who had studied the process. gemtasu also asked lohmann to photograph his own mummification and share his story.
his sons, like many younger members of the tribe, at first resisted. the tribe has turned away from mummification, which is time consuming and labor intensive, to say nothing of the pungent smell of slow-smoked human flesh. the tribe has also experienced regular thinning as its younger members tend to be driven toward port cities more touched by globalization. but gemtasu continued to urge his sons that mummification, at least for him, was important. “he hassled me long enough so i finally could not do anything else except promising him and making his wish come true,” says awateng, one of gemtasu’s son.
and then, in 2015, gemtasu died.
in keeping with his dying wish, lohmann returned to papua new guinea to witness and photograph the mummification. seven men, including gemtasu's grandson, began the process with white clay smeared on their faces, a sign of grief. under the ceremonial rules, they were not permitted to drink any water—only sugar cane juice from bamboo—and could only eat food cooked in the fire that was smoking gemtasu. when his skin burned, they used sticks to scrape off the top layer.
as lohmann observed over a series of weeks, the body swelled, blackened, and eventually hardened. the seven men performing the ritual smeared gemtasu's body fluids onto themselves, an act to preserve his spirit. under the strict rules, the men were not allowed to wash themselves for the entire three months of mummification, nor to leave the location.
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obed* waɪld ənd ˈsinɪk ˈrɪvər bɪˈkəmz ən ˈaɪdə ˌɪnərˈnæʃənɑl dɑrk skaɪ pɑrk ðə ˈnæʃənəl pɑrk ˈsərvɪs ənd ˈaɪdə ər plizd tɪ əˈnaʊns ðət waɪld ˈsinɪk ˈrɪvər (wsr*) ɪn ˌtɛnəˈsi, juz., həz bɪn ˈdɛzɪgˌneɪtɪd ən ˌɪnərˈnæʃənɑl dɑrk skaɪ pɑrk. wɪθ ðɪs ˌdɛzɪgˈneɪʃən, ɪz naʊ ðə ˈsɛkənd ˈnæʃənəl pɑrk ˈsərvɪs ˈjunɪt ist əv ˌmɪsɪˈsɪpi ˈrɪvər tɪ ərn ðɪs ˌdɛzɪgˈneɪʃən ənd ðə juz. ˈnæʃənəl pɑrk ˈsərvɪs ˈjunɪt tɪ du soʊ. ðə pɑrk prɪˈzərvz ˈnæʧərəl ˈnaɪtˌtaɪm ˈdɑrknəs ˈoʊvər wən əv ðə læst waɪld ˈrɪvər ˈsɪstəmz ɪn ðə ˈistərn juˈnaɪtɪd steɪts. əˈnaʊnsmɛnt əv ðə əˌkrɛdəˈteɪʃən əv ðə ɛz ən ˌɪnərˈnæʃənɑl dɑrk skaɪ pɑrk ˈhaɪˌlaɪts ðə ˌɪmˈpɔrtəns əv dɑrk naɪts tɪ ðə hɛlθ əv ecosystems,”*,” sɛd ˈaɪdə ɪgˈzɛkjətɪv dɪˈrɛktər ʤeɪ. skɑt feierabend*. ““further*, ɪt eɪmz təˈwɔrd ðə prəˈtɛkʃən əv ə ˈbrɔdər swɑθ əv dɑrk naɪt skaɪz ˈoʊvər ðə ˈkəmbərlənd plæˈtoʊ ðət wi hoʊp wɪl bi ˈriəˌlaɪzd ɪn ðə future.”*.” ˈstɑˌri naɪt skaɪz ər ən ˌɪmˈpɔrtənt pɑrt əv ðə ˈspɛʃəl ˈpleɪsɪz ðə ˈnæʃənəl pɑrk ˈsərvɪs prəˈtɛkts. ɑr ˈnæʃənəl pɑrks hoʊld səm əv ðə læst rɪˈmeɪnɪŋ ˈhɑrbərz əv ˈdɑrknəs ənd prəˈvaɪd əˈmeɪzɪŋ ˌɑpərˈtunətiz tɪ ɪkˈspɪriəns ðɪs ˈkrɪtɪkəl ˈrisɔrs. waɪld ˈsinɪk ˈrɪvər ɪz wən əv ðiz ˈspɛʃəl ˈpleɪsɪz wɪθ ə ˈtruli dɑrk naɪt skaɪ. əˈməŋ ˌɪnˈtərprətɪv θimz ɪz ə ˈpraɪˌmɛri goʊl tɪ rikəˈnɛkt laɪf ənd ˈneɪʧər baɪ dɪˈskəsɪŋ ðə ˈvælju əv kwaɪət, ˈsɑləˌtud, ənd ˈivɪn ˈdɑrknəs ɪn ðə ˈnɔɪzi, frəˈnɛtɪk, ənd dɪˈvɛləpt wərld əv ðə ˈsɛnʧəri. tɪ kˈwɑləˌfaɪ ɛz ən ˌɪnərˈnæʃənɑl dɑrk skaɪ pɑrk, ˈdɛmənˌstreɪtɪd ɪkˈsɛpʃənəl kənˈdɪʃənz, ənd ə strɔŋ kəˈmɪtmənt tɪ prɪˈzərvɪŋ ðə naɪt skaɪ ˈrisɔrs fər ðə ˌɛnˈʤɔɪmənt, ˌɛʤəˈkeɪʃən, ənd ˌɪnspərˈeɪʃən əv ˈprɛzənt ənd fˈjuʧər ˌʤɛnərˈeɪʃənz. sɪns 2013 ðə pɑrk həz ˈɔfərd əˈstrɑnəmi ənd dɑrk skaɪ ˌɪnˈtərprətɪv ˈproʊˌgræmz, səˈpɔrtɪd baɪ ə strɔŋ kəˌlæbərˈeɪʃən wɪθ ˈloʊkəl ˈæməˌʧər əˈstrɑnəmərz frəm ðə ɔˈraɪən əˈstrɑnəmi kləb ɪn oʊk rɪʤ, ˌtɛnəˈsi ənd ðə ˈnɑksvɪl əbˈzərvərz ɪn ˈnɑksvɪl, ˌtɛnəˈsi. ðə pɑrk stæf ˈstɑrtɪd ˈwərkɪŋ wɪθ ðə ˌɪnərˈnæʃənɑl dɑrk skaɪ ˈproʊˌgræm ɔn ˌsərtəfəˈkeɪʃən ˈɛfərts ˈsɛvərəl jɪrz əˈgoʊ, ˌɪnˈkludɪŋ kəˈlɛktɪŋ ˈdætə, ˈɔfərɪŋ naɪt skaɪ ˈʤunjər ˈreɪnʤər ˈproʊˌgræmɪŋ, ənd ˈmeɪkɪŋ ʃʊr ðət ɔl pɑrk ækˈtɪvɪtiz kənˈsɪdərd naɪt skaɪ ɛz ə ˈvæljəbəl ˈnæʧərəl ˈrisɔrs. ɛz ɪt ɪz ˌɪmˈpɔrtənt fər ˈpipəl tɪ bi ˈeɪbəl tɪ haɪk, rɑk klaɪm, fɪʃ, ˈpædəl ənd soʊ ˈmɛni ˈəðər ækˈtɪvɪtiz ɪn ðɪs ˈbjutəfəl pleɪs, ɪt ɪz ɛˈsɛnʃəl ðət ðə ˈwəndərz əv ðə naɪt skaɪ bi əˈveɪləbəl fər ɔl tɪ experience,”*,” sɛd ˌsupərɪnˈtɛndənt ˈnɪki ˈstɛfəni ˈnɪkələs.
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obed wild and scenic river becomes an ida international dark sky park
the national park service and ida are pleased to announce that obed wild & scenic river (wsr) in tennessee, u.s., has been designated an international dark sky park. with this designation, obed wsr is now the second national park service unit east of mississippi river to earn this designation and the 20th u.s. national park service unit to do so. the parkeserves natural nighttime darkness over one of the last free-flowing wild river systems in the eastern united states.
“today’s announcement of the accreditation of the obed as an international dark sky park highlights the importance of dark nights to the health of riparian ecosystems,” said ida executive director j. scott feierabend. “further, it aims toward theotection of a broader swath of dark night skies over the cumberland plateau that we hope will be realized in the future.”
starry night skies are an important part of the special places the national park serviceotects. our national parks hold some of the last remaining harbors of darkness andovide amazing opportunities to experience this critical resource.
obed wild & scenic river is one of these special places with a truly dark night sky. among obed’s interpretive themes is aimary goal to reconnect life and nature by discussing the value of quiet, solitude, and even darkness in the noisy, frenetic, and developed world of the 21st century.
to qualify as an international dark sky park, obed demonstrated exceptional dark-sky conditions, and a strong commitment toeserving the park’s night sky resource for the enjoyment, education, and inspiration ofesent and future generations.
since 2013, the park has offered year-round astronomy and dark sky interpretiveograms, supported by a strong collaboration with local amateur astronomers from the orion astronomy club in oak ridge, tennessee and the knoxville observers in knoxville, tennessee.
the obed park staff started working with the international dark skyogram on certification efforts several years ago, including collecting data, offering night sky junior rangerogramming, and making sure that all park activities considered night sky as a valuable natural resource.
“just as it is important for people to be able to hike, rock climb, fish, paddle and so many other activities in this beautiful place, it is essential that the wonders of the night sky be available for all to experience,” said superintendent niki stephanie nicholas.
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ən əˈfɪʃəl rɪˈpɔrt baɪ ðə juˈnaɪtɪd ˈneɪʃənz kəˈmɪti əˈgɛnst ˈtɔrʧər riˈlist ˈfraɪˌdeɪ faʊnd ðət ðə juˈnaɪtɪd steɪts həz ə lɔŋ weɪ tɪ goʊ ɪf ɪt wɔnts tɪ ˈæˌkʧuəli ərn ɪts kleɪmd pəˈzɪʃən ɛz ə ˈlidər ɪn ðə wərld ɔn ˈjumən raɪts. ˈfɑloʊɪŋ ə ˈlɛŋθi ˌrivˈju əv ˈrisənt ənd ˈkɑrənt ˈpræktɪsɪz rɪˈgɑrdɪŋ ˈtɔrʧər, ˌɪmˈprɪzənmənt, pəˈlisɪŋ, ˌɪməˈgreɪʃən ˈpɑləsiz, ənd ðə ˈoʊvərˌɔl ˈlɛgəsi əv ðə bʊʃ ənd ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃənz ˌɛksəˈkjuʃən əv ðə ˈsoʊˈkɔld 'wɔr ɔn ˈtɛrər,' ðə kəˈmɪti rɪˈpɔrt (pdf*) faʊnd ðə juz. ˈgəvərnmənt ɪn groʊs vaɪəˈleɪʃən wɪn ɪt kəmz tɪ prəˈtɛktɪŋ ˈbeɪsɪk ˈprɪnsəpəlz əv ðə kənˈvɛnʃən əˈgɛnst ˈtɔrʧər, wɪʧ ðə juz. ˈrætəˌfaɪd ɪn 1994 ɛz wɛl ɛz ˈəðər ˌɪnərˈnæʃənɑl ˈtritiz. ðɪs wɑz ðə fərst fʊl ˌrivˈju əv ðə juz. ˈjumən raɪts ˈrɛkərd baɪ ðə ˈjuˈɛn ˈbɑdi sɪns 2006 ənd ðə riˈlis əv ðə rɪˈpɔrt ˈfɑloʊz ə ˈtuˌdeɪ ˈhirɪŋ ɪn ʤəˈnivə ˈərliər ðɪs mənθ ɪn wɪʧ ˌrɛprɪˈzɛnətɪvz əv ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən ˈɔfərd ˈtɛstɪˌmoʊni ənd ˈænsərd kˈwɛsʧənz tɪ ðə ˌrivˈju ˈpænəl. ðə rɪˈpɔrts ˈfaɪndɪŋz du nɑt rɪˈflɛkt wɛl ɔn ðə juz., ə ˈneɪʃən ðət kənˈtɪnjuz tɪ taʊt ˌɪtˈsɛlf ɛz ə ˈlidər ɔn səʧ ˈɪʃuz dɪˈspaɪt ðə ɪˈnɔrmɪs əˈmaʊnt əv ˈkrɪtɪˌsɪzəm eɪmd æt ˈpɑləsiz əv ˈtɔrʧər ənd ˌɪnˈdɛfənət dɪˈtɛnʃən ˈɪmpləˌmɛnəd ɪn ðə jɪrz ˈfɑloʊɪŋ sɛpˈtɛmbər 11 2001 ðə ˌɪnˈveɪʒənz əv æfˈgænəˌstæn ənd ˌɪˈrɑk ðət ˈfɑloʊd, ənd ðə ˈgloʊbəl ˈmɪlɪˌtɛri kæmˈpeɪn ˈteɪkɪŋ pleɪs ɔn ˈsɛvərəl ˈkɑntənənts ənd ˈnumərəs ˈkəntriz ðət kənˈtɪnjuz tɪ ðɪs deɪ. ɪn əˈdɪʃən tɪ ˈkɔlɪŋ fər fʊl əˈkaʊntəˌbɪlɪti fər ðə wərst ˈtɔrʧər ˈpræktɪsɪz ðət ˈhæpənd ˈdʊrɪŋ ðə bʊʃ ædˌmɪnɪˈstreɪʃən, ðə ˈpænəl ˈɔlsoʊ dɪˈmændɪd ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən ɛnd ðə kənˈtɪnjud hɑrʃ ˈtritmənt əv ˈfɔrən dɪˌteɪˈniz æt ɪts ˈɔfˈʃɔr ˈprɪzən æt gˌwɑnˈtɑnəˌmoʊ beɪ ɔn ðə ˈaɪlənd əv ˈkjubə. ɛz ˈrɔɪtərz noʊts, ðə ˈpænəlz rɪˈpɔrt ˈkrɪtəˌsaɪzd wət ɪt kɔld ə kənˈtɪnjud juz. ˈfeɪljər tɪ ˈfʊli ˌɪnˈvɛstəˌgeɪt ˌæləˈgeɪʃənz əv ˈtɔrʧər ənd əv ˈtɛrəˌrɪzəm ˈsəˌspɛkts hɛld ɪn juz. ˈkəstədi əˈbrɔd, "ˈɛvɪdənst baɪ ðə ˈlɪmɪtɪd ˈnəmbər əv ˈkrɪmənəl ˌprɑsəˈkjuʃənz ənd kənˈvɪkʃənz". əˈkɔrdɪŋ tɪ ðə rɪˈpɔrt: ðə kəˈmɪti ɪkˈsprɛsɪz ɪts greɪv kənˈsərn ˈoʊvər ðə ˌɛkstrəˈɔrdəˌnɛri rɛnˈdɪʃən, ˈsikrɪt dɪˈtɛnʃən ənd ˌɪnˌtɛrəˈgeɪʃən ˈproʊˌgræm ˈɑpərˌeɪtəd baɪ ðə juz. ˈsɛntrəl ˌɪnˈtɛləʤəns ˈeɪʤənsi (siaɪeɪ) bɪtˈwin 2001 ənd 2008 wɪʧ ˌɪnˈvɑlvd ˈnumərəs həm ən raɪts vaɪəˈleɪʃənz, ˌɪnˈkludɪŋ ˈtɔrʧər, ɪl ˈtritmənt ənd ɛnˈfɔrst ˌdɪsəˈpɪrəns əv ˈpərsənz səˈspɛktɪd əv ˌɪnˈvɑlvmənt ɪn ˈtɛrəˌrɪzəm rɪˈleɪtɪd kraɪmz. waɪl ˈnoʊtɪŋ ðə ˈkɑntɛnt ənd skoʊp əv ˌprɛzɪˈdɛnʃəl e.o*. 13491 ðə kəˈmɪti rɪˈgrɛts ðə skænt ˌɪnˌfɔrˈmeɪʃən baɪ ðə steɪt ˈpɑrti wɪθ rɪˈgɑrd tɪ ðə naʊ ˈʃətərd ˈnɛtˌwərk əv ˈsikrɪt dɪˈtɛnʃən fəˈsɪlɪtiz, wɪʧ fɔrmd pɑrt əv ðə haɪ ˈvælju ˌditeɪˈni ˈproʊˌgræm ˈpəblɪkli rɪˈfərd tɪ baɪ ˈprɛzɪdənt bʊʃ ɔn 6 sɛpˈtɛmbər 2006 ɪt ˈɔlsoʊ rɪˈgrɛts ðə læk əv ˌɪnˌfɔrˈmeɪʃən ɔn ðə ˈpræktɪsɪz əv ˌɛkstrəˈɔrdəˌnɛri rɛnˈdɪʃən ənd ɛnˈfɔrst ˌdɪsəˈpɪrəns; ənd, ɔn ðə ɪkˈstɛnt əv ðə əˈbjusɪv ˌɪnˌtɛrəˈgeɪʃən tɛkˈniks juzd ɔn səˈspɛktɪd ˈtɛrəˌrɪsts, səʧ ɛz waterboarding*. ɛz ðə ˈgɑrdiən rɪˈpɔrts: ˈmɛni əv ðə ˈhɑrʃəst ˈkrɪtɪˌsɪzəmz ər rɪˈzərvd fər ðə bʊʃ ˌɛkˈsɛsɪz bɪtˈwin 2001 ənd 2009 bət ðə kəˈmɪti ɪz ˈkrɪtɪkəl əv haʊ ðə ˈkɑrənt ˈjuˈɛs ˈgəvərnmənt həz feɪld, ɪn ɪts vju, tɪ klin əp ðə mɛs ðət wɑz kriˈeɪtɪd ɪn ðə weɪk əv skroʊl tɪ kənˈtɪnju wɪθ ˈkɑntɛnt hɛlp kip ˈkɑmən drimz əˈlaɪv ɑr prəˈgrɛsɪv nuz ˈmɑdəl ˈoʊnli sərˈvaɪvz ɪf ðoʊz ˌɪnˈfɔrmd ənd ˌɪnˈspaɪərd baɪ ðɪs wərk səˈpɔrt ɑr ˈɛfərts ɪn ˌpɑˈtɪkjələr, ɪt wɔnts tɪ si ðə ˈjuˈɛs ækˈnɑlɪʤ ˈtɔrʧər ɛz ə spɪˈsɪfɪk ˈkrɪmənəl æt ðə ˈfɛdərəl ˈlɛvəl, ˈðɛrˈbaɪ riˈmuvɪŋ ˈpɑsəbəl ˈluˌphoʊlz ɪn ðə lɔ. ɪt ˈɔlsoʊ ˈərʤɪz ðə ˈjuˈɛs ˈsɛnɪt səˈlɛkt kəˈmɪti ɔn ˌɪnˈtɛləʤəns tɪ ˈpəblɪʃ ɛz kˈwɪkli ɛz ˈpɑsəbəl ɪts rɪˈpɔrt ˈɪntu ðə hɪˈstɔrɪk dɪˈtɛnʃən ənd ˌɪnˌtɛrəˈgeɪʃən ˈproʊˌgræm ðət həz bɪn kɔt əp ɪn pəˈlɪtɪkəl ˈræŋgəlɪŋ fər mənθs. ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən nidz tɪ mæʧ ɪts ˈrɛtərɪk wɪθ ˈækʃənz baɪ səˈpɔrtɪŋ fʊl əˈkaʊntəˌbɪlɪti fər torture,”*,” sɛd dakwar*, dɪˈrɛktər əv ðə ˈjumən raɪts ˈproʊˌgræm, ɪn rɪˈspɑns tɪ ðə rɪˈpɔrt. ə stɑrt, ðət minz əˈlaʊɪŋ ðə riˈlis əv ðə ˈtɔrʧər rɪˈpɔrt ˈsəməri wɪˈθaʊt ðət wʊd dɪˈfit ˈpraɪˌmɛri ˈpərpəs, wɪʧ ɪz tɪ ɪkˈspoʊz ðə fʊl ɪkˈstɛnt əv ˈgəvərnmənt əˈbjuz. ɪt ˈɔlsoʊ minz ɪnˈʃʊrɪŋ ə ˈkrɪmənəl ˌɪnˌvɛstəˈgeɪʃən əv ðə ˈtɔrʧər ðət occurred.”*.” ðə rɪˈpɔrt sɪz ðət ðoʊ ðə juz. həz təf ˈstæʧuts ɔn ðə bʊks, ɪt həz nɑt gɔn fɑr ɪˈnəf ɪn səm ˈɛriəz tɪ ˌgɛrənˈti ðət noʊ ˈluˌphoʊlz ɪgˈzɪst ənd həz dən fɑr tu ˈlɪtəl tɪ əˈlaʊ ˈridrɛs fər vaɪəˈleɪʃənz ðət hæv ɔˈrɛdi əˈkərd. ɪn tərmz əv ˌrɛkəmənˈdeɪʃənz, ˈpænəlz rɪˈpɔrt "kɔlz fər ðə əv ˈtɔrʧər ˈɛvədəns, ɪn ˌpɑˈtɪkjələr gˌwɑnˈtɑnəˌmoʊ detainees’*’ əˈkaʊnts əv ˈtɔrʧər" ənd sɛd ðə juz. "ʃʊd ɪnˈʃʊr ðət ɔl ˈvɪktɪmz əv ˈtɔrʧər ər ˈeɪbəl tɪ ˈækˌsɛs ə ˈrɛmədi ənd əbˈteɪn ˈridrɛs, wɛˈrɛvər ækts əv ˈtɔrʧər əˈkərd ənd rəˈgɑrdləs əv ðə ˌnæʃəˈnælɪti əv ðə ˈpərpəˌtreɪtər ər ðə ˈvɪktɪm. ɪn əˈdɪʃən tɪ ˈkrɪtɪˌsaɪzɪŋ ˈəðər ˈpɑləsiz rɪˈleɪtɪd tɪ ˈmɪlɪˌtɛri ɛnˈgeɪʤmənt əˈbrɔd, ðə kəˈmɪti slæmd ðə juz. fər ˈmɛni əv ɪts dəˈmɛstɪk ˈpɑləsiz, ˌɪnˈkludɪŋ prəˈlɔŋd ˈsɑləˌtɛri kənˈfaɪnmənt əv ðoʊz ɪn ˈprɪzən; ˈʧɑrʤɪz əv "prəˈlɔŋd ˈsəfərɪŋ" fər ðoʊz ɪkˈspoʊzd tɪ "bɑʧt" steɪt ˌɛksəˈkjuʃənz; ənd dɪˈskrɪmənəˌtɔri pəˈlisɪŋ ˈpræktɪsɪz ɪn ðə ˈneɪʃənz ˈsɪtiz; ðə ˈtritmənt əv ˈʤuvəˌnaɪlz ɪn ðə ˈkrɪmənəl ˈʤəstɪs ˈsɪstəm; ənd ˈsɪriəs ˈprɑbləmz wɪθ ɪts ˌɪməˈgreɪʃən ɛnˈfɔrsmənt ˈpɑləsiz. ɛz ˈproʊˌtɛsts rɪˈleɪtɪd tɪ ðə ˈʃutɪŋ dɛθ əv ˈmaɪkəl braʊn baɪ ə pəˈlis ˈɔfɪsər ɪn ˈfərgəsən, məˈzʊri kənˈtɪnju ðɪs wik, ðə ˈjuˈɛn ˈpænəl spəˈsɪfɪkli rɪˈfərd tɪ ðə "ˈfrikˌwɛnt ənd rɪˈkərənt pəˈlis ˈʃutɪŋz ər ˈfeɪtəl pərˈsuts əv əˈnɑrmd blæk ˌɪndəˈvɪʤəwəlz." ˈspikɪŋ wɪθ rɪˈpɔrtərz, ˈpænəl ˈmɛmbər əˈlɛsioʊ ˈbruni sɛd, "wi ˌrɛkəˈmɛnd ðət ɔl ˈɪnstənsɪz əv pəˈlis bruˈtælɪti ənd ɪkˈsɛsɪv juz əv fɔrs baɪ lɔ ɛnˈfɔrsmənt ˈɔfɪsərz ər ˌɪnˈvɛstəˌgeɪtɪd ˈprɑmptli, ˈifɛktɪvli ənd ˌɪmˈpɑrʃəli baɪ ən ˌɪndɪˈpɛndənt ˈmɛkəˌnɪzəm." rɪˈpɔrt əˈlɔŋ wɪθ ðə ˈvɔɪsɪz əv əˈmɛrɪkənz ˈproʊˌtɛstɪŋ əraʊnd ðə ˈkəntri ðɪs wik ɪz ə ˈweɪˌkəp kɔl fər pəˈlis hu θɪŋk ðeɪ kən ækt wɪθ impunity,”*,” sɛd dakwar*. taɪm fər sɪˈstɛmɪk pəˈlisɪŋ rɪˈfɔrmz ənd ˈifɛktɪv ˈoʊvərˌsaɪt ðət meɪk ʃʊr lɔ ɛnˈfɔrsmənt ˈeɪʤənsiz trit ɔl ˈsɪtɪzənz wɪθ ˈikwəl rɪˈspɛkt ənd hoʊld ˈɔfɪsərz əˈkaʊntəbəl wɪn ðeɪ krɔs ðə line.”*.”
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an official report by the united nations committee against torture released friday found that the united states has a long way to go if it wants to actually earn its claimed position as a leader in the world on human rights.
following a lengthy review of recent and current practices regarding torture, imprisonment, policing, immigration policies, and the overall legacy of the bush and obama administration's execution of the so-called 'war on terror,' the committee report (pdf) found the u.s. government in gross violation when it comes to protecting basic principles of the convention against torture, which the u.s. ratified in 1994, as well as other international treaties.
this was the first full review of the u.s. human rights record by the un body since 2006 and the release of the report follows a two-day hearing in geneva earlier this month in which representatives of the obama administration offered testimony and answered questions to the review panel. the report's findings do not reflect well on the u.s., a nation that continues to tout itself as a leader on such issues despite the enormous amount of criticism aimed at policies of torture and indefinite detention implemented in the years following september 11, 2001, the invasions of afghanistan and iraq that followed, and the global military campaign taking place on several continents and numerous countries that continues to this day.
in addition to calling for full accountability for the worst torture practices that happened during the bush administration, the panel also demanded the obama administration end the continued harsh treatment of foreign detainees at its offshore prison at guantanamo bay on the island of cuba. as reuters notes, the panel's report criticized what it called a continued u.s. failure to fully investigate allegations of torture and ill-treatment of terrorism suspects held in u.s. custody abroad, "evidenced by the limited number of criminal prosecutions and convictions".
according to the report:
the committee expresses its grave concern over the extraordinary rendition, secret detention and interrogation programme operated by the u.s. central intelligence agency (cia) between 2001 and 2008, which involved numerous hum an rights violations, including torture, ill - treatment and enforced disappearance of persons suspected of involvement in terrorism - related crimes. while noting the content and scope of presidential e.o. 13491, the committee regrets the scant information pr ovided by the state party with regard to the now shuttered network of secret detention facilities, which formed part of the high - value detainee programme publicly referred to by president bush on 6 september 2006. it also regrets the lack of information pr ovided on the practices of extraordinary rendition and enforced disappearance; and, on the extent of the cia’s abusive interrogation techniques used on suspected terrorists, such as waterboarding.
as the guardian reports:
many of the harshest criticisms are reserved for the bush administration’s excesses between 2001 and 2009. but the committee is critical of how the current us government has failed, in its view, to clean up the mess that was created in the wake of 9/11. scroll to continue with content help keep common dreams alive our progressive news model only survives if those informed and inspired by this work support our efforts
in particular, it wants to see the us acknowledge torture as a specific criminal offence at the federal level, thereby removing possible loopholes in the law. it also urges the us senate select committee on intelligence to publish as quickly as possible its report into the cia’s historic detention and interrogation programme that has been caught up in political wrangling for months.
“the obama administration needs to match its rhetoric with actions by supporting full accountability for torture,” said jamil dakwar, director of the aclu's human rights program, in response to the report. “as a start, that means allowing the release of the senate’s torture report summary without redactions that would defeat report’s primary purpose, which is to expose the full extent of government abuse. it also means ensuring a top-to-bottom criminal investigation of the torture that occurred.”
the report says that though the u.s. has tough anti-torture statutes on the books, it has not gone far enough in some areas to guarantee that no loopholes exist and has done far too little to allow redress for violations that have already occurred. in terms of recommendations, panel's report "calls for the declassification of torture evidence, in particular guantanamo detainees’ accounts of torture" and said the u.s. "should ensure that all victims of torture are able to access a remedy and obtain redress, wherever acts of torture occurred and regardless of the nationality of the perpetrator or the victim. "
in addition to criticizing other policies related to military engagement abroad, the committee slammed the u.s. for many of its domestic policies, including prolonged solitary confinement of those in prison; charges of "prolonged suffering" for those exposed to "botched" state executions; heavy-handed and discriminatory policing practices in the nation's cities; the treatment of juveniles in the criminal justice system; and serious problems with its immigration enforcement policies.
as protests related to the shooting death of michael brown by a police officer in ferguson, missouri continue this week, the un panel specifically referred to the "frequent and recurrent police shootings or fatal pursuits of unarmed black individuals."
speaking with reporters, panel member alessio bruni said, "we recommend that all instances of police brutality and excessive use of force by law enforcement officers are investigated promptly, effectively and impartially by an independent mechanism."
“this report along with the voices of americans protesting around the country this week is a wake-up call for police who think they can act with impunity,” said aclu's dakwar. “it’s time for systemic policing reforms and effective oversight that make sure law enforcement agencies treat all citizens with equal respect and hold officers accountable when they cross the line.”
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ə væst nu ˈstədi əv ˈʧeɪnʤɪz ɪn ˈgloʊbəl ˈwaɪlˌdlaɪf ˈoʊvər ˈɔlˌmoʊst θri ˈdɛkeɪdz həz faʊnd ðət loʊ ˈlɛvəlz əv ˈifɛktɪv ˈnæʃənəl ˈgəvərnəns ər ðə ˈstrɔŋgəst prɪˈdɪktər əv dɪˈklaɪnɪŋ ˈspiʃiz ˈnəmbərz mɔr soʊ ðən ˌɛkəˈnɑmɪk groʊθ, ˈklaɪmɪt ʧeɪnʤ ər ˈivɪn ˈsərʤɪz ɪn ˈjumən ˌpɑpjəˈleɪʃən. ðə ˈfaɪndɪŋz, ˈpəblɪʃt ɪn ðə ˈʤərnəl ˈneɪʧər, ˈɔlsoʊ ʃoʊ ðət prəˈtɛktɪd ˌkɑnsərˈveɪʃən ˈɛriəz du meɪnˈteɪn ˈwaɪlˌdlaɪf dɪˈvərsɪti, bət ˈoʊnli wɪn ˈsɪʧuˌeɪtɪd ɪn ˈkəntriz ðət ər ˈrizənəbli ˈsteɪbəl ˈplɪtɪkli wɪθ ˈstərdi ˈligəl ənd ˈsoʊʃəl ˈstrəkʧərz. ðə ˈrisərʧ juzd ðə feɪt əv ˈspiʃiz sɪns 1990 ɛz ə ˈbɛlˌwɛðər fər brɔd ˌbaɪoʊdaɪˈvərsəti trɛnz, ɛz ðɛr ˈwɛˌtlænd ˈhæbəˌtæts ər əˈməŋ ðə moʊst dɪˈvərs ɛz wɛl ɛz ðə moʊst ɪnˈdeɪnʤərd ɔn ərθ. ən ˌɪnərˈnæʃənɑl tim əv ˈsaɪəntɪsts ənd ˌkɑnsərˈveɪʃən ˈɛkspərts lɛd baɪ ðə ˌjunəˈvərsəti əv ˈkeɪmbrɪʤ ˈoʊvər ˈmɪljən ˈænjuəl kaʊnt ˈrɛkərdz əv 461 ˈspiʃiz əˈkrɔs ˈɔlˌmoʊst ˈdɪfərənt ˈsərˌveɪ saɪts əraʊnd ðə wərld. ðə ˈrisərʧərz juzd ðɪs ʤaɪənt ˈdeɪtəˌsɛt tɪ ˈmɑdəl ˈspiʃiz ˈʧeɪnʤɪz ɪn ˈneɪʃənz ənd ˈriʤənz. rɪˈzəlts wər kəmˈpɛrd tɪ ðə ˈwərldˈwaɪd ˈgəvərnəns ˈɪndəˌkeɪtərz, wɪʧ ˈmɛʒər ˈɛvriˌθɪŋ frəm ˈvaɪələns reɪts ənd rul əv lɔ tɪ pəˈlɪtɪkəl kərˈəpʃən, ɛz wɛl ɛz ˈdætə səʧ ɛz groʊs dəˈmɛstɪk ˈprɑdəkt (gdp*) ənd ˌkɑnsərˈveɪʃən pərˈfɔrməns. ðə tim dɪˈskəvərd ðət dɪˈklaɪn wɑz ˈgreɪtər ɪn ˈriʤənz əv ðə wərld wɛr ˈgəvərnəns ɪz, ɔn ˈævərɪʤ, lɛs ˈifɛktɪv: səʧ ɛz ˈwɛstərn ənd ˈsɛntrəl ˈeɪʒə, saʊθ əˈmɛrɪkə ənd ˈæfrɪkɑ. ðə ˈhɛlθiɪst ˈoʊvərˌɔl ˈspiʃiz kˈwoʊtəz wər sin ɪn ˌkɑntəˈnɛnəl ˈjʊrəp, ˌɔlˈðoʊ ˈivɪn hir ðə ˈlɛvəlz əv ki ˈspiʃiz wər faʊnd tɪ hæv ˈnoʊzˌdaɪvd. ðɪs ɪz ðə fərst taɪm ðət ˈifɛktɪvnəs əv ˈnæʃənəl ˈgəvərnəns ənd ˈlɛvəlz əv stəˈbɪlɪti hæv bɪn aɪˈdɛntəˌfaɪd ɛz ðə moʊst sɪgˈnɪfɪkənt ˈgloʊbəl ˈɪndəˌkeɪtər əv ˌbaɪoʊdaɪˈvərsəti ənd ˈspiʃiz lɔs. ðə ˈgloʊbəl ˈkəvərɪʤ əv prəˈtɛktɪd ˈɛriəz kənˈtɪnjuz tɪ ˌɪnˈkris, ɑr ˈfaɪndɪŋz səˈʤɛst ðət ˌɪnɪˈfɛktɪv ˈgəvərnəns kʊd ˈəndərˌmaɪn ðə ˈbɛnəfɪts əv ðiz ˌbaɪoʊdaɪˈvərsəti ˌkɑnsərˈveɪʃən efforts,”*,” sɪz ˈdɑktər əˈmɑnoʊ, hu lɛd ðə ˈstədi æt ðə dɪˈpɑrtmənt əv zoʊˈɑləʤi ənd ˈsɛntər fər ðə ˈstədi əv ˌɛgˌzɪˈstɛnʃəl rɪsk. naʊ noʊ ðət ˈgəvərnəns ənd pəˈlɪtɪkəl stəˈbɪlɪti ɪz ə ˈvaɪtəl kənˌsɪdərˈeɪʃən wɪn dɪˈvɛləpɪŋ fˈjuʧər ɪnˌvaɪrənˈmɛnəl ˈpɑləsiz ənd practices.”*.” fər ðə ˈleɪtəst ˈstədi, əˈmɑnoʊ wərkt wɪθ ˈkeɪmbrɪʤ ˈkɑligz ɛz wɛl ɛz ˈrisərʧərz frəm ðə ˌjunəˈvərsətiz əv bæθ, uk*, ənd ˈsænə ˈklɛrə, ˈjuˈɛs, ənd ˌkɑnsərˈveɪʃən ˌɔrgənɪˈzeɪʃənz ˈwɛˌtlændz ˌɪnərˈnæʃənɑl ənd ðə ˈnæʃənəl ˈɔdəbɑn soʊˈsaɪɪti. ðə læk əv ˈdætə ɔn ˈʧeɪnʤɪz tɪ ðə ˈnæʧərəl wərld ˈlɪmɪts ɑr ˌəndərˈstændɪŋ əv ðə crisis”*”, seɪ ðə ˈɔθərz. ˌhaʊˈɛvər, ðeɪ seɪ ðɛr ər ædˈvæntɪʤɪz tɪ ˈfoʊkɪsɪŋ ɔn wɪn traɪɪŋ tɪ geɪʤ ðiz ˈpætərnz. ər ə dɪˈvərs grup əv ˈænəməlz, frəm dəks ənd ˈhɛrən tɪ fləˈmɪŋgoʊz ənd ˈpɛlɪkənz. ðɛr ˈwɛˌtlænd ˈhæbəˌtæts ˈkəvər səm ˈbɪljən ˈhɛkˌtɑrz əv ðə ˈplænət frəm koʊst tɪ ˈfrɛʃˌwɔtər ənd ˈivɪn ˈhaɪlənd ənd prəˈvaɪd ˈkruʃəl services”*”. ˈwɛˌtlændz hæv ˈɔlsoʊ bɪn dɪˈgreɪdɪd mɔr ðən ˈɛni ˈəðər fɔrm əv ˈikoʊˌsɪstəm. ɪn əˈdɪʃən, hæv ə lɔŋ ˈhɪstəri əv ˌpɑpjəˈleɪʃən ˈmɑnətərɪŋ. ðə ˈænjuəl ˈgloʊbəl ˈsɛnsəs rən baɪ ˈwɛˌtlændz ˌɪnərˈnæʃənɑl həz ˌɪnˈvɑlvd mɔr ðən ˌvɑlənˈtɪrz ˈoʊvər ðə læst 50 jɪrz, ənd ðə ˈnæʃənəl ˈɔdəbɑn ˈænjuəl ˈkrɪsməs bərd kaʊnt deɪts bæk tɪ 1900 ˈstədi ʃoʊz ðət ˈmɑnətərɪŋ kən prəˈvaɪd ˈjusfəl ˈlɛsənz əˈbaʊt wət wi nid tɪ du tɪ hɔlt ðə lɔs əv biodiversity,”*,” sɛd ˈneɪgi, koʊˈɔrdəˌneɪtər əv ðə ˈsɛnsəs æt ˈwɛˌtlændz ˌɪnərˈnæʃənɑl. kəmˈpɛrd tɪ ɔl ðə impacts”*” ˈtɛstɪd baɪ ðə ˈrisərʧərz, ˈnæʃənəl ˈgəvərnəns wɑz ðə moʊst sɪgˈnɪfɪkənt. ˈgəvərnəns ɪz ˈɔfən əˈsoʊʃiˌeɪtəd wɪθ læk əv ɪnˌvaɪrənˈmɛnəl ɛnˈfɔrsmənt ənd ˌɪnˈvɛstmənt, ˈlidɪŋ tɪ ˈhæbəˌtæt loss,”*,” sɪz əˈmɑnoʊ. ðə ˈstədi ˈɔlsoʊ ənˈkəvərd ə riˈleɪʃənˌʃɪp bɪtˈwin ðə spid əv groʊθ ənd ˌbaɪoʊdaɪˈvərsəti: ðə ˈfæstər pər ˈkæpɪtə wɑz groʊɪŋ, ðə ˈgreɪtər ðə dɪˈklaɪn ɪn ˈspiʃiz. dɪˈvərsɪti ɔn ə ˈlɛvəl wɑz wərst əˈfɛktɪd ɔn ˈævərɪʤ ɪn saʊθ əˈmɛrɪkə, wɪθ ə ˈænjuəl lɔs ɪkˈweɪtɪŋ tɪ ə 21 dɪˈklaɪn əˈkrɔs ðə ˈriʤən ˈoʊvər 25 jɪrz. əˈmɑnoʊ wɑz ˈɔlsoʊ səˈpraɪzd tɪ faɪnd səˈvɪr ˈspiʃiz lɔs əˈkrɔs ˈɪnˌlænd ˈɛriəz əv ˈwɛstərn ənd ˈsɛntrəl ˈeɪʒə. ðə ˈrisərʧərz pɔɪnt aʊt ðət pur ˈwɔtər ˈmænɪʤmənt ənd dæm kənˈstrəkʃən ɪn pɑrts əv ˈeɪʒə ənd saʊθ əˈmɛrɪkə hæv kɔzd ˈwɛˌtlændz tɪ ˈpərmɑˌnɛnˌtli draɪ aʊt ɪn ˈkaʊntiz səʧ ɛz ˌɪˈrɑn ənd ˌɑrʤənˈtinə ˈivɪn ɪn ˈɛriəz ˈdɛzɪgˌneɪtɪd ɛz prəˈtɛktɪd. ˈɪmpətənt ˈhəntɪŋ ˌrɛgjəˈleɪʃənz kən ˈɔlsoʊ ɪkˈspleɪn ˈspiʃiz lɔs ˈəndər ˌɪnɪˈfɛktɪv ˈgəvərnəns. ˌɪnstəˈbɪlɪti kən ˈwikən ˈligəl ɛnˈfɔrsmənt, ənd ˈkɑnsəkˌwɛntli prəˈmoʊt ənˈsutəbəl, ˈɔfən ˌɪˈligəl, ˈkɪlɪŋ ˈivɪn ɪn prəˈtɛktɪd areas,”*,” sɪz əˈmɑnoʊ. ɪn fækt, ðə ˈrisərʧərz faʊnd ðət prəˈtɛktɪd ˌkɑnsərˈveɪʃən ˈɛriəz ˈsɪmpli dɪd nɑt ˈbɛnəfɪt ˌbaɪoʊdaɪˈvərsəti ɪf ðeɪ wər ˈloʊˌkeɪtəd ɪn ˈneɪʃənz wɪθ wik ˈgəvərnəns. ˈrisənt ˈkeɪmbrɪʤ ˈrisərʧ ˌɪnˈvɑlvɪŋ əˈmɑnoʊ səˈʤɛsts ðət ˈgræsˈruts ˌɪˈnɪʃətɪvz lɛd baɪ ˈloʊkəl ənd ˌɪnˈdɪʤənəs grups kən bi mɔr ˈifɛktɪv ðən ˈgəvərnmənts æt prəˈtɛktɪŋ ˈikoʊˌsɪstəmz wən ˈpɑsəbəl ˌkɑnsərˈveɪʃən əˈproʊʧ fər ˈriʤənz ˈsəfərɪŋ frəm pəˈlɪtɪkəl ˌɪnstəˈbɪlɪti. ˈrɛfərəns əˈmɑnoʊ, ti ɛt æl. səkˈsɛsfəl ˌkɑnsərˈveɪʃən əv ˈgloʊbəl ˌpɑpjəˈleɪʃənz dɪˈpɛndz ɔn ˈifɛktɪv ˈgəvərnəns. ˈneɪʧər; 20 dɪˈsɛmbər 2017 dɔɪ:
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a vast new study of changes in global wildlife over almost three decades has found that low levels of effective national governance are the strongest predictor of declining species numbers more so than economic growth, climate change or even surges in human population.
the findings, published in the journal nature, also show that protected conservation areas do maintain wildlife diversity, but only when situated in countries that are reasonably stable politically with sturdy legal and social structures.
the research used the fate of waterbird species since 1990 as a bellwether for broad biodiversity trends, as their wetland habitats are among the most diverse as well as the most endangered on earth.
an international team of scientists and conservation experts led by the university of cambridge analysed over 2.4 million annual count records of 461 waterbird species across almost 26,000 different survey sites around the world.
the researchers used this giant dataset to model localised species changes in nations and regions. results were compared to the worldwide governance indicators, which measure everything from violence rates and rule of law to political corruption, as well as data such as gross domestic product (gdp) and conservation performance.
the team discovered that waterbird decline was greater in regions of the world where governance is, on average, less effective: such as western and central asia, south america and sub-saharan africa.
the healthiest overall species quotas were seen in continental europe, although even here the levels of key species were found to have nosedived.
this is the first time that effectiveness of national governance and levels of socio-political stability have been identified as the most significant global indicator of biodiversity and species loss.
“although the global coverage of protected areas continues to increase, our findings suggest that ineffective governance could undermine the benefits of these biodiversity conservation efforts,” says cambridge’s dr tatsuya amano, who led the study at the university’s department of zoology and centre for the study of existential risk.
“we now know that governance and political stability is a vital consideration when developing future environmental policies and practices.”
for the latest study, amano worked with cambridge colleagues as well as researchers from the universities of bath, uk, and santa clara, us, and conservation organisations wetlands international and the national audubon society.
the lack of global-level data on changes to the natural world limits our understanding of the “biodiversity crisis”, say the study’s authors. however, they say there are advantages to focusing on waterbirds when trying to gauge these patterns.
waterbirds are a diverse group of animals, from ducks and heron to flamingos and pelicans. their wetland habitats cover some 1.3 billion hectares of the planet from coast to freshwater and even highland and provide crucial “ecosystem services”. wetlands have also been degraded more than any other form of ecosystem.
in addition, waterbirds have a long history of population monitoring. the annual global census run by wetlands international has involved more than 15,000 volunteers over the last 50 years, and the national audubon society’s annual christmas bird count dates back to 1900.
“our study shows that waterbird monitoring can provide useful lessons about what we need to do to halt the loss of biodiversity,” said co-author szabolcs nagy, coordinator of the african-eurasian waterbird census at wetlands international.
compared to all the “anthropogenic impacts” tested by the researchers, national governance was the most significant. ”ineffective governance is often associated with lack of environmental enforcement and investment, leading to habitat loss,” says amano.
the study also uncovered a relationship between the speed of gdp growth and biodiversity: the faster gdp per capita was growing, the greater the decline in waterbird species.
diversity on a localised level was worst affected on average in south america, with a 0.95% annual loss equating to a 21% decline across the region over 25 years. amano was also surprised to find severe species loss across inland areas of western and central asia.
the researchers point out that poor water management and dam construction in parts of asia and south america have caused wetlands to permanently dry out in counties such as iran and argentina even in areas designated as protected.
impotent hunting regulations can also explain species loss under ineffective governance. “political instability can weaken legal enforcement, and consequently promote unsuitable, often illegal, killing even in protected areas,” says amano.
in fact, the researchers found that protected conservation areas simply did not benefit biodiversity if they were located in nations with weak governance.
recent cambridge research involving amano suggests that grassroots initiatives led by local and indigenous groups can be more effective than governments at protecting ecosystems one possible conservation approach for regions suffering from political instability.
reference
amano, t et al. successful conservation of global waterbird populations depends on effective governance. nature; 20 december 2017; doi: 10.1038/nature25139
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ðə saɪəns əv haʊ sɔlt əˈfɛkts ðə teɪst əv fud ɪz mɔr ˈkɑmpləˌkeɪtəd ðən ju maɪt θɪŋk bət ɪts ˈvaɪtəl tɪ ˌəndərˈstænd ɪf ju wɔnt tɪ ˌɪmˈpruv jʊr skɪl ɪn ðə ˈkɪʧən ˈfɛrən adrià*à wəns dɪˈklɛrd sɔlt "ðə ˈoʊnli ˈprɑdəkt ðət ˈʧeɪnʤɪz kwɪˈzin". ðɪs ɪz bɪˈkəz, ɛz hi ənd ɔl ˈsizənd kʊks noʊ, ˈsoʊdiəm ˈklɔraɪd nɑt ˈoʊnli ædz saltiness*, wɪʧ ˈjumən biɪŋz ˌɪˈneɪtli əˈdɔr (bɪˈkəz wi nid ɪt tɪ lɪv), bət ɪt ˈɔlsoʊ skjuz ðə ˈoʊvərˌɔl tɪ ˈpɑzətɪv ˈifɛkt. ɪt meɪks fud sɪŋ baɪ səˈprɛsɪŋ ˈbɪtərnəs, ɛnˈhænsɪŋ swit ənd savoury*, ənd ˈtərnɪŋ əp ðə ˈvɑljum ɔn ðə ərˈoʊməz. bət haʊ ɔn ərθ dɪz ɪt du ɔl ðɪs? ˈbaɪˈbaɪ ˈbɪtər ðə əˈbɪləˌti əv sɔlt ɪz ə ˈmɑrvəl. ɪt ɪz waɪ ˈkɔfi əˌfɪʃəˈnɑdoʊz æd ən əndɪˈtɛktəbəl pɪnʧ tɪ ðɛr graʊnz ˌbiˈfɔr bruɪŋ, sɪz ˈbɛri smɪθ əv ˈləndən ˌjunəˈvərsətiz ˈsɛntər fər ðə ˈstədi əv ðə ˈsɛnsɪz. ənd waɪ ə səˈlin ˈɑlɪv ɪz ðə ˈpərˌfɪkt ˈbɛdˌfɛloʊ tɪ ðə ˈbɪtər, ˈfɪnɪʃ əv ə valpolicella*. bət ɪt ɪz nɑt ˈizi tɪ ənˈkəvər ðə prɪˈsaɪs məˈkænɪks əv ðɪs ˈkjulɪˌnɛri ˈgɑdˌsɛnd, wət wɪθ ɪt əˈkərɪŋ ɔn ə məˈlɛkjələr ˈlɛvəl. wi du noʊ ðət ɪt ɪz ə ˌfɪziəˈlɑʤɪkəl fəˈnɑməˌnɑn, ˈrəðər ðən ˈkɑgnɪtɪv. ˈivɪn ɪf ðɛr ˈɪzənt ɪˈnəf sɔlt ɪn ɑr maʊðz fər ˈjuˈɛs tɪ ˈkɑnʃəsli teɪst ɪt, ðə ˈifɛkt wɪl stɪl ˈhæpən. ənd ɪf ju ˈstɪmjəˌleɪt wən saɪd əv ðə təŋ wɪθ sɔlt, ənd ðɛn pʊt ˈsəmθɪŋ ˈbɪtər səʧ ɛz kˈwaɪˌnaɪn ɔn ðə ˈəðər saɪd, ðə sɔlt wɪl ˈʤɛnərəli nɑt səˈprɛs ðə ˈbɪtərnəs. ðə tu teɪsts hæv tɪ bi ˈhɪtɪŋ ðə seɪm rəˈsɛptərz fər ɪt tɪ wərk. pʊt ˈvɛri ˈsɪmpli, wi θɪŋk ðət ˈsoʊdiəm aɪɑnz tərn daʊn ˈbɪtər rɪˈspɑnsɪz ɪn ðə rəˈsɛptərz. hɛˈloʊ sˈwitnəs ðə əˈbəv ˈprɔˌsɛs həz ə roʊl ɪn ˈbrɪŋɪŋ aʊt sˈwitnəs, tu. ɪf ə fud həz boʊθ ˈbɪtər ənd swit noʊts, ðə tu tɛnd tɪ ˈdæmpən pərˈsɛpʃən əv iʧ ˈəðər (ðɪs ɪz ə ˈkɑgnɪtɪv ˈfəŋkʃən, ˈrəðər ðən ˈsəmθɪŋ ðæts ˈhæpənɪŋ ɪn ðə teɪst rəˈsɛptərz). pɔl ˈbrɛslɪn əv ˈrətgərz ˌjunəˈvərsəti, hu ɪz ˈprɪti məʧ ðə dɑn wɪn ɪt kəmz tɪ ˈteɪstɪŋ saɪəns, gɪvz ðə ɪgˈzæmpəl əv ə ˈgreɪpˌfrut. rɪˈmɛmbər, ðə swit ənd ˈbɪtər noʊts wɪl ɔˈrɛdi bi səˈprɛsɪŋ iʧ ˈəðər. "wɪn aɪ æd sɔlt tɪ ɪt," hi sɪz, "aɪ ðɛn səˈprɛs səm əv ðə ˈnɛgətɪv noʊts, laɪk ðə ˈbɪtər teɪst." baɪ ˈnɑkɪŋ ðə ˈbɪtər daʊn, ðə sˈwitnəs "ər ˈəðər ˈplɛzənt teɪsts, səʧ ɛz savoury*," hi ædz ər riˈlist frəm ðɛr ˈbɪtər ˈʃækəlz. soʊ nɑt ˈoʊnli ɪz ðə ˈbɪtərnəs tərnd daʊn, bət ðə sˈwitnəs ɪz tərnd əp. ˈsɔltɪŋ aʊt ðə ərˈoʊməz ˈvɛtərən fud ˈraɪtər ˈʤɛfri steingarten*, ɪn hɪz bʊk ðə mæn hu eɪt ˈɛvriˌθɪŋ, roʊt ðət sɔlt ˈmægnəˌfaɪz ðə ˈnæʧərəl ərˈoʊməz ɪn fud. ðɪs ˈkɑnsɛpt həz ˈɔlˌweɪz fləˈmɔkst mi, ənd aɪ æsk ˈbrɛslɪn haʊ ðɪs kʊd ˈpɑsəbli bi. ɪn fækt, hi rɪˈplaɪz, ðɛr ər tu weɪz ɪn wɪʧ sɔlt əˈfɛkts ðə ərˈoʊmə (wɪʧ ɪz ˈkɑmənli sɛd tɪ əˈkaʊnt fər 80 əv ˈoʊvərˌɔl pərˈsɛpʃən, ˌɔlˈðoʊ ðɪs ɪz ˈlɪtəl mɔr ðən ə ˈwaɪdli ækˈsɛptɪd guestimate*). ˈfərstli, sɪz ˈbrɛslɪn, ɪf ju ʧeɪnʤ ðə teɪst ˈproʊˌfaɪl, ɪt wɪl ˌɪnərˈækt wɪθ ðə ərˈoʊməz ˈdɪfərˈɛntli. wi hæv "ˈlərnɪd ˈsɪnərʤiz" bɪtˈwin teɪsts ənd smɛlz. ðə smɛl əv ˈpiˌnət ˈbətər goʊz wɪθ sɔlt, ˈstrɔˌbɛri ənd vəˈnɪlə ər əˈsoʊʃiˌeɪtəd wɪθ ˈʃʊgər, ənd soʊ ɔn. rɪˈtərnɪŋ tɪ hɪz frut əˈnæləʤi, ˈsɔltɪŋ wɪl "nɑt ˈoʊnli ʧeɪnʤ ðə ˈproʊˌfaɪl baɪ səˈprɛsɪŋ ˈbɪtər, ˈðɛrˈbaɪ ˈbrɪŋɪŋ aʊt swit mɔr. ðə swit wɪl goʊ wɪθ ðə frut ənd ˈmeɪbi ɛnˈhæns ər wɪθ ðə frut." ɪn əˈdɪʃən, wɪn ðə ˈsɔltɪd ˈsərfəs ɪz ˈlɪkwɪd, laɪk ɔn ə ˈmɛlən ər ˈgreɪpˌfrut, ə θɪŋ kɔld ˈsɔltɪŋ aʊt əˈkərz. ðə sɔlt drɔz aʊt mɔr əv ðə ˈvɑlətəl ˈmɑləˌkjulz ðət gɪv raɪz tɪ ðə ərˈoʊmə. ðə sɔlt ˈifɛktɪvli ˈʧeɪnʤɪz ðə ˈprɛʃər, "ənd ðɪs kən bi ˈmɛʒərd ɔn ə məˈʃin", ædz ˈbrɛslɪn, kənˈklusɪvli. ˈteɪkɪŋ ðə əˈbəv ˈɪntu əˈkaʊnt, ɪts ˈizi tɪ ˈpɪkʧər ɛz ðɪs greɪt, ˈhivɪŋ, ˈlɪvɪŋ, ˈbriðɪŋ mæs əv ˈkɑmplɛks ˈkɛmɪkəl riˈækʃənz, ˈəndərˌlaɪnɪŋ ðə ədˈvaɪs ðət ʃɛfs doʊl aʊt taɪm ənd əˈgɛn: kip ɔn ˈteɪstɪŋ. ˌhaʊˈɛvər, ðɛr ər rulz əv θəm, səʧ ɛz: ˈnɛvər kʊk piz ənd brɔd binz ɪn ˈsɔltɪd ˈwɔtər ənˈlɛs ju prɪˈfər ðɛr skɪn hɑrd ənd krækt. ənd doʊnt sɔlt ˈməʃrumz ˌbiˈfɔr ðɛr kʊkt, ənˈlɛs ju ˈæˌkʧuəli wɔnt ðɛm lɪmp ənd shrivelled*. ˈjuʒəwəli, əbˈzərvz steingarten*, "sɔlt ˈædɪd æt ðə ˈteɪbəl bɪˈkəmz ðə ˈdɑmənənt, ˈdəzənt baɪnd ðə ˈəðər teɪsts təˈgɛðər ənd livz ju wɪθ ə ˈsɔlti ˈæftərˌteɪst." ðɪs ɪz ˈsætɪsˌfaɪɪŋ ɔn ʧɪps (ənd ɪn ˈɛni keɪs ˈsɔltɪŋ ʧɪps waɪl ðɛr ˈkʊkɪŋ wɪl ˈrɛndər ðɛm ˈsɑgi, tu), bət ɪn ə sɔs ər mit dɪʃ, ju ˈrɪli nid tɪ gɪt ðə sɔlt ˈsərkjəˌleɪtɪŋ æt ðə stɑrt əv ˈkʊkɪŋ tɪ gɪt ðə fʊl ˈbɛnəfɪt. ˈflɔrəns naɪt, ʃɛf æt ɪn ˈləndən ənd ˈɔθər əv wən: ə kʊk ənd hər ˈkəbərd, ædz ə ˈʤɛnərəs pɪnʧ əv sɔlt tɪ ˈpɑstə ˈwɔtər wəns ɪt həz ˈbeɪgən tɪ bɔɪl ənd, ʃi sɪz, "aɪ ˈɔlˌweɪz æd səm əv ðə ˈpɑstə ˈwɔtər tɪ ðə sɔs aɪ æm pərˈpɛrɪŋ. fər mi ðɪs ɪz ən ɛˈsɛnʃəl stɛp ɪn ˈmeɪkɪŋ ˈɛni gʊd sɔs." ʃi ˈɔlsoʊ ædz ə pɪnʧ əv sɔlt tɪ keɪk ˈbætər. du ju hæv ˈɛni ˈəðər ˈsɔltɪŋ tɪps tɪ æd? tɛl ˈjuˈɛs bɪˈloʊ. ðɪs ˈɑrtɪkəl wɑz əˈmɛndɪd ɔn 29 ˈʤænjuˌɛri 2014 ɪt ɪz ˈsoʊdiəm aɪɑnz, nɑt ˈmɑləˌkjulz, ðət tərn daʊn ðə ˈbɪtərnəs rəˈsɛptərz ɔn ɑr təŋz.
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the science of how salt affects the taste of food is more complicated than you might think – but it's vital to understand if you want to improve your skill in the kitchen
ferran adrià once declared salt "the only product that changes cuisine". this is because, as he and all seasoned cooks know, sodium chloride not only adds saltiness, which human beings innately adore (because we need it to live), but it also skews the overall flavour to positive effect. it makes food sing by suppressing bitterness, enhancing sweet and savoury, and turning up the volume on the aromas. but how on earth does it do all this?
bye-bye bitter
the bitter-reducing ability of salt is a marvel. it is why coffee aficionados add an undetectable pinch to their grounds before brewing, says barry smith of london university's centre for the study of the senses. and why a saline olive is the perfect bedfellow to the bitter, liquorice finish of a valpolicella. but it is not easy to uncover the precise mechanics of this culinary godsend, what with it occurring on a molecular level. we do know that it is a physiological phenomenon, rather than cognitive. even if there isn't enough salt in our mouths for us to consciously taste it, the effect will still happen. and if you stimulate one side of the tongue with salt, and then put something bitter such as quinine on the other side, the salt will generally not suppress the bitterness. the two tastes have to be hitting the same receptors for it to work. put very simply, we think that sodium ions turn down bitter responses in the receptors.
hello sweetness
the above process has a role in bringing out sweetness, too. if a food has both bitter and sweet notes, the two tend to dampen perception of each other (this is a cognitive function, rather than something that's happening in the taste receptors). paul breslin of rutgers university, who is pretty much the don when it comes to tasting science, gives the example of a grapefruit. remember, the sweet and bitter notes will already be suppressing each other. "when i add salt to it," he says, "i then suppress some of the negative notes, like the bitter taste." by knocking the bitter down, the sweetness – "or other pleasant tastes, such as savoury," he adds – are released from their bitter shackles. so not only is the bitterness turned down, but the sweetness is turned up.
salting out the aromas
veteran food writer jeffrey steingarten, in his book the man who ate everything, wrote that salt magnifies the natural aromas in food. this concept has always flummoxed me, and i ask breslin how this could possibly be. in fact, he replies, there are two ways in which salt affects the aroma (which is commonly said to account for 80% of overall flavour perception, although this is little more than a widely accepted guestimate).
firstly, says breslin, if you change the taste profile, it will interact with the aromas differently. we have "learned synergies" between tastes and smells. the smell of peanut butter goes with salt, strawberry and vanilla are associated with sugar, and so on. returning to his fruit analogy, salting will "not only change the flavour profile by suppressing bitter, thereby bringing out sweet more. the sweet will go with the fruit flavours and maybe enhance or synergise with the fruit flavours."
in addition, when the salted surface is liquid, like on a melon or grapefruit, a thing called salting out occurs. the salt draws out more of the volatile molecules that give rise to the aroma. the salt effectively changes the vapour pressure, "and this can be measured on a machine", adds breslin, conclusively.
taking the above into account, it's easy to picture flavour as this great, heaving, living, breathing mass of complex chemical reactions, underlining the cookery advice that chefs dole out time and again: keep on tasting. however, there are rules of thumb, such as: never cook peas and broad beans in salted water unless you prefer their skin hard and cracked. and don't salt mushrooms before they're cooked, unless you actually want them limp and shrivelled.
usually, observes steingarten, "salt added at the table becomes the dominant flavour, doesn't bind the other tastes together and leaves you with a salty aftertaste." this is satisfying on chips (and in any case salting chips while they're cooking will render them soggy, too), but in a sauce or meat dish, you really need to get the salt circulating at the start of cooking to get the full benefit.
florence knight, chef at polpetto in london and author of one: a cook and her cupboard, adds a generous pinch of salt to pasta water once it has begun to boil and, she says, "i always add some of the pasta water to the sauce i am preparing. for me this is an essential step in making any good sauce." she also adds a pinch of salt to cake batter.
do you have any other salting tips to add? tell us below.
• this article was amended on 29 january 2014. it is sodium ions, not molecules, that turn down the bitterness receptors on our tongues.
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wɪθ ðə haʊs voʊt ɔn ðə ˈpɑrtnərˌʃɪp dil ˈlumɪŋ, ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə ðɪs wik həz bɪn ˈræmpɪŋ əp ˈprɛʃər ɔn ˌdɛməˈkrætɪk ˈlɛʤəsˌleɪtərz tɪ bæk ðə fri treɪd pækt, ˈɔfərɪŋ kæmˈpeɪn səˈpɔrt ɪn ɪksˈʧeɪnʤ fər ðɛr voʊt. əˈmɪd strɔŋ əˈtæks frəm ˈjunjənz eɪmd æt ˈdɛməˌkræts hu ˈfeɪvər ðə dil, ˌoʊˈbɑmə eɪmz tɪ ˈboʊlstər ˈweɪvərɪŋ ˈpɑrti səˈpɔrt, əˈkɔrdɪŋ tɪ ðə əˈsoʊʃiˌeɪtəd prɛs. ˌɔlˈðoʊ ðə dil pæst θru ðə ˈsɛnɪt, ɪts ˈpæsɪʤ ɪn ðə haʊs ɪz məʧ mɔr kənˈtɛnʃəs, ənd ˌoʊˈbɑmə həz bɪn ˈprɛʃərɪŋ ˈmɛmbərz əv ðə ˌdɛməˈkrætɪk ˈpɑrti ˈviə ˈtɛləˌvɪʒən əˈpɪrənsəz ənd ˈpərsɪnəl foʊn kɔlz sɪns ʤun 3 əˈkɔrdɪŋ tɪ ˈrɔɪtərz. ðə voʊt ɪz ɪkˈspɛktɪd tɪ teɪk pleɪs ˈsəmˌtaɪm ˈoʊvər ðə nɛkst ˈsɛvərəl wiks. waɪl ðə rɪˈpəblɪkən ˈlidərˌʃɪp ˈædvəˌkeɪts ðə ˈpɑrtnərˌʃɪp (tpp*), ə treɪd əˈgrimənt bɪtˈwin 12 ˈneɪʃənz ðət wʊd ɪˈlɪməˌneɪt ˈtɛrəfs tɪ meɪk treɪd mɔr ɪˈfɪʃənt ənd ˌɪnˈkris ˌrɛgjəˈleɪʃən ˈoʊvərˈsiz, səˈpɔrt frəm ˈdɛməˌkræts həz bɪn ˈlækɪŋ ˈoʊvər fɪrz ðə dil wʊd ˌaʊtˈsɔrs ʤɑbz, ɛz ðə nɔrθ əˈmɛrɪkən fri treɪd əˈgrimənt (ˈnæftə), saɪnd baɪ ˈfɔrmər ˈprɛzɪdənt bɪl ˈklɪntən, həz bɪn əˈkjuzd əv duɪŋ. ðə həz bɪn ˈrənɪŋ ə ˈtɛləˌvɪʒən æd kæmˈpeɪn əˈgɛnst ðə dil, bət ˌoʊˈbɑmə hoʊps ðə dil wɪl bi ə ˈsɪgnəʧər pɑrt əv hɪz ˈlɛgəsi, əˈspɛʃəli sɪns ɪt wʊd bust ðə roʊl əv ðə juˈnaɪtɪd steɪts ɪn ðə pəˈsɪfɪk rɪm. "əm nɑt goʊɪŋ tɪ haɪˈpɑθəˌsaɪz əˈbaʊt nɑt ˈgɪtɪŋ ɪt dən," ˌoʊˈbɑmə sɛd ˈmənˌdeɪ æt ðə grup əv ˈsɛvən ˈmitɪŋ ɪn ˈʤərməni ɔn ˈmənˌdeɪ, rɪˈpɔrts ðə əˈsoʊʃiˌeɪtəd prɛs. "aɪ ˌɪnˈtɛnd tɪ gɪt ɪt dən." ʤəˈpæn ənd ˈkænədə, ˈmɛmbərz əv wʊd ˈɔlsoʊ bi pɑrt əv. ˌoʊˈbɑməz ˈɔfər əv kæmˈpeɪn hɛlp tɪ ˈkɑmpənˌseɪt fər ˈpraɪˌmɛri ˈʧælənʤərz ər ˈjunjən həz hæd ə mɪkst rɪˈsɛpʃən, wɪθ səm ˈskɛptɪˌsɪzəm ˈoʊvər haʊ ˈpaʊərfəl ə strɔŋ ɛnˈdɔrsmənt frəm ðə ˈprɛzɪdənt wʊd bi. ˈgrɛʧən ˈnuzəm əv ðə ˌɪnərˈnæʃənɑl ˈbrəðərˌhʊd əv ɪˈlɛktrɪkəl ˈwərkərz toʊld ðə əˈsoʊʃiˌeɪtəd prɛs ðət ˈjunjənz' ˌɑpərˈeɪʃən ɪz məʧ mɔr ˈpaʊərfəl ðən ə "səˈlɛbrɪti ɛnˈdɔrsmənt" frəm ˌoʊˈbɑmə. bət dæn ˈfaɪfər, ˌoʊˈbɑməz ˈfɔrmər ˈsinjər ædˈvaɪzər, toʊld ðə ˌeɪˈpi ðət "hi ˈɔfərz ˈfənˌdreɪsɪŋ ənd ˌɔrgənəˈzeɪʃənəl ˈməsəl laɪk noʊ wən ɛls ˈəðər ðən ðə ˌdɛməˈkrætɪk ˌnɑməˈni, hu wɪl bi ˈəðərˌwaɪz ˈɑkjəˌpaɪd." ðə dɪˈvaɪd əˈməŋ ˈdɛməˌkræts ˈoʊvər ɪz ən ˌɛkəˈnɑmɪk wən, əˈkɔrdɪŋ tɪ ðə ˈwɔʃɪŋtən poʊst, wɪθ ˈsɪləkən ˈvæli, ˈhɑliˌwʊd ənd ˈbɪznɪsɪz ˈstrɔŋli ˈfeɪvərɪŋ ðə dil, waɪl ˈwərkərz ˈjunjənz si ɪt ɛz ə θrɛt tɪ ðɛr ʤɑbz.
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with the house vote on the trans-pacific partnership deal looming, president barack obama this week has been ramping up pressure on democratic legislators to back the free trade pact, offering campaign support in exchange for their vote. amid strong attacks from unions aimed at democrats who favor the deal, obama aims to bolster wavering party support, according to the associated press.
although the deal passed through the senate, its passage in the house is much more contentious, and obama has been pressuring members of the democratic party via television appearances and personal phone calls since june 3, according to reuters. the vote is expected to take place sometime over the next several weeks.
while the republican leadership advocates the trans-pacific partnership (tpp), a trade agreement between 12 nations that would eliminate tariffs to make trade more efficient and increase regulation overseas, support from democrats has been lacking over fears the deal would outsource jobs, as the north american free trade agreement (nafta), signed by former president bill clinton, has been accused of doing. the afl-cio has been running a television ad campaign against the deal, but obama hopes the deal will be a signature part of his legacy, especially since it would boost the role of the united states in the pacific rim.
"i'm not going to hypothesize about not getting it done," obama said monday at the group of seven meeting in germany on monday, reports the associated press. "i intend to get it done." japan and canada, members of g-7, would also be part of tpp.
obama's offer of campaign help to compensate for primary challengers or union atacks has had a mixed reception, with some skepticism over how powerful a strong endorsement from the president would be.
gretchen newsom of the international brotherhood of electrical workers told the associated press that unions' get-out-the-vote operation is much more powerful than a "celebrity endorsement" from obama.
but dan pfeiffer, obama's former senior adviser, told the ap that "he offers fundraising and organizational muscle like no one else other than the democratic nominee, who will be otherwise occupied."
the divide among democrats over tpp is an economic one, according to the washington post, with silicon valley, hollywood and left-leaning businesses strongly favoring the deal, while blue-collar workers unions see it as a threat to their jobs.
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ðə fˈjuʧər əv feɪk nuz ɪz ˈrilˌtaɪm ˈvɪdioʊ məˌnɪpjəˈleɪʃən nɪk ˈbɪltən rɪˈpɔrts ɔn ðə nɛkst raʊnd əv feɪk nuz tulz ðət əˈlaʊ ˈjuzərz tɪ məˈnɪpjəˌleɪt ˈɑdiˌoʊ ənd ˈvɪdioʊ tɪ ʧeɪnʤ wəts biɪŋ sɛd, ə sɔrt əv ˈrilˌtaɪm ˈfoʊˌtoʊˌʃɑp fər ˈmuvɪŋ ˈɪmɪʤɪz ənd ˈɑdiˌoʊ. wɔnt tɪ meɪk ɪt lʊk laɪk ə səˈlɛbrɪti juzd ə tæˈbu wərd, ər mɪskˈwoʊt ə ˌpɑləˈtɪʃən? noʊ ˈprɑbləm! frəm ðə ˈrisərʧ tim: wi ˈprɛzənt ə ˈnɑvəl əˈproʊʧ fər ˈrilˌtaɪm ˈfeɪʃəl riɪˈnæktmənt əv ə ˈtərgət ˈvɪdioʊ ˈsikwəns (e.g*., ˈjuˌtub ˈvɪdioʊ). ðə sɔrs ˈsikwəns ɪz ˈɔlsoʊ ə ˈvɪdioʊ strim, ˈkæpʧərd lɪv wɪθ ə kəˈmɑdəti webcam*. ɑr goʊl ɪz tɪ ˈænəˌmeɪt ðə ˈfeɪʃəl ɪkˈsprɛʃənz əv ðə ˈtərgət ˈvɪdioʊ baɪ ə sɔrs ˈæktər ənd ðə məˈnɪpjəˌleɪtɪd ˈaʊtˌpʊt ˈvɪdioʊ ɪn ə ˈfæʃən. tɪ ðɪs ɛnd, wi fərst ˈæˌdrɛs ðə ˈprɑbləm əv ˈfeɪʃəl aɪˈdɛntəˌti rɪˈkəvəri frəm ˈvɪdioʊ baɪ ˈbəndəlɪŋ. æt rən taɪm, wi træk ˈfeɪʃəl ɪkˈsprɛʃənz əv boʊθ sɔrs ənd ˈtərgət ˈvɪdioʊ ˈjuzɪŋ ə dɛns kənˈsɪstənsi ˈmɛʒər. riɪˈnæktmənt ɪz ðɛn əˈʧivd baɪ fæst ənd ɪˈfɪʃənt ˌdifɔrˈmeɪʃən ˈtrænsfər bɪtˈwin sɔrs ənd ˈtərgət. ðə maʊθ ˌɪnˈtɪriər ðət bɛst ˈmæʧɪz ðə ɪkˈsprɛʃən ɪz riˈtrivd frəm ðə ˈtərgət ˈsikwəns ənd wɔrpt tɪ ˈproʊdus ən ˈækjərət fɪt. ˈfaɪnəli, wi kənˈvɪnsɪŋli ðə ˈsɪnθɪˌsaɪzd ˈtərgət feɪs ɔn tɔp əv ðə ˌkɔrəˈspɑndɪŋ ˈvɪdioʊ strim səʧ ðət ɪt ˈsimləsli blɛndz wɪθ ðə ˈrilˌwərld ˌɪˌluməˈneɪʃən. wi ˈdɛmənˌstreɪt ɑr ˈmɛθəd ɪn ə lɪv ˈsɛˌtəp, wɛr ˈjuˌtub ˈvɪdioʊz ər riɪˈnæktɪd ɪn ril taɪm. ˈbɪltən ˈɔlsoʊ rɪˈpɔrts ɔn əˈdoʊbi voco*, ə ˈsɪmələr ˈɑdiˌoʊ tɛkˈnɑləʤi. ˈɑdiˌoʊ ədˈvænsmənts meɪ bi ʤɪst ɛz ˈhɛroʊɪŋ. æt ɪts ˈænjuəl ˈkɑnfərəns, ɪn noʊˈvɛmbər, əˈdoʊbi ʃoʊd ɔf ə nu ˈprɑdəkt ðət həz bɪn ˈnɪkˌneɪmd fər audio.”*.” ðə ˈprɑdəkt əˈlaʊz ˈjuzərz tɪ fid əˈbaʊt tɛn tɪ 20 ˈmɪnəts əv vɔɪs ˈɪntu ðə ˌæpləˈkeɪʃən ənd ðɛn əˈlaʊz ðɛm tɪ taɪp wərdz ðət ər ɪkˈsprɛst ɪn ðət ɪgˈzækt vɔɪs. ðə riˈzəltənt vɔɪs, wɪʧ ɪz kəmˈpraɪzd əv ðə ˈfoʊnimz, ər ðə dɪˈstɪŋkt ˈjunɪts əv saʊnd ðət dɪˈstɪŋgwɪʃ wən wərd frəm əˈnəðər ɪn iʧ ˈlæŋgwɪʤ, saʊnd ˈivɪn riˈmoʊtli kəmˈpjutərˈʤɛnərˌeɪtəd ər meɪd əp. ɪt saʊnz ril. gɪt ˈrɛdi fər ðə wərld tɪ bi ˈivɪn mɔr post-truthy*! feɪk nuz ɪz əˈbaʊt tɪ gɪt ˈskɛriər ðən ju ˈɛvər drimd (ˈvænɪti fɛr)
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the future of fake news is real-time video manipulation
nick bilton reports on the next round of fake news tools that allow users to manipulate audio and video to change what's being said, a sort of real-time photoshop for moving images and audio. want to make it look like a celebrity used a taboo word, or misquote a politician? no problem!
from the face2face research team:
we present a novel approach for real-time facial reenactment of a monocular target video sequence (e.g., youtube video). the source sequence is also a monocular video stream, captured live with a commodity webcam. our goal is to animate the facial expressions of the target video by a source actor and re-render the manipulated output video in a photo-realistic fashion. to this end, we first address the under-constrained problem of facial identity recovery from monocular video by non-rigid model-based bundling. at run time, we track facial expressions of both source and target video using a dense photometric consistency measure. reenactment is then achieved by fast and efficient deformation transfer between source and target. the mouth interior that best matches the re-targeted expression is retrieved from the target sequence and warped to produce an accurate fit. finally, we convincingly re-render the synthesized target face on top of the corresponding video stream such that it seamlessly blends with the real-world illumination. we demonstrate our method in a live setup, where youtube videos are reenacted in real time.
bilton also reports on adobe voco, a similar audio technology.
audio advancements may be just as harrowing. at its annual developer’s conference, in november, adobe showed off a new product that has been nicknamed “photoshop for audio.” the product allows users to feed about ten to 20 minutes of someone’s voice into the application and then allows them to type words that are expressed in that exact voice. the resultant voice, which is comprised of the person’s phonemes, or the distinct units of sound that distinguish one word from another in each language, doesn’t sound even remotely computer-generated or made up. it sounds real.
get ready for the world to be even more post-truthy!
• fake news is about to get scarier than you ever dreamed (vanity fair)
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ˈfaɪnəl ˈfænəsi ɪz ə ˈprɑpərti əv skwɛr ˈɛnɪks. ɪf ju laɪk ˈvɪdioʊ geɪmz, ɛz wɛl ɛz ˈgɪvɪŋ tɪ ˈʧɛrɪti, ləv ðə spid ˈgeɪmərz. ðə spid ˈgeɪmərz ər ə grup əv ˈdɛdəkeɪtəd ˈgeɪmərz hu, ə fju taɪmz ə jɪr, pleɪ ˈvɪdioʊ geɪmz lɪv ɔn strim fər deɪz ɔn ɛnd. ðɛr ˈmɛrəˌθɑnz ˈɔlˌweɪz ˈvɛri, bət ˈtɪpɪkəli ˈkəvər ə spɪˈsɪfɪk sɛt əv geɪmz. fər ɪgˈzæmpəl, ðɪs mɑrʧ, ðeɪ pleɪd ə 4 deɪ lɔŋ ˈmɛgə mæn ˈmɛrəˌθɑn, ənd læst dɪˈsɛmbər, ðeɪ hæd ə 3 deɪ lɔŋ ˈmɑrioʊ ˈmɛrəˌθɑn. ðeɪ ˈivɪn hæd ə ˈmɛrəˌθɑn, wɪθ ə goʊl əv ˈkæʧɪŋ ˈɛvəri əˈveɪləbəl. ðə ˈmɛrəˌθɑn ˈlæstɪd ə fʊl wik. ˈdʊrɪŋ ðiz ˈmɛrəˌθɑnz, vjuərz (ˈtɪpɪkəli ˈhənərdz ər ˈivɪn ˈθaʊzənz əv ðɛm) kən ʧuz tɪ ˈdoʊˌneɪt. ðiz doʊˈneɪʃənz lɛd təˈwɔrdz ˈhjumərəs goʊlz, səʧ ɛz ə paɪ ɪn ðə feɪs əv huˈɛvər ɪz pleɪɪŋ, ər ˈhævɪŋ ðɛm kənˈsum ˈsəmθɪŋ dɪsˈgəstɪŋ (fər ɪgˈzæmpəl, goʊst ˈpɛpər hɑt sɔs.) ðɛr ˈtɪpɪkəli ɪz ˈsəmˌwən pleɪɪŋ æt ɔl taɪmz, ɛz wɛl ɛz ˈsəmˌwən tɪ kip θɪŋz ˈɪntəˌrɛstɪŋ. ðɛr ˈrɪli ɪz ˈnɛvər ə dəl ˈmoʊmənt ˈdʊrɪŋ wən əv ðɛr ˈmɛrəˌθɑnz. bət, wət ɪz ðə bɛst pɑrt əˈbaʊt ðə spid ˈgeɪmərz? əˈsaɪd frəm biɪŋ fən ənd ˌɛnərˈteɪnɪŋ, 100 əv ðə doʊˈneɪʃənz frəm ðə ˈmɛrəˌθɑn goʊz tɪ ˈʧɛrɪti. ðə spid ˈgeɪmərz teɪk ə sɛnt fər ðɛmˈsɛlvz, ənd ðə ˈməni goʊz streɪt tɪ ðə ˈʧɛrɪti. sɪns 2008 ðə spid ˈgeɪmərz hæv reɪzd ən ˌɪnˈkrɛdəbəl ˈdɔlərz fər ˈʧɛrɪti, ənd ðə ˈʧɛrɪtiz ðeɪ səˈpɔrt ər ˈvɛrid. fər ɪgˈzæmpəl, ðɛr moʊst ˈrisənt ˈmɑrioʊ ˈmɛrəˌθɑn reɪzd ˈoʊvər fər ðə faʊnˈdeɪʃən. ðɛr moʊst səkˈsɛsfəl ˈmɛrəˌθɑn tɪ deɪt həz bɪn ðɛr ˈmɛrəˌθɑn, wɪʧ reɪzd fər ækt təˈdeɪ. dɪz ðɪs hæv ju ˌɪnˈtrigd? ðə spid ˈgeɪmərz ər ˈhoʊstɪŋ ə wik lɔŋ ˈfaɪnəl ˈfænəsi ˈmɛrəˌθɑn bɪˈgɪnɪŋ təˈmɑˌroʊ, ʤun 24th*, æt piɛm (ˈistərn taɪm.) ðə ˈʧɛrɪti əv ʧɔɪs wɪl əˈgɛn bi ækt təˈdeɪ, wɪʧ ˈfoʊkɪsɪz ɔn ˈɔˌtɪzəm kɛr ənd ˈtritmənt. ðə spid gamers’*’ ˈwɛbˌsaɪt kən bi faʊnd æt ənd ˈfiʧərz ðə strim ˌɪtˈsɛlf, faq*, fæn ɑrt, ə ˈfɔrəm, ˌɪnˌfɔrˈmeɪʃən ɔn ˈmɛrəˌθɑnz pæst, ənd mɔr. ðə doʊˈneɪʃən ˈwɪʤɪt kənˈvinjəntli sɪts raɪt əˈbəv ðə strim. ˈivɪn ɪf əˈneɪbəl tɪ ˈdoʊˌneɪt ˈməni tɪ ðə kɔz, ju kən stɪl hɛlp. wɪn ðə taɪm kəmz, ʧɛk aʊt ðə ˈmɛrəˌθɑn, tɛl jʊr frɛndz, ənd poʊst əˈbaʊt ɪt ɔn ˈsoʊʃəl ˈmidiə. ˈɛvəri bɪt əv ɪkˈspoʊʒər kaʊnts, ənd wɪl lɛd tɪ ˈbɛtər lɪvz fər ðoʊz hɛlpt baɪ ðə ˈʧɛrɪti, ˈwɛðər ˈʧɪldrən wɪθ ˈɔˌtɪzəm, ˈpipəl əˈfɛktɪd baɪ ˈnæʧərəl dɪˈzæstərz, ər əˈbændənd pɛts. ðə spid gamers’*’ ˈmɛrəˌθɑnz ər fən, ˌɛnərˈteɪnɪŋ, ənd ˌbɛnəˈfɪʃəl tɪ ðoʊz ɪn nid. ɪf ə fæn əv ˈvɪdioʊ geɪmz, stɑp ɔn baɪ ʤun 24th*. aɪ noʊ aɪ wɪl.
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final fantasy is a property of square enix.
if you like video games, as well as giving to charity, you’ll love the speed gamers.
the speed gamers are a group of dedicated gamers who, a few times a year, play video games live on stream for days on end. their marathons always vary, but typically cover a specific set of games. for example, this march, they played a 4 day long mega man marathon, and last december, they had a 3 day long mario marathon. they even had a pokemon marathon, with a goal of catching every pokemon available. the marathon lasted a full week. during these marathons, viewers (typically hundreds or even thousands of them) can choose to donate. these donations lead towards humorous goals, such as a pie in the face of whoever is playing, or having them consume something disgusting (for example, ghost pepper hot sauce.) there typically is someone playing at all times, as well as someone commentating to keep things interesting. there really is never a dull moment during one of their marathons.
but, what is the best part about the speed gamers? aside from being fun and entertaining, 100% of the donations from the marathon goes to charity. the speed gamers don’t take a cent for themselves, and the money goes straight to the charity. since 2008, the speed gamers have raised an incredible $393,240.65 dollars for charity, and the charities they support are varied. for example, their most recent mario marathon raised over $12,000 for the make-a-wish foundation. their most successful marathon to date has been their pokemon marathon, which raised $59,324.36 for act today.
does this have you intrigued? the speed gamers are hosting a week long final fantasy marathon beginning tomorrow, june 24th, at 7:00 pm (eastern time.) the charity of choice will again be act today, which focuses on autism care and treatment.
the speed gamers’ website can be found at www.thespeedgamers.com , and features the stream itself, faq, fan art, a forum, information on marathons past, and more. the donation widget conveniently sits right above the stream.
even if you’re unable to donate money to the cause, you can still help. when the time comes, check out the marathon, tell your friends, and post about it on social media. every bit of exposure counts, and will lead to better lives for those helped by the charity, whether it’s children with autism, people affected by natural disasters, or abandoned pets.
the speed gamers’ marathons are fun, entertaining, and beneficial to those in need. if you’re a fan of video games, stop on by june 24th. i know i will.
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mɪlˈwɔki ˈwɪnfərd ˈtɑmsən əv mɪlˈwɔki ˈfeɪsɪz ə ˈkrɪmənəl ʧɑrʤ əv ˈrɛkləs ˈhɑməˌsaɪd ɪn kəˈnɛkʃən wɪθ ðə ˈʃutɪŋ dɛθ əv hɪz sən, ˈtɑmsən. ˈtɑmsən wɑz ʃɑt ɪn ə ˈdraɪvˌweɪ ˈdʊrɪŋ ə dɪˈspjut ɪn ðə ˈneɪbərˌhʊd nɪr ənd ˈʧɛri ɪn mɪlˈwɔki ɔn ˈmənˌdeɪ ˈivnɪŋ, ˈeɪprəl. əˈkɔrdɪŋ tɪ ðə ˈkrɪmənəl kəmˈpleɪnt, ə ˈwɪtnəs toʊld pəˈlis ðət hæd tɪ ˈbɑˌroʊ ˈwɪnfərd ˈviɪkəl soʊ ðət hi kʊd goʊ tɪ ə ʤɑb ˈɪntərvˌju ənd ˈwɪnfərd ˈtɑmsən sɛd ðət hi wʊd nɑt lɛnd ɪm ðə vehicle.”*.” ən ˈɑrgjəmənt broʊk aʊt ənd ðɛn ðə ˈwɪtnəs ˈɪndəˌkeɪtɪd ə ˈgənˌʃɑt wɑz hərd. ðə ˈwɪtnəs sɛd hi ˈwɪnfərd ˈstændɪŋ baɪ ðə dɔr wɪθ ə blæk handgun.”*.” ðə ˈwɪtnəs ˈɪndəˌkeɪtɪd ˈtɑmsən wɑz nɑt θˈrɛtənɪŋ nɔr dɪd hi hæv ˈɛniˌθɪŋ ɪn hɪz hands.”*.” ˈwɪnfərd ˈtɑmsən əˈpɛrəntli droʊv əˈweɪ æt ðət pɔɪnt. ˈæftər pəˈlis əraɪvd ɔn ðə sin, ðə kəmˈpleɪnt sɪz ˈwɪnfərd ˈtɑmsən pʊld bæk ˈɪntu ðə ˈdraɪvˌweɪ, ðə ˈviɪkəl ənd əˈproʊʧt (pəˈlis) ˈsteɪtɪŋ, dɪd hi hæv tɪ faɪt mi wɪθ me?'”*?'” ɪf kənˈvɪktəd əv ˈrɛkləs ˈhɑməˌsaɪd, ˈtɑmsən ˈfeɪsɪz əp tɪ 25 jɪrz ɪn ˈprɪzən ənd ɪn faɪnz.
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milwaukee — 44-year-old winford thompson of milwaukee faces a criminal charge of second-degree reckless homicide in connection with the shooting death of his son, 25-year-old donte thompson.
donte thompson was shot in a driveway during a dispute in the neighborhood near 18th and cherry in milwaukee on monday evening, april 18th.
according to the criminal complaint, a witness told police that donte had “asked to borrow winford thompson’s vehicle so that he could go to a job interview and winford thompson said that he would not lend him the vehicle.” an argument broke out — and then the witness indicated a gunshot was heard. the witness said he “observed winford standing by the driver’s door with a black handgun.” the witness indicated “donte thompson was not threatening nor did he have anything in his hands.” winford thompson apparently drove away at that point.
after police arrived on the scene, the complaint says winford thompson pulled back into the driveway, “exited the vehicle and approached (police) stating, ‘why did he have to fight me with me?'”
if convicted of second-degree reckless homicide, thompson faces up to 25 years in prison and $100,000 in fines.
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ə stroʊk ˈθɛrəpi ˈjuzɪŋ stɛm sɛlz ɛkˈstræktɪd frəm ˈpeɪʃənz' boʊn ˈmɛroʊ həz ʃoʊn ˈprɑməsɪŋ rɪˈzəlts ɪn ðə fərst traɪəl əv ɪts kaɪnd ɪn ˈjumənz. faɪv ˈpeɪʃənz rɪˈsivd ðə ˈtritmənt ɪn ə ˈpaɪlət ˈstədi kənˈdəktəd baɪ ˈdɑktərz æt ˌɪmˈpɪriəl ˈkɑlɪʤ ˈhɛlθˌkɛr trəst ənd ˈsaɪəntɪsts æt ˌɪmˈpɪriəl ˈkɑlɪʤ ˈləndən. ðə ˈθɛrəpi wɑz faʊnd tɪ bi seɪf, ənd ɔl ðə ˈpeɪʃənz ʃoʊd ˌɪmˈpruvmənts ɪn ˈklɪnɪkəl ˈmɛʒərz əv ˌdɪsəˈbɪlɪti. ðə ˈfaɪndɪŋz ər ˈpəblɪʃt ɪn ðə ˈʤərnəl stɛm sɛlz ˈmɛdəsən. ɪt ɪz ðə fərst ˈjumən traɪəl əv ə stɛm sɛl ˈtritmənt fər əˈkjut stroʊk tɪ bi ˈpəblɪʃt. ðə ˈθɛrəpi ˈjuzɪz ə taɪp əv sɛl kɔld sɛlz, ə sɛt əv stɛm sɛlz ɪn ðə boʊn ˈmɛroʊ ðət gɪv raɪz tɪ bləd sɛlz ənd bləd ˈvɛsəl ˈlaɪnɪŋ sɛlz. ˈpriviəs ˈrisərʧ həz ʃoʊn ðət ˈtritmənt ˈjuzɪŋ ðiz sɛlz kən sɪgˈnɪfɪkəntli ˌɪmˈpruv rɪˈkəvəri frəm stroʊk ɪn ˈænəməlz. ˈrəðər ðən dɪˈvɛləpɪŋ ˈɪntu breɪn sɛlz ðɛmˈsɛlvz, ðə sɛlz ər θɔt tɪ riˈlis ˈkɛmɪkəlz ðət ˈtrɪgər ðə groʊθ əv nu breɪn ˈtɪʃu ənd nu bləd ˈvɛsəlz ɪn ðə ˈɛriə ˈdæmɪʤd baɪ stroʊk. ðə ˈpeɪʃənz wər ˈtritɪd wɪˈθɪn ˈsɛvən deɪz əv ə səˈvɪr stroʊk, ɪn ˈkɑntræst tɪ ˈsɛvərəl ˈəðər stɛm sɛl traɪəlz, moʊst əv wɪʧ hæv ˈtritɪd ˈpeɪʃənz ˈæftər sɪks mənθs ər ˈleɪtər. ðə ˌɪmˈpɪriəl ˈrisərʧərz bɪˈliv ˈərli ˈtritmənt meɪ ˌɪmˈpruv ðə ˈʧænsɪz əv ə ˈbɛtər rɪˈkəvəri. ə boʊn ˈmɛroʊ ˈsæmpəl wɑz ˈteɪkən frəm iʧ ˈpeɪʃənt. ðə sɛlz wər ˈaɪsəˌleɪtɪd frəm ðə ˈsæmpəl ənd ðɛn ˌɪnfˈjuzd ˈɪntu ən ˈɑrtəri ðət səˈplaɪz ðə breɪn. noʊ ˈpriviəs traɪəl həz səˈlɛktɪvli juzd sɛlz, soʊ ˈərli ˈæftər ðə stroʊk, ənˈtɪl naʊ. ˌɔlˈðoʊ ðə traɪəl wɑz ˈmeɪnli dɪˈzaɪnd tɪ əˈsɛs ðə ˈseɪfti ənd əv ðə ˈtritmənt, ðə ˈpeɪʃənz ɔl ʃoʊd ˌɪmˈpruvmənts ɪn ðɛr kənˈdɪʃən ɪn ˈklɪnɪkəl tɛsts ˈoʊvər ə ˈfɑloʊˌəp ˈpɪriəd. fɔr aʊt əv faɪv ˈpeɪʃənz hæd ðə moʊst səˈvɪr taɪp əv stroʊk: ˈoʊnli fɔr pər sɛnt əv ˈpipəl hu ɪkˈspɪriəns ðɪs kaɪnd əv stroʊk ər ɪkˈspɛktɪd tɪ bi əˈlaɪv ənd ˌɪndɪˈpɛndənt sɪks mənθs ˈleɪtər. ɪn ðə traɪəl, ɔl fɔr əv ðiz ˈpeɪʃənz wər əˈlaɪv ənd θri wər ˌɪndɪˈpɛndənt ˈæftər sɪks mənθs. ˈdɑktər ˈsoʊmə bəˈnərʤi, ə lɛd ˈɔθər ənd kənˈsəltənt ɪn stroʊk ˈmɛdəsən æt ˌɪmˈpɪriəl ˈkɑlɪʤ ˈhɛlθˌkɛr trəst, sɛd: "ðɪs ˈstədi ʃoʊd ðət ðə ˈtritmənt əˈpɪrz tɪ bi seɪf ənd ðət ɪts ˈfizəbəl tɪ trit ˈpeɪʃənz ˈərli wɪn ðeɪ maɪt bi mɔr ˈlaɪkli tɪ ˈbɛnəfɪt. ðə ˌɪmˈpruvmənts wi sɔ ɪn ðiz ˈpeɪʃənz ər ˈvɛri ɪnˈkərəʤɪŋ, bət ɪts tu ˈərli tɪ drɔ dɪˈfɪnɪtɪv kənˈkluʒənz əˈbaʊt ðə ˈifɛktɪvnəs əv ðə ˈθɛrəpi. wi nid tɪ du mɔr tɛsts tɪ wərk aʊt ðə bɛst doʊs ənd fər ˈtritmənt ˌbiˈfɔr ˈstɑrtɪŋ ˈlɑrʤər traɪəlz." ˈoʊvər ˈpipəl hæv ə stroʊk ɪn ˈɪŋglənd ˈɛvəri jɪr. sərˈvaɪvərz kən bi əˈfɛktɪd baɪ ə waɪd reɪnʤ əv ˈmɛntəl ənd ˈfɪzɪkəl ˈsɪmptəmz, ənd ˈmɛni ˈnɛvər rɪˈkəvər ðɛr ˌɪndɪˈpɛndəns. stɛm sɛl ˈθɛrəpi ɪz sin ɛz ən ɪkˈsaɪtɪŋ nu pəˈtɛnʃəl ˈævəˌnu əv ˈtritmənt fər stroʊk, bət ɪts ɪgˈzækt roʊl ɪz jɛt tɪ bi ˈklɪrli dɪˈfaɪnd. ˈdɑktər pɔl ˈbɛntli, ˈɔlsoʊ ə lɛd ˈɔθər əv ðə ˈstədi, frəm ðə dɪˈpɑrtmənt əv ˈmɛdəsən æt ˌɪmˈpɪriəl ˈkɑlɪʤ ˈləndən, sɛd: "ðɪs ɪz ðə fərst traɪəl tɪ ˈaɪsəˌleɪt stɛm sɛlz frəm ˈjumən boʊn ˈmɛroʊ ənd ˌɪnˈʤɛkt ðɛm dɪˈrɛkli ˈɪntu ðə ˈdæmɪʤd breɪn ˈɛriə ˈjuzɪŋ ˈkiˌhoʊl tɛkˈniks. ɑr grup ər ˈkərəntli ˈlʊkɪŋ æt nu breɪn ˈskænɪŋ tɛkˈniks tɪ ˈmɑnətər ðə ˈifɛkts əv sɛlz wəns ðeɪ hæv bɪn ˌɪnˈʤɛktɪd." prəˈfɛsər ˈneɪgi həˈbib, ˈprɪnsəpəl ˌɪnˈvɛstəˌgeɪtər əv ðə ˈstədi, frəm ðə dɪˈpɑrtmənt əv ˈsərʤəri ənd ˈkænsər æt ˌɪmˈpɪriəl ˈkɑlɪʤ ˈləndən, sɛd: "ðiz ər ˈərli bət ɪkˈsaɪtɪŋ ˈdætə wərθ pərˈsuɪŋ. ˌsaɪənˈtɪfɪk ˈɛvədəns frəm ɑr læb ˈfərðər səˈpɔrts ðə ˈklɪnɪkəl ˈfaɪndɪŋz ənd ɑr eɪm ɪz tɪ dɪˈvɛləp ə drəg, beɪst ɔn ðə ˈfæktərz səˈkritəd baɪ stɛm sɛlz, ðət kʊd bi stɔrd ɪn ðə ˈhɑˌspɪtəl ˈfɑrməsi soʊ ðət ɪt ɪz ədˈmɪnɪstərd tɪ ðə ˈpeɪʃənt ˌɪˈmiˌdiətli ˈfɑloʊɪŋ ðə ˌdaɪəgˈnoʊsəs əv stroʊk ɪn ðə ˈimərʤənsi rum. ðɪs meɪ dɪˈmɪnɪʃ ðə ˈmɪnəməm taɪm tɪ ˈθɛrəpi ənd ˈðɛrˌfɔr ˈaʊtˌkəm. naʊ ðə hɑrd wərk stɑrts tɪ reɪz fəndz fər ðɪs ɪkˈsaɪtɪŋ ˈrisərʧ."
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a stroke therapy using stem cells extracted from patients' bone marrow has shown promising results in the first trial of its kind in humans.
five patients received the treatment in a pilot study conducted by doctors at imperial college healthcare nhs trust and scientists at imperial college london.
the therapy was found to be safe, and all the patients showed improvements in clinical measures of disability.
the findings are published in the journal stem cells translational medicine. it is the first uk human trial of a stem cell treatment for acute stroke to be published.
the therapy uses a type of cell called cd34+ cells, a set of stem cells in the bone marrow that give rise to blood cells and blood vessel lining cells. previous research has shown that treatment using these cells can significantly improve recovery from stroke in animals. rather than developing into brain cells themselves, the cells are thought to release chemicals that trigger the growth of new brain tissue and new blood vessels in the area damaged by stroke.
the patients were treated within seven days of a severe stroke, in contrast to several other stem cell trials, most of which have treated patients after six months or later. the imperial researchers believerly treatment may improve the chances of a better recovery.
a bone marrow sample was taken fromch patient. the cd34+ cells were isolated from the sample and then infused into an artery that supplies the brain. no previous trial has selectively used cd34+ cells, sorly after the stroke, until now.
although the trial was mainly designed to assess the safety and tolerability of the treatment, the patients all showed improvements in their condition in clinical tests over a six-month follow-up period.
four out of five patients had the most severe type of stroke: only four per cent of people who experience this kind of stroke are expected to be alive and independent six months later. in the trial, all four of these patients were alive and three were independent after six months.
dr soma banerjee, a lead author and consultant in stroke medicine at imperial college healthcare nhs trust, said: "this study showed that the treatment appears to be safe and that it's feasible to treat patientsrly when they might be more likely to benefit. the improvements we saw in these patients are very encouraging, but it's toorly to draw definitive conclusions about the effectiveness of the therapy. we need to do more tests to work out the best dose and timescale for treatment before starting larger trials."
over 150,000 people have a stroke in england every year. survivors can be affected by a wide range of mental and physical symptoms, and many never recover their independence.
stem cell therapy is seen as an exciting new potential avenue of treatment for stroke, but its exact role is yet to be clearly defined.
dr paul bentley, also a lead author of the study, from the department of medicine at imperial college london, said: "this is the first trial to isolate stem cells from human bone marrow and inject them directly into the damaged brain area using keyhole techniques. our group are currently looking at new brain scanning techniques to monitor the effects of cells once they have been injected."
professor nagy habib, principal investigator of the study, from the department of surgery and cancer at imperial college london, said: "these arerly but exciting data worth pursuing. scientific evidence from our lab further supports the clinical findings and our aim is to develop a drug, based on the factors secreted by stem cells, that could be stored in the hospital pharmacy so that it is administered to the patient immediately following the diagnosis of stroke in the emergency room. this may diminish the minimum time to therapy and therefore optimise outcome. now the hard work starts to raise funds for this exciting research."
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wi ɔl noʊ ˈbætəlˌfild 5 ɪz ɪn ðə wərks. sɛd ɛz məʧ, bət həz feɪld tɪ prəˈvaɪd ˈditeɪlz. wən swɪs ˈriˌteɪlər, ˌhaʊˈɛvər, kleɪmz tɪ noʊ ðə ˈsɛtɪŋ. əˈkɔrdɪŋ tɪ ə ˈoʊvər ɔn ðə wərld əv geɪmz ˈwɛbˌsaɪt, ˈbætəlˌfild 5 ɪz ˈlɪstɪd ɛz ə ˈtæktɪkəl shooter”*” sɛt ˈdʊrɪŋ wərld wɔr 1 ðə ˈlɪstɪŋ həz ɪt sˈleɪtɪd fər ən ɑkˈtoʊbər 26 riˈlis ɔn ˈpiˈsi, ənd wən. ju kən si ðə ˈlɪstɪŋ fər ˈjɔrsɛlf θru hir ˌbiˈfɔr pʊld. ə ˈkəpəl ˈɪmɪʤɪz ər ˈpoʊstɪd bɪˈloʊ. noʊt ðə ˈɪntəˌrɛstɪŋ bɑks ɑrt wɪʧ simz tɪ bi juzd fər ˈɛvriˌθɪŋ. sɛd ˈdʊrɪŋ ə ˌfaɪˈnænʃəl kɔl ɪn ˈʤænjuˌɛri əv ðɪs jɪr ˈbætəlˌfild 5 wɑz sˈleɪtɪd fər ə ˈhɑlɪˌdeɪ 2016 riˈlis. ɛz fɑr bæk ɛz 2014 ˈsiˌɛˈfoʊ bleɪk ˈʤɔrgɪnsən sɛd ðə ˈʃutər wʊd bi rɪˈtərn tɪ ə ˈbætəlˌfild game.”*.” ˈɛniˌweɪ, faɪl ðɪs əˈweɪ ɛz ə ˈrumər ənˈtɪl ðə geɪm ɪz əˈfɪʃəl əˈnaʊnst. θæŋks: pcgamesn*, neogaf*, thrillho*.
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we all know battlefield 5 is in the works. ea said as much, but has failed to provide details. one swiss retailer, however, claims to know the setting.
according to a placeholder over on the world of games website, battlefield 5 is listed as a “multiplayer tactical shooter” set during world war 1. the listing has it slated for an october 26 release on pc, ps4 and xbox one.
you can see the listing for yourself through here before it’s pulled. a couple images are posted below. note the interesting placeholder box art which seems to be used for everything.
ea said during a financial call in january of this year battlefield 5 was slated for a holiday 2016 release.
as far back as 2014, ea cfo blake jorgensen said the shooter would be “a return to a battlefield military-style game.”
anyway, file this away as a rumor until the game is official announced.
thanks: pcgamesn, neogaf, thrillho.
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ðə ˈʤərmən ˈgəvərnmənt həz əˈpild əˈgɛnst ðə dɪˈsɪʒən baɪ ˈʤərməniz ˈfɛdərəl kɔrt əv ˈʤəstɪs tɪ kˈwɛʃən ˈɛdwərd sˈnoʊdən ɪn ˈʤərməni, bɪˈkəz əv fɪrz əˈbaʊt ðə ˈifɛkt ɪt meɪ hæv ɔn baɪˈlætərəl riˈleɪʃənz wɪθ ðə ˈjuˈɛs, ˈʤərməniz bərˈlɪnər ˈzaɪtəŋ ˌriˈpɔrtəd. ˈʤərməniz ˈfɛdərəl ˈgəvərnmənt ɪz ˈfeɪsɪŋ ˈkrɪtɪˌsɪzəm frəm ˌɑpəˈzɪʃən ˈpɑrtiz ˈæftər əˈpilɪŋ əˈgɛnst ðə dɪˈsɪʒən baɪ ˈʤərməniz ˈfɛdərəl kɔrt əv ˈʤəstɪs əˈlaʊ ˈʤərmən tɪ kɔl ˈɛdwərd sˈnoʊdən tɪ ˈʤərməni ɛz ə ˈwɪtnəs ɪn ðɛr ˌɪnkˈwaɪˌri ˈɪntu spaɪɪŋ ɪn ˈʤərməni ˈkɛrid aʊt baɪ ˈfɔrən ˌɪnˈtɛləʤəns ˈeɪʤənsiz. ˈkɑnstɪnˌtin vɔn nɑts, ˈʧɛrmən əv ðə grin ˈpɑrti kənˈtɪnʤənt ɔn ðə ˈʤərmən ˈpɑrləmɛnts ˌɪnˌvɛstəˈgeɪʃən kəˈmɪti, sɛd ðə ˈgəvərnmənt ɪz "ˈbreɪkɪŋ məˈnɔrəti ˈpɑrtiz' raɪts ɪn ˈɔrdər tɪ əˈvɔɪd mɪsˈfɔrʧən." mɑrˈtinə ˈrɛnər əv daɪ lɪŋk sɛd ðət ðə ˈfɛdərəl ˈgəvərnmənt ɪz "skɛrd əv hɪz (snowden's*) ˈtɛstɪˌmoʊni," ˈʤərməniz bərˈlɪnər ˈzaɪtəŋ ˌriˈpɔrtəd. ðə ˌɪnˌvɛstəˈgeɪʃən kəˈmɪti wɑz sɛt əp ɪn mɑrʧ 2014 ɪn ðə laɪt əv dɪˈskloʊʒərz baɪ ˈfɔrmər siaɪeɪ ɪmˈplɔɪi ənd sɪˈkjʊrəti ˈkɑnˌtræktər ˈɛdwərd sˈnoʊdən əˈbaʊt mæs sərˈveɪləns ˈpræktɪsɪz ˈkɛrid aʊt baɪ ˈjuˈɛs əˈθɔrətiz əraʊnd ðə gloʊb. ɪn meɪ 2014 ðə kəˈmɪti ˌdɪˈsaɪdɪd ɪn ˈprɪnsəpəl tɪ kɔl sˈnoʊdən ɛz ə ˈwɪtnəs ˈdʊrɪŋ ðə kɔrs əv ðə ˌɪnˌvɛstəˈgeɪʃən. sˈnoʊdən, hu wɑz ˈgrænɪd ə θˈriˌjɪr ˈrəʃən ˈrɛzɪdənsi ˈpərˌmɪt ɪn ˈɔgəst 2014 kʊd ˈɔlsoʊ bi kɔld ˈviə ˈvɪdioʊ lɪŋk frəm ˈrəʃə. ˈbrɪŋɪŋ ɪm tɪ ˈʤərməni ɪn ˈpərsən tɪ feɪs kˈwɛsʧənɪŋ frəm ðə ˌpɑrləˈmɛntəri kəˈmɪti kʊd brɪŋ ðə ˈʤərmən ˈgəvərnmənt ˈɪntu ˈkɑnflɪkt wɪθ ðə ˈjuˈɛs, wɪʧ wɔnts tɪ ˈɛkstrəˌdaɪt ɪm tɪ ðə ˈjuˈɛs tɪ feɪs ˈɛspiənɑʤ ənd θɛft əv ˈprɑpərti ˈʧɑrʤɪz. ɪn noʊˈvɛmbər ðə ˈfɛdərəl kɔrt əv ˈʤəstɪs ruld ðət ðə ˈʤərmən ˈgəvərnmənt ʃʊd prəˈvaɪd ðə kənˈdɪʃənz fər sˈnoʊdən tɪ bi kˈwɛsʧənd ɪn ˈʤərməni baɪ ðə kəˈmɪti, səʧ ɛz ə ˌgɛrənˈti nɑt tɪ ˈɛkstrəˌdaɪt ɪm tɪ ðə ˈjuˈɛs. ˌhaʊˈɛvər, ðə, ənd ˌkoʊəˈlɪʃən ˈgəvərnmənt həz ˌdɪˈsaɪdɪd tɪ əˈpil ðə kɔrts ˈrulɪŋ, ˈrəðər ðən prəˈvaɪd səʧ ə ˌgɛrənˈti. ðə ˈʧɛrmən əv ðə ˌɪnˌvɛstəˈgeɪʃən kəˈmɪti, ˌrɛprɪˈzɛnətɪv ˈpætrɪk sensburg*, sɛd ðət ɪf ðə ˈfɛdərəl kɔrt əv ˈʤəstɪs rulz ɪn ˈfeɪvər əv ðə ˈgəvərnmənts əˈpil, ðə kəˈmɪti wɪl teɪk ðə keɪs tɪ ˈʤərməniz ˈfɛdərəl ˌkɑnstəˈtuʃənəl kɔrt ɔn ðə ˈbeɪsɪs ðət səʧ ə dɪˈsɪʒən wʊd ˌɪnˈfrɪnʤ ðə raɪts əv ˈfrili ɪˈlɛktɪd kənˈdəktɪŋ ðə ɪnkˈwaɪˌri.
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the german government has appealed against the decision by germany's federal court of justice to question edward snowden in germany, because of fears about the effect it may have on bilateral relations with the us, germany's berliner zeitung reported.
germany's federal government is facing criticism from opposition parties after appealing against the decision by germany's federal court of justice allow german mp's to call edward snowden to germany as a witness in their inquiry into spying in germany carried out by foreign intelligence agencies.
konstantin von notz, chairman of the green party contingent on the german parliament's nsa investigation committee, said the government is "breaking minority parties' rights in order to avoid misfortune."
martina renner of die linke said that the federal government is "scared of his (snowden's) testimony," germany's berliner zeitung reported.
the bundestag's nsa investigation committee was set up in march 2014 in the light of disclosures by former cia employee and nsa security contractor edward snowden about mass surveillance practices carried out by us authorities around the globe.
in may 2014 the committee decided in principle to call snowden as a witness during the course of the investigation. snowden, who was granted a three-year russian residency permit in august 2014, could also be called via video link from russia.
bringing him to germany in person to face questioning from the parliamentary committee could bring the german government into conflict with the us, which wants to extradite him to the us to face espionage and theft of property charges.
in november the federal court of justice ruled that the german government should provide the conditions for snowden to be questioned in germany by the committee, such as a guarantee not to extradite him to the us. however, the cdu, csu and sdp coalition government has decided to appeal the court's ruling, rather than provide such a guarantee.
the chairman of the nsa investigation committee, cdu representative patrick sensburg, said that if the federal court of justice rules in favor of the government's appeal, the committee will take the case to germany's federal constitutional court on the basis that such a decision would infringe the rights of freely elected mp's conducting the enquiry.
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ˈʤəʤɪŋ baɪ ˈmidiə ˈkəvərɪʤ, 2014 həz bɪn ə bæd jɪr fər ðə ˌeɪviˈeɪʃən ˈɪndəstri. bət ɛz ðə wərld ˈæŋkʃəsli əˈweɪts ˈəpˌdeɪts frəm ðə fɔrθ ˈmeɪʤər ɛr ˈtræʤədi, ən ɪgˌzæməˈneɪʃən əv ðə ˈdætə ʃoʊz ɛr ˈtrævəl həz ˈnɛvər bɪn ˈseɪfər. ɪt həz ənˈdaʊtɪdli bɪn ə ˌhɔˈrɛndəs jɪr fər ˈkɛriərz, kənˈkludɪŋ wɪθ ðə ˈmɪsɪŋ flaɪt wɪθ 162 ˈpæsənʤərz ənd kru. ɪn mɑrʧ, məˈleɪʒə airlines’*’ flaɪt wɛnt ˈmɪsɪŋ ˈoʊvər ðə saʊθ ˈʧaɪnə si, wɪθ 239 ɔn həz nɑt jɛt bɪn faʊnd. ɪn ˌʤuˈlaɪ, ðə ˈɛˌrlaɪnz ˈsəfərd ə ˈsɛkənd bloʊ wɑz ʃɑt daʊn ˈoʊvər ˈistərn juˈkreɪn, ˈkɪlɪŋ 298 ˈɔlsoʊ ðət mənθ, ən ɛr kræʃ ɪn ˈmɑli kɪld 116 bət ə stəˈtɪstɪk ɔn haʊ seɪf ɪt ɪz tɪ flaɪ: ɛz əv sɛpˈtɛmbər 2014 ðə ˈævərɪʤ reɪt əv ˈkræʃɪz wɑz pər wən ˈmɪljən flaɪts. wɪl ˈprɑbəˌbli kəm ɛz ə səˈpraɪz tɪ moʊst ˈpipəl, bət ˈrɪli ɪt wɑz ə ˈvɛri seɪf year,”*,” pɔl heɪz, əv ðə ˌeɪviˈeɪʃən kənˈsəltɪŋ fərm əˈsɛnd toʊld ðə wɔl strit ˈʤərnəl. sɪns ðə fərst kəˈmərʃəl ʤɛt ˈɛˌrlaɪnər tʊk ɔf ɪn 1949 ðə reɪt əv ˈkræʃɪz həz bɪn dɪˈklaɪnɪŋ, dɪˈspaɪt ən ˌɪnˈkris ɪn ɛr ˈtrævəl, əˈkɔrdɪŋ tɪ ˈdætə frəm ðə ˈbjʊroʊ əv ˈɛrˌkræft ˈæksədənts ˈɑrˌkaɪvz (baaa-acro*). ðə ˌɔrgənəˈzeɪʃən dɪˈfaɪnz ən ˈæksədənt ɛz ə kræʃ ɪf ðə ˈɛrˌkræft wɑz bɪɔnd rɪˈpɛr. ənd 2014 həz hæd ðə loʊəst ˈnəmbər əv tɪ ðə ʤɛt eɪʤ. ɔn ðə ˈəðər hænd, 2014 həz ˈɔlsoʊ ˈwɪtnəst ə spaɪk ɪn ˈkæʒəwəltiz, wɪθ 1320 ɔl ðə soʊlz ɔn hæv ˌɪnˈdid ˈpɛrɪʃt. əˈkɔrdɪŋ tɪ baaa-acro*, 2013 hæd ðə loʊəst ˈnəmbər əv dɛθs ɪn ˈkræʃɪz ɪn ˈmɑdərn ˌeɪviˈeɪʃən, wɪθ 459 ˈkæʒəwəltiz. bət wɪθ mɔr ˈpipəl flaɪɪŋ ðən ˈɛvər ˌbiˈfɔr, flaɪt ˈseɪfti ɑdz ər stɪl ˈvɛri məʧ ɪn ˈfeɪvər əv ðə ˈmɑdərn ˈɛrˌpleɪn ˈpæsənʤər.
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judging by media coverage, 2014, has been a bad year for the aviation industry. but as the world anxiously awaits updates from the year’s fourth major air tragedy, an examination of the data shows air travel has never been safer.
it has undoubtedly been a horrendous year for malaysia-based carriers, concluding with the missing asiaairlines flight qz8501, with 162 passengers and crew. in march, malaysia airlines’ flight mh370 went missing over the south china sea, with 239 on board—it has not yet been found. in july, the airlines suffered a second blow mh17 was shot down over eastern ukraine, killing 298.
also that month, an air algerie crash in mali killed 116.
but here’s a statistic on how safe it is to fly: as of september 2014, the average rate of crashes was 2.1 per one million flights.
“it will probably come as a surprise to most people, but really it was a very safe year,” paul hayes, of the aviation consulting firm ascend told the wall street journal.
since the first commercial jet airliner took off in 1949, the rate of crashes has been declining, despite an increase in air travel, according to data from the geneva-based bureau of aircraft accidents archives (baaa-acro). the organization defines an accident as a crash if the aircraft was beyond repair.
and 2014, has had the lowest number of crashes—111 to date—in the jet age.
on the other hand, 2014 has also witnessed a spike in casualties, with 1320 deaths—if all the souls on qz8501 have indeed perished.
according to baaa-acro, 2013 had the lowest number of deaths in crashes in modern aviation, with 459 casualties.
but with more people flying than ever before, flight safety odds are still very much in favor of the modern airplane passenger.
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ˈhæpi ˈfɛloʊ barcrafters*! ɛz wi naʊ ˈɛnər ə nu jɪr, wət ˈbɛtər weɪ tɪ ˈsɛləˌbreɪt ðən wɪθ greɪt fud, greɪt geɪmz, ənd greɪt ˈpipəl. wɛl, tərnz aʊt wi hæv ˈsɔrtɪd ɔl əv ðət aʊt fər ju, ənd ər plizd tɪ əˈnaʊns ðə nɛkst ɪn ˈzʊrɪk fər leipzigâ*â ɔn ˈsənˌdi ˈʤænjuˌɛri æt ɑr oʊld frɛnd, ðə ˈɑlɪvər twɪst 6 8001 ˈzʊrɪk; ˈɑlɪvər twɪst mɪn. eɪʤ 18 timz səʧ ɛz virtus.pro*, vincere*, ˈgeɪmɪŋ, gamingâ*â ənd ˈmɛni mɔr, wɪl bi ˈbætəlɪŋ ðɛr weɪ tɪ ðə ˈfaɪnəl əv ðə counterstrike*: ˈgloʊbəl əˈfɛnsɪv ˌkɑmpəˈtɪʃən, wɪθ ðə grænd ˈfaɪnəl kənˈkludɪŋ ðə ˈwiˌkɪnd ˈstɑrtɪŋ æt 1pm*. ɪts baʊnd tɪ bi ə fænˈtæstɪk ɪˈvɛnt, ðət ˌæbsəˈlutli bi mɪst. bət weɪt, more!…*!… ɪf ðət ɪˈnəf, fər ðoʊz hu maɪt ˌɛnˈʤɔɪ ə bɪt əv ə ˈsənˌdi brənʧ, ʤɔɪn ˈjuˈɛs æt fər ðə ɪkˈsaɪtɪŋ ˈfaɪnəlz əv wən əv ðə fərst ˈɛvər ˈstɑrˌkræft ii*: ˈlɛgəsi əv ðə vɔɪd ˈtərnəmənts. wi hæv ˈspɛʃəl pərˈmɪʃən tɪ hæv ðə pəb ˈoʊpən ˈərli fər ˈjuˈɛs fər ðɪs ðɛr ɪz ɪˈnəf ˈɪntəˌrɛst soʊ bi ʃʊr tɪ lɛt ˈjuˈɛs noʊ ɪf ˈkəmɪŋ ɔn ˈfeɪsˌbʊk ər ɔn tˈwɪtər wɪθ ˈʃʊrli noʊ betterâ*â ˈbɛtər weɪ tɪ spɛnd ə ˈleɪzi ˈsənˌdi ˌæftərˈnun, ənd ɪf nɑt fər ər cs:go*, kəm ənd ˌɛnˈʤɔɪ ðə ˈkəmpəˌni ənd fænˈtæstɪk fud ənd drɪŋk ɔn ˈɔfər. bi ʃʊr ʧɛk bæk hir ɛz wɛl ɛz mɔr ˌɪnˌfɔrˈmeɪʃən ɪz əˈnaʊnst. ˈlʊkɪŋ ˈfɔrwərd tɪ siɪŋ ju ɔl ðɛr!
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happy 2016â fellow barcrafters! as we now enter a new year, what better way to celebrate than with great food, great games, and great people. well, turns out we have sorted all of that out for you, and are pleased to announce the next barcraft in zurich for dreamhack leipzigâ on sunday january 24th at our old friend, the oliver twist (rindermarkt 6, 8001 zurich; oliver twist min. age 18+).
teams such as virtus.pro, natus vincere, sk gaming, luminosity gamingâ and many more, will be battling their way to the final of the counterstrike: global offensive competition, with the grand final concluding the weekend starting at 1pm. its bound to be a fantastic event, that absolutely shouldn’t be missed.
but wait, theres more!…
if that wasn’t enough, for those who might enjoy a bit of a sunday brunch, join us at 11am for the exciting finals of one of the first ever starcraft ii: legacy of the void tournaments. we have special permission to have the pub open early for us for this *if* there is enough interest – so be sure to let us know if you’re coming on facebook or on twitter with #twistforaiur …
surely theres no betterâ better way to spend a lazy sunday afternoon, and if not for scii or cs:go, come and enjoy the company and fantastic food and drink on offer.
be sure check back here as well as more information is announced.
looking forward to seeing you all there!
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heyy* θæŋks fər ðɪs ˈɔsəm ˈmaɪlˌstoʊn!! :di ɪts səʧ ən ˈɑnər 3 *həgz ju gaɪz ər ðə bɛst! ˈɔlsoʊ θæŋks fər ðoʊz hu kəmˈjunɪˌkeɪts wɪθ mi, ju gaɪz meɪk mi fil laɪk aɪ bɪˈlɔŋ ˈsəmˌwɛr ɪn hir. ənd ðoʊz hu fil laɪk ˈtɔkɪŋ tɪ mi, pliz du! aɪ ləv ˈgɪtɪŋ tɪ noʊ nu ˈpipəl :di ðɪs ɪz ən ˌænəˈmeɪʃən ˈsaɪkəl bɪn duɪŋ fər ðə pæst deɪz ər soʊ ʤɪst fər fən ənd θɔt ˈmeɪbi ʤɪst juz ðɪs ɛz ə θæŋk ju gɪft ˈæˌkʧuəli, bɪn duɪŋ səm ˌænəˈmeɪʃənz ðə pæst fju deɪz :pi ɛz ju kən si, ˌænəˈmeɪʃən ɪz nɑt maɪ ˈfɔrteɪ. ˈdɛfənətli goʊɪŋ bæk tɪ maɪ ˈstætɪk ɑrts əˈgɛn ɛz sun ɛz dən ɛkˈspɛrəˌmɛntɪŋ wɪθ ɪt waɪ du aɪ ˈænəˌmeɪt ɪm laɪk ðɪs? wɛl ðɛr ər səm ˈsərtən ˈmoʊmənts ɪn ðə ˈmuvi siɪŋ nɪk ɔn ɔl fɔrz, waɪ bət aɪ faɪnd ðɪs spɑrk əv ˈhæpinəs ɪn ðoʊz ˈmoʊmənts ðə ˈprɔˌsɛs əv ðɪs pis əv ˌænəˈmeɪʃən: əˈgɛn θæŋks fər ˈɛvriˌθɪŋ!
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heyy thanks for this awesome milestone!! :d its such an honour <3 *hugs everyone* you guys are the best! also thanks for those who communicates with me, you guys make me feel like i belong somewhere in here. and those who feel like talking to me, please do! i love getting to know new people :d
this is an animation cycle i’ve been doing for the past 3-4 days or so just for fun :) and thought maybe i’ll just use this as a thank you gif gift ! ^^”
actually, i’ve been doing some animations the past few days :p as you can see, animation is not my forte. definitely going back to my static arts again as soon as i’m done experimenting with it xp . why do i animate him like this? well there are some certain moments in the movie seeing nick on all fours, idk why but i find this spark of happiness in those moments xd
here’s the process of this piece of animation:
again thanks for everything! ^^
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tu ˈrædɪkəl ˈməzlɪm ˈklɛrɪks hæv bɪn aɪˈdɛntəˌfaɪd ɛz ˌɪnfluˈɛnʃəl ˈɔnˌlaɪn ˈʧɪˌrlidərz fər ˈfaɪtərz ˈsikɪŋ tɪ ˈtɑpəl ðə ˈsɪriən ˈprɛzɪdənt, bəˈʃɑr al-assad*, ɪn ə ˌpaɪəˈnɪrɪŋ ˌækəˈdɛmɪk ˈstədi ˈpəblɪʃt ɔn ˈwɛnzˌdeɪ. ˈrisərʧərz beɪst æt kɪŋz ˈkɑlɪʤ ˈləndən rɪˈvil haʊ ˈsoʊʃəl ˈmidiə ɪz biɪŋ ˈhɑrnəst baɪ ə ˈnɛtˌwərk əv ˈrædɪkəl ˈpriʧərz tɪ ˌɪnˈspaɪr ənd gaɪd ˈbrɪtɪʃ ənd ˈəðər ˈwɛstərn ˈməzlɪmz ˈweɪʤɪŋ ˈʤihɑd ɪn ˈsɪriə. baɪ ɪgˈzæmɪnɪŋ ənd ˈfeɪsˌbʊk ˈpoʊstɪŋz juzd baɪ ˈsərtən ˈrɛbəlz, ˈpipəl hu ˈfɑloʊ ðə ˈkɑnflɪkt frəm əˈbrɔd ənd ðə tu ˈklɛrɪks, ðə ˌækəˈdɛmɪks seɪ ðeɪ hæv bɪn ˈeɪbəl tɪ prəˈvaɪd ə "juˈnik ənd ənˈfɪltərd ˈwɪndoʊ ˈɪntu ðə maɪndz" əv ˈwɛstərn ənd ˌjʊrəˈpiən ˈfɔrən ˈfaɪtərz ɪn ˈsɪriə. ðə ˌɪnˌfɔrˈmeɪʃən əˈlaʊd ðə ˈænəlɪsts tɪ aɪˈdɛntəˌfaɪ ə "sɛt əv nu ˈspɪrɪˌʧuəl əˈθɔrətiz" hu hæv ðə ˈlɑrʤəst ˈfɑloʊɪŋz. ðə rɪˈpɔrt sɪz ðeɪ ər ðə ˈklɛrɪk ˈɑmɑd mˈjusə ənd ðə ɔˈstreɪljən ˈpriʧər mˈjusə. boʊθ spik ˈɪŋlɪʃ ənd ər beɪst ɪn ðə wɛst. ˌɔlˈðoʊ ðɛr ɪz noʊ ˈɛvədəns tɪ səˈʤɛst ðiz ˌɪndəˈvɪʤəwəlz ər ˈfɪzɪkəli ˌɪnˈvɑlvd ɪn fəˈsɪləˌteɪtɪŋ ðə floʊ əv ˈfɔrən ˈfaɪtərz tɪ ˈsɪriə, ər ðət ðeɪ ər ðɛr ækˈtɪvɪti wɪθ ʤiˈhɑˌdɪst ˌɔrgənɪˈzeɪʃənz, ðeɪ ər pleɪɪŋ ðə roʊl əv ˈʧɪˌrlidərz. "ɪt ɪz klɪr ðət ðeɪ ər ˌɪmˈpɔrtənt ˈfɪgjərz huz pəˈlɪtɪkəl, ˈmɔrəl ənd ˈspɪrɪˌʧuəl ˈmɛsɪʤɪz ər kənˈsɪdərd əˈtræktɪv tɪ ə ˈnəmbər əv ˈfɔrən ˈfaɪtərz," ðə ˈrisərʧərz kənˈklud. "ˈsɪriə meɪ bi ðə fərst ˈkɑnflɪkt ɪn wɪʧ ə lɑrʤ ˈnəmbər əv ˈwɛstərn ˈfaɪtərz hæv bɪn ˈdɑkjəmənɪŋ ðɛr ˌɪnˈvɑlvmənt ɪn ˈkɑnflɪkt ɪn ˈrilˌtaɪm, ənd wɛr ɪn tərn ˈsoʊʃəl ˈmidiə ˌrɛprɪˈzɛnts ən ɛˈsɛnʃəl sɔrs əv ˌɪnˌfɔrˈmeɪʃən ənd ˌɪnspərˈeɪʃən tɪ ðɛm," ðə rɪˈpɔrt, ə ˈprɑdəkt əv ə ˈstədi, kənˈkludz. ðə kɪŋz ˈkɑlɪʤ tim wər ˈeɪbəl tɪ əˈsɛmbəl ə ˈdætəˌbeɪs wɪʧ naʊ ˌɪnˈkludz ðə ˈɔnˌlaɪn ˈproʊˌfaɪlz əv 190 ˈwɛstərn ənd ˌjʊrəˈpiən ˈfaɪtərz, moʊst əv hum ər əˈfɪliˌeɪtɪd tɪ ðə tu moʊst ˈprɑmənənt grups ˈfaɪtɪŋ ðə əˈsɑd rəˈʒim ər ðə ˌɪzˈlɑmɪk steɪt əv ˌɪˈrɑk ənd ʃæm (ˈaɪsəs). ˈoʊvərˌɔl, ðə ˈrisərʧərz ˈɛstəˌmeɪt, ðɛr ər əˈbaʊt ˈfɔrən ˈfaɪtərz ɪn ˈsɪriə, ənd əˈbaʊt ər ˌjʊrəˈpiən ər ˈwɛstərn. ˌɪnˈvɛstəˌgeɪtərz ɪn ðə bɪˈliv əˈbaʊt 400 ˈbrɪtənz hæv gɔn tɪ ˈsɪriə tɪ weɪʤ ˈʤihɑd, ənd hæv reɪzd kənˈsərnz əˈbaʊt wət maɪt ˈhæpən ɪf ənd wɪn ðeɪ rɪˈtərn. ə ˈtoʊtəl əv ˈpipəl hæv "laɪkt" ənd rɪˈsiv ˈəpˌdeɪts frəm ɔn ˈfeɪsˌbʊk ənd hi ɪz "mɔr ɪkˈsplɪsət ɪn hɪz ɛnˈdɔrsmənt əv ˈvaɪələnt ˈʤihɑd" ðən, əˈkɔrdɪŋ tɪ ðə ˈrisərʧərz æt ðə ˌɪnərˈnæʃənɑl ˈsɛntər fər ðə ˈstədi əv (icsr*) æt kɪŋz ˈkɑlɪʤ. ə ˈpɪkʧər ˈpoʊstɪd ɔn ðə ˈfeɪsˌbʊk saɪt əv mˈjusə. ˈfoʊtəˌgræf: ˈgɑrdiən ɪn wən poʊst frəm læst dɪˈsɛmbər sin baɪ ðə ˈgɑrdiən kɔld fər əˌsæsəˈneɪʃənz ənd wɔr əˈgɛnst ðə ˈjuˈɛs. "ɪf wi si ðət ˈməzlɪmz ər biɪŋ kɪld baɪ ðə ˈtaɪrənt ˈlidərz əv ðə ˈjuˈɛˈseɪ ðɛn wi məst fərst stɑp ðɛm wɪθ ɑr hænz baɪ fɔrs). ðɪs minz ðət wi ʃʊd stɑp ðɛm baɪ ˈfaɪtɪŋ ðɛm, baɪ əˈsæsəˌneɪtɪŋ ðɛr əˈprɛsɪv ˈlidərz, baɪ ˈwikənɪŋ ðɛr əˈfɛnsɪv ˌkeɪpəˈbɪlətiz ˌɛtˈsɛtərə ðɪs ɪz nɑt ˈsəmθɪŋ ðət ɪz bɪɔnd ˈjuˈɛs æt ɔl," hi roʊt. ˈrɛfərənsɪŋ ðə wərk əv ˈtɛrərɪst sɛlz, hi sɛd: "ə smɔl grup əv bɪˈlivərz wɑz ˈeɪbəl tɪ bɔm ðɛr ˈwɔrˌʃɪp (ðə ˈjuˈɛˈsɛs koʊl), dɪˈstrɔɪ ðɛr ˈɛmbəsiz, əˈtæk ðɛr ˈmɪlɪˌtɛri ənd ˌfaɪˈnænʃəl ˈhɛdˌkɔrtərz, ðeɪ wər ˈeɪbəl tɪ faɪt ðɛr ˈsoʊlʤərz ənd tɪ sɪgˈnɪfɪkəntli ˈwikən ðɛm ənd brɪŋ ðɛm ˈkloʊzər tɪ dɪˈfit wət ðɛn ɪf ðə ɪnˈtaɪər [ˈməzlɪm kəmˈjunɪti] stʊd əp tɪ du soʊ?!" ðoʊ spərˈædɪkli ˈkrɪtɪkəl əv ðɛm, dɪˈskraɪbz ðə ˈaɪsəs grup, wɪʧ ɪz ˈkloʊsli əˈfɪliˌeɪtɪd tɪ al-qaida*, "ɛz ðə bɛst ˈfɔrsɪz ɔn ðə graʊnd ɪn ˈsɪriə". ɔˈstreɪljən ˈfɛdərəl pəˈlis ((afp*) sɛd ðeɪ wər əˈwɛr əv ˈfeɪsˌbʊk peɪʤ bət wʊd nɑt kənˈfərm ˈwɛðər ðeɪ wər ˌɪnˈvɛstəˌgeɪtɪŋ ɪm ər nɑt. ˈspikɪŋ əˈbaʊt, ðə ˈædɪd ðət ðeɪ kənˈtɪnju tɪ "əˈsɛs məˈtɪriəl pleɪst ɔn ˈsoʊʃəl ˈmidiə ðət meɪ bi ɪn briʧ əv ˈkɑmənˌwɛlθ lɔz". ən ˈspoʊksˌwʊmən sɛd: "ðə wʊd laɪk tɪ riˈmaɪnd ðə kəmˈjunɪti ðət ɪt ɪz ən tɪ ˈtrævəl tɪ ə ˈfɔrən steɪt wɪθ ðə ˌɪnˈtɛnt əv ɪnˈgeɪʤɪŋ ɪn ˈhɑstəl ækˈtɪvɪti, ər tɪ prəˈvaɪd ˌfaɪˈnænʃəl səˈpɔrt tɪ ˌɪndəˈvɪʤəwəlz ər grups ˌɪnˈvɑlvd ɪn ˈiðər saɪd əv ə ˈfɔrən ˈkɑnflɪkt.", 42 ɪz ə kənˈvɪktəd ˈfrɔdstər hu spɛnt eɪt jɪrz ɪn ə haɪ sɪˈkjʊrəti ˈjuˈɛs ˈprɪzən ənd həz ˈpriviəs əˌsoʊʃiˈeɪʃənz wɪθ ˈrædɪkəl ˈpriʧɪŋ. wɪn hi wɑz ˈsɛntənst ɪn 2005 ðə ˈɛfˈbiˈaɪ sɛd ɪn kɔrt ˈdɑkjəmənts ðət hi wɑz ˈrənɪŋ ə ˈrædɪkəl ˈwɛbˌsaɪt, wɪʧ ˈkɛrid "ə ˈlaɪbrɛˌri əv fəˈnætɪkəli ˈsərmənz baɪ ˈmɪlətənt ˌɪzˈlɑmɪk ˈklɛrɪks". ðoʊ hi dɪz nɑt ˈoʊpənli ˌɪnˈsaɪt hɪz ˈfɑloʊərz tɪ ˈvaɪələns,, ðə kɪŋz ˈkɑlɪʤ rɪˈpɔrt sɪz, ˈstɑrtɪd səˈpɔrt fər ðə ˈsɪriən ˈrɛbəlz 13 deɪz ˈæftər hi wɑz riˈlist frəm ˈprɪzən. ɪn wən ˈjuˌtub ˈsərmən hi sɪz: "wɪn jʊr ˈbrəðərz ɪn ˈsɪriə spik, ˈɛvriˌwən təˈdeɪ nidz tɪ ʃət ðɛr maʊθ ənd ˈlɪsən, bɪˈkəz ðɛr ˈpruvɪŋ ðɛmˈsɛlvz tɪ bi ril mɛn." hi ɪz ˈpɑpjələr ɔn ˈfeɪsˌbʊk, wɛr hɪz ˈpərsɪnəl peɪʤ boʊsts mɔr ðən səbˈskraɪbərz tɪ hɪz poʊsts. ðə ˈstədi sɪz ɪz naʊ ðə moʊst "laɪkt" ˌpərsəˈnælɪti ɔn ˈfeɪsˌbʊk əˈməŋ ðə ˈfɔrən ˈfaɪtərz ðeɪ trækt ənd ɪz ˈfɑloʊd baɪ 60 əv ˈfɔrən ʤiˈhɑˌdɪsts ɪn ˈsɪriə ɔn tˈwɪtər. wɪˈθɪn aʊərz əv ðə dɛθ ɪn ˈsɪriə læst dɪˈsɛmbər əv jaman*, frəm ˈpɔrtsməθ, sɛnt ə ˈmɛsɪʤ əv kənˈdoʊləns ˈviə ə ˈsɪriz əv dɪˈrɛkt ˈmɛsɪʤɪz ɔn tˈwɪtər tɪ ə ˈmɛmbər əv hɪz ˈfæməli. ˈəˌploʊdɪd tɪ ðə ˈfæməli ˈmɛmbərz ˈpəblɪk ˈtaɪmlaɪn, ðə ˈmɛsɪʤɪz rɛd: "aɪ ˈdɪdənt noʊ ɪm [ifthekar*] bət wɪn aɪ rɛd əv ɪm təˈdeɪ ɪt meɪd mi wip, meɪ ˈɑlə bi wɪθ ju ənd meɪ ˈɑlə grænt ɪm [ðə haɪəst ˈlɛvəl əv ˈpɛrəˌdaɪs]! "gɪv maɪ sɑˈlɑm, ləv ənd rɪˈspɛkt tɪ ɔl ðə ˈfæməli. ɪf aɪ wɑz ðɛr ɪt wʊd bi ə greɪt ˈɑnər tɪ ˈvɪzɪt ju ɔl." ðə ˈmɛsɪʤ wɑz 97 taɪmz ənd 141 taɪmz. ə ˈsɛkənd twit əv ɪn ˈfɛbruˌɛri preɪzd əˈnəðər dɛd ˈbrɪtɪʃ ˈsɪriən ʤiˈhɑˌdɪst noʊn ɛz ˈæbu layth*. dɪˈskraɪbd ðə ˈmænˌʧɛstər mæn, ˈkæləl raoudi*, ɛz ə "greɪt ˈbrəðər" ənd ˈɔlsoʊ wɪʃt ɪm ˈɛntri ˈɪntu ˈpɛrəˌdaɪs. əˈkɔrdɪŋ tɪ ðə ˌækəˈdɛmɪks' rɪˈpɔrt, ðə tu ˈklɛrɪks ˈkɑmpləmənt ˈrəðər ðən kəmˈpit wɪθ iʧ ˈəðər. wɪn æst baɪ ðə ˈgɑrdiən ɪf hi ˌɪnˈsaɪtɪd ˈəðərz tɪ ˈvaɪələns ənd ˈpɑsəbəl ækts əv ˈtɛrəˌrɪzəm rɪˈplaɪd: "aɪ du nɑt daʊt ðət aɪ hæv kɔld əˈpɑn ɔl bɪˈlivərz, ˈwɛðər jəŋ ər oʊld, tɪ rɪˈspɑnd tɪ ðə kəˈmændz əv gɑd." ɪn ˈænsərz tɪ kˈwɛsʧənz frəm ˈəðər ˈmidiə ˈaʊˌtlɛts sɛd: "ɑr eɪm məst bi tɪ ˈjuˌnaɪt ðə ræŋks əv ɔl ˈməzlɪmz ɛz wən ˈneɪʃən ˈəndər ðə ˈlidərˌʃɪp əv ə [ˈspɪrɪˌʧuəl ənd pəˈlɪtɪkəl hɛd] hu rulz baɪ lɔ." dɪd nɑt rɪˈspɑnd tɪ kˈwɛsʧənz pʊt baɪ ðə ˈgɑrdiən ər rɪkˈwɛsts fər ən ˈɪntərvˌju. mɑr, əv ðə icsr*, sɛd ðə rɪˈpɔrt ˌrɛprɪˈzɛnɪd ðə fərst ˌɛmˈpɪrɪkəl æˈnælɪsɪs əv "wəts ˌɪmˈpɔrtənt fər ˈfɔrən ˈfaɪtərz" ɪn ðə ˈsɪriən ˈkɑntɛkst. ənd ˌrɛprɪˈzɛnɪd ə nu brid əv "ˈvərʧuəl" ˈpriʧərz, hi sɛd. "wi ˈnɛvər ˌɪnˈtɛndɪd tɪ raɪt ðə rɪˈpɔrt ɪn ðə weɪ ɪt wɑz ˈrɪtən, wi ʤɪst krənʧt ðə ˈnəmbərz ənd ðiz tu keɪm aʊt tɔp ənd ðə ˈɛvədəns səˈʤɛsts ðət ðiz tu ˈpipəl ər ˈvɛri ˌɪmˈpɔrtənt tɪ ˈpipəl ɪn ðɛr hu ər ˌɪnˈvɛstɪd ənd ˈɪntəˌrɛstɪd ɪn ðə ˈsɪriən ˈkɑnflɪkt. "ˈniðər əv ðɛm həz ə mɔsk ər ə trəˈdɪʃənəl kənˈstɪʧuənsi ɪn ðə weɪ ðət ə ˈrædɪkəl ˈpriʧər laɪk ˈæbu juzd tɪ hæv hu stɪl hæd ə beɪs tɪ ˈɔpərˌeɪt frəm. "ðiz gaɪz hæv bɪˈkəm ˈtoʊtəli borderless*, ˈvərʧuəl ˈklɛrɪks hu ˈɔpərˌeɪt ˈsoʊəli mɔr ər lɛs θru ðə ˈɪntərˌnɛt ənd ɔn ˈpɑpjələr ˈmidiə, ˈjuˌtub, ənd ɪn ðə keɪs əv, θru ˌɪnərˈnæʃənɑl ˌtɛləˈvɪʒən ˈsteɪʃənz ɛz wɛl." əˈdɪʃənəl rɪˈpɔrtɪŋ baɪ ˈʤɑnəθən ˈrɑbənsən
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two radical muslim clerics have been identified as influential online cheerleaders for fighters seeking to topple the syrian president, bashar al-assad, in a pioneering academic study published on wednesday.
researchers based at king's college london reveal how social media is being harnessed by a network of radical preachers to inspire and guide british and other western muslims waging jihad in syria.
by examining tweets and facebook postings used by certain rebels, people who follow the conflict from abroad and the two clerics, the academics say they have been able to provide a "unique and unfiltered window into the minds" of western and european foreign fighters in syria.
the information allowed the analysts to identify a "set of new spiritual authorities" who have the largest followings. the report says they are the american-based cleric ahmad musa jibril and the australian preacher musa cerantonio. both speak english and are based in the west.
although there is no evidence to suggest these individuals are physically involved in facilitating the flow of foreign fighters to syria, or that they are co-ordinating their activity with jihadist organisations, they are playing the role of cheerleaders. "it is clear that they are important figures whose political, moral and spiritual messages are considered attractive to a number of foreign fighters," the researchers conclude.
"syria may be the first conflict in which a large number of western fighters have been documenting their involvement in conflict in real-time, and where – in turn – social media represents an essential source of information and inspiration to them," the report, a product of a year-long study, concludes.
the king's college team were able to assemble a database which now includes the online profiles of 190 western and european fighters, most of whom are affiliated to the two most prominent groups fighting the assad regime – jabhat al-nusrah or the islamic state of iraq and sham (isis).
overall, the researchers estimate, there are about 11,000 foreign fighters in syria, and about 2,800 are european or western. anti-terrorist investigators in the uk believe about 400 britons have gone to syria to wage jihad, and have raised concerns about what might happen if and when they return.
a total of 12,000 people have "liked" and receive updates from cerantonio on facebook and he is "more explicit in his endorsement of violent jihad" than jibril, according to the researchers at the international centre for the study of radicalisation (icsr) at king's college.
a picture posted on the facebook site of musa cerantonio. photograph: guardian
in one post from last december seen by the guardian cerantonio called for assassinations and war against the us. "if we see that muslims are being killed by the tyrant leaders of the usa then we must first stop them with our hands (ie by force). this means that we should stop them by fighting them, by assassinating their oppressive leaders, by weakening their offensive capabilities etc this is not something that is beyond us at all," he wrote.
referencing the work of terrorist cells, he said: "a small group of believers was able to bomb their warship (the uss cole), destroy their embassies, attack their military and financial headquarters, they were able to fight their soldiers and to significantly weaken them and bring them closer to defeat what then if the entire ummah [muslim community] stood up to do so?!"
though sporadically critical of them, cerantonio describes the isis group, which is closely affiliated to al-qaida, "as the best forces on the ground in syria".
australian federal police (afp) said they were aware of cerantonio's facebook page but would not confirm whether they were investigating him or not.
speaking about cerantonio, the afp added that they continue to "assess material placed on social media that may be in breach of commonwealth laws".
an afp spokeswoman said: "the afp would like to remind the community that it is an offence to travel to a foreign state with the intent of engaging in hostile activity, or to provide financial support to individuals or groups involved in either side of a foreign conflict."
michigan-born jibril, 42, is a convicted fraudster who spent eight years in a high security us prison and has previous associations with radical preaching. when he was sentenced in 2005, the fbi said in court documents that he was running a radical salafi website, which carried "a library of fanatically anti-american sermons by militant islamic clerics".
though he does not openly incite his followers to violence, jibril, the king's college report says, started tweeting support for the syrian rebels 13 days after he was released from prison.
in one youtube sermon he says: "when your brothers in syria speak, everyone today needs to shut their mouth and listen, because they're proving themselves to be real men."
he is popular on facebook, where his personal page boasts more than 145,000 subscribers to his posts.
the study says jibril is now the most "liked" personality on facebook among the foreign fighters they tracked and is followed by 60% of foreign jihadists in syria on twitter.
within hours of the death in syria last december of ifthekar jaman, from portsmouth, jibril sent a message of condolence via a series of direct messages on twitter to a member of his family.
uploaded to the family member's public timeline, the messages read: "i didn't know him [ifthekar] but when i read of him today it made me weep, may allah be with you and may allah grant him ferdous [the highest level of paradise]!
"give my salam, love and respect to all the family. if i was there it would be a great honor to visit you all." the message was retweeted 97 times and favourited 141 times.
a second tweet of jibril's in february praised another dead british syrian jihadist known as abu layth.
jibril described the 20-year-old manchester man, anil khalil raoudi, as a "great brother" and also wished him entry into paradise. according to the academics' report, the two clerics complement rather than compete with each other. when asked by the guardian if he incited others to violence and possible acts of terrorism cerantonio replied: "i do not doubt that i have called upon all believers, whether young or old, to respond to the commands of god."
in answers to questions from other media outlets cerantonio said: "our aim must be to unite the ranks of all muslims as one nation under the leadership of a khalifah [spiritual and political head] who rules by allah's law."
jibril did not respond to questions put by the guardian or requests for an interview.
shiraz maher, of the icsr, said the report represented the first empirical analysis of "what's important for foreign fighters" in the syrian context. cerantonio and jibril represented a new breed of "virtual" preachers, he said. "we never intended to write the report in the way it was written, we just crunched the numbers and these two came out top and the evidence suggests that these two people are very important to people in their 20s who are invested and interested in the syrian conflict.
"neither of them has a mosque or a traditional constituency in the way that a radical preacher like abu hamza used to have who still had a base to operate from.
"these guys have become totally borderless, virtual clerics who operate solely more or less through the internet and on popular media, youtube, and in the case of cerantonio, through international tv stations as well."
additional reporting by jonathan robinson
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ˈprɛzɪdənt ˈdɑnəld trəmp ɪz ˌɪnˈkrisɪŋgli ˌɪnˈvɛstɪd ɪn ˈsɛnɪt ˈpæsɪʤ əv ə bɪl tɪ rɪˈpil, ˈriəˌlaɪzɪŋ ðət ə səkˈsɛsfəl voʊt ɪn ðə ˈəpər ˈʧeɪmbər wɪl prəˈvaɪd ə ˈmeɪʤər bust tɪ hɪz dəˈmɛstɪk əˈʤɛndə, seɪ rɪˈpəblɪkənz hu hæv spɛnt taɪm wɪθ ɪm ˈrisəntli. æt ə ˈmitɪŋ wɪθ kənˈgrɛʃənəl ˈlidərz ɔn ˈtuzˌdeɪ, trəmp ərʤd ˈsɛnɪt məˈʤɔrəti ˈlidər mɪʧ məˈkɑnəl (r-ky*.) tɪ ˈfɑloʊ θru ɔn ən əˈgrɛsɪv ˈtaɪmˌteɪbəl fər riˈpilɪŋ ðə lɔ ɪn ˈɔrdər tɪ kˈwɪkli tərn tɪ tæks rɪˈfɔrm ənd hɛlp əˈvɔɪd ə kəˈlæmətəs ˈɔtəm fʊl əv ki ˈfɪskəl ˈdɛˌdlaɪnz, əˈkɔrdɪŋ tɪ ˈməltəpəl ˈsɔrsəz fəˈmɪljər wɪθ ðə ˈmitɪŋ. ˈstɔri kənˈtɪnjud bɪˈloʊ waɪl məˈkɑnəl ɪz ɔˈrɛdi ˈreɪsɪŋ tɪ voʊt ɔn riˈpilɪŋ ðə ˈhɛlθˌkɛr lɔ baɪ ðə ɛnd əv ʤun, ðə ˈprɛzɪdənt meɪd ɪt klɪr tɪ ˈlidərz ðət hi noʊz hɪz ɪnˈtaɪər əˈʤɛndə ɪz stɔld ənˈtɪl ðə ˈpɑrti kən ˈfɪnɪʃ ˈhɛlθˌkɛr. wɑz wən əv ðə ˈpərpəsɪz əv ðə ˈmitɪŋ yesterday,”*,” sɛd ˈsɛnɪt məˈʤɔrəti wɪp ʤɑn (r-texas*) ɪn ən ˈɪntərvˌju. əˈbaʊt ðə ˌɪmˈpɔrtəns əv ˈgɪtɪŋ ðət əˈkɑmplɪʃt, hi strək mi ɛz ɔl in.”*.” trəmp ˈivɪn ˈwəndərd ɪf ˈkɑŋgrəs kʊd dɪˈleɪ ə voʊt tɪ reɪz ðə dɛt ˈsilɪŋ ənˈtɪl ðə fɔl tɪ kip ˈkɑŋgrəs ənd ðə ˈpəblɪk ˈfoʊkɪst ɔn ˈhɛlθˌkɛr, əˈkɔrdɪŋ tɪ ˈpipəl fəˈmɪljər wɪθ ðə ˈmitɪŋ, ðoʊ ðə ˈtrɛʒəri tæks rɪˈsits meɪ nɑt əˈlaʊ səʧ ə məˈnuvər. ˈtrɛʒəri ˈsɛkrəˌtɛri ˈstivən sɛd ðət ɪt ɪz hɪz ˈprɛfərəns tɪ reɪz ðə dɛt ˈsilɪŋ ˌbiˈfɔr ðə ˈɔgəst ˈrisɛs, ˈlivɪŋ ˈlidərz ənˈklɪr ˈwɛðər ðeɪ kʊd ˈɛksəˌkjut ˈhɛlθˌkɛr ənd ðə dɛt ˈsilɪŋ ɔn ˈtaɪmˌteɪbəl, ðoʊz ˈpipəl sɛd. ə rɪˈpəblɪkən eɪd sɛd ðə ˈpɑrti ˈkərəntli bɪˈlivz ɪt ˈkænɑt rɪsk ˈpʊtɪŋ ɔf ðə dɛt ˈsilɪŋ ənˈtɪl sɛpˈtɛmbər. ðə ˈprɛzɪdənt həz ˈɔlsoʊ bɪn stəŋ baɪ səm əv ðə nuz ˈkəvərɪʤ əv ðə hɛlθ bɪl ənd dɪˈtræktərz hu dɪˈkraɪ ɪt ɪz ɛz ˈoʊvərli ˈstɪnʤi, ə waɪt haʊs əˈfɪʃəl sɛd. trəmp ərʤd ˈsɛnɪt ˈlidərz tɪ meɪk ðɛr bɪl mɔr ˈʤɛnərəs ðən ðə haʊs, ə ˈtæsɪt ækˈnɑlɪʤmənt ðət ðə mɔr ˈsɛntrɪst ˈsɛnɪt bi pərˈsuɪŋ ðə seɪm sɔrt əv rɛd mit plæn ðət ðə haʊs ˈfridəm ˈkɔkəs wɑz ˈklæmərɪŋ fər ˈərliər ðɪs spərɪŋ, rɪˈpəblɪkənz sɛd. saɪn əp hir fər pəˈlɪtɪˌkoʊ ˈhədəl ə ˈdeɪli əv kənˈgrɛʃənəl nuz ɪn jʊr inbox*. iˈmeɪl saɪn əp baɪ ˈsaɪnɪŋ əp ju əˈgri tɪ rɪˈsiv iˈmeɪl ˈnuzˌlɛtərz ər əˈlərts frəm pəˈlɪtɪˌkoʊ. ju kən ənsəbˈskraɪb æt ˈɛni taɪm. ənd ðoʊ trəmp ɪz æt ðə bɪt fər ðə ˈsɛnɪt tɪ kənˈklud ɪts ˈhɛlθˌkɛr wərk ənd ˈrɛkənˌsaɪl ɪts ˈdɪfərənsɪz wɪθ ðə haʊs, ðə ˈprɛzɪdənt ɪz ˈteɪkɪŋ ə rɪˈmɑrkəbli sɔft təʧ ˈæftər dɪˈrɛkli ˈwərkɪŋ haʊs ˈmɛmbərz fər ˈsɛvərəl wiks ˈərliər ðɪs jɪr. trəmp ɪz ˌɪmˈprɛsɪŋ ɔn ˈpɑrti ˈlidərz ðə ˌɪmˈpɔrtəns əv səkˈsɛs, jɛt ɪz nɑt dɪˈrɛkli ɪnˈgeɪʤd ɪn ðə ˈditeɪlz əv ðə bɪl ənd ɪz nɑt jɛt ˈkɔlɪŋ əp ˈweɪvərɪŋ ˈsɛnətərz. ˈdɛfənətli ˈlivɪŋ ɪt tɪ mɪʧ tɪ lɛd. bət hi ˈvɛri məʧ wɔnts ɪt tɪ ˈhæpən. ˌæbsəˈlutli, noʊ kˈwɛʃən. noʊ question,”*,” sɛd sɛn. bɑb ˈkɔrkər (r-tenn*.), hu gɑlft wɪθ trəmp ɔn ˈsənˌdi. noʊ hi wɔnts ə results.”*.” trəmp həz nɑt ˈspoʊkən əˈbaʊt ðə ˈnɪti ˈgrɪti ˈditeɪlz əv ðə ˈimərʤɪŋ ˈhɛlθˌkɛr prəˈpoʊzəl wɪθ ˈiðər ˈsɛnɪt ˈfaɪˌnæns ˈʧɛrmən ˈɔrɪn hæʧ (r-utah*) ər hɛlp ˈʧɛrmən lɑˈmɑr ˌælɪgˈzændər (r-tenn*.) ɪn ˈrisənt deɪz, ðə tu ˈʧɛrmɪn sɛd, ˈpleɪsɪŋ ˈkɑnfədɛns ɪn məˈkɑnəl tɪ ˈkɑnʤər əp ə prəˈpoʊzəl. ˌælɪgˈzændər spoʊk tɪ ðə ˈprɛzɪdənt ɪn ˈpæsɪŋ ɔn ˈtuzˌdeɪ, ənd trəmp ˌəndərˈskɔrd ðə nid tɪ pæs ə bɪl. ənd æt ˈdɪnər wɪθ fɔr ˈsɛnətərz ənd tu ˈkɑŋgrəsmɪn ɔn ˈtuzˌdeɪ ˈivnɪŋ, ˈhɛlθˌkɛr ˈbɛrli keɪm əp ɪn ə dɪˈskəʃən dɪˈvoʊtɪd tɪ ˈnæʃənəl sɪˈkjʊrəti ðən ə dɪˈzaɪər tɪ gɪt ˈsəmθɪŋ done,”*,” ˌriˈkaʊntɪd sɛn. ˈmɑrkoʊ ˈrubioʊ (r-fla*.). noʊz ɪt nidz tɪ gɪt done,”*,” sɛd sɛn. ˈkɔˌri ˈgɑrdnər (r-colo*.), hu ˈɔlsoʊ daɪnd wɪθ trəmp. ˌəndərˈstændz ðət ðə əˈfɔrdəbəl kɛr ækt ʤɪst ɪz nɑt ˈwərkɪŋ. hi ˌəndərˈstændz ðət collapsing.”*.” trəmp meɪ nid tɪ steɪ ɪn ðə ˈbækˌgraʊnd ˈoʊvər ðə nɛkst wik ər soʊ. ðə ˈsɛnɪt ɪz ˈreɪsɪŋ tɪ səbˈmɪt ə ˈbluˌprɪnt tɪ ðə kənˈgrɛʃənəl ˈbəʤɪt ˈɔfəs wɪθ ˈsɛnətərz ˈfilɪŋ mɔr ˌɑptɪˈmɪstɪk əˈbaʊt səkˈsɛsfəl rɪˈpil ðɪs wik ðən ðeɪ hæv ɪn ə mənθ. bət ə ˈdɛləkət ˈbæləns: ˈsɛnətərz seɪ ðə waɪt haʊs nidz tɪ hæŋ taɪt fər ə fju mɔr deɪz waɪl ðə əˈtɛmpts tɪ ˈnævəˌgeɪt ˈmeɪʤər dɪˈvɪʒənz ˈoʊvər ˈmɛdəˌkeɪd, hɛlθ ˌrɛgjəˈleɪʃənz ənd haʊ tɪ peɪ fər ðɛr mɔr roʊˈbəst ˈhɛlθˌkɛr bɪl. ɛz sɛn. ʤɑn θun (r-s.d*.) pʊt ɪt: wi hæv ə bɪl aɪ θɪŋk traɪ tɪ gɪt aʊt ənd stɑrt ˈwərkɪŋ people.”*.” ˈsərtənli nɑt æt ə ˈʤəŋkʧər wɛr ɪm biɪŋ ˌɪnˈvɑlvd ɪz ðə raɪt θɪŋ tɪ do,”*,” ˈkɔrkər sɛd. nɑt æt ðət point.”*.” ə waɪt haʊs əˈfɪʃəl sɛd ðɛr wɑz noʊ rum ˈoʊvər ðə pæst mənθ tɪ ʤəmp ˈɪntu ðə tɔks, bət sɛd trəmp wɪl bɪˈkəm engaged”*” ɛz ðə ˈsɛnɪt əˈproʊʧɪz ən ˈækʧəwəl voʊt, ə ˈmoʊmənt wɛr ə paʊərz əv pərsˈweɪʒən kən bi moʊst ˈjusfəl. ðə plæn, ˈsɛnɪt ˈlidərz sɛd, ɪz tɪ juz trəmp ɛz pɑrt əv ðə wɪp tim ɛz ðə voʊt drɔz nɪr. səm ˈsɛnətərz ər ˈlaɪkli tɪ bɔk æt ˈsərvɪŋ ɛz ðə ˌdɪˈsaɪdɪŋ voʊt ɔn ə bɪl ðət wɪl stɪl ˈlaɪkli rɪˈzəlt ɪn ˈmɪljənz fjuər ˌɪnˈʃʊrd. tɔkt tɪ ðə ædˌmɪnɪˈstreɪʃən ənd sɛd: ˈjuˈɛs ðə speɪs tɪ wərk ðɪs aʊt wɪˈθɪn ðə ˈsɛnɪt. ənd wəns wi kəm əp wɪθ ə ˈprɑdəkt ðɛn wi meɪ nid jʊr hɛlp tɪ gɪt ˈjuˈɛs əˈkrɔs ðə ˈfɪnɪʃ line,”*,” sɛd. republicans’*’ ˈtɛntətɪv plænz tɪ juz ðə ˈbʊli ˈpʊlpɪt tɪ draɪv hoʊm rɪˈpil əv ɪz ə stɑrk ˈkɑntræst tɪ mˈjuzɪŋz ˈɛkoʊd ɔˈkeɪʒənəˌli baɪ səm ˈsɛnətərz ðət pərˈhæps ɪt wʊd bi ˈiziər tɪ stænd ɔn ðə ˈsaɪˌdlaɪnz ənd wɔʧ kəˈlæps ˌbiˈfɔr ˈfɪksɪŋ ɪt. ɪn mɑrʧ hi sɛd ðə bɛst θɪŋ wi kən du ˈplɪtɪkli ˈspikɪŋ ɪz lɛt explode,”*,” ən ˈaʊtˌkəm rɪˈpəblɪkənz bɪˈliv kʊd draɪv ˈdɛməˌkræts bæk tɪ ðə ˈteɪbəl ɪf ðə rɪˈpil ˈgæmbɪt hæd feɪld. bət sɪns ðɛn, ðə haʊs pæst ə rɪˈpil bɪl. ənd wɪˈθaʊt kwɪk ənd səkˈsɛsfəl ˈækʃən ɪn ðə ˈsɛnɪt, trəmp rɪsks goʊɪŋ ˈɪntu ðə ˈɔgəst ˈrisɛs wɪθ noʊ sɪgˈnɪfɪkənt ˈlɛʤəsˌleɪtɪv əˈkɑmplɪʃmənt ənd ˈoʊnli ðə ˌkɑnfərˈmeɪʃən əv səˈprim kɔrt ˈʤəstɪs nil ˈgɔrsəʧ tɪ bræg əˈbaʊt dɪˈspaɪt ˈhævɪŋ ˈtoʊtəl kənˈtroʊl əv ˈkæpɪtəl hɪl. riˈraɪtɪŋ ðə tæks koʊd rɪˈmeɪnz fɑr ɔf. soʊ wɪθ ðə ˈpɑrti ðə ˈkloʊsəst bɪn ɪn ˈsɛvən jɪrz tɪ rɪˈpil ˈprɛzɪdənt ˈbɑrək ˈsɪgnəʧər lɔ, trəmp ɪz naʊ ˈpʊʃɪŋ fər ˈækʃən ənd ə wɪn ðət kʊd ˈfaɪnəli pʊt ðə əˈʤɛndə bæk ɔn træk. ˈvɛri ˌɪnˈvɛstɪd. ˈvɛri concerned,”*,” sɛd sɛn. ˈdeɪvɪd pərˈdu (r-ga*.), ə kloʊz trəmp ˈælaɪ. ˈprɛʃər ðət sin ɪm pʊt ɔn ðə ˈpipəl əv ˈkɑŋgrəs, ðə haʊs ənd ðə ˈsɛnɪt, ɪz: ˈkænɑt du nothing.’”*.’” ˈʤɛnəfər ˈhæbərkərn ənd ˈreɪʧəl beɪd kənˈtrɪbjutɪd tɪ ðɪs rɪˈpɔrt.
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president donald trump is increasingly invested in senate passage of a bill to repeal obamacare, realizing that a successful vote in the upper chamber will provide a major boost to his domestic agenda, say republicans who have spent time with him recently.
at a meeting with congressional leaders on tuesday, trump urged senate majority leader mitch mcconnell (r-ky.) to follow through on an aggressive timetable for repealing the law in order to quickly turn to tax reform and help avoid a calamitous autumn full of key fiscal deadlines, according to multiple sources familiar with the meeting.
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while mcconnell is already racing to vote on repealing the healthcare law by the end of june, the president made it clear to gop leaders that he knows his entire agenda is stalled until the party can finish healthcare.
“that was one of the purposes of the meeting yesterday,” said senate majority whip john cornyn (r-texas) in an interview. “talking about the importance of getting that accomplished, he struck me as all in.”
trump even wondered if congress could delay a vote to raise the debt ceiling until the fall to keep congress and the public focused on healthcare, according to people familiar with the meeting, though the treasury department’s tax receipts may not allow such a maneuver.
treasury secretary steven mnuchin said that it is his preference to raise the debt ceiling before the august recess, leaving gop leaders unclear whether they could execute healthcare and the debt ceiling on trump’s timetable, those people said. a republican aide said the party currently believes it cannot risk putting off the debt ceiling until september.
the president has also been stung by some of the news coverage of the house-passed health bill and detractors who decry it is as overly stingy, a white house official said. trump urged senate gop leaders to make their bill more generous than the house, a tacit acknowledgment that the more centrist senate won’t be pursuing the same sort of red meat plan that the house freedom caucus was clamoring for earlier this spring, republicans said.
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and though trump is champing at the bit for the senate to conclude its healthcare work and reconcile its differences with the house, the president is taking a remarkably soft touch after directly working rank-and-file house members for several weeks earlier this year. trump is impressing on party leaders the importance of success, yet is not directly engaged in the details of the bill and is not yet calling up wavering senators.
“he’s definitely leaving it to mitch to lead. but he very much wants it to happen. absolutely, no question. no question,” said sen. bob corker (r-tenn.), who golfed with trump on sunday. “i know he wants a results.”
trump has not spoken about the nitty gritty details of the emerging healthcare proposal with either senate finance chairman orrin hatch (r-utah) or help chairman lamar alexander (r-tenn.) in recent days, the two chairmen said, placing confidence in mcconnell to conjure up a proposal. alexander spoke to the president in passing on tuesday, and trump underscored the need to pass a bill.
and at dinner with four gop senators and two congressmen on tuesday evening, healthcare barely came up in a discussion devoted to national security “other than a desire to get something done,” recounted sen. marco rubio (r-fla.).
“he knows it needs to get done,” said sen. cory gardner (r-colo.), who also dined with trump. “he understands that the affordable care act just is not working. he understands that collapsing.”
trump may need to stay in the background over the next week or so. the senate is racing to submit a blueprint to the congressional budget office with senators feeling more optimistic about successful repeal this week than they have in a month. but a delicate balance: senators say the white house needs to hang tight for a few more days while the gop attempts to navigate major divisions over medicaid, health regulations and how to pay for their more robust healthcare bill. as sen. john thune (r-s.d.) put it: “once we have a bill … i think he’ll try to get out and start working people.”
“we’re certainly not at a juncture where him being involved is the right thing to do,” corker said. “we’re not at that point.”
a white house official said there was no room over the past month to jump into the talks, but said trump will become “more engaged” as the senate gop approaches an actual vote, a moment where a president’s powers of persuasion can be most useful. the plan, senate leaders said, is to use trump as part of the whip team as the vote draws near.
some senators are likely to balk at serving as the deciding vote on a bill that will still likely result in millions fewer insured.
“we’ve talked to the administration and said: ‘give us the space to work this out within the senate. and once we come up with a product then we may need your help to get us across the finish line,” cornyn said.
republicans’ tentative plans to use the bully pulpit to drive home repeal of obamacare is a stark contrast to trump’s musings — echoed occasionally by some senators — that perhaps it would be easier to stand on the sidelines and watch obamacare collapse before fixing it. in march he said “that the best thing we can do politically speaking is let obamacare explode,” an outcome republicans believe could drive democrats back to the table if the obamacare repeal gambit had failed.
but since then, the house passed a repeal bill. and without quick and successful action in the senate, trump risks going into the august recess with no significant legislative accomplishment and only the confirmation of supreme court justice neil gorsuch to brag about despite having total gop control of capitol hill. rewriting the tax code remains far off.
so with the party the closest been in seven years to repeal president barack obama’s signature law, trump is now pushing for action — and a win that could finally put the gop’s agenda back on track.
“he’s very invested. he’s very concerned,” said sen. david perdue (r-ga.), a close trump ally. “the pressure that i’ve seen him put on the people of congress, the house and the senate, is: ‘we cannot do nothing.’”
jennifer haberkorn and rachael bade contributed to this report.
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ˈθaʊzənz əv ˈpɑlɪʃ ˈɛldərli skæmd ˈɛvəri jɪr ɪn ““grandchild”*” ɛkˈstɔrʃən ðɪs jɪr ðɛr hæv bɪn mɔr ðən ““grandchild”*” skæmz ɪn ˈpoʊlənd. ʤɪst ɪn ˈwɔrˌsɔ ˈskæmərz hæv ɛkˈstɔrtɪd approx*. 10 ˈmɪljən zł*ł. wət ɪz ðə ““grandchild”*” skæm? kwaɪt ˈsɪmpəl ˈrɪli. ə ˈskæmər ə foʊn bʊk ɪn sərʧ əv ə neɪm ˈkɑmən əˈməŋ ðə ˈɛldərli, ðɛn kɔlz ðə ˈʧoʊzən ˈpərsən priˈtɛndɪŋ tɪ bi ðɛr frɛnd ər ən ˈækʧəwəl ˈmɛmbər əv ðɛr ˈfæməli, ənd ˈkleɪmɪŋ tɪ bi ɪn ˈtrəbəl (ðɛr ər ə fju ˈdɪfərənt sɪˈnɛrioʊz) ənd ɪn ˈdɛspərɪt nid əv ˈməni. ðeɪ æsk ðət ðə ˈsinjər gɪvz ðə ˈməni (ənd ˈsəmˌtaɪmz ˈəðər ˈvæljəbəl pəˈzɛʃənz) tɪ ə ““friend”*”, ənd ðɛn ˈleɪtər kɔl əˈgɛn tɪ seɪ θæŋks ənd kənˈfərm rɪˈsivd ɪt. si ˈɔlsoʊ: ˈbeɪlɪf ɪn ˈpoʊlənd mɪˈsteɪkənli ˈsizɪz 2 faɪər ˈɛnʤənz ðɪs ˈprɪmɪtɪv ˈmɛθəd juzd baɪ gæŋz ɪz ˈvɛri səkˈsɛsfəl. dɪˈspaɪt ˈwɔrnɪŋz əv ðə pəˈlis, ˈækʃənz ənd əˈnaʊnsmɛnts ɪn ˈʧərʧɪz ðə skeɪl əv ðə soʊ kɔld ““grandchild”*” frɔd həz bɪn ˈraɪzɪŋ əˈlɑrmɪŋli. ɪn ðə fərst hæf əv ðɪs jɪr ðɛr hæv ɔˈrɛdi bɪn mɔr ðən səʧ kraɪmz. ˈɔlˌmoʊst 70 pərˈsɛnt əv ðə læst ˈnəmbərz əˈkɔrdɪŋ tɪ ðə ˈnæʃənəl pəˈlis headquarters’*’ ˈdætə. wi meɪk səʧ ˈkeɪsɪz ˈpəblɪk ənd wɔrn ˈpipəl. bət ðə ˈkəlprɪts ˈmərsələsli ˌɛkˈsplɔɪt ðə trəst əv ðə ˈɛldərli hu əˈtæʧ greɪt ˌɪmˈpɔrtəns tɪ ˈvæljuz ɛz ðə dɪˈzaɪər tɪ hɛlp ˈəðərz sɪz ˈænə əv ðə ˌmɛtrəˈpɑlətən pəˈlis. pəˈlis rɪˈpɔrts spik fər ðɛmˈsɛlvz. ɪn 2012 ðɛr wər səʧ skæmz, læst jɪr ˈnɪrli ɔl ˌɪndəˈkeɪʃənz ʃoʊ ðət ðɪs jɪr ðɛr wɪl bi ˈivɪn mɔr ““grandchild”*” skæmz, wɪʧ ɪz ˈɔlˌmoʊst twaɪs ɛz ˈmɛni ɛz wɪˈθɪn ðə seɪm ˈpɪriəd læst jɪr 762 ˈfɑloʊ ɪf ju ˌɛnˈʤɔɪd ðɪs poʊst, pliz laɪk ər ʃɛr! ɪf ju ˌɛnˈʤɔɪd, pliz laɪk ər ʃɛr!
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thousands of polish elderly scammed every year in “grandchild” extortion
this year there have been more than 1,300 “grandchild” scams in poland. just in warsaw scammers have extorted approx. 10 million zł.
what is the “grandchild” scam? it’s quite simple really.
a scammer skims a phone book in search of a name common among the elderly, then calls the chosen person pretending to be their grandchild’s friend or an actual member of their family, and claiming to be in trouble (there are a few different scenarios) and in desperate need of money. they ask that the senior gives the money (and sometimes other valuable possessions) to a “friend”, and then later call again to say thanks and confirm they’ve received it.
see also: bailiff in poland mistakenly seizes 2 fire engines
this primitive method used by organised gangs is very successful. despite warnings of the police, awareness-raising actions and announcements in churches the scale of the so called “grandchild” fraud has been rising alarmingly. in the first half of this year there have already been more than 1,300 such crimes. that’s almost 70 percent of the last year’s numbers – according to the national police headquarters’ data.
we make such cases public and warn people. but the culprits mercilessly exploit the trust of the elderly who attach great importance to values such as the desire to help others – says anna kędzierzawska of the metropolitan police.
police reports speak for themselves. in 2012 there were 1,100 such scams, last year nearly 1,900. all indications show that this year there will be even more “grandchild” scams, which is almost twice as many as within the same period last year (762).
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ðɪs ˈwɔrnɪŋ wɑz ˈpoʊstɪd ɔn ə "dɪbz" lɛft baɪ ˈsæləmən ˈlinoʊ ɪn ðə 5400 blɑk əv wɛst ˈgɪdɪŋz strit. ðə ˈsɪti dɪz nɑt ˈɪʃu ˈtɪkɪts fər "dɪbz," əˈfɪʃəlz sɛd. vju fʊl ˈkæpʃən ˈsæləmən ˈlinoʊ ˈʤɛfərsən pɑrk ɪn ðɪs ˈwɪntərz ˈɛskəˌleɪtɪŋ "dɪbz" wɔr, wən saɪd meɪ hæv rɪˈzɔrtɪd tɪ dɪˈsɛptɪv ˈtæktɪks. læst wik, ˈsæləmən ˈlinoʊ ˈʃəvəld aʊt ə ˈpɑrkɪŋ speɪs ɪn frənt əv hɪz dɪˈseɪbəld ˈneɪbərz hoʊm ɪn ðə 5400 blɑk əv wɛst ˈgɪdɪŋz strit ənd kleɪmd ɪt fər hər wɪθ ə ˈplæstɪk ʧɛr, ˈoʊnli tɪ ˈleɪtər faɪnd ɪt tægd wɪθ ə ˈtɪkɪt frəm ðə ˈsɪti. ɪf ˈlinoʊ ˈdɪdənt muv ðə ʧɛr, hi wɑz ˈfeɪsɪŋ ə pəˈtɛnʃəl 500 faɪn ɪf ðə ˈtɪkɪt wər ril. ðə ˈsɪtiz dɪˈpɑrtmənt əv strits ənd ˌsænɪˈteɪʃən "dɪz nɑt ˈɪʃu saɪˈteɪʃənz əv ˈɛni kaɪnd fər 'dɪbz,'" əˈkɔrdɪŋ tɪ ˈspoʊksˌwʊmən æn ˈʃiən. ˈæftər siɪŋ ə ˈfoʊˌtoʊ əv ˈtɪkɪt, ə ˈsɪti əˈfɪʃəl kənˈfərmd ðət ɪt wɑz ə feɪk, ˈsɪti sil ənd ɔl. "ɪt dɪd sim ə ˈlɪtəl ɑd," ˈlinoʊ sɛd əv ðə ˈtɪkɪt. "aɪ min, ɪf ðə ˈsɪti ˈstɑrtɪd ˈhændɪŋ aʊt ðiz 500 faɪnz, ðeɪ kʊd meɪk mɔr ɔn ðɪs ðən [ðeɪ du frəm] ðə spid ˈkæmərəz." waɪl ðə ˈsɪti ˈdəzənt faɪn ˈrɛzɪdənts fər "dɪbz," ˈwərkərz ər ɪmˈpaʊərd tɪ tɔs aʊt ˈɛni əbˈstrəkʃənz ɪn ðə ˈpəblɪk weɪ, əˈkɔrdɪŋ tɪ ˈsɪti lɔ. ðæts ɪgˈzæktli wət ðeɪ dɪd ɪn ˈfɛbruˌɛri 2015 ˈæftər snoʊ bɪˈgæn tɪ mɛlt. ənd ˈɔldərmɪn ənd ˈəðər ˈsɪti əˈfɪʃəlz hæv ˈfɔrsfəli dɪˈskərɪʤd ðə ˈpræktɪs, ˈkɔlɪŋ ɪt ə ˈnusəns. "wɪr ɔˈrɛdi ˈgɪtɪŋ kɔlz frəm ˈpipəl əˈbaʊt ɔl sɔrts əv ʤəŋk biɪŋ lɛft ɪn ðə ˈmɪdəl əv ðə strit, ənd ɪt ˈdɪdənt ˈivɪn snoʊ ðət məʧ," sɛd oʊən brə, ʧif əv stæf tɪ wɔrd ald*. ʤɑn ərˈinə. "wi wʊd ʤɪst ərʤ ˈɛvriˌwən tɪ du ðə ˈneɪbərli θɪŋ ənd gɪt təˈgɛðər ənd ˈʃəvəl iʧ ˈəðər aʊt." ðət wɑz ɪgˈzæktli ðə rɪˈspɑns ˈlinoʊ gɑt wɪn hi wɛnt tɪ ərˈinəz ˈɔfəs tɪ æsk əˈbaʊt ðə ˈtɪkɪt, hi sɛd. bət ɛz lɔŋ ɛz ˈəðər ˈpipəl ər ˈkɔlɪŋ dɪbz, hi rɪfˈjuzɪz tɪ stɑp. "ə lɔt əv ˈpipəl ɔn ɑr blɑk du ɪt wɪn ðɛrz ˈhɛvi snoʊ," ˈlinoʊ sɛd. "wɪn wi dɪg aʊt ə spɑt ənd liv fər ən aʊər, jʊd ˈbɛtər bɪˈliv wɪr goʊɪŋ tɪ traɪ ənd prəˈtɛkt ɪt." fər mɔr ˈneɪbərˌhʊd nuz, ˈlɪsən tɪ ˈreɪdiˌoʊ hir.
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this warning was posted on a "dibs" left by salomon lino in the 5400 block of west giddings street. the city does not issue tickets for "dibs," officials said. view full caption salomon lino
jefferson park — in this winter's escalating "dibs" war, one side may have resorted to deceptive tactics.
last week, salomon lino shoveled out a parking space in front of his disabled neighbor's home in the 5400 block of west giddings street and claimed it for her with a plastic chair, only to later find it tagged with a ticket from the city.
if lino didn't move the chair, he was facing a potential $500 fine — if the ticket were real.
the city's department of streets and sanitation "does not issue citations of any kind for 'dibs,'" according to spokeswoman anne sheehan.
after seeing a photo of lino's ticket, a city official confirmed that it was a fake, city seal and all.
"it did seem a little odd," lino said of the ticket. "i mean, if the city started handing out these $500 fines, they could make more on this than [they do from] the speed cameras."
while the city doesn't fine residents for "dibs," workers are empowered to toss out any obstructions in the public way, according to city law. that's exactly what they did in february 2015, after snow began to melt.
and aldermen and other city officials have forcefully discouraged the practice, calling it a nuisance.
"we're already getting calls from people about all sorts of junk being left in the middle of the street, and it didn't even snow that much," said owen brugh, chief of staff to 45th ward ald. john arena. "we would just urge everyone to do the neighborly thing and get together and shovel each other out."
that was exactly the response lino got when he went to arena's office to ask about the ticket, he said. but as long as other people are calling dibs, he refuses to stop.
"a lot of people on our block do it when there's heavy snow," lino said. "when we dig out a spot and leave for an hour, you'd better believe we're going to try and protect it."
for more neighborhood news, listen to dnainfo radio here.
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ðiz ˈmɪni ˈʧɔklət ˈɛnərʤi bɔlz ðət ˈfiʧər rɑ kəˈkeɪoʊ ˈpaʊdər, ˈkæˌʃu ənd ˈkoʊkəˌnət ɔɪl ər ðə ˈpərˌfɪkt ˈhɛlθi trit ju dɪˈzərv ɔn ə deɪ! nɑt tɪ ˈmɛnʃən ðeɪ ər rɑ ˈvɛgən, ənd ənd ðeɪ teɪk əp ˈmæksəməm 5 ˈmɪnəts əv jʊr taɪm. ˌbiˈfɔr ˈɛniˌθɪŋ ɛls, laɪk tɪ tɛl ju ə fju wərdz əˈbaʊt ðə sɔrs. ðoʊz əˈmeɪzɪŋ ˈmɪni ˈʧɔklət ˈɛnərʤi bɔlz ər ˌɪnˈspaɪərd frəm ðə bʊk it rən ˈrɪtən baɪ ðə ˈfeɪməs əˈmɛrɪkən skɑt ˈʤʊrɛk. hæv ju hərd əv ɪm? noooooo*? ˈoʊˈkeɪ, ðɛn ju maɪt ˈwəndər soʊ ˈspɛʃəl əˈbaʊt ðɪs bʊk. ju si skɑt bʊk ɪz wən əv ðoʊz fju bʊks ðət hæv ʧeɪnʤd maɪ laɪf ˈtiʧɪŋ mi tɪ prɛs ɔn θru ˈɛniˌθɪŋ. əˈməŋ ə fju θɪŋz, aɪ ˈɔlsoʊ ˈriəˌlaɪzd ˈæftər ˈrɛdɪŋ hɪz bʊk ðət ˈlɪmɪts ər ɔl ɪn ɑr hɛdz. hɪz rɪˈmɑrkəbəl ˈstɔri ɪz ə riˈmaɪndər ðət, noʊ ˈmætər haʊ fɑr ju goʊ, ˈɛvəri rən ɪz ə ˈʤərni əv ˌdɪˈskəvri ənd ðə ʧæns tɪ ɪkˈsplɔr ˈpɑsəbəl ɪn boʊθ spɔrt ənd laɪf. ˌɪnˈkrɛdəbəl ˈstɔriz əv ˈɛndərəns, ɛz wɛl ɛz ˈpræktɪkəl ədˈvaɪs fər ˈrənərz ˌɪnˈkludɪŋ hɪz oʊn ˈfeɪvərɪt ˈvɛgən ˈrɛsəpiz, it rən wɪl ˈmoʊtəˌveɪt moʊst əv ju tɪ ðə distance”*” ˈwɛðər ðət minz ˈgɪtɪŋ aʊt fər jʊr fərst rən, ɪkˈspændɪŋ jʊr fud hərˈaɪzənz, ər ˈsɪmpli pʊt ɪkˈsplɔrɪŋ ðə ˈlɪmɪts əv jʊr oʊn pəˈtɛnʃəl. ɪn ðɪs bʊk, ju wɪl bi ˈeɪbəl tɪ faɪnd ˈoʊvər tˈwɛnti ˈvɛgən ˈrɛsəpiz ˈkəvərɪŋ ə waɪd reɪnʤ frəm tɪ sˈwitər dɪˈzərts. ˌɔlˈðoʊ aɪ æm nɑt ˈvɛgən, aɪ faʊnd moʊst əv hɪz ˈrɛsəpiz ˈvɛri ˌɪnˈspaɪərɪŋ. ənd aɪ məst seɪ ðət ˈrɛdɪŋ ˈʤərni wɑz ˈhaɪli ˌɪnˈspaɪərɪŋ, ənd biɪŋ ən əˈspaɪrɪŋ ˈɛndərəns ˈrənər, ˈrɛdɪŋ əv ˈpipəl ˈhævɪŋ ðə seɪm ˈtrəbəl æt maɪl 50 ðət aɪ hæv æt maɪl 10 ɪz fər mi ɪnˈkərəʤɪŋ. wət skɑt ˈʤʊrɛk sɪz əˈbaʊt ðoʊz ˈmɪni ˈʧɔklət ˈɛnərʤi bɔlz: gʊd mil laɪk ə gʊd ˈstɔri dɪˈzərvz ə ˈsætɪsˌfaɪɪŋ ˈɛndɪŋ. ðə ˈnæʧərəl kæˈfin ɪn ðə rɑ kəˈkeɪoʊ nɪbz dɪˈlɪvərz ə ʤoʊlt ənd ðə ˈsətəl blɛnd əv ˈʧɪli fleɪks ənd ˈsɪnəmən wɪl ˈgrætəˌfaɪ ðə moʊst dɪˈmændɪŋ dɪˈzərt lover.”*.” ɪn hɪz ˈrɛsəpi, skɑt ˈʤʊrɛk ˈjuzɪz rɑ kəˈkeɪoʊ nɪbz, ˈmɛˌskit, ənd vəˈnɪlə ˈpaʊdər, bət aɪ faɪnd ðɛm ɪn ðə ˈnæʧərəl fud stɔr, soʊ aɪ hæd tɪ sˈlaɪtli əˈdæpt ɪt. ˌɪnˈstɛd əv rɑ kəˈkeɪoʊ nɪbz, aɪ ʧoʊz kəˈkeɪoʊ ˈpaʊdər. aɪ hoʊp ju ər nɑt wən əv ðoʊz ˈpipəl hu kreɪv ˈʧɔklət ənd əˈvɔɪd ɔl əv ɪt bɪˈkəz ðeɪ θɪŋk ˈfætənɪŋ ənd ənˈhɛlθi. dɑrk ˈʧɔklət wɪθ ə ˈkoʊkoʊ ˈkɑntɛnt əv kənˈteɪnz ə lɔt lɛs ˈʃʊgər ðən pleɪn ər mɪlk ˈʧɔklət. ðə ˈprɑbləm ɪz nɑt ðə kəˈkeɪoʊ ˌɪtˈsɛlf, əˈgɛn ðə dæm ˈʃʊgər! ɪn fækt, kəˈkeɪoʊ ˈpaʊdər, wɪʧ kəmz frəm ðə kəˈkeɪoʊ bin, ɪz ˈhaɪli nuˈtrɪʃəs, ənd ɪt kən prəˈvaɪd ˈnumərəs hɛlθ ˈbɛnəfɪts laɪk ˈhɛlpɪŋ tɪ loʊər kəˈlɛstərˌɔl, rɪˈdus ðə rɪsk əv bləd klɑts, loʊər haɪ bləd ˈprɛʃər ənd bust ˈmɛməri pərˈfɔrməns. ɪt ˈɔlsoʊ prəˈvaɪdz ɛˈsɛnʃəl ˈmɪnərəlz səʧ ɛz ˈkælsiəm, mægˈniziəm, pəˈtæsiəm, ənd ˌæntiˈɑksədənts. ˌhaʊˈɛvər, tɪ pleɪ ɪt seɪf, kənˈsum ðiz ˈʧɔklət trits ɔn ˈspɛʃəl ɔˈkeɪʒənz ənd lʊk fər mægˈniziəm ənd əˈspɛʃəli ˌæntiˈɑksədənts ˈɛlsˌwɛr səʧ ɛz ˈbɛriz, greɪps, təˈmɑtoʊz, ˌævəˈkɑdoʊ ənd soʊ ɔn. ðiz ˈmɪni ˈʧɔklət ˈɛnərʤi bɔlz ər boʊθ ə dɪˈlɪʃəs dɪˈzərt ənd ən ˈɛnərʤi ˈbustər, ˈpərˌfɪkt fər ə fɪt ənd ˈhɛlθi deɪ, ˌrilækˈseɪʃən ər ˈivɪn fər goʊɪŋ ɔn ə lɔŋ rən. ˈtɔkɪŋ əˈbaʊt lɔŋ rənz, ju kən ˌɪˈmæʤən ðət fərst aɪ hæd tɪ traɪ ɪt ˌmaɪˈsɛlf. soʊ ˈjɛstərˌdeɪ, ˌbiˈfɔr maɪ ˈjuʒəwəl lɔŋ rən, aɪ eɪt wən əv ðoʊz ˈmæʤɪk ˈbustər ˈʧɔklət bɔlz. haʊ dɪd aɪ du? naʊ ju bɪˈliv mi ɪf aɪ toʊld ju, bət aɪ kʊd rən laɪk ðə wɪnd. soʊ maɪ ˈvərdɪkt: fər rɑ ˈvɛgən ˈʧɔklət ˈdɛzərt, ðɪs ɪz ə knock-out*. aɪ wɪl ˈdɛfənətli gɪv ɪt ən ə ənd ərʤ ju tɪ traɪ ɪt ɛz sun ɛz ˈpɑsəbəl. aɪ bɛt ju wɪl ləv ɪt, tu! ðɪs ɪz ɔl ju nid: frəm 3 rəvˈjuz prɪnt ˈmɪni ˈʧɔklət ˈɛnərʤi bɔlz ˈɔθər: kʊk ɪt fɪt kwɪˈzin: rɑ ˈvɛgən prɛp taɪm: 3 ˈtoʊtəl taɪm: 3 sərvz: 8 ˌɪnˈgridiənts kəp rɑ kəˈkeɪoʊ ˈpaʊdər nɪbz kəp rɑ ˈkæˌʃu 8 ˈmidiəm deɪts 1 graʊnd ˈsɪnəmən rɛd ˈpɛpər fleɪks 2 rɑ ˈkoʊkəˌnət ɔɪl (wɔrmd tɪ ˈlɪkwɪd kənˈsɪstənsi) ˌɪnˈstrəkʃənz ˈkɑmbaɪn ɔl ðə ˌɪnˈgridiənts ɪkˈsɛpt ðə ˈkoʊkəˌnət ɔɪl ɪn ə fud ˈprɑˌsɛsər ənd ˈprɔˌsɛs fər ə fju ˈmɪnəts ənˈtɪl ʧɑpt tɪ ə faɪn ˈtɛksʧər. ˈtrænsfər ðə ˈmɪksʧər tɪ ə ˈmɪksɪŋ boʊl. æd ðə ˈmɛltɪd ˈkoʊkəˌnət ɔɪl ənd stər ənˈtɪl wɛl kəmˈbaɪnd. fɔrm ˈɪntu raʊnd bɔlz ənd pleɪs ðɛm ɔn wækst ˈpeɪpər aɪˈdili (ˈbeɪkɪŋ ˈpeɪpər wɪl du ʤɪst faɪn tu) ənd rɪˈfrɪʤərˌeɪt fər 15 tɪ 20 ˈmɪnəts, ðɛn ˈtrænsfər ðɛm tɪ ən ˈɛrˌtaɪt kənˈteɪnər. noʊts ðə bɔlz wɪl kip fər 2 wiks, rɪˈfrɪʤərˌeɪtɪd. ˈrɛsəpi əˈdæptɪd frəm ðə bʊk it rən baɪ skɑt ˈʤʊrɛk ˈrɛsəpi baɪ bi ʃaɪ ənd tɛl mi wət du ju θɪŋk əˈbaʊt ðɪs ˈhɛlθi dɪˈzərt ɪn ðə ˈkɑmɛnt fɔrm bɪˈloʊ. baɪ ðə weɪ, ɪf ju ˈɔlsoʊ rɛd ðə bʊk, aɪ wʊd ləv tɪ hir jʊr θɔts ɔn ɪt frəm ˈrənər tɪ ˈrənər. bi ˈhɛlθi ənd ˈhæpi!
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these mini chocolate energy balls that feature raw cacao powder, cashew and coconut oil are the perfect healthy treat you deserve on a valentine’s day! not to mention they are raw vegan, dairy-free and sugar-free – and they take up maximum 5 minutes of your time.
before anything else, i’d like to tell you a few words about the source. those amazing mini chocolate energy balls are inspired from the book eat & run written by the famous american ultra-marathoner scott jurek.
have you heard of him? noooooo? ok, then you might wonder what’s so special about this book.
you see scott jurek’s book is one of those few books that have changed my life – teaching me to press on through anything. among a few things, i also realized after reading his book that limits are all in our heads.
his remarkable story is a reminder that, no matter how far you go, every day’s run is a journey of discovery and the chance to explore what’s possible in both sport and life.
incredible stories of endurance, as well as practical advice for runners including his own favorite vegan recipes, eat & run will motivate most of you to “go the distance” whether that means getting out for your first run, expanding your food horizons, or simply put exploring the limits of your own potential.
in this book, you will be able to find over twenty vegan recipes covering a wide range from pre-workout smoothies to sweeter desserts.
although i am not vegan, i found most of his recipes very inspiring. and i must say that reading scott’s journey was highly inspiring, and being an aspiring endurance runner, reading of people having the same trouble at mile 50 that i have at mile 10 is for me encouraging.
what scott jurek says about those mini chocolate energy balls:
“a good meal – like a good story – deserves a satisfying ending. the natural caffeine in the raw cacao nibs delivers a jolt and the subtle blend of chili flakes and cinnamon will gratify the most demanding dessert lover.”
in his recipe, scott jurek uses raw cacao nibs, mesquite, and vanilla powder, but i couldn’t find them in the natural food store, so i had to slightly adapt it. instead of raw cacao nibs, i chose cacao powder. i hope you are not one of those people who crave chocolate and avoid all of it because they think it’s fattening and unhealthy. dark chocolate with a cocoa content of 81-85% contains a lot less sugar than plain or milk chocolate.
the problem is not the cacao itself, again it’s the damn sugar!
in fact, cacao powder, which comes from the cacao bean, is highly nutritious, and it can provide numerous health benefits like helping to lower cholesterol, reduce the risk of blood clots, lower high blood pressure and boost memory performance. it also provides essential minerals such as calcium, magnesium, potassium, and antioxidants.
however, to play it safe, consume these chocolate treats on special occasions and look for magnesium and especially antioxidants elsewhere such as berries, grapes, tomatoes, avocado and so on.
these mini chocolate energy balls are both a delicious dessert and an energy booster, perfect for a fit and healthy valentine’s day, after-dinner relaxation or even for going on a long run.
talking about long runs, you can imagine that first i had to try it myself. so yesterday, before my usual long run, i ate one of those magic booster chocolate balls. how did i do? now you wouldn’t believe me if i told you, but i could run like the wind.
so my verdict: for raw vegan chocolate desert, this is a knock-out. i will definitely give it an a and urge you to try it as soon as possible. i bet you will love it, too!
this is all you need:
5.0 from 3 reviews print mini chocolate energy balls author: cook it fit cuisine: raw vegan prep time: 3 mins total time: 3 mins serves: 8 ingredients - ½ cup raw cacao powder nibs
- ½ cup raw cashew
- 8 medium dates
- 1 tsp ground cinnamon
- ½ tsp red pepper flakes
- 2 tsp raw coconut oil (warmed to liquid consistency) instructions combine all the ingredients except the coconut oil in a food processor and process for a few minutes until chopped to a fine texture. transfer the mixture to a mixing bowl. add the melted coconut oil and stir until well combined. form into 1-inch round balls and place them on waxed paper ideally (baking paper will do just fine too) and refrigerate for 15 to 20 minutes, then transfer them to an airtight container. notes the balls will keep for 2 weeks, refrigerated.
recipe adapted from the book eat & run by scott jurek wordpress recipe plugin by easyrecipe 3.2.2885
don’t be shy and tell me what do you think about this healthy dessert in the comment form below. by the way, if you also read the book, i would love to hear your thoughts on it – from runner to runner.
be healthy and happy!
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ðə kloʊz əv ðə ˈænjuəl ˈɛˌnɛˈfɛl treɪd ˈdɛˌdlaɪn minz ðə ɛnd əv ˈtreɪdɪŋ, bət ɪt ˈɔlsoʊ brɪŋz ə sɪgˈnɪfɪkənt ʧeɪnʤ ɪn haʊ pleɪər rɪˈlisɪz ər ˈhændəld. praɪər tɪ ðə treɪd ˈdɛˌdlaɪn, ɪf ə pleɪər ɪz riˈlist, hi ˈoʊnli goʊz θru ˈweɪvərz ɪf hi həz fjuər ðən fɔr əˈkrud ˈsizənz əv ˈsərvɪs taɪm. ɪf hi həz fɔr ər mɔr, hi ɪz ˌɔtəˈmætɪkli ə fri ˈeɪʤənt. ˈæftər ðə treɪd ˈdɛˌdlaɪn, ɔl riˈlist pleɪərz goʊ θru ðə ˈweɪvərz ˈprɔˌsɛs. ðət brɪŋz ˈjuˈɛs tɪ nuz. ðə grin beɪ ˈpækərz riˈlist taɪt ɛnd ˈbɛnɪt ɔn ˈwɛnzˌdeɪ, ˈlɪstɪŋ ɪm wɪθ ə ˈfeɪljər tɪ dɪˈskloʊz ˌdɛzɪgˈneɪʃən. ðə ˌdɛzɪgˈneɪʃən ˈlaɪkli minz hi dɪd nɑt dɪˈskloʊz ə ˈsərtən ˈɪnʤəri æt səm pɔɪnt ˈdʊrɪŋ ðɪs taɪm wɪθ ðə ˈpækərz. hi əˈpɪrd ɪn ˈsɛvən geɪmz ðɪs ˈsizən, ˈkæʧɪŋ 24 ˈpæsɪz fər 233 jɑrdz. ˈbɛnɪt wɪl goʊ θru ˈweɪvərz, wɪʧ minz ˈɛni əv ðə ˈəðər 31 timz kən kleɪm hɪz ˈkɑnˌtrækt. ðɪs pæst offseason*, hi saɪnd ə θˈriˌjɪr, 21 ˈmɪljən ˈkɑnˌtrækt wɪθ ðə ˈpækərz. hi rɪˈsivd ə ˈmɪljən ˈsaɪnɪŋ ˈboʊnəs. ðə ˈpækərz hæv tɪ it ðə ˈsaɪnɪŋ ˈboʊnəs rəˈgɑrdləs əv ɪf hi ɪz kleɪmd ɔf ˈweɪvərz, bət ə nu tim wʊd teɪk ˈoʊvər ðə rɛst əv hɪz ˈsæləri. ˈbɛnɪt ɪz ˈoʊnli du ðə rɛst əv ðɪs ˈsizən ənd ɪn ˈtoʊtəl ˈrɑstər ˈboʊnəsɪz. ɪf hi ɪz ɔn ðə ˈrɑstər ðə fərst deɪ əv ðə 2018 lig jɪr, hi ɪz oʊd ə 2 ˈmɪljən ˈrɑstər ˈboʊnəs. hɪz ˈsæləriz ðə nɛkst tu jɪrz ər ˈmɪljən ənd ˈmɪljən. ðə ər ɪn ə baɪnd æt taɪt ɛnd. ðeɪ pleɪst koʊl ɔn ˈɪnʤərd rɪˈzərv, ənd kaɪl ˈʃænəhæn ɔˈrɛdi sɛd ʤɔrʤ ˈkɪtəl pleɪ ðɪs ˈwiˌkɪnd. ðət livz ðɛm wɪθ ˈgɛrɪt ənd ˈloʊgən ˈpaʊlsən. ˈbɛnɪt ɪz mɔr əv ə pæs ˈkæʧɪŋ ˈɔpʃən, bət kənˈsɪdərɪŋ ðə dərθ əv ˈɔpʃənz du tɪ ˈɪnʤəriz, hi kʊd pəˈtɛnʃəli brɪŋ ˈsəmθɪŋ tɪ ðə ˈteɪbəl. ðə ənd braʊnz hoʊld ðə tɔp tu spɑts ɪn ˈweɪvər praɪˈɔrəti. aɪ bɪˈliv ɛoʊɛs həz ðə braʊnz æt noʊ. 1 ˈoʊvər ðə, bət aɪ æm nɑt kwaɪt ˈsərtən. dɪz ɪt meɪk sɛns ðoʊ tɪ pʊt ɪn ə kleɪm ɔn ˈbɛnɪt?
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the close of the annual nfl trade deadline means the end of trading, but it also brings a significant change in how player releases are handled. prior to the trade deadline, if a player is released, he only goes through waivers if he has fewer than four accrued seasons of service time. if he has four or more, he is automatically a free agent. after the trade deadline, all released players go through the waivers process.
that brings us to today’s news. the green bay packers released tight end martellus bennett on wednesday, listing him with a failure to disclose designation. the designation likely means he did not disclose a certain injury at some point during this time with the packers. he appeared in seven games this season, catching 24 passes for 233 yards.
bennett will go through waivers, which means any of the other 31 teams can claim his contract. this past offseason, he signed a three-year, $21 million contract with the packers. he received a $6.3 million signing bonus. the packers have to eat the signing bonus regardless of if he is claimed off waivers, but a new team would take over the rest of his salary. bennett is only due $900,000 the rest of this season and $600,000 in total per-game roster bonuses. if he is on the roster the first day of the 2018 league year, he is owed a $2 million roster bonus. his salaries the next two years are $3.6 million and $5.65 million.
the 49ers are in a bind at tight end. they placed cole hikutini on injured reserve, and kyle shanahan already said george kittle won’t play this weekend. that leaves them with garrett celek and logan paulsen. bennett is more of a pass catching option, but considering the team’s dearth of options due to injuries, he could potentially bring something to the table.
the 49ers and browns hold the top two spots in waiver priority. i believe sos has the browns at no. 1 over the 49ers, but i am not quite certain. does it make sense though to put in a claim on bennett?
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ˈəpˌdeɪt ˈpɔrtər ɪz naʊ ˈoʊpən! aʊərz ər ˈkərəntli 3p.m*. tɪ ˈmɪdˌnaɪt ˈmənˌdeɪ θru ˈsənˌdi. ðə ˈkɑnsɛpt bɪˈhaɪnd ðə ˈəpˌkəmɪŋ ˈpɔrtər eɪl haʊs meɪ saʊnd saʊθ ˈɔstən ˈneɪbərˌhʊd pəb wɪθ kˈwɑləti fud ənd ə ˈsɑləd kræft bɪr səˈlɛkʃən, bət ðə ˈnuɑnsɪz ɪn ɔl ðiz dɪˈpɑrtmənts ðət plɛʤ tɪ ˈɛləˌveɪt ðə ʤɔɪnt tɪ əˈnəðər ˈlɛvəl. ðə pəb, wɪʧ ɪz ˈsɪʧuˌeɪtɪd ɔn ðə graʊnd flɔr əv ðə nu tri əˈpɑrtmənt ˈkɑmplɛks ɔn saʊθ fərst st*., ɪz sˈleɪtɪd fər ən ˈərli tɪ mɪd dɪˈsɛmbər ˈʤænjuˌɛri ˈoʊpənɪŋ. baɪ nil ˈʤɔɪnər, ʤoʊ ˈbɪksəl ənd ˈtrɛvər leɪn, ə ˈtriˌoʊ huz ʃɛrd ləv fər kræft bɪr kʊd pərˈhæps ˈoʊnli bi ɪˈklɪpst baɪ ðɛr ˈivɪn mɔr ˈkjulɪˌnɛri ˈpɛdəgriz. ðə owners’*’ kəˈmɪtmənt tɪ kˈwɑləti ˈpərmiˌeɪts θruaʊt ðə plænd ˈmɛnju ˈɔfərɪŋz. teɪk ðə ˈpɔrtər ˈbərgər, fər ɪgˈzæmpəl. fɑr bɪɔnd ə ˈklæsɪk pəb ˈpæti ˈsænˌwɪʧt bɪtˈwin tu bənz, ðə ˈsɪgnəʧər ˈbərgər wɪl bi kəmˈpraɪzd əv ˈfrɛʃli graʊnd ʃɔrt rɪb, fɪˈleɪ ənd ˈhæŋər steɪk tɑpt wɪθ ˈtrɪpəl krim bri ənd ˈkrɪspi pancetta*. ənd ˈʤɔɪnər, ˈbɪksəl ənd ˈθɔtfəlnɪs goʊz bɪɔnd ɔn ðə pleɪts, ɛz ˈivɪn ðə ˈsərvɪŋ ˈdɪʃɪz ənd bɔrdz ðɛmˈsɛlvz ɪmˈbɑdi ən ˈɛləˌveɪtɪd ɛsˈθɛtɪk, ə rɪˈzəlt əv ðə fækt ðət ðeɪ wər ˈkɛrfəli fɔrʤd baɪ ˈloʊkəl ˈɑrtəzən ˈwʊdˌwərkərz ənd ˈpɑtərz. ˈʤɔɪnər ənd ˈbɪksəl fərst mɛt ˈrəfli ə ˈdɛkeɪd əˈgoʊ ɪn nu jɔrk, wɛr ðeɪ boʊθ wərkt ɪn ðə ˈkɪʧən əv ðə rɪts ˈkɑrltən ˈsɛntrəl pɑrk. ðɛr ˈkjulɪˌnɛri pæθs rɪˈmeɪnd ˌɪntərtˈwaɪnd, ənd sun boʊθ faʊnd ðɛmˈsɛlvz ˈwərkɪŋ ɛz suz ʃɛfs æt ðə ˈwɔldɔrf ˌæˈstɔriə. ˈʤɔɪnər, ə ˈtɛksəs ˈneɪtɪv, ɪˈvɛnʧəwəli meɪd hɪz weɪ bæk tɪ ðə loʊn stɑr steɪt, ənd tʊk ə ʤɑb ɛz ðə ʃɛf də kwɪˈzin æt ˈstɔriz, ə faɪn ˈdaɪnɪŋ ɪˈstæblɪʃmənt æt ðə haɪət lɔst paɪnz rɪˈzɔrt hir ɪn ˈɔstən. fər jɪrz ˈʤɔɪnər traɪd tɪ kənˈvɪns ˈbɪksəl tɪ meɪk ðə muv daʊn tɪ ˈɔstən, ɛz hi wɑz ˈstɑrtɪŋ tɪ si ɪkˈsaɪtɪŋ θɪŋz ˈhæpənɪŋ ɪn boʊθ ðə ˈkjulɪˌnɛri ənd bruɪŋ ˈmuvmənts. baɪ ðə taɪm ˈbɪksəl ɪˈvɛnʧəwəli keɪvd ənd pækt hɪz bægz fər ˈɔstən, ˈɔlsoʊ ˈteɪkɪŋ ə ʤɑb ɛz ə ʃɛf æt ðə haɪət lɔst paɪnz, ˈʤɔɪnər hæd ɔˈrɛdi mɛt leɪn, ə ˈfɔrmər ˈɪntərn æt ðə rɪˈzɔrt hu wʊd goʊ ɔn tɪ ˈmænɪʤ ˈɛvəri ˈrɛˌstrɑnt ɔn ðə ˈprɑpərti ˈoʊvər ðə kɔrs əv hɪz faɪv jɪr kərɪr ðɛr. ɛz ənd foodophiles*, ðə ˈtriˌoʊ ˌɪˈmiˌdiətli fɔrmd ə ʃɛrd bɑnd boʊθ ˌɪnˈsaɪd ənd ˈaʊtˈsaɪd əv ðə ˈkɪʧən. wər ʤɪst ˈɔlˌweɪz ˈtɔkɪŋ əˈbaʊt fud ənd kræft beer,”*,” leɪn sɛd. θɪŋk haʊ wi ɔl ˈstɑrtɪd tɪ ˈrɪli kəm təˈgɛðər ənd ˌəndərˈstænd ðə ˈpæʃən iʧ ˈəðər hæd fər ðɪs industry.”*.” ɪt lɔŋ ˌbiˈfɔr ˈbɪksəl ənd ˈʤɔɪnər bɪˈkeɪm sɛt ɔn ðə aɪˈdiə əv ˈoʊpənɪŋ əp ðɛr oʊn kræft bɪr ənd haɪ kˈwɑləti fud ˈfoʊkɪst pəb, ənd leɪn simd laɪk ðə ˈpərˌfɪkt fɪt tɪ rən ðə frənt əv ðə haʊs. wɪn ˈbɪksəl ˈkæʒəwəli əˈproʊʧt leɪn ənd æst ɪm ɪf hi wʊd laɪk tɪ ˈoʊpən ə təˈgɛðər, hɪz ˈænsər wɑz ɛˈsɛnʃəli ““yeah*, ðət saʊnz good.”*.” ðə grup wɑz soʊ ɛmˈfætɪk ðət ɪt teɪk məʧ fər ðɛm tɪ ɔl kəˈmɪt tɪ ðə ˈprɑʤɛkt wəns ðeɪ sæt daʊn tɪ hæv ðɛr fərst ˈmitɪŋ əˈbaʊt ɪt. wɑz əˈbaʊt ə θri ˈmɪnət conversation,”*,” ˈbɪksəl sɛd. sɪns ðət ˌɪˈnɪʃəl ˈmitɪŋ, spɛnt ðə læst naɪn mənθs ər soʊ ˈwərkɪŋ tɪ meɪk ðɛr ʃɛrd ˈvɪʒən, wən ˈrutɪd ɪn kˈwɑləti fud ənd rɪˈlækst ˈæmbiəns, ə ˌriˈæləˌti. ˈwɔntɪd tɪ teɪk ɔl ðə ˈæˌspɛkts əv ðət kaɪnd əv haɪ ɛnd ˈrɛˌstrɑnt ɪnˈvaɪrənmənt ðət wi ˈrɪli laɪkt ənd pʊt ɪt ˈɪntu ðɪs ɪnˈvaɪrənmənt ðət ˈɔstən ɪz ˈrɪli gʊd æt ˈnərʧərɪŋ, wən ˈkæʒəwəl ənd accessible,”*,” ˈʤɔɪnər dən ˈpərfəktli, ðət pleɪs ju kən goʊ tɪ ɔn ə deɪt naɪt ər fər ə ˈspɛʃəl əˈkeɪʒən, bət ˈɔlsoʊ ðə pleɪs wɛr ðə gaɪ hu lɪvz əpˈstɛrz kən kəm daʊn fər ə paɪnt ənd ə snack.”*.” tɪ ˈʤɔɪnər, ə ˈkɑnsɛpt ðət tɛnd tɪ ˈrɛdəli ɪmˈbreɪs. kən goʊ ˈɪntu ðə ˈfænsiəst ˈrɛˌstrɑnts ɪn taʊn hir ɪn flɪp flɑps ənd wi ləvd that,”*,” hi sɛd. wɑz wən əv ðə θɪŋz wi ˈwɔntɪd tɪ capture.”*.” ðə ˈmɛnju wɪl bi dɪˈvaɪdɪd bɪtˈwin snæks (laɪk ˈtrəfəl ˈpɑpˌkɔrn wɪθ ˈpɑrməˌzɑn), smɔl pleɪts (laɪk bɪr ʧiz ˈfɑnˌdu wɪθ ˈæpəlz, ə ˈfrɛʃli beɪkt ˈprɛtzəl ənd ˈɛndɪv) ənd lɑrʤ pleɪts (laɪk ˈʧætəm ˈsiˈoʊˈdi ɛn chips”*” wɪθ dɪl ˈpɪkəlz, mɔlt ʧɪps ənd maɪər ˈmɛlən remoulade*). ə ˈdeɪli ˈspɛʃəlz bɔrd wɪl ˈɔfər əˈdɪʃənəl, ˈkɑnstəntli ɪˈvɑlvɪŋ səˈlɛkʃənz. ɔn ðə ˈbɛvərɪʤ saɪd əv θɪŋz, ðə tæp wɔl wɪl əˈkɑməˌdeɪt 30 dræfts. tu əv ðiz tæps wɪl bi rɪˈzərvd fər waɪn (ˈbɪksəl ɪz ˈɔlsoʊ ə sommelier*), ənd pərˈhæps ə dræft ˈkɑkˌteɪl ər tu wɪl ʤɔɪn ðə rɛst wɪl bi rɪˈzərvd fər kræft bɪr. ɪn ˈkipɪŋ wɪθ ðɛr ˈfoʊkɪs ɔn kˈwɑləti, ðə eɪm ɪz tɪ rɪˈzərv ˈmɛni əv ðiz tæps fər səm əv ðə bɛst kræft bɪrz biɪŋ brud raɪt hir ɪn ˈɔstən, waɪl ˈlivɪŋ ðə rɛst fər ˈəðər rɪˈnaʊnd kræft bɪrz frəm əraʊnd ðə juˈnaɪtɪd steɪts ənd əˈbrɔd. ˈkəstəmərz wɪl hæv ðə ˌɑpərˈtunəti tɪ traɪ ˈmɛni əv ðiz bruz æt wəns, ɛz ðə pəb wɪl ˈɔlsoʊ bi ˈɔfərɪŋ mɪkst flaɪts. ɔl əˈbaʊt kˈwɑləti ˈprɑdəkt wɪθ ə lɔt əv θɔt pʊt ˈɪntu sɛd. ɛz fər ə spɪˈsɪfɪk ˈloʊkəl bɪr ju kʊd ˈdɛfənətli ɪkˈspɛkt tɪ si ɔn ðɛr tæp wɔl: ˈpiˌkɑn ˈpɔrtər ɪz ə must,”*,” leɪn sɛd. wɪθ ðɛr dɪˈsɛmbər ˈʤænjuˌɛri lɔnʧ, ˈpɔrtər wɪl ˌɪˈnɪʃəli bi ˈoʊpən fər ˈdɪnər, wɪθ ə kənˈdɛnst ˈmɛnju ˈrənɪŋ ˈɪntu leɪt naɪt, ˌbiˈfɔr ɪˈvɛnʧəwəli ˈroʊlɪŋ aʊt lənʧ ənd ˈwiˌkɪnd brənʧ ˈɔfərɪŋz daʊn ðə laɪn. waɪl ðə pəb ɪz ˈkərəntli dip ɪn ðə θroʊz əv kənˈstrəkʃən, əˈpɑn ˈoʊpənɪŋ, ðə ˌɪnˈtɪriər wɪl ˈfiʧər ˈʧɑrˌkoʊl blæk sɪˈmɛnt flɔrz, riˈkleɪmd bɑrn wʊd, ə ˈkəˌtaʊt ˈsilɪŋ əˈdɔrnd wɪθ ˌʃændəˈlɪz, ə lɔŋ bɑr ənd ə kəmˈjunɪti ˈteɪbəl ðət wɪl əˈkɑməˌdeɪt mɔr ðən 30 ˈpipəl. ɔl ɪn ɔl, ðə pəb wɪl boʊst ən ˈɛkˌsɛs əv 100 sits, ˌɪnˈkludɪŋ ə ˈrəfli 30 sit ˈpætiˌoʊ. ˈrumər həz ɪt, ˈpeɪtrənz meɪ bi ˈgritɪd wɪθ ə fri həg frəm leɪn əˈpɑn ˈɛnərɪŋ ðə pəb. ɪz ðɪs tru? gɛs ʤɪst hæv tɪ stɑp ˈɪntu ˈpɔrtər wəns ðeɪ ˈoʊpən ðɛr dɔrz tɪ faɪnd aʊt. ˈəpˌdeɪt ˈpɔrtər ɪz naʊ ˈoʊpən! aʊərz ər ˈkərəntli 3p.m*. tɪ ˈmɪdˌnaɪt ˈmənˌdeɪ θru ˈsənˌdi. -ˈkɛrəˌlaɪn ˈpɔrtər ɪz ˈloʊˌkeɪtəd æt: 3715 saʊθ strit, swit ə ˈɔstən, 78704 kəˈnɛkt: ˈwɛbˌsaɪt: ˈfeɪsˌbʊk: tˈwɪtər:
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update 1/17/14: porter gastropub is now open! hours are currently 3p.m. to midnight monday through sunday.
the concept behind the upcoming porter ale house & gastropub may sound simple–a south austin neighborhood pub with quality food and a solid craft beer selection, but it’s the nuances in all these departments that pledge to elevate the joint to another level.
the pub, which is situated on the ground floor of the new tree apartment complex on south first st., is slated for an early to mid december january opening. it’s helmed by neil joiner, joe bixel and trevor lane, a trio whose shared love for craft beer could perhaps only be eclipsed by their even more passioned culinary pedigrees.
the owners’ commitment to quality permeates throughout the bar’s planned menu offerings. take the porter burger, for example. far beyond a classic pub patty sandwiched between two buns, the signature burger will be comprised of freshly ground short rib, filet and hanger steak topped with triple cream brie and crispy pancetta. and joiner, bixel and lane’s thoughtfulness goes beyond what’s on the plates, as even the restaurant’s serving dishes and charcuterie boards themselves embody an elevated aesthetic, a result of the fact that they were carefully forged by local artisan woodworkers and potters.
joiner and bixel first met roughly a decade ago in new york, where they both worked in the kitchen of the ritz carlton central park. their culinary paths remained intertwined, and soon both found themselves working as sous chefs at the waldorf astoria. joiner, a texas native, eventually made his way back to the lone star state, and took a job as the chef de cuisine at stories, a fine dining establishment at the hyatt lost pines resort here in austin. for years joiner tried to convince bixel to make the move down to austin, as he was starting to see exciting things happening in both the city’s culinary and brewing movements. by the time bixel eventually caved and packed his bags for austin, also taking a job as a chef at the hyatt lost pines, joiner had already met lane, a former intern at the resort who would go on to manage every restaurant on the hotel’s property over the course of his five year career there. as homebrewers and foodophiles, the trio immediately formed a shared bond both inside and outside of the kitchen.
“we were just always talking about food and craft beer,” lane said. “i think that’s how we all started to really come together and understand the passion each other had for this industry.”
it wasn’t long before bixel and joiner became set on the idea of opening up their own craft beer and high quality food focused pub, and lane seemed like the perfect fit to run the front of the house. when bixel casually approached lane and asked him if he would like to open a gastropub together, his answer was essentially “yeah, that sounds good.” the group was so emphatic that it didn’t take much for them to all commit to the project once they sat down to have their first meeting about it.
“it was about a three minute conversation,” bixel said.
since that initial meeting, they’ve spent the last nine months or so working to make their shared vision, one rooted in quality food and relaxed ambiance, a reality.
“we wanted to take all the aspects of that kind of high end restaurant environment that we really liked and put it into this environment that austin is really good at nurturing, one that’s casual and accessible,” joiner said.”if done perfectly, it’s that place you can go to on a date night or for a special occasion, but it’s also the place where the guy who lives upstairs can come down for a pint and a snack.”
to joiner, it’s a concept that austinites tend to readily embrace.
“you can go into the fanciest restaurants in town here in flip flops and we loved that,” he said. “that was one of the things we wanted to capture.”
the pub’s menu will be divided between snacks (like truffle popcorn with parmesan), small plates (like beer cheese fondue with apples, a freshly baked pretzel and endive) and large plates (like chatham cod “fish n chips” with dill pickles, malt chips and meyer melon remoulade). a daily specials board will offer additional, constantly evolving selections.
on the beverage side of things, the bar’s tap wall will accommodate 30 drafts. two of these taps will be reserved for wine (bixel is also a sommelier), and perhaps a draft cocktail or two will join the lineup–the rest will be reserved for craft beer.
in keeping with their focus on quality, the aim is to reserve many of these taps for some of the best craft beers being brewed right here in austin, while leaving the rest for other renowned craft beers from around the united states and abroad. customers will have the opportunity to try many of these brews at once, as the pub will also be offering mixed flights.
“we’re all about quality product with a lot of thought put into it,”bixel said.
as for a specific local beer you could definitely expect to see on their tap wall:
“512 pecan porter is a must,” lane said.
with their december january launch, porter gastropub will initially be open for dinner, with a condensed menu running into late night, before eventually rolling out lunch and weekend brunch offerings down the line.
while the pub is currently deep in the throes of construction, upon opening, the interior will feature charcoal black cement floors, reclaimed barn wood, a cutout ceiling adorned with chandeliers, a long bar and a community table that will accommodate more than 30 people. all in all, the pub will boast an excess of 100 seats, including a roughly 30 seat patio.
rumor has it, patrons may be greeted with a free hug from lane upon entering the pub. is this true? guess you’ll just have to stop into porter gastropub once they open their doors to find out.
update 1/17/14: porter gastropub is now open! hours are currently 3p.m. to midnight monday through sunday.
-caroline
porter gastropub is located at:
3715 south 1st street, suite a austin, tx 78704
connect:
website: www.porteraustin.com
facebook: facebook.com/portergastropub
twitter: @portergastropub
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əˈkɔrdɪŋ tɪ fɪl ˈʃɛrɪdən əv espn.com*, ðə ˌfɪləˈdɛlfiə ˈigəlz ər ˈlaɪkli tɪ lʊk tɪ ˈəpˈgreɪd ðə ˈrənɪŋ bæk position”*” bɪˈhaɪnd məˈkɔɪ ðɪs offseason*. ˈʃɛrɪdən ædz ðət ˈkɑrənt ˈbæˌkəps braɪs braʊn ənd krɪs poʊlk dɪd ˈvɛri ˈlɪtəl ˈaʊtˈsaɪd əv ðə snoʊ geɪm əˈgɛnst ðə laɪənz ðɪs pæst jɪr. ɛz fər pəˈtɛnʃəl ˈtɑrgəts, ˈʃɛrɪdən ˈmɛnʃənz ˈtoʊbi ˈgərhɑrt, blaʊnt, ənd mɔˈrinoʊ ɛz fri ˈeɪʤənts tɪ kənˈsɪdər, əˈlɔŋ wɪθ ˈɔrəˌgɑn ˈtɑməs ɪn ðə ðɪs ˈɛˌnɛˈfɛl dræft. ˈgərhɑrt ɪz ən ˈɪntəˌrɛstɪŋ ˈɔpʃən ˈgɪvɪn ðət hi wɑz ˈeɪbəl tɪ pʊt təˈgɛðər ə ˈsɑləd ˈsizən, dɪˈspaɪt pleɪɪŋ bɪˈhaɪnd ˈeɪdriən ˈpitərsən fər moʊst əv ðə ˈsizən. hi həz ˈpruvən tɪ bi ˈifɛktɪv ɛz ə ˈrənər ənd ə rɪˈsivər æt taɪmz, waɪl ˈhoʊldɪŋ əp ˈvɛri wɛl ɛz ˈblɑkər. blaʊnt ˈɑbviəsli spɛnt taɪm wɪθ ʧɪp ˈkɛli æt ðə ˌjunəˈvərsəti əv ˈɔrəˌgɑn ənd wʊd ˈɔfər ðɛm ə ˈsɑləd ˈɛləmənt tɪ ˈkɑntræst əˈbɪləˌti. məˈkɔɪ, 25 ɪz ˈklɪrli əˈməŋ ðə bɛst ˈrənɪŋ bæks. ˌhaʊˈɛvər, hɪz ˈwərˌkloʊd ˈmuvɪŋ ˈfɔrwərd ɪz ˈdɛfənətli wərk ˈmɑnətərɪŋ, ɛz hi tʊk ə ˈtoʊtəl əv 890 snæps ɪn 2013 ɛz əˈpoʊzd tɪ ʤɪst 199 frəm braʊn ənd 47 frəm poʊlk. wi hæv ˈgərhɑrt, blaʊnt, ənd mɔˈrinoʊ ɔl ˈlɪstɪd ɪn ɑr tɔp 100 fri ˈeɪʤənts lɪst.
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according to phil sheridan of espn.com, the philadelphia eagles are “very likely to look to upgrade the running back position” behind rb lesean mccoy this offseason.
sheridan adds that current backups bryce brown and chris polk did very little outside of the snow game against the lions this past year.
as for potential targets, sheridan mentions toby gerhart, legarrette blount, and knowshon moreno as free agents to consider, along with oregon rb de’anthony thomas in the this year’s nfl draft.
gerhart is an interesting option given that he was able to put together a solid season, despite playing behind adrian peterson for most of the season. he has proven to be effective as a runner and a receiver at times, while holding up very well as blocker.
blount obviously spent time with hc chip kelly at the university of oregon and would offer them a solid between-tackles element to contrast mccoy’s home-run ability.
mccoy, 25, is clearly among the game’s best running backs. however, his workload moving forward is definitely work monitoring, as he took a total of 890 snaps in 2013, as opposed to just 199 from brown and 47 from polk.
we have gerhart, blount, and moreno all listed in our top 100 free agents list.
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nfl's* ˈrændi ˈgrɛgəri feɪlz drəg tɛst frɛndz kənˈsərnd ˈdæləs ˈkaʊˌbɔɪz ˈrændi ˈgrɛgəri feɪlz drəg tɛst, frɛndz kənˈsərnd ɪkˈsklusɪv ˈdæləs ˈkaʊˌbɔɪz dɪˈfɛnsɪv ɛnd ˈrændi ˈgrɛgəri həz feɪld əˈnəðər ˈɛˌnɛˈfɛl drəg tɛst hɪz ðət wi noʊ əˈbaʊt ənd hɪz frɛndz ər ˈdipli kənˈsərnd fər hɪz ˌwɛlˈbiɪŋ. spɔrts spoʊk wɪθ ˈməltəpəl ˈpipəl wɪθ dɪˈrɛkt ˈnɑlɪʤ əv ðə ˌsɪʧuˈeɪʃən hu kənˈfərmd ˈrændi wɑz ˈtɛstɪd ɔn ˈfɛbjəˌwɛri. 21 ənd wɑz ˌɪnˈfɔrmd ɔn mɑrʧ 2 ðət hɪz ˈspɛsəmən keɪm əp ˈpɑzətɪv fər wid. wɪr toʊld ˈgrɛgəri həz sɪns bloʊn ɔf ðə ˈɛˌnɛˈfɛl əˈfɪʃəlz hu traɪd tɪ dɪˈskəs ðə ˌsɪʧuˈeɪʃən wɪθ ɪm ənd ˈpipəl kəˈnɛktɪd tɪ ˈgrɛgəri tɛl ˈjuˈɛs ɪt əˈpɪrz hɪz ˈɛˌnɛˈfɛl kərɪr maɪt bi ˈoʊvər. ˈgrɛgəri wɑz ˈdræftɪd baɪ ðə ˈkaʊˌbɔɪz ɪn ðə raʊnd əv ðə 2015 ˈɛˌnɛˈfɛl dræft ˈæftər ˈimərʤɪŋ ɛz wən əv ðə bɛst ˈkɑlɪʤ pleɪərz ɪn ðə ˈkəntri ˈdʊrɪŋ hɪz taɪm æt ðə ˌjunəˈvərsəti əv nəˈbræskə. ˈgrɛgəri ɪz ˈkərəntli ˈsərvɪŋ ə səˈspɛnʃən fər ə praɪər feɪld drəg tɛst ənd wɪl mɪs ðə ɪnˈtaɪər 2017 ˈsizən. ɪts ənˈklɪr haʊ ðɪs nu feɪld tɛst wɪl əˈfɛkt hɪz ˈstætəs. ˈsɔrsəz kloʊz tɪ ˈgrɛgəri tɛl ˈjuˈɛs hiz ˈdrɪftɪd frəm ˈfʊtˌbɔl. wi riʧt aʊt tɪ ˈgrɛgəriz ˈlɪstɪd ˈeɪʤənt, ˈgɪlmɔr, hu sɪz hi noʊ ˈlɔŋgər ˌrɛprɪˈzɛnts ˈrændi. əˈtɛmpts tɪ riʧ ˈgrɛgəri hɪmˈsɛlf wər ˌənsəkˈsɛsfəl. wi riʧt aʊt tɪ ðə ˈɛˌnɛˈfɛl bət ˈhævənt hərd bæk.
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nfl's randy gregory fails 7th drug test ... friends concerned
dallas cowboys randy gregory fails 7th drug test, friends concerned
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dallas cowboys defensive end randy gregory has failed another nfl drug test -- his 7th that we know about -- and his friends are deeply concerned for his well-being.
tmz sports spoke with multiple people with direct knowledge of the situation who confirmed randy was tested on feb. 21 and was informed on march 2 that his specimen came up positive for weed.
we're told gregory has since blown off the nfl officials who tried to discuss the situation with him and people connected to gregory tell us it appears his nfl career might be over.
gregory was drafted by the cowboys in the 2nd round of the 2015 nfl draft -- after emerging as one of the best college players in the country during his time at the university of nebraska.
gregory is currently serving a suspension for a prior failed drug test and will miss the entire 2017 season. it's unclear how this new failed test will affect his status.
sources close to gregory tell us he's drifted from football. we reached out to gregory's listed agent, deryk gilmore, who says he no longer represents randy. attempts to reach gregory himself were unsuccessful.
we reached out to the nfl but haven't heard back.
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ɪf wən ˈlɪnəks ˈkəmpəˌni ðət həz sin lɑts əv əps ənd daʊnz ðə s.a*. ðeɪ hæv ə greɪt ˌdɪstrəˈbjuʃən, bət ɛz ə ˈkəmpəˌni, ˈɔlˌweɪz bɪn ɔn ˈʃeɪki graʊnz. fərst ə ˈrumər, naʊ kənˈfərmd: ðə ˈkəmpəˌni həz pʊt ˌɪtˈsɛlf əp fər seɪl wɪʧ, ɛz ðə kəmˈjunɪti pɔɪnts aʊt, ˌnɛsəˈsɛrəli ə bæd θɪŋ. ˈhaɪˌlaɪtɪd ðə nuz, bət ɔˈrɛdi ˈkəvərd ɪt ðə deɪ ˌbiˈfɔr. ðə ʤɪst əv ðə ˈstɔri, ərˈɪʤəˌneɪtɪŋ frəm ðə frɛnʧ ˈfɔrəmz, ɪz ðət ðə ˌfaɪˈnænʃəl ˌsɪʧuˈeɪʃən həz dɪˈtɪriərˌeɪtɪd ˈræpədli ðɪs jɪr, ənd ˈsɛlɪŋ ðə ˈkəmpəˌni ɪz ðə ˈoʊnli rɪˈmeɪnɪŋ ˈɔpʃən. tu ˈkænədɪts ər ˈmɛnʃənd: ðə ˈɛlˈtiˈdi, ənd frəm fræns. ðə nuz ɪz kənˈfərmd baɪ ˌɪtˈsɛlf, hu ˈpoʊstɪd ə ˈsteɪtmənt ɔn ðɛr ˈwɛbˌsaɪt, ɪn frɛnʧ. maɪ frɛnʧ ɪz gʊd ɪˈnəf tɪ ˌəndərˈstænd wət ðə ˈsteɪtmənt sɪz; ɪz ˈlʊkɪŋ tɪ ɪts pəˈzɪʃən ɪn fræns ənd ðə rɛst əv ðə wərld, ənd ɪz ɪn nɪˌgoʊʃiˈeɪʃənz wɪθ rɪˈgɑrdɪŋ ən ˌækwəˈzɪʃən. hɛk, ˈivɪn ɪf ˈnɛvər ˈstədid frɛnʧ, ju ʃʊd gɪt ðə ʤɪst hir. ɛst ˈjuˈɛn də ɛt də ˈoʊpən sɔrs ɛt, ɛst lɑ də lɛs pɔr ɛt sɑ pəˈzɪʃən də ˈlidərˌʃɪp ɛn fræns ɛt lə monde,”*,” ðə ˈsteɪtmənt ridz, titre*, dɪ dɪˈskəʃənz ɛn pɔr lə dɪ də lɑ sociã©tã©.”*ã©.” ðɪs hæv tɪ bi ə bæd θɪŋ, ðə kəmˈjunɪti pɔɪnts aʊt. ““folks*, ʤɪst bɪˈkəz ˈlʊkɪŋ tɪ sɛl min ˌnɛsəˈsɛrəli bad,”*,” raɪts ““honestly*, həz ˈnɛvər hæd ə ˈbɪznɪs sɛns əˈbaʊt ðɛm. ðeɪ meɪk ə greɪt distro*, ənd ˈɔlˌweɪz hæv. wət ðeɪ læk ɪz ˈkæpɪtəl ənd dɪˈrɛkʃɪn, ənd ˈhoʊpfəli ˈsəmˌwən wɪl prəˈvaɪd both.”*.” taɪm wɪl tɛl. ˈləkəli, ðɪs ɪz ən ˈoʊpən sɔrs ˈkəmpəˌni, soʊ ðə ˌdɪstrəˈbjuʃən wɪl stɪl bi dɪˈvɛləpt baɪ ðə kəmˈjunɪti noʊ ˈmætər wət ðə ˈkɔrpərət fˈjuʧər brɪŋz.
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if one linux company that has seen lots of ups and downs the paris-based mandriva s.a. they have a great distribution, but as a company, they’ve always been on shaky grounds. first a rumour, now confirmed: the company has put itself up for sale – which, as the community points out, isn’t necessarily a bad thing.
distrowatch highlighted the news, but tuxmachines.org already covered it the day before. the gist of the story, originating from the french mandriva forums, is that the financial situation has deteriorated rapidly this year, and selling the company is the only remaining option. two candidates are mentioned: the london-based lightapp ltd, and linagora from france.
the news is confirmed by linagora itself, who posted a statement on their website, in french. my french is good enough to understand what the statement says; linagora is looking to strenghten its position in france and the rest of the world, and is in negotiations with mandriva regarding an acquisition. heck, even if you’ve never studied french, you should get the gist here.
“linagora est un acteur majeur de l’innovation et de l’ã©dition open source et, est ainsi ã la recherche de toutes les opportunitã©s pour dã©velopper et renforcer sa position de leadership en france et dans le monde,” the statement reads, “a ce titre, des discussions sont en cours avec mandriva pour ã©tudier le rachat d’une partie des actifs de la sociã©tã©.”
this doesn’t have to be a bad thing, the mandriva community points out. “folks, just because looking to sell doesn’t mean necessarily bad,” writes ruel24, “honestly, mandriva has never had a business sense about them. they make a great distro, and always have. what they lack is capital and direction, and hopefully someone will provide both.”
time will tell. luckily, this is an open source company, so the mandriva distribution will still be developed by the community no matter what the corporate future brings.
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ðə ˈtroʊʤən ˈkɑˌkroʊʧ spɛnt ˈmɛni jɪrz ɪn ə ˈbeɪsmənt. (ˈfoʊˌtoʊ: ˈdænjəl) moʊst ˈroʊˌbəts, wɪn ðɛr kriˈeɪtərz ər dən wɪθ ðɛm, mit wən əv tu feɪts. ˈiðər stæʃt əˈweɪ, ɪn səm ˈkɔrnər əv ə læb, ˈklɑzət ər ˈbeɪsmənt, ər tɪ meɪk əˈnəðər ˈroʊˌbət. ə ˈroʊˌbət pɑrt kən kɔst tɛnz əv ˈθaʊzənd əv ˈdɔlərz, ənd səm ˌroʊˈbɑtɪks ˈrisərʧərz, hu tɛnd tɪ bi ˈfoʊkɪst ɔn ðə fˈjuʧər, ˈrəðər ðən ðə pæst, du nɑt ˈhɛzəˌteɪt tɪ əˈvɪsərˌeɪt ən oʊld ˈroʊˌbət tɪ kriˈeɪt ə nu wən. hæv ˈoʊpən læbz hir, ənd ˈɛnibədi kən ˈprɪti məʧ təʧ anything,”*,” sɪz krɪs, ə ˌroʊˈbɑtɪks prəˈfɛsər æt ˌkɑrˈneɪgi ˈmɛlən ˌjunəˈvərsəti. leɪt æt naɪt ˈsəmˌwən ˌdɪˈsaɪdz nid that,’*,’ ˈnəθɪŋ tɪ stɑp ðɛm frəm goʊɪŋ æt it.”*.”, ðoʊ, həz kɛpt hɪz ˈroʊˌbəts. ə hoarder,”*,” hi sɪz. seɪv everything.”*.”) ˈleɪtli, hi həz bɪn ˈθɪŋkɪŋ əˈbaʊt haʊ tɪ seɪv ˈəðər ˈroʊˌbəts, ˌpɑrˈtɪkjələrli ðoʊz kriˈeɪtɪd ɪn ðə ənd ‘80s*, wɪn ðə fild wɑz ˈteɪkɪŋ ɔf. hi həz ˈbeɪgən ˈplænɪŋ fər wət kʊd bi fərst ˈdɛdəkeɪtəd ˈroʊˌbət mˈjuziəm, ənd əkˈwaɪərɪŋ ˈvɪntɪʤ ˈroʊˌbəts fər ən əˈvɛnʧuəl kəˈlɛkʃən. ðə ˈtroʊʤən ˈkɑˌkroʊʧ ɪn ɪts ˈheɪˌdeɪ. (ˈfoʊˌtoʊ: ˈkərtəsi əv ˈdænjəl) ðə aɪˈdiə fər ə mˈjuziəm ˈstɑrtɪd, ˌɪndərˈɛkˌtli, wɪθ ðə ˈtroʊʤən ˈkɑˌkroʊʧ. ðə ˈtroʊʤən ˈkɑˌkroʊʧ spɛnt jɪrz, ˌdɪsəˈsɛmbəld, ɪn ə ˈbeɪsmənt ɪn ˈpɪtsbərg, wɛr ɪts kriˈeɪtər hæd stæʃt ɪt. ˈaɪvən ˈsəðərlənd hæd meɪd ðə məˈʃin ðət kʊd wɔk ənd ˈkɛri ðə weɪt əv ə ˈjumən ə ˈsaɪˌdlaɪn, ɪn ðə 1980s*, bɪˈkəz hi θɔt bi fən. wən deɪ sən gɑt ɪn təʧ wɪθ ˌkɑrˈneɪgi ˈmɛlən, wɛr ðə ˈkɑˌkroʊʧ wɑz kriˈeɪtɪd. ðə ˈfæməli wɑz ˈmuvɪŋ, ənd hi ˈwɔntɪd tɪ noʊ: dɪd ðə ˌroʊˈbɑtɪks ˈɪnstɪˌtut wɔnt hɪz ˈroʊˌbət? θɔt ðeɪ ɔt tɪ seɪv ɪt, ənd soʊ ðə ˈkɑˌkroʊʧ rɪˈtərnd tɪ ˌkɑrˈneɪgi ˈmɛlən ɪn pɑrts. ʃəvd ɪt ˈɪntu ə ˈbeɪsmənt ˈhɔlˌweɪ, wɛr, ɪn ðə spərɪŋ əv 2015 ˈdænjəl faʊnd ɪt. ɪz ə ˈgræʤəˌweɪt ˈstudənt ənd æt ðə ˌroʊˈbɑtɪks ˈɪnstɪˌtut, ənd hi wɑz drɔn tɪ ðə ˈroʊˌbət. ðə ˈkɑˌkroʊʧ hæd ən ˈeɪliən kˈwɑləti tɪ ɪt, ənd ə ˈstɑrtlɪŋ ɛsˈθɛtɪk. wɪn hi keɪm əˈkrɔs ɪt, strun əˈlɔŋ 15 fit əv ˈhɔlˌweɪ, hɪz fərst θɔt wɑz: wɛr kən aɪ pʊt ðɪs? haʊ kən aɪ juz ðɪs? θɔt ɪt wɑz garbage,”*,” hi sɪz. wɑz ˈrɛdi tɪ ʤɪst pɪk ɪt up.”*.” bət ðɛn faʊnd aʊt mɔr əˈbaʊt hi hæd kriˈeɪtɪd ə ˌpaɪəˈnɪrɪŋ kəmˈpjutər ˈgræfɪks ˈproʊˌgræm, haʊ hi hæd wərkt wɪθ wən əv ðə ˈfaʊndərz əv ˈpɪksɑr ɔn ən ˈərli ˈvərʒən əv ˈvərʧuəl fɛlt laɪk hi hæd ˈlərnɪd ə ˈsikrɪt, ən ˈɛntri ɪn ðə ˈhɪstəri əv ˌroʊˈbɑtɪks ənd kəmˈpjutər ˈgræfɪks ðət hi ˈwɔntɪd tɪ ʃɛr. sun, ðə ˈroʊˌbət wɑz ɪn hɪz ˈstudiˌoʊ. hi tʊk ɪt əˈpɑrt, ənd ˈstɑrtɪd ˈklinɪŋ ɪt. hɪz mɑm hæd rɪˈstɔrd oʊld kɑz, ənd hɪz dæd oʊnd ə ˈʤəŋˌkjɑrd, soʊ ɪt hæd ˈɔlˌweɪz bɪn ˈnæʧərəl fər ɪm tɪ teɪk əˈpɑrt məˈʃinz ənd ˈfɪgjər aʊt haʊ ðeɪ wərkt. hi gɑt ɪn təʧ wɪθ ˈsəðərlənd, hu ˈstɑrtɪd ˈoʊvərˌsiɪŋ ðə ˈprɑʤɛkt, ənd ɪn ˈʤænjuˌɛri əv 2016 ðə ˈtroʊʤən ˈkɑˌkroʊʧ wɛnt ɔn dɪˈspleɪ æt ðə ˌjunəˈvərsəti. ɪt stɪl wɔk. bət, ˈæftər ˈmɛni jɪrz, ɪt hæd ɪˈskeɪpt ðə ˈbeɪsmənt. ə pɑrt əv ðə ˈkɑˌkroʊʧ ɔn dɪˈspleɪ. (ˈfoʊˌtoʊ: ˈdænjəl) hæd ˈstɑrtɪd ˈθɪŋkɪŋ əˈbaʊt prɪˈzərvɪŋ ðə ˈhɪstəri əv hɪz fild ˈæftər ˌroʊˈbɑtɪks ˌpaɪəˈnɪr ˈʤoʊzəf daɪd, æt ðə ɛnd əv 2015 ənd pillis’*’ wərk ˈprɑdɪd ɪm tɪ teɪk ˈækʃən. ˌkæləˈfɔrnjə həz ə kəmˈpjutər ˈhɪstəri mˈjuziəm, ənd səm ˈərli ˈroʊˌbəts lɪv ðɛr. bət ðɛr ɪz noʊ ˈdɛdəkeɪtəd ˈroʊˌbət mˈjuziəm. ˈoʊvər ðə pæst fju mənθs, həz bɪn ˈgɪtɪŋ ɪn təʧ wɪθ ˈkɑligz hu maɪt hæv seɪvd ðə ˈroʊˌbəts ðeɪ meɪd ɪn ðə ənd ‘80s*. səm əv wət hərd ər ˈroʊˌbət ðət wɑz seɪvd fər ˈdɛkeɪdz ˌbiˈfɔr biɪŋ θroʊn aʊt, əˈnəðər ðət wɑz lɛnt tɪ ˈstudənts hu tʊk ɪt əˈpɑrt, əˈnəðər ðət wɑz dɪˈstrɔɪd ɪn ə fləd. ɔˈrɛdi, ðoʊ, seɪvd wən ˈərli ˌroʊˈbɑtɪk ɑrm. wɪn hi ˈkɑnˌtæktɪd ðə kriˈeɪtər, hi wɑz toʊld ðə ˈɔrdər hæd ʤɪst bɪn ˈgɪvɪn tɪ skræp wən əv ðə ˈərliəst ˈvərʒən ˈɛvər meɪd. bət ðə did hæd nɑt bɪn dən, ənd ðət ˌpɑˈtɪkjələr ˈroʊˌbət wɑz spɛrd. ən ˈərli ˈroʊˌbət ɑrm. (ˈfoʊˌtoʊ: ˈkərtəsi əv krɪs) sɪz sun hæv kəˈlɛktəd əˈbaʊt 20 ˈroʊˌbəts, ənd ɪz ˈθɪŋkɪŋ ðə nɛkst stɛp kʊd bi kriˈeɪtɪŋ ə ˈvərʧuəl mˈjuziəm, soʊ ðət ˈpipəl kən si ənd ˌɪnərˈækt wɪθ ðɛm. wən deɪ, ɪf ðɛr wər ˈfəndɪŋ fər ɪt, ðə ˈroʊˌbəts kʊd gɪt ə ˈdɛdəkeɪtəd ˈfɪzɪkəl speɪs əv ðɛr oʊn, wɛr noʊ græd ˈstudənt kʊd stil ðɛr ˌɪnˈsaɪdz. hæv ən hu ɪz ə saɪəns ˈfɪkʃən writer,”*,” sɪz. riˈmaɪndɪd mi ðət ˌɪmˈpɔrtənt tɪ hæv ˈroʊˌbət mˈjuziəmz, bɪˈkəz, ɪn ˈmɛni saɪəns ˈfɪkʃən ˈstɔriz, wɛr ju gɪt ðə pɑrt tɪ rɪˈsəsɪˌteɪt səm oʊld θɪŋ ənd seɪv ðə day.”*.” ˈroʊˌbət mˈjuziəmz ər ˈɔlsoʊ, hi noʊts, ðə pleɪs wɛr ən oʊld ˈroʊˌbət əˈweɪkənz ənd goʊz ɔn ə ˈræmˌpeɪʤ. bət, tɪ seɪv ðə ˈhɪstəri əv ˌroʊˈbɑtɪks, ðət meɪ bi ə rɪsk wərθ ˈteɪkɪŋ.
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the trojan cockroach spent many years in a basement. (photo: daniel pillis)
most robots, when their creators are done with them, meet one of two fates. either they’re stashed away, in some corner of a lab, closet or basement, or they’re cannibalized to make another robot. a robot part can cost tens of thousand of dollars, and some robotics researchers, who tend to be focused on the future, rather than the past, do not hesitate to eviscerate an old robot to create a new one.
“we have open labs here, and anybody can pretty much touch anything,” says chris atkeson, a robotics professor at carnegie mellon university. “if late at night someone decides ‘i need that,’ there’s nothing to stop them from going at it.”
atkeson, though, has kept his robots. (“i’m a hoarder,” he says. “i save everything.”) lately, he has been thinking about how to save other robots, particularly those created in the ‘70s and ‘80s, when the field was taking off. he has begun planning for what could be america’s first dedicated robot museum, and acquiring vintage robots for an eventual collection.
the trojan cockroach in its heyday. (photo: courtesy of daniel pillis)
the idea for a museum started, indirectly, with the trojan cockroach.
the trojan cockroach spent years, disassembled, in a basement in pittsburgh, where its creator had stashed it. ivan sutherland had made the robot—a six-legged machine that could walk and carry the weight of a human being—as a sideline, in the 1980s, because he thought it’d be fun.
one day sutherland’s son got in touch with carnegie mellon, where the cockroach was created. the family was moving, and he wanted to know: did the robotics institute want his father’s robot?
atkeson thought they ought to save it, and so the cockroach returned to carnegie mellon in parts. atkeson shoved it into a basement hallway, where, in the spring of 2015, daniel pillis found it.
pillis is a graduate student and artist-in-residence at the robotics institute, and he was drawn to the robot. the cockroach had an alien quality to it, and a startling aesthetic. when he came across it, strewn along 15 feet of hallway, his first thought was: where can i put this? how can i use this?
“i thought it was garbage,” he says. “i was ready to just pick it up.”
but then pillis found out more about sutherland—how he had created a pioneering computer graphics program, how he had worked with one of the founders of pixar on an early version of virtual reality—and felt like he had learned a secret, an entry in the history of robotics and computer graphics that he wanted to share.
soon, the robot was in his studio. he took it apart, and started cleaning it. his mom had restored old cars, and his dad owned a junkyard, so it had always been natural for him to take apart machines and figure out how they worked. he got in touch with sutherland, who started overseeing the project, and in january of 2016, the trojan cockroach went on display at the university.
it still couldn’t walk. but, after many years, it had escaped the basement.
a part of the cockroach on display. (photo: daniel pillis)
atkeson had started thinking about preserving the history of his field after robotics pioneer joseph engelberger died, at the end of 2015, and pillis’ work prodded him to take action. california has a computer history museum, and some early robots live there. but there is no dedicated robot museum.
over the past few months, atkeson has been getting in touch with colleagues who might have saved the robots they made in the ‘70s and ‘80s. some of what he’s heard are “horror stories”—a robot that was saved for decades before being thrown out, another that was lent to students who took it apart, another that was destroyed in a flood.
already, though, he’s saved one early robotic arm. when he contacted the creator, he was told the order had just been given to scrap one of the earliest version ever made. but the deed had not been done, and that particular robot was spared.
an early robot arm. (photo: courtesy of chris atkeson)
atkeson says he’ll soon have collected about 20 robots, and is thinking the next step could be creating a virtual museum, so that people can see and interact with them. one day, if there were funding for it, the robots could get a dedicated physical space of their own, where no grad student could steal their insides.
“i have an ex-student who is a science fiction writer,” says atkeson. “he reminded me that it’s important to have robot museums, because, in many science fiction stories, that’s where you get the part to resuscitate some old thing and save the day.”
robot museums are also, he notes, the place where an old robot awakens and goes on a rampage. but, to save the history of robotics, that may be a risk worth taking.
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əp tɪ 20 ˈʤuvəˌnaɪl əˈfɛndərz hu "ˈpɛltɪd" ˈprɪzən ˈwərkərz wɪθ prɑˈʤɛktəlz, ˈlɪstɪŋ ðə əv ˈjuˈɛs ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə əˈməŋ ˈəðər dɪˈmændz, feɪs ˈʧɑrʤɪz ˈoʊvər ə raɪət ðət fɔrst ˈmɛni ˈwərkərz ˈɪntu ˈhaɪdɪŋ æt ə nɔrθ kˈwinzˌlænd juθ ʤeɪl. pəˈlis stɪl dɪd nɑt noʊ waɪ ðə ˈprɪzənərz, hu wər pleɪɪŋ ˈfʊtˌbɔl ɔn ðə ˈoʊvəl wɪn ən ˈɪnsədənt ˈɛlsˌwɛr ɪn ðə fəˈsɪlɪti dɪˈvərtɪd stæf əˈtɛnʃən, bɪˈgæn ˈdæmɪʤɪŋ ðə ˈprɪzən ənd əˈsɔltɪŋ stæf, ˈgeɪnɪŋ "fri reɪn" ˈoʊvər ðə ˈsɛntər ɔn ˈθərzˌdeɪ naɪt. səm əv ðə əˈfɛndərz klaɪmd ɔn ə rʊf ənd bɪˈgæn dɪˈmændɪŋ kfc*, drəgz ənd ˈælkəˌhɑl, rɪˈpɔrtədli rɪfˈjuzɪŋ tɪ kəm daʊn ənˈlɛs ˈmɪstər ˌoʊˈbɑmə wɑz ˈjuˈɛs ˈprɛzɪdənt fər ən ˌənˌkɑnstəˈtuʃənəl θərd tərm. ˈnɔrðərn pəˈlis ˈriʤən əˈsɪstənt kəˈmɪʃənər pɔl ˈteɪlər sɛd 29 stæf wər fɔrst tɪ sik ˈrɛfjuʤ ɪn ðə ˈklivlənd juθ dɪˈtɛnʃən ˈvɪzɪtər ˈsɛntər, wɪθ fɔr ˈɪnʤərd.
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up to 20 juvenile offenders who "pelted" prison workers with projectiles, listing the re-election of us president barack obama among other demands, face charges over a night-long riot that forced many workers into hiding at a north queensland youth jail.
police still did not know why the prisoners, who were playing football on the oval when an incident elsewhere in the townsville facility diverted staff attention, began damaging the prison and assaulting staff, gaining "free rein" over the centre on thursday night.
some of the offenders climbed on a roof and began demanding kfc, drugs and alcohol, reportedly refusing to come down unless mr obama was re-elected us president for an unconstitutional third term.
northern police region assistant commissioner paul taylor said 29 staff were forced to seek refuge in the cleveland youth detention centre's visitor centre, with four injured.
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f1000research* gɪvz ˈoʊpən saɪəns ə bæd neɪm ˈʤɔrdən ɑˈnɑjə blɑkt ˈfɑloʊ ˈfɑloʊɪŋ 23 2016 ðɪs ɪz ə ˈdɪfəkəlt poʊst fər mi tɪ raɪt sɪns aɪ bɪˈliv ɪn pɪr ˌrivˈju ənd ɪz sin ɛz ə ˌpaɪəˈnɪr ɪn ˈjuzɪŋ ðɪs ˈmɑdəl. ˌhaʊˈɛvər, wɪn aɪ ɛnˈvɪʒənd pɪr ˌrivˈju aɪ ˈnɛvər ˌɪˈmæʤənd ˈgɪtɪŋ rɪd əv ˈɛdɪtərz, əˈlaʊɪŋ ðə ˈɔθərz tɪ ˌɪnˈvaɪt ðɛr frɛndz tɪ ˌrivˈju ðɛr ˈɑrtɪkəlz, riˈlɪŋkwɪʃɪŋ ðə riˌspɑnsəˈbɪlətiz əv əkˈsɛptɪŋ ər riˈtræktɪŋ ˈɑrtɪkəlz, ənd ðɛn ˈpæsɪŋ ðə ˈɑrtɪkəlz ɔf ɛz ɪf ðeɪ ˌəndərˈwɛnt ə θəroʊ ˈprɔˌsɛs. ðə ˈskɑlərli ˈkɪʧən həz rɪˈpitɪdli ɪkˈsprɛst kənˈsərnz wɪθ ðə ˈpəblɪʃɪŋ ˈmɑdəl əv, bət sɪns ðə ˈɔθərz ðɛr sim tɪ bi ˈpəblɪʃərz hu wɔnt tɪ meɪnˈteɪn ðə ˈstætəs kwoʊ (fər ɪgˈzæmpəl ðeɪ heɪt waɪl aɪ θɪŋk ðə bɛst θɪŋ tɪ ˈɛvər ˈhæpən tɪ saɪəns), aɪ peɪ ðɛm məʧ maɪnd. bət fər ðɪs wən taɪm ˈoʊnli, ðeɪ sim tɪ hæv bɪn kərˈɛkt. wət meɪd mi əˈgri wɪθ ˈpəblɪʃərz hum ju kən ˈbeɪsɪkli hir ˈskrimɪŋ ɔf maɪ lawn”*” ɪn ˈɛvəri ˈəðər ˈsɛntəns əv ðɛr blɔg poʊsts? aɪ ˈæˌkʧuəli ˈkɛrfəli rɛd ə ˈkəpəl ˈɑrtɪkəlz æt ənd wɔʧt ðə ˈprɔˌsɛs pleɪ aʊt, ənd wət aɪ sɔ meɪks mi fil laɪk ˈteɪkɪŋ ˈkreɪzi pɪlz. aɪ ɔˈrɛdi dɪˈskəst ðɪs ˈpeɪpər, wɪʧ wɑz ˈɔlsoʊ ɔˈrɛdi ˈɛksələntli ˈkəvərd baɪ riˈtrækʃən wɔʧ ənd neuroskeptic*, bət laɪk ˈdɑnəld trəmp soʊ rɪˈdɪkjələs ðət ɪt nidz tɪ bi tɔkt əˈbaʊt səm mɔr. əˈpɪrənsəz kən bi dɪˈsivɪŋ, bət ɪn ðɪs keɪs nɑt, ənd ðɪs ˈɑrtɪkəl həz ˈæməˌʧər aʊər ˈrɪtən ɔl ˈoʊvər ɪt. ɪkˈstrimli ʃɔrt, həz noʊ ˈfɪgjərz, həz wən ˌsəpləˈmɛntəl faɪl wɪʧ ˈoʊnli həz 75 wərdz ənd ɪz ʤɪst ˈkɑpid frəm səm ˈklɪnɪkəl traɪəl. ənd ɪt ˈoʊnli həz 12 ˈrɛfərənsɪz, wən əv wɪʧ ɪz ðə ˈɑrtɪkəl ˌɪtˈsɛlf. soʊ haʊ wɑz ðə ˈɑrtɪkəl rɪˈsivd baɪ ðə ““reviewers”*” hu wər ˌɪnˈvaɪtɪd baɪ ðə ˈɔθərz? luis dɪˈskraɪbz ðə ˈtaɪtəl ɛz ənd enticing”*”, ðə ˈmɛθədz ɛz ““ingenious”*”, ənd kleɪmz ðə tɛkˈnik ˌrɛvəˈluʃəˌnaɪz ˌsaɪənˈtɪfɪk publishing”*”. ˈeɪmi praɪs noʊts ðət ðə ˈæbˌstrækt kənˈsɪdərəbəl ˈditeɪl ɪn ən ˈɛləgənt way”*” ənd ðə aɪˈdiə ɪz ərˈɪʤənəl ˌɪnəˈveɪʃən fər ˈdætə security”*”. ɪz ðɪs ə pɪr ˌrivˈju ər ɪz ðɪs ˈpɔlə æbˈdul ˈgəʃɪŋ ˈoʊvər hər ˈfeɪvərɪt əˈmɛrɪkən ˈaɪdəl kənˈtɛstənt? laɪk tɪ riˈmaɪnd ðə ˈridərz ðət ðɪs ˈɑrtɪkəl wɑz ˈpleɪʤərˌaɪzd frəm ˈbɛnʤəmən blɔg, soʊ aɪ gɛs ðə rivˈjuərz ər ˈifɛktɪvli ˈkɑmpləˌmɛntɪŋ ðə ˈblɔgər. ənd ðə fækt ðə ˈɑrtɪkəl wɑz ˈpleɪʤərˌaɪzd meɪks wərdz laɪk ““original”*” luz ʤɪst ə ˈlɪtəl bɪt əv weɪt. ɪn fækt, ðɪs ˈmɛθəd ɪz ɔˈrɛdi juzd ɪn ˈəðər fildz, soʊ ðə fækt ðət ðə ““reviewers”*” faɪnd ðɪs tɛkˈnik ʃoʊz ðeɪ hæv ˈɛni ˌɛkspərˈtiz ɪn ðɪs ˈɛriə. aɪ hɛlp bət sˈnɪkər æt wən ˈkɑmɛnt baɪ ˈeɪmi praɪs. ʃi ˈmɛnʃənd ʃi ɪz ““sure”*” ðət ðə nɛkst stɛp əv ðə ˈprɑʤɛkt wɪl bi tɪ kriˈeɪt ən ˈælgərˌɪðəm ðət ˈsɪmpləˌfaɪz ðə ˈmɛθəd fər ˈjuzərz. əm, ˈprɪti ʃʊr ðiz ˈɔθərz noʊ ˈnəθɪŋ əˈbaʊt ˈproʊˌgræmɪŋ ər wɛb dɪˈvɛləpmənt ənd noʊ ʧæns ɪn hɛl ðeɪ kʊd ˈproʊdus ˈɛniˌθɪŋ ˈjusfəl. bət aɪ gɛs ɪf ““sure”*” teɪk jʊr wərd fər ɪt. wɪn ðɛr ˌæpləˈkeɪʃən bɪˈkəmz əˈveɪləbəl lɛt mi noʊ. ɛz bɪˈzɑr ɛz ðiz gloʊɪŋ rəvˈjuz wər fər səʧ ə ˈsɪmpəl ˈpeɪpər, ðə reviewers’*’ rɪˈspɑnsɪz tɪ kˈwɛsʧənz frəm riˈtrækʃən wɔʧ meɪd mi wɔnt tɪ æsk ðiz ˈpipəl wət sˈmoʊkɪŋ, bɪˈkəz aɪ ˈdɛspərətli wɔnt səm. simz tɪ θɪŋk faɪn tɪ teɪk aɪˈdiəz frəm blɔg poʊsts wɪˈθaʊt ˈɛni ˌætrɪˈbjuʃən ənd kənˈsərnd baɪ ðə ˈɑrtɪkəl bɪˈkəz hi hoʊldz ðə ˈɔθərz ˈvɛri haɪ regard”*”. ˈeɪmi praɪs dɪz nɑt θɪŋk ðə blɔg mit kənˌsɪdərˈeɪʃənz fər authorship”*” bɪˈkəz ɪt ˈoʊnli ə juz fər ə concept”*” ənd nɑt it”*”. ʃi kleɪmz ðət ðə dɪˈspjutɪd tɛkˈnik tɪ bi ə ˈkɑmən ənd ˌəndɪˈvɛləpt aɪˈdiə fər ˈklɪnɪkəl traɪəl registrations”*”. lɛt mi riˈmaɪnd ju ðət ɪn hər ˌrivˈju fər ðə ˈpleɪʤərˌaɪzd ˈpeɪpər ʃi rɪˈfərd tɪ ðɪs aɪˈdiə ɛz ərˈɪʤənəl ˌɪnəˈveɪʃən fər ˈdætə security”*”. soʊ wɪʧ ɪz ɪt, ə ˈkɑmən aɪˈdiə ðət wɑz ˈbɛgɪŋ fər ˈsəmˌwən tɪ ˈɛkspərtli pʊt ˈɪntu ˈpræktɪs ər ə aɪˈdiə ðət wɪl ˌrɛvəˈluʃəˌnaɪz saɪəns? aɪ gɛs ɪt dɪˈpɛndz ɔn ɪf ðə aɪˈdiə ɪz ˈpoʊstɪd ɔn ə blɔg ər pərˈzɛnəd ɪn ə ˌsaɪənˈtɪfɪk ˌpəblɪˈkeɪʃən. ˈeɪmi praɪs sɪz ðət sɪns blɔg kənˈteɪnz noʊ ˌsəpləˈmɛntəˌri məˈtɪriəlz ənd jɛt ðə ˈrisərʧ ˈpeɪpər does”*” ɪt tɪ rɛst ðə lɛŋθ ənd ˌsɪməˈlɛrəti argument”*”. ɛz aɪ ˈmɛnʃənd əˈbəv, ðə wən ˌsəpləˈmɛntəl faɪl wɑz ʤɪst 75 wərdz wɪʧ ər ʤɪst ˈkɑpid frəm səm ˈklɪnɪkəl traɪəl ˈrɛʤɪstri. ənd ðə faɪl ˈivɪn ɪn ðə kərˈɛkt ˈfɔrˌmæt. ʃi sɪz ən ər ə tul ɪz nɑt research”*”. wɪʧ aɪ əˈgri wɪθ tɪ ən ɪkˈstɛnt, bɪˈkəz ju kən hæv ðə aɪˈdiə ðət ˈsəmˌwən ʃʊd kjʊr ˈkænsər, bət ðə ˈpərsən hu ˈæˌkʧuəli dɪz ɪt ʃʊd gɪt ðə ˈkrɛdɪt. bət aɪ wʊd ˈɑrgju ðət ðə ˈɔθərz əv ðɪs ˈɑrtɪkəl æd ˈɛniˌθɪŋ tɪ ðə blɔg poʊst. oʊ weɪt, aɪ fərˈgɑt, ðeɪ hæd ə ˌsəpləˈmɛntəl faɪl, maɪ bæd. ənd ʤɪst ɛz ən aɪˈdiə ˈrisərʧ, aɪ wʊd ˈɑrgju ðət ctrl-c*, ɪz nɑt ˈrisərʧ. ju kən seɪ wət ju wɔnt əˈbaʊt ðiz ˈɔθərz, bət gɑt tɪ gɪv ðɛm ˈkrɛdɪt, ðeɪ gɑt səm tɪ ““review”*” ðɛr ˈpeɪpər. ənd æt ðə ˈɪnˌmeɪts rən ðə əˈsaɪləm. ɪf tu rivˈjuərz əkˈsɛpt ə ˈpeɪpər ɪt gɪts ˈɪndɛkst baɪ pubmed*. ən ˈɛdɪtər nid tɪ rɛd ðə ˈkɑmɛnts tɪ si ɪf ðeɪ meɪd ˈɛni sɛns. ɪn fækt, ɪf ju əˈpruv ə ˈmænjəˌskrɪpt ju ˈivɪn hæv tɪ ˈʤəstəˌfaɪ ɪt. ənd ʤɪst ɛz ðə ˈʤərnəl ˌdɪˈsaɪd wət ˈpeɪpərz gɪt ækˈsɛptɪd, ðeɪ ˈɔlsoʊ ˌdɪˈsaɪd wət ˈpeɪpərz gɪt riˈtræktəd. ðeɪ hæv lɛft ɪt əp tɪ koʊp tɪ ˌdɪˈsaɪd ɪf ðɪs ˈpeɪpər wɪl bi riˈtræktəd. ənˈfɔrʧənətli ðɪs maɪ ˈoʊnli ˈrisənt ɪkˈspɪriəns wɪθ ən ˈɑrtɪkəl æt. aɪ ˈɔlsoʊ ˈfɑloʊd ðə pɪr ˌrivˈju əv ðə ˈɑrtɪkəl sɪns ɪt ˈmɛnʃənd ɪn ðə ˈɑrtɪkəl (aɪ meɪd). aɪ wɪl ˌəndərˈstænd ɪf ˈridərz vju maɪ ˈkrɪtɪˌsɪzəm əv ðɪs ˈɑrtɪkəl ɛz baɪəst sɪns aɪ hæv ə pəˈtɛnʃəl ˈkɑnflɪkt əv ˈɪntəˌrɛst. ˌhaʊˈɛvər, laɪk tɪ pɔɪnt aʊt ðət aɪ wɑz nɑt peɪd tɪ meɪk, aɪ æm nɑt peɪd tɪ meɪnˈteɪn ɪt, ənd ɪn fækt ðə ˈsərvərz kɔst mi ˈməni. aɪ ˈɔlsoʊ dɪd nɑt səbˈmɪt fər ˌpəblɪˈkeɪʃən, ˌɪnˈstɛd ˈɑptɪŋ tɪ raɪt ə blɔg poʊst. meɪd ɔl ðə koʊd fər ˈpəblɪkli əˈveɪləbəl, ənd aɪ wʊd bi ˈvɛri ˈhæpi ɪf ə ˈkɑmpətɪnt ˌɪnstɪˈtuʃən wʊd teɪk ðə riˌspɑnsəˈbɪləti əv ˈɪndɛksɪŋ ɔf maɪ hænz. rɪˈgrɛtəbli, dɪz nɑt ˌriˈpleɪs ðə ˌkeɪpəˈbɪləti əv ənd ðə laɪˈbrɛˌriənz æt ðə ˌjunəˈvərsəti əv ˈpɪtsbərg əˈpɪr ˈkeɪpəbəl əv ðɪs riˌspɑnsəˈbɪləti. prəˈvaɪd ə kwɪk ˈoʊvərvˌju əv. ɪt teɪks jʊr sərʧ kˈwiri ənd ˈɛnərz ðət kˈwiri ˈɪntu ðə sərʧ bɑks əv fɔr ˈdɪfərənt ˈsərvərz fər ju. ɪt ðɛn teɪks ðə rɪˈzəlts ənd ˈjuzɪz prəˈpraɪəˌtɛri ˈsɔfˌwɛr tɪ ˈkləstər ðə rɪˈzəlts. ˌhaʊˈɛvər, ðə ˈsɔfˌwɛr ɪz ˈoʊnli ˈkeɪpəbəl əv rɪˈtərnɪŋ əp tɪ 200 rɪˈzəlts ənd ðə rɪˈzəlts ər nɑt ˈsɔrtɪd baɪ deɪt, ˈmeɪkɪŋ ɪt ˌɪmˈpɑsəbəl tɪ faɪnd ðə moʊst ˈrisənt ˈɑrtɪkəlz ˈmæʧɪŋ jʊr kˈwiri. ˈəðər ˈɪʃuz ər ðət iʧ ˈsərvər ˈhændəlz jʊr kˈwiri ˈdɪfərˈɛntli, soʊ ɪt ɪz ˈdɪfəkəlt tɪ gɪt kənˈsɪstənt rɪˈzəlts frəm iʧ ˈsərvər. ənd bɪˈkəz ju hæv tɪ weɪt fər ðə sərʧ ˈɛnʤənz əv fɔr ˈdɪfərənt ˈsərvərz kˈwɪriz ər sloʊ. ˈgugəl ˈskɑlər ɪz ə wɛl noʊn ˈmɛθəd fər ˈsərʧɪŋ fər, ənd ɪn fækt kən bi ˈlɪmɪtɪd tɪ jʊr prɪˈfərd ˈsərvərz wɪθ ðə ədˈvænst sərʧ ˈɔpʃən ɛz dɪˈskraɪbd baɪ ˈʤɛsɪkə ˈpoʊlkɑ ɪn ðɪs poʊst. ˈgugəl ˈskɑlər ɪz məʧ ˈfæstər ðən, əˈlaʊz fər fʊl tɛkst ˈsərʧɪŋ, ənd prəˈvaɪdz ðə ˈɔpʃən tɪ sɔrt baɪ deɪt. ɛz ə rɪˈzəlt, ˈgugəl ˈskɑlər ɪz ə məʧ mɔr ˈifɛktɪv ˈmɛθəd fər ˈfaɪndɪŋ ðən ənd həz ɪgˈzɪstəd sɪns 2004 waɪ ˈsəmˌwən wʊd juz ˌɪnˈstɛd əv ˈgugəl ˈskɑlər ɪz bɪɔnd mi. dɪˈspaɪt ðiz fækts, wɑz ˈrɪtən əp ɛz ə ənd sɛnt tɪ. ðɛr ˌræʃəˈnæl fər dɪˈvɛləpɪŋ ðɛr tul ɪz ðə fækt ðət nɑt ˈtɪpɪkəli ˈɪndɛkst ənd ər ˈoʊnli dɪˈskəvərəbəl baɪ dɪˈrɛkli ˈsərʧɪŋ ðə ˈsərvər websites”*”. ˌhaʊˈɛvər, ɛz aɪ ʤɪst ˈmɛnʃənd ðeɪ kən bi faʊnd wɪθ ˈgugəl ˈskɑlər ənd ðeɪ ər ˈɪndɛkst ˈdeɪli baɪ, soʊ ðɛr wɑz noʊ ˈrizən fər ðɛm tɪ meɪk. ənd ðeɪ kleɪm ðeɪ səbˈmɪtəd ðə tul ɛz ə tɪ tɪ ðə movement”*”. aɪ gɛs ðɛr səbˈmɪʃən tɪ ðə movement”*” ɪˈnəf bɪˈkəz ðeɪ ðɛn ˈsəbsəkwəntli sɛnt ðɛr ˈpeɪpər tɪ. ðə ənd səbˈmɪʃənz ər ˈbeɪsɪkli aɪˈdɛntɪkəl, ɪkˈsɛpt fər wən ˈpɛrəˌgræf. ðə ˈɔθərz ˈædɪd ən ɪnˈtaɪər ˈpɛrəˌgræf ɪn ðə səbˈmɪʃən dɪˈskəsɪŋ! ənd ɪn sɛd ˈpɛrəˌgræf ðeɪ rɪˈfər tɪ ɛz ə ˈpəblɪʃɪŋ platform”*” wɪθ ə pɪr ˌrivˈju process”*”. ʤiz gaɪz, ɪf goʊɪŋ tɪ sək səm dɪk kip ɪt ɪn ðə bæk ˈæliz wɪl ju? ˈləkəli ðə rivˈjuərz fər ðɪs ˈɑrtɪkəl sˈmoʊkɪŋ ˌwəˈtɛvər ðə ˈpleɪʤərˌaɪzd ˈɑrtɪkəl ““reviewers”*” wər sˈmoʊkɪŋ, ənd ˈæˌkʧuəli meɪd ˌɪnˈtɛləʤəbəl pɔɪnts. dɪˈspaɪt ðɪs ðə ˈprɔˌsɛs wɑz stɪl eyebrow-raising*. ˈsɪnθiə geɪv ðə ˈɑrtɪkəl ən ˌənkənˈdɪʃənəl ““approval”*” ɪn pɑrt bɪˈkəz əˈlaʊz fər ˈsərʧɪŋ əv ɔl ˈkɑrənt archives”*”. ðə ˈprɑbləm? ju pərˈfɔrm fʊl tɛkst ˈsərʧɪŋ wɪθ ðə ənd sərʧ ˈɛnʤənz. ənd nɑt hər fɔlt ˈiðər bɪˈkəz ðə ˈɔθərz ˈɛmfəˌsaɪz ɪn ðə ˈpeɪpər ðət kən pərˈfɔrm fʊl tɛkst ˈsərʧɪŋ. bət wən θɪŋ əˈbaʊt hər ˌrivˈju ðət aɪ du bleɪm hər fər ɪz ðət ʃi sɪz ʃi hoʊps ðət ðə ˈɔθərz wɪl ɪn ðə fˈjuʧər æd ˌfəŋkʃəˈnælɪti tɪ ðə saɪt, ɪn ˌpɑˈtɪkjələr əˈlaʊ ˈsɔrtɪŋ baɪ deɪt. ɪn pɪr ˌrivˈju wɪn ju hæv θɪŋz ju wɔnt ðə ˈɔθərz tɪ ʧeɪnʤ ju əkˈsɛpt ðɛr ˈpeɪpər ənd hoʊp ðeɪ gɪt tɪ ɪt ɪˈvɛnʧəwəli. ju tɛl ðɛm ju wɪl əkˈsɛpt ðɛr ˈpeɪpər ɪf ðeɪ meɪk ðə ˈʧeɪnʤɪz, ənd ðɛn ɪf ðeɪ meɪk ðə ˈʧeɪnʤɪz ju əkˈsɛpt ðə ˈpeɪpər. æt ɪt simz tɪ bi ðə keɪs ðət ðə rivˈjuərz hoʊp ðət ðə ˈpeɪpər gɪts ˌɪmˈpruvd æt səm pɔɪnt, bət ðeɪ hæv noʊ ˈprɑbləm ˈgɪvɪŋ ɪt ə stæmp əv əˈpruvəl ɪn ðə ˈminˌtaɪm. ˈæftər ɔl, ðeɪ noʊ ðə ˈɔθərz ənd trəst du ðə raɪt θɪŋ. hæd ə mɔr ˈkrɪtɪkəl ˌrivˈju ənd ˈoʊnli geɪv ən wɪθ reservations”*”. ʃi ˈnoʊtɪd ðət ðə ˈɔθərz ʃʊd ˈmɛnʃən ˈgugəl ˈskɑlər ɪn ðə ˈpeɪpər ˈgɪvɪn ðət moʊst ˈpipəl juz ˈgugəl ˈskɑlər tɪ faɪnd. ənd ʃi ˈnoʊtɪd ðət ɪf ðeɪ ər goʊɪŋ tɪ rɪˈfər tɪ ɛz ə shop”*” ðeɪ ʃʊd dɪˈskraɪb wət meɪks ɪt ˈbɛtər ðən ˈgugəl ˈskɑlər ər. ənd hɪˈlɛriəsli ʃi ˈnoʊtɪd ðət faɪnd ɪts oʊn ˈɑrtɪkəl æt. raɪt, ə shop”*” ðət faɪnd ˌɪtˈsɛlf. ənd dɪd ðə ˈɔθərz ˌsætɪsˈfæktrəli rɪˈspɑnd tɪ ðiz kənˈsərnz? nɑt ɪgˈzæktli. ˌɪnˈstɛd əv dɪˈlɪniˌeɪtɪŋ ðə ˈdɪfərənsɪz bɪtˈwin ˈgugəl ˈskɑlər,, ənd, ðə ˈɔθərz sɛd ɪt tɪ ˈəðərz tɪ dɪˈtərmən ðə proʊz ənd kɑnz əv ˈjuzɪŋ search.biopreprint”*”. ˌɪnˈstɛd əv ɪkˈspleɪnɪŋ ɪn ðə tɛkst haʊ tɪ ˈprɑpərli juz ˈgugəl ədˈvænst sərʧ ðeɪ dɪˈskraɪb haʊ ˈædɪŋ ““preprint”*” tɪ jʊr ˈgugəl ˈskɑlər kˈwiri ˈlɪmət jʊr sərʧ tɪ. ˈrɪli? ˌɪnˈstɛd əv ækˈnɑlɪʤɪŋ haʊ məʧ ˈbɛtər ˈgugəl ˈskɑlər ɪz ju tɛl ˈpipəl haʊ tɪ ˌɪnkərˈɛktli sərʧ fər wɪθ ˈgugəl ˈskɑlər? weɪ tɪ ðə movement”*”. ənd dɪd ðeɪ æd ðə əˈbɪləˌti tɪ sɔrt baɪ deɪt? noʊ, bət ðeɪ sɛd ðeɪ wər ˈwərkɪŋ ɔn ɪt. ənd əˈpɛrəntli ðɪs wɑz ɪˈnəf fər tɪ gɪv ðə ˈpeɪpər ən ““approved”*” ənd gɪt ðɪs ˈɑrtɪkəl ˈɪndɛkst baɪ pubmed*. soʊ ʤɪst tɪ ˈriˌkæp, boʊθ rivˈjuərz ˈɛmfəˌsaɪzd haʊ ˌɪmˈpɔrtənt ɪt ɪz fər ˈɑrtɪkəlz tɪ bi ˈsɔrtɪd baɪ deɪt, ənd jɛt wi hæv noʊ aɪˈdiə ɪf ɪt wɪl ˈɛvər bi ˈɪmpləˌmɛnəd. ˈsɪnθiə wɑz ˈəndər ðə ˌɪmˈprɛʃən ðət pərˈfɔrmz ə fʊl tɛkst sərʧ ənd ˈlaɪkli noʊ haʊ ˈpaʊərfəl ˈgugəl ˈskɑlər ɪz ənd jɛt goʊ bæk ənd riˈtrækt hər əˈpruvəl. bət heɪ, ðə ˈprɔˌsɛs wɑz trænˈspɛrənt soʊ ɪt həz tɪ bi gʊd, raɪt? ɛz ə ˈʧɛri ɔn tɔp əv ɪt ɔl ɪz haʊ ðə ˈɔθər ˈstɑrtɪd ɔl əv hɪz rɪˈspɑnsɪz. sɪnˈsɪrli θæŋk ðə rivˈjuər fər kənˈsɪdərɪŋ ðə ˈmænjəˌskrɪpt ɛz ‘‘approved’…”*’…” du ju noʊ wɪn ju θæŋk ˈpipəl? wɪn ðeɪ gɪv ju ˈsəmθɪŋ ər du ˈsəmθɪŋ fər ju. ɪf ju skɔr wɛl ɔn ə tɛst ju θæŋk ðə ˈpərsən hu ˈgreɪdɪd it…well*, ðət ɪz ənˈlɛs ðeɪ ˈgreɪdɪd ɪt ˈlinjəntli ənd geɪv ju ə skɔr ju fɛlt ju dɪˈzərv. ənd klɪr ðət ɪz ˈhæpənɪŋ æt.
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f1000research gives open science a bad name
jordan anaya blocked unblock follow following jul 23, 2016
this is a difficult post for me to write since i believe in post-publication peer review and f1000research is seen as a pioneer in using this model. however, when i envisioned post-publication peer review i never imagined getting rid of editors, allowing the authors to invite their friends to review their articles, relinquishing the responsibilities of accepting or retracting articles, and then passing the articles off as if they underwent a thorough peer-review process. the scholarly kitchen has repeatedly expressed concerns with the publishing model of f1000research, but since the authors there seem to be publishers who want to maintain the status quo (for example they hate sci-hub while i think the best thing to ever happen to science), i pay them much mind. but for this one time only, they seem to have been correct.
what made me agree with publishers whom you can basically hear screaming “get off my lawn” in every other sentence of their blog posts? i actually carefully read a couple articles at f1000research and watched the peer-review process play out, and what i saw makes me feel like i’m taking crazy pills.
i already discussed this paper, which was also already excellently covered by retraction watch and neuroskeptic, but like donald trump so ridiculous that it needs to be talked about some more. appearances can be deceiving, but in this case they’re not, and this article has amateur hour written all over it. extremely short, has no figures, has one supplemental file which only has 75 words and is just copied from some clinical trial. and it only has 12 references, one of which is the article itself.
so how was the article received by the “reviewers” who were invited by the authors? luis pinho-costa describes the title as “elucidating and enticing”, the methods as “ingenious”, and claims the technique “could revolutionize scientific publishing”. amy price notes that the abstract “provides considerable detail in an elegant way” and the idea is “an original innovation for data security”. is this a peer review or is this paula abdul gushing over her favorite american idol contestant?
i’d like to remind the readers that this article was plagiarized from benjamin carlisle’s blog, so i guess the reviewers are effectively complementing the blogger. and the fact the article was plagiarized makes words like “original” lose just a little bit of weight. in fact, this method is already used in other fields, so the fact that the “reviewers” find this technique mind-blowing shows they have any expertise in this area. i couldn’t help but snicker at one comment by amy price. she mentioned she is “sure” that the next step of the project will be to create an algorithm that simplifies the method for users. umm, i’m pretty sure these authors know nothing about programming or web development and there’s no chance in hell they could produce anything useful. but i guess if you’re “sure” i’ll take your word for it. when their application becomes available let me know.
as bizarre as these glowing reviews were for such a simple paper, the reviewers’ responses to questions from retraction watch made me want to ask these people what they’re smoking, because i desperately want some. charilaos lygidakis seems to think fine to take ideas from blog posts without any attribution and isn’t concerned by the article because he holds the authors “in very high regard”. amy price does not think the blog “would meet considerations for authorship” because it only “suggests a use for a concept” and “does not operationalize it”. she claims that the disputed technique “seems to be a common and undeveloped idea for clinical trial registrations”. let me remind you that in her review for the plagiarized paper she referred to this idea as “an original innovation for data security”. so which is it, a common idea that was begging for someone to expertly put into practice or a mind-blowing idea that will revolutionize science? i guess it depends on if the idea is posted on a blog or presented in a scientific publication.
amy price says that since “the blog contains no supplementary materials and yet the research paper does” it “puts to rest the length and similarity argument”. as i mentioned above, the one supplemental file was just 75 words which are just copied from some clinical trial registry. and the file wasn’t even in the correct format. she says an “idea or a tool is not research”. which i agree with to an extent, because you can have the idea that someone should cure cancer, but the person who actually does it should get the credit. but i would argue that the authors of this article didn’t add anything to the blog post. oh wait, i forgot, they had a supplemental file, my bad. and just as an idea isn’t research, i would argue that ctrl-c, ctrl-v is not research.
you can say what you want about these authors, but you’ve got to give them credit, they got some ride-or-die-bitches to “review” their paper. and at f1000research the inmates run the asylum. if two reviewers accept a paper it gets indexed by pubmed. an editor doesn’t need to read the comments to see if they made any sense. in fact, if you approve a manuscript you even have to justify it. and just as the journal doesn’t decide what papers get accepted, they also decide what papers get retracted. they have left it up to cope to decide if this paper will be retracted.
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unfortunately this wasn’t my only recent experience with an article at f1000research. i also followed the peer review of the search.biopreprint article since it mentioned prepubmed in the article (i made prepubmed). i will understand if readers view my criticism of this article as biased since i have a potential conflict of interest. however, i’d like to point out that i was not paid to make prepubmed, i am not paid to maintain it, and in fact the prepubmed servers cost me money. i also did not submit prepubmed for publication, instead opting to write a blog post. made all the code for prepubmed publicly available, and i would be very happy if a competent institution would take the responsibility of indexing preprints off my hands. regrettably, search.biopreprint does not replace the capability of prepubmed and the librarians at the university of pittsburgh appear capable of this responsibility.
i’ll provide a quick overview of search.biopreprint. it takes your search query and enters that query into the search box of four different preprint servers for you. it then takes the results and uses proprietary software to cluster the results. however, the software is only capable of returning up to 200 results and the results are not sorted by date, making it impossible to find the most recent articles matching your query. other issues are that each preprint server handles your query differently, so it is difficult to get consistent results from each server. and because you have to wait for the search engines of four different servers queries are slow.
google scholar is a well known method for searching for preprints, and in fact can be limited to your preferred preprint servers with the advanced search option as described by jessica polka in this post. google scholar is much faster than search.biopreprint, allows for full text searching, and provides the option to sort by date. as a result, google scholar is a much more effective method for finding preprints than search.biopreprint and has existed since 2004. why someone would use search.biopreprint instead of google scholar is beyond me.
despite these facts, search.biopreprint was written up as a preprint and sent to biorxiv. their rationale for developing their tool is the fact that preprints “are not typically indexed and are only discoverable by directly searching the preprint server websites”. however, as i just mentioned they can be found with google scholar and they are indexed daily by prepubmed, so there was no reason for them to make search.biopreprint. and they claim they submitted the tool as a preprint to biorxiv to “support the preprint movement”.
i guess their submission to biorxiv didn’t “support the preprint movement” enough because they then subsequently sent their paper to f1000research. the biorxiv and f1000research submissions are basically identical, except for one paragraph. the authors added an entire paragraph in the f1000research submission discussing f1000research! and in said paragraph they refer to f1000research as a “unique publishing platform” with a “transparent peer review process”. jeez guys, if you’re going to suck some dick keep it in the back alleys will you?
luckily the reviewers for this article weren’t smoking whatever the plagiarized article “reviewers” were smoking, and actually made intelligible points. despite this the peer-review process was still eyebrow-raising. cynthia wolberger gave the article an unconditional “approval” in part because search.biopreprint allows for “full-text searching of all current preprint archives”. the problem? you can’t perform full text searching with the peerj preprints and arxiv search engines. and not her fault either because the authors emphasize in the paper that search.biopreprint can perform full text searching. but one thing about her review that i do blame her for is that she says she hopes that the authors will in the future add functionality to the site, in particular allow sorting by date. in peer review when you have things you want the authors to change you accept their paper and hope they get to it eventually. you tell them you will accept their paper if they make the changes, and then if they make the changes you accept the paper. at f1000research it seems to be the case that the reviewers hope that the paper gets improved at some point, but they have no problem giving it a stamp of approval in the meantime. after all, they know the authors and trust they’ll do the right thing.
prachee avasthi had a more critical review and only gave an “approved with reservations”. she noted that the authors should mention google scholar in the paper given that most people use google scholar to find preprints. and she noted that if they are going to refer to search.biopreprint as a “one-stop shop” they should describe what makes it better than google scholar or prepubmed. and hilariously she noted that search.biopreprint can’t find its own article at f1000research. that’s right, a “one-stop shop” that can’t find itself.
and did the authors satisfactorily respond to these concerns? not exactly. instead of delineating the differences between google scholar, prepubmed, and search.biopreprint, the authors said they’ll “leave it to others to determine the pros and cons of using search.biopreprint”. instead of explaining in the text how to properly use google scholar’s advanced search they describe how adding “preprint” to your google scholar query doesn’t limit your search to preprints. really? instead of acknowledging how much better google scholar is you tell people how to incorrectly search for preprints with google scholar? way to “support the preprint movement”.
and did they add the ability to sort by date? no, but they said they were working on it. and apparently this was enough for prachee avasthi to give the paper an “approved” and get this article indexed by pubmed. so just to recap, both reviewers emphasized how important it is for articles to be sorted by date, and yet we have no idea if it will ever be implemented. cynthia wolberger was under the impression that search.biopreprint performs a full text search and likely didn’t know how powerful google scholar is and yet can’t go back and retract her approval. but hey, the process was transparent so it has to be good, right?
as a cherry on top of it all is how the author started all of his responses. “we sincerely thank the reviewer for considering the manuscript as ‘approved’…” do you know when you thank people? when they give you something or do something for you. if you score well on a test you thank the person who graded it…well, that is unless they graded it leniently and gave you a score you felt you didn’t deserve. and clear that is what’s happening at f1000research.
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ɔn ðə deɪ ðeɪ ʃut mi daʊn ɪn maɪ pju meɪk ˈspiʧɪz ɔn ðə deɪ ðeɪ ʃut mi daʊn ɪn maɪ pju, vɔɪs reɪzd ɪn preɪz tɪ ðə wən tru gɑd. ʃən ðə ˈmaɪkroʊˌfoʊnz, ˈkæmərəz, ənd ˈɪntərvˌjuz, ləvd wənz, ə ˈkɑrnəvəl ʃoʊ. ˈrɛfˌjuz tɪ ˈlɪsən tɪ ðə ˈtɔkɪŋ hɛdz, ˌpɑləˈtɪʃənz, ˈheɪtərz, ənd ðoʊz wɪθ ˈrɛdi ˈænsərz. ðeɪ ər ˈoʊnli naʊ ˈriəˌlaɪzɪŋ æt ˈbætəl, ənd ju ənd aɪ noʊ ðə ˈwɛpənz əv ɑr ˈwɔrˌfɛr ər nɑt əv ðɪs wərld. ʧeɪnʤ jʊr ˈfeɪsˌbʊk ˈfoʊˌtoʊ wɪθ ə mæp əv maɪ taʊn ðə deɪ ə ˈstreɪnʤər ˌɪnˈvaɪtɪd tɪ ˈbaɪbəl ˈstədi kɪlz mi wɛr aɪ sɪt ɛz wi preɪ. ˈbɔɪˌkɑt tɔk ˈreɪdiˌoʊ, ˈsoʊʃəl ˈmidiə, ənd mimz. wɔʧ ðə aʊərz əv ˌspɛkjəˈleɪʃən ənd ˈpəblɪk grif. kloʊz jʊr aɪz tɪ maɪ ˈwipɪŋ ˈneɪbərz ˈɔfərɪŋ kwoʊts ənd kənˈsərn. preɪ ðət maɪ laɪf hæd ən ˌɪmˈpækt ɔn ðɛm bɪɔnd ðiz ˈfɪfˈtin ˈmɪnəts əv feɪm ənd ðət ˈɛni sidz ˈplænɪd ɪn ðɛr hɑrts bɛr frut fər ðə ˈgɔspəl əv kraɪst dɪˈspaɪt (ər ɪn ðə weɪk əv) maɪ ˈpæsɪŋ. ɔn ðə deɪ ðə ˈsæŋkʧuˌɛri wɛr aɪ ˈwərʃɪp ðə ˈlɪvɪŋ gɑd ɪz ˈvaɪəleɪtɪd baɪ ə ˈgənmən ˌɪnˈtɛnt ɔn hɪz oʊn weɪz, aɪ wʊd ˈrəðər, maɪ ləvd wənz, ju skɪp ə bit. bi əˈbaʊt ðə wərk, aɪ noʊ ju ər əˈbaʊt, ðə wərk əv biɪŋ laɪt ɪn ə dɑrk wərld, fər wi ər nɑt səˈpraɪzd ðət ˈtrəbəl həz kəm. aɪ æm naʊ seɪf, ənd ˈtrəbəl wɪl hæv əˈnəðər deɪ. du wət aɪ noʊ ju du. nil ɪn prɛr ˌbiˈfɔr ðə sən ˈraɪzɪz. rɛd wərd ənd ˈlɪsən fər hɪz ˈspɪrɪt. pʊt hɪz wərd ˈɪntu ˈækʃən ɪn jʊr hoʊm, ˈmɪnɪstri, ˈwərkˌpleɪs, ər ɔn səm ˈfɔrən sɔɪl. reɪz jʊr ˈʧɪldrən. reɪz ˈəðər ˈʧɪldrən. seɪv ðoʊz hu ər əˈbændənd ər ər əˈbjuzd. ˈɛʤəˌkeɪt ðə jəŋ. ˈʧælənʤ ðə ˈoʊldər. ˈtrɛʒər ðə ˈvɛri oʊld. hil ðə sɪk. sərʧ fər ðə ˈwɑndərərz. ləv jʊr spaʊs. ˈɑnər jʊr ˈpɛrənts. sərv jʊr kəmˈjunɪti. sərv ə kəmˈjunɪti ənˈkəmfərtəbəl fər ju tɪ sərv. əˈbændən heɪt ənd du ðə wərk əv ˌrɛkənˌsɪliˈeɪʃən. ˈwərʃɪp gɑd wɪθ jʊr θɔts, wərdz, ˈækʃənz, ənd ˈrisɔrsɪz. kriˈeɪt. hæv hɑrd ˌkɑnvərˈseɪʃənz. ɪnˈkərəʤ. ənd əˈbəv ɔl, fərˈgɪv, ənd pərˈsɪst ɪn ləv. ɪf ju æd ˈɛniˌθɪŋ tɪ jʊr deɪ, deɪz ɔˈrɛdi fɪld wɪθ ðə wərk gɑd həz pʊt ˌbiˈfɔr ju ɛz ju ˈfɑloʊ ɪm ɪn feɪθ, ɪf ju æd ˈɛniˌθɪŋ ðət deɪ preɪ fər ɑr jəŋ mɛn. ʧɛk ɪn wɪθ wən ju noʊ. gɪt tɪ noʊ wən ju. səˈpɔrt ə ˈmɪnɪstri ˈriʧɪŋ ðɪs ˈstrəgəlɪŋ, ˈsərʧɪŋ, ˈægənaɪzɪŋ ˌʤɛnərˈeɪʃən. ɪf ðeɪ ˈriʤɛkt ju, preɪ ənd riˈdəbəl jʊr ˈɛfərts. traɪ əˈgɛn. ðiz jəŋ mɛn ər wərθ ɑr ləv ənd ˈɛvəri əˈtɛmpt tɪ riʧ ðɛm ɪn ðə ˈmoʊmənts əv ðɛr peɪn ənd ˈæŋgər ənd ˈsɑroʊ. ənd ðɛn, ɔn ðə deɪ aɪ æm ʃɑt daʊn ɪn haʊs ɪn maɪ ˈhoʊmˌtaʊn, aɪ wɔnt ju tɪ ˈgæðər ɪn jʊrz. tərn əp ðə laɪts, θroʊ ˈoʊpən ðə ˈwɪndoʊz ənd dɔrz. lɛt ðə ˈɛnəmi noʊ ðət wɛr wən ɪz ˈfɑlən mɔr wɪl raɪz. wɛr wən laɪt ɪz sɛnt ɔn tɪ ˈglɔri, əˈnəðər wɪl bi sɛt əˈgloʊ. wɛr wən hɑrt ðət bits fər kraɪst naʊ siz ɪm ˈfeɪstuˈfeɪs, əˈnəðər wɪl bɪˈgɪn tɪ bit fər ɪm əˈnu. fər ɑr gɑd kən reɪz ˈɑrmiz frəm draɪ boʊnz, ənd hi kən ˈfərðər hɪz ˈkɪŋdəm əˈmɪd flaɪɪŋ ˈbʊləts, ˈɛmti wərdz, ənd ˈæŋgri jəŋ mɛn. wi ər ˈʧɪldrən əv ðə gɑd hu ɪz ləv. wi wɪl kənˈtɪnju tɪ ləv, ˈivɪn ˈəndər faɪər. (wi ləv ju, preɪ fər ju, ənd wip wɪθ ju, ˈsəðərlənd spərɪŋz. meɪ ju fil ðə ˈprɛzəns əv ˈʤizəs ɪn jʊr ˈsɑroʊ.)
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on the day they shoot me down in my pew
don’t make speeches on the day they shoot me down in my pew, voice raised in praise to the one true god.
shun the microphones, cameras, and interviews, loved ones, a carnival show.
refuse to listen to the talking heads, politicians, haters, and those with ready answers. they are only now realizing we’re at battle, and you and i know the weapons of our warfare are not of this world.
don’t change your facebook photo with a map of my town the day a stranger i’ve invited to bible study kills me where i sit as we pray.
boycott talk radio, social media, and memes. don’t watch the hours of speculation and public grief.
close your eyes to my weeping neighbors offering quotes and concern. pray that my life had an impact on them beyond these fifteen minutes of fame and that any seeds planted in their hearts bear fruit for the gospel of christ despite (or in the wake of) my passing.
on the day the sanctuary where i worship the living god is violated by a gunman intent on his own ways, i would rather, my loved ones, you don’t skip a beat.
be about the work, i know you are about, the work of being light in a dark world, for we are not surprised that trouble has come. i am now safe, and trouble will have another day.
do what i know you do. kneel in prayer before the sun rises. read god’s word and listen for his spirit. put his word into action in your home, ministry, workplace, or on some foreign soil.
raise your children. raise other people’s children. save those who are abandoned or trafficked or abused. educate the young. challenge the older. treasure the very old.
heal the sick. search for the wanderers. love your spouse. honor your parents. serve your community. serve a community uncomfortable for you to serve. abandon hate and do the work of reconciliation.
worship god with your thoughts, words, actions, and resources. create. have hard conversations. encourage. and above all, forgive, and persist in love.
if you add anything to your day, days already filled with the work god has put before you as you follow him in faith,
if you add anything that day – pray for our young men. check in with one you know. get to know one you don’t. support a ministry reaching this struggling, searching, agonizing generation.
if they reject you, pray and redouble your efforts. try again. these young men are worth our love and every attempt to reach them in the moments of their pain and anger and sorrow.
and then, on the day i am shot down in god’s house in my hometown, i want you to gather in yours.
turn up the lights, throw open the windows and doors.
let the enemy know that where one is fallen more will rise. where one light is sent on to glory, another will be set aglow.
where one heart that beats for christ now sees him face-to-face, another will begin to beat for him anew.
for our god can raise armies from dry bones, and he can further his kingdom amid flying bullets, empty words, and angry young men.
we are children of the god who is love. we will continue to love, even under fire.
(we love you, pray for you, and weep with you, sutherland springs. may you feel the presence of jesus in your sorrow.)
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ˈmeɪbi ðə kɪdz hænz wər ˈgrisi frəm ðə ˈbərgərz ənd slɪpt? aɪ gɛs wɪl ˈnɛvər noʊ, bət əm ʃʊr ɪt woʊnt lɛd tɪ ˈɛni riˈstrɪkʃənz ɪn ðə greɪt steɪt əv ˌɛrɪˈzoʊnə əˈbaʊt ˈlɪtəl kɪdz ˈʃutɪŋ ˈuziz! ðɪs ɪz əˈmɛrɪkə, ˈdæmɪt! ˈkɪŋmən, ariz*. ən ˌɪnˈstrəktər hu wɑz ʃɑt baɪ ə gərl hu faɪərd ən ˈuzi æt ə ˌnɔrθˈwɛstərn ˌɛrɪˈzoʊnə ˈʃutɪŋ reɪnʤ daɪd ˈmənˌdeɪ naɪt æt ˌjunəˈvərsəti ˈmɛdɪkəl ˈsɛnər ɪn ˈɛˈleɪˈɛs ˈveɪgəs. ðə gərl faɪərd ðə ˈwɛpən æt ðə ˈaʊtˌdɔr reɪnʤ ðət ˈkeɪtərz tɪ ˈhɛvi ˈtʊˌrɪzəm ˈtræfɪk əˈlɔŋ juz. ˈhaɪˌweɪ 93 bɪtˈwin ˈɛˈleɪˈɛs ˈveɪgəs ənd ðə grænd ˈkænjən skywalk*. ˈhaɪˌweɪ ˈsaɪnɪʤ ənd ˈɪntərˌnɛt ˈædvərˌtaɪzɪŋ ˈbɛkənz ˈvɪzɪtərz tɪ stɑp ɪn, faɪər ə məˈʃin gən ənd ˌɛnˈʤɔɪ ə mil æt ðə ˈbʊləts ənd ˈbərgərz ˈɛnərˌpraɪz æt ðə læst stɑp, əˈbaʊt 25 maɪəlz saʊθ əv ˈɛˈleɪˈɛs ˈveɪgəs. ðə ˈkaʊnti ˈɔfəs sɛd ðə ˌæksəˈdɛnəl ˈʃutɪŋ əˈkərd əˈbaʊt 10 a.m*. ˈspoʊksˌwʊmən trɪʃ ˈkɑrtər sɛd ðə gərl, hu wɑz veɪˈkeɪʃənɪŋ frəm nu ˈʤərzi wɪθ hər ˈpɛrənts, wɑz ˈstændɪŋ nɛkst tɪ ðə ˌɪnˈstrəktər æt ðə taɪm. ˈkaʊnti ˈʃɛrɪf ʤɪm ˈmækəbi sɛd ðə gərl ˈseɪfli ənd səkˈsɛsfəli faɪərd ðə 9 ˈwɛpən ˈsɛvərəl taɪmz wɪn ɪt wɑz sɛt ɪn ðə ““single-shot”*” moʊd. hi sɛd ðə ˈwɛpən wɑz pʊt ˈɪntu ðə ““fully-automatic”*” moʊd ˌbiˈfɔr ðə gərl faɪərd əˈgɛn wɪθ ðə ˌɪnˈstrəktər ˈstændɪŋ ɔf tɪ hər lɛft. ðə ˈwɛpən riˈkɔɪld ənd ˈdrɪftɪd lɛft ɛz ðə gərl skwizd ɔf ən ˌəndɪˈtərmɪnd ˈnəmbər əv raʊnz ɛz ʃi meɪnˈteɪnd pəˈzɛʃən bət lɔst kənˈtroʊl əv ðə ˈuzi ɛz ɪt reɪzd əp əˈbəv hər hɛd. gaɪ ʤɪst dropped,”*,” ˈmækəbi sɛd əv ˈʃutɪŋ ˌɪnˈstrəktər ˈʧɑrəlz ˈvækə, 39 əv leɪk ˈsɪti, hu ˈsəfərd æt list wən ˈgənˌʃɑt tɪ ðə hɛd. ʤɛf, dɪˈrɛktər əv ˈtreɪnɪŋ fər ðə reɪnʤ 702 ɪn ˈɛˈleɪˈɛs ˈveɪgəs, sɛd ðə ˈɪnsədənt ɪn ˌɛrɪˈzoʊnə wʊd ˈnɛvər əˈkər æt hɪz ˈbɪznɪs. hi ˈkrɛdɪtɪd ðɪs tɪ haʊ kənˈtɪnjuəsli ˈʃutɪŋ ˈseɪfti ˈɔfɪsərz ər treɪnd. ““hypothetically”*” ə wʊd bi ˈeɪbəl tɪ ʃut ə ˈwɛpən, bət ə dɪˈskrɛʃəˌnɛri dɪˈsɪʒən, hi sɛd. ðət dɪˈsɪʒən ɪz beɪst ɔn ˈfɪzɪkəl ənd ˈseɪfti ˈgaɪˌdlaɪnz, hi sɛd. ˈstɔri kənˈtɪnjuz bɪˈloʊ ˈʧɪldrən nid tɪ ˌəndərˈstænd ðə ˈkɑnsɛpt əv ˈseɪfti ˌbiˈfɔr ðeɪ ər əˈlaʊd tɪ ʃut, sɛd.
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maybe the kid's hands were greasy from the burgers and slipped? i guess we'll never know, but i'm sure it won't lead to any restrictions in the great state of arizona about little kids shooting uzis! this is america, dammit!
kingman, ariz. — an instructor who was shot by a 9-year-old girl who fired an uzi at a northwestern arizona shooting range died monday night at university medical center in las vegas.
the girl fired the weapon at the outdoor range that caters to heavy tourism traffic along u.s. highway 93 between las vegas and the grand canyon skywalk.
highway signage and internet advertising beckons visitors to stop in, fire a machine gun and enjoy a meal at the bullets and burgers enterprise at the last stop, about 25 miles south of las vegas.
the mohave county sheriff’s office said the accidental shooting occurred about 10 a.m. spokeswoman trish carter said the girl, who was vacationing from new jersey with her parents, was standing next to the instructor at the time.
mohave county sheriff jim mccabe said the girl safely and successfully fired the 9 mm weapon several times when it was set in the “single-shot” mode.
he said the weapon was put into the “fully-automatic” mode before the girl fired again with the instructor standing off to her left. the weapon recoiled and drifted left as the girl squeezed off an undetermined number of rounds as she maintained possession but lost control of the uzi as it raised up above her head.
“the guy just dropped,” mccabe said of shooting instructor charles vacca, 39, of lake havasu city, who suffered at least one gunshot to the head.
jeff frichette, director of training for the range 702 in las vegas, said the incident in arizona would never occur at his business. he credited this to how continuously shooting range’s safety officers are trained.
“hypothetically” a 9-year-old would be able to shoot a fully-automatic weapon, but it’s a discretionary decision, he said.
that decision is based on physical and safety guidelines, he said.
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children need to understand the concept of safety before they are allowed to shoot, frichette said.
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ðə ˈɪndiən ˈmoʊbəl ˈɑpərˌeɪtər həz prəˈpoʊzd ə nu skim kɔld ˈziroʊ hir ɪn ˈɪndiə wɪʧ ɪz səˈpoʊzədli ən "ˈoʊpən" ˈplætˌfɔrm ðət wʊd əˈlaʊ ˈɛni æp ˈmeɪkər tɪ peɪ fər ðə ˈdætə soʊ ðət ˈkəstəmərz kən juz ðə æp wɪˈθaʊt peɪɪŋ ˈɛni ˈdætə ˈʧɑrʤɪz. ðɪs ɪz ə ˈbleɪtənt vaɪəˈleɪʃən əv nɛt nuˈtræləti ənd həz kɔzd ən ˈəˌprɔr hir ɪn ˈɪndiə ˌhaʊˈɛvər ðɛr traɪɪŋ tɪ meɪk ðɪs ˈɪntu ə rɪʧ ˈvərsəz pur θɪŋ baɪ seɪɪŋ ðət ˈbænɪŋ ˈziroʊ ˈreɪtɪŋ ɪz tɪ dɪˈnaɪ pur ˈpipəl ˈækˌsɛs. ðə wərs θɪŋ ɪz ðət boʊθ ˈgugəl ənd ˈfeɪsˌbʊk ər ɪn səˈpɔrt əv ðɪs skim ˈivɪn ðoʊ ðeɪ səˈpɔrt nɛt nuˈtræləti ɪn ðə ˈjuˈɛs. ˈfeɪsˌbʊk wɑz ɔˈrɛdi ɪn vaɪəˈleɪʃən wɪθ ðɛr skim bət aɪ ˈdɪdənt ɪkˈspɛkt ðɪs frəm ˈgugəl. ɪf ɪkˈspɛrəmənt səkˈsidz aɪ θɪŋk ðət ðɪs kʊd bi ˈrɛplɪˌkeɪtɪd əˈkrɔs ðə wərld ənd dɪˈstrɔɪ ðə ˈvɛri ˈkɛrɪktər əv ðə ˈɪntərˌnɛt. ðə ˈəðər ˈprɑbləm ɪz ðət ˈziroʊ ˈreɪtɪŋ ɪz ə bɪt əv ə ˈtrɪkiər dəˈbeɪt sɪns ɪts nɑt ðə ˈkəstəmər huz peɪɪŋ. wi nid tɪ fɔrs ðə tɛk ˈmeɪʤərz tɪ teɪk ə stænd əˈgɛnst ðɪs. wət kən bi dən tɪ fɔrs ðɛm
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the indian mobile operator airtel has proposed a new scheme called airtel zero here in india , which is supposedly an "open" platform that would allow any app maker to pay for the data so that customers can use the app without paying any data charges. this is ofcourse , a blatant violation of net neutrality and has caused an uproar here in india . however they're trying to make this into a rich vs poor thing by saying that banning zero rating is to deny poor people access. the worse thing is that both google and facebook are in support of this scheme even though they support net neutrality in the us. facebook was already in violation with their internet.org scheme but i didn't expect this from google. if airtel's experiment succeeds i think that this could be replicated across the world and destroy the very character of the internet. the other problem is that zero rating is a bit of a trickier debate since it's not the customer who's paying. we need to force the tech majors to take a stand against this. what can be done to force them ?
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ɪf ə ˈstudənt əv ðə ˈpraɪvəsi ənd tɛk lɔ wərldz (ər ju ʤɪst rɛd ars*) ðɛn ˈprɑbəˌbli fəˈmɪljər wɪθ læst səˈprim kɔrt dɪˈsɪʒən, juˈnaɪtɪd steɪts vi. ʤoʊnz. ˈərliər ðɪs jɪr, ðə naɪn ˈʤəstɪsɪz juˈnænəməsli əˈgrid ðət ˈpleɪsɪŋ ə ˈgipiˈɛs ˈtrækɪŋ dɪˈvaɪs ɔn ə kɑr wɪˈθaʊt ə ˈwɔrənt wɑz ˌənˌkɑnstəˈtuʃənəl. ðət dɪˈsɪʒən kənˈtɪnjuz tɪ hæv ˈrɪpəl ˈifɛkts θruaʊt ðə ˈpraɪvəsi lɔ wərld, ənd ˈlaɪkli wɪl fər jɪrz tɪ kəm. ˌhaʊˈɛvər, ɛz wi ˈpɔɪntɪd aʊt ɪn ɑr ˈʤænjuˌɛri 2012 ˈkəvərɪʤ, ðə ˈʤəstɪsɪz dɪsəˈgrid əˈməŋst ðɛmˈsɛlvz əˈbaʊt waɪ ɪt ˈvaɪəleɪtɪd ðə fɔrθ əˈmɛndmənt, wɪʧ prəˈtɛkts ˈsɪtɪzənz əˈgɛnst ənˈriznəbəl ˈsərʧɪz ənd ˈsiʒərz. wən wɪŋ əv ðə kɔrt faʊnd ðət ˌɪnˈstɔlɪŋ ðə ˈgipiˈɛs dɪˈvaɪs wɑz ən ənˈwɔrəntɪd ˈfɪzɪkəl ˈtrɛˌspæs ɔn ˈpraɪvət ˈprɑpərti ənd ˈðɛrˌfɔr ˌɪˈligəl. ðə məˈnɔrəti wɪŋ faʊnd ðə ˈpræktɪs ˌənˌkɑnstəˈtuʃənəl ɛz ɪt ˈvaɪəleɪtɪd ðə ˈdɔktərɪn noʊn ɛz ˈrizənəbəl ˌɛkspɛkˈteɪʃən əv privacy.”*.” ɪn ʤoʊnz, ðə səˈprim kɔrt faʊnd ðə ækt əv ˌɪnˈstɔlɪŋ ðə ˈgipiˈɛs ˈtrækɪŋ dɪˈvaɪs wɑz ə fɔrθ əˈmɛndmənt sərʧ, ənd duɪŋ soʊ wɪˈθaʊt ə ˈwɔrənt ɪn ðət keɪs wɑz ˌənˌkɑnstəˈtuʃənəl. ˌhaʊˈɛvər, ðə kɔrt dɪd nɑt kənˈsɪdər ðə kˈwɛʃən əv ˈwɛðər ə ˈprɑbəbəl ˈɔlˌweɪz rikˈwaɪərd wɪn ðə ˈgəvərnmənt ˈjuzɪz ə ˈgipiˈɛs dɪˈvaɪs. ɪn ə nu keɪs, noʊn ɛz juˈnaɪtɪd steɪts vi. ˈrɑbənsən, ðə ˈgəvərnmənt ˈɑrgjuz ðət ən mɪr suspicion”*” əv ˈrɔŋduɪŋ ɪz ɪˈnəf tɪ ˈʤəstəˌfaɪ ðə ˈpleɪsmənt əv ə ˈgipiˈɛs ˈtrækɪŋ dɪˈvaɪs ɔn ə kɑr wɪˈθaʊt ə ˈwɔrənt. ˈərliər ðɪs jɪr, ə ˈfɛdərəl ˈmæʤɪˌstreɪt ʤəʤ ɪn məˈzʊri əˈgrid, əˈlaʊɪŋ ˈɛvədəns kəˈlɛktəd baɪ ðə ˈgipiˈɛs dɪˈvaɪs tɪ stænd. læst wik, ðə əˈmɛrɪkən ˈsɪvəl ˈlɪbərˌtiz ˈjunjən (aclu*) faɪld ən əˈmikəs brif ɪn ðə keɪs, wɪʧ ɪz stɪl biɪŋ ˈɑrgjud ˌbiˈfɔr ðə juˈnaɪtɪd steɪts ˈdɪstrɪkt kɔrt ɪn ðə ˈistərn ˈdɪstrɪkt əv məˈzʊri. ðə ˈɑrgjuz ðət ʤoʊnz ˈboʊlstərz ɪts pəˈzɪʃən ðət kɔrt ʃʊd əˈdhɪr tɪ ðə səˈprim dɪˈrɛktɪv ðət ˈwɔrəntləs ˈsərʧɪz ər ənˈriznəbəl ənd hoʊld ðət fɔrθ əˈmɛndmənt raɪts wər violated.”*.” ɪt ɪz ˈhaɪli ənˈjuˌʒuəl fər ən ˈaʊtˈsaɪd grup tɪ faɪl ən əˈmikəs brif ɪn ə ˈkrɪmənəl keɪs æt səʧ ən ˈərli steɪʤ, bət ðə əˈpɪrz tɪ bɪˈliv ˈrɑbənsən ɪz ə ˈsɪriəs vaɪəˈleɪʃən əv ˈkrɪmənəl prəˈsiʤər ɪts əˈtɛnʃən. ɪn ðɪs keɪs, ðə ˈmæʤɪˌstreɪt əkˈsɛptəns əv ðə ˈgipiˈɛs dɪˈvaɪs maɪt ˈɪndəˌkeɪt ðə ˈdɪstrɪkt kɔrt ʤəʤ kʊd ˈɔlsoʊ əˈlaʊ ðɪs ˈɛvədəns æt traɪəl. ðət meɪ pəˈtɛnʃəli peɪv ðə weɪ fər ə ˈfɛdərəl əˈpilz kɔrt ˈrulɪŋ. ə fˈjuʧər əˈpilz kɔrt dɪˈsɪʒən kʊd tərn ɔn prɪˈsaɪsli ðɪs pɔɪnt: wət, ɪf ˈɛni, ləˈʤɪtəmət ˈsərkəmˌstænsɪz ɪgˈzɪst ɪn wɪʧ lɔ ɛnˈfɔrsmənt meɪ ˈæfɪks ə ˈgipiˈɛs ˈtrækɪŋ dɪˈvaɪs wɪˈθaʊt fərst əbˈteɪnɪŋ ə ˈwɔrənt? dɪˈfɛndənt ˈɑrgjud tɪ səˈprɛs ˈgipiˈɛs ˈɛvədəns ðə keɪs ˌɪnˈvɑlvz ə mæn neɪmd frɛd ˈdəbəlju. ˈrɑbənsən əv st*. luɪs, ʧɑrʤd wɪθ ˌɪmˈprɑpər juz əv ˈpəblɪk fəndz bɪtˈwin ˈrɑbənsən əˈlɛʤədli ˈfɔlsəˌfaɪd ˈdɑkjəmənts ðət əˈlaʊd ɪm tɪ rɪˈsiv ə ˈpeɪˌʧɛk frəm ðə ˈsɪti əv st*. luɪs. ˈdʊrɪŋ ðə kɔrs əv ðə ˌɪnˌvɛstəˈgeɪʃən, ˈstɑrtɪŋ ɪn 2009 ðə ˈɛfˈbiˈaɪ bɪˈgæn ən ˌɪnˌvɛstəˈgeɪʃən əv ˈrɑbənsən ənd ˈstɑrtɪd əbˈzərvɪŋ ɪm, hɪz kɑr, ənd hɪz ˈprɑpərti tɪ faɪnd aʊt hi wɑz, ɪn fækt, ən ɪmˈplɔɪi əv ðə ˈsɪti. baɪ ˈʤænjuˌɛri 2010 ðə ˈɛfˈbiˈaɪ pʊt ə ˈgipiˈɛs ˈtrækɪŋ dɪˈvaɪs ɔn kɑr wɪˈθaʊt ə ˈwɔrənt, ˈlivɪŋ ɪt ˈrənɪŋ 24 aʊərz ə deɪ fər ˈnɪrli tu mənθs. ˈrɑbənsən wɑz ˌɪnˈdaɪtɪd ɔn ˈfɛdərəl frɔd ˈʧɑrʤɪz ɪn 2011 ɛz ðə pɔɪnts aʊt, ðə ˈdʊˈreɪʃən əv ˈgipiˈɛs sərˈveɪləns wɑz twaɪs ɛz lɔŋ ɛz ðə keɪs ɪn ʤoʊnz. əˈtərniz ˈɑrgjud, əˈməŋ ˈəðər θɪŋz, ðət ðə kəˈlɛkʃən əv ˈɛvədəns baɪ ðə ˈgipiˈɛs dɪˈvaɪs wɑz ən ənˈriznəbəl sərʧ ənd ʃʊd bi səˈprɛst. ɪn mɑrʧ, ðə juˈnaɪtɪd steɪts əˈtərni (ðə ˈprɑsɪˌkjutər ɪn ðə keɪs) ˈɑrgjud ɪn ə rɪˈspɑns (pdf*) ðət ə ˈwɔrənt nɔr ˈprɑbəbəl kɔz ʃʊd bi rikˈwaɪərd wɛr ðə ˈeɪʤənts hæv ˈrizənəbəl suspicion,”*,” ənd ðət ə əv ə ˈwɔrənt ənd ˈprɑbəbəl kɔz wʊd ˈsɪriəsli ˌɪmˈpid ðə ˈgəvərnmənts əˈbɪləˌti tɪ ˌɪnˈvɛstəˌgeɪt lidz ənd tɪps ɔn drəg ˈtræfɪkɪŋ, ˈtɛrəˌrɪzəm, ənd ˈəðər kraɪmz. lɔ ɛnˈfɔrsmənt ˈɔfɪsərz kʊd nɑt juz ˈgipiˈɛs dɪˈvaɪsɪz tɪ ˈgæðər ˌɪnˌfɔrˈmeɪʃən tɪ ɪˈstæblɪʃ ˈprɑbəbəl kɔz, wɪʧ ɪz ˈɔfən ðə moʊst pərˈdəktɪv juz əv səʧ devices.”*.” ðə priˈtraɪəl ˈmoʊʃən wɑz dɪˈnaɪd ɪn meɪ baɪ ðə ˈfɛdərəl ˈmæʤɪˌstreɪt ʤəʤ (pdf*). ðɪs keɪs, ðə ˌɪnˈvɛstəˌgeɪtɪŋ ˈeɪʤənts hæd ˈrizənəbəl səˈspɪʃən tɪ bɪˈliv ðət dɪˈfɛndənt hæd ɪnˈgeɪʤd ɪn ənd wɑz ɪnˈgeɪʤɪŋ ɪn ˈkrɪmənəl ækˈtɪvɪti, ˈneɪmli, səbˈmɪtɪŋ fɔls taɪm ʃits tɪ bi peɪd fər wərk nɑt performed,”*,” roʊt ˈjuˈɛs ˈmæʤɪˌstreɪt ʤəʤ ˈdeɪvɪd di. noʊs. tɪ ˌɪnˈstɔlɪŋ ðə ˈgipiˈɛs ˈtrækɪŋ dɪˈvaɪs, ˈeɪʤənt kəˈmoʊ ˈɪntərvˌjud fɔr ˈfɔrmər ɪmˈplɔɪiz əv ðə ˈɔfəs, ˈkərtɪs royceton*, dæn ˈpɑrsənz, bɛn ˈfɪlɪps, ənd ˈhɛrəld ˈmaɪnər, iʧ əv hum prəˈvaɪdɪd ˌɪnˌfɔrˈmeɪʃən səˈpɔrtɪŋ ðə ˌɪnˈvɛstəˌgeɪtɪŋ agents’*’ suspicion.”*.” əˈkɔrdɪŋ tɪ ðə st*. luɪs post-dispatch*, ˈərliər ðɪs jɪr, ˈeɪʤənt kəˈmoʊ sɛd ˈdʊrɪŋ ə priˈtraɪəl ˈhirɪŋ ðət 17 jɪrz wɪθ ðə ˈɛfˈbiˈaɪ, ʃi hæd ˈnɛvər hæd əˈkeɪʒən tɪ ˌɪnˈstɔl ə ˈgipiˈɛs ˈtrækɪŋ dɪˈvaɪs ˌbiˈfɔr, bət ɪt wɑz əˈpruvd baɪ ˈprɑsɪˌkjutərz ənd hər ˌsupərˈvaɪzərz, beɪst ɔn keɪs lɔ æt ðə time.”*.” ðə ʤəʤ əˈpɪrz tɪ hæv əˈgrid wɪθ ðɪs laɪn əv ˈrizənɪŋ, ənd goʊz ɔn tɪ dɪˈskraɪb ðə spɪˈsɪfɪk ˌɪnˌfɔrˈmeɪʃən prəˈvaɪdɪd tɪ ðə ˈɛfˈbiˈaɪ, kənˈkludɪŋ ðət ðɪs wɑz ˌɪnˈdid ə ˈrizənəbəl səˈspɪʃən. ˈeɪʤənts bɪˈlivd ðət ˈtrækɪŋ ðə ˈmuvmənts əv ˈviɪkəl wʊd ɪˈneɪbəl ðɛm tɪ kənˈfərm ər dɪˈspɛl ðɛr suspicion,”*,” ðə ʤəʤ roʊt. ˈtrækɪŋ ˈviɪkəl, ðə ˈeɪʤənts wʊd bi ˈeɪbəl tɪ əbˈzərv ˈdeɪli ˈpætərn ˈækjərətli ənd cost-effectively*. ˈðɛrˌfɔr, ðə ˈeɪʤənts dɪd nɑt nid tɪ əbˈteɪn ə ʤuˈdɪʃəl ˈwɔrənt praɪər tɪ ˌɪnˈstɔlɪŋ ðə ˈgipiˈɛs ˈtrækər dɪˈvaɪs ɔn ˈviɪkəl ənd ˈjuzɪŋ ðə dɪˈvaɪs tɪ ˈmɑnətər ðə ˈmuvmənts. ðə ˈɛvədəns əbˈteɪnd frəm ðə ˈgipiˈɛs ˈtrækər dɪˈvaɪs ʃʊd nɑt bi səˈprɛst fər læk əv ˈrizənəbəl suspicion.”*.” ðə ˈmæʤɪˌstreɪt ʤəʤ, ɛz ə pɑrt əv ˈfɛdərəl ˌʤʊrəˈsprudəns, məst rul ɔn priˈtraɪəl ˈmoʊʃənz, səʧ ɛz ðɪs wən, ˈsɛtɪŋ ðə steɪʤ fər ə ˈkrɪmənəl traɪəl. ˌhaʊˈɛvər, ˈɛni dɪˈsɪʒənz ɔn əkˈsɛptəns ər səˈprɛʃən əv ˈɛvədəns baɪ ðə ˈmæʤɪˌstreɪt, əv kɔrs, məst bi əˈpruvd baɪ ðə ˈdɪstrɪkt ʤəʤ ˌbiˈfɔr ðeɪ teɪk ˈifɛkt ˈdʊrɪŋ traɪəl. ˈriʤɛkts ˈgəvərnmənt ˈɑrgjəmənt ɪn ˈɑrgjuɪŋ ðət ðə ˈgipiˈɛs ˈɛvədəns ʃʊd bi səˈprɛst, ðə ˈɑrgjuz praɪˈmɛrəli ðət ðə ˈɛfˈbiˈaɪ ˈeɪʤənts ˈvaɪəleɪtɪd fɔrθ əˈmɛndmənt raɪts. ðə əˈtərniz raɪt beɪst ɔn ʤuˈdɪʃəl ˈprɛsɪdənt, ðət ˈwɔrəntləs ˈsərʧɪz ər prɪˈzumd tɪ bi ənˈriznəbəl, ˈaʊtˈsaɪd əv ə fju ɪkˈsɛpʃənz, səʧ ɛz circumstances.”*.” ðɪs ɪz ðə ˈprɪnsəpəl ðət gɪvz, fər ɪgˈzæmpəl, ə lɔ ɛnˈfɔrsmənt ˈeɪʤənt ðə əˈθɔrəti tɪ ˈɛnər ə ˈpraɪvət ˈprɑpərti ɪf hi ər ʃi hirz ˈsəmˌwən biɪŋ ˈvaɪələntli əˈtækt. hir, ðə saɪts ˈkeɪsɪz, ˌɪnˈkludɪŋ ʤoʊnz, ˈhoʊldɪŋ ðət ˈwɔrənts ər rikˈwaɪərd tɪ prəˈvaɪd ə ʤuˈdɪʃəl ʧɛk ɔn ðə əˈbjuz əv lɔ ɛnˈfɔrsmənt paʊər. ˈkaʊnsəl goʊz ɔn tɪ ˈɑrgju ðət ˈmæʤɪˌstreɪt ʤəʤ ˌəndərˈstændɪŋ əv ðə əˈpilz kɔrt dɪˈsɪʒən ɪz flɔd, ɛz ɪt dɪz nɑt teɪk ˈɪntu əˈkaʊnt ðə ʤoʊnz dɪˈsɪʒən. noʊs ˈsaɪtɪd juˈnaɪtɪd steɪts vi. mɑrˈkɛz, ə ˈfɛdərəl əˈpilz kɔrt dɪˈsɪʒən, wɪʧ faʊnd ðət ˌɪnˈstɔlɪŋ ə ˈgipiˈɛs ˈtrækər wɑz nɑt ə sərʧ. ˈleɪtər, ʤoʊnz ˈklɪrli faʊnd ðət ˌɪnˈstɔlɪŋ ə ˈgipiˈɛs dɪˈvaɪs ɔn ə kɑr wɑz ˌɪnˈdid ə fɔrθ əˈmɛndmənt sərʧ. wərs stɪl, ðə əˈmikəs pɔɪnts aʊt, eɪθ dɪˈsɪʒən ɪn mɑrˈkɛz wɑz nɑt ˈɪʃud ənˈtɪl fɔr mənθs ˈæftər ðə ˈeɪʤənts ɪnˈgeɪʤd ɪn ðə ˈgipiˈɛs ˈtrækɪŋ ɪn ðɪs case.”*.” ˈfaɪnəli, ðə ˈɔlsoʊ ˈɑrgjuz ðət noʊ ɪkˈsɛpʃənz tɪ ðə ˈwɔrənt rɪkˈwaɪrmənt əˈplaɪ, ˈɑrgjuɪŋ ðət ˈgipiˈɛs ˈtrækɪŋ ˈoʊvər ə ˈpɪriəd əv mənθs ɪz baɪ ˌdɛfəˈnɪʃən ðə ænˈtɪθəsəs əv ən circumstance.’”*.’” ɪn ˈəðər wərdz, bɪˈkəz ðə ˈgəvərnmənt nu ðət ɪt kʊd træk ˈrɑbənsən ˈoʊvər ə lɔŋ ˈpɪriəd əv taɪm, ðət mɛnt ðɛr wɑz noʊ ˌɪˈmiˌdiət nid tɪ ˈkɑndəkt ə sərʧ. ðə ˈrɑbənsən keɪs ɪz ˈɔnˌgoʊɪŋ. ə dɪˈsɪʒən ˈlaɪkli wɪl teɪk ˈsɛvərəl mɔr mənθs, bət ɪt kʊd prəˈvaɪd mɔr priˈsɪʒən kənˈsərnɪŋ wɪn lɔ ɛnˈfɔrsmənt kən ənd træk ˈsəˌspɛkts wɪˈθaʊt ə ˈwɔrənt.
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if a student of the privacy and tech law worlds (or you just read ars) then probably familiar with last year’s supreme court decision, united states v. jones. earlier this year, the nine justices unanimously agreed that placing a gps tracking device on a suspect’s car without a warrant was unconstitutional. that decision continues to have ripple effects throughout the privacy law world, and likely will for years to come.
however, as we pointed out in our january 2012 coverage, the justices disagreed amongst themselves about why it violated the fourth amendment, which protects citizens against unreasonable searches and seizures. one wing of the court found that installing the gps device was an unwarranted physical trespass on private property and therefore illegal. the minority wing found the practice unconstitutional as it violated the doctrine known as “a reasonable expectation of privacy.”
in jones, the supreme court found the act of installing the gps tracking device was a fourth amendment search, and doing so without a warrant in that case was unconstitutional. however, the court did not consider the question of whether a warrant—and probable cause—is always required when the government uses a gps device. in a new case, known as united states v. robinson, the government argues that an officer’s mere “reasonable suspicion” of wrongdoing is enough to justify the placement of a gps tracking device on a suspect’s car without a warrant. earlier this year, a federal magistrate judge in missouri agreed, allowing evidence collected by the gps device to stand.
last week, the american civil liberties union (aclu) filed an amicus brief in the case, which is still being argued before the united states district court in the eastern district of missouri. the aclu argues that jones bolsters its position that “[t]his court should adhere to the supreme court’s long-standing directive that warrantless searches are presumptively unreasonable and hold that defendant’s fourth amendment rights were violated.”
it is highly unusual for an outside group to file an amicus brief in a criminal case at such an early stage, but the aclu appears to believe robinson is a serious violation of criminal procedure warranting its attention.
in this case, the magistrate judge’s acceptance of the gps device might indicate the district court judge could also allow this evidence at trial. that may potentially pave the way for a federal appeals court ruling. a future appeals court decision could turn on precisely this point: what, if any, legitimate circumstances exist in which law enforcement may affix a gps tracking device without first obtaining a warrant?
defendant argued to suppress gps evidence
the case involves a man named fred w. robinson of st. louis, charged with improper use of public funds between 2006-2010. robinson allegedly falsified documents that allowed him to receive a paycheck from the city of st. louis. during the course of the investigation, starting in 2009, the fbi began an investigation of robinson and started observing him, his car, and his property to find out he was, in fact, an employee of the city. by january 2010, the fbi put a gps tracking device on robinson’s car without a warrant, leaving it running 24 hours a day for nearly two months. robinson was indicted on federal fraud charges in 2011. as the aclu points out, the duration of gps surveillance was twice as long as the case in jones.
robinson’s attorneys argued, among other things, that the collection of evidence by the gps device was an unreasonable search and should be suppressed.
in march, the united states attorney (the prosecutor in the case) argued in a response (pdf) that “neither a warrant nor probable cause should be required where the agents have reasonable suspicion,” and that a “requirement of a warrant and probable cause would seriously impede the government's ability to investigate leads and tips on drug trafficking, terrorism, and other crimes. law enforcement officers could not use gps devices to gather information to establish probable cause, which is often the most productive use of such devices.”
the defendant’s pretrial motion was denied in may by the federal magistrate judge (pdf).
“in this case, the investigating agents had reasonable suspicion to believe that defendant had engaged in and was engaging in criminal activity, namely, submitting false time sheets to be paid for work not performed,” wrote us magistrate judge david d. noce.
“prior to installing the gps tracking device, agent comeau interviewed four long-time former employees of the treasurer’s office, curtis royceton, dan parsons, ben philips, and harold miner, each of whom provided information supporting the investigating agents’ suspicion.”
according to the st. louis post-dispatch, earlier this year, agent comeau said during a pretrial hearing that “in 17 years with the fbi, she had never had occasion to install a gps tracking device before, but it was approved by prosecutors and her supervisors, based on case law at the time.”
the judge appears to have agreed with this line of reasoning, and goes on to describe the specific information provided to the fbi, concluding that this was indeed a reasonable suspicion.
“the agents believed that tracking the movements of defendant’s vehicle would enable them to confirm or dispel their suspicion,” the judge wrote. “by tracking defendant’s vehicle, the agents would be able to observe defendant’s daily pattern accurately and cost-effectively. therefore, the agents did not need to obtain a judicial warrant prior to installing the gps tracker device on defendant’s vehicle and using the device to monitor the vehicle’s movements. the evidence obtained from the gps tracker device should not be suppressed for lack of reasonable suspicion.”
the magistrate judge, as a part of federal jurisprudence, must rule on pretrial motions, such as this one, setting the stage for a criminal trial. however, any decisions on acceptance or suppression of evidence by the magistrate, of course, must be approved by the district judge before they take effect during trial.
aclu rejects government argument
in arguing that the gps evidence should be suppressed, the aclu argues primarily that the fbi agents violated robinson’s fourth amendment rights.
the aclu attorneys write based on judicial precedent, that warrantless searches are presumed to be unreasonable, outside of a few well-defined exceptions, such as “exigent circumstances.” this is the principle that gives, for example, a law enforcement agent the authority to enter a private property if he or she hears someone being violently attacked. here, the aclu cites cases, including jones, holding that warrants are required to provide a judicial check on the abuse of law enforcement power.
aclu counsel goes on to argue that magistrate judge noce’s understanding of the appeals court decision is flawed, as it does not take into account the jones decision. noce cited united states v. marquez, a pre-jones federal appeals court decision, which found that installing a gps tracker was not a search. later, jones clearly found that installing a gps device on a car was indeed a fourth amendment search. worse still, the amicus points out, “the eighth circuit’s decision in marquez was not issued until four months after the agents engaged in the gps tracking in this case.”
finally, the aclu also argues that no exceptions to the warrant requirement apply, arguing that “prolonged gps tracking over a period of months is by definition the antithesis of an ‘exigent circumstance.’” in other words, because the government knew that it could track robinson over a long period of time, that meant there was no immediate need to conduct a search.
the robinson case is ongoing. a decision likely will take several more months, but it could provide more precision concerning when law enforcement can and can’t track suspects without a warrant.
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lɔs ˈænʤəlɪs ðɪs ɪz ðə fɪθ deɪ, ðə ˈhæfˈweɪ pɔɪnt, ənd waɪl ʤoʊnz sɪz hi ˈkipɪŋ træk ənd ðət ˈɛvəri deɪ ɪz ə nu deɪ ənd ɔl ðə ˈəðər kliˈʃeɪz ju seɪ wɪn ɔn ə ˈkɑnˌtrækt, ðə truθ ɪz ðət 10 jɪrz ɪn ðə ˈɛnˌbiˈeɪ, laɪk ʤoʊnz həz, ɪˈnəf tɪ meɪk ðoʊz 10 deɪz fil ˈɛni ˈlɔŋgər ər ˈɛni lɛs nerve-wracking*. ʤoʊnz ɪz 34 ə ˈʤərniˌmæn wɪθ taɪm spɛnt ɪn ˈmɛmpfɪs, ˈbɔstən, ˌsækrəˈmɛntoʊ, ˈdɛnvər, ˌɪndiˈænə, ˈdæləs, æˈtlæntə, ənd naʊ, ˈfaɪnəli, ðə ˈklɪpərz. bət ðɪs ɪz jones’*’ fərst wɪθ ən əˈfɪʃəl ˈdɛˌdlaɪn, ənd baɪ ˈsæˌtɪˌdeɪ, ə dɪˈsɪʒən tɪ bi meɪd tɪ saɪn ɪm tɪ əˈnəðər ˈkɑnˌtrækt ər lɛt ɪm goʊ. ɪn ɔl ˈlaɪkliˌhʊd, ðɪs stɪnt wɪθ ðə ˈklɪpərz wɪl bi jones’*’ ˈfaɪnəl ɑˈdɪʃən. bət ɪf ðət ˈprɛʃər ɪz ˈgɪtɪŋ tɪ ɪm, ɪf ˈhævɪŋ ðoʊz θɔts ˈæftər ˈtɔɪlɪŋ fər mɔr ðən ə jɪr ɪn ðə, ʤoʊnz ʃʊr simz tɪ haɪd ɪt wɛl. hi kɔlz ɪt hɪmˈsɛlf ɪn ðə process.”*.” hi swɛrz ðə ˈoʊnli weɪ meɪk ɪt. bət raɪt naʊ, ˈmeɪkɪŋ ɪt ðə ˈpərtɪnɪnt kˈwɛʃən. ˌɪnˈstɛd, ðɪs: haʊ ɪn faɪv deɪz ənd fjuər ðən 16 ˈmɪnəts əv pleɪɪŋ taɪm kʊd ə ˈʤərniˌmæn ˈvɛtərən pleɪ ə pɑrt ɪn ˈɔltərɪŋ ðə ˈkɛmɪstri əv ə bɛnʧ ðət, ʤɪst ə wik əˈgoʊ, simd laɪk ɪt maɪt ˈəltəmətli sɪŋk wən əv ðə moʊst ˈtæləntɪd timz? ðət, əv kɔrs, ɪz ðə hoʊp əv ˈɛni ˈkɑnˌtrækt ðət ˈmeɪbi, ʤɪst ˈmeɪbi ə ˈsɪŋgəl, ˈmoʊstli ˌɪŋˌkɑnsəkˈwɛnʧəl ˈsaɪnɪŋ kʊd hɛlp sɛt ɔf ə ʧeɪn riˈækʃən. bət tɪ teɪk ə flaɪər ɔn ə ˈvɛtərən səʧ ɛz ʤoʊnz ɪz ənˈjuˌʒuəl. əv ðə 13 pleɪərz saɪnd tɪ ˈkɑnˌtrækts sɪns ðə ˈwɪndoʊ ˈoʊpənd ʤæn. 5 ˈoʊnli θri ər ˈoʊvər 30 jɪrz oʊld ənd ˈoʊnli wən ɪz ˈoʊldər ðən ʤoʊnz ˈkɛnjən ˈmɑrtɪn, ɔn hɪz ˈsɛkənd ˈkɑnˌtrækt wɪθ ðə mɪlˈwɔki bəks. ˈmɑrtɪn, ðoʊ, ˈnɛvər hæd tɪ pleɪ ɪn fɔrt weɪn. læst ˈsizən, nɑt ə ˈsɪŋgəl pleɪər ˈoʊvər 30 jɪrz oʊld wɑz kɔld əp frəm ðə tɪ ðə ˈɛnˌbiˈeɪ. bət ðə ˈklɪpərz ˈɑptɪd tɪ saɪn ʤoʊnz ˈɛniˌweɪ ˈoʊvər ˈəðər ˈjəŋgər, ˈɔpʃənz, ˈæskɪŋ praɪˈmɛrəli fər dɪˈfɛnsɪv hɛlp, ənd ɪn θri geɪmz, hi həz kənˈtrɪbjutɪd ˈsəmθɪŋ mɔr ˌɪmˈpɔrtənt tɪ ðə clippers’*’ ˌwɛlˈbiɪŋ ðən ə ˈkəpəl ˈlɑkˌdaʊn dɪˈfɛnsɪv stændz. ɔn ˈsæˌtɪˌdeɪ, ɪn ə wɪn ˈoʊvər ðə kɪŋz, jones’*’ ˈspɪrɪtəd ˈʧɪrɪŋ frəm ðə bɛnʧ ˈprɑmptɪd ˈməltəpəl ˈwɔrnɪŋz fər ðə clippers’*’ rɪˈzərvz tɪ sɪt daʊn ənd kip kɑm. ɔn ˈmənˌdeɪ, əˈgɛnst ðə ˈbɔstən ˈsɛltɪks, ɪt wɑz ˈoʊnli ə fju ˈmɪnəts ˌbiˈfɔr ʤoʊnz pɑpt əp əˈgɛn, ˈklæpɪŋ ˈvɪgərəsli. æt ðə clippers’*’ fərst ˈtaɪˌmaʊt, hi bərst frəm ðə bɛnʧ ənd wɑz ˈsədənli æt halfcourt*, ˈtimˌmeɪts. selfless,”*,” krɪs pɔl sɛd. dɪz ˌwəˈtɛvər ðə tim nidz ju tɪ du, ənd wən əv ðoʊz gaɪz ðət ˈæˌkʧuəli gɪts ɪkˈsaɪtɪd əˈbaʊt it.”*.” ˈkɛmɪstri ɪz ˈɔlˌmoʊst ˌɪmˈpɑsəbəl tɪ kˈwɑntɪˌfaɪ. frənt ˈɔfəsɪz spɛnd jɪrz, ˈtɪŋkərɪŋ wɪθ ɪt, ˈsəmˌtaɪmz tɪ noʊ əˈveɪl. bət ɪn ʤoʊnz, ə pleɪər hu maɪt nɑt ˈivɪn læst hir θru ðə wik, ðə ɪnˈθuziˌæzəm həz ɔˈrɛdi ˈpruvən kənˈteɪʤəs. bɪn ˌənbəˈlivəbəl ɔn ðə sideline,”*,” ˈklɪpərz koʊʧ dɑk ˈrɪvərz sɛd. ðət ˈvɪgər meɪ ˈvɛri wɛl bi wət tərnz jones’*’ ˈkɑnˌtrækt ˈɪntu əˈnəðər ənd ðɛn, ˈpɑsəbli, ə dil θru ðə ɛnd əv ðə ˈsizən. bət fər ə pleɪər ˈnævəˌgeɪtɪŋ ðə ˈfrɪnʤɪz əv ðə ˈɛnˌbiˈeɪ fər ðə pæst tu jɪrz, ˈkipɪŋ ðət ˈætəˌtud ɪz ɛz məʧ əˈbaʊt steɪɪŋ seɪn ɛz ɪt ɪz ˈstɪkɪŋ wɪθ ə ˈrɑstər. ʤoʊnz həŋ ɪt əp læst ˈsizən, wɪn hi wɑz ˈrɛləˌgeɪtɪd tɪ ˈmeɪkɪŋ ˈpɛniz ɛz ə mæd ænt, ˈpræktɪsɪŋ ɪn ə ʤɪm ðət, wən deɪ ðɪs ˈwɪntər, wɑz soʊ koʊld ðə tim hæd tɪ ˈkænsəl ˈpræktɪs. bət ʤoʊnz kɛpt hɪz hɛd daʊn ənd wərkt ˈɛniˌweɪ, duɪŋ hɪz bɛst nɑt tɪ θɪŋk əˈbaʊt ˈwɛðər ə meɪ ˈɛvər kəm. goʊ daʊn ðɛr ənd pleɪ ənd θɪŋk əˈbaʊt ðə nba,”*,” ʤoʊnz sɛd. hæd tɪ luz ˌmaɪˈsɛlf ɪn ðə mæd ænts ənd wət ðeɪ wər traɪɪŋ tɪ əˈkɑmplɪʃ ðɛr. ɪf aɪ lɔst ˌmaɪˈsɛlf, wi kʊd bi səkˈsɛsfəl, aɪ kʊd bi səkˈsɛsfəl, ənd ðət ˈfaɪnəl goʊl kʊd kəm through.”*.” ənd ɪt dɪd smæk dæb ɪn ðə ˈmɪdəl əv ə mæd ants’*’ geɪm læst wik. ʤoʊnz lɛft ɪn ðə ˈmɪdəl əv ə ˈtaɪˌmaʊt, ə ˈhɛktɪk 24 aʊərz ɪn wɪʧ hi ˈtrævəld frəm fɔrt weɪn tɪ ˌɪndiəˈnæpəlɪs tɪ lɔs ˈænʤəlɪs tɪ ðə bɛnʧ ɪn ˈpɔrtlənd, wɛr hi sæt wɪθ ˈbɛrli ə wɪŋk əv slip, ənd hɪz ˈprɛzəns wɑz stɪl fɛlt. traɪɪŋ tɪ kip ðə seɪm ˈætəˌtud fər ðə rɪˈmeɪndər əv hɪz ʃɔrt ˈkɑnˌtrækt. bət stɪl æŋˈzaɪəti; fər wən, hi lɛt hɪz waɪf kəm si ɪm ɪn lɔs ˈænʤəlɪs nɑt ˌbiˈfɔr ɔn mɔr ˈsɑləd graʊnd. bət ðə clippers’*’ flaɪər ɪz peɪɪŋ ɔf ɪn ən ˌənɪkˈspɛktɪd weɪ soʊ fɑr ənd ɔn ˈmənˌdeɪ, ˈɛnərɪŋ hɪz θərd geɪm ˈərli ɪn ðə fɔrθ kˈwɔrtər əˈgɛnst ðə ˈsɛltɪks, ʤoʊnz ˈfaɪnəli flæʃt ˈsəmθɪŋ ˈəðər ðən bɛnʧ ˈkændər, ɛz hi ˈboʊltɪd daʊn ðə ˈbeɪsˌlaɪn təˈwɔrd ðə hup, wɛr ˈspɛnsər hɔz faʊnd ɪm ɪn straɪd fər hɪz fərst ˈbəkɪt ɛz ə ˈklɪpər. wɔnt gʊd basketball,”*,” ˈrɪvərz sɛd. goʊɪŋ tɪ bi ðə difference.”*.” ˈəltəmətli, zil wɪl ˈoʊnli teɪk ə pleɪər soʊ fɑr. bət ˈsəmθɪŋ tɪ bi sɛd fər ðə kaɪnd əv ˌɪnˈtænʤəbəlz ðət ə ˈsɛlfləs ˈvɛtərən səʧ ɛz ʤoʊnz brɪŋz. ənd ɛz hɪz roʊld ɪn, ɪt wɑz ˈɑbviəs ɪˈnəf ɔn ðə ˈklɪpərz bɛnʧ, wɪʧ bərst ˈɪntu ə ʤɔɪəs raʊnd əv əˈplɔz. ˈkɑnˌtækt ðə ˈraɪtər:
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los angeles – this is the fifth day, the halfway point, and while dahntay jones says he isn’t keeping track and that every day is a new day and all the other cliches you say when you’re on a 10-day contract, the truth is that 10 years in the nba, like jones has, aren’t enough to make those 10 days feel any longer – or any less nerve-wracking.
jones is 34, a journeyman with time spent in memphis, boston, sacramento, denver, indiana, dallas, atlanta, and now, finally, the clippers. but this is jones’ first go-round with an official deadline, and by saturday, there’s a decision to be made to sign him to another 10-day contract or let him go.
in all likelihood, this stint with the clippers will be jones’ final audition.
but if that pressure is getting to him, if he’s having those thoughts after toiling for more than a year in the d-league, jones sure seems to hide it well. he calls it “losing himself in the process.” he swears it’s the only way he’ll make it. but right now, making it isn’t the pertinent question.
instead, it’s this: how in five days and fewer than 16 minutes of playing time could a journeyman veteran play a part in altering the chemistry of a bench that, just a week ago, seemed like it might ultimately sink one of the nba’s most talented teams?
that, of course, is the hope of any 10-day contract – that maybe, just maybe a single, mostly inconsequential signing could help set off a chain reaction. but to take a d-league flier on a veteran such as jones is unusual. of the 13 players signed to 10-day contracts since the window opened jan. 5, only three are over 30 years old and only one is older than jones – 37-year-old kenyon martin, who’s on his second 10-day contract with the milwaukee bucks. martin, though, never had to play in fort wayne.
last season, not a single player over 30 years old was called up from the d-league to the nba. but the clippers opted to sign jones anyway over other younger, higher-upside options, asking primarily for defensive help, and in three games, he has contributed something more important to the clippers’ well-being than a couple lockdown defensive stands.
on saturday, in a win over the kings, jones’ spirited cheering from the bench prompted multiple warnings for the clippers’ once-uninvolved reserves to sit down and keep calm. on monday, against the boston celtics, it was only a few minutes before jones popped up again, clapping vigorously. at the clippers’ first timeout, he burst from the bench and was suddenly at halfcourt, high-fiving teammates.
“he’s selfless,” chris paul said. “he does whatever the team needs you to do, and he’s one of those guys that actually gets excited about it.”
chemistry is almost impossible to quantify. front offices spend years, tinkering with it, sometimes to no avail. but in jones, a player who might not even last here through the week, the enthusiasm has already proven contagious.
“he’s been unbelievable on the sideline,” clippers coach doc rivers said.
that vigor may very well be what turns jones’ 10-day contract into another and then, possibly, a deal through the end of the season. but for a player navigating the fringes of the nba for the past two years, keeping that attitude is as much about staying sane as it is sticking with a roster.
jones could’ve hung it up last season, when he was relegated to making pennies as a mad ant, practicing in a gym that, one day this winter, was so cold the team had to cancel practice. but jones kept his head down and worked anyway, doing his best not to think about whether a call-up may ever come.
“i couldn’t go down there and play and think about the nba,” jones said. “i had to lose myself in the mad ants and what they were trying to accomplish there. if i lost myself, we could be successful, i could be successful, and that final goal could come through.”
and it did – smack dab in the middle of a mad ants’ game last week. jones left in the middle of a timeout, jumpstarting a hectic 24 hours in which he traveled from fort wayne to indianapolis to los angeles to the visitor’s bench in portland, where he sat with barely a wink of sleep, and his presence was still felt.
he’s trying to keep the same attitude for the remainder of his short contract. but there’s still anxiety; for one, he won’t let his wife come see him in los angeles – not before he’s on more solid ground.
but the clippers’ flier is paying off in an unexpected way so far and on monday, entering his third game early in the fourth quarter against the celtics, jones finally flashed something other than bench candor, as he bolted down the baseline toward the hoop, where spencer hawes found him in stride for his first bucket as a clipper.
“you want good basketball,” rivers said. “that’s going to be the difference.”
ultimately, zeal will only take a player so far. but there’s something to be said for the kind of intangibles that a selfless veteran such as jones brings.
and as his fourth-quarter layup rolled in, it was obvious enough on the clippers bench, which burst into a joyous round of applause.
contact the writer: rkartje@ocregister.com
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last.fm* tul: ˈlɛvəl 2 əv ðə mˈjuzɪkəl ɪˈklɛktɪk tɛst! ðə ˈfɑloʊɪŋ skrɪpt teɪks ðə 50 tɔp ˈɑrtɪsts ɪn jʊr mˈjuzɪkəl ˈproʊˌfaɪl frəm, ənd faɪndz ðə kəˈlɛkʃən əv tɔp 20 ˈsɪmələr ˈɑrtɪsts (wɛr ðə ˈɑrtɪst ˌɪtˈsɛlf ɪz ðə 1 moʊst ˈsɪmələr ˈɑrtɪst) fər ðɪs tɔp 50 ðə rɪˈzəltɪŋ ɪz ə lɪst əv ˈɑrtɪsts ˈsɪmələr tɪ jʊr prɪˈfərd ˈɑrtɪsts. ɛz ðə lɪst ɪz ˈlɑrʤər (ˈmæksəməm 1000 jʊr mˈjuzɪkəl ˈprɛfərəns ɪz mɔr dɪˈvərs. ɛz ə rɪˈzəlt, wɪθ ðɪs tɛst ɪt ɪz ˈhɑrdər tɪ gɪt ə haɪ skɔr, ɛz kəmˈpɛrd tɪ ðə ərˈɪʤənəl ɪˈklɛktɪk tɛst. ənd bɪˈkəz ðɪs skɔr goʊz əp tɪ 1000 (ənd nɑt tɪ kənfˈjuz ɪt wɪθ ðə "ɪˈklɛktɪk skɔr"), ðɪs tɛst ɪz ðə "super-eclectic*" tɛst! pliz bi ˈpeɪʃənt, ðə skrɪpt meɪ ˌrikˈwaɪər əp tɪ ə ˈmɪnət tɪ ˈprɔˌsɛs jʊr rɪkˈwɛst bɪˈkəz əv ˈpɑləsiz. əm ˈjuzɪŋ ɪkˈstɛnsɪv ˈkæʃɪŋ əv rɪkˈwɛsts tɪ wɛb ˈsərvɪsɪz tɪ ˈmɪnəˌmaɪz ˌkɑmpjəˈteɪʃən taɪm.
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last.fm tool: level 2 of the musical eclectic test!
the following script takes the 50 top artists in your musical profile from last.fm, and finds the collection of top 20 similar artists (where the artist itself is the #1 most similar artist) for this top 50. the resulting is a list of artists similar to your preferred artists. as the list is larger (maximum = 1000), your musical preference is more diverse.
as a result, with this test it is harder to get a high score, as compared to the original eclectic test. and because this score goes up to 1000 (and not to confuse it with the orginal "eclectic score"), this test is the "super-eclectic" test!
username
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ə wɑz səˈspɛndɪd frəm skul ɪn ˈkænən ˈsɪti, ˈkoʊloʊ., ˈæftər ˈkɪsɪŋ ə gərl ɔn hər hænd. skul əˈfɪʃəlz sɛd ðə smuʧ wɑz ˈsɛkʃuəl hərˈæsmənt, rɪˈpɔrts. ˈhəntər ˈjɛltən rɪˈpɔrtədli hæd ə krəʃ ɔn ə ˈfiˌmeɪl ˈklæsˌmeɪt. soʊ hi ˈplænɪd ə smuʧ ɔn hər hænd ɛz ə weɪ tɪ ʃoʊ hɪz əˈfɛkʃən. ə smuð muv, noʊ daʊt. ənˈfɔrʧənətli fər ˈhəntər, ðə skul ˈdɪdənt əˈgri. ðə kɪs wɑz sin ɛz ə kaɪnd əv hərˈæsmənt. ˈhəntər wɑz sɛnt tɪ ðə ˈprɪnsəpəlz ˈɔfəs ənd səˈspɛndɪd. ˈhəntərz mɑm ˈʤɛni ˈsɔndərz toʊld ðət ðə ˈsəbʤɪkt əv ˈhəntərz əˈfɛkʃən wɑz ˈoʊˈkeɪ wɪθ ðə kɪs. ˈəðər kɪdz toʊld ðə mˈjuzɪk ˈtiʧər əˈbaʊt ðə sˈniki smuʧ. ˈsɔndərz toʊld: "ðət wɑz ðə deɪ aɪ hæd ðə ˈmitɪŋ wɪθ ðə ˈprɪnsəpəl, wɛr ʃi fərst sɛd 'ˈsɛkʃuəl hərˈæsmənt'. ðɪs ɪz ˈteɪkɪŋ ɪt tɪ ən ɪkˈstrim ðət ˈdəzənt nid tɪ bi mɛt wɪθ ə six-year-old*. naʊ maɪ sən ɪz ˈæskɪŋ questions…*… wət ɪz sɛks, ˈmɑmi? ðət ʃʊd nɑt ˈɛvər bi sɛd, sɛks. nɑt ɪn ə ˈsɛntəns wɪθ ə six-year-old*." boʊθ ˈməðər ənd sən toʊld ðət ˈhəntər ˈɪzənt ɪgˈzæktli ən ˈizi kɪd tɪ hæv ɪn klæs. hiz bɪn səˈspɛndɪd ˌbiˈfɔr fər "roughhousing*" ənd fər ˈkɪsɪŋ ðə seɪm ɔn hər ʧik. rɪˈpɔrts ðət ðə skul ˈdɪstrɪkt ɪz ˈstɪkɪŋ tɪ ɪts stæns. ðə toʊld ðə ˈsteɪʃən ðət ˈhəntərz kɪs fɪts ðə ˈdɪstrɪkts ˌdɛfəˈnɪʃən əv ˈsɛkʃuəl hərˈæsmənt. hɪz mɑm ˈɪzənt ˈhæpi ðət hər naʊ həz ðət mɑrk ɔn hɪz ˈrɛkərd. "haʊ kən ju du ðɪs? haʊ kən ju seɪ ðɪs əˈbaʊt maɪ ʧaɪld?" ʃi sɛd. "riˈmuv ˈsɛkʃuəl hərˈæsmənt, riˈmuv ɪt frəm hɪz ˈrɛkərd. əm goʊɪŋ tɪ stænd əp ənd faɪt fər ɪm bɪˈkəz ðæts nɑt ðə keɪs, ðæts nɑt wət ˈhæpənd æt ɔl." ˈfɑloʊ maɪk ɔn tˈwɪtər æt @mikekrumboltz*.
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a 6-year-old was suspended from school in canon city, colo., after kissing a girl on her hand. school officials said the smooch was sexual harassment, krdo reports.
hunter yelton reportedly had a crush on a female classmate. so he planted a smooch on her hand as a way to show his affection. a smooth move, no doubt. unfortunately for hunter, the school didn't agree. the kiss was seen as a kind of harassment. hunter was sent to the principal's office and suspended.
hunter's mom jenny saunders told krdo that the subject of hunter's affection was ok with the kiss. other kids told the music teacher about the sneaky smooch.
saunders told krdo:
"that was the day i had the meeting with the principal, where she first said 'sexual harassment'. this is taking it to an extreme that doesn't need to be met with a six-year-old. now my son is asking questions… what is sex, mommy? that should not ever be said, sex. not in a sentence with a six-year-old."
both mother and son told krdo that hunter isn't exactly an easy kid to have in class. he's been suspended before for "roughhousing" and for kissing the same first-grader on her cheek.
krdo reports that the school district is sticking to its stance. the superintended told the station that hunter's kiss fits the district's definition of sexual harassment.
his mom isn't happy that her 6-year-old now has that mark on his record.
"how can you do this? how can you say this about my child?" she said. "remove sexual harassment, remove it from his record. i'm going to stand up and fight for him because that's not the case, that's not what happened at all."
follow mike krumboltz on twitter at @mikekrumboltz.
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4th* ənd 26 wɑz ən əˈmɛrɪkən ˈfʊtˌbɔl pleɪ ðət əˈkərd ɔn ˈsənˌdi, ˈʤænjuˌɛri 11 2004 ˈdʊrɪŋ ðə ˈnæʃənəl ˈfʊtˌbɔl lig ðə pleɪ əˈkərd ˈdʊrɪŋ ðə fɔrθ kˈwɔrtər əv ə dɪˈvɪʒənəl pleɪɔf geɪm bɪtˈwin ðə ˈvɪzɪtɪŋ grin beɪ ˈpækərz ənd ðə ˌfɪləˈdɛlfiə ˈigəlz æt ˈlɪŋkən ˌfaɪˈnænʃəl fild ɪn ˌfɪləˈdɛlfiə, ˌpɛnsəlˈveɪnjə. ðə ist ˈʧæmpiən ənd ˈigəlz wər ˈkəmɪŋ ɔf ən ˈoʊpənɪŋ raʊnd baɪ waɪl ðə fourth-seeded*, nɔrθ ˈʧæmpiən ˈpækərz wər ðə ˈvɪzɪtɪŋ tim, ˈkəmɪŋ ɔf ən ˈoʊvərˌtaɪm wɪn ˈoʊvər ðə siˈætəl ˈsiˌhɔks. geɪm ˈsəməri ˈɛdət ˈmɪdˌweɪ θru ðə fərst kˈwɔrtər, ˈpækərz ˈlaɪnˌbækər nɪk bɑrˈnɛt rɪˈkəvərd ə ˈfəmbəl frəm ˈigəlz kˈwɔrtərˌbæk ˈdɑnəvən məkˈnæb ɔn ðə ˈigəlz laɪn, ənd grin beɪ kˈwɔrtərˌbæk brɛt ˈfeɪvər θru ə ˈtəʧˌdaʊn pæs tɪ ˈrɑbərt ˈfərgəsən ɔn ðə nɛkst pleɪ. ʤeɪmz θræʃ rɪˈtərnd ðə ˈɛnsuɪŋ ˈkɪˌkɔf 36 jɑrdz tɪ ðə laɪn. ðɛn məkˈnæb meɪd əp fər hɪz mɪˈsteɪk wɪθ ə rən tɪ ðə ˈpækərz 15 bət ðə draɪv stɔld æt ðə laɪn ənd ˈɛndɪd wɪθ noʊ pɔɪnts wɪn ˈdeɪvɪd ˈeɪkərz mɪst ə fild goʊl əˈtɛmpt. ˈæftər ðə mɪst fild goʊl, grin rəʃt θri taɪmz fər 31 jɑrdz ˌbiˈfɔr ˈfeɪvər θru hɪz ˈsɛkənd ˈtəʧˌdaʊn pæs tɪ ˈfərgəsən, ˈgɪvɪŋ ðə ˈpækərz ə lɛd wɪθ lɛft ɪn ðə fərst kˈwɔrtər. ɪn ðə ˈsɛkənd kˈwɔrtər, məkˈnæb lɛd ðə ˈigəlz ɔn ə ˈskɔrɪŋ draɪv, kəmˈplitɪŋ faɪv kənˈsɛkjətɪv ˈpæsɪz fər 77 jɑrdz, ˌɪnˈkludɪŋ ə pæs tɪ tɑd ˈpɪŋkstən. ɔn ðə læst pleɪ, hɪz ˈtəʧˌdaʊn pæs tɪ ˈduˌʧeɪ ˈsteɪli kət ɪt tɪ grin beɪ tʊk ðə ˈkɪˌkɔf ənd droʊv 67 jɑrdz tɪ ðə ˈigəlz laɪn, ˈfiʧərɪŋ ə rən baɪ grin, bət ɔn fɔrθ daʊn, grin trɪpt ɔn gɑrd maɪk lɛg ənd wɑz ˈtækəld fər noʊ geɪn. ðə ˈpækərz tərnd ðə bɔl ˈoʊvər ɔn daʊnz. leɪt ɪn ðə θərd kˈwɔrtər, ðə ˈigəlz droʊv 88 jɑrdz ɪn 8 pleɪz tɪ taɪ ðə geɪm, dɪˈspaɪt tu ˈpɛnəltiz əˈgɛnst ðɛm ɔn ðə draɪv. məkˈnæb wɑz riˈspɑnsəbəl fər ɔl əv ðə jɑrdz ɔn ðə draɪv, ˈrəʃɪŋ fər 37 jɑrdz ənd kəmˈplitɪŋ fɔr ˈpæsɪz fər 72 ˌɪnˈkludɪŋ ə ˈtəʧˌdaʊn pæs tɪ ˈpɪŋkstən ðət taɪd ðə geɪm æt 14 ɔn ðə fərst pleɪ əv ðə fɔrθ kˈwɔrtər. ˈleɪtər, ænˈtoʊnioʊ pənt rɪˈtərn geɪv ðə ˈpækərz greɪt fild pəˈzɪʃən ɔn ðɛr oʊn laɪn. ɔn ðə nɛkst pleɪ, ˈfeɪvər θru ə kəmˈpliʃən tɪ ˈwɔkər. ˌfɪləˈdɛlfiəz dɪˈfɛns kɛpt grin beɪ aʊt əv ðə ɛnd zoʊn, bət raɪən ˈlɔŋˌwɛl kɪkt ə fild goʊl tɪ gɪv ðɛm ə lɛd. ðə pleɪ ˈɛdət ðə draɪv ˈstɑrtɪd wɪθ ə rən baɪ ˈduˌʧeɪ ˈsteɪli, bət ɔn ðə nɛkst pleɪ, məkˈnæb θru fər ən ˌɪnkəmˈplit pæs. ˈsəbsəkwəntli, ɔn ˈsɛkənd daʊn ðə ˈigəlz wər ˈpinəˌlaɪzd 5 jɑrdz fər ə fɔls stɑrt. ɔn ðə ˈɛnsuɪŋ pleɪ, ə sæk pʊʃt ðə ˈigəlz bæk tɪ ðɛr oʊn 26 jɑrd laɪn, ənd ɔn θərd daʊn məkˈnæb θru əˈnəðər incompletion*. ðə ˈigəlz, feɪst wɪθ ə fɔrθ daʊn ənd 26 jɑrdz, ˈnidɪd tɪ ˈkɑnvərt fər ə fərst daʊn, wɪθ ˈoʊnli rɪˈmeɪnɪŋ ənd noʊ əˈveɪləbəl. ðə pæs kəmˈplitɪd tɪ ˈfrɛdi ˈmɪʧəl wɑz kəmˈplitɪd fər 28 jɑrdz 2 mɔr ðən wɑz ˈnidɪd fər ðə daʊn) ɔn fɔrθ daʊn, ðə pleɪ 74 ˈdəbəl goʊ) kɔld fər ə slænt rut tɪ waɪd rɪˈsivər ˈfrɛdi məkˈnæb θru ə ˈpərˌfɪkt straɪk tɪ ˈmɪʧəl dip ˈɪntu ðə ˈpækərz' ˈsɛkənˌdɛri. ðə ˈpækərz' ˈkəvərɪʤ, ə ˈkəvər 2 ˈpækɪʤ, broʊk daʊn ənd wɑz ˈʃɑrpli ˈkrɪtəˌsaɪzd baɪ ˈbrɔdˌkæstər krɪs kəˈlɪnswərθ. ˈlaɪnˌbækər nɪk bɑrˈnɛt, hu wɑz riˈspɑnsəbəl fər ˈʃæloʊ ˈkəvərɪʤ əv ˈmɪʧəl, ˌdɪˈsaɪdɪd tɪ baɪt ɔn ðə taɪt ɛnd. ˌɪnɪkˈsplɪkəbli, ˈdɑrən ˈʃɑrpər, hu wɑz ˈpɑrʃəli riˈspɑnsəbəl fər dip ˈkəvərɪʤ əv ˈmɪʧəl, pleɪd pæst ðə fərst daʊn ˈmɑrkər pəˈzɪʃənɪŋ hɪmˈsɛlf fər ən ˌɪnərˈsɛpʃən ˈrəðər ðən prɪˈvɛnɪŋ ˈɛni kæʧ ɪn frənt əv ðə ˈmɑrkər. ðə ˈoʊnli pleɪər ðət wɑz kloʊz tɪ ˈmeɪkɪŋ ə pleɪ, ˈpækərz' ˈseɪfti ʤu, wɑz pleɪɪŋ ðə ˈsaɪˌdlaɪnz ɛz ɪz ˈkəstəˌmɛri ɪn ˈkəvər 2 dɪˈfɛns ənd wɑz tu leɪt tɪ prɪˈvɛnt ə kæʧ ər fərst daʊn. ˈmɪʧəl kəmˈplitɪd ə ˈlipɪŋ rɪˈsɛpʃən ənd wɑz brɔt daʊn æt ðə ˈpækərz 46 ˈgɪvɪŋ ðə ˈigəlz ə fərst ˈbrɔdˌkæstər ʤoʊ bək ˈkrɪtəˌsaɪzd ðə spɑt əv ðə bɔl, ɛz ɪt əˈpɪrd frəm ðə ˈbrɔdˌkæst ðət ˈmɪʧəl ˈbɛrli krɔst ðə laɪn tɪ geɪn bət ðə əˈfɪʃəlz geɪv ɪm səm ˈɛkstrə jɑrdz. ðə pleɪ sɛt əp ˈdeɪvɪd ˈeɪkərz' fild goʊl əˈtɛmpt ˈæftər məkˈnæb ræn fər əˈnəðər fərst daʊn. ðə fild goʊl wɑz gʊd, ənd ðə geɪm wɛnt ˈɪntu ˈoʊvərˌtaɪm, wɪn ˈigəlz ˈseɪfti braɪən ˈdɔkɪnz wɑz ˈeɪbəl tɪ ˌɪnərˈsɛpt ən ˈɛrənt brɛt ˈfeɪvər pæs ənd rɪˈtərn ɪt 35 jɑrdz, ˈsɛtɪŋ əp əˈnəðər ˈeɪkərz fild goʊl traɪ. ðə kɪk wɑz gʊd, ˈgɪvɪŋ ðə ˈigəlz ə drəˈmætɪk ˈvɪktəri ənd sɛnt ðɛm tɪ ðɛr θərd streɪt ˈʧæmpiənˌʃɪp geɪm, wɪʧ ðeɪ lɔst tɪ ðə ˌkɛrəˈlaɪnə ˈpænθərz. əˈfɪʃəlz ˈɛdət si ˈɔlsoʊ ˈɛdət
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4th and 26 was an american football play that occurred on sunday, january 11, 2004, during the national football league (nfl)'s 2003–04 playoffs.[2][3][4][5][6] the play occurred during the fourth quarter of a divisional playoff game between the visiting green bay packers and the philadelphia eagles at lincoln financial field in philadelphia, pennsylvania.
the nfc east champion and top-seeded eagles were coming off an opening round bye while the fourth-seeded, nfc north champion packers were the visiting team, coming off an overtime win over the seattle seahawks.
game summary [ edit ]
midway through the first quarter, packers linebacker nick barnett recovered a fumble from eagles quarterback donovan mcnabb on the eagles 40-yard line, and green bay quarterback brett favre threw a 40-yard touchdown pass to robert ferguson on the next play. james thrash returned the ensuing kickoff 36 yards to the 44-yard line. then mcnabb made up for his mistake with a 41-yard run to the packers 15. but the drive stalled at the 14-yard line and ended with no points when david akers missed a 30-yard field goal attempt. after the missed field goal, ahman green rushed three times for 31 yards before favre threw his second touchdown pass to ferguson, giving the packers a 14–0 lead with 1:16 left in the first quarter.
in the second quarter, mcnabb led the eagles on a scoring drive, completing five consecutive passes for 77 yards, including a 45-yard pass to todd pinkston. on the last play, his 7-yard touchdown pass to duce staley cut it to 14–7. green bay took the kickoff and drove 67 yards to the eagles 1-yard line, featuring a 33-yard run by green, but on fourth down, green tripped on guard mike wahle's leg and was tackled for no gain. the packers turned the ball over on downs.
late in the third quarter, the eagles drove 88 yards in 8 plays to tie the game, despite two 10-yard penalties against them on the drive. mcnabb was responsible for all of the yards on the drive, rushing for 37 yards and completing four passes for 72, including a 12-yard touchdown pass to pinkston that tied the game at 14 on the first play of the fourth quarter.
later, antonio chatman's 10-yard punt return gave the packers great field position on their own 49-yard line. on the next play, favre threw a 44-yard completion to javon walker. philadelphia's defense kept green bay out of the end zone, but ryan longwell kicked a 21-yard field goal to give them a 17–14 lead.
the play [ edit ]
the drive started with a 22-yard run by duce staley, but on the next play, mcnabb threw for an incomplete pass. subsequently, on second down the eagles were penalized 5 yards for a false start. on the ensuing play, a sack pushed the eagles back to their own 26 yard line, and on third down mcnabb threw another incompletion. the eagles, faced with a fourth down and 26 yards, needed to convert for a first down, with only 1:12 remaining and no timeouts available. the pass completed to freddie mitchell was completed for 28 yards (2 more than was needed for the 1st down)
on fourth down, the play (74 double go) called for a slant route to wide receiver freddie mitchell.[5] mcnabb threw a perfect strike to mitchell deep into the packers' secondary. the packers' coverage, a cover 2 package, broke down and was sharply criticized by broadcaster cris collinsworth. linebacker nick barnett, who was responsible for shallow coverage of mitchell, decided to bite on the tight end. inexplicably, darren sharper, who was partially responsible for deep coverage of mitchell, played past the first down marker positioning himself for an interception rather than preventing any catch in front of the marker. the only player that was close to making a play, packers' safety bhawoh jue, was playing the sidelines as is customary in cover 2 defense and was too late to prevent a catch or first down. mitchell completed a leaping reception and was brought down at the packers 46, giving the eagles a first down.[7] broadcaster joe buck criticized the spot of the ball, as it appeared from the broadcast that mitchell barely crossed the line to gain but the officials gave him some extra yards.
the play set up david akers' 37-yard field goal attempt after mcnabb ran for another first down. the field goal was good, and the game went into overtime, when eagles safety brian dawkins was able to intercept an errant brett favre pass and return it 35 yards, setting up another akers field goal try. the 31-yard kick was good, giving the eagles a dramatic 20–17 victory and sent them to their third straight nfc championship game, which they lost to the carolina panthers.
officials [ edit ]
see also [ edit ]
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thingspace*, ju maɪt θɪŋk, ɪz ə ˈrəðər juʤ speɪs. məʧ ˈlɑrʤər ðən ˌriˈæləˌti, fər wɛr ˌriˈæləˌti ˈoʊnli kənˈteɪnz θɪŋz ðət ˈæˌkʧuəli ɪgˈzɪst, kənˈteɪnz ˈɛvriˌθɪŋ ðət kʊd ɪgˈzɪst. ˈæˌkʧuəli, ðə weɪ aɪ "dɪˈfaɪnd" tɪ hæv dɪˈmɛnʃənz fər ˈɛvəri ˈpɑsəbəl ˈkɔrəˌleɪtəd əˈtrɪˌbjuts laɪk ˈdɛnsɪti ənd ˈvɑljum ənd meɪ bi tu ˈpurli dɪˈfaɪnd tɪ hæv ˈɛniˌθɪŋ ju kʊd kɔl ə saɪz. bət ɪts ˌɪmˈpɔrtənt tɪ bi ˈeɪbəl tɪ ˈvɪʒwəˌlaɪz ˈɛniˌweɪ. ˈʃʊrli, noʊ wən kən ˈrɪli ˌəndərˈstænd ə flɑk əv ˈspɛroʊz ɪf ɔl ðeɪ si ɪz ə klaʊd əv ˈflæpɪŋ θɪŋz, ˈrəðər ðən ə ˈkləstər əv pɔɪnts ɪn. bət ɛz væst ɛz meɪ bi, ɪt ˈdəzənt hoʊld ə ˈkændəl tɪ ðə saɪz əv conceptspace*. "ˈkɑnsɛpt", ɪn məˈʃin ˈlərnɪŋ, minz ə rul ðət ˌɪnˈkludz ər ɪkˈskludz ɪgˈzæmpəlz. ɪf ju si ðə ˈdætə 2 3 14 23 8 9 ðɛn ju maɪt gɛs ðət ðə ˈkɑnsɛpt wɑz "ˈivɪn ˈnəmbərz". ðɛr ɪz ə ˈrəðər lɑrʤ ˈlɪtərəʧər (ɛz wən maɪt ɪkˈspɛkt) ɔn haʊ tɪ lərn ˈkɑnsɛpts frəm ˈdætə... ˈgɪvɪn ˈrændəm ɪgˈzæmpəlz, ˈgɪvɪn ˈʧoʊzən ɪgˈzæmpəlz... ˈgɪvɪn ˈpɑsəbəl ˈɛrərz ɪn ˌklæsəfəˈkeɪʃən... ənd moʊst ˌɪmˈpɔrtəntli, ˈgɪvɪn ˈdɪfərənt ˈspeɪsɪz əv ˈpɑsəbəl rulz. səˈpoʊz, fər ɪgˈzæmpəl, ðət wi wɔnt tɪ lərn ðə ˈkɑnsɛpt "gʊd deɪz ɔn wɪʧ tɪ pleɪ ˈtɛnɪs". ðə ˈpɑsəbəl əˈtrɪˌbjuts əv deɪz ər: skaɪ: {ˈsəni, ˈklaʊdi, ˈreɪni} airtemp*: {wɔrm, koʊld} hjuˈmɪdəti: {ˈnɔrməl, haɪ} wɪnd: {strɔŋ, wik} wɪr ðɛn pərˈzɛnəd wɪθ ðə ˈfɑloʊɪŋ ˈdætə, wɛr ˈɪndɪˌkeɪts ə ˈpɑzətɪv ɪgˈzæmpəl əv ðə ˈkɑnsɛpt, ənd ˈɪndɪˌkeɪts ə ˈnɛgətɪv ˌklæsəfəˈkeɪʃən: skaɪ: ˈsəni; airtemp*: wɔrm; hjuˈmɪdəti: haɪ; wɪnd: strɔŋ. skaɪ: ˈreɪni; airtemp*: koʊld; hjuˈmɪdəti: haɪ; wɪnd: strɔŋ. skaɪ: ˈsəni; airtemp*: wɔrm; hjuˈmɪdəti: haɪ; wɪnd: wik. wət ʃʊd ən ˈælgərˌɪðəm ˌɪnˈfər frəm ðɪs? ə məˈʃin ˈlərnər maɪt ˌrɛprɪˈzɛnt wən ˈkɑnsɛpt ðət fɪts ðɪs ˈdætə ɛz ˈfɑloʊz: skaɪ: airtemp*: wɔrm; hjuˈmɪdəti: haɪ; wɪnd: ɪn ðɪs ˈfɔrˌmæt, tɪ dɪˈtərmən ˈwɛðər ðɪs ˈkɑnsɛpt ækˈsɛpts ər ˈriʤɛkts ən ɪgˈzæmpəl, wi kəmˈpɛr element-by-element*: ækˈsɛpts ˈɛniˌθɪŋ, bət ə spɪˈsɪfɪk ˈvælju ækˈsɛpts ˈoʊnli ðət spɪˈsɪfɪk ˈvælju. soʊ ðə ˈkɑnsɛpt əˈbəv wɪl əkˈsɛpt ˈoʊnli deɪz wɪθ ənd humidity=high*, bət ðə skaɪ ənd ðə wɪnd kən teɪk ɔn ˈɛni ˈvælju. ðɪs fɪts boʊθ ðə ˈnɛgətɪv ənd ðə ˈpɑzətɪv ˌklæsəfəˈkeɪʃənz ɪn ðə ˈdætə soʊ ɪt ˈɪzənt ðə ˈoʊnli ˈkɑnsɛpt ðət dɪz soʊ. wi kən ˈɔlsoʊ ˈsɪmpləˌfaɪ ðə əˈbəv ˈkɑnsɛpt ˌrɛprəzɛnˈteɪʃən tɪ wɔrm, haɪ, wɪˈθaʊt goʊɪŋ ˈɪntu ˈditeɪlz, ðə ˈklæsɪk ˈælgərˌɪðəm wʊd bi: meɪnˈteɪn ðə sɛt əv ðə moʊst ˈʤɛnərəl haɪˈpɑθəˌsiz ðət fɪt ðə ðət ˈpɑzətɪvli ˈklæsəˌfaɪ ɛz ˈmɛni ɪgˈzæmpəlz ɛz ˈpɑsəbəl, waɪl stɪl ˈfɪtɪŋ ðə fækts. meɪnˈteɪn əˈnəðər sɛt əv ðə moʊst spɪˈsɪfɪk haɪˈpɑθəˌsiz ðət fɪt ðə ðət ˈnɛgətɪvli ˈklæsəˌfaɪ ɛz ˈmɛni ɪgˈzæmpəlz ɛz ˈpɑsəbəl, waɪl stɪl ˈfɪtɪŋ ðə fækts. iʧ taɪm wi si ə nu ˈnɛgətɪv ɪgˈzæmpəl, wi ˈstrɛŋθən ɔl ðə moʊst ˈʤɛnərəl haɪˈpɑθəˌsiz ɛz ˈlɪtəl ɛz ˈpɑsəbəl, soʊ ðət ðə nu sɛt ɪz əˈgɛn ɛz ˈʤɛnərəl ɛz ˈpɑsəbəl waɪl ˈfɪtɪŋ ðə fækts. iʧ taɪm wi si ə nu ˈpɑzətɪv ɪgˈzæmpəl, wi rɪˈlæks ɔl ðə moʊst spɪˈsɪfɪk haɪˈpɑθəˌsiz ɛz ˈlɪtəl ɛz ˈpɑsəbəl, soʊ ðət ðə nu sɛt ɪz əˈgɛn ɛz spɪˈsɪfɪk ɛz ˈpɑsəbəl waɪl ˈfɪtɪŋ ðə fækts. wi kənˈtɪnju ənˈtɪl wi hæv ˈoʊnli ə ˈsɪŋgəl haɪˈpɑθəsəs lɛft. ðɪs wɪl bi ðə ˈænsər ɪf ðə ˈtərgət ˈkɑnsɛpt wɑz ɪn ɑr haɪˈpɑθəsəs speɪs æt ɔl. ɪn ðə keɪs əˈbəv, ðə sɛt əv moʊst ˈʤɛnərəl haɪˈpɑθəˌsiz wʊd bi wɔrm, ənd {ˈsəni, waɪl ðə sɛt əv moʊst spɪˈsɪfɪk haɪˈpɑθəˌsiz ɪz ðə ˈsɪŋgəl ˈmɛmbər {ˈsəni, wɔrm, haɪ, ˈɛni ˈəðər ˈkɑnsɛpt ju kən faɪnd ðət fɪts ðə ˈdætə wɪl bi ˈstrɪktli mɔr spɪˈsɪfɪk ðən wən əv ðə moʊst ˈʤɛnərəl haɪˈpɑθəˌsiz, ənd ˈstrɪktli mɔr ˈʤɛnərəl ðən ðə moʊst spɪˈsɪfɪk haɪˈpɑθəsəs. (fər mɔr ɔn ðɪs, aɪ ˌrɛkəˈmɛnd tɑm ˈmɪʧəlz məˈʃin ˈlərnɪŋ, frəm wɪʧ ðɪs ɪgˈzæmpəl wɑz əˈdæptɪd.) naʊ ju meɪ ˈnoʊtɪs ðət ðə ˈfɔrˌmæt əˈbəv ˈkænɑt ˌrɛprɪˈzɛnt ɔl ˈpɑsəbəl ˈkɑnsɛpts. e.g*. "pleɪ ˈtɛnɪs wɪn ðə skaɪ ɪz ˈsəni ər ðə ɛr ɪz wɔrm". ðət fɪts ðə ˈdætə, bət ɪn ðə ˈkɑnsɛpt ˌrɛprəzɛnˈteɪʃən dɪˈfaɪnd əˈbəv, ðɛrz noʊ əv ˈvæljuz ðət dɪˈskraɪbz ðə rul. ˈklɪrli ɑr məˈʃin ˈlərnər ɪz nɑt ˈvɛri ˈʤɛnərəl. waɪ nɑt əˈlaʊ ɪt tɪ ˌrɛprɪˈzɛnt ɔl ˈpɑsəbəl ˈkɑnsɛpts, soʊ ðət ɪt kən lərn wɪθ ðə ˈgreɪtəst ˈpɑsəbəl ˌflɛksəˈbɪləti? deɪz ər kəmˈpoʊzd əv ðiz fɔr ˈvɛriəbəlz, wən ˈvɛriəbəl wɪθ 3 ˈvæljuz ənd θri ˈvɛriəbəlz wɪθ 2 ˈvæljuz. soʊ ðɛr ər 24 ˈpɑsəbəl deɪz ðət wi kʊd ɪnˈkaʊnər. ðə ˈfɔrˌmæt ˈgɪvɪn fər ˌrɛprɪˈzɛnɪŋ ˈkɑnsɛpts əˈlaʊz ˈjuˈɛs tɪ ˌrikˈwaɪər ˈɛni əv ðiz ˈvæljuz fər ə ˈvɛriəbəl, ər liv ðə ˈvɛriəbəl ˈoʊpən. soʊ ðɛr ər 108 ˈkɑnsɛpts ɪn ðət ˌrɛprəzɛnˈteɪʃən. fər ðə ˈælgərˌɪðəm tɪ wərk, wi nid tɪ stɑrt wɪθ ðə moʊst spɪˈsɪfɪk haɪˈpɑθəsəs "noʊ ɪgˈzæmpəl ɪz ˈɛvər ˈpɑzətɪvli ˈklæsəˌfaɪd". ɪf wi æd ðət, ɪt meɪks ə ˈtoʊtəl əv 109 ˈkɑnsɛpts. ɪz ɪt səˈspɪʃəs ðət ðɛr ər mɔr ˈpɑsəbəl ˈkɑnsɛpts ðən ˈpɑsəbəl deɪz? ˈʃʊrli nɑt: ˈæftər ɔl, ə ˈkɑnsɛpt kən bi vjud ɛz ə kəˈlɛkʃən əv deɪz. ə ˈkɑnsɛpt kən bi vjud ɛz ðə sɛt əv deɪz ðət ɪt ˈklæsəˌfaɪz ˈpɑzətɪvli, ər isomorphically*, ðə sɛt əv deɪz ðət ɪt ˈklæsəˌfaɪz ˈnɛgətɪvli. soʊ ðə speɪs əv ɔl ˈpɑsəbəl ˈkɑnsɛpts ðət ˈklæsəˌfaɪ deɪz ɪz ðə sɛt əv ɔl ˈpɑsəbəl sɛts əv deɪz, huz saɪz ɪz 224 ðɪs kəmˈplit speɪs ˌɪnˈkludz ɔl ðə ˈkɑnsɛpts wi hæv dɪˈskəst soʊ fɑr. bət ɪt ˈɔlsoʊ ˌɪnˈkludz ˈkɑnsɛpts laɪk "ˈpɑzətɪvli ˈklæsəˌfaɪ ˈoʊnli ðə ɪgˈzæmpəlz {ˈsəni, wɔrm, haɪ, strɔŋ} ənd {ˈsəni, wɔrm, haɪ, wik} ənd ˈriʤɛkt ˈɛvriˌθɪŋ ɛls" ər "ˈnɛgətɪvli ˈklæsəˌfaɪ ˈoʊnli ðə ɪgˈzæmpəl {ˈreɪni, koʊld, haɪ, strɔŋ} ənd əkˈsɛpt ˈɛvriˌθɪŋ ɛls." ɪt ˌɪnˈkludz ˈkɑnsɛpts wɪθ noʊ ˈkɑmpækt ˌrɛprəzɛnˈteɪʃən, ʤɪst ə flæt lɪst əv wət ɪz ənd ˈɪzənt əˈlaʊd. ðæts ðə ˈprɑbləm wɪθ traɪɪŋ tɪ bɪld ə "ˈfʊli ˈʤɛnərəl" ˌɪnˈdəktɪv ˈlərnər: ðeɪ kænt lərn ˈkɑnsɛpts ənˈtɪl ðeɪv sin ˈɛvəri ˈpɑsəbəl ɪgˈzæmpəl ɪn ðə ˈɪnstəns speɪs. ɪf wi æd ɔn mɔr əˈtrɪˌbjuts tɪ ðə ˈwɔtər ˈtɛmpərəʧər, ər ðə ˈfɔrˌkæst fər ðə ˈnəmbər əv ˈpɑsəbəl deɪz wɪl groʊ ˌɛkspoʊˈnɛnʃəli ɪn ðə ˈnəmbər əv əˈtrɪˌbjuts. bət ðɪs ˈɪzənt ə ˈprɑbləm wɪθ ɑr riˈstrɪktɪd ˈkɑnsɛpt speɪs, bɪˈkəz ju kən ˈnɛroʊ daʊn ə lɑrʤ speɪs ˈjuzɪŋ ə ˌlɑgərˈɪðmɪk ˈnəmbər əv ɪgˈzæmpəlz. lɛts seɪ wi æd ðə ˈwɔtər: {wɔrm, koʊld} əˈtrɪˌbjut tɪ deɪz, wɪʧ wɪl meɪk fər 48 ˈpɑsəbəl deɪz ənd 325 ˈpɑsəbəl ˈkɑnsɛpts. lɛts seɪ ðət iʧ deɪ wi si ɪz, ˈjuʒəwəli, ˈklæsəˌfaɪd ˈpɑzətɪv baɪ əraʊnd hæf əv ðə ˈkɑnsɛpts, ənd ˈklæsəˌfaɪd ˈnɛgətɪv baɪ ðə ˈəðər hæf. ðɛn wɪn wi lərn ðə ˈækʧəwəl ˌklæsəfəˈkeɪʃən əv ðə ɪgˈzæmpəl, ɪt wɪl kət ðə speɪs əv kəmˈpætəbəl ˈkɑnsɛpts ɪn hæf. soʊ ɪt maɪt ˈoʊnli teɪk 9 ɪgˈzæmpəlz 29 512 tɪ ˈnɛroʊ 325 ˈpɑsəbəl ˈkɑnsɛpts daʊn tɪ wən. ˈivɪn ɪf deɪz hæd ˈfɔrti ˈbaɪnəˌri əˈtrɪˌbjuts, ɪt ʃʊd stɪl ˈoʊnli teɪk ə ˈmænɪʤəbəl əˈmaʊnt əv ˈdætə tɪ ˈnɛroʊ daʊn ðə ˈpɑsəbəl ˈkɑnsɛpts tɪ wən. 64 ɪgˈzæmpəlz, ɪf iʧ ɪgˈzæmpəl ɪz ˈklæsəˌfaɪd ˈpɑzətɪv baɪ hæf ðə rɪˈmeɪnɪŋ ˈkɑnsɛpts. əˈsumɪŋ, əv kɔrs, ðət ðə ˈækʧəwəl rul ɪz wən wi kən ˌrɛprɪˈzɛnt æt ɔl! ɪf ju wɔnt tɪ θɪŋk əv ɔl ðə ˌpɑsəˈbɪlətiz, wɛl, gʊd lək wɪθ ðət. ðə speɪs əv ɔl ˈpɑsəbəl ˈkɑnsɛpts groʊz ɪn ðə ˈnəmbər əv əˈtrɪˌbjuts. baɪ ðə taɪm jʊr ˈtɔkɪŋ əˈbaʊt ˈdætə wɪθ ˈfɔrti ˈbaɪnəˌri əˈtrɪˌbjuts, ðə ˈnəmbər əv ˈpɑsəbəl ɪgˈzæmpəlz ɪz pæst ə ðə ˈnəmbər əv ˈpɑsəbəl ˈkɑnsɛpts ɪz pæst two-to-the-trillionth-power*. tɪ ˈnɛroʊ daʊn ðət ˈkɑnsɛpt speɪs, jʊd hæv tɪ si ˈoʊvər ə ˈtrɪljən ɪgˈzæmpəlz ˌbiˈfɔr ju kʊd seɪ wət wɑz ɪn, ənd wət wɑz aʊt. jʊd hæv tɪ si ˈɛvəri ˈpɑsəbəl ɪgˈzæmpəl, ɪn fækt. ðæts wɪθ ˈfɔrti ˈbaɪnəˌri əˈtrɪˌbjuts, maɪnd ju. 40 bɪts, ər 5 baɪts, tɪ bi ˈklæsəˌfaɪd ˈsɪmpli "jɛs" ər "noʊ". 40 bɪts ˌɪmˈplaɪz ˈpɑsəbəl ɪgˈzæmpəlz, ənd ˈpɑsəbəl ˈkɑnsɛpts ðət ˈklæsəˌfaɪ ðoʊz ɪgˈzæmpəlz ɛz ˈpɑzətɪv ər ˈnɛgətɪv. soʊ, hir ɪn ðə ril wərld, wɛr ˈɑbʤɛkts teɪk mɔr ðən 5 baɪts tɪ dɪˈskraɪb ənd ə ˈtrɪljən ɪgˈzæmpəlz ər nɑt əˈveɪləbəl ənd ðɛr ɪz nɔɪz ɪn ðə ˈtreɪnɪŋ ˈdætə, wi ˈoʊnli ˈivɪn θɪŋk əˈbaʊt ˈhaɪli ˈrɛgjələr ˈkɑnsɛpts. ə ˈjumən ðə hoʊl əbˈzərvəbəl nɑt ˈnɪrli lɑrʤ ɪˈnəf tɪ kənˈsɪdər ɔl ðə ˈəðər haɪˈpɑθəˌsiz. frəm ðɪs pərˈspɛktɪv, ˈlərnɪŋ ˈdəzənt ʤɪst rɪˈlaɪ ɔn ˌɪnˈdəktɪv baɪəs, ɪt ɪz ˈnɪrli ɔl ˌɪnˈdəktɪv ju kəmˈpɛr ðə ˈnəmbər əv ˈkɑnsɛpts ruld aʊt ə priori*, tɪ ðoʊz ruld aʊt baɪ mɪr ˈɛvədəns. bət wət həz ðɪs (ju ˌɪnkˈwaɪr) tɪ du wɪθ ðə ˈprɑpər juz əv wərdz? ɪts ðə hoʊl ˈrizən ðət wərdz hæv ɛz wɛl ɛz ɪkˈstɛnʃənz. ɪn ˈjɛstərˌdeɪz poʊst, aɪ kənˈkludɪd: ðə weɪ tɪ kɑrv ˌriˈæləˌti æt ɪts ʤɔɪnts, ɪz tɪ drɔ ˈbaʊndəriz əraʊnd ˌkɑnsənˈtreɪʃənz əv ənˈjuˌʒuəli haɪ ˌprɑbəˈbɪləˌti ˈdɛnsɪti. aɪ dɪˈlɪbərətli lɛft aʊt ə ki kˌwɑləfəˈkeɪʃən ɪn ðət (sˈlaɪtli ˈɛdɪtɪd) ˈsteɪtmənt, bɪˈkəz aɪ ˈkʊdənt ɪkˈspleɪn ɪt ənˈtɪl təˈdeɪ. ə ˈbɛtər ˈsteɪtmənt wʊd bi: ðə weɪ tɪ kɑrv ˌriˈæləˌti æt ɪts ʤɔɪnts, ɪz tɪ drɔ ˈsɪmpəl ˈbaʊndəriz əraʊnd ˌkɑnsənˈtreɪʃənz əv ənˈjuˌʒuəli haɪ ˌprɑbəˈbɪləˌti ˈdɛnsɪti ɪn. ˈəðərˌwaɪz ju wʊd ʤɪst ˈʤɛriˌmændər. ju wʊd kriˈeɪt ˈrɪli ɑd ˈbaʊndəriz ðət kəˈlɛktəd ðə əbˈzərvd ɪgˈzæmpəlz, ɪgˈzæmpəlz ðət ˈkʊdənt bi dɪˈskraɪbd ɪn ˈɛni ˈʃɔrtər ˈmɛsɪʤ ðən jʊr ˌɑbzərˈveɪʃənz ðɛmˈsɛlvz, ənd seɪ: "ðɪs ɪz wət aɪv sin ˌbiˈfɔr, ənd wət aɪ ɪkˈspɛkt tɪ si mɔr əv ɪn ðə fˈjuʧər." ɪn ðə ril wərld, ˈnəθɪŋ əˈbəv ðə ˈlɛvəl əv ˈmɑləˌkjulz rɪˈpits ˌɪtˈsɛlf ɪgˈzæktli. ˈsɑkrəˌtiz ɪz ʃeɪpt ə lɔt laɪk ɔl ðoʊz ˈəðər ˈjumənz hu wər ˈvəlnərəbəl tɪ ˈhɛmˌlɑk, bət hi ˈɪzənt ʃeɪpt ɪgˈzæktli laɪk ðɛm. soʊ jʊr gɛs ðət ˈsɑkrəˌtiz ɪz ə "ˈjumən" rɪˈlaɪz ɔn drɔɪŋ ˈsɪmpəl ˈbaʊndəriz əraʊnd ðə ˈjumən ˈkləstər ɪn. ˈrəðər ðən, "θɪŋz ʃeɪpt ɪgˈzæktli laɪk ʃeɪp ˌspɛsɪfɪˈkeɪʃən 1 ənd wɪθ [lɑts əv ˈəðər ˌkɛrɪktərˈɪstɪks], ər ɪgˈzæktli laɪk ʃeɪp ˌspɛsɪfɪˈkeɪʃən 2 ənd [lɑts əv ˈəðər ˌkɛrɪktərˈɪstɪks]", ər ˈjumən." ɪf ju doʊnt drɔ ˈsɪmpəl ˈbaʊndəriz əraʊnd jʊr ɪkˈspɪriənsɪz, ju kænt du ˈɪnfərəns wɪθ ðɛm. soʊ ju traɪ tɪ dɪˈskraɪb "ɑrt" wɪθ ˌdɛfəˈnɪʃənz laɪk "ðət wɪʧ ɪz ˌɪnˈtɛndɪd tɪ ˌɪnˈspaɪr ˈɛni ˈkɑmplɛks ˈiˌmoʊʃən fər ðə seɪk əv ˌɪnˈspaɪərɪŋ ɪt", ˈrəðər ðən ʤɪst ˈpɔɪntɪŋ æt ə lɔŋ lɪst əv θɪŋz ðət ər, ər ˈɑrənt ɑrt. ɪn fækt, ðə əˈbəv ˈsteɪtmənt əˈbaʊt "haʊ tɪ kɑrv ˌriˈæləˌti æt ɪts ʤɔɪnts" ɪz ə bɪt chicken-and-eggish*: ju kænt əˈsɛs ðə ˈdɛnsɪti əv ˈækʧəwəl ˌɑbzərˈveɪʃənz, ənˈtɪl juv ɔˈrɛdi dən æt list ə ˈlɪtəl ˈkɑrvɪŋ. ənd ðə ˌprɑbəˈbɪləˌti ˌdɪstrəˈbjuʃən kəmz frəm drɔɪŋ ðə ˈbaʊndəriz, nɑt ðə ˈəðər weɪ ju ɔˈrɛdi hæd ðə ˌprɑbəˈbɪləˌti ˌdɪstrəˈbjuʃən, jʊd hæv ˈɛvriˌθɪŋ ˈnɛsəˌsɛri fər ˈɪnfərəns, soʊ waɪ wʊd ju ˈbɑðər drɔɪŋ ˈbaʊndəriz? ənd ðɪs səˈʤɛsts another—yes*, jɛt tɪ bi səˈspɪʃəs əv ðə kleɪm ðət "ju kən dɪˈfaɪn ə wərd ˈɛni weɪ ju laɪk". wɪn ju kənˈsɪdər ðə saɪz əv conceptspace*, ɪt bɪˈkəmz klɪr ðət ˈsɪŋgəlɪŋ aʊt wən ˌpɑˈtɪkjələr ˈkɑnsɛpt fər kənˌsɪdərˈeɪʃən ɪz ən ækt əv noʊ smɔl ʤɪst fər ˈjuˈɛs, bət fər ˈɛni maɪnd əv ˈbaʊndɪd kəmˈpjutɪŋ paʊər. prɪˈzɛntɪŋ ˈjuˈɛs wɪθ ðə wərd "ˈwɪgɪn", dɪˈfaɪnd ɛz "ə ˈpərsən", wɪˈθaʊt səm ˈrizən fər ˈreɪzɪŋ ðɪs ˌpɑˈtɪkjələr ˈkɑnsɛpt tɪ ðə ˈlɛvəl əv ɑr dɪˈlɪbərˌeɪt əˈtɛnʃən, ɪz ˈrəðər laɪk ə dɪˈtɛktɪv seɪɪŋ: "wɛl, aɪ ˈhævənt ðə sˈlaɪtəst ʃrɛd əv səˈpɔrt wən weɪ ər ðə ˈəðər fər hu ˈkʊdəv ˈmərdərd ðoʊz ˈɔrfənz... nɑt ˈivɪn ən ˌɪntuˈɪʃən, maɪnd ju... bət hæv wi kənˈsɪdərd ʤɑn kju. əv 1234 ɛz ə ˈsəˌspɛkt?"
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thingspace, you might think, is a rather huge space. much larger than reality, for where reality only contains things that actually exist, thingspace contains everything that could exist.
actually, the way i "defined" thingspace to have dimensions for every possible attribute—including correlated attributes like density and volume and mass—thingspace may be too poorly defined to have anything you could call a size. but it's important to be able to visualize thingspace anyway. surely, no one can really understand a flock of sparrows if all they see is a cloud of flapping cawing things, rather than a cluster of points in thingspace.
but as vast as thingspace may be, it doesn't hold a candle to the size of conceptspace.
"concept", in machine learning, means a rule that includes or excludes examples. if you see the data 2:+, 3:-, 14:+, 23:-, 8:+, 9:- then you might guess that the concept was "even numbers". there is a rather large literature (as one might expect) on how to learn concepts from data... given random examples, given chosen examples... given possible errors in classification... and most importantly, given different spaces of possible rules.
suppose, for example, that we want to learn the concept "good days on which to play tennis". the possible attributes of days are:
sky: {sunny, cloudy, rainy}
airtemp: {warm, cold}
humidity: {normal, high}
wind: {strong, weak}
we're then presented with the following data, where + indicates a positive example of the concept, and - indicates a negative classification:
+ sky: sunny; airtemp: warm; humidity: high; wind: strong.
- sky: rainy; airtemp: cold; humidity: high; wind: strong.
+ sky: sunny; airtemp: warm; humidity: high; wind: weak.
what should an algorithm infer from this?
a machine learner might represent one concept that fits this data as follows:
sky: ?; airtemp: warm; humidity: high; wind: ?
in this format, to determine whether this concept accepts or rejects an example, we compare element-by-element: ? accepts anything, but a specific value accepts only that specific value.
so the concept above will accept only days with airtemp=warm and humidity=high, but the sky and the wind can take on any value. this fits both the negative and the positive classifications in the data so far—though it isn't the only concept that does so.
we can also simplify the above concept representation to {?, warm, high, ?}.
without going into details, the classic algorithm would be:
maintain the set of the most general hypotheses that fit the data—those that positively classify as many examples as possible, while still fitting the facts.
maintain another set of the most specific hypotheses that fit the data—those that negatively classify as many examples as possible, while still fitting the facts.
each time we see a new negative example, we strengthen all the most general hypotheses as little as possible, so that the new set is again as general as possible while fitting the facts.
each time we see a new positive example, we relax all the most specific hypotheses as little as possible, so that the new set is again as specific as possible while fitting the facts.
we continue until we have only a single hypothesis left. this will be the answer if the target concept was in our hypothesis space at all.
in the case above, the set of most general hypotheses would be {?, warm, ?, ?} and {sunny, ?, ?, ?}, while the set of most specific hypotheses is the single member {sunny, warm, high, ?}.
any other concept you can find that fits the data will be strictly more specific than one of the most general hypotheses, and strictly more general than the most specific hypothesis.
(for more on this, i recommend tom mitchell's machine learning, from which this example was adapted.)
now you may notice that the format above cannot represent all possible concepts. e.g. "play tennis when the sky is sunny or the air is warm". that fits the data, but in the concept representation defined above, there's no quadruplet of values that describes the rule.
clearly our machine learner is not very general. why not allow it to represent all possible concepts, so that it can learn with the greatest possible flexibility?
days are composed of these four variables, one variable with 3 values and three variables with 2 values. so there are 3*2*2*2 = 24 possible days that we could encounter.
the format given for representing concepts allows us to require any of these values for a variable, or leave the variable open. so there are 4*3*3*3 = 108 concepts in that representation. for the most-general/most-specific algorithm to work, we need to start with the most specific hypothesis "no example is ever positively classified". if we add that, it makes a total of 109 concepts.
is it suspicious that there are more possible concepts than possible days? surely not: after all, a concept can be viewed as a collection of days. a concept can be viewed as the set of days that it classifies positively, or isomorphically, the set of days that it classifies negatively.
so the space of all possible concepts that classify days is the set of all possible sets of days, whose size is 224 = 16,777,216.
this complete space includes all the concepts we have discussed so far. but it also includes concepts like "positively classify only the examples {sunny, warm, high, strong} and {sunny, warm, high, weak} and reject everything else" or "negatively classify only the example {rainy, cold, high, strong} and accept everything else." it includes concepts with no compact representation, just a flat list of what is and isn't allowed.
that's the problem with trying to build a "fully general" inductive learner: they can't learn concepts until they've seen every possible example in the instance space.
if we add on more attributes to days—like the water temperature, or the forecast for tomorrow—then the number of possible days will grow exponentially in the number of attributes. but this isn't a problem with our restricted concept space, because you can narrow down a large space using a logarithmic number of examples.
let's say we add the water: {warm, cold} attribute to days, which will make for 48 possible days and 325 possible concepts. let's say that each day we see is, usually, classified positive by around half of the currently-plausible concepts, and classified negative by the other half. then when we learn the actual classification of the example, it will cut the space of compatible concepts in half. so it might only take 9 examples (29 = 512) to narrow 325 possible concepts down to one.
even if days had forty binary attributes, it should still only take a manageable amount of data to narrow down the possible concepts to one. 64 examples, if each example is classified positive by half the remaining concepts. assuming, of course, that the actual rule is one we can represent at all!
if you want to think of all the possibilities, well, good luck with that. the space of all possible concepts grows superexponentially in the number of attributes.
by the time you're talking about data with forty binary attributes, the number of possible examples is past a trillion—but the number of possible concepts is past two-to-the-trillionth-power. to narrow down that superexponential concept space, you'd have to see over a trillion examples before you could say what was in, and what was out. you'd have to see every possible example, in fact.
that's with forty binary attributes, mind you. 40 bits, or 5 bytes, to be classified simply "yes" or "no". 40 bits implies 2^40 possible examples, and 2^(2^40) possible concepts that classify those examples as positive or negative.
so, here in the real world, where objects take more than 5 bytes to describe and a trillion examples are not available and there is noise in the training data, we only even think about highly regular concepts. a human mind—or the whole observable universe—is not nearly large enough to consider all the other hypotheses.
from this perspective, learning doesn't just rely on inductive bias, it is nearly all inductive bias—when you compare the number of concepts ruled out a priori, to those ruled out by mere evidence.
but what has this (you inquire) to do with the proper use of words?
it's the whole reason that words have intensions as well as extensions.
in yesterday's post, i concluded:
the way to carve reality at its joints, is to draw boundaries around concentrations of unusually high probability density.
i deliberately left out a key qualification in that (slightly edited) statement, because i couldn't explain it until today. a better statement would be:
the way to carve reality at its joints, is to draw simple boundaries around concentrations of unusually high probability density in thingspace.
otherwise you would just gerrymander thingspace. you would create really odd noncontiguous boundaries that collected the observed examples, examples that couldn't be described in any shorter message than your observations themselves, and say: "this is what i've seen before, and what i expect to see more of in the future."
in the real world, nothing above the level of molecules repeats itself exactly. socrates is shaped a lot like all those other humans who were vulnerable to hemlock, but he isn't shaped exactly like them. so your guess that socrates is a "human" relies on drawing simple boundaries around the human cluster in thingspace. rather than, "things shaped exactly like [5-megabyte shape specification 1] and with [lots of other characteristics], or exactly like [5-megabyte shape specification 2] and [lots of other characteristics]", ..., are human."
if you don't draw simple boundaries around your experiences, you can't do inference with them. so you try to describe "art" with intensional definitions like "that which is intended to inspire any complex emotion for the sake of inspiring it", rather than just pointing at a long list of things that are, or aren't art.
in fact, the above statement about "how to carve reality at its joints" is a bit chicken-and-eggish: you can't assess the density of actual observations, until you've already done at least a little carving. and the probability distribution comes from drawing the boundaries, not the other way around—if you already had the probability distribution, you'd have everything necessary for inference, so why would you bother drawing boundaries?
and this suggests another—yes, yet another—reason to be suspicious of the claim that "you can define a word any way you like". when you consider the superexponential size of conceptspace, it becomes clear that singling out one particular concept for consideration is an act of no small audacity—not just for us, but for any mind of bounded computing power.
presenting us with the word "wiggin", defined as "a black-haired green-eyed person", without some reason for raising this particular concept to the level of our deliberate attention, is rather like a detective saying: "well, i haven't the slightest shred of support one way or the other for who could've murdered those orphans... not even an intuition, mind you... but have we considered john q. wiffleheim of 1234 norkle rd as a suspect?"
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ðɪs pæst ˈsæˌtɪˌdeɪ naɪt sɔ ˈfrɛʃmən ˈɛfərt, ənd dɪˈspaɪt ˈmɛni ˈdrɪri ˈfɔrˌkæsts əv kəmˈplit dɪˈzæstər (ˌmaɪˈsɛlf ˌɪnˈkludɪd), aɪ fɛlt ðeɪ pʊt aʊt ə ˈfɛrli ˌɛnərˈteɪnɪŋ kɑrd. aɪv spɛnt mɔr fər ə ˈraɪvəl ɪˈvɛnt ənd ˈgɔtən lɛs ˈvælju, soʊ ju woʊnt gɪt ə kəmˈpleɪnt frəm mi. ðə faɪt ðət stʊd aʊt moʊst tɪ mi, ənd ˈprɑbəˌbli ðə moʊst sɪgˈnɪfɪkənt wən ɔn ðə kɑrd, wɑz wɪl brʊks ˈvərsəz ˈmaɪkəl ˈʧændlər. "ɪl" wɪl stɛpt əp ɔn ɪkˈstrimli ʃɔrt ðən ə ˌriˈpleɪs ðə ˈɪnʤərd ˈʧæmpiən, ˈɛdi ˈælvərˌɛz, ənd pʊt ɔn ə rɑk ˈsɑləd pərˈfɔrməns, ˈɛʤɪŋ aʊt ə ˈvɛri kloʊz splɪt dɪˈsɪʒən wɪn ˈoʊvər ˈʧændlər. ðə ənˈjuˌʒuəl θɪŋ əˈbaʊt ðə faɪt, wɑz ðət dɪˈspaɪt ˈælvərˌɛz ˈoʊnli biɪŋ aʊt fər ə wik, ˌdɪˈsaɪdɪd tɪ meɪk ðɪs baʊt fər ən ˈɪnərəm ˈtaɪtəl. ˈɑbviəsli, ðə ˈlɑʤɪk bɪˈhaɪnd ðɪs wʊd ˈdɪkˌteɪt ðət ðɛr wʊd bi mɔr ˈɪntəˌrɛst ɪn ə ˈtaɪtəl faɪt, bət ɪt stɪl geɪv ðə ˌɪmˈprɛʃən ðeɪ doʊnt teɪk ðɛr ˈtaɪtəlz ˈvɛri ˈsɪriəsli. rɪˈmɛmbər, ɪn, ˈtaɪtəl ʃɑts ər ər ðeɪ? ˌɪˈmiˌdiətli ˈfɑloʊɪŋ ðə ɪˈvɛnt, ˈprɛzɪdənt, bjɔrn wɛnt ɔn ˈrɛkərd tɪ seɪ ðət ˈælvərˌɛz kʊd dɪˈmænd tɪ faɪt ˈʧændlər ˌɪnˈstɛd əv brʊks fər hɪz nɛkst ˈaʊtɪŋ ɪn ðə keɪʤ. ˈælvərˌɛz dɪsəˈgriz wɪθ ˈsteɪtmənt, ənd geɪv ə kwɪk ˈɪntərvˌju tɪ ˈblədi ˈɛlˌboʊ tɪ sɛt ðə ˈrɛkərd streɪt. hɪrz wət ˈɛdi hæd tɪ seɪ: ˈblədi ˈɛlˌboʊ: wət dɪd ju θɪŋk əv ðə faɪt? ˈɛdi ˈælvərˌɛz: maɪ ˌɪˈnɪʃəl riˈækʃən wɑz ðət ðə faɪt wɑz ˈivɪn, ənd ɪf aɪ hæd tɪ gɪv ɪt tɪ ˈiðər gaɪ, aɪd gɪv ɪt tɪ brʊks. ðə faɪt wɑz ˈsupər kloʊz, ənd aɪd hæv tɪ goʊ bæk ənd wɔʧ ɪt əˈgɛn ˌbiˈfɔr aɪ meɪd ə mɔr dɪˈfɪnɪtɪv dɪˈsɪʒən ɔn hu wən fər ʃʊr. ˈblədi ˈɛlˌboʊ: bjɔrn sɛd ðət ju kʊd dɪˈmænd tɪ faɪt ˈmaɪkəl ˈʧændlər ɪf ju ˈwɔntɪd tɪ, ðət ɪts ˈstɪpjəˌleɪtɪd ɪn jʊr ˈkɑnˌtrækt. hu wʊd ju prɪˈfər tɪ faɪt? ˈɛdi ˈælvərˌɛz: fər ðə ˈrɛkərd, aɪv ˈnɛvər, ˈɛvər pɪkt ən əˈpoʊnənt. aɪv ˈɔlˌweɪz hæd maɪ əˈpoʊnənts səˈlɛktɪd fər mi baɪ ðə pərˈmoʊʃən. aɪv ˈnɛvər hæd ə ˈprɛfərəns. aɪ wɑz ˈsɪmpli toʊld hu aɪ wɑz ˈfaɪtɪŋ, ənd aɪ fɔt ðɛm. aɪ wɔnt tɪ bi klɪr ɔn ðɪs, ˌwəˈtɛvər wɑz ˈrɪtən ˈɪntu maɪ ˈkɑnˌtrækt, wɑz ˈrɪtən baɪ. aɪ meɪd noʊ ˈʧeɪnʤɪz æt ɔl tɪ ðə ˈkɑnˌtrækt. ɪf ɪt sɪz ðət aɪ hæv tɪ faɪt maɪk ˈʧændlər əˈgɛn, ðæts bɪˈkəz wɔnts ɪt ðət weɪ. aɪ wɔnt tɪ bi klɪr ɔn ðɪs, ˌwəˈtɛvər wɑz ˈrɪtən ˈɪntu maɪ ˈkɑnˌtrækt, wɑz ˈrɪtən baɪ. aɪ meɪd noʊ ˈʧeɪnʤɪz æt ɔl tɪ ðə ˈkɑnˌtrækt. ɪf ɪt sɪz ðət aɪ hæv tɪ faɪt maɪk ˈʧændlər əˈgɛn, ðæts bɪˈkəz wɔnts ɪt ðət weɪ. aɪ θɪŋk ɪts ˈoʊnli fɛr ənd raɪt, ʤɪst ɪn ðə weɪ θɪŋz ʃʊd goʊ ɪn ə pərˈmoʊʃən, fər mi tɪ faɪt wɪl brʊks. tɪ mi, ðæts ðə raɪt weɪ tɪ goʊ. aɪ doʊnt wɔnt tɪ bi ə pɑrt əv ðɪs hoʊl dəˈbɑkəl. ɪts ˈvɛri ˈmɛsi, ənd ɪt ʤɪst ˈdəzənt fil raɪt ðət ə gaɪ həz ən ˈɪnərəm bɛlt, jɛt əm səˈpoʊzd tɪ faɪt əˈnəðər gaɪ ˈkəmɪŋ ɔf ə lɔs tɪ ðə gaɪ wɪθ ðə ˈɪnərəm bɛlt. wɪl brʊks ʃʊd bi ðə gaɪ ðeɪ pʊt mi ɪn frənt əv fər maɪ nɛkst faɪt. ʤɪst noʊ ðət huˈɛvər ɪz pɪkt, huˈɛvər aɪ ɛnd əp ˈfaɪtɪŋ, ɪt wɑz ˈnɛvər maɪ dɪˈsɪʒən. doʊnt lɛt ˈɛniˌwən tɛl ju ˈɛni ˈdɪfərˈɛntli, ɪts nɑt maɪ dɪˈsɪʒən ənd ɪt ˈnɛvər wɑz. ˈblədi ˈɛlˌboʊ: wət wɑz ðə hoʊl dil wɪθ ˈmeɪkɪŋ ðə faɪt fər ən ˈɪnərəm ˈtaɪtəl? ˈɛdi ˈælvərˌɛz: ðət meɪ bi ðə fərst taɪm ɪn ðə ˈhɪstəri əv ðət wɑz ˈɛvər dən. wɪn wi wɛnt tɪ ðɛm ˈæftər aɪ ˈsəfərd ðə kənˈkəʃən, aɪ toʊld ðɛm, ɪt ˈwəzənt goʊɪŋ tɪ bi mənθs ðət aɪ wʊd bi aʊt, ðət ɪt wʊd ʤɪst bi əˈbaʊt 6 wiks ər soʊ. ðə ˈtaɪmɪŋ wɑz ənˈfɔrʧənət, bət ɪt ˈwəzənt ən ˈɪnʤəri ðət wɑz goʊɪŋ tɪ sɛt mi bæk ˈsɛvərəl mənθs. noʊɪŋ ðət aɪ ˈwʊdənt bi aʊt fər ˈvɛri lɔŋ, ðeɪ stɪl wɛnt əˈhɛd ənd sɛt əp ən ˈɪnərəm ˈtaɪtəl. ðət wɑz ənˈprɛsɪˌdɛntɪd. ðət wɑz ðə ˈfæstəst ˈɪnərəm ˈtaɪtəl aɪv ˈɛvər sin ˈɪnstɪˌtutɪd [læfs]. ˈblədi ˈɛlˌboʊ: dɪd ju si wɪl brʊks' tˈwɪtər rænt, ənd ɪf soʊ, wət ər jʊr θɔts ɔn ɪt? ˈɛdi ˈælvərˌɛz: aɪ fil bæd fər ɪm. ðeɪ seɪ ɪf ju wɪn ðə ˈtʊrnəmənt, ju gɪt ə ʃɑt æt ðə ˈʧæmpiən. nɑt ˈoʊnli dɪd hi nɑt gɪt ə ʃɑt æt ðə ˈʧæmpiən, hi stɛpt ɪn leɪt, dɪd ˈɛvriˌθɪŋ hi wɑz səˈpoʊzd tɪ du, wən ən ˈɪnərəm bɛlt, ənd naʊ hi stɪl doʊnt gɪt ə ʃɑt. mɔr ðən ˈɛniˌθɪŋ ɛls, aɪ wɔnt tɪ gɪt ðɪs pɔɪnt əˈkrɔs, aɪ ˈæˌkʧuəli prɪˈfər tɪ faɪt wɪl brʊks. ɪt wɪl bi mɔr ɪkˈsaɪtɪŋ fər mi ðən tɪ faɪt ðə seɪm gaɪ θri taɪmz ɪn ə roʊ. ɪf aɪ ˈɛvər wər ˈgɪvɪn ə ˈprɛfərəns, ɪt wʊd bi tɪ faɪt wɪl. ˈtreɪnɪŋ fər ðə seɪm gaɪ θri taɪmz ˈrənɪŋ stɪŋks. ðə θɪŋ ɪz, ɪt wɪl ˈnɛvər bi əp tɪ mi hu aɪ gɪt tɪ faɪt. aɪ wɪl faɪt huˈɛvər ðeɪ pʊt ɪn frənt əv mi. ðæts haʊ ɪts ˈɔlˌweɪz bɪn, ənd ðæts haʊ ɪt wɪl ˈɔlˌweɪz bi. ˈblədi ˈɛlˌboʊ: wət dɪd ju θɪŋk əv ˈʧændlərz pərˈfɔrməns? du ju θɪŋk hi tʊk brʊks tu ˈlaɪtli? ˈɛdi ˈælvərˌɛz: aɪ θɪŋk maɪk wɑz hərt goʊɪŋ ˈɪntu ðət faɪt. ˈblədi ˈɛlˌboʊ: ˈkɛˌni ˈmənˌdeɪ wɑz ˈrisəntli riˈlist frəm hɪz ˈkɑnˌtrækt wɪθ ðə blackzilians*. wət ər jʊr θɔts ɔn ðət? ˈɛdi ˈælvərˌɛz: aɪ ˈlərnɪd ə lɔt frəm ˈkɛˌni, ənd hi hɛlpt mi ɪn ˈmɛni ˈdɪfərənt weɪz. ðə hoʊl ˌsɪʧuˈeɪʃən ɪz kaɪnd əv ˈoʊvər maɪ hɛd, bət ɪts maɪ ˌəndərˈstændɪŋ ðət hi hæd səm ˌɪnˈtərnəl ˈɪʃuz wɪθ ˈəðər tim ˈmɛmbərz, hɪz riˈleɪʃənˌʃɪp wɪθ ˈəðər ˈmɛmbərz əv ðə tim ˈwəzənt ðə seɪm ɛz ðə wən aɪ hæd wɪθ ɪm. ˈblədi ˈɛlˌboʊ: wɪl jʊr nɛkst faɪt bi ə baʊt ər wɪl ɪt ʤɪst bi ən ˈɔrdəˌnɛri spaɪk kɑrd? ˈɛdi ˈælvərˌɛz: jæ, ɪts ˈdɛfənətli goʊɪŋ tɪ bi ə faɪt. aɪ ˈoʊnli seɪ ðət bɪˈkəz ðeɪv ɔˈrɛdi dɪˈskloʊzd ðət ˌɪnˌfɔrˈmeɪʃən tɪ ðə ˈpəblɪk. ˈblədi ˈɛlˌboʊ: ɪt məst bi ə greɪt rɪˈlif tɪ ju ðət jʊr ˈkɑnˌtrækt fɛl ˈəndər ðə oʊld ˈlæŋgwɪʤ, ənd sɪns ðɛn, ðə nu ˈkɑnˌtrækts ər məʧ mɔr ˈaɪərnˌklæd ənd ˈbaɪndɪŋ ɛz fɑr ɛz ɪkˈstɛnʃənz goʊ. aɪ ˈdɪdənt saɪn ə ˈkɑnˌtrækt ðɪs læst taɪm. ˈpipəl hæv ə mɪskənˈsɛpʃən əˈbaʊt ðət. aɪ saɪnd ən aʊt əv kɔrt ˈsɛtəlmənt. ˈɛdi ˈælvərˌɛz: [læfs] aɪ ˈdɪdənt saɪn ə ˈkɑnˌtrækt ðɪs læst taɪm. ˈpipəl hæv ə mɪskənˈsɛpʃən əˈbaʊt ðət. aɪ saɪnd ən aʊt əv kɔrt ˈsɛtəlmənt. ðə oʊld ˈkɑnˌtrækt wɑz hɑrd fər mi tɪ dil wɪθ, bət əm ˈsərtənli glæd ðət əm saɪnd tɪ ðət wən ˌɪnˈstɛd əv ðə nu wənz wɪθ ɔl ðə ɪkˈstɛnʃən prəˈvɪʒənz. ju kən ˈfɑloʊ ˈɛdi ˈviə hɪz tˈwɪtər əˈkaʊnt,
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this past saturday night saw bellator's freshman ppv effort, and despite many dreary forecasts of complete disaster (myself included), i felt they put out a fairly entertaining card. i've spent more for a rival promotion's ppv event and gotten less value, so you won't get a complaint from me.
the fight that stood out most to me, and probably the most significant one on the card, was will brooks vs michael chandler. "ill" will stepped up on extremely short notice-less than a week-to replace the injured champion, eddie alvarez, and put on a rock solid performance, edging out a very close split decision win over chandler.
the unusual thing about the fight, was that despite alvarez only being out for a week, bellator decided to make this bout for an interim title. obviously, the logic behind this would dictate that there would be more interest in a title fight, but it still gave the impression they don't take their titles very seriously. remember, in bellator, title shots are earned...or are they?
immediately following the event, bellator president, bjorn rebney went on record to say that alvarez could demand to fight chandler instead of brooks for his next outing in the cage. alvarez disagrees with rebney's statement, and gave a quick interview to bloody elbow to set the record straight. here's what eddie had to say:
bloody elbow: what did you think of the brooks/chandler fight?
eddie alvarez: my initial reaction was that the fight was even, and if i had to give it to either guy, i'd give it to brooks. the fight was super close, and i'd have to go back and watch it again before i made a more definitive decision on who won for sure.
bloody elbow: bjorn rebney said that you could demand to fight michael chandler if you wanted to, that it's stipulated in your contract. who would you prefer to fight?
eddie alvarez: for the record, i've never, ever picked an opponent. i've always had my opponents selected for me by the promotion. i've never had a preference. i was simply told who i was fighting, and i fought them.
i want to be clear on this, whatever was written into my contract, was written by bellator. i made no changes at all to the contract. if it says that i have to fight mike chandler again, that's because bellator wants it that way.
i want to be clear on this, whatever was written into my contract, was written by bellator. i made no changes at all to the contract. if it says that i have to fight mike chandler again, that's because bellator wants it that way.
i think it's only fair and right, just in the way things should go in a promotion, for me to fight will brooks. to me, that's the right way to go. i don't want to be a part of this whole debacle. it's very messy, and it just doesn't feel right that a guy has an interim belt, yet i'm supposed to fight another guy coming off a loss to the guy with the interim belt.
will brooks should be the guy they put me in front of for my next fight. just know that whoever is picked, whoever i end up fighting, it was never my decision. don't let anyone tell you any differently, it's not my decision and it never was.
bloody elbow: what was the whole deal with making the fight for an interim title?
eddie alvarez: that may be the first time in the history of mma that was ever done. when we went to them after i suffered the concussion, i told them, it wasn't going to be months that i would be out, that it would just be about 6 weeks or so. the timing was unfortunate, but it wasn't an injury that was going to set me back several months.
knowing that i wouldn't be out for very long, they still went ahead and set up an interim title. that was unprecedented. that was the fastest interim title i've ever seen instituted [laughs].
bloody elbow: did you see will brooks' twitter rant, and if so, what are your thoughts on it?
eddie alvarez: i feel bad for him. they say if you win the tournament, you get a shot at the champion. not only did he not get a shot at the champion, he stepped in late, did everything he was supposed to do, won an interim belt, and now he still don't get a shot.
more than anything else, i want to get this point across, i actually prefer to fight will brooks. it will be more exciting for me than to fight the same guy three times in a row. if i ever were given a preference, it would be to fight will. training for the same guy three times running stinks. the thing is, it will never be up to me who i get to fight. i will fight whoever they put in front of me. that's how it's always been, and that's how it will always be.
bloody elbow: what did you think of chandler's performance? do you think he took brooks too lightly?
eddie alvarez: i think mike was hurt going into that fight.
bloody elbow: kenny monday was recently released from his contract with the blackzilians. what are your thoughts on that?
eddie alvarez: i learned a lot from kenny, and he helped me in many different ways. the whole situation is kind of over my head, but it's my understanding that he had some internal issues with other team members, his relationship with other members of the team wasn't the same as the one i had with him.
bloody elbow: will your next fight be a ppv bout or will it just be an ordinary spike card?
eddie alvarez: yeah, it's definitely going to be a ppv fight. i only say that because they've already disclosed that information to the public.
bloody elbow: it must be a great relief to you that your contract fell under the old language, and since then, the new contracts are much more ironclad and binding as far as extensions go.
i didn't sign a contract this last time. people have a misconception about that. i signed an out of court settlement.
eddie alvarez: [laughs] i didn't sign a contract this last time. people have a misconception about that. i signed an out of court settlement. the old contract was hard for me to deal with, but i'm certainly glad that i'm signed to that one instead of the new ones with all the extension provisions.
you can follow eddie via his twitter account, @ealvarezfight
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wɪθ loʊ klaʊdz ənd ə faɪn mɪst ˈhæŋɪŋ ɪn ðə ˈmɔrnɪŋ ɛr, ðə ˈpaɪləts əv ˈtərkɪʃ ˈɛˌrlaɪnz flaɪt 1951 ænˈtɪsəˌpeɪtɪd ə ruˈtin əˈproʊʧ tɪ ˈbɪzi ˈskɪpəl ˈɛrˌpɔrt ɔn ˈfɛbjəˌwɛri. 25 2009 bət ˌɪnˈstɛd əv ˈtəʧɪŋ daʊn ˈʤɛntli ɔn ðə ˈrənˌweɪ, ðə waɪt ənd rɛd boʊɪŋ 737 drɑpt aʊt əv ðə skaɪ ənd slæmd ˈɪntu ə ˈmədi fild ʤɪst ʃɔrt əv ðə ˈɛrˌpɔrt, sˈmæʃɪŋ ˈɪntu θri ˈpisɪz. naɪn ˈpipəl daɪd, ˌɪnˈkludɪŋ ɔl θri ˈpaɪləts. əˈnəðər 84 wər ˈɪnʤərd. ˌɪnˈvɛstəˌgeɪtərz əˈtrɪbjətəd ðə kræʃ tɪ ə ˈfɔlti ˈreɪdiˌoʊ ælˈtɪmətər, ˈægrəˌveɪtɪd baɪ ˈpaɪlət ˈɛrərz ənd oversights*. ˈreɪdiˌoʊ ælˈtɪmətərz juz ˈreɪdiˌoʊ weɪvz tɪ ˈmɛʒər ə ki pis əv ɪkˈwɪpmənt, wɪʧ ɪz waɪ ə 737 ɪz ɪkˈwɪpt wɪθ tu əv ðɛm. bət wət ˈnoʊˌbɑˌdi ɪn ðə ˈkɑkˌpɪt əv flaɪt 1951 ˈriəˌlaɪzd wɑz ðət ðə mælˈfəŋkʃənɪŋ ælˈtɪmətər ˈhæpənd tɪ kənˈtroʊl ðə ˈsɪstəmz. soʊ waɪl ðə wɑz ˈbɪzi ˈmɑnətərɪŋ ðə ˈɔtoʊˌpaɪlət (wɪʧ juzd ˈdætə frəm ə ˈdɪfərənt ælˈtɪmətər), ənd capt*. ˌhɑˈsɑn wɑz ˈwɑʧɪŋ ðə ɛz pɑrt əv ə ˈtreɪnɪŋ ˈɛksərˌsaɪz, ənd ə θərd ““safety”*” ˈɔfɪsər wɑz səˈpoʊzd tɪ bi ˈwɑʧɪŋ ˈɛvriˌwən tɪ meɪk ʃʊr ˈnəθɪŋ gɑt mɪst, ðə ɛˈroʊniəsli ɪnˈgeɪʤd ɪts ““retard”*” moʊd, ˈθɪŋkɪŋ ɪt wɑz ʤɪst əˈbəv ðə ˈrənˌweɪ. ðə θˈrɑtəlz wər kət ənd ðə noʊz pɪʧt əp, ˈkɔzɪŋ ðə pleɪn tɪ drɪft ˈɪntu ən ˌɛroʊdaɪˈnæmɪk stɔl. ðə flaɪt kru traɪd tɪ rɪˈkəvər baɪ rɪˈtərnɪŋ ðə θˈrɑtəlz tɪ fʊl paʊər, bət ðɛr ˌɪˈnɪʃəl ˈɛfərts wər θˈwɔrtɪd baɪ ðə kənfˈjuzd ˈsɪstəm, wɪʧ ðeɪ fərˈgɑt tɪ dɪsɪnˈgeɪʤ. ðɛr wɑz noʊ taɪm fər ə ˈsɛkənd traɪ. stəˈtɪstɪkəli ˈspikɪŋ, ˈmɑdərn ˌeɪviˈɑnɪks hæv meɪd flaɪɪŋ ˈseɪfər ðən ˈɛvər. bət ðə kræʃ əv flaɪt 1951 ɪz ʤɪst wən əv ˈsɛvərəl ˈrisənt, ˌhaɪˈproʊfaɪl riˈmaɪndərz ðət ˈmaɪnər ˈprɑbləmz kən kˈwɪkli sˈnoʊˌbɔl ˈɪntu hɔˈrɪfɪk dɪˈzæstərz wɪn ˈpaɪləts ˌəndərˈstænd ðə ˌɪnˈkrisɪŋgli ˈkɑmplɛks ˈsɪstəmz ɪn ðə ˈkɑkˌpɪt, ər juz ðɛm ˈprɑpərli. ðə pɔɪnt wɑz ˈhæmərd hoʊm ˈleɪtər ðət jɪr wɪn ɛr fræns flaɪt 447 stɔld æt ˈnɪrli fit ənd ˈɛndɪd əp ˈkræʃɪŋ ˈɪntu ðə əˈtlæntɪk, ˈkɪlɪŋ ɔl 228 ɔn bɔrd. ˌɪnˈvɛstəˌgeɪtərz ˈrisəntli riˈlist ˈtrænˌskrɪpts frəm ðə ˈɛrbəs ˈkɑkˌpɪt vɔɪs rɪˈkɔrdər. ɪt rɪˈvilz ə flaɪt kru grɪpt baɪ kənfˈjuʒən ɛz ðeɪ traɪd tɪ ˌdaɪəgˈnoʊs ənd rɪˈspɑnd tɪ wət ʃʊd hæv bɪn ə ˈmænɪʤəbəl ˈimərʤənsi, bət ˌɪnˈstɛd rɪˈzəltɪd ɪn ə ˈtɛrəˌfaɪɪŋ plənʤ ɪn ˈtoʊtəl ˈdɑrknəs. hæv kənˈtroʊl əv ðə ˈɛrˌpleɪn anymore,”*,” ðə æt ðə kənˈtroʊlz sɛd æt wən pɔɪnt. aɪ hæv kənˈtroʊl əv ðə ˈɛrˌpleɪn æt all.”*.” dɪˈspaɪt biɪŋ riˈspɑnsəbəl fər ðə ʃɛr əv ˈpæsənʤər dɛθs ˈoʊvər ðə pæst ˈdɛkeɪd, ˈoʊnli ˈrisəntli ðət ðə ˈɪndəstri həz ˈbeɪgən tɪ trit ˈsoʊˈkɔld ““loss-of-control”*” ˈæksədənts ɛz ə ˈsɪriəs ˈɪʃu. ædˈvɑni, ən ˈɛkspərt ɪn flaɪt ˌsɪmjəˈleɪʃən ənd ðə ˈprɛzɪdənt əv ə ˌsɪmjəˈleɪʃən ənd ˈɛnʤəˈnɪrɪŋ kənˈsəltɪŋ fərm, sɪz hi rɪˈsivd ˈpəzəld lʊks wɪn, bæk ɪn 2007 hi səˈʤɛstɪd ðət rɔɪəl ˌɛrəˈnɑtəkəl soʊˈsaɪɪti (raes*), ən ˌɪnfluˈɛnʃəl ˈseɪfti grup, hoʊld ə ˈkɑnfərəns ɔn ðə ˈɪʃu. nɑt ˌɛniˈmɔr. ædˈvɑni həz spɛnt ðə pæst tu jɪrz koʊˈɔrdəˌneɪtɪŋ ðə ˌɪnərˈnæʃənɑl kəˈmɪti fər ˌeɪviˈeɪʃən ˈtreɪnɪŋ ɪn ɪkˈstɛndɪd ˈɛnvəˌloʊps, ər, ə ˈpænəl əv ˈɛkspərts æst baɪ ðə tɪ lʊk ˈɪntu stɔlz ənd ˈəðər ˈæksədənts ənd faɪnd weɪz tɪ prɪˈvɛnt ðɛm. əv ðiz ˈæksədənts ər recoverable,”*,” hi sɪz. ˈsɪmpli hæv ˈhæpənd. ɪn ˈmɛni ˈɪnsədənts, ðə ˈɛrˌpleɪn həz gɔn ˈɪntu ə stɔl ənd ˈɛvəri ˈɔtəˌmeɪtɪd ˈseɪfti prəˈsiʤər kɪkt ɪn, bət ðə ˈpaɪləts feɪld tɪ ˈrɛkəgˌnaɪz ðə ˌsɪʧuˈeɪʃən ənd feɪld tɪ recover.”*.” waɪ ɪz ɪt ˈhæpənɪŋ? səm ˈɑrgju ðət ðə ʃɪr kəmˈplɛksɪti əv ˈmɑdərn flaɪt ˈsɪstəmz, ðoʊ dɪˈzaɪnd tɪ ˌɪmˈpruv ˈseɪfti ənd riˌlaɪəˈbɪləti, kən ˌoʊvərˈwɛlm ˈivɪn ðə moʊst ɪkˈspɪriənst ˈpaɪləts wɪn ˈsəmθɪŋ ˈæˌkʧuəli goʊz rɔŋ. ˈəðərz seɪ ən ˌɪnˈkrisɪŋ rɪˈlaɪəns ɔn ˈɔtəˌmeɪtɪd flaɪt meɪ bi ˈdəlɪŋ pilots’*’ sɛns əv flaɪɪŋ ə pleɪn, ˈlivɪŋ ðɛm tɪ teɪk ˈoʊvər ɪn ən ˈimərʤənsi. stɪl ˈəðərz kˈwɛʃən ˈwɛðər ˈproʊˌgræmz hæv lægd bɪˈhaɪnd ðə ˈræpɪd ˌtɛknəˈlɑʤɪkəl ədˈvænsɪz. ə ˈvɛksɪŋ ˈprɑbləm fər ˈɛˌrlaɪnz, ənd ə ˈwərisəm wən fər ðɛr ˈkəstəmərz. ənˈlaɪk məˈkænɪkəl ˈfeɪljərz ðət kən bi treɪst tɪ flɔd dɪˈzaɪn ər pur ˈmeɪntənəns, ðɛr ɪz noʊ ˈizi fɪks wɪn ɪkˈspɪriənst ənd ˈhaɪli treɪnd ˈpaɪləts meɪk ˈsimɪŋli ˌɪnəkˈsplɪkəbəl dɪˈsɪʒənz ðət ɛnd wɪθ ə ˈɛrˌpleɪn ˈlɪtərəli ˈfɑlɪŋ aʊt əv ðə skaɪ. bɛst ju kən du ɪz tiʧ ˈpaɪləts tɪ ˌəndərˈstænd ɔtəˈmeɪʃən ənd nɑt tɪ faɪt it,”*,” ædˈvɑni sɪz, ˈnoʊtɪŋ ðət ðə ˈfoʊkɪs ɪn ˈrisənt jɪrz həz, pərˈhæps myopically*, bɪn ɔn ˈsɪmpləˌfaɪɪŋ ənd ˈspidɪŋ əp ˈtreɪnɪŋ rəˈʒimz, sɪˈkjʊr ɪn ðə ˈnɑlɪʤ ðət pleɪnz hæv ˈnɛvər bɪn sˈmɑrtər ər ˈseɪfər. wərkt ɑrˈsɛlvz ˈɪntu ə ˈlɪtəl bɪt əv ə ˈkɔrnər hir. naʊ wi hæv tɪ wərk ɑrˈsɛlvz bæk out.”*.” ɪn ðə pæst faɪv jɪrz əˈloʊn, ðɛr hæv bɪn mɔr ðən 50 stɔlz ənd ˈəðər ˈæksədənts ˌɪnˈvɑlvɪŋ kəˈmərʃəl ˈɛˌrlaɪnz, ˈnɪrli ɔl əv ðɛm ˈfeɪtəl, əˈkɔrdɪŋ tɪ ðə ˌɪnərˈnæʃənɑl ɛr ˈtrænspɔrt əˌsoʊʃiˈeɪʃən. ənˈlaɪk ə kɑr ər trək, ə pleɪn stɔlz wɪn ɪts wɪŋz stɑp prəˈdusɪŋ trænsˈfɔrmɪŋ ɪt frəm ən ˈɛləgənt flaɪɪŋ məˈʃin ˈɪntu ə ʤaɪənt brɪk. ðət ˈhæpənz wɪn ðə ˈæŋgəl əv əˈtæk (ðə ˈæŋgəl əv ðə wɪŋ ˈrɛlətɪv tɪ ðə dɪˈrɛkʃɪn ðə pleɪn ɪz flaɪɪŋ) bɪˈkəmz tu ɪkˈstrim. ɪn moʊst ˈkeɪsɪz, stɔlz əˈkər bɪˈkəz ə ˈpaɪlət ɪz flaɪɪŋ tu sˈloʊli tɪ meɪnˈteɪn ˈæltəˌtud, ˌɔlˈðoʊ ðeɪ kən ˌθiərˈɛtɪkəli əˈkər æt ˈɛni spid. tɪ rɪˈkəvər, ˈpaɪləts ər tɔt tɪ əˈplaɪ θrəst ənd tɪ loʊər ðə noʊz əv ðə ˈɛrˌkræft. ə 2010 ˈstədi baɪ boʊɪŋ faʊnd ðət 20 ˈdɪfərənt ˈæksədənts wər riˈspɑnsəbəl fər ˈnɪrli dɛθs bɪtˈwin 2000 ənd 2009 ˈnɪrli ˈdəbəl ðə ˈnəmbər əv fəˈtælɪtiz əv ðə nɛkst ˈbɪgəst ˈkætəˌgɔri, flaɪt ˈɪntu terrain,”*,” wɪʧ ɪz ˈbeɪsɪkli ðə flaɪɪŋ əv ə pleɪn ˈɪntu ðə saɪd əv ə ˈmaʊntən. ðət meɪks lɔs əv kənˈtroʊl, ˌɪnˈkludɪŋ stɔlz, boʊθ ðə ˈsɪŋgəl moʊst ˈkɑmən kɔz əv ˈfeɪtəl ˈɛˌrlaɪn ˈkræʃɪz, ənd baɪ fɑr ðə moʊst ˈdɛdli. bət stɔlz bi ˈfeɪtəl ɪˈvɛnts. ˈpaɪləts ər tɔt haʊ tɪ rɪˈkəvər frəm ðɛm ɪn ˈbeɪsɪk flaɪt skul, ənd ˈmɛni ˈmɑdərn pleɪnz ər ɪkˈwɪpt wɪθ ˈsɪstəmz dɪˈzaɪnd tɪ prɪˈvɛnt ðɛm frəm əˈkərɪŋ ɪn ðə fərst pleɪs. ɪn ˈmɑdərn pleɪnz, fər ɪgˈzæmpəl, ən ˌɪˌlɛkˈtrɑnɪk kənˈtroʊl ˈsɪstəm minz ə ˈpaɪlət hu hɔlz bæk ɔn ðə kənˈtroʊlər, ə dɪˈvaɪs ðət həz ˌriˈpleɪst ə trəˈdɪʃənəl kənˈtroʊl joʊk ɪn ˈɛrbəs ˈkɑkˌpɪts, wɪl nɑt bi pərˈmɪtɪd baɪ ðə kəmˈpjutər tɪ pʊt ðə pleɪn ənd ɪts ˈpæsənʤərz ɪn ə ˈdeɪnʤərəs ˌsɪʧuˈeɪʃən. ənd jɛt ˈkræʃɪz kənˈtɪnju tɪ bɪˈdɛvəl ðə ˈɪndəstri. ənd ˈsɛvərəl ˈrisənt ˈæksədənt ˌɪnˌvɛstəˈgeɪʃənz rɪˈvil ə dɪˈstərbɪŋ trɛnd: ˈhaɪli treɪnd ˈpaɪləts hu, wɪn feɪst wɪθ ə stɔl, nɑt ˈoʊnli feɪl tɪ kərˈɛktli ˌdaɪəgˈnoʊs ðə ˈprɑbləm, bət teɪk ˈækʃənz ðət meɪk ðɛr prɪˈdɪkəmənts fɑr wərs. wət ˈhæpənd ɔn ˈfɛbjəˌwɛri. 12 2009 əˈbɔrd ˈkoʊlgən ɛr flaɪt 3407 taɪərd ənd dɪˈstræktɪd, capt*. ˈmɑrvɪn ənd fərst ˈɔfɪsər rəˈbɛkə ʃɔ feɪld tɪ ˈnoʊtɪs ðət ðə ˈɛrˌspid əv ðɛr ˈtərboʊˌprɑp hæd sloʊd sɪgˈnɪfɪkəntli ɛz ðeɪ əˈproʊʧt ˈɛrˌpɔrt. ˈsədənli, ðə ““stick-shaker”*” ˈwɔrnɪŋ ˈsɪstəm wɛnt ɔf, əˈlərtɪŋ ðə ˈpaɪləts əv ən ˌɪmˈpɛndɪŋ stɔl. bət ˌɪnˈstɛd əv ˌɪnˈkrisɪŋ ðə θˈrɑtəl paʊər ənd ˈpɔɪntɪŋ ðə noʊz ˈdaʊnwərd, pʊld bæk ɔn ðə joʊk, ˈtərnɪŋ ə ˈɪntu ðə ril θɪŋ. hi ˈsɪmələrli ðə ““stick-pusher”*” ˈfiʧər, wɪʧ ɪz dɪˈzaɪnd tɪ fɔrs ðə noʊz ˈdaʊnwərd ɪn ə ˈɛfərt tɪ rɪˈkəvər. ðə pleɪn aʊt əv kənˈtroʊl. ˌɪnˈvɛstəˌgeɪtərz ˈsaɪtɪd ˈtreɪnɪŋ dɪˈfɪʃənsiz æt ðə ˈɛˌrlaɪn ənd kru fəˈtig ɛz kənˈtrɪbjutɪŋ ˈkɔzɪz tɪ ðə kræʃ, wɪʧ kɪld 49 ˈpipəl ɔn bɔrd ənd wən ˈpərsən ɔn ðə graʊnd. ˈsɪmələrli, ðə ˌɪnˌvɛstəˈgeɪʃən əv ɛr fræns flaɪt 447 həz vɪrd əˈweɪ frəm ðə ˈfeɪljər əv ðə ˈɛrˌspid ˈsɛnsərz, ər tubz, tɪ ˈfoʊkɪs ɔn ˈpaɪlət ˈɛrər, ˌɔlˈðoʊ ə ˈfaɪnəl rɪˈpɔrt ɔn ðə kræʃ ɪz stɪl ˈfɔrθˈkəmɪŋ. ðə rɪˈkəvəri əv ðə rɪˈkɔrdərz frəm ðə ˈoʊʃən flɔr ɪn meɪ rɪˈvild ðət ðə ˈɛrbəs ˈprɑbləmz bɪˈgæn wɪn ɪt lɔst ˈɛrˌspid ˈridɪŋz ˈæftər flaɪɪŋ ˈɪntu ˈθəndərˌstɔrmz ˈdʊrɪŋ ə ʤun 1 2009 ˈoʊvərˈnaɪt flaɪt tɪ ˈpɛrɪs frəm ˈrioʊ də ʤəˈnɛˌroʊ. bət ɪt wɑz ðə pilots’*’ rɪˈspɑns tɪ ðə ˈɛrˌspid ˈridɪŋz ðət sild ðə feɪt əv ðə 216 ˈpæsənʤərz ɪn ðə ˈkæbən. wəns ðə ˈɔtoʊˌpaɪlət klɪkt ɔf, ðə rɪˈkɔrdər ʃoʊd ðət ðə (ðə ˈkæptən, mɑrk duˈbɔɪs, wɑz ˈteɪkɪŋ ə ˈskɛʤʊld rɛst breɪk ˈdʊrɪŋ ðə fərst fju ˈmɪnəts əv ðə ˈkraɪsəs, bət rɪˈtərnd tɪ ðə ˈkɑkˌpɪt ˌbiˈfɔr ðə pleɪn wɛnt daʊn) sɛt ðə θˈrɑtəl tɪ ˈteɪˌkɔf θrəst ənd sɛnt ðə pleɪn əp tɪ ˈnɪrli fit, wɛr ɪt stɔld. ðə ˈɪnərəm rɪˈpɔrt riˈlist læst mənθ sɛd nən əv ðə ˈpaɪləts meɪd ˈɛni ˈrɛfərəns tɪ ðə rɪˈpitɪd stɔl ˈwɔrnɪŋz, wən əv wɪʧ wɑz kənˈtɪnjuəsli fər 54 seconds.”*.” ˌɪnˈstɛd, ðə flaɪt kru simd ˈətərli pərˈplɛkst æt ðɛr prɪˈdɪkəmənt. ðə ˈsɪtɪŋ ɪn ðə ʧɛr æt wən pɔɪnt sɪz, ““climb*, klaɪm, klaɪm, climb,”*,” tɪ wɪʧ ðə ˈəðər rɪˈspɑndz: bɪn æt ˈmæksi fər ə while.”*.” ðɛn ðə ˈkæptən (hu ɪz naʊ ɪn ðə ˈkɑkˌpɪt, bət nɑt æt ðə kənˈtroʊlz) sɪz,, noʊ, noʊ, climb.”*.” ˌnɛvərðəˈlɛs, ɛz ðə kənˈtɪnjud ɪts lɔŋ, fɔl ˈɪntu ðə əˈtlæntɪk, ðə æt ðə kənˈtroʊlz kənˈtɪnjud tɪ meɪk ˈɪnˌpʊts ðət wər nose-up,”*,” əˈkɔrdɪŋ tɪ ðə ˈɑpəzɪt əv wət ˈnidɪd tɪ bi dən tɪ ˈkaʊntərˌækt ðə stɔl, wɪʧ wɑz tɪ loʊər ðə noʊz ənd rɪˈstɔr lɪft tɪ ðə wɪŋz. ɛz ðə ˌɑpərˈeɪʃən əv kəˈmərʃəl ˈʤɛˌtlaɪnərz bɪˈkəmz ˌɪnˈkrisɪŋgli ər ɪkˈwɪpt wɪθ ˈsɪstəmz ðət ər ˈpərfəktli ˈkeɪpəbəl əv flaɪɪŋ ənd ˈlændɪŋ ðə pleɪn ɔn ðɛr oʊn, ˌɔlˈðoʊ ˈpaɪləts hæv ðə əˈθɔrəti tɪ ðə pleɪn wɪn ðeɪ dim ɪt ˈɛkspərts ər kənˈsərnd ˈoʊnli bɪˈkəmɪŋ mɔr ˈdɪfəkəlt fər ˈpaɪləts tɪ ʤəmp ɪn ənd teɪk ˈoʊvər ˈdʊrɪŋ ə ˈimərʤənsi, wɪn ðɛr skɪlz ənd ɪkˈspɪriəns ər ˈnidɪd moʊst. ˈprɑbləm ju gɪt ˈɪntu wɪθ ˈɔtəˌmeɪtɪd ˈsɪstəmz ɪz ðət ˈvɛri ˈɔfən ˈpipəl gɪt lɛft aʊt əv ðə loop,”*,” sɪz ˈmaɪkə ˈɛndsli, ðə ˈprɛzɪdənt əv sɑ tɛkˈnɑləʤiz ənd ən ˈɛkspərt ɪn ðə fild əv ˌsɪʧuˈeɪʃənəl əˈwɛrnəs hu həz wərkt ˈkloʊsli wɪθ ðə juz. ˈnæʃənəl ˌtrænspərˈteɪʃən ˈseɪfti bɔrd ˌɪnˈvɛstəˌgeɪtɪŋ ɛr ˈkræʃɪz. ʃi kəmˈpɛrz ðə fəˈnɑməˌnɑn tɪ ə ˈpərsən hu ˈkæʧɪz ə raɪd tɪ ə ˈdɪnər ˈpɑrti ɪn ən ˌənfəˈmɪljər ˈneɪbərˌhʊd, bət ɪz ˈleɪtər æst tɪ draɪv hoʊm ənd həz ˈdɪfɪˌkəlti rɪˈmɛmbərɪŋ ðə rut. faʊnd ðət, ˈivɪn wɪn ˈpipəl ər ˈmɑnətərɪŋ θɪŋz ˈvɛri ˈkɛrfəli, ju ʤɪst hæv ə gʊd ˌəndərˈstændɪŋ əv ˈhæpənɪŋ. wɪn ju ˈriəˌlaɪz ə ˈprɑbləm, ju ˌnɛsəˈsɛrəli noʊ haʊ ju gɑt ˈɪntu ðət steɪt ənd wət tɪ du tɪ kərˈɛkt it.”*.” ˈɔlsoʊ ðə rɪsk əv ˌɪnˌfɔrˈmeɪʃən ˈoʊvərˌloʊd, ɛz ðə ˈpaɪləts əv ə ˈkɑntəs ˈɛrbəs ““superjumbo”*” dɪˈskəvərd læst noʊˈvɛmbər. ˈʃɔrtli ˈæftər ˈteɪˌkɔf frəm ˈsɪŋəˌpɔr, wən əv ðə ˈhəlkɪŋ fɔr ˈɛnʤənz ɪkˈsploʊdɪd ənd sɛnt ˈpisɪz əv ðə ˈɪnʤən ˈkaʊlɪŋ ˈreɪnɪŋ daʊn ɔn ən ˌɪndoʊˈniʒən ˈaɪlənd. ðə blæst ˈɔlsoʊ ˈdæmɪʤd ˈsɛvərəl əv ðə ki ˈsɪstəmz, ˈkɔzɪŋ ðə ˌənsəˈspɛktɪŋ flaɪt kru tɪ bi bɑmˈbɑrdɪd wɪθ noʊ lɛs ðən 54 ˈdɪfərənt ˈwɔrnɪŋz ənd ˈɛrər ˈmɛni ðət mæt hɪks ˈleɪtər sɛd ðət, æt wən pɔɪnt, hi hɛld hɪz θəm ˈoʊvər ə ˈbətən ðət mˈjutɪd ðə kæˈskeɪd əv ˈɑdəbəl əˈlɑrmz, wɪʧ θˈrɛtənd tɪ dɪˈstrækt capt*. ˈrɪʧərd də ənd ðə rɛst əv ðə ˈfɛvərˌɪʃli ˈwərkɪŋ flaɪt kru. ˈləkəli fər ˈpæsənʤərz, ˈkɑntəs flaɪt 32 hæd ən ˈɛkstrə tu ˈpaɪləts ɪn ðə ˈkɑkˌpɪt ɛz pɑrt əv ə ˈtreɪnɪŋ ˈɛksərˌsaɪz, ɔl əv hum pɪʧt ɪn tɪ kəmˈplit ðə ˈnɪrli 60 ˈʧɛˌklɪsts rikˈwaɪərd tɪ ðə ˈvɛriəs ˈsɪstəmz. ðə ˈwundɪd pleɪn lɪmpt bæk tɪ ˈsɪŋəˌpɔr ˈɛrˌpɔrt, wɛr ɪt meɪd ən ˈimərʤənsi ˈlændɪŋ. nɑt ɛz ðoʊ ˌmænjəˈfækʧərərz əˈwɛr əv ðə ˈɪʃu. bət ðə ˈriflɛks ɪz tɪ fɪks ðə ˈprɑbləm baɪ θroʊɪŋ mɔr tɛkˈnɑləʤi ənd ˈɔtəˌmeɪtɪd ˈsɪstəmz æt ɪt. ˈkɑkˌpɪt kəmˈpoʊnənt ˈkəmpəˌni ˈrɑkˌwɛl ˈkɑlɪnz, fər ɪgˈzæmpəl, meɪd weɪvz æt ðɪs ˈpɛrɪs ɛr ʃoʊ wɪn ɪt tɔkt əˈbaʊt dɪˈvɛləpɪŋ ə button”*” fər kəˈmərʃəl ˈɛrpleɪnz ðət wʊd gɪv kənfˈjuzd ənd ˈstrɪkən ˈpaɪləts ðə ˈɔpʃən əv ˈflɪpɪŋ ə swɪʧ ənd ˈlɛtɪŋ ðə kəmˈpjutər flaɪ ðə pleɪn tɪ ˈseɪfti. nɑt səˈpraɪzɪŋli, ðə ˈkɑnsɛpt dru ˈrɪdəˌkjul frəm ˈeɪvieɪtərz, hu ər kwɪk tɪ pɔɪnt aʊt ðət kəmˈpjutərz ər ˈhɑrdli ˌɪnˈfæləbəl, ɛz ˈɛniˌwən hu həz ˈɛvər ˈstrəgəld wɪθ ə kræʃt wɛb ˈbraʊzər noʊz. seɪ ˌɪmˈpɑsəbəl tɪ stɔl ən ˈɛrbəs, raɪt? ɪt həz ˈsɪstəmz ənd ɪt əˈlaʊ ju tɪ ɪkˈsid ðə ˈmæksəməm ˈæŋgəl əv əˈtæk wɛr ə stɔl wʊd occur,”*,” ˈɑrgjuz pɔl ˈstræʧən, ən ɛr ˈkænədə ˈpaɪlət hu ɪz ðə hɛd əv ðə pilots’*’ ˈjunjən. nɑt tru. ɪf aɪs ɔn ðə wɪŋ, ðət hoʊl dɪˈtɛkʃən ˈsɪstəm ˈækjərət tɪ bɪˈgɪn wɪθ. aɪ wʊd bi ˈprɪti ˈhɛzɪtənt tɪ gɪt ɔn ə pleɪn wɪθ noʊ pilot.”*.” ˈɛndsli teɪks ə mɔr nuɑnst pəˈzɪʃən. ʃi ˈɑrgjuz ðə ˈprɑbləm ˌnɛsəˈsɛrəli wɪθ ɔtəˈmeɪʃən, bət ˈstrɛsɪz ðə nid fər ˈsɪstəmz ðət əˈlaʊ ˈpaɪləts tɪ si wət ðə kəmˈpjutərz ər duɪŋ æt ˈɛni ˈgɪvɪn ˈmoʊmənt. əv θroʊɪŋ ˈpisɪz əv ˈdætə æt ˈpaɪləts, ju nid tɪ ˈɪnəˌgreɪt ðət ˌɪnˌfɔrˈmeɪʃən ɪn ˈminɪŋfəl weɪz soʊ ðeɪ kən tɛl goʊɪŋ on,”*,” ʃi sɪz. ɪn ðə keɪs əv flaɪt 447 ɛr pilots’*’ ˈjunjən həz ˈpɔɪntɪd ə ˈfɪŋgər æt ˈɛrbəs baɪ səˈʤɛstɪŋ ðət ðə stɔl ˈwɔrnɪŋ ˈsɪstəm ɔn ðə ˈlaɪkli kənˈtrɪbjutɪd tɪ ðə dumd flaɪt kənfˈjuʒən baɪ ˈsaʊndɪŋ ˈoʊnli ˌɪntərˈmɪtəntli ˈivɪn ðoʊ ðə pleɪn rɪˈmeɪnd ɪn ə stɔl ðə hoʊl taɪm. bət ˈoʊvərˌhɔlɪŋ flaɪt ˈmænɪʤmənt ˈsɪstəmz ɪz ˈiziər sɛd ðən dən. pleɪnz ər rɛr ɪn ðə ˈɪndəstri, ənd ˈivɪn wɪn ðeɪ du gɪt meɪd, ɛz wɪθ nu 787 ənd ðɛr ɪz sɪgˈnɪfɪkənt ˈprɛʃər ɔn ˌmænjəˈfækʧərərz tɪ meɪk ʃʊr nu ˈmɑdəlz wɪl ˈɪnəˌgreɪt wɪθ airlines’*’ ɪgˈzɪstɪŋ flits, ənd ðə ˈproʊˌgræmz kriˈeɪtɪd fər ðɛm. ˈrɑbərt duər, ðə ˈʤɛnərəl ˈmænɪʤər əv nu ˈriʤənəl ʤɛt ˈproʊˌgræm, sɪz ðə ˈɛroʊˌspeɪs ʤaɪənt ˈrɛsəld wɪθ ðə kˈwɛʃən wɪn ɪt wɑz kənˈsɪdərɪŋ ðə ˈkɑkˌpɪt dɪˈzaɪn fər ɪts nu 110 tɪ pleɪn. ˈɪnfluənst baɪ ðə ɪkˈspɪriəns ɪn ˈbɪldɪŋ ˈbɪznɪs ʤɛts wɪθ ðə ˈleɪtəst bɛlz ənd ˈwɪsəlz, duər sɪz ˌbɑmbərˈdɪr ˈəltəmətli ˌdɪˈsaɪdɪd tɪ wərk wɪθ ˈrɑkˌwɛl ˈkɑlɪnz tɪ dɪˈvɛləp ə nu əˈproʊʧ tɪ flaɪt ˈmænɪʤmənt fər ðə. ənd ˈpaɪlət əˈwɛrnəs ɪz ə θɪŋ wi kən wərk ɔn tɪ ˌɪmˈpruv safety,”*,” hi sɪz. tʊk ædˈvæntɪʤ əv nu tɛkˈnɑləʤi tɪ meɪk ˌɪnˌfɔrˈmeɪʃən əˈveɪləbəl tɪ ðə ˈpaɪlət ɪn ə ˈmænər. ənd wi pʊt ɪt ɪn ˈjuzɪŋ ə əˈproʊʧ, wɪʧ bɪn dən before.”*.” ɪn ˈəðər wərdz, waɪl moʊst flaɪt ˈmænɪʤmənt ˈsɪstəmz ˈɔrgəˌnaɪz ˌɪnˌfɔrˈmeɪʃən beɪst ɔn ˈoʊvərˌɔl ˌɪmˈpɔrtəns tɪ ðə ˈɛrˌkræft, ðə wɪl ˌɪnˈstɛd hæv skrinz ðət dɪˈspleɪ ˈɛvriˌθɪŋ ə ˈpaɪlət nidz tɪ ˈmɑnətər ə ˌpɑˈtɪkjələr steɪʤ əv ə flight—taxiing*, ˈteɪˌkɔf, kruz ənd soʊ ɔn. ðɛr wɪl bi noʊ nid fər ˈdɪgɪŋ θru tɪ faɪnd ˈbɛrid, bət pəˈtɛnʃəli ˌɪmˈpɔrtənt, ˈdætə. ɪn ðə ɛr fræns kræʃ, fər ɪgˈzæmpəl, ˌɪnˈvɛstəˌgeɪtərz ˈnoʊtɪd ðət ðə ˈkrɪtɪkəl ˈæŋgəl əv əˈtæk nɑt dɪˈrɛkli dɪˈspleɪd tɪ ðə pilots”*” ənd ˌrɛkəˈmɛndɪd ˈʧeɪnʤɪz. ər noʊ multi-screens,”*,” duər sɪz əv ðə. ˈmɑnətərɪŋ wən skrin. ju hæv tɪ lʊk ˈɛniˌwɛr else.”*.” ˈdaʊtfəl ðət tɛkˈnɑləʤi əˈloʊn wɪl pruv tɪ bi ə ˌpænəˈsiə wɪn ɪt kəmz tɪ ˈɛˌrlaɪn ˈseɪfti. waɪ ædˈvɑni ənd ðə rɛst əv ðə ˌɪnˈkludz ˌrɛprɪˈzɛnətɪvz frəm boʊɪŋ, ˈnæsə, ˈtrænspɔrt ˈkænədə, flaɪt ˈsɪmjəˌleɪtər ˈmeɪkər ənd ðə ɛr laɪn ˈpaɪləts ˌrɛkəˈmɛndɪŋ ˈʧeɪnʤɪz tɪ ˈpaɪlət ˈtreɪnɪŋ rəˈʒimz, wɪθ ə ˌpɑˈtɪkjələr ˈfoʊkɪs ɔn rɪˈkəvərɪŋ frəm ˌɛroʊdaɪˈnæmɪk stɔlz. ˈsɪmələrli, ˈseɪfti ˈbɑdi ɪz ˈɔlsoʊ ˌrɛkəˈmɛndɪŋ ðət ˈpaɪləts bi rikˈwaɪərd tɪ ˈrɛgjələrli ˈpræktɪs ˈmænjuəl ˈɛrˌpleɪn ˈhændəlɪŋ ənd tɪ ənd rɪˈkəvəri frəm stɔl, ˌɪnˈkludɪŋ æt haɪ altitude”*” ənd ˈnoʊtɪd ðət ɛr fræns flaɪt hæd rɪˈsivd ˈtreɪnɪŋ fər ˌənrɪˈlaɪəbəl (ˈɪndəˌkeɪtɪd ɛr spid) prəˈsiʤər ənd ˈmænjuəl ˈɛrˌkræft handling.”*.” æt ˈprɛzənt, moʊst ˈpaɪləts ˈoʊnli lərn haʊ tɪ dil wɪθ stɔlz ɪn ən ˈækʧəwəl ˈɛrˌpleɪn æt ðə ˈvɛri bɪˈgɪnɪŋ əv ðɛr kərɪrz, əˈkɔrdɪŋ tɪ ædˈvɑni. ðə drɪl ɪz ˈjuʒəwəli dən ɪn ə smɔl ˈɛrˌkræft laɪk ə ˈsɛznə ənd, ˈivɪn ðɛn, ˈʤɛnərəli ˈfoʊkɪsɪz ɔn əˈvɔɪdɪŋ ə stɔl, ər rɪˈkəvərɪŋ frəm ɪts ˈərli ˈsteɪʤɪz, baɪ paʊərɪŋ əp ðə ˈɛnʤənz ənd əˈtɛmptɪŋ tɪ ˈmɪnəˌmaɪz ə lɔs əv ˈæltəˌtud, wɪʧ meɪ ɪkˈspleɪn ðə ˈækʃənz əv ɛr flaɪt kru. lərn ɪt ˈdʊrɪŋ ðə ˌɪˈnɪʃəl licence,”*,” ædˈvɑni sɪz. ju goʊ ɔn tɪ bɪˈkəmɪŋ ə kəˈmərʃəl ˈpaɪlət, ˈgɪtɪŋ jʊr ənd ˈɪnstrəmənt ˈreɪtɪŋz. ˈkɑnsənˌtreɪtɪŋ ɔn ˈmuvɪŋ əp ənd ˈmænəʤɪŋ ˈbɪgər ˈɛrpleɪnz wɪθ taɪp ˌɑpərˈeɪʃənz. soʊ ɛz jʊr kərɪr ˈprɑˌgrɛsəz, ju goʊ bæk tɪ ðə ˈbeɪsɪk flaɪɪŋ əv ðə plane.”*.” ɪn ˈkænədə, ˈtreɪnɪŋ fər ə ˈpraɪvət ˈlaɪsəns ˌɪnˈkludz ənd rɪˈkəvəriz, ənd rɪˈkəvəri frəm ən ˌɪˈrɛgjələr kənˈdɪʃən əv flaɪt ˈsoʊəli baɪ ˈrɛfərəns tɪ ə fʊl ˈpænəl əv əˈveɪləbəl instruments,”*,” əˈkɔrdɪŋ tɪ ˈtrænspɔrt ˈkænədə ˈspoʊkspərsən mɑˈris dərˈɛt. ˌbiˈfɔr ˈgɪtɪŋ ə kəˈmərʃəl ˈlaɪsəns, ˈpaɪləts ər rikˈwaɪərd tɪ ˈdɛmənˌstreɪt ““competency”*” ɪn ðiz skɪlz, wɪθ dərˈɛt ˈnoʊtɪŋ ðət ˈkænədə ɪz wən əv ðə fju ˌʤʊrɪsˈdɪkʃənz ðət stɪl rikˈwaɪərz tɛkˈniks (θɪŋk əv ə pleɪn ˈdaɪvɪŋ ɪn ə ˈkɔrkˌskru ˈpætərn). ˈleɪtər ɪn ə kərɪr, ˈɛni ˈfərðər stɔl ər rɪˈkəvəri ˈtreɪnɪŋ ɪz dən ɪn ə flaɪt ˈsɪmjəˌleɪtər, ə ˌfʊlˈskeɪl əv ən ˈɛrˌpleɪn ˈkɑkˌpɪt ɛnˈkeɪst ɪn ə pɑd ðət sɪts əˈtɑp haɪˈdrɔlɪk lɛgz. ˌɪnˈsaɪd, ˈpaɪləts lʊk aʊt ˈwɪndoʊz ʤɪst ɛz ðeɪ wʊd ɪn ə ril pleɪn, bət ˌɪnˈstɛd si ə kəmˈpjutərˈʤɛnərˌeɪtəd ˈɪmɪʤ əv ðɛr sərˈaʊndɪŋz. ˈsɪmjəˌleɪtərz kən ˈrɛplɪˌkeɪt ˈvɛri ˈkloʊsli ðə fil ənd ˈhændəlɪŋ əv ə ˌpɑˈtɪkjələr ˈɛrˌkræft ˈəndər moʊst kənˈdɪʃənz, əˈlaʊɪŋ ˌɪnˈstrəktərz tɪ pʊt ˈpaɪləts θru ˈvɛriəs drɪlz laɪk ˈlændɪŋz, ˈɪnstrəmənt ˈfeɪljərz ənd ˈəðər pəˈtɛnʃəl ˈimərʤənsiz. bət ædˈvɑni, hu ɪz ən ˈɛkspərt ɪn ðə fild əv flaɪt ˌsɪmjəˈleɪʃən, sɪz ˈsɪmjəˌleɪtərz ˈvɛri gʊd æt ˈmɪmɪkɪŋ ˌfʊlˈbloʊn stɔlz, wɪʧ ər keɪˈɑtɪk ənd ˌənprɪˈdɪktəbəl ɪˈvɛnts, ˈmeɪkɪŋ ðɛm ˈdɪfəkəlt tɪ ˈmɑdəl. nɔr du ˈsɪmjəˌleɪtərz kriˈeɪt ðə fɪr ənd ˈpænɪk ðət kəmz frəm noʊɪŋ jʊr ˈækʃənz meɪ lɛd tɪ ðə dɛθ əv ˈhənərdz əv ˈpipəl. ɛz ə rɪˈzəlt, hi sɪz, ðɛr nidz tɪ bi mɔr ˈklæsˌrum ˈfoʊkɪs ɔn ðə ˈbeɪsɪks əv ˌɛroʊdaɪˈnæmɪk flaɪt ɪn əˈdɪʃən tɪ ˈsɪmjəˌleɪtər ˈtreɪnɪŋ, wɪʧ ˈvɛriz frəm ˈɛˌrlaɪn tɪ ˈɛˌrlaɪn. nid tɪ treɪn ðə ˈpaɪlət ɔn ɪgˈzæktli haʊ ɪt filz ɪn ðə simulator,”*,” hi sɪz, ˈædɪŋ ðət ðɛr nidz tɪ bi mɔr ˈɛmfəsɪs ɔn nɑt ʤɪst əˈvɔɪdɪŋ stɔlz, bət rɪˈkəvərɪŋ frəm ðɛm wəns ðeɪ əˈkər. nid tɪ tiʧ ðɛm tɪ gɪt ðə hɛk aʊt əv ðət stɔl. ənd loʊərɪŋ ðə noʊz ɪz ðə ˈnəmbər wən rul. ˈwəri əˈbaʊt ðət wɪŋ drɔp, faɪt ðət. ʤɪst meɪk ʃʊr ju loʊər ðə noʊz ənd gɪt ðə hɛk aʊt əv ðət ˈdeɪnʤərəs situation.”*.” ɪn laɪt əv ˈæksədənts laɪk ɛr fræns 447 boʊɪŋ ənd ˈɛrbəs ˈrisəntli ˈoʊvərˌhɔld ðɛr ˈtreɪnɪŋ ɪn ˈsɪmjəˌleɪtərz, wɪθ ðə səˈpɔrt əv ˈɛˌrlaɪnz ənd ˈrɛgjəˌleɪtərz. ðeɪ naʊ ˈɛmfəˌsaɪz ðə ˌɪmˈpɔrtəns əv rɪˈdusɪŋ ðə ˈəpwərd ˈæŋgəl əv ðə noʊz, wɪʧ həz ðə ˈtɛndənsi tɪ pɪʧ əp wɪn paʊər ɪz ˈædɪd tɪ ˈɛrˌkræft wɪθ ˈɛnʤənz ˈloʊˌkeɪtəd ˈəndər ðə wɪŋz., wɪʧ həz jɛt tɪ ˈɪʃu ən əˈfɪʃəl rɪˈpɔrt ɔn ɪts ˈfaɪndɪŋz, ɪz ˈɔlsoʊ ˌrɛkəˈmɛndɪŋ ˈrɛgjəˌleɪtərz goʊ ə stɛp ˈfɑrðər ənd ˌrikˈwaɪər ˈpaɪləts spɛnd taɪm ˈərliər ɪn ðɛr kərɪrz ɪn ˌɛrəˈbætɪk ˈɛrpleɪnz, wɛr ðeɪ kən ˈpræktɪs ˈhoʊnɪŋ ðɛr skɪlz ˈkloʊzər tɪ ðə ɛʤ əv ðə flaɪt ðət kəˈmərʃəl ˈpaɪləts naʊ glin ˈoʊnli ɪf sərvd ɪn ðə ˈmɪlɪˌtɛri. juzd tɪ ˈrɛgjələrli rɪˈkəvər frəm ˈtoʊtəl upsets,”*,” sɪz ɛr ˈstræʧən, ən ˈpaɪlət. ðət ˌɪnˈkludɪd ˌsɪʧuˈeɪʃənz wɛr hɪz pleɪn stɔld aʊt waɪl ˈnɪrli ˈvərtɪkəl ər ˌɪnˈvərtɪd, ɔl waɪl ˈwɛrɪŋ ə hʊd ðət blɑkt hɪz vju əv ðə hərˈaɪzən. lʊk ˈaʊtˈsaɪd ənd hæd tɪ rɪˈkəvər ɔf jʊr ˈɪnstrəmənts. ən ˈɛləmənt əv ˈtreɪnɪŋ ðət ðɛr ɛz məʧ ɛz ɪt ʃʊd bi today.”*.” ˈʧɑrtɪŋ ən ɪnˈtaɪərli nu dɪˈrɛkʃɪn fər ˈpaɪlət ˈtreɪnɪŋ goʊɪŋ tɪ bi ˈizi. θæŋks tɪ ə ˈgloʊbəl ˈpaɪlət ˈʃɔrtɪʤ ˈstɛmɪŋ frəm ðə ˈræpɪd groʊθ əv ˈɛˌrlaɪnz ɪn ˈeɪʒə ənd ðə ˈmɪdəl ist, ðə ˈɪndəstri həz bɪn mɔr ˈfoʊkɪst ɔn ˈfaɪndɪŋ weɪz tɪ gɪt ˈpaɪləts ˈɪntu kəˈmərʃəl ˈɛˌrlaɪn ˈkɑkˌpɪts wɪθ lɛs ˈrilˌwərld ˈtreɪnɪŋ, nɑt mɔr. ðə ˌɪnərˈnæʃənɑl ˈsɪvəl ˌeɪviˈeɪʃən ˌɔrgənəˈzeɪʃən (icao*), ən ˈeɪʤənsi əv ðə juˈnaɪtɪd ˈneɪʃənz, prɪˈdɪkts ˈɛˌrlaɪnz wɪl æd nu ˈɛrpleɪnz tɪ ðɛr flits ˈoʊvər ðə nɛkst tu ˈdɛkeɪdz. ənd ɔl ðoʊz nu pleɪnz wɪl nid əv ðɛm baɪ 2026 əˈməŋ ðə ˈrizənz ðət, faɪv jɪrz əˈgoʊ, əˈpruvd ðə kriˈeɪʃən əv ə ˈpaɪlət licence”*” fər kəˈmərʃəl ˈɛˌrlaɪnz. ɪt əˈlaʊz ˈpaɪləts tɪ stɛp ˈɪntu ðə sit əv ə kəˈmərʃəl ˈɛˌrlaɪnər wɪθ ɛz ˈlɪtəl ɛz 240 aʊərz əv flaɪɪŋ taɪm, məʧ əv wɪʧ kən bi dən ɪn ə ˈsɪmjəˌleɪtər. (ɪn ˈkɑntræst, ˈstræʧən sɪz moʊst ɛr ˈkænədə ˈpaɪləts ˈtɪpɪkəli hæv ˈnɪrli ə ˈdɛkeɪd əv flaɪɪŋ ɪkˈspɪriəns ˌbiˈfɔr ðeɪ ər haɪərd.) ðə ˈθɪri ɪz ðət ðə ʤɑb əv ə ˈmɑdərn kəˈmərʃəl ˈɛˌrlaɪn ˈpaɪlət bɛrz ˈlɪtəl rɪˈzɛmbləns tɪ wət ɪt wɑz 15 ər 20 jɪrz əˈgoʊ, ənd ðət ˈlɔgɪŋ ˈθaʊzənz əv aʊərz ɛz ə bʊʃ ˈpaɪlət ər ɪz noʊ ˈlɔŋgər ɛz ˈkrɪtɪkəl. ˈstræʧən kənˈsidz ðət kəˈmərʃəl ˈpaɪləts nid ə vərˈaɪəti əv skɪl sɛts. ənd ɛz hɛd əv ɛr pilots’*’ ˈjunjən, hi noʊz ðə kɔst ˌriˈæləˌtiz əv ðə ˈbɪznɪs ɛz wɛl ɛz ˈɛniˌwən. bət hi rɪˈmeɪnz kənˈvɪnst ðət ðɛr ɪz noʊ ˈsəbstəˌtut fər ˈækʧəwəl ɪkˈspɪriəns ɪn ən ˈɛrˌpleɪn. ˈɔlˌmoʊst ˈnɛvər ˈhæpənz ɪn ril laɪf laɪk ɪt ˈhæpənz ɪn ə simulator,”*,” hi sɪz. ˈɔlˌmoʊst ˈnɛvər ˈtɛkstˌbʊk ɪn maɪ ɪkˈspɪriəns. ju ˈpræktɪs ɪt wən weɪ ənd wɪn ˈsəmθɪŋ ˈfaɪnəli dɪz ˈhæpən, ˈɔlˌweɪz weɪ mɔr ˈnɛbjələs ənd insidious.”*.” hi ˈriˌkɔlz ə ˈteɪˌkɔf ˈərli ɪn hɪz kərɪr frəm ðə ˈɛrˌstrɪp ɪn ˌnɔrθˈwɛstərn ˈgrinˌlænd, wɛr hi ˈsədənli kɔt hɪmˈsɛlf ɪn wɪndz ðət hæd ˈtəmbəld ɔf ðə saɪd əv ə ˈgleɪʃər. ðə pleɪn wɑz fɔrst ˈvaɪələntli ˈdaʊnwərd təˈwɔrd ðə weɪvz ənd ˈstræʧən ˈbɛrli ˈmænɪʤd tɪ paʊər hɪz weɪ aʊt əv ə nɪr dɪˈzæstər. ˈsəmθɪŋ ðət ju ʤɪst simulate,”*,” hi sɪz, ˈædɪŋ ðət hɪz hɑrt stɪl ʤəmps ʤɪst ˈθɪŋkɪŋ əˈbaʊt ɪt. geɪnd θru ɪkˈspɪriəns. ˈɛvriˌbɑdi ɔn ðə kru ˈlərnɪd ˈsəmθɪŋ ðət deɪ. ɪt bɪˈkəmz pɑrt əv jʊr hɑrd draɪv. soʊ ðə nɛkst taɪm feɪst wɪθ ðət ˌsɪʧuˈeɪʃən, ənd ɪn ə pleɪs wɛr wɪnd ˈkəmɪŋ ɔf ə klɪf ənd ˈteɪkɪŋ ɔf, ju θɪŋk, ‘‘hmm*, sin ˈsəmθɪŋ laɪk ðɪs ˌbiˈfɔr. bi careful.’*.’
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with low clouds and a fine mist hanging in the morning air, the pilots of turkish airlines flight 1951 anticipated a routine approach to amsterdam’s busy schiphol airport on feb. 25, 2009. but instead of touching down gently on the runway, the white and red boeing 737 dropped out of the sky and slammed into a muddy field just short of the airport, smashing into three pieces. nine people died, including all three pilots. another 84 were injured.
investigators attributed the crash to a faulty radio altimeter, aggravated by pilot errors and oversights. radio altimeters use radio waves to measure a plane’s altitude—a key piece of equipment, which is why a 737 is equipped with two of them. but what nobody in the cockpit of flight 1951 realized was that the malfunctioning altimeter happened to control the 737’s auto-thrust systems. so while the co-pilot was busy monitoring the autopilot (which used data from a different altimeter), and capt. hasan tahsin arisan was watching the co-pilot as part of a training exercise, and a third “safety” officer was supposed to be watching everyone to make sure nothing got missed, the auto-thrust erroneously engaged its “retard” mode, thinking it was just above the runway. the throttles were cut and the plane’s nose pitched up, causing the plane to drift into an aerodynamic stall. the flight crew tried to recover by returning the throttles to full power, but their initial efforts were thwarted by the confused auto-thrust system, which they forgot to disengage. there was no time for a second try.
statistically speaking, modern avionics have made flying safer than ever. but the crash of flight 1951 is just one of several recent, high-profile reminders that minor problems can quickly snowball into horrific disasters when pilots don’t understand the increasingly complex systems in the cockpit, or don’t use them properly. the point was hammered home later that year when air france flight 447 stalled at nearly 38,000 feet and ended up crashing into the atlantic, killing all 228 on board. investigators recently released transcripts from the airbus a330’s cockpit voice recorder. it reveals a flight crew gripped by confusion as they tried to diagnose and respond to what should have been a manageable mid-air emergency, but instead resulted in a terrifying 3½-minute plunge in total darkness. “i don’t have control of the airplane anymore,” the co-pilot at the controls said at one point. “now i don’t have control of the airplane at all.”
despite being responsible for the lion’s share of passenger deaths over the past decade, it’s only recently that the industry has begun to treat so-called “loss-of-control” accidents as a serious issue. sunjoo advani, an expert in flight simulation and the president of a netherlands-based simulation and engineering consulting firm, says he received puzzled looks when, back in 2007, he suggested that britain’s royal aeronautical society (raes), an influential safety group, hold a conference on the issue. not anymore. advani has spent the past two years coordinating the international committee for aviation training in extended envelopes, or icatee, a panel of experts asked by the raes to look into stalls and other loss-of-control accidents and find ways to prevent them. “many of these accidents are recoverable,” he says. “they simply shouldn’t have happened. in many incidents, the airplane has gone into a stall and every automated safety procedure kicked in, but the pilots failed to recognize the situation and failed to recover.”
why is it happening? some argue that the sheer complexity of modern flight systems, though designed to improve safety and reliability, can overwhelm even the most experienced pilots when something actually goes wrong. others say an increasing reliance on automated flight may be dulling pilots’ sense of flying a plane, leaving them ill-equipped to take over in an emergency. still others question whether pilot-training programs have lagged behind the industry’s rapid technological advances.
it’s a vexing problem for airlines, and a worrisome one for their customers. unlike mechanical failures that can be traced to flawed design or poor maintenance, there is no easy fix when experienced and highly trained pilots make seemingly inexplicable decisions that end with a us$250-million airplane literally falling out of the sky. “the best you can do is teach pilots to understand automation and not to fight it,” advani says, noting that the focus in recent years has, perhaps myopically, been on simplifying and speeding up training regimes, secure in the knowledge that planes have never been smarter or safer. “we’ve worked ourselves into a little bit of a corner here. now we have to work ourselves back out.”
in the past five years alone, there have been more than 50 stalls and other loss-of-control accidents involving commercial airlines, nearly all of them fatal, according to the international air transport association. unlike a car or truck, a plane stalls when its wings stop producing lift—effectively transforming it from an elegant flying machine into a giant brick. that happens when the angle of attack (the angle of the wing relative to the direction the plane is flying) becomes too extreme. in most cases, stalls occur because a pilot is flying too slowly to maintain altitude, although they can theoretically occur at any speed. to recover, pilots are taught to apply thrust and to lower the nose of the aircraft. a 2010 study by boeing found that 20 different loss-of-control accidents were responsible for nearly 1,850 deaths between 2000 and 2009, nearly double the number of fatalities of the next biggest category, “controlled flight into terrain,” which is basically the flying of a plane into the side of a mountain. that makes loss of control, including stalls, both the single most common cause of fatal airline crashes, and by far the most deadly.
but stalls needn’t be fatal events. pilots are taught how to recover from them in basic flight school, and many modern planes are equipped with systems designed to prevent them from occurring in the first place. in modern airbus-built planes, for example, an electronic fly-by-wire control system means a pilot who hauls back on the side-stick controller, a joystick-like device that has replaced a traditional control yoke in airbus cockpits, will not be permitted by the computer to put the plane and its passengers in a dangerous situation.
and yet loss-of-control crashes continue to bedevil the industry. and several recent accident investigations reveal a disturbing trend: highly trained pilots who, when faced with a stall, not only fail to correctly diagnose the problem, but take actions that make their predicaments far worse.
that’s what happened on feb. 12, 2009, aboard colgan air flight 3407. tired and distracted, capt. marvin renslow and first officer rebecca shaw failed to notice that the airspeed of their bombardier-built q400 turboprop had slowed significantly as they approached buffalo’s airport. suddenly, the q400’s “stick-shaker” warning system went off, alerting the pilots of an impending stall. but instead of increasing the throttle power and pointing the nose downward, renslow pulled back on the yoke, turning a near-stall into the real thing. he similarly out-muscled the plane’s “stick-pusher” feature, which is designed to force the plane’s nose downward in a last-ditch effort to recover. the plane spiralled out of control. investigators cited training deficiencies at the airline and crew fatigue as contributing causes to the crash, which killed 49 people on board and one person on the ground.
similarly, the investigation of air france flight 447 has veered away from the failure of the plane’s airspeed sensors, or pitot tubes, to focus on pilot error, although a final report on the crash is still forthcoming. the recovery of the plane’s black-box recorders from the ocean floor in may revealed that the airbus a330’s problems began when it lost airspeed readings after flying into thunderstorms during a june 1, 2009, overnight flight to paris from rio de janeiro. but it was the pilots’ response to the wonky airspeed readings that sealed the fate of the 216 passengers in the plane’s cabin. once the autopilot clicked off, the flight-data recorder showed that the co-pilot (the plane’s captain, marc dubois, was taking a scheduled rest break during the first few minutes of the crisis, but returned to the cockpit before the plane went down) set the throttle to takeoff thrust and sent the plane up to nearly 38,000 feet, where it stalled. the interim report released last month said none of the pilots made any reference to the repeated stall warnings, one of which was “triggered continuously for 54 seconds.” instead, the flight crew seemed utterly perplexed at their predicament. the co-pilot sitting in the captain’s chair at one point says, “climb, climb, climb, climb,” to which the other co-pilot responds: “but i’ve been at maxi nose-up for a while.” then the captain (who is now in the cockpit, but not at the controls) says, “no, no, no, don’t climb.” nevertheless, as the a330 continued its long, gut-churning fall into the atlantic, the co-pilot at the controls continued to make inputs that were “mainly nose-up,” according to investigators—precisely the opposite of what needed to be done to counteract the stall, which was to lower the nose and restore lift to the wings.
as the operation of commercial jetliners becomes increasingly automated—most are equipped with systems that are perfectly capable of flying and landing the plane on their own, although pilots have the authority to hand-fly the plane when they deem it necessary—some experts are concerned it’s only becoming more difficult for pilots to jump in and take over during a mid-air emergency, when their skills and experience are needed most. “the problem you get into with automated systems is that very often people get left out of the loop,” says mica endsley, the president of atlanta-based sa technologies and an expert in the field of situational awareness who has worked closely with the u.s. national transportation safety board investigating air crashes. she compares the phenomenon to a person who catches a ride to a dinner party in an unfamiliar neighbourhood, but is later asked to drive home and has difficulty remembering the route. “we’ve found that, even when people are monitoring things very carefully, you just don’t have a good understanding of what’s happening. when you realize there’s a problem, you don’t necessarily know how you got into that state and what to do to correct it.”
there’s also the risk of information overload, as the pilots of a qantas airways-owned airbus a380 “superjumbo” discovered last november. shortly after takeoff from singapore, one of the hulking a380’s four engines exploded and sent pieces of the engine cowling raining down on an indonesian island. the blast also damaged several of the a380’s key systems, causing the unsuspecting flight crew to be bombarded with no less than 54 different warnings and error messages—so many that co-pilot matt hicks later said that, at one point, he held his thumb over a button that muted the cascade of audible alarms, which threatened to distract capt. richard de crespigny and the rest of the feverishly working flight crew. luckily for passengers, qantas flight 32 had an extra two pilots in the cockpit as part of a training exercise, all of whom pitched in to complete the nearly 60 checklists required to troubleshoot the various systems. the wounded plane limped back to singapore changi airport, where it made an emergency landing.
it’s not as though manufacturers aren’t aware of the issue. but the reflex is to fix the problem by throwing more technology and automated systems at it. cockpit component company rockwell collins, for example, made waves at this year’s paris air show when it talked about developing a “panic button” for commercial airplanes that would give confused and stricken pilots the option of flipping a switch and letting the computer fly the plane to safety. not surprisingly, the concept drew ridicule from aviators, who are quick to point out that computers are hardly infallible, as anyone who has ever struggled with a crashed web browser knows. “people say it’s impossible to stall an airbus, right? it has stall-protection systems and it won’t allow you to exceed the maximum angle of attack where a stall would occur,” argues paul strachan, an air canada pilot who is the head of the company’s pilots’ union. “but that’s not true. if there’s ice on the wing, that whole detection system isn’t accurate to begin with. i would be pretty hesitant to get on a plane with no pilot.”
endsley takes a more nuanced position. she argues the problem isn’t necessarily with automation, but stresses the need for better-designed systems that allow pilots to see what the computers are doing at any given moment. “instead of throwing 8,000 pieces of data at pilots, you need to integrate that information in meaningful ways so they can tell what’s going on,” she says. in the case of flight 447, air france’s pilots’ union has pointed a finger at airbus by suggesting that the stall warning system on the a330 likely contributed to the doomed flight crew’s confusion by sounding only intermittently even though the plane remained in a stall the whole time.
but overhauling flight management systems is easier said than done. all-new planes are rare in the industry, and even when they do get made, as with boeing’s new 787 and airbus’s a380, there is significant pressure on manufacturers to make sure new models will integrate with airlines’ existing fleets, and the pilot-training programs created for them. robert dewar, the general manager of bombardier’s new cseries regional jet program, says the montreal-based aerospace giant wrestled with the question when it was considering the cockpit design for its new 110- to 130-seat plane. influenced by the company’s experience in building business jets with the latest bells and whistles, dewar says bombardier ultimately decided to work with rockwell collins to develop a new approach to flight management for the cseries. “pilot-in-the-loop and pilot awareness is a thing we can work on to improve safety,” he says. “we took advantage of new technology to make information available to the pilot in a user-friendly manner. and we put it in using a phase-by-phase approach, which hasn’t been done before.” in other words, while most flight management systems organize information based on overall importance to the aircraft, the cseries will instead have tabbed screens that display everything a pilot needs to monitor a particular stage of a flight—taxiing, takeoff, cruise and so on. there will be no need for digging through sub-menus to find buried, but potentially important, data. in the air france crash, for example, investigators noted that the plane’s critical angle of attack “was not directly displayed to the pilots” and recommended changes. “there are no multi-screens,” dewar says of the cseries. “you’re monitoring one screen. you don’t have to look anywhere else.”
it’s doubtful that technology alone will prove to be a panacea when it comes to airline safety. that’s why advani and the rest of the icatee panel—which includes representatives from boeing, nasa, transport canada, montreal-based flight simulator maker cae and the 53,000-member air line pilots association—are recommending changes to pilot training regimes, with a particular focus on recovering from aerodynamic stalls. similarly, france’s safety body is also recommending that pilots be required to regularly practise manual airplane handling and “approach to and recovery from stall, including at high altitude” and noted that air france flight 447’s co-pilots had received “no high-altitude training for unreliable ias (indicated air speed) procedure and manual aircraft handling.”
at present, most pilots only learn how to deal with stalls in an actual airplane at the very beginning of their careers, according to advani. the drill is usually done in a small aircraft like a cessna and, even then, generally focuses on avoiding a stall, or recovering from its early stages, by powering up the engines and attempting to minimize a loss of altitude, which may explain the actions of air france’s flight crew. “you learn it during the initial pilot’s licence,” advani says. “then you go on to becoming a commercial pilot, getting your multi-engine and instrument ratings. you’re concentrating on moving up and managing bigger airplanes with multi-crew type operations. so as your career progresses, you don’t go back to the basic stuff—the aerodynamic flying of the plane.”
in canada, training for a private pilot’s licence includes “stall and spiral-dive recoveries, and recovery from an irregular condition of flight solely by reference to a full panel of available instruments,” according to transport canada spokesperson maryse durette. before getting a commercial licence, pilots are required to demonstrate “competency” in these skills, with durette noting that canada is one of the few jurisdictions that still requires spin-recovery techniques (think of a plane diving in a corkscrew pattern).
later in a pilot’s career, any further stall or flight-upset recovery training is done in a flight simulator, a full-scale mock-up of an airplane cockpit encased in a fibreglass pod that sits atop spindly hydraulic legs. inside, pilots look out windows just as they would in a real plane, but instead see a computer-generated image of their surroundings. simulators can replicate very closely the feel and handling of a particular aircraft under most conditions, allowing instructors to put pilots through various drills like crosswind landings, instrument failures and other potential emergencies.
but advani, who is an expert in the field of flight simulation, says simulators aren’t very good at mimicking full-blown aerodynamic stalls, which are chaotic and unpredictable events, making them difficult to model. nor do simulators create the fear and panic that comes from knowing your actions may lead to the death of hundreds of people. as a result, he says, there needs to be more classroom focus on the basics of aerodynamic flight in addition to simulator training, which varies from airline to airline. “we don’t need to train the pilot on exactly how it feels in the simulator,” he says, adding that there needs to be more emphasis on not just avoiding stalls, but recovering from them once they occur. “you need to teach them to get the heck out of that stall. and lowering the nose is the number one rule. don’t worry about that wing drop, don’t fight that. just make sure you lower the nose and get the heck out of that dangerous situation.”
in light of accidents like air france 447, boeing and airbus recently overhauled their stall-recovery training in simulators, with the support of airlines and regulators. they now emphasize the importance of reducing the upward angle of the nose, which has the tendency to pitch up when power is added to aircraft with engines located under the wings.
icatee, which has yet to issue an official report on its findings, is also recommending regulators go a step farther and require pilots spend time earlier in their careers in aerobatic airplanes, where they can practise honing their skills closer to the edge of the flight envelope—skills that commercial pilots now glean only if they’ve served in the military. “we used to regularly recover from total upsets,” says air canada’s strachan, an ex-military pilot. that included situations where his plane stalled out while nearly vertical or inverted, all while wearing a hood that blocked his view of the horizon. “you couldn’t look outside and had to recover off your instruments. that’s an element of training that isn’t there as much as it should be today.”
charting an entirely new direction for pilot training isn’t going to be easy. thanks to a global pilot shortage stemming from the rapid growth of airlines in asia and the middle east, the industry has been more focused on finding ways to get pilots into commercial airline cockpits with less real-world training, not more. the international civil aviation organization (icao), an agency of the united nations, predicts airlines will add 25,000 new airplanes to their fleets over the next two decades. and all those new planes will need pilots—about 350,000 of them by 2026. that’s among the reasons that, five years ago, icao approved the creation of a “multi-crew pilot licence” for commercial airlines. it allows would-be pilots to step into the co-pilot seat of a commercial airliner with as little as 240 hours of flying time, much of which can be done in a simulator. (in contrast, strachan says most air canada pilots typically have nearly a decade of flying experience before they are hired.) the theory is that the job of a modern commercial airline pilot bears little resemblance to what it was 15 or 20 years ago, and that logging thousands of hours as a bush pilot or crop-duster is no longer as critical.
strachan concedes that today’s commercial pilots need a variety of skill sets. and as head of air canada’s pilots’ union, he knows the cost realities of the business as well as anyone. but he remains convinced that there is no substitute for actual experience in an airplane. “it almost never happens in real life like it happens in a simulator,” he says. “it’s almost never textbook in my experience. you practise it one way and when something finally does happen, it’s always way more nebulous and insidious.” he recalls a takeoff early in his career from the thule airstrip in northwestern greenland, where he suddenly caught himself in katabatic winds that had tumbled off the side of a glacier. the plane was forced violently downward toward the waves and strachan barely managed to power his way out of a near disaster.
“there’s something that you just can’t simulate,” he says, adding that his heart still jumps just thinking about it. “it’s gained through experience. everybody on the crew learned something that day. it becomes part of your hard drive. so the next time you’re faced with that situation, and you’re in a place where there’s wind coming off a cliff and you’re taking off, you think, ‘hmm, i’ve seen something like this before. let’s be careful.’ ”
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ɪts ˌdɪˈsaɪdɪd. ˌbɑrsɪˈloʊnə wɔnt ə ˈsərˌneɪm fər kæmp ɛz sun ɛz ˈpɑsəbəl. ðə aɪˈdiə ɪz tɪ lʊk fər ə ˈpɑrtnər, huz neɪm wɪl əˈpɪr ɔl əraʊnd ðə ˈsteɪdiəm, ɪn dɪˈsɛmbər. wɪˈθaʊt dɪˈleɪ. ˈtoʊni ɪt wɪl nɑt bi ˈizi bɪˈkəz ðiz taɪp əv nɪˌgoʊʃiˈeɪʃənz ˈjuʒəwəli teɪk mɔr ðən ə jɪr. fər ðət ˈrizən, ɪt wɪl nɑt bi pleɪn ˈseɪlɪŋ ənd, əˈbəv ɔl, əˈblaɪʤɪz ðə kləb tɪ goʊ hænd ɪn hænd wɪθ ə ˈspɛʃəlɪst ɪn ðə fild. ðə bɛst, du tɪ ˈlidɪŋ ðə weɪ ɪn ðɪs taɪp əv ˈɪnˌkəm, ər ðə əˈmɛrɪkənz, hu hæv bɪn ˈædɪŋ ˈspɑnsərz tɪ ˈsteɪdiəmz fər ˈnɪrli 100 jɪrz ˈnɪrli ɔl ðə ˈkəntriz ˈsteɪdiəmz hæv wən. ˌbɑrsɪˈloʊnə hæv ˈʧoʊzən tɪ wərk wɪθ væn ˈwægnər, ən əˈmɛrɪkən ˈkəmpəˌni hu, sɪns 1998 hæv hɛlpt wɪθ ðə ˈneɪmɪŋ raɪts fər 16 klaɪənts, ˌɪnˈkludɪŋ ðə nu jɔrk ʤɛts ənd ðə nu jɔrk ʤaɪənts, hu ʃɛr ðə ˈmɛˌtlaɪf ˈsteɪdiəm. ðeɪ ˈɔlsoʊ wərkt wɪθ ˈɑrsənəl, ərˈeɪnʤɪŋ ðə ˈɛmərˌeɪts ˈspɑnsərˌʃɪp. bɔrd, hu hæv stɪl nɑt meɪd ðɪs əˈlaɪəns əˈfɪʃəl, hoʊp tɪ hæv ə ˈspɑnsər ˌbiˈfɔr ðə ˈʤɛnərəl əˈsɛmbli ɪn 2016 ˈðɛrˌfɔr ɪt kʊd bi pæst æt ðɪs ˈmitɪŋ. əˈkɔrdɪŋ tɪ ˈpipəl kloʊz tɪ ðə ˈmætər, ənd ˈjuzɪŋ pæst dilz ɪn əˈmɛrɪkə ənd ˈjʊrəp ɛz ə ˈrɛfərəns, ˌbɑrsɪˈloʊnə kʊd ərn 20 ˈmɪljən ˈjuˌroʊz iʧ ˈsizən fər ˈædɪŋ ə ˈspɑnsər tɪ kæmp neɪm æt list. ðiz dilz ər ˈjuʒəwəli lɔŋ 20 ər 30 jɪrz. ðɪs ˈɪnˌkəm ɪz əv ˈvaɪtəl ˌɪmˈpɔrtəns tɪ ˌbɑrsɪˈloʊnə ɛz ðeɪ eɪm tɪ kənˈtɪnju wɪθ ðɛr bɪg ˈprɑʤɛkt əv ðə fˈjuʧər: ðə nu kæmp ənd barça*.
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it's decided. fc barcelona want a surname for camp nou as soon as possible. the idea is to look for a partner, whose name will appear all around the stadium, in december. without delay.
toni frieros
it will not be easy because these type of negotiations usually take more than a year. for that reason, it will not be plain sailing and, above all, obliges the club to go hand in hand with a specialist in the field. the best, due to leading the way in this type of income, are the americans, who have been adding sponsors to stadiums for nearly 100 years - nearly all the country's stadiums have one.
fc barcelona have chosen to work with van wagner, an american company who, since 1998, have helped with the naming rights for 16 clients, including the new york jets and the new york giants, who share the metlife stadium. they also worked with arsenal, arranging the emirates sponsorship.
barça's board, who have still not made this alliance official, hope to have a sponsor before the general assembly in 2016 - therefore it could be passed at this meeting.
according to people close to the matter, and using past deals in america and europe as a reference, fc barcelona could earn 20 million euros each season for adding a sponsor to camp nou's name - at least. these deals are usually long - 20 or 30 years. this income is of vital importance to barcelona as they aim to continue with their big project of the future: the new camp nou and espai barça.
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ju gaɪz. ðɪs ˈpitsə. ɪt ɪz gʊd. ju bɪˈliv mi? jɛs, ˈkəvərd ɪn swit pəˈteɪtoʊz ənd keɪl. bət hæv ju ˈɛvər traɪd beɪkt swit pəˈteɪˌtoʊ raʊnz? haʊ əˈbaʊt beɪkt keɪl ʧɪps? ˈroʊstɪd rɛd ˈənjənz? ðiz ər ðə θɪŋz ˈvɛʤtəbəl drimz ər meɪd əv. (ənd noʊ, aɪ ˈrɪli drim əˈbaʊt ˈvɛʤtəbəlz. æt list nɑt waɪl əsˈlip.) dɪd aɪ ˈmɛnʃən ðə goʊt ʧiz jɛt? ˈɔlˌmoʊst ˈɛvriˌθɪŋ ɪz ˈbɛtər wɪθ goʊt smɔl swit pəˈteɪˌtoʊ, slaɪst ˈɪntu θɪn rounds½*½ ˈmidiəm rɛd ˈənjən, kloʊvz ˈgɑrlɪk, sɔlt ənd blæk bɔl ˈpitsə kəps ˈgreɪtɪd ʧiz (əˈbaʊt 6 kəps keɪl, riˈmuvd frəm stɔks, wɑʃt, draɪd, ənd tbsp*. ˈfrɛʃli ˈgreɪtɪd ˈpɑrməˌzɑn aʊns goʊt ˈəvən tɪ 450 dɪˈgriz ə ˈmidiəm boʊl, tɔs swit pəˈteɪˌtoʊ raʊnz, ˈənjən sˈlaɪsɪz, ənd ˈgɑrlɪk wɪθ 1 ˈteɪbəlˌspun əv ˈɑlɪv ɔɪl, ˈtiˌspun ˈkoʊʃər sɔlt, ənd ə ˈsprɪŋkəlɪŋ əv blæk ˈpɛpər. pleɪs ɪn ən ˈivɪn leɪər ɔn ə rɪmd ˈbeɪkɪŋ ʃit. roʊst ɪn ðə ˈəvən fər əˈbaʊt 20 ˈmɪnəts, ˈtərnɪŋ wəns ˈhæfˈweɪ θru, ənˈtɪl ðə ˈvɛʤtəbəlz ʤɪst bɪˈgɪn tɪ braʊn. sɛt əˈsaɪd tɪ kul ˈəvən ˈtɛmpərəʧər tɪ 500 dɪˈgriz ənd pleɪs ə ˈpitsə stoʊn ˌɪnˈsaɪd tɪ fər æt list 30 aʊt ðə ˈpitsə doʊ ˈɪntu ə 12 tɪ raʊnd ənd pleɪs ɔn ə ˈbeɪkɪŋ ʃit. brəʃ doʊ ˈlaɪtli wɪθ ˈɑlɪv ɔɪl ənd tɔp wɪθ ən ˈivɪn leɪər əv. sprɛd ðə swit pəˈteɪˌtoʊ ənd ˈənjən sˈlaɪsɪz ˈivənli ˈoʊvər ðə ʧiz; tɔp wɪθ keɪl. ˈsprɪŋkəl ə smɔl əˈmaʊnt əv ˈfrɛʃli ˈgreɪtɪd blæk ˈpɛpər ˈoʊvər ðə keɪl, ˈfɑloʊd baɪ ðə ˈpɑrməˌzɑn ʧiz. ˈkrəmbəl ðə goʊt ʧiz ˈoʊvər ðə tɔp əv ðə ˈəvən ˈtɛmpərəʧər tɪ 425 dɪˈgriz. slaɪd ðə ˈpitsə ənd ˈpɑrʧmənt ˈɔntu ðə ˈpitsə stoʊn ɪn ðə ˈəvən, ənd beɪk ˈpitsə fər ˈmɪnəts, ənˈtɪl ʧiz ənd krəst ər ˈgoʊldən braʊn. riˈmuv frəm ˈəvən ənd lɛt stænd fər ə fju ˈmɪnəts ˌbiˈfɔr sˈlaɪsɪŋ ənd ˈsərvɪŋ.
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you guys. this pizza. it is sooo good. you don’t believe me? yes, it’s covered in sweet potatoes and kale. but have you ever tried baked sweet potato rounds? how about baked kale chips? roasted red onions? these are the things vegetable dreams are made of. (and no, i don’t really dream about vegetables. at least not while i’m asleep.) did i mention the goat cheese yet? almost everything is better with goat cheese.1 small sweet potato, sliced into thin rounds½ medium red onion, sliced2 cloves garlic, mincedolive oilkosher salt and black pepper1 ball whole-wheat pizza dough1 ½ cups grated mozzarella cheese (about 6 ounces)1 ½ cups kale, removed from stalks, washed, dried, and chopped2 tbsp. freshly grated parmesan cheese1 ounce goat cheesepreheat oven to 450 degrees f.in a medium bowl, toss sweet potato rounds, onion slices, and garlic with 1 tablespoon of olive oil, ½ teaspoon kosher salt, and a sprinkling of black pepper. place in an even layer on a rimmed baking sheet. roast in the preheated oven for about 20 minutes, turning once halfway through, until the vegetables just begin to brown. set aside to cool slightly.increase oven temperature to 500 degrees and place a pizza stone inside to preheat for at least 30 minutes.roll out the pizza dough into a 12 to 14-inch round and place on a parchment-lined baking sheet. brush dough lightly with olive oil and top with an even layer of mozzarella. spread the sweet potato and onion slices evenly over the cheese; top with kale. sprinkle a small amount of freshly grated black pepper over the kale, followed by the parmesan cheese. crumble the goat cheese over the top of the pizza.reduce oven temperature to 425 degrees. slide the pizza and parchment onto the preheated pizza stone in the oven, and bake pizza for 9-12 minutes, until cheese and crust are golden brown. remove from oven and let stand for a few minutes before slicing and serving.
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ə riˈleɪʃənˌʃɪp tɪ fud ənd nuˈtrɪʃən ɪz ˈɔfən sin ɪn ðə ˈkɑntɛkst əv ˈnidɪŋ tɪ bi ɪn ˈbæləns; tu məʧ fud lidz əˈbisəti, tu ˈlɪtəl lidz tɪ ˌmælnuˈtrɪʃən. əˈbisəti ənd ˌmælnuˈtrɪʃən ər sin ɛz ˈbaɪnəˌri ˈɑpəzɪts, ˌhaʊˈɛvər, ɪn ðə ˌnioʊˈlɪbərəl ˈkɑntɛkst əv ˈpəblɪk hɛlθ ənd ˌɛkəˈnɑmɪk dɪˈvɛləpmənt ˈpɑləsiz: ˌmælnuˈtrɪʃən ɪz ˈɔfən sin ɛz ə ˈstrəkʧərəl ˈprɑbləm, kɔzd baɪ ˈpɑvərti, ˌmɑrʤənələˈzeɪʃən, ənd læk əv ˈrisɔrsɪz, wɛˈræz əˈbisəti ɪz ənd sin ɛz ən ˌɪndəˈvɪʤəwəl ʧɔɪs, kɔzd baɪ ˌɪrəˈspɑnsəbəl ˈpərsɪnəl bɪˈheɪvjər. ˈpɑvərti əˌliviˈeɪʃən ˈpɑləsiz ˈwərldˈwaɪd tɛnd tɪ ˈfoʊkɪs ɔn ˌɛkəˈnɑmɪk dɪˈvɛləpmənt ənd kənˈsəmʃən, wɛˈræz weɪt ˈmænɪʤmənt kæmˈpeɪnz ˈsɛnər əraʊnd ˈlaɪfˌstaɪl ˈʧeɪnʤɪz ənd ˌmɑdərˈeɪʃən. ˈʧaɪnə, fər ɪgˈzæmpəl, həz pʊld ˈmɪljənz aʊt əv ˈpɑvərti baɪ ˈspiˌdi ˌɛkəˈnɑmɪk groʊθ ˈoʊvər ðə læst 30 jɪrz, ənd həz ˈdiˌkrist ðə ˈɪnsɪdəns əv ˌmælnuˈtrɪʃən (dɪˈfaɪnɪŋ ˌmælnuˈtrɪʃən ɛz ˈəndərˌweɪt ər stunting*) tɪ lɛs ðən 10 pərˈsɛnt əv ðə ˌpɑpjəˈleɪʃən. əˈbisəti reɪts, əv kɔrs, hæv ˌɪnˈkrist kənˈkərəntli (əˈlɔŋ wɪθ ˌdaɪəˈbitiz, haɪ kəˈlɛstərˌɔl, ənd haɪ bləd ˈprɛʃər), əˈspɛʃəli ɪn ˈərbən ˈɛriəz. dɪˈzizɪz səʧ ɛz ðoʊz rɪˈleɪtɪd tɪ wənz kɔzd baɪ əˈbisəti hæv naʊ ˈoʊvərˌteɪkən ˌɪnˈfɛkʃəs ˈkɔzɪz ɛz ðə meɪn kɔz əv dɛθ ɪn ˈʧaɪnə. ˈmɑdəl əv ˌɛkəˈnɑmɪk dɪˈvɛləpmənt həz ˈfoʊkɪst ɔn kənˈsumərˌɪzəm ənd ədˈvænsmənts ɪn ˈægrɪˌkəlʧər. ðɪs ˌkæpɪtəˈlɪstɪk model”*” həz bɪn ˈwaɪldli səkˈsɛsfəl ɪn ˌɪmˈpruvɪŋ ˈækˌsɛs tɪ ˈkæpɪtəl, ˌɛʤəˈkeɪʃən, ɪkˈspændɪŋ ðə ˈleɪbər ˈmɑrkɪt ənd ˌmælnuˈtrɪʃən ɪn ˈərbən ˈɛriəz. ˈrʊrəl ˈɛriəz, ɔn ðə ˈəðər hænd, rɪˈmeɪn ˌɪmˈpɑvrɪʃt ənd ˌɛkəˈnɑmɪkli ˌəndərdɪˈvɛləpt. ˌmælnuˈtrɪʃən, əˈspɛʃəli əˈməŋ ˈɪnfənts ənd ˈʧɪldrən, rɪˈmeɪnz ˈkɑmənˌpleɪs. ɪn ˈɔrdər tɪ ˌəndərˈstænd waɪ ðɪs nuˈtrɪʃənəl dɪˈvaɪd ɪgˈzɪsts ɪn ˈʧaɪnə, wən məst stɑp ˈθɪŋkɪŋ əˈbaʊt fud ɛz nuˈtrɪʃən, ənd məst ˌɪnˈstɛd stɑrt tɪ θɪŋk əv ɪt ɛz pɑrt əv ðə ˈlɑrʤər ˌɛkəˈnɑmɪk ˈsɪstəm. waɪ wi it wət wi it ðə əˌveɪləˈbɪlɪti ənd taɪps əv fudz kənˈsumd ər ˈrɛrli əˈbaʊt hɛlθ. fud ɪz əˈbaʊt dɪˈmænd ənd wət ˈpipəl hæv ðə əˈbɪləˌti tɪ peɪ fər, ənd ˈfɑrmərz wɪl groʊ fud ðeɪ kən sɛl. ˌægrɪˈkəlʧərəl lænd, ˈðɛrˌfɔr, ɪz sin ˈoʊnli ɛz ˈvæljəbəl ɛz ðə gʊdz ɪt kən ˈproʊdus bɪˈkəz ɪt ɪz juzd tɪ səˈplaɪ haɪ dɪˈmænd kəˈmɑdətiz. bɪˈkəz əv ðɪs, ˈfɑrmərz du nɑt ˌnɛsəˈsɛrəli groʊ fud ðət ɪz nuˈtrɪʃəs, bət fud fər wɪʧ ðɛr ɪz ə ˈmɑrkɪt. ɪn ðɪs weɪ, wi si lɑrʤ gæps bɪtˈwin ðə əˈbis ənd ðə ˈhəŋgri əv ðə wərld. wɪn fud ɪz ˈtritɪd ɛz əˈnəðər kəˈmɑdəti, wən ðət ʃʊd bi ˈpækɪʤd, ˈmɑrkətɪd, soʊld, ənd kənˈsumd, ˈmɑrkɪts wɪl bɪˈgɪn tɪ bɪˈkəm dɪˈpɛndənt ɔn ðə groʊθ əv ðiz kəˈmɑdətiz. ðiz ˌɛkəˈnɑmɪk ˈsɪstəmz groʊ ənˈlɛs ˈpipəl kənˈsum mɔr, ənd ðoʊz hu ˈkænɑt əˈfɔrd ðiz kəˈmɑdətiz ər lɛft aʊt. fud ˈsɪstəmz ɪn ˈʧaɪnə, wɪθ ˈspiˌdi ˌɛkəˈnɑmɪk groʊθ həz kəm ən ˈivɪn ˈspidiər dɪˈmænd fər ““luxury”*” fud ˈaɪtəmz səʧ ɛz mit ənd kənˈvinjəns fudz. ðeɪ ər duɪŋ ðɛr pɑrt tɪ groʊ ðə ɪˈkɑnəmi, bət ənˈʧɛkt, ðɪs groʊθ ɪz kriˈeɪtɪŋ ə ˈpəblɪk hɛlθ mɛs. ɛz ˈərbən ʧaɪˈniz ər ˌɛnˈʤɔɪɪŋ mɔr ˌɛkəˈnɑmɪk səkˈsɛsɪz, ðɛr kənˈsəmʃən ˈpætərnz ər ˈʧeɪnʤɪŋ frəm ə praɪˈmɛrəli ˈvɛʤtəbəl ənd ˈsɪriəl beɪst daɪət wɪθ fju ˈænəməl fudz, tɪ wən ðət ɪz ˈrɪʧər ɪn mit ənd ˈkælɔˌriz. wɪθ ˌɪnˈkrist kənˈsəmʃən əv mit kəmz ə hoʊst əv ˈəðər nu dɪˈmændz; kɔrn, sɔɪ, ˈwɔtər, lænd. ˈfɑrmərz məst kip əp wɪθ ðɪs dɪˈmænd, soʊ lænd ðət wɑz ˈpriviəsli juzd fər ə waɪd vərˈaɪəti əv ˌægrɪˈkəlʧərəl ˈprɑdəkts tɪ fid ˈpipəl ɪz naʊ biɪŋ juzd tɪ kip əp wɪθ ðə dɪˈmænd fər mit fər ðə ˈərbən ɪˈlit. ə ˈlɛsən ɪn ˌkɑntrəˈdɪkʃənz ðə ˈɑrgjəmənt əv ðə nəˈsɛsɪti əv ənˈʧɛkt ˌɛkəˈnɑmɪk groʊθ ɪz nɑt spɪˈsɪfɪk tɪ fud ˈsɪstəmz. dɪˈvɛləpɪŋ ɪˈkɑnəmiz ˈɔfən juz ðɪs ˈɑrgjəmənt ɪn tərmz əv ɪnˌvaɪrənˈmɛnəl ˌdɛgrəˈdeɪʃən ɛz wɛl. ɪt ɪz ˌɪmˈpɑsəbəl tɪ groʊ ən ɪˈkɑnəmi ɪn ðɪs wərld naʊ wɪˈθaʊt ˈruɪnɪŋ ðə ɪnˈvaɪrənmənt, ənd ɪt ɪz ˌɪmˈpɑsəbəl tɪ meɪnˈteɪn ˌɛkəˈnɑmɪk groʊθ wɪˈθaʊt prəˈvaɪdɪŋ ˈpipəl ðə kəˈmɑdətiz ðeɪ wɔnt. kəˈmɑdətiz ˌɪnˈklud ˈhaʊzɪŋ, ɛr kənˈdɪʃənɪŋ, ənd kɑz; məkˈdɑnəldz, ˈpækɪʤd snæk fud ənd ˈfænsi aɪs krim. ənˈfɔrʧənətli æt ðɪs taɪm ɪn ˈhɪstəri, wi feɪs ɪˈnɔrmɪs ˈkɑnflɪkts əv ˈɪntəˌrɛst ɪn ðɪs ˌɛkəˈnɑmɪk groʊθ ˈmɑdəl. groʊ jʊr ɪˈkɑnəmi ənd əˈliviˌeɪt ˈpɑvərti baɪ prəˈmoʊtɪŋ kənˈsəmʃən, bət ðɪs kənˈsəmʃən ɪz ˈruɪnɪŋ ðə ˈplænət ənd ə ˈkɔzɪŋ ən ənˈprɛsɪˌdɛntɪd dɪˈklaɪn ɪn hɛlθ. ðɪs ɪz ˈdɪfəkəlt bɪˈkəz groʊθ ɪz gʊd fər ðə pur. ə ˈkəntri stək ɪn ə ˈpætərn əv loʊ groʊθ ɪz stək ɪn ˈpɑvərti. ˈræpɪd groʊθ ənd kənˈsəmʃən həz ˌɪmˈpruvd ðə lɪvz əv ˈmɪljənz. bət ˈprɑbləmz ərˈaɪzɪŋ naʊ ˌɪnˈklud ə ˈvɛri ril ˌkoʊɪgˈzɪstəns bɪtˈwin əˈbisəti ənd ˌmælnuˈtrɪʃən (nɑt tɪ ˈmɛnʃən ðə gæp bɪtˈwin ðə ˈwɛlθi ənd ðə pur). ɪn ˈrʊrəl ˈɛriəz əv ˈʧaɪnə, ˌmælnuˈtrɪʃən reɪts kənˈtɪnju tɪ bi haɪ, əˈspɛʃəli əˈməŋ ˈvəlnərəbəl grups səʧ ɛz ˈʧɪldrən ənd gərlz. aɪərn dɪˈfɪʃənsi reɪts ɪn səm ˈɛriəz ər ɛz haɪ ɛz 60 əˈməŋ skul ˈʧɪldrən du tɪ læk əv mit ɪn ðɛr daɪət. haʊ aɪˈrɑnɪk ɪz ɪt ðət ðə ˈoʊvərəˈbəndəns əv wən kəˈmɑdəti əˈməŋ ˈərbən ɪz ˈkɔzɪŋ ən əˈməŋ ðoʊz ɪn ˈrʊrəl, waɪl ˈkɔzɪŋ ðə ˈdaʊnˌfɔl əv boʊθ. ˈʃʊrli gʊd nuˈtrɪʃən ˈkænɑt bi dɪˈfaɪnd baɪ ðə ˈæbsəns əv ˌmælnuˈtrɪʃən əˈloʊn. ən ˈəpwərdz əv əˈbəv 50 əv ˈpipəl ɪn ˈərbən ˈɛriəz ər naʊ əˈbis. ˈɛvriˈdeɪ ɪn ˈʧaɪnə nu ˈkeɪsɪz əv taɪp 2 ˌdaɪəˈbitiz ər ˌdaɪəgˈnoʊst, ˈkɔstɪŋ ðə ˈkəntri ˈbɪljənz iʧ jɪr. bət ðiz ˌdaɪəˈbɛtɪks kənˈtɪnju tɪ kənˈsum ənd hɛlp ðə ɪˈkɑnəmi groʊ ɛz ə hoʊl. soʊ wɛr ʃʊd ɑr ˈpɛrəˌdaɪm ʃɪft teɪk pleɪs? ɪn ðə ˈkɑntɛkst əv ˈkɑrənt ˌɛkəˈnɑmɪk groʊθ ˈmɑdəlz ˈsɛntərd əraʊnd kənˈsəmʃən fər ðoʊz wɪθ ˈkæpɪtəl, wi wɪl kənˈtɪnju tɪ si ə raɪz ɪn əˈbisəti ˌsaɪməlˈteɪniəs wɪθ ˌmælnuˈtrɪʃən. bət dɪz ˈʧeɪnʤɪŋ ðɪs ˈpɛrəˌdaɪm min ˈʧeɪnʤɪŋ ɑr aɪˈdiə əv ˌɛkəˈnɑmɪk səkˈsɛs? ˈʧeɪnʤɪŋ ɑr ˈmɑdəlz əv ˈpəblɪk hɛlθ? ɪf ɑr ˈoʊnli səkˈsɛsfəl ˈmɑdəl əv ˌɛkəˈnɑmɪk groʊθ lidz tɪ ə ˈpəblɪk hɛlθ ˈtræʤədi, wɛr du wi goʊ frəm hir? haʊ kən ˌænθrəˈpɑləʤɪsts bɪˈgɪn tɪ lɪŋk dɪˈvɛləpmənt ˈɛfərts wɪθ ðoʊz əv ˈpəblɪk hɛlθ ənd nuˈtrɪʃən?
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a person’s relationship to food and nutrition is often seen in the context of needing to be in balance; too much food leads obesity, too little leads to malnutrition. obesity and malnutrition are seen as binary opposites, however, in the neoliberal context of public health and economic development policies: malnutrition is often seen as a structural problem, caused by poverty, marginalization, and lack of resources, whereas obesity is moralized and seen as an individual choice, caused by irresponsible personal behavior. poverty alleviation policies worldwide tend to focus on economic development and consumption, whereas weight management campaigns center around lifestyle changes and moderation.
china, for example, has pulled millions out of poverty by speedy economic growth over the last 30 years, and has decreased the incidence of malnutrition (defining malnutrition as underweight or stunting) to less than 10 percent of the population. obesity rates, of course, have increased concurrently (along with diabetes, high cholesterol, and high blood pressure), especially in urban areas. non-communicable diseases such as those related to ones caused by obesity have now overtaken infectious causes as the main cause of death in china.
china’s model of economic development has focused on consumerism and advancements in agriculture. this capitalistic “china model” has been wildly successful in improving access to capital, education, expanding the labor market and ameliorating malnutrition in urban areas. rural areas, on the other hand, remain impoverished and economically underdeveloped. malnutrition, especially among infants and children, remains commonplace. in order to understand why this nutritional divide exists in china, one must stop thinking about food as nutrition, and must instead start to think of it as part of the larger economic system.
why we eat what we eat
the availability and types of foods consumed are rarely about health. food is about demand and what people have the ability to pay for, and farmers will grow food they can sell. agricultural land, therefore, is seen only as valuable as the goods it can produce because it is used to supply high demand commodities. because of this, farmers do not necessarily grow food that is nutritious, but food for which there is a market.
in this way, we see large gaps between the obese and the hungry of the world. when food is treated as another commodity, one that should be packaged, marketed, sold, and consumed, markets will begin to become dependent on the growth of these commodities. these economic systems can’t grow unless people consume more, and those who cannot afford these commodities are left out.
food systems
in china, with speedy economic growth has come an even speedier demand for “luxury” food items such as meat and convenience foods. they are doing their part to grow the economy, but unchecked, this growth is creating a public health mess.
as urban chinese are enjoying more economic successes, their consumption patterns are changing from a primarily vegetable and cereal based diet with few animal foods, to one that is richer in meat and calories. with increased consumption of meat comes a host of other new demands; corn, soy, water, land. farmers must keep up with this demand, so land that was previously used for a wide variety of agricultural products to feed people is now being used to keep up with the demand for meat for the urban elite.
a lesson in contradictions
the argument of the necessity of unchecked economic growth is not specific to food systems. developing economies often use this argument in terms of environmental degradation as well. it is impossible to grow an economy in this world now without ruining the environment, and it is impossible to maintain economic growth without providing people the commodities they want. commodities include housing, air conditioning, and cars; mcdonalds, packaged snack food and fancy ice cream.
unfortunately at this time in history, we face enormous conflicts of interest in this economic growth model. grow your economy and alleviate poverty by promoting consumption, but this consumption is ruining the planet and a causing an unprecedented decline in health.
this is difficult because growth is good for the poor. a country stuck in a pattern of low growth is stuck in poverty. china’s rapid growth and consumption has improved the lives of millions. but problems arising now include a very real coexistence between obesity and malnutrition (not to mention the gap between the wealthy and the poor).
in rural areas of china, malnutrition rates continue to be high, especially among vulnerable groups such as children and girls. iron deficiency rates in some areas are as high as 60% among school children due to lack of meat in their diet. how ironic is it that the overabundance of one commodity among urban resident’s is causing an under-abundance among those in rural, while causing the downfall of both.
surely good nutrition cannot be defined by the absence of malnutrition alone. an upwards of above 50% of people in urban areas are now obese. everyday in china 3,000 new cases of type 2 diabetes are diagnosed, costing the country billions each year. but these diabetics continue to consume and help the economy grow as a whole. so where should our paradigm shift take place?
in the context of current economic growth models centered around consumption for those with capital, we will continue to see a rise in obesity simultaneous with malnutrition. but does changing this paradigm mean changing our idea of economic success? changing our models of public health? if our only successful model of economic growth leads to a public health tragedy, where do we go from here? how can anthropologists begin to link development efforts with those of public health and nutrition?
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nu jɔrk ʤaɪənts ˈrʊki ˈseɪfti ˈlændən ˈkɑlɪnz ˈhæzənt pleɪd ə daʊn ɪn ðə ˈɛˌnɛˈfɛl jɛt. wɪθ ðət biɪŋ sɛd, hi ˈdəzənt θɪŋk ˈdæləs ˈkaʊˌbɔɪz kˈwɔrtərˌbæk ˈtoʊni ˈroʊmoʊ wɪl faɪnd səkˈsɛs ɪf noʊ. 9 ˈʧuzɪz tɪ pɪk ɔn ðə ˈrʊki ɪn ðə ˈsizən ˈoʊpənər ˈsənˌdi naɪt. ˈroʊmoʊ sɛd ˈlʊkɪŋ fər ki matchups,”*,” ˈkɑlɪnz sɛd, ˈviə giants.com*. goʊɪŋ tɪ lʊk fər ki ˈmæʧəps, goʊɪŋ tɪ pɪk ɔn mi. ə ˈrʊki, bət aɪ min, hi kəmz təˈwɔrdz maɪ weɪ, ənd hi bi happy.”*.” tɔk əˈbaʊt ə loʊd əv ˈkɑnfədɛns fər ðə pɪk aʊt əv ˌæləˈbæmə. pleɪd ɪn bɪg boʊl geɪmz, wi pleɪd ɪn geɪmz wɛr ɪt kɔst ðə most,”*,” ˈkɑlɪnz sɛd. pleɪd ɪn geɪmz ðət kən meɪk ər breɪk ə ˈsizən. seɪm θɪŋ, ˈoʊnli ðə bɪˈgɪnɪŋ əv ðə ˈsizən naʊ. nɑt ˈrɪli ˈnərvəs əˈbaʊt it.”*.” ʃʊr, ˈkɑlɪnz həz pleɪd ɔn ðə ˈbɪgəst əv ˈsteɪʤɪz ðət ˈkɑlɪʤ həz tɪ ˈɔfər, bət ðæts ˈnəθɪŋ kəmˈpɛrd tɪ ðə braɪt laɪts əv ˈsənˌdi naɪt ˈfʊtˌbɔl. ˈroʊmoʊ, ˈɛnərɪŋ hɪz ˈsizən ˈstɑrtɪŋ ˈəndər ˈsɛnər, həz pleɪd ɪn ˈplɛnti əv bɪg geɪmz θruaʊt hɪz kərɪr nɑt tɪ ˈivɪn θɪŋk əˈbaʊt biɪŋ əˈfreɪd əv ðə ˈrʊki. ɪn θri ˈsizən ˈoʊpənərz wɪθ ðə ʤaɪənts, ˈroʊmoʊ ɪz ˈævrɪʤɪŋ ə ˈtoʊtəl əv 305 ˈpæsɪŋ jɑrdz ənd θri ˈpæsɪŋ ˈtəʧˌdaʊnz. wɪl si haʊ θɪŋz goʊ ˈstɑrtɪŋ ɔn sɛpt. 13 æt p.m*. cst*.
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new york giants rookie safety landon collins hasn't played a down in the nfl yet.
with that being said, he doesn't think dallas cowboys quarterback tony romo will find success if no. 9 chooses to pick on the rookie in the season opener sunday night.
“tony romo said he’s looking for key matchups,” collins said, via giants.com. “if he’s going to look for key matchups, he’s going to pick on me. . . . i’m a rookie, but i mean, he comes towards my way, and he won’t be happy.”
talk about a load of confidence for the second-round pick out of alabama.
“we played in big bowl games, we played in games where it cost the most,” collins said. “we played in games that can make or break a season. same thing, only it’s the beginning of the season now. not really nervous about it.”
sure, collins has played on the biggest of stages that college has to offer, but that's nothing compared to the bright lights of sunday night football.
romo, entering his 12th season starting under center, has played in plenty of big games throughout his career not to even think about being afraid of the rookie. in three season openers with the giants, romo is averaging a total of 305 passing yards and three passing touchdowns.
we'll see how things go starting on sept. 13 at 7:30 p.m. cst.
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ˈʃɪprɛk ˈhəntərz dɪˈskəvər u.s.a.f*. ˈɛrˌkræft baɪ ðə rɛk əv ə juz. ɛr fɔrs ˈɛrˌkræft əˈbændənd ˈdʊrɪŋ flaɪt baɪ ɪts kru ɪn 1952 həz bɪn ˈloʊˌkeɪtəd ɪn dip ˈwɔtər ɔf ɑsˈwigoʊ, nu jɔrk. ˈkrɪpəld baɪ ðə ˈfeɪljər əv wən əv ɪts tu ˈɛnʤənz ðə pleɪn kənˈtɪnjud ɔn ə 65 maɪl ˈpaɪlətləs flaɪt ənˈtɪl ɪt kræʃt ˈɪntu leɪk ɑnˈtɛrioʊ. ˈʃɪprɛk ɪkˈsplɔrərz ʤɪm ˈkɛnərd, ˈrɑʤər pɑvˈlɔfski ənd ˈroʊlənd ˈstivənz ˈloʊˌkeɪtəd ðə ˈɛrˌkræft waɪl ˈsərˌveɪɪŋ ə ˈsɛkʃən əv leɪk ɑnˈtɛrioʊ fər hɪˈstɔrɪk ʃɪps. ɔn sɛpˈtɛmbər 11 1952 ðə wɑz ɔn ə ruˈtin flaɪt frəm ˈbɛdfərd, ˌmæsəˈʧusəts tɪ ˈgrɪfɪs ɛr fɔrs beɪs nɪr roʊm, nu jɔrk. ðə lɛft ˈɪnʤən bɪˈgæn ˈfeɪlɪŋ əˈbaʊt 40 maɪəlz ˌsaʊˈθist əv ˈjutəkə. ðə ˈɛrˌkræft ˈstɑrtɪd tɪ luz ˈæltəˌtud əˈbaʊt 8 maɪəlz frəm roʊm, ny*. bɪˈlivɪŋ ðə pleɪn wʊd kræʃ ˈæftər wən ˈɪnʤən wɑz dɪˈseɪbəld, ðə ˈpaɪlət, lt*. col*. ˈkæləˌhæn, ˈɔrdərd hɪz kru ənd ˈpæsənʤərz tɪ ˈpɛrəˌʃut. ˈʤəmpɪŋ æt ən ˈæltəˌtud əv 2500 fit ðə θri ɛr fɔrs ˈɔfɪsərz ənd tu səˈvɪljənz ˈlændɪd ˈseɪfli. ɪt wɑz ðə fərst taɪm ˈɛni əv ðɛm ˈpɛrəˌʃutɪd frəm ən ˈɛrˌpleɪn. æt 11 p.m*. ðə ˈɛrˌkræft wɑz ˌriˈpɔrtəd flaɪɪŋ ˈvɛri loʊ ˈoʊvər ɑsˈwigoʊ. taʊn ˈrɛzɪdənts sɔ ə pleɪn ˈsərkəlɪŋ aʊt ˈoʊvər ðə leɪk ʤɪst ˌbiˈfɔr ɪt plənʤd ˈɪntu ðə ˈwɔtər, rɪˈpɔrtɪŋ ˈpaʊərfəl laɪt, laɪk ðət əv ə ˈsərˌʧlaɪt, əˈpɪrd fər ˈsɛvərəl ˈsɛkəndz ˈæftər ðə crash.”*.” ðə sərʧ fər ðə ˈmɪsɪŋ pleɪn bɪˈgæn ˌɪˈmiˌdiətli baɪ θri koʊst gɑrd ˈkətərz. ɪn əˈdɪʃən, ˈtreɪnərz, ˈtrænspɔrts, ənd ˈbɑmərz koʊmd ðə kræʃ ˈɛriə fər tu deɪz. wɪn ðɛr wɑz noʊ ˈrɛkɪʤ tɪ bi faʊnd ðə sərʧ wɑz kɔld ɔf. ðə ˈkɑrənt ˈʃɪprɛk tim wɑz kwaɪt səˈpraɪzd wɪn ðə ˈɪmɪʤ əv ən ˈɛrˌkræft əˈpɪrd ɔn ðɛr ˈsoʊnɑr dɪˈspleɪ ɛz ɪt wɑz wɛl bɪɔnd ðə maɪl ˈɔfˈʃɔr ɛz ˌriˈpɔrtəd baɪ ə fju aɪ ˈwɪtnəsɪz. dɪˈteɪld ˈsoʊnɑr ˈɪmɪʤɪz əv ðə rɛk əv ðə wər əbˈteɪnd baɪ ˈjutəˌlaɪzɪŋ haɪ ˌrɛzəˈluʃən saɪd skæn ˈsoʊnɑr. ðiz ˈɪmɪʤɪz prəˈvaɪd ən ˈɔlˌmoʊst ˈɛriəl ˌfoʊtəˈgræfɪk ˈɪmɪʤ əv ðə rɛk ənd əˈlaʊ ðə tim tɪ ˌəndərˈstænd haʊ ðə ˈrɛkɪʤ laɪz ɔn ðə ˈbɑtəm əv ðə leɪk. ðə ˈsoʊnɑr sərʧ wɑz ˈfɑloʊd əp baɪ ə proʊ rɪˈmoʊt ˈɑpərˌeɪtəd ˈviɪkəl tɪ kəˈlɛkt ˈvɪdioʊ əv ðə rɛk saɪt. ðə ɪz ˈɔlˌmoʊst ˈtoʊtəli ˌɪnˈtækt. ðə ˈfaɪbərˌglæs noʊz koʊn ɪz ˈmɪsɪŋ ɛz ər ðə ˈvərtɪkəl ˈsteɪbəˌlaɪzərz. wən əv ðə bleɪdz əv ðə lɛft prəˈpɛlər broʊk ɔf ənd laɪz ˈnɪrˈbaɪ ɔn ðə ˈbɑtəm. pɑrt əv ðə ˈwɪndˌʃild wɑz ˈbroʊkən ənd ðə lɛft saɪd əv ðə ˈbɑdi bɪˈhaɪnd ðə wɪŋ həz bɪn tɔrn əˈweɪ. ˈəðərˌwaɪz ɪt ɪz ɔl ðɛr. ðɪs ˈprɑbəˌbli ɪkˈspleɪnz waɪ noʊ dəˈbri kʊd bi faʊnd ˈfloʊtɪŋ ɔn ðə ˈsərfəs əv ðə leɪk ˈdʊrɪŋ ðə ˈsərʧɪz kənˈdəktəd baɪ ðə ˈjuˈɛs koʊst gɑrd ənd ˈjuˈɛs ɛr fɔrs. juz. ɛr fɔrs ˌspɛsəfəˈkeɪʃənz ˈwɪŋˌspæn: 47 ft*. 8 ɪn. lɛŋθ: 34 ft*. 3 ɪn. haɪt: 9 ft*. 8 ɪn. ˌmænjəˈfækʧərər: biʧ ˈɛrˌkræft ˌkɔrpərˈeɪʃən ˈɛnʤənz: præt ˈwɪtni ən 1 wɑsp ˈʤunjər ˈreɪdiəl ɛr kuld 450 spid (ˈmæksəməm): 215 ˈɛmˈpiˈeɪʧ ˈsilɪŋ haɪt (ˈmæksəməm): ft*. ˈloʊdɪd weɪt: 8727 paʊndz. reɪnʤ: 700 maɪəlz mænd baɪ tu mɛn ənd ˈkɛrid 6 tɪ 8 ˈpæsənʤərz wɪθ noʊ ˈɑrməmənt.
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shipwreck hunters discover u.s.a.f. aircraft
by marex 2014-07-11 10:28:00
the wreck of a u.s. air force c-45 aircraft abandoned during flight by its crew in 1952 has been located in deep water off oswego, new york. crippled by the failure of one of its two engines the plane continued on a 65 mile pilotless flight until it crashed into lake ontario. shipwreck explorers jim kennard, roger pawlowski and roland stevens located the aircraft while surveying a section of lake ontario for historic ships.
on september 11, 1952, the c-45 was on a routine flight from bedford, massachusetts to griffis air force base near rome, new york. the left engine began failing about 40 miles southeast of utica. the aircraft started to lose altitude about 8 miles from rome, ny. believing the plane would crash after one engine was disabled, the pilot, lt. col. callahan, ordered his crew and passengers to parachute. jumping at an altitude of 2500 feet the three air force officers and two civilians landed safely. it was the first time any of them parachuted from an airplane. at 11 p.m. the aircraft was reported flying very low over oswego. town residents saw a plane circling out over the lake just before it plunged into the water, reporting “a powerful light, like that of a searchlight, appeared for several seconds after the crash.”
the search for the missing plane began immediately by three coast guard cutters. in addition, c-45 trainers, c-47 transports, and b-25 bombers combed the crash area for two days. when there was no wreckage to be found the search was called off.
the current shipwreck team was quite surprised when the image of an aircraft appeared on their sonar display as it was well beyond the mile offshore as reported by a few eye witnesses. detailed sonar images of the wreck of the c-45 were obtained by utilizing high resolution deepvision side scan sonar. these images provide an almost aerial photographic image of the wreck and allow the team to understand how the wreckage lies on the bottom of the lake.
the sonar search was followed up by deployingg a videoray pro iv remote operated vehicle to collect video of the wreck site. the c-45 is almost totally intact. the fiberglass nose cone is missing as are the vertical stabilizers. one of the blades of the left propeller broke off and lies nearby on the bottom. part of the windshield was broken and the left side of the body behind the wing has been torn away. otherwise it is all there. this probably explains why no debris could be found floating on the surface of the lake during the searches conducted by the us coast guard and us air force.
u.s. air force c-45 specifications
wingspan: 47 ft. 8 in.
length: 34 ft. 3 in.
height: 9 ft. 8 in.
manufacturer: beach aircraft corporation
engines: pratt & whitney r986 an 1 wasp junior 9-cylinder radial air cooled 450 hp
speed (maximum): 215 mph
ceiling height (maximum): 20,000 ft.
loaded weight: 8727 lbs.
range: 700 miles
manned by two men and carried 6 to 8 passengers with no armament.
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ðə ˈoʊpənd wɪθ ə bæŋ ənd ðə ˈækʃən wɪl ˈoʊnli gɪt ˈhɑrdər ənd ˈfæstər ɛz pleɪərz geɪn mæʧ ˈfɪtnəs. hir wi lʊk æt ðə ki ˈklæʃɪz fər raʊnd 2 si ˈigəlz vi rabbitohs*: vi jəŋ pəps spəˈsɪfɪkli: sæm, ʤɔrʤ ənd luk ˈbərʤəs vi ʤɑʃ ˈstɑrlɪŋ, luɪ ənd ðə ˈbrɛntən ˈlɔrəns ɪn ə ˈmɛmbərz' raʊnd barnstormer*. ðə bɪg saʊθ ˈsɪdni ˈfɔrwərdz læst wik ən ˌɪmˈprɛsɪv ˈrustərz pæk ˈfiʧərɪŋ ˌɪntərˈnæʃənəlz ˈʤɛrɪd waerea-hargreaves*, sæm ənd ˈsəni bɪl ˈwɪljəmz, wɪθ sæm ˈbərʤəs neɪmd ɪn ə ˈpaʊərˌhaʊs stɑrt tɪ ðə ˈsizən. ˈmænli ˈsərtənli kənˈsidɪd moʊˈmɛntəm ɪn ðɛr ˈsɛkənd hæf læst wik, soʊ ðə pleɪərz hæv ən ˈivɪn mɔr ˈmæsɪv tæsk (ˈlɪtərəli) ɪn frənt əv ðɛm ɪn ˈfeɪsɪŋ ə mɑb əv ʤaɪənt rabbitohs*. ðə si ˈigəlz hæv neɪmd ˈkæptən ənd ˈfɔrmər ˈɔrəʤən prɑp ˈʤeɪsən kɪŋ fər ə rɪˈtərn frəm ˈɪnʤəri ɔf ðə bɛnʧ, ˈgɪvɪŋ ðɛm səm mɔr strɛŋθ ənd ɪkˈspɪriəns ɪn ðə ˈɪnʤən rum. ˈbrɑŋkoʊz vi ˈkaʊˌbɔɪz: bɛn ˈbɑrbə vi ˈmaɪkəl ˈmɔrgən ɪn fʊl flaɪt, ˈbɑrbə ɪz ˈnɪrli ˌɪmˈpɑsəbəl tɪ dɪˈfɛnd əˈgɛnst ənd ɪf ðə ˈbrɑŋkoʊz ˈfɔrwərd pæk kən ˈoʊvərˌkəm ðə laɪks əv ˈʤeɪsən taumalolo*, mæt skɑt ənd ʤeɪmz tamou*, mɑrˈki ˈsaɪnɪŋ kən wiv hɪz ˈmæʤɪk. ðə ˈbrɑŋkoʊz ˈfʊlˌbæk wɑz ˈɔlsoʊ ˌɪmˈprɛsɪv ɪn hɪz dɪˈfɛnsɪv ˈdutiz læst wik, prɪˈvɛnɪŋ ə ˈkəpəl əv traɪz θru hɪz prɪˈsaɪs pəˈzɪʃənɪŋ ɪn ðə ˈɛriə. laɪk ˈbɑrbə, ˈmɔrgən wɑz ˌɪmˈprɛsɪv æt ðə bæk əˈgɛnst ðə ˈreɪdərz ɪn raʊnd 1 ðə cowboys’*’ ˈkɛrˌteɪkər kəˈstoʊdiən ˈɔlsoʊ ʃoʊd greɪt ænˌtɪsəˈpeɪʃən ənd pəˈzɪʃənɪŋ baɪ dɪˈnaɪɪŋ ˈmɪlfərd ə traɪ ɪn ðə ˈmɪnət læst ˈwiˌkɪnd, ˈnɛroʊli ˈwɪnɪŋ ðə reɪs əˈgɛnst ðə ˈreɪdərz ˈfʊlˌbæk ɪn ˈɔrdər tɪ graʊnd ðə bɔl fərst. ʃʊr tɪ bi ˈtɛstɪd baɪ bɛn hənt, hu həz bɪn ˈpɑlɪʃɪŋ hɪz ʃɔrt ˈkɪkɪŋ geɪm wɪθ hɛlp frəm kləb ˈlɛʤənd ˈælən ˈlæŋər. ˈwɔrjərz vi ˈdrægənz: ʧæd ˈtaʊnzənd vi ˈgɛrɪθ pleɪd hɪz roʊl tɪ pərˈfɛkʃən ɪn ə man-of*- pərˈfɔrməns fər ðə ˈdrægənz læst ˈwiˌkɪnd, leɪɪŋ ɔn fɔr traɪ əˈsɪsts ənd ˈkɪkɪŋ ə ˈpərˌfɪkt ɔf ðə ti. ɪn ə tim əˈkəstəmd tɪ hu ər ˈbrɪljənt wən ˈmɪnət, ˈnoʊˌwɛr tɪ bi sin ðə nɛkst, ðə kənˈsɪstənsi ɪz ˈwɛlkəm. ˈtaʊnzənd ˈɔlsoʊ stæmpt hɪz əˈθɔrəti ɔn hɪz nu saɪd, kənˈtroʊlɪŋ ðə ˈwɔrjərz ˈkɪkɪŋ geɪm ənd ˈbutɪŋ ðə pɪl fər ˈoʊvər 150 ˈmitərz. dɪˈspaɪt ə ˈkəpəl əv pur dɪˈsɪʒənz hi wɑz ˈsɑləd wɪθ bɔl ɪn hænd. ɪn dɪˈfɛns hi rɪˈspɑndɪd wɛl tɪ ˈplɛnti əv əˈtɛnʃən frəm ðə əˈpoʊzɪŋ bɪg mɛn, ˈmeɪkɪŋ 18 ˈtækəlz ənd ˈmɪsɪŋ ʤɪst wən. boʊθ timz wɪl bi ˈæskɪŋ fər rɪˈlaɪəbəl ˈrəðər ðən rɪˈmɑrkəbəl frəm ðɛr rɪˈspɛktɪv ˈstænˌdɔfs, ənd hi hu kən kənˈtroʊl ðə geɪm bɛst wɪl bi ˈkruʃəl. stɔrm vi ˈpænθərz: ˈʤeɪmi soʊərd vi ˈkupər krɑŋk krɑŋk rɪˈtərnz frəm ˈʃoʊldər ˈsərʤəri fər hɪz fərst geɪm əv ðə ˈsizən ənd ju wʊd ɪkˈspɛkt ðə ˈreɪnɪŋ ˈdæli ɛm wɪl bi underdone*. ˌɪmˈpækt wɑz ˌɪˈmiˌdiətli fɛlt baɪ ðə ˈpænθərz, wɪʧ geɪnd ðə moʊst ˈmitərz əv ˈɛni saɪd baɪ fʊt 917 læst wik. ðiz tu pleɪərz boʊθ pəˈzɛs ɪˈlit ˈkɪkɪŋ skɪlz ˈpɪvətəl tɪ ðɛr əˈtæk. krɑŋk ˈævrɪʤd 390 ˈkɪkɪŋ ˈmitərz pər geɪm læst jɪr tɪ goʊ wɪθ hɪz 25 traɪ əˈsɪsts (ˈikwəl ˈsɛkənd ɪn ðə) ənd soʊərd ˈævrɪʤd 341 ˈmitərz ˌbiˈfɔr hi dɪˈpɑrtɪd fər ðə ˈmɪdˈsizən. ˈgɪvɪn ðə θrɛt boʊθ timz pəˈzɛs ɔn ðə wɪŋ, ðə əˈbɪləˌti tɪ sɛt ðɛr əp baɪ fʊt meɪks ðiz tu ˈvaɪtəl ɔn ˈsæˌtɪˌdeɪ. ˈrustərz vi ilz: bɔɪd ˈkɔrdnər vi ˈmɑˌnu ðə jəŋ bʊl vi ðə nu ˈboʊˌvaɪn ɔn ðə blɑk. ðə ˈɔrəʤən wɑz wən əv ðə ˈrustərz' bɛst ɪn ðɛr dɪˈfit tɪ saʊθ ˈsɪdni, pleɪɪŋ mɔr ðən θˌrikˈwɔrtərz əv ðə geɪm ənd ˈrənɪŋ wɪθ hɪz ˈjuʒəwəl ˈgəˌstoʊ ɔn ðə lɛft ɛʤ. bət wɑz wən əv ðə faɪndz əv ðə ˈwiˌkɪnd. ðə ˈrisəntli ˈkiwi wɑz ˈsɪmpli ˌaʊtˈstændɪŋ ɪn hɪz fərst greɪd ˈdeɪbju, pleɪɪŋ ˈɔlˌmoʊst ðə ɪnˈtaɪər geɪm ənd ˈlidɪŋ ðə tim ɪn ˈmitərz. wɪθ boʊθ pleɪərz ˈhɛvəli ˌɪnˈvɑlvd ɪn ðə fərst geɪm əv ðə jɪr fər ðɛr rɪˈspɛktɪv kləbz, ɪt wɪl bi ˈɪntəˌrɛstɪŋ tɪ si ˈwɛðər ðə jəŋ ˈduoʊ kən bæk əp ðət ˈɛfərt. ˈtaɪtənz vi ˈtaɪgərz: ˈwɪljəm vi ʤeɪmz tɛˈdɛskoʊ tɛˈdɛskoʊ kʊd hæv ə ˈmæsɪv ˈɪnfluəns ɔn ðə tigers’*’ əˈtæk ɪn 2014 ənd ɔn ˈmənˌdeɪ ˈfərðər ˈɪləˌstreɪtɪd waɪ koʊʧ ʤɑn ˈkɑrˌtraɪt hoʊldz ɪm ɪn səʧ haɪ rɪˈgɑrd. wɑz ˈbætərd frəm ˈpɪlər tɪ poʊst ˈɔfən ˌɪˈligəli bət kənˈtɪnjud tɪ θroʊ hɪz ˈbɑdi dɪˈrɛkli ˈɪntu ðə laɪn əv faɪər ənd wɪn hɪz tim ˈnidɪd ən ˈɛkstrə ˈɛfərt ɪn ðə ˈfaɪnəl 10 ˈmɪnəts, ɪt wɑz hu slaɪst θru tɪ ˈælbərt ˈkɛliz wɪθ ˈfɪŋgərˌtɪp kənˈtroʊl ənd skɔr ðə match-winner*. ɪn ə ˌkɑmpəˈtɪʃən ˈkərəntli blɛst wɪθ ə ˈplɛθərə əv ˈgɪftɪd ˈfʊlˌbæks, ˈrɛrli gɪts ðə ræps bət ɛz ðə roʊl həz ɪkˈspændɪd ðə kənˈtɪnjuz tɪ faɪnd weɪz tɪ əˈdæpt. ɪn 16 geɪmz læst jɪr hi skɔrd sɪks traɪz, leɪd ɔn sɪks mɔr, hæd naɪn laɪn breɪks ənd eɪt offloads*, ənd ɪn ðə geɪm wi hæv sin ðəs fɑr ɪz ə ˈvɛri ˈdeɪnʤərəs ˈrənər. naɪts vi ˈreɪdərz: ˈʤɛrəˌmi smɪθ vi ʃɔn ðɪs ɪz ˈʃeɪpɪŋ əp tɪ bi ə ˈbætəl əv ðə warhorses*. ɪn wən ˈkɔrnər ɪz ə jəŋ ˈreɪdər səˈnɑnəməs fər biɪŋ wən əv ðə meɪn ˈpaʊərˌhaʊsɪz fər ðə grin məˈʃin. jɛt tɪ riʧ hɪz geɪm ər nɑʧ əp ə ˌrɛprɪˈzɛnətɪv geɪm, goʊ ˈfeɪstuˈfeɪs wɪθ ðə ˈhɑrdənd ənd ˈfərðərˌmɔr ɪkˈspɪriənst naɪt, ˈʤɛrəˌmi smɪθ. smɪθ ə ˈkiwi ˌɪnərˈnæʃənɑl ənd ə ˈvɛtərən əv 159 geɪmz wɪl ˈsərtənli ˈwɛlkəm ðə ˈʧælənʤ. waɪl smɪθ ɪz ən ˈeɪʤɪŋ ˈwɔrjər ənd nidz ə breɪk ˈɛvəri soʊ ˈɔfən, ðə ˈfrɛʃər ɪz əˈkəstəmd tɪ ˈʧərnɪŋ θru ðə fʊl 80 fər hɪz saɪd. ðɪs ɪz rɪˈflɛktɪd ɪn læst stæts, wɪθ ˈævrɪʤɪŋ 96 ˈmitərz ənd 41 ˈtækəlz ə geɪm tɪ ˈmitərz ənd ˈtækəlz. ɪkˈspɛkt ə təf ʃoʊɪŋ wɪn ðiz tu mɛn kəˈlaɪd ðɪs ˈwiˌkɪnd. ˈbʊlˌdɔgz vi ʃɑrks: ʤɑʃ ˈrɛnəldz vi tɑd ˈkɑrni ɔl ˈsɪksɪz ənd ˈsɛvənz fər ðɪs wən, wɪθ ˈrɛnəldz ənd ˈkɑrni ðə ˈfoʊkəl pɔɪnts əv ðɛr sides’*’ əˈtæks. ˈrɛnəldz wɪl bi aʊt tɪ ˌɪmˈpruv ɔn hɪz kwaɪət ʃoʊɪŋ ɪn raʊnd 1 ənd pɪk əp ðə fɔrm ðət sɔ ɪm bəst ˈɪntu ˈlɔri bluz ˈɔrəʤən kæmp læst jɪr ɔf ðə bæk əv 12 traɪ əˈsɪsts ənd ə ˈhɛlθi naɪn mit paɪz hɪmˈsɛlf. ðə ʃɑrks wɪl bi ˈdɛspərɪt fər ˈkɑrni tɪ slɑt streɪt bæk ˈɪntu ðɛr ˈtuθləs əˈtæk, əˈlaʊɪŋ hævz rɪˈkrut ˈdænjəl ˈhoʊldzˌwərθ tɪ faɪnd hɪz fit wɪˈθaʊt ˈhævɪŋ tɪ dɪˈrɛkt ðə saɪd ɪn ʤɪst hɪz ˈsɛkənd mæʧ ɪn fɔr jɪrz. ˈkɑrni wɪl hæv hɪz wərk kət aʊt hi hæv kwaɪt soʊ strɔŋ ə ˈplætˌfɔrm tɪ pleɪ ɔf wɪθ tɔp ˈfɔrwərdz pɔl ˈgɔlən ənd ˈændru ˈmɪsɪŋ.
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the nrl opened with a bang and the action will only get harder and faster as players gain match fitness. here we look at the key clashes for round 2.
sea eagles v rabbitohs: burgesses v young pups
specifically: sam, george and luke burgess v josh starling, dunamis lui and the not-so-young brenton lawrence in a members' round barnstormer. the big south sydney forwards last week steamrolled an impressive roosters pack featuring internationals jared waerea-hargreaves, sam moa and sonny bill williams, with sam burgess named man-of-the-match in a powerhouse start to the season.
manly certainly conceded momentum in their second half last week, so the above-mentioned players have an even more massive task (literally) in front of them in facing a mob of giant rabbitohs. the sea eagles have named captain and former nsw origin prop jason king for a return from injury off the bench, giving them some more strength and experience in the engine room.
broncos v cowboys: ben barba v michael morgan
in full flight, barba is nearly impossible to defend against and if the broncos forward pack can overcome the likes of jason taumalolo, matt scott and james tamou, brisbane’s marquee signing can weave his magic. the broncos fullback was also impressive in his defensive duties last week, preventing a couple of tries through his precise positioning in the in-goal area.
like barba, morgan was impressive at the back against the raiders in round 1. the cowboys’ caretaker custodian also showed great anticipation and positioning by denying milford a try in the 13th minute last weekend, narrowly winning the race against the raiders fullback in order to ground the ball first. he’s sure to be tested by ben hunt, who has been polishing his short kicking game with help from club legend allan langer.
warriors v dragons: chad townsend v gareth widdop
widdop played his role to perfection in a man-of- the-match performance for the dragons last weekend, laying on four try assists and kicking a perfect eight-from-eight off the tee. in a team accustomed to five-eighths who are brilliant one minute, nowhere to be seen the next, the englishman’s consistency is welcome.
townsend also stamped his authority on his new side, controlling the warriors kicking game and booting the pill for over 150 metres. despite a couple of poor decisions he was solid with ball in hand. in defence he responded well to plenty of attention from the opposing big men, making 18 tackles and missing just one. both teams will be asking for reliable rather than remarkable from their respective standoffs, and he who can control the game best will be crucial.
storm v panthers: jamie soward v cooper cronk
cronk returns from shoulder surgery for his first game of the season and you would expect the reigning dally m medallist will be underdone. soward’s impact was immediately felt by the panthers, which gained the most metres of any side by foot (917) last week. these two players both possess elite kicking skills pivotal to their side’s attack.
cronk averaged 390 kicking metres per game last year to go with his 25 try assists (equal second in the nrl) and soward averaged 341 metres before he departed for the uk midseason. given the threat both teams possess on the wing, the ability to set their try-scorers up by foot makes these two playmakers vital on saturday.
roosters v eels: boyd cordner v manu ma'u
the young bull v the new bovine on the block. the nsw origin second-rower was one of the roosters' best in their defeat to south sydney, playing more than three-quarters of the game and running with his usual gusto on the left edge. but ma'u was one of the finds of the season-opening weekend. the recently re-signed kiwi was simply outstanding in his first grade debut, playing almost the entire game and leading the team in metres.
with both players heavily involved in the first game of the year for their respective clubs, it will be interesting to see whether the young duo can back up that effort.
titans v wests tigers: william zillman v james tedesco
tedesco could have a massive influence on the tigers’ attack in 2014 and on monday zillman further illustrated why coach john cartwright holds him in such high regard. zillman was battered from pillar to post – often illegally – but continued to throw his body directly into the line of fire and when his team needed an extra effort in the final 10 minutes, it was zillman who sliced through to regather albert kelly's grubber with fingertip control and score the match-winner.
in a competition currently blessed with a plethora of freakishly gifted fullbacks, zillman rarely gets the raps but as the no.1's role has expanded the 27-year-old continues to find ways to adapt. in 16 games last year he scored six tries, laid on six more, had nine line breaks and eight offloads, and in the pacier game we have seen thus far is a very dangerous dummy-half runner.
knights v raiders: jeremy smith v shaun fensom
this match-up is shaping up to be a battle of the warhorses. in one corner is a young raider synonymous for being one of the main powerhouses for the green machine. yet to reach his 100th first-grade game or notch up a representative game, he’ll go face-to-face with the hardened and furthermore experienced knight, jeremy smith.
smith – a kiwi international and a veteran of 159 first-grade games – will certainly welcome the challenge. while smith is an aging warrior and needs a break every so often, the fresher fensom is accustomed to churning through the full 80 for his side. this is reflected in last season’s stats, with fensom averaging 96 metres and 41 tackles a game to smith’s 80.6 metres and 27.3 tackles. expect a tough showing when these two men collide this weekend.
bulldogs v sharks: josh reynolds v todd carney
it’s all sixes and sevens for this one, with reynolds and carney the focal points of their sides’ attacks. reynolds will be out to improve on his quiet showing in round 1 and pick up the form that saw him bust into laurie daley’s blues origin camp last year off the back of 12 try assists and a healthy nine meat pies himself.
the sharks will be desperate for carney to slot straight back into their toothless attack, allowing halves recruit daniel holdsworth to find his feet without having to direct the side in just his second nrl match in four years. carney will have his work cut out – he won’t have quite so strong a platform to play off with top forwards paul gallen and andrew fifita missing.
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vaɪs maɪk pɛns ˈmaɪkəl (maɪk) ˈrɪʧərd ˈmitɪŋ wɪθ ˈsɛnɪt əˈhɛd əv voʊt tɪ blɑk ˈimərʤənsi ˌdɛklərˈeɪʃən 'ənd ðə əˈwɔrd fər bɛst pəˈlɪtɪkəl ˈkɑmənˌtɛri baɪ ən ˈɔskər ˌnɑməˈni goʊz tɪ...' ˈjuˈɛn ˈnukliər ˈwɑʧˌdɔg: ˌɪˈrɑn meɪnˈteɪnz kəmˈplaɪəns wɪθ 2015 pækt mɔr ɔn ˈwɛnzˌdeɪ ˈblæstɪd ˈprɛzɪdənt ˌoʊˈbɑməz dɪˈsɪʒən tɪ kəmˈjut ˈfɔrmər juz. ˈɑrmi ˈsoʊlʤər ˈʧɛlsi ˈprɪzən ˈsɛntəns. kəmˈjut ˈpraɪvət ˈmænɪŋz ˈsɛntəns wɑz ə mɪˈsteɪk," pɛns sɛd ɪn ə ˈɪntərvˌju wɪθ fɑks nuz ðət wɪl bi ˈbrɔdˌkæst ˈwɛnzˌdeɪ ˈivnɪŋ. ðə vaɪs ˈɛkoʊd ðə wərdz əv sɛn. tɑm ˈkɔtən ˈtɑməs (tɑm) braɪənt ˈvæli: ˈsɛnətərz ərʤ trəmp tɪ bɑr ˈprɑdəkts frəm ɪˈlɛktrɪk grɪd əˈfɪʃəlz kənˈdɛm trəmp ˈimərʤənsi ˌdɛklərˈeɪʃən nu məˈlɪʃəs ˈsaɪbər tul faʊnd ˈfeɪsˌbʊk ˈfeɪsɪz kˈwɛsʧənz ɔn ˈtritmənt əv ˈmɑdərˌeɪtərz ki ˈsɛnətərz seɪ ædˌmɪnɪˈstreɪʃən ʃʊd bæn tɛk ɪn ˈjuˈɛs ɪˈlɛktrɪk grɪd ˌɪnˈvaɪtɪŋ kɪm ʤɔŋ ˈjuˈɛn tɪ ˈwɔʃɪŋtən mɔr (r-ark*.), hu ɔn ˈtuzˌdeɪ sɛd ˌoʊˈbɑmə ˈtritɪd "ə ˈtreɪtər laɪk ə martyr.”*.” ˌædvərˈtaɪzmənt "ˈpraɪvət ˈmænɪŋ ɪz ə ˈtreɪtər ənd ʃʊd nɑt hæv bɪn tərnd ˈɪntu ə ˈmɑrtər, ɛz ˈsɛnətər ˈkɔtən sɛd. ˈpraɪvət ˈmænɪŋz ˈækʃənz ˈkɑmprəˌmaɪzd ɑr ˈnæʃənəl sɪˈkjʊrəti, ɪnˈdeɪnʤərd əˈmɛrɪkən ˌpərsəˈnɛl ˈdaʊnˈreɪnʤ, ˈkɑmprəˌmaɪzd ˌɪndəˈvɪʤəwəlz ɪn æfˈgænəˌstæn hu wər koʊˈɑpərˌeɪtɪŋ wɪθ ɑr ˈfɔrsɪz baɪ ˈlikɪŋ ˈdɑkjəmənts tɪ wikileaks*," pɛns wɑz ˈsɛntənst ɪn 2013 tɪ 35 jɪrz ɪn ˈprɪzən fər ˈlikɪŋ ˈklæsəˌfaɪd ˌɪnˌfɔrˈmeɪʃən əˈbaʊt juz. ˈnæʃənəl sɪˈkjʊrəti ðət wɑz ˈleɪtər ˈpəblɪʃt baɪ ˈsɛntəns wɑz ðə ˈlɔŋgɪst ˈpɛnəlti ˌɪmˈpoʊzd fər ˈlikɪŋ ˈklæsəˌfaɪd əˈfɪʃəlz, ˌɪnˈkludɪŋ ˈɪnˌkəmɪŋ waɪt haʊs prɛs ˈsɛkrəˌtɛri ʃɔn ˈspaɪsər, ˈɔlsoʊ ˈkrɪtəˌsaɪzd ˌoʊˈbɑməz ˌkɑmjəˈteɪʃən əv ˈprɪzən ðə ˈaʊˌtreɪʤ sin əˈbaʊt ðə ˈəðər liks ðət hæv kəm əp, tɪ si ˈsəmˌwən hu həz ˈgɪvɪn əˈweɪ ðə ˈsikrɪts ənd ðɛn kənˈvɪktəd əv ɪt ˌdɪsəˈpɔɪnɪŋ ənd ɪt sɛndz ə ˈvɛri ˈtrəbəlɪŋ ˈmɛsɪʤ wɪn ɪt kəmz tɪ ðə ˈhændəlɪŋ əv ˈklæsəˌfaɪd information,”*,” ˈspaɪsər sɛd ɔn ˈwɛnzˌdeɪ.
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vice president-elect mike pence michael (mike) richard pencepence meeting with senate gop ahead of vote to block emergency declaration 'and the award for best political commentary by an oscar nominee goes to...' un nuclear watchdog: iran maintains compliance with 2015 pact more on wednesday blasted president obama's decision to commute former u.s. army soldier chelsea manning’s 35-year prison sentence.
“to commute private manning's sentence was a mistake," pence said in a pre-recorded interview with fox news that will be broadcast wednesday evening.
the vice president-elect echoed the words of sen. tom cotton thomas (tom) bryant cottonhillicon valley: senators urge trump to bar huawei products from electric grid | ex-security officials condemn trump emergency declaration | new malicious cyber tool found | facebook faces questions on treatment of moderators key senators say administration should ban huawei tech in us electric grid inviting kim jong un to washington more (r-ark.), who on tuesday said obama treated "a traitor like a martyr.”
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"private manning is a traitor and should not have been turned into a martyr, as senator cotton said. private manning's actions compromised our national security, endangered american personnel downrange, compromised individuals in afghanistan who were cooperating with our forces by leaking 750,000 documents to wikileaks," pence noted.manning was sentenced in 2013 to 35 years in prison for leaking classified information about u.s. national security that was later published by wikileaks.manning's sentence was the longest penalty imposed for leaking classified documents.other gop officials, including incoming white house press secretary sean spicer, also criticized obama's commutation of manning’s prison sentence."after the outrage we’ve seen about the other leaks that have come up, to see someone who has given away the secrets and then convicted of it ... it’s disappointing and it sends a very troubling message when it comes to the handling of classified information,” spicer said on wednesday.
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kəˈləmbəs smɪθ həz faɪld ə ˈlɔˌsut əˈlɛʤɪŋ ðət ““special”*” ˈmɛdɪkəl ˌmɛrəˈwɑnə lɔ ɪz ˌənˌkɑnstəˈtuʃənəl bɪˈkəz ɪt ˈoʊnli əˈlaʊz ə ˈhændˌfʊl əv blæk ˈfɑrmərz tɪ kˈwɑləˌfaɪ fər ə ˈlaɪsəns. ðɛr ər ˈmɛni ˈsoʊʃəl ənd ˌɛkəˈnɑmɪk ˈbɛnəfɪts ðət stɛm frəm ˈkænəbəs ˌligələˈzeɪʃən, əˈspɛʃəli wɪn ɪt kəmz tɪ rɪˈdusɪŋ ðə ˌɪnˌkɑrsərˈeɪʃən reɪt ðət hæv pleɪgd məˈnɔrəti kəmˈjunɪtiz fər ˈdɛkeɪdz. ˌɔlˈðoʊ ˈpipəl əv ˈkələr hæv bɪn (ənd kənˈtɪnju tɪ bi) ˌdɪsprəˈpɔrʃənətli əˈflɪktɪd baɪ ˈfɛdərəl ˌproʊəˈbɪʃən, ðiz grups ər stɪl ˈstrəgəlɪŋ tɪ faɪnd ðɛr ˈraɪtfəl pleɪs ɪn ðə ˈligəl ˈmɑrkɪt. fər ˈɪnstəns, ə ˈrisənt ˈstədi ʃoʊd ðət ˈoʊnli 17 əv ðə ˈligəl wid ˈbɪznɪsɪz ər lɛd baɪ məˈnɔrəti ɪgˈzɛkjətɪvz dɪˈspaɪt ˈvɛriəs ˌɔrgənəˈzeɪʃənz ənd ˈæktɪvɪsts ər ˈfaɪtɪŋ tɪ fɪks ðɪs ˈglɛrɪŋ ɪkˈskluʒən kəˈləmbəs smɪθ, ə blæk ˈfɑrmər frəm ˈpænəˌmɑ ˈsɪti, ˈflɔrɪdə, ˈrisəntli faɪld ə ˈlɔˌsut əˈlɛʤɪŋ ðət ðə steɪt lɔ rikˈwaɪərɪŋ wən ˌkəltɪˈveɪʃən ˈlaɪsəns bi ˈɪʃud tɪ ə məˈnɔrəti ˈfɑrmər ɪz ˌənˌkɑnstəˈtuʃənəl. bæk ɪn ʤun, ðə ˈflɔrɪdə steɪt ˈlɛʤəsˌleɪʧər pæst ə ˈbrɔdər ˈmɛdɪkəl ˈkænəbəs bɪl, wɪʧ ˌɪnˈkludɪd ən ɪkˈspænʧən tɪ ðə ˈnəmbər əv ˈlaɪsənsɪz ðət wʊd bi ˈɪʃud. ðə lɔ ˈspɛsəˌfaɪd ðət wən ˈlaɪsəns bi spəˈsɪfɪkli ˈɪʃud tɪ ə blæk ˈfɑrmər (aʊt əv ðə 10 əˈdɪʃənəl ˈlaɪsənsɪz tɪ bi ˈgrænɪd) hu hæd bɪn ə pɑrt əv ə ˈsɛtəld ˈlɔˌsut rɪˈgɑrdɪŋ dɪˌskrɪməˈneɪʃən baɪ ðə ˈfɛdərəl ˈgəvərnmənt ɪn ðə pæst, ənd ˈstɪpjəˌleɪtɪd ðət ðə məˈnɔrəti wʊd ˈɔlsoʊ hæv tɪ bi ə ˈmɛmbər əv ðə blæk ˈfɑrmərz ənd ˈʧæptər. ˌɔlˈðoʊ smɪθ bɪˈlivz ə kˈwɑləˌfaɪd ˈkænədɪt tɪ ˈkəltəˌveɪt, hi bɪn əˈlaʊd tɪ ʤɔɪn ðə blæk ˈfɑrmərz əˌsoʊʃiˈeɪʃən, ðəs ˈstɑpɪŋ ɪm frəm rɪˈsivɪŋ ə ˈlaɪsəns tɪ groʊ ˈmɛdɪkəl ˈkænəbəs ɪn ðə steɪt. ɪz noʊ ˈræʃənəl ˈbeɪsɪs fər ˈlɪmətɪŋ ðə ˌɑpərˈtunəti əv blæk ˈfɑrmərz tɪ əbˈteɪn ə ˈmɛdɪkəl ˌmɛrəˈwɑnə ˈlaɪsəns tɪ ˈoʊnli ðə fju ˈmɛmbərz əv ðət klæs əv blæk ˈfɑrmərz hu ər ˈɔlsoʊ ˈmɛmbər əv ə spɪˈsɪfɪk ˈpraɪvət association,”*,” ðə ˈlɔˌsut steɪts ˌæləˈgeɪʃənz sim tɪ hæv ˈmɛrət ɪn laɪt əv ðə ˌkɑnstəˈtuʃən, wɪʧ spəˈsɪfɪkli bɑrz ““special”*” lɔz ðət rɪˈleɪt tɪ əv ˈprɪvɪlɪʤ tɪ ə ˈpraɪvət corporation.”*.” ðə ˈlɔˌsut wɑz faɪld əˈgɛnst ðə ˈflɔrɪdə dɪˈpɑrtmənt əv hɛlθ, ðə brænʧ əv ˈgəvərnmənt riˈspɑnsəbəl fər ˈɪʃuɪŋ ˈlaɪsənsɪz. ɛz əv naʊ, ðə blæk ˈfɑrmərz ənd əˌsoʊʃiˈeɪʃən hæv ˈsteɪtɪd ðət ðeɪ wɪl nɑt ˈkɑmɛnt ɔn ðə keɪs ənˈtɪl ðɛr əˈtərniz hæv rivˈjud ɪt.
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columbus smith has filed a lawsuit alleging that florida’s “special” medical marijuana law is unconstitutional because it only allows a handful of black farmers to qualify for a license.
there are many social and economic benefits that stem from cannabis legalization, especially when it comes to reducing the pot-related incarceration rate that have plagued minority communities for decades. although people of color have been (and continue to be) disproportionately afflicted by federal prohibition, these groups are still struggling to find their rightful place in the legal market. for instance, a recent study showed that only 17% of the country’s legal weed businesses are led by minority executives , despite various organizations and activists are fighting to fix this glaring exclusion .
columbus smith, a black farmer from panama city, florida, recently filed a lawsuit alleging that the state law requiring one cultivation license be issued to a minority farmer is unconstitutional. back in june, the florida state legislature passed a broader medical cannabis bill, which included an expansion to the number of licenses that would be issued.
the law specified that one license be specifically issued to a black farmer (out of the 10 additional licenses to be granted) who had been a part of a settled lawsuit regarding discrimination by the federal government in the past, and stipulated that the minority cultivator would also have to be a member of the black farmers and agriculturalists association-florida chapter. although smith believes he’s a qualified candidate to cultivate, he hasn’t been allowed to join the black farmers association, thus stopping him from receiving a license to grow medical cannabis in the state.
“there is no rational basis for limiting the opportunity of black farmers to obtain a medical marijuana license to only the few members of that class of black farmers who are also member of a specific private association,” the lawsuit states .
smith’s allegations seem to have merit in light of the state’s constitution, which specifically bars “special” laws that relate to “grant of privilege to a private corporation.” the lawsuit was filed against the florida department of health, the branch of government responsible for issuing licenses. as of now, the black farmers and agriculturalists association have stated that they will not comment on the case until their attorneys have reviewed it.
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əˈmɛrɪkə ˈʧæˌvɛz meɪks hər weɪ tɪ ˈpəzəl quest”*” sun, fɪsts flaɪɪŋ ənd sæs ɔn pɔɪnt. ˈkjʊriəs əˈbaʊt ðə ˈhɪroʊ ənd hər paʊərz ɪn ““mpq”*”? wɛl wi hæd ə ˈlɪtəl ʧæt wɪθ goʊ! ˈsinjər prəˈdusər ʤɑʃ ˈɔstən tɪ ˈfɪgjər aʊt ʤɪst wət ˈkeɪpəbəl əv, ənd ɪt tərnz aʊt ˈkreɪzi juˈnik! rɛd ɔn fər ðə ˈbreɪkˌdaʊn foʊks.: bɪn ˈkɪkɪŋ bæd gaɪ bət fər ə waɪl ɪn ðə ˈkɑmɪks, bət waɪ ɪz naʊ ðə raɪt taɪm fər hər tɪ ʤɔɪn ðə ˈpəzəl quest”*” kru? ʤɑʃ ˈɔstən: əˈmɛrɪkə ˈʧæˌvɛz ɪz ə strɔŋ ˈsupər ˈhɪroʊ, ənd meɪks ən ˈɛksələnt [ʧɔɪs] ɛz ðə nuəst ˈkɛrɪktər ɪn ˈpəzəl quest.”*.” hər kɪk bət əˈbɪləˌtiz ər ə gʊd fɪt ɪn ðə ˈrɑstər ənd ɪt wɑz fən tɪ kriˈeɪt ə ˈkɛrɪktər ðət ˈfoʊkɪsɪz ɔn ˌeɪˈpi tɪ dil ˈdæmɪʤ ˈrəðər ðən ðə ˈjuʒəwəl kəˈlɛktɪŋ ənd ˈspɛndɪŋ ˌeɪˈpi.: əˈmɛrɪkə həz ə bənʧ əv əˈbɪləˌtiz, frəm ˈsupər strɛŋθ ənd spid tɪ kriˈeɪtɪŋ ˈpɔrtəlz tɪ ˈdɪfərənt ˌriˈæləˌtiz. wət dɪd ðə tim wɔnt tɪ ˈfoʊkɪs ɔn wɪn dɪˈzaɪnɪŋ hər paʊərz? ʤɑʃ ˈɔstən: ðə dɪˈzaɪnərz ˈwɔntɪd tɪ ˌɪnˈkɔrpərˌeɪt hər juˈnik əˈbɪləˌtiz ənd dɪd soʊ ɪn ən ˈɪntəˌrɛstɪŋ, ɔl ˈpæsɪv, weɪ. ə ˈkɛrɪktər ðət ðə pleɪər hæv tɪ ˈæktəˌveɪt hər paʊərz, ɛz ðeɪ ˌɔtəˈmætɪkli ˈtrɪgər beɪst ɔn ˈsərtən kənˈdɪʃənz.: ənd wət kən ʃi du ɪn ðə geɪm? ʤɑʃ ˈɔstən: hər fərst əˈbɪləˌti ɪz kɔld pənʧ ˈɛvriˌwən ənd ə rɛd ˈpæsɪv. fər ðɪs əˈbɪləˌti mæʧ ˈdæmɪʤ ɪz ˌɪnˈkrist fər iʧ ˌeɪˈpi ʃi həz ɪn ðət ˈkələr. hər ˈsɛkənd əˈbɪləˌti, ˈtɪkɪt tɪ ðə multiverse*, ɪz ə ˈjɛloʊ ˈpæsɪv. ˈɛvəri taɪm ðə pleɪər ˈmæʧɪz fɔr ər ˈgreɪtər, træp taɪlz ər kriˈeɪtɪd ɪn ðət ˈkələr. ɪf ðə pleɪər həz θri ˈdɪfərənt ˈkələrd træp taɪlz, ðeɪ ər riˈmuvd, dil ˈdæmɪʤ ənd ˈʤɛnərˌeɪt ˌeɪˈpi ɪn ðət ˈkələr. hər læst əˈbɪləˌti ɪz kɔld fɪr nɑt, mi gente*! ənd ə grin ˈpæsɪv. æt ðə stɑrt əv ðə tərn, ʃi kriˈeɪts ə ˈkrɪtɪkəl taɪl ɪf ðə pleɪər həz mɔr ˌeɪˈpi ðən ðə ˈɛnəmi ɪn æt list fɔr ˈkələrz. ɪf ðə pleɪər həz mɔr ˌeɪˈpi ɪn æt list faɪv ˈkələrz ʃi dɪz ˈdæmɪʤ ɛz wɛl.: æm aɪ ˈrɛdɪŋ ðət raɪt, ʃi həz θri passives*? wət wɑz ðə ˈθɪŋkɪŋ bɪˈhaɪnd ðət? ʤɑʃ ˈɔstən: wi ər duɪŋ ˈsəmθɪŋ ˈdɪfərənt, ˈmeɪkɪŋ ə ˈkɛrɪktər ðət ðə pleɪər kən ˈjutəˌlaɪz, waɪl ˈfoʊkɪsɪŋ ɔn ə ˈdɪfərənt əˈbɪləˌtiz. goʊɪŋ tɪ bi ˈprɪti təf wɪθ ðət əˈbɪləˌti tɪ du ˈɛkstrə ˈdæmɪʤ fər stɔrd ˌeɪˈpi. aɪ weɪt tɪ si wət ðə pleɪərz wɪl du wɪθ ðət! sɪns ˈmoʊstli ˈfoʊkɪst ɔn kəˈlɛktɪŋ ˌeɪˈpi, ɪt meɪks sɛns tɪ hæv hər əˈbɪləˌtiz nɑt ˈfoʊkɪs ɔn ˈspɛndɪŋ ˌeɪˈpi.: bɪˈkəz ʃi bi ˈspɛndɪŋ ˈɛni ˌeɪˈpi, hu ɪgˈzæktli du wi wɔnt hər ˈtimɪŋ əp wɪθ? ˈpipəl hu kriˈeɪt ˈkrɪtɪkəl taɪlz ˈmeɪbi? ʤɑʃ ˈɔstən: strɔŋ wɪθ ˈkɛrɪktərz ðət geɪn ˌeɪˈpi, soʊ stækt dɛk, ˈsərkəlɪŋ preɪ, ənd maɪəlz morales’*’ paʊər riˌspɑnsəˈbɪləti hɛlp ˈgæðər ˌeɪˈpi fər hər əˈbɪləˌtiz. ˈpɪkɪŋ ˈkɛrɪktərz ðət du nɑt ˈoʊvərˌlæp wɪθ hər paʊərz ˈɔlsoʊ hɛlps soʊ ʃi kən kəˈlɛkt ˌeɪˈpi ɪn ˈkələrz ʃi ˈjuzɪz. ˈkɛrɪktərz laɪk keɪt ˈbɪʃəp ənd wɪl wərk, ɛz ðɛr ˈkələrz du nɑt ˈoʊvərˌlæp wɪθ əˈmɛrɪkə, bət keɪt ˈbɪʃəp kən juz ðə ˈkrɪtɪkəl taɪlz frəm fɪr nɑt, mi gente*! wɪθ hər ˈdæmɪʤ ˈməltəˌplaɪər frəm ˈkrɪtɪkəl taɪlz. ˈkɛrɪktərz wɪθ loʊ ˌeɪˈpi kɔsts ˈɔlsoʊ hɛlp laɪk ˈhɔˌkaɪ (klɪnt ˈbɑrtən) tɪ bi juzd ˈʧipli ənd ˈifɛktɪvli prəˈvaɪd səˈpɔrt wɪˈθaʊt ˈteɪkɪŋ tu məʧ ˌeɪˈpi əˈweɪ frəm əˈmɛrɪkə.: ənd wɪn du wi gɪt tɪ traɪ hər aʊt fər ɑrˈsɛlvz? ʤɑʃ ˈɔstən: əˈmɛrɪkə ˈʧæˌvɛz wɪl bi əˈveɪləbəl ɔn dɪˈsɛmbər 24 ʃi wɪl bi ˈfiʧərd ɪn ə s.h.i.e.l.d*. ˈtreɪnɪŋ ɪˈvɛnt ˈrənɪŋ bɪtˈwin dɪˈsɛmbər 24 ənd 31 əˈmɛrɪkə frɛndz ɪz ə vɔlt ðət wɪl rən bɪtˈwin dɪˈsɛmbər 28 ənd ˈʤænjuˌɛri 6 wɪθ ə ʧæns tɪ gɪt hər. əˈmɛrɪkə riˈlis ˈdeɪbju wɪl bi ɪn ðə ˈvɛnəm bɔm ɪˈvɛnt ˈrənɪŋ bɪtˈwin dɪˈsɛmbər 24 ənd 31 əˈmɛrɪkə wɪl ˈɔlsoʊ bi ˈfiʧərd ɪn ðə ˈɛnəmi əv ðə steɪt ɪˈvɛnt ˈrənɪŋ bɪtˈwin dɪˈsɛmbər 28 ənd ˈʤænjuˌɛri 5 hər ˈvərsəz ˈtʊrnəmənt wɪl bi stɑrz ənd straɪks ðət rənz frəm dɪˈsɛmbər 28 θru ˈʤænjuˌɛri 1 s.h.i.e.l.d*. ˈtreɪnɪŋ, ˈɛnəmi əv ðə steɪt, ənd stɑrz ənd straɪks wɪl ɔl hæv rɪˈwɔrd ˈtoʊkənz fər ðə əˈmɛrɪkə frɛndz vɔlt. ˈlæstli, wi wʊd laɪk tɪ əˈnaʊns sˈnoʊˌbɔl faɪt, wɪʧ ɪz ə fən ˈvərsəz ˈtʊrnəmənt ðət stɑrts təˈmɑˌroʊ ɔn dɪˈsɛmbər 21 wɛr ðə pleɪər ʤɔɪnz ˈfɔrsɪz wɪθ stɑr lɔrd (ˈpitər kwɪl), ˈkæptən əˈmɛrɪkə (stiv ˈrɑʤərz) ənd ˈsaɪˌklɔps (ənˈkæni) ɛz ðeɪ flɪŋ snoʊ ɪn ðə ˈtəfəst faɪt əv ðə jɪr! ðə pleɪər həz θri ˈmɪʃənz wɛr ðeɪ məst ʧuz ə spɪˈsɪfɪk ˈkɛrɪktər frəm ə ˈfæməli. ðɛr ɪz ə sˈnoʊˌbɔl ˈhæzərd taɪl ðət dɪˈstrɔɪz ə blɑk əv taɪlz tɪ æd tɪ ðə fən ənd ɪt ˈfiʧərz səm əv maɪ ˈfeɪvərɪt ɑrt fər ən ɪˈvɛnt soʊ fɑr. ˈhæpi ˈhɑləˌdeɪz ˈɛvriˌwən! hæv fən wɪθ ““mpq”*” ˈhɑlɪˌdeɪ ʃəˈnænɪgənz hir ənd steɪ tund tɪ ənd ɔn tˈwɪtər fər mɔr ˈpəzəl quest”*” nuz ənd ˈɪntərvˌjuz.
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america chavez makes her way to “marvel puzzle quest” soon, fists flying and sass on point. curious about the reality-hopping hero and her powers in “mpq”? well we had a little chat with d3 go! senior producer josh austin to figure out just what america’s capable of, and it turns out she’s crazy unique! read on for the breakdown folks.
marvel.com: america’s been kicking bad guy butt for a while in the comics, but why is now the right time for her to join the “marvel puzzle quest” crew?
josh austin: america chavez is a strong super hero, and makes an excellent [choice] as the newest 4-star character in “marvel puzzle quest.” her kick butt abilities are a good fit in the roster and it was fun to create a character that focuses on collecting/storing ap to deal damage rather than the usual collecting and spending ap.
marvel.com: america has a bunch of abilities, from super strength and speed to creating portals to different realities. what did the team want to focus on when designing her in-game powers?
josh austin: the designers wanted to incorporate her unique abilities and did so in an interesting, all passive, way. she’s a character that the player won’t have to activate her powers, as they automatically trigger based on certain conditions.
marvel.com: and what can she do in the game?
josh austin: her first ability is called punch everyone and it’s a red passive. for this ability america’s match damage is increased for each ap she has in that color.
her second ability, ticket to the multiverse, is a yellow passive. every time the player matches four or greater, trap tiles are created in that color. if the player has three different colored trap tiles, they are removed, deal damage and generate ap in that color.
her last ability is called fear not, mi gente! and it’s a green passive. at the start of the turn, she creates a critical tile if the player has more ap than the enemy in at least four colors. if the player has more ap in at least five colors she does damage as well.
marvel.com: am i reading that right, she has three passives? what was the thinking behind that?
josh austin: we are doing something different, making a character that the player can utilize, while focusing on a different character’s abilities. she’s going to be pretty tough with that ability to do extra damage for stored ap. i can’t wait to see what the players will do with that! since she’s mostly focused on collecting ap, it makes sense to have her abilities not focus on spending ap.
marvel.com: because she won’t be spending any ap, who exactly do we want her teaming up with? people who create critical tiles maybe?
josh austin: she’s strong with characters that gain ap, so gambit’s stacked deck, vulture’s circling prey, and miles morales’ power & responsibility help gather ap for her abilities. picking characters that do not overlap with her powers also helps so she can collect ap in colors she uses. characters like kate bishop and mordo will work, as their colors do not overlap with america, but kate bishop can use the critical tiles from fear not, mi gente! with her 4.5x damage multiplier from critical tiles. characters with low ap costs also help like hawkeye (clint barton) to be used cheaply and effectively provide support without taking too much ap away from america.
marvel.com: and when do we get to try her out for ourselves?
josh austin: america chavez will be available on december 24. she will be featured in a s.h.i.e.l.d. training event running between december 24 and 31. america & friends is a vault that will run between december 28 and january 6 with a chance to get her. america chavez’s release debut will be in the venom bomb event running between december 24 and 31.
america will also be featured in the enemy of the state event running between december 28 and january 5. her versus tournament will be stars and strikes that runs from december 28 through january 1. s.h.i.e.l.d. training, enemy of the state, and stars and strikes will all have reward tokens for the america & friends vault.
lastly, we would like to announce snowball fight, which is a fun versus tournament that starts tomorrow on december 21, where the player joins forces with star lord (peter quill), captain america (steve rogers) and cyclops (uncanny) as they fling snow in the toughest fight of the year! the player has three missions where they must choose a specific character from a family. there is a snowball hazard tile that destroys a block of tiles to add to the fun and it features some of my favorite art for an event so far. happy holidays everyone!
have fun with “mpq” holiday shenanigans here and stay tuned to marvel.com and @marvelgames on twitter for more “marvel puzzle quest” news and interviews.
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ˌædvərˈtaɪzmənt ðə ˈgənmən hu wɑz kɪld baɪ kɑps ˈæftər ˈoʊpənɪŋ faɪər ɔn ə rɪˈpəblɪkən kənˈgrɛʃənəl ˈbeɪsˈbɔl ˈpræktɪs ɔn ˈwɛnzˌdeɪ, ðə ˈprɛzɪdənts ˈbərθˌdeɪ, wɑz ə ˈdɛməˌkræt ənd ˈbərni ˈsændərz səˈpɔrtər wɪθ ə lɔŋ ˈhɪstəri əv ˈvaɪələns. ʤeɪmz ti. ˈhɑʤkɪnsən, 66 frəm bəlˈvɪl, ˌɪləˈnɔɪz, wɑz kɪld baɪ ˈkæpɪtəl pəˈlis ˈæftər ˈfaɪərrɪŋ əp tɪ 100 raʊnz frəm ən əˈsɔlt ˈraɪfəl æt ə ˈbeɪsˈbɔl pɑrk ɪn ˌæləgˈzændriə, vərˈʤɪnjə, ˈlivɪŋ faɪv ˈɪnʤərd ˌɪnˈkludɪŋ haʊs məˈʤɔrəti wɪp stiv ˈskɑlaɪz æt ɔn ˈwɛnzˌdeɪ. kənˈdɪʃən ˈwərsənd θruaʊt ðə ˌæftərˈnun ənd wɑz dimd ˈkrɪtɪkəl baɪ ˈhɑˌspɪtəl stæf ˈæftər hi hi wɑz riˈlist frəm ˈimərʤənsi ˈsərʤəri ɔn hɪz hɪp. tu ˈkæpɪtəl pəˈlis ˈɔfɪsərz wər ʃɑt ɛz ðeɪ ˈbreɪvli rɪˈtərnd faɪər ɔn ˈhɑʤkɪnsən waɪl ðə ˈlɔˌmeɪkərz ˈskræmbəld əˈkrɔs ðə fild tɪ ˈseɪfti. kənˈgrɛʃənəl ˈstæfər ˈzækəri bɑrθ ənd ˈlɑbiəst mæt ˈmikə wər ˈɔlsoʊ ʃɑt bət boʊθ ər ɪkˈspɛktɪd tɪ rɪˈkəvər. ˈhɑʤkɪnsən wɑz ə stɔnʧ ˈsændərz səˈpɔrtər ənd kæmˈpeɪnd fər ðə ˈsɛnətər tɪ gɪt ðə ˌdɛməˈkrætɪk ˌnɑməˈneɪʃən fər ˈprɛzɪdənt læst jɪr. hi ˈræntɪd əˈgɛnst ˈprɛzɪdənt trəmp ɔn ˈsoʊʃəl ˈmidiə ənd hæd ˈpriviəsli dɪˈskraɪbd ðə ˈreɪʧəl ʃoʊ ɛz hɪz ˈfeɪvərɪt θɪŋ ɔn ˌtɛləˈvɪʒən. ðə ˈmɛrid ˈjunjən θˈrɛtənd tɪ 'dɪˈstrɔɪ' ðə ˈprɛzɪdənt, hum hi kɔld ə 'ˈtreɪtər' ɔn ˈsoʊʃəl ˈmidiə bət wɑz nɑt noʊn tɪ ˈsikrɪt ˈsərvɪs. hɪz ˈfæməli sɛd hi wɑz dɪˈstrɔt ˈoʊvər trəmps noʊˈvɛmbər ɪˈlɛkʃən wɪn ənd rɪˈvild ðət hi hæd bɪn ˈlɪvɪŋ ɪn ˌæləgˈzændriə aʊt əv ə ʤɪm bæg ənd sˈlipɪŋ ɪn hɪz kɑr fər ðə læst tu mənθs. hɪz ˈkrɪmənəl ˈrɛkərd ˌɪnˈkludɪd ə 2006 ərˈɛst fər ˈpənʧɪŋ hɪz ˈfiˌmeɪl ˈneɪbər ɪn ðə feɪs ɛz ʃi traɪd tɪ ʃild hɪz ˈəndərɪʤ ˈdɔtər frəm ɪm. skroʊl daʊn fər ˈvɪdioʊ ʤeɪmz ti. ˈhɑʤkɪnsən (ˈpɪkʧərd raɪt kæmˈpeɪnɪŋ əˈgɛnst rɪˈpəblɪkənz ɪn 2012 wɑz ə ˈheɪtfəl trəmp əˈpoʊnənt hu θˈrɛtənd tɪ 'dɪˈstrɔɪ' ðə ˈprɛzɪdənt ɔn ˈsoʊʃəl ˈmidiə ˌbiˈfɔr əˈtækɪŋ ə ˈbeɪsˈbɔl ˈpræktɪs ɔn ˈwɛnzˌdeɪ trəmp ˈheɪtɪŋ: ˈɛfˈbiˈaɪ ˈeɪʤənts riˈmuv ə 'ˈʧɪkən ɪn ʧif' ˈpoʊstər frəm ʤeɪmz væn. hi hæd bɪn ˈlɪvɪŋ ɪn ðə væn ɪn ˌæləgˈzændriə, vərˈʤɪnjə, fər æt list ˈsɛvərəl wiks ˈæftər ˈdraɪvɪŋ ðɛr frəm hɪz hoʊm ɪn ˌɪləˈnɔɪz ˈhɑʤkɪnsən ˈoʊpənd faɪər ɔn ə grup əv ˈfɪgjərz frəm bɪˈhaɪnd ðə θərd beɪs ˈdəˌgaʊt æt ˈjuʤin ˈsɪmpsən ˈsteɪdiəm pɑrk ɪn ˌæləgˈzændriə, vərˈʤɪnjə, ɛz ðeɪ ˈpræktɪst fər ə ˈʧɛrɪti ˈbeɪsˈbɔl geɪm ɔn ˈθərzˌdeɪ æt əˈkɔrdɪŋ tɪ ə pəˈlis rɪˈpɔrt, ˈhɑʤkɪnsən wɛnt tɪ ðə ˈneɪbərz hoʊm ˈlʊkɪŋ fər hɪz ˈdɔtər ənd faʊnd hər əpˈstɛrz. hi drægd hər aʊt baɪ ðə hɛr bət ʃi ræn ˈɪntu hər ˈneɪbərz kɑr. ðə ˈfiˌmeɪl ˈneɪbər sæt ɪn ðə ˈviɪkəl ɪn ðə frənt sit. ˈhɑʤkɪnsən gɑt ˈækˌsɛs tɪ ðɛm, sˈlæʃɪŋ ðə ˈsitˌbɛlt hɪz ˈdɔtər wɑz ˈwɛrɪŋ ɛz hi ənd hɪz waɪf pʊld hər aʊt. hi ðɛn hɪt ðə ˈneɪbər ɪn ðə feɪs, ðə ˈwɔʃɪŋtən poʊst ˌriˈpɔrtəd, bət wɑz ˈnɛvər kənˈvɪktəd. hɪz ˈfɔrmər ˈlɔjər, ˈlɪndən ɪˈvæŋkoʊ əv bəlˈvɪl, ˌɪləˈnɔɪz, sɛd ˈhɑʤkɪnsən wɑz 'ə ˈpʊʃi ˈlɪtəl b*****d*, ən kaɪnd əv gaɪ. hi bɪˈlivd wət hi bɪˈlivd ənd hi ˈwəzənt goʊɪŋ tɪ teɪk ˈɛni frəm ˈɛnibədi.' ɪˈvæŋkoʊ dɪˈfɛndɪd ˈhɑʤkɪnsən ˈdʊrɪŋ ðə ˈɪnsədənt. 'hi wɑz ə bɪt əv ə ˈmɪsənθˌroʊp,' ðə ˈlɔjər sɛd. 'hi keɪm əˈkrɔs ɛz ə ˈvɛri ˌɪˈræsɪbəl, ˈæŋgri ˈlɪtəl mæn, bət nɑt ˈsəmˌbɑdi aɪ wʊd ɪkˈspɛkt tɪ du ˈsəmθɪŋ laɪk ðɪs. 'aɪ wʊd hæv klaɪənts aɪ wʊd ˈsəˌspɛkt fər duɪŋ ˈsəmθɪŋ laɪk ðɪs, bət hiz nɑt ðə wən aɪ wʊd hæv pɛgd fər ɪt. hi ˈnɛvər hæd ə ˈfɛləni. ɪt wɑz ɔl stəf.' ɪˈvæŋkoʊ ˌrɛprɪˈzɛnɪd ˈhɑʤkɪnsən əˈgɛn ɪn 2009 ˈæftər hi wɑz ˈtɪkətɪd fər duɪŋ wərk wɪˈθaʊt ðə ˈprɑpər ˈpərˌmɪts. 'ˈivɪn wɪθ ðət, hi hæd ə ˈtɛmpər,' ɪˈvæŋkoʊ sɛd, kˈwoʊtɪŋ ɪm: '"wət ər ðeɪ ˈʧɑrʤɪŋ mi fər? aɪ noʊ wət aɪ wɑz duɪŋ. soʊ wət ɪf aɪ ˈdɪdənt hæv ðə ˈpeɪpərˌwərk?"' ˈæftər ˈhɑʤkɪnsən wɑz aɪˈdɛntəˌfaɪd ɛz ðə ˈʃutər ɪn ˈwɛnzˌdeɪz əˈtæk, hɪz ɛˈstreɪnʤd ˈbrəðər toʊld ðə nu jɔrk taɪmz ðət hi ˈlərnɪd θru ðɛr ˈsɪstər ðət hi hæd ˈtrævəld tɪ vərˈʤɪnjə tu mənθs əˈgoʊ. hi saɪnd əp fər ə ˈmɛmbərˌʃɪp æt ðə ˈɑpəzɪt ðə ˈbeɪsˈbɔl fild hi əˈtækt bət ˈkænsəld ɪt ðɪs wik. ðə ˈbrəðər sɛd hi bɪˈlivd ˈhɑʤkɪnsən foʊnd hɪz waɪf su ɪn ðə deɪz ˌbiˈfɔr ðə əˈtæk ənd toʊld hər hi wɑz ˈkəmɪŋ hoʊm bɪˈkəz hi mɪst hər ənd ðɛr dɔgz. ˈfɔrmər ˌæləgˈzændriə meɪər bɪl ədˈmɪtəd ˈmitɪŋ ðə mæn ˈsɛvərəl taɪmz ɪn ðə taʊn. 'hi wɑz ə ˈvɛri ˈfrɛndli ˈpərsən, bət wət aɪ dɪd ˈnoʊtɪs əˈbaʊt ðɪs ˈʤɛnəlmən ɪz hid ˈoʊpən əp hɪz ʤɪm bæg ənd ɪn ɪt, hi hæd ˈɛvriˌθɪŋ hi oʊnd. hi wɑz ˈlɪvɪŋ aʊt əv ðə ʤɪm bæg. ðət, ənd hi sæt ɪn ðə ˈlɑbi fər aʊərz ənd aʊərz. 'ˈaʊtˈsaɪd əv ˌmaɪˈsɛlf, aɪ θɪŋk hi nu ˈɛniˌwən ɛls ɪn taʊn,' hi toʊld ðə ˈwɔʃɪŋtən poʊst, ədˈmɪtɪŋ ðət hi ˈɔlsoʊ hɛlpt ɪm traɪ tɪ faɪnd ə ʤɑb ɪn ðə ˈɛriə ˈæftər ˈteɪkɪŋ ˈpɪti ɔn ɪm. ˈhɑʤkɪnsən ˈdɑkjəˌmɛnəd hɪz ˈheɪtrəd fər ðə ˈprɛzɪdənt ɪn ˈfeɪsˌbʊk ənd tˈwɪtər poʊsts wɛr hi θˈrɛtənd tɪ 'dɪˈstrɔɪ trəmp koʊ' ənd ˈleɪbəld ðə rɪˈpəblɪkən ˌbɪljəˈnɛr ə 'ˈtreɪtər'. ˈhɑʤkɪnsən hæd ə ˈlɛŋθi ˈkrɪmənəl ˈrɛkərd wɪʧ ˌɪnˈkludz ˈʧɑrʤɪz, bət noʊ kənˈvɪkʃənz, fər ˈdiˈjuˈaɪ, dəˈmɛstɪk ˈbætəri, ˈpɔɪntɪŋ ə gən æt ə ˈrɛlətɪv. hi ɪz sin ɪn ɪn 1992 (lɛft) ənd 2006 (raɪt) ˈhɑʤkɪnsən wɑz ˈwundɪd baɪ ˈkæpɪtəl pəˈlis æt ðə sin ənd ˈleɪtər daɪd əv hɪz ˈɪnʤəriz ɪn ˈhɑˌspɪtəl ˈhɑʤkɪnsən ˈdɑkjəˌmɛnəd hɪz ˈvaɪələnt ˈheɪtrəd fər ðə ˈprɛzɪdənt əˈkrɔs hɪz ˈvɛriəs ˈsoʊʃəl ˈmidiə ˈpeɪʤɪz ˈhɑʤkɪnsən ʃɛrd ˈnumərəs ˈfeɪsˌbʊk poʊsts əˈgɛnst ðə ˈprɛzɪdənt, ˈmeɪkɪŋ noʊ ˈsikrɪt əv hɪz ˈæŋgri rɪˈpəblɪkən ˈheɪtrəd hi roʊt ˈfrikˌwɛnt ˈlɛtərz tɪ hɪz ˈloʊkəl ˈpeɪpər ɪn ˌɪləˈnɔɪz ɪn wɪʧ hi kəmˈpleɪnd əˈbaʊt ˈɪnˌkəm ˌɪnɪkˈwɑləti ənd kəmˈpɛrd ðə steɪt əv ðə ɪˈkɑnəmi tɪ ðə greɪt dɪˈprɛʃən lɔŋ ˌbiˈfɔr ˈprɛzɪdənt trəmp ˈɛvər lɔnʧt hɪz pəˈlɪtɪkəl kərɪr. 'aɪ hæv ˈnɛvər sɛd sucks,”*,” ˈoʊnli ðə ˈpɑləsiz əv ðə rɪˈpəblɪkənz,' hi roʊt ɪn wən frəm 2012 wɛr hi dɪˈskraɪbd hɪz plæn tɪ ˌɪnˈkris ðə ˈnəmbər əv tæks ˈbrækɪts. ɪn 2011 hi preɪzd ˈɑkjəˌpaɪ ˈproʊˌtɛstərz ɪn nu jɔrk ənd ˈbɔstən hu hi sɛd 'ər taɪərd əv ɑr ˈkɑŋgrəs duɪŋ ˈnəθɪŋ waɪl ɑr ˈkəntri ɪz goʊɪŋ daʊn ðə tubz.' ˈvaɪələnt ˈtɛndənsiz ənd ˌɪnˈvɑlvmənt ɪn ˈwɛnzˌdeɪz əˈtæk keɪm ɛz ə səˈpraɪz tɪ ˈpipəl hu wərkt wɪθ ɪm ɔn ˈsændərz' 2016 bɪd fər ðə ˌdɛməˈkrætɪk ˌprɛzɪˈdɛnʃəl ˌnɑməˈneɪʃən. wən toʊld ðə ˈwɔʃɪŋtən poʊst: 'aɪ mɛt ɪm ɔn ðə ˈbərni treɪl ɪn ˈaɪəwə, wərkt wɪθ ɪm ɪn ðə kwɑd ˈsɪtiz ˈɛriə. 'hi wɑz ðɪs ˈjunjən, ˈprɪti ˈstɑki, ənd wi steɪd əp ˈtɔkɪŋ ˈpɑləˌtɪks. hi wɑz mɔr ɔn ðə ˈrɪli prəˈgrɛsɪv saɪd əv θɪŋz,' ˈʧɑrəlz ərɪr sɛd, ˈædɪŋ ðət ˈhɑʤkɪnsən wɑz 'kwaɪt ˈmɛloʊ'. ə frɛnd əv ðə mæn spoʊk ˈaʊtˈsaɪd hɪz hoʊm ɪn bəlˈvɪl, ˌɪləˈnɔɪz 800 maɪəlz frəm wɛr ðə ˈʃutɪŋ əˈkərd tɪ seɪ hi wɑz ə 'nis gaɪ'. dɪˈspaɪt hɪz ˈheɪtfəl ˈsoʊʃəl ˈmidiə poʊsts ənd ˈkrɪmənəl ˈhɪstəri, ˈsɔrsəz toʊld ˈsiˈɛˈnɛn ðə mæn wɑz nɑt ɔn ðə ˈsikrɪt ˈsərvɪsɪz ˈreɪˌdɑr. ɛˈstreɪnʤd ˈbrəðər rɪˈvild ðət ɪn ðə deɪz ˌbiˈfɔr ðə ˈʃutɪŋ, hi kɔld hɪz waɪf su (əˈbəv təˈgɛðər) tɪ seɪ hi wɑz ˈplænɪŋ tɪ kəm hoʊm frəm vərˈʤɪnjə bɪˈkəz hi mɪst hər ənd ðɛr dɔgz ɪt ɪz nɑt klɪr haʊ lɔŋ ˈhɑʤkɪnsən hæd bɪn ɪn vərˈʤɪnjə ər wɪn hi lɛft hɪz hoʊm taʊn ˌbiˈfɔr ˈwɛnzˌdeɪz ˈʃutɪŋ ˈfæməli sɛd hi wɑz dɪˈstrɔt ˈoʊvər trəmps noʊˈvɛmbər ɪˈlɛkʃən wɪn. hi ˈtrævəld tɪ vərˈʤɪnjə tu mənθs əˈgoʊ ənd hæd bɪn ˈlɪvɪŋ aʊt əv ə ʤɪm bæg ənd sˈlipɪŋ ɪn hɪz kɑr, ðə ˈfɔrmər meɪər əv ˌæləgˈzændriə sɛd pəˈlis dɪˈsɛndɪd ɔn hɪz hoʊm ɪn bəlˈvɪl, ˌɪləˈnɔɪz, wɪʧ ɪz 800 maɪəlz frəm wɛr ðə ˈʃutɪŋ tʊk pleɪs pəˈlis ˈraɪfəld θru ðə hoʊm ɔn ˈwɛnzˌdeɪ ˌæftərˈnun. ˈfæməli sɛd hi lɛft ɪt tu mənθs əˈgoʊ tɪ ˈtrævəl tɪ vərˈʤɪnjə deɪl wɔlʃ, ə frɛnd əv ˈhɑʤkɪnsən, sɛd hi wɑz 'ə nis gaɪ' ənd ɪkˈsprɛst hɪz ʃɑk æt ˈwɛnzˌdeɪz ˈʃutɪŋ. hi spoʊk ˈaʊtˈsaɪd hoʊm ɛz ˈloʊkəl ˈmidiə ənd pəˈlis dɪˈsɛndɪd ɔn ɪt ˈʃɔrtli ˈæftər ɔn ˈwɛnzˌdeɪ, hi ˈoʊpənd faɪər frəm bɪˈhaɪnd ðə θərd beɪs ˈdəˌgaʊt ɛz ðə grup əv ˈfɪgjərz ˈpræktɪst ˈbætɪŋ ɔn ðə fild ɪn ˌprɛpərˈeɪʃən fər ə ˈʧɛrɪti ˈbeɪsˈbɔl geɪm əˈgɛnst ˈdɛməˌkræts wɪʧ ɪz ˈskɛʤʊld fər ˈθərzˌdeɪ naɪt. ˈflɔrɪdə rɛpriˈzɛtətɪv. rɑn deɪˈsɑntɪs ənd rɛpriˈzɛtətɪv. ʤɛf ˈdəŋkən əv saʊθ ˌkɛrəˈlaɪnə spoʊk wɪθ ɪm ˈmoʊmənts ˌbiˈfɔr ðə ˈʃutɪŋ. ðeɪ toʊld haʊ ðə ˈʃutər əˈproʊʧt ðɛm ənd æst ɪf ðeɪ wər rɪˈpəblɪkən ər ˈdɛməˌkræt. hi wɔkt əˈweɪ ˈæftər biɪŋ toʊld ðeɪ wər ˈmɛmbərz əv ðə, ˈdəŋkən sɛd. ðə pɛr ɪˈskeɪpt hɪz ˈblədi ˈræmˌpeɪʤ ənd ˈoʊnli aɪˈdɛntəˌfaɪd ɪm ɛz ðə ˈʃutər ˈæftər siɪŋ hɪz ˈfoʊtəˌgræf ɪn ðə nuz. tu ˈkæpɪtəl pəˈlis ˈɔfɪsərz hu wər əˈkəmpəniɪŋ ˈskɑlaɪz wər ðə ˈoʊnli ˈəðər ɑrmd ˈpipəl ɔn ðə sin. ðeɪ rɪˈtərnd faɪər wɪθ ðɛr ˈpɪstəlz bət wər ʃɑt ðɛmˈsɛlvz. ɛz ˈbʊləts flu əˈkrɔs ðə fild, ðə ˈkɑŋgrəsmɪn flɛd tɪ ə ˈdəˌgaʊt ənd ˈhədəld ɔn tɔp əv wən əˈnəðər, ˈjuzɪŋ ðɛr bɛlts ɛz ˈmeɪkˌʃɪft tɪ trit ðə wundz əv ðoʊz hu wər ʃɑt. bɑrθ, ə kənˈgrɛʃənəl ˈstæfər fər ˈtɛksəs rɛpriˈzɛtətɪv. ˈrɑʤər ˈwɪljəmz, wɑz ʃɑt ɪn ðə lɛg bət ɪz ɪkˈspɛktɪd tɪ rɪˈkəvər. ðə tu ˈkæpɪtəl pəˈlis ˈɔfɪsərz, ˈkrɪstəl ˈgraɪnər ənd ˈdeɪvɪd ˈbeɪli, ər ˈɔlsoʊ ɪkˈspɛktɪd tɪ meɪk ə fʊl rɪˈkəvəri. ˈmikə wɑz ˈɔlsoʊ ˈɪnʤərd ənd ɪz ɪn ˈhɑˌspɪtəl waɪl ˈskɑlaɪz ɪz ɪn ˈkrɪtɪkəl kənˈdɪʃən æt ˈwɔʃɪŋtən ˈsɛnər ˈæftər ˌəndərˈgoʊɪŋ ˈimərʤənsi ˈsərʤəri ɔn hɪz hɪp. sɛn. rænd pɔl, hu wɑz ˈɔlsoʊ ðɛr bət ɛz nɑt hərt, dɪˈskraɪbd ðə sin ɛz ə 'ˈkɪlɪŋ fild'. rɛpriˈzɛtətɪv. mɑrk ˈwɔkər sɛd ðə ˈgənmən simd ˌɪnˈtɛnt ɔn ˈmərdərɪŋ 'ɛz ˈmɛni rɪˈpəblɪkənz ɛz ˈpɑsəbəl.' haʊs məˈʤɔrəti wɪp stiv ˈskɑlaɪz wɑz rəʃt tɪ ˈhɑˌspɪtəl ˈæftər biɪŋ ʃɑt ɪn ðə hɪp. hi wɑz ˌɪˈnɪʃəli ɪkˈspɛktɪd tɪ rɪˈkəvər bət hɪz kənˈdɪʃən ˈwərsənd ənd bɪˈkeɪm ˈkrɪtɪkəl ɔn ˈwɛnzˌdeɪ ˌæftərˈnun ðə mɛn wər ˈpræktɪsɪŋ æt ˈjuʤin ˈsɪmpsən ˈsteɪdiəm pɑrk ɪn ˌæləgˈzændriə, vərˈʤɪnjə, əˈhɛd əv ə ˈʧɛrɪti geɪm ɔn ˈθərzˌdeɪ ˈsændərz, hu ɪkˈsprɛst hɪz prɛrz fər ðə ˈvɪktɪmz ˌbiˈfɔr ˈlərnɪŋ ðət ðə ˈgənmən wɑz wən əv hɪz fænz, rɪˈzɪstɪd ˈkrɪtɪˌsɪzəm dɪˈrɛktɪd æt ɪm æt ðə ˈkæpɪtəl ɔn ˈwɛnzˌdeɪ. hɪz eɪdz steɪd bɪtˈwin ɪm ənd rɪˈpɔrtərz ˈmɪlɪŋ nɪr ðə ˈsɛnɪt ˈʧeɪmbər. ɪn ə ˈsteɪtmənt ɔn ðə ˈsɛnɪt flɔr, ðə vərˈmɑnt ˌdɛməˈkrætɪk ˈsoʊʃəlɪst sɛd ɪn ə ˈsteɪtmənt ɔn ðə ˈsɛnɪt flɔr ðət hi wɑz əˈwɛr ðə ˈʃutər 'əˈpɛrəntli ˌvɑlənˈtɪrd ɔn maɪ ˌprɛzɪˈdɛnʃəl kæmˈpeɪn.' 'aɪ æm ˈsɪkənd baɪ ðɪs dɪˈspɪkəbəl ækt,' hi sɛd. 'lɛt mi bi ɛz klɪr ɛz aɪ kən bi. ˈvaɪələns əv ˈɛni kaɪnd ɪz ˌənækˈsɛptəbəl ɪn ɑr soʊˈsaɪɪti ənd aɪ kənˈdɛm ðɪs ˈækʃən ɪn ðə ˈstrɔŋgəst ˈpɑsəbəl tərmz.' ˈsændərz sɛd hi wɑz 'ˈsɪkənd' baɪ ðə ˈʃutɪŋ 'ril ʧeɪnʤ kən ˈoʊnli kəm əˈbaʊt θru nɑnˈvaɪələnt ˈækʃən, ənd ˈɛniˌθɪŋ ɛls rənz əˈgɛnst ɑr moʊst ˈdipli hɛld əˈmɛrɪkən ˈvæljuz.' ðə ˈprɛzɪdənt spoʊk æt ə waɪt haʊs prɛs ˈkɑnfərəns æt əraʊnd 11am*. hi meɪd ə pli fər ˈjunɪti ənd θæŋkt ðə pəˈlis ənd ˈimərʤənsi rɪˈspɑndərz ˌɪnˈvɑlvd, ˈmeɪkɪŋ noʊ ˈmɛnʃən əv ðə ˈgənmən ˈəðər ðən tɪ kənˈfərm hɪz dɛθ. ˈprɛzɪdənt trəmp rɪˈvild hi hæd ˈspoʊkən tɪ waɪf tɪ ˈɔfər hər hɪz səˈpɔrt ənd dɪˈskraɪbd ðə ˈɪnʤərd wɪp ɛz ə 'tru frɛnd' ənd 'ˈpeɪtriət'. ˈleɪtər ɪn ðə deɪ, ʤoʊ ˈbɑrtən, huz jəŋ ˈʧɪldrən wər wɪθ ɪm æt ðə fild, əˈnaʊnst ðət ðə geɪm wʊd goʊ əˈhɛd dɪˈspaɪt ðə ˈʃutɪŋ. boʊθ hi ənd ˌdɛməˈkrætɪk rɛpriˈzɛtətɪv. maɪk dɔɪl juzd ðə əˈkeɪʒən ɛz ən ɪgˈzæmpəl əv ðə ˈæŋgri ˈheɪtrəd bɪtˈwin rɪˈpəblɪkənz ənd ˈdɛməˌkræts wɪʧ ɪz bɪˈkəmɪŋ mɔr ˈkɑmənˌpleɪs. 'wi nid tɪ teɪk ə stɛp bæk. aɪ θɪŋk ðə ˈɪntərˌnɛt, tˈwɪtər ənd ɔl ðə ˌɪnstənˈtæniəs əv ðə nuz ˈsaɪkəl həz meɪd ɪt mɔr ˌɪmˈpərsənəl ənd ˈmɛmbərz flaɪɪŋ bæk tɪ ðɛr ˈdɪstrɪkts ˈɛvəri ˈwiˌkɪnd, ˈvɛri fju ˈpipəl lɪv əp hir. ɪt ɪz ˈdɪfərənt ˈklaɪmɪt təˈdeɪ ðən ɪt wɑz ɪn 1985 pɑrt əv ɪt ɪz tɛkˈnɑləʤi ənd pɑrt əv ɪt ɪz haʊ ˈpɑləˌtɪks həz ɪˈvɑlvd,' rɛpriˈzɛtətɪv. ˈbɑrtən sɛd. ˈskɑlaɪz wɑz ʃɑt ɪn ðə hɪp ənd ˈteɪkən tɪ ˈhɑˌspɪtəl baɪ ɛr ˈæmbjələns ˈʃɔrtli ˈæftər ðə əˈtæk. ˌæləˈbæmə rɛpriˈzɛtətɪv. moʊ brʊks traɪd tɪ stɑp ðə ˈblidɪŋ frəm hɪz wund ɛz sɛn. pɔl, ə treɪnd ˈdɔktər, kət hɪz ˈbeɪsˈbɔl ˈjunəˌfɔrm tɪ ɪgˈzæmɪn ðə ˈɪnʤəri. ˈskɑlaɪz wɑz ɔn ðə fild wɪn hi wɑz ʃɑt bət wɑz ˈeɪbəl tɪ dræg hɪmˈsɛlf tɪ ˈseɪfti ɪn ðə ˈdəˌgaʊt, wɛr ðə ˈəðər mɛn wər ˈhaɪdɪŋ, ɛz ðə tu ˈkæpɪtəl pəˈlis hu hæd əˈkəmpənid ɪm fər ðə ˈpræktɪs ɪksˈʧeɪnʤd ˈgənˌfaɪər. trəmp plidz fər ˈjunɪti ˈæftər ˈbeɪsˈbɔl ˈʃutɪŋ ɛz ˈdɑnəld jr*. sɪz əˈtæk pruvz waɪ ʤoʊks əˈbaʊt hɪz ˈfɑðərz əˌsæsəˈneɪʃən ˈɑrənt ˈfəni æt ə prɛs ˈkɑnfərəns æt ðə waɪt haʊs ɔn ˈwɛnzˌdeɪ, ˈprɛzɪdənt trəmp θæŋkt ðə pəˈlis ənd fərst rɪˈspɑndərz hu əˈtɛndəd ðə ˈʃutɪŋ ðə ˈprɛzɪdənt ˈplidɪd fər ˈjunɪti æt ə waɪt haʊs prɛs ˈkɑnfərəns tɪ ˈæˌdrɛs ən əˈtæk ɔn hɪz ˈkɑligz ɔn ˈwɛnzˌdeɪ. ˈspikɪŋ aʊərz ˈæftər ˈlidərz ˌɪnˈkludɪŋ haʊs məˈʤɔrəti wɪp stiv ˈskɑlaɪz ənd fɔr ˈəðərz wər ˈɪnʤərd baɪ ˈgənmən ʤeɪmz ˈhɑʤkɪnsən, trəmp sɛd: 'wi ər ˈstrɔŋgər wɪn wi ər ˈjunəˌfaɪd ənd wɪn wi wərk təˈgɛðər fər ðə ˈkɑmən gʊd.' trəmp rɪˈfərd tɪ ðə ˈgənmən wəns tɪ kənˈfərm hɪz dɛθ, dɪˈskraɪbɪŋ ɪm ˈoʊnli ɛz 'ðə əˈseɪlənt'. hi dɪˈvoʊtɪd ðə rɛst əv hɪz spiʧ tɪ ˈpreɪzɪŋ ðə ˈkæpɪtəl pəˈlis ənd ˈimərʤənsi rɪˈspɑndərz hu əˈtɛndəd ðə əˈtæk. ənd aɪ ər ˈgreɪtfəl fər ðɛr ˈhɛroʊˌɪzəm ənd preɪɪŋ fər ðə swɪft rɪˈkəvəri əv ɔl ˈvɪktɪmz. ˈkɑŋgrəsmən ˈskɑlaɪz ɪz ə frɛnd ənd ə ˈvɛri gʊd frɛnd, hi ɪz ə ˈpeɪtriət ənd ə ˈfaɪtər ənd hi wɪl rɪˈkəvər frəm ðɪs əˈsɔlt. 'stiv, aɪ wɔnt ju tɪ noʊ, ju hæv ðə prɛrz nɑt ˈoʊnli əv ðə ɪnˈtaɪər ˈsɪti bət əv ən ɪnˈtaɪər ˈneɪʃən ənd, ˈfræŋkli, ðə ɪnˈtaɪər wərld. əˈmɛrɪkə ɪz preɪɪŋ fər ju ənd əˈmɛrɪkə ɪz preɪɪŋ fər ɔl əv ðə ˈvɪktɪmz əv ðɪs ˈʃutɪŋ. aɪ hæv ˈspoʊkən wɪθ stivz waɪf ˈʤɛnəfər ənd aɪ plɛʤd tɪ hər ɑr fʊl ənd ˈæbsəˌlut səˈpɔrt. ˈɛniˌθɪŋ ʃi nidz, wi ər wɪθ hər ənd ðə ɪnˈtaɪər ˈskɑlaɪz ˈfæməli. 'aɪ hæv ˈɔlsoʊ ˈspoʊkən wɪθ ʧif ˈmæθju vərdərˈoʊsə (əv ðə ˈkæpɪtəl pəˈlis), hiz duɪŋ ə fænˈtæstɪk ʤɑb, tɪ ɪkˈsprɛs ɑr ˈsɪmpəθiz fər hɪz ˈwundɪd ˈɔfɪsərz ənd tɪ ɪkˈsprɛs maɪ ˌædmərˈeɪʃən fər ðɛr ˈɔfɪsərz. ðeɪ pərˈfɔrm ə ˈʧælənʤɪŋ ʤɑb wɪθ ˌɪnˈkrɛdəbəl skɪl ənd ðɛr ˈsækrəˌfaɪs meɪks dɪˈmɑkrəsi ˈpɑsəbəl. 'wi ˈɔlsoʊ kəˈmɛnd ðə breɪv fərst rɪˈspɑndərz frəm ˌæləgˈzændriə faɪər ənd ˈrɛskju hu rəʃt tɪ ðə sin. ˈɛvriˌwən ɔn ðət fild ɪz ə ˈpəblɪk ˈsərvənt ɑr kərˈeɪʤəs pəˈlis, ɑr eɪdz, ənd ɑr ˈdɛdəkeɪtəd ˈmɛmbərz əv ˈkɑŋgrəs hu ˌrɛprɪˈzɛnt ɑr ˈpipəl. 'wi kən ɔl əˈgri ðət wi ər blɛst tɪ bi əˈmɛrɪkənz ənd ðət ɑr ˈʧɪldrən dɪˈzərv tɪ groʊ əp ɪn ə ˈneɪʃən əv ˈseɪfti ənd pis,' hi sɛd. ˈdɑnəld jr*. hæd ən ˈæŋgriər ˈpəblɪk rɪˈspɑns. hi ə poʊst wɪʧ rɛd: 'ɪˈvɛnts laɪk təˈdeɪ ər ɪgˈzæktli waɪ wi tʊk ˈɪʃu wɪθ ɪˈlits ˈglɔrəˌfaɪɪŋ ðə əˌsæsəˈneɪʃən əv ɑr ˈprɛzɪdənt.' hi wɑz rɪˈfərɪŋ tɪ nu jɔrks ˈpəblɪk ˈθiətər ənd ɪts ˈkɑrənt pərˈdəkʃən əv ˈʤuljəs ˈsizər ɪn wɪʧ ðə dumd ˈɛmpərər ɪz pɔrˈtreɪd ɛz hɪz ˈfɑðər. ðə pleɪ həz spɑrkt ˈaʊˌtreɪʤ ənd ˌækjəˈzeɪʃənz ðət ɪts dɪˈrɛktərz ər ˈglɔrəˌfaɪɪŋ ˈvaɪələns əˈgɛnst ðə ˈprɛzɪdənt. ɪt kəmz ˈæftər ðə kəˈmidiən ˈkæθi ˈgrɪfɪnz ˈʃɑkɪŋ pɑrˌtɪsəˈpeɪʃən ɪn ə ɪn wɪʧ ʃi əˈpɪrd tɪ bi ˈhoʊldɪŋ ə feɪk ˌrɛprəzɛnˈteɪʃən əv ðə ˈprɛzɪdənts ˈsɛvərd hɛd. ʃi əˈpɑləˌʤaɪzd fər ðə stənt ˈæftər rɪˈsivɪŋ ˈæŋgri ˈbæˌklæʃ. ˌdɛməˈkrætɪk rɛpriˈzɛtətɪv. maɪk dɔɪl (ɛl) ənd rɛpriˈzɛtətɪv. rɛpriˈzɛtətɪv. ʤoʊ ˈbɑrtən (ɑr) vaʊd tɪ ˈkɛri ɔn wɪθ ˈθərzˌdeɪz ˈskɛʤʊld geɪm dɪˈspaɪt ðə ˈʃutɪŋ. ˈbɑrtən ʧoʊkt bæk tɪrz ɛz hi toʊld haʊ hi ˈʃɛltərd wɪθ hɪz jəŋ sənz ɛz ðə ˈʃutər spreɪd ðə fild wɪθ ˈbʊləts ˈtɛksəs rɛpriˈzɛtətɪv. ˈrɑʤər ˈwɪljəmz (əˈbəv) wɑz nɑt ʃɑt bət wɑz ˈɪnʤərd ɪn ðə keɪɑs ɛz hi traɪd tɪ fli. wən əv hɪz ˈstæfərz ˈsəfərd ə ˈgənˌʃɑt wund tɪ ðə lɛg ˈwɪljəmz ɪz sin biɪŋ ˈteɪkən tɪ ˈhɑˌspɪtəl ˈæftər ðə ˈʃutɪŋ wɪʧ tʊk pleɪs ɛz ðə mɛn ˈpræktɪst ˈbætɪŋ æt rɛpriˈzɛtətɪv. ˈwɪljəmz geɪv ə ˈtɪrfəl spiʧ æt ðə ˈjuˈɛs ˈkæpɪtəl ˈleɪtər ɪn ðə deɪ. ˈhɑbəlɪŋ ɪn ɔn ˈkrəʧɪz ˈæftər ˈspreɪnɪŋ hɪz ˈæŋkəl ɛz hi dəv ˈɪntu ðə ˈdəˌgaʊt, hi peɪd ˈtrɪbjut tɪ ðə pəˈlis ˈɔfɪsərz hu wər there,saying*: 'ðeɪ seɪvd ɔl əv ˈjuˈɛs aʊt ðɛr, ðɛr ɪz noʊ kˈwɛʃən əv ɪt' ˈmɪʃɪgən rɛpriˈzɛtətɪv. maɪk ˈbɪʃəp ˈərliər dɪˈskraɪbd haʊ wən mæn θɔt tɪ bi pɑrt əv ˈkæpɪtəl pəˈlis prəˈtɛkʃən ˈditeɪl stʊd hɪz graʊnd tɪ rɪˈtərn faɪər ɛz ðə ˈkɑŋgrəsmɪn ənd æt list wən əv ðɛr ˈʧɪldrən dəv fər ˈkəvər ɪn ə ˈdəˌgaʊt ənd ˈskɑlaɪz drægd hɪmˈsɛlf əˈkrɔs ðə fild ˈæftər biɪŋ hɪt, ˈlivɪŋ ə treɪl əv bləd bɪˈhaɪnd ɪm. hi toʊld ˈsiˌbiˌɛs ˈdiˌtrɔɪt: wi wər ˈstændɪŋ hir ðɪs ˈmɔrnɪŋ, ə ˈgənmən wɔkt əp tɪ ðə fɛns laɪn ənd ʤɪst bɪˈgæn tɪ ʃut. aɪ wɑz ˈstændɪŋ æt hoʊm pleɪt ənd hi wɑz ɪn ðə θərd beɪs laɪn. hi hæd ə ˈraɪfəl ðət wɑz ˈklɪrli mɛnt fər ðə ʤɑb əv ˈteɪkɪŋ ˈpipəl aʊt, ˈməltəpəl ˈkæʒəwəltiz, ənd hi hæd ˈsɛvərəl raʊnz ənd ˈmægəˌzinz ðət hi kɛpt ənˈloʊdɪŋ ənd reloading*.' hi sɛd: ˈoʊnli ˈrizən waɪ ˈɛni əv ˈjuˈɛs wɔkt aʊt əv ðɪs θɪŋ, baɪ ðə greɪs əv gɑd, wən əv ðə foʊks hir hæd ə ˈwɛpən tɪ faɪər bæk ənd gɪv ˈjuˈɛs ə ˈmoʊmənt tɪ faɪnd ˈkəvər.' 'wi wər ˌɪnˈsaɪd ðə ˈbækˌstɑp ənd ɪf wi hæv ðət ˈkəvər baɪ ə breɪv ˈpərsən hu stʊd əp ənd tʊk ə ʃɑt ðɛmˈsɛlvz, wi wʊd nɑt hæv ˈgɔtən aʊt əv ðɛr ənd ˈɛvəri wən əv ˈjuˈɛs wʊd hæv bɪn hɪt ˈɛvəri ˈsɪŋgəl wən əv ˈjuˈɛs.' 'hi wɑz ˈkəmɪŋ əraʊnd ðə fɛns laɪn ənd hi wɑz ˈlʊkɪŋ fər ɔl əv ˈjuˈɛs hu hæd faʊnd ˈkəvər ɪn ˈdɪfərənt spɑts. bət ɪf wi hæv rɪˈtərn faɪər raɪt ðɛr, hi wʊd hæv kəm əp tɪ iʧ wən əv ˈjuˈɛs ənd ʃɑt ˈjuˈɛs point-blank*.' ðə grup wɑz ˈpræktɪsɪŋ fər ə ˈʧɛrɪti geɪm wɪʧ ɪz du tɪ teɪk pleɪs ɔn ˈθərzˌdeɪ æt ˈnæʃənəlz pɑrk wɪn ðeɪ wər əˈtækt. θri mɛn ɪˈskeɪpt ənd tʊk ˈʃɛltər ɪn ən əˈpɑrtmənt ˈbɪldɪŋ ˈnɪrˈbaɪ. əˈnəðər ˈwɪtnəs, ˈmɑrti lavor*, dəv ɔn tɔp əv ə ˈkɑŋgrəsmən. hi toʊld ˈsiˈɛˈnɛn ðət ˈæftər ðə ˈgənmənz fərst ʃɑt, ðɛr wɑz ə breɪk ɪn ðə ˈgənˌfaɪər bət ɪt bɪˈgæn ˈʃɔrtli ˈæftərwərdz. rɪˈpəblɪkən rɛpriˈzɛtətɪv. moʊ brʊks wɑz ˈɔlsoʊ ðɛr bət wɑz nɑt hərt. hi dɪˈskraɪbd ˈjuzɪŋ hɪz bɛlt ɛz ə ˈtərˌnɪkɪt tɪ stɑp ðə ˈblidɪŋ ɔn lɛg. ə mæn hu wɑz ˈɪnʤərd ɪn ðə lɛg rɪˈsivz ˈtritmənt æt ðə sin. səm əv ðoʊz hərt wər nɑt ʃɑt bət ˈsəfərd ˈɪnʤəriz ɛz ðeɪ traɪd tɪ ɪˈskeɪp ðə fild rɛpriˈzɛtətɪv. moʊ brʊks əˈpɪrd ˈiˌmoʊʃənəl ɛz hi spoʊk ɔn ðə foʊn ˈmoʊmənts ˈæftər ðə ˈʃutɪŋ. hi hɛlpt gɪv fərst eɪd tɪ ðoʊz ʃɑt ˈskɑlaɪz (lɛft), kənˈgrɛʃənəl ˈstæfər ˈzækəri bɑrθ (ˈsɛnər) ənd ˈlɑbiəst mæt ˈmikə (raɪt) wər ɔl ʃɑt ˈspikɪŋ tɪ ˈɛˈfɛm tɔk 1065 ˈmoʊmənts ˈæftər ðə ˈʃutɪŋ, hi toʊld haʊ ðə grup wɑz ˈpræktɪsɪŋ ˈbætɪŋ wɪn hi ˈsədənli sɔ ðə ˈʃutər. 'ˈsədənli ðɛrz ðɪs feɪs. aɪ ˈnoʊtɪst ðə gaɪz gɑt ə ˈraɪfəl ənd hiz ˈʃutɪŋ æt ˈjuˈɛs,' hi sɛd. ˈjuˈɛs ˈkæpɪtəl pəˈlis ˈɔfɪsər ˈdeɪvɪd ˈbeɪli ɪz biɪŋ heɪld ɛz ə ˈhɪroʊ fər rɪˈtərnɪŋ faɪər ɔn ðə ˈgənmən wɪθ hɪz ˈpɪstəl dɪˈspaɪt biɪŋ ˈɪnʤərd hɪmˈsɛlf ɛz hi tʊk ˈʃɛltər wɪθ ˈəðərz ɪn ðə grup, wɪʧ ˈɔlsoʊ ˌɪnˈkludɪd rɛpriˈzɛtətɪv. ˈgɛri ˈpɑmər, brʊks sɛd hi wɔʧt ˈskɑlaɪz krɔl tɪ ðɛm ɛz ðə pəˈlis ɪksˈʧeɪnʤd ˈgənˌfaɪər wɪθ ˈpɪstəlz. 'hi wɑz ˈdrægɪŋ hɪz ˈbɑdi əˈweɪ frəm ˈsɛkənd beɪs tɪ gɪt əˈweɪ frəm ðə ˈʃutər. hi wɑz ʃɑt ɪn ðə hɪp. aɪ θɪŋk ɪt wɑz nɑt ə ˈlaɪfθˌrɛtnɪŋ wund. ðɛr wɑz noʊ ˈɛksət wund aɪ kʊd si.' 'ðɛr wɑz ə bləd treɪl əˈbaʊt 10 tɪ 15 jɑrdz lɔŋ frəm wɛr hi wɑz ʃɑt tɪ wɛr hi krɔld tɪ raɪt fild,' hi toʊld ˈsiˈɛˈnɛn. brʊks kɔt ə brif glɪmps əv ðə ˈʃutər ənd dɪˈskraɪbd ɪm ɛz ə waɪt, ˈmɪdəˌleɪgd meɪl. hi sɛd hi dɪˈskraɪbd ɪm ɛz biɪŋ 'ə ˈlɪtəl ɔn ðə ˈʧəbi saɪd' bət nɑt əˈbis. noʊ mɔr ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ɪm ɪz biɪŋ ˈɔfərd baɪ pəˈlis. ˈskɑlaɪz, ɛz ə ˈmɛmbər əv ðə haʊs ˈlidərˌʃɪp, wɑz ðə ˈoʊnli wən ɪn ðə grup hu hæd bɪn əˈkəmpənid baɪ ə ˈkæpɪtəl pəˈlis sɪˈkjʊrəti ˈditeɪl. sɛn. pɔl, hu wɑz nɑt hərt, sɛd ðət wɪˈθaʊt ðə ɑrmd ˈɔfɪsərz, ɔl əv ðoʊz ˈtɑrgətɪd wʊd hæv daɪd. 'hæd ðeɪ nɑt bɪn ðɛr, ɪt wʊd hæv bɪn ə ˈmæsəkər. ɛz ˈtɛrəbəl ɛz ɪt ɪz, ɪt kʊd hæv bɪn ə lɔt wərs. 'hæd ɪt nɑt bɪn fər ðɛm, wi wʊd hæv bɪn æt ðə ˈmərsi əv ðə ˈʃutər ənd hi hæd ə lɔt əv ˈæˌmoʊ. ɔl wi wʊd hæv hæd wɑz ˈbeɪsˈbɔl bæts.' ðə ˈkæpɪtəl hɪl pəˈlis ˈkænɑt gɪt ɪˈnəf preɪz fər ˈrɪli ˈseɪvɪŋ ˈɛvriˌwənz laɪf aʊt ðɛr,' hi sɛd, ˈædɪŋ əv ðə ˈgənmən: 'hi wʊd hæv ʃɑt ˈɛnibədi hu ræn aʊt.' oʊˈhaɪoʊ rɪˈpəblɪkən rɛpriˈzɛtətɪv. bræd ˈrɑbərt wenstrup*, ə ˈdɔktər ənd ən ˈɑrmi rɪˈzərv ˈɔfɪsər, wɑz ɔn ðə sin ənd hɛlpt trit ðə ˈwundɪd ˌbiˈfɔr ˌpɛrəˈmɛdɪks əraɪvd. 'aɪ fɛlt laɪk aɪ wɑz bæk ɪn ˌɪˈrɑk, bət wɪˈθaʊt maɪ ˈwɛpən,' hi toʊld fɑks nuz. ˌɛrɪˈzoʊnə rɛpriˈzɛtətɪv. ˈsɛnətər ʤɛf fleɪk dɪˈskraɪbd ˈwɑʧɪŋ ɛz ðə ˈgənmən spreɪd ˈbʊləts ɔn ðə fild, wɛr ˈskɑlaɪz leɪ ɔn ðə graʊnd. ðə mɛnz kɪt leɪ əˈbændənd ɔn ðə fild ɛz ðə sin əraʊnd ðə ˈbeɪsˈbɔl fild wɑz teɪpt ɔf ə tˈwɪtər ˈjuzər ˈpoʊstɪd ðɪs ˈpɪkʧər əv wət əˈpɪrd tɪ bi ə ˈgənˌʃɑt hoʊl ɪn ə ˈwɪndoʊ ɛz hi tʊk ˈkəvər ɪn ðə ɪn ˌæləgˈzændriə ðə strits sərˈaʊndɪŋ ðə sin ɪn ˌæləgˈzændriə, vərˈʤɪnjə wər blɑkt ɔf ˈərli ˈwɛnzˌdeɪ ɛz fərst rɪˈspɑndərz sɪˈkjʊrd ðə ˈɛriə sɛn. ʤɛf fleɪk ɪz ˈpɪkʧərd ˈwɔkɪŋ əˈweɪ frəm ðə keɪˈɑtɪk sin ˈaʊtˈsaɪd ðə ˈsteɪdiəm pɑrk ɛz hɪz ˈkæpɪtəl hɪl prəˈtɛkʃən ˈɔfɪsərz ɪksˈʧeɪnʤd faɪər, hi sɛd ðə grup wər ˈhɛlpləs. 'aɪ ˈwɔntɪd tɪ gɪt tɪ stiv ˈskɑlaɪz, leɪɪŋ aʊt ðɛr ɪn ðə fild, bət waɪl ðɛr wər ˈbʊləts flaɪɪŋ ˈoʊvərˈhɛd, aɪ ˈkʊdənt. hi wɑz leɪɪŋ aʊt ði ˈmoʊʃənləs,' hi toʊld ˈeɪˌbiˌsi. ˈɔfəs ˌɪˈnɪʃəli sɛd waɪl hi wɑz ˌəndərˈgoʊɪŋ ˈimərʤənsi ˈsərʤəri æt ˈwɔʃɪŋtən ˈhɑˌspɪtəl ˈsɛnər ðət hi wɑz ɪn 'ˈsteɪbəl kənˈdɪʃən.' 'praɪər tɪ ˈɛnərɪŋ ˈsərʤəri, ðə wɪp wɑz ɪn gʊd ˈspɪrɪts ənd spoʊk tɪ hɪz waɪf baɪ foʊn,' ə ˈspoʊkspərsən ɪz ˈgreɪtfəl fər ðə breɪv ˈækʃənz əv juz. ˈkæpɪtəl pəˈlis, fərst rɪˈspɑndərz, ənd ˈkɑligz.' ˈleɪtər, ðə ˈhɑˌspɪtəl wɛr hi ɪz biɪŋ ˈtritɪd əˈnaʊnst ðət hɪz kənˈdɪʃən hæd ˈwərsənd. ðə tu ˈkæpɪtəl pəˈlis ˈɔfɪsərz hu wər ʃɑt ər boʊθ ɪn ə 'gʊd kənˈdɪʃən' ənd ər ɪkˈspɛktɪd tɪ rɪˈkəvər. ɔl hu hæv ˈspoʊkən sɪns ðə əˈtæk sɛd ðeɪ wər seɪvd baɪ ˈhævɪŋ tu treɪnd ˈdɑktərz, ˌɪnˈkludɪŋ wenstrup*, ɔn ðə tim. hi ədˈmɪnɪstərd ˌɪˈmiˌdiət eɪd tɪ ˈskɑlaɪz ˌbiˈfɔr ˈhændɪŋ ˈoʊvər tɪ brʊks waɪl hi kət ɔf hɪz ˈkloʊðɪŋ. wər ˈvɛri ˈfɔrʧənət tɪ hæv ə fəˈzɪʃən ɔn ðə team.’*.’ sɛn. pɔl ɪz ə treɪnd ˌɑfθəlˈmɑləʤɪst. hi sɛd hi wɑz əˈneɪbəl tɪ gɪt tɪ ˈskɑlaɪz bɪˈkəz hi wɑz ˈsɛpərˌeɪtɪd baɪ pɑrt əv ðə fild ənd ə fɛns waɪl ðə ˈæktɪv ˌsɪʧuˈeɪʃən wɑz ˈɔnˌgoʊɪŋ. wən ˈloʊkəl ˈrɛzɪdənt wɑz ɪn hɪz əˈpɑrtmənt wɪθ hɪz waɪf wɪn ðeɪ wər ˈwoʊkən baɪ ðə ˈgənˌʃɑts. ðeɪ ˈʃɛltərd θri ˈmɛmbərz əv ðə tim ˈæftər siɪŋ ðɛm rən fər ðɛr lɪvz frəm ðə fild. 'wi wər ˈeɪbəl tɪ gɪt ðɛm ɪn ə seɪf speɪs fər ə ˈkəpəl əv ˈmɪnəts. ðeɪ wər ˈprɪti ˈʃeɪkən əp,' hi sɛd. ˈprɛzɪdənt trəmp ˈɪʃud ə ˈsteɪtmənt ˈʃɔrtli ˈæftər ðə ˈʃutɪŋ tɪ seɪ hi wɑz 'ˈdipli ˈsædənd' ənd wɑz ˈmɑnətərɪŋ ðə ˌsɪʧuˈeɪʃən ˈkloʊsli. 'təˈmɑˌroʊ, wi pleɪ bɔl': rɪˈpəblɪkənz ənd ˈdɛməˌkræts vaʊ tɪ kənˈtɪnju wɪθ ˈʧɛrɪti geɪm ˈæftər ˈʃutɪŋ dem*. rɛpriˈzɛtətɪv. maɪk dɔɪl (ɛl) ənd rɛpriˈzɛtətɪv. rɛpriˈzɛtətɪv. ʤoʊ ˈbɑrtən (ɑr) vaʊd tɪ ˈkɛri ɔn wɪθ ˈθərzˌdeɪz geɪm ðə ˈbeɪsˈbɔl geɪm wɪʧ ˈkɑŋgrəsmɪn wər ˈpræktɪsɪŋ fər wɪn ðeɪ wər ʃɑt ɔn ˈwɛnzˌdeɪ ˈmɔrnɪŋ wɪl goʊ əˈhɛd dɪˈspaɪt ðə əˈtæk. rɛpriˈzɛtətɪv. ʤoʊ ˈbɑrtən ˈʃɛltərd ɪn ə ˈdəˌgaʊt wɪθ hɪz sən ɛz ˈgənmən ʤeɪmz ˈhɑʤkɪnsən ˈoʊpənd faɪər ɔn hɪz tim ɔn ˈwɛnzˌdeɪ æt. æt ə prɛs ˈkɑnfərəns ˈleɪtər ɪn ðə deɪ, hi rɪˈvild ðət ðə ˈʧɛrɪti geɪm wʊd goʊ əˈhɛd æt ˈnæʃənəlz pɑrk təˈmɑˌroʊ. 'wɪr pleɪɪŋ ðə geɪm təˈmɑˌroʊ. wɪr juˈnaɪtɪd nɑt ɛz rɪˈpəblɪkənz ənd ˈdɛməˌkræts bət ɛz juˈnaɪtɪd steɪts ˌrɛprɪˈzɛnətɪvz. wi æsk ðə əˈmɛrɪkən ˈpipəl tɪ preɪ fər ðoʊz hu wər ʃɑt,' hi sɛd, ˈædɪŋ ˈfərmli: 'ɪt wɪl bi pleɪ bɔl təˈmɑˌroʊ æt 7.05pm*.' hi wɑz ʤɔɪnd baɪ ˈdɛməˌkræt maɪk dɔɪl hu ˈɛkoʊd hɪz ˈsɛnəmənts ənd strɛst ðə nid fər bi-partisanship*. 'wi kən ʧeɪnʤ ðə mud ɪn ðɪs ˈkəntri soʊ ðət ˈpipəl doʊnt gɪt fɪld əp wɪθ ðɪs kaɪnd əv ˈheɪtrəd,' dɔɪl sɛd. boʊθ ˈkɑŋgrəsmɪn juzd ðə ˌɑpərˈtunəti tɪ ləˈmɛnt ðə groʊɪŋ ˌænəˈmɑsəti ɪn ˈwɔʃɪŋtən ənd spoʊk əˈbaʊt taɪmz wɪn rɪˈpəblɪkənz ənd ˈdɛməˌkræts wər ˈkaɪndər tɪ wən əˈnəðər. 'ˌrɛprɪˈzɛnətɪvz ˈɑrənt ˈtritɪd laɪk ˈpipəl ˌɛniˈmɔr. aɪ kən əˈʃʊr ju, ˈɛvriˌwən əv ɑr ˌrɛprɪˈzɛnətɪvz ɪz ə ˈpərsən... ˈsəmˌtaɪmz, ðoʊ wi doʊnt laɪk tɪ ʃoʊ ɪt, wi teɪk ɪt ˈpərsənəli.' rɪˈpəblɪkən ˈbɑrtən ʧoʊkt əp ɛz hi riˈlɪvd haʊ hɪz jəŋ sən ʤæk wɑz wɪθ ɪm æt ðə ˈbeɪsˈbɔl fild wɪn ðə ˈgənmən ˈoʊpənd faɪər. 'ʤæk hæd 25 dædz aʊt ðɛr təˈdeɪ ˈlʊkɪŋ aʊt fər ɪm ʤɪst ɛz məʧ ɛz mi,' hi sɛd. wən wɑz rɛpriˈzɛtətɪv. ˈrɑʤər ˈwɪljəmz hu spreɪnd hɪz ˈæŋkəl traɪɪŋ tɪ ʃild ðə ʧaɪld ənd rəʃ ɪm ˈɪntu ðə ˈdəˌgaʊt ɛz ˈhɑʤkɪnsən ˈoʊpənd faɪər. rɛpriˈzɛtətɪv. ˈbɑrtən wɑz æt ðə fild wɪθ hɪz jəŋ sən (lɛft). ðeɪ wər ˈeɪbəl tɪ teɪk ˈʃɛltər ɪn ðə ˈdəˌgaʊt wɪθ ðə ˈəðər ˈkɑŋgrəsmɪn. ðə pɛr ər ˈpɪkʧərd ˈæftər ðə ˈʃutɪŋ ˈæftər ˈflɑkɪŋ tɪ ðə ˈjuˈɛs ˈkæpɪtəl sɛn. fleɪk (lɛft) kɔld waɪf tɪ ˌɪnˈfɔrm hər hər ˈhəzbənd hæd bɪn ʃɑt. ˈæftər ðə ˈʃutɪŋ, ˈmɛni əv ðə mɛn wɛnt streɪt tɪ ðə ˈkæpɪtəl stɪl ˈwɛrɪŋ ðɛr ˈbeɪsˈbɔl gɪr ˌɪnˈkludɪŋ rɛpriˈzɛtətɪv. ˈrɑdni ˈdeɪvɪs (ˈsɛnər) ənd rɛpriˈzɛtətɪv. ʧək ˈflaɪʃmən (raɪt) 'wi ər ˈdipli ˈsædənd baɪ ðɪs ˈtræʤədi. ɑr θɔts ənd prɛrz ər wɪθ ðə ˈmɛmbərz əv ˈkɑŋgrəs, ðɛr stæfs, ˈkæpɪtəl pəˈlis, fərst rɪˈspɑndərz ənd ɔl ˈəðərz əˈfɛktɪd,' ðə ˈprɛzɪdənt sɛd. vaɪs ˈprɛzɪdənt maɪk pɛns ˈkænsəld ə ˈskɛʤʊld spiʧ ɪn ˈɔrdər tɪ mit wɪθ ðə ˈprɛzɪdənt æt ðə waɪt haʊs. baɪ mid-morning*, ðə ˈprɛzɪdənt hæd ˈkænsəld ə plænd p.m*. ɪˈvɛnt æt ðə dɪˈpɑrtmənt əv ˈleɪbər ðət wɑz tɪ hæv ˈfoʊkɪst ɔn hɪz əˈprɛntəsˌʃɪp ˌɪˈnɪʃətɪv. ɔl ˈmɛmbərz əv ðə haʊs əv ˌrɛprɪˈzɛnətɪvz wər ˈsəmənd tɪ ə ˈpraɪvət a.m*. ˈbrifɪŋ əˈbaʊt ðə ˈʃutɪŋ ˌɪnˌvɛstəˈgeɪʃən, ənd ɔl voʊts wər ˈkænsəld fər ðə deɪ. ˈskɑlaɪz ɪz ðə rɪˈpəblɪkən məˈʤɔrəti wɪp ɪn ðə haʊs əv ˌrɛprɪˈzɛnətɪvz ðə ˈkɑŋgrəsmən riˈspɑnsəbəl fər ˈkaʊntɪŋ voʊts ənd meɪnˈteɪnɪŋ ˈpɑrti ˈdɪsəplən. ðə louisianan*, ə ˈfɑðər əv tu, ɪz ˈkaʊntɪd əˈməŋ kənˈsərvətɪvz ɪn ˈkɑŋgrəs hu tɛnd tɪ bæk ˈprɛzɪdənt ˈdɑnəld trəmps mɔr ˌkɑntrəˈvərʃəl ˌɪˈnɪʃətɪvz, ˌɪnˈkludɪŋ ˈkɔlɪŋ hɪz ˈfeɪməs ˈtrævəl bæn ə 'ˈprudənt' ˈmɛʒər. hi ɛnˈdɔrst trəmp læst jɪr. ˈskɑlaɪz keɪm ˈəndər faɪər ɪn 2014 fər rɪˈmɑrks hi meɪd ɪn 2002 æt ə ˈkɑnfərəns rən baɪ ə grup ðət hi ˈleɪtər ˈlərnɪd wɑz ə waɪt suˈprɛməsɪst ˌɔrgənəˈzeɪʃən. ˈprɛzɪdənt trəmp sɛd ˈskɑlaɪz wʊd meɪk ə fʊl rɪˈkəvəri. hi peɪd ˈtrɪbjut tɪ ɪm ɛz ə 'tru frɛnd ənd ˈpeɪtriət' ðə ˈɪnfəməs ˈfɔrmər ku kləks klæn ˈlidər ˈdeɪvɪd duk, hu ˈfaʊndɪd ðə grup, ˈblæstɪd ˈskɑlaɪz ɛz ə 'ˈsɛˌlaʊt' fər əˈpɑləˌʤaɪzɪŋ. ðə kənˈgrɛʃənəl ˈbeɪsˈbɔl geɪm ɪz ən ˈænjuəl trəˈdɪʃən ˈpɪtɪŋ ˈmɛmbərz əv ðə ˌdɛməˈkrætɪk ənd rɪˈpəblɪkən ˈpɑrtiz əˈgɛnst iʧ ˈəðər. ðə geɪm ɪz sɛt tɪ teɪk pleɪs ɔn ˈθərzˌdeɪ æt ˈnæʃənəlz pɑrk. ˌdɛməˈkrætɪk ˈmɛmbərz əv ˈkɑŋgrəs ˈkænsəld ðɛr oʊn ˈbeɪsˈbɔl ˈpræktɪs ɔn ˈwɛnzˌdeɪ ˈmɔrnɪŋ ˈæftər nuz broʊk əˈbaʊt ðə ˈʃutɪŋ. ˈmɛni əv ðoʊz ˈlɔˌmeɪkərz ˈgæðərd tɪ preɪ fər ðɛr pəˈlɪtɪkəl əˈpoʊnənts ɪn ə ˈkɑnkrit ˈdəˌgaʊt ˌbiˈfɔr ˈlivɪŋ ˈəndər ðə gɑrd əv ə ˈkæpɪtəl pəˈlis ˈɛskɔrt. ɛz tɔk ɪn ˈwɔʃɪŋtən tərnd tɪ ðə pəˈlɪtɪkəl ˌræməfəˈkeɪʃənz əv ə ˌhaɪˈproʊfaɪl ˈʃutɪŋ ðət əˈfɛktɪd ˈlɔˌmeɪkərz, fɔlt laɪnz bɪˈgæn tɪ ˈimərʤ. 'ðɪs kaɪnd əv ˈmaɪndləs ˈvaɪələns məst stɑp,' ˌkæləˈfɔrnjə ˌdɛməˈkrætɪk sɛn. daɪæn ˈfaɪnˌstin sɛd ɪn ə ˈsteɪtmənt ðət ˈhɪnɪd æt hər ˈlɔŋˌstændɪŋ səˈpɔrt fər lɔz. 'əm ˈdɛdəkeɪtəd tɪ duɪŋ ɔl aɪ kən tɪ ˈpʊtɪŋ ən ɛnd tɪ ðiz ˈsɛnsləs ˈtræʤədiz.' ɔn ðə ˈəðər saɪd əv ðə aɪəl, saʊθ ˌkɛrəˈlaɪnə rɪˈpəblɪkən sɛn. ˈlɪndzi græm sɛd hi ˈdəzənt noʊ hu ðə ˈʃutər ɪz 'ər haʊ hi gɑt ə gən.' 'wiv gɑt ˈplɛnti əv gən lɔz,' græm toʊld ə ˈblumbərg rɪˈpɔrtər. 'aɪ oʊn ə gən. aɪ doʊnt goʊ əraʊnd ˈʃutɪŋ ˈpipəl wɪθ ɪt.' 'ˈpipəl gɪt ʃɑt, rən ˈoʊvər baɪ kɑz, stæbd, ɪts ʤɪst ə ˈkreɪzi wərld,' hi sɛd. 'ɪf wi hæd ðət dəˈbeɪt ˈɪtəd ɛnd laɪk ɪt ˈɔlˌweɪz ɛndz. wɪr nɑt goʊɪŋ tɪ tɛl ˈpipəl ðeɪ kænt oʊn ə gən bɪˈkəz əv səm nut-job*.' 'wən θɪŋ aɪ hoʊp wɪl ɔl du ɪz ʤɪst wɔʧ ɑr wərdz ə ˈlɪtəl bɪt,' græm ˈædɪd. 'nɑk daʊn ðə ˈrɛtərɪk. ˈðætɪd bi ə gʊd θɪŋ.' ɪn ˈkɔrnərz əv ðə juz. ˈkæpɪtəl wɛr ˈbɪznɪs rɪˈzumd ɛz ˈjuʒəwəl, ðə ˈʃutɪŋ simd tɪ hɪt hoʊm. 'ˈsɛvərəl ˈmɛmbərz əv ðɪs kəˈmɪti wər ðɛr,' rɪˈpəblɪkən rɛpriˈzɛtətɪv. ɛd rɔɪs əv ˌkæləˈfɔrnjə dɪˈklɛrd ɛz hi kənˈvind ə ˈhirɪŋ ˈfiʧərɪŋ ˈsɛkrəˌtɛri əv steɪt rɛks tillerson*. 'ðɪs ɪz ə sæd deɪ fər ɑr ˈkəntri.' 'wi stɪl doʊnt hæv ɔl ðə ˈditeɪlz,' sɛd rɔɪs, 'bət wi du noʊ ðət ðɛr ər ðoʊz hu wɔnt tɪ juz ækts əv ˈvaɪələns tɪ kriˈeɪt keɪɑs, tɪ dɪsˈrəpt ɑr dɪˈmɑkrəsi.' 'ðə əˈmɛrɪkən ˈpipəl wɪl nɑt lɛt ðɛm wɪn.' ðɛr wɑz ˈhaɪtənd sɪˈkjʊrəti ɪn ðə ˈkæpɪtəl ˈæftər ðə ˈʃutɪŋ ɔn ˈwɛnzˌdeɪ ˈmɔrnɪŋ
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the gunman who was killed by cops after opening fire on a republican congressional baseball practice on wednesday, the president's 71st birthday, was a trump-hating democrat and bernie sanders supporter with a long history of violence.
james t. hodgkinson, 66, from belleville, illinois, was killed by capitol police after firing up to 100 rounds from an assault rifle at a baseball park in alexandria, virginia, leaving five injured including house majority whip steve scalise at 7am on wednesday.
scalise's condition worsened throughout the afternoon and was deemed critical by hospital staff after he he was released from emergency surgery on his hip.
two capitol police officers were shot as they bravely returned fire on hodgkinson while the lawmakers scrambled across the field to safety. congressional staffer zachary barth and lobbyist matt mika were also shot but both are expected to recover.
hodgkinson was a staunch sanders supporter and campaigned for the left-wing senator to get the democratic nomination for president last year.
he ranted against president trump on social media and had previously described the rachel maddow show as his favorite thing on tv.
the married union tradesman threatened to 'destroy' the president, whom he called a 'traitor' on social media - but was not known to secret service.
his family said he was distraught over trump's november election win and revealed that he had been living in alexandria out of a gym bag and sleeping in his car for the last two months.
his criminal record included a 2006 arrest for punching his female neighbor in the face as she tried to shield his underage daughter from him.
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james t. hodgkinson (pictured right campaigning against republicans in 2012) was a hateful trump opponent who threatened to 'destroy' the president on social media before attacking a gop baseball practice on wednesday
trump hating: fbi agents remove a 'chicken in chief' poster from james hodgkinson's van. he had been living in the van in alexandria, virginia, for at least several weeks after driving there from his home in illinois
hodgkinson opened fire on a group of gop figures from behind the third base dugout at eugene simpson stadium park in alexandria, virginia, as they practiced for a charity baseball game on thursday at 7am
according to a police report, hodgkinson went to the neighbor's home looking for his daughter and found her upstairs.
he dragged her out by the hair but she ran into her neighbor's car. the female neighbor sat in the vehicle in the front seat.
hodgkinson got access to them, slashing the seatbelt his daughter was wearing as he and his wife pulled her out. he then hit the neighbor in the face, the washington post reported, but was never convicted.
his former lawyer, lyndon evanko of belleville, illinois, said hodgkinson was 'a pushy little b*****d, an in-your-face kind of guy. he believed what he believed and he wasn't going to take any s**t from anybody.'
evanko defended hodgkinson during the neighbor-punching incident.
'he was a bit of a misanthrope,' the lawyer said. 'he came across as a very irascible, angry little man, but not somebody i would expect to do something like this.
'i would have clients i would suspect for doing something like this, but he's not the one i would have pegged for it. he never had a felony. it was all penny-ante stuff.'
evanko represented hodgkinson again in 2009, after he was ticketed for doing work without the proper permits.
'even with that, he had a temper,' evanko said, quoting him: '"what are they charging me for? i know what i was doing. so what if i didn't have the paperwork?"'
after hodgkinson was identified as the shooter in wednesday's attack, his estranged brother told the new york times that he learned through their sister that he had traveled to virginia two months ago.
he signed up for a membership at the ymca opposite the baseball field he attacked but cancelled it this week.
the brother said he believed hodgkinson phoned his wife sue in the days before the attack and told her he was coming home because he missed her and their dogs. former alexandria mayor bill euille admitted meeting the man several times in the town.
'he was a very friendly person, but what i did notice about this gentleman is he'd open up his gym bag and in it, he had everything he owned. he was living out of the gym bag. that, and he sat in the y’s lobby for hours and hours.
'outside of myself, i think he knew anyone else in town,' he told the washington post, admitting that he also helped him try to find a job in the area after taking pity on him.
hodgkinson documented his hatred for the president in facebook and twitter posts where he threatened to 'destroy trump & co' and labeled the republican billionaire a 'traitor'.
hodgkinson had a lengthy criminal record which includes charges, but no convictions, for dui, domestic battery, pointing a gun at a relative. he is seen in mugshots in 1992 (left) and 2006 (right)
hodgkinson was wounded by capitol police at the scene and later died of his injuries in hospital
hodgkinson documented his violent hatred for the president across his various social media pages
hodgkinson shared numerous facebook posts against the president, making no secret of his angry republican hatred
he wrote frequent letters to his local paper in illinois in which he complained about income inequality and compared the state of the economy to the great depression long before president trump ever launched his political career.
'i have never said “life sucks,” only the policies of the republicans,' he wrote in one from 2012 where he described his plan to increase the number of tax brackets.
in 2011, he praised occupy protesters in new york and boston who he said 'are tired of our do-nothing congress doing nothing while our country is going down the tubes.'
hodgkinson's violent tendencies and involvement in wednesday's attack came as a surprise to people who worked with him on sanders' 2016 bid for the democratic presidential nomination.
one told the washington post: 'i met him on the bernie trail in iowa, worked with him in the quad cities area.
'he was this union tradesman, pretty stocky, and we stayed up talking politics. he was more on the really progressive side of things,' charles orear said, adding that hodgkinson was 'quite mellow'.
a friend of the man spoke outside his home in belleville, illinois - 800 miles from where the shooting occurred - to say he was a 'nice guy'.
despite his hateful social media posts and criminal history, sources told cnn the man was not on the secret service's radar.
hodgkinson's estranged brother revealed that in the days before the shooting, he called his wife sue (above together) to say he was planning to come home from virginia because he missed her and their dogs
it is not clear how long hodgkinson had been in virginia or when he left his home town before wednesday's shooting
hodgkinson's family said he was distraught over trump's november election win. he traveled to virginia two months ago and had been living out of a gym bag and sleeping in his car, the former mayor of alexandria said
police descended on his home in belleville, illinois, which is 800 miles from where the shooting took place
police rifled through the home on wednesday afternoon. hodgkinson's family said he left it two months ago to travel to virginia
dale walsh, a friend of hodgkinson, said he was 'a nice guy' and expressed his shock at wednesday's shooting. he spoke outside hodgkinson's home as local media and police descended on it
shortly after 7am on wednesday, he opened fire from behind the third base dugout as the group of gop figures practiced batting on the field in preparation for a charity baseball game against democrats which is scheduled for thursday night.
florida rep. ron desantis and rep. jeff duncan of south carolina spoke with him moments before the shooting.
they told how the shooter approached them and asked if they were republican or democrat. he walked away after being told they were members of the gop, duncan said.
the pair escaped his bloody rampage and only identified him as the shooter after seeing his photograph in the news.
two capitol police officers who were accompanying scalise were the only other armed people on the scene. they returned fire with their pistols but were shot themselves.
as bullets flew across the field, the congressmen fled to a dugout and huddled on top of one another, using their belts as makeshift tourniquets to treat the wounds of those who were shot.
barth, a congressional staffer for texas rep. roger williams, was shot in the leg but is expected to recover. the two capitol police officers, krystal griner and david bailey, are also expected to make a full recovery.
mika was also injured and is in hospital while scalise is in critical condition at medstar washington center after undergoing emergency surgery on his hip.
sen. rand paul, who was also there but as not hurt, described the scene as a 'killing field'. rep. mark walker said the gunman seemed intent on murdering 'as many republicans as possible.'
house majority whip steve scalise was rushed to hospital after being shot in the hip. he was initially expected to recover but his condition worsened and became critical on wednesday afternoon
the men were practicing at eugene simpson stadium park in alexandria, virginia, ahead of a charity game on thursday
sanders, who expressed his prayers for the victims before learning that the gunman was one of his fans, resisted criticism directed at him at the capitol on wednesday. his aides stayed between him and reporters milling near the senate chamber.
in a statement on the senate floor, the vermont democratic socialist said in a statement on the senate floor that he was aware the shooter 'apparently volunteered on my presidential campaign.'
'i am sickened by this despicable act,' he said. 'let me be as clear as i can be. violence of any kind is unacceptable in our society and i condemn this action in the strongest possible terms.'
sanders said he was 'sickened' by the shooting
'real change can only come about through nonviolent action, and anything else runs against our most deeply held american values.'
the president spoke at a white house press conference at around 11am.
he made a plea for unity and thanked the police and emergency responders involved, making no mention of the gunman other than to confirm his death.
president trump revealed he had spoken to scalise's wife to offer her his support and described the injured whip as a 'true friend' and 'patriot'.
later in the day, joe barton, whose young children were with him at the field, announced that the game would go ahead despite the shooting.
both he and democratic rep. mike doyle used the occasion as an example of the angry hatred between republicans and democrats which is becoming more commonplace.
'we need to take a step back. i think the internet, twitter and all the instantaneous of the news cycle has made it more impersonal and members flying back to their districts every weekend, very few people live up here. it is different climate today than it was in 1985. part of it is technology and part of it is how politics has evolved,' rep. barton said.
scalise was shot in the hip and taken to hospital by air ambulance shortly after the attack. alabama rep. mo brooks tried to stop the bleeding from his wound as sen. paul, a trained doctor, cut his baseball uniform to examine the injury.
scalise was on the field when he was shot but was able to drag himself to safety in the dugout, where the other men were hiding, as the two capitol police who had accompanied him for the practice exchanged gunfire.
trump pleads for unity after gop baseball shooting as donald jr. says attack proves why jokes about his father's assassination aren't funny at a press conference at the white house on wednesday, president trump thanked the police and first responders who attended the shooting the president pleaded for unity at a white house press conference to address an attack on his gop colleagues on wednesday. speaking hours after leaders including house majority whip steve scalise and four others were injured by gunman james hodgkinson, trump said: 'we are stronger when we are unified and when we work together for the common good.' trump referred to the gunman once to confirm his death, describing him only as 'the assailant'. he devoted the rest of his speech to praising the capitol police and emergency responders who attended the attack. 'melania and i are grateful for their heroism and praying for the swift recovery of all victims. congressman scalise is a friend and a very good friend, he is a patriot and a fighter and he will recover from this assault. 'steve, i want you to know, you have the prayers not only of the entire city but of an entire nation and, frankly, the entire world. america is praying for you and america is praying for all of the victims of this shooting. i have spoken with steve's wife jennifer and i pledged to her our full and absolute support. anything she needs, we are with her and the entire scalise family. 'i have also spoken with chief matthew verderosa (of the capitol police), he's doing a fantastic job, to express our sympathies for his wounded officers and to express my admiration for their officers. they perform a challenging job with incredible skill and their sacrifice makes democracy possible. 'we also commend the brave first responders from alexandria fire and rescue who rushed to the scene. everyone on that field is a public servant - our courageous police, our aides, and our dedicated members of congress who represent our people. 'we can all agree that we are blessed to be americans and that our children deserve to grow up in a nation of safety and peace,' he said. donald jr. had an angrier public response. he re-tweeted a post which read: 'events like today are exactly why we took issue with ny elites glorifying the assassination of our president.' he was referring to new york's public theatre and its current production of julius caesar in which the doomed emperor is portrayed as his father. the play has sparked outrage and accusations that its directors are glorifying violence against the president. it comes after the comedian kathy griffin's shocking participation in a photo-shoot in which she appeared to be holding a fake representation of the president's severed head. she apologized for the stunt after receiving angry backlash.
democratic rep. mike doyle (l) and rep. rep. joe barton (r) vowed to carry on with thursday's scheduled game despite the shooting. barton choked back tears as he told how he sheltered with his young sons as the shooter sprayed the field with bullets
texas rep. roger williams (above) was not shot but was injured in the chaos as he tried to flee. one of his staffers suffered a gunshot wound to the leg
williams is seen being taken to hospital after the shooting which took place as the men practiced batting at 7am
rep. williams gave a tearful speech at the us capitol later in the day. hobbling in on crutches after spraining his ankle as he dove into the dugout, he paid tribute to the police officers who were there,saying: 'they saved all of us out there, there is no question of it'
michigan rep. mike bishop earlier described how one man – thought to be part of scalise’s capitol police protection detail – stood his ground to return fire as the congressmen and at least one of their children dove for cover in a dugout and scalise dragged himself across the field after being hit, leaving a trail of blood behind him.
he told cbs detroit: ‘as we were standing here this morning, a gunman walked up to the fence line and just began to shoot. i was standing at home plate and he was in the third base line. he had a rifle that was clearly meant for the job of taking people out, multiple casualties, and he had several rounds and magazines that he kept unloading and reloading.'
he said: ‘the only reason why any of us walked out of this thing, by the grace of god, one of the folks here had a weapon to fire back and give us a moment to find cover.'
'we were inside the backstop and if we didn’t have that cover by a brave person who stood up and took a shot themselves, we would not have gotten out of there and every one of us would have been hit — every single one of us.'
'he was coming around the fence line and he was looking for all of us who had found cover in different spots. but if we didn’t have return fire right there, he would have come up to each one of us and shot us point-blank.'
the group was practicing for a charity game which is due to take place on thursday at nationals park when they were attacked. three men escaped and took shelter in an apartment building nearby.
another witness, marty lavor, dove on top of a congressman. he told cnn that after the gunman's first shot, there was a break in the gunfire but it began shortly afterwards.
republican rep. mo brooks was also there but was not hurt. he described using his belt as a tourniquet to stop the bleeding on scalise's leg.
a man who was injured in the leg receives treatment at the scene. some of those hurt were not shot but suffered injuries as they tried to escape the field
rep. mo brooks appeared emotional as he spoke on the phone moments after the shooting. he helped give first aid to those shot
scalise (left), congressional staffer zachary barth (center) and lobbyist matt mika (right) were all shot
speaking to fm talk 1065 moments after the shooting, he told how the group was practicing batting when he suddenly saw the shooter.
'suddenly there's this face. i noticed the guy's got a rifle and he's shooting at us,' he said.
us capitol police officer david bailey is being hailed as a hero for returning fire on the gunman with his pistol despite being injured himself
as he took shelter with others in the group, which also included rep. gary palmer, brooks said he watched scalise crawl to them as the police exchanged gunfire with pistols.
'he was dragging his body away from second base to get away from the shooter. he was shot in the hip. i think it was not a life-threatening wound. ... there was no exit wound i could see.'
'there was a blood trail about 10 to 15 yards long from where he was shot to wear he crawled to right field,' he told cnn.
brooks caught a brief glimpse of the shooter and described him as a white, middle-aged male. he said he described him as being 'a little on the chubby side' but not obese. no more information about him is being offered by police.
scalise, as a member of the house leadership, was the only one in the group who had been accompanied by a capitol police security detail.
sen. paul, who was not hurt, said that without the armed officers, all of those targeted would have died.
'had they not been there, it would have been a massacre. as terrible as it is, it could have been a lot worse.
'had it not been for them, we would have been at the mercy of the shooter and he had a lot of ammo. all we would have had was baseball bats.' the capitol hill police cannot get enough praise for really saving everyone's life out there,' he said, adding of the gunman: 'he would have shot anybody who ran out.'
ohio republican rep. brad robert wenstrup, a doctor and an army reserve officer, was on the scene and helped treat the wounded before paramedics arrived.
'i felt like i was back in iraq, but without my weapon,' he told fox news. arizona rep. senator jeff flake described watching as the gunman sprayed bullets on the field, where scalise lay on the ground.
the men's kit lay abandoned on the field as the scene around the baseball field was taped off
a twitter user posted this picture of what appeared to be a gunshot hole in a window as he took cover in the ymca in alexandria
the streets surrounding the scene in alexandria, virginia were blocked off early wednesday as first responders secured the area
sen. jeff flake is pictured walking away from the chaotic scene outside the stadium park
as his capitol hill protection officers exchanged fire, he said the group were helpless. 'i wanted to get to steve scalise, laying out there in the field, but while there were bullets flying overhead, i couldn't. he was laying out thee motionless,' he told abc.
scalise's office initially said while he was undergoing emergency surgery at medstar washington hospital center that he was in 'stable condition.'
'prior to entering surgery, the whip was in good spirits and spoke to his wife by phone,' a spokesperson said.he is grateful for the brave actions of u.s. capitol police, first responders, and colleagues.'
later, the hospital where he is being treated announced that his condition had worsened.
the two capitol police officers who were shot are both in a 'good condition' and are expected to recover.
all who have spoken since the attack said they were saved by having two trained doctors, including wenstrup, on the team.
he administered immediate aid to scalise before handing over to brooks while he cut off his clothing. ‘we were very fortunate to have a physician on the team.’
sen. paul is a trained opthalmologist. he said he was unable to get to scalise because he was separated by part of the field and a fence while the active situation was ongoing.
one local resident was in his apartment with his wife when they were woken by the gunshots. they sheltered three members of the team after seeing them run for their lives from the field.
'we were able to get them in a safe space for a couple of minutes. they were pretty shaken up,' he said.
president trump issued a statement shortly after the shooting to say he was 'deeply saddened' and was monitoring the situation closely.
'tomorrow, we play ball': republicans and democrats vow to continue with charity game after shooting dem. rep. mike doyle (l) and rep. rep. joe barton (r) vowed to carry on with thursday's game the baseball game which congressmen were practicing for when they were shot on wednesday morning will go ahead despite the attack. rep. joe barton sheltered in a dugout with his son as gunman james hodgkinson opened fire on his team on wednesday at 7am. at a press conference later in the day, he revealed that the charity game would go ahead at nationals park tomorrow. 'we're playing the game tomorrow. we're united not as republicans and democrats but as united states representatives. we ask the american people to pray for those who were shot,' he said, adding firmly: 'it will be play ball tomorrow at 7.05pm.' he was joined by democrat mike doyle who echoed his sentiments and stressed the need for bi-partisanship. 'we can change the mood in this country so that people don't get filled up with this kind of hatred,' doyle said. both congressmen used the opportunity to lament the growing animosity in washington and spoke nostalgically about times when republicans and democrats were kinder to one another. 'representatives aren't treated like people anymore. i can assure you, everyone of our representatives is a person... sometimes, though we don't like to show it, we take it personally.' republican barton choked up as he relived how his young son jack was with him at the baseball field when the gunman opened fire. 'jack had 25 dads out there today looking out for him just as much as me,' he said. one was rep. roger williams who sprained his ankle trying to shield the child and rush him into the dugout as hodgkinson opened fire. rep. barton was at the field with his young son (left). they were able to take shelter in the dugout with the other congressmen. the pair are pictured after the shooting after flocking to the us capitol
sen. flake (left) called scalise's wife to inform her her husband had been shot. after the shooting, many of the men went straight to the capitol still wearing their baseball gear including rep. rodney davis (center) and rep. chuck fleischmann (right)
'we are deeply saddened by this tragedy. our thoughts and prayers are with the members of congress, their staffs, capitol police, first responders and all others affected,' the president said.
vice president mike pence cancelled a scheduled speech in order to meet with the president at the white house.
by mid-morning, the president had canceled a planned 3:00 p.m. event at the department of labor that was to have focused on his apprenticeship initiative.
all members of the house of representatives were summoned to a private 11:15 a.m. briefing about the shooting investigation, and all votes were canceled for the day.
scalise is the republican majority whip in the house of representatives – the congressman responsible for counting votes and maintaining party discipline.
the louisianan, a 51-year-old father of two, is counted among conservatives in congress who tend to back president donald trump's more controversial initiatives, including calling his famous travel ban a 'prudent' measure. he endorsed trump unreservedly last year.
scalise came under fire in 2014 for remarks he made in 2002 at a conference run by a group that he later learned was a white supremacist organization.
president trump said scalise would make a full recovery. he paid tribute to him as a 'true friend and patriot'
the infamous former ku klux klan leader david duke, who founded the group, blasted scalise as a 'sellout' for apologizing.
the congressional baseball game is an annual tradition pitting members of the democratic and republican parties against each other. the game is set to take place on thursday at nationals park.
democratic members of congress canceled their own baseball practice on wednesday morning after news broke about the shooting. many of those lawmakers gathered to pray for their political opponents in a concrete dugout before leaving under the guard of a capitol police escort.
as talk in washington turned to the political ramifications of a high-profile shooting that affected lawmakers, fault lines began to emerge.
'this kind of mindless violence must stop,' california democratic sen. dianne feinstein said in a statement that hinted at her longstanding support for gun-control laws.
'i'm dedicated to doing all i can to putting an end to these senseless tragedies.'
on the other side of the aisle, south carolina republican sen. lindsey graham said he doesn't know who the shooter is 'or how he got a gun.'
'we've got plenty of gun laws,' graham told a bloomberg reporter. 'i own a gun. i don't go around shooting people with it.'
'people get shot, run over by cars, stabbed, it's just a crazy world,' he said. 'if we had that debate it'd end like it always ends. we're not going to tell law-abiding people they can't own a gun because of some nut-job.'
'one thing i hope we'll all do is just watch our words a little bit,' graham added. 'knock down the rhetoric. that'd be a good thing.'
in corners of the u.s. capitol where business resumed as usual, the shooting seemed to hit home.
'several members of this committee were there,' republican rep. ed royce of california declared as he convened a hearing featuring secretary of state rex tillerson.
'this is a sad day for our country.'
'we still don't have all the details,' said royce, 'but we do know that there are those who want to use acts of violence to create chaos, to disrupt our democracy.'
'the american people will not let them win.'
there was heightened security in the capitol after the shooting on wednesday morning
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aʊərz ˈæftər ˈstudənts əv fɪlm ənd ˈtɛləˌvɪʒən ˈɪnstɪˌtut əv ˈɪndiə (ftii*) kɔld ɔf ðɛr straɪk, ðeɪ ˈpɑrtid ɔn ðə ˈkæmpəs ənd əˈlɛʤədli ˈdæmɪʤd ðə ɪn ðə ˈreɪdiˌoʊ dɪˈpɑrtmənt, ˈərli ɔn ˈθərzˌdeɪ ˈmɔrnɪŋ. ˈfɑloʊɪŋ ðə ˈɪnsədənt, ædˌmɪnɪˈstreɪʃən ɪz ˈlaɪkli tɪ sərv ˈwɔrnɪŋz tɪ ˈstudənts. ædˌmɪnɪˈstreɪʃən ɪz ˈməlɪŋ ˈɪʃuɪŋ ˈnoʊtɪsɪz tɪ eɪt ˈstudənts ˌɪnˈvɑlvd ɪn ˈkɔzɪŋ ə ˈrəkəs ɔn ðə campus,”*,” sɛd bodke*, ˈrɛʤɪˌstrɑr,. wɪn æst əˈbaʊt ðə ˈɪnsədənt, ðə students’*’ əˌsoʊʃiˈeɪʃən meɪnˈteɪnd ðət wət ˈhæpənd wɑz ən ˌɪnˈtərnəl ˈɪʃu, ˈædɪŋ ðət ðə ˈɪnstɪˌtut ædˌmɪnɪˈstreɪʃən wʊd dil wɪθ ɪt. wi ɛnˈdɔrs ˌwəˈtɛvər həz ˈhæpənd, wi ər ˈlivɪŋ ɪt tɪ ðə ædˌmɪnɪˈstreɪʃən tɪ dil wɪθ it,”*,” sɛd nachimuthu*, ˈprɛzɪdənt əv students’*’ əˌsoʊʃiˈeɪʃən. rɛd mɔr: ˈstudənts ɛnd straɪk, tɪ kənˈtɪnju ˈproʊˌtɛst ðə ˈstudənts ɔn ˈwɛnzˌdeɪ kɔld ɔf ðɛr straɪk, seɪɪŋ ðeɪ wʊd kənˈtɪnju tɪ ˈproʊˌtɛst ənˈtɪl ðə ˈgəvərnmənt rɪˈvoʊkt wət ðeɪ tərmd ɛz ðə pəˈlɪtɪkəl əˈpɔɪntmənts əv ənd fɔr ˈəðərz tɪ ðə. rɛd mɔr: ˈhæpi wɪθ students’*’ dɪˈsɪʒən tɪ kɔl ɔf straɪk ˈæftər ˈkɔlɪŋ ɔf ðə straɪk, ˈstudənts strɛst ðət ðɛr ˈproʊˌtɛst wʊd groʊ frəm hir ɔn. hæv ˌdɪˈsaɪdɪd nɑt tɪ ˈsækrəˌfaɪs ˌækəˈdɛmɪks fər ə ˈgəvərnmənt ðət ɪz dɛf. waɪl wi ər rɪˈzumɪŋ ɑr ˈklæsɪz, ɑr ˈproʊˌtɛsts wɪl nɑt stop,”*,” sɛd urs*, students’*’ ˌrɛprɪˈzɛnətɪv. ˈdʊrɪŋ ðə straɪk, ˈstudənts wər ˈlɑrʤli ˈpisfəl, ɪkˈsɛpt wɪn ðeɪ ðə ˈɪnstɪˌtut dɪˈrɛktər ˌprɑˈʃɑnt fər əraʊnd sɪks aʊərz. ˈfɑloʊɪŋ ðə ˈɪnsədənt, faɪld ə pəˈlis kəmˈpleɪnt əˈgɛnst ˈstudənts, səm əv hum wər ərˈɛstɪd. fərst ˈpəblɪʃt: ɔkt 29 2015
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hours after students of film and television institute of india (ftii) called off their strike, they partied on the campus and allegedly damaged the signboards in the radio department, early on thursday morning.
following the incident, ftii administration is likely to serve warnings to students. “the administration is mulling issuing notices to eight students involved in causing a ruckus on the campus,” said uc bodke, registrar, ftii.
when asked about the incident, the ftii students’ association maintained that what happened was an internal issue, adding that the institute administration would deal with it. “while we endorse whatever has happened, we are leaving it to the administration to deal with it,” said harishankar nachimuthu, president of ftii students’ association.
read more: ftii students end strike, to continue protest
the students on wednesday called off their 139-day strike, saying they would continue to protest until the government revoked what they termed as the political appointments of gajendra chauhan and four others to the ftii.
read more: chauhan happy with ftii students’ decision to call off strike
after calling off the strike, students stressed that their protest would grow from here on. “we have decided not to sacrifice academics for a government that is deaf. while we are resuming our classes, our protests will not stop,” said vijkas urs, ftii students’ representative.
during the strike, ftii students were largely peaceful, except when they gheraoed the institute director prashant pathrabe for around six hours. following the incident, pathrabe filed a police complaint against students, some of whom were arrested.
first published: oct 29, 2015 19:44 ist
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ðə ˈlæfər kərv læfs ɔl ðə weɪ tɪ ðə bæŋk fər ˈkɔrpərət ˈkænədə ˈfrænsɪs ˈrəsəl ˈkɔrpərət ˈkænədə riʧt ə ˈmaɪlˌstoʊn ɪn 2014 fər ðə fərst taɪm ˈɛvər, ɪt naʊ həz mɔr kæʃ ɔn hænd ðən ɪnˈtaɪər ˈnæʃənəl dɛt 630 ˈbɪljən ənd ˈkaʊntɪŋ. ɪn ˈəðər wərdz, bɪg ˌkɔrpərˈeɪʃənz kʊd peɪ ɔf ɪnˈtaɪər ˈnæʃənəl dɛt ɪn wən fɛl swup wɪθ ʤɪst ðə kæʃ ˈsɪtɪŋ ɪn ðɛr kəˈlɛktɪv bæŋk əˈkaʊnts. ənd ðeɪ ˈivɪn hæv tɪ təʧ ðɛr ˈəðər ˈæˌsɛts. ðə ˈmaɪlˌstoʊn ɪz biɪŋ ˈnoʊtɪd baɪ ðə prəˈgrɛsɪv ˌɛkəˈnɑmɪks ˈfɔrəm, ən ˌɪnˈfɔrməl grup ðət ˈrɛgjələrli poʊsts prəˈgrɛsɪv ˌɛkəˈnɑmɪk aɪˈdiəz ənd nuz ɔn ðə wɛb. ðeɪ ˌɪnˈklud ˈdeɪvɪd məkˈdɑnəld, ə ˈsinjər ɪˈkɑnəmɪst wɪθ ðə kəˈneɪdiən ˈsɛntər fər ˈpɑləsi ɔlˈtərnətɪvz; ˈtoʊbi ˈsæŋər, ʧif ɪˈkɑnəmɪst fər ðə kəˈneɪdiən ˈjunjən əv ˈpəblɪk ɪmˈplɔɪiz, ənd ˈɛrɪn wir, ʧif ɪˈkɑnəmɪst wɪθ ðə juˈnaɪtɪd ˈstilˌwərkərz. ˈkɔrpərət kæʃ ˈhɔrdɪŋ ˈrɪli əp ɛz ˈkɔrpərət tæks reɪts wər slæʃt ɪn hæf, frəm 31 pər sɛnt ɪn 1997 tɪ 16 pər sɛnt təˈdeɪ. bæk ɪn ðə 1990s*, ˈkɔrpərət ˈkænədə sɛd ɪt wʊd juz ðə nu ˈməni tɪ bɪld mɔr ˈfæktəriz, ɪmˈplɔɪ mɔr ˈwərkərz ənd meɪk ˈkænədə mɔr pərˈdəktɪv. ˈdutifəli kət ˈsoʊʃəl ˈproʊˌgræmz ɛz ˈtæksɪz decreased,”*,” məkˈdɑnəld sɪz. ˈkɔrpərət ˈkænədə pæst ɔn ˈmeɪkɪŋ ɪˈkɑnəmi mɔr productive….(and*) kəˈneɪdiənz ər lɛft wɪθ ˈwikər hɛlθ kɛr, ˈvɛtərənz kɛr ənd ˈəðər ˈsoʊʃəl programs.”*.” ˈlɪtəl ˈwəndər ðə kənˈsərvətɪv ˈgəvərnmənt həz ɪts ˈɑdətərz ɔn ðə. ənd ə jɪr ˈleɪtər, stɪl ðɛr, ˈvɛrəˌfaɪɪŋ ðə raɪt tɪ ˈʧɛrətəbəl tæks ɪgˈzɛmpʃən ˈstætəs ˈæftər ə jɪr əv ˈsərʧɪŋ θru ˈɛvəri nʊk ənd ˈkræni əv ðə bʊks. ðə həz ˈgɪvɪn ðɛm ðɛr oʊn rum ɪn ðə ˈɑtəˌwɑ ˈɔfəsɪz. praɪm ˈmɪnɪstər ˈstivən ˈhɑrpər ɪz ə bɪˈlivər ɪn ˌɛkəˈnɑmɪks. ˌɛkəˈnɑmɪks wɑz fərst ˈprɑməlˌgeɪtəd baɪ ɪˈkɑnəmɪst ˈɑrθər ˈlæfər. ɪt kleɪmz ðət loʊ tæks reɪts peɪ fər ðɛmˈsɛlvz baɪ ˌɪnˈkrisɪŋ ˌɛkəˈnɑmɪk ækˈtɪvɪti ənd ˈreɪzɪŋ mɔr tæks ˈrɛvəˌnuz ˈoʊvərˌɔl. ðə tərm curve”*” wɑz rɪˈpɔrtədli kɔɪnd baɪ wɔl strit ˈʤərnəl ˈraɪtər ʤud wəˈnɪski æt ə 1974 ˈdɪnər ˈmitɪŋ æt ðə tu ˈkɑntənənts ˈrɛˌstrɑnt ɪn ðə ˈwɔʃɪŋtən hoʊˈtɛl. ðə ˈgæðərɪŋ ˌɪnˈkludɪd ˈɑrθər ˈlæfər, dɪk ˈʧeɪni ənd ˈdɑnəld ˈrəmzˌfɛld, əˈkɔrdɪŋ tɪ ˈwɪkiˌpiˌdiə. tɪ ˈɪləˌstreɪt hɪz ˌɑpəˈzɪʃən tɪ ˈʤɛrəld tæks ˌɪnˈkris, ˈlæfər rɪˈpɔrtədli skɛʧt hɪz ˌɛkəˈnɑmɪk kərv ɔn ə ˈnæpkɪn tɪ ˈdɛmənˌstreɪt ðə ˈkɑnsɛpt. juzd ðə ˈsoʊˈkɔld ˈlæfər kərv ɔl ðə taɪm ɪn maɪ ˈklæsɪz ənd wɪθ ˈɛniˌwən ɛls hu wʊd ˈlɪsən tɪ me,”*,” ˈlæfər həz sɪns ˌɪnˈsɪstɪd. ˈlæfər hɪmˈsɛlf dɪz nɑt kleɪm tɪ hæv ˌɪnˈvɛntɪd ðə aɪˈdiə, əˈtrɪbjətɪŋ ɪt tɪ ˈærəb ˈskɑlər ˈɪbən ənd, mɔr ˈrisəntli, tɪ ʤɑn ˈmeɪnərd keɪnz. ˈkɔrpərət ˈhɔrdɪŋ ɔn skeɪl ɪz ˈrɛlətɪvli nu, məkˈdɑnəld sɪz. ril ɪn tərmz əv ðoʊz ˈhoʊldɪŋz ˈrɪli ˈstɑrtɪd ɪn ðə ˈərli wɪn ðeɪ ˈstɑrtɪd ˈpaɪlɪŋ əp kæʃ ɪn ðɛr bæŋk əˈkaʊnts ənd ðət ˌkoʊənˈsaɪdəd ˈrəfli wɪθ bɪg kəts ɪn ˈɪnˌkəm tæks rates.”*.” ðɪs, sɪz məkˈdɑnəld, ɪz ðə ɪgˈzækt ˈɑpəzɪt əv wət ɪz səˈpoʊzd tɪ ˈhæpən wɪn ˈtæksɪz ər kət. loʊər ˈtæksɪz ər səˈpoʊzd tɪ ɪnˈkərəʤ ˈbɪznɪs ˌɪnˈvɛstmənt ər groʊθ. bət nɑt ˌɛniˈmɔr, əˈpɛrəntli. ɪn ɪˈkɑnəmi, ɪt ˈsɪmpli minz hording*. ˈprɑməs əv ˈkɔrpərət tæks kəts ɪz ðət ju gɪv ðɛm (ðə ˌkɔrpərˈeɪʃənz) mɔr ˈməni juz ɪt tɪ ˌɪnˈvɛst ɪn ˈwərkərz, bɪld mɔr ˈfæktəriz, kriˈeɪt mɔr jobs,”*,” məkˈdɑnəld sɛd ɪn ən ˈɪntərvˌju. aʊt ðɪs ɪz nɑt wət ˈæˌkʧuəli ˈhæpənd. wət ˈæˌkʧuəli ˈhæpənd ɪz ðeɪ ʤɪst pʊt ɪt ɪn ðɛr bæŋk əˈkaʊnts ənd ˈweɪtɪŋ fər əˈnəðər deɪ, aɪ guess.”*.” məkˈdɑnəld sɪz bɪˈhaɪnd ðə hoʊl dɪˈvɛləpmənt ɪz ðə ˈvɪktəri ɪn ðə juz., ˈkænədə ənd ðə juˈnaɪtɪd ˈkɪŋdəm ɪn ðə 1980s*. ˈθæʧər, ˈrɑnəld ˈrigən ənd braɪən məˈlroʊni hir kɪkt ɔf ðɪs pʊʃ fər loʊər ˈkɔrpərət tæks reɪts wɪθ ðə aɪˈdiə wi gɪv ˌkɔrpərˈeɪʃənz ˈgreɪtər tæks breɪks ənd ðeɪ wɪl spɛnd mɔr ˈməni ɪn ðə ɪˈkɑnəmi. bət ɪt tərnz aʊt ɪf ju gɪv ðɛm ˈɛni ˌɪnˈsɛnɪv tɪ spɛnd ðə ˈməni ɪn ðə ɪˈkɑnəmi, ðeɪ wɪl ʤɪst kip ɪt ənd seɪ ˈoʊˈkeɪ, θæŋks ˈvɛri məʧ. noʊ ðət ˈɛniˌwən ɪz ˌpɑrˈtɪkjələrli kənˈsərnd əˈbaʊt ɪt. ˈsərtənli ðə ˈfɛdərəl ˈgəvərnmənt ˌpɑrˈtɪkjələrli kənˈsərnd əˈbaʊt ɪt. ðə weɪ ju ˈwɪtəl ɪt bæk daʊn ɪz tɪ reɪz reɪts ənd fɔrs ðɛm tɪ juz ðət ˈməni tɪ du something.”*.” məkˈdɑnəld həz ˈnoʊtɪst əˈnəðər ənˈjuˌʒuəl dɪˈvɛləpmənt. ɪz ə kəˈnɛkʃən bɪtˈwin ˈkɔrpərət ˈhɔrdɪŋ ənd ˈkɔrpərət ˈhɔrdɪŋ ɪn ˈfɔrən ˈdɔlərz. ðə ˈfɔrən ˈdɔlər ˈhoʊldɪŋz ər ˈrəfli ɪn laɪn wɪθ ðə ˌɪnˈkris əv ˈhɔrdɪŋ ɪn ðə bɪg tæks ˈheɪvənz. wət aɪ ˈsəˌspɛkt ɪz ðə ˈkɔrpərət wərld ɪz ˈməni əˈweɪ ɪn tæks ˈheɪvənz ˈaʊtˈsaɪd əv ˈkænədə bɪˈkəz ðɛr əˈkaʊntənts seɪ ðeɪ kən du ɪt ʤɪst ʧɛk ðət bɑks ənd peɪ ˈɛni tæks æt ɔl ənd muv ðə ˈməni tɪ bɑrˈbeɪdoʊs ər ðə bəˈhɑməz. wəns ðeɪ wɔnt tɪ brɪŋ ɪt bæk, əv kɔrs, ðeɪ ðɛn hæv tɪ ˌɪnˈvɛst ɪt ɪn ʤɑbz ənd peɪ ðoʊz taxes.”*.” ˈstilˌwərkərz ɪˈkɑnəmɪst ˈɛrɪn wir sɪz ðə ˈkɔrpərət əˈgrɛsɪv əˌkjumjəˈleɪʃən əv kæʃ tɪ ɪkˈspleɪn ðə læk əv ˌɪnˈvɛstmənt ənd ɪmˈplɔɪmənt groʊθ. ɪt ˈɔlsoʊ ˈstrɛŋθənz ðə keɪs fər rɪˈvərsɪŋ ˈkɔrpərət tæks kəts tɪ fənd ˈnidɪd ˌɪnˈvɛstmənts ɪn ˈpəblɪk ˈsərvɪsɪz ənd ˌɪnfrəˈstrəkʧər. ɪf ˈkɔrpərət ˈkænədə wɪl nɑt ˌɪnˈvɛst ɪts dɛd ˈməni, ðə ˈgəvərnmənt ʃʊd rɪˈsəsɪˌteɪt səm əv it.”*.” ɪˈkɑnəmɪst ˈtoʊbi ˈsæŋər ˈsɪŋgəld aʊt ə ˈrisənt kwoʊt frəm ðə praɪm ˈmɪnɪstər ˈboʊstɪŋ ðət ɑr tæks reɪt həz nɑt kɔzd ðə ˈkɔrpərət ˈɪnˌkəm tæks ˈrɛvəˌnuz tɪ fɔl, wɪʧ ˈɪndɪˌkeɪts ðət ɪt dɪz ɪn fækt əˈtrækt business.”*.” ˈsæŋər noʊts ðət wən simz tɪ hæv kˈwɛsʧənd (harper’s*) ˈsteɪtmənt, ˈivɪn ðoʊ ɪt wɑz meɪd ɔn ðə seɪm deɪ ˈkænədə drɑpt tɪ pleɪs ɔn ðə wərld ˌɛkəˈnɑmɪk ˈɪndɛks əv ˈgloʊbəl kəmˈpɛtɪtɪvnɪs frəm naɪnθ ɪn 2009 ˈræŋkɪŋz ʃoʊ ˈkɔrpərət tæks reɪts ˈbɛrɪŋ ˈlɪtəl riˈleɪʃənˌʃɪp tɪ ˈgloʊbəl competitiveness.”*.” ðə ɪmˈbreɪs əv kərv ɪz ˈɑbviəsli noʊ ˈlæfɪŋ ˈmætər fər ˈnæʃənəl ɪˈkɑnəmiz. ˈfrænsɪs ˈrəsəl wɑz bɔrn ɪn ˈwɪnɪpəg ənd ˈgræʤəˌweɪtɪd frəm ðə ˌjunəˈvərsəti əv ˌmænɪˈtoʊbə wɪθ ə ˈbæʧələr əv ɑrts dɪˈgri ɪn ˈhɪstəri ənd pəˈlɪtɪkəl saɪəns. ə ˈʤərnəlɪst sɪns 1962 ʃi həz ˈkəvərd ənd ˈkɑmɛntəd ɔn ˈpɑləˌtɪks ɪn ˌmænɪˈtoʊbə, ɑnˈtɛrioʊ, b.c*. ənd ˈɑtəˌwɑ, ˈwərkɪŋ fər ðə ˈwɪnɪpəg ˈtrɪbjun, juˈnaɪtɪd prɛs ˌɪnərˈnæʃənɑl, ðə gloʊb ənd meɪl, ðə vænˈkuvər sən ənd ðə ˈwɪnɪpəg fri prɛs ɛz wɛl ɛz fər ðə tərˈɑntoʊ stɑr, ðə ˈɛdməntən ˈʤərnəl, ˈsiˌbiˈsi ˈreɪdiˌoʊ ənd ˌtɛləˈvɪʒən ənd taɪm ˈmægəˌzin. ʃi ɪz ðə ˈɔθər əv tu bʊks ɔn ˌmænɪˈtoʊbə ˈhɪstəri: ðə greɪt leɪk: ðə ˈbjuti ənd ðə ˈtrɛʧəri əv leɪk ˈwɪnɪpəg ənd ðə kəˈneɪdiən ˈkrusəbəl roʊl ɪn greɪt dɪˈvaɪd. boʊθ wən ðə ˌmænɪˈtoʊbə hɪˈstɔrɪkəl soʊˈsaɪɪti əˈwɔrd fər ˈpɑpjələr ˈhɪstəri. ʃi ɪz ˈmɛrid wɪθ wən sən ənd tu ˈgrændˌsənz ənd lɪvz ɪn ˈwɪnɪpəg.
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the laffer curve laughs all the way to the bank for corporate canada
frances russell
corporate canada reached a milestone in 2014. for the first time ever, it now has more cash on hand than canada’s entire national debt – $630 billion and counting.
in other words, canada’s big corporations could pay off canada’s entire national debt in one fell swoop with just the cash sitting in their collective bank accounts. and they wouldn’t even have to touch their other assets.
the milestone is being noted by the progressive economics forum, an informal group that regularly posts progressive economic ideas and news on the web. they include david macdonald, a senior economist with the canadian centre for policy alternatives; toby sanger, chief economist for the canadian union of public employees, and erin weir, chief economist with the united steelworkers.
corporate cash hoarding really ramped up as corporate tax rates were slashed in half, from 31 per cent in 1997 to 16 per cent today.
back in the 1990s, corporate canada said it would use the new money to build more factories, employ more workers and make canada more productive.
“governments dutifully cut social programs as taxes decreased,” macdonald says. “but corporate canada passed on making canada’s economy more productive….(and) canadians are left with weaker health care, veterans care and other social programs.”
little wonder the conservative government has sicced its auditors on the ccpa. and a year later, they’re still there, verifying the ccpa’s right to charitable tax exemption status after a year of searching through every nook and cranny of the organization’s books. the ccpa has given them their own room in the organization’s ottawa offices.
prime minister stephen harper is a believer in supply-side economics. supply-side economics was first promulgated by economist arthur laffer. it claims that low tax rates pay for themselves by increasing economic activity and raising more tax revenues overall.
the term “laffer curve” was reportedly coined by wall street journal writer jude wanniski at a 1974 dinner meeting at the two continents restaurant in the washington hotel. the gathering included arthur laffer, dick cheney and donald rumsfeld, according to wikipedia.
to illustrate his opposition to then-president gerald ford’s tax increase, laffer reportedly sketched his economic curve on a napkin to demonstrate the concept. “i used the so-called laffer curve all the time in my classes and with anyone else who would listen to me,” laffer has since insisted.
laffer himself does not claim to have invented the idea, attributing it to 14th-century arab scholar ibn khaldun and, more recently, to john maynard keynes.
corporate hoarding on today’s scale is relatively new, macdonald says. “the real ramp-up in terms of those holdings really started in the early 2000s when they started piling up cash in their bank accounts and that coincided roughly with big cuts in income tax rates.”
this, says macdonald, is the exact opposite of what is supposed to happen when taxes are cut. lower taxes are supposed to encourage business investment or growth. but not anymore, apparently. in today’s economy, it simply means hording.
“the promise of corporate tax cuts is that you give them (the corporations) more money they’ll use it to invest in workers, build more factories, create more jobs,” macdonald said in an interview. “turns out this is not what actually happened. what actually happened is they just put it in their bank accounts and they’re waiting for another day, i guess.”
macdonald says what’s behind the whole development is the neo-conservative victory in the u.s., canada and the united kingdom in the 1980s.
“margaret thatcher, ronald reagan and brian mulroney here kicked off this push for lower corporate tax rates with the idea we give corporations greater tax breaks and they will spend more money in the economy. but it turns out if you don’t give them any incentive to spend the money in the economy, they will just keep it and say ok, thanks very much.
“i don’t know that anyone is particularly concerned about it. certainly the federal government isn’t particularly concerned about it. the way you whittle it back down is to raise rates and force them to use that money to do something.”
macdonald has noticed another unusual development. “there is a connection between corporate hoarding and corporate hoarding in foreign dollars. the foreign dollar holdings are roughly in line with the increase of hoarding in the big tax havens. what i suspect is the corporate world is squirreling money away in tax havens outside of canada because their accountants say they can do it – just check that box and don’t pay any tax at all and move the money to barbados or the bahamas. once they want to bring it back, of course, they then have to invest it in jobs and pay those taxes.”
steelworkers economist erin weir says the corporate sector’s aggressive accumulation of cash “helps to explain the lack of investment and employment growth. it also strengthens the case for reversing corporate tax cuts to fund needed investments in public services and infrastructure. if corporate canada will not invest its dead money, the government should resuscitate some of it.”
cupe economist toby sanger singled out a recent quote from the prime minister boasting that “dropping our tax rate has not caused the government’s corporate income tax revenues to fall, which indicates that it does in fact attract business.”
sanger notes that “no one seems to have questioned (harper’s) statement, even though it was made on the same day canada dropped to 15th place on the world economic forum’s index of global competitiveness from ninth in 2009.
“these rankings show corporate tax rates bearing little relationship to global competitiveness.”
the embrace of laffer’s curve is obviously no laughing matter for national economies.
frances russell was born in winnipeg and graduated from the university of manitoba with a bachelor of arts degree in history and political science. a journalist since 1962, she has covered and commented on politics in manitoba, ontario, b.c. and ottawa, working for the winnipeg tribune, united press international, the globe and mail, the vancouver sun and the winnipeg free press as well as freelanced for the toronto star, the edmonton journal, cbc radio and tv and time magazine.
she is the author of two award-winning books on manitoba history: mistehay sakahegan – the great lake: the beauty and the treachery of lake winnipeg and the canadian crucible – manitoba’s role in canada’s great divide. both won the manitoba historical society award for popular history.
she is married with one son and two grandsons and lives in winnipeg.
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soʊ ju ər jʊr ləvd wən həz faʊnd ðɛmˈsɛlvz ɔn ðə rɔŋ saɪd əv ðə lɔ. biɪŋ ərˈɛstɪd ənd θroʊn ɪn ʤeɪl ɪz nɑt ðə bɛst weɪ tɪ spɛnd jʊr deɪ. ˌhaʊˈɛvər, ðɪs ənˈfɔrʧənət ˌsɪʧuˈeɪʃən dɪz əˈkər ənd ðə fərst θɪŋ ju wɪl wɔnt tɪ kənˈsɪdər ɪz haʊ tɪ gɪt ˈjɔrsɛlf aʊt əv ʤeɪl. ðɪs ɪz wɪn ju meɪ wɔnt tɪ kənˈsɪdər ə beɪl bɑnd. hu nidz ə beɪl bɑnd? dɪˈpɛndɪŋ ɔn ðə sɪˈvɛrɪti əv jʊr kraɪm, ə beɪl əˈmaʊnt wɪl bi sɛt. ðɪs ɪz ə fi ju wɪl bi rikˈwaɪərd tɪ peɪ ɪn ˈɔrdər tɪ bi riˈlist frəm pəˈlis ˈkəstədi. ɪt kən ˈlaɪkli bi ə lɑrʤ səm əv ˈməni bɪɔnd wət moʊst ˈpipəl ər ˈeɪbəl tɪ əˈfɔrd. ɪf ju ər əˈneɪbəl tɪ gɪt jʊr hænz ɔn ɪˈnəf kæʃ tɪ peɪ jʊr beɪl, ju wɪl nid tɪ lʊk fər ˈsəmˌwən tɪ hɛlp ju wɪθ ə beɪl bɑnd. baɪ ˈgɪtɪŋ ə beɪl bɑnd, ju wɪl peɪ ə fi tɪ ə θərd ˈpɑrti hu wɪl gɪv ju ðə ˈməni ˈnɛsəˌsɛri fər jʊr riˈlis frəm ʤeɪl. ˌɔlˈðoʊ ðɛr ɪz mɔr kɔst ˌɪnˈvɑlvd ɪn ˈgɪtɪŋ ə beɪl bɑnd, ðə ˈbɑtəm laɪn ɪz ðət ju wɔnt aʊt əv ʤeɪl ɛz kˈwɪkli ɛz ˈpɑsəbəl, ənd ðɪs ɪz jʊr bɛst bɛt ɪn ˈmeɪkɪŋ ðət ˈhæpən ɪf ju ˈkænɑt poʊst beɪl ɔn jʊr oʊn. haʊ dɪz ə beɪl bɑnd wərk? jʊr beɪl əˈmaʊnt wɪl bi sɛt beɪst ɔn ðə sɪˈvɛrɪti əv jʊr kraɪm, ˈɛni pæst ˈkrɪmənəl ˈrɛkərd ju meɪ hæv, ɛz wɛl ɛz ðə pəˈtɛnʃəl ðət ju meɪ bi ə flaɪt rɪsk ənd traɪ tɪ liv taʊn tɪ əˈvɔɪd ə traɪəl. ðə beɪl ˈməni ɪz peɪd tɪ ənd hɛld baɪ ðə kɔrt ɪn ˈɔrdər tɪ ɪnˈʃʊr ðət ju wɪl ˌɪnˈdid rɪˈtərn tɪ kɔrt æt jʊr əˈsaɪnd taɪm tɪ feɪs ðə ˈʧɑrʤɪz əˈgɛnst ju. wɪn ju əˈpɪr ənd ˈfɪnɪʃ jʊr ˈkrɪmənəl keɪs, jʊr bɑnd wɪl bi kloʊzd. moʊst ˈpipəl ʧuz tɪ ˌɪnˈvɑlv ə ˈkrɪmənəl dɪˈfɛns ˈlɔjər æt səm pɔɪnt ənd taɪm tɪ gaɪd ðɛm θru ðɪs ˈprɔˌsɛs ənd dɪˈfɛnd ðɛm əˈgɛnst ðɛr ˈkrɪmənəl ʧɑrʤ ɪn kɔrt. aɪ kən əˈsɪst ɪn jʊr dɪˈfɛns əv jʊr ˈkrɪmənəl ʧɑrʤ ənd hɛlp beɪl ju aʊt əv ʤeɪl. wɛr du aɪ gɪt ə beɪl bɑnd? ðɛr ər ˈɔpʃənz ɔn wɛr ju kən gɪt ə beɪl bɑnd. beɪl bɑnd ˈeɪʤənsiz ər əˈveɪləbəl ənd ər rikˈwaɪərd tɪ bi ˈlaɪsənst ənd ˈfɑloʊ ˌrɛgjəˈleɪʃənz sɛt baɪ ðə ˈkaʊnti ənd steɪt. ju wɪl peɪ ðɛm ə fi fər ðə bɑnd ənd wɪl stɪl nid tɪ peɪ ə ˈlɔjər tɪ ˌrɛprɪˈzɛnt ju ɔn ðə ˈkrɪmənəl ʧɑrʤ. ðɪs ɪz ˈsərtənli nɑt ðə moʊst weɪ tɪ poʊst beɪl. ə ˈbɛtər ˈɔpʃən tɪ hæv ˈsəmˌwən riˈlist frəm ʤeɪl kˈwɪkər ənd lɛs ˌɛkˈspɛnsɪvli ɪz tɪ haɪər ən əˈtərni tɪ poʊst ðə bɑnd ənd ˌrɛprɪˈzɛnt ju ɔn ðə ˈkrɪmənəl ʧɑrʤ. ðɪs ɪz ə məʧ sˈmɑrtər weɪ tɪ meɪk jʊr beɪl bɪˈkəz ðə fəndz peɪd fər ðə bɑnd wɪl bi əˈplaɪd tɪ ðə əˈtərniz fiz tɪ ˌrɛprɪˈzɛnt ju ɔn jʊr ʧɑrʤ. ˌɪnˈstɛd əv θroʊɪŋ əˈweɪ ˈɛkstrə ˈməni tɪ ə beɪl bondsman*, ju wɪl bi ˈspɛndɪŋ jʊr ˈməni wɪθ ðə ˈpərsən hu wɪl bi ˌɪnˈvɛstɪŋ taɪm ənd ˈɛnərʤi ɪn jʊr keɪs ənd wɪl bi ˈfaɪtɪŋ tɪ gɪt jʊr ˈʧɑrʤɪz dɪsˈmɪst ɪn kɔrt. jʊr fərst kɔl: ən əˈtərni. ju kən kɔl ˈjuˈɛs fər fri. soʊ, ʃʊd ju faɪnd ˈjɔrsɛlf ər ˈsəmˌwən ju noʊ bɪˈhaɪnd bɑrz, bi smɑrt ənd meɪk ðət fərst kɔl tɪ ən ɪkˈspɪriənst dɪˈfɛns əˈtərni, ənd jul bi wɛl ɔn jʊr weɪ tɪ ˈpʊtɪŋ ðə hoʊl ɪkˈspɪriəns bɪˈhaɪnd ju. kɔl ðə lɔ ˈɔfəs əv ʃɔn si. braʊn, ˈpiˈsi, æt ənd 1-888-we-fight*. wi ˈænsər ɑr foʊnz 24 aʊərz ə deɪ, ˈsɛvən deɪz ə wik. jʊr ˌɪˈnɪʃəl ˌkɑnsəlˈteɪʃən ɪz ˈɔlˌweɪz fri. español*.
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so you or your loved one has found themselves on the wrong side of the law. being arrested and thrown in jail is not the best way to spend your day. however, this unfortunate situation does occur and the first thing you will want to consider is how to get yourself out of jail. this is when you may want to consider a bail bond.
who needs a bail bond?
depending on the severity of your crime, a bail amount will be set. this is a fee you will be required to pay in order to be released from police custody. it can likely be a large sum of money beyond what most people are able to afford.
if you are unable to get your hands on enough cash to pay your bail, you will need to look for someone to help you with a bail bond. by getting a bail bond, you will pay a fee to a third party who will give you the money necessary for your release from jail. although there is more cost involved in getting a bail bond, the bottom line is that you want out of jail as quickly as possible, and this is your best bet in making that happen if you cannot post bail on your own.
how does a bail bond work?
your bail amount will be set based on the severity of your crime, any past criminal record you may have, as well as the potential that you may be a flight risk and try to leave town to avoid a trial. the bail money is paid to and held by the court in order to ensure that you will indeed return to court at your assigned time to face the charges against you. when you appear and finish your criminal case, your bond will be closed. most people choose to involve a criminal defense lawyer at some point and time to guide them through this process and defend them against their criminal charge in court. i can assist in your defense of your criminal charge and help bail you out of jail.
where do i get a bail bond?
there are options on where you can get a bail bond. bail bond agencies are available and are required to be licensed and follow regulations set by the county and state. you will pay them a fee for the bond and will still need to pay a lawyer to represent you on the criminal charge. this is certainly not the most cost-effective way to post bail.
a better option to have someone released from jail quicker and less expensively is to hire an attorney to post the bond and represent you on the criminal charge.
this is a much smarter way to make your bail because the funds paid for the bond will be applied to the attorney's fees to represent you on your charge. instead of throwing away extra money to a bail bondsman, you will be spending your money with the person who will be investing time and energy in your case and will be fighting to get your charges dismissed in court.
your first call: an attorney. you can call us for free.
so, should you find yourself or someone you know behind bars, be smart and make that first call to an experienced defense attorney, and you'll be well on your way to putting the whole experience behind you.
call the law office of shawn c. brown, pc, at 210-265-6290 and 1-888-we-fight. we answer our phones 24 hours a day, seven days a week. your initial consultation is always free. hablamos español.
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meɪn steɪt pəˈlis wər traɪɪŋ leɪt ˈmənˌdeɪ naɪt tɪ pərsˈweɪd ə mæn ˈbɛrəˌkeɪdɪd ɪn ə rum æt ə ˈpɔrtlənd moʊˈtɛl tɪ sərˈɛndər, ˈjuzɪŋ ə ˈbʊˌlhɔrn tɪ tɛl ɪn rum tɪ kəm aʊt wɪθ hɪz ˈɛmti hænz ɪn ðə ɛr. bət ˈæftər ɪˈvækjəˌweɪtɪŋ ðə ɪnˈtaɪər fɔrθ flɔr əv ðə moʊˈtɛl ənd moʊst əv ðə θərd flɔr, pəˈlis ˈɛnərd ðə rum ənd dɪˈskəvərd ðə mæn wɑz nɑt ðɛr. naʊ ˈsərʧɪŋ fər ˈvɪnsɪnt, 40 əv ˈhɑlɪs, əˈkɔrdɪŋ tɪ ə ˈsteɪtmənt ˈɪʃud ˈtuzˌdeɪ ˈmɔrnɪŋ baɪ stiv məˈkɔzlənd, ˈspoʊksmən fər ðə dɪˈpɑrtmənt əv ˈpəblɪk ˈseɪfti. ɪz ʧɑrʤd ɪn kəˈnɛkʃən wɪθ ən əˈlɛʤd dəˈmɛstɪk ˈvaɪələns əˈsɔlt ˈsənˌdi naɪt ɪn jɔrk ˈkaʊnti. ˈɛniˌwən wɪθ ˌɪnˌfɔrˈmeɪʃən ɔn hɪz loʊˈkeɪʃən ɪz æst tɪ kɔl steɪt pəˈlis ɪn greɪ æt pəˈlis hæd səˈspɛktɪd ðət maɪt bi ɑrmd, ənd ə gən wɑz faʊnd leɪt læst naɪt æt əˈnəðər, ənˈspɛsəˌfaɪd loʊˈkeɪʃən, məˈkɔzlənd sɛd. steɪt pəˈlis sɛd ðə ˈstænˌdɔf æt ðə moʊˈtɛl 6 ɔn ˈrɪvərˌsaɪd strit nɪr ˈbraɪtən ˈævəˌnu bɪˈgæn wɪn ˈtrupərz trækt tɪ ðə hoʊˈtɛl ˈmənˌdeɪ ˌæftərˈnun ənd wɛnt ðɛr tɪ ərˈɛst ɪm. ðə tɔp tu flɔrz əv ðə ˈbɪldɪŋ wər ɪˈvækjəˌweɪtɪd fər ðə ˈseɪfti əv ðə ˈpəblɪk ənd ˈɔfɪsərz. ðə goʊl wɑz tɪ meɪk ðə ərˈɛst ə ˈpisfəl manner,”*,” məˈkɔzlənd sɛd. hi dɪˈklaɪnd tɪ ˈspɛsəˌfaɪ ðə taʊn ɪn wɪʧ ðə əˈlɛʤd dəˈmɛstɪk əˈsɔlt əˈkərd. ə steɪt pəˈlis trək pʊld əp tɪ ðə frənt ˈɛntrəns əv ðə hoʊˈtɛl əˈbaʊt 10 p.m*. ənd ˈɔfɪsərz wər sin ˈteɪkɪŋ θɪŋz ɪn ənd aʊt əv ðə ˈviɪkəl. ɪt wɑz ənˈklɪr hu gɑt bæk ˈɪntu ðə ˈviɪkəl ˌbiˈfɔr ɪt lɛft. əˈbaʊt p.m*., æt list tu ˈtrupərz wər ɔn ðə rʊf əv ðə hoʊˈtɛl ənd tu laʊd ˈnɔɪzɪz ðət ˈsaʊndɪd laɪk ˈbreɪkɪŋ glæs wər hərd. ˈæftər ɪˈvækjəˌweɪtɪŋ gɛsts frəm ðə ˈəpər flɔrz ˈmənˌdeɪ ˌæftərˈnun, pəˈlis hæd ɪnˈsərkəld ðə ˈbɪldɪŋ wɪθ pəˈlis kɑz, ənd blɑkt ˈɛntrənsəz tɪ ðə hoʊˈtɛl wɪθ tractor-trailers*. ˈdʊrɪŋ ðə ˌæftərˈnun, ˈmænɪʤərz əv ðə moʊˈtɛl hæd toʊld gɛsts ðeɪ hæd tɪ liv bɪˈkəz ə gɛst ɪn ə rum wɑz ɑrmd ənd ˈdeɪnʤərəs, sɛd lɪz, hu həz bɪn ˈrɛntɪŋ ə rum ðɛr wɪθ hər ˈhəzbənd ənd tu jəŋ ˈʧɪldrən sɪns meɪ. ənd hər ˈʧɪldrən wər ɪˈvækjəˌweɪtɪd frəm ðɛr rum æt 2 p.m*. swɑt tim ˈmɛmbərz wər ɔn ðə sin ˈmənˌdeɪ naɪt ənd sˈnaɪpərz hæd ˈteɪkən əp pəˈzɪʃənz əraʊnd ðə ˈbɪldɪŋ, ˌɪnˈkludɪŋ ɪn ðə ənd ɔn tɔp əv ˈnɪrˈbaɪ ˈbɪldɪŋz. wɔnt tɪ hir jʊr saɪd əv ðə ˈstɔri. wi noʊ ðɛr ɪz ˈɔlˌweɪz əˈnəðər saɪd tɪ ðə story,”*,” ðə nɪˈgoʊʃiˌeɪtər kɔld ˈoʊvər ðə ˈbʊˌlhɔrn. noʊ taɪərd, wi noʊ skɛrd. du ðə raɪt θɪŋ, vinny.”*.” ðə nɪˈgoʊʃiˌeɪtər ðɛn æst ˈvɪni tɪ ʃeɪk ðə ˈkərtənz ər tərn ɔf ðə laɪts tɪ lɛt pəˈlis noʊ ðət hi wɑz stɪl ðɛr. ˈvɪni əˈpɪr tɪ rɪˈspɑnd. ə ˈlɪtəl waɪl ˈleɪtər, ðə nɪˈgoʊʃiˌeɪtər, hu aɪˈdɛntəˌfaɪd hɪmˈsɛlf ɛz mɑrk, æst ˈvɪni ə ˈsɛkənd taɪm tɪ kəm aʊt əv ðə rum, ˈtɛlɪŋ ɪm ðət ðeɪ hæd ə ˈwɔrənt fər hɪz ərˈɛst. ˈdʊrɪŋ hɪz əˈpil, ðə nɪˈgoʊʃiˌeɪtər ˈnoʊtɪd ðət ˈvɪni hæd bɪn ˈtɔkɪŋ tɪ pəˈlis, bət hæd ˈbroʊkən ɔf kəmˌjunəˈkeɪʃən, tərnd ɔf hɪz ˈsɛlfoʊn ənd dɪsɪnˈgeɪʤd hɪz rum foʊn taɪm ago.”*.” ər nɑt koʊˈɑpərˌeɪtɪŋ, ˈvɪni. ɪf ju kəm aʊt, wi ˌgɛrənˈti jʊr safety,”*,” ðə nɪˈgoʊʃiˌeɪtər sɛd ˈoʊvər ðə ˈbʊˌlhɔrn. ə ˈhændˌfʊl əv gɛsts stɪl əˈpɪrd tɪ bi ɪn ðə hoʊˈtɛl ˈdʊrɪŋ ðə ˈstænˌdɔf. ðə ˌsɪləˈwɛt əv ə ˈkəpəl sˈmoʊkɪŋ kʊd bi sin ɪn ə hoʊˈtɛl rum ɔn ðə ˈəðər saɪd frəm rum 405 ə faɪər əˈlɑrm wɛnt ɔf ˈʃɔrtli æt ðə hoʊˈtɛl ˌbiˈfɔr 10 p.m*., bət pəˈlis seɪ wət ˈtrɪgərd ɪt. pəˈlis æt ðə sin dɪd nɑt riˈlis ˈɛni ˌɪnˌfɔrˈmeɪʃən əˈbaʊt wət wɑz goʊɪŋ ɔn, ˈoʊnli seɪɪŋ ðət ðə hoʊˈtɛl wɑz kloʊzd tɪ ðə ˈpəblɪk bɪˈkəz əv ə ˈdeɪnʤərəs ˌsɪʧuˈeɪʃən. ˈmɛni əv ðə gɛsts ˈgæðərd ɪn ðə ˈpɑrkɪŋ lɔt əv ðə taɪər ʃɑp nɛkst dɔr ɔn ˈmənˌdeɪ naɪt tɪ weɪt ɪn hoʊps ðeɪ kʊd rɪˈtərn tɪ ðɛr rumz. sɛd ˈmɛni əv ðə gɛsts ər ˈlɔŋˈtərm ˈrɛntərz, ənd ðət ðeɪ hæv pɛts ənd ˈmɛdəsən ɪn ðɛr rumz. əraʊnd 10 p.m*. səm əv ðə gɛsts ˈstɑrtɪd ˈmeɪkɪŋ ˌprɛpərˈeɪʃənz fər ˈspɛndɪŋ ðə naɪt ɪn ðɛr kɑz. wən ˈlɪtəl bɔɪ kʊd bi sin ˈʧeɪnʤɪŋ ˈɪntu hɪz ˈspaɪdərmæn pəˈʤɑməz ənd ˈbɛdɪŋ daʊn ɪn ə ˈmɪniˈvæn. pəˈnɛləpi ˈoʊvərtən kən bi ˈkɑnˌtæktɪd æt ər æt: [iˈmeɪl prəˈtɛktɪd] tˈwɪtər: stæf ˈraɪtər mæt bərn kənˈtrɪbjutɪd tɪ ðɪs ˈstɔri. ʃɛr
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maine state police were trying late monday night to persuade a man barricaded in a fourth-floor room at a portland motel to surrender, using a bullhorn to tell “vinny in room 405” to come out with his empty hands in the air.
but after evacuating the entire fourth floor of the motel and most of the third floor, police entered the room and discovered the man was not there. now they’re searching for vincent teruel, 40, of hollis, according to a statement issued tuesday morning by steve mccausland, spokesman for the department of public safety.
teruel is charged in connection with an alleged domestic violence assault sunday night in york county. anyone with information on his location is asked to call state police in gray at 657-3030.
police had suspected that teruel might be armed, and a gun was found late last night at another, unspecified location, mccausland said.
state police said the standoff at the motel 6 on riverside street near brighton avenue began when troopers tracked teruel to the hotel monday afternoon and went there to arrest him.
the top two floors of the building were evacuated for the safety of the public and officers.
the goal was to make the arrest “in a peaceful manner,” mccausland said.
he declined to specify the town in which the alleged domestic assault occurred.
a state police truck pulled up to the front entrance of the hotel about 10 p.m. and officers were seen taking things in and out of the vehicle. it was unclear who got back into the vehicle before it left. about 10:15 p.m., at least two troopers were on the roof of the hotel and two loud noises that sounded like breaking glass were heard.
after evacuating guests from the upper floors monday afternoon, police had encircled the building with police cars, and blocked entrances to the hotel with tractor-trailers.
during the afternoon, managers of the motel had told guests they had to leave because a guest in a fourth-floor room was armed and dangerous, said liz cicci, who has been renting a room there with her husband and two young children since may.
cicci and her children were evacuated from their third-floor room at 2 p.m.
swat team members were on the scene monday night and snipers had taken up positions around the building, including in the treeline and on top of nearby buildings.
“we want to hear your side of the story. we know there is always another side to the story,” the negotiator called over the bullhorn. “we know you’re tired, we know you’re scared. do the right thing, vinny.”
the negotiator then asked vinny to shake the curtains or turn off the lights to let police know that he was still there. vinny didn’t appear to respond.
a little while later, the negotiator, who identified himself as mark, asked vinny a second time to come out of the room, telling him that they had a warrant for his arrest.
during his appeal, the negotiator noted that vinny had been talking to police, but had broken off communication, turned off his cellphone and disengaged his room phone “some time ago.”
“you are not cooperating, vinny. if you come out, we guarantee your safety,” the negotiator said over the bullhorn.
a handful of guests still appeared to be in the hotel during the standoff. the silhouette of a couple smoking could be seen in a lit-up second-floor hotel room on the other side from room 405. a fire alarm went off shortly at the hotel before 10 p.m., but police couldn’t say what triggered it.
police at the scene did not release any information about what was going on, only saying that the hotel was closed to the public because of a dangerous situation.
many of the guests gathered in the parking lot of the tire shop next door on monday night to wait in hopes they could return to their rooms. cicci said many of the guests are long-term renters, and that they have pets and medicine in their rooms.
around 10 p.m. some of the guests started making preparations for spending the night in their cars. one little boy could be seen changing into his spiderman pajamas and bedding down in a minivan.
penelope overton can be contacted at 791-6463 or at:
[email protected]
twitter: plovertonpph
staff writer matt byrne contributed to this story.
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aɪ θɪŋk aɪ hæv ˈɛvər juzd ðə wərdz ““camping”*” ənd ““therapy”*” ɪn ðə seɪm ˈsɛntəns ˌbiˈfɔr. bət, aɪ ˈrisəntli rɛd ðət ˈstədiz frəm ðə ˈlɪvərˌpul ʤɑn mʊrz ˌjunəˈvərsəti ɪn ðə juˈnaɪtɪd ˈkɪŋdəm ʃoʊz ðət 93 pərˈsɛnt əv ˈkæmpərz bɪˈliv ðə ɪkˈspɪriəns meɪks ðɛm ˈhæpiər. waɪ aɪ goʊ ˈkæmpɪŋ aɪ hæv ˈɔlˌweɪz gɔn ˈkæmpɪŋ ˈsɪmpli bɪˈkəz aɪ ˌɛnˈʤɔɪd ɪt, aɪ laɪk ˈjuzɪŋ ɔl maɪ gɪr, sˈlipɪŋ ɪn maɪ tɛnt, ˈspɛndɪŋ taɪm wɪθ maɪ ˈfæməli, ənd fud ˈɔlˌweɪz teɪsts ˈbɛtər kʊkt ɔn ðə ˈkæmpˌfaɪər. ˈfɑloʊɪŋ ˈrisənt ɪˈvɛnts ɪn maɪ laɪf, aɪ fɛlt ðə nid tɪ bi ˈsəmˌwɛr wɛr aɪ hæd səm speɪs, ˈsaɪləns ənd sɪmˈplɪsɪti, ˈsəmˌwɛr tɪ maɪ θɔts. aɪ ˈnidɪd tɪ bi ɪn ðə ˈaʊtˈdɔrz, aɪ ˈnidɪd ə ˈkæmpɪŋ trɪp. du tɪ ðə steɪt əv maɪ ˈkæmpɪŋ gɪr, ə smɔl ˈwɪndoʊ əv ˌɑpərˈtunəti, ənd ˈrɪli, ˈrɪli bæd ˈwɛðər, aɪ dɪd nɑt ˈmænɪʤ ðə ˌɪmˈprɑmptu ˈkæmpɪŋ trɪp aɪ ˈnidɪd. ˈsɪtɪŋ bæk ənd ˌɛnˈʤɔɪɪŋ ˈneɪʧər ɪz ə greɪt weɪ tɪ klɪr jʊr hɛd. ˈfoʊˌtoʊ: bɛn collaton*. haʊ ˈkæmpɪŋ ˈʧeɪnʤɪz maɪ pərˈspɛktɪv bət ɪt dɪd ˈhaɪˌlaɪt tɪ mi ðət aɪ gɪt məʧ mɔr aʊt əv ə ˈkæmpɪŋ trɪp ðən aɪ ˈriəˌlaɪzd. aɪ ʤɪst goʊ ˈkæmpɪŋ fər fən. aɪ ˈɔlsoʊ nid ɪt ɛz ə taɪp əv ˈθɛrəpi tɪ brɪŋ ˌmaɪˈsɛlf bæk tɪ ə sɔrt əv ˌriˈæləˌti. tɪ kip pərˈspɛktɪv ɔn ðə ˌɪmˈpɔrtənt θɪŋz ɪn maɪ laɪf. əˈpriʃiˌeɪtɪŋ ðə smɔl θɪŋz aɪ ˈnidɪd tɪ juz maɪ ˈkæmpɪŋ gɪr, aɪ ˌɛnˈʤɔɪ ˈpækɪŋ maɪ kɑr, ˈpɪʧɪŋ maɪ tɛnt, ˈjuzɪŋ maɪ ənd ˈlaɪtɪŋ ə faɪər. aɪ ˈwɔntɪd taɪm tɪ əˈpriʃiˌeɪt ðə smɔl θɪŋz, laɪk ðə saʊnd əv laɪt reɪn ɔn maɪ tɛnt flaɪ, koʊld ˈmɔrnɪŋ ɛr ɔn maɪ feɪs, ənd ðə weɪ ðə stɑrz ʃaɪn ˈbraɪtər ɪn ðə ˈwɪldərnəs. ðə ˈsɪmpəl θɪŋz laɪk ˈitɪŋ fud priˈpɛrd ɔn ə ˈkæmpˌfaɪər. ˈfoʊˌtoʊ: ˈhɪlbɪli ˈkæmpɪŋ. ˌɛnˈʤɔɪɪŋ ˈkæmpˌfaɪər priˈpɛrd fud aɪ lʊkt ˈfɔrwərd tɪ ˈgɪtɪŋ əp ˈərli soʊ aɪ kən si maɪ brɛθ ɪn ðə ˈaɪsi koʊld ɛr waɪl aɪ meɪk ˈkɔfi, ənd aɪ kreɪvd səm ˈrɪli ˈsɪmpəl kæmp fud. ðə taɪp ðət wʊd teɪst ˈsəmˈwət ˈɔrdəˌnɛri æt hoʊm, bət ɪz ən ˌɪnˈkrɛdəbli maʊθ ˈwɔtərɪŋ dɪˈlaɪt wɪn priˈpɛrd ɔn ə ˈkæmpˌfaɪər. ˈspɛndɪŋ kˈwɑləti taɪm wɪθ ˈfæməli ðə bɛst pɑrt əv ˈkæmpɪŋ ðoʊ ɪz ðə kˈwɑləti taɪm aɪ spɛnd wɪθ maɪ ˈfæməli. ðɛr ər noʊ dɪˈstrækʃənz ðət deɪ tɪ deɪ laɪf tɛmpts ˈjuˈɛs wɪθ, ju gɪt riˈmaɪndɪd əv jʊr do”*” lɪst ˈɛvəri taɪm ju wɔk pæst ɪt. noʊ ˈtɛləˌvɪʒən, ˈreɪdiˌoʊ, noʊ phone…*… ɪf ju tərn ɪt ɔf. ju kən ˈfoʊkɪs ˈsoʊəli ɔn ˈjɔrsɛlf, ənd jʊr ˈfæməli. ˈspɛndɪŋ taɪm wɪθ kɪdz ənd ˈəðər ləvd wənz ər soʊ ˌɪmˈpɔrtənt. ˈfoʊˌtoʊ: bɛn collaton*. ˈkæmpɪŋ ɛz therapy”*” aɪ naʊ θɪŋk əv ˈkæmpɪŋ ɛz ə therapy”*”. wən wɪʧ ɪz məʧ ˈʧipər ðən ˈmɛni priˈskraɪbd ˈθɛrəpiz ˈɔfərd tɪ ˈjuˈɛs ˈnaʊəˌdeɪz. ɪt ɪz ˈɔlsoʊ ˈvɛri ækˈsɛsəbəl, ənd ˈsɪmpəl tɪ gɪt ˈstɑrtɪd. ʤɪst æsk ðə stæf æt haʊ ju kʊd bi ˌɛnˈʤɔɪɪŋ ðə greɪt ˈaʊtˈdɔrz nɛkst ˈwiˌkɪnd! ʃɛr ðɪs ˈɑrtɪkəl wɪθ ˈɛniˌwən ju θɪŋk kʊd du wɪθ ə doʊs əv therapy”*”.
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i don’t think i have ever used the words “camping” and “therapy” in the same sentence before.
but, i recently read that studies from the liverpool john moores university in the united kingdom shows that 93 percent of campers believe the experience makes them happier.
why i go camping
i have always gone camping simply because i enjoyed it, i like using all my gear, sleeping in my tent, spending time with my family, and food always tastes better cooked on the campfire.
following recent events in my life, i felt the need to be somewhere where i had some space, silence and simplicity, somewhere to rationalise my thoughts. i needed to be in the outdoors, i needed a camping trip.
due to the unorganised state of my camping gear, a small window of opportunity, and really, really bad weather, i did not manage the impromptu camping trip i needed.
sitting back and enjoying nature is a great way to clear your head. photo: ben collaton.
how camping changes my perspective
but it did highlight to me that i get much more out of a camping trip than i realised. i don’t just go camping for fun. i also need it as a type of therapy – to bring myself back to a sort of reality. to keep perspective on the important things in my life.
appreciating the small things
i needed to use my camping gear, i enjoy packing my car, pitching my tent, using my headtorch and lighting a fire.
i wanted time to appreciate the small things, like the sound of light rain on my tent fly, cold morning air on my face, and the way the stars shine brighter in the wilderness.
it’s the simple things like eating food prepared on a campfire. photo: hillbilly camping.
enjoying campfire prepared food
i looked forward to getting up early so i can see my breath in the icy cold air while i make coffee, and i craved some really simple camp food.
the type that would taste somewhat ordinary at home, but is an incredibly mouth watering delight when prepared on a campfire.
spending quality time with family
the best part of camping though is the quality time i spend with my family.
there are no distractions that day to day life tempts us with, you don’t get reminded of your “to do” list every time you walk past it. there’s no television, radio, no phone… if you turn it off. you can focus solely on yourself, and your family.
spending time with kids and other loved ones are so important. photo: ben collaton.
camping as “natural therapy”
i now think of camping as a “natural therapy”. one which is much cheaper than many prescribed therapies offered to us nowadays.
it is also very accessible, and it’s simple to get started. just ask the staff at snowys how you could be enjoying the great outdoors next weekend!
share this article with anyone you think could do with a dose of “camping therapy”.
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gʊd ˈmɔrnɪŋ. ðə haʊs əv ˈkɑmənz həz pæst ðə ˈgəvərnmənts ˈɑrtɪkəl 50 bɪl æt ðə ˈsɛkənd ˈrɛdɪŋ. "wi hæv lift-off*!" rɔrz ðə meɪl, "naʊ wɪr ɔn ɑr weɪ aʊt əv ðə" ʧɪrz ðə ɪkˈsprɛs, "ˈbrɪtən teɪks stɛp ˈɪntu ðə ənˈnoʊn" ɪz ðə aɪz mɔr ˈkɔʃəs splæʃ, "brexfast*" kwɪps ðə ˈmɪrər waɪl ðə goʊz fər: "ˈkɑmənz gɪvz meɪ grin laɪt tɪ ˈtrɪgər ˈbrɪtənz breɪk frəm". bət ɪt eɪnt ˈoʊvər ənˈtɪl ɪts ˈoʊvər ənd ðə ˌpɑrləˈmɛntəri ˈbætəl həz ə lɔŋ weɪ tɪ rən. ˈmɛni bɪˈliv ðət naʊ ðeɪv ʃoʊn ðeɪ əkˈsɛpt ðət wi ər ˈlivɪŋ, ðeɪ hæv mɔr ˈlaɪsəns tɪ hoʊld ðə ˈgəvərnmənts fit tɪ ðə faɪər ɛz fɑr ɛz ðə ˈaɪˈɛˈnɛs ənd aʊts əv ər kənˈsərnd. wən ˈɪʃu ɪn ˌpɑˈtɪkjələr ðət ɪz ɔˈrɛdi prəˈvoʊkɪŋ kənˈsərvətɪv tɪ rɪˈvoʊlt ɪz ðə raɪt tɪ rɪˈmeɪn fər ˈsɪtɪzənz ɔˈrɛdi ˈlɪvɪŋ ɪn ˈbrɪtən, ðə taɪmz rɪˈpɔrts. "meɪ ˈfeɪsɪz ˈtɔri rɪˈvoʊlt ˈæftər bæk" ɪz ðət ˈpeɪpərz splæʃ. ðə ˈgəvərnmənt wɪl nɑt faɪnd kəˈmɪti steɪʤ soʊ ˈizi, ˌpɑrˈtɪkjələrli ɪn ðə lɔrdz, ənd ˌɔlˈðoʊ ðɛr ɪz noʊ kˈwɛʃən ðət ðə ˈgəvərnmənt wɪl sɪˈkjʊr ðə raɪt tɪ ˈtrɪgər ˈɑrtɪkəl 50 wɪn ɔlz sɛd ənd dən, ðɛrz stɪl ðə ˌpɑsəˈbɪləˌti fər ˈpɑrləmɛnt tɪ baɪnd ðə ˈgəvərnmənts hænz ɛz fɑr ɛz ðə nɪˌgoʊʃiˈeɪʃənz ər kənˈsərnd. smɔl ˈwəndər ðət tɪm ˈfɛrən ɪz ɪn ən ˌɑptɪˈmɪstɪk mud. hi sæt daʊn wɪθ ðə ˈhɛnri mæns tɪ tɔk ˈjʊrəp, ˈdɑnəld trəmp ənd ˈʤɛrəˌmi. ɔn ðə ˈsəbʤɪkt əv ˈfɛrən, əm strək baɪ ðə pɔɪnt hi meɪd tɪ ˈʤərnəlɪsts æt ˈjɛstərˌdeɪ: ɪts ˈizi tɪ fərˈgɛt ðət wɪn ˈʧɑrli ˈkɛnədi meɪd ˌɑpəˈzɪʃən tɪ ðə ˌɪˈrɑk wɔr hɪz ˈsɪgnəʧər ˈɪʃu ðət hi wɑz ə ˈvɛri ˈloʊnli fəroʊ ˌɪnˈdid. naʊ əv kɔrs, ˈɔlˌmoʊst ˈɛvriˌbɑdi kleɪmz ənd fər ðə moʊst pɑrt, ˈʤɛnjuˌaɪnli bɪˈlivz ðət ðeɪ əˈpoʊzd ðə wɔr frəm ðə stɑrt ənd ðət ðə hoʊl θɪŋ wɑz ən ɪnˈtaɪərli prɪˈdɪktəbəl dɪˈzæstər. doʊnt bɛt əˈgɛnst ə ˈsɪmələr ækt əv ˈpəblɪk æmˈniʒə ɪf goʊz ˈbædli. ənd waɪl ðə ˈfoʊkɪs ɪz ɔn ɛz ən ˈɪʃu əv ˌɪnˈtərnəl ˈpɑrti ˈmænɪʤmənt, ˈwɛðər ðæts ɪn ðə kənˈsərvətɪv ˈpɑrti ər ɪn ˈɔnˌgoʊɪŋ woʊz, ðə ˈʧænsɪz ðət ˈbrɪtən wɪl sɪˈkjʊr ə bæd dil ər noʊ dil æt ɔl ər ˈvɛri haɪ. ˈspikɪŋ əv ˈleɪbər ˈvoʊtɪd əˈgɛnst ðə wɪp, ənd ˈmɛni mɔr wɛnt ˈmɪsɪŋ ɪn ˈækʃən. dɔn ˈbətlər ənd ˈreɪʧəl ˈmæskəl hæv ʤɔɪnd ðə lɪst əv ˈʃæˌdoʊ ˈkæbənət aʊts. "ə fɪθ əv ˈleɪbər dɪˈfaɪ ɛz bɪl ˈpæsɪz" ɪz ðə ˈgɑrdiənz splæʃ. əm rɪˈlaɪəbli ˌɪnˈfɔrmd ðət ˈmɛmbərz hæv lɛft ðə ˈpɑrti ˈoʊvər ɪts ˈɑrtɪkəl 50 stæns. fər ðət ˈpɑrti, ðə nɛkst wik ɪz ˈlaɪkli tɪ bi ˈdɑməˌneɪtəd baɪ ðə klaɪv luɪs ˈsɑgə: wɪl hi steɪ ər wɪl hi goʊ? ənd, ˌɪˈnɛvətəbli, ɔl ðət wɪl fjuəl ˈfərðər ˌspɛkjəˈleɪʃən əˈbaʊt ðə ˈleɪbər ˈlidərˌʃɪp ənd pəˈzɪʃən æt ðə tɔp əv ðə ˈpɑrti. ɪn maɪ vju, ðə θrɛt əˈgɛnst ɪz ˈsəmˈwət ˌoʊvərˈrɪtən. jɛs, ðə ˈɑrtɪkəl 50 voʊt ɪz ə briʧ wɪθ hɪz səˈpɔrtərz, bət ˈɛniˌwən ˈlʊkɪŋ daʊn ðə lɪst əv ˈleɪbər ˈdɪsədənts tɪ faɪnd ə ˈpɑsəbəl nu ˈlidərˌʃɪp wɪl lʊk ə lɔŋ taɪm. moʊst əv ðə ˈrɛbəlz hæv ˈlɪtəl ɪn ˈkɑmən ˈəðər ðən kəˈmɪtɪd ə ˈhɛvəli ɪˈlɛktərət. (ðæts tru, tu, əv ðoʊz hu wɛnt ˈeɪˌwɔl læst naɪt.) ɛz fɑr ɛz nɑt ˈstændɪŋ əp tɪ ɪz kənˈsərnd, ðə ˌriˈæləˌti ɪz ðət ɪf hæd wɪpt hɪz ðə ˈəðər weɪ, ɪt maɪt hæv ɛmˈboʊldənd ə fju mɔr kənˈsərvətɪvz tɪ ˈrɛbəl, bət ðeɪd hæv bɪn ˈkænsəld aʊt baɪ ˈnərvəs ˈleɪbər ɪn sits ənd baɪ ðə voʊts əv ðə. ɔn ðə kˈwɛʃən əv ðə ənd ˈnɔrðərn ˈaɪərlənd. wən θɪŋ ɪz klɪr: ˈnoʊˌwɛr nɪr ɪˈnəf θɔt həz bɪn pʊt ˈɪntu ðə kˈwɛʃən əv haʊ ju meɪnˈteɪn ən ˈoʊpən ˈbɔrdər bɪtˈwin ðə nɔrθ ənd ðə saʊθ. ɪt meɪ bi ðət ðə ɛndz əp ðə ˈbɪgəst ˈluzər ɪn ɔl ðɪs ɛz ðə ˈiziəst ənd moʊst ˈwərkəbəl səˈluʃən, ˌɛkəˈnɑmɪkli ənd ˈplɪtɪkli, ɪz tɪ kriˈeɪt ə sˈlaɪtli ˈhɑrdər ˈbɔrdər bɪtˈwin ˈnɔrðərn ˈaɪərlənd ənd ðə ˈskɑtɪʃ pɔrts ɪn ˈɔrdər tɪ meɪnˈteɪn ən ɪnˈtaɪərli ˈoʊpən wən bɪtˈwin ðə nɔrθ ənd ðə saʊθ. ðɛrz ə ˈvɪktəri, ðɛr, fər ðə snp*, tu. ˌwəˈtɛvər ɪz ɪkˈstɛndɪd təˈwɔrdz ðə ˈaɪrɪʃ ˈbɔrdər ðeɪ wɪl bi ˈeɪbəl tɪ kleɪm wɪl bi ɪkˈstɛndɪd tɪ ˈskɑtlənd ˈæftər ˌɪndɪˈpɛndəns. ðə bɪg bɛt ðət tərˈisə meɪ ənd ðə kənˈsərvətɪvz ər ˈmeɪkɪŋ ɪz ðeɪ kən ˈoʊvərˌkəm ðiz ənd ˈəðər ˈhərdəlz θru fɔrs əv wɪl. ðə bɪg bɛt ðət ðə ˈlɪˌbərəl ˈdɛməˌkræts ər ˈmeɪkɪŋ ɪz ðət ðeɪ woʊnt. ðə ˈdɪfɪˌkəlti fər ˈleɪbər ɪz ðət ðɛr bɛt ɪz ðət wɪl ˈvænɪʃ ɛz ən ˈɪʃu: ənd ðət lʊks ðə ˈrɪskiəst bɛt əv ɔl.
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good morning. the house of commons has passed the government's article 50 bill at the second reading.
"we have lift-off!" roars the mail, "now we're on our way out of the eu" cheers the express, "britain takes step into the unknown" is the i's more cautious splash, "brexfast" quips the mirror while the ft goes for: "commons gives may green light to trigger britain's break from eu".
but it ain't over until it's over and the parliamentary battle has a long way to run. many mps believe that now they've shown they accept that we are leaving, they have more licence to hold the government's feet to the fire as far as the ins and outs of brexit are concerned. one issue in particular that is already provoking conservative mps to revolt is the right to remain for eu citizens already living in britain, the times reports. "may faces tory revolt after mps back brexit" is that paper's splash.
the government will not find committee stage so easy, particularly in the lords, and although there is no question that the government will secure the right to trigger article 50 when all's said and done, there's still the possibility for parliament to bind the government's hands as far as the negotiations are concerned. small wonder that tim farron is in an optimistic mood. he sat down with the ft's henry mance to talk europe, donald trump and jeremy corbyn.
on the subject of farron, i'm struck by the point he made to journalists at moncrieff's yesterday: it's easy to forget that when charlie kennedy made opposition to the iraq war his signature issue that he was ploughing a very lonely furrow indeed. now of course, almost everybody claims - and for the most part, genuinely believes - that they opposed the war from the start and that the whole thing was an entirely predictable disaster. don't bet against a similar act of public amnesia if brexit goes badly.
and while the focus is on brexit as an issue of internal party management, whether that's in the conservative party or in labour's ongoing brexit woes, the chances that britain will secure a bad deal or no deal at all are very high.
speaking of labour...47 labour mps voted against the three-line whip, and many more went missing in action. dawn butler and rachel maskell have joined the list of shadow cabinet outs.
"a fifth of labour mps defy corybn as brexit bill passes" is the guardian's splash. i'm reliably informed that 7,000 members have left the party over its article 50 stance. for that party, the next week is likely to be dominated by the clive lewis saga: will he stay or will he go? and, inevitably, all that will fuel further speculation about the labour leadership and corbyn's position at the top of the party.
in my view, the threat against corbyn is somewhat overwritten. yes, the article 50 vote is a breach with his supporters, but anyone looking down the list of labour dissidents to find a possible new leadership will look a long time. most of the rebels have little in common other than committed pro-europeanism and/or a heavily pro-remain electorate. (that's true, too, of those mps who went awol last night.)
as far as not standing up to brexit is concerned, the reality is that if corbyn had whipped his mps the other way, it might have emboldened a few more conservatives to rebel, but they'd have been cancelled out by nervous labour mps in pro-leave seats and by the pro-brexit votes of the dup.
on the question of the dup and northern ireland. one thing is clear: nowhere near enough thought has been put into the question of how you maintain an open border between the north and the south. it may be that the dup ends up the biggest loser in all this as the easiest and most workable solution, economically and politically, is to create a slightly harder border between northern ireland and the scottish ports in order to maintain an entirely open one between the north and the south.
there's a victory, there, for the snp, too. whatever is extended towards the irish border they will be able to claim will be extended to scotland after independence.
the big bet that theresa may and the conservatives are making is they can overcome these and other hurdles through force of will. the big bet that the liberal democrats are making is that they won't. the difficulty for labour is that their bet is that brexit will vanish as an issue: and that looks the riskiest bet of all.
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noʊ ˈpikɪŋ: ˈjumənz pleɪ kəmˈpjutər geɪm ˈjuzɪŋ ˈoʊnli dɪˈrɛkt breɪn ˌstɪmjəˈleɪʃən ˈʤɛnəfər ˈlæŋstən nuz ɪn ðə ˈmeɪtrɪks fɪlm ˈsɪriz, kiˈɑnu rivz pləgz hɪz breɪn dɪˈrɛkli ˈɪntu ə ˈvərʧuəl wərld ðət məˈʃinz hæv dɪˈzaɪnd tɪ ɛnsˈleɪv ˈmænˈkaɪnd. ðə ˈmeɪtrɪks plɑt meɪ bi ˈfænəsi, bət ˌjunəˈvərsəti əv ˈwɔʃɪŋtən ˈrisərʧərz hæv ˈteɪkən ə fərst stɛp ɪn ʃoʊɪŋ haʊ ˈjumənz kən ˌɪnərˈækt wɪθ ˈvərʧuəl ˌriˈæləˌtiz ˈviə dɪˈrɛkt breɪn ˌstɪmjəˈleɪʃən. ɪn ə ˈpeɪpər ˈpəblɪʃt ˈɔnˌlaɪn noʊv. 16 ɪn frənˈtɪrz ɪn ˌroʊˈbɑtɪks ənd eɪaɪ, ðeɪ dɪˈskraɪb ðə fərst ˌdɛmənˈstreɪʃən əv ˈjumənz pleɪɪŋ ə ˈsɪmpəl, ˌtudɪˈmɛnʃənəl kəmˈpjutər geɪm ˈjuzɪŋ ˈoʊnli ˈɪnˌpʊt frəm dɪˈrɛkt breɪn ˌstɪmjəˈleɪʃən wɪˈθaʊt riˈlaɪɪŋ ɔn ˈɛni ˈjuʒəwəl ˈsɛnsəri kjuz frəm saɪt, ˈhirɪŋ ər təʧ. ðə ˈsəbʤɪkts hæd tɪ ˈnævəˌgeɪt 21 ˈdɪfərənt ˈmeɪzɪz, wɪθ tu ˈʧɔɪsɪz tɪ muv ˈfɔrwərd ər daʊn beɪst ɔn ˈwɛðər ðeɪ sɛnst ə ˈvɪʒəwəl ˌstɪmjəˈleɪʃən ˈɑrtəˌfækt kɔld ə, wɪʧ ər pərˈsivd ɛz blɑbz ər bɑrz əv laɪt. tɪ ˈsɪgnəl wɪʧ dɪˈrɛkʃɪn tɪ muv, ðə ˈrisərʧərz ˈʤɛnərˌeɪtɪd ə θru mægˈnɛtɪk ˌstɪmjəˈleɪʃən, ə ˈwɛlˈnoʊn tɛkˈnik ðət ˈjuzɪz ə mægˈnɛtɪk kɔɪl pleɪst nɪr ðə skəl tɪ dɪˈrɛkli ənd ˈstɪmjəˌleɪt ə spɪˈsɪfɪk ˈɛriə əv ðə breɪn. weɪ ˈvərʧuəl ˌriˈæləˌti ɪz dən ðiz deɪz ɪz θru dɪˈspleɪz, ˈhɛdˌsɛts ənd ˈgɑgəlz, bət ˈəltəmətli jʊr breɪn ɪz wət kriˈeɪts jʊr reality,”*,” sɛd ˈsinjər ˈɔθər raʊ, prəˈfɛsər əv kəmˈpjutər saɪəns ˈɛnʤəˈnɪrɪŋ ənd dɪˈrɛktər əv ðə ˈsɛnər fər ˈnʊrəl ˈɛnʤəˈnɪrɪŋ. ˌfəndəˈmɛnəl kˈwɛʃən wi ˈwɔntɪd tɪ ˈænsər wɑz: kən ðə breɪn meɪk juz əv ˌɑrtəˈfɪʃəl ˌɪnˌfɔrˈmeɪʃən ðət ˈnɛvər sin ˌbiˈfɔr ðət ɪz dɪˈlɪvərd dɪˈrɛkli tɪ ðə breɪn tɪ ˈnævəˌgeɪt ə ˈvərʧuəl wərld ər du ˈjusfəl tæsks wɪˈθaʊt ˈəðər ˈsɛnsəri ˈɪnˌpʊt? ənd ðə ˈænsər ɪz yes.”*.” ðə faɪv tɛst ˈsəbʤɪkts meɪd ðə raɪt muvz ɪn ðə ˈmeɪzɪz 92 pərˈsɛnt əv ðə taɪm wɪn ðeɪ rɪˈsivd ðə ˈɪnˌpʊt ˈviə dɪˈrɛkt breɪn ˌstɪmjəˈleɪʃən, kəmˈpɛrd tɪ 15 pərˈsɛnt əv ðə taɪm wɪn ðeɪ lækt ðət ˈgaɪdəns. ðə ˈsɪmpəl geɪm ˈdɛmənˌstreɪts wən weɪ ðət ˈnɑvəl ˌɪnˌfɔrˈmeɪʃən frəm ˌɑrtəˈfɪʃəl ˈsɛnsərz ər kəmˈpjutərˈʤɛnərˌeɪtəd ˈvərʧuəl wərldz kən bi səkˈsɛsfəli ɛnˈkoʊdɪd ənd dɪˈlɪvərd tɪ ðə ˈjumən breɪn tɪ sɑlv ˈjusfəl tæsks. ɪt ɪmˈplɔɪz ə tɛkˈnɑləʤi ˈkɑmənli juzd ɪn nˈjʊroʊˌsaɪəns tɪ ˈstədi haʊ ðə breɪn wərks mægˈnɛtɪk ˌstɪmjəˈleɪʃən tɪ ˌɪnˈstɛd kənˈveɪ ˈækʃənəbəl ˌɪnˌfɔrˈmeɪʃən tɪ ðə breɪn. ðə tɛst ˈsəbʤɪkts ˈɔlsoʊ gɑt ˈbɛtər æt ðə ˌnævəˈgeɪʃən tæsk ˈoʊvər taɪm, səˈʤɛstɪŋ ðət ðeɪ wər ˈeɪbəl tɪ lərn tɪ ˈbɛtər dɪˈtɛkt ðə ˌɑrtəˈfɪʃəl ˈstɪmjəˌlaɪ. ɛˈsɛnʃəli traɪɪŋ tɪ gɪv ˈjumənz ə sɪksθ sense,”*,” sɛd lɛd ˈɔθər ˈdɑrbi ˈloʊsi, ə 2016 ˈgræʤəˌweɪt ɪn kəmˈpjutər saɪəns ənd hu naʊ wərks ɛz ə stæf ˈrisərʧər fər ðə ˈɪnstɪˌtut fər ˈlərnɪŋ breɪn ˈsaɪənsɪz (i-labs*). məʧ ˈɛfərt ɪn ðɪs fild əv ˈnʊrəl ˈɛnʤəˈnɪrɪŋ həz ˈfoʊkɪst ɔn dɪˈkoʊdɪŋ ˌɪnˌfɔrˈmeɪʃən frəm ðə breɪn. ˈɪntəˌrɛstɪd ɪn haʊ ju kən ɛnˈkoʊd ˌɪnˌfɔrˈmeɪʃən ˈɪntu ðə brain.”*.” ðə ˌɪˈnɪʃəl ɪkˈspɛrəmənt juzd ˈbaɪnəˌri ˌɪnˌfɔrˈmeɪʃən ˈwɛðər ə wɑz ˈprɛzənt ər nɑt tɪ lɛt ðə geɪm pleɪərz noʊ ˈwɛðər ðɛr wɑz ən ˈɑbstəkəl ɪn frənt əv ðɛm ɪn ðə meɪz. ɪn ðə ril wərld, ˈivɪn ðət taɪp əv ˈsɪmpəl ˈɪnˌpʊt kʊd hɛlp blaɪnd ər ˈvɪʒwəli ˌɪmˈpɛrd ˌɪndəˈvɪʤəwəlz ˈnævəˌgeɪt. ˌθiərˈɛtɪkəli, ˈɛni əv ə vərˈaɪəti əv ˈsɛnsərz ɔn ə ˈbɑdi frəm ˈkæmərəz tɪ ˌɪnfrərˈɛd, ˌəltrəˈsaʊnd, ər ˈleɪzər kʊd kənˈveɪ ˌɪnˌfɔrˈmeɪʃən əˈbaʊt wət ɪz sərˈaʊndɪŋ ər əˈproʊʧɪŋ ðə ˈpərsən ɪn ðə ril wərld tɪ ə dɪˈrɛkt breɪn ˈstɪmjəˌleɪtər ðət gɪvz ðət ˈpərsən ˈjusfəl ˈɪnˌpʊt tɪ gaɪd ðɛr ˈækʃənz. tɛkˈnɑləʤi ɪz nɑt ðɛr jɛt ðə tul wi juz tɪ ˈstɪmjəˌleɪt ðə breɪn ɪz ə ˈbəlki pis əv ɪkˈwɪpmənt ðət ju ˈkɛri əraʊnd wɪθ you,”*,” sɛd ˌɑnˈdreɪə, ə əˈsɪstənt prəˈfɛsər əv saɪˈkɑləʤi ənd ˈrisərʧ ˈsaɪəntɪst. ɪˈvɛnʧəwəli wi maɪt bi ˈeɪbəl tɪ ˌriˈpleɪs ðə ˈhɑrdˌwɛr wɪθ ˈsəmθɪŋ əˈmɛnəbəl tɪ ril wərld applications.”*.” təˈgɛðər wɪθ ˈəðər ˈpɑrtnərz frəm ˈaʊtˈsaɪd, ˈmɛmbərz əv ðə ˈrisərʧ tim hæv neubay*, ə ˈstɑrˌtəp ˈkəmpəˌni eɪmd æt kəˈmərʃəˌlaɪzɪŋ ðɛr aɪˈdiəz ənd ˌɪntrəˈdusɪŋ nˈjʊroʊˌsaɪəns ənd ˌɑrtəˈfɪʃəl ˌɪnˈtɛləʤəns (eɪaɪ) tɛkˈniks ðət kʊd meɪk virtual-reality*, ˈgeɪmɪŋ ənd ˈəðər ˌæpləˈkeɪʃənz ˈbɛtər ənd mɔr ɪnˈgeɪʤɪŋ. ðə tim ɪz ˈkərəntli ˌɪnˈvɛstəˌgeɪtɪŋ haʊ ˈɔltərɪŋ ðə ˌɪnˈtɛnsɪti ənd loʊˈkeɪʃən əv dɪˈrɛkt breɪn ˌstɪmjəˈleɪʃən kən kriˈeɪt mɔr ˈkɑmplɛks ˈvɪʒəwəl ənd ˈəðər ˈsɛnsəri pərˈsɛpʃənz wɪʧ ər ˈkərəntli ˈdɪfəkəlt tɪ ˈrɛplɪˌkeɪt ɪn ɑgˈmɛntəd ər ˈvərʧuəl ˌriˈæləˌti. lʊk æt ðɪs ɛz ə ˈvɛri smɔl stɛp təˈwɔrd ðə ˈgrændər ˈvɪʒən əv prəˈvaɪdɪŋ rɪʧ ˈsɛnsəri ˈɪnˌpʊt tɪ ðə breɪn dɪˈrɛkli ənd noninvasively,”*,” sɛd raʊ. ðə lɔŋ tərm, ðɪs kʊd hæv proʊˈfaʊnd ˌɪmpləˈkeɪʃənz fər əˈsɪstɪŋ ˈpipəl wɪθ ˈsɛnsəri ˈdɛfɪsɪts waɪl ˈɔlsoʊ ˈpeɪvɪŋ ðə weɪ fər mɔr ˌriəˈlɪstɪk ˈvərʧuəl ˌriˈæləˌti experiences.”*.” ðə ˈrisərʧ wɑz ˈfəndɪd baɪ ðə w.m*. kɛk faʊnˈdeɪʃən ənd ðə ˈwɔʃɪŋtən ˈrisərʧ faʊnˈdeɪʃən. ˌɪnˈklud ˈrisərʧ koʊˈɔrdəˌneɪtər ˈʤəstɪn ˈæbərˌnɛθi. fər mɔr ˌɪnˌfɔrˈmeɪʃən, ˈkɑnˌtækt ˈloʊsi æt loseydm@uw.edu*, æt ər raʊ æt rao@cs.washington.edu*.
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no peeking: humans play computer game using only direct brain stimulation
jennifer langston uw news
in the matrix film series, keanu reeves plugs his brain directly into a virtual world that sentient machines have designed to enslave mankind.
the matrix plot may be dystopian fantasy, but university of washington researchers have taken a first step in showing how humans can interact with virtual realities via direct brain stimulation.
in a paper published online nov. 16 in frontiers in robotics and ai, they describe the first demonstration of humans playing a simple, two-dimensional computer game using only input from direct brain stimulation — without relying on any usual sensory cues from sight, hearing or touch.
the subjects had to navigate 21 different mazes, with two choices to move forward or down based on whether they sensed a visual stimulation artifact called a phosphene, which are perceived as blobs or bars of light. to signal which direction to move, the researchers generated a phosphene through transcranial magnetic stimulation, a well-known technique that uses a magnetic coil placed near the skull to directly and noninvasively stimulate a specific area of the brain.
“the way virtual reality is done these days is through displays, headsets and goggles, but ultimately your brain is what creates your reality,” said senior author rajesh rao, uw professor of computer science & engineering and director of the center for sensorimotor neural engineering.
“the fundamental question we wanted to answer was: can the brain make use of artificial information that never seen before that is delivered directly to the brain to navigate a virtual world or do useful tasks without other sensory input? and the answer is yes.”
the five test subjects made the right moves in the mazes 92 percent of the time when they received the input via direct brain stimulation, compared to 15 percent of the time when they lacked that guidance.
the simple game demonstrates one way that novel information from artificial sensors or computer-generated virtual worlds can be successfully encoded and delivered noninvasively to the human brain to solve useful tasks. it employs a technology commonly used in neuroscience to study how the brain works — transcranial magnetic stimulation — to instead convey actionable information to the brain.
the test subjects also got better at the navigation task over time, suggesting that they were able to learn to better detect the artificial stimuli.
“we’re essentially trying to give humans a sixth sense,” said lead author darby losey, a 2016 uw graduate in computer science and neurobiology who now works as a staff researcher for the institute for learning & brain sciences (i-labs). “so much effort in this field of neural engineering has focused on decoding information from the brain. interested in how you can encode information into the brain.”
the initial experiment used binary information — whether a phosphene was present or not — to let the game players know whether there was an obstacle in front of them in the maze. in the real world, even that type of simple input could help blind or visually impaired individuals navigate.
theoretically, any of a variety of sensors on a person’s body — from cameras to infrared, ultrasound, or laser rangefinders — could convey information about what is surrounding or approaching the person in the real world to a direct brain stimulator that gives that person useful input to guide their actions.
“the technology is not there yet — the tool we use to stimulate the brain is a bulky piece of equipment that you wouldn’t carry around with you,” said co-author andrea stocco, a uw assistant professor of psychology and i-labs research scientist. “but eventually we might be able to replace the hardware with something that’s amenable to real world applications.”
together with other partners from outside uw, members of the research team have co-founded neubay, a startup company aimed at commercializing their ideas and introducing neuroscience and artificial intelligence (ai) techniques that could make virtual-reality, gaming and other applications better and more engaging.
the team is currently investigating how altering the intensity and location of direct brain stimulation can create more complex visual and other sensory perceptions which are currently difficult to replicate in augmented or virtual reality.
“we look at this as a very small step toward the grander vision of providing rich sensory input to the brain directly and noninvasively,” said rao. “over the long term, this could have profound implications for assisting people with sensory deficits while also paving the way for more realistic virtual reality experiences.”
the research was funded by the w.m. keck foundation and the washington research foundation.
co-authors include i-labs research coordinator justin abernethy.
for more information, contact losey at loseydm@uw.edu, stocco at stocco@uw.edu or rao at rao@cs.washington.edu.
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tərˈisə pəˈzɪʃən ɪz ənˈtɛnəbəl. ˈæftər ə dɪˈzæstrəs kæmˈpeɪn ðət həz lɛft hər ˌkrɛdəˈbɪlɪti ʃɑt, ʃi ɪz stək ˈlidɪŋ ən ənˈsteɪbəl kənˈsərvətɪv ˈgəvərnmənt prɑpt əp baɪ ðə anti-abortion*, raɪts, ˈklaɪmɪt dup*. fər ðə ˈtɔˌriz, ðɛr ər tu ˈmɛni ˌkɑntrəˈdɪkʃənz tɪ bɛr. ˈsoʊʃəli ˈlɪˌbərəl kənˈsərvətɪvz wɪl bɪˈkəm ˌɪnˈkrisɪŋgli ənˈkəmfərtəbəl wɪθ ðə ˈbɪblɪkəl ˈpɑləsi əˈʤɛndə. ˈnuli ɛmˈboʊldənd ˈskɑtɪʃ kənˈsərvətɪvz wɪl kˈwɛʃən ðə bəŋ fər ˈnɔrðərn ˈaɪərlənd. ðə splɪt ɔn ˈsɪŋgəl ˈmɑrkɪt ˈmɛmbərˌʃɪp wɪl ˈoʊnli ˈfɛstər. ðə ˈæbsəns əv ˈɛni ˈproʊˌgræm fər ˈgəvərnmənt ðɛr ˌmænɪˈfɛˌstoʊ ˈgətɪd baɪ ðə lɔs əv ðɛr məˈʤɔrəti livz ə vɔɪd ɪn wɪʧ ˈtɔri ˈbækˌbaɪtɪŋ wɪl ˌɪnˈtɛnsɪˌfaɪ. wɪθ moʊˈmɛntəm bɪˈhaɪnd ˈleɪbər, wi kən wɪn bæk paʊər krɪs ˈwɪljəmsən rɛd mɔr pərˈhæps meɪ wɪl lɪmp ɔn tɪ ðə ˈsəmər ˈrisɛs. ˈmeɪbi ʃi wɪl meɪk ɪt ənˈtɪl ðə ɛnd əv ðə jɪr. bət əˈnəðər ɪˈlɛkʃən wɪl ˈhæpən ˈsunər ˈrəðər ðən ˈleɪtər. ənd æt moʊˈmɛntəm, bi ˈrɛdi. ˈdʊrɪŋ ðə ˈrisənt ɪˈlɛkʃən kæmˈpeɪn, moʊˈmɛntəm pleɪd ə ki roʊl ɪn ˌɛkstrəˈɔrdəˌnɛri ˈkəmˌbæk. ˈjuzɪŋ ˈɪnəˌveɪtɪv tɛkˈnɑləʤi, ˈvaɪrəl ˈsoʊʃəl ˈmidiə ˈkɑntɛnt, nu tɛkˈniks ənd ə ˈneɪʃənˈwaɪd ˈtreɪnɪŋ ˈproʊˌgræm ˌɪnˈspaɪərd baɪ ðə ˈbərni ˈsændərz kæmˈpeɪn wi tɛnz əv ˈθaʊzənz əv ˈpipəl tɪ nɑk ɔn ˈmɪljənz əv dɔrz əˈkrɔs ðə ˈkəntri. nɛkst taɪm wi lɛt ə snæp ɪˈlɛkʃən səˈpraɪz ˈjuˈɛs. naʊ ˈɛnərɪŋ ˈpərmɑˌnɛnt kæmˈpeɪn moʊd. ðɪs wik wi lɔnʧt ɑr nɛkst ˈʤɛnərəl ɪˈlɛkʃən kæmˈpeɪn, ʤɪst θri wiks ˈæftər ˈpoʊlɪŋ deɪ. ðɪs həz tɪ bi ðə mɛnˈtælɪti əv boʊθ moʊˈmɛntəm ənd ðə ˈleɪbər ˈpɑrti. ɪf ðə ˈwɪkəd rɛst ðɛn ˈniðər kən wi, ənd ə ˈpərmɑˌnɛnt kæmˈpeɪn ˈfʊtɪŋ ə sɛns ðət ɑr ˈmuvmənt ɪz æt ɔl taɪmz boʊθ ˈpoʊtənt ənd ˈfræʤəl ɪz haʊ kip əp ɑr gɑrd waɪl ˈpʊʃɪŋ fər ə nu, ɛmˈboʊldənd ˈpɑləˌtɪks. bət mɔr ðən ðɪs, pəˈlɪtɪkəl ˌtrænsfərˈmeɪʃən baɪ ɪˈlɛktərəl ˈsaɪkəlz. wi nid tɪ gɪt aʊt ˈɪntu kəmˈjunɪtiz, ˈɛvəri ˈwiˌkɪnd ənd ˈivnɪŋ, ˈwɛðər ðɛr ər voʊts tɪ bi hæd ər nɑt. wi nid tɪ bi ˈprɛzənt wɪn ðə ˈəðər ˈpɑrtiz hæv swɛpt əp ənd lɛft. wi nid tɪ bɪˈkəm pɑrt əv ðə hɑrt əv ðə kəmˈjunɪti. ðɪs ɪz haʊ ˈtrænsfɔrm ˈbrɪtən. nɑt ˈmɪrli baɪ ˈɑkjəˌpaɪɪŋ ðə hɔlz əv ˌwɛstˈmɪnstər, bət baɪ ˈbrɪŋɪŋ ˈpɑləˌtɪks ˈɪntu ðə kəmˈjunɪti. baɪ ˈmeɪkɪŋ ˈpɑləˌtɪks ə fər ˈɔrdəˌnɛri ˈpipəl ˈwərkɪŋ təˈgɛðər tɪ ʧeɪnʤ ðɛr lɪvz. baɪ ˈæˌkʧuəli ˈmeɪkɪŋ ə ˈdɪfərəns. pleɪ ˈvɪdioʊ 'oʊ, ˈʤɛrəˌmi corbyn*!': haʊ ðə ˈleɪbər ʧænt ɔl ˈstɑrtɪd ˈvɪdioʊ ɪn ə ˈsərtən sɛns, bi əˈtɛmptɪŋ tɪ ˈrɛkriˌeɪt ˈʤɛrəˌmi spɛkˈtækjələr ˈmoʊmənt ɪn ˈlɪvɪŋ rumz, pəbz ənd kəmˈjunɪtiz ˈsɛntərz əˈkrɔs ðə ˈkəntri. ðət ˈmoʊmənt wɪn ˈpɑləˌtɪks fil laɪk ˈpɑləˌtɪks ˈɛni mɔr. wɪn ɪt bɪˈkəmz nɑt ˈoʊnli ˈnɔrməl, bət ˈlɪˌbərˌeɪtɪŋ ənd fən. nɑt ə ʧɔr ər ə ˈduti, bət ən ɪkˈspɪriəns əv ɪkˈspændɪd ˌpɑsəˈbɪləˌti ənd ɪgˈzɪlərˌeɪtɪŋ nu hərˈaɪzənz. ðət ˈfilɪŋ ðət əˈnəðər wərld ˈrɪli ɪz ˈpɑsəbəl. ˈlɔfti goʊlz, pərˈhæps. bət wi hæv ˈrizən tɪ bi ˌɑptɪˈmɪstɪk. læst ɪˈlɛkʃən wi sɔ ə ˌpɑpjəˈleɪʃən tərnd ɔn tɪ ˈpɑləˌtɪks laɪk ˈnɛvər ˌbiˈfɔr. ðeɪ ˈkænvəst. ðeɪ əˈtɛndəd ˈræliz. ðeɪ spɪld aʊt əv pəbz, kləbz ənd ˈfʊtˌbɔl ˈmæʧɪz ˈʧæntɪŋ ““oh*, ˈʤɛrəˌmi corbyn”*” ɪn ˈɛvəri ˈkɔrnər əv ðə ˈkəntri. ɑr nu kæmˈpeɪn wɪl si tɛnz əv ˈθaʊzənz mɔr treɪnd ɪn pərsˈweɪʒən ˈkænvəsɪŋ ənd kəmˈjunɪti. roʊl aʊt nu ˌtɛknəˈlɑʤɪkəl ˈplætˌfɔrmz meɪk ɑr ˈæktɪvɪsts ˈkænvəsɪŋ ˈivɪn mɔr ˈtɑrgətɪd ənd strəˈtiʤɪk. bɪld ɔn ɑr ˌfɔrˈmɪdəbəl, ˈɪnəˌveɪtɪv ˈsoʊʃəl ˈmidiə ˌɑpərˈeɪʃən ðət riʧt wən ɪn θri ˈfeɪsˌbʊk ˈjuzərz tɪ ˈfərðər ˈlusən ðə ˈstræŋgəˌlhoʊld əv ðə ˈtæblɔɪdz ənd ˈbrɔdˌkæst ə ˈpɑzətɪv, ˌtrænsfərˈmeɪʃənəl ˈmɛsɪʤ. ˈmaɪkəl goʊv ˈrɛkənz ðə ˈtɔˌriz kən ə lot”*” frəm moʊˈmɛntəm. ʤaɪlz kenningham*, ðɛr ˈfɔrmər kəmˌjunəˈkeɪʃənz dɪˈrɛktər, ləˈmɛnts ðət ðeɪ nɑt hæv ən ɪkˈwɪvələnt kæmˈpeɪnɪŋ group”*”. bət fər ðə ˈtɔˌriz ðɛr ɪz ˈnəθɪŋ tɪ lərn. ə kənˈsərvətɪv moʊˈmɛntəm ɪz ə ˌkɑntrəˈdɪkʃən ɪn tərmz. ðə ˈtɔˌriz nid ə lɔt mɔr ðən ə nu ˈdraɪvər fər ðɛr məˈʃin ˈiən rɛd mɔr moʊˈmɛntəm, ðə ˈhənərdz əv ˈθaʊzənz əv nu ˈmɛmbərz ənd ðɪs ˌɪnˈtɛns bəz əv ˌpɑsəˈbɪləˌti əraʊnd ðə ˈleɪbər ˈpɑrti ˈkænɑt bi ˈkɑpid ənd ˈpeɪstɪd. ɪt ə fəˈnɑmənə ðə ˈtɔˌriz kən ˌdikənˈstrəkt ənd riˈbɪld ɪn ðɛr ˈɪmɪʤ. ɪt rɪˈlaɪz ɔn tɛnz əv ˈθaʊzənz əv ˈpæʃənət, ɪnˌθuziˈæstɪk ˈpipəl hu bɪˈliv ɪn trænsˈfɔrmɪŋ ˈbrɪtən. ɪt rɪˈlaɪz ɔn ə ˈpɑləˌtɪks əv hoʊp, ˌɔθənˈtɪsɪti ənd ˈprɪnsəpəl. ɪt ɪz fjuəld baɪ ən ˌɪnspərˈeɪʃənəl ˈpɑləsi əˈʤɛndə ənd ə ˈlidər hu ɪz ˈʤɛnjuˌaɪn, ˈkɛrɪŋ ənd ˈɔrdəˌnɛri. ju baɪ ðɪs. ənd ˈdɪfəkəlt tɪ si haʊ ðə kənˈsərvətɪvz ə ˈpɑrti əˈdɛpt æt ðə ˈpɑləˌtɪks əv dɪˈvɪʒən ənd fɪr, ə ˈpɑrti ˌɪmˈbjud wɪθ ðə ˈɛrəgəns əv ɪkˈspɛktɪŋ tɪ ˈgəvərn kʊd ˈɛvər hoʊp tɪ ˌɪnˈspaɪr ˈsəmθɪŋ ˈsɪmələr. ðɪs ˈmuvmənt əv ˈɔrdəˌnɛri ˈpipəl, ˈrutɪd ɪn ˈloʊkəl kəmˈjunɪtiz əˈkrɔs ðə ˈkəntri, wɪl meɪk ðə ˈdɪfərəns. ˌkɑnvərˈseɪʃənz wɪθ frɛndz, ˈfæməli ənd ˈneɪbərz əˈkrɔs ðə ˈkəntri wɪl meɪk ðə ˈdɪfərəns. ðə ˈɪrə əv ɪˈstæblɪʃmənt ˈpɑləˌtɪks ɪz ˈoʊvər. naʊ, taɪm fər ˈsəmθɪŋ ˈdɪfərənt.
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theresa may’s position is untenable. after a disastrous campaign that has left her credibility shot, she is stuck leading an unstable conservative government propped up by the anti-abortion, anti-gay rights, climate change-denying dup.
for the tories, there are too many contradictions to bear. socially liberal conservatives will become increasingly uncomfortable with the dup’s biblical policy agenda. newly emboldened scottish conservatives will question the £1bn bung for northern ireland. the split on single market membership will only fester. the absence of any programme for government – their manifesto gutted by the loss of their majority – leaves a void in which tory backbiting will intensify.
with momentum behind labour, we can win back power | chris williamson read more
perhaps may will limp on to the summer recess. maybe she will make it until the end of the year. but another election will happen sooner rather than later. and at momentum, we’ll be ready.
during the recent election campaign, momentum played a key role in labour’s extraordinary comeback. using innovative technology, viral social media content, new organising techniques and a nationwide training programme inspired by the bernie sanders campaign we mobilised tens of thousands of people to knock on millions of doors across the country.
next time we won’t let a snap election surprise us. now we’re entering permanent campaign mode. this week we launched our next general election campaign, just three weeks after polling day.
this has to be the mentality of both momentum and the labour party. if the wicked don’t rest then neither can we, and a permanent campaign footing – a sense that our movement is at all times both potent and fragile – is how we’ll keep up our guard while pushing for a new, emboldened politics.
but more than this, political transformation isn’t bracketed by electoral cycles. we need to get out into communities, every weekend and evening, whether there are votes to be had or not. we need to be present when the other parties have swept up and left. we need to become part of – the heart of – the community.
this is how we’ll transform britain. not merely by occupying the halls of westminster, but by bringing politics into the community. by making politics a descriptor for ordinary people workingether to change their lives. by actually making a difference.
play video 1:27 'oh,emy corbyn!': how the labour chant all started – video
in a certain sense, we’ll be attempting to recreateemy corbyn’s spectacular glastonbury moment in living rooms, pubs and communities centres across the country. that moment when politics doesn’t feel like politics any more. when it becomes not only normal, but liberating and fun. not a chore or a duty, but an experience of expanded possibility and exhilarating new horizons. that feeling that another world really is possible.
lofty goals, perhaps. but we have reason to be optimistic. last election we saw a population turned on to politics like never before. they canvassed. they attended rallies. they spilled out of pubs, clubs and football matches chanting “oh,emy corbyn” in every corner of the country.
our new campaign will see tens of thousands more trained in persuasion canvassing and community organising. we’ll roll out new technological platforms that’ll make our activists canvassing even more targeted and strategic. we’ll build on our formidable, innovative social media operation that reached one in three uk facebook users to further loosen the stranglehold of the tabloids and broadcast a positive, transformational message.
michael gove reckons the tories can “learn a lot” from momentum. giles kenningham, their former communications director, laments that they “did not have an equivalent campaigning group”. but for the tories there is nothing to learn. a conservative momentum is a straight-up contradiction in terms.
the tories need a lot more than a new driver for their clapped-out machine | ian birrell read more
momentum, the hundreds of thousands of new members and this intense buzz of possibility around the labour party cannot be copied and pasted. it isn’t a phenomena the tories can deconstruct and rebuild in theirge.
it relies on tens of thousands of passionate, enthusiastic people who believe in transforming britain. it relies on a politics of hope, authenticity and principle. it is fuelled by an inspirational policy agenda and a leader who is genuine, caring and ordinary.
you can’t buy this. and it’s difficult to see how the conservatives – a party adept at the politics of division and fear, a party imbued with the arrogance of expecting to govern – could ever hope to inspire something similar.
this movement of ordinary people, rooted in local communities across the country, will make the difference. conversations with friends, family and neighbours across the country will make the difference. the era of establishment politics is over. now, it’s time for something different.
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vi. si. ɛs. 08 2017 već*ć goʊˈdin ˈdiˈeɪ zaboravljen*. tɪ ˈdiˈeɪ oʊ njemu*, ju sɑ žželjom*, nɑ internetu*, nɑ aɪ ˈdiˈeɪ aɪ prezime*. bæŋk, supermarketi*, društva*, aɪ ˈkoʊʤi oʊ, nɑ ˈnoʊvə. ʤi ˈdiˈeɪ ččuvani*, ˈdiˈeɪ ni prodati*, aɪ ˈdiˈeɪ seɪ ni zaštite*, keɪoʊ ju seɪ, sɑ jmbg*, karata*, aɪ aɪ nɑ serveru*. ʤi ˈdiˈeɪ oʊ zaštite*, aɪ ovlašćenja*. su aɪ mehanizmi*. nɑ ˈpraɪmər, koʊ podatke*,, nɑ aɪ ˈnoʊvə oʊ ju zakonu*. ˈnoʊvə oʊ. su ʤi zakone*, prof*. gajin*, grup oʊ oʊ. tɪ ni, ju, ˈɑli ʤi grup ˈdiˈeɪ ˈmɔrə sɑ uredbom*. baɪ ˈdiˈeɪ du septembra*. grup ʤi ˈdiˈeɪ aɪ ˈdiˈeɪ seɪ du 2018 aɪ ˈdiˈeɪ seɪ gajin*. aɪ ššabić*ć ʤi ˈmɑdəl. ˈmɑdəl, ˈɑli seɪ ˈdiˈeɪ ˈtoʊgə baɪ ˈdiˈeɪ næm pomogne*, aɪ gajin*. su ju ššabića*, ni pomenuti*. su ččlanova*, ə izostavljeni*. aɪ grešaka*, gajin*.
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v. c. s. | 08. jul 2017. 22:02 |
već od sledeće godine svakom građaninu srbije zakon će garantovati pravo da bude zaboravljen. to znači da podaci o njemu, u skladu sa njegovom željom, neće biti skladišteni na internetu, niti ćete na društvenim mrežama i pretraživačima moći da nađete njegovo ime i prezime.
banke, supermarketi, osiguravajuća društva, političke partije i svi ostali koji rukuju podacima o ličnosti, zakon će obavezati na nova pravila. cilj je da naši lični podaci budu bolje čuvani, da ne mogu biti zloupotrebljeni ili prodati, i da se ne može lako probiti sistem zaštite, kao u slučaju kada se baza podataka 400.000 građana srbije, sa njihovim jmbg, brojevima ličnih karata, kućnim i mobilnim telefonima i adresama našla na jednom javnom serveru.
treća zakonska novina je da poverenik za obradu podataka o ličnosti neće biti osnovni mehanizam zaštite, iako će i dalje imati inspekcijska ovlašćenja. osim njega predviđeni su i drugi mehanizmi. na primer, prigovor građanina onome ko obrađuje njegove podatke, zahtev za ograničenje korišćenja ličnih podataka, pravo na sudsku zaštitu i nova pravila o naknadi štete u slučaju korišćenja podataka suprotno zakonu.
sve ovo predviđa nova uredba o zaštiti ličnih podataka eu. mnoge zemlje su direktno prevele ovu uredbu koja je zamenila domaće zakone, kaže prof. saša gajin, član radne grupe za izradu zakona o zaštiti podataka o ličnosti. srbija to ne može, jer nije u eu, ali je stav radne grupe da domaći zakon mora biti potpuno harmonizovan sa evropskom uredbom.
- prednacrt zakona trebalo bi da bude završen do septembra. cilj radne grupe je da bude usvojen i da se završi priprema za njegovu primenu do aprila 2018, kada počinju i zvanično da se primenjuju pravila uredbe eu - govori gajin.
i poverenik rodoljub šabić predao je svoj model zakona.
- radna grupa će ispred sebe imati njegov model, ali bojim se da nema mnogo toga što bi moglo da nam pomogne, jer ima velikih razlika između tog modela i uredbe eu - kaže gajin.
zamerke povereniku šabiću
neki članovi evropske uredbe su skoro doslovce preuzeti u modelu poverenika šabića, dok drugi nisu ni pomenuti. ili su preneti samo delovi nekih članova, a drugi izostavljeni. ima i pravnih grešaka, kaže gajin.
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ɪˈmɪʃənz ənd groʊθ: trɛnz ənd ˈsaɪkəlz ɪn ə ˈgloʊbəˌlaɪzd wərld author/editor*: geɪl koʊən toʊˈvɑr prɑˈkɑʃ rɪˈkɑrdoʊ ˌpəblɪˈkeɪʃən deɪt: ˈɔgəst 30 2017 ˌɪˌlɛkˈtrɑnɪk ˈækˌsɛs: fri fʊl tɛkst. juz ðə fri əˈdoʊbi ˈækrəˌbæt ˈridər tɪ vju ðɪs faɪl dɪˈskleɪmər: ˈwərkɪŋ ˈpeɪpərz dɪˈskraɪb ˈrisərʧ ɪn ˈprɑˌgrɛs baɪ ðə author(s*) ənd ər ˈpəblɪʃt tɪ ɪˈlɪsɪt ˈkɑmɛnts ənd tɪ ɪnˈkərəʤ dəˈbeɪt. ðə vjuz ɪkˈsprɛst ɪn ˈwərkɪŋ ˈpeɪpərz ər ðoʊz əv ðə author(s*) ənd du nɑt ˌnɛsəˈsɛrəli ˌrɛprɪˈzɛnt ðə vjuz əv ðə, ɪts ɪgˈzɛkjətɪv bɔrd, ər ˈmænɪʤmənt. ˈsəməri: ˈrisənt dɪˈskəʃənz əv ðə ɪkˈstɛnt əv diˈkəplɪŋ bɪtˈwin ˈgrinˌhaʊs gæs (ghg*) ɪˈmɪʃənz ənd ril groʊs dəˈmɛstɪk ˈprɑdəkt (gdp*) prəˈvaɪd mɪkst ˈɛvədəns ənd hæv ˈʤɛnərˌeɪtɪd məʧ dəˈbeɪt. wi ʃoʊ ðət tɪ gɪt ə klɪr ˈpɪkʧər əv diˈkəplɪŋ ɪt ɪz ˌɪmˈpɔrtənt tɪ dɪˈstɪŋgwɪʃ ˈsaɪkəlz frəm trɛnz: ðɛr ɪz ən ɪnˌvaɪrənˈmɛnəl lɔ (ə ˈsɪklɪkəl riˈleɪʃənˌʃɪp bɪtˈwin ɪˈmɪʃənz ənd ril gdp*) ðət ˈɔfən əbˈskjʊrz ðə trɛnd riˈleɪʃənˌʃɪp bɪtˈwin ɪˈmɪʃənz ənd ril gdp*. wi ʃoʊ ðət, wəns ðə ˈsɪklɪkəl riˈleɪʃənˌʃɪp ɪz əˈkaʊntɪd fər, ðə trɛnz ʃoʊ ˈɛvədəns əv diˈkəplɪŋ ɪn ˈrɪʧər ɪn ˌjʊrəˈpiən ˈkəntriz, bət nɑt jɛt ɪn ˈimərʤɪŋ ˈmɑrkɪts. ðə ˈpɪkʧər ˈʧeɪnʤɪz ˈsəmˈwət, ˌhaʊˈɛvər, ɪf wi teɪk ˈɪntu kənˌsɪdərˈeɪʃən ðə ˈifɛkts əv ˌɪnərˈnæʃənɑl treɪd, ðət ɪz, ɪf wi dɪˈstɪŋgwɪʃ bɪtˈwin ənd ɪˈmɪʃənz. wəns wi æd ɪn ðɛr nɛt ɪˈmɪʃən ˈtrænsfərz, ðə ˈɛvədəns fər diˈkəplɪŋ əˈməŋ ðə ˈrɪʧər ˈkəntriz gɪts ˈwikər. ðə gʊd nuz ɪz ðət ˈkəntriz wɪθ ˌəndərˈlaɪɪŋ ˈpɑləsi ˈfreɪmˌwərks mɔr səˈpɔrtɪv əv riˈnuəbəl ˈɛnərʤi ənd səˈpɔrtɪv əv ˈklaɪmɪt ʧeɪnʤ tɛnd tɪ hæv ˈgreɪtər diˈkəplɪŋ bɪtˈwin trɛnd ɪˈmɪʃənz ənd trɛnd gdp*, ənd fər boʊθ pərˈdəkʃən- ənd ɪˈmɪʃənz.
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emissions and growth: trends and cycles in a globalized world
author/editor:
gail cohen ; joão tovar jalles ; prakash loungani ; ricardo marto
publication date:
august 30, 2017
electronic access:
free full text. use the free adobe acrobat reader to view this pdf file
disclaimer: imf working papers describe research in progress by the author(s) and are published to elicit comments and to encourage debate. the views expressed in imf working papers are those of the author(s) and do not necessarily represent the views of the imf, its executive board, or imf management.
summary:
recent discussions of the extent of decoupling between greenhouse gas (ghg) emissions and real gross domestic product (gdp) provide mixed evidence and have generated much debate. we show that to get a clear picture of decoupling it is important to distinguish cycles from trends: there is an environmental okun's law (a cyclical relationship between emissions and real gdp) that often obscures the trend relationship between emissions and real gdp. we show that, once the cyclical relationship is accounted for, the trends show evidence of decoupling in richer nations—particularly in european countries, but not yet in emerging markets. the picture changes somewhat, however, if we take into consideration the effects of international trade, that is, if we distinguish between production-based and consumption-based emissions. once we add in their net emission transfers, the evidence for decoupling among the richer countries gets weaker. the good news is that countries with underlying policy frameworks more supportive of renewable energy and supportive of climate change tend to have greater decoupling between trend emissions and trend gdp, and for both production- and consumption-based emissions.
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ˈstɔri ˈhaɪˌlaɪts trəmp dɪd nɑt teɪk kˈwɛsʧənz frəm rɪˈpɔrtərz ˈdʊrɪŋ hɪz ˈʧaɪnə ˈvɪzɪt pæst ˈprɛzɪˌdɛnts hæv juzd ðɛr ˈvɪzɪts tɪ prɛs əˌθɔrəˈtɛriən ˈlidərz tɪ feɪs ðə ˈmidiə ˈwɔʃɪŋtən (ˈsiˈɛˈnɛn) ˈjuˈɛs ˈprɛzɪdənt ˈdɑnəld trəmp dɪd nɑt teɪk kˈwɛsʧənz frəm rɪˈpɔrtərz ɪn ˈʧaɪnə, ˈfɔrfətɪŋ ə pəˈtɛnʃəl ˌɑpərˈtunəti tɪ pʊʃ ʧaɪˈniz ˈlidər ʃi tɪ feɪs ðə prɛs. trəmp ənd ʃi boʊθ əˈpɪrd ˌbiˈfɔr rɪˈpɔrtərz ɪn ˌbeɪˈʒɪŋ ˈdʊrɪŋ ðə ˈjuˈɛs ˈprɛzɪdənts ˈvɪzɪt bət dɪd nɑt ˈænsər kˈwɛsʧənz frəm ˈmidiə. ˈjuˈɛs ˈprɛzɪˌdɛnts ɪn ðə pæst hæv bɪn ˈeɪbəl tɪ juz ðɛr ˈfɔrən ˈvɪzɪts tɪ kriˈeɪt ə rɛr ˈmoʊmənt fər əˌθɔrəˈtɛriən ˈlidərz tɪ feɪs kˈwɛsʧənz frəm rɪˈpɔrtərz: bɪl ˈklɪntən ɪn 1998 ənd ʤɔrʤ ˈdəbəlju. bʊʃ ɪn 2002 iʧ kənˈvɪnst ðɛr ʧaɪˈniz ˈkaʊntərˌpɑrts tɪ teɪk kˈwɛsʧənz frəm rɪˈpɔrtərz ˈdʊrɪŋ ðɛr fərst steɪt ˈvɪzɪts tɪ ˈʧaɪnə. ðə ʧɔɪs fər trəmp ənd ʃi nɑt tɪ teɪk kˈwɛsʧənz frəm rɪˈpɔrtərz ɪn ˈʧaɪnə keɪm baɪ ə rɪkˈwɛst frəm ðət ˈgəvərnmənt, waɪt haʊs prɛs ˈsɛkrəˌtɛri ˈsɛrə ˈsændərz sɛd. "ɪt wɑz æt ðə ʧaɪˈniz ˌɪnˈsɪstəns ðɛr wər noʊ kˈwɛsʧənz təˈdeɪ," ʃi sɛd. rɛd mɔr
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story highlights trump did not take questions from reporters during his china visit
past presidents have used their visits to press authoritarian leaders to face the media
washington (cnn) us president donald trump did not take questions from reporters in china, forfeiting a potential opportunity to push chinese leader xi jinping to face the press.
trump and xi both appeared before reporters in beijing during the us president's visit , but did not answer questions from media.
us presidents in the past have been able to use their foreign visits to create a rare moment for press-averse authoritarian leaders to face questions from reporters: then-presidents bill clinton in 1998 and george w. bush in 2002 each convinced their chinese counterparts to take questions from reporters during their first state visits to china.
the choice for trump and xi not to take questions from reporters in china came by a request from that government, white house press secretary sarah sanders said.
"it was at the chinese insistence there were no questions today," she said.
read more
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əraʊnd ðə lig prɪˈdɪktɪd ɔl ðə pleɪɔf timz ənd ðə mvp*. wiv prɪˈdɪktɪd ɔl ðə wik 1 geɪmz, ənd gɑt ðə fərst geɪm rɔŋ. ˌbiˈfɔr ˈmuvɪŋ ɔn tɪ ðə ˈmædnəs ˈsənˌdi, aɪ ˈwɔntɪd tɪ gɪt maɪ pɪks fər iʧ timz ˈrɛkərd ɔn ˈpeɪpər fər pɑˈstɛrəti. aɪv bɪn duɪŋ ðɪs fər jɪrz ənd ɪt ʤɪst ˈdɪdənt fil raɪt tɪ grup ðə 20 timz ɪn wən paɪl. jɛs, ɪt wʊd hæv bɪn ˈbɛtər tɪ poʊst ðɪs ˌbiˈfɔr ðə ˈdæləs ˈkaʊˌbɔɪz bit ðə nu jɔrk ʤaɪənts. bət maɪ ˈrɛkərdz wər ɔˈrɛdi dən (wɪθ ðə ʤaɪənts əˈhɛd əv ˈdæləs.) aɪ ɪkˈspɛkt boʊθ timz tɪ mɪs ðə pleɪɔfs ˈɛniˌhaʊ. lɛts du ðɪs. 2012 ˈɛˌnɛˈfɛl priˈdɪkʃənz ənd ˈɛˌnɛˈfɛl ˈnɛtˌwərk ˈænəlɪsts ʃɛr ðɛr pɪks fər mvp*, ˈrʊki əv ðə jɪr, pleɪɔf timz ənd ə hoʊl lɔt mɔr. ənd ˈɛˌnɛˈfɛl ˈnɛtˌwərk ˈænəlɪsts ʃɛr ðɛr pɪks fər mvp*, ˈrʊki əv ðə jɪr, pleɪɔf timz ənd ə hoʊl lɔt mɔr. mɔr ist nu ˈɪŋglənd ˈpeɪtriəts: nu jɔrk ʤɛts: ˈbəfəˌloʊ bɪlz: maɪˈæmi ˈdɑlfənz: ðə ˈskɛʤʊl ɪz ˈvɛri ˈteɪsti fər ðɪs dɪˈvɪʒən, ˈbəmpɪŋ iʧ tim əp ə wɪn ər tu. ðeɪ feɪs ðə saʊθ ənd wɛst aʊt əv dɪˈvɪʒən. ɪt ˈdəzənt gɪt məʧ ˈbɛtər ðən ðət. əm nɑt baɪɪŋ ðə bɪlz haɪp bɪˈkəz ɪts tu hɑrd fər ʧæn ˈgeɪli tɪ kip ˈəðər timz wɪθ ˈlæˌkləstər ˈoʊvərˌɔl ˈtælənt. nɔrθ ˈpɪtsbərg ˈstilərz: ˈbɔltəˌmɔr ˈreɪvənz: ˌsɪnsəˈnæti ˈbɛŋgəlz: ˈklivlənd braʊnz: ðə ˈstilərz stɪl hæv ðə bɛst kˈwɔrtərˌbæk ənd ˈpæsɪŋ geɪm ɪn ðɪs dɪˈvɪʒən. ðət ʃʊd bi ɪˈnəf. ðə ˈbɛŋgəlz maɪt bi ə ˈbɛtər tim ˈoʊvərˌɔl ənd teɪk ə stɛp bæk ɪn ðə ˈstændɪŋz wɪθ ə ˈtəfər ˈskɛʤʊl. saʊθ ˈhjustən ˈtɛksənz: ˌɪndiəˈnæpəlɪs koʊlts: ˌtɛnəˈsi ˈtaɪtənz: ˈʤæksənˌvɪl ˈʤægˌwɑrz: ˈhjustən meɪ bi ðə ˈseɪfəst pɪk tɪ wɪn ə dɪˈvɪʒən ɪn ðə ɪnˈtaɪər lig. ɪt wʊd bi ə səˈpraɪz ɪf ˈɛni wən əv ðə ˈəðər timz ˈʧælənʤd ðɛm. (aɪ du laɪk ðə koʊlts tɪ overachieve*, ðoʊ.) wɛst ˈkænzəs ˈsɪti ʧifs: sæn diˈeɪgoʊ ˈʧɑrʤərz: ˈdɛnvər ˈbrɑŋkoʊz: ˈoʊklənd ˈreɪdərz: ˈdɛnvər meɪ hæv ðə ˈtəfəst ˈskɛʤʊl ɪn ðə lig. ðeɪ kʊd ˌɪmˈpruv ə lɔt wɪθ ˈpeɪtən ˈmænɪŋ ənd ɪt meɪ nɑt ʃoʊ əp ɪn ðə ˈstændɪŋz. ˈkænzəs ˈsɪti ˈdəzənt lʊk greɪt æt kˈwɔrtərˌbæk, bət ðeɪ hæv ɪˈnəf dɛpθ ənd ˈtælənt ˈɛlsˌwɛr tɪ sərˈvaɪv ə ˈmɛrəˌθɑn ˈsizən.: wik 1 pɪks ˈælbərt prəˈvaɪdz hɪz priˈdɪkʃənz fər ðə ˈoʊpənɪŋ wik əv ðə ˈsizən, ˈgɪvɪŋ wən ˈrʊki kˈwɔrtərˌbæk ə roʊd wɪn. prəˈvaɪdz hɪz priˈdɪkʃənz fər ðə ˈoʊpənɪŋ wik əv ðə ˈsizən, ˈgɪvɪŋ wən ˈrʊki kˈwɔrtərˌbæk ə roʊd wɪn. mɔr ist ˌfɪləˈdɛlfiə ˈigəlz: nu jɔrk ʤaɪənts: ˈdæləs ˈkaʊˌbɔɪz: ˈwɔʃɪŋtən ˈrɛdˌskɪnz: əm baɪɪŋ ðə ˌfɪləˈdɛlfiə ˈpisɪz ˈkəmɪŋ təˈgɛðər. ðeɪ ər ə rɛr grup ðət ʃʊd hæv ə əˈfɛns ənd dɪˈfɛns. ðə ʤaɪənts' dɪˈfɛnsɪv laɪn ˈæˌkʧuəli læks dɛpθ, əˈspɛʃəli ɪf ˈʤəstɪn tək ənd stɑrt tɪ ʃoʊ ðɛr eɪʤ. nɔrθ grin beɪ ˈpækərz: ˈdiˌtrɔɪt laɪənz: ʃəˈkɑˌgoʊ bɛrz: ˌmɪnɪˈsoʊtə ˈvaɪkɪŋz ðə ˌɛkspɛkˈteɪʃənz ər haɪ ɪn ˈdiˌtrɔɪt ənd ʃəˈkɑˌgoʊ. ðə ˈskɛʤʊlz ər ˈprɪti ˈfeɪvərəbəl. ðət wʊd meɪk ə ˈfɪnɪʃ laɪk ðɪs ɔl ðə mɔr ˌdɪsəˈpɔɪnɪŋ. ðə bɛrz dɪˈfɛns noʊ ˈlɔŋgər ɪz ðət ˈfɪrsəm. ðə laɪənz' ˈsɛkənˌdɛri ənd ˈrənɪŋ geɪm ˈɪʃuz wɪl ʃoʊ əp. saʊθ nu ˌɔˈrlinz seɪnts: æˈtlæntə ˈfælkənz: ˌkɛrəˈlaɪnə ˈpænθərz: ˈtæmpə beɪ ˌbəkəˈnirz: kən θri timz meɪk ɪt tɪ ðə pleɪɔfs aʊt əv ðə saʊθ? ɪt ˈhæpənd ɪn ðə nɔrθ læst jɪr. ðə bəks kʊd wɪnd əp goʊɪŋ ɪn ðə dɪˈvɪʒən. wɛst siˈætəl ˈsiˌhɔks: sæn frænˈsɪskoʊ: ˌɛrɪˈzoʊnə ˈkɑrdɪnəlz: st*. luɪs ræmz: maɪ ˈsəmˈwət ˌɪˈræʃənəl ləv fər ðə ˈsiˌhɔks ɪz nɑt ðət ˌɪˈræʃənəl. ðeɪ hæv tu ˈsɑləd kˈwɔrtərˌbæks; ðeɪ juzd tɪ hæv ˈziroʊ. ðeɪ hæv ə ˈraɪzɪŋ dɪˈfɛns ðət ɪz ˈdɪfəkəlt tɪ priˈpɛr fər. pit ˈkɛrəlz θˈriˌjɪr plæn ɪz ˈrɛdi tɪ goʊ. wi si ðə ˈstrəgəlɪŋ tɪ pæs ənd nɑt ˈgɪtɪŋ ðə ˈɪnʤəri lək ðeɪ dɪd ə jɪr əˈgoʊ. ˈfɑloʊ grɛg ˈroʊzənˌθɔl ɔn tˈwɪtər
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around the league predicted all the playoff teams and the mvp. we've predicted all the week 1 games, and got the first game wrong.
before moving on to the madness sunday, i wanted to get my picks for each team's record on paper for posterity. i've been doing this for years and it just didn't feel right to group the 20 non-playoff teams in one pile.
yes, it would have been better to post this before the dallas cowboys beat the new york giants. but my records were already done (with the giants ahead of dallas.) i expect both teams to miss the playoffs anyhow. let's do this.
2012 nfl predictions nfl.com and nfl network analysts share their picks for mvp, rookie of the year, playoff teams and a whole lot more.
nfl.com and nfl network analysts share their picks for mvp, rookie of the year, playoff teams and a whole lot more. more ...
afc east
new england patriots: 12-4
new york jets: 9-7
buffalo bills: 7-9
miami dolphins: 3-13
the schedule is very tasty for this division, bumping each team up a win or two. they face the afc south and nfc west out of division. it doesn't get much better than that. i'm not buying the bills hype because it's too hard for chan gailey to keep out-scheming other teams with lackluster overall talent.
afc north
pittsburgh steelers: 12-4
baltimore ravens: 11-5
cincinnati bengals: 8-8
cleveland browns: 3-13
the steelers still have the best quarterback and passing game in this defense-dominated division. that should be enough. the bengals might be a better team overall and take a step back in the standings with a tougher schedule.
afc south
houston texans: 12-4
indianapolis colts: 8-8
tennessee titans: 7-9
jacksonville jaguars: 5-11
houston may be the safest pick to win a division in the entire league. it would be a surprise if any one of the other teams challenged them. (i do like the colts to overachieve, though.)
afc west
kansas city chiefs: 10-6
san diego chargers: 8-8
denver broncos: 8-8
oakland raiders: 6-10
denver may have the toughest schedule in the league. they could improve a lot with peyton manning and it may not show up in the standings. kansas city doesn't look great at quarterback, but they have enough depth and talent elsewhere to survive a marathon season.
breer: week 1 picks albert breer provides his predictions for the opening week of the season, giving one rookie quarterback a road win.
provides his predictions for the opening week of the season, giving one rookie quarterback a road win. more ...
nfc east
philadelphia eagles: 10-6
new york giants: 8-8
dallas cowboys: 8-8
washington redskins: 6-10
i'm buying the philadelphia pieces coming together. they are a rare group that should have a top-ten offense and defense. the giants' defensive line actually lacks depth, especially if justin tuck and osi umenyiora start to show their age.
nfc north
green bay packers: 12-4
detroit lions: 9-7
chicago bears: 9-7
minnesota vikings 4-12
the expectations are high in detroit and chicago. the schedules are pretty favorable. that would make a finish like this all the more disappointing. the bears defense no longer is that fearsome. the lions' secondary and running game issues will show up.
nfc south
new orleans saints: 10-6
atlanta falcons: 10-6
carolina panthers: 10-6
tampa bay buccaneers: 3-13
can three teams make it to the playoffs out of the nfc south? it happened in the afc north last year. the bucs could wind up going 0-6 in the division.
nfc west
seattle seahawks: 10-6
san francisco 49ers: 9-7
arizona cardinals: 5-11
st. louis rams: 4-12
my somewhat irrational love for the seahawks is not that irrational. they have two solid quarterbacks; they used to have zero. they have a rising defense that is difficult to prepare for. pete carroll's three-year plan is ready to go. we see the 49ers struggling to pass and not getting the injury luck they did a year ago.
follow gregg rosenthal on twitter @greggrosenthal
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president-elect* ˈdɑnəld trəmp wɪl bi ˈprɛzɪdənt əv ðə juˈnaɪtɪd steɪts ɪn tu deɪz, bət hi həz ɔˈrɛdi ˈstɑrtɪd ˈplænɪŋ hɪz kæmˈpeɪn. ɪn ən ˈɪntərvˌju wɪθ ðə ˈwɔʃɪŋtən ˈkɛrən ˈtuməlti, trəmp rɪˈvild ðə sˈloʊgən fər hɪz 2020 kæmˈpeɪn fər. ˈhæfˈweɪ θru hɪz ˈɪntərvˌju, trəmp ʃɛrd ðə nuz ðət hi həz ɔˈrɛdi ˌdɪˈsaɪdɪd ɔn hɪz sˈloʊgən fər ə 2020 bɪd. ɛz ˌriˈpɔrtəd baɪ ðə poʊst: ju ready?”*?” hi sɛd. əˈmɛrɪkə great,’*,’ ˌɛkskləˈmeɪʃən point.”*.” mi maɪ lawyer!”*!” ðə ˈʃaʊtɪd. tu ˈmɪnəts ˈleɪtər, wən əraɪvd. ju ˈtreɪdˌmɑrk ənd ˈrɛʤɪstər, ɪf ju wʊd, ɪf ju laɪk ɪt aɪ θɪŋk aɪ laɪk ɪt, raɪt? du ðɪs: əˈmɛrɪkə great,’*,’ wɪθ ən ˌɛkskləˈmeɪʃən pɔɪnt. wɪθ ənd wɪˈθaʊt ən ˌɛkskləˈmeɪʃən. əˈmɛrɪkə great,’”*,’” trəmp sɛd. it,”*,” ðə ˈlɔjər rɪˈplaɪd. rɛd ðə fʊl ˈɑrtɪkəl hir.
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president-elect donald trump will be president of the united states in two days, but he has already started planning his re-election campaign.
in an interview with the washington post’s karen tumulty, trump revealed the slogan for his 2020 campaign for re-election.
halfway through his interview, trump shared the news that he has already decided on his slogan for a 2020 re-election bid. as reported by the post:
“are you ready?” he said. “‘keep america great,’ exclamation point.” “get me my lawyer!” the president-elect shouted. two minutes later, one arrived. “will you trademark and register, if you would, if you like it — i think i like it, right? do this: ‘keep america great,’ with an exclamation point. with and without an exclamation. ‘keep america great,’” trump said. “got it,” the lawyer replied.
read the full article here.
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ðɪs poʊst ɪz ˌɛkˈsərptɪd frəm ˈhɪlbɪli ˈɛləˌʤi: ə ˈmɛmˌwɑr əv ə ˈfæməli ənd ˈkəlʧər ɪn ˈkraɪsəs. ˈdʊrɪŋ maɪ fərst raʊnd əv lɔ skul ˌæpləˈkeɪʃənz, aɪ ˈivɪn əˈplaɪ tɪ jeɪl, ˈhɑrvərd, ər ˈmɪstɪkəl three”*” skulz. aɪ θɪŋk aɪ hæd ə ʧæns æt ðoʊz ˈpleɪsɪz. mɔr ˌɪmˈpɔrtənt, aɪ θɪŋk ɪt ˈmætərd; ɔl ˈlɔjərz gɪt gʊd ʤɑbz, aɪ əˈsumd. aɪ ʤɪst ˈnidɪd tɪ gɪt tɪ ˈɛni lɔ skul, ənd ðɛn du faɪn: ə nis ˈsæləri, ə rɪˈspɛktəbəl prəˈfɛʃən, ənd ðə əˈmɛrɪkən drim. ðɛn maɪ bɛst frɛnd, ˈdɛrəl, ræn ˈɪntu wən əv hɪz lɔ skul ˈklæsˌmeɪts æt ə ˈpɑpjələr d.c*. ˈrɛˌstrɑnt. ʃi wɑz ˈbəsɪŋ ˈteɪbəlz, ˈsɪmpli bɪˈkəz ðət wɑz ðə ˈoʊnli ʤɑb əˈveɪləbəl tɪ hər. ɔn ðə nɛkst raʊnd, aɪ geɪv jeɪl ənd ˈhɑrvərd ə traɪ. aɪ əˈplaɪ tɪ əv ðə ˈvɛri bɛst skulz ɪn ðə tɪ noʊ waɪ ɪz tɪ ˌəndərˈstænd ðət ðə ˈlɛsənz aɪ ˈlərnɪd ɛz ə kɪd wər ˈsəmˌtaɪmz ˈkaʊnərprəˌdəktɪv. lɔ skul ˌæpləˈkeɪʃən ðə ˈstændərd ˌkɑmbəˈneɪʃən əv ˈkɑlɪʤ ˈtrænˌskrɪpt, skɔr, ənd ˈɛˌseɪz. ɪt rikˈwaɪərd ə ˈpərsɪnəl frəm ðə din əv jʊr ˈkɑlɪʤ: ju hæd tɪ səbˈmɪt ə fɔrm, kəmˈplitɪd baɪ ðə din, əˈtɛstɪŋ ðət ju ə ˈluzər. aɪ noʊ ðə din əv maɪ ˈkɑlɪʤ æt oʊˈhaɪoʊ steɪt. ə bɪg pleɪs. ʃʊr ʃi ɪz ə ˈləvli ˈpərsən, ənd ðə fɔrm wɑz ˈklɪrli ˈlɪtəl mɔr ðən ə fɔrˈmæləti. bət aɪ ʤɪst æsk. aɪ hæd ˈnɛvər mɛt ðɪs ˈpərsən, ˈnɛvər ˈteɪkən ə klæs wɪθ hər, ənd, moʊst əv ɔl, trəst hər. ˌwəˈtɛvər ˈvərʧuz ʃi pəˈzɛst ɛz ə ˈpərsən, ʃi wɑz, ɪn ðə ˈæbˌstrækt, ən aʊtˈsaɪdər. ðə prəˈfɛsərz səˈlɛktɪd tɪ raɪt maɪ ˈlɛtərz hæd geɪnd maɪ trəst. aɪ ˈlɪsənd tɪ ðɛm ˈnɪrli ˈɛvəri deɪ, tʊk ðɛr tɛsts, ənd roʊt ˈpeɪpərz fər ðɛm. ɛz məʧ ɛz aɪ ləvd oʊˈhaɪoʊ steɪt ənd ɪts ˈpipəl fər ən ˌɪnˈkrɛdəbəl ˌɛʤəˈkeɪʃən ənd ɪkˈspɪriəns, aɪ kʊd nɑt pʊt maɪ feɪt ɪn ðə hænz əv ˈsəmˌwən aɪ noʊ. aɪ traɪd tɪ tɔk ˌmaɪˈsɛlf ˈɪntu ɪt. aɪ ˈivɪn ˈprɪnɪd ðə fɔrm ənd droʊv ɪt tɪ ˈkæmpəs. bət wɪn ðə taɪm keɪm, aɪ ˈkrəmpəld ɪt əp ənd tɔst ɪt ɪn ðə ˈgɑrbɪʤ. ðɛr wʊd bi noʊ ˈstænfərd lɔ fər j.d*.
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this post is excerpted from hillbilly elegy: a memoir of a family and culture in crisis.
during my first round of law school applications, i didn’t even apply to yale, harvard, or stanford—the mystical “top three” schools. i didn’t think i had a chance at those places. more important, i didn’t think it mattered; all lawyers get good jobs, i assumed. i just needed to get to any law school, and then i’d do fine: a nice salary, a respectable profession, and the american dream. then my best friend, darrell, ran into one of his law school classmates at a popular d.c. restaurant. she was bussing tables, simply because that was the only job available to her. on the next round, i gave yale and harvard a try.
i didn’t apply to stanford—one of the very best schools in the country—and to know why is to understand that the lessons i learned as a kid were sometimes counterproductive. stanford’s law school application wasn’t the standard combination of college transcript, lsat score, and essays. it required a personal sign-off from the dean of your college: you had to submit a form, completed by the dean, attesting that you weren’t a loser.
i didn’t know the dean of my college at ohio state. a big place. sure she is a lovely person, and the form was clearly little more than a formality. but i just couldn’t ask. i had never met this person, never taken a class with her, and, most of all, didn’t trust her. whatever virtues she possessed as a person, she was, in the abstract, an outsider. the professors i’d selected to write my letters had gained my trust. i listened to them nearly every day, took their tests, and wrote papers for them. as much as i loved ohio state and its people for an incredible education and experience, i could not put my fate in the hands of someone i didn’t know. i tried to talk myself into it. i even printed the form and drove it to campus. but when the time came, i crumpled it up and tossed it in the garbage. there would be no stanford law for j.d.
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ðə neɪt koʊn ɪz ˈmeɪkɪŋ ðə ˌkɑnˈtrɛriən keɪs fər maɪk ˈhəkəbi. aɪ gɪv ɪm ˈkrɛdɪt fər siɪŋ θɪŋz ðət ˈəðərz maɪt nɑt, ðə ˌɑptɪˈmɪstɪk ˈhɛˌdlaɪn: ˈhəkəbi wʊd bi ə mɔr ˌɪmˈpɔrtənt ˈkænədɪt ðən ju maɪt think,”*,” hi ˈæˌkʧuəli ˌəndərˈɛstɪmɪts pəˈtɛnʃəl ɛz ə dɪsˈrəptɪv ˈfæktər ɪn ðɪs kæmˈpeɪn. ənˈklɪr ɪn ðə ˈwɔtər ɪn hoʊp, ˈɑrkənˌsɑ, bət ðət bɪl ˈklɪntən ənd hək ər boʊθ frəm ðə seɪm ˈhæmlɪt ɪz ˈnəθɪŋ ʃɔrt əv mərˈækjələs. pʊt əˈsaɪd ðə sneɪk ɔɪl ˈseɪlzmən stəf, ənd ðə ˈnumərəs rɪˈdɪkjələs θɪŋz ˈhəkəbi həz sɛd tɪ gɪt əˈtɛnʃən, ənd lɛft wɪθ ə mæn hu ɪz ɛˈsɛnʃəli ðə ləv ʧaɪld əv ˈklɪntən ənd ˈrɑnəld ˈrigən. aɪ ˈrisəntli ˈɑrgjud ðət ˈoʊnli ðə greɪt ˌpɑləˈtɪʃənz laɪk ðə ˈgɪpər ənd ˈbəbə kən ˈɑsəˌleɪt bɪtˈwin ˌɪndɪgˈneɪʃən ənd kəmˈpæʃən. wɛl, gɛs wət: ˈhəkəbi kən du boʊθ, tu. ðɪs ɪz ə gaɪ soʊ kəmˈpɛlɪŋ hi ˈæˌkʧuəli gɑt ʤɑn stuərt tɪ kˈwɛʃən hɪz oʊn əˈbɔrʃən stæns. ə kənˈsərvətɪv; ʤɪst nɑt mæd əˈbaʊt it,”*,” hi ˈɔfən kwɪps. ɪkˈsɛpt hi kən bi mæd əˈbaʊt feɪn ˈæŋgər, æt list. soʊ hi kən pleɪ ðə ˈrizənəbəl kənˈsərvətɪv ər hi kən hərl rɛd mit. ɛz ðeɪ seɪ ɪn ˈfʊtˌbɔl, hi kən pleɪ boʊθ saɪdz əv ðə bɔl. ɪn 2008 ˈhəkəbi keɪm aʊt əv ˈnoʊˌwɛr tɪ waʊ ˈjuˈɛs ɪn ðə dəˈbeɪts. ðə ˌkɑmpəˈtɪʃən wɪl bi ˈstɪfər ðɪs taɪm əraʊnd, bət hi kən du ɪt əˈgɛn. ðə fækt ðət ˈhəkəbi ɪz ə gʊd ðət hi kən əˈpil tɪ ˌivænˈʤɛlɪkəl ˈkrɪsʧɪnz, ə ˈhjuʤli ˌɪmˈpɔrtənt kənˈstɪʧuənsi ɪn nɑt ɪgˈzæktli ðə moʊst ˈnɑvəl ˌɑbzərˈveɪʃən. bət aɪ θɪŋk ðɛr ər tu əˈdɪʃənəl θɪŋz ˈhəkəbi həz goʊɪŋ fər ɪm ðət ər nɑt ɛz ˈwaɪdli əˈpriʃiˌeɪtɪd. ðə fərst ɪz ðət hi spɛnt ðə læst ˈsɛvərəl jɪrz ɛz ə fɑks nuz hoʊst. naʊ, bi ˈɑnəst: ənˈlaɪkli ðət ˈmɛni ˈpipəl ˈrɛdɪŋ ðɪs hæv ˈɛvər wɔʧt ˈsæˌtɪˌdeɪ naɪt tɪ si ɪf hi wɑz goʊɪŋ tɪ əˈnaʊns fər ˈprɛzɪdənt (ər fər ˈpjʊrli aɪˈrɑnɪk ˈpərpəsɪz). ənd nɑt ˈivɪn səˈʤɛstɪŋ ju wər ˈwɑʧɪŋ gərlz ˌɪnˈstɛd. ə lɔt əv ˈjuˈɛs hu wɔʧ fɑks ʃoʊz laɪk ˈspɛʃəl rɪˈpɔrt θɪŋk tɪ tərn ɔn ˈhəkəbi. bət ˈmɪljənz əv əˈmɛrɪkənz dɪd wɔʧ hɪz gɛs wət? ˈmɛni əv ðiz seɪm əˈmɛrɪkənz wɪl voʊt ɪn rɪˈpəblɪkən ˈpraɪˌmɛriz. aɪ θɪŋk wi ˈprɑbəˌbli ˈəndərˈɛstəˌmeɪt ðə ˌɪmˈpækt əv ˈhoʊstɪŋ ə ˈwikli ʃoʊ ɔn fɑks nuz. ˈlæstli, ðoʊ, aɪ θɪŋk ðɛr ɪz ə juʤ ˌəndərˈsərvd kənˈstɪʧuənsi ɪn ðə ðət kənˈstɪʧuənsi ɪz wət maɪt bɛst bi tərmd ˈpɑpjələst kənˈsərvətɪvz. ðiz foʊks tɛnd tɪ bi waɪt ənd ənd hu fil bɪn lɛft bɪˈhaɪnd ɪn əˈmɛrɪkə. ðeɪ ər ˈkəlʧərəˌli ðeɪ ˈɔlsoʊ wɔnt tɪ kip ˈgəvərnmənt aʊt əv ðɛr ˈmɛdəˌkɛr. mɪt ˈrɑmni wɑz ˈɑrgjuəbli ðə wərst ˈkænədɪt rɪˈpəblɪkənz kʊd hæv ˈɛvər ˈnɑməˌneɪtəd tɪ əˈpil tɪ ðɪs kənˈstɪʧuənsi. bət waɪl ˈkænədɪts laɪk ˈhəkəbi ənd rɪk sænˈtɔrəm ˈflərtɪd wɪθ goʊɪŋ fʊl ˈpɑpjələst, ˈsəmθɪŋ ˈɔlˌweɪz simd tɪ kip ðɛm frəm ˈrɪli ˈdəbəlɪŋ daʊn ɔn ɪt. wən kən ˈoʊnli əˈsum ðɪs ɪz bɪˈkəz ðɛr ɪz ə ˈsilɪŋ ɔn haʊ məʧ ˈpɑpjələst ˈdɛməˌgɑgəri wən ɪz pərˈmɪtɪd tɪ doʊl stɪl rɪˈmeɪn ə rɪˈpəblɪkən ɪn gʊd ˈstændɪŋ. ə faɪn laɪn bɪtˈwin əˈtækɪŋ ðə cats”*” ənd ɪnˈgeɪʤɪŋ ɪn klæs ˈwɔrˌfɛr, ənd wən wɔnt tɪ gɪt ɔn ðə rɔŋ saɪd əv ðət laɪn. bət ˈhævɪŋ kæʃt ɪn, ənd naʊ ˈfaɪndɪŋ hɪmˈsɛlf ɪn hɪz post-radio*, ənd ˈpɑsəbli feɪz, ˈhəkəbi maɪt wɛl ˌdɪˈsaɪd taɪm tɪ θroʊ ˈkɔʃən tɪ ðə wɪnd. gɪt mi rɔŋ: ɛz ə fri ˈmɑrkɪt kənˈsərvətɪv, ðɪs brænd əv ˈpɑpjəˌlɪzəm maɪ kəp əv ti. nɔr du aɪ θɪŋk ˈhəkəbi kən wɪn ðə ˌnɑməˈneɪʃən. ˈɔlˌweɪz lækt ˈməni ənd ˌɔrgənəˈzeɪʃən, ənd ðət ʧeɪnʤ. bət ɛz ə pəˈlɪtɪkəl əbˈzərvər, aɪ hɛlp bət ˈsəˌspɛkt ðət ðɛr ɪz ə juʤ ˈoʊpənɪŋ fər ə kənˈsərvətɪv ˈkænədɪt ˈwɪlɪŋ tɪ bi ðə ˈwərkɪŋ kənˈsərvətɪv. ðə læst taɪm ˈsəmˌwən ˈrɪli traɪd ðɪs wɑz wɪn ““pitchfork”*” pæt bjuˈkænən, ənd ðɛn rɔs pəroʊ, ræn ɪn 1992 ɪt ˈrɛzəˌneɪtɪd ðɛn, bət ðət wɑz ˌbiˈfɔr ðə ˈsəkɪŋ sound”*” ˈrɪli kɪkt ɪn. ˈwɛðər ˌgloʊbəlɪˈzeɪʃən ər ˌwəˈtɛvər “-“-ation”*” maɪt hæv ˈteɪkən jʊr stændz tɪ ˈrizən ðət ðə seɪm ˈgræsˈruts fəˈnɑməˌnɑn ðət hɛlpt bjuˈkænən ənd pəroʊ tæp ˈɪntu ən ˌəndərˈsərvd kənˈstɪʧuənsi maɪt bi ˈivɪn mɔr ˈpoʊtənt təˈdeɪ. ɔˈrɛdi noʊn ɛz ə tax-and-spender*, maɪk ˈhəkəbi sun goʊɪŋ tɪ wɪn ˈoʊvər stiv fɔrbz ər ˈlɛri ˈkədloʊ ər ðə kləb fər groʊθ, soʊ waɪ traɪ? ðɛr ər tənz əv əˈmɛrɪkənz aʊt ðɛr ˈlɪsənɪŋ tɪ ˈkəntri ˈreɪdiˌoʊ, ˈklɪŋɪŋ tɪ gɑd ənd ˈgəvərnmənt. ðə ˈəðər deɪ, wɪn nu ˈʤərzi ˈgəvərnər krɪs ˈkrɪsti prəˈpoʊzd səm ˈfɛrli ˈmɑdəst rɪˈfɔrmz tɪ seɪv ˈsoʊʃəl sɪˈkjʊrəti (minz ˈtɛstɪŋ ənd ˈreɪzɪŋ ðə rɪˈtaɪərmənt eɪʤ tɪ 69 ɑˈstɛnsəbli kənˈsərvətɪv ˈridərz weɪd ɪn əˈgɛnst ɪt ɔn ðə ˈfeɪsˌbʊk peɪʤ əv ðə ˈdeɪli ˈkɔlər, wɛr aɪ wərk. ɛnˈtaɪtəld tɪ ˈsoʊʃəl sɪˈkjʊrəti bɪˈkəz maɪ ˈməni ðət aɪ hæv ˈgɪvɪn tɪ ðə sɪns aɪ wɑz 16 jɪrz oʊld wɪθ ðə ˈprɑməs aɪ wʊd gɪt ɪt bæk wɪn aɪ wɑz ˈoʊldər. fu christie.”*.” jɛs, ðɪs ɪz ðɪs ˈkɑmɛnt wɑz ˈɔlsoʊ ˌrɛprɪˈzɛnətɪv əv ə lɔt əv ˈkɑmɛnts ɔn ðət ˌpɑˈtɪkjələr poʊst. ə lɔt əv kənˈsərvətɪvz əˈpɪr tɪ bɪˈliv ðɛr ɪz səm wɛr ““their”*” ˈməni ɪz biɪŋ seɪvd fər ðɛr rɪˈtaɪərmənt. ə fju deɪz ˈleɪtər keɪm ðɪs ˈhɛˌdlaɪn frəm ðə ˈwikli ˈstændərd: ˈbæʃɪz rɪˈpəblɪkən plænz tɪ rɪˈfɔrm ˈmɛdəˌkɛr ənd ˈsoʊʃəl security.”*.” ɛz ˈhəkəbi hɪmˈsɛlf toʊld ðə ˈdeɪli bist ˈoʊvər ðə ˈwiˌkɪnd, ˈgɪtɪŋ slæmd baɪ səm ɪn ðə ˈrulɪŋ klæs fər ˈθɪŋkɪŋ ɪt rɔŋ tɪ ˌɪnˌvɑlənˈtərəli teɪk ˈməni frəm ˈpeɪˌʧɛks fər 50 jɪrz ənd ðɛn nɑt kip ðə ˈprɑməs ˈgəvərnmənt made.”*.” səm əv ðə seɪm ˌəndərˈlaɪɪŋ trɛnz bɪˈhaɪnd ðə ɪkˈsaɪtmənt ˈoʊvər ɪˈlɪzəbɪθ ˈwɔrən ər ˈprɛzənt, ɪf ˈdɔrmənt, ɔn ðə raɪt. soʊ haʊ kən ˈhəkəbi breɪk əˈweɪ frəm ðə pæk? moʊst fri ˈmɑrkɪt kənˈsərvətɪvz aɪ noʊ əˈgri ðət capitalism”*” ɪz ə ˈprɑbləm. ðɪs həz bɪˈkəm ˈbɔɪlərˌpleɪt ˈlæŋgwɪʤ ju kən ɪkˈspɛkt frəm ˈɛvriˌwən frəm ˈmɑrkoʊ ˈrubioʊ tɪ tɛd kruz, ənd ə kaɪnd əv ˈflərtɪŋ wɪθ ˈpɑpjəˌlɪzəm. bət ˈhəkəbi əˈpɪrz pɔɪzd tɪ du wət noʊ ˈəðər rɪˈpəblɪkən wɪl hæv ðə əˈbɪləˌti ər ðə ˌɪnkləˈneɪʃən tɪ ðət ɪz tɪ goʊ fʊl ˈpɑpjələst ɪn ə weɪ ðət ækˈnɑlɪʤɪz ðə fækt ðət ə lɔt əv foʊks nid ðə hɛlp, ðət rɪˈzɛnts ðə fækt ðət ðə geɪm həz bɪn rɪgd baɪ ðə rɪʧ ənd ðə ˌkɔrpərˈeɪʃənz, jɛt stɪl ɛmˈbreɪsɪz ə ˈkəlʧərəˌli kənˈsərvətɪv ˈlaɪfˌstaɪl. ðɪs wɪl prəˈvoʊk ˈsɪriəs frəm ðə ˌlɪˌbərˈtɛˌriən ənd wɪŋz əv ðə kənˈsərvətɪv ˌkoʊəˈlɪʃən. bət ɪf hi dɪz hi stɪks tɪ ðɛr ɪn ðə ˈhɪntərˌlænd, bi ə ˈmɑrkɪt fər ɪt. gɪt jʊr ˈpɪʧˌfɔrks ˈrɛdi. ˈɛdɪtərz noʊt: mæt ˈluɪsɪz waɪf ˈpriviəsli kənˈsəltɪd fər tɛd ˈkruzɪz ˈsɛnɪt kæmˈpeɪn, ənd ˈkərəntli kənˈsəlts fər rickpac*, ðə ˈlidərˌʃɪp pæk əˈfɪliˌeɪtɪd wɪθ rɪk ˈpɛri.
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the upshot’’s nate cohn is making the contrarian case for mike huckabee. i give him credit for seeing things that others might not, but—despite the optimistic headline: “mike huckabee would be a more important candidate than you might think,” he actually underestimates huck’s potential as a disruptive factor in this campaign.
it’s unclear what’s in the water in hope, arkansas, but that bill clinton and huck are both from the same hamlet is nothing short of miraculous. put aside the snake oil salesman stuff, and the numerous ridiculous things huckabee has said to get attention, and you’re left with a man who is essentially the love child of clinton and ronald reagan. i recently argued that only the great politicians like the gipper and bubba can oscillate between indignation and compassion. well, guess what: huckabee can do both, too. this is a guy who’s so compelling he actually got jon stewart to question his own abortion stance.
“i’m a conservative; i’m just not mad about it,” he often quips. except he can be mad about it—or feign anger, at least. so he can play the reasonable conservative or he can hurl red meat. as they say in football, he can play both sides of the ball. in 2008, huckabee came out of nowhere to wow us in the debates. the competition will be stiffer this time around, but he can do it again.
the fact that huckabee is a good communicator—and that he can appeal to evangelical christians, a hugely important constituency in iowa—is not exactly the most novel observation. but i think there are two additional things huckabee has going for him that are not as widely appreciated.
the first is that he spent the last several years as a fox news host. now, let’s be honest: it’s unlikely that many people reading this have ever watched huckabee’s saturday night show—except to see if he was going to announce for president (or for purely ironic purposes). and i’m not even suggesting you were watching girls instead. a lot of us who watch fox shows like special report wouldn’t think to turn on huckabee.
but millions of americans did watch his show—and guess what? many of these same americans will vote in republican primaries. i think we probably underestimate the impact of hosting a weekly show on fox news.
lastly, though, i think there is a huge underserved constituency in the gop—and that constituency is what might best be termed populist conservatives. these folks tend to be white and working-class and who feel they’ve been left behind in america. they are culturally conservative—but they also want to keep government out of their medicare.
mitt romney was arguably the worst candidate republicans could have ever nominated to appeal to this constituency. but while candidates like huckabee and rick santorum flirted with going full populist, something always seemed to keep them from really doubling down on it.
one can only assume this is because there is a ceiling on how much populist demagoguery one is permitted to dole out—and still remain a republican in good standing. there’s a fine line between attacking the “fat cats” and engaging in class warfare, and one doesn’t want to get on the wrong side of that line. but having cashed in, and now finding himself in his post-radio, and possibly post-tv phase, huckabee might well decide it’s time to throw caution to the wind.
don’t get me wrong: as a free market conservative, this brand of populism isn’t my cup of tea. nor do i think huckabee can win the nomination. he’s always lacked money and organization, and that won’t change. but as a political observer, i can’t help but suspect that there is a huge opening for a conservative candidate willing to be the working man’s conservative.
the last time someone really tried this was when “pitchfork” pat buchanan, and then ross perot, ran in 1992. it resonated then, but that was before the “giant sucking sound” really kicked in. whether it’s globalization or immigration—or whatever “-ation” might have taken your job—it stands to reason that the same grassroots phenomenon that helped buchanan and perot tap into an underserved constituency might be even more potent today.
already known as a tax-and-spender, mike huckabee isn’t soon going to win over steve forbes or larry kudlow or the club for growth, so why try? there are tons of americans out there listening to country radio, clinging to god and guns…and government.
the other day, when new jersey governor chris christie proposed some fairly modest reforms to save social security (means testing and raising the retirement age to 69), ostensibly conservative readers weighed in against it on the facebook page of the daily caller, where i work.
“i’m entitled to social security because it’s my money that i have given to the govt since i was 16 years old with the promise i would get it back when i was older. fu christie.” yes, this is anecdotal—but this comment was also representative of a lot of comments on that particular post. a lot of conservatives appear to believe there is some lockbox where “their” money is being saved for their retirement.
a few days later came this headline from the weekly standard: “huckabee bashes republican plans to reform medicare and social security.” as huckabee himself told the daily beast over the weekend, “i’m getting slammed by some in the gop ruling class for thinking it wrong to involuntarily take money from people’s paychecks for 50 years and then not keep the promise government made.”
some of the same underlying trends behind the excitement over elizabeth warren are present, if dormant, on the right. so how can huckabee break away from the pack? most free market conservatives i know agree that “crony capitalism” is a problem. this has become boilerplate language you can expect from everyone from marco rubio to ted cruz, and it’s a kind of flirting with populism.
but huckabee appears poised to do what no other republican will have the ability or the inclination to do—and that is to go full populist in a way that acknowledges the fact that a lot of folks need the government’s help, that resents the fact that the game has been rigged by the rich and the corporations, yet still embraces a culturally conservative lifestyle. this will provoke serious pushback from the libertarian and pro-business wings of the conservative coalition. but if he does it—if he sticks to it—out there in the hinterland, there’ll be a market for it.
get your pitchforks ready.
editor's note: matt lewis's wife previously consulted for ted cruz's senate campaign, and currently consults for rickpac, the leadership pac affiliated with rick perry.
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glɛn freɪ ə ˈsɪŋər, ˈsɔŋˌraɪtər, ˌgɪˈtɑrɪst, ənd ˈfaʊndɪŋ ˈmɛmbər əv ðə ˈigəlz həz daɪd. rɪˈpɔrts ðət freɪ səˈkəmd tɪ ˌkɑmpləˈkeɪʃənz frəm ˌɪnˈtɛstɪnəl ˈɪʃuz, fər wɪʧ hi ˌəndərˈwɛnt ˈsərʤəri bæk ɪn noʊˈvɛmbər. hi wɑz 67 jɪrz oʊld. freɪ wɑz bɔrn ɪn ˈdiˌtrɔɪt ɪn 1948 ənd gru əp ɪn ˈmɪʃɪgən. hi pleɪd gɪˈtɑr ənd sæŋ ɔn ˈfɛloʊ ˈdiˌtrɔɪt ˈneɪtɪv bɑb ““ramblin’*’ gamblin’*’ man”*” ɪn 1968 ˌbiˈfɔr ˌriˈloʊkeɪtɪŋ tɪ lɔs ˈænʤəlɪs tɪ ˈfoʊkɪs ɔn hɪz oʊn məˈtɪriəl. hi mɛt ˈʤæksən braʊn ənd riˈlist wən ˈælbəm wɪθ j.d*. ˈsəðər ˈəndər ðə neɪm ˌbiˈfɔr ˈmitɪŋ dɑn ˈhɛnli ɪn 1970 ˈæftər ˈsərvɪŋ ɛz ˈlɪndə ˈbækɪŋ bænd, freɪ, ˈhɛnli, ˈrændi ˈmaɪsnər, ənd ˈbərni fɔrmd ðə ˈigəlz ɪn 1971 ðə ˈigəlz wɛnt ɔn tɪ bɪˈkəm wən əv ðə moʊst ˈpɑpjələr ənd səkˈsɛsfəl rɑk bændz əv ɔl taɪm, ˈpɑpjələrˌaɪzɪŋ ə laɪt, ˈkɛrˌfri ˈvərʒən əv ðət trænzˈleɪtəd ɪkˈstrimli wɛl tɪ ˈreɪdiˌoʊ. freɪ roʊt ər moʊst əv ðə ˈbɪgəst hɪts, ˈsɪŋɪŋ ɔn ˈmɛni əv ðɛm ˌɪnˈkludɪŋ ɪt easy,”*,” ˈizi feeling,”*,” ““lyin’*’ eyes,”*,” sunrise,”*,” ənd gone.”*.” ˈæftər ðə ˈigəlz broʊk əp ɪn 1980 freɪ ˌɛnˈʤɔɪd ˈsoʊˌloʊ səkˈsɛs, ˌpɑrˈtɪkjələrli hɪz ˈbɛvərli hɪlz kɑp ˈsaʊnˌtræk hɪt hit ɪz on”*” ənd bɪˈlɔŋ tɪ ðə city”*” frəm maɪˈæmi vaɪs. hi ˈɔlsoʊ ˈæktɪd ɔn maɪˈæmi vaɪs, arli*$$, ənd ˈəðər ˌtɛləˈvɪʒən ʃoʊz ɪn əˈdɪʃən tɪ fɪlm ˈæktɪŋ ɪn ˈmuviz səʧ ɛz ˈʤɛri məgˈwaɪr. ðə ˈigəlz ˌriuˈnaɪtɪd ɪn 1994 fər ðə ˈmæsɪvli səkˈsɛsfəl hɛl ˈfrizɪz ˈoʊvər ˈælbəm ənd tʊr ənd kənˈtɪnjud tɪ tʊr ənd ˈrɛkərd ɔn ənd ɔf fər ðə nɛkst tu ˈdɛkeɪdz. moʊst ˈrisənt riˈlis wɑz ðə 2012 ˈkəvərz ˈælbəm ˈæftər aʊərz. meɪ hi rɛst wɪθ ə ˈpisfəl, ˈizi ˈfilɪŋ. ˈəpˌdeɪt: hir ɪz ə ˈsteɪtmənt frəm dɑn henley…*…
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glenn frey — a singer, songwriter, guitarist, and founding member of the eagles — has died. tmz reports that frey succumbed to complications from intestinal issues, for which he underwent surgery back in november. he was 67 years old.
frey was born in detroit in 1948 and grew up in michigan. he played guitar and sang on fellow detroit native bob seger’s “ramblin’ gamblin’ man” in 1968 before relocating to los angeles to focus on his own material. he met jackson browne and released one album with j.d. souther under the name longbranch pennywhistle before meeting don henley in 1970. after serving as linda ronstadt’s backing band, frey, henley, randy meisner, and bernie leadon formed the eagles in 1971.
the eagles went on to become one of the most popular and successful rock bands of all time, popularizing a light, carefree version of country-rock that translated extremely well to radio. frey wrote or co-wrote most of the band’s biggest hits, singing on many of them including “take it easy,” “peaceful easy feeling,” “lyin’ eyes,” “tequila sunrise,” and “already gone.” after the eagles broke up in 1980, frey enjoyed solo success, particularly his beverly hills cop soundtrack hit “the heat is on” and “you belong to the city” from miami vice. he also acted on miami vice, arli$$, and other tv shows in addition to film acting in movies such as jerry maguire.
the eagles reunited in 1994 for the massively successful hell freezes over album and tour and continued to tour and record on and off for the next two decades. frey’s most recent release was the 2012 covers album after hours. may he rest with a peaceful, easy feeling.
update: here is a statement from don henley…
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baɪ ˈkirən məˈgəf ˈæftər ə deɪ əv skaɪ spɔrts ˌɪnˈveɪdɪŋ fɪnʧ fɑrm, ɪt keɪm ɛz noʊ səˈpraɪz tɪ ˌmaɪˈsɛlf ənd ˈlaɪkli ˈmɛni ˈəðər wɪn ðə ˌɪˈnɛvətəbəl kˈwɛʃən əv ə ˈruni rɪˈtərn rɪrd ɪts ˈəgli hɛd. ðɪs ˈtɑpɪk həz bɪn dəˈbeɪtɪd fər ə fju jɪrz naʊ ənd ɪn ˈɔlˌmoʊst ˈɛvəri ˈsɪŋgəl ˈtrænsfər ˈwɪndoʊ, ˈwɪspərz əv ə ˈruni rɪˈtərn ər ˈprɛzənt. ˌhaʊˈɛvər, mɔr ˈrisəntli ɪt filz ɛz ɪf ðɛr ɪz ə klɪr dɪˈvɪʒən əˈməŋst ðə fæn beɪs ɛz tɪ ˈwɛðər əkˈwaɪərɪŋ weɪn wʊd ˌɪmˈpruv ðə kləb ər mɔr ˌɪmˈpɔrtəntli muv ˈjuˈɛs ˈfɔrwərd, ˈneɪmli kəmˈpitɪŋ fər tɔp jɪr əˈpɑn jɪr. 20 jɪrz oʊld, ˈminɪŋ wɪn ˈruni lɛft aɪ wɑz ˈoʊnli 8 ˌhaʊˈɛvər ðə ˈɪmɪʤɪz əv ɪt ənˈfoʊldɪŋ ɔn maɪ ˈlɪvɪŋ rum ˈtɛləˌvɪʒən ər klɪr ɪn maɪ maɪnd. ɔn ðət deɪ, siɪŋ ɪm goʊ broʊk maɪ hɑrt əˈspɛʃəli sɪns æt ðə taɪm aɪ wɑz əˈneɪbəl tɪ ˌkɑmpriˈhɛnd ˈɛni ˈrizənz fər hɪz dɪˈpɑrʧər. ˈɛvriˌwən noʊz ðə goʊl əˈgɛnst ˈɑrsənəl ɪn ðə pɑrk ɛnd, ʃɪft ˌɪnˈsaɪd ənd kərld bɪɔnd ˈsimən ˈɪntu ðə tɔp ˈkɔrnər əˈlɔŋˈsaɪd ə ˈklæsɪk ˈkɑmənˌteɪtər ˈtæˌglaɪn ðə neɪm weɪn rooney’*’. ɪn ə sɛns, wi ɔl hæv. weɪn lɛft ˈɛvərtən ɛz ən ‘‘prospect’*’, ˈivɪn ðoʊ ˈɛvriˌwən nu hi wɑz ˈdɛstɪnd fər ˈgreɪtnəs, ənd ʃʊd hi rɪˈtərn tɪ ˈɛvərtən ɪn ðə ˈsəmər hi wʊd kəm bæk ɛz ə hu həz əˈʧivd ɔl kləb əˈveɪləbəl tɪ ɪm. ˌhaʊˈɛvər, ðə ˈoʊnli kˈwɛʃən ðət nidz ˈænsərɪŋ ɪz wʊd hi ˈrɪli ˌɪmˈpruv ɑr ˈstɑrtɪŋ ʃi, sɪns fər ðə ˈweɪʤɪz ˈnɛsəˌsɛri hi wʊd ˈʃʊrli bi ˈgrænɪd ˈstætəs. weɪn həz pleɪd kloʊz tɪ 750 geɪmz ɔˈrɛdi, wɪθ 320 goʊlz tɪ mæʧ əˈkɔrdɪŋ tɪ hɪz oʊn ˈpərsɪnəl ˈwɛbˌsaɪt. ðə ˈrizən aɪ juz ˈpərsɪnəl ˈwɛbˌsaɪt ɪz tɪ pɔɪnt aʊt haʊ weɪn ɪz nɑt ˈsɪmpli ə pleɪər ˌɛniˈmɔr, hi həz bɪn bɪlt ˈɪntu ə brænd wɪʧ ɪz ˈlaɪkli waɪ hi rɪˈmeɪnz ə ˈmænˌʧɛstər juˈnaɪtɪd pleɪər. wən əv ˈbɪgəst ˈæθˌlits ənd biɪŋ ˈplæstərd əˈkrɔs ˈeɪʒən ənd əˈmɛrɪkən ˈmɑrkɪts həz sin ɪm ˈkætəˌpəltɪd ˈɪntu ˌɪnərˈnæʃənɑl ˈstɑrdəm wɛl bɪɔnd ˈmɪrli ðə ˌdɛməˈgræfɪk. ðɪs dɪˈmɛnʃən məst bi kənˈsɪdərd əˈlɔŋˈsaɪd hɪz pleɪɪŋ əˈbɪləˌtiz bɪˈkəz ˈɛfərts tɪ bɪld ə ˈgloʊbəl brænd wɪθ ˈməltəpəl ˈɪnˌkəm strimz, meɪks bɪg neɪmz ə nəˈsɛsɪti. ɪt ɪz ˈdɪfəkəlt tɪ ˈsɛpərˌeɪt ðə tu sɪns mɔr ˈɪnˌkəm, minz mɔr ˈməni, minz mɔr spɛnd, minz mɔr pleɪərz, minz ˈbɛtər tim. ɪn theory…*… ˌhaʊˈɛvər, ˈsaɪnɪŋ ə pleɪər ˈəltəmətli ɔn ðə dɪˈklaɪn meɪ bi ə ˌʃɔrtˈtərm səˈluʃən tɪ ə ˈlɔŋˈtərm ˈprɑbləm. ənd wɔlʃ ˈænsərd bət kənˈfərm wɪn æst əˈbaʊt ˈsaɪnɪŋ weɪn, ə ˈkɑmən ˈmɛθəd fər rɪˈspɑndɪŋ tɪ ˈɔkwərd kˈwɛsʧənz. ˌhaʊˈɛvər, boʊθ dɪd nɑt ˈriʤɛkt ðə aɪˈdiə. bɪˈlivz weɪn stɪl pəˈzɛsɪz ðə ˈtælənts ðət lɛd ɪm tɪ bɪˈkəm ˈlidɪŋ ˌɔlˈtaɪm ˈɪŋglənd ənd ˈmænˌʧɛstər juˈnaɪtɪd goʊl ˈskɔrər. wɔlʃ bɪˈlivz ˈruni ɪz əv ðə ˈgreɪtəst pleɪərz ever’*’ waɪl ˈɔlsoʊ ˈsteɪtɪŋ ðət kʊd sɛl ə lɔt əv shirts’*’. ðiz wərdz sim tɪ riˈɪtərˌeɪt maɪ ˈpriviəs pɔɪnt əv haʊ ðə ˈruni kˈwɛʃən simz tɪ ɛnd əp ˈfoʊkɪsɪŋ ɔn ˌsɛnəˈmɛnəl ˈvæljuz ənd ˈmɑrkətɪŋ, ɛz əˈpoʊzd tɪ əˈbɪləˌti ər ˈkɑrənt fɔrm. ˈpərsənəli, aɪ θɪŋk ðə boʊt wɪθ ə pleɪs fər ˈruni tɪ rɪˈtərn həz seɪld. weɪn ɪz ənˈdaʊtɪdli stɪl ə fænˈtæstɪk ənd ɪz əˈbəv ˈmɛni ˈəðərz ɪn ðə prɛˈmɪr lig. ˌhaʊˈɛvər, raɪt naʊ æt 31 ənd wɪθ soʊ ˈmɛni geɪmz ˈəndər hɪz bɛlt, aɪ du nɑt θɪŋk ðə son’*’ rɪˈtərnɪŋ wʊd hɛlp ˈjuˈɛs muv ˈfɔrwərd ɛz ə kləb. ðɪs ˈkəpəld wɪθ əˈgrɛsɪv ˈtæktɪks tɪ prɛs, livz mi ˌɪnˈklaɪnd tɪ ˈriʤɛkt ðə muv ˈivɪn ɪf maɪ sɛlf ɪz ˈskrimɪŋ fər hɪz ˈhɪroʊ tɪ rɪˈtərn. maɪ dæd həz ˈɔlˌweɪz sɛd bi bæk wən day’*’, ʤɪst hoʊp ɛz ə koʊʧ ɪn 5 jɪrz ənd nɑt ɑr ˈsəmər mɑrˈki ˈsaɪnɪŋ.
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by kieran mcgough
after a day of sky sports invading usm finch farm, it came as no surprise to myself and likely many other evertonian’s when the inevitable question of a rooney return reared its ugly head. this topic has been debated for a few years now and in almost every single transfer window, whispers of a rooney return are present. however, more recently it feels as if there is a clear division amongst the fan base as to whether acquiring wayne would improve the club or more importantly move us forward, namely competing for top honours year upon year.
i’m 20 years old, meaning when rooney left i was only 8 however the images of it unfolding on my living room television are clear in my mind. on that day, seeing him go broke my heart especially since at the time i was unable to comprehend any off-the-pitch reasons for his departure. everyone knows the goal against arsenal in the park end, shift inside and curled beyond seaman into the top corner alongside a classic commentator tagline ‘remember the name wayne rooney’. in a sense, we all have.
wayne left everton as an 18-year-old ‘prospect’, even though everyone knew he was destined for greatness, and should he return to everton in the summer he would come back as a 31-year-old who has achieved all club honours available to him. however, the only question that needs answering is would he really improve our starting xi, since for the wages necessary he would surely be granted first-team status.
wayne has played close to 750 games already, with 320 goals to match according to his own personal website. the reason i use personal website is to point out how wayne is not simply a player anymore, he has been built into a brand which is likely why he remains a manchester united player. one of nike’s biggest athletes and being plastered across asian and american markets has seen him catapulted into international stardom well beyond merely the footballing demographic. this dimension must be considered alongside his playing abilities because moshiri’s efforts to build a global brand with multiple income streams, makes big names a necessity. it is difficult to separate the two since more income, means more money, means more spend, means more players, means better team. in theory… however, signing a player ultimately on the decline may be a short-term solution to a long-term problem.
koeman and walsh answered but didn’t confirm when asked about signing wayne, a common method for responding to awkward questions. however, both did not reject the idea. koeman believes wayne still possesses the talents that led him to become leading all-time england and manchester united goal scorer. walsh believes rooney is ‘one of the greatest players ever’ while also stating that ‘we could sell a lot of shirts’. these words seem to reiterate my previous point of how the rooney question seems to end up focusing on sentimental values and marketing, as opposed to ability or current form.
personally, i think the boat with a place for rooney to return has sailed. wayne is undoubtedly still a fantastic footballer and is above many others in the premier league. however, right now at 31 and with so many games under his belt, i do not think the ‘prodigal son’ returning would help us move forward as a club. this coupled with koeman’s aggressive tactics to press, leaves me inclined to reject the move even if my 8-year-old self is screaming for his hero to return. my dad has always said ‘he’ll be back one day’, let’s just hope it’s as a coach in 5 years and not our summer marquee signing.
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taoiseach* ˈkɛˌni həz ruld aʊt ðə ˌpɑsəˈbɪləˌti əv ən ˌɪnkˈwaɪˌri ˈɪntu ˈmidiə ˈoʊnərˌʃɪp ɪn ˈaɪərlənd. ˈkæθərɪn ˈmərfi hæd reɪzd ðə ˈɪʃu ɪn ðə ˈæftər ðə ˌkɑmpəˈtɪʃən ənd kənˈsumər prəˈtɛkʃən kəˈmɪʃən əˈpruvd ðə ˌækwəˈzɪʃən əv ðə ˈsɛltɪk ˈmidiə grup baɪ ˌɪndɪˈpɛndənt nuz ənd ˈmidiə (inm*). ðə muv minz ðət wɪl naʊ kənˈtroʊl faɪv ˈnæʃənəl ˈnuzˌpeɪpərz ənd 28 ˈriʤənəl ˈpeɪpərz əraʊnd ˈaɪərlənd. rɪˈplaɪɪŋ tɪ ˈsoʊʃəl ˈdɛməˌkræts ˈkæθərɪn ˈmərfi, ˈkɛˌni sɛd: du nɑt si ˈɛni ˈrizən fər ðə ˈsɛtɪŋ əp əv ə kəˈmɪʃən əv ˌɪnkˈwaɪˌri ˈɪntu ðə matter.”*.” ˈspikɪŋ ɪn ðə, ˈmərfi sɛd ðə ˌkɑmpəˈtɪʃən ənd kənˈsumər prəˈtɛkʃən kəˈmɪʃən əˈpruvd ðə ˌækwəˈzɪʃən əv ðə ˈsɛltɪk ˈmidiə grup baɪ ˌɪndɪˈpɛndənt nuz ənd ˈmidiə (inm*). ʃi sɛd ðə bɔl wɑz naʊ ɪn ðə kɔrt, ˈsteɪtɪŋ ðət ɪt ɪz naʊ tɪ ðə ˈmɪnɪstər fər kəmˌjunəˈkeɪʃənz, ˈklaɪmɪt ˈækʃən ənd ɪnˈvaɪrənmənt ənd prɪˈzuməbli ðə ˈkæbənət tɪ əkˈsɛpt ər ˈriʤɛkt ðɪs acquisition”*”. ˈmidiə ˈoʊnərˌʃɪp ɪn ˈaɪərlənd ɪz ə risk”*” ˈsaɪtɪŋ ə ˈrisənt ə rɪˈpɔrt ˈɔθərd baɪ ˈdɑktər. ˈrɑdi flɪn əv ˈdəblɪn ˈsɪti ˌjunəˈvərsəti ʃi sɛd hi aɪˈdɛntəˌfaɪd ðə ˌkɑnsənˈtreɪʃən əv ˈmidiə ˈoʊnərˌʃɪp ɪn ˈaɪərlənd ɛz ə risk”*”. wɑz ˈɛkoʊd ˈərliər ðɪs jɪr ɪn ə ˌjʊrəˈpiən kəˈmɪʃən rɪˈpɔrt, wɪʧ faʊnd ðət ðə pəˈzɪʃən ɪn ˈaɪərlənd wɑz ðə ˈsəbʤɪkt əv ðə haɪəst ˈlɛvəl əv kənˈsərn ənd aɪˈdɛntəˌfaɪd ə læk əv ˈligəl ˈbɛriərz ɛz ən issue.”*.” ˈmərfi ˈɔlsoʊ ˈsaɪtɪd ə rɪˈpɔrt, kəˈmɪʃənd baɪ sɪn lɪn ˈbɔɪlən fər ən ˈgrupɪŋ, wɪʧ tʊk eɪm æt boʊθ rté*é ənd ˌbɪljəˈnɛr ˈmidiə ˈmoʊgəl ˈdɛnɪs o’brien*. ɪt ɪz ˈdɪfəkəlt tɪ si haʊ ən ˈeɪʤənsi ˌɪnˈvɑlvd ɪn kənˈsumər prəˈtɛkʃən kʊd əˈpruv ðə prəˈpoʊzd ˌækwəˈzɪʃən, ˌpɑrˈtɪkjələrli ɪn ə ˈsɛktər ðət həz ðə pəˈtɛnʃəl tɪ ˈəndərˌmaɪn ɑr dɪˈmɑkrəsi. ˈpəblɪʃɪz ðə ˈaɪrɪʃ ˌɪndɪˈpɛndənt, ðə ˈsənˌdi ˌɪndɪˈpɛndənt, ðə ˈivnɪŋ ˈhɛrəld, ðə ˈsənˌdi wərld ənd ðə ˈbɛlˌfæst ˈtɛləˌgræf. ɪt həz ə 50 steɪk ɪn ðə ˈaɪrɪʃ ˈdeɪli stɑr ənd kənˈtroʊlz 13 ˈriʤənəl ˈwikli ˈnuzˌpeɪpərz. ɪf ˌækwəˈzɪʃən əv ðə ˈsɛltɪk ˈmidiə grup goʊz əˈhɛd, ɪt wɪl kənˈtroʊl 28 ˈriʤənəl ˈtaɪtəlz əˈkrɔs ðə ˈkəntri ɪn əˈdɪʃən tɪ ðə ˈnæʃənəl ˈtaɪtəlz aɪ hæv ˈmɛnʃənd. ðə ˈreɪdiˌoʊ ˈsɛktər ɪz ˈɔlsoʊ ˈrɛləvənt ɪn ðɪs ˈkɑntɛkst., wɪʧ ɪz oʊnd baɪ ðə seɪm məˈʤɔrəti ˈʃɛˌrhoʊldər ɛz, kənˈtroʊlz newstalk*, təˈdeɪ ˈɛˈfɛm, 98fm*, spɪn 103 ənd spɪn saʊθ wɛst, ər əˈprɑksəmətli 20 əv ðə ɪnˈtaɪər ˈreɪdiˌoʊ ˈmɑrkɪt. ˌɔlˈðoʊ aɪ əˈpriʃiˌeɪt ðət prɪnt ənd ˈbrɔdˌkæst ˈmidiə ər ˈdɪfərənt, ɪt ɪz ɛˈsɛnʃəl fər ðə əv ənd tɪ bi kənˈsɪdərd ɪn ˈtændəm. meɪk ðə ˌsɪʧuˈeɪʃən worse?’*?’ æˈdrɛsɪŋ ðə ʃi æst: ðɛr ɪz ɔˈrɛdi ə ˈprɑbləm wɪθ ðə əv ˈmidiə ˈoʊnərˌʃɪp, waɪ wʊd ðə ˈgəvərnmənt meɪk ðət ˌsɪʧuˈeɪʃən wərs? ðət ɪz ðə ˈɑbviəs question.”*.” ˈmidiə ˌkɑnsənˈtreɪʃən ɪz ən ˈɪʃu ɪn ɪts oʊn raɪt, ðə ˈoʊnərˌʃɪp əv səʧ ə lɑrʤ prəˈpɔrʃən əv ɑr prɪnt ˈbrɔdˌkæstɪŋ ənd ˈdɪʤɪtəl ˈmidiə baɪ ˈsəmˌwən hu həz kənˈsɪstəntli juzd ðə kɔrts tɪ kriˈeɪt ə ˈʧɪlɪŋ ˈifɛkt ɔn ˈʤərnəlɪsts ənd ˈəðər ˈmidiə ˈaʊˌtlɛts həz tɪ bi kˈwɛsʧənd ɪn ðə moʊst ˈsɪriəs tərmz. ðə ˈpərsən tɪ hum aɪ rɪˈfər, ˈdɛnɪs o’brien*, wɑz ðə ˈsəbʤɪkt əv ˌædˈvərs ˈfaɪndɪŋz ɪn ðə ˌmɔriˈɑrti trəˈbjunəl, ɛz ðə ɪz aware.”*.” ʃi sɛd ðə ˈmidiə ˌækwəˈzɪʃən ɪz ˈklɪrli əˈgɛnst ðə ˈpəblɪk ˈɪntəˌrɛst. ʃi æst ðə wʊd hi əˈpoʊz ðə ˌækwəˈzɪʃən? hi wɑz ˈɔlsoʊ æst ɪf wʊd səˈpɔrt ðə ˈnæʃənəl ˈjunjən əv journalists’*’ (nuj*) kɔl tɪ ˌɪˈnɪʃiˌeɪt ə ˈpəblɪk kəˈmɪʃən ɔn ðə fˈjuʧər əv ðə ˈmidiə tɪ ɪgˈzæmɪn ˈoʊnərˌʃɪp, ˌɛdəˈtɔriəl kənˈtroʊl, ɪmˈplɔɪmənt ˈstændərdz ˌɪnˈkludɪŋ ˈpɛnʃən raɪts ənd ˈmɛʒərz tɪ prəˈtɛkt ˌɛdəˈtɔriəl ˌɪndɪˈpɛndəns? ˈmidiə ˈoʊnərˌʃɪp rɪˈpɔrt ɪn hɪz rɪˈplaɪ, ðə sɛd ˈmɪnɪstər ɪz ɪgˈzæmɪnɪŋ ðə rɪˈpɔrt (wɪʧ hi wɑz ˈpriviəsli kɔld aʊt fər nɑt ˈrɛdɪŋ). ˈkɛˌni sɛd ðə ˌkɑmpəˈtɪʃən ənd kənˈsumər prəˈtɛkʃən ækt 2014 gɪvz ðə ˈmɪnɪstər fər kəmˌjunəˈkeɪʃənz ðə paʊər tɪ blɑk ˈɛni ˈmidiə ˈmərʤər ðət ɪz dimd ˈlaɪkli tɪ bi ˈkɑntrɛri tɪ ðə ˈpəblɪk ˈɪntəˌrɛst ɪn meɪnˈteɪnɪŋ ðə plərˈælɪti əv ˈmidiə ɪn ðə steɪt. ˌhaʊˈɛvər hi sɛd ðə ækt dɪd nɑt gɪv ðə ˈmɪnɪstər ðə paʊər tɪ ækt ˌrɛtroʊˈspɛktɪvli ər tɪ əˈsɛs ə ˈmidiə ˈbɪznɪs ɪn ðə ˈæbsəns əv ə prəˈpoʊzd ˈmərʤər, ɛz hi sɛd tɪ du soʊ wʊd bi tɪ ˌɪnərˈfɪr wɪθ ðə ˈprɑpərti raɪts ɛnʃˈraɪnd ɪn ˈɑrtɪkəl 43 əv ðə ˌkɑnstəˈtuʃən. hi sɛd tɪ du ðɪs wʊd reɪz ə ˈmɪriəd əv ˈligəl complexities”*”. dɪˈspaɪt ˈmərfi ənd hər ˈpɑrti ˈkɑlig ˈæskɪŋ ðə ɔn ə ˈnəmbər əv ɔˈkeɪʒənz ɪf hi əˈgrid wɪθ ðə ˈmərʤər, ˈkɛˌni dɪd nɑt dɪd nɑt ˈænsər ðə kˈwɛʃən.
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taoiseach enda kenny has ruled out the possibility of an inquiry into media ownership in ireland.
catherine murphy had raised the issue in the dáil after the competition and consumer protection commission approved the acquisition of the celtic media group by independent news and media (inm). the move means that inm will now control five national newspapers and 28 regional papers around ireland.
replying to social democrats td catherine murphy, kenny said: “i do not see any reason for the setting up of a commission of inquiry into the matter.”
speaking in the dáil, murphy said the competition and consumer protection commission approved the acquisition of the celtic media group by independent news and media (inm).
she said the ball was now in the government’s court, stating that it is now “up to the minister for communications, climate action and environment and presumably the cabinet to accept or reject this acquisition”.
media ownership in ireland is a “high risk”
citing a recent a report authored by dr. roddy flynn of dublin city university she said he identified the concentration of media ownership in ireland as a “high risk”.
“that was echoed earlier this year in a european commission report, which found that the position in ireland was the subject of the highest level of concern and identified a lack of legal barriers as an issue.”
murphy also cited a report, commissioned by sinn féin mep lynn boylan for an eu grouping, which took aim at both rté and billionaire media mogul denis o’brien.
it is difficult to see how an agency involved in consumer protection could approve the proposed acquisition, particularly in a sector that has the potential to undermine our democracy. inm publishes the irish independent, the sunday independent, the evening herald, the sunday world and the belfast telegraph. it has a 50% stake in the irish daily star and controls 13 paid-for regional weekly newspapers.
if inm’s acquisition of the celtic media group goes ahead, it will control 28 regional titles across the country in addition to the national titles i have mentioned. the radio sector is also relevant in this context. communicorp, which is owned by the same majority shareholder as inm, controls newstalk, today fm, 98fm, spin 103 and spin south west, or approximately 20% of the entire radio market. although i appreciate that print and broadcast media are different, it is essential for the cross-ownership of inm and communicorp to be considered in tandem.
‘why make the situation worse?’
addressing the taoiseach she asked:
“if there is already a problem with the over-concentration of media ownership, why would the government make that situation worse? that is the obvious question.”
“while media concentration is an issue in its own right, the ownership of such a large proportion of our print broadcasting and digital media by someone who has consistently used the courts to create a chilling effect on journalists and other media outlets has to be questioned in the most serious terms. the person to whom i refer, denis o’brien, was the subject of adverse findings in the moriarty tribunal, as the taoiseach is aware.”
she said the media acquisition is clearly against the public interest. she asked the taoiseach would he oppose the acquisition? he was also asked if would support the national union of journalists’ (nuj) call to initiate a public commission on the future of the media to examine ownership, editorial control, employment standards including pension rights and measures to protect editorial independence?
media ownership report
in his reply, the taoiseach said minister naughten is examining the report (which he was previously called out for not reading).
kenny said the competition and consumer protection act 2014 gives the minister for communications the power to block any media merger that is deemed likely to be contrary to the public interest in maintaining the plurality of media in the state.
however he said the act did not give the minister the power to act retrospectively or to assess a media business in the absence of a proposed merger, as he said to do so would be to interfere with the property rights enshrined in article 43 of the constitution.
he said to do this “which would raise a myriad of legal complexities”.
despite murphy and her party colleague asking the taoiseach on a number of occasions if he agreed with the merger, kenny did not did not answer the question.
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ɪn ˈʃutaʊt, wən ˈpoʊʧər ˈɪnʤərd ənd ˈreɪnʤərz rɪˈkəvərd ˈraɪfəl ənd ˈsaɪlənˌsər ɪt ɪz pɑrt əv ðə ˈgəvərnmənts kæmˈpeɪn, ˌɑpərˈeɪʃən kərˈoʊnə həz bɪn goʊɪŋ ɔn naɪt pəˈtroʊlz wɪθ ən ˈɑrmi ˈjunɪt ɪn ˈkrugər pɑrk rɪˈzərv prɪns ˈhɛri ɪz æt ðə frənt laɪn əv ə ˈblədi wɔr əˈgɛnst ˈraɪˌnoʊ ˈpoʊʧərz, ˈʤɔɪnɪŋ ˈhɛvəli ɑrmd ˈfɔrsɪz ˈbætəlɪŋ gæŋz əv ˈkrɪmənəlz ˈwildɪŋ ˈraɪfəlz ənd məˈʧɛˌtiz. ðə prɪns wɑz læst wik floʊn ˈsikrɪtli ˈɪntu ə ˈmɪlɪˌtɛri kæmp dip ɪn ðə væst saʊθ ˈæfrɪkɑn geɪm rɪˈzərv əv ˈkrugər pɑrk, wɛr hi həz bɪn goʊɪŋ ɔn naɪt pəˈtroʊlz wɪθ ən ˈɑrmi ˈjunɪt ɛz pɑrt əv ðə ˈgəvərnmənts kæmˈpeɪn, kɔld ˌɑpərˈeɪʃən kərˈoʊnə. ðə saʊθ ˈæfrɪkɑn fɔrs kənˈsɪsts əv ˈsɛvərəl ˈhənərd ˈɪnfəntri, 400 ɑrmd ˈreɪnʤərz ənd 150 ˈəðərz, ˌɪnˈkludɪŋ ˈspɛʃəl ˈfɔrsɪz ənd pəˈlis ənd ðeɪ hæv ɔˈrɛdi kɪld mɔr ðən 300 ˈpoʊʧərz. prɪns ˈhɛri, ˈpɪkʧərd ɪn ˈeɪprəl ðɪs jɪr, wɑz læst wik floʊn ˈsikrɪtli ˈɪntu ə ˈmɪlɪˌtɛri kæmp dip ɪn ðə væst saʊθ ˈæfrɪkɑn geɪm rɪˈzərv əv ˈkrugər pɑrk læst ˈwɛnzˌdeɪ, ˈæftər ðə prɪns hæd ʤɔɪnd ðə ˈjunɪt, ˈfɔrsɪz kənˈfrəntɪd θri ˈpoʊʧərz əˈlɔŋ ðə ˈkrɑkəˌdaɪl ˈrɪvər. ɪn ə ˈʃutaʊt, wən ˈpoʊʧər wɑz ˈɪnʤərd ənd ðə ˈreɪnʤərz rɪˈkəvərd ə ˌhaɪˈpaʊərd ˈraɪfəl ənd ˈsaɪlənˌsər. ðə ˈɑrmi ˈjunɪt kən ˈɔlsoʊ kɔl ɔn ə ˈhɛlɪˌkɑptər wɪθ ˈθərməl ˈɪmɪʤɪŋ tɪ spɑt ˈpoʊʧərz ɪn ðə ˈdɛnsli ˈfɔrəstəd pɑrk, wɪʧ ɪz ðə saɪz əv weɪlz, əˈlɔŋ wɪθ tu sərˈveɪləns pleɪnz ənd ˈsɛvərəl droʊnz. ðə gəˈzɛl ˈhɛlɪˌkɑptər ˈkɛriz faɪv mɛn ɑrmd wɪθ ˌɔtəˈmætɪk ˈwɛpənz, ənd ˈsɔrsəz sɛd prɪns ˈhɛri wʊd bi ˈeɪbəl tɪ juz hɪz ɪkˈspɪriəns wɪθ əˈpæʧi ˈhɛlɪˌkɑptərz tɪ ækt ɛz ə ər ˈivɪn teɪk ðə kənˈtroʊlz. ˈreɪnʤərz ɔn naɪt pəˈtroʊlz juz ˈtrækər dɔgz tɪ hənt ðə ˈpoʊʧərz, ənd lɛt ɔf grin smoʊk tɪ əˈlərt ˈpaɪləts tɪ ə seɪf ˈlændɪŋ spɑt soʊ ðeɪ kən dɪˈplɔɪ əˈtæk timz. əp tɪ 40 ˈpoʊʧərz ˈwildɪŋ ˌhaɪˈpaʊərd ˈraɪfəlz, ˈækˌsɪz ənd grəˈneɪdz krɔs frəm ˈneɪbərɪŋ ˌmoʊzəmˈbik ˈɪntu ðə pɑrk ˈɛvəri naɪt, ðə fʊl mun, noʊn ɛz ðə 'ˈkɪlɪŋ mun'. rɪˈtaɪrd joʊˈhɑn jooste*, ˈhɛriz bɔs ˈdʊrɪŋ wət wɪl bi ðə moʊst ˈpɪriəd əv hɪz trɪp ˈwərkɪŋ fər ˈæfrɪkɑn ˌkɑnsərˈveɪʃən, sɛd: 'ðɪs ɪz ə ˌdɛklərˈeɪʃən əv wɔr əˈgɛnst saʊθ ˈæfrɪkɑ baɪ ɑrmd ˈfɔrən ˈkrɪmənəlz. wi ər ˈteɪkɪŋ ðə wɔr tɪ ðiz ɑrmd ˈbændəts ənd wi eɪm tɪ wɪn ɪt.' ˈreɪnʤərz kæʧ ˈpoʊʧərz, raɪt, hu hənt ˈraɪˌnoʊz fər ðɛr hɔrnz ɪn ə ˈʃutaʊt læst wik wən ˈpoʊʧər wɑz ˈɪnʤərd ənd ðə ˈreɪnʤərz rɪˈkəvərd ə ˌhaɪˈpaʊərd ˈraɪfəl ənd ˈsaɪlənˌsər ˈspikɪŋ ɪkˈsklusɪvli tɪ ðə meɪl ɔn ˈsənˌdi, mæʤ ʤɛn jooste*, 62 ˈwɛlkəmd ðə ərˈaɪvəl əv ðə prɪns, hu sɔ ˈæktɪv ˈsərvɪs ɛz ə ˈhɛlɪˌkɑptər ˈpaɪlət ɪn æfˈgænəˌstæn. hi sɛd: 'ˈhɛri wɪl bi wɪθ mi fər kwaɪt səm taɪm. wɪl traɪ tɪ kip ɪm seɪf.' dɪˈspaɪt ðə ˈjunɪts ˈɛfərts, ˈraɪˌnoʊ dɛθs ɪn ˈkrugər hæv mɔr ðən ˈdəbəld ˈoʊvər ðə pæst fju jɪrz du tɪ ðə ˈlukrətɪv ˈmɑrkɪt fər ðɛr hɔrnz, wɪʧ fɛʧ əp tɪ ə paʊnd ɪn ðə fɑr ist, wɛr ðeɪ ər ˈfɔlsli bɪˈlivd tɪ hæv məˈdɪsənəl ˈprɑpərtiz. ˌkɑnsərˈveɪʃən ˈɛkspərts seɪ 558 ˈraɪˌnoʊz hæv bɪn kɪld ɪn ˈkrugər soʊ fɑr ðɪs jɪr, wɪθ ən ˈɛstəˌmeɪtɪd 900 ˌɪnˈkərʒənz baɪ ˈpoʊʧərz. ˈkrɪmənəl ˈsɪndɪˌkeɪts ˈfəndɪd baɪ ʧaɪˈniz ˈmɑfiə gæŋz juz pur, ˌənɛmˈplɔɪd ˈloʊkəlz əraʊnd ˈkrugər pɑrk tɪ hənt ðə ˈænəməlz. ˈhɛri, hu ɪz ˈtrævəlɪŋ ˈəndər ðə ˈɔspɪsɪz əv ðə ˌzuˈlɑʤɪkəl soʊˈsaɪɪti əv ˈləndən ənd ðə təsk trəst, həz ɔˈrɛdi spɛnt sɪks wiks ɪn nəˈmɪbiə wɛr ðə ˈgəvərnmənt ɪz ˈkɛriɪŋ aʊt ə ˈdræstɪk ˈproʊˌgræm tɪ dɪˈtər ˈpoʊʧərz. ˌkɑnsərˈveɪʃən ˈɛkspərts seɪ 558 ˈraɪˌnoʊz hæv bɪn kɪld ɪn ˈkrugər soʊ fɑr ðɪs jɪr, wɪθ ən ˈɛstəˌmeɪtɪd 900 ˌɪnˈkərʒənz baɪ ˈpoʊʧərz saʊθ ˈæfrɪkɑn ˌkɑnsərˈveɪʃənɪst ˈpitər ˈʧædwɪk sɛd: 'ðɪs ɪz counter-insurgency*, ən ˈækʧəwəl wɔr ðət ðeɪ ər ˈfaɪtɪŋ. 'aɪ noʊ əv prɪns ˈhɛriz ˌɪnˈvɑlvmənt wɪθ ðə ˈjunɪt ɪn ˈkrugər ənd aɪ noʊ ðə ˌsɪʧuˈeɪʃən ðɛr ɪz noʊ fən ənd geɪmz. ju doʊnt gɪt ə ʧæns tɪ sɪt daʊn ənd ˈrizən wɪθ ðiz gaɪz ˈoʊvər ə kəp əv ti. 'ɪts ɔl əˈbaʊt ˈræpɪd rɪˈspɑns ənd ðæts wɛr ðə ˈhɛlɪˌkɑptərz kəm ɪn. aɪ ˈwʊdənt bi səˈpraɪzd ɪf ˈhɛri wɑz duɪŋ səm ˈpaɪlətɪŋ.' ə ˈkɛnzɪŋtən ˈpæləs ˈspoʊksmən dɪˈklaɪnd tɪ ˈkɑmɛnt bət ðə ˈpæləs həz ˈpriviəsli sɛd: 'prɪns ˈhɛri wɪl spɛnd taɪm ˈwərkɪŋ wɪθ ˈɛkspərts æt ðə ʃɑrp ɛnd əv ˈwaɪlˌdlaɪf prəˈtɛkʃən. hi wɪl ʤɔɪn ə tim əv ˈreɪnʤərz hu ər ðə fərst tɪ rɪˈspɑnd tɪ rɪˈpɔrts əv ˈpoʊʧɪŋ əˈtæks ɔn ˈɛləfənt ənd ˈraɪˌnoʊ.
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in shootout, one poacher injured and rangers recovered rifle and silencer
it is part of the government's anti-poaching campaign, operation corona
has been going on night patrols with an army unit in kruger park reserve
prince harry is at the front line of a bloody war against rhino poachers, joining heavily armed forces battling gangs of criminals wielding rifles and machetes.
the prince was last week flown secretly into a military camp deep in the vast south african game reserve of kruger park, where he has been going on night patrols with an army unit as part of the government's anti-poaching campaign, called operation corona.
the south african force consists of several hundred infantry, 400 armed rangers and 150 others, including special forces and police – and they have already killed more than 300 poachers.
prince harry, pictured in april this year, was last week flown secretly into a military camp deep in the vast south african game reserve of kruger park
last wednesday, after the prince had joined the unit, forces confronted three poachers along the crocodile river.
in a shootout, one poacher was injured and the rangers recovered a high-powered rifle and silencer.
the army unit can also call on a helicopter with thermal imaging to spot poachers in the densely forested park, which is the size of wales, along with two surveillance planes and several drones.
the gazelle helicopter carries five men armed with automatic weapons, and sources said prince harry would be able to use his experience with apache helicopters to act as a co-pilot or even take the controls.
rangers on night patrols use tracker dogs to hunt the poachers, and let off green smoke to alert pilots to a safe landing spot so they can deploy attack teams.
up to 40 poachers wielding high-powered rifles, axes and grenades cross from neighbouring mozambique into the park every night, favouring the full moon, known as the 'killing moon'.
retired major-general johan jooste, harry's boss during what will be the most gruelling period of his three-month trip working for african conservation, said: 'this is a declaration of war against south africa by armed foreign criminals. we are taking the war to these armed bandits and we aim to win it.'
rangers catch poachers, right, who hunt rhinos for their horns - in a shootout last week one poacher was injured and the rangers recovered a high-powered rifle and silencer
speaking exclusively to the mail on sunday, maj gen jooste, 62, welcomed the arrival of the prince, who saw active service as a helicopter pilot in afghanistan.
he said: 'harry will be with me for quite some time. we'll try to keep him safe.'
despite the unit's efforts, rhino deaths in kruger have more than doubled over the past few years due to the lucrative market for their horns, which fetch up to £20,000 a pound in the far east, where they are falsely believed to have medicinal properties.
conservation experts say 558 rhinos have been killed in kruger so far this year, with an estimated 900 incursions by poachers.
criminal syndicates funded by chinese mafia gangs use poor, unemployed locals around kruger park to hunt the animals.
harry, who is travelling under the auspices of the zoological society of london and the tusk trust, has already spent six weeks in namibia where the government is carrying out a drastic dehorning programme to deter poachers.
conservation experts say 558 rhinos have been killed in kruger so far this year, with an estimated 900 incursions by poachers
south african conservationist peter chadwick said: 'this is counter-insurgency, an actual war that they are fighting.
'i know of prince harry's involvement with the anti-poaching unit in kruger and i know the situation there is no fun and games. you don't get a chance to sit down and reason with these guys over a cup of tea.
'it's all about rapid response and that's where the helicopters come in. i wouldn't be surprised if harry was doing some piloting.'
a kensington palace spokesman declined to comment but the palace has previously said: 'prince harry will spend time working with experts at the sharp end of wildlife protection. he will join a team of rangers who are the first to respond to reports of poaching attacks on elephant and rhino.
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ə fɔrs əv 500 ˈsoʊlʤərz frəm ðə 4 ˈɛnʤəˈnɪr səˈpɔrt ˈrɛʤəmənt ɪz ˈkɛriɪŋ aʊt ə ˈmeɪʤər ˌrɛstərˈeɪʃən ɔn ðə ˈfɔrtrəs əv ˈnæʃənəl hɪˈstɔrɪk saɪt ɪn keɪp ˈbrɛtən ˈstɑrtɪŋ ˈmənˌdeɪ ɛz pɑrt əv ˈɛksərˌsaɪz ˈsæpər 2017 ðə trups aʊt əv wɪl bi rɪˈstɔrɪŋ ðə siʤ ˈkɔrɪdər, ðə hɪˈstɔrɪk ˈpæθˌweɪ juzd baɪ ˈbrɪtɪʃ ˈsoʊlʤərz tɪ əˈtæk ðə frɛnʧ ˈfɔrtrəs ɪn ðə 1700s*, ɛz wɛl ɛz ˈbɪldɪŋ ə brɪʤ ˈoʊvər ˈnɪrˈbaɪ ˈfrɛʃˌwɔtər brʊk wɪθ hɛlp frəm pɑrks ˈkænədə ˌɑrkiˈɑləʤɪsts. ˈkɑmbæt ˈɛnʤəˈnɪrz ər ˈɔlsoʊ rɪˈpɛrɪŋ ðə st*. ælˈfɑnz ʧərʧ ɪn vɪkˈtɔriə maɪnz, ˌɪnˈkludɪŋ ə rʊf rɪˈpleɪsmənt, təˈgɛðər wɪθ ðə ˈloʊkəl stoʊn ʧərʧ ˌrɛstərˈeɪʃən soʊˈsaɪɪti. kənˈstrəkʃən əv roʊdz ənd ˈkrɪtɪkəl ˌɪnfrəˈstrəkʧər ər pɑrt əv ðə riˌspɑnsəˈbɪlətiz ðə ˈrɛʤəmənt həz wɪˈθɪn ðə ˈmɪlɪˌtɛri. ðə siʤ treɪl ənd ðə stoʊn ʧərʧ ˌrɛstərˈeɪʃənz əˈlaʊ ðə ˈsoʊlʤərz tɪ ˈpræktɪs ðiz skɪlz, ɪkˈspleɪnd krɪs ˈkɔtən. ˌhaʊˈɛvər, ðeɪ wɪl nɑt ˈoʊnli lərn ənd ˈpræktɪs ðɛr skɪlz ɔn ðiz hɪˈstɔrɪkəl ˌrɛstərˈeɪʃənz. ɛz ˈkɑmbæt ˈɛnʤəˈnɪrz ðeɪ məst bi ˈɔlsoʊ ˈrɛdi tɪ du ðɪs ɪn ə ˈwɔrˌtaɪm ˈsɛtɪŋ. fər ðoʊz ɪn keɪp ˈbrɛtən, ðeɪ wɪl wərk ɛz ɪf ðeɪ ər ɪn ˈhɑstəl ˈtɛrɪˌtɔri ˌɪnˈfɛstɪd wɪθ ˈroʊdˌsaɪd bɑmz ənd ˈəndər ðə θrɛt əv əˈtæk. ðɪs ɪz ɪn ˈkipɪŋ wɪθ 4 ˈɛnʤəˈnɪr səˈpɔrt trəˈdɪʃənəl roʊl, wɪʧ ɪz ˈbɪldɪŋ fəˈsɪlɪtiz səʧ ɛz kæmps ənd roʊdz tɪ səˈpɔrt kəˈneɪdiən ˈmɪlɪˌtɛri ˌɑpərˈeɪʃənz, frəm ˈfaɪtɪŋ ˌɪnˈsərʤənts əˈbrɔd tɪ prəˈvaɪdɪŋ dɪˈzæstər rɪˈlif æt hoʊm. ˌbiˈfɔr dɪˈplɔɪɪŋ ɪn ənd ˈɛlsˌwɛr, ˈsoʊlʤərz bɪlt ə kæmp nɪr ˈoʊpən hɑrθ pɑrk, kəmˈplit wɪθ ˈhitɪd tɛnts ˈhaʊzɪŋ sˈlipɪŋ kˈwɔrtərz, ʃaʊərz, ə ˈkɪʧən ənd ə mɛs hɔl, ˈmɛdɪkəl tɛnt, kəˈmænd poʊst ənd ə ˈviɪkəl rifˈjuəlɪŋ poʊst. ˈsoʊlʤərz hæv ˈɔlsoʊ bɪlt sˈmɔlər ˈfɔrwərd ˈɔpərˌeɪtɪŋ ˈbeɪsɪz ɪn ˈtreɪnɪŋ ˈɛriəz əraʊnd keɪp ˈbrɛtən, ɛz ðeɪ wʊd ɔn ˈfɔrən dɪˈplɔɪmənts. ðə kæmp wɑz sərˈaʊndɪd baɪ ˈreɪzər waɪər ˈfɛnsɪŋ ənd ˈkɑnkrit mænd baɪ ˈsoʊlʤərz tɪ kip ˌɪnˈtrudərz aʊt. ðə ˈsɪdni kæmp wɑz bɪlt ʤɪst mənθs ˈæftər ðə ˈrɛʤəmənt kənˈstrəktɪd ə ˈsɪmələr beɪs ɪn ˈlætviə tɪ haʊs ə ˈneɪtoʊ fɔrs, dɪˈplɔɪd tɪ hɛlp dɪˈfɛnd ðət ˈkəntri əˈgɛnst ə ˈpɑsəbəl ˈrəʃən əˈtæk. ˈkɔtən sɛd ðət wɪn dɪˈplɔɪɪŋ ɪn ðə fild, ðə ˈɑrmi hæd θri ˈɔpʃənz: bɪld ɪts oʊn fəˈsɪlɪtiz ər juz ɪgˈzɪstɪŋ ˈmɪlɪˌtɛri ər səˈvɪljən ˈbɪldɪŋz. ˈsɛkənd tu ˈɔpʃənz ˈɔfən rikˈwaɪərz ˈjuˈɛs tɪ riˈfərbɪʃ ðɛm əp tɪ kəˈneɪdiən ˈstændərdz ər tɪ ˌwəˈtɛvər wi nid fər ðət ˌpɑˈtɪkjələr ˌɑpərˈeɪʃən, soʊ ˈteɪkɪŋ ən ɪgˈzɪstɪŋ ˈbɪldɪŋ ənd duɪŋ səm riˈfərbɪʃmənt wərk tɪ ɪt ɪz ɪgˈzæktli wɪˈθɪn ɑr [roʊl] ɛz ə ˈʤɛnərəl ˈɛnʤəˈnɪr səˈpɔrt regiment,”*,” sɛd ˈkɔtən. trups ˈteɪkɪŋ pɑrt ɪn ˈsæpər ər ˈɔlsoʊ haʊ tɪ dɪˈtɛkt ənd dɪfˈjuz ˈɪmprəˌvaɪzd ɪkˈsploʊsɪv dɪˈvaɪsɪz ɪn ðə blu ˈmaʊntən ˈriʤən, ˈjuzɪŋ ˈæmˌbʊʃ prəˈtɛktɪd ˈviɪkəlz. ðiz ˈviɪkəlz ər dɪˈzaɪnd wɪθ ˈbɑtəmz tɪ dɪˈflɛkt blæsts əˈweɪ frəm ˈsoʊlʤərz ˌɪnˈsaɪd, ɛz wɛl ɛz ə ˈhɛvi məˈʃin gən ɔn tɔp tɪ bit ɔf ˈæmˌbʊʃ əˈtæks. səʧ ˈviɪkəlz wər ˈɔfən juzd baɪ əˈmɛrɪkən ənd ˈæˌlaɪd ˈfɔrsɪz əˈgɛnst ˌɪnˈsərʤənts ɪn boʊθ æfˈgænəˌstæn. ˈkɑmbæt ˈɛnʤəˈnɪrz ər ˈɔlsoʊ rɪˈstɔrɪŋ ðə ˈwɔrən leɪk brɪʤ ɪn ðə keɪp ˈbrɛtən ˈhaɪləndz ˈnæʃənəl pɑrk ənd dɪˈplɔɪɪŋ ˈhɛvi ɪkˈwɪpmənt tɪ ˈrɛnəˌveɪt ə sˈnoʊmoʊˌbil treɪl ɪn rɛk koʊv. ðə ˈkɑmbæt ˈdaɪvɪŋ tim ɪz kənˈdəktɪŋ ʤɔɪnt ˈtreɪnɪŋ wɪθ ðə rɔɪəl kəˈneɪdiən navy’s*, flit ˈdaɪvɪŋ ˈjunɪt (əˈtlæntɪk) æt ðə kəˈneɪdiən koʊst gɑrd ˈkɑlɪʤ ɪn westmount*. waɪl ˈrɛkriˌeɪtɪŋ kənˈdɪʃənz ɪn wɔr zoʊnz ɪz ˈnɪrli ˌɪmˈpɑsəbəl, ˈkɔtən fɛlt ɪt wɑz ˌɪmˈpɔrtənt fər hɪz ˈrɛʤəmənt tɪ liv ðɛr hoʊm beɪs æt ənd ɪnˈgeɪʤ wɪθ ðə ˈloʊkəl kəmˈjunɪti tɪ pʊʃ ðɛmˈsɛlvz ənd tɛst ðɛr ˈrɛdinəs. ər ˈsərtən θɪŋz ðət wi kən du tɪ ˈʧælənʤ ɑrˈsɛlvz tɪ lərn səm əv ðə seɪm ˈlɛsənz ðət wi wʊd bi ˈfeɪsɪŋ ˈoʊvərˈsiz ənd wən əv ðə θɪŋz ðət wi kən ˈʧælənʤ ɑrˈsɛlvz wɪθ ɪz tɪ pɪk ɑrˈsɛlvz əp aʊt əv ɑr ˈnɔrməl ˈkəmfərt zone.”*.” ˈɛksərˌsaɪz ˈsæpər 2017 rənz frəm noʊv. 1 tɪ 24
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a force of 500 soldiers from the 4 engineer support regiment is carrying out a major restoration on the fortress of louisbourg national historic site in cape breton starting monday as part of exercise nihilo sapper 2017.
the troops out of gagetown will be restoring the siege corridor, the historic pathway used by british soldiers to attack the french fortress in the 1700s, as well as building a bridge over nearby freshwater brook with help from parks canada archaeologists.
combat engineers are also repairing the st. alphonse church in victoria mines, including a roof replacement, together with the local stone church restoration society.
construction of roads and critical infrastructure are part of the responsibilities the regiment has within the military. the louisbourg siege trail and the stone church restorations allow the soldiers to practice these skills, explained lieutenant-colonel chris cotton.
however, they will not only learn and practice their skills on these historical restorations. as combat engineers they must be also ready to do this in a wartime setting. for those in cape breton, they will work as if they are in hostile territory infested with roadside bombs and under the threat of attack.
this is in keeping with 4 engineer support regiment’s traditional role, which is building facilities such as camps and roads to support canadian military operations, from fighting insurgents abroad to providing disaster relief at home.
before deploying in louisbourg and elsewhere, soldiers built a 500-person camp near sydney’s open hearth park, complete with heated tents housing sleeping quarters, showers, a kitchen and a mess hall, medical tent, command post and a vehicle refueling post.
soldiers have also built smaller forward operating bases in off-site training areas around cape breton, as they would on foreign deployments.
the camp was surrounded by razor wire fencing and concrete revetments manned by soldiers to keep intruders out.
the sydney camp was built just months after the regiment constructed a similar base in latvia to house a canadian-led nato force, deployed to help defend that country against a possible russian attack.
cotton said that when deploying in the field, the army had three options: build its own facilities or use existing military or civilian buildings.
“the second two options often requires us to refurbish them up to canadian standards or to whatever we need for that particular operation, so taking an existing building and doing some refurbishment work to it is exactly within our [role] as a general engineer support regiment,” said cotton.
troops taking part in nihilo sapper are also practising how to detect and defuse improvised explosive devices in the blue mountain region, using mine-resistant ambush protected vehicles.
these armoured vehicles are designed with v-shaped bottoms to deflect ied blasts away from soldiers inside, as well as a heavy machine gun on top to beat off ambush attacks. such vehicles were often used by american and allied forces against insurgents in both afghanistan.
combat engineers are also restoring the warren lake bridge in the cape breton highlands national park and deploying heavy equipment to renovate a snowmobile trail in wreck cove.
the regiment’s combat diving team is conducting joint training with the royal canadian navy’s, fleet diving unit (atlantic) at the canadian coast guard college in westmount.
while recreating conditions in war zones is nearly impossible, cotton felt it was important for his regiment to leave their home base at gagetown and engage with the local community to push themselves and test their readiness.
“there are certain things that we can do to challenge ourselves to learn some of the same lessons that we would be facing overseas and one of the things that we can challenge ourselves with is to pick ourselves up out of our normal comfort zone.”
exercise nihilo sapper 2017 runs from nov. 1 to 24.
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ən ˈæktɪvɪst, huz ˈbrəðər wɑz kɪld ɪn ˈfaɪtɪŋ ˈsɛvərəl mənθs əˈgoʊ, lidz ə fˈjunərəl prəˈsɛʃən ɪn ˌrɛvəˈluʃəˌnɛri ʧænts ɪn yabroud*, ˈsɪriə ɔn ˌʤuˈlaɪ 7 2012 ðə fˈjunərəl wɑz fər ə ˈrɛbəl ˈfaɪtər frəm hɑmz hu wɑz ɪˈvækjəˌweɪtɪd tɪ ðə ˈhɑˌspɪtəl hir bət ˈəltəmətli səˈkəmd tɪ hɪz wundz. (ˈɔstən ðə ˈwɔʃɪŋtən poʊst) ðə flæg əv ðə ˌrɛvəˈluʃən flaɪz haɪ əˈbəv ðɪs ˈprɑspərəs taʊn ɪn ˌsaʊθˈwɛstərn ˈsɪriə. iʧ wik, ˈθaʊzənz teɪk tɪ ðə strits tɪ ˈdɛmənˌstreɪt ˈpisfəli. ˈrɛbəlz roʊm ˈfrili bət wɪˈθaʊt ˈwɛpənz. ðə ˈgəvərnmənt əv ˈsɪriən ˈprɛzɪdənt bəˈʃɑr həz lɔst kənˈtroʊl əv. bət ənˈlaɪk hɑmz, ˈhɑmə ənd ˈkaʊntləs ˈəðər ˈpleɪsɪz wɛr ˈfɔrsɪz hæv ənˈliʃt fˈjʊriəs əˈsɔlts tɪ kip ðɛr grɪp əˈmɪd ə rɪˈbɛljən, əˈpɪrz tɪ hæv bɪn ˈgɪvɪn əp tɪ ðə ˈrɛbəlz. hir, æt list fər ðə taɪm biɪŋ, ðə ˌrɛvəˈluʃən həz bɪn wən. ənd ɪt wɑz wən wɪˈθaʊt ə faɪt. əˈsaɪd frəm ə brif ˈfɔreɪ ˈɪntu taʊn ɪn leɪt dɪˈsɛmbər, ðə ˈɑrmi həz jɛt tɪ əˈtɛmpt tɪ ˈɑkjəˌpaɪ. keɪm hir fər ə fju deɪz, bət ðɛn ðeɪ ˈsɪmpli lɛft. ðɛr wɑz noʊ sɪgˈnɪfɪkənt battle,”*,” sɛd ˈæbu moʊˈhæmɪd, ən ˈæktɪvɪst hu æst ðət hɪz fʊl neɪm nɑt bi juzd. ðə rɪˈzəlt ɪz ən oʊˈeɪsɪs əv kɑm əˈmɪd ə ˈkɑnflɪkt ðət ðə ˌɪnərˈnæʃənɑl kəˈmɪti əv ðə rɛd krɔs ˈfɔrməli dɪˈklɛrd ə ˈsɪvəl wɔr ɔn ˈsənˌdi, wən ðət həz kleɪmd æt list lɪvz. ɪt ɪz ə pleɪs ðət spiks tɪ ðə ˈlɪmɪts əv paʊər tɪ kənˈtroʊl ðɪs ˈneɪʃənˈwaɪd rɪˈbɛljən, ɛz wɛl ɛz ðə hoʊps əv ˈæktɪvɪsts hu bɪˈliv ðə ˈəˌpraɪzɪŋ kən əˈʧiv ɪts goʊlz wɪˈθaʊt ˈdrægɪŋ ðə ˈkəntri ˈivɪn ˈdipər ˈɪntu straɪf. aɪˈdɪlɪk fɑrmz ənd ˈbəsəlɪŋ ˈərbən laɪf stænd ɪn stɑrk ˈkɑntræst tɪ məʧ əv ðə rɛst əv ðə ˈkəntri, wɛr wɔr həz bɪˈkəm ə ˈdeɪli ˌriˈæləˌti. ˈsɪksti maɪəlz tɪ ðə nɔrθ, ðə ˈsɪti əv hɑmz həz bɪn ðə saɪt əv səm əv ðə ˈfɪrsəst ˈfaɪtɪŋ, ˈlivɪŋ ɪnˈtaɪər ˈneɪbərˌhʊdz dɪˈstrɔɪd baɪ tæŋk ənd ɑrˈtɪləri faɪər. ðə dəˈmæskəs ˈsəbərb əv ˈdoʊmə, 30 maɪəlz tɪ ðə saʊθ, həz bɪˈkəm ə flæʃ pɔɪnt ɪn ðə ˈbætəl tɪ kənˈtroʊl ðə ˈkæpɪtəl. ɪn ˈɛriəz ðət fɔl ˈəndər ðə rebels’*’ sweɪ, ðə ˈpætərn əv ˈfɔrsɪz həz bɪn tɪ stɔrm ðə taʊn, ɪkˈspɛl ˈfaɪtərz ənd goʊ dɔr tɪ dɔr, ˈteɪkɪŋ riˈvɛnʤ. bət nɑt ɪn æt list nɑt jɛt. ɪz simple,”*,” sɛd ə ˈloʊkəl ˈrɛbəl kəˈmændər, ə dɪˈfɛktɪd ɑrˈtɪləri luˈtɛnənt frəm ðə ˈsɪriən ˈɑrmi. ˈɑrmi ɪz ˈfaɪtɪŋ ɪn hɑmz ənd ɪn dəˈmæskəs. ðeɪ du nɑt hæv ðə strɛŋθ tɪ ˈɔlsoʊ faɪt ɪn yabrud.”*.” ðə ˈrɛbəlz wɔnt ə faɪt hir, ˈiðər, ənd hæv gɔn tɪ greɪt lɛŋθs tɪ əˈvɔɪd wən. ˈæbu moʊˈhæmɪd, ðə ˈæktɪvɪst, ˈkrɛdɪts kɑm tɪ ə mɔr riˈstreɪnd əˈproʊʧ tɪ ˌrɛvəˈluʃən ðən ðət dɪˈspleɪd baɪ ˈəðər ˈsɪriən ˈsɪtiz. wɪn ə mɪˈlɪʃə noʊn ɛz ðə həz ˌpiriˈɑdɪkəli kɔzd ˈtrəbəl ɪn, ðə rɪˈspɑns həz bɪn dɪˈlɪbərətli mˈjutɪd. broʊk ˈɪntu ˈmɛni ˈhaʊsɪz, maɪ haʊs, ˈstilɪŋ ənd ˈbreɪkɪŋ θɪŋz. wi dɪd nɑt riækt strongly,”*,” hi sɛd. dɪd nɑt wɔnt tɪ brɪŋ ðə wɔr here.”*.” wɪn ə ˈprɑmənənt ˈæktɪvɪst wɑz ərˈɛstɪd tu mənθs əˈgoʊ, ðə ˈrɛbəl fri ˈsɪriən ˈɑrmi, noʊn ɛz ðə, rɪˈspɑndɪd baɪ ˈkɪdˌnæpɪŋ ə sən ənd kˈwaɪətli nɪˈgoʊʃiˌeɪtɪd ə ˈprɪzənər ɪksˈʧeɪnʤ. ˈfɔrsɪz du nɑt ˈoʊpənli ˈkɛri ˈwɛpənz wɪˈθɪn, ˈoʊnli æt ðə ˈrɛbəl ˈʧɛkˌpɔɪnts ðət rɪŋ ðə taʊn. wɔnt tɪ ˈəpˌsɛt ðə ˈpipəl ɪn ðə taʊn, meɪk ðɛm afraid,”*,” ˈæbu moʊˈhæmɪd sɛd. hir ɪn ɪz normal.”*.” (ðə ˈwɔʃɪŋtən poʊst) ɪz ə ˈwɛlθi taʊn. moʊst ˈfæməliz hæv æt list wən ˈmɛmbər ˈwərkɪŋ əˈbrɔd ɪn ðə ˈpərʒən gəlf, ˈɔfən ɛz ən ˈɛnʤəˈnɪr. ˈpɔrʃɪz ənd ˌmərˈseɪˌdizɪz roʊl θru ðə strits. ˈmɛni ˈsɪtɪzənz ˈrɛgjələrli ˈtrævəl tɪ dəˈmæskəs fər skul ər ˈbɪznɪs. ɛz ə rɪˈzəlt, ˈæktɪvɪsts ənd ˈrɛbəl ˈɑrmi ˈmɛmbərz hir ər ˈkɔʃəs. ˈmɛni wɛr mæsks. ˈəðərz æsk ðət ðɛr ˈfeɪsɪz nɑt bi ʃoʊn ɪn ˈfoʊtəˌgræfs. hæv hæd lɛs dɪˈstrəkʃən hir bɪˈkəz wi hæv bɪn mɔr discreet,”*,” ˈæbu moʊˈhæmɪd sɛd. ˈɪnstəns, ðɛr ɪz stɪl ə ˈgəvərnmənt pəˈlis ˈsteɪʃən hir. ɔl əv ɑr ˈsɪvəl ˈrɛkərdz ər kɛpt ðɛr. wi ˈbɑðər ðɛm, ənd ðeɪ ˈbɑðər us.”*.” bət ðɛr ɪz ˈnəθɪŋ dɪˈskrit əˈbaʊt ðə ˌrɛvəˈluʃəˌnɛri flæg flaɪɪŋ frəm ə ˈsɛlfoʊn taʊər əˈtɑp ə hɪl əˈbəv taʊn, ər ðə ˈwikli ˌdɛmənˈstreɪʃənz ɔn ˈfraɪˌdeɪz ðət drɔ ˈθaʊzənz. ˈɪntrəkət ˌrɛvəˈluʃəˌnɛri ˈɑrtˌwərk ˈkəvərz ðə ˈkɔrˌtjɑrd wɔlz əv moʊst ˈpəblɪk ˈbɪldɪŋz, ənd ə ˈskəlpʧər əv ðə ˈɛmbləm sɪts ɔn ə ˈpɛdəstəl ɪn ðə taʊn ˈsɛnər. pɑrt əv ðə kɑm meɪ bi du tɪ ɪts ʤiˈɑgrəfi. ˈnɛsəld ɪn ə ˈnɛroʊ ˈvæli, ðə haɪ sərˈaʊndɪŋ hɪlz prɪˈvɛnt ðə juz əv dɪˈrɛkt faɪər, ə ˈkɑmən ˈgəvərnmənt ˈmɛθəd fər səˈprɛsɪŋ ˈrɛbəl ækˈtɪvɪti. bət fɔrˈgoʊɪŋ ə faɪt ɪn ˈɔlsoʊ prəˈvaɪdz ˈtæktɪkəl ædˈvæntɪʤɪz tɪ boʊθ saɪdz. fər ðə ˈrɛbəlz, ˈɔfərz ə ˈtrɔmə ˈsɛnər ðət kən trit ˈfaɪtərz ˈwundɪd ɪn ˈnɪrˈbaɪ hɑmz hu ˈəðərˌwaɪz wʊd nɑt sərˈvaɪv. ˌæmjəˈnɪʃən ənd ˈəðər məˌtɪriˈɛl frəm ˈnɪrˈbaɪ ˈlɛbənən floʊz θru ðə taʊn ənd saʊθ tɪ dəˈmæskəs. ðə ˈgəvərnmənt, ˈminˌwaɪl, gɪts ə ˈseɪfti vælv fər ɪts groʊɪŋ ˌjuˌmænəˈtɛriən ˈkraɪsəs. ˈɛstəˌmeɪtɪd ˌpɑpjəˈleɪʃən əv ɪz θɔt tɪ hæv ˈnɪrli ˈdəbəld ɛz ə rɪˈzəlt əv dɪˈspleɪst ˈsɪriənz hu hæv flɛd frəm ˈvaɪələns ɪn hɑmz, ənd ˈəðər flæʃ pɔɪnts. θri əv ðə ˈpəblɪk skulz sərv ɛz æd hɑk ˈrɛfjuʤi kæmps. ˈmɛni ˈʃɛltər ˈrɛfˌjuʤiz ɪn ðɛr hoʊmz ər əˈlaʊ ðɛm tɪ juz ðə ˈaʊˌtlaɪɪŋ fɑrmz. ðə ˈgəvərnmənt dɪˈraɪvz əˈnəðər ædˈvæntɪʤ frəm ˌɪgˈnɔrɪŋ. ðə taʊn laɪz nɪr ðə meɪn ˈhaɪˌweɪ ˈrənɪŋ frəm dəˈmæskəs θru hɑmz ənd ɔn tɪ ɪn ðə nɔrθ. ðə roʊd ɪz ə ˈvaɪtəl ˈgəvərnmənt səˈplaɪ laɪn. baɪ steɪɪŋ aʊt əv, ðə ˈɑrmi həz əˈvɔɪdɪd ðə ˈimərʤəns hir əv ə ˈdɛdəkeɪtəd ənd ˈkɑmpətɪnt ˈrɛbəl ˈfaɪtɪŋ fɔrs, səʧ ɛz ðə ənd brɪˈgeɪd ðət ˈɑpərˌeɪts ɪn hɑmz ənd ˌɪnˈkrisɪŋgli ɪn dəˈmæskəs. moʊst əv ðə ɪn kənˈsɪsts əv ənˈtreɪnd səˈvɪljənz ˈrəðər ðən dɪˈfɛktɪd ˈsɪriən ˈsoʊlʤərz. ənd ˌɔlˈðoʊ ðeɪ ɔˈkeɪʒənəˌli əˈtɛmpt tɪ ˈæmˌbʊʃ ˈgəvərnmənt ˈkɑnˌvɔɪz ˈtrævəlɪŋ ðə ˈhaɪˌweɪ, səʧ əˈtæks ər ˈlɪmɪtɪd, rɛr ənd dɪˈlɪbərətli steɪʤd æt list 12 maɪəlz ˈfɑrðər saʊθ. ðə ˈtritmənt əv meɪ ˈɔlsoʊ bi ðə rɪˈzəlt əv ə ˈkɛrfəl pəˈlɪtɪkəl ˌkælkjəˈleɪʃən. ðə taʊn ɪz hoʊm tɪ ən ˈɛstəˌmeɪtɪd ˈkrɪsʧɪnz, ər 6 pərˈsɛnt əv ðə ˌpɑpjəˈleɪʃən. ɪts meɪn ʧərʧ, ðə ʧərʧ əv ˈkɑnstənˌtin ənd ˈhɛlən, wɑz bɪlt ɛz ə ˈroʊmən ˈtɛmpəl tɪ ˈʤupɪtər. ˈkrɪsʧɪnz ənd ˈməzlɪmz ˌɪntərˈmɪŋgəl ˈfrili, ənd riˈleɪʃənz bɪtˈwin ˈfɑloʊərz əv ðə tu riˈlɪʤənz ər wɔrm. ˈneɪʃənˈwaɪd, ðə ˈgəvərnmənt həz əˈtɛmptəd tɪ ˌɛkˈsplɔɪt ˌæprɪˈhɛnʃənz əˈməŋ ˈkrɪsʧɪnz əˈbaʊt ðɛr məˈnɔrəti ˈstætəs ɪn ə ˈsɪriə. ˈrɛzɪdənts ˈspɛkjəˌleɪt ðət həz bɪn ˈbaɪˌpæst baɪ ðə ˈgəvərnmənt tɪ ˈboʊlstər ðət ˈnɛrətɪv ənd dɪˈskərɪʤ mɔr ˈkrɪsʧɪn ˌɪnˈvɑlvmənt ɪn ðə rɪˈbɛljən. rəˈʒim wɔnts ˈjuˈɛs tɪ fɪr ˈməzlɪmz, bət aɪ fɪr maɪ brothers,”*,” sɛd wən ˈkrɪsʧɪn ˈrɛzɪdənt hu geɪv hɪz neɪm ɛz ˈʤəstɪn. ɔn ðə ˈaʊtˌskərts əv ðə taʊn wən ˈrisənt ˈivnɪŋ, ðə mˈjuzɪk əv ənd drəmz ˈwɑftɪd θru ðə kul ɛr. ɪn ə smɔl ˈfɑrmˌhaʊs, ə bænd əv mjuˈzɪʃənz ˈlɪŋgərd wɛl ˈɪntu ðə ˈmɔrnɪŋ aʊərz, pleɪɪŋ ənd ˈdrɪŋkɪŋ arak*, ðə ˈærəb ˈvərʒən əv ˌsæmˈbjukə. ə ˈmændəˌlɪn pleɪər ˌvɑlənˈtɪrd hɪz hoʊp fər ðə fˈjuʧər. naʊ, ðə rəˈʒim meɪks ðə ˈpipəl pur, soʊ ðeɪ wərk ˈoʊnli fər ˈməni. soʊ ɑrt dɪz nɑt flərɪʃ now,”*,” hi sɛd. ˈæftər ðə ˌrɛvəˈluʃən, ɑr maɪndz wɪl fri ˈɛvriˌθɪŋ ðət ɪz ˌɪnˈsaɪd əv us.”*.” bət ˈdraɪvɪŋ hoʊm ˈleɪtər ɪn ðə ˈdɑrknəs, ˈæbu moʊˈhɑmɛd simd ˈtrəbəld. hæv ðɪs ˈfilɪŋ, laɪk ðə ˈɑrmi wɪl kəm hir ɪn ðə nɛkst fju deɪz. aɪ hæv nɑt fɛlt ðɪs weɪ before.”*.” hi droʊv ɔn fər ə lɔŋ, ˈsaɪlənt ˈmoʊmənt. hoʊp ɪt ɪz nothing.”*.”
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an activist, whose brother was killed in fighting several months ago, leads a funeral procession in revolutionary chants in yabroud, syria on july 7, 2012. the funeral was for a rebel fighter from homs who was evacuated to the hospital here but ultimately succumbed to his wounds. (austin tice/for the washington post)
the flag of the revolution flies high above this prosperous town in southwestern syria. each week, thousands take to the streets to demonstrate peacefully. rebels roam freely but without weapons.
the government of syrian president bashar al-assad has lost control of yabrud. but unlike homs, hama and countless other places where pro-assad forces have unleashed furious assaults to keep their grip amid a 16-month-long rebellion, yabrud appears to have been given up to the rebels. here, at least for the time being, the revolution has been won. and it was won without a fight.
aside from a brief foray into town in late december, the army has yet to attempt to occupy yabrud. “they came here for a few days, but then they simply left. there was no significant battle,” said abu mohammed, an anti-government activist who asked that his full name not be used.
the result is an oasis of calm amid a conflict that the international committee of the red cross formally declared a civil war on sunday, one that has claimed at least 14,000 lives. it is a place that speaks to the limits of assad’s power to control this nationwide rebellion, as well as the hopes of activists who believe the uprising can achieve its goals without dragging the country even deeper into strife.
yabrud’s idyllic farms and bustling urban life stand in stark contrast to much of the rest of the country, where war has become a daily reality. sixty miles to the north, the city of homs has been the site of some of the fiercest fighting, leaving entire neighborhoods destroyed by tank and artillery fire. the damascus suburb of douma, 30 miles to the south, has become a flash point in the battle to control the capital.
in areas that fall under the rebels’ sway, the pattern of pro-assad forces has been to storm the town, expel anti-government fighters and go door to door, taking revenge. but not in yabrud at least not yet.
“it is simple,” said a local rebel commander, a defected artillery lieutenant from the syrian army. “the army is fighting in homs and in damascus. they do not have the strength to also fight in yabrud.”
the rebels don’t want a fight here, either, and have gone to great lengths to avoid one.
abu mohammed, the activist, credits yabrud’s calm to a more restrained approach to revolution than that displayed by other syrian cities. when a pro-government militia known as the shabiha has periodically caused trouble in yabrud, the response has been deliberately muted.
“they broke into many houses, my father’s house, stealing and breaking things. we did not react strongly,” he said. “we did not want to bring the war here.”
when a prominent yabrud-based activist was arrested two months ago, the rebel free syrian army, known as the fsa, responded by kidnapping a general’s son and quietly negotiated a prisoner exchange.
fsa forces do not openly carry weapons within yabrud, only at the rebel checkpoints that ring the town. “we didn’t want to upset the people in the town, make them afraid,” abu mohammed said. “life here in yabrud is normal.”
(the washington post)
yabrud is a wealthy town. most families have at least one member working abroad in the persian gulf, often as an engineer. porsches and mercedeses roll through the streets. many citizens regularly travel to damascus for school or business.
as a result, activists and rebel army members here are cautious. many wear masks. others ask that their faces not be shown in photographs. “we have had less destruction here because we have been more discreet,” abu mohammed said. “for instance, there is still a government police station here. all of our civil records are kept there. we don’t bother them, and they don’t bother us.”
but there is nothing discreet about the 40-foot revolutionary flag flying from a cellphone tower atop a hill above town, or the weekly demonstrations on fridays that draw thousands. intricate revolutionary artwork covers the courtyard walls of most public buildings, and a sculpture of the fsa emblem sits on a pedestal in the town center.
part of the town’s calm may be due to its geography. nestled in a narrow valley, the high surrounding hills prevent the use of direct tank-cannon fire, a common government method for suppressing rebel activity.
but forgoing a fight in yabrud also provides tactical advantages to both sides.
for the rebels, yabrud offers a trauma center that can treat fighters wounded in nearby homs who otherwise would not survive. ammunition and other materiel from nearby lebanon flows through the town and south to damascus.
the government, meanwhile, gets a safety valve for its growing humanitarian crisis. yabrud’s estimated pre-rebellion population of 50,000 is thought to have nearly doubled as a result of displaced syrians who have fled from violence in homs, qusair and other flash points. three of the town’s public schools serve as ad hoc refugee camps. many yabrudis shelter refugees in their homes or allow them to use the town’s outlying farms.
the government derives another advantage from ignoring yabrud. the town lies near the main highway running from damascus through homs and on to aleppo in the country’s north. the road is a vital government supply line. by staying out of yabrud, the army has avoided the emergence here of a dedicated and competent rebel fighting force, such as the well-organized and well-funded farouq brigade that operates in homs and increasingly in damascus.
most of the fsa in yabrud consists of untrained civilians rather than defected syrian soldiers. and although they occasionally attempt to ambush government convoys traveling the highway, such attacks are limited, rare and deliberately staged at least 12 miles farther south.
the government’s treatment of yabrud may also be the result of a careful political calculation. the town is home to an estimated 3,000 christians, or 6 percent of the pre-rebellion population. its main church, the church of constantine and helen, was built as a roman temple to jupiter. christians and muslims intermingle freely, and relations between followers of the two religions are warm.
nationwide, the government has attempted to exploit apprehensions among christians about their minority status in a muslim-dominated post-assad syria. residents speculate that yabrud has been bypassed by the government to bolster that narrative and discourage more christian involvement in the rebellion.
“the regime wants us to fear muslims, but i don’t fear my brothers,” said one christian resident who gave his name as justin.
on the outskirts of the town one recent evening, the music of mandolins and drums wafted through the cool air. in a small farmhouse, a band of musicians lingered well into the morning hours, playing and drinking arak, the arab version of sambuca.
a mandolin player volunteered his hope for the future. “right now, the regime makes the people poor, so they work only for money. so art does not flourish now,” he said. “but after the revolution, our minds will free everything that is inside of us.”
but driving home later in the darkness, abu mohammad seemed troubled.
“i have this feeling, like the army will come here in the next few days. i have not felt this way before.” he drove on for a long, silent moment. “i hope it is nothing.”
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ɪts əˈfɪʃəl: ruˈbɛlə, ə dɪˈziz ðət kən bi ˈdɛdli fər ˈfitəsɪz, həz bɪn ɪˈlɪməˌneɪtɪd frəm ðə əˈmɛrɪkəz. ðə nuz wɑz əˈnaʊnst təˈdeɪ baɪ ə ˌsaɪənˈtɪfɪk ˈpænəl kənˈvind baɪ ˈgloʊbəl hɛlθ əˈθɔrətiz, rɪˈpɔrts ðə nu jɔrk taɪmz. ðə əˈmɛrɪkəz ɪz ðə fərst wərld hɛlθ ˌɔrgənəˈzeɪʃən ˈriʤən tɪ ɪˈlɪməˌneɪt ðə dɪˈziz. ˈʧɪldrən bɔrn wɪθ bərθ ˈdifɛkts əˈsoʊʃiˌeɪtəd wɪθ ruˈbɛlə ˈɛvəri jɪr ˈsəmˌtaɪmz rɪˈfərd tɪ ɛz ðə ˈʤərmən ˈmizəlz, ruˈbɛlə ɪz ə kənˈteɪʤəs ˈvaɪrəl ˌɪnˈfɛkʃən ðət ɪz bɛst noʊn fər ˈkɔzɪŋ ə rɛd ræʃ ənd ə ˈfivər. ɪts ˈifɛkts kən bi fɑr mɔr dɪˈstrəktɪv, ˌhaʊˈɛvər. ɪn 1964 ənd 1965 ən ˌɛpɪˈdɛmɪk ɪn ðə ˈjuˈɛs rɪˈzəltɪd ɪn ˈmɪljən ˈkeɪsɪz əv ruˈbɛlə. ˈdʊrɪŋ ðət taɪm, əˈprɑksəmətli ˈfitəsɪz wər bɔrn wɪθ ˈdifɛkts. əˈnəðər ˈfitəsɪz wər ər əˈbɔrtɪd. ˈθæŋkfəli, ə lɔt həz ʧeɪnʤd sɪns ðɛn; ðə læst noʊn keɪs əv ruˈbɛlə ɪn ðə əˈmɛrɪkəz wɑz kənˈfərmd ɪn 2009 ɪn ˌɑrʤənˈtinə. dɪˈzizɪz hæv bɪn ɪˈlɪməˌneɪtɪd frəm ðə əˈmɛrɪkəz ˌbiˈfɔr. ɪn 1971 ən əˈnaʊnsmɛnt wɑz meɪd ðət sˈmɔlˌpɑks hæd bɪn ɪˈlɪməˌneɪtɪd. ə ˈlɪtəl ˈoʊvər 20 jɪrz ˈleɪtər, ˈpoʊliˌoʊ ˈfɑloʊd sut. təˈdeɪ, sˈmɔlˌpɑks həz bɪn ɪˈlɪməˌneɪtɪd frəm ˈɛvəri ˈriʤən əv ðə ərθ. ˈpoʊliˌoʊ, ˌhaʊˈɛvər, həz riˈsərfəst ə ˈnəmbər əv taɪmz ˈnoʊtəbli ɪn ˈpækɪˌstæn. dɪˈspaɪt ˈtudeɪz ˈmaɪlˌstoʊn, əˈbaʊt ˈʧɪldrən əraʊnd ðə wərld ər bɔrn wɪθ bərθ ˈdifɛkts əˈsoʊʃiˌeɪtəd wɪθ ruˈbɛlə ˈɛvəri jɪr. ðɛr ɪz noʊ kjʊr fər ruˈbɛlə, bət ɪt kən bi prɪˈvɛnɪd θæŋks tɪ ə ˌvækˈsin, kɔld mmr*, wɪʧ ˈɔlsoʊ prəˈtɛkts əˈgɛnst ðə ˈmizəlz ənd ðə məmps. "ˌɔlˈðoʊ ɪt həz ˈteɪkən səm 15 jɪrz, ðə faɪt əˈgɛnst ruˈbɛlə həz peɪd ɔf," kɑˈrisə ˈɛtiɛn, dɪˈrɛktər əv ðə pæn əˈmɛrɪkən hɛlθ ˌɔrgənəˈzeɪʃən, toʊld ðə nu jɔrk taɪmz. "naʊ, wɪθ ruˈbɛlə ˈəndər ɑr bɛlt, wi nid tɪ roʊl əp ɑr slivz ənd ˈfɪnɪʃ ðə ʤɑb əv ɪˈlɪməˌneɪtɪŋ ˈmizəlz, ɛz wɛl." ˈmizəlz ˈkeɪsɪz hæv bɪn ˈmeɪkɪŋ ə ˈkəmˌbæk ɪn ðə ˈjuˈɛs ˈrisəntli, ˈlɑrʤli bɪˈkəz əv ˈpipəl hu ˈrɛfˌjuz tɪ ˈvæksəneɪt ðɛr ˈʧɪldrən. ə ˈrisənt ˈaʊtˌbreɪk əv ˈmizəlz lɪŋkt tɪ ə ˈdɪzniˌlænd ˈvɪzɪtər rɪˈzəltɪd ɪn 130 ˈkeɪsɪz əv ˈmizəlz ɪn ˌkæləˈfɔrnjə əˈloʊn.
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it's official: rubella, a disease that can be deadly for fetuses, has been eliminated from the americas. the news was announced today by a scientific panel convened by global health authorities, reports the new york times. the americas is the first world health organization region to eliminate the disease.
120,000 children born with birth defects associated with rubella every year
sometimes referred to as the german measles, rubella is a contagious viral infection that is best known for causing a red rash and a fever. its effects can be far more destructive, however. in 1964 and 1965, an epidemic in the us resulted in 12.5 million cases of rubella. during that time, approximately 20,000 fetuses were born with rubella-associated defects. another 11,000 fetuses were miscarried or aborted. thankfully, a lot has changed since then; the last known case of rubella in the americas was confirmed in 2009, in argentina.
diseases have been eliminated from the americas before. in 1971, an announcement was made that smallpox had been eliminated. a little over 20 years later, polio followed suit. today, smallpox has been eliminated from every region of the earth. polio, however, has resurfaced a number of times — notably in pakistan. despite today's milestone, about 120,000 children around the world are born with birth defects associated with rubella every year. there is no cure for rubella, but it can be prevented thanks to a vaccine, called mmr, which also protects against the measles and the mumps.
"although it has taken some 15 years, the fight against rubella has paid off," carissa etienne, director of the pan american health organization, told the new york times. "now, with rubella under our belt, we need to roll up our sleeves and finish the job of eliminating measles, as well." measles cases have been making a comeback in the us recently, largely because of people who refuse to vaccinate their children. a recent outbreak of measles linked to a disneyland visitor resulted in 130 cases of measles in california alone.
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13 ˈrizənz waɪ nɑt: ˈmɪʃɪgən tinz tɔk ˈɑnəstli əˈbaʊt ˈsuɪˌsaɪd ðə ˈpɑpjələr ʃoʊ 13 ˈrizənz waɪ ɪz əˈbaʊt ə tin hu kəˈmɪts ˈsuɪˌsaɪd. juθ ˈreɪdiˌoʊ brɪŋz ˈjuˈɛs ðə ˈstɔri əv wən ˈmɪʃɪgən haɪ skulz ˈprɑʤɛkt kɔld 13 ˈrizənz waɪ nɑt. ɪt ˈfiʧərz 13 ˈstɔriz əv ˈstudənts ˈoʊvərˌkəmɪŋ ðɛr ˈstrəgəlz. ˈɑri ʃəˈpɪroʊ, hoʊst: ðə ˌkɑntrəˈvərʃəl ˈsɪriz 13 ˈrizənz waɪ" ˈdræməˌtaɪzɪz ə ˈsuɪˌsaɪd. (ˈsaʊndˌbaɪt əv ˌtɛləˈvɪʒən ʃoʊ, 13 ˈrizənz waɪ") ˈkæθərɪn ˈlæŋfərd: (ɛz ˈhænə ˈbeɪkər) heɪ, ɪts ˈhænə. ˈhænə ˈbeɪkər. ʃəˈpɪroʊ: θru ə ˈsɪriz əv 13 ˈɑdiˌoʊ rɪˈkɔrdɪŋz, vjuərz lərn əˈbaʊt waɪ ˈbeɪkər ʧoʊz tɪ ɛnd hər laɪf ənd ðə ˈklæsˌmeɪts ʃi bleɪmz fər hər ˈdaʊnˌfɔl. ɪn rɪˈspɑns, wən haɪ skul ɪn ˈɑksfərd, mɪʧ., lɔnʧt ə ˈprɑʤɛkt tɪ ðə ˈpɑpjələr ʃoʊ. ˈraɪli: heɪ, ɪts ˈraɪli. ˈraɪli. ʃəˈpɪroʊ: ˈθərˈtin ˈstudənts frəm ˈɑksfərd haɪ skul roʊt ənd rɪˈkɔrdɪd ˈpərsɪnəl ˈstɔriz. ðə skul pleɪd ðɛm ˈdʊrɪŋ ðə ˈmɔrnɪŋ əˈnaʊnsmɛnts. ðə rɪˈkɔrdɪŋz ˈæˌdrɛs ˈmɛni əv ðə seɪm ˈɪʃuz brɔt əp ɪn ðə ˈsɪriz. ðə tu ˈivɪn saʊnd ˈsɪmələr. (ˈsaʊndˌbaɪt əv ˌtɛləˈvɪʒən ʃoʊ, 13 ˈrizənz waɪ") ˈlæŋfərd: (ɛz ˈhænə ˈbeɪkər) gɪt ə snæk...: ˈsɛtəl ɪn... (ˈsaʊndˌbaɪt əv ˌtɛləˈvɪʒən ʃoʊ, 13 ˈrizənz waɪ") ˈlæŋfərd: (ɛz ˈhænə ˈbeɪkər) bɪˈkəz əm əˈbaʊt tɪ tɛl ju...: ðə ˈstɔri əv maɪ laɪf. ʃəˈpɪroʊ: juθ ˈreɪdiˌoʊz vəˈlɛnsiə waɪt rɪˈpɔrts ɔn ðə ˈsuɪˌsaɪd priˈvɛnʃən ˈprɑʤɛkt kɔld 13 ˈrizənz waɪ nɑt. vəˈlɛnsiə waɪt: fər pæm faɪn, din əv ˈstudənts æt ˈɑksfərd haɪ skul, hər ˈkrɪtɪˌsɪzəmz əv ðə ˌtɛləˈvɪʒən ʃoʊ 13 ˈrizənz waɪ" stɑrt wɪθ ðə ˈtaɪtəl. pæm faɪn: ɪt ʤɪst saʊnz ɛz ɪf ðɛrz ə ˈrizən waɪ. ðɛrz noʊ ˈrizən, ðɛrz ˈnɛvər ə ˈrizən, ðɛrz nɑt ə ˈmɪljən ˈrizənz. waɪt: ˈsuɪˌsaɪd ɪz ə ˈsɛnsɪtɪv ˈtɑpɪk ɔn ˈkæmpəs. tu ˈstudənts frəm ˈɑksfərd haɪ daɪd baɪ ˈsuɪˌsaɪd ɪn ˈrisənt jɪrz. soʊ wɪn 13 ˈrizənz waɪ" wɑz riˈlist ɔn, ˈɛvriˌwən ɔn ˈkæmpəs wɑz ˈtɔkɪŋ əˈbaʊt ɪt. faɪn sɪz ə ˈfækəlti ˈmɛmbər pʊld hər əˈsaɪd tɪ seɪ ðeɪ ˈnidɪd tɪ kəm əp wɪθ səm kaɪnd əv rɪˈspɑns. faɪn: ˈstændɪŋ ðɛr, laɪk raɪt ðɛn, aɪ wɑz laɪk, heɪ, ju noʊ wət wi kʊd traɪ? aɪ θɔt, haʊ du ju 13 ˈrizənz waɪ," wɛr ju bleɪm ˈpipəl, ənd ɪt wʊd bi 13 ˈrizənz waɪ nɑt, wɛr ju θæŋk ˈpipəl fər biɪŋ jʊr hoʊp ənd jʊr ˌɪnspərˈeɪʃən ənd ˈpɑzətɪv ˈfæktər ɪn jʊr laɪf. waɪt: ˈɑksfərd ˈsinjər ˈkeɪlə ˌmænˈzɛlə ɪz wən əv ðə 13 ˈstudənts hu rɪˈkɔrdɪd ˈstɔriz fər ðə ˈprɑʤɛkt. ˌmænˈzɛlə tɔkt əˈbaʊt biɪŋ ˈbʊlid hər ˈfrɛʃmən jɪr ˈæftər ˈʤɔɪnɪŋ ðə ˈvɑliˌbɔl tim. ðɪs ɪz pɑrt əv ðə rɪˈkɔrdɪŋ ðət pleɪd fər ɔl ˈstudənts ˈdʊrɪŋ ðə ˈmɔrnɪŋ əˈnaʊnsmɛnts. (ˈsaʊndˌbaɪt əv rɪˈkɔrdɪŋ) ˈkeɪlə ˌmænˈzɛlə: θɪŋz wər sɛd tɪ mi ðət noʊ wən dɪˈzərvz tɪ hir. aɪ ˈɔlˌweɪz θɔt tɪ ˌmaɪˈsɛlf, waɪ mi? wət kʊd aɪ hæv dən fər ˈsəmˌwən tɪ ˈpɑsəbli heɪt mi soʊ məʧ? wən deɪ æt ˈpræktɪs, aɪ hərd ðə wərst θɪŋ ˈsəmˌwən kʊd ˈɛvər hir waɪ doʊnt ju ʤɪst goʊ kɪl ˈjɔrsɛlf? biɪŋ ðə ˈvəlnərəbəl aɪ wɑz, aɪ θɔt tɪ ˌmaɪˈsɛlf, wʊd ˈɛniˌθɪŋ ˈrɪli ʧeɪnʤ ɪf aɪ ˈwəzənt hir? waɪt: rɪˈkɔrdɪŋ ɛndz wɪθ ə tɪ hər frɛnd, əˈlɛksə, fər ˈhɛlpɪŋ hər gɪt θru ɪt. (ˈsaʊndˌbaɪt əv rɪˈkɔrdɪŋ) ˌmænˈzɛlə: ju meɪ nɑt ˈriəˌlaɪz haʊ bɪg əv ən ˌɪmˈpækt jʊr wərdz hæd ɔn mi. ənd fər ðət, aɪ kʊd ˈsɪmpli ˈnɛvər riˈpeɪ ju. soʊ θæŋk ju, əˈlɛksə, fər biɪŋ ðə braɪt laɪt ɪn maɪ dɑrk taɪm. ju ər wən əv ðə 13 ˈrizənz waɪ nɑt. ˈrɑbərt ˈsigəl, hoʊst: ˈfɛloʊ ˈsinjər ˈdɪlən kɔs rɪˈkɔrdɪd ə ˈmɛsɪʤ əˈbaʊt ˌhoʊməˈfoʊbiə. (ˈsaʊndˌbaɪt əv rɪˈkɔrdɪŋ) ˈdɪlən kɔs: aɪ hərd ðə ʤoʊks əˈbaʊt mi, bət mɔr ˌɪmˈpɔrtəntli, aɪ hir, ðæts geɪ, ju lʊk geɪ əˈbaʊt ˈɛvriˈdeɪ θɪŋz. ðə ˈmɛsɪʤ ɪz ˈɔlˌweɪz ðə seɪm geɪ ɪz bæd. geɪ ˈɪzənt bæd. geɪ ˈɪzənt gʊd. geɪ ɪz ʤɪst hu aɪ æm. waɪt: kɔs sɪz ðə skul ˈhɔlˌweɪz hæv fɛlt ˈdɪfərənt sɪns ðə ˈprɑʤɛkt ˈstɑrtɪd, mɔr səˈpɔrtɪv ənd koʊˈhisɪv, ənd ðət ˈʃɛrɪŋ hɪz ˈpərsɪnəl ˈstɔri həz hɛlpt ɪm, tu. kɔs: ˈlɪsənɪŋ tɪ ˈjɔrsɛlf ɔn ðə pɑ ˈsɪstəm, ɪt wɑz laɪk ə weɪt ˈlɪftɪd ɔf maɪ ˈʃoʊldərz. ˈæftər ˈhirɪŋ ðət, aɪ wɪl ˈnɛvər fərˈgɛt ðət ˈfilɪŋ. laɪk, aɪv ˈfaɪnəli kəm tɪ tərmz, 100 pərˈsɛnt. waɪt: ˈɑksfərd haɪ ædˈmɪnɪˌstreɪtərz ˌrikˈwaɪər pərˈɛntəl pərˈmɪʃən ˌbiˈfɔr ˈstudənts ʃɛr ðɛr ˈstɔriz ɪn skul. fər ˈmɛni, ˌɪnˈkludɪŋ kɔs, ɪt wɑz ðə fərst taɪm ðeɪ tɔkt tɪ ðɛr ˈfæməliz əˈbaʊt wət ðeɪd bɪn θru. kɔs: wi kip ɑr ˈstɔriz ɪn tɪ prəˈtɛkt ɑr ˈpɛrənts, nɑt tɪ prəˈtɛkt ɑrˈsɛlvz. ˈsigəl: ˈsinjər ˈraɪli ˈɔlsoʊ kɛpt hər peɪn ˈsikrɪt frəm ˈpɛrənts ənd frɛndz.: aɪ wɑz ˈstrəgəlɪŋ wɪθ ðɪs ˈvɛri, ˈvɛri dɑrk ˈpɪriəd əv maɪ laɪf. bət ðɛn aɪ ˈɔlsoʊ hæd tɪ goʊ tɪ skul ənd ækt laɪk ə ˈpərˌfɪkt ˈstudənt ənd gɪt ɔl eɪz ənd pʊt ɔn ə feɪs ðət ˈrɪli ˈwəzənt maɪ oʊn. waɪt: wɑz ðə fərst ˈstudənt æt ˈɑksfərd haɪ tɪ ˌvɑlənˈtɪr fər ðə ˈprɑʤɛkt. ˈəðər ˈstudənts aɪ tɔkt tɪ seɪ hər əˈnaʊnsmɛnt geɪv ðɛm ðə kərɪʤ tɪ ˈfaɪnəli kəm ˈfɔrwərd wɪθ ðɛr oʊn ˈstɔriz. ɪn hər rɪˈkɔrdɪŋ, ˈæˈdrɛsɪz hər əˈbjuzər ənd ðə ˌaɪsəˈleɪʃən ʃi fɛlt frəm hər frɛndz. (ˈsaʊndˌbaɪt əv rɪˈkɔrdɪŋ): ˈwərθləs, ˈsɛlfˈsɛntərd, noʊ ˈmɔrəlz, ˈizi, ˈgraɪmi, keɪk feɪs, ju wʊd bi ˈbɛtər ɔf dɛd ðæts ʤɪst ə stɑrt əv wət ju wʊd ˈleɪbəl mi ɛz ˈɛvəri deɪ fər tu jɪrz. ðeɪ æst mi waɪ aɪ ˈdɪdənt liv ju ˈsunər, waɪ aɪ ʧoʊz tɪ steɪ ɪn ən əˈbjusɪv riˈleɪʃənˌʃɪp. aɪ wɑz əˈfreɪd. waɪt: ædˈmɪnɪˌstreɪtərz seɪ fərst ˈpɪriəd hæv bɪn daʊn bɪˈkəz ˈstudənts wɔnt tɪ bi ɪn ðɛr sits tɪ hir ðə ˈstɔriz. aɪ æst ˈɑksfərd din əv ˈstudənts, pæm faɪn, ɪf ʃi wɑz əˈfreɪd tɪ goʊ ðɛr, tɪ tɔk soʊ ˈoʊpənli əˈbaʊt tin ˈsuɪˌsaɪd ɪn skul. faɪn: ɪts ˈtɛrəˌfaɪɪŋ ðət tinz ər ˈkɪlɪŋ ðɛmˈsɛlvz. bət ɪt ˈdəzənt ˈfraɪtən mi æt ɔl tɪ sɪt wɪθ kɪdz ənd seɪ tɔk tɪ ˈjuˈɛs. waɪt: faɪn sɪz tinz ər goʊɪŋ tɪ wɔʧ 13 ˈrizənz waɪ" ənd ðɛr goʊɪŋ tɪ tɔk əˈbaʊt ɪt. ʃi sɪz ðɛr ər 13 ˈrizənz waɪ nɑt wɑz ə weɪ tɪ meɪk ðət ˈdaɪəˌlɔg mɔr ˈminɪŋfəl. fər ˈɛnˈpiˈɑr nuz, əm vəˈlɛnsiə waɪt. ʃəˈpɪroʊ: ðət ˈstɔri wɑz prəˈdust baɪ juθ ˈreɪdiˌoʊ. ˈkɑpiˌraɪt 2017 ˈɛnˈpiˈɑr. ɔl raɪts rɪˈzərvd. ˈvɪzɪt ɑr ˈwɛbˌsaɪt tərmz əv juz ənd pərˈmɪʃənz ˈpeɪʤɪz æt fər ˈfərðər ˌɪnˌfɔrˈmeɪʃən. ˈɛnˈpiˈɑr ˈtrænˌskrɪpts ər kriˈeɪtɪd ɔn ə rəʃ ˈdɛˌdlaɪn baɪ verb8tm*, ɪŋk., ən ˈɛnˈpiˈɑr ˈkɑnˌtræktər, ənd prəˈdust ˈjuzɪŋ ə prəˈpraɪəˌtɛri ˌtrænˈskrɪpʃən ˈprɔˌsɛs dɪˈvɛləpt wɪθ ˈɛnˈpiˈɑr. ðɪs tɛkst meɪ nɑt bi ɪn ɪts ˈfaɪnəl fɔrm ənd meɪ bi ˈəpˌdeɪtɪd ər rɪˈvaɪzd ɪn ðə fˈjuʧər. ˈækjərəsi ənd əˌveɪləˈbɪlɪti meɪ ˈvɛri. ðə əˈθɔrəˌteɪtɪv ˈrɛkərd əv ˈproʊˌgræmɪŋ ɪz ðə ˈɑdiˌoʊ ˈrɛkərd.
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13 reasons why not: michigan teens talk honestly about suicide
the popular netflix show 13 reasons why is about a teen who commits suicide. youth radio brings us the story of one michigan high school's project called 13 reasons why not. it features 13 stories of students overcoming their struggles.
ari shapiro, host:
the controversial netflix series "13 reasons why" dramatizes a teen's suicide.
(soundbite of tv show, "13 reasons why")
katherine langford: (as hannah baker) hey, it's hannah. hannah baker.
shapiro: through a series of 13 left-behind audio recordings, viewers learn about why baker chose to end her life and the classmates she blames for her downfall. in response, one high school in oxford, mich., launched a project to reframe the popular show.
riley juntti: hey, it's riley. riley juntti.
shapiro: thirteen students from oxford high school wrote and recorded personal stories. the school played them during the morning announcements. the recordings address many of the same issues brought up in the netflix series. the two even sound similar.
(soundbite of tv show, "13 reasons why")
langford: (as hannah baker) get a snack...
juntti: settle in...
(soundbite of tv show, "13 reasons why")
langford: (as hannah baker) because i'm about to tell you...
juntti: the story of my life.
shapiro: youth radio's valencia white reports on the suicide prevention project called 13 reasons why not.
valencia white: for pam fine, dean of students at oxford high school, her criticisms of the tv show "13 reasons why" start with the title.
pam fine: it just sounds as if there's a reason why. there's no reason, there's never a reason, there's not a million reasons.
white: suicide is a sensitive topic on fine's campus. two students from oxford high died by suicide in recent years. so when "13 reasons why" was released on netflix, everyone on campus was talking about it. fine says a faculty member pulled her aside to say they needed to come up with some kind of response.
fine: standing there, like right then, i was like, hey, you know what we could try? i thought, how do you reframe "13 reasons why," where you blame people, and it would be 13 reasons why not, where you thank people for being your hope and your inspiration and positive factor in your life.
white: oxford senior kayla manzella is one of the 13 students who recorded stories for the project. manzella talked about being bullied her freshman year after joining the jv volleyball team. this is part of the recording that played for all 1,800 students during the morning announcements.
(soundbite of archived recording)
kayla manzella: things were said to me that no one deserves to hear. i always thought to myself, why me? what could i have done for someone to possibly hate me so much? one day at practice, i heard the worst thing someone could ever hear - why don't you just go kill yourself? being the vulnerable 14-year-old i was, i thought to myself, would anything really change if i wasn't here?
white: manzella's recording ends with a shout-out to her friend, alexa, for helping her get through it.
(soundbite of archived recording)
manzella: you may not realize how big of an impact your words had on me. and for that, i could simply never repay you. so thank you, alexa, for being the bright light in my dark time. you are one of the 13 reasons why not.
robert siegel, host:
fellow senior dylan koss recorded a message about homophobia.
(soundbite of archived recording)
dylan koss: i heard the jokes about me, but more importantly, i hear, that's gay, you look gay about everyday things. the message is always the same - gay is bad. gay isn't bad. gay isn't good. gay is just who i am.
white: koss says the school hallways have felt different since the project started, more supportive and cohesive, and that sharing his personal story has helped him, too.
koss: listening to yourself on the pa system, it was like a weight lifted off my shoulders. after hearing that, i will never forget that feeling. like, i've finally come to terms, 100 percent.
white: oxford high administrators require parental permission before students share their stories in school. for many, including koss, it was the first time they talked to their families about what they'd been through.
koss: we keep our stories in to protect our parents, not to protect ourselves.
siegel: senior riley juntti also kept her pain secret from parents and friends.
juntti: i was struggling with this very, very dark period of my life. but then i also had to go to school and act like a perfect student and get all a's and put on a face that really wasn't my own.
white: juntti was the first student at oxford high to volunteer for the project. other students i talked to say her announcement gave them the courage to finally come forward with their own stories. in her recording, juntti addresses her abuser and the isolation she felt from her friends.
(soundbite of archived recording)
juntti: worthless, self-centered, no morals, easy, grimy, cake face, you would be better off dead - that's just a start of what you would label me as every day for two years. they asked me why i didn't leave you sooner, why i chose to stay in an abusive relationship. i was afraid.
white: administrators say first period tardies have been down because students want to be in their seats to hear the stories. i asked oxford high's dean of students, pam fine, if she was afraid to go there, to talk so openly about teen suicide in school.
fine: it's terrifying that teens are killing themselves. but it doesn't frighten me at all to sit with kids and say talk to us.
white: fine says teens are going to watch "13 reasons why" and they're going to talk about it. she says there are 13 reasons why not was a way to make that dialogue more meaningful. for npr news, i'm valencia white.
shapiro: that story was produced by youth radio.
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ˈtæmpə, fla*. ˈmɑrti st*. luɪs wɑz ˈoʊnli ˈθɪŋkɪŋ əv hɪmˈsɛlf ənd hɪz ˈfæməli wɪn hi dɪˈmændɪd ə treɪd aʊt əv ðə ˈsɪti kɔld hoʊm fər 14 jɪrz. bət ɛz tərnd aʊt fər ðə ˈtæmpə beɪ ˈlaɪtnɪŋ, ðə rɪkˈwɛst əˈpɪrz tɪ hæv bɪn ə ˈblɛsɪŋ ɪn dɪsˈgaɪz. bɪn səˈpraɪzɪŋli ˈkɑmən ɪn ˈrisənt jɪrz tɪ si ˌɔrgənəˈzeɪʃənz ənd ðɛr ˌaɪˈkɑnɪk pleɪərz riʧ ən ənˈkəmfərtəbəl ɛnd. ˈdænjəl ˈælfrɪdsən lɛft ˈɑtəˌwɑ fər ˈgrinər ˈpæsʧərz ɪn ˈdiˌtrɔɪt, ɪz ˈwɛrɪŋ hɪz θərd ˈdɪfərənt sˈwɛtər sɪns əˈgriɪŋ tɪ ə treɪd aʊt əv ˈkælgəri ənd ˈmɑrtɪn ˈbrɑdər ˈivɪn pleɪd geɪmz fər ðə bluz ðɪs ˈsizən ˈæftər ðə nu ˈʤərzi ˈdɛvəlz hoʊpt ʤɪst ˌriˈtaɪər. ənd ðɛn st*. luɪs. tu ɑrt rɔs ˈtroʊfi ˈvɪktəriz wɪθ ðə ˈlaɪtɪŋ ənd ə ˈmɑnstər pleɪɔfs wɪn ðeɪ wən ðə 2004 ˈstænli kəp. neɪmd ˈkæptən ɪn ˈtæmpə æt eɪʤ 38 ə muv ðət ˈhɪnɪd æt ə ˈlɔŋˈtərm pəˈzɪʃən ɪn ðə ˌɔrgənəˈzeɪʃən. ɔl əv ɪt spɔɪld wɪn ðə ˈwɪŋər wɑz lɛft ɔf tim ˌɪˈnɪʃəl ˈrɑstər fər ðə ˈsoʊʧi oʊˈlɪmpɪks baɪ ə ˈmænɪʤmənt grup ˈhɛdɪd baɪ ˈlaɪtnɪŋ stiv yzerman*. ɪt wɑz ən ˈiˌmoʊʃənəl taɪm ənd ə təf treɪd tɪ meɪk wɪθ st*. luɪs ˈhoʊldɪŋ ə klɔz ənd ˌɪnˈsɪstɪŋ ɔn ə dil tɪ ðə ˈreɪnʤərz. ˌhaʊˈɛvər, vjud 14 mənθs ˈleɪtər wɪθ ðə timz ˈfeɪsɪŋ wən əˈnəðər ɪn ðə ˈistərn ˈkɑnfərəns ˈfaɪnəl, hɑrd tɪ si ɪt ɛz ˈɛniˌθɪŋ bət ə ˈpɑzətɪv muv fər ðə ˈlaɪtnɪŋ. ðə rɪˈtərn wɑz rɑk ˈsɑləd raɪən ˈkæləˌhæn, ə pɪk ðət wɑz tərnd ˈɪntu tu læst jɪr ənd əˈnəðər səˈlɛkʃən ɪn ʤun ənd ɪt ˈoʊpənd ðə dɔr fər ə ˈjuθfəl ˈlaɪtnɪŋ ˈdrɛsɪŋ rum tɪ bi tərnd ˈoʊvər tɪ ˈstivən. ðɛn ðə fækt ðət st*. luɪs ɪz ˈreɪsɪŋ əˈgɛnst taɪm ɪn ə jəŋ spɔrt. wən mənθ ʃaɪ əv hɪz ˈbərθˌdeɪ, jɛt tɪ skɔr ˈdʊrɪŋ ðə ənd hæd ə təf strɛʧ ɪn geɪm 2 lɔs ɔn ə ˈgoʊldən ˌɑpərˈtunəti ˈərli ˌbiˈfɔr ˈluzɪŋ ðə pək tɪ ˈtaɪlər ˈʤɑnsən ɔn ə paʊər pleɪ ənd ˈkræʃɪŋ ˈɪntu ˈhɛnrɪk waɪl traɪɪŋ tɪ gɪt bæk ɔn ðə ˈbreɪkəˌweɪ goʊl. ˈæftərwərdz, wɪn ˈreɪnʤərz koʊʧ əˈleɪn vɪgˈnoʊ sɛd ˈkəpəl əv ɑr gaɪz hæv ðɛr bɛst geɪm tonight,”*,” hi simd tɪ bi ˈpɔɪntɪŋ dɪˈrɛkli æt st*. luɪs ənd sˈnaɪpər rɪk næʃ. ðə tæsk gɪt ˈɛni ˈiziər fər ðə ˈvɛtərən wɪθ ðə ˈsɪriz ˈʃɪftɪŋ tɪ ˈæməli ərˈinə fər geɪm 3 ɔn ˈwɛnzˌdeɪ. hi wɑz bud ˈsaʊndli ˈdʊrɪŋ hɪz rɪˈtərn hir ɪn noʊˈvɛmbər ənd kən ɪkˈspɛkt əˈnəðər ˈhɑstəl riˈækʃən naʊ. ðət wɑz ən ˈiˌmoʊʃənəl naɪt fər st*. luɪs, ənd ðɪs wən wɪl bi ɛz wɛl. ðɪs ɪz ən ənˈjuˌʒuəl ˈsɪriz wɛr ˈbeɪsɪkli ˈɛvriˌwən ɪz ɔn ə ˈbeɪsɪs. ɪn əˈdɪʃən tɪ st*. luɪs ənd ˈkæləˌhæn, ðə ˈfɔrmər ˈreɪnʤərz ˈkæptən, ju hæv ˈlaɪtnɪŋ ˈænˌtɔn ənd ˈsɛntər braɪən bɔɪl hu wər boʊθ pɑrt əv nu rən tɪ ðə ˈstænli kəp ˈfaɪnəl læst jɪr ˌbiˈfɔr ˈhɛdɪŋ saʊθ ɪn fri ˈeɪʤənsi. ðoʊz mɛn wər ˈoʊpən əˈbaʊt ðɛr dɪˈzaɪər tɪ steɪ wɪθ ðə ˈreɪnʤərz ənd fɛlt ˈsəmˈwət sˈlaɪtɪd baɪ ˈhævɪŋ tɪ muv ɔn. bɪˈlivz ðə ˌɔrgənəˈzeɪʃən kʊd hæv bɪn mɔr ˈəpˌfrənt ˈdʊrɪŋ hɪz nɪˌgoʊʃiˈeɪʃənz, ənd ˈɪndəˌkeɪtɪd ðət ɪt wɑz ənˈjuˌʒuəl tɪ rɪˈtərn tɪ ˈmædɪsən skwɛr ˈgɑrdən ɛz ən əˈpoʊnənt. ˌhaʊˈɛvər, hi faʊnd ðə tæsk ˈiziər ɪn ðiz pleɪɔfs ðən ˈdʊrɪŋ ðə ˈrɛgjələr ˈsizən: ɛz bɪg əv ən ˈiˌmoʊʃənəl ɛz ɪt wɑz ðə læst time.”*.” pərˈhæps ðə seɪm wɪl rɪŋ tru fər st*. luɪs. ˈgɪvɪn æt steɪk fər ðə timz raɪt naʊ, ðət ˈsərtənli trəmps ˈɛni ˈpərsɪnəl ˌmoʊtəˈveɪʃənz. ˈdʊrɪŋ ðə læst ˈsizən st*. luɪs spɛnt ɪn ˈtæmpə, hi ˈɔfən ˈskeɪtɪd əˈlɔŋˈsaɪd ˈʤɑnsən ənd ˈæftər wɛnt daʊn wɪθ ə ˈsɪriəs ni ˈɪnʤəri. ˈbeɪsɪkli, ðeɪ wər ðə ˈtrɪpləts ˌbiˈfɔr ðət laɪn wɑz dəbd ɛz səʧ. naʊ ˈɑkjəˌpaɪɪŋ hɪz ˈfɔrmər spɑt ɔn ðə raɪt wɪŋ ɪz ˌnɪˈkitə kucherov*, hu skɔrd sɪks goʊlz ˈdʊrɪŋ ə ˈvɪktəri ˈoʊvər ˌməntriˈɔl. jɛs, ðə ˈlaɪtnɪŋ hæv muvd ɔn. ðeɪ ˈprɑbəˌbli ˈivɪn hæv ə ˈbɛtər ʃɑt ɪn ðiz pleɪɔfs bɪˈkəz əv ɪt.
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