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officials at the information and broadcasting ministry were in for a rude shock on monday morning when minister prakash javadekar was seen waiting for them in the office corridor. the minister arrived at his shastri bhawan office at 9am, and instead of moving to his chamber, barged into the rooms of officers. many were just about arriving, whom the minister received and mockingly guided to their chairs. he ordered all those who did not arrive in office by 9.15am to take a day's casual leave as mild punishment. javadekar left strict instruction that the staff must maintain the decorum of the office and be in time, an i&b ministry press release said.
the late-comers then lined up outside his office. around 40 people fell into this slacker's category.
prime minister narendra modi has asked his administration to prioritise efficiency by reducing delays and cutting red tape. it is an attempt to pull up government employees, who are known for working at a snail's pace making it near-impossible to get work done at government offices. the new government has ordered bureaucrats to focus on the swift disposal of files; civil servants have been warned they will be held responsible and penalised for delays in decision-making.
earlier, pm modi had himself inspected the chambers of his officers in the pmo early one morning to ensure that officials are present in office by 8:45am. this was followed by the urban development minister m. venkiah naidu inspecting his ministry at nirman bhawan. he had let off late-comers with a warning.
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ɔn ə ˈrisənt ˈsənˌdi ˌæftərˈnun, ə kraʊd ˈoʊnli sˈlaɪtli sˈmɔlər ðən ðə wən ə fju maɪəlz wɛst æt ðə ˈpɪʧˌfɔrk mˈjuzɪk ˈfɛstɪvəl fɔrmd əraʊnd ðə bin ɪn məˈlɛniəm pɑrk fər ə goʊ ðət meɪd ðə deɪz əv ˈfivər rɪˈzɛmbəl ə maɪld kɔf. mɔr ðən ˈpipəl tɪ ðə ɪˈvɛnts ˈfeɪsˌbʊk ˌɪnˈvaɪt, bət ˈɛstəˌmeɪts reɪnʤd frəm tɪ fænz, frəm tinz tɪ ðə ˈmɪdəˌleɪgd, səm klæd ɪn braɪt ˈjɛloʊ hæts ənd ˈfəri ˈkɑstumz. ðeɪ rɔrd æt ðə saɪt əv ˈhoʊˈmeɪd ˈbænərz ˌrɛprɪˈzɛnɪŋ ðə geɪmz θri kəmˈpɛtɪtɪv timz ənd sæŋ ɪn ˈjunɪsən tɪ ðə θim sɔŋ laɪk ə ˈrɪgli fild kraʊd ˈwɔrbəlɪŋ əˈlɔŋ tɪ "teɪk mi aʊt tɪ ðə bɔl geɪm." ðə ɪˈvɛnts ˈɔrgəˌnaɪzərz hæd drimd əp ə geɪm əv ˈvərʒən əv ðə geɪm ɪn wɪʧ θri timz wʊd ˈbætəl fər hæf əv ˈdaʊnˈtaʊn (kəmˈplit wɪθ ə mæp əv ðə lup), ən æmˈbɪʃəs plæn fɔɪld wɪn ðə ˈoʊvərˌloʊdɪd ˈɔnˌlaɪn ˈsərvərz kræʃt tɛn ˈmɪnəts ˈleɪtər. əˈtɛnˈdiz wər stək ˈstɛrɪŋ æt ˈɛrər ˈmɛsɪʤɪz ɔn ðɛr ˌɪnˈstɛd əv ˈtrækɪŋ ˈvərʧuəl ˈænəməlz. stɪl, ˈmɛni lɛft ˌɪnˈspaɪərd baɪ ðə ˌsɑləˈdɛrəti əv wət bɪˈkeɪm ɛˈsɛnʃəli ə goʊ pɛp ˈræli. fər ðoʊz ɔˈrɛdi ˈfərmli ɔn ðə ˈbændˌwægən əv ðə ˈʤəgərˌnɔt, ɪˈvɛnts laɪk ʃəˈkɑˌgoʊz ˈmæsɪv ˌrɛprɪˈzɛnt ə nu ˈsoʊʃəl ˈrɪŋkəl tɪ ən ɔˈrɛdi səˈpraɪzɪŋli kəmˈjunəl ɪkˈspɪriəns. bət tɪ ðoʊz ˈaʊtˈsaɪd ðə geɪmz ɑgˈmɛntəd ˌriˈæləˌti, ðə kəˈlɛktɪv ˈspɛktəkəl ɪz ʤɪst əˈnəðər saɪn əv ðə apokélypse*. aɪ spɛnt ðə rɛst əv ðə deɪ æt ˈpɪʧˌfɔrk ɪn ˈjunjən pɑrk, wɛr maɪ ˈɛvəri ˈmɛnʃən əv ðə ˈərliər goʊ wɑz mɛt wɪθ ˌsæŋktəˈmoʊniəs dɪsˈgəst: "doʊnt ˈpipəl hæv ˈbɛtər θɪŋz tɪ du wɪθ ðɛr taɪm?" (ə ˈmɛmbər əv ðə bænd twɪn piks hu wɑz ɪn ðə ˌviˌaɪˈpi ˈsɛkʃən kleɪmd ˈtoʊtəl ˈɪgnərəns əv ðə ˈgeɪmɪŋ sɛnˈseɪʃən.) ðə ˈkɑmən rɪˈfreɪn əv ˌneɪˈseɪərz simz tɪ bi "gɪt ə laɪf." ˈsərtənli goʊ kən bi ən əˈdɪktɪv dɪˈstrækʃən (teɪk ɪt frəm ˈlɛvəl 18 ənd ɪts mɔr ðən ə ˈlɪtəl əˈnɔɪɪŋ ðət ˌkɔrpərˈeɪʃənz ər ˈlipɪŋ ˈɪntu ðə freɪ wɪθ ˈmɑrkətɪŋ. bət dɪz ðɪs geɪm ˈrɪli dɪˈzərv ðə kaɪnd əv fɪr ənd ˈloʊθɪŋ ˈjuʒəwəli rɪˈzərvd fər ðə ˈdɑnəld trəmp kæmˈpeɪn? klɪk tɪ ˌɛnˈlɑrʤ ə fju ˈθaʊzənd goʊ pleɪərz ˈgæðərd æt ðə bin ɔn ˌʤuˈlaɪ 17 raɪən smɪθ ðə ˈbæˌklæʃ wɑz pərˈhæps ˌɪˈnɛvətəbəl. ɪn ðə fərst wik əv ɪts riˈlis ɪn mid-july*, ˌpɑpjəˈlɛrəti ɪkˈsploʊdɪd bɪɔnd ˈɛniˌwənz ˈwaɪldɪst drimz, ˈgeɪnɪŋ mɔr ˈjuzərz ðən ˈtɪndər ənd tˈwɪtər rɪˈspɛktɪvli, ən ˈɛstəˌmeɪtɪd ˈmɪljən ˈdeɪli. ɪts ənˈʧɑrtɪd ˈtɛrɪˌtɔri fər ə geɪm, ə sˈwipɪŋ, fəˈnɑməˌnɑn ðət fər ˈtɛknoʊˌfoʊbz məst fil laɪk nɪnˈtɛndoʊ ənd riˈɔrdərɪŋ soʊˈsaɪɪti æt ˈsupər ˈmɑrioʊz wɪm. ðə ˈmidiə ˈsərtənli ˈhæzənt hɛlpt ˈjuˈɛs ˈprɑpərli ɪˈvæljuˌeɪt ðə fəˈnɑməˌnɑn. wɪˈθɪn aʊərz əv ðə geɪmz riˈlis, ðə ˈhɔrər ˈstɔriz ˈsoʊʃəl ˈmidiə fidz: hɔrdz əv pleɪərz ˈteɪkɪŋ ˈoʊvər ˈfɔrmərli ˈtræŋkwɪl ˈpəblɪk ˈspeɪsɪz ðət hæd bɪn tərnd ˈɪntu pokestops*, pleɪərz biɪŋ lʊrd ˈɪntu ɑrmd ˈrɑbəriz ər dɪˈskəvərɪŋ ˈkɔrpsɪz waɪl ˈhəntɪŋ rɛr ˈkriʧərz laɪk jigglypuffs*. dɪˈstræktɪd pleɪərz hæv kræʃt ðɛr kɑz, ˈivɪn ˈfɑlən ɔf bləfs. "wət ðə hɛl ɪz ðɪs θɪŋ? aɪ hir ɪts nɑt seɪf!" ɪkˈskleɪmd ə ˈkoʊˈwərkər wɪn goʊ keɪm əp ɪn ˌkɑnvərˈseɪʃən. ɔl əv ðə ˈpænɪki pərl ˈkləʧɪŋ meɪks goʊ ə ˈklæsɪk ɪgˈzæmpəl əv ə ˈmɔrəl hɪˈstɛriə ðət tɛndz tɪ dɪˈsɛnd ɔn səm nu ˈkəlʧərəl ˈprɑdəkt ˈpɑpjələr wɪθ "ðə kɪdz." ˈmɔrəl kruˈseɪdərz ənd ðə ˈmidiə hæv fænd ðə fleɪmz əv ˈplɛnti əv ðiz ˈpænɪks ˈoʊvər ðə læst ˈsɛnʧəri: ʤæz, ˈɛlvɪsɪz hɪps, ˌmɛrəˈwɑnə, ˈhɛvi ˈmɛtəl, ˈkɑmɪk bʊks, ˈdənʤənz ˈdrægənz ˈkloʊsli rɪˈleɪtɪd tɪ ɪn ˈvɪdioʊ geɪmz. "wi nid tɪ trit ˈvaɪələnt ˈvɪdioʊ geɪmz ðə weɪ wi trit təˈbæˌkoʊ, ˈælkəˌhɑl, ənd pɔrˈnɑgrəfi," sɛd ˈhɪləri ˈklɪntən ɪn 2005 waɪl prəˈmoʊtɪŋ ðə ˈfæməli ˌɛnərˈteɪnmənt prəˈtɛkʃən ækt, ə bɪl ðə ˌɪntrəˈdust ðət ɪˈvɛnʧəwəli daɪd ɪn kəˈmɪti. ɪn ən ˈɪrə wɪn ˌhaɪˈmaɪndɪd naʊ ləˈmɛnt ðə dɪˈklaɪn əv ˈrɛdɪŋ, ɪts aɪˈrɑnɪk ðət ˈivɪn ðə ˈnɑvəl wɑz ə sɔrs əv ˈmɔrəl ˈpænɪk ɪn ðə ˈsɛnʧəri. ðə ˈsədən sprɛd əv mæs ˈmidiə ɪn ðə fɔrm əv ˈrɪtən ˈfɪkʃən hæd ˈkəlʧərəl ˈkɑmənˌteɪtərz ˈleɪbəlɪŋ ðɛm "ˈfivərz" ðət maɪt lɛd ˈridərz tɪ luz təʧ wɪθ ˌriˈæləˌti ənd aɪˈdɛntəˌfaɪ wɪθ ˈkɛrɪktərz tɪ ðə pɔɪnt wɛr ðeɪd əˈdɑpt ðɛr bɪˈheɪvjər. ˈnɑvəl ðə ˈsɑroʊz əv jəŋ ˈwərðər wɑz bleɪmd fər ə ˈsɪriz əv ˈsuəˌsaɪdz. θri ˈsɛnʧəriz ˈleɪtər, ɪts ə ˈpəfi ˈjɛloʊ ˈævəˌtɑr ˌɪnˈstɛd əv jəŋ ˈɑrtɪst ˈkɔzɪŋ ən ˈəˌprɔr. ˈmɔrəl ˈpænɪks ˈnɛvər daɪ, ðeɪ ʤɪst ʧeɪnʤ ˈmidiəmz. klɪk tɪ ˌɛnˈlɑrʤ ə fæn æt ðə ˌʤuˈlaɪ 17 ɪn məˈlɛniəm pɑrk raɪən smɪθ ɪts tru ðət ðɛrz ˈsəmθɪŋ ənˈsɛtəlɪŋ əˈbaʊt haʊ goʊ ˌɪnˈvaɪts ˈpipəl tɪ si ʃɛrd pɑrks, ˈɔfəsɪz, ˈvərʧuəl ˈpleɪˌgraʊnz. ˈmɪljənz əv ˈgeɪmərz glud tɪ ðɛr ˈpleɪˌsteɪʃənz ɪn ðɛr oʊn ˈlɪvɪŋ rumz ɪz wən θɪŋ. ˈmæsɪz əv pleɪərz daʊn ˈsaɪdˌwɔks tɪ kəˈlɛkt ˈsaɪbər ˈmɑnstərz ɔn ðɛr foʊnz ɪz kwaɪt əˈnəðər. bət ɪn maɪ θri wiks pleɪɪŋ ðə geɪm, aɪv ˌɪnərˈæktəd wɪθ ˈdəzənz əv ˈstreɪnʤərz aɪ ˈəðərˌwaɪz ˈnɛvər ˈwʊdəv mɛt ər ˈʧætɪd wɪθ. goʊ ɪz ən ˈɑdli ˈifɛktɪv weɪ tɪ mit ɪf ðə ˌkɑnvərˈseɪʃən ˈmoʊstli ˈhəvərz əraʊnd tɪps ənd ðə bɛst ˈpleɪsɪz ɪn ðə ˈsɪti tɪ faɪnd ə ponyta*. fər ɔl əv ðə əˈbaʊt ðə "ɑgˈmɛntəd ˌriˈæləˌti" əv goʊ, ɑr ˌriˈæləˌti wɑz ɑgˈmɛntəd lɔŋ ˌbiˈfɔr ðə geɪm prɛˈmɪrd. ə væst ˌpɑpjəˈleɪʃən ɔˈrɛdi wɔks əraʊnd ˈgrɪpɪŋ ˈdɪʤɪtəl dɪˈvaɪsɪz laɪk talismans*, waɪt ʤæmd ˈɪntu ðɛr hɛdz. wɪr ˈkɑnstəntli ˈlɪsənɪŋ, ˈwɑʧɪŋ, sˈwaɪpɪŋ. wiv groʊn əˈkəstəmd tɪ ðə saɪt əv ˈpipəl ɪn ˈpəblɪk hənʧt ˈoʊvər skrinz bɪˈkəz ɪt ˈhæpənd ˈgræʤuəli ˈoʊvər ðə kɔrs əv ə ˈdɛkeɪd. ɪts ðə ˈsədənnəs əv juˈbɪkwɪti ðæts ˈʤɑrɪŋ. ˈbaɪˌstændərz nɑt ˌɪnˈvɑlvd ɪn ðə geɪm ˈsədənli fil laɪk ðeɪv sˈwɑloʊd ðə rɛd pɪl ənd hæv ˈriəˌlaɪzd ðət ə lɑrʤ ˈpɔrʃən əv juˈmænɪti ɪz pləgd ˈɪntu nɪnˈtɛndoʊz ˈvərʒən əv ðə ˈmeɪtrɪks. ˈsɑri, ˈnioʊ, ɪts tu leɪt. wɪr ɔl træpt ɪn ðə ˌsɪmjəˈleɪʃən. vi
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on a recent sunday afternoon, a crowd only slightly smaller than the one a few miles west at the pitchfork music festival formed around the bean in millennium park for a pokémon go meet-up that made the days of pac-man fever resemble a mild cough. more than 9,000 people rsvp'd to the event's facebook invite, but on-the-ground estimates ranged from 3,000 to 5,000 fans, from teens to the middle-aged, some clad in bright yellow pikachu hats and furry pokémon-themed costumes. they roared at the sight of homemade color-coordinated banners representing the game's three competitive teams and sang in unison to the anime cartoon's theme song like a wrigley field crowd warbling along to "take me out to the ball game."
the event's organizers had dreamed up a game of thrones-lite version of the game in which three teams would battle for half of downtown (complete with a pokémon-themed map of the loop), an ambitious plan foiled when the overloaded online servers crashed ten minutes later. attendees were stuck staring at error messages on their smartphones instead of tracking virtual animals. still, many left inspired by the solidarity of what became essentially a pokémon go pep rally.
for those already firmly on the bandwagon of the mobile-gaming juggernaut, events like chicago's massive meet-up represent a new social wrinkle to an already surprisingly communal experience. but to those outside the game's augmented reality, the collective spectacle is just another sign of the apokélypse. i spent the rest of the day at pitchfork in union park, where my every mention of the earlier pokémon go meet-up was met with sanctimonious disgust: "don't people have better things to do with their time?" (a member of the band twin peaks who was bartending in the vip section claimed total ignorance of the gaming sensation.) the common refrain of naysayers seems to be "get a life."
certainly pokémon go can be an addictive distraction (take it from me—i'm level 18), and it's more than a little annoying that corporations are leaping into the fray with pokémon-themed marketing. but does this game really deserve the kind of fear and loathing usually reserved for the donald trump campaign?
click to enlarge a few thousand pokémon go players gathered at the bean on july 17.
ryan smith
the backlash was perhaps inevitable. in the first week of its release in mid-july, pokémon go's popularity exploded beyond anyone's wildest dreams, gaining more users than tinder and twitter respectively, an estimated 9.5 million daily. it's uncharted territory for a game, a sweeping, society-consuming phenomenon that for technophobes must feel like nintendo upending and reordering society at super mario's whim.
the media certainly hasn't helped us properly evaluate the pokémon phenomenon. within hours of the game's release, the horror stories steamrolled social media feeds: hordes of players taking over formerly tranquil public spaces that had been turned into pokestops, players being lured into armed robberies or discovering corpses while hunting rare creatures like jigglypuffs. distracted players have crashed their cars, even fallen off bluffs.
"what the hell is this thing? i hear it's not safe!" exclaimed a coworker when pokémon go came up in conversation.
all of the panicky pearl clutching makes pokémon go a classic example of a moral panic—irrational hysteria that tends to descend on some new cultural product popular with "the kids." moral crusaders and the media have fanned the flames of plenty of these panics over the last century: jazz, elvis's hips, marijuana, heavy metal, comic books, dungeons & dragons and—most closely related to pokémon go—violence in video games. "we need to treat violent video games the way we treat tobacco, alcohol, and pornography," said hillary clinton in 2005 while promoting the family entertainment protection act, a bill the then-senator introduced that eventually died in committee.
in an era when high-minded moralizers now lament the decline of reading, it's ironic that even the novel was a source of moral panic in the 18th century. the sudden spread of mass media in the form of written fiction had cultural commentators labeling them "fevers" that might lead readers to lose touch with reality and identify with characters to the point where they'd adopt their behavior. goethe's novel the sorrows of young werther was blamed for a series of suicides.
three centuries later, it's a puffy yellow avatar instead of foppish young artist causing an uproar. moral panics never die, they just change mediums.
click to enlarge a pokémon fan at the july 17 meet-up in millennium park
ryan smith
it's true that there's something unsettling about how pokémon go invites people to see shared spaces—our parks, offices, barrooms—as virtual playgrounds. millions of gamers glued to their playstations in their own living rooms is one thing. masses of players shambling down sidewalks to collect cyber monsters on their phones is quite another. but in my three weeks playing the game, i've interacted with dozens of strangers i otherwise never would've met or chatted with. pokémon go is an oddly effective way to meet people—even if the conversation mostly hovers around egg-hatching tips and the best places in the city to find a ponyta.
for all of the hand-wringing about the "augmented reality" of pokémon go, our reality was augmented long before the game premiered. a vast population already walks around gripping digital devices like talismans, white earbuds jammed into their heads. we're constantly listening, watching, swiping. we've grown accustomed to the sight of people in public hunched over screens because it happened gradually over the course of a decade.
it's the suddenness of pokémon go's ubiquity that's jarring. bystanders not involved in the game suddenly feel like they've swallowed the red pill and have realized that a large portion of humanity is plugged into nintendo's version of the matrix.
sorry, neo, it's too late. we're all trapped in the simulation. v
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ˈlɪˌbiən ˈgəvərnmənt ˈspoʊksmən ˈmaʊsə ˌɪbrɑˈhim həz kənˈfərmd ðət muˈæmər wɪl bi ˈkətɪŋ ʃɔrt hɪz ˈhɑlɪˌdeɪ ɪn ˈtrɪpəli tɪ rɪˈtərn tɪ ˈtrɪpəli tɪ teɪk ʧɑrʤ əv ðə ənˈprɛsɪˌdɛntɪd dɪˈstərbənsɪz sˈwipɪŋ əˈkrɔs ˈlɪˌbiə. hi həz wɔrnd əv səˈvɪr ˈpənɪʃmənts fər ðoʊz ˌɪnˈvɑlvd ˌɪnˈkludɪŋ ə ˈprɑməs ðət dɪˈtɛnʃən ˈsɛntərz ənd ˈtɔrʧər ˈʧeɪmbərz θruaʊt ðə ˈkæpɪtəl wʊd rɪˈmeɪn ˈoʊpən θru ðə naɪt fər lɔŋ ɛz ɪt takes’*’ tɪ brɪŋ ðoʊz ˈgɪlti tɪ ˈʤəstɪs. ʃˈrəgɪŋ ɔf ðə ɪˈvɛnts əv ðə læst fju deɪz, ˈkərnəl həz pʊt ðə bleɪm skˈwɛrli ɔn youth’*’ əˈtrɪbjətɪŋ ɪt tɪ ə ˈbroʊkən soʊˈsaɪɪti ðət hi wɑz ˌæbsəˈlutli dɪˈtərmənd tɪ fɪks. hi rɪˈpitɪd hɪz ministers’*’ əˈsərʃənz ðət ɪt wɑz ə off’*’, bət ˌɪnˈsɪstɪd ðət, untackled*, ðə ənˈrɛst wʊd lɛd tɪ jɛt mɔr ˈprɑbləmz daʊn ðə laɪn ənd ðət, gɑd ˈwɪlɪŋ, ðə bɪˈgɪnz təˈdeɪ, wɪθ stɪks, ˈʤɛnətəl ˌɪˈlɛktroʊdz ənd lɑts ənd lɑts əv ˈkætəl prɑdz ɛz ðə ˈoʊnli ˈlæŋgwɪʤ ðiz ˈpipəl understand’*’. ˈərli ˌɪndəˈkeɪʃənz ər ðət ðə ˈpənɪʃmənts wɪl ˌɪnˈdid bi səˈvɪr wɪθ wən ‘‘rebel’*’ ˈkleɪmɪŋ ðə swɪft ˈʤəstɪs mɛnt hæd boʊθ hɪz lɛgz ʧɑpt ɔf ˈsɪmpli fər drɔɪŋ ə ˈməˌstæʃ ɔn ə ˈpɪkʧər əv. noʊ aɪ dɪd rɔŋ, bət stɪl, aɪ θɪŋk ə tæd harsh,’*,’ hi rued*. bi duɪŋ ðət əˈgɛn, fər ʃʊr, soʊ fɛr pleɪ tɪ ðə əˈθɔrətiz ðɛr. nɑt ðət maɪ ˈæŋgər æt ðə ˌɪnˈʤəstɪs ənd ənˈfɛrnəs əv ɔl əv ðɪs həz ˈrɪli səbˈsaɪdɪd. ˈmoʊstli bɪˈkəz aɪ reach.’*.’ si ðiz θɪŋz goʊɪŋ ɔn ɔl ˈoʊvər ðə wərld ənd ˌɪˈnɛvətəbli wəns ɪn ə waɪl ðə ˈprɑbləmz wɪl lænd æt jʊr door,’*,’ sɛd ɪn ən ˈɑdiˌoʊ ˈmɛsɪʤ rɪˈkɔrdɪd waɪl ɪn ˈtrænzɪt frəm hɪz ˈhɑlɪˌdeɪ hoʊm tɪ hɪz ˈhaɪdəˌweɪ hoʊm tɪ sɔrt ˈɛvriˌθɪŋ aʊt. maɪ gʊd frɛnd ənd ˈkɑnfəˌdɑnt ˈtoʊni blɛr həz ˈrɪtən əˈbaʊt ðɪs ɪkˈstɛnsɪvli ɪn ðə əbˈzərvər wɪʧ wɑz ˈvɛri ˈjusfəl ənd hir wɪθ mi naʊ, ˈhɛlpɪŋ mi pæk, ənd ˈgɪvɪŋ mi lɑts əv ədˈvaɪs ɔn haʊ tɪ əˈvɔɪd ðə ˌɪnərˈnæʃənɑl ˈkrɪmənəl court.’*.’ ˌhaʊˈɛvər, ˈkɑmənˌteɪtərz ənd əbˈzərvərz ɪn ˈʤɛnərəl kənˈtɪnjud tɪ əˈsərt ðət wɑz kəmˈplitli ɔf hɪz ˈtrɑli, bət hæd tɪ kənˈsid ðət hɪz ˈɔfər tɪ juz hɪz ɔɪl wɛlθ tɪ prɑp əp ˈbrɪtɪʃ bæŋks ɪn ɪksˈʧeɪnʤ fər ə ˈlɪtəl mɔr taɪm tɪ sɔrt θɪŋz aʊt æt hoʊm wɑz ˈprɪti pərsˈweɪsɪv. ˈsəmθɪŋ ˈæktɪvli kənˈsɪdərɪŋ ɪf ɪt wɪl hɛlp ˈjuˈɛs seɪv ˈməni baɪ nɑt ˈhævɪŋ tɪ bɔm ɪm ˌɛniˈmɔr, rɪˈdus ɑr ˈdɛfəsət ənd lɛt ðɪs ˈkraɪsəs kəm tɪ ə ˈnæʧərəl close,’*,’ sɛd ə ˈfɔrən ˈɔfəs ˈspoʊksmən. ðət ˈməni, ɛ? ˈkəmɪŋ ɑr weɪ? nid ˈsəmθɪŋ wɪθ ə ˈsərtən rɪŋ tɪ ɪt, aɪ θɪŋk, ɛz ɪz ˈkəstəˌmɛri ɪn ðiz ˈsərkəmˌstænsɪz. haʊ əˈbaʊt əv basingstoke’*’? ‘‘obviously*, bi ə non-dom.’*.’ (frəm ðə ərˈɪʤənəl aɪˈdiə baɪ ənd steve_l*)
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libyan government spokesman moussa ibrahim has confirmed that muammar gaddafi will be cutting short his holiday in tripoli to return to tripoli to take charge of the unprecedented disturbances sweeping across libya. he has warned of severe punishments for those involved including a promise that detention centres and torture chambers throughout the capital would remain open through the night for ‘as long as it takes’ to bring those guilty to justice.
shrugging off the events of the last few days, colonel gaddafi has put the blame squarely on ‘disaffected youth’ attributing it to a broken society that he was absolutely determined to fix. he repeated his ministers’ assertions that it was a ‘one off’, but insisted that, untackled, the unrest would lead to yet more problems down the line and that, god willing, the fightback begins today, with sticks, genital electrodes and lots and lots of cattle prods as ‘it’s the only language these people understand’.
early indications are that the punishments will indeed be severe with one ‘rebel’ claiming the government’s swift justice meant he’d had both his legs chopped off simply for drawing a moustache on a picture of gaddafi. ‘i know i did wrong, but still, i think it’s a tad harsh,’ he rued. ‘i won’t be doing that again, for sure, so fair play to the authorities there. it’s not that my anger at the injustice and unfairness of all of this has really subsided. it’s mostly because i can’t reach.’
‘you see these things going on all over the world and inevitably once in a while the problems will land at your door,’ said gaddafi in an audio message recorded while in transit from his holiday home to his hideaway home to sort everything out. ‘luckily my good friend and confidant tony blair has written about this extensively in the observer which was very useful and he’s here with me now, helping me pack, and giving me lots of advice on how to avoid the international criminal court.’
however, commentators and observers in general continued to assert that gaddafi was completely off his trolley, but had to concede that his offer to use his country’s oil wealth to prop up british banks in exchange for a little more time to sort things out at home was pretty persuasive. ‘it’s something we’re actively considering if it will help us save money by not having to bomb him anymore, reduce our deficit and let this crisis come to a natural close,’ said a foreign office spokesman. ‘all that money, eh? coming our way? we’d need something with a certain ring to it, i think, as is customary in these circumstances. how about ‘lord gaddafi of basingstoke’?
‘obviously, he’d be a non-dom.’
(from the original idea by deimos and steve_l)
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indo-chinese* fud ɪz ðə əˈməŋst ðə moʊst ˈpɑpjələr kwɪˈzin ɪn ˈɪndiə. hu muv aʊt əv ðə ˈkəntri mɪs ðɪs kaɪnd əv fæst fud ðə moʊst, bɪˈkəz ðɪs kwɪˈzin ɪz ɪkˈstrimli ˈdɪfəkəlt tɪ faɪnd ɪn ˈrɛˌstrɑnts. ˈnudəlz, frid raɪs, ðiz ər ˈvɛri juˈnikli ˈdɪʃɪz ðət ɪˈvɑlvd ɪn ðə nɔrθ ist pɑrt əv ˈɪndiə (wɪʧ ɪz kloʊz tɪ ðə ˈʧaɪnə ˈbɔrdər). ðə ˈpipəl ɪn ðɪs ˈriʤən ˈbɑˌroʊd ˈfleɪvərz frəm boʊθ ðə ˈkəntriz ənd kriˈeɪtɪd ə kwɪˈzin ðət ɪz ðɛr praɪd naʊ. ðiz ˈdɪʃɪz ər ɛz ˈfeɪməs ɛz strit fud ɛz ðeɪ ɪn ˈfænsi ˈrɛˌstrɑnts. aɪ rɪˈmɛmbər aɪ wɑz soʊ ɪkˈsaɪtɪd wɪn aɪ sɔ ʧaʊ min ɔn ðə ˈmɛnju əv ə ʧaɪˈniz teɪk aʊt hir ɪn ðə ˈjuˈɛs fər ðə fərst taɪm. bət ðɛn aɪ dɪˈskəvərd ðeɪ wər ˈtoʊtəli ˈdɪfərənt frəm ðə ˈjəmi ˈnudəlz ðət aɪ æm juzd tɪ! ðə ˈrɛsəpi ðət aɪ æm ˈʃɛrɪŋ təˈdeɪ ɪz maɪ ˈfeɪvərɪt ʧaʊ min. ðiz ər θɪn ˈnudəlz ðət stər frid wɪθ səm ˈsɔsɪz ənd ənd ər ɪkˈstrimli dɪˈlɪʃəs!! ʧaʊ min minz frid ˈnudəlz ɪn ʧaɪˈniz. ðeɪ kən bi stər frid (ɛz wi gɪt ðɛm ɪn ˈɪndiə) ər dip frid (ɛz wi gɪt ɪn ðə ˈjuˈɛˈseɪ). ðiz ˈnudəlz ər ˈɔlsoʊ noʊn ɛz ˈnudəlz ɪn ˈɪndiə. ɛˈsɛnʃəli ðiz ˈnudəlz ər stər frid wɪθ ˈvɛʤtəbəlz ənˈtɪl ðeɪ gɪt ən ˈɔlˌmoʊst ˈkrɪspi ˈtɛksʧər. ðiz ər ˈɔlˌmoʊst ðə nɑt soʊ ˈʤusi ˈvərʒənz əv ðə loʊ min frəm ə ʧaɪˈniz teɪk aʊt, bət wɪθ mɔr ˈfleɪvər! ju kən baɪ ˈnudəlz ɪn ˈɪndiən ˈgroʊsəri stɔrz, ɪz ðə moʊst ˈpɑpjələr brænd. bət ðeɪ ər nɑt ˈrɛdəli əˈveɪləbəl ˈɛvriˌwɛr. soʊ ðɪs taɪm aɪ θɔt əv ˈkʊkɪŋ ðiz əp wɪθ ˈɪnstənt (ˈmæˌʤi) ˈnudəlz. ðeɪ ər ˈvɛri ˌɪnɪkˈspɛnsɪv 2 fər ə 12 pæk!) ənd ðiz ˈnudəlz ər ðə ˈkloʊsəst ɪn kənˈsɪstənsi tɪ ðə ˈɪndiən ˈnudəlz. ju kən baɪ ˈɛni brænd əv ˈnudəlz, ˈɛni ˈfleɪvər. wi ər nɑt goʊɪŋ tɪ juz ðə ˈsizənɪŋ prəˈvaɪdɪd wɪθ ðə ˈpækɪʤ. ju kʊd ˈɔlsoʊ juz ˈeɪnʤəl hɛr ˈpɑstə, ðət wʊd bi faɪn tu. ðə seɪm ˈrɛsəpi kən bi ˈfɑloʊd wɪθ raɪs ˈnudəlz ɛz ju ər ˈjuzɪŋ ˈɪnstənt ˈnudəlz, kʊk ðɛm ˈkɛrfəli bɪˈkəz ðeɪ kʊk ˈrɪli ˈrɪli fæst! bɔɪl ə lɑrʤ pɑt əv ˈwɔtər ɛz ju wʊd fər ˈkʊkɪŋ ˈpɑstə. brɪŋ ɪt tɪ ə bɔɪl ənd æd ɪn ðə ˈɪnstənt ˈnudəlz, ɔl æt ðə seɪm taɪm. ðeɪ kʊk ɪn əˈbaʊt ə ˈmɪnət ɔn haɪ hit. ˌɪˈmiˌdiətli dreɪn ðə ˈnudəlz ənd ˌɪˈmərs ðɛm ɪn aɪs koʊld ˈwɔtər. ðɪs stɑps ðə ˈkʊkɪŋ ənd hɛlps ɪn riˈmuvɪŋ ðə ˈɛkˌsɛs stɑrʧ frəm ðə ˈnudəlz. ðɪs ˈɔlsoʊ ɪnˈʃʊrz ðət ðə ˈnudəlz stɪk tɪ iʧ ˈəðər. dreɪn ðə ˈnudəlz frəm ðə koʊld ˈwɔtər ˈæftər 5 ˈmɪnəts ənd sprɛd ðɛm ɪn ə lɑrʤ ənd lɛt ðɛm ɛr draɪ fər ə waɪl, ənˈtɪl jʊr sɔs ɪz ˈrɛdi. ðiz ˈnudəlz kən bi priˈpɛrd ənd stɔrd ɪn ðə rɪˈfrɪʤərˌeɪtər fər ə fju deɪz ənd juzd wɛˈnɛvər rikˈwaɪərd! əˈnəðər ˌɪmˈpɔrtənt θɪŋ əˈbaʊt ðɪs ˈrɛsəpi ɪz ðət ðə ˈvɛʤtəbəlz məst bi ˈvɛri θɪn. ðə ˈvɛʤtəbəlz məst nɑt bi ˈsɑgi, bət rɪˈmeɪn krɪsp ənd ˈkrənʧi ɪn ðə ˈnudəlz. ju kən ˈɔlsoʊ juz ðə ˈkoʊlsˌlɑ mɪks ənd æd mɔr ˈvɛʤiz ɪf ju laɪk. ju meɪ ˈɔlsoʊ æd ɪn səm ˈskræmbəld ɛgz ənd æd ðɛm ɪn waɪl ˈædɪŋ ðə ˈnudəlz. ðɪs ˈrɛsəpi ɪz ə ˈbrɪljənt weɪ əv sˈnikɪŋ ɪn ˈvɛʤiz ˈɪntu jʊr kɪdz daɪət. ˌɪnˈgridiənts: sərvz 4 ˈɪnstənt ˈnudəlz 4 pæks ˈənjən (slaɪst) 1 ˈmidiəm grin ˈpɛpər (julienne*) 1 ˈmidiəm (juz rɛd, ˈjɛloʊ ər ˈɔrɪnʤ ˈpɛpərz ər ə mɪks əv ɔl ðiz fər ˈɛkstrə ˈkələr) ˈkæbɪʤ (julienne*) 1 kəp (ˈsəbstəˌtut ˈpərpəl ˈkæbɪʤ ər ˈnæpə ˈkæbɪʤ) ˈkɛrət (julienne*) 2 ˈmidiəm ˈbeɪbi kɔrn 1 ɪnʧ ˈpisɪz)- 2 kəps frɛnʧ binz (julienne*)- kəp ˈməʃrumz (slaɪst)- 1 kəp (ˈɔpʃənəl) juz ˈɛni ˈvɛʤtəbəlz ðət ər laɪɪŋ ɪn jʊr frɪʤ ər ˈfrizər. fil fri tɪ æd ɪn bin spraʊts, ˈbrɑkəli, snæp piz, ˈʧɛsnəts, bɑk ʧɔɪ ənd ˈsɛləri. spərɪŋ ə smɔl bənʧ ˈgɑrlɪk (ʧɑpt) 6 lɑrʤ kloʊvz ˈʤɪnʤər 1 (ˈgreɪtɪd) sɔlt tɪ teɪst ˈpɛpər ˈpaʊdər (ˈprɛfərəbli waɪt ˈpɛpər) ɔɪl (ˈprɛfərəbli ˈeɪʒən ˈsɛsəmi ɔɪl) kəp (juz lɛs ɪf ju ər ˈjuzɪŋ ə nɑnˈstɪk pæn) fər ðə sɔs: sɔɪ sɔs kəp ˈvɪnəgər 2 tɛl ju ə ˈsikrɪt ɔn wɛr tɪ faɪnd ðɪs ɪn ðə ˈmɛθəd ˈsɛkʃən bɪˈloʊ!!) hɑt sɔs (aɪ ləv brænd) 1 (ˈɔpʃənəl, ˈsəbstəˌtut grin sɔs ɪf ju kən faɪnd ɪt) dək sɔs (aɪ laɪk tɪ seɪv ðə ˈpækɪts frəm ʧaɪˈniz takeouts*) 2 pæks (ˈɔpʃənəl) təˈmɑˌtoʊ ˈkɛʧəp 1 ˈmɛθəd: fər ðə ˈnudəlz: bɔɪl ə lɑrʤ pɑt əv ˈwɔtər ɛz ju wʊd fər ˈkʊkɪŋ ˈpɑstə. brɪŋ ɪt tɪ ə bɔɪl ənd æd ɪn ðə ˈɪnstənt ˈnudəlz, ɔl æt ðə seɪm taɪm. ðeɪ kʊk ɪn əˈbaʊt ə ˈmɪnət ɔn haɪ hit. ˌɪˈmiˌdiətli dreɪn ðə ˈnudəlz ənd ˌɪˈmərs ðɛm ɪn aɪs koʊld ˈwɔtər. ðɪs stɑps ðə ˈkʊkɪŋ ənd hɛlps ɪn riˈmuvɪŋ ðə ˈɛkˌsɛs stɑrʧ frəm ðə ˈnudəlz. ðɪs ˈɔlsoʊ ɪnˈʃʊrz ðət ðə ˈnudəlz stɪk tɪ iʧ ˈəðər. dreɪn ðə ˈnudəlz frəm ðə koʊld ˈwɔtər ˈæftər 5 ˈmɪnəts ənd sprɛd ðɛm ɪn ə lɑrʤ ənd lɛt ðɛm ɛr draɪ fər ə waɪl, ənˈtɪl jʊr sɔs ɪz ˈrɛdi. tɪp: ðiz ˈnudəlz kən bi priˈpɛrd ənd stɔrd ɪn ðə rɪˈfrɪʤərˌeɪtər fər ə fju deɪz ənd juzd wɛˈnɛvər rikˈwaɪərd! fər ðə sɔs: mɪks ɔl ðə ˌɪnˈgridiənts ˈmɛnʃənd fər ðə sɔs ɪn ə smɔl boʊl. tɪp: ju kən meɪk jʊr oʊn ˈvɪnəgər baɪ slɪt ˈʧɪliz ɪn 1 kəp əv waɪt ˈvɪnəgər. naʊ maɪ ˈsikrɪt aɪ seɪv ðə ˈwɔtər frəm ðə ˈpɪkəlz ˌhæləˈpinjoʊ ˈpɛpərz. ðeɪ ər ˈfæbjələs fər ˈrɛsəpiz laɪk ðɪs ənd ˈvɛriəs dɪps!! tɪ priˈpɛr ðə ʧaʊ min: hit ðə ɔɪl ɪn ə lɑrʤ ɔn haɪ hit. æd ðə ˈʤɪnʤər ənd ðə ˈgɑrlɪk ənd sɔˈteɪ fər 30 ˈsɛkəndz. ðɛn æd ɪn ðə ˈənjənz, ˈkæbɪʤ, ˈkɛrəts, frɛnʧ binz, ˈbeɪbi kɔrn ənd ˈməʃrumz. æd ə pɪnʧ əv sɔlt ənd ðə ˈpɛpər ˈpaʊdər ənd ɔn haɪ hit fər əˈbaʊt 4 ˈmɪnəts. noʊt: ðə ˈlɑʤɪk hir ɪz tɪ fərst æd ðə ˈvɛʤtəbəlz ðət teɪk lɔŋ tɪ kʊk. ðə ˈəðər ˈvɛʤiz laɪk bɑk ʧɔɪ ənd ˈpɛpərz nid nɑt kʊk ðət məʧ, soʊ ðeɪ ər ˈædɪd əˈlɔŋ wɪθ ðə ˈnudəlz. ðə bin spraʊts nid nɑt kʊk æt ɔl, soʊ ðeɪ ər ˈædɪd ɪn ðə ɛnd əˈlɔŋ wɪθ ðə ˈskæljənz (spərɪŋ ˈənjənz). ðɛn æd ɪn ðə grin ˈpɛpər (ənd ˈəðər ˈpɛpərz ɪf ˈjuzɪŋ) ənd ðə kʊkt ˈnudəlz. pɔr ɪn ðə sɔs ənd tɔs tɪ mɪks ˈɛvriˌθɪŋ təˈgɛðər. ju kən juz ðə spun ər juz tu ˈwʊdən spunz ənd tɔs ðə ˈnudəlz laɪk ju wʊd tɔs ə ˈsæləd. wəns mɪkst ˈθəroʊli, lɛt ðə ˈnudəlz stər fraɪ fər 5 ˈmɪnəts ɔn haɪ hit. stər ˈɛvəri ˈmɪnət tɪ meɪk ʃʊr ðeɪ fraɪ ˈivənli. ˈfɪnɪʃ wɪθ bin spraʊts (ɪf ˈjuzɪŋ) ənd lɑts əv ʧɑpt spərɪŋ ˈənjənz (grinz ˈoʊnli, juz waɪts waɪl ˈædɪŋ lɑrʤ ˈənjənz ɪn stɛp 1 sərv ˌɪˈmiˌdiətli. aɪ ˈjuʒəwəli sərv maɪ ˈnudəlz wɪθ ər ˈməʃrum 65 ənd frid raɪs. meɪk ɔl ðiz ənd hæv ə fist ˈrɛdi fər jʊr ˈfæməli. aɪ əˈgri ɪts nɑt ðə ˈhɛlθiɪst əv milz, bət ɪt ʃʊr ɪz dɪˈvaɪn ɪn teɪst!!! traɪ ðɪs ˈrɛsəpi ənd ju wɪl bi hʊkt!!!
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indo-chinese food is the amongst the most popular cuisine in india. indian’s who move out of the country miss this kind of fast food the most, because this cuisine is extremely difficult to find in restaurants. noodles, fried rice, manchurian – these are very uniquely indo-chinese dishes that evolved in the north east part of india (which is close to the china border). the people in this region borrowed flavors from both the countries and created a cuisine that is their pride now. these dishes are as famous as street food as they in fancy restaurants. i remember i was so excited when i saw chow mein on the menu of a chinese take out here in the us for the first time. but then i discovered they were totally different from the yummy noodles that i am used to!
the recipe that i am sharing today is my favorite – chow mein. these are thin noodles that stir fried with some sauces and vegetables/egg/meat and are extremely delicious!! chow mein means fried noodles in chinese. they can be stir fried (as we get them in india) or deep fried (as we get in the usa). these noodles are also known as hakka noodles in india. essentially these noodles are stir fried with vegetables until they get an almost crispy texture. these are almost the not so juicy versions of the lo mein from a chinese take out, but with more flavor! you can buy hakka noodles in indian grocery stores, ching’s is the most popular brand.
but they are not readily available everywhere. so this time i thought of cooking these up with instant ramen (maggi) noodles. they are very inexpensive ($2 for a 12 pack!) and these noodles are the closest in consistency to the indian hakka noodles. you can buy any brand of ramen noodles, any flavor. we are not going to use the seasoning that’s provided with the package. you could also use angel hair pasta, that would be fine too. the same recipe can be followed with rice noodles as well.if you are using instant noodles, cook them carefully because they cook really really fast! boil a large pot of water as you would for cooking pasta. bring it to a boil and add in the instant noodles, all at the same time. they cook in about a minute on high heat. immediately drain the noodles and immerse them in ice cold water. this stops the cooking and helps in removing the excess starch from the noodles. this also ensures that the noodles don’t stick to each other. drain the noodles from the cold water after 5 minutes and spread them in a large plate/bowl and let them air dry for a while, until your sauce is ready. these noodles can be prepared and stored in the refrigerator for a few days and used whenever required!
another important thing about this recipe is that the vegetables must be sliced/julienne very thin. the vegetables must not be soggy, but remain crisp and crunchy in the noodles. you can also use the pre-sliced coleslaw mix and add more veggies if you like. you may also add in some scrambled eggs and add them in while adding the noodles. this recipe is a brilliant way of sneaking in veggies into your kids diet.
ingredients:
serves 4
instant noodles – 4 packs
onion (sliced) – 1 medium
green pepper (julienne) – 1 medium (use red, yellow or orange peppers or a mix of all these for extra color)
cabbage (julienne) – 1 cup (substitute purple cabbage or napa cabbage)
carrot (julienne) – 2 medium
baby corn (1 inch pieces)- 2 cups
french beans (julienne)- 1/2 cup
mushrooms (sliced)- 1 cup (optional)
use any vegetables that are lying in your fridge or freezer. feel free to add in bean sprouts, broccoli, snap peas, chestnuts, bok choy and celery.
spring onions/scallions – a small bunch
garlic (chopped) – 6 large cloves
ginger – 1 tsp (grated)
salt – to taste
pepper powder (preferably white pepper) – 1/2 tsp
oil (preferably asian sesame oil) – 1/4 cup (use less if you are using a non-stick pan)
for the sauce:
soy sauce – 1/4 cup
chilli vinegar – 2 tbsp (i’ll tell you a secret on where to find this in the method section below!!)
hot sauce (i love sriracha brand) – 1 tbsp (optional, substitute green chilli sauce if you can find it)
duck sauce (i like to save the packets from chinese takeouts) – 2 packs (optional)
tomato ketchup – 1 tbsp
method:
for the noodles:
boil a large pot of water as you would for cooking pasta. bring it to a boil and add in the instant noodles, all at the same time. they cook in about a minute on high heat.
immediately drain the noodles and immerse them in ice cold water. this stops the cooking and helps in removing the excess starch from the noodles. this also ensures that the noodles don’t stick to each other. drain the noodles from the cold water after 5 minutes and spread them in a large plate/bowl and let them air dry for a while, until your sauce is ready.
tip: these noodles can be prepared and stored in the refrigerator for a few days and used whenever required!
for the sauce:
mix all the ingredients mentioned for the sauce in a small bowl.
tip: you can make your own chilli vinegar by immersing 3-4 slit green/serrano chillies in 1 cup of white vinegar. now here’s my secret – i save the water from the pickles jalapeno peppers. they are fabulous for recipes like this and various dips!!
to prepare the chow mein:
heat the oil in a large pan/wok on high heat. add the ginger and the garlic and saute for 30 seconds. then add in the onions, cabbage, carrots, french beans, baby corn and mushrooms. add a pinch of salt and the pepper powder and sauet on high heat for about 4 minutes.
note: the logic here is to first add the vegetables that take long to cook. the other veggies like bok choy and peppers need not cook that much, so they are added along with the noodles. the bean sprouts need not cook at all, so they are added in the end along with the scallions (spring onions).
then add in the green pepper (and other peppers if using) and the cooked noodles. pour in the sauce and toss to mix everything together. you can use the pasta/noodles spoon or use two wooden spoons and toss the noodles like you would toss a salad.
once mixed thoroughly, let the noodles stir fry for 5 minutes on high heat. stir every minute to make sure they fry evenly.
finish with bean sprouts (if using) and lots of chopped spring onions (greens only, use whites while adding large onions in step 1).
serve immediately. i usually serve my noodles with gobhi manchurian or mushroom 65 and fried rice. make all these and you’ll have a ind-chinese feast ready for your family. i agree its not the healthiest of meals, but it sure is divine in taste!!!
try this recipe and you will be hooked!!!
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ðə sərʧ fər ˈmɪsɪŋ flaɪt wɪl kənˈtɪnju, ðə məˈleɪʒən ˈgəvərnmənt həz əˈnaʊnst, ˈæftər ɪt riʧt ə dil wɪθ ə ˈpraɪvət fərm. ˈoʊʃən ˌɪnˈfɪnɪti, ən əˈmɛrɪkən ˈsiˌbɛd ˌɛksplərˈeɪʃən fərm, həz bɪn səˈlɛktɪd tɪ kənˈtɪnju ðə sərʧ fər ðə ˈmɪsɪŋ ˈʤɛˌtlaɪnər ɔn ə no-find*, no-fee’*’ ˈbeɪsɪs, ˈeɪˌbiˌsi rɪˈpɔrts. ðə əˈmɛrɪkən ˈkəmpəˌni wɑz ˈʧoʊzən frəm ə ˈnəmbər əv bɪdz, wɪθ ˈɪnˌpʊt fɔrm ðə ʧaɪˈniz ənd ɔˈstreɪljən ˈgəvərnmənts, əˈkɔrdɪŋ tɪ ðə rɪˈspɑns tim. ˈəðər ˈditeɪlz əv ðə dil wər nɑt dɪˈskloʊzd. məˈleɪʒə ˈɛˌrlaɪnz flaɪt ˌdɪsəˈpɪrd ˈoʊvər ðə saʊθ ˈɪndiən ˈoʊʃən ɔn mɑrʧ 8 2014 ɔn ə flaɪt frəm kˈwɑlə ˌləmˈpʊr tɪ ˌbeɪˈʒɪŋ; 239 ˈpipəl wər ˈɑnˌbɔrd, ðə məˈʤɔrəti əv ðɛm ʧaɪˈniz ˈnæʃənəlz. ðə ˌɪˈnɪʃəl sərʧ fər ðə flaɪt, wɪʧ ˌɪnˈkludɪd ˈɛfərts frəm 26 ˈkəntriz, wɑz səˈspɛndɪd ɪn ˈʤænjuˌɛri ˈæftər deɪz wɪθ ˈlɪtəl ˈprɑˌgrɛs meɪd ənd 160 ˈmɪljən spɛnt, dɪˈspaɪt ˈproʊˌtɛsts frəm ðə ˈfæməli ˈmɛmbərz əv ðoʊz lɔst ɔn bɔrd. ˌhaʊˈɛvər, ə rɪˈpɔrt aɪˈdɛntəˌfaɪd ə sq*. sq*. mi.) ˈɛriə ɔf ðə ˈwɛstərn koʊst əv ɔˈstreɪljə wɪθ haɪ probability”*” əv kənˈteɪnɪŋ ðə ˈɛrˌkræft. ðət zoʊn ɪz wɛr ˈoʊʃən ˈɛfərts wɪl ˈfoʊkɪs. ðə brif ˈnuzˌlɛtər saɪn əp tɪ rɪˈsiv ðə tɔp ˈstɔriz ju nid tɪ noʊ raɪt naʊ. vju ˈsæmpəl saɪn əp naʊ ɪz ˈɔlˌmoʊst ˌɪnkənˈsivəbəl ənd ˈsərtənli ˌənækˈsɛptəbəl ɪn ðə ˈmɑdərn ˌeɪviˈeɪʃən ˈɪrə fər ə lɑrʤ kəˈmərʃəl ˈɛrˌkræft tɪ bi ˈmɪsɪŋ ənd fər ðə wərld nɑt tɪ noʊ wɪθ ˈsərtənti wət bɪˈkeɪm əv ðə ˈɛrˌkræft ənd ðoʊz ɔn board,”*,” ðə ɔˈstreɪljən ˈtrænspɔrt ˈseɪfti ˈbjʊroʊ (atsb*) roʊt ɪn ɑkˈtoʊbər ɪts ˈfaɪnəl rɪˈpɔrt ɔn ðə feɪld sərʧ. məˈleɪʒə həz kənˈtɪnjud tɪ ˌɪnˈvɛstəˌgeɪt ðə ðə mɪˈstɪriəs ˌdɪsəˈpɪrəns, ənd wɪθ ˈpisɪz əv dəˈbri faʊnd ɪn saʊθ ˈæfrɪkɑ, mɔˈrɪtiəs, ənd ɔf ðə koʊsts əv ˌmædəˈgæskər ənd ˌmoʊzəmˈbik. ɪn ˈɔgəst, ɔˈstreɪljə ˈɔlsoʊ əˈnaʊnst ə ˈpɑrtnərˌʃɪp wɪθ dəʧ ˌəndərˈsi ˈmæpɪŋ fərm fugro*. aɪ æm ˈhoʊpfəl əv ə səkˈsɛsfəl sərʧ, ˈkɑnʃəs əv nɑt ˈreɪzɪŋ hoʊps fər ðə ləvd wənz əv ðoʊz lɔst ɔn bɔrd, ɔˈstreɪljən ˈmɪnɪstər fər ˈtrænspɔrt ənd ˌɪnfrəˈstrəkʧər ˈdɑrən ˈʧɛstərˌfild sɛd ɪn ə ˈsteɪtmənt ɪn rɪˈspɑns tɪ nuz əv ðə ˈoʊʃən ˌɪnˈfɪnɪti dil. raɪt tɪ ˈilaɪ æt eli.meixler@time.com*.
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the search for missing flight mh370 will continue, the malaysian government has announced, after it reached a deal with a private firm.
ocean infinity, an american seabed exploration firm, has been selected to continue the search for the missing jetliner on a no-find, no-fee’ basis, australia’s abc reports. the american company was chosen from a number of bids, with input form the chinese and australian governments, according to the mh370 response team. other details of the deal were not disclosed.
malaysia airlines flight mh370 disappeared over the south indian ocean on march 8, 2014 on a flight from kuala lumpur to beijing; 239 people were onboard, the majority of them chinese nationals.
the initial search for the flight, which included efforts from 26 countries, was suspended in january after 1,046 days with little progress made and $160 million spent, despite protests from the family members of those lost on board. however, a report identified a 25,000 sq. km.(15,500 sq. mi.) area off the western coast of australia with “a high probability” of containing the aircraft. that zone is where ocean infinity’s efforts will focus.
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“it is almost inconceivable and certainly societally unacceptable in the modern aviation era … for a large commercial aircraft to be missing and for the world not to know with certainty what became of the aircraft and those on board,” the australian transport safety bureau (atsb) wrote in october its final report on the failed search.
malaysia has continued to investigate the the mysterious disappearance, and with pieces of debris found in south africa, mauritius, and off the coasts of madagascar and mozambique. in august, australia also announced a partnership with dutch undersea mapping firm fugro.
“while i am hopeful of a successful search, i’m conscious of not raising hopes for the loved ones of those lost on board, ” australian minister for transport and infrastructure darren chesterfield said in a statement in response to news of the ocean infinity deal.
write to eli meixler at eli.meixler@time.com.
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ˈpitər ˈwɑtsən (ˈfoʊˌtoʊ: faɪl ˈfoʊˌtoʊ ðə rɪˈpəblɪkən ˈpɑrti həz bɪˈkəm ə ˈpɑrti əv ˈhɪpəˌkrɪts. ənd ˈnoʊˌwɛr ɪz ðɪs mɔr ˈɛvədənt ðən ɪn luˌiziˈænə. aɪ gru əp ɪn ə ˈstɔnʧli rɪˈpəblɪkən ˈhaʊsˌhoʊld, ənd aɪ ˈɔlˌweɪz wɑz tɔt ðət ðə wɑz fər sˈmɔlər ˈgəvərnmənt ənd lɛs ˈtæksɪz. əˈbəv ɔl, aɪ wɑz tɔt ðət rɪˈpəblɪkənz wər fər ˈpərsɪnəl riˌspɑnsəˈbɪləti ənd lɛs ˈgəvərnmənt ˌɪnˈtruʒən ˈɪntu ɑr ˈpərsɪnəl lɪvz. haʊ, ðɛn, kən gəv. ˈbɑbi ənd steɪt ˈlɔˌmeɪkərz, əˈspɛʃəli rɪˈpəblɪkənz, ˈʤəstəˌfaɪ ðə əˈbɔrʃən lɔ saɪnd baɪ ɪn ʤun ðət wʊd ˈifɛktɪvli ˈʃətər ɔl faɪv əv ðə əˈbɔrʃən ˈklɪnɪks? ðə lɔ, wɪʧ wɑz sɛt tɪ teɪk ˈifɛkt sɛpt. 1 rikˈwaɪərz ˈdɑktərz pərˈfɔrmɪŋ əˈbɔrʃənz ɪn luˌiziˈænə tɪ hæv ədˈmɪtɪŋ ˈprɪvɪˌlɪʤɪz æt ə ˈhɑˌspɪtəl wɪˈθɪn 30 maɪəlz əv ðɛr ˈklɪnɪk. ðət saʊnz ˈrizənəbəl, raɪt? prəˈpoʊnənts əv ðə lɔ seɪ ɪt ɪz eɪmd æt prəˈtɛktɪŋ ðə hɛlθ əv ˈwɪmən. ɑ, bət ðə kæʧ: ˈoʊnli wən ˈdɔktər pərˈfɔrmɪŋ əˈbɔrʃənz ˈkərəntli həz ədˈmɪtɪŋ ˈprɪvɪˌlɪʤɪz. ənd ðə ˈəðərz wər ˈgɪvɪn 81 deɪz frəm ðə taɪm ðə lɔ wɑz pæst tɪ əbˈteɪn ðoʊz ˈprɪvɪˌlɪʤɪz ˌbiˈfɔr ðə lɔ tʊk ˈifɛkt ˈmənˌdeɪ. sɪns ɪt teɪks ˈlɔŋgər ðən ðət tɪ əbˈteɪn ðoʊz ˈprɪvɪˌlɪʤɪz, ðə lɔ wʊd hæv ðə ˈifɛkt əv ˈʃətərɪŋ ðə əˈbɔrʃən ˈklɪnɪks. ənd ɪf ðət ˈhæpənd, ðə wən rɪˈmeɪnɪŋ ˈdɔktər hu pərˈfɔrmz əˈbɔrʃənz, ɪn fɪr fər hɪz ˈseɪfti, sɪz hi ˈɔlsoʊ wʊd stɑp pərˈfɔrmɪŋ ðə prəˈsiʤər. ðə nɛt ˈifɛkt əv ðə lɔ, ðɛn, wʊd bi tɪ dɪˈnaɪ ˈwɪmən ɪn luˌiziˈænə ˈækˌsɛs tɪ əˈbɔrʃən ˈsərvɪsɪz. ənd, əv kɔrs, ɪgˈzæktli wət ðə ˈbækərz ˌɪnˈtɛndɪd. aɪ kənˈsɪdər ˌmaɪˈsɛlf tɪ bi æt list ˈmoʊstli. aɪ ˈfərmli bɪˈliv ðət ˈjuzɪŋ əˈbɔrʃən ɛz ə fɔrm əv bərθ kənˈtroʊl ɪz ˈmɔrəli rɪˈpəgnənt ənd rɔŋ. ðɪs ɪz əˈspɛʃəli tru wɪn wən kənˈsɪdərz ðə waɪd vərˈaɪəti əv əˈfɔrdəbəl, ˈifɛktɪv ənd bərθ kənˈtroʊl ˈmɛθədz əˈveɪləbəl. təˈdeɪ, noʊ ˈwʊmən ʃʊd ˈɛvər hæv tɪ gɪt ˈprɛgnənt ənˈlɛs ʃi wɔnts tɪ. ənd ɪn ðoʊz rɛr ˈkeɪsɪz wɛr ðə bərθ kənˈtroʊl feɪlz (jɛs, ɪt dɪz ˈhæpən ˈsəmˌtaɪmz), ˈɔlˌweɪz əˈdɑpʃən. ənˈfɔrʧənətli, ˈmɔrəl ˈɪʃuz ˈrɛrli, ɪf ˈɛvər, hæv ˈklɪrˌkət səˈluʃənz, ənd ðɪs wən ɪz noʊ ɪkˈsɛpʃən. ʃʊd ə ˈwʊmən bɪn reɪpt bi fɔrst tɪ bɛr hər ʧaɪld ɪf ʃi bɪˈkəmz ˈprɛgnənt ɛz ə rɪˈzəlt? wət ˈhæpənz ɪf ə jəŋ gərl bɪˈkəmz ˈprɛgnənt ɛz ə rɪˈzəlt əv ˈɪnˌsɛst? ər ɪf ˈkɛriɪŋ ə ʧaɪld tɪ tərm wʊd rɪˈzəlt ɪn ðə dɛθ? tɪ bi ˈɑnəst, aɪ hæv ðə ˈænsərz tɪ ðiz ˈtrəbəlɪŋ kˈwɛsʧənz. ɪn fækt, aɪ kən ˈsɪmpəˌθaɪz wɪθ ˈɑrgjəmənts ɔn boʊθ saɪdz əv ðɪs ˈɪʃu ənd hæv bɪn ˈstrəgəlɪŋ wɪθ ðiz kˈwɛsʧənz fər jɪrz. wət aɪ du noʊ ɪz ðət noʊ wən ˈpərsən ənd ˈsərtənli noʊ pəˈlɪtɪkəl ˈpɑrti həz ə raɪt tɪ tɛl ˈwɪmən wət tɪ du wɪθ ðɛr oʊn ˈbɑdiz wɪn ɪt kəmz tɪ ðɛr ˌriprəˈdəktɪv hɛlθ. ˈoʊˈkeɪ tɪ dɪsəˈgri wɪθ ˈsəmˌwən ˈʧɔɪsɪz. bət wɪn ju stɑrt traɪɪŋ tɪ ˈdɪkˌteɪt ðoʊz ˈʧɔɪsɪz θru ˌlɛʤəsˈleɪʃən tɪ fɔrs jʊr ˈpərsɪnəl ˌmɔˈræləˌti ɔn əˈnəðər ˈpərsən ju hæv krɔst ə laɪn ðət ʃʊd ˈnɛvər bi krɔst. ənd ðə ˈfeɪtəl flɔ ɪn ðɪs mɪsˈgaɪdɪd lɔ. aɪ bɪˈliv ðə ˈpræktɪs əv əˈbɔrʃən ɪn ðɪs ˈkəntri ʃʊd bi rɛr. ɪt ʃʊd bi juzd ˈoʊnli fər ðə θri ˈkeɪsɪz dɪˈskraɪbd əˈbəv, ɪf juzd æt ɔl. bət aɪ ˈɔlsoʊ hæv ækˈsɛptɪd ðət, ˈæftər 41 jɪrz, əˈbɔrʃən ɪz hir tɪ steɪ. ə truθ ðət rɪˈpəblɪkən ˈpɑrti rɪfˈjuzɪz tɪ əkˈsɛpt. ðə truθ ɪz, ˈivɪn ɪf ðə səkˈsidɪd ɪn ˈaʊˌtlɔɪŋ əˈbɔrʃən ˈneɪʃənˈwaɪd, ɪt stɑp əˈbɔrʃənz frəm ˈhæpənɪŋ. ɪt wʊd ˈoʊnli draɪv ðə ˈpræktɪs bæk ˈəndərˌgraʊnd. ɪt wʊd ˈoʊnli rɪˈtərn ˈjuˈɛs tɪ ðə deɪz əv ˈbæˌkrum əˈbɔrʃənz ənd mɔr ˈwɪmən wʊd daɪ. ðət ɪz ˌənækˈsɛptəbəl. ɔn ˈɔgəst. 31 juz. ˈdɪstrɪkt ʤəʤ ʤɑn ˌtɛmpərˈɛrəli blɑkt ðə ˌɪmpləmɛnˈteɪʃən əv ðə lɔ. hoʊp hi stændz hɪz graʊnd ənd ðə lɔ ˈnɛvər teɪks ˈifɛkt. ðɪs ɪz bæd ˌlɛʤəsˈleɪʃən ðət wʊd ˈoʊnli hɑrm ˈwɪmən. ɪt ʃʊd hæv noʊ pleɪs ɪn ɑr steɪt ər ˈɛniˌwɛr ɛls. ˈpitər ˈwɑtsən lɪvz ɪn ʃˈrivˌpɔrt. rɛd ər ʃɛr ðɪs ˈstɔri:
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peter watson (photo: file photo )
the republican party has become a party of hypocrites. and nowhere is this more evident than in louisiana.
i grew up in a staunchly republican household, and i always was taught that the gop was for smaller government and less taxes. above all, i was taught that republicans were for personal responsibility and less government intrusion into our personal lives.
how, then, can gov. bobby jindal and state lawmakers, especially republicans, justify the abortion law signed by jindal in june that would effectively shutter all five of the state’s abortion clinics? the law, which was set to take effect sept. 1, requires doctors performing abortions in louisiana to have admitting privileges at a hospital within 30 miles of their clinic. that sounds reasonable, right? proponents of the law say it is aimed at protecting the health of women. ah, but here’s the catch: only one doctor performing abortions currently has admitting privileges. and the others were given 81 days from the time the law was passed to obtain those privileges before the law took effect monday. since it takes longer than that to obtain those privileges, the law would have the effect of shuttering the state’s abortion clinics. and if that happened, the one remaining doctor who performs abortions, in fear for his safety, says he also would stop performing the procedure. the net effect of the law, then, would be to deny women in louisiana access to abortion services. and, of course, that’s exactly what the bill’s backers intended.
i consider myself to be pro-life — at least mostly. i firmly believe that using abortion as a form of birth control is morally repugnant and wrong. this is especially true when one considers the wide variety of affordable, effective and long-lasting birth control methods available. today, no woman should ever have to get pregnant unless she wants to. and in those rare cases where the birth control fails (yes, it does happen sometimes), there’s always adoption.
unfortunately, moral issues rarely, if ever, have clear-cut solutions, and this one is no exception. should a woman who’s been raped be forced to bear her rapist’s child if she becomes pregnant as a result? what happens if a young girl becomes pregnant as a result of incest? or if carrying a child to term would result in the mother’s death? to be honest, i don’t have the answers to these troubling questions. in fact, i can sympathize with arguments on both sides of this issue and have been struggling with these questions for years.
what i do know is that no one person — and certainly no political party — has a right to tell women what to do with their own bodies when it comes to their reproductive health. it’s ok to disagree with someone else’s choices. but when you start trying to dictate those choices through legislation — to force your personal morality on another person — you have crossed a line that should never be crossed. and that’s the fatal flaw in this misguided law.
i believe the practice of abortion in this country should be rare. it should be used only for the three cases described above, if it’s used at all. but i also have accepted that, after 41 years, abortion is here to stay. that’s a truth that today’s republican party refuses to accept. the truth is, even if the gop succeeded in outlawing abortion nationwide, it wouldn’t stop abortions from happening. it would only drive the practice back underground. it would only return us to the days of backroom abortions and more women would die. that is unacceptable.
on aug. 31, u.s. district judge john degravelles temporarily blocked the implementation of the anti-abortion law. let’s hope he stands his ground and the law never takes effect. this is bad legislation that would only harm women. it should have no place in our state or anywhere else.
peter watson lives in shreveport.
read or share this story: https://www.shreveporttimes.com/story/opinion/guest-columnists/2014/09/07/watson-new-abortion-law-shows-gops-hypocrisy/15268255/
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*ˈsɑri fər ɔl ðə ˈɑdiˌoʊ ðɪs ɪz ðə pərˈmoʊʃənəl mælˈpræktɪs lɪv ʧæt. ˈfaɪnəli, ə ˈmeɪʤər ɪˈvɛnt ɪz əˈproʊʧɪŋ. ɪts bɪn ˈoʊvər ə mənθ sɪns ðə læst wən ənd spɔrt kʊd juz ˈsəmθɪŋ əv ˈgrævɪti tɪ bui ɪt ə bɪt. 210 ˈɪzənt ðə ˈbɪgəst kɑrd ˈɛni əv ˈjuˈɛs hæv ˈɛvər sin, bət ðə meɪn ənd ɪˈvɛnts ˈɔfər ɪˈnəf tɪ kaʊnt. ðə rɛst əv ðə kɑrd ˈɔlsoʊ həz səm ˌɪnˈtrigɪŋ ˈkɑntɛsts ɔn ɪt wɪθ ðə rɪˈtərn əv wɪl brʊks əˈgɛnst ə ˈʧɑrəlz ˌɑlɪˈveɪrə, ðə ˈsɛkənd əˈpɪrəns əv ˈsɪnθiə kɑlˈvɪloʊ ənd mɔr. moʊst ˈnoʊtəbli, pərˈhæps ðə ɪˈvɛnt bɪtˈwin ənd krɪs ˈwaɪdmən ɪz ðə moʊst ˈɪntəˌrɛstɪŋ faɪt əv ðɛm ɔl. ɪts ˈɔlsoʊ bɪn rɪˈvild ˈfɔrmər laɪt ˈhɛviˌweɪt ˈʧæmpiən ʤɑn ʤoʊnz ɪz rɪˈtərnɪŋ tɪ ðə əv. hil spik tɪ ðə ˈmidiə ɔn ˈfraɪˌdeɪ ɪn ˈbəfəˌloʊ əˈhɛd əv ðə ɪˈvɛnt. ðə bɪg kˈwɛʃən fər mi ˈhɛdɪŋ ˈɪntu ðət ɪz nɑt ˈmɪrli wət hil seɪ, bət wət wi wɔnt ɪm tɪ seɪ. əm ʃʊr ðɛr ɪz ən ɪˈnɔrmɪs əˈmaʊnt əv ˈprɛʃər ɔn ɪm tɪ seɪ ðə kaɪnz əv θɪŋz ðət pleɪ wɛl ɪn ˈfoʊkɪs ɪn grups. wət hi dɪz kʊd tɛl ˈjuˈɛs ə lɔt əˈbaʊt hɪz ˈaʊˌtlʊk ənd wət ɪt minz fər hɪz fˈjuʧər. ðɛrz ˈɔlsoʊ ðə əˈnaʊnsmɛnt əv ˈrɑbi ˈlɔlər ˈvərsəz. ˈdɑnəld ʧərˈoʊni, seɪʤ brif haɪˈeɪtəs, ˈmidiə ˈkændər ənd mɔr. ðɛrz ə lɔt goʊɪŋ ɔn, soʊ ʤɔɪn mi təˈdeɪ tɪ dɪˈskəs ɔl əv ðɪs ənd mɔr. ɪn tərmz əv ˈtudeɪz ʧæt, ˈɛniˌθɪŋ ɪz əp fər dɪˈskəʃən, bət aɪ wɪl lɛd wɪθ ðɪs ənd ɪt ɔl kɪks ɔf æt ɑr ˈjuʒəwəl taɪm əv 1 p.m*. ɛt. ɛz ɪz ˈkəstəˌmɛri, aɪl poʊst ðə ˈvɪdioʊ ˈwɪndoʊ hir ɛz ðə ɪˈvɛnt drɔz nɪr ənd aɪl ˈænsər ˈɛni kˈwɛsʧənz ju meɪ hæv ɪf ju poʊst ðɛm ɪn ðə ˈkɑmɛnts ˈsɛkʃən bɪˈloʊ. bi ʃʊr ðət ju klɪk ðə 'rɛk' ˈbətən fər ðoʊz ju bɪˈliv moʊst dɪˈzərv ə rɪˈspɑns. bi ʃʊr tɪ lɪŋk ðɪs peɪʤ ənd juz ðə ˈhæʃˌtæg ɔn tˈwɪtər ər ˈivɪn ˈfeɪsˌbʊk wɪn jʊr ˈwɑʧɪŋ ðɪs tɪ lɛt ˈɛvriˌwən noʊ jʊr ˈteɪkɪŋ pɑrt ɪn ðɪs ækˈtɪvɪti əv ɑrz.
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*sorry for all the audio issues*
this is the promotional malpractice live chat.
finally, a major ufc event is approaching. it's been over a month since the last one and sport could use something of gravity to buoy it a bit. ufc 210 isn't the biggest card any of us have ever seen, but the main and co-main events offer enough to count. the rest of the card also has some intriguing contests on it with the return of will brooks against a now-lightweight charles oliveira, the second appearance of cynthia calvillo and more. most notably, perhaps the co-main event between gegard mousasi and chris weidman is the most interesting fight of them all.
it's also been revealed former ufc light heavyweight champion jon jones is returning to the ufc...sort of. he'll speak to the media on friday in buffalo ahead of the pay-per-view event. the big question for me heading into that is not merely what he'll say, but what we want him to say. i'm sure there is an enormous amount of pressure on him to say the kinds of things that play well in focus in groups. what he does could tell us a lot about his outlook and what it means for his future.
there's also the announcement of robbie lawler vs. donald cerrone, sage northcutt's brief hiatus, gegard mousasi's media candor and more.
there's a lot going on, so join me today to discuss all of this and more. in terms of today's chat, anything is up for discussion, but i will lead with this and it all kicks off at our usual time of 1 p.m. et.
as is customary, i'll post the video window here as the event draws near and i'll answer any questions you may have if you post them in the comments section below. be sure that you click the 'rec' button for those comments/questions you believe most deserve a response.
be sure to link this page and use the hashtag #chatwrappers on twitter or even facebook when you're watching this to let everyone know you're taking part in this activity of ours.
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ˈbækˌgraʊnd ˈdʊrɪŋ ðə ˈsəmɪt læst jɪr 2016 dæn ˈkɪməl ənd aɪ kˈwɪkli hækt təˈgɛðər ðə ˈʧɛkˌpɔɪnt kəˈmænd ɪn, wɪʧ əˈlaʊz rɪˈvərtɪŋ ən ɪnˈtaɪər pul tɪ ə ˈpriviəs steɪt. sɪns ɪt wɑz ʤɪst fər ə ˈhækəˌθɔn, ɑr dɪˈzaɪn wɑz bɛr boʊnz ənd ɑr ˌɪmpləmɛnˈteɪʃən fɑr frəm kəmˈplit. əraʊnd ə mənθ ˈleɪtər, wi hæd ə nu ənd ˈɔlˌmoʊst kəmˈplit dɪˈzaɪn wɪˈθɪn ənd aɪ wɑz ˈeɪbəl tɪ stɑrt ðə ˌɪmpləmɛnˈteɪʃən ɔn maɪ oʊn. aɪ kəmˈplitɪd ðə ˌɪmpləmɛnˈteɪʃən læst mənθ, ənd naʊ ˈrənɪŋ rəˈgrɛʃən tɛsts, soʊ aɪ ˌdɪˈsaɪdɪd tɪ raɪt ðɪs blɔg poʊst ɪkˈspleɪnɪŋ wət ə ˈstɔrɪʤ pul ˈʧɛkˌpɔɪnt ɪz, waɪ wi nid ɪt wɪˈθɪn, ənd haʊ tɪ juz ɪt. ˌmoʊtəˈveɪʃən ðə ˈprɑdəkt ɪz ˈbeɪsɪkli ə ˈrənɪŋ (ə dərˈɪvɪtɪv əv illumos*) wɪθ ɑr ˌæpləˈkeɪʃən stæk ɔn tɔp əv ɪt. ˈdʊrɪŋ ən ˈəpˈgreɪd, ðə riˈbuts ˈɪntu ðə nu ɑs bɪts ənd ðɛn rənz səm skrɪpts ðət ˈəpˌdeɪt ðə ɪnˈvaɪrənmənt (dɪˈrɛktəriz, sˈnæpˌʃɑts, ˈoʊpən kəˈnɛkʃənz, ˌɛtˈsɛtərə.) fər ðə nu ˈvərʒən əv ɑr æp stæk. ˈsɔfˌwɛr biɪŋ ˈsɔfˌwɛr, ˈfeɪljərz kən ˈhæpən æt ˈdɪfərənt pɔɪnts ˈdʊrɪŋ ðə ˈəpˈgreɪd ˈprɔˌsɛs. wɪn ən ˈəpˈgreɪd skrɪpt ðət meɪks ˈʧeɪnʤɪz tɪ feɪlz, wi hæv ə ˌkɔrəˈspɑndɪŋ ˈroʊlˌbæk skrɪpt ðət əˈtɛmpts tɪ brɪŋ ənd ɑr æp stæk bæk tɪ ðɛr ˈpriviəs steɪt. ðɪs ɪz ˈvɛri ˈtrɪki ɛz wi nid tɪ ənˈdu ˈɛvəri ˈsɪŋgəl ˌmɑdəfəˈkeɪʃən əˈplaɪd tɪ (ˌɪnˈkludɪŋ ˈdeɪtəˌsɛt kriˈeɪʃən ənd riˈneɪmɪŋ, ər ɪˈneɪbəlɪŋ nu ˈfiʧərz). ðə aɪˈdiə əv ˈstɔrɪʤ pul ˈʧɛkˌpɔɪnt (ˈɑkə ˈʧɛkˌpɔɪnt dilz wɪθ ɪgˈzæktli ðət. ɪt kən bi θɔt əv ɛz ə snapshot”*” (ər ə ˌvɛriˈeɪʃən əv ɪkˈstrim ˈriwaɪnd ðət kərəpt jʊr ˈdætə). ɪt rɪˈmɛmbərz ðə ɪnˈtaɪər steɪt əv ðə pul æt ðə pɔɪnt ðət ɪt wɑz ˈteɪkən ənd ðə ˈjuzər kən rɪˈvərt bæk tɪ ɪt ˈleɪtər ər dɪˈskɑrd ɪt. ɪts ʤəˈnɛrɪk juz keɪs ɪz ən ədˈmɪnɪˌstreɪtər ðət ɪz əˈbaʊt tɪ pərˈfɔrm ə sɛt əv dɪˈstrəktɪv ˈækʃənz tɪ ɛz pɑrt əv ə ˈkrɪtɪkəl prəˈsiʤər. ʃi teɪks ə ˈʧɛkˌpɔɪnt əv ðə pul ˌbiˈfɔr pərˈfɔrmɪŋ ðə ˈækʃənz, ðɛn bæk tɪ ɪt ɪf wən əv ðɛm feɪlz ər pʊts ðə pul ˈɪntu ən ˌənɪkˈspɛktɪd steɪt. ˈəðərˌwaɪz, ʃi dɪˈskɑrdz ɪt. wɪθ ðə əˈsəmpʃən ðət noʊ wən ɛls ɪz ˈmeɪkɪŋ ˌmɑdəfəˈkeɪʃənz tɪ, ʃi ˈbeɪsɪkli ræps ɔl ðiz ˈækʃənz ˈɪntu ə transaction”*”. ɪn ðə ˈprɑdəkt, ðə sɪˈnɛrioʊ ɪz ə spɪˈsɪfɪk keɪs əv ðə ʤəˈnɛrɪk juz keɪs. wi teɪk ə ˈʧɛkˌpɔɪnt ˈdʊrɪŋ ˈəpˈgreɪd ˌbiˈfɔr pərˈfɔrmɪŋ ˈɛni ˈʧeɪnʤɪz tɪ ənd ˈriwaɪnd bæk tɪ ɪt ɪf ˈsəmθɪŋ ˌənɪkˈspɛktɪd ˈhæpənz. ˈjusɪʤ ɔl ðə ˈrɛfərəns məˈtɪriəl ɔn haʊ tɪ juz ˈʧɛkˌpɔɪnt ɪz pɑrt əv ðə zfs(1m*) mæn peɪʤ. ðət sɛd, ðɪs ˈsɛkʃən ˈdɛmənˌstreɪts moʊst əv ɪts ˌfəŋkʃəˈnælɪti wɪθ ə ˈsɪmpəl ɪgˈzæmpəl. fərst wi kriˈeɪt ə pul ənd səm ˈdəmi datasets*: kriˈeɪt kriˈeɪt kriˈeɪt lɪst neɪm saɪz fri kæp hɛlθ 0 0 ˈɔnˌlaɪn ɛz ju kən si, ðə lɪst kəˈmænd həz ə nu ˈkɑləm kɔld ðət ɪz ˈkərəntli ˈɛmti. ðɛn wi teɪk ə ˈʧɛkˌpɔɪnt ənd pərˈfɔrm səm dɪˈstrəktɪv ˈækʃənz: ˈʧɛkˌpɔɪnt dɪˈstrɔɪ riˈneɪm lɪst -ɑr neɪm juzd əˈveɪl rɪˈfər lɪst neɪm saɪz fri kæp hɛlθ 0 0 ˈɔnˌlaɪn ˈstætəs pul: steɪt: ˈɔnˌlaɪn skæn: nən rɪkˈwɛstɪd ˈʧɛkˌpɔɪnt: kriˈeɪtɪd sæt 22 2017 kənˈsumz: neɪm steɪt rɛd raɪt ˈɔnˌlaɪn 0 0 0 ˈɔnˌlaɪn 0 0 0 ˈɛrərz: noʊ noʊn ˈdætə ˈɛrərz ˈæftər ðə pul, dɪˈstrɔɪɪŋ ðə fərst ˈdeɪtəˌsɛt ənd riˈneɪmɪŋ ðə ˈsɛkənd wən, wi si ðət lɪst ənd ˈstætəs hæv səm nu ˌɪnˌfɔrˈmeɪʃən fər ˈjuˈɛs. ðə ˈkɑləm həz bɪn ˈpɑpjəˌleɪtəd naʊ ənd ɪz ðə seɪm ˈnəmbər ɛz ðə wən dɪˈspleɪd baɪ ˈstætəs ɪn ðə ˈʧɛkˌpɔɪnt roʊ. ðɪs əˈmaʊnt əv speɪs həz bɪn frid ɪn ðə ˈkɑrənt steɪt əv ðə pul, bət wi kip ɪt əraʊnd bɪˈkəz ɪt ɪz pɑrt əv ðə ˈʧɛkˌpɔɪnt (soʊ wi kən ˈleɪtər ˈriwaɪnd bæk tɪ ɪt ɪf wi ʧuz tɪ). tɪ teɪk ə lʊk æt ðə steɪt əv ðə pul wɪˈθaʊt ˈæˌkʧuəli tɪ ɪt wi kən du ðə ˈfɑloʊɪŋ: ˈɛkspɔrt ˌɪmˈpɔrt -oʊ lɪst -ɑr neɪm juzd əˈveɪl rɪˈfər ˈɛkspɔrt ˌɪmˈpɔrt lɪst -ɑr neɪm juzd əˈveɪl rɪˈfər tɪ ˈriwaɪnd ðə hoʊl pul bæk tɪ ðə steɪt, dɪˈskɑrdɪŋ ˈɛni ʧeɪnʤ ðət ˈhæpənd ˈæftər ɪt wɑz ˈteɪkən: ˈɛkspɔrt ˌɪmˈpɔrt lɪst -ɑr neɪm juzd əˈveɪl rɪˈfər tɪ dɪˈskɑrd ðə ˈʧɛkˌpɔɪnt wɪn ɪt ɪz nɑt ˈnidɪd ˌɛniˈmɔr: ˈʧɛkˌpɔɪnt --dɪˈskɑrd lɪst neɪm saɪz fri kæp hɛlθ 0 0 ˈɔnˌlaɪn ˈkeɪviˌæts ˈteɪkɪŋ ə ˈʧɛkˌpɔɪnt əv ðə hoʊl steɪt əv ðə pul ənd bæk tɪ ɪt ɪz ə səˈluʃən ənd ˌɪmˈpoʊzɪŋ səm ˈlɪmɪts tɪ ɪts ˈjusɪʤ wɑz rikˈwaɪərd tɪ ɪnˈʃʊr ðət ˈjuzərz ˈkænɑt ˌɪntrəˈdus ˈɛni ˈɛrərz tɪ ðɛr ˈstɔrɪʤ pulz. pulz ðət hæv ə ˈʧɛkˌpɔɪnt ˌdɪsəˈlaʊ ˈɛni ʧeɪnʤ tɪ ðɛr kənˌfɪgjərˈeɪʃən ˌbiˈsaɪdz ðə əˈdɪʃən əv nu. spəˈsɪfɪkli, ˈmɪrər ˈsplɪtɪŋ, ənd ər nɑt əˈlaʊd waɪl ju hæv ə ˈʧɛkˌpɔɪnt. ðə ˌhaɪpəˈθɛtɪkəl ɪgˈzæmpəl ɪz ðət wi bi ˈeɪbəl tɪ rɪˈkəvər ə pul wɛr ə ˈriwaɪnd wɑz əˈtɛmptəd ənd ðə ɪkˈspɛktɪd tɪ faɪnd ˈdætə ɪn ə ðət wɑz riˈmuvd ˈæftər ðə ˈʧɛkˌpɔɪnt wɑz ˈteɪkən. ˈsɪmələr ˈrizənɪŋ wɑz juzd fər ðə ˈəðər əˈfɔrˌmɛnʃənd ˌɑpərˈeɪʃənz. ɛz fər æd ˌɔlˈðoʊ ɪt ɪz səˈpɔrtɪd, ðə ˈjuzər həz tɪ ðə dɪˈvaɪs ɪn ðə keɪs əv ə ˈriwaɪnd. ˈteɪkɪŋ ə ˈʧɛkˌpɔɪnt waɪl ə dɪˈvaɪs ɪz biɪŋ riˈmuvd ɪz ˈɔlsoʊ ˌdɪsəˈlaʊd. əˈgɛn, ðə ˈʧɛkˌpɔɪnt ˈrɛfərənsɪz ðə hoʊl steɪt əv ðə pul ˌɪnˈkludɪŋ ðə steɪt əv ˈɛni ˈɔnˌgoʊɪŋ ˌɑpərˈeɪʃənz. dɪˈvaɪs rɪˈmuvəl fər ɪz ə ʧeɪnʤ ðət kən spæn ˈməltəpəl trænˈzækʃənz. ɪt wʊd bi rɔŋ tɪ ˈriwaɪnd bæk tɪ ðə ˈʧɛkˌpɔɪnt ənd əˈtɛmpt tɪ ˈfɪnɪʃ ðə rɪˈmuvəl əv ə dɪˈvaɪs ðət həz bɪn riˈmuvd ɔˈrɛdi. əˈnəðər ˌɪmˈpɔrtənt noʊt fər pulz ðət hæv ə ˈʧɛkˌpɔɪnt ɪz ðə fækt ðət du nɑt ˈtrævərs ˈɛni ˈdætə ðət həz bɪn frid ɪn ðə ˈkɑrənt steɪt əv ðə pul. ðəs, ɪn ðə keɪs əv ˈɛrərz, ðiz ˈdætə ˈkænɑt bi dɪˈtɛktɪd frəm ðə ˈkɑrənt steɪt əv ðə pul zdb(1m*) kən ˈæˌkʧuəli dɪˈtɛkt ðɛm, bət ˈkænɑt rɪˈpɛr ðɛm). ˈfaɪnəli, du tɪ ə ˈtɛknɪkəl ˈrizən ðət aɪ wɪl goʊ θru ɪn ə ˈdɪfərənt poʊst, ˈdeɪtəˌsɛt ˌrɛzərˈveɪʃənz meɪ bi ˌənɛnˈfɔrsəbəl waɪl ə ˈʧɛkˌpɔɪnt ɪgˈzɪsts ənd ðə pul ɪz ˈstrəgəlɪŋ tɪ faɪnd speɪs. aɪ hoʊp ðət ðɪs poʊst wɑz ˈhɛlpfəl. əˈnəðər poʊst ʃʊd bi aʊt sun wɪθ mɔr ˈtɛknɪkəl ˈditeɪlz əˈbaʊt haʊ ðɪs ˈfiʧər ɪz ˈɪmpləˌmɛnəd ənd ˈhoʊpfəli ˈænsər waɪ ðə əˈbəv ˈkeɪviˌæts ˈkərəntli ɪgˈzɪst. fil fri tɪ iˈmeɪl mi wɪθ ˈɛni kˈwɛsʧənz ər ˈfidˌbæk.
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background
during the openzfs summit last year (2016), dan kimmel and i quickly hacked together the zpool checkpoint command in zfs, which allows reverting an entire pool to a previous state. since it was just for a hackathon, our design was bare bones and our implementation far from complete. around a month later, we had a new and almost complete design within delphix and i was able to start the implementation on my own. i completed the implementation last month, and we’re now running regression tests, so i decided to write this blog post explaining what a storage pool checkpoint is, why we need it within delphix, and how to use it.
motivation
the delphix product is basically a vm running delphixos (a derivative of illumos) with our application stack on top of it. during an upgrade, the vm reboots into the new os bits and then runs some scripts that update the environment (directories, snapshots, open connections, etc.) for the new version of our app stack. software being software, failures can happen at different points during the upgrade process. when an upgrade script that makes changes to zfs fails, we have a corresponding rollback script that attempts to bring zfs and our app stack back to their previous state. this is very tricky as we need to undo every single modification applied to zfs (including dataset creation and renaming, or enabling new zpool features).
the idea of storage pool checkpoint (aka zpool checkpoint ) deals with exactly that. it can be thought of as a “pool-wide snapshot” (or a variation of extreme rewind that corrupt your data). it remembers the entire state of the pool at the point that it was taken and the user can revert back to it later or discard it. its generic use case is an administrator that is about to perform a set of destructive actions to zfs as part of a critical procedure. she takes a checkpoint of the pool before performing the actions, then rewinds back to it if one of them fails or puts the pool into an unexpected state. otherwise, she discards it. with the assumption that no one else is making modifications to zfs, she basically wraps all these actions into a “high-level transaction”.
in the delphix product, the scenario is a specific case of the generic use case. we take a checkpoint during upgrade before performing any changes to zfs and rewind back to it if something unexpected happens.
usage
all the reference material on how to use zpool checkpoint is part of the zfs(1m) man page. that said, this section demonstrates most of its functionality with a simple example.
first we create a pool and some dummy datasets:
$ zpool create testpool c1t1d0 $ zfs create testpool/testfs0 $ zfs create testpool/testfs1 $ zpool list testpool name size alloc free ckpoint expandsz frag cap dedup health altroot testpool 7.50g 194k 7.50g - - 0% 0% 1.00x online -
as you can see, the zpool list command has a new column called ckpoint that is currently empty. then we take a checkpoint and perform some destructive actions:
$ zpool checkpoint testpool $ zfs destroy testpool/testfs0 $ zfs rename testpool/testfs1 testpool/testfs2 $ zfs list -r testpool name used avail refer mountpoint testpool 109k 7.27g 23k /testpool testpool/testfs2 23k 7.27g 23k /testpool/testfs2 $ zpool list testpool name size alloc free ckpoint expandsz frag cap dedup health altroot testpool 7.50g 290k 7.50g 88.5k - 0% 0% 1.00x online - $ zpool status testpool pool: testpool state: online scan: none requested checkpoint: created sat apr 22 08:46:54 2017, consumes 88.5k config: name state read write cksum testpool online 0 0 0 c1t1d0 online 0 0 0 errors: no known data errors
after checkpointing the pool, destroying the first dataset and renaming the second one, we see that zpool list and zpool status have some new information for us. the ckpoint column has been populated now and is the same number as the one displayed by zpool status in the checkpoint row. this amount of space has been freed in the current state of the pool, but we keep it around because it is part of the checkpoint (so we can later rewind back to it if we choose to).
to take a look at the checkpointed state of the pool without actually rewinding to it we can do the following:
$ zpool export testpool $ zpool import -o readonly=on --rewind-to-checkpoint testpool $ zfs list -r testpool name used avail refer mountpoint testpool 129k 7.27g 23k /testpool testpool/testfs0 23k 7.27g 23k /testpool/testfs0 testpool/testfs1 23k 7.27g 23k /testpool/testfs1 $ zpool export testpool $ zpool import testpool $ zfs list -r testpool name used avail refer mountpoint testpool 115k 7.27g 23k /testpool testpool/testfs2 23k 7.27g 23k /testpool/testfs2
to rewind the whole pool back to the checkpointed state, discarding any change that happened after it was taken:
$ zpool export testpool $ zpool import --rewind-to-checkpoint testpool $ zfs list -r testpool name used avail refer mountpoint testpool 129k 7.27g 23k /testpool testpool/testfs0 23k 7.27g 23k /testpool/testfs0 testpool/testfs1 23k 7.27g 23k /testpool/testfs1
to discard the checkpoint when it is not needed anymore:
$ zpool checkpoint --discard testpool $ zpool list testpool name size alloc free ckpoint expandsz frag cap dedup health altroot testpool 7.50g 289k 7.50g - - 0% 0% 1.00x online -
caveats
taking a checkpoint of the whole state of the pool and rewinding back to it is a heavy-weight solution and imposing some limits to its usage was required to ensure that users cannot introduce any unrecoverable errors to their storage pools. pools that have a checkpoint disallow any change to their vdev configuration besides the addition of new vdevs. specifically, vdev attach/detach/remove , mirror splitting, and reguid are not allowed while you have a checkpoint. the hypothetical example is that we wouldn’t be able to recover a pool where a rewind was attempted and the config expected to find data in a vdev that was removed after the checkpoint was taken. similar reasoning was used for the other aforementioned operations. as for vdev add , although it is supported, the user has to re-add the device in the case of a rewind.
taking a checkpoint while a device is being removed is also disallowed. again, the checkpoint references the whole state of the pool including the state of any ongoing operations. device removal for top-level vdevs is a vdev config change that can span multiple transactions. it would be wrong to rewind back to the checkpoint and attempt to finish the removal of a device that has been removed already.
another important note for pools that have a checkpoint is the fact that scrubs do not traverse any checkpointed data that has been freed in the current state of the pool. thus, in the case of errors, these data cannot be detected from the current state of the pool ( zdb(1m) can actually detect them, but cannot repair them).
finally, due to a technical reason that i will go through in a different post, dataset reservations may be unenforceable while a checkpoint exists and the pool is struggling to find space.
i hope that this post was helpful. another post should be out soon with more technical details about how this feature is implemented and hopefully answer why the above caveats currently exist. feel free to email me with any questions or feedback.
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ðɪs poʊst wɑz meɪd wɪθ ən ˈoʊldər wət kən ɪt du? ˌbiˈfɔr wi bɪˈgɪn wɪθ ɑr ɪgˈzæmpəl wi ʃʊd fərst ˈklɛrəˌfaɪ wət kən ənd du, soʊ ðət ju kən dɪˈtərmən ɪf ɪt kən hɛlp ju wɪθ jʊr keɪs ər ɪf ju ʃʊd sərʧ fər ˈsəmθɪŋ ɛls. kən fɪks pɑrˈtɪʃən ˈteɪbəl, rɪˈkəvər dɪˈlitəd pɑrˈtɪʃən rɪˈkəvər but ˈsɛktər frəm ɪts ˈbæˌkəp riˈbɪld but ˈsɛktər fɪks fæt ˈteɪbəlz riˈbɪld but ˈsɛktər rɪˈkəvər but ˈsɛktər frəm ɪts ˈbæˌkəp fɪks ˈjuzɪŋ ˈmɪrər ˈloʊˌkeɪt ˈbæˌkəp faɪlz frəm fæt, exfat*, ənd ˈkɑpi faɪlz frəm dɪˈlitəd fæt, exfat*, ənd pɑrˈtɪʃənz. haʊ tɪ rɪˈstɔr ˈdætə ə kwɪk ɪgˈzæmpəl əv haʊ ju kən ˈizəli faɪlz frəm ən ɑˈstɛnsəbli ˈɛmti hɑrd draɪv. fər ðɪs ɪgˈzæmpəl aɪ wɪl juz ən oʊld ðət kənˈteɪnz ə lɔt əv ˈfoʊtəˌgræfs aɪ ˈrɪli nid ˌɛniˈmɔr kɔz aɪ hæv muvd ðɛm ɪn ə mɔr ˈmɑdərn ənd ˈseɪfər pleɪs. ɪt ʃʊd wərk wɪθ moʊst ənd ˈəðər kaɪnd əv faɪlz laɪk ˈdɑkjəmənts, ˈvɪdioʊ ənd ˈɑdiˌoʊ faɪlz ˌɛtˈsɛtərə, bət aɪ ˌgɛrənˈti ˈɛniˌθɪŋ əv kɔrs. lʊks ɛz ˈɛmti ɛz hɛd, bət ɪz ɪt? ɪt ˈæˌkʧuəli ˈɛmti æt ɔl, ɛz ðə faɪlz ər ðɛr bət ðə ˈpɔɪntərz ər riˈmuvd. ðɪs minz ðət ðə speɪs jʊr faɪlz ˈɑkjəˌpaɪ ɪz əˈveɪləbəl fər juz wɪn ənd ɪf ˈnidɪd, bət ðə faɪlz wɪl rɪˈmeɪn ðɛr ənˈtɪl ðeɪ ər ˌriˈpleɪst wɪθ nu wənz. ðɪs ɪz waɪ ju meɪ ˈpɑrʃəli rɪˈkəvər səm ˈdætə, ər lus ˈɔlˌmoʊst ˈɛvriˌθɪŋ ɪf ju kənˈtɪnju tɪ juz jʊr ˈdraɪvər ˈnɔrməli. wət ju ʃʊd du ˌɪnˈstɛd ɪz traɪ tɪ rɪˈkəvər ɛz fæst ɛz ˈpɑsəbəl waɪl ˈjuzɪŋ jʊr draɪv ɛz ˈlɪtəl ɛz ˈpɑsəbəl. ənˈfɔrʧənətli fər ˈoʊnərz ðɪs əˈplaɪ, ɛz ˈsɑləd steɪt ˈdraɪvərz riˈmuv ˌɪˈmiˌdiətli ðə ˈdætə əv ˈɛni dɪˈlitəd faɪlz hir ɪz wɛr rɪˈkəvəri tul kəmz tɪ seɪv ðə day…*… ˌɪnˈstɔl ˈpækɪʤ ənd ðɛn lɔnʧ baɪ ˈtaɪpɪŋ ““testdisk”*” ɔn ə ˈtərmənəl. fər ˈdætə rɪˈstɔr ju wɪl nid tɪ rən ɛz rut, soʊ taɪp testdisk“*“. pərˈsid ɛz ʃoʊn bɪˈloʊ, baɪ ˈʧuzɪŋ jʊr dɪsk ənd. fər ju ʧuz ðə ədˈvænst ˈɔpʃənz ˈmɛnju. ˌnævəˈgeɪʃən əv ɔl ˈmɛnjuz ɪz dən θru ˈɛroʊ kiz ənd ˈɛnər ju meɪ ðɛn juz ðə ˈɛroʊ kiz əˈgɛn tɪ səˈlɛkt ˈɔpʃən ənd prɛs ðə ˈɛnər ˈbətən ðɪs wɪl meɪk sərʧ ðə səˈlɛktɪd hɑrd draɪv ənd dɪˈspleɪ ɔl faʊnd inodes*. iʧ ɔn ðə ˈfɑloʊɪŋ skrin ˌrɛprɪˈzɛnts ə faɪl ˈsɪstəm ˈɑbʤɛkt (ˈfoʊtəˌgræfs ɪn maɪ keɪs) bət nɑt ðə filenames*. ju kən dɪˈtərmən ər ʤɪst gɛs wət ɪz wət baɪ ðə ˌmɑdəfəˈkeɪʃən deɪt ənd faɪl saɪz ʃoʊn ɔn ðə raɪt. ju kən naʊ pərˈsid wɪθ səˈlɛktɪŋ ðə faɪlz tɪ rɪˈstɔr baɪ ˈprɛsɪŋ ðə ˈbətən, ər ʤɪst səˈlɛkt ˈɛvriˌθɪŋ ɪn keɪs ju ər nɑt ʃʊr wət ɔl ðɪs ɪz baɪ ˈprɛsɪŋ ðə ə ˈbətən. ɪn ðɪs keɪs, meɪk ʃʊr ju hæv ɪˈnəf dɪsk speɪs fər ðə rɪˈkəvəri. peɪʤ ˈbətənz ˈɔlsoʊ wərk ɛz expected…*… wɪn ðə səˈlɛkʃən pɑrt ɪz dən ju prɛs ðə si ˈbətən ðət wɪl brɪŋ ju tɪ ðə ““destination”*” skrin. səˈlɛkt ðə ˈfoʊldər wɛr ju wɔnt ðə rɪˈstɔrd faɪlz tɪ goʊ ənd prɛs ðə si ˈbətən əˈgɛn wɪl ðɛn bɪˈgɪn ˈkɑpiɪŋ ðə səˈlɛktɪŋ faɪlz tɪ ðə dɪˈzaɪərd ˌdɛstɪˈneɪʃən. ðə ˈprɔˌsɛs ɪz ˈrɛlətɪvli fæst, bət ju meɪ hæv tɪ weɪt səm taɪm dɪˈpɛndɪŋ ɔn ðə saɪz, faɪl ˈnəmbər ənd dɪsk spid. ˈæftər ɔl ɪz dən, ənd ɪf ˈɛvriˌθɪŋ wɛnt wɛl ju ʃʊd si səm faɪlz ˌɪnˈsaɪd ðə ˌdɛstɪˈneɪʃən ˈfoʊldər. ðiz faɪlz ər ˈbeɪsɪkli ˈfoʊtəˌgræfs, bət aɪ ˈoʊpən ðɛm ʤɪst laɪk ðət bɪˈkəz ˈjuzər rut drɑpt ðɛm ɪn hir. aɪ ʃʊd ʧeɪnʤ ðə faɪl pərˈmɪʃənz ər ˈoʊpən ðɛm θru ə ˌæpləˈkeɪʃən. ɪn maɪ keɪs ɪt ɪz soʊ ˈgɪvɪŋ gimp”*” ɔn ə ˈtərmənəl wɪl lɔnʧ ɛz ənd ðɛn ʧuz ənd ðɛr wi ər! ˌɛnˈʤɔɪɪŋ ðə beach…*… ˈəðər ways…*… ðɪs ðə ˈoʊnli weɪ tɪ rɪˈstɔr faɪlz əv kɔrs, ənd tɪ bi ˈɑnəst aɪ æm nɑt ʃʊr əˈbaʊt ˈwɛðər ðɪs ɪz ðə ˈfæstəst ənd ˈsɪmpləst, ɛz aɪ æm nɑt ə ˈdætə rɪˈstɔrɪŋ ˈɛkspərt. ɪt wʊd bi greɪt ɪf ju ˈpipəl liv ˈkɑmɛnts ˈlɪŋkɪŋ tɪ ˈəðər ˈdætə rɪˈstɔrɪŋ ˈɑrtɪkəlz, ər raɪt səm kwɪk gaɪdz ənd sɛnd ðɛm tɪ ˈjuˈɛs tɪ ˈpəblɪʃ ənd ʃɛr ðə ˈnɑlɪʤ wɪθ ˈɛvriˌwən! ˈlɪnəks ɪz əv kɔrs ˈvɛri rɪʧ ɪn ˈɔlˌmoʊst ˈɛvəri ˈsɛktər ənd ˈdætə rɪˈstɔrɪŋ ɪz nɑt ən ɪkˈsɛpʃən, soʊ hir ɪz ə lɪst əv mɔr tulz fər ju tɪ gɪv ə traɪ ɪn keɪs du ðə trɪk ɪn jʊr case…*… ˈsɪstəm ˈrɛskju ˈsiˈdi ˌuˈbuˌtu ˈrɛskju ˈskælpəl gʊd lək ənd hæv fən rɪˈstɔrɪŋ lɔst faɪlz ənd ˈmɛməriz
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what can it do?
before we begin with our example we should first clarify what testdisk can and can’t do, so that you can determine if it can help you with your case or if you should search for something else.
testdisk can
fix partition table, recover deleted partition
recover fat32 boot sector from its backup
rebuild fat12/fat16/fat32 boot sector
fix fat tables
rebuild ntfs boot sector
recover ntfs boot sector from its backup
fix mft using mft mirror
locate ext2/ext3/ext4 backup superblock
undelete files from fat, exfat, ntfs and ext2 filesystem
copy files from deleted fat, exfat, ntfs and ext2/ext3/ext4 partitions.
how to restore data
here’s a quick example of how you can easily undelete files from an ostensibly empty hard drive. for this example i will use an old 80gb ntfs hd that contains a lot of photographs i don’t really need anymore cause i have moved them in a more modern and safer place. it should work with most hds and other kind of files like documents, video and audio files etc, but i can’t guarantee anything of course.
looks as empty as diavatis head, but is it?
it actually isn’t empty at all, as the files are there but the pointers are removed. this means that the space your files occupy is available for use when and if needed, but the files will remain there until they are replaced with new ones. this is why you may partially recover some data, or loose almost everything if you continue to use your driver normally. what you should do instead is try to recover as fast as possible while using your drive as little as possible.
unfortunately for ssd owners this doesn’t apply, as solid state drivers remove immediately the data of any deleted files :(
here is where testdisk recovery tool comes to save the day… install testdisk package and then launch by typing “testdisk” on a terminal. for data restore you will need to run as root, so type “sudo testdisk“. proceed as shown below, by choosing your disk and filesystem.
for undeleting you choose the advanced options menu. navigation of all menus is done through arrow keys and enter
you may then use the arrow keys again to select undelete option and press the enter button
this will make testdisk search the selected hard drive and display all found inodes. each inode on the following screen represents a file system object (photographs in my case) but not the filenames. you can determine or just guess what is what by the modification date and file size shown on the right.
you can now proceed with selecting the files to restore by pressing the : button, or just select everything in case you are not sure what all this is by pressing the a button. in this case, make sure you have enough disk space for the recovery. page up/down buttons also work as expected…
when the selection part is done you press the c button that will bring you to the “destination” screen.
select the folder where you want the restored files to go and press the c button again
testdisk will then begin copying the selecting files to the desired destination. the process is relatively fast, but you may have to wait some time depending on the size, file number and disk speed. after all is done, and if everything went well you should see some inode files inside the destination folder.
these files are basically photographs, but i can’t open them just like that because user root dropped them in here. i should change the file permissions or open them through a root-launched application. in my case it is gimp so giving “sudo gimp” on a terminal will launch gimp as superuser and then choose file/open/destinationfolder/inode_8641
and there we are! lee-bee enjoying the beach…
other ways…
this isn’t the only way to restore files of course, and to be honest i am not sure about whether this is the fastest and simplest, as i am not a data restoring expert. it would be great if you people leave comments linking to other data restoring articles, or write some quick guides and send them to us to publish and share the knowledge with everyone!
linux is of course very rich in almost every sector and data restoring is not an exception, so here is a list of more tools for you to give a try in case testdisk didn’t do the trick in your case…
system rescue cd
ubuntu rescue remix
scalpel
ddrescue
safecopy
good luck and have fun restoring lost files and memories :)
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bræd din, ˈprɛzɪdənt ənd ˈsiˌiˈoʊ əv ðə ˈmərtəl biʧ ˈʧeɪmbər əv ˈkɑmərs ˈtɛstɪˌfaɪd ˌbiˈfɔr ə ˈsɛnɪt ˈsəbkəˈmɪti ɔn meɪ 8 bɪˈloʊ ɪz ən əˈbrɪʤd ˈvərʒən əv hɪz ˈtɛstɪˌmoʊni. ˈmərtəl biʧ, saʊθ ˌkɛrəˈlaɪnə ɪz ə smɔl taʊn əv əˈprɑksəmətli ˈpərmɑˌnɛnt ˈrɛzɪdənts. ˈsɛvərəl smɔl kəmˈjunɪtiz ər taɪd ˌɛkəˈnɑmɪkli tɪ ðə ˈsɪti əv ˈmərtəl biʧ bət ðə ɪnˈtaɪər ˌpɑpjəˈleɪʃən əv ɑr ˈriʤən ɪz stɪl ˈvɛri smɔl baɪ moʊst ˈstændərdz. dɪˈspaɪt ɑr smɔl ˈpərmɑˌnɛnt ˌpɑpjəˈleɪʃən, ðə ˈmərtəl biʧ ˈɛriə ɪz ə ˈmeɪʤər ˈtʊˌrɪzəm ˈmɛkə, ˈwɛlkəmɪŋ mɔr ðən 15 ˈmɪljən ˈvɪzɪtərz iʧ jɪr. ɛz ju maɪt ɪkˈspɛkt, ˈtʊˌrɪzəm ɪz ɑr ˈnəmbər wən ˈɪndəstri, ənd ɪt fjuəlz ˈəðər ˈloʊkəl ˈɪndəstriz laɪk ril ɛˈsteɪt, kənˈstrəkʃən ənd ˈriˌteɪl. ˈvɪzɪtərz kəm tɪ ˈmərtəl biʧ tɪ ˌɛnˈʤɔɪ ðə 60 maɪəlz əv ˈbjutəfəl, ˈprɪstin ˈbiʧɪz, ˈʧæmpiənˌʃɪp gɔlf ˈkɔrsɪz, ənd ə waɪd əreɪ əv əmˈjuzmənts, əˈtrækʃənz, ˈdaɪnɪŋ, ˈʃɑpɪŋ ənd ˌɛnərˈteɪnmənt ˈɔpʃənz. waɪl ðə ækˈtɪvɪtiz ənd əˈmɛnətiz ər ə drɔ, ðə ˈmərtəl biʧ ˈɛriə həz bɪn ˈfɔrʧənət tɪ ˌɛnˈʤɔɪ ə haɪ rɪˈpit ˌvɪzɪˈteɪʃən reɪt, du ɪn lɑrʤ pɑrt tɪ ðə ˌɛkstrəˈɔrdəˌnɛri ˈsəðərn ˌhɑspəˈtæləti ɑr ˈvɪzɪtərz ˌɛnˈʤɔɪ ˈdʊrɪŋ iʧ ˈvɪzɪt. ðə ˈtʊˌrɪzəm ˈɪndəstri ɪn ˈmərtəl biʧ ˈʤɛnərˌeɪts ən ˈænjuəl ˌɛkəˈnɑmɪk ˌɪmˈpækt əv ˈnɪrli 7 ˈbɪljən ənd səˈsteɪnz mɔr ðən ʤɑbz. praɪər tɪ ðə kriˈeɪʃən əv brænd ˈjuˈɛˈseɪ, ɑr ˈneɪʃən wɑz fɑr frəm kəmˈpɛtɪtɪv ɪn ˌɪnərˈnæʃənɑl ˈtrævəl. ðɛr wɑz noʊ ˈvɪzɪt america’*’ ˈmɛsɪʤ. təˈdeɪ, θru ˈpɑrtnərˌʃɪps wɪθ brænd ˈjuˈɛˈseɪ, aɪ æm ˈeɪbəl tɪ prəˈmoʊt ɑr brænd, əˈlɔŋ wɪθ maɪ pɪrz ɪn ˈʧɑrəlstən ənd ˈhɪltən hɛd, ɪn ˈnumərəs ˈkəntriz boʊθ ɪn ˈjʊrəp ənd ðə fɑr ist. bɪˈkəz əv brænd ˈjuˈɛˈseɪ, ɑr pərˈmoʊʃənəl ˌɪnˈvɛstmənts ˈʤɛnərˌeɪt ə məʧ haɪər ənd wi kən naʊ ˈlɛvərɪʤ ɑr brændz ɪn mɔr ˈmɑrkɪts. sɪns ɑr ˈpɑrtnərˌʃɪp wɪθ brænd ˈjuˈɛˈseɪ bɪˈgæn, wi hæv sin groʊθ ɪn ˌɪnərˈnæʃənɑl ˈtrævəl tɪ ðə ˈmərtəl biʧ ˈɛriə. ɪn fækt, ðə groʊθ ɪn ˌɪnərˈnæʃənɑl ˈtrævəl tɪ maɪ kəmˈjunɪti həz ˈrɪzən æt ˈnɪrli θri taɪmz ðə reɪt əv dəˈmɛstɪk ˈtrævəl. wɪn ɪt kəmz tɪ brænd ˈjuˈɛˈseɪ aɪ hæv tu wərdz fər ˈkɑŋgrəs: θæŋk ju. ənd, ɪf ˈpərˌmɪt mi, aɪ hæv tu mɔr wərdz tɪ ˈɔfər: pliz riˈɔθərˌaɪz. ðɪs ˈproʊˌgræm, wɪʧ dɪz nɑt kɔst juz. ˈtækˌspeɪərz ə daɪm, ɪz ˈhɛlpɪŋ tɪ groʊ ˈtʊˌrɪzəm ənd kriˈeɪt ʤɑbz, nɑt ˈoʊnli ɪn ˈmərtəl biʧ, bət θruaʊt saʊθ ˌkɛrəˈlaɪnə ənd ðə ˈəðər steɪts. ɪn əˈdɪʃən, ɪf wi ˌɪnˈtɛnd tɪ ˈmɑrkɪt əˈmɛrɪkə ɛz ðə prɛˈmɪr pleɪs fər wərld ˈtrævələrz tɪ veɪˈkeɪʃən, wi nid tɪ meɪk ʃʊr ðeɪ ər ˈgritɪd wɪθ ə ˈwərldˌklæs ˌtrænspərˈteɪʃən ˈsɪstəm. ˈkɑŋgrəs məst faɪnd ən ˈædəkˌweɪt sɔrs əv ˈfəndɪŋ fər ðə ˈhaɪˌweɪ trəst fənd wɪʧ ɪz ˈkərəntli prɑˈʤɛktəd tɪ rən aʊt ɪn leɪt ˈɔgəst. ˈkɑŋgrəs ənd ðə ædˌmɪnɪˈstreɪʃən ʃʊd ɪˈnækt ə ˈlɔŋˈtərm riˌɔθərɪˈzeɪʃən əv wɪʧ wɪl ɪkˈspaɪr ɔn ɑkˈtoʊbər 1st*. ˈfaɪnəli, ɪn ðɪs ˈɪrə əv ˌɪnˈkrisɪŋ ˌrɛgjəˈleɪʃən, səm ˈmɛʒərz ɪkˈsid ˈsɛnsəbəl rɪˈfɔrm ənd, ɔˈkeɪʒənəˌli, ɪkˈsid kənˈgrɛʃənəl ˌɪnˈtɛnt, ɛz wɛl. smɔl ˈbɪznɪsɪz ər kɔt ɪn ðə ənd kən ˈizəli bɪˈkəm ðə ˈvɪktɪm əv ˌənɪnˈtɛndɪd ˈkɑnsəkˌwɛnsəz. sin ðɪs ɪn ˈmərtəl biʧ ənd aɪ ˈsəˌspɛkt wi ər nɑt əˈloʊn. ˈkɑŋgrəs, wɪn dɪˈvaɪzɪŋ nu lɔz, ənd ðə ædˌmɪnɪˈstreɪʃən wɪn ˈɪmpləˌmɛnɪŋ ðɛm ʃʊd əˈplaɪ ðə seɪm, ˈbeɪsɪk ˈprɪnsəpəl ðət ˈbɪznɪsɪz ənd ˈhaʊsˌhoʊldz əˈplaɪ: θɪŋk ˌbiˈfɔr ju ækt, ənd weɪ ðə kɔsts ɛz wɛl ɛz ðə ˌɪnˈtɛndɪd ˈbɛnəfɪts. wi kən, ənd aɪ bɪˈliv wi wɪl, riʧ ðə əˈbʤɛktɪv əv 100 ˈmɪljən ˌɪnərˈnæʃənɑl ˈvɪzɪtərz ˈænjuəli. bət duɪŋ soʊ rikˈwaɪərz riˌɔθərɪˈzeɪʃən əv brænd ˈjuˈɛˈseɪ, ˌɪmˈpruvmənts tɪ ɑr ˌtrænspərˈteɪʃən ˌɪnfrəˈstrəkʧər, ənd ə ˈsɛnsəbəl əˈproʊʧ tɪ ˈgəvərnmənt ˌrɛgjəˈleɪʃən.
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brad dean,esident and ceo of the myrtle beach chamber of commerce testified before a senate subcommittee on may 8. below is an abridged version of his testimony.
myrtle beach, south carolina is a small town of approximately 30,000 permanent residents. several small communities are tied economically to thety of myrtle beach but the entire population of our region is still very small by most standards. despite our small permanent population, the myrtle beach area is a major tourism mecca, welcoming more than 15 million visitors each year. as you might expect, tourism is our number one industry, and it fuels other local industries like real estate, construction and retail.
visitors come to myrtle beach to enjoy the 60 miles of beautiful,istine beaches, 100-plus championship golf courses, and a wide array of amusements, attractions, dining, shopping and entertainment options. while the activities and amenities are a draw, the myrtle beach area has been fortunate to enjoy a high repeat visitation rate, due in large part to the extraordinary southern hospitality our visitors enjoy during each visit. the tourism industry in myrtle beach generates an annual economic impact of nearly $7 billion and sustains more than 73,000 jobs.
prior to the creation of brand usa, our nation was far from competitive in international travel. there was no ‘come visit america’ message. today, through partnerships with brand usa, i am able to collaborativelyomote our brand, along with my peers in charleston and hilton head, in numerous countries both in europe and the far east. because of brand usa, ouromotional investments generate a much higher return-on-investment and we can now leverage our brands in more markets.
since our partnership with brand usa began, we have seen double-digit growth in international travel to the myrtle beach area. in fact, the growth in international travel to my community has risen at nearly three times the rate of domestic travel.
when it comes to brand usa i have two words for congress: thank you. and, if you’ll permit me, i have two more words to offer: please reauthorize. thisogram, which does not cost u.s. taxpayers a dime, is helping to grow tourism and create jobs, not only in myrtle beach, but throughout south carolina and the other forty-nine states.
in addition, if we intend to market america as theemier place for world travelers to vacation, we need to make sure they are greeted with a world-class transportation system. congress must find an adequate source of funding for the highway trust fund which is currentlyojected to run out in late august. congress and the administration should enact a long-term reauthorization of map-21 which will expire on october 1st.
finally, in this era of increasing regulation, some measures exceed sensible reform and, occasionally, exceed congressional intent, as well. small businesses are caught in the cross-hairs and can easily become the victim of unintended consequences. we’ve seen this in myrtle beach and i suspect we are not alone. congress, when devising new laws, and the administration when implementing them should apply the same, basicinciple that well-managed businesses and households apply: think before you act, and weigh the costs as well as the intended benefits.
we can, and i believe we will, reach the objective of 100 million international visitors annually. but doing so requires reauthorization of brand usa, improvements to our transportation infrastructure, and a sensible approach to government regulation.
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ˈrɪtən baɪ ˈkɑmˌrædz ɔn ˈfraɪˌdeɪ 13th*, ʤun 2014 əraʊnd 8:00pm*, ən ˈæŋgri kraʊd əv əˈbaʊt ˈsɪksti ˈpipəl kənˈvərʤd ɔn ðə ˈdʊˈrhæm ˈkaʊnti dɪˈtɛnʃən ˈsɛnər ɪn ˈdaʊnˈtaʊn ˈdʊˈrhæm fər ðə ʤun ˌɪnərˈnæʃənɑl deɪ əv ˌsɑləˈdɛrəti wɪθ lɔŋ tərm ˈænərˌkɪst mərˈi ˈmeɪsən, ˈɛrɪk məkˈdeɪvəd, ənd ɔl ˈəðərz hum ðə steɪt həz ˌɪmˈprɪzənd. ðə kraʊd brɔt ˈbænərz ˈbɛrɪŋ ˈmɛsɪʤɪz əv ˌsɑləˈdɛrəti wɪθ ðoʊz ˌɪnˈsaɪd, wən ˈivɪn seɪɪŋ ər ðə bæd luck”*” wɪθ ə proʊˈvɑkətɪv ˈɪmɪʤ əv ə kɑp biɪŋ kɪkt, drəmz, ə vərˈaɪəti əv noisemakers*, ənd ə ʤaɪənt kroʊ ˈpəpɪt wɪʧ weɪvd əraʊnd ˈvɪzəbəl tɪ ˈɪnˌmeɪts, ənˈtɪl ɪt ɪˈvɛnʧəwəli ˈblɛndɪd ɪn wɪθ ðə naɪt skaɪ, kriˈeɪtɪŋ ə ˈwɪʧi ˌsɪləˈwɛt. ˌbænˈdænəz wər brɔt əˈlɔŋ wɪθ tɪ du it”*” ˈpoʊstərz, wɪʧ prəˈvaɪdɪd ˈɪnfoʊ əˈbaʊt haʊ tɪ mæsk ənd blɑk əp ˈprɑpərli ɪn ˈɔrdər tɪ kənˈsil aɪˈdɛntəˌti frəm pəˈlis ər ˈrændəm hu maɪt bi ˈfɪlmɪŋ. ˈɔlˌmoʊst ˌɪˈmiˌdiətli, ə pɪg traɪd tɪ tɔk tɪ ˈjuˈɛs, bət hɪz ənˈwɛlkəmd wɑz stɑpt ˈəltəmətli wɪn ˈpipəl ˈgæðərd əraʊnd ɪm ənd droʊv ɪm əˈweɪ wɪθ laʊd, dɪsˈrəptɪv ˈdrəmɪŋ. wi steɪd ɔn ðə lɛft saɪd əv ðə ʤeɪl fər əˈbaʊt ˈfɔrti ˈmɪnəts ənˈtɪl wi bɪˈgæn ˈmɑrʧɪŋ təˈwɔrd ðə frənt. (ˈdʊˈrhæm pərˈfɔrmɪŋ ɑrts ˈsɛnər) wɑz ˈhoʊstɪŋ ən ɪˈvɛnt ðət ˈivnɪŋ fər ðə ˌɪzˈreɪli dæns ˈkəmpəˌni, ˈvərtɪˌgoʊ, wɪʧ wɑz ˈɔlsoʊ ə ˈtərgət əv ˈproʊˌtɛst baɪ səm, ənd prɪˈzuməbli tɪ kip ˈjuˈɛs frəm ˌɪntərˈəptɪŋ ɪt, tˈwɛnti ər mɔr baɪk pɪgz wər ˈsteɪʃənd ˈaʊtˈsaɪd. wi steɪd əˈkrɔs ðə roʊd frəm ðɛm ɔn ðə ʤeɪl saɪd ˈbæŋɪŋ ˈlaʊdli ɔn drəmz, ˈweɪvɪŋ ənd ˈskrimɪŋ tɪ ˈprɪzənərz, ənd ˈhoʊldɪŋ ˈbænərz əp fər ðɛm tɪ si. ðə kraʊd muvd ˈkloʊzər tɪ ðə ʤeɪl, ənd ˈfaɪərˌkrækərz ənd ˈəðər ˈfaɪrˌwərks wər θroʊn æt ðə ˈɛntrəns. sun ˈæftər, əˈbaʊt ˈfɪfˈtin ər tˈwɛnti pɪgz ˈwɛrɪŋ ˈjɛloʊ ʃərts hu wər pɑrt əv ðə dɪˈtɛnʃən ˈimərʤənsi rɪˈspɑns tim, huz ˈfəŋkʃən ɪz spəˈsɪfɪkli tɪ stɑp rɪˈbɛljənz ˌɪnˈsaɪd, keɪm ˈaʊtˈsaɪd ɑrmd ənd ənˈhæpi. ðeɪ kriˈeɪtɪd ə laɪn ɪn frənt əv ˈjuˈɛs ənd ðə ʤeɪl, ˈfɪzɪkəli ˈpʊʃɪŋ ˈjuˈɛs bæk wɪn ˈpɑsəbəl. mɔr ˈfaɪərˌkrækərz wər hərld æt ðɛm, ˈhɪtɪŋ ənd ˈbaʊnsɪŋ ɔf ðə ˈprɪzən gɑrdz. ə ˈkəpəl deɪz ˈleɪtər wi hərd bæk frəm ə ˈprɪzənər ðət ˈmɛni kʊd si ðə ˌkɑnfrənˈteɪʃən frəm ðɛr sɛlz, ənd wər θrɪld. ˈsɛvərəl ˈmɪnəts ˈleɪtər, wi muvd bæk tɪ ðə ˈreɪˌlroʊd træks, ˈʧæntɪŋ, stɪl ˈdrəmɪŋ, ənd banner-laden*. ˈkɛrɪŋ ˈlɪtəl fər ðə ˈkɑnsəkˌwɛnsəz, ˈprɪzənərz ˌɪnˈsaɪd pleɪst saɪnz ɔn ðɛr ˈwɪndoʊz, wɪʧ wər hɑrd tɪ rɛd frəm ɑr pəˈzɪʃən, bət prɪˈzuməbli ɛz ɪn ðə pæst, bɔr ˈmɛsɪʤɪz əv θæŋk, ækˈnɑlɪʤmənts əv ðɛm ˈhirɪŋ ˈjuˈɛs ənd siɪŋ ɑr ˈbænərz ənd ˈfloʊtɪŋ ˈlæntərnz, ənd fək tɪ ðə ʤeɪl ənd ɔl ðə pɪgz hu kip ðɛm lɑkt ˌɪnˈsaɪd. ðə gɑrdz ɪˈvɛnʧəwəli, ɛz fɑr ɛz wi kʊd tɛl, meɪd ðə ˈprɪzənərz teɪk daʊn ðɛr saɪnz. ˈlæntərnz wər lɪt, ənd mɔr ˈfaɪrˌwərks wər sɛt ɔf, ənd laʊd pɑps ˈɛkoʊd θru ðə strits ɛz ˈfaɪərˌkrækərz wər θroʊn ðɛr. wi mɑrʧt ˈfərðər daʊn tɪ ðə bæk ˈkɔrnər əv dcdc*, wɛr wi kənˈtɪnjud biɪŋ ɛz laʊd ɛz ˈpɑsəbəl fər əˈbaʊt tˈwɛnti ˈmɪnəts ər soʊ. ˈæftər ˈmɑrʧɪŋ bæk əp ðə ˈsaɪdˌwɔk, wi ˈgæðərd ɪn ə taɪt ˈkləstər, ˈsaɪlənt fər ðə ˈlɔŋgɪst ˈθərˌdi ˈsɛkəndz ˈɛvər, ənd ðɛn ˌɪˈrəptɪd wɪθ ðə ˈlaʊdəst drəm bits ənd ˈskrimɪŋ ˈnɔɪzɪz wi kʊd meɪk ɛz ɑr fəˈnæli. wi ðɛn dɪˈspərst. noʊ wən wɑz ərˈɛstɪd. ðɪs ˌdɛmənˈstreɪʃən wɑz ən ˌɪmˈpɔrtənt ˈkætəˌlɪst fər fˈjuʧər ˈækʃənz əv rɪˈzɪstəns ɪn ˈdʊˈrhæm fər ˈsɛvərəl ˈrizənz: 1 ju kən krəʃ ðə flaʊər, bət ju stɑp ðə spərɪŋ ðɪs wɑz ðə fərst ˈpəblɪk dɪˈspleɪ əv rɪˈzɪstəns sɪns ðə ˈwɪntər, wɪn ðə ˈmɑrʧɪz fər ˈʤizəs ““chuy”*” ˈwɛrˌtə kɪkt ɔf. pɑrˈtɪsəpənts dɑnd mæsks, əp, ənd ˈdæmɪʤd pəˈlis ˈprɑpərti ɛz ə rɪˈspɑns tɪ ðə ˈɑbviəs ˈkəvərˌəp əv ðə pəˈlis ˈkɪlɪŋ ˈsɛvənˈtin jɪr oʊld. ðə fərst mɑrʧ sɔ ðə pəˈlis ˈhɛdˌkɔrtərz ˈvændəˌlaɪzd, ə kɑp kɑr ˈwɪndoʊ smæʃt, ənd grəˈfiti spreɪd ˈdaʊnˈtaʊn. ðə ˈsɛkənd mɑrʧ wɪʧ lɛd əp tɪ ə ˈvɪʤəl æt ðə spɑt wɛr laɪf wɑz ˈɛndɪd æt ðə pəˈlis ˈsteɪʃən, wɑz ˈbrutəli riˈprɛst, ˈɛndɪŋ ɪn ˈsɛvərəl ərˈɛsts, ənd raɪət pəˈlis ðə kraʊd ənd ˈbitɪŋ ˈpipəl wɪθ stɪks. ðə θərd ənd ˈfaɪnəl mɑrʧ hæd fjuər pɑrˈtɪsəpənts ðən ðə ˈpriviəs tu, ənd ˈhæpənd ʤɪst ˌbiˈfɔr əˈnəðər ˈvɪʤəl ˌɪnˈsaɪd əv ðə ʧərʧ ðət ənd hɪz ˈfæməli əˈtɛndəd. ɪn ə dɪsˈgəstɪŋ stənt, pəˈlis ʧif ˈloʊpɛz əˈtɛndəd ðə ˈvɪʤəl wɪʧ spɑrkt ˈaʊˌtreɪʤ frəm ðə ˈfæməli, ənd kɔzd səm ɪn əˈtɛndəns tɪ wɔk aʊt. ðə mɑrʧ wɛnt pæst ə pəˈlis wɛr ˈwɪndoʊz wər əˈgɛn ˈbroʊkən ənd kɑp kɑz wər ˈvændəˌlaɪzd. ðiz ˈmɑrʧɪz sɛt ə ˈprɛsɪdənt fər strit ˈmɑrʧɪz ɪn ðə bʊl ˈsɪti. nən əv ðɛm wər pərˈmɪtɪd, ˈmɛni ˈpipəl ʧoʊz tɪ mæsk əp, ənd ˈprɑpərti dɪˈstrəkʃən ˈhɔltɪd baɪ ðə citizen”*” kraʊd ɪn spaɪt əv ə skɛr kæmˈpeɪn baɪ ðə ˈsɪti ˈkaʊnsəl ənd pəˈlis ʧif ˌhoʊˈzeɪ ˈloʊpɛz. wɪn ðə pəˈlis fəkt wɪθ ˈpipəl, ˈpipəl fɔt bæk wɪθ ðɛr rɪˈbɛljən, rɪfˈjuzɪŋ tɪ bi kəræld əˈweɪ frəm ðə strits. si ðə zaɪn ənd inconsolable”*” fər ə mɔr θəroʊ æˈnælɪsɪs əv ðiz spɪˈsɪfɪk ˈɪnsədənts. 2 jʊr lɔz ər ˈbʊlˌʃɪt ˈæftər ðə ˈwɪntər strit ˌdɛmənˈstreɪʃənz, ðə ˈsɪti əv ˈdʊˈrhæm ənd ðə meɪd ə ˈpəblɪk ˈsteɪtmənt ˌriəˈfərmɪŋ ˈsərtən rules”*” ðət wər ˌdɪsrɪˈgɑrdɪd. ðeɪ meɪd ɪt klɪr ðət ˈmɑrʧɪz məst, frəm naʊ ɔn, teɪk pleɪs ɔn ðə ˈsaɪdˌwɔk, ˈdʊrɪŋ ðə ˈdeɪˌtaɪm, wɪˈθaʊt mæsks, wɪˈθaʊt ˌpaɪroʊˈtɛknɪks, ənd wɪˈθaʊt ˈprɑpərti dɪˈstrəkʃən. ðɪs ˌdɛmənˈstreɪʃən ˌdɪsrɪˈgɑrdɪd moʊst əv ðiz θɪŋz ɪkˈsplɪsətli, ənd ðə kɔl fər ɪt ˈaʊˌtlaɪnd ðə ˈrizənz fər ðɪs. ðiz ˈlɛʤəsˌleɪtɪv əˈtɛmpts tɪ kwɛl dɪˈsɛnt wər pʊt ɪn pleɪs spəˈsɪfɪkli tɪ ˈkrɪmənəˌlaɪz ˈpipəl ənd juθ əv ˈkələr, ənd ˈʤɛnərəl rɪˈbɛljən ðət dɪˈfaɪnd ɛz ˈsɪvəl ənd pərˈdəktɪv. ðə fækt ðət ðɛr wər ˈpipəl ˈprɛzənt tɪ ˈʧælənʤ ðiz lɔz wɪθ ðə ˌɪnˈtɛnsɪti ðət ðeɪ wər ɪz ən əˈkɑmplɪʃmənt. ðeɪ fək wɪθ ˈjuˈɛs bɪˈkəz wi lɛt ðɛm. 3 ɔl ˈprɪzənərz ər pəˈlɪtɪkəl ˈprɪzənərz: ˌsɑləˈdɛrəti wɪθ ɔl ˈprɪzənərz! ˈprɪzənərz ˌɪnˈsaɪd əv ðə ˈdʊˈrhæm ʤeɪl, laɪk ɔl ʤeɪlz ənd ˈprɪzənz, hæv bɪn səˈbʤɛktɪd tɪ ˈhɔrəbəl ˈlɪvɪŋ kənˈdɪʃənz, dɪˈnaɪd ˈbeɪsɪk raɪts, ənd hæv ˈstrəgəld əˈgɛnst ˈreɪsɪst ˈprɪzən ˌɪnˈdəstriəl ˈkɑmplɛks. ɑr ˌsɑləˈdɛrəti ɪkˈstɛndz nɑt ˈoʊnli tɪ ɑr ˌɪˈmiˌdiət ˈkɑmˌrædz hu hæv bɪn ˌɪnˈkɑrsərˌeɪtɪd fər ˈʧælənʤɪŋ ənd əˈtækɪŋ əˈprɛsɪv, ˈkæpətəlɪst ˌɪnstɪˈtuʃənz, bət tɪ ɔl ðoʊz hu ər sərˈvaɪvərz əv ðə ˌhɛgəˈmɑnɪk tul əv ðə steɪt ðət ɪz mɛnt tɪ kənˈtɪnju ðə ˈlɛgəsi əv waɪt səˈprɛməsi ənd ˈpeɪtriˌɑrki. ðɪs ˈɔlsoʊ kəmz nɪr ə taɪm wɪn ə ˈhəŋgər straɪk æt ðə poʊlk kərˈɛkʃənəl ˌɪnstɪˈtuʃən ɪn ˈbətnər bɪˈgæn. ənˈtɪl ˈɛvəri keɪʤ ɪz ˈɛmti, fək ənd ˈɛvəri kɑp hu ˈɛvər dɪd hɪz ʤɑb lɪŋks: ˌɪnˈsaɪd ˈaʊtˈsaɪd əˈlaɪəns ʤun 2014 ˈsteɪtmənt ərˈɪʤənəl əˈnaʊnsmɛnt ˈɪnfoʊ ɔn poʊlk ˈhəŋgər straɪk ənfərˈgɪvɪŋ ənd zaɪn
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written by comrades
on friday 13th, june 2014, around 8:00pm, an angry crowd of about sixty people converged on the durham county detention center in downtown durham for the june 11th international day of solidarity with long term anarchist eco-prisoners marie mason, eric mcdavid, and all others whom the state has imprisoned. the crowd brought banners bearing messages of solidarity with those inside, one even saying “we are the bad luck” with a provocative image of a cop being kicked, drums, a variety of noisemakers, and a giant crow puppet which waved around visible to inmates, until it eventually blended in with the night sky, creating a witchy silhouette. bandanas were brought along with “how to do it” posters, which provided info about how to mask and bloc up properly in order to conceal one’s identity from police or random do-gooders who might be filming. almost immediately, a pig tried to talk to us, but his unwelcomed chit-chat was stopped ultimately when people gathered around him and drove him away with loud, disruptive drumming.
we stayed on the left side of the jail for about forty minutes until we began marching toward the front. dpac (durham performing arts center) was hosting an event that evening for the israeli dance company, vertigo, which was also a target of protest by some, and presumably to keep us from interrupting it, twenty or more bike pigs were stationed outside. we stayed across the road from them on the jail side banging loudly on drums, waving and screaming to prisoners, and holding banners up for them to see. the crowd moved closer to the jail, and firecrackers and other fireworks were thrown at the entrance. soon after, about fifteen or twenty pigs wearing yellow shirts who were part of the detention emergency response team, whose function is specifically to stop rebellions inside, came outside armed and unhappy. they created a line in front of us and the jail, physically pushing us back when possible. more firecrackers were hurled at them, hitting and bouncing off the prison guards. a couple days later we heard back from a prisoner that many could see the confrontation from their cells, and were thrilled.
several minutes later, we moved back to the railroad tracks, chanting, still drumming, and banner-laden. caring little for the consequences, prisoners inside placed signs on their windows, which were hard to read from our position, but presumably as in the past, bore messages of thank you’s, acknowledgements of them hearing us and seeing our banners and floating lanterns, and fuck you’s to the jail and all the pigs who keep them locked inside. the guards eventually, as far as we could tell, made the prisoners take down their signs. lanterns were lit, and more fireworks were set off, and loud pops echoed through the streets as firecrackers were thrown there. we marched further down to the leftmost back corner of dcdc, where we continued being as loud as possible for about twenty minutes or so. after marching back up the sidewalk, we gathered in a tight cluster, silent for the longest thirty seconds ever, and then erupted with the loudest drum beats and screaming noises we could make as our finale. we then dispersed. no one was arrested.
this demonstration was an important catalyst for future actions of resistance in durham for several reasons:
1) you can crush the flower, but you can’t stop the spring
this was the first public display of anarchist-oriented resistance since the winter, when the marches for jesus “chuy” huerta kicked off. participants donned masks, bloc’d up, and damaged police property as a response to the obvious cover-up of the police killing seventeen year old chuy. the first march saw the police headquarters vandalized, a cop car window smashed, and anti-cop graffiti sprayed downtown. the second march which led up to a vigil at the spot where chuy’s life was ended at the police station, was brutally repressed, ending in several arrests, and riot police teargassing the crowd and beating people with sticks. the third and final march had fewer participants than the previous two, and happened just before another vigil inside of the church that chuy and his family attended. in a disgusting pr stunt, police chief lopez attended the vigil which sparked outrage from the family, and caused some in attendance to walk out. the march went past a police sub-station where windows were again broken and cop cars were vandalized. these marches set a precedent for street marches in the bull city. none of them were permitted, many people chose to mask up, and property destruction wasn’t halted by the “good citizen” crowd in spite of a scare campaign by the city council and police chief jose lopez. when the police fucked with people, people fought back with their rebellion, refusing to be corralled away from the streets. see the zine “unforgiving and inconsolable” for a more thorough analysis of these specific incidents.
2) your laws are bullshit
after the winter street demonstrations, the city of durham and the dpd made a public statement reaffirming certain “protest rules” that were disregarded. they made it clear that marches must, from now on, take place on the sidewalk, during the daytime, without masks, without pyrotechnics, and without property destruction. this demonstration disregarded most of these things explicitly, and the call for it outlined the reasons for this. these legislative attempts to quell dissent were put in place specifically to criminalize people and youth of color, and general rebellion that isn’t defined as civil and productive. the fact that there were people present to challenge these laws with the intensity that they were is an accomplishment. they didn’t fuck with us because we didn’t let them.
3) all prisoners are political prisoners: solidarity with all prisoners!
prisoners inside of the durham jail, like all jails and prisons, have been subjected to horrible living conditions, denied basic rights, and have struggled against racist prison industrial complex. our solidarity extends not only to our immediate comrades who have been incarcerated for challenging and attacking oppressive, capitalist institutions, but to all those who are survivors of the hegemonic tool of the state that is meant to continue the legacy of white supremacy and patriarchy. this also comes near a time when a hunger strike at the polk correctional institution in butner began.
until every cage is empty,
fuck dpd and every cop who ever did his job
links:
inside outside alliance june 2014 statement
original announcement
info on polk ci hunger strike
unforgiving and inconsolable zine
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fʊl dɪˈskloʊʒər ˈmeɪlɪŋ lɪst ˈɑrˌkaɪvz rɛd hip ˌoʊvərˈfloʊ ˌɪnˈvæləd ˈmɛməri ˈækˌsɛs ɪn ðə ˈpɑrsər koʊd fər ˈænˌdrɔɪd ˈnɛtˌwərk ˈpækɪʤɪz kənˈteɪnd ə rɛd hip ˌoʊvərˈfloʊ ɪn ðə ˈfəŋkʃən detect_version*(). ðɪs ˈɪʃu wɑz ˌriˈpɔrtəd tɪ ðə dɪˈvɛləpərz ɔn meɪ 5th*. ɪt wɑz fɪkst ɪn ðə riˈlis əv, ˈpəblɪʃt ɔn meɪ 12th*. ðə ˈbeɪtə riˈlis ənd ðə hɛd koʊd ər nɑt əˈfɛktɪd. frəm ðɪs ˈɪʃu ˈfɪksɪz ˈsɛvən ˈəðər sɪˈkjʊrəti ˈɪʃuz. riˈlis noʊts bəg 11188 kəˈmɪt fɪks ˈsæmpəl faɪl ˈtrɪgərɪŋ ðə ˌoʊvərˈfloʊ (tɛst wɪθ -ɑr [ˈɪnˌpʊt], kən bi sin wɪθ ər ˈæˌdrɛs sanitizer*) http://hboeck.de*/ mail/jabber*: də gpg*: əˈtæʧmənt: _bɪn dɪˈskrɪpʃən: ˈdɪʤɪtəl ˈsɪgnəʧər sɛnt θru ðə fʊl dɪˈskloʊʒər ˈmeɪlɪŋ lɪst wɛb ˈɑrˌkaɪvz rss*: http://seclists.org/fulldisclosure*/ baɪ deɪt baɪ θrɛd ˈkɑrənt θrɛd:
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full disclosure mailing list archives
read heap overflow / invalid memory access in wireshark
https://blog.fuzzing-project.org/11-read-heap-overflow-invalid-memory-access-in-wireshark-tfpa-0072015.html the wireshark parser code for android logcat network packages contained a read heap overflow in the function detect_version(). this issue was reported to the wireshark developers on may 5th. it was fixed in the 1.12.5 release of wireshark, published on may 12th. the beta release 1.99.5 and the git head code are not affected. appart from this issue wireshark 1.12.5 fixes seven other security issues. https://wireshark.org/docs/relnotes/wireshark-1.12.5.html wireshark 1.12.5 release notes https://bugs.wireshark.org/bugzilla/show_bug.cgi?id=11188 wireshark bug #11188 https://code.wireshark.org/review/#q,commit:afeff4f,n,z commit / fix https://crashes.fuzzing-project.org/tfpa-2015-007-wireshark-heapoverflow-detect_version.pcap sample pcap file triggering the overflow (test with tshark -r [input], can be seen with valgrind or address sanitizer) http://cve.mitre.org/cgi-bin/cvename.cgi?name=cve-2015-3815 cve-2015-3815 -- hanno böck http://hboeck.de/ mail/jabber: hanno () hboeck de gpg: bbb51e42
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sprɛd ðə ləv ˈnukərk, ˈoʊˈkeɪ ðə dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti plænz tɪ ˈkɑndəkt ˈkɛmɪkəl ənd ˌbaɪəˈlɑʤɪkəl ˈtɛstɪŋ nɪr ðə ˈbɔrdər bɪtˈwin ˈkænzəs ənd ˌoʊkləˈhoʊmə ɪn ˈʤænjuˌɛri ənd ˈfɛbruˌɛri, ənd əˈgɛn ɪn ʤun ənd ˌʤuˈlaɪ, tɪ dɪˈtərmən haʊ məʧ prəˈtɛkʃən ˈpipəl wʊd rɪˈsiv frəm biɪŋ ˌɪnˈsaɪd ə haʊs ər ən əˈpɑrtmənt ɪn ðə ɪˈvɛnt əv ə ˌbaɪəˈlɑʤɪkəl ˈtɛrərɪst əˈtæk, əˈkɔrdɪŋ tɪ ə ˈsteɪtmənt ɔn ðə ˈhoʊmˌlænd sɪˈkjʊrəti ˈwɛbˌsaɪt. ðə prɛs riˈlis noʊts: ðə ˈstədi ɪz pɑrt əv ðə ˈɔnˌgoʊɪŋ kəˈmɪtmənt tɪ priˈpɛrədnəs ənd ðə ʃɛrd riˌspɑnsəˈbɪləti əv prəˈtɛktɪŋ ðə ˈkrɪtɪkəl ˌɪnfrəˈstrəkʧər. ðə ˈpərpəs əv ðɪs ˈstədi ɪz tɪ ˈgæðər ˈdætə ðət ɛnˈhænsɪz ɑr prɪˈdɪktɪv ˌkeɪpəˈbɪlətiz ɪn ðə ɪˈvɛnt əv ə ˌbaɪəˈlɑʤɪkəl ˈeɪʤənt əˈtæk. spəˈsɪfɪkli, ðɪs wərk wɪl hɛlp ɪn prɪˈdɪktɪŋ ðə ɪkˈstɛnt tɪ wɪʧ ən ˌɪnˈtɛnʃənəl riˈlis əv ə ˌbaɪəˈlɑʤɪkəl ˈeɪʤənt meɪ ˈpɛnəˌtreɪt ˈsɪŋgəl ˈfæməli ənd ˈstrəkʧərz. ðiz tɛsts wɪl riˈlis ˌɪˈnərt ˈkɛmɪkəlz ənd ˌbaɪəˈlɑʤɪkəl məˈtɪriəlz ðət wɪl bi juzd tɪ ˈmɛʒər ðə əˈmaʊnt əv məˈtɪriəl ðət ˈpɛnəˌtreɪts ðə ˈbɪldɪŋz ˈəndər ˈvɛrid kənˈdɪʃənz. ðə ɪnˌvaɪrənˈmɛnəl əˈsɛsmənt əv ðə prəˈpoʊzd ˈlɛvəl ˈaʊtˌdɔr release”*” əv ˌɪˈnərt ˈkɛmɪkəl ənd ˌbaɪəˈlɑʤɪkəl məˈtɪriəlz steɪts ðət loʊ ˌkɑnsənˈtreɪʃənz əv ˈpɑrtɪkəlz wɪl bi riˈlist æt tu ˈbɪldɪŋz ɔn ðə ˈkæmpəs. əˈkɔrdɪŋ tɪ ə rɪˈpɔrt baɪ ðə ˈwɪʧəˌtɔ ˈigəl: fər ðə ˈpɑrtɪkəl tɛst, ðə ˈfɛdərəl ˈgəvərnmənt plænz tɪ riˈlis taɪˈteɪniəm daɪˈɑkˌsaɪd, wɪʧ ɪt dɪˈskraɪbz ɛz ə ˈoʊdərləs ˈpaʊdər ðət ɪz ˈkɛmɪkli ˌɪnˈsɑljəbəl ɪn ˈwɔtər, nonreactive*, nonflammable*, ənd nonhazardous.”*.” ɪt ˈɔlsoʊ plænz tɪ riˈlis jərˈiə ˈpaʊdər mɪkst wɪθ ə ˌflʊˈrɛsənt brightener*. fər ðə ˌbaɪəˈlɑʤɪkəl ˈpɔrʃən əv ðə tɛst, ɪt plænz tɪ riˈlis ʤəˈnɛtɪk spɔrz əv ə ˌbaɪəˈlɑʤɪkəl ˌɪnˈsɛktəˌsaɪd noʊn ɛz ˈneɪtɪv btk*, wɪʧ ɪz soʊld ˈəndər ðə treɪd neɪm əv. ɪz nɑt kənˈsɪdərd ə ˈhæzərd baɪ ðə ɪnˌvaɪrənˈmɛnəl prəˈtɛkʃən ˈeɪʤənsi wɪn ˈhændəld əˈproʊpriɪtli, əˈkɔrdɪŋ tɪ ðə əˈsɛsmənt. əv kɔrs, ðə həz bɪn kɔt kəˈludɪŋ wɪθ ˈmeɪʤər ˈkəmpəˌniz ənd laɪɪŋ tɪ ðeɪ ˈlaɪkli bi ˈteɪkən æt ðɛr wərd. ˈɪntəˌrɛstɪŋli, waɪl ðə juz. ˈgəvərnmənt kleɪmz ðə ˈkɛmɪkəlz juzd ɪn ðə ˈtɛstɪŋ ædˈvərsli ˌɪmˈpækt ˈjumən hɛlθ ər ðə ɪnˈvaɪrənmənt, ðə həz prəˈpoʊzd tɪ ˈklæsəˌfaɪ taɪˈteɪniəm daɪˈɑkˌsaɪd ɛz ə ðət ɪt ɪz səˈspɛktɪd əv ˈkɔzɪŋ ˈkænsər spəˈsɪfɪkli wɪn ˌɪnˈheɪld. ˈkænzəs ˈkɑŋgrəsmən rɑn ˈɛstiz, ɪn rɪˈspɑns tɪ ðə plænd ˈkɛmɪkəl ənd ˌbaɪəˈlɑʤɪkəl ˈtɛstɪŋ, sɛd ˈfɛdərəl ˈeɪʤənsiz, tɪ bi 100 pərˈsɛnt ˈsərtən ðɪs tɛst ɪz seɪf fər ðə ˈrɛzɪdənts əv kansas,”*,” ˈnoʊtɪŋ ðət hi həz questions.”*.” ˈɛstiz sərvz ɔn ðə ˈhaʊsɪz kəˈmɪti ɔn ˈhoʊmˌlænd sɪˈkjʊrəti, ənd ɪn ə ˈsteɪtmənt riˈlist ɔn ˈθərzˌdeɪ, sɛd ðət hi ɪz ðə ˌsɪʧuˈeɪʃən ˈvɛri closely.”*.” hæv ˈnumərəs kˈwɛsʧənz rɪˈgɑrdɪŋ ðɪs prəˈpoʊzd test,”*,” ˈɛstiz sɛd. ˌɪmˈpɔrtənt fər ɑr ˈfɛdərəl ˈeɪʤənsiz tɪ tɛst ðɛr əˈbɪləˌtiz ɪn rɪˈspɑns tɪ θrɛts, wi nid tɪ bi wən ˈhənərd pərˈsɛnt ˈsərtən ðɪs tɛst ɪz seɪf fər ðə ˈrɛzɪdənts əv saʊθ ˈsɛntrəl kansas.”*.” ðə prəˈpoʊzd tɛst saɪt æt ðə ˈkæmpəs ɪz nɪr ðə ˈbɔrdər, əˈbaʊt 6 maɪəlz saʊθ əv ˈɑrkənˌsɑ ˈsɪti ənd əˈbaʊt 55 maɪəlz ˌsaʊˈθist əv ˈwɪʧəˌtɔ. wɪnd ˈtɪpɪkəli bloʊz aʊt əv ðə saʊθ, wɪʧ kʊd ˈkɛri ˈɛrˌbɔrn ˈpɑrtɪkəlz ˈɪntu ˈkænzəs, əˈkɔrdɪŋ tɪ ðə ˈwɪʧəˌtɔ ˈigəl. ðə ˈsɪti əv ˈɑrkənˌsɑ ˈsɪti ˈpoʊstɪd ə ˈsteɪtmənt ɔn ɪts ˈfeɪsˌbʊk peɪʤ ˈθərzˌdeɪ seɪɪŋ ɪt wɑz ɪt wɑz ˌənəˈwɛr əv ˈɛni prəˈpoʊzd ˈtɛstɪŋ æt, ənd ðeɪ wər ˈlʊkɪŋ ˈɪntu ðə ˌsɪʧuˈeɪʃən. ɪz ðə fərst taɪm ðə ˈsɪti həz bɪn meɪd əˈwɛr əv ˈɛni ˈtɛstɪŋ tɪ əˈkər æt chilocco,”*,” ðə ˈsteɪtmənt sɛd. minz ˈkɛmɪkli ˌɪˈnæktɪv, wɪʧ minz baɪ ˌdɛfəˈnɪʃən ðɛr ʃʊd bi noʊ rɪsk tɪ ðə ˈsɪtɪzənz. ˌhaʊˈɛvər, wi ər ˈlʊkɪŋ ˈɪntu ðə ˌsɪʧuˈeɪʃən tɪ ˈgæðər mɔr ˌɪnˌfɔrˈmeɪʃən fər ɑr ˈsɪtɪzənz ənd ðɛr safety.”*.” ðə ˈpəblɪk həz 30 deɪz tɪ səbˈmɪt ˈkɑmɛnts ɔn ðə ɪnˌvaɪrənˈmɛnəl əˈsɛsmənt tɪ ˈhoʊmˌlænd sɪˈkjʊrəti əˈbaʊt ðə prəˈpoʊzd tɛsts baɪ iˈmeɪl æt [iˈmeɪl prəˈtɛktɪd] ər baɪ meɪl tɪ: dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti: meɪl stɑp 0201 245 ˈməri leɪn ˈwɔʃɪŋtən, ˌdiˈsi ðə ˈdɛˌdlaɪn fər ˈkɑmɛnts ɪz dɛk. 8 pliz ʃɛr ðɪs ˈɑrtɪkəl tɪ reɪz əˈwɛrnəs, ənd iˈmeɪl ðə tɪ lɛt ðɛm noʊ haʊ ju fil əˈbaʊt ˈtɛstɪŋ biɪŋ ˈkɛrid aʊt ɔn ðə əˈmɛrɪkən ˈpəblɪk.
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newkirk, ok – the department of homeland security plans to conduct chemical and biological testing near the border between kansas and oklahoma in january and february, and again in june and july, to determine how much protection people would receive from being inside a house or an apartment in the event of a biological terrorist attack, according to a statement on the homeland security website.
the dhs press release notes:
the study is part of the department’s ongoing commitment to preparedness and the shared responsibility of protecting the nation’s critical infrastructure. the purpose of this study is to gather data that enhances our predictive capabilities in the event of a biological agent attack. specifically, this work will help in predicting the extent to which an intentional release of a biological agent may penetrate single family and multi-family structures. these tests will release inert chemicals and biological materials that will be used to measure the amount of material that penetrates the buildings under varied conditions.
the environmental assessment of the proposedlow level outdoor release” of inert chemical and biological simulant materials states that low concentrations of particles will be released at two buildings on the now-abandoned chilocco campus.
according to a report by the wichita eagle:
for the particle test, the federal government plans to release titanium dioxide, which it describes as awhite odorless powder that is chemically insoluble in water, nonreactive, nonflammable, and nonhazardous.” it also plans to release urea powder mixed with a cl fluorescent brightener. for the biological portion of the test, it plans to release genetic barcoded spores of a biological insecticide known as native btk, which is sold under the trade name of dipel. dipel is not considered a hazard by the environmental protection agency when handled appropriately, according to the assessment.
of course, the epa has been caught colluding with major agro-chemical companies and lying to congress—so they shouldn’t likely be taken at their word.
interestingly, while the u.s. government claims the chemicals used in the testing won’t adversely impact human health or the environment, the eu has proposed to classify titanium dioxide as a carcinogen—meaning that it is suspected of causing cancer – specifically when inhaled.
kansas congressman ron estes, in response to the planned chemical and biological testing, said federal agencies,need to be 100 percent certain this test is safe for the residents of south-central kansas,” noting that he hasnumerous questions.”
estes serves on the houses committee on homeland security, and in a statement released on thursday, said that he ismonitoring the situation very closely.”
“i have numerous questions regarding this proposed test,” estes said.while it’s important for our federal agencies to test their abilities in response to threats, we need to be one hundred percent certain this test is safe for the residents of south central kansas.”
the proposed test site at the chilocco campus is near the kansas/oklahoma border, about 6 miles south of arkansas city and about 55 miles southeast of wichita. wind typically blows out of the south, which could carry airborne particles into kansas, according to the wichita eagle.
the city of arkansas city posted a statement on its facebook page thursday saying it was it was unaware of any proposed testing at chilocco, and they were looking into the situation.
“this is the first time the city has been made aware of any testing to occur at chilocco,” the statement said.
“inert means chemically inactive, which means by definition there should be no risk to the citizens. however, we are looking into the situation to gather more information for our citizens and their safety.”
the public has 30 days to submit comments on the environmental assessment to homeland security about the proposed tests by email at [email protected] or by mail to:
department of homeland security:
s&t cbd mail stop 0201
245 murray ln sw
washington, dc 20528-0201
the deadline for comments is dec. 8.
please share this article to raise awareness, and email the dhs to let them know how you feel about chemical/biological testing being carried out on the american public.
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fər ðə moʊst pɑrt, ðoʊ, ðə ˈpræktɪs həz ˌɪnˈvɑlvd ˌɪndəˈvɪʤəwəlz. ðə ˌdɪˈskəvri əv ðə ˈlɑrʤˌskeɪl fəˈsɪlɪti hir ɪn ðə sæn ˈgeɪbriəl ˈfʊˌthɪlz ˈreɪzɪz kˈwɛsʧənz əˈbaʊt ˈwɛðər ɪt wɑz ə rɛr fəˈnɑməˌnɑn ər ən ˌɪndəˈkeɪʃən ðət məˈtərnɪti ˈtʊˌrɪzəm ɪz ˈɛnərɪŋ ə nu, mɔr ˌɪnstɪˈtuʃənəˌlaɪzd feɪz wɪθ mɔr fəˈsɪlɪtiz ˈɔpərˌeɪtɪŋ kˈwaɪətli əraʊnd ðə ˈkəntri. ðə sæn ˈgeɪbriəl taʊn ˈhaʊsɪz ər ˈnɛsəld ɪn ə smɔl strit laɪnd wɪθ ˈmɑdəst ˈhaʊsɪz, smɔl əˈpɑrtmənt ˈbɪldɪŋz ənd pɑm triz. ə kənˈstrəkʃən kru wɑz æt wərk leɪt læst wik, ˈkloʊzɪŋ əp wɔlz ðət hæd bɪn nɑkt daʊn bɪtˈwin ˈjunɪts, ɪn vaɪəˈleɪʃən əv ðə ˈhaʊzɪŋ koʊd. ˈfoʊˌtoʊ saɪnz əv ə ˈmeɪkˌʃɪft məˈtərnɪti haʊs wər ˈɛvədənt ˈɛvriˌwɛr. ɪn wən ˈkɪʧən, stæks əv ˈpɪkʧərz ʃoʊɪŋ ə ˈməðər ˈhoʊldɪŋ hər ˈbeɪbi sæt nɛkst tɪ ˈsɛvərəl kænz əv ˈfɔrmjələ. ɪn əˈnəðər, ˈbɑksɪz əv priˈneɪtəl ˈvaɪtəmənz wər təkt ˈɪntu raɪs ˈkʊkərz. ˈsɛvərəl ˈbɛˌdrum dɔrz hæd ˈnəmbərz ɔn ðɛm. səm rumz wər ˈrəðər ləgˈʒəriəs fər ˈɪnstəns, hæd ə lɑrʤ ˈwɔˌkɪn ˈklɑzət, ə ˈwərlˌpul ənd ə smɔl ˈpərsɪnəl rɪˈfrɪʤərˌeɪtər. ðə ˈsɛnər fər hɛlθ kɛr stəˈtɪstɪks ˈɛstəˌmeɪts ðət ðɛr wər bərθs tɪ ˈfɔrən ˈrɛzɪdənts ɪn ðə juˈnaɪtɪd steɪts ɪn 2008 ðə moʊst ˈrisənt jɪr fər wɪʧ stəˈtɪstɪks ər əˈveɪləbəl. ðət ɪz ə smɔl ˈfrækʃən əv ðə ˈrəfli ˈmɪljən ˈtoʊtəl bərθs ðət jɪr. ˌɪməˈgreɪʃən ˈɛkspərts seɪ ðeɪ kən ˈoʊnli gɛs waɪ ʧaɪˈniz ˈwɪmən ər soʊ ˈigər tɪ gɪt juˈnaɪtɪd steɪts ˈpæˌspɔrts fər ðɛr ˈbeɪbiz, bət ðeɪ ˈsəˌspɛkt ɪt ɪz ˈlɑrʤli ɛz ə kaɪnd əv ˌɪnˈʃʊrəns ˈpɑləsi ʃʊd ðeɪ nid tɪ muv. ðə ˈʧɪldrən, wəns ðeɪ tərn 21 wʊd ˈɔlsoʊ bi ˈeɪbəl tɪ pəˈtɪʃən ðə juˈnaɪtɪd steɪts ˈgəvərnmənt tɪ grænt ðɛr ˈpɛrənts ˈpərmɑˌnɛnt ˈrɛzɪdəns ˈstætəs. ˈænʤələ mərˈiə ˈkɛli, ðə vaɪs ˈprɛzɪdənt fər ˌɪməˈgreɪʃən ˈpɑləsi ənd ˈædvəkəsi æt ðə ˈsɛnər fər əˈmɛrɪkən ˈprɑˌgrɛs, ə ˈrisərʧ grup, sɛd ðə ɪgˈzɪstəns əv ˈbɪznɪsɪz ˈhɛlpɪŋ ˈfɔrən ˈwɪmən gɪv bərθ ɪn ðə juˈnaɪtɪd steɪts hæd ˈoʊnli ʤɪst ˈbeɪgən tɪ ˈɛnər ðə ˈpəblɪk ˈkɑnʃəsnəs. ˈfoʊˌtoʊ ðɪs ɪz ˈsəmθɪŋ ðət wɑz ˈrɪli ˈwaɪdˈsprɛd ənd ˈhæpənɪŋ ɔl ˈoʊvər, ju wʊd hæv ɪkˈspɛktɪd ɪt tɪ ˈrɪli hæv rɪˈvild itself,”*,” mɪz. ˈkɛli sɛd. θɪŋk ɪt dɪˈzərvz ə lɔt mɔr ˈstədi ənd ə lɔt mɔr əˈtɛnʃən. bət tɪ seɪ ðət ju wɔnt tɪ ʧeɪnʤ ðə ˌkɑnstəˈtuʃən bɪˈkəz əv ðɪs filz laɪk ˈkɪlɪŋ ə flaɪ wɪθ ən uzi.”*.” ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ðə steɪt dɪˈpɑrtmənt, wɪʧ grænts ˈtʊrɪst ˈvizəz, ɪz nɑt pərˈmɪtɪd tɪ dɪˈnaɪ ˈvizə ˌæpləˈkeɪʃənz ˈsɪmpli bɪˈkəz ə ˈwʊmən ɪz ˈprɛgnənt. ˈpipəl duɪŋ ˈɛniˌθɪŋ ɪn vaɪəˈleɪʃən əv ɑr laws,”*,” sɛd mɑrk krɪˈkɔriən, ðə ɪgˈzɛkjətɪv dɪˈrɛktər əv ðə ˈsɛnər fər ˌɪməˈgreɪʃən ˈstədiz, wɪʧ ˈædvəˌkeɪts ˈtəfər ˌɪməˈgreɪʃən kənˈtroʊlz. ɪf ˈɛniˌθɪŋ, ɪt ɪz wərs ðən ˌɪˈligəl ˈɪməgrənts dɪˈlɪvərɪŋ ə ˈbeɪbi hir. ðoʊz kɪdz ər ˈsoʊʃəˌlaɪzd ɛz əˈmɛrɪkənz. ðɪs fəˈnɑməˌnɑn əv ˈkəmɪŋ tɪ ðə juz. ənd ðɛn ˈlivɪŋ wɪθ ˈpipəl hu hæv ənˈlɪmɪtɪd ˈækˌsɛs tɪ kəm bæk ɪz ʤɪst ridiculous.”*.” sæn ˈgeɪbriəl, əˈbaʊt 20 maɪəlz ist əv lɔs ˈænʤəlɪs həz groʊn ˈræpədli ɪn ˈrisənt jɪrz ənd ɪz naʊ ə həb əv ˈbɪznɪsɪz ˈkeɪtərɪŋ tɪ ˈeɪʒən ˈɪməgrənts ti ʃɑps fɪl ðə strɪp mɔlz ənd saɪnz ɪn ʧaɪˈniz ənd viˌɛtnɑˈmis ər ˈplænɪd ɪn frənt əv ˈsɛvərəl hoʊmz. ˈfoʊˌtoʊ ˈmɪstər. ˈændərsən sɛd ə kaɪnd əv ““semitransient”*” kəmˈjunɪti hæd ə strɔŋ ˈprɛzəns ɪn ðɪs ˈsəbərb. ɪt ɪz nɑt ənˈkɑmən fər ə ˈsɪŋgəl ˈrɛzɪdəns tɪ bi hoʊm tɪ ɛz ˈmɛni ɛz 40 ˈpipəl. bət ɛz ɪn ˈəðər ˈsɪtiz, ðə ˈbɔrdərz ər ˈjuʒəwəli mɛn, ˈɔfən ˈwərkɪŋ tɪ sɛnd ˈməni tɪ ðɛr ˈfæməliz bæk hoʊm. ˈsɪti əˈfɪʃəlz æst ˈbeɪsɪk kˈwɛsʧənz tɪ ðə ˈwɪmən ðeɪ faʊnd ɪn ðə məˈtərnɪti haʊs: haʊ dɪd ðeɪ gɪt hir ənd hu peɪd fər ðɛm tɪ kəm? ðə ˈænsərz: ɔn ə ˈtʊrɪst ˈvizə, ənd ɑr ˈfæməli peɪd. ðə ˈoʊnər, dwaɪt ʧæŋ, wɑz faɪnd 800 fər koʊd vaɪəˈleɪʃənz. ˈmɪstər. ʧæŋ dɪd nɑt rɪˈtərn ˈsɛvərəl foʊn kɔlz, ənd wən ˈwərkər æt ðə ˈbɪldɪŋ sɛd hi wɑz ˈtrævəlɪŋ ənd nɑt əˈveɪləbəl. du ən ɪkˈstɛnsɪv ˈɪntərvˌju əv ðə ˈwɪmən; ðət ðɛr ʤɑb nɔr ʃʊd ɪt be,”*,” sɛd ˈʤɛnəfər ˈdeɪvɪs, ðə dɪˈrɛktər əv kəmˈjunɪti dɪˈvɛləpmənt fər ðə ˈsɪti. ðə ˈsɪti dɪd əˈlərt ˈpəblɪk hɛlθ əˈfɪʃəlz, ʃi sɛd, hu faʊnd ˈnəθɪŋ rɔŋ wɪθ ðə ˈbeɪbiz. mɪz. ˈdeɪvɪs sɛd ˈsɪti əˈfɪʃəlz hæd ˈɔlsoʊ əˈlərtɪd ðə ˌɪməˈgreɪʃən əˈθɔrətiz. vərˈʤɪnjə kice*, ə ˈspoʊksˌwʊmən fər ˌɪməˈgreɪʃən ənd ˈkəstəmz ɛnˈfɔrsmənt sɛd ðə ˈeɪʤənsi hæd ˌɪnˈvɛstəˌgeɪtɪd ə ˈsɪmələr ˌsɪʧuˈeɪʃən ɪn əˈnəðər ˈsəðərn ˌkæləˈfɔrnjə ˈsɪti læst jɪr, bət ɪt ˈjildɪd noʊ ˈɛvədəns əv ˈɛni ˈfɛdərəl vaɪəˈleɪʃənz. ʃi dɪˈklaɪnd tɪ seɪ ˈwɛðər ˈfɛdərəl əˈfɪʃəlz wər ˌɪnˈvɛstəˌgeɪtɪŋ ðə sæn ˈgeɪbriəl ˌɑpərˈeɪʃən, ˈsaɪtɪŋ ˈeɪʤənsi ˈpɑləsi. joʊˈlɑndə ˈælvərˌɛz, hu wɔks hər dɔg pæst ðə taʊn ˈhaʊsɪz twaɪs iʧ deɪ, sɛd ˈneɪbərz hæd kəmˈpleɪnd əˈməŋ ðɛmˈsɛlvz fər ˈnɪrli ə jɪr, ˈnoʊtɪsɪŋ ““many*, ˈmɛni jəŋ women”*” goʊɪŋ ɪn ənd aʊt əv ðə haʊs. ˈsɛvərəl ˈpɪkʧərz əv ə nərs ˈpoʊzɪŋ wɪθ nu ˈməðərz wər ˈskætərd ɔn ðə ˈkaʊntərz ˈfraɪˌdeɪ. ə freɪmd taɪl wɑz kəˈlɛktɪŋ dəst əˈmɪd ðə kənˈstrəkʃən. hoʊm ɪt sɛd, wɛr jʊr ˈstɔri begins.”*.”
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for the most part, though, the practice has involved individuals. the discovery of the large-scale facility here in the san gabriel foothills raises questions about whether it was a rare phenomenon or an indication that maternity tourism is entering a new, more institutionalized phase with more hospital-like facilities operating quietly around the country.
the san gabriel town houses are nestled in a small street lined with modest houses, small apartment buildings and palm trees. a construction crew was at work late last week, closing up walls that had been knocked down between units, in violation of the housing code.
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signs of a makeshift maternity house were evident everywhere. in one kitchen, stacks of pictures showing a mother holding her days-old baby sat next to several cans of formula. in another, boxes of prenatal vitamins were tucked into rice cookers. several bedroom doors had numbers on them. some rooms were rather luxurious b9, for instance, had a large walk-in closet, a whirlpool and a small personal refrigerator.
the center for health care statistics estimates that there were 7,462 births to foreign residents in the united states in 2008, the most recent year for which statistics are available. that is a small fraction of the roughly 4.3 million total births that year.
immigration experts say they can only guess why well-to-do chinese women are so eager to get united states passports for their babies, but they suspect it is largely as a kind of insurance policy should they need to move. the children, once they turn 21, would also be able to petition the united states government to grant their parents permanent residence status.
angela maria kelley, the vice president for immigration policy and advocacy at the center for american progress, a liberal-leaning research group, said the existence of businesses helping foreign women give birth in the united states had only just begun to enter the public consciousness.
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“if this is something that was really widespread and happening all over, you would have expected it to really have revealed itself,” ms. kelley said. “i think it deserves a lot more study and a lot more attention. but to say that you want to change the constitution because of this feels like killing a fly with an uzi.”
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the state department, which grants tourist visas, is not permitted to deny visa applications simply because a woman is pregnant.
“these people aren’t doing anything in violation of our laws,” said mark krikorian, the executive director of the center for immigration studies, which advocates tougher immigration controls. “but if anything, it is worse than illegal immigrants delivering a baby here. those kids are socialized as americans. this phenomenon of coming to the u.s. and then leaving with people who have unlimited access to come back is just ridiculous.”
san gabriel, about 20 miles east of los angeles , has grown rapidly in recent years and is now a hub of businesses catering to asian immigrants tea shops fill the strip malls and for-sale signs in chinese and vietnamese are planted in front of several homes.
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mr. anderson said a kind of “semitransient” community had a strong presence in this suburb. it is not uncommon for a single residence to be home to as many as 40 people. but as in other cities, the boarders are usually men, often working to send money to their families back home.
city officials asked basic questions to the women they found in the maternity house: how did they get here and who paid for them to come? the answers: on a tourist visa, and our family paid. the house’s owner, dwight chang, was fined $800 for code violations. mr. chang did not return several phone calls, and one worker at the building said he was traveling and not available.
“we didn’t do an extensive interview of the women; that wasn’t their job nor should it be,” said jennifer davis, the director of community development for the city. the city did alert public health officials, she said, who found nothing wrong with the babies.
ms. davis said city officials had also alerted the immigration authorities. virginia kice, a spokeswoman for immigration and customs enforcement said the agency had investigated a similar situation in another southern california city last year, but it yielded no evidence of any federal violations. she declined to say whether federal officials were investigating the san gabriel operation, citing agency policy.
yolanda alvarez, who walks her dog past the town houses twice each day, said neighbors had complained among themselves for nearly a year, noticing “many, many young women” going in and out of the house.
several pictures of a nurse posing with new mothers were scattered on the counters friday. a framed tile was collecting dust amid the construction. “ home ,” it said, “is where your story begins.”
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ˈdɑnəld trəmp ˈsənˌdi sɛd boʊθ hi ənd ˈhɪləri ˈklɪntən ʃʊd riˈlis "dɪˈteɪld" ˈmɛdɪkəl ˈrɛkərdz tɪ ðə ˈpəblɪk. ɪn ə twit, trəmp səˈʤɛstɪd ðət hi wʊd du soʊ ɪf ˈklɪntən əˈgrid tɪ ɛz wɛl, ðoʊ hi dɪd nɑt ɪgˈzæktli rul aʊt duɪŋ soʊ ɔn hɪz oʊn. "aɪ θɪŋk ðət boʊθ ˈkænədɪts, ˈkrʊkəd ˈhɪləri ənd ˌmaɪˈsɛlf, ʃʊd riˈlis dɪˈteɪld ˈmɛdɪkəl ˈrɛkərdz. aɪ hæv noʊ ˈprɑbləm ɪn duɪŋ soʊ! ˈhɪləri?" trəmp tweeted*. aɪ θɪŋk ðət boʊθ ˈkænədɪts, ˈkrʊkəd ˈhɪləri ənd ˌmaɪˈsɛlf, ʃʊd riˈlis dɪˈteɪld ˈmɛdɪkəl ˈrɛkərdz. aɪ hæv noʊ ˈprɑbləm ɪn duɪŋ soʊ! ˈhɪləri? ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) ˈɔgəst 28 2016 ðə trəmp kæmˈpeɪn ənd ɪts ˈælaɪz ɪn səm ˈpɔrʃənz əv ðə kənˈsərvətɪv ˈmidiə hæv bɪn ˈmeɪkɪŋ ən ˈɪʃu əv ˈklɪntənz hɛlθ, səˈʤɛstɪŋ ʃi ˈsəfərz frəm ˈæftərəˌfɛkts əv ə kənˈkəʃən ʃi rɪˈsivd ˈnɪrli fɔr jɪrz əˈgoʊ. ˈniðər ˈklɪntən nɔr trəmp həz riˈlist ðɛr fʊl ˈmɛdɪkəl ˈrɛkərdz.
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donald trump sunday said both he and hillary clinton should release "detailed" medical records to the public.
in a tweet, trump suggested that he would do so if clinton agreed to as well, though he did not exactly rule out doing so on his own.
"i think that both candidates, crooked hillary and myself, should release detailed medical records. i have no problem in doing so! hillary?" trump tweeted.
i think that both candidates, crooked hillary and myself, should release detailed medical records. i have no problem in doing so! hillary? — donald j. trump (@realdonaldtrump) august 28, 2016
the trump campaign and its allies in some portions of the conservative media have been making an issue of clinton's health, suggesting she suffers from aftereffects of a concussion she received nearly four years ago.
neither clinton nor trump has released their full medical records.
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æt ðə stɑrt, tiˈɛnænˌmɛn skwɛr hæd ðə ˈætməsˌfɪr əv ə ˈfɛstɪvəl. moʊst ˈpipəl ˈkʊdənt si ðə ˈhəŋgər ˈstraɪkərz ðeɪ sɔ ðə kraʊdz ˈmɑrʧɪŋ wɪθ ˈbænərz ənd mˈjuzɪk biɪŋ pleɪd. lɑts əv θɪŋz wər səˈpraɪzɪŋ əˈbaʊt ðə ɪˈvɛnts ɪn skwɛr, ˈivɪn ðə ˌdɛmənˈstreɪʃən ˌɪtˈsɛlf. ɪts ˈprɪti rɛr ɪn ʧaɪˈniz ˈhɪstəri fər ˈpipəl tɪ gɪt təˈgɛðər æt ðə ˈsɛntər əv ə ˈgəvərnmənt skwɛr ənd dɪˈfaɪ ðə ˈlidərˌʃɪp. aɪ hæd əraɪvd ɪn ˌbeɪˈʒɪŋ ɪn ðə læst wik əv meɪ 1989 ˈwərkɪŋ fər ˈmægnəm ɔn əˈsaɪnmənt fər taɪm ˈmægəˌzin. aɪ gɑt ˌmaɪˈsɛlf ə ˈbaɪsɪkəl tɪ gɪt əraʊnd ðə ˈsɪti ənd wɑz steɪɪŋ ʤɪst ɔf ðə skwɛr. ɪt wɑz ˈrɛlətɪvli ˈizi tɪ wərk ɛz ə fəˈtɑgrəfər bæk ðɛn, baɪ ˈtudeɪz ˈstændərdz. ðə pəˈlɪtɪkəl klæs wərənt ɛz səˈfɪstɪˌkeɪtəd æt ˈhændəlɪŋ ðə prɛs, ər ðə paʊər ðət ðeɪ hæd. ˈfeɪsˌbʊk tˈwɪtər ˈgɑdəs əv dɪˈmɑkrəsi ˈstæˌʧu, 30 meɪ 1989 ˈfoʊtəˌgræf: stɔrt ˈfoʊˌtoʊz ɔn 30 meɪ, ʧaɪˈniz ɑrt ˈstudənts wild ə juʤ ˈstæˌʧu aʊt ˈɪntu ðə skwɛr ðət rɪˈzɛmbəld ðə ˈstæˌʧu əv ˈlɪbərˌti. ɪt bɪˈkeɪm ə ˈsɪmbəl əv dɪˈmɑkrəsi ənd wɑz dɪˈskraɪbd ɪn nu jɔrk, ənd baɪ ðə prɛs, ɛz ðə "ˈgɑdəs əv dɪˈmɑkrəsi". ðə ʧaɪˈniz wər ˈproʊˌtɛstɪŋ fər ˈfridəm əv spiʧ, ˈfridəm əv ðə prɛs ənd ən ɛnd tɪ kərˈəpʃən bət ðeɪ ˈdɪdənt noʊ ðə rɪˈtɔrɪkəl fɔrs əv ðɪs ˈfɪgjər, ənd haʊ ʃi wʊd bi juzd ənd sin ɛz ə ˈpaʊərfəl ˈɪmɪʤ ɔl ˈoʊvər ðə wərld. ˈæftər ðə ˈstæˌʧu wɑz brɔt ɪn, ənd wəns ˈproʊˌtɛstərz hæd bɪn kæmpt aʊt fər wiks, ðə ˈgəvərnmənt ˈriəˌlaɪzd ðeɪ ˈnidɪd tɪ ækt. tu deɪz ˌbiˈfɔr ðə ˈkrækˌdaʊn, ðə ˈɑrmi əraɪvd ɪn bəlk ənd ðə ˈætməsˌfɪr ʧeɪnʤd ˈrædɪkli. wɪˈθɪn ə fju aʊərz, ˈtrəˌkloʊdz əv trups əraɪvd frəm ɔl ˈdɪfərənt dɪˈrɛkʃɪnz. æt ðə taɪm, noʊ wən ˈrɪli nu wət wɑz goʊɪŋ ɔn. ɪn fækt, ðɛr wər ˈivɪn ˈrumərz əv ˈsɪvəl wɔr əˈkrɔs ˈʧaɪnə. aɪ ˈwɪtnəst ðə trups ˈmuvɪŋ ˈɪntu ðə skwɛr ənd ˈklɪrɪŋ aʊt ðə ˈproʊˌtɛstərz ɔn ðə naɪt əv 4 ʤun. aɪ lɛft ɪn ðə ˈərli aʊərz əv 5 ʤun wɪθ ˈnuzˌwik fəˈtɑgrəfər ˈʧɑrli koʊl ənd wi ˈhɛdɪd bæk tɪ ɑr hoʊˈtɛl. ˈæftər ðət pɔɪnt, wi wər ˈtoʊtəli kənˈfaɪnd. ðə ˈmɪlɪˌtɛri ˈɑkjəˌpaɪd ðə ˈlɑbi ənd ˈʤərnəlɪsts wər sərʧt ənd stɑpt frəm ˈwərkɪŋ. aɪ wɑz ɔn ə ˈbælkəni wɪθ ə grup əv ˈəðər fəˈtɑgrəfərz ənd ˈʤərnəlɪsts wɪn wi sɔ ðə mæn ʤəmp ɪn frənt əv ðə tæŋk ɔn 5 ʤun. ðət ˈɪmɪʤ həz naʊ bɪˈkəm soʊ ˌaɪˈkɑnɪk bət wət droʊv ɪts ˌɪmˈpækt wɑz ðə fækt ðət ˈpipəl hæd sin ðə mæn ˈmuvɪŋ ɪn frənt əv ðə tæŋks ɔn ˌtɛləˈvɪʒən, ɛz wɛl ɛz ˈfʊtɪʤ əv ðə ˈvaɪələnt ˈkrækˌdaʊn ðə naɪt ˌbiˈfɔr. ðə stɪl ˈfoʊtəˌgræfs ðət ə fju əv ˈjuˈɛs tʊk əv ðət 'tæŋk mæn' sin simd ənrɪˈmɑrkəbəl tɪ mi, ˈoʊnli bɪˈkəz aɪ wɑz soʊ fɑr əˈweɪ ɔn ðət ˈbælkəni. ðə məˈʤɔrəti əv ˈʤərnəlɪsts wər nɑt ðɛr tɪ ˈwɪtnəs ðə sin; lɑts hæd muvd tɪ əˈnəðər hoʊˈtɛl ənd mɪst ðə 'tæŋk mæn' ˈmoʊmənt. moʊst əv ðɛm ˈstɑrtɪd æt ðə ˌbeɪˈʒɪŋ hoʊˈtɛl, bət ðə fud ˈwəzənt greɪt. əˈnəðər pleɪs ˈnɪrər ðə ˈɛrˌpɔrt dɪd ˈhæmbərgərz, soʊ ðeɪ hæd diˈkæmpt ənd gɑt stək ˈaʊtˈsaɪd ðə ˈsɪti baɪ ˌblɑˈkeɪdz æt ðə pɔɪnt əv ðə ˈkrækˌdaʊn. ɛz aɪ wɑz ˈfoʊtəˌgræfɪŋ ðə tæŋk, aɪ hæd ˈvɛri klɪr ˈmɛməriz əv ðə prɑg spərɪŋ əv 1968 wɪn ˈsɪtɪzənz feɪst ɔf wɪθ ˈrəʃən tæŋks. ðə ˈætməsˌfɪr sun bɪˈkeɪm keɪˈɑtɪk ɪn ðə hoʊˈtɛl, ɛz ˈpipəl wər ˈwərid əˈbaʊt ˈgɪtɪŋ ðɛr ˈstɔriz aʊt ɪn ðə ənˈfoʊldɪŋ ˈtræʤədi. əˈθɔrətiz ˌɪnˈsaɪd ðə hoʊˈtɛl ˈkɑnfəˌskeɪtəd ˈfʊtɪʤ, bət aɪ pækt maɪ fɪlm ˈɪntu ə bɑks əv ti ənd geɪv ɪt tɪ ə frɛnʧ ˈstudənt hu wɑz ˈhɛdɪŋ bæk tɪ ˈpɛrɪs. ʃi gɑt ɪt tɪ ˈmægnəm. ɪt wɑz ˈrɪli ˈkɑmən ðɛn tɪ stoʊ ɑr fɪlmz wɪθ ˈpæsənʤərz ˈtrævəlɪŋ bæk ɔn pleɪnz, bɪˈkəz ɪt wɑz kˈwɪkər ðən ɛr ənd lɛs ˈædmɪn. jʊd ˈɔfən sɪt ɪn ˈɛrˌpɔrts ˈlʊkɪŋ fər ˈpipəl hu wʊd teɪk jʊr fɪlm. ˈfeɪsˌbʊk tˈwɪtər ˈpoʊstərz ɔn ˈlæmpˌpoʊsts ʃoʊɪŋ ˈɪmɪʤɪz əv ˈvɪktɪmz əv ðə ˈmæsəkər. ˈfoʊtəˌgræf: stɔrt ˈfoʊˌtoʊz ɪn ðə deɪz ðət ˈfɑloʊd, ɪt bɪˈkeɪm klɪr ðət nɑt ˈmɛni ʧaɪˈniz ˈpipəl hæd sin ˈɛni ˈfʊtɪʤ ər ˈɪmɪʤɪz əv wət hæd ˈhæpənd ˈdʊrɪŋ ðə ˈkrækˌdaʊn. ˈlʊkɪŋ bæk æt ðə sɛt əv ˈpɪkʧərz aɪ tʊk, ðɪs ˈɪmɪʤ əv ˈpipəl ˈgeɪzɪŋ æt ə ˈlæmˌpoʊst stændz aʊt. ə ˈpɪkʧər hæd bɪn pɪnd əp əv ˈsəmˌwən ðət hæd bɪn kɪld. θruaʊt ˈsɛntrəl ˌbeɪˈʒɪŋ, ˈlæmpˌpoʊsts ˈæktɪd ɛz ðə ˈmidiə fər ðə ʧaɪˈniz ˈpəblɪk, bɪˈkəz ðə prɛs wɑz soʊ ˈhɛvəli kənˈtroʊld. ˈnoʊˌbɑˌdi ˈrɪli nu wət hæd ˈhæpənd, soʊ ðiz ˈlæmpˌpoʊsts bɪˈkeɪm ðə tˈwɪtər əv ðɛr deɪ ɪts ˈrɪli bɪˈzɑr tɪ si ðət naʊ. ˈfeɪsˌbʊk tˈwɪtər ə ˈstudənt ɔn ˈhəŋgər straɪk ˈʤɛsʧərz ɪn tiˈɛnænˌmɛn skwɛr, 1989 ˈfoʊtəˌgræf: stɔrt ˈfoʊˌtoʊz wɪn aɪ rɪˈtərnd hoʊm, ə lɔt əv ˈpipəl wər ˈtɔkɪŋ əˈbaʊt ðə tæŋk ˈɪmɪʤ bət ðə ˈsənˌdi taɪmz ˈmægəˌzin ræn wɪθ ðɪs ˈpɪkʧər əv ə gaɪ wɪθ hɪz ɑrmz reɪzd ɪn ðə ɛr ɛz ðɛr ˈkəvər ʃɑt. ˈmɛni ˈəðər ˌpəblɪˈkeɪʃənz ræn ɪt ɛz ə mɔr ˈpaʊərfəl, ˈjumən ˈɪmɪʤ əv wət ðə ˌdɛmənˈstreɪʃən ənd ˈəˌpraɪzɪŋ mɛnt fər ðə ʧaɪˈniz ˈpipəl. ɛz ə fəˈtɑgrəfər, ðə əˈbʤɛktɪv ɪz tɪ ðə ˈiˌmoʊʃən əv ən ɪˈvɛnt ənd kəmˈjunəˌkeɪt ðət ɛz ˈifɛktɪvli ɛz ˈpɑsəbəl. maɪ ˈpɪkʧərz ˈfɑloʊ ðə ˈdɪfərənt ˈɛfərts aɪ meɪd tɪ kəm tɪ tərmz wɪθ ðə ɪˈvɛnts ɛz ðeɪ wər ənˈfoʊldɪŋ, tɪ tɛl ðə ˈstɔri ˈivɪn ɛz ɪt wɑz ˈʧeɪnʤɪŋ.
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at the start, tiananmen square had the atmosphere of a festival. most people couldn't see the hunger strikers – they saw the crowds marching with banners and music being played. lots of things were surprising about the events in tiananamen square, even the demonstration itself. it's pretty rare in chinese history for people to get together at the centre of a government square and defy the leadership.
i had arrived in beijing in the last week of may 1989, working for magnum on assignment for time magazine. i got myself a bicycle to get around the city and was staying just off the square. it was relatively easy to work as a photographer back then, by today's standards. the political class weren't as sophisticated at handling the press, or realising the power that they had.
facebook twitter pinterest goddess of democracy statue, 30 may 1989. photograph: stuart franklin/magnum photos
on 30 may, chinese art students wheeled a huge statue out into the square that resembled the statue of liberty. it became a symbol of democracy and was described in new york, and by the press, as the "goddess of democracy". the chinese were protesting for freedom of speech, freedom of the press and an end to corruption but they didn't know the rhetorical force of this figure, and how she would be used and seen as a powerful image all over the world.
after the statue was brought in, and once protesters had been camped out for weeks, the government realised they needed to act. two days before the crackdown, the army arrived in bulk and the atmosphere changed radically. within a few hours, truckloads of troops arrived from all different directions. at the time, no one really knew what was going on. in fact, there were even rumours of civil war across china.
i witnessed the troops moving into the square and clearing out the protesters on the night of 4 june. i left in the early hours of 5 june with newsweek photographer charlie cole and we headed back to our hotel. after that point, we were totally confined. the military occupied the lobby and journalists were searched and stopped from working. i was on a balcony with a group of other photographers and journalists when we saw the man jump in front of the tank on 5 june. that image has now become so iconic – but what drove its impact was the fact that people had seen the man moving in front of the tanks on tv, as well as footage of the violent crackdown the night before. the still photographs that a few of us took of that 'tank man' scene seemed unremarkable to me, only because i was so far away on that balcony.
the majority of journalists were not there to witness the scene; lots had moved to another hotel and missed the 'tank man' moment. most of them started at the beijing hotel, but the food wasn't great. another place nearer the airport did hamburgers, so they had decamped and got stuck outside the city by blockades at the point of the crackdown.
as i was photographing the tank, i had very clear memories of the prague spring of 1968, when citizens faced off with russian tanks. the atmosphere soon became chaotic in the hotel, as people were worried about getting their stories out in the unfolding tragedy. authorities inside the hotel confiscated footage, but i packed my film into a box of tea and gave it to a french student who was heading back to paris. she got it to magnum. it was really common then to stow our films with passengers travelling back on planes, because it was quicker than air freighting and less admin. you'd often sit in airports looking for people who would take your film.
facebook twitter pinterest posters on lampposts showing images of victims of the massacre. photograph: stuart franklin/magnum photos
in the days that followed, it became clear that not many chinese people had seen any footage or images of what had happened during the crackdown. looking back at the set of pictures i took, this image of people gazing at a lamppost stands out. a picture had been pinned up of someone that had been killed. throughout central beijing, lampposts acted as the media for the chinese public, because the press was so heavily controlled. nobody really knew what had happened, so these lampposts became the twitter of their day – it's really bizarre to see that now.
facebook twitter pinterest a student on hunger strike gestures in tiananmen square, 1989. photograph: stuart franklin/magnum photos
when i returned home, a lot of people were talking about the tank image – but the sunday times magazine ran with this picture of a guy with his arms raised in the air as their cover shot. many other publications ran it as a more powerful, human image of what the demonstration and uprising meant for the chinese people.
as a photographer, the objective is to crystallise the emotion of an event and communicate that as effectively as possible. my pictures follow the different efforts i made to come to terms with the events as they were unfolding, to tell the story even as it was changing.
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ɪf ðɛr wɑz ˈɛvər ə klɪr kət keɪs əv gʊd ˈvərsəz ˈivəl, ðɛn ˈʃʊrli ɪt ɪz ðə ˈkɑntɛst bɪtˈwin ˈʤuljən ənd moʊst əv ðə ˈgəvərnmənts. ðeɪ heɪt ɪm bɪˈkəz hi ɪkˈspoʊzd ðɛr laɪz, ðɛr məˌnɪpjəˈleɪʃənz, ənd ðɛr ruˈtin vaɪəˈleɪʃənz əv ðə moʊst ˌɛləˈmɛnʧri rulz əv ˈjumən ˈdisənsi. baɪ ˈpəblɪʃɪŋ ˈvərʧuəli ðə ɪnˈtaɪər ˈkɔrpəs əv ˈmɛsɪʤɪz sɛnt tɪ ənd froʊ bɪtˈwin ˈmɔrˌdɔr ˈwɔʃɪŋtən ənd ðɛr ˈdɪpləˌmæts ɪn ðə fild, həz ˈgɪvɪn ˈjuˈɛs ðə tru ˈhɪstəri əv ðə wərld ɪn ˈmɑdərn taɪmz, ər, æt list, ə gʊd glɪmps ˈɪntu ɪts ˈsikrɪt ˈəndərˌsaɪd hɪˈstɔriənz ˈrɛrli ənˈkəvər. ðə riˈlis əv ðə murder”*” ˈvɪdioʊ ʃoʊɪŋ ðə ˈʃutɪŋ əv ˈʤərnəlɪsts ənd ˈɪnəsənts ɪn ˌɪˈrɑk baɪ ɑr ˈkækəlɪŋ ˈjuˈɛs ˈmɪlɪˌtɛri ˈpaɪləts wɑz ˈɑrgjuəbli ðə ˈtɪpɪŋ pɔɪnt ɪn ðə ˈpəblɪk riˈleɪʃənz ˈbætəl, ˈæftər wɪʧ səˈpɔrt fər kənˈtɪnjud ˌprɑsəˈkjuʃən əv ðə wɔr ˈivɪn əˈməŋ ðə pəˈlɪtɪkəl ɪˈlits drɑpt ˌpriˈsɪpɪtəsli ənd ˈnɛvər rɪˈkəvərd. ɪt wɑz ðə ˈsɛnʧəri ɪkˈwɪvələnt əv ðə ˈɪnfəməs ˈfoʊˌtoʊ əv ə viˌɛtnɑˈmis ˈʧɪldrən ˈrənɪŋ daʊn ə roʊd, ən ˈaɪkɑn əv əˈnəðər ˌənˈpɑpjələr ənd ˈətərli ˌɪˈmɔrəl wɔr. waɪ ˈbrædli ˈmænɪŋ, hu ˈprɑbəˌbli səˈplaɪd ðə ˈvɪdioʊ tɪ, həz bɪn hɛld ˌɪnkəmˌjunəˈkɑdoʊ fər ˈoʊvər ə jɪr, səˈbʤɛktɪd tɪ ˈtritmənt ðə ˈjuˈɛn dɪˈfaɪnz ɛz ˈtɔrʧər. hi wɪl ˈnɛvər gɪt ə fɛr traɪəl ɪn ðə ˈjuˈɛs. ðə ˈjuˈɛs ˈgəvərnmənt wʊd ˈdɪrli ləv tɪ gɪt ɪts hænz ɔn: ˈrumər həz ɪt ə ˈsikrɪt grænd ˈʤʊri ˌɪnˈdaɪtmənt həz ɔˈrɛdi bɪn ˈhændɪd daʊn. ənd dɪˈvaɪzd ə trænˈspɛrəntli ˈbreɪzən məˈnuvər, wɪʧ riks əv ˈkoʊvərt ækˈtɪvɪtiz, ɪn ˈɔrdər tɪ tɪ gɪt ɪm: ˌækjəˈzeɪʃənz əv reɪp hæv bɪn meɪd baɪ tu sˈwidɪʃ ““feminists,”*,” æt list wən əv wɪʧ ə ˈfɔrmər sˈwidɪʃ ˈkɑnsələr əˈfɪʃəl ɪn həˈvænə həz taɪz tɪ ˈkjubən ˈdɪsədənts wɪθ siaɪeɪ kəˈnɛkʃənz. aɪ toʊld ðɛr ˈstɔri hir, hir, ənd hir, ənd goʊ ˈɪntu ðə ˈrəðər ˈgrusəm ˈditeɪlz əv ðə ““case”*” əˈgɛnst, ɪkˈsɛpt tɪ noʊt ðət ðə ˈnɛrətɪv hɪz əˈkjuzərz ər ˈspɪnɪŋ ridz laɪk ˈsəmθɪŋ aʊt əv ə ˈvɛri bæd spaɪ θˈrɪlər, ðə kaɪnd wɪθ ə sˈlizi ˈkəvər ənd ə ˈlʊrəd ˈtaɪtəl. ɪn ʃɔrt, ʤɪst ðə sɔrt əv θɪŋ səm ˈoʊvərˈpeɪd siaɪeɪ ˈbjʊrəˌkræt ðə kaɪnd ˈraɪtɪŋ ə ˈnɑvəl ɪn hɪz spɛr taɪm maɪt kəm əp wɪθ. wəns ðə swidz gɪt ðɛr hænz ɔn, ənd ˈsəbʤɪkt ɪm tɪ ə ʃoʊ ““trial,”*,” bi ˈɛkstrəˌdaɪtɪd ˈfɔrθˈwɪθ tɪ ðə ˈjuˈɛs, wɛr hɪz ˈlɔjərz kleɪm ˈlaɪkli tɪ bi lɑkt əp ɪn gˌwɑnˈtɑnəˌmoʊ. həz ˈwaɪzli ˈʧoʊzən nɑt tɪ sərˈɛndər tɪ ˈbrɪtɪʃ əˈθɔrətiz hu hæv bɪn ə ki kɔg ɪn ðə məˈʃin ɔl əˈlɔŋ ənd həz ˈteɪkən ˈrɛfjuʤ ɪn ðə ˌɛkwəˈdɔriən ˈɛmbəsi, ˈsikɪŋ pəˈlɪtɪkəl əˈsaɪləm ɪn ðət ˈkəntri. ˈɛkwəˌdɔr ɪz ɔˈrɛdi biɪŋ θˈrɛtənd wɪθ ɔl sɔrts əv riˌtæliˈeɪʃən baɪ ˈjuˈɛs ˈgəvərnmənt ˌɪnˈsaɪdərz ənd ðɛr ˈpætsiz, ənd ðə ˈprɛʃər ɪz ɔn: ɪf ˈkɔriə grænts əˈsaɪləm, ɪkˈspɛkt ðə ˌɛkwəˈdɔriən ˈprɛzɪdənt tɪ bi ruˈtinli ˈlaɪkənd tɪ ˈjugoʊ ˈʧæˌvɛz, hu noʊ daʊt həz mɔr ðən wən ˈjuˈɛs ˈkoʊvərt ˌɑpərˈeɪʃən eɪmd æt dɪˈsteɪbəˌlaɪzɪŋ hɪz rul, ˌɔlˈðoʊ ˈkænsər meɪ gɪt ɪm ˌbiˈfɔr ˈwɔʃɪŋtən dɪz. wɪθ ˈʧæˌvɛz əˈbaʊt tɪ goʊ, ðə wɔr ˈpɑrti wɪl nid ə kwɪk (ˈlætən əˈmɛrɪkən ˈvɪlən) rɪˈpleɪsmənt, ənd ˈkɔriə hu wɑz ˈɪntərvˌjud baɪ ɪn hɪz læst ˈbrɔdˌkæst fər today”*” fɪts ðə bɪl. ˈgrænɪŋ ðə əˈsaɪləm rɪkˈwɛst wʊd bi ə ˈpjʊrli sɪmˈbɑlɪk ˈʤɛsʧər, ənd ə fˈjutəl wən, ɛz ˈprɛzɪdənt ˈkɔriə ˈdaʊtləs noʊz. ˈləndən ˈɛmbəsi ɪz ˈʃʊrli ðə læst stɑp ɪn noʊˈmædɪk ˈwɑndərɪŋz: aɪ fər wən prɪˈdɪkt ˈnɛvər gɪt ɔf ˈbrɪtɪʃ sɔɪl. ðə ˈmoʊmənt hi livz ðə ˈɛmbəsi ənd traɪz tɪ bɔrd ə pleɪn bi ˌæprɪˈhɛndəd ənd hɔld ɔf tɪ sˈwidən, ənd ˈæftər ðə ““legal”*” prɪˈlɪməˌnɛriz ˈprɑmptli rɪˈmændɪd tɪ ˈjuˈɛs ˈkəstədi. ðə ˈjuˈɛs ənd ɪts ˈælaɪz kɛr ˈnəθɪŋ fər ˌdɪpləˈmætɪk əˈmɛnətiz, ˈligəl nɔrmz, ər ˌɪnərˈnæʃənɑl lɔ: brəʃ ðə əˈsaɪd soʊ ˈrudli ənd ˈbreɪzənli meɪk ˌrɑfaɪˈɛl hɛd spɪn. ˈæftər ɔl, ɛz ənd hæv rɪˈvild, ðiz ər ðə seɪm ˈpipəl hu ˈwɔntənli ˈɛksəˌkjutɪd ˌɪˈræki ˈʧɪldrən baɪ ˈʃutɪŋ ðɛm ɪn ðə hɛd, ənˈliʃt ə ˈkɪlɪŋ skwɑd ɪn æfˈgænəˌstæn, ənd spaɪd ɔn ˈjuˈɛn ˈdɪpləˌmæts ɔn ˈɔrdərz frəm ˈhɪləri ˈklɪntən. ðeɪ ər ˈhɑrdli əˈbəv ˈməsəlɪŋ ðə əˈsaɪd ənd ˈsɪmpli ˈsizɪŋ ɪm. ðə ˈligəl ənd ˈmɪlɪˌtɛri ˈfaɪrˌpaʊər əv θri ˈwɛstərn paʊərz, ðə ˌɛdəˈtɔriəl bɔrdz əv ˈpræktɪkəli ˈɛvəri ˈmeɪʤər ˈwɛstərn ˈnuzˌpeɪpər, ɔl ðə ˈbɪgˌtaɪm ənd əˈpɪnjən ““leaders”*” ə ˈmaɪti əˈsɛmblɪʤ ɪz əreɪd əˈgɛnst ðɪs wən mæn ənd hɪz ˈtaɪni ˌɔrgənəˈzeɪʃən. hɪz ˈvɛri ɪgˈzɪstəns ɪz ə threat”*” tɪ ðɛr kərəpt ənd ˈsikrətɪv rəˈʒimz, ənd ðɛr wɑz noʊ weɪ hi wɑz goʊɪŋ tɪ ɪˈskeɪp hɪz feɪt. aɪ θɪŋk hi nu ðət ˌbiˈfɔr hi ˌəndərˈtʊk hɪz kwɛst ənd ə kwɛst ɪt ɪz, fər ˈnɑlɪʤ, fər ril ˈhɪstəri, fər rɪˈdɛmʃən θru tɛkˈnɑləʤi. ðiz ˈkɔzɪz ər ˌɪˈnɛkstrɪˌkəbli baʊnd əp wɪθ hɪz ˈpərsɪnəl feɪt, ənd ðə ˈpəblɪk rɪˈspɑns tɪ ɪt. æt ðɪs pɔɪnt, ɪt wʊd teɪk ˈsəmˌwən laɪk ər ðə ˈskɑrlət tɪ ˌgɛrənˈti ˈpərsɪnəl ˈseɪfti. ɪn ʃɔrt, hɪz feɪt ɛz ə ˈmɑrtər tɪ ðə kɔz əv ə fri soʊˈsaɪɪti ənd ə fri ˈɪntərˌnɛt ɪz sild. jɛt ðə kɔz hi ɪz ˈsækrəˌfaɪsɪŋ hɪz ˈfridəm tɪ ɪz fɑr frəm dɪˈfitɪd: ˌɪnˈdid, ðə ˈstɔri əv ðə ˌpərsəˈkjuʃən ənd pərˈsut əv ˈʤuljən ənd ðə ˌɔrgənəˈzeɪʃən, wɪn ɪt kəmz aʊt ənd ɪt wɪl ɪz goʊɪŋ tɪ ɪkˈspoʊz haʊ ðə smɪr brɪˈgeɪd wərks bɪˈhaɪnd ðə sinz, ənd haʊ ˈdipli ðə ˈtɛntəkəlz əv ˈgəvərnmənt riʧ ˈɪntu ɑr səˈpoʊzədli ““free”*” ˈmidiə. ðɪs hoʊl riˈvoʊltɪŋ ˈɛpɪˌsoʊd ɪz meɪd ˈdəbli dɪsˈgəstɪŋ baɪ ðə ˈsɪkənɪŋ roʊl ðə ““mainstream”*” ˈmidiə həz pleɪd ɪn ɔl ðɪs: ðeɪ ər ə grik ˈkɔrəs tɪ ðɛr ˈmæstərz ɪn ˈwɔʃɪŋtən ənd ˈləndən, ˈhərlɪŋ ˈɛvəri ˈɛpəˌθɛt ɪn ðə bʊk æt ðə ˈfaʊndər. ðɛr ˌpɑˈtɪkjələr ˈheɪtrəd fər ɪz ˈklɪrli ˈmoʊtəˌveɪtəd baɪ ðə gʊd ʤɑb dən ɪn ʃoʊɪŋ ðɛm əp fər ðə ˈsərvəl hæks ðeɪ ər ənd ˈɔlˌweɪz hæv bɪn: dən mɔr ril ˈʤərnəˌlɪzəm ðən dən ɪn ðɛr ɪnˈtaɪər kəmˈbaɪnd kərɪrz. waɪl ðeɪ ər ˈseɪfli ““embedded”*” ɪn ðə ˌgəvərnˈmɛntəl wum, frəm wɛr ðeɪ du ðɛr ““reporting”*” ɔn wɔrz, dɪd ðə kaɪnd əv ˈdɪgɪŋ ðeɪ ˈnɛvər nu haʊ tɪ du ənd ˈɛvər hæv ðə nərv tɪ du. rɪˈdust tɪ ðə roʊl əv kɔrt ɛz ɪn rɔɪəl kɔrt stenographers*, ðiz frɔdz ər ˈnɪrli juˈnaɪtɪd ɪn ðɛr ˌkɑndəmˈneɪʃən əv, ˈpæsɪŋ əˈlɔŋ ənˈkrɪtɪkəli ðə smɪr ˈnɛrətɪv əv assange-the-traitor-pervert*. ðə ˈbrɪtɪʃ ˈmidiə həz bɪn ðə wərst ˈpipəl laɪk ðɪs, ənd ðɪs, ər ðə skəm əv ðə ərθ bət ðə əˈmɛrɪkənz bɪn ðət fɑr bɪˈhaɪnd. həz fju dɪˈfɛndərz ɔn ðə ˈsənˌdi ˈmɔrnɪŋ ˈtɔkɪŋ hɛdz pəreɪd, ənd bɪˈkəz ðə ““mainstream”*” ˈmidiə ɪz ʤɪst əˈnəðər brænʧ əv ˈgəvərnmənt, fər ɔl ˌɪnˈtɛnts ənd ˈpərpəsɪz. ðeɪ ˈsoʊʃəˌlaɪz wɪθ ðə əˈfɪʃəlz səˈpoʊzd tɪ bi ˈkəvərɪŋ, ənd ðeɪ ɔl bɪˈlɔŋ tɪ ðə seɪm ɪˈlit jɔrk sɛt: ðeɪ goʊ tɪ ðə seɪm ˈpɑrtiz, ðɛr kɪdz goʊ tɪ ðə seɪm skulz, ənd ɔl ˈvɛri ˈkoʊzi. wət biɪŋ pɑrt əv ə ˈrulɪŋ klæs ɪz ɔl əˈbaʊt ənd ðɪs wən ɪz ˌpɑrˈtɪkjələrli ˌsɛlfˈkɑnʃəs əˈbaʊt ˈɛksərˌsaɪzɪŋ ɪts ˈpərˈɑgətɪvz, ənd ˈruθləsli ˈpənɪʃɪŋ aʊtˈsaɪdərz hu dɛr ˌdɪsəˈbeɪ ðə rulz. rul ˈnəmbər wən ɪz: ˈnɛvər krɔs jʊr sɔrs. ənd sɪns ðə ʧif ˈsɔrsəz ðiz ““journalists”*” hæv ər ˈgəvərnmənt əˈfɪʃəlz, əˈfɪʃəlz, ər ˈwɑnəˌbi ˈgəvərnmənt əˈfɪʃəlz, ðeɪ kən bi ˈkaʊntɪd ɔn tɪ bi lɔɪəl əv paʊər. əˈsaɪd frəm ðoʊz ““journalists”*” dɪˈrɛkli ɔn ðə ˈpeɪˌroʊl ənd bi naïve*, ðɛr ər mɔr ðən ə fju wən ˈrizən waɪ ðə ˌʤərnəˈlɪstɪk pæk həz bɪn ˈbɑrkɪŋ æt hilz ˈɛvər sɪns hi roʊz tɪ ˈprɑmənəns. ˈrəðər ðən ˈfɛrətɪŋ aʊt ˈgəvərnmənt ˈsikrɪts, ðə ““mainstream”*” ˈmidiə ɪn ðə wərld si ðɛr roʊl ɛz ˈmidiˌeɪtərz bɪtˈwin ðə truθ ənd ˈfɪkʃən. ðə ɪgˈzækt ˈɑpəzɪt əv wət ə ril ˈʤərnəlɪst ɪz səˈpoʊzd tɪ du bət wət du ju ɪkˈspɛkt wɪn ˈfɑlən ˈɪntu ən wɔrp ənd faɪnd ˈjɔrsɛlf ɪn wərld? rɛd mɔr baɪ ˈʤəstɪn ˌreɪˈmɑndoʊ
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if there was ever a clear cut case of good versus evil, then surely it is the contest between julian assange and most of the world’s governments. they hate him because he exposed their lies, their manipulations, and their routine violations of the most elementary rules of human decency. by publishing virtually the entire corpus of messages sent to and fro between mordor washington and their nazgûl diplomats in the field, wikileaks has given us the true history of the world in modern times, or, at least, a good glimpse into its secret underside historians rarely uncover.
the release of the “collateral murder” video showing the shooting of journalists and innocents in iraq by our cackling wise-cracking us military pilots was arguably the tipping point in the public relations battle, after which support for continued prosecution of the war even among the political elites dropped precipitously and never recovered. it was the 21st century equivalent of the infamous photo of a napalmed vietnamese children running down a road, an icon of another unpopular and utterly immoral war. that’s why bradley manning, who probably supplied the video to wikileaks, has been held incommunicado for over a year, subjected to treatment the un defines as torture. he will never get a fair trial in the us.
the us government would dearly love to get its hands on assange: rumor has it a secret grand jury indictment has already been handed down. and they’ve devised a transparently brazen maneuver, which reeks of covert activities, in order to to get him: accusations of rape have been made by two swedish “feminists,” at least one of which — a former swedish consular official in havana — has ties to cuban dissidents with cia connections. i told their story here, here, and here, and won’t go into the rather gruesome details of the “case” against assange, except to note that the narrative his accusers are spinning reads like something out of a very bad spy thriller, the kind with a sleazy cover and a lurid title. in short, just the sort of thing some overpaid cia bureaucrat — the kind who’s writing a novel in his spare time — might come up with.
once the swedes get their politically-correct hands on assange, and subject him to a show “trial,” he’ll be extradited forthwith to the us, where his lawyers claim likely to be locked up in guantanamo. assange has wisely chosen not to surrender to british authorities — who have been a key cog in the frame-up machine all along — and has taken refuge in the ecuadorian embassy, seeking political asylum in that country.
ecuador is already being threatened with all sorts of retaliation by us government insiders and their patsies, and the pressure is on: if correa grants assange asylum, expect the ecuadorian president to be routinely likened to hugo chavez, who no doubt has more than one us covert operation aimed at destabilizing his rule, although cancer may get him before washington does. with chavez about to go, the war party will need a quick lav (latin american villain) replacement, and correa — who was interviewed by assange in his last broadcast for “russia today” — fits the bill.
granting the asylum request would be a purely symbolic gesture, and a futile one, as president correa doubtless knows. ecuador’s london embassy is surely the last stop in assange’s nomadic wanderings: i for one predict he’ll never get off british soil. the moment he leaves the embassy and tries to board a plane he’ll be apprehended and hauled off to sweden, and — after the “legal” preliminaries — promptly remanded to us custody. the us and its allies care nothing for diplomatic amenities, legal norms, or international law: they’ll brush the ecuadorians aside so rudely and brazenly it’ll make rafael correa’s head spin.
after all, as assange and wikileaks have revealed, these are the same people who wantonly executed iraqi children by shooting them in the head, unleashed a killing squad in afghanistan, and spied on un diplomats on orders from hillary clinton. they are hardly above muscling the ecuadorians aside and simply seizing him.
the legal and military firepower of three western powers, the editorial boards of practically every major western newspaper, all the big-time opinionators and would-be opinion “leaders” — a mighty assemblage is arrayed against this one man and his tiny under-funded organization. his very existence is a “security threat” to their corrupt and secretive regimes, and there was no way he was going to escape his fate. i think he knew that before he undertook his quest — and a quest it is, for knowledge, for real history, for redemption through technology. these causes are inextricably bound up with his personal fate, and the public response to it.
at this point, it would take someone like ragnar danneskjold or the scarlet pimpernel to guarantee assange’s personal safety. in short, his fate as a martyr to the cause of a free society and a free internet is sealed. yet the cause he is sacrificing his freedom to is far from defeated: indeed, the story of the persecution and pursuit of julian assange and the wikileaks organization, when it comes out — and it will — is going to expose how the smear brigade works behind the scenes, and how deeply the tentacles of government reach into our supposedly “free” media.
this whole revolting episode is made doubly disgusting by the sickening role the “mainstream” media has played in all this: they are a greek chorus to their masters in washington and london, hurling every epithet in the book at the wikileaks founder. their particular hatred for assange is clearly motivated by the good job done in showing them up for the servile hacks they are and always have been: done more real journalism than they’ve done in their entire combined careers. while they are safely “embedded” in the governmental womb, from where they do their “reporting” on america’s wars, assange did the kind of digging they never knew how to do and wouldn’t ever have the nerve to do. reduced to the role of court — as in royal court — stenographers, these frauds are nearly united in their condemnation of assange, passing along uncritically the smear brigade’s narrative of assange-the-traitor-pervert.
the british media has been the worst — people like this, and this, are the scum of the earth — but the americans haven’t been that far behind. assange has few defenders on the sunday morning talking heads parade, and that’s because the “mainstream” media is just another branch of government, for all intents and purposes. they socialize with the officials they’re supposed to be covering, and they all belong to the same elite washington-new york set: they go to the same parties, their kids go to the same schools, and it’s all very cozy. that’s what being part of a ruling class is all about — and this one is particularly self-conscious about exercising its prerogatives, and ruthlessly punishing outsiders who dare disobey the rules.
rule number one is: never cross your source. and since the chief sources these “journalists” have are government officials, ex-government officials, or wannabe government officials, they can be counted on to be loyal servitors of power. aside from those “journalists” directly on the government’s payroll — and don’t be naïve, there are more than a few — that’s one reason why the journalistic pack has been barking at assange’s heels ever since he rose to prominence. rather than ferreting out government secrets, the “mainstream” media in the english-speaking world see their role as mediators between the truth and government-created fiction. that’s the exact opposite of what a real journalist is supposed to do — but what do you expect when you’ve fallen into an inter-dimensional warp and find yourself in bizarro world?
read more by justin raimondo
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fræŋk də bɔr wɑz dɪˈlaɪtɪd tɪ bi ˈwɛlkəmɪŋ wən əv hɪz ˈfɔrmər pleɪərz frəm ˈeɪˌʤæks tɪ ˈkrɪstəl ˈpæləs ɛz ˈtɪməθi ʤɔɪnd ə wən jɪr loʊn ˈkɑnˌtrækt frəm ˈmænˌʧɛstər juˈnaɪtɪd. ɪz ə pleɪər hu həz greɪt peɪs ənd ˌɪnˈkrɛdəbəl ˈfɪzɪkəl əˈbɪləˌti. ɪn geɪm ju nid pleɪərz wɪθ strɛŋθ ənd spid ənd hi ɪz ən ˌɪndəˈvɪʤəwəl wɪθ ðət ənd ɛz wɛl ɛz dɪˈfɛns kən ˈɔlsoʊ pleɪ ɪn midfield*. noʊɪŋ ɪm æt ˈeɪˌʤæks aɪ kən rɪˈmɛmbər hi wɑz ˈɔlˌweɪz pleɪɪŋ ɪn ðə tim əˈbəv fər hɪz eɪʤ du tɪ bi ˈfɪzɪkəli ˈvɛri strɔŋ. hɪz kˈwɑləti əˈtræktəd ə ˈnəmbər əv ˈəðər kləbz ənd aɪ wɑz ˈvɛri sæd ənd ˌdɪsəˈpɔɪnɪd wɪn wi lɔst ɪm æt ə jəŋ eɪʤ tɪ goʊ tɪ ˈmænˌʧɛstər united.”*.” sɪns ðət muv tɪ ðə nɔrθ wɛst də bɔr həz bɪn ˈkipɪŋ træk əv ðə 19 jɪr oʊld ənd həz ˌɪmˈprɛst ɪm tɪ ə ˈlɛvəl ðət hi ɪz ˈrɛdi tɪ gɪv ɪm ðə ˌɑpərˈtunəti əv tɔp flaɪt ˈfʊtˌbɔl ɔn ə ˈrɛgjələr ˈbeɪsɪs. luɪs væn gɑl ə ˈkəpəl əv jɪrz əˈgoʊ hi meɪd hɪz ˈdeɪbju ənd aɪ hæv bɪn ˈkipɪŋ ə ʧɛk ɔn hɪz ˈprɑˌgrɛs ənd ˈrɛdi tɪ pleɪ geɪm ɪn ðə prɛˈmɪr lig ənd ðət ɪz waɪ aɪ æm plizd tɪ hæv brɔt ɪm tɪ ˈkrɪstəl ˈpæləs. æm siɪŋ ɪm ɪn ɑr ˈsɪstəm ɛz ə raɪt ˈsɛntər bæk bət hi kən ˈɔlsoʊ pleɪ fʊl bæk ɪn ə ɪt ɪz ˈɔlˌweɪz nis ɛz ə ˈmænɪʤər tɪ hæv ə pleɪər hu kən pleɪ ɪn mɔr ðən wən pəˈzɪʃən soʊ ðət ju gɪt ðə kˈwɑləti əˈkrɔs ðə squad.”*.” wɔʧ ɪkˈsklusɪv fərst ˈɪntərvˌju ənd riˈækʃən frəm də bɔr fər fri.
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frank de boer was delighted to be welcoming one of his former players from ajax to crystal palace as timothy fosu-mensah joined a one year loan contract from manchester united.
“timothy is a player who has great pace and incredible physical ability. in today’s game you need players with strength and speed and he is an individual with that and as well as defence can also play in midfield.
“from knowing him at ajax i can remember he was always playing in the team above for his age due to be physically very strong. his quality attracted a number of other clubs and i was very sad and disappointed when we lost him at a young age to go to manchester united.”
since that move to the north west de boer has been keeping track of the 19 year old and has impressed him to a level that he is ready to give him the opportunity of top flight football on a regular basis.
“under louis van gaal a couple of years ago he made his debut and i have been keeping a check on his progress and he’s ready to play game in the premier league and that is why i am pleased to have brought him to crystal palace.
“i am seeing him in our system as a right centre back but he can also play full back in a 4-3-3. it is always nice as a manager to have a player who can play in more than one position so that you get the quality across the squad.”
watch fosu-mensah’s exclusive first interview and reaction from de boer for free.
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læst ˈwiˌkɪnd, ˈkɛliˈæn ˈkɑnˌweɪ sæt daʊn wɪθ "ˈsiˌbiˌɛs ðɪs ˈmɔrnɪŋ" fər ən ˌwənɔnˈwən ˈɪntərvˌju dɪˈzaɪnd tɪ meɪk ðə pəˈlɪtɪkəl ˈɑpərətɪv dɪˈskraɪbd baɪ səˈmænθə bi ɛz ˈprɛzɪdənt ˈdɑnəld spokes-cobra”*” sim lɛs əv ə tu truθs ənd ə laɪ ˈdrɪŋkɪŋ geɪm ənd mɔr laɪk ən ˈækʧəwəl ˈjumən. ɪn ðɪs ˈɪntərvˌju, ˈkɑnˌweɪ əˈpɪrd tɪ bi ˈtɛstɪŋ ðə ˈwɔtərz fər ə nu ˈkɛliˈæn katchphrase™*™ wɪn ʃi kleɪmd ðət ʃi ənd ˈəðər kənˈsərvətɪv ˈwɪmən ər ˈsəbʤɪkt tɪ ˈtrɪpəl standard”*” baɪ ðə ˈmidiə, spəˈsɪfɪkli ˈfɛmənɪst outlets.”*.” ər ˈkɑnstəntli goʊɪŋ bæk tɪ wɛr aɪ sæt, ðə priˈzəmptɪv ˌnɛgəˈtɪvəti əv wət aɪ wɔr, ər wət aɪ sɛd, ənd aɪ du θɪŋk ə ˈtrɪpəl standard,”*,” ˈkɑnˌweɪ toʊld ˌkɔrəˈspɑndənt ˈnɔrə o’donnell*. tɔk əˈbaʊt ə ˈdəbəl ˈstændərd əv wət ə ˈwʊmən wɔr ər sɛd, bət ðə ˈtrɪpəl ˈstændərd ɪz ðət kənˈsərvətɪv ˈwɪmən ər kæst əˈsaɪd ˈmɛni taɪmz baɪ trəˈdɪʃənəl ˈfɛmənɪst ˈaʊˌtlɛts ənd ˌɪndəˈvɪʤəwəlz hu kənˈtroʊl moʊst əv ðə media.”*.” ˌædvərˈtaɪzmənt: ˈkɛliˈæn ˈkɑnˌweɪ ɪz ʤɪst biɪŋ ˈkɛliˈæn ˈkɑnˌweɪ hir ˈtɛstɪŋ aʊt ə nu ˈvərbəl ˈtrɪŋkət tɪ si ɪf ɪt saʊnz ɪˈnəf, ɔlˈbiɪt ɪn səm weɪ, tɪ kæʧ ɔn, wɪˈθaʊt tu məʧ əˈtɛnʃən biɪŋ peɪd tɪ wət ɪt ˈæˌkʧuəli minz. (ə standard”*” ɪz məʧ ðən ðə facts,”*,” fər ʃʊr.) ɪf ju θɪŋk tu məʧ əˈbaʊt ɪt ənd ˈkɑnˌweɪ ɪz ˈbæŋkɪŋ ɔn ðə ˈpipəl æt hoʊm duɪŋ ʤɪst ðət ə standard”*” ˈdɛfənətli saʊnz laɪk ɪt kʊd bi ə θɪŋ. ˈæftər ɔl, ɪn ðɪs eɪʤ əv ɑr kəˈlɛktɪv əˈpɑkəˌlɪps, ɪt ˈoʊnli meɪks sɛns ðət ˈsədənli faʊnd ə weɪ tɪ meɪk ə bæd θɪŋ ˌɛkspoʊˈnɛnʃəli wərs. ɪt maɪt bi ə ˈɛrənd tɪ pʊt ““truth”*” ənd conway”*” ɪn ðə seɪm ˈsɛntəns, bət dɪz hər kleɪm ðət ˈlɪˌbərəl ˈwɪmən hoʊld ðɛr kənˈsərvətɪv ˈkaʊntərˌpɑrts tɪ ən ˈivɪn haɪər ˈstændərd ðən ðeɪ ər hɛld hæv ˈɛni ˈbeɪsɪs ɪn ˌriˈæləˌti? fərst, ɪˈstæblɪʃ ðət, jɛs, ˈkɑnˌweɪ ɪz ˈsəbʤɪkt tɪ ðə seɪm ˈdəbəl ˈstændərdz ðət ɔl ˈwɪmən ɪn ðə ˈpəblɪk aɪ feɪs. hu ðə hɛl isn’t*? ˈɛni ˌhaɪˈproʊfaɪl ˈvɪzɪt tɪ ðə ˈjuˈɛn tɪ spik aʊt əˈgɛnst ˈʤɛnəˌsaɪd wʊd bi ˌriˈpɔrtəd əˈpɑn wɪθ ə ˈdɪgnəˌfaɪd ˈhɛˌdlaɪn, bət əˈmɑl ˈkluni, baɪ ˈvərʧu əv biɪŋ ˈmɛrid tɪ ə ˈfeɪməs ˈæktər, wɑz ““show[ing*] ɔf hər ˈbeɪbi bump”*” ən ˈoʊdiəs freɪz ˌɪnˈstɛd. ə mæn ɪn ðə ˈpəblɪk aɪ ɪz ɪkˈspɛktɪd tɪ wɛr ə sut ðət fɪts; ˈwɪmən hæv tɪ ˈnævəˌgeɪt ə ˈmaɪnˌfild əv sɑrˈtɔriəl ˈʧɔɪsɪz ðət kən ˈbækˌfaɪr æt ˈɛni taɪm. teɪk ˈtɛknɪˌkələr ˌɪˌnɔgjəˈreɪʃən dreamcoat*, wɪʧ tərnd soʊ ˈmɛni vjuərz ˈɪntu "ˈfæʃən pəˈlis" ˈdɛpjətiz, jʊrz ˈtruli ˌɪnˈkludɪd, ənd ðoʊz bɑrbz wər ˈdutifəli ˈægrəˌgeɪtəd baɪ ðə ˈdɪʤɪtəl prɛs. ɪn ˈhaɪnˌsaɪt, ðə ˈglifəl əv rɛd, waɪt ənd blu ˈguʧi ˈʤækɪt straɪks mi ɛz ə ˈpɛˌti ənd ˌɪˈnædəkˌweɪt ˈaʊˌtlɛt fər ðə haɪ ˈɪˌmoʊʃənz əv wət fɛlt laɪk ə deɪ əv ˈmɔrnɪŋ fər əˈmɛrɪkən aɪˈdilz əv ɪkˈwɑləti ənd ˈfɛrnəs. ɪt ɪz nɑt ə ˈhɑrbɪnʤər, lɛt ˈjuˈɛs hoʊp, əv ðə ˈlɛvəl əv ˈdɪskɔrs wi ɪkˈspɛkt frəm ɑrˈsɛlvz fər ðə nɛkst fɔr jɪrz. bət ˈivɪn ɪn lɛs ˈiˌmoʊʃnəli frɔt taɪmz, ðə ˈɔnˌlaɪn ˈkəlʧər əv ɪz ˈmərsələs ɛz ə rul, ˈivɪn tɪ ðə kənˈvɛnʃənəli əˈtræktɪv. æn ˈhɛlən ˈpitərsən səmz əp səm ˈpraɪˌmɛri θimz əv ðə ˈɔnˌgoʊɪŋ ˈsɛksɪst ˈkrɪtɪˌsɪzəm əv ˈkɑnˌweɪ: mimz moʊst ˈɔfən kəmˈpɛr hər tɪ də vil*, skeletor*, ənd ˈgoʊləm [sɪk]; wən kɔlz hər ə ræt barbie”*” waɪl əˈnəðər ˈvaɪrəl ˈɪmɪʤ kəmˈpɛrz hər kəmˈplɛkʃən tɪ ə ˈwɪðərd bəˈnænə. ðə ˈoʊnli ˈwʊmən hər eɪʤ rɪˈsivd ˈsɪmələrli ˈvɪʃəs ˈtritmənt ɪz, aɪˈrɑnɪkli, məˈdɑnə. boʊθ ˈkɑnˌweɪ ənd məˈdɑnə hæv bɪˈkəm səm ˈvərʒən əv wət θiərɪsts kɔl ˈmɑnstrəs feminine”*” ðə ˈwʊmən hu ˈʧuzɪz nɑt tɪ hər age,”*,” feɪlz tɪ ˈdɪsəplən hər ˈbɑdi tɪ lʊk ˈjəŋgər ðən ðət eɪʤ, ər rɪfˈjuzɪz tɪ ˌdɪsəˈpɪr ɪnˈtaɪərli. ðə truθ ɪz ðət ˈkɛliˈæn ˈkɑnˌweɪ ɪz nɑt ən ˌənəˈtræktɪv ˈwʊmən ɪf ʃi lʊkt laɪk stiv ˈbænən ɪn ə drɛs ʃi bi ˈmeɪkɪŋ ðə nuz ʃoʊ raʊnz ˈprɪnsəpəlz əv ˈlæŋgwɪʤ ənd truθ tɪ bɪˈgɪn wɪθ, ənd ðæts ˈɔlsoʊ ə ˈdəbəl ˈstændərd æt wərk. ɪt məst bi ˈnoʊtɪd, ˌhaʊˈɛvər, ðət ðə mɛn əv ðə ˈkɑrənt ædˌmɪnɪˈstreɪʃən ˈɑrənt ɪˈskeɪpɪŋ ðɛr oʊn ˌsupərˈfɪʃəl krɪˈtik. ˈbɑdi spəˈsɪfɪkli, hɪz æs həz əv leɪt bɪn kəmˈpɛrd ənˈfeɪvərəbli tɪ ðət əv kəˈneɪdiən praɪm ˈmɪnɪstər ˈʤəstɪn truˈdoʊ, ə mæn jəŋ ɪˈnəf tɪ bi hɪz sən. lʊks ər ˈdɛnɪˌgreɪtɪd (wən ˈmɛmərəbəl twit: ˈbænən lʊks laɪk ɪf ˈmaɪkəl ˈʃænən dɪd ə wɛr hi ˈoʊnli eɪt cigarettes”*”), ənd henchman”*” ˈstivən ˈmɪlər həz bɪn mɑkt baɪ ˈleɪtˌnaɪt kəˈmidiənz ɛz jəŋ [smərfs ˈvɪlən] gargamel”*” ənd ɪn ə suit”*” ənd əv ðə weɪ tɪ [ˈɛldərli ‘‘simpsons’*’ ˈivəl ˈmoʊgəl] mɑntˈgəmri burns.”*.” (ˈmɛmərəbəl twit: ˈmɪlər ɪz sˈlɛndər man,”*,” ˈrɛfərənsɪŋ ðə ˈɑmənəs, ˈfɪkʃənəl əv ˈɪntərˌnɛt lɔr.) ˌædvərˈtaɪzmənt: waɪl ˌəndɪˈnaɪəbəl ˈʃædɪnˌfrɔɪd ɪn ˈhaɪˌlaɪtɪŋ ˈdɑnəld ˈfɪzɪkəl ˈʃɔrtˌkəmɪŋz, ˈgɪvɪn hɪz lɔŋ ˈhɪstəri əv rɪˈdusɪŋ ˈwɪmən tɪ ðə səm əv ðɛr ˌhaɪpəˈθɛtɪkəl ər ˈækʧəwəl ˈbjuti ˈpæʤənt skɔrz, əv ɔl ðə θɪŋz ðət ər groʊˈtɛsk əˈbaʊt stivz ˈbænən ənd ˈmɪlər, ðɛr ˈfɛrli ˈævərɪʤ ˈbɑdiz ənd ˈfeɪsɪz ˈivɪn reɪt. ðə seɪm kən ənd ʃʊd bi sɛd fər ˈkɑnˌweɪ. ɪt ʃʊd goʊ wɪˈθaʊt seɪɪŋ ðət wi faɪt ðə ˈdəbəl ˈstændərd baɪ ˈhoʊldɪŋ mɛn tɪ ðə seɪm ˈbjuti nɔrmz tɪ wɪʧ ˈwɪmən hæv bɪn bɪˈhoʊldən, rəˈgɑrdləs əv wət ðiz spɪˈsɪfɪk mɛn ər duɪŋ tɪ dɪˈgreɪd ɪkˈwɑləti, ˈfridəm ənd kˈwɑləti əv laɪf ɪn ɑr ˈkəntri, bət ˈrəðər baɪ duɪŋ əˈweɪ wɪθ ðiz ənˈriznəbəl ənd ˌɪˈrɛləvənt ˈgaɪdˌpoʊsts ɪnˈtaɪərli. bət ɔn ðə ˈmɔrnɪŋ əv noʊv. 9 "wɪn ðeɪ goʊ loʊ, wi goʊ haɪ" mɔr ɔn ðət ɪn ə bɪt wɛnt raɪt aʊt ðə ˈwɪndoʊ. ɪf ɑr ˈfɛloʊ əˈmɛrɪkənz ˈwɔntɪd ən ˌɪnˈsəlt ˈkɑmɪk ɪn ðə waɪt haʊs, ðə kənˈsɛnsəs simd tɪ bi, lɛts gɪt tɪ ˈhɛklɪŋ. ɔn ðə seɪm deɪ əv ˈtɛləˌvaɪzd ˈɪntərvˌju, ðə nu jɔrk times’*’ ˈsuzən ɪgˈzæmənd ðə ˈsɛksɪst pəˈlɪtɪkəl ˈkrɪtɪˌsɪzəm ðət dɔgd ˈhɪləri ˈklɪntən θruaʊt ðə ɪˈlɛkʃən ənd ɪts ˈpɛrəˌlɛlz tɪ haʊ ˈkɑnˌweɪ gɪts drægd baɪ ðə ˈlɪˌbərəl ˈpəblɪk ˈoʊvər hər kloʊðz, hɛr, skɪn ənd boʊn ˈstrəkʧər. ðət ˈmɪzəʤɪni ɪz ə ˈprɑbləm ɔn ðə ˈlɪˌbərəl saɪd əv ðə aɪəl ɛz wɛl ɛz ɔn ðə raɪt kəmz ɛz ə səˈpraɪz tɪ ɪgˈzæktli noʊ wən, list əv ɔl ˈhɪləri ˈklɪntən ənd hər ˈfiˌmeɪl səˈpɔrtərz. ˌnɛvərðəˈlɛs, ðə taɪmz, ɛz ðeɪ seɪ, ɪz ɔn ɪt, ˈnoʊtɪŋ ðət səm ˈkrɪtɪˌsɪzəmz əv [ˈkɑnˌweɪ] sat”*” ɪn ðət ˈfoʊˌtoʊ əv hər ˈnilɪŋ ɔn ə kaʊʧ ɪn ðə ˈoʊvəl ˈɔfəs tʊk ɔn ə toʊn: ˈwɪtnəs ðə fˈjʊrɔr ˈoʊvər hər ˈsɪtɪŋ ɔn hər niz ɔn ə kaʊʧ ɪn ðə ˈoʊvəl ˈɔfəs ˈdʊrɪŋ ə rɪˈsɛpʃən fər ˈprɛzɪˌdɛnts əv hɪˈstɔrɪkəli blæk ˈkɑlɪʤɪz. waɪl ʃi dru faɪər fər ˌdɪsrɪˈspɛkt, səm əv ðə ˈkrɪtɪˌsɪzəmz ˌɪnˈkludɪd dɪgz əˈbaʊt hər ˈsprɛdɪŋ hər lɛgz ənd ˈrɔnʧi əˈluʒənz tɪ ˈɔrəl sɛks, ˈmɑnɪkə ləˈwɪnski ənd bɪl ˈklɪntən. ˈwɛlkəm tɪ ˈmɪzəʤɪni 101 ə ˈfiˌmeɪl ˈjumən kən bi ʃeɪmd ˈikwəli fər əˈpɪrɪŋ boʊθ tu ˈsɛkʃuəli əˈlʊrɪŋ ənd ˌɪnsəˈfɪʃəntli ˈsɛkʃuəli əˈlʊrɪŋ. ɪt stɑrts ˈdʊrɪŋ ˈpjubərti, ɪf nɑt ˈərliər, ənd ɛndz pərˈhæps ˈoʊnli æt dɛθ. ðə "ɔn hər niz" ʤoʊks əˈbaʊt ˈkɑnˌweɪ wər ʧip ənd dɪsˈgəstɪŋ, ənd ɛz ðə bɪl ˈklɪntən ˈrɛfərəns meɪks klɪr, nɑt ˈtɛknɪkəli ˈpɑrtəzən. bət ʃi wɑz səˈbʤɛktɪd tɪ ən ˈaʊtˌsaɪz ˈvɑljum əv ˈɔnˌlaɪn ˈvɪtriəl ˈoʊvər ðət ˈfoʊˌtoʊ frəm ˈdɛməˌkræts ənd ˈəðər ɑˈstɛnsəbli prəˈgrɛsɪv ˈpipəl bɪˈkəz ʃiz ðɛr dɪˈspaɪzd pəˈlɪtɪkəl foʊ. rud ˈkɑmɛnts əˈbaʊt hər hɛr, kloʊðz ənd feɪs sim tɪ kəm ˈiziər tɪ ˈpipəl hu ər ləˈʤɪtəmətli ˈtɛrəˌfaɪd baɪ ðə ˈdæmɪʤ ðə rəˈʒim ʃi ˌrɛprɪˈzɛnts həz ɔˈrɛdi ˈbeɪgən tɪ rik goʊ ˈfɪgjər. (əv kɔrs, ˈkɑnˌweɪ woʊnt ækˈnɑlɪʤ ðə roʊl ʃiz pleɪd ɪn kriˈeɪtɪŋ ðət riˈleɪʃənˌʃɪp.) ˌædvərˈtaɪzmənt: ðɛr ər tu əˈbaʊt ðə lɛfts ˌoʊvərˈzɛləs ˈkrɪtɪˌsɪzəm əv wɛr ʃi sæt ənd wət ʃi wɔr, soʊ hɪrz ðə bɪg laɪ: ðɛrz noʊ ˈdəbəl, lɛt əˈloʊn ˈtrɪpəl, ˈstændərd əˈplaɪd ˌwətsoʊˈɛvər tɪ wət ʃi sɪz. hər ʤɑb ɪz tɪ dɪˈfɛnd ˈdɑnəld trəmps ˈpɑləsiz ənd ˈækʃənz, ənd ðə rɪˈsɛpʃən ɪz goʊɪŋ tɪ bi ðə seɪm noʊ ˈmætər huz maʊθ, tɪ juz ə noʊˈtɔriəs ɪgˈzæmpəl, ðə ˈdeɪnʤərəs laɪ əv "ðə ˈboʊlɪŋ grin ˈmæsəkər" kəmz aʊt əv. bət lɛts goʊ bæk fər ə ˈsɛkənd tɪ ðət ˈɪmɪʤ əv ˈkɑnˌweɪ ˈnilɪŋ: ðə grup əv ˈprɛzɪˌdɛnts, ðɛr suts ənd dɪˈminər ɛz bɪɔnd riˈproʊʧ ɛz ɑr ˈreɪsɪst soʊˈsaɪɪti həz dɪˈmændɪd ðeɪ bi, kənˈtræstəd ˈʃɑrpli wɪθ ˈkæʒəwəl pərʧ. əv kɔrs ðɛrz ə ˈtrɪpəl ˈstændərd æt wərk ɪn əˈmɛrɪkə. stɑp ˈlʊkɪŋ æt ˈkɑnˌweɪ ənd faɪnd ðə ˈəðər ˈwɪmən ɪn ðət ˈfoʊˌtoʊ ðə ˌjunəˈvərsəti ˈprɛzɪˌdɛnts hu hæv hæd tɪ ˈbætəl əˈdɪʃənəl rulz, ˈreɪsɪst əˈsəmpʃənz ənd ˌɔnˈfɛr ˈmɛtrɪks baɪ ˈvərʧu əv biɪŋ nɑt meɪl ənd nɑt waɪt. ðə ˈdəbəl ˈstændərd peɪnts ˈpæʃənət mɛn ɛz "ɪnˈgeɪʤd" waɪl ˈwɪmən ər "ˈoʊvərli ˈiˌmoʊʃənəl"; ðə ˈtrɪpəl ˈstændərd fər blæk ˈwɪmən muvz streɪt tɪ "ˈæŋgri." mɪˈʃɛl ˌoʊˈbɑməz "wɪn ðeɪ goʊ loʊ, wi goʊ haɪ" ˈɪzənt ʤɪst ən ˈmɑtoʊ, ɪts ən ˈɛkstrə leɪər əv prəˈtɛkʃən əˈgɛnst waɪt ˈpipəl hu hæv bɪn ˈwɑʧɪŋ fər eɪt lɔŋ jɪrz fər ˈɛni saɪnz əv hər kəmˈpoʊʒər sˈlɪpɪŋ bɪˈkəz ðɛn ðeɪ fil ˈʤəstəˌfaɪd ɪn bɪˈlivɪŋ ɔl blæk ˈwɪmən ər ˌənprɪˈdɪktəbəl ənd ˈdeɪnʤərəs, wɪθ pəˈtɛnʃəli ˈliθəl ˈkɑnsəkˌwɛnsəz. ðə ˈtrɪpəl ˈstændərd həz hɑrd ˌɛkəˈnɑmɪk ˈkɑnsəkˌwɛnsəz, tu: ɔn ˈævərɪʤ, blæk ənd hɪˈspænɪk ˈwɪmən hæv ə ˈlɑrʤər weɪʤ gæp wɪθ waɪt mɛn ðən waɪt ˈwɪmən du. ˌædvərˈtaɪzmənt: ˈdɑnəld trəmp kənˈtrɪbjuts tɪ ðə ˈtrɪpəl ˈstændərd ˈɛvəri taɪm hi peɪnts ˈnɑnˈwaɪt lɪvz ɛz ˌɪnˈtrɪnsɪkəli lɪŋkt tɪ ˈvaɪələns ənd ˈmɛnɪs. ðoʊz hu faɪnd wət ˈkɑnˌweɪ ˈwɪlɪŋli ənd ˈʧɪrfəli sɛlz tɪ bi ˈtɛrəˌfaɪɪŋ ənd rɪˈpəgnənt kən ənd ʃʊd nɑk ɪt ɔf wɪn ɪt kəmz tɪ sˈlæmɪŋ hər ˈfæʃən sɛns, waɪl rɪˈmeɪnɪŋ ˈvɪʤələnt əˈgɛnst hər wərdz. ɪf ʃi wɛrz ə ɔn hər hɛd ənd tərnz ˈkɑrtˌwilz əˈkrɔs ðə saʊθ lɔn, hu kɛrz? ˈfoʊkɪsɪŋ ɔn ðoʊz ˌsupərˈfɪʃəl ənd ˌɪŋˌkɑnsəkˈwɛnʧəl ˈditeɪlz ˈoʊnli kips ˈjuˈɛs frəm siɪŋ ðə hoʊl, ˈdæmɪŋ ˈpɪkʧər.
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last weekend, kellyanne conway sat down with "cbs this morning" for an in-depth one-on-one interview designed to make the political operative described by samantha bee as president donald trump’s “omnipresent spokes-cobra” seem less of a sentient two truths and a lie drinking game and more like an actual human. in this interview, conway appeared to be testing the waters for a new kellyanne katchphrase™ when she claimed that she and other conservative women are subject to “a triple standard” by the media, specifically “traditional feminist outlets.”
“we are constantly going back to where i sat, the presumptive negativity of what i wore, or what i said, and i do think it’s a triple standard,” conway told correspondent norah o’donnell. “people talk about a double standard of what a woman wore or said, but the triple standard is that conservative women are cast aside many times by traditional feminist outlets and individuals who control most of the media.”
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kellyanne conway is just being kellyanne conway here testing out a new verbal trinket to see if it sounds true-ish enough, albeit in some fact-detached way, to catch on, without too much attention being paid to what it actually means. (a “triple standard” is much slipperier than the ham-fisted “alternative facts,” that’s for sure.) if you don’t think too much about it and conway is banking on the people at home doing just that a “triple standard” definitely sounds like it could be a thing. after all, in this age of our collective slow-mo apocalypse, it only makes sense that we’ve suddenly found a way to make a bad thing exponentially worse.
it might be a fool’s errand to put “truth” and “kellyanne conway” in the same sentence, but does her claim that liberal women hold their conservative counterparts to an even higher standard than they are held have any basis in reality?
first, let’s establish that, yes, conway is subject to the same double standards that all women in the public eye face. who the hell isn’t? any high-profile man’s visit to the un to speak out against genocide would be reported upon with a dignified headline, but amal clooney, by virtue of being married to a famous actor, was “show[ing] off her baby bump” an odious phrase instead.
a man in the public eye is expected to wear a suit that fits; women have to navigate a minefield of sartorial choices that can backfire at any time. take conway’s technicolor inauguration dreamcoat, which turned so many viewers into off-brand "fashion police" deputies, yours truly included, and those barbs were dutifully aggregated by the digital press. in hindsight, the gleeful evisceration of conway's red, white and blue gucci jacket strikes me as a petty and inadequate outlet for the high emotions of what felt like a day of mourning for american ideals of equality and fairness. it is not a harbinger, let us hope, of the level of discourse we expect from ourselves for the next four years.
but even in less emotionally fraught times, the online culture of snark is merciless as a rule, even to the conventionally attractive. buzzfeed’s anne helen petersen sums up some primary themes of the ongoing sexist criticism of conway:
memes most often compare her to cruella de vil, skeletor, and golem [sic]; one calls her a “sewer rat barbie” while another viral instagram image compares her complexion to a withered banana. the only woman her age who’s received similarly vicious treatment is, ironically, madonna. both conway and madonna have become some version of what theorists call “the monstrous feminine” the woman who chooses not to “act her age,” fails to discipline her body to look younger than that age, or refuses to disappear entirely.
the basic-cable truth is that kellyanne conway is not an unattractive woman if she looked like steve bannon in a dress she wouldn’t be making the news show rounds defiling principles of language and truth to begin with, and that's also a double standard at work. it must be noted, however, that the men of the current administration aren't escaping their own superficial critique. trump’s body specifically, his ass has of late been compared unfavorably to that of canadian prime minister justin trudeau, a man young enough to be his son. bannon’s looks are pointlessly denigrated (one memorable tweet: “steve bannon looks like if michael shannon did a super-size-me where he only ate cigarettes”), and “basic henchman” stephen miller has been mocked by late-night comedians as “a young [smurfs villain] gargamel” and “sméagol in a suit” and “two-thirds of the way to [elderly ‘simpsons’ evil mogul] montgomery burns.” (memorable tweet: “stephen miller is slender man,” referencing the ominous, fictional boogeyman of internet lore.)
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while there’s undeniable schadenfreude in highlighting donald trump’s physical shortcomings, given his long history of reducing women to the sum of their hypothetical or actual beauty pageant scores, of all the things that are grotesque about steves bannon and miller, their fairly average bodies and faces don’t even rate. the same can and should be said for conway. it should go without saying that we don’t fight the double standard by holding men to the same beauty norms to which women have been beholden, regardless of what these specific men are doing to degrade equality, freedom and quality of life in our country, but rather by doing away with these unreasonable and irrelevant guideposts entirely. but on the morning of nov. 9, "when they go low, we go high" more on that in a bit went right out the window. if our fellow americans wanted an insult comic in the white house, the consensus seemed to be, let's get to heckling.
on the same day of conway’s televised interview, the new york times’ susan chira examined the sexist political criticism that dogged hillary clinton throughout the election and its parallels to how conway gets dragged by the liberal public over her clothes, hair, skin and bone structure. that misogyny is a problem on the liberal side of the aisle as well as on the right comes as a surprise to exactly no one, least of all hillary clinton and her female supporters. nevertheless, the times, as they say, is on it, noting that some criticisms of “where [conway] sat” in that now-infamous photo of her kneeling on a couch in the oval office took on a sexualized tone:
witness the furor over her sitting on her knees on a couch in the oval office during a reception for presidents of historically black colleges. while she drew fire for disrespect, some of the criticisms included digs about her spreading her legs and raunchy allusions to oral sex, monica lewinsky and bill clinton.
welcome to misogyny 101: a female human can be shamed equally for appearing both too sexually alluring and insufficiently sexually alluring. it starts during puberty, if not earlier, and ends perhaps only at death.
the "on her knees" jokes about conway were cheap and disgusting, and as the bill clinton reference makes clear, not technically partisan. but she was subjected to an outsize volume of online vitriol over that photo from democrats and other ostensibly progressive people because she's their despised political foe. rude comments about her hair, clothes and face seem to come easier to people who are legitimately terrified by the damage the regime she represents has already begun to wreak go figure. (of course, conway won't acknowledge the role she's played in creating that relationship.)
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there are kellyanne's two half-truths about the left's overzealous criticism of where she sat and what she wore, so here's the big lie: there's no double, let alone triple, standard applied whatsoever to what she says. her job is to defend donald trump's policies and actions, and the reception is going to be the same no matter whose mouth, to use a notorious example, the dangerous islamophobic lie of "the bowling green massacre" comes out of.
but let's go back for a second to that image of conway kneeling: the group of hbcu presidents, their suits and demeanor as beyond reproach as our racist society has demanded they be, contrasted sharply with conway's casual rumpus-room perch. of course there's a triple standard at work in america. stop looking at conway and find the other women in that photo the university presidents who have had to battle additional rules, racist assumptions and unfair metrics by virtue of being not male and not white. the double standard paints passionate men as "engaged" while women are "overly emotional"; the triple standard for black women moves straight to "angry."
michelle obama's "when they go low, we go high" isn't just an aspirational motto, it's an extra layer of protection against white people who have been watching for eight long years for any signs of her composure slipping because then they feel justified in believing all black women are unpredictable and dangerous, with potentially lethal consequences. the triple standard has hard economic consequences, too: on average, black and hispanic women have a larger wage gap with white men than white women do.
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donald trump contributes to the triple standard every time he paints nonwhite lives as intrinsically linked to violence and menace. those who find what conway willingly and cheerfully sells to be terrifying and repugnant can and should knock it off when it comes to slamming her fashion sense, while remaining vigilant against her words. if she wears a lampshade on her head and turns cartwheels across the south lawn, who cares? focusing on those superficial and inconsequential details only keeps us from seeing the whole, damning picture.
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ˈsɪdni (ˈrɔɪtərz) tu ɔˈstreɪljən ˈwɔrˌʃɪps wɪl hoʊld ˈɛksərˌsaɪzɪz wɪθ ðə ʧaɪˈniz ˈneɪvi ɪn ðə saʊθ ˈʧaɪnə si nɛkst wik, dɪˈfɛns ˈmɪnɪstər sɛd ɔn ˈθərzˌdeɪ, ʤɪst deɪz ˈæftər ə juz. ˈneɪvi pəˈtroʊl nɪr ə ˈmænˌmeɪd ʧaɪˈniz ˈaɪlənd ɪn ðə dɪˈspjutɪd ˈwɔtərz ˈæŋgərd ˌbeɪˈʒɪŋ. rif, ˈloʊˌkeɪtəd ɪn ðə dɪˈspjutɪd ˈaɪləndz ɪn ðə saʊθ ˈʧaɪnə si, ɪz ʃoʊn ɪn ðɪs ˈhænˌdaʊt ˈsɛnər fər strəˈtiʤɪk ənd ˌɪnərˈnæʃənɑl ˈstədiz (csis*) ˈeɪʒə ˈmærəˌtaɪm trænˈspɛrənsi ˌɪˈnɪʃətɪv ˈsætəˌlaɪt ˈɪmɪʤ ˈteɪkən sɛpˈtɛmbər 3 2015 ənd riˈlist tɪ ˈrɔɪtərz ɑkˈtoʊbər 27 2015 ˈeɪʒə ˈmærəˌtaɪm trænˈspɛrənsi ˈviə ˈrɔɪtərz ðə stɔrt ənd wɪl ˈvɪzɪt meɪn saʊθ ˈʧaɪnə si beɪs əv ɪn ðə ˈsəðərn ˈprɑvɪns əv gˈwɑŋˈdɔŋ əˈhɛd əv drɪlz ˈskɛʤʊld fər ˈərli nɛkst wik, peɪn sɛd. rɔɪəl ɔˈstreɪljən ˈneɪvi həz ə lɔŋ ˈhɪstəri əv ɛnˈgeɪʤmənt wɪθ ˈriʤənəl ˈneɪviz ənd ˈrɛgjələrli kənˈdəkts pɔrt ˈvɪzɪts ənd ˈɛksərˌsaɪzɪz ˌɪnˈkludɪŋ ɪn china,”*,” peɪn sɛd ɪn ə ˈsteɪtmənt. hæv bɪn noʊ ˈʧeɪnʤɪz ər dɪˈleɪz tɪ ðə ˈskɛʤʊl əv ðə ənd stɔrt sɪns ðə juˈnaɪtɪd steɪts ækˈtɪvɪti ɪn ðə saʊθ ˈʧaɪnə si ɔn 27 ɑkˈtoʊbər ðə ˈsteɪtmənt geɪv noʊ ˈditeɪlz ɔn ðə prɪˈsaɪs loʊˈkeɪʃən fər ðə ˈɛksərˌsaɪz. ɔˈstreɪljən ˈmidiə sɛd ɪt wʊd ˌɪnˈklud drɪlz. ˈʧaɪnə rɪˈbjukt ˈwɔʃɪŋtən fər ˈsɛndɪŋ ə juz. dɪˈstrɔɪər kloʊz tɪ rif ɪn ðə ˌɑrʧəpəˈleɪˌgoʊ ɔn ˈtuzˌdeɪ, seɪɪŋ ɪt hæd trækt ənd wɔrnd ðə ˈjuˈɛˈsɛs ˈlæsən ənd kɔld ɪn ðə əˈmɛrɪkən æmˈbæsədər tɪ ˈproʊˌtɛst. ɔˈstreɪljə, ə ki juz. ˈælaɪ ɪn ðə ˈriʤən, ɪkˈsprɛst ɪts strɔŋ səˈpɔrt fər ˈfridəm əv ˌnævəˈgeɪʃən, waɪl ˈstɑpɪŋ ʃɔrt əv ˈwɛlkəmɪŋ ðə pəˈtroʊl. ˌspɛkjəˈleɪʃən həz ˈrɪzən ðət ɔˈstreɪljə maɪt ˈəndərˌteɪk ˈsɪmələr ˈɛksərˌsaɪzɪz, ˈiðər əˈlɔŋˈsaɪd ðə juz. ˈneɪvi ər ɔn ɪts oʊn, bət ˈɛni muv wʊd rɪsk ænˈtægəˌnaɪzɪŋ tɔp ˈtreɪdɪŋ ˈpɑrtnər ˈʧaɪnə. juən græm, dɪˈrɛktər əv ðə ˌɪnərˈnæʃənɑl sɪˈkjʊrəti ˈproʊˌgræm æt ðə loʊi ˈɪnstɪˌtut ɪn ˈsɪdni, sɛd ɔˈstreɪljə wʊd wɔnt tɪ traɪ ənd əˈvɔɪd biɪŋ sin ɛz sheriff”*” tɪ ðə juˈnaɪtɪd steɪts ɪn ðə ˈriʤən. wʊd bi mɔr ˈifɛktɪv tɪ ˈdɛmənˌstreɪt ˈbrɔdər ˌɪnərˈnæʃənɑl kənˈsərnz ɪf ɔˈstreɪljə wər tɪ əˈsərt ˈfridəm əv ˌnævəˈgeɪʃən ˈəndər ɪts oʊn pəˈlɪtɪkəl ənd ˌɑpərˈeɪʃənəl ˈbænər ənd nɑt tɪ raɪd juz. coat-tails,”*,” hi sɛd. ˈərliər ðɪs wik, ˈsinjər ˈgəvərnmənt ˈsɛnətər ˈɑrθər toʊld skaɪ nuz ðət ɔˈstreɪljə dɪd nɑt hæv plænz tɪ du wət ðə juˈnaɪtɪd steɪts həz done”*” ɪn riˈleɪʃən tɪ ˈfridəm əv ˌnævəˈgeɪʃən ˈɛksərˌsaɪzɪz. həz ə ləˈʤɪtəmət ˈɪntəˌrɛst ɪn ðə ˈmeɪntənəns əv pis ənd stəˈbɪlɪti, rɪˈspɛkt fər ˌɪnərˈnæʃənɑl lɔ, ˌənɪmˈpidɪd treɪd ənd ˈfridəm əv ˌnævəˈgeɪʃən ənd ˈoʊvərˌflaɪt ɪn ðə saʊθ ˈʧaɪnə sea,”*,” peɪn sɛd, wɪˈθaʊt æˈdrɛsɪŋ ˈwɛðər ɔˈstreɪljə wɑz ˈplænɪŋ ˈsɪmələr ˈɛksərˌsaɪzɪz. ˈʧaɪnə kleɪmz moʊst əv ðə saʊθ ˈʧaɪnə si, θru wɪʧ mɔr ðən 5 ˈtrɪljən əv wərld treɪd ˈpæsɪz ˈɛvəri jɪr. viˌɛtˈnɑm, məˈleɪʒə, bruˈnaɪ, ðə ˈfɪləˌpinz ənd ˈtaɪˈwɑn hæv ˈraɪvəl kleɪmz. ɔn ˈwɛnzˌdeɪ, ə frɛnʧ ˈfrɪgət dɑkt æt fər ə ˈvɪzɪt əˈhɛd əv frɛnʧ ˈprɛzɪdənt frɑnsˈwɑ trɪp tɪ ˈʧaɪnə nɛkst wik.
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sydney (reuters) - two australian warships will hold exercises with the chinese navy in the south china sea next week, australia’s defense minister said on thursday, just days after a u.s. navy patrol near a man-made chinese island in the disputed waters angered beijing.
subi reef, located in the disputed spratly islands in the south china sea, is shown in this handout center for strategic and international studies (csis) asia maritime transparency initiative satellite image taken september 3, 2015 and released to reuters october 27, 2015. reuters/csis asia maritime transparency initiative/digitalglobe/handout via reuters
the hmas stuart and hmas arunta will visit china’s main south china sea base of zhanjiang in the southern province of guangdong ahead of drills scheduled for early next week, marise payne said.
“the royal australian navy has a long history of engagement with regional navies and regularly conducts port visits and exercises — including in china,” payne said in a statement.
“there have been no changes or delays to the schedule of the hmas arunta and hmas stuart since the united states activity in the south china sea on 27 october 2015.”
the statement gave no details on the precise location for the exercise. australian media said it would include live-fire drills.
china rebuked washington for sending a u.s. guided-missile destroyer close to subi reef in the spratly archipelago on tuesday, saying it had tracked and warned the uss lassen and called in the american ambassador to protest.
australia, a key u.s. ally in the region, expressed its strong support for freedom of navigation, while stopping short of welcoming the patrol.
speculation has risen that australia might undertake similar exercises, either alongside the u.s. navy or on its own, but any move would risk antagonizing top trading partner china.
euan graham, director of the international security program at the lowy institute in sydney, said australia would want to try and avoid being seen as “deputy sheriff” to the united states in the region.
“it would be more effective to demonstrate broader international concerns if australia were to assert freedom of navigation under its own political and operational banner and not to ride u.s. coat-tails,” he said.
earlier this week, senior government senator arthur sinodinos told sky news that australia did not have “any plans to do what the united states has done” in relation to freedom of navigation exercises.
“australia has a legitimate interest in the maintenance of peace and stability, respect for international law, unimpeded trade and freedom of navigation and overflight in the south china sea,” payne said, without addressing whether australia was planning similar exercises.
china claims most of the south china sea, through which more than $5 trillion of world trade passes every year. vietnam, malaysia, brunei, the philippines and taiwan have rival claims.
on wednesday, a french frigate docked at zhanjiang for a four-day visit ahead of french president francois hollande’s trip to china next week.
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ˈwʊmən: ˈhəlkɪŋ, ˈsələn, træps ðət kʊd stəf ən ˈɛˌnɛˈfɛl ˈrənɪŋ bæk. mæn: ɛˈfit ˈbeɪtə, ˌdɛfərˈɛnʧəl tɪ hɪz waɪf, sməg smərk bɪˈkəz praʊd əv hɪmˈsɛlf fər ˈsɪgnəlɪŋ hɪz meɪl ˈfɛmənɪst ˈboʊnə faɪdz. ənd bɪrd! aɪ bi wɛr aɪ æm təˈdeɪ wɪˈθaʊt him..er*, her.”*.”) ˈkəpəl: ˈbɪtər blæk əˈfərmətɪv ˈækʃən kwin hu lɔŋz fər ril blæk mæn dɪk, ənd ˈspaɪtfəl ˈtræʤɪk ˈhɪpstər geɪ məˈlɑtoʊ hu əˈdɑptəd blæk paʊər aɪˈdɛntəˌti ənd heɪts waɪt ˈpipəl, əˈspɛʃəli hɪz leɪt ˈməðər wɪθ ðə neɪm ənd ˈlaɪˈflɔŋ ˈpɛnʧənt fər ˈfəkɪŋ ˈdɪstrɪkt 9 sɛt ˈɛkstrəz. ˈkɑntɛkst: ˈprɛzɪdənt ənd fərst əv ðə juˈnaɪtɪd steɪts əv əˈmɛrɪkə. kənˈkluʒən: wi ˈbeɪtə meɪlz, əˈspɛʃəli ðoʊz əv ðə vərˈaɪəti, hæv ə ərʤ tɪ ˈpəblɪkli ˈɛləˌveɪt ðɛr waɪvz tɪ pəˈzɪʃənz əv ˈɪnfluəns ɪn ðɛr lɪvz ðət ər ɔl aʊt əv prəˈpɔrʃən tɪ ˌriˈæləˌti. ʤɛb!, ˈkɑsɪʧ, ɔl dɪd ɪt. ə ˈlɪtəl ˌʤɛnərˈɑsəti təˈwɔrd ðə waɪf ɪz faɪn ənˈtɪl ɪt tərnz ˌhaɪpərˈbɑlɪk ənd ˈkɑmɪkəli supplicating*. ˈbeɪtə meɪlz stɪl ˈlərnɪd ðət ðə ˈhændiˌkæp ˈprɪnsəpəl ɪz ˈizi tɪ əˈbjuz ənd ˈbækˌfaɪr ɔn ðɛm, ənd ðət ə mæn həz tɪ ʃoʊ ə ˈlɪtəl ˈælfə ˈgəmpʃən ˌbiˈfɔr hi kən ˈseɪfli ˌɪnˈdəlʤ səm ˈɔɪli ˈdɛfərəns təˈwɔrd ˈwɪmən.
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woman: hulking, sullen, traps that could stuff an nfl running back.
man: effete beta, deferential to his wife, smug libfag smirk because he’s proud of himself for signaling his male feminist bona fides. (“ladies and gentleman…my beard! i wouldn’t be where i am today without him..er, her.”)
couple: bitter black affirmative action queen who longs for real black man dick, and spiteful tragic hipster gay mulatto who adopted black power identity and hates white people, especially his late mother with the boy’s name and lifelong penchant for fucking district 9 set extras.
context: president and first macaque of the united states of america.
conclusion: we fukked
***
beta males, especially those of the cuck variety, have a knee-jerk urge to publicly elevate their wives to positions of influence in their lives that are all out of proportion to reality. jeb!, kasich, cruz…they all did it. a little self-abnegating generosity toward the wife is fine until it turns hyperbolic and comically supplicating. beta males still haven’t learned that the handicap principle is easy to abuse and backfire on them, and that a man has to show a little alpha gumption before he can safely indulge some oily deference toward women.
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ðɛr ər ˈmɛni weɪz jʊr ˈɔkʃən kən bloʊ əp ˌbiˈfɔr jʊr aɪz. pɑrt tu əv maɪ ˈstrætəʤi fər ˈɔkʃən dræfts ɪz ˈfoʊkɪst əraʊnd faɪv ki mɪˈsteɪks tɪ əˈvɔɪd ˈmeɪkɪŋ ɪn ˈɔkʃən dræfts. ðɪs lɪst əv faɪv ɪz kəmz frəm maɪ oʊn ɪkˈspɪriəns æt ðə ˈɔkʃən ˈteɪbəl ɪn mɔr ðən ə fju ˈɔkʃən ligz ˈoʊvər ðə jɪrz. ðiz ər ˈvɛri ˈkɑmən mɪˈsteɪks ˈoʊnərz meɪk ənd wənz ðət kən bi əˈvɔɪdɪd. ˈɛdɪtərz noʊt: ju kən klɪk hir tɪ rɛd mɔr ˈɔkʃən dræft ˈstrætəʤiz ənd ˈəðər ˈfænəsi ˈbeɪsˈbɔl dræft ˈstrætəʤiz tɪps fər ˈvɛriəs lig ˈfɔrˌmæts ˌɪnˈkludɪŋ pɔɪnts ligz. hæv ə plæn ənd stɪk wɪθ ɪt maɪ fərst ˈɑrtɪkəl ɪn ðɪs ˈsɪriz ˈkəvərz haʊ ˌɪmˈpɔrtənt ˈhævɪŋ ə plæn ɪz ənd səˈʤɛsts weɪz əv ˈstɪkɪŋ wɪθ ɪt θruaʊt ðə dræft. ɪn ðə hit əv ðə ˈɔkʃən, ˈɛvəri plæn wɪl nid tɪ əˈʤəst. ju kən ˈoʊvərˌkəm ðə ˌɪnˈsænɪti baɪ ˈhævɪŋ ə ˈsɑləd dræft plæn ənd ˈstɪkɪŋ wɪθ ɪt waɪl ˈgɪvɪŋ ˈjɔrsɛlf ʤɪst ɪˈnəf ˈfridəm tɪ əˈʤəst tɪ ˈʧeɪnʤɪŋ ˈmɑrkɪt kənˈdɪʃənz.. ˈwɪnɪŋ ˈɛvəri pleɪər ju ˈwɔntɪd ʤɪst woʊnt ˈhæpən. baɪ ˈhævɪŋ ə ˈsɑləd ˈstrætəʤi fər haʊ məʧ ˈməni tɪ spɛnd ɔn ˈdɪfərənt pəˈzɪʃənz ənd ˈhoʊldɪŋ tru tɪ ɪt, jul nɛt ðə bɛst rɪˈzəlts wɪn ðə keɪɑs ɪz ˈoʊvər. fər ɪgˈzæmpəl, ɪf ju hæv boʊθ ənd slɑts tɪ fɪl ənd ju mɪs aʊt ɔn ə ˈbɑpər, ju kən ˈoʊvərˌkəm ðət baɪ baɪ ˈdræftɪŋ tu riˈpleɪsmənts. ɪf ɪn ðə seɪm ɪgˈzæmpəl ju ˌdɪˈsaɪdɪd tɪ spɛnd ðə seɪm əˈmaʊnt əv ˈməni ɔn ə ˈsɪŋgəl pleɪər æt ə ˈdɪfərənt pəˈzɪʃən, ðɛn juv dɪˈmɪnɪʃt jʊr ˈbəʤɪt baɪ ˈspɛndɪŋ ɪt ɪn ə pleɪs jʊd ɔˈrɛdi ˈbəʤɪtɪd fər. nɑt səˈʤɛstɪŋ ðət ðɪs wʊd ˌnɛsəˈsɛrəli nɛt pur rɪˈzəlts, bət wət ɪt wɪl du ɪz sɛnd jʊr plæn ˈɪntu keɪɑs, ənd jul faɪnd ˈjɔrsɛlf ˈskræmbəlɪŋ tɪ plæn aʊt ðə rɛst əv jʊr əˈlaʊəns waɪl ˈdræftɪŋ. du nɑt bɪd ɔn pleɪərz ju du nɑt wɔnt ðɪs ɪz ə məʧ ˈiziər rul tɪ ˈfɑloʊ. ˈsɪmpli du nɑt bɪd ɔn pleɪərz ju hæv noʊ ˌɪnˈtɛnʧən ɔn ˈoʊnɪŋ. aɪ noʊ ju ər seɪɪŋ tɪ ˈjɔrsɛlf, wʊd aɪ du that?”*?” wɛl, jul ˈnoʊtɪs ðət frəm taɪm tɪ taɪm ðət ju kən stɑrt ə ˈbɪdɪŋ wɔr wɪθ əˈnəðər ˈoʊnər wɪl teɪk pleɪs. jʊr ˈdraɪvɪŋ əp hɪz praɪs ənd hiz ˈdraɪvɪŋ əp jʊrz. ɪf jʊr ɪn ðɪs wɔr ˈəndər ðə əˈsəmpʃən ðət ðə ˈəðər ˈoʊnər wɪl ˈaʊtˌbɪd ju, jul ɪˈvɛnʧəwəli gɪt kɔt peɪɪŋ ðə ˈprimiəm. ɪf ɪt ɪz ˈoʊvər ə pleɪər hum ju ˈdɪdənt ˈrɪli wɔnt ɪn ðə fərst pleɪs, ju ʤɪst gɑt oʊnd. ˈrənɪŋ əp ðə praɪs ɔn əˈnəðər ˈoʊnər kən bi gʊd ˌoʊldˈfæʃənd fən. ˌhaʊˈɛvər, aɪ wʊd ˌæbsəˈlutli əˈvɔɪd ˈbɪdɪŋ ɔn pleɪərz ju doʊnt wɔnt. ɛz fən ɛz ɪt kən bi tɪ si əˈnəðər ˈoʊnər peɪ ə rɪˈdɪkjələs praɪs fər ə pleɪər, ɪt ɪz nɑt fən ˈlʊkɪŋ laɪk ən ˈɪˌdiət wɪn hi wɑz ˈplænɪŋ ɔn ˈstɪkɪŋ ju wɪθ ðə bɪl æt ðə ɛnd əv ˈdɪnər. du nɑt ˈoʊvərˌspɛnd ɔn ˈɛvəri pleɪər ˈoʊvərˌspɛndɪŋ ɔn ˈɛni wən pleɪər ˈɪzənt ˌnɛsəˈsɛrəli ðə wərst θɪŋ. ɪf jʊr 100 ˈsərtən ðət ðɪs ɪz ðə gaɪ fər jʊr tim, goʊ gɪt ɪm. ˌhaʊˈɛvər, ˈɛvəri ˈækʃən həz ən ˈikwəl ənd ˈɑpəzɪt riˈækʃən. ˈɛvəri ˈdɔlər ju ˈoʊvərˌspɛnd ɔn ə ˈsɪŋgəl pleɪər wɪl teɪk əˈweɪ ə ˈdɔlər frəm əˈnəðər. ˈsplərʤɪŋ ɔn ˈməltəpəl pleɪərz wɪl nɛt ju ə ˈkəpəl əv haɪɛnd pleɪərz ənd liv ju wɪθ mɔr pleɪərz ˈfɪlɪŋ jʊr ˈrɑstər. əv kɔrs, ˈhævɪŋ maɪk traʊt ənd mɪˈgɛl kɑˈbrɛrə wʊd bi ˈɔsəm. ɪf ju spɛnd ˈoʊvər 100 tɪ gɪt ðɛm, ðoʊ, ju ˈoʊnli hæv 160 lɛft fər ðə ˈəðər 23 ər soʊ pleɪərz ju nid tɪ fɪl jʊr tim. ɛz məʧ ɛz ju maɪt laɪk tɪ goʊ ɪkˈstrim stɑrz ənd scrubs*, ðæts ə təf weɪ tɪ wɪn jʊr ˈfænəsi ˈbeɪsˈbɔl ˈʧæmpiənˌʃɪp. du nɑt bloʊ jʊr ˈbəʤɪt ɪn ðə fərst aʊər ɛz ɪkˈsaɪtɪŋ ənd ˌɛnərˈteɪnɪŋ ɛz ˈɔkʃənz ər, nɑt ˈhævɪŋ ˈɛni ˈməni tɪ spɛnd fər ðə məˈʤɔrəti əv ðə dræft ɪz nɑt. ənˈlɛs, əv kɔrs, ˈɛvəri ˈsɪŋgəl pleɪər juv plænd ɔn ˈoʊnɪŋ həz bɪn ˈnɑməˌneɪtəd ɪn ðə fərst aʊər ənd juv wən ðɛm ɔl æt jʊr ˈbəʤɪt. ənˈfɔrʧənətli, ðət wɪl nɑt ˈhæpən. pɑrt θri əv maɪ ˈstrætəʤi gaɪd wɪl bi ə dip daɪv ˈɪntu ˈbəʤɪtɪŋ haʊ tɪ əˈvɔɪd bloʊɪŋ jʊr wɑd ˈərli, soʊ steɪ tund. du nɑt tɪp jʊr hænd ju meɪ faɪnd ðət ˈɔkʃənz ər ˈvɛri ˈsɪmələr tɪ ə geɪm əv ˈtɛksəs hold’em*. ˈrɛdɪŋ ðə ˈəðər ˈoʊnərz kən bi ɛz ˈkruʃəl ɛz jʊr əˈbɪləˌti tɪ kip jʊr oʊn hænd ə ˈsikrɪt. ˌbiˈfɔr ˈdræftɪŋ, əˈvɔɪd ˈneɪmɪŋ jʊr tim ˈæftər jʊr ˈfeɪvərɪt pleɪər ər tim. ðɪs kən hɛlp mæsk hu ju ər goʊɪŋ ˈæftər ər wət jʊr ˈprɛfərənsɪz ər. ˈɔlsoʊ, traɪ tɪ əˈvɔɪd ˈʤɛnərəl ɪn jʊr dræft ʧæts ər ˈmɛsɪʤ bɔrdz. ɪf ˈəðər ˈoʊnərz noʊ wət hu ju laɪk, ðeɪ kən ənd wɪl teɪk ædˈvæntɪʤ əv ɪt. əˈnəðər gʊd ˈɔpʃən ɪz tɪ ˈrændəˌmaɪz jʊr pleɪər ˌnɑməˈneɪʃənz, ˈbaʊnsɪŋ ˌɪˈrɛgjələrli bɪtˈwin pleɪərz ju wɔnt ənd gaɪz jʊd ˈrəðər nɑt ˈrɑstər. ɪf jʊr ˈkɑnstəntli ˈnɑməˌneɪtɪŋ pleɪərz ju doʊnt wɔnt ənd ðə ˈəðərz ˈnoʊtɪs ju ˈbɪdɪŋ, ðət kʊd kəm bæk tɪ baɪt ju. ɔn ðə flipside*, ɪf jʊr ˈɔlˌweɪz θroʊɪŋ aʊt neɪmz əv gaɪ jʊr goʊɪŋ hɑrd aftre*, ðət wɪl ɪnˈkərəʤ ˈoʊnərz tɪ draɪv əp ðoʊz ˈpraɪsɪz ɔn jʊr ˌnɑməˈneɪʃənz, sɪˈkjʊr ɪn ðə ˈnɑlɪʤ ðət ju wɪl riʧ dip. steɪ tund fər pɑrt 3 ðə ˌɪmˈpɔrtəns əv ˈɔkʃən ˈbəʤɪtɪŋ
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there are many ways your auction can blow up before your eyes. part two of my strategy for auction drafts is focused around five key mistakes to avoid making in auction drafts.
this list of five is comes from my own experience at the auction table in more than a few auction leagues over the years. these are very common mistakes owners make and ones that can be avoided.
editor's note: you can click here to read more auction draft strategies and other fantasy baseball draft strategies & tips for various league formats including points leagues.
have a plan and stick with it
my first article in this series covers how important having a plan is and suggests ways of sticking with it throughout the draft. in the heat of the auction, every owner’s plan will need to adjust. you can overcome the insanity by having a solid draft plan and sticking with it while giving yourself just enough freedom to adjust to changing market conditions..
winning every player you wanted just won't happen. by having a solid strategy for how much money to spend on different positions and holding true to it, you'll net the best results when the chaos is over. for example, if you have both 1b and ci slots to fill and you miss out on a big-name bopper, you can overcome that by by drafting two middle-to-high-end replacements.
if in the same example you decided to spend the same amount of money on a single player at a different position, then you've diminished your 1b budget by spending it in a place you'd already budgeted for. not suggesting that this would necessarily net poor results, but what it will do is send your plan into chaos, and you'll find yourself scrambling to plan out the rest of your allowance while drafting.
do not bid on players you do not want
this is a much easier rule to follow. simply do not bid on players you have no intention on owning. i know you are saying to yourself, “why would i do that?” well, you'll notice that from time to time that you can start a bidding war with another owner will take place. you're driving up his price and he's driving up yours. if you're in this war under the assumption that the other owner will outbid you, you'll eventually get caught paying the premium. if it is over a player whom you didn't really want in the first place, you just got owned.
running up the price on another owner can be good old-fashioned fun. however, i would absolutely avoid bidding on players you flat-out don't want. as fun as it can be to see another owner pay a ridiculous price for a player, it is not fun looking like an idiot when he was planning on sticking you with the bill at the end of dinner.
do not overspend on every player
overspending on any one player isn't necessarily the worst thing. if you're 100% certain that this is the guy for your team, go get him. however, every action has an equal and opposite reaction. every dollar you overspend on a single player will take away a dollar from another.
splurging on multiple players will net you a couple of high-end players and leave you with more low-end players filling your roster. of course, having mike trout and miguel cabrera would be awesome. if you spend over $100 to get them, though, you only have $160 left for the other 23 or so players you need to fill your team. as much as you might like to go extreme stars and scrubs, that's a tough way to win your fantasy baseball championship.
do not blow your budget in the first hour
as exciting and entertaining as auctions are, not having any money to spend for the majority of the draft is not. unless, of course, every single player you've planned on owning has been nominated in the first hour and you've won them all at your budget. unfortunately, that will not happen.
part three of my four-part strategy guide will be a deep dive into budgeting how to avoid blowing your wad early, so stay tuned.
do not tip your hand
you may find that auctions are very similar to a game of texas hold’em. reading the other owners can be as crucial as your ability to keep your own hand a secret. before drafting, avoid naming your team after your favorite player or team. this can help mask who you are going after or what your preferences are. also, try to avoid general fandom in your draft chats or message boards. if other owners know what who you like, they can and will take advantage of it.
another good option is to randomize your player nominations, bouncing irregularly between players you want and guys you'd rather not roster. if you're constantly nominating players you don't want and the others notice you aren’t bidding, that could come back to bite you. on the flipside, if you're always throwing out names of guy you're going hard aftre, that will encourage owners to drive up those prices on your nominations, secure in the knowledge that you will reach deep.
stay tuned for part 3: the importance of auction budgeting
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ðɪs poʊst kənˈteɪnz dɪˈteɪld plɑt dɪˈskəʃən, bət ˈspɔɪlərz hərt jʊr ˌɛnˈʤɔɪmənt əv ðɪs bʊk. skɪp tɪ ðə ˈvərdɪkt? ˈkɑmɪks kən bi ˈmɛni θɪŋz. ɔn ðɪs ˈwɛbˌsaɪt, wi ˈɔfən ˈfoʊkɪs ɔn ðə fantastical*. ˌsupərˈhiroʊz, ˈsikrɪt ˈeɪʤənts ənd ðə ˌsupərˈnæʧərəl. ədˈvɛnʧər ˈstɔriz ənd ðə ɑd əˈpɑkəˌlɪps. aɪ faɪnd ˈvælju ɪn səʧ θɪŋz ə ˈdrimər (ˈɔfən, ɪn maɪ ˈʧaɪlˌdhʊd, ə daydreamer*), ˈsəmˌwən hu laɪks tɪ faɪnd laɪf ˈlɛsənz ɪn ˈfɪkʃənəl ˈstɔriz. bət nɑt ˈɛvriˌθɪŋ nidz tɪ bi aʊt əv ðɪs wərld. ɪn fækt, ɪt ˈɔfən simz ðət moʊst ˈpipəl ər ˈdipli əˈfɛktɪd baɪ ˈstɔriz ðət ər daʊn tɪ ərθ, kloʊz tɪ hoʊm. mi ˈbɑrioʊ ɪz səʧ ə ˈstɔri. ɛz wən əv ðə bʊks ɪn nu laɪn əv ˌɛʤəˈkeɪʃənəl ənd ˌɪnspərˈeɪʃənəl ˈtaɪtəlz, ən ˌædəpˈteɪʃən əv frəm ðə ˈbɑrioʊ tɪ ðə bɔrd rum baɪ ˈrɑbərt rɛnˈtɛriə ənd ˈkɔri ˈmaɪkəl bleɪk. wɪθ maɪ hɛd bɪtˈwin ðə ˈbraɪtli ˈkələrd ˈpeɪʤɪz əv maɪ ˈkɑmɪk ˈɑrˌkaɪvz, aɪ seɪ aɪ ˈnoʊtɪst ðə ərˈɪʤənəl riˈlis, bət ɪt simz tɪ bi ə bʊk ˌɪnˈspaɪərd ˈmɛni. ðɪs ˈkɑmɪk səm əv ðə ˈstɔri ˈɪntu ən 80 peɪʤ ˈgræfɪk ˈnɑvəl. bleɪk, hu ɪz ˈɔlsoʊ dɪˈvoʊtɪd tɪ ˈpəblɪʃɪŋ ənd prəˈmoʊtɪŋ ðə bʊk, wərkt wɪθ ˈɑrtɪst ʃeɪn tɪ brɪŋ ɪt tɪ ə ˈgræfɪk ˈfɔrˌmæt. ðoʊ ɪt ɪz ən ˌædəpˈteɪʃən, vɔɪs pərˈsɪsts. təˈgɛðər ðɪs tim tɛlz hɪz laɪf ˈstɔri ɪn ə weɪ ðət ɪz ˈsɪmpəl, dɪˈrɛkt, ənd ˈmuvɪŋ. ˈrɑbərt rɛnˈtɛriə, laɪk soʊ ˈmɛni ɪn ðɪs ˈkəntri, keɪm frəm ə ˈbækˌgraʊnd əv ˈpɑvərti ənd ˈɪgnərəns. hɪz pɪrz ˈvæljud ʃɔrt ˈsaɪtɪd geɪnz ˈoʊvər ˌɛʤəˈkeɪʃən ənd lɔŋ tərm goʊlz. ɪn spɪˈsɪfɪk, hi keɪm frəm ðə loʊər klæs, praɪˈmɛrəli hɪˈspænɪk ˈneɪbərˌhʊdz əv ist lɑ. ðɪs bʊk tɛlz haʊ hi keɪm θru gæŋ ˈmɛmbərˌʃɪp ənd ˈflæʃi ˈlaɪfˌstaɪlz ənd faʊnd səkˈsɛs ɪn ðə ˈbɪznɪs wərld. ɛz ə bʊk wɪθ ən ˌɪnspərˈeɪʃənəl ˈfoʊkɪs, ðə ˈmɛsɪʤ ɪz wən əv pərˈsɪstəns ənd hɑrd wərk. ɪn fækt, tu wərd ˈmɑtoʊ, wɪʧ hi ˌɪmˈpɑrts tɪ ə jəŋ mæn nɪr ðə ɛnd hɑrd. wərk. əv kɔrs, ril laɪf ɪz məʧ mɔr ˈkɑmpləˌkeɪtəd ðən ðɪs ʃɔrt ˌɛkspləˈneɪʃən. ənd ˈɛni ˈmɛmˌwɑr wɪl hæv ɪts fɛr ʃɛr əv oʊˈmɪʃən ənd ɪgˌzæʤərˈeɪʃən səʧ ɪz ðə weɪ əv ˈjumən biɪŋz ənd ˈstɔriˌtɛlɪŋ. bət waɪl ðə bʊk ɪz ˈfɛrli ˈstreɪtˈfɔrwərd wɪθ ən ˈɑbviəsli ˈstrimˌlaɪnd ˈmɛsɪʤ, ðɛr ər stɪl slaɪt twɪsts ənd ˈɑnəst ədˈmɪʃənz. ækˈnɑlɪʤd, fər ɪgˈzæmpəl, ðət rɛnˈtɛriə oʊz məʧ tɪ hɪz ˈfæməli ənd ɪt wʊd hæv bɪn məʧ ˈhɑrdər fər ɪm tɪ breɪk frəm ə ˈdaʊnwərd ˈspaɪrəl ɪf hi ˈeɪbəl tɪ muv ɪn wɪθ hɪz ɔnt ənd ˈəŋkəl ɪn ə ˈbɛtər ˈneɪbərˌhʊd siɪŋ ðɛr mɔr ˈkəmfərtəbəl ˈlaɪfˌstaɪl ˌɪnˈspaɪərd ɪm. hi ˈɔlsoʊ hæd ˈpɛrənts hu, ˌhaʊˈɛvər pur, stɪl ˈvæljud hɪz ˈpərsɪnəl əˈpɪrəns ənd wərk ˈɛθɪk ənd ɪnˈkərəʤd ɪm tɪ əˈspaɪr tɪ greɪt haɪts. ənd wəns hi hæd ə ˈmɛʒər əv səkˈsɛs ɪn wɛl ɔf pəˈzɪʃənz fər ˈsɛvərəl ˈkəmpəˌniz hi ˈriəˌlaɪzd ðət ðə ˈseɪlzmɪn nɪr ɪm wər stɪl ˈlɪvɪŋ ˈbædli, ˈdrɪŋkɪŋ ənd ˈpɑrtiɪŋ ɪn weɪz ðət riˈmaɪndɪd ɪm məʧ əv ðə frɛndz hi hæd ˈpriviəsli ˈdɪstənst hɪmˈsɛlf frəm. ðɪs wɑz ˈsætɪsˌfaɪɪŋ tɪ mi, bɪˈkəz ʤɪst ə ˈkəpəl ˈpeɪʤɪz ˈərliər aɪ wɑz ˈwəndərɪŋ ɪz ðət ɪt? ðə goʊl? ə nis kɑr ənd ˈkəmfərtəbəl ˈsæləri? hi dɪz sim tɪ hæv ə θɪŋ əˈbaʊt kɑz, ˈmɛnʃənɪŋ ðɛm æt list θri taɪmz. ɪn hɪz ˈflæʃi juθ, baɪɪŋ wən fər hɪz ˈməðər, ənd ˈleɪtər wɪn ðə jəŋ mæn hi ˈbrifli ˈmɛnˌtɔrz ˈnoʊtɪsɪz hɪz nis raɪd. ə ˈlɪtəl ɑd tɪ si ðɪs əˈtɛnʃən wɪn ðɛr ɪz noʊ ˈmɛnʃən æt ɔl əv ə sɪgˈnɪfɪkənt ˈəðər ər dɪˈvɛləpɪŋ hɪz oʊn ˈfæməli, ˈsəmθɪŋ əv ə ˈmeɪʤər laɪf goʊl fər ˌmaɪˈsɛlf. bət rɛnˈtɛriə brɪŋz ɪt bæk hoʊm ˈmɛnʃənɪŋ hɪz ləv əv ˈfæməli, hɪz dɪˈzaɪər tɪ tiʧ ənd ˌɪnˈspaɪr. ˈsərtənli biɪŋ ən ˈɔθər ənd ˈgɪvɪŋ ˈlɛkʧərz ɪz ˌɪmˈprɛsɪv, bət nɑt ˈsəmθɪŋ hi dɪz fər ˈməni (dɪˈvoʊtɪŋ ɔl hɪz taɪm tɪ ˈbɪznɪs wʊd gɪt ɪm ðət ˈiziər.) θru ðə ˈstɔri, wɪʧ kʊd rɪsk ˈfilɪŋ ˈpriʧi ər ˈɑbviəs, ʃeɪn lɛndz ə ˈpərsɪnəl fil wɪθ hɪz ˈɑrtˌwərk. prəˈdust ɪn blæk ənd waɪt wɪθ ˈtoʊnɪŋ, ðə bʊk əˈvɔɪdz ə ˈkɔrpərət fil ˌɪtˈsɛlf. aɪ wɑz səˈpraɪzd, ɪn fækt, æt haʊ wɔrm ənd ˈjumən ðə drɔɪŋz ər. maɪ ˈmeɪʤər fɪr, əˈpɑn ˈhirɪŋ əˈbaʊt ðə ˈsɪriz, wɪθ ðɛr ˌdɪˈsaɪdədli ˈbɪznɪs laɪk ˈbrændɪŋ, wɑz ðət ðeɪ wʊd bi mɔr ˈeɪkɪn tɪ ˈɛrˌpleɪn ˈseɪfti ˌɪnˈstrəkʃənz ðən ˈləvɪŋli ˈkræftɪd ˈgræfɪk ˈnɑvəlz. bət ɑrt ɪz ˈkloʊsəst tɪ ˈɪndi ˈʤərnəl staɪl ˈkɑmɪks. wɪθ ən ˈɛmfəsɪs ɔn aɪz, hɛdz, ˈfeɪʃəl ɪkˈsprɛʃənz. hɪz ˈfɪgjərz ˈsəmˌtaɪmz hæv əˈnætəmi ə bɪt streɪnʤ, bət aɪ fɛlt ðɪs meɪd ðə wərk fil ˈivɪn mɔr ˈpərsɪnəl ˌɪnˈstɛd əv dɪˈstræktɪŋ. ə bɪt əv ˈstɪfnəs, bət ðə ˈkɑmɪk ˈrɪli əˈbaʊt ˈækʃən ˈɛniˌweɪ dɪz ə faɪn ʤɑb ˈkipɪŋ ðə aɪ ˈmuvɪŋ bɪtˈwin freɪmz, ˈmeɪkɪŋ fər ə ˈvɛri ˈridəbəl bʊk. ðə ɑrt, laɪk ðə ˈstɔri, ɪz ˈsɪmpəl. ðɪs kʊd bi kənˈstrud ɛz ə ˈnɛgətɪv, bət aɪ min ɪt ðət weɪ. aɪ traɪ tɪ ʤəʤ wərks ɔn ðɛr səkˈsɛs æt əˈkɑmplɪʃɪŋ ðɛr goʊlz dɪz ðɪs bʊk du wət ɪt wɔnts tɪ du? ɪz ɪt gʊd æt biɪŋ ðɪs bʊk? aɪ ʤəʤ mi ˈbɑrioʊ baɪ ðə seɪm ˈstændərdz ɛz aɪ wʊd ðə ˈleɪtəst ˈsupərˌmæn ˈkɑmɪk ər ɑrt skul ɪkˈspɛrəmənt. mi ˈbɑrioʊ ɪz ə bʊk ˈkræftɪd ˈləvɪŋli wɪθ ə spɪˈsɪfɪk ˈɔdiəns ɪn maɪnd: dɪsɪnˈfrænˌʧaɪzd ˈʧɪldrən ənd ˈpipəl wɪθ ə dɪˈzaɪər tɪ meɪk mɔr frəm ðɛr laɪf. ˈsəmˌtaɪmz ɪt teɪks ə ˈlɪtəl pʊʃ tɪ gɪt ˈpipəl ˈmuvɪŋ, əˈspɛʃəli ɪn ə soʊˈsaɪɪti wɛr ðə ˈævərɪʤ ˈpərsən rɛd ə ˈsɪŋgəl bʊk ɪn ə jɪr. riˈlisɪŋ ə ˈstɔri laɪk ðɪs ɪn ˈkɑmɪk fɔrm ɪz ən ˈɛksələnt aɪˈdiə. ˌɪmˈpɔrtənt ðət ðɪs bʊk ɪz ˈstreɪtˈfɔrwərd ənd ˈsɪmpəl. ˈstədiz hæv ʃoʊn ðət ˈkɑmɪks hɛlp ɪnˈkərəʤ ˈlɪtərəsi əˈməŋ ˈʧɪldrən. ənd ˈlɪtərəsi ɪz ə ki ˈfæktər ɪn səkˈsɛs ɪn laɪf, wɪθ dɪˈrɛkt ˌkɔrəˈleɪʃən tɪ ˈɪnˌkəm ˈlɛvəlz. mi ˈbɑrioʊ hoʊps tɪ bi ə ˈgeɪtˌweɪ, ə ˈdɔrˌweɪ tɪ boʊθ ðə wərld əv ˈkɑmɪks ənd ˈɪntu wən səkˈsɛs ˈstɔri. ɪt ˌɪnˈspaɪr ˈɛvriˌwən (ənd ˈsəmˌtaɪmz ə ˈʤeɪdɪd ˈkrɪtɪk laɪk ˌmaɪˈsɛlf nidz tɪ stɛp bæk ənd kənˈsɪdər hɪz oʊn kˈwɛsʧənɪŋ) bət ɪt stændz ə gʊd ʧæns əv ˈhɛlpɪŋ ðoʊz hu nid ɪt moʊst. saɪd noʊt: ðɪs prɪnt riˈlis əv mi ˈbɑrioʊ wɑz dɪˈlɪvərd tɪ mi wɪθ ə ɔn ðə bæk. ə ˈlɪtəl ˈoʊvərˌsaɪzd, bət aɪ fil stɪl ə haɪ praɪs fər ən 80 peɪʤ bʊk əˈspɛʃəli kənˈsɪdərɪŋ ðət ðə ˈpipəl hu ʃʊd rɛd ɪt moʊst ər ðə wənz list ˈlaɪkli tɪ hæv ðət ˈməni tɪ drɔp ɔn ə ˈkɑmɪk. bət wɛl wərθ ðət praɪs fər ˌɪnˈkluʒən ɪn ˈlaɪbrɛˌriz, əˈspɛʃəli skul ˈlaɪbrɛˌriz. bət aɪ ˈwɔntɪd tɪ pɔɪnt aʊt (ənd hɛns ðɪs noʊt) ðət həz meɪd ðɪs ˌpɑˈtɪkjələr riˈlis əˈveɪləbəl fər fri ɪn fɔrm ɔn ðɛr ˈwɛbˌsaɪt! ðɪs ɪz ə greɪt aɪˈdiə ənd aɪ θɪŋk ɪt ɪz ðɛr ˌɪnˈtɛnʧən, ɪf ðə ˈhɪstəri əv ðə ərˈɪʤənəl ˈnɑvəl hoʊldz tru, tɪ gɪt ˈfɪzɪkəl ˈkɑpiz ˈɪntu ðə raɪt hænz, əˈsaɪd. ˈvərdɪkt: aʊt əv 5 ðɪs bʊk ɪz ə greɪt ɪgˈzæmpəl əv haʊ ˈkɑmɪks kən bi juzd fər ə ˈpərpəs ˈəðər ðən ʤɪst ˌɛnərˈteɪnmənt. nɑt ʃʊr ðə bʊk wɪl ˈæˌkʧuəli meɪk ju sˈmɑrtər (haʊ du wi ˈmɛʒər səʧ θɪŋz?) bət aɪ kən tɛl ju ðət hæd mi ˈθɪŋkɪŋ ə lɔt ˈoʊvər ðə pæst ˈkəpəl deɪz. ɪt meɪ nɑt ˌɪmˈprɛs səm səkˈwɛnʃəl ɑrt ənd ˈgræfɪk ˈnɑvəl əˌfɪʃəˈnɑdoʊz, bət ɪn ðə raɪt hænz mi ˈbɑrioʊ wɪl bi ə ˈvɛri ˈpaʊərfəl tul fər ðə ˈbɛtərmənt əv ðə nɛkst ˌʤɛnərˈeɪʃən. ɛˈsɛnʃəl ˌkɑntəˈnuəti: ðɪs bʊk ɪz sɛlf kənˈteɪnd. rɛd fərst: noʊ praɪər ˈrɛdɪŋ rikˈwaɪərd. rɛd nɛkst: ɪt maɪt ˌɪnˈspaɪr ju tɪ rɛd ðə ərˈɪʤənəl ˈnɑvəl, frəm ðə ˈbɑrioʊ tɪ ðə bɔrd rum, wɪʧ ɪz, əv kɔrs, ˈɔlsoʊ əˈveɪləbəl ɪn ə ˈspænɪʃ adaption*. ˈɔlsoʊ bi rivˈjuɪŋ səm mɔr əv ˈəpˌkəmɪŋ rɪˈlisɪz sun. ɪf ðɪs həz ˈwɛtɪd jʊr ˈæpəˌtaɪt ənd laɪk tɪ ʧɛk aʊt səm mɔr staɪl ˈkɑmɪks, mɔz, ə ˈstɔri əv ə ˈhɔləˌkɔst sərˈvaɪvər, ɪz əv kɔrs ðə ˈstændərd ðət ˈɛvriˌθɪŋ ɪn ðɪs ˈʒɑnrə ɪz ˈmɛʒərd əˈgɛnst. aɪ ˈɔlsoʊ θɪŋk fən hoʊm, baɪ ˈælɪsən bechdel*, ɪz wɛl wərθ ˈrɛdɪŋ. bæk tɪ ðə tɔp?
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this post contains detailed plot discussion, but spoilers won’t hurt your enjoyment of this book.
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comics can be many things. on this website, we often focus on the fantastical. superheroes, secret agents and the supernatural. adventure stories and the odd apocalypse.
i find value in such things – a dreamer (often, in my childhood, a daydreamer), someone who likes to find life lessons in fictional stories. but not everything needs to be out of this world.
in fact, it often seems that most people are deeply affected by stories that are down to earth, close to home. mi barrio is such a story.
as one of the books in smartercomics new line of educational and inspirational titles, it’s an adaptation of from the barrio to the board room by robert renteria and corey michael blake.
with my head between the brightly colored pages of my comic archives, i can’t say i noticed the original release, but it seems to be a book inspired many. this comic reworks some of the story into an 80 page graphic novel.
blake, who is also devoted to publishing and promoting the book, worked with artist shane clester to bring it to a graphic format. though it is an adaptation, renteria’s voice persists. together this team tells his life story in a way that is simple, direct, and moving.
robert renteria, like so many in this country, came from a background of poverty and ignorance. his peers valued short sighted gains over education and long term goals. in specific, he came from the lower class, primarily hispanic neighborhoods of east la.
this book tells how he came through gang membership and flashy lifestyles and found success in the business world. as a book with an inspirational focus, the message is one of persistence and hard work. in fact, renteria’s two word motto, which he imparts to a young man near the end – hard. work.
of course, real life is much more complicated than this short explanation. and any memoir will have its fair share of omission and exaggeration – such is the way of human beings and storytelling.
but while the book is fairly straightforward with an obviously streamlined message, there are still slight twists and honest admissions.
it’s acknowledged, for example, that renteria owes much to his family and it would have been much harder for him to break from a downward spiral if he wasn’t able to move in with his aunt and uncle in a better neighborhood – seeing their more comfortable lifestyle inspired him. he also had parents who, however poor, still valued his personal appearance and work ethic and encouraged him to aspire to great heights.
and once he had a measure of success – in well off positions for several companies – he realized that the salesmen near him were still living badly, drinking and partying in ways that reminded him much of the friends he had previously distanced himself from.
this was satisfying to me, because just a couple pages earlier i was wondering – is that it? the goal? a nice car and comfortable salary?
he does seem to have a thing about cars, mentioning them at least three times. in his flashy youth, buying one for his mother, and later when the young man he briefly mentors notices his nice ride.
it’s a little odd to see this attention when there is no mention at all of a significant other or developing his own family, something of a major life goal for myself. but renteria brings it back home – mentioning his love of family, his desire to teach and inspire.
certainly being an author and giving lectures is impressive, but it’s not something he does for money (devoting all his time to business would get him that easier.)
through the story, which could risk feeling preachy or obvious, shane clester lends a personal feel with his artwork. produced in black and white with grayscale toning, the book avoids a corporate feel itself. i was surprised, in fact, at how warm and human the drawings are. my major fear, upon hearing about the smartercomics series, with their decidedly business like branding, was that they would be more akin to airplane safety instructions than lovingly crafted graphic novels.
but clester‘s art is closest to indie journal style comics. with an emphasis on eyes, heads, facial expressions. his figures sometimes have anatomy a bit strange, but i felt this made the work feel even more personal instead of distracting.
there’s a bit of stiffness, but the comic isn’t really about action anyway – clester does a fine job keeping the eye moving between frames, making for a very readable book.
the art, like the story, is simple. this could be construed as a negative, but i mean it that way.
i try to judge works on their success at accomplishing their goals – does this book do what it wants to do? is it good at being this book? i wouldn’t judge mi barrio by the same standards as i would the latest superman comic or art school experiment.
mi barrio is a book crafted lovingly with a specific audience in mind: disenfranchised children and undereducated people with a desire to make more from their life. sometimes it takes a little push to get people moving, especially in a society where the average person doesn’t read a single book in a year. releasing a story like this in comic form is an excellent idea.
it’s important that this book is straightforward and simple. studies have shown that comics help encourage literacy among children. and literacy is a key factor in success in life, with direct correlation to income levels.
mi barrio hopes to be a gateway, a doorway to both the world of comics and into one person’s success story.
it won’t inspire everyone (and sometimes a jaded critic like myself needs to step back and consider his own questioning) but it stands a good chance of helping those who need it most.
side note:
this print release of mi barrio was delivered to me with a 14.95 msrp on the back. it’s a little oversized, but i feel still a high price for an 80 page book – especially considering that the people who should read it most are the ones least likely to have that money to drop on a comic. but it’s well worth that price for inclusion in libraries, especially school libraries.
but i wanted to point out (and hence this note) that smartercomics has made this particular release available for free in ebook form on their website! this is a great idea and i think it is their intention, if the history of the original novel holds true, to get physical copies into the right hands, msrp aside.
verdict:
4.5 out of 5. this book is a great example of how comics can be used for a purpose other than just entertainment.
i’m not sure the book will actually make you smarter (how do we measure such things?) but i can tell you that it’s had me thinking a lot over the past couple days.
it may not impress some sequential art and graphic novel aficionados, but in the right hands mi barrio will be a very powerful tool for the betterment of the next generation.
essential continuity:
this book is self contained.
read first:
no prior reading required.
read next:
it might inspire you to read the original novel, from the barrio to the board room, which is, of course, also available in a spanish adaption.
i’ll also be reviewing some more of smartercomics upcoming releases soon.
if this has whetted your appetite and you’d like to check out some more memoir/journal style comics, maus, a story of a holocaust survivor, is of course the standard that everything in this genre is measured against.
i also think fun home, by alison bechdel, is well worth reading.
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ðə ˈfɑloʊɪŋ ɪz ə dəˈbeɪt bɪtˈwin tu ˈɑrmi ˈpraɪvəts traɪɪŋ tɪ dɪˈsaɪfər wət ðə hɛl ðɛr bəˈtæljən ˈsɑrʤənt ˈmeɪʤər ɪz ˈæˌkʧuəli seɪɪŋ tɪ ðɛm ˈdʊrɪŋ ə bəˈtæljən ˈlɪbərˌti brif. ˈpraɪvət fərst klæs ˈɛrən sɪŋ: ðə ˈɔlˌweɪz saʊnz laɪk səm kaɪnd əv gərˈɪlə ˈflɪŋɪŋ pu æt ˈjuˈɛs. dɪd ju hir wət hi ʤɪst sɛd? aɪ ʃʊr ɛz hɛl ˌəndərˈstænd ə wərd. trendency?”*?” dɪz hi ˈivɪn engrish*? ˈpraɪvət fərst klæs ˈtrævɪs allen-buckley*: ““disturbeding”*” ɛ? boʊθ dɪˈstərbd ənd dɪˈstərbɪŋ? ˈdɛfənətli ə kɔz fər kənˈsərn. ˈsərtənli ə occasion.”*.” aɪ ˈɑnəstli θɪŋk ðət ˈsɑrʤənt ˈmeɪʤər ʤɪst teɪks wərdz ðət hi hirz ənd sˈmæʃɪz ðɛm təˈgɛðər tɪ meɪk nu wənz wɪˈθaʊt θɔt əv ˈgræmər ər ˈlɑʤɪk. muv ˈoʊvər ˈʤərməni, hir kəmz ðə nu ˈmæstər əv nɑnˈsɛnsɪkəl ˈkɑmpaʊndz. ˈdænjəl ˈwɛbstər həz ˈnəθɪŋ ɔn ə ˈwərdsˌmɪθ əv səʧ ˈkæləbər. ʃʊr, ɪt meɪks fər səm ˌɛnərˈteɪnɪŋ ˈmoʊmənts ˈdʊrɪŋ bəˈtæljən bɔlz, bət ðɪs ɪz ˈgɪtɪŋ rɪˈdɪkjələs. ðɪs ɪz ˈrɪli ðə bɛst ðət ðə ˈmɪlɪˌtɛri həz tɪ ˈɔfər? ɪf ðə keɪs maɪt ɛz wɛl stɑrt ˈlərnɪŋ ˈrəʃən. sɪŋ: aɪ θɪŋk ˈɛlmər ənd tɑŋ hæd ə ˈmeɪʤər ““influent”*” ɔn hɪz spiʧ ˈpætərnz. ˈmeɪbi hi ɪz traɪɪŋ tɪ tɔk tɪ ˈjuˈɛs ɪn ðə ˈsɑnərəs ˈlæŋgwɪʤ əv hɪz ˈpipəl. aɪ nid ən ˈɪŋlɪʃ tɪ ˈdɪkʃəˌnɛri soʊ aɪ kən lʊk əv ðə ““deification”*” əv səm əv ðiz wərdz. allen-buckley*: ju min ““definacation.”*.” ““deification”*” ɪz wɪn ju tərn ə mæn ˈɪntu ə gɑd, laɪk ðə ˌɪmˈpɪriəl kəlt əv ðə leɪt ˈroʊmən ˈɛmpaɪər. sɪŋ: noʊ, aɪ θɪŋk ˈsəmθɪŋ tɪ du wɪθ ðə ləˈtrin. allen-buckley*: maɪ gɑd, dɪd hi æsk ˈjuˈɛs: ˈfrikwənsi ər ju səˈpoʊzd tɪ swip ðə ˈbɛrəks area?”*?” ˈfrikwənsi? ər ju ˈfrikɪŋ ˈkɪdɪŋ mi? saʊnz laɪk ˈsəmˌwən nidz tɪ dəst ɔf ðə ɔn phonics’*’ wɪθ ə ˈlɪtəl mɔr ˈfrikwənsi ɪf ju æsk mi. sɪŋ: aɪ wɔnt tɪ noʊ haʊ ““frequency”*” ˈpipəl ɪn hɪz hoʊm taʊn gɪt ə ˈʤiˈiˈdi. rɪˈsivd tɛkst ˈmɛsɪʤɪz frəm haɪ skul gərlz mɔr ɑrˈtɪkjəˌleɪt ðən hi ɪz. əˈpɛrəntli ðə ˈɑrmi ““misunderestimated”*” hɪz ““socialication”*” skɪlz wɪn hi wɑz ““relected”*” fər pərˈmoʊʃən. allen-buckley*: aɪ ““clapplaud”*” hɪz əˈblik ˈrɛfərəns tɪ lɔ, wɛr ˈkælkjəˌleɪtɪŋ ðə ˈfrikwənsi əv ə rɪˈpitɪŋ ɪˈvɛnt ɪz əˈkɑmplɪʃt baɪ ˈkaʊntɪŋ ðə ˈnəmbər əv taɪmz ðət ɪˈvɛnt əˈkərz wɪˈθɪn ə spɪˈsɪfɪk taɪm ˈpɪriəd, ðɛn prəˈsidɪŋ tɪ ““subvide”*” ðə kaʊnt baɪ ðə lɛŋθ əv ðə taɪm ˈpɪriəd. sɪŋ: əˈblikli ““computaliating”*” haʊ lɔŋ goʊɪŋ tɪ hæv tɪ stænd hir ˈlɪsənɪŋ tɪ ɪm ““expoundicate”*” əˈbaʊt ðə ˈdeɪnʤərz əv ˌənprəˈtɛktɪd sɛks ənd ðə nid tɪ juz ““profilaxis”*” ɔn ɑr jimmies*. ðiz brifs ˌɪnˈspaɪr mi tɪ sɪt ɪn ðə ˈbɛrəks ɔl ˈwiˌkɪnd ˈwɑʧɪŋ ˈɔnˌlaɪn pɔrn ““mastercating.”*.” allen-buckley*: wɛl, θæŋks ˈsɑrʤənt ˈmeɪʤər, bi ʃʊr tɪ bi hɑrd æt wərk ðɪs ˈwiˌkɪnd duɪŋ coursers”*” ɪn ˈɔrdər tɪ ““gradvance.”*.” ˈdəfəl blɔg kənˈtrɪbjətər ˈfrɛdrɪk taʊb kənˈtrɪbjutɪd tɪ ðɪs ˈɑrtɪkəl.
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the following is a point/counterpoint debate between two army privates trying to decipher what the hell their battalion sergeant major is actually saying to them during a battalion liberty brief.
private first class aaron singh: the sgtmaj always sounds like some kind of silverback gorilla flinging poo at us. did you hear what he just said? i sure as hell don’t understand a word. “disturbeding trendency?” does he even speaky engrish?
private first class travis allen-buckley: “disturbeding” eh? both disturbed and disturbing? that’s definitely a cause for concern. certainly a “monumentous occasion.” i honestly think that sergeant major just takes words that he hears and smashes them together to make new ones without thought of grammar or logic.
move over germany, here comes the new master of nonsensical compounds. daniel webster has nothing on a wordsmith of such caliber. sure, it makes for some entertaining moments during battalion balls, but this is getting ridiculous. this is really the best that the military has to offer? if that’s the case i’d might as well start learning russian.
singh: i think elmer fudd and pooty tang had a major “influent” on his speech patterns. maybe he is trying to talk to us in the sonorous language of his people. i need an english to e-9 dictionary so i can look of the “deification” of some of these words.
allen-buckley: you mean “definacation.” “deification” is when you turn a man into a god, like the imperial cult of the late roman empire.
singh: no, i think that’s something to do with the latrine.
allen-buckley: my god, did he ask us: “how frequency are you supposed to sweep the barracks area?” frequency? are you freaking kidding me? sounds like someone needs to dust off the ‘hooked on phonics’ with a little more frequency if you ask me.
singh: i want to know how “frequency” people in his home town get a ged. i’ve received text messages from high school girls more articulate than he is. apparently the army “misunderestimated” his “socialication” skills when he was “relected” for promotion.
allen-buckley: i “clapplaud” his oblique reference to hertz’s law, where calculating the frequency of a repeating event is accomplished by counting the number of times that event occurs within a specific time period, then proceeding to “subvide” the count by the length of the time period.
singh: i’m obliquely “computaliating” how long we’re going to have to stand here listening to him “expoundicate” about the dangers of unprotected sex and the need to use “profilaxis” on our rustled jimmies. these libo briefs inspire me to sit in the barracks all weekend watching online porn “mastercating.”
allen-buckley: well, thanks sergeant major, we’ll be sure to be hard at work this weekend doing “onlane coursers” in order to “gradvance.”
duffel blog contributor fredrick taub contributed to this article.
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kəm ɔn ɪn! teɪk jʊr ʃuz ɔf, sɪt bæk ənd ɪkˈsplɔr wɛst ˈæfrɪkɑ wɪθ mi. ˌɛnˈʤɔɪ ə fju ˈvɪdioʊz ənd ˈlɪsən tɪ əˈθɛnɪk mˈjuzɪk. ˈpɛrɪs ˌælɪgˈzændər ˈwɔkər lɪv mˈjuzɪk ɪn ˈmɑli ˈvɪlɪʤ aɪ wɪl slip ɪn traɪb ˈvɪlɪʤ ɪn bénin*, ˈæfrɪkɑ ˈmɑli ədˈvɛnʧər ənd ˈbjutəfəl ˈwɪmən niamey*, ˈnaɪʤər ˈkɑrnəvəl ɪn naɪˈʤɪriə keɪp ˈvərdi: ˈfɪʃɪŋ boʊt blæsts fər ˈdəmpɪŋ hər. ˌmɔrɪˈteɪnjə: ɪn ðə ténéré*é traoré*é ˈɑli touré*é oʊld konkouré*é brɪʤ ɪn ˈgɪni ˌlaɪˈbɪˌriəz ˈbjutəfəl roʊdz ɪgˈzɑtɪk ˈlɛðər ɪn naɪˈʤɪriə ʤæm ˈsɛʃən ɪn ˈtoʊgoʊ ɛnˈgeɪʤmənt əv ˈskɑtsmən ənd siˈɛrə ˈleɪdi naɪˈʤɪriən ˈæktɪŋ ˌɛkspəˈdɪʃən əp ðə ˈrɪvər [ɛn frɑnˈseɪ] ˈʧɪldrən əv ðə jæm ˈmɑrkɪt ˈgænə ə ˈvɪzɪt tɪ siˈɛrə liˈoʊn naɪˈʤɪriən ˈækˌsɛnt ə ˈtiˌneɪʤ gərlz laɪf ɪn ˈfriˌtaʊn ˈmuvi fɪlmd ɪn ðə bɔɪ hu roʊld hɪmˈsɛlf tɪ ʧərʧ ˌsɛləˈbreɪʃən ˈtɛmpəl əv ˈpaɪθɑn æt ɪn ˈbinɪn ə rɪˈflɛkʃən ɔn ˌənɪkˈsplɔrd ˈæfrɪkɑ [ɛn français*] bɪˈloʊ: wɛst ˈæfrɪkɑz ˈnæʧərəl wərld. ˈvɪdioʊ bɪˈloʊ: ʧɛk ˌɛkspəˈdɪʃən tɪ ˈstədi dwɔrf ˈkrɑkəˌdaɪlz ɪn wɛst ˈæfrɪkɑ [ɪn ʧɛk] ˈɑrmi ænts ɪn gəˈbɑn gərˈɪlə əˈtæks mæn ˈgɪni ˈstɔri ˈgænə millipede*. ˈfɔrɪst, ˈgænə. waɪld ʧɪmˈpænziz ˈkrækɪŋ nəts bɪˈloʊ: teɪk ə draɪv θru ˈfriˌtaʊn, ˈkæpɪtəl əv siˈɛrə liˈoʊn. ˈtɑpɪk: ˈlɛprəsi ɪn ˈtoʊgoʊ rɛd tɑm ˈbrædliz ˈɑrtɪkəl ɔn ˈlɛprəsi ɪn ðə wɛst ˈæfrɪkɑn ˈkəntri əv ˈtoʊgoʊ: ðɪs ˈwɛbˌsaɪt ɪz prəˈdust baɪ ˈpɛrɪs ˌælɪgˈzændər ˈwɔkər əv ˈsænə ˈmɑnɪkə, ˌkæləˈfɔrnjə.
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come on in! take your shoes off, sit back and explore west africa with me. enjoy a few videos and listen to authentic music. paris alexander walker
live music in mali village i will sleep in peuls tribe village in bénin, africa mali adventure and beautiful women niamey, niger calabar carnival in nigeria cape verde: fishing boat capsizes rashida malafaka blasts dkb for dumping her. mauritania: in the ténéré boubacar traoré & ali farka touré old konkouré bridge in guinea liberia's beautiful roads exotic leather tannery in nigeria bba jam session in togo engagement of scotsman and sierra leonean lady nigerian acting all-american expedition up the dja river [en francais] children of the yam market / ghana a visit to sierra leone nigerian accent a teenage girl's life in freetown movie filmed in douala the boy who rolled himself to church tuareg celebration temple of python at ouidah in benin a reflection on unexplored africa [en français]
below: west africa's natural world. video below: czech expedition to study dwarf crocodiles in west africa [in czech]
army ants in gabon gorilla attacks man guinea turacos vocalizing nona's story ghana red-banded millipede. bobiri forest, ghana. wild chimpanzees cracking nuts
below: take a drive through freetown, capital of sierra leone.
topic: leprosy in togo read tom bradley's article on leprosy in the west african country of togo:
this website is produced by paris alexander walker of santa monica, california.
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fər ðə bɛst pɑrt əv ə ˈdɛkeɪd, ɛd spɛns həz kriˈeɪtɪd ərˈɪʤənəl ˈɑrtˌwərks baɪ ˌriərˈeɪnʤɪŋ lɑrʤ ˈfoʊˌtoʊz ənd (riˈprɪnts əv) ˈpeɪnɪŋz ˈɪntu kəˈlɑʒɪz. ɛz ə tin, spɛns dru ˌɪnspərˈeɪʃən frəm hɪz ˈfɑðərz ˌfæsəˈneɪʃən wɪθ ˈfræktəl visualizations*; ðə ˈnoʊʃən ðət wən kən ɪkˈspɛrəmənt wɪθ ˈdɪʤɪtəl ˌɪnˌfɔrˈmeɪʃən tɪ kriˈeɪt ˈsəmθɪŋ ərˈɪʤənəl ənd ˈbjutəfəl həz stək. ɪn ən ˈɪntərvˌju wɪθ ðə vərʤ, spɛns saɪts ə ʃoʊ æt nu jɔrks kənˈtɛmpərˌɛri daɪʧ ˈprɑʤɛkts ˈgæləri ɛz ə ˈmeɪʤər ˈɪnfluəns ɔn hɪz wərk. ˈsupər ˈmɑrioʊ ˈmuvi ɪz ə ˈvɪdioʊ ɪn wɪʧ ˈmɑrioʊ ɪkˈsplɔrd ən ənˈfɪnɪʃt, ˈvɪdioʊ geɪm, kriˈeɪtɪd baɪ ˈhækɪŋ ən ərˈɪʤənəl nɛs ˈkɑrtrɪʤ. "aɪ θɪŋk ɪt ˈplænɪd ə sid ɪn maɪ hɛd ðət gɑt mi ˈθɪŋkɪŋ əˈbaʊt ˈwərkɪŋ wɪθ ˈpriɪgˈzɪstɪŋ ɑrt ənd ˈmeɪkɪŋ ɪt jʊr oʊn." wən pɑrt ˈænəˌlɔg, wən pɑrt ˈdɪʤɪtəl, wərk ɪz ˌɪnˈfɔrmd baɪ kənˈtɛmpərˌɛri ˈɑrtɪsts laɪk tɪm ˈhɔkɪnsən, hu kriˈeɪts ˈkɑmplɛks ˈskəlpʧərz ˈɔfən frəm ðə moʊst ˈbeɪsɪk əv məˈtɪriəlz. ʤɪst ɛz ˈhɔkɪnsən həz rɪˈfaɪnd hɪz staɪl ˈoʊvər ðə jɪrz, hæv mɔrft frəm ˌvɛriˈeɪʃənz ɔn ə θim tɪ ˈstraɪkɪŋ, ˈæbˌstrækt kəˈlɑʒɪz. ˌɪˈnɪʃəli ðə ˈfaɪnəl wər kwaɪt ˈlɪtərəl; θɪn, laɪnz ˈkətɪŋ θru ə ˈlɑrʤli ˈɪmɪʤ, ər skwɛrz əv riəreɪnʤd ˈpɪksəlz ðət, frəm ə ˈdɪstəns, kʊd pərˈhæps bi mɪst. bət wɪθ hɪz moʊst ˈrisənt wərks, spɛns ɪz pərˈfɛktɪŋ hɪz ɑrt. ˈrəðər ðən ˈsətəl, ˌæbərˈeɪʃənz, ər naʊ væst əv ˈpɪksəlz ˈfɔrmɪŋ ˈæbˌstrækt ˈstədiz ɔn ðə ərˈɪʤənəl məˈtɪriəl. grɪd vju iʧ pis stɑrts wɪθ ə ˈfoʊˌtoʊ ər ˈɑrtˌwərk. "ˈsəmˌtaɪmz aɪ kəm əˈkrɔs ən ˈɪmɪʤ ðət ʤɪst ˈrɛzəˌneɪts wɪθ mi," spɛns tɛlz ðə vərʤ. "ˈmeɪbi ɪts ðə ˈkələrz, ər ðə ˈsəbʤɪkt ˈmætər ənd ˌkɑmpəˈzɪʃən ðət lɛndz ˌɪtˈsɛlf ˈpərfəktli tɪ ðə ˈprɔˌsɛs. ˈəðər taɪmz, aɪ hæv tɪ sərʧ aʊt ˈkɑntɛnt fər ən aɪˈdiə aɪ hæv. ˈsəmˌtaɪmz aɪ wɪl teɪk ðə ˈfoʊˌtoʊz ˌmaɪˈsɛlf ɪf ðə ˈprɑʤɛkt dɪˈmændz ɪt." ˈæftər ˈʧuzɪŋ ər kriˈeɪtɪŋ ə ˈsəbʤɪkt tɪ wərk wɪθ, spɛns "ˈdəzənz əv ˌvɛriˈeɪʃənz" ɔn wət ðə ˈfaɪnəl ˈɑrtˌwərk kʊd lʊk laɪk, sˈloʊli ˈnɛroʊɪŋ daʊn hɪz ˈvɪʒən ənd rɪˈfaɪnɪŋ ðə prəˈpɔrʃənz ɛz məʧ ɛz ˈpɑsəbəl. ðə nɛkst stɛp ɪn hɪz ˈprɔˌsɛs ɪz tɪ ˈpeɪnˌsteɪkɪŋli kət ðə ˈɪmɪʤ ˈɪntu "ˈpɪksəlz" ˈreɪnʤɪŋ ɪn saɪz frəm tɪ 1 skwɛr ˈɪnʧɪz. "ðɪs ɪz dən wɪθ ə ˈrulər ənd ə juˈtɪləti naɪf ər ˈsɪzərz. waɪl əm ˈkətɪŋ ɪt ˈɪntu ˈpisɪz, aɪl ˌsaɪməlˈteɪniəsli bi ˈsɔrtɪŋ ðə ˈfrægmənts ˈɪntu ˈkələr ˈspɛktrəmz. ðə ˈlɑʤɪk əv ðə ˈspɛktrəm ɪz ə mɪks əv kəmˈplitli əˈbʤɛktɪv ˈvɪʒəwəl ˌkælkjəˈleɪʃənz (beɪst ɔn hju, ˌsæʧərˈeɪʃən, ənd ˈbraɪtnəs), ənd səm ˌɪnˈtuətɪv ɛsˈθɛtɪk ˈʧɔɪsɪz." "dɪˈpɛndɪŋ ɔn wət ˈifɛkt əm ˈlʊkɪŋ tɪ kriˈeɪt, ðə ˈspɛktrəm wɪl ˈvɛri ɪn ˌɔrgənəˈzeɪʃənəl ˈækjərəsi ənd ˈpleɪsmənt əv ˈkələr bændz. əm ˈbeɪsɪkli dɪˈfaɪnɪŋ haʊ ðə ərˈɪʤənəl ˈkələr ˈpælət wɪl bi ɪkˈsprɛst." "praɪər tɪ 2012 aɪ wɑz ˈoʊnli ˈjuzɪŋ faʊnd prɪnts. ðə ˈɪmɪʤri wɑz ˌpridiˈtərmɪnd ənd aɪ wɑz ˈoʊnli ˈeɪbəl tɪ juz wət wɑz əˈveɪləbəl. ðɪs wɑz ə fən riˈstrɪkʃən, bət ðə rɪˈzəlt hæd ɪts ˌlɪmɪˈteɪʃənz." ɪn spərɪŋ 2012 spɛns bɪˈgæn tɪ ˈkæpʧər hɪz oʊn ˈfoʊtəˌgræfs, ˈgɪvɪŋ ɪm ˈgreɪtər kənˈtroʊl əv ðə kriˈeɪtɪv ˈprɔˌsɛs. hi ˈɔlsoʊ bɪˈgæn tɪ əˈdhɪr hɪz wərk tɪ wʊd ˈpænəlz, wɪʧ meɪd ðɛm mɔr ˈsteɪbəl ənd lɔŋ ˈlæstɪŋ. "ðət ʃɪft ɪn skeɪl ənd məˈtɪriəlz fɔrst mi tɪ ˌrikənˈsɪdər maɪ wərk ɪn ðə ˈkɑntɛkst əv hɪˈstɔrɪkəl æbˈstrækʃən ənd ɪts riˈleɪʃənˌʃɪp tɪ ðə ˈɑrkəˌtɛkʧər ðət trəˈdɪʃənəli səraʊndz ɪt." waɪl pæst ˈpisɪz səbˈvərtɪd smɔl ˈsɛkʃənz əv ˈlɑrʤər ˈɑrtˌwərks, hɪz ˈleɪtəst ˈpisɪz teɪk ə ˈfɔrˌmæt, wɪθ ə slaɪs əv ðə ərˈɪʤənəl ˈɪmɪʤ əˈkəmpənid baɪ ən ˈæbˌstrækt dataform*. "ðə əˈfɛkt əv maɪ wərk ɪz ˈlɑrʤli kənˈtɪnʤənt ɔn ˈbaɪnəˌri ˌɑpəˈzɪʃənz: ˌrɛprəzənˈteɪʃənəl ˈvərsəz. ˈæbˌstrækt; əˈluʒənz tɪ ˈbaɪnəˌri koʊd; ˌɪnˈtænʤəbəl ˈvərsəz. məˈtɪriəl; ˈvərsəz. ˌmɛtəˈfɪzɪkəl." "ðiz ˌɑpəˈzɪʃənz lɛd mi tɪ kənˈsɪdər əˈdɑptɪŋ ə kənˈtɪgjuəs ˈfɔrˌmæt. ðɛr ɪz ˈɔlsoʊ ə ˈnɛrətɪv ˌbiˈfɔr ənd ˈæftər ˈɛləmənt səˈʤɛstɪd ɪn ðə tu ˈpænəlz wɪʧ, aɪ bɪˈliv, lidz tɪ ə mɔr trænˈspɛrənt ˈprɔˌsɛs. ðɛr ɪz ə ˈsərtən ˌsætɪsˈfækʃən ðət wən gɪts waɪl ðə ˈmɪstəri əv haʊ ðə ˈɪmɪʤ wɑz kriˈeɪtɪd." ðə moʊst ˈrisənt ˈfoʊkɪs ɔn biʧ sinz ənd ˈpulˌsaɪd sˈwɪmərz, faʊnd ɪn ˈvɪntɪʤ ˈtʊˌrɪzəm ˈmægəˌzinz frəm hoʊm ˈprɑvɪns əv ˈbrɪtɪʃ kəˈləmbiə. "æt ðɪs pɔɪnt ɪn maɪ ˈpræktɪs əm traɪɪŋ tɪ rɪˈzɪst ˈhævɪŋ ˈɛni kənˈklusɪv ənd ˈrɛdəli əˈpɛrənt ˈminɪŋ ɪn maɪ ˈpisɪz," sɪz spɛns. "aɪ hæv ˈlɪtəl kənˈtroʊl ˈoʊvər wət ˈminɪŋ ˈɛniˌwən drɔz frəm maɪ wərk. aɪ wɔnt ðə wərk tɪ teɪk ɔn ə laɪf əv ɪts oʊn bɪɔnd maɪ ˌɛkspɛkˈteɪʃənz. ðɛr ər ˈsərtən θɪŋz əm ˈʃutɪŋ fər, bət aɪd ˈrəðər lɛt ðə vjuər dɪˈskəvər ðɛm ɔn ðɛr oʊn aɪ wʊd laɪk ɪt tɪ ˌɪnˈstɪl ɪn ðɛm ə sɛns əv ˌɪnˈtɛns ˌkjʊriˈɑsəti."
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for the best part of a decade, ed spence has created original artworks by rearranging large photos and (reprints of) paintings into pixelated collages.
as a teen, spence drew inspiration from his father's fascination with fractal visualizations; the notion that one can experiment with digital information to create something original and beautiful has stuck.
in an interview with the verge, spence cites a show at new york's contemporary deitch projects gallery as a major influence on his work. super mario movie is a 15-minute video in which mario explored an unfinished, dystopian video game, created by hacking an original nes cartridge. "i think it planted a seed in my head that got me thinking about working with preexisting art and making it your own."
one part analog, one part digital, spence's work is informed by contemporary artists like tim hawkinson, who creates complex sculptures often from the most basic of materials. just as hawkinson has refined his style over the years, spence's dataforms have morphed from variations on a theme to striking, abstract collages.
initially the final dataforms were quite literal; thin, pixelated lines cutting through a largely untampered image, or squares of rearranged pixels that, from a distance, could perhaps be missed. but with his most recent works, spence is perfecting his art. rather than subtle, pixelated aberrations, spence's dataforms are now vast swathes of pixels forming abstract studies on the original material.
grid view each piece starts with a photo or artwork. "sometimes i come across an image that just resonates with me," spence tells the verge. "maybe it's the colors, or the subject matter and composition that lends itself perfectly to the process. other times, i have to search out content for an idea i have. sometimes i will take the photos myself if the project demands it."
after choosing or creating a subject to work with, spence hand-sketches "dozens of variations" on what the final artwork could look like, slowly narrowing down his vision and refining the proportions as much as possible.
the next step in his process is to painstakingly cut the image into "pixels" ranging in size from 0.1 to 1 square inches. "this is done with a ruler and a utility knife or scissors. while i'm cutting it into pieces, i'll simultaneously be sorting the fragments into color spectrums. the logic of the spectrum is a mix of completely objective visual calculations (based on hue, saturation, and brightness), and some intuitive aesthetic choices."
"depending on what effect i'm looking to create, the spectrum will vary in organizational accuracy and placement of color bands. i'm basically defining how the original color palette will be expressed."
"prior to 2012, i was only using found prints. the imagery was predetermined and i was only able to use what was available. this was a fun restriction, but the result had its limitations."
in spring 2012, spence began to capture his own photographs, giving him greater control of the creative process. he also began to adhere his work to wood panels, which made them more stable and long lasting. "that shift in scale and materials forced me to reconsider my work in the context of historical abstraction and its relationship to the architecture that traditionally surrounds it."
while spence's past pieces subverted small sections of larger artworks, his latest pieces take a two-panel format, with a slice of the original image accompanied by an abstract dataform. "the affect of my work is largely contingent on binary oppositions: representational vs. abstract; allusions to binary code; intangible vs. material; corporeal vs. metaphysical."
"these oppositions led me to consider adopting a contiguous two-panel format. there is also a narrative before and after element suggested in the two panels which, i believe, leads to a more transparent process. there is a certain satisfaction that one gets while unravelling the mystery of how the image was created."
the most recent dataforms focus on beach scenes and poolside swimmers, found in vintage tourism magazines from spence's home province of british columbia.
"at this point in my practice i'm trying to resist having any conclusive and readily apparent meaning in my pieces," says spence. "i have little control over what meaning anyone draws from my work. i want the work to take on a life of its own beyond my expectations. there are certain things i'm shooting for, but i'd rather let the viewer discover them on their own — i would like it to instill in them a sense of intense curiosity."
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pəˈzɪʃənz əv ðə ˈɑrmiz. ˈɑrmiz ənd nid tɪ kəmˈjunəˌkeɪt bət ðɛr ˈmɛsənʤərz meɪ bi ˈkæpʧərd baɪ ˈɑrmi bi. ɪn kəmˈpjutɪŋ, ðə tu ˈʤɛnərəlz ˈprɑbləm ɪz ə θɔt ɪkˈspɛrəmənt mɛnt tɪ ˈɪləˌstreɪt ðə ˈpɪtˌfɔlz ənd dɪˈzaɪn ˈʧælənʤɪz əv əˈtɛmptɪŋ tɪ koʊˈɔrdəˌneɪt ən ˈækʃən baɪ kəmˈjunəˌkeɪtɪŋ ˈoʊvər ən ˌənrɪˈlaɪəbəl lɪŋk. ɪn ðə ɪkˈspɛrəmənt, tu ˈʤɛnərəlz ər ˈoʊnli ˈeɪbəl tɪ kəmˈjunəˌkeɪt wɪθ wən əˈnəðər baɪ ˈsɛndɪŋ ə ˈmɛsɪnʤər θru ˈɛnəmi ˈtɛrɪˌtɔri. ðə ɪkˈspɛrəmənt æsks haʊ ðeɪ maɪt riʧ ən əˈgrimənt ɔn ðə taɪm tɪ lɔnʧ ən əˈtæk, waɪl noʊɪŋ ðət ˈɛni ˈmɛsɪnʤər ðeɪ sɛnd kʊd bi ˈkæpʧərd. ɪt ɪz rɪˈleɪtɪd tɪ ðə mɔr ˈʤɛnərəl ˈbɪzənˌtin ˈʤɛnərəlz ˈprɑbləm ənd əˈpɪrz ˈɔfən ɪn ˌɪntrəˈdəktəri ˈklæsɪz əˈbaʊt kəmˈpjutər ˈnɛtˌwərkɪŋ (ˌpɑrˈtɪkjələrli wɪθ rɪˈgɑrd tɪ ðə trænzˈmɪʃən kənˈtroʊl ˈproʊtəˌkɔl, wɛr ɪt ʃoʊz ðət kænt ˌgɛrənˈti steɪt kənˈsɪstənsi bɪtˈwin ˈɛndˌpɔɪnts ənd waɪ), ðoʊ ɪt əˈplaɪz tɪ ˈɛni taɪp əv kəmˌjunəˈkeɪʃən wɛr ˈfeɪljərz əv kəmˌjunəˈkeɪʃən ər ˈpɑsəbəl. ə ki ˈkɑnsɛpt ɪn ˌɛpɪˈstɛmɪk ˈlɑʤɪk, ðɪs ˈprɑbləm ˈhaɪˌlaɪts ðə ˌɪmˈpɔrtəns əv ˈkɑmən ˈnɑlɪʤ. səm ˈɔθərz ˈɔlsoʊ rɪˈfər tɪ ðɪs ɛz ðə tu ˈʤɛnərəlz ˈpɛrəˌdɑks, ðə tu ˈɑrmiz ˈprɑbləm, ər ðə koʊˈɔrdəneɪtɪd əˈtæk ðə tu ˈʤɛnərəlz ˈprɑbləm wɑz ðə fərst kəmˈpjutər kəmˌjunəˈkeɪʃən ˈprɑbləm tɪ bi pruvd tɪ bi ənˈsɑlvəbəl. ən ˌɪmˈpɔrtənt ˈkɑnsəkwəns əv ðɪs pruf ɪz ðət ˌʤɛnərələˈzeɪʃənz laɪk ðə ˈbɪzənˌtin ˈʤɛnərəlz ˈprɑbləm ər ˈɔlsoʊ ənˈsɑlvəbəl ɪn ðə feɪs əv ˈɑrbɪˌtrɛri kəmˌjunəˈkeɪʃən ˈfeɪljərz, ðəs prəˈvaɪdɪŋ ə beɪs əv ˌriəˈlɪstɪk ˌɛkspɛkˈteɪʃənz fər ˈɛni dɪˈstrɪbjətəd kənˈsɪstənsi ˈproʊtəˌkɔlz. ˌdɛfəˈnɪʃən ˈɛdət tu ˈɑrmiz, iʧ lɛd baɪ ə ˈdɪfərənt ˈʤɛnərəl, ər pərˈpɛrɪŋ tɪ əˈtæk ə ˈfɔrtəˌfaɪd ˈsɪti. ðə ˈɑrmiz ər ɪnˈkæmpt nɪr ðə ˈsɪti, iʧ ɪn ɪts oʊn ˈvæli. ə θərd ˈvæli ˈsɛpərˌeɪts ðə tu hɪlz, ənd ðə ˈoʊnli weɪ fər ðə tu ˈʤɛnərəlz tɪ kəmˈjunəˌkeɪt ɪz baɪ ˈsɛndɪŋ ˈmɛsənʤərz θru ðə ˈvæli. ənˈfɔrʧənətli, ðə ˈvæli ɪz ˈɑkjəˌpaɪd baɪ ðə ˈsɪtiz dɪˈfɛndərz ənd ðɛrz ə ʧæns ðət ˈɛni ˈgɪvɪn ˈmɛsɪnʤər sɛnt θru ðə ˈvæli wɪl bi ˈkæpʧərd. waɪl ðə tu ˈʤɛnərəlz hæv əˈgrid ðət ðeɪ wɪl əˈtæk, ðeɪ ˈhævənt əˈgrid əˈpɑn ə taɪm fər əˈtæk. ɪt ɪz rikˈwaɪərd ðət ðə tu ˈʤɛnərəlz hæv ðɛr ˈɑrmiz əˈtæk ðə ˈsɪti æt ðə seɪm taɪm ɪn ˈɔrdər tɪ səkˈsid, ɛls ðə loʊn əˈtækər ˈɑrmi wɪl daɪ traɪɪŋ. ðeɪ məst ðəs kəmˈjunəˌkeɪt wɪθ iʧ ˈəðər tɪ ˌdɪˈsaɪd ɔn ə taɪm tɪ əˈtæk ənd tɪ əˈgri tɪ əˈtæk æt ðət taɪm, ənd iʧ ˈʤɛnərəl məst noʊ ðət ðə ˈəðər ˈʤɛnərəl noʊz ðət ðeɪ hæv əˈgrid tɪ ðə əˈtæk plæn. bɪˈkəz ækˈnɑlɪʤmənt əv ˈmɛsɪʤ rɪˈsit kən bi lɔst ɛz ˈizəli ɛz ðə ərˈɪʤənəl ˈmɛsɪʤ, ə pəˈtɛnʃəli ˈɪnfənət ˈsɪriz əv ˈmɛsɪʤɪz ɪz rikˈwaɪərd tɪ kəm tɪ kənˈsɛnsəs. ðə θɔt ɪkˈspɛrəmənt ˌɪnˈvɑlvz kənˈsɪdərɪŋ haʊ ðeɪ maɪt goʊ əˈbaʊt ˈkəmɪŋ tɪ kənˈsɛnsəs. ɪn ɪts ˈsɪmpləst fɔrm wən ˈʤɛnərəl ɪz noʊn tɪ bi ðə ˈlidər, ˌdɪˈsaɪdz ɔn ðə taɪm əv əˈtæk, ənd məst kəmˈjunəˌkeɪt ðɪs taɪm tɪ ðə ˈəðər ˈʤɛnərəl. ðə ˈprɑbləm ɪz tɪ kəm əp wɪθ ˈælgərˌɪðəmz ðət ðə ˈʤɛnərəlz kən juz, ˌɪnˈkludɪŋ ˈsɛndɪŋ ˈmɛsɪʤɪz ənd ˈprɑsɛsɪŋ rɪˈsivd ˈmɛsɪʤɪz, ðət kən əˈlaʊ ðɛm tɪ kərˈɛktli kənˈklud: jɛs, wi wɪl boʊθ əˈtæk æt ðə taɪm. əˈlaʊɪŋ ðət ɪt ɪz kwaɪt ˈsɪmpəl fər ðə ˈʤɛnərəlz tɪ kəm tɪ ən əˈgrimənt ɔn ðə taɪm tɪ əˈtæk (i.e*. wən səkˈsɛsfəl ˈmɛsɪʤ wɪθ ə səkˈsɛsfəl ækˈnɑlɪʤmənt), ðə ˈsətəlti əv ðə tu ˈʤɛnərəlz' ˈprɑbləm ɪz ɪn ðə ˌɪmˌpɔsɪˈbɪlɪti əv dɪˈzaɪnɪŋ ˈælgərˌɪðəmz fər ðə ˈʤɛnərəlz tɪ juz tɪ ˈseɪfli əˈgri tɪ ðə əˈbəv ˈsteɪtmənt. ˈɪləˌstreɪtɪŋ ðə ˈprɑbləm ˈɛdət ðə fərst ˈʤɛnərəl meɪ stɑrt baɪ ˈsɛndɪŋ ə ˈmɛsɪʤ "əˈtæk æt 0900 ɔn ˈɔgəst 4 ˌhaʊˈɛvər, wəns dɪˈspæʧt, ðə fərst ˈʤɛnərəl həz noʊ aɪˈdiə ˈwɛðər ər nɑt ðə ˈmɛsɪnʤər gɑt θru. ðɪs ənˈsərtənti meɪ lɛd ðə fərst ˈʤɛnərəl tɪ ˈhɛzəˌteɪt tɪ əˈtæk du tɪ ðə rɪsk əv biɪŋ ðə soʊl əˈtækər. tɪ bi ʃʊr, ðə ˈsɛkənd ˈʤɛnərəl meɪ sɛnd ə ˌkɑnfərˈmeɪʃən bæk tɪ ðə fərst: "aɪ rɪˈsivd jʊr ˈmɛsɪʤ ənd wɪl əˈtæk æt 0900 ɔn ˈɔgəst 4 ˌhaʊˈɛvər, ðə ˈmɛsɪnʤər ˈkɛriɪŋ ðə ˌkɑnfərˈmeɪʃən kʊd feɪs ˈkæpʧər ənd ðə ˈsɛkənd ˈʤɛnərəl meɪ ˈhɛzəˌteɪt, noʊɪŋ ðət ðə fərst maɪt hoʊld bæk wɪˈθaʊt ðə ˌkɑnfərˈmeɪʃən. ˈfərðər ˌkɑnfərˈmeɪʃənz meɪ sim laɪk ə ðə ˈsɛkənd ˈʤɛnərəl sɛnd ə ˈsɛkənd ˌkɑnfərˈmeɪʃən: "aɪ rɪˈsivd jʊr ˌkɑnfərˈmeɪʃən əv ðə plænd əˈtæk æt 0900 ɔn ˈɔgəst 4 ˌhaʊˈɛvər, ðɪs nu ˈmɛsɪnʤər frəm ðə ˈsɛkənd ˈʤɛnərəl ɪz ˈlaɪəbəl tɪ bi ˈkæpʧərd, tu. ðəs ɪt kˈwɪkli bɪˈkəmz ˈɛvədənt ðət noʊ ˈmætər haʊ ˈmɛni raʊnz əv ˌkɑnfərˈmeɪʃən ər meɪd, ðɛr ɪz noʊ weɪ tɪ ˌgɛrənˈti ðə ˈsɛkənd rɪkˈwaɪrmənt ðət iʧ ˈʤɛnərəl bi ʃʊr ðə ˈəðər həz əˈgrid tɪ ðə əˈtæk plæn. boʊθ ˈʤɛnərəlz wɪl ˈɔlˌweɪz bi lɛft ˈwəndərɪŋ ˈwɛðər ðɛr læst ˈmɛsɪnʤər gɑt θru. pruf ˈɛdət fər dɪˌtərməˈnɪstɪk ˈproʊtəˌkɔlz wɪθ ə fɪkst ˈnəmbər əv ˈmɛsɪʤɪz ˈɛdət bɪˈkəz ðɪs ˈproʊtəˌkɔl ɪz dɪˌtərməˈnɪstɪk, səˈpoʊz ðɛr ɪz ə ˈsikwəns əv ə fɪkst ˈnəmbər əv ˈmɛsɪʤɪz, wən ər mɔr səkˈsɛsfəli dɪˈlɪvərd ənd wən ər mɔr nɑt. ðə əˈsəmpʃən ɪz ðət ðɛr ʃʊd bi ə ʃɛrd ˈsərtənti fər boʊθ ˈʤɛnərəlz tɪ əˈtæk. kənˈsɪdər ðə læst səʧ ˈmɛsɪʤ ðət wɑz səkˈsɛsfəli dɪˈlɪvərd. ɪf ðət læst ˈmɛsɪʤ hæd nɑt bɪn səkˈsɛsfəli dɪˈlɪvərd, ðɛn wən ˈʤɛnərəl æt list (prɪˈzuməbli ðə rɪˈsivər) wʊd ˌdɪˈsaɪd nɑt tɪ ˈnidɪd] frəm ðə vˈjuˌpɔɪnt əv ðə ˈsɛndər əv ðət læst ˈmɛsɪʤ, ˌhaʊˈɛvər, ðə ˈsikwəns əv ˈmɛsɪʤɪz sɛnt ənd dɪˈlɪvərd ɪz ɪgˈzæktli ðə seɪm ɛz ɪt wʊd hæv bɪn, hæd ðət ˈmɛsɪʤ bɪn dɪˈlɪvərd. sɪns ðə ˈproʊtəˌkɔl ɪz dɪˌtərməˈnɪstɪk, ðə ˈʤɛnərəl ˈsɛndɪŋ ðət læst ˈmɛsɪʤ wɪl stɪl ˌdɪˈsaɪd tɪ əˈtæk. wiv naʊ kriˈeɪtɪd ə ˌsɪʧuˈeɪʃən wɛr ðə səˈʤɛstɪd ˈproʊtəˌkɔl lidz wən ˈʤɛnərəl tɪ əˈtæk ənd ðə ˈəðər nɑt tɪ ðə əˈsəmpʃən ðət ðə ˈproʊtəˌkɔl wɑz ə səˈluʃən tɪ ðə ˈprɑbləm. fər ənd ˈproʊtəˌkɔlz ˈɛdət ə ˈproʊtəˌkɔl wɪθ ə ˈvɛriəbəl ˈmɛsɪʤ kaʊnt kən bi kəmˈpɛrd tɪ ə ˈfaɪˌnaɪt tri, wɛr iʧ lif ər brænʧ (noʊd) ɪn ðə tri ˌrɛprɪˈzɛnts ən ɪkˈsplɔrd ɪgˈzæmpəl əp tɪ ə ˈspɛsəˌfaɪd pɔɪnt. ðə ruts əv ðɪs tri ər ˈleɪbəld wɪθ ðə ˈpɑsəbəl ˈstɑrtɪŋ ˈmɛsɪʤɪz, ənd ðə brænʧ noʊdz ˈstɛmɪŋ frəm ðiz ruts ər ˈleɪbəld wɪθ ðə ˈpɑsəbəl nɛkst ˈmɛsɪʤɪz. lif noʊdz ˌrɛprɪˈzɛnt ɪgˈzæmpəlz wɪʧ ɛnd ˈæftər ˈsɛndɪŋ ðə læst ˈmɛsɪʤ. ə ˈproʊtəˌkɔl ðət ˈtərmɪˌneɪts ˌbiˈfɔr ˈsɛndɪŋ ˈɛni ˈmɛsɪʤɪz ɪz ˌrɛprɪˈzɛnɪd baɪ ə nəl tri. səˈpoʊz ðɛr ɪgˈzɪsts ə ˈproʊtəˌkɔl wɪʧ sɑlvz ðə ˈprɑbləm. ðɛn, baɪ ə ˈsɪmələr ˈɑrgjəmənt tɪ ðə dɪˌtərməˈnɪstɪk ɪgˈzæmpəl ɪn ðə ˈpriviəs ˈsɛkʃən, wɛr ə dɪˌtərməˈnɪstɪk ˈproʊtəˌkɔl kən bi əbˈteɪnd frəm ðə wən baɪ riˈmuvɪŋ ɔl lif noʊdz, ðə dɪˌtərməˈnɪstɪk ˈproʊtəˌkɔl məst ðɛn ˈɔlsoʊ sɑlv ðə ˈprɑbləm. sɪns ðə ˈproʊtəˌkɔl ɪz ˈfaɪˌnaɪt, ɪt ðɛn ˈfɑloʊz ðət ðə ˈproʊtəˌkɔl ˌrɛprɪˈzɛnɪd baɪ ðə ˈɛmti tri wʊd sɑlv ðə ˈprɑbləm. ˈklɪrli ðɪs ɪz nɑt ˈpɑsəbəl. ˈðɛrˌfɔr ə ˈproʊtəˌkɔl wɪʧ sɑlvz ðə ˈprɑbləm ˈkænɑt ˈɛnʤəˈnɪrɪŋ əˈproʊʧɪz ˈɛdət ə prægˈmætɪk əˈproʊʧ tɪ ˈdilɪŋ wɪθ ðə tu ˈʤɛnərəlz' ˈprɑbləm ɪz tɪ juz skimz ðət əkˈsɛpt ðə ənˈsərtənti əv ðə kəmˌjunəˈkeɪʃənz ˈʧænəl ənd nɑt əˈtɛmpt tɪ ɪˈlɪməˌneɪt ɪt, bət ˈrəðər ˈmɪtəˌgeɪt ɪt tɪ ən əkˈsɛptəbəl dɪˈgri. fər ɪgˈzæmpəl, ðə fərst ˈʤɛnərəl kʊd sɛnd 100 ˈmɛsənʤərz, ænˈtɪsəˌpeɪtɪŋ ðət ðə ˌprɑbəˈbɪləˌti əv ɔl biɪŋ ˈkæpʧərd ɪz loʊ. wɪθ ðɪs əˈproʊʧ ðə fərst ˈʤɛnərəl wɪl əˈtæk noʊ ˈmætər wət, ənd ðə ˈsɛkənd ˈʤɛnərəl wɪl əˈtæk ɪf ˈɛni ˈmɛsɪʤ ɪz rɪˈsivd. ɔlˈtərnətɪvli ðə fərst ˈʤɛnərəl kʊd sɛnd ə strim əv ˈmɛsɪʤɪz ənd ðə ˈsɛkənd ˈʤɛnərəl kʊd sɛnd tɪ iʧ, wɪθ iʧ ˈʤɛnərəl ˈfilɪŋ mɔr ˈkəmfərtəbəl wɪθ ˈɛvəri ˈmɛsɪʤ rɪˈsivd. ɛz sin ɪn ðə pruf, ˌhaʊˈɛvər, ˈniðər kən bi ˈsərtən ðət ðə əˈtæk wɪl bi koʊˈɔrdəneɪtɪd. ðɛrz noʊ ˈælgərˌɪðəm ðət ðeɪ kən juz (e.g*. əˈtæk ɪf mɔr ðən fɔr ˈmɛsɪʤɪz ər rɪˈsivd) wɪʧ wɪl bi ˈsərtən tɪ prɪˈvɛnt wən frəm əˈtækɪŋ wɪˈθaʊt ðə ˈəðər. ˈɔlsoʊ, ðə fərst ˈʤɛnərəl kən sɛnd ə ˈmɑrkɪŋ ɔn iʧ ˈmɛsɪʤ seɪɪŋ ɪt ɪz ˈmɛsɪʤ 1 2 3 əv ɛn. ðɪs ˈmɛθəd wɪl əˈlaʊ ðə ˈsɛkənd ˈʤɛnərəl tɪ noʊ haʊ rɪˈlaɪəbəl ðə ˈʧænəl ɪz ənd sɛnd ən əˈproʊpriˌeɪt ˈnəmbər əv ˈmɛsɪʤɪz bæk tɪ ɪnˈʃʊr ə haɪ ˌprɑbəˈbɪləˌti əv æt list wən ˈmɛsɪʤ biɪŋ rɪˈsivd. ɪf ðə ˈʧænəl kən bi meɪd tɪ bi rɪˈlaɪəbəl, ðɛn wən ˈmɛsɪʤ wɪl səˈfaɪs ənd əˈdɪʃənəl ˈmɛsɪʤɪz du nɑt hɛlp. ðə læst ɪz ɛz ˈlaɪkli tɪ gɪt lɔst ɛz ðə fərst. əˈsumɪŋ ðət ðə ˈʤɛnərəlz məst ˈsækrəˌfaɪs lɪvz ˈɛvəri taɪm ə ˈmɛsɪnʤər ɪz sɛnt ənd ˌɪnərˈsɛptɪd, ən ˈælgərˌɪðəm kən bi dɪˈzaɪnd tɪ ˈmɪnəˌmaɪz ðə ˈnəmbər əv ˈmɛsənʤərz rikˈwaɪərd tɪ əˈʧiv ðə ˈmæksəməm əˈmaʊnt əv ˈkɑnfədɛns ðə əˈtæk ɪz koʊˈɔrdəneɪtɪd. tɪ seɪv ðɛm frəm ˈsækrəˌfaɪsɪŋ ˈhənərdz əv lɪvz tɪ əˈʧiv ə ˈvɛri haɪ ˈkɑnfədɛns ɪn koʊˌɔrdəˈneɪʃən, ðə ˈʤɛnərəlz kʊd əˈgri tɪ juz ðə ˈæbsəns əv ˈmɛsənʤərz ɛz ən ˌɪndəˈkeɪʃən ðət ðə ˈʤɛnərəl hu bɪˈgæn ðə trænˈzækʃən həz rɪˈsivd æt list wən ˌkɑnfərˈmeɪʃən, ənd həz ˈprɑməst tɪ əˈtæk. səˈpoʊz ɪt teɪks ə ˈmɛsɪnʤər 1 ˈmɪnət tɪ krɔs ðə ˈdeɪnʤər zoʊn, əˈlaʊɪŋ 200 ˈmɪnəts əv ˈsaɪləns tɪ əˈkər ˈæftər ˌkɑnfərˈmeɪʃənz hæv bɪn rɪˈsivd wɪl əˈlaʊ ˈjuˈɛs tɪ əˈʧiv ɪkˈstrimli haɪ ˈkɑnfədɛns waɪl nɑt ˈsækrəˌfaɪsɪŋ ˈmɛsɪnʤər lɪvz. ɪn ðɪs keɪs ˈmɛsənʤərz ər juzd ˈoʊnli ɪn ðə keɪs wɛr ə ˈpɑrti həz nɑt rɪˈsivd ðə əˈtæk taɪm. æt ðə ɛnd əv 200 ˈmɪnəts, iʧ ˈʤɛnərəl kən ˈrizən: "aɪ hæv nɑt rɪˈsivd ən əˈdɪʃənəl ˈmɛsɪʤ fər 200 ˈmɪnəts; ˈiðər 200 ˈmɛsənʤərz feɪld tɪ krɔs ðə ˈdeɪnʤər zoʊn, ər ɪt minz ðə ˈəðər ˈʤɛnərəl həz kənˈfərmd ənd kəˈmɪtɪd tɪ ðə əˈtæk ənd həz ˈkɑnfədɛns aɪ wɪl tu". ˈhɪstəri ˈɛdət ðə tu ˈʤɛnərəlz ˈprɑbləm ənd ɪts ˌɪmˌpɔsɪˈbɪlɪti pruf wɑz fərst ˈpəblɪʃt baɪ i. ə. akkoyunlu*, keɪ. ekanadham*, ənd ɑr. vi. ˈhjubər ɪn 1975 ɪn "səm kənˈstreɪnts ənd ˈtreɪˌdɔfs ɪn ðə dɪˈzaɪn əv ˈnɛtˌwərk wɛr ɪt ɪz dɪˈskraɪbd ˈstɑrtɪŋ ɔn peɪʤ 73 ɪn ðə ˈkɑntɛkst əv kəmˌjunəˈkeɪʃən bɪtˈwin tu grups əv ˈgæŋstərz. ðɪs ˈprɑbləm wɑz ˈgɪvɪn ðə neɪm ðə tu ˈʤɛnərəlz ˈpɛrəˌdɑks baɪ ʤɪm ɪn 1978 ɪn "noʊts ɔn ˈdætə beɪs ˈɔpərˌeɪtɪŋ ˈstɑrtɪŋ ɔn peɪʤ 465 ðɪs ˈrɛfərəns ɪz ˈwaɪdli ˈgɪvɪn ɛz ə sɔrs fər ðə ˌdɛfəˈnɪʃən əv ðə ˈprɑbləm ənd ðə ˌɪmˌpɔsɪˈbɪlɪti pruf, ðoʊ boʊθ wər ˈpəblɪʃt ˈpriviəsli ɛz əˈbəv.
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positions of the armies. armies a1 and a2 need to communicate but their messengers may be captured by army b.
in computing, the two generals problem is a thought experiment meant to illustrate the pitfalls and design challenges of attempting to coordinate an action by communicating over an unreliable link. in the experiment, two generals are only able to communicate with one another by sending a messenger through enemy territory. the experiment asks how they might reach an agreement on the time to launch an attack, while knowing that any messenger they send could be captured.
it is related to the more general byzantine generals problem and appears often in introductory classes about computer networking (particularly with regard to the transmission control protocol, where it shows that tcp can't guarantee state consistency between endpoints and why), though it applies to any type of two-party communication where failures of communication are possible. a key concept in epistemic logic, this problem highlights the importance of common knowledge. some authors also refer to this as the two generals paradox, the two armies problem, or the coordinated attack problem.[1][2] the two generals problem was the first computer communication problem to be proved to be unsolvable. an important consequence of this proof is that generalizations like the byzantine generals problem are also unsolvable in the face of arbitrary communication failures, thus providing a base of realistic expectations for any distributed consistency protocols.
definition [ edit ]
two armies, each led by a different general, are preparing to attack a fortified city. the armies are encamped near the city, each in its own valley. a third valley separates the two hills, and the only way for the two generals to communicate is by sending messengers through the valley. unfortunately, the valley is occupied by the city's defenders and there's a chance that any given messenger sent through the valley will be captured.
while the two generals have agreed that they will attack, they haven't agreed upon a time for attack. it is required that the two generals have their armies attack the city at the same time in order to succeed, else the lone attacker army will die trying. they must thus communicate with each other to decide on a time to attack and to agree to attack at that time, and each general must know that the other general knows that they have agreed to the attack plan. because acknowledgement of message receipt can be lost as easily as the original message, a potentially infinite series of messages is required to come to consensus.
the thought experiment involves considering how they might go about coming to consensus. in its simplest form one general is known to be the leader, decides on the time of attack, and must communicate this time to the other general. the problem is to come up with algorithms that the generals can use, including sending messages and processing received messages, that can allow them to correctly conclude:
yes, we will both attack at the agreed-upon time.
allowing that it is quite simple for the generals to come to an agreement on the time to attack (i.e. one successful message with a successful acknowledgement), the subtlety of the two generals' problem is in the impossibility of designing algorithms for the generals to use to safely agree to the above statement.
illustrating the problem [ edit ]
the first general may start by sending a message "attack at 0900 on august 4." however, once dispatched, the first general has no idea whether or not the messenger got through. this uncertainty may lead the first general to hesitate to attack due to the risk of being the sole attacker.
to be sure, the second general may send a confirmation back to the first: "i received your message and will attack at 0900 on august 4." however, the messenger carrying the confirmation could face capture and the second general may hesitate, knowing that the first might hold back without the confirmation.
further confirmations may seem like a solution—let the second general send a second confirmation: "i received your confirmation of the planned attack at 0900 on august 4." however, this new messenger from the second general is liable to be captured, too. thus it quickly becomes evident that no matter how many rounds of confirmation are made, there is no way to guarantee the second requirement that each general be sure the other has agreed to the attack plan. both generals will always be left wondering whether their last messenger got through.
proof [ edit ]
for deterministic protocols with a fixed number of messages [ edit ]
because this protocol is deterministic, suppose there is a sequence of a fixed number of messages, one or more successfully delivered and one or more not. the assumption is that there should be a shared certainty for both generals to attack.
consider the last such message that was successfully delivered. if that last message had not been successfully delivered, then one general at least (presumably the receiver) would decide not to attack.[citation needed] from the viewpoint of the sender of that last message, however, the sequence of messages sent and delivered is exactly the same as it would have been, had that message been delivered.
since the protocol is deterministic, the general sending that last message will still decide to attack. we've now created a situation where the suggested protocol leads one general to attack and the other not to attack—contradicting the assumption that the protocol was a solution to the problem.
for nondeterministic and variable-length protocols [ edit ]
a nondeterministic protocol with a variable message count can be compared to a finite tree, where each leaf or branch (node) in the tree represents an explored example up to a specified point.
the roots of this tree are labeled with the possible starting messages, and the branch nodes stemming from these roots are labeled with the possible next messages. leaf nodes represent examples which end after sending the last message. a protocol that terminates before sending any messages is represented by a null tree.
suppose there exists a nondeterministic protocol which solves the problem. then, by a similar argument to the deterministic example in the previous section, where a deterministic protocol can be obtained from the non-deterministic one by removing all leaf nodes, the deterministic protocol must then also solve the problem.
since the nondeterministic protocol is finite, it then follows that the protocol represented by the empty tree would solve the problem. clearly this is not possible. therefore a nondeterministic protocol which solves the problem cannot exist.[3]
engineering approaches [ edit ]
a pragmatic approach to dealing with the two generals' problem is to use schemes that accept the uncertainty of the communications channel and not attempt to eliminate it, but rather mitigate it to an acceptable degree. for example, the first general could send 100 messengers, anticipating that the probability of all being captured is low. with this approach the first general will attack no matter what, and the second general will attack if any message is received. alternatively the first general could send a stream of messages and the second general could send acknowledgments to each, with each general feeling more comfortable with every message received. as seen in the proof, however, neither can be certain that the attack will be coordinated. there's no algorithm that they can use (e.g. attack if more than four messages are received) which will be certain to prevent one from attacking without the other. also, the first general can send a marking on each message saying it is message 1, 2, 3 ... of n. this method will allow the second general to know how reliable the channel is and send an appropriate number of messages back to ensure a high probability of at least one message being received. if the channel can be made to be reliable, then one message will suffice and additional messages do not help. the last is as likely to get lost as the first.
assuming that the generals must sacrifice lives every time a messenger is sent and intercepted, an algorithm can be designed to minimize the number of messengers required to achieve the maximum amount of confidence the attack is coordinated. to save them from sacrificing hundreds of lives to achieve a very high confidence in coordination, the generals could agree to use the absence of messengers as an indication that the general who began the transaction has received at least one confirmation, and has promised to attack. suppose it takes a messenger 1 minute to cross the danger zone, allowing 200 minutes of silence to occur after confirmations have been received will allow us to achieve extremely high confidence while not sacrificing messenger lives. in this case messengers are used only in the case where a party has not received the attack time. at the end of 200 minutes, each general can reason: "i have not received an additional message for 200 minutes; either 200 messengers failed to cross the danger zone, or it means the other general has confirmed and committed to the attack and has confidence i will too".
history [ edit ]
the two generals problem and its impossibility proof was first published by e. a. akkoyunlu, k. ekanadham, and r. v. huber in 1975 in "some constraints and trade-offs in the design of network communications",[4] where it is described starting on page 73 in the context of communication between two groups of gangsters.
this problem was given the name the two generals paradox by jim gray[5] in 1978 in "notes on data base operating systems"[6] starting on page 465. this reference is widely given as a source for the definition of the problem and the impossibility proof, though both were published previously as above.
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ˈpɔrtləndz nu ˈproʊˌgræm ˈɪzənt ʃɛrd baɪ ɔl. ˈmɛni ˌloʊˈɪnkəm ˈpipəl doʊnt hæv ə ˈkrɛdɪt kɑrd tɪ meɪk ðə ˈpeɪmənts. ˈfoʊˌtoʊ) ˈpɔrtlənd, ɔr. ðə roʊz ˈsɪtiz nuəst raɪd ɪz ɪkˈsidɪŋ ˌɛkspɛkˈteɪʃənz bət ˈfɑlɪŋ flæt ɪn əˈlaʊɪŋ ˈækˌsɛs tɪ ˌloʊˈɪnkəm ˈraɪdərz. "ɪf əm ˈwɪlɪŋ tɪ peɪ jʊr praɪs ɪt ˈʃʊdənt bi ðət aɪ hæv pʊt ə dɪˈpɑzət," sɛd ˈkərtɪs haʊərd. "ðət simz laɪk ə ˈmaɪnər ˈhərdəl." ˈstədiz ʃoʊ əraʊnd 30 pərˈsɛnt əv əˈmɛrɪkənz doʊnt hæv ə ˈkrɛdɪt kɑrd, ðə məˈʤɔrəti əv hum ər ˌloʊˈɪnkəm. ðɪs livz ðɛm əˈneɪbəl tɪ juz ˈsɪstəmz əˈkrɔs ðə ˈkəntri. haʊərd sɪz hi gɑt ə flæt taɪər ɔn hɪz baɪk ˈθərzˌdeɪ. hi sɔ ðə baɪks daʊn ðə blɑk ənd θɔt hi faʊnd ən ˌɪˈmiˌdiət səˈluʃən. "fərst θɪŋ aɪ θɔt, 'wɛl, ɪts goʊɪŋ tɪ bi ɔl əˈbaʊt ðə ˈkrɛdɪt kɑrd," haʊərd sɛd. ɪz ʤɪst 12 ə mənθ fər ˈjuzərz hu saɪn əp fər ən ˈænjuəl ˈmɛmbərˌʃɪp. ðæts ə ˈfrækʃən əv ðə kɔst əv ə ˈmənθli ˈtrænzɪt pæs ɔn trimet*. ˌɪnˈkrisɪŋ ˈækˌsɛs tɪ ˌloʊˈɪnkəm kʊd ɛnd əp ˈseɪvɪŋ ðɛm ˈməni. ˈdɪlən rɪˈvɛrə sɪz ˈriʧɪŋ aʊt tɪ ər ɪz ə praɪˈɔrəti fər ðə ˈsɪtiz ˈbjʊroʊ əv ˌtrænspərˈteɪʃən. rikˈwaɪərd ˈmoʊtəˌveɪt, ðə ˈkəmpəˌni ðət ˈɑpərˌeɪts, tɪ prəˈvaɪd 500 "ˈhaɪli ˈdɪˌskaʊnɪd ˈmɛmbərˌʃɪps tɪ kəmˈjunɪti ˌɔrgənəˈzeɪʃənz ˈsərvɪŋ loʊ ˈɪnˌkəm ˌpɑpjəˈleɪʃənz." rɪˈvɛrə sɪz ɪz ˈɔlsoʊ ˈwərkɪŋ wɪθ əˈfɔrdəbəl ˈhaʊzɪŋ kəmˈjunɪtiz, ˈriʧɪŋ aʊt tɪ ðɛm tɪ prəˈvaɪd ˈbɛtər ˈækˌsɛs, ənd ɪz ɪkˈsplɔrɪŋ kæʃ ˈɔpʃənz. ðə ˈprɑbləm ˈɪzənt ɛz ˈizəli fɪkst ɛz ʤɪst əˈlaʊɪŋ ˈjuzərz tɪ peɪ ɪn kæʃ. ˌbiˈsaɪdz ˈhævɪŋ tɪ ˈrɛtroʊˌfɪt ðə kiɔsks tɪ əkˈsɛpt ˈməni, ðə ˈkrɛdɪt ənd ˈdɛbɪt kɑrdz ər ə ˈvæljəbəl pɑrt ɪn ðə ˈprɔˌsɛs. ɪf ə ˈjuzər teɪks ə baɪk aʊt ˈlɔŋgər ðən ɪkˈspɛktɪd ər ðɛrz ˈdæmɪʤ tɪ ðə baɪk ðɛr ʧɑrʤd ˈɛkstrə. wɪˈθaʊt ə ˈkrɛdɪt ər ˈdɛbɪt kɑrd ɔn faɪl ðɛrz ˈkərəntli noʊ weɪ tɪ hoʊld ðə ˈjuzər əˈkaʊntəbəl fər ðoʊz əˈdɪʃənəl fiz. "ɪf əm ˈwɪlɪŋ tɪ meɪk ðət ˈpeɪmənt bət aɪ kænt du ɪt ʤɪst bɪˈkəz aɪ doʊnt hæv ə ˈkrɛdɪt kɑrd," haʊərd sɛd, "jʊr ˈmɪsɪŋ ə lɔt əv ˈbɪznɪs ðət weɪ."
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portland's new biketown bike-sharing program isn't shared by all. many low-income people don't have a credit card to make the payments. (katu photo)
portland, ore. -- the rose city's newest ride is exceeding expectations but falling flat in allowing access to low-income riders.
"if i'm willing to pay your price it shouldn't be that i have put a deposit," said curtis howard. "that seems like a minor hurdle."
studies show around 30 percent of americans don't have a credit card, the majority of whom are low-income. this leaves them unable to use bike-share systems across the country.
howard says he got a flat tire on his bike thursday. he saw the biketown bikes down the block and thought he found an immediate solution.
"first thing i thought, 'well, it's going to be all about the credit card," howard said.
biketown is just $12 a month for users who sign up for an annual membership. that's a fraction of the cost of a monthly transit pass on trimet. increasing access to low-income portlanders could end up saving them money.
dylan rivera says reaching out to un-banked or under-banked portlanders is a priority for the city's bureau of transportation.
pbot required motivate, the company that operates biketown, to provide 500 "highly discounted memberships to community organizations serving low income populations."
rivera says pbot is also working with affordable housing communities, reaching out to them to provide better access, and is exploring cash options.
the problem isn't as easily fixed as just allowing users to pay in cash.
besides having to retrofit the kiosks to accept money, the credit and debit cards are a valuable part in the bike-share process. if a user takes a bike out longer than expected or there's damage to the bike they're charged extra. without a credit or debit card on file there's currently no way to hold the user accountable for those additional fees.
"if i'm willing to make that payment but i can't do it just because i don't have a credit card," howard said, "you're missing a lot of business that way."
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ɪt simz ðət əv ðə year”*” əˈnaʊnsmɛnts hæv bɪˈkəm ðə də ˈfæktoʊ weɪ fər ˈdɪkʃəˌnɛri ˈmeɪkərz tɪ græb səm ˈsoʊʃəl ˈmidiə bəz baɪ səˈlɛktɪŋ ə wərd frəm ɑr nɛk əv ðə wʊdz. ənd ʃʊr ɪˈnəf, dən ɪt əˈgɛn, ðɪs taɪm wɪθ ˈɑksfərd ˈdɪkʃəˌnɛri dɪˈklɛrɪŋ ““unfriend”*” ðə wərd əv 2009 ðə ˌdɛfəˈnɪʃən əv ðə vərb ɪz ʤɪst ɛz ɪkˈspɛkt: riˈmuv ˈsəmˌwən ɛz ə ‘‘friend’*’ ɔn ə ˈsoʊʃəl ˈnɛtˌwərkɪŋ saɪt səʧ ɛz facebook.”*.” ˈsɛvərəl ˈəðər tɛk ənd ˈsoʊʃəl ˈmidiə wərd ˈʧɔɪsɪz wər kənˈsɪdərd, ˌɪnˈkludɪŋ ˈhæʃˌtæg, ˈsɛkˌstɪŋ, freemium*, ənd paywall*. ˈəðər wərdz ðət hæv ˈrisəntli rɪˈsivd ðə ˈdɪkʃəˌnɛri ˈtritmənt ˌɪnˈklud ““twitter,”*,” wɪʧ ˈɛnərd ðə ˈkɑlɪnz ˈɪŋlɪʃ ˈdɪkʃəˌnɛri ˈərliər ðɪs jɪr, ənd ““facebook,”*,” wɪʧ wɑz collins’*’ wərd əv ðə jɪr bæk æt ðə ɛnd əv 2007 ðə trəˈdɪʃən əv ˈpɪkɪŋ ə nu ˈmidiə wərd simz tɪ hæv ərˈɪʤəˌneɪtəd bæk ɪn 2004 wɪn ““blog”*” meɪd ðə tɔp əv ˈmɛriəm ˈænjuəl lɪst. si ˈɔlsoʊ: 12 greɪt teɪlz əv [ˈviə @lorenbaker*]
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it seems that “word of the year” announcements have become the de facto way for dictionary makers to grab some social media buzz by selecting a word from our neck of the woods. and sure enough, they’ve done it again, this time with oxford dictionary declaring “unfriend” the word of 2009.
the definition of the verb is just as you’d expect: “to remove someone as a ‘friend’ on a social networking site such as facebook.” several other tech and social media centric word choices were considered, including hashtag, sexting, freemium, and paywall.
other words that have recently received the dictionary treatment include “twitter,” which entered the collins english dictionary earlier this year, and “facebook,” which was collins’ word of the year back at the end of 2007. the tradition of picking a new media word seems to have originated back in 2004, when “blog” made the top of merriam webster’s annual list.
see also: 12 great tales of de-friending
[via @lorenbaker]
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ðət wi can’t*, ðət wi, ɪnˈʃʊr ðət ˈnoʊˌbɑˌdi ɪn ɑr soʊˈsaɪɪti goʊz wɪˈθaʊt fud sɪz ˈsəmθɪŋ əˈbaʊt ðə kaɪnd əv soʊˈsaɪɪti ðət ɪz biɪŋ kriˈeɪtɪd fər ˈjuˈɛs. baɪ ˈmaɪkəl tæft. ə nu rɪˈpɔrt ɪz aʊt kənˈstrəktɪŋ ə fud ˈpɑvərti ˈɪndəˌkeɪtər fər ˈaɪərlənd. ɪt ˈɛstəˌmeɪts ðət wən ɪn tɛn ˈpipəl ɪkˈspɪriənst poverty’*’ ɪn 2010 ɪn ˈəðər wərdz, ˈhəŋgər. aɪ noʊ ðə freɪz ‘‘must-read’*’ ɪz ˈsəmˌtaɪmz over-used*, bət ðɪs ɪz ˈtruli ə rɪˈpɔrt. ðə ˈvɛri aɪˈdiə ðət əv ɑr ˈneɪbərz ˈsəfər frəm fud ˈpɑvərti ɪz ˈtruli ˈfraɪtənɪŋ. ˈmeɪbi ju bi ˌgɛrənˈtid ə ʤɑb, ˈmeɪbi ju bi ˌgɛrənˈtid fri ˈmɛdɪkəl kɛr rəˈgɑrdləs əv jʊr nid, bət ˈʃʊrli ɪn ə soʊˈsaɪɪti wi kən ɪnˈʃʊr ðət noʊ wən goʊz wɪˈθaʊt fud. ðət wi can’t*, ðət wi, sɪz ˈsəmθɪŋ əˈbaʊt ðə kaɪnd əv soʊˈsaɪɪti ðət ɪz biɪŋ kriˈeɪtɪd fər ˈjuˈɛs. ðɪs ˈɛstəˌmeɪt prəˈdust baɪ ˈkɛrəˌlaɪn ˈkɑrni (ˈʤɛnərəl ˈkaʊnsəl əv ðə bɑr əv ˈɪŋglənd ənd weɪlz) ənd ˈbərtrənd (esri*) ɪz beɪst ɔn ə ˈkɛrfəl ˌmɛθəˈdɑləʤi. ɪt ˈjuzɪz ˌdɛprəˈveɪʃən ˈɪndəˌkeɪtərz ðət rɪˈleɪt tɪ fud ɪn ðə ˈsərˌveɪ əv ˈɪnˌkəm ənd ˈlɪvɪŋ kənˈdɪʃənz: ˌɪnəˈbɪlɪti tɪ əˈfɔrd ə mil wɪθ mit ər ˌvɛʤəˈtɛˌriən ɪkˈwɪvələnt ˈɛvəri ˈsɛkənd deɪ ˌɪnəˈbɪlɪti tɪ əˈfɔrd ə roʊst ər ˌvɛʤəˈtɛˌriən ɪkˈwɪvələnt wəns ə wik ˈwɛðər ˈdʊrɪŋ ðə læst ˈfɔrtˌnaɪt, ðɛr wɑz æt list wən deɪ (i.e*. frəm ˈgɪtɪŋ əp tɪ goʊɪŋ tɪ bɛd) wɪn ðə rɪˈspɑndənt dɪd nɑt hæv ə səbˈstænʃəl mil du tɪ læk əv ˈməni ˌɪnəˈbɪlɪti tɪ hæv ˈfæməli ər frɛndz fər ə mil ər drɪŋk wəns ə mənθ waɪl ðeɪ ˈproʊdus ə ˈnəmbər əv ˈfaɪndɪŋz beɪst ɔn ðiz ˈɪndəˌkeɪtərz, ɪn ðə ˈfaɪnəl æˈnælɪsɪs ðeɪ oʊˈmɪt ðə læst wən ˈhævɪŋ ˈfæməli ər frɛndz ˈoʊvər wəns ə mənθ fər ə mil ər drɪŋk, ðoʊ ðeɪ ækˈnɑlɪʤ ðə ˌɪmˈpɔrtəns əv ðɪs ˈɪndəˌkeɪtər: ˈpeɪpər dɪz nɑt səˈʤɛst ðət ðɪs ˈaɪtəm ɪz nɑt ə ˈvælɪd ˈɪndəˌkeɪtər əv ˌdɛprəˈveɪʃən pər seɪ bət ɪz kənˈsərnd wɪθ ɪts əˈbɪləˌti tɪ aɪˈdɛntəˌfaɪ fud ˌdɛprəˈveɪʃən spəˈsɪfɪkli. ðɪs ˈaɪtəm ˈkæpʧərz ˌdɛprəˈveɪʃən əv ˈsoʊʃəl pɑrˌtɪsəˈpeɪʃən, ɪn ˌpɑˈtɪkjələr ˈsoʊʃəl pɑrˌtɪsəˈpeɪʃən rɪˈleɪtɪŋ tɪ fud ənd drɪŋk. ˌhaʊˈɛvər ðə ˈəðər ˌdɛprəˈveɪʃən ˈaɪtəmz biɪŋ juzd baɪ ðɪs ˈrisərʧ ˈkæpʧər ˌdɛprəˈveɪʃən ðət ɪz spɪˈsɪfɪk tɪ nɑt əˈfɔrdɪŋ ˈædəkˌweɪt food.”*.” aɪ ˌɪnˈtɛnd tɪ ˌriprəˈdus ðə ˈnumərəs ˈteɪbəlz kənˈteɪnd ɪn ðə rɪˈpɔrt tɪ ʃoʊ ðə ɪkˈstɛnt ənd skeɪl əv fud ˈpɑvərti. ˌhaʊˈɛvər, aɪ wʊd laɪk tɪ drɔ əˈtɛnʃən tɪ ðə ˈfɑloʊɪŋ ˈfaɪndɪŋz: fər ðoʊz hu faɪnd ɪt ˈdɪfəkəlt tɪ meɪk ɛndz mit, ðə fud ˈpɑvərti reɪt ɪz 24 wɪʧ minz ðət ɪn ðɪs ˈkætəˌgɔri ɪkˈspɪriəns wən əv ðə θri ˈɪndəˌkeɪtərz juzd əˈbəv. ðoʊz ˈsəfərɪŋ frəm pur hɛlθ ˈstætəs ræŋk kloʊz bɪˈhaɪnd. ðɛr ər ə ˈkəpəl əv θɪŋz tɪ noʊt. fərst, ðiz ˈnəmbərz ər ˈprɑbəˌbli ən ˈəndərˈɛstəˌmeɪt. ðə ˈɔθərz pɔɪnt aʊt ðət ðə ˈdætə ðeɪ wər ˈjuzɪŋ, frəm ðə rɪˈpɔrt, ˈkəvərz ˈoʊnli ˈpraɪvət ˈhaʊsˌhoʊldz. ðɪs wʊd ɪkˈsklud ˈhoʊmləs, əˈsaɪləm ˈsikərz, ˈtrævələrz ənd ˈpipəl ɪn ˌɪnstɪˈtuʃənz. ɛz ðə rɪˈpɔrt ˈraɪtli pɔɪnts aʊt, grups meɪ bi mɔr ˈvəlnərəbəl tɪ fud poverty.”*.” ˈsɛkənd, ðɪs ˈoʊnli goʊz əp tɪ 2010 wi ʃʊd nɑt bi səˈpraɪzd ɪf ðə fud ˈpɑvərti reɪt həz ˈrɪzən sɪns ðɛn. ˈbəʤɪt 2011 kənˈteɪnd ə ˈnəmbər əv ˈhaɪli rəˈgrɛsɪv ˈmɛʒərz (kəts ɪn ˈsoʊʃəl prəˈtɛkʃən ˈpeɪmənts, ðə flæt reɪt tæks ɪn ðə fɔrm əv ˈkətɪŋ ˈpərsɪnəl tæks ˈkrɛdɪts, ðə usc*) əˈlɔŋ wɪθ ˈfɑlɪŋ ɪmˈplɔɪmənt ənd ˈɪnˌkəm fər ki grups. ˈbəʤɪt 2012 kənˈteɪnd ˈsoʊʃəl prəˈtɛkʃən kəts ɪn ˌpɑˈtɪkjələr ˈaɪtəmz ənd kəts ɪn ril tərmz (ðət ɪz, ˈæftər ˌɪnˈfleɪʃən), əˈlɔŋ wɪθ ðə rəˈgrɛsɪv ˈhaʊsˌhoʊld ʧɑrʤ. aɪ ərʤ ju tɪ hæv ə lʊk æt ðɪs ˈhaɪli ækˈsɛsəbəl rɪˈpɔrt. flɪp θru ðə ˈteɪbəlz ənd græfs. æt list rɛd ðə kənˈkluʒən. ɪt meɪ nɑt bi ɛz ˈsɛksi ɛz ðə ˈleɪtəst ˈstɔri əˈbaʊt ˈprɑpərti ˈpraɪsɪz ər ˈpəblɪk ˈsɛktər əˈlaʊənsɪz ər səm ˈleɪtəst bət kən wi pliz hæv səm pərˈspɛktɪv ɪn ðɪs dəˈbeɪt. səm əv ɑr ˈneɪbərz ər goʊɪŋ ˈhəŋgri. ˈkɑrni ˈmeɪtrə kənˈstrəktɪŋ ə fud ˈpɑvərti ˈɪndəˌkeɪtər fər ˈaɪərlənd ˈɪmɪʤ tɔp: luk ˈheɪˌfild fəˈtɑgrəfi.
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that we can’t, that we don’t, ensure that nobody in our society goes without food says something about the kind of society that is being created for us. by michael taft.
a new report is out - constructing a food poverty indicator for ireland. it estimates that one in ten people experienced ‘food poverty’ in 2010. in other words, hunger. i know the phrase ‘must-read’ is sometimes over-used, but this is truly a must-read report. the very idea that one-in-ten of our neighbours suffer from food poverty is truly frightening. maybe you won’t be guaranteed a job, maybe you won’t be guaranteed free medical care regardless of your need, but surely in a civilised society we can ensure that no one goes without food. that we can’t, that we don’t, says something about the kind of society that is being created for us.
this estimate produced by caroline carney (general council of the bar of england and wales) and bertrand maître (esri) is based on a careful methodology. it uses deprivation indicators that relate to food in the eu’s survey of income and living conditions:
inability to afford a meal with meat or vegetarian equivalent every second day
inability to afford a roast or vegetarian equivalent once a week
whether during the last fortnight, there was at least one day (i.e. from getting up to going to bed) when the respondent did not have a substantial meal due to lack of money
inability to have family or friends for a meal or drink once a month
while they produce a number of findings based on these indicators, in the final analysis they omit the last one – having family or friends over once a month for a meal or drink, though they acknowledge the importance of this indicator:
“this paper does not suggest that this item is not a valid indicator of deprivation per se but is concerned with its ability to identify food deprivation specifically. this item captures deprivation of social participation, in particular social participation relating to food and drink. however the other deprivation items being used by this research capture deprivation that is specific to not affording adequate food.”
i don’t intend to reproduce the numerous tables contained in the report to show the extent and scale of food poverty. however, i would like to draw attention to the following findings:
for those who find it difficult to make ends meet, the food poverty rate is 24% – which means that one-in-four in this category experience one of the three indicators used above. those suffering from poor self-reported health status rank close behind.
there are a couple of things to note. first, these numbers are probably an underestimate. the authors point out that the data they were using, from the eu-silc report, covers only private households. this would exclude homeless, asylum seekers, travellers and people in institutions. as the report rightly points out, “these groups may be more vulnerable to food poverty.”
second, this only goes up to 2010. we should not be surprised if the food poverty rate has risen since then. budget 2011 contained a number of highly regressive measures (cuts in social protection payments, the flat rate tax in the form of cutting personal tax credits, the usc) along with falling employment and income for key groups. budget 2012 contained social protection cuts in particular items and across-the-board cuts in real terms (that is, after inflation), along with the regressive household charge.
i urge you to have a look at this highly accessible report. flip through the tables and graphs. at least read the conclusion. it may not be as sexy as the latest story about property prices or public sector allowances or some minister’s latest peccadillo – but can we please have some perspective in this debate.
some of our neighbours are going hungry.
carney maitre - constructing a food poverty indicator for ireland
notesonthefront.typepad.com
image top: luke hayfield photography.
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1 tɪ rɪˈpɛr ðə ˈbɑdi əv ðɪs ˈɛskˌwaɪr, aɪ kət rɪˈpleɪsmənt ˈpisɪz frəm oʊld æʃ ənd ʃeɪpt ðɛm tɪ græft bæk ˈɪntu ðə gɪˈtɑr. 2 kəˈmərʃəl ˈrutɪŋ hæv ˈlɑrʤər ˈpɪˌkəp ənd ˈʧænəl hoʊlz ðən ˈfɛndər juzd ɪn 1956 soʊ aɪ hæd tɪ meɪk maɪ oʊn ˈkəstəm əˈkrɪlɪk ˈtɛmplət ˈjuzɪŋ ə mɪnt ˈɛskˌwaɪr ɛz ə ˈrɛfərəns. 3 ðə ˈbɑdi ˈæftər ˈpæʧɪŋ ənd ˈrutɪŋ. 4 wi ˌɔˈdɪʃənd ˈkɑmpənˌseɪtəd bræs rɪˈpleɪsmənt ˈsædəlz, bət rɪˈtərnd tɪ ðiz ərˈɪʤənəl, stil ˈsædəlz. ðeɪ ʤɪst ˈsaʊndɪd ˈbɛtər ɔn ðɪs gɪˈtɑr. 5 bæk frəm ðə dɛd: ðə rɪˈstɔrd ˈɛskˌwaɪr ɪn ɔl ɪts ˈglɔri. ˈnɛvər hæv aɪ sin ə rɛr gɪˈtɑr kəm tɪ ˈjuˈɛs soʊ kəmˈplitli dɪˈstrɔɪd. ðɪs ril pis əv ˈfɛndər history—*— hæd bɪn ˈmæŋgəld bɪɔnd ˌkɑmpriˈhɛnʃən. ˈsəmˌwən hæd drɪld skruz (səm ɛz lɔŋ ɛz 4 ˈɪntu ðə ˈbɑdi tɪ hoʊld ˈpriviəsli ˈbroʊkən ˈsɛkʃənz əv æʃ wʊd ˈɪntu pleɪs, ənd ðɛn ˈædɪd ˌɪnˈsəlt tɪ ˈɪnʤəri baɪ sˈlæpɪŋ dip wɑdz əv ˈpəti ɔn ɪt. ðə ˈbɑdi wɑz steɪnd ˈʃæmˌrɑk grin, ənd ɪt lʊkt ɛz ɪf ðə ərˈɪʤənəl ˈfɪnɪʃ hæd bɪn riˈmuvd ˈjuzɪŋ ə paʊər ˈsændər ənd ˈpeɪpər bɪˈkəz ðə dɪˈstɪŋktɪv ˈɛʤɪz wər ˈraʊndɪd ˈoʊvər. dɪˈspaɪt ɔl əv ðɪs, aɪ stɪl kʊd nɑt brɪŋ ˌmaɪˈsɛlf tɪ θroʊ aʊt ðə ˈbɑdi ənd treɪd ɪt ɪn fər ə rɪˈpleɪsmənt. ðə ərˈɪʤənəl brɪʤ ənd nɛk ˈpɪˌkəps wər ˌɪnˈtækt, bət ðeɪ tu wər ɪn nid əv ˌrɛstərˈeɪʃən. ædˈmɪtɪdli, aɪ wɑz ˈgɪtɪŋ səm ɑd lʊks ɪn ðə ʃɑp. ðə ˈʤɛnərəl vaɪb wɑz, ju ˈrɪli ʃʊr ˈmeɪkɪŋ ðə raɪt kɔl ˈteɪkɪŋ ðɪs project?”*?” bət ðə klaɪənt brɔt ðə gɪˈtɑr ɪn tɪ gɪt rɪˈstɔrd, soʊ ʤɪst wət wi dɪd. ˈoʊvər ðə jɪrz, sɛt əˈsaɪd oʊld, smɔl skræps əv æʃ æt ðə ʃɑp, ənd ðeɪ ʃʊr keɪm ɪn ˈhændi fər duɪŋ græfts ˈɪntu ðə ˈdæmɪʤd ˈɛriəz əv ðɪs ˈbɑdi. ðə ərˈɪʤənəl ˈbɑdi rʊts frəm ðə ˈərli wər ˈdɛfənətli sˈmɔlər kəmˈpɛrd tɪ ˈɛni ɪn pərˈdəkʃən təˈdeɪ. aɪ dɪd nɑt wɔnt tɪ ˌɛnˈlɑrʤ ðə ˈpɪˌkəp rʊts ənd ˈəðər ˈʧænəlz tɪ ˈstændərdz, soʊ aɪ tʊk ə ˈfɛndər ˈɛskˌwaɪr, ˈkɛrfəli ˈmɛʒərd ɪt, ənd dɪˈzaɪnd ə əˈkrɪlɪk ˈrutɪŋ ˈtɛmplət frəm məˈtɪriəl aɪ ˈpərʧəst æt hoʊm ˈdipoʊ. maɪ ˈrɛfərəns wɑz ɪn mɪnt kənˈdɪʃən, soʊ ɛz ju kən ˌɪˈmæʤən, aɪ juzd ɪkˈstrim ˈkɔʃən ɛz aɪ ˈmɛʒərd iʧ rut. ˈæftər ðə æʃ græfts wər glud ˈɪntu ə ˈlæməˌneɪt, aɪ juzd ə plənʤ ˈrutər tɪ ˈfaɪnəˌlaɪz ðə kət ənd ðɛn ˈfɛðərd ɪn ðə nu wʊd ˈpisɪz. wəns rɪˈpɛrd ðə ˈbɑdi, aɪ nu ɪt ˈnidɪd tɪ bi ˈfɪnɪʃt ɪn ən oʊˈpeɪk ˈkələr tɪ ˈkəvər ðə ˈgræftɪd ˈsɛkʃənz əv wʊd. wi ʧoʊz blæk, ənd ˌdɪˈsaɪdɪd tɪ spreɪ ə ˌnaɪtroʊˈsɛljəˌloʊs ˈfɪnɪʃ tɪ ˈmɪmɪk wət wɑz juzd ɪn aɪ gɑt maɪ ˈfɪnɪʃɪŋ səˈplaɪz ənd tulz frəm stuərt məkˈdɑnəld (stewmac.com*). wi seɪv ðə brɪʤ ˈpɪˌkəp kɔɪl bɪˈkəz ðə ˈɪnər waɪər wɑz kərˈoʊdɪd əraʊnd ðə mægˈnɛtɪk poʊl ˈpisɪz. soʊ wi ɪt ənd ðɛn ˌkɔzˈmɛtɪkli ˈeɪʤɪd ðə ˈsɑdər ʤɔɪnts tɪ meɪk ðɛm əˈpɪr ˈvɪntɪʤ. ɛz ə ˈfaɪnəl təʧ, wi ðə ərˈɪʤənəl ˈaʊtər roʊp əraʊnd ðə kɔɪl tɪ gɪv ɪt ðət bɪn touched”*” lʊk. ðɛr wər ə fju ˈɪʃuz wɪθ ðə nɛk. ɪts frɛts wər dɪˈstrɔɪd, ɪt ˈnidɪd ə nu nət, ənd ðə hæd ə ˈkəpəl əv hoʊlz drɪld ˈɪntu ðə wʊd. ðə ˈfaɪnəl stɛp tɪ rɪˈstɔrɪŋ ðə nɛk wɑz ˈfaɪndɪŋ ðə kərˈɛkt jɪr əv ðət wɑz ˈækjərət tɪ ðə ˈvɛri læst ˈditeɪl. wɪθ ˈpeɪʃəns ənd təˈnæsɪti, ənd baɪ æˈdrɛsɪŋ ðə ˈʧælənʤɪz wən baɪ wən, wi ˈfaɪnəli rɪˈvaɪvd ðə nɛk ɛz wɛl. ən ˌɪnˈtrigɪŋ ˈtoʊnəl ˈɪnˌsaɪt: wɪn ðə klaɪənt keɪm ɪn tɪ ʧɛk aʊt ðə kəmˈplitɪd gɪˈtɑr wɪθ ə fju əv hɪz gɪˈtɑr ˈguˌru frɛndz, ðeɪ wər plizd wɪθ ðə ˈvɪʒəwəl ənd ˈsɑnɪk ˈæˌspɛkts əv ðə rɪˈsəsɪˌteɪtɪd ˈɛskˌwaɪr. boʊθ əˈkustɪkli ənd ˈæmpləˌfaɪd, ɪt hæd ə fʊl, jɛt toʊn. ðə klaɪənt ˈwɔntɪd ˈjuˈɛs tɪ traɪ rɪˈpleɪsɪŋ ðə ərˈɪʤənəl ˈsædəlz wɪθ bræs ˈsædəlz tɪ ˌɪmˈpruv ˌɪntəˈneɪʃən. soʊ wi dɪd, ənd ðə ˈsɑnɪk rɪˈzəlt wɑz ə ril eye-opener*. ðə bræs ˈsædəlz ˈɔltərd ðə toʊn ɪn ə ˈmeɪʤər weɪ, kəmˈprɛsɪŋ ðə ˈmɪˌdreɪnʤ ənd ˈgɪvɪŋ ðə ˈɪnstrəmənt ə ʤəˈnɛrɪk saʊnd. ɪn ðə pæst, hæd ˈvɛri gʊd rɪˈzəlts ˈjuzɪŋ ðə ˈkɑmpənˌseɪtəd bræs ˈsædəlz, bət wɪn ɔl əv ˈjuˈɛs wər ɪn ðə rum ənd hərd ðə ˈtoʊnəl ʧeɪnʤ, ɪt wɑz 100 pərˈsɛnt ərˈɪʤənəl ˈhɑrdənd- stil ˈsædəlz ˈnidɪd tɪ goʊ bæk ɔn. ðɪs ˈɛskˌwaɪr sərvz ɛz ə riˈmaɪndər ðət iʧ gɪˈtɑr nidz tɪ bi rɪˈstɔrd ɔn ən ˌɪndəˈvɪʤəwəl ˈbeɪsɪs. gɪˈtɑrz hæv juˈnik ˈvɔɪsɪz, soʊ ʤɪst bɪˈkəz ə spɪˈsɪfɪk pɑrt saʊnz gʊd ɪn wən gɪˈtɑr, ðət min wi kən ɪkˈspɛkt ɪt tɪ wərk ɛz wɛl ɪn əˈnəðər. maɪ ˈstɔri ənd ˈstɪkɪŋ tɪ ɪt!
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1. to repair the hacked-up body of this ’56 esquire, i cut replacement pieces from old ash and shaped them to graft back into the guitar. 2. today’s commercial routing templates have larger pickup and channel holes than fender used in 1956, so i had to make my own custom acrylic template using a mint ’51 esquire as a reference. 3. the ’56 body after patching and routing. 4. we auditioned compensated brass replacement saddles, but returned to these original, noncompensated steel saddles. they just sounded better on this guitar. 5. back from the dead: the restored ’56 esquire in all its vibey glory.
never have i seen a rare guitar come to us so completely destroyed. this ’56 esquire—a real piece of fender history— had been mangled beyond comprehension.
someone had drilled screws (some as long as 4") into the body to hold previously broken sections of ash wood into place, and then added insult to injury by slapping deep wads of grayish-blue bondo putty on it. the body was stained shamrock green, and it looked as if the original finish had been removed using a power sander and 60-grit paper because the esquire’s distinctive edges were rounded over. despite all of this, i still could not bring myself to throw out the body and trade it in for a replacement.
the original bridge and neck pickups were intact, but they too were in need of in-depth restoration. admittedly, i was getting some odd looks in the shop. the general vibe was, “are you really sure you’re making the right call taking this project?” but the client brought the guitar in to get restored, so that’s just what we did.
over the years, i’ve set aside old, small scraps of ash at the shop, and they sure came in handy for doing grafts into the damaged areas of this broken-down body. the original body routes from the early ’50s were definitely smaller compared to any templates in production today. i did not want to enlarge the pickup routes and other channels to today’s standards, so i took a ’51 fender esquire, carefully measured it, and designed a full-body acrylic routing template from material i purchased at home depot. my reference ’51 was in mint condition, so as you can imagine, i used extreme caution as i measured each route.
after the ash grafts were glued into a laminate, i used a plunge router to finalize the cut and then feathered in the new wood pieces. once i’d repaired the body, i knew it needed to be finished in an opaque color to cover the grafted sections of wood. we chose black, and decided to spray a nitrocellulose finish to mimic what was used in ’56. i got my finishing supplies and tools from stewart mcdonald (stewmac.com).
we couldn’t save the bridge pickup coil because the inner wire was corroded around the magnetic pole pieces. so we rewound it and then cosmetically aged the solder joints to make them appear vintage. as a final touch, we rewrapped the original outer rope around the coil to give it that “never been touched” look.
there were a few issues with the neck. its frets were destroyed, it needed a new nut, and the fretboard had a couple of 1/4" holes drilled into the wood. the final step to restoring the neck was finding the correct year of decal that was accurate to the very last detail. with patience and tenacity, and by addressing the challenges one by one, we finally revived the neck as well.
here’s an intriguing tonal insight: when the client came in to check out the completed guitar with a few of his guitar guru friends, they were pleased with the visual and sonic aspects of the resuscitated esquire. both acoustically and amplified, it had a full, yet chimey bell-like tone.
the client wanted us to try replacing the original hardened-steel saddles with precompensated brass saddles to improve intonation. so we did, and the sonic result was a real eye-opener. the brass saddles altered the guitar’s tone in a major way, compressing the midrange and giving the instrument a generic sound. in the past, i’ve had very good results using the compensated brass saddles, but when all of us were in the room and heard the tonal change, it was 100 percent unanimous—the original hardened- steel saddles needed to go back on.
this esquire serves as a reminder that each guitar needs to be restored on an individual basis. guitars have unique voices, so just because a specific part sounds good in one guitar, that doesn’t mean we can expect it to work as well in another.
that’s my story and i’m sticking to it!
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ˈæftər ˈsɛvən jɪrz biɪŋ bænd ɪn ˈʧaɪnə, ˈfeɪsˌbʊk ˈlərnɪd ɪts ˈbɪznɪs ðə ʧaɪˈniz weɪ. əˈkɔrdɪŋ tɪ ðə nu jɔrk taɪmz, ˈfeɪsˌbʊk həz dɪˈvɛləpt ə ˈsɛnsərˌʃɪp tul tɪ riˈstrɪkt ˈkɑntɛnts frəm əˈpɪrɪŋ ɪn fidz, ˈhoʊpɪŋ tɪ ðə ʧaɪˈniz ˈmɑrkɪt, wɛr ˈmɛni ˈəðər tɛk ˈkəmpəˌniz ˌɪnˈkludɪŋ ˈgugəl ənd tˈwɪtər feɪld ɪn ðə pæst. ɪt ɪz ˈlaɪkli ˈfeɪsˌbʊk wʊd prəˈvaɪd ə θərd ˈpɑrti wɪθ ðɪs ˈsɛnsərˌʃɪp tul fər ˈmɑnətərɪŋ poʊsts, ˌɪnˈstɛd əv ˈsɛnsərɪŋ fidz ˌɪtˈsɛlf. ðə ˈkəmpəˌni meɪ ˈpɑrtnər wɪθ ə ʧaɪˈniz fərm, ˈjutəˌlaɪzɪŋ ˈloʊkəl ˌɛkspərˈtiz ənd kəˈnɛkʃənz ɪn nɪˈgoʊʃiˌeɪtɪŋ wɪθ ˌbeɪˈʒɪŋ. ə ˈfeɪsˌbʊk ˈspoʊksˌwʊmən sɛd ðə ˈkəmpəˌni hæd nɑt meɪd dɪˈsɪʒənz ɔn ɪts ˈʧaɪnə plæn. naʊ, ˈriwaɪnd ənd ʃɪft tɪ feɪk nuz ˈkɑntrəˌvərsi bæk hoʊm ɪn ðə juz. læst wik, ˈfeɪsˌbʊk ˈsiˌiˈoʊ mɑrk ˈzəkərˌbərg ˈaʊˌtlaɪnd ðə plæn ɔn ˈfaɪtɪŋ feɪk nuz. ɪn hɪz poʊst ˈzəkərˌbərg ˈmɛnʃənd kəˈmɪtmənt tɪ ðɪs right”*” ənd nɑt biɪŋ əv ðə truth,”*,” wɛr ðə ˈkəmpəˌni dɪz nɑt wɔnt tɪ dɪˈskərɪʤ ˈjuzərz tɪ ʃɛr əˈpɪnjənz ər mɪˈsteɪkənli riˈstrɪkt ˈækjərət ˈkɑntɛnt. soʊ kən səˈluʃən ɔn dɪˈvɛləpɪŋ ə ˈsɛnsərˌʃɪp tul fər ˈʧaɪnə əˈplaɪ tɪ ðə feɪk nuz ˈprɑbləm ɪn ðə juz. ɛz wɛl? ˈʧaɪnə ˈɛkspərt ˈʤɛrəˌmi dɪˈskəst ðə blərd laɪn bɪtˈwin feɪk nuz ənd ˈsɛnsərˌʃɪp ɪn ˈʧaɪnə ənd ðə ˈdɪfərənt ˈɪntərˌnɛt ɪnˈvaɪrənmənts əv ðə tu ˈkəntriz wɪθ fɔrbz ˈeɪʒə. ðə ʧaɪˈniz weɪ ˈvərsəz. ðə əˈmɛrɪkən weɪ ˈwɛðər ɪt ɪz haʊ ˈbɪznɪs ɪz dən ɪn ˈʧaɪnə, ər haʊ ɪt ˈhændəlz ðə groʊɪŋ ˈɪntərˌnɛt kənˈsərnz, ðə ˈkəntri həz ɪt oʊn ʧaɪˈniz weɪ. ˈʤɛrəˌmi, ðə ˈfaʊndər əv danwei*, ə ˈʧaɪnə ˈrisərʧ ənd ˈkəmpəˌni, ɪkˈspleɪnd tu ˈmeɪʤər weɪz ˈʧaɪnə ˈhændəlz feɪk nuz. wən ˈmɛθəd ɪz ˈkiˌwərd ˈfɪltərz. baɪ ˈsɛtɪŋ əp ˈkiˌwərd ˈfɪltərz, ðə ˈkəmpəˌni kʊd goʊ θru poʊsts ənd ˈsərvərz tɪ aɪˈdɛntəˌfaɪ ˌmɪsɪnfərˈmeɪʃən. əˈnəðər wən ɪz ðə ˈjumən ˈmɑnətər. ˈdɪfərənt frəm ə məˈʃin ˈfɪltər, ðə ˈkəmpəˌni haɪərz ˈpipəl tɪ rɛd ˌɪnˌfɔrˈmeɪʃən ˈɔnˌlaɪn tɪ kæʧ ðə ɪˈskeɪpt frəm ðə net”*” ənd meɪk dɪˈsɪʒənz ɔn ˈwɛðər tɪ kip ər dɪˈlit ðə ˈkɑntɛnt. ˈɑrgjuz ðət ðə ʧaɪˈniz weɪ əv ˈhændəlɪŋ feɪk nuz ɪz noʊ ˈdɪfərəns ðən ˈhændəlɪŋ ˈsɛnsərˌʃɪp. θɪŋk ju kən splɪt feɪk nuz ənd ˈsɛnsərˌʃɪp əˈpɑrt ɪn ˈʧaɪnə. ðə ˈfəŋkʃən əv ðiz tu ˈmɛθədz kʊd bi juzd ɪn boʊθ ways,”*,” toʊld fɔrbz ˈeɪʒə. ˈaʊˌtlaɪn tɪ ˈbætəl feɪk nuz ˌɪnˈkludz ˈstrɔŋgər dɪˈtɛkʃən, ˈizi rɪˈpɔrtɪŋ, θərd ˈpɑrti ˌvɛrəfəˈkeɪʃən ənd mɔr. ðə ˈkəmpəˌni həz riʧt aʊt tɪ ˌɔrgənəˈzeɪʃənz ənd ɪz ɪkˈsplɔrɪŋ weɪz tɪ ˈleɪbəl ˈstɔriz ðət ər flægd baɪ θərd ˈpɑrtiz ɛz fɔls. sɛd ðə ˈsɛˌtəp əv ˈmidiə ənd ðə ˈɪntərˌnɛt ɪnˈvaɪrənmənt ɪn ðə juz. ənd ˈʧaɪnə ɪz ˌfəndəˈmɛnəli ˈdɪfərənt. θɪŋk ju kən kəmˈpɛr ðə juz. feɪk nuz ˈprɑbləm tɪ. ɪt rikˈwaɪərz ˈsəmθɪŋ nu tɪ ˈhæpən tɪ ˈtækəl ðɪs ˈprɑbləm hir. ɪt ɪz ˈdɪfəkəlt tɪ noʊ haʊ ðɪs ˈɪʃu ɪz goʊɪŋ tɪ bi ˈɪmpləˌmɛnəd wɪˈθaʊt ˈkɔlɪŋ fər censorship.”*.” haʊ ˈhændəlz feɪk nuz waɪl ˈfeɪsˌbʊk ɪz ˈbɪzi leɪɪŋ aʊt plænz tɪ faɪt feɪk nuz ɔn ɪts ˈplætˌfɔrm,, ˈlɑrʤəst ənd ˈɪntərˌnɛt ˈsərvɪs, ɪz nɑt ə ˈnuˌkəmər bət ən ˈɛkspərt ɪn ˈtækəlɪŋ ˌɪˈlɪsət ˌɪnˌfɔrˈmeɪʃən. ˈsiˌiˈoʊ mɑ kɔld fər ˈʃɛrɪŋ mɔr ˈsoʊʃəl riˌspɑnsəˈbɪlətiz ɛz ən ““adult”*” ˈkəmpəˌni ˈæftər tərnd 18 ðɪs mənθ. ɪts ˈɪnstənt ˈmɛsɪʤɪŋ tulz səʧ ɛz ənd, wɪʧ hæv ˈfəŋkʃənz, hæv riʧt ˈbɪljən ˈjuzərz kəmˈbaɪnd, kloʊz tɪ ˈbɪljən ˈjuzərz ɛz əv sɛpˈtɛmbər. ˈbɪldɪŋ ˈbɛtər ˈprɑdəkts ənd ˈrənɪŋ ðə ˈkəmpəˌni, ˈsoʊʃəl ˈlaɪvliˌhʊd ənd ˈsaɪbər sɪˈkjʊrəti ˈɪʃuz ər noʊ ˈlɔŋgər ˈaʊtˈsaɪd business,”*,” sɛd mɑ æt ðə θərd wərld ˈɪntərˌnɛt ˈkɑnfərəns ɪn wuzhen*, ˈʧaɪnə læst wik. həz ɪˈstæblɪʃt ˈvɛriəs ˈʧænəlz θru ˈwɛbˌsaɪts ər ˈhɑˌtlaɪnz ɔn ˈhændəlɪŋ ˌmɪsɪnfərˈmeɪʃən. əˈkɔrdɪŋ tɪ mɑ, ðə ˈkəmpəˌni həz dɪˈspoʊzd əv 17 ˈmɪljən ˈkeɪsɪz soʊ fɑr ðɪs jɪr. ðə ˈkəmpəˌni ɪˈstæblɪʃt ən əˈfɪʃəl əˈkaʊnt ɔn kɔld filter”*” ˈwərkɪŋ wɪθ ˈsɛvərəl ˈmeɪʤər ʧaɪˈniz ˈmidiə ənd prəˈfɛʃənəl ˌɔrgənəˈzeɪʃənz ɔn ˈhɛlpɪŋ ˈjuzərz tɪ ˈbɛtər aɪˈdɛntəˌfaɪ feɪk nuz wɪθ ə ˈfoʊkɪs ɔn ˈsoʊʃəl, hɛlθ ənd scienc*- rɪˈleɪtɪd ˈtɑpɪks. ˈɔlsoʊ əˈsɛmbəld ə sɪˈkjʊrəti ˈmænɪʤmənt tim ˈdɛdəkeɪtəd tɪ ˈɪntərˌnɛt frɔd.
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after seven years being banned in china, facebook learned its lesson—do business the chinese way. according to the new york times, facebook has developed a censorship tool to restrict contents from appearing in feeds, hoping to re-enter the chinese market, where many other tech companies including google and twitter failed in the past.
it is likely facebook would provide a third party with this censorship tool for monitoring posts, instead of censoring feeds itself. the company may partner with a chinese firm, utilizing local expertise and connections in negotiating with beijing. a facebook spokeswoman said the company had not made decisions on its china re-entry plan.
now, let’s rewind and shift to facebook’s fake news controversy back home in the u.s. last week, facebook ceo mark zuckerberg outlined the company’s plan on fighting fake news. in his post zuckerberg mentioned facebook’s commitment to “getting this right” and not being “arbiters of the truth,” where the company does not want to discourage users to share opinions or mistakenly restrict accurate content.
so can facebook’s solution on developing a censorship tool for china apply to the fake news problem in the u.s. as well? china expert jeremy goldkorn discussed the blurred line between fake news and censorship in china and the different internet environments of the two countries with forbes asia.
the chinese way vs. the american way
whether it is how business is done in china, or how it handles the growing internet concerns, the country has it own characteristics—the chinese way. jeremy goldkorn, the founder of danwei, a china research and media-monitoring company, explained two major ways china handles fake news.
one method is keyword filters. by setting up keyword filters, the company could go through posts and servers to identify misinformation. another one is the human monitor. different from a machine filter, the company hires people to read information online to catch the “fish escaped from the net” and make decisions on whether to keep or delete the content.
goldkorn argues that the chinese way of handling fake news is no difference than handling censorship. “i don’t think you can split fake news and censorship apart in china. the function of these two methods could be used in both ways,” goldkorn told forbes asia.
zuckerberg’s outline to battle fake news includes stronger detection, easy reporting, third party verification and more. the company has reached out to fact-checking organizations and is exploring ways to label stories that are flagged by third parties as false.
goldkorn said the setup of media and the internet environment in the u.s. and china is fundamentally different. “i don’t think you can compare the u.s. fake news problem to china’s. it requires something new to happen to tackle this problem here. it is difficult to know how this issue is going to be implemented without calling for censorship.”
how tencent handles fake news
while facebook is busy laying out plans to fight fake news on its platform, tencent, china’s largest and most-used internet service, is not a newcomer but an expert in tackling illicit information. ceo ma huateng called for sharing more social responsibilities as an “adult” company after tencent turned 18 this month. its instant messaging tools such as qq and wechat, which have news-sharing functions, have reached 1.73 billion users combined, close to facebook’s 1.79 billion users as of september.
“besides building better products and running the company, social livelihood and cyber security issues are no longer outside tencent’s business,” said ma huateng at the third world internet conference in wuzhen, china last week.
tencent has established various channels through websites or hotlines on handling misinformation. according to ma, the company has disposed of 17 million cases so far this year. the company established an official account on wechat called “rumor filter” working with several major chinese media and professional organizations on helping users to better identify fake news with a focus on social, health and scienc- related topics. tencent also assembled a security management team dedicated to internet fraud.
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hi stʊd ˈɔlˌmoʊst weɪd ˈnɪrli 300 paʊnz əv ˈsɑləd ˈməsəl, ənd wɑz wən əv ðə ˈstrɔŋgəst gaɪz ɔn ðə tim. aɪ wɑz əˈbaʊt 195 paʊnz, strɔŋ, bət nɑt ðət strɔŋ. ʤɑn, aɪl kɔl ɪm, hæd ə ˌrɛpjəˈteɪʃən fər biɪŋ ə ˈbʊli ənd ə ˈbɪgət. aɪ wɑz ðə ˈoʊpənli geɪ ˈkɪkər, ə ˈpərˌfɪkt ˈtərgət. "ˈfægət," "kwɪr," "gərl," ənd ˈɛni ˈəðər dərˈɑgəˌtɔri tərm ju kən kɔl ə geɪ mæn spjud frəm hɪz maʊθ wɪn aɪ wɔkt baɪ, ˈfɪrɪŋ fər maɪ laɪf. səʧ wɑz maɪ ˈɛvriˈdeɪ laɪf fər ðə fərst fju mənθs əv biɪŋ ən ˈoʊpənli geɪ ˈfʊtˌbɔl pleɪər æt ə ˈmeɪʤər dɪˈvɪʒən 1 ˌjunəˈvərsəti (ðə ˌjunəˈvərsəti əv) ɪn ðə fɔl əv 2003 aɪ wɑz skɛrd. əˈfreɪd tɪ seɪ ðə rɔŋ θɪŋ, meɪk aɪ ˈkɑnˌtækt wɪθ ðə rɔŋ ˈpərsən, ər du ˈɛniˌθɪŋ ðət maɪt bi kənˈsɪdərd tu "geɪ," wɪʧ kʊd pəˈtɛnʃəli min hɑrʃ ənd ˈpeɪnfəl ˈkɑnsəkˌwɛnsəz fər mi frəm ðə grup əv ɔn ðə tim. ˈɛvəri deɪ aɪ wɑz ˈwɔkɪŋ ɔn ˈɛgˌʃɛlz. skɛrd ənd əˈloʊn, aɪ sɛt aʊt tɪ ərn ðə ləv ənd rɪˈspɛkt frəm maɪ ˈfɛloʊ ˈtimˌmeɪts ənd ˈkoʊʧɪz. aɪ nu maɪ ˈʤərni ˈwəzənt goʊɪŋ tɪ bi ˈizi, bət aɪ ˈwəzənt goʊɪŋ tɪ lɪv ə laɪ ər lɪv ɪn fɪr. aɪ wɑz goʊɪŋ tɪ bi ˌmaɪˈsɛlf. (ˈkərtəsi əv ˈɛrɪk) (ˈkərtəsi əv ˈɛrɪk) ðɪs ˈwəzənt jʊr ˈævərɪʤ ˈfʊtˌbɔl tim. ðɪs wɑz ðə bɪg ligz, ðə cornhuskers*, hɪˈstɔrɪkəli wən əv ðə bɛst ˈkɑlɪʤ ˈfʊtˌbɔl timz. ənd ðɪs ˈwəzənt ðə moʊst əkˈsɛptɪŋ steɪt ˈiðər. nəˈbræskə həz ə ˈhɪstəri əv biɪŋ wən əv ðə moʊst kənˈsərvətɪv ənd steɪts ɪn ðə ˈkəntri. ɪn 2000 nəˈbræskə ˈvoʊtərz əˈdɑptəd ə ˌkɑnstəˈtuʃənəl əˈmɛndmənt ðət dɪˈfaɪnd ˈmɛrɪʤ ɛz ðə ˈjunjən əv ə mæn ənd ə ˈwʊmən ənd proʊˈhɪbətəd ðə ˌrɛkɪgˈnɪʃən əv ˌseɪmˈsɛks riˈleɪʃənˌʃɪps. geɪ ˈmɛrɪʤ wɑz stɪl ə paɪp drim, wɪθ ˌmæsəˈʧusəts stɪl mənθs əˈweɪ frəm biɪŋ ðə fərst steɪt tɪ ˈligəˌlaɪz ɪt ɪn meɪ 2004 ɪt wɑz ˈɔlsoʊ ʤɪst faɪv jɪrz ˈæftər ðə hɔˈrɪfɪk ˈmərdər əv ˈmæθju ˈʃɛpərd ɪn nəˈbræskəz ˈneɪbərɪŋ steɪt əv ˌwaɪˈoʊmɪŋ. aɪ nu maɪ ˈʤərni ˈwəzənt goʊɪŋ tɪ bi ˈizi, bət aɪ ˈwəzənt goʊɪŋ tɪ lɪv ə laɪ ər lɪv ɪn fɪr. aɪ wɑz goʊɪŋ tɪ bi ˌmaɪˈsɛlf ən æθˈlɛtɪk, smɑrt, fən, kˈwərki, ˈdrɪvən, ˈkɛrɪŋ, ənd ˈpæʃənət mæn hu ʤɪst soʊ ˈhæpənd tɪ bi geɪ. aɪ gru əp ɪn ðə ˈvɛri kənˈsərvətɪv, ˈtaɪni fɑrm taʊn əv pɪrs, neb*. (ˌpɑpjəˈleɪʃən groʊɪŋ əp ɪn ðə "middle-of-nowhere*" wɑz ˌɪnˈkrɛdəbli ˈdɪfəkəlt, ənd maɪ ˈʧaɪlˌdhʊd ənd tin jɪrz wər ˈrɑki. aɪ wɑz ˈbʊlid fər biɪŋ geɪ ˈivɪn ˌbiˈfɔr aɪ hæd ækˈsɛptɪd ˌmaɪˈsɛlf, hæd ˈmeɪʤər ˈfæməli ˈɪʃuz ənd ˈɔlˌmoʊst kəˈmɪtɪd ˈsuɪˌsaɪd ˈsɛvərəl taɪmz du tɪ səˈvɪr dɪˈprɛʃən. maɪ dæd ənd aɪ fˈjudɪd ə lɔt ənd ˈfɪzɪkəl ˈbætəlz wər ˈkɑmən, wɪʧ lɛd tɪ ˈnumərəs pəˈlis ˈvɪzɪts æt maɪ hoʊm. ðɪs ˈkəlməˌneɪtɪd ɪn mi bɪˈkəmɪŋ ə wɔrd əv ðə steɪt fər tu jɪrz æt ðə ˈeɪʤɪz əv 15 ənd 16 ənd fɔrst tɪ lɪv ɪn ə grup hoʊm fər ə fju mənθs. ˈdʊrɪŋ ðɪs taɪm aɪ wɑz ˈivɪn twaɪs ədˈmɪtəd tɪ ðə ˈhɑˌspɪtəlz ˈsuɪˌsaɪd wɔrd. laɪf ʤɪst ˈdɪdənt sim wərθ ˈlɪvɪŋ. maɪ ˈgɑrdiən ˈeɪnʤəl məst hæv bɪn prəˈtɛktɪŋ mi ðoʊ, bɪˈkəz ˈsəmθɪŋ wɑz ˈɔlˌweɪz ˈhoʊldɪŋ mi bæk frəm goʊɪŋ ɔl ðə weɪ θru wɪθ ˈkɪlɪŋ ˌmaɪˈsɛlf. aɪ θɪŋk aɪ nu dip daʊn ðət maɪ laɪf hæd mɔr ˈvælju ənd ðət aɪ wʊd ˈəltəmətli pruv ˈɛvriˌwən rɔŋ. ˈəltəmətli, aɪ juzd ðə əˈbjuz aɪ ɪnˈdʊrd æt skul ənd æt hoʊm tɪ ˈstrɛŋθən maɪ riˈzɑlv tɪ səkˈsid. aɪ wʊd pruv ðə ˈbʊliz ənd maɪ dæd rɔŋ. maɪ draɪv lɛd mi tɪ ˈnumərəs ˌækəˈdɛmɪk, mˈjuzɪkəl, ənd æθˈlɛtɪk əˈʧivmənts ɪn haɪ skul dɪˈspaɪt maɪ ˈtrəbəld laɪf. æt 17 ˈdʊrɪŋ maɪ ˈʤunjər jɪr əv haɪ skul, aɪ keɪm aʊt tɪ maɪ ˈfæməli ənd frɛndz. maɪ kloʊz frɛndz ɛmˈbreɪst mi ənd sɛd maɪ ˌsɛkʃuˈæləti ˈdɪdənt ˈmætər tɪ ðɛm. dɪˈspaɪt ðə ˈtərˌmɔɪl æt hoʊm, maɪ ˈməðər ənd ˈsɪstərz wər əkˈsɛptɪŋ əv maɪ dɪˈsɪʒən tɪ lɪv ən ˈoʊpən ənd ˈɑnəst laɪf. aɪl ˈnɛvər fərˈgɛt maɪ ˈməðərz ˌɪˈnɪʃəl riˈækʃən tɪ mi ˈkəmɪŋ aʊt. ɛz ʃi sæt æt ðə ˈdɪnər ˈteɪbəl ˈsɑbɪŋ, ʃi ˈətərd, "aɪ ˈɔlˌweɪz nu ju wər geɪ. ə ˈməðər ˈɔlˌweɪz noʊz. aɪ hæd tɪ lɛt ju kəm tɪ tərmz wɪθ ɪt fərst ðoʊ. aɪ wɔnt ju tɪ noʊ ðət aɪ ləv ənd səˈpɔrt ju noʊ ˈmætər wət. jʊr stɪl maɪ seɪm blonde-haired*, bɔɪ." maɪ ˈfɑðər ˈwəzənt nɪr ɛz səˈpɔrtɪv æt fərst du tɪ hɪz oʊn ˌhoʊməˈfoʊbiə ənd ɑr ˈhaɪli dɪsˈfəŋkʃənəl riˈleɪʃənˌʃɪp. ɪn taɪm ðoʊ, ɑr riˈleɪʃənˌʃɪp ˌɪmˈpruvd, ənd hi həz bɪˈkəm wən əv maɪ ˈbɪgəst səˈpɔrtərz. aɪ æm praʊd tɪ kɔl ɪm maɪ dæd. aɪ ˈgræʤəˌweɪtɪd haɪ skul ɛz səˌlutəˈtɔriən, ənd wɑz əˈwɔrdɪd ˌækəˈdɛmɪk ˈskɑlərˌʃɪps tɪ ðə ˌjunəˈvərsəti əv fər ˈkɛmɪkəl ˈɛnʤəˈnɪrɪŋ, wɛr aɪ hæd ˈɔlsoʊ saɪnd ɔn tɪ pleɪ ˈfʊtˌbɔl fər ðə huskers*. aɪ hæv ˈɔlˌweɪz ˈteɪkən praɪd ɪn biɪŋ tru tɪ ˌmaɪˈsɛlf ənd hu aɪ æm ɛz ə ˈpərsən. ˈðɛrˌfɔr, ɪt wɑz ən ˈizi dɪˈsɪʒən nɑt tɪ ʤəmp bæk ˈɪntu ðə ˈklɑzət wɪn goʊɪŋ ˈɪntu ˈkɑlɪʤ. ˌhaʊˈɛvər ˈrɪski ɪt meɪ hæv bɪn tɪ stɑrt maɪ ˈfʊtˌbɔl kərɪr ɛz ən ˈoʊpənli geɪ mæn ˈdɪdənt ˈmætər tɪ mi. wət ˈmætərd wɑz ðət aɪ wɑz biɪŋ tru tɪ ˌmaɪˈsɛlf. ɪf ˈsəmˌwən æst mi əˈbaʊt maɪ ˌsɛkʃuˈæləti, aɪ wɑz ˈrɛdi tɪ tɛl ðɛm ðə truθ. aɪ rɪˈmɛmbər ˈwɔkɪŋ ˈɪntu ɑr fərst tim ˈmitɪŋ ɪn ˈərli ˈɔgəst 2003 ðə pləʃ, ˈsteɪdiəm ˈsitɪŋ wɪˈθɪn ðə ˈfʊtˌbɔl ˌɔdəˈtɔriəm fɪld wɪθ mɔr ðən 100 əv ðə bɛst ˈæθˌlits ɪn ðə ˈkəntri. ˌtɛˈstɑstərˌoʊn fɪld ðə ɛr. aɪz glɛrd æt mi. ðɛr wər ˈpəzəld lʊks ɔn səm əv maɪ ˈfɛloʊ ˈtimˌmeɪts' ˈfeɪsɪz. əm ˈsərtən moʊst əv ðɛm hæd ɔˈrɛdi faʊnd aʊt əˈbaʊt maɪ ˌsɛkʃuˈæləti θru ðə ˈgreɪpˌvaɪn, sɪns aɪ ˈnɛvər hɪd ɪt frəm ˈɛniˌwən ənd hæd ɔˈrɛdi kəm aʊt tɪ maɪ ˈfæməli ənd frɛndz. ɪn ˌnɔrˈθist nəˈbræskə, wərd ˈtrævəld fæst əˈbaʊt nuz laɪk ðɪs. aɪ kən ˈoʊnli ˌɪˈmæʤən wət səm əv ðɛm wər ˈθɪŋkɪŋ. "wi hæv ə fæg ɔn ɑr tim naʊ? əm goʊɪŋ tɪ dɪˈstrɔɪ ðət ˈlɪtəl ˈfɛri ɔn ðə fild." aɪ traɪd maɪ bɛst tɪ haɪd maɪ ˌəˈnizinəs ənd wɔkt əp ðə stɛrz tɪ ðə bæk əv ðə ˌɔdəˈtɔriəm. ˈləkəli aɪ hæd ɔˈrɛdi meɪd frɛndz wɪθ səm əv ðə ˈəðər ˈɪnˌkəmɪŋ ˈfrɛʃmən waɪl ɔn rɪˈkrutɪŋ trɪps. ɛz aɪ sæt daʊn wɪθ ðɛm aɪ θɔt, "haʊ æm aɪ goʊɪŋ tɪ du ðɪs? haʊ æm aɪ goʊɪŋ tɪ wɪn ˈoʊvər maɪ ˈtimˌmeɪts ənd ˈkoʊʧɪz ɛz ən ˈoʊpənli geɪ ˈfʊtˌbɔl pleɪər? wɪl aɪ bi bit əp? wɪl aɪ sərˈvaɪv ənd θraɪv ɪn ðɪs ˈdɪfəkəlt ˈætməsˌfɪr, ər wɪl aɪ ɛnd əp əˈnəðər ˈmæθju ˈʃɛpərd?" ˌɪˈmiˌdiətli ˈfɑloʊɪŋ ðət ˈmitɪŋ, ðə geɪ ˈbæʃɪŋ bɪˈgæn. ɛz aɪ wɔkt aʊt əv ðə ˌɔdəˈtɔriəm, aɪ kʊd hir ʤɑn ˈətər "kwɪr," waɪl hi priˈtɛndɪd tɪ kɔf. ə fju əv hɪz frɛndz ɔn ðə tim ˈʧəkəld. aɪ priˈtɛndɪd nɑt tɪ hir ðɛm, ənd kənˈtɪnjud maɪ weɪ tɪ ðə ˈlɑkər rum. ˈθæŋkfəli wi ˈdɪdənt hæv ˈpræktɪs ðət deɪ. aɪ ˈwəzənt ʃʊr ɪf aɪ wɑz ˈrɛdi tɪ pæd əp ənd feɪs səm əv ðoʊz ɔn ðə fild. maɪ foʊks kɔld mi ˈleɪtər ðət ˈivnɪŋ. "haʊ wɑz deɪ 1 ɛz ə?" aɪ ˈdɪdənt wɔnt tɪ skɛr maɪ ˈməðər ər maɪ ˈfɑðər, hu wɑz ˈstrəgəlɪŋ wɪθ hɪz oʊn ˌhoʊməˈfoʊbiə, soʊ aɪ laɪd. "ɪt wɑz greɪt! aɪ ləv ɔl əv ðə fri swag*, ənd ðeɪ fid ˈjuˈɛs ˈvɛri wɛl." nɑt ə ˈmɛnʃən əv ðə ˈbʊliɪŋ. ˈwɔkɪŋ ˈɔntu ðə fild ˌɪnˈsaɪd ˈmæsɪv məˈmɔriəl ˈsteɪdiəm fər ɑr fərst ˈpræktɪs wɑz nərv ˈrækɪŋ. aɪ kʊd si ʤɑn ənd hɪz ˈbədiz əˈbaʊt 30 jɑrdz əˈweɪ. aɪ plænd tɪ stɪr klɪr əv ðɛm ɛz məʧ ɛz ˈpɑsəbəl. ɛz ə ˈkɪkər jʊr ˈvəlnərəbəl wəns jʊr lɛg həz swəŋ baɪ ənd ðə bɔl həz sɛt seɪl təˈwɔrdz ðə ˈəˌpraɪts. ɔl ʤɑn ər hɪz ˌhoʊməˈfoʊbɪk ˈbədiz hæd tɪ du wɑz ˌɪnˈtɛnʃənəli rəf mi, ˈkɔzɪŋ ˈsɪriəs ˈɪnʤəri tɪ maɪ lɛgz, ənd maɪ kərɪr kʊd bi ˈoʊvər. aɪ wɑz rɪˈlivd wɪn ðə ˈkɪkɪŋ koʊʧ sɛd ðət ˈkɪkərz ənd kˈwɔrtərˌbæks gɑt tɪ wɛr ə grin ˈʤərzi, wɪʧ mɛnt ju wər nɑt səˈpoʊzd tɪ bi hɪt. bət wʊd ə grin ˈʤərzi bi ɪˈnəf tɪ stɑp ʤɑnz heɪt ənd ˈæŋgər? saɪnz ˈɔtəˌgræfs æt ðə 2005 nəˈbræskə fæn deɪ. (ˈkərtəsi əv ˈɛrɪk) saɪnz ˈɔtəˌgræfs æt ðə 2005 nəˈbræskə fæn deɪ. (ˈkərtəsi əv ˈɛrɪk) θruaʊt maɪ fərst mənθ ɛz ən ˈoʊpənli geɪ ˈfʊtˌbɔl pleɪər, ðə ˈbʊliɪŋ frəm ə ˈhændˌfʊl əv maɪ ˈtimˌmeɪts wɑz rɪˈlɛntlɪs. θruaʊt maɪ fərst mənθ ɛz ən ˈoʊpənli geɪ ˈfʊtˌbɔl pleɪər, ðə ˈbʊliɪŋ frəm ə ˈhændˌfʊl əv maɪ ˈtimˌmeɪts wɑz rɪˈlɛntlɪs. neɪm ˈkɔlɪŋ ənd dɪˈgreɪdɪŋ ənd dɪˈmɔrəˌlaɪzɪŋ ˈkɑmɛnts wər ɔl tu ˈkɑmən. lookin*' æt, ˈfægət?!" aɪd hir ɪf aɪ meɪd aɪ ˈkɑnˌtækt wɪθ ˈɛni əv ðɛm, əˈspɛʃəli ʤɑn. ɪf aɪ wɑz ˈɛvər kɔt ˈwɔkɪŋ təˈwɔrdz ˈɛni əv ðiz ˌhoʊməˈfoʊbɪk ˈtimˌmeɪts ɪn ðə ˈhɔlˌweɪ aɪ nu tɪ stɛp əˈsaɪd ənd lɛt ðɛm pæs. ɪt ˈoʊnli tʊk wəns fər mi tɪ lərn ðət ˈlɛsən. ðə fərst taɪm aɪ wɑz kɔt ˈwɔkɪŋ təˈwɔrdz ʤɑn ɪn ə ˈnɛroʊ ˈhɔlˌweɪ rɪˈzəltɪd ɪn mi ˈgɪtɪŋ slæmd ˈɪntu ðə wɔl laɪnd wɪθ ˈpɔrtrəts əv pæst greɪts. "wɔʧ ɪt, fæg!" hi jɛld ɛz maɪ bæk kræʃt ˈɪntu ðə wɔl ənd ðə ˈpɔrtrəts ʃʊk. ˈdʊrɪŋ ðə fərst ˈsɛvərəl mənθs, ɪt wɑz ˈkɑmən tɪ si grups əv ˈæθˌlits ənd ðɛr frɛndz ˈhədəl əp ənd ˈwɪspər wɪn aɪd wɔk ˈɪntu ðə ˌkæfəˈtɪriə ər ˌækəˈdɛmɪk ˈsɛnər. ˈɔfən aɪd ˈoʊvərˈhir ˈpipəl seɪ "ðæts ðə geɪ ˈfʊtˌbɔl pleɪər" ənd ðɛn pərˈsid tɪ læf. ɪt wɑz ˈvɛri ənˈkəmfərtəbəl ənd tɪ seɪ ðə list. bət wən deɪ ðɪs ɔl ʧeɪnʤd. ɪt wɑz ˈlənʧˌtaɪm ɔn ə brɪsk fɔl deɪ ɪn 2003 aɪ sæt daʊn wɪθ maɪ treɪ fʊl əv fud əˈkrɔs frəm tu kloʊz frɛndz əv maɪn ɔn ðə tim, ˈkɔri məˈkiən ənd ʃɔn hɪl. ɛz aɪ bɪˈgæn ˈitɪŋ, ˈkɔri, hu hæd noʊ ˈfɪltər, sɛd, "heɪ, ˈprɪti bɔɪ. wi hæv ə kˈwɛʃən." əm ˈθɪŋkɪŋ "oʊ, gɑd, aɪ noʊ wət ðɪs ɪz." ˈkɔri æst, "ər ju geɪ?" hi ənd ʃɔn hæd ˈprɑbəˌbli ˈoʊvərˈhərd ˈrumərz ənd ˈwɔntɪd mi tɪ ˈklɛrəˌfaɪ. aɪ lʊkt əp æt ˈkɔri ənd ʃɔn wɪθ ə bɪg smaɪl ɔn maɪ feɪs ənd rɪˈplaɪd ˈkɑmli, "jæ, ɪz ðət ə ˈprɑbləm?" ˈkɔri ənd ʃɔn kˈwɪkli glænst æt iʧ ˈəðər ənd ðɛn bæk æt mi ɛz ðeɪ sɛd ɪn ˈjunɪsən, "noʊ. ðæts kul. wi θɔt soʊ. ʤɪst ˈwɔntɪd tɪ ʧɛk." ɑr ˌkɑnvərˈseɪʃən kˈwɪkli ˈʃɪftɪd ˈɪntu ˈsəmθɪŋ mənˈdeɪn, wi ˈfɪnɪʃt ɑr lənʧ ənd meɪd ɑr weɪ tɪ tim ˈmitɪŋz. ɪt wɑz wən əv ðə ˈiziəst "ˈkəmɪŋ aʊt" ˈmoʊmənts əv maɪ laɪf. wərd əv maɪ ˈkəmɪŋ aʊt tɪ ˈkɔri ənd ʃɔn sprɛd laɪk ˈwaɪldˌfaɪər. wɪˈθɪn ə fju deɪz, ˈɛvriˌwən ɔn ðə ˈfʊtˌbɔl tim ənd wɪˈθɪn ðə æθˈlɛtɪk dɪˈpɑrtmənt nu ðɛr wɑz ən ˈoʊpənli geɪ ˈæθˌlit əˈməŋ ðɛm. ˈkɔri ənd ʃɔn hæd ˈəpˌbit ˌpərsəˈnælɪtiz ənd ðeɪ wər ˈɔlˌweɪz ˈkrækɪŋ ʤoʊks, wɪʧ meɪd ðɛm ˈvɛri ˈpɑpjələr ənd hɛlpt ðɛm əˈmæs ə lɑrʤ grup əv frɛndz wɪˈθɪn ðə ˈæθˌlit kəmˈjunɪti ənd ˈɛlsˌwɛr. ðə əkˈsɛptəns ənd ləv ðeɪ, ɛz wɛl ɛz maɪ ˈfɛloʊ ˈkɪkərz, ənd lɔŋ, ʃoʊd mi hɛlpt ˈəðər ˈtimˌmeɪts loʊər ðɛr wɔlz ənd lɛt mi ɪn. tɪ ðɪs deɪ, aɪ θɪŋk ðət hæd aɪ nɑt bɪˈfrɛndɪd ˈkɔri ənd ʃɔn soʊ ˈərli ɔn, maɪ roʊd tɪ biɪŋ ækˈsɛptɪd ˈwʊdəv bɪn məʧ ˈlɔŋgər ənd mɔr ˈpeɪnfəl. baɪ ðə taɪm ˌθæŋksˈgɪvɪŋ ənd ˈkrɪsməs roʊld əraʊnd ðət jɪr, maɪ ˈsərkəl əv frɛndz wɪˈθɪn ðə kəmˈjunɪti kənˈtɪnjud tɪ groʊ. ðoʊ ðə məˈʤɔrəti əv maɪ ˈtimˌmeɪts lʊkt bɪɔnd maɪ ˌsɛkʃuˈæləti ənd ækˈsɛptɪd mi fər hu aɪ wɑz, ʤɑn ənd hɪz ˈkroʊniz stɪl ˈhædənt lɛt əp. aɪ kənˈtɪnjud tɪ bi ðə bət əv ðɛr ˌhoʊməˈfoʊbɪk ʤoʊks. aɪ ˈdɪdənt lɛt ðɪs ˈbʊliɪŋ gɪt tɪ mi ðoʊ. maɪ hoʊp wɑz ðət ɪn taɪm ðeɪd lərn tɪ ləv ənd əkˈsɛpt mi tu. əv ɔl ˈeɪʤɪz wər ˌɪnˈspaɪərd baɪ maɪ kərɪʤ tɪ lɪv ˈoʊpənli ɪn səʧ ə ˈmæskjələn ɪnˈvaɪrənmənt. æt ə ˈpækərz geɪm ɪn sɛpˈtɛmbər wɪθ ˈoʊpənli geɪ ˈfɔrmər ˈɛˌnɛˈfɛl ˈlaɪnmən tuaolo*. (ˈkərtəsi əv ˈɛrɪk) æt ə ˈpækərz geɪm ɪn sɛpˈtɛmbər wɪθ ˈoʊpənli geɪ ˈfɔrmər ˈɛˌnɛˈfɛl ˈlaɪnmən tuaolo*. (ˈkərtəsi əv ˈɛrɪk) wərd əˈbaʊt ðə "ˈoʊpənli geɪ ˈkɪkər" sun sprɛd θruaʊt ˈkæmpəs, nəˈbræskə ənd ðə ˌmɪdˈwɛst, ənd ˈpipəl frəm ɔl ˈoʊvər bɪˈgæn ˈkɑnˌtæktɪŋ mi. aɪ wʊd ˈɔfən rɪˈsiv ˈhɑrtˌwɔrmɪŋ iˈmeɪlz ənd ˈlɛtərz, ər bi əˈproʊʧt waɪl aʊt ɪn ˈpəblɪk. wɪn ˈfeɪsˌbʊk bɪˈkeɪm ˈpɑpjələr ɪn ˈərli 2004 ðə iˈmeɪlz ənd ˈmɛsɪʤɪz bɪˈkeɪm ˈivɪn mɔr ˈfrikˌwɛnt. əv ɔl ˈeɪʤɪz, ɛz wɛl ɛz ˌhɛtəroʊˈsɛkˌʃuəlz, wər ˌɪnˈspaɪərd baɪ maɪ kərɪʤ tɪ lɪv ˈoʊpənli ɪn səʧ ə ˈmæskjələn ɪnˈvaɪrənmənt. ə lɔt əv ðə ˈpəblɪk nu aɪ wɑz ˈoʊpənli geɪ bæk ðɛn ˈivɪn ɪf noʊ ˈmidiə ˈaʊˌtlɛt roʊt əˈbaʊt ɪt. frəm ðə fərst taɪm aɪ hæd ə ˈfeɪsˌbʊk ˈproʊˌfaɪl, ɪt sɛd ðət aɪ wɑz "ˈɪntəˌrɛstɪd ɪn mɛn." aɪ wɑz kəmˈplitli aʊt. aɪ tʊk maɪ ˈbɔɪˌfrɛnd æt ðə taɪm tɪ ˈfʊtˌbɔl geɪmz, ˈmeɪʤər ˈæθˌlit ˈfəŋkʃənz ənd ðə ˈfɔrməl, ɔl wɪθ ˈmidiə ˈprɛzənt æt iʧ ɪˈvɛnt. wi hæd ˈmidiə ˈmɛmbərz ɔl ðə taɪm æt ˈpræktɪsɪz ənd ə ˈkəpəl əv ðiz ˈmidiə gaɪz wər geɪ ðɛmˈsɛlvz ənd nu fər ə fækt aɪ wɑz tu. wi ˈivɪn wʊd tɔk aʊt æt ðə geɪ bɑr ˈsəmˌtaɪmz əˈbaʊt mi ənd maɪ ɪkˈspɪriəns biɪŋ ˈoʊpənli geɪ ɔn ðə tim. ju hæv tɪ rɪˈmɛmbər ðət ɪn nəˈbræskə, ˈfʊtˌbɔl ɪz ðə spɔrt. bæk ðɛn, ˈpipəl ɪn nəˈbræskə wʊd ˈrəðər hæv kɛpt θɪŋz laɪk ðɪs ənd ʤɪst əˈvɔɪd ðə ˈtɑpɪk ɛz məʧ ɛz ˈpɑsəbəl. ðə ˈmidiə nu ðət ə lɔt əv ðə ˈpipəl ɪn nəˈbræskə ənd fænz wər nɑt ˈrɛdi fər ˈsəmθɪŋ laɪk ðɪs. ɪn ˈmɛni weɪz ɪt wɑz ə kənˈspɪrəsi əv ˈsaɪləns. ðə læst wik əv dɪˈsɛmbər 2003 maɪ ˈtimˌmeɪts ənd aɪ wər ɪn sæn ænˈtoʊnioʊ fər ðə ˈæləmoʊ boʊl. aɪ kənˈsɪdər ðɪs trɪp ɛz əˈnəðər dɪˈfaɪnɪŋ ˈmoʊmənt ɔn ðə roʊd tɪ maɪ fʊl əkˈsɛptəns ɔn ðə tim. aɪ wɑz fɔrst tɪ bi ɪn kloʊz kˈwɔrtərz wɪθ ʤɑn ənd hɪz smɔl bænd əv, frəm bəs raɪdz, tɪ ˈdɪnərz, tɪ steɪɪŋ ɪn əˈʤeɪsənt hoʊˈtɛl rumz. aɪ kʊd noʊ ˈlɔŋgər əˈvɔɪd ðɛm. ˈdʊrɪŋ ðət wik ʤɑn ənd hɪz frɛndz ˈwɪtnəst, ˈstrɔŋgər ðən ˌbiˈfɔr, ʤɪst haʊ ˈkəmfərtəbəl ðə məˈʤɔrəti əv maɪ ˈtimˌmeɪts wər wɪθ maɪ ˌsɛkʃuˈæləti. ðeɪ əbˈzərvd mi ˈʤoʊkɪŋ əraʊnd ənd ˈlæfɪŋ wɪθ ˈəðər ˈtimˌmeɪts, ˈsoʊʃəˌlaɪzɪŋ, ənd ʤɪst biɪŋ "ˈnɔrməl" laɪk ˈɛvriˌwən ɛls. aɪ wɑz kˈwɪkli bɪˈkəmɪŋ "wən əv ðə gaɪz", ənd ʤɑn ənd hɪz ˈbədiz wər ðɛr tɪ wɔʧ ɪt ɔl. ɔn dɛk. 29 2003 wi dɪˈfitɪd ˈmɪʃɪgən steɪt ɪn ðə ˈæləmoʊ boʊl, ðə hoʊˈtɛl wɛr ðə tim wɑz steɪɪŋ hæd tərnd ˈɪntu ə juʤ ˈpɑrti. ðə ˈmɑrʧɪŋ bænd pleɪd "heɪl ˈvɑrsɪti" ɪn ðə ˈlɑbi, bəˈlunz ənd ˈstrimərz wər ˈɛvriˌwɛr, ənd ðə ɛr wɑz fɪld wɪθ ɪkˈsaɪtmənt. ɛz aɪ meɪd maɪ weɪ daʊn ðə hɔl tɪ maɪ fərst əv ˈmɛni stɑps fər ðə ˈivnɪŋ, aɪ ˈnoʊtɪst ʤɑn ənd hɪz pæk ˈhɛdɪŋ təˈwɔrdz ðə seɪm ˈpɑrti rum ɛz mi. ʤɑn sɔ mi ˈkəmɪŋ ənd ˈʃaʊtɪd, "fæg!" æt ðət ˈmoʊmənt, wən əv ðə ˈəðər hu hæd bɪn ˈtɔrˌmɛntɪŋ mi əˈlɔŋˈsaɪd ʤɑn fər ðə pæst faɪv mənθs, græbd ʤɑnz ɑrm ənd sɛd, "dud. stɑp. nɑt təˈnaɪt." ʤɑn skɔft, ʃət hɪz maʊθ, ənd kənˈtɪnjud ˈɪntu ðə ˈpɑrti. ðə taɪdz wər ˈʧeɪnʤɪŋ. ˈæftər ɑr rɪˈtərn frəm ðə ˈæləmoʊ boʊl, ˈʧeɪnʤɪz wər ˌəndərˈweɪ fər ðə ˈfʊtˌbɔl ˈproʊˌgræm. fræŋk ənd hɪz ˈkoʊʧɪŋ stæf wər lɛt goʊ ənd nu ˈkoʊʧɪz wər brɔt ɪn tɪ ˌriˈpleɪs ðɛm. naʊ aɪ hæd tɪ wɪn ˈoʊvər ðɛm, ˌɪnˈkludɪŋ hɛd koʊʧ bɪl ˈkæləˌhæn naʊ ə ˈdæləs ˈkaʊˌbɔɪz əˈsɪstənt ɛz wɛl ɛz kənˈtɪnju tɪ ʧeɪnʤ ðə hɑrts ənd maɪndz əv ðə ˈhændˌfʊl əv. ˈdʊrɪŋ ðɪs taɪm, əˈbaʊt 50 pleɪərz wər tɪ bi kət frəm ðə ˈfʊtˌbɔl tim ɪn ən ˈɛfərt tɪ ˈdaʊnˌsaɪz. aɪ wɑz ɪkˈstrimli ˈwərid ðət aɪ wʊd bi wən əv ðɛm. wət ə ˈpərˌfɪkt ɪkˈskjuz tɪ juz fər ˈgɪtɪŋ rɪd əv ðə geɪ ˈkɪkər. aɪ hæd ɔˈrɛdi fɛlt laɪk ˈsərtən ˈpipəl ɪn ðə ˈfʊtˌbɔl ˈproʊˌgræm (ˌɪnˈkludɪŋ ə fju ˈkoʊʧɪz) hæd bɪn traɪɪŋ tɪ pʊʃ mi əˈweɪ bɪˈkəz ðeɪ ˈdɪdənt wɔnt tɪ dil wɪθ ə geɪ ˈæθˌlit. ˌhaʊˈɛvər, aɪ wɑz ˈɔlˌweɪz ðə gaɪ ˈpʊʃɪŋ ˌmaɪˈsɛlf bɪɔnd maɪ oʊn ˈlɪmɪts ɪn ˈɔrdər tɪ pruv maɪ wərθ. ˈivɪn ðoʊ aɪ ˈwəzənt ðə ˈstrɔŋgəst, ˈfæstəst ər moʊst ˈæʤəl ˈpərsən ɔn ðə tim, aɪ wʊd bi dæmd ɪf aɪ wɑz goʊɪŋ tɪ luz ə sprɪnt ər ˈɛni ˈəðər strɛŋθ ənd kənˈdɪʃənɪŋ drɪl. ɪn ðə weɪt rum, ɔn ðə fild, ənd ɪn ðə ˈklæsˌrum aɪ pruvd maɪ əˈbɪləˌtiz ənd ʃoʊd maɪ dɪˌtərməˈneɪʃən ənd hɑrd wərk ˈɛθɪk. ɪn ðə ɛnd, aɪ wɑz nɑt kət. ðeɪ sɔ haʊ ˈvæljəbəl aɪ wɑz tɪ ðə tim, dɪˈspaɪt maɪ ˌsɛkʃuˈæləti. ˈæftər səˈlɪdəˌfaɪɪŋ maɪ spɑt ɔn ðə tim, θɪŋz ˈstɑrtɪd tɪ ʧeɪnʤ ˈivɪn mɔr ɪn haʊ maɪ ˈtimˌmeɪts pərˈsivd mi., tɔp raɪt, wɪθ ðə ˈkɪkərz,, ənd lɔŋ æt ðə 2003 ˈæləmoʊ boʊl. (ˈkərtəsi əv ˈɛrɪk), tɔp raɪt, wɪθ ðə ˈkɪkərz,, ənd lɔŋ æt ðə 2003 ˈæləmoʊ boʊl. (ˈkərtəsi əv ˈɛrɪk) ˈæftər səˈlɪdəˌfaɪɪŋ maɪ spɑt ɔn ðə tim ðət spərɪŋ, θɪŋz ˈstɑrtɪd tɪ ʧeɪnʤ ˈivɪn mɔr ɪn haʊ maɪ ˈtimˌmeɪts pərˈsivd mi. ðə dɪˈminər əv ðə ˌhoʊməˈfoʊbɪk grup bɪˈkeɪm lɛs ənd lɛs hɑrʃ, ənd əˈbjusɪv ˈkɑmɛnts wər fju ənd fɑr bɪtˈwin. ˈtimˌmeɪts wər ˈivɪn kwɪk tɪ əˈpɑləˌʤaɪz ɪf ðeɪ sɛd ˈsəmθɪŋ laɪk "ðæts geɪ" əraʊnd mi. ðə ˈbɪgəst ʧeɪnʤ wʊd əˈkər ðət ˈsəmər. aɪl ˈnɛvər fərˈgɛt ðə naɪt mi ənd səm əv ðə gaɪz wɛnt aʊt tɪ ˈsɛləˌbreɪt maɪ ˈbərθˌdeɪ ɪn ˈɔgəst 2004 wi wɔkt ˈɪntu ən ˈæθˌlit haʊs ˈpɑrti, ənd ðɛr əˈkrɔs ðə rum wɑz ʤɑn. aɪ θɔt tɪ ˌmaɪˈsɛlf, "aɪ doʊnt wɔnt tɪ dil wɪθ ɪm ənd hɪz ˈbɪgətri ɔn maɪ ˈbərθˌdeɪ." ðɛn ɔl əv ə ˈsədən, ʤɑn siz mi frəm əˈkrɔs ðə ˈlɪvɪŋ rum ənd jɛlz aʊt "heɪ luesh*!" ənd ˈʤɛsʧərz fər mi tɪ kəm ˈoʊvər. aɪ preɪd aɪ ˈwəzənt goʊɪŋ tɪ gɪt slæmd ˈɪntu ə wɔl əˈgɛn. ˌɪnˈstɛd, wɪn ʤɑn faʊnd aʊt ɪt wɑz maɪ ˈbərθˌdeɪ hi ˈhændɪd mi ə ˈbɑtəl əv kraʊn rɔɪəl ənd toʊld mi tɪ kip ɪt. hi ðɛn pʊt hɪz ɑrm əraʊnd mi ənd kənˈfɛst ɪn wərdz aɪ kən stɪl ˈklɪrli rɪˈmɛmbər 10 jɪrz ˈleɪtər: "aɪ wɑz ə homophobe*, ənd aɪ wɑz ˈvɛri ənˈkəmfərtəbəl biɪŋ əraʊnd ju. ðɛr wər taɪmz wɪn aɪ θɔt aɪ wɑz goʊɪŋ tɪ bit jʊr æs. aɪ ˈdɪdənt noʊ haʊ aɪ wɑz goʊɪŋ tɪ bi əraʊnd ju ˈɛvəri deɪ fər ðə rɛst əv maɪ kərɪr æt nəˈbræskə. bət θru ˈgɪtɪŋ tɪ noʊ ju, aɪv ˈriəˌlaɪzd ðət ju ər nɑt ðə ˈstɛrioʊˌtaɪp əv wət ˈpipəl laɪk tɪ seɪ geɪ ɪz. ˈəltəmətli, jʊr ʤɪst ə ˈrɪli nis gaɪ. jʊr fən tɪ bi əraʊnd. jʊr ˈfəni, jʊr kul." baɪ ðɪs pɔɪnt ɪn ðə ˌkɑnvərˈseɪʃən, ðə rɛst əv ðə smɔl bænd əv frəm ðə tim ənd mɔr ˈtimˌmeɪts hæd ˈgæðərd əraʊnd. ʤɑn ðɛn sɛd tɪ mi, "aɪ wɔnt ju tɪ noʊ ðət ɪf ˈɛniˌwən həz ˈɛni ˈprɑbləm wɪθ ju, ər ˈivɪn sɪz ˈɛniˌθɪŋ bæd tɪ ju, lɛt mi noʊ bɪˈkəz mi ənd ðə gaɪz wɪl teɪk kɛr əv ɪt." ðət ɪkˈspɪriəns wɪl fərˈɛvər hoʊld ə ˈvɛri ˈspɛʃəl pleɪs ɪn maɪ hɑrt. æt ðət ˈmoʊmənt aɪ ˈriəˌlaɪzd ðət ɪf aɪ ˈnɛvər gɑt pleɪɪŋ taɪm, ˈnɛvər sɔ ðə fild, ər ˈnɛvər gɑt ən ˌɑpərˈtunəti ɪt wɑz ˈoʊˈkeɪ bɪˈkəz aɪ dɪd ˈsəmθɪŋ ˈbɪgər ðən ˈɛniˌwən ˈɛvər kʊd æt ðə ˌjunəˈvərsəti əv nəˈbræskə. ˈivɪn ðoʊ maɪ ˈtimˌmeɪts ənd moʊst əv maɪ ˈkoʊʧɪz naʊ ˈfʊli ækˈsɛptɪd mi, ə fju ˈkoʊʧɪz ənd ə lɑrʤ ʧəŋk əv ˈneɪʃən stɪl dɪd nɑt. wən əˈsɪstənt koʊʧ ɪn ˌpɑˈtɪkjələr wʊd ˈɔfən snɪr æt mi ɪn dɪsˈgəst ənd ˈsəmˌtaɪmz ˈkɑmɛnt ɔn haʊ ˈfɛmənən aɪ wɑz ˈæktɪŋ ər ˌwəˈtɛvər flɪpt hɪz ˌhoʊməˈfoʊbɪk swɪʧ æt ðə əm nɑt ˈsərtən koʊʧ ˈkæləˌhæn nu əv ðə əˈsɪstənt ˈkoʊʧɪz ˈækʃənz ər ˈkɑmɛnts sɪns hi ˈnɛvər ˈmɛnʃənd ˈɛniˌθɪŋ tɪ mi əˈbaʊt ɪt ˈpərsənəli. aɪ æm ˈsərtən, ðoʊ, ðət koʊʧ ˈkæləˌhæn wɑz wɛl əˈwɛr əv maɪ ˌsɛkʃuˈæləti. ɪt wɑz ˈkɑmən ˈnɑlɪʤ, ənd ˈpipəl wʊd ˈoʊpənli æsk mi kˈwɛsʧənz əraʊnd ɪm ənd ˈəðər ˈkoʊʧɪz. aɪ ˈivɪn ˌɪntrəˈdust koʊʧ ˈkæləˌhæn tɪ maɪ ðɛn ˈbɔɪˌfrɛnd æt ə tim ˈpɪkˌnɪk ˈæftər ðə 2004 spərɪŋ ˈfʊtˌbɔl geɪm. hi wɑz ˈɔlˌweɪz ˈvɛri ˈfrɛndli ənd prəˈfɛʃənəl, ənd ˈnɛvər dɪˈskəst maɪ ˌsɛkʃuˈæləti wɪθ mi. aɪ doʊnt θɪŋk ɪt ˈmætərd tɪ ɪm. maɪ dæd, hu baɪ ðɪs taɪm hæd ˈoʊvərˌkəm hɪz oʊn ˌhoʊməˈfoʊbiə, ˈivɪn kɔld mi əp wən naɪt tɪ tɛl mi nɑt tɪ tərn ɔn ə ˈsərtən spɔrts ˈreɪdiˌoʊ ˈsteɪʃən bɪˈkəz əv ðə ˌhoʊməˈfoʊbɪk ˈkɑmɛnts biɪŋ sɛd rɪˈgɑrdɪŋ ðə ˈtɑpɪk əv ðə aʊər. ðət ˈtɑpɪk wɑz "ɪz nəˈbræskə ˈrɛdi fər ən ˈoʊpənli geɪ ˈfʊtˌbɔl pleɪər?" ˈivɪn ðoʊ ðeɪ ˈnɛvər ˈmɛnʃənd maɪ neɪm, aɪ nu ðə dɪˈskəʃən wɑz əˈbaʊt mi. ɪt hərt. ðə ˈnɛgətɪv ˌɪmˈpækt ðiz spɪˈsɪfɪk fænz ənd ˈkoʊʧɪz hæd ɔn mi wɑz juʤ. ˈivɪn ðoʊ aɪ nu aɪ wɑz gʊd ɪˈnəf tɪ stɑrt, daʊts sɛt ɪn. aɪ kɛpt riˈmaɪndɪŋ ˌmaɪˈsɛlf wət ðə ˈoʊnli pjʊr ɪn ðə ˈɛˌnɛˈfɛl hɔl əv feɪm, ʤæn stenerud*, wəns toʊld mi. ˈæftər aɪ wən ˈɛvəri ˌkɑmpəˈtɪʃən æt hɪz ˈkɪkɪŋ kæmp ðə ˈsəmər ˌbiˈfɔr maɪ ˈʤunjər jɪr əv haɪ skul əˈgɛnst ˈnumərəs haɪ skul ənd ˈkɑlɪʤ ˈkɪkərz, hi pʊld mi əˈsaɪd, pleɪst hɪz hɔl əv feɪm rɪŋ ɔn maɪ ˈfɪŋgər, ənd sɛd, "jul hæv wən əv ðiz səm deɪ." ˈivɪn wɪθ riˈmaɪndərz laɪk ðət, ɪt wɑz hɑrd əˈvɔɪdɪŋ dɪˈprɛʃən waɪl ˈdilɪŋ wɪθ ðə strɛs, æŋˈzaɪəti, ənd frəˈstreɪʃən əv ˈkɑnstəntli ˈstrəgəlɪŋ tɪ ˈænsər ðə kˈwɛʃən əv "wʊd ðeɪ ˈɛvər gɪv mi ə ʧæns du tɪ maɪ ˌsɛkʃuˈæləti?" ˈæftər ˈɔlˌmoʊst tu jɪrz əv ˈpruvɪŋ ˌmaɪˈsɛlf, aɪ wɑz ˈfaɪnəli ˈgɪvɪn ən ˌɑpərˈtunəti ɛz ə ˈfrənˌtrənər fər ðə ˈstɑrtɪŋ ˈkɪkɪŋ pəˈzɪʃən. ðə bləd, swɛt, ənd tɪrz lʊkt ɛz ðoʊ ðeɪ hæd ˈfaɪnəli peɪd ɔf ənˈtɪl wən deɪ ɪn 2005 ˈdʊrɪŋ fɔl kæmp wɪn aɪ wɑz ˌæksəˈdɛnəli rəft baɪ ə ˈfɛloʊ ˈtiˌmeɪt, wɪʧ rɪˈzəltɪd ɪn mi ˈpɑrʃəli ˈtɪrɪŋ maɪ ˈəpər ˈhæmˌstrɪŋ. aɪ sæt aʊt fər ðə nɛkst 14 ˈpræktɪsɪz, ənd wɑz rəʃt bæk ˈɪntu ˈkɪkɪŋ ˌbiˈfɔr aɪ wɑz ˈfʊli hild. baɪ ðɪs taɪm aɪ hæd ɔˈrɛdi bɪn ˈrɪtən ɔf ənd ˌriˈpleɪst. maɪ ˈfʊtˌbɔl kərɪr wɑz ˈoʊvər ˌbiˈfɔr ɪt kʊd ˈrɪli ˈivɪn bɪˈgɪn. ənˈfɔrʧənətli fər mi, ˈæftər ðət ˈsizən feɪt tʊk ɪts kɔrs. aɪ hæd ˈɔlˌweɪz ˈstrəgəld wɪθ bæk ˈprɑbləmz, ənd wən deɪ ˈæftər ə kənˈdɪʃənɪŋ ˈsɛʃən aɪ ˈkʊdənt stænd əp. aɪ fɛlt ˈɔlˌmoʊst ˈpɛrəˌlaɪzd. ðə peɪn wɑz soʊ ˌɪnˈtɛns aɪ kʊd ˈbɛrli muv. æt ðət ˈmoʊmənt, aɪ nu ɪt wɑz taɪm tɪ gɪt θɪŋz fɪkst. ˈnumərəs ˈdɑktərz toʊld mi ðə seɪm θɪŋ, aɪ hæd ə səˈvɪr ənd aɪ wʊd nid tɪ hæv ə ˈspaɪnəl fˈjuʒən. maɪ ˈfʊtˌbɔl kərɪr wɑz ˈoʊvər ˌbiˈfɔr ɪt kʊd ˈrɪli ˈivɪn bɪˈgɪn. aɪl ˈnɛvər fərˈgɛt ðə deɪ aɪ wɛnt ɪn tɪ tɛl koʊʧ ˈkæləˌhæn ðət maɪ kərɪr wɑz ˈoʊvər ənd ðət aɪ ˈnidɪd bæk ˈsərʤəri. aɪ wɑz ˈvɛri ˈiˌmoʊʃənəl ənd ˈtɪrɪŋ əp. ɪt wɑz ðə ɛnd fər mi. ɔl ðoʊz jɪrz əv ˈtreɪnɪŋ, ˈkaʊntləs ˈweɪˌtlɪftɪŋ ənd kənˈdɪʃənɪŋ ˈsɛʃənz, tim ˈmitɪŋz ənd geɪmz noʊ ˈlɔŋgər sərvd maɪ drim əv pleɪɪŋ ɪn ðə ˈɛˌnɛˈfɛl. ˈfʊtˌbɔl wɑz dən. aɪ rɪˈmɛmbər ˈlʊkɪŋ əˈkrɔs ðə dɛsk θru maɪ ˈwɔtəri aɪz ənd siɪŋ koʊʧ ˈkæləˌhæn ˈʃɛdɪŋ ə tɪr. aɪ nu æt ðət ˈmoʊmənt aɪ wɑz ˈfʊli ækˈsɛptɪd fər hu aɪ wɑz ɛz ə ˈpərsən ənd ðət maɪ ˌsɛkʃuˈæləti wɑz nɑt ˈɛniˌθɪŋ ðət dɪˈfaɪnd mi. maɪ ˈkoʊʧɪz ənd ˈtimˌmeɪts ləvd ənd rɪˈspɛktɪd mi fər hu aɪ wɑz ənd fər maɪ ˈkɛrɪktər ənd ˈvæljuz. ðət mɛnt ðə wərld tɪ mi. ˈivɪn ðoʊ maɪ ˈfʊtˌbɔl kərɪr ˈɛndɪd ˈərli du tɪ bæk ˈsərʤəri, aɪ dɪd ˈsəmθɪŋ ɔn ə məʧ ˈlɑrʤər skeɪl baɪ ʤɪst biɪŋ mi. nɑt ˈhaɪdɪŋ hu aɪ wɑz, nɑt ˈlɪvɪŋ ə laɪ, bət ˌɪnˈstɛd ˈlɪvɪŋ laɪf ɛz maɪ moʊst əˈθɛnɪk sɛlf. ɛz aɪ rɪˈflɛkt ɔn ðə 10 jɪrz sɪns ˈlivɪŋ ˈfʊtˌbɔl, maɪ goʊl ɪn laɪf həz ˈɔlˌweɪz bɪn tɪ hɛlp ˈpipəl. ɪn ˈkɑlɪʤ aɪ dɪd soʊ θru ˈnumərəs kəmˈjunɪti ˈaʊˌtriʧ ˈproʊˌgræmz, wɪʧ ərnd mi ə spɑt ɔn ðə brʊk ˈbɛrɪŋər ˈsɪtɪzənˌʃɪp tim tu jɪrz ɪn ə roʊ. sɪns ˈfʊtˌbɔl, maɪ ˈʤərni tɪ hɛlp ˈpipəl həz lɛd mi tɪ pərˈsuɪŋ ə ˈpiˌeɪʧˈdi ɪn ˌbaɪoʊˈmɛdɪkəl ˈɛnʤəˈnɪrɪŋ æt ðə ˌjunəˈvərsəti əv ˌɪləˈnɔɪz æt ʃəˈkɑˌgoʊ, wɪʧ əm ɪn ðə ˈprɔˌsɛs əv ˈfɪnɪʃɪŋ ðɪs jɪr. bʊks ənd ˈstədiɪŋ əˈsaɪd, maɪ ˈfʊtˌbɔl ˈstɔri həz ˈgɪvɪn mi əˈnəðər ˌɑpərˈtunəti tɪ hɛlp ˈpipəl. ðɪs taɪm, əm ˈeɪbəl tɪ hɛlp maɪ ˈfɛloʊ ˈmɛmbərz əv ðə kəmˈjunɪti. ɪn ðə weɪk əv ˈmaɪkəl sæm ˈkəmɪŋ aʊt, aɪ wɑz əˈproʊʧt baɪ ðə ˈtɪkɪt ˈɛˈfɛm ɪn ˈlɪŋkən tɪ ʃɛr maɪ ˈfʊtˌbɔl ˈstɔri. aɪ ˈəltəmətli dɪd soʊ ɪn ˈɔrdər tɪ ˈoʊpən maɪndz, ˌɪnˈspaɪr ˈpipəl ˈɛvriˌwɛr, ənd ˈfərðər ˈprɑˌgrɛs ðə ˈsɪvəl raɪts ˈmuvmənt. ˈfidˌbæk həz bɪn ˌoʊvərˈwɛlmɪŋli ˈpɑzətɪv. θru ˈʃɛrɪŋ maɪ ˈstɔri əv ˈstrəgəl, ləv, ənd əkˈsɛptəns, aɪ hæv hæd ðə ˌɑpərˈtunəti tɪ hɛlp ˈəðər ˈstrəgəlɪŋ, nɑt ʤɪst ˈæθˌlits, ˈoʊvərˌkəm ðɛr fɪr, əkˈsɛpt ðɛmˈsɛlvz, ənd bi praʊd əv ðɛr ˌsɛkʃuˈæləti ənd hu ðeɪ ər. ˈwɑʧɪŋ ˈnumərəs ˈæθˌlits əv ɔl ˈeɪʤɪz hæv ðə kərɪʤ tɪ kəm aʊt gɪvz mi hoʊp ðət wi ər ɔn ɑr weɪ tɪ fʊl ɪkˈwɑləti əˈməŋ ɔl ˈfæsəts əv laɪf. əm soʊ praʊd əv iʧ ənd ˈɛvəri wən əv ðiz ˈæθˌlits. aɪ ˈnɛvər hæd ˈɛni ˈæθˌlit roʊl ˈmɑdəlz tɪ lʊk əp tɪ fər ˌɪnspərˈeɪʃən wɪn aɪ wɑz groʊɪŋ əp, æt list aɪ ˈdɪdənt noʊ əv ˈɛni bæk ðɛn. ɪt wɑz ə ˈdɪfərənt taɪm bæk wɪn aɪ pleɪd ˈkɑlɪʤ ˈfʊtˌbɔl. ˈθæŋkfəli, ˈpəblɪk əˈpɪnjən ənd səˈsaɪɪtəl vjuz ɔn ˌhoʊmoʊˌsɛkʃuˈæləˌti ənd ˈʤɛndər aɪˈdɛntəˌti hæv ˈteɪkən ə ˌmɑnjəˈmɛnəl ʃɪft ɪn ðɪs ˈkəntri. wi naʊ hæv ˈæθˌlits laɪk ˈʤeɪsən ˈkɑlɪnz, ˈgraɪnər, ˈrɑbi ˈrɑʤərz, ˈmaɪkəl sæm, ˈdɛrɪk ˈgɔrdən, ˈbɪli bin, ˈmeɪgən rapinoe*, tuaolo*, krɪs ˈmoʊʒər ənd ˈnumərəs ˈəðərz hu ər kəˈlɛktɪvli ˈbreɪkɪŋ daʊn ðə ˈbɛriərz fər ˈəðər ˈæθˌlits. ˈmaɪkəl sæm bɪˈkəmɪŋ ðə fərst ˈoʊpənli geɪ ˈæθˌlit tɪ bi ˈdræftɪd ˈɪntu ðə ˈɛˌnɛˈfɛl ðɪs jɪr wɑz ˌmɑnjəˈmɛnəl. ˈmaɪkəl ɪz ˈlɪvɪŋ aʊt wən əv maɪ drimz, ənd əm θrɪld fər ɪm. wɪθ iʧ ˈæθˌlit ˈhævɪŋ ðə kərɪʤ tɪ kəm aʊt, əˈnəðər brɪk ɪz nɑkt daʊn frəm ðə ˈbɛriər əv ˌɪnɪkˈwɑləti. ɪts ˈoʊnli ə ˈmætər əv taɪm ənˈtɪl ðɛr ɪz ən ˈoʊpənli geɪ ˈæθˌlit ɪn iʧ əv ðə fɔr ˈmeɪʤər prəˈfɛʃənəl spɔrts ligz ɪn ðə juˈnaɪtɪd steɪts. aɪ lʊk ˈfɔrwərd tɪ ðət taɪm. θɪŋz ər ˈivɪn ˈʧeɪnʤɪŋ ɪn nəˈbræskə. ðɪs pæst mɑrʧ ənd ˈeɪprəl aɪ hæd ðə ˈɑnər əv ˈhɛlpɪŋ tɪ ˈlɑbi ðə nəˈbræskə ˈlɛʤəsˌleɪʧər tɪ pæs ə bɪl (paʊnd 485 ðət wʊd bæn ʤɑb dɪˌskrɪməˈneɪʃən beɪst ɔn ˈsɛkʃuəl ˌɔriɛnˈteɪʃən ənd ˈʤɛndər aɪˈdɛntəˌti. wi hæd məˈʤɔrəti səˈpɔrt, wɪʧ wʊd hæv pæst ðə bɪl hæd ðə ˌɑpəˈzɪʃən nɑt ˈfɪləˌbəstərd. ˌɔlˈðoʊ ðə bɪl dɪd nɑt pæs, ə lɔt əv ˈprɑˌgrɛs wɑz meɪd siɪŋ ðət ðɪs wɑz ðə fərst taɪm ˈɛni raɪts bɪl hæd ˈivɪn sin ðə nəˈbræskə ˈlɛʤəsˌleɪtɪv flɔr. ðə ˈjumən raɪts kæmˈpeɪn həz sɪns əˈnaʊnst ðət ɪt wɪl fɔrm ə nəˈbræskə ˈʧæptər ˈəndər ˈprɑʤɛkt wən əˈmɛrɪkə tɪ ˈædvəˌkeɪt fər lɔz ðət prəˈtɛkt ˈpipəl ɪn maɪ hoʊm steɪt. sɪns ˈhævɪŋ ðə ˌɑpərˈtunəti tɪ ʃɛr maɪ ˈstɔri wɪθ ðə wərld θru ˈnumərəs ˈreɪdiˌoʊ ˈɪntərvˌjuz, prɪnt ˈɑrtɪkəlz, podcasts*, ˈpænəl dɪˈskəʃənz, ˈspikɪŋ ɪnˈgeɪʤmənts, ˌɛtˈsɛtərə, aɪ hæv hərd frəm ˈnumərəs ˈfɔrmər ˈtimˌmeɪts, ˈfɛloʊ ˈæθˌlits, ənd fænz. aɪ hæv jɛt tɪ hir frəm ʤɑn; ˌhaʊˈɛvər, ˈʃɔrtli ˈæftər maɪ ˌɪˈnɪʃəl ˈɪntərvˌju aɪ rɪˈsivd ðə ˈfɑloʊɪŋ ˈfeɪsˌbʊk ˈmɛsɪʤ frəm maɪ ˈbədi ʃɔn hɪl: ˈprɪti bɔɪ ˈkɔri ˈtɑməs ənd aɪ ər boʊθ ˈɑnərd ðət ju θɪŋk wi pleɪd səʧ ə lɑrʤ roʊl ɪn jʊr əkˈsɛptəns ɔn ðə tim. wi ˈnɛvər lʊkt æt ju ɛz ˈɛniˌwən ˈəðər ðən ɑr frɛnd. ɪt meɪks ˈjuˈɛs boʊθ ˈhæpi tɪ noʊ ðət ɑr əkˈsɛptəns əv jʊr ˈlaɪfˌstaɪl, wɪʧ tɪ ˈjuˈɛs wɑz "noʊ bɪg dil," wɑz soʊ ˌɪmˈpɔrtənt tɪ ju ənd pleɪd ə bɪg roʊl ɪn jʊr laɪf. ˈhirɪŋ ˈstɔriz frəm juθ meɪd mi ˈriəˌlaɪz haʊ məʧ əv ə roʊl iʧ əv ˈjuˈɛs kən pleɪ ɪn wən əˈnəðərz lɪvz ˈsɪmpli baɪ ˈsɛtɪŋ ən ɪgˈzæmpəl. ˈmɛsɪʤɪz laɪk ðɪs riˈɪtərˌeɪt haʊ ˌɪmˈpɔrtənt ɑr streɪt ˈælaɪz ər tɪ ðə kəmˈjunɪti. ðə mɔr streɪt ˈælaɪz wi hæv ˈstændɪŋ əp fər ˈjuˈɛs, ðə ˈstrɔŋgər ɑr ˈmuvmənt fər ˈikwəl raɪts bɪˈkəmz. əm ˈləki tɪ hæv hæd ˈkɔri ənd ʃɔn ˈstɪkɪŋ əp fər mi ɔl ðoʊz jɪrz əˈgoʊ. ɛz fər ʤɑn, aɪ hæv nɑt ˈspoʊkən wɪθ ɪm sɪns maɪ ˈfʊtˌbɔl kərɪr keɪm tɪ ə hɔlt θæŋks tɪ bæk ˈsərʤəri. æt ðət taɪm ɪt wɑz tu ˈdɪfəkəlt tɪ bi əraʊnd spɔrts ər ˈɛni ˈæθˌlit. ˌhaʊˈɛvər, aɪ preɪ ðət təˈdeɪ ʤɑn stændz əp fər ənd səˈpɔrts ðə kəmˈjunɪti ðə seɪm weɪ hi ˈɛndɪd əp ˈhævɪŋ maɪ bæk ɔl ðoʊz jɪrz əˈgoʊ. ˈivɪn ˈpipəl laɪk ʤɑn hu wər wəns ˌhoʊməˈfoʊbɪk kən hæv ðɛr maɪndz ʧeɪnʤd əˈbaʊt ˌhoʊmoʊˌsɛkʃuˈæləˌti ˈsɪmpli baɪ ˈmitɪŋ ənd ˈgɪtɪŋ tɪ noʊ ˈsəmˌwən hu ɪz geɪ ənd ˈgɪtɪŋ ə ˈlɪtəl ˌɛʤəˈkeɪʃən ɔn ðə ˈsəbʤɪkt. ɪn ʤun aɪ hæd ðə ˈɑnər əv goʊɪŋ bæk tɪ nəˈbræskə ənd ˈwɛstərn ˈaɪəwə tɪ bi ðə juθ æmˈbæsədər fər ˈhɑrˌtlænd juθ praɪd ənd ðə grænd ˈmɑrʃəl fər ˈhɑrˌtlænd praɪd. ɪt wɑz æt ðiz ɪˈvɛnts wɛr aɪ gɑt tɪ si ˈfərsthænd ðə ˈpɑzətɪv ˌɪmˈpækt aɪ hæv hæd ɔn ðə kəmˈjunɪti ˈsɪmpli baɪ biɪŋ tru tɪ ˌmaɪˈsɛlf ənd ˈlɪvɪŋ ən ˈoʊpən ənd ˈɑnəst laɪf. ɪt wɑz soʊ ˈtəʧɪŋ tɪ bi ˈwɛlkəmd bæk wɪθ səʧ ˈoʊpən ɑrmz. ˈhirɪŋ ˈstɔriz frəm juθ əˈbaʊt haʊ aɪv hɛlpt ðɛm ˈoʊvərˌkəm ˈstrəgəlz, dɪˈfit ˌsuəˈsaɪdəl θɔts, əkˈsɛpt ðɛmˈsɛlvz ənd kəm aʊt tɪ ðɛr ˈfæməli meɪd mi ˈriəˌlaɪz haʊ məʧ əv ə roʊl iʧ əv ˈjuˈɛs kən pleɪ ɪn wən əˈnəðərz lɪvz ˈsɪmpli baɪ ˈsɛtɪŋ ən ɪgˈzæmpəl. aɪ ɪnˈkərəʤ iʧ əv ju tɪ bi ðət ɪgˈzæmpəl fər wən əˈnəðər. soʊ ˈmɛni ˈstrəgəlɪŋ tɪ əkˈsɛpt ðɛmˈsɛlvz fil əˈloʊn. ʃoʊ ðɛm ðeɪ ər nɑt əˈloʊn, ənd lɛnd ə ˈhɛlpɪŋ hænd wɪn ðeɪ nid ɪt. laɪf ˈɪzənt mɛnt tɪ bi ˈizi. ðə hɑrd taɪmz sərv tɪ ʃeɪp ɑr ˈkɛrɪktər ənd tɪ hɛlp ˈjuˈɛs dɪˈvɛləp ˈsɑləd ˈmɔrəlz ənd ˈvæljuz. aɪ noʊ ˈfərsthænd ðət laɪf dɪz gɪt ˈbɛtər, soʊ pliz doʊnt gɪv əp. ɪts nɑt ˈizi tɪ kəm aʊt ənd ˈdɪfərənt ˈsərkəmˌstænsɪz meɪk ɪt hɑrd fər ˈɛvriˌwən tɪ du. bət aɪ æm ˈlɪvɪŋ pruf ðət ə pleɪər ɔn ə tim ɪn ə kənˈsərvətɪv, steɪt kən du ɪt ənd bi ækˈsɛptɪd ənd ʧeɪnʤ maɪndz. ˈɔθərz noʊt: aɪ noʊ ˈridərz wɪl wɔnt tɪ noʊ waɪ aɪ dɪd nɑt dɪˈskloʊz ʤɑnz ril neɪm. ðə pɔɪnt əv maɪ ˈstɔri wɑz nɑt tɪ ʃeɪm ɪm fər ðə weɪ hi ˈæktɪd mɔr ðən ə ˈdɛkeɪd əˈgoʊ, bət tɪ pruv ðət ˈivɪn kən ʧeɪnʤ. hi ɪz nɑt ðə seɪm ˈpərsən hu ˈtɔrˌmɛntɪd mi bæk ðɛn ənd aɪ dɪd nɑt wɔnt tɪ brɪŋ ənˈdu ˈnɛgətɪv ˈpəblɪk əˈtɛnʃən tɪ ɪm. ˈðɛrˌfɔr, ʤɑn wɑz kɛpt əˈnɑnəməs aʊt əv rɪˈspɛkt fər hɪz ˈpraɪvəsi. *sɪns aɪ noʊ səm wɪl ˈwəndər, ðə əˈsɪstənt koʊʧ ðət ˈhæsəld mi fər biɪŋ geɪ wɑz nɑt rɑn braʊn. waɪl aɪ æm əˈwɛr hi həz ˈspoʊkən aʊt əˈgɛnst geɪ raɪts bɪlz ɪn nəˈbræskə, ɪn hɪz ˈdilɪŋz wɪθ mi hi wɑz ˈɔlˌweɪz ˈkɔrʤəl ənd prəˈfɛʃənəl.
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he stood almost 6-4, weighed nearly 300 pounds of solid muscle, and was one of the strongest guys on the team. i was about 6-2, 195 pounds, strong, but not that strong. john, i'll call him, had a reputation for being a bully and a bigot. i was the openly gay kicker, a perfect target. "faggot," "queer," "girl," and any other derogatory term you can call a gay man spewed from his mouth when i walked by, fearing for my life.
such was my everyday life for the first few months of being an openly gay football player at a major division 1 university (the university of nebraska-lincoln) in the fall of 2003. i was scared. afraid to say the wrong thing, make eye contact with the wrong person, or do anything that might be considered too "gay," which could potentially mean harsh and painful consequences for me from the group of homophobes on the team. every day i was walking on eggshells. scared and alone, i set out to earn the love and respect from my fellow teammates and coaches.
i knew my journey wasn't going to be easy, but i wasn't going to live a lie or live in fear. i was going to be myself. (courtesy of eric lueshen) (courtesy of eric lueshen)
this wasn't your average football team. this was the big leagues, the cornhuskers, historically one of the best college football teams. and this wasn't the most accepting state either. nebraska has a history of being one of the most conservative and anti-lgbt states in the country. in 2000, nebraska voters adopted a constitutional amendment that defined marriage as the union of a man and a woman and prohibited the recognition of same-sex relationships. gay marriage was still a pipe dream, with massachusetts still months away from being the first state to legalize it in may 2004. it was also just five years after the horrific murder of matthew shepard in nebraska's neighboring state of wyoming.
i knew my journey wasn't going to be easy, but i wasn't going to live a lie or live in fear. i was going to be myself — an athletic, smart, fun, quirky, driven, caring, and passionate man who just so happened to be gay.
i grew up in the very conservative, tiny farm town of pierce, neb. (population 1,745). growing up in the "middle-of-nowhere" was incredibly difficult, and my childhood and teen years were rocky. i was bullied for being gay even before i had accepted myself, had major family issues and almost committed suicide several times due to severe depression.
my dad and i feuded a lot and physical battles were common, which led to numerous police visits at my home. this culminated in me becoming a ward of the state for two years at the ages of 15 and 16, and forced to live in a group home for a few months. during this time i was even twice admitted to the hospital's suicide ward. life just didn't seem worth living. my guardian angel must have been protecting me though, because something was always holding me back from going all the way through with killing myself. i think i knew deep down that my life had more value and that i would ultimately prove everyone wrong.
ultimately, i used the abuse i endured at school and at home to strengthen my resolve to succeed. i would prove the bullies and my dad wrong. my drive led me to numerous academic, musical, and athletic achievements in high school despite my troubled life.
at 17, during my junior year of high school, i came out to my family and friends. my close friends embraced me and said my sexuality didn't matter to them. despite the turmoil at home, my mother and sisters were accepting of my decision to live an open and honest life. i'll never forget my mother's initial reaction to me coming out. as she sat at the dinner table sobbing, she uttered, "i always knew you were gay. a mother always knows. i had to let you come to terms with it first though. i want you to know that i love and support you no matter what. you're still my same blonde-haired, blue-eyed boy." my father wasn't near as supportive at first due to his own homophobia and our highly dysfunctional relationship. in time though, our relationship improved, and he has become one of my biggest supporters. i am proud to call him my dad.
i graduated high school as salutatorian, and was awarded academic scholarships to the university of nebraska-lincoln for chemical engineering, where i had also signed on to play football for the huskers. i have always taken pride in being true to myself and who i am as a person. therefore, it was an easy decision not to jump back into the closet when going into college. however risky it may have been to start my husker football career as an openly gay man didn't matter to me. what mattered was that i was being true to myself. if someone asked me about my sexuality, i was ready to tell them the truth.
i remember walking into our first team meeting in early august 2003. the plush, husker-red stadium seating within the football auditorium filled with more than 100 of the best athletes in the country. testosterone filled the air. eyes glared at me. there were puzzled looks on some of my fellow teammates' faces. i'm certain most of them had already found out about my sexuality through the grapevine, since i never hid it from anyone and had already come out to my family and friends. in small-town northeast nebraska, word traveled fast about news like this.
i can only imagine what some of them were thinking. "we have a fag on our team now? i'm going to destroy that little fairy on the field." i tried my best to hide my uneasiness and walked up the stairs to the back of the auditorium. luckily i had already made friends with some of the other incoming freshman while on recruiting trips. as i sat down with them i thought, "how am i going to do this? how am i going to win over my teammates and coaches as an openly gay football player? will i be beat up? will i survive and thrive in this difficult atmosphere, or will i end up another matthew shepard?"
immediately following that meeting, the gay bashing began. as i walked out of the auditorium, i could hear john utter "queer," while he pretended to cough. a few of his friends on the team chuckled. i pretended not to hear them, and continued my way to the locker room. thankfully we didn't have practice that day. i wasn't sure if i was ready to pad up and face some of those homophobes on the field.
my folks called me later that evening. "how was day 1 as a husker?" i didn't want to scare my worry-prone mother or my father, who was struggling with his own homophobia, so i lied. "it was great! i love all of the free swag, and they feed us very well." not a mention of the bullying.
walking onto the field inside massive memorial stadium for our first practice was nerve wracking. i could see john and his buddies about 30 yards away. i planned to steer clear of them as much as possible. as a kicker you're vulnerable once your leg has swung by and the ball has set sail towards the uprights. all john or his homophobic buddies had to do was intentionally rough me, causing serious injury to my legs, and my career could be over. i was relieved when the kicking coach said that kickers and quarterbacks got to wear a green jersey, which meant you were not supposed to be hit. but would a green jersey be enough to stop john's hate and anger?
lueshen signs autographs at the 2005 nebraska fan day. (courtesy of eric lueshen) lueshen signs autographs at the 2005 nebraska fan day. (courtesy of eric lueshen)
throughout my first month as an openly gay husker football player, the bullying from a handful of my teammates was relentless.
throughout my first month as an openly gay husker football player, the bullying from a handful of my teammates was relentless. name calling and degrading and demoralizing comments were all too common. "whatcha lookin' at, faggot?!" i'd hear if i made eye contact with any of them, especially john.
if i was ever caught walking towards any of these homophobic teammates in the hallway i knew to step aside and let them pass. it only took once for me to learn that lesson. the first time i was caught walking towards john in a narrow hallway resulted in me getting slammed into the wall lined with portraits of past husker greats. "watch it, fag!" he yelled as my back crashed into the wall and the portraits shook.
during the first several months, it was common to see groups of athletes and their friends huddle up and whisper when i'd walk into the student-athlete cafeteria or academic center. often i'd overhear people say "that's the gay football player" and then proceed to laugh. it was very uncomfortable and unwelcoming to say the least. but one day this all changed.
it was lunchtime on a brisk fall day in 2003. i sat down with my tray full of food across from two close friends of mine on the team, corey mckeon and sean hill. as i began eating, corey, who had no filter, said, "hey, pretty boy. we have a question." i'm thinking "oh, god, i know what this is." corey asked, "are you gay?" he and sean had probably overheard rumors and wanted me to clarify. i looked up at corey and sean with a big smile on my face and replied calmly, "yeah, is that a problem?" corey and sean quickly glanced at each other and then back at me as they said in unison, "no. that's cool. we thought so. just wanted to check." our conversation quickly shifted into something mundane, we finished our lunch and made our way to team meetings. it was one of the easiest "coming out" moments of my life.
word of my coming out to corey and sean spread like wildfire. within a few days, everyone on the football team and within the athletic department knew there was an openly gay athlete among them.
corey and sean had upbeat personalities and they were always cracking jokes, which made them very popular and helped them amass a large group of friends within the athlete community and elsewhere. the acceptance and love they, as well as my fellow kickers, punters and long snappers, showed me helped other teammates lower their walls and let me in. to this day, i think that had i not befriended corey and sean so early on, my road to being accepted would've been much longer and more painful.
by the time thanksgiving and christmas rolled around that year, my circle of friends within the student-athlete community continued to grow. though the majority of my teammates looked beyond my sexuality and accepted me for who i was, john and his cronies still hadn't let up. i continued to be the butt of their homophobic jokes. i didn't let this bullying get to me though. my hope was that in time they'd learn to love and accept me too.
lgbts of all ages were inspired by my courage to live openly in such a masculine environment. lueshen at a packers game in september with openly gay former nfl lineman esera tuaolo. (courtesy of eric lueshen) lueshen at a packers game in september with openly gay former nfl lineman esera tuaolo. (courtesy of eric lueshen)
word about the "openly gay husker kicker" soon spread throughout campus, nebraska and the midwest, and people from all over began contacting me. i would often receive heartwarming emails and letters, or be approached while out in public. when facebook became popular in early 2004, the emails and messages became even more frequent. lgbts of all ages, as well as heterosexuals, were inspired by my courage to live openly in such a masculine environment.
a lot of the public knew i was openly gay back then even if no media outlet wrote about it. from the first time i had a facebook profile, it said that i was "interested in men." i was completely out. i took my boyfriend at the time to football games, major athlete functions and the student-athlete formal, all with media present at each event. we had media members all the time at practices and a couple of these media guys were gay themselves and knew for a fact i was too. we even would talk out at the gay bar sometimes about me and my experience being openly gay on the team. you have to remember that in nebraska, football is the sport. back then, people in nebraska would rather have kept things like this hush-hush and just avoid the topic as much as possible. the media knew that a lot of the people in nebraska and husker fans were not ready for something like this. in many ways it was a conspiracy of silence.
the last week of december 2003, my teammates and i were in san antonio for the alamo bowl. i consider this week-long trip as another defining moment on the road to my full acceptance on the team. i was forced to be in close quarters with john and his small band of homophobes, from bus rides, to dinners, to staying in adjacent hotel rooms. i could no longer avoid them.
during that week john and his friends witnessed, stronger than before, just how comfortable the majority of my teammates were with my sexuality. they observed me joking around and laughing with other teammates, socializing, and just being "normal" like everyone else. i was quickly becoming "one of the guys", and john and his buddies were there to watch it all.
on dec. 29, 2003, we defeated michigan state in the alamo bowl, 17-3. the hotel where the team was staying had turned into a huge party. the husker marching band played "hail varsity" in the lobby, balloons and streamers were everywhere, and the air was filled with excitement.
as i made my way down the hall to my first of many stops for the evening, i noticed john and his pack heading towards the same party room as me. john saw me coming and shouted, "fag!" at that moment, one of the other homophobes who had been tormenting me alongside john for the past five months, grabbed john's arm and said, "dude. stop. not tonight." john scoffed, shut his mouth, and continued into the party. the tides were changing.
after our return from the alamo bowl, changes were underway for the football program. frank solich and his coaching staff were let go and new coaches were brought in to replace them. now i had to win over them, including head coach bill callahan — now a dallas cowboys assistant — as well as continue to change the hearts and minds of the handful of homophobes.
during this time, about 50 players were to be cut from the football team in an effort to downsize. i was extremely worried that i would be one of them. what a perfect excuse to use for getting rid of the gay kicker. i had already felt like certain people in the football program (including a few coaches) had been trying to push me away because they didn't want to deal with a gay athlete. however, i was always the guy pushing myself beyond my own limits in order to prove my worth.
even though i wasn't the strongest, fastest or most agile person on the team, i would be damned if i was going to lose a sprint or any other strength and conditioning drill. in the weight room, on the field, and in the classroom i proved my abilities and showed my determination and hard work ethic. in the end, i was not cut. they saw how valuable i was to the team, despite my sexuality.
after solidifying my spot on the team, things started to change even more in how my teammates perceived me. lueshen, top right, with the kickers, punters, and long snappers at the 2003 alamo bowl. (courtesy of eric lueshen) lueshen, top right, with the kickers, punters, and long snappers at the 2003 alamo bowl. (courtesy of eric lueshen)
after solidifying my spot on the team that spring, things started to change even more in how my teammates perceived me. the demeanor of the homophobic group became less and less harsh, and abusive comments were few and far between. teammates were even quick to apologize if they said something like "that's gay" around me.
the biggest change would occur that summer.
i'll never forget the night me and some of the guys went out to celebrate my birthday in august 2004. we walked into an athlete house party, and there across the room was john. i thought to myself, "i don't want to deal with him and his bigotry on my birthday." then all of a sudden, john sees me from across the living room and yells out "hey luesh!" and gestures for me to come over. i prayed i wasn't going to get slammed into a wall again.
instead, when john found out it was my birthday he handed me a bottle of crown royal and told me to keep it. he then put his arm around me and confessed in words i can still clearly remember 10 years later:
"i was a homophobe, and i was very uncomfortable being around you. there were times when i thought i was going to beat your ass. i didn't know how i was going to be around you every day for the rest of my career at nebraska. but through getting to know you, i've realized that you are not the stereotype of what people like to say gay is. ultimately, you're just a really nice guy. you're fun to be around. you're funny, you're cool."
by this point in the conversation, the rest of the small band of homophobes from the team and more teammates had gathered around. john then said to me, "i want you to know that if anyone has any problem with you, or even says anything bad to you, let me know because me and the guys will take care of it."
that experience will forever hold a very special place in my heart. at that moment i realized that if i never got playing time, never saw the field, or never got an opportunity it was ok because i did something bigger than anyone ever could at the university of nebraska.
even though my teammates and most of my coaches now fully accepted me, a few coaches and a large chunk of husker nation still did not. one assistant coach in particular would often sneer at me in disgust and sometimes comment on how feminine i was acting or whatever flipped his homophobic switch at the time.* i'm not certain coach callahan knew of the assistant coach's actions or comments since he never mentioned anything to me about it personally. i am certain, though, that coach callahan was well aware of my sexuality. it was common knowledge, and people would openly ask me questions around him and other coaches. i even introduced coach callahan to my then boyfriend at a team picnic after the 2004 spring football game. he was always very friendly and professional, and never discussed my sexuality with me. i don't think it mattered to him.
my dad, who by this time had overcome his own homophobia, even called me up one night to tell me not to turn on a certain sports radio station because of the homophobic comments being said regarding the topic of the hour. that topic was "is nebraska ready for an openly gay football player?" even though they never mentioned my name, i knew the discussion was about me. it hurt.
the negative impact these specific fans and coaches had on me was huge. even though i knew i was good enough to start, doubts set in. i kept reminding myself what the only pure placekicker in the nfl hall of fame, jan stenerud, once told me. after i won every competition at his kicking camp the summer before my junior year of high school against numerous high school and college kickers, he pulled me aside, placed his hall of fame ring on my finger, and said, "you'll have one of these some day." even with reminders like that, it was hard avoiding depression while dealing with the stress, anxiety, and frustration of constantly struggling to answer the question of "would they ever give me a chance due to my sexuality?"
after almost two years of proving myself, i was finally given an opportunity as a frontrunner for the starting kicking position. the blood, sweat, and tears looked as though they had finally paid off until one day in 2005 during fall camp when i was accidentally roughed by a fellow teammate, which resulted in me partially tearing my upper hamstring. i sat out for the next 14 practices, and was rushed back into kicking before i was fully healed. by this time i had already been written off and replaced.
my football career was over before it could really even begin.
unfortunately for me, after that season fate took its course. i had always struggled with back problems, and one day after a conditioning session i couldn't stand up. i felt almost paralyzed. the pain was so intense i could barely move. at that moment, i knew it was time to get things fixed.
numerous doctors told me the same thing, i had a severe spondylolisthesis and i would need to have a spinal fusion. my football career was over before it could really even begin.
i'll never forget the day i went in to tell coach callahan that my career was over and that i needed back surgery. i was very emotional and tearing up. it was the end for me. all those years of training, countless weightlifting and conditioning sessions, team meetings and games no longer served my now-squashed dream of playing in the nfl. football was done.
i remember looking across the desk through my watery eyes and seeing coach callahan shedding a tear. i knew at that moment i was fully accepted for who i was as a person and that my sexuality was not anything that defined me. my coaches and teammates loved and respected me for who i was and for my character and values. that meant the world to me.
even though my football career ended early due to back surgery, i did something on a much larger scale by just being me. not hiding who i was, not living a lie, but instead living life as my most authentic self.
* * *
as i reflect on the 10 years since leaving football, my goal in life has always been to help people. in college i did so through numerous community outreach programs, which earned me a spot on the brook berringer citizenship team two years in a row. since football, my journey to help people has led me to pursuing a phd in biomedical engineering at the university of illinois at chicago, which i'm in the process of finishing this year. books and studying aside, my football story has given me another opportunity to help people. this time, i'm able to help my fellow members of the lgbtq community.
in the wake of michael sam coming out, i was approached by 93.7 the ticket fm in lincoln to share my football story. i ultimately did so in order to open minds, inspire lgbtq people everywhere, and further progress the lgbtq civil rights movement. feedback has been overwhelmingly positive. through sharing my story of struggle, love, and acceptance, i have had the opportunity to help other struggling lgbtq, not just athletes, overcome their fear, accept themselves, and be proud of their sexuality and who they are.
watching numerous lgbtq athletes of all ages have the courage to come out gives me hope that we are on our way to full equality among all facets of life. i'm so proud of each and every one of these athletes. i never had any lgbtq athlete role models to look up to for inspiration when i was growing up, at least i didn't know of any back then. it was a different time back when i played college football. thankfully, public opinion and societal views on homosexuality and gender identity have taken a monumental shift in this country.
we now have athletes like jason collins, brittney griner, robbie rogers, michael sam, derrick gordon, billy bean, megan rapinoe, esera tuaolo, chris mosier and numerous others who are collectively breaking down the barriers for other lgbtq athletes. michael sam becoming the first openly gay athlete to be drafted into the nfl this year was monumental. michael is living out one of my dreams, and i'm thrilled for him.
with each lgbtq athlete having the courage to come out, another brick is knocked down from the barrier of inequality. it's only a matter of time until there is an openly gay athlete in each of the four major professional sports leagues in the united states. i look forward to that time.
things are even changing in nebraska. this past march and april i had the honor of helping to lobby the nebraska legislature to pass a bill (lb 485) that would ban job discrimination based on sexual orientation and gender identity. we had majority support, which would have passed the bill had the opposition not filibustered. although the bill did not pass, a lot of progress was made seeing that this was the first time any lgbtq rights bill had even seen the nebraska legislative floor. the human rights campaign has since announced that it will form a nebraska chapter under project one america to advocate for laws that protect lgbtq people in my home state.
since having the opportunity to share my story with the world through numerous radio interviews, print articles, podcasts, panel discussions, speaking engagements, etc, i have heard from numerous former teammates, fellow athletes, and fans. i have yet to hear from john; however, shortly after my initial interview i received the following facebook message from my buddy sean hill:
pretty boy ... corey thomas and i are both honored that you think we played such a large role in your acceptance on the team. we never looked at you as anyone other than our friend. it makes us both happy to know that our acceptance of your lifestyle, which to us was "no big deal," was so important to you and played a big role in your life.
hearing stories from youth made me realize how much of a role each of us can play in one another's lives simply by setting an example.
messages like this reiterate how important our straight allies are to the lgbtq community. the more straight allies we have standing up for us, the stronger our movement for equal rights becomes. i'm lucky to have had corey and sean sticking up for me all those years ago. as for john, i have not spoken with him since my football career came to a halt thanks to back surgery. at that time it was too difficult to be around sports or any athlete. however, i pray that today john stands up for and supports the lgbtq community the same way he ended up having my back all those years ago. even people like john who were once homophobic can have their minds changed about homosexuality simply by meeting and getting to know someone who is gay and getting a little education on the subject.
in june i had the honor of going back to nebraska and western iowa to be the youth ambassador for heartland youth pride and the grand marshal for heartland pride. it was at these events where i got to see firsthand the positive impact i have had on the lgbtq community simply by being true to myself and living an open and honest life. it was so touching to be welcomed back with such open arms. hearing stories from youth about how i've helped them overcome struggles, defeat suicidal thoughts, accept themselves and come out to their family made me realize how much of a role each of us can play in one another's lives simply by setting an example.
i encourage each of you to be that example for one another. so many lgbtq struggling to accept themselves feel alone. show them they are not alone, and lend a helping hand when they need it.
life isn't meant to be easy. the hard times serve to shape our character and to help us develop solid morals and values. i know firsthand that life does get better, so please don't give up. it's not easy to come out and different circumstances make it hard for everyone to do. but i am living proof that a player on a team in a conservative, football-mad state can do it and be accepted and change minds. #betrue
author's note: i know readers will want to know why i did not disclose john's real name. the point of my story was not to shame him for the way he acted more than a decade ago, but to prove that even homophobes can change. he is not the same person who tormented me back then and i did not want to bring undue negative public attention to him. therefore, john was kept anonymous out of respect for his privacy.
*since i know some will wonder, the assistant coach that hassled me for being gay was not ron brown. while i am aware he has spoken out against gay rights bills in nebraska, in his dealings with me he was always cordial and professional.
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ʃɑrk ˈaɪˌsaɪt ʃɑrks hæv səʧ kin ˈsɛnsɪz ðət ɪˈneɪbəl ðɛm tɪ dɪˈtɛkt ˈivɪn smɔl əˈmaʊnts əv ɪˈlɛktrɪk ˈkɑrənt ər vaɪˈbreɪʃənz (electroreception*) ənd ˈkɛmɪkəl ˈʧeɪnʤɪz ɪn ðə ˈwɔtər (chemoreception*). ðiz ˈsɛnsɪz ər soʊ əˈkjutli ˈspɛʃəˌlaɪzd ðət ɪt wɑz əˈsumd ðət ðeɪ fər sharks’*’ pur ˈvɪʒən. ʃɑrks' aɪz ər bɪlt ʤɪst laɪk ɑrz ɪn ðə leɪt 1960s*, ˈrisərʧərz dɪˈskəvərd ðət ʃɑrk aɪz hæv ˈduˌplɛks, ər kənˈteɪnɪŋ boʊθ rɑd ənd koʊn sɛlz. rɑdz ɪˈneɪbəl ðə ʃɑrk tɪ si laɪt ənd ˈdɑrknəs, waɪl koʊnz əˈlaʊ fər ðə dɪˈtɛkʃən əv ˈkələr (ðoʊ ˈsaɪəntɪsts ər stɪl ənˈʃʊr haʊ ʃɑrks ˌɪnˈtərprət ˈkələrz). ðə aɪ ˈstrəkʧər əv ə ʃɑrk ɪz ˈsɪmələr tɪ ˈəðər ˈvərtəˌbreɪts ɪn ðət ɪt kənˈteɪnz ə ˈkɔrniə, lɛnz, ˈrɛtənə, ˈpjupəl ənd ˈaɪrɪs. ˈgɪvɪn ðɛr ˈsɪmələr ˈstrəkʧər ənd ˈjusɪʤ, ʃɑrk ˈaɪˌsaɪt wərks ˈsɪmələrli tɪ ðət əv ˈjumənz. ʃɑrks kən si ˈivɪn ɪn dɑrk ər ˈmərki ˈwɔtər ənˈlaɪk ˈjumənz, ʃɑrk aɪz ər ɪkˈwɪpt wɪθ ə lucidum*, ə leɪər əv ˈmɪrərd ˈkrɪstəlz ˈloʊˌkeɪtəd bɪˈhaɪnd ðə ˈrɛtənə. ðɪs prəˈvaɪdz ə minz fər laɪt ðət ˌɪˈnɪʃəli ɪˈskeɪpt dɪˈtɛkʃən tɪ bi dɪˈtɛktɪd ɛz ɪt ɪz pæst θru ðə ˈrɛtənə ə ˈsɛkənd taɪm. ðɪs ˈprɔˌsɛs laɪt, rɪˈdusɪŋ əˈkjuəti bət ˌɪnˈkrisɪŋ ˌsɛnsɪˈtɪvɪti. ðət ɪz, æt list ju kən si, bət ju doʊnt si ɛz ˈklɪrli ɛz ju wʊd ɪf mɔr laɪt wər əˈveɪləbəl ənd ju ˈdɪdənt hæv tɪ juz ə. səʧ ən ˌædəpˈteɪʃən ɪˈneɪbəlz ʃɑrks tɪ si ˈivɪn ɪn dɑrk ər ˈmərki ˈwɔtər ənd əp tɪ tɛn taɪmz ˈgreɪtər ðən ˈjumənz ɪn klɪr ˈwɔtər. wɛˈræz ˈjumən aɪz ər əˈdæptɪd ˈoʊnli fər lænd ənd ˈkænɑt si ɪn ðə ˈwɔtər, ʃɑrks hæv kin ˈaɪˌsaɪt ɪn ðə ˈwɔtər ənd meɪ ˈivɪn si aʊt əv ˈwɔtər. ʃɑrks' aɪz ər prəˈtɛktɪd wɪn əˈtækɪŋ preɪ ˈɔlsoʊ ənˈlaɪk ˈjumənz, ʃɑrk ˈaɪˌlɪdz sərv tɪ prəˈtɛkt ðə aɪ wɪn əˈtækɪŋ preɪ. səm ʃɑrks hæv ə ˈmɛmˌbreɪn, ər ə klɪr ˈmɛmˌbreɪn ðət ˈkəvərz ənd prəˈtɛkts ðə aɪ wɪn ə ʃɑrk baɪts ɪts preɪ. ʃɑrks laɪk ðə greɪt waɪt, ˈlækɪŋ ə ˈmɛmˌbreɪn, roʊl ðɛr ˈpjupəlz bæk ɪn ðɛr hɛdz fər prəˈtɛkʃən wɪn ˈfidɪŋ. saɪz ənd ʃeɪp əv aɪ ˈvɛriz fər ˈdɪfərənt ʃɑrks ˈɔlsoʊ ənˈlaɪk ˈəðər ˈænəməl ˈɔrdərz, ðə saɪz ənd ˈfəŋkʃən əv ðə aɪ kən ˈvɛri ˈgreɪtli əˈməŋst ʃɑrk ˈspiʃiz. ʃɑrks ər juˈnikli ənd əˈmeɪzɪŋli əˈdæptɪd tɪ ðɛr ɪn ɪnˈvaɪrənmənts ɪn ˈɛvəri weɪ ˌɪnˈkludɪŋ ˈaɪˌsaɪt. ənd ˈkɑlɪn 2007 kənˈdəktəd ə ˈstədi ɔn ðə ˈæbsəˌlut ənd ˈrɛlətɪv aɪ saɪz əv 46 ˈspiʃiz. ʃɑrk aɪ ənd ˈpjupəl saɪz ˈvɛrid dɪˈpɛndɪŋ ɔn ðə leɪər əv ˈoʊʃən ɪn wɪʧ ðeɪ ˌprɪˈdɑmənənˌtli rɪˈzaɪd. ʃɑrks ˈlɪvɪŋ ɪn ðə pəˈlæʤɪk bɪˈloʊ ðə ˈsərfəs) ənd ˈəpər 200-1000m*) hæd ðə ˈlɑrʤəst aɪz prɪˈzuməbli bɪˈkəz ðeɪ lɪv ɪn ˈɛriəz wɪθ ðə moʊst əˈveɪləbəl laɪt. ɪn ðə zoʊn 1000-4000m*) ʃɑrk ˈspiʃiz hæv sˈmɔlər aɪz wɪθ ˈlɑrʤər ˈpjupəlz soʊ ɛz tɪ ˌɪnˈkris ˈvɪʒəwəl əˈkjuəti ənd əˈbɪləˌti tɪ dɪˈtɛkt bioluminescence*. ðə ˈfidɪŋ ˈhæbəts əv ʃɑrks ˈɔlsoʊ ˈɪnfluəns aɪ saɪz, wɛˈræz ʃɑrks hu fid ɔn ˈlɑrʤər, fæst ˈmuvɪŋ preɪ hæv ˈlɑrʤər aɪz ðən ʃɑrks hu praɪˈmɛrəli fid ɔn ˈsɛdənˌtɛri preɪ. dɪˈspaɪt ðɛr væst ˈsɛnsəri əˈbɪləˌtiz, ʃɑrks stɪl rɪˈlaɪ ɔn ˈaɪˌsaɪt wɪn ˈsikɪŋ fud, ˈðɛrˌfɔr, ðɛr ˈaɪˌsaɪt ɪz ɛz ˈkinli əˈdæptɪd tɪ ðɛr ɪnˈvaɪrənmənts ɛz ðɛr ˈəðər ˈsɛnsɪz.
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shark eyesight
sharks have such keen senses that enable them to detect even small amounts of electric current or vibrations (electroreception) and chemical changes in the water (chemoreception). these senses are so acutely specialized that it was assumed that they overcompensate for sharks’ poor vision.
sharks' eyes are built just like ours
in the late 1960s, researchers discovered that shark eyes have duplex retinas, or retinas containing both rod and cone cells. rods enable the shark to see light and darkness, while cones allow for the detection of color (though scientists are still unsure how sharks interpret colors). the eye structure of a shark is similar to other vertebrates in that it contains a cornea, lens, retina, pupil and iris. given their similar structure and usage, shark eyesight works similarly to that of humans.
sharks can see even in dark or murky water
unlike humans, shark eyes are equipped with a tapetum lucidum, a layer of mirrored crystals located behind the retina. this provides a means for light that initially escaped detection to be detected as it is passed through the retina a second time. this process defocuses light, reducing acuity but increasing sensitivity. that is, at least you can see, but you don't see as clearly as you would if more light were available and you didn't have to use a tapetum. such an adaptation enables sharks to see even in dark or murky water and up to ten times greater than humans in clear water. whereas human eyes are adapted only for land and cannot see in the water, sharks have keen eyesight in the water and may even see out of water.
sharks' eyes are protected when attacking prey
also unlike humans, shark eyelids serve to protect the eye when attacking prey. some sharks have a nictating membrane, or a clear membrane that covers and protects the eye when a shark bites its prey. sharks like the great white, lacking a nictating membrane, roll their pupils back in their heads for protection when feeding.
size and shape of eye varies for different sharks
also unlike other animal orders, the size and function of the eye can vary greatly amongst shark species. sharks are uniquely and amazingly adapted to their in environments in every way including eyesight. lisney and collin (2007) conducted a study on the absolute and relative eye size of 46 elasmobranch species. shark eye and pupil size varied depending on the layer of ocean in which they predominantly reside.
sharks living in the pelagic (0-200m below the surface) and upper mesopelagic (200-1000m) had the largest eyes presumably because they live in areas with the most available light. in the bathylpelagic zone (1000-4000m) shark species have smaller eyes with larger pupils so as to increase visual acuity and ability to detect bioluminescence. the feeding habits of sharks also influence eye size, whereas sharks who feed on larger, fast moving prey have larger eyes than sharks who primarily feed on sedentary prey.
despite their vast sensory abilities, sharks still rely on eyesight when seeking food, therefore, their eyesight is as keenly adapted to their environments as their other senses.
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wət maɪt hɛlp ɪz diˌkrɪmənəˈlaɪzɪŋ ˈmaɪnər ðət ˌɪnˈkris ɪnˈkaʊnərz bɪtˈwin kɑps ənd blæks wi ʃʊd nɑt ˌɪntrəˈdus gənz ˈɪntu ɪnˈkaʊnərz əv ðɪs kaɪnd. ˈʧɑrəlz bɪˈkəz ɪt ɪz ˈnɪrli ˌɪmˈpɑsəbəl tɪ rɪˈfɔrm gən lɔz ɪn ðə ˈjuˈɛs, ənd wi kən ɪkˈspɛkt mæs ˈʃutɪŋz səʧ ɛz ðə wən ðət ˈhæpənd ɪn ˈdæləs ˈjɛstərˌdeɪ tɪ ˈoʊnli ˌɪnˈkris gən seɪlz ˈðɛrˈbaɪ ˈmeɪkɪŋ ən ɔˈrɛdi ˈvɛri bæd kənˈdɪʃən wərs, wi hæv tɪ lʊk fər ɔlˈtərnətɪvz ðət kən rɪˈdus ðə ɪnˈkaʊnərz bɪtˈwin blæks (ənd pur ənd ˈpipəl ɪn ˈʤɛnərəl) ənd lɔ ɛnˈfɔrsmənt ˈɔfɪsərz. fər ɪgˈzæmpəl, wi ʃʊd diˌkrɪmənəˈlaɪz ˈʤeɪˌwɔkɪŋ, fɛr ɪˈveɪʒən ɔn laɪt reɪl, ənd ˈɔlsoʊ ðə ˈhɛlmət lɔ fər ˈsaɪkəlɪsts. ˌɪnˈdid, ʤɪst læst wik, aɪ sɔ ə jəŋ blæk mæn stɑpt ɔn reɪˈnɪr ˈævəˌnu baɪ ə waɪt pəˈlis ˈɔfɪsər (ˈbɑrkɪŋ hɪz kəˈmændz ɔn ə ˈbumɪŋ, pɑ ˈsɪstəm ðət simd ˈæmpləˌfaɪd baɪ ðə bəlk əv hɪz ˌɛsˌjuˈvi) bɪˈkəz hi wɑz ˈsaɪkəlɪŋ wɪˈθaʊt ə ˈhɛlmət (ɪn ə seɪn soʊˈsaɪɪti, ˈɛniˌwən hu ˈjuzɪz ə baɪk tɪ gɪt əraʊnd taʊn wʊd rɪˈsiv tæks ˈkrɛdɪts ənd ˈəðər ˈbɛnəfɪts). aɪ ˈɔlsoʊ sɔ nɑt tu lɔŋ əˈgoʊ fɛr ɛnˈfɔrsərz ɔn lɪŋk ˈkɔlɪŋ ðə pəˈlis tɪ dil wɪθ ə jəŋ blæk meɪl hu dɪd nɑt hæv ˈprɑpər aɪˌdɛntəfəˈkeɪʃən fər faɪn ˈprɑsɛsɪŋ, ənd ˈðɛrˌfɔr gənz wər ˌɪntrəˈdust ˈɪntu ə ˈvɛri ˈmaɪnər ˌsɪʧuˈeɪʃən (əˈgɛn, ðə juz əv ˈpəblɪk ˌtrænspərˈteɪʃən ʃʊd bi rɪˈwɔrdɪd, nɑt ˈpənɪʃt). ɔn tɔp əv ɔl ðət, ˈprɛzənts ə strɔŋ keɪs fər ˈɛndɪŋ ““investigatory”*” ˈtræfɪk stɑps. səʧ ə stɑp brɔt tɪ ən ɛnd ðə laɪf əv ˈpərsən hu ˈwəzənt ˈbreɪkɪŋ wən ˈmeɪʤər lɔ, castile*. ɪf wi kænt gɪt rɪd əv gənz, ðɛn məst gɪt rɪd əv ðiz kaɪnz əv ɪnˈkaʊnərz. ɪf kɑps kən goʊ frəm ˈziroʊ tɪ ˈliθəl soʊ ˈizəli, soʊ kˈwɪkli, ðɛn ɪt ɪz ˈbɛtər ðeɪ ˈoʊnli dil wɪθ ˌsɪʧuˈeɪʃənz ðət dɪˈmænd ˈliθəl fɔrs.
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what might help is decriminalizing minor offences that increase encounters between cops and blacks
we should not introduce guns into encounters of this kind. charles mudede
because it is nearly impossible to reform gun laws in the us, and we can expect mass shootings such as the one that happened in dallas yesterday to only increase gun sales , thereby making an already very bad condition worse, we have to look for alternatives that can reduce the encounters between blacks (and poor and working-class people in general) and law enforcement officers.
for example, we should decriminalize jaywalking, fare evasion on light rail, and also the helmet law for cyclists. indeed, just last week, i saw a young black man stopped on rainier avenue by a white police officer (barking his commands on a booming, panic-inducing pa system that seemed amplified by the bulk of his suv) because he was cycling without a helmet (in a sane society, anyone who uses a bike to get around town would receive tax credits and other benefits). i also saw not too long ago fare enforcers on link calling the police to deal with a young black male who did not have proper identification for fine processing, and therefore guns were introduced into a very minor situation (again, the use of public transportation should be rewarded, not punished).
on top of all that, streetsblog presents a strong case for ending “investigatory” traffic stops. such a stop brought to an end the life of person who wasn't breaking one major law, philando castile. if we can't get rid of guns, then must get rid of these kinds of encounters. if cops can go from zero to lethal so easily, so quickly, then it is better they only deal with situations that demand lethal force.
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ˈfɪzɪsɪsts ˈɔfən ˈrɛprəˌmændɪd fər ˈjuzɪŋ risqué*é ˈhjumər ɪn ðɛr ˌækəˈdɛmɪk ˈraɪtɪŋz, bət ɪn 1991 ðət ɪz ɪgˈzæktli wət ˈhæpənd tɪ ðə ˈænˌdreɪ lɪnd æt ˈstænfərd ˌjunəˈvərsəti. hi hæd səbˈmɪtəd ə dræft ˈɑrtɪkəl ɛnˈtaɪtəld ɑrt əv ðə ˈjunəˌvərs creation’*’ tɪ ðə ˈʤərnəl ˈnukliər ˈfɪzɪks bi. ɪn ɪt, hi ˈaʊˌtlaɪnd ðə ˌpɑsəˈbɪləˌti əv kriˈeɪtɪŋ ə ˈjunəˌvərs ɪn ə ˈlæbrəˌtɔri: ə hoʊl nu ˈkɑzmoʊs ðət maɪt wən deɪ ɪˈvɑlv ɪts oʊn stɑrz, ˈplænəts ənd ˌɪnˈtɛləʤənt laɪf. nɪr ðə ɛnd, lɪnd meɪd ə ˈsimɪŋli ˈflɪpənt səˈʤɛsʧən ðət ɑr ˈjunəˌvərs ˌɪtˈsɛlf maɪt hæv bɪn nɑkt təˈgɛðər baɪ ən ˈeɪliən hacker’*’. ðə ˌrɛfərˈiz əˈbʤɛktəd tɪ ðɪs joke’*’; rɪˈlɪʤəs ˈpipəl maɪt bi əˈfɛndɪd ðət ˈsaɪəntɪsts wər ˈeɪmɪŋ tɪ stil ðə fit əv aʊt əv ðə hænz əv gɑd, ðeɪ ˈwərid. lɪnd ʧeɪnʤd ðə ˈtaɪtəl ənd ˈæbˌstrækt bət hɛld fərm ˈoʊvər ðə laɪn ðət ɑr ˈjunəˌvərs kʊd hæv bɪn meɪd baɪ ən ˈeɪliən ˈsaɪəntɪst. æm nɑt soʊ ʃʊr ðət ðɪs ɪz ʤɪst ə joke,’*,’ hi toʊld mi. ˌfæstˈfɔrwərd ə kˈwɔrtər əv ə ˈsɛnʧəri, ənd ðə ˈnoʊʃən əv ər ‘‘cosmogenesis’*’ ɛz aɪ dəb ɪt simz lɛs ˈkɑmɪkəl ðən ˈɛvər. ˈtrævəld ðə wərld ˈtɔkɪŋ tɪ ˈfɪzɪsɪsts hu teɪk ðə ˈkɑnsɛpt ˈsɪriəsli, ənd hu hæv ˈivɪn skɛʧt aʊt rəf ˈbluˌprɪnts fər haʊ juˈmænɪti maɪt wən deɪ əˈʧiv ɪt. ˌrɛfərˈiz maɪt hæv bɪn raɪt tɪ bi kənˈsərnd, bət ðeɪ wər ˈæskɪŋ ðə rɔŋ kˈwɛsʧənz. ðə ˈɪʃu ɪz nɑt hu maɪt bi əˈfɛndɪd baɪ, bət wət wʊd ˈhæpən ɪf ɪt wər ˈtruli ˈpɑsəbəl. haʊ wʊd wi ˈhændəl ðə ˌθiəˈlɑʤɪkəl ˌɪmpləˈkeɪʃənz? wət ˈmɔrəl riˌspɑnsəˈbɪlətiz wʊd kəm wɪθ ˈfæləbəl ˈjumənz ˈteɪkɪŋ ɔn ðə roʊl əv ˈkɑzmɪk kriˈeɪtərz? ˌθiərˈɛtɪkəl ˈfɪzɪsɪsts hæv ˈgræpəld fər jɪrz wɪθ rɪˈleɪtɪd kˈwɛsʧənz ɛz pɑrt əv ðɛr kənˌsɪdərˈeɪʃənz əv haʊ ɑr oʊn ˈjunəˌvərs bɪˈgæn. ɪn ðə 1980s*, ðə ˈæləks æt təfts ˌjunəˈvərsəti ɪn ˌmæsəˈʧusəts keɪm əp wɪθ ə ˈmɛkəˌnɪzəm θru wɪʧ ðə lɔz əv kˈwɑntəm məˈkænɪks kʊd hæv ˈʤɛnərˌeɪtɪd ən ˌɪnˈfleɪtɪŋ ˈjunəˌvərs frəm ə steɪt ɪn wɪʧ ðɛr wɑz noʊ taɪm, noʊ speɪs ənd noʊ ˈmætər. ən ɪˈstæblɪʃt ˈprɪnsəpəl ɪn kˈwɑntəm ˈθɪri ðət pɛrz əv ˈpɑrtɪkəlz kən spɑnˈteɪniəsli, ˌmoʊmənˈtɛrəli pɑp aʊt əv ˈɛmti speɪs. tʊk ðɪs ˈnoʊʃən ə stɛp ˈfərðər, ˈɑrgjuɪŋ ðət kˈwɑntəm rulz kʊd ˈɔlsoʊ ɪˈneɪbəl ə ˈmɪnəˌskjul ˈbəbəl əv speɪs ˌɪtˈsɛlf tɪ bərst ˈɪntu biɪŋ frəm ˈnəθɪŋ, wɪθ ðə ˈɪmpətəs tɪ ðɛn ɪnˈfleɪt tɪ ˌæstrəˈnɑmɪkəl skeɪlz. ɑr ˈkɑzmoʊs kʊd ðəs hæv bɪn ˈɪntu biɪŋ baɪ ðə lɔz əv ˈfɪzɪks əˈloʊn. tɪ, ðɪs rɪˈzəlt pʊt ən ɛnd tɪ ðə kˈwɛʃən əv wət keɪm ˌbiˈfɔr ðə bɪg bæŋ: ˈnəθɪŋ. ˈmɛni hæv meɪd pis wɪθ ðə ˈnoʊʃən əv ə ˈjunəˌvərs wɪˈθaʊt ə praɪm ˈmuvər, dɪˈvaɪn ər ˈəðərˌwaɪz. æt ðə ˈəðər ɛnd əv ðə ˌfɪləˈsɑfɪkəl ˈspɛktrəm, aɪ mɛt wɪθ dɑn peɪʤ, ə ˈfɪzɪsɪst ənd ˌivænˈʤɛlɪkəl ˈkrɪsʧɪn æt ðə ˌjunəˈvərsəti əv ælˈbərtə ɪn ˈkænədə, ˈnoʊtɪd fər hɪz ˈərli kəˌlæbərˈeɪʃən wɪθ ˈstivən ˈhɔkɪŋ ɔn ðə ˈneɪʧər əv blæk hoʊlz. tɪ peɪʤ, ðə ˈseɪljənt pɔɪnt ɪz ðət gɑd kriˈeɪtɪd ðə ˈjunəˌvərs ɛks frəm ˌæbsəˈlutli ˈnəθɪŋ. ðə kaɪnd əv ɛnˈvɪʒənd baɪ lɪnd, ɪn ˈkɑntræst, wʊd ˌrikˈwaɪər ˈfɪzɪsɪsts tɪ kʊk əp ðɛr ˈkɑzmoʊs ɪn ə ˈhaɪli ˈtɛknɪkəl ˈlæbrəˌtɔri, ˈjuzɪŋ ə fɑr mɔr ˈpaʊərfəl ˈkəzən əv ðə lɑrʤ ˈhæˌdrɔn kəˈlaɪdər nɪr ʤəˈnivə. ɪt wʊd ˈɔlsoʊ ˌrikˈwaɪər ə sid ˈpɑrtɪkəl kɔld ə ‘‘monopole’*’ (wɪʧ ɪz tɪ ɪgˈzɪst baɪ səm ˈmɑdəlz əv ˈfɪzɪks, bət həz jɛt tɪ bi faʊnd). ðə aɪˈdiə goʊz ðət ɪf wi kʊd ˌɪmˈpɑrt ɪˈnəf ˈɛnərʤi tɪ ə ˈmɑnəˌpoʊl, ɪt wɪl stɑrt tɪ ɪnˈfleɪt. ˈrəðər ðən groʊɪŋ ɪn saɪz wɪˈθɪn ɑr ˈjunəˌvərs, ðə ɪkˈspændɪŋ ˈmɑnəˌpoʊl wʊd bɛnd wɪˈθɪn ðə ækˈsɛlərˌeɪtər tɪ kriˈeɪt ə ˈtaɪni ˈwərmˌhɔl ˈtənəl ˈlidɪŋ tɪ ə ˈsɛpərˌeɪt ˈriʤən əv speɪs. frəm wɪˈθɪn ɑr læb wi wʊd si ˈoʊnli ðə maʊθ əv ðə ˈwərmˌhɔl; ɪt wʊd əˈpɪr tɪ ˈjuˈɛs ɛz ə ˈmɪni blæk hoʊl, soʊ smɔl ɛz tɪ bi ˈətərli ˈhɑrmləs. bət ɪf wi kʊd ˈtrævəl ˈɪntu ðət ˈwərmˌhɔl, wi wʊd pæs θru ə ˈgeɪtˌweɪ ˈɪntu ə ˈræpədli ɪkˈspændɪŋ ˈbeɪbi ˈjunəˌvərs ðət wi hæd kriˈeɪtɪd. (ə ˈvɪdioʊ ˈɪləˌstreɪtɪŋ ðɪs ˈprɔˌsɛs prəˈvaɪdz səm ˈfərðər ˈditeɪlz.) wi hæv noʊ ˈrizən tɪ bɪˈliv ðət ˈivɪn ðə moʊst ədˈvænst ˈfɪzɪks ˈhækərz kʊd ˈkɑnʤər ə ˈkɑzmoʊs frəm ˈnəθɪŋ æt ɔl, peɪʤ ˈɑrgjuz. ˈkɑnsɛpt əv, ɑˈdeɪʃəs ɛz ɪt maɪt bi, ɪz stɪl ˌfəndəˈmɛnəli ˌtɛknəˈlɑʤɪkəl. peɪʤ, ˈðɛrˌfɔr, siz ˈlɪtəl θrɛt tɪ hɪz feɪθ. ɔn ðɪs fərst ˈɪʃu, ðɛn, wʊd nɑt ˌnɛsəˈsɛrəli ˈəpˌsɛt ɪgˈzɪstɪŋ ˌθiəˈlɑʤɪkəl vjuz. bət ˈflɪpɪŋ ðə ˈprɑbləm əraʊnd, aɪ ˈstɑrtɪd tɪ ˈwəndər: wət ər ðə ˌɪmpləˈkeɪʃənz əv ˈjumənz ˈivɪn kənˈsɪdərɪŋ ðə ˌpɑsəˈbɪləˌti əv wən deɪ ˈmeɪkɪŋ ə ˈjunəˌvərs ðət kʊd bɪˈkəm ˌɪnˈhæbətəd baɪ ˌɪnˈtɛləʤənt laɪf? ɛz aɪ dɪˈskəs ɪn maɪ bʊk ə bɪg bæŋ ɪn ə ˈlɪtəl rum 2017 ˈkɑrənt ˈθɪri səˈʤɛsts ðət, wəns wi hæv kriˈeɪtɪd ə nu ˈjunəˌvərs, wi wʊd hæv ˈlɪtəl əˈbɪləˌti tɪ kənˈtroʊl ɪts ˌɛvəˈluʃən ər ðə pəˈtɛnʃəl ˈsəfərɪŋ əv ˈɛni əv ɪts ˈrɛzɪdənts. ðət meɪk ˈjuˈɛs ˌɪrəˈspɑnsəbəl ənd ˈrɛkləs ˈdiətiz? aɪ poʊzd ðə kˈwɛʃən tɪ ɛdˈwɑrdoʊ, ə ˈfɪzɪsɪst æt bɛn ˈgjʊriən ˌjunəˈvərsəti ɪn ˈɪzriəl, hu wɑz wən əv ðə ˈɑrkəˌtɛkts əv ðə ˈmɑdəl bæk ɪn ðə 1980s*. təˈdeɪ, ɪz ɪnˈgeɪʤd ɪn ˈrisərʧ ðət kʊd brɪŋ wɪˈθɪn ˈpræktɪkəl græsp. aɪ wɑz səˈpraɪzd tɪ faɪnd ðət ðə ˈmɔrəl ˈɪʃuz dɪd nɑt kɔz ɪm ˈɛni dɪˈskəmfərt. ˈlaɪkənz ˈsaɪəntɪsts ˈpɑndərɪŋ ðɛr riˌspɑnsəˈbɪləti ˈoʊvər ˈmeɪkɪŋ ə ˈbeɪbi ˈjunəˌvərs tɪ ˈpɛrənts ˌdɪˈsaɪdɪŋ ˈwɛðər ər nɑt tɪ hæv ˈʧɪldrən, noʊɪŋ ðeɪ wɪl ˌɪˈnɛvətəbli ˌɪntrəˈdus ðɛm tɪ ə laɪf fɪld wɪθ peɪn ɛz wɛl ɛz ʤɔɪ. ˈəðər ˈfɪzɪsɪsts ər mɔr ˈwɛri. ˌnoʊbuˈjuki sɑˈkɑi əv ˌjɑmɑˈguʧi ˌjunəˈvərsəti ɪn ʤəˈpæn, wən əv ðə θiərɪsts hu prəˈpoʊzd ðət ə ˈmɑnəˌpoʊl kʊd sərv ɛz ðə sid fər ə ˈbeɪbi ˈjunəˌvərs, ədˈmɪtəd ðət ɪz ə ˈθɔrni ˈɪʃu ðət wi ʃʊd ‘‘worry’*’ əˈbaʊt ɛz ə soʊˈsaɪɪti ɪn ðə fˈjuʧər. bət hi əbˈzɑlvd hɪmˈsɛlf əv ˈɛni ˈɛθɪkəl kənˈsərnz təˈdeɪ. ˌɔlˈðoʊ hi ɪz pərˈfɔrmɪŋ ðə ˌkælkjəˈleɪʃənz ðət kʊd əˈlaʊ, hi noʊts ðət ɪt wɪl bi ˈdɛkeɪdz ˌbiˈfɔr səʧ ən ɪkˈspɛrəmənt maɪt ˈfizəbli bi ˈriəˌlaɪzd. ˈɛθɪkəl kənˈsərnz kən weɪt. ˈmɛni əv ðə ˈfɪzɪsɪsts aɪ əˈproʊʧt wər rɪˈləktənt tɪ weɪd ˈɪntu səʧ pəˈtɛnʃəl ˌfɪləˈsɑfɪkəl kˈwɑndəriz. soʊ aɪ tərnd tɪ ə fəˈlɑsəfər, ˈændərz ˈsændbərg æt ðə ˌjunəˈvərsəti əv ˈɑksfərd, hu ˈkɑntəmˌpleɪts ðə ˈmɔrəl ˌɪmpləˈkeɪʃənz əv kriˈeɪtɪŋ ˌɑrtəˈfɪʃəl laɪf ɪn kəmˈpjutər ˌsɪmjəˈleɪʃənz. hi ˈɑrgjuz ðət ðə ˌproʊlɪfərˈeɪʃən əv ˌɪnˈtɛləʤənt laɪf, rəˈgɑrdləs əv fɔrm, kən bi ˈteɪkən ɛz ˈsəmθɪŋ ðət həz ˌɪnˈhɛrənt ˈvælju. ɪn ðət keɪs, maɪt ˈæˌkʧuəli bi ə ˈmɔrəl ˌɑbləˈgeɪʃən. ˈlʊkɪŋ bæk ɔn maɪ ˈnumərəs ˌkɑnvərˈseɪʃənz wɪθ ˈsaɪəntɪsts ənd fəˈlɑsəfərz ɔn ðiz ˈɪʃuz, kənˈkludɪd ðət ðə ˈɛdɪtərz æt ˈnukliər ˈfɪzɪks bi dɪd ə dɪˈsərvəs boʊθ tɪ ˈfɪzɪks ənd tɪ θiˈɑləʤi. ðɛr ˈlɪtəl ækt əv ˈsɛnsərˌʃɪp sərvd ˈoʊnli tɪ ˈstaɪfəl ən ˌɪmˈpɔrtənt dɪˈskəʃən. ðə ril ˈdeɪnʤər laɪz ɪn ˈfɑstərɪŋ ən ɛr əv hɑˈstɪləti bɪtˈwin ðə tu saɪdz, ˈlivɪŋ ˈsaɪəntɪsts əˈfreɪd tɪ spik ˈɑnəstli əˈbaʊt ðə rɪˈlɪʤəs ənd ˈɛθɪkəl ˈkɑnsəkˌwɛnsəz əv ðɛr wərk aʊt əv kənˈsərnz əv prəˈfɛʃənəl riˈpraɪzəl ər ˈrɪdəˌkjul. wi wɪl nɑt bi kriˈeɪtɪŋ ˈbeɪbi ˈjunəˌvərsɪz ˈɛniˌtaɪm sun, bət ˈsaɪəntɪsts ɪn ɔl ˈɛriəz əv ˈrisərʧ məst fil ˈeɪbəl tɪ ˈfrili ɑrˈtɪkjəˌleɪt ðə ˌɪmpləˈkeɪʃənz əv ðɛr wərk wɪˈθaʊt kənˈsərn fər ˈkɔzɪŋ offence*. ɪz ən ɪkˈstrim ɪgˈzæmpəl ðət tɛsts ðə ˈprɪnsəpəl. ˈpɛrəˌlɛl ˈɛθɪkəl ˈɪʃuz ər æt steɪk ɪn ðə mɔr ˈprɑspɛkts əv kriˈeɪtɪŋ ˌɑrtəˈfɪʃəl ˌɪnˈtɛləʤəns ər dɪˈvɛləpɪŋ nu kaɪnz əv ˈwɛpənz, fər ˈɪnstəns. ɛz ˈsændbərg pʊt ɪt, ˌɔlˈðoʊ ɪt ɪz ˌəndərˈstændəbəl ðət ˈsaɪəntɪsts ʃaɪ əˈweɪ frəm fəˈlɑsəfi, əˈfreɪd əv biɪŋ θɔt wɪrd fər ˈvɪrɪŋ bɪɔnd ðɛr ˈkəmfərt zoʊn, ðə ənˈwɔntɪd rɪˈzəlt ɪz ðət ˈmɛni əv ðɛm kip kwaɪət ɔn θɪŋz ðət ˈrɪli ˈmætər. ɛz aɪ wɑz ˈlivɪŋ ˈɔfəs æt ˈstænfərd, ˈæftər spɛnt ə deɪ ˈrɪfɪŋ ɔn ðə ˈneɪʧər əv gɑd, ðə ˈkɑzmoʊs ənd ˈbeɪbi ˈjunəˌvərsɪz, hi ˈpɔɪntɪd æt maɪ noʊts ənd ˈkɑmɛntəd ˈrufəli: ju wɔnt tɪ hæv maɪ ˌrɛpjəˈteɪʃən dɪˈstrɔɪd, aɪ gɛs ju hæv ɪˈnəf material.’*.’ ðɪs ˈsɛnəmənt wɑz ˈɛkoʊd baɪ ə ˈnəmbər əv ðə ˈsaɪəntɪsts aɪ hæd mɛt, ˈwɛðər ðeɪ aɪˈdɛntəˌfaɪd ɛz ˈeɪθiəsts, ægˈnɑstɪks, rɪˈlɪʤəs ər nən əv ðə əˈbəv. ðə ˈaɪrəni wɑz ðət ɪf ðeɪ fɛlt ˈeɪbəl tɪ ʃɛr ðɛr θɔts wɪθ iʧ ˈəðər ɛz ˈoʊpənli ɛz ðeɪ hæd wɪθ mi, ðeɪ wʊd noʊ ðət ðeɪ əˈloʊn əˈməŋ ðɛr ˈkɑligz ɪn ˈpɑndərɪŋ səm əv ðə ˈbɪgəst kˈwɛsʧənz əv ɑr biɪŋ.
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physicists aren’t often reprimanded for using risqué humour in their academic writings, but in 1991 that is exactly what happened to the cosmologist andrei linde at stanford university. he had submitted a draft article entitled ‘hard art of the universe creation’ to the journal nuclear physics b. in it, he outlined the possibility of creating a universe in a laboratory: a whole new cosmos that might one day evolve its own stars, planets and intelligent life. near the end, linde made a seemingly flippant suggestion that our universe itself might have been knocked together by an alien ‘physicist hacker’. the paper’s referees objected to this ‘dirty joke’; religious people might be offended that scientists were aiming to steal the feat of universe-making out of the hands of god, they worried. linde changed the paper’s title and abstract but held firm over the line that our universe could have been made by an alien scientist. ‘i am not so sure that this is just a joke,’ he told me.
fast-forward a quarter of a century, and the notion of universe-making – or ‘cosmogenesis’ as i dub it – seems less comical than ever. i’ve travelled the world talking to physicists who take the concept seriously, and who have even sketched out rough blueprints for how humanity might one day achieve it. linde’s referees might have been right to be concerned, but they were asking the wrong questions. the issue is not who might be offended by cosmogenesis, but what would happen if it were truly possible. how would we handle the theological implications? what moral responsibilities would come with fallible humans taking on the role of cosmic creators?
theoretical physicists have grappled for years with related questions as part of their considerations of how our own universe began. in the 1980s, the cosmologist alex vilenkin at tufts university in massachusetts came up with a mechanism through which the laws of quantum mechanics could have generated an inflating universe from a state in which there was no time, no space and no matter. there’s an established principle in quantum theory that pairs of particles can spontaneously, momentarily pop out of empty space. vilenkin took this notion a step further, arguing that quantum rules could also enable a minuscule bubble of space itself to burst into being from nothing, with the impetus to then inflate to astronomical scales. our cosmos could thus have been burped into being by the laws of physics alone. to vilenkin, this result put an end to the question of what came before the big bang: nothing. many cosmologists have made peace with the notion of a universe without a prime mover, divine or otherwise.
at the other end of the philosophical spectrum, i met with don page, a physicist and evangelical christian at the university of alberta in canada, noted for his early collaboration with stephen hawking on the nature of black holes. to page, the salient point is that god created the universe ex nihilo – from absolutely nothing. the kind of cosmogenesis envisioned by linde, in contrast, would require physicists to cook up their cosmos in a highly technical laboratory, using a far more powerful cousin of the large hadron collider near geneva. it would also require a seed particle called a ‘monopole’ (which is hypothesised to exist by some models of physics, but has yet to be found).
the idea goes that if we could impart enough energy to a monopole, it will start to inflate. rather than growing in size within our universe, the expanding monopole would bend spacetime within the accelerator to create a tiny wormhole tunnel leading to a separate region of space. from within our lab we would see only the mouth of the wormhole; it would appear to us as a mini black hole, so small as to be utterly harmless. but if we could travel into that wormhole, we would pass through a gateway into a rapidly expanding baby universe that we had created. (a video illustrating this process provides some further details.)
we have no reason to believe that even the most advanced physics hackers could conjure a cosmos from nothing at all, page argues. linde’s concept of cosmogenesis, audacious as it might be, is still fundamentally technological. page, therefore, sees little threat to his faith. on this first issue, then, cosmogenesis would not necessarily upset existing theological views.
but flipping the problem around, i started to wonder: what are the implications of humans even considering the possibility of one day making a universe that could become inhabited by intelligent life? as i discuss in my book a big bang in a little room (2017), current theory suggests that, once we have created a new universe, we would have little ability to control its evolution or the potential suffering of any of its residents. wouldn’t that make us irresponsible and reckless deities? i posed the question to eduardo guendelman, a physicist at ben gurion university in israel, who was one of the architects of the cosmogenesis model back in the 1980s. today, guendelman is engaged in research that could bring baby-universe-making within practical grasp. i was surprised to find that the moral issues did not cause him any discomfort. guendelman likens scientists pondering their responsibility over making a baby universe to parents deciding whether or not to have children, knowing they will inevitably introduce them to a life filled with pain as well as joy.
other physicists are more wary. nobuyuki sakai of yamaguchi university in japan, one of the theorists who proposed that a monopole could serve as the seed for a baby universe, admitted that cosmogenesis is a thorny issue that we should ‘worry’ about as a society in the future. but he absolved himself of any ethical concerns today. although he is performing the calculations that could allow cosmogenesis, he notes that it will be decades before such an experiment might feasibly be realised. ethical concerns can wait.
many of the physicists i approached were reluctant to wade into such potential philosophical quandaries. so i turned to a philosopher, anders sandberg at the university of oxford, who contemplates the moral implications of creating artificial sentient life in computer simulations. he argues that the proliferation of intelligent life, regardless of form, can be taken as something that has inherent value. in that case, cosmogenesis might actually be a moral obligation.
looking back on my numerous conversations with scientists and philosophers on these issues, i’ve concluded that the editors at nuclear physics b did a disservice both to physics and to theology. their little act of censorship served only to stifle an important discussion. the real danger lies in fostering an air of hostility between the two sides, leaving scientists afraid to speak honestly about the religious and ethical consequences of their work out of concerns of professional reprisal or ridicule.
we will not be creating baby universes anytime soon, but scientists in all areas of research must feel able to freely articulate the implications of their work without concern for causing offence. cosmogenesis is an extreme example that tests the principle. parallel ethical issues are at stake in the more near-term prospects of creating artificial intelligence or developing new kinds of weapons, for instance. as sandberg put it, although it is understandable that scientists shy away from philosophy, afraid of being thought weird for veering beyond their comfort zone, the unwanted result is that many of them keep quiet on things that really matter.
as i was leaving linde’s office at stanford, after we’d spent a day riffing on the nature of god, the cosmos and baby universes, he pointed at my notes and commented ruefully: ‘if you want to have my reputation destroyed, i guess you have enough material.’ this sentiment was echoed by a number of the scientists i had met, whether they identified as atheists, agnostics, religious or none of the above. the irony was that if they felt able to share their thoughts with each other as openly as they had with me, they would know that they weren’t alone among their colleagues in pondering some of the biggest questions of our being.
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ˈbreɪkɪŋ nuz iˈmeɪlz gɪt ˈbreɪkɪŋ nuz əˈlərts ənd ˈspɛʃəl rɪˈpɔrts. ðə nuz ənd ˈstɔriz ðət ˈmætər, dɪˈlɪvərd ˈwikˌdeɪ ˈmɔrnɪŋz. mɑrʧ 25 2016 piɛm ˈəpˌdeɪtɪd mɑrʧ 25 2016 piɛm baɪ pit ˈwɪljəmz ənd ˈɛlɪʃə frɛnʧ ˈprɛzɪdənt frɑnsˈwɑ sɛd ˈfraɪˌdeɪ ðət ðə ˈmɪlətənt ˈnɛtˌwərk riˈspɑnsəbəl fər ðə əˈtæks ðət lɛft æt list 31 dɛd ɪn ˈbrəsəlz ˈtuzˌdeɪ ənd ðə əˈtæks ɪn ˈpɛrɪs læst jɪr ɪz ɔn ðə weɪ tɪ biɪŋ ɪˈrædəˌkeɪtɪd, bət "ðɛr ɪz stɪl ə θrɛt ˈlumɪŋ." meɪd ðə ˈkɑmɛnts ˌbiˈfɔr ə ˈmitɪŋ ɪn ˈpɛrɪs wɪθ ˈfɔrmər ˌɪzˈreɪli ˈprɛzɪdənt ˈʃimən ˈpɛrɛz ənd ˈæftər θri ˈsəˌspɛkts wər ərˈɛstɪd ɪn reɪdz rɪˈleɪtɪd tɪ ðə ˌɪnˌvɛstəˈgeɪʃən sərˈaʊndɪŋ ðə ˈpɛrɪs ənd ˈbrəsəlz əˈtæks, wɪʧ hæv bɪn kleɪmd baɪ ˈaɪsəs. əˈnəðər mæn, wɪθ noʊ əˈpɛrənt lɪŋks tɪ ðə ˈpɛrɪs ər ˈbrəsəlz əˈtæks, wɑz ərˈɛstɪd ˈdʊrɪŋ reɪdz ɪn ˈpɛrɪs ˈθərzˌdeɪ ðət əˈfɪʃəlz sɛd prɪˈvɛnɪd ə ˈtɛrərɪst əˈtæk. "wi hæv hæd səkˈsɛs ɪn ˈfaɪndɪŋ ðə ˈtɛrəˌrɪsts ənd boʊθ ɪn ˈbrəsəlz, ənd ɪn ˈpɛrɪs ðɛr hæv bɪn səm ərˈɛsts ənd wi noʊ ðɛr ər ˈəðər ˈnɛtˌwərks, bɪˈkəz ˈivɪn ðoʊ ðə wən ðət ˈkɛrid aʊt ðə əˈtæks ɪn ˈpɛrɪs ənd ˈbrəsəlz ɪz ɪn ðə ˈprɔˌsɛs əv biɪŋ waɪpt aʊt wɪθ ə ˈnəmbər əv ɪts ˈmɛmbərz ərˈɛstɪd ðɛr ɪz stɪl ə θrɛt ˈlumɪŋ," sɛd. ən ˌɪˈnɪʃəl ˌrivˈju həz ənˈkəvərd noʊ ˌfɔˈrɛnsɪk ˈɛvədəns tɪ ˈɪndəˌkeɪt ðə ˈbrəsəlz ˈɛrˌpɔrt ˈbɑmərz spəˈsɪfɪkli ˈtɑrgətɪd əˈmɛrɪkənz ɪn ðə əˈtæk, ə ˈsinjər juz. lɔ ɛnˈfɔrsmənt əˈfɪʃəl sɛd. ðə bɑmz əˈpɪr tɪ hæv bɪn ˈdɛtəˌneɪtəd wɛr ðeɪ wʊd kɔz ˈmæksəməm ˈkæʒəwəltiz rəˈgɑrdləs əv ˌnæʃəˈnælɪti, ðə əˈfɪʃəl sɛd. rɪˈleɪtɪd: mæn ərˈɛstɪd, ˈwundɪd nɪr ˈbrəsəlz bɔm ˈfæktəri juz. haʊs ˌɪnˈtɛləʤəns kəˈmɪti ˈʧɛrmən ˈdɛvɪn nunz ɔn ˈθərzˌdeɪ səˈʤɛstɪd ðə əˈtæk maɪt hæv bɪn ˌɪnˈtɛndɪd tɪ kɪl juz. ˈsɪtɪzənz, bət ˈkɔʃənd ɪt wɑz hɪz oʊn əˈsɛsmənt ənd hi hæd noʊ ˈɛvədəns tɪ səˈpɔrt hɪz vju. faɪv ˈsəˌspɛkts hæv bɪn aɪˈdɛntəˌfaɪd ɪn kəˈnɛkʃən wɪθ ðə θri bɑmz ˈdɛtəˌneɪtəd ɪn tu ˈdɪfərənt ˈtrævəl həbz ɪn ˈbrəsəlz. əv ðə θri ˈsəˌspɛkts hu wər kɪld baɪ ðə bɑmz, wən, laachraoui*, ɪz taɪd tɪ ˈmeɪkɪŋ bɑmz juzd ɪn ðə noʊˈvɛmbər ˈpɛrɪs əˈtæks, waɪl tu ˈbrəðərz, ˈkɑlɪd ənd ˌɪbrɑˈhim ɛl bakraoui*, hu ər səˈspɛktɪd ɪn ðə ˈbrəsəlz əˈtæk wər ˈɔlsoʊ biɪŋ sɔt ɪn kəˈnɛkʃən wɪθ ðə ˈpɛrɪs ˈmæsəkər. tu ˈsəˌspɛkts ər stɪl ˈwɔntɪd, əˈθɔrətiz sɛd. naɪɪm dɪˈskraɪbd ɛz "ɑrmd ənd ˈvɛri ˈdeɪnʤərəs" ɪz ə ˈsɪriən ɔn ə lɪst əv ˈsəˌspɛkts ˈsərkjəˌleɪtɪd tɪ sɪˈkjʊrəti ˈsərvɪsɪz ɪn ˈəðər ˌjʊrəˈpiən ˈkəntriz, ˈbɛlʤən ˈnuzˌpeɪpər də ˈmɔrgən ənd nuz saɪt ˌriˈpɔrtəd, ˈsaɪtɪŋ pəˈlis. hi ɪz ˈɔlsoʊ θɔt tɪ hæv bɪn ˌɪnˈvɑlvd ɪn ðə noʊv. 13 əˈtæks ɪn ˈpɛrɪs. ˈɛnˌbiˈsi nuz wɑz əˈneɪbəl tɪ ˌɪˈmiˌdiətli kənˈfərm ðə rɪˈpɔrts. ˌɪnˈvɛstəˌgeɪtərz ər ˈɔlsoʊ ˈsərʧɪŋ fər moʊˈhɑmɛd abrini*, hu wɑz fɪlmd ɔn sɪˈkjʊrəti ˈfʊtɪʤ æt ə gæs ˈsteɪʃən wɪθ ˈsælə, wən əv ðə əˈlɛʤd ˈpɛrɪs əˈtækərz, ʤɪst tu deɪz ˌbiˈfɔr ðə ˈmæsɪkərz. wɑz ˈkæpʧərd fɔr deɪz ˌbiˈfɔr ðə əˈtæks ɪn ˈbrəsəlz. waɪl ðə tu səˈspɛktɪd ˈtɛrəˌrɪsts rɪˈmeɪnd ˌənəˈkaʊntɪd fər, ˈpɛrɛz sɔt tɪ lɛnd ˈkəmfərt ˈfraɪˌdeɪ. "wɪr ɪn ðə seɪm ˈstrəgəl əˈgɛnst ˈtɛrər. ənd ɪn maɪ vju ðɛr ɪz noʊ daʊt ðət ðə məˈʤɔrəti əv ˈpipəl ɪz əˈgɛnst ˈtɛrər ənd fər pis ənd ðə ˈtɛrəˌrɪsts ər ə məˈnɔrəti," hi sɛd. ˈɔlsoʊ ˈfraɪˌdeɪ, ðə ˈbɛlʤəm ˈfɔrən ˈɔfəs ɔn ˈfraɪˌdeɪ dɪˈskloʊzd ðə ˌnæʃəˈnælɪtiz əv naɪn əv ðə 31 kɪld ɪn ðə əˈtæks tu əˈmɛrɪkənz, θri dəʧ ˈsɪtɪzənz, ənd wən ˈsɪtɪzən iʧ əv fræns, ðə juˈnaɪtɪd ˈkɪŋdəm, ˈʧaɪnə ənd pəru. rɪˈleɪtɪd: səˈspɛktɪd ˈpɛrɪs bɔm ˈmeɪkər kənˈfərmd ɛz ˈbrəsəlz əˈtækər tu əv ðə dəʧ ˈvɪktɪmz lɪvd ɪn nu jɔrk, ˈɛnˌbiˈsi nuz ˈlərnɪd. ðə ˈsɪblɪŋz, ənd ˌælɪgˈzændər pinczowski*, hu wər dəʧ ˈnæʃənəlz, hæd bɪn du tɪ flaɪ bæk tɪ ðə juz. æt ðə taɪm əv ðə blæsts. ðeɪ ˌɪnˈtɛndɪd tɪ bɪˈkəm juz. ˈsɪtɪzənz, əˈkɔrdɪŋ tɪ ʤɪm keɪn, ðə ˈfɔrmər juz. æmˈbæsədər tɪ ˈdɛnˌmɑrk, huz ˈdɔtər, ˈkæmərən, wɑz ˈdeɪtɪŋ ˌælɪgˈzændər. ðə ˈhædənt bɪn hərd frəm sɪns ðɛr foʊn laɪn wɛnt dɛd waɪl ðeɪ wər ɔn ðə foʊn wɪθ ə ˈrɛlətɪv ˈdʊrɪŋ ðə ˈbɑmɪŋz.
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march 25, 2016, 11:14 pm gmt / updated march 25, 2016, 11:45 pm gmt by pete williams and elisha fieldstadt
french president francois hollande said friday that the militant network responsible for the attacks that left at least 31 dead in brussels tuesday and the attacks in paris last year is on the way to being eradicated, but "there is still a threat looming."
hollande made the comments before a meeting in paris with former israeli president shimon peres and after three suspects were arrested in raids related to the investigation surrounding the paris and brussels attacks, which have been claimed by isis.
another man, with no apparent links to the paris or brussels attacks, was arrested during raids in paris thursday that officials said prevented a terrorist attack.
"we have had success in finding the terrorists and both in brussels, and in paris there have been some arrests and we know there are other networks, because even though the one that carried out the attacks in paris and brussels is in the process of being wiped out with a number of its members arrested there is still a threat looming," hollande said.
an initial review has uncovered no forensic evidence to indicate the brussels airport bombers specifically targeted americans in the attack, a senior u.s. law enforcement official said. the bombs appear to have been detonated where they would cause maximum casualties regardless of nationality, the official said.
related: man arrested, wounded near brussels bomb factory
u.s. house intelligence committee chairman devin nunes on thursday suggested the attack might have been intended to kill u.s. citizens, but cautioned it was his own assessment and he had no evidence to support his view.
five suspects have been identified in connection with the three bombs detonated in two different travel hubs in brussels. of the three suspects who were killed by the bombs, one, najim laachraoui, is tied to making bombs used in the november paris attacks, while two brothers, khalid and ibrahim el bakraoui, who are suspected in the brussels attack were also being sought in connection with the paris massacre.
two suspects are still wanted, authorities said. naim al-hamed described as "armed and very dangerous" is a syrian on a list of suspects circulated to security services in other european countries, belgian newspaper de morgen and news site dh reported, citing police. he is also thought to have been involved in the nov. 13 attacks in paris. nbc news was unable to immediately confirm the reports.
investigators are also searching for mohamed abrini, who was filmed on security footage at a gas station with salah abdeslam, one of the alleged paris attackers, just two days before the massacres. abdeslam was captured four days before the attacks in brussels.
while the two suspected terrorists remained unaccounted for, peres sought to lend comfort friday. "we're in the same struggle against terror. and in my view there is no doubt that the majority of people is against terror and for peace and the terrorists are a minority," he said.
also friday, the belgium foreign office on friday disclosed the nationalities of nine of the 31 killed in the attacks two americans, three dutch citizens, and one citizen each of france, the united kingdom, china and peru.
related: suspected paris bomb maker confirmed as brussels attacker
two of the dutch victims lived in new york, nbc news learned. the siblings, sascha and alexander pinczowski, who were dutch nationals, had been due to fly back to the u.s. at the time of the blasts. they intended to become u.s. citizens, according to jim cain, the former u.s. ambassador to denmark, whose daughter, cameron, was dating alexander.
the pinczowskis hadn't been heard from since their phone line went dead while they were on the phone with a relative during the bombings.
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laredo's* ˈɪmɪʤ ˈhæmərd baɪ drəg ˈvaɪələns ən ɪmˈplɔɪi wərks ɔn ə ˈstɔrˌfrɑnt dɪˈspleɪ æt ə pərfˈjum stɔr ə blɑk əˈweɪ frəm ˌɪnərˈnæʃənɑl brɪʤ noʊ. 1 ɪn ˈdaʊnˈtaʊn lərˈeɪdoʊ. ˈbɪznɪs ɪn ðə ˈsɪti həz bɪn hərt ɛz ɪts ˈsɪstər kəmˈjunɪti, nˈweɪvoʊ lərˈeɪdoʊ, ˈmɛksəˌkoʊ, həz sin ə raɪz ɪn ˈvaɪələns. lɛs ən ɪmˈplɔɪi wərks ɔn ə ˈstɔrˌfrɑnt dɪˈspleɪ æt ə pərfˈjum stɔr ə blɑk əˈweɪ frəm ˌɪnərˈnæʃənɑl brɪʤ noʊ. 1 ɪn ˈdaʊnˈtaʊn lərˈeɪdoʊ. ˈbɪznɪs ɪn ðə ˈsɪti həz bɪn hərt ɛz ɪts ˈsɪstər kəmˈjunɪti, nˈweɪvoʊ lərˈeɪdoʊ, ˈmɛksəˌkoʊ, mɔr ˈfoʊˌtoʊ: ˈʤɛri ˈlɑrə, sæn ænˈtoʊnioʊ ˈfoʊˌtoʊ: ˈʤɛri ˈlɑrə, sæn ænˈtoʊnioʊ ˈɪmɪʤ 1 əv 13 ˈkæpʃən kloʊz ˈɪmɪʤ ˈhæmərd baɪ drəg ˈvaɪələns 1 13 bæk tɪ ˈgæləri lərˈeɪdoʊ ðə əˈfɪʃəl ˈwɛlkəm fər ðə ləˈʤɪstɪks ənd ˌmænjəˈfækʧərɪŋ sɪmˈpoʊziəm hir læst wik wɑz dɪˈlɪvərd baɪ meɪər rɔl səˈlinəz, hu geɪv ə ˈraʊzɪŋ ɛnˈdɔrsmənt əv hɪz ˈbumɪŋ ˈbɔrdər ˈsɪti. ɪz ˈoʊpən fər ˈbɪznɪs. meɪk ʃʊr ju ˌɛnˈʤɔɪ ðɪs seɪf ənd ˈwəndərfəl city,”*,” hi toʊld ðə əˈsɛmbəld ˈkəstəmz ˈbroʊkərz, ˌmænjəˈfækʧərərz ənd trænˈspɔrtərz, əˈmɛrɪkən ənd ˈmɛksəkən, ənd ɔl ˌɪnˈvɑlvd ɪn ðə ˈɔtoʊ ˈɪndəstri. səˈlinəz spoʊk wɪθ ˈpæʃən əˈbaʊt ðə ˌɪmˈpɔrtəns əv kˌwɔpərˈeɪʃən ənd ˈfrɛndʃɪp, ənd nˈweɪvoʊ lərˈeɪdoʊ meɪər ˈbɛnʤəmən gɑlˈvɑn ˈɔfərd ˈsɪmələr ˈsɛnəmənts. ðə tu meɪərz ðɛn ʃɛrd ə ˈhɑrti ““abrazo.”*.” ənd baɪ moʊst ˈmɛʒərz, lərˈeɪdoʊ, ðə ˈbɪziəst lænd pɔrt tɪ ˈmɛksəˌkoʊ, ɪz duɪŋ ˈvɛri wɛl. ðə ˈsɪti ɪz groʊɪŋ, ˈvaɪələnt kraɪm ɪz daʊn ənd ˈspɪˌloʊvər frəm ˈvaɪələns ɪn ˈmɛksəˌkoʊ ɪz ˈmɪnəməl, pəˈlis seɪ. bət wɪn ə ˈsɪti ʃɛrz ə neɪm ənd ə ˈrɪvərˌfrənt wɪθ ə ˈneɪbər ðət ɪz hoʊm tɪ ə ˈvaɪələnt drəg ˈmɑfiə, wɛr ˈbɑdiz ər həŋ frəm ˈbrɪʤɪz ənd ˈivɪn ðə meɪərz ˈɔfəs gɪts bɑmd, ðə pərˈsɛpʃən ˈɛlsˌwɛr kən gɪt ˈbləri. əˈsəmpʃən ɪz lərˈeɪdoʊ ɪz nɑt seɪf. wiv hæd tɪ rɪˈspɑnd wɪn ˈpipəl wər ˈkɔlɪŋ lərˈeɪdoʊ ə wɔr zone,”*,” səˈlinəz sɛd ˈæftərwərd. ˈrisənt ɪˈvɛnts ɔn boʊθ saɪdz əv ðə ˈrɪvər ˈhævənt hɛlpt ʧeɪnʤ ðɪs ˈʤɔndɪst vju. ɪn ðə speɪs əv ˈsɛvən deɪz ˈərliər ðɪs mənθ, 54 ˈpipəl wər kɪld ɪn nˈweɪvoʊ lərˈeɪdoʊ ɛz drəg kɑrˈtɛlz ˈbætəld fər ˈdɑmənəns, ˈprɑmptɪŋ ðə juz. ˈkɑnsələt tɪ wɔrn əˈmɛrɪkənz tɪ steɪ əˈweɪ. læst mənθ, ˈprɑmənənt ˈloʊkəl gən ˈdilər ˈrɑbərt wɑz ʧɑrʤd wɪθ ˌɪˈligəl ˈwɛpənz seɪlz tɪ ˈmɛksəkən ˈkrɪmənəlz. əˈnəðər raʊnd əv bæd prɛs ˈfɑloʊd wɪn əˈmɛrɪkən ˈfɛdərəl ˌvɛtərəˈnɛriənz rɪfˈjuzd tɪ ˌɪnˈspɛkt ˈkætəl ɪn ˈmɛksəˌkoʊ. ˈædɪŋ ˌɪnˈsəlt tɪ ˈɪnʤəri, lərˈeɪdoʊ wɪθ ˈoʊnli 10 ˈhɑməˌsaɪdz ðɪs jɪr ənd ə ˈvaɪələnt kraɪm reɪt ðət ɪz loʊər ðən ɪn sæn ænˈtoʊnioʊ ər ˈdæləs ˈɔfən ɪz kənfˈjuzd baɪ aʊtˈsaɪdərz wɪθ ɪts ˈsɪstər ˈsɪti, ˈhɛdˌkɔrtərz əv ðə zetas*, ðə moʊst fɪrd ˈgæŋstərz ɪn ˈmɛksəˌkoʊ. gɪt kɔlz frəm ˈpipəl ˈæskɪŋ 'wət ðə hɛk ɪz goʊɪŋ ɔn ðɛr? ɪts ə wɔr zoʊn. ðə ˈkɪlɪŋ. ðə sˈməgəlɪŋ. ðə drəg wɔrz. haʊ kən ju lɪv there?'”*?'” rɪˈmɑrkt ˈloʊpɛz, dɪˈrɛktər əv ðə ˈsɪtiz kənˈvɛnʃən ˈvɪzɪtərz ˈbjʊroʊ. noʊz haʊ tɪ ˈhændəl ðoʊz kɔlz. ˈɛvriˌwən həz ðə (kraɪm statistics),”*),” ʃi sɛd əv ðə stæf. ðə ˈbjʊroʊ həz ə kɪt pækt wɪθ kraɪm stəˈtɪstɪks ðət taʊts ˈseɪfti ənd ɪts əˈtrækʃənz. bət, ˈloʊpɛz kənˈsidz, ɪts təf tɪ ˈoʊvərˌkəm ðə mɪspərˈsɛpʃənz, ˌpɑrˈtɪkjələrli wɪn traɪɪŋ tɪ pərsˈweɪd ˈsəmˌwən tɪ bʊk ə grup ɪˈvɛnt. meɪks ðə ˈsɛlɪŋ pɑrt ˈvɛri ˈdɪfəkəlt. ɪts ən ˈɛkstrə barrier,”*,” ʃi sɛd. hərt baɪ ˈstɛrioʊˌtaɪp fɑr wərs ðən ˈɪmɪʤ ˈprɑbləmz, ðə oʊld ““centro”*” hɪˈstɔrɪk ˈdɪstrɪkt ɪz ˈwɪðərɪŋ ˈræpədli. ðə əˈmɛrɪkən ˈtʊrɪsts ənd tʊr ˈbəsɪz stɑpt ˈkəmɪŋ jɪrz əˈgoʊ, ənd ˈmɛksəkən ˈʃɑpərz ər dɪˈtərd baɪ ðə lɔŋ brɪʤ laɪnz ənd ðə ˈdeɪnʤərz əv nˈweɪvoʊ lərˈeɪdoʊ. ðɪs ˈsəmər, səˈlinəz rɪˈspɑndɪd baɪ ˈlɔnʧɪŋ ə ɪz safe,”*,” kæmˈpeɪn ðət həz brɔt ðə ˈmɛsɪʤ ɔn 17 ˈjɛloʊ ˈbɪlˌbɔrdz əraʊnd ˈtɛksəs, ˌɪnˈkludɪŋ sæn ænˈtoʊnioʊ, ˈkɔrpəs ˈkrɪsti ənd ˈɔstən. sɪks jɪrz, ðɛr həz bɪn ə ˈstɪgmə, ə ˈstɛrioʊˌtaɪp, ðət wi ər nɑt safe,”*,” hi sɛd, ˈbleɪmɪŋ ˈleɪzi ˈʤərnəlɪsts, ˈtɛləˌvɪʒən ˈpəndɪts ənd sɪˈkjʊrəti ˈɛkspərts, ɪn ˌpɑˈtɪkjələr ʤɛn. ˈbɛri məˈkæfri, hu dɪd ə ˈstədi læst jɪr əv ðə ˈbɔrdər kəˈmɪʃənd baɪ ðə ˈtɛksəs dɪˈpɑrtmənt əv ˈægrɪˌkəlʧər ənd ðə dɪˈpɑrtmənt əv ˈpəblɪk ˈseɪfti. ðə ˈstədi kənˈkludɪd ðət drəg kɑrˈtɛlz poʊzd ə ˈsɪriəs θrɛt tɪ ˈbɔrdər ˈrɛzɪdənts ənd kɔld fər mɔr ˈfɛdərəl ˈspɛndɪŋ, bət wɑz kˈwɪkli ˈkrɪtəˌsaɪzd ɛz biɪŋ ɪgˈzæʤərˌeɪtɪd ənd ənˈfɛrli ˈtɑrnɪʃɪŋ ðə ˈbɔrdər. wɑz ə ˈtoʊtəli nonfactual*, ˈplɪtɪkli ˈmoʊtəˌveɪtəd slæp ɪn ðə feɪs tɪ ðə ˈpipəl əv laredo,”*,” ðə meɪər sɛd. ɪn əˈnəðər ˈɪnstəns, ˈsaɪtɪd baɪ ˈsɪti pəˈlis, ˌkæləˈfɔrnjə ˈkɑŋgrəsmən ˈdəŋkən ˈhəntər, ɪn ə spiʧ tɪ ˌmɑrɪˈkoʊpə ˈkaʊnti rɪˈpəblɪkənz ɪn səˈpɔrt əv ə ˈbɔrdər fɛns frəm ˈtɛksəs tɪ ˌkæləˈfɔrnjə, kleɪmd ðɛr wər 600 ənˈsɑlvd ˈmərdərz ɪn lərˈeɪdoʊ. ðə meɪər, ə ˈfɔrmər ˈɛfˈbiˈaɪ ˈeɪʤənt, sɛd ðət ˈæftər hi əˈpɪrd ˈsɛvərəl jɪrz əˈgoʊ ɔn ðə glɛn bɛk ʃoʊ ɪn ˌɑpəˈzɪʃən tɪ ə ˈfɛdərəl plæn tɪ bɪld ə stil ˈbɛriər bɪtˈwin lərˈeɪdoʊ ənd nˈweɪvoʊ lərˈeɪdoʊ, hi wɑz ˈdɛljuʤd wɪθ ˈheɪtfəl ˈiˌmeɪlz ənd foʊn kɔlz. hi rɪˈkɔld wən ˈkɔlər, hu rɪˈfərd tɪ ɪm ɛz ə mayor,”*,” ˈɔfərɪŋ səm ədˈvaɪs. sɛd, 'lɛt mi tɛl ju ˈsəmθɪŋ bɔɪ. ɪf ju laɪk ˈmɛksəˌkoʊ soʊ məʧ, waɪ doʊnt ju goʊ bi ðə meɪər there,'”*,'” hi rɪˈkɔld. ənd, səˈlinəz ækˈnɑlɪʤd, ðɛr ɪz noʊ ˈmæʤɪk fɪks tɪ ˈbrɪŋɪŋ ðə ˈtʊrɪsts bæk ər rɪˈvaɪvɪŋ ðə oʊld ˈdaʊnˈtaʊn wɛr, ʤɪst ə ˈkəpəl əv ˌʤɛnərˈeɪʃənz əˈgoʊ, ɔl əv lərˈeɪdoʊ ənd moʊst əv nˈweɪvoʊ lərˈeɪdoʊ wɛnt tɪ ʃɑp. ər stɪl ˈkəmɪŋ, bət wɪθ lɛs ˈməni. ɪts nɑt laɪk ðə oʊld days,”*,” hi sɛd əv ðə ˈsɛntroʊ. ˈstrəgəlɪŋ ˈsɛntroʊ wəns ə ˈbəsəlɪŋ kəˈmərʃəl ˈwɔrən əv ˈblɛrɪŋ pɑp mˈjuzɪk, ˈmərʧənˌdaɪz ˈspɪlɪŋ aʊt əv ˈstɔrˌfrɑnts ənd ˈʃɑpərz ˈʤɑsəlɪŋ ɔn əˈnivən ˈsaɪdˌwɔks, ðə ˈsɛntroʊ həz bɪˈkəm ə fərˈlɔrn ˈbækˌwɔtər əv ˈveɪkənt ˈbɪznɪsɪz ənd ˈwɪndoʊ saɪnz ˈʃaʊtɪŋ ““remate*! liquidaction*! descuento!”*!” fər ˈdɛkeɪdz, ðə ɪkˈweɪʒən fər ˈbɪznɪs səkˈsɛs wɑz ˈsɪmpəl ənd rɪˈlaɪəbəl. ɔn ðə ˈwiˌkɛndz, əˈmɛrɪkən ˈtʊrɪsts keɪm tɪ lərˈeɪdoʊ tɪ bʊk ə hoʊˈtɛl rum, braʊz ðə rɪˈlɪʤəs ˌfɪgjərˈinz, ˌɪmˈprɑbəbəl ˈkələrd ˈlɑnʒərˌeɪ ənd ˈəðər gʊdz pɪˈkjuljər əv ðə ˈsɛntroʊ, ənd ðɛn wɔk əˈkrɔs ðə brɪʤ tɪ ʃɑp, drɪŋk ənd daɪn ɪn ˈmɛksəˌkoʊ. ˈminˌwaɪl, ɔl wik lɔŋ, mɑbz əv ˈʃɑpərz ənd ˈhoʊlˌseɪlərz frəm nˈweɪvoʊ lərˈeɪdoʊ ənd əˈkrɔs ðə ˈriʤən krɔst ˈoʊvər tɪ baɪ ˈhaʊsˌhoʊld gʊdz, ˌɪˌlɛkˈtrɑnɪks, ˈʤuəlri, pərfˈjum ənd ʧip ˈkloʊðɪŋ ənd ʃuz. bət bɪˈkəz əv ðə drəg ˈvaɪələns ɪn ˈmɛksəˌkoʊ ənd ˈhaɪtənd sɪˈkjʊrəti ˈmɛʒərz æt ðə brɪʤ, θɪŋz hæv gɔn ˈbædli əraɪ. əˈmɛrɪkənz ˈrɛrli ər sin ɪn nˈweɪvoʊ lərˈeɪdoʊ, ənd ðə wəns ˈspiˌdi pəˈdɛstriən ˈkrɔsɪŋ tɪ ðɪs saɪd naʊ kən bi ˈmɛʒərd ɪn aʊərz. ju nid tɪ du ɪz wɔk əraʊnd ˈdaʊnˈtaʊn. wi hæv ˈɛmti ˈstɔrˌfrɑnts. wɪr daʊn 50 pərˈsɛnt tɪ 70 pərˈsɛnt ɪn ɑr ˈbɪznɪs here,”*,” sɛd lɛs ˈnɔrtən, 63 huz ˈfæməli həz ˈɑpərˌeɪtəd ə ˈkloʊðɪŋ stɔr ɔn ˈkɑnˌvɛnt strit fər 72 jɪrz. ə blɑk əˈweɪ, ˈʤuələr ˈsænʤeɪ, 47 hu wəns soʊld ˈhoʊlˌseɪl tɪ ʃɑp ˈoʊnərz frəm gˌwɑˌdələˈhɑrə, sæn luis potosí*í, ˌmɑntəˈreɪ ənd ˈivɪn ˈmɛksəˌkoʊ ˈsɪti, sɛd fju naʊ rɪsk ðə ˈmɪdəl ˈpæsɪʤ. frəm ðə ˌɪnˈtɪriər ər əˈfreɪd tɪ krɔs ðə ˈsɪti əv nˈweɪvoʊ lərˈeɪdoʊ tɪ gɪt here,”*,” hi sɛd, ˈædɪŋ ðət ðə æŋˈzaɪəti ɪkˈstɛndz tɪ əˈmɛrɪkən ˈʃɑpərz. ɪn lərˈeɪdoʊ fɪr ˈkəmɪŋ hir. ənd ɔl ðə ˈkəstəmərz frəm sæn ænˈtoʊnioʊ, ˈdæləs ənd ˈɔstən ər əˈfreɪd tɪ kəm. ɛz lɔŋ ɛz nˈweɪvoʊ lərˈeɪdoʊ ɪz ə ˈvaɪələnt ˈsɪti, wɪr hurting,”*,” hi ˈædɪd. ə ˈrisənt ˈsizənəl ˈmɛʒər əv ˈbɪznɪs vaɪˈtæləti, ˈmɛksəkən ˌɪndɪˈpɛndəns deɪ, kənˈfərmd haʊ bæd θɪŋz ər. ðə pæst, ðə hoʊl wik əv ðə əv sɛpˈtɛmbər wɑz laɪk ə ˈsɛkənd ˈkrɪsməs fər ˈjuˈɛs, wɪθ ɔl ðə ˈmɛksɪkənz ˈkəmɪŋ. ðɪs jɪr, wi hæd ə gʊd ˈsæˌtɪˌdeɪ, ənd ðət wɑz it,”*,” sɛd. ˈnɔrtən, hu ɪz hɛd əv ðə ˈdaʊnˈtaʊn ˈmərʧənts əˌsoʊʃiˈeɪʃən, bleɪmz ðə ˈsɪti ˈgəvərnmənt fər nɑt ˈkəmɪŋ əp wɪθ ə plæn ənd ˈrisɔrsɪz tɪ seɪv ðə oʊld ˈdaʊnˈtaʊn. ðə ˈsɛntroʊ həz mægˈnɪfɪsənt ˈɑrkəˌtɛkʧər, ˈbjutəfəl ˈplɑzəz ənd ən əˈθɛnɪk ˈbɔrdər ˈæmbiəns ɪmˈbɑdid ɪn ðə lɑ poʊˈsɑdə hoʊˈtɛl. ɪz noʊˈtɔriəs fər ˈspɛndɪŋ ˈməni ɔn ɔl kaɪnz əv ˈstədiz. bət hir ɪt ɪz 2012 ənd ðeɪv dən nothing,”*,” hi sɛd əv ˈsɪti əˈfɪʃəlz. ˈkrɪtɪks ənd hoʊp ˈəðərz, hu hæv noʊ dɪˈrɛkt steɪk ɪn ðə ˈsɛntroʊ, ˈɔlsoʊ fɔlt ðə ˈsɪti, wɪʧ ðeɪ seɪ əˈpɪrz tɪ hæv noʊ strəˈtiʤɪk ˈvɪʒən fər ɪts fˈjuʧər bɪɔnd ˌɪnˈkrisɪŋ kəˈmərʃəl treɪd ənd trək ˈtræfɪk wɪθ ˈmɛksəˌkoʊ. ɪn ˈkɑntræst tɪ ˈdaʊnˈtaʊn, ˈkɑmərs ɪz ˈbumɪŋ wɪθ trəks ə deɪ ˈkrɔsɪŋ ðə brɪʤ ənd ˈʃɪpmənts ðət sərˈpæst 200 ˈbɪljən læst jɪr, əˈkɔrdɪŋ tɪ ðə ˈsɪti. ʤin belmares*, 48 ə ˈneɪtɪv ənd ˈfɔrmər ˈsɪti ˈkaʊnsəlmən hu ɪn 2010 wɑz traʊnst baɪ səˈlinəz ɪn ðə meɪərəl ɪˈlɛkʃən, ˈriˌkɔlz pleɪɪŋ wɪθ ˈkəzənz ənd ˈʃɑpɪŋ wɪθ hɪz ˈpɛrənts ɪn nˈweɪvoʊ lərˈeɪdoʊ. waɪl hi stɪl həz ˈrɛlətɪvz ðɛr, hi noʊ ˈlɔŋgər ˈkrɔsɪz bɪˈkəz hɪz waɪf rɪfˈjuzɪz tɪ lɛt ɪm rɪˈnu hɪz ˈpæˌspɔrt. ənd sɪns ðə ˈtʊˌrɪzəm ˈɪndəstri həz ˈfeɪdɪd əˈweɪ ɛz ðə ˈbɔrdər fər ˈmɛni bɪˈkeɪm ə pleɪs əv drɛd, hi sɛd lərˈeɪdoʊ həz bɪn əˈneɪbəl tɪ ˌriɪnˈvɛnt ˌɪtˈsɛlf ɛz ən əˈtræktɪv ˌdɛstɪˈneɪʃən. ænˈtoʊnioʊ həz ə ˈrɪvər wɔk. wiv gɑt ə ˈrɪvər. məˈkɔlən həz bɪn ˈeɪbəl tɪ kriˈeɪt ə θˈraɪvɪŋ ˈdaʊnˈtaʊn, ənd ðeɪ doʊnt hæv ˈɛni əv ðə ˈhɪstəri wi have,”*,” hi sɛd. ðə 30 jɪrz aɪv bɪn ən ˈædəlt, noʊ wən həz ˈteɪkən ædˈvæntɪʤ əv ðə wən ʤuəl wi hæv ɔn ðə ˈrioʊ grænd. ðə ˈdaʊnˈtaʊn ɪz ə ʤuəl, ənd decaying.”*.” mərˈiə ˌjuˈʤiniə gˈwɛrə, ˈpəblɪʃər əv ðə ˈloʊkəl ˈmənθli ˈnuzˌpeɪpər, news,”*,” ˈɛkoʊd ðiz θɔts, seɪɪŋ ðə ˈsɪti simz ˌɪnˈkeɪpəbəl əv ˈkəmɪŋ əp wɪθ ə ˈvɪʒən fər ˌɪtˈsɛlf ənd plæn tɪ rɪˈvaɪv ˈtʊˌrɪzəm. kən ju seɪ əˈbaʊt ə pleɪs ðət ˈdəzənt noʊ wət ɪt ɪz? wi doʊnt hæv ə ˌdɛfəˈnɪʃən əv ɑrˈsɛlvz. wi kænt tɛl ˈpipəl, 'kəm hir fər this.'”*.'” ʃi sɛd. bət, ʃi sɛd, ðɛr ɪz ˈrizən fər hoʊp. ɔn ˈmənˌdeɪ, ðə ˈsɪti ˈkaʊnsəl əˈgrid tɪ bɪˈgɪn nɪˌgoʊʃiˈeɪʃənz ˈoʊvər ə ˈpɑrtnərˌʃɪp plæn prəˈpoʊzd baɪ ə ˈpraɪvət lərˈeɪdoʊ nɑnˈprɑfət grup tɪ riˈoʊpən ənd rɪˈstɔr ðə ˈplɑzə ˈθieɪtər. kloʊzd fər mɔr ðən 15 jɪrz, ðə ˈplɑzə wəns wɑz wən ðə ˈæŋkərz. əv ˈjuˈɛs hæv fɑnd ˈmɛməriz əv ðə ˈplɑzə ˈθieɪtər. ɪt kʊd du fər ˈdaʊnˈtaʊn lərˈeɪdoʊ wət ðə məˈʤɛstɪk ˈθieɪtər həz dən fər ˈdaʊnˈtaʊn sæn antonio,”*,” gˈwɛrə sɛd.
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laredo's image hammered by drug violence
an employee works on a storefront display at a perfume store a block away from international bridge no. 1 in downtown laredo. business in the city has been hurt as its sister community, nuevo laredo, mexico, has seen a rise in violence. less an employee works on a storefront display at a perfume store a block away from international bridge no. 1 in downtown laredo. business in the city has been hurt as its sister community, nuevo laredo, mexico, ... more photo: jerry lara, san antonio express-news photo: jerry lara, san antonio express-news image 1 of / 13 caption close laredo's image hammered by drug violence 1 / 13 back to gallery
laredo — the official welcome for the logistics and manufacturing symposium here last week was delivered by mayor raul salinas, who gave a rousing endorsement of his booming border city.
“laredo is open for business. make sure you enjoy this safe and wonderful city,” he told the assembled customs brokers, manufacturers and transporters, american and mexican, and all involved in the auto industry.
salinas spoke with passion about the importance of cross-border cooperation and friendship, and nuevo laredo mayor benjamin galvan offered similar sentiments. the two mayors then shared a hearty “abrazo.”
and by most measures, laredo, the busiest land port to mexico, is doing very well. the city is growing, violent crime is down and spillover from drug-war violence in mexico is minimal, police say.
but when a city shares a name and a riverfront with a neighbor that is home to a violent drug mafia, where bodies are hung from bridges and even the mayor's office gets bombed, the perception elsewhere can get blurry.
“the assumption is laredo is not safe. we've had to respond when people were calling laredo a war zone,” salinas said afterward.
recent events on both sides of the river haven't helped change this jaundiced view.
in the space of seven days earlier this month, 54 people were killed in nuevo laredo as drug cartels battled for dominance, prompting the u.s. consulate to warn americans to stay away.
last month, prominent local gun dealer robert jacaman was charged with illegal weapons sales to mexican criminals. another round of bad press followed when american federal veterinarians refused to inspect cattle in mexico.
adding insult to injury, laredo — with only 10 homicides this year and a violent crime rate that is lower than in san antonio or dallas — often is confused by outsiders with its sister city, headquarters of the zetas, the most feared gangsters in mexico.
“we get calls from people asking 'what the heck is going on there? it's a war zone. the killing. the smuggling. the drug wars. how can you live there?'” remarked blasita lopez, director of the city's convention & visitors bureau.
“everyone knows how to handle those calls. everyone has the (crime statistics),” she said of the staff.
the bureau has a mail-out kit packed with crime statistics that touts laredo's safety and its attractions. but, lopez concedes, it's tough to overcome the misperceptions, particularly when trying to persuade someone to book a group event.
“it makes the selling part very difficult. it's an extra barrier,” she said.
hurt by stereotype
far worse than image problems, the old “centro” historic district is withering rapidly. the american tourists and tour buses stopped coming years ago, and mexican shoppers are deterred by the long bridge lines and the dangers of nuevo laredo.
this summer, salinas responded by launching a “laredo is safe,” campaign that has brought the message on 17 yellow billboards around texas, including san antonio, corpus christi and austin.
“for six years, there has been a stigma, a stereotype, that we are not safe,” he said, blaming lazy journalists, cheap-shot television pundits and would-be security experts, in particular gen. barry mccaffrey, who did a study last year of the border commissioned by the texas department of agriculture and the department of public safety.
the study concluded that drug cartels posed a serious threat to border residents and called for more federal spending, but was quickly criticized as being exaggerated and unfairly tarnishing the border.
“it was a totally nonfactual, politically motivated slap in the face to the people of laredo,” the mayor said.
in another instance, cited by city police, california congressman duncan hunter, in a speech to maricopa county republicans in support of a border fence from texas to california, claimed there were 600 unsolved murders in laredo.
the mayor, a former fbi agent, said that after he appeared several years ago on the glenn beck show in opposition to a federal plan to build a steel barrier between laredo and nuevo laredo, he was deluged with hateful e-mails and phone calls.
he recalled one caller, who referred to him as a “meskin mayor,” offering some advice.
“he said, 'let me tell you something boy. if you like mexico so much, why don't you go be the mayor there,'” he recalled.
and, salinas acknowledged, there is no magic fix to bringing the tourists back or reviving the old downtown where, just a couple of generations ago, all of laredo and most of nuevo laredo went to shop.
“people are still coming, but with less money. it's not like the old days,” he said of the centro.
struggling centro
once a bustling commercial warren of blaring pop music, merchandise spilling out of storefronts and shoppers jostling on uneven sidewalks, the centro has become a forlorn backwater of vacant businesses and window signs shouting “remate! liquidaction! descuento!”
for decades, the equation for business success was simple and reliable.
on the weekends, american tourists came to laredo to book a hotel room, browse the chinese-made religious figurines, improbable colored lingerie and other goods peculiar of the centro, and then walk across the bridge to shop, drink and dine in mexico.
meanwhile, all week long, mobs of shoppers and wholesalers from nuevo laredo and across the region crossed over to buy household goods, electronics, jewelry, perfume and cheap clothing and shoes.
but because of the drug violence in mexico and heightened security measures at the bridge, things have gone badly awry.
americans rarely are seen in nuevo laredo, and the once speedy pedestrian crossing to this side now can be measured in hours.
“all you need to do is walk around downtown. we have 70-plus empty storefronts. we're down 50 percent to 70 percent in our business here,” said les norton, 63, whose family has operated a clothing store on convent street for 72 years.
a block away, jeweler sanjay rupani, 47, who once sold wholesale to shop owners from guadalajara, san luis potosí, monterrey and even mexico city, said few now risk the middle passage.
“mexicans from the interior are afraid to cross the city of nuevo laredo to get here,” he said, adding that the anxiety extends to american shoppers.
“people in laredo fear coming here. and all the customers from san antonio, dallas and austin are afraid to come. as long as nuevo laredo is a violent city, we're hurting,” he added.
a recent seasonal measure of business vitality, mexican independence day, confirmed how bad things are.
“in the past, the whole week of the 16th of september was like a second christmas for us, with all the mexicans coming. this year, we had a good saturday, and that was it,” rupani said.
norton, who is head of the downtown merchants association, blames the city government for not coming up with a plan and resources to save the old downtown. the centro has magnificent 18th-century architecture, beautiful plazas and an authentic border ambiance embodied in the la posada hotel.
“laredo is notorious for spending money on all kinds of studies. but here it is 2012, and they've done nothing,” he said of city officials.
critics and hope
others, who have no direct stake in the centro, also fault the city, which they say appears to have no strategic vision for its future beyond increasing commercial trade and truck traffic with mexico.
in contrast to downtown, commerce is booming with 1,000 trucks a day crossing the bridge and shipments that surpassed $200 billion last year, according to the city.
gene belmares, 48, a native laredoan and former city councilman who in 2010 was trounced by salinas in the mayoral election, recalls playing with cousins and shopping with his parents in nuevo laredo.
while he still has relatives there, he no longer crosses because his wife refuses to let him renew his passport.
and since the tourism industry has faded away as the border for many became a place of dread, he said laredo has been unable to reinvent itself as an attractive destination.
“san antonio has a river walk. we've got a river. mcallen has been able to create a thriving downtown, and they don't have any of the history we have,” he said. “in the 30 years i've been an adult, no one has taken advantage of the one jewel we have on the rio grande. the downtown is a jewel, unpolished and decaying.”
maria eugenia guerra, publisher of the local monthly newspaper, “laredos news,” echoed these thoughts, saying the city seems incapable of coming up with a vision for itself and plan to revive tourism.
“what can you say about a place that doesn't know what it is? we don't have a definition of ourselves. we can't tell people, 'come here for this.'” she said.
but, she said, there is reason for hope. on monday, the city council agreed to begin negotiations over a partnership plan proposed by a private laredo nonprofit group to reopen and restore the plaza theater.
closed for more than 15 years, the green-tiled plaza once was one the centro's anchors.
“all of us have fond memories of the plaza theater. it could do for downtown laredo what the majestic theater has done for downtown san antonio,” guerra said.
jmaccormack@express-news.net
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haʊ ˈmɛni taɪmz ɪn laɪf hæv wi ˈfænɪˌsaɪzd əˈbaʊt ˈgɪtɪŋ ˈsəmθɪŋ ənd ðɛn ˈriəˌlaɪzd wi nid ɪt ˈʃɔrtli ˈæftər ˈgɪtɪŋ ɪt? ɑ, ðə ʤɔɪ əv kənˈsumərˌɪzəm. ˌɪmˈpɔrtənt tɪ hæv drimz ənd ə lɪst əv ˈwɪʃɪz tɪ ˈmoʊtəˌveɪt ˈjuˈɛs, bət wi hæv tɪ stɑp ənd θɪŋk ˈwɛðər ə nu ˈaɪˌfoʊn wʊd meɪk ˈjuˈɛs ˈhæpiər wɪn ðə oʊld wən ɪz stɪl ˈwərkɪŋ ˈpərfəktli faɪn. ə jəŋ ˈɑrtɪst ˈɛrɪn ˈhænsən meɪd ə kəˈlɛkʃən əv ‘‘want’*’ ˈvərsəz. ‘‘need’*’ ˈpoʊstərz tɪ ˈɪləˌstreɪt haʊ ˈθæŋkfəl wi ʃʊd bi fər ðə θɪŋz wi hæv ənd ðə nid tɪ ˈfoʊkɪs ɔn wət ˈrɪli ˈmætərz ɪn laɪf. ˈjuzɪŋ dɪˈzaɪn ənd ə ˈklɛvər wərd pleɪ, ʃi ˈkɑntræsts ˈwɑnɪŋ ˈfeɪsˌbʊk wɪθ ðə nid tɪ feɪs ə bʊk wɪθ ðə ˈkɑmɛnt ʃʊd hæv breɪn fud ˌɪnˈstɛd əv rɛd ˈbreɪnlɪs feeds”*”. ˈstrɪpɪŋ daʊn hər laɪf tɪ ˈmɪrli biɪŋ əˈlaɪv ənd ˈfilɪŋ ˈhæpi əˈbaʊt ɪt, ˈɛrɪn gɪvz ˈjuˈɛs 20 ʃɔrt bət ˈpaʊərfəl ˈlɛsənz ɔn haʊ tɪ ˌɪmˈpruv ɑr lɪvz baɪ ˈgɪtɪŋ rɪd əv ənˈnɛsəˌsɛri θɪŋz. doʊnt fərˈgɛt tɪ ʧɛk aʊt:
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how many times in life have we fantasized about getting something and then realized we didn’t need it shortly after getting it? ah, the joy of consumerism.
it’s important to have dreams and a list of wishes to motivate us, but we have to stop and think whether a new iphone would make us happier when the old one is still working perfectly fine. a young artist erin hanson made a collection of ‘want’ vs. ‘need’ posters to illustrate how thankful we should be for the things we have and the need to focus on what really matters in life.
using minimalistic design and a clever word play, she contrasts wanting facebook with the need to face a book with the comment “i should have brain food instead of read brainless feeds”. stripping down her life to merely being alive and feeling happy about it, erin gives us 20 short but powerful lessons on how to improve our lives by getting rid of unnecessary things.
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ɛz wi ɪnʧ ˈkloʊzər ənd ˈkloʊzər aʊt əv ðə əv kənˈsoʊlz ənd ˈɪntu ðə nu ˈɪrə əv ˈsoʊni ənd rɪˈspɛktɪv hoʊm ˈgeɪmɪŋ ˈsɪstəmz, wən aɪˈdiə həz rɪˈmeɪnd klɪr wɪθ ɔl dɪˈvɛləpərz: skrin ˌkeɪpəˈbɪlətiz. ɪz ðɪs ʤɪst ə fæd? ər ər dɪˈvɛləpərz laɪk bungie*, daɪs, ənd ˈɔntu ˈsəmθɪŋ immersive*, nu, ənd fænˈtæstɪk? ˈwɛlkəm, tɪ ðə raɪz əv skrin ˈgeɪmɪŋ! ðə ˈkɑnsɛpt əv skrin ˈgeɪmɪŋ ˌnɛsəˈsɛrəli ə nu aɪˈdiə θɔt əp fər ðə ˈəpˌkəmɪŋ ənd wən. ɪn fækt, fər nɪnˈtɛndoʊ fænz, bɪn ˈjutəˌlaɪzɪŋ ðɪs ˈkɑnsɛpt ɪn səm weɪ fər ðə ˈbɛtər pɑrt əv ðə læst ˈdɛkeɪd wɪθ ðə nɪnˈtɛndoʊ ˈjunɪt ənd ˈsəbsəkwənt ˈmɑdəlz ðət ˈfɑloʊd. fər ðoʊz əv ju nɑt fəˈmɪljər wɪθ ðɪs, ˈsɪmpəl. ju ˈjutəˌlaɪz wən skrin fər jʊr meɪn ˈgeɪmɪŋ ˌkeɪpəˈbɪlətiz laɪk ˈmuvɪŋ jʊr ˈkɛrɪktər. waɪl ðə skrin wɪl ʃoʊ ɛnˈhænst ˈɔpʃənz, laɪk ə tɔp daʊn lʊk æt ə mæp, ˈkræftɪŋ ˌkeɪpəˈbɪlətiz, ˌɪnvənˈtɔri əv jʊr ˈkɛrɪktər, ˌɛtˈsɛtərə. ɪf ˈjutəˌlaɪzd kərˈɛktli, ðɪs kən bi ə greɪt əˈdɪʃən tɪ ˈgeɪmɪŋ bɪˈkəz ɪt əˈlaʊz ju tɪ ˌsərkəmˈvɛnt ðə nid tɪ hɪt ðə pɔz ˈbətən ər goʊ ˈɪntu ən ɪnˈtaɪərli ˈdɪfərənt ˈmɛnju skrin tɪ ˈækˌsɛs ðə əˈdɪʃənəl ˌkeɪpəˈbɪlətiz əv jʊr geɪm ənd du ˈɛvriˌθɪŋ ɔn ðə flaɪ. ðɪs həz bɪn ə ˈfiʧər ðət həz əˈlaʊd ðə ənd ˈleɪtər ɪˈdɪʃənz tɪ ɪkˈsɛl ˈgreɪtli ɪn seɪlz ənd ˈoʊvərˌɔl ˌsætɪsˈfækʃən ɛz ə ˈpɔrtəbəl ˈjunɪt wɪθ ðə ˈhɑrdˈkɔr ˈgeɪmɪŋ kəmˈjunɪti ənd ˈkæʒəwəl ˈjuzərz əˈlaɪk. ˈɔlsoʊ, wɪθ ðə ˌpɑpjəˈlɛrəti ənd əˈdɑpʃən reɪt ˌɪnˈkrisɪŋ drəˈmætɪkəli fər ədˈvænst smɑrt foʊnz, ɪt wɑz ˈoʊnli ə ˈmætər əv taɪm ˌbiˈfɔr ˈgeɪmɪŋ ɔn ðə ˈioʊs ənd ˈænˌdrɔɪd ˈplætˌfɔrmz tʊk ɔf ɛz ðɛr oʊn ˈɛntɪti ənd ˈbɪznɪs ˈmɑdəl. naʊ wɪθ ˈmaɪˌkroʊˈsɔft ˈɛnərɪŋ ðɪs rɛlm, ˈivɪn mɔr ˈɛvədənt ɛz ðeɪ ˌɪnˈkɔrpərˌeɪt ðɛr lɪv ˈsərvɪsɪz ˈɪntu ðɛr nu ˈmoʊbəl dɪˈvaɪsɪz ɛz wɛl ɛz ðɛr æp ˈɪntu ðə ˈəðər ˈmoʊbəl ˈɔpərˌeɪtɪŋ ˈplætˌfɔrmz. geɪm dɪˈvɛləpərz ər siɪŋ ðɪs trɛnd tu. ˈmoʊbəl ˈgeɪmɪŋ əˈtrækts ˈmɪljənz əv ˈjuzərz iʧ ənd ˈɛvriˈdeɪ frəm peɪd geɪmz daʊn tɪ pleɪ. wɪθ ðə səkˈsɛs nɪnˈtɛndoʊ hæd wɪθ ðɛr ˈjunɪts, dɪˈvɛləpərz ər naʊ ˈlʊkɪŋ tɪ kriˈeɪt nu weɪz əv ˌɪnərˈækʃən wɪθ jʊr hoʊm ˈkɑnsoʊl ˈgeɪmɪŋ ənd dɪˈvaɪs. bət haʊ? haʊ kən ðeɪ meɪk ðɪs wərk ˈsimləsli wɪˈθaʊt ˈluzɪŋ ðə kɔr ˈgeɪmər ɪn ðə ““traditional”*” ˈgeɪmɪŋ ɪkˈspɪriəns? θru kəmˈpænjən æps. wən əv ðə fərst weɪz sin ðɪs ˌɪnərˈækʃən həz bɪn θru dɪˈvɛləpmənt əv ˈheɪloʊ waypoint*, ðə kəmˈpænjən æp fər ɔl θɪŋz ˈheɪloʊ. naʊ kip ɪn maɪnd, ðɪs ˌnɛsəˈsɛrəli ən ɪkˈstɛnʃən əv ðə geɪm pər seɪ, bət wət ɪt dɪd wɑz mɔr əv ˈkipɪŋ træk əv stæts, əˈʧivmənts, kɪlz, ˈmɛdəlz, ənd ˈoʊvərˌɔl kəmˈpliʃən əv goʊlz wɪˈθɪn jʊr ɪnˈtaɪər ˈheɪloʊ kərɪr. ðɪs wɑz ə kul əˈdɪʃən ənd ˈædɪd səm ““extras”*” tɪ ðə ɔˈrɛdi fən ənd əˈdɪktɪv ˈheɪloʊ ɪkˈspɪriəns. wi ˈɔlsoʊ sɔ ə ˈsɪmələr ˈfiʧər sɛt wɪθ kəmˈpænjən æp fər kɔl əv ˈduti. bət ðiz æps ər ˈoʊnli ˈskræʧɪŋ ðə ˈsərfəs əv tɪ kəm. ˈkəmpəˌniz laɪk hæv ɔˈrɛdi əˈnaʊnst ðɛr ˈəpˌkəmɪŋ rɪˈlisɪz əv əˈsæsənz krid iv*: blæk flæg, wɔʧ dɔgz, ðə dɪˈvɪʒən, ənd ðə kru ɔl wɪl ˌɪnˈklud səm sɔrt əv ˌɪˈmərʒən wɪθ skrin ˌkeɪpəˈbɪlətiz. bɪn ən ɪnˈtaɪər ʃɪft əv geɪm dɪˈzaɪn ənd θɔt ˈprɔˌsɛs ɛz ˈsiˌiˈoʊ, iv guillermot*, bɪˈlivz ðɪs ɪz ðə ““future”*” əv ˈgeɪmɪŋ, bət nɑt ɪn ðə kənˈvɛnʃənəl weɪ sin soʊ fɑr. ðeɪ ɛnˈvɪʒən ðə əˈbɪləˌti tɪ juz jʊr ˈmoʊbəl dɪˈvaɪs ɛz ə kənˈtroʊlər ər ˈpɑsəbli ˈteɪkɪŋ jʊr ˈmoʊbəl dɪˈvaɪs tɪ ə frɛndz haʊs ənd ˈæˌkʧuəli pleɪɪŋ ðə geɪm ɔn jʊr smɑrt foʊn waɪl jʊr frɛnd pleɪz ɔn ðɛr hoʊm ˈkɑnsoʊl. ðeɪ ər ˈɔlsoʊ pəˈtɛnʃəli ˈlʊkɪŋ tɪ əˈlaʊ ðɛr geɪm æps tɪ bi fʊl flɛʤd ɪkˈspɪriənsɪz, nɑt ˌnɛsəˈsɛrəli ʤɪst ə kəmˈpænjən æp. ðɪs ˈdɛfənətli ə ˈdɪfərənt weɪ əv ˈθɪŋkɪŋ frəm ə ˈpəblɪʃər ənd dɪˈvɛləpər ˈstændˌpɔɪnt, bət ðɛn əˈgɛn, wi ər æt ə kəmˈplitli ˈdɪfərənt steɪʤ ɪn ˈgeɪmɪŋ ðən wət wi wər ʤɪst ə ˈdɛkeɪd əˈgoʊ. naʊ ju meɪ bi ˈwəndərɪŋ, kən aɪ juz maɪ foʊn waɪl aɪ hæv maɪ kənˈtroʊlər ɪn maɪ hand?”*?” ˈwəri, aɪ θɔt ðə seɪm θɪŋ æt fərst. ðɛn keɪm əˈlɔŋ æt ənd əˈnaʊnst ðɛr ənd wən smɑrt klɪp ækˈsɛsəri. ə ˈsɪmpəl aɪˈdiə ənd dɪˈzaɪn. ɪt klɪps ˈɔntu ðə tɔp əv ðə kənˈtroʊlər ənd gɪvz ju ə pleɪs tɪ dɑk jʊr tɪ jʊr kənˈtroʊlər, əˈlaʊɪŋ ju tɪ ˈizəli lʊk daʊn æt ɪt waɪl pleɪɪŋ jʊr ˈfeɪvərɪt geɪm. ˈkərəntli, əˈnaʊnst ə praɪs pɔɪnt jɛt, bət ˈgɛsɪŋ wi kən ɪkˈspɛkt ɪt tɪ bi ɪn ðə reɪnʤ əv fər ðə ˈjunɪt. ðɪs kʊd bi bɛst ˈsɛlɪŋ ækˈsɛsəri ɪf skrin teɪks ɔf ɛz ə ˈgeɪmɪŋ ɪkˈspɪriəns. waɪl ðɪs ɔl saʊnz ˈɔsəm ənd kul, wən ˈglɛrɪŋ ˈɪʃu aɪ məst pɔɪnt aʊt ɪz ðɪs. nɪnˈtɛndoʊ traɪd ðɪs ˈkɑnsɛpt wɪθ ðɛr nu ˈkɑnsoʊl, ðə wi ju, ənd soʊ fɑr, ðə ˈkɑnsoʊl həz bɪn ə juʤ flɑp. mənθ ˈæftər mənθ, ðə wi ju ˈkɑnsoʊl kənˈtɪnjuz tɪ bi aʊtˈsoʊld baɪ boʊθ ðə ənd ðə 360 wɪʧ ɪz ˈstɑrtlɪŋ kənˈsɪdərɪŋ ðə səkˈsɛs əv ðə wi ʤɪst ə fju jɪrz bæk. naʊ, ðɪs meɪ hæv ˌæbsəˈlutli ˈnəθɪŋ tɪ du wɪθ ðɛr ˈkɑnsɛpt əv skrin ˌjutələˈzeɪʃən ˈɪntu ðɛr nu kənˈtroʊlər ənd ˈmuvɪŋ əˈweɪ frəm ðə ˈmoʊʃən ˈæˌspɛkt ðət meɪ ðə wi ˈkɑnsoʊl soʊ ˈpɑpjələr. ɪt meɪ ˈivɪn bi ðə fækt ðə ðə spɛks ər kəmˈpɛrd tɪ wət wi wɪl si ɪn ə ˈmætər əv mənθs, ənd nɑt ˌnɛsəˈsɛrəli ən ˈəpˈgreɪd ˈoʊvər aʊt ˈkərəntli wɪθ ðə ənd 360 ˈrɪli hɑrd tɪ seɪ æt ðɪs pɔɪnt waɪ ðə wi ju həz bɪn ə ˌdɪsəˈpɔɪntmənt æt ðɪs steɪʤ ɪn ðə geɪm, bət ənˈfɔrʧənətli fər nɪnˈtɛndoʊ, ðə wi ju lɪvd əp tɪ ˌɛkspɛkˈteɪʃənz sɪns riˈlis ˈərliər ðɪs jɪr. wɪθ ɔl ðət sɛd, aɪ bɪˈliv ðə skrin ˌrɛvəˈluʃən ɪn ˈgeɪmɪŋ wɪl bɪˈgɪn ðɪs noʊˈvɛmbər. ɪf dɪˈvɛləpərz ˈjutəˌlaɪz ɪt kərˈɛktli, aɪ hæv ə ˈfilɪŋ ðɪs kʊd bi ə greɪt θɪŋ fər ˈgeɪmərz. ˈædɪŋ ˈɛkstrə ˌkeɪpəˈbɪlətiz, iz əv juz, ənd ɛnˈhænst ˈfiʧərz kən ˈoʊnli meɪk jʊr geɪm ˈivɪn mɔr əˈpilɪŋ tɪ ðə ˈmæsɪz, əˈspɛʃəli ˈjuzɪŋ dɪˈvaɪsɪz ðət ər ɔˈrɛdi əˈdɑptəd ɪn ðə hoʊm. ðɪs circle”*” taɪp əv ɪkˈspɪriəns ɪz ˈsəmθɪŋ wi ʃʊd ˈdɛfənətli lʊk ˈfɔrwərd tɪ, bɪˈkəz æt ðə ˈmoʊmənt, ɪt sim tɪ bi ˈluzɪŋ ˈɛni stim ənd simz tɪ bi ðə weɪv əv ðə fˈjuʧər wɪn ɪt kəmz tɪ ɑr ˈgeɪmɪŋ. ju ˈbɛtər gɪt ˈrɛdi naʊ ənd gɪt ə ˈbætər ˈbæˌkəp fər jʊr ˈaɪˌfoʊn ər ˈænˌdrɔɪd. ˈgɑnə nid ɪt! ʃɛr hæv ə tɪp fər ˈjuˈɛs? ˈɔsəm! ʃut ˈjuˈɛs ən iˈmeɪl æt [iˈmeɪl prəˈtɛktɪd] ənd wɪl teɪk ə lʊk!
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as we inch closer and closer out of the current-generation of consoles and into the new era of sony and microsoft’s respective home gaming systems, one idea has remained clear with all developers: 2nd screen capabilities. is this just a fad? or are developers like bungie, dice, and ubisoft onto something immersive, new, and fantastic? welcome, to the rise of 2nd screen gaming!
the concept of 2nd screen gaming isn’t necessarily a new idea thought up for the upcoming ps4 and xbox one. in fact, for nintendo fans, you’ve been utilizing this concept in some way for the better part of the last decade with the nintendo ds unit and subsequent models that followed. for those of you not familiar with this, simple. you utilize one screen for your main gaming capabilities like moving your character. while the 2nd screen will show enhanced options, like a top down look at a map, crafting capabilities, inventory of your character, etc. if utilized correctly, this can be a great addition to gaming because it allows you to circumvent the need to hit the pause button or go into an entirely different menu screen to access the additional capabilities of your game and do everything on the fly. this has been a feature that has allowed the ds and later editions to excel greatly in sales and overall satisfaction as a portable unit with the hardcore gaming community and casual users alike.
also, with the popularity and adoption rate increasing dramatically for advanced smart phones, it was only a matter of time before gaming on the ios and android platforms took off as their own entity and business model. now with microsoft entering this realm, even more evident as they incorporate their xbox live services into their new mobile devices as well as their smartglass app into the other mobile operating platforms. game developers are seeing this trend too. mobile gaming attracts millions of users each and everyday from paid games down to free-to play. with the success nintendo had with their ds units, developers are now looking to create new ways of interaction with your home console gaming and smartphone device. but how? how can they make this work seamlessly without losing the core gamer in the “traditional” gaming experience? through companion apps.
one of the first ways we’ve seen this interaction has been through microsoft’s development of halo waypoint, the companion app for all things halo. now keep in mind, this necessarily an extension of the game per se, but what it did was more of keeping track of stats, achievements, kills, medals, and overall completion of goals within your entire halo career. this was a cool addition and added some “extras” to the already fun and addictive halo experience. we also saw a similar feature set with activision’s companion app for call of duty. but these apps are only scratching the surface of what’s to come. companies like ubisoft have already announced their upcoming releases of assassins creed iv: black flag, watch dogs, the division, and the crew all will include some sort of immersion with 2nd screen capabilities. been an entire shift of game design and thought process as ubisoft ceo, yves guillermot, believes this is the “future” of gaming, but not in the conventional way we’ve seen so far. they envision the ability to use your mobile device as a controller or possibly taking your mobile device to a friends house and actually playing the game on your smart phone while your friend plays on their home console. they are also potentially looking to allow their game apps to be full fledged experiences, not necessarily just a companion app. this definitely a different way of thinking from a publisher and developer standpoint, but then again, we are at a completely different stage in gaming than what we were just a decade ago.
now you may be wondering, “how can i use my phone while i have my controller in my hand?” don’t worry, i thought the same thing at first. then nyko came along at e3 and announced their ps4 and xbox one smart clip accessory. a simple idea and design. it clips onto the top of the controller and gives you a place to dock your smartphone to your controller, allowing you to easily look down at it while playing your favorite game. currently, nyko hasn’t announced a price point yet, but i’m guessing we can expect it to be in the range of $19.99-$29.99 for the unit. this could be nyko’s best selling accessory if 2nd screen takes off as a gaming experience.
while this all sounds awesome and cool, one glaring issue i must point out is this. nintendo tried this concept with their new console, the wii u, and so far, the console has been a huge flop. month after month, the wii u console continues to be outsold by both the ps3 and the xbox 360, which is startling considering the success of the wii just a few years back. now, this may have absolutely nothing to do with their concept of 2nd screen utilization into their new controller and moving away from the motion aspect that may the wii console so popular. it may even be the fact the the specs are sub-par compared to what we will see in a matter of months, and not necessarily an upgrade over what’s out currently with the ps3 and 360. really hard to say at this point why the wii u has been a disappointment at this stage in the game, but unfortunately for nintendo, the wii u hasn’t lived up to expectations since release earlier this year.
with all that said, i believe the 2nd screen revolution in gaming will begin this november. if developers utilize it correctly, i have a feeling this could be a great thing for gamers. adding extra capabilities, ease of use, and enhanced features can only make your game even more appealing to the masses, especially using devices that are already adopted in the home. this “full circle” type of experience is something we should definitely look forward to, because at the moment, it doesn’t seem to be losing any steam and seems to be the wave of the future when it comes to our next-gen gaming. you better get ready now and get a batter backup for your iphone or android. you’re gonna need it!
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fɔr mənθs ˈæftər ðə ˈfɛdərəl kəmˌjunəˈkeɪʃənz kəˈmɪʃən (fcc*) səˈpoʊzədli ˈsɛtəld ðə ˈɪʃu, ðə ˈbætəl ˈoʊvər nɛt nuˈtræləti ɪz stɪl ˈreɪʤɪŋ. ɪf ˈɛniˌθɪŋ, ʤɪst bɪˈgɪnɪŋ tɪ hit əp. ɔn ˈeɪprəl 8 ðə ˈkɑŋgrəs riˈzɑlvd tɪ rɪˈpil ðə ˈrisənt ˌlɛʤəsˈleɪʃən sərˈaʊndɪŋ ˈɪntərˌnɛt prəˈtɛkʃənz, ənd kənˈsərvətɪv ˈæktɪvɪsts ər ˈfaɪtɪŋ tuθ ənd neɪl tɪ pʊʃ bæk ˈɛni əˈpɛrənt geɪnz ˌbiˈfɔr ðeɪ ər ˈriəˌlaɪzd. æt ðə seɪm taɪm, ˈmidiə rɪˈfɔrm ˈædvəˌkeɪts seɪ ðət ðə dɪˈsɛmbər ˈrulɪŋ ɔn ˈbrɔdˌbænd ˈpɑləsi dɪd nɑt goʊ fɑr ɪˈnəf ɪn ɪˈstæblɪʃɪŋ ˈrɛgjələˌtɔri ˈgaɪˌdlaɪnz əˈkrɔs boʊθ ˈɪntərˌnɛt ənd ˈmoʊbəl ˈplætˌfɔrmz. ˈminˌwaɪl, ðə ˌɪmˈpækt əv ðə əˈnaʊnst ˈmərʤər bɪtˈwin ənd ˈtiˌmoʊbəl ɪz stɪl əp fər dəˈbeɪt, ənd ˈfɛdərəl əˈfɪʃəlz ər ˈreɪzɪŋ kənˈsərnz əˈgɛnst ˈgugəl. kəmz tɪ ˈoʊklənd læst wik, ˈʧɛrmən ˈʤuljəs mɛt wɪθ meɪərz frəm ðə beɪ ˈɛriə ɪn ˈoʊklənd tɪ taʊt ə ˈmoʊbəl æps ˈkɑntɛst (ə ˈpɑrtnərˌʃɪp wɪθ ðə naɪt faʊnˈdeɪʃən) ɛz ə weɪ tɪ rɪˈdus ðə ˈdɪʤɪtəl dɪˈvaɪd, wɪʧ həz lɛft ˌwənˈθərd əv əˈmɛrɪkənz wɪˈθaʊt ˈbrɔdˌbænd ˈækˌsɛs. rɪˈmɑrkt ðət ðoʊz ˈfeɪsɪŋ ˈdɪʤɪtəl ɪkˈskluʒən wər praɪˈmɛrəli ˈɪməgrənts, məˈnɔrətiz, dɪˈseɪbəld ˈpipəl, ənd ˈəðər ˌəndərˈsərvd kəmˈjunɪtiz. ˌhaʊˈɛvər, ɛz aɪ ˌriˈpɔrtəd fər ˈoʊklənd ˈloʊkəl, ðə ˈvɪzɪt wɑz pərˈhæps mɔr ˈnoʊtəbəl fər wət seɪ. æt ðə prɛs ˈkɑnfərəns aɪ əˈtɛndəd, teɪk ˈɛni kˈwɛsʧənz, soʊ ˈæskɪŋ ɪm əˈbaʊt ðə oʊˈmɪʃən əv nɛt nuˈtræləti prəˈvɪʒənz fər ˈwaɪrlɪs ˈkɛriərz ˈpɑsəbəl. nɔr kʊd aɪ æsk ɪm əˈbaʊt ðə ˈəpˌkəmɪŋ θrɛt poʊzd tɪ ˌtɛləˈvɪʒən ˈsteɪʃənz baɪ ˈmoʊbəl ˌtɛləˈvɪʒən, wɪʧ kʊd hɪt 20 juz. ˈmɑrkɪts ðɪs jɪr. ˈmoʊbəl ˌtɛləˈvɪʒən kʊd dɪˈpraɪv ˈsteɪʃənz əv ˈkrɪtɪkəl ˈbændwɪdθ. ˈmɛni əv ðiz ˈsteɪʃənz riʧ dɪˈvərs ˌdɛməˈgræfɪks ðət ər ˌəndərˈsərvd baɪ ˈnɛtˌwərk ənd ˈmeɪnˌstrim ˈkeɪbəl ˈtɛləˌvɪʒən. kəˈmɪʃənər æt: ˈsɪstəm əv control’*’ ðə læk əv ə ˈtuˌweɪ dɪˈskəʃən bɪtˈwin ðə moʊst ˈpaʊərfəl ˌtɛləkəmˌjunəˈkeɪʃənz əˈfɪʃəl wɑz ˌdɪsəˈpɔɪnɪŋ, əˈspɛʃəli sɪns ˈnumərəs kənˈsərnz rɪˈmeɪn ˈoʊvər haʊ ðə wɪl ɛnˈfɔrs ˈmidiə ˈpɑləsi ˈmuvɪŋ ˈfɔrwərd. ɛz kəˈmɪʃənər ˈmaɪkəl kɑps ˈrisəntli sɛd æt ðə ˈnæʃənəl ˈkɑnfərəns fər ˈmidiə rɪˈfɔrm, hɛld ˈeɪprəl ɪn ˈbɔstən: gɪv ˈjuˈɛs səm saɪn ðət ðə ɪz ˈpʊtɪŋ ðə breɪks ɔn ə ˈsɪstəm ðət ɪz ˈspɪnɪŋ ˈdeɪnʤərəsli aʊt əv control.”*.” copps’*’ ˈfaɪəri spiʧ wɑz ˈoʊnli wən əv ˈmɛni ˈhaɪˌlaɪts æt ðə, wɪʧ wɑz əˈtɛndəd baɪ ˈθaʊzənz əv ˈpipəl ðət ər ˈpæʃənətli ˈɪntəˌrɛstɪd ɪn ˈʧeɪnʤɪŋ ˈmidiə. səm əv ðə moʊst ˌɪnˈspaɪərɪŋ ˈmoʊmənts ˌɪnˈkludɪd ˈpænəlz ɔn mˈjuzɪk ˈʤərnəˌlɪzəm ənd localism*; ˈkɑmɪks ɛz fˈjuʧər; reɪs ɛz ə ˈmidiə ˈɪʃu; ənd haʊ ˌoʊldˈskul ər əˈdæptɪŋ tɪ nu ˈmidiə wərld; ənd pərˈfɔrməns ˈɑrtɪst ˈsɛrə ʤoʊnz ˌɪnˈhæbɪtɪŋ ə reɪnʤ əv ˈdɪfərənt ˈkɛrɪktərz æt ðə ˈoʊpənɪŋ ˈplɛnəri. ˈsuzi ˈkeɪgəl həz ən ˈɪləˌstreɪtɪd ˈriˌkæp əv hir, ənd ən ˈɑrˌkaɪv əv ˌsɛgˈmɛnts frəm ðə ˈkɑnfərəns ɪz əˈveɪləbəl hir. haʊs dɪsəˈpruvz əv nɛt nuˈtræləti ɪn ə ˈfɑloʊˌəp tɪ ən ˈərliər ˈstɔri, ˈnɑdjə raɪts əˈbaʊt ən ˈeɪprəl 8 ˌrɛzəˈluʃən baɪ ˈkɑŋgrəs tɪ rɪˈpil ðə nɛt nuˈtræləti ˌrɛgjəˈleɪʃənz. ðə voʊt, wɪʧ pæst wɑz ˈlɑrʤli ˈpɑrtəzən, wɪθ ˈoʊnli sɪks ˈdɛməˌkræts ˈkrɔsɪŋ ˈpɑrti laɪnz tɪ səˈpɔrt ɪt. rɪˈpəblɪkənz ˈkɛrɪktərˌaɪzd ðə ˌrɛgjəˈleɪʃən əv ðə ˈɪntərˌnɛt ɛz ə grab,”*,” kˈwɛsʧənɪŋ ðə əˈθɔrəti tɪ ɪˈstæblɪʃ ˈgaɪˌdlaɪnz fər ˈsaɪbərˌspeɪs. bət ˈdɛməˌkræts ˈkaʊnərd ðət ðə ˌrɛzəˈluʃən ə fri ənd ˈoʊpən internet”*” ənd ɪz ən əˈtɛmpt tɪ ˈstaɪfəl ˌɪnəˈveɪʃən ɪn ðə tɛk ˈsɛktər, ə ʧɑrʤ wɪʧ ɪz dɪˈspjutɪd baɪ ˈnɑnˈprɑfɪts laɪk freedomworks*. ɛz rɪˈpɔrts, ˌhaʊˈɛvər, ðət grup həz rɪˈsivd ˈfəndɪŋ frəm boʊθ ˌvɛˈraɪzən ənd, ənd ðə ˌtɛləkəmˌjunəˈkeɪʃənz ˈkəmpəˌniz tɪ ˈbɛnəfɪt ɪf ðə lɔ ɪz overturned.”*.” dɪˈspaɪt ðə ˈpɑrtəzən ˈrɛtərɪk, ðə voʊt wɑz ˈlɑrʤli sɪmˈbɑlɪk, ɛz ðə ˈsɛnɪt ɪz nɑt ɪkˈspɛktɪd tɪ ɛnˈdɔrs ðə ˌrɛzəˈluʃən. ti ˈpɑrti: nɛt nuˈtræləti marxism’*’ ɛz ˈməðər jones‘*‘ ˈstɛfəni rɪˈpɔrts, nɛt nuˈtræləti həz ˈɔlsoʊ kəm ˈəndər faɪər frəm ðə ti ˈpɑrti. pɔɪnts aʊt ðə ˈaɪrəni əv səʧ ə stæns, ˈnoʊtɪŋ ðət waɪl ən ˈoʊpən ˈɪntərˌnɛt əˈlaʊz ðə sˈmɔləst, ˈpurɪst ti ˈpɑrti group…*… ðə pəˈtɛnʃəl tɪ riʧ ə lɑrʤ audience,”*,” ðə ˈæktɪvɪsts ɪkˈweɪt nɛt nuˈtræləti wɪθ marxism.”*.” ti ˈpɑrti ˈspoʊksmən ənd vərˈʤɪnjə ˈsɛnɪt ˈkænədɪt ʤeɪmz ˈrædki ɪz kˈwoʊtɪd ɛz seɪɪŋ nuˈtræləti ɪz ən ˌɪˈnɑkjuəs ˈsaʊndɪŋ tərm fər wət ɪz ˈrɪli ˈmidiə marxism.”*.” hi goʊz ɔn tɪ kɔl ɪt ˌaɪdiəˈlɑʤɪkəl əˈtɛmpt baɪ ðoʊz ɔn ðə lɛft tɪ kənˈtroʊl ðə ˈgreɪtəst minz fər ðə ˌdɪstrəˈbjuʃən əv ˌɪnˌfɔrˈmeɪʃən ˈɛvər devised.”*.” jɛt pɔɪnts aʊt ðət məʧ əv ðə ˈæktɪˌvɪzəm ˈpræktɪst baɪ ðə ti ˈpɑrti həz rɪˈlaɪd ɔn ən ˈoʊpən ˈɪntərˌnɛt, ˌənriˈstrɪktɪd baɪ ˌaɪdiəˈlɑʤɪkəl ˈkɑntɛnt, wɪʧ nɛt nuˈtræləti ɪz ˌɪnˈtɛndɪd tɪ prəˈtɛkt. ti pəˈzɪʃən ɔn nɛt neutrality,”*,” ʃi raɪts, simd counterintuitive*, ˈgɪvɪn ʤɪst haʊ ˈbædli kənˈsərvətɪv ˈæktɪvɪsts kʊd bi skrud baɪ ðə bɪg ˈkeɪbəl ənd foʊn ˈkəmpəˌniz ʃʊd nɛt nuˈtræləti rulz bi rɪˈpild. ðə hoʊl ˈmuvmənt həz bɪn ˈɔrgəˌnaɪzd ˈɔnˌlaɪn, ˈmeɪkɪŋ ðə ˈlɛvəl pleɪɪŋ fild ə ˈkruʃəl ˈɛləmənt tɪ ɪts success.”*.” ˈwaɪrlɪs ənd ˈɛθnɪk kəmˈjunɪtiz nu əˈmɛrɪkə ˈditeɪlz haʊ ðə kʊd ˌɪmˈpækt ˈɛθnɪk kəmˈjunɪtiz. ðə ˈskɪni: ˈɛθnɪk ˌpɑpjəˈleɪʃənz bi kənˈfrəntɪd baɪ rɪˈdust ˈsərvɪs ˈækˌsɛs ənd haɪər costs,”*,” raɪts. ˈaʊˌtlaɪnz ðə ˈbeɪsɪk prəˈvɪʒənz əv ðə ˈmərʤər ənd spɪn; əˈkɔrdɪŋ tɪ ðə ˈkəmpəˌni, ðə dil kʊd brɪŋ tɛkˈnɑləʤi tɪ 95 pərˈsɛnt əv ðə juz. ˌpɑpjəˈleɪʃən. hi ˈɔlsoʊ spiks wɪθ ˈsɛvərəl ˈmɛmbərz əv ðə ˈɛθnɪk prɛs, hu vɔɪs kənˈsərnz ðət ðə dil maɪt əˈlaʊ ðə ˌtɛləkəmˌjunəˈkeɪʃənz ʤaɪənt tɪ ðə kˈwɑləti əv ˈsərvɪsɪz, səʧ ɛz baɪ ˈdɪkˌteɪtɪŋ ðə əˈveɪləbəl ˌæpləˈkeɪʃənz, ˈsɔfˌwɛr ər ðə əˈmaʊnt əv ˈdætə əˈlaʊ tɪ bi transferred.”*.” əˈnəðər kənˈsərn: ðə ““arcane,”*,” ““jargon-ridden”*” əv ˈmidiə ˈpɑləsi ɪz ˈdɪfəkəlt fər ˈɪməgrənt ˌpɑpjəˈleɪʃənz tɪ dɪˈsaɪfər. ˈɔlsoʊ noʊts ðət ˈkɑmprəˌmaɪz ɔn nɛt nuˈtræləti səˈʤɛsts ðə ˈʧɛrmən ɪz tɪ teɪk ðə hɑrd laɪn, stance…*… ɪkˈspɛktɪd əv him”*” baɪ ˈɛθnɪk ˈmidiə ˈædvəˌkeɪts. ˈgugəl ˈəndər ˈfɛdərəl ˈskrutəni əˈgɛn ˈɔlsoʊ ɪn truthout*, ˈnɑdjə rɪˈpɔrts ðət ˈgugəl həz kəm ˈəndər ˈskrutəni baɪ ðə ˈfɛdərəl treɪd kəˈmɪʃən (ftc*) ənd ðə dɪˈpɑrtmənt əv ˈʤəstɪs, wɪʧ ər kənˈsɪdərɪŋ ˈlɔnʧɪŋ ən ˌæntaɪˈtrəst proʊb əˈgɛnst ðə ˈpɑpjələr sərʧ ˈɪnʤən. ɛz raɪts, ˈrisəntli əˈpruvd 700 ˈmɪljən dil wɪθ ˈtrævəl ˈkəmpəˌni ˈaɪˈtiˈeɪ ˈsɔfˌwɛr, bət ˌæntaɪˈtrəst ˈrɛgjəˌleɪtərz ər kənˈsərnd ðət ðə ˌækwəˈzɪʃən meɪ θˈrɛtən ˌkɑmpəˈtɪʃən ɪn ðə ˈtrævəl ˌɪnˌfɔrˈmeɪʃən ˈɪndəstri; spəˈsɪfɪkli, ðə ɪz ˈwərid ðət ˈgugəl kʊd juz ðə ˈsɔfˌwɛr tɪ dɪˈrɛkt ˈjuzərz tɪ ɪts oʊn saɪts, dɪˈpraɪvɪŋ ˈsɪmələr wɛb saɪts səʧ ɛz orbitz*, kaɪæk ənd əv fɛr competition.”*.” ðə ˈɪntəˌrɛst ɪn ðə keɪs kəmz ɔn ðə hilz əv ˌæntaɪˈtrəst dɪˈvɪʒən ˈfaɪlɪŋ ə ˈsɪvəl ˈlɔˌsut tɪ blɑk ˌækwəˈzɪʃən əv ˈaɪˈtiˈeɪ, ˈsaɪtɪŋ kənˈsərnz ðət ˈɛrˌfɛr ˈwɛbˌsaɪts ʃʊd hæv ˈækˌsɛs tɪ ˈsɔfˌwɛr tɪ kip ˌkɑmpəˈtɪʃən ““robust.”*.” ðoʊ ˈgugəl rɪˈpɔrtədli əˈgrid tɪ ˈlaɪsəns ðət ˈsɔfˌwɛr tɪ kəmˈpɛtɪtərz, ðə kənˈsərn ˈɪndɪˌkeɪts ðət ˈsɪriəs kˈwɛsʧənz rɪˈmeɪn əˈbaʊt pəˈtɛnʃəl tɪ ənˈfɛrli ˈdɑməˌneɪt ðə ˈmɑrkɪt, ʃʊd ðə dil goʊ θru. ðɪs ɪz ə ˈprɑʤɛkt əv ðə ˈmidiə kənˈsɔrʃjəm, ə ˈnɛtˌwərk əv ˈlidɪŋ ˌɪndɪˈpɛndənt ˈmidiə ˈaʊˌtlɛts. ðɪs poʊst ˈfiʧərz lɪŋks tɪ ðə bɛst ˌɪndɪˈpɛndənt, prəˈgrɛsɪv rɪˈpɔrtɪŋ əˈbaʊt ˈmidiə ˈpɑləsi ənd ˈmætərz baɪ ˈmɛmbərz əv ðə ˈmidiə kənˈsɔrʃjəm. ɪt ɪz fri tɪ riˈprɪnt. rɪˈleɪtɪd ˈstɔriz: wət dɪz prəˈpoʊzd ənd ˈtiˌmoʊbəl ˈmərʤər min? sɛnz. ˈkæntˌwɛl ənd ˈfræŋkən pʊʃ nɛt nuˈtræləti bɪl ə dɪˈstərbɪŋ ˈvɪʒən fər ðə fˈjuʧər əv ðə ˈɪntərˌnɛt ˈfoʊˌtoʊ ˈkərtəsi əv ˈviə ˈflɪkər ˈrɪtən baɪ ˈɛrɪk keɪ. ˈɑrnəld, ˈmidiə kənˈsɔrʃjəm ˈblɔgər
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four months after the federal communications commission (fcc) supposedly settled the issue, the battle over net neutrality is still raging. if anything, just beginning to heat up. on april 8, the republican-controlled congress resolved to repeal the fcc’s recent legislation surrounding internet protections, and conservative activists are fighting tooth and nail to push back any apparent gains before they are realized. at the same time, media reform advocates say that the fcc’s december ruling on broadband policy did not go far enough in establishing consumer-friendly regulatory guidelines across both internet and mobile platforms.
meanwhile, the impact of the announced merger between at&t and t-mobile is still up for debate, and federal officials are raising anti-trust concerns against google.
genachowski comes to oakland
last week, fcc chairman julius genachowski met with mayors from the bay area in oakland to tout a mobile apps contest (a partnership with the knight foundation) as a way to reduce the digital divide, which has left one-third of americans without broadband access. genachowski remarked that those facing digital exclusion were primarily immigrants, minorities, disabled people, and other underserved communities. however, as i reported for oakland local, the visit was perhaps more notable for what genachowski didn’t say.
at the press conference i attended, genachowski didn’t take any questions, so asking him about the omission of net neutrality provisions for wireless carriers wasn’t possible. nor could i ask him about the upcoming threat posed to low-power tv stations by mobile tv, which could hit 20 u.s. markets this year. mobile tv could deprive low-power stations of critical bandwidth. many of these stations reach diverse demographics that are underserved by network and mainstream cable television.
fcc commissioner at ncmr: system ‘out of control’
the lack of a two-way discussion between the nation’s most powerful telecommunications official was disappointing, especially since numerous concerns remain over how the fcc will enforce media policy moving forward. as fcc commissioner michael copps recently said at the national conference for media reform, held april 8-10 in boston: “just give us some sign that the fcc is putting the brakes on a system that is spinning dangerously out of control.”
copps’ fiery speech was only one of many highlights at the ncmr, which was attended by thousands of people that are passionately interested in changing media. some of the most inspiring moments included panels on music journalism and localism; comics as journalism’s future; race as a media issue; and how old-school journos are adapting to today’s new media world; and performance artist sarah jones inhabiting a range of different characters at the opening plenary.
truthout’s susie cagle has an illustrated recap of ncmr here, and an archive of grittv’s segments from the conference is available here.
house disapproves of net neutrality
in a follow-up to an earlier story, truthout’s nadia prupis writes about an april 8 resolution by congress to repeal the fcc’s net neutrality regulations. the vote, which passed 240-179, was largely partisan, with only six democrats crossing party lines to support it. republicans characterized the fcc’s regulation of the internet as a “power grab,” questioning the agency’s authority to establish guidelines for cyberspace.
but democrats countered that the resolution “disables a free and open internet” and is an attempt to stifle innovation in the tech sector, a charge which is disputed by right-wing nonprofits like freedomworks. as prupis reports, however, that group has received funding from both verizon and at&t, and the telecommunications companies “stand to benefit if the law is overturned.”
despite the partisan rhetoric, the vote was largely symbolic, as the democratic-controlled senate is not expected to endorse the resolution.
tea party: net neutrality = ‘media marxism’
as mother jones‘ stephanie mencimer reports, net neutrality has also come under fire from the tea party. mencimer points out the irony of such a stance, noting that while an open internet allows “even the smallest, poorest tea party group… the potential to reach a large audience,” the right-wing activists “inexplicably equate net neutrality with marxism.”
tea party spokesman and virginia senate candidate james radtke is quoted as saying “net neutrality is an innocuous sounding term for what is really media marxism.” he goes on to call it “an ideological attempt by those on the left to control the greatest means for the distribution of information ever devised.”
yet mencimer points out that much of the netroots activism practiced by the tea party has relied on an open internet, unrestricted by ideological content, which net neutrality is intended to protect.
“the tea party’s position on net neutrality,” she writes, “has seemed counterintuitive, given just how badly conservative activists could be screwed by the big cable and phone companies should net neutrality rules be repealed. the whole movement has been organized online, making the internet’s level playing field a crucial element to its success.”
wireless mega-mergers and ethnic communities
new america media’s jehangir khattak details how the at&t/t-mobile mega-merger could impact ethnic communities. the skinny: ethnic populations “could be confronted by reduced service access and higher costs,” khattak writes.
khattak outlines the basic provisions of the merger and at&t’s spin; according to the company, the deal could bring 4g lte technology to 95 percent of the u.s. population. he also speaks with several members of the ethnic press, who voice concerns that the deal might allow the telecommunications giant to “control the quality of services, such as by dictating the available applications, software or the amount of data they’d allow to be transferred.”
another concern: the “arcane,” “jargon-ridden” tech-speak of media policy is difficult for immigrant populations to decipher.
khattak also notes that genachowski’s compromise on net neutrality suggests the fcc chairman is “unlikely to take the hard line, pro-regulatory stance… expected of him” by ethnic media advocates.
google under federal scrutiny — again
also in truthout, nadia prupis reports that google has come under scrutiny by the federal trade commission (ftc) and the department of justice, which are considering launching an antitrust probe against the popular search engine.
as prupis writes, “the doj recently approved google’s $700 million deal with travel company ita software, but antitrust regulators are concerned that the acquisition may threaten competition in the travel information industry; specifically, the ftc is worried that google could use the software to direct users to its own sites, depriving similar web sites such as orbitz, kayak and tripadvisor of fair competition.”
the ftc’s interest in the case comes on the heels of doj’s antitrust division filing a civil lawsuit to block google’s acquisition of ita, citing concerns that airfare websites should have access to ita’s software to keep competition “robust.” though google reportedly agreed to license that software to competitors, the ftc’s concern indicates that serious questions remain about google’s potential to unfairly dominate the market, should the deal go through.
this is a project of the media consortium, a network of leading independent media outlets. this post features links to the best independent, progressive reporting about media policy and media-related matters by members of the media consortium. it is free to reprint.
related stories:
what does proposed at&t and t-mobile merger mean?
sens. cantwell and franken push net neutrality bill
a disturbing vision for the future of the internet
photo courtesy of smallritual via flickr
written by eric k. arnold, media consortium blogger
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what’s* soʊ rɔŋ wɪθ ˈwɛrɪŋ pəˈʤɑməz ɔl deɪ? pəˈʤɑməz ər ɔn ðə raɪz. əˈkrɔs ðə lænd, əˈkɔrdɪŋ tɪ ðə wɔl strit ˈʤərnəl, ˈtiˌneɪʤərz hæv ˈteɪkən tɪ ˈwɛrɪŋ ɔl deɪ, ˈivɪn ɪn tɪ skul! əˈpærəl ˈkəmpəˌniz laɪk ˌæbərˈkrɑmbi fɪʧ ənd əˈmɛrɪkən ˈigəl ər ˈkæʃɪŋ ɪn ɔn ðə trɛnd, ˈstɑkɪŋ ðɛr stɔrz wɪθ ˈlɛgɪŋz ənd sˈwɛtˌpænts ənd ˈəðər ˈkəmfərtəbəl, flowy*, ɪˈlæstɪk əˈpærəl. pəˈʤɑməz ər ˈivɪn ˈpɑpɪŋ əp ɪn haɪ ˈfæʃən: soʊˈfiə koʊˈpoʊlə ˈhæpəli, ˈstɛpɪŋ ˈaʊtˈsaɪd ˈdʊrɪŋ ðə deɪ ɪn luɪs ˌvʊˈtɔn pəˈʤɑməz, ənd dɪˈzaɪnər ˈreɪʧəl rɔɪ əˈtɛndɪŋ ə ˈmuvi prɛˈmɪr ɪn hər oʊn brænd əv. læst wik shopbop.com*, ə ˈkloʊðɪŋ saɪt ðət træks nu ““looks,”*,” ɪgˈzɔrtɪd ɪts ˈkəstəmərz tɪ ˈkəmfərtəbəl wɪθ pəˈʤɑmə dressing.”*.” əˈməŋ ɪts wɛrz wər ˈsɛvərəl sɪlk ˈblaʊsɪz ˈsɛlɪŋ fər mɔr ðən 200 iʧ; ə pɛr əv sɪlk plæd pænts wɪθ ɪˈlæstɪk kəfs fər 495 ənd ðiz 845 prɪnt pænts kənˈstrəktɪd aʊt əv sateen*, ə ˈfæbrɪk ðət aɪ θɪŋk ɪz ˈmoʊstli juzd tɪ meɪk bɛd ʃits. ɛz ju maɪt ɪkˈspɛkt, ə hoʊl lɔt əv ˈsɪli ənd ˈpipəl ˈhæpi əˈbaʊt ðɪs ˈneɪsənt pəˈʤɑmə kreɪz. ə ˈnəmbər əv skul ˈdɪstrɪkts hæv bænd sˈlipɪŋ kloʊðz ɔn ðə ˈθɪri ðət ðeɪ ˈsəmˌhaʊ ˌɪnˈhɪbət students’*’ ˌmoʊtəˈveɪʃən. ðə aɪˈdiə, aɪ gɛs, ɪz ðət ˈteɪkɪŋ ðə taɪm tɪ drɛs əp fər skul meɪks ju ˈrɛdi tɪ saʊnz ˈplɔzəbəl ənˈtɪl ju θɪŋk əˈbaʊt ɪt fər faɪv ˈsɛkəndz. ˈspɛndɪŋ taɪm ˈwəriɪŋ əˈbaʊt wət wɛr ən ˈivɪn ˈbɪgər dɪˈstrækʃən frəm ˌækəˈdɛmɪks? səm ˈpipəl ər soʊ ˈəpˌsɛt wɪθ pəˈʤɑməz ðeɪ wɔnt tɪ brɪŋ ɪn ðə lɔ. ˈmaɪkəl ˈwɪljəmz, ə kəˈmɪʃənər ɪn ˈpɛrɪʃ, wən ˈnæʃənəl ˈhɛˌdlaɪnz ə fju wiks əˈgoʊ baɪ ˈkɔlɪŋ fər ə bæn ɔn pəˈʤɑməz ɪn ˈpəblɪk. ˈəndər williams’*’ prəˈpoʊzd ˈɔrdənəns, ˈpipəl kɔt ˈwɛrɪŋ hi dɪˈfaɪnz ɛz kloʊðz soʊld ɪn ðə sˈlipˌwɛr ˈsɛkʃən əv dɪˈpɑrtmənt bi fɔrst tɪ pərˈfɔrm kəmˈjunɪti ˈsərvɪs. (aɪ ˈwəndər ɪf ðeɪ wʊd bi rikˈwaɪərd tɪ wɛr ˈɔrɪnʤ lʊk laɪk ˈvɛri ˈkəmfərtəbəl ˈsərvɪŋ ðɛr ˈsɛntənsɪz.) ˈwɪljəmz toʊld ðə ˈʤərnəl ðət ðə ˈdeɪˌtaɪm pəˈʤɑmə trɛnd ˈsɪgnəld dˈwɪndəlɪŋ fiber,”*,” ənd ðɛn ˈædɪd ə ˈnəti ˈɑrgjəmənt tɪ ˈboʊlstər hɪz pɔɪnt: pəˈʤɑməz təˈdeɪ; wət ɪz ɪt goʊɪŋ tɪ bi təˈmɑˌroʊ? ˈwɔkɪŋ əraʊnd ɪn jʊr underwear?”*?” noʊ, ɪt bi ðət. ənd ˈɛniˌwən hu bɪˈlivz ðət pəˈʤɑmə əkˈsɛptəns pʊts ˈjuˈɛs ɔn ə pæθ təˈwɔrd mæs ˈivɪn ðət ˈwɛrɪŋ sˈlipˌwɛr ɪz ə saɪn əv sˈləvənlinəs ər nɑt ˌəndərˈstænd pəˈʤɑməz. hir tɪ sɛt ðə wərld streɪt: aɪ ləv pəˈʤɑməz, ənd ju ʃʊd tu. wi ɔt tɪ ˈsɛləˌbreɪt ənd ɪnˈkərəʤ ðə ˈdeɪˌtaɪm pəˈʤɑmə trɛnd ɛz ə prəˈgrɛsɪv ənd ɪˌgæləˈtɛriən ˈkəlʧərəl dɪˈvɛləpmənt, ɔn ðə ˈɔrdər əv ʧaɪld ˈleɪbər lɔz, mæs ˈpəblɪk ˌɛʤəˈkeɪʃən, ənd pænts bɪˈkəmɪŋ əkˈsɛptəbəl fər ˈwɪmən. aɪ kənˈtɛnd ðət ɔl bi ˈbɛtər ˈkəmfərtəbəl, lɛs ˈæŋʃəs, səbˈstænʃəli ˈhæpiər, ənd dɪd aɪ ˈmɛnʃən mɔr ˈædəlts həˈbɪʧuəli wɔr pəˈʤɑməz ˈaʊtˈsaɪd ˈdʊrɪŋ ðə deɪ. bɪˈkəz pəˈʤɑməz ər lɛs ˈkɑmpləˌkeɪtəd tɪ pʊt təˈgɛðər ðən ˈrɛgjələr ˈaʊtˌfɪts, ˈprɑbəˌbli ˈɔlsoʊ hæv ə lɔt mɔr taɪm ɔn ɑr hænz. ənd bɪˈkəz ðeɪ tɛnd tɪ bi ˈʧipər (ˌnɑtwɪθˈstændɪŋ ðoʊz dɪˈzaɪnər wənz), ˈlaɪkli hæv mɔr ˈməni ɪn jʊr ˈwɔlət, ˈpɑsəbəl ju hæv ˈɛni pleɪs tɪ pʊt jʊr ˈwɔlət, ˈgɪvɪn ðət moʊst pəˈʤɑmə pænts hæv ə bæk ˈpɑkət. maɪ ˈædvəkəsi ɪz bɔrn əv ˈpərsɪnəl ɪkˈspɪriəns. aɪ bɪˈgæn ˈwərkɪŋ æt hoʊm əˈbaʊt sɪks jɪrz əˈgoʊ, ənd aɪ kˈwɪkli dɪˈskəvərd ðə ʤɔɪz əv ˈwɛrɪŋ pəˈʤɑməz ɔl ðə taɪm. ɪn 2004 wɪn ˈʤɑnəθən klaɪn, ðə ˈfɔrmər ˈprɛzɪdənt əv ˈsiˈɛˈnɛn, dɪˈraɪdɪd ðə ˈimərʤɪŋ ˈblɔgɔsˈfir ɛz kənˈsɪstɪŋ əv gaɪ ˈsɪtɪŋ ɪn hɪz ˈlɪvɪŋ rum ɪn hɪz pəˈʤɑməz ˈraɪtɪŋ wət hi thinks,”*,” aɪ ˈwəndərd ɪf ˌɪnˈstɔld ə ˈkæmərə ɪn maɪ ˈɔfəs. aɪ juzd tɪ kənˈsɪdər ˈwɛrɪŋ pəˈʤɑməz ə nis pərk əv ˈwərkɪŋ æt hoʊm, bət ə mɔr ˈɑnəst əˈsɛsmənt wʊd pʊt θɪŋz ðə ˈəðər weɪ əraʊnd: aɪ ʧuz tɪ wərk æt hoʊm soʊ aɪ kən wɛr pəˈʤɑməz ɔl ðə taɪm. ˈpipəl kɔl ə lɔt əv θɪŋz pəˈʤɑməz. ðiz deɪz, ðə wərd kʊd min ˈɛniˌθɪŋ frəm ˈklæsɪk sɛts tɪ sˈwɛtˌpænts ənd ə ˈtiˌsərt (nɑt tɪ ˈmɛnʃən pəˈʤɑmə ʤinz!). traɪd ə ˈnəmbər əv staɪlz ˈoʊvər ðə jɪrz, ˌɪnˈkludɪŋ, wəns, ə ˈfʊtɪd ˈjunjən sut. (aɪ laɪkt haʊ ˈkoʊzi ɪt wɑz, bət goʊɪŋ tɪ ðə ˈbæθˌrum wɑz ə ʧɔr.) maɪ oʊn ˈpərˌfɪkt pəˈʤɑməz naʊ kənˈsɪst əv ˈflænəl pænts ənd ðɪs əˈmɛrɪkən əˈpærəl ˈθərməl ˈtiˌsərt, wɪʧ straɪks ʤɪst ðə raɪt ˈbæləns bɪtˈwin rɪˈlækst ənd form-fitting*. ˈɔlsoʊ tərˈɪfɪkli ˈkoʊzi. gɑt əˈbaʊt ˈsɛvən pɛrz ɪn ˈdɪfərənt ˈkələrz ənd aɪ wɛr ðɛm ʤɪst əˈbaʊt ˈɛvəri deɪ. maɪ pəˈʤɑməz ˌɪnˈklud ə ˈkəpəl kˌwɪntɪˈsɛnʃəl ˈfiʧərz ðət ˈɛni sˈlipɪŋ ˈaʊtˌfɪt məst ˈsætɪsˌfaɪ. pəˈʤɑməz məst bi bi meɪd əv ˈɛni stɪf ˈfæbrɪks, ənd ˌɪnˈklud ˈzɪpərz, divots*, ˈbəkəlz, ər ˈrɪʤɪd ˈhɛmˌlaɪnz. pəˈʤɑməz ˈɔlsoʊ bi (ðoʊ ðət min ðeɪ ʃʊd bi ˈbægi, ˈiðər). ɪn ˈəðər wərdz, ðə ˈpraɪˌmɛri ˈdɪfərəns bɪtˈwin pəˈʤɑməz ənd ˈdeɪˌtaɪm kloʊðz ɪz ðət pəˈʤɑməz ər fər ˈkəmfərt, waɪl ˈɛvriˌθɪŋ ɛls ˈpraɪzɪz ɛsˈθɛtɪks fərst. waɪl ˈɔfən gʊd, ðeɪ du soʊ æt ðə ɪkˈspɛns əv ˈfilɪŋ gʊd. ənd rɔŋ wɪθ ðət? əˈpɛrəntli, ə hoʊl lɔt. fər səm ˈrizən, ðə aɪˈdiə əv biɪŋ ɛz ˈkəmfərtəbəl ɪn ðə deɪ ɛz ju ər æt naɪt ˈpɪˌsɪz ə lɔt əv ˈpipəl ɔf. ɪn ʤɪst ðə læst jɪr, braɪən ˈmɔɪlən həz ˈrɪtən æt list θri əˈgɛnst ˈdeɪˌtaɪm pəˈʤɑmə ˈwɛrɪŋ (hir, hir, ənd hir), wɪʧ hi sɪz ə ˈleɪzi ˈpərsən hu ˈivɪn pʊt ɔn ʤinz ənd ə t-shirt.”*.” nɑt ʤɪst əˈmɛrɪkənz hu ər biɪŋ ˈstɪgməˌtaɪzd fər ðɛr. ɪn səm pɑrts əv ˈʧaɪnə, ɪt həz lɔŋ bɪn əkˈsɛptəbəl fər ˈpipəl tɪ wɛr pəˈʤɑməz ˈdʊrɪŋ ðə deɪ, bət ˌbiˈfɔr ðə 2010 wərld ˈɛkspoʊ ɪn ˈʃæŋˈhaɪ, əˈθɔrətiz bɪˈgæn tɪ kræk daʊn. ˈpipəl faʊnd ˈwɛrɪŋ pəˈʤɑməz ˈaʊtˈsaɪd ˈdʊrɪŋ ðə deɪ wər fɔrst tɪ goʊ hoʊm ənd ʧeɪnʤ. ɪt tərnz aʊt ðət hæv lɔŋ ˈsəfərd səʧ ˌpərsəˈkjuʃən. ðə ˈəðər deɪ, aɪ kɔld kəˈsændrə ˈʤɛroʊ, ə ˈfæʃən hɪˈstɔriən æt ðə ˌmɛtrəˈpɑlətən mˈjuziəm əv ˈkɑstum ˈɪnstɪˌtut, tɪ ʧæt əˈbaʊt pəˈʤɑməz. ʃi sɛnt mi ən ˈɑrtɪkəl ðət ræn ɪn ðə nu jɔrk taɪmz ɪn 1929 ˈəndər ðə ˈhɛˌdlaɪn ˈsæŋkʃənz pəˈʤɑməz ɪn street.”*.” ðə ˈpeɪpər ˌriˈpɔrtəd ðət ə nu ˈʤərzi ˈbɑrbər neɪmd ˈsæmjul ˈnɛlsən hæd meɪd ə bɛt ðət hi kʊd wɔk frəm nuərk tɪ ɪn pəˈʤɑməz wɪˈθaʊt biɪŋ ərˈɛstɪd. hi wɑz rɔŋ; ə pəˈlismən pɪkt ɪm əp ənd pʊt ɪm ɪn ðə sˈlæmər. bət ˈʤəstɪs ˈəltəmətli prɪˈveɪld. ə waɪz ʤəʤ frid ˈnɛlsən, ˈkɔlɪŋ hɪz ərˈɛst ˈæsəˌnaɪn ənd stupid,”*,” ənd ˈwɔrnɪŋ ðə pəˈlismən, ju nɔr aɪ ər ˈsɛnsərz əv ˈmɑdərn ˈfæʃən here.”*.” ɪf ˈoʊnli wi lɪvd ɪn səʧ ˌɛnˈlaɪtənd taɪmz. əˈkɔrdɪŋ tɪ ˈʤɛroʊ, ðə ˈdeɪˌtaɪm pəˈʤɑmə kreɪz wɑz ˌɪˈnɛvətəbəl. ðə ˈhɪstəri əv ˈfæʃən ɪz mɑrkt baɪ ˈkeɪsɪz ɪn wɪʧ ˈɪnɪmət, ˈpraɪvət kloʊðz breɪk aʊt ˈɪntu ˈpəblɪk. ti gaʊnz, fər ɪgˈzæmpəl, wər wəns mɛnt fər ˈwɪmən tɪ wɛr æt hoʊm, bət ɪn ðə ˈsɛnʧəri ðeɪ bɪˈkeɪm ˈsəmθɪŋ ju kʊd wɛr ˈaʊtˈsaɪd. ˈdeɪˌtaɪm ˈɔlsoʊ fɪt ɪn wɪθ əˈnəðər ˈlɔŋˌtaɪm ˈfæʃən muv təˈwɔrd sɪmˈplɪsɪti. ðə ˈsɛnʧəri ə ˈleɪdi wʊd ʧeɪnʤ hər kloʊðz fɔr ər faɪv taɪmz ə day,”*,” ˈʤɛroʊ sɪz. gɑt əp ɪn ðə ˈmɔrnɪŋ ənd ju wɔr ə ˈmɔrnɪŋ drɛs. ðɛn pʊt ɔn ən ˌæftərˈnun drɛs, ðɛn jʊr ˈdɪnər drɛs, ənd ɪf ju wər goʊɪŋ aʊt pʊt ɔn ən ˈivnɪŋ drɛs, ənd ðɛn wɪn ju gɑt hoʊm pʊt ɔn jʊr gaʊn. wi du ðət wɪθ pəˈʤɑməz, ˈmeɪbi ˈteɪkɪŋ ðət tɪ ðə extreme.”*.” ˈʤɛroʊ həz ən ˈɪntəˌrɛst ɪn pəˈʤɑməz: ɪn əˈdɪʃən tɪ ˈmeɪkɪŋ hər oʊn laɪn əv sˈlipˌwɛr, ʃi roʊt hər ˈθiˌsɪs ɔn ˈʤəmpˌsuts. (ʃi ˈrisəntli əˈdæptɪd hər ˈθiˌsɪs fər ðə ˈmægəˌzin nərd naɪt.) stɪl, ʃi ˈlɑrʤli əˈgriz wɪθ ðə ˈnoʊʃən ðət sˈləvənli tɪ wɛr pəˈʤɑməz aʊt əv ðə haʊs. pɔɪnt əv ˈgɪtɪŋ drɛst ɪn ðə ˈpərpəs əv tɪ əˈtrækt ə meɪt, dɪˈspleɪ jʊr wɛlθ, ənd tɪ ɪkˈsprɛs yourself,”*,” ʃi sɪz. ɪf ju du ðət, ˈtɛlɪŋ ðə wərld ju bi ˈbɑðərd tɪ kənˈfɔrm tɪ ðə moʊst ˈmɪnəməl ˈstrɪkʧərz əv soʊˈsaɪɪti. waɪ ˈpipəl gɪt soʊ ˈəpˌsɛt əˈbaʊt ˈdeɪˌtaɪm pəˈʤɑməz: ðeɪ wɔnt ju tɪ kɛr. wɪn aɪ ˈfloʊtɪd ðə pəˈʤɑməz aɪˈdiə tɪ maɪ sleɪt ˈkɑligz, ˈsɛvərəl əv ðɛm meɪd ə rɪˈleɪtɪd pɔɪnt: noʊ wən lʊks gʊd ɪn pəˈʤɑməz. dɪˈspaɪt ðɛr prɑkˈsɪməti tɪ ðə bɛd, pajamas’*’ sɔft dɪz ˈlɪtəl tɪ ɛnˈhæns moʊst ˈbɑdiz. wɪn ju wɛr ˈaʊtˈsaɪd, ˈtɛlɪŋ ðə wərld ðət ɔl laɪk tɪ du ɪz ˈkədəl. bət ðiz ˈkrɪtɪˌsɪzəmz tɛl ˈjuˈɛs mɔr əˈbaʊt ðə ˈkrɪtɪks ðən əˈbaʊt ðə əˈpærəl. ðɛr ər səm ˈpipəl hu ˌɛnˈʤɔɪ ˈʧuzɪŋ ənd ˈpʊtɪŋ ɔn kloʊðz, bət aɪ ˈsəˌspɛkt ðɛr ər ˈmɛni, ˈmɛni mɔr hu faɪnd ˈfæʃən ˈdɔntɪŋ, ɪkˈspɛnsɪv, ənd time-consuming*. ɪf maɪ pəˈʤɑməz tɛl ðə wərld ðət aɪ kɛr əˈbaʊt ˈfæʃən, ɪgˈzæktli ðə ˈmɛsɪʤ ˌɪnˈtɛndɪŋ tɪ kənˈveɪ: aɪ kɛr, ər æt list aɪ kɛr ɪˈnəf tɪ ˈəndərˌmaɪn maɪ oʊn ˈkəmfərt. ˈɪnsəfɑr ɛz ðeɪ hɛlp ˈjuˈɛs ɪˈskeɪp ðə ˈkɑnstəntli ˈʃɪftɪŋ ˈmɔˌriz əv ˈmɑdərn ˈfæʃən, pəˈʤɑməz ˈfəŋkʃən ɛz ə greɪt weɪ tɪ brɪʤ ðə gæp bɪtˈwin rɪʧ ənd pur, oʊld ənd jəŋ, θɪn ənd fæt. pərˈhæps ˈnoʊˌbɑˌdi lʊks ˈɔsəm ɪn pəˈʤɑməz, bət ˈnoʊˌbɑˌdi lʊks ˈtɛrəbəl, ˈiðər: ju ʤɪst lʊk laɪk ˈlʊkɪŋ aʊt fər ˈjɔrsɛlf. naʊ, aɪ wɔnt ju tɪ gɪt ðə rɔŋ ˈnɛvər kæʧ mi ˈwɛrɪŋ pəˈʤɑməz ɪn ˈpəblɪk. bət ˈoʊnli bɪˈkəz aɪ hæv ðə gəts tɪ flaʊt səʧ ə ˈpaʊərfəl kənˈvɛnʃən. ɪf aɪ si ju ɪn jʊr, ðoʊ, bi ʃʊr tɪ gɪv ju ə fərm ˈhændˌʃeɪk ənd ə pæt ɔn ðə bæk. ənd ɪf ju wɔnt, ˈivɪn ˈɔfər tɪ tək ju ɪn.
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what’s so wrong with wearing pajamas all day? jupiterimages/thinkstock
pajamas are on the rise. across the land, according to the wall street journal, teenagers have taken to wearing pjs all day, even in public—even to school! apparel companies like abercrombie & fitch and american eagle are cashing in on the trend, stocking their stores with leggings and sweatpants and other comfortable, flowy, elastic waistbanded apparel. pajamas are even popping up in high fashion: here’s sofia coppola happily, gorgeously stepping outside during the day in louis vuitton pajamas, and here’s designer rachel roy attending a movie premiere in her own brand of jammies. last week shopbop.com, a women’s clothing site that tracks new “looks,” exhorted its customers to “get comfortable with pajama dressing.” among its wares were several silk blouses selling for more than $200 each; a pair of silk drawstring plaid pants with elastic cuffs for $495; and these $845 (!) wide-leg print pants constructed out of sateen, a fabric that i think is mostly used to make bed sheets.
as you might expect, a whole lot of silly and just-plain-mean people aren’t happy about this nascent pajama craze. a number of school districts have banned sleeping clothes on the theory that they somehow inhibit students’ motivation. the idea, i guess, is that taking the time to dress up for school makes you ready to learn—which sounds plausible until you think about it for five seconds. isn’t spending time worrying about what you’ll wear an even bigger distraction from academics?
some people are so upset with pajamas they want to bring in the law. michael williams, a commissioner in louisiana’s caddo parish, won national headlines a few weeks ago by calling for a ban on pajamas in public. under williams’ proposed ordinance, people caught wearing pajamas—which he defines as clothes sold in the sleepwear section of department stores—would be forced to perform community service. (i wonder if they would be required to wear orange jumpsuits—which look like very comfortable pajamas—while serving their sentences.) williams told the journal that the daytime pajama trend signaled america’s dwindling “moral fiber,” and then added a nutty slippery-slope argument to bolster his point: “it’s pajamas today; what is it going to be tomorrow? walking around in your underwear?”
no, it won’t be that. and anyone who believes that pajama acceptance puts us on a path toward mass nudity—or even that wearing sleepwear is a sign of slovenliness or unprofessionalism—does not understand pajamas. i’m here to set the world straight: i love pajamas, and you should too. we ought to celebrate and encourage the daytime pajama trend as a progressive and egalitarian cultural development, on the order of child labor laws, mass public education, and pants becoming acceptable for women.
i contend that we’d all be better off—more comfortable, less anxious, substantially happier, and did i mention more comfortable?—if adults habitually wore pajamas outside during the day. because pajamas are less complicated to put together than regular outfits, we’d probably also have a lot more time on our hands. and because they tend to be cheaper (notwithstanding those designer ones), you’d likely have more money in your wallet, too—though possible you won’t have any place to put your wallet, given that most men’s pajama pants don’t have a back pocket.
my advocacy is born of personal experience. i began working at home about six years ago, and i quickly discovered the joys of wearing pajamas all the time. in 2004, when jonathan klein, the former president of cnn, derided the emerging blogosphere as consisting of “a guy sitting in his living room in his pajamas writing what he thinks,” i wondered if he’d installed a camera in my office. i used to consider wearing pajamas a nice perk of working at home, but a more honest assessment would put things the other way around: i choose to work at home so i can wear pajamas all the time.
people call a lot of things pajamas. these days, the word could mean anything from classic pants-and-top sets to sweatpants and a t-shirt (not to mention pajama jeans!). i’ve tried a number of styles over the years, including, once, a full-on footed union suit. (i liked how cozy it was, but going to the bathroom was a chore.) my own perfect pajamas now consist of flannel drawstring pants and this long-sleeve american apparel thermal t-shirt, which strikes just the right balance between relaxed and form-fitting. also terrifically cozy. i’ve got about seven pairs in different colors and i wear them just about every day.
my pajamas include a couple quintessential features that any sleeping outfit must satisfy. pajamas must be soft—they can’t be made of any stiff fabrics, and can’t include zippers, divots, buckles, or rigid hemlines. pajamas also can’t be claustrophobically tight-fitting (though that doesn’t mean they should be off-puttingly baggy, either). in other words, the primary difference between pajamas and daytime clothes is that pajamas are optimized for comfort, while everything else prizes aesthetics first. while jammies can—and often do!—look good, they can’t do so at the expense of feeling good.
and what’s wrong with that? apparently, a whole lot. for some reason, the idea of being as comfortable in the day as you are at night pisses a lot of people off. in just the last year, gawker’s brian moylan has written at least three screeds against daytime pajama wearing (here, here, and here), which he says “means you’re a lazy person who can’t even put on jeans and a t-shirt.” not just americans who are being stigmatized for their jammies. in some parts of china, it has long been acceptable for people to wear pajamas during the day, but before the 2010 world expo in shanghai, authorities began to crack down. people found wearing pajamas outside during the day were forced to go home and change.
it turns out that pajama-wearers have long suffered such persecution. the other day, i called cassandra gero, a fashion historian at the metropolitan museum of art’s costume institute, to chat about pajamas. she sent me an article that ran in the new york times in 1929 under the headline “court sanctions pajamas in street.” the paper reported that a new jersey barber named samuel nelson had made a bet that he could walk from newark to irvington in pajamas without being arrested. he was wrong; a policeman picked him up and put him in the slammer. but justice ultimately prevailed. a wise judge freed nelson, calling his arrest “both asinine and stupid,” and warning the policeman, “neither you nor i are censors of modern fashion here.” if only we lived in such enlightened times.
according to gero, the daytime pajama craze was inevitable. the history of fashion is marked by cases in which intimate, private clothes break out into public. tea gowns, for example, were once meant for women to wear at home, but in the 20th century they became something you could wear outside. daytime pjs also fit in with another longtime fashion trend—the move toward simplicity. “in the 19th century a lady would change her clothes four or five times a day,” gero says. “you got up in the morning and you wore a morning dress. then you’d put on an afternoon dress, then your dinner dress, and if you were going out you’d put on an evening dress, and then when you got home you’d put on your gown. we don’t do that anymore—and with pajamas, maybe we’re taking that to the extreme.”
gero has an interest in pajamas: in addition to making her own line of sleepwear, she wrote her thesis on jumpsuits. (she recently adapted her thesis for the magazine nerd nite.) still, she largely agrees with the notion that slovenly to wear pajamas out of the house. “the point of getting dressed in the morning—the purpose of fashion—is to attract a mate, display your wealth, and to express yourself,” she says. if you don’t do that, you’re telling the world you can’t be bothered to conform to the most minimal strictures of society. that’s why people get so upset about daytime pajamas: they want you to care.
when i floated the pajamas idea to my slate colleagues, several of them made a related point: no one looks good in pajamas. despite their proximity to the bed, pajamas’ soft formlessness does little to enhance most people’s bodies. when you wear pjs outside, you’re telling the world that all you’d like to do is cuddle.
but these criticisms tell us more about the critics than about the apparel. there are some people who enjoy choosing and putting on clothes, but i suspect there are many, many more who find fashion daunting, expensive, and time-consuming. if my pajamas tell the world that i don’t care about fashion, that’s exactly the message i’m intending to convey: i don’t care, or at least i don’t care enough to undermine my own comfort.
insofar as they help us escape the constantly shifting mores of modern fashion, pajamas function as a great leveler—a way to bridge the gap between rich and poor, old and young, thin and fat. perhaps nobody looks awesome in pajamas, but nobody looks terrible, either: you just look like you’re looking out for yourself.
now, i don’t want you to get the wrong idea—you’ll never catch me wearing pajamas in public. but that’s only because i don’t have the guts to flout such a powerful convention. if i see you in your jammies, though, i’ll be sure to give you a firm handshake and a pat on the back. and if you want, i’ll even offer to tuck you in.
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ˈsikrəsi, ˌɪnərˈnæʃənɑl ˈklaɪmɪt ˈtritiz, ʤɑbz, ɔlˈtərnətɪv ˈɛnərʤi, pərˈdəktɪv ˈfɑrmˌlænd, ɪnˌvaɪrənˈmɛnəl pis ˈrɛzɪdənts hæd ˈplɛnti tɪ seɪ ˈsənˌdi əˈbaʊt ðə saɪt si dæm. əraʊnd 60 ˈpipəl tərnd aʊt tɪ ðə ˈpɑmərˌɔɪ hoʊˈtɛl fər fər ðə fərst əv tu ˈpəblɪk ˈɪnˌpʊt ˈmitɪŋz ɪn fɔrt st*. ʤɑn ðɪs wik, wɛr 17 ˈspikərz tʊk tɪ ðə ˈmaɪkrəˌfoʊn, moʊst əv ðɛm əˈpoʊzd, tɪ gɪv ðɛr θɔts ɔn ðə dæm tɪ ðə juˈtɪlətiz kəˈmɪʃən. ˈɑrtɪkəl kənˈtɪnjuz bɪˈloʊ ˈmɛni wər ˈhæpi ðə kəˈmɪʃən wɑz ˈfaɪnəli rivˈjuɪŋ ðə ˈprɑʤɛkt ˈæftər ɪts ˈoʊvərˌsaɪt wɑz strɪpt baɪ ðə 2010 klin ˈɛnərʤi ækt. ˈrɪʧərd ˈnuˌfɛld, ˈfɔrmər nɔrθ pis ənd ˈɛnərʤi ˈmɪnɪstər: "(ðə saɪt si) dɪˈsɪʒən wɑz nɑt meɪd ˈheɪstəli ənd, dɪˈspaɪt wət səm meɪ seɪ, ɪt wɑz meɪd wɪθ ðə ˈvɛri bɛst ˌɪnˈtɛnʧənz wɪθ ðə ˈlɔŋˈtərm ˈvɪʒən fər ɑr ˈprɑvɪns." mæt "ɛz ə ˈreɪtˌpeɪər ənd ˈtækˌspeɪər əv b.c*., aɪ riˈzɛnəd ðə fækt ðə ˈlɪˌbərəl ˈgəvərnmənt geɪv ðə tɪ saɪt si wɪˈθaʊt ˈlɛtɪŋ ðə du ɪts ʤɑb," sɛd ruθ æn ˈdɑrnəl, ʧɛr əv ðə pis ˈvæli ɪnˈvaɪrənmənt əˌsoʊʃiˈeɪʃən, fɔrmd ɪn 1975 ɪn ˌɑpəˈzɪʃən tɪ ðə dæm. "ɪf saɪt si wɑz səʧ ə gʊd aɪˈdiə, ɪt ʃʊd hæv bɪn ˈskrutəˌnaɪzd. əm soʊ glæd ɪts biɪŋ dən naʊ." ðə ˈgəvərnmənt həz ˈɔrdərd ðə kəˈmɪʃən tɪ ˈstədi ðə kɔsts əv kənˈtɪnjuɪŋ ər ˈstɑpɪŋ kənˈstrəkʃən ɔn ˈhaɪˌdroʊz ˈprɑʤɛkt, əˈpruvd baɪ ðə ˈlɪˌbərəlz ɪn 2014 ənd naʊ tu jɪrz ˈɪntu kənˈstrəkʃən ɔn ðə pis ˈrɪvər ˈaʊtˈsaɪd fɔrt st*. ʤɑn. ðə ˈlɪˌbərəlz ənd ˈəðər səˈpɔrtərz seɪ ʤɑbz dɪˈpɛnd ɔn ðə ˈprɑʤɛkt ənd ðət ɪt wɪl hɛlp ˈkænədə mit ɪts ˌɪnərˈnæʃənɑl ˈklaɪmɪt ʧeɪnʤ kəˈmɪtmənts. ðə ənd grin ˈpɑrti hæv sɛd tu ɪkˈspɛnsɪv ənd ənˈnɛsəˌsɛri. ðə kəˈmɪʃənz ˌrivˈju bɪˈgæn ˈɔgəst. 9 ənd ˌɪndɪˈpɛndənt ˈɑdətərz hæv soʊ fɑr faʊnd ðə ˈprɑʤɛkts meɪn ˈsɪvəl wərks ˈhæmpərd baɪ ˈprɑbləmz ðət hæv ˈɛskəˌleɪtɪd kɔsts ənd fɔrst meɪn ˈkɑnˌtræktər pis ˈrɪvər ˈhaɪˌdroʊ ˈpɑrtnərz tɪ faɪl fər ə ˈskɛʤʊl dɪˈleɪ læst mənθ. ˈɑdətərz hæv ˈɔlsoʊ reɪzd kənˈsərnz əˈbaʊt ˈhaɪˌdroʊz əˈbɪləˌti tɪ kip ðə ˈprɑʤɛkt ɔn taɪm ənd ˈbəʤɪt, ənd tɪ ˈækjərətli ˈtɛndər ənd əˈwɔrd fˈjuʧər ˈkɑnˌtrækts fər kənˈstrəkʃən stɪl tɪ kəm, ˌɪnˈkludɪŋ ə ˈʤɛnərˌeɪtɪŋ ˈsteɪʃən ənd trænzˈmɪʃən laɪnz. ðoʊz ˈditeɪlz wər rɪˈvild læst wik ˈæftər ən ənˈsɛnsərd rɪˈpɔrt ˈɪntu ðə dæmz kənˈstrəkʃən wɑz ˌæksəˈdɛnəli meɪd ˈpəblɪk. ɪt fɔrst ðə juˈtɪlətiz kəˈmɪʃən ˈɪntu ˈdæmɪʤ kənˈtroʊl moʊd tɪ skrəb ðə rɪˈpɔrts ɪgˈzɪstəns frəm ðə ˈɪntərˌnɛt ənd ə rɪˈdæktɪd ˈvərʒən ɪn ɪts pleɪs. ɪn hɪz ˈoʊpənɪŋ rɪˈmɑrks, kəˈmɪʃən ʧɛr ənd ˈsiˌiˈoʊ ˈdeɪvɪd ˈmɔrtən sɛd ˈpəblɪk ˈɪnˌpʊt wɑz ˈkrɪtɪkəl tɪ ðə kəˈmɪʃənz wərk, bət wɑz kwɪk tɪ riˈmaɪnd ˈrɛzɪdənts tɪ rɪˈfreɪn frəm ˈtɔkɪŋ əˈbaʊt ðə rɪˈpɔrt ənd ˈʃɛrɪŋ ˈɛni ˈəðər ˌkɑnfəˈdɛnʃəl ˌɪnˌfɔrˈmeɪʃən. "ðə kəˈmɪʃən kənˈsɪdərz ðɪs ˌɪnˌfɔrˈmeɪʃən rɪˈmeɪnz ˌkɑnfəˈdɛnʃəl," hi sɛd. ˈʃɛli ˈɑulɛt toʊld ðə kəˈmɪʃənərz ɪt wɑz ðɛr ʤɑb tɪ prəˈtɛkt ˈreɪtˌpeɪərz ənd ər ˈkaʊntɪd ɔn tɪ tɛl ðə truθ." ˈhaɪˌdroʊ ɪz ə juˈtɪləti. ðeɪ juz ɑr ˈməni tɪ bɪld ðə ˌɪnfrəˈstrəkʧər wi ɔl rɪˈlaɪ ɔn ənd wi nid tɪ bi ˈeɪbəl tɪ trəst ðət ðeɪ ər duɪŋ soʊ ɪn ɑr bɛst ˈɪntəˌrɛst," ˈɑulɛt sɛd. "ənd wi nid tɪ trəst ðət ðə wɪl hoʊld ðɛm tɪ tæsk. soʊ fɑr, ɪts maɪ əˈpɪnjən ju hæv boʊθ feɪld." ˈfɔrmər ˈlɪˌbərəl nɔrθ pis ənd ˈkɑrənt b.c*. ˈsɛnətər ˈrɪʧərd ˈnuˌfɛld wɑz wən ʤɪst θri ˈspikərz hu səˈpɔrtɪd ðə dæm ənd kənˈtɪnjuɪŋ kənˈstrəkʃən. ˈnuˌfɛld sɛd hi wɑz "ˈdipli ˌɪnˈvɑlvd" ɪn ðə ˈərli dɪˈskəʃənz tɪ rɪˈvaɪv saɪt si ˈæftər bɪˈkəmɪŋ ˈɛnərʤi ˈmɪnɪstər ɪn ðə ˈərli ənd ˈlərnɪŋ ðə ˈprɑvɪns wɑz ˌɪmˈpɔrtɪŋ əp tɪ 10 pər sɛnt əv ɪts ɪˌlɛkˈtrɪsəti. "aɪ ˈkʊdənt bɪˈliv ɪt. ɪn maɪ fərst ˈɛnərʤi plæn ɪn 2002 aɪ æst ˈhaɪˌdroʊ tɪ ˌrivˈju ənd ˈəpˌdeɪt ɪts ɪgˈzɪstɪŋ fəˈsɪlɪtiz, ˌrivˈju saɪt si, ənd əˈlaʊ ðə ˈpraɪvət ˈsɛktər tɪ bɪld nu klin ˌʤɛnərˈeɪʃən," sɛd ˈnuˌfɛld, ˈnoʊtɪŋ hi wɑz əˈpɪrɪŋ ɛz ə ˈpraɪvət ˈsɪtɪzən. "aɪ ˈɔlsoʊ meɪd ɪt klɪr ðət b.c*. ˈnidɪd tɪ bɪˈkəm sɛlf səˈfɪʃənt." bɛr flæt ˈrɛzɪdənt kɛn bun wɑz ðə fərst tɪ spik æt ə juˈtɪlətiz kəˈmɪʃən ˈmitɪŋ ɔn saɪt si ɪn fɔrt st*. ʤɑn ɔn ɔkt. 1 ðɛrz ə "ˈkəlʧər əv ˈsikrəsi" əraʊnd ðə ˈprɑʤɛkt, bun toʊld kəˈmɪʃənərz. mæt ðə ˈprɑʤɛkts ˈrɛkərd əv ˈdɪlɪʤəns sɪns həz bɪn sɪgˈnɪfɪkənt, wɪθ ˌkɑnsəlˈteɪʃənz ˈɔrdərd ɛz ˈərli ɛz fɔl 2007 ˈnuˌfɛld sɛd, ˈædɪŋ saɪt si həz sərˈvaɪvd ˈligəl ˈʧælənʤɪz æt ˈɛvəri kɔrt ˈlɛvəl. waɪl saɪt si ɪz "nɑt ˈpərˌfɪkt," ðə ˈpɑzətɪvz ˈaʊtˌweɪ ðə ˈnɛgətɪvz, ˈnuˌfɛld sɛd. ɪts ɪˌlɛkˈtrɪsəti wɪl bi ˈnidɪd nɑt ˈoʊnli ɛz ðə ˈprɑvɪns groʊz, bət ɛz ˈkænədə ɪˈlɛktrəˌfaɪz ɪts ɪˈkɑnəmi tɪ mit ɪts ˈklaɪmɪt ʧeɪnʤ goʊlz, hi sɛd. "saɪt si kən hɛlp ˈjuˈɛs mit ðɪs dɪˈmænd," ˈnuˌfɛld sɛd. "ˈmɛni əˈsɛsmənts wər kənˈdəktəd praɪər tɪ ðə ˈsaɪnɪŋ ɔf ɔn ðɪs ˈprɑʤɛkt. ðɪs dɪˈsɪʒən wɑz nɑt meɪd ˈheɪstəli ənd, dɪˈspaɪt wət səm meɪ seɪ, ɪt wɑz meɪd wɪθ ðə ˈvɛri bɛst ˌɪnˈtɛnʧənz wɪθ ðə ˈlɔŋˈtərm ˈvɪʒən fər ɑr ˈprɑvɪns." daɪæn ˈkəlɪŋ ˈkaʊnərd ˈnuˌfɛldz ˈɑrgjəmənt, seɪɪŋ ˈkænədə wɑz "ˈbʊlɪʃ" əˈbaʊt dæmz wɪn saɪt si wɑz ˈteɪkən ɔf ðə ʃɛlf ˈæftər biɪŋ rɪˈʤɛktɪd baɪ ðə juˈtɪlətiz kəˈmɪʃən ɪn ðə ˈərli ənd əˈgɛn baɪ ˈhaɪˌdroʊ ɪn ðə ˈərli 1990s*. ˌmænɪˈtoʊbə, kwəˈbɛk, ˈnufəndlənd, ənd b.c*. wər ɔl pərˈsuɪŋ ˈprɑʤɛkts æt ðə taɪm, ʃi sɛd, bət ə 2007 ʃeɪl gæs bum ɪn ðə juˈnaɪtɪd steɪts ˈflədɪd ðə ˈkɑntənənt wɪθ ʧip ˈnæʧərəl gæs fər paʊər. "gʊd ˈmænɪʤərz lʊk æt ðə ˈdætə wɪn ðə ˌsɪʧuˈeɪʃən ɪz ˈʧeɪnʤɪŋ ənd ðeɪ əˈʤəst əˈkɔrdɪŋli," ˈkəlɪŋ sɛd. "pərˈhæps ðɛr hæd bɪn ˈmɛrət ɪn səm əv ðiz ˈprɑʤɛkts 15 jɪrz əˈgoʊ, bət ðə ˌsɪʧuˈeɪʃən ɪz drəˈmætɪkəli ˈdɪfərənt." kənˈstrəkʃən bɪˈgæn ɪn ˈsəmər 2015 ənd mɔr ðən ˈwərkərz wər rɪˈkɔrdɪd ɔn ðə ˈprɑʤɛkt ɪn ˌʤuˈlaɪ. ˈhaɪˌdroʊ hæd spɛnt ˈbɪljən ɔn ðə dæm ɛz əv ʤun 30 2017 wɪθ ɪkˈspɛndɪʧərz du tɪ riʧ ˈbɪljən baɪ ðə ɛnd əv ðə jɪr. ˈkænsəlɪŋ ðə ˈprɑʤɛkt wʊd prɑmpt ˈrəfli 1 ˈbɪljən ɪn tərməˈneɪʃən ənd rɪˌmidiˈeɪʃən kɔsts, ənd əraʊnd 3 ˈbɪljən wʊd nid tɪ bi rɪˈkupt frəm ˈreɪtˌpeɪərz. dɪˈleɪɪŋ ðə ˈprɑʤɛkt baɪ mɔr ðən ə jɪr kʊd draɪv ˈfaɪnəl kɔsts ɛz haɪ ɛz ˈbɪljən, waɪl ˈkænsəlɪŋ ðə ˈprɑʤɛkt ˈaʊˈtraɪt ənd əkˈwaɪərɪŋ paʊər frəm ˈdɪfərənt ˈsɔrsəz kʊd kɔst əraʊnd 7 ˈbɪljən, ˈhaɪˌdroʊ sɪz. rəˈmoʊnə məkˈdɑnəld sɛd ɪz ən ˌɪmˈpɔrtənt pɑrt əv ðə ˈkəntriz klin ˈɛnərʤi dɪˈskəʃən. ɛz ən ˌæbərˈɪʤənəl ˈbɪznɪs ˈoʊnər, ðə dæm ɪz ə ʧæns fər ˈloʊkəlz tɪ bɪld ðɛr ˈbɪznɪsɪz ənd prəˈvaɪd gʊd ɪmˈplɔɪmənt ˌɑpərˈtunətiz fər juθ, ʃi sɛd. "ðɛrz ˈmɛni əv ˈjuˈɛs hu du wɔnt ɪt ɪn ðə kəmˈjunɪti, ðət wʊd ləv ðə ˌɑpərˈtunəti tɪ wərk ɔn ðə saɪt si dæm ənd tɪ bi ˈeɪbəl tɪ gɪv ðə juθ ən ˌɑpərˈtunəti tɪ treɪn ɪn ðə ˈbɪznɪsɪz wi hæv, ənd tɪ bɪld ðɛr oʊn ˈbɪznɪsɪz," ʃi sɛd. "wi kænt ʤɪst hænd θɪŋz ˈoʊvər tɪ ɑr fərst ˈneɪʃənz kəmˈjunɪtiz ənd seɪ, 'hir, teɪk ðɪs, teɪk ðət.' wi nid tɪ tiʧ ɑr juθ, wi nid tɪ tiʧ ɑr ˈpipəl ənd gɪv ðɛm ˈʧɔɪsɪz ɪn ˈɔrdər tɪ bɪld, ɪn ˈɔrdər tɪ gɪv bæk tɪ ðə kəmˈjunɪti." daɪæn ˈkəlɪŋ: "pərˈhæps ðɛr hæd bɪn ˈmɛrət ɪn səm əv ðiz ˈprɑʤɛkts 15 jɪrz əˈgoʊ, bət ðə ˌsɪʧuˈeɪʃən ɪz drəˈmætɪkəli ˈdɪfərənt." mæt ˈəðər əˈpoʊnənts hu spoʊk ˈkrɪtəˌsaɪzd ˈhaɪˌdroʊ fər ˌɪnˈfleɪtɪŋ dɪˈmænd fər ðə ˈprɑʤɛkt, nɑt əˈproʊpriɪtli kənˈsɪdərɪŋ ðə ɪnˌvaɪrənˈmɛnəl ˈvæljuz əv ðə ˈrɪvər ˈvæli, ənd fər ˈmɪsɪŋ ˌɑpərˈtunətiz tɪ pərˈsu ˈəðər ˈɛnərʤi tɛkˈnɑləʤiz ˌɪnˈkludɪŋ wɪnd, ˈbaɪəmæs, ˌʤioʊˈθərməl, ənd ˈnæʧərəl gæs əˈlɔŋˈsaɪd ɪts ˈlɛgəsi dæmz ənd ˈrɛzərvˌwɑrz. "wi nid tɪ lʊk æt ɔl əv ðə ˈɔpʃənz, nɑt ʤɪst ˌhaɪdroʊɪˈlɛktrɪk," sɛd ˈfɔrmər pis ˈrɪvər ˈriʤənəl ˈdɪstrɪkt dɪˈrɛktər ˈɑrθər hadland*, səˈʤɛstɪŋ ˈhaɪˌdroʊ bi riˈneɪmd tɪ ˈɛnərʤi. "wi nid ə bɔrd əv dɪˈrɛktərz ðæts ˈkəmɪŋ frəm ðə ˈpipəl, nɑt ðə oʊld bɔɪz kləb, ənd nɑt taɪd tɪ ðə pəˈlɪtɪkəl ˈpɑrtiz." ˈʧɑrli leɪk ˈrɛzɪdənt kɛn ˈfɔrɪst sɛd ˈnɔrðərn ˈrɛzɪdənts wɪl bi æt ðə ˈgreɪtəst ˌdɪsədˈvænɪʤ ɪf saɪt si kənˈtɪnjuz, ˈmɪsɪŋ aʊt ɔn biɪŋ ˈeɪbəl tɪ ˈhɑrnɪs ðə moʊst ˌɪmˈpɔrtənt ˈɛnərʤi əv all—solar*, ənd ɪts əˈbɪləˌti tɪ hɛlp groʊ fruts ənd ˈvɛʤtəbəlz ɪn ðə 80 ˌkɪˈlɔˌmətərz əv pis ˈrɪvər ˈvæli du tɪ bi ˈflədɪd. ðə ˈvæliz əˈbɪləˌti tɪ ˈproʊdus fud wɪl bi wərθ mɔr ðən ɪts əˈbɪləˌti tɪ ˈproʊdus paʊər ɛz ˈpleɪsɪz laɪk ˌkæləˈfɔrnjə si ɪts fud pərˈdəkʃən drɔp bɪˈkəz əv ˈklaɪmɪt ʧeɪnʤ, hi sɛd. ˈfɑrmərz hæv nɑt ˌɪnˈvɛstɪd ɪn ˈægrɪˌkəlʧər ɪn ðə ˈvæli bɪˈkəz əv ðə fləd rɪˈzərv, hi ˈædɪd. "ˈsoʊlər ˈɛnərʤi ɪz ˈɛvriˌwɛr, ənd ˈsoʊlər ˈɛnərʤi ɪn ðɪs ˈvæli ɪz ˈkrɪtɪkəl," ˈfɔrɪst sɛd. "tu jɪrz əˈgoʊ, aɪ wɛnt daʊn tɪ bɛr flæt ənd ˈpərʧəst ə ˈkɑləˌflaʊər fər 50 sɛnts. θɪŋk əv ə ˈkɑləˌflaʊər ɛz ə sən bɔl əv ˈɛnərʤi. aɪ wɛnt ˈɪntu ˈseɪfˌweɪ ə ˈkəpəl wiks ˈleɪtər ənd ðət seɪm ˈkɑləˌflaʊər wɑz 7 "wi nid tɪ θɪŋk əˈbaʊt wɛr wɪr goʊɪŋ wɪθ ðɪs ˈvæli," hi sɛd. ðə ˈhirɪŋz kənˈtɪnju təˈnaɪt ɪn fɔrt st*. ʤɑn ˌbiˈfɔr ˈhɛdɪŋ tɪ vænˈkuvər ɔn ˈθərzˌdeɪ. ˈhirɪŋz ræp əp ɔkt. 11 ɪn vɪkˈtɔriə. təˈnaɪts ˈsɛʃən stɑrts æt 6 p.m*. æt ðə ˈpɑmərˌɔɪ hoʊˈtɛl. ˌrɛʤɪˈstreɪʃən ɪz kloʊzd, bət ðə ˈpəblɪk wɪl bi ˈeɪbəl tɪ ˈrɛʤɪstər ɔn ə first-come*, ˈbeɪsɪs. ðə kəˈmɪʃənz ˈfaɪnəl rɪˈpɔrt tɪ ðə ˈgəvərnmənt ɪz du noʊv. 1 wɪθ ðə nu ˈkæbənət ɪkˈspɛktɪd tɪ meɪk ə dɪˈsɪʒən baɪ ðə ɛnd əv ðə fɔl ˈlɛʤəsˌleɪtɪv ˈsɛʃən ɔn noʊv. 30
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secrecy, international climate treaties, jobs, alternative energy, productive farmland, environmental economics—north peace residents had plenty to say sunday about the site c dam.
around 60 people turned out to the pomeroy hotel for for the first of two public input meetings in fort st. john this week, where 17 speakers took to the microphone, most of them opposed, to give their thoughts on the dam to the bc utilities commission.
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many were happy the commission was finally reviewing the project after its oversight was stripped by the 2010 clean energy act.
richard neufeld, former north peace mla and energy minister: "(the site c) decision was not made hastily and, despite what some may say, it was made with the very best intentions with the long-term vision for our province." - matt preprost
"as a ratepayer and taxpayer of b.c., i resented the fact the liberal government gave the go-ahead to site c without letting the bcuc do its job," said ruth ann darnall, chair of the peace valley environment association, formed in 1975 in opposition to the dam.
"if site c was such a good idea, it should have been scrutinized. i'm so glad its being done now."
the ndp government has ordered the commission to study the costs of continuing or stopping construction on bc hydro's $8.8-billion project, approved by the bc liberals in 2014 and now two years into construction on the peace river outside fort st. john.
the liberals and other supporters say 2,500 jobs depend on the project and that it will help canada meet its international climate change commitments. the ndp and green party have said too expensive and unnecessary.
the commission's review began aug. 9, and independent auditors have so far found the project's main civil works hampered by geotechnical problems that have escalated costs and forced main contractor peace river hydro partners to file for a year-long schedule delay last month. auditors have also raised concerns about bc hydro's ability to keep the project on time and budget, and to accurately tender and award future contracts for construction still to come, including a generating station and transmission lines.
those details were revealed last week after an uncensored report into the dam's construction was accidentally made public. it forced the utilities commission into damage control mode to scrub the report's existence from the internet and republish a redacted version in its place.
in his opening remarks, commission chair and ceo david morton said public input was critical to the commission's work, but was quick to remind residents to refrain from talking about the report and sharing any other confidential information.
"the commission considers this information remains confidential," he said.
shelley ouellette told the commissioners it was their job to protect ratepayers and are counted on to tell the "unredacted truth."
"bc hydro is a publicly-owned utility. they use our money to build the infrastructure we all rely on and we need to be able to trust that they are doing so in our best interest," ouellette said.
"and we need to trust that the bcuc will hold them to task. so far, it's my opinion you have both failed."
former liberal north peace mla and current b.c. senator richard neufeld was one just three speakers who supported the dam and continuing construction.
neufeld said he was "deeply involved" in the early discussions to revive site c after becoming energy minister in the early 2000s and learning the province was importing up to 10 per cent of its electricity.
"i couldn't believe it. in my first energy plan in 2002, i asked bc hydro to review and update its existing facilities, review site c, and allow the private sector to build new clean generation," said neufeld, noting he was appearing as a private citizen.
"i also made it clear that b.c. needed to become self sufficient."
bear flat resident ken boon was the first to speak at a bc utilities commission meeting on site c in fort st. john on oct. 1. there's a "culture of secrecy" around the project, boon told commissioners. - matt preprost
the project's record of diligence since has been significant, with consultations ordered as early as fall 2007, neufeld said, adding site c has survived legal challenges at every court level.
while site c is "not perfect," the positives outweigh the negatives, neufeld said. its electricity will be needed not only as the province grows, but as canada electrifies its economy to meet its climate change goals, he said.
"site c can help us meet this demand," neufeld said.
"many assessments were conducted prior to the signing off on this project. this decision was not made hastily and, despite what some may say, it was made with the very best intentions with the long-term vision for our province."
diane culling countered neufeld's argument, saying canada was "bullish" about dams when site c was taken off the shelf after being rejected by the utilities commission in the early 1980s and again by bc hydro in the early 1990s. manitoba, quebec, newfoundland, and b.c. were all pursuing projects at the time, she said, but a 2007 shale gas boom in the united states flooded the continent with cheap natural gas for power.
"good managers look at the data when the situation is changing and they adjust accordingly," culling said.
"perhaps there had been merit in some of these projects 15 years ago, but the situation is dramatically different."
construction began in summer 2015 and more than 2,500 workers were recorded on the project in july.
bc hydro had spent $1.8 billion on the dam as of june 30, 2017, with expenditures due to reach $2.1 billion by the end of the year. cancelling the project would prompt roughly $1 billion in termination and remediation costs, and around $3 billion would need to be recouped from ratepayers.
delaying the project by more than a year could drive final costs as high as $12.5 billion, while cancelling the project outright and acquiring power from different sources could cost around $7 billion, bc hydro says.
ramona mcdonald said hydroelectricity is an important part of the country's clean energy discussion. as an aboriginal business owner, the dam is a chance for locals to build their businesses and provide good employment opportunities for youth, she said.
"there's many of us who do want it in the community, that would love the opportunity to work on the site c dam and to be able to give the youth an opportunity to train in the businesses we have, and to build their own businesses," she said.
"we can't just hand things over to our first nations communities and say, 'here, take this, take that.' we need to teach our youth, we need to teach our people and give them choices in order to build, in order to give back to the community."
dianne culling: "perhaps there had been merit in some of these projects 15 years ago, but the situation is dramatically different." - matt preprost
other opponents who spoke criticized bc hydro for inflating demand for the project, not appropriately considering the environmental values of the river valley, and for missing opportunities to pursue other energy technologies including wind, biomass, geothermal, and natural gas alongside its legacy dams and reservoirs.
"we need to look at all of the options, not just hydroelectric," said former peace river regional district director arthur hadland, suggesting bc hydro be renamed to energy bc.
"we need a board of directors that's coming from the people, not the old boy's club, and not tied to the political parties."
charlie lake resident ken forest said northern residents will be at the greatest disadvantage if site c continues, missing out on being able to harness the most important energy of all—solar, and its ability to help grow fruits and vegetables in the 80 kilometres of peace river valley due to be flooded.
the valley's ability to produce food will be worth more than its ability to produce power as places like california see its food production drop because of climate change, he said. farmers have not invested in agriculture in the valley because of the flood reserve, he added.
"solar energy is everywhere, and solar energy in this valley is critical," forest said.
"two years ago, i went down to bear flat … and purchased a cauliflower for 50 cents. think of a cauliflower as a sun ball of energy. i went into safeway a couple weeks later and that same cauliflower was $7.
"we need to think about where we're going with this valley," he said.
the hearings continue tonight in fort st. john before heading to vancouver on thursday. hearings wrap up oct. 11 in victoria.
tonight's session starts at 6 p.m. at the pomeroy hotel. registration is closed, but the public will be able to register on a first-come, first-served basis.
the commission's final report to the government is due nov. 1, with the new ndp cabinet expected to make a decision by the end of the fall legislative session on nov. 30.
editor@ahnfsj.ca
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ə ˌmɪnɪˈsoʊtə ˈsɛnɪt stæf ˈmɛmbər faɪld ə kəmˈpleɪnt ˈtuzˌdeɪ əˈlɛʤɪŋ ðət ˌdɛməˈkrætɪk steɪt sɛn. dæn ʃoʊn sɛnt hər ən ˌənɪnˈvaɪtɪd, ˈsɛkʃuəli ɪkˈsplɪsət ˈfoʊˌtoʊ ɪn 2015 ˈɛlən ˈændərsən faɪld hər kəmˈpleɪnt wɪθ ðə ˈjumən ˈrisɔrsɪz dɪˈpɑrtmənt. ˈændərsən toʊld ˌmɪnɪˈsoʊtə ˈpəblɪk ˈreɪdiˌoʊ ðət ʃoʊn juzd sˈnæˌpʧæt, ə ˈmoʊbəl ˈmɛsɪʤɪŋ æp, tɪ sɛnd hər ə ˈmɛsɪʤ ðət ˌɪnˈkludɪd ə ˈfoʊˌtoʊ əv ə ˈʤɛnətəlz. ʃoʊn, əv st*. pɔl pɑrk, wɑz ə haʊs ˈlɛʤəsˌleɪtər ðɛn bət wɑz ɪˈlɛktɪd tɪ ðə ˌmɪnɪˈsoʊtə ˈsɛnɪt ɪn 2016 əˈtərni, pɔl, dɪˈnaɪd ðət hɪz klaɪənt sɛnt ðət kaɪnd əv ˈmɛsɪʤ tɪ ˈændərsən ər ˈɛni ˈəðər ˈwʊmən. sɛd hi ənd ʃoʊn wɪl ðə kəmˈpleɪnt ɛz ɪt comes.”*.” ˈændərsən, hu koʊˈɔrdəˌneɪts ˈdɪʤɪtəl kəmˌjunəˈkeɪʃənz fər ˈsɛnɪt ˈdɛməˌkræts, sɛd rɪˈsivɪŋ ðə ˈfoʊˌtoʊ meɪk hər fil ənˈseɪf æt ðə taɪm. bɪˈkəmɪŋ klɪr ðət ɪt saʊnz laɪk ə pattern,”*,” sɛd ˈændərsən, hu ɪz nɑt ðə ˈfɔrmər st*. pɔl ˈsɛnətər əv ðə seɪm neɪm. mɪˈsteɪk ɪz wən thing,”*,” ˈændərsən sɛd. ˈhɪstəri əv duɪŋ ˈsəmθɪŋ laɪk ðɪs ɪz ˈsəmθɪŋ ˈvɛri different.”*.” ʃoʊn ɪz əˈkjuzd əv ˈhævɪŋ meɪd ənˈwɔntɪd ədˈvænsɪz təˈwɔrd ˈwɪmən ənd ˈgroʊpɪŋ ə ˈwʊmən frəm bɪˈhaɪnd. læst wik, hi toʊld ðə ˈɔnˌlaɪn nuz ˈaʊˌtlɛt ðət ðə ˌæləˈgeɪʃənz wər ˈteɪkən aʊt əv ˈkɑntɛkst ər, ɪn səm ˈkeɪsɪz, ər fɔls. dɪˈspaɪt ˈprɛʃər frəm gəv. mɑrk ˈdeɪtən ənd ˈəðər ˌdɛməˈkrætɪk ˈlidərz, ʃoʊn sɛd hi ˌɪnˈtɛnd tɪ rɪˈzaɪn. ə frɛnd əv ˈændərsən sɛd ʃi wɑz ˈprɛzənt wɪn ðə ˈmɛsɪʤ keɪm θru. ˈlaɪtnər sɛd ʃi wɑz ˈpikɪŋ æt ðə ˈmɛsɪʤɪz ɔn foʊn. ʃi sɛd ʃi æst ˈændərsən hu ʃi wɑz kəmˈjunəˌkeɪtɪŋ wɪθ ənd ʃoʊn wɑz ðə ˈænsər. sɛd, ju ɪkˈspɛktɪŋ ðət? hæd ðət ˈhæpənd before?’*?’ ʃi sɛd, ‘‘nope*, ðət wɑz unexpected.’*.’ ˈlaɪtnər toʊld mpr*. aɪ du rɪˈmɛmbər hər ˈjɛlpɪŋ ɪn ən maɪ gosh’*’ taɪp moment.”*.” ʃoʊn, ə ˈkɑtɪʤ groʊv pəˈlis ˈɔfɪsər, həz bɪn pleɪst ɔn dɛsk ˈduti baɪ ðə ʧif. ˈsɛkʃuəl hərˈæsmənt ˌækjəˈzeɪʃənz wər ˈɔlsoʊ ˈlɛvəld æt ə ˈsɛkənd ˈlɛʤəsˌleɪtər læst wik. rɛpriˈzɛtətɪv. ˈtoʊni ˈkɔrnɪʃ, ə rɪˈpəblɪkən frəm ˈvərnən ˈsɛnər, ɪz əˈkjuzd əv ˈkɑndəkt ðət ˌɪnˈkludz ənˈwɔntɪd ədˈvænsɪz təˈwɔrd ə ˈlɑbiəst. ˈkɔrnɪʃ, hu ɪz ˈsɪŋgəl, həz dɪˈnaɪd ðə moʊst lud ˈkɑndəkt ˈɛvər ˈhæpənd, bət hi ækˈnɑlɪʤd ˈsɛndɪŋ tɛkst ˈmɛsɪʤɪz, seɪɪŋ hi wɑz ˈɪntəˌrɛstɪd ɪn ə riˈleɪʃənˌʃɪp wɪθ ðə ˈlɑbiəst. hi wɑz ˈɔlsoʊ əˈkjuzd əv ˈsɛndɪŋ ən ˌɪnəˈproʊpriɪt tɛkst tɪ rɛpriˈzɛtətɪv. ˈɛrɪn meɪ kweɪd, ə ˈdɛməˌkræt frəm ˈæpəl ˈvæli; ˈkɔrnɪʃ həz sɛd ɪt wɑz ə mɪsɪnˈtərprətɪd əˈtɛmpt æt ˈhjumər. kweɪd həz ˈɔlsoʊ əˈkjuzd ʃoʊn əv hərˈæsɪŋ bɪˈheɪvjər dɪˈrɛktɪd təˈwɔrd hər. rɪˈpəblɪkən haʊs ˈspikər kərt həz səˈspɛndɪd ˈʧɛrmənˌʃɪp əv ðə haʊs ˈpəblɪk ˈseɪfti kəˈmɪti, ənd ˈfɔrmər haʊs ˈspikər kərt ˈzɛlərz, ə rɪˈpəblɪkən, həz kɔld ɔn ˈkɔrnɪʃ tɪ rɪˈzaɪn. həz ˈɔlsoʊ sɛd ðət ən ˈaʊtˈsaɪd fərm wɪl bi haɪərd tɪ ˌɪndɪˈpɛndəntli ˌɪnˈvɛstəˌgeɪt ðə ˌæləˈgeɪʃənz əˈgɛnst ˈkɔrnɪʃ, æt ðə ˌrɛkəmənˈdeɪʃən əv ðə nɑnˈpɑrtəzən ˈjumən ˈrisɔrsɪz stæf. ˈkɔrnɪʃ ɪz ə rɪˈtaɪrd pəˈlis ˈɔfɪsər hu həz sərvd ɪn ðə ˈlɛʤəsˌleɪʧər sɪns 2002 ðə ˌæləˈgeɪʃənz əˈgɛnst ðə tu ˈlɔˌmeɪkərz kəm əˈmɪd ə taɪd əv ˈsɛkʃuəl hərˈæsmənt ənd əˈsɔlt ˌæləˈgeɪʃənz əˈgɛnst ˈpaʊərfəl ˈfɪgjərz ɪn ˈpɑləˌtɪks, ˈmidiə ənd ˌɛnərˈteɪnmənt, ˌɪnˈkludɪŋ ˈmuvi prəˈdusər ˈhɑrvi ˈwaɪnˌstin.
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a minnesota senate staff member filed a complaint tuesday alleging that democratic state sen. dan schoen sent her an uninvited, sexually explicit photo in 2015.
ellen anderson filed her complaint with the senate’s human resources department. anderson told minnesota public radio that schoen used snapchat, a mobile messaging app, to send her a message that included a photo of a man’s genitals.
schoen, of st. paul park, was a house legislator then but was elected to the minnesota senate in 2016.
schoen’s attorney, paul rogosheske, denied that his client sent that kind of message to anderson or any other woman. rogosheske said he and schoen will “address the complaint as it comes.”
anderson, who coordinates digital communications for senate democrats, said receiving the photo didn’t make her feel unsafe at the time.
“now it’s becoming clear that it sounds like that’s a pattern,” said anderson, who is not the former st. paul dfl senator of the same name.
“one mistake is one thing,” anderson said. “a history of doing something like this is something very different.”
schoen is accused of having made unwanted advances toward women and groping a woman from behind. last week, he told the online news outlet minnpost that the allegations were taken out of context or, in some cases, are false.
despite pressure from gov. mark dayton and other democratic leaders, schoen said he doesn’t intend to resign.
a friend of anderson said she was present when the message came through. lyssa leitner said she was peeking at the messages on anderson’s phone. she said she asked anderson who she was communicating with and schoen was the answer.
“i said, ‘were you expecting that? had that happened before?’ she said, ‘nope, that was unexpected.’ ” leitner told mpr. “clearly i do remember her yelping in an ‘oh my gosh’ type moment.”
schoen, a cottage grove police officer, has been placed on desk duty by the department’s chief.
sexual harassment accusations were also leveled at a second legislator last week.
rep. tony cornish, a republican from vernon center, is accused of conduct that includes unwanted advances toward a lobbyist.
cornish, who is single, has denied the most lewd conduct ever happened, but he acknowledged sending text messages, saying he was interested in a relationship with the lobbyist. he was also accused of sending an inappropriate text to rep. erin maye quade, a democrat from apple valley; cornish has said it was a misinterpreted attempt at humor.
quade has also accused schoen of harassing behavior directed toward her.
republican house speaker kurt daudt has suspended cornish’s chairmanship of the house public safety committee, and former house speaker kurt zellers, a republican, has called on cornish to resign. daudt has also said that an outside firm will be hired to independently investigate the allegations against cornish, at the recommendation of the house’s nonpartisan human resources staff.
cornish is a retired police officer who has served in the legislature since 2002.
the allegations against the two lawmakers come amid a tide of sexual harassment and assault allegations against powerful figures in politics, media and entertainment, including movie producer harvey weinstein.
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ɪn ˈʤɛnərəl, ˌkæləˈfɔrnjə həz ˈteɪkən tu əˈproʊʧɪz tɪ ˈbustɪŋ ðə ˈsoʊlər ˈɛnərʤi prəˈdust ɪn ðə steɪt. ðə fərst ɪz lɑrʤ, fəˈsɪlɪtiz, ˈɔfən ˈloʊˌkeɪtəd ɪn ðə steɪts ɪkˈstɛnsɪv ˈdɛzərt ˈɛriəz. ðə ˈsɛkənd ɪz mɔr ˈæˈdhɑk, ɛz ˈkəmpəˌniz ənd ˈpraɪvət ˈsɪtɪzənz ər ˈeɪbəl tɪ ˌɪnˈstɔl ˈpænəlz ɔn ðɛr ˈbɪldɪŋz ənd fəˈsɪlɪtiz ɪf ðeɪ ʧuz tɪ. bət wət ɪf ðə tu əˈproʊʧɪz wər mərʤd, wɪθ ˈmæsɪv dɪˈplɔɪmənt əv ˈsoʊlər ɔn ˈprɪti məʧ ˈɛvəri bɪt əv dɪˈvɛləpt lænd ɪn ðə steɪt? əˈkɔrdɪŋ tɪ ə nu æˈnælɪsɪs, ðə ɛnd rɪˈzəlt wʊd dwɔrf ðə steɪts ɪˌlɛkˈtrɪsəti ˈprɑbəˌbli liv ɪˈnəf tɪ spɛr tɪ ˈhændəl ɪts ˈwɔtər nidz θru diˌseɪlɪˈneɪʃən. ðə ˈɔθərz əv ðə ˈpeɪpər, ɔl beɪst æt ˈstænfərd, noʊt ðət ə bɪt ˈoʊvər eɪt pərˈsɛnt əv ðə ˈgoʊldən steɪt həz ɔˈrɛdi bɪn ˈmɑdəˌfaɪd baɪ ˈjumənz. ðə ˈɔθərz ˈdɛzɪgˌneɪtɪd ðiz ˈɛriəz ɛz "kəmˈpætəbəl" wɪθ ˈsoʊlər dɪˈvɛləpmənt, ˌɔlˈðoʊ ðə æˈnælɪsɪs wɑz ə bɪt mɔr ˈkɑmpləˌkeɪtəd. ˈkɔnsənˌtreɪtɪd ˈsoʊlər paʊər wɑz ɪkˈskludɪd frəm ˈɛriəz ðət ər bɪlt əp, ˈlivɪŋ ðoʊz ˈjuzɪŋ ˈfoʊtoʊvoʊlˈteɪɪks ˈoʊnli. ˈoʊvər ə θərd əv ðə ˈmɑdəˌfaɪd təreɪn ɪz ˈɔlsoʊ ˈərbən ˈoʊpən speɪs, wɪʧ kʊd səˈpɔrt ˈkɑnsənˌtreɪtɪŋ ˈsoʊlər bət kənˈsɪsts praɪˈmɛrəli əv ə ˌkɑmbəˈneɪʃən əv pɑrks, ˈpraɪvət jɑrdz, ənd gɔlf ˈkɔrsɪz. wər ɪt nɑt lɛft ˈoʊpən, ðə ˈoʊpən speɪs kʊd ˈʤɛnərˌeɪt əˈbaʊt ˈænjuəli. bɪld ˈɛriəz kʊd æd əˈnəðər waɪl ˈhɛvəli dɪˈvɛləpt ˈriʤənz wʊd æd əˈnəðər ˈkɔnsənˌtreɪtɪd ˈsoʊlər wʊd prəˈvaɪd loʊər ˈtoʊtəl ˈnəmbərz, bət ðeɪ hæv ðə ædˈvæntɪʤ əv ˈʤɛnərˌeɪtɪŋ paʊər θru ðə ˈivnɪŋ dɪˈmænd sərʤ ðət əˈkərz ɛz ˈpipəl rɪˈtərn hoʊm frəm wərk. əv kɔrs, ˈpipəl maɪt bɔk æt ðə aɪˈdiə əv siɪŋ ˈɛvəri bɪt əv ˈoʊpən speɪs ɪn ðɛr ˈneɪbərˌhʊdz ˈkəvərd ɪn ˈpænəlz. soʊ ðə ˈɔθərz ˈænəˌlaɪzd ðə rɛst əv ðə steɪt, praɪˈɔrəˌtaɪzɪŋ 10 ˈkɔrɪdərz nɪr roʊdz, əˈlɔŋ wɪθ 10 sərˈaʊndɪŋ trænzˈmɪʃən laɪnz ənd ɪkˈskludɪŋ ˈɛni prəˈtɛktɪd ˈɛriəz. ðiz ˈɛriəz ˈædɪd əˈnəðər əv ˌfoʊtəˌvoʊlˈteɪɪk kəˈpæsɪti. waɪl ðoʊz ˈnəmbərz ər nɑt goʊɪŋ tɪ ˈkəvər ɔl əv ˈɛvəri ˈərbən ˈɛriə wɪθ ˈsɪŋgəl ˈnəmbər pʊts ðɛm ɔl ɪn ˈkɑntɛkst: ˌkælɪˈfɔrnjəz ɪˌlɛkˈtrɪsəti kənˈsəmʃən ɪn 2012 wɑz ə ˈmigər. ðəs, ˈivɪn ˈlɪmətɪŋ ˌɪnstəˈleɪʃənz tɪ ˈhɛvəli dɪˈvɛləpt ˈɛriəz wʊd rɪˈzəlt ɪn ə kəˈpæsɪti ðət wʊd ˈizəli sərˈpæs ðə ɪnˈtaɪər steɪts dɪˈmænd ənd əˈlaʊ ðə steɪt riʧ ɪts goʊl əv ˈhævɪŋ ə 33 pərˈsɛnt riˈnuəbəl grɪd baɪ 2020 ˈivɪn ˈædɪŋ ə smɔl ˈfrækʃən əv ðə bɪld ˈɛriə wʊd ˈizəli əˈlaʊ ðə steɪt tɪ səˈplaɪ ɔl əv ɪts paʊər ˈviə ˈsoʊlər, ˈivɪn wɪn kəˈpæsɪti ˈfæktər ɪz kənˈsɪdərd. ðət ˈdəzənt min ðə steɪt kʊd ˈæˌkʧuəli goʊ kəmˈplitli ˈsoʊlər. ˈstɔrɪʤ fər ˈɛkˌsɛs ɪˌlɛkˈtrɪsəti, ˈəðər ðən pəmpt ˈhaɪˌdroʊ, ˈɪzənt əˈspɛʃəli ˌɛkəˈnɑmɪkəl, ənd ˌkæləˈfɔrnjə ɪz ˈnoʊtəbli ˈlækɪŋ ɪn ˈhaɪˌdroʊ əˌveɪləˈbɪlɪti. ˈsoʊlər kʊd, ˌhaʊˈɛvər, ˈklɪrli əˈlaʊ ɪt tɪ ʃɪft ə lɔt əv ɪts ˌʤɛnərˈeɪʃən tɪ renewables*. ənd ɪts ˈɔlˌweɪz ˈpɑsəbəl ðət ə ˈklɛvər juz fər ˈɛkˌsɛs ˌɪˈlɛktrɑnz wɪl bɪˈkəm əˈpɛrənt wəns ðə ˌɪˈlɛktrɑnz ər ˈæˌkʧuəli əˈveɪləbəl. ˈneɪʧər ˈklaɪmɪt ʧeɪnʤ, 2015 dɔɪ: (əˈbaʊt dois*).
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in general, california has taken two approaches to boosting the solar energy produced in the state. the first is large, utility-scale facilities, often located in the state's extensive desert areas. the second is more ad-hoc, as companies and private citizens are able to install panels on their buildings and facilities if they choose to. but what if the two approaches were merged, with massive deployment of solar on pretty much every bit of developed land in the state? according to a new analysis, the end result would dwarf the state's electricity needs—and probably leave enough to spare to handle its water needs through desalination.
the authors of the paper, all based at stanford, note that a bit over eight percent of the golden state has already been modified by humans. the authors designated these areas as "compatible" with solar development, although the analysis was a bit more complicated. concentrated solar power was excluded from areas that are built up, leaving those using photovoltaics only. over a third of the modified terrain is also urban open space, which could support concentrating solar but consists primarily of a combination of parks, private yards, and golf courses.
were it not left open, the open space could generate about 26,000 terawatt-hours annually. low-intensity build areas could add another 14,000, while heavily developed regions would add another 3,000. concentrated solar would provide lower total numbers, but they have the advantage of generating power through the evening demand surge that occurs as people return home from work.
of course, people might balk at the idea of seeing every bit of open space in their neighborhoods covered in panels. so the authors analyzed the rest of the state, prioritizing 10 km-wide corridors near roads, along with 10 km surrounding high-voltage transmission lines and excluding any protected areas. these areas added another 175,000 tw-hr of photovoltaic capacity.
while those numbers are unrealistic—we're not going to cover all of every urban area with panels—a single number puts them all in context: california's electricity consumption in 2012 was a meager 2,231 tw-hr. thus, even limiting installations to heavily developed areas would result in a capacity that would easily surpass the entire state's demand and allow the state reach its goal of having a 33 percent renewable grid by 2020. even adding a small fraction of the low-intensity build area would easily allow the state to supply all of its power via solar, even when solar's capacity factor is considered.
that doesn't mean the state could actually go completely solar. storage for excess electricity, other than pumped hydro, isn't especially economical, and california is notably lacking in hydro availability. solar could, however, clearly allow it to shift a lot of its generation to renewables. and it's always possible that a clever use for excess electrons will become apparent once the electrons are actually available.
nature climate change, 2015. doi: 10.1038/nclimate2556 (about dois).
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naʊ ðət ðə ˈjuˈɛs ɪz səbˈstænʃəli rɪˈdusɪŋ ɪts ˈmɪlɪˌtɛri ˈspɛndɪŋ ənd wɪθˈdrɔɪŋ frəm ˈprɛzənt wɔrz, ɪts fˈjuʧər ˌɪnˈtɛnʧənz, ənd ðoʊz ˈpleɪsɪz ɪt wɪl sik tɪ kənˈtroʊl, ər bɪˈkəmɪŋ klɪr. ðə moʊst ˌɪmˈpɔrtənt wɪl bi ðə pəˈsɪfɪk ənd ðə saʊθ ˈʧaɪnə si ˈneɪʃən ɪz æt ə ˈmoʊmənt əv transition,”*,” sɛd ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə ɔn 5 ˈʤænjuˌɛri wɪn hi ənˈveɪld ə nu ˈnæʃənəl dɪˈfɛns ˈstrætəʤi. ðɪs minz ðə saɪz əv ðə ˈjuˈɛs ˈmɪlɪˌtɛri wɪl bi rɪˈdust ənd səm ˈkɑmbæt ˈmɪʃənz kərˈteɪld, ˈnoʊtəbli graʊnd ˈkɑmbæt ɪn ˈjʊrəp ənd ˌkaʊnərɪnˈsərʤənsi ɪn ˌsaʊθˈwɛst ˈeɪʒə. ðə eɪm ɪz tɪ ˈfoʊkɪs mɔr ɔn ˈəðər pɑrts əv ðə wərld, əˈspɛʃəli ˌsaʊˈθist ˈeɪʒə ənd ðə pəˈsɪfɪk, ənd ɔn ˈəðər əˈbʤɛktɪvz: ˈsaɪbər ˈwɔrˌfɛr, ˈspɛʃəl ˌɑpərˈeɪʃənz ənd si kənˈtroʊl. ˈjuˈɛs ʤɔɪnt fɔrs wɪl bi sˈmɔlər, ənd ɪt wɪl bi leaner,”*,” sɛd dɪˈfɛns ˈsɛkrəˌtɛri liɑn i pəˈnɛtə. wɪl bi mɔr ˈæʤəl, mɔr ˈflɛksəbəl, ˈrɛdi tɪ dɪˈplɔɪ kˈwɪkli, ˈɪnəˌveɪtɪv, ənd ˌtɛknəˈlɑʤɪkəli advanced”*” 1 əˈkɔrdɪŋ tɪ ˌoʊˈbɑmə ənd pəˈnɛtə, ðə ˈstrætəʤi rɪˈflɛkts ˈɔltərd ˈsərkəmˌstænsɪz æt hoʊm ənd əˈbrɔd. ðə ˈjuˈɛs, ˈwikənd baɪ ðə ˌɛkəˈnɑmɪk ˈkraɪsəs, həz ə bəˈlunɪŋ ˈnæʃənəl dɛt. ðə dɪˈpɑrtmənt əv dɪˈfɛns məst meɪk ˈspɛndɪŋ kəts əv ˈoʊvər ðə nɛkst 10 jɪrz tɪ kəmˈplaɪ wɪθ ðə 2011 ˈbəʤɪt kənˈtroʊl ækt; ənd mɔr kəts ər ˈpɑsəbəl ɪf ˈkɑŋgrəs feɪlz tɪ riʧ əˈgrimənt ɔn əˈdɪʃənəl ˈmɛʒərz ɪn ðə mənθs əˈhɛd. əˈbrɔd, ˈmɪlɪˌtɛri ˈprɛʃərz ər nɑt ˈdiˌkrisɪŋ dɪˈspaɪt ðə wɪθˈdrɔəl frəm ˌɪˈrɑk, ənd əˈvɛnʧuəl ɪˈskeɪp frəm æfˈgænəˌstæn: ðə ˈjuˈɛs ˈfeɪsɪz nu θrɛts əv pəˈtɛnʃəl ˈkɑnflɪkt, fər ˈɪnstəns wɪθ ˌɪˈrɑn (si ˌɪˈrɑniən ˈɔpʃənz) ənd nɔrθ ˌkɔˈriə, pləs ðə groʊɪŋ ˈspɛktər əv ə ˈraɪzɪŋ ˈʧaɪnə. æt fərst glæns ðə nu dɪˈfɛns ˈpɑləsi kən bi sin ɛz ə prægˈmætɪk rɪˈspɑns tɪ ˈɔltərd ˈfɪskəl ənd ˌʤioʊpəˈlɪtɪkəl kənˈdɪʃənz, eɪmd æt prəˈvaɪdɪŋ ə sˈmɔlər fɔrs wɪθ ˈgreɪtər kəˈpæsɪti tɪ kənˈfrənt fˈjuʧər ˈdeɪnʤərz. ɔn ˈkloʊzər ˌɪnˈspɛkʃən, wən kən dɪˈsərn ə ˈlɑrʤər strəˈtiʤɪk ˌɪnˈtɛnt. feɪst wɪθ ðə ˌɪˈnɛvətəbəl ɪˈroʊʒən əv ɪts ˈstætəs ɛz soʊl ˌsupərˈpaʊər ənd ðə raɪz əv æmˈbɪʃəs ˈraɪvəlz ɪn ˈeɪʒə, ðə ˈjuˈɛs siks tɪ pərˈpɛʧəˌweɪt ɪts ˈgloʊbəl ˈpraɪməsi baɪ meɪnˈteɪnɪŋ ˌsupɪriˈɔrɪti ɪn ki ˈɛriəz əv ðə wərld ənd ˈkrɪtɪkəl fɔrmz əv ˈkɑmbæt. ɪn ˌpɑˈtɪkjələr, ɪt wɪl eɪm tɪ ˈdɑməˌneɪt ðə ˈmærəˌtaɪm ɛʤ əv ˈeɪʒə, ɪn ən ɑrk frəm ðə ˈpərʒən gəlf ənd ˈɪndiən ˈoʊʃən tɪ ðə saʊθ ˈʧaɪnə si ənd ˌnɔrθˈwɛst pəˈsɪfɪk. ðɪs wɪl ˌrikˈwaɪər ðə ˌprɛzərˈveɪʃən əv ˈjuˈɛs ˌsupɪriˈɔrɪti ɪn ɛr ənd ˈneɪvəl ˈwɔrˌfɛr, ənd kənˈtɪnjud ˈdɑmənəns ɪn cyber-warfare*, speɪs tɛkˈnɑləʤi ənd ˈəðər fildz. wɪl rɪˈmeɪn ən ˌɪmˈpɔrtənt ˈpɛnɪˌgɑn ˈfəŋkʃən, bət wɪl bi ˈlɑrʤli ˈdɛləˌgeɪtəd tɪ ˈhaɪli treɪnd ˈspɛʃəl ˈfɔrsɪz ɪkˈwɪpt wɪθ ˈkɪlər droʊnz ənd ˈəðər ˌhaɪˈtɛk ˌpɛrəfəˈneɪljə. ˈmænəʤɪŋ ðə kənˈtrækʃən əv ˈoʊvərˈsiz ˈɪntərɪsts ənd kəˈmɪtmənts ər, ɛz səm wʊd hæv ɪt, ˈmænəʤɪŋ ðə dɪˈklaɪn əv ˈɛmpaɪər ɪz ˈnɛvər ˈizi. ˈəðər greɪt paʊərz ðət hæv hæd tɪ ˈəndərˌteɪk səʧ ˈbrɪtən ənd fræns ˈæftər ðə ˈsɛkənd wərld wɔr, ˈrəʃə ˈæftər ðə kəˈlæps əv ðə ˈsoʊviˌɛt ˈjunjən hæv faʊnd ɪt ɪkˈsidɪŋli ˈdɪfəkəlt. ˈɔfən ðeɪ hæv ɛmˈbɑrkt ɔn ˈmɪlɪˌtɛri ædˈvɛnʧərz, səʧ ɛz ðə 1956 ˌɪnˈveɪʒən əv ˈiʤɪpt (ˈsuɛz) ənd ðə 1979 ˈsoʊviˌɛt ˌɪnˈveɪʒən əv æfˈgænəˌstæn ˈækʃənz ðət ˈheɪsənd ðə kəˈlæps əv ˈɛmpaɪər, ˈrəðər ðən dɪˈleɪɪŋ ɪt. wɪn ðə ˈjuˈɛs ˌɪnˈveɪdɪd ˌɪˈrɑk ɪn 2003 ɪt wɑz æt ðə pik əv ɪts paʊər; bət ðə ˈɛnsuɪŋ ˌɪnˈsərʤənsi ˈlæstɪd soʊ lɔŋ ənd kɔst soʊ məʧ ən ˈɛstəˌmeɪtɪd 3 ˈtrɪljən ðət ðə ˈjuˈɛs həz lɔst ðə wɪl (ənd məʧ əv ɪts kəˈpæsɪti) tɪ faɪt ˈɛni nu proʊˈtræktɪd graʊnd wɔrz ɪn ˈeɪʒə. frəm hir ɔn, ɪt ɪz ˈhaɪli ənˈlaɪkli ðət ˌoʊˈbɑmə ər ˈɛni ˈəðər əˈmɛrɪkən ˈprɛzɪdənt, ˈdɛməˌkræt ər rɪˈpəblɪkən, wʊd ə ˈmeɪʤər ˌɑpərˈeɪʃən ˈeɪkɪn tɪ ðə ˌɪntərˈvɛnʃənz ɪn ˌɪˈrɑk ənd æfˈgænəˌstæn 2 ˌoʊˈbɑmə ənd hɪz tɔp ædˈvaɪzərz, əv ðɪs ˈhɪstəri, ər dɪˈtərmənd tɪ əˈvɔɪd ðə strəˈtiʤɪk mɪˈsteɪks əv ˈərliər ˈlidərz. bət ɪf ðeɪ ˈrɛkəgˌnaɪz ðə ˈfɑli əv əˈtɛmptɪŋ tɪ klɪŋ tɪ ɔl ˈoʊvərˈsiz kəˈmɪtmənts, noʊɪŋ ɪt wʊd ˈbæŋkrəpt ðə ˈneɪʃən, ðeɪ hæv noʊ ˌɪnˈtɛnʧən əv prɪˈzaɪdɪŋ ˈoʊvər ə ˈræpɪd kənˈtrækʃən əv ˈfɔrən ˈɪntərɪsts, siɪŋ ðɪs ɛz ˈrɛsəpi fər ˈgreɪtər keɪɑs ənd dɪˈklaɪn. ˌɪnˈstɛd, ðeɪ ər ˈsikɪŋ ə ˈmɪdəl weɪ, ˈʧuzɪŋ tɪ rɪˈdus ˈjuˈɛs kəˈmɪtmənts ɪn səm ˈɛriəz ˈjʊrəp, ɪn ˌpɑˈtɪkjələr waɪl ˈboʊlstərɪŋ ðə kəˈpæsɪti tɪ prɪˈveɪl ɪn ˈɛriəz dimd moʊst ˌɪmˈpɔrtənt fər kənˈtɪnjud ˈgloʊbəl səˈprɛməsi. kənˈteɪnɪŋ ˈʧaɪnə ðɪs minz ˈdɑməˌneɪtɪŋ ðə ˈwɛstərn pəˈsɪfɪk ənd kənˈteɪnɪŋ ʧaɪˈniz paʊər. ˈmɛni rɪˈspɛkts, ðə ˈbrɔdər pəˈsɪfɪk wɪl bi ðə moʊst daɪˈnæmɪk ənd sɪgˈnɪfɪkənt pɑrt əv ðə wərld fər əˈmɛrɪkən ˈɪntərɪsts fər ˈmɛni ˈdɛkeɪdz tɪ come,”*,” sɛd ˈdɛpjəti ˈsɛkrəˌtɛri əv steɪt ˈwɪljəm ʤeɪ bərnz læst noʊˈvɛmbər. ɔˈrɛdi ˌɪnˈkludz mɔr ðən hæf əv ðə ˌpɑpjəˈleɪʃən, ˈmɛni əv ɪts moʊst ˌɪmˈpɔrtənt ɪˈkɑnəmiz, ki ˈælaɪz, ənd ˈimərʤɪŋ powers.”*.” fər əˈmɛrɪkə tɪ rɪˈmeɪn strɔŋ ənd ˈprɑspərəs, bərnz ˈɪndəˌkeɪtɪd, ɪt məst ˈkɑnsənˌtreɪt ɪts ˈɛnərʤiz ɪn ðɪs ˈɛriə ənd ɪnˈʃʊr ðət ˈʧaɪnə dɪz nɑt geɪn paʊər ənd ˈɪnfluəns tɪ ˌdɪsədˈvænɪʤ. ˈeɪʒə ˈəndərˌgoʊz proʊˈfaʊnd ˈʧeɪnʤɪz, wi nid tɪ dɪˈvɛləp ðə ˌdɪpləˈmætɪk, ˌɛkəˈnɑmɪk, ənd sɪˈkjʊrəti ˈɑrkəˌtɛkʧər ðət kən kip pace”*” 3 ðɪs nu ““architecture”*” həz ˈmɛni dɪˈmɛnʃənz, ˈmɪlɪˌtɛri ənd nɑt. ɔn ðə ˌdɪpləˈmætɪk frənt, ˈwɔʃɪŋtən həz ˈboʊlstərd ɪts taɪz wɪθ ˌɪndoʊˈniʒə, ðə ˈfɪləˌpinz ənd viˌɛtˈnɑm, ənd ˌriɪnˈsteɪtɪd ˈfɔrməl riˈleɪʃənz wɪθ ˈbərmə. ðə waɪt haʊs ɪz ˈɔlsoʊ ˈsikɪŋ tɪ ˌɪnˈvɪgərɪt ˈjuˈɛs treɪd wɪθ ˈeɪʒə, ənd ˈpʊʃɪŋ fər ðə ɪˈstæblɪʃmənt əv ə ˈriʤənəl treɪd pækt, ðə ˈpɑrtnərˌʃɪp (tpp*). ðɪs ɪz ˌɪmˈplɪsətli eɪmd æt ˈkaʊnərɪŋ ðə raɪz əv ˈʧaɪnə ənd ɪts ˈɪnfluəns ɪn ˌsaʊˈθist ˈeɪʒə. baɪ ˌriɪnˈsteɪtɪŋ taɪz wɪθ ˈbərmə, fər ɪgˈzæmpəl, ðə ˈjuˈɛs geɪnz ə vɔɪs ɪn ə ˈkəntri wɛr ˈʧaɪnə, ənˈtɪl ˈrisəntli, hæd fju kəmˈpɛtɪtərz; ðə prəˈpoʊzd wʊd ɪkˈsklud ˈʧaɪnə ɔn ˈtɛknɪkəl graʊnz. əˈlɔŋˈsaɪd ðiz ˌɛkəˈnɑmɪk ənd ˌdɪpləˈmætɪk muvz ər sɪgˈnɪfɪkənt ˈmɪlɪˌtɛri ˌɪˈnɪʃətɪvz. fər ˈeɪʒən steɪts tɪ groʊ ənd ˈprɑspər, əˈmɛrɪkən ˈstrætɪʤɪsts bɪˈliv, ðeɪ məst ˌɛnˈʤɔɪ ənˈhɪndərd ˈækˌsɛs tɪ ðə pəˈsɪfɪk ənd ˈɪndiən ˈoʊʃənz (əˈlɔŋ wɪθ kəˈnɛktɪŋ ˈwɔtərˌweɪz səʧ ɛz ðə streɪts əv məˈlækə ənd ðə saʊθ ˈʧaɪnə si) ɪn ˈɔrdər tɪ ˌɪmˈpɔrt ɛˈsɛnʃəl rɑ məˈtɪriəlz (əˈspɛʃəli ɔɪl) ənd ˈɛkspɔrt ˌmænjəˈfækʧərd gʊdz. ɛz bərnz ɪkˈspleɪnd ɪn noʊˈvɛmbər, raɪz həz bɪn soʊ drəˈmætɪk ðət ɪt ɪz nɑt ʤɪst ˈriˈmeɪkɪŋ ˈsɪtiz ənd ɪˈkɑnəmiz ɪt ɪz riˈdrɔɪŋ ðə mæp. tɪ gɪv wən ɪgˈzæmpəl, hæf ðə ˈmərʧənt ˈtənɪʤ naʊ ˈpæsɪz θru ðə saʊθ ˈʧaɪnə sea.”*.” baɪ ɪˈstæblɪʃɪŋ ˈneɪvəl ˈdɑmənəns ɪn ðə saʊθ ˈʧaɪnə si ənd əˈʤeɪsənt ˈwɔtərˌweɪz, ðə ˈjuˈɛs kʊd ˈɛksərˌsaɪz ə fɔrm əv ˈleɪtənt koʊəˈrsɪv paʊər ˈoʊvər ˈʧaɪnə ənd ðə ˈəðər steɪts ɪn ðə ˈriʤən, məʧ ɛz ðə ˈbrɪtɪʃ ˈneɪvi wəns dɪd. əˈmɛrɪkən ˈneɪvəl ˈstrætɪʤɪsts hæv lɔŋ bɪn ˈɑrgjuɪŋ fər səʧ ə stæns, ˈkleɪmɪŋ ðət ˈsɪŋgjələr ædˈvæntɪʤ laɪz ɪn ɪts əˈbɪləˌti tɪ kənˈtroʊl ðə ˈmeɪʤər ən ædˈvæntɪʤ ˌɛnˈʤɔɪd baɪ noʊ ˈəðər paʊər. ɪt naʊ əˈpɪrz ɛz ɪf ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən həz ɛmˈbreɪst ðɪs ˈaʊˌtlʊk 4 ðɪs wɑz ˈklɪrli ˌɪmˈplaɪd ɪn ðə muvz ˌoʊˈbɑmə əˈnaʊnst ˈdʊrɪŋ hɪz ˈvɪzɪt tɪ ðə ˈriʤən ɪn noʊˈvɛmbər. ɪn spaɪt əv ˈbəʤɪt kəts, hi sɛd ɪn ˌkænˈbɛrə: wɪl ˈæləˌkeɪt ðə ˈrisɔrsɪz ˈnɛsəˌsɛri tɪ meɪnˈteɪn ɑr strɔŋ ˈmɪlɪˌtɛri ˈprɛzəns ɪn ðɪs region”*” ənd wɪl bi ɑr ˈprɛzəns ɪn ˌsaʊˈθist asia.”*.” ðɪs wɪl ˌɪnˈvɑlv mɔr ˈfrikˌwɛnt dɪˈplɔɪmənts baɪ ˈjuˈɛs ˈwɔrˌʃɪps ənd ˈmɪlɪˌtɛri ˈɛksərˌsaɪzɪz ɪn ðə ˈriʤən. ɪn əˈdɪʃən, ˌoʊˈbɑmə əˈnaʊnst ðə ɪˈstæblɪʃmənt əv ə nu ˈjuˈɛs ˈmɪlɪˌtɛri beɪs æt ˈdɑrwɪn, ɔn nɔrθ koʊst, ənd ˌɪnˈkrist ˈmɪlɪˌtɛri eɪd tɪ ˌɪndoʊˈniʒə 5 ˈprɛzəns ənd dɪˈtərəns ˌɪmpləmɛnˈteɪʃən əv ðɪs grænd ˌʤioʊpəˈlɪtɪkəl ˈvɪʒən həz ˈɑbviəs ˌɪmpləˈkeɪʃənz fər ðə dɪˈvɛləpmənt əv ˈmɪlɪˌtɛri ˈpɑləsi, ənd ðɪs ɪz ˈklɪrli rɪˈflɛktɪd ɪn ðə strəˈtiʤɪk ˈpɑləsi ənˈveɪld baɪ ˌoʊˈbɑmə ənd pəˈnɛtə ɪn ˈʤænjuˌɛri. aɪ meɪd klɪr ɪn australia,”*,” ˌoʊˈbɑmə sɛd, wɪl bi ˈstrɛŋθənɪŋ ɑr ˈprɛzəns ɪn ðə [ˈriʤən], ənd ˈbəʤɪt riˈstrɪkʃənz wɪl nɑt kəm æt ðə ɪkˈspɛns əv ðət ˈkrɪtɪkəl region.”*.” pəˈnɛtə ˈædɪd: ˈjuˈɛs ˈmɪlɪˌtɛri wɪl ˌɪnˈkris ɪts ˌɪnstɪˈtuʃənəl weɪt ənd ˈfoʊkɪs ɔn ɛnˈhænst ˈprɛzəns, paʊər prɑˈʤɛkʃən, ənd dɪˈtərəns ɪn ðə asia-pacific”*” 6 ˌɔlˈðoʊ ðə ˈpɑləsi ˈdɑkjəmɛnt ˌɪtˈsɛlf dɪz nɑt aɪˈdɛntəˌfaɪ wɪʧ spɪˈsɪfɪk ˈmɪlɪˌtɛri kəmˈpoʊnənts wɪl bi favoured*, ɪt ɪz klɪr ðət ˈɛmfəsɪs wɪl bi pleɪst ɔn ˈneɪvəl ˈfɔrsɪz əˈspɛʃəli ˈɛrˌkræft ˈkɛriər ˈbætəl grups ɛz wɛl ɛz ədˈvænst ˈɛrˌkræft ənd ˈmɪsəlz. ðəs, waɪl ðə ˈjuˈɛs ˈɑrmi wɪl si ə rɪˈdəkʃən ɪn ɪts ˈtoʊtəl strɛŋθ frəm əˈprɑksəmətli trups təˈdeɪ tɪ ɪn 10 years’*’ taɪm, ˌoʊˈbɑmə həz ˈviˌtoʊd plænz fər ˈɛni rɪˈdəkʃən ɪn ðə ˈkɛriər flit. ˈɔlsoʊ, ðə ˈjuˈɛs wɪl ˌɪnˈvɛst səbˈstænʃəli ɪn ˈwɛpənz eɪmd æt dɪˈfitɪŋ pəˈtɛnʃəl adversaries’*’ denial”*” (noʊn ɛz) ˌkeɪpəˈbɪlətiz ðə pleɪnz, ˈmɪsəlz, ənd ʃɪps dɪˈzaɪnd tɪ ˌoʊvərˈpaʊər ˈjuˈɛs əˈtæk ˈfɔrsɪz (əˈspɛʃəli ˈɛrˌkræft ˈkɛriərz) ɪn kənˈtɛstəd ˈɛriəz. bɪˈkəz ˈʧaɪnə ɪz ɪkˈspɛktɪd tɪ ɛnˈhæns ɪts kəˈpæsɪti tɪ straɪk əˈmɛrɪkən ˈneɪvəl ˈfɔrsɪz ˈɔpərˌeɪtɪŋ ɪn ðə saʊθ ˈʧaɪnə si ənd ˈəðər ˈɛriəz ɔn ɪts pərˈɪfəri, ˈjuˈɛs ˈfɔrsɪz wɪl bi ɪkˈwɪpt wɪθ ˈgreɪtər əˈgɛnst ðiz ˈsoʊˈkɔld ˌkeɪpəˈbɪlətiz. ɛz ðə nu ˈpɛnɪˌgɑn ˈbluˌprɪnt pʊts ɪt: ˈɔrdər tɪ ˈkrɛdəbli dɪˈtər pəˈtɛnʃəl ˈædvərˌsɛriz ənd tɪ prɪˈvɛnt ðɛm frəm əˈʧivɪŋ ðɛr əˈbʤɛktɪvz, ðə juˈnaɪtɪd steɪts məst meɪnˈteɪn ɪts əˈbɪləˌti tɪ ˈprɑʤɛkt paʊər ɪn ˈɛriəz ɪn wɪʧ ɑr ˈækˌsɛs ənd ˈfridəm tɪ ˈɔpərˌeɪt ər challenged”*” ə klɪr ˈrɛfərəns tɪ ðə ist ənd saʊθ ˈʧaɪnə siz, ɛz wɛl ɛz ˈwɔtərz ɔf ˌɪˈrɑn ənd nɔrθ ˌkɔˈriə. ɪn ðiz ˈɛriəz, ɪt ɪz kleɪmd, pəˈtɛnʃəl ˈædvərˌsɛriz ɛz china”*” wɪl juz means”*” ˈsəbmərˌinz, ˈmɪsəlz, ˈsaɪbər ˈwɔrˌfɛr tɪ dɪˈfit ər ˈjuˈɛs ˈfɔrsɪz. əˈkɔrdɪŋli, ˈjuˈɛs ˈmɪlɪˌtɛri wɪl ˌɪnˈvɛst ɛz rikˈwaɪərd tɪ ɪnˈʃʊr ɪts əˈbɪləˌti tɪ ˈɔpərˌeɪt ɪn ənd ˈɛriə dɪˈnaɪəl (a2/ad*) environments”*” 7 ðɪs minz ðət ðə ˈjuˈɛs wɪl pleɪs tɔp praɪˈɔrəti ɔn ˈdɑməˌneɪtɪŋ ðə ˈmærəˌtaɪm pərˈɪfəri əv ˈeɪʒə, ˈivɪn ɪn ðə feɪs əv ˌɑpəˈzɪʃən frəm ˈʧaɪnə ənd ˈəðər ˈraɪzɪŋ paʊərz.
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now that the us is substantially reducing its military spending and withdrawing from present wars, its future intentions, and those places it will seek to control, are becoming clear. the most important will be the pacific and the south china sea
“our nation is at a moment of transition,” said president barack obama on 5 january when he unveiled a new national defence strategy. this means the size of the us military will be reduced and some combat missions curtailed, notably mechanised ground combat in europe and counterinsurgency in southwest asia. the aim is to focus more on other parts of the world, especially southeast asia and the pacific, and on other objectives: cyber warfare, special operations and sea control. “the us joint force will be smaller, and it will be leaner,” said defence secretary leon e panetta. “but…it will be more agile, more flexible, ready to deploy quickly, innovative, and technologically advanced” (1).
according to obama and panetta, the strategy reflects altered circumstances at home and abroad. the us, weakened by the economic crisis, has a ballooning national debt. the department of defence must make spending cuts of $487bn over the next 10 years to comply with the 2011 budget control act; and more cuts are possible if congress fails to reach agreement on additional budget-saving measures in the months ahead. abroad, military pressures are not decreasing despite the withdrawal from iraq, and eventual escape from afghanistan: the us faces new threats of potential conflict, for instance with iran (see iranian options) and north korea, plus the growing spectre of a rising china.
at first glance the new defence policy can be seen as a pragmatic response to altered fiscal and geopolitical conditions, aimed at providing a smaller force with greater capacity to confront future dangers. on closer inspection, one can discern a larger strategic intent. faced with the inevitable erosion of its status as sole superpower and the rise of ambitious rivals in asia, the us seeks to perpetuate its global primacy by maintaining superiority in key areas of the world and critical forms of combat. in particular, it will aim to dominate the maritime edge of asia, in an arc from the persian gulf and indian ocean to the south china sea and northwest pacific. this will require the preservation of us superiority in air and naval warfare, and continued dominance in cyber-warfare, space technology and other specialised fields. counter-terrorism will remain an important pentagon function, but will be largely delegated to highly trained special forces equipped with killer drones and other high-tech paraphernalia.
managing the contraction of overseas interests and commitments — or, as some would have it, managing the decline of empire — is never easy. other great powers that have had to undertake such endeavours — britain and france after the second world war, russia after the collapse of the soviet union — have found it exceedingly difficult. often they have embarked on ill-advised military adventures, such as the 1956 anglo-french invasion of egypt (suez) and the 1979 soviet invasion of afghanistan — actions that hastened the collapse of empire, rather than delaying it. when the us invaded iraq in 2003, it was at the peak of its power; but the ensuing insurgency lasted so long and cost so much — an estimated $3 trillion — that the us has lost the will (and much of its capacity) to fight any new protracted ground wars in asia. from here on, it is highly unlikely that obama or any other american president, democrat or republican, would authorise a major operation akin to the interventions in iraq and afghanistan (2).
obama and his top advisers, cognisant of this history, are determined to avoid the strategic mistakes of earlier leaders. but if they recognise the folly of attempting to cling to all overseas commitments, knowing it would bankrupt the nation, they have no intention of presiding over a rapid contraction of foreign interests, seeing this as recipe for greater chaos and decline. instead, they are seeking a middle way, choosing to reduce us commitments in some areas — europe, in particular — while bolstering the nation’s capacity to prevail in areas deemed most important for america’s continued global supremacy.
containing china
this means dominating the western pacific and containing chinese power. “in many respects, the broader pacific will be the most dynamic and significant part of the world for american interests for many decades to come,” said deputy secretary of state william j burns last november. “it already includes more than half of the world’s population, many of its most important economies, key allies, and emerging powers.” for america to remain strong and prosperous, burns indicated, it must concentrate its energies in this area and ensure that china does not gain power and influence to america’s disadvantage. “as asia undergoes profound changes, we need to develop the diplomatic, economic, and security architecture that can keep pace” (3).
this new “architecture” has many dimensions, military and not. on the diplomatic front, washington has bolstered its ties with indonesia, the philippines and vietnam, and reinstated formal relations with burma. the white house is also seeking to invigorate us trade with asia, and pushing for the establishment of a regional trade pact, the trans-pacific partnership (tpp). this is implicitly aimed at countering the rise of china and its influence in southeast asia. by reinstating ties with burma, for example, the us gains a voice in a country where china, until recently, had few competitors; the proposed tpp would exclude china on technical grounds.
alongside these economic and diplomatic moves are significant military initiatives. for asian states to grow and prosper, american strategists believe, they must enjoy unhindered access to the pacific and indian oceans (along with connecting waterways such as the straits of malacca and the south china sea) in order to import essential raw materials (especially oil) and export manufactured goods. as burns explained in november, “asia’s rise has been so dramatic that it is not just remaking asia’s cities and economies — it is redrawing the geostrategic map. to give one example, half the world’s merchant tonnage now passes through the south china sea.”
by establishing naval dominance in the south china sea and adjacent waterways, the us could exercise a form of latent coercive power over china and the other states in the region, much as the british navy once did. american naval strategists have long been arguing for such a stance, claiming that america’s singular advantage lies in its ability to control the world’s major sea-lanes — an advantage enjoyed by no other power. it now appears as if the obama administration has embraced this outlook (4). this was clearly implied in the moves obama announced during his visit to the region in november. in spite of budget cuts, he said in canberra: “we will allocate the resources necessary to maintain our strong military presence in this region” and will be “enhancing our presence in southeast asia.” this will involve more frequent deployments by us warships and military exercises in the region. in addition, obama announced the establishment of a new us military base at darwin, on australia’s north coast, and increased military aid to indonesia (5).
presence and deterrence
implementation of this grand geopolitical vision has obvious implications for the development of military policy, and this is clearly reflected in the strategic policy unveiled by obama and panetta in january. “as i made clear in australia,” obama said, “we will be strengthening our presence in the asia-pacific [region], and budget restrictions will not come at the expense of that critical region.” panetta added: “the us military will increase its institutional weight and focus on enhanced presence, power projection, and deterrence in the asia-pacific” (6).
although the policy document itself does not identify which specific military components will be favoured, it is clear that emphasis will be placed on naval forces — especially aircraft carrier battle groups — as well as advanced aircraft and missiles. thus, while the us army will see a reduction in its total strength from approximately 570,000 troops today to 490,000 in 10 years’ time, obama has vetoed plans for any reduction in the navy’s carrier fleet. also, the us will invest substantially in weapons aimed at defeating potential adversaries’ “anti-access/area denial” (known as a2/ad) capabilities — the planes, missiles, and ships designed to overpower us attack forces (especially aircraft carriers) in contested areas. because china is expected to enhance its capacity to strike american naval forces operating in the south china sea and other areas on its periphery, us forces will be equipped with greater defences against these so-called a2/ad capabilities.
as the new pentagon blueprint puts it: “in order to credibly deter potential adversaries and to prevent them from achieving their objectives, the united states must maintain its ability to project power in areas in which our access and freedom to operate are challenged” — a clear reference to the east and south china seas, as well as waters off iran and north korea. in these areas, it is claimed, potential adversaries “such as china” will use “asymmetric means” — submarines, anti-ship missiles, cyber warfare — to defeat or immobilise us forces. accordingly, “the us military will invest as required to ensure its ability to operate in anti-access and area denial (a2/ad) environments” (7). this means that the us will place top priority on dominating the maritime periphery of asia, even in the face of opposition from china and other rising powers.
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raɪ ˈkɑkˌteɪlz ˈɔfən pɛr ðə ˈwɪski wɪθ əˈnəðər ˈbɑtəl ɛz ə ˈhɛlpər: swit vərˈmuθ ɪn ðə mænˈhætən, ə ˈlɪtəl ər ˈæbsɪnθ ɪn ðə sazerac*. bət ɪf ju doʊnt ˈrɪli wɔnt tɪ æd əˈnəðər taɪp əv buz tɪ jʊr ˈlɪkər ˈkæbənət, ju kən stɪl ˌɛnˈʤɔɪ ə raɪ drɪŋk æt hoʊm. hir ər naɪn ˈrɛsəpiz tɪ gɪt ju ˈstɑrtɪd. stɪl ˈlʊkɪŋ fər ðə raɪt raɪ? ʧɛk aʊt ɑr pɪks fər ðə bɛst ˈbəʤɪt ðiz dɪˈlɪʃəs haɪɛnd ryes*. oʊld ˈfæʃənd lɛts stɑrt wɪθ ˈsəmθɪŋ ˈrɪli ɛz ˈsɪmpəl ɛz ə ˈkɑkˌteɪl gɪts. raɪ ædz spaɪs tɪ ðə ˈizi stərd drɪŋk. ɛz lɔŋ ɛz ju hæv ˈbɪtərz ənd ˈʃʊgər ɔn hænd, jʊr gʊd tɪ goʊ. gɪt ðə oʊld ˈfæʃənd ˈrɛsəpi ˈsəðərn ˈbæptɪst laɪk jʊr drɪŋks frɛʃ ənd ˈspaɪsi? ðɛn ðɪs ɪz ðə raɪ ˈkɑkˌteɪl fər ju, ˈbrɪŋɪŋ təˈgɛðər ən ˈizi (uncooked*!) ˈsɪrəp meɪd frəm frɛʃ ˈʤɪnʤər wɪθ tɑrt laɪm. gɪt ðə ˈsəðərn ˈbæptɪst ˈrɛsəpi ðə smæʃ ɪf ju laɪk mɪnt ˈʤuləps bət ər ˈlʊkɪŋ fər ˈsəmθɪŋ ˈivɪn ˈiziər tɪ meɪk, traɪ ˈsəbɪŋ raɪ fər ðə ˈbərbən ɪn ðɪs ˈsɪmpəl ˈklæsɪk. ɔl ju hæv tɪ du ɪz dɪˈzɑlv ˈʃʊgər ɪn ˈwɔtər, ðɛn æd frɛʃ mɪnt ənd ˈspɪrɪts, ðɛn ʃeɪk əˈweɪ. gɪt ðə smæʃ ˈrɛsəpi ˈfɪləˌbəstər raɪ həz ə ˈnæʧərəl əˈfɪnɪti fər ˈmeɪpəl ˈsɪrəp, ənd wi laɪk ðə weɪ ðə ˈmeɪpəl ædz boʊθ ˈfleɪvər ənd sˈwitnəs. ðɪs rɪf ɔn ə ˈklæsɪk saʊər kɔlz ɔn braɪt, ˈlɛmən tɪ ˈbæləns ðə ˈərθi ˈrɪʧnəs. ˈfrɔθi ɛg waɪts kraʊn ðə drɪŋk wɪθ foʊm, ənd ə fju ˈdæʃɪz əv əˈnɔɪnt ðə tɔp. gɪt ðə ˈfɪləˌbəstər ˈrɛsəpi ˈpəmpərˌnɪkəl ðɪs ˈkɑkˌteɪl rɪfs ɔn ðə trəˈdɪʃənəl ˈfleɪvərz faʊnd ɪn ə ʤuɪʃ ˈdɛli ˈjuzɪŋ ə ˈkɛrəˌweɪ ˈsɪmpəl ˈsɪrəp ðæts rɪʧ wɪθ ˈwʊdi ənd ˈflɔrəl ˈfleɪvərz. ɪts ɔl ˈlaɪtənd əp wɪθ kləb ˈsoʊdə ənd ˈkjukəmbər. sərv æt ə ˈbeɪgəl brənʧ ɪf dɪˈzaɪərd. gɪt ðə ˈpəmpərˌnɪkəl ˈrɛsəpi ðə faɪn ˈfɛlər soʊ ju ˈfaɪnəli gɑt rɪd əv jʊr ˈkrɪsməs tri, bət jʊr ˈmɪsɪŋ ɪts sɛnt. ðɪs ˈkɑkˌteɪl wɪl brɪŋ ju raɪt bæk hoʊm, θæŋks tɪ ə ˈsɪrəp sˈwitənd wɪθ ˈhəni ənd stipt wɪθ paɪn ˈnidəlz. ðə drɪŋk ɪz spaɪkt wɪθ raɪ ənd ˈlɛŋθənd wɪθ ˈæpəl ˈsaɪdər ənd ˌdɑˈrʤilɪŋ tea—delicious*! gɪt ðə faɪn ˈfɛlər ˈrɛsəpi keɪl ˈpaɪˌnæpəl ˈbæzəl smæʃ ɪn ðɪs ˈkɑkˌteɪl, ðə raɪ ɪz ˈbraɪtənd əp wɪθ ˈbæzəl, frɛʃ ˈpaɪˌnæpəl ʤus, ənd keɪl ʤus fər ə drɪŋk ðæts ˈwəndərfəli ənd ərˈbeɪʃəs. gɪt ðə keɪl ˈpaɪˌnæpəl ˈbæzəl smæʃ ˈrɛsəpi nu jɔrk ʃrəb ˈkʊkɪŋ daʊn ˈrɛgjələr oʊld ˈgroʊsəri stɔr ˈvɪnəgər livz ju wɪθ ə rɪʧ rɪˈdəkʃən ðæts səˈpraɪzɪŋli dɪˈlɪʃəs ɪn ˈkɑkˌteɪlz. hir, ɪts ˈʃeɪkən wɪθ raɪ, ˈlɛmən, ənd ə ˈlɪtəl ˈsɪmpəl ˈsɪrəp fər ə ˈwɪski drɪŋk ðæts ˈwəndərfəli fresh-tasting*. gɪt ðə nu jɔrk ʃrəb ˈrɛsəpi ˈsɔltɪd ˈpiˌnət oʊld ˈfæʃənd ɪf ju wɔnt tɪ gɪt ˈfænsi, ju kən ˈbɑtəl ðɪs ˈkɑkˌteɪl wɪθ ə ˈkæpər ənd ju kən ˈɔlsoʊ ʤɪst prɛp ðɪs ˈpɑrti drɪŋk ɪn ədˈvæns ənd kip ɪt ɪn ə lɑrʤ saɪz ˈmeɪsən ʤɑr ər sild ˈpɪʧər ənˈtɪl ˈrɛdi tɪ sərv. ðə drɪŋk ɪz ˌɪnˈspaɪərd baɪ ðə ˈfleɪvər əv ˈbɔlˌpɑrk ˈpiˌnəts, ənd ɪts meɪd wɪθ ə təʧ əv sɔlt ðət ˈbælənsɪz ðə swit ənd ˈseɪvəri ˈfleɪvərz əv ˈroʊstɪd nəts. gɪt ðə ˈsɔltɪd ˈpiˌnət oʊld ˈfæʃənd ˈrɛsəpi mɔr drɪŋks 10 ˈkɑkˌteɪlz tɪ meɪk wɪθ ˈbərbən 14 ˈkɑkˌteɪlz tɪ meɪk wɪθ təˈkilə 15 ˈkɑkˌteɪlz tɪ meɪk wɪθ ʤɪn 14 ˈkɑkˌteɪlz tɪ meɪk wɪθ rəm ðɪs poʊst meɪ kənˈteɪn lɪŋks tɪ ˈæməˌzɑn ər ˈəðər ˈpɑrtnərz; jʊr ˈpərʧəsɪz ˈviə ðiz lɪŋks kən ˈbɛnəfɪt ˈsɪriəs its. rɛd mɔr əˈbaʊt ɑr əˈfɪliˌeɪt ˈlɪŋkɪŋ ˈpɑləsi.
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rye cocktails often pair the whiskey with another bottle as a helper: sweet vermouth in the manhattan, a little pastis or absinthe in the sazerac. but if you don't really want to add another type of booze to your liquor cabinet, you can still enjoy a rye drink at home. here are nine recipes to get you started.
still looking for the right rye? check out our picks for the best budget bottles—or these delicious high-end ryes.
old fashioned
let's start with something really simple—about as simple as a cocktail gets. rye adds peppery spice to the easy stirred drink. as long as you have bitters and sugar on hand, you're good to go.
get the old fashioned recipe »
southern baptist
like your drinks fresh and spicy? then this is the rye cocktail for you, bringing together an easy (uncooked!) syrup made from fresh ginger with tart lime.
get the southern baptist recipe »
the smash
if you like mint juleps but are looking for something even easier to make, try subbing rye for the bourbon in this simple classic. all you have to do is dissolve sugar in water, then add fresh mint and spirits, then shake away.
get the smash recipe »
filibuster
rye has a natural affinity for maple syrup, and we like the way the maple adds both flavor and sweetness. this riff on a classic sour calls on bright, tangy lemon to balance the syrup's earthy richness. frothy egg whites crown the drink with foam, and a few dashes of angostura anoint the top.
get the filibuster recipe »
pumpernickel highball
this cocktail riffs on the traditional flavors found in a jewish deli using a caraway simple syrup that's rich with woody and floral flavors. it's all lightened up with club soda and cucumber. serve at a bagel brunch if desired.
get the pumpernickel highball recipe »
the fine feller
so you finally got rid of your christmas tree, but you're missing its piney scent. this cocktail will bring you right back home, thanks to a syrup sweetened with honey and steeped with pine needles. the drink is spiked with rye and lengthened with apple cider and darjeeling tea—delicious!
get the fine feller recipe »
kale pineapple basil smash
in this cocktail, the rye is brightened up with basil, fresh pineapple juice, and kale juice for a drink that's wonderfully sweet-tart and herbaceous.
get the kale pineapple basil smash recipe »
new york shrub
cooking down regular old grocery store balsamic vinegar leaves you with a rich reduction that's surprisingly delicious in cocktails. here, it's shaken with rye, lemon, and a little simple syrup for a whiskey drink that's wonderfully fresh-tasting.
get the new york shrub recipe »
salted peanut old fashioned
if you want to get fancy, you can bottle this ready-to-drink cocktail with a capper and everything—but you can also just prep this party drink in advance and keep it in a large size mason jar or sealed pitcher until ready to serve. the drink is inspired by the flavor of ballpark peanuts, and it's made with a touch of salt that balances the sweet and savory flavors of roasted nuts.
get the salted peanut old fashioned recipe »
more one-bottle drinks
10 cocktails to make with bourbon »
14 cocktails to make with tequila »
15 cocktails to make with gin »
14 cocktails to make with rum »
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wi du ə ˈprɪti gʊd ʤɑb əv ˈwɛlkəmɪŋ ˈnuˌkəmərz tɪ ðɪs ˈkəntri. ɪts wən əv ɑr greɪt strɛŋθs. aɪ doʊnt baɪ ðə mɪθ, bɪˈləvəd əv səm, ðət kəˈneɪdiənz ˈhɑrbər dip ˈreɪsɪst ənd ˌzɛnəˈfɑbɪk ˈtɛndənsiz ðət ər ʤɪst ˈweɪtɪŋ tɪ bi sɛt əˈlaɪt baɪ ðə laɪks əv ˈkɛli liʧ. bət səm deɪz, aɪ hæv tɪ ˈwəndər wəts ˈgɔtən ˈɪntu ˈpipəl. hu, fər ɪgˈzæmpəl, wʊd wɔnt tɪ dɪˈnaɪ ˈməzlɪmz ðə raɪt tɪ ˈbɛri ðɛr dɛd? ɪt simz ðət ðɛr ər mɔr ðən ju maɪt θɪŋk. ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt rɛd ˈɔlsoʊ: ə ˈmoʊʃən tɪ kwɛl heɪt ˈʃʊdənt bi əp fər dəˈbeɪt, bət hir wi ər ðə ˈtɛrəbəl ˈmæsəkər ɪn ˈʤænjuˌɛri əv sɪks ˈwərʃɪpərz æt ə mɔsk ɪn kwəˈbɛk ˈsɪti rɪˈvild ə ˈprɑbləm: kwəˈbɛk ˈməzlɪmz hæv fju ˈpleɪsɪz tɪ ˈbɛri ðɛr dɛd. ðə ˈoʊnli ˈsɛmɪˌtɛri ɪn ðə ˈprɑvɪns ɪz ɪn ˌməntriˈɔl, ˈsɛvərəl aʊərz' draɪv əˈweɪ. ˈæftər ðə ˈmæsəkər, ðə smɔl taʊn əv (ˌpɑpjəˈleɪʃən faʊnd səm lænd ðət wʊd bi ˈsutəbəl fər əˈnəðər wən, ənd kˈwɪkli strək ə dil tɪ sɛl ɪt tɪ ðə ˈməzlɪm kəmˈjunɪti. ɪt simd laɪk ə ˈneɪbərli weɪ tɪ hɛlp. bət ɛz ðə gloʊb ənd meɪlz ˈɪŋgrɪd faʊnd, ðə plæn wɑz mɛt wɪθ ə stɔrm əv ˈproʊˌtɛst. "ðɪs ˈsɛmɪˌtɛri ɪz ʤɪst ðə ˈɛmbriˌoʊ əv ˈəðər ˈprɑʤɛkts," wən ˈpərsən roʊt ɪn ən ˈiˌmeɪl tɪ ðə taʊnz meɪər. "ðiz ˈpipəl ər hir tɪ græb rɪˈlɪʤəs ənd pəˈlɪtɪkəl paʊər." ðə meɪər, ˈbərnərd ˈɑulɪt, ɪz stɔnʧ ɪn hɪz səˈpɔrt fər ðə plæn, ənd bɪˈlivz moʊst ˈtaʊnzˌpipəl səˈpɔrt ɪt tu. bət hil hæv tɪ wərk hɑrd tɪ kwɛl ðə fɪrz. ɛz kwəˈbɛk ˈaɪmæm həˈsɑn gɪˈlɛt sɪz, "ɪf ðə ˈprɑʤɛkt ɪz rɪfˈjuzd ənd wɪr nɑt əˈlaʊd tɪ bi ˈbɛrid ɪn ðɪs lænd, haʊ ər wi goʊɪŋ tɪ bi ækˈsɛptɪd tɪ lɪv ɪn ðɪs lænd?" rɪˈlɪʤəs əˌkɑməˈdeɪʃən ɪz ˈɔlˌweɪz ə ˈtəʧi ˈsəbʤɪkt, bət ðə ˌɑpəˈzɪʃən tɪ ðɪs plæn ɪz ˈsɪmpli rɔŋ. ðɛr ɪz noʊ pleɪs fər ɪt ɪn maɪ ˈkænədə. hir ɪn ɑnˈtɛrioʊ, wi hæv ɑr oʊn hysterias*. ə ˈstraɪdənt grup əv ˈæktɪvɪsts hæv bɪn ˈweɪʤɪŋ ə ˈnɔɪzi kæmˈpeɪn tɪ ɛnd ˈməzlɪm prɛr æt skulz ɪn ə bɪg ˈdɪstrɪkt nɪr tərˈɑntoʊ. æt wən ˈmitɪŋ, ˈsəmˌwən tɔr ˈpeɪʤɪz frəm ðə kɔˈrɑn ənd stɑmpt ɔl ˈoʊvər ðɛm. æt ˈəðərz, ˈpipəl lɛpt tɪ ðɛr fit tɪ dɪˈnaʊns ˌɪsˈlɑm. ə ˈpɛrənts' grup lɔnʧt ə pəˈtɪʃən kəmˈpleɪnɪŋ ðət "ˌənsəˈlɪsɪtɪd ɪkˈspoʊʒər tɪ rɪˈlɪʤən" kʊd "kriˈeɪt səbˈkɑnʃəs baɪəs ɪn ðə maɪndz əv ˌɪmˈprɛʃənəbəl ˈʧɪldrən fər ər əˈgɛnst ə feɪθ." ɪn ðə ˈleɪtəst bɪt əv ˈʃoʊmənˌʃɪp (ɛz ə ˈspoʊksmən ˈæptli kɔld ɪt), ə ˈloʊkəl ˈæʤəˌteɪtər ˈɔfərd ə rɪˈwɔrd tɪ ˈɛni ˈstudənt hu ˌsərəpˈtɪʃəsli rɪˈkɔrdɪd heɪt spiʧ ˈdʊrɪŋ ə ˈməzlɪm prɛr ˈsərvɪs. ˈnidləs tɪ seɪ, ˈməzlɪm prɛr ɪn skulz həz ˈɔlˌweɪz bɪn kənˈtɛnʃəs. ju meɪ bɪˈliv, ɛz aɪ du, ðət ˈɛni taɪp əv prɛr ˌɪnˈkludɪŋ ðɪs taɪp həz noʊ pleɪs ɪn ðə ˈpəblɪk skulz. bət aɪ ˈɔlsoʊ bɪˈliv ɪts nɑt ðə wərst aɪˈdiə. laɪk ɪt ər nɑt, rɪˈlɪʤəs əˌkɑməˈdeɪʃən ɪz ðə lɔ, ənd ðə skulz ər dɪˈvoʊtɪd tɪ ˌɪnˈklusɪvnɪs. ɑr ˈɪntəˌrɛst ɪz tɪ ˈɪnəˌgreɪt nu kəˈneɪdiənz, nɑt ˈsɛgrəˌgeɪt ðɛm. wi wɔnt ðɛr ˈʧɪldrən tɪ bi ˈɛʤəˌkeɪtɪd ɪn ðə ˈpəblɪk skulz, nɑt rɪˈlɪʤəs skulz. soʊ wid ˈbɛtər meɪk ʃʊr ðə kɪdz (ənd ˈpɛrənts) fil ˈkəmfərtəbəl ðɛr. ənd ɪf ən ˈɔpʃənəl prɛr ˈsɛʃən wəns ə wik hɛlps ðɛm fil mɔr ˈwɛlkəm, ðɛn waɪ nɑt? ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt ðə pil ˈdɪstrɪkt skul bɔrd, wɛr ðə ˈkɑrənt kəˈmoʊʃən həz ˈbroʊkən aʊt, sərvz ə ˈsprɔlɪŋ, səˈbərbən ˌməltiˈɛθnɪk kəmˈjunɪti huz ˈməzlɪm ˌpɑpjəˈleɪʃən ɪz əraʊnd 10 pər sɛnt. ˈməzlɪm ˈstudənts hæv bɪn əbˈzərvɪŋ ˈfraɪˌdeɪ prɛrz fər 20 jɪrz. ˈəðər skulz əraʊnd ðə ˈprɑvɪns meɪk ðə seɪm əˌkɑməˈdeɪʃən. ɪts bɪn ə wərk ɪn ˈprɑˌgrɛs. wən ˈhɛvəli ˈməzlɪm skul ɪn tərˈɑntoʊ feɪst təf kˈwɛsʧənz ə fju jɪrz bæk bɪˈkəz gərlz wərənt əˈlaʊd tɪ teɪk pɑrt ɪn ðə prɛr ˈsərvɪs. ðɛr hæv bɪn kənˈsərnz əˈbaʊt ˈsɛksɪzəm, ɛz wɛl ɛz ˈwəriz əˈbaʊt ʤɪst wət kaɪnd əv ˌɪsˈlɑm ɪz biɪŋ priʧt. ðə pil bɔrd həz kənˈdəktəd ˈlɛŋθi ˌkɑnsəlˈteɪʃənz əˈbaʊt ˈwɛðər ðə ˈstudənts hu lɛd ðə ˈsɛʃənz meɪ raɪt ðɛr oʊn ˈsərmənz, ənd baɪ hum, ɪf ˈɛniˌwən, ðeɪ məst bi əˈpruvd. tɪ bi ˈɑnəst, aɪ hæv noʊ aɪˈdiə haʊ ɔl ðɪs wɪl wərk aʊt, ənd ˈniðər dɪz ˈɛnibədi ɛls. ɪt wɪl teɪk ə ˌʤɛnərˈeɪʃən ər mɔr tɪ tɛl. ˈkænədə ɪz nɑt ˌɪmˈjun frəm ðə ˈtɛnʧənz ðət ər ˈrɑkɪŋ ðə wərld ənd ðɛrz noʊ weɪ wi kən əˈvɔɪd ðɛm. bət wi kən dɪˈskərɪʤ ðə ənd ðə frəm ˈpɔɪzənɪŋ ɑr ˈpəblɪk ˈdɪskɔrs. wi woʊnt ˈɔlˌweɪz əˈgri, əˈspɛʃəli ˈoʊvər ˈsɪmbəlz ðət təʧ ɑr ˈdipəst ˈvæljuz. lɛts ʤɪst hoʊp wi kən kip ˈfaɪndɪŋ weɪz tɪ dɪsəˈgri pəˈlaɪtli. ðæts səˈpoʊzd tɪ bi ðə kəˈneɪdiən weɪ, ənd aɪ doʊnt wɔnt tɪ luz ɪt.
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we do a pretty good job of welcoming newcomers to this country. it's one of our great strengths. i don't buy the myth, beloved of some, that canadians harbour deep racist and xenophobic tendencies that are just waiting to be set alight by the likes of kellie leitch.
but some days, i have to wonder what's gotten into people. who, for example, would want to deny muslims the right to bury their dead?
it seems that there are more than you might think.
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read also: a motion to quell anti-muslim hate shouldn't be up for debate, but here we are
the terrible massacre in january of six worshippers at a mosque in quebec city revealed a problem: quebec muslims have few places to bury their dead. the only muslim-run cemetery in the province is in montreal, several hours' drive away. after the massacre, the small town of saint-apollinaire (population 6,000) found some land that would be suitable for another one, and quickly struck a deal to sell it to the muslim community. it seemed like a neighbourly way to help. but as the globe and mail's ingrid peritz found, the plan was met with a storm of protest.
"this cemetery is just the embryo of other projects," one person wrote in an e-mail to the town's mayor. "these people are here to grab religious and political power."
the mayor, bernard ouellet, is staunch in his support for the plan, and believes most townspeople support it too. but he'll have to work hard to quell the fears. as quebec imam hassan guillet says, "if the project is refused and we're not allowed to be buried in this land, how are we going to be accepted to live in this land?"
religious accommodation is always a touchy subject, but the opposition to this plan is simply wrong. there is no place for it in my canada.
here in ontario, we have our own hysterias. a strident group of anti-muslim activists have been waging a noisy campaign to end muslim prayer at schools in a big district near toronto. at one school-board meeting, someone tore pages from the koran and stomped all over them. at others, people leaped to their feet to denounce islam. a parents' group launched a petition complaining that "unsolicited exposure to religion" could "create subconscious bias in the minds of impressionable children for or against a faith." in the latest bit of hate-filled showmanship (as a school-board spokesman aptly called it), a local agitator offered a $1,000 reward to any student who surreptitiously recorded hate speech during a muslim prayer service.
needless to say, muslim prayer in schools has always been contentious. you may believe, as i do, that any type of prayer – including this type – has no place in the public schools. but i also believe it's not the worst idea. like it or not, religious accommodation is the law, and the schools are devoted to inclusiveness. our interest is to integrate new canadians, not segregate them. we want their children to be educated in the public schools, not religious schools. so we'd better make sure the kids (and parents) feel comfortable there. and if an optional 20-minute prayer session once a week helps them feel more welcome, then why not?
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the peel district school board, where the current commotion has broken out, serves a sprawling, suburban multiethnic community whose muslim population is around 10 per cent. muslim students have been observing friday prayers for 20 years. other schools around the province make the same accommodation. it's been a work in progress. one heavily muslim school in toronto faced tough questions a few years back because menstruating girls weren't allowed to take part in the prayer service. there have been concerns about sexism, as well as worries about just what kind of islam is being preached. the peel board has conducted lengthy consultations about whether the students who lead the sessions may write their own sermons, and by whom, if anyone, they must be approved.
to be honest, i have no idea how all this will work out, and neither does anybody else. it will take a generation or more to tell. canada is not immune from the ethnoreligious tensions that are rocking the world and there's no way we can avoid them. but we can discourage the fear-mongers and the hate-mongers from poisoning our public discourse. we won't always agree, especially over symbols that touch our deepest values. let's just hope we can keep finding ways to disagree politely. that's supposed to be the canadian way, and i don't want to lose it.
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əˈkleɪmd keɪp ˈbrɛtən ˈsɪŋər ˈritə məkˈnil həz daɪd æt eɪʤ 68 ə ˈnoʊtɪs ɔn hər ˈwɛbˌsaɪt steɪts məkˈnil daɪd ɔn ˈeɪprəl 16 ˈfɑloʊɪŋ ˌkɑmpləˈkeɪʃənz frəm ˈsərʤəri. bɔrn ɪn bɪg pɑnd, ɛnz., ɔn keɪp ˈbrɛtən ˈaɪlənd, məkˈnil wɑz wən əv eɪt ˈʧɪldrən. ʃi muvd tɪ tərˈɑntoʊ æt eɪʤ 17 wɛr ʃi roʊt hər fərst sɔŋ ənd bɪˈgæn ˈsɪŋɪŋ ɪn foʊk kləbz. məkˈnil ˈleɪtər muvd tɪ ˈɑtəˌwɑ, wɛr ʃi rɪˈkɔrdɪd θri ˈælbəmz, bət ɪˈvɛnʧəwəli rɪˈtərnd tɪ bɪg pɑnd, wɛr ʃi fɔrmd ə ˈtriˌoʊ. məkˈnil wɑz ˈfeɪməsli ʃaɪ, bət sɛd hər ˈpɛrənts hɛlpt hər ˈoʊvərˌkəm ðət treɪt baɪ ˈkɑnstəntli riˈmaɪndɪŋ hər tɪ bɪˈliv ɪn hərˈsɛlf. "ju kən bi ʃaɪ," ʃi sɛd. "ju kən wərk θru ɔl kaɪnz əv ˈstrəgəl. bət ˈsəmˌwɛr dip daʊn, ju hæv tɪ hæv bɪˈlif ər ˈnəθɪŋz goʊɪŋ tɪ ˈhæpən." ˈtərnɪŋ pɔɪnt keɪp fərst ˈleɪdi əv sɔŋ meɪd hər mɑrk ˈdʊrɪŋ ə rən æt ˈɛkspoʊ 86 ɪn vænˈkuvər. æt ðə taɪm, məkˈnil wɑz ˈwɛlˈnoʊn ɪn hər hoʊm ˈprɑvɪns bət ə ˈnuˌkəmər tɪ ðə ˈnæʃənəl steɪʤ. "wərd əv maʊθ kaɪnd əv gru," sɛd rɑd əv ðə gloʊb ənd meɪl. hi sɛd ˌrivˈju ˈæftər ˌrivˈju preɪzd hər pərˈfɔrməns, ənd ðət ˈsəmər spɑrkt ə ləv əˈfɛr bɪtˈwin məkˈnil ənd vænˈkuvər. hi ˈfaɪnəli sɔ hər ɔn ˈkænədə deɪ, 1986 wɪn ʃi pərˈfɔrmd ˈwərkɪŋ mæn wɪθ mɛn əv ðə deeps*. "ðɛr ˈprɑbəˌbli ˈwəzənt ə draɪ aɪ ɪn ðə haʊs," hi sɛd. "aɪ min, ɪt ʤɪst muvd mi tɪ tɪrz. aɪ ˈnɛvər hərd ə sɔŋ kwaɪt laɪk ɪt." 'ˈritə ˈrɪli wɑz ə stɑr' vɔɪs brɔt ˈpipəl tɪ tɪrz əˈkrɔs ðə ˈkəntri. hər fərst ˈmænɪʤər, brʊks ˈdaɪmənd, ʧoʊkt əp ɛz hi spoʊk ˈwɛnzˌdeɪ əˈbaʊt ðə fərst taɪm hi hərd hər pərˈfɔrm. hi wɑz wɪθ hɪz ˈbrəðər æt ðə taɪm. "ɪt wɑz kwaɪt ə ˈpɪkʧər, wi wər ɪn ə fild æt ə foʊk ˈfɛstɪvəl," hi sɛd. "ðɪs vɔɪs keɪm θru ðə reɪn, mɪst, ənd wi boʊθ stɑpt. wi wər ˈraɪdɪŋ ɔn ə dərt baɪk ənd ðə tu əv ˈjuˈɛs wər ɪn tɪrz." ɪn 1987 ʃi ərnd ə ˈʤunoʊ əˈwɔrd ɛz moʊst ˈprɑməsɪŋ ˈfiˌmeɪl ˈɑrtɪst, æt eɪʤ 42 "ˈritə ˈrɪli wɑz ə stɑr," ˈdaɪmənd sɛd. "aɪ θɪŋk hər hjuˈmɪlɪti ənd hər ˈwɪzdəm wər ðə tu ˌaʊtˈstændɪŋ ˌkɛrɪktərˈɪstɪks ðət aɪ ˈɔlˌweɪz əˈpriʃiˌeɪtɪd." məkˈnil rɪˈkɔrdɪd 24 ˈælbəmz ənd soʊld ˈmɪljənz əv ˈrɛkərdz ˈoʊvər ðə kɔrs əv hər kərɪr. ʃi ˈhoʊstɪd ə vərˈaɪəti ˈproʊˌgræm, ˈritə ənd frɛndz, wɪʧ ræn frəm 1994 tɪ 1997 ənd dru ˈrɛgjələr ˈɔdiənsəz əv wən ˈmɪljən vjuərz. ˈkrɪsməs vərˈaɪəti ʃoʊz dru lɔɪəl vjuərz. məkˈnil wɑz ə ˈmɛmbər əv ðə ˈɔrdər əv ˈkænədə ənd ðə rɪˈsɪpiənt əv faɪv ˈɑnərˌɛri ˈdɑktərəts. ɪn 1986 ʃi ˈoʊpənd ti rum ɪn hər ˈhoʊmˌtaʊn əv bɪg pɑnd, wɛr ʃi ˈɔlsoʊ geɪv pərˈfɔrmənsɪz. səˈpraɪzɪŋ ˌɪnˌvɛstəˈgeɪʃən ɪn 2008 məkˈnil sɛd ʃi wɑz ʃɑkt tɪ lərn ʃi hæd bɪn ˌɪnˈvɛstəˌgeɪtɪd baɪ ðə ɪn ðə ˈərli bɪˈkəz əv hər wərk wɪθ ðə ˈwɪmənz ˈmuvmənt. æt ðə taɪm, pəˈlis wər ˈlʊkɪŋ fər ˈkɑmjənəst kəˈnɛkʃənz. "aɪ hæd noʊ ˈrizən tɪ bi ˈəndər sərˈveɪləns, bɪˈliv ju mi," ʃi læft. "aɪ wɑz ʤɪst ðə ˈsɪŋər." θru ɪt ɔl, ʃi kɛpt ə ˈpɑzətɪv ˈaʊˌtlʊk. məkˈnil ˌɪnˈspaɪərd ə ˌʤɛnərˈeɪʃən əv keɪp ˈbrɛtən ˈsɔŋˌraɪtərz ənd pərˈfɔrmərz. ʃi ɪnˈkərəʤd jəŋ ˈsɪŋərz, ˈivɪn ɪf ʃi ˈwəzənt ə fæn əv ðɛr ˈvɔɪsɪz. "hu ər wi tɪ seɪ 'ɪf ju hæv ə drim, doʊnt weɪst jʊr taɪm,'" məkˈnil sɛd. "ðɛr ər ˈdɪfərənt dɪˈgriz əv ðə drim. ˈmeɪbi ðɛl gɪt tɪ sɪŋ ɪn ə ʧərʧ ər əˈnəðər pleɪs ðət kips ðɛm ˈvɛri ˈhæpi." ɪn keɪp ˈbrɛtən, foʊldz sɛd məkˈnil wɑz ən ˈaɪkɑn. foʊldz, ðə ɑrˈtɪstɪk dɪˈrɛktər əv ðə ˈsɛltɪk mˈjuzɪk ˈfɛstɪvəl, pərˈfɔrmd wɪθ məkˈnil. "aɪ θɪŋk aɪv ˈlərnɪd ðət ju ˈməsənt bi əˈfreɪd tɪ ɪkˈsprɛs ˈjɔrsɛlf," foʊldz sɛd. "ju hæv tɪ bi hu ju ər, ənd ðət wɑz ðə ˈɛsəns əv ˈritə. ʃi wɑz ðɪs ˈwəndərfəl, ˈpæʃənət ˈpərsən hu hæd ˈsəmθɪŋ tɪ seɪ." ˈfæməli ʃɑkt braɪən ˈɛdwərdz, prəˈmoʊtər ənd ˈeɪʤənt, sɛd hi ˈkʊdənt bɪˈliv ɪt wɪn hi wɑz toʊld əv hər dɛθ. hi sɛd məkˈnil wɑz ə ˈsoʊlʤər hu ˈɔlˌweɪz dɪˈfaɪd ðə ɑdz. ʃi hæd bɪn ɪn ˈhɑˌspɪtəl ˈbætəlɪŋ ən ˌɪnˈfɛkʃən. "əm nɑt ʃʊr ˈwɛðər ðeɪv ˈleɪbəld wət ðə ˌɪnˈfɛkʃən ɪz," hi sɛd, ˈspikɪŋ ɔn bɪˈhæf əv ˈfæməli. "ɪt wɑz ˈsərtənli nɑt ˈɔnˌgoʊɪŋ taɪp əv stəf ðət hæd ɪgˈzɪstəd fər jɪrz." ˈɛdwərdz sɛd ðə ˌɪnˈfɛkʃən rɪˈtərnd ˈæftər məkˈnil hæd ən ˌɑpərˈeɪʃən. ʃi wɑz ˌənˈkɑnʃəs bət wɑz ˈstɑrtɪŋ tɪ rɪˈkəvər ˌbiˈfɔr hər dɛθ. ˈɛdwərdz wərkt wɪθ məkˈnil θru mɔr ðən 400 pərˈfɔrmənsɪz ˈoʊvər 25 jɪrz. ˈoʊvər ðə jɪrz, hi sɛd, ʃi ˈnɛvər ʧeɪnʤd ˈɔlˌweɪz ˈgritɪŋ ˈpipəl wɪθ ə həg ənd ə bɪg grɪn. "wɪn ʃi wɔkt ɔn ðət steɪʤ ər ˈɪntu ˈɛni rum, aɪ min, ʃi lɪt ðə rum raɪt əp. ənd ðə ˈfəni θɪŋ ɪz əˈbaʊt ðə hoʊl θɪŋ, ə lɔt ˈpipəl wʊd bi ʃaɪ wɪn ðeɪ mɛt ˈritə, bət ʃi wɑz ə lɔt ðən ðeɪ wər." hər ˈeɪʤənt dɪˈskraɪbd ˈkɪʧən ˈpɑrtiz æt haʊs, wɛr ʃi wʊd sɪt kˈwaɪətli ɪn ðə ˈkɔrnər. ˈɛdwərdz bɪˈlivz ʃi meɪnˈteɪnd hər ˌpɑpjəˈlɛrəti bɪˈkəz ʃi wɑz ˈdɛdəkeɪtəd tɪ hər fænz. "ˈritə nu hu hər ˈɔdiəns wɑz ənd nu wət ðə fænz ˈwɔntɪd ənd ˈdɪdənt goʊ ɔf kɔrs steɪd wɪθ ðɛm ˈwɛðər ðə mˈjuzɪk ˈɪndəstri laɪkt hər, ˈwɛðər ðeɪ ˈdɪdənt." məkˈnil livz bɪˈhaɪnd ə sən ənd ə ˈdɔtər, ɛz wɛl ɛz ˈgrænˌʧɪldrən. ˈtrɪbjuts pɔr ɪn məkˈnil pərˈfɔrmd wɪθ ə huz hu əv mjuˈzɪʃənz frəm əraʊnd ðə wərld. "ɪt wɑz ən ˈɑnər fər ˈjuˈɛs tɪ bi ˈeɪbəl tɪ noʊ ənd wərk wɪθ səʧ ə proʊˈlɪfɪk ˈsɔŋˌraɪtər ɛz ˈritə məkˈnil," sɛd ðə vɔn trapps*, hu tʊrd wɪθ məkˈnil ɪn 2011 "ʃi hæd səʧ ə ˈʤɛnərəs hɑrt, ənd greɪt sɛns əv ˈhjumər." ɪn ə stɑrk ˈkɑntræst tɪ hər ʃaɪ ˌpərsəˈnælɪti, məkˈnil ˈdɛmənˌstreɪtɪd ðət sɛns əv ˈhjumər wɪn ʃi meɪd ə ˈkæmiˌoʊ əˈpɪrəns ɔn ðə ˈtɛləˌvɪʒən ʃoʊ ðə ˈtreɪlər pɑrk bɔɪz. məkˈnil wɑz ˈɔfən sin ˌɑnˈsteɪʤ wɪθ ˈfɛloʊ ˈnoʊvə æn ˈməri. ˈməri vɔɪst hər grif ɪn ə ˈmɛsɪʤ ɔn hər ˈfeɪsˌbʊk peɪʤ. "aɪ æm ˈdipli ˈsædənd baɪ ðə lɔs əv ə dɪr swit ˈwʊmən ənd ə ˈgɪftɪd hu ˌrɛprɪˈzɛnɪd ˈwɪmən ənd hər bɪˈləvəd ˈnoʊvə ˈskoʊʃə soʊ ˈɛləkwəntli ɪn hər sɔŋz," ˈməri roʊt. ˈfɔrmər ˈsiˌbiˈsi ˈtɛləˌvɪʒən hoʊst ˈtɑmi ˈhəntər ˈɔlsoʊ preɪzd ˈtælənt, əˈspɛʃəli wɪn ʃi sæŋ ðə ˌaɪˈkɑnɪk sɔŋ ˈwərkɪŋ mæn. "ˈritə kʊd kənˈveɪ ðət kaɪnd əv wɔrmθ ənd sɪnˈsɛrəti θru hər sɔŋz tɪ ðə ˈpipəl ɪn ðə ˈstudiˌoʊ ˈɔdiəns ənd tɪ ðə vjuərz æt hoʊm," ˈhəntər sɛd. "aɪ hæv lɔst ə gʊd frɛnd." praɪm ˈmɪnɪstər ˈstivən ˈhɑrpər, hu wɑz ɪn ˈləndən ɔn ˈwɛnzˌdeɪ əˈtɛndɪŋ ðə fˈjunərəl fər ˈfɔrmər u.k*. praɪm ˈmɪnɪstər ˈθæʧər, sɛd məkˈnil wɑz: "ə greɪt kəˈneɪdiən pərˈfɔrmər ənd ˈaɪkɑn."
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acclaimed cape breton singer rita macneil has died at age 68.
a notice on her website states macneil died on april 16 following complications from surgery.
born in big pond, n.s., on cape breton island, macneil was one of eight children.
she moved to toronto at age 17, where she wrote her first song and began singing in folk clubs. macneil later moved to ottawa, where she recorded three albums, but eventually returned to big pond, where she formed a trio.
macneil was famously shy, but said her parents helped her overcome that trait by constantly reminding her to believe in herself.
"you can be shy," she said. "you can work through all kinds of struggle. but somewhere deep down, you have to have belief or nothing's going to happen."
turning point
cape breton's first lady of song made her mark during a six-week run at expo '86 in vancouver. at the time, macneil was well-known in her home province but a newcomer to the national stage.
"word of mouth kind of grew," said rod mickleburgh of the globe and mail. he said review after review praised her performance, and that summerarked a love affair between macneil and vancouver.
he finally saw her on canada day, 1986, when she performed working man with men of the deeps.
"there probably wasn't a dry eye in the house," he said. "i mean, it just moved me to tears. i never heard a song quite like it."
'rita really was a star'
macneil's voice brought people to tears across the country. her first manager, brookes diamond, choked up as heoke wednesday about the first time he heard her perform. he was with his brother at the time.
"it was quite a picture, we were in a field at a folk festival," he said. "this voice came through the rain, mist, and we both stopped. we were riding on a dirt bike and the two of us were in tears."
in 1987 she earned a juno award as most promising female artist, at age 42.
"rita really was a star," diamond said. "i think her humility and her wisdom were the two outstanding characteristics that i always appreciated."
macneil recorded 24 albums and sold millions of records over the course of her career.
she hosted a cbc-tv variety program, rita and friends, which ran from 1994 to 1997 and drew regular audiences of one million viewers. macneil's christmas variety shows drew loyal viewers.
macneil was a member of the order of canada and the recipient of five honorary doctorates. in 1986, she opened rita’s tea room in her hometown of big pond, where she also gave performances.
surprising investigation
in 2008, macneil said she was shocked to learn she had been investigated by the rcmp in the early 1970s because of her work with the women's movement. at the time, police were looking for communist connections.
"i had no reason to be under surveillance, believe you me," she laughed. "i was just the singer."
through it all, she kept a positive outlook.
macneil inspired a generation of cape breton songwriters and performers. she encouraged young singers, even if she wasn't a fan of their voices.
"who are we to say 'if you have a dream, don't waste your time,'" macneil said. "there are different degrees of the dream. maybe they'll get to sing in a church or another place that keeps them very happy."
in cape breton, joella foulds said macneil was an icon. foulds, the artistic director of the celtic colours music festival, performed with macneil.
"i think i've learned that you mustn't be afraid to express yourself," foulds said. "you have to be who you are, and that was the essence of rita. she was this wonderful, passionate person who had something to say."
family shocked
brian edwards, macneil's promoter and agent, said he couldn't believe it when he was told of her death.
he said macneil was a soldier who always defied the odds. she had been in hospital battling an infection.
"i'm not sure whether they've labelled what the infection is," he said,eaking on behalf of macneil's family. "it was certainly not ongoing type of stuff that had existed for years."
edwards said the infection returned after macneil had an operation. she was unconscious but was starting to recover before her death.
edwards worked with macneil through more than 400 performances over 25 years. over the years, he said, she never changed — always greeting people with a hug and a big grin.
"when she walked on that stage or into any room, i mean, she lit the room right up. and the funny thing is about the whole thing, a lot people would be shy when they met rita, but she was a lot shyer than they were."
her agent described kitchen parties at macneil's house, where she would sit quietly in the corner.
edwards believes she maintained her popularity because she was dedicated to her fans.
"rita knew who her audience was and knew what the fans wanted and didn't go off course — stayed with them whether the music industry liked her, whether they didn't."
macneil leaves behind a son and a daughter, as well as grandchildren.
tributes pour in
macneil performed with a who's who of musicians from around the world.
"it was an honour for us to be able to know and work with such a prolific songwriter as rita macneil," said the von trapps, who toured with macneil in 2011. "she had such a generous heart, and great sense of humour."
in a stark contrast to her shy personality, macneil demonstrated that sense of humour when she made a cameo appearance on the television show the trailer park boys.
macneil was often seen onstage with fellow nova scotian anne murray. murray voiced her grief in a message on her facebook page.
"i am deeply saddened by the loss of a dear sweet woman and a gifted singer-songwriter who represented women and her beloved nova scotia so eloquently in her songs," murray wrote.
former cbc television host tommy hunter also praised macneil's talent, especially when she sang the iconic song working man.
"rita could convey that kind of warmth and sincerity through her songs to the people in the studio audience and to the viewers at home," hunter said. "i have lost a good friend."
prime minister stephen harper, who was in london on wednesday attending the funeral for former u.k. prime minister maragaret thatcher, said macneil was: "a great canadian performer and icon."
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ˈgɪvɪn ɔl ðə ˈkɑntrəˌvərsi sərˈaʊndɪŋ dɔn əv wɔr 3 aɪ fɛlt laɪk aɪ hæd tɪ raɪt ə ˌrivˈju əv maɪ oʊn. lɛt mi stɑrt ɔf baɪ seɪɪŋ ðət aɪ æm ə juʤ fæn əv ðə ˈsɪriz, ˈhævɪŋ spɛnt ˈkaʊntləs aʊərz pleɪɪŋ boʊθ ɪts fərst ənd ðə ˈsɛkənd instalment*. dɔn əv wɔr 3 ɪz... ˈdɪfərənt. ˈrɛlɪk kʊd hæv ˈteɪkən ən ˈizi əˈproʊʧ ənd ˈsɪmpli ˈriˈmeɪk ðə fərst dɔn əv wɔr wɪθ ˈbɛtər ˈgræfɪks bət ˌɪnˈstɛd ˌdɪˈsaɪdɪd tɪ ɪkˈspɛrəmənt wɪθ ðə ˈʒɑnrə ənd dɪˈzaɪn ˈsəmθɪŋ frɛʃ wɪʧ ɪn maɪ əˈpɪnjən ɪz ðə weɪ tɪ goʊ. aɪ doʊnt wɔnt tɪ pleɪ ðə seɪm geɪm əˈgɛn, aɪ wɔnt tɪ traɪ nu θɪŋz ənd ˈrɛlɪk moʊst ˈdɛfənətli dɪˈlɪvərd ɪn ðət rɪˈgɑrd. raɪt ɔf ðə bæt aɪ wɔnt tɪ ˈæˌdrɛs ɔl ðə ɪkˈstrim heɪt ənd ˌnɛgəˈtɪvəti ðɪs geɪm həz bɪn rɪˈsivɪŋ ˈprɪti məʧ sɪns ðə fərst ˈgeɪmˌpleɪ wɑz ˈʃoʊˌkeɪst. ɛz ɪz ˈɔfən ðə keɪs wɪθ ˈvoʊkəl, ˈnɛgətɪv məˈnɔrəti ðə ˈlaʊdəst ˈvɔɪsɪz wi hir ər ðoʊz hu ˈædvəˌkeɪt ˈbeɪsləs ˈkrɪtɪˌsɪzəm. wɪn aɪ si ˈsəmˌwən ˈgɪvɪŋ ðɪs geɪm ə skɔr bɪtˈwin 0 ənd 4 ɔn (ər ˈɛni ˈəðər ˈmidiəm fər ðət ˈmætər) aɪ luz ɔl rɪˈspɛkt fər səʧ ə ˈpərsən. aɪ gɪt ɪt, ju doʊnt laɪk ðə aɪˈdiə əv ðɪs geɪm biɪŋ ˈɛni ˈdɪfərənt ðən ðə wən. ju wɔnt tɪ riˈlɪv jʊr ˈʧaɪlˌdhʊd ənd græsp ðət ˈflitɪŋ, ɪˈlusɪv ˈfilɪŋ əv nɔˈstælʤə. pərˈhæps ju ər nɑt ə fæn əv ðə artstyle*. ˌwəˈtɛvər. ðə geɪm ɪz stɪl ˈsɑləd ənd ˈivɪn ɪf ju ˈstrɔŋli dɪsˈlaɪk ɪts dɪˈzaɪn ˈʧɔɪsɪz, ju ˈrɪli ʃʊd nɑt reɪt ɪt soʊ dɑrn loʊ. ˈsɪriəsli, ɪf ju θɪŋk dɔn əv wɔr 3 dɪˈzərvz ə skɔr əv 0 du nɑt raɪt ˈɛni rəvˈjuz ɔn ˈɛniˌθɪŋ ˈɛvər əˈgɛn. ɔl raɪt, wɪθ ðət ɔf maɪ ʧɛst lɛt ˈjuˈɛs pərˈsid ˈɔntu ən lʊk æt ðə geɪm ˌɪtˈsɛlf ənd ɪts kɔr ˈfiʧərz. ðə ˈsɪŋgəl pleɪər kæmˈpeɪn. aɪ hæd ˈvɛri haɪ ˌɛkspɛkˈteɪʃənz fər ɪt ˈgɪvɪn haʊ məʧ aɪ ˌɛnˈʤɔɪd ðə kæmˈpeɪn ɪn dɔn əv wɔr 1 2 (ðə ˈlætər əˈspɛʃəli). dɔn əv wɔr 3 ˈdəzənt ˌdɪsəˈpɔɪnt ɪn ðət ˈɛriə. aɪ hərd ˈsəmˌwən dɪˈskraɪbɪŋ ðə sɛd kæmˈpeɪn ɛz ə 'ˈglɔrəˌfaɪd tuˈtɔriəl' wɪʧ aɪ faɪnd ˈbæfəlɪŋ tɪ seɪ ðə list. ðə kæmˈpeɪn ɪz ˈsɑləd, wɛl dɪˈzaɪnd wɪθ kwaɪt ˈdɪfərɪŋ ˈmɪʃənz, səm ˈtruli juˈnik ənd fən. ðə ˈoʊvərˌɔl ˈstɔriˌlaɪn ɪz ˌɛnˈʤɔɪəbəl tu, ɪt həz ɪts dɑrk ənd ˈfəni ˈmoʊmənts (aɪ məst ədˈmɪt ðət wərk ˈrɪli wɛl ɛz ə ˈkɑmɪk rɪˈlif, əˈspɛʃəli ɪn ðə nuəst dɔn əv wɔr). wɪθ ðət biɪŋ sɛd, ðə ˈsɪŋgəl pleɪər moʊd ɪz nɑt ˈpərˌfɪkt ənd həz ɪts flɔz: səm ˈmɪʃənz ər weɪ tu ˈizi ɪn kəmˈpɛrəsən tɪ ˈəðərz wɪʧ kən bi ˈfrəˌstreɪtɪŋ. ˈɔlsoʊ, ðə læk əv ˈsɪstəm ɪz streɪnʤ bət heɪ, ju ʤɪst hæv tɪ seɪv jʊr geɪm mɔr ˈɔfən ənd jul bi faɪn. ˈoʊvərˌɔl, ɪf ju ər ə fæn əv ðə ˈpriviəs geɪmz ənd ðə ˈjunəˌvərs ju ʃʊd hæv ə blæst pleɪɪŋ daʊ kæmˈpeɪn. ɪt tʊk mi ˈsəmˌwɛr bɪtˈwin 22 ənd 25 aʊərz tɪ bit ðə ɪnˈtaɪər moʊd ɔn haɪəst ˈdɪfɪˌkəlti. aɪd laɪk tɪ θɪŋk maɪ skɪl ˈlɛvəl ɪz əˈbəv ðət əv ən ˈævərɪʤ pleɪər soʊ ɪt maɪt teɪk ju ˈivɪn ˈlɔŋgər tɪ bit ðə kæmˈpeɪn. naʊ, tɪ səm pərˈhæps ðə moʊst ˈkruʃəl kəmˈpoʊnənt əv ðə geɪm: ˈməltiˌpleɪər ənd ðə ˈgeɪmˌpleɪ ˌɪtˈsɛlf. hir ɪz wɛr θɪŋz gɪt ˈɪntəˌrɛstɪŋ. wɪn aɪ fərst hərd ðət dɔn əv wɔr 3 wɪl lɔnʧ wɪθ ˈoʊnli wən ˈgeɪmˌpleɪ moʊd ðət wɪl ˈfiʧər 'taʊərz' ənd ə 'kɔr' (ər ˈnɛksəs, kɔl ɪt ˌwəˈtɛvər ju wɔnt) aɪ tɪ seɪ ðə list. simz laɪk ə ˈrɪli boʊld ənd bɪˈzɑr dɪˈzaɪn ʧɔɪs. ðɛn aɪ geɪv ˈoʊpən ˈbeɪtə ə goʊ ənd θɔt mɔr əˈbaʊt ðə weɪ ˈrɛlɪk dɪˈzaɪnd ðɛr geɪm. lɛts meɪk ˈsəmθɪŋ klɪr dɔn əv wɔr 3 ɪz nɑt ə. ˈpipəl ðət kleɪm soʊ ər kəmˈplitli ˈkluləs wɪn ɪt kəmz tɪ geɪm dɪˈzaɪn ənd ˈsɪmpli pleɪɪŋ. wət ˈrɛlɪk traɪd tɪ əˈʧiv ɪz tɪ gɪv ðɛr geɪm ðə kaɪnd əv dɪˈsɪʒən ˈmeɪkɪŋ pleɪərz ɪkˈspɪriəns wɪn pleɪɪŋ ə (seɪm goʊz fər ˈɪˌmoʊʃənz ðə sɛd pleɪərz fil). dɪd ðə kəˈneɪdiən ˈstudiˌoʊ səkˈsid? subjectively*, aɪ kən seɪ ˌɪnˈdid ɪt dɪd. ˈæftər ju pleɪ ðə geɪm fər ə ˈlɔŋgər ˈpɪriəd əv taɪm ju bɪˈgɪn tɪ ˈriəˌlaɪz haʊ ˈmɛni ˈdɪfərənt ˈʧɔɪsɪz ðɛr ər wɪn əˈproʊʧɪŋ ə mæʧ. aɪ hərd rivˈjuərz ˈkleɪmɪŋ dɔn əv wɔr 3 ˈsɪmpləˌfaɪd ðə ˈʒɑnrə baɪ riˈmuvɪŋ ˈstrætəʤiz səʧ ɛz ˈrəʃɪŋ jʊr əˈpoʊnənt ˈdʊrɪŋ ðə ˈərli geɪm. ðət ɪz kəmˈplitli fɔls. tɪ gɪv ju ən ɪgˈzæmpəl, biɪŋ əˈgrɛsɪv ˈdʊrɪŋ ðə ˈərli ˈsteɪʤɪz əv ə mæʧ kən lɛd tɪ əˌnaɪəˈleɪʃən əv ðə ˈɛnəmi ʃild wɪʧ grænts ju ə lɔt əv ˈrisɔrsɪz ənd ən ɪˈlit pɔɪnt wɪʧ ɪn tərn wɪl sˈnoʊˌbɔl jʊr lɛd ˈivɪn ˈfərðər. ɪf ju meɪk ə mɪˈsteɪk ðoʊ ənd ˌoʊvərɪkˈstɛnd wɪn əˈtækɪŋ ə tərət, ju kən stɪl luz ðə mæʧ. ɪˈlits ənd ɔl ðə ˈɔpʃənz ˈɔlsoʊ ɪnˈʃʊr ðət ˈməltəpəl ˈstrætəʤiz ər ˈvaɪəbəl. ˈmitə geɪm maɪt sɛt ɪn æt səm pɔɪnt (ðoʊ aɪ stɪl θɪŋk bɪld ˈɔrdərz wɪl ˈgreɪtli ˈvɛri) bət ˈkɑnstənt əˈdɪʃən əv nu ɪˈlits ɪn fˈjuʧər ˈkɑntɛnt wɪl sɑlv ðət ˈprɑbləm. wət aɪ kænt strɛs ɪˈnəf ðoʊ ɪz ðɪs: æt ɪts hɑrt, dɔn əv wɔr 3 ɪz stɪl ən, məʧ laɪk dɔn əv wɔr 1 əv jʊr ˈɑrmi ɪz ˌæbsəˈlutli ɛˈsɛnʃəl ənd ˈkruʃəl tɪ ðə geɪmz ˈaʊtˌkəm. dɔn əv wɔr 3 ˈɔlsoʊ həz ˈnumərəs flɔz səʧ ɛz ˈvɛri fju mæps ənd ɑd ˈlʊkɪŋ ˈɛləmənts (ˈsəmˌtaɪmz ˈəgli ˈivɪn, tɪ gɪv ju səm ɪgˈzæmpəlz: ˈsərtən ˈaɪˌkɑnz ər ˈrɪli pixelated*, pleɪər ˈproʊˌfaɪl lʊks ˌmidiˈoʊkər ˌɛtˈsɛtərə.). nɑt biɪŋ ˈeɪbəl tɪ ʧeɪnʤ jʊr kən ˈɔlsoʊ bi ˈfrəˌstreɪtɪŋ bət aɪ bɪˈliv ɔl ðoʊz kwərks (səm mɔr əˈnɔɪɪŋ ðən ˈəðərz) wɪl ɪˈvɛnʧəwəli gɪt fɪkst. aɪl bi ˈɑnəst, ɪn səm weɪz ðə geɪm filz rəʃt. æt list ðət ɪz ðə ˌɪmˈprɛʃən aɪ gɑt ˈæftər pleɪɪŋ ɪt fər 30 aʊərz. laɪk ˈmɛnʃənd ˌbiˈfɔr, læk əv ˈsərtən ˈfiʧərz kən bi kwaɪt ˈfrəˌstreɪtɪŋ (tɪ gɪv ju ən ɪgˈzæmpəl, ɛz əv raɪt naʊ ɪt ɪz nɑt ˈpɑsəbəl tɪ sərˈɛndər wɪn pleɪɪŋ ˈɔnˌlaɪn). ðə geɪm ɪz nɑt ˈpərˌfɪkt bət æt ðə seɪm taɪm ɪt ɪz nɑt ɛz bæd ɛz ˈpipəl meɪk ɪt aʊt tɪ bi. proʊz: ˈsɑləd, wɛl dɪˈzaɪnd ˈsɪŋgəl pleɪər kæmˈpeɪn (moʊst ˈdɛfənətli ən ˌɪmˈpruvmənt ˈoʊvər ðə dɔn əv wɔr kæmˈpeɪn, ðə geɪm hæd ə məʧ ˈbɛtər ˈsɪŋgəl pleɪər ɪkˈspɪriəns ðoʊ). 3 wən əv ə kaɪnd ˈreɪsɪz wɪθ juˈnik ˈgeɪmˌpleɪ məˈkænɪks səʧ ɛz ðə wɪθ ðɛr skræps, speɪs mərˈinz wɪθ ðə drɔp pɑd ˈsɪstəm ˌɛtˈsɛtərə. ˈɪnəˌveɪtɪv, ˌfæstˈpeɪst (jɛt stɪl ˈvɛri ˈtæktɪkəl) ˈməltiˌpleɪər moʊd wɪθ ə ˈkɑmplɛks prəˈgrɛʃən ˈsɪstəm. filz ˈvɛri (ˈkɪlɪŋ ˈhənərdz əv ənd ˈɛlˌdɑr wɪθ ən ˌɪmˈpɪriəl naɪt ɪz ʤɪst ˈɛpɪk). ˌaʊtˈstændɪŋ ˈsaʊnˌtræk. gʊd ɑptɪmɪˈzeɪʃən. kɑnz: fju mæps. ˈoʊnli wən ˈgeɪmˌpleɪ moʊd (ˈhoʊpfəli mɔr wɪl bi ˈædɪd ɪn fˈjuʧər ˈpæʧɪz). ˈsəmˌtaɪmz filz ʤɪst... ɔf. læk əv ə ræŋkt ˈməltiˌpleɪər moʊd. əˈnɔɪɪŋ smɔl ˈfiʧərz ðət ər ˈlækɪŋ səʧ ɛz nɑt biɪŋ ˈeɪbəl tɪ əˈsaɪn jʊr oʊn. kən bi ˈɔkwərd æt taɪmz. ðə geɪm ʤɪst filz sˈlaɪtli rəʃt ənd kʊd hæv bɪn məʧ ˈbɛtər. ˈfaɪnəl skɔr: ɪf jʊr ə fæn əv ðə ˈsɪriz ənd ðə ˈjunəˌvərs, ˌɪgˈnɔr ðə mɪkst rəvˈjuz ənd baɪ ðə geɪm, ɪt ɪz maɪ bɪˈlif ðət ju wɪl ˌɪˈmɛnsli ˌɛnˈʤɔɪ ɪt. dɔn əv wɔr 3 ɪz wərs ðən ðə ˈpriviəs ˌɪnˈstɔlmənts ɪn ðə ˈsɪriz bət ɪt ɪz stɪl ə gʊd geɪm. ˈgɪvɪn ɔl ðə ˈkɑntrəˌvərsi sərˈaʊndɪŋ dɔn əv wɔr 3 aɪ fɛlt laɪk aɪ hæd tɪ raɪt ə ˌrivˈju əv maɪ oʊn. lɛt mi stɑrt ɔf baɪ seɪɪŋ ðət aɪ æm ə juʤ fæn əv ðə ˈsɪriz, ˈhævɪŋ spɛnt ˈkaʊntləs aʊərz pleɪɪŋ boʊθ ɪts fərst ənd ðə ˈsɛkənd instalment*. dɔn əv wɔr 3 ɪz... ˈdɪfərənt. ˈrɛlɪk kʊd hæv ˈteɪkən ən ˈizi əˈproʊʧ ənd ˈsɪmpli ˈriˈmeɪk ðə fərst dɔn əv wɔr wɪθ ˈbɛtər ˈgræfɪks bət ˌɪnˈstɛd ˌdɪˈsaɪdɪd tɪ ɪkˈspɛrəmənt wɪθ ðə ˈʒɑnrə ənd dɪˈzaɪn ˈsəmθɪŋ frɛʃ wɪʧ ɪn maɪ əˈpɪnjən ɪz ðə weɪ tɪ goʊ. aɪ doʊnt wɔnt tɪ pleɪ ðə seɪm geɪm əˈgɛn, aɪ wɔnt tɪ traɪ nu θɪŋz ənd ˈrɛlɪk moʊst ˈdɛfənətli dɪˈlɪvərd ɪn ðət rɪˈgɑrd. raɪt ɔf ðə bæt aɪ wɔnt tɪ ˈæˌdrɛs ɔl ðə ɪkˈstrim heɪt ənd ˌnɛgəˈtɪvəti ðɪs geɪm həz bɪn rɪˈsivɪŋ ˈprɪti məʧ sɪns ðə fərst ˈgeɪmˌpleɪ wɑz ˈʃoʊˌkeɪst. ɛz ɪz ˈɔfən ðə keɪs wɪθ ˈvoʊkəl, ˈnɛgətɪv məˈnɔrəti ðə ˈlaʊdəst ˈvɔɪsɪz wi hir ər ðoʊz hu ˈædvəˌkeɪt ˈbeɪsləs ˈkrɪtɪˌsɪzəm. wɪn aɪ si ˈsəmˌwən ˈgɪvɪŋ ðɪs geɪm ə skɔr bɪtˈwin 0 ənd 4 ɔn (ər ˈɛni ˈəðər ˈmidiəm fər ðət ˈmætər) aɪ luz ɔl rɪˈspɛkt fər səʧ ə ˈpərsən. aɪ gɪt ɪt, ju doʊnt laɪk ðə aɪˈdiə əv ðɪs geɪm biɪŋ ˈɛni ˈdɪfərənt ðən ðə wən. ju wɔnt tɪ riˈlɪv jʊr ˈʧaɪlˌdhʊd ənd græsp ðət ˈflitɪŋ, ɪˈlusɪv ˈfilɪŋ əv nɔˈstælʤə. pərˈhæps ju ər nɑt ə fæn əv ðə artstyle*. ˌwəˈtɛvər. ðə geɪm ɪz stɪl ˈsɑləd ənd ˈivɪn ɪf ju ˈstrɔŋli dɪsˈlaɪk ɪts dɪˈzaɪn ˈʧɔɪsɪz, ju ˈrɪli ʃʊd nɑt reɪt ɪt soʊ dɑrn loʊ. ˈsɪriəsli, ɪf ju θɪŋk dɔn əv wɔr 3 dɪˈzərvz ə skɔr əv 0 du nɑt raɪt ˈɛni rəvˈjuz ɔn ˈɛniˌθɪŋ ˈɛvər əˈgɛn. ɔl raɪt, wɪθ ðət ɔf maɪ ʧɛst lɛt ˈjuˈɛs pərˈsid ˈɔntu ən lʊk æt ðə geɪm ˌɪtˈsɛlf ənd ɪts kɔr ˈfiʧərz. ðə ˈsɪŋgəl pleɪər kæmˈpeɪn. aɪ hæd ˈvɛri haɪ ˌɛkspɛkˈteɪʃənz fər ɪt ˈgɪvɪn haʊ məʧ aɪ ˌɛnˈʤɔɪd ðə kæmˈpeɪn ɪn dɔn əv wɔr 1 2 (ðə ˈlætər əˈspɛʃəli). dɔn əv wɔr 3 ˈdəzənt ˌdɪsəˈpɔɪnt ɪn ðət ˈɛriə. aɪ hərd ˈsəmˌwən dɪˈskraɪbɪŋ ðə sɛd kæmˈpeɪn ɛz ə 'ˈglɔrəˌfaɪd tuˈtɔriəl' wɪʧ aɪ faɪnd ˈbæfəlɪŋ tɪ seɪ ðə list. ðə kæmˈpeɪn ɪz ˈsɑləd, wɛl dɪˈzaɪnd wɪθ kwaɪt ˈdɪfərɪŋ ˈmɪʃənz, səm ˈtruli juˈnik ənd fən. ðə ˈoʊvərˌɔl ˈstɔriˌlaɪn ɪz ˌɛnˈʤɔɪəbəl tu, ɪt həz ɪts dɑrk ənd ˈfəni ˈmoʊmənts (aɪ məst ədˈmɪt ðət wərk ˈrɪli wɛl ɛz ə ˈkɑmɪk rɪˈlif, əˈspɛʃəli ɪn ðə nuəst dɔn əv wɔr). wɪθ ðət biɪŋ sɛd, ðə ˈsɪŋgəl pleɪər moʊd ɪz nɑt ˈpərˌfɪkt ənd həz ɪts flɔz: səm ˈmɪʃənz ər weɪ tu ˈizi ɪn kəmˈpɛrəsən tɪ ˈəðərz wɪʧ kən bi ˈfrəˌstreɪtɪŋ. ˈɔlsoʊ, ðə læk əv ˈsɪstəm ɪz streɪnʤ bət heɪ, ju ʤɪst hæv tɪ seɪv jʊr geɪm mɔr ˈɔfən ənd jul bi faɪn. ˈoʊvərˌɔl, ɪf ju ər ə fæn əv ðə ˈpriviəs geɪmz ənd ðə ˈjunəˌvərs ju ʃʊd hæv ə blæst pleɪɪŋ daʊ kæmˈpeɪn. ɪt tʊk mi ˈsəmˌwɛr bɪtˈwin 22 ənd 25 aʊərz tɪ bit ðə ɪnˈtaɪər moʊd ɔn haɪəst ˈdɪfɪˌkəlti. aɪd laɪk tɪ θɪŋk maɪ skɪl ˈlɛvəl ɪz əˈbəv ðət əv ən ˈævərɪʤ pleɪər soʊ ɪt maɪt teɪk ju ˈivɪn ˈlɔŋgər tɪ bit ðə kæmˈpeɪn. naʊ, tɪ səm pərˈhæps ðə moʊst ˈkruʃəl kəmˈpoʊnənt əv ðə geɪm: ˈməltiˌpleɪər ənd ðə ˈgeɪmˌpleɪ ˌɪtˈsɛlf. hir ɪz wɛr θɪŋz gɪt ˈɪntəˌrɛstɪŋ. wɪn aɪ fərst hərd ðət dɔn əv wɔr 3 wɪl lɔnʧ wɪθ ˈoʊnli wən ˈgeɪmˌpleɪ moʊd ðət wɪl ˈfiʧər 'taʊərz' ənd ə 'kɔr' (ər ˈnɛksəs, kɔl ɪt ˌwəˈtɛvər ju wɔnt) aɪ tɪ seɪ ðə list. simz laɪk ə ˈrɪli boʊld ənd bɪˈzɑr dɪˈzaɪn ʧɔɪs. ðɛn aɪ geɪv ˈoʊpən ˈbeɪtə ə goʊ ənd θɔt mɔr əˈbaʊt ðə weɪ ˈrɛlɪk dɪˈzaɪnd ðɛr geɪm. lɛts meɪk ˈsəmθɪŋ klɪr dɔn əv wɔr 3 ɪz nɑt ə. ˈpipəl ðət kleɪm soʊ ər kəmˈplitli ˈkluləs wɪn ɪt kəmz tɪ geɪm dɪˈzaɪn ənd ˈsɪmpli pleɪɪŋ. wət ˈrɛlɪk traɪd tɪ əˈʧiv ɪz tɪ gɪv ðɛr geɪm ðə kaɪnd əv dɪˈsɪʒən ˈmeɪkɪŋ pleɪərz ɪkˈspɪriəns wɪn pleɪɪŋ ə (seɪm goʊz fər ˈɪˌmoʊʃənz ðə sɛd pleɪərz fil). dɪd ðə kəˈneɪdiən ˈstudiˌoʊ səkˈsid? subjectively*, aɪ kən seɪ ˌɪnˈdid ɪt dɪd. ˈæftər ju pleɪ ðə geɪm fər ə ˈlɔŋgər ˈpɪriəd əv taɪm ju bɪˈgɪn tɪ ˈriəˌlaɪz haʊ ˈmɛni ˈdɪfərənt ˈʧɔɪsɪz ðɛr ər wɪn əˈproʊʧɪŋ ə mæʧ. aɪ hərd rivˈjuərz ˈkleɪmɪŋ dɔn əv wɔr 3 ˈsɪmpləˌfaɪd ðə ˈʒɑnrə baɪ riˈmuvɪŋ ˈstrætəʤiz səʧ ɛz ˈrəʃɪŋ jʊr əˈpoʊnənt ˈdʊrɪŋ ðə ˈərli geɪm. ðət ɪz kəmˈplitli fɔls. tɪ gɪv ju ən ɪgˈzæmpəl, biɪŋ əˈgrɛsɪv ˈdʊrɪŋ ðə ˈərli ˈsteɪʤɪz əv ə mæʧ kən lɛd tɪ əˌnaɪəˈleɪʃən əv ðə ˈɛnəmi ʃild wɪʧ grænts ju ə lɔt əv ˈrisɔrsɪz ənd ən ɪˈlit pɔɪnt wɪʧ ɪn tərn wɪl sˈnoʊˌbɔl jʊr lɛd ˈivɪn ˈfərðər. ɪf ju meɪk ə mɪˈsteɪk ðoʊ ənd ˌoʊvərɪkˈstɛnd wɪn əˈtækɪŋ ə tərət, ju kən stɪl luz ðə mæʧ. ɪˈlits ənd ɔl ðə ˈɔpʃənz ˈɔlsoʊ ɪnˈʃʊr ðət ˈməltəpəl ˈstrætəʤiz ər ˈvaɪəbəl. ˈmitə geɪm maɪt sɛt ɪn æt səm pɔɪnt (ðoʊ aɪ stɪl θɪŋk bɪld ˈɔrdərz wɪl ˈgreɪtli ˈvɛri) bət ˈkɑnstənt əˈdɪʃən əv nu ɪˈlits ɪn fˈjuʧər ˈkɑntɛnt wɪl sɑlv ðət ˈprɑbləm. wət aɪ kænt strɛs ɪˈnəf ðoʊ ɪz ðɪs: æt ɪts hɑrt, dɔn əv wɔr 3 ɪz stɪl ən, məʧ laɪk dɔn əv wɔr 1 əv jʊr ˈɑrmi ɪz ˌæbsəˈlutli ɛˈsɛnʃəl ənd ˈkruʃəl tɪ ðə geɪmz ˈaʊtˌkəm. dɔn əv wɔr 3 ˈɔlsoʊ həz ˈnumərəs flɔz səʧ ɛz ˈvɛri fju mæps ənd ɑd ˈlʊkɪŋ ˈɛləmənts (ˈsəmˌtaɪmz ˈəgli ˈivɪn, tɪ gɪv ju səm ɪgˈzæmpəlz: ˈsərtən ˈaɪˌkɑnz ər ˈrɪli pixelated*, pleɪər ˈproʊˌfaɪl lʊks ˌmidiˈoʊkər ˌɛtˈsɛtərə.). nɑt biɪŋ ˈeɪbəl tɪ ʧeɪnʤ jʊr kən ˈɔlsoʊ bi ˈfrəˌstreɪtɪŋ bət aɪ bɪˈliv ɔl ðoʊz kwərks (səm mɔr əˈnɔɪɪŋ ðən ˈəðərz) wɪl ɪˈvɛnʧəwəli gɪt fɪkst. aɪl bi ˈɑnəst, ɪn səm weɪz ðə geɪm filz rəʃt. æt list ðət ɪz ðə ˌɪmˈprɛʃən aɪ gɑt ˈæftər pleɪɪŋ ɪt fər 30 aʊərz. laɪk ˈmɛnʃənd ˌbiˈfɔr, læk əv ˈsərtən ˈfiʧərz kən bi kwaɪt ˈfrəˌstreɪtɪŋ (tɪ gɪv ju ən ɪgˈzæmpəl, ɛz əv raɪt naʊ ɪt ɪz nɑt ˈpɑsəbəl tɪ sərˈɛndər wɪn pleɪɪŋ ˈɔnˌlaɪn). ðə geɪm ɪz nɑt ˈpərˌfɪkt bət æt ðə seɪm taɪm ɪt ɪz nɑt ɛz bæd ɛz ˈpipəl meɪk ɪt aʊt tɪ bi. proʊz: ˈsɑləd, wɛl dɪˈzaɪnd ˈsɪŋgəl pleɪər kæmˈpeɪn (moʊst ˈdɛfənətli ən ˌɪmˈpruvmənt ˈoʊvər ðə dɔn əv wɔr kæmˈpeɪn, ðə geɪm hæd ə məʧ ˈbɛtər ˈsɪŋgəl pleɪər ɪkˈspɪriəns ðoʊ). 3 wən əv ə kaɪnd ˈreɪsɪz wɪθ juˈnik ˈgeɪmˌpleɪ məˈkænɪks səʧ ɛz ðə wɪθ ðɛr skræps, speɪs mərˈinz wɪθ ðə drɔp pɑd ˈsɪstəm ˌɛtˈsɛtərə. ˈɪnəˌveɪtɪv, ˌfæstˈpeɪst (jɛt stɪl ˈvɛri ˈtæktɪkəl) ˈməltiˌpleɪər moʊd wɪθ ə ˈkɑmplɛks prəˈgrɛʃən ˈsɪstəm. filz ˈvɛri (ˈkɪlɪŋ ˈhənərdz əv ənd ˈɛlˌdɑr wɪθ ən ˌɪmˈpɪriəl naɪt ɪz ʤɪst ˈɛpɪk). ˌaʊtˈstændɪŋ ˈsaʊnˌtræk. gʊd ɑptɪmɪˈzeɪʃən. kɑnz: fju mæps. ˈoʊnli wən ˈgeɪmˌpleɪ moʊd (ˈhoʊpfəli mɔr wɪl bi ˈædɪd ɪn fˈjuʧər ˈpæʧɪz). ˈsəmˌtaɪmz filz ʤɪst... ɔf. læk əv ə ræŋkt ˈməltiˌpleɪər moʊd. əˈnɔɪɪŋ smɔl ˈfiʧərz ðət ər ˈlækɪŋ səʧ ɛz nɑt biɪŋ ˈeɪbəl tɪ əˈsaɪn jʊr oʊn. kən bi ˈɔkwərd æt taɪmz. ðə geɪm ʤɪst filz sˈlaɪtli rəʃt ənd kʊd hæv bɪn məʧ ˈbɛtər. ˈfaɪnəl skɔr: ɪf jʊr ə fæn əv ðə ˈsɪriz ənd ðə ˈjunəˌvərs, ˌɪgˈnɔr ðə mɪkst rəvˈjuz ənd baɪ ðə geɪm, ɪt ɪz maɪ bɪˈlif ðət ju wɪl ˌɪˈmɛnsli ˌɛnˈʤɔɪ ɪt. dɔn əv wɔr 3 ɪz wərs ðən ðə ˈpriviəs ˌɪnˈstɔlmənts ɪn ðə ˈsɪriz bət ɪt ɪz stɪl ə gʊd geɪm. ʧɛk ðɪs bɑks ɪf ju rɪˈsivd ðɪs ˈprɑdəkt fər fri du ju ˌrɛkəˈmɛnd ðɪs geɪm? jɛs noʊ ˈkænsəl seɪv ˈʧeɪnʤɪz
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given all the controversy surrounding dawn of war 3 i felt like i had to write a review of my own. let me start off by saying that i am a huge fan of the series, having spent countless hours playing both its first and the second instalment.
dawn of war 3 is... different. relic could have taken an easy approach and simply remake the first dawn of war with better graphics but instead decided to experiment with the genre and design something fresh which in my opinion is the way to go. i don't want to play the same game again, i want to try new things and relic most definitely delivered in that regard.
right off the bat i want to address all the extreme hate and negativity this game has been receiving pretty much since the first gameplay was showcased. as is often the case with vocal, negative minority - the loudest voices we hear are those who advocate baseless criticism. when i see someone giving this game a score between 0 and 4 on metacritic (or any other medium for that matter) i lose all respect for such a person. i get it, you don't like the idea of this game being any different than the 1st one. you want to relive your childhood and grasp that fleeting, elusive feeling of nostalgia. perhaps you are not a fan of the artstyle. whatever. the game is still solid and even if you strongly dislike its design choices, you really should not rate it so darn low. seriously, if you think dawn of war 3 deserves a score of 0 do not write any reviews on anything ever again.
all right, with that off my chest let us proceed onto an in-depth look at the game itself and its core features. the single player campaign. i had very high expectations for it given how much i enjoyed the campaign in dawn of war 1 & 2 (the latter especially). dawn of war 3 doesn't disappoint in that area. i heard someone describing the said campaign as a 'glorified tutorial' which i find baffling to say the least. the campaign is solid, well designed with quite differing missions, some truly unique and fun. the overall storyline is enjoyable too, it has its dark and funny moments (i must admit that orcs work really well as a comic relief, especially in the newest dawn of war). with that being said, the single player mode is not perfect and has its flaws: some missions are way too easy in comparison to others which can be frustrating. also, the lack of autosave/checkpoint system is strange but hey, you just have to save your game more often and you'll be fine. overall, if you are a fan of the previous games and the 40k universe you should have a blast playing dow 3's campaign. it took me somewhere between 22 and 25 hours to beat the entire sp mode on highest difficulty. i'd like to think my skill level is above that of an average player so it might take you even longer to beat the campaign.
now, to some perhaps the most crucial component of the game: multiplayer and the gameplay itself. here is where things get interesting. when i first heard that dawn of war 3 will launch with only one gameplay mode that will feature 'towers' and a 'core' (or nexus, call it whatever you want) i was...sceptical to say the least. seems like a really bold and bizarre design choice. then i gave open beta a go and thought more about the way relic designed their game. let's make something clear - dawn of war 3 is not a moba. people that claim so are completely clueless when it comes to game design and simply playing. what relic tried to achieve is to give their game the kind of decision making players experience when playing a moba (same goes for emotions the said players feel). did the canadian studio succeed? subjectively, i can say indeed it did. after you play the game for a longer period of time you begin to realize how many different choices there are when approaching a match. i heard players/certain reviewers claiming dawn of war 3 simplified the rts genre by removing strategies such as rushing your opponent during the early game. that is completely false. to give you an example, being aggressive during the early stages of a match can lead to annihilation of the enemy shield which grants you a lot of resources and an elite point which in turn will snowball your lead even further. if you make a mistake tho and overextend when attacking a turret, you can still lose the match. elites and all the customization options also ensure that multiple strategies are viable. meta game might set in at some point (though i still think build orders and/or loadouts will greatly vary) but constant addition of new elites in future content patches/expansions will solve that problem. what i can't stress enough though is this: at its heart, dawn of war 3 is still an rts, much like dawn of war 1. micro-management of your army is absolutely essential and crucial to the game's outcome.
dawn of war 3 also has numerous flaws such as very few maps and odd looking ui elements (sometimes ugly even, to give you some examples: certain icons are really pixelated, player profile looks mediocre etc.). not being able to change your keybinds can also be frustrating but i believe all those quirks (some more annoying than others) will eventually get fixed.
i'll be honest, in some ways the game feels rushed. at least that is the impression i got after playing it for 30+ hours. like mentioned before, lack of certain features can be quite frustrating (to give you an example, as of right now it is not possible to surrender when playing online). the game is not perfect but at the same time it is not as bad as people make it out to be.
pros:
- solid, well designed single player campaign (most definitely an improvement over the dawn of war 1's campaign, the 2nd game had a much better single player experience tho).
- 3 one of a kind races with unique gameplay mechanics such as the orc with their scraps, space marines with the drop pod system etc.
- innovative, fast-paced (yet still very tactical) multiplayer mode with a complex progression system.
- feels very 40k-like (killing hundreds of orcs and eldar with an imperial knight is just epic).
- outstanding soundtrack.
- good optimization.
cons:
- few maps.
- only one gameplay mode (hopefully more will be added in future patches).
- sometimes ui feels just... off.
- lack of a ranked multiplayer mode.
- annoying small features that are lacking such as not being able to assign your own keybinds.
- pathfinding can be awkward at times.
- the game just feels slightly rushed and could have been much better.
final score: 7/10.
if you're a fan of the series and the 40k universe, ignore the mixed reviews and buy the game, it is my belief that you will immensely enjoy it. dawn of war 3 is worse than the previous installments in the series but it is still a good game.
given all the controversy surrounding dawn of war 3 i felt like i had to write a review of my own. let me start off by saying that i am a huge fan of the series, having spent countless hours playing both its first and the second instalment. dawn of war 3 is... different. relic could have taken an easy approach and simply remake the first dawn of war with better graphics but instead decided to experiment with the genre and design something fresh which in my opinion is the way to go. i don't want to play the same game again, i want to try new things and relic most definitely delivered in that regard. right off the bat i want to address all the extreme hate and negativity this game has been receiving pretty much since the first gameplay was showcased. as is often the case with vocal, negative minority - the loudest voices we hear are those who advocate baseless criticism. when i see someone giving this game a score between 0 and 4 on metacritic (or any other medium for that matter) i lose all respect for such a person. i get it, you don't like the idea of this game being any different than the 1st one. you want to relive your childhood and grasp that fleeting, elusive feeling of nostalgia. perhaps you are not a fan of the artstyle. whatever. the game is still solid and even if you strongly dislike its design choices, you really should not rate it so darn low. seriously, if you think dawn of war 3 deserves a score of 0 do not write any reviews on anything ever again. all right, with that off my chest let us proceed onto an in-depth look at the game itself and its core features. the single player campaign. i had very high expectations for it given how much i enjoyed the campaign in dawn of war 1 & 2 (the latter especially). dawn of war 3 doesn't disappoint in that area. i heard someone describing the said campaign as a 'glorified tutorial' which i find baffling to say the least. the campaign is solid, well designed with quite differing missions, some truly unique and fun. the overall storyline is enjoyable too, it has its dark and funny moments (i must admit that orcs work really well as a comic relief, especially in the newest dawn of war). with that being said, the single player mode is not perfect and has its flaws: some missions are way too easy in comparison to others which can be frustrating. also, the lack of autosave/checkpoint system is strange but hey, you just have to save your game more often and you'll be fine. overall, if you are a fan of the previous games and the 40k universe you should have a blast playing dow 3's campaign. it took me somewhere between 22 and 25 hours to beat the entire sp mode on highest difficulty. i'd like to think my skill level is above that of an average player so it might take you even longer to beat the campaign. now, to some perhaps the most crucial component of the game: multiplayer and the gameplay itself. here is where things get interesting. when i first heard that dawn of war 3 will launch with only one gameplay mode that will feature 'towers' and a 'core' (or nexus, call it whatever you want) i was...sceptical to say the least. seems like a really bold and bizarre design choice. then i gave open beta a go and thought more about the way relic designed their game. let's make something clear - dawn of war 3 is not a moba. people that claim so are completely clueless when it comes to game design and simply playing. what relic tried to achieve is to give their game the kind of decision making players experience when playing a moba (same goes for emotions the said players feel). did the canadian studio succeed? subjectively, i can say indeed it did. after you play the game for a longer period of time you begin to realize how many different choices there are when approaching a match. i heard players/certain reviewers claiming dawn of war 3 simplified the rts genre by removing strategies such as rushing your opponent during the early game. that is completely false. to give you an example, being aggressive during the early stages of a match can lead to annihilation of the enemy shield which grants you a lot of resources and an elite point which in turn will snowball your lead even further. if you make a mistake tho and overextend when attacking a turret, you can still lose the match. elites and all the customization options also ensure that multiple strategies are viable. meta game might set in at some point (though i still think build orders and/or loadouts will greatly vary) but constant addition of new elites in future content patches/expansions will solve that problem. what i can't stress enough though is this: at its heart, dawn of war 3 is still an rts, much like dawn of war 1. micro-management of your army is absolutely essential and crucial to the game's outcome. dawn of war 3 also has numerous flaws such as very few maps and odd looking ui elements (sometimes ugly even, to give you some examples: certain icons are really pixelated, player profile looks mediocre etc.). not being able to change your keybinds can also be frustrating but i believe all those quirks (some more annoying than others) will eventually get fixed. i'll be honest, in some ways the game feels rushed. at least that is the impression i got after playing it for 30+ hours. like mentioned before, lack of certain features can be quite frustrating (to give you an example, as of right now it is not possible to surrender when playing online). the game is not perfect but at the same time it is not as bad as people make it out to be. pros: - solid, well designed single player campaign (most definitely an improvement over the dawn of war 1's campaign, the 2nd game had a much better single player experience tho). - 3 one of a kind races with unique gameplay mechanics such as the orc with their scraps, space marines with the drop pod system etc. - innovative, fast-paced (yet still very tactical) multiplayer mode with a complex progression system. - feels very 40k-like (killing hundreds of orcs and eldar with an imperial knight is just epic). - outstanding soundtrack. - good optimization. cons: - few maps. - only one gameplay mode (hopefully more will be added in future patches). - sometimes ui feels just... off. - lack of a ranked multiplayer mode. - annoying small features that are lacking such as not being able to assign your own keybinds. - pathfinding can be awkward at times. - the game just feels slightly rushed and could have been much better. final score: 7/10. if you're a fan of the series and the 40k universe, ignore the mixed reviews and buy the game, it is my belief that you will immensely enjoy it. dawn of war 3 is worse than the previous installments in the series but it is still a good game. check this box if you received this product for free (?) do you recommend this game? yes no cancel save changes
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ðɪs ɪz ʤɪst wət ˈwɔʃɪŋtən, ˌdiˈsi nidz ɔn ðə ˈmɔrnɪŋ ˈæftər ˌɪˌnɔgjəˈreɪʃən deɪ, ə bənʧ əv drəŋk ˈwɑndərɪŋ əraʊnd waɪl ˈɛvriˌwən traɪz tɪ gɪt tɪ wərk: ɪn ðə mud tɪ ˈsɛləˌbreɪt ˈbɑrək ˌɪˌnɔgjəˈreɪʃən æt ə d.c*. bɑr? fər fɔr deɪz ɪn ˈʤænjuˌɛri, bi ˈoʊpən 24 aʊərz ə deɪ. ˈəndər ˈimərʤənsi ˌlɛʤəsˈleɪʃən əˈpruvd baɪ ðə d.c*. ˈkaʊnsəl ˈjɛstərˌdeɪ, ˈɛni ˈdɪstrɪkt ɪˈstæblɪʃmənt wɪθ ə ˈlɪkər ˈlaɪsəns, ˌɪnˈkludɪŋ ˈrɛˌstrɑnts ənd ˈnaɪtˌkləbz, wɪl bi əˈlaʊd tɪ sərv ˈælkəˌhɑl ənˈtɪl 5 a.m*. θri aʊərz ˈleɪtər ðən ˈjuʒəwəl ənd sərv fud frəm ʤæn. 17 ənˈtɪl ðə ˈmɔrnɪŋ ˈæftər ɔn ʤæn. 20 ðə bɪl, ən aɪˈdiə əv ðə ˈrɛˌstrɑnt əˌsoʊʃiˈeɪʃən əv ˌmɛtrəˈpɑlətən ˈwɔʃɪŋtən, wɑz ˌɪntrəˈdust baɪ ˈkaʊnsəl ˈmɛmbər ʤɪm græm 1 hu ˌrɛprɪˈzɛnts ðə ˈneɪbərˌhʊdz əv ˈædəmz ˈmɔrgən ənd maʊnt ˈplɛzənt. ðə ˈkaʊnsəl əˈpruvd ðə bɪl, 9 tɪ 4 wɪθ græm ˈvoʊtɪŋ əˈgɛnst ɪt ˈæftər ðə ˈmɛʒər, wɪʧ ərˈɪʤənəli ɪkˈskludɪd ˈnaɪtˌkləbz æt meɪər ˈeɪdriən ɛm. rɪkˈwɛst, wɑz rɪˈvaɪzd ɔn ðə deɪz tɪ ˌɪnˈklud ðɛm. fɪl ˈmɛndəlsən lɑrʤ), ˈkɛrəl ʃwɔrts lɑrʤ) ənd mˈjʊriəl ˈboʊzər 4 ˈɔlsoʊ ˈvoʊtɪd əˈgɛnst ðə bɪl. wɪθ lɑrʤ kraʊdz ɪkˈspɛktɪd tɪ kəm tɪ ˈwɔʃɪŋtən fər ðə ˌɪˌnɔgjəˈreɪʃən, ðə ˈsɪti məst bi ˈeɪbəl tɪ mit ðɛr ˌɛnərˈteɪnmənt dɪˈmændz, græm hæd sɛd waɪl ˌɪntrəˈdusɪŋ ðə ˈmɛʒər. bət ˈmɛndəlsən, ˈʧɛrmən əv ðə kəˈmɪti ɔn ˈpəblɪk ˈseɪfti ənd ðə ʤuˈdɪʃiˌɛri, ˈkaʊnərd, ˈwɔrnɪŋ əv ˌɪnˈkrist kraɪm, ˈvaɪələns ənd ˈdrəŋkən ˈdraɪvɪŋ. noʊ ə lɔt əv ˈpipəl ər ɪkˈsaɪtɪd əˈbaʊt ðə ˌɪˌnɔgjəˈreɪʃən, ənd aɪ ʃɛr ðət excitement,”*,” ˈmɛndəlsən sɛd. ðɛr ər ˈvɛri fju ˈpipəl aɪ noʊ əv aʊt ˈpɑrtiɪŋ æt 5 ɪn ðə ˈmɔrnɪŋ ər 4 ɪn ðə ˈmɔrnɪŋ hu ˈgɪtɪŋ drəŋk. aɪ θɪŋk ðɛr ər goʊɪŋ tɪ bi ˈkɑnsəkˌwɛnsəz tɪ ðət frəm ə ˈpəblɪk ˈseɪfti ənd ˈpəblɪk ˈɔrdər pɔɪnt əv vju. nɑt ə gʊd ˈpɑləsi tɪ bi supporting.”*.”
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this is just what washington, dc needs on the morning after inauguration day, a bunch of drunk out-of-towners wandering around while everyone tries to get to work:
in the mood to celebrate president-elect barack obama’s inauguration at a d.c. bar? for four days in january, they’ll be open 24 hours a day.
under emergency legislation approved by the d.c. council yesterday, any district establishment with a liquor license, including restaurants and nightclubs, will be allowed to serve alcohol until 5 a.m. — three hours later than usual — and serve food round-the-clock from jan. 17 until the morning after obama’s swearing-in on jan. 20.
the bill, an idea of the restaurant association of metropolitan washington, was introduced by council member jim graham (d-ward 1), who represents the nightlife-heavy neighborhoods of adams morgan and mount pleasant.
the council approved the bill, 9 to 4, with graham voting against it after the measure, which originally excluded nightclubs at mayor adrian m. fenty’s request, was revised on the dais to include them. phil mendelson (d-at large), carol schwartz (r-at large) and muriel bowser (d-ward 4) also voted against the bill.
with large crowds expected to come to washington for the inauguration, the city must be able to meet their entertainment demands, graham had said while introducing the measure. but mendelson, chairman of the council’s committee on public safety and the judiciary, countered, warning of increased crime, violence and drunken driving.
“i know a lot of people are excited about the inauguration, and i share that excitement,” mendelson said. “but there are very few people i know of out partying at 5 in the morning or 4 in the morning who aren’t getting drunk. i think there are going to be consequences to that from a public safety and public order point of view. it’s not a good policy to be supporting.”
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ʤəˈpænz ɪnˈtrɛnʧt dɪˌskrɪməˈneɪʃən təˈwɔrd ˈfɔrənərz ðə əˈsɑhi ˈʃɪmˌbən ˈkəlʧər ˈrisərʧ ˈsɛnər ɑkˈtoʊbər 3 2008 ˈvɑljum 6 ˈɪʃu 10 ʤəˈpænz ɪnˈtrɛnʧt dɪˌskrɪməˈneɪʃən təˈwɔrd ˈfɔrənərz ðə əˈsɑhi ˈʃɪmˌbən trænzˈleɪʃən baɪ wɪl ʤəˈpæn ˈɛvər ˈoʊvərˌkəm ɪts dɪˈstrəst əv ˈfɔrənərz? ðɪs kˈwɛʃən həz bɪn ˈfɔrsfəli poʊzd ɪn ˈvɛriəs ˈgaɪzɪz, moʊst ˈnoʊtəbli pərˈhæps baɪ ðə juˈnaɪtɪd ˈneɪʃənz ˈspɛʃəl ɔn ˈjumən raɪts diene*. ɪn 2005 hi kənˈkludɪd ˈæftər ə ˌɪnˌvɛstəˈgeɪʃən ɪn ʤəˈpæn ðət ðə əˈθɔrətiz wər nɑt duɪŋ ɪˈnəf tɪ ˈtækəl wət hi kɔld ənd proʊˈfaʊnd racism”*” ənd ˌzɛnəˈfoʊbiə, ˌpɑrˈtɪkjələrli əˈgɛnst ɪts ˈfɔrmər kəˈloʊniəl ˈsəbʤɪkts. ðə rɪˈpɔrt əˈpɪrd tɪ ˈvɪndəkeɪt ðə wərk əv kæmˈpeɪnərz səʧ ɛz ˈnæʧərəˌlaɪzd ˌʤæpəˈniz naʊ, ənˈjuˌʒuəli pərˈhæps fər ə ˈmeɪʤər ˈnæʃənəl ˈnuzˌpeɪpər, ðə əˈsɑhi ˈʃɪmˌbən həz ˈweɪdɪd ˈɪntu ðə dəˈbeɪt wɪθ ə ˈmeɪʤər ˈɑrtɪkəl ɔn ðə ˈɪʃu. ˈtaɪtəld, ðə ˈneɪʃən: taɪm tɪ meɪk choices,”*,” ðə ˈɑrtɪkəl ˌriˈkaʊnts teɪlz əv dɪˌskrɪməˈneɪʃən baɪ ˈlɔŋˈtərm ˈfɔrən ˈrɛzɪdənts ˌbiˈfɔr ˈlʊkɪŋ æt haʊ ʤəˈpæn kəmˈpɛrz tɪ ˈəðər ˈneɪʃənz, ˌɪnˈkludɪŋ pərˈhæps ɪts ˈnɪrəst ɪkˈwɪvələnt, saʊθ ˌkɔˈriə. ə ˈlaɪvli ˌɪləˈstreɪʃən hɛlps meɪks ðə pɔɪnt ðət ˈfɔrənərz ˈsəmˌtaɪmz fil laɪk ˈsɪtɪzənz. ðə əˈsɑhi kənˈkludz ðət ðə dərθ əv lɔz hir prəˈtɛktɪŋ ðə ˈlaɪvliˌhʊdz ər raɪts əv meɪks ðə ˈkəntri ˈsəmˈwət juˈnik. ˈəðər ɪz ˈɔlˌmoʊst noʊ ɪgˈzæmpəl əv ˈfɔrənərz biɪŋ ʃət aʊt laɪk this.”*.” ˈɪntəˌrɛstɪŋli, ðə əˈsɑhi dɪd nɑt trænzˈleɪt ðə ˈɑrtɪkəl fər ɪts ˈfɔrən ɪˈdɪʃən. ˈdeɪvɪd məkˈnil əˈpɑrtmənts, ˈrɛˌstrɑnts ˈʤəʤɪŋ mi ɔn maɪ əˈpɪrəns. ðeɪ ˈsəˌspɛkt mi bɪˈkəz nɑt japanese.”*.” ˌpækɪˈstæni ˈnæʃənəl ˈɑli 46 ə ˈrɛzɪdənt əv ˌsɑɪˈtɑmə ˈpriˌfɛkʧər, wɑz stɑpt nɪr hɪz hoʊm baɪ ə pəˈlismən ənd æst, ɔl ðɪs, then?”*?” hi sun lɔst hɪz ˈpeɪʃəns. ðɪs ɪz hɪz tˈwɛnˌtiɛθ jɪr ɪn ʤəˈpæn ənd hi həz ə ˈvælɪd ˈvizə. ˌhaʊˈɛvər, sɪns læst jɪr, hi həz ˈgɔtən mɔr ənd mɔr kˈwɛsʧənz əˈbaʊt hɪz aɪˈdɛntəˌti ənd ˈwərkˌpleɪs, tɪ ðə pɔɪnt wɛr hi wɑz stɑpt baɪ pəˈlis ˈɛvəri deɪ fər ˈsɛvən deɪz. hi wɑz əˈwɛr ðət sɪˈkjʊrəti wɑz biɪŋ ˈtaɪtənd bɪˈkəz əv ðə ˈsəmɪt əv wərld ˈlidərz [wɪʧ tʊk pleɪs ɪn hoʊˈkaɪdoʊ ɪn ˌʤuˈlaɪ 2008 bət stɪl θɔt ɪt ˈoʊvər ðə tɔp. həz ədˈmaɪərd ʤəˈpæn sɪns ˈʧaɪlˌdhʊd. ðɛr ər lɑts əv nis ˈpipəl hir, hi sɪz. bət ˈæftər ðə ˈtɛrəˌrɪzəm əv hi filz ðət ˈloʊkəl aɪz hæv groʊn mɔr səˈspɪʃəs təˈwɔrdz. ˈriəltərz hæv toʊld ɪm, doʊnt teɪk ˈfɔrən renters.”*.” wɪn hi tʊk ə brəˈzɪljən frɛnd tɪ ə ˈhɑˌspɪtəl, ðeɪ rɪfˈjuzd tɪ trit ɪm: ““sorry*, wi doʊnt teɪk ˈfɔrən patients.”*.” ˈrisəntli, ən əˈmɛrɪkən meɪl 44 hu həz lɪvd ɪn ʤəˈpæn 23 jɪrz tʊk hɪz ˈvɪzɪtɪŋ əˈmɛrɪkən frɛnd tɪ ə ʃɑp ɪn ˈtoʊkiˌoʊ. ˈnoʊˌbɑˌdi tʊk ðɛr ˈɔrdər. wɪn hi ɪˈvɛnʧəwəli æst ɪn ˌʤæpəˈniz fər ˈsərvɪs, ə ˈwʊmən hu əˈpɪrd tɪ bi ðə hɛd ˈmænɪʤər sɛd, gaijin”*” [ðə ˈɛpəˌθɛt fər ““foreigner”*”]. ɪt wɑz ə ʃɑk. ðɪs wər ðə ˈjuˈɛs, ðə fərst θɪŋ du ɪz rɪˈpɔrt ɪt tɪ ðə pəˈlis. bət ðɛr ɪz noʊ lɔ əˈgɛnst dɪˌskrɪməˈneɪʃən ɪn ʤəˈpæn, soʊ ðɛrz ˈnəθɪŋ ðə kɑps wɪl du əˈbaʊt it.”*.” ɪn, ɔn ˈnɔrðərnˌmoʊst meɪn ˈaɪlənd əv hoʊˈkaɪdoʊ, ðɛr wər ˈpəblɪk wɪθ saɪnz seɪɪŋ ˈrɛfˌjuz ˈɛntri tɪ foreigners”*” bæk ɪn 1998 ə kɔrt dɪˈtərmənd ðət ðɪs "kˈwɑləˌfaɪd ɛz dɪˌskrɪməˈneɪʃən", ˈhændɪŋ daʊn ə ˈvərdɪkt ˈɔrdərɪŋ wən ɪˈstæblɪʃmənt tɪ peɪ ˌkɑmpənˈseɪʃən. ˌhaʊˈɛvər, ˈmeɪkɪŋ ə laɪf ɪn ʤəˈpæn stɪl tɪ ðɪs deɪ feɪs ˈvɛriəs fɔrmz əv dɪˌskrɪməˈneɪʃən (si ˌɪləˈstreɪʃən). only”*” saɪnz hæv stɪl nɑt ˌdɪsəˈpɪrd, ənd səm ɛˈstæblɪʃmənts ʧɑrʤ ˈɛntri fiz ˈmɛni taɪmz haɪər ðən ˌʤæpəˈniz ˈkəstəmərz. jʊr ˈwərid əˈbaʊt ˈmænərz, ðɛn meɪk ðə rulz klɪr, ənd kɪk aʊt ˈpipəl hu ˈfɑloʊ them,”*,” ɪz ðə ədˈvaɪs ˈɔfərd tɪ ðiz ˈbɪznɪsɪz baɪ, ə ˈneɪtɪv əv ðə juˈnaɪtɪd steɪts wɪθ ˌʤæpəˈniz ˈsɪtɪzənˌʃɪp ənd ən əˈsoʊʃiˌeɪt prəˈfɛsər æt hoʊˈkaɪdoʊ ˌɪnˌfɔrˈmeɪʃən ˌjunəˈvərsəti. hi wɑz ˈɔlsoʊ ə ˈpleɪnəf ɪn ə ˈlɔˌsut əˈgɛnst ən ɪkˈskluʒəˌnɛri bathhouse*. deɪz, wɪn ʤəˈpæn nidz ˈleɪbər frəm ˈoʊvərˈsiz, ˈprɑpərli prəˈtɛktɪŋ ˈfɔrənər raɪts sɛndz ən ˌɪmˈpɔrtənt ˈmɛsɪʤ ðət ˈpipəl ər ˈwɛlkəm here.”*.” wət əˈbaʊt ˈəðər ˈkəntriz? waɪl ðɛr ər ˈpjunətɪv ˈmɛʒərz, ðɛr ər ˈɔlsoʊ muvz tɪ ɪnˈkərəʤ kəmˌjunəˈkeɪʃən. frəm ˌʤuˈlaɪ 2007 saʊθ ˌkɔˈriə bɪˈgæn ɛnˈfɔrsɪŋ ðə ækt ɔn ˈtritmənt əv ˈfɔrənərz rɪˈzaɪdɪŋ ɪn korea”*”. ɪt dɪˈmændz ðət ˈnæʃənəl ənd ˈloʊkəl ˈgəvərnmənts təˈwɔrdz ˈmɛʒərz tɪ prɪˈvɛnt ˌɪˈræʃənəl ˈkeɪsɪz əv discrimination,”*,” proʊˈkleɪmɪŋ ɪn ˈɑrtɪkəl 1 wɪl əˈdæpt tɪ saʊθ ˌkɔˈriən soʊˈsaɪɪti ɪn ə weɪ ðət wɪl ɪˈneɪbəl ðɛm tɪ ˈdɛmənˌstreɪt ðɛr ˌɪndəˈvɪʤəwəl abilities.”*.” saʊθ ˈeɪʤɪŋ soʊˈsaɪɪti ɪz ˈaʊtˌpeɪsɪŋ, ənd ˌɪnərˈnæʃənɑl ˈjunjənz naʊ əˈkaʊnt fər ˈoʊvər 10 pərˈsɛnt əv ɔl ˈmɛrɪʤɪz. ˈfɔrti pərˈsɛnt əv saʊθ ˌkɔˈriən ˈfɑrmərz ənd ˈfɪʃərmɪn hæv ˈwɛlkəmd braɪdz frəm ˈʧaɪnə, ˌsaʊˈθist ˈeɪʒə, ənd ˈəðər ˈkəntriz. ðə əkˈsɛptəns əv ˈfɔrən ˈleɪbərərz kənˈtɪnjuz əˈpeɪs. ðɪs lɔ ɪz ðə rɪˈzəlt əv strɔŋ dɪˈmændz fər ˌɪmˈpruvmənts ɪn ðə ˈjumən raɪts əv ˈfɔrənərz, hu ər ˈprɑpɪŋ əp saʊθ ˌkɔˈriən soʊˈsaɪɪti ənd ɪˈkɑnəmi. ɪn ˈwɛstərn ˈkəntriz, ɪn əˈdɪʃən tɪ ˈpjunətɪv lɔz əˈgɛnst ˈreɪʃəl dɪˌskrɪməˈneɪʃən, ðɛr ər ˈvɛri ˈpaʊərfəl ˌɔrgənəˈzeɪʃənz ˈbækɪŋ əp foreigners’*’ raɪts, səʧ ɛz ɪkˈwɑləti ənd ˈjumən raɪts kəˈmɪʃən, wɪʧ həz ə stæf əv 500 ˈpipəl. ˈrɛzɪdənsɪz doʊld aʊt tɪ waɪt ˈrɛzɪdənts ˈoʊnli; ə ʧaɪld dɪˈnaɪd ˈɛntri ˈɪntu ə skul hiz ə gypsy;”*;” ʤɑb pərˈmoʊʃənz sloʊ ɪn ˈkəmɪŋ ˈmɛni əv ðiz taɪps əv ˈkeɪsɪz ənd kleɪmz floʊ ˈɪntu ðə ˈɔfəsɪz əv ðə kəˈmɪʃən, wɪʧ ˈkɛriz aʊt ˈridrɛs əˈgɛnst dɪˌskrɪməˈneɪʃən baɪ reɪs, ˈʤɛndər, ənd ˌdɪsəˈbɪlɪti. ˈæftər ˌɪnˈvɛstəˌgeɪtɪŋ ə ˈboʊnə faɪd keɪs əv dɪˌskrɪməˈneɪʃən, ðə kəˈmɪʃən prəˈpoʊzɪz ɔl ˈpɑrtiz tɔk tɪ iʧ ˈəðər. ɪf ˌmidiˈeɪʃən feɪlz, ðɛn ðə ˌɔrgənəˈzeɪʃən ˈɪʃuz ən ˈɔrdər fər ˈpɑrtiz tɪ ˌɪmˈpruv ðɛr bɪˈheɪvjər. ɪn ðə ɪˈvɛnt əv ə ˈlɔˌsut, ðə kəˈmɪʃən prəˈvaɪdz ˈligəl ˈfəndɪŋ ənd ˈɔfərz ˈɛvədəns ɪn kɔrt. ɪn ˈrisənt jɪrz, ɛz mɔr ˈpipəl hæv ˈɛməˌgreɪtɪd frəm ˈistərn ˈjʊrəp, ɛz wɛl ɛz frəm ˈæfrɪkɑ ənd ˈeɪʒə, ɪt həz bɪˈkəm ˈhɑrdər tɪ ˈɑrgju ðət dɪˌskrɪməˈneɪʃən ɪz ˈsɪmpli bɪtˈwin ““whites”*” ənd ““non-whites”*”. əˈkɔrdɪŋ tɪ [ˈpætrɪk] ˈdaɪmənd, hɛd əv ə ˈgəvərnmənt ˈpɑləsi ənd ˈstrætəʤi dɪˈvɪʒən wɪˈθɪn ðə kəˈmɪʃən, ər nu ˈdutiz kənˈsərnɪŋ ðə priˈvɛnʃən əv ænˈtægəˌnɪzəmz bɪtˈwin wɪˈθɪn communities.”*.” ɪt ɪz nɑt ˈoʊnli ə ˈmætər əv ˈkrækɪŋ daʊn ɔn dɪˌskrɪməˈneɪʃən ˈæftər ðə fækt, bət ˈɔlsoʊ haʊ tɪ prɪˈvɛnt ɪt ˈhæpənɪŋ ɪn ðə fərst pleɪs. fræns həz ˈbeɪgən traɪɪŋ aʊt ə prəˈsiʤər wɛr ˌæpləˈkeɪʃən fɔrmz fər ˈpəblɪk ˈhaʊzɪŋ, ɛz wɛl ɛz ˈrɛzəˌmeɪz fər ɪmˈplɔɪmənt, ər meɪd əˈnɑnəməs; ðɪs weɪ, ˈpipəl du nɑt noʊ baɪ ən neɪm ɪf ðə ˈlætər ɪz frəm ən ˈɛθnɪk məˈnɔrəti ər ə ˈfɔrən ˈkəntri. ɪn ˈɪŋglənd, ˈloʊkəl ˈgəvərnmənts ər səˈpɔrtɪŋ ɪˈvɛnts wɛr ˈɪməgrənts ənd ˈlɔŋˈtərm ˈrɛzɪdənts kʊk iʧ ˈəðər fud. baɪ ˈmɛθədz ˌɪnˈkludɪŋ traɪəl ənd ˈɛrər, ðeɪ ər ˈbreɪkɪŋ daʊn ˌɪnsəˈkjʊrɪtiz noʊ kabe*), kriˈeɪtɪŋ ˈlidɪŋ ˈkəntri əv immigration”*” senshinkoku*). kriˈeɪtɪŋ lɔz ɪn ʤəˈpæn ðə dəˈbeɪt stɔlz ˌsɑɪˈtɑmə ˈpriˌfɛkʧər, 2007 ə ˈkəpəl ɪn ðɛr ˈsɛvəntiz hæd ʤɪst ˈbeɪgən ˈrɛntɪŋ ən ˈəpˌskeɪl əˈpɑrtmənt, ˈoʊnli tɪ faɪnd ðə deɪ ˌbiˈfɔr ˈmuvɪŋ ðət ðeɪ wʊd bi tərnd əˈweɪ. ðə ˈmænɪʤmənt əˌsoʊʃiˈeɪʃən əv ðə əˈpɑrtmənt faʊnd ðət ˈbaɪˌlɔz fərˈbeɪd ˈrɛntəl ər ˈtrænsfər əv ðɛr əˈpɑrtmənts tɪ ˈfɔrənərz. ðə ˈoʊldəst ˈdɔtər kɔld ðɪs ə vaɪəˈleɪʃən əv ˈjumən raɪts ənd əˈpild tɪ ðə ˈloʊkəl ˈmɪnɪstri əv ˈʤəstɪs, ˈbjʊroʊ əv ˈjumən raɪts. ðə ˈbjʊroʊ ˈɪʃud ə ˈwɔrnɪŋ tɪ ðə əˌsoʊʃiˈeɪʃən ðət ðɪs wɑz ˈtritmənt, kənˈspɪkjuəsli ˈvaɪəleɪtɪŋ ðə ˈfridəm tɪ ʧuz residence”*”. ˌhaʊˈɛvər, ðə əˌsoʊʃiˈeɪʃən rɪfˈjuzd tɪ rɪˈvaɪz ɪts dɪˈsɪʒən, ənd ðə ˈkəpəl hæd tɪ lʊk ˈɛlsˌwɛr. ˈneɪʃənˈwaɪd, ðə ˈbjʊroʊ əv ˈjumən raɪts tʊk ɔn ˈkeɪsɪz əv raɪts vaɪəˈleɪʃənz ɪn 2007 ˌɪnˈkludɪŋ ˈkeɪsɪz əv ˈvaɪələns ər əˈbjuz təˈwɔrdz ˈwɪmən ər ðə ˈɛldərli, ˌɪnˈveɪʒənz əv ˈpraɪvəsi ənd ˈbʊliɪŋ. bət ðɛr wər ˈɔlsoʊ 126 ˈkeɪsɪz əv dɪˌskrɪməˈneɪʃən təˈwɔrdz ˈfɔrənərz, ə ˈfɪgjər ðət ɪz ˌɪnˈkrisɪŋ jɪr ɔn jɪr, wɪθ ˈnumərəs ˈkeɪsɪz ˌɪnˈvɑlvɪŋ rɪfˈjuzəlz əv ˈsərvɪs baɪ ˈrɛntərz, ˈpəblɪk bæθs, ənd hoʊˈtɛlz. ˌhaʊˈɛvər, ˈivɪn ɪn ˈkeɪsɪz dɪˈtərmənd tɪ ˌɪnˈvɑlv dɪˌskrɪməˈneɪʃən, ðə ˈbjʊroʊ ˈoʊnli həz ðə paʊər tɪ ˈɪʃu ““explanations”*” (setsuji*) ər ““warnings”*”, nɑt ˈridrɛs ˈmɛʒərz. ˈmɛni ər dɪˈtərd baɪ ˈlɔˌsuts ənd ðə ɪˈnɔrmɪs ˌɪnˈvɛstmənt əv taɪm, ˈiˌmoʊʃənəl ˈɛnərʤi, ənd ˈməni ðeɪ dɪˈmænd. ɪn ðə ɛnd, ˈmɛni ˈpipəl ʤɪst pʊt əp wɪθ ɪt. ʤəˈpæn stɪl həz noʊ ˌfəndəˈmɛnəl lɔ prəˈtɛktɪŋ ðə ˈlaɪvliˌhʊd ər raɪts əv. ə bɪl fər ðə prəˈtɛkʃən əv raɪts fər ˈhændiˌkæpt ənd ˈwɪmən, wɪʧ ˈɔlsoʊ ˈkəvərz dɪˌskrɪməˈneɪʃən baɪ reɪs ənd ɛθˈnɪsɪti, wɑz dɪˈfitɪd ɪn 2003 dəˈbeɪt ɪz kənˈtɪnjuɪŋ wɪˈθɪn ðə ˈgəvərnmənt ənd ˈrulɪŋ ˈpɑrti ɔn ˈwɛðər tɪ ˌrisəbˈmɪt ɪt. stɪl, ə raɪts committee”*”, ɛnˈtrəstɪd wɪθ ðə ˈdutiz əv ˈhirɪŋ ənd ˌɪnˈvɛstəˌgeɪtɪŋ vaɪəˈleɪʃənz əv ˈjumən raɪts, həz ɛnˈʤɛndərd greɪt ˈkrɪtɪˌsɪzəm frəm kənˈsərvətɪvz ɔn ðə ˈɪʃu əv əˈpɔɪntɪŋ ˈfɔrənərz ɛz kəˈmɪti ˈmɛmbərz. ðə ˈgəvərnmənt ɪˈvɛnʧəwəli dɪd ə volte-face*, seɪɪŋ ðət ˈrɛzɪdənts hu hæv ðə raɪt tɪ voʊt fər ˈpipəl ɪn ðə ˈloʊkəl assemblies”*” ər əˈlaʊd, ðəs ˈlɪmətɪŋ əˈpɔɪntmənts tɪ ˌʤæpəˈniz. ɪn ˈəðər ˈkəntriz, wɛr ˌɔrgənəˈzeɪʃənz prəˈtɛkt ˈfɔrənərz frəm dɪˌskrɪməˈneɪʃən, ðɛr ɪz ˈɔlˌmoʊst noʊ ɪgˈzæmpəl əv ˈfɔrənərz biɪŋ ʃət aʊt laɪk ðɪs. ˈivɪn ˈpipəl wɪˈθɪn ðə ˈrulɪŋ ˈlɪˌbərəl ˌdɛməˈkrætɪk ˈpɑrti hæv bɪn ˈkrɪtɪkəl: ˈvɛri ˌɔrgənəˈzeɪʃənz ðət ər səˈpoʊzd tɪ hɛlp ˈfɔrənərz ɪn ɔl ˈmænər əv ˈdɪfɪˌkəltiz, səʧ ɛz ˈlæŋgwɪʤ ˈbɛriərz, ər ɪn fækt ˈpʊtɪŋ əp ˈbɛriərz əv ðɛr oʊn. ðɛr praɪˈɔrətiz ər ˈtruli skewed”*” tentou*). ðɪs ˈɑrtɪkəl fərst əˈpɪrd ɪn ðə əˈsɑhi ˈʃɪmˌbən ˈmɔrnɪŋ ɪˈdɪʃən, ɑkˈtoʊbər 5 2008 ɪn ðə oʊ (wɪθ təˈmɑˌroʊ ɪn maɪnd) ˈkɑləm. ðə ərˈɪʤənəl tɛkst əv ðə ˈɑrtɪkəl ɪz ɪz ən əˈsoʊʃiˌeɪt prəˈfɛsər æt hoʊˈkaɪdoʊ ˌɪnˌfɔrˈmeɪʃən ˌjunəˈvərsəti. ə ˈjumən raɪts ˈæktɪvɪst, hi ɪz ðə ˈɔθər əv tɪ ənd ɪts ˈɪŋlɪʃ ˈvərʒən, wɪθ θæŋks tɪ fər ˈtɛknɪkəl əˈsɪstəns ɪn ˈrɛndərɪŋ ðə kɑrˈtun ɪn ˈɪŋlɪʃ. wɪl ʤəˈpæn ˈɛvər ˈoʊvərˌkəm ɪts dɪˈstrəst əv ˈfɔrənərz? ðɪs kˈwɛʃən həz bɪn ˈfɔrsfəli poʊzd ɪn ˈvɛriəs ˈgaɪzɪz, moʊst ˈnoʊtəbli pərˈhæps baɪ ðə juˈnaɪtɪd ˈneɪʃənz ˈspɛʃəl ɔn ˈjumən raɪts diene*. ɪn 2005 hi kənˈkludɪd ˈæftər ə ˌɪnˌvɛstəˈgeɪʃən ɪn ʤəˈpæn ðət ðə əˈθɔrətiz wər nɑt duɪŋ ɪˈnəf tɪ ˈtækəl wət hi kɔld ənd proʊˈfaʊnd racism”*” ənd ˌzɛnəˈfoʊbiə, ˌpɑrˈtɪkjələrli əˈgɛnst ɪts ˈfɔrmər kəˈloʊniəl ˈsəbʤɪkts. ðə rɪˈpɔrt əˈpɪrd tɪ ˈvɪndəkeɪt ðə wərk əv kæmˈpeɪnərz səʧ ɛz ˈnæʧərəˌlaɪzd ˌʤæpəˈniz hu ˈɑrgju ðət ʤəˈpæn nidz, əˈməŋ ˈəðər θɪŋz, ən law.now*, ənˈjuˌʒuəli pərˈhæps fər ə ˈmeɪʤər ˈnæʃənəl ˈnuzˌpeɪpər, ðə əˈsɑhi ˈʃɪmˌbən həz ˈweɪdɪd ˈɪntu ðə dəˈbeɪt wɪθ ə ˈmeɪʤər ˈɑrtɪkəl ɔn ðə ˈɪʃu. ˈtaɪtəld, ðə ˈneɪʃən: taɪm tɪ meɪk choices,”*,” ðə ˈɑrtɪkəl ˌriˈkaʊnts teɪlz əv dɪˌskrɪməˈneɪʃən baɪ ˈlɔŋˈtərm ˈfɔrən ˈrɛzɪdənts ˌbiˈfɔr ˈlʊkɪŋ æt haʊ ʤəˈpæn kəmˈpɛrz tɪ ˈəðər ˈneɪʃənz, ˌɪnˈkludɪŋ pərˈhæps ɪts ˈnɪrəst ɪkˈwɪvələnt, saʊθ ˌkɔˈriə. ə ˈlaɪvli ˌɪləˈstreɪʃən hɛlps meɪks ðə pɔɪnt ðət ˈfɔrənərz ˈsəmˌtaɪmz fil laɪk ˈsɪtɪzənz. ðə əˈsɑhi kənˈkludz ðət ðə dərθ əv lɔz hir prəˈtɛktɪŋ ðə ˈlaɪvliˌhʊdz ər raɪts əv meɪks ðə ˈkəntri ˈsəmˈwət juˈnik. ˈəðər ɪz ˈɔlˌmoʊst noʊ ɪgˈzæmpəl əv ˈfɔrənərz biɪŋ ʃət aʊt laɪk this.”*.” ˈɪntəˌrɛstɪŋli, ðə əˈsɑhi dɪd nɑt trænzˈleɪt ðə ˈɑrtɪkəl fər ɪts ˈfɔrən ɪˈdɪʃən. ˈdeɪvɪd ˈʤəʤɪŋ mi ɔn maɪ əˈpɪrəns. ðeɪ ˈsəˌspɛkt mi bɪˈkəz nɑt japanese.”*.” ˌpækɪˈstæni ˈnæʃənəl ˈɑli 46 ə ˈrɛzɪdənt əv ˌsɑɪˈtɑmə ˈpriˌfɛkʧər, wɑz stɑpt nɪr hɪz hoʊm baɪ ə pəˈlismən ənd æst, ɔl ðɪs, then?”*?” hi sun lɔst hɪz ˈpeɪʃəns. ðɪs ɪz hɪz tˈwɛnˌtiɛθ jɪr ɪn ʤəˈpæn ənd hi həz ə ˈvælɪd ˈvizə. ˌhaʊˈɛvər, sɪns læst jɪr, hi həz ˈgɔtən mɔr ənd mɔr kˈwɛsʧənz əˈbaʊt hɪz aɪˈdɛntəˌti ənd ˈwərkˌpleɪs, tɪ ðə pɔɪnt wɛr hi wɑz stɑpt baɪ pəˈlis ˈɛvəri deɪ fər ˈsɛvən deɪz. hi wɑz əˈwɛr ðət sɪˈkjʊrəti wɑz biɪŋ ˈtaɪtənd bɪˈkəz əv ðə ˈsəmɪt əv wərld ˈlidərz [wɪʧ tʊk pleɪs ɪn hoʊˈkaɪdoʊ ɪn ˌʤuˈlaɪ 2008 bət stɪl θɔt ɪt ˈoʊvər ðə həz ədˈmaɪərd ʤəˈpæn sɪns ˈʧaɪlˌdhʊd. ðɛr ər lɑts əv nis ˈpipəl hir, hi sɪz. bət ˈæftər ðə ˈtɛrəˌrɪzəm əv hi filz ðət ˈloʊkəl aɪz hæv groʊn mɔr səˈspɪʃəs təˈwɔrdz. ˈriəltərz hæv toʊld ɪm, doʊnt teɪk ˈfɔrən renters.”*.” wɪn hi tʊk ə brəˈzɪljən frɛnd tɪ ə ˈhɑˌspɪtəl, ðeɪ rɪfˈjuzd tɪ trit ɪm: ““sorry*, wi doʊnt teɪk ˈfɔrən patients.”recently*, ən əˈmɛrɪkən meɪl 44 hu həz lɪvd ɪn ʤəˈpæn 23 jɪrz tʊk hɪz ˈvɪzɪtɪŋ əˈmɛrɪkən frɛnd tɪ ə ʃɑp ɪn ˈtoʊkiˌoʊ. ˈnoʊˌbɑˌdi tʊk ðɛr ˈɔrdər. wɪn hi ɪˈvɛnʧəwəli æst ɪn ˌʤæpəˈniz fər ˈsərvɪs, ə ˈwʊmən hu əˈpɪrd tɪ bi ðə hɛd ˈmænɪʤər sɛd, gaijin”*” [ðə ˈɛpəˌθɛt fər ““foreigner”*”]. ɪt wɑz ə ʃɑk. ðɪs wər ðə ˈjuˈɛs, ðə fərst θɪŋ du ɪz rɪˈpɔrt ɪt tɪ ðə pəˈlis. bət ðɛr ɪz noʊ lɔ əˈgɛnst dɪˌskrɪməˈneɪʃən ɪn ʤəˈpæn, soʊ ðɛrz ˈnəθɪŋ ðə kɑps wɪl du əˈbaʊt, ɔn ˈnɔrðərnˌmoʊst meɪn ˈaɪlənd əv hoʊˈkaɪdoʊ, ðɛr wər ˈpəblɪk wɪθ saɪnz seɪɪŋ ˈrɛfˌjuz ˈɛntri tɪ foreigners”*” bæk ɪn 1998 ə kɔrt dɪˈtərmənd ðət ðɪs "kˈwɑləˌfaɪd ɛz dɪˌskrɪməˈneɪʃən", ˈhændɪŋ daʊn ə ˈvərdɪkt ˈɔrdərɪŋ wən ɪˈstæblɪʃmənt tɪ peɪ ˌkɑmpənˈseɪʃən. ˌhaʊˈɛvər, ˈmeɪkɪŋ ə laɪf ɪn ʤəˈpæn stɪl tɪ ðɪs deɪ feɪs ˈvɛriəs fɔrmz əv dɪˌskrɪməˈneɪʃən (si ˌɪləˈstreɪʃən). only”*” saɪnz hæv stɪl nɑt ˌdɪsəˈpɪrd, ənd səm ɛˈstæblɪʃmənts ʧɑrʤ ˈɛntri fiz ˈmɛni taɪmz haɪər ðən ˌʤæpəˈniz əˈbaʊt ˈəðər ˈkəntriz? waɪl ðɛr ər ˈpjunətɪv ˈmɛʒərz, ðɛr ər ˈɔlsoʊ muvz tɪ ɪnˈkərəʤ ˌʤuˈlaɪ 2007 saʊθ ˌkɔˈriə bɪˈgæn ɛnˈfɔrsɪŋ ðə ækt ɔn ˈtritmənt əv ˈfɔrənərz rɪˈzaɪdɪŋ ɪn korea”*”. ɪt dɪˈmændz ðət ˈnæʃənəl ənd ˈloʊkəl ˈgəvərnmənts təˈwɔrdz ˈmɛʒərz tɪ prɪˈvɛnt ˌɪˈræʃənəl ˈkeɪsɪz əv discrimination,”*,” proʊˈkleɪmɪŋ ɪn ˈɑrtɪkəl 1 wɪl əˈdæpt tɪ saʊθ ˌkɔˈriən soʊˈsaɪɪti ɪn ə weɪ ðət wɪl ɪˈneɪbəl ðɛm tɪ ˈdɛmənˌstreɪt ðɛr ˌɪndəˈvɪʤəwəl abilities.”*.” saʊθ ˈeɪʤɪŋ soʊˈsaɪɪti ɪz ˈaʊtˌpeɪsɪŋ, ənd ˌɪnərˈnæʃənɑl ˈjunjənz naʊ əˈkaʊnt fər ˈoʊvər 10 pərˈsɛnt əv ɔl ˈmɛrɪʤɪz. ˈfɔrti pərˈsɛnt əv saʊθ ˌkɔˈriən ˈfɑrmərz ənd ˈfɪʃərmɪn hæv ˈwɛlkəmd braɪdz frəm ˈʧaɪnə, ˌsaʊˈθist ˈeɪʒə, ənd ˈəðər ˈkəntriz. ðə əkˈsɛptəns əv ˈfɔrən ˈleɪbərərz kənˈtɪnjuz əˈpeɪs. ðɪs lɔ ɪz ðə rɪˈzəlt əv strɔŋ dɪˈmændz fər ˌɪmˈpruvmənts ɪn ðə ˈjumən raɪts əv ˈfɔrənərz, hu ər ˈprɑpɪŋ əp saʊθ ˌkɔˈriən soʊˈsaɪɪti ənd ˈwɛstərn ˈkəntriz, ɪn əˈdɪʃən tɪ ˈpjunətɪv lɔz əˈgɛnst ˈreɪʃəl dɪˌskrɪməˈneɪʃən, ðɛr ər ˈvɛri ˈpaʊərfəl ˌɔrgənəˈzeɪʃənz ˈbækɪŋ əp foreigners’*’ raɪts, səʧ ɛz ɪkˈwɑləti ənd ˈjumən raɪts kəˈmɪʃən, wɪʧ həz ə stæf əv 500 ˈpipəl. ˈrɛzɪdənsɪz doʊld aʊt tɪ waɪt ˈrɛzɪdənts ˈoʊnli; ə ʧaɪld dɪˈnaɪd ˈɛntri ˈɪntu ə skul hiz ə gypsy;”*;” ʤɑb pərˈmoʊʃənz sloʊ ɪn ˈkəmɪŋ ˈmɛni əv ðiz taɪps əv ˈkeɪsɪz ənd kleɪmz floʊ ˈɪntu ðə ˈɔfəsɪz əv ðə kəˈmɪʃən, wɪʧ ˈkɛriz aʊt ˈridrɛs əˈgɛnst dɪˌskrɪməˈneɪʃən baɪ reɪs, ˈʤɛndər, ənd ˌɪnˈvɛstəˌgeɪtɪŋ ə ˈboʊnə faɪd keɪs əv dɪˌskrɪməˈneɪʃən, ðə kəˈmɪʃən prəˈpoʊzɪz ɔl ˈpɑrtiz tɔk tɪ iʧ ˈəðər. ɪf ˌmidiˈeɪʃən feɪlz, ðɛn ðə ˌɔrgənəˈzeɪʃən ˈɪʃuz ən ˈɔrdər fər ˈpɑrtiz tɪ ˌɪmˈpruv ðɛr bɪˈheɪvjər. ɪn ðə ɪˈvɛnt əv ə ˈlɔˌsut, ðə kəˈmɪʃən prəˈvaɪdz ˈligəl ˈfəndɪŋ ənd ˈɔfərz ˈɛvədəns ɪn kɔrt. ɪn ˈrisənt jɪrz, ɛz mɔr ˈpipəl hæv ˈɛməˌgreɪtɪd frəm ˈistərn ˈjʊrəp, ɛz wɛl ɛz frəm ˈæfrɪkɑ ənd ˈeɪʒə, ɪt həz bɪˈkəm ˈhɑrdər tɪ ˈɑrgju ðət dɪˌskrɪməˈneɪʃən ɪz ˈsɪmpli bɪtˈwin ““whites”*” ənd ““non-whites”*”. əˈkɔrdɪŋ tɪ [ˈpætrɪk] ˈdaɪmənd, hɛd əv ə ˈgəvərnmənt ˈpɑləsi ənd ˈstrætəʤi dɪˈvɪʒən wɪˈθɪn ðə kəˈmɪʃən, ər nu ˈdutiz kənˈsərnɪŋ ðə priˈvɛnʃən əv ænˈtægəˌnɪzəmz bɪtˈwin wɪˈθɪn ɪz nɑt ˈoʊnli ə ˈmætər əv ˈkrækɪŋ daʊn ɔn dɪˌskrɪməˈneɪʃən ˈæftər ðə fækt, bət ˈɔlsoʊ haʊ tɪ prɪˈvɛnt ɪt ˈhæpənɪŋ ɪn ðə fərst pleɪs. fræns həz ˈbeɪgən traɪɪŋ aʊt ə prəˈsiʤər wɛr ˌæpləˈkeɪʃən fɔrmz fər ˈpəblɪk ˈhaʊzɪŋ, ɛz wɛl ɛz ˈrɛzəˌmeɪz fər ɪmˈplɔɪmənt, ər meɪd əˈnɑnəməs; ðɪs weɪ, ˈpipəl du nɑt noʊ baɪ ən neɪm ɪf ðə ˈlætər ɪz frəm ən ˈɛθnɪk məˈnɔrəti ər ə ˈfɔrən ˈkəntri. ɪn ˈɪŋglənd, ˈloʊkəl ˈgəvərnmənts ər səˈpɔrtɪŋ ɪˈvɛnts wɛr ˈɪməgrənts ənd ˈlɔŋˈtərm ˈrɛzɪdənts kʊk iʧ ˈəðər fud. baɪ ˈmɛθədz ˌɪnˈkludɪŋ traɪəl ənd ˈɛrər, ðeɪ ər ˈbreɪkɪŋ daʊn ˌɪnsəˈkjʊrɪtiz noʊ kabe*), kriˈeɪtɪŋ ˈlidɪŋ ˈkəntri əv immigration”*” ˈpriˌfɛkʧər, 2007 ə ˈkəpəl ɪn ðɛr ˈsɛvəntiz hæd ʤɪst ˈbeɪgən ˈrɛntɪŋ ən ˈəpˌskeɪl əˈpɑrtmənt, ˈoʊnli tɪ faɪnd ðə deɪ ˌbiˈfɔr ˈmuvɪŋ ðət ðeɪ wʊd bi tərnd əˈweɪ. ðə ˈmænɪʤmənt əˌsoʊʃiˈeɪʃən əv ðə əˈpɑrtmənt faʊnd ðət ˈbaɪˌlɔz fərˈbeɪd ˈrɛntəl ər ˈtrænsfər əv ðɛr əˈpɑrtmənts tɪ ˈfɔrənərz. ðə ˈoʊldəst ˈdɔtər kɔld ðɪs ə vaɪəˈleɪʃən əv ˈjumən raɪts ənd əˈpild tɪ ðə ˈloʊkəl ˈmɪnɪstri əv ˈʤəstɪs, ˈbjʊroʊ əv ˈjumən raɪts. ðə ˈbjʊroʊ ˈɪʃud ə ˈwɔrnɪŋ tɪ ðə əˌsoʊʃiˈeɪʃən ðət ðɪs wɑz ˈtritmənt, kənˈspɪkjuəsli ˈvaɪəleɪtɪŋ ðə ˈfridəm tɪ ʧuz residence”*”. ˌhaʊˈɛvər, ðə əˌsoʊʃiˈeɪʃən rɪfˈjuzd tɪ rɪˈvaɪz ɪts dɪˈsɪʒən, ənd ðə ˈkəpəl hæd tɪ lʊk elsewhere.nationwide*, ðə ˈbjʊroʊ əv ˈjumən raɪts tʊk ɔn ˈkeɪsɪz əv raɪts vaɪəˈleɪʃənz ɪn 2007 ˌɪnˈkludɪŋ ˈkeɪsɪz əv ˈvaɪələns ər əˈbjuz təˈwɔrdz ˈwɪmən ər ðə ˈɛldərli, ˌɪnˈveɪʒənz əv ˈpraɪvəsi ənd ˈbʊliɪŋ. bət ðɛr wər ˈɔlsoʊ 126 ˈkeɪsɪz əv dɪˌskrɪməˈneɪʃən təˈwɔrdz ˈfɔrənərz, ə ˈfɪgjər ðət ɪz ˌɪnˈkrisɪŋ jɪr ɔn jɪr, wɪθ ˈnumərəs ˈkeɪsɪz ˌɪnˈvɑlvɪŋ rɪfˈjuzəlz əv ˈsərvɪs baɪ ˈrɛntərz, ˈpəblɪk bæθs, ənd hoʊˈtɛlz. ˌhaʊˈɛvər, ˈivɪn ɪn ˈkeɪsɪz dɪˈtərmənd tɪ ˌɪnˈvɑlv dɪˌskrɪməˈneɪʃən, ðə ˈbjʊroʊ ˈoʊnli həz ðə paʊər tɪ ˈɪʃu ““explanations”*” (setsuji*) ər ““warnings”*”, nɑt ˈridrɛs ˈmɛʒərz. ˈmɛni ər dɪˈtərd baɪ ˈlɔˌsuts ənd ðə ɪˈnɔrmɪs ˌɪnˈvɛstmənt əv taɪm, ˈiˌmoʊʃənəl ˈɛnərʤi, ənd ˈməni ðeɪ dɪˈmænd. ɪn ðə ɛnd, ˈmɛni ˈpipəl ʤɪst pʊt əp wɪθ stɪl həz noʊ ˌfəndəˈmɛnəl lɔ prəˈtɛktɪŋ ðə ˈlaɪvliˌhʊd ər raɪts əv. ə bɪl fər ðə prəˈtɛkʃən əv raɪts fər ˈhændiˌkæpt ənd ˈwɪmən, wɪʧ ˈɔlsoʊ ˈkəvərz dɪˌskrɪməˈneɪʃən baɪ reɪs ənd ɛθˈnɪsɪti, wɑz dɪˈfitɪd ɪn 2003 dəˈbeɪt ɪz kənˈtɪnjuɪŋ wɪˈθɪn ðə ˈgəvərnmənt ənd ˈrulɪŋ ˈpɑrti ɔn ˈwɛðər tɪ ˌrisəbˈmɪt ɪt. stɪl, ə raɪts committee”*”, ɛnˈtrəstɪd wɪθ ðə ˈdutiz əv ˈhirɪŋ ənd ˌɪnˈvɛstəˌgeɪtɪŋ vaɪəˈleɪʃənz əv ˈjumən raɪts, həz ɛnˈʤɛndərd greɪt ˈkrɪtɪˌsɪzəm frəm kənˈsərvətɪvz ɔn ðə ˈɪʃu əv əˈpɔɪntɪŋ ˈfɔrənərz ɛz kəˈmɪti ˈmɛmbərz. ðə ˈgəvərnmənt ɪˈvɛnʧəwəli dɪd ə volte-face*, seɪɪŋ ðət ˈrɛzɪdənts hu hæv ðə raɪt tɪ voʊt fər ˈpipəl ɪn ðə ˈloʊkəl assemblies”*” ər əˈlaʊd, ðəs ˈlɪmətɪŋ əˈpɔɪntmənts tɪ ˈəðər ˈkəntriz, wɛr ˌɔrgənəˈzeɪʃənz prəˈtɛkt ˈfɔrənərz frəm dɪˌskrɪməˈneɪʃən, ðɛr ɪz ˈɔlˌmoʊst noʊ ɪgˈzæmpəl əv ˈfɔrənərz biɪŋ ʃət aʊt laɪk ðɪs. ˈivɪn ˈpipəl wɪˈθɪn ðə ˈrulɪŋ ˈlɪˌbərəl ˌdɛməˈkrætɪk ˈpɑrti hæv bɪn ˈkrɪtɪkəl: ˈvɛri ˌɔrgənəˈzeɪʃənz ðət ər səˈpoʊzd tɪ hɛlp ˈfɔrənərz ɪn ɔl ˈmænər əv ˈdɪfɪˌkəltiz, səʧ ɛz ˈlæŋgwɪʤ ˈbɛriərz, ər ɪn fækt ˈpʊtɪŋ əp ˈbɛriərz əv ðɛr oʊn. ðɛr praɪˈɔrətiz ər ˈtruli skewed”*” ˈɑrtɪkəl fərst əˈpɪrd ɪn ðə əˈsɑhi ˈʃɪmˌbən ˈmɔrnɪŋ ɪˈdɪʃən, ɑkˈtoʊbər 5 2008 ɪn ðə oʊ (wɪθ təˈmɑˌroʊ ɪn maɪnd) ˈkɑləm. ðə ərˈɪʤənəl tɛkst əv ðə ˈɑrtɪkəl ɪz hir ˈpoʊstɪd æt ʤəˈpæn ˈfoʊkɪs ɔn ɑkˈtoʊbər 25 ɪz ən əˈsoʊʃiˌeɪt prəˈfɛsər æt hoʊˈkaɪdoʊ ˌɪnˌfɔrˈmeɪʃən ˌjunəˈvərsəti. ə ˈjumən raɪts ˈæktɪvɪst, hi ɪz ðə ˈɔθər əv tɪ ənd ɪts ˈɪŋlɪʃ ˈvərʒən, "ˌʤæpəˈniz hɑt spərɪŋz keɪs ənd ˈreɪʃəl dɪˌskrɪməˈneɪʃən ɪn ʤəˈpæn (əˈkɑʃi ɪŋk) ənd ˈkoʊˈɑθər əv ə baɪˈlɪŋgwəl ˈgaɪdˌbʊk fər ˈɪməgrənts ɪn θæŋks tɪ fər ˈtɛknɪkəl əˈsɪstəns ɪn ˈrɛndərɪŋ ðə kɑrˈtun ɪn ˈɪŋlɪʃ.
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japan's entrenched discrimination toward foreigners the asahi shimbun culture research centertober 3, 2008 volume 6 | issue 10 japan's entrenched discrimination toward foreigners
the asahi shimbun
translation by arudou debito
will japan ever overcome its distrust of foreigners? this question has been forcefully posed in various guises, most notably perhaps by the united nations special rapporteur on human rights doudou diene. in 2005 he concluded after a nine-day investigation in japan that the authorities were not doing enough to tackle what he called japan’s “deep and profound racism” and xenophobia, particularly against its former colonial subjects. the report appeared to vindicate the work of campaigners such as naturalized japanese
now, unusually perhaps for a major national newspaper, the asahi shimbun has waded into the debate with a major article on the issue. titled, “opening the nation: time to make choices,” the article recounts tales of discrimination by long-term foreign residents before looking at how japan compares to other nations, including perhaps its nearest equivalent, south korea. a lively illustration helps makes the point that foreigners sometimes feel like second-class citizens. the asahi concludes that the dearth of laws here protecting the livelihoods or rights of non-japanese makes the country somewhat unique. “in other countries…there is almost no example of foreigners being shut out like this.” interestingly, the asahi did not translate the article for its foreign edition. david mcneill
apartments, hospitals...even restaurants
“they’re judging me on my appearance. they suspect me because i’m not japanese.” pakistani national ali nusrat (46), a resident of saitama prefecture, was stopped near his home by a policeman and asked, “what's all this, then?” he soon lost his patience. this is his twentieth year in japan and he has a valid visa. however, since last year, he has gotten more and more questions about his identity and workplace, to the point where he was stopped by police every day for seven days. he was aware that security was being tightened because of the g8 summit of world leaders [which took place in hokkaido in july 2008], but still thought it over the top.
nusrat has admired japan since childhood. there are lots of nice people here, he says. but after the terrorism of 9/11, he feels that local eyes have grown more suspicious towards non-japanese. realtors have told him, “we don't take foreign renters.” when he took a brazilian friend to a hospital, they refused to treat him: “sorry, we don't take foreign patients.”
recently, an american male (44) who has lived in japan 23 years took his visiting american friend to a yakitori shop in tokyo. nobody took their order. when he eventually asked in japanese for service, a woman who appeared to be the head manager said, “no gaijin” [the epithet for “foreigner”]. it was a shock. “if this were the us, the first thing we’d do is report it to the police. but there is no law against discrimination in japan, so there's nothing the cops will do about it.”
in otaru, on japan’s northernmost main island of hokkaido, there were public bathhouses with signs saying “we refuse entry to foreigners” back in 1998. a court determined that this "qualified as discrimination", handing down a verdict ordering one establishment to pay compensation. however, non-japanese making a life in japan still to this day face various forms of discrimination (see illustration). “japanese only” signs have still not disappeared, and some establishments charge non-japanese entry fees many times higher than japanese customers.
“if you're worried about people’s manners, then make the rules clear, and kick out people who don’t follow them,” is the advice offered to these businesses by arudou debito, a native of the united states with japanese citizenship and an associate professor at hokkaido information university. he was also a plaintiff in a lawsuit against an exclusionary bathhouse. “these days, when japan needs labor from overseas, properly protecting foreigner rights sends an important message that people are welcome here.”
what about other countries? while there are punitive measures, there are also moves to encourage communication.
from july 2007, south korea began enforcing the “basic act on treatment of foreigners residing in korea”. it demands that national and local governments “strive towards measures to prevent irrational cases of discrimination,” proclaiming in article 1: “foreigners will adapt to south korean society in a way that will enable them to demonstrate their individual abilities.” south korea’s aging society is outpacing japan’s, and international unions now account for over 10 percent of all marriages. forty percent of south korean farmers and fishermen have welcomed brides from china, southeast asia, and other countries. the acceptance of foreign laborers continues apace. this law is the result of strong demands for improvements in the human rights of foreigners, who are propping up south korean society and economy.
in western countries, in addition to punitive laws against racial discrimination, there are very powerful organizations backing up foreigners’ rights, such as britain’s equality and human rights commission, which has a staff of 500 people. public-sector residences doled out to white residents only; a child denied entry into a school “because he's a gypsy;” job promotions slow in coming -- many of these types of cases and claims flow into the offices of the commission, which carries out redress against discrimination by race, gender, and disability.
after investigating a bona fide case of discrimination, the commission proposes all parties talk to each other. if mediation fails, then the organization issues an order for parties to improve their behavior. in the event of a lawsuit, the commission provides legal funding and offers evidence in court. in recent years, as more people have emigrated from eastern europe, as well as from africa and asia, it has become harder to argue that discrimination is simply between “whites” and “non-whites”. according to [patrick] diamond, head of a government policy and strategy division within the commission, “there are new duties concerning the prevention of antagonisms between ethnicities within communities.”
it is not only a matter of cracking down on discrimination after the fact, but also how to prevent it happening in the first place. france has begun trying out a procedure where application forms for public housing, as well as resumes for employment, are made anonymous; this way, people do not know by an applicant’s name if the latter is from an ethnic minority or a foreign country. in england, local governments are supporting events where immigrants and long-term residents cook each other food. by methods including trial and error, they are breaking down deeply-held insecurities (kokoro no kabe), creating “a leading country of immigration” (imin senshinkoku).
creating anti-discrimination laws in japan -- the debate stalls
saitama prefecture, 2007: a non-japanese couple in their seventies had just begun renting an upscale apartment, only to find the day before moving that they would be turned away. the management association of the apartment found that bylaws forbade rental or transfer of their apartments to foreigners. the couple’sdest daughter called this a violation of human rights and appealed to the local ministry of justice, bureau of human rights. the bureau issued a warning to the association that this was “discriminatory treatment, conspicuously violating the freedom to choose one’s residence”. however, the association refused to revise its decision, and the couple had to look elsewhere.
nationwide, the bureau of human rights took on 21,600 cases of rights violations in 2007, including cases of violence or abuse towards women or the elderly, invasions of privacy and bullying. but there were also 126 cases of discrimination towards foreigners, a figure that is increasing year on year, with numerous cases involving refusals of service by renters, public baths, and hotels. however, even in cases determined to involve discrimination, the bureau only has the power to issue “explanations” (setsuji) or “warnings”, not redress measures. many are deterred by lawsuits and the enormous investment of time, emotional energy, and money they demand. in the end, many people just put up with it.
japan still has no fundamental law protecting the livelihood or rights of non-japanese. a bill for the protection of rights for handicapped and women, which also covers discrimination by race and ethnicity, was defeated in 2003. debate is continuing within the government and ruling party on whether to resubmit it. still, a “human rights committee”, entrusted with the duties of hearing and investigating violations of human rights, has engendered great criticism from conservatives on the issue of appointing foreigners as committee members. the government eventually did a volte-face, saying that “only residents who have the right to vote for people in the local assemblies” are allowed, thus limiting appointments to japanese.
in other countries, where organizations protect foreigners from discrimination, there is almost no example of foreigners being shut out like this. even people within the ruling liberal democratic party have been critical: “the very organizations that are supposed to help foreigners in all manner of difficulties, such as language barriers, are in fact putting up barriers of their own. their priorities are truly skewed” (honmatsu tentou).
this article first appeared in the asahi shimbun morning edition,tober 5, 2008 in the ashita o kangaeru (with tomorrow in mind) column. the original text of the article is archived
arudou debito is an associate professor at hokkaido information university. a human rights activist, he is the author of japaniizu onrii--otaru onsen nyuuyoku kyohi mondai to jinshu sabetsu and its english version,
with thanks to miki kaoru for technical assistance in rendering the cartoon in english. will japan ever overcome its distrust of foreigners? this question has been forcefully posed in various guises, most notably perhaps by the united nations special rapporteur on human rights doudou diene. in 2005 he concluded after a nine-day investigation in japan that the authorities were not doing enough to tackle what he called japan’s “deep and profound racism” and xenophobia, particularly against its former colonial subjects. the report appeared to vindicate the work of campaigners such as naturalized japanese arudou debito , who argue that japan needs, among other things, an anti-discrimination law.now, unusually perhaps for a major national newspaper, the asahi shimbun has waded into the debate with a major article on the issue. titled, “opening the nation: time to make choices,” the article recounts tales of discrimination by long-term foreign residents before looking at how japan compares to other nations, including perhaps its nearest equivalent, south korea. a lively illustration helps makes the point that foreigners sometimes feel like second-class citizens. the asahi concludes that the dearth of laws here protecting the livelihoods or rights of non-japanese makes the country somewhat unique. “in other countries…there is almost no example of foreigners being shut out like this.” interestingly, the asahi did not translate the article for its foreign edition. david mcneill“they’re judging me on my appearance. they suspect me because i’m not japanese.” pakistani national ali nusrat (46), a resident of saitama prefecture, was stopped near his home by a policeman and asked, “what's all this, then?” he soon lost his patience. this is his twentieth year in japan and he has a valid visa. however, since last year, he has gotten more and more questions about his identity and workplace, to the point where he was stopped by police every day for seven days. he was aware that security was being tightened because of the g8 summit of world leaders [which took place in hokkaido in july 2008], but still thought it over the top.nusrat has admired japan since childhood. there are lots of nice people here, he says. but after the terrorism of 9/11, he feels that local eyes have grown more suspicious towards non-japanese. realtors have told him, “we don't take foreign renters.” when he took a brazilian friend to a hospital, they refused to treat him: “sorry, we don't take foreign patients.”recently, an american male (44) who has lived in japan 23 years took his visiting american friend to a yakitori shop in tokyo. nobody took their order. when he eventually asked in japanese for service, a woman who appeared to be the head manager said, “no gaijin” [the epithet for “foreigner”]. it was a shock. “if this were the us, the first thing we’d do is report it to the police. but there is no law against discrimination in japan, so there's nothing the cops will do about it.”in otaru, on japan’s northernmost main island of hokkaido, there were public bathhouses with signs saying “we refuse entry to foreigners” back in 1998. a court determined that this "qualified as discrimination", handing down a verdict ordering one establishment to pay compensation. however, non-japanese making a life in japan still to this day face various forms of discrimination (see illustration). “japanese only” signs have still not disappeared, and some establishments charge non-japanese entry fees many times higher than japanese customers.what about other countries? while there are punitive measures, there are also moves to encourage communication.from july 2007, south korea began enforcing the “basic act on treatment of foreigners residing in korea”. it demands that national and local governments “strive towards measures to prevent irrational cases of discrimination,” proclaiming in article 1: “foreigners will adapt to south korean society in a way that will enable them to demonstrate their individual abilities.” south korea’s aging society is outpacing japan’s, and international unions now account for over 10 percent of all marriages. forty percent of south korean farmers and fishermen have welcomed brides from china, southeast asia, and other countries. the acceptance of foreign laborers continues apace. this law is the result of strong demands for improvements in the human rights of foreigners, who are propping up south korean society and economy.in western countries, in addition to punitive laws against racial discrimination, there are very powerful organizations backing up foreigners’ rights, such as britain’s equality and human rights commission, which has a staff of 500 people. public-sector residences doled out to white residents only; a child denied entry into a school “because he's a gypsy;” job promotions slow in coming -- many of these types of cases and claims flow into the offices of the commission, which carries out redress against discrimination by race, gender, and disability.after investigating a bona fide case of discrimination, the commission proposes all parties talk to each other. if mediation fails, then the organization issues an order for parties to improve their behavior. in the event of a lawsuit, the commission provides legal funding and offers evidence in court. in recent years, as more people have emigrated from eastern europe, as well as from africa and asia, it has become harder to argue that discrimination is simply between “whites” and “non-whites”. according to [patrick] diamond, head of a government policy and strategy division within the commission, “there are new duties concerning the prevention of antagonisms between ethnicities within communities.”it is not only a matter of cracking down on discrimination after the fact, but also how to prevent it happening in the first place. france has begun trying out a procedure where application forms for public housing, as well as resumes for employment, are made anonymous; this way, people do not know by an applicant’s name if the latter is from an ethnic minority or a foreign country. in england, local governments are supporting events where immigrants and long-term residents cook each other food. by methods including trial and error, they are breaking down deeply-held insecurities (kokoro no kabe), creating “a leading country of immigration” (imin senshinkoku).saitama prefecture, 2007: a non-japanese couple in their seventies had just begun renting an upscale apartment, only to find the day before moving that they would be turned away. the management association of the apartment found that bylaws forbade rental or transfer of their apartments to foreigners. the couple’sdest daughter called this a violation of human rights and appealed to the local ministry of justice, bureau of human rights. the bureau issued a warning to the association that this was “discriminatory treatment, conspicuously violating the freedom to choose one’s residence”. however, the association refused to revise its decision, and the couple had to look elsewhere.nationwide, the bureau of human rights took on 21,600 cases of rights violations in 2007, including cases of violence or abuse towards women or the elderly, invasions of privacy and bullying. but there were also 126 cases of discrimination towards foreigners, a figure that is increasing year on year, with numerous cases involving refusals of service by renters, public baths, and hotels. however, even in cases determined to involve discrimination, the bureau only has the power to issue “explanations” (setsuji) or “warnings”, not redress measures. many are deterred by lawsuits and the enormous investment of time, emotional energy, and money they demand. in the end, many people just put up with it.japan still has no fundamental law protecting the livelihood or rights of non-japanese. a bill for the protection of rights for handicapped and women, which also covers discrimination by race and ethnicity, was defeated in 2003. debate is continuing within the government and ruling party on whether to resubmit it. still, a “human rights committee”, entrusted with the duties of hearing and investigating violations of human rights, has engendered great criticism from conservatives on the issue of appointing foreigners as committee members. the government eventually did a volte-face, saying that “only residents who have the right to vote for people in the local assemblies” are allowed, thus limiting appointments to japanese.in other countries, where organizations protect foreigners from discrimination, there is almost no example of foreigners being shut out like this. even people within the ruling liberal democratic party have been critical: “the very organizations that are supposed to help foreigners in all manner of difficulties, such as language barriers, are in fact putting up barriers of their own. their priorities are truly skewed” (honmatsu tentou).this article first appeared in the asahi shimbun morning edition,tober 5, 2008 in the ashita o kangaeru (with tomorrow in mind) column. the original text of the article is archived here . posted at japan focus ontober 25, 2008.arudou debito is an associate professor at hokkaido information university. a human rights activist, he is the author of japaniizu onrii--otaru onsen nyuuyoku kyohi mondai to jinshu sabetsu and its english version, "japanese only"--the otaru hot springs case and racial discrimination in japan (akashi shoten inc) and coauthor of a bilingual guidebook for immigrants in japan.with thanks to miki kaoru for technical assistance in rendering the cartoon in english.
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ˈoʊˈkeɪ, soʊ ðə ˌpriˈsizən goʊz ɔn, ənd wiv naʊ riʧt "drɛs rɪˈhərsəl wik". ðə ˈsiˌhɔks ʃʊd trit ðɪs wiks geɪm ˈprɪti ˈsɪriəsli ɪn tərmz əv ðɛr prɑˈʤɛktəd ˈstɑrtərz, ənd wi kʊd si ˈrəsəl ˈwɪlsən ənd ˈkəmpəˌni pleɪ wɛl ˈɪntu ðə θərd kˈwɔrtər. tɪ ˈprivˌju ðə ʃoʊ ɔn ˈsæˌtɪˌdeɪ, hɪrz maɪ θərd teɪk æt ˈgɛsɪŋ ðə ˈsiˌhɔks' ˈrɑstər fər ðə ˈoʊpənɪŋ əv 2014 ju kən ʧɛk aʊt frəm wik 1 ənd frəm wik 2 ɪf ju laɪk, ənd ðɪs wik ðɛr ər ə fju əˈdɪʃənəl ˈʧeɪnʤɪz. lɛts du ðɪs. əˈfɛns 25 kˈwɔrtərˌbæks 2 kip: ˈrəsəl ˈwɪlsən 215 ˈʤæksən 215 kət: r.j*. ˈɑrʧər 220 ˈkɑmɛnts: ˈɑrʧər lʊkt ˈprɪti gʊd læst ˈfraɪˌdeɪ ənd meɪ ˈivɪn faɪnd hɪmˈsɛlf ə ʤɑb wəns ɪts ɔl sɛd ənd dən, bət aɪ daʊt ɪts ɪn siˈætəl ðɪs jɪr. ɪz du bæk "fər ðə ˈoʊpənər" sɪz pit ˈkɛrəl, soʊ wɪl goʊ wɪθ ðə ɪkˈspɪriəns ˈfæktər. ˈʤæksənz bɪn ˈrənɪŋ ðɪs əˈfɛns smuð sɪns deɪz əv underoos*. ˈrənɪŋ bæks 4 kip: lɪnʧ 215 ˈrɑbərt ˈtərbɪn 220 krɪˈstin ˈmaɪkəl 230 ˈdɛrɪk ˈkoʊlmən 233 kət: wɪl 285 rɑd smɪθ 231 ˈbrændən ˈkɑtəm 262 ˈtɑməs rɔlz 215 ˈkɑmɛnts: əm ˈdrɑpɪŋ rɔlz ðɪs wik, wɪθ ðə θɔt ðət ɪts məʧ mɔr ˈlaɪkli hid klɪr ˈweɪvərz ənd hɪt ðə ˈpræktɪs skwɑd. ɪts ˈɔlˌweɪz ə rɪsk tɪ traɪ tɪ snik gaɪz ju laɪk ˈɔntu ðət tim, bət waɪl ðɛrz pəˈtɛnʃəl ðɛr, aɪ ˈhævənt sin ˈɛniˌθɪŋ ˈʃɑkɪŋ frəm rɔlz kwaɪt jɛt. ðət kʊd ʧeɪnʤ ðɪs wik, əv kɔrs, bət ˈfræŋkli aɪv laɪkt wət aɪv sin frəm rɑd smɪθ ˈivɪn mɔr. smɪθs ə saɪz æt 230 bət hi rənz wɪθ ˈpərpəs ənd ˈɔfərz səm nis ˈvælju ɪn ðə pæs geɪm. wɪl si haʊ ðɪs grup ʃeɪks aʊt, bət ɔn ðɪs ˌɪtəˈreɪʃən, aɪv gɑt ˈtərbɪn ɛz ˈbæˌkəp, wɪθ ə ˈsprɪŋkəl əv krɪˈstin mɪkst ɪn. æt ˈfʊlˌbæk, əm ˈroʊlɪŋ wɪθ ˈdɛrɪk ˈkoʊlmən fər maɪ ˈfaɪnəl 53 pit ˈkɛrəl ˈmɛnʃənd ðət wɪθ ðɛr dɪˈfɛnsɪv laɪn ˈkɑnvərt ˈprɑʤɛkts ˈteɪkɪŋ spɑts ɔn ðə ˈrɑstər, ðiz pleɪərz gɪv ðɛm ˈimərʤənsi ˈɔpʃənz ɔn ðə dɪˈfɛnsɪv laɪn. ðɪs meɪks sˈlaɪtli lɛs ˈvæljəbəl, ənd aɪ θɪŋk ˈkoʊlmənz ɔˈrɛdi gɑt ðə ɛʤ. waɪd rɪˈsivərz 6 kip: krɪs ˈmæθjuz 230 dəg ˈbɔldwən 189 ʤərˈmeɪn kərs 215 ˈtaɪlər ˈlɑkɪt 185 rɪˈkɑrdoʊ 211 b.j*. ˈdænjɛlz 218 pəp: pɔl ˈrɪʧərdsən 183 [pəp] kət: ˈkɛvɪn smɪθ 215 ˈkɛvɪn ˈnɔrwʊd 200 ˈwɪljəmz, 210 ˈkɑmɛnts: ˈkɛrəl wɑz əˈgɛn ˈɛfjusɪv ɪn hɪz preɪz fər b.j*. ˈdænjɛlz, soʊ dɪˈspaɪt ðə tu drɑps ənd pənt ɪn wik 2 əm ˈroʊlɪŋ wɪθ ˈdænjɛlz ɛz ðə ənd ˈfaɪnəl rɪˈsivər. hi kʊd ɛnd əp biɪŋ ə ˈæktɪv ˈoʊvər ə gaɪ laɪk rɪˈkɑrdoʊ bɪˈkəz əv hɪz əˈbɪləˌti tɪ pleɪ kˈwɔrtərˌbæk ɪn ə pɪnʧ. ˈkɛvɪn ˈnɔrwʊd ənd ˈwɪljəmz kɔt ə pæs əˈpis læst wik, bət əm goʊɪŋ tɪ nid tɪ si ˈsəmθɪŋ mɔr frəm ðɛm ðɪs wik tɪ pʊt ðɛm ɔn maɪ 53 əm haɪ ɔn boʊθ ɪn ðə pəˈtɛnʃəl dɪˈpɑrtmənt, bət ɪts ʤɪst təf wɪn ðɛrz nɑt məʧ ˈtænʤəbəl pərˈdəkʃən ɪn geɪmz. wɪθ ˈrəsəl ˈwɪlsən pleɪɪŋ ˈdipər ˈɪntu ðɪs geɪm, ðɪs kʊd hɛlp θɪŋz fər ðə ˈbəbəl gaɪz ɪn ðɪs grup. taɪt ɛnd 3 kip: ti ˈʤɪmi græm 265 ti luk ˈwɪlsən 260 ti ˈkupər 240 kət: ti ˈænθɔˌni məˈkɔɪ 275 ti ˈælən 250 ˈkɑmɛnts: ðə θərd taɪt ɛnd spɑt ɪz ˈprɪti məʧ ɪn ðə ɛr, ənd əm nɑt ˈkɑnfədənt ɪn ˈɛni gɛs fər ðət roʊl. ðɪs wik, əm goʊɪŋ wɪθ ˈkupər ɪn ðə dɪˈpɑrtmənt. ju kʊd tɔk mi aʊt əv ðɪs ˈprɪti ˈizəli ðoʊ. əˈfɛnsɪv laɪn 10 kip: ˈrəsəl 315 ˈʤəstɪn brɪt 325 ˈsiˈwən dru ˈnoʊvæk 300 j.r*. sˈwizi 320 ˈgɛri ˈgɪliəm 306 ˈoʊˈti ˈælvɪn ˈbeɪli 335 ʒɔnˈpjɛr 300 mɑrk 307 ˈtɛri pul 315 300 kət: ˈoʊˈti ˈʤɛsi ˈdeɪvɪs 309 ɑg ˈmɪltən 324 wɪl 296 ˈpætrɪk luɪs 305 ˈkɑmɛnts: fər ðɪs wiks ˈrɑstər, aɪ wɛnt wɪθ tɛn əˈfɛnsɪv ˈlaɪnmən, ˈædɪŋ dɛpθ tɪ ə grup ðət lʊks tɪ ˈrɪli nid ɪt. aɪ θɪŋk ðət ˈrəsəl, ˈʤəstɪn brɪt, dru ˈnoʊvæk, j.r*. sˈwizi, ənd ˈgɛri ˈgɪliəm wɪl ɛnd əp biɪŋ ðə ˈstɑrtərz hir, wɪθ ˈælvɪn ˈbeɪli ɛz ðə swɪŋ ˈtækəl, ənd ʒɔnˈpjɛr ɛz ðə swɪŋ ˌɪnˈtɪriər ˈlaɪnmən. aɪ kɛpt, pul, ənd ɛz dɪˌvɛləpˈmɛnəl taɪps, ɛz aɪ ˈdɪdənt si məʧ frəm ˈmɪltən,, luɪs, ər ˈdeɪvɪs læst wik tɪ pʊt ðɛm əˈhɛd əv ðə ˈrʊkiz. aɪ θɪŋk kʊd ˈsərtənli bi kət ðoʊ, ənd ɪn ðɪs grup, hiz ðə moʊst ɔn ðə ˈbəbəl. hɪz ˈəpˈsaɪd rɪˈmeɪnz haɪ, bət hiz soʊ rɑ ðət siˈætəl meɪ traɪ tɪ snik ɪm ˈɔntu ðə ˈpræktɪs skwɑd. ɛz ˈmɛnʃənd əˈbəv, ðoʊ, hɪz əˈbɪləˌti tɪ fɪl ɪn ɔn ðə ɪn ən ɪkˈstrim pɪnʧ kʊd pəˈtɛnʃəli ərn ɪm ə ˈrɑstər spɑt. dɪˈfɛns 25 dɪˈfɛnsɪv laɪn ˌɪnˈtɪriər 4 kip: ˈbrændən ˈmɛbən 305 ˈrubɪn 325 ˈʤɔrdən hɪl 305 t.y*. məˈgɪl 300 kət: smɪθ 300 ˈʤɛsi ˈwɪljəmz 320 ˈkɑmɛnts: noʊ ˈʧeɪnʤɪz hir frəm læst wik. aɪ laɪk wət aɪv sin frəm məˈgɪl ənd aɪ daʊt hid meɪk ɪt θru ˈweɪvərz. smɪθ krækt ə rɪb læst wik soʊ hɪz hɛlθ ɪz ən ˈɪʃu, ənd aɪ θɪŋk ˈʤɛsi ˈwɪljəmz ɪz stɪl ə weɪz əˈweɪ frəm biɪŋ fʊl strɛŋθ. ˈwɪljəmz lʊkt ˈprɪti gʊd æt taɪmz pleɪɪŋ ɔn ðə ɛnd ðɪs pæst wik, soʊ hiz ˈdɛfənətli ˈsəmˌwən tɪ wɔʧ ɔn ˈsæˌtɪˌdeɪ. dɪˈfɛnsɪv laɪn ɛʤ 4 kip: ˈlioʊ klɪf ˈævrɪl 260 ˈmaɪkəl ˈbɛnɪt 275 fræŋk klɑrk 271 ˈlioʊ mɑrʃ 255 kət: grɛg skrəgz 275 ˈlioʊ 245 ˈdeɪvɪd kɪŋ 270 ˈdɛmɑrkɪs dɑbz 280 ˈʤuljəs 285 ˈkɑmɛnts: əm ˈtɛmptɪd tɪ meɪk rum fər grɛg skrəgz ər ˈʤuljəs (ər ˈivɪn dɑbz) hir, bət ɪts təf wɪn əm ˈkipɪŋ 10 əˈfɛnsɪv ˈlaɪnmən ənd 10 dɪˈfɛnsɪv bæks. əm ˈædɪŋ ˈnəmbərz tɪ ðə spɑts wɪθ ðə moʊst ˈtɛnjəwəs dɛpθ, ənd dɪˈfɛnsɪv laɪn simz laɪk siˈætəlz bɛst pəˈzɪʃən grup. wɪθ ðət ɪn maɪnd, siˈætəl, ɪn ðɪs ˌɪtəˈreɪʃən, wɪl wəns əˈgɛn roʊl wɪθ ðə fɔr aɪv bɪn ˈroʊlɪŋ wɪθ ɔl əˈlɔŋ. ˈlaɪnˌbækərz 7 kip: 246 ˈbɑbi ˈwægnər 241 brus ˈərvɪn 263 ˈkɛvɪn 232 brɑk kɔɪl 235 maɪk ˈmɔrgən 226 ˈɛrɪk 230 kət: paʊnd ˈæləks ˈsɪŋgəltən 242 paʊnd ˈnili 236 paʊnd ˈtaɪrəl ˈædəmz, 228 ˈkɑmɛnts: noʊ ˈʧeɪnʤɪz. həz kənˈtɪnjud tɪ meɪk pleɪz ɔn ˈspɛʃəl timz, wɪʧ ˈrɪli hɛlps hɪz kɔz fər ðə ˈrɑstər. dɪˈfɛnsɪv bæks 10 kip: ˈrɪʧərd ˈʃərmən 195 ˈkɛri ˈwɪljəmz 190 ərl ˈtɑməs 202 kæm ˈʧænsələr 232 ˈmɑrkəs ˈbərli 189 diɔn ˈbeɪli 215 ˈrɑnəld ˈmɑrtɪn 220 shɛd 225 ˈsaɪmən 205 taɪ smɪθ, 190 pəp: ˈʤɛrəˌmi leɪn 190 [pəp] kət: wɪl ˈblækmən 204 raɪən ˈmərfi, 214 ˈdəgləs məkˈnil 212 moʊˈhæmɪd 202 weɪd 185 ˈkinən ˈlæmbərt 209 ˈzɪmərmən 213 ˈkilən ˈʤɑnsən 210 ˈstivən ˈtɛrəl 197 ˈkɑmɛnts: hɪrz wɛr, ɛz pər ˈjuʒəwəl, θɪŋz gɪt ˈɪntəˌrɛstɪŋ. wɪθ wɪl ˈblækmən stɪl ˈsɪtɪŋ aʊt, ɪts təf tɪ noʊ wət ðə ˈsiˌhɔks hæv wɪθ ɪm. hi kʊd ˈsərtənli ˈbərli ənd lænd ɔn ðə ˈrɑstər wəns ɪt ɔl ʃeɪks aʊt, bət raɪt naʊ aɪv gɑt ˈbərli (eɪʤ ənd kləb kənˈtroʊl) ˈmeɪkɪŋ ðə ˈrɑstər ɛz ðə ˈstɑrtɪŋ ˈnɪkəl. aɪv ˈɔlsoʊ gɑt ə səˈpraɪz swɑp, ˈsɛndɪŋ ˈstivən ˈtɛrəl ɔf ðə ˈbəbəl ənd θroʊɪŋ ˈrɑnəld ˈmɑrtɪn ɔn ðə ˈrɑstər. ˈmɑrtənz drɔn reɪv rəvˈjuz frəm pit ˈkɛrəl ənd meɪd ə fju pleɪz ɔn ˈfraɪˌdeɪ naɪt, soʊ wɪθ hɪz əˈbɪləˌti (pər ˈrɪʧərd) tɪ pleɪ boʊθ fri ˈseɪfti ənd strɔŋ ˈseɪfti, hi sniks ɔn ɪn ðɪs ɪˈdɪʃən. ˈbeɪli, ɛz ju wɛl noʊ, həz ˈɔlsoʊ ˈgɔtən ə lɔt əv preɪz frəm pit ˈkɛrəl ənd flaɪz əraʊnd laɪk ə bæt aʊt əv ˈheɪdiz, soʊ hi meɪks maɪ ˈrɑstər ˈtɛrəl meɪ bi bæk ɔn ðɪs lɪst kəm nɛkst wik, bət hi həz bɪn ˈvɛri kwaɪət (ˈmeɪbi ðæts ə gʊd θɪŋ?) ðəs fɑr. ɪn ˌriˈæləˌti hi wɪl ˈprɑbəˌbli meɪk ðə ˈrɑstər, bət aɪ ˈwɔntɪd tɪ ˈprɛzənt ðɪs ɛz ə sɪˈnɛrioʊ. raɪən ˈmərfi ɪz ˈpræktɪsɪŋ əˈgɛn ðɪs wik soʊ wɪl ˈfaɪnəli gɪt ə ʧæns tɪ si wət hi kən du, ənd ˈhoʊpfəli moʊˈhɑmɛd ənd ˈdəgləs məkˈnil gɪt səm geɪm snæps ɔn ˈsæˌtɪˌdeɪ. spɛk 3 kip: pi ʤɑn raɪən 217 ˈɛˈlɛs klɪnt ˈgrɛʃəm 240 keɪ ˈstivən 210 kət: ˈɛˈlɛs neɪt bɔɪər, 215 ˈkɑmɛnts: noʊ səˈpraɪzɪz hir, noʊ ˈʧeɪnʤɪz hir. ˈoʊˈkeɪ, soʊ ɪz ɪn ðə bʊks.
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ok, so the preseason goes on, and we've now reached "dress rehearsal week". the seahawks should treat this week's game pretty seriously in terms of their projected starters, and we could see russell wilson and company play well into the third quarter. to preview the show on saturday, here's my third take at guessing the seahawks' 53-man roster for the opening of 2014.
you can check out 1.0 from week 1 and 2.0 from week 2 if you like, and this week there are a few additional changes.
let's do this.
offense (25):
quarterbacks (2):
keep:
qb1 russell wilson 5'10, 215
qb2 tarvaris jackson 6'2, 215
cut:
qb r.j. archer 6'2, 220
comments: archer looked pretty good last friday and may even find himself a job once it's all said and done, but i doubt it's in seattle this year. t-jack is due back "for the opener" says pete carroll, so we'll go with the experience factor. jackson's been running this offense smooth since days of underoos.
running backs (4):
keep:
rb marshawn lynch 5'11, 215
rb robert turbin 5'11, 220
rb christine michael 5'10, 230
fb derrick coleman 6'0, 233
cut:
fb will tukuafu 6'4, 285
fb rod smith 6'3, 231
fb/te brandon cottom 6'2, 262
rb thomas rawls 5'11, 215
comments: i'm dropping rawls this week, with the thought that it's much more likely he'd clear waivers and hit the practice squad. it's always a risk to try to sneak guys you like onto that team, but while there's potential there, i haven't seen anything shocking from rawls quite yet. that could change this week, of course, but frankly i've liked what i've seen from rod smith even more. smith's a non-prototypical size at 6'3, 230, but he runs with purpose and offers some nice value in the pass game. we'll see how this group shakes out, but on this iteration, i've got turbin as marshawn's backup, with a sprinkle of christine mixed in.
at fullback, i'm rolling with derrick coleman for my final 53. pete carroll mentioned that with their defensive line-to-offensive line convert projects taking spots on the roster, these players give them gameday emergency options on the defensive line. this makes tukuafu slightly less valuable, and i think coleman's already got the edge.
wide receivers (6):
keep:
wr chris matthews 6'5, 230
wr doug baldwin 5'10, 189
wr jermaine kearse 6'1, 215
wr tyler lockett 5'10 185
wr ricardo lockette 6'2, 211
wr b.j. daniels 5'11, 218
pup:
wr paul richardson 6'1, 183 [pup]
cut:
wr kevin smith 5'11, 215
wr kevin norwood 6'2, 200
wr kasen williams, 6'1, 210
comments: carroll was again effusive in his praise for b.j. daniels, so despite the two drops and muffed punt in week 2, i'm rolling with daniels as the 6th and final receiver. he could end up being a game-day active over a guy like ricardo lockette because of his ability to play quarterback in a pinch.
kevin norwood and kasen williams caught a pass apiece last week, but i'm going to need to see something more from them this week to put them on my 53. i'm high on both in the potential department, but it's just tough when there's not much tangible production in games. with russell wilson playing deeper into this game, this could help things for the bubble guys in this group.
tight end (3):
keep:
te jimmy graham 6'7, 265
te luke willson 6'5, 260
te cooper helfet 6'4, 240
cut:
te anthony mccoy 6'5, 275
te rashaun allen 6'5, 250
comments: the third tight end spot is pretty much in the air, and i'm not confident in any guess for that role. this week, i'm going with cooper helfet in the experience/consistency department. you could talk me out of this pretty easily though.
offensive line (10):
keep:
lt1 russell okung 6'5, 315
lg1 justin britt 6'6, 325
c1 drew nowak 6'4, 300
rg1 j.r. sweezy 6'5, 320
rt1 gary gilliam 6'6, 306
ot alvin bailey 6'3, 335
ol lemuel jeanpierre 6'3 300
g/t mark glowinski 6'4, 307
t/g terry poole 6'5, 315
g/c kristjan sokoli 6'5, 300
cut:
ot jesse davis 6'6, 309
og keavon milton 6'4, 324
ol will pericak 6'4, 296
oc patrick lewis 6'1, 305
comments: for this week's roster, i went with ten offensive linemen, adding depth to a group that looks to really need it. i think that russell okung, justin britt, drew nowak, j.r. sweezy, and garry gilliam will end up being the starters here, with alvin bailey as the swing tackle, and lemuel jeanpierre as the swing interior lineman. i kept glowinski, poole, and sokoli as developmental types, as i didn't see much from milton, pericak, lewis, or davis last week to put them ahead of the rookies. i think sokoli could certainly be cut though, and in this group, he's the most on the bubble. his upside remains high, but he's so raw that seattle may try to sneak him onto the practice squad.
as mentioned above, though, his ability to fill in on the dl in an extreme pinch could potentially earn him a roster spot.
defense (25)
defensive line interior (4)
keep:
nt1b brandon mebane 6'1, 305
nt1n ahtyba rubin 6'2, 325
3t1n jordan hill 6'1, 305
nt/3t t.y. mcgill 6'0, 300
cut:
3t d'anthony smith 6'2, 300
3t/nt jesse williams 6'3, 320
comments: no changes here from last week. i like what i've seen from mcgill and i doubt he'd make it through waivers. smith cracked a rib last week so his health is an issue, and i think jesse williams is still a ways away from being full strength. williams looked pretty good at times playing on the 5-technique strongside end this past week, so he's definitely someone to watch on saturday.
defensive line edge (4):
keep:
leo cliff avril 6'3, 260
5t/3t michael bennett 6'4, 275
5t/3t frank clark 6'3, 271
leo cassius marsh 6'4, 255
cut:
3t/5t greg scruggs 6'3, 275
leo obum gwacham 6'5, 245
5t/de david king 6'4, 270
5t/3t demarcus dobbs 6'2, 280
5t/de julius warmsley 6'2, 285
comments: i'm tempted to make room for greg scruggs or julius warmsley (or even dobbs) here, but it's tough when i'm keeping 10 offensive linemen and 10 defensive backs. i'm adding numbers to the spots with the most tenuous depth, and defensive line seems like seattle's best position group. with that in mind, seattle, in this iteration, will once again roll with the four i've been rolling with all along.
linebackers (7):
keep:
olb1 k.j.wright 6'4, 246
mlb1 bobby wagner 6'0, 241
leo/de bruce irvin 6'3, 263
olb2 kevin pierre-louis 6'0, 232
mlb2 brock coyle 6'1, 235
slb mike morgan 6'3, 226
olb eric pinkins 6'3, 230
cut:
lb alex singleton 6'2, 242
lb quayshawn nealy 6'0, 236
lb tyrell adams, 6'2, 228
comments: no changes. pinkins has continued to make plays on special teams, which really helps his cause for the roster.
defensive backs (10)
keep:
cb1 richard sherman 6'3, 195
cb2 cary williams 6'1, 190
fs1 earl thomas 5'10, 202
ss1 kam chancellor 6'3, 232
nb1 marcus burley 5'10, 189
fs/ss dion bailey 6'0, 215
ss/fs ronald martin 6'2, 220
cb/fs/ss deshawn shead 6'1, 225
cb tharold simon 6'2, 205
cb/nb tye smith, 6'0, 190
pup:
cb jeremy lane 6'0, 190 [pup]
cut:
nb will blackmon 6'0, 204
ss ryan murphy, 6'3, 214
cb douglas mcneil 6'3, 212
cb mohammed seisay 6'1, 202
fs triston wade 5'11, 185
ss keenan lambert 6'0, 209
ss tyrequek zimmerman 5'11, 213
ss keelan johnson 5'11, 210
fs/nb steven terrell 5'10, 197
comments: here's where, as per usual, things get interesting.
with will blackmon still sitting out, it's tough to know what the seahawks have with him. he could certainly leap-frog burley and land on the roster once it all shakes out, but right now i've got burley (age and club control) making the roster as the starting nickel.
i've also got a surprise swap, sending steven terrell off the bubble and throwing ronald martin on the roster. martin's drawn rave reviews from pete carroll and made a few plays on friday night, so with his ability (per richard) to play both free safety and strong safety, he sneaks on in this edition. bailey, as you well know, has also gotten a lot of praise from pete carroll and flies around like a bat out of hades, so he makes my roster 3.0.
terrell may be back on this list come next week, but he has been very quiet (maybe that's a good thing?) thus far. in reality he will probably make the roster, but i wanted to present this as a scenario.
ryan murphy is practicing again this week so we'll finally get a chance to see what he can do, and hopefully mohamed seisay and douglas mcneil get some game snaps on saturday.
spec (3):
keep:
p jon ryan 6'0, 217
ls clint gresham 6'3, 240
k steven hauschka 6'4, 210
cut:
ls nate boyer, 5'10 215
comments: no surprises here, no changes here.
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ok, so 3.0 is in the books.
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ˈkænəbəl kɔrps ʤɔrʤ ““corpsegrinder”*” ˈfɪʃər əˈpɪrz ɔn ðə ˈleɪtəst ˈɛpɪˌsoʊd əv show‘*‘. əˈməŋ ðə ˈtɑpɪks əˈproʊʧt ɪz saɪd ˈprɑʤɛkt wɪθ ɪnˈgeɪʤ ˌgɪˈtɑrɪst ˈædəm ˈdətkəvɪʧ ənd blæk ˈdæljə ˈmərdər ˈdrəmər ˈʃænən ˈlukəs. əˈkɔrdɪŋ tɪ ˈfɪʃər, rɪˈkɔrdɪŋ fər ðə ˈprɑʤɛkt ɪz dən ənd ˈdətkəvɪʧ həz bɪn ˈmɪksɪŋ ɪt ɪn hɪz spɛr taɪm. ˈfɪʃər ˈɔlsoʊ rɪˈvild ðət ɪnˈgeɪʤ ˈvoʊkəlɪst ˈʤɛsi liʧ roʊt məʧ əv ðə ˈlɪrɪkəl ˈkɑntɛnt əv ðə ˈɛfərt: ˈʤɛsi frəm roʊt ðə ˈlɪrɪks, bɪˈkəz aɪ sɛd lʊk, aɪ toʊld di. aɪ ərˈɪʤənəli wɑz goʊɪŋ tɪ raɪt stəf ənd ju noʊ wət? ʤɪst ˈnɛvər bɪn maɪ θɪŋ ənd wi wər ˈgɪtɪŋ daʊn tɪ wɪn aɪ wɑz səˈpoʊzd tɪ goʊ əp ðɛr. ənd hi ʤɪst sɛd ‘‘look*, æsk ˈʤɛsi tɪ raɪt səm stuff.’*.’ soʊ hi roʊt ɪt ənd aɪ ʤɪst sɛd aɪ wɔnt noʊ crap’*’ aɪ əˈbaʊt ɔl ðət. ˈɛniˌweɪ soʊ mɔr ʤɪst əˈbaʊt laɪk ˈgɪtɪŋ riˈvɛnʤ əˈgɛnst kərəpt ˈməðərˌfəkərz ənd ʃɪt laɪk that.”*.” hi kənˈtɪnjud: soʊ hi [liʧ] roʊt ə bənʧ əv ˈlɪrɪks ənd ˈædəm əreɪnʤd ə lɔt əv ɪt ənd ðɛn wɪn aɪ wɛnt əp ðɛr wi rɪˈkɔrdɪd ɪt ɪn hɪz ˈbɛˌdrum əv hɪz haʊs. ənd ˈbeɪsɪkli, aɪ wʊd bi laɪk weɪt wi ˈgɑtə ʧeɪnʤ ðɪs, fɪks that.’*.’ ˈmeɪbi twik ə wərd ər teɪk ə wərd aʊt ər teɪk ə ˈkəpəl wərdz aʊt ər teɪk səm laɪnz aʊt, wi ʤɪst ˈbeɪsɪkli fəkt wɪθ ɪt, ju noʊ? ənd aɪ wɛnt əp ˈdɪfərənt taɪmz ənd naʊ ɔl dən ənd ʤɪst waiting…”*…” hi rɪˈmeɪnz ənˈʃʊr wɪʧ ˈleɪbəl wɪl riˈlis ðə ˈɛfərt, ðoʊ hi simz tɪ θɪŋk ðət ˈmɛtəl bleɪd ɪz ðə tɔp kənˈtɛndər fər ðə ˈprɑʤɛkt. ˈɔlsoʊ əˈproʊʧt ˈfɪʃər əˈbaʊt ɔn træk əˈlɔŋˈsaɪd hɪz ˈkænəbəl kɔrps ˈprɛdəˌsɛsər, krɪs bɑrnz (naʊ əv sɪks fit ˈəndər). ˈfɪʃər sɛd hi ɪz ˈoʊpən tɪ ðə aɪˈdiə ənd fər hɪz pɑrt hoʊps tɪ meɪk ɪt ˈhæpən. ˈspikɪŋ ɔn hɪz riˈleɪʃənˌʃɪp wɪθ bɑrnz, ˈfɪʃər sɛd:
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cannibal corpse frontman george “corpsegrinder” fisher appears on the latest episode of hatebreed frontman jamey jasta‘s ‘the jasta show‘. among the topics approached is fisher‘s long-gestating side project with killswitch engage guitarist adam dutkiewicz and ex-the black dahlia murder drummer shannon lucas. according to fisher, recording for the project is done and dutkiewicz has been mixing it in his spare time. fisher also revealed that killswitch engage vocalist jesse leach wrote much of the lyrical content of the effort:
“well jesse from killswitch wrote the lyrics, because i said look, i told d. i originally was going to write stuff and you know what? it’s just never been my thing and we were getting down to when i was supposed to go up there. and he just said ‘look, i’ll ask jesse to write some stuff.’ so he wrote it and i just said i don’t want no ‘pro-religious crap’ ’cause i ain’t about all that. anyway so it’s more just about like getting revenge against corrupt motherfuckers and shit like that.”
he continued:
“and so he [leach] wrote a bunch of lyrics and adam arranged a lot of it and then when i went up there we recorded it in his bedroom of his house. and basically, i would be like ‘no wait we gotta change this, fix that.’ maybe we’d tweak a word or take a word out or take a couple words out or take some lines out, we just basically fucked with it, you know? and i went up 2-3 different times and now it’s all done and we’re just waiting…”
he remains unsure which label will release the effort, though he seems to think that metal blade is the top contender for the project. jasta also approached fisher about guesting on jasta track alongside his cannibal corpse predecessor, chris barnes (now of six feet under). fisher said he is open to the idea and jasta for his part hopes to make it happen. speaking on his relationship with barnes, fisher said:
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ðə ˈjunjən ˈfeɪsɪz ə ˈbæˌklæʃ frəm səm əv ɪts ˈmɛmbərz ˈoʊvər ðə dɪˈsɪʒən tɪ ɛnˈdɔrs ə noʊ voʊt ɪn ðə ˌɪndɪˈpɛndəns ˌrɛfərˈɛndəm. ʤɪm ˈmudi, ˈsinjər ʃɑp stuərd æt ˈskɑtɪʃ ˈbɔrdərz ˈkaʊnsəl, sɛd ðə muv baɪ ˈskɑtləndz θərd ˈbɪgəst treɪd ˈjunjən ˌɔrgənɪˈzeɪʃən hæd bɪn ə "bɪˈtreɪəl ənd ə dɪsˈgreɪsfəl stitch-up*." ˈmɪstər ˈmudi, ə ˈmɛmbər fər mɔr ðən 20 jɪrz hu ˌrɛprɪˈzɛnts mɔr ðən 200 ˈmɛmbərz ˈloʊkəli, sɛd: "aɪ hæv ˈspoʊkən tɪ ˈəðər ʃɑp stuərdz ənd ˈmɛmbərz ənd wi ər ˌɪnkənˈdɛsənt. "ðə ˈjunjən ˈlidərˌʃɪp həz ˌæbsəˈlutli noʊ raɪt tɪ teɪk ðɪs ˈækʃən. tɪ seɪ wi hæv bɪn kənˈsəltɪd ɪz ə ˈfælsˌhʊd, pjʊr ənd ˈsɪmpəl. "ðɛr həz ˈsərtənli bɪn noʊ ˌkɑnsəlˈteɪʃən ɪn ðɪs pɑrt əv ðə wərld. ðə fərst aɪ hərd əˈbaʊt ðɪs wɑz wɪn aɪ sɔ ɪt ɔn ˈfeɪsˌbʊk." ðɛr wɑz ˈwaɪdˈsprɛd kəmˈpleɪnt ɔn ˈsoʊʃəl ˈmidiə ˈjɛstərˌdeɪ frəm səm ˈæktɪvɪsts ˈkleɪmɪŋ ðət ðeɪ hæd nɑt bɪn kənˈsəltɪd ɛz pɑrt əv ðə ˈɛksərˌsaɪz wɪʧ ðɛn lɛd tɪ ðə ˈjunjənz dɪˈsɪʒən tɪ pʊt ɪts weɪt bɪˈhaɪnd ə noʊ voʊt. noʊ wən frəm ðə ˈjunjən rɪˈspɑndɪd tɪ ðə kəmˈpleɪnt læst naɪt bət ðə əˈnaʊnsmɛnt æt ðə ˈwiˌkɪnd kleɪmd fʊl ˌkɑnsəlˈteɪʃən hæd bɪn ˈkɛrid aʊt. ˈmɪstər ˈmudi, ən ˈæktɪvɪst, ˌɪnˈsɪstɪd: "ðɪs dɪˈsɪʒən həz nɑt bɪn ɛnˈdɔrst baɪ ðə ˈmɛmbərˌʃɪp ənd ɪt meɪks ˌæbsəˈlutli noʊ sɛns. ðə ˈjunjən ˈlidərˌʃɪp həz ˈteɪkən ə ˈhjuʤli ˌɪmˈpɔrtənt ənd ˌkɑntrəˈvərʃəl dɪˈsɪʒən wɪˈθaʊt ˈhævɪŋ ˈɛni əv ðə hɑrd fækts əˈbaʊt wət ə jɛs voʊt wɪl min. "haʊ kən ðeɪ ˈpɑsəbli kəm tɪ ə ˈʤəʤmənt ɔn ˌɪndɪˈpɛndəns wɪˈθaʊt ˈweɪtɪŋ fər ðə ˈskɑtɪʃ ˈgəvərnmənts waɪt ˈpeɪpər ɔn ðə ˈsəbʤɪkt, wɪʧ ɪz du aʊt ˈleɪtər ðɪs mənθ ənd wɪl gɪv ˈjuˈɛs ə fʊl ˈpɪkʧər?"
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the gmb union faces a backlash from some of its members over the decision to endorse a no vote in the independence referendum.
jim moody, senior shop steward at scottish borders council, said the move by scotland's third biggest trade union organisation had been a "betrayal and a disgraceful stitch-up."
mr moody, a member for more than 20 years who represents more than 200 members locally, said: "i have spoken to other shop stewards and gmb members and we are incandescent.
"the union leadership has absolutely no right to take this action. to say we have been consulted is a falsehood, pure and simple.
"there has certainly been no consultation in this part of the world. the first i heard about this was when i saw it on facebook."
there was widespread complaint on social media yesterday from some gmb activists claiming that they had not been consulted as part of the exercise which then led to the union's decision to put its weight behind a no vote.
no one from the union responded to the complaint last night but the announcement at the weekend claimed full consultation had been carried out.
mr moody, an snp activist, insisted: "this decision has not been endorsed by the membership and it makes absolutely no sense. the union leadership has taken a hugely important and controversial decision without having any of the hard facts about what a yes vote will mean.
"how can they possibly come to a judgment on independence without waiting for the scottish government's white paper on the subject, which is due out later this month and will give us a full picture?"
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it’s* dɪˈsɪʒən taɪm fər ðə vænˈkuvər ˈkeɪnəks. fər ˈnɪrli ə ˈdɛkeɪd ðə ˈkeɪnəks ˌɔrgənəˈzeɪʃən həz bɪn ˈbɪzi ˈʧeɪsɪŋ pleɪɔf səkˈsɛs, wɪθ ɔl əv ðə ˈtreɪdɪd dræft pɪks ənd ˈlaɪˌnəps ðət kəm wɪθ ɪt. nɑt sɪns 2007 wɪn raɪən ˈʃænən ənd ˈmeɪsən ˈreɪmənd ərnd ʤɑbz ɪn ðə ˈfɔrwərd grup aʊt əv ˈtreɪnɪŋ kæmp hæv ðə ˈkeɪnəks ˈɛnərd ðə ˈfaɪnəl ˈwiˌkɪnd əv ðə ˌpriˈsizən wɪθ ðɪs məʧ ˈrɑstər ənˈsərtənti. ɔn ə kləb ʧɔk fʊl əv ˈpisɪz, ðə lɪst əv kɪdz hu hæv ˌɪmˈprɛst ˈdʊrɪŋ ðɪs ˈtreɪnɪŋ kæmp ɪz lɔŋ. ˈʤɛrɪd məˈkæn, 19 lidz ðə tim ɪn ˌpriˈsizən goʊlz ənd kəmˈbaɪnz ə ˈwɪkəd rɪst ʃɑt wɪθ ə məˈʧʊr ˈtuˌweɪ geɪm. ˈfɛloʊ ˈtiˌneɪʤər ʤeɪk, 19 həz lɪvd əp tɪ ˌɛkspɛkˈteɪʃənz wɪθ hɪz spid ənd physicality*. ˈbrɛndən gɔns, 21 ˈædɪd ə stɛp ɪn ðə, ənd həz pleɪd ðə sɔrt əv kəmˈpɛtɪtɪv ˈhɑki ˈdɪfəkəlt fər ˈkoʊʧɪz ənd ˈmænɪʤmənt tɪ ˌɪgˈnɔr. ənd bɛn ˈhətən həz flæʃt ən əreɪ əv ˈdæzəlɪŋ muvz ənd pək skɪlz, ənd həz ɔˈkeɪʒənəˌli waʊd ˈkeɪnəks bræs wɪθ hɪz əˈbɪləˌti ənd ə ˈsətəl ˌəndərˈstændɪŋ əv ðə geɪm. ðɛr ər jəŋ ˈkeɪnəks pleɪərz ˈblidɪŋ ˈlɪtərəli, ɪn ðə keɪs əv fər ən ˌɑpərˈtunəti tɪ pleɪ ˈrɛgjələr ˈsizən ˈhɑki ɪn ðə ʃoʊ. goʊɪŋ tɪ bi təf, bət aɪ θɪŋk ə gʊd ˈprɑbləm tɪ have,”*,” ˈkeɪnəks ˈʤɛnərəl ˈmænɪʤər ʤɪm ˈbɛnɪŋ sɛd ɪn ə ˈreɪdiˌoʊ əˈpɪrəns ɔn ˈθərzˌdeɪ. fækt ðət ðiz kɪdz hæv kəm ɪn ənd pleɪd soʊ wɛl boʊdz wɛl fər ðə ˌɔrgənəˈzeɪʃən ˈmuvɪŋ ˈfɔrwərd. ənd gʊd fər ɑr tim raɪt naʊ bɪˈkəz ɪt meɪks ˈjuˈɛs ˈjəŋgər ənd ˈhəŋgriər ənd aɪ θɪŋk əpt ðə spid ənd ðə əv ɑr team.”*.” ðət soʊ ˈmɛni əv ˈjəŋgəst ˈæˌsɛts ər ˈmeɪkɪŋ ə strɔŋ keɪs fər ˌɪnˈkluʒən ɔn ðə ˈoʊpənɪŋ naɪt ˈrɑstər ɪz ənˈdaʊtɪdli ə ˈpɑzətɪv dɪˈvɛləpmənt fər ə kləb ˈmeɪkɪŋ ən ɔˈkeɪʒənəˌli ˈmɛsi trænˈzɪʃən frəm ˈwɛstərn ˈkɑnfərəns paʊər tɪ ə ˈgræʤuəl, riˈbɪld. ənd ɔl fɔr pleɪərz rɪˈmeɪn ɔn ðə ˈrɑstər, wɪθ ˈoʊnli faɪv kəts tɪ goʊ. ˈivɪn ðoʊ ˈbɛnɪŋ ənd ðə ˈkeɪnəks ˈmænɪʤd ðɛr wɪθ ən aɪ ɔn ˈmeɪkɪŋ speɪs fər ˈjəŋgər pleɪərz ðeɪ əˈlaʊd ə vərˈaɪəti əv ˈvɛtərən ˌənriˈstrɪktɪd fri ˈeɪʤənts tɪ wɔk, du məʧ ˈʃɑpɪŋ, ənd ˌɛˈʃud prəˈfɛʃənəl traɪaʊt ˌɪnˈvaɪts fər ˈvɛtərənz hɑrd tɪ ˌɪˈmæʤən ðə ˌɔrgənəˈzeɪʃən ænˈtɪsəˌpeɪtɪd səʧ ə ˈgraʊndsˌwɛl əv ˈjuθfəl ɪgˈzubərəns. wɑz ɪkˈspɛktɪd tɪ pʊʃ fər ə ˈrɑstər spɑt ðɪs fɔl, ʃʊr. bət wət ˈhətən, məˈkæn ənd gɔns hæv əˈkɑmplɪʃt ɪz ə səˈpraɪz. ˈsəmər wi meɪd səm hɑrd dɪˈsɪʒənz tɪ ˈmeɪbi nɑt səm gaɪz ənd treɪd səm gaɪz tɪ traɪ ənd meɪk rum fər ɑr ˈjəŋgər players,”*,” ˈbɛnɪŋ sɛd ðɪs wik. ðət əˈpɑn ˈjuˈɛs, ənd ðiz kɪdz hæv pleɪd wɛl, goʊɪŋ tɪ hæv tɪ meɪk mɔr təf dɪˈsɪʒənz tɪ gɪt ðɛm əp ənd ɔn ðə tim ənd ɔn ɑr roster.”*.” ðə ˈʤɛnərəl ˈmænɪʤər ˈivɪn wɔrnd hɪz ˈvɛtərən pleɪərz ˈrisəntli ðət priˈpɛrd tɪ goʊ jəŋ, əˈkɔrdɪŋ tɪ rɪˈpɔrts frəm ˈfridmən. stɪl, noʊ tim ɪn ˈhɑki ðət həz ðə ˌflɛksəˈbɪləti tɪ gɪv tu, ər θri, ər fɔr jəŋ ˈskeɪtərz ə spɑt ɔn ðə ˈrɑstər wɪˈθaʊt ˈmeɪkɪŋ ə dil ər ɪkˈspoʊzɪŋ ən ˈæˌsɛt (ər tu) tɪ ðə ˈweɪvər waɪər. pɑrt əv wət wɪl meɪk ðɪs ˈwiˌkɪnd soʊ ˈdɪfəkəlt fər ˈkeɪnəks ˈmænɪʤmənt. ʃʊr tɪ tɛst ˈmæntrə: ðə ɛnd əv ðə deɪ ɪf ðə kɪd dɪˈzərvz tɪ bi hir, meɪk rum fər him.”*.” ˈfraɪˌdeɪ ɪz ə deɪ ɔf fər ðə ˈkeɪnəks, ənd ɪkˈspɛktɪd ðət ðə ˈkoʊʧɪz ənd ˈmænɪʤmənt wɪl kənˈvin ənd bɪˈgɪn tɪ ˈhæmər aʊt ɪgˈzæktli hu wɪl bi ɔn ðə ˈoʊpənɪŋ deɪ ˈrɑstər. ɛz əv ˈθərzˌdeɪ, ˈbɛnɪŋ səˈʤɛstɪd ðət ðə kləb ˈsɪriəsli ɪkˈsplɔrd ðə ˌpɑsəˈbɪləˌti əv ˈdilɪŋ ə ˈvɛtərən pis ɪn ˈɔrdər tɪ meɪk rum fər ə ˈjəŋgər pleɪər. ɛz fər ˈwɛðər ər nɑt ðə kləb wʊd kənˈsɪdər ˈpleɪsɪŋ ə jəŋ ˈvɛtərən pis pərˈhæps fræŋk kərˈɑdoʊ, hu həz ˌəndərˈwɛlmd æt ˈtreɪnɪŋ kæmp ɔn ðə ˈweɪvər waɪər, ˈbɛnɪŋ hɛld hɪz kɑrdz kloʊz tɪ hɪz vɛst. ˈænəˌlaɪzɪŋ iʧ geɪm ɛz ðə pleɪərz pleɪ, ənd meɪk ðə dɪˈsɪʒən æt ðə ɛnd əv camp,”*,” ˈbɛnɪŋ toʊld dæn ˈmərfi ˈərliər ðɪs wik. ɪf ˈbɛnɪŋ saʊnz ˈoʊpən tɪ ˈlɔnʧɪŋ ə juθ ˈmuvmənt ɪn vænˈkuvər, ˈkeɪnəks hɛd koʊʧ ˈwɪli ˈdɛsʒɑrdɪnz simd mɔr ˈskɛptɪkəl ˈfɑloʊɪŋ ðə ˌpriˈsizən ˈvɪktəri ɔn ˈθərzˌdeɪ ˈivnɪŋ. æst dɪˈrɛkli ɪf ðə kləb wɑz ˈwɪlɪŋ tɪ ˈkɛri tu ˈtiˌneɪʤ pleɪərz ənd məˈkæn ˈɪntu ðə ˈrɛgjələr ˈsizən, ˈdɛsʒɑrdɪnz geɪv ə lɔŋ saɪ. ˌdɪˈsaɪd ɪn ðə nɛkst ˈkəpəl əv deɪz wət goʊɪŋ tɪ du wɪθ that,”*,” sɛd ðə bɛnʧ bɔs. boʊθ gaɪz hæv lʊkt gʊd ɪn kæmp ənd pʊt ðɛmˈsɛlvz ɪn ðət conversation.”*.” ðət ˌkɑnvərˈseɪʃən wɪl ʃeɪp ðə canucks’*’ ˈrɑstər. waɪl bɪˈkəm klɪr ðət juθ həz ˈfaɪnəli əraɪvd ɪn vænˈkuvər, ðə dɪˈsɪʒənz əv ˈmænɪʤmənt ðɪs ˈwiˌkɪnd wɪl ˌdɪˈsaɪd ˈwɛðər ər nɑt sərvd.
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it’s decision time for the vancouver canucks.
for nearly a decade the canucks organization has been busy chasing playoff success, with all of the traded draft picks and veteran-laden lineups that come with it. not since 2007 when ryan shannon and mason raymond earned jobs in the club’s top-six forward group out of training camp have the canucks entered the final weekend of the pre-season with this much roster uncertainty.
on a club chalk full of 30-year-old pieces, the list of kids who have impressed during this year’s training camp is long. jared mccann, 19, leads the team in pre-season goals and combines a wicked wrist shot with a mature two-way game.
fellow teenager jake virtanen, 19, has lived up to expectations with his nhl-ready speed and physicality.
brendan gaunce, 21, added a step in the off-season, and has played the sort of competitive hockey difficult for coaches and management to ignore.
and 22-year-old defenceman ben hutton has flashed an array of dazzling moves and puck skills, and has occasionally wowed canucks brass with his puck-moving ability and a subtle understanding of the game.
there are young canucks players bleeding literally, in the case of virtanen for an opportunity to play regular season hockey in the show.
“it’s going to be tough, but i think a good problem to have,” canucks general manager jim benning said in a radio appearance on thursday. “the fact that these kids have come in and played so well bodes well for the organization moving forward. and it’s good for our team right now because it makes us younger and hungrier and i think they’ve upped the speed and the skillset of our team.”
that so many of vancouver’s youngest assets are making a strong case for inclusion on the opening night roster is undoubtedly a positive development for a club making an occasionally messy transition from western conference power to a gradual, hybrid-type rebuild. and all four players remain on the roster, with only five cuts to go.
even though benning and the canucks managed their off-season with an eye on making space for younger players – they allowed a variety of veteran unrestricted free agents to walk, didn’t do much bargain-bin shopping, and eschewed professional tryout invites for nhl-level veterans – it’s hard to imagine the organization anticipated such a groundswell of youthful exuberance.
virtanen was expected to push for a roster spot this fall, sure. but what hutton, mccann and gaunce have accomplished is a surprise.
“this summer we made some hard decisions to maybe not re-sign some guys and trade some guys to try and make room for our younger players,” benning said this week. “now that it’s upon us, and these kids have played well, we’re going to have to make more tough decisions to get them up and on the team and on our roster.”
the general manager even warned his veteran players recently that he’s prepared to go young, according to reports from sportsnet’s elliotte friedman.
still, there’s no team in hockey that has the flexibility to give two, or three, or four young skaters a spot on the 23-man roster without making a deal or exposing an asset (or two) to the waiver wire.
it’s part of what will make this weekend so difficult for canucks management. it’s sure to test benning’s oft-repeated mantra: “at the end of the day if the kid deserves to be here, we’ll make room for him.”
friday is a day off for the canucks, and it’s expected that the club’s coaches and management will convene and begin to hammer out exactly who will be on the opening day roster. as of thursday, benning suggested that the club hadn’t seriously explored the possibility of dealing a veteran piece in order to make room for a younger player.
as for whether or not the club would consider placing a young veteran piece – perhaps defenceman frank corrado, who has underwhelmed at training camp – on the waiver wire, benning held his cards close to his vest.
“we’re analyzing each game as the players play, and we’ll make the decision at the end of camp,” benning told sportsnet’s dan murphy earlier this week.
if benning sounds open to launching a full-fledged youth movement in vancouver, canucks head coach willie desjardins seemed more skeptical following the club’s pre-season victory on thursday evening. asked directly if the club was willing to carry two teenage players – virtanen and mccann – into the regular season, desjardins gave a long sigh.
“we’ll decide in the next couple of days what we’re going to do with that,” said the veteran-friendly bench boss. “but both guys have looked good in camp and they’ve put themselves in that conversation.”
that conversation will shape the canucks’ roster. while it’s become clear that youth has finally arrived in vancouver, the decisions of management this weekend will decide whether or not it’s served.
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trəmp məst hæv bɪn ˈfilɪŋ ə ˈlɪtəl blæk ənd blu ðət deɪ. sɛn. tɪm skɑt ənd ˈprɛzɪdənt ˈdɑnəld trəmp dɪˈskəs reɪs riˈleɪʃənz ˈdʊrɪŋ ə ˈmitɪŋ æt ðə waɪt haʊs. ˈfoʊˌtoʊ: ðə waɪt haʊs ɪn ðə pæst, ˈprɛzɪdənt trəmp həz bɪn kɔld aʊt fər hɪz foʊ pɑz ə blu sut ˈʤækɪt ənd blæk drɛs pænts wɔrn təˈgɛðər. ɪn ðə pæst, ˈprɛzɪdənt trəmp həz bɪn kɔld aʊt fər hɪz ˈsupər lɔŋ taɪz bət naʊ ðə nuz ɪz ɔn ə ˈrisənt ˈdɑnəld trəmp pɑz: ə blu sut ˈʤækɪt ənd blæk drɛs pænts wɔrn təˈgɛðər. ðə ˈprɛzɪdənt hɛld ə ˈmitɪŋ wɪθ sɛn. tɪm skɑt tɪ dɪˈskəs reɪs riˈleɪʃənz ɪn weɪk əv ðə ˈɪnsədənts ɪn ˈʃɑrlətsˌvɪl, vərˈʤɪnjə. əˈkɔrdɪŋ tɪ ˈsiˌbiˌɛs nuz, skɑt sɛd ðə ˈprɛzɪdənt wɑz ðə ˈprɛzɪdənt hɛld ə ˈmitɪŋ wɪθ sɛn. tɪm skɑt tɪ dɪˈskəs reɪs riˈleɪʃənz ɪn weɪk əv ðə ˈɪnsədənts ɪn ˈʃɑrlətsˌvɪl, vərˈʤɪnjə. əˈkɔrdɪŋ tɪ ˈsiˌbiˌɛs nuz, skɑt sɛd ðə ˈprɛzɪdənt wɑz ˈvɛri rɪˈsɛptɪv tɪ ˈlɪsənɪŋ ˈdʊrɪŋ ðə ˈsɛʃən. ðə waɪt haʊs riˈlist ə ˈfoʊˌtoʊ əv ðə tu bət ˈpipəl kˈwɪkli ˈnoʊtɪst trəmp wɑz ˈwɛrɪŋ ə ˈneɪvi blu sut ˈʤækɪt wɪθ blæk slæks. ənd ˈɛvriˌwən noʊz ə ˈfæʃən no-no*. ðə waɪt haʊs ˈpoʊstɪd ðə ˈfoʊˌtoʊ wɪθ ðə ˈkæpʃən: trəmp rɪˈmeɪnz kəˈmɪtɪd tɪ ˈpɑzətɪv reɪs riˈleɪʃənz..." ɛz sun ɛz ðə ˈfoʊˌtoʊ wɑz riˈlist, tˈwɪtər ˈspɑtɪd mɪsˈmæʧt sut ənd ðə rɛst ɪz ˈhɪstəri. tˈwɪtər riækts tɪ ˈdɑnəld trəmp sut foʊ pɑz 🔥🔥new*!!! ˈdʊrɪŋ ə ˈmitɪŋ wɪθ tɪm skɑt, trəmp wɔr ə blu sut ˈʤækɪt wɪθ blæk sut pænts, kəmˈplitli ˌənəˈwɛr əv ðə ˈɛrər hi meɪd. 🔥🔥new*!!! ˈdʊrɪŋ ə ˈmitɪŋ wɪθ tɪm skɑt, trəmp wɔr ə blu sut ˈʤækɪt wɪθ blæk sut pænts, kəmˈplitli ˌənəˈwɛr əv ðə ˈɛrər hi meɪd. sɛpˈtɛmbər 13 2017 ˈpɛˌti twit: ˌoʊˈbɑmə wɔr ə tæn sut gɑt drægd baɪ ðə æt fɑks nuz jɛt trəmp wɔr ə ˈneɪvi ˈʤækɪt blæk pænts soʊ hɛlp mi gɑd!!! ˈpɛˌti twit: ˌoʊˈbɑmə wɔr ə tæn sut gɑt drægd baɪ ðə æt fɑks nuz jɛt trəmp wɔr ə ˈneɪvi ˈʤækɪt blæk pænts soʊ hɛlp mi gɑd!!! sɛpˈtɛmbər 13 2017 ɪz trəmp ˈwɛrɪŋ ə ˈneɪvi sut ˈʤækɪt ənd blæk pænts?!?!?! ðɪs ɪz ðə nɛkst tæn sut geɪt ɪz trəmp ˈwɛrɪŋ ə ˈneɪvi sut ˈʤækɪt ənd blæk pænts?!?!?! ðɪs ɪz ðə nɛkst tæn sut geɪt sɛpˈtɛmbər 13 2017 ˈsɛtəl ə bɛt wɪθ maɪ frɛndz; ɪz trəmps sut blu ənd blæk ər waɪt ənd goʊld? ˈsɛtəl ə bɛt wɪθ maɪ frɛndz; ɪz trəmps sut blu ənd blæk ər waɪt ənd goʊld? sɛpˈtɛmbər 13 2017 ðɪs ˈlɪtərəli hərts maɪ aɪz. fræŋk loʊ (@gayathomedad*) sɛpˈtɛmbər 13 2017 hi lʊks laɪk ə bruz... ɔn soʊˈsaɪɪti (@missaft*) sɛpˈtɛmbər 13 2017 waɪl moʊst ˈpipəl wər ˈfoʊkɪst ɔn mɪsˈmæʧt sut, æt list wən ˈpərsən ˈwɔntɪd tɪ pɔɪnt aʊt ðət sɛn. tɪm skɑts sɑk geɪm wɑz ɔn pɔɪnt. trəmp ɪz ˈwɛrɪŋ ə ˈhɔrəbli mɪsˈmæʧt sut. skɑt ɔn ðə ˈəðər hænd, wɪθ ðə ə+ sɑks trəmp ɪz ˈwɛrɪŋ ə ˈhɔrəbli mɪsˈmæʧt sut. skɑt ɔn ðə ˈəðər hænd, wɪθ ðə ə+ sɑks sɛpˈtɛmbər 13 2017
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trump must have been feeling a little black and blue that day.
sen. tim scott and president donald trump discuss race relations during a meeting at the white house. photo: the white house
in the past, president trump has been called out for his faux pas : a blue suit jacket and black dress pants worn together. in the past, president trump has been called out for his super long ties but now the news is on a recent donald trump suitfaux pas: a blue suit jacket and black dress pants worn together.
the president held a meeting with sen. tim scott to discuss race relations in wake of the incidents in charlottesville, virginia. according to cbs news, scott said the president was " the president held a meeting with sen. tim scott to discuss race relations in wake of the incidents in charlottesville, virginia. according to cbs news, scott said the president was " very receptive to listening " during the session.
the white house released a photo of the two but people quickly noticed trump was wearing a navy blue suit jacket with black slacks. and everyone knows that’s a fashion no-no.
the white house posted the photo with the caption: “president trump remains committed to positive race relations..."
as soon as the photo was released, twitter spotted trump’s mismatched suit and the rest is history.
twitter reacts to donald trump suit faux pas
🔥new!!! during a meeting with tim scott, trump wore a blue suit jacket with black suit pants, completely unaware of the error he made. 🔥new!!! during a meeting with tim scott, trump wore a blue suit jacket with black suit pants, completely unaware of the error he made. pic.twitter.com/03ccshrixf september 13, 2017
petty tweet: obama wore a tan suit & got dragged by the crusties at fox news yet trump wore a navy jacket & black pants so help me god!!! petty tweet: obama wore a tan suit & got dragged by the crusties at fox news yet trump wore a navy jacket & black pants so help me god!!! pic.twitter.com/lvemmy6u17 september 13, 2017
is trump wearing a navy suit jacket and black pants?!?!?! this is the next tan suit gate is trump wearing a navy suit jacket and black pants?!?!?! this is the next tan suit gate pic.twitter.com/l7tw3gq1j5 september 13, 2017
settle a bet with my friends; is trump's suit blue and black or white and gold? settle a bet with my friends; is trump's suit blue and black or white and gold? pic.twitter.com/osnrkwf5sc september 13, 2017
this literally hurts my eyes. — frank lowe (@gayathomedad) september 13, 2017
he looks like a bruise... on society — missa (@missaft) september 13, 2017
while most people were focused on trump’s mismatched suit, at least one person wanted to point out that sen. tim scott's sock game was on point.
trump is wearing a horribly mismatched suit. scott on the other hand, with the a+ socks trump is wearing a horribly mismatched suit. scott on the other hand, with the a+ socks https://t.co/6ajev6lfls september 13, 2017
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wən jɪr ˈleɪtər wət tɛd ˈwɪljəmz dɪd fər vɔɪs ˈoʊvərz ˈɔlˌmoʊst ˈwənˌjɪr əˈgoʊ tɪ ðə deɪt, wi ər stɪl hir. tɛd ˈwɪljəmz həz nɑt dɪˈstrɔɪd ðə vɔɪs ˈoʊvər ˈɪndəstri, ɛz səm hæd prɪˈdɪktɪd ɪn 2011 aɪ ʧɛkt bæk tɪ si ʤɪst wət ˈhæpənd wɪθ ˈæftər ˈmɛni prɪˈdɪktɪd hɪz kwɪk raɪz tɪ feɪm wʊd spɛl dum fər ðə ˈɪndəstri. ɪn fækt, wət ˈhæpənd wɑz ðə kəmˈplit ˈɑpəzɪt, dɪd ˈmɛni ə juʤ ˈfeɪvər, ənd ɪf ðɛr wɑz ə weɪ tɪ θæŋk ɪm, ɪt ʃʊd bi dən. hi prəˈvaɪdɪd ə ˈweɪˌkəp kɔl fər ˈθaʊzənz, ənd ɛz wɛl. hir ɪz wət ˈhæpənd frəm ðə saɪd ɪn ˈʤænjuˌɛri ˈsənˌʃaɪn ɔn ɑr ˈʃoʊldərz? ˈʤænjuˌɛri 3rd*, 2011 tɛd ˈwɪljəmz ˈvaɪrəl ˈvɪdioʊ hɪts ˈjuˌtub, ʃoʊɪŋ ə ˈvɪdioʊ əv əˈmeɪzɪŋ ˈtælənt ɪn ðə moʊst ˌənɪkˈspɛktɪd pleɪs. [bɪˈloʊ] ˈʤænjuˌɛri 5th*, 6th*, ənd əv 2011 seɪf tɪ həz gɔn ˈvaɪrəl. nu ˈtælənt ˌrɛʤɪˈstreɪʃənz spaɪk tɪ 275 ˈdʊrɪŋ ðə ˈwiˌkɪnd, ðə haɪəst ɔl jɪr.. (ˈstændərd ˈproʊˌfaɪl kriˈeɪʃənz) ˈʤænjuˌɛri tɪ 19th*, 2011 ðə ˈkəstəmər ˈsərvɪs tim ɪz ˈflədɪd wɪθ du aɪ gɪt started’*’ ˈsəbʤɪkt laɪn iˈmeɪlz. ˈʤænjuˌɛri 2011 sɛts ən ˌɔlˈtaɪm seɪlz ˈrɛkərd, ənd ˈhændəlz iˈmeɪl ˌɪnkˈwaɪəriz. bərnd! ˈfɛbruˌɛri 2011 sɛts ə ˈrɛkərd haɪ fər ˈriˌfəndz, bət ˈbroʊkən hɑrts ˈjuʒəwəli kɔst məʧ mɔr. ðət seɪm mənθ, aɪ bɪˈgæn ˈraɪtɪŋ ðə ˈvɔɪˌsoʊvər gaɪd fər vɔɪs ˈtælənt. səm əv ðə kˈwɛsʧənz wi wər æst ɪn wər ˈstɑrtlɪŋ. wi ˈɔlˌweɪz nu wi ɪnˈkərəʤ ˈpipəl tɪ juz tɪ gɪt vɔɪs ˈoʊvər wərk, bət ˈlərnɪŋ ðət səm wər ˈwɪlɪŋ tɪ kwɪt ðɛr ʤɑbz ənd ʤɔɪn ˈɔnˌlaɪn ˈkæstɪŋz saɪts, wɪθ ˈbeɪsɪkli noʊ geɪm plæn ər ɪkˈspɪriəns æt ɔl, ənd ɔl bɪˈkəz əv ə ˈvaɪrəl ˈfraɪtənɪŋ. ðə ˈmɔrəl ˈwɪljəmz ʃoʊd ðə ˈɔnˌlaɪn kəmˈjunɪti ðət ɪt teɪks mɔr ðən ʤɪst talent’*’ tɪ meɪk ɪt ɪn ðɪs ˈbɪznɪs. ðɛr məst bi ə ˌkɑmbəˈneɪʃən əv ˈbɪznɪs ˈɛθɪks, ˈstrætəʤi, strɛŋθ ɪn faʊnˈdeɪʃən, ˈpərsɪnəl ˈwɛlnəs ənd ən ˌəndərˈstændɪŋ ðət səkˈsɛs ɪn ðɪs ˈbɪznɪs ɪz ˈnɛvər ˈgɪvɪn, ˈhændɪd aʊt, ər bɔt, ənd noʊ ˈlɛvəl əv bɪˈheɪvjər kən ʧeɪnʤ ðɪs. wi ɔl hæv tɪ ərn ɪt. wɪn ju səkˈsid, ju wɪl bi ə ˈbɛtər ˈpərsən fər ɪt. ʧɪrz tɪ ə sˈmɑrtər vɔɪs ˈoʊvər kəmˈjunɪti ɪn 2012 ɪf hi ridz ɪz ə bɪg you’*’, ənd ˈsərtənli hoʊp hi ɪz wɛl. ˈɛni θɔts ɔn ðɪs? pliz ʃɛr!
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one year later what ted williams did for voice overs
almost one-year ago to the date, we are still here. ted williams has not destroyed the voice over industry, as some had predicted in 2011. i checked back to see just what happened with voice123, after many predicted his quick rise to fame would spell doom for the industry. in fact, what happened was the complete opposite, did many a huge favor, and if there was a way to thank him, it should be done. he provided a wake-up call for thousands, and voice123, as well.
here is what happened from the voice123 side in january 2011…
sunshine on our shoulders?
january 3rd, 2011 – ted williams viral video hits youtube, showing a video of amazing talent in the most unexpected place. [below]
january 5th, 6th, and 7th of 2011 – safe to say…it has gone viral. new talent registrations spike to 275 during the weekend, the highest all year.. (standard profile creations)
january 8th to 19th, 2011 – the customer service team is flooded with ‘how do i get started’ subject line emails.
january 2011 – voice123 sets an all-time sales record, and handles 27,397 email inquiries.
burned!
february 2011 – voice123 sets a record high for refunds, but broken hearts usually cost much more.
that same month, i began writing the voiceover guide for voice talent. some of the questions we were asked in voice123 were startling. we always knew we encourage people to use voice123 to get voice over work, but learning that some were willing to quit their jobs and join online castings sites, with basically no game plan or experience at all, and all because of a viral video…was frightening.
the moral here…ted williams showed the online community that it takes more than just ‘voice talent’ to make it in this business. there must be a combination of business ethics, strategy, strength in foundation, personal wellness and an understanding that success in this business is never given, handed out, or bought, and no level of open-hearted behavior can change this. we all have to earn it. when you succeed, you will be a better person for it.
cheers to a smarter voice over community in 2012! if he reads this…this is a big ‘thank you’, and certainly hope he is well.
any thoughts on this? please share!
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ˈɛdɪtərz noʊt: ðɪs ɪz ðə fərst ˈɑrtɪkəl ɪn ə ˈsɪriz ˈdɑkjəmənɪŋ ə wɛr ˈfæməliz ˈstrəgəl wɪθ drəg əˈdɪkʃən. ðə ˈsɛkənd pɑrt wɪl rən ˈwɛnzˌdeɪ, wɪθ ðə ˈfaɪnəl pis ɔn ˈfraɪˌdeɪ. ɪn əˈdɪʃən tɪ ðɪs ˈsɪriz, ˈsɛvərəl ˈɑrtɪkəlz wɪl rən ɪn ˈkɑnsərt ɔn drəg juz ɪn ˌmæsəˈʧusəts. ɔn ə ʤun deɪ ɪn 2011 ˈiθən ˈroʊmiˌoʊ faʊnd hɪmˈsɛlf ˈsɪtɪŋ əˈkrɔs frəm hɪz kloʊz frɛnd ənd ˈrənɪŋ ˈpɑrtnər æt ə ˈdaɪnɪŋ rum ˈteɪbəl ɪn ðə saʊθ ˈhædli hoʊm əv ə ˈhɛroʊən ˈdilər. tɪ ˈiðər saɪd wər ðə ˈdilər ənd ə ˈfiˌmeɪl frɛnd hu sərvd ɛz ˈroʊmiˌoʊz drəg kəˈnɛkʃən. ˈiθən, ðɛn 20 jɪrz oʊld, ənd hɪz frɛnd wər ɪn ðə θroʊz əv ən ənˈbɛrəbəl doʊp ˈsɪknəs. ðeɪ ˈnidɪd ə weɪ aʊt. hi wɔʧt hɪz ˈfiˌmeɪl kəˈnɛkʃən ʃut əp ənd ðɛn hɪz frɛnd. hi wɑz nɛkst. jɪrz əv fɪr əv ˈjuzɪŋ ə ˈnidəl tɪ ʃut drəgz dɪˈrɛkli ˈɪntu hɪz ˈbɑdi ˈfeɪdɪd əˈweɪ, ˈbitən daʊn baɪ ðə ˈfɪzɪkəl ənd ˈmɛntəl nid tɪ nɑt fil sɪk ˌɛniˈmɔr. ðə ˈdilər toʊld ɪm wət tɪ du; hi wɔkt ˈiθən θru ðə stɛps ˈnɛsəˌsɛri tɪ faɪnd ə gʊd veɪn ənd priˈpɛr ə klin ˈnidəl. ðə 30 ˈsɛkənd rəʃ frəm ˈhɛroʊən wɑz ˈfɑloʊd baɪ ə haɪ ˈbɛtər ðən ˈɛni pɪl hi hæd pɑpt ˈdʊrɪŋ ðə ˈpriviəs fɔr jɪrz. ɪt tʊk 20 ˈmɪnəts fər ˈiθən tɪ bɪˈgɪn ˈlʊkɪŋ fər hɪz nɛkst haɪ. ˈhɛroʊən hæd ɪm. "ðɛr wər ˈplɛnti əv taɪmz wɛr aɪ wʊd gɪt ðə drəgz, kəm hoʊm ənd bi baɪ ˌmaɪˈsɛlf ənd bɔl maɪ aɪz aʊt noʊɪŋ ðət aɪ wɑz duɪŋ ðɪs ˈoʊnli bɪˈkəz aɪ hæd tɪ ənd nɑt bɪˈkəz aɪ ˈwɔntɪd tɪ," ˈiθən sɛd ˈdʊrɪŋ ə ˈrisənt ˈɪntərvˌju. "ɪt wɑz nɑt ə ˈpɑrti drəg ˌɛniˈmɔr. ɪt wɑz nɑt fər fən. ɪt wɑz aʊt əv nəˈsɛsɪti tɪ gɪt əp ənd goʊ tɪ wərk ər gɪt əp ənd teɪk ə ʃaʊər." ˈroʊmiˌoʊz laɪf həz bɪn mɑrkt baɪ ən ɪkˌspɛrəmənˈteɪʃən wɪθ drəgz ðət ɪˈvɑlvd frəm biɪŋ ə minz tɪ ˈbrifli ɪˈskeɪp ˌriˈæləˌti ˈɪntu ə dip əˈdɪkʃən, wɪʧ hi ˈstrəgəlz wɪθ tɪ ðɪs deɪ. baɪ ðə eɪʤ əv 17 hi wɑz ˈfɪzɪkəli əˈdɪktɪd tɪ prəˈskrɪpʃən peɪn pɪlz, bət ɪt wʊd bi jɪrz ˌbiˈfɔr hi wʊd ədˈmɪt tɪ hɪmˈsɛlf, ər ˈɛniˌwən ɛls, ðət hi wɑz ən ˈæˌdɪkt. əˈdɪkʃən tɪ prəˈskrɪpʃən drəgz əˈkərd θru ən ˈɛskəˌleɪtɪŋ ˈsɪriz əv əˈdɪkʃənz ðət bɪˈgæn æt ðə eɪʤ əv 11 ˈhævɪŋ wəns juzd ðə drəgz tɪ iz ðə ˈʧaɪlˌdhʊd ˈtrɔmə əv hɪz ˈpɛrənts' dɪˈvɔrs, baɪ hɪz leɪt tin jɪrz hi hæd bɪˈkəm ˈfɪzɪkəli əˈdɪktɪd, ənd taɪd tɪ ðə drəgz ðət hæd ˈpriviəsli simd soʊ friɪŋ. hɪz əˈdɪkʃən ˈkəlməˌneɪtɪd ɪn ðə juz əv ˈhɛroʊən, ə drəg ðət kˈwɪkli broʊk ɪm, ˈsɛndɪŋ ɪm ˈɪntu ə vərˈaɪəti əv ˈtritmənt fəˈsɪlɪtiz ənd ˈproʊˌgræmz. æt 23 jɪrz oʊld ənd ˈæftər ˈsɛvən jɪrz əv ˈbætəlɪŋ hɪz drəg ˈdimənz, ˈiθən ɪz naʊ bæk tɪ wɛr hɪz ˈʤərni tɪ əˈdɪkʃən bɪˈgæn, ɪn hɪz ˈməðərz haʊs ɪn wɛr. ɪt həz bɪn ə ˈstrəgəl tɪ gɪt klin. ˈæftər ˈsɛvərəl feɪld əˈtɛmpts, ˈiθən həz bɪn naʊ fər ˈnɪrli θri mənθs, ənd hi ɪz ˈtɔkɪŋ ˈpəblɪkli əˈbaʊt hɪz əˈdɪkʃən. hi tɔks əˈbaʊt ðə pæθ ðət ˈkəlməˌneɪtɪd wɪθ ɪm ˈpʊtɪŋ ˈhɛroʊən ˈɪntu hɪz ɑrm, ðə dɪˈspɛr hi fɛlt æt hɪz loʊəst pɔɪnts, ənd wət hi ɪz duɪŋ tɪ ɪnˈʃʊr hi kən əˈvɔɪd ˈɛvər duɪŋ ɪt əˈgɛn. ˈstɔri ɪz nɑt juˈnik. ˈθaʊzənz əv ˈpipəl, ˌɪnˈkludɪŋ ˈhənərdz əv tinz ɪn bɪg ˈsɪtiz ənd smɔl taʊnz əˈkrɔs ˌmæsəˈʧusəts, ər ˈstrəgəlɪŋ wɪθ əˈdɪkʃən tɪ ˈoʊpiəts. ɪn mɑrʧ, gəv. dɪˈvɑl ˈpætrɪk sɛd ðət ˌmæsəˈʧusəts ɪz ɪn ðə grɪps əv ən "ˌɛpɪˈdɛmɪk əv ˈoʊpiət əˈbjuz." fər ðɪs ˈrizən, ˈpætrɪk sɛd ðə steɪt məst "trit ɪt laɪk ðə ˈpəblɪk hɛlθ ˈkraɪsəs ɪt ɪz" ənd ˈɔrdərd ðə kəˈmɪtmənt əv 20 ˈmɪljən tɪ ˌɪnˈkris drəg ˈtritmənt ənd rɪˈkəvəri ˈsərvɪsɪz. vərˈmɑnt gəv. ˈpitər dɪˈvoʊtɪd hɪz ɪnˈtaɪər steɪt əv ðə steɪt ˈæˌdrɛs tɪ ˈhaɪˌlaɪt wət hi dɪˈskraɪbd ɛz ə ˈhɛroʊən crisis”*” ɪn hɪz steɪt. ɪz ə ˈkraɪsəs ˈbəbəlɪŋ ʤɪst bɪˈniθ ðə ˈsərfəs ðət meɪ bi ˌɪnˈvɪzəbəl tɪ ˈmɛni bət ɪz ɔˈrɛdi ˈhaɪli ˈvɪzəbəl tɪ lɔ ɛnˈfɔrsmənt, ˈmɛdɪkəl ˌpərsəˈnɛl, ˈsoʊʃəl ˈsərvɪs ənd əˈdɪkʃən ˈtritmənt prəˈvaɪdərz ənd tu ˈmɛni vərˈmɑnt families,”*,” sɛd. nɑt əˈloʊn ðə ril feɪs əv ˈhɛroʊən əˈdɪkʃən ɪz nɑt drəg ˈjuzərz pɔrˈtreɪd ɪn ə ˈtɛləˌvɪʒən ˈsɪriz ər ɪn ˈmuviz, səʧ ɛz pəlp ˈfɪkʃən. "ˈpipəl hu sim tɪ bi ˈprɪti ˈnɔrməl, hæv ˈnɔrməl lɪvz kən gɪt ˈɪntu ðɪs," sɛd ˈdɑktər. mɑrk si., ən əˈtɛndɪŋ fəˈzɪʃən ɪn ðə dɪˈpɑrtmənt əv ˈimərʤənsi ˈmɛdəsən æt ðə ˌjunəˈvərsəti əv ˌmæsəˈʧusəts ˈmɛdɪkəl ˈsɛnər ənd ˈmɛdɪkəl dɪˈrɛktər fər ˈjuˈmæs laɪf flaɪt ənd ˈwʊstər ems*. ɪn ə ˈkɑmɛnt tɪ ðə ˈbɔstən gloʊb ɪn ˈfɛbruˌɛri, ˈfræŋklɪn ˈkaʊnti ˈʃɛrɪf ˈkrɪstəfər ʤeɪ. ˈdɑnɪlæn, sɛd nɑt ʤɪst jʊr bæk ˈæli ˈʤəŋki duɪŋ ˈhɛroʊən ˌɛniˈmɔr ɪt kʊd bi ˈɛni kɪd, ɪn ˈɛni ˈneɪbərˌhʊd, ɪn ˈɛni demographic.”*.” ðɛr ər ˈmɛni pæθs tɪ ˈoʊpiət əˈdɪkʃən frəm ˈgɪtɪŋ hʊkt ɔn peɪn ˌmɛdəˈkeɪʃən ˈteɪkən ˈæftər ə ˈsərʤəri tɪ ɪkˌspɛrɪˈmɛntəl drəg juz ənd həz sin ðɛm ɔl. "ɪts ˌɪmˈpɔrtənt fər ˈpipəl tɪ si haʊ ˈizi ɪt ɪz fər ðɪs tɪ ˈhæpən ənd ðət ɪts ˌɪnˈkrɛdəbli ˈdɛvəˌsteɪtɪŋ nɑt ˈoʊnli tɪ ðə ˈpeɪʃənz, bət tɪ ðə ɪnˈtaɪər ˈfæməli," sɛd ˈrisəntli. frəm 2000 tɪ 2011 ðə moʊst ˈrisənt jɪr ðət ˈdætə wɑz kəmˈpaɪld ɪn ˌmæsəˈʧusəts, dɛθs ˌɪnˈkrist frəm 363 tɪ 642 əˈkɔrdɪŋ tɪ ðə steɪt dɪˈpɑrtmənt əv ˈpəblɪk hɛlθ. ɪn 2012 əv ðə ˈædəlt ədˈmɪʃənz ˌriˈpɔrtəd, pərˈsɛnt əv ðoʊz mɛn ənd ˈwɪmən sɔt ˈtritmənt fər ə ˈhɛroʊən əˈdɪkʃən, ðə ˈpraɪˌmɛri ˈrizən fər ˈɛnərɪŋ ə ˈsəbstəns əˈbjuz ˈtritmənt ˈproʊˌgræm, əˈkɔrdɪŋ tɪ ðə ˌmæsəˈʧusəts ˈbjʊroʊ əv ˈsəbstəns əˈbjuz ˈsərvɪsɪz 2012 ˈænjuəl rɪˈpɔrt. ɪn ˈfɛbruˌɛri əv ðɪs jɪr, ðə ˌmæsəˈʧusəts steɪt pəˈlis riˈlist ə rɪˈpɔrt ðət sɛd æt list 185 ˈpipəl hæv daɪd frəm səˈspɛktɪd ˈhɛroʊən ˈoʊvərˌdoʊsɪz ɪn ˌmæsəˈʧusəts sɪns noʊv. 1 ə ˈfɪgjər ðət dɪz nɑt ˌɪnˈklud ˈoʊvərˌdoʊs dɛθs ɪn ðə steɪts θri ˈlɑrʤəst ˈsɪtiz: ˈbɔstən, ˈwʊstər ənd ˈsprɪŋˌfild. əv ðoʊz ˈoʊvərˌdoʊsɪz, 12 wər ˌriˈpɔrtəd ɪn ˈwʊstər ˈkaʊnti, 19 ɪn ˈhæmʃər ənd ˈfræŋklɪn ˈkaʊntiz kəmˈbaɪnd, ənd 12 ɪn ˈkaʊnti, əˈkɔrdɪŋ tɪ steɪt pəˈlis. ðə rɪˈpɔrt dɪd nɑt ˌɪnˈklud ðə ˈnəmbər əv ˈnɑnˈfeɪtəl ˈoʊvərˌdoʊsɪz ˈdʊrɪŋ ðət taɪm. ˈdəzənt ˈmætər hu ju ər, wɛr ju kəm frəm ər wɛr ju lɪv. nən əv ðət ˈmætərz anymore,”*,” ˈiθən sɛd ˈdʊrɪŋ ə ˈrisənt ˈɪntərvˌju. dɪˈziz kən hɪt ju æt ˈɛni taɪm. ɪt ɪz ˈpaʊərfəl, ɪt ɪz ˈkənɪŋ, ɪt ɪz ˌɪnˈsɪˌdiəs ənd ɪt ɪz deadly.”*.” ˈərli ɪkˌspɛrəmənˈteɪʃən ˈiθən dɪˈskraɪbz hɪz ˈərli ˈfæməli laɪf laɪk ə ˈmɑdərn teɪk ɔn ðə ˈbreɪdi bənʧ. hɪz ˈpɛrənts dɪˈvɔrst wɪn hi wɑz naɪn jɪrz oʊld. ˈfɑloʊɪŋ ðə dɪˈvɔrs hi lɪvd wɪθ hɪz ˈməðər, tu ˈsɪstərz, ðə mæn hɪz ˈməðər wɑz ˈdeɪtɪŋ ənd hɪz θri ˈʧɪldrən. ˈiθən pleɪd ˈsɑkər ənd wɑz strɔŋ ɪn mæθ, hɪz ˈməðər, bɛθ ˈbɪrdzli, sɛd. ˈiθən ˈɔlsoʊ traɪd ˌmɛrəˈwɑnə, hɪz fərst drəg, æt 11 jɪrz oʊld. ðə stɑrt aɪ ˈrɪli ləvd ɪt. ɪt geɪv mi ə ˈfridəm aɪ dɪd nɑt fil ˈɛniˌwɛr else,”*,” ˈiθən sɛd əv sˈmoʊkɪŋ ˌmɛrəˈwɑnə fər ðə fərst taɪm. geɪv mi ˈsəmθɪŋ tɪ ɪˈskeɪp ˈɛvriˌθɪŋ aɪ wɑz feeling.”*.” ðət fərst ˈfɔreɪ ˈɪntu drəgz wɑz ˈsəmθɪŋ ðət hɪz ˈfæməli roʊt ɔf ɛz ɪkˌspɛrəmənˈteɪʃən, bɛθ sɛd. ɪt wɑz noʊn ðət ˈiθən hæd smoʊkt ˌmɛrəˈwɑnə wɪn hi wɑz 13 bət ˈiθən ˈdaʊnˌpleɪd ðə ɪkˈstɛnt əv hɪz juz. noʊn tɪ bi ðət ˈtrəbəld kid,”*,” bɛθ sɛd. ðət kɪd wɛr ɪf ju si ɪm hi wɪl hoʊld ðə dɔr open.”*.” bɛθ noʊz wət ɪt minz tɪ bi ən ˈæˌdɪkt. ˈsoʊbər fər 14 jɪrz ˈæftər goʊɪŋ θru ˈdiˌtɑks fər ˈælkəˌhɔˌlɪzəm, ʃi sɛd ðət ʃi wərkt hɑrd tɪ bi ˌɪnˈvɑlvd ɪn ðə lɪvz əv hər θri ˈʧɪldrən ənd prəˈvaɪd ðɛm wɪθ ðə bɛst hoʊm ʃi kʊd. bɛθ sɛd ðət ʃi dɪd nɑt teɪk ˈɪʃu wɪθ ˈiθən sˈmoʊkɪŋ ˌmɛrəˈwɑnə. æt ðə taɪm, ʃi θɔt ðət ɪt wɑz ˈbɛtər hi du ɪt ɪn ðə haʊs wɛr hi wɑz seɪf ðən ˈsəmˌwɛr ɛls, ʃi sɛd. lɛt maɪ kɪd smoʊk pɑt. aɪ ˌæbsəˈlutli dɪd. aɪ dɪd nɑt hæv ə ˈprɑbləm wɪθ ɪt. bi ðə fərst tɪ ədˈmɪt it,”*,” bɛθ sɛd. tu bæd aɪ hæd ðət ˈθɪŋkɪŋ, bət aɪ teɪk riˌspɑnsəˈbɪləti fər that.”*.” əˈkɔrdɪŋ tɪ ˈdɑktər. ˈdəgləs, ə prəˈfɛsər ənd ˈʧɛrmən əv sɪˈkaɪətri æt ðə ˌjunəˈvərsəti əv ˌmæsəˈʧusəts ˈmɛdɪkəl skul, ˈɔfən ɪt ɪz ˈsəmθɪŋ laɪk ˌsɪgəˈrɛts, ˈælkəˌhɑl ər ˌmɛrəˈwɑnə ðət ɪz ˈnoʊtɪst baɪ ˈpɛrənts fərst. dɪˈpɛndɪŋ əˈpɑn ðə ˈpɛrənts riˈækʃən ənd ðə əv ðə ʧaɪld, ðə ˌsɪʧuˈeɪʃən kən ˌɪmˈpruv ər ɪt kən ˈgræʤuəli lɛd tɪ ɪkˌspɛrəmənˈteɪʃən wɪθ prəˈskrɪpʃən pɪlz ənd ðɛn strit drəgz, səʧ ɛz ˈhɛroʊən. ɪn dɪˈnaɪəl fər ˈiθən, ðɛr wɑz noʊ ˈstɑpɪŋ. baɪ ðə eɪʤ əv 13 ˈiθən hæd muvd ɔn tɪ ˈəðər drəgz ðət ˌɪnˈkludɪd ənd oxycodone*. æt 16 ˈiθən traɪd koʊˈkeɪn. hi hæd ɔˈrɛdi snɪft drəgz ənd wɪn ə frɛnd ˈɔfərd ɪm koʊˈkeɪn waɪl hi wɑz ɪn ə ˈbeɪsmənt sˈmoʊkɪŋ ˌmɛrəˈwɑnə hi ˈwɛlkəmd ðə ɪkˈspɪriəns, ˈiθən sɛd. skɛr mi. aɪ gɛs ənˈfɔrʧənətli drəgz skɛr me,”*,” ˈiθən sɛd. ðə taɪm aɪ wɑz 16 ənd aɪ θɔt aɪ wɑz ˌɪnˈvɪnsəbəl ənd koʊˈkeɪn skɛr mi. ɪt wɑz ʤɪst əˈnəðər θɪŋ aɪ wɑz goʊɪŋ tɪ snɪf ənd fil gʊd frəm aɪ rɪˈmɛmbər sˈnɔrtɪŋ koʊˈkeɪn ənd ˈrɪli ˈləvɪŋ it.”*.” ˈiθən wʊd kənˈtɪnju tɪ juz koʊˈkeɪn fər jɪrz. ðə drəg wɑz ˈplɛnɪfəl ənd əˈlaʊd ɪm tɪ ˈpɑrti ˈhɑrdər ənd bi mɔr ˈsoʊʃəl, hi sɛd. wɑz ˈɔlˌweɪz ðət ˈpərsən ðət ˈɔlˌweɪz ˈwɔntɪd tɪ teɪk ɪt tɪ ðə nɛkst ˈlɛvəl. ðət wɑz maɪ personality,”*,” hi sɛd. wɑz ðə kɪd ˈjuzɪŋ ˈvɑdkə tɪ pleɪ bɪr pɔŋ ˌɪnˈstɛd əv beer,”*,” ˈivɪn ɛz hi juzd koʊˈkeɪn ˈrɛgjələrli, ðə ˈkɑnsɛpt əv biɪŋ ən ˈæˌdɪkt hæd ˈnɛvər ˈɛnərd hɪz maɪnd. ðɛr wər noʊ ˈfɪzɪkəl wɪθˈdrɔəlz frəm ðə drəg ənd hi wɑz ˈeɪbəl tɪ meɪnˈteɪn ðə fəˈsɑd əv ˈnɔrməlsi fər jɪrz tɪ kəm, hi sɛd. nu aɪ hæd ə ˈprɑbləm, bət aɪ ˈrɪli ʤɪst bleɪmd ɪt ɔn biɪŋ ə teenager,”*,” ˈiθən sɛd. ˈrɪli ʤɪst θɔt ðət wən deɪ aɪ wʊd pʊt daʊn ðiz bæd substances.”*.” sun ˈæftər hi ˈstɑrtɪd ˈjuzɪŋ koʊˈkeɪn, hi wɑz ˈʧeɪsɪŋ ðə haɪ daʊn wɪθ prəˈskrɪpʃən peɪn ˈmɛdəsən ˌɪnˈkludɪŋ ˌbɛnzoʊdiˈæzəpin, ənd oxycodone*. ðə ˈmɑrkɪt wɑz ˈflədɪd wɪθ ðiz pɪlz, hi sɛd. ðə pɪlz bɪˈkeɪm hɪz medicine”*” tɪ hɛlp brɪŋ ɪm daʊn frəm ðə ˈəpər haɪ hi hæd bi ˈraɪdɪŋ ˈdʊrɪŋ ðə deɪ. ðə ˈoʊpiət haɪ riˈmuvd ɪm frəm ðə laɪf ənd θɔts hi dɪd nɑt wɔnt tɪ dil wɪθ waɪl ˈmeɪkɪŋ ɪm mɔr ˈfoʊkɪst, ˈiθən sɛd. waɪl hi wɑz ˈjuzɪŋ, hi fɛlt mɔr ˈæktɪv ənd ˈlaɪkli tɪ liv ðə haʊs. wɑz ə kəmˈplit læk əv ˈfɪzɪkəl, ər ˈmɛntəl, ər ˈiˌmoʊʃənəl peɪn. ɪt brɔt mi tɪ ə ˈlɛvəl wɛr aɪ wɑz ʤɪst nəm tɪ ðə θɪŋz aɪ wɔnt tɪ feel,”*,” hi sɛd. tʊk mi daʊn frəm biɪŋ ðɪs strɛst aʊt ˈpərsən tɪ ˈsəmˌwən hu wɑz kɑm ənd rɪˈlækst ənd ˈmoʊtəˌveɪtəd. ɪt tʊk əˈweɪ ə lɔt əv ðə peɪn əv life.”*.” sɛd ðət əˈdɪkʃən ənd mɪsˈjuz əv prəˈskrɪpʃən pɪlz ɪz məʧ mɔr ˈkɑmən ðən ðə mɪsˈjuz əv ˈhɛroʊən. ˈɔfən jəŋ ˈpipəl meɪ hæv ˈækˌsɛs tɪ pɪlz priˈskraɪbd tɪ ən ˈædəlt ɪn ðɛr laɪf fər peɪn ðət ər stɔrd ɪn ə ˈmɛdəsən ˈkæbənət ˈivɪn ɪf ðɛr noʊ ˈlɔŋgər ˈnidɪd fər ðɛr ˌɪnˈtɛndɪd ˈpərpəs. hi həz hərd ˈstɔriz əv ɪkˈstrim ˈmɛʒərz ˈteɪkən baɪ ˈæˌdɪkts tɪ əkˈwaɪər pɪlz, səʧ ɛz ˈvɪzɪtɪŋ ˈoʊpən ˈhaʊsɪz wɪθ ðə ˈpərpəs əv ˈraɪflɪŋ θru ðə hoʊm ˈoʊnərz' ˈmɛdəsən ˈkæbənəts. ˌfʊlˈbloʊn əˈdɪkʃən æt ðə eɪʤ əv 17 ˈiθən sɪz hi wɑz ˈfɪzɪkəli əˈdɪktɪd tɪ ˈoʊpiəts. hi wɑz sun ˈteɪkɪŋ ðɛm aʊt əv ˈfɪzɪkəl nid. aɪ hæv ðiz drəgz ɪt wɑz hɑrd tɪ gɪt aʊt əv bed,”*,” sɛd ˈiθən. ðɪs pɔɪnt ɪn maɪ laɪf ɪt wɑz hɑrd tɪ du ˈɛniˌθɪŋ wɪˈθaʊt ˈoʊpiəts ɪn maɪ system.”*.” ˈivɪn ɪn ðə mɪst əv ðɪs əˈdɪkʃən hi stɪl meɪnˈteɪnd ə fəˈsɑd fər hɪz ˈfæməli ənd ðoʊz əraʊnd ɪm, hi sɛd. ðɪs wɛnt ɔn fər ðə ˈnɪrli fɔr jɪrz hi juzd prəˈskrɪpʃən peɪn pɪlz. hæd ə ˈgərlˌfrɛnd. aɪ hæd ə kɑr. aɪ hæd ə job,”*,” sɛd ˈiθən. ðə ˈaʊtˈsaɪd, ˈɛvriˌbɑdi ˈrɪli si ˈɛni ril ˈprɑbləmz wɪθ wət aɪ wɑz doing.”*.” fər ˈiθən, ðə pɪlz ɪˈvɛnʧəwəli bɪˈgæn tɪ teɪk ə ˈfɪzɪkəl toʊl. hi faʊnd hɪmˈsɛlf ˈnɑdɪŋ ɔf waɪl ɔn ðə ʤɑb ər ˈtɔkɪŋ tɪ ˈpipəl. əˈməŋ ðə wɪθˈdrɔəl ˈsɪmptəmz fər ˈiθən wər kəmˈplit ɪgˈzɔsʧən ənd læk əv ˌmoʊtəˈveɪʃən ˈkəpəld wɪθ ə səˈvɪr ˈnɔziə ənd ˈrɛstləs lɛgz. lɔt əv ɪt hæd tɪ du wɪθ ˈfilɪŋ sɪk tɪ maɪ ˈstəmək ənd əˈnəðər bɪg θɪŋ wɑz ðə læk əv ˌmoʊtəˈveɪʃən. wɪn aɪ wɑz doʊp sɪk ɔl aɪ ˈwɔntɪd tɪ du wɑz steɪ ɪn bed,”*,” sɛd ˈiθən. ˈdʊrɪŋ ə səˈvɪr keɪs əv wɪθˈdrɔəl wən naɪt æt 19 jɪrz oʊld, hi fərst ədˈmɪtəd tɪ hɪz ˈməðər ðət hi hæd ə ˈprɑbləm. ɪt wɑz ən əˈtɛmpt, hi sɛd, tɪ traɪ ənd gɪt səm drəgz frəm ðə ˈhɑˌspɪtəl wɛr hi æst tɪ bi ˈteɪkən fər hɛlp. wɑz ˈrɪli, ˈrɪli sɪk wən naɪt ənd aɪ hæd noʊ ˈməni ənd noʊ weɪ əv ˈstilɪŋ ˈɛniˌθɪŋ ənd aɪ ədˈmɪtəd tɪ hər ðət aɪ hæd ə pɪl problem,”*,” sɛd ˈiθən. wɑz soʊ sɪk ənd soʊ ˈbroʊkən ðət aɪ θɔt aɪ ˈnidɪd help.”*.” ˈtərnɪŋ ðə rɔŋ weɪ æt ðə ˈhɑˌspɪtəl, ˈiθən ənd hɪz ˈməðər keɪm əp wɪθ ə plæn fər ˈkaʊnsəlɪŋ ənd ˈtritmənt. hi kɪkt hɪz ˈhæbət koʊld ˈtərki ðət taɪm, wɪθ ðə ˈhɑˌspɪtəl ˈgɪvɪŋ ɪm noʊ drəgz bət ˈdɪfərənt ˈdiˌtɑks ˈɔpʃənz. ˈiθən wɛnt bæk tɪ ˈjuzɪŋ sun ˈæftər. ðə pɪlz wər tu məʧ əv ə drɔ. ˈnɛvər ˈrɪli kɪkt. aɪ ʤɪst steɪd klin fər ə fju deɪz ənd ðɛn wɑz ˈgɪtɪŋ haɪ bɪˈhaɪnd backs,”*,” hi sɛd. ʤɪst kaɪnd əv feɪkt ɪt ənd priˈtɛndɪd ˈɛvriˌθɪŋ wɑz goʊɪŋ well.”*.” hi kənˈvɪnst ˈpipəl hi wʊd bi ˌoʊˈkeɪ, hi sɛd, ˌɔlˈðoʊ hi naʊ noʊz hi wɑz nɑt ˈrɛdi tɪ stɑp ˈjuzɪŋ. ðə tru dɛpθ əv əˈdɪkʃən ɪˈskeɪpt bɛθ ˈivɪn ˈæftər hi hæd ədˈmɪtəd tɪ hər hi hæd ə ˈprɑbləm. ʤɪst θɔt ðət hi hæd kəm tɪ grɪps wɪθ ɪt ənd nu hi wɑz ɪn trouble,”*,” bɛθ sɛd. meɪd ə plæn ðət hi wʊd goʊ tɪ ˈɔnˌlaɪn ˈmitɪŋz. aɪ ʤɪst ˈwɔntɪd tɪ baɪ ðət bʊk əv gʊdz soʊ ˈbædli. soʊ aɪ bɔt ðət bʊk əv gʊdz ənd lɛt ɪt goʊ ðət ˈhɔrəbəl θɪŋ ðeɪ hæv dən ɪn soʊˈsaɪɪti tɪ seɪ ðeɪ ər ˈoʊnli ˈteɪkɪŋ pills.”*.” baɪ ðə taɪm ˈiθən wɑz 20 hɪz pɪl juz hæd ˈgɔtən tɪ ðə pɔɪnt wɛr hi wɑz ˈmeɪkɪŋ drəg dilz æt ðə dunkin’*’ ˈdoʊˌnəts wɛr hi wərkt. hi hæd muvd ɔn tɪ ˈjuzɪŋ ə peɪn pɪl kɔld opana*. ɪt wɑz wən əv ðə ˈstrɔŋgəst peɪn pɪlz ɔn ðə ˈmɑrkɪt; dɪˈzaɪnd fər ˈtərmənəli ɪl ˈpeɪʃənz. ɪt wɑz crushable*, wɪʧ əˈlaʊd ɪm tɪ snɔrt ɪt, ənd ə 40 pɪl kɔst 65 ɪt geɪv ɪm ðə kaɪnd əv haɪ ðət æt ðɪs pɔɪnt hi ˈnidɪd ˈsɛvən tɪ eɪt 30 pɪlz æt 30 iʧ tɪ əˈʧiv. θɪŋz wʊd riʧ ə nu loʊ pɔɪnt fər ˈiθən ɔn ə deɪ wɪn ðə ˈɛriə pɪl səˈplaɪ ræn aʊt. hi ənd hɪz ˈrənɪŋ ˈpɑrtnər wər ˈhərtɪŋ ðət deɪ ɪn ʤun əv 2011 ðeɪ wər daɪɪŋ fər ˈsəmθɪŋ tɪ teɪk əˈweɪ ðə doʊp ˈsɪknəs. ðeɪ hæd riʧt aʊt tɪ ˈɛvəri ˈrisɔrs ðeɪ hæd waɪl ˈlʊkɪŋ fər ə fɪks ənd ˈfaɪnəli ðə ˈoʊnli θɪŋ ðeɪ kʊd faɪnd keɪm θru: ɪt wɑz ˈhɛroʊən ənd ðeɪ ˌdɪˈsaɪdɪd ðeɪ wər goʊɪŋ tɪ ʃut ɪt əp. ðə ˈsɪriz kənˈtɪnjuz ɔn ˈwɛnzˌdeɪ wɪθ pɑrt 2 əv ˈstɔri.
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editor's note: this is the first article in a three-part series documenting a ware family's struggle with drug addiction. the second part will run wednesday, with the final piece on friday. in addition to this series, several articles will run in concert on drug use in massachusetts.
on a june day in 2011, ethan romeo found himself sitting across from his close friend and running partner at a dining room table in the south hadley home of a heroin dealer. to either side were the dealer and a female friend who served as romeo's drug connection.
ethan, then 20 years old, and his friend were in the throes of an unbearable dope sickness. they needed a way out. he watched his female connection shoot up and then his friend. he was next.
years of fear of using a needle to shoot drugs directly into his body faded away, beaten down by the physical and mental need to not feel sick anymore. the dealer told him what to do; he walked ethan through the steps necessary to find a good vein and prepare a clean needle. the 30 second rush from heroin was followed by a high better than any pill he had popped during the previous four years.
it took 20 minutes for ethan to begin looking for his next high. heroin had him.
"there were plenty of times where i would get the drugs, come home and be by myself and bawl my eyes out knowing that i was doing this only because i had to and not because i wanted to," ethan said during a recent interview. "it was not a party drug anymore. it was not for fun. it was out of necessity to get up and go to work or get up and take a shower."
romeo's life has been marked by an experimentation with drugs that evolved from being a means to briefly escape reality into a deep addiction, which he struggles with to this day. by the age of 17, he was physically addicted to prescription pain pills, but it would be years before he would admit to himself, or anyone else, that he was an addict.
ethan's addiction to prescription drugs occurred through an escalating series of addictions that began at the age of 11. having once used the drugs to ease the childhood trauma of his parents' divorce, by his late teen years he had become physically addicted, and tied to the drugs that had previously seemed so freeing.
his addiction culminated in the use of heroin, a drug that quickly broke him, sending him into a variety of treatment facilities and programs. at 23 years old and after seven years of battling his drug demons, ethan is now back to where his journey to addiction began, in his mother's house in ware.
it has been a struggle to get clean. after several failed attempts, ethan has been drug-free now for nearly three months, and he is talking publicly about his addiction. he talks about the drug-laden path that culminated with him putting heroin into his arm, the despair he felt at his lowest points, and what he is doing to ensure he can avoid ever doing it again.
ethan's story is not unique. thousands of people, including hundreds of teens in big cities and small towns across massachusetts, are struggling with addiction to opiates.
in march, gov. deval patrick said that massachusetts is in the grips of an "epidemic of opiate abuse." for this reason, patrick said the state must "treat it like the public health crisis it is" and ordered the commitment of $20 million to increase drug treatment and recovery services.
vermont gov. peter shumlin devoted his entire state of the state address to highlight what he described as a “full-blown heroin crisis” in his state.
“it is a crisis bubbling just beneath the surface that may be invisible to many but is already highly visible to law enforcement, medical personnel, social service and addiction treatment providers and too many vermont families,” shumlin said.
not alone
the real face of heroin addiction is not drug users portrayed in a television series or in movies, such as pulp fiction.
"people who seem to be pretty normal, have normal lives can get into this," said dr. marc c. restuccia, an attending physician in the department of emergency medicine at the university of massachusetts medical center and medical director for umass life flight and worcester ems.
in a comment to the boston globe in february, franklin county sheriff christopher j. donelan, said “it’s not just your back alley junkie doing heroin anymore ... it could be any kid, in any neighborhood, in any demographic.”
there are many paths to opiate addiction - from getting hooked on pain medication taken after a surgery to experimental drug use - and rustuccia has seen them all.
"it's important for people to see how easy it is for this to happen and that it's incredibly devastating not only to the patients, but to the entire family," restuccia said recently.
from 2000 to 2011, the most recent year that data was compiled in massachusetts, opioid-related deaths increased from 363 to 642, according to the state department of public health.
in 2012, of the 105,189 adult admissions reported, 43.1 percent of those men and women sought treatment for a heroin addiction, the primary reason for entering a substance abuse treatment program, according to the massachusetts bureau of substance abuse services 2012 annual report.
in february of this year, the massachusetts state police released a report that said at least 185 people have died from suspected heroin overdoses in massachusetts since nov. 1, a figure that does not include overdose deaths in the state's three largest cities: boston, worcester and springfield. of those overdoses, 12 were reported in worcester county, 19 in hampshire and franklin counties combined, and 12 in hampden county, according to state police. the report did not include the number of nonfatal overdoses during that time.
“it doesn't matter who you are, where you come from or where you live. none of that matters anymore,” ethan said during a recent interview. “this disease can hit you at any time. it is powerful, it is cunning, it is insidious and it is deadly.”
early experimentation
ethan describes his early family life like a modern take on the brady bunch. his parents divorced when he was nine years old. following the divorce he lived with his mother, two sisters, the man his mother was dating and his three children. ethan played soccer and was strong in math, his mother, beth beardslee, said.
ethan also tried marijuana, his first drug, at 11 years old.
“from the start i really loved it. it gave me a freedom i did not feel anywhere else,” ethan said of smoking marijuana for the first time. “it gave me something to escape everything i was feeling.”
that first foray into drugs was something that his family wrote off as experimentation, beth said. it was known that ethan had smoked marijuana when he was 13, but ethan downplayed the extent of his use.
“he wasn’t known to be that troubled kid,” beth said. “he’s that kid where if you see him he will hold the door open.”
beth knows what it means to be an addict. sober for 14 years after going through detox for alcoholism, she said that she worked hard to be involved in the lives of her three children and provide them with the best home she could. beth said that she did not take issue with ethan smoking marijuana. at the time, she thought that it was better he do it in the house where he was safe than somewhere else, she said.
“i let my kid smoke pot. i absolutely did. i did not have a problem with it. i’ll be the first to admit it,” beth said. “it’s too bad i had that thinking, but i take responsibility for that.”
according to dr. douglas ziedonis, a professor and chairman of psychiatry at the university of massachusetts medical school, often it is something like cigarettes, alcohol or marijuana that is noticed by parents first. depending upon the parent's reaction and the receptiveness of the child, the situation can improve or it can gradually lead to experimentation with prescription pills and then street drugs, such as heroin.
in denial
for ethan, there was no stopping. by the age of 13, ethan had moved on to other drugs that included adderall and oxycodone. at 16, ethan tried cocaine. he had already sniffed drugs and when a friend offered him cocaine while he was in a basement smoking marijuana he welcomed the experience, ethan said.
“it didn’t scare me. i guess unfortunately drugs didn’t scare me,” ethan said. “at the time i was 16, and i thought i was invincible and cocaine didn’t scare me. it was just another thing i was going to sniff and feel good from … i remember snorting cocaine and really loving it.”
ethan would continue to use cocaine for years. the drug was plentiful and allowed him to party harder and be more social, he said.
“i was always that person that always wanted to take it to the next level. that was my personality,” he said. “i was the kid using vodka to play beer pong instead of beer,”
even as he used cocaine regularly, the concept of being an addict had never entered his mind. there were no physical withdrawals from the drug and he was able to maintain the facade of normalcy for years to come, he said.
“i knew i had a problem, but i really just blamed it on being a teenager,” ethan said. “i really just thought that one day i would put down these bad substances.”
soon after he started using cocaine, he was chasing the high down with prescription pain medicine including benzodiazepine, percocet and oxycodone. the market was flooded with these pills, he said. the pills became his “bedtime medicine” to help bring him down from the upper high he had be riding during the day.
the opiate high removed him from the life and thoughts he did not want to deal with while making him more focused, ethan said. while he was using, he felt more active and likely to leave the house.
“it was a complete lack of physical, or mental, or emotional pain. it brought me to a level where i was just numb to the things i didn’t want to feel,” he said. “it took me down from being this stressed out person to someone who was calm and relaxed and motivated. it took away a lot of the pain of life.”
ziedonis said that addiction and misuse of prescription pills is much more common than the misuse of heroin. often young people may have access to pills prescribed to an adult in their life for pain that are stored in a medicine cabinet even if they're no longer needed for their intended purpose. he has heard stories of extreme measures taken by addicts to acquire pills, such as visiting open houses with the purpose of rifling through the home owners' medicine cabinets.
full-blown addiction
at the age of 17, ethan says he was physically addicted to opiates. he was soon taking them out of physical need.
“if i didn’t have these drugs it was hard to get out of bed,” said ethan. “at this point in my life it was hard to do anything without opiates in my system.”
even in the midst of this addiction he still maintained a facade for his family and those around him, he said. this went on for the nearly four years he used prescription pain pills.
“i had a girlfriend. i had a car. i had a job,” said ethan. “on the outside, everybody really didn’t see any real problems with what i was doing.”
for ethan, the pills eventually began to take a physical toll. he found himself nodding off while on the job or talking to people. among the withdrawal symptoms for ethan were complete exhaustion and lack of motivation coupled with a severe nausea and restless legs.
“a lot of it had to do with feeling sick to my stomach and another big thing was the lack of motivation. when i was dope sick all i wanted to do was stay in bed,” said ethan.
during a severe case of withdrawal one night at 19 years old, he first admitted to his mother that he had a problem. it was an attempt, he said, to try and get some drugs from the hospital where he asked to be taken for help.
“i was really, really sick one night and i had no money and no way of stealing anything and i admitted to her that i had a pill problem,” said ethan. “i was so sick and so broken that i thought i needed help.”
turning the wrong way
at the hospital, ethan and his mother came up with a plan for counseling and treatment. he kicked his habit cold turkey that time, with the hospital giving him no drugs but different detox options. ethan went back to using soon after. the pills were too much of a draw.
“i never really kicked. i just stayed clean for a few days and then was getting high behind everyone’s backs,” he said. “i just kind of faked it and pretended everything was going well.”
he convinced people he would be okay, he said, although he now knows he was not ready to stop using. the true depth of ethan’s addiction escaped beth even after he had admitted to her he had a problem.
“i just thought that he had come to grips with it and knew he was in trouble,” beth said. “we made a plan that he would go to online meetings. i just wanted to buy that book of goods so badly. so i bought that book of goods and let it go … it’s that horrible thing they have done in society to say they are only taking pills.”
by the time ethan was 20, his pill use had gotten to the point where he was making drug deals at the dunkin’ donuts where he worked. he had moved on to using a pain pill called opana. it was one of the strongest pain pills on the market; designed for terminally ill patients. it was crushable, which allowed him to snort it, and a 40 mg pill cost $65. it gave him the kind of high that at this point he needed seven to eight percocet 30 mg pills at $30 each to achieve.
things would reach a new low point for ethan on a day when the area pill supply ran out. he and his running partner were hurting that day in june of 2011. they were dying for something to take away the dope sickness. they had reached out to every resource they had while looking for a fix and finally the only thing they could find came through: it was heroin and they decided they were going to shoot it up.
the series continues on wednesday with part 2 of ethan's story.
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dæn ˈkɑrtər ˈsɛləˌbreɪts wən əv tu traɪz hi skɔrd əˈgɛnst ðə laɪənz ɪn ðət ˈwɛlɪŋtən tɛst ɪn 2005 ɔl blæks ˈlɛʤənd dæn ˈkɑrtər ɪz prɪˈdɪktɪŋ əˈnəðər ɪn ðə laɪənz ˈsɪriz. ˈkɑrtər ˈmæstərˌmaɪndɪd ə ˌkɑmpriˈhɛnsɪv ˈvɪktəri ˈoʊvər ðə laɪənz ɪn ðə ˈsɛkənd tɛst ɪn ˈwɛlɪŋtən tɪ sɪˈkjʊr ðə 2005 ˈsɪriz, wɪʧ ðə ɔl blæks wən ðə laɪənz bit ˈkɑrtərz ˈfɔrmər kruˈseɪdərz tim ɪn ˈkraɪstʧərʧ læst ˈsæˌtɪˌdeɪ bət sɛd ðɛr "pur skɪl ˌɛksəˈkjuʃən" wɪl bi ˈpənɪʃt baɪ ðə ɔl blæks ɪn ðɪs jɪrz ˈsɪriz. ðə ˈfɔrmər ɔl blæks fərst dɪz ɛnˈvɪzɪʤ ˈkloʊzər ˈkɑntɛsts bət ˌɪnˈsɪsts "ðə ˈfrɛʃnəs əv ðə ɔl blæks wɪl bi tu məʧ". rɛd mɔr: naholo*: laɪənz ʃʊd pleɪ ˈfiʤi ˈhɛnri: laɪənz ə 'ˈdeɪnʤərəs bist' noʊ welshmen*? waɪ, waɪ, waɪ dɪˈlaɪlə? ˈɛvənz: ˈbɛrɪt trəmps ˈfɛrɪl ˈkɑrtər: wi pleɪd fər ɪn 05 "əm ə ˈprɪti ˌwəˈnaɪd ɔl blæk səˈpɔrtər ənd aɪ æm fər ðə seɪm ɛnd rɪˈzəlt, ˌɔlˈðoʊ aɪ θɪŋk ˈɪtəl bi ə bɪt ˈkloʊzər ðən ðə læst ˈsɪriz," ˈkɑrtər toʊld ðə ˈtɛləˌgræf. ˈrɔɪtərz ˈkɑrtər ˈtɔrˌmɛntɪd ðə laɪənz ɪn 2005 "juv sin ðə ˈdeɪnʤərz ðə ɔl blæks hæv ɪn ðɛr bæk laɪn. ɪf ðeɪv gɑt bɔl goʊɪŋ ˈfɔrwərd, ɪt kən bi ə lɔŋ naɪt æt ðə ˈɔfəs, soʊ ðə laɪənz pæk ˈrɪli nid tɪ stɛp əp ənd ˈdɑməˌneɪt əp frənt ɪf ðɛr goʊɪŋ tɪ hæv ə ʧæns." ˈkɑrtər hoʊps ˈʤɔrdi ˈbɛrɪt ɪz əˈwɔrdɪd hɪz ɔl blæks ˈdeɪbju ɪn ðə tɛst ˈsɪriz ˈæftər hɪz ˌaʊtˈstændɪŋ fɔrm fər ðə ˈhərəˌkeɪnz ənd hiz bækt ˈbɛrɪt ənd ˈɛrən tɪ faɪər əˈgɛnst ðə laɪənz. ˈniðər ˈbɛrɪt ər ðə tu ˈlidɪŋ ɪn ðə ɔl blæks skwɑd hæv bɪn fərst ʧɔɪs ˈkɪkər fər ðə ˈhərəˌkeɪnz ənd ʧifs, rɪˈspɛktɪvli. ˈkɑrtər sɛd ðət ˈwəzənt ə ˈwəri æt ɔl ɛz oʊən ˈfɛrɪl lʊks ˌpɑrˈtɪkjələrli ʃɑrp wɪn ˈkɪkɪŋ goʊlz fər ðə laɪənz "ˈivɪn ðoʊ ðɛr nɑt ˈkɪkərz fər ðɛr ˈsupər ˈrəgbi timz, ðɛl stɪl bi duɪŋ ə lɔt əv wərk bɪˈhaɪnd ðə sinz. "hi [ˈbɛrɪt] wɑz ɔˈrɛdi ə fænˈtæstɪk pleɪər bət hi gru ˈɪntu ə ki pɑrt əv ðə ɔl blæks ɪn tərmz əv ˈlidɪŋ ðɛm əraʊnd ðə fild læst jɪr. ˈgɛti ˈɪmɪʤɪz ˈkɑrtər hoʊps ˈʤɔrdi ˈbɛrɪt ˈfeɪsɪz ðə laɪənz ɪn ən ɔl blæks ˈʤərzi ɪn ðɪs jɪrz ˈsɪriz. "hiz gɑt ən ɪkˈstrimli kɑm ənd klɪr hɛd. ɪn ðoʊz bɪg, ˌsɪʧuˈeɪʃənz, ðæts ɪgˈzæktli wət ju nid." ˈkɑrtər bɪˈlivz ðə laɪənz nid ˈɪŋglənd ˈfɛrɪl tɪ bi fɪt ənd ˈfaɪərrɪŋ ˈæftər hɪz ˈərli ˈpɑzətɪv ˈɪnfluəns ɔn ðɛr tʊr. ˈfɛrɪl kɪkt fɔr ˈpɛnəltiz tɪ kræk ðə kruˈseɪdərz bət ðə laɪənz skˈwɑndərd ˌwəˈtɛvər ˌɑpərˈtunətiz ðeɪ kriˈeɪtɪd ənd ˈkɑrtər sɛd ðeɪ məst ˈkɑnvərt ðoʊz tɪ stænd ˈɛni ʧæns. ˈgɛti ˈɪmɪʤɪz oʊən ˈfɛrɪl ɪz ki fər ðə laɪənz, ˈkɑrtər sɛd. ðə fərst tɛst ɪz æt ˈidən pɑrk ɔn ʤun 24 ənd ðə laɪənz hæv skɔrd ʤɪst tu traɪz ɪn θri ˈmæʧɪz praɪər tɪ ˈfeɪsɪŋ ðə ˈhaɪˌlændərz ɪn ˈdunədɪn ɔn ˈtuzˌdeɪ. "ðeɪ hæv ʃoʊn ɔn ə ˈkəpəl əv ɔˈkeɪʒənz ɔn ðə tʊr soʊ fɑr ðət ðɛr ˈkeɪpəbəl əv kriˈeɪtɪŋ laɪn breɪks bət ðɛr ʤɪst nɑt ˈeɪbəl tɪ ˈfɪnɪʃ ðɛm ɔf," ˈkɑrtər sɛd. "ɪf jʊr goʊɪŋ tɪ bit ə tim laɪk ðə ɔl blæks, juv gɑt tɪ meɪk ðə moʊst əv ˈɛvəri ˌɑpərˈtunəti ju gɪt. "ðɛr stɪl ˈwərkɪŋ ɔn ˌkɑmbəˈneɪʃənz ənd ðɛr ˈmuvɪŋ ɪn ðə raɪt dɪˈrɛkʃɪn bət ðɛr hæv ʤɪst bɪn ə fju ɔˈkeɪʒənz ɔn ðɪs tʊr wɛr ðeɪ ʃʊd hæv skɔrd ə ˈkəpəl əv traɪz bət, θru pur skɪl ˌɛksəˈkjuʃən, ðeɪv mɪst aʊt. ðɛl bi ˈlʊkɪŋ tɪ ˌɪmˈpruv ðət ənd ðɛl nid tɪ."
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dan carter celebrates one of two tries he scored against the lions in that wellington test in 2005.
all blacks legend dan carter is predicting another blackwash in the lions series.
carter masterminded a comprehensive 48-18 victory over the lions in the second test in wellington to secure the 2005 series, which the all blacks won 3-0.
the lions beat carter's former crusaders team 12-3 in christchurch last saturday but said their "poor skill execution" will be punished by the all blacks in this year's three-test series.
the former all blacks first five-eighth does envisage closer contests but insists "the freshness of the all blacks will be too much".
read more:
* naholo: lions should play fiji
* henry: lions a 'dangerous beast'
* no welshmen? why, why, why delilah?
* evans: barrett trumps farrell
* carter: we played for umaga in '05
"i'm a pretty one-eyed all black supporter and i am hoping for the same end result, although i think it'll be a bit closer than the last series," carter told the telegraph.
reuters carter tormented the lions in 2005.
"you've seen the dangers the all blacks have in their back line. if they've got ball going forward, it can be a long night at the office, so the lions pack really need to step up and dominate up front if they're going to have a chance."
carter hopes jordie barrett is awarded his all blacks debut in the test series after his outstanding form for the hurricanes and he's backed beauden barrett and aaron cruden to fire against the lions.
neither barrett or cruden - the two leading first-fives in the all blacks squad - have been first choice kicker for the hurricanes and chiefs, respectively.
carter said that wasn't a worry at all as owen farrell looks particularly sharp when kicking goals for the lions
"even though they're not kickers for their super rugby teams, they'll still be doing a lot of work behind the scenes.
"he [barrett] was already a fantastic player but he grew into a key part of the all blacks in terms of leading them around the field last year.
getty images carter hopes jordie barrett faces the lions in an all blacks jersey in this year's series.
"he's got an extremely calm and clear head. in those big, high-pressure situations, that's exactly what you need."
carter believes the lions need england five-eighth farrell to be fit and firing after his early positive influence on their tour.
farrell kicked four penalties to crack the crusaders but the lions squandered whatever try-scoring opportunities they created and carter said they must convert those to stand any chance.
getty images owen farrell is key for the lions, carter said.
the first test is at eden park on june 24 and the lions have scored just two tries in three matches prior to facing the highlanders in dunedin on tuesday.
"they have shown on a couple of occasions on the tour so far that they're capable of creating line breaks but they're just not able to finish them off," carter said.
"if you're going to beat a team like the all blacks, you've got to make the most of every opportunity you get.
"they're still working on combinations and they're moving in the right direction but there have just been a few occasions on this tour where they should have scored a couple of tries but, through poor skill execution, they've missed out. they'll be looking to improve that and they'll need to."
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ðə fərst taɪm ˈnætəli ˈpɔrtmən spiks ɪn ˈʤæki, noʊə əˈbaʊt ˈfɔrmər fərst ˈleɪdi ˈʤæki ˈkɛnədi oʊˈnɑsɪs, ɪz θri ˈmɪnəts ˈɪntu ðə ˈmuvi. ə wik ˈæftər ʤɑn ɛf. əˌsæsəˈneɪʃən, ənd ə ˈʤərnəlɪst frəm laɪf ˈmægəˌzin həz kəm tɪ ðə kennedys’*’ hoʊm ɪn haɪˈænɪs pɔrt, ˌmæsəˈʧusəts, tɪ ˈɪntərvˌju hər. hi ˈɔfərz hɪz kənˈdoʊlənsəz. ˈpɔrtmən, ə ˈstɑrtlɪŋ əˈmælgəm əv ˈʧikˌboʊnz, ʃɑrp braʊz, ənd ə ˈθɪkɪt əv rut hɛr, lɛts aʊt ə ˈbrɛθi, ˈbaɪtɪŋ rɪˈbjuk. ju rɛd wət ðeɪv bɪn ˈraɪtɪŋ? krɑk ənd ˈmɛrɪmən ənd ɔl ðə rest?”*?” ʃi snæps, rɪˈfərɪŋ tɪ ˈʤərnəlɪsts ˈɑrθər krɑk ənd ˈmɛrɪmən smɪθ. ɪz səʧ ə ˈbɪtər mæn. ɪts bɪn ʤɪst wən wik ənd ɔˈrɛdi ˈtritɪŋ ɪm laɪk səm ˈdəsti oʊld ˈɑrtəˌfækt, tɪ bi ʃɛlvd əˈweɪ. noʊ weɪ tɪ bi remembered.”*.” ˈmɪrli ˈrɛdɪŋ ðət laɪn du ˈʤəstɪs tɪ ðə vɔɪs ˈpɔrtmən əˈdɑptəd fər ðə roʊl. ɪf nɑt əˈwɛr əv haʊ ˈʤæki ˈkɛnədi spoʊk, ˈlɪsənɪŋ tɪ ˈʤæki ɪz laɪk ðə ˈtɪŋgəl əv ˈsoʊdə ɪn jʊr θroʊt. ɪt ˈɔfən filz fəˈmɪljər, bət ɪn ˈsərtən spɑts ɪt pɑps ənd ʤəmps. ðə weɪ ʃi ɔf ðə ɛnd əv ““bitter,”*,” ðə ˈfəni hɑp ɪn ““artifact,”*,” ðə weɪ ʃi roʊlz θru ““remembered”*” laɪk ˌɪnˈvɛntɪd hər oʊn juˈnik weɪ əv ˈspikɪŋ ˈɪŋlɪʃ: bət dɪˈlɪvəri ɪz ˈækjərət ɪn ðə weɪ ɪt ˈkæpʧərz ðə ˈfɔrmər fərst əˈfɛkt. ənd ðət maɪt bi ðə moʊst ˌɪmˈprɛsɪv ˈɛləmənt əv hər pərˈfɔrməns. ˈʤæki ˈkɛnədi wɪl ˈɔlˌweɪz bi ən əˈmɛrɪkən ˈaɪkɑn; hər staɪl wɑz ˌɪmˈpɑsəbli ʃik, hər ˈbjuti ɪz ˌɪˈmɔrtəl, ənd hər pɔɪz ənd greɪs ɪn ðə ˈæftərˌmæθ əv ˈtræʤədi wɪl ˈnɛvər bi fərˈgɑtən. ɪmˈbɑdiɪŋ ˈɛni əv ðoʊz ˌkɛrɪktərˈɪstɪks ˌɑnˈskrin ɪz noʊ smɔl fit. bət dɪˈstɪŋktɪv vɔɪs ə pɪˈkjuljər drɔl ðət dɪˈfaɪz ˈsɪmpəl lɪŋgˈwɪstɪk ˌklæsəfəˈkeɪʃən ðət ˈprɛzənts ðə ˈgreɪtəst ˈʧælənʤ fər ˈɛni ˈæktrəs hu maɪt əˈtɛmpt tɪ ˈɪməˌteɪt hər. ˈʤæki ˈkɛnədi spoʊk laɪk ən nu ˈjɔrkər sɔrt əv wɪn ˈlɪŋgwɪsts ˈstədi ˈæksɛnts ənd ˈdaɪəˌlɛkts, ðeɪ ˈlɪsən fər ““features”*” ðət hɛlp ˌdɪfərˈɛnʧiˌeɪt wən ˈspikɪŋ staɪl ər ˌkɛrɪktərˈɪstɪk frəm ðə nɛkst. ɪn ðɪs keɪs, ðə tərm rɪˈfərz tɪ haʊ ˈsərtən wərdz ənd vaʊəlz ər prəˈnaʊnst; ðeɪ ər wət meɪks ˈsərtən ˈæksɛnts stænd aʊt ər saʊnd streɪnʤ ɪf nɑt juzd tɪ ðɛm. ˈækˌsɛnt kənˈteɪnz ˈsɛvərəl ˈdɪfərənt ˈfiʧərz, bət əˈkɔrdɪŋ tɪ ˈsɛvərəl ˈlɪŋgwɪsts aɪ spoʊk tɪ fər ðɪs ˈstɔri, ðə moʊst prəˈnaʊnst wənz ər ““non-rhoticity,”*,” wɪʧ ɪz ˈɔlsoʊ kɔld ““r-lessness,”*,” ənd ə ʃɔrt ə system.”*.” ɪz ˈʤɛnərəli hərd ɪn ˌnɔrˈθist ənd ˈsəðərn ˈæksɛnts, ənd ˌpɑrˈtɪkjələrli ɪn ˈoʊldər ˈpipəl hu wər bɔrn ˌbiˈfɔr wwii*, sɪns ə ˈfiʧər ðeɪ gru əp wɪθ. ɪn pleɪn ˈɪŋlɪʃ, wɪn ˈsəmˌwən drɑps ðə ““r”*” saʊnd ɪn wərdz laɪk ““bar”*” ənd ““guardian,”*,” prəˈnaʊnsɪŋ ðɛm ““bah”*” ənd ““gahdian.”*.” ə ˈrisənt pɑp ˈkəlʧər ɪgˈzæmpəl: ˈkɛvɪn fræŋk ˈəndərˌwʊd ɔn ðə ˈsɪriz haʊs əv kɑrdz: ðə ˈfiʧər ərˈɪʤəˌneɪtəd ɪn ˈɪŋglənd, huz ˈdɪfərənt ˈriʤənəl ˈdaɪəˌlɛkts dɪˈspleɪ ə mɪks əv (wɛr ˈpipəl prəˈnaʊnst ðɛr wərdz wɪθ ˌɪnˈtækt) ənd (wɛr ˈpipəl drɔp ðɛr). wɪn ˈdɪfərənt grups əv ˈɪŋlɪʃ ˈɪməgrənts ˈsɛtəld ɪn ðə juˈnaɪtɪd steɪts ɪn ðə ənd ˈərliər, səm brɔt ˈoʊvər ðə ˌæfɛkˈteɪʃən ˈtɪpɪkəli tɪ ðə ˌmɛtrəˈpɑlətən ˈɛriəz ðət ər naʊ ˈbɔstən ənd nu jɔrk ˈsɪti, ɛz wɛl ɛz ðə saʊθ ənd səm brɔt ˈoʊvər ðə ˌæfɛkˈteɪʃən. fər ə ˈpɪriəd əv taɪm praɪər tɪ wwii*, wɑz ˈɔlsoʊ kənˈsɪdərd pɑʃ ər ˈfæʃənəbəl bɪˈkəz əv ɪts ˈɔrəʤɪnz ɪn ˈbrɪtən. ðə ˈlɪŋgwɪsts aɪ spoʊk wɪθ ɪkˈspleɪnd ðət ˈʤæki ˈækˌsɛnt ɪz æt list ˈpɑrʃəli ˈtɪpɪkəl əv ˈsəmˌwən wɪθ hər ˈəpˌbrɪŋɪŋ, ɪn ðət ɪt træks wɪθ hər ˈərli ˈʧaɪlˌdhʊd ɪn ˌsaʊθˈhæmptən ɪn ðə bət wɑz ˈklɪrli ˈɪnfluənst baɪ goʊɪŋ tɪ skul ɪn mænˈhætən ənd ˈspɛndɪŋ ə lɔt əv taɪm ðɛr groʊɪŋ əp. doʊnt hir səm əv ðoʊz ˌstɛrioʊˈtɪpɪkəl nu jɔrk ˈfiʧərz ɪn hər ˈækˌsɛnt, bət ju du hir ðət r-lessness,”*,” sɪz æn mərˈi, ə lɪŋgˈwɪstɪks ˈpiˌeɪʧˈdi hu riˈsərʧt ənd roʊt hər ˌdɪsərˈteɪʃən ɔn nu jɔrk ˈsɪti ˈɪŋlɪʃ ˈdaɪəˌlɛkt əˈməŋ ˈdɪfərənt ˈɛθnɪk grups ɔn lɔŋ ˈaɪlənd, nu jɔrk. ɪkˈspleɪnd ðət ðɛr ər ˈəðər ˈfiʧərz hərd ɔn lɔŋ ˈaɪlənd ənd ɪn nu jɔrk ˈsɪti laɪk ðə ““cawffee”*” vaʊəl, ənd ðə ““e”*” vaʊəl. ðə ““cawffee”*” vaʊəl tərnz ðə vaʊəl saʊnd ɪn ðə wərd ““coffee”*” ənd ˈsɪmələr wərdz ˈɪntu mɔr əv aw-sound*. ðə ˈlætər tərnz ðə wərd ““me”*” ˈɪntu ˈsəmθɪŋ ˈkloʊzər tɪ ““may”*” ər ““mae.”*.” fər, ðə ˈfiʧər əv ˈækˌsɛnt ðət moʊst stʊd aʊt wɑz. sɪz cah’*’ [ˌɪnˈstɛd əv car’*’] ənd ahts’*’ [ˌɪnˈstɛd əv arts’],”*’],” ɪkˈspleɪnd. bət ðɛr ər ˈɔlsoʊ ˈkjʊriəs ˈrɪŋkəlz. ˈɔlsoʊ ˈnoʊtɪst ðət ʃi drɑpt hər ɪn ə pleɪs wɛr nɑt ɔl nu ˈjɔrkərz du ən ɪkˈstrim pleɪs tɪ drɔp jʊr r’s,”*,” sɛd ˈkɛrə ˈbɛkər, ən əˈsɪstənt prəˈfɛsər əv lɪŋgˈwɪstɪks æt rid ˈkɑlɪʤ toʊld mi. ˈbɛkər ˈstədiz ðə nu jɔrk ˈsɪti ˈækˌsɛnt. wɪn ʃi həz ən ““err”*” saʊnd strɛst ɪn ə wərd. soʊ ə wərd laɪk ‘‘furniture,’*,’ ə lɔt əv ˈpipəl hu drɔp ðɛr drɔp ðɛm ðɛr, bət ʃi dɪd. soʊ ju gɪt ‘‘fuhnituh.’”*.’” ðə ˈəðər ˌpɑrˈtɪkjələrli ˈnoʊtəsəbəl ˈfiʧər əv ˈækˌsɛnt ɪz ə ʃɔrt ə system.”*.” boʊθ ˈbɛkər ənd dɪˈfaɪnd ɪt ɛz ðə ʃɔrt ə vaʊəl saʊnd ˈʧeɪnʤɪŋ ɪn wərdz wɛr θɪŋk ɪt wʊd bi ˈsɪmələr. splɪt ʃɔrt ə ˈsɪstəm ˈhæpənz əˈkrɔs ðə ˌnɔrˈθist, bət ɪts ˈvɛri spɪˈsɪfɪk ɪn ˈdɪfərənt ˈriʤənz. soʊ ɪn nu jɔrk ɪt ˈhæpənz ɪn wərdz laɪk ‘‘bat’*’ ˈvərsəz ‘‘bad,’*,’ [wɛr ‘‘bad’*’ kən saʊnd ˈkloʊzər tɪ ‘‘bed’*’ ɪf ə splɪt system],”*],” sɛd. "ˈkɛnədi sɪz ‘‘kehnt’*’ ˌɪnˈstɛd əv ‘‘can’t.’”*.’” ju kən ˈɔlsoʊ hir ɪt ɪn ðə weɪ ˈkɛnədi sɪz ðə wərd ““back.”*.” [ˈlɪŋgwɪsts] tɔk əˈbaʊt vaʊəlz ɪn wɛr prəˈdust ɪn ðə mouth,”*,” ˈbɛkər ɪkˈspleɪnd, ˈnoʊtɪŋ ðət ˈkɛnədi həz ən ɪkˈstrim keɪs əv ðɪs. təŋ ɪz ɪn ðə bæk əv hər maʊθ wɪn ðə wərd ‘‘back.’”*.’” traɪ ˈpʊlɪŋ jʊr təŋ ˈɪntu ðə bæk əv jʊr maʊθ ənd seɪɪŋ ““back”*” ər ““pass.”*.” ɪt ˈʧeɪnʤɪz ðə ə vaʊəl saʊnd, soʊ ðət ju meɪk lɛs əv ən ““ack”*” ər ““ass”*” saʊnd; ˌɪnˈstɛd, ɪt saʊnz ə bɪt ˈraʊndər. ɪf ju pʊl jʊr təŋ ˈfɔrwərd ɪn jʊr maʊθ, ənd traɪ ɪt əˈgɛn, ɪt ˈʧeɪnʤɪz ðə wərd. ənd splɪt ʃɔrt ə ˈsɪstəm ər nɑt ˈoʊnli ˈriʤənəli spɪˈsɪfɪk, bət hɪˈstɔrɪkəli spɪˈsɪfɪk, bɪˈkəz ˌkɛrɪktərˈɪstɪks laɪk hæv sˈloʊli ˈfeɪdɪd frəm nu jɔrk ˈæksɛnts ˈoʊvər taɪm. əˈkɔrdɪŋ tɪ ˈlɪŋgwɪsts, ðɛr wɑz ə ʃɪft əraʊnd wərld wɔr wɛr ˈfiʧərz laɪk ˈstɑrtɪd tɪ bɪˈkəm lɛs prəˈnaʊnst. bɪˈkəz ɛz ˈkɑmən ər ɛz kənˈspɪkjuəs ɛz ɪt juzd tɪ bi, ɪts ˈprɛzəns ɪn ˈækˌsɛnt kən meɪk hər saʊnd əˈspɛʃəli ənˈjuˌʒuəl tɪ ˈjəŋgər ˌʤɛnərˈeɪʃənz. səm ˈpipəl maɪt hæv nən əv ðə ˈfiʧərz əv nu jɔrk ˈsɪti ˈɪŋlɪʃ, bət ðɛn ðeɪ maɪt hæv ə splɪt ʃɔrt ə ˈsɪstəm, wɪʧ ɪz ˈæˌkʧuəli ˈprɪti common,”*,” sɛd. əˈməŋ ðə ˈjəŋgər ˈpipəl, ðeɪ doʊnt hæv ɛz ˈmɛni əv ðə ˈfiʧərz ɪn ˈʤɛnərəl ɛz ˈoʊldər ˌʤɛnərˈeɪʃənz do.”*.” ˈʤæki ˈkɛnədi wɑz ˈæfluənt, ənd hər wɛlθ ɪz rɪˈflɛktɪd ɪn ðə weɪ ʃi spiks ə rul əv θəm ɪn lɪŋgˈwɪstɪks ðət ju tɛnd tɪ si ə haɪər ˈnəmbər əv prəˈnaʊnst ˈfiʧərz ɪn ˈpipəl ðən ˈæfluənt ˈpipəl. bət ˈdʊrɪŋ taɪm frəm hər ˈʧaɪlˌdhʊd ɪn ðə ˈɪntu hər əˈdəlˌthʊd ˌɪndəˈvɪʤəwəlz ɪn ðə ˌnɔrˈθist ɪgˈzɪbətəd ˈsərtən spiʧ ˈpætərnz, ˈɔfən tɔt ɪn ɪkˈspɛnsɪv ˈpraɪvət skulz, ðət kəmˈbaɪnd ˈɛləmənts əv ˈbrɪtɪʃ ˈɪŋlɪʃ ənd əˈmɛrɪkən ˈɪŋlɪʃ, rɪˈzəltɪŋ ɪn wət ɪz ˈsəmˌtaɪmz kɔld ə ““prestige”*” ˈækˌsɛnt ˈɔlsoʊ noʊn ɛz prɛˈstiʒ ˈækˌsɛnt, ənd ɛz ðə brahmin”*” ər ðə ˈvæli lockjaw”*”) ðɪs ˈækˌsɛnt wɑz ˈkɛrɪktərˌaɪzd baɪ ə dɪˈstɪŋkt prəˌnənsiˈeɪʃən ðət saʊnz laɪk ə mɪks bɪtˈwin ˈbrɪtɪʃ ənd əˈmɛrɪkən ˈɪŋlɪʃ. ɪn ˈpraɪvət skul, ˈpipəl əv ə ˈsərtən ˈsoʊʃəl klæs, ðə weɪ ðeɪ talked,”*,” rəˈbɛkə ˈbæbkɔk, ə prəˈfɛsər æt ˌjunəˈvərsəti əv ˈtɛksəs əv ðə ˈpərmiən ˈbeɪsən, toʊld mi. həz ən ˈəpər klæs, ər ən ðeɪ kɔl ɪt ən index.”*.” ˈbæbkɔk ɪz ən ˈɛkspərt ɪn sociolinguistics*, ənd saɪts ˈfræŋklɪn ˈdɛlənoʊ ˈruzəˌvɛlt ənd ʤɑn ˈkɛri (ɪn hɪz ˈərliər ˈspiʧɪz) ɛz ɪgˈzæmpəlz əv ˈpipəl hu spik wɪθ ðɪs prɛˈstiʒ ˈɪndɛks, bət ɪkˈspleɪnz ðət ɪt həz ˈɔlsoʊ əˈpɪrd ɪn pɑp ˈkəlʧər wɪn ˈpipəl wɔnt tɪ kriˈeɪt ə ˈkɛrɪktər hu əˈpɪrz tɪ bi ˌɪnəˈlɛkʧuəl ər well-to-do*, laɪk ˈɛfi ˈtrɪŋkət ɪn ðə ˈhəŋgər geɪmz ənd frəm ˈfæməli gaɪ. ˈbæbkɔk sɪz ðət wət stʊd aʊt tɪ hər əˈbaʊt ˈkɛnədi, ɪn əˈdɪʃən tɪ ðə fərst ˈækˌsɛnt, wɑz hər grəˈmætɪkəl fɔrˈmæləti. ˈkɛnədi, wɛˈnɛvər ʃi əˈpɪrd ɔn ˈtɛləˌvɪʒən, ˈɔlˌweɪz ˈsaʊndɪd ˈvɛri ˈprɑpər, ˈɔfən ˈfɔrməˌlaɪzɪŋ hər ˈlæŋgwɪʤ baɪ seɪɪŋ ““one”*” wɛr moʊst əv ˈjuˈɛs wʊd seɪ ““you.”*.” həz tɪ peɪ əˈtɛnʃən tɪ spiʧ tɪ juz ‘‘one,’”*,’” ˈbæbkɔk toʊld mi, ˈɛmfəˌsaɪzɪŋ ðə ənd pərˈhæps ˈɔkwərdnəs əv seɪɪŋ ““one”*” ɪn ə ˌkɑnvərˈseɪʃən. ˈnæʧərəl ɪz tɪ seɪ ‘‘you.’*.’ soʊ ðət sɔrt əv ˈgræmər ə ˈkɛrfəl juz əv ˈprɑpər grammar.”*.” bət ˈbæbkɔk ˈnoʊtɪd ðət əˈdhɪrəns tɪ fɔrˈmæləti kənˈsɪstənt, ənd ðət ˌɪnˈstɛd əv seɪɪŋ ðə freɪz to,”*,” wɪʧ ɪz wət wən wʊd ɪkˈspɛkt kənˈsɪdərɪŋ ˈfɑndnəs fər ˈprɑpər ˈgræmər, ˈkɛnədi juzd ðə wərd ““gonna.”*.” 100 pərˈsɛnt əv ðə taɪm juz 100 pərˈsɛnt əv ɔl ðə ˈfiʧərz əv ˌwəˈtɛvər ˈdaɪəˌlɛkt speaking,”*,” ˈbæbkɔk sɛd. variable.”*.” ənd ˈbɛkər kəˈnɛktɪd səm əv ðə ˈnuɑnsɪz əv spiʧ, laɪk ðə weɪ ʃi prəˈnaʊnsɪz ““furniture”*” ər splɪts hər a’s*, tɪ wət ʃi wɑz ˈlaɪkli tɔt ɛz ə ʧaɪld ənd ðə ˈæfluənt ˈsoʊʃəl ˈsərkəlz ʃi wɑz pɑrt əv. θɪŋ ʃi dɪz ə lɔt ɪz ˈæspərˌeɪt hər. ɪf ju hæv ə ti æt ðə ɛnd əv ə wərd, moʊst əˈmɛrɪkənz ˈproʊdus ə pəf əv ɛr, bət ju kən. ʃi dɪz ðɪs ə lot,”*,” ˈbɛkər sɛd ɪkˈspleɪnɪŋ ðət wɪn ˈkɛnədi wʊd seɪ wərdz laɪk ““can’t”*” ənd ““but,”*,” hir ə ˈlɪtəl brɛθ ðət ˈɔlˌmoʊst saʊnz laɪk ə gæsp ər ən ““uh”*” saʊnd. əˈkɔrdɪŋ tɪ ˈbɛkər, ˈæspərˌeɪtɪd lɪŋk ˈækˌsɛnt mɔr tɪ hər ˈæfluənt ˈbækˌgraʊnd ðən tɪ ə spɪˈsɪfɪk pleɪs. ˈʤæki ˈkɛnədi wɑz ə ˌpɑləˈtɪʃən, ənd ˌpɑləˈtɪʃənz ˈɔfən ʧeɪnʤ ðɛr ˈæksɛnts tɪ mæʧ ðɛr ˈɔdiəns wɪn ˈpɔrtmən wɑz æst haʊ ʃi ˈlərnɪd ˈækˌsɛnt, ðə ˈæktrəs toʊld ðə lɔs ˈænʤəlɪs taɪmz ðət ʃi lʊkt əp ˈɛvəri ˈɪntərvˌju wɪθ ˈkɛnədi ðət ʃi kʊd faɪnd ɔn ˈjuˌtub ənd wɔʧt ðə fərst 1962 waɪt haʊs tʊr ˈoʊvər ənd ˈoʊvər. ˌɪmˈpɔrtənt tɪ noʊt ðət waɪt haʊs tʊr, ɛz wɛl ɛz məʧ əv ðə ɑrˈkaɪvəl ˈfʊtɪʤ wi hæv əv ˈʤæki ˈkɛnədi, fərst ɛrd ɔn ˈbrɔdˌkæst ˌtɛləˈvɪʒən. ðət minz ðət wɪn ˈkɛnədi wɑz ˈfɪlmɪŋ ən ˈɪntərvˌju, fər ɪgˈzæmpəl, ʃi wʊd hæv noʊn ðət bi sin baɪ ˈpipəl ɔl əˈkrɔs ðə ˈkəntri. ɛz ˈbæbkɔk ˈsteɪtɪd əˈbəv, noʊ wən spiks wɪθ 100 pərˈsɛnt əv ðɛr ˈfiʧərz 100 pərˈsɛnt əv ðə taɪm. ˈjumənz ʧeɪnʤ ðə weɪ ðeɪ spik beɪst ɔn ðə ˌsɪʧuˈeɪʃən ɪn ənd hu ˈspikɪŋ tɪ; θɪŋk əˈbaʊt haʊ səm ˈpipəl tɛnd tɪ spik wɪθ mɔr əv ən ˈækˌsɛnt wɪn ðeɪ ˈvɪzɪt ðɛr ˈhoʊmˌtaʊnz, ər ðə weɪ wi ˈsəmˌtaɪmz spik ˈdɪfərˈɛntli æt wərk ˈvərsəz æt hoʊm. ˌθiərˈɛtɪkəli, ɪf ˈpipəl ʃɪft ðɛr ˈvoʊkəl ˈpætərnz beɪst ɔn hu ˈspikɪŋ tɪ, ðɛn ə ˌsɪʧuˈeɪʃən wɛr ˈkɛnədi wɑz ˈspikɪŋ ɔn ˈtɛləˌvɪʒən wʊd noʊ daʊt ʃɪft ðə weɪ ʃi, ənd ˈəðər fərst ˈleɪdiz ənd ˌpɑləˈtɪʃənz, spoʊk. pəˈlɪtɪkəl ˈfɪgjərz, ˈæftər ɔl, hæv tɪ kənˈvɪns ðə ˈpipəl ˈtɔkɪŋ tɪ tɪ bɪˈliv ɪn ðɛm ənd səˈpɔrt ðɛm, ənd hɑrd tɪ du ɪf ju saʊnd laɪk ən aʊtˈsaɪdər. ˌpɑləˈtɪʃənz ðɛr spiʧ fər ðɛr ˈɔdiənsəz ˈhæpənz ɔl ðə taɪm. ˈbɑrək ˈspiʧɪz hæv bɪn ˈænəˌlaɪzd fər ðɛr ˈkeɪdəns, ənd ˈlɪŋgwɪsts hæv ɪgˈzæmənd ˈprɛzɪdənt ˈdɑnəld ˈspikɪŋ ˈpætərnz æt lɛŋθ. ɪf wən θɪŋ ɪn ˌpɑˈtɪkjələr ðət ˈʤæki wɔnts tɪ kənˈveɪ, ðət noʊ wən nu ðə paʊər əv ˈɪmɪʤ ɪn ˈpɑləˌtɪks laɪk ˈʤæki ˈkɛnədi. kwaɪt ˈsɪmpli: ʃi nu haʊ tɪ ˈprɛzənt hərˈsɛlf, ənd ðət ˌɪnˈkludz haʊ ʃi ˈsaʊndɪd. toʊn wɑz ˈvɛri kwaɪət, ˈvɛri breathy,”*,” ˈbæbkɔk sɛd (ˈbæbkɔk ˈɔlsoʊ ɪkˈspleɪnd ðət hər wən ˈɪʃu wɪθ dɪˈlɪvəri ɪz ðət ʃi dɪˈlɪvərz ɪt wɪθ ə voice”*” ˌæfɛkˈteɪʃən ənd lɛs brɛθ). ɪz ˈɔlsoʊ ə ˈkəlʧərd weɪ əv ˈspikɪŋ. ənd əv kɔrs ðət wɑz ˈɔlsoʊ tɔt bɪˈkəz ə ‘‘lady’*’ æt ðət taɪm wʊd spik ɪn ə sɔft, ˈkəlʧərd, ənd ˈvɛri klɪr way.”*.” ˈkɛnədi wɑz ˈfʊli əˈwɛr əv haʊ ˌɪmˈpɔrtənt hər ˈpəblɪk əˈpɪrənsəz wər ɪn tərmz əv haʊ ʃi wɑz pərˈsivd. ˈlinɪŋ ˈɪntu ˈsərtən ˈfiʧərz əv hər ˈækˌsɛnt, waɪl ˈmɪtəˌgeɪtɪŋ ˈəðərz, kʊd əˈkaʊnt fər ðə mɔr ˈkjʊriəs ənd ˌɪnkənˈsɪstənt ˈpɑkəts əv hər spiʧ laɪk ðə weɪ ʃi ˈfɔrməˌlaɪzɪz ðə ““you”*” baɪ seɪɪŋ ““one”*” ˌɪnˈstɛd. ənd ðə ˈmoʊmənts wɪn ʃi dɪz breɪk wɪθ fɔrˈmæləti kʊd bi hər weɪ əv traɪɪŋ tɪ bi əˈpɪr mɔr əˈproʊʧəbəl. waɪl wi noʊ fər ˈsərtən haʊ ˈkɛnədi meɪd hər grəˈmætɪkəl ˈʧɔɪsɪz, ˈbæbkɔk strɛst ðət hər ˈpəblɪk ˈɪntərvˌjuz wər ˈprɑbəˌbli riˈhərst ˈbækwərd ənd ˈfɔrwərd, ənd ðət ˈkɛnədi, əˈgɛn laɪk ˈmɛni ˌpɑləˈtɪʃənz, wɑz prɛpt ɔn haʊ tɪ əˈpɪr. ðə ˈlɪŋgwɪsts aɪ tɔkt tɪ ɔl ɪkˈspleɪnd ðət ˈækˌsɛnt ɪz ˈsəmθɪŋ əv ə ˈrɛrɪti təˈdeɪ. bæk ðɛn, ɪt maɪt hæv bɪn ə ˈrɛrɪti tu, ənˈlɛs ju ˈfloʊtɪd ɪn ðə seɪm ˈsərkəlz ʃi dɪd. təˈdeɪ, ju meɪ bi ˈeɪbəl tɪ faɪnd ˈoʊldər nu ˈjɔrkərz ənd nu ˈɪŋgləndərz hu spik wɪθ sɔft, ˈroʊlɪŋ ˌɪntəˈneɪʃən leɪst wɪθ ðə prɪm ˈtəʧɪz əv ˈfɪnɪʃɪŋ skul. bət ɪt bi ˈsupər ˈizi. waɪ ˈjəŋgər ˌʤɛnərˈeɪʃənz maɪt nɑt bi fəˈmɪljər wɪθ wət ʃi ˈsaʊndɪd laɪk; tɪ ˈmɛni ˈpipəl, ʤɪst ðət ˈglæmərəs fərst ˈleɪdi ðeɪ rɛd əˈbaʊt ɪn ˈtɛkstˌbʊks. ənd pɑrt əv ðə ˈmæʤɪk əv ˈwɑʧɪŋ pərˈfɔrməns ɪn ˈʤæki ˈlərnɪŋ ˈsəmθɪŋ nu əˈbaʊt ˈsəmˌwən wi θɔt wi nu. ˈkæpʧərɪŋ vɔɪs wɑz ən ɛˈsɛnʃəl pɑrt əv ˈbrɪŋɪŋ ðə ˈmuvi tɪ laɪf.
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The first time Natalie Portman speaks in Jackie, Noah Oppenheim’s arthouse semi-biopic about former first lady Jackie Kennedy Onassis, is three minutes into the movie. It’s a week after John F. Kennedy’s assassination, and a journalist from Life magazine has come to the Kennedys’ home in Hyannis Port, Massachusetts, to interview her. He offers his condolences.
Portman, a startling amalgam of cheekbones, sharp brows, and a thicket of root beer-colored hair, lets out a breathy, biting rebuke.
“Have you read what they've been writing? Krock and Merriman and all the rest?” she snaps, referring to journalists Arthur Krock and Merriman Smith. “Merriman is such a bitter man. It's been just one week and already they’re treating him like some dusty old artifact, to be shelved away. That’s no way to be remembered.”
Merely reading that line doesn’t do justice to the voice Portman adopted for the role. If you’re not aware of how Jackie Kennedy spoke, listening to Portman’s Jackie is like the tingle of soda in your throat. It often feels familiar, but in certain spots it pops and jumps. The way she lops off the end of “bitter,” the funny hop in “artifact,” the way she rolls through “remembered” — it’s like she’s invented her own unique way of speaking English:
But Portman’s delivery is accurate in the way it captures the former first lady’s affect. And that might be the most impressive element of her Oscar-nominated performance.
Jackie Kennedy will always be an American icon; her style was impossibly chic, her beauty is immortal, and her poise and grace in the aftermath of tragedy will never be forgotten. Embodying any of those characteristics onscreen is no small feat. But it’s Kennedy’s distinctive voice — a peculiar drawl that defies simple linguistic classification — that presents the greatest challenge for any actress who might attempt to imitate her.
Jackie Kennedy spoke like an old-time New Yorker … sort of
When linguists study accents and dialects, they listen for “features” that help differentiate one speaking style or characteristic from the next. In this case, the term refers to how certain words and vowels are pronounced; they are what makes certain accents stand out or sound strange if we’re not used to them. Kennedy’s accent contains several different features, but according to several linguists I spoke to for this story, the most pronounced ones are “non-rhoticity,” which is also called “R-lessness,” and a “split short A system.”
Non-rhoticity is generally heard in Northeast and Southern accents, and particularly in older people who were born before WWII, since it’s a feature they grew up with. In plain English, it’s when someone drops the “R” sound in words like “bar” and “guardian,” pronouncing them “bah” and “gahdian.” A recent pop culture example: Kevin Spacey’s Frank Underwood on the Netflix series House of Cards:
The non-rhoticity feature originated in England, whose different regional dialects display a mix of rhoticity (where people pronounced their words with R’s intact) and non-rhoticity (where people drop their R’s). When different groups of English immigrants settled in the United States in the 1800s and earlier, some brought over the non-rhotic affectation — typically to the metropolitan areas that are now Boston and New York City, as well as the South — and some brought over the rhotic affectation. For a period of time prior to WWII, non-rhoticity was also considered posh or fashionable because of its origins in Britain.
The linguists I spoke with explained that Jackie Kennedy’s accent is at least partially typical of someone with her upbringing, in that it tracks with her early childhood in Southampton in the 1930s but was clearly influenced by going to school in Manhattan and spending a lot of time there growing up.
“You don't hear some of those stereotypical New York features in her accent, but you do hear that R-lessness,” says Anne Marie Olivo-Shaw, a linguistics PhD who researched and wrote her dissertation on New York City English dialect among different ethnic groups on Long Island, New York.
Olivo-Shaw explained that there are other features heard on Long Island and in New York City like the “cawffee” vowel, and the “e” vowel. The “cawffee” vowel turns the vowel sound in the word “coffee” and similar words into more of aw-sound. The latter turns the word “me” into something closer to “may” or “mae.”
For Olivo-Shaw, the feature of Kennedy’s accent that most stood out was R-lessness.
“She says ‘the cah’ [instead of ‘the car’] and ‘fine ahts’ [instead of ‘fine arts’],” Olivo-Shaw explained.
But there are also curious wrinkles.
“I also noticed that she dropped her R’s in a place where not all New Yorkers do — it’s an extreme place to drop your R’s,” said Kara Becker, an assistant professor of linguistics at Reed College told me. Becker studies the New York City accent.
“It’s when she has an “err” sound that’s stressed in a word. So a word like ‘furniture,’ a lot of people who drop their R’s wouldn’t drop them there, but she did. So you get ‘fuhnituh.’”
The other particularly noticeable feature of Kennedy’s accent is a “split short A system.” Both Becker and Olivo-Shaw defined it as the short A vowel sound changing in words where you’d think it would be similar.
“The split short A system happens across the Northeast, but it's very specific in different regions. So in New York it happens in words like ‘bat’ versus ‘bad,’ [where ‘bad’ can sound closer to ‘bed’ if there’s a split system],” Olivo-Shaw said. "Kennedy says ‘kehnt’ instead of ‘can’t.’”
You can also hear it in the way Kennedy says the word “back.”
“We [linguists] talk about vowels in where they’re produced in the mouth,” Becker explained, noting that Kennedy has an extreme case of this. “Her tongue is in the back of her mouth when the word ‘back.’”
Try pulling your tongue into the back of your mouth and saying “back” or “pass.” It changes the A vowel sound, so that you make less of an “ack” or “ass” sound; instead, it sounds a bit rounder. If you pull your tongue forward in your mouth, and try it again, it changes the word.
Kennedy’s R-lessness and split short A system are not only regionally specific, but historically specific, because characteristics like R-lessness have slowly faded from New York accents over time. According to linguists, there was a shift around World War II where features like R-lessness started to become less pronounced. Because R-lessness isn’t as common or as conspicuous as it used to be, its presence in Kennedy’s accent can make her sound especially unusual to younger generations.
“So some people might have none of the features of New York City English, but then they might have a split short A system, which is actually pretty common,” Olivo-Shaw said. “And among the younger people, they don't have as many of the features in general as older generations do.”
Jackie Kennedy was affluent, and her wealth is reflected in the way she speaks
There’s a rule of thumb in linguistics that you tend to see a higher number of pronounced features in working-class people than affluent people. But during Kennedy’s time — from her childhood in the ’30s into her adulthood — upper-class individuals in the Northeast exhibited certain speech patterns, often taught in expensive private schools, that combined elements of British English and American English, resulting in what is sometimes called a “prestige” accent (it’s also known as Mid-Atlantic prestige accent, and colloquially as the “Boston Brahmin” or the “Locust Valley Lockjaw”) .
This accent was characterized by a distinct pronunciation that sounds like a mix between British and American English.
“People in private school, people of a certain social class, that’s the way they talked,” Rebecca Babcock, a professor at University of Texas of the Permian Basin, told me. “It has an upper class, or an upper-crust — they call it an index.”
Babcock is an expert in sociolinguistics, and cites Franklin Delano Roosevelt and John Kerry (in his earlier speeches) as examples of people who speak with this prestige index, but explains that it has also appeared in pop culture when people want to create a character who appears to be intellectual or well-to-do, like Effie Trinket in The Hunger Games and Stewie from Family Guy.
Babcock says that what stood out to her about Kennedy, in addition to the first lady’s accent, was her grammatical formality. Kennedy, whenever she appeared on television, always sounded very proper, often formalizing her language by saying “one” where most of us would say “you.”
“One has to pay attention to one’s speech to use ‘one,’” Babcock told me, emphasizing the stateliness and perhaps awkwardness of saying “one” in a two-person conversation. “The natural is to say ‘you.’ So that sort of grammar — that’s a careful use of proper grammar.”
But Babcock noted that Kennedy’s adherence to formality wasn’t consistent, and that instead of saying the phrase “going to,” which is what one would expect considering Kennedy’s fondness for proper grammar, Kennedy used the word “gonna.”
“People don’t 100 percent of the time use 100 percent of all the features of whatever dialect they’re speaking,” Babcock said. “It’s variable.”
And Becker connected some of the nuances of Kennedy’s speech, like the way she pronounces “furniture” or splits her A’s, to what she was likely taught as a child and the affluent social circles she was part of.
“One thing she does a lot is aspirate her T’s. If you have a T at the end of a word, most Americans don’t produce a puff of air, but you can. She does this a lot,” Becker said explaining that when Kennedy would say words like “can’t” and “but,” you’d hear a little breath that almost sounds like a split-second gasp or an “uh” sound.
According to Becker, aspirated T’s link Kennedy’s accent more to her affluent background than to a specific place.
Jackie Kennedy was a politician, and politicians often change their accents to match their audience
When Portman was asked how she learned Kennedy’s accent, the actress told the Los Angeles Times that she looked up every interview with Kennedy that she could find on YouTube and watched the first lady’s 1962 White House Tour over and over.
It’s important to note that Kennedy’s White House Tour, as well as much of the archival footage we have of Jackie Kennedy, first aired on broadcast TV. That means that when Kennedy was filming an interview, for example, she would have known that it’d be seen by people all across the country.
As Babcock stated above, no one speaks with 100 percent of their features 100 percent of the time. Humans change the way they speak based on the situation they’re in and who they’re speaking to; think about how some people tend to speak with more of an accent when they visit their hometowns, or the way we sometimes speak differently at work versus at home.
Theoretically, if people shift their vocal patterns based on who they’re speaking to, then a situation where Kennedy was speaking on television would no doubt shift the way she, and other first ladies and politicians, spoke. Political figures, after all, have to convince the people they’re talking to to believe in them and support them, and that’s hard to do if you sound like an outsider.
Politicians fine-tuning their speech for their audiences happens all the time. Barack Obama’s speeches have been analyzed for their cadence, and linguists have examined President Donald Trump’s speaking patterns at length.
If there’s one thing in particular that Jackie wants to convey, it’s that no one knew the power of image in politics like Jackie Kennedy. Quite simply: She knew how to present herself, and that includes how she sounded.
“Jackie's tone was very quiet, very breathy,” Babcock said (Babcock also explained that her one issue with Portman’s delivery is that she delivers it with a “creaky voice” affectation and less breath). “That is also a cultured way of speaking. And of course that was also taught because a ‘lady’ at that time would speak in a soft, cultured, and very clear way.”
Kennedy was fully aware of how important her public appearances were in terms of how she was perceived. Leaning into certain features of her accent, while mitigating others, could account for the more curious and inconsistent pockets of her speech — like the way she formalizes the “you” by saying “one” instead. And the moments when she does break with formality could be her way of trying to be appear more approachable. While we can’t know for certain how Kennedy made her grammatical choices, Babcock stressed that her public interviews were probably rehearsed backward and forward, and that Kennedy, again like many politicians, was prepped on how to appear.
The linguists I talked to all explained that Kennedy’s accent is something of a rarity today. Back then, it might have been a rarity too, unless you floated in the same upper-crust circles she did.
Today, you may be able to find older New Yorkers and New Englanders who speak with Kennedy’s soft, rolling intonation laced with the prim touches of finishing school. But it won’t be super easy. That’s why younger generations might not be familiar with what she sounded like; to many people, she’s just that glamorous first lady they read about in textbooks. And that’s part of the magic of watching Portman’s performance in Jackie — learning something new about someone we thought we knew. Capturing Kennedy’s voice was an essential part of bringing the movie to life.
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ˈklɪntənz 'waɪt əˈmɛrɪkənz' ðɛrz ˈɔlˌweɪz bɪn ə ˈreɪʃəl daɪˈnæmɪk ˌəndərˈlaɪɪŋ ˈklɪntənz kleɪmz əv ɪˌlɛktəˈbɪləti: ðə ˈɑrgjəmənt ðət ˈwərkɪŋ klæs waɪt swɪŋ ˈvoʊtərz maɪt nɑt fər ˌwəˈtɛvər ˈrizən voʊt fər ˌoʊˈbɑmə. hər kæmˈpeɪn həz bɪn ˈsteɪtɪŋ ɪt wɪθ ˈstraɪkɪŋ ˈbləntnəs ɪn ðə læst ˈkəpəl əv deɪz, ðoʊ. ˈjɛstərˌdeɪ ɪt wɑz ʤɛf ˈgɛrɪn, ənd təˈdeɪ ˈklɪntən ɪn ən ˈɪntərvˌju wɪθ ˈjuˈɛˈseɪ təˈdeɪ: "aɪ hæv ə məʧ ˈbrɔdər beɪs tɪ bɪld ə ˈwɪnɪŋ ˌkoʊəˈlɪʃən ɔn," ʃi sɛd ɪn ən ˈɪntərvˌju wɪθ ˈjuˈɛˈseɪ təˈdeɪ. ɛz ˈɛvədəns, ˈklɪntən ˈsaɪtɪd ən əˈsoʊʃiˌeɪtəd prɛs ˈɑrtɪkəl "ðət faʊnd haʊ sɛn. ˌoʊˈbɑməz səˈpɔrt əˈməŋ ˈwərkɪŋ, ˌhɑrdˈwərkɪŋ əˈmɛrɪkənz, waɪt əˈmɛrɪkənz, ɪz ˈwikənɪŋ əˈgɛn, ənd haʊ waɪts ɪn boʊθ steɪts hu hæd nɑt kəmˈplitɪd ˈkɑlɪʤ wər səˈpɔrtɪŋ mi." "ðɛrz ə ˈpætərn ˈimərʤɪŋ hir," ʃi sɛd. naʊ, ðə prɛs həz tɔkt əˈbaʊt ðə reɪs ɪn ðiz tərmz ˈkɑnstəntli, soʊ aɪ woʊnt feɪn ʃɑk. bət ɪts ə bɪt streɪnʤ tɪ hir ɪt soʊ ˈbləntli frəm ðə ˈkændədeɪts maʊθ, ənd ˈprɑbəˌbli nɑt ə greɪt weɪ tɪ ɛnˈdir hərˈsɛlf tɪ ˈæfrɪkənəˈmɛrɪkən ˈvoʊtərz. ənd ɪts ˈɔlsoʊ ˈnoʊtˌwərði ðət ðə blənt tɔk ɔn əˈpilɪŋ tɪ waɪts ˈsərfəsɪz ðə deɪ ˈæftər ðə læst raʊnd əv ˈpraɪˌmɛriz ɪn wɪʧ ðɛrz ə səbˈstænʃəl ˈnəmbər əv blæk ˈvoʊtərz.
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clinton's 'white americans'
there's always been a racial dynamic underlying clinton's claims of electability: the argument that working class white swing voters might not -- for whatever reason -- vote for obama.
her campaign has been stating it with striking bluntness in the last couple of days, though. yesterday it was geoff garin, and today clinton in an interview with usa today:
"i have a much broader base to build a winning coalition on," she said in an interview with usa today. as evidence, clinton cited an associated press article "that found how sen. obama's support among working, hard-working americans, white americans, is weakening again, and how whites in both states who had not completed college were supporting me." "there's a pattern emerging here," she said.
now, the press has talked about the race in these terms constantly, so i won't feign shock. but it's a bit strange to hear it so bluntly from the candidate's mouth, and probably not a great way to endear herself to african-american voters.
and it's also noteworthy that the blunt talk on appealing to whites surfaces the day after the last round of primaries in which there's a substantial number of black voters.
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ðə laɪn fər ðə ˈbɑθˌrumz æt ðə ˌɪzˈreɪli bɪr fɛst ɪz lɔŋ ˈæftər ɔl, ðə bɪr hir floʊz ˈfrili ənd teɪks ɪts toʊl. ðoʊz ɪn laɪn ər ə bɪt ənˈstɛdi ɔn ðɛr fit, bət aɪ meɪk juz əv ðə taɪm tɪ faɪnd aʊt wɪʧ əv ðə ˈdəzənz əv buˈtik ˈbruəriz ənd ˈprimiəm ˌɪmˈpɔrtɪd bɪr stɔlz ər ˌpɑˈtɪkjələr ˈfeɪvərɪts. wən neɪm kips ˈkəmɪŋ əp ɪn ə kwɪk ˈsərˌveɪ: ˈaɪsəs. ðɛr ɪz ˌɪnˈdid ən ˌɪzˈreɪli ˈmaɪˌkroʊˌbruəri wɪθ ðə seɪm neɪm ɛz ðə ˌɪzˈlɑmɪk steɪt ˈtɛrər ˌɔrgənəˈzeɪʃən ˈfɔrmərli noʊn ɛz ðə ˌɪzˈlɑmɪk steɪt əv ˌɪˈrɑk ənd al-sham*, ər ˈaɪsəs bət nɑt ə ˈpəblɪk riˈleɪʃənz ˈgɪmɪk. tɛn jɪrz əˈgoʊ, ɪts ˈoʊnər ˈlɛvi frəm dekel*, ə koʊˈɑpərˌeɪtɪv fɑrm ˈbɔrdərɪŋ ðə ˈgɑzə strɪp, ˌdɪˈsaɪdɪd tɪ tərn pɑrt əv hɪz fɑrm ˈɪntu ə ˈbruəri ənd neɪmd hɪz bɪr ˈæftər ðə ɪˈʤɪpʃən ˈgɑdəs ˈaɪsəs (hu, əˈkɔrdɪŋ tɪ ˈeɪnʧənt ɪˈʤɪpʃən məˈθɑləˌʤi, dɪˈskəvərd ˈbɑrli). kənˈsɪdərɪŋ ə ˈmæsɪv ˈlɔˌsut ˈoʊvər ðə juz əv ɑr name,”*,” hi sɪz ˈlæfɪŋ. aɪ æsk ɪm əˈbaʊt ˌɑpərˈeɪʃən prəˈtɛktɪv ɛʤ. wɑz hɑrd ˈdʊrɪŋ ðə war,”*,” hi sɪz, wi keɪm əp wɪθ ə seɪlz ˈɔfər: baɪ 120 ˈbɑtəlz, gɪt iʧ fər 11 ˌɪzˈreɪli ˈʃɛkəlz 3 ənd dɪˈlɪvəri tɪ wənz ˈdɔrˌstɛp. wi ræn ən æd ɔn ˈfraɪˌdeɪ ˈmɔrnɪŋ ənd baɪ nun ɑr iˈmeɪl wɑz ˈflədɪd. baɪ ˈtuzˌdeɪ, wi hæd rən out.”*.” ənd wɪθ gʊd ˈrizən. ˈaɪsəs bɪr ɪz sʊˈpərb. əv ˈrɑmət gæn ɪz ən ˈaɪsəs bɪr fæn, bət hɪz ˈgərlˌfrɛnd, ˈdeɪnə ˈlɛvi, ɪz nɑt. bət waɪl ˈdeɪnə ˈrɪli laɪk bɪr, ən ˌɪmˈprɛsɪv ˈfiˌmeɪl ˈprɛzəns ðə kraʊd ənd bɪˈhaɪnd ðə tæps, wɪʧ goʊz tɪ ʃoʊ ðət bɪr həz ˌəndərˈgɔn ə ˈʤɛndər ˌrɛvəˈluʃən ənd lɔŋ əˈgoʊ stɑpt biɪŋ ə drɪŋk, dɪˈspaɪt ðə ˈædvərˌtaɪzmənts əv səm kəˈmərʃəl bɪr prəˈdusərz. ˈwaɪsmən əv ðə ˈvæli ɪn ðə loʊər ˈgæləˌli ˈriʤən sɪz wɪθ ə smaɪl. ɔˈrɛdi hæd ə bɪr æt nun. aɪ meɪk ʃʊr tɪ hæv wən ə deɪ, ˈvɛri healthy.”*.” ənd hər frɛndz dræg mi əˈlɔŋ tɪ ðə stɔl əv ˈtælmən. tɛn jɪrz əˈgoʊ, hi ˈstɑrtɪd bruɪŋ æt hoʊm ɛz ə ˈhɑbi, ənd təˈdeɪ hi ˌmænjəˈfækʧərz oʊld eɪl. ðə bɪr ɪz ˈɛksələnt, bət ˈtælmən ɪz stɪl ə smɔl bruər ənd həz prəˈdust ˈoʊnli ˈlitərz 528 ˈgælənz) soʊ fɑr. ˈoʊnli hæv wən kaɪnd əv bɪr; noʊ pɔɪnt ɪn ˈteɪkɪŋ ɔn mɔr ðən aɪ kən handle,”*,” hi sɪz. hɪz ˈstɔri rɪˈflɛkts ðə ˌɛvəˈluʃən əv ðə ɪnˈtaɪər ˈɪndəstri. ðə ˌɪzˈreɪli ˈmɑrkɪt fər buˈtik bɪrz həz pɪkt əp ˈrisəntli. bɪr fænz, taɪərd əv ðə ˈlɪmɪtɪd səˈlɛkʃən əv ˌɪzˈreɪli bɪrz, ˈstɑrtɪd bruɪŋ ðɛr oʊn, gɑt gʊd æt ɪt ənd ˌdɪˈsaɪdɪd tɪ stɑrt ˈsɛlɪŋ. ðɛr səkˈsɛs ɪz ˈɛvədənt æt ðə ˈfɛstɪvəl, wɪʧ hoʊsts ˈdəzənz əv ˈmaɪˌkroʊˌbruəriz əv ˈvɛriəs ˈsaɪzɪz frəm ɔl ˈoʊvər ðə ˈkəntri. ðeɪ ˈɔfər ən ˈɛndləs əreɪ əv bɪrz, ˌɪnˈkludɪŋ wən neɪmd ðə ˈdɪkteɪtər, əˈnəðər meɪd əv ˈhʊməs ənd ˈbəkˌwit ənd ˈkoʊʃər fər ˈpæˌsoʊvər) baɪ ðə ˈbruəri ənd ə bɪr neɪmd ˈmoʊskoʊ brud baɪ əˈmɪr lɛv, ən jəŋ mæn frəm ðə taʊn əv beɪt shemesh*. ðə ˈdɪkteɪtər bɪr ɪz əˈveɪləbəl ɪn ˈsɛvərəl staɪlz (ˈfoʊˌtoʊ baɪ ðə ˈdɪkteɪtər bɪr) (ˈgæləˌli ˈbruəri) frəm kɪˈbʊts mɔˈræn həz bɪn bruɪŋ fər θri jɪrz ənd prəˈdusɪz ˈlitərz 264 ˈgælənz) ə wik. wən əv ɪts ˈteɪsti bɪrz ɪz hopla*, ən ˈɪndiən peɪl eɪl (ipa*). faɪv jɪrz əˈgoʊ, ɪt wɑz hɑrd tɪ faɪnd ˌɪzˈreɪliz hu hæd hərd əv ðɪs taɪp əv bɪr, ˈbɪtər ˈteɪstɪŋ bət wɪθ ə hɪnt əv ˈsɪtrəs; təˈdeɪ, ˈɔlˌmoʊst ˈɛvəri ˈbruəri meɪks ɪt. ðeɪ ˈɔlsoʊ ˈɔfər ˈpəmpkɪn bɪr, ˈæˌkʧuəli brud frəm ˈpəmpkənz ˈroʊstɪd ɪn ən ˈəvən tɪ ˈɛkˌstrækt ðɛr ˈʃʊgərz. ðə rɪˈzəlt ɪz ˈspaɪsi ənd swit. ər nɑt bɪg bɪr drinkers,”*,” sɪz ˈoʊfər ˈroʊnən əv ðə ˈbruəri, wɪʧ ˈɔlsoʊ ˈɔfərz ə ˈteɪsti kɔld ˈəgli ˈɪndiən. ˈævərɪʤ, ˌɪzˈreɪliz kənˈsum 14 ˈlitərz ˈgælənz] ə jɪr. ˈʤərmənz drɪŋk 130 ˈlitərz 34 ˈgælənz). ðɪs ˈfɛstɪvəl ɪz ə smɔl stɛp təˈwɔrd ˈɛʤəˌkeɪtɪŋ ðə ˌɪzˈreɪli ˈpælɪt. nɑt tɪ drɪŋk mɔr, bət tɪ bɪˈkəm mɔr dɪˈsərnɪŋ drinkers.”*.” ðə ˈbɑrmən ɪˈlæbərˌeɪts ɔn wərdz. laɪk ðɛr bɪr ˈvɛri koʊld, wɪʧ ʃrɪŋks ðə teɪst buds,”*,” hi sɪz. ˈdænjəl ʃəˈpɪroʊ əv ðə ʃəˈpɪroʊ ˈbruəri ɪn ðə ʤərˈusələm hɪlz tɔks əv ə ˌrɛvəˈluʃən. ““once*, ju hæd tɪ ɪkˈspleɪn ˈɛvriˌθɪŋ tɪ ˈpipəl. təˈdeɪ, ˈpipəl noʊ əˈbaʊt eɪlz, ənd ˈivɪn æsk mi wət kaɪnd əv hɑps aɪ use.”*.” ʃəˈpɪroʊ stɛpt əp hɪz pərˈdəkʃən ˈrisəntli frəm ˈlitərz ˈgælənz) ə mənθ tɪ ˈgælənz). wɔr wɑz ə ˈdɪfəkəlt taɪm. ðə ˈbɪznɪs tʊk ə hɪt. ˈpipəl goʊ aʊt ɛz məʧ. aɪ rɪˈsivd ən ˈimərʤənsi ˈnoʊtɪs ənd wɑz rɪˈkrutɪd fər rɪˈzərv ˈduti əˈlɔŋ ðə ˈgɑzə ˈbɔrdər. aɪ drɪŋk fər ə hoʊl mənθ. ɪt wɑz awful!”*!” ˈɔrən ənd keɪm tɪ ðə fɛr frəm na’aleh*, ə ˈsɛtəlmənt ɪn ˌseɪmərˈiə. laɪk ˈmɛni əv ðə ˈvɪzɪtərz, bruz bɪr fər ˈplɛʒər. frəm ðə taʊn əv rɔʃ ɪz ˈɔlsoʊ ən ˈæməˌʧər bruər. bɪr ɪz wɛl dɪˈvɛləpt ənd ɪz ˈikwəl tɪ ˌɪnərˈnæʃənɑl standards,”*,” hi sɪz. ðə stip praɪs əv ˌɪzˈreɪli bɪr juˈnaɪts bruərz ənd kənˈsumərz. baɪ ən ˌɪzˈreɪli bɪr fər 14 ər 16 ˈʃɛkəlz ər wɪn ən ˌɪmˈpɔrtɪd wən kɔsts naɪn ˈʃɛkəlz sɪz niv*. vɑˈdim frəm ðə taʊn əv əˈgriz wɪθ ɪm. ɪkˈspɛnsɪv hir. ɪn prɑg, bɪr kɔsts ðə ɪkˈwɪvələnt əv faɪv ˈʃɛkəlz ənd hir ɪt kɔsts 30 ˈʃɛkəlz ðə bɪr prəˈdusərz dɪˈrɛkt ðɛr ˈkrɪtɪˌsɪzəm æt ˈfaɪˌnæns ˈmɪnɪstər, hu ˌɪmˈpoʊzd ə tæks ɔn ˈælkəˌhɑl ɪn ˌʤuˈlaɪ 2013 ɪts ˈifɛkt ɪz drəˈmætɪk fər ˈmaɪˌkroʊˌbruəriz. pʊt ðə ɪnˈtaɪər ˈbɪznɪs tu jɪrz behind,”*,” sɪz ˈroʊnən. tɛl mi, 'haɪk jʊr ˈpraɪsɪz,' bət ðə ˌɪzˈreɪliz ˈrɛfˌjuz tɪ peɪ soʊ məʧ. bɪr ɪz ə ˈpɑpjələr drɪŋk ðət ʃʊd bi cheap.”*.” tæks hərts ˈjuˈɛs ənd ðə consumers,”*,” ʃəˈpɪroʊ sɪz, ''ˈdrɪŋkɪŋ bɪr fər 30 ˈʃɛkəlz meɪks noʊ sɛns, əˈspɛʃəli fər ðoʊz hu hæv ˈtrævəld əraʊnd ðə wərld ənd ˈteɪstɪd ə bɪr ər two.”*.” pruf əv ““popularity”*” əˈməŋ prəˈdusərz kən bi faʊnd æt ðə stɔl. ðə ˈleɪbəl spɔrts ðə ˈfeɪsɪz əv ˈsɑdəm huˈseɪn, vˈlædəmɪr ˈlɛnɪn ənd gaɪ fɔks. wɪn aɪ æsk əˈbaʊt ðə neɪm, toʊld wɪθ ə smaɪl, lɔnʧt ðə bɪr læst jɪr, əˈbaʊt ðə taɪm ðət keɪm aʊt wɪθ hɪz ˈælkəˌhɑl tax.”*.”
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the line for the bathrooms at the israeli beer fest “beers 2014” is long — after all, the beer here flows freely and takes its toll. those in line are a bit unsteady on their feet, but i make use of the time to find out which of the dozens of boutique breweries and premium imported beer stalls are particular favorites. one name keeps coming up in a quick survey: isis.
there is indeed an israeli microbrewery with the same name as the islamic state terror organization — formerly known as the islamic state of iraq and al-sham, or isis — but it’s not a public relations gimmick. ten years ago, its owner itsik levy from dekel, a cooperative farm bordering the gaza strip, decided to turn part of his farm into a brewery and named his beer after the egyptian goddess isis (who, according to ancient egyptian mythology, discovered barley).
“i’m considering a massive lawsuit over the use of our name,” he says laughing. i ask him about operation protective edge. “it was hard during the war,” he says, “but we came up with a sales offer: buy 120 bottles, get each for 11 israeli shekels ($3) — and delivery to one's doorstep. we ran an ad on friday morning and by noon our email was flooded. by tuesday, we had run out.” and with good reason. isis beer is superb.
lidor gonen of ramat gan is an isis beer fan, but his girlfriend, dana levy, is not. but while dana doesn’t really like beer, there’s an impressive female presence the crowd and behind the taps, which goes to show that beer has undergone a gender revolution and long ago stopped being a man’s drink, despite the advertisements of some commercial beer producers.
inbal weisman of the jezreel valley in the lower galilee region says with a smile. “i already had a beer at noon. i make sure to have one a day, it’s very healthy.”
inbal and her friends drag me along to the stall of avinoam talman. ten years ago, he started brewing at home as a hobby, and today he manufactures talman’s old ale. the beer is excellent, but talman is still a small brewer and has produced only 2,000 liters (528 gallons) so far. “i only have one kind of beer; there’s no point in taking on more than i can handle,” he says.
his story reflects the evolution of the entire industry. the israeli market for boutique beers has picked up recently. beer fans, tired of the limited selection of israeli beers, started brewing their own, got good at it and decided to start selling. their success is evident at the festival, which hosts dozens of microbreweries of various sizes from all over the country.
they offer an endless array of beers, including one named the dictator, another made of hummus and buckwheat (gluten-free and kosher for passover) by the meidan brewery and a beer named mosko brewed by amir lev, an ultra-orthodox young man from the town of beit shemesh.
the dictator beer is available in several styles (photo by the dictator beer)
mivshelet hagalil (galilee brewery) from kibbutz moran has been brewing for three years and produces 1,000 liters (264 gallons) a week. one of its tasty beers is hopla, an indian pale ale (ipa). five years ago, it was hard to find israelis who had heard of this type of beer, bitter tasting but with a hint of citrus; today, almost every brewery makes it. they also offer pumpkin beer, actually brewed from pumpkins roasted in an oven to extract their sugars. the result is spicy and sweet.
“israelis are not big beer drinkers,” says ofer ronen of the emek ha’ela brewery, which also offers a tasty ipa called ugly indian. “on average, israelis consume 14 liters [3.7 gallons] a year. germans drink 130 liters (34 gallons). this festival is a small step toward educating the israeli palate. not to drink more, but to become more discerning drinkers.” the barman elaborates on ronen’s words. “israelis like their beer very cold, which shrinks the taste buds,” he says.
daniel shapiro of the shapiro brewery in the jerusalem hills talks of a revolution. “once, you had to explain everything to people. today, people know about ales, stouts and even ask me what kind of hops i use.” shapiro stepped up his production recently from 6,000 liters (1,585 gallons) a month to 10,000 (2,642 gallons). “the war was a difficult time. the business took a hit. people didn’t go out as much. i received an emergency call-up notice and was recruited for reserve duty along the gaza border. i didn’t drink for a whole month. it was awful!”
gadi oren and raviv sagiv came to the fair from na’aleh, a settlement in samaria. like many of the visitors, sagiv brews beer for pleasure. eran tuval from the town of rosh ya’ayin is also an amateur brewer. “israeli beer is well developed and is equal to international standards,” he says.
the steep price of israeli beer unites brewers and consumers. “you won’t buy an israeli beer for 14 or 16 shekels ($3.80 or $4.40) when an imported one costs nine shekels ($2.50),” says festivalgoer niv. vadim from the town of holon agrees with him. “it’s expensive here. in prague, beer costs the equivalent of five shekels ($1.40) and here it costs 30 shekels ($8.30).”
the beer producers direct their criticism at finance minister yair lapid, who imposed a tax on alcohol in july 2013. its effect is dramatic for microbreweries. “it put the entire business two years behind,” says ronen. “people tell me, 'hike your prices,' but the israelis refuse to pay so much. beer is a popular drink that should be cheap.”
“the tax hurts us and the consumers,” shapiro says, ''drinking beer for 30 shekels makes no sense, especially for those who have traveled around the world and tasted a beer or two.”
proof of lapid’s “popularity” among producers can be found at the dictator's stall. the label sports the faces of saddam hussein, vladimir lenin and guy fawkes. when i ask about the name, i’m told with a smile, “we launched the beer last year, about the time that lapid came out with his alcohol tax.”
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bɪg əps tɪ ˌaɪˈkiə fər ˈjuzɪŋ ðə sɪgˈnɪfɪkənt fʊt ˈtræfɪk əv wən əv ɪts ˈbɪgəst stɔrz tɪ hɛlp draɪv hoʊm ðə ˌriˈæləˌti əv laɪf ɪn ˈsɪriə. ðə sˈwidɪʃ ˈriˌteɪlər ˈrisəntli bɪlt ə 25 ˈrɛplɪkə əv ə ril ˈsɪriən hoʊm ˈɔlˌmoʊst ˈtoʊtəli bɛr seɪv fər səm rəgz ənd ˈmigər ˈfərnɪʃɪŋz ˌɪnˈsaɪd ˌaɪˈkiə slependen*, ɪts ˈnɔrˌweɪ ˈflægˌʃɪp. ðə eɪm? tɪ gɪv ˈkəstəmərz ə teɪst əv wət laɪk fər ˈrænə, ə məm əv fɔr jəŋ kɪdz hu lɪvz ɪn ə ˈtaɪni əˈpɑrtmənt ɪn dəˈmæskəs. ðɛr ˈsəbərb əv ɪz kənˈsɪdərd ˈseɪfər ðən ˈmɛni ˈəðər ˈneɪbərɪŋ ˈɛriəz bət ˈfæməliz laɪk ˈɔfən lɪv ɪn ər ˈkrəmbəlɪŋ ˈbɪldɪŋz wɪθ ˈlɪtəl ˈækˌsɛs tɪ fud, ˈmɛdəsən, klin ˈwɔtər ənd wɔrm kloʊðz ˈdʊrɪŋ koʊld ˈwɪntər mənθs. wi hæd tɪ fli tɪ ðɪs ˈɛriə tɪ faɪnd ˈseɪfti, wi dɪd nɑt hæv ɪˈnəf ˈməni tɪ rɛnt ə ˈbɛtər pleɪs. wi hæv noʊ ˈməni tɪ baɪ ˈmætrəsɪz ənd ˈblæŋkəts, ər kloʊðz fər ðə children,”*,” ˈrænə toʊld ðə rɛd krɔs, wɪθ hum ˌaɪˈkiə kəˈlæbərˌeɪtɪd tɪ ˈrɛplɪˌkeɪt ðə əˈpɑrtmənt ɪn ə ʤɔɪnt ˈfənˌdreɪsɪŋ ˈvɛnʧər. ðə ˈplæstɪk praɪs tægz ju ˈjuʒəwəli faɪnd ˈdæŋgəlɪŋ ɔf 2 ˈplæntərz wər juzd tɪ tɛl ðə ˈstɔri, ɛz wɛl ɛz ˈsərvɪŋ ɛz doʊˈneɪʃən slɪps fər rɛd krɔs. pɔl, ðə kriˈeɪtɪv ˈeɪʤənsi hu hɛlpt ˈɛksəˌkjut ðə ˌæktəˈveɪʃən, wər dɪˈtərmənd ðə gɪv ˈʃɑpərz ðə moʊst əˈθɛnɪk ɪkˈspɪriəns ˈpɑsəbəl ənd ðət mɛnt ˈbɪldɪŋ ðə haʊs frəm pjʊr ˈkɑnkrit on-site*. wʊd hæv bɪn ˈiziər tɪ ʤɪst pʊt əp ˈwɔlˌpeɪpər, bət ɪt hæv fɛlt ðə same,”*,” ɑrt dɪˈrɛktər mɑrˈtɪnsən toʊld ˈædwik. hu hæd flɛd wɔr ðɛmˈsɛlvz hæv toʊld ˈjuˈɛs, ɪz haʊ ɪt feels.’*.’ rɪˈmɛmbər this.'”*.'” ðə ˌɪnstəˈleɪʃən wɑz ˈoʊpən tɪ ðə ˈpəblɪk fər tu wiks ɪn ɑkˈtoʊbər, ənd reɪzd mɔr ðən 22 ˈmɪljən ˈjuˌroʊz (ər ˈmɪljən) fər rɛd cross’*’ ˈɛfərts ɪn ˈsɪriə ən əˈmeɪzɪŋ rɪˈzəlt. ʧɛk aʊt ðə kæmˈpeɪn ˈvɪdioʊ, ənd kids’*’ riˈækʃənz ɛz ðeɪ wɔk θru ðə əˈpɑrtmənt wɪθ ðɛr ˈpɛrənts. ɪf ju wɔnt tɪ du jʊr bɪt, ju kən ˈdoʊˌneɪt tɪ rɛd krɔs ˈsɪriən əˈpil hir. sɔrs: ˈædwik. ˈfoʊˌtoʊ: səˈplaɪd.
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big ups to ikea for using the significant foot traffic of one of its biggest stores to help drive home the reality of life in war-torn syria.
the swedish retailer recently built a 25 square-metre replica of a real syrian family’s home – almost totally bare save for some rugs and meager furnishings – inside ikea slependen, its norway flagship.
the aim? to give customers a taste of what life’s like for rana, a mum of four young kids who lives in a tiny two-bedroom apartment in war-torn damascus.
their suburb of jaramana is considered safer than many other neighboring areas but families like rana’s often live in bombed-out or crumbling buildings with little access to food, medicine, clean water and warm clothes during cold winter months.
“when we had to flee to this area to find safety, we did not have enough money to rent a better place. we have no money to buy mattresses and blankets, or clothes for the children,” rana told the red cross, with whom ikea collaborated to replicate the apartment in a joint fundraising venture.
the plastic price tags you usually find dangling off $2 planters were used to tell the family’s story, as well as serving as donation slips for red cross.
pol, the creative agency who helped execute the activation, were determined the give shoppers the most authentic experience possible – and that meant building the house from pure concrete on-site.
“it would have been easier to just put up wallpaper, but it wouldn’t have felt the same,” art director snorre martinsen told adweek. “people who had fled war themselves have told us, ‘this is how it feels.’ ‘i remember this.'”
the installation was open to the public for two weeks in october, and raised more than 22 million euros (or au$31.5 million) for red cross’ efforts in syria – an amazing result.
check out the campaign video, and kids’ reactions as they walk through the apartment with their parents.
if you want to do your bit, you can donate to red cross australia’s syrian appeal here.
source: adweek.
photo: supplied.
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piˈɔriə aʊərz ˈæftər wən əv ðə ərˈɪʤənəl kəˈmərʃəl ˈæŋkərz əv ˈrɪvərˌfrənt ˈvɪlɪʤ kloʊzd ɪts dɔrz fər gʊd, ðə ˈsɪti ənd ə kənˈsɔrʃjəm əv ˌɪnˈvɛstərz əˈnaʊnst ˈtɛntətɪv plænz tɪ ˈtrænsfɔrm ðə ˈɛləˌveɪtɪd ˈkɑnkrit ˈplætˌfɔrm ˈɪntu ə ˈpəblɪk pɑrk. ðə ˈdaʊnˈtaʊn dɪˈvɛləpmənt ˈkɔrpərˈeɪʃən. ɔn ˈtuzˌdeɪ rɪˈvild ɪt hæd ˈgæðərd mɔr ðən 60 ˌɪnˈvɛstərz ˈoʊvər ðə læst tu jɪrz tɪ ˈpərʧəs ðə dɪˈvɛləpmənt raɪts əv ðə ˈprɑpərti ənd wʊd ˈɔfər ðɛm tɪ ðə ˈsɪti fər 1 ˈmɪljən ɛz pɑrt əv ə koʊˈɑpərˌeɪtɪv əˈgrimənt ðət rikˈwaɪərz ðə lænd tɪ ɪˈvɛnʧəwəli bɪˈkəm grin speɪs. "wɪr goʊɪŋ tɪ sɛl ðɛm bæk fər ə ˈvɛri ˈrizənəbəl əˈmaʊnt tɪ ðə ˈsɪti," sɛd bɔrd ʧɛr rəˈbərtə pɑrks. "ðɪs ɪz ə ˈmeɪʤər, ˈmeɪʤər stɛp təˈwɔrd ˈmuvɪŋ ðə ˈprɑʤɛkt əˈlɔŋ." ˈsɪti ˈmænɪʤər ˈpætrɪk jərɪk sɛd hi ɪkˈspɛktɪd ðə əˈgrimənt tɪ kəm ˌbiˈfɔr ðə ˈsɪti ˈkaʊnsəl wɪˈθɪn əˈbaʊt ə mənθ, ðoʊ ðə reɪzd ˈkɑnkrit slæb ðət hæd bɪn hoʊm tɪ ʤoʊz kræb ʃæk fər mɔr ðən 15 jɪrz ənˈtɪl ɪts ˈkloʊʒər ˈmənˌdeɪ naɪt ˈlaɪkli wɪl rɪˈmeɪn ɪn pleɪs fər ˈsɛvərəl mɔr mənθs. ðə ˈsɪti wɪl nɑt muv ˈfɔrwərd wɪθ ˌdɛməˈlɪʃən ənˈtɪl ˈlisɪz wɪθ ɔl ˈəðər ˈtɛnənts ɪn ˈrɪvərˌfrənt ˈvɪlɪʤ, ˌɪnˈkludɪŋ ðə ˈrɛˌstrɑnt nu ˈæmstərˌdæm ənd ðə ˌɪtˈsɛlf, ər riˈzɑlvd, jərɪk sɛd. ðət meɪ nɑt ˈhæpən ənˈtɪl 2017 ɪn ðə ˈminˌtaɪm, ðə ˈsɪti ɪz ˈlʊkɪŋ fər aɪˈdiəz haʊ tɪ ˈtrænsfɔrm ðə lænd frəm ə kəˈmərʃəl ˈsɛnər əˈtɑp ə peɪvd ˈpɑrkɪŋ lɔt ˈɪntu "ˈæktɪv" ˈpɑrˌklænd wɛr ˈrɛzɪdənts kən rɪˈlæks ənd pleɪ əˈlɔŋ ðə ˌɪləˈnɔɪz ˈrɪvər. ðə ˈwɛbˌsaɪt ɔˈrɛdi ɪz əkˈsɛptɪŋ ðoʊz aɪˈdiəz. "ðæts ðə fərst stɛp ɪn ðɪs ɛnˈgeɪʤmənt ˈprɔˌsɛs," jərɪk sɛd. "ðə aɪˈdiə ɪz tɪ ˈrɪli wət wid laɪk tɪ si ɔn ðə ˈrɪvərˌfrənt." meɪər ʤɪm ˈɑrdɪs sɛd ðə ˈpəblɪk wʊd bi ˌɪnˈvɑlvd ɪn ðə ˌridɪˈvɛləpmənt ˈprɔˌsɛs, ənd ðət kənˈsɛpʧuəl ˈrɛndərɪŋz pərˈzɛnəd baɪ ðə ɔn ˈtuzˌdeɪ wər nɑt ˈfaɪnəl. "ðɪs ɪz ˈvɛri prɪˈlɪməˌnɛri, ənd ðɛrz goʊɪŋ tɪ bi mɔr dɪˈskəʃən ðən ju kən ˌɪˈmæʤən," ˈɑrdɪs sɛd. "wɪr æt ðə bɪˈgɪnɪŋ əv ə nu deɪ əˈlɔŋ ɑr ˈrɪvərˌfrənt." ðə əˈnaʊnsmɛnt ˈtuzˌdeɪ ˌrɛprɪˈzɛnts ə sɪgˈnɪfɪkənt dɪˈpɑrʧər frəm ðə ərˈɪʤənəl ˈvɪʒən ðət droʊv ðə dɪˈvɛləpmənt əv ˈrɪvərˌfrənt ˈvɪlɪʤ 20 jɪrz əˈgoʊ, wɪn ðə blɑk əˈkrɔs ˈwɔtər strit wɑz ˈɑkjəˌpaɪd baɪ ðə ˈveɪkənt ˈfɔrmər sɪrz ˈbɪldɪŋ. ðə nu kəˈmərʃəl ˈɛnərˌpraɪzɪz ˈkəmɪŋ tɪ ðə ˈrɪvərˌfrənt ɪn ðə leɪt pruvd tɪ bi ə ˈkætəˌlɪst fər ˈəðər dɪˈvɛləpmənts ˈdaʊnˈtaʊn ənd əˈlɔŋ ðə ˈrɪvər, ˈɑrdɪs sɛd. dɪˈvɛləpər maɪk ˈwɪzdəm wɑz æt ðə ˈfɔrˌfrənt əv ðə dɪˈskəʃən ðɛn ənd wərkt wɪθ ðə ˈsɪti tɪ brɪŋ ˈtɛnənts tɪ ðə dɪˈvɛləpmənt. ʤoʊz kræb ʃæk ənd ˈdeɪmənz ˈrɛˌstrɑnts wər ðə fərst tɪ ˈɑkjəˌpaɪ ðə ˈpraɪˌmɛri slɑts æt ˈrɪvərˌfrənt ˈvɪlɪʤ. waɪl ʤoʊz kræb ʃæk rɪˈmeɪnd fər jɪrz, ˈəðər ˈrɛˌstrɑnts keɪm ənd wɛnt æt ðə ˈsɛkənd loʊˈkeɪʃən, wɛr nu ˈæmstərˌdæm ɪz naʊ ˈloʊˌkeɪtəd. ðət ˈrɛˌstrɑnt ɪz ˈlʊkɪŋ fər ə nu loʊˈkeɪʃən. ˈwɪzdəm, θru ˈrɪvərˌfrənt ˈvɪlɪʤ dɪˈvɛləpərz, ˈlisɪz ənd meɪnˈteɪnz ðə ˈbɪldɪŋz ɔn tɔp əv ðə ˈrɪvərˌfrənt ˈvɪlɪʤ ˈplætˌfɔrm, waɪl ðə ˈsɪti həz rɪˈteɪnd ˈoʊnərˌʃɪp əv ðə ˈplætˌfɔrm ənd ˈprɑpərti ˌɪtˈsɛlf. ˈfɔrmər meɪər bəd grivz kəˈmɛndɪd ˈwɪzdəm ɔn ˈtuzˌdeɪ fər ðə rɪsk hi tʊk tɪ ˌɛkəˈnɑmɪk ækˈtɪvɪti ˈdaʊnˈtaʊn wɪθ ˈrɪvərˌfrənt ˈvɪlɪʤ ənd ðə dɪˈvɛləpərz kənˈtɪnjud kəˈmɪtmənt tɪ ðə ˈprɑpərti. "aɪ ˈkʊdənt θæŋk ɪm ɪˈnəf 20 jɪrz əˈgoʊ, ənd aɪ kænt θæŋk ɪm ɪˈnəf naʊ," grivz sɛd. ˈwɪzdəm ˈɔlsoʊ wɑz ən ˈɪnəgrəl pɑrt əv ˈtuzˌdeɪz əˈnaʊnsmɛnt baɪ əˈgriɪŋ tɪ sɛl ðə dɪˈvɛləpmənt raɪts fər ðə ˈprɑpərti tɪ ðə, ənd, ˈəltəmətli, ðə ˈsɪti. ɪn hɪz ˈkɑmɛnts æt ðə nuz ˈkɑnfərəns ˈtuzˌdeɪ, ˈwɪzdəm ækˈnɑlɪʤd ˈʃɪftɪŋ pərˈsɛpʃənz əv wət ˈrɛzɪdənts wɔnt ɔn ðə ˈrɪvərˌfrənt əˈweɪ frəm ʧeɪn ˈrɛˌstrɑnts ənd ˈɔfəs speɪs təˈwɔrd ˈoʊpən ˈɛriəz ðət ˈɛniˌwən kən juz. "wi ˈrɛkəgˌnaɪz ðə ʧeɪnʤ, ənd wɪr ˈlʊkɪŋ ˈfɔrwərd tɪ ðə nɛkst ˌɛvəˈluʃən əv ɑr mægˈnɪfɪsənt ˈrɪvərˌfrənt," ˈwɪzdəm sɛd. mæt ɪz ðə ˈʤərnəl stɑr ˈbɪznɪs rɪˈpɔrtər. hi kən bi riʧt æt ənd mbuedel@pjstar.com*. ˈfɑloʊ ɪm ɔn tˈwɪtər @journobuedel*.
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peoria — hours after one of the original commercial anchors of riverfront village closed its doors for good, the city and a consortium of investors announced tentative plans to transform the elevated concrete platform into a public park.
the downtown development corp. on tuesday revealed it had gathered more than 60 investors over the last two years to purchase the development rights of the flood-prone 2.6-acre property and would offer them to the city for $1 million as part of a cooperative agreement that requires the land to eventually become green space.
"we're going to sell them back for a very reasonable amount to the city," said ddc board chair roberta parks. "this is a major, major step toward moving the project along."
city manager patrick urich said he expected the agreement to come before the city council within about a month, though the raised concrete slab that had been home to joe's crab shack for more than 15 years until its closure monday night likely will remain in place for several more months.
the city will not move forward with demolition until leases with all other tenants in riverfront village, including the restaurant new amsterdam and the ddc itself, are resolved, urich said. that may not happen until 2017.
in the meantime, the city is looking for ideas how to transform the land from a commercial center atop a paved parking lot into "active" parkland where residents can relax and play along the illinois river. the planpeoria.com website already is accepting those ideas.
"that's the first step in this engagement process," urich said. "the idea is to really re-envision what we'd like to see on the riverfront."
mayor jim ardis said the public would be involved in the redevelopment process, and that conceptual renderings presented by the ddc on tuesday were not final.
"this is very preliminary, and there's going to be more discussion than you can imagine," ardis said. "we're at the beginning of a new day along our riverfront."
the announcement tuesday represents a significant departure from the original vision that drove the development of riverfront village 20 years ago, when the block across water street was occupied by the vacant former sears building. the new commercial enterprises coming to the riverfront in the late 1990s proved to be a catalyst for other developments downtown and along the river, ardis said.
developer mike wisdom was at the forefront of the discussion then and worked with the city to bring tenants to the development. joe's crab shack and damon's restaurants were the first to occupy the primary slots at riverfront village. while joe's crab shack remained for years, other restaurants came and went at the second location, where new amsterdam is now located. that restaurant is looking for a new location.
wisdom, through riverfront village developers, leases and maintains the buildings on top of the riverfront village platform, while the city has retained ownership of the platform and property itself.
former mayor bud grieves commended wisdom on tuesday for the risk he took to jump-start economic activity downtown with riverfront village and the developer's continued commitment to the property.
"i couldn't thank him enough 20 years ago, and i can't thank him enough now," grieves said.
wisdom also was an integral part of tuesday's announcement by agreeing to sell the development rights for the property to the ddc, and, ultimately, the city. in his comments at the news conference tuesday, wisdom acknowledged shifting perceptions of what residents want on the riverfront — away from chain restaurants and office space toward open areas that anyone can use.
"we recognize the change, and we're looking forward to the next evolution of our magnificent riverfront," wisdom said.
matt buedel is the journal star business reporter. he can be reached at 686-3154 and mbuedel@pjstar.com. follow him on twitter @journobuedel.
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ʃəˈkɑˌgoʊ (ˈrɔɪtərz) ə ˈprɑmənənt juz. ˈkæθlɪk nuns’*’ grup sɛd ɔn ˈθərzˌdeɪ ɪt wɑz ““stunned”*” ðət ðə ˈvætɪkən ˈrɛprəˌmændɪd ɪt fər ˈspɛndɪŋ tu məʧ taɪm ɔn ˈpɑvərti ənd ˈsoʊʃəl ˈʤəstɪs kənˈsərnz ənd nɑt ɪˈnəf ɔn əˈbɔrʃən ənd geɪ ˈmɛrɪʤ. ɪn ə ˈstɪŋɪŋ rɪˈpɔrt ɔn ˈwɛnzˌdeɪ, ðə ˈvætɪkən sɛd ðə ˈlidərˌʃɪp ˈkɑnfərəns əv ˈwɪmən rɪˈlɪʤəs hæd bɪn ɔn ðə raɪt tɪ life”*” ənd hæd feɪld tɪ meɪk ðə vju əv ˈfæməli laɪf ənd ˈjumən sexuality”*” ə ˈsɛntrəl plæŋk ɪn ɪts əˈʤɛndə. ɪt ˈɔlsoʊ ˈrɛprəˌmændɪd əˈmɛrɪkən nənz fər ɪkˈsprɛsɪŋ pəˈzɪʃənz ɔn pəˈlɪtɪkəl ˈɪʃuz ðət ˈdɪfərd, æt taɪmz, frəm vjuz hɛld baɪ əˈmɛrɪkən ˈbɪʃəps. ˈpəblɪk dɪsəˈgrimənt wɪθ ðə ˈbɪʃəps ər ðə əˈθɛnɪk ˈtiʧərz əv feɪθ ənd morals”*” ɪz ˌənækˈsɛptəbəl, ðə rɪˈpɔrt sɛd. ðə ˌkɑŋgrəˈgeɪʃən fər ðə ˈdɔktərɪn əv ðə feɪθ ˈɪʃud ə assessment”*” seɪɪŋ ðə ˈhoʊli si wɑz kəmˈpɛld tɪ ˌɪntərˈvin wɪθ ðə ˈlidərˌʃɪp ˈkɑnfərəns əv ˈwɪmən rɪˈlɪʤəs tɪ kərˈɛkt ˈdɑktrənəl problems.”*.” ðə nuns’*’ grup sɛd ɪn ə ˈsteɪtmənt ɔn ɪts ˈwɛbˌsaɪt, ˈprɛzɪdənsi əv ðə ˈlidərˌʃɪp ˈkɑnfərəns əv ˈwɪmən rɪˈlɪʤəs wɑz stənd baɪ ðə kənˈkluʒənz əv ðə ˈdɑktrənəl assessment.”*.” ɪt ˈædɪd ðə grup meɪ gɪv ə rɪˈspɑns æt ə ˈleɪtər deɪt. ðə ˈkɑnfərəns sɛd ɪt ˌrɛprɪˈzɛnɪd 80 pərˈsɛnt əv ˈkæθlɪk nənz. ɪt ɪz ˌɪnfluˈɛnʃəl boʊθ ɪn ðə juˈnaɪtɪd steɪts ənd ˈgloʊbəli. ˌækəˈdɛmɪks hu ˈstədi ðə ʧərʧ sɛd ðə muv wɑz prɪˈdɪktəbəl ˈgɪvɪn poʊp kənˈsərvətɪv vjuz ənd ˈɛfərts baɪ roʊm tɪ kwɛl ˌɪnˈtərnəl dɪˈsɛnt ənd kərˈteɪl əˈtɑnəmi wɪˈθɪn ɪts ræŋks. ɪz mɔr ən ɪkˈsprɛʃən əv ðə ʧərʧ ˈfilɪŋ ˈəndər siʤ baɪ trɛnz ɪt ˈkænɑt kənˈtroʊl wɪˈθɪn ðə ʧərʧ, məʧ lɛs wɪˈθɪn ðə ˈbrɔdər society,”*,” ˌjunəˈvərsəti əv ˈnoʊtər deɪm hɪˈstɔriən skɑt ˈæpəlˌbi sɛd. ðət ˌɪnˈkludz ə ˈstɛdi ˈdrəmˌbit əv kɔlz tɪ ɔrˈdeɪn ˈwɪmən ɛz prists, wɪʧ ðə poʊp həz ˌriəˈsərtɪd wɑz ən ˌɪmˌpɔsɪˈbɪlɪti. ðə ˈvætɪkən neɪmd siˈætəl ˈɑrʧˈbɪʃəp ˈpitər sɑrˈteɪn ənd tu ˈəðər juz. ˈbɪʃəps tɪ ˈəndərˌteɪk ðə rɪˈfɔrmz əv ðə ˈstæʧuts, ˈproʊˌgræmz ənd ɪts ˌæpləˈkeɪʃən əv ləˈtərʤɪkəl tɛksts, ə ˈprɔˌsɛs ɪt sɛd kʊd teɪk əp tɪ faɪv jɪrz.
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chicago (reuters) - a prominent u.s. catholic nuns’ group said on thursday it was “stunned” that the vatican reprimanded it for spending too much time on poverty and social justice concerns and not enough on abortion and gay marriage.
in a stinging report on wednesday, the vatican said the leadership conference of women religious had been “silent on the right to life” and had failed to make the “biblical view of family life and human sexuality” a central plank in its agenda.
it also reprimanded american nuns for expressing positions on political issues that differed, at times, from views held by american bishops. public disagreement with the bishops - “who are the church’s authentic teachers of faith and morals” - is unacceptable, the report said.
the vatican’s congregation for the doctrine of the faith issued a “doctrinal assessment” saying the holy see was compelled to intervene with the leadership conference of women religious to correct “serious doctrinal problems.”
the nuns’ group said in a statement on its website, “the presidency of the leadership conference of women religious was stunned by the conclusions of the doctrinal assessment.”
it added the group may give a lengthier response at a later date.
the conference said it represented 80 percent of america’s 57,000 catholic nuns. it is influential both in the united states and globally.
academics who study the church said the vatican’s move was predictable given pope benedict’s conservative views and efforts by rome to quell internal dissent and curtail autonomy within its ranks.
“this is more an expression of the church feeling under siege by trends it cannot control within the church, much less within the broader society,” university of notre dame historian scott appleby said.
that includes a steady drumbeat of calls to ordain women as priests, which the pope has reasserted was an impossibility.
the vatican named seattle archbishop peter sartain and two other u.s. bishops to undertake the reforms of the conference’s statutes, programs and its application of liturgical texts, a process it said could take up to five years.
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ɪn meɪ 2013 ˈfɔrmər ˌɛgˈzɛk mɑrk ˈwɪtən rɪˈvild ðət ˈmaɪˌkroʊˈsɔft həz səm ˈdɛdəkeɪtəd ˈsərvərz fər ˈmaɪˌkroʊˈsɔft kʊd bi kloʊz tɪ riˈlisɪŋ ə kənˈsumər ˈvərʒən əv ɪts ˌɪnˈtərnəli ˈtɛstɪd klaʊd geɪmz ˈsərvɪs, əˈkɔrdɪŋ tɪ wən rɪˈpɔrt, wɪʧ wʊd əˈlaʊ geɪmz tɪ bi pleɪd ɪn wɛb ˈbraʊzərz. əˈkɔrdɪŋ tɪ æt list tu pərˈpɔrtɪd ˌɪnˈsaɪd ˈsɔrsəz ˈspikɪŋ tɪ neowin*, ðə ˌənəˈnaʊnst ˈsərvɪs əˈlaʊz ˈpipəl tɪ pleɪ boʊθ wən ənd 360 geɪmz ɪn ˈsərtən wɛb ˈbraʊzərz, ˌɪnˈkludɪŋ kroʊm. wən ˈpərsən səˈpoʊzədli fəˈmɪljər wɪθ ˈmaɪˌkroʊˈsɔfts plænz kleɪmz ðət ðə ˈstrimɪŋ ˈsərvɪs kən riˈmoʊtli dɪˈspleɪ geɪmz æt 60fps*. ðə 360 ˈdæʃˌbɔrd kən ˈɔlsoʊ bi strimd, ˈɔfərɪŋ ˈækˌsɛs tɪ ən əˈdɪʃənəl reɪnʤ əv ˈkɑnsoʊl ˈfiʧərz. ˈmaɪˌkroʊˈsɔft sɛd "wi du nɑt ˈkɑmɛnt ɔn ˈrumərz ər ˌspɛkjəˈleɪʃən" wɪn əˈproʊʧt baɪ gamespot*. ɪn ˌʤuˈlaɪ, ðə ˈsɔfˌwɛr ʤaɪənts nu ʧif ɪgˈzɛkjətɪv, ˈsɑtjə nadella*, ˈmaɪˌkroʊˈsɔfts nu dɪˈrɛkʃɪn baɪ ˈsteɪtɪŋ "wi lɪv ɪn ə ənd wərld". geɪm ˈstrimɪŋ tɛkˈnɑləʤi wərks baɪ ˈrənɪŋ ˈhɑrdˌwɛr ənd ˈsɔfˌwɛr æt səˈfɪstɪˌkeɪtəd ˈsərvər fɑrmz ənd ˈstrimɪŋ ðə ˈdætə tɪ ˈkəstəmərz riˈmoʊtli. ˈkəmpəˌniz səʧ ɛz hæv bɛt ðɛr ˈbɪznɪs ɔn ðə vaɪəˈbɪləti əv ðə tɛkˈnɑləʤi, waɪl ˈsoʊni həz ˌɪnˈvɛstɪd ɪn ðə ˈɛriə tu baɪ ˈpərʧəsɪŋ ˈraɪvəl fərm ənd ˈjuzɪŋ ɪts tɛk tɪ ɪˈstæblɪʃ ðə ˈpleɪˌsteɪʃən naʊ ˈsərvɪs. ˈmaɪˌkroʊˈsɔft, wɪʧ ˌɪnˈsɪsts ɪt stɪl həz ə ˈpiˈsi geɪmz ˈstrætəʤi dɪˈspaɪt ðə ˈʤɛnərəl ˈwaɪndɪŋ daʊn əv geɪmz fər ˈwɪndoʊz lɪv, kʊd juz ðə klaʊd ˈsərvɪs tɪ ˌriɪnˈvɪgərˌeɪt ɪts ˈbɪznɪs ɪn ðət ˈɛriə. ˈwɛðər ðə ˌɪnˈtərnəli ˈtɛstɪd ˈstrimɪŋ ˈsərvɪs ɪz ˈgɪvɪn ˈklɪrəns fər kəˈmərʃəl riˈlis ɪz ənˈklɪr. rɪˈpɔrt kleɪmd "ðə ˈprɑdəkt, ɛz ɪt stændz raɪt naʊ, həz ˈbrændɪŋ ənd wərks ˈaʊtˈsaɪd ðə wɔlz əv ˈmaɪˌkroʊˈsɔft". ˌhaʊˈɛvər, ɪt ˈædɪd ðət ˈlaɪsənsɪŋ ˈɪʃuz wɪθ geɪmz ˈpəblɪʃərz kʊd bɪˈkəm ə ˈʧælənʤ. læst jɪr, ˈmaɪˌkroʊˈsɔft ˈdɛmənˌstreɪtɪd ˈheɪloʊ 4 ˈrənɪŋ ɪn ðə klaʊd ɔn ˈvɛriəs dɪˈvaɪsɪz æt ðə ˈmitɪŋ. "ðɪs ˈprɑʤɛkt ɪz ðə wərk frəm ðət ˈdɛmoʊ tɪ brɪŋ ɪt tɪ mɔr ˈjuzərz," kleɪmd. "ɑr ˌəndərˈstændɪŋ ɪz ðət sɪgˈnɪfɪkənt ˈprɑˌgrɛs həz bɪn meɪd frəm ðət ˈdɛmoʊ ənd ɪt ɪz naʊ biɪŋ roʊld aʊt tɪ mɔr ˈjuzərz."
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in may 2013, former xbox exec marc whitten revealed that microsoft has some 300,000 dedicated servers for xbox
microsoft could be close to releasing a consumer version of its internally tested cloud games service, according to one report, which would allow xbox games to be played in web browsers.
according to at least two purported inside sources speaking to neowin, the unannounced service allows people to play both xbox one and xbox 360 games in certain web browsers, including google's chrome.
one person supposedly familiar with microsoft's plans claims that the streaming service can remotely display games at 60fps. the xbox 360 dashboard can also be streamed, offering access to an additional range of console features.
microsoft said "we do not comment on rumors or speculation" when approached by gamespot.
in july, the software giant's new chief executive, satya nadella, emphisised microsoft's new direction by stating "we live in a mobile-first and cloud-first world".
game streaming technology works by running hardware and software at sophisticated server farms and streaming the data to customers remotely. companies such as onlive have bet their business on the viability of the technology, while sony has invested in the area too by purchasing rival firm gaikai and using its tech to establish the playstation now service.
microsoft, which insists it still has a pc games strategy despite the general winding down of games for windows live, could use the cloud service to reinvigorate its business in that area.
whether the internally tested xbox streaming service is given clearance for commercial release is unclear. neowin's report claimed "the product, as it stands right now, has xbox branding and works outside the walls of microsoft".
however, it added that licensing issues with games publishers could become a challenge.
last year, microsoft demonstrated halo 4 running in the cloud on various devices at the company’s all-employee meeting.
"this project is the on-going work from that demo to bring it to more users," neowin's repot claimed.
"our understanding is that significant progress has been made from that demo and it is now being rolled out to more users."
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we’re* o.k*. ɔn spɔrts, tu. ˈnæʃənəl ˈfʊtˌbɔl lig ˈtreɪnɪŋ kæmps ər ˈəndər weɪ ənd ðə ˈrɛdˌskɪnz hæv ˈwɛlkəmd bæk ðɛr kˈwɔrtərˌbæk, ˈrɑbərt ˈgrɪfɪn iii*, ˈərli frəm ˈɪnʤəri. ðə ˈnæʃənəlz ˈivɪn stɪŋk ə ˈlɪtəl lɛs. jɛs, ðə ˈsɪti ˈgəvərnmənt ɪz ˈəndər ə klaʊd, bət ɑr ˈloʊkəl ˈskændəlz ər stɪl ɪˈklɪpst baɪ ðoʊz ˈrɔɪlɪŋ mænˈhætən. (oʊ, haɪ nu jɔrk. ˈɔlsoʊ, ər jʊr ˈsəbˌweɪ ˈsteɪʃənz air-conditioned*?) ˈɔlsoʊ, tɔk əˈbaʊt ðə kræbz. ““oh*, wi gɑt ˈbjutəfəl kræbz, baby,”*,” sɛd ˈʧɛstər fɔrd, ðə ʃɛf æt ðə ˈsiˌfud ənd kræb haʊs ɪn ˌsaʊˈθist ˈwɔʃɪŋtən. hæv ˈʤəmboʊ, ˈmidiəm, ɔl əv ɪt. ˈɔgəst ɪz əˈbaʊt praɪm taɪm fər crabs.”*.” ˈtræfɪk æt ðə kræb haʊs sloʊz ə bɪt ˈæftər ðə 15th*, ˈmɪstər. fɔrd sɛd, ðə kɪdz ər ˈgɪtɪŋ ˈrɛdi tɪ goʊ bæk tɪ skul, ju hæv tɪ bi ˈkɛrfəl wɪθ jʊr ˈməni ðɪs taɪm əv year.”*.” bət ˈsəmˌtaɪmz ðə laɪnz stɪl fɔrm. ðət weɪ. ˈrɛˌstrɑnts ˈʤɛnərəli ər ˈiziər tɪ gɪt ˈɪntu ˈdʊrɪŋ ˈɔgəst, əˈnəðər ʤɔɪ fər ðoʊz stɪl hir. ju stɪl snæg ə ˈteɪbəl æt lə diplomate*, ðə nu frɛnʧ ˈbɪstroʊ ɔn strit, ðɪs ˈsæˌtɪˌdeɪ naɪt, bət ðɛr ər səm 8 p.m*. spɑts əˈveɪləbəl nɛkst wik. ðə laɪnz æt ˈlɪtəl hæv nɑt ˈlɛsənd, bət ðə bɑr æt steɪk ˈbɛkənz wɪθ ˈɛmti sits ˈdaʊnˈtaʊn. ɪf ˈwɔʃɪŋtən filz fʊl ɪn ɪts oʊn weɪ ˈivɪn ɛz ɪt ˈɛmtiz ɪn ˈɔgəst, ðət meɪ bi bɪˈkəz fjuər ˈpipəl hir ər taɪd tɪ ðə weɪz əv ˈkɑŋgrəs ənd ðə waɪt haʊs. sɪns 1970 ðə ˈnəmbər əv ˈwərkərz ɪmˈplɔɪd hir baɪ ðə ˈfɛdərəl ˈgəvərnmənt həz ˈfɑlən ˈsɛvən pərˈsɛnɪʤ pɔɪnts, tɪ wət ɪz naʊ ə mɪr 27 pərˈsɛnt. ju lʊk æt wɛr ðə groʊθ həz bɪn, ɪt həz nɑt bɪn ɪn ˈfɛdərəl ɪmˈplɔɪmənt ɪn ðə ˈdɪstrɪkt proper,”*,” sɛd ˈʤɑnəθən ˈrɔθˌwɛl, ən əˈsoʊʃiˌeɪt ˈfɛloʊ æt ðə ˈbrʊkɪŋz ˌɪnstɪˈtuʃən hu ɪz ən ˈɛkspərt ɔn ðə ˈloʊkəl ɪˈkɑnəmi. həz bɪn juʤ groʊθ ɪn ðə tɛk ˈsɛktər, æt ˌjunəˈvərsətiz, ɪn ˈbɪznɪs ənd ˈbɪznɪs prəˈfɛʃənəl ˈsərvɪsɪz. soʊ ðɛr ɪz noʊ ˈrizən fər ˈɛvriˌwən ɛls tɪ teɪk ə veɪˈkeɪʃən ʤɪst bɪˈkəz mɛn ənd ˈwɪmən frəm ˈəðər pɑrts əv ðə ˈkəntri liv tɪ goʊ bæk tɪ ðɛr districts.”*.” soʊ baɪ ðə tɛk dud ˈsɪtɪŋ nɛkst tɪ ju æt jʊr ˈloʊkəl ˈwɔtərɪŋ hoʊl ə bɪr, ˈprɛfərəbli wən meɪd ˈloʊkəli. ˈgɔtən ˈbɛtər hir ɪn ˈrisənt jɪrz, tu.
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we’re o.k. on sports, too. national football league training camps are under way and the redskins have welcomed back their quarterback, robert griffini, early from injury. the nationals even stink a little less.
yes, the city government is under a cloud, but our local scandals are still eclipsed by those roiling manhattan. (oh, hi new york. also, are your subway stations air-conditioned?)
also, let’s talk about the crabs. “oh, we got beautiful crabs, baby,” said chester ford, the chef at the moruss seafood and crab house in southeast washington. “we have jumbo, medium, all of it. august is about prime time for crabs.” traffic at the crab house slows a bit after the 15th, mr. ford said, “because the kids are getting ready to go back to school, you have to be careful with your money this time of year.” but sometimes the lines still form. it’s that way.
restaurants generally are easier to get into during august, another joy for those still here. you still can’t snag a table at le diplomate, the new french bistro on 14th street, this saturday night, but there are some 8 p.m. spots available next week. the lines at little serow have not lessened, but the bar at blt steak beckons with empty seats downtown.
if washington feels full in its own way even as it empties in august, that may be because fewer people here are tied to the ways of congress and the white house. since 1970, the number of workers employed here by the federal government has fallen seven percentage points, to what is now a mere 27 percent.
“if you look at where the growth has been, it has not been in federal employment in the district proper,” said jonathan rothwell, an associate fellow at the brookings institution who is an expert on the local economy. “there has been huge growth in the tech sector, at universities, in medical-related business and business professional services. so there is no reason for everyone else to take a vacation just because men and women from other parts of the country leave to go back to their districts.”
so buy the tech dude sitting next to you at your local watering hole a beer, preferably one made locally. that’s gotten better here in recent years, too.
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94-km* ə əˈdɪʃən tɪ ðə ˈsoʊviˌɛt ˈwɛpən laɪn həz əraɪvd twɪn 25 ˈkænənz ɔn ə trək beɪs. ðə ˈsoʊviˌɛt trək fʊlˈfɪld ə greɪt ˈmɛni ˈfəŋkʃənz ˈdʊrɪŋ ðə wɔr θæŋks tɪ ɪts kənˈvinjənt əˈbɪləˌti tɪ hoʊst ə waɪd vərˈaɪəti əv ˈwɛpənz ɔn ɪts trək bɛd. ðə wɑz ə ˈlɛŋθənd ˈvərʒən əv ə tru ˈfrənˌtlaɪn ˈwərˌkhɔrs, ðə ənd ɪt wɑz dɪˈzaɪnd ˈspɛʃəli fər ə ˈməltəˌtud əv ˈmɪlɪˌtɛri tæsks. ðə sərvd ɛz ə ˈmoʊbəl ˈplætˌfɔrm fər ˈsərˌʧlaɪts ənd saʊnd dɪˈtɛktɪŋ ˌæpərˈætəs, məˈʃin gənz ənd ˈkænənz. ɪn səˈvɪljən laɪf, ðə ˈviɪkəl wɑz juzd ɔn kənˈstrəkʃən saɪts ənd æt ˈsɔˌmɪlz ɪn ðə rɪˈstɔrd ˈsoʊviˌɛt ˈjunjən, ənd ˈivɪn bɪˈkeɪm ðə ˈbeɪsɪs fər ðə kriˈeɪʃən əv ə ˈsɪti bəs. ɪn wɔr ˈθəndər ˈbætəl mɑrʧ, wi ˈprɛzənt ðə ˈmaʊnɪd ɔn ðə wɪθ twɪn 25 ˈkænənz. ðə ˈkænən ɪz ɔˈrɛdi fəˈmɪljər tɪ ˈgənərz ɪn wɔr ˈθəndər frəm ðə ræŋk spaags*, wɛr ɪt ɪz ˈmaʊnɪd ɔn ðə gɑz trək. ðə ˈkænən sərvz wɛl əˈgɛnst boʊθ ɛr ˈtɑrgəts ənd graʊnd ˈtɑrgəts (wɪʧ ɪz fɑr mɔr ˌɪmˈpɔrtənt ɪn ˈmɛni ˌsɪʧuˈeɪʃənz). ðɪs ˈwɛpənz ʧif ˈdrɔˌbæk ɪz ɪts loʊ reɪt əv faɪər (əraʊnd 240 ʃɑts pər ˈmɪnət) ənd ˌɪnəˈbɪlɪti tɪ faɪər ɪn ðə dɪˈrɛkʃɪn ðə trək ɪz ˈmuvɪŋ ðə ˈkæbən gɪts ɪn ðə weɪ. ðə ˈjuzɪz tu ˈkænənz æt wəns, ənd əˈkɔrdɪŋli, ɪts reɪt əv faɪər ˈdəbəlz. ˌhaʊˈɛvər, ˈfaɪərrɪŋ æt graʊnd ˈtɑrgəts ɪz mɔr ˈdɪfəkəlt ɛz ðə ˈdraɪvər məst əˈgɛn teɪk ˈɪntu əˈkaʊnt ðə ˌɪnəˈbɪlɪti tɪ faɪər dɪˈrɛkli əˈhɛd. ðə wɪl teɪk ɪts pleɪs æt ðə ˈvɛri bɪˈgɪnɪŋ əv ræŋk ɪn wɔr ˈθəndər, ənd wɪl hæv ə loʊ ˈbætəl ˈreɪtɪŋ. ðə twɪn 25 ˈkænənz ər stɪl ˈdɛdli tɪ ɛr ˈtɑrgəts ənd ˈvɛri ˈdeɪnʤərəs fər ˈɛnəmi tæŋks ənd ˈviɪkəlz, bət wɪθ ðə ˌɪnˈkrist dɪˈstrəktɪv fɔrs əv ðə ˈkænən, ðə klæs əv əˈpoʊnənts ˌɪnˈkrisɪz ˈɔlsoʊ. ʤɪst laɪk ɪts ˈprɛdəˌsɛsər, ðɪs meɪn ˌdɪsədˈvænɪʤ ɪz ɪts kəmˈplit læk əv ˈɑrmər ðə kru kən bi ˈteɪkən aʊt əv ˈækʃən baɪ ən eɪmd ʃɑt frəm ə tæŋks məˈʃin gən, nɑt tɪ ˈmɛnʃən ʃɛlz ər ˈɛrˌkræft ˈwɛpənz. ˈdraɪvɪŋ ðɪs ˈviɪkəl rikˈwaɪərz kloʊz əˈtɛnʃən tɪ jʊr pəˈzɪʃənɪŋ ənd roʊl ɔn ðə ˈbætəlˌfild ðə ɪz nɑt ə tæŋk, bət ə səˈpɔrt ˈviɪkəl. ɪts gʊd spid əˈlaʊz ɪt tɪ ˈizəli flæŋk ðə ˈɛnəmi ənˈnoʊtɪst ənd faɪər ɔn əˈpoʊnənts' ˈwikli saɪdz ənd rɪr. ˈnæʧərəli, ðɪs dɪz ən ˈɛksələnt ʤɑb ɪn ɪts ˌɪnˈtɛndɪd roʊl ðɛr ɪz noʊ ˈɛrˌpleɪn ɪn ðə geɪm ˈkeɪpəbəl əv sərˈvaɪvɪŋ ə ʃɔrt bərst əv 25 ʃɛlz, soʊ prəˈtɛktɪŋ ðə kru əˈgɛnst əˈtæks frəm ðə ɛr ɪz ðə meɪn praɪˈɔrəti əv ðə skɪld ˈgənər. ðə ˈsoʊviˌɛt gən ɪz ˈkəmɪŋ tɪ wɔr ˈθəndər ɪn ˈəpˌdeɪt ˈbætəl mɑrʧ jul bi ˈeɪbəl tɪ traɪ ɪt aʊt ɪn ˈbætəl ˈvɛri sun! si ju ɔn ðə ˈbætəlˌfild! ˈəðər rɪˈleɪtɪd tɪ ˈəpˌdeɪt
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94-km spaag
a long-awaited addition to the soviet self-propelled anti-aircraft weapon line has arrived – twin 25 mm cannons on a zis-12 truck base.
the soviet zis-12 truck fulfilled a great many functions during the war thanks to its convenient ability to host a wide variety of weapons on its truck bed. the zis-12 was a lengthened version of a true frontline workhorse, the zis-5, and it was designed specially for a multitude of military tasks. the zis-12 served as a mobile platform for searchlights and sound detecting apparatus, machine guns and anti-air cannons. in civilian life, the vehicle was used on construction sites and at sawmills in the restored post-war soviet union, and even became the basis for the creation of a city bus. in war thunder 1.57 battle march, we present the 94-km anti-aircraft spg mounted on the zis-12 with twin 25 mm 72-k cannons.
the 72-k cannon is already familiar to anti-aircraft gunners in war thunder from the rank ii spaags, where it is mounted on the gaz mm truck. the cannon serves well against both air targets and ground targets (which is far more important in many situations). this weapon's chief drawback is its low rate of fire (around 240 shots per minute) and inability to fire in the direction the truck is moving – the cabin gets in the way. the 94-km uses two 72-k cannons at once, and accordingly, its rate of fire doubles. however, firing at ground targets is more difficult as the driver must again takeo account the spaag's inability to fire directly ahead.
the zis-12 94-km will take its place at the very beginning of rank iii in war thunder, and will have a low battle rating. the twin 25 mm cannons are still deadly to air targets and very dangerous for enemy tanks and armoured vehicles, but with the increased destructive force of the cannon, the class of opponents increases also. just like its predecessor, this spaag's main disadvantage is its complete lack of armour – the crew can be taken out of action by an aimed shot from a tank's machine gun, not to mention high-explosive shells or aircraft weapons. driving this vehicle requires close attention to your positioning and role on the battlefield – the 94-km is not a tank, but a support vehicle. its good speed allows it to easily flank the enemy unnoticed and fire on opponents' weakly armoured sides and rear. naturally, this spaag does an excellent job in itsended role – there is no airplane in the game capable of surviving a short burst of 25 mm shells, so protecting the crew against attacks from the air is the main priority of the skilled anti-aircraft gunner.
the soviet 94-km self-propelled anti-aircraft gun is coming to war thunder in update 1.57 battle march – you'll be able to try it out in battle very soon! see you on the battlefield!
other devblogs related to update 1.57:
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oʊld version(s*) ɪn ˈspɔɪlərz bɪˈloʊ aɪ hæv haɪ hoʊps fər sleɪər, ðət 40 ˌɪnˈkrist ˈɛriə əv ˈifɛkt, 20 mɔr ˈdæmɪʤ ənd 20 ˈkəlɪŋ ɪz əˈmeɪzɪŋ. ɪt maɪt ʤɪst meɪk sɪˈkloʊn ə kəmˈpɛtɪtɪv skɪl əˈgɛn! ðə "gaɪd" woʊnt bi ˈvɛri flɛʃt aʊt bət ɔl ðə ˈɪnfoʊ wɪl bi ðɛr maɪ ˈkɑrənt ˈlɛvəl 100 skɪl tri ˈlɛvəl 87 tri, 210 laɪf soʊ, wət ˈrɪli ʧeɪnʤd? fərst əv sleɪər wɪʧ grænts ən əˈmeɪzɪŋ 40, 20 mɔr ˈdæmɪʤ 20 kəl ənd əˈbaʊt 60 ˌɪnˈkrist ˈdæmɪʤ. ənd ˈsɛkəndli, əm nɑt ə fæn əv ˈmɑnə beɪst, ɪt wərks, bət ju hæv tɪ peɪ əˈtɛnʃən tɪ jʊr ˈmɑnə ər ju meɪ rən aʊt ənd bi ə ˈsɪtɪŋ dək æt taɪmz. ˈɛsəns wərm gɪvz ju ɔl ðə ˈbɛnəfɪts əv ˈkiˌstoʊn bləd ˈmæʤɪk (ˈɛkstrə ʤɛm lɪŋk, ˈmæsɪv əˈmaʊnt əv laɪf ənd noʊ ˈmɑnə liʧ rikˈwaɪərd) wɪθ (ˈɔlˌmoʊst) nən əv ðə ˈdaʊnˌsaɪdz (noʊ) ju du luz ə bɪt əv flæt laɪf ənd reɪz bət ðæts 100 wərθ ɪt ɪn maɪ əˈpɪnjən. ʤɛm lɪŋks. sɪˈkloʊn ˈmeɪˌleɪ ˈfɪzɪkəl ˈdæmɪʤ ˌɪnˈkrist ˈɛriə əv ˈifɛkt (ˈkɔnsənˌtreɪtɪd ˈifɛkt fər stəf laɪk) ˈædɪd faɪər ˈdæmɪʤ ˈwɛpən ˌɛləˈmɛnəl ˈdæmɪʤ ˈfæstər əˈtæks ˈfɔrtɪˌfaɪ ˈheɪtrəd ɪn ˈɛsəns wərm kæst wɪn ˈdæmɪʤ ˈteɪkən ˌɪˈmɔrtəl kɔl ˈwɔˌrlɔrdz mɑrk ˌɪnˈkrist ˈdʊˈreɪʃən ˌɪˈmɔrtəl kɔl ˈɪzənt ðət ˌɪmˈpɔrtənt, ðə aɪˈdiə ɪz tɪ rən ə ˈlaɪtnɪŋ kɔɪl ənd teɪst əv heɪt ˈɛndgeɪm, ðət wɪθ əp tɪ 300 laɪf ɪz mɔr ðən ɪˈnəf ˈfɪzɪkəl ˌmɪtɪˈgeɪʃən (ˈɔlsoʊ ə tən əv ˈdæmɪʤ frəm teɪst əv heɪt) lip slæm ˈfæstər əˈtæks ðə rɛst ju kən fɪl ɪn ˈjɔrsɛlf, fər ɪgˈzæmpəl vɑl heɪst vɑl sɪˈkloʊn əˈnəðər kæst wɪn ˈdæmɪʤ ˈteɪkən ˈsɛˌtəp wɪθ ˈɑrtɪk brɛθ ənd ˈgreɪtər ˈməltəpəl prɑˈʤɛktəlz (ʧɪl) vɑl greɪs ənd ˈəðər juˈtɪləti skɪlz. (maɪ) ɪgˈzæmpəl gɪr ˈspɔɪlər aɪ wɪl bi ˈtɛstɪŋ... ˈsəmθɪŋ nu.. wɪn əˈsɛndənsi hɪts. soʊ ðə nu spɛk woʊnt bi hir raɪt əˈweɪ. ðoʊ ðə ɪgˈzækt seɪm spɛk ɛz ə mərˈɔdər wɪl wərk ˈpərfəktli. soʊ ʧeɪnʤd əp ðə bɪld ə lɔt, aɪ fil laɪk ðə oʊld spɛk wɑz nɑt gʊd ɪˈnəf tɪ du 80 (rɛr) mæps rɪˈlaɪəbli, taɪm fər ən ˈəpˌdeɪt, meɪd ən ɪkˈstrimli (ˈrɛlətɪvli) spɛk. ənd ɪt stɪl dɪz ˈplɛnti əv ˈdæmɪʤ (əp tɪ bət nɑt ˈlɪmɪtɪd tɪ wɪˈθaʊt ˈtɛmpərˌɛri bəfs) ˈlɛvəl 82 https://www.pathofexile.com/passive-skill-tree/aaaaaweaxthyyz38xfimz_zixz8uio8ouefkuwebl3mupgmwxq45dst2df8lyxkpr6ccp69srkr3mhzou6vo8lnz6hh82stq8b-fpho4dqz46w3nogat0pbvz35kuhrxu-3-vaszjy-tju4ywapzfa48kc7azhfh4mgcbzpspaum-db38kg8n-98e0xz_vxlgjeutqhnnugavwehho-uukkn2sf7dhh6do1lp6mubs2haotzeu9hfkcgvtzee2vnivw-pyz73d2kigd1jydapg*== maɪ ˈkɑrənt tri https://www.pathofexile.com/passive-skill-tree/aaaaaweaxthyyz38xfimz_zixz8uio8ouefkuwebl3mupgmwxq45dst2pc0mxwthcqmvp4pmg18cp69srkr3mhzotz5tpwjywfpqghzzk1d-cvafnz4aohas-osnzdi98kwiac3skfxpfmrsfhg77f5unzi64qszjy-tju4ywapzfa48kc7-j6zxwgyx4ejhggc6uk3jpaum-db38kg8n-98e0xz_vxlgjeutqhnnugavwehho-uukkn2sf7dhh6do1lp6mubs2haotzeu9hfkcgvtzee2vnivw-pyz73d2kigd1jydapg*== ˈlɛvəl 99 tri https://www.pathofexile.com/passive-skill-tree/aaaaaweaxthyyz38xfimz_zixz8uio8ouefkuwebl3mupgmwxq45dst2pc0mxwthcqmvp4pmg18cp69srkr3mhzotz5tpwjywfpqghzzk1d-cvafnz4aohas-osnzdi98kwiac3skfxpfmrsfhg77f5unzi64qszjy-tju4ywapzfa48kc7-j6zxwgyx4ejhggc6uk3jpaum-db38kg8n-98e0xz_vxlgjeutqhnnugavwehho-uuklqqsd7dblhehplp5lqqzree4dqhnkhvucgr34s-9w9eu-9nooib3uflwvnjydapnttvqdgt9nv891ozq*== ˈnɔrməl oʊk kruəl ˈmərsələs oʊk 6 lɪŋk, ˈwɛpən ər ʧɛst. ɪn ˈɔrdər əv ˌɪmˈpɔrtəns ər ˌɪnˈstɛd əv ˈkɔnsənˌtreɪtɪd ˈifɛkt wɪn ju doʊnt nid ðə ɪkˈstrim ˈdæmɪʤ. ju kən ˈɔlsoʊ ʧeɪnʤ ˈfɔrtɪˌfaɪ fər ˈwɛpən ˌɛləˈmɛnəl ˈdæmɪʤ, ɪf ju fil laɪk ju doʊnt nid ɪt. ənˈlaɪk ðə ˈoʊldər ˈvərʒən, wi du nɑt rən kæst wɪn ˈdæmɪʤ ˈteɪkən ˌɪˈmɔrtəl kɔl, ˌɪnˈstɛd aɪ ɪnˈdʊrɪŋ kraɪ. ˈɛndərəns ˈʧɑrʤɪz ər ˌɪnˈkrɛdəbli ˈifɛktɪv wɪθ ˈəðər ˌmɪtɪˈgeɪʃən, səʧ ɛz ˈlaɪtnɪŋ kɔɪl. 4 lɪŋk wi rən ˈheɪtrəd ənd ˈhɛrəld əv æʃ, fər ˌɛləˈmɛnəl ˈwiknəs mæps ju kən tərn ɔf ˈhɛrəld əv æʃ ənd rən ˈpjʊrɪti əv ˈɛləmənts ˌɪnˈstɛd, ənˈlɛs ju ər rɪˈzɪst kæpt ɪn frəm gɪr wɪθ ˌɛləˈmɛnəl ˈwiknəs ˈfaɪnəli, wi juz ə loʊ ˈlɛvəl kæst wɪn ˈdæmɪʤ ˈteɪkən ənd ˈwɔˌrlɔrdz mɑrk fər 2 ˈɛkstrə liʧ. noʊ spɪˈsɪfɪk ər rikˈwaɪərd ɪkˈsɛpt ˈlaɪtnɪŋ kɔɪl ɪf ju wɔnt tɪ du ðə ˈvərʒən. maɪ gɪr fər ɪgˈzæmpəl (doʊnt maɪnd ðə ʤɛmz) əˈfɛnsɪv ənd dɪˈfɛnsɪv stæts ˈdæmɪʤ pər ˈsɛkənd ˈvæljuz ər ˈkərəntli ˈaʊtˌdeɪtɪd, ðiz ər frəm ˌbiˈfɔr ðə fɪks pæʧ. ðə ˈækʧəwəl ˈdæmɪʤ pər ˈsɛkənd ɪz əraʊnd taɪmz haɪər. dɪˈfɛns wɪθ 6 ˈɛndərəns ˈʧɑrʤɪz əˈfɛns wɪθ bləd reɪʤ ənd 3 ˈfrɛnzi ˈʧɑrʤɪz sɪˈkloʊn hɪts twaɪs pər spɪn, soʊ ðə ˈækʧəwəl ɪz twaɪs ðə. dɪˈspleɪ ɪz rɔŋ. ɪt dɪz nɑt əˈkaʊnt fər ðə fækt sɪˈkloʊn twaɪs pər əˈtæk ˈrəðər ðən wəns laɪk ə ˈrɛgjələr skɪl. ðəs ɪt i dɪˈspleɪɪŋ hæf ðə ˈækʧəwəl ˈvælju. dɪˈspleɪ ɪz rɔŋ. ɪt dɪz nɑt əˈkaʊnt fər ðə fækt sɪˈkloʊn twaɪs pər əˈtæk ˈrəðər ðən wəns laɪk ə ˈrɛgjələr skɪl. ðəs ɪt i dɪˈspleɪɪŋ hæf ðə ˈækʧəwəl ˈvælju. sɪˈkloʊn bləd ˈmæʤɪk ˈmeɪˌleɪ ˈfɪzɪkəl ˈdæmɪʤ ˈfɔrtɪˌfaɪ ˈædɪd faɪər ˈdæmɪʤ ˈkɔnsənˌtreɪtɪd ˈifɛkt sɪˈkloʊn bləd ˈmæʤɪk ˈmeɪˌleɪ ˈfɪzɪkəl ˈdæmɪʤ ˈfɔrtɪˌfaɪ ˈædɪd faɪər ˈdæmɪʤ ˌɪnˈkrist ˈɛriə əv ˈifɛkt sɪˈkloʊn bləd ˈmæʤɪk ˈmeɪˌleɪ ˈfɪzɪkəl ˈdæmɪʤ ˈwɛpən ˌɛləˈmɛnəl ˈdæmɪʤ- ˈædɪd faɪər ˈdæmɪʤ ˈkɔnsənˌtreɪtɪd ˈifɛkt sɪˈkloʊn bləd ˈmæʤɪk ˈmeɪˌleɪ ˈfɪzɪkəl ˈdæmɪʤ ˈwɛpən ˌɛləˈmɛnəl ˈdæmɪʤ- ˈædɪd faɪər ˈdæmɪʤ ˈkɔnsənˌtreɪtɪd ˈifɛkt ənd ˈprɑməs teɪst əv heɪt +ˈɔnsˌlɔt tɪ bi ˈædɪd. rən. ˈɪmɪʤɪz ˈteɪkən frəm soʊ ʧeɪnʤd əp ðə bɪld ə lɔt, aɪ fil laɪk ðə oʊld spɛk wɑz nɑt gʊd ɪˈnəf tɪ du 80 (rɛr) mæps rɪˈlaɪəbli, taɪm fər ən ˈəpˌdeɪt, meɪd ən ɪkˈstrimli (ˈrɛlətɪvli) spɛk. ənd ɪt stɪl dɪz ˈplɛnti əv ˈdæmɪʤ (əp tɪ bət nɑt ˈlɪmɪtɪd tɪ wɪˈθaʊt ˈtɛmpərˌɛri bi ˈteɪkən frəm læst ˈɛdɪtɪd baɪ ɔn meɪ 31 2016 piɛm læst bəmpt ɔn meɪ 31 2016 piɛm ˈpoʊstɪd baɪ ɔn ɔn kwoʊt ðɪs poʊst ju kən spɛk ˈsɑvrənti 6 ˈmɑnə rɪˈzərvd wɪθ 12 ˈɔrə ˈifɛkt noʊdz ənd juz ˈheɪtrəd +ˈhɛrəld əv æʃ ənd+ heɪst ər greɪs. ˈpoʊstɪd baɪ ɔn ɔn kwoʊt ðɪs poʊst ju kən spɛk ˈsɑvrənti 6 ˈmɑnə rɪˈzərvd wɪθ 12 ˈɔrə ˈifɛkt noʊdz ənd juz ˈheɪtrəd +ˈhɛrəld əv æʃ ənd+ heɪst ər greɪs. ˌɪnˈdid, ðoʊ aɪ doʊnt fil laɪk greɪs meɪks ə bɪg ˈdɪfərəns wɪˈθaʊt ɪˈveɪʒən noʊdz ər aɪərn ˈriflɛksəz, seɪm θɪŋ fər heɪst bət wɪθ ˈɔrə noʊdz. aɪ ʧoʊz tɪ juz vaɪˈtæləti bɪˈkəz aɪ hæv səʧ ə haɪ əˈmaʊnt əv laɪf, ɪts ɔl ˈprɛfərəns. ˌɪnˈdid, ðoʊ aɪ doʊnt fil laɪk greɪs meɪks ə bɪg ˈdɪfərəns wɪˈθaʊt ɪˈveɪʒən noʊdz ər aɪərn ˈriflɛksəz, seɪm θɪŋ fər heɪst bət wɪθ ˈɔrə noʊdz. aɪ ʧoʊz tɪ juz vaɪˈtæləti bɪˈkəz aɪ hæv səʧ ə haɪ əˈmaʊnt əv laɪf, ɪts ɔl ˈprɛfərəns. læst ˈɛdɪtɪd baɪ ɔn ɔkt 16 2014 piɛm ˈpoʊstɪd baɪ ɔn ɔn kwoʊt ðɪs poʊst dud pʊt ɔn jʊr bləd ˈmæʤɪk :di əm ˈnɛvər soʊ ɪt woʊnt du ˈɛniˌθɪŋ fər əˈgɛn ðə ˈmɑnə kɔst ˈɪzənt ðət bæd. əm ˈnɛvər soʊ ɪt woʊnt du ˈɛniˌθɪŋ fər əˈgɛn ðə ˈmɑnə kɔst ˈɪzənt ðət bæd. ˈpoʊstɪd baɪ ɔn ɔn kwoʊt ðɪs poʊst maɪ ˈpæsɪv tri ˈdɪfərənsɪz biɪŋ: 45 lɛs laɪf 70 mɔr ˈdæmɪʤ 100 mɔr dɛks 40 mɔr aɪərn ˈriflɛksəz 6 mɔr əˈtæk spid lɛs keɪɑs rɪˈzɪstəns 10 ɔl ˈmuvmənt spid nɑt ˌɪmˈpɛrd baɪ gɪr ˈɔlsoʊ rən ə ɪn maɪ ˈkɑrkəs ʤæk wɪθ ə ˌvəlnərəˈbɪlɪti ʤɛm lɪŋkt wɪθ fər mɔr ˈdæmɪʤ, wʊd ˈɔlsoʊ wərk wɪθ ə ˈælfə haʊl fər 8 lɛs ˈmɑnə ˌrɛzərˈveɪʃən fər ˈrənɪŋ tu 60 25 ˈɔrə sɪns aɪ ˈɔlˌweɪz rən ˈkɑrkəs ʤæk kˈwɑləti sɪˈkloʊn, aɪ ˈɔlˌweɪz rən ˈifɛkt, ˈnɛvər hæv tɪ ˈbɑðər sˈwɪʧɪŋ ɪt, ənd stɪl hæv 22 ɔn sɪˈkloʊn ˈoʊvərˌɔl. aɪ rən ə ˈsɪmələr bɪld, ɪkˈsɛpt maɪ ɪz ə bɪt ˈdɪfərənt, ˈmeɪbi ju kən gɪt səm aɪˈdiəz frəm rən ə ɪn maɪ ˈkɑrkəs ʤæk wɪθ ə ˌvəlnərəˈbɪlɪti ʤɛm lɪŋkt wɪθ fər mɔr ˈdæmɪʤ, wʊd ˈɔlsoʊ wərk wɪθ ə haʊl fər 8 lɛs ˈmɑnə ˌrɛzərˈveɪʃən fər ˈrənɪŋ tu 60 25 aɪ ˈɔlˌweɪz rən ˈkɑrkəs ʤæk kˈwɑləti sɪˈkloʊn, aɪ ˈɔlˌweɪz rən ˈifɛkt, ˈnɛvər hæv tɪ ˈbɑðər sˈwɪʧɪŋ ɪt, ənd stɪl hæv 22 ɔn sɪˈkloʊn ˈoʊvərˌɔl. "ðɛr ɪz noʊ spoone*" ðə ˈpoʊstɪd baɪ ɔn ɔn kwoʊt ðɪs poʊst maɪ ˈpæsɪv tri ˈdɪfərənsɪz biɪŋ: 45 lɛs laɪf 70 mɔr ˈdæmɪʤ 100 mɔr dɛks 40 mɔr aɪərn ˈriflɛksəz 6 mɔr əˈtæk spid lɛs keɪɑs rɪˈzɪstəns 10 ɔl ˈmuvmənt spid nɑt ˌɪmˈpɛrd baɪ gɪr ˈɔlsoʊ rən ə ɪn maɪ ˈkɑrkəs ʤæk wɪθ ə ˌvəlnərəˈbɪlɪti ʤɛm lɪŋkt wɪθ fər mɔr ˈdæmɪʤ, wʊd ˈɔlsoʊ wərk wɪθ ə ˈælfə haʊl fər 8 lɛs ˈmɑnə ˌrɛzərˈveɪʃən fər ˈrənɪŋ tu 60 25 ˈɔrə sɪns aɪ ˈɔlˌweɪz rən ˈkɑrkəs ʤæk kˈwɑləti sɪˈkloʊn, aɪ ˈɔlˌweɪz rən ˈifɛkt, ˈnɛvər hæv tɪ ˈbɑðər sˈwɪʧɪŋ ɪt, ənd stɪl hæv 22 ɔn sɪˈkloʊn ˈoʊvərˌɔl. aɪ rən ə ˈsɪmələr bɪld, ɪkˈsɛpt maɪ ɪz ə bɪt ˈdɪfərənt, ˈmeɪbi ju kən gɪt səm aɪˈdiəz frəm rən ə ɪn maɪ ˈkɑrkəs ʤæk wɪθ ə ˌvəlnərəˈbɪlɪti ʤɛm lɪŋkt wɪθ fər mɔr ˈdæmɪʤ, wʊd ˈɔlsoʊ wərk wɪθ ə haʊl fər 8 lɛs ˈmɑnə ˌrɛzərˈveɪʃən fər ˈrənɪŋ tu 60 25 aɪ ˈɔlˌweɪz rən ˈkɑrkəs ʤæk kˈwɑləti sɪˈkloʊn, aɪ ˈɔlˌweɪz rən ˈifɛkt, ˈnɛvər hæv tɪ ˈbɑðər sˈwɪʧɪŋ ɪt, ənd stɪl hæv 22 ɔn sɪˈkloʊn ˈoʊvərˌɔl. ɪˈvɛnʧəwəli aɪl rən boʊθ ˈifɛkt ənd ɪŋk ˈɛriə əv ˈifɛkt wɪn aɪ gɪt ə 6 lɪŋk. jʊr bɪld ɪz ə bɪt ˈiziər ɔn gɪr bət haʊ məʧ laɪf du ju hæv? fər mi ðɪs ɪz ðə fərst taɪm pleɪɪŋ ˈmeɪˌleɪ wɪˈθaʊt blɑk, ɪˈveɪʒən ər dɑʤ ɪn ə lɔŋ taɪm ənd səm ˈdæmɪʤ spaɪks ər ˈskɛri ˈivɪn wɪθ 5k*+ laɪf du ju rən bləd wɪθ ðə loʊər keɪɑs rɪˈzɪst ənd laɪf ˈrɛgən? ɔn ðə, æt ðə tɔp lɛft laɪf noʊdz aɪ kən spɛnd 2 tɪ rən ðə ˈsɛkənd 60 ðoʊ aɪ doʊnt fil laɪk ɪt ɪz wərθ ɪt ˈeɪˌtiˈɛm. ɪˈvɛnʧəwəli aɪl rən boʊθ ˈifɛkt ənd ɪŋk ˈɛriə əv ˈifɛkt wɪn aɪ gɪt ə 6 bɪld ɪz ə bɪt ˈiziər ɔn gɪr bət haʊ məʧ laɪf du ju hæv? fər mi ðɪs ɪz ðə fərst taɪm pleɪɪŋ ˈmeɪˌleɪ wɪˈθaʊt blɑk, ɪˈveɪʒən ər dɑʤ ɪn ə lɔŋ taɪm ənd səm ˈdæmɪʤ spaɪks ər ˈskɛri ˈivɪn wɪθ 5k*+ ju rən bləd wɪθ ðə loʊər keɪɑs rɪˈzɪst ənd laɪf ðə, æt ðə tɔp lɛft laɪf noʊdz aɪ kən spɛnd 2 tɪ rən ðə ˈsɛkənd 60 ðoʊ aɪ doʊnt fil laɪk ɪt ɪz wərθ ɪt ˈeɪˌtiˈɛm. læst ˈɛdɪtɪd baɪ ɔn ɔkt 17 2014 æm ˈpoʊstɪd baɪ ɔn ɔn kwoʊt ðɪs poʊst aɪ rɪˈlaɪ ɔn kwɪk kɪl spid, ənd spæm flæsks ˈkɑnstəntli fər ˈɛkstrə spid, ðə ˈmuvmənt spid bust waɪl hɛlps əˈvɔɪd ə lɔt əv ˈdæmɪʤ ənd ðə ɪz haɪ ɪˈnəf ðət stəf daɪz ɪn ðə fərst pæs. dɛθs du ˈhæpən bət nɑt ˈvɛri ˈɔfən, ˈmoʊstli du ˈiðər tɪ ər traɪɪŋ tɪ du rɪˈdɪkjələs mæp laɪk ˈpæləs dɑm wɪθ ˈɛkstrə prɑˈʤɛktəlz ər ˈsəmθɪŋ. ˈlɛvəl 87 wɪθ əˈbaʊt laɪf, aɪ du juz mings/bloodrage*. greɪs hɛlps ə bɪt wɪθ ˈɪnˌkəmɪŋ ˈdæmɪʤ, gɪvz ə nis bust tɪ rɪˈlaɪ ɔn kwɪk kɪl spid, ənd ˈkɑnstəntli fər ˈɛkstrə spid, ðə ˈmuvmənt spid bust waɪl hɛlps əˈvɔɪd ə lɔt əv ˈdæmɪʤ ənd ðə ɪz haɪ ɪˈnəf ðət stəf daɪz ɪn ðə fərst du ˈhæpən bət nɑt ˈvɛri ˈɔfən, ˈmoʊstli du ˈiðər tɪ ər traɪɪŋ tɪ du rɪˈdɪkjələs mæp laɪk ˈpæləs dɑm wɪθ ˈɛkstrə prɑˈʤɛktəlz ər ˈsəmθɪŋ. "ðɛr ɪz noʊ spoone*" ðə ˈpoʊstɪd baɪ ɔn ɔn kwoʊt ðɪs poʊst aɪ rɪˈlaɪ ɔn kwɪk kɪl spid, ənd spæm flæsks ˈkɑnstəntli fər ˈɛkstrə spid, ðə ˈmuvmənt spid bust waɪl hɛlps əˈvɔɪd ə lɔt əv ˈdæmɪʤ ənd ðə ɪz haɪ ɪˈnəf ðət stəf daɪz ɪn ðə fərst pæs. dɛθs du ˈhæpən bət nɑt ˈvɛri ˈɔfən, ˈmoʊstli du ˈiðər tɪ ər traɪɪŋ tɪ du rɪˈdɪkjələs mæp laɪk ˈpæləs dɑm wɪθ ˈɛkstrə prɑˈʤɛktəlz ər ˈsəmθɪŋ. ˈlɛvəl 87 wɪθ əˈbaʊt laɪf, aɪ du juz mings/bloodrage*. greɪs hɛlps ə bɪt wɪθ ˈɪnˌkəmɪŋ ˈdæmɪʤ, gɪvz ə nis bust tɪ rɪˈlaɪ ɔn kwɪk kɪl spid, ənd ˈkɑnstəntli fər ˈɛkstrə spid, ðə ˈmuvmənt spid bust waɪl hɛlps əˈvɔɪd ə lɔt əv ˈdæmɪʤ ənd ðə ɪz haɪ ɪˈnəf ðət stəf daɪz ɪn ðə fərst du ˈhæpən bət nɑt ˈvɛri ˈɔfən, ˈmoʊstli du ˈiðər tɪ ər traɪɪŋ tɪ du rɪˈdɪkjələs mæp laɪk ˈpæləs dɑm wɪθ ˈɛkstrə prɑˈʤɛktəlz ər ˈsəmθɪŋ. jɛp, ðə haɪ frəm ðə haɪ meɪks ɪt ˈvɛri nis tɪ juz quicksilvers*, aɪl ˈprɑbəˌbli juz 2 ənd ə rumi's*. ɪt ˈɔlsoʊ meɪks ju səˈpraɪzɪŋli. jɛp, ðə haɪ frəm ðə haɪ meɪks ɪt ˈvɛri nis tɪ juz quicksilvers*, aɪl ˈprɑbəˌbli juz 2 ənd ə rumi's*. ɪt ˈɔlsoʊ meɪks ju səˈpraɪzɪŋli. ˈpoʊstɪd baɪ ɔn ɔn kwoʊt ðɪs poʊst
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old version(s) in spoilers below
i have high hopes for slayer, that 40% increased area of effect, 20% more damage and 20% culling is amazing. it might just make cyclone a competitive skill again!
the "guide" wont be very fleshed out but all the info will be there
my current level 100 skill tree
level 87 tree, 210% life
so, what really changed? first of slayer which grants an amazing 40% aoe, 20% more damage 20% cull and about 60% increased damage.
and secondly,
i'm not a fan of mana based, it works, but you have to pay attention to your mana or you may run out and be a sitting duck at times. essence worm gives you all the benefits of keystone blood magic (extra gem link, massive amount of life and no mana leech required) with (almost) none of the downsides (no auras)
you do lose a bit of flat life and res but that's 100% worth it in my opinion.
gem links.
cyclone
melee physical damage
increased area of effect (concentrated effect for stuff like atziri)
added fire damage
weapon elemental damage
faster attacks / fortify
hatred in essence worm
cast when damage taken
immortal call
warlords mark
increased duration
immortal call isn't that important, the idea is to run a lightning coil and taste of hate endgame, that with up to 300% life is more than enough physical mitigation (also a ton of damage from taste of hate)
leap slam
faster attacks
the rest you can fill in yourself, for example
vaal haste
vaal cyclone
another cast when damage taken setup with arctic breath and greater multiple projectiles (chill)
vaal grace and other utility skills.
(my) example gear
spoiler i will be testing... something new.. when ascendancy hits. so the new spec won't be here right away. though the exact same spec as a marauder berserker will work perfectly.
so 2.0 changed up the build a lot, i feel like the old spec was not good enough to do 80+ (rare) maps reliably, time for an update, made an extremely (relatively) tanky 2h spec. and it still does plenty of damage (up to but not limited to 170k without temporary buffs)
level 82 https://www.pathofexile.com/passive-skill-tree/aaaaaweaxthyyz38xfimz_zixz8uio8ouefkuwebl3mupgmwxq45dst2df8lyxkpr6ccp69srkr3mhzou6vo8lnz6hh82stq8b-fpho4dqz46w3nogat0pbvz35kuhrxu-3-vaszjy-tju4ywapzfa48kc7azhfh4mgcbzpspaum-db38kg8n-98e0xz_vxlgjeutqhnnugavwehho-uukkn2sf7dhh6do1lp6mubs2haotzeu9hfkcgvtzee2vnivw-pyz73d2kigd1jydapg==
my current tree https://www.pathofexile.com/passive-skill-tree/aaaaaweaxthyyz38xfimz_zixz8uio8ouefkuwebl3mupgmwxq45dst2pc0mxwthcqmvp4pmg18cp69srkr3mhzotz5tpwjywfpqghzzk1d-cvafnz4aohas-osnzdi98kwiac3skfxpfmrsfhg77f5unzi64qszjy-tju4ywapzfa48kc7-j6zxwgyx4ejhggc6uk3jpaum-db38kg8n-98e0xz_vxlgjeutqhnnugavwehho-uukkn2sf7dhh6do1lp6mubs2haotzeu9hfkcgvtzee2vnivw-pyz73d2kigd1jydapg==
level 99 tree https://www.pathofexile.com/passive-skill-tree/aaaaaweaxthyyz38xfimz_zixz8uio8ouefkuwebl3mupgmwxq45dst2pc0mxwthcqmvp4pmg18cp69srkr3mhzotz5tpwjywfpqghzzk1d-cvafnz4aohas-osnzdi98kwiac3skfxpfmrsfhg77f5unzi64qszjy-tju4ywapzfa48kc7-j6zxwgyx4ejhggc6uk3jpaum-db38kg8n-98e0xz_vxlgjeutqhnnugavwehho-uuklqqsd7dblhehplp5lqqzree4dqhnkhvucgr34s-9w9eu-9nooib3uflwvnjydapnttvqdgt9nv891ozq==
normal oak
cruel kraityn
merciless oak
6 link, weapon or chest. in order of importance or instead of concentrated effect when you don't need the extreme damage. you can also change fortify for weapon elemental damage, if you feel like you don't need it.
unlike the older version, we do not run cast when damage taken immortal call, instead i selfcast enduring cry. endurance charges are incredibly effective with other mitigation, such as lightning coil.
4 link
we run hatred and herald of ash, for elemental weakness maps you can turn off herald of ash and run purity of elements instead, unless you are resist capped in from gear with elemental weakness
finally, we use a low level cast when damage taken and warlords mark for 2% extra leech.
no specific uniques are required except lightning coil if you want to do the tanky version.
my gear for example (don't mind the gems)
offensive and defensive stats
damage per second values are currently outdated, these screenshots are from before the tooltip fix patch. the actual damage per second is around 1.8 times higher.
defense with 6 endurance charges
offense with blood rage and 3 frenzy charges
cyclone hits twice per spin, so the actual dps is twice the tooltip.
" mark_ggg
cyclone's dps display is wrong. it does not account for the fact cyclone hit's twice per attack duraiton rather than once like a regular skill. thus it willb e displaying half the actual dps value.
cyclone's dps display is wrong. it does not account for the fact cyclone hit's twice per attack duraiton rather than once like a regular skill. thus it willb e displaying half the actual dps value.
cyclone - blood magic - melee physical damage - fortify - added fire damage - concentrated effect
cyclone - blood magic - melee physical damage - fortify - added fire damage - increased area of effect
cyclone - blood magic - melee physical damage - weapon elemental damage- added fire damage - concentrated effect
cyclone - blood magic - melee physical damage - weapon elemental damage- added fire damage - concentrated effect and atziri's promise + taste of hate +onslaught
to be added.
atziri run.
images taken from so 2.0 changed up the build a lot, i feel like the old spec was not good enough to do 80+ (rare) maps reliably, time for an update, made an extremely (relatively) tanky 2h spec. and it still does plenty of damage (up to but not limited to 170k without temporary buffs)oakkraitynoakto be added.images taken from nicebuilds.com last edited by eleziel on may 31, 2016, 7:08:50 pm last bumped on may 31, 2016, 7:11:20 pm posted by eleziel
on on quote this post
you can spec sovereignty 6% mana reserved with 12% aura effect nodes and use hatred +herald of ash and+ haste or grace. posted by brayzz
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" brayzz you can spec sovereignty 6% mana reserved with 12% aura effect nodes and use hatred +herald of ash and+ haste or grace.
indeed, though i don't feel like grace makes a big difference without evasion nodes or iron reflexes, same thing for haste but with aura nodes. i chose to use vitality because i have such a high amount of life, it's all preference. indeed, though i don't feel like grace makes a big difference without evasion nodes or iron reflexes, same thing for haste but with aura nodes. i chose to use vitality because i have such a high amount of life, it's all preference. last edited by eleziel on oct 16, 2014, 12:41:03 pm posted by eleziel
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" ceratoidei dude put 20q on your blood magic :d
i'm never lowlife so it won't do anything for me,then again the mana cost isn't that bad. i'm never lowlife so it won't do anything for me,then again the mana cost isn't that bad. posted by eleziel
on on quote this post
my passive tree
differences being:
45% less life
70% more phys damage
100 more dex
40 more int
iron reflexes
6% more attack speed
less chaos resistance
+10 all resistances
movement speed not impaired by gear
also run a 5l in my carcass jack with a 20/20 vulnerability gem linked with cwdt+frostnova+curse-on-hit for more damage, would also work with a 4l
alpha howl for 8% less mana reservation for running two 60% auras + 25% aura
since i always run carcass jack + quality cyclone, i always run conc effect, never have to bother switching it, and still have +22% aoe modifier on cyclone overall.
i run a similar build, except my tree/gear is a bit different, maybe you can get some ideas from it.differences being:also run a 5l in my carcass jack with a 20/20 vulnerability gem linked with cwdt+frostnova+curse-on-hit for more damage, would also work with a 4lalpha howl for 8% less mana reservation for running two 60% auras + 25% aurasince i always run carcass jack + quality cyclone, i always run conc effect, never have to bother switching it, and still have +22% aoe modifier on cyclone overall. "there is no spoone" - the matricks posted by zeekin
on on quote this post
" zeekin
my passive tree
differences being:
45% less life
70% more phys damage
100 more dex
40 more int
iron reflexes
6% more attack speed
less chaos resistance
+10 all resistances
movement speed not impaired by gear
also run a 5l in my carcass jack with a 20/20 vulnerability gem linked with cwdt+frostnova+curse-on-hit for more damage, would also work with a 4l
alpha howl for 8% less mana reservation for running two 60% auras + 25% aura
since i always run carcass jack + quality cyclone, i always run conc effect, never have to bother switching it, and still have +22% aoe modifier on cyclone overall.
i run a similar build, except my tree/gear is a bit different, maybe you can get some ideas from it.differences being:also run a 5l in my carcass jack with a 20/20 vulnerability gem linked with cwdt+frostnova+curse-on-hit for more damage, would also work with a 4lalpha howl for 8% less mana reservation for running two 60% auras + 25% aurasince i always run carcass jack + quality cyclone, i always run conc effect, never have to bother switching it, and still have +22% aoe modifier on cyclone overall.
eventually i'll run both conc effect and inc area of effect when i get a 6 link.
your build is a bit easier on gear but how much life do you have? for me this is the first time playing melee without block, evasion or dodge in a long time and some damage spikes are scary even with 5k+ life
do you run blood rage/mings with the lower chaos resist and life regen?
on the auras, at the top left life nodes i can spend 2 passives to run the second 60%, though i don't feel like it is worth it atm. eventually i'll run both conc effect and inc area of effect when i get a 6 link.your build is a bit easier on gear but how much life do you have? for me this is the first time playing melee without block, evasion or dodge in a long time and some damage spikes are scary even with 5k+ lifedo you run blood rage/mings with the lower chaos resist and life regen?on the auras, at the top left life nodes i can spend 2 passives to run the second 60%, though i don't feel like it is worth it atm. last edited by eleziel on oct 17, 2014, 5:31:50 am posted by eleziel
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i rely on quick kill speed, and spam
flasks constantly for extra dps/movement speed, the movement speed boost while cycloning helps avoid a lot of damage and the dps is high enough that stuff dies in the first pass.
deaths do happen but not very often, mostly due either to desync or trying to do ridiculous map mods like palace dom with extra projectiles or something. level 87 with about 4.6k life, i do use mings/bloodrage. grace + ir helps a bit with incoming damage, gives a nice boost to armour.i rely on quick kill speed, and spamflasks constantly for extra dps/movement speed, the movement speed boost while cycloning helps avoid a lot of damage and the dps is high enough that stuff dies in the first pass.deaths do happen but not very often, mostly due either to desync or trying to do ridiculous map mods like palace dom with extra projectiles or something. "there is no spoone" - the matricks posted by zeekin
on on quote this post
" zeekin
i rely on quick kill speed, and spam
flasks constantly for extra dps/movement speed, the movement speed boost while cycloning helps avoid a lot of damage and the dps is high enough that stuff dies in the first pass.
deaths do happen but not very often, mostly due either to desync or trying to do ridiculous map mods like palace dom with extra projectiles or something. level 87 with about 4.6k life, i do use mings/bloodrage. grace + ir helps a bit with incoming damage, gives a nice boost to armour.i rely on quick kill speed, and spamflasks constantly for extra dps/movement speed, the movement speed boost while cycloning helps avoid a lot of damage and the dps is high enough that stuff dies in the first pass.deaths do happen but not very often, mostly due either to desync or trying to do ridiculous map mods like palace dom with extra projectiles or something.
yep, the high dps uptime from the high aoe makes it very nice to use quicksilvers, i'll probably use 2 and a rumi's. it also makes you surprisingly tanky. yep, the high dps uptime from the high aoe makes it very nice to use quicksilvers, i'll probably use 2 and a rumi's. it also makes you surprisingly tanky. posted by eleziel
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ðɪs ˈɑrtɪkəl ɪz ˈoʊvər 3 jɪrz oʊld ˈɑlɪvər ˈbrɪʤmən, frəm, sɪz hi ɪz ɪn ðə wɔr zoʊn hɛlp juˈmænɪti ənd əˈspɛʃəli ðə ˈpipəl əv syria’*’ ə kˈwinzˌlænd ˈtiˌneɪʤər ɪn ˈsɪriə həz hæd hɪz ˈpæˌspɔrt ˈkænsəld baɪ ðə ɔˈstreɪljən ˈgəvərnmənt bət meɪnˈteɪnz hi ɪz ɪn ðə wɔr zoʊn hɛlp juˈmænɪti ənd əˈspɛʃəli ðə ˈpipəl əv syria”*”. ˈɑlɪvər ˈbrɪʤmən lɛft ɪn mɑrʧ 2015 ˈtɛlɪŋ hɪz ˈpɛrənts hi wʊd spɛnd ə jɪr ˈwərkɪŋ fər ə ˌbælɪˈniz ˈʧɛrɪti. hi ˈsərfɪst ɪn ˈsɪriə ɪn ˈeɪprəl ənd sɪz hi həz bɪn ˈwərkɪŋ wɪθ ən eɪd grup kɔld lɪv ˈəpˌdeɪts frəm ˈsɪriə. kˈwinzˌlænd ˈtiˌneɪʤər ˈɑlɪvər ˈbrɪʤmən dɪˈnaɪz ˈʤɔɪnɪŋ əˈfɪliˌeɪt ɪn ˈsɪriə rɛd mɔr ðə ɔˈstreɪljən ˈfɛdərəl pəˈlis (afp*) hæv əˈkjuzd ðə ˈtiˌneɪʤər əv ““align[ing*] hɪmˈsɛlf wɪθ ə proʊˈskraɪbd group”*” ˈlaɪkli tɪ min al-nusra*, ˈprɑksi mɪˈlɪʃə ɪn ˈsɪriə. ˈbrɪʤmən həz dɪˈnaɪd ðə ˌæləˈgeɪʃən, ˈtɛlɪŋ ðə ˈgɑrdiən ɪn ˈɔgəst hi wɑz ɪn ˈsɪriə bɪˈkəz ˈtiʧɪz ˈjuˈɛs tɪ hɛlp ðə ˈnidi, soʊ ðɪs ɪz maɪ ˌɪzˈlɑmɪk obligation”*”. məst hɛlp ðiz ˈpipəl, wi nid tɪ du something,”*,” hi sɛd. ˈfeɪsˌbʊk tˈwɪtər ə ˈvɪdioʊ ˈpoʊstɪd ðɪs wik baɪ pərˈpɔrtɪd eɪd grup lɪv ˈəpˌdeɪts frəm ˈsɪriə ˈfiʧərɪŋ kˈwinzˌlænd ˈtiˌneɪʤər ˈɑlɪvər ˈbrɪʤmən ə ˈlɔjər fər ˈbrɪʤmən həz toʊld ðə ˈeɪˌbiˌsi ðə həz bɪn ˌɪnˈstrəktɪd tɪ sərˈɛndər hɪz ˈkænsəld ˈpæˌspɔrt tɪ ðə ˈnɪrəst ˈkɑnsələr poʊst ɪn ˈtərki. fɑr ɛz əˈwɛr, noʊ ˌæləˈgeɪʃən ðət dən ˈɛniˌθɪŋ əntəˈwɔrd ər ˈɛniˌθɪŋ ˌɪˈligəl ˌwətsoʊˈɛvər ənd ðət ðə ˈbeɪsɪs fər ðiz taɪps əv dɪˈsɪʒənz ər ˈjuʒəwəli ɔn ðə ˈbeɪsɪs əv sɪˈkjʊrəti risks,”*,” hɪz ˈlɔjər ˈæləks ʤoʊnz sɛd. ““however*, wɪˈθaʊt ˈɛni ˌæləˈgeɪʃən ðət dən ˈɛniˌθɪŋ əntəˈwɔrd, wi ˈsɪmpli ˌəndərˈstænd ðɪs decision.”*.” ɪt ɪz ˌəndərˈstʊd ðət ˈpɛrənts wər ɪn nɪˌgoʊʃiˈeɪʃənz wɪθ ðə tɪ fəˈsɪləˌteɪt ðə rɪˈtərn tɪ ɔˈstreɪljə, ðoʊ ɪt ɪz ənˈklɪr ˈwɛðər ˈbrɪʤmən hɪmˈsɛlf wɑz ˈwɪlɪŋ tɪ ˌɪˈmiˌdiətli rɪˈtərn. ˈbrɪʤmən sɛd ɪn rɪˈspɑns tɪ ðə dɪˈsɪʒən ðət ˈmætər wət ðə ɔˈstreɪljən ˈgəvərnmənt seɪ ər du, ðeɪ noʊ ðət hir tɪ hɛlp juˈmænɪti ənd əˈspɛʃəli ðə ˈpipəl əv syria”*”. ðə ˈtiˌneɪʤər həz əˈpɪrd ɪn ˈvɪdioʊz ɪn ənd əraʊnd ˈɛriəz əv aleppo*, bət ˈrisəntli flɛd ɛz rəˈʒim ˈfɔrsɪz, ˈeɪdɪd baɪ ˈrəʃən ɛr straɪks, ɛnˈsərkəl ðə ˈsɪti. hi toʊld ðə ˈgɑrdiən wɑz ðə ˌpɑsəˈbɪləˌti əv biɪŋ stək there”*”. ˈfeɪsˌbʊk tˈwɪtər ə ˈvɪdioʊ ˈpoʊstɪd baɪ pərˈpɔrtɪd eɪd grup lɪv ˈəpˌdeɪts frəm ˈsɪriə ˈfiʧərɪŋ kˈwinzˌlænd ˈtiˌneɪʤər ˈɑlɪvər ˈbrɪʤmən ˈəðər ˈvɪdioʊz ˈpoʊstɪd ɔn ðə lɪv ˈəpˌdeɪts frəm ˈsɪriə ˈfeɪsˌbʊk peɪʤ ʃoʊ ðə ˈtiˌneɪʤər dɪˈstrɪbjutɪŋ fud æt ˈɔrfənɪʤɪz ənd ˈrɛfjuʤi kæmps. lɪv ˈəpˌdeɪts frəm ˈsɪriə wɑz ɪˈstæblɪʃt baɪ ˈbrɪtɪʃ ˈnæʃənəl ʃərˈif ənd hɪz waɪf hayden-best*. maɪ ˈbrəðər, ðə ˈsuɪˌsaɪd ˈbɑmər: waɪ ˈbrɪtɪʃ mɛn goʊ tɪ ˈsɪriə rɛd mɔr ðə pɛr kənˈtɪnju tɪ hoʊld ˈpæˌspɔrts bət ðɛr ˈdɔtər, ˈrisəntli bɔrn ɪn ˈtərki, həz bɪn dɪˈnaɪd ˈbrɪtɪʃ ˈsɪtɪzənˌʃɪp. ɪn ə ˈsteɪtmənt ɔn ɪts ˈfeɪsˌbʊk peɪʤ, ðə ˌɔrgənɪˈzeɪʃən sɛd ɪt wɑz disappointed”*” baɪ ðə dɪˈsɪʒən tɪ ˈkænsəl ˈpæˌspɔrt. həz bɪˈkəm ˈɛvədəntli klɪr ðət ðə ˈwɛstərn ˈgəvərnmənts hæv wən rul fər ˈməzlɪmz ənd əˈnəðər fər non-muslims,”*,” ðə ˈsteɪtmənt sɛd. ɪz ðɛr wən rul fər ɔˈstreɪljən ˈsɪtɪzənz laɪk ˈmæθju ˈgɑrdnər hu fɔt wɪθ ðə ˈkərdɪʃ mɪˈlɪʃə ˈoʊpənli ənd ðɛn rɪˈtərnd hoʊm wɪˈθaʊt ʧɑrʤ? ɪz ˈɑlɪvər ˈoʊnli kraɪm ðə fækt ðət hi ɪz ə muslim???”*???” ðə ˈfɔrən əˈfɛrz ˈmɪnɪstər, ˈʤuli ˈbɪʃəp, sɛd ʃi wʊd ˈkɑmɛnt ɔn ˌɪndəˈvɪʤəwəl ˈkeɪsɪz ər ˌɪnˈtɛləʤəns ənd sɪˈkjʊrəti matters”*”. ˈgəvərnmənt həz kənˈsɪstəntli ənd ɪn ðə ˈstrɔŋgəst tərmz dɪˈskərɪʤd ɔˈstreɪljənz frəm ˈtrævəlɪŋ tɪ ˌɪˈrɑk ənd ˈsɪriə tɪ pɑrˈtɪsəˌpeɪt ɪn ˈhɑstəl activities,”*,” ʃi sɛd. ˈtrævəlɪŋ tɪ ˈsɪriə ər ˌɪˈrɑk nɑt ˈoʊnli rɪsk kəˈmɪtɪŋ offences*, bət meɪ bi ˈkɪdˌnæpt, ˈsɪriəsli ˈɪnʤərd ər ˈivɪn kɪld ɛz ə rɪˈzəlt. ðə ɔˈstreɪljən ˈgəvərnmənt ˈkænɑt fəˈsɪləˌteɪt ðə seɪf ˈpæsɪʤ əv ˈpipəl aʊt əv ðə ˈkɑnflɪkt zones.”*.” ˈlɔjər wɪl faɪl ən əˈpil tɪ ðə dɪˈsɪʒən tɪ ˈkænsəl hɪz ˈpæˌspɔrt ɔn ˈmənˌdeɪ.
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oliver bridgeman, from toowoomba, says he is in the war zone ‘to help humanity and especially the people of syria’
a queensland teenager in syria has had his passport cancelled by the australian government but maintains he is in the war zone “to help humanity and especially the people of syria”.
oliver bridgeman left toowoomba in march 2015, telling his parents he would spend a year working for a balinese charity.
he surfaced in syria in april and says he has been working with an aid group called live updates from syria.
queensland teenager oliver bridgeman denies joining al-qaida affiliate in syria read more
the australian federal police (afp) have accused the teenager of “align[ing] himself with a proscribed group” – likely to mean jabhat al-nusra, al-qaida’s proxy militia in syria.
bridgeman has denied the allegation, telling the guardian in august he was in syria because “islam teaches us to help the needy, so this is my islamic obligation”.
“i must help these people, we need to do something,” he said.
facebook twitter pinterest a video posted this week by purported aid group live updates from syria featuring queensland teenager oliver bridgeman
a lawyer for bridgeman has told the abc the 19-year-old has been instructed to surrender his cancelled passport to the nearest consular post in turkey.
“as far as we’re aware, there’s no allegation that he’s done anything untoward or anything illegal whatsoever and that the basis for these types of decisions are usually on the basis of security risks,” his lawyer alex jones said.
“however, without any allegation that he’s done anything untoward, we simply can’t understand this decision.”
it is understood that bridgeman’s parents were in negotiations with the afp to facilitate the teenager’s return to australia, though it is unclear whether bridgeman himself was willing to immediately return.
bridgeman said in response to the decision that “no matter what the australian government say or do, they know that i’m here to help humanity and especially the people of syria”.
the teenager has appeared in videos in and around rebel-held areas of aleppo, but recently fled as regime forces, aided by russian air strikes, encircle the city. he told the guardian “there was the possibility of being stuck there”.
facebook twitter pinterest a video posted by purported aid group live updates from syria featuring queensland teenager oliver bridgeman
other videos posted on the live updates from syria facebook page show the teenager distributing food at orphanages and refugee camps.
live updates from syria was established by british national tauqir sharif and his wife racquell hayden-best.
my brother, the suicide bomber: why british men go to syria read more
the pair continue to hold uk passports but their daughter, recently born in turkey, has been denied british citizenship.
in a statement on its facebook page, the organisation said it was “extremely disappointed” by the decision to cancel bridgeman’s passport.
“it has become evidently clear that the western governments have one rule for muslims and another for non-muslims,” the statement said.
“why is there one rule for australian citizens like matthew gardiner who fought with the peshmerga kurdish militia openly and then returned home without charge? is oliver bridgeman’s only crime the fact that he is a muslim???”
the foreign affairs minister, julie bishop, said she would “not comment on individual cases or intelligence and security matters”.
“the government has consistently – and in the strongest terms – discouraged australians from travelling to iraq and syria to participate in hostile activities,” she said.
“australians travelling to syria or iraq not only risk committing offences, but may be kidnapped, seriously injured or even killed as a result. the australian government cannot facilitate the safe passage of people out of the conflict zones.”
bridgeman’s lawyer will file an appeal to the decision to cancel his passport on monday.
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ˈdɑnəld trəmp həz ˈdəbəld daʊn wəns əˈgɛn. æt ðə ˈænjuəl ˈgæðərɪŋ əv ðə kənˈsərvətɪv pəˈlɪtɪkəl ˈækʃən ˈkɑnfərəns (cpac*) ə grup wɪθ kloʊz taɪz tɪ ðə rɪˈpəblɪkənz ðə ˈjuˈɛs ˈprɛzɪdənt riˈɪtərˌeɪtɪd hɪz ˌækjəˈzeɪʃən əˈgɛnst lɑrʤ pɑrts əv ðə ˈjuˈɛs ˈmidiə, ˈneɪmli ðət ðeɪ ˈpəblɪʃ fɔls ˌɪnˌfɔrˈmeɪʃən ər ər ðɛmˈsɛlvz "feɪk nuz" ˈaʊˌtlɛts, ˈivɪn ən "ˈɛnəmi" əv ðə ˈpipəl. bət ðət ˈwəzənt ɔl. trəmp ˈivɪn əˈnaʊnst ðət hi wʊd du ˈsəmθɪŋ tɪ prɪˈvɛnt ˈmidiə frəm ˈbeɪsɪŋ ðɛr rɪˈpɔrtɪŋ ɔn ˌɪnˈsaɪdər ˈsɔrsəz wɪˈθaʊt ˈneɪmɪŋ ðoʊz ˈkɑnˌtækts. ɪf ˈsəmθɪŋ laɪk ðɪs wər ˈrɪli ˈdræftɪd ˈɪntu ˌlɛʤəsˈleɪʃən, ɪt wʊd ˈkɑnstəˌtut ə ˈmeɪʤər əˈtæk ɔn prɛs ˈfridəm. wɪˈθaʊt prəˈtɛkʃən fər ˈsɔrsəz, wɪˈθaʊt əˈnɑnəməs ˌɪnˈfɔrmərz ənd "ˈwɪsəlˌbloʊərz," ðə ˈmidiə wʊd nɑt bi ˈeɪbəl tɪ ˈifɛktɪvli ˈkɛri aʊt ɪts ʤɑb ˈkipɪŋ ðə ˈpaʊərfəl ɪn ʧɛk. ˈkɑrstən vɔn ɪn ˈwɔʃɪŋtən feɪk ənd frɛndz trəmp dɪd strɛs ðət hɪz əˈtæks wər nɑt dɪˈrɛktɪd æt ðə ˈmidiə ɛz ə hoʊl, ðət ðɛr wər "gʊd" ɪgˈzæmpəlz tu. bət baɪ "gʊd," ðə ˈprɛzɪdənt wɑz rɪˈfərɪŋ tɪ ðoʊz ˈaʊˌtlɛts ðət tɛnd tɪ teɪk hɪz saɪd: fər ˈɪnstəns, ðə ˈoʊpənli ˈbrɔdˌkæstər fɑks nuz. trəmp hɪmˈsɛlf həz ˈɔfən ˈsɪŋgəld aʊt ðə ˈbrɛkfəst ʃoʊ fɑks ənd frɛndz, huz hoʊsts rɪˈvɪr ðə ˈprɛzɪdənt wɪθ ə dɪˈvoʊʃən ðət ˈbɔrdərz ɔn sycophancy*. ˌnɛvərðəˈlɛs, fɑks ˈɔlsoʊ həz səm ˈsɪriəs ˈæŋkərz hu əˈplaɪ ðɛr ˈkrɪtɪkəl ˈfækəltiz tɪ ɔl, laɪk ˈʃɛpərd smɪθ ənd krɪs ˈwɔlɪs. ðə ˈʧænəl dɪz æt list traɪ tɪ brɪŋ ɪn ˈvɔɪsɪz frəm ðə lɛft ənd ˈlɪˌbərəl saɪd əv ðə ˈspɛktrəm ɪn ˈmɛʒərd ˈdoʊsɪz. ju kænt seɪ ðət əˈbaʊt səm əv trəmps ˈəðər ˈmidiə pælz laɪk kənˈsərvətɪv ˈreɪdiˌoʊ kruˈseɪdər rəʃ ˈlɪmˌbɔ. ər ðɛrz ðə ˈivɪn mɔr aɪˈreɪt ˈæləks ʤoʊnz (əv infowars*), hu kənˈspɪrəsi ˈθɪriz ˈɔnˌlaɪn, ɔn ðə ˈreɪdiˌoʊ ənd ˈviə ˈvɪdioʊ. ənd əv kɔrs ðɛr ɪz ðə ˈɔnˌlaɪn ˈplætˌfɔrm, wɪʧ wɑz ˈmænɪʤd fər fɔr jɪrz baɪ trəmps ʧif ˈstrætɪʤɪst, stiv ˈbænən. ɪn ðə 2016 kæmˈpeɪn, spjud aʊt ənˈfɛtərd ˌprɑpəˈgændə ənd ˈəðərˌwaɪz prəˈmoʊtəd ˌɪtˈsɛlf ˈviə ˈsəmˌtaɪmz ˈfæbrɪˌkeɪtɪd ˈstɔriz əˈbaʊt kraɪmz pərˈpɔrtɪˌdli kəˈmɪtɪd baɪ ˈmaɪgrənts ɪn ðə ˈjuˈɛs ər ɪn ˈjʊrəp. ðiz ər ðə ˈmidiə ˈaʊˌtlɛts trəmp minz wɪn hi ˈpreɪzɪz səm fər biɪŋ "nis" ər "fɛr" tɪ ɪm. ðɛr ðə wənz hi ˈɔfən ɪkˈsplɪsətli saɪts tɪ traɪ tɪ ˈvælədeɪt hɪz ˈsəmˌtaɪmz krud ˈθɪriz ər hɪz ɔlˈtərnətɪv fækts. ɔl ðə ˈəðərz, soʊ fɑr ɛz trəmps kənˈsərnd, ər "ˌɔnˈfɛr," ər "dɪˈsɑnəst" ðɛr "feɪk nuz." trəmps ˈfoʊkɪs hir ɪz ɔn ðə trəˈdɪʃənəl ˈbikənz əv əˈmɛrɪkən prɪnt ˈʤərnəˌlɪzəm laɪk ðə nu jɔrk taɪmz ənd ðə ˈwɔʃɪŋtən poʊst, ər ɪˈstæblɪʃt ˌtɛləˈvɪʒən nuz ˈʧænəlz laɪk ˈeɪˌbiˌsi, ˈɛnˌbiˈsi ər ˈsiˈɛˈnɛn. ˈmeɪkɪŋ ən ɪgˈzæmpəl trəmps ʧif ˈstrætɪʤɪst ənd ʧif ˈaɪdiəloʊg ˈbænən hɪt ðə seɪm noʊts æt ðə ˈkɑnfərəns. wəns əˈgɛn, hi ˈaʊˌtlaɪnd hɪz bɪˈlif ðət ɪts nɑt ðə ˈdɛməˌkræts hu ər ðə meɪn əˈpoʊnənts əv ðə ˈpɑpjələst "ˈmuvmənt" ðət swɛpt trəmp ˈɪntu ðə waɪt haʊs. ˈrəðər ɪt ɪz ðə "ˈmeɪnˌstrim ˈmidiə." ðæts ən oʊld kənˈsərvətɪv dɔg ˈwɪsəl tɪ rɪˈfər ˈʤərnəˌlɪzəm ðæts ˌɔltəˈgɛðər tu ˈlɪˌbərəl fər ðɛr ˈlaɪkɪŋ. soʊ ɪts ˈfɪtɪŋ ðət ɔn ðə seɪm deɪ ɛz trəmps spiʧ, ə strɪŋ əv ˈmidiə ˈaʊˌtlɛts ˌɪnˈkludɪŋ ˈsiˈɛˈnɛn, ðə nu jɔrk taɪmz ənd ðə ˈlɪˌbərəl ˈɔnˌlaɪn ˈplætˌfɔrm pəˈlɪtɪˌkoʊ wər ʃət aʊt əv ə prɛs ˈgægəl æt ðə waɪt haʊs. ˈteɪkən ɪn ˌaɪsəˈleɪʃən ɪts noʊ ˈskændəl, ɛz səm səʧ ˈbækˌgraʊnd ˈbrifɪŋz kən hæv ə dɪˈgri əv ˌɛkˌskluˈsɪvəti ˈivɪn ɪf ðə ɪkˈskluʒən əv səʧ rɪˈnaʊnd ˈaʊˌtlɛts ɪz ˈsəmˈwət aʊt əv ðə ˈɔrdəˌnɛri. bət ðə ˌəndərˈlaɪɪŋ ˈmɛsɪʤ wɑz klɪr: ðoʊz ənˈkəmfərtəbəl ˈkrɪtɪks hu hæv brud əp ˈtrəbəl fər ðə ædˌmɪnɪˈstreɪʃən ɪn ˈrisənt deɪz wɪθ ˌrɛvəˈleɪʃən ˈæftər ˌrɛvəˈleɪʃən ʃʊd bi "ˈpənɪʃt." ðət ɪz nɑt ə gʊd saɪn. rɪˈzɪstəns frəm wɪˈθɪn? wət kən ˈoʊnli bi hoʊpt naʊ ɪz ðət ðoʊz əˈməŋ trəmps ˈkɑnfəˌdænts hu ər nɑt bɛnt ɔn ˌkɑnfrənˈteɪʃən kən pʊt ðə breɪks ɔn. ənd noʊ daʊt, ɪn ðə ˈkəmɪŋ deɪz ˌriəˈʃʊrənsɪz wɪl ˈfɑloʊ ðət noʊ ˈligəl ˈmɛʒərz əˈgɛnst ðə ˈmidiə ər ɪn ðə wərks ðət wəns əˈgɛn trəmps ˈmɛsɪʤ wɑz ˌmɪskənˈstrud. ˈbænən strɛst ðə ˌɪmˈpɔrtəns əv "ˌɛkəˈnɑmɪk ˈnæʃənəˌlɪzəm" ˈdʊrɪŋ hɪz ˈkɑmɛnts æt ðət wʊd bi ˈrəðər laɪk dɪˈfɛns ˈsɛkrəˌtɛri ʤɪm ˈmætɪs ənd vaɪs ˈprɛzɪdənt maɪk əˈpɪrənsəz æt ðə mˈjunɪk sɪˈkjʊrəti ˈkɑnfərəns ə fju deɪz əˈgoʊ, ˌriəˈʃʊrɪŋ ˈneɪtoʊ ˈælaɪz ənd ˈʤɛnərəli traɪɪŋ tɪ pʊt ðə kɔrk bæk ɔn trəmps dɪˈskrɪpʃən əv ðə dɪˈfɛnsɪv əˈlaɪəns ɛz "ˌɑbsəˈlit." bət wɑz trəmp ˈrɪli ʤɪst ˈʃutɪŋ ˈdrɪvəl frəm ðə hɪp əˈgɛn? ənd əˈbəv ɔl: wɪl hɪz ˈmərki ˈɛmənəns stiv ˈbænən ˈrɪli lɛt ɪt bi stɑpt? æt ðə ɛnd əv ðə deɪ, ɪt ɪz ˈprɪnsɪpli ˈbænən hu wɔnts tɪ ˌfəndəˈmɛnəli ʃeɪk əp ðə "grænd oʊld ˈpɑrti" ənd ˈəltəmətli əˈmɛrɪkə ˌɪtˈsɛlf. hɪz tul fər ðiz ˈrɛnəˌveɪʃənz ɪz ˈprɛzɪdənt trəmp, səˈpɔrtɪd baɪ ðə ˈnæʃənəlɪst "ˈmuvmənt" ðət həz bɪn ˈmitɪŋ ɔn ðə ˈaʊtˌskərts əv ðə ˈkæpɪtəl ɪn ðə pæst deɪz. "ˈnæʃənəlɪst," ˌɪnsɪˈdɛntəli, ɪz nɑt ə "mainstream-media*" ɪgˌzæʤərˈeɪʃən. ˈbænən hɪmˈsɛlf ˈɔfən juzd ðɪs tərm, ʤɪst laɪk ˈmɛni ˈəðər ˈspikərz ənd pɑrˈtɪsəpənts. ənd wət əv ðə mɔr ˈmɑdərˌeɪt kənˈsərvətɪv ˈfɔrsɪz ɪn ðə rɪˈpəblɪkən ˈpɑrti, ɪn ˈkɑŋgrəs ənd ɪn ðə trəmp ædˌmɪnɪˈstreɪʃən? ðeɪ ər pleɪɪŋ əˈlɔŋ ɪn ˈɔrdər tɪ ˈriəˌlaɪz ðɛr pəˈlɪtɪkəl goʊlz, goʊlz ðət wər rɪˈpitɪdli θˈwɔrtɪd baɪ ˈdɛməˌkræt ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə ɪn ˈrisənt jɪrz. ðeɪ hæd ˈbɛtər trɛd ˈkɛrfəli. ˈbænən ənd trəmp maɪt bi ˈhɪtɪŋ ðə ˈmidiə naʊ, bət ðɛr ˈtərgət ɪz ðə ɪnˈtaɪər ɪˈstæblɪʃmənt ˌɪnˈkludɪŋ ðə rɪˈpəblɪkən ˈpɑrti. hæv ˈsəmθɪŋ tɪ seɪ? ʃɛr jʊr ˈkɑmɛnt bɪˈloʊ. ðə θrɛd wɪl rɪˈmeɪn ˈoʊpən fər 24 aʊərz ˈæftər ˌpəblɪˈkeɪʃən.
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donald trump has doubled down once again. at the annual gathering of the conservative political action conference (cpac) - a group with close ties to the republicans - the us president reiterated his accusation against large parts of the us media, namely that they publish false information or are themselves "fake news" outlets, even an "enemy" of the people.
but that wasn't all. trump even announced that he would do something to prevent media from basing their reporting on insider sources without naming those contacts. if something like this were really drafted into legislation, it would constitute a major attack on press freedom. without protection for sources, without anonymous informers and "whistleblowers," the media would not be able to effectively carry out its job - keeping the powerful in check.
dw's carsten von nahmen in washington
fake and friends
trump did stress that his attacks were not directed at the media as a whole, that there were "good" examples too. but by "good," the president was referring to those outlets that tend to take his side: for instance, the openly pro-republican broadcaster fox news. trump himself has often singled out the breakfast show fox and friends, whose hosts revere the president with a devotion that borders on sycophancy.
nevertheless, fox also has some serious anchors who apply their critical faculties to all, like shephard smith and chris wallace. the channel does at least try to bring in voices from the left and liberal side of the spectrum in measured doses. you can't say that about some of trump's other media pals like conservative radio crusader rush limbaugh. or there's the even more irate alex jones (of infowars), who propagates conspiracy theories online, on the radio and via video. and of course there is the online platform breitbart, which was managed for four years by trump's chief strategist, steve bannon. in the 2016 campaign, breitbart spewed out unfettered pro-trump propaganda and otherwise promoted itself via sometimes fabricated stories about crimes purportedly committed by migrants in the us or in europe.
these are the media outlets trump means when he praises some for being "nice" or "fair" to him. they're the ones he often explicitly cites to try to validate his sometimes crude theories or his alternative facts. all the others, so far as trump's concerned, are "unfair," or "dishonest" - they're "fake news." trump's focus here is on the traditional beacons of american print journalism like the new york times and the washington post, or established tv news channels like abc, nbc or cnn.
making an example
trump's chief strategist and chief ideologue bannon hit the same notes at the cpac conference. once again, he outlined his belief that it's not the democrats who are the main opponents of the populist "movement" that swept trump into the white house. rather it is the "mainstream media." that's an old conservative dog whistle to refer journalism that's altogether too liberal for their liking.
so it's fitting that on the same day as trump's cpac speech, a string of media outlets - including cnn, the new york times and the liberal online platform politico - were shut out of a press gaggle at the white house. taken in isolation it's no scandal, as some such background briefings can have a degree of exclusivity - even if the exclusion of such renowned outlets is somewhat out of the ordinary. but the underlying message was clear: those uncomfortable critics who have brewed up trouble for the administration in recent days with revelation after revelation should be "punished." that is not a good sign.
resistance from within?
what can only be hoped now is that those among trump's confidants who are not bent on confrontation can put the brakes on. and no doubt, in the coming days reassurances will follow that no legal measures against the media are in the works - that once again trump's message was misconstrued.
bannon stressed the importance of "economic nationalism" during his comments at cpac
that would be rather like defense secretary jim mattis and vice president mike pence's appearances at the munich security conference a few days ago, reassuring nato allies and generally trying to put the cork back on trump's description of the defensive alliance as "obsolete."
but was trump really just shooting drivel from the hip - again? and above all: will his murky eminence steve bannon really let it be stopped?
at the end of the day, it is principally bannon who wants to fundamentally shake up the "grand old party" and ultimately america itself. his tool for these renovations is president trump, supported by the nationalist "movement" that has been meeting on the outskirts of the capital in the past days. "nationalist," incidentally, is not a "mainstream-media" exaggeration. bannon himself often used this term, just like many other cpac speakers and participants.
and what of the more moderate conservative forces in the republican party, in congress and in the trump administration? they are playing along in order to realize their political goals, goals that were repeatedly thwarted by democrat president barack obama in recent years.
they had better tread carefully. bannon and trump might be hitting the media now, but their target is the entire establishment - including the republican party.
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baɪ luk rəˈblufski ˌʤuˈlaɪ 9 2012 ɪn hər ˌprɛzənˈteɪʃən æt ən ɪˈvɛnt əˈpɑrt ɪn ˈɔstən, 2012 ˈsɛrə ˈpɑrməntər tɔkt əˈbaʊt ðə ˈʧeɪnʤɪz rɪˈspɑnsɪv wɛb dɪˈzaɪn rikˈwaɪərz əv wɛb dɪˈzaɪnərz. hɪrz maɪ noʊts frəm hər tɔk ɔn rɪˈspɑnsɪv dɪˈzaɪn ˈwərkˌfloʊ: rɪˈspɑnsɪv dɪˈzaɪn ɪz nu fər ˈmɛni ˌɔrgənəˈzeɪʃənz. ɑr ˈwərkˌfloʊz ər riˈspɑnsəbəl fər moʊst əv ðə ˈʧælənʤɪz timz feɪs wɪθ rɪˈspɑnsɪv dɪˈzaɪn. 56 əv ˈpipəl ˈsərˌveɪd hæd tɪ ʧeɪnʤ ðɛr ˈwərkˌfloʊ kənˈsɪdərəbli tɪ əˈkɑməˌdeɪt rɪˈspɑnsɪv wɛb dɪˈzaɪn. rɪˈspɑnsɪv dɪˈzaɪn ɪz ˈnɛvər ˈrɪli kwaɪt ˈfɪnɪʃt. ə ˈkɑnstənt ɪˈvɑlvɪŋ ˈprɔˌsɛs. wi ˈsɪmpli meɪk ɪn ˈfoʊˌtoʊˌʃɑp ənd əˈsum wi ər dən. wɛb dɪˈzaɪn ɪz noʊ ˈlɔŋgər wən saɪz fɪts ɔl. moʊst əv ˈjuˈɛs stɔr ɑr ˈwərkˌfloʊz ɪn ɑr hɛdz. wi nid tɪ ʃɛr wət wi ər duɪŋ soʊ ˈəðərz kən lərn ənd ɛnˈhæns ðɛm. ˈwərkˌfloʊ ˈɪʃuz wɪθ rɪˈspɑnsɪv dɪˈzaɪn: ˈkɑntɛnt, ˈpætərn ˈlaɪbrɛˌriz, ˈæˌsɛt ˈmænɪʤmənt. ˈkɑntɛnt wi nid tɪ stɑp ˈjuzɪŋ tɛkst ɪn ɑr dɪˈzaɪnz. ˈoʊˈkeɪ ɪf wi hæv kəmˈplit ˈkɑntɛnt bət wi nid kəmˈplit ˈkɑntɛnt ˈstrəkʧər wɪn wi stɑrt dɪˈzaɪnɪŋ. ˈivɪn ɪf ju gɪt ˈkɑntɛnt ɪn ədˈvæns, ɪt meɪ nid tɪ bi ər əˈʤəstɪd fər ðə wɛb. ɛz ə kwɪk fɪks, kənˈsɪdər ˈjuzɪŋ ə ˈtræfɪk laɪt ˈsɪstəm: rɛd (riˈmuv), ˈjɛloʊ (fər lɑrʤ skrinz ˈoʊnli?), grin (ɔl dɪˈvaɪsɪz). 65 əv wɛb dɪˈvɛləpərz ˈsərˌveɪd dɪˈzaɪn tɪ ˈkɑmən 320px*, 768px*, ˌɛtˈsɛtərə.) bət wi nid tɪ bi mɔr dɪˈvaɪs ægˈnɑstɪk. əˈlaʊz ju tɪ meɪk mɔr fluɪd leɪaʊts ðən ˈfoʊˌtoʊˌʃɑp. ɛz ə rɪˈzəlt, ɪt meɪ bi ə ˈbɛtər dɪˈzaɪn tul fər rɪˈspɑnsɪv saɪts. ˈneɪtɪv ˌæpləˈkeɪʃən dɪˈzaɪn kən bi ˈiziər ðən wɛb dɪˈzaɪn bɪˈkəz ðɛr ɪz ə fɪkst ˈkænvəs. bət ˈpɔrtɪŋ ðiz fɪkst dɪˈzaɪnz bɪtˈwin ˈplætˌfɔrmz kən bi ˌprɑbləˈmætɪk. ˈdɪfərənt ˈplætˌfɔrmz ˌrikˈwaɪər ˈdɪfərənt səˈluʃənz. ˈæˌsɛt ˈmænɪʤmənt kriˈeɪtɪŋ ˈməltəpəl ˈæˌsɛts fər ˈdɪfərənt skrin ˌrɛzəˈluʃənz kən bi ˈʧælənʤɪŋ. ə skræʧ faɪl əv ðə ˈɛləmənts ɪn ən ˈɪnərˌfeɪs kən ˈaɪsəˌleɪt ɔl ðə ˈæˌsɛts ju nid tɪ gɪv dɪˈvɛləpərz ˈɪntu ə ˈsɪŋgəl faɪl. ɪz ə ˈfoʊˌtoʊˌʃɑp səˈpɔrtɪŋ ˌæpləˈkeɪʃən ðət əˈlaʊz ju tɪ neɪm leɪərz ər grups wɪθ ˈæˌsɛt neɪmz ənd ˈɛkspɔrt ɔl ðə rikˈwaɪərd ˈæˌsɛts fər ə ˈprɑʤɛkt æt wəns. greɪt wɪθ skræʧ faɪlz. kən ˌɔtəˈmætɪkli ˈɛkspɔrt ˈæˌsɛts wɪn jʊr ˈfoʊˌtoʊˌʃɑp faɪl ˈʧeɪnʤɪz. ðɪs kən bi ə bɪg taɪm ˈseɪvɪŋz fər dɪˈzaɪnərz. ə trænˈspɛrənt leɪər əv təʧ ˈtərgət ˈsaɪzɪz kən bi ˈoʊvərˌleɪd ɔn ə kɑmp tɪ meɪk ʃʊr ɔl ðə təʧ ˈtɑrgəts ər saɪzd əˈproʊpriɪtli. ɪf ju juz ʃeɪp leɪərz ɪn ˈfoʊˌtoʊˌʃɑp, ju kən ˈsɪmpli skeɪl əp 200 tɪ kriˈeɪt ˈɪmɪʤɪz. ðɪs wərks wɛl fər moʊst ˈæˌsɛts ɪkˈsɛpt ðoʊz wɪθ ˈpætərnz. kən bi juzd tɪ raɪt səm ˈsɪmpəl ˈækʃənz tɪ ˈmɑdəˌfaɪ faɪl neɪmz fər ˈneɪmɪŋ kənˈvɛnʃənz. ˈpætərn ˈlaɪbrɛˌriz
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by luke wroblewski july 9, 2012
in her presentation at an event apart in austin, tx 2012 sarah parmenter talked about the changes responsive web design requires of web designers. here's my notes from her talk on responsive design workflow:
responsive design is new for many organizations. our workflows are responsible for most of the challenges teams face with responsive design. 56% of people surveyed had to change their workflow considerably to accommodate responsive web design.
responsive design is never really quite finished. it’s a constant evolving process. we can’t simply make mock-ups in photoshop and assume we are done. web design is no longer one size fits all.
most of us store our workflows in our heads. we need to share what we are doing so others can learn and enhance them.
workflow issues with responsive design: content, ui pattern libraries, asset management.
content
we need to stop using lorem ipsum text in our designs. it’s ok if we don’t have complete content but we need complete content structure when we start designing.
even if you get content in advance, it may need to be re-written or adjusted for the web. as a quick fix, consider using a traffic light system: red (remove), yellow (for large screens only?), green (all devices).
65% of web developers surveyed design to common breakpoints (320px, 768px, etc.) but we need to be more device agnostic.
adobe’s indesign allows you to make more fluid layouts than photoshop. as a result, it may be a better design tool for responsive sites.
native application design can be easier than web design because there is a fixed canvas. but porting these fixed designs between platforms can be problematic. different platforms require different solutions.
asset management
creating multiple assets for different screen resolutions can be challenging. a scratch file of the ui elements in an interface can isolate all the assets you need to give developers into a single file.
slicy is a photoshop supporting application that allows you to name layers or groups with asset names and export all the required assets for a project at once. it’s great with scratch files.
slicy can automatically export assets when your photoshop file changes. this can be a big time savings for designers.
a transparent layer of touch target sizes can be overlaid on a comp to make sure all the touch targets are sized appropriately.
if you use shape layers in photoshop, you can simply scale up 200% to create 2x images. this works well for most assets except those with patterns.
automator can be used to write some simple actions to modify file names for 2x naming conventions.
pattern libraries
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əˈnəðər əv ðə ˈtiʧərz wɑz duɪŋ ˈhɛnə ˌtæˈtuz, ˈpɑpjələr wɪθ ˈædəlt ˈwɪmən ɪn, ɛz wɛl ɛz ˈskulˌgərlz ɪn ˈwɛstərn drɛs. mɛt ə gərl today,”*,” ðə ˈtiʧər sɛd. dɪd hər ˈhɛnə. ʃi lɔst faɪv əv hər frɛndz. ʃi wɑz ɪn jɪr ðət ɪz ɪkˈwɪvələnt tɪ əˈmɛrɪkən sɪksθ greɪd. moʊst skulz ər stɪl ɪn ˈsɛʃən ɪn ˈɪŋglənd. æt wən ˈloʊkəl ˈnərsəri, 11 ˈgrɛnfəl ˈʧɪldrən ər ˈæbsənt; æt ən ˌɛləˈmɛnʧri skul, faɪv ər, ˈpɛrənts sɛd. ðeɪ ər ˈprɑbəˌbli əˈməŋ ðə ˈmɪsɪŋ, naʊ prɪˈzumd dɛd. ɪn ˈmɛni ˈkeɪsɪz, noʊ ˈpɛrənts hæv kɔld tɪ rɪˈpɔrt ˈæbsənsɪz, ˈprɑbəˌbli bɪˈkəz ðeɪ ər ˈmɪsɪŋ ər dɛd, tu. æl mɔsk ˈkeɪtərz tɪ ə vərˈaɪəti əv ˈməzlɪmz ərˈɪʤənəli frəm ˈmɛni ˈdɪfərənt ˈkəntriz. ðət wɑz ðə keɪs tu wɪθ ðə ˈmoʊstli ˈməzlɪm ˌpɑpjəˈleɪʃən əv ˈgrɛnfəl taʊər. əˈməŋ ðə ˈædəlts əˈtɛndɪŋ ðə aɪd funfair*, ðɛr əˈpɪrəns rɪˈflɛktɪd ðɛr ˌɪzˈlɑmɪk dɪˈvərsɪti, frəm fʊl ənd lɔŋ ʧɪn bɪrdz tɪ ˈmɑdərn ˈwɛstərn drɛs ənd ˈɛvriˌθɪŋ bɪtˈwin. ðə ˈjəŋstərz, ðoʊ, kʊd ˈmoʊstli hæv kəm frəm ˈɛni ˈpəblɪk ˈpleɪˌgraʊnd ɪn ðə ˈkəntri. fər ˈmɛni ˈməzlɪmz, aɪd ˌsɛləˈbreɪʃənz, hɛld ʤun 25 tɪ 27 ðɪs jɪr, ˌɪnˈklud ˈgɪvɪŋ ˈprɛzənts tɪ ˈʧɪldrən. ðət dɪd nɑt ˈhæpən fər ðə ˈgrɛnfəl taʊər ˈfæməliz; fər ðɛr ˈʧɪldrən, ɪt wɑz laɪk ə ˈkænsəld ˈkrɪsməs. ðə ˈsɛnər həz sɪns bɪn ˈɪnənˌdeɪtɪd wɪθ gɪfts fər ˈʧɪldrən, ənd ˈsɛvərəl rumz ɔn ɪts tɔp flɔr lʊk laɪk pɑrt əv ə tɔɪ stɔr. ðɛr wɑz ɪˈnəf fər ɔl əv ðə ˈʧɪldrən tɪ gɪt ˈsəmθɪŋ, bət ðə jəŋ sərˈvaɪvərz əv ðə faɪər wər ˈəʃərd baɪ ˌvɑlənˈtɪrz ɪn mərun vɛsts ˈɪntu ə room,”*,” wɛr ðə ˈnaɪsɪst tɔɪz hæd bɪn ˈgæðərd. ˈkaʊnsələrz wər ɔn hænd ɛz wɛl. ɔn ə ˈteɪbəl wɑz ə paɪl əv read”*” broʊˈʃʊrz frəm ðə ˈnæʃənəl hɛlθ ˈsərvɪs ɪn wɛst ˈləndən, ˈtaɪtəld ˈʧɪldrən ˈæftər ə trɔˈmætɪk event.”*.” əˈməŋ ðə ˌrɛkəmənˈdeɪʃənz: tɪ jʊr ˈnɔrməl ˈdeɪli ækˈtɪvɪtiz ɛz məʧ ɛz ju can.”*.” aʊt ɪn ðə strit, tu jəŋ bɔɪz tʊk əp pəˈzɪʃənz ɔn ə ˈsərkjələr mæt fər ˈsumoʊ ˈrɛsəlɪŋ. ðeɪ hæd dɑnd ˈpædɪd fæt suts ðət ˈrɛndərd boʊθ əv ðɛm ˈhɑrmləs ɛz ðeɪ iʧ ˈəðər daʊn, tɪ greɪt ˈlæftər ɔl əraʊnd.
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another of the teachers was doing henna tattoos, popular with adult women in hijabs, as well as schoolgirls in western dress. “i met a girl today,” the teacher said. “i did her henna. she lost five of her friends. she was in year 7.” that is equivalent to american sixth grade.
most schools are still in session in england. at one local nursery, 11 grenfell children are absent; at an elementary school, five are, parents said. they are probably among the missing, now presumed dead. in many cases, no parents have called to report absences, probably because they are missing or dead, too.
al manaar mosque caters to a variety of muslims originally from many different countries. that was the case too with the mostly muslim population of grenfell tower. among the adults attending the eid funfair, their appearance reflected their islamic diversity, from full hijabs and long chin beards to modern western dress and everything between. the youngsters, though, could mostly have come from any public playground in the country.
for many muslims, eid celebrations, held june 25 to 27 this year, include giving presents to children. that did not happen for the grenfell tower families; for their children, it was like a canceled christmas. the center has since been inundated with gifts for children, and several rooms on its top floor look like part of a chaotically well-stocked toy store. there was enough for all of the children to get something, but the young survivors of the fire were ushered by volunteers in maroon vests into a “special room,” where the nicest toys had been gathered.
counselors were on hand as well. on a table was a pile of “easy read” brochures from the national health service in west london, titled “supporting children after a traumatic event.” among the recommendations: “keep to your normal daily activities as much as you can.”
out in the street, two young boys took up positions on a circular mat for sumo wrestling. they had donned padded fat suits that rendered both of them harmless as they belly-knocked each other down, to great laughter all around.
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ðɛr ər tu ˈdaɪəriz ðɪs ˈmɔrnɪŋ ɔn ðə rɛk lɪst rɪˈgɑrdɪŋ ðə ɪˈnɔrməti əv ðə ˌɛkəˈnɑmɪk ˈprɑbləmz ˈfeɪsɪŋ ðə ˌfaɪˈnænʃəl ˈmɑrkɪts ənd ðə ɪgˈzɛkjətɪv paʊər græb. hir ənd hir boʊθ æsk ðət ju raɪt ju ˈkɑŋgrəs ˈpərsən tɪ voʊt əˈgɛnst ðɪs bɪl. ðɪs ɪz ˈɛksələnt, bət aɪ doʊnt fil laɪk ɪts ɪˈnəf. aɪ doʊnt trəst ðɪs ædˌmɪnɪˈstreɪʃən. ˈmɛni əv ju meɪ hæv rɪˈsivd ðə seɪm ˈiˌmeɪl aɪ dɪd, frəm democrats.com*. ˈkɑŋgrəs məst dɪˈmænd bʊʃ ənd ˈʧeɪni rɪˈzaɪn ʤɔrʤ bʊʃ wɔnts ˈtækˌspeɪərz tɪ peɪ 700 ˈbɪljən tɪ beɪl aʊt wɔl strit fər ɪts ˈrɛkləs ˌɪnˈvɛstmənts ɪn sɪˈkjʊrətiz. ðæts ɔn tɔp əv 800 ˈbɪljən fər ˈəðər ˈrisənt ˈbeɪˌlaʊts, ˌɪnˈkludɪŋ a.i.g*., ˈfæni meɪ, ˈfrɛdi mæk, ənd bɛr stərnz. ðə ˈkɑrənt ˌfaɪˈnænʃəl dɪˈzæstər ɪz ðə dɪˈrɛkt rɪˈzəlt əv ðə ædˌmɪnɪˈstreɪʃənz ˈpɑləsi əv diˌrɛgjəˈleɪʃən, kərˈəpʃən, ənd grid. ðə ædˌmɪnɪˈstreɪʃən ˈkænɑt bi ˈtrəstɪd tɪ sɑlv ðə ˈmæsɪv ˈprɑbləmz ðeɪ kriˈeɪtɪd. ˌbiˈfɔr ˈkɑŋgrəs gɪvz ðə bʊʃ ædˌmɪnɪˈstreɪʃən wən daɪm əv ˈtækˌspeɪər ˈməni fər ˌfaɪˈnænʃəl ˈbeɪˌlaʊts, ˈkɑŋgrəs məst dɪˈmænd ðə ˌɪˈmiˌdiət ˌrɛzɪgˈneɪʃən əv ʤɔrʤ bʊʃ, dɪk ˈʧeɪni, ənd ˈhɛnri ˈpɔlsən ənd ðə əˈpɔɪntmənt əv ˈspikər ˈnænsi pɛˈloʊsi ɛz ˈprɛzɪdənt ənˈtɪl ɑr nɛkst ˈprɛzɪdənt ɪz swɔrn ɪn ɔn ˈʤænjuˌɛri 20 2009 lɛts pʊt ðə ˈprɛʃər ɔn ˈkɑŋgrəs tɪ ˈæˌdrɛs ðə ˈbɪgəst ˈmætər fərst, ənd ðət ɪz tɪ gɪt bʊʃ ənd ˈʧeɪni aʊt əv ˈɔfəs. ðɛn wi kən goʊ əˈbaʊt ðə tæsk əv ˈfɪksɪŋ ðə ɪˈkɑnəmi wɪˈθaʊt ðɛr θəmz ɔn ðə skeɪl. ˈmɛni ˈdaɪəriz hir hæv ˈɔfən kɔld fər ˌɪmˈpiʧmənt. aɪ əˈgrid ðɛn. aɪ əˈdɔr ˈdɛnɪs kucinich*, ənd hi wɑz maɪ ˈkænədɪt æt ðə bɪˈgɪnɪŋ əv ðə ˈpraɪˌmɛriz bɪˈkəz əv hɪz stæns ɔn ˌɪmˈpiʧmənt. aɪ naʊ ˈriəˌlaɪz ðət ðɛr ər tu ˈmɛni ˈbɛriərz ənd ˌdɪsədˈvænɪʤz tɪ ˌɪmˈpiʧmənt. ðɛr wɪl bi əbˈstrəkʃən baɪ ðə ædˌmɪnɪˈstreɪʃən ɛz ðeɪ hæv ˈpruvən taɪm ənd taɪm əˈgɛn ɪf wi traɪ tɪ goʊ əˈbaʊt ɛnˈfɔrsɪŋ ðə ˌkɑnstəˈtuʃən. ðə ˈprɔˌsɛs wɪl teɪk tu lɔŋ ənd ðə ˈʤɛnərəl ɪˈlɛkʃən ɪz ʤɪst ə fju wiks əˈweɪ. ˌɪmˈpiʧmənt ˈɔlsoʊ ˈkɛriz ˈlɪtəl weɪt ənd noʊ ril ˈpənɪʃmənt. noʊ ˈəðər ˈpənɪʃmənts meɪ bi ˌɪnˈflɪktɪd pərˈsuənt tɪ ðə ˌɪmˈpiʧmənt prəˈsidɪŋ, bət ðə kənˈvɪktəd ˈpɑrti rɪˈmeɪnz ˈlaɪəbəl tɪ traɪəl ənd ˈpənɪʃmənt ɪn ðə kɔrts fər ˈsɪvəl ənd ˈkrɪmənəl ˈʧɑrʤɪz. ˈdɛməˌkræts nid tɪ ˈriʤɛkt ðə ʃɑk ˈdɔktərɪn ˌɛkəˈnɑmɪks əv naʊ. noʊ, ˈkɑŋgrəs ʃʊd nɑt ˌɪmˈpiʧ ðɛm. ˈkɑŋgrəs ʃʊd meɪk ðɛm rɪˈzaɪn ˈoʊvər ðɪs dəˈbɑkəl. truθ ɪz, ðɛr ər 700 ˈbɪljən (ər mɔr, ˈmeɪbi ə ˈtrɪljən) ˈrizənz tɪ hæŋ ðə riˌspɑnsəˈbɪləti fər ðɪs ˈoʊvər ðɛr hɛdz. ənd, ðɛr ɪz noʊ ˈbɛtər taɪm ðən naʊ tɪ tərn ˈmɪltən ˈfridmənz ˌaɪdiˈɑləʤiz əˈpɑn ðɛm: "ˈoʊnli ə ər ril ʧeɪnʤ. wɪn ðət ˈkraɪsəs əˈkərz, ðə ˈækʃənz ðət ər ˈteɪkən dɪˈpɛnd ɔn ðə aɪˈdiəz ðət ər laɪɪŋ əraʊnd. ðət, aɪ bɪˈliv, ɪz ɑr ˈbeɪsɪk ˈfəŋkʃən: tɪ dɪˈvɛləp ɔlˈtərnətɪvz tɪ ɪgˈzɪstɪŋ ˈpɑləsiz, tɪ kip ðɛm əˈlaɪv ənd əˈveɪləbəl ənˈtɪl ðə ˈplɪtɪkli ˌɪmˈpɑsəbəl bɪˈkəmz ˈplɪtɪkli ˌɪˈnɛvətəbəl." aɪ noʊ ðət ðə aɪˈdiə əv ˈnænsi pɛˈloʊsi ɛz ˈprɛzɪdənt wɪl liv ə faʊl teɪst ɪn səm ˈdɛməˌkræts maʊðz. bət wɪl ɪt ɛz bæd ɛz ðə wən ɪn jʊr maʊθ naʊ, təˈdeɪ? lɛts stɑrt ə ˈnæʃənəl kɔl fər ðɛr ˌrɛzɪgˈneɪʃən. ɪts taɪm tɪ pʊt ə stɑp tɪ ðə nu wərld ˈɔrdər ənd ˈdɪkteɪtər ʤɔrʤ bʊʃ. pliz saɪn ðə pəˈtɪʃən ənd ˌɪnˈklud ə kɔl fər ˌrɛzɪgˈneɪʃən ɪn ɔl jʊr ˈlɛtərz ənd kɔlz tɪ ˈkɑŋgrəs. du ɪt təˈdeɪ.
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there are two diaries this morning on the rec list regarding the enormity of the economic problems facing the financial markets and the executive power grab. here and here both ask that you write you congress person to vote against this bill. this is excellent, but i don't feel like it's enough.
i don't trust this administration.
many of you may have received the same e-mail i did, from democrats.com.
congress must demand bush and cheney resign george bush wants taxpayers to pay $700 billion to bail out wall street for its reckless investments in mortgage-backed securities. that's on top of $800 billion for other recent bailouts, including a.i.g., fannie mae, freddie mac, and bear stearns. the current financial disaster is the direct result of the bush-cheney administration's 8-year policy of deregulation, corruption, and greed. the bush-cheney administration cannot be trusted to solve the massive problems they created. before congress gives the bush administration one dime of taxpayer money for financial bailouts, congress must demand the immediate resignation of george bush, dick cheney, and henry paulson and the appointment of speaker nancy pelosi as president until our next president is sworn in on january 20, 2009.
let's put the pressure on congress to address the biggest matter first, and that is to get bush and cheney out of office. then we can go about the task of fixing the economy without their thumbs on the scale.
many diaries here have often called for impeachment. i agreed then. i adore dennis kucinich, and he was my candidate at the beginning of the primaries because of his stance on impeachment. i now realize that there are too many barriers and disadvantages to impeachment. there will be obstruction by the administration as they have proven time and time again if we try to go about enforcing the constitution. the process will take too long and the general election is just a few weeks away.
impeachment also carries little weight and no real punishment.
no other punishments may be inflicted pursuant to the impeachment proceeding, but the convicted party remains liable to trial and punishment in the courts for civil and criminal charges.
democrats need to reject the shock doctrine economics of bushco now. no, congress should not impeach them. congress should make them resign over this debacle.
truth is, there are 700 billion (or more, maybe a trillion) reasons to hang the responsibility for this over their heads. and, there is no better time than now to turn milton friedman's ideologies upon them:
"only a crisis--actual or perceived--produces real change. when that crisis occurs, the actions that are taken depend on the ideas that are lying around. that, i believe, is our basic function: to develop alternatives to existing policies, to keep them alive and available until the politically impossible becomes politically inevitable."
i know that the idea of nancy pelosi as president will leave a foul taste in some democrat's mouths. but will it as bad as the one in your mouth now, today?
let's start a national call for their resignation. it's time to put a stop to the new world order and dictator george bush.
please sign the petition and include a call for resignation in all your letters and calls to congress. do it today.
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ðə ˈɑrmˌbænd ɪz dɪˈzaɪnd tɪ ʃeɪm ðə ˈpərsən ˈwɛrɪŋ ɪt ðə ˈɑrmˌbænd ɪz lɑrʤ, braɪt pɪŋk ənd həz ə hɛˈloʊ ˈkɪti moʊˈtif wɪθ tu hɑrts ɛmˈbrɔɪdərd ɔn ɪt. frəm təˈdeɪ, ˈɔfɪsərz hu ər leɪt, pɑrk ɪn ðə rɔŋ pleɪs ər kəˈmɪt ˈəðər ˈmaɪnər trænzˈgrɛʃənz wɪl hæv tɪ wɛr ɪt fər ˈsɛvərəl deɪz. ðə ˈɑrmˌbænd ɪz dɪˈzaɪnd tɪ ʃeɪm ðə ˈwɛrər, pəˈlis əˈfɪʃəlz sɛd. "ðɪs ɪz tɪ hɛlp bɪld ˈdɪsəplən. wi ʃʊd nɑt lɛt smɔl goʊ ənˈnoʊtɪst," pəˈlis ˈkərnəl toʊld ˈrɔɪtərz nuz ˈeɪʤənsi. "ˈgɪlti ˈɔfɪsərz wɪl bi meɪd tɪ wɛr ðə ˈɑrmˌbændz ɪn ðə ˈɔfəs fər ə fju deɪz, wɪθ ˌɪnˈstrəkʃənz nɑt tɪ dɪˈskloʊz ðɛr. lɛt ˈpipəl gɛs wət ðeɪ hæv dən," hi sɛd. ˈfərðər wʊd bi dɛlt wɪθ ˈjuzɪŋ ə mɔr trəˈdɪʃənəl ˈdɪsəpləˌnɛri ˈpænəl, hi sɛd. ðə kɑrˈtun ˈkɛrɪktər hɛˈloʊ ˈkɪti wɑz fərst ˌɪntrəˈdust baɪ ˌʤæpəˈniz ˈkəmpəˌni ˈsænrioʊ ɪn 1974 ðə kjut kæt həz bɪˈkəm ən ˈmɑrkətɪŋ fəˈnɑməˌnɑn, wɪθ hɛˈloʊ ˈkɪti ˈprɑdəkts səʧ ɛz ˈsteɪʃəˌnɛri, hɛr ækˈsɛsəriz ənd ˈkɪʧən əˈplaɪənsɪz əˈveɪləbəl əˈkrɔs ðə ˈriʤən.
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the armband is designed to shame the person wearing it
the armband is large, bright pink and has a hello kitty motif with two hearts embroidered on it.
from today, officers who are late, park in the wrong place or commit other minor transgressions will have to wear it for several days.
the armband is designed to shame the wearer, police officials said.
"this is to help build discipline. we should not let small offences go unnoticed," police colonel pongpat chayapan told reuters news agency.
"guilty officers will be made to wear the armbands in the office for a few days, with instructions not to disclose their offences. let people guess what they have done," he said.
further offences would be dealt with using a more traditional disciplinary panel, he said.
the cartoon character hello kitty was first introduced by japanese company sanrio in 1974.
the cute round-faced cat has become an asia-wide marketing phenomenon, with hello kitty products such asationery, hair accessories and kitchen appliances available across the region.
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ðə 3 tʊk ə breɪk ðɪs wik fər səm əv ɪts timz tɪ teɪk pɑrt ɪn ðə fərst raʊnd əv ðə. θri timz feɪst ˌɑpəˈzɪʃən ənd ðə ˈbɪgəst ʧæns əv ən ˈəpˌsɛt wɑz ɪn ðə hænz əv ˈlaɪpsɪg, hu feɪst ˈɔgzbərg æt hoʊm. 1 ənd ˈdɑrmˌstæt wər əp əˈgɛnst ˈwərdər ˈbrɛmən ənd æt hoʊm rɪˈspɛktɪvli bət, wɪθ boʊθ timz stɪl ɪn ðə lig, ən ˈəpˌsɛt wɑz nɑt ɔn ðə kɑrdz. oʊ haʊ rɔŋ ðət priˈdɪkʃən was…*… spil dɪ 1 ˈwərdər ˈbrɛmən (aet*) aʊt əv ɔl ðə ˈpɑsəbəl ˈəpˌsɛts ˌɪnˈvɑlvɪŋ 3 timz, ðɪs wən simd ðə moʊst ənˈlaɪkli wən. hæv nɑt ˌɛnˈʤɔɪd ðə bɛst əv stɑrts ɪn ðə lig wɪθ tu dɪˈfits aʊt əv tu, kənˈsidɪŋ 7 goʊlz soʊ fɑr ənd ˈkəmɪŋ ˈɪntu ðə geɪm ɔn ðə bæk əv ə dɪˈfit tɪ ˈhoʊlˌstin kil. ˈwərdər ˈbrɛmən hæv nɑt hæd ðə bɛst əv pre-seasons*, wɪθ dɪˈfits tɪ ˈeɪˌʤæks ənd ˈlaɪpsɪg ə drɔ əˈgɛnst 1860 ənd ˈvɪktəriz əˈgɛnst rot-weiß*ß ənd wɪθ ðə læst tu ˈkəmɪŋ kənˈsɛkjətɪvli ənd biɪŋ ðə læst tu ˈmæʧɪz ðeɪ pleɪd. ɔl ɪn ɔl, ðə ɑdz wər ˈfərmli stækt əˈgɛnst ðə tim frəm ðə sɑr. fərst hæf ˈrɑbɪn fərst kəmˈpɛtɪtɪv geɪm ɪn ʧɑrʤ kʊd hæv gɑt ɔf tɪ ə gʊd stɑrt ˈæftər 8 ˈmɪnəts ɪf ˌrɛfərˈi ˈrɑbərt hæd nɑt feɪld tɪ spɑt ə hænd baɪ nɪlz ˈfɪʃər ɪn ðə bɑks ˈæftər səˈbæsʧən hæd ˈnɑdɪd ɔn. tɛn ˈmɪnəts ˈleɪtər, ðə hoʊsts kʊd hæv gɔn əˈhɛd ˈæftər ə ˈkɑmɪkəl pərˈfɔrməns baɪ səˈbæsʧən, hu ˈhɛzɪˌteɪtɪd wɪn ˈkəmɪŋ aʊt tɪ klɪr ə lɔŋ bɔl ˈaʊtˈsaɪd hɪz ˈɛriə ənd hi hɪz ˈhɛdər bæk bɪˈhaɪnd ɪm. ˈmɛmət wɑz bæk tɪ ˈkəvər ðə mɪˈsteɪk ənd pæst ɪt tɪ tɪ klɪr bət ðə ˈɔstriən lɛft ɪt tɪ ənd, əˈməŋ ðə kənfˈjuʒən, mɑrˈsɛl ˈzimər nɪpt ɪn tɪ teɪk ə ʃɑt ðət ðə ˈwərdər ˈgoʊlˌkipər ˈmænɪʤd tɪ ˈpɛri, ˈlivɪŋ ðə bɔl dɛd ˌɪnˈsaɪd ðə ˈɛriə. ˈləkəli ɪˈnəf, ˈklɛmənz frɪts wɑz ðɛr tɪ ɪt fərst ənd klɪrd ðə ˈdeɪnʤər. ə ˈkɑmɪkəl pərˈfɔrməns ðət ˈwərdər fænz wɪl noʊ daʊt feɪl tɪ si ðə ˈfəni saɪd əv. wər kriˈeɪtɪŋ ðə ˈbɛtər ˈʧænsɪz ənd ˈwərdər wər lɔst ɪn əˈtæk, ˈklɪrli ˈmɪsɪŋ ðə ˈɪnfluəns əv ˈkɛvɪn də tɪ bɪld pleɪ. kɔrt, ənd ˈkɛvɪn ɔl keɪm kloʊz fər ðə hoʊm saɪd wɪˈθɪn 5 ˈmɪnəts əv iʧ ˈəðər ənd ˈwərdər wər ˈstrəgəlɪŋ ɪn ðə sən ənd tɪ əˈdæpt tɪ fɔrˈmeɪʃən wɪθ ˈɛrən hənt pleɪɪŋ ɪn ðə pəˈzɪʃən. ˈɛni ˈdeɪnʤər frəm ðə əˈweɪ saɪd keɪm frəm ðə buts əv bət hi wɑz əˈneɪbəl tɪ faɪnd ðə ˈtərgət. æt ðə ˈəðər ɛnd, kɔrt wəns əˈgɛn keɪm kloʊz ɛz hi wɑz nɑt ˈeɪbəl tɪ kəˈnɛkt ˈprɑpərli ˌɪnˈsaɪd ðə ˈɛriə ənd pʊld ɔf ə ʃɑt ðət ˈhɑrdli ˈtrəbəld. ˌhaʊˈɛvər, ˈprɛʃər peɪd ɔf ʤɪst ˌbiˈfɔr ðə breɪk. ə ˈsimɪŋli ˌɪˈnɑkjuəs wɑz lɑbd ˈɪntu ðə ˈɛriə baɪ ˈkrɪsʧɪn ˈɛgərt ənd pur ˈklɪrəns, ɛz hi fɛl ˈoʊvər tu əv hɪz ənd wən əv ðə ˌɑpəˈzɪʃən, fɛl tɪ nɪlz ˈpitərsən hu kʊd ˈoʊnli ɪt ɛz fɑr ɛz nɪlz ˈfɪʃər. ˈfɪʃər, ʤɪst ˌɪnˈsaɪd ðə ˈɛriə, tʊk ɪt fərst taɪm wɪθ ə piʧ əv ə ʃɑt ðət ˈθəndərd ˈɪntu ðə nɛt tɪ pʊt əˈhɛd. ðə rɪˈzəlt wɑz ə səˈpraɪz bət ɪt wɑz noʊ lɛs ðən dɪˈzərvd. ˈsɛkənd hæf ˈwərdər ˌɛnˈʤɔɪd ə ˈpɑzətɪv stɑrt tɪ ðə ˈsɛkənd hæf. dət brɔt ɔn ˈmɑrkoʊ arnautović*ć fər ðə əˈnɑnəməs ənd ðeɪ wər sun bæk ˈɪntu ðə geɪm. ɔn 59 ˈmɪnəts, ə ˈkɔrnər ˈteɪkən baɪ wɑz ɔn baɪ ˈθiədər səˈlæsi ənd, ˈæftər ə pur ˈklɪrəns, ðə bɔl fɛl tɪ ˌɪnˈsaɪd ðə ˈɛriə, hu tʊk ə ˈpaʊərfəl ʃɑt ðət wɛnt ɪn baɪ ðə mæn æt ðə fɑr poʊst. kʊd hæv riˈgeɪnd ðə lɛd ˈæftər ən ˈɛksələnt ˈkaʊnərəˌtæk bɪtˈwin kɔrt ənd ˈzimər, huz slɪk ˈpæsɪŋ kənfˈjuzd ðə ˈwərdər dɪˈfɛns. kɔrt faʊnd hɪmˈsɛlf wən ɔn wən wɪθ bət wɑz əˈneɪbəl tɪ slaɪd ðə bɔl pæst ɪm, wɪθ ðə ˈwərdər ˈgoʊlˌkipər ˈstændɪŋ hɪz graʊnd wɛl tɪ ˈkəvər ðə ˈɛmti ˈspeɪsɪz. ðeɪ hæd ə ˈfərðər ʧæns ˈmɪnəts ˈleɪtər ɛz ˈlukə meɪd ə mɛs əv ə haɪ bɔl ənd ˈzimər gɑt bɪˈhaɪnd ɪm ənd nɪkt ɪt, ˈfɔrsɪŋ ˈɪntu ə gʊd seɪv frəm ə taɪt ˈæŋgəl. ðə geɪm wɑz naʊ ˈhɛktɪk ənd ˈwərdər ðɛmˈsɛlvz hæd ðə ʧæns tɪ nɪk ɪt əˈgɛnst ðə rən əv pleɪ. ˈpitərsən wɛnt ɔn ə gʊd rən ɔn ðə lɛft wɪŋ ənd skwɛrd ɪt bæk tɪ arnautović*ć hu wɑz əˈloʊn ˌɪnˈsaɪd ðə bɑks, bət ðə ˈɔstriən ˈoʊnli ˈmænɪʤd tɪ ˌɪnɪkˈsplɪkəbli pʊt ðə bɔl ˈoʊvər ðə bɑr. ənd frəm wən ɛnd, tɪ ðə ˈəðər. rɪˈdimd hɪmˈsɛlf frəm hɪz ˈərliər mɪˈsteɪk θruaʊt ðə ˈsɛkənd hæf ənd wəns əˈgɛn ɪn ˈstɑpɪʤ taɪm, ˈseɪvɪŋ ˈæftər pʊld ðə ˈtrɪgər frəm ʤɪst ˌɪnˈsaɪd ðə ˈɛriə, ˌɔlˈðoʊ riˈpleɪz ʃoʊd ðət hæd ˈhændəld ˌɪnˈsaɪd ðə bɑks. ˈɛkstrə taɪm ˈstɑrtɪd ðə ˈɛkstrə ˈhæˌfaʊər ˈbraɪtər ənd ˈfɪzɪkəli lʊkt məʧ ˈbɛtər ðən ðɛr əˈpoʊnənts, ˈwɪnɪŋ ˈɛvəri ˈsɪŋgəl ðət wɑz dɪˈspjutɪd. ʤɪst ˌbiˈfɔr ðə ɛnd əv ðə fərst wər bæk ɪn ðə lɛd. ˈæftər ə ˈkɔrnər wɑz klɪrd baɪ ðə ˈwərdər dɪˈfɛns, ðə bɔl fɛl tɪ ˈsəbstəˌtut tɪm stegerer*, huz ʃɑt tʊk ə ˈwɪkəd dɪˈflɛkʃən əv frɪts ənd baʊnst ˈɪntu ðə nɛt pæst ə ˈhɛlpləs hu ˈɔlˌmoʊst riʧt ɪt. ðə ˌɪˈrəptɪd ənd wər nɑt ˈoʊnli əˈhɛd ɔn ðə ˈskɔrˌbɔrd bət ˈɔlsoʊ ˌsaɪkəˈlɑʤɪkli ənd ˈfɪzɪkəli. ˈsɛvən ˈmɪnəts ˈæftər ðə riˈstɑrt, ˈdəbəld ðɛr lɛd. ə ˈfɪzɪkəli dɪˈplitɪd ˈwərdər saɪd kʊd nɑt kəmˈpit æt ðə bæk ənd ˈfɪlɪp wɑz pʊt θru wɪθ ˈoʊnli æt ðə bæk. hɛld ðə bɔl ˈnaɪsli fər ðə ənˈmɑrkt ənd ˈɔnˌkəmɪŋ ˈzimər, hu ˈkuli sˈlɑtɪd pæst tɪ pʊt ðə geɪm bɪɔnd daʊt. ɪt wɑz noʊ lɛs ðən ˈzimər dɪˈzərvd, ɛz ðə ˈstraɪkər wərkt hɑrd ɔl geɪm ənd hæd tɪ weɪt 112 ˈmɪnəts fər hɪz rɪˈwɔrd. ˈwərdər kriˈeɪtɪd noʊ ˈʧænsɪz θruaʊt ˈɛkstrə taɪm ənd ðə ˈfaɪnəl ˈwɪsəl blu, ˈmeɪkɪŋ ɪt θri kənˈsɛkjətɪv dɪˈfits ɪn ðə, ɔl əˈgɛnst 3 ˌɑpəˈzɪʃən ɪn 2012 ənd 1 ɪn 2011 ðɛr wɪl ˈdɛfənətli bi ə lɔt əv wərk tɪ du fər ˈrɑbɪn dət ɪf ˈwərdər ər tɪ traɪəmf wɪθ ðɪs nu fɔrˈmeɪʃən ənd ɛz fər, ɪt wɑz ə kəmˈplit ˈtərnərˌaʊnd frəm ðə fɔrm ðeɪ hæv ʃoʊn ɪn ðə tu ˈmæʧɪz ðɪs ˈsizən, nɑt ˈoʊnli kənˈsidɪŋ ˈoʊnli wən goʊl bət ˈlʊkɪŋ ˈfɪzɪkəli ənˈstɑpəbəl ənd kriˈeɪtɪŋ ˈplɛnti əv ˈʧænsɪz. ɪf ˈɛni rɪˈzəlt kʊd bi ə ˌsaɪkəˈlɑʤɪkəl ˈtərnɪŋ pɔɪnt fər ðɛm, ðɪs ɪz ɪt., ðə ˈəðər ˈvɪktɪm ˈdɑrmˌstæt bi. ɔn ˈpɛnəltiz) ðɪs wɑz nɑt ə ˈklæsɪk laɪk ðə mæʧ æt ðə bət ˈdɑrmˌstæt wɪl nɑt kɛr wən bɪt, ɛz ðeɪ ˌənɪkˈspɛktɪdli tʊk ə skælp ɪn ðə fɔrm əv ə ˈweɪstfəl saɪd ðət stɪl nidz tɪ ˌɪmˈpruv ɪn ˈɔrdər tɪ bi ˈrɛdi fər ðə stɑrt əv ðə ˈsizən. ˌɪmˈpɔrtənt tɪ rɪˈmɛmbər ðət ˈdɑrmˌstæt ər ˈoʊnli ə 3 saɪd θæŋks tɪ ðə fɔrst əv ˈkɪkərz fər ˌfaɪˈnænʃəl ˈrizənz, wɪʧ əˈlaʊd ðɛm tɪ steɪ əp dɪˈspaɪt ˈhævɪŋ ˈɛndɪd læst ˈsizən ɪn ðə ˈpleɪsɪz. ˈstɑrtɪd ðə geɪm wɛl wɪθ nu ˈsaɪnɪŋ mæks kruz ˈlʊkɪŋ ˈlaɪvli ɪn əˈtæk. kruz hɪmˈsɛlf kʊd hæv bɪn ðə əˈsɪst ˈmeɪkər ˈərli ɔn bət hɪz krɔs mɪst ˈɛvriˌwən ə jɑrd ɪn frənt əv ðə goʊl laɪn, wɪθ ˈlukəz rəp ˈkəmɪŋ ðə ˈkloʊsəst bət nɑt kloʊz ɪˈnəf. ˈdɑrmˌstæt hɪt ðə bɑr ˈmɪnəts ˈleɪtər bət ɪt wɑz ə kənfˈjuzɪŋ sɛt əv ɪˈvɛnts, ɛz ə bɔl eɪmd təˈwɔrdz ðə bɑks wɑz ˈhɛdɪd bæk ɛˈroʊniəsli baɪ rəp, kənfˈjuzɪŋ tər ɛz hi ɪt ˈɔntu ðə. kruz wəns əˈgɛn hæd ðə ʧæns tɪ pʊt hɪz saɪd wən əp bət hɪz ɪn lɑb fɛl ˈɔntu ðə tɔp saɪd əv ðə nɛt. ðə ˈsɛkənd hæf ˈstɑrtɪd ʤɪst ɛz ðə fərst wən hæd ˈɛndɪd ənd ɪt wɑz kruz wəns əˈgɛn hu ˈkɛrid ðə moʊst ˈdeɪnʤər, ðɪs taɪm ˈʃutɪŋ haɪ frəm ə lɔŋ ˈdɪstəns. wər ˈklɪrli ðə saɪd ɔn tɔp ənd ˈdɑrmˌstæt simd ˈhæpi fər ðə skɔr tɪ stɪl rɪˈmeɪn. kruz, hu ɛls, hæd əˈnəðər greɪt ʧæns traɪɪŋ tɪ raʊnd ðə ˈgoʊlˌkipər ˈæftər biɪŋ pʊt θru bət ʤæn ˈzɪmərmən stʊd hɪz graʊnd wɛl ənd ˌdɪspəˈzɛst ðə ˈfɔrmər ˈpɔˌli ənd ˈfɔrwərd. ˈdɑrmˌstæt hæd ðə bɔl ɪn ðə nɛt ɔn bət ˈbɛnʤəmən ˈgɔrkə wɑz əˈʤəʤd tɪ hæv faʊld ˌbiˈfɔr hɪz əˈsɪst tɪ ˈbɛrənz, hu wɑz ˈɔlsoʊ wɪn ˈpʊʃɪŋ ɪt ɪn frəm ə jɑrd aʊt. dəˈmɪnɪk hæd ðə bɛst ˈoʊpənɪŋ ʧæns əv bət hɪz ʃɑt frəm ə taɪt ˈæŋgəl wɑz haɪ, ˈkɔzɪŋ ðə fˈjʊri əv ˌluˌsiˈɛn ˈfeɪvər du tɪ hɪz læk əv ˌkɑnsənˈtreɪʃən ɪn dɪˈfɛns. ɪn ðə ˈsɛkənd əv ɛt, meɪn kruz hæd tu ˈʧænsɪz, wən ʤɪst ˌbiˈfɔr ðə ˈfaɪnəl ˈwɪsəl, bət ˈniðər ˈtrəbəld ˈzɪmərmən ənd ðə mæʧ ˈɛndɪd ənd wɛnt tɪ ðə ˈpɛnəlti ˈlɑtəri. aytaç*ç sulu*, ˈfɪlɪp ənd ˈmɑrkoʊ ˈseɪlər ɔl skɔrd tɪ meɪk ɪt də ʤɔŋ stɛpt əp tɪ teɪk hɪz ˈsɛkənd ˈpɛnəlti bət ˈzɪmərmən seɪvd tɪ hɪz raɪt. ˈɛltən ˈdiˈeɪ ˈkɔstɑ, xhaka*, ˈmaɪkəl ənd mæks kruz ɔl skɔrd ənd ðə skɔr wɑz tɪ ˈdɑrmˌstæt. stɛp əp dəˈmɪnɪk tɪ pʊt ˈdɑrmˌstæt θru tɪ ðə nɛkst raʊnd. ˌhaʊˈɛvər, marc-andré*é tər hæd ˈəðər aɪˈdiəz ənd seɪvd loʊ tɪ hɪz lɛft tɪ kip hɪz saɪd ɪn ðə taɪ. ˈmɑrtɪn meɪd ɪt ənd ˈmaɪˌlæn ˌɪˈvɑnə pʊt ˈdɑrmˌstæt əˈhɛd wəns əˈgɛn ˌbiˈfɔr traɪd tɪ pərˈfɔrm ə ˈpɛnəlti ˈoʊnli fər ðə bɔl tɪ hɪt ðə ˈəndərˌsaɪd əv ðə ənd baʊns ɪn frənt əv ðə laɪn, ˈpʊtɪŋ ˈdɑrmˌstæt ɪn ðə ˈsɛkənd raʊnd. ɪt wɑz ðə ˈsɛkənd skælp əv ðə deɪ ˈæftər ˈwərdər ˈbrɛmən, bət ðə ˈstɔri hæd bɪn kəmˈplitli ˈdɪfərənt. ɪgˈzərtɪd ðɛr ˈtɛknɪkəl ædˈvæntɪʤ bət wər nɑt ˈeɪbəl tɪ faɪnd ðə nɛt, ˌɔlˈðoʊ mæks kruz traɪd ənd traɪd ˈoʊvər ənd ˈoʊvər əˈgɛn. kwaɪt klɪr ðət kruz wɪl bi ðə ki mæn tɪ ðɪs saɪd ðɪs ˈsizən ənd baɪ noʊ minz ʃʊd ðɛr ˈsizən ɔˈrɛdi bi ˈprɛʤədəst baɪ wən geɪm bət ðə klɪr θɪŋ ɪz ðət kruz wɪl nid hɛlp əp frənt, əˈspɛʃəli frəm ðə ˈæbsənt də ʤɔŋ. ˈəðər rɪˈzəlts ˈlaɪpsɪg ˈɔgzbərg ɪn ðə mæʧ ðət wɑz ˈtaʊtɪd ɛz ðə ˈbɪgəst ʧæns əv ən ˈəpˌsɛt, ˈɔgzbərg meɪd ðɛr ˌsupɪriˈɔrɪti kaʊnt ənd ræn aʊt ˈwɪnərz æt ðə ərˈinə ɔn ˈfraɪˌdeɪ ˈivnɪŋ. goʊlz ɪn iʧ hæf baɪ ənd nu ərˈaɪvəl sild ðə bavarians’*’ pæs tɪ ðə nɛkst raʊnd. ˈlaɪpsɪg ˈhɑrdli pʊt ə fʊt rɔŋ ɔl mæʧ, ʃoʊɪŋ kəˈmɪtmənt ənd ˈpæʃən θruaʊt ðə 90 ˈmɪnəts bət suˈpɪriər ˈtɛknɪkəl əˈbɪləˌti ənd ˈstərdi dɪˈfɛns ˈkaʊntɪd ɪn ðə ɛnd. goʊɪŋ ə goʊl daʊn ˈæftər ʤɪst faɪv ˈmɪnəts ˈhæmpərd ðɛr staɪl ənd ɪt ənˈtɪl 20 ˈmɪnəts frəm ðə ɛnd ðət ðə mæʧ wɑz aʊt əv riʧ, wɪʧ ɪz ə ˈkrɛdɪt tɪ ðə 3 saɪd, wɔʧt baɪ ˈoʊvər ˈspɛkteɪtərz. dɪˈspaɪt ðə lɔs, ðeɪ kən hoʊld ðɛr hɛdz əp haɪ ɛz ðeɪ keɪm aʊt ˈwɪnərz ɪn ðə ənd ˈmænɪʤd tɪ bi kəmˈpɛtɪtɪv əˈgɛnst ə tim tu ligz əˈbəv ðɛm. aʊ ɪn ðə ˈbætəl əv ðə lila-weiß*ß, ɪt wɑz ðə hoʊm saɪd hu keɪm əˈweɪ wɪθ ə ˈkəmfərtəbəl ˈvɪktəri, ə ˈvɪktəri wɪθ ə lɔt əv ˈmɛrət kənˈsɪdərɪŋ ðət aʊ laɪ ɪn ðə 2 ˈæftər tu wɪnz aʊt əv tu. ˈdænjəl ˈneɪgi pʊt ðə hoʊsts əˈhɛd ˈæftər ʤɪst faɪv ˈmɪnəts ənd ɑnˈdreɪəs spæn ˈdəbəld ðə lɛd ʤɪst ˈfɪfˈtin ˈmɪnəts ˈleɪtər. riˈækʃən dɪd nɑt dɪˈspaɪt biɪŋ ˈdɑmənənt ɪn ðə pəˈzɛʃən əv ðə bɔl ənd ðəs ˈdɑməˌneɪtɪŋ ðə mæʧ. wər ˈhæpi tɪ gɪv ðɛm ðə bɔl ənd sɪt ɔn ðɛr lɛd ˈɪntu ðə ˈsɛkənd hæf. ðə hoʊm saɪd kʊd hæv bɪn fɔr ər faɪv goʊlz əp ˌɪnˈsaɪd ðə speɪs əv ʤɪst 10 ˈmɪnəts ˈæftər ðə riˈstɑrt bət səˈbæsʧən ˈnumən ənd ˈstædəl mɪst klɪr ˈʧænsɪz. tˈwɛnti ˈmɪnəts ˌbiˈfɔr ðə ɛnd, kɪld ɔf ˈtuθləs aʊ ənd ˈneɪgi ˈdəbəld hɪz ˈtæli, ˈmeɪkɪŋ ɪt ənd geɪm ˈoʊvər. ðə ˈvɪktəri, ˌhaʊˈɛvər, wɑz mɑrd baɪ ðə ˈsɪriəs ˈɪnʤəri tɪ ɑdriˈɑnoʊ griˈmɑldi, hu səˈsteɪnd ə ˈbroʊkən ˈʧikˌboʊn ənd aɪ ˈsɑkət ˈæftər ən ənˈfɔrʧənət klæʃ wɪθ aʊ ˈgoʊlˌkipər kirschstein*. ðə ɪkˈspɛktɪd ˈpɪriəd əv ˈæbsəns ɪz stɪl ənˈnoʊn. 1 1860 ɔn ˈpɛnəltiz) 3 tʊk 1860 ɔl ðə weɪ bət kʊd nɑt ˈfɪnɪʃ ɪt ɔf frəm 12 jɑrdz ɪn ðə ˈsɛkənd ˈfraɪˌdeɪ ˈivnɪŋ mæʧ. ˈæftər ə fərst hæf, ðə wɛnt əˈhɛd ʤɪst faɪv ˈmɪnəts ˈæftər ðə riˈstɑrt. ə ˈkaʊnərəˌtæk lɛd baɪ ˈbɑbi wʊd ræn ˈoʊvər 80 jɑrdz əˈkrɔs ðə pɪʧ wɪθ ə ˈtiˌmeɪt ɔn ˈiðər saɪd. wɪn ðə loʊn dɪˈfɛndər kəˈmɪtɪd tɪ ðə ˈtækəl, wʊd pæst ɪt tɪ mɔˈrɪts ɔn hɪz raɪt ʤɪst ˌɪnˈsaɪd ðə ˈɛriə tɪ slɑt hoʊm ˈɪntu ən nɛt. ˈdænjəl hɪt ðə poʊst ˈmɪnəts ˈleɪtər ənd daɪ hɛld ˈɔntu ðɛr lɛd ənˈtɪl ˈstɑpɪʤ taɪm, wɪn kəmˈplitɪd wət simd ˌɪmˈpɑsəbəl. ə ˈkɔrnər baɪ mɑrk mɪst ˈɛvriˌwən ˌɪnˈsaɪd ðə bɑks ənd tɪm stək hɪz fʊt aʊt tɪ pʊʃ ðə bɔl ˈɪntu ðə tɔp əv ðə nɛt pæst tɪ teɪk ðə mæʧ ˈɪntu. ðə ˈɛkstrə 30 ˈmɪnəts wɛnt wɪˈθaʊt goʊlz ənd ɪt wɑz daʊn tɪ ðə ˈpɛnəlti ruˈlɛt. ˈæftər boʊθ timz hæd skɔrd ðɛr ˈoʊpənɪŋ θri ˈpɛnəltiz, stɑr ˈstraɪkər ˈflɔriən sɔ hɪz ˈpɛnəlti seɪvd loʊ baɪ. mɔˈrɪts meɪd ɪt tɪ 1860 ənd ˈfɪlɪp ˈpɛnəlti wɑz wəns əˈgɛn mɛt baɪ, wɪθ ðə həŋˈgɛriən seɪvz ˈteɪkɪŋ 1860 ˈɪntu ðə nɛkst raʊnd. ˈpɔˌli ˈriwaɪnd ˈɔlˌmoʊst ə jɪr, ənd wər ˈɔlsoʊ ˈmeɪkɪŋ ðə ˈhɛˌdlaɪnz fər ə ˈəpˌsɛt ˈæftər ˈbitɪŋ ˈwərdər ˈbrɛmən ˈæftər ˈɛkstrə taɪm. ðɪs jɪr ɪt wɑz nɑt səʧ ə bɪg skælp bət ə bɪg wən, ˌnənðəˈlɛs. ˈpɔˌli əraɪvd ɪn ənˈbitən ɪn boʊθ ðɛr ˈoʊpənɪŋ 2 ˈmæʧɪz ənd wɪˈθaʊt ˈhævɪŋ kənˈsidɪd ə goʊl ɪn ˈiðər geɪm. drɔ æt ˈlaɪpsɪg læst ˈwiˌkɪnd wɑz ən ˌɑpərˈtunəti mɪst ənd ðeɪ wər dɪˈtərmənd tɪ meɪk ðɛr hoʊm ædˈvæntɪʤ kaʊnt. hu ɛls bət stɑr ˈstraɪkər ˈmæθju ˈteɪlər, ðə ˈhɪroʊ əˈgɛnst ˈwərdər ˈbrɛmən, pʊt hɪz saɪd əˈhɛd ɔn ðə hæf aʊər wɪθ ə ʃɑt frəm ˌɪnˈsaɪd ðə bɑks. brɔt ɔn fɪn ˈbɑrtəlz fər mɑrk ɪn ðə ˈsɛkənd hæf ənd ˈpɔˌli kriˈeɪtɪd ə ˈhændˌfʊl əv ˈʧænsɪz bət wər nɑt ˈeɪbəl tɪ breɪk daʊn ðə ˈsɑləd hoʊm dɪˈfɛns dɪˈspaɪt ˈɔlsoʊ ˈbrɪŋɪŋ ɔn ɔl əv hɪz ɑrˈtɪləri ɪn ðə ʃeɪp əv ʤɑn ənd ˈmaɪkəl gregoritsch*. kʊd hæv ˈdəbəld ðɛr lɛd leɪt ɔn hæd ɪt nɑt bɪn fər ˈfɪlɪp hɪˈroʊɪk seɪvz bət wən goʊl wɑz ɪˈnəf ənd ˈpɔˌli wər dɛlt ðɛr fərst dɪˈfit ənd goʊl əv ðə ˈsizən, waɪlst mɑrʧ ɔn ənd meɪnˈteɪn ðɛr 100 hoʊm ˈrɛkərd ðɪs ˈsizən. ˈdusbərg ˈdusbərg wər nɑt ˈeɪbəl tɪ ˈoʊvərˌkəm ɪn ə mæʧ huz ˈaʊtˌkəm wɑz dɪˈtərmənd baɪ tu ˌɪmˈpɔrtənt pɔɪnts. ðə geɪm, ˌɛnˈʤɔɪd ə ˈlaɪvli stɑrt wɪθ ˈʧænsɪz ˈfɑlɪŋ fər boʊθ saɪdz. dɪˈspaɪt biɪŋ ə dɪˈvɪʒən əˈpɑrt, ˌɪmˈpɔrtənt tɪ rɪˈmɛmbər ðət ˈdusbərg ˈfɪnɪʃt əˈbəv ɪn ðə lig læst jɪr ˌbiˈfɔr ðɛr fɔrst. ɪt wɑz ðə hoʊsts hu dru fərst bləd ɛz ˈmaɪkəl faɪərd ˈdusbərg əˈhɛd frəm 18 jɑrdz ʤɪst ˈæftər ðə ˈhæˌfaʊər mɑrk. ˌhaʊˈɛvər, ðɛr lɛd wɑz tɪ læst ʤɪst ə fju ˈmɪnəts ənd dɛlt ə ˈdəbəl ˈsəkər pənʧ ɪn ðə speɪs əv ə ˈmɪnət ðət nɑkt ðə wɪnd aʊt əv ðə zebras’*’ seɪlz. ɔn 37 ˈmɪnəts, ˈdænjəl meɪd ðə moʊst ˈæftər ˈmaɪkəl ˈbləndər ənd sˈlɑtɪd ˈɪntu ən ˈɛmti nɛt. ˈsɛkəndz ˈleɪtər, ðə ˈvɪzɪtərz hɪt ˈdusbərg ˈæftər ðeɪ lɔst pəˈzɛʃən ənd rɪk tɛn pʊt ðɛm əˈhɛd, ˈdilɪŋ ðə ‘‘two’*’ ɪn ðə ˌkɑmbəˈneɪʃən ðət lɛft ˈdusbərg stənd. ˈæftər ˈhæfˌtaɪm, θɪŋz dɪd nɑt gɪt ˈbɛtər fər ðə hoʊm saɪd ɛz təˈbaɪəs ərnd hɪz ˈsɛkənd ˈjɛloʊ əv ðə mæʧ ənd lɛft hɪz saɪd wɪθ tɛn mɛn. ðə ˈmaʊntən tɪ klaɪm gɑt ˈstipər fər ˈdusbərg ənd wɑz meɪd ˈivɪn wərs wɪn, ɔn 80 ˈmɪnəts, ʤɛnz ˈwɛmər skɔrd θərd ˈæftər ə nis leɪɔf frəm əˈlaɪəs kachunga*, fər hɪz ˈsɛkənd əˈsɪst əv ðə geɪm. tu ˈmɪnəts ˈleɪtər, ˈdusbərg wər dɛlt ə ˈlaɪˌflaɪn ɛz ˈkɛvɪn wɑz faʊld ˌɪnˈsaɪd ðə ˈɛriə bət bajić*ć mɪst ðə ʧæns tɪ gɪv hɪz tim ə ˈfaɪtɪŋ ʧæns ɛz hɪz ˈpɛnəlti wɑz stɑpt baɪ ˈlukəz kruz. ðə goʊl ɪˈvɛnʧəwəli keɪm ɪn ˈstɑpɪʤ taɪm θru ˈfɪlɪp bət ɪt wɑz tu ˈlɪtəl tu leɪt, ɛz ˈdusbərg wər nɑt ˈeɪbəl tɪ bi jɛt əˈnəðər 3 saɪd ˈɪntu ðə drɔ fər ðə ˈsɛkənd raʊnd. ʤæn ˈrigənzbərg 1 ˈjunjən bərˈlɪn θri goʊlz ənd tu rɛd kɑrdz ənd ə mɪst ˈpɛnəlti wər ɔl proʊˈtægənəsts ɪn ðɪs ˈlaɪvli geɪm ðət ˈrigənzbərg wər nɑt ˈeɪbəl tɪ gɪt ə fərm grɪp ɔn. pʊt ðə hoʊsts ˈɪntu ðə lɛd frəm 10 jɑrdz ˈæftər ə pæs frəm müller*. ðɛr lɛd ˈlæstɪd ɔl əv tu ˈmɪnəts ɛz ˈjunjən wər bæk ˈlɛvəl ɛz ˈbrændi frəm ˌɪnˈsaɪd ðə ˈɛriə. ˈjunjən wɛnt ˈɪntu ðə breɪk əˈhɛd ɛz ə krɔs frəm ðə raɪt baɪ ˈbrændi wɑz mɛt baɪ ðə hɛd əv ˈbɛnʤəmən köhler*, ən ənˈlaɪkli goʊl baɪ ə mæn hu ɪz tɔl. ðə ˈvɪzɪtərz keɪm aʊt fər ðə ˈsɛkənd ə lɔt ˈstrɔŋgər ðən ðə hoʊsts ənd ˈbrændi mɪst ə ˈglɔriəs ʧæns tɪ pʊt ðə geɪm bɪɔnd riʧ. wɪθ 20 ˈmɪnəts tɪ goʊ, mɑrk faʊld ˌɪnˈsaɪd ðə ˈɛriə ənd ðə ˌrɛfərˈi ˈpɔɪntɪd tɪ ðə ˈpɛnəlti spɑt ənd ˈhændɪd ə streɪt rɛd kɑrd. ɪt kʊd hæv bɪn ə ˈdɪfərənt ˈɛndɪŋ hæd ˈrigənzbərg skɔrd ðə ˈpɛnəlti ənd pleɪd ðə læst 20 ˈmɪnəts wɪθ ə mæn mɔr bət ˈmɑrioʊ sɔ hɪz ʃɑt kəm ɔf ðə poʊst, ˈmɪsɪŋ ə ˈglɔriəs ʧæns fər hɪz saɪd tɪ goʊ fər ə pəˈtɛnʃəl ˈwɪnər. sərʧ fər ən wɑz meɪd ˈivɪn ˈhɑrdər wɪn ˈkæptən səˈbæsʧən ˈnækraɪnər wɑz sɛnt ɔf fər ə ˈdəbəl ˈjɛloʊ kɑrd wɪθ ˈəndər faɪv ˈmɪnəts tɪ goʊ. wɪθ boʊθ timz naʊ daʊn wən mæn, ˈrigənzbərg hæd ˈnəθɪŋ tɪ luz ənd wɛnt ɔl aʊt əˈtæk bət ˈoʊnli ˈmænɪʤd tɪ ˈrætəl ˈjunjən, hu hɛld ˈɔntu ðə rɪˈzəlt ɪn ðə ɛnd bət wər wɛl əˈwɛr ðət ðə ˈpɛnəlti mɪs tərnd ðə mæʧ ˈɪntu ðɛr ˈfeɪvər, ɛz ðə ˈaʊtˌkəm kʊd hæv bɪn kəmˈplitli ˈdɪfərənt hæd ɪt nɑt bɪn fər ðə ˈləki poʊst. ˈhɛdər ˈkərtəsi əv
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the 3. liga took a break this week for some of its teams to take part in the first round of the 2013/2014 dfb pokal. three bundesliga teams faced third-tier opposition and the biggest chance of an upset was in the hands of rb leipzig, who faced fc augsburg at home. 1. fc saarbrücken and sv darmstadt were up against werder bremen and borussia mönchengladbach at home respectively but, with both teams still winless in the league, an upset was not on the cards. oh how wrong that prediction was…
spiel des tages
1. fc saarbrücken 3-1 sv werder bremen
(aet)
out of all the possible upsets involving 3. liga teams, this one seemed the most unlikely one. saarbrücken have not enjoyed the best of starts in the league with two defeats out of two, conceding 7 goals so far and coming into the game on the back of a 5-1 defeat to holstein kiel. werder bremen have not had the best of pre-seasons, with defeats to osnabrück (1-0), fc zwolle (3-2), ajax (3-2) and rb leipzig (2-1), a draw against 1860 münchen (1-1) and victories against rot-weiß erfurt (6-0) and fulham (1-0), with the last two coming consecutively and being the last two matches they played. all in all, the odds were firmly stacked against the team from the saar.
first half
robin dutt’s first competitive game in charge could have got off to a good start after 8 minutes if referee robert kempter had not failed to spot a hand by nils fischer in the box after sebastian prödl had nodded on. ten minutes later, the hosts could have gone ahead after a comical performance by sebastian mielitz, who hesitated when coming out to clear a long ball outside his area and he flicked his header back behind him. mehmet ekici was back to cover the mistake and passed it to prödl to clear but the austrian left it to mielitz and, among the confusion, marcel ziemer nipped in to take a shot that the werder goalkeeper managed to parry, leaving the ball dead inside the area. luckily enough, clemens fritz was there to it first and cleared the danger. a comical performance that werder fans will no doubt fail to see the funny side of.
fcs were creating the better chances and werder were lost in attack, clearly missing the influence of kevin de bruyne to build play. raffael korte, serkan göcer and kevin maek all came close for the home side within 5 minutes of each other and werder were struggling in the sun and to adapt to dutt’s 4-3-3 formation with aaron hunt playing in the ‘false 9’ position. any danger from the away side came from the boots of ekici but he was unable to find the target. at the other end, korte once again came close as he was not able to connect properly inside the area and pulled off a shot that hardly troubled mielitz.
however, saarbrücken’s pressure paid off just before the break. a seemingly innocuous free-kick was lobbed into the area by christian eggert and mielitz’s poor clearance, as he fell over two of his player’s and one of the opposition, fell to nils petersen who could only mis-kick it as far as nils fischer. fischer, just inside the area, took it first time with a peach of a left-footed shot that thundered into the net to put saarbrücken ahead. the result was a surprise but it was no less than fcs deserved.
second half
werder enjoyed a positive start to the second half. dutt brought on marko arnautović for the anonymous niclas fullkrüg and they were soon back into the game. on 59 minutes, a corner taken by ekici was flicked on by theodor gebre selassie and, after a poor clearance, the ball fell to prödl inside the area, who took a powerful left-footed shot that went in by the man at the far post.
saarbrücken could have regained the lead after an excellent counterattack between korte and ziemer, whose slick passing confused the werder defence. korte found himself one on one with mielitz but was unable to slide the ball past him, with the werder goalkeeper standing his ground well to cover the empty spaces. they had a further chance minutes later as luca caldirola made a mess of a high ball and ziemer got behind him and nicked it, forcing mielitz into a good save from a tight angle.
the game was now hectic and werder themselves had the chance to nick it against the run of play. petersen went on a good run on the left wing and squared it back to arnautović who was alone inside the box, but the austrian only managed to inexplicably put the ball over the bar. and from one end, to the other. mielitz redeemed himself from his earlier mistake throughout the second half and once again in stoppage time, saving after göcer pulled the trigger from just inside the area, although replays showed that caldirola had handled inside the box.
extra time
fcs started the extra half-hour brighter and physically looked much better than their opponents, winning every single zweikampf that was disputed. just before the end of the first 15′, saarbrücken were back in the lead. after a corner was cleared by the werder defence, the ball fell to substitute tim stegerer, whose shot took a wicked deflection of fritz and bounced into the net past a helpless mielitz who almost reached it. the ludwigsparkstadion erupted and fcs were not only ahead on the scoreboard but also psychologically and physically.
seven minutes after the restart, saarbrücken doubled their lead. a physically depleted werder side could not compete at the back and philipp kreuels was put through with only caldirola at the back. kreuels held the ball nicely for the unmarked and oncoming ziemer, who coolly slotted past mielitz to put the game beyond doubt. it was no less than ziemer deserved, as the striker worked hard all game and had to wait 112 minutes for his reward. werder created no chances throughout extra time and the final whistle blew, making it three consecutive first-round defeats in the dfb pokal, all against 3. liga opposition (preußen münster in 2012 and 1. fc heidenheim in 2011). there will definitely be a lot of work to do for robin dutt if werder are to triumph with this new 4-3-3 formation and as for saarbrücken, it was a complete turnaround from the form they have shown in the two matches this season, not only conceding only one goal but looking physically unstoppable and creating plenty of chances. if any result could be a psychological turning point for them, this is it.
borussia mönchengladbach, the other bundesliga victim
sv darmstadt 0-0 b. mönchengladbach
(5-4 on penalties)
this was not a classic like the match at the ludwigsparkstadion but darmstadt will not care one bit, as they unexpectedly took a bundesliga scalp in the form of a wasteful ‘gladbach side that still needs to improve in order to be ready for the start of the season. it’s important to remember that darmstadt are only a 3. liga side thanks to the forced relegation of kickers offenbach for financial reasons, which allowed them to stay up despite having ended last season in the relegation places.
‘gladbach started the game well with new signing max kruse looking lively in attack. kruse himself could have been the assist maker early on but his cross missed everyone a yard in front of the goal line, with lukas rupp coming the closest but not close enough. darmstadt hit the bar minutes later but it was a confusing set of events, as a ball aimed towards the box was headed back erroneously by rupp, confusing ter stegen as he palmed it onto the crossbar. kruse once again had the chance to put his side one up but his in extremis lob fell onto the top side of the net.
the second half started just as the first one had ended and it was kruse once again who carried the most danger, this time shooting high from a long distance. gladbach were clearly the side on top and darmstadt seemed happy for the score to still remain goalless. kruse, who else, had another great chance trying to round the goalkeeper after being put through but jan zimmermann stood his ground well and dispossessed the former st pauli and freiburg forward. darmstadt had the ball in the net on 64′ but benjamin gorka was adjudged to have fouled before his assist to hanno behrens, who was also offside when pushing it in from a yard out.
dominik stroh-engel had the best opening chance of extra-time but his shot from a tight angle was high, causing the fury of lucien favre due to his team’s lack of concentration in defence. in the second 15′ of et, gladbach’s main dangerman kruse had two chances, one just before the final whistle, but neither troubled zimmermann and the match ended goalless and went to the penalty lottery.
aytaç sulu, filip daems and marco sailer all scored to make it 2-1. luuk de jong stepped up to take his side’s second penalty but zimmermann saved to his right. elton da costa, granit xhaka, michael stegmayer and max kruse all scored and the score was 4-3 to darmstadt. step up dominik stroh-engel to put darmstadt through to the next round. however, marc-andré ter stegen had other ideas and saved low to his left to keep his side in the tie. martin stranzl made it 4-4 and milan ivana put darmstadt ahead once again before branimir hrgota tried to perform a panenka-style penalty only for the ball to hit the underside of the crossbar and bounce in front of the line, putting darmstadt in the second round.
it was the second bundesliga scalp of the day after werder bremen, but the story had been completely different. gladbach exerted their technical advantage but were not able to find the net, although max kruse tried and tried over and over again. it’s quite clear that kruse will be the key man to this gladbach side this season and by no means should their season already be prejudiced by one game but the clear thing is that kruse will need help up front, especially from the absent luuk de jong.
other results
rb leipzig 0-2 fc augsburg
in the match that was touted as the biggest chance of an upset, augsburg made their superiority count and ran out 2-0 winners at the red-bull arena on friday evening. goals in each half by jan-ingwer callsen-bracker (5′) and new arrival halil altintop (70′) sealed the bavarians’ pass to the next round. leipzig hardly put a foot wrong all match, showing commitment and passion throughout the 90 minutes but augsburg’s superior technical ability and sturdy defense counted in the end. going a goal down after just five minutes hampered their style and it wasn’t until 20 minutes from the end that the match was out of reach, which is a credit to the 3. liga side, watched by over 30,000 spectators. despite the loss, they can hold their heads up high as they came out winners in the zweikampf (53-47) and managed to be competitive against a team two leagues above them.
vfl osnabrück 3-0 fc erzgebirge aue
in the battle of the lila-weiß, it was the home side who came away with a comfortable 3-0 victory, a victory with a lot of merit considering that aue lie 3rd in the 2. bundesliga after two wins out of two. daniel nagy put the hosts ahead after just five minutes and andreas spann doubled the lead just fifteen minutes later. aue’s reaction did not materialise despite being dominant in the possession of the ball and thus dominating the match. osnabrück were happy to give them the ball and sit on their lead into the second half. the home side could have been four or five goals up inside the space of just 10 minutes after the restart but sebastian neumann and timo stadel missed clear chances. twenty minutes before the end, osnabrück killed off toothless aue and nagy doubled his tally, making it 3-0 and game over. the victory, however, was marred by the serious injury to adriano grimaldi, who sustained a broken cheekbone and eye socket after an unfortunate clash with aue goalkeeper sascha kirschstein. the expected period of absence is still unknown.
1. fc heidenheim 1-1 1860 münchen
(3-4 on penalties)
3. liga favourites heidenheim took 1860 münchen all the way but could not finish it off from 12 yards in the second friday evening pokal match. after a goalless first half, the bavarians went ahead just five minutes after the restart. a 3-on-1 counterattack lead by bobby wood ran over 80 yards across the pitch with a teammate on either side. when the lone defender committed to the tackle, wood passed it to moritz stoppelkamp on his right just inside the area to slot home into an almost-empty net. daniel adlung hit the post minutes later and die löwen held onto their lead until stoppage time, when heidenheim completed what seemed impossible. a corner by marc schnatterer missed everyone inside the box and tim göhlert stuck his foot out to push the ball into the top of the net past gábor király to take the match into extra-time. the extra 30 minutes went without goals and it was down to the penalty roulette. after both teams had scored their opening three penalties, 1.fch star striker florian niederlechner saw his penalty saved low by király. moritz stoppelkamp made it 4-3 to 1860 and philip heise’s penalty was once again acrobatically met by király, with the hungarian goalkeeper’s saves taking 1860 into the next round.
sc preußen münster 1-0 fc st pauli
rewind almost a year, and preußen münster were also making the headlines for a pokal upset after beating werder bremen 4-2 after extra time. this year it was not such a big scalp but a big one, nonetheless. st pauli arrived in nordrhein-westphalia unbeaten in both their opening 2. bundesliga matches and without having conceded a goal in either game. münster’s 2-2 draw at rb leipzig last weekend was an opportunity missed and they were determined to make their home advantage count. who else but star striker matthew taylor, the hat-trick hero against werder bremen, put his side ahead on the half hour with a left-footed shot from inside the box. frontzeck brought on fin bartels for marc rzatkowski in the second half and st pauli created a handful of chances but were not able to break down the solid home defence despite also bringing on all of his artillery in the shape of john verhoek and michael gregoritsch. münster could have doubled their lead late on had it not been for philipp tschauner’s heroic saves but one goal was enough and st pauli were dealt their first defeat and goal of the season, whilst preußen münster march on and maintain their 100% home record this season.
msv duisburg 2-3 sc paderborn
duisburg were not able to overcome sc paderborn in a match whose outcome was determined by two important points. the game, enjoyed a lively start with chances falling for both sides. despite being a division apart, it’s important to remember that duisburg finished above paderborn in the league last year before their forced relegation. it was the hosts who drew first blood as michael gardawski fired duisburg ahead from 18 yards just after the half-hour mark. however, their lead was to last just a few minutes and paderborn dealt a double sucker punch in the space of a minute that knocked the wind out of the zebras’ sails. on 37 minutes, daniel brückner made the most after michael ratajczak’s blunder and slotted into an empty net. seconds later, the visitors hit duisburg after they lost possession and rick ten voorde put them ahead, dealing the ‘two’ in the one-two combination that left duisburg stunned. after half-time, things did not get better for the home side as tobias feisthammel earned his second yellow of the match and left his side with ten men. the mountain to climb got steeper for duisburg and was made even worse when, on 80 minutes, jens wemmer scored paderborn’s third after a nice layoff from elias kachunga, for his second assist of the game. two minutes later, duisburg were dealt a lifeline as kevin wolze was fouled inside the area but branimir bajić missed the chance to give his team a fighting chance as his penalty was stopped by lukas kruse. the goal eventually came in stoppage time through filip orsula but it was too little too late, as duisburg were not able to be yet another 3. liga side into the draw for the second round.
ssv jahn regensburg 1-2 1. fc union berlin
three goals and two red cards and a missed penalty were all protagonists in this lively game that regensburg were not able to get a firm grip on. abdenour amachaibou put the hosts into the lead from 10 yards after a pass from jim-patrick müller. their lead lasted all of two minutes as union were back level as sören brandy equalised from inside the area. union went into the break ahead as a cross from the right by brandy was met by the head of benjamin köhler, an unlikely goal by a man who is 1.72m tall. the visitors came out for the second 45′ a lot stronger than the hosts and brandy missed a glorious chance to put the game beyond reach. with 20 minutes to go, marc pfertzel fouled aias aosman inside the area and the referee pointed to the penalty spot and handed pfertzel a straight red card. it could have been a different ending had regensburg scored the penalty and played the last 20 minutes with a man more but mario neunaber saw his shot come off the post, missing a glorious chance for his side to go for a potential winner. regenburg’s search for an equaliser was made even harder when captain sebastian nachreiner was sent off for a double yellow card with under five minutes to go. with both teams now down one man, regensburg had nothing to lose and went all out attack but only managed to rattle union, who held onto the result in the end but were well aware that the penalty miss turned the match into their favour, as the outcome could have been completely different had it not been for the lucky post.
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ɪn moʊst ˈkeɪsɪz, ˌʤiəˈlɑʤɪkəl mæps ər meɪd baɪ ˈpisɪŋ təˈgɛðər ˌɑbzərˈveɪʃənz əv ˈhənərdz əv ˌɪndəˈvɪʤəwəl outcrops*. ˈbaʊndəriz bɪtˈwin taɪps əv rɑk ər ˈkəvərd ɪn græs ənd ʃip ənd hæv tɪ bi treɪst ɔn ðə mæp ˈleɪtər ɛz ə laɪn bɪtˈwin rɑk outcrops*, laɪk ə ˌɪnˈvərtɪd geɪm əv dot-to-dot*. ɪn ˈɛriəz laɪk ˌhɪməˈleɪəs ðə seɪm ˈbaʊndəriz meɪ bi ˈvɪzəbəl ɪn ən ˈɪnstənt ɔn ə væst wɔl əv rɑk. kˈwɪkli ˈmæpɪŋ væst ˈɛriəz əv ˈkəntri baɪ ˈtreɪsɪŋ ˈfiʧərz baɪ aɪ əˈkrɔs ɪkˈspænsɪz əv bɛr rɑk ɪz ə greɪt weɪ tɪ du ˌʤiəˈlɑʤɪkəl ˈmæpɪŋ. ɪt tərnz aʊt ju kən hæv ə goʊ æt ðɪs ‘‘himalayan-style’*’ ˈmæpɪŋ æt hoʊm. meɪk ə kəp əv ti (æd ˈsɔltɪd ˈbətər, ər spaɪst swit mɪlk fər ˌɔθənˈtɪsɪti) ənd faɪər əp ˈgugəl mæps. ɪt wərks ˈaʊtˈsaɪd ðə ˌhɪməˈleɪəs tu ˈdɛzərts ər greɪt fər ðɪs. ðɪs ɪz ən ˈɛriə əv nəˈmɪbiə ɪn ˈæfrɪkɑ. ˌɪˈmiˌdiətli ju kən si ˈdɪfərənt ˈɛriəz əv rɑk ðə ˈɪmɪʤ ˌɪtˈsɛlf ɪz laɪk ə ˌʤiəˈlɑʤɪkəl mæp, ˈoʊnli wɪˈθaʊt ˈleɪbəlz. ˌhɪməˈleɪən ʤiˈɑləʤɪsts wʊd aɪˈdɛntəˌfaɪ ðə ˈdɪfərənt ˈɛriəz əv rɑk baɪ ˈgɪtɪŋ ˈsæmpəlz, bət stɪk wɪθ ˈguglɪŋ ðə ʤiˈɑləʤi əv ðə ˈɛriə. lɛt mi teɪk ju θru ðə ˌʤiəˈlɑʤɪkəl kəmˈpoʊnənts ənd ðɛr ˈhɪstəri. fərst ɔf, ðə ˈɔrɪnʤ laɪnz ðət lʊk laɪk ˈrɪvərz. ˌɪgˈnɔr ðɛm: ðeɪ ər ˈrɪvərz ənd wi ər ʤiˈɑləʤɪsts, nɑt geographers*. ˈmɛnəli ˈfɪltər ðɛm aʊt əv ðə ˈɪmɪʤ. nɛkst lʊk æt ðə ˈɛriə tɔp lɛft kɔl ðɛm ðə ˈsɛdəmənts. ðeɪ fɔrmd ɪn ðə ˈoʊʃən bɪtˈwin ðə ˈkɑŋgoʊ ˈkrætən (ˈeɪnʧənt pis əv krəst) ənd ðə ˈkrætən. ðə ˈɛriə ɪz bɪˈkəz ðə ˌsɛdəˈmɛntəri leɪərz ər nɑt flæt. ðeɪ ər naʊ ɔn ɛʤ ənd fɔrm ˈrɪʤɪz ɔn ðə ˈsərfəs. ðə laɪt ˈɔrɪnʤ ˈɛriə fɑr raɪt ɪz meɪd əv (ənd ˈmɑdərn sænd, əˈgɛn ˈfɪltər ɪt aʊt, ɪf ju kən). ðiz fɔrmd wɪn ðə ˈoʊʃən kloʊzd ənd ˈkɑŋgoʊ ənd gɑt stək təˈgɛðər ɛz pɑrt əv ˌgɑndˈwɑnɑˌlænd. ðɪs ˈhæpənd əˈbaʊt hæf ə ˈbɪljən jɪrz əˈgoʊ. ˈbɑtəm lɛft, ðə ˈrəsti braʊn ˈɛriə ɪz ˈsɛdəmənts ənd vɑlˈkænɪk rɑks ðət ər pɑrt əv ðə supergroup*. ðiz fɔrmd ɔn ˌgɑndˈwɑnɑˌlænd bɪtˈwin ðə ˌkɑrbəˈnɪfərəs ənd ðə ʤʊˈræsɪk wɪn ˌʤiəˈlɑʤɪkəl kənˈdɪʃənz ɪn ðɪs pɑrt əv ˈæfrɪkɑ wər ˈrɛlətɪvli kɑm. ðə ˈrɪli ˈɑbviəs raʊnd θɪŋ ðət pərˈvərsli lɛft ənˈtɪl læst ɪz ə ˈsərkjələr ˈgrænɪt ˌɪnˈtruʒən kɔld ðət fɔrmd ə ˈlɪtəl ˈleɪtər, ɛz ˌgɑndˈwɑnɑˌlænd wɑz rɪpt əˈpɑrt ənd ðə saʊθ əˈtlæntɪk ˈoʊpənd. ˈgɪvɪn ju ðə ˈrɛlətɪv ˈeɪʤɪz əv ðə ˈdɪfərənt rɑk ˈpækɪʤɪz, bət wi kʊd hæv wərkt ðɪs aʊt frəm ˈgugəl mæps. ðə ˌɑbzərˈveɪʃənz ʃoʊ ju ər ɪgˈzæktli ðə seɪm ɛz ðoʊz juzd baɪ fild ʤiˈɑləʤɪsts. wət ˈfɑloʊz ər ə ˈsikwəns əv close-ups*. səm ər ˈaʊtˈsaɪd əv ðə ərˈɪʤənəl ˈɛriə, bət nən ər fɑr əˈweɪ. gɑt tu ˈɛriəz əv ˈsɛdəmənts, ðə ənd ðə. haʊ du wi noʊ wən ɪz ˈoʊldər ðən ðə ˈəðər? hir wi si ðə ˈsɪtɪŋ ɪn ə blɑb ɪn ðə ˈmɪdəl, wɪθ tɪ ðə ni. lʊk ˈkɛrfəli hɛlps) ənd ju kən si ˈsərkjələr laɪnz ɪn ðə. noʊt ðət ðə ˈrɪvərz goʊ raʊnd ðɪs blɑb. wi ər ˈlʊkɪŋ æt ə hɪl əv ˈsɛdəmənts. ðə laɪnz ər ðə ˈɛʤɪz əv ˈdɪfərənt bɛdz ənd ðeɪ ər ˈtreɪsɪŋ ˈkɑnˌtʊrz əraʊnd ðə hɪl. ðiz ər flæt leɪərz əv ˈsænˌstoʊn traɪ ˈtreɪsɪŋ ðə laɪnz ɪn ðə ðiz ər ˈɔlsoʊ ðə ˈɛʤɪz əv ˈsɛdəmənt bɛdz bət ðeɪ hæv bɪn ˈtɪltɪd. noʊt ðət ðeɪ ər kət baɪ ðə ɛʤ əv ðə. ðə ˈsərfəs bɪtˈwin ðə tu rɑk ˈpækɪʤɪz ɪz ən. ɪt ˌrɛprɪˈzɛnts ðə taɪm wɪn ðə ˈsɛdəmənts wər pʊʃt ˈɪntu ə ˈmaʊntən bɛlt ənd ðɛn ɪˈroʊdɪd ˈɪntu ə flæt ˈsərfəs. ˈfoʊldɪŋ ənd ðɪs ɪz ə vju əv ðə ˈkɑnˌtækt bɪtˈwin ðə ənd ðə ˈsɛdəmənts, wɪʧ hæv səm ˈfoʊldɪŋ hir. ðə ˈbaʊndəri bɪtˈwin ðə tu ɪz ˈfɛrli əˈbrəpt ənd kəts ðə ˈfoʊldɪd ˈbɛdɪŋ pleɪnz. ˈjuzɪŋ ðə ˈprɪnsəpəl əv riˈleɪʃənˌʃɪps ðə ˈgrænɪt ɪz ˈjəŋgər ðən ðə ˈsɛdəmənts ənd ðə ˈfoʊldɪŋ (ˌɔlˈðoʊ ðə ˈfoʊldɪŋ meɪ bi rɪˈleɪtɪd tɪ ðə əv ðə ˈgrænɪt). ðɛr ər səm faɪn waɪt laɪnz ˈkrɔsɪŋ ðə ˈfoʊldɪd ˈsɛdəmənts ðət meɪ bi veɪnz əv ˈmægmə ðət keɪm aʊt əv ðə meɪn ˈgrænɪt ˈfərðər ˈɛvədəns əv wət keɪm fərst. skut əraʊnd ə bɪt ənd ju kən si ðət ðɛr ɪz ən bɪtˈwin ðɪs ˈoʊldər ˈgrænɪt ənd ðə, wɪʧ gɪvz ˈjuˈɛs ðə ˈrɛlətɪv ˈeɪʤɪz əv ðə θri. θˈriˌweɪ ˈkɑnˌtækt ðɪs ɪz ə vju əv θri əv ɑr rɑk ˈpækɪʤɪz. ə ˈprɑmənənt ˈrɪvər ˈfɔrmɪŋ ə ˈjɛloʊ bɑr əˈkrɔs ðə ˈpɪkʧər. əˈpɑrt frəm ðət, frəm lɛft tɪ raɪt wi hæv: ˈsɛdəmənts; ˈsɛdəmənts, ˈsɪtɪŋ əˈbəv ðə; ðə ˈgrænɪt. ðə ˈbaʊndəri bɪtˈwin ðə ənd ðə ɪz streɪt ənd kəts əˈkrɔs ˈbɛdɪŋ, səˈʤɛstɪŋ ðə ˌɪnˈtruʒən ɪz ˈleɪtər. əˈnəðər ˌpɑsəˈbɪləˌti tɪ kənˈsɪdər ɪz ðət ðɪs ɪz ən ˈoʊldər ˈgrænɪt ənd ðə ɛʤ ɪz ʤɪst ðə ɛʤ əv ə hɪl. wɛl, lʊk ə ðə ˈpætərnz əv ðə strimz ðeɪ ər floʊɪŋ daʊn frəm ðə ˈsɛntər əv ðə ˈgrænɪt (ɪt ˈæˌkʧuəli fɔrmz ðə ˈbɪgəst ˈmaʊntən ɪn nəˈmɪbiə). fər ɪt tɪ bi haɪər naʊ ðən ðə flæt ˈsɛdəmənts, ɪt məst bi ˈjəŋgər ðən ðɛm. ðə ˈbaʊndəri bɪtˈwin ðə ənd ðə ɪz kwaɪt ˈɪntəˌrɛstɪŋ wɪθ ˈtɪltɪŋ əv ðə ənd ə zoʊn wɛr ðə ˈsɛdəmənts ənd ˈgrænɪt ər mɪkst. əˈpɑrt frəm ðə smɔl zoʊn ðət ɪz ˈkələrd bət wɪˈθaʊt klɪr ˈbɛdɪŋ, aɪ meɪk ðɪs aʊt. ðə ˌʤiəˈlɑʤɪkəl ˈhɪstəri aɪ ˈstɑrtɪd wɪθ ɪz beɪst ɔn ˈmɛni θɪŋz, ˌɪnˈkludɪŋ prɪˈsaɪs ˈdeɪtɪŋ əv ɪˈvɛnts ənd dɪˈteɪld fild wərk. ˌhaʊˈɛvər, ðə ˈbeɪsɪk bɪtˈwin ðə rɑks kən bi wərkt aʊt ˈjuzɪŋ ˈsɪmpəl ˌʤiəˈlɑʤɪkəl rulz ənd gʊd ˈfoʊtəˌgræfs. ðiz seɪm ˈprɪnsəpəlz ər biɪŋ juzd ɔn ˈəðər ˈplænəts wɛr ʤiˈɑləʤɪsts hæv ˈnɛvər bɪn. wi noʊ ə lɔt əˈbaʊt ðə ˌʤiəˈlɑʤɪkəl ˈhɪstəri əv mɑrz baɪ ˈmæpɪŋ frəm speɪs ˈjuzɪŋ ʤɪst ðiz tɛkˈniks. ˈgrænɪt nɛkst tɪ ˈfoʊldɪd
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in most cases, geological maps are made by piecing together observations of hundreds of individual outcrops. boundaries between types of rock are covered in grass and sheep and have to be traced on the map later as a line between rock outcrops, like a inverted game of dot-to-dot. in areas like himalayas the same boundaries may be visible in an instant on a vast wall of rock. quickly mapping vast areas of country by tracing features by eye across expanses of bare rock is a great way to do geological mapping.
it turns out you can have a go at this ‘himalayan-style’ mapping at home. make a cup of tea (add salted butter, or spiced sweet milk for authenticity) and fire up google maps. it works outside the himalayas too – deserts are great for this.
this is an area of namibia in sw africa. immediately you can see different areas of rock – the image itself is like a geological map, only without labels. himalayan geologists would identify the different areas of rock by getting samples, but we’ll stick with googling the geology of the area.
let me take you through the geological components and their history.
first off, the orange lines that look like rivers. ignore them: they are rivers and we are geologists, not geographers. mentally filter them out of the image.
next look at the stripy area top left – we’ll call them the damara sediments. they formed in the long-vanished khomas ocean between the congo craton (ancient piece of crust) and the kalahari craton. the area is stripy because the sedimentary layers are not flat. they are now on edge and form ridges on the surface.
the light orange area far right is made of damara granites (and modern sand, again filter it out, if you can). these formed when the khomas ocean closed and congo and kalahari got stuck together as part of gondwanaland. this happened about half a billion years ago.
bottom left, the rusty brown area is sediments and volcanic rocks that are part of the karoo supergroup. these formed on gondwanaland between the carboniferous and the jurassic when geological conditions in this part of africa were relatively calm.
the really obvious round thing that i’ve perversely left until last is a circular granite intrusion called brandberg that formed a little later, as gondwanaland was ripped apart and the south atlantic opened.
i’ve given you the relative ages of the different rock packages, but we could have worked this out from google maps. the observations i’ll show you are exactly the same as those used by field geologists. what follows are a sequence of close-ups. some are outside of the original area, but none are far away.
unconformity
we’ve got two areas of sediments, the damara and the karoo. how do we know one is older than the other?
here we see the red-brown karoo sitting in a blob in the middle, with stripy purple-brown damara to the ne. look carefully (zooooming helps) and you can see circular lines in the karoo. note that the rivers go round this blob.
we are looking at a hill of karoo sediments. the lines are the edges of different beds and they are tracing contours around the hill. these are flat layers of underformed sandstone .
try tracing the lines in the damara – these are also the edges of sediment beds but they have been tilted. note that they are cut by the edge of the karoo. the surface between the two rock packages is an unconformity. it represents the time when the damara sediments were pushed into a mountain belt and then eroded into a flat surface.
folding and cross-cutting granites
this is a view of the contact between the damara granites and the damara sediments, which have some zig-zaggedy folding here. the boundary between the two is fairly abrupt and cuts the folded bedding planes. using the principle of cross-cutting relationships the granite is younger than the sediments and the folding (although the folding may be related to the emplacment of the granite). there are some fine white lines crossing the folded sediments that may be veins of magma that came out of the main granite – further evidence of what came first.
scoot around a bit and you can see that there is an unconformity between this older damara granite and the karoo, which gives us the relative ages of the three.
three-way contact
this is a view of three of our rock packages. there’s a prominent river forming a yellow bar across the picture. apart from that, from left to right we have: damara sediments; karoo sediments, sitting above the unconformity; the brandberg granite. the boundary between the karoo and the brandberg is straight and cuts across bedding, suggesting the intrusion is later.
another possibility to consider is that this is an older granite and the edge is just the edge of a hill. well, look a the patterns of the streams – they are flowing down from the centre of the granite (it actually forms the biggest mountain in namibia). for it to be higher now than the flat karoo sediments, it must be younger than them.
the boundary between the brandberg and the karoo is quite interesting , with tilting of the karoo and a zone where the sediments and granite are mixed. apart from the small zone that is karoo coloured but without clear bedding, i can’t make this out.
the geological history i started with is based on many things, including precise dating of events and detailed field work. however, the basic age-relationships between the rocks can be worked out using simple geological rules and good photographs.
these same principles are being used on other planets where geologists have never been. we know a lot about the geological history of mars by mapping from space using just these techniques.
damara granite next to folded damara
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xbox* 360 geɪm ˈgeɪmɪŋ lɔs ˈsæntoʊs: ə ˈsprɔlɪŋ, məˈtrɑpələs fʊl əv ˈsɛlfˈhɛlp ˈguˌruz, ˈstɑrləts ənd ˈfeɪdɪŋ səˈlɛbrɪtiz. wəns ðə ˈɛnvi əv ðə ˈwɛstərn wərld, naʊ ˈstrəgəlɪŋ tɪ steɪ əˈfloʊt ɪn ən ˈɪrə əv ˌɛkəˈnɑmɪk ənˈsərtənti ənd ʧip ˌriˈæləˌti ˌtɛləˈvɪʒən. əˈmɪdst ðə ˈtərˌmɔɪl, θri ˈvɛri ˈdɪfərənt ˈkrɪmənəlz plɑt ðɛr oʊn ˈʧænsɪz əv sərˈvaɪvəl ənd səkˈsɛs: ˈfræŋklɪn, ə strit ˈhəsələr ˈlʊkɪŋ fər ril ˌɑpərˈtunətiz ənd ˈsɪriəs ˈməni; ˈmaɪkəl, ə prəˈfɛʃənəl huz rɪˈtaɪərmənt ɪz ə lɔt lɛs ˈroʊzi ðən hi hoʊpt ɪt wʊd bi; ənd ˈtrɛvər, ə ˈvaɪələnt ˈmeɪniˌæk ˈdrɪvən baɪ ðə ʧæns əv ə ʧip haɪ ənd ðə nɛkst bɪg skɔr. ˈrənɪŋ aʊt əv ˈɔpʃənz, ðə kru rɪsks ˈɛvriˌθɪŋ ɪn ə ˈsɪriz əv ˈdɛrɪŋ ənd ˈdeɪnʤərəs ðət kʊd sɛt ðɛm əp fər laɪf. ðə ˈbɪgəst, moʊst daɪˈnæmɪk, ənd moʊst dɪˈvərs ˈoʊpən wərld ˈɛvər kriˈeɪtɪd, grænd θɛft ˈɔtoʊ vi blɛndz ˈstɔriˌtɛlɪŋ ənd ˈgeɪmˌpleɪ ɪn nu weɪz, ɛz pleɪərz rɪˈpitɪdli ʤəmp ɪn ənd aʊt əv ðə lɪvz əv ðə geɪmz θri lɛd ˈkɛrɪktərz, pleɪɪŋ ɔl saɪdz əv ðə geɪmz ˌɪntərˈwoʊvən ˈstɔri. ɔl ðə ˈklæsɪk ˈhɔlˌmɑrks əv ðə ˈgraʊnˌbreɪkɪŋ ˈsɪriz rɪˈtərn, ˌɪnˈkludɪŋ ˌɪnˈkrɛdəbəl əˈtɛnʃən tɪ ˈditeɪl ənd grænd θɛft ˈɔtoʊz ˈdɑrkli ˈhjumərəs teɪk ɔn ˈmɑdərn ˈkəlʧər, əˈlɔŋˈsaɪd ə ˈbrændˌnu ənd æmˈbɪʃəs əˈproʊʧ tɪ ˈoʊpən wərld ˈməltiˌpleɪər. grænd θɛft ˈɔtoʊ vi ɪz ðə ˈlɑrʤəst ənd moʊst æmˈbɪʃəs geɪm geɪmz həz jɛt kriˈeɪtɪd, ənd teɪks fʊl ædˈvæntɪʤ əv ˈɛvəri aʊns əv ˈprɑsɛsɪŋ paʊər əˈveɪləbəl ɪn ðə ˈkɑrənt ˌʤɛnərˈeɪʃən əv kənˈsoʊlz. ɪn ˈɔrdər tɪ prəˈvaɪd ðə bɛst ˈpɑsəbəl ɪkˈspɪriəns fər səʧ ə ˈmæsɪv ənd dɪˈteɪld wərld, ðə geɪm wɪl hæv ˌɪnstəˈleɪʃən rɪkˈwaɪrmənts ɔn ðə 360 grænd θɛft ˈɔtoʊ vi wɪl ʃɪp ɔn tu dɪsks; dɪsk 1 wɪl bi juzd fər ə ˈwəˌtaɪm ˈmændəˌtɔri ˌɪnˈstɔl ənd dɪsk 2 wɪl bi juzd tɪ pleɪ ðə geɪm. ˈæftər ðə ˌɪnˈstɔl, pleɪərz wɪl bi ˈeɪbəl tɪ ˌɛnˈʤɔɪ boʊθ grænd θɛft ˈɔtoʊ vi ənd grænd θɛft ˈɔtoʊ ˈɔnˌlaɪn wɪˈθaʊt ˈɛni nid tɪ swɪʧ dɪsks. ðɪs ˌɪˈnɪʃəl ˌɪnˈstɔl wɪl ˌrikˈwaɪər ən 360 hɑrd draɪv ər ən ɪkˈstərnəl flæʃ draɪv (soʊld ˈsɛpərətli) wɪθ æt list 8 əv fri speɪs. ɪf ˈjuzɪŋ ə flæʃ draɪv ɪt məst bi æt list wɪθ ə ˈmɪnəməm rɛd spid ənd fər 360 juz. ə nu flæʃ draɪv ɪz ˌrɛkəˈmɛndɪd tɪ ɪnˈʃʊr ˈɑptɪməm pərˈfɔrməns. ˈɔnˌlaɪn trænsˈfɔrmər ˈreɪsɪz (ˈfɪzɪkəl)
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xbox 360 game rockstar gaming
los santos: a sprawling, sun-soaked metropolis full of self-help gurus, starlets and fading celebrities. once the envy of the western world, now struggling to stay afloat in an era of economic uncertainty and cheap reality tv.
amidst the turmoil, three very different criminals plot their own chances of survival and success: franklin, a street hustler looking for real opportunities and serious money; michael, a professional ex-con whose retirement is a lot less rosy than he hoped it would be; and trevor, a violent maniac driven by the chance of a cheap high and the next big score. running out of options, the crew risks everything in a series of daring and dangerous heists that could set them up for life.
the biggest, most dynamic, and most diverse open world ever created, grand theft auto v blends storytelling and gameplay in new ways, as players repeatedly jump in and out of the lives of the game's three lead characters, playing all sides of the game's interwoven story.
all the classic hallmarks of the groundbreaking series return, including incredible attention to detail and grand theft auto's darkly humorous take on modern culture, alongside a brand-new and ambitious approach to open world multiplayer. grand theft auto v is the largest and most ambitious game rockstar games has yet created, and takes full advantage of every ounce of processing power available in the current generation of consoles. in order to provide the best possible experience for such a massive and detailed world, the game will have installation requirements on the xbox 360.
grand theft auto v will ship on two discs; disc 1 will be used for a one-time mandatory install and disc 2 will be used to play the game. after the install, players will be able to enjoy both grand theft auto v and grand theft auto online without any need to switch discs.
this initial install will require an xbox 360 hard drive or an external 16gb usb flash drive (sold separately) with at least 8 gb of free space. if using a usb flash drive it must be at least usb 2.0 with a minimum 15mbps read speed and formatted for xbox 360 use. a new usb flash drive is recommended to ensure optimum performance.
gta online - transformer races (physical)
screenshots
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soʊ wəts ɪt ɔl əˈbaʊt? ˈæli ˈlɪtəl ɪz ə ˈtiˌneɪʤər, ˈlɪvɪŋ ɪn ə ˈpərˌfɪkt, ˈhæpi səˈbərbən taʊn wɛr ˈpipəl ˈsəmˌtaɪmz breɪk ˈɪntu sɔŋ ənd dæns. saʊnz əˈmeɪzɪŋ, raɪt? ɪkˈsɛpt hi heɪts ɪt, ənd wɔnts tɪ ɪˈskeɪp tɪ ðə ˈsɪti. ˌhaʊˈɛvər, ɔn ðə deɪ hi ˌɪnˈtɛndz tɪ liv, hi ɪz ˌɪnˈvɑlvd ɪn ə kɑr ˈæksədənt ənd weɪks əp ɪn ðə ˈhɑˌspɪtəl, kəmˈplitli əˈneɪbəl tɪ sɪŋ. rɪˈʤɛktɪd ɛz ə frik baɪ hɪz home-town*, ˈæli ənd hɪz frɛndz ɪn ðə mˈjuzɪkəl dɪˈfɪʃənsi səˈpɔrt grup sun bɪˈgɪn tɪ ənˈkəvər ðə dɑrk ˈsikrɪt əv ənd tɪ ˈriəˌlaɪz ɪt maɪ nɑt bi soʊ ˈpərˌfɪkt ˈæftər ɔl... ðə taʊn ðət səŋ ɪz ə ʃɔrt kəˈmidɪk mˈjuzɪkəl fɪlm wɪθ ə ˈdisənt əˈmaʊnt əv kæmp ˈhɔrər ənd ˌsaɪˈfaɪ θroʊn ɪn ðɛr, ɪn ðə veɪn əv ˈlɪtəl ʃɑp əv ˈhɔrərz. ɪt ɪz ˈɔlsoʊ ə ˈləvɪŋ dikənˈstrəkʃən əv ə ˈʒɑnrə, məʧ laɪk ˈɛdgər raɪts ˈtrɪləʤi ər ʤɔs ˈkæbən ɪn ðə wʊdz. ˈəðər kəˈmidɪk mˈjuzɪkəlz laɪk ðə ə ˈvɛri ˈpɑtər ˈsɪriz, ˈdɑktər blɔg, ənd ðə bʊk əv ˈmɔrmən ər ə ˈpərsɪnəl ˈɪnfluəns tɪ ðə ˈpipəl ˌɪnˈvɑlvd, ɛz wɛl ɛz ə gʊd ˈɪndəˌkeɪtər əv ðə toʊn wɪr goʊɪŋ fər. hu ər wi? ˈbɪli ˈgɑdfri ɪz ə 19 jɪr oʊld fɪlm ˈstudənt æt rɔɪəl ˈhɑloʊˌweɪ ˌjunəˈvərsəti əv ˈləndən, ənd ə ˈləvər əv mˈjuzɪkəlz tu fækts ðət hæv ˈnɛvər bɪn ˈjusfəli lɪŋkt ənˈtɪl ðɪs fɪlm. bət naʊ ðeɪ ər, soʊ ðæts nis. hi həz bɪn ˈmeɪkɪŋ fɪlmz sɪns hi wɑz 13 ənd həz bɪn ˈmeɪkɪŋ ˈdisənt wənz fər æt list ə ˈkəpəl əv jɪrz. ju kən faɪnd səm əv ðɛm ɔn hɪz ˈjuˌtub ˈʧænəl (ɪf ju wɔnt, hiz nɑt ˈfɔrsɪŋ ju ər ˈɛniˌθɪŋ: https://www.youtube.com/thebillygodfrey*). hɪz ˈpərsɪnəl ˈɪnˌfluənsɪz ər ˈɛdgər raɪt, ˈtɛri ˈgɪliəm, ðə ˈmaɪti boosh*, ˈstivən sodheim*, ˈivəl dɛd (ðə ərˈɪʤənəl, nɑt ðə ˈriˈmeɪk), ˈspaɪdər mæn 2 (ðə geɪm, nɑt ðə fɪlm) ənd hɪz ˈfeɪvərɪt mˈjuzɪkəl ɪz ˈkərəntli ə taɪ bɪtˈwin ˈwɪkəd ənd ɪts ˈpɛrədi, tˈwɪstɪd. ʤæk ˈgɑdfri ɪz ə ˈsɔŋˌraɪtər ənd ə mˈjuzɪkəl əbˈsɛsɪv. hi ˈkænɑt weɪt tɪ ʃɛr ɔl ðə ˈkreɪzi sɔŋz ɪn ðɪs fɪlm əraʊnd ðə wərld. ˌoʊˈkeɪ lɛts bi ˈɑnəst, hiz ˈprɑbəˌbli ə ˈlɪtəl tu ɪkˈsaɪtɪd. wɪn nɑt ˈsɔŋˌraɪtɪŋ, hi ˌɛnˈʤɔɪz ˈbʊləts ənd ti. hɪz ˈfeɪvərɪt mˈjuzɪkəl ɪz ˈligəli blɑnd ənd hɪz ˈfeɪvərɪt sɔŋ ɪz ˈpaɪˌnæpəl gruv baɪ ʤus. ju kən hir səm əv hɪz stəf hir: https://soundcloud.com/jackjgodfrey*. ðə fɪlm ˈfɛstɪvəl soʊˈsaɪɪti ɪz ə kəmˈjunɪti əv ˈstudənt æt rɔɪəl ˈhɑloʊˌweɪ, kəˈmɪtɪd tɪ prəˈdusɪŋ haɪ kˈwɑləti ənd ˈɪnəˌveɪtɪv ˈmuviz. naʊ ˈɛnərɪŋ ðɛr θərd jɪr əv ɪgˈzɪstəns, fɪlm fɛst həz ə ˈnəmbər əv ˈəðər æmˈbɪʃəs ˈprɑʤɛkts ˌbiˈsaɪdz ðə taʊn ðət səŋ, ˌɪnˈkludɪŋ ə web-series*, tu ˌsaɪˈfaɪ ʃɔrt fɪlmz ənd məʧ mɔr. ɪf jʊr ˈɪntəˌrɛstɪd, pliz ʧɛk aʊt ðɛr ˈfeɪsˌbʊk peɪʤ: waɪ wi nid ðə ˈməni (ənd waɪ soʊ məʧ)? naʊ ɪz ə lɔt fər ə ˈstudənt fɪlm, bət ɪts ə ˈtaɪni əˈmaʊnt fər ə mˈjuzɪkəl fɪlm (ˈivɪn fər wən wɪθ ə rən taɪm əv əraʊnd 30 mins*). ðɪs ɪz bɪˈkəz mˈjuzɪkəlz ɪf dən ˈprɑpərli kən bi ˈvɛri ˈkɔstli. hir ɪz rəf ˌɛstəˈmeɪʃən əv ðə ˈbəʤɪt ˈbreɪkˌdaʊn: mˈjuzɪk rɪˈkɔrdɪŋ fər wən θɪŋ, wi nid tɪ ˈrɛkərd ðə ɪnˈtaɪər saʊnd træk ɪn pre-production*, ə ˈprɔˌsɛs ðət wɪl teɪk əp tɪ 4 deɪz, ˌɪnˈvɑlv əp tɪ 30 ˈsɪŋərz æt ə taɪm, ɛz wɛl ɛz ə ˈrizənəbli saɪzd əˈkəmpəniɪŋ bænd. wi ər ɔˈrɛdi ɪn tɔks wɪθ ə ˈkəmpəˌni ðət kən gɪv ˈjuˈɛs ə ˈvɛri ˈrizənəbəl kwoʊt fər ðə kˈwɑləti, bət ˈməni wɪl stɪl bi ən ˈɪʃu. ˈkæmərə haɪər wɪr ˈlʊkɪŋ tɪ juz ə ˈkænən mɑrk 3 tɪ fɪlm ðɪs mˈjuzɪkəl, ɛz ɪts ə ˈfɛrli haɪ kˈwɑləti ˈkæmərə ənd ˈlɛnzɪz ər ˈizi tɪ faɪnd. ən ˈævərɪʤ kwoʊt fər ðɪs kəmz əraʊnd ə wik. ˈkeɪtərɪŋ wi doʊnt wɔnt tɪ ðɪs fɪlm, ənd tɪ du ðət wɪr goʊɪŋ tɪ nid səm ˈprɪti bɪg skeɪl sɔŋ ənd dæns ˈnəmbərz. ðɪs wɪl min 30 ɑd ˈɛkstrəz ɔn sɛt fər səm deɪz, pləs ˈmɛmbərz əv ðə ˈsɛntrəl kæst, ɔl əv wɪʧ wɪl nid ˈpipəl tɪ gaɪd ðɛm əraʊnd sɛt ənd ˈkeɪtərɪŋ soʊ ðeɪ doʊnt stɑrv. əˈgɛn, wɪr ɔˈrɛdi ɪn tɔks wɪθ ə ˈnəmbər əv ˈkeɪtərɪŋ ˈkəmpəˌniz tɪ wərk aʊt ən əˈfɔrdəbəl dil. ˈfɛstɪvəlz soʊ ˈæftər ðə fɪlm ɪz dən, wid laɪk tɪ gɪt ɪt əraʊnd ɛz məʧ ɛz ˈpɑsəbəl, soʊ wɪr ˈpʊtɪŋ əˈsaɪd ə fɛr əˈmaʊnt fər pəˈblɪsɪti ənd ˈsɛndɪŋ ɪt ɔf tɪ ˈfɛstɪvəlz, səʧ ɛz ˈləndənz raindance*. əˈdɪʃənəl kɔsts ðɛn wiv gɑt ðə ˈskaʊtɪŋ ənd peɪɪŋ fər loʊˈkeɪʃənz, ˈkɑstumz, ənd əv kɔrs ˈmeɪkɪŋ ənd ˈʃɪpɪŋ jʊr oʊn rɪˈwɔrdz ɔf tɪ ju! soʊ doʊnt ˈwəri, ˈɛvriˌθɪŋ ju gɪv wɪl goʊ təˈwɔrdz ˈmeɪkɪŋ ðɪs fɪlm ˈpɑsəbəl ənd əˈmeɪzɪŋ. ənd ɪf wi ˈsəmˌhaʊ ˈmænɪʤd tɪ ɪkˈsid ɑr ˈtərgət, wi hæv səm strɛʧ goʊlz wərkt aʊt fər haʊ tɪ meɪk ðə taʊn ðət səŋ ˈivɪn ˈbɛtər. wɔʧ ðɪs speɪs... lɪŋks tɪ ɑr ˈsoʊʃəl ˈmidiə ˈpeɪʤɪz: ˈfeɪsˌbʊk: tˈwɪtər: ˈtəmblər: http://thetownthatsung.tumblr.com*/
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so what's it all about?
allie little is a teenager, living in grenton - a perfect, happy suburban town where people sometimes break into song and dance. sounds amazing, right? except he hates it, and wants to escape to the city. however, on the day he intends to leave, he is involved in a car accident and wakes up in the hospital, completely unable to sing. rejected as a freak by his home-town, allie - and his friends in the musical deficiency support group - soon begin to uncover the dark secret of grenton and to realise it my not be so perfect after all...
the town that sung is a short comedic musical film with a decent amount of camp horror and sci-fi thrown in there, in the vein of little shop of horrors. it is also a loving deconstruction of a genre, much like edgar wright's cornetto trilogy or joss whedon's cabin in the woods. other comedic musicals like the a very potter series, dr horrible's sing-a-long blog, and the book of mormon are a personal influence to the people involved, as well as a good indicator of the tone we're going for.
who are we?
billy godfrey is a 19 year old film student at royal holloway university of london, and a lover of musicals - two facts that have never been usefully linked until this film. but now they are, so that's nice.
he has been making films since he was 13 and has been making decent ones for at least a couple of years. you can find some of them on his youtube channel (if you want, he's not forcing you or anything: https://www.youtube.com/thebillygodfrey). his personal influences are edgar wright, terry gilliam, the mighty boosh, stephen sodheim, evil dead (the original, not the remake), spider man 2 (the game, not the film) and his favourite musical is currently a tie between wicked and its parody, twisted.
jack godfrey is a songwriter and a musical obsessive. he cannot wait to share all the crazy songs in this film around the world. okay let's be honest, he's probably a little too excited. when not songwriting, he enjoys bullets and tea. his favourite musical is legally blonde and his favourite song is pineapple groove by juice. you can hear some of his stuff here: https://soundcloud.com/jackjgodfrey.
the rhul film festival society is a community of student film-makers at royal holloway, committed to producing high quality and innovative movies. now entering their third year of existence, film fest soc has a number of other ambitious projects besides the town that sung, including a web-series, two sci-fi short films and much more. if you're interested, please check out their facebook page: https://www.facebook.com/surhulfilmfestivalsociety?fref=ts
why we need the money (and why so much)?
now £3,000 is a lot for a student film, but it's a tiny amount for a musical film (even for one with a run time of around 30 mins). this is because musicals - if done properly - can be very costly. here is rough estimation of the budget breakdown:
music recording - £600
for one thing, we need to record the entire sound track in pre-production, a process that will take up to 4 days, involve up to 30 singers at a time, as well as a reasonably sized accompanying band. we are already in talks with a company that can give us a very reasonable quote for the quality, but money will still be an issue.
camera hire - £300 - £600
we're looking to use a canon 5d mark 3 to film this musical, as it's a fairly high quality camera and lenses are easy to find. an average quote for this comes around £300 a week.
catering - £750
we don't want to half-ass this film, and to do that we're going to need some pretty big scale song and dance numbers. this will mean 30 odd extras on set for some days, plus members of the central cast, all of which will need people to guide them around set and catering so they don't starve. again, we're already in talks with a number of catering companies to work out an affordable deal.
festivals - £650
so after the film is done, we'd like to get it around as much as possible, so we're putting aside a fair amount for publicity and sending it off to festivals, such as london's raindance.
additional costs - £400
then we've got the scouting and paying for locations, costumes, and of course making and shipping your own rewards off to you! so don't worry, everything you give will go towards making this film possible and amazing. and if we somehow managed to exceed our target, we have some stretch goals worked out for how to make the town that sung even better. watch this space...
links to our social media pages:
facebook: https://www.facebook.com/thetownthatsung
twitter: https://twitter.com/thetownthatsung
tumblr: http://thetownthatsung.tumblr.com/
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ˈprɛzɪdənt trəmp mərˈin wən ɔn ˈfraɪˌdeɪ æt ðə saʊθ lɔn əv ðə waɪt haʊs. ˈwɔʃɪŋtən poʊst) ˈprɛzɪdənt trəmp ˌriˈpɔrtəd ɔn ə nu ˌfaɪˈnænʃəl dɪˈskloʊʒər ðət hɪz ril ɛˈsteɪt ənd hoʊˈtɛl ˈæˌsɛts ər wərθ æt list ˈbɪljən, ə stɑrk ˌɪləˈstreɪʃən əv ðə ˈkɑmplɛks ˌfaɪˈnænʃəl ˈɪntərɪsts hi həz meɪnˈteɪnd ɪn ðə waɪt haʊs. ðə rɪˈpɔrt, wɪʧ ðə ˈprɛzɪdənt ˌvɑlənˈtɛrəli faɪld wɪθ ðə ˈɔfəs əv ˈgəvərnmənt ˈɛθɪks, ʃoʊz ðət hi kəˈlɛktəd ən ˈɪnˌfləks əv nu ˈrɛvəˌnu frəm ˈrisənt ˈfɔrən dilz ənd ə sərʤ əv ˈbɪznɪs æt hɪz ˈsɪgnəʧər ˈprɑpərti ɪn ˈflɔrɪdə. trəmp həz meɪd hɪz wɛlθ ə ki ˈɛləmənt əv hɪz pəˈlɪtɪkəl brænd, ənd hɪz rɪfˈjuzəl tɪ rɪˈlɪŋkwɪʃ ˈoʊnərˌʃɪp əv hɪz ˈkəmpəˌni həz spərd ˈɛθɪks kəmˈpleɪnts ənd ˈligəl ˈʧælənʤɪz. ɛz ə ˈkænədɪt, hi kleɪmd hi wɑz wərθ mɔr ðən 10 ˈbɪljən, ˌɔlˈðoʊ hɪz nɛt wərθ ɪz ˌɪmˈpɑsəbəl tɪ dɪˈtərmən frəm hɪz ˌfaɪˈnænʃəl dɪˈskloʊʒərz, ənd hi həz nɑt prəˈvaɪdɪd ˌɪndɪˈpɛndənt ˈɛvədəns tɪ bæk ðət əp. ðə waɪt haʊs dɪd nɑt meɪk ˈɛni ˈsteɪtmənts əˈbaʊt hɪz nɛt wərθ wɪn hɪz ˈfaɪlɪŋ wɑz ˈpoʊstɪd ˈfraɪˌdeɪ baɪ ðə ˈɛθɪks ˈɔfəs. ðə rɪˈpɔrt dɪz nɑt ˌrikˈwaɪər əˈfɪʃəlz tɪ rɪˈpɔrt ðɛr ɪgˈzækt ˈɪnˌkəm, tæks reɪt ər ˈʧɛrətəbəl ˈgɪvɪŋ ənˈlaɪk ə tæks rɪˈtərn, wɪʧ ðə ˈprɛzɪdənt həz rɪfˈjuzd tɪ riˈlis, ˈbreɪkɪŋ wɪθ pæst trəˈdɪʃən. (ˈpitər ˈwɔʃɪŋtən poʊst) dɪˈskloʊʒər ʃoʊz hi hɛld ˈɔntu ðə væst məˈʤɔrəti əv hɪz ˈæˌsɛts sɪns hɪz læst dɪˈskloʊʒər ɪn meɪ 2016 wɪn hi ˌriˈpɔrtəd hɪz ˈhoʊldɪŋz wər wərθ æt list ˈbɪljən. ˈbɪznɪs bumz ɛz hi rənz fər ˈprɛzɪdənt, ˌfaɪˈnænʃəl dɪˈskloʊʒərz ʃoʊ] ˌhaʊˈɛvər, hi dɪd sɛl ˈdəzənz əv stɑks hi hɛld ɪn ˈbroʊkərɪʤ əˈkaʊnts, ˌɪnˈkludɪŋ ʃɛrz ɪn ˈæməˌzɑn, ˈɛksɑn ˈmoʊbəl, ˈgoʊldmən sɑks, ˈmaɪˌkroʊˈsɔft, toʊˈjoʊtə ənd ˈəðər ˈkəmpəˌniz. ðə stɑks ərnd ɪm ˈmɪljənz əv ˈdɔlərz ɪn ˈkæpɪtəl geɪnz ənd ˈdɪvɪˌdɛndz. ðə dɪˈskloʊʒər dɪz nɑt rɪˈvil wɪn ðə ˌɪnˈvɛstmənts wər soʊld. ˌhaʊˈɛvər, ə ˈspoʊksmən sɛd ɪn dɪˈsɛmbər ðət trəmp hæd ˈlɪkwɪˌdeɪtɪd hɪz ɪnˈtaɪər stɑk pɔrtˈfoʊliˌoʊ ɪn ʤun 2016 əraʊnd ðə taɪm hi bɪˈgæn ˈpɔrɪŋ ˈmɪljənz ˈɪntu hɪz ˌprɛzɪˈdɛnʃəl kæmˈpeɪn. sɪns ˈʤænjuˌɛri, ɔl əv ˈbɪznɪs ˈæˌsɛts hæv bɪn ɪn ə trəst ˈmænɪʤd ənd kənˈtroʊld baɪ hɪz sənz ˈdɑnəld jr*. ənd ˈɛrɪk, ɛz wɛl ɛz ˈlɔŋˌtaɪm trəmp ˌɔrgənəˈzeɪʃən ɪgˈzɛkjətɪv ˈælən weisselberg*. ˈdɑkjəmənts riˈlist ɪn ˈeɪprəl ʃoʊ ðət trəmp ɪz ðə ˌbɛnəˈfɪʃiˌɛri əv ðə trəst ənd ɪz əˈlaʊd tɪ drɔ ˈməni frəm ɪt æt ˈɛni taɪm. bɪˈkəz ðə nu dɪˈskloʊʒər ˌɪnˈkludz ə ˈpɪriəd ˈkəvərd baɪ hɪz læst rɪˈpɔrt, ɪt ɪz ˈdɪfəkəlt tɪ prɪˈsaɪsli geɪʤ ˈwɛðər ˈrɛvəˌnu æt ˈbɪznɪsɪz həz gɔn əp ər daʊn. bət ðə nu rɪˈpɔrt ʃoʊz ðət hɪz ˈhoʊldɪŋz ˈʤɛnərˌeɪtɪd ˈnɪrli 600 ˈmɪljən ɪn groʊs ˈrɛvəˌnu bɪtˈwin ˈʤænjuˌɛri 2016 ənd əv ðɪs jɪr, wɪθ səbˈstænʃəl səmz ˈkəmɪŋ frəm ˈprɑpərtiz ˈaʊtˈsaɪd ðə juˈnaɪtɪd steɪts ənd hoʊˈtɛlz ðət hi həz ˈspɑˌtlaɪtɪd ɛz ˈprɛzɪdənt. fər ðə fərst taɪm, trəmp ˌriˈpɔrtəd ˈɪnˌkəm frəm ðə trəmp taʊər ɪn kolkata*, ˈɪndiə, wɛr hi hoʊldz ə ˈlaɪsənsɪŋ əˈgrimənt wɪθ ˈloʊkəl dɪˈvɛləpərz. hi sɛd hi rɪˈsivd mɔr ðən frəm ðə dil. ˈlaɪkˌwaɪz, hɪz nu taʊər ɪn vænˈkuvər, ˈbrɪtɪʃ kəˈləmbiə, wɪʧ ˈoʊpənd ɪn ˈfɛbruˌɛri, wɑz ə nu sɔrs əv kæʃ: trəmp ˌriˈpɔrtəd ðət hi ərnd mɔr ðən 5 ˈmɪljən frəm ðə ˈprɑʤɛkt, wɪʧ wɑz dɪˈvɛləpt baɪ ðə sən əv wən əv ˈrɪʧəst mɛn. ˈləgʒəri hoʊˈtɛl nɪr ðə waɪt haʊs, wɪʧ hɛld ɪts grænd ˈoʊpənɪŋ ɪn ɑkˈtoʊbər, ˌriˈpɔrtəd ˈmɪljən ɪn ˈɪnˌkəm. ənd ˈrɛvəˌnu æt pɑm biʧ kləb,, klaɪmd tɪ ˈmɪljən ˈdʊrɪŋ ðə mənθ ˈpɪriəd ˈkəvərd baɪ ðə rɪˈpɔrt. ɪn ˌʤuˈlaɪ 2015 hi ˌriˈpɔrtəd ˈərnɪŋ ˈmɪljən frəm ðə ˈprɑpərti ɪn ðə ˈpriviəs mənθs. ðə ˈprɛzɪdənt wɑz nɑt rikˈwaɪərd tɪ faɪl ə nu ˌfaɪˈnænʃəl dɪˈskloʊʒər wɪθ ðə ˈɔfəs əv ˈgəvərnmənt ˈɛθɪks ənˈtɪl nɛkst spərɪŋ, bət trəmp ˌdɪˈsaɪdɪd tɪ ˌvɑlənˈtɛrəli səbˈmɪt ən ˈəpˌdeɪtɪd rɪˈpɔrt ɪn hɪz fərst jɪr ɪn ˈɔfəs, ˈfɑloʊɪŋ ðə trəˈdɪʃən əv pæst ˈprɛzɪˌdɛnts ˌɪnˈkludɪŋ ˈbɑrək ˌoʊˈbɑmə ənd ʤɔrʤ ˈdəbəlju. bʊʃ. ðə nu ˈfaɪlɪŋ ʃoʊz ðət trəmp hæd æt list 310 ˈmɪljən ɪn ˌlaɪəˈbɪlɪtiz sprɛd əˈkrɔs 16 loʊnz ɛz əv meɪ 31 moʊst əv ðɛm ˈmɔrgɪʤɪz, ən əˈmaʊnt ˈsɪmələr tɪ wət hi ˌriˈpɔrtəd ɪn hɪz praɪər ˌfaɪˈnænʃəl dɪˈskloʊʒər. ðə ˌlaɪəˈbɪlɪtiz ˈprɑbəˌbli ər məʧ ˈlɑrʤər bɪˈkəz faɪv əv ðə dɛts wər wərθ mɔr ðən 50 ˈmɪljən. ˈdɑkjəmənts fər ðoʊz ˌɪndəˈvɪʤəwəl loʊnz səˈʤɛst trəmp ˈæˌkʧuəli həz ə ˈmɪnəməm əv 500 ˈmɪljən ɪn dɛt. rɪfˈjuzəl tɪ dɪˈvɛst hɪz ˈhoʊldɪŋz ˌbiˈfɔr ˈteɪkɪŋ ˈɔfəs həz ˈtrɪgərd ə kæˈskeɪd əv kəmˈpleɪnts rɪˈleɪtɪd tɪ ðə juz əv ˈgəvərnmənt ˈrisɔrsɪz tɪ prəˈmoʊt ˈprɑpərtiz səʧ ɛz, ˌæləˈgeɪʃənz ðət hi ɪz ˈvaɪəleɪtɪŋ ðə ˈfɔrən klɔz ənd kˈwɛsʧənz əˈbaʊt haʊ hi ɪz biɪŋ juzd tɪ prəˈmoʊt ðə trəmp ˈprɑʤɛkts əˈbrɔd. ˈərliər ðɪs wik, ðə ˌdɛməˈkrætɪk əˈtərniz ˈʤɛnərəl ɪn ˈmɛrələnd ənd ðə ˈdɪstrɪkt ɛz wɛl ɛz ˈnɪrli 200 ˌdɛməˈkrætɪk ˈmɛmbərz əv ˈkɑŋgrəs faɪld ˈsɛpərˌeɪt ˈlɔˌsuts əˈlɛʤɪŋ ðət ˈpeɪmənts tɪ trəmp ˈbɪznɪsɪz ˈvaɪəleɪtɪd ðə ˈklɔzɪz. tæks əˈtərni, ˈʃɛri ˈdɪlən, toʊld rɪˈpɔrtərz ɪn ˈʤænjuˌɛri ðət baɪ ˈsɛtɪŋ əp ə trəst hi wɑz ˈteɪkɪŋ stɛps ˌriəˈlɪstɪkli ˈpɑsəbəl tɪ meɪk ɪt klɪr ðət hi ɪz nɑt ˈɛkˌsplɔɪtɪŋ ðə ˈɔfəs əv ðə ˈprɛzɪdənsi fər hɪz ˈpərsɪnəl benefit.”*.” dɪˈskloʊʒər rɪˈflɛktɪd ðə əˈpɛrənt dɪˈmaɪz əv ðə haɪɛnd laɪn əv hɪz waɪf,, wɪʧ ˌɪnˈkludɪd ˈprɑdəkts meɪd wɪθ ˈkæviˌɑr. ðə mɑrks ˈkəmpəˌni ɪz noʊ ˈlɔŋgər ˈlɪstɪd ɛz wən əv hər ˈæˌsɛts. ðə fərst ˈleɪdi dru waɪd ˈkrɪtɪˌsɪzəm ˈərliər ðɪs jɪr wɪn ʃi kleɪmd ɪn ə ˈlaɪbɛl ˈlɔˌsut ðət ə dɪˈfæməˌtɔri ˈstɔri ɪn ðə ˈdeɪli meɪl hæd dɪˈreɪld hər opportunity”*” tɪ lɔnʧ ə brɔd kəˈmərʃəl brænd ənd brɪŋ ɪn ˈbɪznɪs ˌɑpərˈtunətiz. trəmp ˈpriviəsli ˌriˈpɔrtəd bɪtˈwin ənd ɪn ˈɪnˌkəm frəm hər ækˈsɛsəriz laɪn. bət ˈdʊrɪŋ ðə pæst jɪr, ʃi ˈlɪstɪd noʊ ˈɪnˌkəm frəm ðə brænd. ˈeɪmi ˈbrɪtən, tɑm ˈhæmbərgər, ˈmaɪkəl kranish*, ˈstivən ənd ˈstivən rɪʧ kənˈtrɪbjutɪd tɪ ðɪs rɪˈpɔrt.
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president trump disembarks marine one on friday at the south lawn of the white house. (jabin botsford/the washington post)
president trump reported on a new financial disclosure that his far-flung real estate and hotel assets are worth at least $1.4 billion, a stark illustration of the complex financial interests he has maintained in the white house.
the report, which the president voluntarily filed with the office of government ethics, shows that he collected an influx of new revenue from recent foreign deals and a surge of business at his signature mar-a-lago property in florida.
trump has made his wealth a key element of his political brand, and his refusal to relinquish ownership of his company has spurred ethics complaints and legal challenges.
as a candidate, he claimed he was worth more than $10 billion, although his net worth is impossible to determine from his financial disclosures, and he has not provided independent evidence to back that up. the white house did not make any statements about his net worth when his filing was posted friday by the ethics office.
the report does not require officials to report their exact income, tax rate or charitable giving — unlike a tax return, which the president has refused to release, breaking with past tradition.
(peter stevenson/the washington post)
trump’s 98-page disclosure shows he held onto the vast majority of his assets since his last disclosure in may 2016, when he reported his holdings were worth at least $1.5 billion.
[trump’s business booms as he runs for president, financial disclosures show]
however, he did sell dozens of stocks he held in brokerage accounts, including shares in amazon, exxon mobil, goldman sachs, microsoft, toyota and other companies. the stocks earned him millions of dollars in capital gains and dividends.
the disclosure does not reveal when the investments were sold. however, a spokesman said in december that trump had liquidated his entire stock portfolio in june 2016, around the time he began pouring millions into his presidential campaign.
since january, all of trump’s business assets have been in a trust managed and controlled by his sons donald jr. and eric, as well as longtime trump organization executive allen weisselberg. documents released in april show that trump is the beneficiary of the trust and is allowed to draw money from it at any time.
because the new disclosure includes a four-and-a-half-month period covered by his last report, it is difficult to precisely gauge whether revenue at trump’s businesses has gone up or down. but the new report shows that his holdings generated nearly $600 million in gross revenue between january 2016 and mid-april of this year, with substantial sums coming from properties outside the united states and hotels that he has spotlighted as president.
for the first time, trump reported income from the trump tower in kolkata, india, where he holds a licensing agreement with local developers. he said he received more than $100,001 from the deal.
likewise, his new hotel-and-condominium tower in vancouver, british columbia, which opened in february, was a new source of cash: trump reported that he earned more than $5 million from the project, which was developed by the son of one of malaysia’s richest men.
trump’s luxury hotel near the white house, which held its grand opening in october, reported $19.6 million in hotel-related income.
and revenue at trump’s palm beach club, mar-a-lago, climbed to $37.2 million during the 15½ month period covered by the report. in july 2015, he reported earning $15.6 million from the property in the previous 18½ months.
the president was not required to file a new financial disclosure with the office of government ethics until next spring, but trump decided to voluntarily submit an updated report in his first year in office, following the tradition of past presidents including barack obama and george w. bush.
the new filing shows that trump had at least $310 million in liabilities spread across 16 loans as of may 31, most of them mortgages, an amount similar to what he reported in his prior financial disclosure.
the liabilities probably are much larger because five of the debts were worth more than $50 million. documents for those individual loans suggest trump actually has a minimum of $500 million in debt.
trump’s refusal to divest his holdings before taking office has triggered a cascade of complaints related to the use of government resources to promote properties such as mar-a-lago, allegations that he is violating the constitution’s foreign emoluments clause and questions about how he is being used to promote the trump organization’s projects abroad.
earlier this week, the democratic attorneys general in maryland and the district as well as nearly 200 democratic members of congress filed separate lawsuits alleging that payments to trump businesses violated the constitution’s anti-corruption clauses.
trump’s tax attorney, sheri dillon, told reporters in january that by setting up a trust he was taking “all steps realistically possible to make it clear that he is not exploiting the office of the presidency for his personal benefit.”
trump’s disclosure reflected the apparent demise of the high-end skin-care line of his wife, melania, which included anti-aging products made with caviar. the melania marks company is no longer listed as one of her assets.
the first lady drew wide criticism earlier this year when she claimed in a libel lawsuit that a defamatory story in the daily mail had derailed her “once-in-a-lifetime opportunity” to launch a broad commercial brand and bring in multimillion-dollar business opportunities.
melania trump previously reported between $15,001 and $50,000 in income from her accessories line. but during the past year, she listed no income from the brand.
amy brittain, tom hamburger, michael kranish, steven mufson and steven rich contributed to this report.
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ˈɪndiən ˈtɛnɪs sɛnˈseɪʃən ˈmərzə ɪz ɔl sɛt tɪ bi kənˈfərd wɪθ ðə pərˈstiʤəs rɑˈʤiv ˈgɑndi əˈwɔrd ˈæftər hər neɪm wɑz əˈpruvd baɪ ðə əˈwɔrdz kəˈmɪti ɔn 11 ˈɔgəst. ˈmərzə ˈrisəntli wən hər ˈwɪmənz ˈdəbəlz grænd slæm ˈtaɪtəl wɪθ swɪs ˈpɑrtnər mɑrˈtinə ˈhɪŋgəs ɪn ʤun. ʃi ˈɔlsoʊ bɪˈkeɪm wərld ˈnəmbər wən ˌbiˈfɔr ˈwɪnɪŋ ðə græs kɔrt ˈmeɪʤər. ðə əˈwɔrdz committe*, fɔrmd baɪ ðə spɔrts ˈmɪnɪstri, kənˈsɪdərd ˈmərzə fər ˈɪndiəz haɪəst ˈspɔrtɪŋ ˈɑnər əˈhɛd əv ˈəðər stɑrz ˌɪnˈkludɪŋ skwɑʃ stɑr, ˈdɪskəs θroʊərz ənd ˈsimɑ punia*, ˈhɑki ˈkæptən sɪŋ, ənd srikanth*., hu həz wən θri mɪkst ˈdəbəlz grænd slæmz ɪn hər kərɪr, ɪz rɪˈpɔrtədli kəmˈpitɪŋ wɪθ skwɑʃ pleɪər ənd ˈdɪskəs θroʊər fər ðə pərˈstiʤəs əˈwɔrd. ʃi wɑz əˈwɔrdɪd ðə əˈwɔrd baɪ ðə ˈɪndiən ˈgəvərnmənt ɪn 2004 ˈleɪtər ɪn 2006 ʃi wɑz ˈɔlsoʊ əˈwɔrdɪd ðə ʃri ˈɪndiəz fɔrθ haɪəst ˈɑnər fər hər əˈʧivmənts ɛz ə ˈtɛnɪs pleɪər. ˈfɑðər ənd koʊʧ ˈmərzə hæd ˈərliər sɛd ðət ɪt wɑz ə greɪt ˈɑnər fər hər tɪ bi ˌrɛkəˈmɛndɪd fər ðə. "ɪt ɪz ə greɪt ˈɑnər tɪ bi ˈnɑməˌneɪtəd fər ðə əˈwɔrd. ðɪs ɪz ˈʃʊrli goʊɪŋ tɪ ˌɪnˈspaɪr hər tɪ ərn mɔr ˈlɔrəlz fər ðə ˈkəntri," ˈmərzə hæd sɛd ɔn ˌnɑməˈneɪʃən.
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indian tennis sensation sania mirza is all set to be conferred with the prestigious rajiv gandhi khel ratna award after her name was approved by the awards committee on 11 august.
sania mirza recently won her career's first-ever women's doubles grand slam title with swiss partner martina hingis in june. she also became world number one before winning the grass court major.
the awards committe, formed by the sports ministry, considered sania mirza for india's highest sporting honour ahead of other stars including squash star dipika pallikal, discus throwers vikas gowda and seema punia, hockey captain sardar singh, and shuttler kidambi srikanth.
sania, who has won three mixed doubles grand slams in her career, is reportedly competing with squash player deepika pallikal and discus thrower vikas gowda for the prestigious award.
she was awarded the arjuna award by the indian government in 2004. later in 2006, she was also awarded the padma shri - india's fourth highest honour - for her achievements as a tennis player.
sania's father and coach imran mirza had earlier said that it was a great honour for her to be recommended for the khel ratna.
"it is a great honour to be nominated for the khel ratna award. this is surely going to inspire her to earn more laurels for the country," imran mirza had said on sania's nomination.
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ˈɛbərt: ə 'laɪf' stɪl biɪŋ lɪvd, ənd ˈfʊli ˌɛnˈlɑrʤ ðɪs ˈɪmɪʤ ˈtɑgəl ˈkæpʃən ɑrt ʃeɪ ɑrt ʃeɪ "aɪ wɑz bɔrn ˌɪnˈsaɪd ðə ˈmuvi əv maɪ laɪf." ðoʊz wərdz ˈoʊpən ðə nu ˈmɛmˌwɑr laɪf ˌɪtˈsɛlf frəm ðə fɪlm ˈkrɪtɪk ˈrɑʤər ˈɛbərt, hu həz meɪd ˈmuviz hɪz laɪf fər mɔr ðən fɔr ˈdɛkeɪdz naʊ. hi ənd hɪz ˈspɑrɪŋ ˈpɑrtnər, ðə leɪt ʤin ˈsɪskəl, hæd ðə moʊst ˈfeɪməs θəmz ɔn ˈtɛləˌvɪʒən. naʊ, æt eɪʤ 69 ˈɛbərt dɪˈpɛndz ɔn ðə seɪm ðət hi ənd ˈsɪskəl meɪd ˈfeɪməs tɪ hɛlp ɪm kəmˈjunəˌkeɪt ɪn ˈdeɪli laɪf. faɪv jɪrz əˈgoʊ, ˈæftər ˈməltəpəl ˈkænsər ˈsərʤəriz, hi lɔst ðə əˈbɪləˌti tɪ spik. ɔn ðə glæs dɔr əv hɪz ˈɔfəs ɪn hɪz ʃəˈkɑˌgoʊ ˈtaʊnˌhaʊs, goʊld ˈlɛtərz spɛl aʊt "ðə ˈɛbərt ˈkəmpəˌni ˈlɪmɪtɪd: faɪn fɪlm ˈkrɪtɪˌsɪzəm sɪns 1967 ɔn ðə wɔl hæŋz hɪz ˈpʊlətsər praɪz, frəm 1975 hi wɑz ðə fərst fɪlm ˈkrɪtɪk tɪ wɪn wən. ˈɛbərt pɔɪnts wɪθ dɪˈlaɪt tɪ ə ˈmænjuəl l.c*. smɪθ ənd kərˈoʊnə ˈtaɪˌpraɪtər ɔn ə ʃɛlf. hi ˈskrɪbəlz ə ˈmɛsɪʤ ɪn ə smɔl ˈspaɪrəl ˈnoʊtˌbʊk: 1966 bɔt ɪt fər 25 juzd ənˈtɪl 1980s*, wɪn aɪ gɑt ə ˈtændi." ˈɛbərt stɪl ʧərnz aʊt hæf ə ˈdəzən rəvˈjuz ˈɛvəri wik, ənd ˈtaɪpɪŋ həz bɪˈkəm hɪz minz əv spiʧ. "ðɪs ɪz 'ˈæləks,'" hi ɪkˈspleɪnz, "ə vɔɪs ðət keɪm bɪlt ˈɪntu maɪ kəmˈpjutər." ˈæləks ɪz pɑrt əv ə ˈproʊˌgræm; ˈɛbərt taɪps, ˈæləks spiks ðə wərdz. ðə wərdz floʊ æt ə rɪˈmɑrkəbəl reɪt, ˈgɪvɪn ðət hi ləˈbɔriəsli hənts ənd wɪθ ʤɪst tu ˈfɪŋgərz əˈkrɔs ðə ˈkiˌbɔrd. 'ə strɔŋ sɛns əv ˌmɔˈræləˌti əˈbaʊt fɪlm' fərst ˈmuvi ˈmɛməri: æt 3 ˈwɑʧɪŋ ðə mɑrks ˈbrəðərz' ə deɪ æt ðə ˈreɪsɪz ɪn ərˈbænə ɪl. "ðə mɑrks ˈbrəðərz simd ˈvɛri streɪnʤ tɪ mi ənd ə ˈlɪtəl dɪˈstərbɪŋ," ˈɛbərt ˈriˌkɔlz. "jɪrz ˈleɪtər, aɪ mɛt ˈgruʧoʊ" ðə neɪm kəmz aʊt ɪn ˈæləksɪz ˈsɪnθɪˌsaɪzd vɔɪs "ənd hi stɪl simd ˈvɛri streɪnʤ ənd ə ˈlɪtəl dɪˈstərbɪŋ." laɪf ˌɪtˈsɛlf ə ˈmɛmˌwɑr baɪ ˈrɑʤər ˈɛbərt ˈhɑrdˌkəvər, 352 ˈpeɪʤɪz ˈpərʧəs kloʊz ˈoʊvərˌleɪ baɪ ˈfiʧərd bʊk jʊr ˈpərʧəs hɛlps səˈpɔrt ˈɛnˈpiˈɑr ˈproʊˌgræmɪŋ. haʊ? ɛz ˈɛbərt ˈlɪsənz tɪ ˈæləks hil ˈpæntəˌmaɪm fər ˈɛmfəsɪs tɪ meɪk əp fər wəts bɪn ˈteɪkən əˈweɪ. hɪz aɪz ˈwaɪdən; hi maɪt tæp hɪz hɑrt tɪ ˈsɪgnəl "aɪ ləv ju," ər "θæŋks." ˈoʊvər ðə jɪrz, hi həz bɪn ˈtritɪd fər glænd ˈkænsər, ðɛn ˈθaɪrɔɪd ˈkænsər, ðɛn ˈkænsər əv ðə ˈʤɔˌboʊn. ˈæftər ˈsərʤəri, ə kərˈɑtɪd ˈɑrtəri bərst, ənd hi ˈbɛrli sərˈvaɪvd. ˈməltəpəl ˌrikənˈstrəktɪv ˈsərʤəriz ˈfɑloʊd, bət feɪld. ˈɛbərt həz noʊ loʊər ʤɔ naʊ. hi kænt it ər drɪŋk; hiz fɛd θru ə ˈgæstrɪk tub. hi briðz θru ə tracheostomy*, wɪʧ tʊk əˈweɪ hɪz spiʧ. hi həz ə ˈfʊlˌtaɪm nərs. aɪ keɪm tɪ tɔk wɪθ ˈrɑʤər ˈɛbərt əˈbaʊt hɪz laɪf ɛz ə fɪlm ˈkrɪtɪk ənd hɪz laɪf wɪθ ˈɪlnəs. bɪˈkəz ˈtaɪpɪŋ ɪz ə lɔŋ ənd ɪgˈzɔstɪŋ ˈprɔˌsɛs fər ɪm, wi əˈgrid ðət aɪd sɛnd səm kˈwɛsʧənz ɪn ədˈvæns. aɪ ˈwɔntɪd tɪ noʊ, fər ˈɪnstəns, ˈwɛðər ðət pəgˈnæʃɪs ˈɑnˌskrin daɪˈnæmɪk wɪθ ʤin ˈsɪskəl ˈkɛrid ˈoʊvər off-screen*, tu. "wi wər ˈɔfən ˈæŋgri wɪθ wən əˈnəðər," hi rɪˈspɑndz, ˈmeɪkɪŋ ə fɪst ənd ˈpənʧɪŋ ðə ɛr ɛz ˈæləks spiks. "æt ˈəðər taɪmz wi wər ˈvɛri wɔrm. aɪ θɪŋk wi ʃɛrd ə strɔŋ sɛns əv ˌmɔˈræləˌti əˈbaʊt fɪlmz ðət əˈfɛndɪd ˈjuˈɛs, ˈiðər baɪ ðɛr ˈkɑntɛnt ər ðɛr ˈʤɛnərəl stuˈpɪdɪˌti. "wət wi tɔt iʧ ˈəðər wɑz haʊ tɪ dɪˈfɛnd ɑr ˈʧɔɪsɪz," hi kənˈtɪnjud. "ˈkrɪtɪks ər ˈtɛmptɪd tɪ θɪŋk əv ðɛmˈsɛlvz ɛz ˈɔrəkəlz ənd hir wɑz ðɪs gaɪ ˈgɪtɪŋ raɪt ɪn maɪ feɪs ənd ˈtɛlɪŋ mi aɪ wɑz rɔŋ. ɛz kloʊz ɛz ðə tu wər, ðeɪ ˈnɛvər dɪˈskəst ðə breɪn ˈtumər ðət tʊk ˈsɪskəlz laɪf ɪn 1999 "hɪz peɪn məst hæv bɪn ˌənɪˈmæʤɪnəbəl," ˈɛbərt raɪts ɪn laɪf ˌɪtˈsɛlf. bət noʊ ˈmɛnʃən əv ɪt wɑz meɪd ˈdʊrɪŋ ˈsɪskəlz ˈfaɪnəl rən əv ˈtɛləˌvɪʒən əˈpɪrənsəz. "wi hæd ˌfɪləˈsɑfɪkəl dɪˈskəʃənz əˈbaʊt laɪf ənd dɛθ ˈoʊvər ˈmɛni jɪrz," ˈɛbərt sɪz. "bət ˈæftər hi gɑt sɪk, ʤin ˈnɛvər, ˈɛvər dɪˈskəst hɪz ˈɪlnəs, ɪkˈsɛpt fər ðə ˈɑbviəs fækt ðət hi wɑz sɪk. ðə wərd 'ˈkænsər' wɑz ˈnɛvər ˈmɛnʃənd. aɪ bɪˈliv hi wɑz dɪˈtərmənd tɪ dɪˈfit ɪt, ənd hi wɑz səʧ ə kəmˈpɛtɪtər ðət hi ˈdɪdənt wɔnt tɪ ækˈnɑlɪʤ ˈɛni ˈwiknəs." ˌɛnˈlɑrʤ ðɪs ˈɪmɪʤ ˈtɑgəl ˈkæpʃən ʃəˈkɑˌgoʊ ʃəˈkɑˌgoʊ ˈɛbərt wɑz ˈnɛvər ˈeɪbəl tɪ ˈvɪzɪt hɪz ˈspɑrɪŋ ˈpɑrtnər ɪn ðə ˈhɑˌspɪtəl. "hi wɑz ˌɪnˈtɛnsli ˈpraɪvət əˈbaʊt ðə ˌsɪʧuˈeɪʃən," ˈɛbərt ˈriˌkɔlz. "aɪ rɪˈspɛkt ɪt. aɪ θɪŋk pərˈhæps ɪt ˈɪnfluənst mi tɪ bi ˈvɛri ˈoʊpən əˈbaʊt maɪ oʊn ˈɪlnəs." 'maɪ ˈbɑdi nu' ˈɛbərt raɪts ɪn hɪz ˈmɛmˌwɑr ðət wɪn hi fərst lɔst ðə əˈbɪləˌti tɪ it ər drɪŋk, hi bɪˈkeɪm əbˈsɛst baɪ teɪsts ənd smɛlz ɪn ˌpɑˈtɪkjələr, baɪ ðə θɔt əv ə ˈfrɔsti məg əv rut bɪr. "ˈoʊvər ənd ˈoʊvər aɪ wʊd ˈfænəˌsaɪz ðət rut bɪr. aɪ jərnd fər ðə ˈplɛʒər əv ɪt ˈtrɪklɪŋ daʊn maɪ θroʊt. aɪ nu ðət wʊd ˈnɛvər ˈhæpən əˈgɛn." "ɪn ðə ˈhɑˌspɪtəl," sɪz waɪf, ʧæz, "wɪn wi hæd ˈvɪzɪtərz, hi wʊd dɪˈrɛkt ˈjuˈɛs ɪn pleɪɪŋ ðɪs geɪm. wi hæd tɪ stænd ɪn laɪn, ənd iʧ wən əv ˈjuˈɛs wʊd hæv tɪ dɪˈskraɪb wɪʧ drɪŋk wi wʊd teɪk. nɑt ˈoʊnli seɪ, rut bɪr,' bət wi wʊd hæv tɪ dɪˈskraɪb ɪts ˈprɑpərtiz ənd dɪˈskraɪb ɪts ˈifɛkt ɔn ˈjuˈɛs ɛz wi wər ˈdrɪŋkɪŋ ɪt dɪˈskraɪb ðə ˈbəbəlz ˈsətəli ˈdænsɪŋ əˈkrɔs ðə tɔp əv ðə ˈlɪkwɪd." "wət hi ˈdəzənt noʊ," ʧæz ˈɛbərt kənˈtɪnjuz, "ɪz ðə ˈrizən hi wɑz ˈhævɪŋ ðoʊz [ˈkreɪvɪŋz] soʊ ˈstrɔŋli ɪz bɪˈkəz frəm ðə ˈməŋki si blɔg ˈməŋki si: ə ril laɪf riˈkleɪmd frəm ɪnˈkroʊʧɪŋ ˈseɪnˌthʊd ʃi ˈpɔzɪz. wɪn ʃi kənˈtɪnjuz, hər vɔɪs ɪz lɛs ˈstɛdi. "ɪt wɑz ə taɪm ðət ðeɪ wərənt ˈgɪvɪŋ ɪm ɪˈnəf nuˈtrɪʃən ɪn ðə ˈhɑˌspɪtəl, ənd hɪz ˈbɑdi wɑz ˈstɑrvɪŋ. ənd hɪz breɪn tərnd ɔn ɪts sərˈvaɪvəl ˈmɛkəˌnɪzəm, ənd wɑz ˈfɔrsɪŋ ɪm tɪ hæv ðiz strɔŋ, ˌɪnˈtɛns ˈmɛməriz əˈbaʊt fud, ɪn ˈɔrdər tɪ gɪv ɪm ən ˈæpəˌtaɪt." "aɪ ˈdɪdənt fil ˈhəŋgər," ˈɛbərt sɪz, "bət maɪ ˈbɑdi nu." 'ðɪs ɪz ðə feɪs aɪ hæv' sɪns hɪz ˈkænsər ənd hɪz ˈsərʤəriz, ˈɛbərt həz faʊnd ə ˈpaʊərfəl nu vɔɪs ˈɔnˌlaɪn. hi ˈkɑnstəntli. hiz ə proʊˈlɪfɪk ˈblɔgər, wɪθ tɛnz əv ˈθaʊzənz əv ˈrɛgjələr ˈridərz. ˈmɛni əv hɪz poʊsts ər ˈdipli ˈpərsɪnəl. ˈrisəntli hi roʊt əˈbaʊt ðə hjuˌmɪliˈeɪʃən əv ˈfɑlɪŋ aʊt əv bɛd ənd biɪŋ əˈneɪbəl tɪ gɪt əp. æt fərst, hi ˈdɪdənt wɔnt tɪ dɪˈskloʊz ðət. bət, hi roʊt, "ðɪs blɔg həz bɪˈkəm ə ˈvɛnju fər maɪ truθs." ˌɛnˈlɑrʤ ðɪs ˈɪmɪʤ ˈtɑgəl ˈkæpʃən ˈiθən ˈɪmɪʤɪz ˈiθən ˈɪmɪʤɪz wən əv ðoʊz truθs wɑz ˈpoʊstɪŋ ə ˈfoʊtəˌgræf əv hɪz dɪsˈfɪgjərd feɪs. hi linz təˈwɔrd mi, hɪz hænz ˈʤɛsʧərɪŋ təˈwɔrd hɪz feɪs fər ˈɛmfəsɪs ɛz hi tɔks əˈbaʊt ɪt. "aɪ wɑz ədˈvaɪzd nɑt tɪ bi ˈfoʊtəˌgræft ˈlʊkɪŋ laɪk ðɪs," hi sɪz. "wɛl, ɪts haʊ aɪ lʊk. ənd ðɛrz ˈnəθɪŋ aɪ kən du əˈbaʊt ɪt. wi spɛnd tu məʧ taɪm ɛz ə soʊˈsaɪɪti dɪˈnaɪɪŋ ˈɪlnəs. ɪts ə fækt əv laɪf." hi ənd ʧæz tɔkt əˈbaʊt wət tɪ du. "wi sɛd, 'noʊ, ðɪs ɪz ˌriˈæləˌti,'" ʧæz ˈriˌkɔlz. "hi ˈlɪsənd tɪ ˈpipəlz ədˈvaɪs, bət hi sɛd, 'ˈfræŋkli, aɪ doʊnt gɪv ə dæm. ɪf ˈsəmˌwən wɔnts tɪ teɪk ə ˈfoʊtəˌgræf əv mi ˈlʊkɪŋ laɪk ðɪs ənd sɛl ɪt tɪ ðə ˈtæblɔɪdz "ənd ðɛn wi keɪm əˈpɑn ðə aɪˈdiə, 'lɛts teɪk ɑr oʊn ˈfoʊtəˌgræf ənd pʊt ɪt aʊt ðɛr raɪt naʊ.' ənd hi sæt æt ðə piˈænə ənd hæd hɪz ˈfoʊtəˌgræf ˈteɪkən. ðə ˈhɛˌdlaɪn wɑz frəm ə ˈmɑrtɪn ˌskɔrˈsiz ˈmuvi 'əm nɑt ə ˌɛniˈmɔr.' ənd ˈæftər ðət ɪt wɑz dɪfˈjuzd." ˈrɑʤər ˈɛbərt muvz ˈvɛri sˈloʊli naʊ, ənd wən ˈʃoʊldər ɪz məʧ sˈmɔlər ðən ðə ˈəðər. hɪz ˈbɑdi, ɛz hi pʊts ɪt, wɑz "ˈpləndərd" fər boʊn ənd ˈtɪʃu ɛz ˈsərʤənz traɪd mɔr ðən wəns tɪ ˌrikənˈstrəkt hɪz feɪs. "ðə ˈsərʤəriz kɔzd mɔr ˈdæmɪʤ ðən ðə ˈkænsər," hi sɪz. ˈdɑktərz hæv prəˈpoʊzd ə fɔrθ ˌrikənˈstrəkʃən, bət ˈɛbərt ʃeɪks hɪz hɛd æt ðə ˈprɑspɛkt. "əm goʊɪŋ tɪ stɑp waɪl əm bɪˈhaɪnd," ˈæləks sɪz fər ɪm, ənd ju kən ˈɔlˌmoʊst hir ðə ɪmp bɪˈhaɪnd ðə kəmˈpjutərˌaɪzd ˌɪnˈflɛkʃən. "ðɪs ɪz ðə feɪs aɪ hæv," hi sɪz. "aɪ əkˈsɛpt ɪt." ənd ðɛn ˈɛbərt ɪz ɔf tɪ ðə ˈmuviz. ðə tərˈɑntoʊ fɪlm ˈfɛstɪvəl ˈbɛkənz. ɛz hi roʊt ɔn hɪz blɔg: "ðə ˈmuviz, ɛz ðeɪ ˈɔlˌweɪz du, wɪl ʧɪr ənd ˌɪnˈspaɪr mi. ðeɪ hil, bɪˈkəz ðeɪ teɪk mi ˈɪntu ðə maɪndz əv ðɛr kriˈeɪtərz."
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ebert: a 'life' still being lived, and fully
enlarge this image toggle caption art shay art shay
"i was born inside the movie of my life."
those words open the new memoir life itself from the film critic roger ebert, who has made movies his life for more than four decades now. he and his sparring partner, the late gene siskel, had the most famous thumbs on television. now, at age 69, ebert depends on the same thumbs-up that he and siskel made famous to help him communicate in daily life. five years ago, after multiple cancer surgeries, he lost the ability to speak.
on the glass door of his office in his chicago townhouse, gold letters spell out "the ebert company limited: fine film criticism since 1967."
on the wall hangs his pulitzer prize, from 1975. he was the first film critic to win one.
ebert points with delight to a manual l.c. smith and corona typewriter on a shelf. he scribbles a message in a small spiral notebook:
"1966 — bought it for $25! used until 1980s, when i got a tandy."
ebert still churns out half a dozen reviews every week, and typing has become his means of speech.
"this is 'alex,'" he explains, "a voice that came built into my computer."
alex is part of a text-to-speech program; ebert types, alex speaks the words. the words flow at a remarkable rate, given that he laboriously hunts and pecks with just two fingers across the keyboard.
'a strong sense of morality about film'
ebert's first movie memory: at 3, watching the marx brothers' a day at the races in urbana ill.
"the marx brothers seemed very strange to me and a little disturbing," ebert recalls. "years later, i met groucho" — the name comes out grou-ko in alex's synthesized voice — "and he still seemed very strange and a little disturbing."
life itself a memoir by roger ebert hardcover, 352 pages | purchase close overlay buy featured book your purchase helps support npr programming. how?
as ebert listens to alex he'll pantomime for emphasis to make up for what's been taken away. his eyes widen; he might tap his heart to signal "i love you," or "thanks."
over the years, he has been treated for salivary gland cancer, then thyroid cancer, then cancer of the jawbone. after surgery, a carotid artery burst, and he barely survived.
multiple reconstructive surgeries followed, but failed. ebert has no lower jaw now. he can't eat or drink; he's fed through a gastric tube. he breathes through a tracheostomy, which took away his speech. he has a full-time live-in nurse.
i came to talk with roger ebert about his life as a film critic and his life with illness. because typing is a long and exhausting process for him, we agreed that i'd send some questions in advance.
i wanted to know, for instance, whether that pugnacious on-screen dynamic with gene siskel carried over off-screen, too.
"we were often angry with one another," he responds, making a fist and punching the air as alex speaks. "at other times we were very warm. i think we shared a strong sense of morality about films that offended us, either by their content or their general stupidity.
"what we taught each other was how to defend our choices," he continued. "critics are tempted to think of themselves as oracles — and here was this guy getting right in my face and telling me i was wrong. "
as close as the two were, they never discussed the brain tumor that took siskel's life in 1999.
"his pain must have been unimaginable," ebert writes in life itself. but no mention of it was made during siskel's final run of television appearances.
"we had philosophical discussions about life and death over many years," ebert says. "but after he got sick, gene never, ever discussed his illness, except for the obvious fact that he was sick. the word 'cancer' was never mentioned. i believe he was determined to defeat it, and he was such a competitor that he didn't want to acknowledge any weakness."
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ebert was never able to visit his sparring partner in the hospital.
"he was intensely private about the situation," ebert recalls. "i respect it. i think perhaps it influenced me to be very open about my own illness."
'my body knew'
ebert writes in his memoir that when he first lost the ability to eat or drink, he became obsessed by tastes and smells — in particular, by the thought of a frosty mug of root beer.
"over and over i would fantasize that icy-cold root beer. i yearned for the pleasure of it trickling down my throat. i knew that would never happen again."
"in the hospital," says ebert's wife, chaz, "when we had visitors, he would direct us in playing this game. we had to stand in line, and each one of us would have to describe which drink we would take. not only say, 'a&w root beer,' but we would have to describe its properties and describe its effect on us as we were drinking it — describe the bubbles subtly dancing across the top of the liquid."
"what he doesn't know," chaz ebert continues, "is the reason he was having those [cravings] so strongly is because ..."
from the monkey see blog monkey see: a real life reclaimed from encroaching sainthood
she pauses. when she continues, her voice is less steady.
"it was a time that they weren't giving him enough nutrition in the hospital, and his body was starving. and his brain turned on its survival mechanism, and was forcing him to have these strong, intense memories about food, in order to give him an appetite."
"i didn't feel hunger," ebert says, "but my body knew."
'this is the face i have'
since his cancer and his surgeries, ebert has found a powerful new voice online. he tweets constantly. he's a prolific blogger, with tens of thousands of regular readers.
many of his posts are deeply personal. recently he wrote about the humiliation of falling out of bed and being unable to get up. at first, he didn't want to disclose that. but, he wrote, "this blog has become a venue for my truths."
enlarge this image toggle caption ethan miller/getty images ethan miller/getty images
one of those truths was posting a photograph of his disfigured face. he leans toward me, his hands gesturing toward his face for emphasis as he talks about it.
"i was advised not to be photographed looking like this," he says. "well, it's how i look. and there's nothing i can do about it. we spend too much time as a society denying illness. it's a fact of life."
he and chaz talked about what to do.
"we said, 'no, this is reality,'" chaz recalls. "he listened to people's advice, but he said, 'frankly, i don't give a damn. if someone wants to take a photograph of me looking like this and sell it to the tabloids ...'
"and then we came upon the idea, 'let's take our own photograph and put it out there right now.' and he sat at the piano and had his photograph taken. the headline was — from a martin scorsese movie — 'i'm not a pretty-boy anymore.' and after that it was defused."
roger ebert moves very slowly now, and one shoulder is much smaller than the other. his body, as he puts it, was "plundered" for bone and tissue as surgeons tried more than once to reconstruct his face.
"the surgeries caused more damage than the cancer," he says.
doctors have proposed a fourth reconstruction, but ebert shakes his head at the prospect.
"i'm going to stop while i'm behind," alex says for him, and you can almost hear the imp behind the computerized inflection.
"this is the face i have," he says. "i accept it."
and then ebert is off to the movies. the toronto film festival beckons. as he wrote on his blog: "the movies, as they always do, will cheer and inspire me. they heal, because they take me into the minds of their creators."
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it’s* bɪn ˈrəfli əˈbaʊt 12 aʊərz sɪns ˌmoʊtərˈoʊlə wɑz səˈpoʊzd tɪ bɪˈgɪn ðɛr bɪg ˈsaɪbər ˈmənˌdeɪ seɪl ɔn ˈmoʊtoʊ xs*. bɪˈkəz əv ðə ˌɪnˈkris əv ˈtræfɪk, ðə saɪt wɛnt daʊn ənd ðə seɪl ˈnɛvər ˈæˌkʧuəli gɑt ɔf ðə graʊnd (ˌɔlˈðoʊ dɪˈvɛləpər ɪˈdɪʃənz wər ˈsɛlɪŋ æt ðə ˈdɪˌskaʊnɪd praɪs). hir wi ər, ɪn ðə wi ˈivnɪŋ aʊərz ənd ˌmoʊtərˈoʊlə ɪz ˈfaɪnəli bæk wɪθ ən ˈəpˌdeɪt. ɪn ə twit ðət wɛnt aʊt ʤɪst ə fju ˈmoʊmənts əˈgoʊ, ˌmoʊtərˈoʊlə ɪz naʊ ˈprɑməsɪŋ ðət ɪf ðeɪ gɪt ˈɛvriˌθɪŋ əp ənd ˈrənɪŋ baɪ ɛt (əˈbaʊt 15 ˈmɪnəts frəm naʊ), ˈɔfər ðə seɪm dil æt nun (ɛt) ɔn ˈwɛnzˌdeɪ, ðɛn əˈgɛn nɛkst ˈmənˌdeɪ, dɪˈsɛmbər bət wɪθ ˈdəbəl ðə əˈmaʊnt əv dɪˈvaɪsɪz əˈveɪləbəl. saʊnz laɪk ə ˈbɛtər dil tɪ ˈjuˈɛs. ˈəpˌdeɪt: ˌmoʊtərˈoʊlə həz θroʊn ɪn ðə taʊəl. ˈrəðər ðən goʊ lɪv təˈnaɪt, əˈnaʊnst ðət ðə dil wɪl ˈrɛzəˌmeɪ ɔn ˈwɛnzˌdeɪ æt nun ɛt ənd əˈgɛn ɔn ˈmənˌdeɪ, ˈdəbəlɪŋ jʊr ˈʧænsɪz tɪ pɪk əp ə ˈkəstəˌmaɪzd ˈmoʊtoʊ ɛks fər 350 ˈhæpi? [motomaker*]
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it’s been roughly about 12 hours since motorola was supposed to begin their big cyber monday sale on off-contract moto xs. because of the increase of traffic, the site went down and the $150-off sale never actually got off the ground (although developer editions were selling at the discounted price).
here we are, in the wee evening hours and motorola is finally back with an update. in a tweet that went out just a few moments ago, motorola is now promising that if they can’t get everything up and running by 9:30pm et (about 15 minutes from now), they’ll offer the same deal at noon (et) on wednesday, then again next monday, december 9th but with double the amount of devices available.
sounds like a better deal to us.
update: motorola has thrown in the towel. rather than go live tonight, they’ve announced that the motomaker deal will resume on wednesday at noon et and again on monday, doubling your chances to pick up a customized moto x for $350. happy?
[motomaker]
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ðə aʊtˈstrɛʧt ʤaɪənt skwɪd æt ɑr bæks ənd ðə teɪl əv ə ˈmɑdəl raɪt weɪl ˈlumɪŋ əˈbəv ɑr hɛdz ɪn ðə ˈnæʃənəl mˈjuziəm əv ˈnæʧərəl ˈoʊʃən hɔl meɪk ɪt ˈizi tɪ ˌɪˈmæʤən wi ər ˈsɪtɪŋ ɔn ə ˈkɔrəl rif. ˈmɛri ˈhægɪdərn, ə mərˈin baɪˈɑləʤɪst wɪθ ðə smɪθˈsoʊniən ˌkɑnsərˈveɪʃən baɪˈɑləʤi ˈɪnstɪˌtut, ˈskɛʧɪz ðə sin: seɪ ɪt ɪz ɔl wən ˈspiʃiz. wi kən ˌɪˈmæʤən palmata*. ðeɪ lʊk laɪk sɪkˈwɔɪəz. ðeɪ ər ˈmæməθ ˈkɔrəlz, ənd ðɛr ər ˈhənərdz əv ðɛm ɪn frənt əv us.”*.” ðə ɪnˈdeɪnʤərd ˈspiʃiz, ˈɔlsoʊ noʊn ɛz ˈɛlˌkhɔrn ˈkɔrəl bɪˈkəz ɪts ˈbrænʧɪz rɪˈzɛmbəl ɛlk ˈæntlərz, ɪz faʊnd ɪn ˈʃæloʊ ˈwɔtər θruaʊt ðə ˌkɛrɪˈbiən. wəns ə jɪr, ɪn ˈɔgəst ər sɛpˈtɛmbər, ðə ˈspiʃiz ˌriprəˈdusɪz ˈsɛkʃuəli ɪn ə ˈmɛθəd kɔld spawning.”*.” ˈjuzɪŋ ðə mun, ˈsənˌsɛt (wɪʧ ðeɪ sɛns θru photoreceptors*) ənd ə ˈkɛmɪkəl ðət əˈlaʊz ðɛm tɪ ““smell”*” iʧ ˈəðər, ˈneɪbərɪŋ ˈkɑləniz ˈsɪŋkrəˌnaɪz ðɛr ˈspɔnɪŋ. fər tu tɪ fɔr naɪts, iʧ ˌɪndəˈvɪʤəwəl ˈkɔrəl ˈpɑlɪp ɔn ə ˈkɑləni rɪˈlisɪz ə ˈbəndəl əv ɛgz ənd spərm ˈɪntu ðə ˈwɔtər ˈkɑləm. ðə sæks, wɪʧ ˈhægɪdərn dɪˈskraɪbz ɛz ˈlʊkɪŋ laɪk ˈkləstərz əv greɪps, drɪft tɪ ðə ˈsərfəs wɛr ðeɪ breɪk, mɪks təˈgɛðər wɪθ ðoʊz frəm ˈəðər ˈkɑləniz ənd ˈfərtəˌlaɪz wən əˈnəðər. ˈhægɪdərn həz ˈwɪtnəst ə ˈtoʊtəl əv 63 spɔnz frəm tɛn ˈdɪfərənt ˈspiʃiz, ˌɪnˈkludɪŋ palmata*, ɪn ðə ˌkɛrɪˈbiən ənd pəˈsɪfɪk. hæv səm ɪn frənt əv ˈjuˈɛs goʊɪŋ ənd ˈmeɪbi səm tɪ ðə lɛft ənd səm tɪ ðə raɪt ɪn ðoʊz populations,”*,” ʃi sɪz, ˈweɪvɪŋ hər ɑrmz ɛz ɪf kənˈdəktɪŋ ən ˈɔrkəstrə əv ˈspɔnɪŋ ˈkɔrəlz ɪn ɑr ˌɪˈmæʤəˌnɛri rif. ˈkɔrəl rifs ər hoʊm tɪ əv ɔl mərˈin ˈspiʃiz. ðeɪ prəˈtɛkt frəm ˈhərəˌkeɪnz ənd ənd ər ə sɔrs əv pəˈtɛnʃəl biopharmaceuticals*. bət ɪn ðə pæst 30 jɪrz, ə ˈstægərˌɪŋ 80 pərˈsɛnt əv ˈkɔrəlz hæv bɪn dɪˈstrɔɪd ɪn ðə ˌkɛrɪˈbiən əˈloʊn. ˈkɔrəl dɪˈzizɪz ər ˈrənɪŋ ˈræmpənt ɛz ˈwɔtər kˈwɑləti ˈwərsənz, ənd ðə ˈbərnɪŋ əv ˈfɑsəl fjuəlz həz ˌɪnˈkrist ðə əˈmaʊnt əv ˈkɑrbən daɪˈɑkˌsaɪd dɪˈzɑlvd ɪn ˈsiˌwɔtər, wɪʧ ɪn tərn ˌɪnˈkrisɪz ðə əˈsɪdəti. ðə ˈskɛlətəl dɪˈpɑzəts əv ˈkɔrəlz, wɪʧ fɔrm rifs, kəroʊd ɪn əˈsɪdɪk ˈwɔtər laɪk tiθ ɪn ˈsoʊdə. əˈbaʊt ˌwənˈθərd əv ɔl ˈkɔrəlz ər ɪn θrɛt əv ɪkˈstɪŋʃən, ənd səm ˈkɔrəl ˈɛkspərts seɪ ðət wi kʊd luz rifs ɛz wi noʊ ðɛm baɪ 2050 ənˈtɪl ˈsɛvən jɪrz əˈgoʊ, ˈhægɪdərn ˈstədid fɪʃ. bət ˈhævɪŋ hæd səm səkˈsɛs fɪʃ ɪz, ˈfrizɪŋ ənd ˈstɔrɪŋ ðɛm fər ˈleɪtər θɔt ʃi maɪt bi ˈeɪbəl tɪ əˈplaɪ səm əv ðə seɪm tɛkˈniks tɪ ˈkɔrəl. ɪn 2004 tɪ bi ˈkloʊzər tɪ ˈspɔnɪŋ ˈkɔrəl, ʃi muvd frəm ˈwɔʃɪŋtən, d.c*. tɪ ðə ˌnɔrˈθist koʊst əv ˌoʊˈɑhu, wɛr ʃi ɪz ˈsteɪʃənd æt ðə həˈwaɪˌi ˈɪnstɪˌtut əv mərˈin baɪˈɑləʤi æt ˈkoʊkəˌnət ˈaɪlənd. ʃi həz kriˈeɪtɪd ðə fərst ˈfroʊzən riˈpɑzəˌtɔriz əv ˈkɔrəl spərm ənd ˌɛmbriˈɑnɪk sɛlz. ðə banks,”*,” wɪθ ˈsæmpəlz frəm ˈɛlˌkhɔrn ˈkɔrəl ənd həˈwaɪən ˈməʃrum ˈkɔrəl, ər ən ˌɪnˈʃʊrəns ˈpɑləsi əv sɔrts, ɪn ðət ðeɪ kʊd bi tæpt wən, 50 ər ˈivɪn jɪrz frəm naʊ tɪ rɪˈstɔr ənd æd ʤəˈnɛtɪk dɪˈvərsɪti tɪ daɪɪŋ ˌpɑpjəˈleɪʃənz. θɪŋ ɪz ðət aɪ plæn fər ðə wərst ənd hoʊp fər ðə best,”*,” ʃi sɪz. ɪz səʧ ə smɔl praɪs tɪ meɪk ə ˈfroʊzən bæŋk. ənd, ðə kɔst əv nɑt duɪŋ ɪt ɪz soʊ ˌæstrəˈnɑmɪkəl. ɪt meɪk sɛns nɑt to.”*.” ðə ˈʧælənʤ fər ˈhægɪdərn ɪz biɪŋ ɪn ðə raɪt pleɪs æt ðə raɪt taɪm. ɪn ˌoʊˈɑhu, ʃi ɪz ɪn ˈrɛdi pəˈzɪʃən wɪn həˈwaɪən ˈməʃrum ˈkɔrəlz spɔn tu deɪz ˈæftər ðə fʊl mun ɪn ʤun, ˌʤuˈlaɪ, ˈɔgəst ənd sɛpˈtɛmbər. ˈoʊvər taɪm, ʃi həz twikt hər ˈmɛθədz fər kəˈlɛktɪŋ gametes*. wɪn ðə ˈkɔrəlz ər bɪˈgɪnɪŋ tɪ ““set,”*,” ˈminɪŋ ðeɪ ər bɪˈkəmɪŋ wɪθ ˈbəndəlz ˈrɛdi tɪ bi riˈlist, ˈhægɪdərn ənd hər tim əv ˈdaɪvərz pʊt faɪn, nɛts ˈoʊvər ˌɪndəˈvɪʤəwəl ˈkɔrəlz. ɔn ðə nɛt ɪz ə ˈplæstɪk ˈfənəl, əˈtæʧt tɪ ə ˈspɛsəmən kəp, ənd ə floʊt. ˈæftər ðə ˈkɔrəlz spɔn, ˈkaɪækərz kəˈlɛkt ðə ˈsæmpəlz ənd brɪŋ ðɛm tɪ ʃɔr. wət wi ər ˈhoʊpɪŋ ɪz ðət ðɪs ɪz ðə taɪp əv ˈprɔˌsɛs ðət wi kən tiʧ ˈɔlˌmoʊst ˈɛni ˈsaɪəntɪst, ənd ðeɪ kən du ɪt ɔn ə ˈlɪtəl læb ɔn ðə beach,”*,” ʃi sɪz. ðə spərm ənd ɛgz ər ˈoʊnli ˈvaɪəbəl fər ə fju aʊərz, soʊ ˈhægɪdərn ənd hər tim wərk kˈwɪkli. ɪn ðə læb, wəns ðə sæks fɔl əˈpɑrt, ˈhægɪdərn klinz ðə ɛgz ənd ˈstədiz ðə moʊˈtɪlɪti ənd ˌkɑnsənˈtreɪʃən əv ðə spərm ˈəndər ə ˈmaɪkrəˌskoʊp, ɪn məʧ ðə seɪm weɪ ðət ˈjumən fərˈtɪlɪti ˈspɛʃəlɪsts du. ʃi ˈjuʒəwəli laɪks tɪ ˈgæðər spərm frəm faɪv tɪ ˈsɛvən meɪlz tɪ friz. ɪf ʃi ɪz ˈwərkɪŋ wɪθ ə nu ˈspiʃiz, ˈhægɪdərn tɛsts ˈdɪfərənt ˈfrizɪŋ reɪts. ðə spərm ɪz kuld frəm rum ˈtɛmpərəʧər ɔl ðə weɪ daʊn tɪ ˈlɪkwɪd ˈnaɪtrəʤən ˈtɛmpərəʧər, ər ˈmaɪnəs 324 dɪˈgriz ˈfɛrənˌhaɪt, æt ˈmeɪbi 10 20 ər 30 dɪˈgriz pər ˈmɪnət. ʃi wɪl ðɛn θɔ ðə spərm, ʧɛk ɪts moʊˈtɪlɪti ənd ˌdɪˈsaɪd ɔn ðə reɪt ðət rɪˈzəlts ɪn ðə ˈgreɪtəst pərˈsɛnɪʤ əv strɔŋ sˈwɪmərz. ɪn ðə ˈkrɪtɪkəl tɛst əv ðə ˈprɔˌsɛs, ˈhægɪdərn həz səkˈsɛsfəli juzd ˈfroʊzən ˈkɔrəl spərm tɪ ˈfərtəˌlaɪz frɛʃ ɛgz. ˈhægɪdərn ɪz ˈɔlsoʊ ˈfrizɪŋ ˈkɔrəl ˌɛmbriˈɑnɪk sɛlz. tɪ du ðɪs, ʃi ˈfərtəˌlaɪzɪz frɛʃ ɛgz wɪθ frɛʃ spərm ənd, dɪˈpɛndɪŋ ɔn ðə ˈspiʃiz, weɪts əˈbaʊt 12 tɪ 24 aʊərz fər ðə ˈɛmbriˌoʊz tɪ groʊ. ðɛn, ʃi pʊlz ðoʊz ˈɛmbriˌoʊz əˈpɑrt ənd ˈfrizɪz ðə ˌɛmbriˈɑnɪk sɛlz. noʊ haʊ tɪ du ɪt naʊ, bət ɪn ðə fˈjuʧər, wi wɪl ˈhoʊpfəli bi ˈeɪbəl tɪ teɪk ðoʊz ˌɛmbriˈɑnɪk sɛlz ðət mɔr ðən ˈlaɪkli hæv ˈkɔrəl stɛm sɛlz ɪn ðɛm ənd koʊks ðɛm ˈɪntu ˌɪndəˈvɪʤəwəl coral,”*,” sɪz ˈhægɪdərn. hoʊp ɪz ðət ˈjumən stɛm sɛl baɪˈɑləʤi wɪl muv æt səʧ ə fæst peɪs ðət wi wɪl bi ˈeɪbəl tɪ kˈwɪkli drɔ ɔn ðoʊz ədˈvænsɪz ənd əˈplaɪ ɪt tɪ coral.”*.” ˈhægɪdərn ɪz ˈwərkɪŋ ɔn ɪkˈspændɪŋ hər həˈwaɪən bæŋk tɪ ˌɪnˈklud spərm ənd ˌɛmbriˈɑnɪk sɛlz frəm raɪs ˈkɔrəl, ə ˈspiʃiz ðət ɪz proʊn tɪ dɪˈziz ənd ˈbliʧɪŋ. fər tu wiks ɪn ˈɔgəst, ʃi ˈvɪzɪtɪd ˈkɛri boʊ keɪ mərˈin ˈlæbrəˌtɔri ɪn bɛˈliz tɪ bæŋk ɪnˈdeɪnʤərd ˈkɔrəl. ɪz ðə taɪm tɪ bi collecting,”*,” sɪz ˈhægɪdərn, waɪl ðɛr ɪz stɪl ə lɔt əv ʤəˈnɛtɪk dɪˈvərsɪti ɪn ðə ˈkɔrəl. 20 jɪrz frəm naʊ wɪn ˌpɑpjəˈleɪʃənz meɪ hæv kəˈlæpst ˈivɪn further.”*.” kəm noʊˈvɛmbər, ˈhægɪdərn ənd ðə smɪθˈsoʊniən ˌkɑnsərˈveɪʃən baɪˈɑləʤi ˈɪnstɪˌtut, ɪn ˈpɑrtnərˌʃɪp wɪθ ðə ɔˈstreɪljən ˈɪnstɪˌtut əv mərˈin saɪəns, zu ənd ˈəðərz, wɪl kriˈeɪt ə ˈfroʊzən spərm bæŋk fər tu meɪn ˈkɔrəl ˈspiʃiz frəm ðə greɪt ˈbɛriər rif. wɔʧ ˈbrɛθˌteɪkɪŋ ˈəndərˌwɔtər ˈfʊtɪʤ ɔf ðə ˈpænəˌmɑ koʊst, wɛr ˈkɔrəl rifs ˌriprəˈdus ɪn ə ˈfləri əv ˈækʃən ˈnænsi ˈnoʊltən, ə rɪˈnaʊnd ˈkɔrəl rif baɪˈɑləʤɪst ənd ðə sænt ʧɛr əv mərˈin saɪəns æt ðə ˈnæʧərəl ˈhɪstəri mˈjuziəm, əˈgriz wɪθ ˈhægɪdərn ðət ˈsaɪəntɪsts ʃʊd bi ˈjuzɪŋ wət tulz ðeɪ hæv tɪ ˈmɪtəˌgeɪt ˈkɔrəl lɔs., ʃi sɪz, ɪz ə ˌɪmˈpɔrtənt tul ɪn ðə tul box.”*.” ˈnɔrməli spɔn ənd ˌriprəˈdus, ənd ðeɪ nid ˈjuˈɛs tɪ əˈsɪst them,”*,” sɪz ˈnoʊltən. ˈgɪvɪn ðə priˈkɛriəs steɪt əv rifs əraʊnd ðə ˈplænət, ɪt meɪ wɛl bi ðət fər səm ˈspiʃiz, əˈspɛʃəli rɛr ˈspiʃiz, wi ər goʊɪŋ tɪ nid tɪ drɔ ɔn ðiz bæŋks tɪ meɪk ʃʊr ðət ðeɪ goʊ extinct.”*.” ˈhægɪdərn ɪz ˈwərkɪŋ tɪ dɪˈvɛləp ˈəðər tulz ɛz wɛl, ˈhoʊnɪŋ ə ˈmɛθəd əv ˈfrizɪŋ smɔl, wən- tɪ ˈfrægmənts əv ˈkɔrəlz. ɪn əˈdɪʃən tɪ ˌriprəˈdusɪŋ ˈsɛkʃuəli, ˈkɔrəl kən ˌriprəˈdus ə pis breɪks ɔf, ɪt kən teɪk rut ɪn ðə si flɔr ənd stɑrt ə nu ˈkɑləni. θɔɪŋ, ðiz smɔl ˈædəlts kʊd bi glud daʊn ənd ˈpɑsəbli bɪˈkəm ˌriprəˈdəktɪv wɪˈθɪn years,”*,” sɪz ˈhægɪdərn. ʃi ɪz ˈɔlsoʊ ən ˈædvəˌkeɪt fər ˈreɪzɪŋ ˈkɔrəl ˈlɑrvi ɪn əkˈwɛriəmz əraʊnd ðə wərld. ɪn ˈkjʊrəˌsaʊ, ə grup əv ˈsaɪəntɪsts wɪθ secore*, ə ˈkɔrəl kənˈsɔrʃjəm ˈfaʊndɪd ɪn 2002 ðət ˈhægɪdərn ɪz ə ˈmɛmbər əv, ɪz ɛkˈspɛrəˌmɛntɪŋ wɪθ ˈrɪrɪŋ ˈkɔrəlz ɪn ə ɪnˈvaɪrənmənt, ˈpaɪpɪŋ ɪn ˈwɔtər frəm ə rif soʊ ðət ðə jəŋ ˈkɔrəlz ər ɪkˈspoʊzd tɪ ðə ˈpæθəʤənz ənd ˈtɛmpərəʧər swɪŋz əv ðə waɪld, wɪˈθaʊt ðə ˈprɛdətərz. əv kɔrs, ənd ˈkɔrəl ˌrɛstərˈeɪʃən məst goʊ hænd ɪn hænd wɪθ ˈwərkɪŋ tɪ ˌɪmˈpruv ðə hɛlθ əv waɪld ˈikoʊˌsɪstəmz. du ˈɛni gʊd tɪ pʊt nis ˈlɪtəl ˈʤuvəˌnaɪl ˈkɔrəlz ðət ju hæv reɪzd əp frəm ɛgz ənd spərm aʊt ɪn ðə fild ɪf ðə kənˈdɪʃənz ðət kɪld ðə ˈkɔrəlz tɪ bɪˈgɪn wɪθ ər stɪl prevailing,”*,” sɪz ˈnoʊltən. ˈhægɪdərn wʊd ˈəltəmətli laɪk tɪ si ˈkɔrəl sɛl ˈkɛrid aʊt ɔn ə ˈgloʊbəl skeɪl. tɔt mi ə lɔt əˈbaʊt ˈhævɪŋ ˈpæʃən fər wət ju du, ənd ˈhævɪŋ ˌpərsəˈvɪrəns tɪ stɪk ɪt aʊt ənd kənˈtɪnju ɔn wɪθ θɪŋz ju bɪˈliv in,”*,” sɪz ˈʤɪni ˈkɑrtər, ə ɪn læb. wi luz ɑr ˈkɔrəl rifs, ɪt wɪl bi ðə fərst ˈikoʊˌsɪstəm ðət wi hæv lɔst waɪl mæn ɪz əˈlaɪv. ɪt wɪl bi ɔn ɑr wɔʧ ənd moʊst əv ɪt du tɪ ˈjuˈɛs. aɪ θɪŋk ðət ɪz acceptable,”*,” sɪz ˈhægɪdərn. ʃi teɪks ˈsɪriəsli ðə nid fər ˈpipəl tɪ fil ə ˈpərsɪnəl riˌspɑnsəˈbɪləti tɪ teɪk kɛr əv ðə ərθ. mi, maɪ ˌkɑntrəˈbjuʃən ɪz coral,”*,” ʃi sɪz.
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the outstretched giant squid at our backs and the tail of a 45-foot model right whale looming above our heads in the national museum of natural history’s ocean hall make it easy to imagine we are sitting on a coral reef. mary hagedorn, a marine biologist with the smithsonian conservation biology institute, sketches the scene: “let’s say it is all one species. we can imagine acropora palmata. they look like sequoias. they are mammoth corals, and there are hundreds of them in front of us.”
the endangered species, also known as elkhorn coral because its branches resemble elk antlers, is found in shallow water throughout the caribbean. once a year, in august or september, the species reproduces sexually in a method called “broadcast spawning.” using the moon, sunset (which they sense through photoreceptors) and a chemical that allows them to “smell” each other, neighboring colonies synchronize their spawning. for two to four nights, each individual coral polyp on a colony releases a bundle of eggs and sperm into the water column. the sacs, which hagedorn describes as looking like clusters of grapes, drift to the surface where they break, mix together with those from other colonies and fertilize one another.
hagedorn has witnessed a total of 63 spawns from ten different species, including acropora palmata, in the caribbean and pacific. “we’ll have some in front of us going and maybe some to the left and some to the right in those populations,” she says, waving her arms as if conducting an orchestra of spawning corals in our imaginary reef.
coral reefs are home to one-quarter of all marine species. they protect shorelines from hurricanes and tsunamis and are a source of potential biopharmaceuticals. but in the past 30 years, a staggering 80 percent of corals have been destroyed in the caribbean alone. coral diseases are running rampant as water quality worsens, and the burning of fossil fuels has increased the amount of carbon dioxide dissolved in seawater, which in turn increases the water’s acidity. the skeletal deposits of corals, which form reefs, corrode in acidic water like teeth in soda. about one-third of all corals are in threat of extinction, and some coral experts say that we could lose reefs as we know them by 2050.
until seven years ago, hagedorn studied fish. but having had some success cryopreserving fish embryos—that is, freezing and storing them for later use—she thought she might be able to apply some of the same techniques to coral. in 2004, to be closer to spawning coral, she moved from washington, d.c. to the northeast coast of oahu, where she is stationed at the hawaii institute of marine biology at coconut island. she has created the first frozen repositories of coral sperm and embryonic cells. the “sperm banks,” with samples from elkhorn coral and hawaiian mushroom coral, are an insurance policy of sorts, in that they could be tapped one, 50 or even 1,000 years from now to restore and add genetic diversity to dying populations. “my thing is that i plan for the worst and hope for the best,” she says. “it is such a small price to make a frozen bank. and, the cost of not doing it is so astronomical. it doesn’t make sense not to.”
the challenge for hagedorn is being in the right place at the right time. in oahu, she is in ready position when hawaiian mushroom corals spawn two days after the full moon in june, july, august and september. over time, she has tweaked her methods for collecting gametes. when the corals are beginning to “set,” meaning they are becoming pimpled with egg-sperm bundles ready to be released, hagedorn and her team of divers put fine, custom-fit nets over individual corals. on the net is a plastic funnel, attached to a specimen cup, and a float. after the corals spawn, kayakers collect the samples and bring them to shore. “really what we are hoping is that this is the type of process that we can teach almost any scientist, and they can do it on a little lab on the beach,” she says.
the sperm and eggs are only viable for a few hours, so hagedorn and her team work quickly. in the lab, once the sacs fall apart, hagedorn cleans the eggs and studies the motility and concentration of the sperm under a microscope, in much the same way that human fertility specialists do. she usually likes to gather sperm from five to seven males to freeze. if she is working with a new species, hagedorn tests different freezing rates. the sperm is cooled from room temperature all the way down to liquid nitrogen temperature, or minus 324 degrees fahrenheit, at maybe 10, 20 or 30 degrees per minute. she will then thaw the sperm, check its motility and decide on the rate that results in the greatest percentage of strong swimmers. in the critical test of the process, hagedorn has successfully used frozen coral sperm to fertilize fresh eggs.
hagedorn is also freezing coral embryonic cells. to do this, she fertilizes fresh eggs with fresh sperm and, depending on the species, waits about 12 to 24 hours for the embryos to grow. then, she pulls those embryos apart and freezes the embryonic cells. “we don’t know how to do it now, but in the future, we will hopefully be able to take those embryonic cells that more than likely have coral stem cells in them and coax them into individual coral,” says hagedorn. “my hope is that human stem cell biology will move at such a fast pace that we will be able to quickly draw on those advances and apply it to coral.”
hagedorn is working on expanding her hawaiian bank to include sperm and embryonic cells from rice coral, a species that is prone to disease and bleaching. for two weeks in august, she visited smithsonian’s carrie bow cay marine laboratory in belize to bank endangered staghorn coral. “now is the time to be collecting,” says hagedorn, while there is still a lot of genetic diversity in the ocean’s coral. “not 20 years from now when populations may have collapsed even further.” come november, hagedorn and the smithsonian conservation biology institute, in partnership with the australian institute of marine science, sydney’s taronga zoo and others, will create a frozen sperm bank for two main coral species from the great barrier reef.
watch breathtaking underwater footage off the panama coast, where coral reefs reproduce in a flurry of carefully-timed action
nancy knowlton, a renowned coral reef biologist and the smithsonian’s sant chair of marine science at the natural history museum, agrees with hagedorn that scientists should be using what tools they have to mitigate coral loss. cryopreservation, she says, is a “very important tool in the tool box.”
“corals normally spawn and reproduce, and they don’t need us to assist them,” says knowlton. “but given the precarious state of reefs around the planet, it may well be that for some species, especially rare species, we are going to need to draw on these cryopreserved banks to make sure that they don’t go extinct.”
hagedorn is working to develop other tools as well, honing a method of freezing small, one- to two-millimeter fragments of corals. in addition to reproducing sexually, coral can reproduce asexually—if a piece breaks off, it can take root in the sea floor and start a new colony. “upon thawing, these small adults could be glued down and possibly become reproductive within years,” says hagedorn. she is also an advocate for raising coral larvae in aquariums around the world. in curacao, a group of scientists with secore, a coral consortium founded in 2002 that hagedorn is a member of, is experimenting with rearing corals in a semi-natural environment, piping in water from a reef so that the young corals are exposed to the pathogens and temperature swings of the wild, without the predators.
of course, cryopreservation and coral restoration must go hand in hand with working to improve the health of wild ecosystems. “it doesn’t do any good to put nice little juvenile corals that you have raised up from eggs and sperm out in the field if the conditions that killed the corals to begin with are still prevailing,” says knowlton.
hagedorn would ultimately like to see coral cell cryopreservation carried out on a global scale. “she’s taught me a lot about having passion for what you do, and having perseverance to stick it out and continue on with things you believe in,” says ginnie carter, a biotechnician in hagedorn’s lab.
“if we lose our coral reefs, it will be the first ecosystem that we have lost while man is alive. it will be on our watch and most of it due to us. i don’t think that is acceptable,” says hagedorn. she takes seriously the need for people to feel a personal responsibility to take care of the earth. “for me, my contribution is coral,” she says.
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faɪld əˈweɪ ɪn ə ˈgiki kɑr ˈkɔrnər əv ˈjuˌtub ɪz ə ˈvɪdioʊ ðət ˈdɛmənˌstreɪts wət wɑz ən ˌɪnˈkrɛdəbəl ˈfɔrwərd ˈθɪŋkɪŋ bɪt əv tɛkˈnɑləʤi fər kɑz, ənd ɪt keɪm frəm ðə moʊst ənˈlaɪkli əv ˈsɔrsəz. ðə ˈstɔri stɑrts wɪθ ˈjuˈɛs ˈɑdiˌoʊ ˌmænjəˈfækʧərər boʊz (jæ, aɪ θɔt ðeɪ wər ˈʤərmən tu) hu wərkt fər mɔr ðən 24 jɪrz ɔn ə ˌrɛvəˈluʃəˌnɛri ˌɪˌlɛktroʊmægˈnɛtɪk səˈspɛnʃən ˈsɪstəm fər kɑz, ɪt wɑz noʊn ɛz sound’*’. ðə ˈbreɪnˌʧaɪld əv leɪt ˈsiˌiˈoʊ əˈmɑr boʊz, ðə ˈæktɪv ˈsɪstəm wɑz dɪˈzaɪnd tɪ ænˈtɪsəˌpeɪt ðə roʊd əˈhɛd ənd riækt əˈkɔrdɪŋli, rɪˈzəltɪŋ ɪn ə ˈmæʤɪk ˈkɑrpət raɪd fər ˈɑkjəpənts wɪθ ˈɪrəli flæt ˈkɔrnərɪŋ, bəmp əbˈzɔrpʃən ənd ˈivɪn ðə əˈbɪləˌti tɪ ʤəmp ˈɑbstəkəlz. ˈəltəmətli dimd ə kəˈmərʃəl ˈfeɪljər, ðə ˈsɪstəm ˈnɛvər meɪd ɪt tɪ pərˈdəkʃən bət ə ˈjuˌtub klɪp frəm tɛk ˈwɛbˌsaɪt ðə ˌkeɪpəˈbɪlətiz, ənd wɛl wərθ ˈwɑʧɪŋ. boʊz juzd ðə ˈlɛksəs tɪ ˈdɛmənˌstreɪt ˈprɑʤɛkt saʊnd, ɪt ˌriˈpleɪst ðə ɪnˈtaɪər səˈspɛnʃən ˈsɛˌtəp fər wən kɑr. ɪn pleɪs əv ˈstændərd kəmˈpoʊnənts wɑz naʊ ə kəmˈpjutər kənˈtroʊld ˈsɪstəm ðət juzd ə ˈsɪriz əv ˈmægnəts ənd ˈmoʊtərz (naʊ ðə ˈspikər kəˈnɛkʃən ˈsədənli meɪks ə lɔt əv sɛns). ðə ˈæktɪv ˈsɪstəm wɑz ˈtoʊtəli ˌɪndɪˈpɛndənt æt iʧ wil ənd dɪˈspaɪt rikˈwaɪərɪŋ ə lɔt əv paʊər tɪ wərk kərˈɛktli (boʊz sɛd pik paʊər kənˈsəmʃən wɑz 50kilowatts*), ə rɪˈkupərətɪv tɛkˈnɑləʤi wɑz juzd tɪ riˈkæpʧər ˈɛnərʤi. əˈpɛrəntli, ðə ˈsɪstəm rikˈwaɪərd lɛs ðən wən θərd əv ðə ˈɛnərʤi ə ˈrɛgjələr ˈklaɪmɪt kənˈtroʊl ˈsɪstəm drɔz. soʊ, wət wər ðə rɪˈzəlts? wɛl, ˈnəθɪŋ ʃɔrt əv rɪˈmɑrkəbəl. si fər ˈjɔrsɛlf ɪn ðə ˈvɪdioʊ bɪˈloʊ. əˈpɛrəntli, ðə ˌdɛmənˈstreɪʃən kɑr ˈrɛrli kəmz aʊt ˈnaʊəˌdeɪz bət əˈkɔrdɪŋ tɪ, ðə ˈlɛsənz ˈlərnɪd ɪn ðɪs ˈprɑʤɛkt wər ˈtrænsfərd tɪ raɪd ˈsɪstəm, ən ˈæktɪv səˈspɛnʃən ˈsɪstəm ˈɪmpləˌmɛnəd ɪn ðə əv ˈtrəkərz ju kən si ə ˈvɪdioʊ əv ðət hir. ʃɛr ðɪs: tˈwɪtər ˈfeɪsˌbʊk
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filed away in a geeky car corner of youtube is a video that demonstrates what was an incredible forward thinking bit of technology for cars, and it came from the most unlikely of sources.
the story starts with us audio manufacturer bose (yeah, i thought they were german too) who worked for more than 24 years on a revolutionary electromagnetic suspension system for cars, it was known as ‘project sound’.
the brainchild of bose’s late ceo amar bose, the active system was designed to anticipate the road ahead and react accordingly, resulting in a magic carpet ride for occupants with eerily flat cornering, unrivalled bump absorption and even the ability to jump obstacles.
ultimately deemed a commercial failure, the system never made it to production but a youtube clip from tech website cnet immortalises the system’s capabilities, and it’s well worth watching.
bose used the lexus ls400 to demonstrate project sound, it replaced the entire suspension setup for one car. in place of standard components was now a bespoke computer controlled system that used a series of magnets and motors (now the speaker connection suddenly makes a lot of sense).
the active system was totally independent at each wheel and despite requiring a lot of power to work correctly (bose said peak power consumption was 50kilowatts), a recuperative technology was used to recapture energy. apparently, the ill-fated system required less than one third of the energy a regular climate control system draws.
so, what were the results? well, they’re nothing short of remarkable. see for yourself in the video below.
apparently, the demonstration car rarely comes out nowadays but according to cnet, the lessons learned in this project were transferred to bose’s ride system, an active suspension system that’s implemented in the seat’s of truckers – you can see a video of that here.
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ííbis* spɔrt kləb, ər ɛz ðeɪ ər ˈjuʒəwəli kɔld, ər ə brəˈzɪljən ˈfʊtˌbɔl tim frəm ɪn steɪt, ˈfaʊndɪd ɔn noʊˈvɛmbər 15 1938 ðɛr hoʊm ˈsteɪdiəm ɪz ðə mjuˈnɪsəpəl də. ðeɪ pleɪ ɪn blæk ənd rɛd ˈkələrz. ər wən əv ðə ˈfaʊndərz əv ðə ˈfʊtˌbɔl ˌfɛdərˈeɪʃən. ˈhɪstəri ˈɛdət spɔrt kləb wər ˈfaʊndɪd ɔn noʊˈvɛmbər 15 1938 baɪ ɪmˈplɔɪiz əv də ˈseɪdə i, oʊnd baɪ də ənd ˈloʊˌkeɪtəd ɪn ˈsæntoʊ ˌɪˈnɪʃəli ˈoʊnli ɪmˈplɔɪiz əv ðət ˈkəmpəˌni kʊd ðə kləb wər neɪmd ˈæftər ðə ˈæfrɪkɑn ˈæftər ðə dɛθ əv də queiroz*, hu wɑz ðə kləbz ˈoʊnər, hɪz ɛrz lɔst ˈɪntəˌrɛst ɪn ðə kləb, ðɛn wən əv ðə ˈkəmpəniz ˈmænɪʤərz, ˈrɑmoʊs əˈdɑptəd, ˈəndər ˈrɑmoʊs ædˌmɪnɪˈstreɪʃən, ˈstɑrtɪd tɪ əkˈsɛpt əv də ˈseɪdə i ɛz waɪl ðə ˈfʊtˌbɔl ˌfɛdərˈeɪʃən wɑz ˈfaʊndɪd ɔn ʤun 16 1915 ɛz pernambucana*, ˈoʊnli ɪn 1955 ɪt wɑz riˈneɪmd tɪ ɪts ˈkɑrənt ɪz kənˈsɪdərd baɪ ðə ˌɔrgənəˈzeɪʃən ɛz wən əv ɪts wən ðə ɪn 1948 ənd ɪn 1950 ənd ðə ɪn 1975 ənd ɪn kɑˈrlitoʊ əv, wɪθ 12 goʊlz, wɑz ðə tɔp goʊl ˈskɔrər ɪn ðə tim ər ˈkɑmənli noʊn ɛz ðə "wərst tim əv ðə wərld" du tɪ ðɛr ˈsɛvərəl dɪˈfits ɪn ðə leɪt ənd ˈərli ðə kləb spɛnt θri jɪrz ənd ˈilɛvən mənθs bɪtˈwin 1980 ənd 1984 wɪˈθaʊt ˈwɪnɪŋ ə wər ðə əv ðə ˈsɛkənd ˈlɛvəl ɪn wɪn ðeɪ wər dɪˈfitɪd baɪ ˈsɛntrəl ɪn ðə ˈæftər ˈsɛləˌbreɪtɪŋ ðɛr ˈbərθˌdeɪ ɔn noʊˈvɛmbər 15 2008 ðə kləb ˈstɑrtɪd ə ˈprɑʤɛkt tɪ bɪˈkəm ə ˈpraɪvət ˈkəmpəˌni, wɪθ ðə hɛlp əv ˈpɔrʧəˌgiz ˌɑntrəprəˈnʊr ˈmɪljən wɪl bi ˌɪnˈvɛstɪd ɪn ˈbɪldɪŋ ə ˈtreɪnɪŋ əˈʧivmənts ˈɛdət
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íbis sport club, or íbis as they are usually called, are a brazilian football team from paulista in pernambuco state, founded on november 15, 1938. their home stadium is the municipal de paulista. they play in black and red colors. íbis are one of the founders of the pernambuco football federation.
history [ edit ]
íbis sport club were founded on november 15, 1938 by employees of tecelagem de seda e algodão, owned by joão pessoa de queiroz,[1] and located in santo amaro.[2] initially only employees of that company could play.[1] the club were named íbis after the african bird.[3] after the death of joão pessoa de queiroz, who was the club's owner, his heirs lost interest in the club, then one of the company's managers, onildo ramos adopted íbis.[3] íbis, under onildo ramos administration, started to accept non-employees of tecelagem de seda e algodão as players.[4]
while the pernambuco football federation was founded on june 16, 1915 as liga sportiva pernambucana, only in 1955 it was renamed to its current name.[5] íbis is considered by the organization as one of its founders.[6]
íbis won the torneio início in 1948 and in 1950, and the torneio incentivo in 1975 and in 1976.[7] carlito of íbis, with 12 goals, was the campeonato pernambucano's top goal scorer in 1948.[3] the team are commonly known as the "worst team of the world" due to their several defeats in the late 1970s and early 1980s.[4] the club spent three years and eleven months between 1980 and 1984 without winning a game.[7] íbis were the runners-up of the campeonato pernambucano second level in 1999,[8] when they were defeated by central in the final.[9] after celebrating their 70th birthday on november 15, 2008, the club started a project to become a private company, with the help of portuguese entrepreneur filipe fernandes.[10] r$15 million will be invested in building a training center.[10]
achievements [ edit ]
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ˈpɪtsbərg (kdka*) ə wɛstˈmɔrlənd ˈkaʊnti mæn ɪz ˈfeɪsɪŋ ə strɪŋ əv ˈʧɑrʤɪz ˈæftər pəˈlis sɛd hi hæd sɛks wɪθ ən ˈəndərɪʤ gərl, toʊld ə ˈwɪtnəs tɪ laɪ tɪ pəˈlis, ənd ðɛn kət ðə ɑrmz əv ˈsɛvərəl gərlz, lɪkt ðɛr bləd, ənd hæd ðɛm du ðə seɪm tɪ ɪm. ˈʤɑnəθən raɪən ˈdeɪvɪs, 21 əv ˈvændərgrɪft ɪz ˈfeɪsɪŋ ˈʧɑrʤɪz ðət ˌɪnˈklud ˈstæʧəˌtɔri reɪp, ˈwɪtnəs ˌɪnˌtɪmɪˈdeɪʃən, ənd kərˈəpʃən əv ˈmaɪnərz. ˈvændərgrɪft pəˈlis ˈɔfɪsər ˈʤoʊzəf greɪ toʊld rælf iəˈnoʊti wər səm ˌrɪʧuəˈlɪstɪk ˈɪʃuz frəm ðə ˈsəmər ənd fɔl əv læst jɪr, səm wɛr ˈvɪktɪmz (ˈʤuvəˌnaɪlz) kət ðɛr oʊn rɪsts, ənd ˈdeɪvɪs wʊd teɪk ðɛr bləd ɪn hɪz maʊθ ənd vaɪs versa.”*.” əv ðə ˈvɪktɪmz wər fɔrst ˈɪntu duɪŋ ˈɛniˌθɪŋ, ənd ˈdeɪvɪs həz bɪn ˈfʊli ɪn ðə investigation,”*,” sɛd greɪ. greɪ sɛd ɪt tʊk mənθs tɪ ˈfɪnɪʃ ðə bɪˈzɑr ˌɪnˌvɛstəˈgeɪʃən, bɪˈkəz hi hæd tɪ ɔl ðə dots.”*.” greɪ sɛd ðɛr wər θri ˈʤuvəˌnaɪlz ˌɪnˈvɑlvd ɪn ðə keɪs, ˌɪnˈkludɪŋ ðə ˈtiˌneɪʤ gərl ˈdeɪvɪs əˈlɛʤədli hæd sɛks wɪθ ɪn ə ˈloʊkəl ʧərʧ. əˈkɔrdɪŋ tɪ ðə ˈkrɪmənəl kəmˈpleɪnt, ðə ˈɪnsədənt ˈhæpənd æt ðə st*. ˈgərtrud ʧərʧ ɪn dɪˈsɛmbər. ðə ˈvɪktɪm toʊld pəˈlis ʃi wɑz ˌɪˈnɪʃəli æt ˈkɛnədi pɑrk wɪθ ˈdeɪvɪs ənd səm mˈjuʧuəl frɛndz. ˈwɪtnəsɪz sɛd ðeɪ əbˈzərvd ˈdeɪvɪs ˈkɪsɪŋ ðə ˈvɪktɪm ənd ˈtəʧɪŋ hər ˌɪnəˈprɑpriətli ɪn ðə pɑrk. ɪn ðət keɪs, ˈdeɪvɪs ɪz biɪŋ ʧɑrʤd wɪθ ˈstæʧəˌtɔri ˈsɛkʃuəl əˈsɔlt, kərˈəpʃən əv ˈmaɪnərz ənd ˌɪnˈdisənt əˈsɔlt. ˈdeɪvɪs ɪz ˈfeɪsɪŋ əˈdɪʃənəl ˈʧɑrʤɪz fər traɪɪŋ tɪ gɪt ə ˈwɪtnəs tɪ laɪ tɪ pəˈlis əˈbaʊt hɪz ˌɪnˈvɑlvmənt. əˈkɔrdɪŋ tɪ ðə ˈkrɪmənəl kəmˈpleɪnt, ˈdeɪvɪs ˈkɑnˌtæktɪd ə ˈwɪtnəs ɔn ˈfeɪsˌbʊk. ən ˈɛksərpt əv ðə ˈfeɪsˌbʊk ˌkɑnvərˈseɪʃən ɪz ɛz ˈfɑloʊz: ˈdeɪvɪs: wər ðə læst wən wɪθ [ˈvɪktɪm] ənd aɪ, soʊ ðə ˈoʊnli wən ðət kən seɪ aɪ lɛft ðə seɪm taɪm ɛz you.”*.” ˈwɪtnəs: “[“[you*] dude.”*.” ˈdeɪvɪs: ðə ˈoʊnli wən ðət kən seɪ aɪ dɪd ənd gɪt mi aʊt əv ðɪs mess.”*.” ðə ˈwɪtnəs goʊz ɔn tɪ seɪ hi wɪl nɑt laɪ tɪ pəˈlis tɪ hɛlp aʊt ˈdeɪvɪs. ɛz ə rɪˈzəlt, ˈdeɪvɪs ɪz ˈfeɪsɪŋ əˈdɪʃənəl ˈʧɑrʤɪz əv əbˈstrəktɪŋ ædˌmɪnɪˈstreɪʃən əv lɔ ənd ˈhɪndərɪŋ ˌæprɪˈhɛnʃən. ˈdʊrɪŋ ðə ʤæn. 29 ˈɪntərvˌju wɪθ pəˈlis, ˈdeɪvɪs ˈɔlsoʊ ədˈmɪtəd tɪ ˈmeɪkɪŋ θri gərlz drɪŋk hɪz bləd. əˈkɔrdɪŋ tɪ ðə ˈkrɪmənəl kəmˈpleɪnt, tu əv ðə ˈɪnsədənts ˈhæpənd bɪtˈwin ɑkˈtoʊbər ənd dɪˈsɛmbər əv læst jɪr. ɪn ðoʊz ˈɪnstənsɪz, ˈdeɪvɪs ənd ðə ˈvɪktɪmz wʊd kət ðɛmˈsɛlvz ənd lɪk iʧ bləd. ɪn ðət keɪs, hi ɪz ʧɑrʤd wɪθ kərˈəpʃən əv ˈmaɪnərz ənd ˈsɪmpəl əˈsɔlt. æst ɪf ˈɛvər hərd ˈɛniˌθɪŋ laɪk ðɪs ˌbiˈfɔr, ˈɔfɪsər greɪ, hu həz bɪn ə pəˈlismən fər 22 jɪrz, rɪˈspɑndɪd baɪ seɪɪŋ ɪn hollywood.”*.” steɪ wɪθ fər mɔr ˈditeɪlz ʤɔɪn ðə ˌkɑnvərˈseɪʃən ɔn ðə ˈfeɪsˌbʊk peɪʤ steɪ əp tɪ deɪt, ˈfɑloʊ ɔn tˈwɪtər
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pittsburgh (kdka) – a westmoreland county man is facing a string of charges after police said he had sex with an underage girl, told a witness to lie to police, and then cut the arms of several girls, licked their blood, and had them do the same to him.
jonathan ryan davis, 21, of vandergrift is facing charges that include statutory rape, witness intimidation, and corruption of minors.
vandergrift police officer joseph gray told kdka tv’s ralph iannotti “there were some ritualistic issues from the summer and fall of last year, some blood-letting where victims (juveniles) cut their own wrists, and davis would take their blood in his mouth and vice versa.”
“none of the victims were forced into doing anything, and davis has been fully co-operating in the on-going investigation,” said gray.
gray said it took months to finish the bizarre investigation, because he had to “connect all the dots.”
gray said there were three juveniles involved in the case, including the teenage girl davis allegedly had sex with in a local church.
according to the criminal complaint, the incident happened at the st. gertrude church in december.
the victim told police she was initially at kennedy park with davis and some mutual friends. witnesses said they observed davis kissing the victim and touching her inappropriately in the park.
in that case, davis is being charged with statutory sexual assault, corruption of minors and indecent assault.
davis is facing additional charges for trying to get a witness to lie to police about his involvement.
according to the criminal complaint, davis contacted a witness on facebook.
an excerpt of the facebook conversation is as follows:
davis: “you were the last one with [victim] and i, so you’re the only one that can say i left the same time as you.”
witness: “[you] dude.”
davis: “but you’re the only one that can say i did and get me out of this mess.”
the witness goes on to say he will not lie to police to help out davis.
as a result, davis is facing additional charges of obstructing administration of law and hindering apprehension.
during the jan. 29 interview with police, davis also admitted to making three girls drink his blood.
according to the criminal complaint, two of the incidents happened between october and december of last year. in those instances, davis and the victims would cut themselves and lick each other’s blood.
in that case, he is charged with corruption of minors and simple assault.
asked if he’d ever heard anything like this before, officer gray, who has been a policeman for 22 years, responded by saying “only in hollywood.”
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ʤɪst ə mənθ əˈgoʊ, ˈʤɛri ʤoʊnz lɛt ˈɛvriˌwən ɪn ðə ˈmidiə noʊ ˈdæləs ˈkaʊˌbɔɪz kˈwɔrtərˌbæk ˈtoʊni ˈroʊmoʊ, hu wɑz ˈtɔsɪŋ ðə ˈfʊtˌbɔl əraʊnd ɛz pɑrt əv hɪz roʊd tɪ ən ˈərli rɪˈkəvəri, wʊd rɪˈgeɪn hɪz ˈstɑrtɪŋ ʤɑb wəns hi wɑz ˈhɛlθi. naʊ, ˈɛˌnɛˈfɛl ˈiən ˈræpəpɔrt ɪz rɪˈpɔrtɪŋ ˈroʊmoʊ nɑt bi ready”*” ənˈtɪl wik 9 ənd ˈpɑsəbli ˈleɪtər. wɪʧ ˌkoʊənˈsaɪdəd wɪθ ə ʧeɪnʤ ɪn ðə tun ʤoʊnz ɪz ˈsɪŋɪŋ. si mɔr kɑrˈtunz: ˈpənɪʃmənt əv ʤɑʃ braʊn dɪz nɑt fɪt ðə kraɪm (dəˈmɛstɪk əˈbjuz) ˈæftər ðə ˈkaʊˌbɔɪz wɪn ˈoʊvər ðə ˈpækərz læst ˈsənˌdi, ʤoʊnz toʊld rɪˈpɔrtərz ðət ðə dɪˈsɪʒən æt kˈwɔrtərˌbæk wɪl ənˈtɪl ðə nɛkst kɑrd ɪz played.”*.” ənd ɔn ˈsiˌbiˌɛs ˈreɪdiˌoʊ ɪn ˈdæləs ə ˈkəpəl deɪz ˈleɪtər, ʤoʊnz meɪd ðə pɔɪnt ðət ðə ˈpeɪtriəts brɪŋ tɑm ˈbreɪdi bæk ʤɪst bɪˈkəz hi wɑz tɑm ˈbreɪdi. ðeɪ brɔt ɪm bæk bɪˈkəz hi geɪv ðə ˈpeɪtriəts ðə bɛst ʧæns tɪ wɪn. ɪt simz laɪk ʤoʊnz ɪz kˈwɪkli ˈbækˌpɛdəlɪŋ əˈweɪ frəm hɪz ˈvɛtərən kˈwɔrtərˌbæk ɪn ˈfeɪvər əv ˈrʊki ˈfɛnəm ˈdiˈeɪˈkeɪ ˈprɛskɑt. ðə ˈprɑbləm fər ðə ˈkaʊˌbɔɪz ɪz ɛz gʊd ɛz ˈprɛskɑt həz pleɪd, stɪl ʤɪst ə ˈrʊki, ənd ɪz baʊnd tɪ hɪt ə spid bəmp ər tu ɛz ðə ˈsizən graɪndz ɔn. aɪ noʊ ˈɛvriˌwən kips ˈtɔkɪŋ əˈbaʊt ˈlɑkər rum ˈkɛmɪstri, ənd ɪt wʊd bi ə təf dɪˈsɪʒən fər ðə ˈkaʊˌbɔɪz tɪ jæŋk ˈprɛskɑt aʊt əv ðə ˈstɑrtɪŋ ˈlaɪˌnəp ɪf hi ˈmænɪʤɪz tɪ dɪˈfit ðə ˈigəlz ɪn ˌfɪləˈdɛlfiə ɔn wik 8 bət ju stɑrt ɪm ˈoʊvər ə hɛlθ ˈroʊmoʊ. ˈæftər ɔl, ˈroʊmoʊ həz ðə θərd haɪəst kərɪr ˈpæsɪŋ ˈreɪtɪŋ əv ˈɛni kˈwɔrtərˌbæk tɪ ˈɛvər pleɪ ɪn ðə lig. ˈɔlsoʊ ˈpruvən hi kən pleɪ ɪn ðə, ənd gɪvz ðə ˈkaʊˌbɔɪz ðɛr bɛst ʃɑt æt ˈmeɪkɪŋ ə dip rən. ˈɔlsoʊ nɑt fərˈgɛt ðə faɪv timz ðə ˈkaʊˌbɔɪz hæv ˈbitən wɪˈθaʊt ɪm hæv ə kəmˈbaɪnd ˈrɛkərd əv nɑt ɪgˈzæktli ðə ɪˈlit əv ðə ɪˈlit. ˈʤɛri ʤoʊnz ʃʊd stɑp ˈwɑflɪŋ ənd du ðə ˈsɛnsəbəl θɪŋ stɑrt ˈroʊmoʊ wɪn ˈhɛlθi ɪˈnəf tɪ pleɪ. ər ˈbɛtər jɛt, ˈmeɪbi hi ʃʊd ʤɪst steɪ kwaɪət ənd lɛt hɪz ˈkoʊʧɪz ˌdɪˈsaɪd bɛst fər ðə tim. ðət ɪz wət peɪɪŋ ðɛm fər, raɪt? kɑrˈtun baɪ rɑb tornoe*.
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just a month ago, jerry jones let everyone in the media know dallas cowboys quarterback tony romo, who was tossing the football around as part of his road to an early recovery, would regain his starting job once he was healthy.
now, nfl network’s ian rapoport is reporting romo “may not be ready” until week 9, and possibly later. which coincided with a change in the tune jones is singing.
see more cartoons: nfl's punishment of josh brown does not fit the crime (domestic abuse)
after the cowboys win over the packers last sunday, jones told reporters that the team’s decision at quarterback will “wait until the next card is played.”
and on cbs radio in dallas a couple days later, jones made the point that the patriots didn’t bring tom brady back just because he was tom brady. they brought him back because he gave the patriots the best chance to win.
it seems like jones is quickly backpedaling away from his veteran quarterback in favor of rookie phenom dak prescott. the problem for the cowboys is as good as prescott has played, he’s still just a rookie, and is bound to hit a speed bump or two as the season grinds on.
i know everyone keeps talking about locker room chemistry, and it would be a tough decision for the cowboys to yank prescott out of the starting lineup if he manages to defeat the eagles in philadelphia on week 8. but you can’t start him over a health romo.
after all, romo has the third highest career passing rating of any quarterback to ever play in the league. he’s also proven he can play in the postseason, and gives the cowboys their best shot at making a deep postseason run. let’s also not forget the five teams the cowboys have beaten without him have a combined record of 11-18. not exactly the elite of the elite.
jerry jones should stop waffling and do the sensible thing - start romo when he’s healthy enough to play. or better yet, maybe he should just stay quiet and let his coaches decide what’s best for the team. that is what he’s paying them for, right? -- cartoon by rob tornoe.
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ˌmɑnˈroʊviə, ˌlaɪˈbɪˌriə 1 maɪl ˈneɪbərˌhʊd wɛr ˈmɪstər. ˈdəŋkən ˈrɛntɪd ə rum ˌlaɪˈbɪˌriə ˈʃɪpɪŋ ˈkəmpəˌni wɛr ˈmɪstər. ˈdəŋkən wərkt ˈsɪti ˈsɛnər ˈfɑmə ˌmɑnˈroʊviə ˈkɑŋgoʊ taʊn ˈtəbmən ˈbʊləˌvɑrd. əˈtlæntɪk ˈoʊʃən sɔrs: mæp ˈdætə baɪ. ˈʃɪpɪŋ ˈkəmpəˌni wɛr ˈmɪstər. ˈdəŋkən wərkt ˌlaɪˈbɪˌriə ˈneɪbərˌhʊd wɛr ˈmɪstər. ˈdəŋkən ˈrɛntɪd ə rum ˈsɪti ˈsɛnər ˌmɑnˈroʊviə ˈtəbmən ˈbʊləˌvɑrd. əˈtlæntɪk ˈoʊʃən 1 maɪl sɔrs: mæp ˈdætə baɪ ɪn ˌlaɪˈbɪˌriə, ˈmɪstər. ˈdəŋkən wərkt æt ə ˈʃɪpɪŋ ˈkəmpəˌni ɪn ˌmɑnˈroʊviə, bət kwɪt hɪz ʤɑb ɪn ˈərli sɛpˈtɛmbər. ˈneɪbərz sɛd hi hæd ˈgɔtən ə ˈvizə tɪ ˈvɪzɪt ˈfæməli ɪn ðə juˈnaɪtɪd steɪts. fər ðə pæst tu jɪrz, ˈmɪstər. ˈdəŋkən ˈrɛntɪd ə rum frəm ə ˈfæməli frɛnd ɪn ə ˈneɪbərˌhʊd kɔld ˈbʊləˌvɑrd. ɔn sɛpt. 15 hi hɛlpt hɪz ˈlænˌdlɔrdz ˈdɔtər, hu wɑz ˈstrɪkən baɪ iˈboʊlə, gɪt tɪ ðə ˈhɑˌspɪtəl, bət ðeɪ wər tərnd əˈweɪ fər læk əv speɪs. ˈmɪstər. ˈdəŋkən ðɛn hɛlpt ˈkɛri ðə ˈwʊmən bæk tɪ ðə ˈfæməli hoʊm, wɛr ʃi daɪd aʊərz ˈleɪtər. frəm ˌlaɪˈbɪˌriə tɪ ˈdæləs ˈbrəsəlz ˈbɛlʤəm juˈnaɪtɪd steɪts ˈwɔʃɪŋtən ˈdæləs sɛpt. 20 ˌmɑnˈroʊviə ˌlaɪˈbɪˌriə sɛpt. 19 əˈfɛktɪd ˈkəntriz ˈbrəsəlz ˈbɛlʤəm juˈnaɪtɪd steɪts ˈwɔʃɪŋtən ˈdæləs ˌmɑnˈroʊviə ˌlaɪˈbɪˌriə ˈmɪstər. ˈdəŋkən ʃoʊd noʊ saɪnz əv ˈfivər ər ˈəðər ˈsɪmptəmz əv iˈboʊlə wɪn hi wɑz skrind ɔn sɛpt. 19 ˌbiˈfɔr ˈbɔrdɪŋ ə flaɪt frəm ˌmɑnˈroʊviə tɪ ˈbrəsəlz. hi flu frəm ˈbrəsəlz tɪ ˈwɔʃɪŋtən ˈdələs ənd ðɛn ɔn tɪ wərθ. ˈdæləs skulz əˈtɛndəd baɪ ˈʧɪldrən hu meɪ hæv hæd ˈkɑnˌtækt wɪθ ˈmɪstər. ˈdəŋkən ˈtɛksəs hɛlθ ˌprɛzbɪˈtɪriən ˈhɑˌspɪtəl ˈdæləs ˈɛmɪt ʤeɪ. ˈkɑnræd haɪ wərθ ˌɪnərˈnæʃənɑl ˈɛrˌpɔrt ˈaɪvi əˈpɑrtmənts ˈɛriə əv ˈditeɪl sæm ˈmɪdəl ˈdæləs fɔrt wərθ ˈdæləs ɛl. ɛl. ˈhɑʧkɪs ˌɛləˈmɛnʧri ˈtɛksəs dæn di. ˈrɑʤərz ˌɛləˈmɛnʧri wərθ ˌɪnərˈnæʃənɑl ˈɛrˌpɔrt ˈɛriə əv ˈditeɪl ˈtɛksəs ˈdæləs fɔrt wərθ ˈtɛksəs hɛlθ ˌprɛzbɪˈtɪriən ˈhɑˌspɪtəl ˈdæləs ˈɛmɪt ʤeɪ. ˈkɑnræd haɪ ˈaɪvi əˈpɑrtmənts sæm ˈmɪdəl ˈdæləs 12 75 ɛl. ɛl. ˈhɑʧkɪs ˌɛləˈmɛnʧri skulz əˈtɛndəd baɪ ˈʧɪldrən hu meɪ hæv hæd ˈkɑnˌtækt wɪθ ˈmɪstər. ˈdəŋkən dæn di. ˈrɑʤərz ˌɛləˈmɛnʧri ˈɛrˌpɔrt ˈɛriə bɪˈloʊ ˈtɛksəs ˈdæləs ˈhɑˌspɪtəl ˈdæləs æpt. wɛr ˈmɪstər. ˈdəŋkən wɑz steɪɪŋ skulz wɪθ ˈʧɪldrən hu meɪ hæv hæd ˈkɑnˌtækt wɪθ ˈmɪstər. ˈdəŋkən ˈmɪstər. ˈdəŋkən ˈstɑrtɪd ʃoʊɪŋ ˈsɪmptəmz ɔn sɛpt. 24 ənd sɔt ˈmɛdɪkəl kɛr æt ˈtɛksəs hɛlθ ˌprɛzbɪˈtɪriən ˈhɑˌspɪtəl ɔn sɛpt. 25 bət wɑz sɛnt hoʊm. hɪz kənˈdɪʃən ˈwərsənd, ənd hi wɑz ˈteɪkən bæk tɪ ðə ˈhɑˌspɪtəl baɪ ˈæmbjələns ɔn sɛpt. 28 əˈfɪʃəlz kənˈfərmd ɔn sɛpt. 30 ðət hɪz bləd ˈtɛstɪd ˈpɑzətɪv fər iˈboʊlə. ɔn ɔkt. 3 hɛlθ əˈfɪʃəlz ɪn ˈtɛksəs sɛd ðeɪ hæd aɪˈdɛntəˌfaɪd 10 ˈpipəl hu ər moʊst æt rɪsk əv ˈkɑntræktɪŋ iˈboʊlə ˈæftər ˈkəmɪŋ ˈɪntu ˈkɑnˌtækt wɪθ ˈmɪstər. ˈdəŋkən, ˌɪnˈkludɪŋ ðə fɔr ˈpipəl hu wər ˈlɪvɪŋ ɪn ðə əˈpɑrtmənt hi wɑz steɪɪŋ ɪn ənd θri ˈmɛdɪkəl ˈwərkərz hu roʊd tɪ ðə ˈhɑˌspɪtəl wɪθ ɪm. əˈnəðər 40 ˈpipəl ər biɪŋ ˈmɑnətərd ˈdeɪli bət ər kənˈsɪdərd æt ˈrɛlətɪvli loʊ rɪsk.
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monrovia, liberia 1 mile neighborhood where mr. duncan rented a room liberia shipping company where mr. duncan worked city center fama monrovia paynesville congo town tubman blvd. atlantic ocean source: map data by openstreetmap. shipping company where mr. duncan worked liberia neighborhood where mr. duncan rented a room city center paynesville monrovia tubman blvd. atlantic ocean 1 mile source: map data by openstreetmap in liberia, mr. duncan worked at a shipping company in monrovia, but quit his job in early september. neighbors said he had gotten a visa to visit family in the united states. for the past two years, mr. duncan rented a room from a family friend in a neighborhood called 72nd skd boulevard. on sept. 15, he helped his landlord's daughter, who was stricken by ebola, get to the hospital, but they were turned away for lack of space. mr. duncan then helped carry the woman back to the family home, where she died hours later.
from liberia to dallas brussels belgium united states washington dallas sept. 20 monrovia liberia sept. 19 affected countries brussels belgium united states washington dallas monrovia liberia mr. duncan showed no signs of fever or other symptoms of ebola when he was screened on sept. 19 before boarding a flight from monrovia to brussels. he flew from brussels to washington dulles and then on to dallas-forth worth.
dallas schools attended by children who may have had contact with mr. duncan texas health presbyterian hospital dallas emmett j. conrad high dallas/fort worth international airport ivy apartments area of detail sam tasby middle dallas fort worth dallas l. l. hotchkiss elementary texas dan d. rogers elementary dallas/fort worth international airport area of detail texas dallas fort worth texas health presbyterian hospital dallas emmett j. conrad high ivy apartments sam tasby middle dallas 12 75 l. l. hotchkiss elementary schools attended by children who may have had contact with mr. duncan dan d. rogers elementary airport area below texas dallas hospital dallas apt. where mr. duncan was staying schools with children who may have had contact with mr. duncan mr. duncan started showing symptoms on sept. 24 and sought medical care at texas health presbyterian hospital on sept. 25 but was sent home. his condition worsened, and he was taken back to the hospital by ambulance on sept. 28. officials confirmed on sept. 30 that his blood tested positive for ebola. on oct. 3, health officials in texas said they had identified 10 people who are most at risk of contracting ebola after coming into contact with mr. duncan, including the four people who were living in the apartment he was staying in and three medical workers who rode to the hospital with him. another 40 people are being monitored daily but are considered at relatively low risk.
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ðoʊ ðə ˈkænʤi kən trænzˈleɪt ɛz country,”*,” hɪz kəmˈpleɪnt laɪz ˈɛlsˌwɛr. fər ðə moʊst pɑrt, ðə ˌʤæpəˈniz ˈlæŋgwɪʤ ˈjuzɪz ðə fəˈnɛtɪk skrɪpt kɔld tɪ ˈrɛndər ðə neɪmz əv ˈpleɪsɪz ˈaʊtˈsaɪd ˈeɪʒə. ˌhaʊˈɛvər, ɛz lʊkt æt ˌbiˈfɔr, ðɛr ər ˈɔlsoʊ ˈstændərˌdaɪzd ˈkænʤi, ðə ˈkɛrɪktərz ərˈɪʤənəli brɔt ˈoʊvər frəm ˈʧaɪnə, ðət ər ˈɔlsoʊ juzd tɪ rɪˈfər tɪ ˈfɔrən ˈkəntriz, əˈspɛʃəli ɪn ˈnuzˌpeɪpər ˈɑrtɪkəlz ənd ˈəðər ˈmidiə rɪˈpɔrts. ðiz kanji”*” ˌnɛsəˈsɛrəli ə ˈpərˌfɪkt mæʧ əp wɪθ ðə ərˈɪʤənəl, ər ˈivɪn kərˈəptɪd, prəˌnənsiˈeɪʃənz, ənd ər ˌɪnˈstɛd ˈjuʒəwəli ən əˌprɑksəˈmeɪʃən əv ðə ˌɪˈnɪʃəl ˈsɪləbəl. stɪl, ɪt ɪz kaɪnd əv kul fər ˈpipəl frəm ˈɪŋglənd, fər ɪgˈzæmpəl, tɪ noʊ ðət ˈsəmˌtaɪmz rɪˈfərd tɪ ɛz biɪŋ frəm eikoku*, ˈminɪŋ country”*” ər country.”*.” ˌhaʊˈɛvər, ˈtoʊkiˌoʊ ˈrɛzɪdənt ənd ˈlɪŋgwɪst ˈkrɪstɔf ʃmɪts fil soʊ ˈhæpi wɪn hi siz hɪz ˈneɪtɪv ˈʤərməni ˈrɛndərd ɛz dokukoku*, ˈrɪtən ɪn ˈkænʤi laɪk ðɪs: ðə fərst ˈkænʤi, rɛd, wɑz ˈʧoʊzən bɪˈkəz əv ɪts ˌsɪməˈlɛrəti tɪ ““doitsu,”*,” ðə kərˈəptɪd ˌʤæpəˈniz prəˌnənsiˈeɪʃən əv ðə ““deutsch”*” ˈpɔrʃən əv ““deutschland,”*,” ɛz ˈʤərməni ɪz kɔld ɪn ðə ˈʤərmən ˈlæŋgwɪʤ. ˌɔrdəˈnɛrəli minz ““alone,”*,” ənd ðə ˈkænʤi ʃoʊz əp ɪn səʧ ˈdrɪri ˌʤæpəˈniz voʊˈkæbjəˌlɛri ɛz (““loneliness”*”) ənd judgement”*”), bət pɑrt əv mɔr ˈpɑzətɪv ˈmɛmbərz əv ðə ˈlɛksɪˌkɑn laɪk (““independence”*”) ənd (““originality”*”). ˌhaʊˈɛvər, ʃmɪts teɪks ˈɪʃu nɑt wɪθ ðə ˈminɪŋ əv, bət wɪθ haʊ ðə ˈkɛrɪktər ɪz ˈrɪtən. ðə 47-year-old*, hu ˈrisəntli ˈfɪnɪʃt ə ˈprɑʤɛkt ˈtrænsˌleɪtɪŋ ənd ən ˈɪŋlɪʃ ˈvərʒən əv rɪˈspɛktɪd ˌʤæpəˈniz ˈkænʤi ˈskɑlər ʃɪˈzukə ˈlɛksɪkəl ˌɪnˌtərprɪˈteɪʃən əv ˈkænʤi, ɪz spəˈsɪfɪkli ˈbɑðərd baɪ ðə lɛft hæf əv ðə ˈkɛrɪktər. laɪk ˈmɛni ˈkænʤi, ɪz ə ˈkɑmpaʊnd əv ˈəðər, ˈoʊldər ˈkænʤi, wɪʧ hæv hæd ðɛr ʃeɪps ˈɔltərd kəmˈpæktɪd fər ɛsˈθɛtɪk ˈbæləns ənd iz əv ˈraɪtɪŋ. ɪn ðə keɪs əv, ðə stroʊks ðət meɪk əp ðə lɛft hæf ər kəˈlɛktɪvli kɔld ðə, ər radical,”*,” wɪʧ ɪz ən ˈɔltərd fɔrm əv ðə kanji…*… minz ““dog.”*.” ðə raɪt hæf əv, baɪ ðə weɪ, ɪz ˈrɪtən ɪgˈzæktli laɪk ðə ˈkænʤi fər mushi*, ər ““bug,”*,” bət ɪz ˈæˌkʧuəli hɛld tɪ bi ə ˈmɑdəˌfaɪd fɔrm of…*… ɪz rɪˈleɪtɪd tɪ ðə ˈkɑnsɛpt əv ˈævərəs, ˈlidɪŋ tɪ ðə ˈɪmɪʤ əv ə ˈænəməl ˈteɪkɪŋ θɪŋz fər ˌɪtˈsɛlf ənd nɑt ʃoʊɪŋ ˈɪntəˌrɛstɪd ɪn biɪŋ pɑrt əv ə grup, ðəs ðə ˈminɪŋ əv ““alone”*” əˈsoʊʃiˌeɪtəd wɪθ. ʃmɪts kənˈtɛndz ðət ðə ˈprɛzəns əv ðə wɪˈθɪn ðə ˈkænʤi juzd fər ˈʤərməni ˈkɛriz dɪˈskrɪmənəˌtɔri ˌkɑnəˈteɪʃənz. waɪl hi faɪld ˈɛni əˈfɪʃəl kəmˈpleɪnts wɪθ ðə ˌʤæpəˈniz ˈgəvərnmənt ər ˌɛʤəˈkeɪʃənəl əˈθɔrətiz, hi həz sɛd ðət ə ˈʤərmən hu ˌəndərˈstændz ˈkænʤi, aɪ wʊd laɪk tɪ si ə change.”*.” ˌhaʊˈɛvər, ʃmɪts ɪz nɑt ˈæskɪŋ fər ˌʤæpəˈniz soʊˈsaɪɪti tɪ ˌdɪˈsaɪd ɔn nu ˈkænʤi tɪ juz fər ˈʤərməni, nɔr fər ðə ˈkænʤi tɪ bi riˈkæst wɪˈθaʊt juz əv ðə. ˌɪnˈstɛd, vɔɪst hɪz hoʊp ðət ˌɪnˈstɛd əv ˈjuzɪŋ ˈkænʤi æt ɔl tɪ rɪˈfər tɪ ˈʤərməni, ˈmidiə ˈaʊˌtlɛts wɪl bɪˈgɪn ˈrɛndərɪŋ ðə neɪm ˈjuzɪŋ ðə fəˈnɛtɪk, ˌɪnˈtrɪnsɪkəli ˈminɪŋləs skrɪpt ɪn ɔl ˈɪnstənsɪz, ðəs riˈmuvɪŋ ˈɛni ənˈwɔntɪd əˌsoʊʃiˈeɪʃən wɪθ ðə beɪs ˈɔrəʤɪnz əv ðə ˈkænʤi ənd ˈjutəˌlaɪzɪŋ ðə ˈpərpəs fər wɪʧ wər dɪˈvɛləpt. sɔrs: ˈtoʊkiˌoʊ ˈʃɪmˌbən ˈviə kiko*, ˈoʊˈkeɪ jiten*, jiten*, ˈkænʤi tɔp ˈɪmɪʤ: (ˈɛdɪtɪd baɪ ˌɪnˈsərt ˈɪmɪʤɪz: ˈfɑloʊ ˈkeɪsi ɔn tˈwɪtər, wɛr ˈprɪti məʧ ˈoʊˈkeɪ wɪθ əˈmɛrɪkə biɪŋ country”*” ɪn ɪts əˈfɪʃəl ˈkænʤi.
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though the kanji can translate as “lonely country,” his complaint lies elsewhere.
for the most part, the japanese language uses the phonetic script called katakana to render the names of places outside asia. however, as we’ve looked at before, there are also standardized kanji, the characters originally brought over from china, that are also used to refer to foreign countries, especially in newspaper articles and other media reports.
these “country kanji” aren’t necessarily a perfect match up with the nation’s original, or even corrupted katakana, pronunciations, and are instead usually an approximation of the initial syllable. still, it is kind of cool for people from england, for example, to know that sometimes they’re referred to as being from eikoku, meaning “hero country” or “glory country.”
however, tokyo resident and linguist christoph schmitz doesn’t feel so happy when he sees his native germany rendered as dokukoku, written in kanji like this:
the first kanji, read doku, was chosen because of its similarity to “doitsu,” the corrupted japanese pronunciation of the “deutsch” portion of “deutschland,” as germany is called in the german language. doku ordinarily means “alone,” and the kanji shows up in such dreary japanese vocabulary as kodoku (“loneliness”) and dokudan (“arbitrary judgement”), but it’s part of more positive members of the lexicon like dokuritsu (“independence”) and dokusou (“originality”).
however, schmitz takes issue not with the meaning of doku, but with how the character is written. the 47-year-old, who recently finished a 12-year project translating and self-publishing an english version of respected japanese kanji scholar shizuka shirakawa’s lexical interpretation of general-use kanji, is specifically bothered by the left half of the character.
like many kanji, doku is a compound of other, older kanji, which have had their shapes altered and/or compacted for aesthetic balance and ease of writing. in the case of doku, the strokes that make up the left half are collectively called the kemono-hen, or “beast radical,” which is an altered form of the kanji…
…which means “dog.” the right half of doku, by the way, is written exactly like the kanji for mushi, or “bug,” but is actually held to be a modified form of…
…which is related to the concept of avarice, leading to the image of a covetous animal taking things for itself and not showing interested in being part of a group, thus the meaning of “alone” associated with doku.
schmitz contends that the presence of the animal-based kemono-hen within the kanji used for germany carries discriminatory connotations. while he hasn’t filed any official complaints with the japanese government or educational authorities, he has said that “as a german who understands kanji, i would like to see a change.”
however, schmitz is not asking for japanese society to decide on new kanji to use for germany, nor for the doku kanji to be recast without use of the kemono-hen. instead, he’s voiced his hope that instead of using kanji at all to refer to germany, media outlets will begin rendering the country’s name using the phonetic, intrinsically meaningless katakana script in all instances, thus removing any unwanted association with the base origins of the kanji and utilizing the purpose for which katakana were developed.
source: tokyo shimbun via hachima kiko, ok jiten, goi jiten, kanji chishiki
top image: wikipedia/anomie (edited by rocketnews24)
insert images: rocketnew24
follow casey on twitter, where he’s pretty much ok with america being “rice country” in its official kanji.
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ˈfoʊˌtoʊ, 61 ɪz ə ˈwɑʧmən əv ə ˈʃɛltər fər ðə ˈmɛnəli ˈʧælənʤd æt punnapra*, ɪn ˈdɪstrɪkt ɪn ˈsəðərn ˌkɛˈrɑlə. ɪn hɪz juθ, ˈmɪstər. wɑz ə ˈsoʊlʤər ɪn ðə ˈɪndiən ˈɑrmi. wən deɪ hi rɪˈtərnd hoʊm frəm hɪz bəˈtæljən tɪ dɪˈskəvər ðət hɪz waɪf hæd rən əˈweɪ wɪθ ə ˈləvər. ɪnˈreɪʤd, ˈmɪstər. stæbd hɪz ˈməðərɪnˌlɔ tɪ dɛθ. hi sərvd 14 jɪrz ɪn ˈprɪzən fər ðə ˈmərdər. ˌdɪˈsaɪdɪd tɪ haɪər ɪm bɪˈkəz hi riˈmaɪndɪd mi əv myself,”*,” sɛd ˈælbɪn ˈmæθju, 62 ðə ˈfaʊndər əv ðə ˈʃɛltər sarvodaya*. æm ə ˈmərdərər ɛz well.”*.” ðə ˈʃɛltər ɪz ˈloʊˌkeɪtəd ɔn ə ˈklɪrɪŋ baɪ ðə ˈreɪlˌweɪ træks ˈpæsɪŋ θru punnapra*. ɪn ə lɑrʤ hɔl, ə mæn leɪ ɔn hɪz feɪs ɔn ðə flɔr, hɪz ˈbɑdi tˈwɪʧɪŋ ˌənkənˈtroʊləbli. əˈnəðər mæn læft ˈsədənli. ˈmɛni stɛrd vacantly*. ə fju hæd ˈgrɪzəld bɪrdz. ə ˈwʊmən kraɪd. ɪn ə ˈkɪʧən ˌbiˈsaɪd ðə hɔl, ˈmɪstər. waɪf, ˈmɛri, hu wɔr ə blu ˈsɑri, stərd raɪs ɪn ə lɑrʤ pɑt wɪθ ə ˈleɪdəl. ˈaʊtˈsaɪd, ɪn ə ˈspeɪʃəs ˈkɔrˌtjɑrd, ˈmɪstər. ˈmæθju hæd bɪlt sɪks həts wɪθ æsˈbɛstəs rufs ənd səm ˈbɑθˌrumz. ðə ˈrɛzɪdənts ˌɪnˈklud malayalis*, ðə wərd fər ðə ˈrɛzɪdənts əv ˌkɛˈrɑlə, bət ˈɔlsoʊ mɛn ənd ˈwɪmən frəm ˈəðər pɑrts əv ˈɪndiə prəˈdɛʃ, ˈtæmɪl nadu*, ˌmɑhərˈɑʃˌtrə ənd ˈdɛli. ðɛr ˈfæməliz hæd əˈbændənd moʊst əv ðɛm bɪˈkəz əv ðɛr ˈmɛntəl ˈɪlnəs. ˈmɛni wər ˈæftər biɪŋ faʊnd ˈtrævəlɪŋ wɪˈθaʊt ə ˈtɪkɪt ɔn ə treɪn ðət stɑpt æt ðə taʊn əv, ə fju ˈkɪləˌmitərz frəm ðə ˈʃɛltər. brɪŋ ðɛm tɪ bɪˈkəz ɪt ɪz ə hoʊm fər pur people,”*,” sɛd ˈmɪstər. ˈmæθju. isram*, ə ˈrɛzɪdənt əv ðə ˈʃɛltər, juzd tɪ lɪv ɪn nu ˈdɛli. wən deɪ, hi slɪpt waɪl ˈkrɔsɪŋ ˈreɪlˌweɪ træks ənd ə treɪn ræn ˈoʊvər hɪz lɛgz. hɪz ˈfæməli θru ɪm aʊt. hi bɪˈgæn ˈluzɪŋ hɪz ˈmɛntəl ˌikwəˈlɪbriəm ənd klaɪmd ˈɔntu ə treɪn ˈlivɪŋ ˈdɛli. hi ˈɛndɪd əp æt. ˈmɪstər. ˈmæθju sɔ ɪm æt ə bəs stɑp ənd brɔt ɪm tɪ ðə ˈʃɛltər. ˈoʊvər ðə jɪrz, səm əv ðə ˈrɛzɪdənts ʃoʊ saɪnz əv ˌɪmˈpruvmənt. ˈmɪstər. ˈmæθju ˈtiʧɪz ðə rɪˈkəvərɪŋ mɛn ənd ˈwɪmən tɪ meɪk ˈpeɪpər ˈpækɪts, wɪʧ ər soʊld tɪ ðə ˈnɪrˈbaɪ ʃɑps. ðə ˈmɑdəst ˈərnɪŋz səˈpɔrt ðə ˈʃɛltər, ɛz du doʊˈneɪʃənz frəm ˈɔrdəˌnɛri ˈsɪtɪzənz. gɪv ˌwəˈtɛvər ðeɪ kən spare,”*,” ˈmɪstər. ˈmæθju sɛd. taɪmz, ɪt ɪz oʊld kloʊðz. æt taɪmz, ɪt ɪz fud. ɪz ə miracle,”*,” hi ˈædɪd. hæv ˈɔlˌweɪz bɪn ˈeɪbəl tɪ mit ðə ˈdeɪli ɪkˈspɛnsɪz əv ˈrupiz ðə ɪkˈspɛndɪʧər ˌɪnˈkludz fud, ˈmɛdəsənz, ɪˌlɛkˈtrɪsəti ənd ˈwɔtər bɪlz. ˈmɪstər. ˈmæθju rɪˈmeɪnz ˈθæŋkfəl tɪ ðə ˈpipəl əv. ˈfoʊˌtoʊ ɪz ə ˈkoʊstəl taʊn əv ləʃ ˈpædi fildz ənd ˈkoʊkəˌnət groʊvz ɪn ˈsəðərn ˌkɛˈrɑlə, əraʊnd 39 maɪəlz frəm ðə ˈsɪti əv kochi*. ˈsɛvərəl kəˈnælz ənd strimz krɔs ðə taʊn. moʊst ˈpipəl meɪk ə ˈlɪvɪŋ ˈfɑrmɪŋ ənd ˈfɪʃɪŋ. ˈæftər ˈsɛvərəl aʊərz æt ðə ˈʃɛltər, aɪ wɔkt wɪθ ˈmɪstər. ˈmæθju əˈlɔŋ ə ˈnɛroʊ roʊd tɪ ə biʧ. ɔn ðə ʃɔr, ˈfɪʃərmɪn ɔn ə ˈwʊdən boʊt soʊd əp hoʊlz ɪn nɛts wɪθ lɔŋ ˈnidəlz. ðeɪ ɪksˈʧeɪnʤd ˈgritɪŋz wɪθ ˈmɪstər. ˈmæθju. wi sæt ɔn ðə sænd ɪn ə groʊv əv ˌjukəˈlɪptəs triz, huz livz muvd ɪn ə ˈsuðɪŋ briz. ˈmɪstər. ˈmæθju rɪˈkɔld hɪz lɔŋ ˈʤərni tɪ bɪˈkəmɪŋ ðə mæn hu ˈmænɪʤd ðə ˈʃɛltər fər ðə ˈmɛnəli ɪl. ɪn ðə ˈərli 1980s*, ˈmɪstər. ˈmæθju wərkt ɛz ə fər ə pəˈlɪtɪkəl ˈpɑrti, wɪʧ hi rɪfˈjuzd tɪ neɪm fər ðə fɪr əv riˌtæliˈeɪʃən. wən ˈivnɪŋ ɪn 1982 ˈmɪstər. ˈmæθju wɑz ˈdrɪŋkɪŋ ə glæs əv, ə ˈloʊkəl ˌælkəˈhɑlɪk drɪŋk, ɪn ə ʃɑp ɪn punnapra*. hi wɑz ˈgeɪnɪŋ ˌnoʊtərˈaɪəti ənd ˈɪnfluəns ɛz ən ɛnˈfɔrsər fər hɪz ˈpɑrti. hɪz raɪz ˈræŋkəld, əˈnəðər ɛnˈfɔrsər əv ðə ˈpɑrti. ˈmɪstər. wɔkt ˈɪntu ðə ʃɑp tɪ pʊt ˈmɪstər. ˈmæθju ɪn hɪz pleɪs. ðə tu mɛn hæd ə ˈhitɪd ɪksˈʧeɪnʤ. ˈmɪstər. hɪt ˈmɪstər. ˈmæθju ɪn hɪz rɪbz wɪθ ðə ˈwʊdən ˈhændəl əv ə lɔŋ, kərvd naɪf. ˈmɪstər. ˈmæθju tʊk aʊt hɪz naɪf ənd droʊv ɪt ˈɪntu ˈmɪstər. hɑrt. ə kraʊd hæd ˈgæðərd ˈaʊtˈsaɪd. ˈmɪstər. blɛd ɔn ðə ʃɑp flɔr. ə fju mɛn stɛpt ˈfɔrwərd tɪ hɛlp ðə daɪɪŋ mæn. ˈɛnibədi teɪks əˈnəðər stɛp, aɪ wɪl kɪl him,”*,” ˈmɪstər. ˈmæθju θˈrɛtənd. ðə kraʊd stɛpt bæk. ˈmɪstər. ˈplidɪd fər ˈwɔtər. ˈmɪstər. ˈmæθju pleɪst ə glæs əv nɛkst tɪ hɪz maʊθ. tʊk θri sɪps əv ˌbiˈfɔr hi died,”*,” ˈmɪstər. ˈmæθju rɪˈkɔld. wʊd hæv kɪld mi ɪf aɪ kɪld him.”*.” ðə ˈmərdər əv ˈmɪstər. sɪˈmɛntɪd ˈmɪstər. ˌrɛpjəˈteɪʃən fər ˈvaɪələns ənd ɪˈstæblɪʃt hɪz əˈθɔrəti ɛz ən ɛnˈfɔrsər ɪn punnapra*. hi dɪˈplɔɪd ˈvaɪələns əˈgɛnst ˈɛniˌwən ɪf hi wɑz peɪd ə fju ˈθaʊzənd ˈrupiz baɪ ə ˈraɪvəl. ˈpɑrti wʊd æsk mi tɪ gɪt rɪd əv ˈpipəl hu wər kriˈeɪtɪŋ problems,”*,” ˈmɪstər. ˈmæθju rɪˈkɔld. ənd θrɛts simd tɪ bi ðə weɪ tɪ ˈsɛtəl dɪˈspjuts. ðə kɔrts tʊk jɪrz. ˈpipəl wʊd luz ˈpeɪʃəns ənd kəm tɪ us.”*.” æt ə ˈsərtən pɔɪnt, ðə ˈvɪlɪʤərz gɑt taɪərd əv ˈmɪstər. ˌɪnˌtɪmɪˈdeɪʃən. wən deɪ, wɪn ˈmɪstər. ˈmæθju wɑz ˈstændɪŋ əˈloʊn nɪr ə ʧərʧ, ə mɑb ɪnˈsərkəld ɪm. ðə ˈvɪlɪʤərz əˈtækt ɪm wɪθ aɪərn rɑdz, broʊk hɪz hænz, hɪz lɛgz, ənd smæʃt hɪz feɪs. ðeɪ lɛft ɪm fər dɛd. ðə pəˈlis əraɪvd ənd tʊk ɪm tɪ ə ˈhɑˌspɪtəl. hi riˈgeɪnd ˈkɑnʃəsnəs ˈæftər θri deɪz ənd spæt bləd fər wiks. wɑz ə taɪm əv greɪt ˈtərˌmɔɪl. aɪ fɛlt ðət ðɛr wɑz noʊ pɔɪnt tɪ live,”*,” sɛd ˈmɪstər. ˈmæθju. hæd bɪˈkəm ə beast.”*.” ə mənθ ˈleɪtər, ˈmɪstər. ˈmæθju rɪˈtərnd hoʊm frəm ðə ˈhɑˌspɪtəl. hɪz waɪf, ˈmɛri, hæd bɪn ˈwərkɪŋ ɛz ə meɪd fər ðɛr ˈneɪbərz tɪ səˈpɔrt ðɛr θri ˈʧɪldrən. ðə ˈɛriə həz ə strɔŋ ˈkrɪsʧɪn kəmˈjunɪti wɪθ ən ˈæktɪv ʧərʧ. ˈmɪstər. ˈmæθju wɑz ˈbætəlɪŋ dɪˈprɛʃən. tu nənz keɪm tɪ ˈvɪzɪt ɪm ənd kənˈsoʊld ɪm. ər goʊɪŋ tɪ hæv ə nu life,”*,” sɛd wən əv ðə nənz. məst kənˈfɛs jʊr sɪnz ənd goʊ tɪ ðə church.”*.” ˈmɪstər. ˈmæθju fɛlt ðə nid fər dɪˈvaɪn ˌɪntərˈvɛnʃən. ðeɪ kɔld ə prist. ˈfɑðər ˌdɪˈrɑʒ, ə prist frəm ðə ˈɪndiən ˈmɪʃən soʊˈsaɪɪti ʧərʧ, əraɪvd. ˈmɪstər. ˈmæθju kənˈfɛst fər ən aʊər. fɛlt ə trɪˈmɛndəs sɛns əv relief,”*,” ˈmɪstər. ˈmæθju sɛd. hi ˈwɔntɪd tɪ lɪv əˈgɛn. ðə prist ədˈvaɪzd ɪm tɪ preɪ fər ðə ˈpipəl hi hæd hɑrmd. ə fju mənθs ˈleɪtər, ˈmɪstər. ˈmæθju hæd rɪˈkəvərd frəm hɪz ˈɪnʤəriz. bət ðə lɔ əv ðə lænd kɔt əp wɪθ ɪm. ɪn ˈeɪprəl 1984 hi wɑz ˌɪmˈprɪzənd fər 12 jɪrz fər ðə ˈmərdər əv ˈmɪstər. ənd ˈəðər əˈsɔlts. aɪ wɑz kənˈvɪktəd, maɪ frɛndz, maɪ ˈrɛlətɪvz ənd maɪ ˈpɑrti əˈbændənd me,”*,” ˈmɪstər. ˈmæθju rɪˈkɔld. wɑz alone.”*.” ɪn ˈprɪzən, ˈmɪstər. ˈmæθju rɪˈnud hɪz əˈliʤəns tɪ ðə ʧərʧ ənd bɪˈkeɪm ə dɪˈvaʊt ˈkrɪsʧɪn. ðə lɔŋ ˈprɪzən jɪrz əˈlaʊd ɪm tɪ ɪgˈzæmɪn hɪz laɪf. ˈmɪstər. ˈmæθju wɑz ʤɪst 11 jɪrz oʊld wɪn hɪz ˈfɑðər, ə ˈfɪʃərˌmæn, wɑz faʊnd ˈmərdərd, ˈhævɪŋ bɪn kɪld baɪ ənˈnoʊn ˈpipəl ɔn ə biʧ æt. tɛn jɪrz ˈleɪtər, ˈmɪstər. ˈjəŋgər ˈbrəðər, ˈʤeɪkəb ˈmæθju, wɑz kɪld baɪ hɪz ˌɪnˈlɔz. ðeɪ əˈkjuzd ðə ˈjəŋgər ˈmɪstər. ˈmæθju əv ˈbitɪŋ əp hɪz ˈprɛgnənt waɪf. dɛθ meɪd mi furious,”*,” sɛd ˈmɪstər. ˈmæθju. wɑz wɪn aɪ tʊk tɪ violence.”*.” wən deɪ ɪn ˈprɪzən, ˈmɪstər. ˈmæθju meɪd ə dɪˈsɪʒən. aɪ æm riˈlist, aɪ wɪl bi ə bun tɪ soʊˈsaɪɪti ˌɪnˈstɛd əv biɪŋ ə curse,”*,” hi vaʊd. ɔn ðə ˈɪndiən riˈpəblɪk deɪ ɔn ʤæn. 26 1997 ˈmɪstər. ˈmæθju wɑz wən əv 446 əˈfɛndərz ɪn ˌkɛˈrɑlə riˈlist frəm ə ˈprɪzən ɪn ðə ˈkæpɪtəl, thiruvananthapuram*, ˈæftər biɪŋ ˈpɑrdənd baɪ ðə ðɛn ʧif ˈmɪnɪstər əv ðə steɪt, e.k*. nayanar*. ˈmɪstər. ˈmæθju rɪˈtərnd tɪ. ə fju deɪz ˈæftər hɪz rɪˈtərn, hi mɛt ə prist. ðə prist ədˈvaɪzd ɪm tɪ ˈoʊvərˌkəm hɪz ˌrɛpjəˈteɪʃən ɛz ə ˈvaɪələnt mæn ənd ə kənˈvɪktəd ˈmərdərər baɪ ˈʧeɪnʤɪŋ ðə weɪ ðə ˈtaʊnzˌfoʊk sɔ ɪm. hi ədˈvaɪzd ˈmɪstər. ˈmæθju tɪ wɛr ðə roʊbz əv ə prist. hi ˈfɑloʊd ðə ədˈvaɪs ənd ʧeɪnʤd ˈɪntu ə ˈsæfrən kurta*, ə sərɔŋ, ənd wɔr ə ˈroʊzəri əraʊnd hɪz nɛk. ˈmɪstər. ˈmæθju kənˈtɪnjuz tɪ wɛr ðə roʊbz. wən ˈmɔrnɪŋ ɪn 1997 waɪl ˈmɪstər. ˈmæθju wɑz ˈwɑndərɪŋ əˈbaʊt, hi ˈspɑtɪd ə dɪˈreɪnʤd mæn wɪθ ənˈkɛmpt hɛr, ə θɪk bɪrd ənd ˈdərti kloʊðz. ˌdɪˈsaɪdɪd tɪ lʊk ˈæftər ɪm, ənd tʊk ə haʊs ɔn rent,”*,” hi rɪˈkɔld. ʃeɪvd hɪz feɪs, kət hɪz hɛr, geɪv ɪm ə bæθ, ənd gɑt ɪm səm clothes.”*.” ɛz deɪz pæst, ˈmɪstər. ˈmæθju faʊnd ˈəðər əˈbændənd, ˈmɛnəli ɪl mɛn ənd ˈwɪmən. hi brɔt ðɛm tɪ hɪz ˈʃɛltər. ˈmɪstər. ˈmæθju lɪvz ɔn ðə ˈʃɛltər ˈprɛməsəz wɪθ hɪz waɪf ɪn ə θæʧt hət. hi stɪl wɛrz ðə roʊbz. hɪz ˈvaɪələnt pæst ɪz ə ˈdɪstənt ˈmɛməri, ə ˈlɛsən. hu lɪv baɪ ðə sɔrd wɪl daɪ baɪ ɪt. ðɛr ər noʊ geɪnz θru violence,”*,” sɛd ˈmɪstər. ˈmæθju. ɪz noʊ pis əv maɪnd wɪn ju kɪl ə ˈpərsən ər kət ɔf hɪz limbs.”*.” ˈʃɛvlɪn səˈbæsʧən ɪz ə ˈspɛʃəl ˌkɔrəˈspɑndənt æt ðə nu ˈɪndiən ɪkˈsprɛs ɪn kochi*.
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vasudeva panicker, 61, is a mild-mannered watchman of a shelter for the mentally challenged at punnapra, in alappuzha district in southern kerala. in his youth, mr. panicker was a soldier in the indian army. one day he returned home from his battalion to discover that his wife had run away with a lover. enraged, mr. panicker stabbed his mother-in-law to death. he served 14 years in prison for the murder.
“i decided to hire him because he reminded me of myself,” said albin mathew, 62, the founder of the shelter santhi bhavan sarvodaya. “i am a murderer as well.”
the shelter is located on a clearing by the railway tracks passing through punnapra. in a large dormitory-style hall, a man lay on his face on the floor, his body twitching uncontrollably. another man laughed suddenly. many stared vacantly. a few had grizzled beards. a gray-haired woman cried. in a kitchen beside the hall, mr. mathew’s wife, mary, who wore a blue sari, stirred rice in a large pot with a ladle. outside, in a spacious courtyard, mr. matthew had built six huts with asbestos roofs and some bathrooms.
the shelter’s residents include malayalis, the word for the residents of kerala, but also men and women from other parts of india – uttar pradesh, tamil nadu, maharashtra and delhi. their families had abandoned most of them because of their mental illness. many were offloaded after being found traveling without a ticket on a train that stopped at the town of alappuzha, a few kilometers from the shelter.
“i bring them to santhi bhavan because it is a home for poor people,” said mr. mathew.
isram, a resident of the shelter, used to live in new delhi. one day, he slipped while crossing railway tracks and a train ran over his legs. his family threw him out. he began losing his mental equilibrium and climbed onto a train leaving delhi. he ended up at alappuzha. mr. mathew saw him at a bus stop and brought him to the shelter.
over the years, some of the residents show signs of improvement. mr. matthew teaches the recovering men and women to make paper packets, which are sold to the nearby shops. the modest earnings support the shelter, as do donations from ordinary citizens.
“people give whatever they can spare,” mr. matthew said. “at times, it is old clothes. at times, it is food.
“it is a miracle,” he added. “we have always been able to meet the daily expenses of 15,000 rupees [$250].”
the expenditure includes food, medicines, electricity and water bills. mr. matthew remains thankful to the people of alappuzha.
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alappuzha is a coastal town of lush paddy fields and coconut groves in southern kerala, around 39 miles from the city of kochi. several canals and streams cross the town. most people make a living farming and fishing. after several hours at the shelter, i walked with mr. mathew along a narrow road to a beach. on the shore, fishermen on a wooden boat sewed up holes in nets with long needles. they exchanged greetings with mr. mathew. we sat on the sand in a grove of eucalyptus trees, whose leaves moved in a soothing breeze.
mr. mathew recalled his long journey to becoming the man who managed the shelter for the mentally ill. in the early 1980s, mr. mathew worked as a muscleman for a political party, which he refused to name for the fear of retaliation. one evening in 1982, mr. mathew was drinking a glass of toddy, a local alcoholic drink, in a shop in punnapra. he was gaining notoriety and influence as an enforcer for his party.
his rise rankled kritav podiyan, another enforcer of the party. mr. podiyan walked into the toddy shop to put mr. mathew in his place.
the two men had a heated exchange. mr. podiyan hit mr. mathew in his ribs with the wooden handle of a long, curved knife. mr. mathew took out his knife and drove it into mr. podiyan’s heart.
a crowd had gathered outside. mr. podiyan bled on the shop floor. a few men stepped forward to help the dying man.
“if anybody takes another step, i will kill him,” mr. mathew threatened. the crowd stepped back. mr. podiyan pleaded for water. mr. mathew placed a glass of toddy next to his mouth. “he took three sips of toddy before he died,” mr. mathew recalled. “he would have killed me if i hadn’t killed him.”
the murder of mr. podiyan cemented mr. mathew’s reputation for violence and established his authority as an enforcer in punnapra. he deployed violence against anyone if he was paid a few thousand rupees by a rival.
“the party would ask me to get rid of people who were creating problems,” mr. mathew recalled. “violence and threats seemed to be the way to settle disputes. the courts took years. people would lose patience and come to us.”
at a certain point, the villagers got tired of mr. mathew’s intimidation. one day, when mr. mathew was standing alone near a church, a mob encircled him. the villagers attacked him with iron rods, broke his hands, his legs, and smashed his face. they left him for dead.
the police arrived and took him to a hospital. he regained consciousness after three days and spat blood for weeks.
“it was a time of great turmoil. i felt that there was no point to live,” said mr. mathew. “i had become a beast.”
a month later, mr. mathew returned home from the hospital. his wife, mary, had been working as a maid for their neighbors to support their three children. the alapuzzha area has a strong christian community with an active church. mr. mathew was battling depression. two nuns came to visit him and consoled him.
“you are going to have a new life,” said one of the nuns. “you must confess your sins and go to the church.” mr. mathew felt the need for divine intervention. they called a priest.
father dhiraj, a priest from the indian mission society church, arrived. mr. mathew confessed for an hour.
“i felt a tremendous sense of relief,” mr. mathew said. he wanted to live again. the priest advised him to pray for the people he had harmed.
a few months later, mr. mathew had recovered from his injuries. but the law of the land caught up with him. in april 1984, he was imprisoned for 12 years for the murder of mr. podiyan and other assaults.
“when i was convicted, my friends, my relatives and my party abandoned me,” mr. mathew recalled. “i was alone.”
in prison, mr. mathew renewed his allegiance to the church and became a devout christian. the long prison years allowed him to examine his life. mr. mathew was just 11 years old when his father, a fisherman, was found murdered, having been killed by unknown people on a beach at alappuzha. ten years later, mr. mathew’s younger brother, jacob mathew, was killed by his in-laws. they accused the younger mr. mathew of beating up his pregnant wife.
“jacob’s death made me furious,” said mr. mathew. “that was when i took to violence.” one day in prison, mr. mathew made a decision. “when i am released, i will be a boon to society instead of being a curse,” he vowed.
on the indian republic day on jan. 26, 1997, mr. mathew was one of 446 offenders in kerala released from a prison in the capital, thiruvananthapuram, after being pardoned by the then chief minister of the state, e.k. nayanar. mr. mathew returned to alappuzha. a few days after his return, he met a priest.
the priest advised him to overcome his reputation as a violent man and a convicted murderer by changing the way the townsfolk saw him. he advised mr. mathew to wear the robes of a priest. he followed the priest’s advice and changed into a saffron kurta, a sarong, and wore a rosary around his neck. mr. mathew continues to wear the robes.
one morning in 1997, while mr. mathew was wandering about, he spotted a deranged man with unkempt hair, a thick beard and dirty clothes.
“i decided to look after him, and took a house on rent,” he recalled. “i shaved his face, cut his hair, gave him a bath, and got him some clothes.” as days passed, mr. mathew found other abandoned, mentally ill men and women. he brought them to his shelter.
mr. mathew lives on the shelter premises with his wife in a thatched hut. he still wears the robes. his violent past is a distant memory, a lesson. “those who live by the sword will die by it. there are no gains through violence,” said mr. mathew. “there is no peace of mind when you kill a person or cut off his limbs.”
shevlin sebastian is a special correspondent at the new indian express in kochi.
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lytro* ɪz ˈteɪkɪŋ ɪts rɪʧ, ˈkæmərə ˈkæpʧər tɛkˈnɑləʤi ˈɪntu ðə wərld əv ˌtɛləˈvɪʒən ənd fɪlm. ðə laɪt fild səˈluʃən ɪz ə ˈtruli ˈbjutəfəl tɛkˈnɑləʤi ðət meɪ ɪˈvɛnʧəwəli bi ɪn ˈɛvəri ˈkæmərə wi snæp ə ʃɑt ər ˈvɪdioʊ wɪθ. ðə tɛk ɛˈsɛnʃəli ˈjuzɪz ˈdætə ɔn ɔl əv ðə əˈveɪləbəl laɪt ɪn ə ˈfoʊˌtoʊ tɪ ˈsɛpərˌeɪt ˈɑbʤɛkts baɪ dɛpθ ənd stɔr ðɛm ɪn ə θˌrizdɪˈmɛnʃənəl grɪd. ɪn ðə fˈjuʧər ðɪs tɛkˈnɑləʤi wɪl əˈlaʊ ðə ˈsɪmpəl kriˈeɪʃən əv ˈnævəgəbəl ˈspeɪsɪz, bət raɪt naʊ ɪˈneɪbəlɪŋ ˈfɪlˌmeɪkərz ðə əˈbɪləˌti tɪ əˈʧiv ə ˈlɛvəl əv ˈditeɪl ənd ˌflɛksəˈbɪləti ɪn ˈgæðərɪŋ ʃɑts ənd ˈmeɪkɪŋ ˈɛdɪts ðət ˈpriviəsli ˈpɑsəbəl. təˈdeɪ, ðə ˈkəmpəˌni ˌɪntrəˈdust ˈsɪnəmə, wɪʧ ɪz ðə ˈɛfərt tɪ wu ðoʊz ɪn ðə ˈtɛləˌvɪʒən ənd fɪlm ˈɪndəstriz wɪθ kul ˈkæmərə tɛkˈnɑləʤi ðət meɪks ðɛr ʤɑbz ˈiziər. ðə ˈsɪnəmə ˈkæmərə ˈgæðərz ə ˈtruli ˈstægərˌɪŋ əˈmaʊnt əv ˌɪnˌfɔrˈmeɪʃən ɔn ðə wərld əraʊnd ɪt. ðə 755 rɑ ˌrɛzəˈluʃən, 300 ˈkæmərə teɪks ɪn ɛz məʧ ɛz 400 ˈgɪgəˌbaɪts pər ˈsɛkənd əv ˈdætə. wət ðət ʧəŋk əv ˈvɪʒəwəl ˈnɑlɪʤ gɪvz ˈfɪlˌmeɪkərz ɪz ðə ˈfridəm tɪ meɪk ə ˈnəmbər əv kriˈeɪtɪv dɪˈsɪʒənz ɪn ðət wʊd ˈəðərˌwaɪz bi ˌɪmˈpɑsəbəl ˈæftər ðeɪ hæd prɛst ““record.”*.” θɪŋz laɪk ˈʧeɪnʤɪŋ ðə dɛpθ əv fild, ˈfoʊkɪs pəˈzɪʃən, ˈʃətər spid ər daɪˈnæmɪk reɪnʤ kən naʊ teɪk pleɪs ˈæftər ðə fækt θæŋks tɪ ðə ˈtruli daɪˈnæmɪk ˈdætə biɪŋ ˈkæpʧərd. bɪˈlivz ðət ðɪs tɛk ɪz goʊɪŋ tɪ meɪk ðə ˈmərʤər əv ˈɪmɪʤɪz ənd ˈrilˌwərld ˈfʊtɪʤ ˈivɪn mɔr ˈsimləs, ənd aɪ bɪˈliv ɪt tu. ə ˈhɛfti ˈpɔrʃən əv fɪlmz təˈdeɪ rɪˈlaɪ ˈhɛvəli ɔn grin skrin tɛkˈnɑləʤi tɪ tərn ˈstudiˌoʊ ɪnˈvaɪrənmənts ˈɪntu ˈmæʤɪkəl wərldz. ˈsɪnəmə ɪz ˈɪmpləˌmɛnɪŋ laɪt fild tɛkˈnɑləʤi tɪ kriˈeɪt ˈsəmθɪŋ kɔld ə screen,”*,” wɪʧ əˈlaʊz ˈfɪlˌmeɪkərz tɪ ˈkæpʧər grin skrin ʃɑts wɪˈθaʊt ˈæˌkʧuəli ˈhævɪŋ tɪ pleɪs ˈæktərz ɪn grin skrin ɪnˈvaɪrənmənts. bɪˈkəz laɪt fild tɛkˈnɑləʤi ˈsɛnsɪz dɛpθ soʊ ˈækjərətli, ðə ˈsɪnəmə ˈkæmərə kən ʤɪst ˈkæpʧər ðə wərld aʊt tɪ ə ˈsərtən ˈdɪstəns ənd ɪz ɛˈsɛnʃəli ˈeɪbəl tɪ liv ðə rɛst əv ðə ʃɑt trænˈspɛrənt, əˈlaʊɪŋ fər ˈwɪzərdri tɪ ˈsimləsli pʊt ən ˈæktər ɔn ðə ˈsərfəs əv ðə mun wɪn ˈæˌkʧuəli ˈstændɪŋ ɪn ə rum sərˈaʊndɪd baɪ ˈkæmərə ɪkˈwɪpmənt. ˈɛdɪtɪŋ ðɪs kaɪnd əv ˈdætə ɪz ˈsərtənli ə juˈnik ənd ˌfɔrˈmɪdəbəl tæsk, bət həz ˌdɪˈsaɪdɪd tɪ meɪk θɪŋz ɛz ˈsɪmpəl ɛz ˈpɑsəbəl fər ˈfɪlˌmeɪkərz hu tɪ ðə swit ɛz ðɛr ˈkæpʧər səˈluʃən nɑt ˈoʊnli ˌɪnˈkludz ˈækˌsɛs tɪ ðə ˈkæmərə, bət ə ˈstɔrɪʤ ˈdætə stæk ənd ɔl əv ðə ˈnidɪd tɪ meɪk ˈɛdɪts ɔn ðə rɪʧ ˈvɪʒəwəl ˈdætə. ðɪs ˈkæmərə ɪz ɛˈsɛnʃəli tɛkˈnɑləʤi, soʊ ɪz ˌɪˈnɪʃəli ˈwərkɪŋ ɔn ˈgɪtɪŋ ðɪs ˈkæmərə ɪn filmmakers’*’ hænz wɪn ðeɪ nid ɪt ˈrəðər ðən ˈsɛlɪŋ ðə ɪnˈtaɪər səˈluʃən tɪ ˈstudiˌoʊz. sɪz ˈrɛntəl ˈpækɪʤɪz stɑrt æt fər ˈjutəˌlaɪzɪŋ ðə ˈsɪnəmə swit. ɪf ðə neɪm saʊnz fəˈmɪljər tɪ ju, ˈprɑbəˌbli bɪˈkəz hərd əˈbaʊt ðɛr kənˈsumər ˈprɑdəkts wɪʧ ˌɪnˈkludɪd ə kjut ˈlɪtəl ˈkələrfəl ˈbɑksi ˈkæmərə ənd ə mɔr ˈsɪriəs laɪt fild kənˈsumər ˈkæmərə. waɪl ðə kənˈsumər ˈprɑdəkts meɪ hæv ˈgɔtən ðə neɪm ɪn frənt əv mɔr ˈpipəl, həz ˈpɪvətɪd ɪn ðə pæst jɪr tɪ ˈwərkɪŋ mɔr wɪθ pərˈdəkʃən ˈkəmpəˌniz tɪ ˈɪmpləmənt laɪt fild tɛkˈnɑləʤi ɪn ðɛr ˈprɑʤɛkts. ˈsɪnəmə ɪz ðə moʊst ““mainstream”*” ˈɛfərt jɛt frəm ðə ˈkəmpəˌni tɪ ˌɪntrəˈdus ðɛr laɪt fild tɛkˈnɑləʤi tɪ ˈfɪlˌmeɪkərz. ɔˈrɛdi pərˈzɛnəd ðɛr tɛk tɪ ˈfɪlˌmeɪkərz ˈlʊkɪŋ tɪ meɪk ðə moʊst əv ˈvərʧuəl ˌriˈæləˌti ˈfɪlˌmeɪkɪŋ wɪθ ðɛr ˈsɪstəm, bət wɪθ ˈsɪnəmə, ɪz spəˈsɪfɪkli ˈsikɪŋ aʊt mɔr trəˈdɪʃənəl ˈtɛləˌvɪʒən ənd fɪlm prəˈdusərz tɪ teɪst ðə ˈbɛnəfɪts əv laɪt fild tɛkˈnɑləʤi ɪn ɛz rɪʧ ə weɪ ɛz ˈpɑsəbəl.
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lytro is taking its rich, volumetric 3d camera capture technology into the world of tv and film.
the company’s light field solution is a truly beautiful technology that may eventually be in every camera we snap a shot or video with. the tech essentially uses data on all of the available light in a photo to separate objects by depth and store them in a three-dimensional grid. in the future this technology will allow the simple creation of vr-ready navigable 3d spaces, but right now enabling filmmakers the ability to achieve a level of detail and flexibility in gathering shots and making post-production edits that wasn’t previously possible.
today, the company introduced lytro cinema, which is the company’s effort to woo those in the television and film industries with cool camera technology that makes their jobs easier.
the lytro cinema camera gathers a truly staggering amount of information on the world around it. the 755 raw megapixel 40k resolution, 300 fps camera takes in as much as 400 gigabytes per second of data.
what that chunk of visual knowledge gives filmmakers is the freedom to make a number of creative decisions in post-production that would otherwise be impossible after they had pressed “record.”
things like changing the depth of field, focus position, shutter speed or dynamic range can now take place after the fact thanks to the truly dynamic data being captured. lytro believes that this tech is going to make the merger of cgi images and real-world footage even more seamless, and i believe it too.
a hefty portion of films today rely heavily on green screen technology to turn studio backlot environments into magical worlds. lytro cinema is implementing light field technology to create something called a “depth screen,” which allows filmmakers to capture green screen shots without actually having to place actors in green screen environments.
because light field technology senses depth so accurately, the lytro cinema camera can just capture the world out to a certain distance and is essentially able to leave the rest of the shot transparent, allowing for post-production wizardry to seamlessly put an actor on the surface of the moon when they’re actually standing in a room surrounded by camera equipment.
editing this kind of data is certainly a unique and formidable task, but lytro has decided to make things as simple as possible for filmmakers who buy-in to the suite as their capture solution not only includes access to the camera, but a physical/cloud storage data stack and all of the software/plug-ins needed to make edits on the rich visual data.
this camera is essentially military-grade technology, so lytro is initially working on getting this camera in filmmakers’ hands when they need it rather than selling the entire solution to studios. lytro says rental packages start at $125k for utilizing the cinema hardware/software suite.
if the name lytro sounds familiar to you, probably because heard about their consumer products which included a cute little colorful boxy camera and a more serious light field consumer camera.
while the consumer products may have gotten the company’s name in front of more people, lytro has pivoted in the past year to working more with production companies to implement light field technology in their projects.
lytro cinema is the most “mainstream” effort yet from the company to introduce their light field technology to filmmakers. they’ve already presented their tech to filmmakers looking to make the most of stereoscopic 360-degree virtual reality filmmaking with their immerge system, but with cinema, lytro is specifically seeking out more traditional television and film producers to taste the benefits of light field technology in as rich a way as possible.
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nuz."/> wɪn ðə fərst ˌrɛvəˈleɪʃənz əˈbaʊt ðə ˈnæʃənəl sɪˈkjʊrəti (nsa*) ˈwaɪdˈsprɛd kəˈlɛkʃən əv foʊn kɔl ənd ˈɪntərˌnɛt ˈtræfɪk bɪˈgæn tɪ ˈsərfəs, saʊθ ˌkɛrəˈlaɪnə ˈsɛnətər ˈlɪndzi græm ˈnoʊtɪd ðət fər ðoʊz nɑt ˈtɔkɪŋ tɪ ˈtɛrəˌrɪsts ɔn ðə foʊn, hæv ˈɛniˌθɪŋ tɪ ˈwəri əˈbaʊt. glæd ðət ækˈtɪvɪti ɪz goʊɪŋ ɔn, bət ɪt ɪz ˈlɪmɪtɪd tɪ ˈtrækɪŋ ˈpipəl hu ər səˈspɛktɪd tɪ bi ˈtɛrəˌrɪsts ənd hu ðeɪ meɪ bi ˈtɔkɪŋ to.”*.” tərnz aʊt ðə ˈdætə kəˈlɛkʃən ɪz nɑt soʊ ˈlɪmɪtɪd. ɪn ˈtɛstɪˌmoʊni ˈjɛstərˌdeɪ ˌbiˈfɔr ðə haʊs ʤuˈdɪʃiˌɛri kəˈmɪti, ˈnæʃənəl sɪˈkjʊrəti ˈeɪʤənsi ˈdɛpjəti dɪˈrɛktər krɪs ˈɪŋglɪs sɛd ðət ðə ˈproʊbɪŋ əv ˈdætə ɪn sərʧ əv ˈtɛrərɪst ækˈtɪvɪti ɪkˈstɛndɪd tɪ θri hops”*” əˈweɪ frəm səˈspɛktɪd ˈtɛrəˌrɪsts. ˈpriviəsli, ˈlidərz hæd sɛd sərˈveɪləns wɑz ˈlɪmɪtɪd tɪ ˈoʊnli tu ““hops”*” frəm ə ˈsəˌspɛkt. ɪf juv ˈɛvər pleɪd "sɪks dɪˈgriz əv ˈkɛvɪn ˈbeɪkən" ər juzd tɪ traɪ tɪ riʧ ˈsəmˌwən prəˈfɛʃənəli, ju noʊ haʊ smɔl ðə wərld əv ˌɪntərkəˈnɛktɪd ˈkɑnˌtækts kən bi. wɪn ju juz bɪg ˈdætə tulz tɪ maɪn fər riˈleɪʃənˌʃɪps, ðə wərld gɪts ˈivɪn sˈmɔlər. ðət θərd hɑp ɪn kəˈnɛkʃənz ˈgreɪtli ɪkˈspændz ðə ˌprɑbəˈbɪləˌti əv ˈɪnəsənt ˈpipəl ˈwərldˈwaɪd biɪŋ skupt əp ˈɪntu ðə sərˈveɪləns məˈʃin tɪ ˌɪnˈklud ə ʃɛr əv əˈmɛrɪkən hu ˈsɛnətər græm sɛd "doʊnt hæv ˈɛniˌθɪŋ tɪ ˈwəri əˈbaʊt." ʤɪst haʊ dɪz ðə pɪk hu fɔlz wɪˈθɪn ðoʊz θri hɑps? beɪst ɔn wət ðə ˈeɪʤənsi həz sɛd əˈbaʊt ɪts ˈproʊˌgræmz, wət ˈɛdwərd sˈnoʊdən həz likt, ənd wət wi noʊ əˈbaʊt ðə ˈtɛknɪkəl ˌkeɪpəˈbɪlətiz, ə bɛst gɛs æt haʊ ðə dɪz ɪt ənd waɪ ɪt ˈmætərz tɪ ju. hɪrz ə hɪnt: baɪ ˈrɛdɪŋ ðɪs ˈɑrtɪkəl, jʊr wən hɑp frəm θri hɑps frəm həˈmid. stɛp 1 kəˈlɛktɪŋ kəˈnɛkʃənz ðə həz tu ˈmeɪʤər ˈsɔrsəz əv ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ˌɪnərˈækʃənz bɪtˈwin ˈpipəl: foʊn kɔl ənd ˈɪntərˌnɛt. ɛz rɪˈvild baɪ ðə ˈwɔrənt likt baɪ ˈɛdwərd sˈnoʊdən, ðə həz bɪn kəˈlɛktɪŋ ˌɪnˌfɔrˈmeɪʃən ɔn foʊn kɔlz meɪd θru ˈjuˈɛs ˌtɛləkəmˌjunəˈkeɪʃənz ˈkɛriərz, əˈpɛrəntli fər jɪrz. ðə ˈɔlsoʊ ˈjuzɪz ˈnɛtˌwərk tæps æt ˈmeɪʤər ˈɪntərˌnɛt həbz tɪ ˈkæpʧər ˈpækɪt ˈdætə. noʊ weɪ ðə kən ˈkæpʧər ɔl ˈɪntərˌnɛt ˈtræfɪk ɪn ˈɛni ˈjusfəl wʊd min ə ˈtɔrənt əv pər deɪ, fɑr tu lɑrʤ tɪ ənd stɔr ɪn ˈdætə ˈsɛnərz, dɪˈspaɪt ðə ˈɛfərts tɪ bɪld ə ˈstɔrɪʤ fəˈsɪlɪti ɪn ˈjuˌtɔ. bət ðə kən kəˈlɛkt məʧ əv ðə frəm ðə ˈtræfɪk ɪt ˌɪnərˈsɛpts, ˌɪnˈkludɪŋ ðə ˈɪntərˌnɛt ˈæˈdrɛsɪz ðət sɛnd ənd rɪˈsiv ðə ˈpækɪts, ɛz wɛl ɛz ˌɪnˌfɔrˈmeɪʃən laɪk ˈiˌmeɪl ˈhɛdərz ənd wɛb ˈvɪzɪts. ɪf ðoʊz fɔl wɪˈθɪn ə ˌpɑˈtɪkjələr ˈpætərn əv ˈɪntəˌrɛst, ðə ˈeɪʤənsi kən ðɛn ˈkæpʧər ɔl əv ðə əˈsoʊʃiˌeɪtəd ˈkɑntɛnt. bət fər ðə ˈmoʊmənt, ˈfoʊkɪs ɔn ðɪs. foʊn kɔl ənd ˈɪntərˌnɛt bɪˈkeɪm ˈsəmθɪŋ laɪk ən ˌɪnˈvɑlənˌtɛri kən ʃoʊ hu ju tɔk tɪ, wɪn ənd haʊ ˈɔfən, ənd wət ˈwɛbˌsaɪts ju ˈvɪzɪt. ðeɪ kən ˈɔlsoʊ gɪv hɪnts əv wət jʊr ˈɪntərɪsts ər ənd bi juzd tɪ bɪld ə ““graph”*” əv riˈleɪʃənˌʃɪps bɪtˈwin ˌɪndəˈvɪʤəwəlz (ər æt list bɪtˈwin foʊn ˈnəmbərz ər ˌaɪˌpi ˈæˈdrɛsɪz). ðɪs ɪz ə væst əˈmaʊnt əv ˌɪnˌfɔrˈmeɪʃən. ənd waɪl ðə ənd kɔrts hæv sɛd ðət noʊ ˌɛkspɛkˈteɪʃən əv ˈpraɪvəsi fər ɪt tɪ ðə ˈæˌdrɛs ˈrɪtən ɔn ən ˈɛnvəˌloʊp ɛz əˈpoʊzd tɪ ðə ˈlɛtər ˈnɑlɪʤ ðət ɪz naʊ frəm bəlk kən bi ˈhaɪli ˈpərsɪnəl ənd ˈsɛnsɪtɪv. bət noʊ ˈrizən fər ju tɪ fɪr ənˈlɛs ˈkɔlɪŋ ˈtɛrəˌrɪsts, raɪt? ˈsɔfˌwɛr ˈroʊˌbəts ər duɪŋ ðə æˈnælɪsɪs, nɑt ˈpipəl. ənd ˈroʊˌbəts ər kəmˈplitli ˈtrəstˌwərði. stɛp 2 ˈkaʊntɪŋ ðə hɑps nɛkst, ðə ˈsɪstəmz sɔrt θru ðə ˈdætə ˈjuzɪŋ ˈælgərˌɪðəmz tɪ faɪnd kəˈnɛkʃənz. ðiz kən bi dɪˈtɛktɪd ɪn nɪr ril taɪm frəm ˈɪntərˌnɛt ˈdætə ər dɪˈskəvərd ɪn ðə ˌpɪriˈɑdɪk dəmps əv foʊn frəm ˈkɛriərz, ˈbɪldɪŋ əˈpɑn ðə ˈnɑlɪʤ əv ˈpriviəs kəˈnɛkʃənz. ðə ˈsɪstəm ˈnɛroʊz ðə fild əv pəˈtɛnʃəl sərˈveɪləns ˈtɑrgəts θru ə ˈprɔˌsɛs ˈsɪmələr tɪ pleɪɪŋ ðə geɪm dɪˈgriz əv ˈkɛvɪn bacon”—only*, ɪn ðɪs keɪs, mɔr laɪk dɪˈgriz əv oʊˈsɑmə bɪn laden.”*.” ˈɪŋglɪs sɛd ðət ðə lʊks æt tu tɪ θri hɑps frəm ə ˈsəˌspɛkt. tɪ dɪˈtərmən haʊ ˈmɛni hɑps ju ər frəm oʊˈsɑmə, fər ɪgˈzæmpəl, ðə ˈdætə æˈnælɪsɪs ˈɪnʤən ˈsɔfˌwɛr ˈkɑnstəntli plaʊz θru ˌɪnˌfɔrˈmeɪʃən ənd bɪldz ə ˈmɑdəl əv ɔl ðə riˈleɪʃənˌʃɪps bɪtˈwin ˈɛvəri foʊn ˈnəmbər ɔn ˈrɛkərd ənd ˈɛvəri ˌaɪˌpi ˈæˌdrɛs. ˈəðər ˈsɔfˌwɛr ˈroʊˌbəts kˈwiri ðə græf tɪ dɪˈskəvər wɪʧ ˈnəmbərz, ˌaɪˌpi ˈæˈdrɛsɪz ənd iˈmeɪl wɪˈθɪn θri dɪˈgriz əv ˌsɛpərˈeɪʃən frəm ən ɪˈstæblɪʃt ˈsəˌspɛkt. ɪf ju hæv ə dɪˈrɛkt riˈleɪʃənˌʃɪp wɪθ ə səˈspɛktɪd ˈtɛrərɪst ər ˈtərgət kɔld ðɛm, iˈmeɪld ðɛm, ˈvɪzɪtɪd ðɛr ˈwɛbˌsaɪt) ə hop”*” riˈleɪʃənˌʃɪp; ə ˈsɑləd laɪn kəˈnɛktɪŋ ju tɪ ðət ˈpərsən ɪn ðə riˈleɪʃənˌʃɪp græf. ɪf ju tɔk wɪθ, ˈiˌmeɪl, ər ˈvɪzɪt ðə ˈfeɪsˌbʊk peɪʤ ər ˈwɛbˌsaɪt əv ˈsəmˌwən gɑt ə riˈleɪʃənˌʃɪp, tu hɑps əˈweɪ. æd wən mɔr ˈpərsən ɪn bɪtˈwin ɪn ðə græf, ənd θri hɑps əˈweɪ. stɛp 3 ˈdɪgɪŋ ˈdipər ɪf jʊr wɪˈθɪn θri hɑps, ju meɪ gɪt flægd fər æˈnælɪsɪs, ənd ðɛn ju kʊd gɪt ˈɛkstrə ˈspɛʃəl əˈtɛnʃən, səʧ ɛz ə ˈsikrɪt ˈwɔrənt rɪkˈwɛst tɪ juz ˈprɪzəm fər ˈækˌsɛs tɪ jʊr ˈdætə ɔn klaʊd providers’*’ ˈsərvərz. ˈəndər ðə rɪkˈwɛsts, ˈgugəl, ˈmaɪˌkroʊˈsɔft, ənd ˈəðər ˈɪntərˌnɛt ˈsərvɪsɪz ˈkəmpəˌniz kən bi kəmˈpɛld tɪ hænd ˈoʊvər ˈrɛləvənt ˈdætə frəm ðɛr ˈsərvərz ɔn ˈɛni əˈkaʊnt ðət fɔlz wɪˈθɪn ðə reɪnʤ ənd ɪz flægd ɛz bɪˈlɔŋɪŋ tɪ ə ˈpərsən əv ˈɪntəˌrɛst. ɪf wən ðɪs ˈlɑtəri, ðə wɪl gɪt ˈækˌsɛs tɪ jʊr ˈiˌmeɪlz ɔn ər ɛz wɛl ɛz jʊr ʧæts ənd ˈkɑnˌtækts, jʊr ˈdɑkjəmənts, jʊr ˈdætə frəm kəmˈpjutərz ənd ˈmoʊbəl dɪˈvaɪsɪz, jʊr ˈbæˌkəps, ənd ˈɛniˌθɪŋ ɛls ðət kən bi ˈhændɪd list, soʊ ðə ˈdɑkjəmənts sˈnoʊdən likt ˌɪmˈplaɪ. jʊr rɑ ˈɪntərˌnɛt ˈtræfɪk wɪl gɪt mɔr əˈtɛnʃən ɛz wɛl. jʊr ˌaɪˌpi ˈæˌdrɛs wɪl bi wɔʧt mɔr ˈkɛrfəli baɪ dip ˈpækɪt ˌɪnˈspɛkʃən ˈhɑrdˌwɛr æt ðə 'nɛt tæps, ənd wət ju du ˈɔnˌlaɪn wɪl gɪt ˈɛkstrə ˈskrutəni. ɪf jʊr bɪˈheɪvjər ɪz əˈnɑmələs ɪˈnəf, ənd ɪf ə ˈjuˈɛs ˈrɛzɪdənt, ðə wɪl pæs ðə sərˈveɪləns ˈoʊvər tɪ ðə ˈɛfˈbiˈaɪ. ˈəðərˌwaɪz, jʊr ˈdætə wɪl bi kəˈlɛktəd ənd ˈænəˌlaɪzd ənˈtɪl dɪˈtərmənd ðət ju hæv ˈnəθɪŋ tɪ du wɪθ ðə əˈlɛʤd ˈtɛrərɪst; haʊ lɔŋ ðət ˈprɔˌsɛs teɪks (ənd haʊ lɔŋ ðə ˈdætə ɪz rɪˈteɪnd ˈæftər æˈnælɪsɪs) ɪz ənˈnoʊn. ə smɔl wərld ˈæftər ɔl ənˈfɔrʧənətli, ɪt teɪk məʧ tɪ hɪt ðə ˈʤækˌpɑt; wɪˈθaʊt noʊɪŋ ɪt, ə lɑrʤ pərˈsɛnɪʤ əv ðə wərldz ˌpɑpjəˈleɪʃən (ənd ðə ˈjuˈɛs ˌpɑpjəˈleɪʃən) kʊd ˈizəli bi ˈklæsəˌfaɪd ɛz biɪŋ ɪn ə θərd dɪˈgri əv ˌsɛpərˈeɪʃən frəm ə səˈspɛktɪd ˈtɛrərɪst. ə greɪt dil əv ˈrisərʧ həz bɪn dən ˈɪntu ðə əv ˈpipəl ɪn ðə ˈɪntərˌnɛt eɪʤ. ˈsoʊʃəl ˈsaɪəntɪsts, ˌmæθəməˈtɪʃənz, ənd kəmˈpjutər ˈsaɪəntɪsts hæv ɪkˈsplɔrd ðə world”*” fəˈnɑməˌnɑn wɪθ ˈstədiz ənd ɪkˈspɛrəmənts fər ˈoʊvər 50 jɪrz, ənd ðɛr ˈfaɪndɪŋz ʃoʊ ðət ðə "smɔl wərld" kips ˈgɪtɪŋ sˈmɔlər ɛz tɛkˈnɑləʤi ədˈvænsɪz. ɪn 1979 ʧɛr ənd ˈfaʊndər əv pəˈlɪtɪkəl saɪəns dɪˈpɑrtmənt də ˈsoʊlə pul ənd ðə ˌjunəˈvərsəti əv ˈmænfrɪd ˈpəblɪʃt ə ˈpeɪpər ˈtaɪtəld "ˈkɑnˌtækts ənd ˈɪnfluəns," wɪʧ drɔz ɔn ə ˈdɛkeɪd əv ˈrisərʧ ˈɪntu ˈsoʊʃəl ˈnɛtˌwərks. də ˈsoʊlə pul ənd ˈpɑzətəd ðət ə ˈkəntri ðə saɪz əv ðə juˈnaɪtɪd steɪts, ɪf əkˈweɪntənsʃɪp wər ˈrændəm ənd ðə min əkˈweɪntəns ˈvɑljum wər ðə min lɛŋθ əv ˈmɪnəməm ʧeɪn bɪtˈwin pɛrz əv ˈpərsənz wʊd bi wɛl ˈəndər tu intermediaries.”*.” ɪn ˈəðər wərdz, ɪf ðə ˈævərɪʤ ˈpərsən ɪn ðə ˈjuˈɛs həz ˈkɑnˌtækt wɪθ ənd ɪz əkˈweɪnɪd wɪθ ˈəðərz (θru brif ˌɪnərˈækʃənz, səʧ ɛz ən ˈiˌmeɪl ər ə foʊn kɔl, ər θru ˈstrɔŋgər əˌsoʊʃiˈeɪʃənz), ðɛn æt moʊst tu hɑps frəm ˈɛniˌwən ɛls ɪn ðə ˈjuˈɛs. ˈərgoʊ, ɪf ˈɛni wən ˈpərsən ɪn ðə ˈjuˈɛs ɪz wən hɑp frəm ə ˈtɛrərɪst, ˈʧænsɪz ər gʊd ðət ju ər θri hɑps əˈweɪ. ðə ˈækʧəwəl dɪˈgriz əv ˌsɛpərˈeɪʃən bɪtˈwin ˈpipəl meɪ bi ˈsəmˈwət ˈlɑrʤər bɪˈkəz ðə ˌpɑpjəˈleɪʃən əv ðə ˈjuˈɛs həz groʊn sɪgˈnɪfɪkəntli sɪns 1979 ɑr wɪθ ðə wərld æt lɑrʤ həz groʊn ɛz wɛl, ˈwaɪdənɪŋ ðə pəˈtɛnʃəl lɪŋks bɪtˈwin ˈpipəl. lɪv ɪn ə ˈmeɪʤər ˌmɛtrəˈpɑlətən ˈsɛnər ɪn ðə ˈjuˈɛs ənd baʊnd tɪ bi tu dɪˈgriz əv ˌsɛpərˈeɪʃən əˈweɪ frəm ˈsəmˌwən ɪn ə ˈkəntri əv ˈɪntəˌrɛst tɪ ðə. fər ɪgˈzæmpəl: aɪ hæv bɪn ə ˈrɛgjələr ˈkəstəmər əv ˈrɛˌstrɑnts oʊnd baɪ ˈfæməli, wɪʧ ɪz ˈhɛdɪd baɪ ə ˈbrəðər əv ˈæfˌgæn ˈprɛzɪdənt həˈmid hɑps. ˈɔlsoʊ, əˈkɔrdɪŋ tɪ, tu dɪˈgriz əv ˌsɛpərˈeɪʃən əˈweɪ frəm ˈprɛzɪdənt ˌoʊˈbɑmə. æm aɪ ə gʊd gaɪ ər ə bæd gaɪ? ðə ˈɪntərˌnɛt həz bloʊn ðə ˈlɛvəl əv ðoʊ ðə prəˈvərbiəl naʊ hæv ˈiˌmeɪl, ˈsoʊʃəl ˈmidiə, ənd ˈɪnstənt ˈmɛsɪʤ ˌɪnərˈækʃənz wɪθ ˈpipəl ˈnɛvər mit ɪn ril laɪf ənd ɪn ˈpleɪsɪz ˈnɛvər goʊ. ə 2007 ˈstədi baɪ ˌkɑrˈneɪgi ˈmɛlən ˌjunəˈvərsəti məˈʃin ˈlərnɪŋ ˈrisərʧər ʤʊr ənd ˈmaɪˌkroʊˈsɔft ˈɛrɪk ˈhɔrvɪts faʊnd ðət ðə ˈævərɪʤ ˈnəmbər əv hɑps bɪtˈwin ˈɛni tu ˈɑrbɪˌtrɛri ˈmaɪˌkroʊˈsɔft ˈmɛsɪnʤər ˈjuzərz, beɪst ɔn ˌɪnərˈækʃən, wɑz ənd ə ˈstədi əv tˈwɪtər fidz ˈpəblɪʃt ɪn 2011 faʊnd ðə ˈævərɪʤ dɪˈgri əv ˌsɛpərˈeɪʃən bɪtˈwin ˈrændəm tˈwɪtər ˈjuzərz tɪ bi ˈoʊnli soʊ ˈivɪn ɪf ðə ˈlɪmɪtɪd ɪts sərˈveɪləns baɪ ““surveillance”*” aɪ min ˈæktɪv ˈproʊbɪŋ əv ðə ˈkɑntɛnt əv kəmˌjunəˈkeɪʃənz əv ən ˈpipəl wɪˈθɪn tu hɑps əv səˈspɛktɪd ˈtɛrəˌrɪsts, ə ˈsaɪzəbəl ˌpɑpjəˈleɪʃən. θri ɪt əp tɪ ˈhənərdz əv ˈmɪljənz ər pəˈtɛnʃəli ˈbɪljənz əv ˈpipəl, əˈspɛʃəli wɪn ðə ˌdɛfəˈnɪʃən əv ə hɑp ɪz beɪst ɔn riˈleɪʃənˌʃɪps soʊ ˈkæʒəwəl wi kʊd kriˈeɪt ðɛm baɪ ˌæksəˈdɛnəli ˈklɪkɪŋ ɔn ə lɪŋk ɪn ə spæm ˈiˌmeɪl. soʊ fɑr, wi noʊ ðət ðɛr hæv bɪn əˈbaʊt rɪkˈwɛsts fər ˈwɔrənts tɪ sərˈveɪl dəˈmɛstɪk ˈtɑrgəts sɪns 2001 bət ɪf ðoʊz ˈwɔrənts ˈkəvərd θri hɑps frəm ðə ˈsəˌspɛkts æt ðə ˈsɛnər əv ðə ɔn haʊ ˈtaɪtli ər ˈlusli ðə dɪˈfaɪnz ə hɑps kʊd ɛnˈkəmpəs ɛz məʧ ɛz 50 pərˈsɛnt əv ðə ˌpɑpjəˈleɪʃən əv ðə wərld. ðə ˈlaɪkliˌhʊd ðət ˈmænɪʤd tɪ fɔl ˈɪntu ðət 50 pərˈsɛnt? wɛl, ɪf ju lɪv ˈaʊtˈsaɪd ðə ˈjuˈɛs ər ˈɛvər tɔk tɪ ˈɛniˌwən ˈaʊtˈsaɪd ðə ˈjuˈɛs, jʊr ɑdz goʊ əp. ɪf ju hæv ˈkɑnˌtækts ɪn pɑrts əv ðə wərld ðət ðə ˈjuˈɛs ˈgəvərnmənt həz ˈɪntəˌrɛst ɪn ɛz ˈsɔrsəz əv ˈtɛrəˌrɪzəm, ɪt goʊz əp məʧ mɔr. ðət ˈpleɪsɪz ˈpipəl laɪk mi (ˈʤərnəlɪsts), ˈsoʊʃəl ˈæktɪvɪsts, ˌækəˈdɛmɪks, ənd ə lɑrʤ ʧəŋk əv ðə ˈbɪznɪs wərld ɪn ə zoʊn əv haɪ rɪsk fər sərˈveɪləns. ʃʊr, nɑt ˈkɔlɪŋ ˈtɛrəˌrɪsts, ənd ˈænəlɪsts ər nɑt ˌɪnərˈsɛptɪŋ maɪ kɔlz ər ˈraɪflɪŋ θru maɪ əˈkaʊnt. nɑt.) bət ðə ʧæns ðət ðeɪ ər ɪz sɪgˈnɪfɪkəntli haɪər ðən ðə ˌprɑbəˈbɪləˌti aɪ wʊd hæv pʊt ɔn ðət sɪˈnɛrioʊ tu mənθs əˈgoʊ, ənd ˌdɪskənˈsərtɪŋ. ənd waɪl ˈgəvərnmənt əˈfɪʃəlz ˌɪnˈsɪst ðət ɔl əv ðɪs sərˈveɪləns ɪz ˈtaɪtli kənˈtroʊld ənd noʊ ʧæns əv ɪt biɪŋ abused—well*, tɔk ɪz ʧip, ɛz ðeɪ seɪ. jʊd bi ə ful nɑt tɪ æt list kənˈsɪdər ðə ˌpɑsəˈbɪləˌti ðət ðə ɪz ɔˈrɛdi ˈrɛdɪŋ jʊr ˈiˌmeɪl.
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when the first revelations about the national security agency’s (nsa) widespread collection of phone call metadata and internet traffic began to surface, south carolina senator lindsey graham noted that for those not talking to terrorists on the phone, “we have anything to worry about. i’m glad that activity is going on, but it is limited to tracking people who are suspected to be terrorists and who they may be talking to.”
turns out the data collection is not so limited. in testimony yesterday before the house judiciary committee, national security agency deputy director chris inglis said that the nsa’s probing of data in search of terrorist activity extended “two to three hops” away from suspected terrorists. previously, nsa leaders had said surveillance was limited to only two “hops” from a suspect.
if you've ever played "six degrees of kevin bacon" or used linkedin to try to reach someone professionally, you know how small the world of interconnected contacts can be. when you use big data tools to mine for relationships, the world gets even smaller. that third hop in connections greatly expands the probability of innocent people worldwide being scooped up into the nsa’s surveillance machine to include a good-sized share of american citizens—citizens who senator graham said "don't have anything to worry about."
just how does the nsa pick who falls within those three hops? based on what the agency has said about its programs, what edward snowden has leaked, and what we know about the nsa’s technical capabilities, here’s a best guess at how the nsa does it and why it matters to you. here's a hint: by reading this article, you're one hop from me—and three hops from hamid karzai.
step 1: collecting connections
the nsa has two major sources of information about interactions between people: phone call metadata and internet metadata. as revealed by the fisa warrant leaked by edward snowden, the nsa has been collecting information on phone calls made through us telecommunications carriers, apparently for years.
the nsa also uses network taps at major internet hubs to capture packet data. no way the nsa can capture all internet traffic in any useful fashion—it would mean a firehose-like torrent of petabytes per day, far too large to retransmit and store in data centers, despite the nsa's efforts to build a zettabytes-scale storage facility in utah. but the nsa can collect much of the metadata from the traffic it intercepts, including the internet addresses that send and receive the packets, as well as information like e-mail headers and web visits. if those fall within a particular pattern of interest, the agency can then capture all of the associated content. but for the moment, let’s focus on this metadata.
phone call metadata and internet metadata became something like an involuntary facebook—they can show who you talk to, when and how often, and what websites you visit. they can also give hints of what your interests are and be used to build a “graph” of relationships between individuals (or at least between phone numbers or ip addresses).
this is a vast amount of information. and while the nsa and courts have said that no expectation of privacy for metadata—comparing it to the address written on an envelope as opposed to the letter inside—the knowledge that is now derivable from bulk metadata can be highly personal and sensitive.
but no reason for you to fear unless you’re calling terrorists, right? software robots are doing the analysis, not people. and robots are completely trustworthy.
step 2: counting the hops
next, the nsa’s systems sort through the data using algorithms to find connections. these can be detected in near real time from internet data or discovered in the periodic dumps of phone metadata from carriers, building upon the system’s knowledge of previous connections. the system narrows the field of potential surveillance targets through a process similar to playing the game “six degrees of kevin bacon”—only, in this case, more like “three degrees of osama bin laden.”
inglis said that the nsa looks at two to three hops from a suspect. to determine how many hops you are from osama, for example, the nsa’s data analysis engine software constantly plows through information and builds a model of all the relationships between every phone number on record and every ip address. other software robots query the graph to discover which “nodes”—phone numbers, ip addresses and email accounts—fall within three degrees of separation from an established suspect.
if you have a direct relationship with a suspected terrorist or target (you’ve called them, you’ve emailed them, you’ve visited their website) a “one hop” relationship; a solid line connecting you to that person in the nsa’s relationship graph. if you talk with, e-mail, or visit the facebook page or website of someone who’s got a one-hop relationship, you’re two hops away. add one more person in between in the graph, and you’re three hops away.
step 3: digging deeper
if you're within three hops, you may get flagged for analysis, and then you could get extra special attention, such as a secret fisa warrant request to use prism for access to your data on cloud providers’ servers.
under the nsa’s fisa requests, google, microsoft, and other internet services companies can be compelled to hand over relevant data from their servers on any account that falls within the three-hop range and is flagged as belonging to a person of interest. if you’ve won this lottery, the nsa will get access to your e-mails on gmail or outlook.com as well as your chats and web-stored contacts, your documents, your synced data from computers and mobile devices, your backups, and anything else that can be handed over—at least, so the documents snowden leaked imply.
your raw internet traffic will get more attention as well. your ip address will be watched more carefully by deep packet inspection hardware at the nsa’s 'net taps, and what you do online will get extra scrutiny.
if your behavior is anomalous enough, and if you’re a us resident, the nsa will pass the surveillance over to the fbi. otherwise, your data will be collected and analyzed until determined that you have nothing to do with the alleged terrorist; how long that process takes (and how long the data is retained after analysis) is unknown.
it’s a small world after all
unfortunately, it take much to hit the three-hop jackpot; without knowing it, a large percentage of the world's population (and the us population) could easily be classified as being in a third degree of separation from a suspected terrorist.
a great deal of research has been done into the interconnectedness of people in the internet age. social scientists, mathematicians, and computer scientists have explored the “small world” phenomenon with studies and experiments for over 50 years, and their findings show that the "small world" keeps getting smaller as technology advances. in 1979, chair and founder of mit’s political science department ithiel de sola pool and the university of michigan’s manfred kochen published a paper titled "contacts and influence," which draws on a decade of research into social networks. de sola pool and kochen posited that “in a country the size of the united states, if acquaintanceship were random and the mean acquaintance volume were 1,000, the mean length of minimum chain between pairs of persons would be well under two intermediaries.”
in other words, if the average person in the us has contact with and is acquainted with 1,000 others (through brief interactions, such as an e-mail or a phone call, or through stronger associations), then at most two hops from anyone else in the us. ergo, if any one person in the us is one hop from a terrorist, chances are good that you are three hops away.
the actual degrees of separation between people may be somewhat larger because the population of the us has grown significantly since 1979; our interconnectedness with the world at large has grown as well, widening the potential links between people. live in a major metropolitan center in the us and you’re bound to be two degrees of separation away from someone in a country of interest to the nsa. for example: i have been a regular customer of restaurants owned by baltimore’s karzai family, which is headed by a brother of afghan president hamid karzai—two hops. i’m also, according to linkedin, two degrees of separation away from president obama. am i a good guy or a bad guy?
the internet has blown the level of interconnectedness though the proverbial roof—we now have e-mail, social media, and instant message interactions with people we’ll never meet in real life and in places we’ll never go. a 2007 study by carnegie mellon university machine learning researcher jure leskovec and microsoft research’s eric horvitz found that the average number of hops between any two arbitrary microsoft messenger users, based on interaction, was 6.6. and a study of twitter feeds published in 2011 found the average degree of separation between random twitter users to be only 3.43.
so even if the nsa limited its surveillance activities—and by “surveillance” i mean active probing of the content of communications of an individual—to people within two hops of suspected terrorists, a sizable population. three ratchets it up to hundreds of millions or potentially billions of people, especially when the definition of a hop is based on relationships so casual we could create them by accidentally clicking on a link in a spam e-mail. so far, we know that there have been about 20,000 requests for fisa warrants to surveil domestic targets since 2001, but if those warrants covered three hops from the suspects at the center of the requests—depending on how tightly or loosely the nsa defines a relationship—three hops could encompass as much as 50 percent of the internet-using population of the world.
what’s the likelihood that you’ve managed to fall into that 50 percent? well, if you live outside the us or ever talk to anyone outside the us, your odds go up. if you have contacts in parts of the world that the us government has interest in as sources of terrorism, it goes up much more. that places people like me (journalists), social activists, academics, and a large chunk of the business world in a zone of high risk for nsa surveillance.
sure, i’m not calling terrorists, and nsa analysts are not intercepting my calls or rifling through my gmail account. (well—probably not.) but the chance that they are is significantly higher than the probability i would have put on that scenario two months ago, and disconcerting. and while government officials insist that all of this surveillance is tightly controlled and no chance of it being abused—well, talk is cheap, as they say. you'd be a fool not to at least consider the possibility that the nsa is already reading your e-mail.
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ˈbæŋkɪŋ ɪn ðə ˈkænəbəs ˈɪndəstri həz bɪn ə ˈstrəgəl sɪns ˌligələˈzeɪʃən. bæŋks, ˈkrɛdɪt kɑrd ˈkəmpəˌniz, ənd ˈivɪn ˈɔnˌlaɪn ˈpeɪmənt æps səʧ ɛz hæv rɪfˈjuzd tɪ wərk wɪθ ˈbɪznɪsɪz ðət ˈtræfɪk ɪn bɪˈkəz ˈfɛdərəl lɔ rikˈwaɪərz bæŋks tɪ dɪˈskloʊz trænˈzækʃənz ɛz səˈspɪʃəs ækˈtɪvɪti. ə ˈfɛdərəli ˈrɛgjəˌleɪtɪd ˌɪnstɪˈtuʃən, wi ˈprɔˌsɛs ˈpeɪmənts fər ˈbɪznɪsɪz pɑrˈtɪsəˌpeɪtɪŋ ɪn ˈfɛdərəli proʊˈhɪbətəd activities,”*,” ə ʧeɪs ˈspoʊksmən toʊld fɔrbz. ðət livz ˈmɛni wɪθ tu ˈɔpʃənz: meɪk ə ˈbɪznɪs ər laɪ tɪ ðə bæŋk. ðə ˈprɑbləm wɪθ ˈʧuzɪŋ ðə ˈleɪtər ˈɔpʃən ɪz ðət ər ˌɪˈnɛvətəbli kɔt ənd hæv tɪ feɪs ðə ˈkɑnsəkˌwɛnsəz. ˈpipəl ˈrɛrli ˈkɛri kæʃ ˈnaʊəˌdeɪz, bət wɪn ðə ˈoʊnli weɪ tɪ meɪk ən ɪkˈspɛnsɪv ˈmɛdɪkəl ər ˌrɛkriˈeɪʃənəl ˌmɛrəˈwɑnə ˈpərʧəs, ju meɪk du. ˌhaʊˈɛvər, ðət kʊd ɔl bi ˈʧeɪnʤɪŋ θæŋks tɪ. teɪk tɪm ˈkələn, ðə prəˈpraɪətər əv ðə ˌkɑlərˈɑdoʊ ˈhɑrvəst ˈkəmpəˌni, ɛz ən ɪgˈzæmpəl. əˈkɔrdɪŋ tɪ ðə pju ˈʧɛrətəbəl trəsts, wɪn ə bæŋk dɪˈskəvərd hɪz əˈkaʊnt wɑz lɪŋkt tɪ ˌmɛrəˈwɑnə ˌkəltɪˈveɪʃən, nɑt ˈoʊnli dɪd ðeɪ ʃət daʊn hɪz əˈkaʊnt, bət ðeɪ ˈɔlsoʊ ʃət daʊn hɪz ˈfæməli members’*’ əˈkaʊnts, ˌɪnˈkludɪŋ hɪz θˈriˌjɪr oʊld ˈkɑlɪʤ ˈseɪvɪŋz əˈkaʊnt. ðɪs meɪks θɪŋz ˈmɪzərəbəl fər ənd kənˈsumərz. ˈpipəl ˈrɛrli ˈkɛri kæʃ ˈnaʊəˌdeɪz, bət wɪn ðə ˈoʊnli weɪ tɪ meɪk ən ɪkˈspɛnsɪv ˈmɛdɪkəl ər ˌrɛkriˈeɪʃənəl ˌmɛrəˈwɑnə ˈpərʧəs, ju meɪk du. ˌhaʊˈɛvər, ðət kʊd ɔl bi ˈʧeɪnʤɪŋ θæŋks tɪ. ˈpeɪmənt səˈluʃən waɪl səm ˌɪnˈkludɪŋ pərˈdəkʃənz bɪˈgæn əkˈsɛptɪŋ bæk ɪn 2014 ə ˈrɛlətɪvli nu fɔrm əv ˈpeɪmənt, bət wən ðət ɪz ˈgeɪnɪŋ ˈtrækʃən. əˈkɔrdɪŋ tɪ motherboard*, ˌkɑlərˈɑdoʊ ˈfɑrmərz ər ˈtərnɪŋ tɪ tɪ kjʊr ðɛr ˈbæŋkɪŋ woʊz. ɪn fækt, ɪgˈzæktli wət vərˈɑnɪkə ˈkɑrpioʊ, ðə ˈoʊnər əv ðə ˈlɑrʤəst hɛmp sid ɪksˈʧeɪnʤ ɪn ˌkɑlərˈɑdoʊ dɪd. ˈæftər ˈdilɪŋ wɪθ ˈdəzənz əv ˈbæŋkɪŋ ˈɪʃuz wɪθ, wɪʧ ˈifɛktɪvli ʃət daʊn hər əˈbɪləˌti tɪ meɪk ˈməni fər mənθs, ˈkɑrpioʊ ˌdɪˈsaɪdɪd tɪ ɪkˈsplɔr ɛz ə ˈpərmɑˌnɛnt ˈpeɪmənt səˈluʃən fər hər hɛmp ˈbɪznɪs. ˈjuzɪŋ tɪ ˈprɔˌsɛs hər trænˈzækʃənz, ʃi wɑz ˈizəli ˈeɪbəl tɪ ˈɪnəˌgreɪt ˈɪntu hər ˌɪnfrəˈstrəkʧər. ənd ðə ˈbɛnəfɪts əv ər fɑr ˈriʧɪŋ: ə ˈsɪstəm ðət ʤəʤ ˈbɪznɪsɪz baɪ ðɛr ˌɑpərˈeɪʃənz. əˈveɪləbəl wɪˈθaʊt ə ˈgəvərnmənt, ˌkɔrpərˈeɪʃən ər ˈbɔrˌdrum kənˈtroʊlɪŋ ər ˈmɑnətərɪŋ ðə trænˈzækʃənz. ɪt əˈlaʊz tɪ ˈprɔˌsɛs ˈkrɛdɪt ənd ˈdɛbɪt kɑrdz wɪˈθaʊt ə bæŋk əˈkaʊnt. ðoʊ ðət min ɪz wɪˈθaʊt ˈprɑbləmz. wən kənˈsərn fər ˈjuzərz ɪz ðə ɪkˈstrimli ˈvɑlətəl ˈmɑrkɪt. əˈkɔrdɪŋ tɪ blx*, ˈoʊvər ðə mənθ əv ˈeɪprəl, ðə praɪs əv ˈvɛrid frəm ɛz loʊ ɛz 1124 tɪ ɛz haɪ ɛz 1600 ˈɔlsoʊ kənfˈjuʒən əˈbaʊt haʊ ɪt wərks. ˈbɪgəst frəm hɛmp ˈfɑrmərz ɪz ʤɪst ðə læk əv understanding,”*,” ˈkɑrpioʊ toʊld motherboard*. ɪz ðə ˈoʊldər ˌʤɛnərˈeɪʃən ðət ˈrɪli gɪt ɪt. ðeɪ hæv ðɪs ˈnoʊʃən ðət ɪz ˌɪˈligəl, ˌɪˈmæʤəˌnɛri ənd ˈrɪli work.”*.” stɪl, hoʊldz ðə pəˈtɛnʃəl tɪ dɪˈlɪvər ðə ˌmɛrəˈwɑnə ˈɪndəstri aʊt əv ɪts ˈkɑrənt steɪt. ˈrisəntli, fərst ˈkæpɪtəl ˈkɔrpərˈeɪʃən əˈnaʊnst ə ˈmərʧənt ˈprɑsɛsɪŋ əˈgrimənt fər ðə steɪts əv ˌkæləˈfɔrnjə ənd ˈɔrəˌgɑn, ˌɪnˈkludɪŋ ðə əˈbɪləˌti tɪ ˈprɔˌsɛs ˈkrɛdɪt kɑrdz. ənd tu ˈstɑrˌtəps ər ˈteɪkɪŋ ˈmeɪnˌstrim fər ðə ˈkænəbəs ˈɪndəstri. ˈstɑrˌtəps, ə ˈstɑrˌtəp, ɪz ˈjuzɪŋ tɪ ˌsərkəmˈvɛnt ðə ˈprɑbləm əv kæʃ baɪ əˈlaʊɪŋ ˈkəstəmərz tɪ baɪ dɪˈrɛkli æt ðə wɪθ ə ˈdɛbɪt ər ˈkrɛdɪt kɑrd, ənd ðɛn tɪ ˌɪˈmiˌdiətli juz ðɛr tɪ meɪk ə ˈkænəbəs ˈpərʧəs. ðə ˈsiˌiˈoʊ ənd co-founder*, raɪən ˈhæmlɪn, həz dəbd hɪz ˈsərvɪs ɛz ðə kiɔsk solution.”*.” lɔz proʊˈhɪbət ˈjuzɪŋ ˈkrɛdɪt kɑrdz tɪ ˈpərʧəs cannabis,”*,” ˈhæmlɪn toʊld ðə siˈætəl ˈwikli. ɪgˈzæktli wət nɑt duɪŋ. gɪvz kənˈsumərz ˈizi ˈækˌsɛs tɪ baɪ əˈlaʊɪŋ ðɛm tɪ ˈpərʧəs ˈdʊrɪŋ ðə ˈriˌteɪl ɪkˈspɪriəns. ðiz ˈwɔləts kən bi juzd tɪ meɪk ˈpərʧəsɪz ɔn ðə spɑt ər ˈɛniˌwɛr ðət ækˈsɛpts səʧ ɛz amazon.com.”*.” əˈnəðər ˈrisəntli lɔnʧt ˈsərvɪs kəmz frəm, ən ˈɔnˌlaɪn streɪn ˈdætəˌbeɪs ənd ˈsoʊʃəl həb. ðeɪ lɔnʧt (prc*), ə nu ˈvərʧuəl ˈkərənsi fər ðə ˌmɛrəˈwɑnə ˈɪndəstri ðət ˈfəŋkʃən laɪk rɪˈwɔrd pɔɪnts. ˈmɛmbərz hu kənˈtrɪbjut tɪ ðə kəmˈjunɪti ərn fər ðɛr ˈɛfərts ər ðeɪ kən ˈpərʧəs kɔɪnz fər juz. ðə hoʊp ɪz ðət pɑrˈtɪsəˌpeɪtɪŋ wɪl ɪˈvɛnʧəwəli juz ðiz ˈdɪʤɪtəl kɔɪnz ɪn pleɪs əv kæʃ. θæŋks tɪ ðiz ˈstɑrˌtəps ənd ˈɛnərˌpraɪzɪŋ ˈoʊnərz, ɪz bɪˈkəmɪŋ ðə ˌpɪrtoʊˈpɪr səˈluʃən tɪ ðə ˈprɑbləm.
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banking in the cannabis industry has been a struggle since legalization. banks, credit card companies, and even online payment apps such as paypal have refused to work with businesses that traffic in cannabis—mainly because federal law requires banks to disclose marijuana-related transactions as suspicious activity.
“as a federally regulated institution, we don’t process payments for businesses participating in federally prohibited activities,” a chase spokesman told forbes.
that leaves many canna-businesses with two options: make a cash-only business or lie to the bank. the problem with choosing the later option is that cannabusinesses are inevitably caught and have to face the consequences.
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people rarely carry cash nowadays, but when that’s the only way to make an expensive medical or recreational marijuana purchase, you make do. however, that could all be changing thanks to bitcoin.
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take tim cullen, the proprietor of the colorado harvest company, as an example. according to the pew charitable trusts, when a bank discovered his account was linked to marijuana cultivation, not only did they shut down his account, but they also shut down his family members’ accounts, including his three-year old son’s college savings account.
this makes things miserable for cannabusinesses and consumers. people rarely carry cash nowadays, but when that’s the only way to make an expensive medical or recreational marijuana purchase, you make do. however, that could all be changing thanks to bitcoin.
bitcoin—the cannabusiness payment solution
while some dispensaries including kouchlock productions began accepting bitcoin back in 2014, it’s a relatively new form of payment, but one that is gaining traction.
according to motherboard, colorado farmers are turning to bitcoin to cure their banking woes. in fact, that’s exactly what veronica carpio, the 38-year-old owner of the largest hemp seed exchange in colorado did.
after dealing with dozens of banking issues with paypal, which effectively shut down her ability to make money for months, carpio decided to explore bitcoin as a permanent payment solution for her hemp business. using mycelium to process her transactions, she was easily able to integrate bitcoin into her shop’s infrastructure.
and the benefits of bitcoin are far reaching:
it’s a system that doesn’t judge businesses by their operations. it’s available 24/7 without a government, corporation or boardroom controlling or monitoring the transactions. it allows cannabusinesses to process credit and debit cards without a bank account.
though that doesn’t mean bitcoin is without problems. one concern for bitcoin users is the extremely volatile market. according to blx, over the month of april, the price of bitcoin varied from as low as $1124 to as high as $1600. there’s also confusion about how it works.
“the biggest pushback from hemp farmers is just the lack of understanding,” carpio told motherboard. “this is the older generation that doesn’t really get it. they have this notion that bitcoin is illegal, imaginary and doesn’t really work.”
still, bitcoin holds the potential to deliver the marijuana industry out of its current cash-only state. recently, first bitcoin capital corp announced a merchant processing agreement for the states of california and oregon, including the ability to process credit cards. and two startups are taking bitcoin mainstream for the cannabis industry.
cannabis-friendly bitcoin startups
posabit, a square-based fintech startup, is using bitcoin to circumvent the problem of cash by allowing customers to buy bitcoin directly at the point-of-sale with a debit or credit card, and then to immediately use their bitcoin to make a cannabis purchase. the company’s ceo and co-founder, ryan hamlin, has dubbed his service as the “bitcoin kiosk solution.”
“federal laws prohibit using credit cards to purchase cannabis,” hamlin told the seattle weekly. “that’s exactly what we’re not doing. posabit gives consumers easy access to bitcoin by allowing them to purchase bitcoin during the retail experience. these wallets can be used to make purchases on the spot or anywhere that accepts bitcoin such as amazon.com.”
another recently launched bitcoin service comes from cannasos, an online strain database and cannabis-friendly social hub. they launched perkscoins (prc), a new virtual currency for the marijuana industry that function like reward points. cannasos members who contribute to the community earn perkscoins for their efforts or they can purchase coins for use. the hope is that participating dispensaries will eventually use these digital coins in place of cash.
thanks to these startups and enterprising cannabusiness owners, bitcoin is becoming the peer-to-peer solution to the cannabis-banking problem.
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ˈjuˈɛs əˈθɔrətiz hæv faɪld əˈfɪʃəl ˈʧɑrʤɪz əˈgɛnst θri ʧaɪˈniz ˈhækərz pɑrt əv ðə ɪˈlit ˈjunɪt ˈjuˈɛs əˈθɔrətiz ʧɑrʤd θri ˈhækərz fər ˈstilɪŋ ˈsɛnsɪtɪv ˌɪnˌfɔrˈmeɪʃən frəm ˈjuˈɛs beɪst ˈkəmpəˌniz, ˌɪnˈkludɪŋ ˈsimənz ˈeɪˈgi, ənd ˈækˌsɛsɪŋ ə ˌhaɪˈproʊfaɪl iˈmeɪl əˈkaʊnt æt. ðə θri ʧaɪˈniz ˈsɪtɪzənz, wu yingzhuo*, dɔŋg haʊ ənd leɪ, wərk fər ðə ʧaɪˈniz ˈkəmpəˌni gˈwæŋˌzu boʊ ju ˌɪnˌfɔrˈmeɪʃən tɛkˈnɑləʤi ˈkəmpəˌni ˈlɪmɪtɪd, ˈɔlsoʊ noʊn ɛz ““boyusec.”*.” waɪl wu ənd dɔŋg ər ˈfaʊndɪŋ ˈmɛmbərz ənd ˈʃɛˌrhoʊldərz əv ðə ˈkəmpəˌni, ɪz ʤɪst ən ɪmˈplɔɪi. du ju rɪˈmɛmbər ðə neɪm? ˈsɛvərəl rɪˈpɔrts ˈpəblɪʃt ɪn meɪ 2017 lɪŋkt ðə fərm tɪ ðə ˈɪnfəməs grup, ə grup ˈəndər ðə kənˈtroʊl əv ðə ʧaɪˈniz ˈgəvərnmənt. ðə ˈɔlsoʊ noʊn ɛz əps, ˈgɑθɪk ˈpændə, ənd həz bɪn ˈæktɪv sɪns 2010 ɔn meɪ 9th*, 2017 ən ənˈnoʊn ˈpɑrti ˈjuzɪŋ ðə ˈeɪliəs ‘‘intrusiontruth’*’ ˈpəblɪʃt ə ˈsɪriz əv blɔgz poʊsts dɪˈskraɪbɪŋ kəˈnɛkʃənz bɪtˈwin ðə ræt kəˈmænd ənd kənˈtroʊl kəmˈpoʊnənts ənd ˈʃɛˌrhoʊldərz əv ðə ʧaɪˈniz sɪˈkjʊrəti ˈkɑnˌtræktər gˈwæŋˌzu ˌɪnˌfɔrˈmeɪʃən tɛkˈnɑləʤi ˈkəmpəˌni, ˈɑkə. ðə neɪmz əv tu spɪˈsɪfɪk ˈʃɛˌrhoʊldərz əv əˈpɪr ɪn ðə doʊˈmeɪn ˌrɛʤɪˈstreɪʃən fər ðə ˈsərvərz. ðɪs ɪz ˌpɑrˈtɪkjələrli ˈɪntəˌrɛstɪŋ bɪˈkəz səˈpɔrts ðə ʧaɪˈniz ˈmɪnɪstri əv steɪt sɪˈkjʊrəti (mss*) baɪ kəˈlɛktɪŋ səˈvɪljən ˈjumən ˌɪnˈtɛləʤəns. θɪŋk əv ðɛm ɛz ən fər ə ˈgəvərnmənt ˈeɪʤənsi laɪk ðə juˈnaɪtɪd states’*’ ˈnæʃənəl sɪˈkjʊrəti ˈeɪʤənsi (nsa*). ˈɔlsoʊ ˈɪntəˌrɛstɪŋ ɪz ðət ɪn 2016 ə ˈpɛnɪˌgɑn rɪˈpɔrt dɪˈskraɪbd ðə riˈleɪʃənˌʃɪp bɪtˈwin ənd ˈnɛtˌwərk ɪkˈwɪpmənt ˌmænjəˈfækʧərər,. əˈkɔrdɪŋ tɪ ðə rɪˈpɔrt, ðə tu ˈkəmpəˌniz wər kəˈludɪŋ tɪ dɪˈvɛləp sɪˈkjʊrəti ɪkˈwɪpmənt wɪθ ɛmˈbɛdɪd ˈbækˌdɔrz wɪʧ wʊd ˈlaɪkli bi juzd baɪ tɪ ˈkɑmprəˌmaɪz ˈkəstəmərz. noʊˈvɛmbər 2016 ðə ˈwɔʃɪŋtən fri ˈbikən ˌriˈpɔrtəd ðət ə ˈpɛnɪˌgɑn ˌɪnˈtərnəl ˌɪnˈtɛləʤəns rɪˈpɔrt hæd ɪkˈspoʊzd ə ˈprɑdəkt ðət ənd wər ˈʤɔɪntli producing.”*.” kənˈtɪnjuz ðə tɪ ðə rɪˈpɔrt, ðə tu ˈkəmpəˌniz wər ˈwərkɪŋ təˈgɛðər tɪ ˈproʊdus sɪˈkjʊrəti ˈprɑdəkts, ˈlaɪkli kənˈteɪnɪŋ ə ˈbækˌdɔr, ðət wʊd əˈlaʊ ʧaɪˈniz ˌɪnˈtɛləʤəns ˈkæpʧər ˈdætə ənd kənˈtroʊl kəmˈpjutər ənd ˌtɛləkəmˌjunəˈkeɪʃənz equipment.”*.” ðə ˈɑrtɪkəl kwoʊts ˈgəvərnmənt əˈfɪʃəlz ənd ˈænəlɪsts ˈsteɪtɪŋ ðət ənd ðə ər connected,”*,” ənd ðət əˈpɪrz tɪ bi ə ˈkəvər ˈkəmpəˌni fər ðə mss.”*.” ðə ʧaɪˈniz mɛn hæv bɪn ʧɑrʤd ɪn ˈpɪtsbərg wɪθ ˈjuzɪŋ ˈmælˌwɛr tɪ stil ˈdætə frəm ðə ˌɪnərˈnæʃənɑl ˌkɔrpərˈeɪʃənz, ˌɪnˈkludɪŋ ˈsimənz ˈeɪˈgi, wɪʧ həz ˈpɪtsbərg ˈɔfəsɪz. ðə ˈfɛdərəl ˌɪnˈdaɪtmənt faɪld ɪn sɛpˈtɛmbər wɑz ənˈsild ˈmənˌdeɪ, ðə mɛn wər ʧɑrʤd baɪ ə grænd ˈʤʊri fər əˈgɛnst θri ˌkɔrpərˈeɪʃənz ɪn ðə ˌfaɪˈnænʃəl, ˈɛnʤəˈnɪrɪŋ ənd tɛkˈnɑləʤi ˈɪndəstriz bɪtˈwin 2011 ənd meɪ 2017 ˈvɪktɪmz ər ˌænəˈlɪtɪks, ˈsimənz, ənd ˈgipiˈɛs tɛkˈnɑləʤi fərm ˈtrɪmbəl. ˈpraɪˌmɛri goʊl əv ðə co-conspirators’*’ əˈnɔθərˌaɪzd ˈækˌsɛs tɪ ˈvɪktɪm kəmˈpjutərz wɑz tɪ sərʧ fər, aɪˈdɛntəˌfaɪ, ˈkɑpi, ˈpækɪʤ, ənd stil ˈdætə frəm ðoʊz kəmˈpjutərz, ˌɪnˈkludɪŋ ˌkɑnfəˈdɛnʃəl ˈbɪznɪs ənd kəˈmərʃəl ˌɪnˌfɔrˈmeɪʃən, wərk ˈprɑdəkt, ənd ˈsɛnsɪtɪv ˈvɪktɪm ɪmˈplɔɪi ˌɪnˌfɔrˈmeɪʃən, səʧ ɛz ənd ˈpæsˌwərdz ðət kʊd bi juzd tɪ ɪkˈstɛnd əˈnɔθərˌaɪzd ˈækˌsɛs wɪˈθɪn ðə ˈvɪktɪm systems,”*,” ðə sɛd. ðə θri ˈvɪktɪm ˈɛntɪtiz ˈlɪstɪd ɪn ðə ˌɪnˈdaɪtmənt, səʧ ˌɪnˌfɔrˈmeɪʃən ˌɪnˈkludɪd ˈhənərdz əv ˈgɪgəˌbaɪts əv ˈdætə rɪˈgɑrdɪŋ ðə ˈhaʊzɪŋ ˈfaɪˌnæns, ˈɛnərʤi, tɛkˈnɑləʤi, ˌtrænspərˈteɪʃən, kənˈstrəkʃən, lænd ˈsərˌveɪ, ənd ˌægrɪˈkəlʧərəl sectors.”*.” əˈkɔrdɪŋ tɪ ðə ˌɪnˈdaɪtmənt, ðə ˈhækərz: stoʊl əˈprɑksəmətli 407 ˈgɪgəˌbaɪts əv prəˈpraɪəˌtɛri kəˈmərʃəl ˈdætə pərˈteɪnɪŋ tɪ ˈɛnərʤi, tɛkˈnɑləʤi ənd ˌtrænspərˈteɪʃən ˈbɪznɪsɪz. ˈækˌsɛst ðə ˌɪnˈtərnəl iˈmeɪl ˈsərvər əv ˌænəˈlɪtɪks ənd pleɪst ə ˈfɔrwərdɪŋ rul ɪn ðə iˈmeɪl əˈkaʊnt əv ə ˈprɑmənənt ɪmˈplɔɪi, ənd sɛt ɪt tɪ ˈfɔrwərd ɔl iˈmeɪlz tɪ ənd frəm ðə əˈkaʊnt tɪ iˈmeɪl əˈkaʊnts kənˈtroʊld baɪ ðə əˈtækərz. stoʊl æt list 275 ˈmɛgəˌbaɪts əv ˈdætə, ˌɪnˈkludɪŋ kəmˈprɛst ˈdætə, wɪʧ ˌɪnˈkludɪd ˈhənərdz əv faɪlz ðət wʊd hæv əˈsɪstɪd ə ˈtrɪmbəl kəmˈpɛtɪtər ɪn dɪˈvɛləpɪŋ, prəˈvaɪdɪŋ ənd ˈmɑrkətɪŋ ə ˈsɪmələr ˈprɑdəkt wɪˈθaʊt ˌɪnˈkərɪŋ ˈmɪljənz əv ˈdɔlərz ɪn ˈrisərʧ ənd dɪˈvɛləpmənt kɔsts. ɔl θri ˌɪnˈdaɪtɪd ˈsəˌspɛkts ər stɪl æt lɑrʤ ənd ˈkərəntli rɪˈzaɪdɪŋ ɪn ˈʧaɪnə. ˌpægəˈnini (sɪˈkjʊrəti əˈfɛrz ˈsaɪbər ˈɛspiənɑʤ) ʃɛr ðɪs... ʃɛr ɔn
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us authorities have filed official charges against three chinese hackers part of the elite cyber-espionage unit apt3.
us authorities charged three china-based hackers for stealing sensitive information from us based companies, including siemens ag, and accessing a high-profile email account at moody’s.
the three chinese citizens, wu yingzhuo, dong hao and xia lei, work for the chinese cybersecurity company guangzhou bo yu information technology company limited, also known as “boyusec.”
while wu and dong are founding members and shareholders of the china-based company, xia is just an employee.
do you remember the boyusec name?
several reports published in may 2017 linked the boyusec firm to the infamous apt3 group, a cyber-espionage group under the control of the chinese government.
the apt3, also known as ups, gothic panda, and tg-011, has been active since 2010.
on may 9th, 2017, an unknown party using the alias ‘intrusiontruth’ published a series of blogs posts describing connections between the pirpi rat command and control components and shareholders of the chinese security contractor guangzhou boyu information technology company, aka boyusec.
the names of two specific shareholders of boyusec appear in the domain registration for the pirpi c&c servers. this is particularly interesting because boyusec supports the chinese ministry of state security (mss) by collecting civilian human intelligence. think of them as an outsourcer for a government agency like the united states’ national security agency (nsa).
also interesting is that in 2016 a pentagon report described the relationship between boyusec and network equipment manufacturer, huawei. according to the report, the two companies were colluding to develop security equipment with embedded backdoors which would likely be used by boyusec to compromise huawei customers.
“in november 2016, the washington free beacon reported that a pentagon internal intelligence report had exposed a product that boyusec and huawei were jointly producing.” continues the analysis.”according to the pentagon’s report, the two companies were working together to produce security products, likely containing a backdoor, that would allow chinese intelligence “to capture data and control computer and telecommunications equipment.” the article quotes government officials and analysts stating that boyusec and the mss are “closely connected,” and that boyusec appears to be a cover company for the mss.”
the chinese men have been charged in pittsburgh with using malware to steal data from the international corporations, including siemens ag, which has pittsburgh offices.
the federal indictment filed in september was unsealed monday, the men were charged by a grand jury for cyber-attacks against three corporations in the financial, engineering and technology industries between 2011 and may 2017. victims are moody’s analytics, siemens, and gps technology firm trimble.
“the primary goal of the co-conspirators’ unauthorized access to victim computers was to search for, identify, copy, package, and steal data from those computers, including confidential business and commercial information, work product, and sensitive victim employee information, such as usernames and passwords that could be used to extend unauthorized access within the victim systems,” the doj said. “for the three victim entities listed in the indictment, such information included hundreds of gigabytes of data regarding the housing finance, energy, technology, transportation, construction, land survey, and agricultural sectors.”
according to the indictment, the hackers:
• stole approximately 407 gigabytes of proprietary commercial data pertaining to siemens’s energy, technology and transportation businesses.
• accessed the internal email server of moody’s analytics and placed a forwarding rule in the email account of a prominent employee, and set it to forward all emails to and from the account to web-based email accounts controlled by the attackers.
• stole at least 275 megabytes of data, including compressed data, which included hundreds of files that would have assisted a trimble competitor in developing, providing and marketing a similar product without incurring millions of dollars in research and development costs.
all three indicted suspects are still at large and currently residing in china.
pierluigi paganini
(security affairs – apt3, cyber espionage)
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si ðə ɪgˈzæmpəlz ˈsɛkʃən fər mɔr ˌriəˈlɪstɪk ɪgˈzæmpəlz əv koʊd ðət kʊd bi ˈəpˌdeɪtɪd tɪ juz ðə nu ˈɔpərˌeɪtərz. si ðə ˈgræmər ˈʧeɪnʤɪz ˈsɛkʃən fər spɪˈsɪfɪks ənd ɪgˈzæmpəlz əv ðə rikˈwaɪərd ˈgræmər ˈʧeɪnʤɪz. ðɪs pɛp prəˈpoʊzɪz θri nən -əˈwɛr ˈɔpərˌeɪtərz fər ˈpaɪθɑn, beɪst ɔn ðə ˌdɛfəˈnɪʃənz ənd ˈəðər əv ðoʊz əˈbəv. spəˈsɪfɪkli: ˈsɛvərəl ˈmɑdərn ˈproʊˌgræmɪŋ ˈlæŋgwɪʤɪz hæv ˈsoʊˈkɔld nəl -ˌkoʊəˈlɛsɪŋ" ər nəl əˈwɛr" ˈɔpərˌeɪtərz, ˌɪnˈkludɪŋ si# dɑrt pərl, swɪft, ənd (ˈstɑrtɪŋ ɪn ˈvərʒən 7 ðiz ˈɔpərˌeɪtərz prəˈvaɪd ˈʃʊgər fər ˈkɑmən ˈpætərnz ˌɪnˈvɑlvɪŋ nəl ˈrɛfərənsɪz. ˈrɛdɪŋ koʊd ɪn ˈspoʊkən tɛkst ɪz ˈɔlˌweɪz lossy*, ənd soʊ wi meɪk noʊ əˈtɛmpt tɪ dɪˈfaɪn ən ˌənæmˈbɪgjəwəs weɪ əv ˈspikɪŋ ðiz ˈɔpərˌeɪtərz. ðiz səˈʤɛsʧənz ər ˌɪnˈtɛndɪd tɪ æd ˈkɑntɛkst tɪ ðə ˌɪmpləˈkeɪʃənz əv ˈædɪŋ ðə nu ˈsɪnˌtæks. fər ˌkoʊəˈlɛsɪŋ ɪkˈsprɛʃənz ˈjuzɪŋ ðə ˈɑpərˌeɪtər, ɪkˈsprɛʃənz ʃʊd ˈiðər bi rɛd ɛz "ər ɪf nən" ər "ˌkoʊəˈlɛst wɪθ". fər ɪgˈzæmpəl, ðə ɪkˈsprɛʃən a.get_value*() 100 wʊd bi rɛd "kɔl ə dɑt ər 100 ɪf nən", ər "kɔl ə dɑt ˌkoʊəˈlɛst wɪθ 100 fər ðə ənd ˈɔpərˌeɪtərz, ðə ˌɪnˈtɛnʧən ɪz ðət ɪkˈsprɛʃənz ˌɪnˈkludɪŋ ðiz ˈɔpərˌeɪtərz ʃʊd bi rɛd ənd ˌɪnˈtərprətəd ɛz fər ðə ˈrɛgjələr ˈvərʒənz əv ðiz ˈɔpərˌeɪtərz. ɪn "ˈnɔrməl" ˈkeɪsɪz, ðə ɛnd rɪˈzəlts ər goʊɪŋ tɪ bi aɪˈdɛntɪkəl bɪtˈwin ən ɪkˈsprɛʃən səʧ ɛz a?.b?[c*] ənd a.b[c*] ənd ʤɪst ɛz wi du nɑt ˈkərəntli rɛd "a.b*" ɛz "rɛd əˈtrɪˌbjut bi frəm ə ɪf ɪt həz ən əˈtrɪˌbjut ə ər ɛls ɪt ˈreɪzɪz", ðɛr ɪz noʊ nid tɪ rɛd "a?.b*" ɛz "rɛd əˈtrɪˌbjut bi frəm ə ɪf ə ɪz nɑt nən" (ənˈlɛs ɪn ə ˈkɑntɛkst wɛr ðə ˈlɪsənər nidz tɪ bi əˈwɛr əv ðə spɪˈsɪfɪk bɪˈheɪvjər). wɪn juzd ɛz ən əˈsaɪnmənt ˈtərgət, ðə nən -əˈwɛr ˌɑpərˈeɪʃənz meɪ ˈoʊnli bi juzd ɪn ə "loʊd" ˈkɑntɛkst. ðət ɪz, 1 ənd a?[b*] 1 wɪl reɪz juz ˈərliər ɪn ðə ɪkˈsprɛʃən 1 ɪz pərˈmɪtɪd, ðoʊ ənˈlaɪkli tɪ bi ˈjusfəl ənˈlɛs kəmˈbaɪnd wɪθ ə ˌkoʊəˈlɛsɪŋ ˌɑpərˈeɪʃən: ɪkˈsprɛʃənz ər ˈhændəld baɪ ðə ˈætəm rul (nɑt ʃoʊn əˈbəv), wɪʧ wɪl ˌɪmˈplɪsətli ˈtərməˌneɪt ðə bɪˈheɪvjər əv ðə əˈbəv ˌtrænsfərˈmeɪʃən. fər ɪgˈzæmpəl, ɪz ɪˈvæljuˌeɪtəd ɛz: əˈweɪt wɪl ˈɔlˌmoʊst ˈsərtənli feɪl ɪn ðɪs ˈkɑntɛkst, ɛz ɪt wʊd ɪn ðə keɪs wɛr koʊd əˈtɛmpts əˈweɪt nən wi ər nɑt prəˈpoʊzɪŋ tɪ æd ə nən -əˈwɛr əˈweɪt ˈkiˌwərd hir, ənd ˈmɪrli ˌɪnˈklud ɪt ɪn ðɪs ɪgˈzæmpəl fər kəmˈplitnəs əv ðə ˌspɛsɪfɪˈkeɪʃən, sɪns ðə ˈgræmər rul ˌɪnˈkludz ðə ˈkiˌwərd. ɪf ɪt wər ɪn ɪts oʊn rul, wi wʊd hæv ˈnɛvər ˈmɛnʃənd ɪt. wɪn ə nən -əˈwɛr ˈɑpərˌeɪtər ɪz ˈprɛzənt, ðə ɪˌvæljuˈeɪʃən meɪ bi short-circuited*. fər ɪgˈzæmpəl, əˈweɪt a?.b(c).d?[e*] ɪz ɪˈvæljuˌeɪtəd: fər ɪgˈzæmpəl, əˈweɪt a.b(c).d[e*] ɪz ˈkərəntli pɑrst ɛz ['əˈweɪt', 'ə', '.bi', '(si)', '.di', '[i]'] ənd ɪˈvæljuˌeɪtəd: əˈsum ðət ðə ˈætəm ɪz ˈɔlˌweɪz səkˈsɛsfəli ɪˈvæljuˌeɪtəd. iʧ ˈtreɪlər ɪz ðɛn ɪˈvæljuˌeɪtəd frəm lɛft tɪ raɪt, əˈplaɪɪŋ ɪts oʊn pərˈæmətər (ˈiðər ɪts ˈɑrgjəmənts, ər əˈtrɪˌbjut neɪm) tɪ ˈproʊdus ðə ˈvælju fər ðə nɛkst ˈtreɪlər ˈfaɪnəli, ɪf ˈprɛzənt, əˈweɪt ɪz əˈplaɪd. ðə ənd ˈɔpərˌeɪtərz ər ˈædɪd ɛz ˈtreɪlərz fər ˈætəmz, soʊ ðət ðeɪ meɪ bi juzd ɪn ɔl ðə seɪm loʊˈkeɪʃənz ɛz ðə ˈrɛgjələr ˈɔpərˌeɪtərz, ˌɪnˈkludɪŋ ɛz pɑrt əv ən əˈsaɪnmənt ˈtərgət (mɔr ˈditeɪlz bɪˈloʊ). ɛz ðə ɪgˈzɪstɪŋ ɪˌvæljuˈeɪʃən rulz ər nɑt dɪˈrɛkli ɛmˈbɛdɪd ɪn ðə ˈgræmər, wi ˈspɛsəˌfaɪ ðə rikˈwaɪərd ˈʧeɪnʤɪz bɪˈloʊ. ən ɑgˈmɛntəd əˈsaɪnmənt fər ðə ˈɑpərˌeɪtər ɪz ˈɔlsoʊ ˈædɪd. ɑgˈmɛntəd ˌkoʊəˈlɛsɪŋ əˈsaɪnmənt ˈoʊnli ðə neɪm ɪf ɪts ˈkɑrənt ˈvælju ɪz nən ɪf ðə ˈtərgət neɪm ɔˈrɛdi həz ə ˈvælju, ðə raɪˈthænd saɪd ɪz nɑt ɪˈvæljuˌeɪtəd. fər ɪgˈzæmpəl: ˌpɑrˈtɪkjələrli fər ˈkeɪsɪz səʧ ɛz ə 2 bi 3 ðə ˈɛni ˈəðər weɪ wʊd rɪˈzəlt ɪn ɛz int.__pow*__ ˈkænɑt bi kɔld wɪθ nən (ənd ðə fækt ðət ðə ˈɑpərˌeɪtər ɪz juzd æt ɔl ˌɪmˈplaɪz ðət ə ər bi meɪ bi nən ˌhaʊˈɛvər, ɛz ˈjuʒəwəl, waɪl pərˈɛnθəˌsiz ər nɑt rikˈwaɪərd ðeɪ ʃʊd bi ˈædɪd ɪf ɪt hɛlps ˌɪmˈpruv ˌridəˈbɪlɪti. səm ɪgˈzæmpəlz əv haʊ ˌɪmˈplɪsət pərˈɛnθəˌsiz ər pleɪst wɪn ɪˈvæljuˌeɪtɪŋ ˈɑpərˌeɪtər ˈprɛsədəns ɪn ðə ˈprɛzəns əv ðə ˈɑpərˌeɪtər: ðə ˈɑpərˌeɪtər baɪndz mɔr ˈtaɪtli ðən ˈəðər ˈbaɪnəˌri ˈɔpərˌeɪtərz ɛz moʊst ɪgˈzɪstɪŋ əv ðiz du nɑt ˈprɑpəˌgeɪt (ðeɪ wɪl ˈtɪpɪkəli reɪz ɪkˈsprɛʃənz ðət ər noʊn tɪ pəˈtɛnʃəli rɪˈzəlt ɪn nən kən bi ˈsəbstəˌtutəd fər ə dɪˈfɔlt ˈvælju wɪˈθaʊt ˈnidɪŋ əˈdɪʃənəl pərˈɛnθəˌsiz. ðə ˌkoʊəˈlɛs rul prəˈvaɪdz ðə ˈbaɪnəˌri ˈɑpərˌeɪtər. ənˈlaɪk moʊst ˈbaɪnəˌri ˈɔpərˌeɪtərz, ðə raɪˈthænd saɪd ɪz nɑt ənˈtɪl ðə ˌlɛfˈthænd saɪd ɪz dɪˈtərmənd tɪ bi nən ðə ˈfɑloʊɪŋ rulz əv ðə ˈpaɪθɑn ˈgræmər ər ˈəpˌdeɪtɪd tɪ rɛd: səm ˈɑrgju ðət ðɪs meɪks nən ˈspɛʃəl. wi kənˈtɛnd ðət nən ɪz ɔˈrɛdi ˈspɛʃəl, ənd ðət ˈjuzɪŋ ɪt ɛz boʊθ ðə tɛst ənd ðə rɪˈzəlt əv ðiz ˈɔpərˌeɪtərz dɪz nɑt ʧeɪnʤ ðə ɪgˈzɪstɪŋ sɪˈmæntɪks ɪn ˈɛni weɪ. ə rɪˈʤɛktɪd prəˈpoʊzəl wɑz tɪ trit ˈɛni ˈvælju ðət ɪˈvæljuˌeɪts ɛz "fɔls" ɪn ə buˈliən ˈkɑntɛkst ɛz nɑt ˈhævɪŋ ə ˈvælju. ˌhaʊˈɛvər, ðə ˈpərpəs əv ðiz ˈɔpərˌeɪtərz ɪz tɪ ˈprɑpəˌgeɪt ðə "læk əv ˈvælju" steɪt, ˈrəðər ðən ðə "fɔls" steɪt. ðə nən ˈɑbʤɛkt dɪˈnoʊts ðə læk əv ə ˈvælju. fər ðə ˈpərpəsɪz əv ðiz ˈɔpərˌeɪtərz, ðə læk əv ə ˈvælju ˈɪndɪˌkeɪts ðət ðə rɪˈmeɪndər əv ðə ɪkˈsprɛʃən ˈɔlsoʊ læks ə ˈvælju ənd ʃʊd nɑt bi ɪˈvæljuˌeɪtəd. ðɪs ˈsɪnˌtæks həz ən ˌɪnˈtuətɪv ˈɔrdərɪŋ əv ðə operands*. ɪn fər ɪgˈzæmpəl, ðə prɪˈfərd ˈvælju əˈpɪrz ˌbiˈfɔr ðə ˈfɔlˌbæk ˈvælju. ðə ˈtərsnəs əv ðə ˈsɪnˌtæks ˈɔlsoʊ meɪks fər fjuər laɪnz əv koʊd ənd lɛs koʊd tɪ ˈvɪʒwəli pɑrs, ənd ˈrɛdɪŋ frəm ənd mɔr ˈækjərətli ˈfɑloʊz ðə ˌɛksəˈkjuʃən floʊ. ðə fərst ɪkˈsprɛʃən ɪz ˈtaɪdi, bət ɪt rɪˈvərsɪz ðə ˌɪnˈtuətɪv ˈɔrdər əv ðə operands*: ɪt ʃʊd rɪˈtərn ɪf ɪt həz ə ˈvælju ənd juz ðə strɪŋ ˈlɪtərəl ɛz ˈfɔlˌbæk. ðə ˈəðər ɪkˈsprɛʃənz ər ənd soʊ lɔŋ ðət ðeɪ məst bi ræpt. ðə ˈoʊvərˌɔl ˌridəˈbɪlɪti ɪz ˈwərsənd, nɑt ˌɪmˈpruvd. ðɪs ɪgˈzæmpəl kənˈteɪnz ˈsɛvərəl gʊd ɪgˈzæmpəlz əv ˈnidɪŋ tɪ prəˈvaɪd dɪˈfɔlt ˈvæljuz. riˈraɪtɪŋ tɪ juz kənˈdɪʃənəl ɪkˈsprɛʃənz rɪˈdusɪz ðə ˈoʊvərˌɔl laɪnz əv koʊd, bət dɪz nɑt ˌnɛsəˈsɛrəli ˌɪmˈpruv ˌridəˈbɪlɪti: ðɪs ædz tɛn laɪnz əv koʊd ənd fɔr nu koʊd pæθs tɪ ðə ˈfəŋkʃən, drəˈmætɪkəli ˌɪnˈkrisɪŋ ðə əˈpɛrənt kəmˈplɛksɪti. riˈraɪtɪŋ ˈjuzɪŋ ðə nən -əˈwɛr əˈtrɪˌbjut ˈɑpərˌeɪtər rɪˈzəlts ɪn ˈʃɔrtər koʊd wɪθ mɔr klɪr ˌɪnˈtɛnt: wən weɪ tɪ fɪks ðɪs koʊd ɪz tɪ ˌriˈpleɪs iʧ kənˈdɪʃənəl ɪkˈsprɛʃən wɪθ ən ɪkˈsplɪsət ˈvælju əˈsaɪnmənt ənd ə fʊl ɪf ɛls blɑk: wɪˈθaʊt noʊɪŋ ðə ɪgˈzækt sɪˈmæntɪks əv ðə ənd əˈtrɪˌbjuts, ɪt ɪz ˌɪmˈpɑsəbəl tɪ noʊ ˈwɛðər ðə əˈtrɪˌbjut kən bi ˈseɪfli ər ˈækˌsɛst ˈməltəpəl taɪmz. boʊθ ənd ər əˈlaʊd tɪ bi nəl ɪn ðə ˈdætəˌbeɪs, ənd ðeɪ ər ˈɔlsoʊ əˈlaʊd tɪ bi nəl ɪn ðə rɪˈspɑns. dɪz nɑt hæv ə ˈneɪtɪv weɪ tɪ ˌrɛprɪˈzɛnt ə soʊ ðə ˈkɑnˌtrækt steɪts ðət ˈɛni nɑn- nəl deɪt ɪz ˌrɛprɪˈzɛnɪd ɛz ən strɪŋ. ðɪs ɪgˈzæmpəl ɪz frəm ə ˈpaɪθɑn wɛb ðət ˈjuzɪz ðə flæsk ˈfreɪmˌwərk ɛz ɪts front-end*. ðɪs ˈfəŋkʃən rɪˈtrivz ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ə wɛb saɪt frəm ə ˈdætəˌbeɪs ənd ˈfɔrˌmæts ɪt ɛz tɪ sɛnd tɪ ən klaɪənt: ˈæftər ɪkˈstɛnsɪv ˈəpˌdeɪtɪŋ (ˈɑrgjuəbli ɪkˈsɛsɪv, ðoʊ ðæts fər ðə staɪl gaɪdz tɪ dɪˈtərmən): frəm (ənd ˌɪmˈpɔrtəntli noʊt ðət ðɛr ɪz noʊ weɪ tɪ ˈsəbstəˌtut ər fər ɪn ðɪs ˌsɪʧuˈeɪʃən): səm əv ðiz ər ʃoʊn bɪˈloʊ ɛz ɪgˈzæmpəlz ˌbiˈfɔr ənd ˈæftər kənˈvərtɪŋ tɪ juz ðə nu ˈɔpərˌeɪtərz. ˈjuzɪŋ ðə ən æˈnælɪsɪs əv ðə ˈpaɪθɑn ˈstændərd ˈlaɪbrɛˌri dɪˈskəvərd əp tɪ 678 koʊd sˈnɪpəts ðət kʊd bi ˌriˈpleɪst wɪθ juz əv wən əv ðə nən -əˈwɛr ˈɔpərˌeɪtərz: ðɪs ˈsɛkʃən ˈprɛzənts səm ɪgˈzæmpəlz əv ˈkɑmən nən ˈpætərnz ənd ʃoʊz wət kənˈvərʒən tɪ juz nən -əˈwɛr ˈɔpərˌeɪtərz meɪ lʊk laɪk. ðə fərst θri aɪˈdiəz ɪn ðɪs ˈsɛkʃən ər ɔlˈtərnətɪvz tɪ ˈtritɪŋ nən ɛz ˈspɛʃəl. fər ˈfərðər ˈbækˌgraʊnd ɔn waɪ ðiz ər rɪˈʤɛktɪd, si ðɛr ˈtritmənt ɪn pɛp 531 ənd pɛp 532 ənd ðə əˈsoʊʃiˌeɪtəd dɪˈskəʃənz. ˈproʊtəˌkɔl ðə ˈɔpərˌeɪtərz kʊd bi tɪ taɪps baɪ dɪˈfaɪnɪŋ ə ˈproʊtəˌkɔl tɪ ˈɪndəˌkeɪt wɪn ə ˈvælju ˌrɛprɪˈzɛnts "noʊ ˈvælju". səʧ ə ˈproʊtəˌkɔl meɪ bi ə ˈmɛθəd __has_value__(self*)` ðət rɪˈtərnz ``tru ɪf ðə ˈvælju ʃʊd bi ˈtritɪd ɛz ˈhævɪŋ ə ˈvælju, ənd fɔls ɪf ðə ˈvælju ʃʊd bi ˈtritɪd ɛz noʊ ˈvælju. wɪθ ðɪs ˌʤɛnərəlɪˈzeɪʃən, ˈɑbʤɛkt wʊd ˈɪmpləmənt ə ˈmɛθəd ɪkˈwɪvələnt tɪ ðɪs: __has_value__(self*): rɪˈtərn tru wʊd ˈɪmpləmənt ə ˈmɛθəd ɪkˈwɪvələnt tɪ ðɪs: __has_value__(self*): rɪˈtərn fɔls ɪn ðə ˌspɛsɪfɪˈkeɪʃən ˈsɛkʃən, ɔl ˈjuzɪz əv ɛks ɪz nən wʊd bi ˌriˈpleɪst wɪθ nɑt x.__has_value*__() ðɪs ˌʤɛnərəlɪˈzeɪʃən wʊd əˈlaʊ fər "no-value*" ˈɑbʤɛkts tɪ bi ˌkoʊəˈlɛst ʤɪst laɪk nən fər ɪgˈzæmpəl ðə ˈpækɪʤ həz ə taɪp kɔld nəl ðət ˌrɛprɪˈzɛnts ən nəl frəm ˌɪmˈpɔrt univ.null*() ˈsɪmələrli, ˈvæljuz səʧ ɛz ənd kʊd bi ˈtritɪd ɛz ˌrɛprɪˈzɛnɪŋ noʊ ˈvælju. ˌhaʊˈɛvər, ðə "no-value*" ˈneɪʧər əv ðiz ˈvæljuz ɪz, wɪʧ minz ðeɪ ʃʊd bi ˈtritɪd ɛz ə ˈvælju baɪ ðə ˈlæŋgwɪʤ. fər ɪgˈzæmpəl, ɪz wɛl dɪˈfaɪnd (ɪts ənd soʊ tɪ rɪˈtərn wʊd bi ˌɪnkərˈɛkt. ɛz nən ɪz ɔˈrɛdi dɪˈfaɪnd baɪ ðə ˈlæŋgwɪʤ ɛz biɪŋ ðə ˈvælju ðət ˌrɛprɪˈzɛnts "noʊ ˈvælju", ənd ðə ˈkɑrənt ˌspɛsɪfɪˈkeɪʃən wʊd nɑt prɪˈklud sˈwɪʧɪŋ tɪ ə ˈproʊtəˌkɔl ɪn ðə fˈjuʧər (ðoʊ ˈʧeɪnʤɪz tɪ ˈbɪlˌtɪn ˈɑbʤɛkts wʊd nɑt bi kəmˈpætəbəl), ðɪs aɪˈdiə ɪz rɪˈʤɛktɪd fər naʊ. ˈɔpərˌeɪtərz ðɪs səˈʤɛsʧən ɪz ˌfəndəˈmɛnəli ðə seɪm ɛz ˈædɪŋ ə ˈproʊtəˌkɔl, ənd soʊ ðə dɪˈskəʃən əˈbəv ˈɔlsoʊ əˈplaɪz. ˈsɪmələr bɪˈheɪvjər tɪ ðə ˈɑpərˌeɪtər kən bi əˈʧivd wɪθ ən ər ɪkˈsprɛʃən, ˌhaʊˈɛvər ər ʧɛks ˈwɛðər ɪts lɛft ɪz ənd nɑt spəˈsɪfɪkli nən ðɪs əˈproʊʧ ɪz əˈtræktɪv, ɛz ɪt rikˈwaɪərz fjuər ˈʧeɪnʤɪz tɪ ðə ˈlæŋgwɪʤ, bət ˈəltəmətli dɪz nɑt sɑlv ðə ˌəndərˈlaɪɪŋ ˈprɑbləm kərˈɛktli. əˈsumɪŋ ðə ʧɛk ɪz fər ˈtruˌθinəs ˈrəðər ðən nən ðɛr ɪz noʊ ˈlɔŋgər ə nid fər ðə ˈɑpərˌeɪtər. ˌhaʊˈɛvər, əˈplaɪɪŋ ðɪs ʧɛk tɪ ðə ənd ˈɔpərˌeɪtərz prɪˈvɛnts ˈpərfəktli ˈvælɪd ˌɑpərˈeɪʃənz əˈplaɪɪŋ kənˈsɪdər ðə ˈfɑloʊɪŋ ɪgˈzæmpəl, wɛr get_log_list*() meɪ rɪˈtərn ˈiðər ə lɪst kənˈteɪnɪŋ ˈkɑrənt lɔg ˈmɛsɪʤɪz (pəˈtɛnʃəli ˈɛmti), ər nən ɪf ˈlɔgɪŋ ɪz nɑt ɪˈneɪbəld: get_log_list*() lɔg ˈmɛsɪʤ') ɪf ɪz ˈʧɛkɪŋ fər tru ˈvæljuz ˈrəðər ðən spəˈsɪfɪkli nən ənd ðə lɔg həz nɑt bɪn ˌɪˈnɪʃəˌlaɪzd wɪθ ˈɛni ˈaɪtəmz, noʊ ˈaɪtəm wɪl ˈɛvər bi əˈpɛndɪd. ðɪs ˈvaɪəleɪts ðə ˈɑbviəs ˌɪnˈtɛnt əv ðə koʊd, wɪʧ ɪz tɪ əˈpɛnd ən ˈaɪtəm. ðə əˈpɛnd ˈmɛθəd ɪz əˈveɪləbəl ɔn ən ˈɛmti lɪst, ɛz ər ɔl ˈəðər lɪst ˈmɛθədz, ənd ðɛr ɪz noʊ ˈrizən tɪ əˈsum ðət ðiz ˈmɛmbərz ʃʊd nɑt bi juzd bɪˈkəz ðə lɪst ɪz ˈprɛzəntli ˈɛmti. ˈfərðər, ðɛr ɪz noʊ ˈsɛnsəbəl rɪˈzəlt tɪ juz ɪn pleɪs əv ðə ɪkˈsprɛʃən. ə ˈnɔrməl rɪˈtərnz nən bət ˈəndər ðɪs aɪˈdiə meɪ rɪˈzəlt ɪn ˈiðər ər nən dɪˈpɛndɪŋ ɔn ðə ˈvælju əv ɛz wɪθ ðə ɪgˈzæmpəlz ɪn ðə ˈpriviəs ˈsɛkʃən, ðɪs meɪks noʊ sɛns. ɛz ˈʧɛkɪŋ fər ˈtruˌθinəs ˈrəðər ðən nən rɪˈzəlts ɪn əˈpɛrəntli ˈvælɪd ɪkˈsprɛʃənz noʊ ˈlɔŋgər ˈɛksəˌkjutɪŋ ɛz ˌɪnˈtɛndɪd, ðɪs aɪˈdiə ɪz rɪˈʤɛktɪd. ˈɔpərˌeɪtərz ˈɑrgjuəbli, ðə ˈrizən tɪ ən ɪkˈsprɛʃən wɪn nən ɪz ɪnˈkaʊnərd ɪz tɪ əˈvɔɪd ðə ər ðət wʊd bi reɪzd ˈəndər ˈnɔrməl ˈsərkəmˌstænsɪz. ɛz ən ɔlˈtərnətɪv tɪ ˈtɛstɪŋ fər nən ðə ənd ˈɔpərˌeɪtərz kʊd ˌɪnˈstɛd ˈhændəl ənd reɪzd baɪ ðə ˌɑpərˈeɪʃən ənd skɪp ðə rɪˈmeɪndər əv ðə ɪkˈsprɛʃən. ðɪs prəˈdusɪz ə ˌtrænsfərˈmeɪʃən fər ˈsɪmələr tɪ ðɪs: _vi ə traɪ: _vi ɪkˈsɛpt: pæs ɛls: _vi traɪ: _vi ɪkˈsɛpt: pæs ɛls: _vi wən ˈoʊpən kˈwɛʃən ɪz wɪʧ ˈvælju ʃʊd bi rɪˈtərnd ɛz ðə ɪkˈsprɛʃən wɪn ən ɪkˈsɛpʃən ɪz ˈhændəld. ðə əˈbəv ɪgˈzæmpəl ˈsɪmpli livz ðə ˈpɑrʃəl rɪˈzəlt, bət ðɪs ɪz nɑt ˈhɛlpfəl fər rɪˈpleɪsɪŋ wɪθ ə dɪˈfɔlt ˈvælju. ən ɔlˈtərnətɪv wʊd bi tɪ fɔrs ðə rɪˈzəlt tɪ nən wɪʧ ðɛn ˈreɪzɪz ðə kˈwɛʃən ɛz tɪ waɪ nən ɪz ˈspɛʃəl ɪˈnəf tɪ bi ðə rɪˈzəlt bət nɑt ˈspɛʃəl ɪˈnəf tɪ bi ðə tɛst. ˈsɛkəndli, ðɪs əˈproʊʧ mæsks ˈɛrərz wɪˈθɪn koʊd ˈɛksəˌkjutɪd ˌɪmˈplɪsətli ɛz pɑrt əv ðə ɪkˈsprɛʃən. fər ˈɛni wɪˈθɪn ə ˈprɑpərti ər __getattr*__ ˌɪmpləmɛnˈteɪʃən wʊd bi ˈhɪdən, ənd ˈsɪmələrli fər ənd __getitem*__. ˈsɪmələrli, ˈsɪmpəl ˈtaɪpɪŋ ˈɛrərz səʧ ɛz {}?.ietms*() kʊd goʊ ənˈnoʊtɪst. ɪgˈzɪstɪŋ kənˈvɛnʃənz fər ˈhændəlɪŋ ðiz kaɪnz əv ˈɛrərz ɪn ðə fɔrm əv ðə ˈbɪlˌtɪn ənd ðə .get(key*, dɪˈfɔlt) ˈmɛθəd ˈpætərn ɪˈstæblɪʃt baɪ ʃoʊ ðət ɪt ɪz ɔˈrɛdi ˈpɑsəbəl tɪ ɪkˈsplɪsətli juz ðɪs bɪˈheɪvjər. ɛz ðɪs əˈproʊʧ wʊd haɪd ˈɛrərz ɪn koʊd, ɪt ɪz rɪˈʤɛktɪd. nən -əˈwɛr ˈfəŋkʃən kɔl ðə nən -əˈwɛr ˈsɪnˌtæks əˈplaɪz tɪ əˈtrɪˌbjut ənd ˈɪndɛks ˈækˌsɛs, soʊ ɪt simz ˈnæʧərəl tɪ æsk ɪf ɪt ʃʊd ˈɔlsoʊ əˈplaɪ tɪ ˈfəŋkʃən ˌɪnvəˈkeɪʃən ˈsɪnˌtæks. ɪt maɪt bi ˈrɪtən ɛz fu?() wɛr fu ɪz ˈoʊnli kɔld ɪf ɪt ɪz nɑt nən. ðɪs həz bɪn dɪˈfərd ɔn ðə ˈbeɪsɪs əv ðə prəˈpoʊzd ˈɔpərˌeɪtərz biɪŋ ˌɪnˈtɛndɪd tɪ eɪd əv ˈpɑrʃəli ˈpɑpjəˌleɪtəd ˌhaɪˈrɑrkəkəl ˈdætə ˈstrəkʧərz, nɑt fər əv ˈɑrbɪˌtrɛri klæs ˈhaɪˌrɑrkiz. ðɪs ɪz rɪˈflɛktɪd ɪn ðə fækt ðət nən əv ðə ˈəðər ˈmeɪnˌstrim ˈlæŋgwɪʤɪz ðət ɔˈrɛdi ˈɔfər ðɪs ˈsɪnˌtæks hæv faʊnd ɪt ˈwərθˈwaɪl tɪ səˈpɔrt ə ˈsɪmələr ˈsɪnˌtæks fər ˈɔpʃənəl ˈfəŋkʃən invocations*. ə ˈsɪmələr tɪ ðət juzd baɪ si# wʊd bi tɪ raɪt maybe_none?.__call__(arguments*) ɪf ðə ˈkɔləbəl ɪz nən ðə ɪkˈsprɛʃən wɪl nɑt bi ɪˈvæljuˌeɪtəd. (ðə si# ɪkˈwɪvələnt ˈjuzɪz ?.ˌɪnˈvoʊk() ɔn ɪts ˈkɔləbəl taɪp.) ˈɑpərˌeɪtər tɪ ˈʤɛnərəˌlaɪz ðə nən -əˈwɛr bɪˈheɪvjər ənd ˈlɪmət ðə ˈnəmbər əv nu ˈɔpərˌeɪtərz ˌɪntrəˈdust, ə, ˈɑpərˌeɪtər spɛld wɑz səˈʤɛstɪd. ðə aɪˈdiə ɪz ðət maɪt rɪˈtərn ə ˈspɛʃəl ˈɑbʤɛkt ðət kʊd wʊd ˈoʊvərˌraɪd ˈmɛθədz ðət rɪˈtərn sɛlf fər ɪgˈzæmpəl, fu? wʊd ɪˈvæljuˌeɪt tɪ fu ɪf ɪt ɪz nɑt nən ˈəðərˌwaɪz ɪt wʊd ɪˈvæljuˌeɪt tɪ ən ˈɪnstəns əv klæs(): __call__(self*, *args*, **kwargs*): rɪˈtərn sɛlf __getattr__(self*, neɪm): rɪˈtərn sɛlf __getitem__(self*, ki): rɪˈtərn sɛlf wɪθ ðɪs nu ˈɑpərˌeɪtər ənd nu taɪp, ən ɪkˈsprɛʃən laɪk foo?.bar[baz*] ɪˈvæljuˌeɪts tɪ ɪf fu ɪz nən. ðɪs ɪz ə ˈnɪfti ˌʤɛnərəlɪˈzeɪʃən, bət ɪts ˈdɪfəkəlt tɪ juz ɪn ˈpræktɪs sɪns moʊst ɪgˈzɪstɪŋ koʊd woʊnt noʊ wət ɪz. goʊɪŋ bæk tɪ wən əv ðə ˈmoʊtəˌveɪtɪŋ ɪgˈzæmpəlz əˈbəv, kənˈsɪdər ðə ˈfɑloʊɪŋ: ˌɪmˈpɔrt kriˈeɪtɪd nən json.dumps({'created*': created?.isoformat*()})`` ðə dɪz nɑt noʊ haʊ tɪ ˈsɪˌriəˌlaɪz nɔr wɪl ˈɛni ˈəðər api*. ðɪs prəˈpoʊzəl ˈæˌkʧuəli rikˈwaɪərz lɑts əv ˈspɛʃəˌlaɪzd ˈlɑʤɪk θruaʊt ðə ˈstændərd ˈlaɪbrɛˌri ənd ˈɛni θərd ˈpɑrti ˈlaɪbrɛˌri. æt ðə seɪm taɪm, ðə ˈɑpərˌeɪtər meɪ ˈɔlsoʊ bi tu ˈʤɛnərəl, ɪn ðə sɛns ðət ɪt kən bi kəmˈbaɪnd wɪθ ˈɛni ˈəðər ˈɑpərˌeɪtər. wət ʃʊd ðə ˈfɑloʊɪŋ ɪkˈsprɛʃənz min?: ɛks? 1 ɛks? 1 ɛks? 1 ~ɛks? ðɪs dɪˈgri əv ˌʤɛnərəlɪˈzeɪʃən ɪz nɑt ˈjusfəl. ðə ˈɔpərˌeɪtərz ˈæˌkʧuəli prəˈpoʊzd hɪˈrɪn ər ˌɪnˈtɛnʃənəli ˈlɪmɪtɪd tɪ ə fju ˈɔpərˌeɪtərz ðət ər ɪkˈspɛktɪd tɪ meɪk ɪt ˈiziər tɪ raɪt ˈkɑmən koʊd ˈpætərnz. ˈbɪlˌtɪn ˈmeɪbi ˈhæskəl həz ə ˈkɑnsɛpt kɔld ˈmeɪbi ðət ðə aɪˈdiə əv ən ˈɔpʃənəl ˈvælju wɪˈθaʊt riˈlaɪɪŋ ɔn ˈɛni ˈspɛʃəl ˈkiˌwərd (e.g*. nəl ər ˈɛni ˈspɛʃəl ˈɪnstəns (e.g*. nən ɪn ˈhæskəl, ðə ˈpərpəs əv ˈmeɪbi ɪz tɪ əˈvɔɪd ˈsɛpərˌeɪt ˈhændəlɪŋ əv "ˈsəmθɪŋ" ənd ˈnəθɪŋ". ə ˈpaɪθɑn ˈpækɪʤ kɔld prəˈvaɪdz ə rəf əˌprɑksəˈmeɪʃən. ðə ˌdɑkjəmɛnˈteɪʃən ʃoʊz ðə ˈfɑloʊɪŋ ɪgˈzæmpəl: maybe('value').lower*() 'ˈvælju' maybe(none).invalid().method().or_else('unknown*') 'ənˈnoʊn' ðə ˈfəŋkʃən ˈmeɪbi() rɪˈtərnz ˈiðər ə ˈsəmθɪŋ ˈɪnstəns ər ə ˈnəθɪŋ ˈɪnstəns. ˈsɪmələr tɪ ðə ˈɑpərˌeɪtər dɪˈskraɪbd ɪn ðə ˈpriviəs ˈsɛkʃən, ˈnəθɪŋ ˈoʊvərˌraɪdz ˈmɛθədz ɪn ˈɔrdər tɪ əˈlaʊ ˈʧeɪnɪŋ ɔn ə ˈmɪsɪŋ ˈvælju. noʊt ðət or_else*() ɪz ɪˈvɛnʧəwəli rikˈwaɪərd tɪ rɪˈtriv ðə ˌəndərˈlaɪɪŋ ˈvælju frəm 'ɛs ˈræpərz. ˈfərðərˌmɔr, dɪz nɑt ʃɔrt ˈsərkət ˈɛni ɪˌvæljuˈeɪʃən. ˌɔlˈðoʊ həz səm strɛŋθs ənd meɪ bi ˈjusfəl ɪn ɪts oʊn raɪt, ɪt ˈɔlsoʊ ˈdɛmənˌstreɪts waɪ ə pjʊr ˈpaɪθɑn ˌɪmpləmɛnˈteɪʃən əv ˌkoʊəˈlɛsɪŋ ɪz nɑt ˈnɪrli ɛz ˈpaʊərfəl ɛz səˈpɔrt bɪlt ˈɪntu ðə ˈlæŋgwɪʤ. ðə aɪˈdiə əv ˈædɪŋ ə ˈbɪlˌtɪn ˈmeɪbi taɪp tɪ ɪˈneɪbəl ðɪs sɪˈnɛrioʊ ɪz rɪˈʤɛktɪd.
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see the examples section for more realistic examples of code that could be updated to use the new operators.
see the grammar changes section for specifics and examples of the required grammar changes.
this pep proposes three none -aware operators for python, based on the definitions and other language's implementations of those above. specifically:
several modern programming languages have so-called " null -coalescing" or " null - aware" operators, including c# , dart , perl, swift, and php (starting in version 7). these operators provide syntactic sugar for common patterns involving null references.
reading code in spoken text is always lossy, and so we make no attempt to define an unambiguous way of speaking these operators. these suggestions are intended to add context to the implications of adding the new syntax.
for coalescing expressions using the ?? operator, expressions should either be read as "or ... if none" or "coalesced with". for example, the expression a.get_value() ?? 100 would be read "call a dot get_value or 100 if none", or "call a dot get_value coalesced with 100".
for the maybe-dot and maybe-subscript operators, the intention is that expressions including these operators should be read and interpreted as for the regular versions of these operators. in "normal" cases, the end results are going to be identical between an expression such as a?.b?[c] and a.b[c] , and just as we do not currently read "a.b" as "read attribute b from a if it has an attribute a or else it raises attributeerror", there is no need to read "a?.b" as "read attribute b from a if a is not none" (unless in a context where the listener needs to be aware of the specific behaviour).
when used as an assignment target, the none -aware operations may only be used in a "load" context. that is, a?.b = 1 and a?[b] = 1 will raise syntaxerror . use earlier in the expression ( a?.b.c = 1 ) is permitted, though unlikely to be useful unless combined with a coalescing operation:
parenthesised expressions are handled by the atom rule (not shown above), which will implicitly terminate the short-circuiting behaviour of the above transformation. for example, (a?.b ?? c).d?.e is evaluated as:
await will almost certainly fail in this context, as it would in the case where code attempts await none . we are not proposing to add a none -aware await keyword here, and merely include it in this example for completeness of the specification, since the atom_expr grammar rule includes the keyword. if it were in its own rule, we would have never mentioned it.
when a none -aware operator is present, the left-to-right evaluation may be short-circuited. for example, await a?.b(c).d?[e] is evaluated:
for example, await a.b(c).d[e] is currently parsed as ['await', 'a', '.b', '(c)', '.d', '[e]'] and evaluated:
assume that the atom is always successfully evaluated. each trailer is then evaluated from left to right, applying its own parameter (either its arguments, subscripts or attribute name) to produce the value for the next trailer . finally, if present, await is applied.
the maybe-dot and maybe-subscript operators are added as trailers for atoms, so that they may be used in all the same locations as the regular operators, including as part of an assignment target (more details below). as the existing evaluation rules are not directly embedded in the grammar, we specify the required changes below.
an augmented assignment for the ?? operator is also added. augmented coalescing assignment only rebinds the name if its current value is none . if the target name already has a value, the right-hand side is not evaluated. for example:
particularly for cases such as a ?? 2 ** b ?? 3 , parenthesizing the sub-expressions any other way would result in typeerror , as int.__pow__ cannot be called with none (and the fact that the ?? operator is used at all implies that a or b may be none ). however, as usual, while parentheses are not required they should be added if it helps improve readability.
some examples of how implicit parentheses are placed when evaluating operator precedence in the presence of the ?? operator:
the ?? operator binds more tightly than other binary operators as most existing implementations of these do not propagate none``s (they will typically raise ``typeerror ). expressions that are known to potentially result in none can be substituted for a default value without needing additional parentheses.
the coalesce rule provides the ?? binary operator. unlike most binary operators, the right-hand side is not evaulated until the left-hand side is determined to be none .
the following rules of the python grammar are updated to read:
some argue that this makes none special. we contend that none is already special, and that using it as both the test and the result of these operators does not change the existing semantics in any way.
a rejected proposal was to treat any value that evaluates as "false" in a boolean context as not having a value. however, the purpose of these operators is to propagate the "lack of value" state, rather than the "false" state.
the none object denotes the lack of a value. for the purposes of these operators, the lack of a value indicates that the remainder of the expression also lacks a value and should not be evaluated.
this syntax has an intuitive ordering of the operands. in find_content_type , for example, the preferred value ctype appears before the fallback value. the terseness of the syntax also makes for fewer lines of code and less code to visually parse, and reading from left-to-right and top-to-bottom more accurately follows the execution flow.
the first ternary expression is tidy, but it reverses the intuitive order of the operands: it should return ctype if it has a value and use the string literal as fallback. the other ternary expressions are unintuitive and so long that they must be wrapped. the overall readability is worsened, not improved.
this example contains several good examples of needing to provide default values. rewriting to use conditional expressions reduces the overall lines of code, but does not necessarily improve readability:
this adds ten lines of code and four new code paths to the function, dramatically increasing the apparent complexity. rewriting using the none -aware attribute operator results in shorter code with more clear intent:
one way to fix this code is to replace each conditional expression with an explicit value assignment and a full if / else block:
without knowing the exact semantics of the first_seen and last_seen attributes, it is impossible to know whether the attribute can be safely or performantly accessed multiple times.
both first_seen and last_seen are allowed to be null in the database, and they are also allowed to be null in the json response. json does not have a native way to represent a datetime , so the server's contract states that any non- null date is represented as an iso-8601 string.
this example is from a python web crawler that uses the flask framework as its front-end. this function retrieves information about a web site from a sql database and formats it as json to send to an http client:
after extensive updating (arguably excessive, though that's for the style guides to determine):
from email/generator.py (and importantly note that there is no way to substitute or for ?? in this situation):
some of these are shown below as examples before and after converting to use the new operators.
using the find-pep505.py script[3]_ an analysis of the python 3.7 standard library discovered up to 678 code snippets that could be replaced with use of one of the none -aware operators:
this section presents some examples of common none patterns and shows what conversion to use none -aware operators may look like.
the first three ideas in this section are oft-proposed alternatives to treating none as special. for further background on why these are rejected, see their treatment in pep 531 and pep 532 and the associated discussions.
no-value protocol the operators could be generalised to user-defined types by defining a protocol to indicate when a value represents "no value". such a protocol may be a dunder method __has_value__(self)` that returns ``true if the value should be treated as having a value, and false if the value should be treated as no value. with this generalization, object would implement a dunder method equivalent to this: def __has_value__(self): return true nonetype would implement a dunder method equivalent to this: def __has_value__(self): return false in the specification section, all uses of x is none would be replaced with not x.__has_value__() . this generalization would allow for domain-specific "no-value" objects to be coalesced just like none . for example the pyasn1 package has a type called null that represents an asn.1 null : >>> from pyasn1.type import univ >>> univ.null() ?? univ.integer(123) integer(123) similarly, values such as math.nan and notimplemented could be treated as representing no value. however, the "no-value" nature of these values is domain-specific, which means they should be treated as a value by the language. for example, math.nan.imag is well defined (it's 0.0 ), and so short-circuiting math.nan?.imag to return math.nan would be incorrect. as none is already defined by the language as being the value that represents "no value", and the current specification would not preclude switching to a protocol in the future (though changes to built-in objects would not be compatible), this idea is rejected for now.
boolean-aware operators this suggestion is fundamentally the same as adding a no-value protocol, and so the discussion above also applies. similar behavior to the ?? operator can be achieved with an or expression, however or checks whether its left operand is false-y and not specifically none . this approach is attractive, as it requires fewer changes to the language, but ultimately does not solve the underlying problem correctly. assuming the check is for truthiness rather than none , there is no longer a need for the ?? operator. however, applying this check to the ?. and ?[] operators prevents perfectly valid operations applying consider the following example, where get_log_list() may return either a list containing current log messages (potentially empty), or none if logging is not enabled: lst = get_log_list() lst?.append('a log message') if ?. is checking for true values rather than specifically none and the log has not been initialized with any items, no item will ever be appended. this violates the obvious intent of the code, which is to append an item. the append method is available on an empty list, as are all other list methods, and there is no reason to assume that these members should not be used because the list is presently empty. further, there is no sensible result to use in place of the expression. a normal lst.append returns none , but under this idea lst?.append may result in either [] or none , depending on the value of lst . as with the examples in the previous section, this makes no sense. as checking for truthiness rather than none results in apparently valid expressions no longer executing as intended, this idea is rejected.
exception-aware operators arguably, the reason to short-circuit an expression when none is encountered is to avoid the attributeerror or typeerror that would be raised under normal circumstances. as an alternative to testing for none , the ?. and ?[] operators could instead handle attributeerror and typeerror raised by the operation and skip the remainder of the expression. this produces a transformation for a?.b.c?.d.e similar to this: _v = a try: _v = _v.b except attributeerror: pass else: _v = _v.c try: _v = _v.d except attributeerror: pass else: _v = _v.e one open question is which value should be returned as the expression when an exception is handled. the above example simply leaves the partial result, but this is not helpful for replacing with a default value. an alternative would be to force the result to none , which then raises the question as to why none is special enough to be the result but not special enough to be the test. secondly, this approach masks errors within code executed implicitly as part of the expression. for ?. , any attributeerror within a property or __getattr__ implementation would be hidden, and similarly for ?[] and __getitem__ implementations. similarly, simple typing errors such as {}?.ietms() could go unnoticed. existing conventions for handling these kinds of errors in the form of the getattr builtin and the .get(key, default) method pattern established by dict show that it is already possible to explicitly use this behaviour. as this approach would hide errors in code, it is rejected.
none -aware function call the none -aware syntax applies to attribute and index access, so it seems natural to ask if it should also apply to function invocation syntax. it might be written as foo?() , where foo is only called if it is not none. this has been deferred on the basis of the proposed operators being intended to aid traversal of partially populated hierarchical data structures, not for traversal of arbitrary class hierarchies. this is reflected in the fact that none of the other mainstream languages that already offer this syntax have found it worthwhile to support a similar syntax for optional function invocations. a workaround similar to that used by c# would be to write maybe_none?.__call__(arguments) . if the callable is none , the expression will not be evaluated. (the c# equivalent uses ?.invoke() on its callable type.)
? unary postfix operator to generalize the none -aware behavior and limit the number of new operators introduced, a unary, postfix operator spelled ? was suggested. the idea is that ? might return a special object that could would override dunder methods that return self . for example, foo? would evaluate to foo if it is not none , otherwise it would evaluate to an instance of nonequestion : class nonequestion(): def __call__(self, *args, **kwargs): return self def __getattr__(self, name): return self def __getitem__(self, key): return self with this new operator and new type, an expression like foo?.bar[baz] evaluates to nonequestion if foo is none. this is a nifty generalization, but it's difficult to use in practice since most existing code won't know what nonequestion is. going back to one of the motivating examples above, consider the following: >>> import json >>> created = none >>> json.dumps({'created': created?.isoformat()})`` the json serializer does not know how to serialize nonequestion , nor will any other api. this proposal actually requires lots of specialized logic throughout the standard library and any third party library. at the same time, the ? operator may also be too general, in the sense that it can be combined with any other operator. what should the following expressions mean?: >>> x? + 1 >>> x? -= 1 >>> x? == 1 >>> ~x? this degree of generalization is not useful. the operators actually proposed herein are intentionally limited to a few operators that are expected to make it easier to write common code patterns.
built-in maybe haskell has a concept called maybe that encapsulates the idea of an optional value without relying on any special keyword (e.g. null ) or any special instance (e.g. none ). in haskell, the purpose of maybe is to avoid separate handling of "something" and nothing". a python package called pymaybe provides a rough approximation. the documentation shows the following example: >>> maybe('value').lower() 'value' >>> maybe(none).invalid().method().or_else('unknown') 'unknown' the function maybe() returns either a something instance or a nothing instance. similar to the unary postfix operator described in the previous section, nothing overrides dunder methods in order to allow chaining on a missing value. note that or_else() is eventually required to retrieve the underlying value from pymaybe 's wrappers. furthermore, pymaybe does not short circuit any evaluation. although pymaybe has some strengths and may be useful in its own right, it also demonstrates why a pure python implementation of coalescing is not nearly as powerful as support built into the language. the idea of adding a builtin maybe type to enable this scenario is rejected.
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wɪn aɪ fərst hərd əˈbaʊt, ðə ˈaɪˌmæks spɪn klæs ðət ˈprɑməsəz tɪ "ˈtrænspɔrt jʊr maɪnd ənd ˈtrænsfɔrm jʊr ˈbɑdi," maɪ ˌɪˈmiˌdiət ˈiˌmoʊʃənəl ˈfɪzɪkəl rɪˈspɑnsɪz wər fɪr ənd ˈnɔziə. soʊ, əv kɔrs, aɪ hæd tɪ traɪ ɪt. ɛz ðə wərldz moʊst ˈjumən hu gɪts ˈmoʊʃən ˈsɪknəs ɪn ˈrɛgjələr ˈmuvi ˈθiətərz, aɪ ˈkʊdənt ˌɪˈmæʤən ə sɪˈnɛrioʊ ɪn wɪʧ ðɪs klæs ˈwʊdənt ɛnd ɪn mi ˈvɑmətɪŋ. aɪ wɔkt aʊt əv tɪ ɪˈskeɪp ðə ɪkˈsɛsɪv əˈmaʊnts əv ˈkæmərə ˈʃeɪkinəs. aɪ lɛft maɪ frɛndz ɪn ðə frənt roʊ ˈdʊrɪŋ ðə ˈhəŋgər geɪmz tɪ sɪt baɪ ˌmaɪˈsɛlf æt ðə ˈvɛri bæk əv ðə ˈθieɪtər. aɪ woʊnt dɛr traɪ ˈwɑʧɪŋ ə ˈmuvi ɪn ˈaɪˌmæks ər 3d*, bɪˈkəz aɪ noʊ ðət ɛz sun ɛz ðə ˈprivˌjuz ɛnd aɪl bi ˈhərlɪŋ maɪ rɛd vaɪnz ənd icee*. stɪl, əm geɪm fər traɪɪŋ aʊt ˈɛni fɔrm əv ˈɛksərˌsaɪz ˈðætəl dɪˈstrækt mi frəm ðə fækt ðət əm sˈwɛti ənd ˈmɪzərəbəl. aɪ wəns tʊk ə ˈbɑksɪŋ klæs fər ðə soʊl ˈpərpəs əv ˈsɛndɪŋ aʊt ə ˈpərˌfɪkt snæp ˈkæpʃənd '*ˈwɑʧɪz krid wəns*.' (ðoʊ, ɪn maɪ ˈgɪdi ɪkˈsaɪtmənt, aɪ fərˈgɑt tɪ æd ɪt tɪ maɪ ˈstɔri soʊ nən əv maɪ frɛndz nu haʊ ˈfəni ənd ˈklɛvər aɪ wɑz.) ɪf ju ˈɛksərˌsaɪz ənd doʊnt poʊst ə ˈsɛlˌfi ɛz pruf ˈɛniˌwɛr, dɪd ɪt ˈivɪn ˈrɪli ˈhæpən? wi æt ðə vərʤ mjuzd əˈbaʊt wət ˈmuviz maɪt pleɪ waɪl ən ˌɪnˈstrəktər skrimd æt mi. maɪ ˈɛdɪtər krɪs plænt ˌɪˈmæʤənd ˈfʊtɪʤ əv ˈbiʧɪz, wɪθ ðə fɪlm ˈbiʧɪz, waɪl maɪ ˈkɑlig ʃɔn oʊˈkeɪn ˌɪˈmæʤənd ə θriaʊər klæs sɛt tɪ ˈbætˌmæn ˈgroʊlɪŋ ɪn ðə dɑrk naɪt ˈraɪzɪz. ɪt wɑz nɑt ˈnɪrli ɛz ˌɛnərˈteɪnɪŋ ɛz ˈɛni əv ɑr ˈgɛsɪz. ɪn fækt, ɪt wɑz kaɪnd əv... ˈbɔrɪŋ. ðɪs wɑz θru noʊ fɔlt əv ɑr ˌɪnˈstrəktər ˈʤɛsi (əˈbaʊt hum krɪs plænt roʊt ən ɪnˈtaɪər ˌriˈæləˌti ʃoʊ, beɪst ɔn tu ˈvɛri gʊd ˈfoʊˌtoʊz əv ɪm ɔn ðə ˈwɛbˌsaɪt). hir ər ə fju ɪgˈzæmpəlz əv wət ˈæˌkʧuəli pleɪd æt: ə əv "krip," sɛt tɪ ˈfʊtɪʤ əv ə ˈkæmərə ˈpænɪŋ ˈoʊvər ðə grænd ˈkænjən ˈprɪnsɪz "wɪn dəvz kraɪ," sɛt tɪ ə ˈbækˌdrɑp əv səm ˈrændəm ˈfɔrɪst. (aɪ lʊkt əraʊnd ðə skrin ənd hoʊpt fər ˈprɪnsɪz ˌɪmˈpɛkəbli grumd feɪs tɪ pɑp aʊt frəm bɪˈhaɪnd ə tri ənd wɪŋk æt mi, bət ðɛr wɑz ˈnəθɪŋ ˈoʊnli ˈfoʊlɪʤ.) ðɪs træp əv ən graɪm træk, wɪʧ ɪz ɔˈrɛdi træp, jɛt ənˈfɔrʧənətli ˈdəzənt ˈkænsəl aʊt ðə træp, sɛt tɪ ə ˈikwəˌlaɪzər ʃʊr, ðɛr wɑz ə kəmˈplit dɪskəˈnɛkt bɪtˈwin wət wɑz biɪŋ ʃoʊn ɔn ðə skrin ənd wət wɑz goʊɪŋ ɔn irl*, bət ˈʤɛsi dɪd hɪz bɛst tɪ pəmp əp ðə klæs baɪ ˈʃeɪmɪŋ ˈjuˈɛs wɛˈnɛvər wi traɪd tɪ riʧ fər ɑr taʊəlz. "ju doʊnt nid ðoʊz raɪt naʊ!!" hi wʊd jɛl æt ˈjuˈɛs. "wooo*!!!" skrimd əˈnəðər ˌɪnˈstrəktər hu wɑz ˈplænɪd əˈməŋ ðə cyclers*, prɪˈzuməbli tɪ haɪp əp ðə kraʊd ðət wɑz groʊɪŋ taɪərd ənd ˌdɪsəˈpɔɪnɪd ɛz ɪt dɔnd ɔn ˈjuˈɛs ðət ðɪs wɑz ɔl ɪt wɑz goʊɪŋ tɪ bi. aɪ fɛlt maɪ juθ ˈpæsɪŋ mi baɪ, laɪk aɪ wɑz ˈeɪʤɪŋ kənˈsɪdərəbli ˈfæstər ðən ðə peɪs æt wɪʧ aɪ wɑz ˈpriviəsli ˈeɪʤɪŋ ˌbiˈfɔr aɪ hæd ˈɛnərd ðə ˈaɪˌmæks ˈʧeɪmbər əv ˈbɔrdəm. wəts ðə pɔɪnt əv ən ˈaɪˌmæks spɪn klæs ɪf ɪt ˈdəzənt meɪk mi fərˈgɛt ðət əm ɪn ə spɪn klæs? ˈteɪkɪŋ ə 25 ɛks skrin ənd pleɪɪŋ səm dɪˈfɔlt skrin ˈseɪvərz fɛlt laɪk ə ˈmæsɪv əv ðə tɛkˈnɑləʤi. jɛs, ðə skrin wɑz lɑrʤ fər ə spɪn klæs, bət smɔl fər ə ˈnɔrməl ˈθieɪtər, lɛt əˈloʊn ən ˈaɪˌmæks ˈθieɪtər. ðɛr wər soʊ ˈmɛni ˌpɑsəˈbɪlətiz hir ənd ðeɪ skˈwɑndərd ɪt. wi kʊd hæv ˈsaɪkəld tɪ stɑr wɔrz: ðə fɔrs əˈweɪkənz ər ɪf ðæts tu lɔŋ, ðɛn ˈoʊnli ðə sinz wɪθ fɪn ənd poʊ. ˌwəˈtɛvər. əm ʤɪst ˈθɪŋkɪŋ aʊt laʊd hir. wəts ðə pɔɪnt əv ən ˈaɪˌmæks spɪn klæs ɪf ɪt ˈdəzənt meɪk mi fərˈgɛt ðət əm ɪn ə spɪn klæs? ənd ðə saʊnd! ðə ˈævərɪʤ nu jɔrk ˈsɪti əˈpɑrtmənt həz ə mɔr ˈsaʊnˌtræk ðən wət wɑz traɪɪŋ tɪ əˈʧiv ðɛr. aɪ noʊ ðɪs bɪˈkəz maɪ ˈdaʊnˈstɛrz ˈneɪbər ɪz ə mˈjuzɪk prəˈdusər ənd maɪ əpˈstɛrz ˈneɪbər ˌɪnˈsɪsts ɔn pleɪɪŋ ˈtɛrəbəl ˈtɛknoʊ mˈjuzɪk waɪlst ˈdrɑpɪŋ gɑd noʊz wət ˈɛvəri 20 ˈmɪnəts, soʊ aɪ æm ˈkɑnstəntli ˈsænˌwɪʧt baɪ saʊnd. fər ɔl ðə haɪp ðeɪ wər ˈpʊtɪŋ aʊt əˈbaʊt "ˈkətɪˌŋɛʤ ˈdɪʤɪtəl saʊnd" ənd ə "ˈkəstəm ˈaɪˌmæks saʊnd ˈsɪstəm tɪ prəˈvaɪd ˈkrɪstəl klɪr, ˈɑdiˌoʊ θruaʊt ðə ˈstudiˌoʊ," aɪ wɑz ˈθəroʊli ˌəndərˈwɛlmd. əm nɑt ən ˈɛkspərt ɔn fən, baɪ ˈɛni minz. maɪ aɪˈdiə əv ə gʊd taɪm ɪz θru θri ˈpeɪʤɪz əv ˈləgʒəri ˈvaɪzərz ɔn ənd ðɛn ˈpæsɪŋ aʊt frəm ɔl ðə ɪkˈsaɪtmənt. bət ˈivɪn aɪ noʊ ðət ˈskrinɪŋ ˈæftərəˌfɛkts ˈdɛmoʊ ˈvɪdioʊz ˈɪzənt ðə weɪ tɪ goʊ. hir ər səm ɪgˈzæmpəlz əv wət ðeɪ ˈæˌkʧuəli ʃʊd hæv pleɪd: ˈkɑnsərt ˈfʊtɪʤ əv faɪvz "slæm dəŋk (ˈdiˈeɪ fəŋk)," ɛz dɪˈpɪktɪd ɪn ðɪs ˈklæsɪk sin frəm ðə 1999 ˈdɪzni ˈʧænəl ərˈɪʤənəl ˈmuvi smɑrt haʊs, (dir*. ˈbərtən) wɛr ə grup əv tin bɔɪz haɪp ðɛmˈsɛlvz əp fər ðɛr ˈreɪgər baɪ pərˈfɔrmɪŋ ə ˈkɔriəˌgræft dæns ðɪs ˌaɪˈkɑnɪk ˈwɪndoʊz 95 meɪz skrin ˈseɪvər. (ɪf jʊr goʊɪŋ tɪ pleɪ skrin ˈseɪvərz, ðɛn æt list meɪk ɪt ðɪs wən,!) ˌwəˈtɛvər ðɪs ɪz, ɔn lup fər ðə ɪnˈtaɪərti əv ðə raɪd ðə hoʊl taɪm, aɪ wɑz ˈpeɪnfəli əˈwɛr əv ðə fækt ðət aɪ wɑz ɪn ə dɑrk rum, ˈpɛdəlɪŋ təˈwɔrd ˈnəθɪŋnəs, waɪl ˈaʊtˈsaɪd laɪf wɑz ˈhæpənɪŋ. ɪz ˈloʊˌkeɪtəd ɪn ˈgɔrʤəs ˈbrʊklɪn brɪʤ pɑrk, wɪʧ ɪz praɪm ril ɛˈsteɪt. ɔn maɪ wɔk bæk tɪ ðə ˈsəbˌweɪ, aɪ pæst baɪ ə ˈwɛdɪŋ ʃut ɪn wɪʧ ə ˈkəpəl wɑz ˈstɑpɪŋ ˈtræfɪk tɪ gɪt ə ʃɑt wɪθ ðə mænˈhætən brɪʤ ɪn ðə ˈbækˌgraʊnd. ðə ˈgreɪtəst ˈaɪˌmæks ˈkɑntɛnt ɪz laɪf ˌɪtˈsɛlf aɪ sɔ ə grup əv ˈtaɪni ˈʧɪldrən ɪn ˈmæʧɪŋ ˈaʊtˌfɪts ɔl ˈwɔkɪŋ ɛz tɪ nɑt bi ˈsɛpərˌeɪtɪd ənd lɛft bɪˈhaɪnd fər ðə ræts ðət lɪv ˈəndər ðə ˈbrʊklɪn brɪʤ. aɪ ˌæksəˈdɛnəli wɔkt θru ə fɪlm sɛt kræft ˈsərvɪsɪz ˈteɪbəl. əm nɑt traɪɪŋ tɪ bi ɔl, "ðə ˈgreɪtəst ˈaɪˌmæks ˈkɑntɛnt ɪz laɪf ˌɪtˈsɛlf!!" hir, bət aɪ ˈrɪli dɪd wɔk aʊt ˈfilɪŋ mɔr əˈpriʃjətɪv əv maɪ ˈækʧəwəl sərˈaʊndɪŋz, ˈgreɪtfəl ðət aɪ ˈwəzənt fɔrst tɪ wɔʧ stɑk ˈfʊtɪʤ waɪl træpt ˌɪnˈsaɪd əv ə bɑks ˌɛniˈmɔr. ɔl əm seɪɪŋ ɪz, ju kən ʧuz tɪ peɪ 34 fər ən klæs, ər ju kən raɪd ə baɪk θru jʊr ˈneɪbərˌhʊd ənd ˈɪtəl ˈprɑbəˌbli bi mɔr ˈɪntəˌrɛstɪŋ. fəˈtɑgrəfi baɪ əˈmiljə krales*, hu meɪd ðɪs hoʊl ɪkˈspɪriəns lʊk weɪ mɔr ˈɛpɪk ðən ɪt ˈæˌkʧuəli wɑz.
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when i first heard about imaxshift, the imax spin class that promises to "transport your mind and transform your body," my immediate emotional / physical responses were fear and nausea. so, of course, i had to try it.
as the world's most unathletic human who gets motion sickness in regular movie theaters, i couldn't imagine a scenario in which this class wouldn't end in me vomiting. i walked out of cloverfield to escape the excessive amounts of camera shakiness. i left my friends in the front row during the hunger games to sit by myself at the very back of the theater. i won't dare try watching a movie in imax or 3d, because i know that as soon as the previews end i'll be hurling my red vines and cherry-cola icee.
still, i'm game for trying out any form of exercise that'll distract me from the fact that i'm sweaty and miserable. i once took a boxing class for the sole purpose of sending out a perfect snap captioned '*watches creed once*.' (though, in my giddy excitement, i forgot to add it to my story so none of my friends knew how funny and clever i was.) if you exercise and don't post a selfie as proof anywhere, did it even really happen?
we at the verge mused about what movies imaxshift might play while an instructor screamed at me. my editor chris plante imagined footage of beaches, intercut with the film beaches, while my colleague sean o'kane imagined a three-hour class set to batman growling in the dark knight rises.
it was not nearly as entertaining as any of our guesses. in fact, it was kind of... boring.
this was through no fault of our instructor jesse (about whom chris plante wrote an entire reality show, based on two very good photos of him on the imaxshift website).
here are a few examples of what actually played at imaxshift:
a dubstep remix of radiohead's "creep," set to footage of a camera panning over the grand canyon
prince's "when doves cry," set to a backdrop of some random forest. (i looked around the screen and hoped for prince's impeccably groomed face to pop out from behind a tree and wink at me, but there was nothing only foliage.)
this trap remix of an rl grime track, which is already trap, yet unfortunately doesn't cancel out the trap, set to a winamp equalizer
sure, there was a complete disconnect between what was being shown on the screen and what was going on irl, but jesse did his best to pump up the class by shaming us whenever we tried to reach for our towels. "you don't need those right now!!" he would yell at us. "wooo!!!" screamed another instructor who was planted among the cyclers, presumably to hype up the crowd that was growing tired and disappointed as it dawned on us that this was all it was going to be. i felt my youth passing me by, like i was aging considerably faster than the pace at which i was previously aging before i had entered the imax chamber of boredom.
what's the point of an imax spin class if it doesn't make me forget that i'm in a spin class? taking a 25 x 40-foot screen and playing some default screen savers felt like a massive underutilization of the technology. yes, the screen was large for a spin class, but small for a normal theater, let alone an imax theater. there were so many possibilities here and they squandered it. we could have cycled to star wars: the force awakens or if that's too long, then only the scenes with finn and poe. whatever. i'm just thinking out loud here.
what's the point of an imax spin class if it doesn't make me forget that i'm in a spin class?
and the sound! the average new york city apartment has a more immersive soundtrack than what imaxshift was trying to achieve there. i know this because my downstairs neighbor is a music producer and my upstairs neighbor insists on playing terrible techno music whilst dropping god knows what every 20 minutes, so i am constantly sandwiched by sound. for all the hype they were putting out about "cutting-edge digital sound" and a "custom imax sound system to provide crystal clear, heart-pounding audio throughout the studio," i was thoroughly underwhelmed.
i'm not an expert on fun, by any means. my idea of a good time is scrolling through three pages of luxury visors on pinterest and then passing out from all the excitement. but even i know that screening student-made aftereffects demo videos isn't the way to go.
here are some examples of what they actually should have played:
concert footage of five's "slam dunk (da funk)," as depicted in this classic scene from the 1999 disney channel original movie smart house, (dir. levar burton) where a group of teen boys hype themselves up for their rager by performing a choreographed dance
this iconic windows 95 maze screen saver. (if you're going to play screen savers, then at least make it this one, imaxshift!)
whatever this is, on loop for the entirety of the 45-minute ride
the whole time, i was painfully aware of the fact that i was in a dark room, pedaling toward nothingness, while outside life was happening. imaxshift is located in gorgeous brooklyn bridge park, which is prime real estate. on my walk back to the subway, i passed by a wedding shoot in which a couple was adorably stopping traffic to get a shot with the manhattan bridge in the background.
the greatest imax content is life itself
i saw a group of tiny children in matching outfits all walking hand-in-hand as to not be separated and left behind for the rats that live under the brooklyn bridge. i accidentally walked through a film set craft services table. i'm not trying to be all, "the greatest imax content is life itself!!" here, but i really did walk out feeling more appreciative of my actual surroundings, grateful that i wasn't forced to watch stock footage while trapped inside of a box anymore. all i'm saying is, you can choose to pay $34 for an imaxshift class, or you can ride a bike through your neighborhood and it'll probably be more interesting.
photography by amelia krales, who made this whole experience look way more epic than it actually was.
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ˈæktər kərk ˈdəgləs ˈsɛləˌbreɪts ˈbərθˌdeɪ wɪθ ˈhɑliˌwʊd stɑrz ˈəpˌdeɪtɪd ˈæktər kərk ˈdəgləs, stɑr əv ˈklæsɪk fɪlmz ˈspɑrtɑkəs, ləst fər laɪf ənd pæθs əv ˈglɔri, həz ˈsɛləˌbreɪtɪd hɪz ˈbərθˌdeɪ. ˈdəgləs, hu bɪˈkeɪm ə ˈmeɪʤər stɑr ɪn ðə ənd həz lɔŋ bɪn ə ˈmɛmbər əv ˈhɑliˌwʊd ˈrɔɪəlti, ˈsɛləˌbreɪtɪd ðə ˈmaɪlˌstoʊn ɪn ˈbɛvərli hɪlz wɪθ frɛndz ənd ˈfæməli, ˌɪnˈkludɪŋ hɪz waɪf əv mɔr ðən 62 jɪrz æn ˈdəgləs, hɪz sən ˈæktər ˈmaɪkəl ˈdəgləs ənd ˈdɔtərɪnˌlɔ ˈkæθərɪn zeta-jones*. "wən əv ðə θɪŋz ðət aɪ faɪnd moʊst ˌɪnˈkrɛdəbəl əˈbaʊt dæd ɪz ðə θərd ækt əv hɪz laɪf," ˈmaɪkəl ˈdəgləs sɛd. "ˈæftər ɔl hi əˈkɑmplɪʃt ɪn hɪz prəˈfɛʃənəl kərɪr ənd wət hiz ˈgɪvɪn fər hɪz ˈkəntri, æt ðə pɔɪnt ɪn hɪz laɪf wɛr hiz feɪst ædˈvərsɪˌti, ˈluzɪŋ ə sən, ˈhævɪŋ ə ˈhɛlɪˌkɑptər kræʃ, ˈhævɪŋ ə stroʊk, ənd wət hiz əˈkɑmplɪʃt ɪn ðɪs θərd ækt ɪn hɪz laɪf, aɪ faɪnd kwaɪt ˌɛkstrəˈɔrdəˌnɛri." kərk ˈdəgləs rɪˈspɑndɪd, ˈʤoʊkɪŋ: "aɪ ˈwəndər hu hi wɑz ˈtɔkɪŋ əˈbaʊt? hi sɛd səm nis θɪŋz əˈbaʊt ˈsəmˌwən aɪ doʊnt noʊ." hɪz ˈjəŋgəst sən ˈɛrɪk ˈdəgləs, hu hæd ˈstrəgəld wɪθ ˈlɔŋˌtaɪm drəg ənd ˈælkəˌhɑl əˈbjuz, daɪd ˈeɪʤɪd 46 ɪn 2004 kərk ˈdəgləs həz tu ˈəðər sənz, ʤoʊəl ənd ˈpitər ˈdəgləs boʊθ prəˈdusərz ənd ˈsɛvən ˈgrænˌʧɪldrən. hɪz ˈræˌbaɪ ənd hɪz ˈdɔktər, hu hæd ˈprɑməst kərk ˈdəgləs ɪf hi lɪvd tɪ 100 hi kʊd hæv ə glæs əv ˈvɑdkə, əˈtɛndəd hɪz ˈbərθˌdeɪ ˈpɑrti. ˈæktər ənd kəˈmidiən dɑn ˈrɪkəlz ˈlaɪtənd ðə ˈrɛvərənt ənd rɪˈspɛktfəl mud, ˈpoʊkɪŋ fən æt kərk ˈdəgləsɪz gʊd lʊks ənd fəˈzik ənd seɪɪŋ hi hæd tɪ hir ðə "əm ˈspɑrtɑkəs kræp" ˈɛvəri deɪ, ənd haʊ bərt ˈlæŋkəstər juzd tɪ ədˈvaɪz ɪm ðət kərk ˈdəgləs "ˈdəzənt noʊ wət hiz ˈtɔkɪŋ əˈbaʊt". "ju ər ən ˌaʊtˈstændɪŋ mæn bɪˈkəz juv bɪn blɛst wɪθ wɔrmθ ənd ləv ənd klæs, ənd ɑ, fərˈgɛt ɪt, jʊr ɔl əv ðət ənd mɔr," ˈrɪkəlz sɛd. "meɪ gɑd gɪv ju strɛŋθ ənd meɪ ju bi wɪθ ˈjuˈɛs fər 100 mɔr. ɪf ðæts hɪz wɪʃ, soʊ bi ɪt, ɪf nɑt, aɪ noʊ ɪn ˈhɛvən jul bi ɪn ʧɑrʤ." dɪˈrɛktər ˈstivən ˈspilbərg peɪd ˈtrɪbjut tɪ ðə ˈæktər: "aɪv bɪn ˈʃutɪŋ ˈmuviz ənd ˈtɛləˌvɪʒən ʃoʊz fər naʊ 47 jɪrz ənd aɪv wərkt wɪθ ðə bɛst əv ðɛm ənd jʊr ðə ˈoʊnli ˈmuvi stɑr aɪ ˈɛvər mɛt." "ðɛr ɪz ˈsəmθɪŋ ðət ju hæv ðət ˈnoʊwən ɛls ˈɛvər hæd." ˈtɑpɪks: ˈæktər, arts-and-entertainment*, film-movies*, fərst ˈpoʊstɪd
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actor kirk douglas celebrates 100th birthday with hollywood stars
updated
actor kirk douglas, star of classic films spartacus, lust for life and paths of glory, has celebrated his 100th birthday.
douglas, who became a major star in the 1950s and has long been a member of hollywood royalty, celebrated the milestone in beverly hills with friends and family, including his wife of more than 62 years anne douglas, his son actor michael douglas and daughter-in-law catherine zeta-jones.
"one of the things that i find most incredible about dad is the third act of his life," michael douglas said.
"after all he accomplished in his professional career and what he's given for his country, at the point in his life where he's faced adversity, losing a son, having a helicopter crash, having a stroke, and what he's accomplished in this third act in his life, i find quite extraordinary."
kirk douglas responded, joking: "i wonder who he was talking about? he said some nice things about someone i don't know."
his youngest son eric douglas, who had struggled with longtime drug and alcohol abuse, died aged 46 in 2004.
kirk douglas has two other sons, joel and peter douglas both producers and seven grandchildren.
his rabbi and his doctor, who had promised kirk douglas if he lived to 100, he could have a glass of vodka, attended his birthday party.
actor and comedian don rickles lightened the reverent and respectful mood, poking fun at kirk douglas's good looks and physique and saying he had to hear the "i'm spartacus crap" every day, and how burt lancaster used to advise him that kirk douglas "doesn't know what he's talking about".
"you are an outstanding man because you've been blessed with warmth and love and class, and ah, forget it, you're all of that and more," rickles said.
"may god give you strength and may you be with us for 100 more. if that's his wish, so be it, if not, i know in heaven you'll be in charge."
director steven spielberg paid tribute to the actor: "i've been shooting movies and television shows for now 47 years and i've worked with the best of them and you're the only movie star i ever met."
"there is something that you have that no-one else ever had."
ap/abc
topics: actor, arts-and-entertainment, film-movies, united-states
first posted
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31 deɪz əv ˌhæləˈwin: ɔn ˈætləs ðɪs mənθ, ˈsɛləˌbreɪtɪŋ ˌhæləˈwin iʧ deɪ wɪθ ˈwoʊfəl, ˈwəndrəs, ənd ˈwɪkɪdli məˈkɑbər teɪlz ɔl lɪŋkt tɪ ə ril loʊˈkæl ðət ju kən ˈvɪzɪt, ɪf ju dɛr. ˈtʊrɪsts tɪ flɔɪd collins’*’ ˈkɔfɪn ɪn ˈkrɪstəl keɪv (ˈviə tsgs*) flɔɪd ˈkɑlɪnz wɑz ə keɪv ɪkˈsplɔrər hu daɪd wəns, ənd wɑz ˈbɛrid fɔr taɪmz, wəns ɛz ə ˈtʊrɪst ˈspɛktəkəl. bæk ɔn ˈʤænjuˌɛri 30 1925 hi wɑz ˈsərʧɪŋ fər ən ˈɛntrəns tɪ ˈmæməθ keɪv ɪn sænd keɪv ɪn kənˈtəki. ðə keɪvz ɪn ðə ˈriʤən wər dɪˈvaɪdɪd æt ðət taɪm ˈɪntu smɔl ˈtʊrɪst ˌdɛstəˈneɪʃənz, wɪθ collins’*’ ˈfæməli ˈrənɪŋ ðə ˈbjutəfəl, bət ˈpurli ˈvɪzɪtɪd, ˈkrɪstəl keɪv, wɪʧ ˈkɑlɪnz hæd faʊnd ɪn 1917 ɪt wɑz ə ˈlɪtəl tu ɔf ðə ˈbitən pæθ fər ˈmɛni ˈvɪzɪtərz, ənd ðə ˈsprɔlɪŋ ˈmæməθ keɪv wɑz ɔˈrɛdi ˈgɪtɪŋ ɔl ðə əˈtɛnʃən. ˌɔlˈðoʊ ðə ˈkɑlɪnz ə ˈhaɪli ɪkˈspɪriənst spəˈləŋkər (ənd ˈkrɪspɪn ˈgləvər ˈlʊkəˌlaɪk) hæd bɪn ɔn ˈmɛni ˈəndərˌgraʊnd ædˈvɛnʧərz ˌbiˈfɔr, ðət deɪ hi wɑz aʊt əˈloʊn ənd fər dɪˈzæstər. wɪn hi ˌæksəˈdɛnəli nɑkt ˈoʊvər hɪz læmp hi ˈmænɪʤd tɪ dɪsˈlɑʤ ə rɑk ˈɔntu hɪz lɛg wɪʧ pɪnd ɪm ɪn ə taɪt ˈtənəl. wɪn hɪz prɪˈdɪkəmənt wɑz dɪˈskəvərd, ə ˈrɛskju ˈɛfərt ˌɪˈmiˌdiətli bɪˈgæn, bət ðɛn ɪt tʊk ə streɪnʤ tərn ˈɪntu ə ˈmidiə ˈsərkəs. collins’*’ ˈstrəgəl fər sərˈvaɪvəl bɪˈkeɪm wən əv ðə ˈbɪgəst ˈnæʃənəl ˈmidiə sɛnˈseɪʃənz bɪtˈwin ðə tu wərld wɔrz, wɪθ ə sɔrt əv ˈætməsˌfɪr ɔn ðə ˈsərfəs əˈbəv wɛr hi rɪˈmeɪnd ˈəndərˌgraʊnd, wɪθ ˈvɛndərz ənd ˈgɑkərz ˈgæðərɪŋ iʧ deɪ, əˈlɔŋ wɪθ ðə ˈʤərnəlɪsts. ˈkɑlɪnz kʊd ˈæˌkʧuəli bi riʧt θru ðə keɪv ənd brɔt fud ənd ˈwɔtər, ənd wən ˈʤərnəlɪst, ˈwɪljəm bərk ˈmɪlər, skwizd hɪz weɪ daʊn ˈsɛvərəl taɪmz tɪ ˈɪntərvˌju ˈkɑlɪnz, ðə ˈstɔriz ˈleɪtər ˈərnɪŋ ɪm ə ˈpʊlətsər. ðə ˈɛntrəns tɪ sænd keɪv (ˈfoʊtəˌgræf baɪ weɪn ʃiɛ) jɛt dɪˈzæstər əˈkərd ɔn ˈfɛbruˌɛri 4 wɪn ðə ˈtənəl kəˈlæpst ənd ˈkɑlɪnz wɑz ˈsədənli ənˈriʧəbəl. əˈnəðər ˈrɛskju ʃæft wɑz ˌɪˈmiˌdiətli ˈstɑrtɪd, jɛt wɪn ðeɪ ˈfaɪnəli dəg daʊn tɪ ˈkɑlɪnz ɔn ˈfɛbruˌɛri 17 hi wɑz dɛd. ɪt tʊk tu mənθs tɪ ˈæˌkʧuəli gɪt hɪz ˈbɑdi aʊt, soʊ ə fˈjunərəl wɑz hɛld æt ðə maʊθ əv ðə keɪv ənd mɛˈmɛntoʊz tɔst ˈɪntu ðə ˈdɑrknəs. wɪn hɪz rɪˈmeɪnz wər ˈfaɪnəli riˈtrivd, hi wɑz ˈbɛrid ɔn ðə ˈkrɪstəl keɪv graʊnz. ðə hoʊm əv flɔɪd ˈkɑlɪnz ɔn ðə lɛft ənd ðə ərˈɪʤənəl ˈkrɪstəl keɪv ˈtɪkɪt buθ ɔn ðə raɪt (ˈfoʊtəˌgræf baɪ weɪn ʃiɛ) ðɛn ðə ˈstɔri gɪts ˈstreɪnʤər. ɪn 1927 ˈkrɪstəl keɪv wɑz soʊld tɪ nu ˈoʊnərz, hu ˌdɪˈsaɪdɪd tɪ dɪg əp ˈkɑlɪnz, fɪks əp hɪz ɛmˈbɑmɪŋ, ənd pleɪs ɪm ɪn ə ˈkɔfɪn ɪn ˈkrɪstəl keɪv ɛz ə ˈhɛvəli ˌædvərˈtaɪzd ˈtʊrɪst drɔ. ɪt wərkt, ənd ðə kraʊdz əv ˈvɪzɪtərz kʊd pɪr θru ə ˈlɪtəl ˈwɪndoʊ æt ðə dɛd feɪs. ə ˈtumˌstoʊn wɑz ˌɪnˈstɔld nɛkst tɪ ɪt ðət ˌɪnˈkludɪd ɪn ɪts ˈɛpəˌtæf: keɪv ɪkˈsplɔrər ˈɛvər known.”*.” ə ˈmɛtəl ˈkæskət ɪn ˈmæməθ keɪv, sɛd baɪ səm tɪ bi ðət əv flɔɪd ˈkɑlɪnz (ˈfoʊtəˌgræf baɪ ʤeɪmz st*. ʤɑn) ˈpoʊˌskɑrd əv ˈkænjən avenue”*” ʃoʊɪŋ flɔɪd collins’*’ ˈkɔfɪn ɪn ðə ˈsɛnər (ˈviə kənˈtəki ˈdɪʤɪtəl ˈlaɪbrɛˌri) hɪz ˈbɑdi wɑz wəns ˈstoʊlən ɪn 1929 bət əˈsaɪd frəm ðət, hi rɪˈmeɪnd ɪn ðə keɪv ənˈtɪl 1989 wɪn hɪz ˈfæməli ˈfaɪnəli hæd ɪm reburied*. (ðə ˈfæməli hæd traɪd fər jɪrz tɪ rɪˈtriv hɪz ˈbɑdi, bət ə ʤəʤ hæd ruld, ˌɪmˈprɑbəbli, ɪn ˈfeɪvər əv ðə nu ˈkrɪstəl keɪv ˈoʊnərz.) ðɛr wɑz ə ˈmɑnjəmənt æt wən pɔɪnt bɪlt tɪ ɪm ɪn 1940 wɪθ hɪz feɪs ənd ˈstɔri æt ðə beɪs əv ɪts taʊər, bət ə trək ræn ˈɪntu ɪt ənd ɪt wɑz dɪˈstrɔɪd. ˈpoʊˌskɑrd əv ðə flɔɪd ˈkɑlɪnz ˈmɑnjəmənt, ˈrɛdɪŋ ɔn ðə ˈɑpəzɪt saɪd: lɪvd fər ən aɪˈdil ɪn sərʧ əv ˈərθli ˈbjuti ðɪs hi faʊnd ɪn hɪz ˌdɪˈskəvri əv ˈkrɪstəl keɪv. hi daɪd fər ən aɪˈdil ðə aɪˈdil əv ˈsərvɪs ˌbiˈfɔr sɛlf. (ˈviə kənˈtəki ˈdɪʤɪtəl ˈlaɪbrɛˌri) dɪˈspaɪt naʊ ˈrɛstɪŋ ɪn ðə ˈmæməθ keɪv ˈbæptɪst ʧərʧ ˈsɛmɪˌtɛri, ðə ˈmɛməri əv ˈkɑlɪnz ˈlɪŋgərz. ə flɔɪd ˈkɑlɪnz mˈjuziəm ðət ɪgˈzɪbəts mɛˈmɛntoʊz əv hɪz taɪm ɛz boʊθ ə ˈmidiə ənd məˈkɑbər ˈspɛktəkəl, ənd səm seɪ ðə ˈspɪrɪt əv ðə ˌɪnˈtrɛpəd ɪkˈsplɔrər ˈivɪn roʊmz ðə keɪvz. əˈkɔrdɪŋ tɪ tɪ ˈmæməθ keɪv tʊr gaɪd ˌkɑˈlin ˈoʊlsən, wən ˈpərsən wɑz nɪr pɑrt əv ðə keɪv wɛr flɔɪd, wɪn hi wɑz əˈlaɪv, wʊd goʊ ˈkeɪvɪŋ, ənd ʃi trɪpt ənd ʃi ˈstɑrtɪd tɪ fɔl, ənd ðɛn ʃi fɛlt ˈsəmˌbɑdi græb hər ənd pʊl hər bæk, ənd əv kɔrs ʃi θɔt ɪt wɑz hər ˈkeɪvɪŋ ˈpɑrtnər. soʊ ʃi wɑz əˈbaʊt tɪ seɪ, ‘‘thanks*, richard,’*,’ ˈθæŋkɪŋ hər pæl, bət hi wɑz weɪ ɔn ðə ˈəðər saɪd. soʊ ðɛn, wɪn ʃi ˈriəˌlaɪzd ɪt ˈrɪʧərd, ʃi sɛd, ‘‘thanks*, floyd.’”*.’” ˌhaʊˈɛvər, ɪn ðə keɪs əv flɔɪd ˈkɑlɪnz, ˈivɪn ə keɪv goʊst ɪz noʊ mæʧ fər ðə streɪnʤ truθ əv hɪz ˈwɑndərɪŋ kɔrps ənd ɪts ˈkɔfɪn. greɪv əv flɔɪd ˈkɑlɪnz (ˈfoʊtəˌgræf baɪ ˈnɪkələs frɔst) klɪk hir fər mɔr əv ɑr 31 deɪz əv ˌhæləˈwin, wɛr iʧ deɪ ˈsɛləˌbreɪtɪŋ ðə ənˈsɛtəlɪŋ ˈkɔrnərz əv ðə wərld.
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31 days of halloween: on atlas obscura this month, we’re celebrating halloween each day with woeful, wondrous, and wickedly macabre tales all linked to a real locale that you can visit, if you dare.
tourists to floyd collins’ coffin in crystal cave (via tsgs)
floyd collins was a cave explorer who died once, and was buried four times, once as a tourist spectacle.
back on january 30, 1925, he was searching for an entrance to mammoth cave in sand cave in kentucky. the caves in the region were divided at that time into small tourist destinations, with collins’ family running the beautiful, but poorly visited, crystal cave, which collins had found in 1917. it was a little too off the beaten path for many visitors, and the sprawling mammoth cave was already getting all the attention.
although the 37-year-old collins — a highly experienced spelunker (and crispin glover lookalike) — had been on many underground adventures before, that day he was out alone and ill-prepared for disaster. when he accidentally knocked over his lamp he managed to dislodge a rock onto his leg which pinned him in a tight tunnel. when his predicament was discovered, a rescue effort immediately began, but then it took a strange turn into a media circus.
collins’ struggle for survival became one of the biggest national media sensations between the two world wars, with a sort of carnivalesque atmosphere on the surface above where he remained underground, with vendors and gawkers gathering each day, along with the journalists. collins could actually be reached through the cave and brought food and water, and one journalist, william burke miller, squeezed his way down several times to interview collins, the stories later earning him a pulitzer.
the entrance to sand cave (photograph by wayne hsieh)
yet disaster occurred on february 4 when the tunnel collapsed and collins was suddenly unreachable. another rescue shaft was immediately started, yet when they finally dug down to collins on february 17, he was dead. it took two months to actually get his body out, so a funeral was held at the mouth of the cave and mementos tossed into the darkness. when his remains were finally retrieved, he was buried on the crystal cave grounds.
the home of floyd collins on the left and the original crystal cave ticket booth on the right (photograph by wayne hsieh)
then the story gets stranger. in 1927, crystal cave was sold to new owners, who decided to dig up collins, fix up his embalming, and place him in a glass-topped coffin in crystal cave as a heavily advertised tourist draw. it worked, and the crowds of visitors could peer through a little window at the dead explorer’s face. a tombstone was installed next to it that included in its epitaph: ”greatest cave explorer ever known.”
a metal casket in mammoth cave, said by some to be that of floyd collins (photograph by james st. john)
postcard of “grand canyon avenue” showing floyd collins’ coffin in the center (via kentucky digital library)
his body was once stolen in 1929, but aside from that, he remained in the cave until 1989 when his family finally had him reburied. (the family had tried for years to retrieve his body, but a judge had ruled, improbably, in favor of the new crystal cave owners.) there was a 30-foot monument at one point built to him in 1940 with his face and story at the base of its tower, but a truck ran into it and it was destroyed.
postcard of the floyd collins monument, reading on the opposite side: “he lived for an ideal - in search of earthly beauty - this he found in his discovery of crystal cave. he died for an ideal - the ideal of service before self. (via kentucky digital library)
despite now resting in the mammoth cave baptist church cemetery, the memory of collins lingers. there’s a floyd collins museum that exhibits mementos of his time as both a media and macabre spectacle, and some say the spirit of the intrepid explorer even roams the caves. according to to mammoth cave tour guide colleen olson, one person was “caving near part of the cave where floyd, when he was alive, would go caving, and she tripped and she started to fall, and then she felt somebody grab her and pull her back, and of course she thought it was her caving partner. so she was about to say, ‘thanks, richard,’ thanking her pal, but he was way on the other side. so then, when she realized it wasn’t richard, she said, ‘thanks, floyd.’”
however, in the case of floyd collins, even a cave ghost is no match for the strange truth of his wandering corpse and its glass-topped coffin.
grave of floyd collins (photograph by nicholas frost)
click here for more of our 31 days of halloween, where each day we’re celebrating the strange-but-true unsettling corners of the world.
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kənˈsərnz reɪzd əˈbaʊt ˈɛrən ˌprɑsəˈkjuʃən ənd ðə kəˈnɛkʃən frəm ðə ðiz ˈpɛrəˌgræfs rɪkˈwɛst ˌɪnˌfɔrˈmeɪʃən rɪˈleɪtɪŋ tɪ grænd ˈʤʊri səˈpinəz. ˈpɛrəˌgræf 1 rɪkˈwɛstɪd ðət ðə ˈgəvərnmənt prəˈvaɪd ənd ɔl grænd ˈʤʊri səˈpinəz ənd ˈɛni ənd ɔl ˌɪnˌfɔrˈmeɪʃən rɪˈzəltɪŋ frəm ðɛr ˈsərvɪs ˈsikɪŋ ˌɪnˌfɔrˈmeɪʃən frəm θərd ˈpɑrtiz ˌɪnˈkludɪŋ bət nɑt ˈlɪmɪtɪd tɪ tˈwɪtər. ˈɛˈmaɪˈti,, ˈɪntərˌnɛt ˈɑrˌkaɪv ðət wʊd ˈkɑnstəˌtut ə kəmˌjunəˈkeɪʃən frəm ər tɪ ˈɛrən ʃwɔrts ər ˈɛni kəmˈpjutər əˈsoʊʃiˌeɪtəd wɪθ him.”*.” ˈpɛrəˌgræf 4 rɪkˈwɛstɪd ənd ɔl ˌæpləˈkeɪʃənz, ˈɔrdərz ər səˈpinəz tɪ ˈɛˈmaɪˈti,, tˈwɪtər, ˈgugəl, ˈæməˌzɑn, ˈɪntərˌnɛt ˈɑrˌkaɪv ər ˈɛni ˈəðər ˈɛntɪti ˈsikɪŋ ˌɪnˌfɔrˈmeɪʃən rɪˈgɑrdɪŋ ˈɛrən ʃwɔrts, ˈɛni əˈkaʊnt əˈsoʊʃiˌeɪtəd wɪθ ʃwɔrts, ər ˈɛni ˌɪnˌfɔrˈmeɪʃən rɪˈgɑrdɪŋ kəmˌjunəˈkeɪʃənz tɪ ənd frəm ʃwɔrts ənd ˈɛni ənd ɔl ˌɪnˌfɔrˈmeɪʃən rɪˈzəltɪŋ frəm ðɛr service.”*.” ˈpɛrəˌgræf 20 rɪkˈwɛstɪd ənd ɔl ˈpeɪpər, ˈdɑkjəmənts, məˈtɪriəlz, ˌɪnˌfɔrˈmeɪʃən ənd ˈdætə əv ˈɛni kaɪnd rɪˈsivd baɪ ðə ˈgəvərnmənt ɛz ə rɪˈzəlt əv ðə ˈsərvɪs əv ˈɛni grænd ˈʤʊri səˈpinə ɔn ˈɛni ˈpərsən ər ˈɛntɪti rɪˈleɪtɪŋ tɪ ðɪs investigation.”*.” ʃwɔrts rɪkˈwɛsts ðɪs ˌɪnˌfɔrˈmeɪʃən bɪˈkəz səm grænd ˈʤʊri səˈpinəz juzd ɪn ðɪs keɪs kənˈteɪnd dɪˈrɛktɪvz tɪ ðə rɪˈsɪpiənts wɪʧ ʃwɔrts kənˈtɛndz wər ɪn ˈkɑnflɪkt wɪθ rul 6(e)(2)(a*), si juˈnaɪtɪd steɪts vi. ˈkreɪmər, 864 99 101 cir*. 1988 ənd ˈəðərz sɔt ˌsərtəfəˈkeɪʃən əv ðə prəˈdust ˈdɑkjəmənts soʊ ðət ðeɪ kʊd bi ˈɔfərd ˈɪntu ˈɛvədəns ˈəndər fɛd. ɑr. evid*. 901 ʃwɔrts rikˈwaɪərz ðə rɪkˈwɛstɪd məˈtɪriəlz tɪ dɪˈtərmən ˈwɛðər ðɛr ɪz ə ˈfərðər ˈbeɪsɪs fər ˈmuvɪŋ tɪ ɪkˈsklud ˈɛvədəns ˈəndər ðə fɔrθ əˈmɛndmənt (ˈivɪn ðoʊ ðə həz noʊ ˌɪndɪˈpɛndənt səˈprɛʃən ˈrɛmədi). [snɪp] mɔˈroʊvər, dɪˈfɛndənt bɪˈlivz ðət ðə ˈaɪtəmz wʊd nɑt hæv bɪn səˈpinəd baɪ ðə ɪkˈspɪriənst ənd rɪˈspɛktɪd ˈsinjər ˈprɑsɪˌkjutər, nɔr wʊd ˌɛvɪˈdɛnʧiɛri ˌsərtəfəˈkeɪʃənz hæv bɪn rɪkˈwɛstɪd, wər ðə səˈpinəd ˈaɪtəmz nɑt məˈtɪriəl tɪ ˈiðər ðə ˌprɑsəˈkjuʃən ər ðə dɪˈfɛns. vjuɪŋ əv ˈɛni ˌəndɪˈskloʊzd səˈpinəd məˈtɪriəlz wʊd nɑt bi ˈbərdənsəm, ənd dɪˈskloʊʒər əv ðə səˈpinəz wʊd nɑt ˌɪnˈtrud əˈpɑn ðə wərk ˈprɑdəkt ˈprɪvɪlɪʤ, ɛz ðə səˈpinəz wər sərvd ɔn θərd ˈpɑrtiz, ðəs ˈweɪvɪŋ ˈɛni ˌkɑnfəˌdɛnʃiˈæləti ər ˈprɪvɪlɪʤ prəˈtɛkʃənz. ʃwɔrts wɑz ərˈɛstɪd ɔn ˈʤænjuˌɛri 6th*, 2011 ɔn ˈfɛbruˌɛri ɪt wɑz ˌriˈpɔrtəd ðət ðə ˈʤəstɪs dɪˈpɑrtmənt hæd drɔn ə blæŋk ɔn ˈɛniˌθɪŋ ɪt kʊd juz tɪ goʊ ˈæftər. ðət seɪm deɪ, ˈfɛbruˌɛri, ðə ˈsikrɪt ˈsərvɪs ˈsədənli gɑt əraʊnd tɪ ˈɪʃuɪŋ ˈwɔrənts tɪ sərʧ ˈhɑrdˌwɛr lɛts steɪt ˈəpˌfrənt ðət ə lɔt əv wəts ɪn ðɪs poʊst ɪz kənˈʤɛkʧər beɪst ɔn ə fju ˈpisɪz əv ˌɪnˌfɔrˈmeɪʃən aʊt ðɛr. əm nɑt kənˈvɪnst ðət ɪt ˈprɛzənts ɪˈnəf ˈɛvədəns əv ən ˈækʧəwəl kəˈnɛkʃən. ˌhaʊˈɛvər, ə bənʧ əv foʊks hæv bɪn ˈtɔkɪŋ əˈbaʊt ðɪs (ənd səbˈmɪtɪŋ ɪt hir), soʊ wi ˈwɔntɪd tɪ reɪz ðə ˈɪʃu tɪ si wət ˈpipəl θɔt, ənd ɪf ðɛr wɑz ˈɛni ˈəðər ˌɪnˌfɔrˈmeɪʃən ðət kʊd kənˈfərm ər dɪˈnaɪ səm əv ðə kənˈʤɛkʧərz ɪn ðə pis. ɛz fɑr ɛz wi kən tɛl, səm əv ðə ˈtaɪmɪŋ ɪz ə bɪt ɑd, bət ɪt kʊd ˈvɛri wɛl bi ə koʊˈɪnsɪdəns. wid ləv tɪ hæv ðə fʊl ˈstɔri ɪf ðɛr wɑz wən, bət ˈfɛdərəl ˈprɑsɪˌkjutərz əˈspɛʃəli ðoʊz ˈəndər ˈmidiə ˈskrutəni ˈɑrənt noʊn fər ˈsədənli ˈoʊpənɪŋ əp əˈbaʊt ðiz sɔrts əv θɪŋz. ˈgɪvɪn ðət, wi θɔt wid poʊst səm əv ðə ˈditeɪlz əv ðə dɪˈskəʃən fər ðə seɪk əv kənˈtɪnjuɪŋ ðə dɪˈskəʃən ənd siɪŋ ɪf ˈɛniˌwən hæd ˈɛniˌθɪŋ mɔr kənˈklusɪv, ˈiðər ʃoʊɪŋ ə kəˈnɛkʃən bɪtˈwin ˈɛrən ˌprɑsəˈkjuʃən ənd... ər dɪˈbəŋkɪŋ ɔˈrɛdi dɪˈskəst haʊ ˈaʊtəd ˈɛrən ʃwɔrts ɛz asource*, ənd ðæts ˈlidɪŋ tɪ ˈəðər ˌspɛkjəˈleɪʃən ɛz wɛl, ˌɪnˈkludɪŋ ə kˈwɛʃən ɛz tɪ ˈwɛðər ər nɑt ðə grænd ˈʤʊri ˌɪnˌvɛstəˈgeɪʃən ˈɪntu ʃwɔrts wɑz ˈrɪli mɔr əˈbaʊt ðə ˈfɪʃɪŋ ˌɛkspəˈdɪʃən əˈgɛnst ˈrəðər ðən ðə hoʊl ˈɛfərt. ðə blɔg (lɪŋkt əˈbəv) noʊts ðət dɪˈfɛns ˈɪndəˌkeɪtɪd ɪt wɑz əˈwɛr əv ə məʧ ˈdipər ˌɪnˌvɛstəˈgeɪʃən kənˈsərnɪŋ ʃwɔrts ðət wɛnt bɪɔnd ˈɛˈmaɪˈti ənd tɪ tˈwɪtər, ˈgugəl, ˈæməˌzɑn, ðə ˈɪntərˌnɛt ˈɑrˌkaɪv ənd ˈpɑsəbli mɔr ənd æst ðə ˈgəvərnmənt tɪ tərn ˈoʊvər səʧ ɔl əv ðət, ɪts ˈlidɪŋ səm tɪ ˈwəndər ɪf ðɪs wɑz mɔr əˈbaʊt ðə bɪg ˈfɪʃɪŋ ˌɛkspəˈdɪʃən ə grænd ˈʤʊri həz səˈpoʊzədli bɪn ˈwərkɪŋ ɔn fər kwaɪt səm taɪm, traɪɪŋ tɪ snɪf aʊt ˈɛniˌθɪŋ ðət kən bi juzd əˈgɛnst. ðɛr ɪz noʊ kənˈfərmd kəˈnɛkʃən tɪ ðə ˌɪnˌvɛstəˈgeɪʃən, bət noʊts səm ˈɑdətiz ɪn ðə ˈtaɪmɪŋ səʧ ɛz ðə grænd ˈʤʊri ˌɪnˌvɛstəˈgeɪʃən ˈɪntu ˈɛrən ˈsimɪŋ tɪ ræmp əp ʤɪst ɛz ɪt əˈpɪrd ðət ðə bɪg grænd ˈʤʊri wɑz ˈkəmɪŋ əp ˈɛmti. ɪn fækt, ɛz ʃoʊd ɪn ə ˈdɪfərənt poʊst, ɪt lʊkt laɪk ðə ˌɪnˌvɛstəˈgeɪʃən ˈɪntu ʃwɔrts wɑz goʊɪŋ ˌæbsəˈlutli ˈnoʊˌwɛr... ənˈtɪl ðə grænd ˈʤʊri ˈsədənli ʃoʊd rɪˈnud ˈɪntəˌrɛst lɔŋ ˈæftər ðə ərˈɛst. ðə poʊst noʊts ðət ðə ˈsikrɪt ˈsərvɪs ˈdɪdənt ˈivɪn ˈbɑðər ˈsərʧɪŋ ðə ˈlæpˌtɑp ˈɔntu wɪʧ ʃwɔrts hæd ˈdaʊnˌloʊdɪd ðə məˈtɪriəl fər wiks ˈæftər ˈgɪtɪŋ ˌɪnˈvɑlvd ɪn hɪz wət ˈhæpənd ɪn bɪtˈwin ðə ərˈɛst ənd ðə ˈsədən dɪˈsɪʒən tɪ ˈrɪli lʊk ˈɪntu ʃwɔrts? ðə dru ə bɪg, fæt blæŋk əˈgɛnst. ðə timeline:oh*, ənd wən ˈəðər ki deɪt. ʤɪst ə ˈkəpəl wiks ˌbiˈfɔr ɔl əv ðɪs, ɔn dɪˈsɛmbər 27th*, 2010 ʃwɔrts hæd faɪld ə ˈɛˈfoʊˈaɪˈeɪ ˈsikɪŋ ˌɪnˌfɔrˈmeɪʃən kənˈsərnɪŋ ðə ˈtritmənt əv ˈbrædli ˈmænɪŋ. ɛz ɪz ˈnoʊtɪd ɪn ðə poʊsts lɪŋkt hir, ɪts nɑt æt ɔl ˈnɔrməl fər ðə ˈsikrɪt ˈsərvɪs tɪ weɪt soʊ lɔŋ tɪ gɪt ə wɪl seɪ ðət əm fɑr frəm kənˈvɪnst ðɛr wɑz ə fʊl kəˈnɛkʃən hir. ðɛr ɪz weɪ tu məʧ ˌspɛkjəˈleɪʃən ənd kənˈʤɛkʧər ənd ɪt ɪz kwaɪt ˈpɑsəbəl (ˈivɪn ˈprɑbəbəl) ðət ðə ˈtaɪmɪŋ ɪz ɔl ə koʊˈɪnsɪdəns. bət ðə ˈtaɪmɪŋ ɪz æt list wərθ ˈnoʊtɪŋ, sɪns ɪt simz ðət mɔr ənd mɔr ˌɪnˌfɔrˈmeɪʃən kips ˈkəmɪŋ aʊt əˈbaʊt ðɪs. faɪld ˈəndər: ˈɛrən ʃwɔrts, ˈsikrɪt ˈsərvɪs ˈkəmpəˌniz: ˈæməˌzɑn, ˈgugəl, ˈɪntərˌnɛt ˈɑrˌkaɪv,, ˈɛˈmaɪˈti, tˈwɪtər,
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