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as part of this year's gdc game design challenge, jason rohrer, the creator of the castle doctrine and sleep is death, revealed that he'd made and hidden a game in the hope that it wouldn't be played for thousands of years. the game, called a game for someone, was buried by rohrer somewhere in the nevada desert. of course, by the time it's unearthed we could all be enslaved by aliens, robots, mutants, even mice-spiders . who knows if we'll get breaks for gaming?
the challenge - a sort of gamejam for your head - asks participants to imagine a game around a particular theme. this year, the theme was was "humanity's last game". will wright, steve meretzky and harvey smith all took part, but it was rohrer's idea that won. presumably because it was both real and mad.
"i wanted to make a game that is not for right now, that i will never play and nobody now living would ever play," rohrer said.
the board game was created by programming the rules into a computer, and letting an ai find balance issues, then iterate upon them. this ensured that rohrer himself would also never play the final version. he then created 18 by 18 inch board, and pieces, from titanium, copied the rules to archival, acid free paper, sealed the pages inside a pyrex tube, then put the tube inside a titanium baton. he then buried it all somewhere in the desert.
in the hope it will found someday in the future, rohrer gave each session attendee an envelope containing multiple gps coordinates - over one million in total. rohrer estimates that if one person checked one location every day, it could take over 2,700 years before the game is discovered.
the coordinates were collected up by gdc volunteers for collation, in the hopes of discovering it a little earlier. if they get posted online, we'll probably have it within the week. arg players are nothing if not dedicated.
thanks, polygon .
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ðɪs ɪz nɑt ʤɪst əˈbaʊt ðə plaɪt əv ər wɛr ˈrɑbi ˈhɛnˌʃɔ pleɪz nɛkst ˈsizən. ðoʊz ˈɪʃuz ənd ðə ˌɪnˈkrisɪŋ ˌfaɪˈnænʃəl lʊr frəm ˈoʊvərˈsiz kləbz kənˈsərn ðə lɔŋ -tərm hɛlθ əv ˈaɪrɪʃ ˈrəgbi. nɑt ˈoʊnli ɪz ɪt taɪm tɪ hæv fɔr ˈikwəli ˈfəndɪd prəˈfɛʃənəl skwɑdz bət ə pleɪər ˈmuvɪŋ tɪ ðə prɛˈmɪrˌʃɪp ər tɔp 14 nid nɑt bi fɔrˈseɪkɪŋ hɪz ʧæns əv ˈwɛrɪŋ ðə grin ˈʤərzi ˌɛniˈmɔr. nɑt ɪf gʊd ɪˈnəf. ɔl əv ðɪs kən ənd ʃʊd bi tərnd ˈɪntu ən ædˈvæntɪʤ bɪˈkəz ˈklɪrər ðən ˈɛvər ɪz ðə nid tɪ ɪkˈspænd ɑr pleɪɪŋ beɪs. ðə ˈsɪstəm hæv tɪ bi revolutionised*, ɪt ʤɪst nidz tɪ ɪˈvɑlv æt ə kˈwɪkər reɪt. ðɛr ɪz ə laɪt ɔn ˈaʊtˈsaɪd əv ˈaɪərlənd. wɪn ə pleɪər ɪz drɔn təˈwɔrdz ðət laɪt ɪt nid nɑt ɪkˈstɪŋgwɪʃ hɪz ˌɪnərˈnæʃənɑl hæv strɔŋ ɪˈnəf pərˈdəkʃən laɪnz naʊ ðət əˈnəðər pleɪər kən fɪl ðə gæp æt ðə ˈprɑvənsəz. wət meɪd ˈjuˈɛs səʧ ə səkˈsɛsfəl ˈrəgbi ˈneɪʃən æt boʊθ ˌɪnərˈnæʃənɑl ənd ˌjʊrəˈpiən kləb ˈlɛvəl wɑz ɑr əˈbɪləˌti tɪ kip kənˈtroʊl əv pleɪərz ənd ˈðɛrˈbaɪ əˈvɔɪd ˈflɑgɪŋ ðɛm. baɪ biɪŋ sˈmɑrtər ənd lɛs kəˈmərʃəli ˈdrɪvən ðən ðə ˈwɛlθiər ənd mɔr ˈpɑpjəˌleɪtəd ˈneɪʃənz ðə kriˈeɪtɪd ə səˈsteɪnəbəl, ˈprɑfətəbəl ˈivɪn, ˈbɪznɪs ˈmɑdəl. bət ɪn ðɪs ˈbɪzi ˈpɪriəd əv ɔf fild ˈkɑnˌtrækt nɪˌgoʊʃiˈeɪʃənz, du wi nid tɪ lʊk æt ðə weɪ wi səˈlɛkt ˈaɪrɪʃ pleɪərz? ˈʤɑni ˈsɛkstən wɑz ə ˈrisənt ɪkˈsɛpʃən tɪ ən ənˈrɪtən rul ju liv, ju pleɪ fər ˈaɪərlənd ənd juˈnik skɪlz fɔrst ɪm ˈɪntu ðət ˈkætəˌgɔri θru θri wərld kəp ˈsaɪkəlz. pərˈhæps ðə taɪm həz kəm tɪ ɪnˈkərəʤ ˈsərtən pleɪərz, ʤɪst bɪˈloʊ ˈnæʃənəl tim səˈlɛkʃən, tɪ muv əˈbrɔd ənd geɪn ˈvæljəbəl ɪkˈspɪriəns ɪn ˈɪŋglənd ənd fræns, wɪˈθaʊt fɪr əv biɪŋ ˈɛkˌsaɪld. liv ðə dɔr əˈʤɑr fər ˈhænrəhæn ər ˈiən ˈmædɪgən, ʃʊd hi ˌdɪˈsaɪd tɪ liv, tɪ bi kæpt ɪf ðɛr fɔrm dɪˈmændz ɪt. ənd ˈiən kʊd pəˈtɛnʃəli bɪˈkəm pɪrz əv ˈʤɑni ˈrəðər ðən bæk əp ˈnəmbər tɛnz. seɪm goʊz fər ˈiən ˈkitli, ˈpædi ˈʤæksən ənd ˈivɪn kreɪg ənd ʤæk ˈkɑrti daʊn ɪn ˈgɑlweɪ. muvd əˈbrɔd wi hæv tɪ traɪ ˈsəmθɪŋ bɪˈkəz ɪf wi kənˈtɪnju tɪ fid ɔf ɑr ˈkɑrənt pleɪər beɪs wi wɪl bi lɛft ˈivɪn ˈfərðər bɪˈhaɪnd. fər ɪgˈzæmpəl, wərθ ˈkipɪŋ ən aɪ ɔn ˈʃɛrɪdən æt ɪn fræns. nɑt ðət aɪ θɪŋk wi wɪl si ə mæs ˈɛksədəs əv pleɪərz nɛkst ˈsəmər. wi sɔ læst jɪr ðət ˈdeɪvɪd həz brɔt nɪˌgoʊʃiˈeɪʃənz wɪθ sun tɪ bi aʊt əv ˈkɑnˌtrækt pleɪərz ˈɪntu ə doʊˈmeɪn (ˈwaɪzli wɪn ðə frɛnʧ ər ˈɔlsoʊ ˈsikɪŋ ˈsɪgnəʧərz). moʊst əv ðiz pleɪərz wɪl si ðə sɛns ənd ˈvælju, wɪʧ ɪz nɑt ˈɔlˌweɪz ˈmɑnəˌtɛri, əv steɪɪŋ ɪn ˈaɪərlənd. ðə wɔnt ðə bɛst pleɪərz tɪ rɪˈmeɪn bət ðeɪ ər smɑrt ˈbɪznɪsˌmɛn hu straɪk hɑrd ˈbɑrgɪnz. əˈbaʊt ˈfaɪndɪŋ ə ˈrizənəbəl ˈmɑrkɪt ˈvælju. ðə wik ˈjʊrə həz ɪˈroʊdɪd ə lɔt əv ðə kəmˈpærətɪv ædˈvæntɪʤ ðət wi hæd frəm ðə tæks ˌɪnˈsɛnɪv, wɪʧ meɪks ɪt ˈhɑrdər ðən ˈɛvər tɪ kəmˈpit. ðə 25 tɪ 28-year-old*, hu ɪz ˈrɛgjələrli ˈgɪtɪŋ kæpt, ɪz ðə ˈɑbviəs flaɪt rɪsk. bɪˈkəz ðeɪ noʊ ðɛr taɪm ɪz naʊ. bət ðə dil ˈɔlˌmoʊst ˈɔlˌweɪz simz tɪ gɪt dən æt ðə 11 aʊər ˈjuʒəwəli bɪˈkəz ˈɛvriˌbɑdi wɔnts ðə seɪm θɪŋ; ə səkˈsɛsfəl ˈaɪərlənd tim. ə nu ˈbæləns nidz tɪ bi strək. əv kɔrs ˈvaɪtəl tɪ kip ðə ɪˈlit ˈnæʃənəli ˈkɑntræktəd pleɪərz wɪθ ðə ˈprɑvənsəz. ˈdʊrɪŋ ˈɛdi taɪm ɛz ˈaɪərlənd koʊʧ ðə ˈkɑrənt ˈsɪstəm kʊd əˈfɔrd tɪ bi ɪn pleɪs ɛz ðɛr wɑz ˈoʊnli 25 ər soʊ pleɪərz hu wər ˈkeɪpəbəl əv pleɪɪŋ fər ˈaɪərlənd. ˌbiˈsaɪdz ˈmərfi ənd ˈsaɪmən easterby*, ɔl əv ðɛm wər wɪθ ðə ˈprɑvənsəz. ˈsɛkənd ˈkæptənz bət naʊ wi nid tɪ bi ˈpɪkɪŋ frəm ə pul əv 100 pləs pleɪərz. əˈbaʊt ðə ˈnəmbər əv prɛˈmɪrˌʃɪp pleɪərz, ɔl əv ə ˈsɪmələr ˈstændərd, frəm wɪʧ ˈɛdi ʤoʊnz kən pɪk hɪz fərst ˈɪŋglənd skwɑd. ˈɔlsoʊ, wɪθ ðə ˈʃɪftɪŋ soʊ ˈrædɪkli æt ˌjʊrəˈpiən kləb ˈlɛvəl, kən wi ˈrɪli əˈfɔrd tɪ hæv wən ˈprɑvɪns aʊt əv sɪŋk, resource-wise*, frəm ðə ˈəðər θri? ˈɑbviəsli (ˈmənstər ənd ˈəlstər tu) bi ˈpənɪʃt fər prəˈdusɪŋ ðə ʃɛr əv ˈtælənt bət, ðɪs ˈsizən əˈloʊn, hæv ərnd ðə raɪt tɪ bi ˈgrænɪd ən ˈikwəl sprɛd əv ˈrisɔrsɪz. bɪˈkəz soʊ fɑr, dɪˈspaɪt wən hænd biɪŋ taɪd bɪˈhaɪnd ðɛr bæk, ðeɪ ər əˈʧivɪŋ weɪ bɪɔnd ðə ˌɛkspɛkˈteɪʃənz əv ˈɛni ˈəðər ˈaɪrɪʃ ˈprɑvɪns. ɪf ðə ˈprɑvənsəz ər tɪ kəmˈpit, ˈnɛvər maɪnd wɪn ðə ˈʧæmpiənz kəp bət rɪˈmeɪn kəmˈpɛtɪtɪv æt ˌjʊrəˈpiən ˈlɛvəl, ðɛr nidz tɪ bi ˌɪnˈkrist fluˈɪdəti bɪtˈwin ðə ˈprɑvənsəz ˈrəðər ðən ˈəðər ˈprɑvənsəz ˈstrɪpɪŋ əv ðɛr moʊst praɪzd ˈæˌsɛts. suˈpɪriər ˈrisɔrsɪz ˈnɛvər maɪnd ˈfɛrnəs. ˈtɔkɪŋ əˈbaʊt ðə ˈlɔŋˈtərm səkˈsɛs əv ˈaɪrɪʃ ˈrəgbi ənd naʊ, ɛz aɪ si ɪt mɔr ðən ˈɛvər, fɔr ˈstrɔŋli ˈfəndɪd ˈprɑvənsəz əv ˈikwəl ˈstæʧər ər ˈnidɪd. ðɪs brɪŋz ˈjuˈɛs tɪ ˈhɛnˌʃɔ. ɪz hɪz prəˈpoʊzd muv əˈweɪ frəm ðə bɛst θɪŋ fər ɪm ənd fər ˈaɪərlənd? ˈiðər weɪ, ɪt wɪl bi əˈnəðər ˈhɛvi dɛnt ɪn ðə ˈkɑnfədɛns əv ən ˌɔrgənɪˈzeɪʃən ðət ɪz soʊ ˌɪmˈprɛsɪvli ˈstraɪvɪŋ tɪ groʊ. ˈɛvriˌwən sɔ pərˈfɔrməns əˈgɛnst fræns ɪn ˈkɑrdɪf ənd ˈmɛni wʊd hæv tund ɪn læst ˈwiˌkɪnd fər ˈətərli dɪˈzərvd fərst ˈvɪktəri æt pɑrk sɪns 1986 (ˈsɛvən jɪrz ˌbiˈfɔr ˈrɑbi wɑz bɔrn). nɑt ˈivɪn ðət ˈrɔŋli əˈwɔrdɪd ˈpɛnəlti traɪ kʊd dɪˈnaɪ ðɛm (ˈkirən ˈmɑrmiən wɑz kloʊz ɪˈnəf fər ˈændru ˈkɑnˌweɪ nɑt bi ˈsərtən əv ˈmeɪkɪŋ ðə laɪn ɪt wɑz ə bæd dɪˈsɪʒən baɪ ðə əˈfɪʃəlz). aɪ rɪˈmɛmbər ˈɛdi ˈtɛlɪŋ mi waɪ hi ˈpɪkɪŋ mi fər ðə 2003 wərld kəp. ɪn moʊst geɪmz aɪ dɪd ˈsɛvən, eɪt ˈrɪli gʊd θɪŋz, ˈɛdi sɛd, ənd tu ər θri əv ðɛm nɑt ˈmɛni ˈəðər pleɪərz kʊd du. aɪ hæd ən ɛks ˈfæktər, hi sɛd, bət ˈɛvəri geɪm aɪ ˈɔlsoʊ meɪd əˈbaʊt θri ər fɔr mɪˈsteɪks, wən əv wɪʧ ˈtɛndɪd tɪ bi ə ˈhaʊlər ðət kʊd liv ˈjuˈɛs ˈəndər ɑr poʊsts. aɪ nu ðɪs ənd hæd bɪn ˈwərkɪŋ ɔn ˈbrɪŋɪŋ ə ˈgreɪtər kənˈsɪstənsi tɪ maɪ geɪm fər ˈɔlˌmoʊst tu jɪrz. ˈɛniˌweɪ, aɪ ræn aʊt əv taɪm. ˌtaɪˈroʊn haʊ wɑz səˈlɛktɪd ɪn maɪ stɛd. baɪ ðə 2004 ˈsizən aɪ aɪərnd aʊt ðə ˈɑbviəs ˈkrisɪz ɪn maɪ geɪm, hæd swɪʧt tɪ ˈsɛntər ənd ˈstɑrtɪd pleɪɪŋ ˈrɛgjələrli fər ˈaɪərlənd. aɪ wɑz 24 ˈrɑbi ɪz stɪl ˈoʊnli 22 bət həz bɪn ðət kənˈsɪstənt taɪp əv pleɪər fər ˈɔlˌmoʊst tu jɪrz. ənd ˈbɪgər ənd ˈstrɔŋgər. wi kʊd si hɪz ˌɪnˈtɛləʤəns, ðə ˈrəgbi ˈɪnəˌlɛkt, wɪn hi ˈʃædoʊd braɪən ənd aɪ ɪn ˈaɪərlənd kæmp bæk ɪn noʊˈvɛmbər 2013 ənd ðɛr ɪz ən ɛks ˈfæktər. bət wət meɪks ˈrɑbi soʊ gʊd ɪz wət hi dɪz wɪn ˈnəθɪŋ ɔn. ˈəndər ˈsɪriəs ˈprɛʃər hi ˈpænɪk, hi ʤɪst ˈkɛriz wɛl, gɪts ˈoʊvər ðə ənd prəˈvaɪdz kwɪk bɔl fər hɪz scrumhalf*. hɪz bɛst pəˈzɪʃən? aɪ θɪŋk ðət bɪg ə dil raɪt naʊ. ðɛr ɪz noʊ ˈrizən waɪ hi bɪˈkəm ˈvərʒən əv bɛn smɪθ. noʊ ˈrizən waɪ hi ˈɔltərˌneɪt bɪtˈwin 12 13 ənd 15 laɪk smɪθ, ˈrɪli ə raɪt ˈwɪŋər, dɪd fər nu ˈzilənd ˌbiˈfɔr bɪˈkəmɪŋ ðə ˌaʊtˈstændɪŋ ˈfʊlˌbæk æt ðə wərld kəp. prəˈpoʊzd muv tɪ ˈdəblɪn wɪl ənˈdaʊtɪdli ˈfərðər æmˈbɪʃənz əv ˈwɪnɪŋ mɔr sɪks ˈneɪʃənz ˈtaɪtəlz. ɪf hi rɪˈmeɪnz æt 12 fər ˈaɪərlənd ɪt meɪks sɛns tɪ hæv ɪm pleɪɪŋ moʊst wiks wɪθ ˈʤɑni ˈsɛkstən. ɪˈvɛnʧəwəli hi meɪ ɛnd əp æt 13 ɛz ˈʤɛrɪd lɔŋ tərm səkˈsɛsər, wɪθ luk fɪtsˈʤɛrəld æt 12 wɪʧ ˈfərðər ˈpʊʃɪz keɪs. stɔrt məˈklɔski ənd ˈʃɛrɪdən ʃʊd ˈɔlsoʊ kəm ˈɪntu ðə ˈrɛkənɪŋ, ɪn taɪm, ɛz paʊər fər ˈaɪərlənd. kiθ ərlz ɪz, ɪn maɪ əˈpɪnjən, ə ˈbɛtər fɪt ɪn ðə bæk θri waɪl ˈɑki ɪz nɑt kˈwɑləˌfaɪd ˈəndər ˈrɛzɪdənsi jɛt. baɪ ˈlʊkɪŋ æt ɔl ðə ˈɔpʃənz, æt hoʊm ənd əˈbrɔd, ˈaɪərlənd hæv ə ˈwaɪdər pleɪɪŋ beɪs. ˈsɪmpəl ˈlɑʤɪk. haɪ ˈfildɪŋ naʊ læm həz ðə ˈɔpʃən əv tu out-and*- aʊt æt 10 12 ɪn ənd kreɪg wɪθ ʤæk ˈkɑrti tɪ kəm ɪn. laɪk ˈstændər ə rɪˈpleɪsmənt fər ˈpitər kəm ðə sɪks ˈneɪʃənz wɪθ iˈeɪn ˈhɛndərsən ˈsimɪŋli sɛt fər ə lɔŋ stɪnt æt lɑk ˈhɛnˌʃɔ meɪd əˈbaʊt sɪks pleɪz ɪn əˈtæk ənd dɪˈfɛns ðət wər ˈflɔləs. ðə ˈɑrgjəmənt ðət hi wɪl ˌɪmˈpruv ɛz ə pleɪər wɪθ ər ˈmənstər ˈrɪli stæk əp æt ðə ˈmoʊmənt ɛz ˈklɪrli groʊɪŋ æt ə ˈræpɪd peɪs rəˈgɑrdləs. ər pleɪɪŋ ˈklɛvər, ˈklɪrli well-coached*, ˈrəgbi æt ðə ˈmoʊmənt. ðə ˌɪmˈpækt əv tu nu ˈziləndərz, ˈɑnˌdreɪ bɛl ənd deɪv ˈɛlɪs, ɪz klɪr tɪ si. boʊθ ər ˈhaɪli rɪˈgɑrdɪd baɪ ʤoʊ ʃmɪt. ðət kʊd hæv ˈoʊnli hɛlpt ɪn ðɛr rɪˈkrutmənt. ɪt wɑz klɪr ðət ðiz ˈɪnəˌveɪtɪv ˈkoʊʧɪz kɛpt səm muvz əˈspɛʃəli fər ðə trɪp tɪ ˈlɪmərɪk. ɔn eɪt ˈmɪnəts, ɔf ə ˈrɪli ˈsɑləd scrum*, ˈtɪrnən keɪm ɔf hɪz wɪŋ ənd broʊk ðə. ðɛn ˈɑki dɪd ðə seɪm. ˈkirən ˈmɑrmiən hu həz ˈklɪrli ˌɪmˈpruvd hɪz ˈpæsɪŋ ənd bɑks ˈkɪkɪŋ, ˈeɪdɪd baɪ taɪm spɛnt ɪn ˈaɪərlənd kæmp ʃeɪpt tɪ goʊ lɛft bət siɪŋ ðə ˈmənstər dɪˈfɛnsɪv ˈpɪlərz hæd hi pɪkt ə ˈdɪfəkəlt pæs tɪ ðə sˈwɪʧɪŋ rən əv. ɪt wɑz ðə seɪm əˈtæk wi sɔ wɪn ˈbərnərd ˈfoʊli ənd bil kəmˈbaɪnd tɪ breɪk ˈɪŋglənd æt twickenham*. ʤɪst ˈlækɪŋ ˌɛksəˈkjuʃən ənd kəmˈpoʊʒər. wɪl lərn frəm ðət. ɪf hi hæd ˈteɪkən ˈkɑnˌtækt, ˌɪnˈstɛd əv ə waɪld tɪ dillane*, wʊd hæv skɔrd frəm ðə nɛkst feɪz. ðɛr wər ˈsɛvərəl mɔr ˈmaɪˌkroʊ pleɪz ɪn wɪn ə ˈfɔrwərd pɑd geɪv ðə bɔl aʊt ðə bæk tɪ ər ər mæt ˈhili ˈlupɪŋ əraʊnd. aɪ hæd tɪ lʊk bæk tɪ si wɛr ðə speɪs keɪm frəm fər leɪt traɪ ɛz wər daʊn ˈnəmbərz. wɪn ˈʤɑni məlˈdun pɪks ənd goʊz ɔn tu ˈmənstər pleɪərz kənˈdɛns ˈɪntu ðə rək. ðət brɔt ˈsɛvərəl rɛd ˈʤərziz ɪn ə stɛp ər tu, kriˈeɪtɪŋ speɪs ɪn bɪtˈwin dɪˈfɛndərz ˈfərðər aʊt. ˈhɛnˌʃɔ stɪl dɪd ˈbrɪljəntli tɪ bit ərlz ɔn ðə ˌɪnˈsaɪd, teɪk ðə nɛkst ˈtækəl ənd (ˈbreɪkɪŋ hɪz hænd ɪn ðə ˈprɔˌsɛs). ˈiən ˈkitli ˈpʊʃɪz ˈɑki. maɪk fɔrd, bæk wɪn hi wɑz dɪˈfɛns koʊʧ, juzd tɪ ˈɔlˌweɪz seɪ ju hɪt ɔn səˈspɪʃən ənd dil wɪθ ðə ˈkɑnsəkˌwɛnsəz. ju pʊʃ ɔn səˈspɪʃən. səˈpɔrt ˈstrəkʧərz nɑt ðət nidz tɪ bi pʊt æt ə ˌdɪsədˈvænɪʤ tɪ groʊ. ðə skulz ˈsɪstəm əˈloʊn kʊd səˈplaɪ hæf ðɛr əˈkædəmi wɪˈθaʊt ˌɪmˈpæktɪŋ ɔn ɪts oʊn səˈplaɪ laɪn. ðɛr ɪz ɪˈnəf ˈtælənt tɪ goʊ əraʊnd. ðɪs ɪz ɔˈrɛdi ˈhæpənɪŋ ʤɪst ɪn ə lɛs ˈfɔrməl ˈmænər. du tɪ ðə ˈbæˌklɔg æt, nɪk ˈtɪməni həz gɔn əp tɪ ˈəlstər wɪθ ˈɑlɪvər daʊn ɪn ˈmənstər. hæv ˈteɪkən ˈrisənt pleɪərz frəm sɪˈstərʃən ˈkɑlɪʤ ˈɪntu ðɛr ˈsɪstəm bət ðeɪ kʊd lʊk əˈkrɔs ðə ɪnˈtaɪər skulz ˈsɪstəm. ðə nu ˈzilənd ˈstrəkʧərz ʃɪft ˈbɑdiz əraʊnd ðə ˈsupər ˈrəgbi ənd prəˈvɪnʃəl skwɑdz tɪ ɪnˈʃʊr ɪkˈspoʊʒər tɪ fərst ˈrəgbi. dæn ˈlivi ənd ʤɑʃ væn dər flaɪər ər naʊ ʃoʊɪŋ ðɛr wərθ ɛz ˈæftər ˈsɛvərəl ˈsizənz ɪn ðə əˈkædəmi. ɪn wən əv ðɛm kʊd hæv bɪn ən ɪˈstæblɪʃt fərst tim prəˈfɛʃənəl baɪ naʊ. naʊ ju meɪk ˈsəmˌbɑdi muv bət ju kən ʧeɪnʤ ðə ˈkəlʧər. bət ɪf kənˈtɪnju tɪ ˈprɑˌgrɛs ðə ˈstɪgmə əv goʊɪŋ wɛst wɪl ˈdɪsəˌpeɪt ənd mɔr ˌɪntərˈnæʃənəlz wɪl kəm frəm ðɛr skwɑd. ˈɔlsoʊ waɪ mɔr ˈaɪrɪʃ pleɪərz kʊd kɑrv aʊt ə kləb kərɪr ɪn ˈɪŋglənd ər fræns ɪf ˌɑpərˈtunətiz ər ˈlækɪŋ ɪn ðɛr pəˈzɪʃən æt hoʊm. ɔl ðə waɪl noʊɪŋ ɪt ɪz nɑt kərɪr ˈsuɪˌsaɪd. baɪ duɪŋ ɔl əv ðɪs wi, ɛz ə ˈrəgbi ˈneɪʃən, kən groʊ nɑt æt ə ˈfæstər reɪt bət æt ðə ˈnɛsəˌsɛri reɪt tɪ rɪˈmeɪn ə kəmˈpɛtɪtɪv ˈɛntɪti. ənd ɪt kən bi dən. ə fju jɪrz əˈgoʊ sin ɛz ˌfaɪˈnænʃəli ˈvaɪəbəl, nɔr wɑz ə ˈsɛvənz ˈproʊˌgræm dimd ˈpɑsəbəl. ʧeɪnʤ nid tɪ bi ˈfɑstərd əˈpɑn ˈjuˈɛs, wi kən bi ˌproʊˈæktɪv ɪn kənˈtroʊlɪŋ ɑr oʊn ˈdɛstəni. ɛz wi hæv sin əˈkrɔs ˈaɪərlənd ɪn ˈrisənt jɪrz, riˈsɛʃəˌnɛri taɪmz kən ˈɔlsoʊ bi ə ˈpɪriəd əv rɪˈmɑrkəbəl ˌkrieɪˈtɪvəti.
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this is not just about the plight of connacht or where robbie henshaw plays next season. those issues and the increasing financial lure from overseas clubs concern the long -term health of irish rugby.
not only is it time to have four equally funded professional squads but a player moving to the premiership or top 14 need not be forsaking his chance of wearing the green jersey anymore.
not if he’s good enough.
all of this can and should be turned into an advantage because what’s clearer than ever is the need to expand our playing base.
the irfu system doesn’t have to be revolutionised, it just needs to evolve at a quicker rate. there is a light on outside of ireland. when a player is drawn towards that light it need not extinguish his international career.we have strong enough production lines now that another player can fill the gap at the provinces.
what made us such a successful rugby nation at both international and european club level was our ability to keep control of players and thereby avoid flogging them. by being smarter and less commercially driven than the wealthier and more populated nations the irfu created a sustainable, profitable even, business model.
but in this busy period of off field contract negotiations, do we need to look at the way we select irish players?
johnny sexton was a recent exception to an unwritten rule you leave, you don’t play for ireland and geordan murphy’s unique skills forced him into that category through three world cup cycles.
perhaps the time has come to encourage certain players, just below national team selection, to move abroad and gain valuable experience in england and france, without fear of being exiled.
leave the door ajar for jj hanrahan or ian madigan, should he decide to leave leinster, to be capped if their form demands it. jj and ian could potentially become peers of johnny rather than back up number tens. same goes for ian keatley, paddy jackson and even craig ronaldson and jack carty down in galway.
moved abroad
we have to try something because if we continue to feed off our current player base we will be left even further behind. for example, worth keeping an eye on eamonn sheridan at oyonnax in france.
not that i think we will see a mass exodus of players next summer. we saw last year that david nucifora has brought negotiations with soon to be out of contract players into a pre-christmas domain (wisely when the french are also seeking signatures).
most of these players will see the sense and value, which is not always monetary, of staying in ireland. the irfu want the best players to remain but they are smart businessmen who strike hard bargains.
it’s about finding a reasonable market value. the weak euro has eroded a lot of the comparative advantage that we had from the tax incentive, which makes it harder than ever to compete.
the 25- to 28-year-old, who is regularly getting capped, is the obvious flight risk. because they know their time is now. but the deal almost always seems to get done at the 11 hour usually because everybody wants the same thing; a successful ireland team.
a new balance needs to be struck.
of course vital to keep the elite 20-25 nationally contracted players with the provinces. during eddie o’sullivan’s time as ireland coach the current system could afford to be in place as there was only 25 or so players who were capable of playing for ireland. besides geordan murphy and simon easterby, all of them were with the provinces.
second captains
but now we need to be picking from a pool of 100 plus players. that’s about the number of premiership players, all of a similar standard, from which eddie jones can pick his first england squad.
also, with the goalposts shifting so radically at european club level, can we really afford to have one province out of sync, resource-wise, from the other three? obviously leinster (munster and ulster too) shouldn’t be punished for producing the lion’s share of talent but connacht, this season alone, have earned the right to be granted an equal spread of resources.
because so far, despite one hand being tied behind their back, they are achieving way beyond the expectations of any other irish province.
if the provinces are to compete, never mind win the champions cup but remain competitive at european level, there needs to be increased fluidity between the provinces rather than other provinces stripping connacht of their most prized assets.
superior resources
never mind fairness. i’m talking about the long-term success of irish rugby and now, as i see it more than ever, four strongly funded provinces of equal stature are needed.
this brings us to henshaw. is his proposed move away from connacht the best thing for him and for ireland? either way, it will be another heavy dent in the confidence of an organisation that is so impressively striving to grow.
everyone saw robbie’s performance against france in cardiff and many would have tuned in last weekend for connacht’s utterly deserved first victory at thomond park since 1986 (seven years before robbie was born).
not even that wrongly awarded penalty try could deny them (kieran marmion was close enough for andrew conway not be certain of making the line it was a bad decision by the officials).
i remember eddie o’sullivan telling me why he wasn’t picking me for the 2003 world cup. in most games i did seven, eight really good things, eddie said, and two or three of them not many other players could do. i had an x factor, he said, but every game i also made about three or four mistakes, one of which tended to be a howler that could leave us under our posts. i knew this and had been working on bringing a greater consistency to my game for almost two years. anyway, i ran out of time. tyrone howe was selected in my stead.
by the 2004 season i ironed out the obvious creases in my game, had switched to centre and started playing regularly for ireland. i was 24. robbie is still only 22 but has been that consistent type of player for almost two years. and he’s bigger and stronger.
we could see his intelligence, the rugby intellect, when he shadowed brian and i in ireland camp back in november 2013. and there is an x factor.
but what makes robbie so good is what he does when there’s nothing on. under serious pressure he doesn’t panic, he just carries well, gets over the gainline and provides quick ball for his scrumhalf.
what’s his best position? i don’t think that big a deal right now. there is no reason why he can’t become ireland’s version of ben smith. no reason why he can’t alternate between 12, 13 and 15 like smith, really a right winger, did for new zealand before becoming the outstanding fullback at the world cup.
robbie’s proposed move to dublin will undoubtedly further ambitions of winning more six nations titles.
if he remains at 12 for ireland it makes sense to have him playing most weeks with johnny sexton. eventually he may end up at 13 as jared payne’s long term successor, with luke fitzgerald at 12, which further pushes leinster’s case. stuart mccloskey and eamonn sheridan should also come into the reckoning, in time, as power 12s for ireland. keith earls is, in my opinion, a better fit in the back three while bundee aki is not qualified under residency yet.
by looking at all the options, at home and abroad, ireland have a wider playing base. simple logic.
high fielding
now lam has the option of two out-and- out playmakers at 10, 12 in aj macginty and craig ronaldson with jack carty to come in. like cj stander a ready-made replacement for peter o’mahony come the six nations with iain henderson seemingly set for a long stint at lock henshaw made about six plays in attack and defence that were flawless.
the argument that he will improve as a player with leinster or munster doesn’t really stack up at the moment as he’s clearly growing at a rapid pace regardless.
connacht are playing clever, clearly well-coached, rugby at the moment. the impact of two new zealanders, andre bell and dave ellis, is clear to see. both are highly regarded by joe schmidt. that could have only helped in their recruitment. it was clear that these innovative coaches kept some moves especially for the trip to limerick.
on eight minutes, off a really solid scrum, tiernan o’halloran came off his wing and broke the gainline. then bundee aki did the same.
kieran marmion who has clearly improved his passing and box kicking, aided by time spent in ireland camp shaped to go left but seeing the munster defensive pillars had overfolded he picked a difficult pass to the switching run of aj macginty.
it was the same attack we saw when australia’s bernard foley and kurtley beale combined to break england at twickenham. just lacking execution and composure. macginty will learn from that. if he had taken contact, instead of a wild offload to ultan dillane, connacht would have scored from the next phase.
there were several more micro plays in midfield when a forward pod gave the ball out the back to ronaldson or o’halloran or matt healy looping around.
i had to look back to see where the space came from for aki’s late try as connacht were down numbers. when johnny muldoon picks and goes on 76.45 two munster players condense into the ruck. that brought several red jerseys in a step or two, creating space in between defenders further out.
henshaw still did brilliantly to beat earls on the inside, take the next tackle and offload (breaking his hand in the process). ian keatley pushes aki. mike ford, back when he was ireland’s defence coach, used to always say you hit on suspicion and deal with the consequences. you don’t push on suspicion.
support structures
not that leinster needs to be put at a disadvantage to grow connacht.
the leinster schools system alone could supply half their academy without impacting on its own supply line. there is enough talent to go around.
this is already happening just in a less formal manner. due to the backrow backlog at leinster, nick timoney has gone up to ulster with conor oliver down in munster. connacht have taken recent players from cistercian college roscrea into their system but they could look across the entire schools system.
the new zealand structures shift bodies around the super rugby and provincial squads to ensure exposure to first xv rugby. dan leavy and josh van der flier are now showing their worth as leinster flankers after several seasons in the academy. in connacht one of them could have been an established first team professional by now.
now you can’t make somebody move but you can change the culture. but if connacht continue to progress the stigma of going west will dissipate and more internationals will come from their squad.
that’s also why more irish players could carve out a club career in england or france if opportunities are lacking in their position at home. all the while knowing it is not career suicide. by doing all of this we, as a rugby nation, can grow not at a faster rate but at the necessary rate to remain a competitive entity.
and it can be done. a few years ago connacht weren’t seen as financially viable, nor was a sevens programme deemed possible. change doesn’t need to be fostered upon us, we can be proactive in controlling our own destiny.
as we have seen across ireland in recent years, recessionary times can also be a period of remarkable creativity.
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ðə ˈlɛvəlz əv ˈpɑrtɪkəlz əˈkjumjəˌleɪtɪŋ ɪn ðə æˈnɑrtɪk ər məʧ wərs ðən ɪkˈspɛktɪd, ə tim əv ˈɛkspərts həz wɔrnd. ðə ˈkɑntənənt ɪz kənˈsɪdərd tɪ bi ə ˈprɪstin ˈwɪldərnəs kəmˈpɛrd tɪ ˈəðər ˈriʤənz ənd wɑz θɔt tɪ bi ˈrɛlətɪvli fri frəm ˈplæstɪk pəˈluʃən. ˌhaʊˈɛvər nu ˈfaɪndɪŋz baɪ ˈsaɪəntɪsts frəm ˌjunəˈvərsəti əv həl ənd ˈbrɪtɪʃ æˈnɑrtɪk ˈsərˌveɪ (bas*) hæv rɪˈvild ðət rɪˈkɔrdɪd ˈlɛvəlz əv ər faɪv taɪmz haɪər ðən ju wʊd ɪkˈspɛkt tɪ faɪnd frəm ˈloʊkəl ˈsɔrsəz səʧ ɛz ˈrisərʧ ˈsteɪʃənz ənd ʃɪps. ər ˈpɑrtɪkəlz lɛs ðən ɪn daɪˈæmətər ənd ər ˈprɛzənt ɪn ˈmɛni ˈɛvriˈdeɪ ˈaɪtəmz səʧ ˈtuθˌpeɪst, ʃæmˈpu, ʃaʊər ʤɛlz ənd ˈkloʊðɪŋ. ðeɪ kən ˈɔlsoʊ rɪˈzəlt frəm ðə ˈbreɪkˌdaʊn əv ˈplæstɪk ˈoʊʃən dəˈbri. ðə rɪˈzəlts, ˈpəblɪʃt ɪn ðə ˈʤərnəl saɪəns əv ðə ˈtoʊtəl ɪnˈvaɪrənmənt, hæv reɪzd ðə ˌpɑsəˈbɪləˌti ðət ˈplæstɪk ərˈɪʤəˌneɪtɪŋ frəm ˈaʊtˈsaɪd ðə ˈriʤən meɪ bi ˈgɪtɪŋ əˈkrɔs ðə æˈnɑrtɪk ˈkɑrənt, hɪˈstɔrɪkəli θɔt tɪ bi ˈɔlˌmoʊst ˌɪmˈpɛnətrəbəl. lɛd ˈɔθər ˈdɑktər ˈkæθərɪn ˈwɔlər, ən ˈɛkspərt ɪn ɪˈkɑləʤi ənd mərˈin baɪˈɑləʤi æt ˌjunəˈvərsəti əv həl, sɪz: ɪz θɔt tɪ bi ə ˈhaɪli ˈaɪsəˌleɪtɪd, ˈprɪstin ˈwɪldərnəs. ðə ˈikoʊˌsɪstəm ɪz ˈvɛri ˈfræʤəl wɪθ weɪlz, silz ənd ˈpɛŋgwənz kənˈsumɪŋ krɪl ənd ˈəðər ɛz ə ˈmeɪʤər kəmˈpoʊnənt əv ðɛr daɪət. ˈrisərʧ ˈhaɪˌlaɪts ðə ˈərʤənt nid fər ə ˈɛfərt tɪ ˈmɑnətər ənd əˈsɛs ðə ˈlɛvəlz əv əraʊnd ðə æˈnɑrtɪk ˈkɑntənənt ənd ˈsəðərn ocean.”*.” ðə ˈsəðərn ˈoʊʃən ˈkəvərz əˈprɑksəmətli ˈmɪljən skwɛr maɪəlz ənd ˌrɛprɪˈzɛnts əv ðə ˈoʊʃənz. ðə ˈriʤən ɪz ˈəndər ˌɪnˈkrisɪŋ θrɛt frəm ˈfɪʃɪŋ, pəˈluʃən ənd ðə ˌɪntrəˈdəkʃən əv ˈnɑˈneɪtɪv ˈspiʃiz, waɪl ˈklaɪmɪt ʧeɪnʤ ɪz ˈlidɪŋ tɪ ˈraɪzɪŋ si ˈtɛmpərəʧərz ənd ˈoʊʃən əˌsɪdəfəˈkeɪʃən. kənˈsərn ɪz groʊɪŋ əˈbaʊt pəˈluʃən frəm ˈfloʊtɪŋ ˈplæstɪk dəˈbri, wɪʧ kən bi bɪˈkəm ɛnˈtæŋgəld wɪθ ər ˌɪnˈʤɛstəd baɪ ˈwaɪlˌdlaɪf. ˈɛnər ðə ˈoʊʃənz ˈviə ˈweɪstˌwɔtər ənd θru ðə ˈbreɪkˌdaʊn əv ˈplæstɪk dəˈbri ənd hæv bɪn ʃoʊn tɪ bi pərˈsɪstənt ɪn ˈsərfəs ənd dip ˈoʊʃən ˈwɔtərz ənd ɪn dip si ˈsɛdəmənts. tɛsts hæv ʃoʊn ðət ə ˈsɪŋgəl ˌpɑˌliˈɛstər flis ˈʤækɪt kən riˈlis mɔr ðən pər wɑʃ, waɪl əraʊnd hæf əv dɪˈskɑrdɪd ˈplæstɪks ər bɔɪənt ɪn ˈsiˌwɔtər ənd meɪ bi ˈsəbʤɪkt tɪ ˌdɛgrəˈdeɪʃən baɪ ˌəltrəˈvaɪəlɪt ˌreɪdiˈeɪʃən ənd ˌdikəmpəˈzɪʃən. mɔr ðən hæf əv ðə ˈrisərʧ ˈsteɪʃənz ɪn ðə æˈnɑrtɪk hæv noʊ ˈweɪstˌwɔtər ˈtritmənt ˈsɪstəmz, ðə ˈrisərʧ rɪˈpɔrts. ˈɛstəˌmeɪtɪd ðət əp tɪ əv ˈpɑrtɪkəlz frəm ˈpərsɪnəl kɛr ˈprɑdəkts ənd əp tɪ ˈbɪljən ˈkloʊðɪŋ ˈɛnər ðə ˈsəðərn ˈoʊʃən pər ˈdɛkeɪd ɛz ə rɪˈzəlt əv ˈtʊˌrɪzəm, ˈfɪʃɪŋ ənd ˌsaɪənˈtɪfɪk ˈrisərʧ ækˈtɪvɪtiz. waɪl ðɪs ɪz ˈnɛglɪʤəbəl æt ðə skeɪl əv ðə ˈsəðərn ˈoʊʃən, ðə ˈrisərʧərz seɪ ɪt meɪ bi sɪgˈnɪfɪkənt æt ə ˈloʊkəl skeɪl. ˈdɑktər ˈgrɪfɪθs, ə mərˈin wɪθ ˈbrɪtɪʃ æˈnɑrtɪk ˈsərˌveɪ, sɪz: ˌəndərˈstændɪŋ əv ðə ˈsɔrsəz ənd feɪt əv ˈplæstɪks ɪn ðiz ˈwɔtərz ɪz ˈlɪmɪtɪd æt bɛst. ˈgɪvɪn ðə loʊ ˈnəmbərz əv ˈpipəl ˈprɛzənt ɪn ˌæˈnɑrtɪkə, dɪˈrɛkt ˈɪnˌpʊt əv frəm ˈweɪstˌwɔtər ɪz ˈlaɪkli tɪ bi bɪˈloʊ dɪˈtɛktəbəl ˈlɪmɪts æt ə ˈsəðərn ˈoʊʃən skeɪl. ““however*, ˈʤɛnərˌeɪtɪd frəm ˌdɛgrəˈdeɪʃən əv ˈlɑrʤər ˈpisɪz əv ˈplæstɪk ər ˈtrænsfərd ˈɪntu ðə ˈsəðərn ˈoʊʃən əˈkrɔs ðə ˈpoʊlər frənt meɪ bi ə ˈmeɪʤər kənˈtrɪbjətər tɪ ðə haɪ ˈlɛvəlz əv rɪˈkɔrdɪd æt səm ˈoʊpən ˈoʊʃən saɪts. baɪˈɑləʤɪst ˈdɑktər klɛr waluda*, ə æt ˈbrɪtɪʃ æˈnɑrtɪk ˈsərˌveɪ, sɪz: hæv ˈmɑnətərd ðə ˈprɛzəns əv lɑrʤ ˈplæstɪk ˈaɪtəmz ɪn ˌæˈnɑrtɪkə fər ˈoʊvər 30 jɪrz. waɪl wi noʊ ðət ˈbɪgər ˈpisɪz əv ˈplæstɪk kən bi ˌɪnˈʤɛstəd baɪ ər kɔz ɪnˈtæŋgəlmənts ɪn silz, ðə ˈifɛkts əv ɔn mərˈin ˈænəməlz ɪn ðə ˈsəðərn ˈoʊʃən ər ɛz jɛt unknown”*”. ˈpeɪpər ˌrɛprɪˈzɛnts ən ˈɛksələnt fərst stɛp təˈwɔrdz ˈrɛkəgˌnaɪzɪŋ ðə ˈprɛzəns əv ɪn ˌæˈnɑrtɪkə ənd əˈlaʊz ˈjuˈɛs tɪ kɔl fər ˌɪnərˈnæʃənɑl ˈɛfərt ɪn ˈmɑnətərɪŋ ðə ˌsɪʧuˈeɪʃən waɪlst ɪt ɪz stɪl ɪn ɪts ˈərliəst stages”*”. ðə ˈrisərʧ wɑz ˈkɛrid aʊt ɪn əˌsoʊʃiˈeɪʃən wɪθ ðə dɛl sər ˌjunəˈvərsəti ɪn pəru. ɪn ðə æˈnɑrtɪk mərˈin ˈsɪstəm: ən ˈimərʤɪŋ ˈɛriə əv research’*’ wɑz ˈpəblɪʃt ɪn ðə saɪəns əv ðə ˈtoʊtəl ɪnˈvaɪrənmənt ənd kən bi rɛd hir:
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the levels of microplastic particles accumulating in the antarctic are much worse than expected, a team of experts has warned.
the continent is considered to be a pristine wilderness compared to other regions and was thought to be relatively free from plastic pollution. however new findings by scientists from university of hull and british antarctic survey (bas) have revealed that recorded levels of microplastics are five times higher than you would expect to find from local sources such as research stations and ships.
microplastics are particles less than 5mm in diameter and are present in many everyday items such toothpaste, shampoo, shower gels and clothing. they can also result from the breakdown of plastic ocean debris.
the results, published in the journal science of the total environment, have raised the possibility that plastic originating from outside the region may be getting across the antarctic circumpolar current, historically thought to be almost impenetrable.
lead author dr catherine waller, an expert in ecology and marine biology at university of hull, says: “antarctica is thought to be a highly isolated, pristine wilderness. the ecosystem is very fragile with whales, seals and penguins consuming krill and other zooplankton as a major component of their diet. “our research highlights the urgent need for a co-ordinated effort to monitor and assess the levels of microplastics around the antarctic continent and southern ocean.”
the southern ocean covers approximately 8.5 million square miles and represents 5.4% of the world’s oceans. the region is under increasing threat from fishing, pollution and the introduction of non-native species, while climate change is leading to rising sea temperatures and ocean acidification. concern is growing about pollution from floating plastic debris, which can be become entangled with or ingested by wildlife.
microplastics enter the oceans via wastewater and through the breakdown of plastic debris and have been shown to be persistent in surface and deep ocean waters and in deep sea sediments. tests have shown that a single polyester fleece jacket can release more than 1,900 fibres per wash, while around half of discarded plastics are buoyant in seawater and may be subject to degradation by ultraviolet radiation and decomposition. more than half of the research stations in the antarctic have no wastewater treatment systems, the research reports.
it’s estimated that up to 500kg of microplastic particles from personal care products and up to 25.5 billion clothing fibres enter the southern ocean per decade as a result of tourism, fishing and scientific research activities. while this is negligible at the scale of the southern ocean, the researchers say it may be significant at a local scale.
co-author dr huw griffiths, a marine biogeographer with british antarctic survey, says:
“our understanding of the sources and fate of plastics in these waters is limited at best. given the low numbers of people present in antarctica, direct input of microplastic from wastewater is likely to be below detectable limits at a southern ocean scale. “however, microplastics generated from degradation of larger pieces of plastic or transferred into the southern ocean across the polar front may be a major contributor to the high levels of microplastics recorded at some open ocean sites.
biologist dr claire waluda, a co-author at british antarctic survey, says:
“we have monitored the presence of large plastic items in antarctica for over 30 years. while we know that bigger pieces of plastic can be ingested by seabirds or cause entanglements in seals, the effects of microplastics on marine animals in the southern ocean are as yet unknown”. “this paper represents an excellent first step towards recognising the presence of microplastics in antarctica and allows us to call for international effort in monitoring the situation whilst it is still in its earliest stages”.
the research was carried out in association with the cientifica del sur university in peru.
‘microplastics in the antarctic marine system: an emerging area of research’ – was published in the science of the total environment and can be read here:
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moʊst əv ðə poʊlz tərnd aʊt tɪ bi rɔŋ. ˈvoʊtərz dɪd nɑt ˈpənɪʃ ˈdɑnəld trəmp fər ˈbreɪkɪŋ wɪθ 40 jɪrz əv ˈprɛsɪdənt ənd rɪfˈjuzɪŋ tɪ riˈlis hɪz tæks rɪˈtərnz. ˈmɪʃɪgən ənd wɪˈskɑnsən, tu trəˈdɪʃənəli ˌdɛməˈkrætɪk steɪts ðət meɪk əp pɑrt əv ðə rəst wall,”*,” wɛnt tɪ ðə dɪˈspaɪt hɪz kæmˈpeɪn ˈspɛndɪŋ ˈvərʧuəli noʊ taɪm ər ˈməni ðɛr. ə kəmˈplit læk əv ɪkˈspɪriəns, ən ɛnˈdɔrsmənt frəm ðə ku kləks klæn, ənd ðə ˈæktɪv ˌkəltɪˈveɪʃən əv ə waɪt ˈnæʃənəlɪst, beɪs dɪd nɑt sloʊ ɪm daʊn. ðiz wər ˈəpˌsɛts. ðə fækt ðət ə məˈʤɔrəti əv waɪt ɪn fər trəmp wɑz nɑt. ðə ril səˈpraɪz wɑz ðət soʊ ˈmɛni ˈpipəl bɪˈlivd ðeɪ wʊd du ˈsəmθɪŋ ˈdɪfərənt. ˌædvərˈtaɪzmənt ə məˈʤɔrəti əv waɪt ˈwɪmən hæv səˈpɔrtɪd ðə rɪˈpəblɪkən ˈkænədɪt ɪn ˈnɪrli ˈɛvəri ɪˈlɛkʃən sɪns 1952 (ðə moʊst ˈrisənt ɪkˈsɛpʃən wɑz 20 jɪrz əˈgoʊ wɪn 52 əv waɪt ˈwɪmən səˈpɔrtɪd bɪl 1996 riɪˈlɛkʃən kæmˈpeɪn.) frəm ˈgoʊldˌwɔtər gərlz ɪn 1964 tɪ ðə ˈmɑrʤən mɪt ˈrɑmni hɛld əˈməŋ waɪt ˈwɪmən ɪn 2012 ðɪs ɪz ə ˈvoʊtɪŋ blɑk ðət, fər mɔr ðən hæf ə ˈsɛnʧəri, həz ʃɔrd əp ɪts aɪˈdɛntəˌti ɪn ˈwaɪtnəs, nɑt ˈʤɛndər. ɪˈlɛkʃən ɪz ˈsɪmələr tɪ ə lɔt əv ˈpriviəs ɪˈlɛkʃənz ɪn aɪˌdɛntəfəˈkeɪʃən ˈɑbviəsli ˈgaɪdɪd votes,”*,” ʃˈraɪbər, ðə ʧɛr əv ðə dɪˈpɑrtmənt əv pəˈlɪtɪkəl saɪəns æt sæn diˈeɪgoʊ steɪt ˌjunəˈvərsəti, toʊld mi ˈoʊvər ðə foʊn. ðə ˈʤɛndər gæp, ənd waɪt ˈwɪmən ˈvoʊtɪŋ fər ðə rɪˈpəblɪkən ˈpɑrti, ɪz kəmˈplitli consistent.”*.” ðɪs wɑz ˈsəmθɪŋ aɪ əbˈzərvd, ɪn ˈsətəl ənd ənˈsətəl weɪz, əˈməŋ ðə ˈwɪmən aɪ mɛt æt trəmp ˈræliz ˈoʊvər ðə læst 17 mənθs. ˈivɪn æt ɪˈvɛnts wɛr ˈʤɛndər wɑz ˈlɪtərəli ən ˈɔrgəˌnaɪzɪŋ grup laɪk ˈwɪmən juˈnaɪtɪd fər trəmp ˈoʊnli ɪgˈzɪsts tɪ gɪv ðə ˌɪmˈprɛʃən əv ə dɪˈvərs ˈwɪmən aɪ mɛt, ˈɔlˌmoʊst ɔl əv ðɛm waɪt, ˈrɛrli ˈwɔntɪd tɪ tɔk məʧ əˈbaʊt ðɛr aɪˈdɛntəˌti ɛz ˈwɪmən. noʊ, aɪ fil ɪt wɑz ˈwɪmən ˈtɔkɪŋ tɪ ˈwɪmən. aɪ θɔt ɪt wɑz ˈwɪmən səˈpɔrtɪŋ ˈdɑnəld trəmp, period,”*,” ən ˈoʊldər waɪt ˈwʊmən toʊld mi wɪn aɪ æst hər əˈbaʊt ðə toʊn əv ə ɪˈvɛnt ɪn ˈflɔrɪdə wɛr ɔl ðə ˈspikərz wər ˈwɪmən, roʊz ˈpɛtəlz ˈkəvərd ðə ˈteɪbəl, ənd 50 gɑt ju ə sit æt ə ˈpraɪvət ənd cupcakes”*” brənʧ wɪθ ˈəðər əˈtɛnˈdiz. pleɪ ˈɛni wən kɑrd. ənd ˈhɪləri ʤɪst simz tɪ bi, nid ə ˈwʊmən. wi nid mi, ə woman.’”*.’” ˌædvərˈtaɪzmənt ˈwɪmən hu θɪŋk ˈkɑmɛnts əˈbaʊt ˈɪməgrənts, ˈməzlɪm ˈpipəl, ənd blæk əˈmɛrɪkənz ər rud, pərˈhæps, bət nɑt dɪskˈwɑləˌfaɪɪŋ. bət ə məˈʤɔrəti əv waɪt ˈwɪmən ˈvoʊtərz hæv bɪn pleɪɪŋ wən kɑrd fər 60 jɪrz. ənd waɪl trəmp ðə meɪ nɑt sim laɪk ðə kaɪnd əv ˈkænədɪt hu traɪd tɪ əˈpil tɪ ˈwɪmən ɔn ˈɛni frənt, hɪz ˈlæŋgwɪʤ ənd ˈiˌmoʊʃənəl əˈpilz ˈfɑloʊd ə fəˈmɪljər ˈnɛrətɪv əraʊnd ðə frəˈʤɪləti ənd ˈpjʊrɪti əv waɪt ˈwʊmənˌhʊd ðət ɪz ˈsɛntrəl tɪ waɪt səˈprɛməsi. ɪt wɑz rɪˈflɛktɪd ɪn ðə mɔr ˈoʊpənli ˈreɪsɪst ˈsteɪtmənts aɪ hərd frəm ˈwɪmən ɔn ðə kæmˈpeɪn treɪl, ɛz wɛl ɛz ˈsətələr ˈkɑmɛnts frəm ðə waɪt ˈwɪmən ˈvoʊtərz hu tərn aʊt tɪ trəmp ˈræliz bət bækt ɪm ɔl ðə seɪm. ˌædvərˈtaɪzmənt ðiz ˈwɪmən ər ðə kwaɪət trəmp ˈvoʊtərz, ər, ɛz æn ˈhɛlən ˈpitərsən tərmd ɪt, voters.”*.” ˈwɪmən hu θɪŋk ˈkɑmɛnts əˈbaʊt ˈɪməgrənts, ˈməzlɪm ˈpipəl, ənd blæk əˈmɛrɪkənz ər rud, pərˈhæps, bət nɑt dɪskˈwɑləˌfaɪɪŋ. ɛz wən ˈwʊmən pʊt ɪt tɪ mi ɪn oʊˈhaɪoʊ, ə ˌvɛriˈeɪʃən ɔn ˈsəmθɪŋ aɪ hərd ˈɔfən ɪˈnəf: ˈsəmˌtaɪmz nɑt ˈvoʊtɪŋ fər ˈsəmˌwən, ˈvoʊtɪŋ əˈgɛnst ˈsəmˌwən ɛls. ðə ˈmoʊmənt ɪn wɪʧ ˈmɛni ˈpipəl θɔt ðət waɪt pəˈlɪtɪkəl əˈliʤəns maɪt flɪp, wɪn ðə ˈfʊtɪʤ əv trəmp ˈbrægɪŋ əˈbaʊt ˈsɛkʃuəl əˈsɔlt ənd ˈmuvɪŋ ə bitch”*” ɔn ə ˈmɛrid ˈwʊmən drɑpt ɔn ə ˈfraɪˌdeɪ ˈivnɪŋ, wɑz ə ˈmoʊmənt ðət ˈəndərˈɛstəˌmeɪtɪd ðɛr ˌɪnˈvɛstmənt ɪn ˈwaɪtnəs. ˌædvərˈtaɪzmənt ðət æˈnælɪsɪs ˈɔlsoʊ ˌɪgˈnɔrd ˈmɛni əv ðə weɪz ɪn wɪʧ trəmp hæd bɪn ˈmɛsɪʤɪŋ tɪ waɪt ˈwɪmən sɪns ðə stɑrt əv hɪz kæmˈpeɪn. ˈmɛksəˌkoʊ sɛndz ɪts ˈpipəl, nɑt ˈsɛndɪŋ ðɛr best,”*,” trəmp sɛd waɪl əˈnaʊnsɪŋ hɪz ˈkændɪdəsi æt ðə fʊt əv ə ˈgɪldɪd ˈɛskəˌleɪtər. ˈsɛndɪŋ ˈpipəl ðət hæv lɑts əv ˈprɑbləmz, ənd ˈbrɪŋɪŋ ðoʊz ˈprɑbləmz wɪθ ˈjuˈɛs. ˈbrɪŋɪŋ drəgz. ˈbrɪŋɪŋ kraɪm. ˈreɪpɪsts. ənd səm, aɪ əˈsum, ər gʊd people.”*.” ˈleɪtər ðət jɪr, trəmp ɪnˈkərəʤd hɪz səˈpɔrtərz æt ə ˈræli ɪn saʊθ ˌkɛrəˈlaɪnə tɪ bi ɔn əˈlərt əˈbaʊt ðɛr ˈneɪbərz ənd ðɛm tɪ ðə ˈloʊkəl police”*” ɪf ðeɪ ˈpərsənəli səˈspɛktɪd ðɛm əv ˈtɛrəˌrɪzəm. ðə ˈtərgət əv ðɪs ˈneɪbərli sərˈveɪləns wɑz ˈməzlɪm əˈmɛrɪkənz hu ˈoʊnli ˈsɛkəndz ˌbiˈfɔr hi hæd sɛd wər great.”*.” ˌædvərˈtaɪzmənt ˈmɛksəkən ˈɪməgrənts ʤɪst ˈkrɪmənəlz ɪn wər ˈreɪpɪsts. ənd ðə ˈdeɪnʤər əv ˈaɪsəs ʤɪst əˈbaʊt ““unvetted”*” ˈrɛfˌjuʤiz fliɪŋ wɔr ənd ə ˈjumən raɪts ˈkraɪsəs ɪn wɑz əˈbaʊt ə dəˈmɛstɪk θrɛt ðət lərkt ɪn ɑr ˈneɪbərˌhʊdz, ɪnˈdeɪnʤərd ɑr ˈʧɪldrən. məʧ əv ˈrɛtərɪk ɪz ə ˈmɑdərn ˌvɛriˈeɪʃən ɔn ðə hɪˈstɔrɪk juz əv waɪt ˈwʊmənˌhʊd tɪ ˈænəˌmeɪt ənd ˈʤəstəˌfaɪ waɪt səˈprɛməsi. ðɪs wɑz ə ˈmɑdərn ˌvɛriˈeɪʃən ɔn ðə hɪˈstɔrɪk juz əv waɪt ˈwʊmənˌhʊd tɪ ˈænəˌmeɪt ənd ˈʤəstəˌfaɪ waɪt səˈprɛməsi. wɪn læk əv ˈɪntəˌrɛst ɪn ənd ˈnɑlɪʤ əv ˈhɪstəri həz ˈnɛvər kɛpt ɪm frəm ˈtæpɪŋ ˈɪntu ɪts moʊst ˈreɪsɪst ““rapists”*” ɛz ə θrɛt tɪ əˈmɛrɪkən ˈseɪfti, hi wɑz ˈɛkoʊɪŋ meɪn gəv. pɔl ˈlɛpɪʤ, hu toʊld ə rum əv hɪz kənˈstɪʧuənts ˈərliər ðɪs jɪr ðət mɛn wɪθ neɪmz laɪk ““d-money”*” wər ˈkəmɪŋ tɪ hɪz steɪt tɪ sɛl drəgz ənd ““impregnate”*” waɪt ˈwɪmən. hi wɑz ˈɛkoʊɪŋ rʊf, hu sɛd reɪp ɑr women”*” ˌbiˈfɔr ˈkɪlɪŋ naɪn ˈpipəl æt ə hɪˈstɔrɪkəli blæk ʧərʧ ɪn ˈʧɑrəlstən. hi wɑz ˈɛkoʊɪŋ ðə ˈflɔrɪdə mɑb ðət lɪnʧt ˈrubɪn ˈsteɪsi ˈæftər hi əˈpɪrd æt ə waɪt dɔr tɪ æsk fər fud, ənd ðə ˌmɪsɪˈsɪpi ˈbrəðərz hu ˈtɔrʧərd ənd ˈmərdərd ˈɛmɪt tɪl ˈæftər hi wɑz əˈkjuzd əv ˈwɪslɪŋ æt ə waɪt ˈwʊmən. ˌædvərˈtaɪzmənt nɑt ə dɔg ˈwɪsəl ðət ˈɛvəri waɪt ˈwʊmən wɪl rɪˈspɑnd tɪ, bət ɪf ðɛr ɪz wən ˈlɛsən tɪ bi ˈteɪkən əˈweɪ frəm ðɪs ɪˈlɛkʃən ðə ˌkɑntrəˈdɪktəri ənd ˈneɪʧər əv ən ˌoʊˈbɑmə ˈvoʊtər kʊd flɪp tɪ trəmp, haʊ ə ˈlɪˌbərəl ˈwʊmən kʊd juz hər voʊt ɛz ən ɪkˈsprɛʃən əv hər ˈreɪʃəl ˈpænɪk, haʊ ə waɪt ˈwʊmən hu wəns rɪˈsivd ˈwɛlˌfɛr kʊd voʊt tɪ kip ˈəðərz frəm ˈbɛnəfɪtɪŋ frəm ðə ˈproʊˌgræm, ənd haʊ ˈpipəl kən hoʊld ɔl ðiz θɪŋz ɪn ðɛr hænz æt ðə seɪm ˈmoʊmənt. (ðiz ɪkˈsprɛʃənz əv ˈreɪˌsɪzəm ˈlɪmɪtɪd tɪ trəmp ˈvoʊtərz, ənd ˈniðər ɪz səˈpɔrt fər hɪz ˈpɑləsiz. əˈməŋ ˈlaɪkli ˌdɛməˈkrætɪk ˈvoʊtərz, 34 ˌriˈpɔrtəd ˈtoʊtəl səˈpɔrt fər hɪz prəˈpoʊzd ˈməzlɪm ˈtrævəl bæn ɪn ə poʊl frəm mɑrʧ. ˈhɪləri ˈklɪntən səˈpɔrtərz bækt ðə bæn æt ə sˈlaɪtli haɪər ˈbərni ˈsændərz wɪθ grups, ʤɪst laɪk ˈpɑrtəzənˌʃɪp, həz tɪ bi utility-based,”*,” ʤeɪn, ə prəˈfɛsər əv pəˈlɪtɪkəl saɪəns æt ðə ˌjunəˈvərsəti əv ˈsəðərn ˌkæləˈfɔrnjə, sɛd əv waɪt pəˈlɪtɪkəl ˈprɛfərənsɪz. hæv tɪ gɪt ˈsəmθɪŋ aʊt əv ðɛr waɪt aɪˈdɛntəˌti. wət wər ðeɪ ˈgɪtɪŋ wɪθ trəmp? nɑt ʤɪst ðə waɪt ˈwɪmən, bət ðə pur waɪt mɛn hu gɪt fud stæmps, hu gɪt ˈgəvərnmənt ˈhaʊzɪŋ, wət du ðeɪ geɪn frəm waɪt identity?”*?” ðə prəˈtɛkʃənz əv ˈwaɪtnəs fər waɪt ˈwɪmən ər klɪr, ˈivɪn ɛz ðeɪ ər ˈɔfən rɪˈflɛktɪd ɪn ˈdɪfərəns ər kəmˈpærətɪv ˌdɛprəˈveɪʃən. ˈskɛrsɪti, ər ˈivɪn ðə pərˈsɛpʃən əv ˈskɛrsɪti, həz ə ˈtɛndənsi tɪ meɪk ˈpipəl ˌtɛrɪˈtɔriəl. ɛz ɪkˈspleɪnd, waɪt ˈwɪmən gɪt wi ˈjuʒəwəli kɔl əv ˈwaɪtnəs, ənd ə ˈpaʊərfəl əˈtæʧmənt. ˌædvərˈtaɪzmənt ðə weɪʤ gæp ɪz ə ˈprɪti ˈstreɪtˈfɔrwərd ɪgˈzæmpəl əv haʊ ðɪs wərks. waɪt ˈwɪmən ərn 76 sɛnts ɔn ðə ˈdɔlər kəmˈpɛrd tɪ waɪt mɛn, bət ðət gæp ɪz kənˈsɪdərəbli wərs fər blæk ˈwɪmən, hu ərn ʤɪst 64 sɛnts. ər fər latinas*, hu meɪk ʤɪst 56 sɛnts. waɪt ˈwɪmən ər əndərˌrɛprɪˈzɛntɪd ɪn ˈbɪznɪs, ˌækəˈdimiə, ˈmɛdəsən, ənd ˈʤərnəˌlɪzəm kəmˈpɛrd tɪ ðɛr meɪl ˈkaʊntərˌpɑrts. bət ðeɪ ər kənˈsɪdərəbli mɔr ˌrɛprɪˈzɛnɪd ðən ˈwɪmən əv ˈkələr. fər ˈmɛni waɪt ˈwɪmən, ðə prəˈtɛkʃənz əv ˈwaɪtnəs ər məʧ mɔr əˈpilɪŋ ðən ˌsɑləˈdɛrəti wɪθ ˈəðər ˈwɪmən. ðə equality-minded*, lin ɪn ˈnɛrətɪv əv waɪt ˈlɪˌbərəl ˈfɛmɪˌnɪzəm ɪz məʧ ˈdɪfərənt ðən ðə fɔrmz əv ˈvaɪələns, ˈhaʊzɪŋ dɪˌskrɪməˈneɪʃən, mæs hæv lɔŋ ˈæŋkərd blæk ˈfɛmɪˌnɪzəm. ju kən si ðiz kənˈsərnz (ər læk əv kənˈsərnz) rɪˈflɛktɪd ɪn ˈvoʊtɪŋ ˈpætərnz; ə fʊl 94 əv blæk ˈwɪmən ˈvoʊtərz səˈpɔrtɪd ˈhɪləri ˈklɪntən, ðoʊ ˈsəmˌtaɪmz ambivalently*. ɪn fækt, waɪt pəˈlɪtɪkəl əˈliʤəns tɪ waɪt mɛn æt ðə ɪkˈspɛns əv ˈwɪmən əv ˈkələr goʊz ɛz fɑr bæk ɛz ðə voʊt ˌɪtˈsɛlf. ˌædvərˈtaɪzmənt ɪˈlɪzəbɪθ ˈkeɪdi ˈstæntən, ðə ˈfeɪməs ˌsəfrəˈʤɛt hu wərkt wɪθ ˈsuzən bi. ˈænθɔˌni tɪ sɪˈkjʊr ðə əˈmɛndmənt, ɛmˈbreɪst waɪt səˈprɛməsi ɪn ˈsərvɪs əv ˈgɪtɪŋ waɪt ˈwɪmən ðə voʊt ənd ˈɔfən ˌɪnˈkɔrpərˌeɪtɪd ˈreɪˌsɪzəm ˈɪntu hər ˈspiʧɪz: wɪl wi ənd ɑr ˈdɔtərz ˈsəfər ɪf ðiz dɪˈgreɪdɪd blæk mɛn ər əˈlaʊd tɪ hæv ðə raɪts ðət wʊd meɪk ðɛm ˈivɪn wərs ðən ɑr ˈsæksən fathers?”*?” ðə ˈpæsɪʤ əv ðə əˈmɛndmənt sɪˈkjʊrd ðə ˈligəl raɪt tɪ voʊt fər ɔl ˈwɪmən, bət ˈmɛni ˈəðər ˌkɑnstəˈtuʃənəl ˈlɑrʤli ən æbˈstrækʃən fər blæk ˈwɪmən ənˈtɪl ðə ˈvoʊtɪŋ raɪts ækt əv 1965 ˈminɪŋfəli prəˈtɛktɪd ðət raɪt fər blæk əˈmɛrɪkənz. fər ˈmɛni waɪt ˈwɪmən, ðə prəˈtɛkʃənz əv ˈwaɪtnəs ər məʧ mɔr əˈpilɪŋ ðən ˌsɑləˈdɛrəti wɪθ ˈəðər ˈwɪmən. ˌædvərˈtaɪzmənt ˈnərʧərd ˈrɪli ɪkˈsplɪsətli baɪ trəmp, bət ˈnərʧərd ˌɪmˈplɪsətli baɪ ðə rɪˈpəblɪkən party,”*,” sɛd əv ðə kɔl tɪ waɪt ˈwʊmənˌhʊd ənd ˈwaɪtnəs ɪn ˈʤɛnərəl. nɑt seɪɪŋ ðət gaɪz laɪk ʤɑn məˈkeɪn ənd mɪt ˈrɑmni ər ər nɑt. bət wət ðə rɪˈpəblɪkən ˈpɑrti stændz fər ɪn ˈmɛni weɪz ɪz ðə kənˈsɪstənsi əv ˈwaɪtnəs æt ðə top.”*.” ˈnaɪnti pərˈsɛnt əv rɪˈpəblɪkən ˈvoʊtərz ər kənˈsɪstəntli waɪt, ʃi kənˈtɪnjud: ˈrɑmni nid tɪ seɪ ɪt, nɔr dɪz ʤɑn məˈkeɪn. ˈsɪmpli klɪr ðət ðə rɪˈpəblɪkən ˈpɑrti ˌrɛprɪˈzɛnts waɪt people.”*.” ˌædvərˈtaɪzmənt ðə ˈfreɪmɪŋ əv ðə 2016 ɪˈlɛkʃən wɑz klɪr frəm ðə ˈmoʊmənt ðət trəmp əˈnaʊnst hɪz ˈkændɪdəsi baɪ ˈkɔlɪŋ ˈmɛksəkən ˈɪməgrənts ““rapists,”*,” bət ɪt keɪm ˈɪntu ˈʃɑrpər ˈfoʊkɪs fər mi ɔn ðə læst naɪt əv ðə rɪˈpəblɪkən ˈnæʃənəl kənˈvɛnʃən. trəmp hæd ʤɪst ræpt ə spiʧ ðət ræn fər mɔr ðən ən aʊər, ˈjuzɪŋ ˈnɪrli ˈɛvəri ˈmɪnət əv ɪt tɪ stoʊk ðə wərst kaɪnz əv ˈreɪʃəl rɪˈzɛntmənt ənd waɪt fɪr. hi ˈsɪtiz laɪk ˈbɔltəˌmɔr ənd ˈfərgəsən ˈoʊnli tɪ ˈvɪlɪˌfaɪ ðɛm ɛz ˈmərdər ˈkæpɪtəlz. hi əˈkjuzd ðə fərst blæk ˈprɛzɪdənt əv ðə juˈnaɪtɪd steɪts əv ˈmeɪkɪŋ ðə ˈkəntri mɔr ˈdeɪnʤərəs baɪ ˈjuzɪŋ ˈpʊlpɪt əv ðə ˈprɛzɪdənsi tɪ dɪˈvaɪd ˈjuˈɛs baɪ reɪs ənd color.”*.” ˈæftərwərdz, aɪ wɔkt ˈoʊvər tɪ ðə ˈplɑzə ˌɪnˈsaɪd ðə sɪˈkjʊrəti pərˈɪmətər wɛr ˈdɛləˌgeɪts kʊd hæŋ aʊt bɪtˈwin ˈspikərz. aɪ stʊd əraʊnd ə ˈteɪbəl wɪθ maɪ ˈkɑligz, ˈmoʊstli ɪn stənd ˈsaɪləns, wɪn ə ˈwʊmən tɪ maɪ raɪt kɔt maɪ əˈtɛnʃən. ʃi hæd ɔn waɪt ənd wɑz ˈwɛrɪŋ ɔl kaɪnz əv rɪˈgeɪljə. wɪˈθaʊt ɪt, ʃi wʊd hæv lʊkt laɪk maɪ ˈməðər, maɪ ɔnts. ə ˈkəvər bænd wɑz pleɪɪŋ funk,”*,” ənd ʃi wɑz ˈdænsɪŋ laɪk ʃi wɑz æt ə ˈwɛdɪŋ. ˌædvərˈtaɪzmənt ˈmoʊmənts ˈərliər, ðə mæn hu wʊd bɪˈkəm ˈprɛzɪdənt hæd ˈpeɪnɪd ə ˈtɛrəˌfaɪɪŋ, ˈvaɪələnt ˈpɔrtrət əv əˈmɛrɪkə ənd ðə ˈnɑnˈwaɪt ˈpipəl hu lɪv ðɛr. bət ʃi lʊkt ˈreɪˌdiənt, ˈhæpi. hər feɪs bimd ɛz ʃi twərld, sərˈaʊndɪd baɪ ˈəðər waɪt ˈpipəl duɪŋ ðə seɪm.
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most of the polls turned out to be wrong. voters did not punish donald trump for breaking with 40 years of precedent and refusing to release his tax returns. michigan and wisconsin, two traditionally democratic states that make up part of the rust belt’s “blue wall,” went to the president-elect despite his campaign spending virtually no time or money there. a complete lack of experience, an endorsement from the ku klux klan, and the active cultivation of a white nationalist, conspiracy-minded base did not slow him down.
these were upsets. the fact that a majority of white women—53% in total—voted for trump was not. the real surprise was that so many people believed they would do something different.
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a majority of white women have supported the republican candidate in nearly every election since 1952. (the most recent exception was 20 years ago when 52% of white women supported bill clinton’s 1996 reelection campaign.) from goldwater girls in 1964 to the 14-point margin mitt romney held among white women in 2012, this is a voting bloc that, for more than half a century, has shored up its identity in whiteness, not gender. “this election is similar to a lot of previous elections in that…partisan identification obviously guided people’s votes,” ronnee schreiber, the chair of the department of political science at san diego state university, told me over the phone. “so the gender gap, and white women voting for the republican party, is completely consistent.”
this was something i observed, in subtle and unsubtle ways, among the women i met at trump rallies over the last 17 months. even at events where gender was literally an organizing principle—a group like women united for trump only exists to give the impression of a diverse coalition—the women i met, almost all of them white, rarely wanted to talk much about their identity as women.
“you know, i didn’t feel it was women talking to women. i thought it was women supporting donald trump, period,” an older white woman told me when i asked her about the tone of a trump-affiliated event in florida where all the speakers were women, rose petals covered the merch table, and $50 got you a seat at a private “champagne and cupcakes” brunch with other attendees. “donald trump—he doesn’t play any one card. and hillary just seems to be, ‘we need a woman. we need me, a woman.’”
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they’re women who think trump’s comments about immigrants, muslim people, and black americans are rude, perhaps, but not disqualifying.
but a majority of white women voters have been playing one card for 60 years. and while trump the pussy-grabber may not seem like the kind of candidate who tried to appeal to women on any front, his language and emotional appeals followed a familiar narrative around the fragility and purity of white womanhood that is central to white supremacy.
it was reflected in the more openly racist statements i heard from women on the campaign trail, as well as subtler comments from the white women voters who didn’t turn out to trump rallies but backed him all the same.
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these women are the quiet trump voters, or, as buzzfeed’s anne helen petersen termed it, “the ivanka voters.” they’re women who think trump’s comments about immigrants, muslim people, and black americans are rude, perhaps, but not disqualifying.
as one woman put it to me in ohio, a variation on something i heard often enough: sometimes you’re not voting for someone, you’re voting against someone else.
the moment in which many people thought that white women’s political allegiance might flip, when the footage of trump bragging about sexual assault and moving “like a bitch” on a married woman dropped on a friday evening, was a moment that underestimated their investment in whiteness.
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that analysis also ignored many of the ways in which trump had been messaging to white women since the start of his campaign.
“when mexico sends its people, they’re not sending their best,” trump said while announcing his candidacy at the foot of a gilded escalator. “they’re sending people that have lots of problems, and they’re bringing those problems with us. they’re bringing drugs. they’re bringing crime. they’re rapists. and some, i assume, are good people.”
later that year, trump encouraged his supporters at a rally in south carolina to be on alert about their neighbors and “report them to the local police” if they personally suspected them of terrorism. the target of this neighborly surveillance was clear—the muslim americans who only seconds before he had said were “so great.”
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mexican immigrants weren’t just criminals in trump’s rendering—they were rapists. and the danger of isis wasn’t just about “unvetted” refugees fleeing war and a human rights crisis in syria—it was about a domestic threat that lurked in our neighborhoods, endangered our children.
much of trump’s rhetoric is a modern variation on the historic use of white womanhood to animate and justify white supremacy.
this was a modern variation on the historic use of white womanhood to animate and justify white supremacy. when trump—whose lack of interest in and knowledge of history has never kept him from tapping into its most racist veins—invoked otherized “rapists” as a threat to american safety, he was echoing maine gov. paul lepage, who told a room of his constituents earlier this year that men with names like “d-money” were coming to his state to sell drugs and “impregnate” white women. he was echoing dylann roof, who said “you rape our women” before killing nine people at a historically black church in charleston. he was echoing the florida mob that lynched rubin stacy after he appeared at a white woman’s door to ask for food, and the mississippi brothers who tortured and murdered emmett till after he was accused of whistling at a white woman.
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that’s not a dog whistle that every white woman will respond to, but if there is one lesson to be taken away from this election it’s the contradictory and multi-directional nature of racism—how an obama voter could flip to trump, how a self-described liberal woman could use her vote as an expression of her racial panic, how a white woman who once received welfare could vote to keep others from benefiting from the program, and how people can hold all these things in their hands at the same moment. (these expressions of racism aren’t limited to trump voters, and neither is support for his policies. among likely democratic voters, 34% reported total support for his proposed muslim travel ban in a poll from march. hillary clinton supporters backed the ban at a slightly higher percentage—37%—than bernie sanders supporters—27%.)
“identification with groups, just like partisanship, has to be utility-based,” jane junn, a professor of political science at the university of southern california, said of white women’s political preferences. “they have to get something out of their white identity. what were they getting with trump? not just the white women, but the poor white men who get food stamps, who get government housing, what do they gain from white identity?”
the protections of whiteness for white women are clear, even as they are often reflected in difference or comparative deprivation. scarcity, or even the perception of scarcity, has a tendency to make people territorial. as junn explained, white women get “utility”—what we usually call privilege—out of whiteness, and that’s a powerful attachment.
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the wage gap is a pretty straightforward example of how this works. white women earn 76 cents on the dollar compared to white men, but that gap is considerably worse for black women, who earn just 64 cents. or for latinas, who make just 56 cents. white women are underrepresented in business, academia, medicine, and journalism compared to their male counterparts. but they are considerably more represented than women of color.
for many white women, the protections of whiteness are much more appealing than solidarity with other women.
the equality-minded, lean in narrative of white liberal feminism is much different than the forms of injustice—police violence, housing discrimination, mass incarceration—that have long anchored black feminism. you can see these concerns (or lack of concerns) reflected in voting patterns; a full 94% of black women voters supported hillary clinton, though sometimes ambivalently. in fact, white women’s political allegiance to white men at the expense of women of color goes as far back as the women’s vote itself.
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elizabeth cady stanton, the famous suffragette who worked with susan b. anthony to secure the 19th amendment, embraced white supremacy in service of getting white women the vote and often incorporated anti-black racism into her speeches: “what will we and our daughters suffer if these degraded black men are allowed to have the rights that would make them even worse than our saxon fathers?”
the passage of the 19th amendment secured the legal right to vote for all women, but it—like many other constitutional protections—was largely an abstraction for black women until the voting rights act of 1965 meaningfully protected that right for black americans.
for many white women, the protections of whiteness are much more appealing than solidarity with other women.
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“it’s nurtured really explicitly by trump, but it’s nurtured implicitly by the republican party,” junn said of the party’s call to white womanhood and whiteness in general. “i’m not saying that guys like john mccain and mitt romney are trump—they are not. but what the republican party stands for in many ways is the consistency of whiteness at the top.”
ninety percent of republican voters are consistently white, she continued: “mitt romney doesn’t need to say it, nor does john mccain. it’s simply clear that the republican party represents white people.”
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the framing of the 2016 election was clear from the moment that trump announced his candidacy by calling mexican immigrants “rapists,” but it came into sharper focus for me on the last night of the republican national convention.
trump had just wrapped a speech that ran for more than an hour, using nearly every minute of it to stoke the worst kinds of racial resentment and white fear. he namechecked majority-black cities like baltimore and ferguson only to vilify them as crime-ridden murder capitals. he accused the first black president of the united states of making the country more dangerous by using “the pulpit of the presidency to divide us by race and color.”
afterwards, i walked over to the open-air plaza inside the security perimeter where delegates could hang out between speakers. i stood around a table with my colleagues, mostly in stunned silence, when a woman to my right caught my attention. she had on white capris and was wearing all kinds of trump-pence regalia. without it, she would have looked like my mother, my aunts. a cover band was playing “uptown funk,” and she was dancing like she was at a wedding.
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moments earlier, the man who would become president had painted a terrifying, violent portrait of america and the non-white people who live there. but she looked radiant, happy. her face beamed as she twirled, surrounded by other white people doing the same.
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wən jɪr ˈæftər ə faɪər ɪnˈgəlft ə hɪˈstɔrɪk ˈbɪldɪŋ ɔn kəˈnæl strit ˈdaʊnˈtaʊn, ðə ˈprɑpərtiz ˈoʊnər plænz tɪ riˈbɪld wɪθ ˈriˌteɪl ənd 37 ˈkɑmpækt "ˈmaɪˌkroʊ" əˈpɑrtmənts ɔn fɔr flɔrz. ə mæn ˈstɑrtɪd ə faɪər ɪn ən ˈælˌkoʊv əv 1016 kəˈnæl st*. ɪn ðə ˈərli ˈmɔrnɪŋ aʊərz əv ʤæn. 27 2016 tɪ steɪ wɔrm, əˈkɔrdɪŋ tɪ əˈθɔrətiz, ənd ðə fleɪmz kˈwɪkli sprɛd ˈɪntu ə ˈmæsɪv bleɪz ðət tʊk ˈfaɪərˌfaɪtərz mɔr ðən eɪt aʊərz tɪ brɪŋ ˈəndər kənˈtroʊl. ˈoʊnli ðə ɪkˈstɪriər fəˈsɑd əv ðə four-story*, ˈərli ˈbɪldɪŋ rɪˈmeɪnz naʊ. ˌbiˈfɔr ðə faɪər, ə sɛl foʊn stɔr, ˈbjuti səˈplaɪ ʃɑp ənd ˈfæʃən stɔr ˈɑkjəˌpaɪd ðə graʊnd flɔr waɪl ðə ˈəpər θri ˈstɔriz wər ˈmoʊstli ˈveɪkənt ənd juzd fər ˈstɔrɪʤ. kəˈnæl strit faɪər: fɔrst ˈaʊtˈsaɪd ˈbərnɪŋ ˈbɪldɪŋ ɛz kəˈlæps θrɛt groʊz ən ˌɪnˈkrisɪŋ θrɛt əv ˈbɪldɪŋ kəˈlæps həz fɔrst ˈfaɪərˌfaɪtərz ˈaʊtˈsaɪd ðə faɪər ˈreɪʤɪŋ fər ˈnɪrli sɪks aʊərz ɪn ðə 1000 blɑk əv kəˈnæl strit. ˈɛrən, vaɪs ˈprɛzɪdənt əv mægˈnoʊljə ˈɛnərˌpraɪzɪz ənd huz ˈfæməli oʊnz ðə ˈbɪldɪŋ θru kˈwɔrtər ˈhoʊldɪŋz llc*, sɛd hɪz ˈkəmpəˌni wɪl sik əˈpruvəl frəm ðə ˈsɪti fər ə ˈprɑʤɛkt wɪθ kəˈmərʃəl ənd ˌrɛzɪˈdɛnʃəl speɪs. dɪˈzaɪnz fər ðə nu ˈbɪldɪŋ ʃoʊ mɔr ðən skwɛr fit əv kəˈmərʃəl speɪs ɔn ðə graʊnd flɔr ənd ə ˈtoʊtəl əv fɔr ˈəpər flɔrz wɪθ 38 ˈstudiˌoʊ əˈpɑrtmənts ˈreɪnʤɪŋ frəm 308 skwɛr fit tɪ 375 skwɛr fit. ðə smɔl ˈlɪvɪŋ ˈspeɪsɪz ər dɪˈzaɪnd wɪθ bɛdz ənd ˈteɪbəlz; iʧ ˈjunɪt həz ə ˈbælkəni. ə sˈwɪmɪŋ pul wʊd bi ˌɪnˈstɔld ɔn ðə rʊf. ə prəˈpoʊzd dɪˈzaɪn fər wən flɔr əv ə riˈbɪld əv 1016 kəˈnæl st*. sɛd ɪt tʊk fɔr mənθs tɪ dɪˈmɑlɪʃ ənd klɪr aʊt ˈdæmɪʤd ˈsɛkʃənz ənd kip ðə ˈsaɪdˌwɔk seɪf fər pəˈdɛstriənz. "ðɛn, wi dɪd ˈʃɔrɪŋ əv ðə ˈbɪldɪŋ tɪ prɪˈvɛnt ə pəˈtɛnʃəl kəˈlæps," hi sɛd. naʊ, ðə ˈkəmpəˌni həz kənˈstrəkʃən bɪd rɪkˈwɛsts aʊt tɪ θri ˈkɑnˌtræktərz, hi sɛd, ənd plænz tɪ muv ˈfɔrwərd wɪθ ðə ˈprɑʤɛkt wəns ə ˈkɑnˌtræktər ɪz pɪkt. ðə fleɪmz sprɛd tɪ ðə ˈneɪbərɪŋ ˈbɪldɪŋ æt 1012 kəˈnæl st*. ˈprɑpərti ˈoʊnər rɔs ˌmæŋˈkjusoʊ sɛd ðə ˈdæmɪʤd ˈbɪldɪŋ ˈɔlsoʊ hæd tɪ bi klind aʊt ənd ˈsteɪbəˌlaɪzd. ˈminˌwaɪl, hi sɛd, hi həz tɔkt wɪθ ˈɛnʤəˈnɪrz ənd ˈɑrkəˌtɛkts əˈbaʊt wəts ˈpɑsəbəl fər ə ˌrɛnəˈveɪʃən. sɛd dɪˈzaɪnz ər biɪŋ drɔn əp, ənd hi ɪz ɪn nɪˌgoʊʃiˈeɪʃənz fər ə lis əv ðə ˈbɪldɪŋ. hi dɪˈklaɪnd tɪ gɪv ˈɛni ˈditeɪlz əˈbaʊt ðə tɔks. hi sɛd hi ˈhæzənt meɪd ə dɪˈsɪʒən ɔn ˈwɛðər tɪ juz ðə ˈəpər flɔrz ər ˈfoʊkɪs ɔn ˈlisɪŋ ˈoʊnli ðə graʊnd flɔr speɪs. kəˈnæl strit faɪər saɪn əv ˈstrəgəlɪŋ ˈbʊləˌvɑrd, ˈbɪldɪŋ ˈoʊnər sɪz kəˈnæl strit, wəns hoʊm tɪ ə strɪŋ əv dɪˈpɑrtmənt stɔrz, həz lægd bɪˈhaɪnd ɪn ˈdaʊnˈtaʊnz ˈrisənt riˈsərʤəns. mɔr ðən 3 ˈbɪljən həz bɪn ˌɪnˈvɛstɪd ˈdaʊnˈtaʊn baɪ ˈpraɪvət ril ɛˈsteɪt dɪˈvɛləpərz ɪn ðə ˈdɛkeɪd sɪns ˈhərəˌkeɪnz kəˈtrinə. kərt ˈwigəl, ˈprɛzɪdənt ənd ˈsiˌiˈoʊ əv ðə ˈdaʊnˈtaʊn dɪˈvɛləpmənt ˈdɪstrɪkt, sɛd ɪn ðə weɪk əv ðə faɪər, hɪz grup riʧt aʊt tɪ ɔl əv ðə ˈprɑpərti ˈoʊnərz ɔn ðət saɪd əv ðə 1000 blɑk əv kəˈnæl strit tɪ ˈɔfər aɪˈdiəz ɔn haʊ tɪ tərn ðə dɪˈzæstər ˈɪntu ˈsəmθɪŋ ˈpɑzətɪv ənd "haʊ ˈprɑpərti ˈoʊnərz kən wərk təˈgɛðər fər ðə ˈbɛtərmənt əv ðət blɑk." aɪˈdiəz ˌɪnˈkludɪd ˈprɑpərti ˈoʊnərz baɪɪŋ aʊt ˈəðərz tɪ kənˈsɑlɪˌdeɪt ˈoʊnərˌʃɪp ər ˈkipɪŋ ðɛr ˈprɑpərtiz bət kriˈeɪtɪŋ ə ˈstrəkʧər fər ˈpulɪŋ ðɛm ənd dɪˈvɛləpɪŋ ðɛm təˈgɛðər. ˈwigəl sɛd ˈriˌteɪl speɪs ɔn ðə hɪˈstɔrɪk ˈbɪldɪŋz ɔn kəˈnæl strit ˈtɪpɪkəli reɪnʤ frəm tɪ skwɛr fit bɪg ɪˈnəf tɪ əˈtrækt ˈtɛnənts. bət ˈoʊnərz faɪnd dɪˈvɛləpɪŋ ðə ˈəpər flɔrz əv ðə ˈbɪldɪŋz ˈɪntu ˈrɛzɪdənsɪz ər hoʊˈtɛlz ˈdɪfəkəlt bɪˈkəz əv speɪs ˌlɪmɪˈteɪʃənz. ˈbɪldɪŋ koʊdz ˌrikˈwaɪər tu sɛts əv stɛrz ənd ən ˈɛləˌveɪtər, wɪʧ its ˈɪntu ðə ɔˈrɛdi slɪm ˈjuzəbəl speɪs. ˈprɑpərti ˈoʊnərz kʊd ˈkɑmbaɪn ðə ˈəpər flɔrz tɪ hæv mɔr speɪs ənd ˈmɪtəˌgeɪt ðət ðə ˈifɛkt əv ðə rɪkˈwaɪrmənts, hi sɛd. ˈwigəl sɛd səm ˈprɑpərti ˈoʊnərz ɔn ðə blɑk ɪkˈsprɛst ən ˈɪntəˌrɛst ɪn ðə aɪˈdiəz ˈɔfərd. hi dɪˈklaɪnd tɪ aɪˈdɛntəˌfaɪ wɪʧ ˈoʊnərz maɪt stɪl bi ɪn tɔks. ðət saɪd əv ðə kəˈnæl strit blɑk bɪtˈwin saʊθ ənd ˈruzəˌvɛlt weɪ həz ə ˈtoʊtəl əv ˈsɛvən ˈprɑpərtiz. kˈwɔrtər ˈhoʊldɪŋz ˈɔlsoʊ oʊnz ðə ˈvuˌdu mɑrt ˈbɪldɪŋ æt 1000 kəˈnæl st*. pəˈlis ərˈɛstɪd ə mæn əˈkjuzd əv ˈstɑrtɪŋ ðə faɪər bət ˈʧɑrʤɪz wər ˈleɪtər drɑpt ˈæftər ðə mæn ˌəndərˈwɛnt ə ˌsaɪkiˈætrɪk ɪˌvæljuˈeɪʃən.
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one year after a six-alarm fire engulfed a historic building on canal street downtown, the property's owner plans to rebuild with street-level retail and 37 compact "micro" apartments on four floors.
a man started a fire in an alcove of 1016 canal st. in the early morning hours of jan. 27, 2016, to stay warm, according to authorities, and the flames quickly spread into a massive blaze that took firefighters more than eight hours to bring under control.
only the exterior facade of the four-story, early 20th-century building remains now. before the fire, a cell phone store, beauty supply shop and fashion store occupied the ground floor while the upper three stories were mostly vacant and used for storage.
canal street fire: nofd forced outside burning building as collapse threat grows an increasing threat of building collapse has forced firefighters outside the six-alarm fire raging for nearly six hours in the 1000 block of canal street.
aaron motwani, vice president of magnolia enterprises and whose family owns the building through quarter holdings llc, said his company will seek approval from the city for a mixed-use project with commercial and residential space.
designs for the new building show more than 5,100 square feet of commercial space on the ground floor and a total of four upper floors with 38 studio apartments ranging from 308 square feet to 375 square feet. the small living spaces are designed with fold-out beds and tables; each unit has a balcony. a swimming pool would be installed on the roof.
a proposed design for one floor of a rebuild of 1016 canal st.
motwani said it took four months to demolish and clear out damaged sections and keep the sidewalk safe for pedestrians. "then, we did shoring of the building to prevent a potential collapse," he said.
now, the company has construction bid requests out to three contractors, he said, and plans to move forward with the project once a contractor is picked.
the flames spread to the neighboring building at 1012 canal st. property owner ross mancuso said the damaged building also had to be cleaned out and stabilized. meanwhile, he said, he has talked with engineers and architects about what's possible for a renovation.
mancusco said designs are being drawn up, and he is in negotiations for a lease of the building. he declined to give any details about the talks. he said he hasn't made a decision on whether to use the upper floors or focus on leasing only the ground floor space.
canal street fire sign of struggling boulevard, building owner says canal street, once home to a string of department stores, has lagged behind in downtown's recent resurgence. more than $3 billion has been invested downtown by private real estate developers in the decade since hurricane katrina.
kurt weigle, president and ceo of the downtown development district, said in the wake of the fire, his group reached out to all of the property owners on that side of the 1000 block of canal street to offer ideas on how to turn the disaster into something positive and "how property owners can work together for the betterment of that block."
ideas included property owners buying out others to consolidate ownership or keeping their properties but creating a structure for pooling them and developing them together.
weigle said retail space on the historic buildings on canal street typically range from 1,500 to 3,000 square feet -- big enough to attract tenants. but owners find developing the upper floors of the 30-foot-wide buildings into residences or hotels difficult because of space limitations.
building codes require two sets of stairs and an elevator, which eats into the already slim usable space. property owners could combine the upper floors to have more space and mitigate that the effect of the requirements, he said.
weigle said some property owners on the block expressed an interest in the ideas ddd offered. he declined to identify which owners might still be in talks.
that side of the canal street block between south rampart and roosevelt way has a total of seven properties. quarter holdings also owns the voodoo mart building at 1000 canal st.
police arrested a man accused of starting the fire but charges were later dropped after the man underwent a psychiatric evaluation.
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ˈstɑrˌtəp ˈɔfəsɪz ˈjuʒəwəli hɑrd tɪ faɪnd ɪn koramangla*, ˈbəsəlɪŋ ˈstɑrˌtəp həb. ˈfəndɪd ˈstɑrˌtəps laɪk tɪ əˈnaʊns ðɛr ərˈaɪvəlz wɪθ ˈpɑrtiz, ˈgɛtəˈgɛðərz, ənd lɑrʤ, ˈprɑmənənt saɪnz ˈaʊtˈsaɪd ðɛr ˈɔfəsɪz. bət frəm ðə roʊd ˈaʊtˈsaɪd, noʊ ˌɪndəˈkeɪʃən ðət bɪˈhaɪnd ðə glæs ˈwɪndoʊz ɔn ðə fərst flɔr əv ən ˌənəbˈtrusɪv ˈbɪldɪŋ, həz bɪn kˈwaɪətli ˈmeɪkɪŋ ə neɪm fər ˌɪtˈsɛlf əˈkrɔs ðə wərld. ðə læk əv ðə saɪn ˈaʊtˈsaɪd ɪts ˈɔfəs ɪz ˈvɛri sɪmˈbɑlɪk əv haʊ suˈnɪl, 38 jɪr oʊld ˈfaʊndər ənd ˈsiˌiˈoʊ, rənz hɪz ˈstɑrˌtəp. ə mæn hu æt fərst glæns sim tɪ ɪgˈzud ðə bræʃ brəˈvɑdoʊ soʊ ˈkɑmən əˈməŋ ˈfaʊndərz ðiz deɪz. ˈnɛvər reɪzd ˈvɛnʧər ˈkæpɪtəl, ənd ɪz mɔr ˈfoʊkɪst ɔn ˈkəstəmər dɪˈlaɪt ðən ˈkrəʃɪŋ ðə ˌkɑmpəˈtɪʃən. hi haɪərd hɪz fərst ˈmɑrkətər 5 jɪrz ˈæftər ˈfaʊndɪd hɪz ˈkəmpəˌni. bət ə ˈmɑrkətɪŋ tim ə praɪˈɔrəti wɪn jʊr ˈprɑdəkt ɪz ˈprɑfətəbəl frəm ðə gɪt goʊ. wɑz ˈfaʊndɪd ɪn 2009 ənd ɪts ˈprɛmɪs ɪz dɪˈsɛptɪvli ˈsɪmpəl ɪt lɛts ju saɪn ˈdɑkjəmənts ər sɛnd ðɛm fər ˈsɪgnəʧər tɪ ˈəðərz, streɪt frəm jʊr smartphone*, ˈtæblət ər ˈdɛskˌtɑp. ðɪs ɪˈlɪməˌneɪts ðə ˈtrəbəl əv ˈprɪnɪŋ, ˈsaɪnɪŋ ənd ˈskænɪŋ, ˈðɛrˈbaɪ kriˈeɪtɪŋ ə ˈpeɪpərləs ˈɔfəs ənd ˈhɛlpɪŋ ɪn dilz ˈgɪtɪŋ kloʊzd ˈfæstər, ˈbɛtər ˈkəstəmər ɪkˈspɪriəns ənd rɪˈdust kɔsts. ðə aɪˈdiə wɑz bɔrn wɪn wɑz ˈbækˌpækɪŋ ɪn ˈmɛksəˌkoʊ, ənd rɪˈsivd ə ʤɑb ˈɔfər wɪʧ rikˈwaɪərd ɪm tɪ sɛnd bæk ə saɪnd ˈkɑpi əv ðə ɪmˈplɔɪmənt ˈkɑnˌtrækt tɪ hɪz fˈjuʧər ɪmˈplɔɪər. ˈprɪnɪŋ məˈʃinz ənd ˈskænərz biɪŋ ɪn ʃɔrt səˈplaɪ ɔn ˈbiʧɪz, hi ˈwəndərd waɪ hi kəm əp wɪθ ən æp tɪ du ðə ʤɑb fər ɪm. ðə ˈtaɪmɪŋ wɑz raɪt ˌɪˌlɛkˈtrɑnɪk ˈsɪgnəʧərz wər ˌɪnˈkrisɪŋgli biɪŋ ækˈsɛptɪd ɪn ðə ˈjuˈɛs wɛr hi wɑz beɪst, ənd fərmz laɪk hæd ˈɛnərˌpraɪz səˈluʃənz ðət lɛt ˈjuzərz saɪn ˈdɑkjəmənts ɔn ðə wɛb. ðɛr wər noʊ ˈmoʊbəl æps fər ˌɪˌlɛkˈtrɑnɪk signatures,”*,” hi sɪz. ðɛr wər noʊ ˈvaɪəbəl səˈluʃənz fər ðə ˈwəˌtaɪm ˈjuzər ər ðə smɔl ənd ˈmidiəm ˈbɪznɪs owners.”*.” hi sɛnst ən ˌɑpərˈtunəti. hi wɑz stɪl ˈbækˌpækɪŋ əˈkrɔs saʊθ əˈmɛrɪkə, soʊ hi riˈmoʊtli haɪərd ə dɪˈvɛləpər ɪn ˈɪndiə tɪ stɑrt dɪˈvɛləpɪŋ ðə ˈprɑdəkt. sun, hæd bɪˈkəm ə ˈproʊtoʊˌtaɪp. ðɪs ɪz wɪn ˈnɑlɪʤ əv ðə əˈmɛrɪkən ˈmɑrkɪt keɪm ɪn ˈhændi. lɛft fər ðə ˈjuˈɛs ˌɪˈmiˌdiətli ˈæftər hɪz ˌgræʤəˈweɪʃən frəm kharagpur*, ənd hæd ˈoʊvər ðə nɛkst 10 jɪrz, hæd ˈfɪnɪʃt ən mɪz dɪˈgri ənd hæd stɪnts æt ˈsɛvərəl lɑrʤ ˌkɔrpərˈeɪʃənz ənd ˈstɑrˌtəps ɪn ðə beɪ ˈɛriə. hi bɪˈgæn əˈtɛndɪŋ ənd tɔkt əp. ðə ˈprɑdəkt wɑz juˈnik, ˈvaɪəbəl ənd nu haʊ tɪ ˈmɑrkɪt ɪt. ˈjuˈɛs ˈmɑrkɪt rɪˈspɑndz tɪ ˈsərtən ˈpækɪʤɪŋ, ənd ə ˈsərtən style,”*,” hi sɪz. wɑz ˈfɔrʧənət tɪ noʊ wət wʊd wərk there.”*.” ənd sun, tʊk ɔf, wɪˈθaʊt lɑrʤ ˈmɑrkətɪŋ ˈbəʤɪts ər ɪkˈspɛnsɪv æd kæmˈpeɪnz. groʊθ həz bɪn ˈprɪti məʧ ɔrˈgænɪk ənd product-driven,”*,” sɪz sɪŋ, ˈmɑrkətər æt. ɪt ˈɔlsoʊ hɛlpt ðət ˈstɑrtɪd æt ðə raɪt taɪm ɪn 2009 ðə æp stɔr ˈoʊvərˌfloʊɪŋ wɪθ æps ɛz ɪt ɪz naʊ, ənd wɑz sun ˈgɪtɪŋ loʊdz əv ɔrˈgænɪk ˈdaʊnˌloʊdz. ðɛn ɪt rɪˈsivd ɪts fərst bɪg breɪk ɪt wɑz ˈfiʧərd baɪ ˈæpəl ɪn ɪts lɪst əv bɛst ˈbɪznɪs æps fər 3 kənˈsɛkjətɪv jɪrz. ˈɪnstənt ˌɪnərˈnæʃənɑl ˌrɛkɪgˈnɪʃən ˈfɑloʊd, əˈlɔŋ wɪθ ə ˈkəpəl əv əˈpɪrənsəz ɪn ˈæpəl ˌtɛləˈvɪʒən kəˈmərʃəlz ənd ˈæpəl ˈriˌteɪl stɔr ˈdɛˌmoʊz ˈwərldˈwaɪd, ðə ˈhoʊli greɪl fər ˈioʊs dɪˈvɛləpərz əraʊnd ðə wərld. ju meɪ hæv ˈɔlsoʊ ˈrisəntli ˈspɑtɪd ˈfiʧərd ɔn ˈgugəl pleɪ əˈməŋ ðə bɛst əv 2016 æps. səkˈsɛs kʊd bi əˈtrɪbjətəd tɪ ɪts ˈprɑdəkt. aɪz glim wɪθ ˌɪnˈtɛnsɪti wɪn hi tɔks əˈbaʊt ənd ɪts ˈfiʧərz. ˈædɪŋ ə ˈsɪgnəʧər tɪ ə ˈdɑkjəmɛnt maɪt sim ˈtrɪviəl, bət ə lɔt əv θɔt həz gɔn ˈɪntu ðə ˈjuzər floʊz. ðɛr ər sɪˈkjʊrəti ˈfiʧərz laɪk ðə ˈɛdət notification’*’ tɪ prɪˈvɛnt ˈɛni juz. ðoʊ ɪn 6 jɪr rən taɪm, ðə ˈkəmpəˌni həz ˈnɛvər feɪst ən ˈɪʃu əv ˈprɑdəkt əˈbjuz. əˈpɑrt frəm ˈsɪmpəl ˈsɪgnəʧərz, ðə ˈkəmpəˌni ɪz ˈlʊkɪŋ æt ˈkəvərɪŋ ɔl juz ˈkeɪsɪz, səʧ ɛz ˈsɪgnəʧərz rikˈwaɪərd ɔn ə sɛt əv ˈdɑkjəmənts, laɪk ɪn ə ril wərld ˈɛnvəˌloʊp. wɑz ˌɪˈnɪʃəli dɪˈvɛləpt fər ˈmoʊbəl, bət naʊ həz ə wɛb ˈvərʒən, ənd ə hoʊst əv ˈpɑrtnərˌʃɪps, ˌɪnˈkludɪŋ ˌɪnəˈgreɪʃənz wɪθ ˈaʊˌtlʊk, gsuite*, ənd zoho*. ɪz ə əˈləmnəs, soʊ ə ˈsərtən dɪˈzaɪn ɛsˈθɛtɪk ʃaɪnz θru ɪn ðə ˈprɑdəkt. ənd waɪl ɪt maɪt nɑt bi ə ˈhaʊsˌhoʊld neɪm ɪn ˈɪndiə jɛt, ɪz bɪg. ðə æp həz bɪn ˈdaʊnˌloʊdɪd ˈoʊvər 4 ˈmɪljən taɪmz ənd ˈnɪrli 5 əv ˈdaʊnˌloʊdz bɪˈkəm peɪd ˈkəstəmərz ðət ˈtrænsˌleɪts ˈɪntu peɪd ˈkəstəmərz. moʊst əv ðiz ˈkəstəmərz ər frəm ðə ˈjuˈɛs ənd ˈkænədə, ˈstɑrtɪŋ frəm ˈfriˌlænsərz, solopreneurs*, smɔl ˈbɪznɪs ˈoʊnərz tɪ dɪˈpɑrtmənts səʧ ɛz hr*, seɪlz, ˈligəl, əˈkaʊnɪŋ ɪn ˈlɑrʤər ˌɔrgənəˈzeɪʃənz. ˈoʊvər 40 əv ðə ˈkəstəmərz hæv ˈænjuəl səbˈskrɪpʃənz wɪθ ə haɪ əˈfɪnɪti fər ðə ˈprɑdəkt. boʊsts əv ˈkəstəmərz səʧ ɛz ˈzɪrɑks, cintas*, ˈeɪvɪs ˈbəʤɪt, equinix*, intertrust*, ˈæksə ˌɪnˈʃʊrəns, juˈnaɪtɪd ˈneɪʃənz ənd ˈjuˈɛs ˈdætə ˌkɔrpərˈeɪʃən. ɪz kɔɪ əˈbaʊt ˈrɛvəˌnu ˈnəmbərz, bət sɪz ðə ˈkəmpəˌni ɪz ˈprɑfətəbəl. ðə ˈkəmpəˌni ɪz ˈpəmpɪŋ ɪts ˈprɑfɪts ˈɪntu dɪˈvɛləpɪŋ ɪts ˈprɑdəkt ənd həz naʊ ˈstɑrtɪd tɪ ˈstrɛŋθən ki ˈfəŋkʃənz səʧ ɛz seɪlz ənd ˈmɑrkətɪŋ ɪn boʊθ ˈjuˈɛs ənd ˈɪndiə. ɪts ˈɔfəs ɪz naʊ 20 ɪmˈplɔɪiz strɔŋ, ənd sərvz ˈkəstəmərz frəm 150 ˈkəntriz. ˈkoʊzi ənd ˈteɪstfəli dən əp, wɪθ ə ˈpæntri, ə ˈteɪbəl, ənd wɔl ɑrt ðət ʃoʊz ɔf ðə ˈgloʊbəl riʧ. maɪt bi smɔl, bət ˌpɑˈtɪkjələr əˈbaʊt ɪts wərk ˈkəlʧər. ɪmˈplɔɪiz gɪt macbooks*, deɪz ɔf ɔn ðɛr ˈbərθˌdeɪz, fri ˌmɛdəˈteɪʃən ənd ˈklæsɪz ɪn ðə ˈɔfəs ənd ə ˈmənθli ˈpərsɪnəl dɪˈvɛləpmənt əˈlaʊəns tɪ pərˈsu ðɛr ˈhɑbiz ər lərn nu skɪlz ˈaʊtˈsaɪd əv ðɛr wərk. ðiz ər ˈjuʒəwəli ˈtræpɪŋz əv ˈfəndɪd ˈstɑrˌtəps, bət həz ˈnɛvər ˈnidɪd tɪ reɪz ɪkˈstərnəl ˈfəndɪŋ. kəmˈplitli bootstrapped*, bət ˈoʊpən tɪ strəˈtiʤɪk partnerships,”*,” sɪz. simz tɪ bi pleɪɪŋ ɪts kɑrdz wɛl. ɪts kəmˈpɛtɪtərz, səʧ ɛz əˈdoʊbi ənd, ər juʤ ˈkəmpəˌniz, bət simz ˌriəˈʃʊrd ɪn ɪts ˈstɛdi, ˈkəstəmər ˈfoʊkɪst əˈproʊʧ. ənd ˈstɛdi dɪz sim tɪ bi ə gʊd weɪ tɪ dɪˈskraɪb ˈprɑfətəbəl, bət nɑt ˈglɪtsi; æmˈbɪʃəs, bət nɑt ˈrɛkləs. ənd dən wət ˈoʊnli fju ˈɪndiənz ˈkəmpəˌniz hæv dən ˌbiˈfɔr ɪt bɪlt ə səkˈsɛsfəl ˈgloʊbəl ˈbɪznɪs aʊt əv ˈɪndiə. ˈkɑmɛnts ˈkɑmɛnts
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startup offices aren’t usually hard to find in koramangla, bangalore’s bustling startup hub. funded startups like to announce their arrivals with parties, get-togethers, and large, prominent signs outside their offices. but from the road outside, there’s no indication that behind the glass windows on the first floor of an unobtrusive building, signeasy has been quietly making a name for itself across the world.
the lack of the sign outside its office is very symbolic of how sunil patro, signeasy’s 38 year old founder and ceo, runs his startup. he’s a soft-spoken man who at first glance doesn’t seem to exude the brash bravado that’s so common among founders these days. he’s never raised venture capital, and is more focussed on customer delight than crushing the competition. he hired his first marketer 5 years after he’d founded his company.
but a marketing team isn’t a priority when your product is profitable from the get go.
signeasy was founded in 2009, and its premise is deceptively simple – it lets you sign documents or send them for signature to others, straight from your smartphone, tablet or desktop. this eliminates the trouble of printing, signing and scanning, thereby creating a paperless office and helping in deals getting closed faster, better customer experience and reduced costs. the idea was born when patro was backpacking in mexico, and received a job offer which required him to send back a signed copy of the employment contract to his future employer. printing machines and scanners being in short supply on sun-kissed beaches, he wondered why he couldn’t come up with an app to do the job for him.
the timing was right – electronic signatures were increasingly being accepted in the us where he was based, and firms like docusign had enterprise solutions that let users sign documents on the web. “but there were no mobile apps for electronic signatures,” he says. “and there were no viable solutions for the one-time user or the small and medium business owners.” he sensed an opportunity. he was still backpacking across south america, so he remotely hired a developer in india to start developing the product. soon, signeasy had become a prototype.
this is when patro’s knowledge of the american market came in handy. he’d left for the us immediately after his graduation from iit kharagpur, and had over the next 10 years, had finished an ms degree and had stints at several large corporations and startups in the bay area. he began attending meetups and talked up signeasy. the product was unique, viable and patro knew how to market it. “the us market responds to certain packaging, and a certain style,” he says. “i was fortunate to know what would work there.”
and soon, signeasy took off, without large marketing budgets or expensive ad campaigns. “the growth has been pretty much organic and product-driven,” says bhupinder singh, marketer at signeasy. it also helped that signeasy started at the right time – in 2009, the app store wasn’t overflowing with apps as it is now, and signeasy was soon getting loads of organic downloads. then it received its first big break – it was featured by apple in its list of best business apps for 3 consecutive years. instant international recognition followed, along with a couple of appearances in apple tv commercials and apple retail store demos worldwide, the holy grail for ios developers around the world. you may have also recently spotted signeasy featured on google play among the best of 2016 apps.
signeasy’s success could be attributed to its product. patro’s eyes gleam with intensity when he talks about signeasy and its features. adding a signature to a document might seem trivial, but a lot of thought has gone into the user flows. there are inbuilt security features like the ‘document edit notification’ to prevent any unauthorised use. though in signeasy’s 6 year run time, the company has never faced an issue of product abuse.
apart from simple signatures, the company is looking at covering all use cases, such as signatures required on a set of documents, like in a real world envelope. signeasy was initially developed for mobile, but now has a web version, and a host of partnerships, including integrations with outlook, gsuite, and zoho. patro is a cleartrip alumnus, so a certain design aesthetic shines through in the product.
and while it might not be a household name in india yet, signeasy is big.
the app has been downloaded over 4 million times and nearly 5% of downloads become paid customers – that translates into 1,30,000 paid customers.
most of these customers are from the us and canada, starting from freelancers, solopreneurs, small business owners to departments such as hr, sales, legal, accounting in larger organizations. over 40% of the customers have annual subscriptions with a high affinity for the product. signeasy boasts of big-name customers such as xerox, cintas, avis budget, equinix, intertrust, axa insurance, united nations and us data corporation. patro is coy about revenue numbers, but says the company is profitable.
the company is pumping its profits into developing its product and has now started to strengthen key functions such as sales and marketing in both us and india. its koramangala office is now 20 employees strong, and serves customers from 150 countries. it’s cosy and tastefully done up, with a pantry, a tt table, and wall art that shows off the company’s global reach.
signeasy might be small, but it’s particular about its work culture. employees get macbooks, days off on their birthdays, free meditation and zumba classes in the office and a monthly personal development allowance to pursue their hobbies or learn new skills outside of their work.
these are usually trappings of funded startups, but signeasy has never needed to raise external funding. “we’re completely bootstrapped, but we’re open to strategic partnerships,” says patro. signeasy seems to be playing its cards well. its competitors, such as adobe and docusign, are huge companies, but signeasy seems reassured in its steady, customer focused approach.
and steady does seem to be a good way to describe signeasy – it’s profitable, but not glitzy; ambitious, but not reckless. and it’s done what only few indians companies have done before it – built a successful global saas business out of india.
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"sharknado*" ˈwəzənt ɪˈnəf tɪ kip ɑr əˈtɛnʃən, əˈpɛrəntli. ðɪs jɪr əˈmɛrɪkənz ər ɔn peɪs tɪ spɛnd mɔr taɪm ɔn ˈdɪʤɪtəl dɪˈvaɪsɪz ðən ɪn frənt əv ðɛr ˈtɛləˌvɪʒənz əˈkɔrdɪŋ tɪ ə ˈstədi riˈlist baɪ ɔn ˈθərzˌdeɪ. ˈædəlts ɪn ðə juˈnaɪtɪd steɪts wɪl spɛnd mɔr ðən faɪv aʊərz iʧ deɪ ɔn ˈmoʊbəl ækˈtɪvɪtiz," ˌɪnˈkludɪŋ ˈɪntərˌnɛt juz ɔn foʊnz ənd ˈtæbləts, ənd əˈbaʊt aʊərz ˈwɑʧɪŋ ˌtɛləˈvɪʒən, əˈkɔrdɪŋ tɪ ðə ˈstədi, wɪʧ lʊkt æt ˈdætə frəm ə vərˈaɪəti əv ˈsɔrsəz ˌɪnˈkludɪŋ ˌækəˈdɛmɪk ˌpəblɪˈkeɪʃənz ənd ˈɔdiəns ˈmɛʒərmənt ˈaʊˌtlɛts. ðə ˈævərɪʤ əˈmɛrɪkən wɪl spɛnd ˈɔlˌmoʊst ən aʊər mɔr ɔn hɪz ər hər foʊn ðɪs jɪr kəmˈpɛrd tɪ læst jɪr, əˈkɔrdɪŋ tɪ ðə rɪˈpɔrt. ɛz məʧ ɛz wid laɪk tɪ hip bleɪm fər ðə ʧeɪnʤ ɔn ðə pur ˈɔfərɪŋz ɔn ˈtɛləˌvɪʒən ðiz deɪz (nɑt ɪˈnəf "ˈbreɪkɪŋ bæd" tu məʧ "ril ˈhaʊsˌwaɪvz"), ðə ˈrizən bɪˈhaɪnd ðə ʃɪft ˈæˌkʧuəli həz mɔr tɪ du wɪθ əˈmɛrɪkənz' ˌɪnˈkrisɪŋ juz əv smɑrt foʊnz. waɪl ðə ˈævərɪʤ əˈmaʊnt əv taɪm spɛnt ˈwɑʧɪŋ ˌtɛləˈvɪʒən ənd ɔn kəmˈpjutərz həz nɑt ʧeɪnʤd məʧ ˈoʊvər ðə jɪrz, ˈpipəl ər ˈspɛndɪŋ mɔr taɪm ˈɔnˌlaɪn ɔn ðɛr foʊnz. ðɪs jɪr 61 pərˈsɛnt əv əˈmɛrɪkən sɛl foʊn ˈoʊnərz wər ˈjuzɪŋ əp frəm 21 pərˈsɛnt ɪn 2010 əˈkɔrdɪŋ tɪ ˈnilsən.
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"sharknado" wasn't enough to keep our attention, apparently. this year americans are on pace to spend more time on digital devices than in front of their televisions according to a study released by emarketer on thursday.
adults in the united states will spend more than five hours each day on "nonvoice mobile activities," including internet use on phones and tablets, and about four-and-a-half hours watching tv, according to the study, which looked at data from a variety of sources including academic publications and audience measurement outlets. the average american will spend almost an hour more on his or her phone this year compared to last year, according to the report.
as much as we'd like to heap blame for the change on the poor offerings on television these days (not enough "breaking bad" too much "real housewives"), the reason behind the shift actually has more to do with americans' increasing use of smart phones. while the average amount of time spent watching tv and on computers has not changed much over the years, people are spending more time online on their phones.
this year 61 percent of american cell phone owners were using smartphones up from 21 percent in 2010, according to nielsen.
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ðə trəmp ædˌmɪnɪˈstreɪʃən ɔn ˈtuzˌdeɪ əˈnaʊnst plænz tɪ ɛnd ðə dɪˈfərd ˈækʃən fər ˈʧaɪlˌdhʊd ərˈaɪvəlz ˈproʊˌgræm, ə ˌkɑntrəˈvərʃəl ˈpɑləsi ðət ʃildz frəm ˌdipɔrˈteɪʃən ˈnɪrli jəŋ ˈɪməgrənts ˈlɪvɪŋ ɪn ðə ˈkəntri ˌɪˈligəli ˈæftər biɪŋ brɔt tɪ ðə ˈjuˈɛs ɛz ˈmaɪnərz. əˈtərni ˈʤɛnərəl ʤɛf ˈsɛʃənz sɛd ɪn ə prɛs ˈkɑnfərəns ðət ðə trəmp ædˌmɪnɪˈstreɪʃən wʊd bɪˈgɪn "ən ˈɔrdərli ənd ˈlɔfəl wind-down*" əv ðə ˈproʊˌgræm, ərˈɪʤənəli ˈɪmpləˌmɛnəd baɪ ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə ɪn 2012 "tɪ hæv ə ˈlɔfəl ˈsɪstəm əv ˌɪməˈgreɪʃən ðət sərvz ðə ˈnæʃənəl ˈɪntəˌrɛst, wi ˈkænɑt ədˈmɪt ˈɛvriˌwən ðət wɔnts tɪ kəm hir," ˈsɛʃənz sɛd. "ɛz əˈtərni ˈʤɛnərəl, ɪt ɪz maɪ ˈduti tɪ ɪnˈʃʊr ðət ðə lɔz əv ðə juˈnaɪtɪd steɪts ər ɛnˈfɔrst ənd ðət ðə ˌkɑnstəˈtuʃənəl ˈɔrdər ɪz əˈphɛld." ˈsɛʃənz ˈɔlsoʊ ˌlæmˈbæstɪd ˌoʊˈbɑmə fər ˈɪmpləˌmɛnɪŋ ən "ˌənˌkɑnstəˈtuʃənəl ˈɛksərˌsaɪz əv əˈθɔrəti," ənd hi dɪˈskraɪbd ðə rɪˈsɪpiənts ɛz "ˈmoʊstli ˈædəlt ˌɪˈligəl ˈeɪliənz" ðət hæd dɪˈpraɪvd əˈmɛrɪkən ˈsɪtɪzənz əv ʤɑbz ənd ɪnˈkərəʤd ˈfərðər ˌɪˈligəl ˌɪməˈgreɪʃən. "ðə ˈifɛkt əv ðɪs ˌjunəˈlætərəl ɪgˈzɛkjətɪv ˈæmnəsti, əˈməŋ ˈəðər θɪŋz, kənˈtrɪbjutɪd tɪ ə sərʤ əv ˌənəˈkəmpənid ˈmaɪnərz ɔn ðə ˈsəðərn ˈbɔrdər ðət ˈjildɪd ˈtɛrəbəl ˌjuˌmænəˈtɛriən ˈkɑnsəkˌwɛnsəz," ˈsɛʃənz sɛd. "ɪt ˈɔlsoʊ dɪˈnaɪd ʤɑbz tɪ ˈhənərdz əv ˈθaʊzənz əv əˈmɛrɪkənz baɪ əˈlaʊɪŋ ðoʊz seɪm ʤɑbz tɪ goʊ tɪ ˌɪˈligəl ˈeɪliənz." ˈprɛzɪdənt ˈdɑnəld trəmp sɛd ɪn ə ˈsteɪtmənt ðət ðə ˈækʃən wɑz eɪmd æt kriˈeɪtɪŋ ə ˈpərmɑˌnɛnt ˈlɛʤəsˌleɪtɪv səˈluʃən tɪ ðə ˈɪʃu. "ðɛr kən bi noʊ pæθ tɪ ˈprɪnsəpəld ˌɪməˈgreɪʃən rɪˈfɔrm ɪf ðə ɪgˈzɛkjətɪv brænʧ ɪz ˈeɪbəl tɪ ˈriˌraɪt ər ˈnələˌfaɪ ˈfɛdərəl lɔz æt wɪl," hi sɛd, ˈædɪŋ, "ɪt ɪz naʊ taɪm fər ˈkɑŋgrəs tɪ ækt!" ˈbæˌklæʃ tɪ ðə əˈnaʊnsmɛnt wɑz swɪft. ˌdɛməˈkrætɪk ˈlɔˌmeɪkərz kɔld ðə trəmp ædˌmɪnɪˈstreɪʃənz dɪˈsɪʒən "ˈhɑrtləs" ənd "ˈʃeɪmfəl." "moʊst əˈmɛrɪkənz noʊ haʊ ˈhɑrtləs ðə dɪˈsɪʒən ɪz; ˈrɪpɪŋ əˈpɑrt ˈfæməliz ənd ˈtɛlɪŋ ˈpipəl hu hæv wərkt hɑrd tɪ bɪˈkəm əˈmɛrɪkənz fər jɪrz ðət ðeɪ hæv tɪ liv ðə ˈkəntri," ˈsɛnɪt məˈnɔrəti ˈlidər ʧək ˈʃumər sɛd ɪn ə ˈsteɪtmənt. "ðə ˈjumən ənd ˌɛkəˈnɑmɪk toʊl əv rɪˈsɪndɪŋ wɪl bi fɑr ˈriʧɪŋ ənd ˈdɛməˌkræts wɪl du ˈɛvriˌθɪŋ wi kən tɪ prɪˈvɛnt ˈprɛzɪdənt trəmps ˈtɛrəbli rɔŋ ˈɔrdər frəm bɪˈkəmɪŋ ˌriˈæləˌti." haʊs məˈnɔrəti ˈlidər ˈnænsi pɛˈloʊsi ɪn ə ˈsteɪtmənt kɔld ðə dɪˈsɪʒən "ə ˈdipli ˈʃeɪmfəl ækt əv pəˈlɪtɪkəl ˈkaʊərdəs ənd ə dɪˈspɪkəbəl əˈsɔlt ɔn ˈɪnəsənt jəŋ ˈpipəl ɪn kəmˈjunɪtiz əˈkrɔs əˈmɛrɪkə." haʊs ˈspikər pɔl raɪən, hu hæd ɪn ˈrisənt deɪz ˈkrɪtəˌsaɪzd ðə ˈnoʊʃən əv riˈpilɪŋ, sɛd hi hoʊpt ðə haʊs, ˈsɛnɪt, ənd trəmp ædˌmɪnɪˈstreɪʃən wʊd kəm təˈgɛðər tɪ kriˈeɪt ə "ˈpərmɑˌnɛnt ˈlɛʤəsˌleɪtɪv səˈluʃən ðət ˌɪnˈkludz ɪnˈʃʊrɪŋ ðət ðoʊz hu hæv dən ˈnəθɪŋ rɔŋ kən stɪl kənˈtrɪbjut ɛz ə ˈvæljud pɑrt əv ðɪs greɪt ˈkəntri." "ˌhaʊˈɛvər well-intentioned*, ˈprɛzɪdənt ˌoʊˈbɑməz ˈproʊˌgræm wɑz ə klɪr əˈbjuz əv ɪgˈzɛkjətɪv əˈθɔrəti, ən əˈtɛmpt tɪ kriˈeɪt lɔ aʊt əv θɪn ɛr," raɪən sɛd ɪn ə ˈsteɪtmənt. "ʤɪst ɛz ðə kɔrts hæv ɔˈrɛdi strək daʊn ˈsɪmələr ˌoʊˈbɑmə ˈpɑləsi, ðɪs wɑz ˈnɛvər ə ˈvaɪəbəl ˈlɔŋˈtərm səˈluʃən tɪ ðɪs ˈʧælənʤ." 'ən ˈɔrdərli ənd ˈlɔfəl wind-down*' ˈprɛzɪdənt ˈdɑnəld trəmp ˈspikɪŋ əˈbaʊt tæks rɪˈfɔrm æt ðə ˈlɔrən kʊk ˈkəmpəˌni ɔn ˈwɛnzˌdeɪ ɪn ˈsprɪŋˌfild, məˈzʊri. əˈsoʊʃiˌeɪtəd ˈbrændən ˈsɛʃənz geɪv noʊ ˈditeɪlz ɔn haʊ ðə ˈproʊˌgræm wʊd bi wund daʊn, bət ə prɛs riˈlis frəm ðə dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti fərst ˌriˈpɔrtəd baɪ ðə nuz ˈwɛbˌsaɪt axios—*— sɛd ðə ˈproʊˌgræm wʊd bi feɪzd aʊt ˈoʊvər sɪks mənθs. ðə riˈlis, frəm ˌiˈleɪn duk, ðə ˈæktɪŋ ˈsɛkrəˌtɛri, sɛd noʊ rɪˈsɪpiənts "wɪl bi ˌɪmˈpæktɪd ˌbiˈfɔr mɑrʧ 5 2018 ˈnɪrli sɪks mənθs frəm naʊ, soʊ ˈkɑŋgrəs kən hæv taɪm tɪ dɪˈlɪvər ɔn əˈproʊpriˌeɪt ˈlɛʤəsˌleɪtɪv səˈluʃənz. "ˌhaʊˈɛvər," ðə riˈlis kənˈtɪnjud, "aɪ wɔnt tɪ bi klɪr ðət noʊ nu ˌɪˈnɪʃəl rɪkˈwɛsts ər əˈsoʊʃiˌeɪtəd ˌæpləˈkeɪʃənz faɪld ˈæftər təˈdeɪ wɪl bi ˈæktɪd ɔn." ðə dɪˈleɪd rɪˈpil ˈifɛktɪvli kɪks ðə ˈɪʃu tɪ ˈkɑŋgrəs fər ə ˌrɛzəˈluʃən. ˈərliər ˈtuzˌdeɪ, trəmp faɪərd ə ˈwɔrnɪŋ ʃɑt. "ˈkɑŋgrəs, gɪt ˈrɛdi tɪ du jʊr ʤɑb !" hi roʊt ɔn tˈwɪtər. əˈkɔrdɪŋ tɪ ən ˈeɪˌbiˌsi nuz rɪˈpɔrt, wɪʧ ˈsaɪtɪd tu ædˌmɪnɪˈstreɪʃən əˈfɪʃəlz, ðə nu ˈpɑləsi wɪl ˈdɪkˌteɪt ðət ðə ˈfɛdərəl ˈgəvərnmənt wɪl nɑt əkˈsɛpt ˌæpləˈkeɪʃənz ˈdeɪtɪd ˈæftər sɛpˈtɛmbər 5 bət wɪl kənˈtɪnju tɪ ˈprɔˌsɛs ɪgˈzɪstɪŋ ˌæpləˈkeɪʃənz. ðə ˈpɑləsi wɪl ˈɔlsoʊ əˈlaʊ rɪˈsɪpiənts wɪθ ˈpərˌmɪts ðət ɪkˈspaɪr ˌbiˈfɔr mɑrʧ 5 2018 ə mənθ frəm ˈtuzˌdeɪ tɪ əˈplaɪ fər ə rɪˈnuəl. ðə ˈpɑləsi wʊd ˈifɛktɪvli ɪnˈʃʊr ðət səm rɪˈsɪpiənts kʊd luz ðɛr ˈpərˌmɪts ɛz ˈərli ɛz mɑrʧ 6 2018 waɪl ˈəðərz meɪ kənˈtɪnju tɪ juz ðə ˈproʊˌgræm ˈoʊvər ðə nɛkst tu jɪrz. ðə əˈfɪʃəlz toʊld ˈeɪˌbiˌsi ðət ðə ˈfɛdərəl ˈgəvərnmənt wʊd praɪˈɔrəˌtaɪz fər ˌdipɔrˈteɪʃən ˈɪməgrənts hu hæv kəˈmɪtɪd kraɪmz ˌənrɪˈleɪtɪd tɪ ˌɪməˈgreɪʃən, nɑt ˈfɔrmər rɪˈsɪpiənts, ˈivɪn ɪf ˈkɑŋgrəs dɪz nɑt ɪˈnækt nu prəˈtɛkʃənz ˈoʊvər ðə nɛkst sɪks mənθs. ðə ˈwaɪdli ænˈtɪsəˌpeɪtɪd dɪˈsɪʒən keɪm ˈæftər boʊθ ðə dɪˈpɑrtmənt əv ˈʤəstɪs ənd ðə dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti rɪˈpɔrtədli hɛld ˌɪnˈtərnəl dɪˈskəʃənz əˈbaʊt ðə feɪt əv ðə ˈproʊˌgræm ɪn ˈrisənt wiks. trəmp rɪˈpitɪdli vaʊd θruaʊt hɪz ˌprɛzɪˈdɛnʃəl kæmˈpeɪn tɪ ˈtərməˌneɪt, ˈblæstɪŋ ðə ˈpɑləsi ɛz ˌənˌkɑnstəˈtuʃənəl. jɛt hi hæd ˈweɪvərd ɔn ðə ˈproʊˌgræm ˈdʊrɪŋ hɪz ˈprɛzɪdənsi. "wi ər goʊɪŋ tɪ dil wɪθ wɪθ hɑrt," trəmp sɛd æt ə ˈfɛbruˌɛri nuz ˈkɑnfərəns, ˈædɪŋ ðət ðə dɪˈsɪʒən wɑz "ˈvɛri, ˈvɛri ˈdɪfəkəlt." "tɪ mi, ɪts wən əv ðə moʊst ˈdɪfəkəlt ˈsəbʤɪkts aɪ hæv bɪˈkəz ju hæv ðiz ˌɪnˈkrɛdəbəl kɪdz ɪn ˈmɛni ˈkeɪsɪz, nɑt ɪn ɔl ˈkeɪsɪz," hi sɛd. "bət ju hæv səm ˌæbsəˈlutli ˌɪnˈkrɛdəbəl kɪdz aɪ wʊd seɪ ˈmoʊstli ðeɪ wər brɔt hir ɪn səʧ ə weɪ. ɪts ə ˈvɛri, ˈvɛri təf ˈsəbʤɪkt." wət ɪz? ˌoʊˈbɑmə lɔnʧt ɪn 2012 ˈɔfərɪŋ jəŋ ˈɪməgrənts ðə ʧæns tɪ əˈplaɪ fər ˈtɛmpərˌɛri prəˈtɛkʃən frəm ˌdipɔrˈteɪʃən. ðə ˈproʊˌgræm dɪz nɑt grænt ˈligəl ˈstætəs tɪ ˈɪməgrənts, nɔr dɪz ɪt pʊt ðɛm ɔn pæθs tɪ ˈsɪtɪzənˌʃɪp ər ˌligələˈzeɪʃən, bət ðə prəˈtɛkʃən əˈlaʊz ðɛm tɪ rɪˈsiv ˌɔθərəˈzeɪʃən tɪ wərk ˈligəli ɪn ðə ˈjuˈɛs ənd ɪn ˈsərtən steɪts tɪ əˈplaɪ fər ə ˈdraɪvərz ˈlaɪsəns. ˌɪməˈgreɪʃən ˈædvəˌkeɪts hæv ˈplidɪd wɪθ trəmp tɪ kip ðə ˈproʊˌgræm ɪn pleɪs. ðeɪ hæv ˈɑrgjud ðət ðə ˈɪməgrənts hu ˈbɛnəfɪt frəm ʃʊd bi ˈtritɪd wɪθ kəmˈpæʃən ðeɪ wər ˈtɪpɪkəli brɔt tɪ ðə ˈjuˈɛs baɪ ðɛr ˈpɛrənts æt ə ˈvɛri jəŋ eɪʤ ənd ɪn ˈmɛni ˈkeɪsɪz gru əp wɪˈθaʊt ˈriəˌlaɪzɪŋ ðeɪ lɪvd ɪn ðə ˈkəntri ˌɪˈligəli. rɪˈsɪpiənts, noʊn ˈfrikwɛntli ɛz "ˈdrimərz," ər rikˈwaɪərd tɪ mit kraɪˈtɪriə səʧ ɛz ˈnɛvər ˈhævɪŋ bɪn kənˈvɪktəd əv ə ˈfɛləni ər "sɪgˈnɪfɪkənt" ˌmɪsdəˈminər. ˈpipəl ɪn nu jɔrk ˈsɪti ˈproʊˌtɛstɪŋ trəmps prəˈpoʊzd ɛnd əv ðə ˈproʊˌgræm. ˈtɑmsən ˈrɔɪtərz ˈkrɪtɪks ˌɪnˈkludɪŋ ˈprɑmənənt trəmp ædˌmɪnɪˈstreɪʃən əˈfɪʃəlz laɪk ˈsɛʃənz hæv dɪˈraɪdɪd ðə ˈproʊˌgræm ɛz ən əˈbjuz əv ˌoʊˈbɑməz ˌprɛzɪˈdɛnʃəl paʊər ənd ˈkrɪtəˌsaɪzd ɪts brɔd skeɪl, ðə kəmˈpoʊnənt, ənd ðə pəˈtɛnʃəl fər ˈɪməgrənts tɪ ˌɛkˈsplɔɪt ə ˈluˌphoʊl ðət kʊd pleɪs ðɛm ɔn ə pæθ tɪ ˈsɪtɪzənˌʃɪp. ðə ˈlɪŋgərɪŋ ənˈsərtənti əraʊnd fˈjuʧər ˈəndər ðə trəmp ædˌmɪnɪˈstreɪʃən həz rɔɪld ðə ˈɪməgrənt kəmˈjunɪti fər mənθs ənd lɛft rɪˈsɪpiənts ˈpænɪkt ənd ənˈʃʊr əv wət stɛps tɪ teɪk ɪn ðə ˈminˌtaɪm. "ðɛr ɪn ˈpænɪk moʊd," sɛd, ən ˌɪməˈgreɪʃən ˈlɔjər æt ðə lɔ fərm ˈwɪðərz ˈbərgmən, huz klaɪənts ˌɪnˈklud rɪˈsɪpiənts ənd ðɛr ɪmˈplɔɪərz. ˌɪnˈvaɪtɪd ˈpipəl hu wər ɪn ðə ˈʃæˌdoʊz tɪ kəm fɔrθ, gɪt ˈteɪkən, gɪt pʊt ɪn ðə ˈsɪstəm, gɪt ə ˈsoʊʃəl sɪˈkjʊrəti ˈnəmbər, gɪt ə ʤɑb, teɪk aʊt ə loʊn, ˈoʊpən ə bæŋk əˈkaʊnt, gɪt ə ˈkrɛdɪt kɑrd," toʊld ˈbɪznɪs ˌɪnˈsaɪdər. "ðɛr ˈwəndərɪŋ, 'naʊ ðət əm noʊ ˈlɔŋgər prəˈtɛktɪd, kən aɪs naʊ kəm ənd faɪnd mi? bɪˈkəz aɪs naʊ noʊz wɛr aɪ lɪv, wɛr aɪ wərk.'" ðə ˌəltəˈmeɪtəm kɛn ˈpækstən, ðə ˈtɛksəs əˈtərni ˈʤɛnərəl, æˈdrɛsɪŋ ðə ˈoʊpənɪŋ ˈsɛʃən əv ðə ˈtɛksəs ˈlɛʤəsˌleɪʧər ɪn 2011 ɪn ˈɔstən, ˈtɛksəs. ˌeɪˈpi geɪ ðoʊ trəmps stæns təˈwɔrd ðə ˈproʊˌgræm hæd ˈweɪvərd, hi wɑz rikˈwaɪərd tɪ meɪk ə dɪˈsɪʒən baɪ ˈtuzˌdeɪ ər feɪs ə ˈlɔˌsut. ɪn ʤun, 10 əˈtərniz ˈʤɛnərəl, lɛd baɪ ˈtɛksəs əˈtərni ˈʤɛnərəl kɛn ˈpækstən, roʊt tɪ ˈsɛʃənz ˈsɛtɪŋ ðə sɛpˈtɛmbər ˈdɛˌdlaɪn ənd θˈrɛtənɪŋ tɪ su ˈoʊvər ˈjuzɪŋ ðə seɪm ˈligəl ˈfreɪmˌwərk ðət səkˈsɛsfəli ˈʧælənʤd ə 2014 ɪkˈspænʧən tɪ ənd ðə ɪˈstæblɪʃmənt əv ə kəmˈpænjən ˈproʊˌgræm, dɪˈfərd ˈækʃən fər ˈpɛrənts əv əˈmɛrɪkənz ənd ˈlɔfəl ˈpərmɑˌnɛnt ˈrɛzɪdənts. ðə ˈlɛtər kɔld "ənˈlɔfəl" ənd sɛd ɪt "ˌjunəˈlætərəli kənˈfərz ˌɛlɪʤəˈbɪlɪti fər wərk ˌɔθərəˈzeɪʃən ənd ˈlɔfəl ˈprɛzəns wɪˈθaʊt ˈɛni ˈstæʧəˌtɔri ˌɔθərəˈzeɪʃən frəm ˈkɑŋgrəs." ɛz ðə ˈdɛˌdlaɪn fər ə dɪˈsɪʒən dru nɪr, ˌɪməˈgreɪʃən ˈædvəˌkeɪts ˈpɔɪntɪd tɪ ðə ˈkɑnsəkˌwɛnsəz əv rɪˈsɪndɪŋ prəˈtɛkʃən ənd wərk ˌɔθərəˈzeɪʃən frəm ðə ˈnɪrli ˈɪməgrənts hu dɪˈpɛnd ɔn ɪt. ə ˈrisənt ˈstədi baɪ ðə ˈsɛnər fər əˈmɛrɪkən ˈprɑˌgrɛs ənd ðə ˈlɑbiɪŋ grup faʊnd ðət ɪf wər rɪˈpild, ˈrəfli ˈwərkərz wʊd luz ðɛr ʤɑbz ˈoʊvər ðə nɛkst tu jɪrz ənd ðə ˈɛstəˌmeɪtɪd lɔs əv ðɛr ˈleɪbər kʊd kɔst ðə ˈkəntri ˈbɪljən ɪn ˌɛkəˈnɑmɪk ˈaʊtˌpʊt ˈoʊvər ðə nɛkst ˈdɛkeɪd. "ˈɛndɪŋ wʊd pleɪs səˈvɪr ˌɛkəˈnɑmɪk streɪn ɔn ˈbɪznɪsɪz əraʊnd ðə ˈkəntri, ˈpʊtɪŋ ðɛm ˈɪntu ðə ˌɪmˈpɑsəbəl ənd ɪkˈstrimli ˈkɔstli pəˈzɪʃən əv ˈhævɪŋ tɪ faɪər pərˈdəktɪv ɪmˈplɔɪiz fər noʊ ˈəðər ˈrizən ðən ən ˈɑrbɪˌtrɛri ʧeɪnʤ ɪn ˈfɛdərəl ˈpɑləsi, pəˈtɛnʃəli rɪˈzəltɪŋ ɪn ˈbæˌklæʃ frəm ˈəðər ɪmˈplɔɪiz ər ðɛr ˈbrɔdər kəmˈjunɪti," ðə rɪˈpɔrt sɛd. ðə ˌɪnˈtɛns frəm ˌɪməˈgreɪʃən ˈædvəˌkeɪts tɪ ə pəˈtɛnʃəl rɪˈpil əv ˈhæzənt ˈfɑlən ɔn dɛf ɪrz ɔn ˈfraɪˌdeɪ, wən əv ðə 10 əˈtərniz ˈʤɛnərəl hu saɪnd ðə ərˈɪʤənəl ˈlɛtər əˈnaʊnst hɪz steɪt wʊd stænd daʊn ɔn ðə ˈlɔˌsut, ˈsaɪtɪŋ ðə "ˈjumən ˈɛləmənt" əv rɪˈsɪndɪŋ ðə ˈproʊˌgræm. "ˈmɛni əv ðə rɪˈsɪpiənts, səm əv huz ˈrɛkərdz aɪ rivˈjud, hæv ˌaʊtˈstændɪŋ əˈkɑmplɪʃmənts ənd ˈlɔdəbəl æmˈbɪʃənz, wɪʧ ɪf əˈʧivd, wɪl bi əv greɪt ˈbɛnəfɪt ənd ˈsərvɪs tɪ ɑr ˈkəntri," ˌtɛnəˈsi əˈtərni ˈʤɛnərəl ˈhərbərt roʊt ɪn ə ˈlɛtər tɪ ðə steɪts tu rɪˈpəblɪkən ˈsɛnətərz. "ðeɪ hæv ən əˌpriʃiˈeɪʃən fər ðə ˌɑpərˈtunətiz əˈfɔrdəd ðɛm baɪ ɑr ˈkəntri ɑr ˈɔfəs həz ˌdɪˈsaɪdɪd nɑt tɪ ˈʧælənʤ ɪn ðə ˌlɪtəˈgeɪʃən, bɪˈkəz wi bɪˈliv ðɛr ɪz ə ˈbɛtər əˈproʊʧ."
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the trump administration on tuesday announced plans to end the deferred action for childhood arrivals program, a controversial obama-era policy that shields from deportation nearly 800,000 young immigrants living in the country illegally after being brought to the us as minors.
attorney general jeff sessions said in a press conference that the trump administration would begin "an orderly and lawful wind-down" of the program, originally implemented by president barack obama in 2012.
"to have a lawful system of immigration that serves the national interest, we cannot admit everyone that wants to come here," sessions said. "as attorney general, it is my duty to ensure that the laws of the united states are enforced and that the constitutional order is upheld."
sessions also lambasted obama for implementing an "unconstitutional exercise of authority," and he described the 800,000 daca recipients as "mostly adult illegal aliens" that had deprived american citizens of jobs and encouraged further illegal immigration.
"the effect of this unilateral executive amnesty, among other things, contributed to a surge of unaccompanied minors on the southern border that yielded terrible humanitarian consequences," sessions said. "it also denied jobs to hundreds of thousands of americans by allowing those same jobs to go to illegal aliens."
president donald trump said in a statement that the action was aimed at creating a permanent legislative solution to the issue.
"there can be no path to principled immigration reform if the executive branch is able to rewrite or nullify federal laws at will," he said, adding, "it is now time for congress to act!"
backlash to the announcement was swift. democratic lawmakers called the trump administration's decision "heartless" and "shameful."
"most americans know how heartless the daca decision is; ripping apart families and telling people who have worked hard to become americans for years that they have to leave the country," senate minority leader chuck schumer said in a statement. "the human and economic toll of rescinding daca will be far reaching and democrats will do everything we can to prevent president trump's terribly wrong order from becoming reality."
house minority leader nancy pelosi in a statement called the decision "a deeply shameful act of political cowardice and a despicable assault on innocent young people in communities across america."
house speaker paul ryan, who had in recent days criticized the notion of repealing daca, said he hoped the house, senate, and trump administration would come together to create a "permanent legislative solution that includes ensuring that those who have done nothing wrong can still contribute as a valued part of this great country."
"however well-intentioned, president obama's daca program was a clear abuse of executive authority, an attempt to create law out of thin air," ryan said in a statement. "just as the courts have already struck down similar obama policy, this was never a viable long-term solution to this challenge."
'an orderly and lawful wind-down'
president donald trump speaking about tax reform at the loren cook company on wednesday in springfield, missouri. associated press/alex brandon
sessions gave no details on how the program would be wound down, but a press release from the department of homeland security — first reported by the news website axios— said the program would be phased out over six months.
the release, from elaine duke, the acting dhs secretary, said no daca recipients "will be impacted before march 5, 2018, nearly six months from now, so congress can have time to deliver on appropriate legislative solutions.
"however," the release continued, "i want to be clear that no new initial requests or associated applications filed after today will be acted on."
the delayed repeal effectively kicks the issue to congress for a resolution. earlier tuesday, trump fired a warning shot.
"congress, get ready to do your job - daca!" he wrote on twitter.
according to an abc news report, which cited two administration officials, the new policy will dictate that the federal government will not accept daca applications dated after september 5 but will continue to process existing applications.
the policy will also allow daca recipients with permits that expire before march 5, 2018, a month from tuesday to apply for a renewal.
the policy would effectively ensure that some daca recipients could lose their permits as early as march 6, 2018, while others may continue to use the program over the next two years.
the officials told abc that the federal government would prioritize for deportation immigrants who have committed crimes unrelated to immigration, not former daca recipients, even if congress does not enact new protections over the next six months.
the widely anticipated decision came after both the department of justice and the department of homeland security reportedly held internal discussions about the fate of the program in recent weeks.
trump repeatedly vowed throughout his presidential campaign to terminate daca, blasting the policy as unconstitutional. yet he had wavered on the program during his presidency.
"we are going to deal with daca with heart," trump said at a february news conference, adding that the decision was "very, very difficult."
"to me, it's one of the most difficult subjects i have because you have these incredible kids — in many cases, not in all cases," he said. "but you have some absolutely incredible kids — i would say mostly — they were brought here in such a way. it's a very, very tough subject."
what is daca?
obama launched daca in 2012, offering young immigrants the chance to apply for temporary protection from deportation. the program does not grant legal status to immigrants, nor does it put them on paths to citizenship or legalization, but the protection allows them to receive authorization to work legally in the us and in certain states to apply for a driver's license.
immigration advocates have pleaded with trump to keep the program in place. they have argued that the immigrants who benefit from daca should be treated with compassion — they were typically brought to the us by their parents at a very young age and in many cases grew up without realizing they lived in the country illegally. daca recipients, known frequently as "dreamers," are required to meet criteria such as never having been convicted of a felony or "significant" misdemeanor.
people in new york city protesting trump's proposed end of the daca program. thomson reuters
critics — including prominent trump administration officials like sessions — have derided the program as an abuse of obama's presidential power and criticized its broad scale, the work-authorization component, and the potential for immigrants to exploit a loophole that could place them on a path to citizenship.
the lingering uncertainty around daca's future under the trump administration has roiled the immigrant community for months and left daca recipients panicked and unsure of what steps to take in the meantime.
"they're in panic mode," said reaz jafri, an immigration lawyer at the law firm withers bergman, whose clients include daca recipients and their employers.
"daca invited people who were in the shadows to come forth, get biometrics taken, get put in the system, get a social security number, get a job, take out a loan, open a bank account, get a credit card," jafri told business insider.
"they're wondering, 'now that i'm no longer protected, can ice now come and find me? because ice now knows where i live, where i work.'"
the ultimatum
ken paxton, the texas attorney general, addressing the opening session of the 82nd texas legislature in 2011 in austin, texas. ap photo/eric gay
though trump's stance toward the program had wavered, he was required to make a decision by tuesday or face a lawsuit. in june, 10 attorneys general, led by texas attorney general ken paxton, wrote to sessions setting the september deadline and threatening to sue over daca using the same legal framework that successfully challenged a 2014 expansion to daca and the establishment of a companion program, deferred action for parents of americans and lawful permanent residents.
the letter called daca "unlawful" and said it "unilaterally confers eligibility for work authorization … and lawful presence without any statutory authorization from congress."
as the deadline for a decision drew near, immigration advocates pointed to the consequences of rescinding protection and work authorization from the nearly 800,000 immigrants who depend on it. a recent study by the left-leaning center for american progress and the lobbying group fwd.us found that if daca were repealed, roughly 700,000 workers would lose their jobs over the next two years and the estimated loss of their labor could cost the country $460.3 billion in economic output over the next decade.
"ending daca would place severe economic strain on businesses around the country, putting them into the impossible and extremely costly position of having to fire productive employees for no other reason than an arbitrary change in federal policy, potentially resulting in backlash from other employees or their broader community," the report said.
the intense pushback from immigration advocates to a potential repeal of daca hasn't fallen on deaf ears — on friday, one of the 10 attorneys general who signed the original letter announced his state would stand down on the lawsuit, citing the "human element" of rescinding the program.
"many of the daca recipients, some of whose records i reviewed, have outstanding accomplishments and laudable ambitions, which if achieved, will be of great benefit and service to our country," tennessee attorney general herbert slatery wrote in a letter to the state's two republican senators.
"they have an appreciation for the opportunities afforded them by our country … our office has decided not to challenge daca in the litigation, because we believe there is a better approach."
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əˈmɪdst dɪˌzɪnfərˈmeɪʃən kæmˈpeɪnz eɪmd æt teachers[i*] ənd ə ˈfɛdərəl riˈtrit frəm dəˈmɛstɪk ənd ˌɪnərˈnæʃənɑl ˈklaɪmɪt səˈluʃənz, juz. ˈkɑlɪʤɪz ənd ˌjunəˈvərsətiz pleɪ ən ˈivɪn mɔr ˌɪmˈpɔrtənt roʊl ðən ˈɛvər ɪn əˈphoʊldɪŋ ˌɛʤəˈkeɪʃən ənd pərˈpɛrɪŋ ðə fˈjuʧər ˈwərkˌfɔrs. wɪn ðə kənˈsɛnsəs əˈməŋ ˈsaɪəntɪsts ɪz haɪər ðən 99 pərˈsɛnt ðət ˈjumənz ər ˈɔltərɪŋ ðə ˈklaɪmɪt, ˈstudənts æt ˈɛvəri ˈlɛvəl hæv ə raɪt tɪ lərn əˈbaʊt ðə ˈkɔzɪz, ˈifɛkts ənd səˈluʃənz ənd ˈɛʤəˌkeɪtərz hæv ən ˌɑbləˈgeɪʃən tɪ tiʧ them.[ii*] dɪˈspaɪt ðə ˈprɛʃər fər ˈprɑfɪts, ˈivɪn ˈkɔrpərət ˈlidərz əˈpriʃiˌeɪt ðə ˈbɛnəfɪts əv ˈklaɪmɪt ˈlidərˌʃɪp. ðɪs wik, ˈoʊvər juz. ˈbɪznɪsɪz, ˌɪnˈvɛstərz, ˈgəvərnərz, meɪərz, ənd ˈkɑlɪʤɪz ənd ˌjunəˈvərsətiz frəm əˈkrɔs ðə juz., ˌrɛprɪˈzɛnɪŋ ðə ˈbrɔdɪst krɔs ˈsɛkʃən əv ðə əˈmɛrɪkən ɪˈkɑnəmi jɛt əˈsɛmbəld ɪn pərˈsut əv ˈklaɪmɪt ˈækʃən, dɪˈklɛrd ðɛr ˌɪnˈtɛnt tɪ kənˈtɪnju tɪ ɪnˈʃʊr ðə juz. rɪˈmeɪnz ə ˈgloʊbəl ˈlidər ɪn rɪˈdusɪŋ ˈkɑrbən ɪˈmɪʃənz. æt ˈnæʃənəl ˈwaɪlˌdlaɪf ˌfɛdərˈeɪʃən, wi wərk təˈwɔrdz ðə ˈsɪmpəl bət ˈpaʊərfəl goʊl əv ˌɪnˈkrisɪŋ ˈwaɪlˌdlaɪf ˌpɑpjəˈleɪʃənz əˈkrɔs ðə juz. ˈklaɪmɪt ʧeɪnʤ ɪz wən əv ðə ˈbɪgəst ˈɑbstəkəlz, nəˈsɛsɪˌteɪtɪŋ ˌrɛstərˈeɪʃən əv sɔɪl ənd ˈhæbəˌtæt, ə ˈhoʊlˌseɪl ʃɪft təˈwɔrdz klin ˈɛnərʤi, ənd smɑrt ˈpɑləsiz æt ˈɛvəri ˈlɛvəl tɪ draɪv ˌɪnəˈveɪʃən ənd kriˈeɪt gʊd ʤɑbz. sɪns ðə steɪks ər soʊ haɪ fər fˈjuʧər ˌʤɛnərˈeɪʃənz, ˈjumən ənd ˈwaɪlˌdlaɪf, wi wʊd laɪk tɪ səˈʤɛst fɔr ˈækʃənz ðət wʊd bi ˈvæljəbəl æt ðɪs taɪm fər haɪər ˌɛʤəˈkeɪʃən ˈlidərz tɪ teɪk ənd tɪ brɪŋ əˈtɛnʃən tɪ ˈrisɔrsɪz kriˈeɪtɪd tɪ əˈsɪst baɪ ənd ɑr ˈpɑrtnərz: səˈpɔrt ˈtiʧərz ɪn ɑr kəmˈjunɪtiz ə ˈrisənt ˈsərˌveɪ əv ˈmɪdəl ənd haɪ skul ˈtiʧərz əˈkrɔs ðə juz. ˈpəblɪʃt ɪn saɪəns, rɪˈvilz ðə məˈʤɔrəti ər ˈgɪtɪŋ ˈklaɪmɪt saɪəns wrong.[iii*] ˈkɑlɪʤ ənd ˌjunəˈvərsəti ˈlidərz kən hɛlp ˈæˌdrɛs ðə ˈnɑlɪʤ gæp baɪ ˈhoʊstɪŋ ˈsɛməˌnɑrz ɔn ˈkæmpəs fər ˌɛləˈmɛnʧri ənd haɪ skul ˈtiʧərz ðət ɪkˈsplɔr ˌpɛdəˈgɑʤɪkəl əˈproʊʧɪz tɪ ˈtɑpɪks ðət wɪl ʃeɪp ðɛr students’*’ lɪvz ənd kərɪrz, səʧ ɛz ðə roʊl əv ðə ˌbaɪoʊdaɪˈvərsəti ɪn prəˈvaɪdɪŋ ˈikoʊˌsɪstəm ˈsərvɪsɪz, ˌɪmˈpækts ənd ˈkɔzɪz əv ˈklaɪmɪt ʧeɪnʤ, ənd nu kərɪr ˈpæθˌweɪz fər səˈluʃənz. ˈɔfərz ə vərˈaɪəti əv ˈrisɔrsɪz tɪ hɛlp θru ɑr ˈjuˈɛˈseɪ ˈproʊˌgræm, ənd ɪts ˈkɑlɪʤ ˈkaʊntərˌpɑrt, ˈproʊˌgræm. məˈtɪriəlz ˌɪnˈklud ɛˈsɛnʃəl ˈprɪnsəpəlz fər ˈtiʧɪŋ ˈklaɪmɪt ənd ˈɛnərʤi ˈtɑpɪks əˈkrɔs eɪʤ ˈlɛvəlz, kərˈɪkjəˌlɑ wɪθ ˈsæmpəl ˈlɛsən plænz, ənd ˈlərnɪŋ ˈrisɔrsɪz. priˈpɛr ˈstudənts tɪ lɛd fər ˈkɑlɪʤ ˈstudənts ənd jəŋ prəˈfɛʃənəlz, ˈɔfərz ə səˌsteɪnəˈbɪlɪti kərɪr ənd ˈlidərˌʃɪp dɪˈvɛləpmənt ˈproʊˌgræm. ðə ˈproʊˌgræm riʧt ə ˈmaɪlˌstoʊn ðɪs mənθ, sərˈpæsɪŋ ɛnˈroʊˈliz æt mɔr ðən 550 ˈkɑlɪʤɪz ənd ˌjunəˈvərsətiz ɪn ɔl 50 juz. steɪts ənd ˈmɛni ˈəðər ˈkəntriz əraʊnd ðə wərld. ðə ˈproʊˌgræm ˌɪnˈvɑlvz faɪv stɛps: kriˈeɪt ə ˈpərsɪnəl ˈmɪʃən ˈsteɪtmənt fər rɪˈzɪljənt kəmˈjunɪtiz, ədˈvæns ə səˌsteɪnəˈbɪlɪti ˈprɑʤɛkt, riʧ aʊt tɪ səˈpɔrt ˈəðərz, dɪˈvɛləp ə ˈpərsənəˌlaɪzd kərɪr plæn, ənd ərn ˌsərtəfəˈkeɪʃənz fər ˈlidərˌʃɪp. ˈəðər səˈpɔrts ˌɪnˈklud ə kərɪr ˈsɛnər ənd ˈænjuəl ˈkɑnfərəns ɪn ˈpɑrtnərˌʃɪp wɪθ ˈkæmpəs kərɪr ˈsərvɪsɪz ənd ɪmˈplɔɪərz, ə ˈbɪznɪs keɪs fər ˈkæmpəs ˈklaɪmɪt ˈækʃən, ə ˈkæmpəs ˈklaɪmɪt ˈækʃən ˈplænɪŋ gaɪd ənd ə kərˈɪkjələm ˈlidɪŋ tɪ ə sərˈtɪfɪkət əv ˈmæstəri əv səˌsteɪnəˈbɪlɪti ˌɛʤəˈkeɪʃən ɛˈsɛnʃəlz, ˈkəmɪŋ sun. ju kən ˈækˌsɛs ðə fʊl reɪnʤ əv ˈrisɔrsɪz ɪn ðə ˈkæmpəs ɪˈkɑləʤi ˈrisɔrs ˈsɛnər. kəˈlæbərˌeɪt wɪθ pɪrz θru ðə presidents’*’ ˈklaɪmɪt kəˈmɪtmənt ˈsɛkənd ˈneɪʧər, ən ˈpɑrtnər, hoʊsts ðə presidents’*’ ˈklaɪmɪt ˈlidərˌʃɪp kəˈmɪtmənts. ðə kəˈmɪtmənts, ˈkəvərɪŋ ˈklaɪmɪt, ˈkɑrbən nuˈtræləti, ənd rɪˈzɪljəns ənd ˌɛnˈʤɔɪɪŋ ˈnɪrli 800 ˈkɑlɪʤ ənd ˌjunəˈvərsəti ˈsɪgnəˌtɔriz, prəˈvaɪd səˈpɔrt fər ðə ɪgˈzɛkjətɪv ˈpɑləsiz ənd ˈlidərˌʃɪp ˌɪˈnɪʃətɪvz ðət kriˈeɪt haɪ pərˈfɔrmɪŋ ˈkɑlɪʤɪz ənd ˌjunəˈvərsətiz ðət seɪv ˈməni, kərb weɪst ənd ˈproʊdus ə haɪər ˌɛʤəˈkeɪʃənəl rɪˈtərn ɔn ˌɪnˈvɛstmənt. ðə ˈkæmpəs ɪˈkɑləʤi ˈrisɔrs ˈsɛnər həz ən əreɪ əv ˈrisɔrsɪz tɪ hɛlp ˈstudənts ənd ˈkæmpəs ˈlidərˌʃɪp əˈʧiv ðə eɪmz əv ðə kəˈmɪtmənts. ˈædvəˌkeɪt fər 20 ˈmɪljən ˈgloʊbəl səˌsteɪnəˈbɪlɪti ˈsɪtɪzənz ˈmɛni haɪər ˌɛʤəˈkeɪʃən ˈlidərz æsk ðɛr ˌnɑnˈprɔfɪt pɪrz tɪ wərk ənd təˈwɔrd ə ˈbɪgər ˈvɪʒən. ɪn ðət ˈspɪrɪt, fɔr ˌnɑnˈprɔfɪt ˌɔrgənəˈzeɪʃənz: ðə əˌsoʊʃiˈeɪʃən fər ðə ədˈvænsmənt əv səˌsteɪnəˈbɪlɪti ɪn haɪər ˌɛʤəˈkeɪʃən (aashe*),, ˈsɛkənd ˈneɪʧər, ənd ðə juz. grin ˈbɪldɪŋ ˈkaʊnsəl (usgbc*), ˌkoʊəˈlɛst ɪn fɔl əv 2015 tɪ səˈpɔrt ˈkɑlɪʤɪz ənd ˌjunəˈvərsətiz ɪn pərˈpɛrɪŋ 20 ˈmɪljən ˈgræʤəˌweɪts ˈrɛdi tɪ sərv ɛz səˌsteɪnəˈbɪlɪti citizens”*” baɪ 2025 ðə ɪgˈzɪstɪŋ səˌsteɪnəˈbɪlɪti ˈtrækɪŋ ənd ˈreɪtɪŋ ˈsɪstəm (stɑrz) sərvz ɛz ðə əˈsɛsmənt ˈɪnstrəmənt tɪ aɪˈdɛntəˌfaɪ ðə ˈkɔrsɪz ðət kˈwɑləˌfaɪ ənd ˈtæli ðə ˈstudənts ðət kˈwɑləˌfaɪ iʧ jɪr. ˈkɑlɪʤɪz ənd ˌjunəˈvərsətiz ðət pɑrˈtɪsəˌpeɪt ɪn ˈpɑrtnər ˈproʊˌgræmɪŋ rɪˈsiv ə 50 pərˈsɛnt ˌækˌsɛlərˈeɪʃən ˈkrɛdɪt fər wən ər mɔr əv θri ˈproʊˌgræmz, i.e*. ˈhoʊstɪŋ ðə ˈsɛnər fər grin lid læb, ˈsərvɪŋ ɛz ən ˈkæmpəs ˈpɑrtnər, ər ˈɪmpləˌmɛnɪŋ ðə presidents’*’ ˈklaɪmɪt kəˈmɪtmənts. ˈmuvɪŋ ˈfɔrwərd: ɪn ˈɛvəri eɪʤ, ðɛr ɪz rɪˈzɪstəns tɪ ʃɪfts ɪn tɛkˈnɑləʤi ənd ˈpræktɪs ðət kən ˌɪmˈpruv soʊˈsaɪɪti, ənd ðɪs eɪʤ ɪz noʊ ˈdɪfərənt. haɪər ˌɛʤəˈkeɪʃən ɪz ən ˌɪmˈpɔrtənt ˈbʊlwərk fər səˈluʃənz, ˈkrɪtɪkəl ˈθɪŋkɪŋ, ənd ðə ˈgreɪtər səˈsaɪɪtəl gʊd. ɛz ˈædvəˌkeɪts fər ˈwaɪlˌdlaɪf, wi ˈgreɪtli rɪˈspɛkt ðə haɪər ˌɛʤəˈkeɪʃən ˈlidərz əˈkrɔs ðə juz. ənd wərld hu hæv ðə kərɪʤ ənd ˈwɪzdəm tɪ stɛp əp fər ˌɛʤəˈkeɪʃən ənd ˈpɑləsiz. təˈgɛðər, wi kən ɪnˈʃʊr ðət ðə bɛst ʤɑbz ɔn ðə hərˈaɪzən wɪl bi fər ə ˈwərkˌfɔrs ɪkˈwɪpt wɪθ səˌsteɪnəˈbɪlɪti ˈnɑlɪʤ ənd skɪlz, ˈwɛðər ðoʊz ʤɑbz ˌɪnˈvɑlv dɪˈzaɪnɪŋ smɑrt ˈɛnərʤi ˈstɔrɪʤ ənd ˌdɪstrəˈbjuʃən ˈsɪstəmz, fɪˈnænsɪŋ ˈsoʊlər ˈsɪtiz, ər prəˈtɛktɪŋ ˈbridɪŋ graʊnz fər dəks ɪn ðə əˈmɛrɪkən ˈhɑrˌtlænd. pliz ˈkɑnˌtækt ðə tim æt 800 ər ɪf ju wʊd laɪk tɪ dɪˈskəs ˈɛni əv ðə əˈbəv ˈproʊˌgræmz. wi ˈwɛlkəm jʊr aɪˈdiəz ənd hɛlp. pliz æsk fər ˈɛni əv ðə ˈfɑloʊɪŋ tim ˈmɛmbərz: ˈʤuljən keniry*, ˈkɔrtni ˈkɑkrən, ˈdeɪvɪd corsar*, ˈkrɪsti ʤoʊnz, ər ˈvɪnsɪnt. [aɪ] ˈsɪmənz, ˈdeɪzi. ˈdubiəs əˈbaʊt ˈhɑrˌtlænd ˈklaɪmɪt mailing.”*.” jeɪl ˈklaɪmɪt kəˈnɛkʃənz. meɪ 5 2017 [ii*] ˈpɑwɛl, ʤeɪmz ˈlɔrəns. kənˈsɛnsəs ɔn ˌænθrəpəˈʤɛnɪk ˈgloʊbəl ˈwɔrmɪŋ matters.”*.” ˈbʊlɪtən əv saɪəns, tɛkˈnɑləʤi soʊˈsaɪɪti, 2016 vol*. [iii*] plutzer*, məˈkæfri, ɛt. æl. kənfˈjuʒən əˈməŋ ˈjuˈɛs teachers.”*.” saɪəns. vol*. 351 ˈɪʃu 6274 ˈfɛbjəˌwɛri. 12 2016 pp*.
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amidst disinformation campaigns aimed at teachers[i] and a federal retreat from domestic and international climate solutions, u.s. colleges and universities play an even more important role than ever in upholding science-based education and preparing the future workforce.
when the consensus among scientists is higher than 99 percent that humans are altering the earth’s climate, students at every level have a right to learn about the causes, effects and solutions and educators have an obligation to teach them.[ii] despite the pressure for near-term profits, even corporate leaders appreciate the benefits of climate leadership. this week, over 1,200 u.s. businesses, investors, governors, mayors, and colleges and universities from across the u.s., representing the broadest cross section of the american economy yet assembled in pursuit of climate action, declared their intent to continue to ensure the u.s. remains a global leader in reducing carbon emissions.
at national wildlife federation, we work towards the simple but powerful goal of increasing wildlife populations across the u.s. climate change is one of the biggest obstacles, necessitating landscape-scale restoration of soil and habitat, a wholesale shift towards clean energy, and smart policies at every level to drive innovation and create good jobs.
since the stakes are so high for future generations, human and wildlife, we would like to suggest four actions that would be valuable at this time for higher education leaders to take and to bring attention to resources created to assist by nwf and our partners:
support k-12 teachers in our communities
a recent survey of middle and high school teachers across the u.s. published in science, reveals the majority are getting climate science wrong.[iii] college and university leaders can help address the knowledge gap by hosting seminars on campus for elementary and high school teachers that explore pedagogical approaches to topics that will shape their students’ lives and careers, such as the role of the earth’s biodiversity in providing ecosystem services, impacts and causes of climate change, and new career pathways for solutions. nwf offers a variety of resources to help through our ecoschools usa program, and its college counterpart, nwf’s ecoleaders program. materials include essential principles for teaching climate and energy topics across age levels, curricula with sample lesson plans, and project-based learning resources.
prepare students to lead
for college students and young professionals, nwf offers a sustainability career and leadership development program ecoleaders. the program reached a milestone this month, surpassing 2,000 enrollees at more than 550 colleges and universities in all 50 u.s. states and many other countries around the world. the program involves five steps: create a personal mission statement for resilient communities, advance a sustainability project, reach out to support others, develop a personalized career plan, and earn certifications for project-based leadership. other supports include a career center and annual ecocareers conference in partnership with campus career services and employers, a business case for campus climate action, a campus climate action planning guide and a curriculum leading to a certificate of mastery of sustainability education essentials, coming soon. you can access the full range of climate-action resources in the nwf campus ecology resource center.
collaborate with peers through the presidents’ climate commitment
second nature, an nwf partner, hosts the presidents’ climate leadership commitments. the commitments, covering climate, carbon neutrality, and resilience and enjoying nearly 800 college and university signatories, provide support for the executive policies and leadership initiatives that create high performing colleges and universities that save money, curb waste and produce a higher educational return on investment. the nwf campus ecology resource center has an array of resources to help students and campus leadership achieve the aims of the commitments.
advocate for 20 million global sustainability citizens
many higher education leaders ask their non-profit peers to work collaboratively and toward a bigger vision. in that spirit, four non-profit organizations: the association for the advancement of sustainability in higher education (aashe), nwf, second nature, and the u.s. green building council (usgbc), coalesced in fall of 2015 to support colleges and universities in preparing 20 million graduates ready to serve as “global sustainability citizens” by 2025. the existing aashe sustainability tracking and rating system (stars) serves as the assessment instrument to identify the courses that qualify and tally the students that qualify each year. colleges and universities that participate in partner programming receive a 50 percent acceleration credit for one or more of three programs, i.e. hosting the usgbc center for green school’s leed lab, serving as an nwf campus partner, or implementing the presidents’ climate commitments.
moving forward:
in every age, there is resistance to shifts in technology and practice that can improve society, and this age is no different. higher education is an important bulwark for science-based solutions, critical thinking, and the greater societal good. as advocates for wildlife, we greatly respect the higher education leaders across the u.s. and world who have the courage and wisdom to step up for science-based education and policies.
together, we can ensure that the best family-supporting jobs on the horizon will be for a workforce equipped with sustainability knowledge and skills, whether those jobs involve designing smart energy storage and distribution systems, financing solar cities, or protecting breeding grounds for ducks in the american heartland.
please contact the nwf ecoleaders team at (800) 822-9919 or ecoleaders@nwf.org if you would like to discuss any of the above programs. we welcome your ideas and help. please ask for any of the following team members: julian keniry, courtney cochran, david corsar, kristy jones, or eriqah vincent.
[i] simmons, daisy. “teachers dubious about heartland climate mailing.” yale climate connections. may 5, 2017.
[ii] powell, james lawrence. “the consensus on anthropogenic global warming matters.” bulletin of science, technology & society, 2016, vol. 36(3) 157-163.
[iii] plutzer, mccaffrey, et. al. “climate confusion among us teachers.” science. vol. 351, issue 6274, feb. 12, 2016, pp. 664-665.
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ɪn ə ˈfrænˌʧaɪz ɛz taɪˈtænɪk ɛz əˈtæk ɔn ˈtaɪtən wɛr ɪz ðə laɪn drɔn bɪtˈwin ˈkænən ənd fanfiction*? wɪθ ˈmidiə frəm tɪ ˈmæŋgə tɪ laɪt ˈnɑvəlz tɪ ʧuz frəm, səm əˈdhɪrəns tɪ ðə staɪl ənd ˈvɪʒən ɪz ɪkˈspɛktɪd fər ən əˈtæk ɔn ˈtaɪtən wərk tɪ fil laɪk ɪt bɪˈlɔŋz ɪn ðə seɪm ˈjunəˌvərs ɛz ðə ˈmæŋgə ðət ˈstɑrtɪd ɪt ɔl. wɪθ ɪts streɪnʤ jɛt əˈlɑrmɪŋli fəˈmɪljər wərld, ˈhənərdz əv jɪrz əv pəˈtɛnʃəl ˈhɪstəri tɪ ɪkˈsplɔr, ənd ˌjunəˈvərsəl θimz ɪkˈsplɔrd θru ə ˈmæsɪv kæst əv ˈkɛrɪktərz, əˈtæk ɔn ˈtaɪtən həz bɪn ˈeɪbəl tɪ ɪkˈspænd ˈɪntu ˈwɛstərn ˈkɑmɪks,, ˈnɑvəlz, ənd ˈivɪn ˈpɛrədi. waɪl ərˈɪʤənəl wərk ɪz dɪˈteɪld ɪˈnəf tɪ ˌɛnˈʤɔɪ ɔn ɪts oʊn, ænz oʊn ˈθɛrən ˈmɑrtɪn ənd rəˈbɛkə ˈsɪlvərˌmæn ər priˈpɛrd tɪ dɪg dip ˈɪntu ðə ˈtaɪtən ˈnumərəs tɪ gɪv ju ə ˈrənˈdaʊn əv wət saɪd məˈtɪriəlz ər wərθ ˈʧɛkɪŋ aʊt ɪn ðɪs ˈsprɔlɪŋ ˈfrænˌʧaɪz (ɪn ˈkeɪsɪz wɛr ˈməltəpəl ˈvərʒənz əv ə ɪgˈzɪst ɪn mɔr ðən wən ˈmidiəm, wɪl ʤɪst ˌrivˈju wən ˈvərʒən.) ˈspɔɪlər ˈwɔrnɪŋ: ðɪs ˈɑrtɪkəl əˈsumz fəˌmɪˈljɛrəti wɪθ ðə ɪnˈtaɪər fərst ˈsizən əv ðə ˈsɪriz ər ɪts ˈmæŋgə ɪkˈwɪvələnt. ˈnoʊtˌbʊk ˈθɛrən: ˈnəmbərd ˈɛpɪˌsoʊd ðɪs wɑz ərˈɪʤənəli riˈlist ɪn dɪˈsɛmbər 2013 ˈbəndəld wɪθ ˈvɑljum 12 əv ðə ˈmæŋgə ɪn ʤəˈpæn, ˈmeɪkɪŋ ɪt ðə fərst ˈoʊvə (ɪn ðə juz., ɪts ˌɪnˈkludɪd ɪn ðə ˈspɛʃəl ɪˈdɪʃən ˈvərʒən əv ˈvɑljum 17 ɪt ˈfoʊkɪsɪz ɔn ənd hər əbˈsɛsɪv ˈɛfərts tɪ ˈkæpʧər ə ˈtaɪtən əˈlaɪv fər ˈstədi. ʃi geɪnz ə nu pərˈspɛktɪv ɔn ðɪs kwɛst wɪn ðə ˈbɑdi əv ə ˈsoʊlʤər prɪˈzumd lɔst ɪn ən ˌɛkspəˈdɪʃən ə jɪr əˈgoʊ ɪz faʊnd, huz ˈnoʊtˌbʊk ˈkrɑnɪkəlz hər ɪkˈspɪriənsɪz wɪθ ə ˈvɛri ənˈjuˌʒuəl ˈtaɪtən. ðɪs ˈɛpɪˌsoʊd ɪz ˈizəli ðə moʊst ˈpoʊtənt əv ðə ɪn ˈkɑntɛnt, ɪgˈzæmɪnɪŋ ðə brif laɪf əv ə jəŋ ˈwʊmən hu traɪz tɪ ˈkɑmbæt hər fɪr baɪ ˈraɪtɪŋ daʊn ɔl əv hər θɔts, ɪn ðə ˈprɔˌsɛs ˈtizɪŋ səm ˌrɛvəˈleɪʃənz ðət ˈfaɪnəli kəm aʊt ɪn ðə ˈsɛkənd ˈsizən əv ðə ˈsɪriz. ɪz ɪt wərθ ˈwɑʧɪŋ? jɛs. ɪts wən əv ðə tu ˈstrɔŋgəst, ənd ɪt ˈɔlsoʊ ædz səm nis ˈditeɪlz tɪ ðə ˈstɔri. ə ˈsədən ˈvɪzɪtər ˈθɛrən: ˈnəmbərd ˈɛpɪˌsoʊd ðɪs ˈɛpɪˌsoʊd wɑz ərˈɪʤənəli riˈlist ɪn ˈeɪprəl 2014 ˈbəndəld wɪθ ˈvɑljum 13 əv ðə ˈmæŋgə ɪn ʤəˈpæn. (ɪn ðə juz., ɪts ˌɪnˈkludɪd ɪn ðə ˈspɛʃəl ɪˈdɪʃən riˈlis fər ˈvɑljum 20 ðə ˈfoʊkɪs ɪz ɔn ʤin ˈdʊrɪŋ hɪz əˈkædəmi deɪz, wɛr ən ˈɑrgjəmənt wɪθ ˈsæʃə lidz tɪ ə ˈkʊkɪŋ duəl bɪtˈwin ðɛm, wɪʧ kəˈmændər ˈɛkˌsplɔɪts tɪ gɪt ə gʊd mil. ðoʊ ðə ˈɛpɪˌsoʊd həz səm ˈsɪriəs ˈkɑntɛnt ˌɪnˈvɑlvɪŋ ʤinz riˈleɪʃənˌʃɪp wɪθ hɪz ˈməðər (ðə ˈtɪʧələr ˈvɪzɪtər), ɪt ˈmoʊstli spɛnz ɪts taɪm ˈpoʊkɪŋ fən æt ðə ˌmɛlədrəˈmætɪk staɪl əv ðə ˈsɪriz. ɪts ˈɔlsoʊ ðə sɔrs əv ðoʊz ʃɑts wɛr ˈʃoʊˌkeɪsɪz hər ˈfeɪməs ˈeɪˈbiˈɛs ðət ju meɪ hæv sin ˈsərkjəˌleɪtɪŋ ˈɔnˌlaɪn. ɪz ɪt wərθ ˈwɑʧɪŋ? waɪl ɪt dɪz ɪkˈspænd ɔn ʤinz ˈbækˌgraʊnd, ɪt ˈəðərˌwaɪz meɪks ˈlɪtəl ˈnoʊtəbəl ˌkɑntrəˈbjuʃən tɪ ðə ˈfrænˌʧaɪz soʊ doʊnt swɛt ˈhəntɪŋ ɪt daʊn æt list. dɪˈstrɛs ˈθɛrən: ˈnəmbərd ˈɛpɪˌsoʊd ðɪs ˈɛpɪˌsoʊd wɑz ərˈɪʤənəli riˈlist ɪn ˈɔgəst 2014 ˈbəndəld wɪθ ˈvɑljum 14 əv ðə sɔrs ˈmæŋgə, bət ɪts nɑt jɛt əˈveɪləbəl ɪn ðə steɪts. ɪt ˌɪnˈvɑlvz ə ˈtreɪnɪŋ ˈmɪʃən ˈdʊrɪŋ ðə kəˈdɛt deɪz, wɛr ðə meɪn kæst hæd ə wɪθ θivz hu stoʊl ðɛr ɪkˈwɪpmənt. ɪt rɪˈtərnz ðə tɪ ə ˈpjʊrli ˈsɪriəs toʊn ənd ɪkˈspændz ɔn ðə ˈsɛtɪŋ ə ˈlɪtəl baɪ ʃoʊɪŋ ðə kəˈdɛts rɪˈspɑnd tɪ ə ˈpjʊrli ˈkraɪsəs. ɪz ɪt wərθ ˈwɑʧɪŋ? jɛs. ɪts ˈivɪn ˈbɛtər ðən ən ˈævərɪʤ ˈɛpɪˌsoʊd əv ðə meɪn ˈsɪriz. noʊ rɪˈgrɛts ˈθɛrən: beɪst ɔn ə ˈmæŋgə əv ðə seɪm neɪm, ðə tu ˈɛpɪˌsoʊdz əv ðɪs ˈoʊvə ˈsɪriz wər riˈlist ɪn ʤəˈpæn ɪn dɪˈsɛmbər 2014 ənd ˈeɪprəl 2015 rɪˈspɛktɪvli, ənd ðɛr ˈbəndəld ɪn ðə ˈspɛʃəl ɪˈdɪʃən rɪˈlisɪz əv ˈvɑljumz 18 ənd 19 ɪn ðə steɪts. ðɪs ˈprikwɛl ˈkrɑnɪkəlz haʊ ˈlivaɪ muvd frəm biɪŋ ə ˈrɑbɪn ˈkrɪmənəl ɪn ən ˈəndərˌgraʊnd ˈsɪti tɪ ə ˈsərˌveɪ kɔrz ˈmɛmbər ənd lɔɪəl ˈfɑloʊər əv ˈərˌwɪn smɪθ. ðə ˈtaɪtəl əv ðə rɪˈfərz tɪ ˌɪnˈsɪstəns ðət ˈlivaɪ həz tɪ kip ˈmuvɪŋ ˈfɔrwərd ˈæftər ə kəˈlæmɪti straɪks. ðə meɪn drɔ əv ðiz ɪz prəˈvaɪdɪŋ ə nu ˈsɛtɪŋ wɪˈθɪn əˈtæk ɔn ˈtaɪtən 'ɛs wərld, waɪl ˈfɪlɪŋ ɪn ðə fər wən əv ðə ˈfrænˌʧaɪz 'ɛs moʊst ˈpɑpjələr ˈkɛrɪktərz. ər ðeɪ wərθ ˈwɑʧɪŋ? waɪl ðə ˈəndərˌgraʊnd ˈsɪti ɪz ən ˈɪntəˌrɛstɪŋ əˈdɪʃən tɪ ðə ˈsɛtɪŋ, ðə ˈstɔri hir ɪz pəˈdɛstriən baɪ ˈfrænˌʧaɪz ˈstændərdz, soʊ ɪts ˈoʊnli wərθ ˈʧɛkɪŋ aʊt ɪf jʊr ə bɪg fæn əv ˈlivaɪ. ˈmæŋgə lɔst gərlz baɪ hɪˈroʊʃi ˈsɛkoʊ ɑrt baɪ ˈfuʤi ˈkɑmɪks iʧ. ˈθɛrən: ðɪs ˈmæŋgə wɑz riˈlist ɪn 2016 əˈdæptɪŋ ə laɪt ˈnɑvəl əv ðə seɪm neɪm. ðə fərst ˈvɑljum ˈfiʧərz ˈæni ˈlɛnhɑrt ɔn ðə deɪ ˌbiˈfɔr ʃi hɛdz aʊt tɪ sɪˈkjʊr ˈdʊrɪŋ ðə ˈsərˌveɪ kɔrz ˌɛkspəˈdɪʃən ɪn ˈəðər wərdz, raɪt ˌbiˈfɔr ʃi fərst əˈpɪrz ɛz ðə ˈfiˌmeɪl ˈtaɪtən. tɪ teɪk hər maɪnd ɔf ðə ˈblədˌʃɛd ʃi maɪt hæv tɪ ˌɪnˈflɪkt, ʃi spɛnz ðə deɪ ˈwərkɪŋ ɔn ə ˈmɪsɪŋ ˈpərsən keɪs ˌɪnˈvɑlvɪŋ ə ˈnoʊbəlmənz ˈdɔtər, ə ˈmɪʃən ðət wɪndz əp biɪŋ ˈdeɪnʤərəs ɪn mɔr ðən wən weɪ. ðə ˈsɛkənd ˈvɑljum ˈfiʧərz, ˈmoʊstli ˌɪnˈvɑlvɪŋ ə drim ˈsikwəns ˈæftər hər fɔl ɪn ˈɛpɪˌsoʊd 7 əv ðə, ˈgɪvɪŋ ˈjuˈɛs ən ˈɔltərˌneɪt ˈvərʒən əv hər ˈtræʤɪk pæst wɪθ. ðə ˈfaɪnəl ˈʧæptər brɪŋz boʊθ ˈwɪmən təˈgɛðər ɪn ən ɪnˈkaʊnər ˈspænɪŋ boʊθ ðə pæst ənd fˈjuʧər əv ðɛr lɪvz ɛz ˈkɑmˌrædz. ðə fərst ˈvɑljum ɪz ðə bɛst pɑrt bɪˈkəz əv ɪts ˈfrɛʃər ənd mɔr ˈkɑmpləˌkeɪtəd ˈstɔri, ɪts ˈɛmfəsɪs ɔn ˈæˌniz ˈmɔrəl ˈstrəgəl wɪθ hər ˈmɪʃən, ənd ɪts ˌɑpərˈtunəti tɪ ʃoʊ ɔf ˈæˌniz ˈmɑrʃəl ɑrts əˈkjumən ɪn ˈjumən fɔrm. boʊθ ˈvɑljumz rɪˈteɪn ðə staɪl ənd fil əv ərˈɪʤənəl ˈstɔri ˈrɛlətɪvli wɛl. ər ðeɪ wərθ ˈrɛdɪŋ? ˈmeɪbi. nən əv ðə ˈstɔriz pərˈzɛnəd ɪn ðiz ˈvɑljumz ər əˈspɛʃəli kəmˈpɛlɪŋ, bət ðɛr nɑt bæd ˈiðər. ɪf jʊr ə fæn əv ˈiðər lɔst gərl ɪn kˈwɛʃən, ðɪs ɪz ˈbeɪsɪkli mɔr kˈwɑləti taɪm wɪθ ðɛm. spuf ɔn ˈtaɪtən baɪ ˈkɑmɪks iʧ. ˈθɛrən: ðiz tu ˈvɑljumz, riˈlist ɪn ʤəˈpæn ɪn ənd ɪn ðə juz. ɪn 2016 ər ɪgˈzæktli wət ðə neɪm səˈʤɛsts: ˈpɛrədiz əv ðə sɔrs ˈmæŋgə dən ɪn ˈfɔrˌmæt. ðɛr ˈrɛlətɪvli ʃɔrt kəmˈpɛrd tɪ ˈnɔrməl ˈmæŋgə ˈvɑljumz. ər ðeɪ wərθ ˈrɛdɪŋ? waɪl ðeɪ kənˈtrɪbjut ˈnəθɪŋ nu tɪ ðə wərld əv ˈtaɪtən, ðɛr mɔr kənˈsɪstəntli ˈfəni ðən əˈtæk ɔn ˈtaɪtən: ˈʤunjər haɪ laɪt ˈnɑvəlz ˌbiˈfɔr ðə fɔl baɪ ˌɪləˈstreɪʃənz baɪ ˈvərtɪkəl, ənˈbaʊnd baɪ ˌɪləˈstreɪʃənz baɪ ˈvərtɪkəl, hɑrʃ ˈmɪstrəs əv ðə ˈsɪti 2 ˈvɑljumz) baɪ ˌkɑwɑˈkɑmi ˌɪləˈstreɪʃənz baɪ reɪnʤ mʊˈrɑtə ˈvərtɪkəl, iʧ; ˈɑdiˌoʊ ˈvərʒən əˈveɪləbəl. rəˈbɛkə: fɔr ˈprikwɛl ˈnɑvəlz tɪ ðə meɪn ˈsɪriz, dɪˈvaɪdɪd ˈɪntu θri taɪm ˈpɪriədz ənd plɑts, ɪkˈsplɔr wət ˈhæpənd lɔŋ ˌbiˈfɔr ənd hɪz kəmˈpænjənz stræpt ɔn ðɛr ˈvərtɪkəl məˈnuvərɪŋ ɪkˈwɪpmənt. ðə fərst tu ər pleɪst ˈəndər ðə ˈhɛdɪŋ ðə fall”*” ənd dɪˈskəs wət laɪf wɑz laɪk ˌbiˈfɔr wɔl mərˈiə wɛnt daʊn. ðə ˈəðər tu kəmˈpraɪz ðə hɑrʃ ˈmɪstrəs əv ðə ˈsɪti ˈstɔri, ˈbeɪsɪkli ə ˈnɑvəl ɪn tu ˈvɑljumz, ənd dɪˈskəs wət ˈhæpənd dɪˈrɛkli ˈæftər ðə fɔl. ðiz tu ər ˈbjutəfli ˈɪləˌstreɪtɪd baɪ reɪnʤ mʊˈrɑtə hu brɪŋz hɪz oʊn ˌsɛnsɪˈbɪlɪti tɪ ðə ˈbrutəl ˈstɔri. təˈgɛðər ðiz fɔr bʊks ɪkˈsplɔr wət brɔt θɪŋz tɪ wɛr ðeɪ stænd ɪn ðə meɪn ˈsɪriz, ˈfɪlɪŋ ɪn hɪnts drɑpt baɪ ɪn ðə ˈmæŋgə. əv ðə θri, ðə moʊst sɪgˈnɪfɪkənt ɪz ˈprɑbəˌbli ˌbiˈfɔr ðə fɔl. sɛt ɪn shiganshina*, kloʊz tɪ wɔl mərˈiə, ɪt tɛlz ðə ˈstɔri əv ðə smɪθ hu fərst kriˈeɪtɪd ðə ˈvərtɪkəl məˈnuvərɪŋ ɪkˈwɪpmənt, ˈeɪnʤəl aaltonen*. ˈoʊnli ˈeɪˈtin, ˈeɪnʤəl ɪz ə ˈkræftsmən wɪθ ən aɪ fər ˌɪnəˈveɪʃən ənd dɪˈzaɪn, ənd ðət, əˈlɔŋ wɪθ ðə ˌdɪˈskəvri əv ə nu ˈmɪnərəl noʊn ɛz stoʊn, əˈlaʊz fər ɪm tɪ kriˈeɪt ðə ɛˈsɛnʃəl ɪkˈwɪpmənt. nɑt ˈoʊnli dɪz ðɪs əˈlaʊ ðə ˈsərˌveɪ kɔrz tɪ ˈæˌkʧuəli faɪt əˈgɛnst ðə ˈtaɪtənz, bət ɪt ˈɔlsoʊ ˈɛləˌveɪts ðɛm frəm ðə skəm əv ðə ˈmɪlɪˌtɛri tɪ ðə ɪˈlit ˈfɔrsɪz ðeɪ ər ɪn ðə meɪn ˈsɪriz. ðæts wən əv ðə moʊst ˈɪntəˌrɛstɪŋ ˈditeɪlz əˈbaʊt ðɪs pis ɪt ˈrɪli wərks tɪ ɪˈstæblɪʃ ðə ˈækʧəwəl wərld ðə ˈstɔri ɪz sɛt ɪn, prəˈvaɪdɪŋ ˈjuˈɛs wɪθ əˈpɪnjənz ənd vjuz ɛz ɪf ɪt wər hɪˈstɔrɪkəl ˈfɪkʃən əv ə ril pleɪs ˈrəðər ðən ə ˈnɑvəl əv ə ˈmæŋgə ˈsɪriz. ðɪs ˈsərtənli ʃoʊz boʊθ græsp əv wərld ənd hɪz skɪl ɛz ə ˈraɪtər (ənd hæts ɔf tɪ ðə ˈɪŋlɪʃ əˈdæptər ɛz wɛl, fər ˈkæpʧərɪŋ ɪt), ənd ɪt ˈɔlsoʊ gɪvz ðə meɪn ˈsɪriz ə fərm beɪs tɪ stænd ɔn. ˈbeɪsɪkli ðɪs bʊk leɪz ðə faʊnˈdeɪʃən fər ðə ˈɔnˌgoʊɪŋ ˈmæŋgə, noʊ min fit ˈgɪvɪn ðət ðə ˈɔθərz nɑt ðə ərˈɪʤənəl kriˈeɪtər. ʃoʊz ˈjuˈɛs ə wərld wɛr ˌsupərˈstɪʃən ɪz stɪl ə ˈdraɪvɪŋ fɔrs, wɛr səm ˈpipəl ʧuz tɪ ˈwərʃɪp ðə ˈtaɪtənz ɛz gɑdz, ənd wɛr ðə ˈsərˌveɪ kɔrz ɪz haɪ ˈkrɪtəˌsaɪzd fər ðɛr ˌɛkspəˈdɪʃənz ðoʊz hu doʊnt ˈwərʃɪp ðə ˈmɑnstərz bɪˈliv ðət iʧ taɪm ðə kɔrz livz ðə ˈsɪti, ðeɪ pʊt ɪt æt ˌɪnˈkrist rɪsk əv ˈtaɪtən əˈtæk. ɛˈsɛnʃəli ðɪs ɪz ə məʧ mɔr ˈfraɪtənd, ˈpaʊərləs wərld, ən ˈɔlˌmoʊst mɪˈdjivəl ˈvərʒən əv wɪn ðə meɪn ˈstɔri teɪks pleɪs. aɪ ˈɔlˌmoʊst wɪʃ ðət aɪ hæd ˈɛnərd ðə ˈfrænˌʧaɪz wɪθ ðɪs ˈnɑvəl ˈrəðər ðən wɪθ ðə ˈmæŋgə ðæts haʊ gʊd ə ʤɑb ɪt dɪz əv ɪˈstæblɪʃɪŋ ə bəˈlivəbəl beɪs fər ðə meɪn ˈstɔri. ðə ˈsɛkənd ˈprikwɛl ˈnɑvəl, ənˈbaʊnd, pɪks əp ˌɪˈmiˌdiətli ˈæftər ˌbiˈfɔr ðə fɔl, ɪn ə wərld wɛr ˈeɪnʤəlz ˌɪnˈvɛnʃən ɪz əˈbaʊt tɪ meɪk ɔl ðə ˈdɪfərəns. ðə ˈprɛmɪs əv ðɪs ˈnɑvəl ɪz ðət ə ʧaɪld ɪz faʊnd, ˈpɑsʧʊməsli bɔrn ɪn ə ˈvɑmət, baɪ ə ˈsoʊlʤər pəˈtroʊlɪŋ ðə taʊn. ˈhɔrəˌfaɪd baɪ ðə ˈsərkəmˌstænsɪz əv ðə ˈɪnfənts bərθ, ðə ˈsoʊlʤər kɔlz ɪm son,”*,” ə ˈmɑnɪkər wɪʧ wɪl hɔnt ðə ʧaɪld fər hɪz fərst ˈfɪfˈtin jɪrz. soʊld ɛz ə frik, ðə bɔɪ ɪz ˈtɔrʧərd ənˈtɪl ə gərl, taɪərd hərˈsɛlf əv biɪŋ sin ɛz ən ˈɑbʤɛkt, ɔlˈbiɪt ɪn ə ˈdɪfərənt weɪ, bɪˈfrɛndz ɪm ənd gɪvz ɪm ðə neɪm. ɪˈvɛnʧəwəli ðə tu əv ðɛm ɪˈskeɪp ðə ˈmænər haʊs ðeɪv bɪn træpt ɪn ənd ʤɔɪnz ðə ˈnuli ˌɪmˈprɛsɪv (ənd ˌrɛzərˈɛktɪd) ˈsərˌveɪ kɔrz. wəts ˈfæsəˌneɪtɪŋ əˈbaʊt ðɪs ˈnɑvəl ɪz ðət ðə kɔrz ɪz boʊθ ˈgreɪtəst ˈɛnəmi ənd hɪz sælˈveɪʃən hi ˈwʊdənt bi əˈlaɪv ɪf hi ˈhædənt bɪn faʊnd baɪ ðə ˈsoʊlʤər, bət ɪt wɑz ðət seɪm mæn hu seɪvd hɪz laɪf hu dæmd ɪm tɪ ə ˈmɪzərəbəl ɪgˈzɪstəns fər ˈfɪfˈtin ɪt wɑz ðət ˈtɔrˌmɛnt ðət ˈɛndɪd əp ˈgɪvɪŋ ɪm ðə skɪlz tɪ bɪˈkəm ə səkˈsɛsfəl ˈmɛmbər əv ðə ˈsərˌveɪ kɔrz hɪmˈsɛlf. dɪz ən ˈɛksələnt ʤɑb əv ˈwərkɪŋ ðiz ˌkɑntrəˈdɪkʃənz ˈɪntu ˈkɛrɪktər ənd ðə ˈstɔri ˌɪtˈsɛlf, ˈsɛtɪŋ ðə steɪʤ (soʊ tɪ spik) fər ðə traɪəlz ðə ˈkɛrɪktərz əv ðə meɪn ˈsɪriz wɪl ˈleɪtər feɪs. wəns əˈgɛn, ˈkɛrfəl ənd skɪld ˈrɛtroʊˌfɪtɪŋ ɪz ðə ˈmeɪkɪŋ əv ðɪs bʊk ɛz ə ˈprikwɛl hi ˈtruli meɪks ju bɪˈliv ðət ðiz spɪˈsɪfɪk ɪˈvɛnts ˈhæpənd ˌbiˈfɔr ðə ˈstɔri toʊld baɪ əˈnəðər ˈɔθər. ˈɛniˌwən hu həz ˈɛvər ˈrɪtən ə grup ˈpeɪpər ər ˈɛni ˈəðər kəˈlæbərˌeɪtɪv wərk kən tɛl ju haʊ ˈdɪfəkəlt ðət sɔrt əv ˈmɛʃɪŋ əv wərdz ənd wərldz ɪz, ənd ɪt hɛlps boʊθ əv ˈprikwɛl ˈnɑvəlz tɪ stænd aʊt, boʊθ ɪn ðə ˈfrænˌʧaɪz ənd ɛz gʊd bʊks ɪn ðɛr oʊn raɪt. ˌkɑwɑˈkɑmi 'ɛs hɑrʃ ˈmɪstrəs əv ðə ˈsɪti ˈdəzənt kwaɪt əˈʧiv ðət seɪm ˈlɛvəl, ˌɔlˈðoʊ ɪn ɔl ˈfɛrnəs ðət ˈdəzənt əˈpɪr tɪ bi wət hiz goʊɪŋ fər. ɪn ðə ˈæftərwərd tɪ ðə ˈsɛkənd ˈvɑljum əv ðə ˈnɑvəl, ðə gɛst ˈɛˌseɪɪst, ən ˈɛkspərt ɪn ˈwɔrˌfɛr ˈskɑlərˌʃɪp, ˈkɑmɛnts ðət ˈsɪriz ɪz ˈrɪli əˈbaʊt ɪkˈsplɔrɪŋ ðə ˈdɪfərənt, ˈdɪfəkəlt ˈɔpʃənz ðət ˈpipəl feɪs ɪn taɪmz əv wɔr ənd ˈkraɪsəs. hiz ˈsərtənli gɑt ə pɔɪnt hɑrʃ ˈmɪstrəs əv ðə ˈsɪti ɪz ˈɛvəri bɪt ɛz məʧ ə ˈwɔrˌtaɪm ˈstɔri ɛz ɪˈlɪzəbɪθ ʃɔrt ˈfɪkʃən. ɪt ɪz əˈbaʊt ðə ˈpipəl hu lɪv ˈdʊrɪŋ wɔr ˈrəðər ðən ðə ˈækʧəwəl ˈfaɪtɪŋ əv ɪt, ənd ˈhɛroʊən, ˈritə, ɪz ə jəŋ gərl θroʊn ˈɪntu ən ˈædəlt ˈkraɪsəs ˌbiˈfɔr ʃi ɪz ɪkˈwɪpt tɪ koʊp wɪθ ɪt. wɪn ðə ˈtaɪtən əˈtæk ɔn wɔl mərˈiə livz ə smɔl ˈdɪstrɪkt kət ɔf frəm ðə rɛst əv ðə wɔld ˈsɪti, ˈtiˌneɪʤ rɪˈkrut ˈritə ɪz ðə haɪəst ˈræŋkɪŋ ˈɔfɪsər lɛft ɔl əv ðə ˈəðərz hæv ˈiðər daɪd ər flɛd. ˈdɛspərɪt tɪ kip hər taʊn əˈfloʊt, ˈritə bɪˈkəmz ˌɪnˈkrisɪŋgli tərˈænɪkəl, ɪˈvɛnʧəwəli ˈivɪn ˈkæpʧərɪŋ ə smɔl ˈtaɪtən ənd ˈkipɪŋ ɪt taɪd əp ɪn ðə ˈplɑzə tɪ fid ˈrɛbəlz tɪ ɪn ˈpəblɪk ˌɛksəˈkjuʃənz. hər ˈʧaɪlˌdhʊd frɛnd məˈθaɪəs ənˈwɪtɪŋli bɪˈkəmz ðə ˈkætəˌlɪst fər hər ˈmædnəs fər kənˈtroʊl wɪn hɪz gən ənd kɪlz wən əv ˈritəz səˈbɔrdəˌneɪts; ðeɪ ər ˈvɛri kˈwɪkli ɔn əˈpoʊzɪŋ saɪdz əv ðə ˈbætəl fər ðə taʊnz məræl ˈritə ɛz ðə ˈdɪkteɪtər ənd məˈθaɪəs ɛz ðə ˈrɛbəl ˈlidər. boʊθ ər ʧeɪnʤd baɪ ðə wɔr, ənd ˌɔlˈðoʊ ðeɪ stɪl ləv iʧ ˈəðər, ðeɪ ər əˈneɪbəl tɪ breɪk fri əv ðə fɪrz ðət baɪnd ðɛm tɪ ðɛr ˈprɛzənt ˈkɔrsɪz əv ˈækʃən. ɪts ˈizi tɪ rɛd ðɪs ənd si ðə ˈɛnəmiz ɛz ˈɔlˌmoʊst ˈɛniˌwən, bɪˈkəz ɪt ˈɪzənt soʊ məʧ ðə θrɛt əv ðə ˈtaɪtənz ðæts ˈdraɪvɪŋ ðɛr ˈækʃənz, bət ðɛr fɪr əv ðə ˈmɑnstər ðət lərks ˈaʊtˈsaɪd. ðə nid tɪ du ““right”*” meɪks ɪt ˈdɪfəkəlt tɪ tɛl wət ˈkɑnstəˌtuts ðə kərˈɛkt kɔrs, ənd ɪf ðə ˈsɛkənd ˈvɑljum əv ðə ˈnɑvəl ˈdəzənt kwaɪt ræp θɪŋz əp ˌsætɪsˈfæktrəli ənd ju kʊd ˈdɛfənətli ˈɑrgju ðət ˈritə gɪts ɔf tu ˈlaɪtli ɪt dɪz prəˈvaɪd ə ˈbeɪsɪs fər ðə sɔrt əv ˈmɔrəl ˈʤəmbəl ðət ˈleɪtər əˈkərz wɪn ˌɪˈnɪʃəl ˌtrænsfərˈmeɪʃən teɪks pleɪs. ðə wərst ˈɛnəmiz, ˌkɑwɑˈkɑmi riˈmaɪndz ˈjuˈɛs, ˈɑrənt ˈɔlˌweɪz ðə wənz hu lʊk ˈfraɪtənɪŋ, bət ˈmeɪbi ðə fɪr wi hæv əv ðɛm ˌɪtˈsɛlf. ər ðeɪ wərθ ˈrɛdɪŋ? ˌbiˈfɔr ðə fɔl ənd ˌæbsəˈlutli ər, bət hɑrʃ ˈmɪstrəs nɑt ɛz məʧ. ðə fərst bʊk fɪlz ɪn gæps əv ˈhɪstəri ənd gɪvz ˈjuˈɛs ə ril sɛns əv haʊ ðə ˈstɔriz wərld keɪm tɪ bi, waɪl ðə ˈsɛkənd sɛts ðə steɪʤ fər ˌrɛvəˈleɪʃənz ɪn ðə ˈmæŋgə ɪn ə kəmˈpɛlɪŋ weɪ. ðə læst ɪz ən ˈɪntəˌrɛstɪŋ ˌɛksplərˈeɪʃən əv ə ˈkɛrɪktər, bət ɪt ˈdəzənt æd məʧ tɪ ðə ˈoʊvərˌɔl mythos*. ˈɑdətiz ʧuz jʊr pæθ əˈtæk ɔn ˈtaɪtən ədˈvɛnʧər baɪ, ˈɪləˌstreɪtɪd baɪ fuˈʤii ənd yoshii*. ˈdɪʤɪtəl ˈvərʒən əˈveɪləbəl. rəˈbɛkə: əv ɔl ðə əv ˈsɪriz, ðɪs wən meɪ bi maɪ ˈfeɪvərɪt. ˈsərtənli ɪt həz ə nɔˈstælʤɪk əˈpil ɪf ju wər ə kɪd ɪn ðə 80s*, ju ˈprɑbəˌbli rɛd æt list wən jʊr oʊn adventure”*” bʊk. ðə ˈbeɪsɪk ˈprɛmɪs ɪz ðət ju rɛd ðə ˌɪntrəˈdəkʃən tɪ ðə ˈstɔri ənd ər ðɛn ˈgɪvɪn ə ˈsɪriz əv ˈʧɔɪsɪz wɪθ ə peɪʤ tɪ tərn tɪ, ənd ðə ˈɛndɪŋ ju gɪt ɪz dɪˈpɛndənt əˈpɑn ðə dɪˈsɪʒənz ju meɪk; ɪts ə lɔt laɪk ˈtudeɪz ˈvɪʒəwəl ˈnɑvəl geɪmz. naʊ θæŋks tɪ, ju kən riˈlɪv ðoʊz deɪz baɪ ˈpʊtɪŋ ˈjɔrsɛlf ˈɪntu ðə ˈoʊpənɪŋ ˈʧæptərz əv əˈtæk ɔn ˈtaɪtən ðə beɪs ˈstɔriˌlaɪn ɪz ðət jʊr ən ənˈneɪmd ˈmɛmbər əv skwɑd əv ˈtreɪˈniz, ˈprɛzənt fər ðə ɪˈvɛnts əv ðə fərst ˈtaɪtən əˈtæk ɪn ðə ˈmæŋgə. ju gɪt tɪ ˌɪnərˈækt wɪθ ðə ˈkɛrɪktərz ənd pleɪ ə pɑrt ɪn ðə ˈbætəl, ənd beɪst ɔn hu ju gɪt ðə moʊst ““affinity”*” wɪθ ənd ðə ˈpleɪsɪz ju goʊ ju kən ˈpɑsəbli ʧeɪnʤ ðə ˈstɔri, ˈseɪvɪŋ ər ˈkɪlɪŋ ˈkɛrɪktərz hu dɪd ðə ˈɑpəzɪt ərˈɪʤənəli. ðə bʊk wərks laɪk ə ˌkɑmbəˈneɪʃən əv ə ˈteɪbəlˌtɑp wɪθ stæts tɪ kip træk əv ənd ðə tɛksts, soʊ ɪts mɔr ˌɪnˈvɑlvd ðən ðə lɔst ʤuəlz əv ˈɛvər wɑz. ðɛrz ə peɪʤ fər ju tɪ kip træk əv ˈɛvriˌθɪŋ, bət ɪf ju plæn tɪ pleɪ ˈməltəpəl taɪmz, ə pæd əv ˈpeɪpər ɪz ˈprɑbəˌbli goʊɪŋ tɪ wərk ˈbɛtər. aɪ wʊd ˈɔlsoʊ ˌrɛkəˈmɛnd ˈhævɪŋ səm ˈbʊkmɑrks ˈhændi, bɪˈkəz ðɛr ər ə fju mæps jul nid tɪ tərn bæk tɪ rɪˈpitɪdli. pleɪɪŋ kən gɪt ˈfrəˌstreɪtɪŋ, əˈspɛʃəli ɪf ɪts bɪn ə waɪl sɪns ju rɛd ðɪs kaɪnd əv bʊk, ənd aɪ wɪʃ ðət ðə ˈnəmbərd ˈsɛkʃənz wərənt soʊ kloʊz tɪ iʧ ˈəðər ɔn ðə peɪʤ, bət ɔn ðə hoʊl ðɪs ɪz ə lɔt əv fən. ɪts ˈdɪfərənt ɪˈnəf tɪ bi ˌɛnərˈteɪnɪŋ, traɪɪŋ tɪ ʧuz hu tɪ ˈælaɪ wɪθ ənd haʊ tɪ ʧeɪnʤ hu lɪvz ənd daɪz ɪz ə ˈdisənt ˈʧælənʤ, ənd ɪts ə lɔt əv geɪm fər lɛs ˈməni ðən ˈmɛni vns*. jul wɔnt ə ˈbeɪsɪk fəˌmɪˈljɛrəti wɪθ ðə ərˈɪʤənəl ˈstɔri tɪ ˈfʊli əˈpriʃiˌeɪt ðɪs, bət dɪz gɪv ə ˈdisənt ˌɛkspləˈneɪʃən soʊ ju woʊnt bi ˈtoʊtəli lɔst ɪf ɪts bɪn ə waɪl. ɪz ɪt wərθ ˈrɛdɪŋ? ɪts ə ˈlɪtəl ˈsəmθɪŋ mɔr aʊt ðɛr fər bət ə lɔt əv fən! əˈtæk ɔn ˈtaɪtən ˈædəlt ˈkələrɪŋ bʊk baɪ hɑˈʤimi rəˈbɛkə: əv kɔrs, ɪf ju ˈrɪli wɔnt ə trɪp daʊn ˈʧaɪlˌdhʊd ˈmɛməri leɪn, ðɛrz ˈɔlˌweɪz ðə ˈædəlt ˈkələrɪŋ bʊk! ɪts ˈsɪksti ˈpeɪʤɪz əv hɑˈʤimi 'ɛs ɑrt fər jʊr ˈkələrɪŋ delectation*. lɛts ʤɪst seɪ ðət jʊd ˈbɛtər bi ˈvɛri gʊd æt steɪɪŋ wɪˈθɪn ðə laɪnz ɪf ju wɔnt tɪ ˈproʊdus ə ˈprɪti ˈpɪkʧər. ɑrt ɪz dɪˈteɪld ənd fʊl əv ˈlɪtəl bɪts, soʊ ðɪs ɪz ən ““adult”*” ˈkələrɪŋ bʊk boʊθ ɪn tərmz əv ˈkɑntɛnt ənd bɪˈkəz ju nid səm ˈsɪriəsli faɪn ˈmoʊtər skɪlz tɪ ˈkələr ɪt. ɪts ə mɪks əv splæʃ ˈpeɪʤɪz ənd ˈkɑmɪk ˈpænəlz, soʊ ɪf juv ˈɛvər ˈwɔntɪd ˈlivaɪ tɪ hæv ˈɔrɪnʤ hɛr ər si ə ˈtaɪtən wɪˈθaʊt ˈruɪnɪŋ jʊr ˈkɑmɪks, ðɪs ɪz jʊr ʧæns. ɪz ɪt wərθ ˈkələrɪŋ? ðət dɪˈpɛndz ɔn jʊr ˈkələrɪŋ skɪlz ənd haʊ ˈfəsi ju ər əˈbaʊt steɪɪŋ ˌɪnˈsaɪd ðə laɪnz. əˈtæk ɔn ˈtaɪtən ænˈθɔləˌʤi, ˈɛdɪtɪd baɪ bɛn ˈæpəlˌgeɪt ənd ʤəˈnin ˈʃeɪfər. ˈθɛrən: ðɪs ˈhɑrdˌbæk ˈvɑljum ɪz ə kəˈlɛkʃən əv ʃɔrt ˈstɔriz baɪ ˈvɛriəs əˈmɛrɪkən ˈkɑmɪk ˈɑrtɪsts. ɪt həz ˈpriviəsli bɪn rivˈjud ɪn fʊl hir, bət ðə ʃɔrt ˈvərʒən ɪz ðət ɪt prəˈvaɪdz ə kəˈlɛkʃən əv sometimes-fanciful*, teɪlz sɛt ˈiðər ɪn ðə meɪn ˈjunəˌvərs ər ən ˈɔltərˌneɪt ˌɪnˌtərprɪˈteɪʃən əv ɪt. ˈhɑrdli ˈɛni əv ɪt ˈfiʧərz kɔr kæst ˈmɛmbərz, soʊ ðɪs ɪz lɛs ə wərk ðət ɪkˈspændz ɔn ðə ˈsɛtɪŋ ənd mɔr wən ðət prəˈvaɪdz ˈdɪfərənt vˈjuˌpɔɪnts ɔn ðə ˈprɛmɪs. ɪz ɪt wərθ ˈrɛdɪŋ? ˈoʊnli ɪf ju əˈpriʃiˌeɪt ɔlˈtərnətɪv ɑrˈtɪstɪk ˌɪnˌtərprɪˈteɪʃənz əv əˈtæk ɔn ˈtaɪtən 'ɛs ˈkɑnsɛpt. əˈtæk ɔn ˈtaɪtən: ˈʤunjər haɪ ˈθɛrən: ðɪs ˈpɛrədi ˈsɪriz ɪz əˈveɪləbəl frəm boʊθ ɪn ə ˈkɑmˌboʊ pæk ənd ˈstrimɪŋ ɔn ðɛr ˈwɛbˌsaɪt. ɪt həz bɪn rivˈjud ɪn fʊl hir (ənd wi ˈɔlsoʊ hæv ˌɪndəˈvɪʤəwəl ˈɛpɪˌsoʊd rəvˈjuz), bət ðə ʃɔrt ˈvərʒən ɪz ðət ɪt pʊts ɔl əv ðə ˈkɛrɪktərz ˈɪntu ə ˈʤunjər haɪ ˈsɛtɪŋ ənd æt list əˈtɛmpts tɪ poʊk fən æt ðə ˈkɛrɪktərz ənd ˈstɔri. ɔˈkeɪʒənəˌli, ɪt ɪz ˈæˌkʧuəli ˈfəni. ɪz ɪt wərθ ˈwɑʧɪŋ? waɪl ɪt dɪz hæv ɪts ˈmoʊmənts, ɪts mɔr mɪs ðən hɪt ɛz ə ˈkɑmədi. ɪt ˈdɛfənətli ʃʊd nɑt bi wɔʧt ənˈlɛs juv sin ðə ɪnˈtaɪərti əv ðə fərst ˈsizən, ˈiðər weɪ.
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in a franchise as titanic as attack on titan , where is the line drawn between canon and fanfiction? with spin-off media from anime to manga to light novels to choose from, some adherence to the creator's style and vision is expected for an attack on titan work to feel like it belongs in the same universe as the manga that started it all.
with its strange yet alarmingly familiar world, hundreds of years of potential history to explore, and universal themes explored through a massive cast of characters, attack on titan has been able to expand into western comics, anime, novels, and even parody. while isayama's original work is detailed enough to enjoy on its own, ann's own theron martin and rebecca silverman are prepared to dig deep into the titan universe's numerous spin-offs to give you a run-down of what side materials are worth checking out in this sprawling franchise . (in cases where multiple versions of a spin-off exist in more than one medium, we'll just review one version.)
spoiler warning: this article assumes familiarity with the entire first season of the anime series or its manga equivalent.
ovas
ilse's notebook
theron: numbered episode 3.5, this was originally released in december 2013, bundled with volume 12 of the manga in japan, making it the first spin-off ova . (in the u.s., it's included in the special edition version of volume 17.) it focuses on hange and her obsessive efforts to capture a titan alive for study. she gains a new perspective on this quest when the body of a soldier presumed lost in an expedition a year ago is found, whose notebook chronicles her experiences with a very unusual titan. this sometimes-harrowing episode is easily the most potent of the ovas in content, examining the brief life of a young woman who tries to combat her fear by writing down all of her thoughts, in the process teasing some revelations that finally come out in the second season of the anime series.
is it worth watching? yes. it's one of the two strongest ovas, and it also adds some nice details to the story.
a sudden visitor
theron: numbered episode 3.25, this episode was originally released in april 2014, bundled with volume 13 of the manga in japan. (in the u.s., it's included in the special edition release for volume 20.) the focus is on jean during his academy days, where an argument with sasha leads to a cooking duel between them, which commander pixis exploits to get a good meal. though the episode has some serious content involving jean's relationship with his mother (the titular visitor), it mostly spends its time poking fun at the melodramatic style of the series. it's also the source of those shots where mikasa showcases her famous abs that you may have seen circulating online.
is it worth watching? while it does expand on jean's background, it otherwise makes little notable contribution to the franchise , so don't sweat hunting it down at least.
distress
theron: numbered episode 3.75, this episode was originally released in august 2014 bundled with volume 14 of the source manga, but it's not yet available in the states. it involves a training mission during the 104th's cadet days, where the main cast had a run-in with thieves who stole their equipment. it returns the ovas to a purely serious tone and expands on the setting a little by showing the cadets respond to a purely human-based crisis.
is it worth watching? yes. it's even better than an average episode of the main series.
no regrets
theron: based on a spin-off manga of the same name, the two episodes of this ova series were released in japan in december 2014 and april 2015 respectively, and they're bundled in the special edition releases of volumes 18 and 19 in the states. this prequel chronicles how levi moved from being a robin hood-style criminal in an underground city to a survey corps member and loyal follower of erwin smith. the title of the ovas refers to erwin's insistence that levi has to keep moving forward after a titan-based calamity strikes. the main draw of these ovas is providing a new setting within attack on titan 's world, while filling in the backstory for one of the franchise 's most popular characters.
are they worth watching? while the underground city is an interesting addition to the setting, the story here is pedestrian by franchise standards, so it's only worth checking out if you're a big fan of levi.
manga
lost girls by hiroshi seko , art by ryōsuke fuji . kodansha comics , $10.99 each.
theron: this two-volume manga was released in 2016, adapting a light novel of the same name. the first volume features annie leonhart on the day before she heads out to secure eren during the survey corps expedition – in other words, right before she first appears as the female titan. to take her mind off the bloodshed she might have to inflict, she spends the day working on a missing person case involving a nobleman's daughter, a mission that winds up being dangerous in more than one way. the second volume features mikasa, mostly involving a dream sequence after her fall in episode 7 of the anime, giving us an alternate version of her tragic past with eren. the final chapter brings both women together in an encounter spanning both the past and future of their lives as comrades.
the first volume is the best part because of its fresher and more complicated story, its emphasis on annie's moral struggle with her mission, and its opportunity to show off annie's martial arts acumen in human form. both volumes retain the style and feel of isayama's original story relatively well.
are they worth reading? maybe. none of the stories presented in these volumes are especially compelling, but they're not bad either. if you're a fan of either lost girl in question, this is basically more quality time with them.
spoof on titan by hounori , kodansha comics , $8.99 each.
theron: these two volumes, released in japan in 2013-2014 and in the u.s. in 2016, are exactly what the name suggests: parodies of the source manga done in 4-koma format. they're relatively short compared to normal manga volumes.
are they worth reading? while they contribute nothing new to the world of titan, they're more consistently funny than attack on titan: junior high .
light novels
before the fall by ryo suzukaze , illustrations by thores shibamoto . vertical, $10.95
kuklo unbound by ryo suzukaze , illustrations by thores shibamoto . vertical, $10.95
harsh mistress of the city (2 volumes) by ryo kawakami , illustrations by range murata . vertical, $10.95 each; audio version available.
rebecca: four prequel novels to the main series, divided into three time periods and plots, explore what happened long before eren and his companions strapped on their vertical maneuvering equipment. the first two are placed under the heading “before the fall” and discuss what life was like before wall maria went down. the other two comprise the harsh mistress of the city story, basically a novel in two volumes, and discuss what happened directly after the fall. these two are beautifully illustrated by range murata , who brings his own doll-like sensibility to the brutal story. together these four books explore what brought things to where they stand in the main series, filling in hints dropped by isayama in the manga.
of the three, the most significant is probably before the fall. set in shiganshina, close to wall maria, it tells the story of the smith who first created the vertical maneuvering equipment, angel aaltonen. only eighteen, angel is a craftsman with an eye for innovation and design, and that, along with the discovery of a new mineral known as iceburst stone, allows for him to create the essential equipment. not only does this allow the survey corps to actually fight against the titans, but it also elevates them from the scum of the military to the elite forces they are in the main series.
that's one of the most interesting details about this piece – it really works to establish the actual world the story is set in, providing us with now-outdated opinions and views as if it were historical fiction of a real place rather than a spin-off novel of a manga series. this certainly shows both suzukaze's grasp of isayama's world and his skill as a writer (and hats off to the english adapter as well, for capturing it), and it also gives the main series a firm base to stand on. basically this book lays the foundation for the ongoing manga, no mean feat given that the author's not the original creator. suzukaze shows us a world where superstition is still a driving force, where some people choose to worship the titans as gods, and where the survey corps is high criticized for their expeditions – those who don't worship the monsters believe that each time the corps leaves the city, they put it at increased risk of titan attack. essentially this is a much more frightened, powerless world, an almost medieval version of when the main story takes place. i almost wish that i had entered the franchise with this novel rather than with the manga – that's how good a job it does of establishing a believable base for the main story.
the second prequel novel, kuklo unbound, picks up immediately after before the fall, in a world where angel's invention is about to make all the difference. the premise of this novel is that a child is found, posthumously born in a titan's vomit, by a soldier patrolling the town. horrified by the circumstances of the infant's birth, the soldier calls him “titan's son,” a moniker which will haunt the child for his first fifteen years. sold as a freak, the boy is tortured until a girl, tired herself of being seen as an object, albeit in a different way, befriends him and gives him the name kuklo. eventually the two of them escape the manor house they've been trapped in and kuklo joins the newly impressive (and resurrected) survey corps. what's fascinating about this novel is that the corps is both kuklo's greatest enemy and his salvation – he wouldn't be alive if he hadn't been found by the soldier, but it was that same man who saved his life who damned him to a miserable existence for fifteen years…and it was that torment that ended up giving him the skills to become a successful member of the survey corps himself. suzukaze does an excellent job of working these contradictions into kuklo's character and the story itself, setting the stage (so to speak) for the trials the characters of the main series will later face. once again, suzukaze's careful and skilled retrofitting is the making of this book as a prequel – he truly makes you believe that these specific events happened before the story told by another author. anyone who has ever written a group paper or any other collaborative work can tell you how difficult that sort of meshing of words and worlds is, and it helps both of suzukaze's prequel novels to stand out, both in the aot franchise and as good books in their own right.
ryo kawakami 's harsh mistress of the city duology doesn't quite achieve that same level, although in all fairness that doesn't appear to be what he's going for. in the afterward to the second volume of the novel, the guest essayist, an expert in warfare scholarship, comments that kawakami's series is really about exploring the different, difficult options that people face in times of war and crisis. he's certainly got a point – harsh mistress of the city is every bit as much a wartime story as elizabeth bowen's short fiction. it is about the people who live during war rather than the actual fighting of it, and kawakami's heroine, rita, is a young girl thrown into an adult crisis before she is equipped to cope with it. when the titan attack on wall maria leaves a small district cut off from the rest of the walled city, teenage recruit rita is the highest ranking officer left – all of the others have either died or fled. desperate to keep her town afloat, rita becomes increasingly tyrannical, eventually even capturing a small titan and keeping it tied up in the plaza to feed rebels to in public executions. her childhood friend mathias unwittingly becomes the catalyst for her ever-increasing madness for control when his gun misfires and kills one of rita's subordinates; they are very quickly on opposing sides of the battle for the town's morale – rita as the dictator and mathias as the rebel leader. both are changed by the war, and although they still love each other, they are unable to break free of the fears that bind them to their present courses of action. it's easy to read this and see the enemies as almost anyone, because it isn't so much the threat of the titans that's driving their actions, but their fear of the monster that lurks outside. the need to do “right” makes it difficult to tell what constitutes the correct course, and if the second volume of the novel doesn't quite wrap things up satisfactorily – and you could definitely argue that rita gets off too lightly – it does provide a basis for the sort of moral jumble that later occurs when eren's initial transformation takes place. the worst enemies, kawakami reminds us, aren't always the ones who look frightening, but maybe the fear we have of them itself.
are they worth reading? before the fall and kuklo absolutely are, but harsh mistress not as much. the first book fills in gaps of aot's history and gives us a real sense of how the story's world came to be, while the second sets the stage for revelations in the manga in a compelling way. the last is an interesting exploration of a character, but it doesn't add much to the overall mythos.
oddities
choose your path attack on titan adventure by tomoyuki fujinami, illustrated by ryosuke fujii and tetsu yoshii. kodansha , $10.99. digital version available.
rebecca: of all the spin-offs of isayama's series, this one may be my favorite. certainly it has a nostalgic appeal – if you were a kid in the '80s, you probably read at least one “choose your own adventure” book. the basic premise is that you read the introduction to the story and are then given a series of choices with a page to turn to, and the ending you get is dependent upon the decisions you make; it's a lot like today's visual novel games. now thanks to tomoyuki fujinami, you can relive those days by putting yourself into the opening chapters of attack on titan !
the base storyline is that you're an unnamed member of eren's squad of trainees, present for the events of the first titan attack in the manga. you get to interact with the characters and play a part in the battle, and based on who you get the most “affinity” with – and the places you go – you can possibly change the story, saving or killing characters who did the opposite originally. the book works like a combination of a tabletop rpg with stats to keep track of and the cyoa texts, so it's more involved than the lost jewels of nabooti ever was. there's a page for you to keep track of everything, but if you plan to play multiple times, a pad of paper is probably going to work better. i would also recommend having some bookmarks handy, because there are a few maps you'll need to turn back to repeatedly.
playing can get frustrating, especially if it's been a while since you read this kind of book, and i wish that the numbered sections weren't so close to each other on the page, but on the whole this is a lot of fun. it's different enough to be entertaining, trying to choose who to ally with and how to change who lives and dies is a decent challenge, and it's a lot of game for less money than many vns. you'll want a basic familiarity with the original story to fully appreciate this, but fujinami does give a decent explanation so you won't be totally lost if it's been a while.
is it worth reading? it's a little something more out there for aot but a lot of fun!
attack on titan adult coloring book by hajime isayama . kodansha , $12.99
rebecca: of course, if you really want a trip down childhood memory lane, there's always the aot adult coloring book! it's sixty pages of hajime isayama 's art for your coloring delectation. let's just say that you'd better be very good at staying within the lines if you want to produce a pretty picture. isayama's art is detailed and full of little fiddly bits, so this is an “adult” coloring book both in terms of content and because you need some seriously fine motor skills to color it. it's a mix of splash pages and comic panels, so if you've ever wanted levi to have orange hair or see a day-glo titan without ruining your comics, this is your chance.
is it worth coloring? that depends on your coloring skills and how fussy you are about staying inside the lines.
attack on titan anthology, edited by ben applegate and jeanine shaefer. kodansha , $29.99
theron: this hardback volume is a collection of short stories by various american comic artists. it has previously been reviewed in full here, but the short version is that it provides a collection of sometimes-fanciful, sometimes-serious tales set either in the main aot universe or an alternate interpretation of it. hardly any of it features core cast members, so this is less a work that expands on the setting and more one that provides different viewpoints on the premise.
is it worth reading? only if you appreciate alternative artistic interpretations of attack on titan 's concept.
attack on titan: junior high
theron: this 12-episode parody series is available from funimation , both in a blu-ray/dvd combo pack and streaming on their website. it has been reviewed in full here (and we also have individual episode reviews), but the short version is that it puts all of the characters into a chibi-fied junior high setting and at least attempts to poke fun at the characters and story. occasionally, it is actually funny.
is it worth watching? while it does have its moments, it's more miss than hit as a comedy. it definitely should not be watched unless you've seen the entirety of the first season, either way.
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ʤeɪmz di. ˈkɑnli əv ˈlɪŋkən, neb*. bɪˈgæn ə tɪ ðə ˈvərʤɪn ˈmɛri fər rɪˈlɪʤəs ˈfridəm ɪn ðə juz. ɔn ˈsæˌtɪˌdeɪ baɪ ˈstrɛsɪŋ ðə ənd ˌænˈʤɛlɪk battle”*” əˈgɛnst sɪn, nɑt əˈgɛnst americans’*’ ˈfɛloʊ ˈsɪtɪzənz. wi preɪ təˈgɛðər fər rɪˈlɪʤəs ˈlɪbərˌti, lɛt ˈjuˈɛs ˈriˌkɔl ə ˈsɪmpəl fact,”*,” hi sɛd ɪn hɪz sɛpt. 29 ˈhɑməli æt ɑr ˈleɪdi əv ðə ˈeɪnʤəlz ˈʧæpəl ɪn irondale*, ˈælə. roʊl əv rɪˈlɪʤən ɪn əˈmɛrɪkə wɪl bi rɪˈspɛktɪd wɪn rɪˈlɪʤən ɪz lɪvd wɪθ ɪnˌθuziˈæstɪk ənd ˌɪnˈfɛkʃəs vaɪˈtæləti. wɪn wi proʊˈkleɪm ˈʤizəs kraɪst wɪθ ʤɔɪ, ɪn əˈθɛnɪk ˈfridəm, ðə wərld wɪl listen.”*.” ðə dɪˈfɛns əv rɪˈlɪʤəs ˈlɪbərˌti ɪz nɑt ˈmɪrli ə pəˈlɪtɪkəl ər ˈkəlʧərəl ˈbætəl, hi sɛd. hi ərʤd ˈkæθlɪks tɪ ˈsɪriəs əˈbaʊt ðə ˈspɪrɪˌʧuəl dɪˈmɛnʃən əv ðə ˈkrɪsʧɪn life”*” ənd bɪˈgɪn wɪθ things”*” laɪk prɛr, ˈfæstɪŋ ənd ˈsækrəˌfaɪs. ˈbɪʃəp ˈkɑnli sɛd ðət əp ə smɔl ˈsækrəˌfaɪs ɪn ðə əv ɑr hɑrts meɪ du mɔr tɪ bɪld əp ðə ˈkɪŋdəm ðən ɔl əv ðə ˈpriʧɪŋ ənd ˈtiʧɪŋ combined.”*.” ðə sɛpt. 29 ɔkt. 7 ɪz ˈɔrgəˌnaɪzd baɪ ðə ˈgloʊbəl ˈkæθlɪk ˈnɛtˌwərk tɪ preɪ fər ðə juˈnaɪtɪd steɪts əˈhɛd əv ðə noʊˈvɛmbər ɪˈlɛkʃənz. ðə ɪˈlɛkʃənz kəm æt ə taɪm wɪn ðə ˈkæθlɪk ʧərʧ ɪz æt ˈlɑgərˌhɛdz wɪθ ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən ˈoʊvər ə ˈfɛdərəl ˈmænˌdeɪt ðət rikˈwaɪərz ˈmɛni ɪmˈplɔɪərz, ˌɪnˈkludɪŋ ˈmɛni ˈkæθlɪk ˌɪnstɪˈtuʃənz, tɪ prəˈvaɪd ɪmˈplɔɪiz wɪθ fri ˌɪnˈʃʊrəns ˈkəvərɪʤ fər ˌstɛrəlɪˈzeɪʃən ənd ˌkɑntrəˈsɛpʃən, ˌɪnˈkludɪŋ əˈbɔrʃən ˈkɔzɪŋ drəgz. ˈbɪʃəp ˈkɑnli ˈɔlsoʊ əˈdrɛst ðə ˈspɪrɪˌʧuəl sfɪr əv ˌriˈæləˌti, ɪn ˌpɑˈtɪkjələr, ðə rɛlm əv ˈeɪnʤəlz ənd ˈdimənz. hi sɛd catholics’*’ ˈɛnəmiz ər nɑt ðɛr ˈfɛloʊ ˈsɪtɪzənz hu θˈrɛtən rɪˈlɪʤəs ˈlɪbərˌti ər ““slaughter”*” ðə ˈənˈbɔrn ər tɪ dɪˈstrɔɪ ðə ˈkæθlɪk church,”*,” bɪˈkəz ðɛr ɪz hoʊp fər ðɛm ɪn rɪˈdɛmʃən ɪn ˈʤizəs kraɪst. ˈɛnəmiz ər ðə ˈdimənz hu ɪnˈtræp ðɛm. ənd hu sik tɪ ɪnˈtræp us,”*,” ðə ˈbɪʃəp sɛd. ˈɛnəmi ɪz sɪn, ənd ðə ˈfɑðər əv sɪn, ðə ˈivəl one.”*.” hi rɪˈflɛktɪd ðət sɛpt. 29 ɪz ðə fist əv ðə ˌɑrˈkeɪnʤəlz. ˈeɪnʤəlz, hi sɛd, ər creatures”*” hu du work”*” ɪn ˈbɪldɪŋ əp ðə ˈkɪŋdəm əv gɑd. ðeɪ ər ə ““blueprint”*” fər ˈɛfərts tɪ dɪˈfɛnd rɪˈlɪʤəs ˈlɪbərˌti bɪˈkəz ðeɪ ˌrɛprɪˈzɛnt ðə ˈpraɪməsi əv ðə ˈspɪrɪˌʧuəl laɪf ənd iʧ sərv ɛz ə ““healer*, ˈhɛrəld ənd defender.”*.” voʊˈkeɪʃən ɪz tɪ ʤɔɪn ðə ˈeɪnʤəlz ɪn ðɛr ˈspɪrɪˌʧuəl ˈbætəl əˈgɛnst ˈivəl. ɑr kɔl ɪz tɪ ʃɛr ɪn ðɛr work,”*,” hi sɛd. ˈjuˈɛs kɔl əˈpɑn ðə ˌɪnərˈsɛʃən əv ðə ˈmaɪti ˌɑrˈkeɪnʤəlz, ənd lɛt ˈjuˈɛs ˈɪməˌteɪt ðɛr wərk lɪvd aʊt ɪn ðə ˈfridəm əv ˈʧuzɪŋ wət ɪz good,”*,” ˈbɪʃəp ˈkɑnli sɛd. ɔn iʧ deɪ əv ðə, ə ˈlidɪŋ ˈkæθlɪk ˈbɪʃəp wɪl ˈsɛləˌbreɪt mæs æt ɑr ˈleɪdi əv ðə ˈeɪnʤəlz ˈʧæpəl ɪn irondale*, ˈælə. æt 8 a.m*. ˈistərn taɪm. ˌbiˈsaɪdz ˈbɪʃəp ˈkɑnli, ˈbɪʃəps pɑrˈtɪsəˌpeɪtɪŋ ɪn ðə ˌɪnˈklud ˈɑrʧˈbɪʃəp ˈʤoʊzəf ɛf. ˈnaʊmən əv ˈkænzəs ˈsɪti; ˈɑrʧˈbɪʃəp ˈtɑməs ʤeɪ. ˈroʊdi əv ˈmoʊbəl, ˈælə.; ˈɑrʧˈbɪʃəp ˈʧɑrəlz ʤeɪ. ˈʧæpət əv ˌfɪləˈdɛlfiə; ənd ˈbɪʃəp ˈrɑbərt ʤeɪ. ˈbeɪkər əv ˈbərmɪŋˌhæm, ˈælə. ðə ˈwɛbˌsaɪt ɪz www.religiousliberties.org/novena*.
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.- bishop-designate james d. conley of lincoln, neb. began a novena to the virgin mary for religious freedom in the u.s. on saturday by stressing the “heavenly and angelic battle” against sin, not against americans’ fellow citizens.
“as we pray together for religious liberty, let us recall a simple fact,” he said in his sept. 29 homily at our lady of the angels chapel in irondale, ala. “the role of religion in america will be respected when religion is lived with enthusiastic and infectious vitality. when we proclaim jesus christ with joy, in authentic freedom, the world will listen.”
the defense of religious liberty is not merely a political or cultural battle, he said. he urged catholics to “get serious about the spiritual dimension of the christian life” and begin with “hidden things” like prayer, fasting and sacrifice.
bishop conley said that “offering up a small sacrifice in the quietude of our hearts may do more to build up the kingdom than all of the world’s preaching and teaching combined.”
the sept. 29 - oct. 7 novena is organized by the ewtn global catholic network to pray for the united states ahead of the november elections. the elections come at a time when the catholic church is at loggerheads with the obama administration over a federal mandate that requires many employers, including many catholic institutions, to provide employees with free insurance coverage for sterilization and contraception, including abortion causing drugs.
bishop conley also addressed the spiritual sphere of reality, in particular, the realm of angels and demons.
he said catholics’ enemies are not their fellow citizens who threaten religious liberty or “slaughter” the unborn or “seek to destroy the catholic church,” because there is hope for them in redemption in jesus christ.
“our enemies are the demons who entrap them. and who seek to entrap us,” the bishop said. “our enemy is sin, and the father of sin, the evil one.”
he reflected that sept. 29 is the feast of the archangels. angels, he said, are “real creatures” who do “real work” in building up the kingdom of god. they are a “blueprint” for efforts to defend religious liberty because they represent the primacy of the spiritual life and each serve as a “healer, herald and defender.”
“our vocation is to join the angels in their spiritual battle against evil. our call is to share in their work,” he said.
“let us call upon the intercession of the mighty archangels, and let us imitate their work -- lived out in the freedom of choosing what is good,” bishop conley said.
on each day of the novena, a leading catholic bishop will celebrate mass at our lady of the angels chapel in irondale, ala. at 8 a.m. eastern time.
besides bishop conley, bishops participating in the novena include archbishop joseph f. naumann of kansas city; archbishop thomas j. rodi of mobile, ala.; archbishop charles j. chaput of philadelphia; and bishop robert j. baker of birmingham, ala.
the novena website is www.religiousliberties.org/novena.
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ˈprɛzɪdənt trəmp ɔn ˈsənˌdi tʊk ˈkrɛdɪt fər ˈkɔlɪŋ ðə ˈhɛlθˌkɛr ˌlɛʤəsˈleɪʃən ““mean.”*.” hi juzd maɪ tərm, mean,”*,” trəmp sɛd əv ˈfɔrmər ˈprɛzɪdənt ˌoʊˈbɑmə, hu læst wik slæmd ˌfəndəˈmɛnəl ˈminnəs æt ðə core”*” əv ðə ˈsɛnɪt republicans’*’ ˈhɛlθˌkɛr plæn. wɑz maɪ tərm bɪˈkəz aɪ wɔnt tɪ si ənd aɪ spik frəm ðə hɑrt, wət aɪ wɔnt tɪ si. aɪ wɔnt tɪ si ə bɪl wɪθ heart,”*,” trəmp toʊld pit ˈdʊrɪŋ ən ˈɪntərvˌju wɪθ fɑks ˈnuzɪz "fɑks frɛndz." ˌædvərˈtaɪzmənt trəmp kɔld haʊs republicans’*’ ˈhɛlθˌkɛr ˌlɛʤəsˈleɪʃən ““mean”*” ɪn ə ˈkɑmɛnt ˌriˈpɔrtəd ˈərliər ðɪs mənθ. ðə waɪt haʊs ˈnɛvər kənˈfərmd ðə ˈkɑmɛnt, ənˈtɪl naʊ. ðə haʊs ˌlɛʤəsˈleɪʃən ɪz ˈdɪfərənt frəm ðə ˈsɛnɪt bɪl, wɪʧ wɑz ənˈveɪld ɔn ˈθərzˌdeɪ trəmp həz ˈædvəˌkeɪtɪd fər nɪˈgoʊʃiˌeɪtɪŋ səm ˈæˌspɛkts əv ðə ˈsɛnɪt bɪl, wɪʧ ˈkərəntli dɪz nɑt hæv ɪˈnəf səˈpɔrt əˈməŋ rɪˈpəblɪkənz tɪ pæs. noʊ ˈdɛməˌkræts səˈpɔrt ðə ˌlɛʤəsˈleɪʃən. ɔn ˈsənˌdi, trəmp ˈdaʊnˈgreɪdəd hoʊps fər ə bɪl ðət ˈɛvriˌwən kən ““love”*” tɪ ““like.”*.” ““honestly*, ˈnoʊˌbɑˌdi kən bi ˈtoʊtəli ˈhæpi, ˈivɪn wɪˈθaʊt ðə votes,”*,” hi toʊld fɑks nuz. əˈbaʊt voʊts, ðɪs həz ˈnəθɪŋ tɪ du wɪθ voʊts. ðɪs həz tɪ du wɪθ ˈpɪkɪŋ ə plæn ðət goʊɪŋ tɪ laɪk. laɪk tɪ seɪ ləv, bət like.”*.” hi ˌriəˈfərmd ðət hi wɔnts ə plæn wɪθ ““heart.”*.” hæv ə ˈvɛri gʊd plan,”*,” hi sɛd. hæv ə fju ˈpipəl ðət ər aɪ θɪŋk ju kʊd seɪ ˈmɑdəstli nɑt ˈstændɪŋ ɔn ðə ˈrufˌtɑps ənd ˈskrimɪŋ, ðeɪ wɔnt tɪ gɪt səm pɔɪnts, aɪ θɪŋk gɪt səm points.”*.”
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president trump on sunday took credit for calling the gop healthcare legislation “mean.”
“well he used my term, mean,” trump said of former president obama, who last week slammed “the fundamental meanness at the core” of the senate republicans’ healthcare plan.
“that was my term because i want to see and i speak from the heart, what i want to see. i want to see a bill with heart,” trump told pete hegseth during an interview with fox news's "fox & friends."
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trump called house republicans’ healthcare legislation “mean” in a comment reported earlier this month. the white house never confirmed the comment, until now.
the house legislation is different from the senate bill, which was unveiled on thursday
trump has advocated for negotiating some aspects of the senate bill, which currently does not have enough support among republicans to pass. no democrats support the legislation.
on sunday, trump downgraded hopes for a bill that everyone can “love” to “like.”
“honestly, nobody can be totally happy, even without the votes,” he told fox news. “forget about votes, this has nothing to do with votes. this has to do with picking a plan that everybody’s going to like. i’d like to say love, but like.”
he reaffirmed that he wants a plan with “heart.”
“we have a very good plan,” he said. “we have a few people that are i think you could say modestly not standing on the rooftops and screaming, they want to get some points, i think they’ll get some points.”
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ˈfoʊˌtoʊ: ˈɛnˌbiˈsi ðə ˈɪntərˌnɛt hivd ə kəˈlɛktɪv saɪ əv rɪˈlif ˈjɛstərˌdeɪ wɪθ əˈnaʊnsmɛnt ðət kəmˈjunɪti wʊd bi rɪˈtərnɪŋ mɑrʧ 15 bət ðət rɪˈlif wɑz ˌʃɔrˈtlɪvd: ɪf rɪˈtərn ɪz goʊɪŋ tɪ bi ə traɪˈəmfənt ˈænθəm ənd nɑt ə ˈtræʤɪk swɔn sɔŋ, ɪt nidz mɔr vjuərz. ˈprɛfərəbli ə lɔt mɔr! soʊ tɪ ɔl əv ju ˈhoʊlˌdaʊts: ɪf bɪn ˈweɪtɪŋ tɪ dɪp jʊr toʊ ˈɪntu ðə rɪˈfrɛʃɪŋ, ˈbjutəfəl, ənd ˌæbsəˈlutli hɪˈlɛriəs pul ðət ɪz kəmˈjunɪti, kənˈsɪdər ðɪs jʊr ˈfɔrməl ˌɪnvɪˈteɪʃən tɪ daɪv ɔn ɪn. ˈpræktɪkəli ˈbɛgɪŋ. (ˈsizənz wən ənd tu ər əˈveɪləbəl ɔn ˌdiˌviˈdi; ɔl ˈsizənz strim ɔn pləs.) kəmˈjunɪti ɪz ˈɔfən kɔld ““meta”*” bɪˈkəz əv ɪts ˈfrikˌwɛnt əˈluʒənz ən ɪnˈtaɪər ˈkleɪˌmeɪʃən ˈɛpɪˌsoʊd, ən əˈpɑloʊ 13 ˈɑməʤ, ə ˌhæləˈwin ˈɛpɪˌsoʊd ðət ˈdəbəld ɛz ə ˈzɑmbi ˈmuvi. bət nɑt kwaɪt ðə pɔɪnt: kəmˈjunɪti trits ˈʒɑnrə ɛz ˈmæliəbəl. θɪŋk əv ˈʒɑnrə hir ðeɪ weɪ ju maɪt θɪŋk əv ˈpeɪʃənz ɔn ˈdɔktər ʃoʊz, ər ˈkeɪsɪz ɔn ˈlɔjər ʃoʊz, ər ˈɛpɪˌsoʊdz əv ðə ˈsɪmpsənz. (ju kən hir kriˈeɪtər dæn ˈhɑrmən ɪkˈspaʊnd ɔn ðɪs ɔn hɪz ““wtf”*” ˈɛpɪˌsoʊd.) ˈwəri əˈbaʊt ˈkæʧɪŋ ˈɛvəri nuɑns əv ðə ˈɑməʤ ʤɪst ˌɛnˈʤɔɪ ðə raɪd. cliffsnotes*: kəmˈjunɪti ɪz sɛt æt kəmˈjunɪti ˈkɑlɪʤ. ðə ˈsɛntrəl ˈstədi grup kənˈsɪsts əv ʤɛf (ʤoʊəl məˈkeɪl), ə ˈfɔrmər ˈlɔjər ənd ðə də ˈfæktoʊ ˈlidər; ˈæni (ˈælɪsən bri), ə ənd ðə ˈbeɪbi ˈsɪstər əv ðə grup; əˈbɛd (ˈdæni pudi*), ðə səˈvɑnt hu kʊd ˈprɑbəˌbli bi ˌdaɪəgˈnoʊst wɪθ ən ˈɔˌtɪzəm ˈspɛktrəm dɪˈsɔrdər; trɔɪ (ˈdɑnəld ˈgləvər), ðə ɪkˈsaɪtəbəl ʤɑk ənd pləˈtɑnɪk soʊl meɪt; (ˈʤɪliən ˈʤeɪkəbz), ðə ɑˈstɛnsəbəl hu tɛndz tɪ ruɪn θɪŋz; ˈʃərli (ˌɪˈvɛt nɪˈkoʊl braʊn), ðə ˈraɪʧəs ˈkrɪsʧɪn mɑm; ənd pɪrs (ˈʧɛˌvi ʧeɪs), ðə ˈkræŋki, ˈgrændˌpɑ. ʤɪm ræʃ ɪz din ˈpɛltən, ðə bɪˈzɑr, flæmˈbɔɪənt, ənd hɛd əv ðə skul, ənd kɛn ʤɛŋ ɪz ðə məˈnaɪəkəl ʧæŋ, ən hu ˈɔlˌweɪz simz tɪ pɑp əp æt ðə rɔŋ taɪm. ˌɛnˈʤɔɪ! 1 pottery,”*,” ˈsizən 1 ˈɛpɪˌsoʊd 19 ʤɛf, ˈæni, ənd əˈbɛd teɪk ə ˈpɑtəri klæs tɔt baɪ ə ˈtoʊni heɪl, hu kɔlz hɪz ˈstudənts hɪz blueberries.”*.” ðə wən rul? noʊ ghosting*! ðə ɪˈrɑtɪk ˈpɑtəri əv goʊst, ˈɑbviəsli.) ˈminˌwaɪl, ˈʃərli, pɪrs, ənd lərn əˈbaʊt ˈneɪvəl ˌnævəˈgeɪʃən waɪl ɔn ə boʊt ɪn ə ˈpɑrkɪŋ lɔt. ðɪs ɪz ə gʊd ˈɑnˌtreɪ ˈɪntu ðə wɔrpt ˈjunəˌvərs əv kəmˈjunɪti, ˈivɪn ɪf nɑt ðə ˈgreɪtəst, moʊst traɪˈəmfənt ˈɛpɪˌsoʊd. wɔʧ ʤɛf goʊ frəm ˈmɪstər. kul gaɪ tɪ ˈmɪstər. ˈdeɪnʤərəsli kəmˈpɛtɪtɪv (əˈspɛʃəli əˈbaʊt sɛks), bət ˈɔlsoʊ ɪmˈbreɪs ðə ˈæbʤɛkt ˈsɪlinəs əv ðə ˈlænˌdlɑkt boʊt. 2 warfare,”*,” ˈsizən 1 ˈɛpɪˌsoʊd 23 ˈɛvəri ˈstudənt fər ðɛmˈsɛlvz ɪn ən ˈɔˈlaʊt ˈpeɪntˌbɑl wɔr ðət kˈwɪkli teɪks ɔn hɪˈroʊɪk prəˈpɔrʃənz ənd ˈətərli dɪˈstrɔɪz ˈɛvəri ɪnʧ əv ðə ˈkæmpəs. ðɪs ˈɔfən kɔld ˈpeɪntˌbɑl episode,”*,” ənd əˈməŋ ðə bɛst. ˈɔlsoʊ ðə moʊst ˌɪmˈprɛsɪv ˌdɛmənˈstreɪʃən əv haʊ kəmˈjunɪti pɑp ˈkəlʧər, hir ðə əv ˈækʃən ənd sərˈvaɪvəl ˈmuviz (ˌpɑrˈtɪkjələrli daɪ hɑrd) boʊθ fər læfs ənd səm ˈflitɪŋ ˈpɔɪnjənsi. ðɪs bi jʊr fərst ˈɛpɪˌsoʊd əv ðə ʃoʊ mɔr fən ɪf ju noʊ ðə ˈkɛrɪktərz ə bɪt bət ɪf ju gɪt ˈɑnˌbɔrd fər ðɪs, ðə rɛst əv ðə ˈsɪriz ɪz nɑt fər ju. (ˈɔlsoʊ, sik ˈθɛrəpi.) 3 calligraphy,”*,” ˈsizən 2 ˈɛpɪˌsoʊd 8 ˈsəmˌwən stoʊl wən əv pɛnz, ənd noʊ wən ɪz ˈlivɪŋ ðɪs rum ənˈtɪl wi faɪnd aʊt hu. θɪŋk 12 ˈæŋgri mɛn, bət wɪθ sɑrˈkæstɪk ˈnudɪti, ənd wɪθ ʧæŋ ˈkəvərd ɪn ˈvæsəˌlin ənd sˈlaɪdɪŋ θru ɛr dəkts. kəmˈjunɪti ˈɔfən dɪˈvaɪdz ɪts ɑnˈsɑmbəl fər ə- ənd bi- (ənd ˈsəmˌtaɪmz si-) ˈstɔriz, bət ““calligraphy”*” ɪz ðə ˌaɪˈkɑnɪk ˈɛpɪˌsoʊd ðə ˈɑpəzɪt əv ðət: ˈɛvriˌwən, ɔl təˈgɛðər, wɪθ ˈikwəl ˈprɛzəns ɪn ðə ˈstɔri. 4 fɪlm studies,”*,” ˈsizən 2 ˈɛpɪˌsoʊd 19 ˈɛvriˌwən ˈdrɛsɪz əp ɛz ə ˈkɛrɪktər frəm pəlp ˈfɪkʃən fər ˈbərθˌdeɪ (pɪrs ˈdrɛsɪz ɛz ðə gimp*), bət ðə ˈbərθˌdeɪ bɔɪ ənd ʤɛf spɛnd ðə naɪt æt ə ˈfænsi ˈrɛˌstrɑnt, ˈbɛrɪŋ ðɛr soʊlz: ʤɛf tɔks əˈbaʊt hɪz ˈdipəst fɪrz, ənd əˈbɛd tɔks əˈbaʊt biɪŋ ən ˈɛkstrə ɔn hɪz ˈfeɪvərɪt ʃoʊ. ðɪs ðə ˈfəniəst ˈɛpɪˌsoʊd əv ðə ʃoʊ, bət əˈməŋ ðə moʊst æmˈbɪʃəs ənd ˈprɑbəˌbli ðə ˈklæsɪk ɪgˈzæmpəl əv waɪ kəmˈjunɪti hæv ə ˈbɪgər ˈɔdiəns. haʊ ˈmɛni ˈpipəl ər ɪnˈtaɪst baɪ ðə aɪˈdiə əv ə maɪ ˈdɪnər wɪθ ˈɑnˌdreɪ ˈɑməʤ? ˈprɑbəˌbli nɑt ðət ˈmɛni! bɪɔnd ɪts ˈkəlʧərəl ˈpɛdəgri, ðoʊ, ““film”*” ˈɔlsoʊ pɔɪnts æt səm əv ðə səˈpraɪzɪŋ ˈmɛlənˌkɑli ðə ˈkeɪpəbəl əv, ˌpɑrˈtɪkjələrli frəm əˈbɛd. rɛr ɪz ðə ˈkɛrɪktər huz kəm frəm taɪm spɛnt ɔn ðə sɛt əv ˈkugər taʊn. hæd ɔˈrɛdi muvd ɔn, hæd neɪld it.”*.”) 5 ˈfɪkʃən ɪn ˈsɛvən ˈspuki steps,”*,” ˈsizən 3 ˈɛpɪˌsoʊd 5 ˌhæləˈwin ɪn, ənd ˈɛvriˌwən teɪks ə tərn ˈtɛlɪŋ ə ˈskɛri ˈstɔri ðət əv kɔrs ʤɪst ˌɪˈluməˌneɪts wət əˈfreɪd əv ənd əbˈsɛst wɪθ. keɪɑs theory,”*,” ðə ˈɛpɪˌsoʊd ˌbiˈfɔr ðɪs wən, maɪt hæv bɪn ə ˈgrændər ˌɛksplərˈeɪʃən əv ðə ˈstrəkʧər, bət fər newbies*, ““horror”*” ɪz ə ˈlɪtəl bɪt mɔr fən. (ðə ˈmaɪnər ˈdrɔˌbæk fər ˈhɑrdˈkɔr fænz wɑz ðət ɪt ˈkəvərd səm ˈtɛrɪˌtɔri, bət fər ðoʊz lɛs fəˈmɪljər wɪθ ðə ˈsɪriz, ðət ən ˈɪʃu.) rɪˈdɪkjələs ˈfræŋkənˌstin ˈstɔri ɪn wɪʧ hi swɑps hænz ənd fit, ənd gɪvz pɪrs ““boobs”*” meɪd frəm hɪz bət ɪz ðə ˈfəniəst, bət din ˈpɛltən ɛz ðə ˈdɛvəl ɪn ˈstɔri ɪz ə ˈvɛri kloʊz ˈsɛkənd. ʃʊr, pɪˈlɑˌtis ɪn hɛl, bət pɪˈlɑˌtis ɪz ˈdimən ðət its genitals.”*.”
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photo: nbc
the internet heaved a collective sigh of relief yesterday with nbc’s announcement that community would be returning march 15. but that relief was short-lived: if community’s return is going to be a triumphant anthem and not a tragic swan song, it needs more viewers. preferably a lot more! so to all of you holdouts: if you’ve been waiting to dip your toe into the refreshing, beautiful, and absolutely hilarious pool that is community, consider this your formal invitation to dive on in. we’re practically begging. (seasons one and two are available on dvd; all seasons stream on hulu plus.)
community is often called “meta” because of its frequent allusions an entire claymation episode, an apollo 13 homage, a halloween episode that doubled as a zombie movie. but that’s not quite the point: community treats genre as malleable. think of genre here they way you might think of patients on doctor shows, or cases on lawyer shows, or spoof-centric episodes of the simpsons. (you can hear creator dan harmon expound on this on his “wtf” episode.) don’t worry about catching every nuance of the homage just enjoy the ride.
cliffsnotes: community is set at greendale community college. the central study group consists of jeff (joel mchale), a cooler-than-thou former lawyer and the group’s de facto leader; annie (alison brie), a high-strung overachiever and the baby sister of the group; abed (danny pudi), the pop-culture savant who could probably be diagnosed with an autism spectrum disorder; troy (donald glover), the excitable jock and abed’s platonic soul mate; britta (gillian jacobs), the ostensible do-gooder who tends to ruin things; shirley (yvette nicole brown), the righteous christian mom; and pierce (chevy chase), the cranky, out-of-touch grandpa. jim rash is dean pelton, the bizarre, flamboyant, and costume-obsessed head of the school, and ken jeong is the maniacal chang, an ex-spanish professor-turned-student-turned-security-guard who always seems to pop up at the wrong time. enjoy!
1. “beginner pottery,” season 1, episode 19
jeff, annie, and abed take a pottery class taught by a hippie-dippy tony hale, who calls his students his “precious blueberries.” the one rule? no ghosting! (that’s reenacting the erotic pottery of ghost, obviously.) meanwhile, shirley, pierce, and britta learn about naval navigation while on a boat in a parking lot.
this is a good entree into the warped universe of community, even if it’s not the show’s greatest, most triumphant episode. watch jeff go from mr. cool guy to mr. dangerously competitive (especially about sex), but also embrace the abject silliness of the landlocked boat.
2. “modern warfare,” season 1, episode 23
it’s every student for themselves in an all-out paintball war that quickly takes on heroic proportions and utterly destroys every inch of the campus.
this one’s often called “the paintball episode,” and it’s among the show’s best. it’s also the most impressive demonstration of how community re-metabolizes pop culture, here repurposing the tropes of action and survival movies (particularly die hard) both for laughs and some fleeting poignancy. this shouldn’t be your first episode of the show it’s more fun if you know the characters a bit but if you can’t get onboard for this, the rest of the series is not for you. (also, seek therapy.)
3. “cooperative calligraphy,” season 2, episode 8
someone stole one of annie’s pens, and no one is leaving this room until we find out who.
think 12 angry men, but with sarcastic nudity, and with chang covered in vaseline and sliding through air ducts. community often divides its ensemble for a- and b- (and sometimes c-) stories, but “calligraphy” is the iconic episode that’s the opposite of that: it’s everyone, all together, with equal presence in the story.
4. “critical film studies,” season 2, episode 19
everyone dresses up as a character from pulp fiction for abed’s birthday (pierce dresses as the gimp), but the birthday boy and jeff spend the night at a fancy restaurant, baring their souls: jeff talks about his deepest fears, and abed talks about being an extra on his favorite show.
this isn’t the funniest episode of the show, but it’s among the most ambitious and it’s probably the classic example of why community doesn’t have a bigger audience. how many people are enticed by the idea of a my dinner with andre homage? probably not that many! beyond its cultural pedigree, though, “film” also points at some of the surprising melancholy the show’s capable of, particularly from abed. rare is the character whose epiphanies come from time spent on the set of cougar town. (“we had already moved on, courteney had nailed it.”)
5. “horror fiction in seven spooky steps,” season 3, episode 5
it’s halloween in greendale, and everyone takes a turn telling a scary story that of course just illuminates what they’re afraid of and obsessed with.
“remedial chaos theory,” the episode before this one, might have been a grander exploration of the split-stories structure, but for newbies, “horror” is a little bit more fun. (the episode’s minor drawback for hardcore fans was that it covered some well-worn territory, but for those less familiar with the series, that isn’t an issue.) troy’s ridiculous frankenstein story in which he swaps pierce’s hands and feet, and gives pierce “boobs” made from his butt is the funniest, but dean pelton as the devil in shirley’s story is a very close second. sure, there’s pilates in hell, but pilates is “the demon that eats genitals.”
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ˈæftər ə ˈnɛroʊ ˈpraɪˌmɛri wɪn ɪn ʤun, rɛpriˈzɛtətɪv. ˈrɑbərt ˈpɪtɪnʤər (r-n.c*.) ɪz ˈəndər faɪər fər rɪˈmɑrks hi meɪd əˈbaʊt ðə ˈproʊˌtɛsts ɪn ˈʃɑrlət sɛpt. 22 (ˈsɛrə ˈwɔʃɪŋtən poʊst) səm əv ðoʊz hu hæv kəm ˈɔntu ðə strits əv ˈʃɑrlət ˈoʊvər ðə pæst tu deɪz seɪ ðeɪ wɔnt ˈʤəstɪs fər wət ðeɪ seɪ ɪz ðə ˈrɔŋfəl pəˈlis ˈkɪlɪŋ əv ə blæk mæn ɪn ðə ˈsɪti ðɪs wik. ˈəðərz seɪ ðeɪ wɔnt mɔr rɪˈspɛkt frəm ðə pəˈlis, frəm ˌpɑləˈtɪʃənz, frəm ˈɛvriˌwən. səm seɪ ðeɪ ʤɪst wɔnt tɪ bi hərd, ˌwəˈtɛvər ðət meɪ min tɪ ðɛm. ðə ˈrizənz ər ˈvɛrid bət ðɛr ɪz ˈsɪmpli noʊ saɪn ðət ɔl əv ðiz ˈproʊˌtɛstərz, hu ər ˌoʊvərˈwɛlmɪŋli blæk, hæv kəm bɪˈkəz ðeɪ heɪt waɪt ˈpipəl. ðæts ɪgˈzæktli wət rɛpriˈzɛtətɪv. ˈrɑbərt ˈpɪtɪnʤər (r-n.c*.) sɛd ɪn ən ˈɪntərvˌju wɪθ ˌbibiˈsi nuz ɔn ˈθərzˌdeɪ ˈivnɪŋ, wɪn æst wət ðə ˈproʊˌtɛstərz' ˈgrivənsɪz ər. "ðə ˈgrivəns ɪn ðɛr maɪnd ɪz ðə ˈænɪməs, ðə ˈæŋgər," hi sɛd. "ðeɪ heɪt waɪt ˈpipəl, bɪˈkəz waɪt ˈpipəl ər səkˈsɛsfəl ənd ðɛr nɑt." wɪˈθaʊt biɪŋ ˈprɑmptɪd, ˈpɪtɪnʤər kˈwɪkli ˈpɪvətɪd tɪ ə dɪˈskəʃən əˈbaʊt ˈwɛlˌfɛr ənd reɪs. "aɪ min, jɛs, ɪt ɪz. ɪt ɪz ə ˈwɛlˌfɛr steɪt. wi hæv spɛnt ˈtrɪljənz əv ˈdɔlərz ɔn ˈwɛlˌfɛr, wi hæv pʊt ˈpipəl ɪn ˈbɑndɪʤ soʊ ðət ðeɪ kænt bi ɔl ðɛr ˈkeɪpəbəl əv biɪŋ. "əˈmɛrɪkə ɪz ðə ˌɑpərˈtunəti əv ˈfridəm ənd ˈlɪbərˌti. wi ˈdɪdənt bɪˈkəm ðət weɪ bɪˈkəz wi hæv greɪt ˈgəvərnmənt, hu prəˈvaɪdɪd ˈɛvriˌθɪŋ fər ˈɛvriˌwən. noʊ. ðæts ðə ˈdɛstəni əv əˈmɛrɪkə, ðə ˈfridəm tɪ kəm tɪ ðɪs ˈkəntri, waɪ ðɛr stɪl ˈkəmɪŋ tɪ ɑr ʃɔrz ɪz bɪˈkəz ðeɪ kən teɪk ðɛr wərk ˈɛθɪk ənd ðɛr hɑrd ˈɛfərt ənd pʊt əp ðɛr ˈkæpɪtəl ənd ðə rɪsk ənd bɪld aʊt ðɛr lɪvz." ˈpɪtɪnʤər, hu ɪz frəm ˈʃɑrlət ənd ˌrɛprɪˈzɛnts ɪts ˈaʊtər ˈsəbərbz, əˈpɑləˌʤaɪzd ɔn tˈwɪtər ˈʃɔrtli ˈæftər ðə ˈɪntərvˌju ɛrd: wət ɪz ˈteɪkɪŋ pleɪs ɪn maɪ ˈhoʊmˌtaʊn breɪks maɪ hɑrt. təˈdeɪ, maɪ ˈæŋgwɪʃ lɛd mi tɪ rɪˈspɑnd tɪ ə rɪˈpɔrtərz kˈwɛʃən ɪn ə weɪ ðət aɪ rɪˈgrɛt rɛpriˈzɛtətɪv ˈrɑbərt ˈpɪtɪnʤər (@reppittenger*) sɛpˈtɛmbər 22 2016 maɪ ˈænsər tɪ ˌbibiˈsi ˈdəzənt rɪˈflɛkt hu aɪ æm. aɪ wɑz kˈwoʊtɪŋ ˈsteɪtmənts meɪd baɪ ˈæŋgri ˈproʊˌtɛstərz læst naɪt ɔn ˈnæʃənəl ˌtɛləˈvɪʒən. nɑt maɪ ˌɪnˈtɛnt rɛpriˈzɛtətɪv ˈrɑbərt ˈpɪtɪnʤər (@reppittenger*) sɛpˈtɛmbər 22 2016 maɪ ˌɪnˈtɛnt wɑz tɪ dɪˈskəs ðə læk əv ˌɛkəˈnɑmɪk moʊˈbɪlɪti fər ˈæfrɪkɑn əˈmɛrɪkənz bɪˈkəz əv feɪld ˈpɑləsiz. rɛpriˈzɛtətɪv ˈrɑbərt ˈpɪtɪnʤər (@reppittenger*) sɛpˈtɛmbər 22 2016 aɪ əˈpɑləˌʤaɪz tɪ ðoʊz aɪ əˈfɛndɪd ənd hoʊp wi kən brɪŋ pis ənd kɑm tɪ ˈʃɑrlət. rɛpriˈzɛtətɪv ˈrɑbərt ˈpɪtɪnʤər (@reppittenger*) sɛpˈtɛmbər 22 2016 hɪz ˈkɑmɛnts keɪm ˈʃɔrtli ˈæftər nuz broʊk ðət ə ˈproʊˌtɛstər hu wɑz ˈɪnʤərd ˈdʊrɪŋ ðə ˌdɛmənˈstreɪʃənz hæd daɪd. ˈəpˌdeɪt: ˈpɪtɪnʤər ˈɔlsoʊ wɛnt ɔn ˈsiˈɛˈnɛn tɪ əˈpɑləˌʤaɪz: "ˈfræŋkli, aɪ əˈpɑləˌʤaɪz fər ðə ˈkɑmɛnts. ðeɪ ˈsərtənli wərənt mɛnt ɪn ðə ˈkɑntɛkst əv haʊ ˈmɛni vjud ðɛm." hoʊst dɑn ˈlɛmən æst ˈpɪtɪnʤər: "du ju bɪˈliv ðət ˈproʊˌtɛstərz heɪt waɪt ˈpipəl?" ˈpɪtɪnʤər rɪˈplaɪd: "noʊ, sər, ɪts ðə ˈkɑmɛnts ðət ðeɪ meɪd ɪf ju goʊ bæk ənd lʊk æt ðə teɪps, ðə ˈkɑmɛnts ðeɪ meɪd ɔn ɛr. aɪ wɑz ˈoʊnli traɪɪŋ tɪ kənˈveɪ wət ðeɪ seɪɪŋ, ənd jɛt ɪt ˈdɪdənt kəm aʊt raɪt, ənd aɪ əˈpɑləˌʤaɪz. ðət ˈsərtənli wɑz nɑt ðə ˈspɪrɪt əv hu aɪ æm." ˈpɪtɪnʤər ɪz nɑt ðə fərst ˌpɑləˈtɪʃən tɪ meɪk ə ˌkɑntrəˈvərʃəl, ˈblæŋkɪt ˈsteɪtmənt əˈbaʊt ðə ˈreɪʃəl ˈtɛnʧənz nɔrθ ˌkɛrəˈlaɪnəz ˈlɑrʤəst ˈsɪti. ˈərliər ɔn ˈθərzˌdeɪ, rɛpriˈzɛtətɪv. tɪm ˈhʊlskæmp (r-kan*.) kɔld ɪt "aʊˈtreɪʤəs" ðət ˈprɛzɪdənt ˌoʊˈbɑmə wʊd meɪk ə ʤoʊk əˈbaʊt reɪs waɪl nɔrθ ˌkɛrəˈlaɪnə ɪz ˈhævɪŋ ˈprɑbləmz: ˌoʊˈbɑmə ʤoʊks əˈbaʊt reɪs ˈæftər tu kənˈsɛkjətɪv naɪts əv ˈhudləmz ˈraɪətɪŋ ɪn #ˈʃɑrlət. aʊˈtreɪʤəs. kɔŋ. tɪm ˈhʊlskæmp (@conghuelskamp*) sɛpˈtɛmbər 22 2016 ðə "aʊˈtreɪʤəs" ʤoʊk ɪn kˈwɛʃən keɪm æt ə kəmˈplitli ˌənrɪˈleɪtɪd ɪˈvɛnt ˈθərzˌdeɪ æt ðə waɪt haʊs. ðə poʊsts ˈʤuliˌɛt rɪˈpɔrts ðə ˈprɛzɪdənt wɑz ˈhændɪŋ aʊt ˈnæʃənəl ˈmɛdəlz fər juˈmænɪtiz ənd ɑrts. wən wɑz səˈpoʊzd tɪ goʊ tɪ ˈæktər ˈmɔrgən ˈfrimən, hu ˈkʊdənt meɪk ɪt. soʊ ðə ˈprɛzɪdənt kwɪpt ðət ˈfrimən wɑz ənˈdaʊtɪdli "ɔf pleɪɪŋ ə blæk ˈprɛzɪdənt əˈgɛn. hi ˈnɛvər lɛts mi hæv maɪ ˈmoʊmənt."
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after a narrow primary win in june, rep. robert pittenger (r-n.c.) is under fire for remarks he made about the protests in charlotte sept. 22. (sarah parnass/the washington post)
some of those who have come onto the streets of charlotte over the past two days say they want justice for what they say is the wrongful police killing of a black man in the city this week. others say they want more respect — from the police, from politicians, from everyone. some say they just want to be heard, whatever that may mean to them. the reasons are varied — but there is simply no sign that all of these protesters, who are overwhelmingly black, have come because they hate white people.
that's exactly what rep. robert pittenger (r-n.c.) said in an interview with bbc news on thursday evening, when asked what the protesters' grievances are. "the grievance in their mind is the animus, the anger," he said. "they hate white people, because white people are successful and they're not."
without being prompted, pittenger quickly pivoted to a discussion about welfare and race. "i mean, yes, it is. it is a welfare state. we have spent trillions of dollars on welfare, we have put people in bondage so that they can't be all they're capable of being.
"america is the opportunity of freedom and liberty. we didn't become that way because we have great government, who provided everything for everyone. no. that's the destiny of america, the freedom to come to this country, why they're still coming to our shores is because they can take their work ethic and their hard effort and put up their capital and the risk and build out their lives."
pittenger, who is from charlotte and represents its outer suburbs, apologized on twitter shortly after the interview aired:
what is taking place in my hometown breaks my heart. today, my anguish led me to respond to a reporter's question in a way that i regret — rep robert pittenger (@reppittenger) september 22, 2016
my answer to bbc doesn't reflect who i am. i was quoting statements made by angry protesters last night on national tv. not my intent — rep robert pittenger (@reppittenger) september 22, 2016
my intent was to discuss the lack of economic mobility for african americans because of failed policies. — rep robert pittenger (@reppittenger) september 22, 2016
i apologize to those i offended and hope we can bring peace and calm to charlotte. — rep robert pittenger (@reppittenger) september 22, 2016
his comments came shortly after news broke that a protester who was injured during the demonstrations had died.
update: pittenger also went on cnn to apologize: "frankly, i apologize for the comments. they certainly weren't meant in the context of how many viewed them."
host don lemon asked pittenger: "do you believe that protesters hate white people?"
pittenger replied: "no, sir, it's the comments that they made -- if you go back and look at the tapes, the comments they made on air. i was only trying to convey what they wre saying, and yet it didn't come out right, and i apologize. ... that certainly was not the spirit of who i am."
pittenger is not the first politician to make a controversial, blanket statement about the racial tensions embroiling north carolina's largest city.
earlier on thursday, rep. tim huelskamp (r-kan.) called it "outrageous" that president obama would make a joke about race while north carolina is having race-related problems:
obama jokes about race after two consecutive nights of hoodlums rioting in #charlotte. outrageous. https://t.co/qjgryup384 — cong. tim huelskamp (@conghuelskamp) september 22, 2016
the "outrageous" joke in question came at a completely unrelated event thursday at the white house. the post's juliet eilperin reports the president was handing out national medals for humanities and arts. one was supposed to go to actor morgan freeman, who couldn't make it. so the president quipped that freeman was undoubtedly "off playing a black president again. he never lets me have my moment."
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ə ˈsəðərn wɪˈskɑnsən ˌɛləˈmɛnʧri skul ˈkænsəld ə plænd ˈrɛdɪŋ əv ə ˈʧɪldrənz bʊk əˈbaʊt ə ˈtrænzˈʤɛndər gərl ˈæftər ən heɪt grup' θˈrɛtənd tɪ su. ðə maʊnt ˈɛriə skul ˈdɪstrɪkt riˈlist ə ˈsteɪtmənt seɪɪŋ ɪt wɪl nɑt pərˈsid wɪθ ɪts plænd ˈrɛdɪŋ əv ðə bʊk aɪ æm ʤæz, ðə ˈkæpɪtəl taɪmz ˌriˈpɔrtəd. ðə bʊk ɪz beɪst ɔn ðə ˈriˌllaɪf ˈtrænzˈʤɛndər ˈtiˌneɪʤər, ʤæz ˈʤɛnɪŋz. ðə ˈdɪstrɪkt sɛd ɪt wʊd gɪv ðə bɔrd əv ˌɛʤəˈkeɪʃən ðə ˌɑpərˈtunəti tɪ ˈæˌdrɛs ə ˌsɪʧuˈeɪʃən fər wɪʧ ðə ˈdɪstrɪkt həz noʊ ˈkɑrənt ˈpɑləsi. skroʊl daʊn fər ˈvɪdioʊ ˈtrænzˈʤɛndər tin ʤæz ˈʤɛnɪŋz, əˈbəv, ɪz kənˈsɪdərd wən əv ðə moʊst ˌɪnfluˈɛnʃəl tinz ɪn əˈmɛrɪkə maʊnt ˈpraɪˌmɛri ˈsɛnər wɑz tɪ rɛd ə ˈʧɪldrənz bʊk beɪst ɔn ʤæz ˈʤɛnɪŋz' laɪf, bət həz sɪns ˈkænsəld ðə plæn ˈæftər biɪŋ θˈrɛtənd wɪθ ə ˈlɔˌsut læst wik, ðə ˈprɪnsəpəl əv maʊnt ˈpraɪˌmɛri ˈsɛnər sɛnt ə ˈlɛtər tɪ ˈpɛrənts seɪɪŋ ðə bʊk wʊd bi rɛd ənd dɪˈskəst bɪˈkəz ðə skul həz ə ˈstudənt hu aɪˈdɛntəˌfaɪz ɛz ə gərl bət wɑz bɔrn wɪθ meɪl əˈnætəmi. 'wi bɪˈliv ɔl ˈstudənts dɪˈzərv rɪˈspɛkt ənd səˈpɔrt rəˈgɑrdləs əv ðɛr ˈʤɛndər aɪˈdɛntəˌti ənd ɪkˈsprɛʃən, ənd ðə bɛst weɪ tɪ ˈfɑstər ðət rɪˈspɛkt ənd səˈpɔrt ɪz θru ˈɛʤəˌkeɪtɪŋ ˈstudənts əˈbaʊt ðə ˈɪʃu əv biɪŋ ˈtrænzˈʤɛndər,' ðə ˈlɛtər sɛd. 'wi hæv bɪn ˈwərkɪŋ wɪθ ðə ˈfæməli əv ə ˈstudənt ɔn jʊr ʧaɪldz flɔr hu aɪˈdɛntəˌfaɪz ɛz ə gərl bət həz ə meɪl əˈnætəmi. wi rɪˈfər tɪ ðɪs ɛz ˈhævɪŋ ə gərl breɪn ənd ə bɔɪ ˈbɑdi. təˈgɛðər wi hæv kəm əp wɪθ ə plæn tɪ səˈpɔrt ðɪs ˈstudənt ɪn ˈlɪvɪŋ ɛz hər əˈθɛnɪk sɛlf.' ðə ˈlɪbərˌti ˈkaʊnsəl grup θˈrɛtənd tɪ su, seɪɪŋ ɪt wɑz ˈkɑnˌtæktɪd baɪ kənˈsərnd ˈpɛrənts. maʊnt ˈpraɪˌmɛri ˈsɛnər (əˈbəv) ɪn wɪˈskɑnsən sɪz ɪt həz ə ˈtrænzˈʤɛndər ˈstudənt ɪn ə ˈlɛtər tɪ ðə skul ˈdɪstrɪkt, ðə grup kənˈtɛndɪd ðət ˈrɛdɪŋ ðə bʊk wʊd ˈvaɪəleɪt pərˈɛntəl raɪts. ðə ˈsəðərn ˈpɑvərti lɔ ˈsɛnər ˈklæsəˌfaɪz ðə ˈlɪbərˌti ˈkaʊnsəl ɛz ə heɪt grup ðət ˈædvəˌkeɪts fər dɪˌskrɪməˈneɪʃən, ˈəndər ðə gaɪz əv rɪˈlɪʤəs ˈlɪbərˌti'. ɪn ɪts ˈsteɪtmənt ˈwɛnzˌdeɪ, ðə ˈdɪstrɪkt sɛd ɛz ɪt siks tɪ ˈæˌdrɛs ðə nidz əv ðə ˌɪndəˈvɪʤəwəl ˈstudənt, ɪt wɪl bi ˈmaɪndfəl əv ðə nidz əv ˈəðər ˈstudənts ənd ˈfæməliz. ɪt ˈɔlsoʊ sɛd ˈfæməliz huz ˈʧɪldrən meɪ bi əˈfɛktɪd wɪl bi ˈnoʊtəˌfaɪd əv fˈjuʧər ˈækʃənz, ənd ðə goʊl ɪz tɪ prəˈtɛkt ɔl ˈstudənts frəm ˈbʊliɪŋ soʊ ðeɪ kən lərn təˈgɛðər ɪn ə seɪf ɪnˈvaɪrənmənt. əˈkɔrdɪŋ tɪ ðə kæp taɪmz, braɪən juchems*, ˈsinjər dɪˈrɛktər əv ˌɛʤəˈkeɪʃən ənd ˈpɑləsi æt ðə geɪ streɪt əˈlaɪəns fər seɪf skulz, dɪsəˈgrid wɪθ ðə dɪˈsɪʒən tɪ ˈkænsəl ðə ˈrɛdɪŋ, seɪɪŋ, 'wi ʃʊd ˈwɛlkəm ˈstudənts ɛz ðeɪ ər, nɑt haʊ wi wɔnt ðɛm tɪ bi ər haʊ wid laɪk tɪ ðɛm bi. 'ˈrɛdɪŋ ən bʊk tɪ hɛlp ˈrɛkəgˌnaɪz ðə ˈdɪfərənsɪz wi brɪŋ wɪθ ˈjuˈɛs tɪ skul ɪz ˈvɛri ˌɪmˈpɔrtənt, ˌpɑrˈtɪkjələrli fər ɑr ˈtrænzˈʤɛndər ˈstudənts tɪ si ðɛmˈsɛlvz rɪˈflɛktɪd ɪn ðə kərˈɪkjələm.'
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a southern wisconsin elementary school cancelled a planned reading of a children's book about a transgender girl after an 'lgbt hate group' threatened to sue.
the mount horeb area school district released a statement saying it will not proceed with its planned reading of the book i am jazz, the capital times reported.
the book is based on the real-life transgender teenager, jazz jennings.
the district said it would give the board of education the opportunity to address a situation for which the district has no current policy.
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transgender teen jazz jennings, above, is considered one of the most influential teens in america
mount horeb primary center was to read a children's book based on jazz jennings' life, but has since cancelled the plan after being threatened with a lawsuit
last week, the principal of mount horeb primary center sent a letter to parents saying the book would be read and discussed because the school has a student who identifies as a girl but was born with male anatomy.
'we believe all students deserve respect and support regardless of their gender identity and expression, and the best way to foster that respect and support is through educating students about the issue of being transgender,' the letter said.
'we have been working with the family of a student on your child's floor who identifies as a girl but has a male anatomy. we refer to this as having a girl brain and a boy body. together we have come up with a plan to support this student in living as her authentic self.'
the florida-based liberty counsel group threatened to sue, saying it was contacted by concerned parents.
mount horeb primary center (above) in wisconsin says it has a transgender student
in a letter to the school district, the group contended that reading the book would violate parental rights.
the southern poverty law center classifies the liberty counsel as a hate group that advocates for 'anti-lgbt discrimination, under the guise of religious liberty'.
in its statement wednesday, the district said as it seeks to address the needs of the individual student, it will be mindful of the needs of other students and families.
it also said families whose children may be affected will be notified of future actions, and the goal is to protect all students from bullying so they can learn together in a safe environment.
according to the cap times, brian juchems, senior director of education and policy at the gay straight alliance for safe schools, disagreed with the decision to cancel the reading, saying, 'we should welcome students as they are, not how we want them to be or how we'd like to them be.
'reading an age-appropriate book to help recognize the differences we bring with us to school is very important, particularly for our transgender students to see themselves reflected in the curriculum.'
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pottermore* sæt daʊn wɪθ ðə kæst əv ðə ˈəpˌkəmɪŋ fænˈtæstɪk bists ənd wɛr tɪ faɪnd ðɛm æt sæn diˈeɪgoʊ ˈkɑmɪk kɑn tɪ hir wət ˈkipɪŋ ðə ˈsikrɪts ɪz laɪk. ðə ˈbɪgəst ˈpɑtər nuz aʊt əv sæn diˈeɪgoʊ ˈkɑmɪk kɑn keɪm ɔn ˈsæˌtɪˌdeɪ ˈdʊrɪŋ ðə ˈwɔrnər ˈbrəðərz ˈpænəl, wɪʧ kloʊzd aʊt wɪθ ðə kæst əv fænˈtæstɪk bists ənd wɛr tɪ faɪnd ðɛm. bət tru tɪ fɔrm, ðə kæst gɪv məʧ əˈweɪ æt fər wɑndz, ðət ɪz. 6500 əv ðɛm tɪ ðə ɪnˈtaɪərti əv hɔl eɪʧ, wɪn ɔl wɑz sɛd ənd dən. soʊ haʊ hɑrd ɪz ˈkipɪŋ ðə ˈsikrɪts wɪn ˈɛvriˌwən ju noʊ ɪz bɪɔnd ɪkˈsaɪtɪd əˈbaʊt ðɪs ˈmuvi? sæt daʊn wɪθ ðə kæst ˈæftər ðɛr ˈpænəl ənd æst ðɛm tɪ ɪkˈspleɪn. əˈkɔrdɪŋ tɪ ˈælɪsən ˈsudəl, nɑt ˈizi. ɪz ˈtrɪki bɪˈkəz ˈkɑnstəntli ˈrulɪŋ aʊt θɪŋz ɪn jʊr hɛd. bət soʊ məʧ ˈrɪʧnəs tɪ ðə ˈjumən ˈɛləmənts əv ðɪs ˈstɔri, ðə riˈleɪʃənˌʃɪps ənd ðə ˈkɛrɪktərz. soʊ məʧ tɪ tɔk əˈbaʊt, bət ˈæˌkʧuəli kwaɪt fən tɪ kip ðə ˈmɪstəri bɪˈkəz ðɛn ju noʊ ðət ˈpipəl ər goʊɪŋ tɪ goʊ ˈɪntu ðə fɪlm ənd ˈæˌkʧuəli fil səˈpraɪzd. laɪk ˈkrɪsməs ənd aɪ gɑt ju ðə bɛst gift!”*!” ɛz fər ˈɛdi, hi fidz ɔf ðə ˈɛnərʤi əv ðə fænz ɪn ðə rum: fil laɪk ˌɛkstrəˈɔrdəˌnɛri əˈbaʊt ɪz ðət soʊ məʧ ˈɛnərʤi kəmz ˈɪntu ðə ˈsɪti fər fɔr deɪz ənd ju fid ɔf ðət. soʊ, jʊr əˈdrɛnələn ɪz ˈpəmpɪŋ ənd ˈpəlˌseɪtɪŋ θru jʊr ˈbɑdi ənd ju kaɪnd əv fil ɪˈleɪtɪd. sˈlaɪtli laɪk ˈfloʊtɪŋ ɔn ə ˈdɪfərənt ˈplænət. ju ˈɔlˌmoʊst teɪk ɪt ɪn; tu məʧ ˈvɪʒəwəl ˈstɪmjələs. ju si ˈpipəl ˈɛvriˌwɛr drɛst ɪn ˈkɑstum aɪ sɔ ə gaɪ drɛst ɛz nut scamander*. aɪ wɑz laɪk ləv it!”*!” ənd ðɪs toy…*… kaɪnd əv əˈmeɪzɪŋ, ˌɔlˈðoʊ aɪ θɪŋk goʊɪŋ tɪ teɪk maɪn hoʊm ənd pʊt ˈfrɛkəlz ɔn it.”*.” hɪˈlɛriəs, bɪˈkəz ðə ˈbɪgəst kəmˈpleɪnt sin ɔn tˈwɪtər ɪz ðə læk əv ˈfrɛkəlz ɔn ðə nut. gʊd tɪ noʊ ðət hɪmˈsɛlf ɪz ˈɔlsoʊ kəˈmɪtɪd tɪ ˈfɪksɪŋ ðət ˈoʊvərˌsaɪt. dæn ˈfoʊgələr brɔt aʊt ðə ˈstɔri, wɪʧ naʊ toʊld ə ˈkəpəl əv taɪm, haʊ hi wɑz ˈæˌkʧuəli ðɛr æt læst jɪr wɪn hɪz ˈeɪʤənts kɔld ənd broʊk ðə nuz hi hæd bɪn kæst. əˈpɛrəntli ɪt wɑz ðə fərst taɪm hæd hərd ðɪs ðoʊ, ənd sɛd ðə ɪnˈtaɪər aɪˈdiə əv biɪŋ ə ˈnoʊˌbɑˌdi jʊr wɛrz æt ˈkɑmɪk kɑn ˈoʊnli tɪ lərn ʤɪst bɪn ˈhændɪd ə roʊl goʊɪŋ tɪ ˈkætəˌpəlt ju tɪ ˌsupərˈstɑr geɪv ɪm goosebumps*. ˈfoʊgələr kɔld ɪt ““surreal.”*.”
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pottermore sat down with the cast of the upcoming fantastic beasts and where to find them at san diego comic con to hear what keeping the secrets is like.
the biggest potter news out of san diego comic con came on saturday during the warner brothers panel, which closed out with the cast of fantastic beasts and where to find them. but true to form, the cast didn’t give much away at all…except for wands, that is. 6500 of them to the entirety of hall h, when all was said and done.
so how hard is keeping the secrets when everyone you know is beyond excited about this movie? pottermore sat down with the cast after their panel and asked them to explain. according to allison sudol, it’s not easy. “it is tricky because you’re constantly ruling out things in your head. but there’s so much richness to the human elements of this story, the relationships and the characters. there’s so much to talk about, but it’s actually quite fun to keep the mystery because then you know that people are going to go into the film and actually feel surprised. it’s like christmas and i got you the best gift!”
as for eddie redmayne, he feeds off the energy of the fans in the room:
“i feel like what’s extraordinary about comic-con is that so much energy comes into the city for four days and you feed off that. so, your adrenaline is pumping and pulsating through your body and you kind of feel elated. slightly like you’re floating on a different planet. you almost can’t take it in; it’s too much visual stimulus. you see people everywhere dressed in costume – i saw a guy dressed as newt scamander. i was like “i love it!” and there’s this funko toy… that’s kind of amazing, although i think i’m going to take mine home and put freckles on it.”
that’s hilarious, because the biggest complaint i’ve seen on twitter is the lack of freckles on the newt funko. good to know that redmayne himself is also committed to fixing that oversight.
dan fogler brought out the story, which he’s now told a couple of time, how he was actually there at sdcc last year when his agents called and broke the news he had been cast. apparently it was the first time redmayne had heard this though, and said the entire idea of being a nobody humping your wares at comic con only to learn you’ve just been handed a role that’s going to catapult you to a-list superstar gave him goosebumps. fogler called it “surreal.”
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ˈhjustən wi nid ɪt tɪ kʊk ənd klin ənd wi nid ɪt tɪ sərˈvaɪv. bət ˈʧænəl 2 ˌɪnˈvɛstəˌgeɪts həz dɪˈskəvərd tæp ˈwɔtər ɪn ˈmɛni ˈhjustən ˈɛriə kəmˈjunɪtiz həz ə ˈkɛmɪkəl ðət kʊd meɪk ju ˈdeɪnʤərəsli sɪk. ə ˈkɛmɪkəl meɪd ˈɪnfəməs baɪ ˈɛrɪn brockovich*, həz bɪn faʊnd æt haɪ ˈlɛvəlz ɪn ˈhjustənz tæp ˈwɔtər. ðə ˈkɛmɪkəl ɪz kɔld ˈkroʊmiəm ər ˈkroʊmiəm 6 "ðə ˈsɪti əv ˈhjustənz ˈwɔtər ræŋks əˈbaʊt θərd ɪn ðə ˈkəntri ɪn tərmz əv haɪ ˈlɛvəl əv ˈkroʊmiəm 6 sɛd bɪl ˈwɔkər, ˈmænəʤɪŋ ˈɛdɪtər æt ðə nɑnˈprɑfət ɪnˌvaɪrənˈmɛnəl ˈwərkɪŋ grup. bət ʤɪst haʊ haɪ ɪz ðə ˈkroʊmiəm 6 ɪn ˈhjustənz tæp ˈwɔtər? ɪn ˌkæləˈfɔrnjə-- ðə ˈɔfəs əv ɪnˌvaɪrənˈmɛnəl hɛlθ ˈhæzərd əˈsɛsmənt, ˈɪndɪˌkeɪts ˈkænsər reɪts stɑrt tɪ raɪz æt ə ˌkɑnsənˈtreɪʃən əv pɑrts pər ˈbɪljən (ppb*) "tɪ pʊt ðət ɪn pərˈspɛktɪv, ə pɑrt pər ˈbɪljən ɪz ˈrəfli wən drɔp əv ˈwɔtər ɪn ən sˈwɪmɪŋ pul," ˈwɔkər sɛd. əˈkɔrdɪŋ tɪ ˈdætə frəm ðə ˈsɪti əv ˈhjustən, ˈhjustənz ˈævərɪʤ ɪz. haʊ tɪ kip jʊr ˈdrɪŋkɪŋ ˈwɔtər fri əv ˈkroʊmiəm 6 waɪ ɪz ˈkroʊmiəm 6 soʊ ˈdeɪnʤərəs? "ɪt kʊd ˌɪnˈkris jʊr ʧæns ər jʊr rɪsk tɪ gɪt ˈkænsər," sɛd ˈdɑktər. li, wɪθ raɪs ˌjunəˈvərsəti, ˈædɪŋ, "ɪt kʊd ˈɔlsoʊ kɔz ˈdæmɪʤ tɪ ˈlɪvər ənd ˈkɪdni." ˈkroʊmiəm ɪz faʊnd ˈnæʧərəli ɪn rɑks, plænts, sɔɪlz, vɑlˈkænɪk dəst ənd ˈænəməlz. ˈkroʊmiəm 6 əˈkərz ˈnæʧərəli ɪn ðə ɪnˈvaɪrənmənt frəm ðə ɪˈroʊʒən əv ˈnæʧərəl ˈkroʊmiəm dɪˈpɑzəts. ɪt kən ˈɔlsoʊ bi prəˈdust baɪ ˌɪnˈdəstriəl ˈprɑsɛsəz. "ˈkroʊmiəm 6 kən kəm frəm ˌɪnˈdəstriəl pəˈluʃən, səʧ ɛz ˌɪˈlɛktrəˌpleɪtɪŋ ˈɪndəstri ənd kʊd kəm frəm ˈmaɪnɪŋ," li sɛd. ˈʧænəl 2 ˌɪnˈvɛstəˌgeɪts lʊkt ˈivɪn ˈkloʊzər æt ðə ˈnəmbərz əˈkrɔs ˈhɛrɪs ˈkaʊnti ənd faʊnd ðə naɪn haɪəst ˈsæmpəlz, frəm ɔl keɪm bæk tɪ ðə ɪgˈzækt zɪp koʊd, 77099 ɪn səm ˈkeɪsɪz ðə reɪts wər ˈoʊvər ðæts 300 taɪmz ðə ˌrɛkəˈmɛndɪd hɛlθ ˈlɛvəl sɛt ɪn ˌkæləˈfɔrnjə əv. 9007 ˈdɛri vju leɪn, 77099 12811 ˈkəvi, 77099 10630 ɛs. ˈkərkwʊd 77099 10301 sən ˈsɪti kɔrt 77099 10003 ɛs. ˈkərkwʊd 77099 ˌɪnərˈæktɪv mæp ˈsɪti əv ˈhjustən ˈsɪti əv ˈʃʊgər lænd ˈsɪti əv ˈsɪti əv ˈwɔrtən ˈsɪti əv ˈgælvəstən "ðə ˈlɛvəl ðət jʊr ˈtɔkɪŋ əˈbaʊt ɪn ˈhjustən wʊd min ən əˈdɪʃənəl 330 səm əˈdɪʃənəl ˈkeɪsɪz əv ˈkænsər ˈoʊvər ə ˈlaɪfˌtaɪm," ˈwɔkər sɛd. wi wɛnt tɪ ˈhjustən ˈpəblɪk wərks fər ˈænsərz. "aɪ wʊd laɪk ju tɪ noʊ ðət ðə ˈwɔtər ɪz seɪf," ˌɪˈvɑn ˈfɔrəst, ə ˈsinjər əˈsɪstənt dɪˈrɛktər fər ˈpəblɪk wərks, sɛd. "ðə ˈsɪti əv ˈhjustən prəˈvaɪdz seɪf ˈdrɪŋkɪŋ ˈwɔtər ðət mits ər ɪkˈsidz ɔl ðə ɪˈstæblɪʃt ˈlɛvəlz fər ðə steɪt ər ˈfɛdərəl ˈgəvərnmənt." bət ðə ˈfɛdərəl ˈgəvərnmənt nɔr ðə steɪt əv ˈtɛksəs həz sɛt ə ˈstændərd fər ˈkroʊmiəm 6 ˈlɛvəlz. ðə həz sɛt ðə ˈstændərd fər ˈtoʊtəl ˈkroʊmiəm ˈlɛvəlz ɪn ˈdrɪŋkɪŋ ˈwɔtər tɪ 100. ˈoʊnli wən steɪt həz sɛt ə ˈstændərd fər ɪn ˈdrɪŋkɪŋ ˈwɔtər. ˌkælɪˈfɔrnjəz ˈdrɪŋkɪŋ ˈwɔtər ˈstændərd fər ˈkroʊmiəm 6 tʊk ˈifɛkt ɔn ˌʤuˈlaɪ 1 2014 ɪt ɪˈstæblɪʃt ə ˈmæksəməm kənˈtæmənənt ˈlɛvəl əv 10 fər ˈkroʊmiəm 6 ɪn ˈdrɪŋkɪŋ ˈwɔtər. bət ˌkælɪˈfɔrnjəz hɛlθ goʊl ɪz. ðə juz. ɪnˌvaɪrənˈmɛnəl prəˈtɛkʃən ˈeɪʤənsi toʊld ˈjuˈɛs ðeɪ ər ˈwərkɪŋ tɪ əˈsɛs ˈkroʊmiəm 6 ənd hæv tɪ hæv ə prəˈpoʊzəl ˈrɛdi fər ˈpəblɪk ˈkɑmɛnt ɪn 2017 ðə sɛnt ˈʧænəl 2 ˌɪnˈvɛstəˌgeɪts ðɪs ˈsteɪtmənt: ðə həz ə ˈdrɪŋkɪŋ ˈwɔtər ˈstændərd əv 100 pɑrts pər ˈbɪljən (ppb*) fər ˈtoʊtəl ˈkroʊmiəm, ˌɪnˈkludɪŋ ˈkroʊmiəm. ənd steɪts ər riˈspɑnsəbəl fər ɪnˈʃʊrɪŋ ðət ˈpəblɪk ˈwɔtər ˈsɪstəmz ər ɪn kəmˈplaɪəns wɪθ ðə ˈkɑrənt ˈstændərd. ðə ˈeɪʤənsi həz ˈɔlsoʊ kəˈlɛktəd ˈnæʃənəli ˌrɛprɪˈzɛnətɪv ˈdætə ɔn ðə əˈkərəns əv boʊθ ˈtoʊtəl ˈkroʊmiəm ənd ˈkroʊmiəm θru ðə θərd ənˈrɛgjəˌleɪtɪd kənˈtæmənənt ˈmɑnətərɪŋ rul ˈoʊnli wən əv ðə ˈɔlˌmoʊst ˈpəblɪk ˈwɔtər ˈsɪstəmz ðət ˈmɑnətərd ˈtoʊtəl ˈkroʊmiəm ˈəndər ðə ˌriˈpɔrtəd rɪˈzəlts ðət ɪkˈsidɪd ˈstændərd. ðə ɪz ˈæktɪvli ˈwərkɪŋ ɔn ðə dɪˈvɛləpmənt əv ðə ˈɪnəˌgreɪtɪd rɪsk ˌɪnˌfɔrˈmeɪʃən ˈsɪstəm (ˈaɪrɪs) əˈsɛsmənt əv ˈkroʊmiəm, wɪʧ wɪl ˌɪnˈklud ə ˌkɑmpriˈhɛnsɪv ɪˌvæljuˈeɪʃən əv pəˈtɛnʃəl hɛlθ ˈifɛkts əˈsoʊʃiˌeɪtəd wɪθ ˈkroʊmiəm, ənd ɪkˈspɛkts ðət ðə dræft ˈaɪrɪs əˈsɛsmənt wɪl bi riˈlist fər ˈpəblɪk ˈkɑmɛnt ɪn 2017 soʊ ɪt kəmz daʊn tɪ jʊr ˈpərsɪnəl ʧɔɪs. wi æst li ɪf hər ˈdrɪŋkɪŋ ˈwɔtər hæd ˈkroʊmiəm 6 ˈlɛvəlz əv, wʊd ʃi hæv ə ˈwɔtər fɪlˈtreɪʃən ˈsɪstəm æt hər hoʊm? "ɪf aɪ lɪvd ɪn ðɪs ˈɛriə ənd aɪ faɪnd haɪ ˌkɑnsənˈtreɪʃənz, aɪ ˈprɑbəˌbli wʊd," li sɛd. ˈfɑloʊˌəp kˈwɛsʧənz bɪtˈwin ˈʧænəl 2 ˌɪnˈvɛstəˌgeɪts ənd ˈhjustən dɪˈpɑrtmənt əv ˈpəblɪk wərks: əˈgɛn, ðə ˈsɪti əv ˈdrɪŋkɪŋ ˈwɔtər ˌɑpərˈeɪʃənz brænʧ kənˈdəkts ˈoʊvər tɛsts ɔn ˈdrɪŋkɪŋ ˈwɔtər ˈsæmpəlz iʧ mənθ tɪ ɪnˈʃʊr ðə ˈdrɪŋkɪŋ ˈwɔtər mits ər ɪkˈsidz ɔl ˈfɛdərəl ənd steɪt ˈstændərdz. ˈkroʊmiəm 6 ɪz nɑt ˈrɛgjəˌleɪtɪd baɪ ðə juz. ɪnˌvaɪrənˈmɛnəl prəˈtɛkʃən ˈeɪʤənsi (epa*) ər ðə ˈtɛksəs kəˈmɪʃən ɔn ɪnˌvaɪrənˈmɛnəl kˈwɑləti (tceq*) ˈsɛpərətli frəm ˈtoʊtəl ˈkroʊmiəm. ðə ˈsɪti əv ˈhjustən ɪz ˈkərəntli ˈmitɪŋ ðə rɪkˈwaɪrmənts ɪˈstæblɪʃt fər ˈtoʊtəl ˈkroʊmiəm, wɪʧ ˌɪnˈkludz ˈkroʊmiəm 6 ˈʧænəl 2 ˌɪnˈvɛstəˌgeɪts: kən ju ɪkˈspleɪn waɪ ðə naɪn haɪəst ˈsæmpəlz, ˈɛniˌθɪŋ ˈoʊvər wər ɪn ðə ɪgˈzækt seɪm zɪp koʊd 77099 ˈpəblɪk wərks: ðiz ˈæˈdrɛsɪz ˌrɛprɪˈzɛnt fɔr graʊnd ˈwɔtər fəˈsɪlɪtiz ənd ə loʊˈkeɪʃən wɪˈθɪn ðət ˈsərvɪs ˈɛriə. ðə rɪˈzəlts ˈɪndəˌkeɪt ðət ðɪs ɪz ə ˈnæʧərəli əˈkərɪŋ ˈkɛmɪkəl ɪn ðə ˈgraʊndˌwɔtər. ˈʧænəl 2 ˌɪnˈvɛstəˌgeɪts: du ju noʊ waɪ mɔr ˈkroʊmiəm 6 kən bi faʊnd ɪn ðə ˈsæmpəlz ˈteɪkən ɪn ðət wən ˌpɑˈtɪkjələr zɪp koʊd? ˈpəblɪk wərks: ðɪs kʊd bi əˈsoʊʃiˌeɪtəd wɪθ ə ˈgraʊndˌwɔtər ˈækwəfər sɪns ɔl əv ðə wɛlz ər ɪn kloʊz prɑkˈsɪməti. ˈʧænəl 2 ˌɪnˈvɛstəˌgeɪts: ɪz ðɛr wən rut kɔz? ˈpəblɪk wərks: ðə fɔr loʊˈkeɪʃənz ər graʊnd ˈwɔtər plænts ənd kʊd bi əˈsoʊʃiˌeɪtəd wɪθ ðə ˈækwəfər ðət səˈplaɪz ˈwɔtər tɪ ðoʊz wɛlz. ˈʧænəl 2 ˌɪnˈvɛstəˌgeɪts: ɪz ðɛr mɔr ˈnæʧərəli əˈkərɪŋ ˈkroʊmiəm 6 ɪn ðɪs ˈɛriə? ˈpəblɪk wərks: beɪst ɔn ˈkɑrənt ˈdætə frəm ˈsæmpəlz ˈteɪkən æt ðə ˈtɛksəs kəˈmɪʃən ɔn ɪnˌvaɪrənˈmɛnəl əˈpruvd loʊˈkeɪʃənz, ðɛr simz tɪ bi mɔr ˈnæʧərəli əˈkərɪŋ ˈkroʊmiəm 6 ɪn ðət ˈɛriə. ˈʧænəl 2 ˌɪnˈvɛstəˌgeɪts: ɪz ðɛr mɔr ˌɪnˈdəstriəl pəˈlutɪŋ əv ˈkroʊmiəm 6 ɪn ðɪs ˈɛriə? ˈpəblɪk wərks: ənˈnoʊn. ˈkɑŋgrəsmən kɔlz fər ˌɪnˌvɛstəˈgeɪʃən ˈæftər 2 ˈstɔri ˈæftər ðə ˈʧænəl 2 ˌɪnˌvɛstəˈgeɪʃən ˈɪntu ɪn ˈdrɪŋkɪŋ ˈwɔtər ɛrd, ˈkɑŋgrəsmən æl grin sɛnt ə ˈlɛtər tɪ ðə tɪ ˌɪnˈvɛstəˌgeɪt ˈdrɪŋkɪŋ ˈwɔtər ɪn hɪz kənˈgrɛʃənəl ˈdɪstrɪkt əv ˈhjustən. hi roʊt ɪn pɑrt, "aɪ hæv əˈtæʧt ˈhɪrˈwɪθ ə ˈkɑpi əv ə nuz ˈstɔri ˈrisəntli rən baɪ ˈʧænəl 2 ə ˈloʊkəl nuz ˈʧænəl ɪn ˈhjustən, ðət ˈaʊˌtlaɪnz ˈdrɪŋkɪŋ ˈwɔtər kənˈsərnz ɪn ˈhjustən. aɪ ʃɛr ðiz kənˈsərnz ənd ˈfərmli bɪˈliv ðət wi ʃʊd teɪk prɑmpt kərˈɛktɪv ˈækʃənz wɪn ə ˈkrɛdəbəl θrɛt ɪz aɪˈdɛntəˌfaɪd." rɛd grinz ˈlɛtər tɪ ðə rɛpriˈzɛtətɪv. grinz ˈlɛtər tɪ rɪˈgɑrdɪŋ ɪn ə ˈsteɪtmənt, grin sɛd, "ðə hɛlθ ənd ˈseɪfti əv ɔl əˈmɛrɪkənz ɪz ə praɪˈɔrəti, əˈspɛʃəli ɛz ɪt rɪˈleɪts tɪ ɑr ˈdrɪŋkɪŋ ˈwɔtər. ˈɛvədəns əv ˈhɑrmfəl ˈlɛvəlz məst bi ˌɪnˈvɛstəˌgeɪtɪd. tɪ ðɪs ɛnd, aɪ æm ˈsɛndɪŋ ə ˈlɛtər rɪkˈwɛstɪŋ ðə tɪ ˌɪnˈvɛstəˌgeɪt ðə ˈsərkəmˌstæns pərˈzɛnəd baɪ ˈʧænəl 2 aɪ æm ˈɔlsoʊ ˈæskɪŋ tɪ ækˈsɛlərˌeɪt ɪts ˈɪnəˌgreɪtɪd rɪsk ˌɪnˌfɔrˈmeɪʃən ˈsɪstəm (ˈaɪrɪs) əˈsɛsmənt əv ˈkroʊmiəm. "aɪ hæv səˈpɔrtɪd ənd wɪl kənˈtɪnju tɪ səˈpɔrt ˌlɛʤəsˈleɪʃən ɪn ˈkɑŋgrəs tɪ ˈstrɛŋθən ðə seɪf ˈwɔtər ˈdrɪŋkɪŋ ækt, səʧ ɛz h.r*. 4470 ðə seɪf ˈdrɪŋkɪŋ ˈwɔtər ækt ˌɪmˈpruvd kəmˈplaɪəns əˈwɛrnəs ækt, wɪʧ wɑz pæst ɪn rɪˈspɑns tɪ ðə flɪnt, ˈmɪʃɪgən ˈwɔtər ˈkraɪsəs." ˈdaʊnˌloʊd ðə nuz æp ɪn jʊr æp stɔr tɪ steɪ wɪθ ðə ˈleɪtəst nuz waɪl jʊr ɔn ðə goʊ. saɪn əp fər 2 ˈnuzˌlɛtərz tɪ gɪt ˈbreɪkɪŋ nuz, spɔrts, ˌɛnərˈteɪnmənt, ˈkɑntɛsts ənd mɔr dɪˈlɪvərd streɪt tɪ jʊr iˈmeɪl inbox*. 2016
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houston - we need it to cook and clean and we need it to survive. but channel 2 investigates has discovered tap water in many houston area communities has a chemical that could make you dangerously sick.
a cancer-causing chemical made infamous by erin brockovich, has been found at high levels in houston's tap water. the chemical is called hexavalent chromium or chromium 6.
"the city of houston's water ranks about third in the country in terms of high level of chromium 6," said bill walker, managing editor at the nonprofit environmental working group.
but just how high is the chromium 6 in houston's tap water? in california-- the office of environmental health hazard assessment, indicates cancer rates start to rise at a concentration of 0.02 parts per billion (ppb)
"to put that in perspective, a part per billion is roughly one drop of water in an olympic-sized swimming pool," walker said.
according to ewg's data from the city of houston, houston's average is 0.75 ppb.
how to keep your drinking water free of chromium 6
why is chromium 6 so dangerous? "it could increase your chance or your risk to get cancer," said dr. qilin li, with rice university, adding, "it could also cause damage to liver and kidney."
chromium is found naturally in rocks, plants, soils, volcanic dust and animals. chromium 6 occurs naturally in the environment from the erosion of natural chromium deposits. it can also be produced by industrial processes.
"chromium 6 ... can come from industrial pollution, such as electroplating industry and could come from mining," li said.
channel 2 investigates looked even closer at the numbers across harris county and found the nine highest samples, from 2013-2015, all came back to the exact zip code, 77099.
in some cases the rates were over 6.0. that's 300 times the recommended health level set in california of 0.02 ppb.
9007 dairy view lane, 77099: 4.9 ppb & 5.4 ppb
12811 covey, 77099: 4.4 ppb & 6.3 ppb
10630 s. kirkwood 77099: 4.3 ppb & 4.0 ppb
10301 sun city court 77099: 4.9 ppb
10003 s. kirkwood 77099: 5.1 ppb & 6.7 ppb
interactive map
city of houston
city of sugar land
city of splendora
city of wharton
city of galveston
"the level that you're talking about in houston would mean an additional 330 some additional cases of cancer over a lifetime," walker said.
we went to houston public works for answers.
"i would like you to know that the water is safe," yvonne forrest, a senior assistant director for public works, said. "the city of houston provides safe drinking water that meets or exceeds all the established levels for the state or federal government." but the federal government nor the state of texas has set a standard for chromium 6 levels.
the epa has set the standard for total chromium levels in drinking water to 100 ppb.
only one state has set a standard for chromium-6 in drinking water.
california's drinking water standard for chromium 6 took effect on july 1, 2014. it established a maximum contaminant level of 10 ppb for chromium 6 in drinking water. but california's health goal is 0.02 ppb.
the u.s. environmental protection agency told us they are working to assess chromium 6 and have to have a proposal ready for public comment in 2017.
the epa sent channel 2 investigates this statement:
the epa has a drinking water standard of 100 parts per billion (ppb) for total chromium, including hexavalent chromium. epa and states are responsible for ensuring that public water systems are in compliance with the current standard. the agency has also collected nationally representative data on the occurrence of both total chromium and hexavalent chromium through the third unregulated contaminant monitoring rule (ucmr3). only one of the almost 5,000 public water systems that monitored total chromium under the ucmr3 reported results that exceeded epa's standard. the epa is actively working on the development of the integrated risk information system (iris) assessment of hexavalent chromium, which will include a comprehensive evaluation of potential health effects associated with hexavalent chromium, and epa expects that the draft iris assessment will be released for public comment in 2017.
so it comes down to your personal choice. we asked li if her drinking water had chromium 6 levels of 6.7 ppb, would she have a water filtration system at her home? "if i lived in this area and i find high concentrations, i probably would," li said.
follow-up questions between channel 2 investigates and houston department of public works:
again, the city of houston’s drinking water operations branch conducts over 15,000 tests on drinking water samples each month to ensure the city’s drinking water meets or exceeds all federal and state standards. chromium 6 is not regulated by the u.s. environmental protection agency (epa) or the texas commission on environmental quality (tceq) separately from total chromium. the city of houston is currently meeting the requirements established for total chromium, which includes chromium 6.
channel 2 investigates: can you explain why the nine highest samples, anything over 4.0 were in the exact same zip code 77099?
public works: these addresses represent four ground water facilities and a location within that service area. the results indicate that this is a naturally occurring chemical in the groundwater.
channel 2 investigates: do you know why more chromium 6 can be found in the samples taken in that one particular zip code?
public works: this could be associated with a groundwater aquifer since all of the wells are in close proximity.
channel 2 investigates: is there one root cause?
public works: the four locations are ground water plants and could be associated with the aquifer that supplies water to those wells.
channel 2 investigates: is there more naturally occurring chromium 6 in this area?
public works: based on current data from samples taken at the texas commission on environmental quality’s approved locations, there seems to be more naturally occurring chromium 6 in that area.
channel 2 investigates: is there more industrial polluting of chromium 6 in this area?
public works: unknown.
congressman calls for investigation after kprc 2 story
after the channel 2 investigation into chromium-6 in drinking water aired, congressman al green sent a letter to the epa to investigate drinking water in his congressional district of houston.
he wrote in part, "i have attached herewith a copy of a news story recently run by kprc channel 2, a local news channel in houston, that outlines drinking water concerns in houston. i share these concerns and firmly believe that we should take prompt corrective actions when a credible threat is identified."
read green's letter to the epa
rep. green's letter to epa regarding chromium-6
in a statement, green said, "the health and safety of all americans is a priority, especially as it relates to our drinking water. evidence of harmful chromium-6 levels must be investigated. to this end, i am sending a letter requesting the epa to investigate the circumstance presented by kprc channel 2. i am also asking epa to accelerate its integrated risk information system (iris) assessment of hexavalent chromium.
"i have supported and will continue to support legislation in congress to strengthen the safe water drinking act, such as h.r. 4470, the safe drinking water act improved compliance awareness act, which was passed in response to the flint, michigan water crisis."
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2016 click2houston/kprc2
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ðə ˈpoʊloʊ graʊnz wɑz ðə neɪm əv θri ˈsteɪdiəmz ɪn ˈəpər mænˈhætən, nu jɔrk ˈsɪti, juzd ˈmeɪnli fər prəˈfɛʃənəl ˈbeɪsˈbɔl ənd əˈmɛrɪkən ˈfʊtˌbɔl frəm 1880 θru 1963 ɛz ðə neɪm səˈʤɛsts, ðə ərˈɪʤənəl ˈpoʊloʊ graʊnz, ˈoʊpənd ɪn 1876 ənd dɪˈmɑlɪʃt ɪn 1889 wɑz bɪlt fər ðə spɔrt əv ˈpoʊloʊ. baʊnd ɔn ðə saʊθ ənd nɔrθ baɪ ənd strits ənd ɔn ðə ist ənd wɛst baɪ fɪθ ənd sɪksθ (ˈlɛnəks) ˈævəˌnuz, ʤɪst nɔrθ əv ˈsɛntrəl pɑrk, ɪt wɑz kənˈvərtɪd tɪ ə ˈbeɪsˈbɔl ˈsteɪdiəm wɪn list baɪ ðə nu jɔrk ˌmɛtrəˈpɑlətənz ɪn 1880 ðə θərd ˈpoʊloʊ graʊnz, bɪlt ɪn 1890 ənd ˈrɛnəˌveɪtɪd ˈæftər ə faɪər ɪn 1911 ɪz ðə wən ˈʤɛnərəli ˈɪndəˌkeɪtɪd wɪn ðə ˈpoʊloʊ graʊnz ɪz ˈrɛfərənst. ɪt wɑz ˈloʊˌkeɪtəd ɪn ˈhɑloʊ ənd wɑz ˈnoʊtɪd fər ɪts dɪˈstɪŋktɪv ˈbæθtəb ʃeɪp, ˈvɛri ʃɔrt ˈdɪstənsɪz tɪ ðə lɛft ənd raɪt fild wɔlz, ənd ən ənˈjuˌʒuəli dip ˈsɛnər fild. ɪn ˈbeɪsˈbɔl, ðə ərˈɪʤənəl ˈpoʊloʊ graʊnz wɑz hoʊm tɪ ðə nu jɔrk ˌmɛtrəˈpɑlətənz frəm 1880 θru 1885 ənd ðə nu jɔrk ʤaɪənts frəm 1883 θru 1888 ðə ʤaɪənts pleɪd ɪn ðə ˈsɛkənd ˈpoʊloʊ graʊnz fər pɑrt əv ðə 1889 ˈsizən ənd ɔl əv ðə 1890 ˈsizən, ənd æt ðə θərd ənd fɔrθ ˈpoʊloʊ graʊnz frəm 1891 θru 1957 ðə ˈpoʊloʊ graʊnz wɑz ˈɔlsoʊ ðə hoʊm fild əv ðə nu jɔrk ˈjæŋkiz frəm 1913 θru 1922 ənd ðə nu jɔrk mɛts ɪn ðɛr fərst tu ˈsizənz əv 1962 ənd 1963 ɔl fɔr ˈvərʒənz əv ðə ˈbɔlˌpɑrk ˈhoʊstɪd wərld ˈsɪriz ˈmæʧɪz æt ˈvɛriəs taɪmz. ðə fɔrθ ˈvərʒən ˈɔlsoʊ ˈhoʊstɪd ðə 1934 ənd 1942 ˈmeɪʤər lig ˈbeɪsˈbɔl ˌɔlˈstɑr geɪmz. ɪn ˈfʊtˌbɔl, ðə θərd ˈpoʊloʊ graʊnz wɑz hoʊm tɪ ðə nu jɔrk ˈbrɪkli ʤaɪənts fər wən geɪm ɪn 1921 ənd ðə nu jɔrk ʤaɪənts frəm 1925 tɪ 1955 ðə nu jɔrk ʤɛts əv ðə əˈmɛrɪkən ˈfʊtˌbɔl lig pleɪd æt ðə ˈsteɪdiəm frəm ðə ligz ˌɪˈnɔgərəl ˈsizən əv 1960 θru 1963 ˈəðər ˈspɔrtɪŋ ɪˈvɛnts hɛld æt ðə ˈpoʊloʊ graʊnz ˌɪnˈkludɪd ˈsɑkər, ˈbɑksɪŋ, ənd ˈgeɪlɪk ˈfʊtˌbɔl. ðə læst ˈspɔrtɪŋ ɪˈvɛnt æt ðə ˈpoʊloʊ graʊnz wɑz ə ˈfʊtˌbɔl geɪm bɪtˈwin ðə nu jɔrk ʤɛts ənd ðə ˈbəfəˌloʊ bɪlz ɔn dɪˈsɛmbər 14 1963 ʃeɪ ˈsteɪdiəm ˈoʊpənd ɪn 1964 ənd ˌriˈpleɪst ðə ˈpoʊloʊ graʊnz ɛz ðə hoʊm əv ðə mɛts ənd ʤɛts. ðə ˈpoʊloʊ graʊnz wɑz dɪˈmɑlɪʃt ˈoʊvər ə ˈpɪriəd əv fɔr mənθs ðət jɪr ənd ə ˈpəblɪk ˈhaʊzɪŋ ˈkɑmplɛks, noʊn ɛz ðə ˈpoʊloʊ graʊnz taʊərz, wɑz bɪlt ɔn ðə saɪt. ˈpoʊloʊ graʊnz aɪ ˈɛdət ðə fərst ˈpoʊloʊ graʊnz, ˈoʊpənɪŋ deɪ, 1888 ˈərliəst noʊn ˈɪmɪʤ əv ˈpoʊloʊ graʊnz aɪ, frəm 1882 ðə ərˈɪʤənəl ˈpoʊloʊ graʊnz stʊd æt strit bɪtˈwin fɪθ ˈævəˌnu ənd sɪksθ ˈævəˌnu, dɪˈrɛkli əˈkrɔs strit frəm ðə ˌnɔrˈθist ˈkɔrnər əv ˈsɛntrəl pɑrk. ðə ərˈɪʤənəl ˈpərpəs wɑz fər ðə spɔrt əv ˈpoʊloʊ, ənd ɪts neɪm wɑz ˌɪˈnɪʃəli ˈmɪrli dɪˈskrɪptɪv, nɑt ə ˈfɔrməl neɪm, ˈɔfən ˈrɛndərd ɛz "ðə ˈpoʊloʊ graʊnz" ɪn ˈnuzˌpeɪpərz. ðə ˌmɛtrəˈpɑlətənz, ən ˌɪndɪˈpɛndənt tim əv ˈrəfli ˈkæləbər, wɑz ðə fərst prəˈfɛʃənəl ˈbeɪsˈbɔl tim tɪ pleɪ ðɛr, bɪˈgɪnɪŋ ɪn sɛpˈtɛmbər 1880 ənd rɪˈmeɪnd ðə soʊl prəˈfɛʃənəl ˈɑkjəpənt θru ðə 1882 ˈsizən. æt ðət taɪm ðə ˌmɛtrəˈpɑlətənz' ˈoʊnərˌʃɪp hæd ðə ˌɑpərˈtunəti tɪ brɪŋ ɪt ˈɪntu ðə ˈnæʃənəl lig, bət ɪˈlɛktɪd ˌɪnˈstɛd tɪ ˈɔrgəˌnaɪz ə nu tim, ðə nu jɔrk hu sun keɪm tɪ bi noʊn ɛz ðə ʤaɪənts ˈmeɪnli ˈjuzɪŋ pleɪərz frəm ðə ˌmɛtrəˈpɑlətənz ənd ðə ˈnuli dɪˈfəŋkt trɔɪ ˈtroʊʤənz, ənd ˈɛnərd ɪt ɪn ðə ˈnæʃənəl lig, waɪl ˈbrɪŋɪŋ wət rɪˈmeɪnd əv ðə ˌmɛtrəˈpɑlətən kləb ˈɪntu ðə kəmˈpitɪŋ əˈmɛrɪkən əˌsoʊʃiˈeɪʃən. fər ðɪs ˈpərpəs ðə ˈoʊnərˌʃɪp bɪlt ə ˈsɛkənd ˈdaɪmənd ənd ˈgrændˌstænd æt ðə pɑrk, dɪˈvaɪdɪŋ ɪt ˈɪntu ˈistərn ənd ˈwɛstərn fildz fər juz baɪ ðə ʤaɪənts ənd ˌmɛtrəˈpɑlətənz rɪˈspɛktɪvli. ˈpoʊloʊ graʊnz aɪ ðəs ˈhoʊstɪd ɪts fərst ˈmeɪʤər lig ˈbeɪsˈbɔl geɪmz ɪn 1883 ɛz ðə hoʊm ˈsteɪdiəm əv tu timz, ðə əˈmɛrɪkən əˌsoʊʃiˈeɪʃən ˌmɛtrəˈpɑlətənz ənd ðə ˈnæʃənəl lig ðə ərˈeɪnʤmənt pruvd ənˈwərkəbəl bɪˈkəz əv ˈfɔlti ˈsərfəsɪŋ əv ðə ˈwɛstərn fild, ənd ˈæftər ˈvɛriəs ˈəðər ərˈeɪnʤmənts wər traɪd, ðə ˌmɛtrəˈpɑlətənz ənd ʤaɪənts ˈɔltərˌneɪtəd pleɪ ɔn ðə ˈistərn fild ɪn ˈleɪtər jɪrz ənˈtɪl ðə ˌmɛtrəˈpɑlətənz muvd tɪ ðə st*. ʤɔrʤ ˈkrɪkɪt graʊnz ɔn ˈstætən ˈaɪlənd ɪn 1886 ˌɔlˈðoʊ ðə ʤaɪənts wʊd sun bɪˈkəm ðə tim əv ʧɔɪs ɪn ðə ˈsɪti, ðə "mɛts" hæd ə gʊd jɪr ɪn 1884 ðeɪ hæd ˈstɑrtɪd ðə ˈsizən ɪn ə nu fəˈsɪlɪti kɔld ˌmɛtrəˈpɑlətən pɑrk, wɪʧ pruvd tɪ bi səʧ ə pur ˈvɛnju ðət ðeɪ muvd bæk tɪ ðə ˈpoʊloʊ graʊnz wɪˈθɪn ə fju wiks. dɪˈspaɪt ðət bɪt əv ˈdrɑmə, ðə mɛts wɛnt ɔn tɪ wɪn ðə əˈmɛrɪkən əˌsoʊʃiˈeɪʃən ˈpɛnənt. ðɛr gʊd ˈfɔrʧən ræn aʊt wɪn ðeɪ feɪst ðə ˈprɑvədəns greɪz ɪn ðə wərld ˈsɪriz, ɪn wɪʧ ˈprɑvədəns ˈpɪʧər oʊld hɑs rədˈbʊrn pɪʧt θri kənˈsɛkjətɪv əˈgɛnst ðɛm. ɔl θri geɪmz hæd bɪn steɪʤd æt ðə ˈpoʊloʊ graʊnz. ən ˈərli ˈhaɪˌlaɪt əv ʤaɪənts' pleɪ æt ðə ˈpoʊloʊ graʊnz wɑz ˈrɑʤər hoʊm rən ˈoʊvər ðə wɔl ənd ˈɪntu strit; ˈkɑnər ɪˈvɛnʧəwəli hɛld ðə ˈrɛkərd fər kərɪr hoʊm rənz ðət beɪb ruθ wʊd breɪk ɪn 1920 ðə ərˈɪʤənəl ˈpoʊloʊ graʊnz wɑz juzd nɑt ˈoʊnli fər ˈpoʊloʊ ənd prəˈfɛʃənəl ˈbeɪsˈbɔl, bət ˈɔfən fər ˈkɑlɪʤ ˈbeɪsˈbɔl ənd ˈfʊtˌbɔl ɛz wɛl ˈivɪn baɪ timz ˈaʊtˈsaɪd nu jɔrk. ðə ˈərliəst noʊn sərˈvaɪvɪŋ ˈɪmɪʤ əv ðə fild ɪz ən ɪnˈgreɪvɪŋ əv ə ˈbeɪsˈbɔl geɪm bɪtˈwin jeɪl ˌjunəˈvərsəti ənd ˈprɪnstən ˌjunəˈvərsəti ɔn ˌdɛkərˈeɪʃən deɪ, meɪ 30 jeɪl ənd ˈhɑrvərd ˈɔlsoʊ pleɪd ðɛr trəˈdɪʃənəl ˌθæŋksˈgɪvɪŋ deɪ ˈfʊtˌbɔl geɪm ðɛr ɔn noʊˈvɛmbər 29 1883 ənd noʊˈvɛmbər 24 (si ˈfʊtˌbɔl bɪˈloʊ) ˌdɛməˈlɪʃən ənd fɔrst ˌriˈloʊˈkeɪʃən ˈɛdət nu jɔrk ˈsɪti wɑz ɪn ðə ˈprɔˌsɛs əv ɪkˈstɛndɪŋ ɪts strit grɪd ˈɪntu ˈəpˈtaʊn mænˈhætən ɪn 1889 plænz fər ən ɪkˈstɛndɪd wɛst strit ræn θru ðə ˈpoʊloʊ graʊnz. ˈsɪti ˈwərkərz ər hum?] tɪ hæv ʃoʊn əp ˈsədənli wən deɪ ənd ˈbeɪgən ˈkətɪŋ θru ðə fɛns tɪ leɪ aʊt ðə nu strit. wɪθ ðə ʤaɪənts ˈhævɪŋ wən ðə ˈnæʃənəl lig ˈpɛnənt ðə jɪr ˌbiˈfɔr, ɛz wɛl ɛz ðə wərld ˈsɪriz ðɛr wɑz sɪgˈnɪfɪkənt ˈsɛnəmənt ɪn ðə ˈsɪti əˈgɛnst ðə muv; ə bɪl wɑz ˈivɪn pæst baɪ ðə steɪt ˈlɛʤəsˌleɪʧər ˈgɪvɪŋ ðə ʤaɪənts ə ˈvɛriəns wɪʧ wʊd əˈlaʊ ðə pɑrk tɪ stænd. ˈgəvərnər ˈdeɪvɪd bi. hɪl, hu hæd kæmˈpeɪnd fər ˈɔfəs ɔn ə "hoʊm rul" plɛʤ, ˈviˌtoʊd ɪt ɔn ðə graʊnz ðət ˌwəˈtɛvər hi maɪt θɪŋk əv ðə fɔrst dɪˈstrəkʃən əv ðə pɑrk, ðə wɪl əv ðə ˈsɪti ˈgəvərnmənt wɑz tɪ bi rɪˈspɛktɪd. ðə lɔs əv ðɛr pɑrk fɔrst ðə ʤaɪənts tɪ lʊk kˈwɪkli fər ɔlˈtərnətɪv graʊnz. ðə ʤaɪənts ˈoʊpənd ðə 1889 ˈsizən æt ˈoʊklənd pɑrk ɪn ˈʤərzi ˈsɪti, nu ˈʤərzi, pleɪɪŋ ðɛr fərst tu geɪmz fɔr deɪz ˈleɪtər, ðeɪ muvd tɪ ðə st*. ʤɔrʤ ˈkrɪkɪt graʊnz (wɛr ðə ˌmɛtrəˈpɑlətənz hæd kənˈtɪnjud tɪ pleɪ ənˈtɪl ðɛr dɪˈmaɪz ˈfɑloʊɪŋ ðə 1887 ˈæftər ˈkloʊzɪŋ aʊt ə æt ðə st*. ʤɔrʤ graʊnz ɔn ʤun 14 ðə ʤaɪənts wɛnt ɔn ðə roʊd. əˈpɑn ðɛr rɪˈtərn ɔn ˌʤuˈlaɪ 8 ðeɪ hæd ˌriˈloʊkeɪtɪd əˈgɛn, tɪ ə "nu ˈpoʊloʊ graʊnz" saɪt wɪˈθɪn mænˈhætən æt ðə fɑr əv ðə ðɛn naɪnθ ˈævəˌnu ˈɛləˌveɪtɪd æt strit ənd ˈævəˌnu (naʊ ˈfrɛdərɪk ˈdəgləs dɪˈspaɪt ðɛr ˈvægəbɑnd ɪgˈzɪstəns ɪn 1889 ðə ʤaɪənts ˈmænɪʤd tɪ wɪn ðə ˈpɛnənt fər ðə ˈsɛkənd kənˈsɛkjətɪv jɪr, ɛz wɛl ɛz ðət jɪrz wərld ˈsɪriz əˈgɛnst ˈbrʊklɪn. ˈpoʊloʊ graʊnz ˈɛdət mænˈhætən fild si. 1901 wɪθ ˈpoʊloʊ graʊnz ˈaʊtˌfild ɪn ˈbækˌgraʊnd. haɪ brɪʤ ˈkrɔsɪŋ ðə ˈhɑrləm ˈrɪvər æt əˈbaʊt strit ɪz ɪn ðə ˈbækˌgraʊnd. ðə ˈbrɪʤɪz ˈsɛnər spænz ˈoʊvər ðə ˈrɪvər ˌɪtˈsɛlf wər ˌriˈpleɪst baɪ ə lɑrʤ ˈsɪŋgəl spæn ɪn ðə 1920s*. ðə taʊər ɔn ðə lɛft ɪz ˈwɔtər taʊər ðə nu saɪt wɑz ˈoʊvərˌlʊkt tɪ ðə nɔrθ ənd wɛst baɪ ə stip noʊn ɛz bləf. bɪˈkəz əv ɪts ˌɛləˈveɪʃən, fænz ˈfrikwɛntli wɔʧt geɪmz frəm ðə bləf wɪˈθaʊt baɪɪŋ ðə ˈbɔlˌpɑrk ˌɪtˈsɛlf wɑz ɪn noʊn ɛz ˈhɑloʊ. ðə ˈgrændˌstænd hæd ə kənˈvɛnʃənəl kərv əraʊnd ðə ˈɪnˌfild, bət ðə ʃeɪp əv ðə ˈprɑpərti lɛft ðə ˈsɛnər fild ˈɛriə ˈæˌkʧuəli ˈkloʊzər ðən lɛft ˈsɛnər ər raɪt ˈsɛnər. ðɪs wɑz nɑt məʧ əv ən ˈɪʃu ɪn ðə "dɛd bɔl ˈɪrə" əv ˈbeɪsˈbɔl. ðə lænd rɪˈmeɪnd ɪn ðə ˈkugən ɛˈsteɪt, ənd ðə ʤaɪənts wər ˈrɛntərz fər ðɛr ɪnˈtaɪər taɪm æt ˈpoʊloʊ graʊnz, ənd. ðə ˈbrʊklɪn ˈdɑʤərz pleɪd ə pɛr əv hoʊm ˈsɪriz æt ðɪs ˈbɔlˌpɑrk ɪn leɪt ˌʤuˈlaɪ ənd ˈərli ˈɔgəst fænz ɔn bləf wɔʧ ðə ˈɪnfəməs ˈboʊnər geɪm bɪtˈwin ðə ʤaɪənts ənd kəbz sɛpˈtɛmbər 23 1908 ˈæftər ðə ˈnæʃənəl lig ˈvərʒən əv ðə nu jɔrk ʤaɪənts muvd ˈɪntu ˈpoʊloʊ graʊnz ɪn 1891 ˈpoʊloʊ graʊnz wɑz tɪ ðə mænˈhætən æθˈlɛtɪk kləb ənd wɑz rɪˈfərd tɪ ˈɛvər ˈæftər ɛz mænˈhætən fild. ɪt wɑz kənˈvərtɪd fər ˈəðər spɔrts səʧ ɛz ˈfʊtˌbɔl ənd track-and-field*. ɪt stɪl ɪgˈzɪstəd ɛz ə ˈstrəkʧər fər ˈnɪrli 20 mɔr jɪrz. beɪb ruθs fərst hoʊm rən ɛz ə ˈjæŋki, ɔn meɪ 1 1920 wɑz ˈkɛrɪktərˌaɪzd baɪ ðə nu jɔrk taɪmz rɪˈpɔrtər ɛz ə "sockdolager*" (i.e*. ə dɪˈsaɪsɪv bloʊ), ənd wɑz dɪˈskraɪbd ɛz ˈtrævəlɪŋ "ˈoʊvər ðə raɪt fild grænd stænd ˈɪntu mænˈhætən bɪl ˈmɑdərn ˈrisərʧ ˈɪndɪˌkeɪts ðə bɔl ˈtrævəld əˈbaʊt 500 fit ɪn ˈtoʊtəl, ˈæftər ˈklɪrɪŋ ðə ˈpoʊloʊ graʊnz ˈdəbəl dɛkt raɪt fild stænd. mænˈhætən fild kənˈtɪnjud tɪ bi ən ɔˈkeɪʒənəl saɪt fər ˈæməˌʧər spɔrts ˌriˈpɔrtəd ɪn ˈloʊkəl ˈnuzˌpeɪpərz ɛz leɪt ɛz spərɪŋ əv 1942 ɪn ʤun 1948 ðə ʤaɪənts əˈgɛn list ðə mænˈhætən fild ˈprɑpərti, ənd hæd ɪt peɪvd ˈoʊvər tɪ sərv ɛz ə ˈpɑrkɪŋ lɔt fər ðə ˈpoʊloʊ graʊnz. ˈpoʊloʊ graʊnz ənd ˈɛdət ˈpoʊloʊ graʊnz ˈɛdət ˈpoʊloʊ graʊnz (iii*) (lɛft) ənd mænˈhætən fild (ˈɑkə ˈpoʊloʊ graʊnz) (raɪt) ˈpoʊloʊ graʊnz wɑz ðə ˈsteɪdiəm ðət meɪd ðə neɪm ˈnæʃənəli ˈfeɪməs. bɪlt ɪn 1890 ɪt ˌɪˈnɪʃəli hæd ə kəmˈplitli ˈoʊpən ˈaʊtˌfild ˈbaʊndɪd baɪ ʤɪst ðə ˈaʊtər fɛns, bət ˈbliʧərz wər ˈgræʤuəli ˈædɪd. baɪ ðə ˈərli 1900s*, səm ˈbliʧər ˈsɛkʃənz ɪnˈkroʊʧt ɔn ðə fild frəm ðə faʊl laɪnz əˈbaʊt ˈhæfˈweɪ əˈlɔŋ lɛft ənd raɪt fild. əˈdɪʃəˌnəli, ðɛr wɑz ə pɛr əv "sɪˈgɑr bɑks" ˈbliʧərz ɔn ˈiðər saɪd əv ðə aɪ" ɪn ˈsɛnər fild. ðə ɪkˈspænsɪv ˈaʊtˌfild wɑz kət daʊn ˈsəmˈwət baɪ ə roʊp fɛns bɪˈhaɪnd wɪʧ ˈkɛrəʤəz (ənd ˈərli ˌɔtəmoʊˈbilz) wər əˈlaʊd tɪ pɑrk. baɪ 1910 ˈbliʧərz ɪnˈkloʊzd ðə ˈaʊtˌfild, ənd ðə ˈkɛrəʤ roʊps wər gɔn. ðə əˈproʊʧ tɪ ðə ˈbliʧər kənˈstrəkʃən fɔrmd ə ˈaʊtˌfild ˈɛriə. ðɛr wər ə ˈkəpəl əv gæps bɪtˈwin səm əv ðə ˈsɛkʃənz, ənd ðət wʊd pruv sɪgˈnɪfɪkənt ɪn 1911 noʊn ɛz "ˈbrəðərˌhʊd pɑrk" wɪn ɪt ˈoʊpənd ɪn 1890 ˈpoʊloʊ graʊnz wɑz ðə hoʊm əv ə ˈsɛkənd nu jɔrk ʤaɪənts ˈfrænˌʧaɪz ɪn ðə pleɪərz' lig. ðə ˈlætər wɑz ə kriˈeɪʃən əv ˈmeɪʤər lig ˈbeɪsˈbɔlz fərst ˈjunjən, ðə ˈbrəðərˌhʊd əv prəˈfɛʃənəl pleɪərz. ˈæftər ˈfeɪlɪŋ tɪ wɪn kənˈsɛʃənz frəm ˈnæʃənəl lig ˈoʊnərz, ðə ˈbrəðərˌhʊd ˈfaʊndɪd ɪts oʊn lig ɪn 1890 ðə pleɪərz' lig ʤaɪənts bɪlt ˈbrəðərˌhʊd pɑrk ɪn ðə ˈnɔrðərn hæf əv ˈhɑloʊ, nɛkst dɔr tɪ ˈpoʊloʊ graʊnz, ˈəðərˌwaɪz ˈbaʊndɪd baɪ reɪl jɑrdz ənd ðə bləf. ˈbrəðərˌhʊd pɑrk ˈhoʊstɪd ɪts fərst geɪm ɔn ˈeɪprəl 19 1890 ðə seɪm deɪ ðə ˈnæʃənəl ligz ʤaɪənts pleɪd ðɛr fərst hoʊm geɪm əv ðə fər ðə fʊl 1890 ˈsizən ðə tu ɪˈdɪʃənz əv ðə ʤaɪənts wər ˈneɪbərz. wɪn ðə timz pleɪd ɔn ðə seɪm deɪ, fænz ɪn ðə ˈəpər dɛks kʊd wɔʧ iʧ ˈəðərz geɪmz, ənd hoʊm rən bɔlz hɪt ɪn wən pɑrk maɪt lænd ɔn ðə ˈəðər timz pleɪɪŋ fild. ˈæftər ðə wən ˈsizən ðə pleɪərz' lig ˈfoʊldɪd, ənd ðə ˈmɛmbərz wɛnt bæk tɪ ðə ˈnæʃənəl lig. ðə ˈnæʃənəl lig ʤaɪənts ðɛn muvd aʊt əv ˈpoʊloʊ graʊnz ənd ˈɪntu ˈbrəðərˌhʊd pɑrk, wɪʧ wɑz ˈlɑrʤər. ðeɪ tʊk ðɛr ˈsteɪdiəmz neɪm wɪθ ðɛm wəns əˈgɛn, ˈtərnɪŋ ˈbrəðərˌhʊd pɑrk ˈɪntu ðə ˈpoʊloʊ graʊnz. bɪtˈwin ˈpoʊloʊ graʊnz ənd iii-iv*, ðeɪ wʊd rɪˈmeɪn ɪn ˈhɑloʊ fər 69 ˈpoʊloʊ graʊnz ðə ˈmænʃən ɪz ɔn ðə ˈəpər raɪt ɔn tɔp əv bləf faɪər ənd ˌrikənˈstrəkʃən ɛz ˈpoʊloʊ graʊnz ˈɛdət ʤaɪənts pleɪərz ˌɪnˈspɛktɪŋ ðə bərnd ruɪnz æt ðə ˈpoʊloʊ graʊnz, ˈeɪprəl 14 1911 ɪn ðə ˈvɛri ˈərli ˈmɔrnɪŋ aʊərz əv ˈfraɪˌdeɪ, ˈeɪprəl 14 1911 ə faɪər əv ənˈsərtən ˈɔrəʤən swɛpt θru ðə ˈsteɪdiəmz ˈgrændˌstænd, kənˈsumɪŋ wʊd ənd ˈlivɪŋ ˈoʊnli stil ˈəˌpraɪts ɪn pleɪs. ðə gæps bɪtˈwin səm ˈsɛkʃənz əv ðə stændz seɪvd ə gʊd ˈpɔrʃən əv ðə ˈaʊtˌfild ˈsitɪŋ ənd ðə ˈkləˌbhaʊs frəm dɪˈstrəkʃən. ʤaɪənts ˈoʊnər ʤɑn ti. brəʃ ˌdɪˈsaɪdɪd tɪ riˈbɪld ðə ˈpoʊloʊ graʊnz wɪθ ˈkɑnkrit ənd stil, ˈrɛntɪŋ ˈhɪlˌtɑp pɑrk frəm ðə ˈjæŋkiz ˈdʊrɪŋ ˌrikənˈstrəkʃən. ˈprɑˌgrɛs wɑz səˈfɪʃənt tɪ əˈlaʊ ðə ˈsteɪdiəm tɪ riˈoʊpən ʤɪst θri mənθs ˈleɪtər, ʤun 28 1911 ðə deɪt səm ˈbeɪsˈbɔl gaɪdz deɪt ðə ˈstrəkʧər. ɛz kənˈfɪgjərd, ɪt wɑz ðə naɪnθ ˈsteɪdiəm ɪn ðə ˈmeɪʤərz ənd fɔrθ ɪn ðə ˈnæʃənəl lig. ənˈfɪnɪʃt ˈsitɪŋ ˈɛriəz wər riˈbɪlt ˈdʊrɪŋ ðə ˈsizən waɪl ðə geɪmz wɛnt ɔn. ðə nu ˈstrəkʧər strɛʧt ɪn ˈrəfli ðə seɪm frəm ðə lɛft fild ˈkɔrnər əraʊnd hoʊm pleɪt tɪ ðə raɪt fild ˈkɔrnər ɛz praɪər bət wɑz ɪkˈstɛndɪd ˈɪntu dip fild. ðə sərˈvaɪvɪŋ ˈwʊdən ˈbliʧərz wər rɪˈteɪnd ˈbeɪsɪkli ɛz ɪz, wɪθ gæps rɪˈmeɪnɪŋ ɔn iʧ saɪd bɪtˈwin ðə nu ˈfaɪərˌpruf kənˈstrəkʃən. ˈpoʊloʊ graʊnz ɪkˈspænʧən ɪn ˈprɑˌgrɛs ˈdʊrɪŋ ðə 1923 ˈsizən ðə ʤaɪənts roʊz frəm ðə ˈæʃɪz əˈlɔŋ wɪθ ðɛr ˈbɔlˌpɑrk, ˈwɪnɪŋ ðə ˈnæʃənəl lig ˈpɛnənt ɪn 1911 (ɛz ðeɪ ˈɔlsoʊ wʊd ɪn 1912 ənd 1913 ɛz ˈɛvɪdənst frəm ðə wərld ˈsɪriz ˈproʊˌgræmz, ðə tim riˈneɪmd ðə nu ˈstrəkʧər brəʃ ˈsteɪdiəm ɪn ˈɑnər əv ðɛr ʤɑn ti. brəʃ, bət ðə neɪm dɪd nɑt stɪk, ənd baɪ ðə leɪt ɪt wɑz passé*é. ðə rɪˈmeɪnɪŋ oʊld ˈbliʧərz wər dɪˈmɑlɪʃt ˈdʊrɪŋ ðə 1923 ˈsizən wɪn ðə ˈpərmɑˌnɛnt wɑz ɪkˈstɛndɪd əraʊnd moʊst əv ðə rɛst əv ðə fild ənd nu ˈbliʧərz ənd ˈkləˌbhaʊs wər kənˈstrəktɪd əˈkrɔs ˈsɛnər fild. ðɪs kənˈstrəkʃən geɪv ðə ˈsteɪdiəm ɪts fəˈmɪljər ˈhɔrsˌʃu ər ˈbæθtəb staɪl ʃeɪp, ɛz wɛl ɛz ə nu ˈnɪkˌneɪm, "ðə ˈbæθtəb". ˈsitɪŋ ˈdaɪəˌgræm əv ðə ˈpoʊloʊ graʊnz, ˈsərkə 1923 ðɪs ˈvərʒən əv ðə ˈbɔlˌpɑrk hæd ɪts ʃɛr əv kwərks. ðə "ˌənəˈfɪʃəl" ˈdɪstənsɪz (ˈnɛvər mɑrkt ɔn ðə wɔl) daʊn ðə lɛft ənd raɪt fild laɪnz wər 279 ənd 258 fit rɪˈspɛktɪvli, bət ðɛr wɑz ə ˈoʊvərˌhæŋ ɪn lɛft fild, wɪʧ ˈɔfən ˌɪnərˈsɛptɪd flaɪ bɔlz wɪʧ wʊd ˈəðərˌwaɪz hæv bɪn ənd tərnd ðɛm ˈɪntu hoʊm rənz. kənˈtræstɪŋ wɪθ ðə ʃɔrt ˈdɪstənsɪz daʊn ðə laɪnz wər ðə 450 ˈdɪstənsɪz ɪn ˈdipəst lɛft ənd raɪt ˈsɛnər (ðə gæps), wɪθ ðə beɪs əv ðə ˈstreɪtəˌweɪ ˈkləˌbhaʊs ˈstændɪŋ 483 fit ˈdɪstənt frəm hoʊm pleɪt, əp ə ˈrənˌweɪ frəm ðə ˈgrændˌstænd ˈkɔrnərz ɔn ˈiðər saɪd əv ðə ˈkləˌbhaʊs, wɪʧ wər ðɛmˈsɛlvz 425 fit frəm hoʊm pleɪt. ðə ˈfeɪməs ˈfoʊˌtoʊ əv ðə kæʧ meɪd baɪ ˈwɪli meɪz ɪn ðə 1954 wərld ˈsɪriz əˈgɛnst vɪk wərts əv ðə ˈklivlənd ˈɪndiənz əˈkərd ˌɪˈmiˌdiətli ɪn frənt əv ðə aɪ", ə ˈmɛtəl skrin əˈtɑp ðə ˈgrændˌstænd wɔl dɪˈrɛkli tɪ ðə raɪt əv ðə ˈrənˌweɪ. ˈkɑnsəkˌwɛntli, ðə bɔl ˈtrævəld lɛs ðən 425 fit (ˈprɑbəˌbli əˈbaʊt fit), ædˈmɪtɪdli ə prəˈdɪʤəs smæʃ, bət fɑr lɛs ðən ðə ˈlɛʤənˌdɛri lɛŋθ ˈmɛni əˈsum. ɪt wʊd hæv bɪn ə hoʊm rən ɪn ˈsɛvərəl ˈəðər ˈbɔlˌpɑrks əv ðə taɪm ɛz wɛl ɛz ɪn moʊst əv ˈtudeɪz ˈmɑdərn ˈbɔlˌpɑrks. ðə wər ˈæˌkʧuəli ɪn pleɪ, ɪn ðə lɛft ənd raɪt ˈsɛnər fild ðə ˈaʊtˌfild ˈdaʊnwərd frəm ðə ˈɪnˌfild, ənd ˈpipəl ɪn ðə ˈdəˌgaʊts ˈɔfən kʊd ˈoʊnli si ðə tɔp hæf əv ðə ˈaʊtˌfildərz. ðə nu jɔrk ˈjæŋkiz ˈsəˌblɛt ðə ˈpoʊloʊ graʊnz frəm ðə ʤaɪənts ˈdʊrɪŋ ˈæftər ðɛr lis ɔn ˈhɪlˌtɑp pɑrk ɪkˈspaɪrd. ˈæftər ðə 1922 ˈsizən, ðə ˈjæŋkiz bɪlt ˈjæŋki ˈsteɪdiəm dɪˈrɛkli əˈkrɔs ðə ˈhɑrləm ˈrɪvər frəm ðə ˈpoʊloʊ graʊnz, wɪʧ spərd ðə ʤaɪənts tɪ ɪkˈspænd ðɛr pɑrk tɪ riʧ ə ˈkɑmprəbəl ˈsitɪŋ kəˈpæsɪti tɪ steɪ kəmˈpɛtɪtɪv. ˌhaʊˈɛvər, sɪns ˈnɪrli ɔl ðə nu ˈsitɪŋ wɑz ɪn ðə ˈaʊtˌfild, ˈjæŋki ˈsteɪdiəm stɪl hæd mɔr dɪˈzaɪərəbəl sits ðən dɪd ðə ˈpoʊloʊ graʊnz fər ˈwɑʧɪŋ ˈbeɪsˈbɔl. ˌhaʊˈɛvər, ðə ˈpoʊloʊ graʊnz bɪˈkeɪm ˈbɛtər ˈsutɪd fər ˈfʊtˌbɔl du tɪ ðə nu ˈsitɪŋ ˈpleɪsmənt. ðə ʤaɪənts' fərst naɪt geɪm æt ðə ˈsteɪdiəm wɑz pleɪd ɔn meɪ 24 1940 ðə ˈpoʊloʊ graʊnz wɑz ðə saɪt əv wən əv ðə moʊst ˌaɪˈkɑnɪk ˈmoʊmənts ɪn ˈbeɪsˈbɔl ˈhɪstəri ðə hɪˈstɔrɪk "ʃɑt hərd 'raʊnd ðə wərld" hoʊm rən ɔn ɑkˈtoʊbər 3 1951 ðət ˌdɪˈsaɪdɪd ðə ˈnæʃənəl lig ˈpɛnənt pleɪɔf ˈsɪriz bɪtˈwin ðə ʤaɪənts ənd ðɛr ˈraɪvəlz, ðə ˈbrʊklɪn ˈdɑʤərz. dɛθ æt ðə ˈpoʊloʊ graʊnz ˈɛdət ɔn ˈɔgəst 16 1920 ˈɪndiənz ˈʃɔrtˌstɑp reɪ ˈʧæpmən wɑz hɪt ɪn ðə hɛd baɪ ə pɪʧ θroʊn baɪ ðə ˈjæŋkiz' kɑrl meɪz. æt ðə taɪm, ˈbætərz dɪd nɑt wɛr ˈhɛlməts. ˈʧæpmən daɪd 12 aʊərz ˈæftər hi wɑz hɪt, æt a.m*. ɔn ðə 17th*. hi rɪˈmeɪnz ðə ˈoʊnli ˈbeɪsˈbɔl pleɪər tɪ daɪ frəm ə hɛd ˈɪnʤəri ɪn ɔn ˌʤuˈlaɪ 4 1950 ˈbərnərd dɔɪl, ə nu ˈjɔrkər ərˈɪʤənəli frəm ˈdəblɪn, wɑz ˌæksəˈdɛnəli ʃɑt ənd kɪld waɪl ɪn hɪz sit æt ðə ˈpoʊloʊ graʊnz. dɔɪl hæd brɔt ə frɛndz sən wɪθ ɪm tɪ si ðə ˈbrʊklɪn ˈdɑʤərz pleɪ ðə ʤaɪənts. hi wɑz kɪld baɪ ə streɪ ˈbʊlət əˈbaʊt ən aʊər praɪər tɪ ðə stɑrt əv ðə ə bɔɪ ˈleɪtər kənˈfɛst tɪ ˈhævɪŋ ʃɑt ə gən ˈɪntu ðə ɛr frəm hɪz ˈrufˌtɑp æt 515 ˈɛʤkoʊm ˈævəˌnu, aʊt əv frəˈstreɪʃən wɪθ hɪz vju əv ðə ˈbɔlˌpɑrk biɪŋ əbˈstrəktɪd baɪ ə ˈpɛrəˌpɛt. ʤaɪənts' ˈfaɪnəl jɪrz ˈɛdət ðə ˈpoʊloʊ graʊnz' ɛnd wɑz ˈsəmˈwət ˌæntiklaɪˈmæktɪk, əˈspɛʃəli kəmˈpɛrd tɪ ˈəðər "ʤuəl bɑks" pɑrks. pɑrt əv ðə ˈprɑbləm wɑz ðət ðə ˈsteɪdiəm wɑz nɑt wɛl meɪnˈteɪnd frəm ðə leɪt ˈɔnwərd; waɪl ðə ˈbeɪsˈbɔl ʤaɪənts oʊnd ðə ˈsteɪdiəm, ðeɪ dɪd nɑt oʊn ðə ˈpɑrsəl ɔn wɪʧ ɪt stʊd. mɔˈroʊvər, ðə ˈneɪbərˌhʊd əraʊnd ðə ˈsteɪdiəm hæd dɪˈtɪriərˌeɪtɪd baɪ ðə ˈərli 1950s*. ɔl əv ðɪs kəmˈbaɪnd tɪ səˈvɪrli səˈprɛs ˈtɪkɪt seɪlz, ˈivɪn wɪn ðə ʤaɪənts pleɪd wɛl. ɪn 1954 fər ɪgˈzæmpəl, ðə ˈbeɪsˈbɔl ʤaɪənts ˈoʊnli dru ˈmɪljən fænz (kəmˈpɛrd tɪ ˈoʊvər tu ˈmɪljən fər ðə mɪlˈwɔki breɪvz) ˈivɪn ɛz ðeɪ wən ðə wərld ˈsɪriz. ðə ˈfʊtˌbɔl ʤaɪənts lɛft fər ˈjæŋki ˈsteɪdiəm əˈkrɔs ðə ˈhɑrləm ˈrɪvər ˈfɑloʊɪŋ ðə 1955 ˈɛˌnɛˈfɛl ˈsizən, ənd ðə ˈbeɪsˈbɔl ʤaɪənts' dɪˈzæstrəs 1956 ˈsizən (moʊst əv wɪʧ ðeɪ spɛnt ɪn læst pleɪs ˌbiˈfɔr ə sərʤ muvd ðɛm əp tɪ sɪksθ) kɔzd ə ˈfərðər dræg ɔn ˈtɪkɪt seɪlz. ðə ʤaɪənts' 1956 əˈtɛndəns wɑz lɛs ðən hæf əv ðə ˈfɪgjər fər ðə ʤaɪənts' wərld 1954 ˈsizən. ðɪs hɪt ʤaɪənts ˈoʊnər ˈhɔrɪs ˈstoʊnəm ˌpɑrˈtɪkjələrli hɑrd. hi wɑz nɑt ˈnɪrli ɛz ˈwɛlθi ɛz hɪz ˈfɛloʊ ˈoʊnərz; ðə ʤaɪənts wər hɪz soʊl sɔrs əv ˈɪnˌkəm. ɛz səʧ, ðə dɪˈpɑrʧər əv ðə ˈfʊtˌbɔl ʤaɪənts ənd ðə ˈbeɪsˈbɔl ʤaɪənts' ˌɪnˈkrisɪŋgli ˈmigər ˈtɪkɪt seɪlz lɛft ɪm wɪθ ˈlɪtəl tɪ noʊ ˈməni fər ˈsteɪdiəm ˈəpˌkip. ðə ˈpoʊloʊ graʊnz ɪn 1961 sin frəm ðə ˈhɑrləm ˈrɪvər. ˈfrəˌstreɪtəd wɪθ ðə ˌɑbsəˈlɛsəns ənd ˌɪnˈkrisɪŋ əv ðə ˈpoʊloʊ graʊnz, ˈstoʊnəm ˈsɪriəsli kənˈsɪdərd ˈhævɪŋ ðə ʤaɪənts bɪˈkəm ˈtɛnənts əv ðə ˈjæŋkiz ɪn ðə brɑŋks. hi ˈɔlsoʊ kənˈsɪdərd ˈmuvɪŋ tɪ ə prəˈpoʊzd ˈsteɪdiəm ðət wʊd hæv bɪn oʊnd baɪ ðə ˌhaʊˈɛvər, wɪn boʊθ əv ðoʊz plænz ˈfɪzəld, ðə ʤaɪənts əˈnaʊnst ɔn ˈɔgəst 19 1957 ðət ðeɪ wʊd muv ˈfɑloʊɪŋ ðət ˈsizən, ˈæftər ˈnɪrli θˌrikˈwɔrtərz əv ə ˈsɛnʧəri, tɪ sæn frænˈsɪskoʊ, ˌkæləˈfɔrnjə, ˈfɑloʊɪŋ ðə ˈdɑʤərz tɪ ðə wɛst koʊst. ðə ʤaɪənts hæd wən faɪv wərld ˈsɪriz ɪn ðə ˈpoʊloʊ graʊnz. ðə ˈfaɪnəl jɪrz əv ðə ˈpoʊloʊ graʊnz ˈɛdət ðə ˈbɔlˌpɑrk ðɛn sæt ˈlɑrʤli ˈveɪkənt fər ˈnɪrli θri jɪrz, ənˈtɪl ðə ˈnuli fɔrmd ˈtaɪtənz əv nu jɔrk nu jɔrk ʤɛts) bɪˈgæn pleɪ ɪn 1960 ˈfɑloʊd baɪ ðə ˈnuli fɔrmd mɛts ɪn 1962 ˈjuzɪŋ ðə ˈpoʊloʊ graʊnz ɛz ən ˈɪnərəm hoʊm waɪl ʃeɪ ˈsteɪdiəm wɑz biɪŋ bɪlt. ɛz ə 1962 ˈbeɪsˈbɔl ˈmægəˌzin ˈnoʊtɪd, "ðə mɛts wɪl hæv tɪ pleɪ ɪn ðə ˈpoʊloʊ graʊnz, ˈhɑrdli ðə læst wərd ɪn ˈsɛnʧəri ˈstɑˌdiɑ." ɪn 1961 ðə ˈsɪti əv nu jɔrk ˌdɪˈsaɪdɪd tɪ kleɪm ðə lænd ˈəndər ˈɛmənənt doʊˈmeɪn, fər ðə ˈpərpəs əv kənˈdɛmɪŋ ðə ˈsteɪdiəm ənd ˈbɪldɪŋ ə ˈhaʊzɪŋ ˈprɑʤɛkt ɔn ðə saɪt. ðə ˈkugən ˈfæməli, wɪʧ stɪl oʊnd ðə ˈprɑpərti, fɔt ðɪs ˈɛfərt ənˈtɪl ɪt wɑz ˈfaɪnəli ˈsɛtəld ɪn ðə ˈsɪtiz ˈfeɪvər ɪn ɪn ðə 1992 bʊk ðə ˈgɔspəl əˈkɔrdɪŋ tɪ ˈkeɪsi, baɪ ˌaɪˌɑˈreɪ ənd ʤɪm ˈkæplən, ɪt ɪz ˌriˈpɔrtəd (pi. 62 ðət ɪn 1963 mɛts ˈmænɪʤər ˈkeɪsi ˈstɛŋgəl, hu hæd ˈbɪtərsˌwit ˈmɛməriz əv hɪz pleɪɪŋ deɪz æt ðə ˈpoʊloʊ graʊnz, hæd ðɪs tɪ seɪ ˈdʊrɪŋ ə rəf ˈaʊtɪŋ tɪ ˈpɪʧər ˈtreɪsi ˈstælərd, huz ˈgreɪtəst kleɪm tɪ feɪm hæd bɪn ˈgɪvɪŋ əp ˈrɑʤər ˈmɑrɪs' ˈhoʊmər ɪn 1961 "æt ðə ɛnd əv ðɪs ˈsizən, ðɛr ˈgɑnə tɪr ðɪs ʤɔɪnt daʊn. ðə weɪ jʊr pitchin*', ðə raɪt fild ˈsɛkʃən wɪl bi gɔn ɔˈrɛdi!" ˌdɛməˈlɪʃən ˈɛdət ðə ˈfaɪnəl ˌɪtəˈreɪʃən əv ðə ˈpoʊloʊ graʊnz wɑz dɪˈmɑlɪʃt ɪn 1964 bɪˈgɪnɪŋ ɪn ˈeɪprəl wɪθ ðə seɪm ˈrɛkɪŋ bɔl (ˈpeɪnɪd tɪ lʊk laɪk ə ˈbeɪsˈbɔl) ðət hæd bɪn juzd fɔr jɪrz ˈərliər ɔn fild. ðə ˈrɛkɪŋ kru wɔr ʤaɪənts ˈʤərziz ənd tɪpt ðɛr hɑrd hæts tɪ ðə hɪˈstɔrɪk ˈsteɪdiəm ɛz ðeɪ bɪˈgæn dɪsˈmæntəlmənt. ɪt tʊk ə kru əv 60 ˈwərkərz mɔr ðən fɔr mənθs tɪ ˈlɛvəl ðə ˈstrəkʧər. ðə saɪt ɪz naʊ hoʊm tɪ ðə ˈpoʊloʊ graʊnz taʊərz, ə ˈpəblɪk ˈhaʊzɪŋ ˈprɑʤɛkt ˈoʊpənd ɪn 1968 ənd ˈmænɪʤd baɪ ðə nu jɔrk ˈsɪti ˈhaʊzɪŋ əˈθɔrəti. spɔrts ˈəðər ðən ˈbeɪsˈbɔl ˈɛdət ðə ˈvɛriəs ˌɪnkɑrˈneɪʃənz əv ðə ˈpoʊloʊ graʊnz wər fər ˈfʊtˌbɔl, ənd ˈhənərdz əv ˈfʊtˌbɔl geɪmz wər pleɪd ðɛr ˈoʊvər ðə jɪrz. ðə fərst prəˈfɛʃənəl ˈfʊtˌbɔl geɪm pleɪd ɪn nu jɔrk ˈsɪti wɑz pleɪd æt ðə ˈpoʊloʊ graʊnz ɔn dɪˈsɛmbər 4 1920 ðə geɪm ˈfiʧərd ðə ˈbəfəˌloʊ əˈgɛnst ðə ˈkæntən ˈbʊlˌdɔgz ɪn ðə fərst jɪr əv ðə əˈmɛrɪkən prəˈfɛʃənəl ˈfʊtˌbɔl əˌsoʊʃiˈeɪʃən. ðə ˈbəfəˌloʊ wən ðə geɪm, səm ˈɑrgju ðət ðə ˈbəfəˌloʊ ər taɪd wɪθ ðə ˈækrən proʊz fər ðə fərst ˈʧæmpiənˌʃɪp əv ðə əˈmɛrɪkən prəˈfɛʃənəl ˈfʊtˌbɔl əˌsoʊʃiˈeɪʃən, wɪʧ sun keɪm tɪ bi noʊn ɛz ðə ˈnæʃənəl ˈfʊtˌbɔl lig. ɪn 1921 ðə nu jɔrk ˈbrɪkli ʤaɪənts pleɪd ðə ˈfaɪnəl geɪm əv ðɛr 1921 ˈsizən əˈgɛnst ðə ˈklivlənd ˈɪndiənz æt ðə ˈpoʊloʊ graʊnz. ðə geɪm ˈɛndɪd ɪn ə ʤaɪənts ˈʃɔrtli ˈæftərwərdz, ðə tim ˈfoʊldɪd. ðə ˈbrɪkli ʤaɪənts wər ərˈɪʤənəli fɔrmd wɪθ ðə ˌɪnˈtɛnt əv kəmˈpitɪŋ ɪn 1919 ənd ˈhævɪŋ ɔl əv ðɛr hoʊm geɪmz hɛld æt ðə ˈpoʊloʊ graʊnz. ˌhaʊˈɛvər, ˈæftər ðə timz fərst ˈpræktɪs, ðə 1919 ˈskɛʤʊl, ðət bɪˈgæn wɪθ ən ˈoʊpənɪŋ deɪ geɪm əˈgɛnst ðə ˈtaɪgərz, wɑz skræʧt bɪˈkəz əv ˈkɑnflɪkt wɪθ nu jɔrks blu lɔz. ɪn 1919 ðə ˈsɪti əˈlaʊd prəˈfɛʃənəl ˈbeɪsˈbɔl ɔn ˈsənˌdi ənd ðə ʤaɪənts θɔt ðə lɔ wʊd ˈɔlsoʊ əˈplaɪ tɪ ˈfʊtˌbɔl. ˌhaʊˈɛvər, ɪt wɑz ruld ðət prəˈfɛʃənəl ˈfʊtˌbɔl wɑz stɪl ˈaʊˌtlɔd ɔn ˈsənˌdiz, soʊ ðə tim dɪsˈbændɪd ənˈtɪl 1921 ˈəðər ðən ðə neɪm, ðɛr ɪz noʊ riˈleɪʃən bɪtˈwin ðə ˈbrɪkli ʤaɪənts ənd ðə ˈmɑdərn nu jɔrk ʤaɪənts boʊθ ðə nu jɔrk ʤaɪənts əv ðə ˈnæʃənəl ˈfʊtˌbɔl lig ənd ðə nu jɔrk ʤɛts (ðɛn noʊn ɛz ðə nu jɔrk ˈtaɪtənz) əv ðə əˈmɛrɪkən ˈfʊtˌbɔl lig juzd ðə ˈpoʊloʊ graʊnz ɛz ðɛr hoʊm fild ˌbiˈfɔr ˈmuvɪŋ ɔn tɪ ˈəðər saɪts. ðə ʤaɪənts muvd ˌɪˈnɪʃəli tɪ ˈjæŋki ˈsteɪdiəm ɪn 1956 waɪl ðə ʤɛts, ˈfaʊndɪd ɪn 1960 ˈfɑloʊd ðə nu jɔrk mɛts tɪ ʃeɪ ˈsteɪdiəm ɪn 1964 ðə ˈfʊtˌbɔl ʤaɪənts ˈhoʊstɪd ðə 1934 1938 1944 ənd 1946 ˈɛˌnɛˈfɛl ˈʧæmpiənˌʃɪp geɪmz æt ðə ˈpoʊloʊ graʊnz. ɪn əˈdɪʃən ðə ˈbɔstən ˈrɛdˌskɪnz muvd ðə 1936 geɪm frəm ˈbɔstən tɪ ðə ˈpoʊloʊ graʊnz, ɛz pɑrt əv ðɛr trænˈzɪʃən ɪn ˌriˈloʊkeɪtɪŋ tɪ ˈwɔʃɪŋtən. kəˈləmbiə ˌjunəˈvərsəti ənd jeɪl ˌjunəˈvərsəti, tu əv əˈmɛrɪkən ˈfʊtˌbɔlz ˈoʊldəst timz, pleɪd ˈfʊtˌbɔl ɪn ðə ərˈɪʤənəl strit ˈpoʊloʊ graʊnz ɪn ðə ˈsɛnʧəri, fər səm geɪmz wɪʧ wər ɪkˈspɛktɪd tɪ drɔ lɑrʤ kraʊdz, ˌɪnˈkludɪŋ ðə ˌθæŋksˈgɪvɪŋ ˈkɑntɛsts ɪn 1883 ənd (si ˈɔlsoʊ lɪst əv ˈfʊtˌbɔl geɪmz). ðə graʊnz wər ˈɔlsoʊ juzd fər ˈmɛni geɪmz baɪ nu ˈkɑlɪʤ ˈfʊtˌbɔl timz səʧ ɛz ˈfɔrdəm ənd ˈɑrmi. ən ˈəpˌsɛt ˈvɪktəri baɪ ðə ˈvɪzɪtɪŋ ˌjunəˈvərsəti əv ˈnoʊtər deɪm ˈoʊvər ˈɑrmi ɪn 1924 lɛd tɪ ˈgræntlənd ˈraɪsɪz ˈfeɪməs ˈɑrtɪkəl əˈbaʊt ðə ˈaɪrɪʃ ˈbækˌfild, wɪʧ hi kɔld "ðə fɔr ˈhɔrsmən". ðə fild wɑz ˈɔlsoʊ ðə saɪt əv ˈsɛvərəl geɪmz ɪn ðə ənd 1920s*. ˈsɑkər ˈɛdət ðə ˈpoʊloʊ graʊnz hɛld ɪts fɛr ʃɛr əv ˌɪnərˈnæʃənɑl ˈsɑkər ˈmæʧɪz ɛz wɛl ˈoʊvər ðə jɪrz. ɪn 1926, ən saɪd frəm viˈɛnə, ˈɔstriə, "dru ðə ˈlɑrʤəst kraʊdz ˈɛvər tɪ wɔʧ ˈsɑkər ɪn əˈmɛrɪkə əp tɪ ðət taɪm: θri səkˈsɛsɪv geɪmz dru ənd ˈspɛkteɪtərz. ðə ˈhaɪˌlaɪt əv ðə tʊr wɑz ə meɪ 1 1926 ˌɛksəˈbɪʃən geɪm bɪtˈwin ənd ən əˈmɛrɪkən ˈsɑkər lig jɔrk tim wɪʧ dru fænz tɪ ðə ˈpoʊloʊ graʊnz ɪn nu (ðə tim wən ðə fərst ˈsɑkər pleɪd æt ðə ˈpoʊloʊ graʊnz wɑz ɛz fɑr bæk ɛz 1894 wɪn ðə ˈoʊnərz əv ðə ˈvɛriəs ˈmeɪʤər ˈbeɪsˈbɔl kləbz θɔt ɪt wʊd bi ə greɪt weɪ tɪ fɪl ðɛr ˈsteɪdiəmz ɪn ðə off-season*. sɪks ˈfeɪməs ˈbeɪsˈbɔl ˈfrænˌʧaɪzɪz əv ðə ˈɪrə fɔrmd əˌsoʊʃiˈeɪʃən ˈfʊtˌbɔl ˈsɛkʃənz ənd fænz wər toʊld ðət ˈmɛni wʊd bi ˈfildɪŋ ðɛr ˈbeɪsˈbɔl stɑrz ɔn ðə ˈfʊtˌbɔl fild ɪn ðə ˈoʊpənɪŋ ˈsizən. ðə nu jɔrk ʤaɪənts ˈsɑkər tim tʊk ðə fild ɪn ˈjunəˌfɔrmz wɪθ blæk sɑks ənd pleɪd sɪks geɪmz ˌbiˈfɔr ðə θrɛt əv ə ˈraɪvəl ˈbeɪsˈbɔl lig biɪŋ fɔrmd dɪˈvərtɪd ðə ˈoʊnərz əˈtɛnʃən əˈweɪ frəm ðɛr nu ˈvɛnʧər ənd kɔzd ɪt tɪ bi səˈspɛndɪd mid-season*. ðə ʤaɪənts leɪ θərd ɪn ðə lig ˈæftər sɪks geɪmz wɪθ tu ˈvɪktəriz, ˈhævɪŋ pleɪd ðɛr ˈmæʧɪz ɪn ˈmɪdˌwik ɪn frənt əv ɪn ðə haɪ ˈhənərdz peɪɪŋ 25 sɛnts ə geɪm. ˌɔlˈðoʊ ðə ˈoʊnərz rɪˈmeɪnd ˈpɑzətɪv əˈbaʊt ðə ˈvɛnʧər ənd ˈwɔntɪd tɪ rən ɪt əˈgɛn ðə ˈfɑloʊɪŋ ˈsizən ðɪs ˈnɛvər ˈhæpənd ənd ðə ʤaɪənts' ˈsɑkər tim wɑz noʊ ɔn meɪ 19 1935 ðə ˈskɑtlənd ˈnæʃənəl tim tʊrd ðə juˈnaɪtɪd steɪts, ənd ɪn ðɛr fərst geɪm pleɪd əˈgɛnst ən ˌɔlˈstɑr skwɑd wɪʧ wɑz ənəˈfɪʃəli ˌrɛprɪˈzɛnɪŋ ðə juˈnaɪtɪd steɪts. ˈskɑtlənd wən ɪn frənt əv ˈpipəl æt ðə ˈpoʊloʊ graʊnz. ɪn 1939 ðə skɑts rɪˈtərnd tɪ əˈmɛrɪkə fər əˈnəðər tʊr, ənd pleɪd æt ðə ˈpoʊloʊ graʊnz twaɪs. ɪn ðɛr fərst geɪm æt ðə ˈpoʊloʊ graʊnz ɔn meɪ 21 1939 ˈskɑtlənd taɪd ðə ˈistərn ˈjuˈɛˈseɪ ɪn frənt əv fænz. ɪn ðɛr ˈsɛkənd geɪm æt ðə ˈpoʊloʊ graʊnz ɔn ʤun 18 1939 ˈskɑtlənd bit ðə əˈmɛrɪkən lig stɑrz ˈfɑloʊɪŋ wərld wɔr, ɔn sɛpˈtɛmbər 26 1948 ðə ˈjuˈɛˈseɪ bit ˈɪzriəl ɪn ðɛr fərst ˈɛvər geɪm sɪns ˌɪndɪˈpɛndəns ˌbiˈfɔr fænz æt ðə ˈpoʊloʊ graʊnz. ɔn ʤun 9 1950 ə kraʊd əv fænz keɪm tɪ ðə ˈpoʊloʊ graʊnz tɪ wɔʧ ən 'ˌɪnərˈnæʃənɑl drim ˈdəbəl ˈhɛdər'. beşiktaş*ş j.k*. əv ˈtərki dɪˈfitɪd ðə əˈmɛrɪkən ˈsɑkər lig ənd ðɛn ˈmænˌʧɛstər juˈnaɪtɪd dɪˈfitɪd (ðə tɔp ˈæməˌʧər tim ɪn sˈwidən) ɔn meɪ 17 1960 ˈbərmɪŋˌhæm ˈsɪti əv ˈɪŋglənd pleɪd θərd əv ˈskɑtlənd ənd lɔst æt ðə ˈpoʊloʊ graʊnz ɪn nu jɔrk ˈsɪti. ɔn ˈɔgəst 6 əv ðə seɪm jɪr, ˈpeɪtrənz ʃoʊd əp æt ðə ˈpoʊloʊ graʊnz tɪ wɔʧ ðə ˌɪˈnɔgərəl ˌɪnərˈnæʃənɑl ˈsɑkər lig ˈfaɪnəl wɪʧ sɔ əv brəˈzɪl ɛʤ aʊt kɪlˈmɑrˌnɑk əv ˈskɑtlənd sɪks geɪmz ɔn ˈpoʊloʊ graʊnd hæd ə ˈtoʊtəl əˈtɛndəns əv ðə ˈfɑloʊɪŋ jɪr, 1961 meɪ hæv bɪn ðə læst jɪr ˈdɑkjəˌmɛnəd ðət ˈsɑkər wɑz pleɪd æt ðə ˈpoʊloʊ graʊnz. ðə ˈsɛkənd ɪˈdɪʃən əv ðə ˌɪnərˈnæʃənɑl ˈsɑkər lig hɛld moʊst əv ɪts geɪm æt ðə ˈpoʊloʊ graʊnz, wɪθ ə fju geɪmz hɛld ɪn ˌməntriˈɔl. ɔn ˌʤuˈlaɪ 16 1961 ˈʃæmˌrɑk ˈroʊvərz bit rɛd stɑr ˈbɛlˌgrɑd ɔn ˈɔgəst 9 prɑg bit ˈɛvərtən ənd fɔr deɪz ˈleɪtər ɔn ˈɔgəst 13 prɑg bit ˈɛvərtən əˈgɛn ðəs ˈwɪnɪŋ ðə dwaɪt di. ˈaɪzənˌhaʊər ˈtroʊfi. ðə kəmˈbaɪnd əˈtɛndəns fər boʊθ geɪmz æt ðə ˈpoʊloʊ graʊnz wɑz ɪn dəˈmɛstɪk lig ˈsɑkər, ðə ˈpoʊloʊ graʊnz wɑz ðə hoʊm tɪ ðə nu jɔrk ˈnæʃənəlz əv ðə əˈmɛrɪkən ˈsɑkər lig ɪn 1928 ɔn sɛpˈtɛmbər 14 1947 ðə ˈpoʊloʊ graʊnz ˈhoʊstɪd ðə ˈfaɪnəl əv ðə ˈsinjər ˈgeɪlɪk ˈfʊtˌbɔl ˈʧæmpiənˌʃɪp bɪtˈwin ˈkeɪvən ənd ˈkɛri. ɪt wɑz ˌdɪˈsaɪdɪd ðət nu jɔrk wʊd hoʊst ðɪs mæʧ ɛz ə kəˌmɛmərˈeɪʃən əv ðə 1847 ˈaɪrɪʃ ˈfæmən wɪʧ fɔrst ə lɑrʤ ˈnəmbər əv ˈaɪrɪʃ ˈpipəl tɪ ˈɛməˌgreɪt tɪ nɔrθ əˈmɛrɪkə. ðɪs ˈnɑvəl loʊˈkeɪʃən fər ðə geɪm wɑz ˈʧoʊzən fər ðə ˈbɛnəfɪt əv nu jɔrks lɑrʤ ˈaɪrɪʃ ˈɪməgrənt ˌpɑpjəˈleɪʃən. ɪt wɑz ðə ˈoʊnli taɪm ðət ðə ˈfaɪnəl həz bɪn pleɪd ˈaʊtˈsaɪd ˈaɪərlənd. ðə læst ˈgeɪlɪk geɪm æt ðə ˈpoʊloʊ graʊnz wɑz ɔn ʤun 1 1958 wɪn ˈkeɪvən pleɪd nu jɔrk. ˈbɑksɪŋ ˈɛdət ðə ˈpoʊloʊ graʊnz wɑz ðə saɪt əv ˈmɛni ˈfeɪməs ˈbɑksɪŋ ˈmæʧɪz. ðiz ˌɪnˈkludɪd ðə ˈlɛʤənˌdɛri 1923 ˈhɛviˌweɪt ˈʧæmpiənˌʃɪp baʊt bɪtˈwin ʤæk ˈdɛmpsi ənd luis ˈfɪrpoʊ, ˈhɛri dɪˈfɛns əv ðə ˈmɪdəlˌweɪt ˈʧæmpiənˌʃɪp ˈtaɪtəl əˈgɛnst ˈreɪnɪŋ wərld ˈwɛltərˌweɪt ˈʧæmpiən, ˈmɪki ˈwɔkər ɪn ˌʤuˈlaɪ 1925 ənd ˈbɪli ˈoʊvər ˈhɛviˌweɪt ˈʧæmpiən ʤoʊ luɪs ɪn ʤun 1941 ɪt wɑz ˈɔlsoʊ ðə ˈvɛnju fər ðə ˈriˈmæʧ bɪtˈwin wərld ˈhɛviˌweɪt ˈʧæmpiən ˈɪŋgɪmər ˌʤoʊˈhɑnsən ənd ˈfɔrmər ˈʧæmpiən flɔɪd ˈpætərsən ɔn ʤun 20 1960 ɪn wət tərnd aʊt tɪ bi ðə læst ˈmeɪʤər ˈbɑksɪŋ mæʧ æt ðə ˈpoʊloʊ graʊnz, ˈpætərsən bɪˈkeɪm ðə fərst ˈhɛviˌweɪt ˈbɑksər tɪ rɪˈgeɪn ðə ˈʧæmpiənˌʃɪp ˈoʊvər ðə ˌʤoʊˈhɑnsən, hu ˈɔlˌmoʊst wən jɪr tɪ ðə deɪ, tʊk ðə kraʊn frəm ˈpætərsən æt ˈjæŋki ˈsteɪdiəm. ˈɛdət ðə ˈpoʊloʊ graʊnz wər ðə saɪt əv θri ˈdɪfərənt ˈoʊvəl træks. ðə fərst træk, ə maɪl dərt ˈoʊvəl, wɑz juzd fər ˈmɪʤət ˈreɪsɪŋ ɪn 1940 ənd 1941 ðə ˈsɛkənd, ə maɪl bɔrd træk, wɑz juzd ˈbrifli ɪn 1948 ðə ˈfaɪnəl træk, ə maɪl peɪvd ˈoʊvəl, wɑz juzd fər stɑk kɑr ˈreɪsɪŋ ɪn 1958 ənd 1959 ˈæftər ðə ʤaɪənts muvd tɪ sæn ˈkɑnsərt ˈɛdət ðə pərˈfɔrməns əv ˈvərdiz ˈrɛkwiəm æt ðə ˈpoʊloʊ graʊnz ɪn 1916 ə pərˈfɔrməns əv ˈvərdiz ˈrɛkwiəm tʊk pleɪs æt ðə ˈpoʊloʊ graʊnz ɔn ʤun 4 1916 pərˈzɛnəd baɪ ðə ˈnæʃənəl ˈoʊpən ɛr ˈfɛstɪvəl soʊˈsaɪɪti. ɪt wɑz ˈgɪvɪn baɪ ə ˈkɔrəs əv ˈsɪŋərz (ˈkɔrəs ˈmæstər, ɑrˈnɑldoʊ ˈkɑnti), səˈlɛktɪd frəm əˈməŋ ðə ˈlidɪŋ ˈkɔrəl səˈsaɪɪtiz əv nu jɔrk; ənd ən ɑgˈmɛntəd nu jɔrk ˌfɪˌlhɑrˈmɑnɪk ˈɔrkəstrə əv 120 pleɪərz. ðə ˈsoʊˌloʊəsts wər luˈsil ˈlɔrəns, mərˈiə geɪ, ˌʤioʊˈvɑni ənd liɑn rothier*, ənd ðə pərˈfɔrməns wɑz kənˈdəktəd baɪ luɪs ˈfiʧərz fər ˈbeɪsˈbɔl ˈɛdət ˈsɛnər fild ˈɛdət ˈwɪli meɪz, ðə kæʧ ənd ðə 483 saɪn ɪn 1954 ˈsɛnər fild ɪn ðə 1950s*, wɪθ ˈfeɪməs ˈʧɛstərˌfild ˌsɪgəˈrɛts ˌædvərˈtaɪzmənt ˈvɪzəbəl əˈbəv ðə ˈkləˌbhaʊs. ˈdəsti roʊdz ˈraʊndɪŋ fərst ˈæftər ˈhɪtɪŋ ə hoʊm rən ˈoʊvər ðə ʃɔrt raɪt fild fɛns (rɪr) ɪn ðə ˈsɛkənd geɪm əv ðə 1954 wərld ˈsɪriz wən əv ðə ˈɑdəst ˈfiʧərz æt ðə ˈpoʊloʊ graʊnz wər ðə dip dɪˈmɛnʃənz ɪn streɪt əˈweɪ ˈsɛnər fild. ðə wɔl wɑz soʊ fɑr əˈweɪ frəm hoʊm pleɪt, æt 483 fit 147 ɛm), ðət fju pleɪərz ˈɛvər hɪt hoʊm rənz ˈoʊvər ɪt. ˌbiˈfɔr ɪts 1923 ˌrikənˈstrəkʃən, ˈoʊnli beɪb ruθ ˈɛvər riʧt ðə stændz; ˈæftər 1923 ˈoʊnli fɔr pleɪərz wʊd riʧ ðə ˈdɪstənt ˈbliʧərz. ðə ɪnˈtaɪər 18 ɛm) wɔl ɪn dɛd ˈsɛnər fild wɑz kənˈsɪdərd ɪn pleɪ, ɛz wər ðə ˈkləˌbhaʊs ˈwɪndoʊz ɔn ðə saɪd əv ðə wɔl. ðə graʊnd rulz əv ðə ˈpoʊloʊ graʊnz wər sɛt əp soʊ ðət ɪf ə bɔl wɛnt θru ən ˈoʊpən ˈwɪndoʊ ɪn ðə ˈkləˌbhaʊs, ɪt wɑz ə graʊnd rul ˈdəbəl, ˈrəðər ðən ə hoʊm rən. sɪns noʊ bɔl ˈɛvər riʧt ðət ˈɛriə ɪn ðə laɪf əv ðə ˈsteɪdiəm, ðət rul wɑz ˈnɛvər ˈtɛstɪd. ɪn geɪm 1 əv ðə 1954 wərld ˈsɪriz, ʤaɪənts ˈaʊtˌfildər ˈwɪli meɪz meɪd ə sɛnˈseɪʃənəl kæʧ əv ə flaɪ bɔl hɪt baɪ ðə ˈklivlənd ˈɪndiənz' vɪk wərts ˈɪntu dip ˈsɛnər fild, ə kæʧ wɪʧ, ɪn ðə wərdz əv ˈɛnˌbiˈsi ˈtɛləˌvɪʒən spɔrts əˈnaʊnsər ʤæk ˈbrɪˌkhaʊs, "məst hæv lʊkt laɪk ən ˈɑptɪkəl ˌɪˈluʒən tɪ ə lɔt əv ˈpipəl", ənd wɪʧ tərnd ðə taɪd əv ðət ˈsɪriz ɪn ðə ʤaɪənts' ˈfeɪvər. ɔn ɑkˈtoʊbər 2 1936 ɪn geɪm 2 əv ðə 1936 wərld ˈsɪriz, ˈjæŋkiz ˈsɛntərˌfildər ʤoʊ dɪˈmæʤiˌoʊ meɪd ə ˈsɪmələr, ðoʊ fɑr lɛs ˈkruʃəl, kæʧ (hɪz tim biɪŋ əˈhɛd fər ðə ˈfaɪnəl aʊt əv ðə ðə ʤaɪənts' hæŋk ˈlibər hɪt ə lɔŋ flaɪ bɔl tɪ dip ˈsɛnər fild ðət dɪˈmæʤiˌoʊ kɔt ɪn ðə ˈrənˌweɪ, pərˈhæps frəm ðə pleɪt, ənd hɪz moʊˈmɛntəm ˈkɛrid ɪm əp ðə ˈkləˌbhaʊs stɛps. hi ðɛn stɑpt ənd tərnd əraʊnd, ɛz ðə kraʊd stʊd ənd ækˈnɑlɪʤd ðə dɪˈpɑrʧər əv ˈfræŋklɪn di. ˈruzəˌvɛlt, hu wɑz ɪn əˈtɛndəns ðət beɪb ruθ hɪt ˈmɛni əv hɪz ˈərli ˈsɪgnəʧər blæsts æt ðə ˈpoʊloʊ graʊnz, ˈriʧɪŋ ðə ˈsɛnər fild sits ɔn ˈsɛvərəl ɔˈkeɪʒənz. hɪz ˈlɔŋgɪst blæst æt ðə graʊnz, ˈoʊvər ðə ˈəpər dɛk ɪn 1921 wɑz ˈɛstəˌmeɪtɪd æt ˈoʊvər 550 fit. hi ˈɔlsoʊ hɪt ˈsɛvərəl hoʊm rənz æt ˈəðər ˈbɔlˌpɑrks wɪʧ ɪkˈsidɪd 500 fit. hæd ruθ pleɪd ˈrɛgjələrli ɪn ðə riˈmɑdəld ˈpoʊloʊ graʊnz, ˌθiərˈɛtɪkəli hi wʊd hæv bɪn ˈkeɪpəbəl əv ˈhɪtɪŋ ðə ˈkləˌbhaʊs ɪf kənˈdɪʃənz wər raɪt. ˈniðər hi nɔr ˈɛniˌwən ɛls ˈɛvər dɪd, bət ə fju keɪm kloʊz. ˈæftər ðə 1923 rɪˈmɑdəlɪŋ, ˈoʊnli faɪv pleɪərz ˈɛvər hɪt ə hoʊm rən ˈɪntu ðə ˈsɛnər fild raɪt fild ˈɛdət ðə dip ˈsɛnər fild wɑz ˈkɑmpləˌmɛntɪd baɪ ðə ʃɔrt fɛns. ɪts faʊl poʊl wɑz 258 fit 79 ɛm) frəm hoʊm, wən əv ðə ˈʃɔrtɪst ˈɛvər juzd ɪn ðə ˈmeɪʤər ligz. sɪns ðə ˈərli ˈsɛnʧəri, hoʊm rənz ðət ʤɪst klɪrd ə fildz ˈʃɔrtɪst fɛns hæd bɪn noʊn ɛz "ʧaɪˈniz hoʊm rənz", frəm ə ˈstɛrioʊˌtaɪp əv ʧaɪˈniz ˈɪməgrənt ˈwərkərz ɛz duɪŋ ðə bɛr ˈmɪnəməm rikˈwaɪərd fər ðə loʊ ˈweɪʤɪz ðeɪ rɪˈsivd fər ˈminiəl ˈleɪbər. wɪˈθɪn ˈbeɪsˈbɔl, baɪ ðə ðoʊz hoʊm rənz wər ˈlɑrʤli əˈsoʊʃiˌeɪtəd wɪθ ðə ʃɔrt fɛns æt ðə ˈpoʊloʊ graʊnz. ðə 511 kərɪr ˈhoʊmərz hɪt baɪ ʤaɪənts ˈaʊtˌfildər mɛl ɑt, huz fəˈzik ənd ˈbætɪŋ tɛkˈnik wər nɑt ðoʊz əˈsoʊʃiˌeɪtəd wɪθ paʊər ˈhɪtɪŋ, hæv ˈɔfən bɪn ˈdaʊnˌpleɪd bɪˈkəz ə sɪgˈnɪfɪkənt ˈnəmbər wər hɪt tɪ raɪt æt hoʊm, ə ˈkrɪtɪˌsɪzəm hi ˈɔfən rɪˈspɑndɪd tɪ baɪ ˈæskɪŋ waɪ fju ˈəðər ˈhɪtərz ɪn ðə lig wər ˈmeɪkɪŋ ðət hɪt ɪf ɪt wər soʊ ˈbɑbi ˈtɑmsənz "ʃɑt hərd 'raʊnd ðə wərld" ðət wən ðə 1951 ˈnæʃənəl lig ˈpɛnənt fər ðə ʤaɪənts wɑz hɪt ˈoʊvər ðə lɛft fild fɛns. bət ˈɑrgjuəbli ðə hoʊm rən hɪt tɪ ðə raɪt saɪd wɑz ðə ʃɑt baɪ ˈdəsti roʊdz, ˈbætɪŋ fər ˈmɑnti ˈərvɪn ɪn ðə ˈɪnɪŋ əv geɪm 1 əv ðə 1954 ˈsɪriz, ˈæftər meɪz' kæʧ hæd kɛpt ðə ʤaɪənts taɪd. ɪt ʤɪst ˈbɛrli klɪrd ðə fɛns, əˈbəv ðə aʊtˈstrɛʧt gləv əv ðə ˈlipɪŋ ˈaʊtˌfildər deɪv poʊp, ˈlidɪŋ æl lópez*, ˈmænɪʤər əv ðə ˈhɛvəli ˈfeɪvərd ˈɪndiənz, tɪ əˈtrɪˌbjut ðə ʤaɪənts' ˈstənɪŋ ˈvɪktəri ɪn ðə ˈsɪriz ˈoʊpənər tɪ ðə ənˈjuˌʒuəl ʤɑn ti. brəʃ ˈstɛrˌweɪ ˈɛdət ðə ʤɑn ti. brəʃ ˈstɛrˌweɪ ðə meɪn ˈɛntrəns əv ðə ˈfinɪks mjuˈnɪsəpəl ˈsteɪdiəm wɪθ ðə ˈpoʊloʊ graʊnz laɪt poʊlz ɪn ðə ˈbækˌgraʊnd. ðə ˈoʊnli pɑrt əv ðə ˈpoʊloʊ graʊnz ðət stɪl rɪˈmeɪnz ɪz ðə "ʤɑn ti. brəʃ wɪʧ rənz daʊn bləf frəm ˈɛʤkoʊm ˈævəˌnu tɪ ˈhɑrləm ˈrɪvər ˈdraɪvˌweɪ æt əˈbaʊt ðə ˈstɛrˌweɪ, neɪmd fər ʤɑn ti. dɪˈsist ˈoʊnər əv ðə ɪn 1913 ənd lɛd tɪ ə ˈtɪkɪt buθ ˈoʊvərˌlʊkɪŋ ðə ˈsteɪdiəm. ðə ˈstɛrˌweɪ rɪˈpɔrtədli ˈɔfərd ə klɪr vju əv ðə ˈsteɪdiəm fər fænz hu dɪd nɑt ˈpərʧəs ˈtɪkɪts tɪ ə geɪm. ə ˈmɑrkər ɔn ðə ˈstɛrˌweɪ ridz: "ðə ʤɑn ti. brəʃ ˈstɛrˌweɪ pərˈzɛnəd baɪ ðə nu jɔrk ɪn noʊˈvɛmbər 2011 ɪt wɑz ˌriˈpɔrtəd ðət ðə ˈstɛrˌweɪ wʊd ˌəndərˈgoʊ ə ˌrɛstərˈeɪʃən, θæŋks tɪ doʊˈneɪʃənz frəm ðə nu jɔrk ʤaɪənts, ʤɛts, ˈjæŋkiz, mɛts, sæn frænˈsɪskoʊ ʤaɪənts, ənd ˈmeɪʤər lig ðə ˌrɛstərˈeɪʃən wɑz ˈskɛʤʊld tɪ bi kəmˈplitɪd ɪn sɛpˈtɛmbər 2012 bət ɪn ˈfɛbruˌɛri 2013 ɪt wɑz əˈnaʊnst ðət ə "sɔft ˈoʊpənɪŋ" wʊd teɪk pleɪs ɪn spərɪŋ ˈæftər ˈnumərəs dɪˈleɪz, ðə rɪˈstɔrd stɛps ˈoʊpənd ˈfaɪnəli ɪn ˈərli ˈɔgəst ðə rɪˈstɔrd ˈstɛrˌweɪ ɪz kənˈsɪdərd ə ˈsɪti hɪˈstɔrɪk ˈpoʊloʊ graʊnz laɪt poʊlz ˈɛdət ðə laɪt poʊlz frəm ðə ˈpoʊloʊ graʊnz rɪˈmeɪn ɪn juz æt ˈfinɪks mjuˈnɪsəpəl ˈsteɪdiəm, ə ˈmaɪnər lig fəˈsɪlɪti ɪn ˈfinɪks, ˌɛrɪˈzoʊnə, bɪlt ɪn 1964 wɪn ðə ˈsteɪdiəm wɑz bɪlt, ˈhɔrɪs ˈstoʊnəm, ˈoʊnər əv ðə sæn frænˈsɪskoʊ ʤaɪənts, hæd ðə ərˈɪʤənəl ˈpoʊloʊ graʊnz laɪt poʊlz ʃɪpt ðɛr. ðə ʤaɪənts hɛld spərɪŋ ˈtreɪnɪŋ æt ðə ˈsteɪdiəmz ˈprɛdəˌsɛsər sɪns 1947 ənd pleɪd æt ðə nu ˈbɔlˌpɑrk ˈdʊrɪŋ spərɪŋ ˈtreɪnɪŋ 1964 ðə poʊlz wər ˌɪnˈstɔld ɪn ðə ˈsteɪdiəm wɛr ðeɪ ˈkərəntli rɪˈmeɪn ˈtaɪmlaɪn ənd timz ˈɛdət kraʊd æt riˈfərbɪʃt ˈpoʊloʊ graʊnz, ɑkˈtoʊbər 8 1912 geɪm 1 əv ðə 1912 wərld ˈsɪriz ˈpoʊloʊ graʊnz aɪ (ˈnæʃənəl lig), ˌmɛtrəˈpɑlətənz (əˈmɛrɪkən əˌsoʊʃiˈeɪʃən), ˈpoʊloʊ graʊnz (ˈəðərˌwaɪz noʊn ɛz mænˈhætən fild) ʤaɪənts (nl*), ˈpoʊloʊ graʊnz (ərˈɪʤənəli kɔld ˈbrəðərˌhʊd pɑrk, ˈɔlsoʊ noʊn ɛz brəʃ ˈsteɪdiəm frəm 1911 tɪ 1919 ʤaɪənts (pleɪərz' lig), 1890 ʤaɪənts (nl*), ʤaɪənts (nl*), ˈjæŋkiz (əˈmɛrɪkən lig), ʤaɪənts (ˈɛˌnɛˈfɛl), ˈbʊlˌdɔgz (ˈɛˌnɛˈfɛl) 1949 (afl*), mɛts (nl*), stəˈtɪstɪks ˈɛdət dɪˈmɛnʃənz ˈɛdət ˈdaɪəˌgræm əv ðə ˈpoʊloʊ graʊnz drɔn ɪn 1951 kəmˈpaɪld frəm ˈvɛriəs ˈfoʊˌtoʊz, ˈbeɪsˈbɔl ˈænuəlz, ðə əˈfɪʃəl ɪnˌsaɪkləˈpidiə əv ˈbeɪsˈbɔl ˈtɑmsən, 1951 ənd grin kəˈθidrəlz baɪ fɪl ˈlaʊri. dɪˈmɛnʃən ˈdɪstəns noʊts lɛft fild laɪn 335 102 ɛm) nɑt ˈpoʊstɪd ˈsɛnər fild 500 150 ɛm) nɑt ˈpoʊstɪd raɪt fild laɪn 335 102 ɛm) nɑt ˈpoʊstɪd dɪˈmɛnʃən ˈdɪstəns noʊts lɛft fild laɪn 277 84 ɛm) nɑt ˈpoʊstɪd ˈsɛnər fild 433 132 ɛm) nɑt ˈpoʊstɪd raɪt fild laɪn 258 79 ɛm) nɑt ˈpoʊstɪd dɪˈmɛnʃən ˈdɪstəns noʊts lɛft fild laɪn 279 85 ɛm) nɑt ˈlɪstɪd ɛz 280 lɛft fild ˈəpər dɛk ˈoʊvərˌhæŋ əˈbaʊt 250 76 ɛm) ˈʃæloʊ lɛft ˈsɛnər 315 96 ɛm) lɛft ˈsɛnər 1 360 110 ɛm) lɛft ˈsɛnər 2 414 126 ɛm) dip lɛft ˈsɛnər 447 136 ɛm) lɛft əv ˈbʊlˌpɛn kərv dip lɛft ˈsɛnər 455 139 ɛm) raɪt əv ˈbʊlˌpɛn kərv ˈsɛnər fild approx*. 425 130 ɛm) (unposted*) ˈkɔrnərz əv ˈrənˌweɪz ˈsɛnər fild 483 147 ɛm) ˈpoʊstɪd ɔn frənt əv ˈkləˌbhaʊs ˈbælkəni, ˈsəmˌtaɪmz 475 145 ɛm) ˈsɛnər fild 505 154 ɛm) (unposted*) ˈsəmˌtaɪmz ˈgɪvɪn ɛz ˈtoʊtəl c.f*. ˈdɪstəns dip raɪt ˈsɛnər 455 139 ɛm) lɛft əv ˈbʊlˌpɛn kərv dip raɪt ˈsɛnər 449 137 ɛm) raɪt əv ˈbʊlˌpɛn kərv raɪt ˈsɛnər 2 395 120 ɛm) raɪt ˈsɛnər 1 338 103 ɛm) ˈʃæloʊ raɪt ˈsɛnər 294 90 ɛm) raɪt fild laɪn 257. 8 ɪn. nɑt ˈlɪstɪd ɛz 258 ˈbækˌstɑp 65 20 ɛm) ˈsəmˌtaɪmz ˈɔlsoʊ ˈgɪvɪn ɛz 74 23 ɛm) ðə dɪˈspɛrətiz ɪn səm əv ðə ˈpoʊstɪd ˈdɪstənsɪz, ˈnoʊtəbli ˈstreɪtəˌweɪ ˈsɛnər, hæv nɑt bɪn ˈfʊli ˈrɛkənˌsaɪld baɪ ˈrisərʧərz. ðə ˈkloʊsəst ˈɑbʤɛkt ɪn streɪt ˈsɛnər fild wɑz ðə grænt məˈmɔriəl, ˈfɑloʊd baɪ ðə poʊst səˈpɔrtɪŋ ðə ˈoʊvərˌhæŋ əv ðə ˈkləˌbhaʊs (əˈbəv wɪʧ ðə 483 ər 475 saɪnz wər ˈpoʊstɪd), ənd ə dɔr ˈsɛvərəl fit bɪˈhaɪnd ðə ˈoʊvərˌhæŋ æt graʊnd ˈlɛvəl. ðə rʊf əv ðə proʊˈtrudɪŋ pɑrt əv ðə ˈkləˌbhaʊs bæk ənd mɛt ðə ˈvərtɪkəl wɔl əv ðə ˈlɑrʤər pɑrt əv ðə ˈkləˌbhaʊs. ðə ɪgˈzækt ˈɑbʤɛkts rɪˈfərd tɪ baɪ ðə ˈnəmbərz 475 483 ənd 505 kən bi ˈspɛkjəˌleɪtɪd bət rɪˈmeɪn ˌənkənˈfərmd. ˈsitɪŋ kəˈpæsɪti ˈɛdət ˈgæləri ˈɛdət si ˈɔlsoʊ ˈɛdət ˈpoʊloʊ graʊnz ˈʃətəl, ən ˈɛləˌveɪtɪd ˈreɪlˌweɪ ˈʃətəl tɪ ðə graʊnz ˈbʊʃmən stɛps, ə sɛt əv stɛrz dɪˈsɛndɪŋ tɪ ðə graʊnz ˈrɛfərənsɪz ˈɛdət ˈsɔrsəz ˈɛdət
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the polo grounds was the name of three stadiums in upper manhattan, new york city, used mainly for professional baseball and american football from 1880 through 1963. as the name suggests, the original polo grounds, opened in 1876 and demolished in 1889, was built for the sport of polo. bound on the south and north by 110th and 112th streets and on the east and west by fifth and sixth (lenox) avenues, just north of central park, it was converted to a baseball stadium when leased by the new york metropolitans in 1880. the third polo grounds, built in 1890 and renovated after a fire in 1911, is the one generally indicated when the polo grounds is referenced. it was located in coogan's hollow and was noted for its distinctive bathtub shape, very short distances to the left and right field walls, and an unusually deep center field.
in baseball, the original polo grounds was home to the new york metropolitans from 1880 through 1885, and the new york giants from 1883 through 1888. the giants played in the second polo grounds for part of the 1889 season and all of the 1890 season, and at the third and fourth polo grounds from 1891 through 1957. the polo grounds was also the home field of the new york yankees from 1913 through 1922 and the new york mets in their first two seasons of 1962 and 1963. all four versions of the ballpark hosted world series matches at various times. the fourth version also hosted the 1934 and 1942 major league baseball all-star games.
in football, the third polo grounds was home to the new york brickley giants for one game in 1921 and the new york giants from 1925 to 1955. the new york jets of the american football league played at the stadium from the league's inaugural season of 1960 through 1963.
other sporting events held at the polo grounds included soccer, boxing, and gaelic football. the last sporting event at the polo grounds was a football game between the new york jets and the buffalo bills on december 14, 1963. shea stadium opened in 1964 and replaced the polo grounds as the home of the mets and jets. the polo grounds was demolished over a period of four months that year and a public housing complex, known as the polo grounds towers, was built on the site.
polo grounds i [ edit ]
the first polo grounds, opening day, 1888.
earliest known image of polo grounds i, from 1882
the original polo grounds stood at 110th street between fifth avenue and sixth avenue, directly across 110th street from the northeast corner of central park. the venue's original purpose was for the sport of polo, and its name was initially merely descriptive, not a formal name, often rendered as "the polo grounds" in newspapers. the metropolitans, an independent team of roughly major-league caliber, was the first professional baseball team to play there, beginning in september 1880, and remained the sole professional occupant through the 1882 season. at that time the metropolitans' ownership had the opportunity to bring it into the national league, but elected instead to organize a new team, the new york gothams — who soon came to be known as the giants — mainly using players from the metropolitans and the newly defunct troy trojans, and entered it in the national league, while bringing what remained of the metropolitan club into the competing american association. for this purpose the ownership built a second diamond and grandstand at the park, dividing it into eastern and western fields for use by the giants and metropolitans respectively. polo grounds i thus hosted its first major league baseball games in 1883 as the home stadium of two teams, the american association metropolitans and the national league gothams.[1] the dual-fields arrangement proved unworkable because of faulty surfacing of the western field, and after various other arrangements were tried, the metropolitans and giants alternated play on the eastern field in later years until the metropolitans moved to the st. george cricket grounds on staten island in 1886.
although the giants would soon become the team of choice in the city, the "mets" had a good year in 1884. they had started the season in a new facility called metropolitan park, which proved to be such a poor venue that they moved back to the polo grounds within a few weeks. despite that bit of drama, the mets went on to win the american association pennant. their good fortune ran out when they faced the providence grays in the world series, in which providence pitcher old hoss radbourn pitched three consecutive shutouts against them. all three games had been staged at the polo grounds.
an early highlight of giants' play at the polo grounds was roger connor's home run over the right-field wall and into 112th street; connor eventually held the record for career home runs that babe ruth would break in 1920.
the original polo grounds was used not only for polo and professional baseball, but often for college baseball and football as well – even by teams outside new york. the earliest known surviving image of the field is an engraving of a baseball game between yale university and princeton university on decoration day, may 30, 1882.[2] yale and harvard also played their traditional thanksgiving day football game there on november 29, 1883 and november 24, 1887.[3] (see football below)
demolition and forced relocation [ edit ]
new york city was in the process of extending its street grid into uptown manhattan in 1889. plans for an extended west 111th street ran through the polo grounds. city workers are said[by whom?] to have shown up suddenly one day and begun cutting through the fence to lay out the new street. with the giants having won the national league pennant the year before, as well as the world series there was significant sentiment in the city against the move; a bill was even passed by the state legislature giving the giants a variance which would allow the park to stand. governor david b. hill, who had campaigned for office on a "home rule" pledge, vetoed it on the grounds that whatever he might think of the forced destruction of the park, the will of the city government was to be respected. the loss of their park forced the giants to look quickly for alternative grounds.
the giants opened the 1889 season at oakland park in jersey city, new jersey, playing their first two games there.[4][5] four days later, they moved to the st. george cricket grounds (where the metropolitans had continued to play until their demise following the 1887 season).[6]
after closing out a homestand at the st. george grounds on june 14, the giants went on the road. upon their return on july 8 they had relocated again, to a "new polo grounds" site within manhattan at the far terminus of the then ninth avenue elevated at 155th street and 8th avenue (now frederick douglass boulevard).[7] despite their vagabond existence in 1889, the giants managed to win the pennant for the second consecutive year, as well as that year's world series against brooklyn.
polo grounds ii [ edit ]
manhattan field c. 1901 with polo grounds outfield in background. high bridge crossing the harlem river at about 173rd street is in the background. the bridge's center spans over the river itself were replaced by a large single span in the 1920s. the tower on the left is highbridge water tower
the new site was overlooked to the north and west by a steep promontory known as coogan's bluff. because of its elevation, fans frequently watched games from the bluff without buying tickets.[8] the ballpark itself was in bottomland known as coogan's hollow. the grandstand had a conventional curve around the infield, but the shape of the property left the center field area actually closer than left center or right center. this was not much of an issue in the "dead ball era" of baseball. the land remained in the coogan estate, and the giants were renters for their entire time at polo grounds ii, iii and iv. the brooklyn dodgers played a pair of home series at this ballpark in late july and early august 1890.[9]
fans on coogan's bluff watch the infamous merkle's boner game between the giants and cubs , september 23, 1908.
after the national league version of the new york giants moved into polo grounds iii in 1891, polo grounds ii was sub-leased to the manhattan athletic club and was referred to ever after as manhattan field. it was converted for other sports such as football and track-and-field. it still existed as a structure for nearly 20 more years. babe ruth's first home run as a yankee, on may 1, 1920, was characterized by the new york times reporter as a "sockdolager" (i.e. a decisive blow), and was described as traveling "over the right field grand stand into manhattan field."[10] bill jenkinson's modern research indicates the ball traveled about 500 feet in total, after clearing the polo grounds double decked right field stand. manhattan field continued to be an occasional site for amateur sports reported in local newspapers as late as spring of 1942. in june 1948, the giants again leased the manhattan field property, and had it paved over to serve as a parking lot for the polo grounds.
polo grounds iii and iv [ edit ]
polo grounds iii [ edit ]
polo grounds (iii) (left) and manhattan field (aka polo grounds ii) (right) c.1900
polo grounds iii was the stadium that made the name nationally famous. built in 1890, it initially had a completely open outfield bounded by just the outer fence, but bleachers were gradually added. by the early 1900s, some bleacher sections encroached on the field from the foul lines about halfway along left and right field. additionally, there was a pair of "cigar box" bleachers on either side of the "batter's eye" in center field. the expansive outfield was cut down somewhat by a rope fence behind which carriages (and early automobiles) were allowed to park. by 1910, bleachers enclosed the outfield, and the carriage ropes were gone. the hodge-podge approach to the bleacher construction formed a multi-faceted outfield area. there were a couple of gaps between some of the sections, and that would prove significant in 1911.
known as "brotherhood park" when it opened in 1890, polo grounds iii was the home of a second new york giants franchise in the players' league. the latter was a creation of major league baseball's first union, the brotherhood of professional base-ball players. after failing to win concessions from national league owners, the brotherhood founded its own league in 1890. the players' league giants built brotherhood park in the northern half of coogan's hollow, next door to polo grounds ii, otherwise bounded by rail yards and the bluff. brotherhood park hosted its first game on april 19, 1890, the same day the national league's giants played their first home game of the season.[11] for the full 1890 season the two editions of the giants were neighbors. when the teams played on the same day, fans in the upper decks could watch each other's games, and home run balls hit in one park might land on the other team's playing field. after the one season the players' league folded, and the brotherhood's members went back to the national league. the national league giants then moved out of polo grounds ii and into brotherhood park, which was larger. they took their stadium's name with them once again, turning brotherhood park into the new-new polo grounds. between polo grounds ii and iii-iv, they would remain in coogan's hollow for 69 seasons.[12]
polo grounds c.1905. the morris-jumel mansion is on the upper right on top of coogan's bluff
fire and reconstruction as polo grounds iv [ edit ]
giants players inspecting the burned ruins at the polo grounds, april 14, 1911.
in the very early morning hours of friday, april 14, 1911, a fire of uncertain origin swept through the stadium's horseshoe-shaped grandstand, consuming wood and leaving only steel uprights in place. the gaps between some sections of the stands saved a good portion of the outfield seating and the clubhouse from destruction. giants owner john t. brush decided to rebuild the polo grounds with concrete and steel, renting hilltop park from the yankees during reconstruction.
progress was sufficient to allow the stadium to reopen just three months later, june 28, 1911, the date some baseball guides date the structure. as configured, it was the ninth concrete-and-steel stadium in the majors and fourth in the national league. unfinished seating areas were rebuilt during the season while the games went on. the new structure stretched in roughly the same semicircle from the left field corner around home plate to the right field corner as prior but was extended into deep right-center field. the surviving wooden bleachers were retained basically as is, with gaps remaining on each side between the new fireproof construction.
polo grounds expansion in progress during the 1923 season
the giants rose from the ashes along with their ballpark, winning the national league pennant in 1911 (as they also would in 1912 and 1913). as evidenced from the world series programs, the team renamed the new structure brush stadium in honor of their then-owner john t. brush, but the name did not stick, and by the late 1910s it was passé. the remaining old bleachers were demolished during the 1923 season when the permanent double-deck was extended around most of the rest of the field and new bleachers and clubhouse were constructed across center field. this construction gave the stadium its familiar horseshoe or bathtub style shape, as well as a new nickname, "the bathtub".
seating diagram of the polo grounds, circa 1923
this version of the ballpark had its share of quirks. the "unofficial" distances (never marked on the wall) down the left and right field lines were 279 and 258 feet respectively, but there was a 21-foot overhang in left field, which often intercepted fly balls which would otherwise have been catchable and turned them into home runs. contrasting with the short distances down the lines were the 450 distances in deepest left and right center (the gaps), with the base of the straightaway centerfield clubhouse standing 483 feet distant from home plate, up a 58-foot runway from the grandstand corners on either side of the clubhouse, which were themselves 425 feet from home plate. the famous photo of the catch made by willie mays in the 1954 world series against vic wertz of the cleveland indians occurred immediately in front of the "batter's eye", a metal screen atop the grandstand wall directly to the right of the centerfield runway. consequently, the ball travelled less than 425 feet (probably about 410–415 feet), admittedly a prodigious smash, but far less than the legendary length many assume. it would have been a home run in several other ballparks of the time as well as in most of today's modern ballparks. the bullpens were actually in play, in the left and right center field gaps.[13] the outfield sloped downward from the infield, and people in the dugouts often could only see the top half of the outfielders.
the new york yankees sublet the polo grounds from the giants during 1913–1922 after their lease on hilltop park expired. after the 1922 season, the yankees built yankee stadium directly across the harlem river from the polo grounds, which spurred the giants to expand their park to reach a comparable seating capacity to stay competitive. however, since nearly all the new seating was in the outfield, yankee stadium still had more desirable seats than did the polo grounds for watching baseball. however, the polo grounds became better suited for football due to the new seating placement.
the giants' first night game at the stadium was played on may 24, 1940.
the polo grounds was the site of one of the most iconic moments in baseball history - the historic "shot heard 'round the world" walk-off home run on october 3, 1951 that decided the hard-fought national league pennant playoff series between the giants and their cross-town rivals, the brooklyn dodgers.
death at the polo grounds [ edit ]
on august 16, 1920, indians shortstop ray chapman was hit in the head by a pitch thrown by the yankees' carl mays. at the time, batters did not wear helmets. chapman died 12 hours after he was hit, at 4:30 a.m. on the 17th. he remains the only baseball player to die from a head injury in mlb.[14]
on july 4, 1950, bernard doyle, a 56-year-old new yorker originally from dublin, was accidentally shot and killed while in his seat at the polo grounds. doyle had brought a friend's 13-year-old son with him to see the brooklyn dodgers play the giants. he was killed by a stray bullet about an hour prior to the start of the game.[15] a 14-year-old boy later confessed to having shot a gun into the air from his rooftop at 515 edgecombe avenue, out of frustration with his view of the ballpark being obstructed by a parapet.
giants' final years [ edit ]
the polo grounds' end was somewhat anticlimactic, especially compared to other "jewel box" parks. part of the problem was that the stadium was not well maintained from the late 1940s onward; while the baseball giants owned the stadium, they did not own the parcel on which it stood. moreover, the neighborhood around the stadium had deteriorated by the early 1950s. all of this combined to severely suppress ticket sales, even when the giants played well. in 1954, for example, the baseball giants only drew 1.1 million fans (compared to over two million for the milwaukee braves) even as they won the world series.
the football giants left for yankee stadium across the harlem river following the 1955 nfl season, and the baseball giants' disastrous 1956 season (most of which they spent in last place before a late-season surge moved them up to sixth) caused a further drag on ticket sales. the giants' 1956 attendance was less than half of the figure for the giants' world series-winning 1954 season. this hit giants owner horace stoneham particularly hard. he was not nearly as wealthy as his fellow owners; the giants were his sole source of income. as such, the departure of the football giants and the baseball giants' increasingly meager ticket sales left him with little to no money for stadium upkeep.
the polo grounds in 1961, seen from the harlem river.
frustrated with the obsolescence and increasing dilapidation of the polo grounds, stoneham seriously considered having the giants become tenants of the yankees in the bronx. he also considered moving to a proposed stadium that would have been owned by the city.[16] however, when both of those plans fizzled, the giants announced on august 19, 1957, that they would move following that season, after nearly three-quarters of a century, to san francisco, california, following the dodgers to the west coast. the giants had won five world series in the polo grounds.
the final years of the polo grounds [ edit ]
the ballpark then sat largely vacant for nearly three years, until the newly formed titans of new york (present-day new york jets) began play in 1960, followed by the newly formed mets in 1962, using the polo grounds as an interim home while shea stadium was being built. as a 1962 baseball magazine noted, "the mets will have to play in the polo grounds, hardly the last word in 20th century stadia."
in 1961, the city of new york decided to claim the land under eminent domain, for the purpose of condemning the stadium and building a high-rise housing project on the site. the coogan family, which still owned the property, fought this effort until it was finally settled in the city's favor in 1967.[17]
in the 1992 book the gospel according to casey, by ira berkow and jim kaplan, it is reported (p. 62) that in 1963, mets manager casey stengel, who had bittersweet memories of his playing days at the polo grounds, had this to say during a rough outing to pitcher tracy stallard, whose greatest claim to fame had been giving up roger maris' 61st homer in 1961: "at the end of this season, they're gonna tear this joint down. the way you're pitchin', the right field section will be gone already!"
demolition [ edit ]
the final iteration of the polo grounds was demolished in 1964, beginning in april with the same wrecking ball (painted to look like a baseball) that had been used four years earlier on ebbets field. the wrecking crew wore giants jerseys and tipped their hard hats to the historic stadium as they began dismantlement. it took a crew of 60 workers more than four months to level the structure. the site is now home to the polo grounds towers, a public housing project opened in 1968 and managed by the new york city housing authority.
sports other than baseball [ edit ]
the various incarnations of the polo grounds were well-suited for football, and hundreds of football games were played there over the years.
the first professional football game played in new york city was played at the polo grounds on december 4, 1920. the game featured the buffalo all-americans against the canton bulldogs in the first year of the american professional football association. the buffalo all-americans won the game, 7-3. some argue that the buffalo all-americans are tied with the akron pros for the first championship of the american professional football association, which soon came to be known as the national football league. in 1921 the nfl's new york brickley giants played the final game of their 1921 season against the cleveland indians at the polo grounds. the game ended in a 17–0 giants loss.[18] shortly afterwards, the team folded. the brickley giants were originally formed with the intent of competing in 1919, and having all of their home games held at the polo grounds. however, after the team's first practice, the 1919 schedule, that began with an opening day game against the massillon tigers, was scratched because of conflict with new york's blue laws. in 1919, the city allowed professional baseball on sunday and the giants thought the law would also apply to football. however, it was ruled that professional football was still outlawed on sundays, so the team disbanded until 1921.
other than the name, there is no relation between the brickley giants and the modern new york giants franchise.[19]
both the new york giants of the national football league and the new york jets (then known as the new york titans) of the american football league used the polo grounds as their home field before moving on to other sites. the giants moved initially to yankee stadium in 1956 while the jets, founded in 1960, followed the new york mets to shea stadium in 1964. the football giants hosted the 1934, 1938, 1944, and 1946 nfl championship games at the polo grounds. in addition the boston redskins moved the 1936 game from boston to the polo grounds, as part of their transition in relocating to washington.
columbia university and yale university, two of american football's oldest teams, played football in the original 110th street polo grounds in the 19th century, for some games which were expected to draw large crowds, including the thanksgiving contests in 1883 and 1887.[3] (see also list of harvard-yale football games).
the grounds were also used for many games by new york-area college football teams such as fordham and army. an upset victory by the visiting university of notre dame over army in 1924 led to grantland rice's famous article about the irish backfield, which he called "the four horsemen". the field was also the site of several army–navy games in the 1910s and 1920s.
soccer [ edit ]
the polo grounds held its fair share of international soccer matches as well over the years. in 1926, hakoah, an all-jewish side from vienna, austria, "drew the largest crowds ever to watch soccer in america up to that time: three successive games drew 25,000, 30,000, and 36,000 spectators. the highlight of the tour was a may 1, 1926 exhibition game between hakoah and an american soccer league all-new york team which drew 46,000 fans to the polo grounds in new york."[20] (the asl team won 3–0.)
the first soccer played at the polo grounds was as far back as 1894 when the owners of the various major baseball clubs thought it would be a great way to fill their stadiums in the off-season. six famous baseball franchises of the era formed association football sections and fans were told that many would be fielding their baseball stars on the football field in the opening season. the new york giants soccer team took the field in all-white uniforms with black socks and played six games before the threat of a rival baseball league being formed diverted the owner's attention away from their new venture and caused it to be suspended mid-season. the giants lay third in the league after six games with two victories, having played their matches in midweek in front of attendances in the high hundreds paying 25 cents a game. although the owners remained positive about the venture and wanted to run it again the following season this never happened and the giants' soccer team was no more.[21][22]
on may 19, 1935, the scotland national team toured the united states, and in their first game played against an asl all-star squad which was unofficially representing the united states. scotland won 5–1 in front of 25,000 people at the polo grounds. in 1939, the scots returned to america for another tour, and played at the polo grounds twice. in their first game at the polo grounds on may 21, 1939, scotland tied the eastern usa all-stars 1–1 in front of 25,072 fans. in their second game at the polo grounds on june 18, 1939, scotland beat the american league stars 4–2.
following world war ii, on september 26, 1948, the usa beat israel 3–1 in their first ever game since independence before 25,000 fans at the polo grounds. on june 9, 1950, a crowd of 21,000 fans came to the polo grounds to watch an 'international dream double header'. beşiktaş j.k. of turkey defeated the american soccer league all-stars 3–1, and then manchester united defeated jönköping (the top amateur team in sweden) 4–0. on may 17, 1960, birmingham city of england played third lanark of scotland and lost 4–1 at the polo grounds in new york city. on august 6 of the same year, 25,440 patrons showed up at the polo grounds to watch the inaugural international soccer league final which saw bangu of brazil edge out kilmarnock fc of scotland 2–0. bangu's six games on polo ground had a total attendance of 104,274. the following year, 1961, may have been the last year documented that soccer was played at the polo grounds. the second edition of the international soccer league held most of its game at the polo grounds, with a few games held in montreal. on july 16, 1961 shamrock rovers beat red star belgrade 5–1, on august 9, dukla prague beat everton 7–0, and four days later on august 13, dukla prague beat everton again 2–0, thus winning the dwight d. eisenhower trophy. the combined attendance for both games at the polo grounds was 31,627. in domestic league soccer, the polo grounds was the home to the new york nationals of the american soccer league in 1928.
on september 14, 1947, the polo grounds hosted the final of the all-ireland senior gaelic football championship between cavan and kerry. it was decided that new york would host this match as a commemoration of the 1847 irish famine which forced a large number of irish people to emigrate to north america. this novel location for the game was chosen for the benefit of new york's large irish immigrant population. it was the only time that the final has been played outside ireland.
the last gaelic game at the polo grounds was on june 1, 1958 when cavan played new york.
boxing [ edit ]
the polo grounds was the site of many famous boxing matches. these included the legendary 1923 heavyweight championship bout between jack dempsey and luis firpo, harry greb's defense of the middleweight championship title against reigning world welterweight champion, mickey walker in july 1925, and billy conn's near-upset over heavyweight champion joe louis in june 1941. it was also the venue for the rematch between world heavyweight champion ingemar johansson and former champion floyd patterson on june 20, 1960. in what turned out to be the last major boxing match at the polo grounds, patterson became the first heavyweight boxer to regain the championship over the swedish-born johansson, who almost one year to the day, took the crown from patterson at yankee stadium.
motorsports [ edit ]
the polo grounds were the site of three different oval tracks. the first track, a ¼ mile dirt oval, was used for midget racing in 1940 and 1941. the second, a 1/5 mile board track, was used briefly in 1948. the final track, a ¼ mile paved oval, was used for stock car racing in 1958 and 1959, after the giants moved to san francisco.[23][24]
open-air concert [ edit ]
the performance of verdi's requiem at the polo grounds in 1916
a performance of verdi's requiem took place at the polo grounds on june 4, 1916, presented by the national open air festival society. it was given by a chorus of 1,200 singers (chorus master, arnaldo conti), selected from among the leading choral societies of new york; and an augmented new york philharmonic orchestra of 120 players. the soloists were lucile lawrence, maria gay, giovanni zenatello and leon rothier, and the performance was conducted by louis koemmenich.[25][26][27]
features for baseball [ edit ]
center field [ edit ]
willie mays, the catch and the 483 sign in 1954
center field in the 1950s, with famous chesterfield cigarettes advertisement visible above the clubhouse.
dusty rhodes rounding first after hitting a home run over the short right field fence (rear) in the second game of the 1954 world series
one of the oddest features at the polo grounds were the deep dimensions in straight away center field. the wall was so far away from home plate, at 483 feet (147 m), that few players ever hit home runs over it. before its 1923 reconstruction, only babe ruth ever reached the centerfield stands; after 1923 only four players would reach the distant centerfield bleachers. the entire 60-foot (18 m) wall in dead center field was considered in play, as were the clubhouse windows on the in-play side of the wall. the ground rules of the polo grounds were set up so that if a ball went through an open window in the clubhouse, it was a ground rule double, rather than a home run. since no ball ever reached that area in the life of the stadium, that rule was never tested.
in game 1 of the 1954 world series, giants outfielder willie mays made a sensational catch of a fly ball hit by the cleveland indians' vic wertz into deep center field, a catch which, in the words of nbc television sports announcer jack brickhouse, "must have looked like an optical illusion to a lot of people", and which turned the tide of that series in the giants' favor.
on october 2, 1936, in game 2 of the 1936 world series, yankees centerfielder joe dimaggio made a similar, though far less crucial, catch (his team being ahead 18–4) for the final out of the game.[28][29] the giants' hank leiber hit a long fly ball to deep center field that dimaggio caught in the runway, perhaps 430–440 from the plate, and his momentum carried him partway up the clubhouse steps. he then stopped and turned around, as the crowd stood and acknowledged the departure of franklin d. roosevelt, who was in attendance that day.[30]
babe ruth hit many of his early signature blasts at the polo grounds, reaching the center field seats on several occasions. his longest blast at the grounds, over the right-center upper deck in 1921, was estimated at over 550 feet. he also hit several centerfield home runs at other ballparks which exceeded 500 feet. had ruth played regularly in the remodeled polo grounds, theoretically he would have been capable of hitting the clubhouse if conditions were right. neither he nor anyone else ever did, but a few came close.
after the 1923 remodeling, only five players ever hit a home run into the center field stands:[31][32]
right field [ edit ]
the deep center field was complemented by the short right-field fence. its foul pole was 258 feet (79 m) from home, one of the shortest ever used in the major leagues. since the early 20th century, home runs that just cleared a field's shortest fence had been known as "chinese home runs", from a stereotype of chinese immigrant workers as doing the bare minimum required for the low wages they received for menial labor. within baseball, by the 1940s those home runs were largely associated with the short right-field fence at the polo grounds. the 511 career homers hit by giants outfielder mel ott, whose physique and batting technique were not those associated with power hitting, have often been downplayed because a significant number were hit to right at home, a criticism he often responded to by asking why few other hitters in the league were making that hit if it were so easy.[37]
bobby thomson's "shot heard 'round the world" that won the 1951 national league pennant for the giants was hit over the left field fence. but arguably the best-remembered home run hit to the right side was the walk-off three-run shot by dusty rhodes, batting for monte irvin in the 10th inning of game 1 of the 1954 series, after mays' catch had kept the giants tied. it just barely cleared the fence, above the outstretched glove of the leaping outfielder dave pope, leading al lópez, manager of the heavily favored indians, to attribute the giants' stunning victory in the series opener to the ballpark's unusual dimensions.[38]
john t. brush stairway [ edit ]
the john t. brush stairway ( )
the main entrance of the phoenix municipal stadium with the polo grounds light poles in the background.
the only part of the polo grounds that still remains is the "john t. brush stairway",[39] which runs down coogan's bluff from edgecombe avenue to harlem river driveway at about 158th street.[40] the stairway, named for john t. brush—the then-recently deceased owner of the giants—opened in 1913 and led to a ticket booth overlooking the stadium. the stairway reportedly offered a clear view of the stadium for fans who did not purchase tickets to a game. a marker on the stairway reads: "the john t. brush stairway presented by the new york giants."[40]
in november 2011, it was reported that the stairway would undergo a $950,000 restoration, thanks to donations from the new york giants, jets, yankees, mets, san francisco giants, and major league baseball.[41][42] the restoration was scheduled to be completed in september 2012, but in february 2013 it was announced that a "soft opening" would take place in spring 2013.[41][43] after numerous delays, the restored steps opened finally in early august 2014.[44] the restored stairway is considered a city historic landmark.[45]
polo grounds light poles [ edit ]
the light poles from the polo grounds remain in use at phoenix municipal stadium, a minor league facility in phoenix, arizona, built in 1964. when the stadium was built, horace stoneham, owner of the san francisco giants, had the original polo grounds light poles shipped there. the giants held spring training at the stadium's predecessor since 1947 and played at the new ballpark during spring training 1964. the poles were installed in the stadium where they currently remain standing.[46]
timeline and teams [ edit ]
crowd at refurbished polo grounds iii, october 8, 1912, game 1 of the 1912 world series
polo grounds i gothams/giants (national league), 1883–1888 metropolitans (american association), 1880–1885
polo grounds ii (otherwise known as manhattan field) giants (nl), 1889–1890
polo grounds iii (originally called brotherhood park, also known as brush stadium from 1911 to 1919) giants (players' league), 1890 giants (nl), 1891–1911 giants (nl), 1911–1957 yankees (american league), 1913–1922 giants (nfl), 1925–1955 bulldogs (nfl) 1949 titans/jets (afl), 1960–1963 mets (nl), 1962–1963
statistics [ edit ]
dimensions [ edit ]
diagram of the polo grounds drawn in 1951
compiled from various photos, baseball annuals, the official encyclopedia of baseball (turkin & thompson, 1951) and green cathedrals by phil lowry.
1890–1911 dimension distance notes left field line 335 ft (102 m) not posted center field 500 ft (150 m) not posted right field line 335 ft (102 m) not posted
1911–1922 dimension distance notes left field line 277 ft (84 m) not posted center field 433 ft (132 m) not posted right field line 258 ft (79 m) not posted
1923–1957, 1962–1963 dimension distance notes left field line 279 ft (85 m) not posted—sometimes listed as 280 left field upper deck overhang about 250 ft (76 m) shallow left center 315 ft (96 m) left center 1 360 ft (110 m) left center 2 414 ft (126 m) deep left center 447 ft (136 m) left of bullpen curve deep left center 455 ft (139 m) right of bullpen curve center field approx. 425 ft (130 m) (unposted) corners of runways center field 483 ft (147 m) posted on front of clubhouse balcony, sometimes 475 ft (145 m) center field 505 ft (154 m) (unposted) sometimes given as total c.f. distance deep right center 455 ft (139 m) left of bullpen curve deep right center 449 ft (137 m) right of bullpen curve right center 2 395 ft (120 m) right center 1 338 ft (103 m) shallow right center 294 ft (90 m) right field line 257 ft. 3 3⁄ 8 in. not posted—sometimes listed as 258 backstop 65 ft (20 m) sometimes also given as 74 ft (23 m)
the disparities in some of the posted distances, notably straightaway center, have not been fully reconciled by researchers. the closest object in straight center field was the grant memorial, followed by the post supporting the overhang of the clubhouse (above which the 483 or 475 signs were posted), and a roll-up door several feet behind the overhang at ground level. the roof of the protruding part of the clubhouse sloped back and met the vertical wall of the larger part of the clubhouse. the exact objects referred to by the numbers 475, 483, and 505 can be speculated but remain unconfirmed.
seating capacity [ edit ]
gallery [ edit ]
see also [ edit ]
polo grounds shuttle, an elevated railway shuttle to the grounds
bushman steps, a set of stairs descending to the grounds
references [ edit ]
sources [ edit ]
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ˈæstən ˈvɪlə hæv əˈgrid tɪ saɪn fri ˈeɪʤənt dɪˈfɛndər, əˈkɔrdɪŋ tɪ ə rɪˈpɔrt frəm ˈnɔrˌweɪ. waɪlst ðə pleɪər ənd hɪz ˈeɪʤənt ər jɛt tɪ kənˈfərm ðə muv, wi bɪˈliv ðət ə dil ɪz dən ənd wɪl bi əˈnaʊnst ɪn ðə ˈkəmɪŋ deɪz. wɑz lɪŋkt wɪθ ə muv tɪ ˈvɪlə ˈərliər ðɪs jɪr wɪn hi bɪˈkeɪm ə fri ˈeɪʤənt fər ðə fərst taɪm, bət hi ʧoʊz tɪ ʤɔɪn ˈbraɪtən. ˌhaʊˈɛvər, hi feɪld tɪ meɪk ən ˌɪmˈpækt æt ðə ˈsiˌgəlz ənd wɑz riˈlist æt ðə ɛnd əv ðə ˈsizən. stiv brus ɪz rɪˈpɔrtədli ə fæn əv ðə ənd ɪt lʊks laɪk sun bi ˈædɪd tɪ ðə skwɑd. ðə ɪkˈspɪriənst dɪˈfɛndər həz ərnd 33 kæps fər ˈnɔrˌweɪ soʊ fɑr ənd bi ˈhoʊpɪŋ tɪ ərn mɔr ɛz ə ˈvɪlə pleɪər.
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aston villa have agreed to sign free agent defender vegard forren, according to a report from eurosport norway.
whilst the player and his agent are yet to confirm the move, we believe that a deal is done and will be announced in the coming days.
forren was linked with a move to villa earlier this year when he became a free agent for the first time, but he chose to join brighton.
however, he failed to make an impact at the seagulls and was released at the end of the season.
steve bruce is reportedly a fan of the 29-year-old and it looks like he’ll soon be added to the squad.
the experienced defender has earned 33 caps for norway so far and he’ll be hoping to earn more as a villa player.
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ˈmɛdɪkəl əˈpɪnjən məst bi ˈgaɪdɪd baɪ ˈrisərʧ wɪn ə ˈkɛmɪkəl dɪˈfaɪnd baɪ ɪts ˈækʃən ˈdəzənt ækt riˈraɪtɪŋ ðə ˈmɛdɪkəl ˈrɛkərdz (naturalnews*) fər ˈmɛni jɪrz, ðə ˈdiməˌnaɪzɪŋ kleɪmz biɪŋ meɪd əˈgɛnst ˈkænəbəs hæv bɪn ˈkrəmbəlɪŋ ɛz ˈrisərʧ sˈloʊli dɪˈspɛlz ðɛm. ˈfɪfti jɪrz əˈgoʊ ˈpipəl ˈərnəstli bɪˈlivd ðət ðə kənˈsəmʃən əv ˈkænəbəs wɑz dɪˈrɛkli lɪŋkt tɪ ðə dɪˈvɛləpmənt əv ən əreɪ əv ˈmɛntəl ˈɪlnəsɪz, ənd ˈvaɪələnt ənd ðiz ˈprɛʤədɪsɪz ər stɪl ˈhæŋɪŋ ɔn. təˈdeɪ, ən ˌɪndəˈvɪʤəwəl hu rɪˈspɑnsəbli ˌɪnˈfɔrmz ðɛr ˈdɔktər əv ðɛr ˌmɛrəˈwɑnə juz, bɪˈkəz, ɛz wɪθ ˈɛni ˈmɛdəsən, ˈkɛmɪkəl ˌɪnərˈækʃənz meɪ ʧeɪnʤ ðə rɪˈzəltɪŋ ˈkɛmɪkəl bɪˈheɪvjər, ər moʊst ˈfrikwɛntli ərʤd tɪ kət bæk. ˈvɛriəs ˈrizənz ər ˈgɪvɪn fər ə fɪˈzɪʃənz kənˈsərn. səm, hu əˈpɪr tɪ hæv ˈfɑlən bɪˈhaɪnd ɔn ðə ˈrisərʧ, stɪl ɪkˈsprɛs kənˈsərn əˈbaʊt "breɪn sɛl ˈdæmɪʤ" ə ˈrɛmnənt frəm ðə ˈrigən ˈɪrəz ʤɪst seɪ noʊ meɪn əˈbʤɛkʃən, ðət ˈivɪn ðə moʊst fɪˈzɪʃənz fil ˈʤəstəˌfaɪd ɪn ˈmeɪkɪŋ, ɪz ðət ˈivɪn ɪf ˈkænəbəs ˌɪtˈsɛlf ɪz nɑt ˌpɑrˈtɪkjələrli ˈhɑrmfəl, ɪts moʊst ˈkɑmən ˈmɛθəd əv ˌɪnˈʤɛsʧən, sˈmoʊkɪŋ, ɪz bæd fər ðə ləŋ ˈtɪʃu, rəˈgɑrdləs əv ðə əv ðə ˈsəbstəns biɪŋ smoʊkt. ðə bɪˈlif ˈpɪgiˌbækt ɪts weɪ ɪn ɔn ðə bæk əv groʊɪŋ ˌɑpəˈzɪʃən tɪ təˈbæˌkoʊ, ənd ðə ˌəndərˈstændɪŋ ðət təˈbæˌkoʊ əbˈstrəkts ˈpʊlməˌnɛri floʊ ənd ˈʃɔrtənz səm əv ðə seɪm ˈkɛmɪkəlz, wɪʧ hæv aɪˈdɛntəˌfaɪəbəl ˌkɑrsənoʊˈʤɛnɪk ˌɪmˈpækt ɪn ˌsɪgəˈrɛts, ər ˈɔlsoʊ faʊnd ɪn ˈkænəbəs smoʊk, ˈmɛni bɪˈliv ðət ðə pəˈtɛnʃəl əv ˈkænəbəs ɪz prəˈpɔrʃənət tɪ ðə əˈmaʊnt əv ðiz ˈkɛmɪkəlz. ðə fækt ðət ˈkænəbəs kənˈteɪnz fɔr taɪmz mɔr tɑr (ər ɔɪl) ðən ˌsɪgəˈrɛts spɑrkt ðə kleɪm ðət sˈmoʊkɪŋ ə ʤɔɪnt wɑz ɛz bæd fər ðə ləŋz ɛz sˈmoʊkɪŋ fɔr ˌsɪgəˈrɛts. ðɪs ɛkˌstræpəˈleɪʃən meɪks ˈpərˌfɪkt sɛns æt feɪs ˈvælju, bət ˈdəzənt hoʊld əp wɪn kəmˈpɛrd tɪ ˈækʧəwəl ˈkænsər rɪˈzəlts əv ə nu ˈrisərʧ ˈproʊˌgræm ər naʊ ˈfɔrsɪŋ ˈmɛdɪkəl əˈθɔrətiz tɪ ˈoʊvərˌtərn ðiz bɪˈlifs. ðə ˈstədi həz bɪn ˈɔnˌgoʊɪŋ fər ðə pæst tˈwɛnti jɪrz, ˈfɑloʊɪŋ ðə sˈmoʊkɪŋ ˈhæbəts əv ˈoʊvər 5000 ˈpipəl. ˈrisərʧərz faʊnd ðət, ˈkɑntrɛri tɪ ˈpɑpjələr bɪˈlif, sˈmoʊkɪŋ ˈkænəbəs, dɪz nɑt ˌɪnərˈfɪr wɪθ ləŋ ˈfəŋkʃən ər kəˈpæsɪti. ðɪs hoʊldz tru fər ˈɔnˌgoʊɪŋ ˈrɛgjələr -ˈivɪn ˌɪnˈkludɪŋ ˈdeɪli- ənd lɔŋ tərm kənˈsəmʃən. ˈkjʊriəsli, ɛz ə ˈʤɛnərəl rul, ˈkænəbəs sˈmoʊkərz hæd ˈbɛtər ləŋ ˈfəŋkʃən ðən nɑnsˈmoʊkərz, wɪʧ ˈrisərʧərz əˈtrɪˌbjut tɪ ðə sˈmoʊkɪŋ ˈækʃən ˌɪtˈsɛlf, ˈrəðər ðən ðə ˈkænəbəs. pɑt sˈmoʊkərz ˌɪnˈheɪl ˈdipli ənd hoʊld ðoʊz brɛθs tɪ meɪk ðə moʊst əv ðɛr səˈplaɪ, ɪkˈspændɪŋ ðə capacity.dr*. faʊnd ðət, ɪn ˈɔlˌmoʊst ɔl ˈɪnstənsɪz, ˈkænəbəs kənˈsumərz hæd reɪts əv ˈkænsər ðət wər noʊ ˈdɪfərənt frəm ðoʊz hu ˈdɪdənt smoʊk ˈkænəbəs. ðə wən ɪkˈsɛpʃən tɪ ðɪs rul wɑz bɪtˈwin ˈkænəbəs sˈmoʊkərz ənd ˌɪndəˈvɪʤəwəlz hu ˈdɪdənt smoʊk ˈɛniˌθɪŋ (ˌɪnˈkludɪŋ təˈbæˌkoʊ), ɪn wɪʧ ˌmɛrəˈwɑnə sˈmoʊkərz ˈæˌkʧuəli hæd loʊər ˈlɛvəlz əv ləŋ mɪˈʃɛl ɪz ə ˈnæʧərəl hɛlθ ˈblɔgər ənd ˈrisərʧər, ˈʃɛrɪŋ hər ˈpæʃənz wɪθ ˈəðərz, ˈjuzɪŋ ðə ˈɪntərˌnɛt ɛz hər ˈmidiəm. ʃi dɪˈskəsɪz ˈtɑpɪks ɪn ə streɪt ˈfɔrwərd weɪ ɪn hoʊps tɪ hɛlp ˈpipəl frəm ɔl wɔks əv laɪf əˈʧiv ˈɑptɪməl hɛlθ ənd ˌwɛlˈbiɪŋ. ʃi həz ˈɔθərd ənd ˈpəblɪʃt ˈhənərdz əv ˈɑrtɪkəlz ɔn ˈtɑpɪks səʧ ɛz ðə rɑ fud daɪət ənd grin ˈlɪvɪŋ ɪn ˈʤɛnərəl. klɪk hir tɪ si mɔr baɪ mɪˈʃɛl
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medical opinion must be guided by research
when a chemical defined by its action doesn't act
rewriting the medical records
(naturalnews) for many years, the demonizing claims being made against cannabis have been crumbling as research slowly dispels them. fifty years ago people earnestly believed that the consumption of cannabis was directly linked to the development of an array of mental illnesses, and violent and hypersexual behavior.but these prejudices are still hanging on. today, an individual who responsibly informs their doctor of their marijuana use, because, as with any medicine, chemical interactions may change the resulting chemical behavior, are most frequently urged to cut back. various reasons are given for a physicians concern. some, who appear to have fallen behind on the research, still express concern about "brain cell damage" a remnant from the reagan era's just say no campaign.the main objection, that even the most well-informed physicians feel justified in making, is that even if cannabis itself is not particularly harmful, its most common method of ingestion, smoking, is bad for the lung tissue, regardless of the harmlessness of the substance being smoked. the belief piggybacked its way in on the back of growing opposition to tobacco, and the understanding that tobacco obstructs pulmonary flow and shortens breath.because some of the same chemicals, which have identifiable carcinogenic impact in cigarettes, are also found in cannabis smoke, many believe that the cancer-causing potential of cannabis is proportionate to the amount of these chemicals. the fact that cannabis contains four times more tar (or oil) than cigarettes sparked the 1990s claim that smoking a joint was as bad for the lungs as smoking four cigarettes. this extrapolation makes perfect sense at face value, but doesn't hold up when compared to actual cancer rates.the results of a new government-run research program are now forcing medical authorities to overturn these beliefs. the study has been ongoing for the past twenty years, following the smoking habits of over 5000 people. researchers found that, contrary to popular belief, smoking cannabis, does not interfere with lung function or capacity. this holds true for ongoing regular -even including daily- and long term consumption. curiously, as a general rule, cannabis smokers had better lung function than nonsmokers, which researchers attribute to the smoking action itself, rather than the cannabis. pot smokers inhale deeply and hold those breaths to make the most of their supply, expanding the lung's capacity.dr. tashkin found that, in almost all instances, cannabis consumers had rates of cancer that were no different from those who didn't smoke cannabis. the one exception to this rule was between cannabis smokers and individuals who didn't smoke anything (including tobacco), in which marijuana smokers actually had lower levels of lung cancer.raw michelle is a natural health blogger and researcher, sharing her passions with others, using the internet as her medium. she discusses topics in a straight forward way in hopes to help people from all walks of life achieve optimal health and well-being. she has authored and published hundreds of articles on topics such as the raw food diet and green living in general. >>> click here to see more by michelle
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ˈɔgəst 13 2014 jɪrz əˈgoʊ ðɪs mənθ, ðə juz. drɑpt əˈtɑmɪk bɑmz ɔn ðə ˌʤæpəˈniz ˈsɪti əv ˌhɪˈroʊʃɪmə ənd ˌnɑgɑˈsɑki, ˈkɔzɪŋ ðə dɛθs əv ɛz ˈmɛni ɛz ˈpipəl. ˈbrɪtɪʃ ˈsoʊʃəlɪst ˈkoʊlɪn ˈwɪlsən ˈriˌkɔlz ˈmitɪŋ ə sərˈvaɪvər əv ðə ˌhɪˈroʊʃɪmə ˈbɑmɪŋ, ɪn ən ˈɑrtɪkəl ˈrɪtən fər ðə ˌrɛvəˈluʃəˌnɛri ˈsoʊʃəˌlɪzəm ɪn ðə ˈsɛnʧəri ˈwɛbˌsaɪt wɪn aɪ ˈvɪzɪtɪd ˌhɪˈroʊʃɪmə ɪn 2003 wət ˌɪˈnɪʃəli strək mi wɑz ðə əˈpɛrənt ˌnɔrˈmæləti əv ðə simd ə ˈbɪzi ˌʤæpəˈniz ˈsɪti ˈɔlˌmoʊst laɪk ˈɛni ˈəðər. ɪt ɪz, ənd ɪt ˈɪzənt. ə træm tʊk mi frəm ðə reɪl ˈsteɪʃən tɪ ðə pis ˈoʊvər ðə ˈrɪvər frəm ðə ruɪnd doʊm ju si ɪn soʊ ˈmɛni ˈfoʊtəˌgræfs. ɛz aɪ sæt ˈəndər ðə triz, ˌʤæpəˈniz skul ˈstudənts ˈgæðərd maɪ vjuz əˈbaʊt əˈtɑmɪk ˈwɛpənz fər ə ˈsərˌveɪ. ˈwɔkɪŋ θru ðə pɑrk ju pæs ə maʊnd, tu ər θri ˈmitərz ðə ˈæʃɪz əv səm ˈjumən biɪŋz. ənd tɪ gɪt tɪ ðə pɑrk, aɪ hæd wɔkt əˈkrɔs ðə ənˈjuˌʒuəl brɪʤ baɪ ðə frəm ðə ˈreɪlˌweɪ ˈsteɪʃən, ðə brɪʤ ðət wɑz ðə ˈeɪmɪŋ pɔɪnt fər ðə fərst əˈtɑmɪk bɔm, ˈlɪtəl bɔɪ, drɑpt ɔn ðət hɑt ˈsəmər ˈmɔrnɪŋ ɪn 1945 wɑz 73 wɪn aɪ ˈɪntərvˌjud ɪm, ənd 14 ɔn ðə deɪ əv ðə ˈbɑmɪŋ, ə ˌpeɪtriˈɑtɪk ˈstudənt ɪn ˈʤunjər haɪ skul. hi ənd hɪz ˈklæsˌmeɪts bɪˈlivd ðə ˈsteɪtmənts frəm ðə ˈmɪlɪˌtɛri haɪ kəˈmænd ðət ʤəˈpæn wɑz ˈwɪnɪŋ ðə wɔr, ˈivɪn ðoʊ noʊ wən hæd ɪˈnəf tɪ it. hɪz ˈməðər, ˈstɑrvɪŋ hərˈsɛlf tɪ fid hər ˈʧɪldrən, wɑz mɔr ˈskɛptɪkəl. ðə haɪ skul ˈstudənts noʊ ˈlɔŋgər əˈtɛndəd ˈlɛsənz bət wərkt ɪn ə ˈfæktəri ˈmeɪkɪŋ gənz ənd ˈɛrˌpleɪn pɑrts. ˌdɛvəˈsteɪʃən ɪn ˌhɪˈroʊʃɪmə ˈæftər ðə juz. əˈtɑmɪk bɔm wɑz drɑpt ənd hɪz frɛndz wər ˈmɪstəˌfaɪd ðət ˌhɪˈroʊʃɪmə hæd ˈnɛvər bɪn bɑmd, sɪns ɪt wɑz ən ˌɪmˈpɔrtənt ˈmɪlɪˌtɛri ˈsɛnər. ˌʤæpəˈniz ˈsɪtiz æt ðɪs taɪm wər bɪlt ˈmeɪnli əv wʊd, wɪʧ meɪd ðɛm ˈvəlnərəbəl tɪ faɪər. ɪn tu deɪz ɪn mɑrʧ 1945 ðə əˈmɛrɪkənz hæd drɑpt tənz əv ˌɪnˈsɛndiɛri bɑmz ɔn ˈpipəl hæd daɪd ɪn ðə wərst ˈfaɪrˌstɔrm ɪn rɪˈkɔrdɪd ˈhɪstəri. ɔl tu əˈwɛr əv ðɪs rɪsk ɪn ˌhɪˈroʊʃɪmə, ðə əˈθɔrətiz ˈmoʊbəˌlaɪzd jəŋ ˈpipəl tɪ tɪr daʊn ˈbɪldɪŋz, kriˈeɪtɪŋ ˈɛmti ˈspeɪsɪz ðət wʊd hæv stɑpt ðə sprɛd əv faɪər. baɪ ɔn ðə ˈmɔrnɪŋ əv ˈɔgəst 6 səm əv ðɛm wər ɔˈrɛdi æt wərk, ənd hæd strɪpt daʊn tɪ vɛst ənd ʃɔrts ɪn ðə ˈsəmər hit. ənd 70 əv hɪz ˈklæsˌmeɪts wər stɪl rɪˈsivɪŋ ˌɪnˈstrəkʃənz frəm ðɛr ˈtiʧərz wɪn, hi toʊld mi, "ˈsədənli wi felt--light*, ə flæʃ. aɪ fɛlt laɪk aɪ hæd bɪn θroʊn ˈɪntu ə bɪg ˈfərnəs əv faɪər. wi fɛl daʊn ɔn ðə graʊnd, bət ɔˈrɛdi ɑr ˈbɑdiz wər bərnd ɔn ɑr ˈfeɪsɪz, hænz, lɛgz. ðə kloʊðz wər bərnd tu." ðeɪ ˈleɪtər ˈriəˌlaɪzd ðət ðeɪ hæd ˈoʊnli sərˈvaɪvd bɪˈkəz ðeɪ wər stɪl ˈfʊli pərˈsɛnt əv ðə sɪks ər ˈsɛvən ˈhənərd ˈstudənts ɪn ðə ˈɛriə hæd daɪd. naʊ ˈɛnərd ə wərld ɛz ˈvɪvɪd, ˈfrægməntɪd ənd ˌɪŋˌkɑmprəˈhɛnsɪbəl ɛz ə ˈnaɪtˌmɛr. "aɪ ʤəmpt ɪn ðə ˈrɪvər bɪˈkəz əv ðə peɪn frəm ðə bərnz. ɪn ðə ˈrɪvər aɪ mɛt ə ˈklæsˌmeɪt. hi æst mi tɪ tɛl ɪm wət hɪz feɪs wɑz laɪk. aɪ toʊld ɪm hɪz feɪs wɑz bərnt, ðə skɪn hæd pild daʊn laɪk ˈmɛltɪd wæks. aɪ wɑz tu skɛrd tɪ æsk wət hæd ˈhæpənd tɪ maɪ oʊn feɪs, bət maɪ feɪs hæd bɪˈkəm ʤɪst laɪk hɪz." ðə hoʊl ˈsɪti hæd ˈsəmˌhaʊ bɪn dɪˈstrɔɪd, ənd wɑz naʊ bɪˈgɪnɪŋ tɪ bərn, bət hi kʊd nɑt ˌəndərˈstænd haʊ ðɪs wɑz ˈpɑsəbəl. hi fɛlt kəmˈplitli dɪˈtæʧt frəm wət hi wɑz ˈdɪdənt fil sɔ ðə steɪt əv ðə ˈsɪti, ðə ˈhaʊsɪz, ˈoʊnli maɪ aɪ hæd bɪˈkəm laɪk ðə lɛnz əv ə ˈkæmərə, wɪθ noʊ ˈfilɪŋz. wi wər θroʊn ˈɪntu əˈnəðər wərld." ɪt wɑz ə wərld əv ˈhɔrərz. "aɪ mɛt ˈmɛni jəŋ mɛn, ˈsoʊlʤərz. ðeɪ wɔr ðɛr ˈjunəˌfɔrmz, bət ɔl ðɛr skɪn hæd pild daʊn, ðeɪ wər laɪk goʊsts. aɪ ˈwɔntɪd tɪ gɪt bæk tɪ maɪ haʊs. aɪ wɔkt daʊn tɪ ˌhɪˈroʊʃɪmə ˈsteɪʃən. aɪ sɔ ˈmɛni ˈpipəl hu hæd daɪd: ˈmɛni ˈpipəl hæd ʤəmpt ɪn ðə ˈrɪvər, ðɛr ˈbɑdiz wər bərnt ənd ðeɪ wər sˈwoʊlən əp, twaɪs ðə ˈjuʒəwəl saɪz. aɪ sɔ soʊ ˈmɛni. ɪt wɑz laɪk hɛl." ˈpipəl dɪd nɑt noʊ ðət ˈoʊnli wən bɔm wʊd bi drɑpt: ðeɪ θɔt ðət ðɛr maɪt bi mɔr tɪ kəm. sɛt ɔf tɪ faɪnd ðə hoʊm hi ʃɛrd wɪθ hɪz ˈpɛrənts ənd ˈsɪstər. hi wɔkt sˈloʊli əˈlɔŋ ə ˈreɪlˌweɪ træk, hɪz bərnt skɪn ˈhæŋɪŋ frəm ɪm, hɪz feɪs soʊ sˈwoʊlən ðət hi kʊd ˈoʊnli si θru wən aɪ. ɪn ðə ˈivnɪŋ hi əraɪvd wɛr hɪz haʊs hæd bɪn, bət kʊd nɑt faɪnd ɪt. hi ˈleɪtər ˈlərnɪd ðət ɪt hæd bərnd ənd kəˈlæpst, ənd ðət hɪz ˈməðər hæd daɪd ˌɪnˈsaɪd, waɪl hɪz ˈfɑðər ənd ˈsɪstər wər seɪf. rɪˈmɛmbərɪŋ ðət səm əv hɪz ˈfɑðərz frɛndz lɪvd ɔn ðə nɔrθ ˈaʊtˌskərts əv ðə ˈsɪti, hi sɛt ɔf tɪ wɔk ðɛr. əraʊnd ˈmɪdˌnaɪt hi kəˈlæpst ɪn ə fild, bət ˈneɪbərz faʊnd ɪm ənd tʊk ɪm tɪ hɪz ˌdɛstɪˈneɪʃən. ˈsɪriəsli ɪl, hi naʊ ˈɛnərd əˈnəðər ˈnaɪtˌmɛr, ðə ənˈʧɑrtɪd wərld əv ˌreɪdiˈeɪʃən ˈsɪknəs. "ðət naɪt aɪ lɔst ˈkɑnʃəsnəs. aɪ hæd ə ˈvɛri haɪ ˈfivər. aɪ wɑz ɪl ɪn bɛd fər əˈbaʊt ə mənθ. ˈɛvəri deɪ pəs floʊd frəm maɪ wundz. aɪ kraɪd ˈɛvəri deɪ ənd ˈɛvəri naɪt. ðə ˌreɪdiˈeɪʃən hæd nɑt əˈfɛktɪd mi ˈbædli. bət maɪ ɔnt ˈvɪzɪtɪd mi waɪl aɪ wɑz ɪn bɛd. ʃi lʊkt ˈhɛlθi, nɑt ˈwundɪd ər bərnt. bət əˈbaʊt 10 deɪz ˈæftər, ʃi daɪd wɪθ blæk foʊm ˈkəmɪŋ frəm hər maʊθ. ʃi wɑz nɪr tɪ ðə bɔm wɪn ɪt ɪkˈsploʊdɪd." ˈæftər ə mənθ, hɪz wundz wər ˈɔlˌmoʊst hild, ðoʊ laɪk ˈmɛni sərˈvaɪvərz hi hæd scars--rubbery*, ˈɪʧi ənd dɪsˈfɪgjərɪŋ rɛd groʊθs ðət fɔrmd ˈoʊvər ðə bæd bərnz ðeɪ hæd ˈsəfərd. ˌʤæpəˈniz ˈdɑktərz wər ənˈʃʊr haʊ tɪ trit ðə keloids*: ɪf riˈmuvd, ðeɪ ˈɔfən riˈkərd. "aɪ hæd ˈsərʤəri twaɪs fər ðə keloids*: wəns nɛkst spərɪŋ ənd wəns nɛkst ˈsəmər. ðeɪ kət ɔf ðə ənd ˈgræftɪd skɪn frəm maɪ θaɪ ˈɔntu maɪ feɪs nɪr maɪ maʊθ. ðə nɛkst taɪm ðeɪ kət ɔn maɪ nɛk, bət ðeɪ ˈdɪdənt kət əˈweɪ ɪˈnəf, soʊ ðə skɪn wɑz stɪl ə ˈdɪfərənt ˈkələr ənd ˈɪʧi." hi wɑz ə ˈtiˌneɪʤər, ənd fɛlt ˈæŋʃəs ðət gərlz ˈwʊdənt faɪnd ɪm əˈtræktɪv bɪˈkəz əv haʊ hɪz feɪs lʊkt. steɪd ɪn ðə ˈkəntriˌsaɪd fər sɪks mənθs ər soʊ wɪθ frɛndz əv hɪz wər stɪl fud ˈʃɔrtɪʤɪz ɪn ðə taʊnz. nɛkst spərɪŋ, hi rɪˈtərnd tɪ ˌhɪˈroʊʃɪmə tɪ kənˈtɪnju skul, ənd dɪˈskəvərd ðət əraʊnd hæf əv hɪz ˈklæsˌmeɪts hæd daɪd ɪn ðə ˈbɑmɪŋ. ðɛr wər ˈtɛnʧənz wɪθ ðə əˈmɛrɪkən ˈɑkjəˌpaɪərz: "ðə əˈmɛrɪkən ˈɑrmi keɪm tɪ ˌhɪˈroʊʃɪmə ənd ðə ˈkəntri ˈɛriəz ɪn lɔt əv ˈsoʊlʤərz. səm frɛndz, wɪn ðə əˈtɑmɪk bɔm wɑz drɑpt, ðeɪ ˈwɔntɪd tɪ əˈtæk ðə əˈmɛrɪkən ˈbɑmərz." wən pɔɪnt əv kənˈtɛnʃən wɑz ðə əˈtɑmɪk bɔm ˈkæʒəwəlti kəˈmɪʃən ər abcc*, ɪˈstæblɪʃt baɪ ðə əˈmɛrɪkənz ɪn 1946 tɪ ˈrisərʧ ðə ˈifɛkts əv ðə bɔm ɔn nɑt tɪ trit ðɛm. "wi fɛlt ðət ðeɪ məst trit sərˈvaɪvərz. wi ˈheɪtɪd ðɛm." ðə əˈmɛrɪkənz ˈɔlsoʊ ˈsɛnsərd ðə ˌʤæpəˈniz prɛs. "ˈʤɛnərəli ju ˈkʊdənt raɪt əˈbaʊt ðə bɔm, ðoʊ səm ˈpipəl traɪd tɪ. ðə əˈmɛrɪkənz ˈwɔntɪd tɪ meɪk əˈnəðər əˈtɑmɪk bɔm, ə ˈhaɪdrəʤən bɔm. soʊ ðeɪ ˈnidɪd tɪ kip ðə ˌɪnˌfɔrˈmeɪʃən ˈsikrɪt əˈbaʊt sərˈvaɪvərz ənd ðə əˈtɑmɪk bɑmz dɪˈstrəktɪv ˈifɛkts." ˈoʊvər taɪm, keɪm tɪ fil ðət ˈrisərʧ ˈɪntu ðə bɑmz ˈifɛkts kʊd bi ˈjusfəl, ənd ðət ðə moʊst ˌɪmˈpɔrtənt θɪŋ wɑz tɪ prɪˈvɛnt wɔr ɪn fˈjuʧər. "aɪ fɛlt ðət soʊ ˈmɛni ˈpipəl hæd bɪn kɪld ənd soʊ məʧ dɪˈstrɔɪd ənd bərnt, ˈɛvriˌθɪŋ hæd kəm tɪ ən ɛnd. aɪ bɪˈlivd ðət ˈmeɪbi ɔl ˈpipəl ɪn ðə wərld wɪl nɑt faɪt əˈgɛn." jɛt ˈoʊnli faɪv jɪrz ˈæftər ðə ˈbɑmɪŋ, ðə juz. ənd ˈsoʊviˌɛt ˈjunjən bɪˈgæn ə ˈprɑksi wɔr ɪn ˌkɔˈriə. "wɪn ðə ˌkɔˈriən wɔr ˈhæpənd, ðɛr wər ˈmɛni tæŋks ənd bɑmz brɔt hir tɪ ʤəˈpæn fər ðə wɔr. ˈɛvəri deɪ ju sɔ ðɛm ɔn ðə ˈreɪˌlroʊdz. wi fɛlt ˈvɛri nɪr tɪ ˌkɔˈriə. wi wər ˈstudənts, wi ˈɔrgəˌnaɪzd ˈproʊˌtɛst ˈmitɪŋz əˈgɛnst ɪt." bɪˈkeɪm ə ˈtiʧər əv ðə trəˈdɪʃənəl ˌʤæpəˈniz ɑrt əv kəˈlɪgrəfi, ə treɪd ˈjunjənəst ənd ən kæmˈpeɪnər. "wi wər ˈtiʧərz, wi məst tiʧ ðə nɛkst ˌʤɛnərˈeɪʃən əv jəŋ ˈpipəl ðə fækts əˈbaʊt ðə əˈtɑmɪk bɔm. aɪv bɪn tɪ ˈmɛni ə sərˈvaɪvər, pɑrt əv ðə pis ˈmuvmənt, ər wɪθ ˈəðər ˈmɛmbərz əv ðə treɪd ˈjunjənz. aɪv bɪn ˌɪnˈvaɪtɪd tɪ ˈɪndiə ənd ˈʧaɪnə wɪθ ðə ˈtiʧərz' ˈjunjən tɪ tɔk əˈbaʊt maɪ ɪkˈspɪriənsɪz. naʊ ˈʧaɪnə, ˈpækɪˌstæn ənd ˈɪndiə hæv ˈnukliər ˈwɛpənz, ənd ˌɪˈrɑk ənd nɔrθ ˌkɔˈriə wɔnt tɪ hæv ðɛm. bət ðə əˈmɛrɪkənz hæv ðə moʊst ˈnukliər ˈwɛpənz: ðeɪ ʃʊd əˈbændən ðɛm fərst. aɪ wɪl ˈproʊˌtɛst əˈgɛnst ˈnukliər ˈwɛpənz ənˈtɪl aɪ daɪ." ju hæv ˈoʊnli tɪ reɪz ðə dɪˈmænd ðət əˈmɛrɪkə gɪvz əp ɪts ˈætəm bɑmz tɪ si haʊ fɑr ˈplætɪˌtudz əˈbaʊt dɪˈmɑkrəsi ənd ˈʤəstɪs ər frəm ðə ˌriˈæləˌti əv əˈmɛrɪkən ˈmɪlɪˌtɛri paʊər. ðət ˌriˈæləˌti, ɪn 1945 mɛnt ˈtɛrəbəl ˈɪnʤəriz fər ə ˌʤæpəˈniz bɔɪ ənd ˈmɛni mɔr laɪk ɪm, ʤɪst ɛz ɪn ðə læst θri wiks ɪt həz mɛnt ðə dɛθs əv ˈʧɪldrən ɪn ˈgɑzə. ɑr ˈrulərz, wɪθ əˈmɛrɪkə æt ðɛr hɛd, wɪl kənˈtɪnju tɪ meɪnˈteɪn ðɛmˈsɛlvz ɪn paʊər baɪ ˈtɔrʧərɪŋ ənd ˈkɪlɪŋ ˈʧɪldrən, ənˈlɛs ənd ənˈtɪl wi stɑp ðɛm. fərst ˈpəblɪʃt æt ðə ˈwɛbˌsaɪt.
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august 13, 2014
sixty-nine years ago this month, the u.s. dropped atomic bombs on the japanese city of hiroshima and nagasaki, causing the deaths of as many as 250,000 people. british socialist colin wilson recalls meeting a survivor of the hiroshima bombing, in an article written for the revolutionary socialism in the 21st century website .
when i visited hiroshima in 2003 what initially struck me was the apparent normality of the place--it seemed a busy japanese city almost like any other. it is, and it isn't.
a tram took me from the rail station to the peace park--just over the river from the ruined dome you see in so many photographs. as i sat under the trees, japanese school students gathered my views about atomic weapons for a survey. walking through the park you pass a grass-covered mound, two or three meters high--containing the unidentifiable ashes of some 70,000 human beings. and to get to the park, i had walked across the unusual t-shaped bridge by the tramline from the railway station, the bridge that was the aiming point for the first atomic bomb, little boy, dropped on that hot summer morning in 1945.
hiromu morishta was 73 when i interviewed him, and 14 on the day of the bombing, a patriotic student in junior high school. he and his classmates believed the statements from the military high command that japan was winning the war, even though no one had enough to eat. his mother, starving herself to feed her children, was more skeptical. the high school students no longer attended lessons but worked in a factory making guns and airplane parts.
devastation in hiroshima after the u.s. atomic bomb was dropped
hiromu and his friends were mystified that hiroshima had never been bombed, since it was an important military center. japanese cities at this time were built mainly of wood, which made them vulnerable to fire. in two days in march 1945, the americans had dropped 2,000 tons of incendiary bombs on tokyo--some 125,000 people had died in the worst firestorm in recorded history.
all too aware of this risk in hiroshima, the authorities mobilized young people to tear down buildings, creating empty spaces that would have stopped the spread of fire. by 8.15 on the morning of august 6, some of them were already at work, and had stripped down to vest and shorts in the summer heat. hiromu and 70 of his classmates were still receiving instructions from their teachers when, he told me, "suddenly we felt--light, a flash. i felt like i had been thrown into a big furnace of fire. we fell down on the ground, but already our bodies were burned on our faces, hands, legs. the clothes were burned too." they later realized that they had only survived because they were still fully dressed--60 percent of the six or seven hundred students in the area had died.
hiromu morishta now entered a world as vivid, fragmented and incomprehensible as a nightmare. "i jumped in the river because of the pain from the burns. in the river i met a classmate. he asked me to tell him what his face was like. i told him his face was burnt, the skin had peeled down like melted wax. i was too scared to ask what had happened to my own face, but my face had become just like his." the whole city had somehow been destroyed, and was now beginning to burn, but he could not understand how this was possible. he felt completely detached from what he was seeing--"i didn't feel anything--i saw the state of the city, the houses, only my eye had become like the lens of a camera, with no feelings. we were thrown into another world."
it was a world of horrors. "i met many young men, soldiers. they wore their uniforms, but all their skin had peeled down, they were like ghosts. i wanted to get back to my house. i walked down to hiroshima station. i saw many people who had died: many people had jumped in the river, their bodies were burnt and they were swollen up, twice the usual size. i saw so many. it was like hell." people did not know that only one bomb would be dropped: they thought that there might be more to come.
hiromu morishta set off to find the home he shared with his parents and sister. he walked slowly along a railway track, his burnt skin hanging from him, his face so swollen that he could only see through one eye. in the evening he arrived where his house had been, but could not find it. he later learned that it had burned and collapsed, and that his mother had died inside, while his father and sister were safe.
remembering that some of his father's friends lived on the north outskirts of the city, he set off to walk there. around midnight he collapsed in a field, but neighbors found him and took him to his destination. seriously ill, he now entered another nightmare, the uncharted world of radiation sickness. "that night i lost consciousness. i had a very high fever. i was ill in bed for about a month. every day pus flowed from my wounds. i cried every day and every night. the radiation had not affected me badly. but my aunt visited me while i was in bed. she looked healthy, not wounded or burnt. but about 10 days after, she died with black foam coming from her mouth. she was near to the bomb when it exploded."
after a month, his wounds were almost healed, though like many survivors he had keloid scars--rubbery, itchy and disfiguring red growths that formed over the bad burns they had suffered. japanese doctors were unsure how to treat the keloids: if removed, they often recurred. "i had surgery twice for the keloids: once next spring and once next summer. they cut off the keloid and grafted skin from my thigh onto my face near my mouth. the next time they cut on my neck, but they didn't cut away enough, so the skin was still a different color and itchy." he was a teenager, and felt anxious that girls wouldn't find him attractive because of how his face looked.
hiromu stayed in the countryside for six months or so with friends of his grandmother's--there were still food shortages in the towns. next spring, he returned to hiroshima to continue school, and discovered that around half of his classmates had died in the bombing. there were tensions with the american occupiers: "the american army came to hiroshima and the country areas in jeeps--a lot of soldiers. some friends, when the atomic bomb was dropped, they wanted to attack the american bombers." one point of contention was the atomic bomb casualty commission or abcc, established by the americans in 1946 to research the effects of the bomb on survivors--but not to treat them. "we felt that they must treat survivors. we hated them." the americans also censored the japanese press. "generally you couldn't write about the bomb, though some people tried to. the americans wanted to make another atomic bomb, a hydrogen bomb. so they needed to keep the information secret about survivors and the atomic bomb's destructive effects."
over time, hiromu came to feel that research into the bomb's effects could be useful, and that the most important thing was to prevent war in future. "i felt that so many people had been killed and so much destroyed and burnt, everything had come to an end. i believed that maybe all people in the world will not fight again." yet only five years after the bombing, the u.s. and soviet union began a proxy war in korea. "when the korean war happened, there were many tanks and bombs brought here to japan for the war. every day you saw them on the railroads. we felt very near to korea. we were students, we organized protest meetings against it."
hiromu morishta became a teacher of the traditional japanese art of calligraphy, a trade unionist and an anti-war campaigner. "we thought--we were teachers, we must teach the next generation of young people the facts about the atomic bomb. i've been to many countries--as a survivor, part of the peace movement, or with other members of the trade unions. i've been invited to india and china with the teachers' union to talk about my experiences. now china, pakistan and india have nuclear weapons, and iraq and north korea want to have them. but the americans have the most nuclear weapons: they should abandon them first. i will protest against nuclear weapons until i die."
you have only to raise the demand that america gives up its atom bombs to see how far platitudes about democracy and justice are from the reality of american military power. that reality, in 1945, meant terrible injuries for a 14-year-old japanese boy and many more like him, just as in the last three weeks it has meant the deaths of children in gaza. our rulers, with america at their head, will continue to maintain themselves in power by torturing and killing children, unless and until we stop them.
first published at the rs21 website.
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india’s* prɛˈmɪr ˈtɛləˌvɪʒən ˈreɪtɪŋz ˈeɪʤənsi, ðə ˈbrɔdˌkæst ˈɪndiə ˈrisərʧ ˈkaʊnsəl, ər ˈɪndiə, pleɪd ən ˌɪmˈpɔrtənt roʊl ɪn ˈbrɔdˌkæstɪŋ ɪn 2016 ˌhaʊˈɛvər, ɪts plænz fər 2017 ər ˈbɪgər. ðə ˈeɪʤənsi, wɪʧ lɔnʧt ˌtɛləˈvɪʒən vˈjuərˌʃɪp ˈdætə ɪn 2015 ɪz ɔˈrɛdi ɔn ɪts weɪ tɪ skeɪl əp ðə saɪz əv ɪts ˈpænəlz (ðə ˈhaʊsˌhoʊldz ɪt træks) tɪ frəm ðə ˈkɑrənt ˈɪndiə ʧif ɪgˈzɛkjətɪv sɪz ðə ˌɪnˈtɛnʧən ɪz tɪ ˌɪnˈkris ðə ˈnəmbər əv ˈpænəl hoʊmz bɪɔnd ðə ˈmænˌdeɪtɪd ɪn 2017 ˌɪtˈsɛlf, prəˈvaɪdɪd ðə muv ɪz səˈpɔrtɪd baɪ ɔl ˈsteɪˌkhoʊldərz. ðə ˈeɪʤənsi wɪl ˈɔlsoʊ riˈlis ðə ˈbrɔdˌkæst ˈɪndiə ˈsərˌveɪ sun. ðɪs ɪz oʊn ˈpraɪˌmɛri ɪˈstæblɪʃmənt ˈsərˌveɪ, ə ˈjunəˌvərs ˌɛstəˈmeɪʃən ˈstədi fər wɪʧ ɪt kəˈmɪʃənd ˈrisərʧ fərm ˈnilsən. ðə ˈsərˌveɪ wɑz ˈkɛrid aʊt bɪtˈwin noʊˈvɛmbər 2015 ənd ˈfɛbruˌɛri 2016 ðə ˈsərˌveɪ ˈkəvərz ˈnɪrli rɪˈspɑndənts, əˈkrɔs 590 ˈdɪstrɪkts ənd əˈprɑksəmətli taʊnz. ɪt ˈkæpʧərz ˈdætə ɔn ˌtɛləˈvɪʒən ˈoʊnərˌʃɪp, kəˈnɛkʃən taɪp, ˈlæŋgwɪʤ ˈprɛfərənsɪz ənd ˈəðər ˈmidiə kənˈsəmʃən ˈhæbəts. ʃɛrz səm əv ðə ˈsərˌveɪ ˈhaɪˌlaɪts. əˈkɔrdɪŋ tɪ ɪm, æt ðə ˈhaʊsˌhoʊld ˈlɛvəl, ðə nu kənˈsumər ˌklæsəfəˈkeɪʃən ˈsɪstəm) di ənd i həz sin ə 19 drɔp, waɪl ə, bi ənd si hæv groʊn. ər nu kənˈsumər ˌklæsəfəˈkeɪʃən ˈsɪstəm ˌriˈpleɪst ðə ˈoʊldər sɛk ər soʊˌsiˌoʊˌɛkəˈnɑmɪk ˌklæsəfəˈkeɪʃən ɪn 2014 ðə ˈstədi ʃoʊz ˈnukliər ˈfæməliz, wɪˈθaʊt ˈɛldərz, ər ɔn ðə raɪz. ðə ˈfæməli saɪz tu həz rɪˈdust frəm ɪn 2015 tɪ ɪn 2016 ɪn fækt, ðə ˈævərɪʤ ˈfæməli saɪz ˈivɪn ɪn ˈhaʊsˌhoʊldz əv ˈrʊrəl ˈɪndiə ɪz ʃˈrɪŋkɪŋ. ɛz pər ðə ˈɪndiən ˈridərˌʃɪp ˈsərˌveɪ 2013 ðə ˈævərɪʤ ˈfæməli saɪz ɪn ˈrʊrəl ˈɪndiə wɑz kəmˈpɛrd tɪ naʊ. ðə nu ˈsərˌveɪ ˈɔlsoʊ pɔɪnts tɪ ə sɪgˈnɪfɪkənt ˌɪnˈkris ɪn ˈnəmbər əv ˌtɛləˈvɪʒən hoʊmz: ˌtɛləˈvɪʒən ˈoʊnɪŋ hoʊmz ɪn ˈɪndiə hæv gɔn əp frəm ˈmɪljən tɪ 183 ˈmɪljən. ðət ɪz nɑt ɔl. ˈrʊrəl ˈɪndiə həz 17 mɔr ˌtɛləˈvɪʒən ˈoʊnɪŋ ˈhaʊsˌhoʊldz ðən ˈərbən ˈɪndiə. ðə splɪt ɪn tərmz əv pərˈsɛnɪʤ əv ˌtɛləˈvɪʒən ˌpɛnəˈtreɪʃən həz ʧeɪnʤd frəm tɪ wɪn ɪt wɑz sɛt əp, hæd juzd ðə ˈsɛnsəs 2011 ənd ðə ˈɪndiən ˈridərˌʃɪp ˈsərˌveɪ 2013 ˈdætə tɪ ˌdɪˈsaɪd ɔn ðə ˈpænəl hoʊmz. bət tɪ ɪkˈspænd ɪts ˈpænəl saɪz naʊ, ɪt wɪl juz ðə ˈfaɪndɪŋz əv ðə ˈbrɔdˌkæst ˈɪndiə ˈsərˌveɪ. ðɪs wɪl hɛlp ɪt ˌəndərˈstænd ðə ˈʧeɪnʤɪŋ ˈproʊˌfaɪl əv ˌtɛləˈvɪʒən vjuərz ənd meɪk ðə ˈsæmpəl mɔr ˌrɛprɪˈzɛnətɪv. ɪn fækt, 2016 wɑz ən aɪ ˈoʊpənər ɪn tərmz əv ˈrʊrəl vˈjuərˌʃɪp. ðoʊ ðə ˈɪndəstri wɑz ɪkˈspoʊzd tɪ ˈrʊrəl ˈreɪtɪŋz frəm ɑkˈtoʊbər 2015 klɪr trɛnz ɪn ˈrʊrəl vˈjuərˌʃɪp ˈimərʤd læst jɪr. tɪ bi ʃʊr, ˌtɛləˈvɪʒən vˈjuərˌʃɪp ɛz ə hoʊl həz sin ə raɪz sɪns ˈɪndiə ˈstɑrtɪd ˈmɛʒərɪŋ ˌtɛləˈvɪʒən vjuɪŋ ˈhæbəts. kən bi əˈtrɪbjətəd tɪ raɪz ɪn ðə ˈnəmbər əv ˈʧænəlz ɪn iʧ ˈʒɑnrə ɛz wɛl ɛz ˌɪnˈkris ɪn ˈævərɪʤ taɪm spɛnt (ats*) baɪ vjuərz ɔn ˌtɛləˈvɪʒən," pɔɪnts aʊt. ə kəmˈpɛrəsən əv ˌtɛləˈvɪʒən vˈjuərˌʃɪp ˈdætə ɪn wik 41 əv 2015 ˈvərsəz wik 41 əv 2016 ʃoʊz ðət ˌtɛləˈvɪʒən ˌɪmˈprɛʃənz ɪn ˈɪndiə hæv gɔn əp baɪ ɪn ˈərbən ənd 30 ɪn ˈrʊrəl ˈɪndiə. nɑt ʤɪst ðɪs, ˈivɪn ðə ˈævərɪʤ taɪm spɛnt həz sin ə ʤəmp əv ɪn ˈərbən ˈɪndiə ənd 26 ɪn ˈrʊrəl. soʊps ˈfɑloʊd baɪ ər ə hɪt əˈməŋ ˈrʊrəl ˈɔdiənsəz. trɛnd rɪˈmeɪnz ðə seɪm əˈkrɔs ɔl zoʊnz wɪθ ðə ɪkˈsɛpʃən əv saʊθ. vˈjuərˌʃɪp fər ˈsɪriəlz ɪz ˈdrɪvən baɪ ðə nɔrθ zoʊn waɪl hæv ðə ˈmæksəməm vˈjuərˌʃɪp ɪn ðə saʊθ zoʊn," sɪz. ˈdɪfərənt ˌtɛləˈvɪʒən ˈʒɑnrəz ˈɔlsoʊ sɔ ə spaɪk ɪn vˈjuərˌʃɪp ɪn 2016 fər ˈɪnstəns, ˈɪŋlɪʃ ˈʤɛnərəl ˌɛnərˈteɪnmənt gru baɪ ən ˌɪmˈprɛsɪv 187 (wik 41 2015 ˈvərsəz wik 41 2016 waɪl ˈhɪndi ənd ˈɪŋlɪʃ nuz gru 81 ənd 54 rɪˈspɛktɪvli. ˈivɪn spɔrts, ˈmuviz ənd ˈəðər ˈriʤənəl ˈʒɑnrəz sɔ ə spaɪk ɪn ˌtɛləˈvɪʒən vˈjuərˌʃɪp. 2017 wɪl peɪv ðə weɪ fər ˈmɛʒərmənt əv ˈdɪʤɪtəl vˈjuərˌʃɪp. ˈɪndiə ɪz ˈroʊlɪŋ aʊt ɪts ˈpaɪlət ˈstədi fər ðə ˈpərpəs wɪʧ ʃʊd bi ˈrɛdi fər ə feɪzd lɔnʧ bɪˈgɪnɪŋ ðɪs jɪr. wɪl stɑrt fərst wɪθ ˈdɪʤɪtəl ˈvɪdioʊ ædz əˈkrɔs ˈpərsɪnəl kəmˈpjutərz, ˈmoʊbəlz ənd ˈtæbləts ənd ðɛn lʊk tɪ æd ˈkɑntɛnt ˈleɪtər ɪn ðə jɪr," sɪz. læst bət nɑt list, ɪn 2016 ˈfloʊtɪd ə rɪkˈwɛst fər prəˈpoʊzəl tɪ kriˈeɪt ə pul əv fərmz ðət wʊd prəˈvaɪd kənˈsəltənsi ˈsərvɪs tɪ ɪts səbˈskraɪbərz. wɪl bi məˈtɪriəˌlaɪzɪŋ ðɪs ɪn 2017 ðɪs wʊd min ðət ɑr səbˈskraɪbərz, ˌpɑrˈtɪkjələrli ˈbrɔdˌkæstərz, θru ðə hɛlp əv ðiz kənˈsəltɪŋ fərmz, wɪl bi ˈeɪbəl tɪ ˈɪndiə ˈdætə wɪʧ ɪn tərn wʊd hɛlp ðɛm wərk ɔn ðɛr ˈkɑntɛnt ˈstrætəʤi," sɪz. ðə ˈeɪʤənsi ˌdɪˈsaɪdɪd tɪ teɪk ðɪs stɛp ɛz ˌɪnˌfɔrˈmeɪʃən ənd ˈbrɔdˌkæstɪŋ ˈmɪnɪstri ˈgaɪˌdlaɪnz proʊˈhɪbət ɪt frəm ˌɪnˈvɑlvɪŋ ˌɪtˈsɛlf ɪn ˈɛni ædˈvaɪzəri roʊl. ðə plæn ɪz tɪ kriˈeɪt ə smɔl pul əv əˈpruvd kənˈsəltɪŋ ˈkəmpəˌniz frəm wɪʧ səbˈskraɪbərz kən ʧuz. bɑnˈsɑl ɪz ˈmidiə, ˈmɑrkətɪŋ ənd ˈædvərˌtaɪzɪŋ ˈɛdɪtər. ˈɔrdəˌnɛri poʊst wɪl lʊk æt ˈprɛsɪŋ ˈɪʃuz rɪˈleɪtɪd tɪ ɔl θri. ər ʤɪst fən stəf.
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india’s premier television ratings agency, the broadcast india research council, or barc india, played an important role in broadcasting in 2016. however, its plans for 2017 are bigger. the agency, which launched tv viewership data in 2015, is already on its way to scale up the size of its panels (the households it tracks) to 30,000 from the current 20,000. barc india chief executive partho dasgupta says the intention is to increase the number of panel homes beyond the mandated 30,000 in 2017 itself, provided the move is supported by all stakeholders.
the agency will also release the broadcast india survey soon. this is barc’s own primary establishment survey, a universe estimation study for which it commissioned research firm nielsen. the survey was carried out between november 2015 and february 2016. the survey covers nearly 300,000 respondents, across 590 districts and approximately 4,300 towns. it captures data on tv ownership, connection type, language preferences and other media consumption habits.
dasgupta shares some of the survey highlights. according to him, at the household level, the new consumer classification system (nccs) d and e has seen a 19% drop, while nccs a, b and c have grown. (nccs or new consumer classification system replaced the older sec or socioeconomic classification in 2014). the study shows nuclear families, without elders, are on the rise. the family size too has reduced from 4.39 in 2015 to 4.15 in 2016. in fact, the average family size even in tv-owning households of rural india is shrinking. as per the indian readership survey 2013, the average family size in rural india was 4.71 compared to 4.63 now.
the new survey also points to a significant increase in number of tv homes: tv owning homes in india have gone up from 153.5 million to 183 million. that is not all. rural india has 17% more tv owning households than urban india. the urban-rural split in terms of percentage of tv penetration has changed from 49:51 to 46:54.
when it was set up, barc had used the census 2011 and the indian readership survey 2013 data to decide on the 20,000 panel homes. but to expand its panel size now, it will use the findings of the broadcast india survey. this will help it understand the changing profile of tv viewers and make the sample more representative. in fact, 2016 was an eye opener in terms of rural viewership. though the industry was exposed to rural ratings from october 2015, clear trends in rural viewership emerged last year. to be sure, tv viewership as a whole has seen a rise since barc india started measuring tv viewing habits. “this can be attributed to rise in the number of channels in each genre as well as increase in average time spent (ats) by viewers on tv," points out dasgupta.
a comparison of tv viewership data in week 41 of 2015 versus week 41 of 2016 shows that tv impressions in india have gone up by 24%—18% in urban and 30% in rural india. not just this, even the average time spent has seen a jump of 21%—17% in urban india and 26% in rural. soaps followed by film-based programmes are a hit among rural audiences.
“this trend remains the same across all zones with the exception of south. viewership for serials is driven majorly by the north zone while film-based programmes have the maximum viewership in the south zone," says dasgupta.
different tv genres also saw a spike in viewership in 2016. for instance, english general entertainment grew by an impressive 187% (week 41, 2015 versus week 41, 2016) while hindi and english news grew 81% and 54%, respectively. even sports, movies and other regional genres saw a spike in tv viewership.
2017 will pave the way for measurement of digital viewership. barc india is rolling out its pilot study for the purpose which should be ready for a phased launch beginning this year. “we will start first with digital video ads across personal computers, mobiles and tablets and then look to add content later in the year," says dasgupta.
last but not least, in 2016, barc floated a request for proposal to create a pool of firms that would provide consultancy service to its subscribers. “we will be materializing this in 2017. this would mean that our subscribers, particularly broadcasters, through the help of these consulting firms, will be able to analyse barc india data which in turn would help them work on their content strategy," says dasgupta.
the agency decided to take this step as information and broadcasting ministry guidelines prohibit it from involving itself in any advisory role. the plan is to create a small pool of approved consulting companies from which barc subscribers can choose.
shuchi bansal is mint’s media, marketing and advertising editor. ordinary post will look at pressing issues related to all three. or just fun stuff.
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ɪt həz ə ˌrɛpjəˈteɪʃən ɛz ə ˈpɑrti drəg, bət səm ˈpeɪʃənz seɪ ɪt həz trænsˈfɔrmd ðɛr lɪvz ˈæftər noʊ ˈəðər ˈtritmənts hɛlpt wɪn dɪˈprɛʃən teɪks hoʊld əv ˈhɛlən ɪt filz laɪk ʃi ɪz ˈdraʊnɪŋ ɪn ə pul əv ˈwɔtər, əˈneɪbəl tɪ swɪm əp tɪ ðə wərld əˈbəv. ðə ˈfɔrmər nərs həz hæd ˈmɛntəl hɛlθ ˈprɑbləmz moʊst əv hər laɪf. noʊ drəgz, ˈhɑˌspɪtəl steɪz ər ˈθɛrəpiz hæv bɪn ˈeɪbəl tɪ hɛlp. ðɛn wən deɪ, ˈdʊrɪŋ jɛt əˈnəðər spɛl ɪn ˈhɑˌspɪtəl, hər kənˈsəltənt toʊld hər əˈbaʊt ə səˈkaɪətrəst ˈtritɪŋ ˈpeɪʃənz wɪθ. ðə səˈkaɪətrəst ɪn kˈwɛʃən ˈvɪzɪtɪd hər tɪ dɪˈskəs ˈjuzɪŋ ðə drəg. hi wɔrnd ðɛr wər noʊ ˌgɛrənˈtiz, bət ɪt hæd hɛlpt səm ˈpeɪʃənz. sɪns ðɛn laɪf həz trænsˈfɔrmd. ˈsɪtɪŋ ɔn ə bɛnʧ ɪn ðə graʊnz əv ðə ˈhɑˌspɪtəl wɛr hər ˈtritmənt bɪˈgæn ə jɪr ənd ə hæf əˈgoʊ, ʃi lɪsts ˈɛvriˌθɪŋ ʃi kən du naʊ ðət ʃi kʊd nɑt ˌbiˈfɔr: teɪk hər kɪdz tɪ skul, gɪv ðɛm həgz, goʊ ɔn ˈkɔfi deɪts. æm ˈmænəʤɪŋ maɪ θɔts ənd ðət ɪz wət hɛlps tɪ du. ɪt sloʊz daʊn maɪ θɔt ˈprɔˌsɛs soʊ ˌɪnˈstɛd əv biɪŋ kəmˈplitli ˌoʊvərˈwɛlmd baɪ ɔl ðiz ˌɪˈmɛns ˈnɛgətɪv θɔts ənd ˈfilɪŋz aɪ kən θɪŋk, stɑp ənd breathe,”*,” ʃi sɪz, ˈnərvəsli ˈpʊlɪŋ hər slivz ˈoʊvər hər hænz ɛz ʃi tɔks. ʃi ædz: stɪl ˈrɪli hɑrd bət naʊ ðɛr ɪz ə ˈtaɪni ˈfrækʃən əv ə ˈsɛkənd wɛr maɪ θɔts ər sloʊ ɪˈnəf tɪ θɪŋk: kən dil wɪθ ðɪs. aɪ ˈkænɑt gɪv up.’”*.’” ˈhɛlən ɪz nɑt ðə ˈoʊnli ˈpərsən ʧeɪnʤd baɪ. fər kiθ, ə ˈfɔrmər ˈbɪznɪsˌmæn, hu ɪz ˈɔlsoʊ æt ðə ˈhɑˌspɪtəl, ɪt həz hɛlpt wɛr ˈəðər drəgz hæv feɪld. hi həz bɪn ɔn ɪt fər θri jɪrz tɪ trit baɪˈpoʊlər dɪˈsɔrdər. hi ɪkˈspleɪnz ðət hi həz ˈteɪkən ən ˌɪnfˈjuʒən əv ðə drəg ðət ˈmɔrnɪŋ, wɪʧ ɪz waɪ hi ɪz soʊ ˈʧæti. ˈfeɪsˌbʊk tˈwɪtər kiθ: waɪf gɪts hər ˈhəzbənd bæk fər ə fju days.’*.’ ˈfoʊtəˌgræf: græm ˈrɑbərtsən fər ðə ˈgɑrdiən teɪk ən ˌɪnfˈjuʒən ˌɪnˈtrævənəsli ɪn ˈhɑˌspɪtəl wəns ˈɛvəri sɪks wiks ənd ðɛn aɪ hæv wɪʧ aɪ teɪk ˈɔrəli twaɪs ə wik æt hoʊm. aɪ goʊ aʊt ˈæftərwərdz ənd du θɪŋz laɪk ˈgɑrdənɪŋ. wɪn aɪ æm dɪˈprɛst aɪ wɔnt tɪ du ˈɛniˌθɪŋ. ɔl aɪ du ɪz sɪt ɔn ðə ˈsoʊfə ənd wɔʧ ˌtɛləˈvɪʒən ʃoʊz laɪk ˈbɑrgɪn hunt,”*,” hi sɪz. kiθ ˈkrɛdɪts wɪθ ˈhɛlpɪŋ ˈsɔfən hɪz dɪˈprɛʃən, səʧ ðət hi naʊ həz gʊd deɪz ɛz wɛl ɛz bæd wənz. waɪf gɪts hər ˈhəzbənd bæk fər ðoʊz fju deɪz wɪn aɪ æm ˈnɔrməl wɛl, ˌwəˈtɛvər ˈnɔrməl is,”*,” hi sɪz. ðɛr ɪz ˌɪnˈkrisɪŋ ˈɛvədəns ðət, ˈɔfən θɔt əv ɛz ə ˈpɑrti drəg əv əˈbjuz, ɪz ən ˈifɛktɪv ənd ˈpaʊərfəl ˌæntidɪˈprɛsənt. ˈhɛlən ənd kiθ ər ˈpeɪʃənz æt ˈhɑˌspɪtəl ɪn ˈɑksfərd wɛr ˈdɑktər ˈrupərt məkˈʃeɪn lidz ðə ˈoʊnli ˈtritmənt ˈsɛntər. ɪt ˈkeɪtərz fər ˈpipəl fər hum ˈəðər ˌænˌtidɪˈprɛsənts hæv nɑt wərkt. məkˈʃeɪn ɪz nɑt ðə ˈoʊnli ˈdɔktər hu həz bɪn ɛkˈspɛrəˌmɛntɪŋ wɪθ ðə drəg ˈəðər ˈhɑˌspɪtəlz hæv ˈgɪvɪn ɪt tɪ ˈpeɪʃənz ɛz pɑrt əv ˈklɪnɪkəl ˈtritmənts. ˈfeɪsˌbʊk tˈwɪtər ˈdɑktər ˈrupərt məkˈʃeɪn æt ˈhɑˌspɪtəl. ˈfoʊtəˌgræf: græm ˈrɑbərtsən fər ðə ˈgɑrdiən ˈdɑktərz ər ˈeɪbəl tɪ prəˈskraɪb ɪt bɪˈkəz ə ˈlaɪsənst ˌænəsˈθɛtɪk. bət ðeɪ hæv tɪ juz ɪt label”*” fər ˈpipəl wɪθ ˈmɛntəl hɛlθ ˈprɑbləmz. noʊ wən noʊz ɪgˈzæktli haʊ ɪt wərks fər dɪˈprɛʃən, bət ɛz ə ““dissociative”*” drəg ɪt kən ˈɔltər pərˈsɛpʃənz əv ðə wərld. ðə drəg meɪ wərk baɪ ˈbreɪkɪŋ reality”*” fər ˈpipəl wɪθ dɪˈprɛʃən. ɪt kʊd dɪsˈrəpt rɪˈkərɪŋ ˈnɛgətɪv θɔts ˈpætərnz. ɪn ˈɑksfərd, ˈoʊvər ðə læst sɪks jɪrz, 42 əv ðɛr 101 ˈpeɪʃənz hæv ʃoʊd ə ˈjusfəl ˌɪmˈpruvmənt ˈæftər ˈteɪkɪŋ ðə drəg. ðɪs ɪz sɪgˈnɪfɪkənt ˈgɪvɪn ðət ˈəðər ˌmɛdəˈkeɪʃən həz nɑt wərkt fər ðiz ˈpipəl. ɪz ˈjuʒəwəli nɑt ˈteɪkən ɔn ɪts oʊn. moʊst ˈpeɪʃənz ˈɔlsoʊ gɪt ˈθɛrəpi ənd səm juz ˈəðər ˌmɛdəˈkeɪʃənz tu. dɪˈspaɪt ˈprɑməsɪŋ ˈfaɪndɪŋz, ˌhaʊˈɛvər, ðɛr ər səm ˌlɪmɪˈteɪʃənz. nɑt ɛz ˈizi ɛz ˈteɪkɪŋ ə pɪl. ˈpeɪʃənz æt gɪt ˈrɛgjələr ˌɪntrəˈvinəs ˌɪnfˈjuʒən ˈsɛʃənz ˈəndər ˈhɑˌspɪtəl ˌsupərˈvɪʒən. ðeɪ ər ˈɔlsoʊ ˈgɪvɪn ˈɔrəl tɪ teɪk twaɪs ˈwikli æt hoʊm, wɪθ ðə ˌpɑsəˈbɪləˌti əv ˈfərðər ““top-up”*” ˌɪnfˈjuʒənz. ðə drəg ˈkəmpəˌni ˈʤɑnsən ənd ˈʤɑnsən ɪz ˈmeɪkɪŋ ən spreɪ fɔrm əv ə rɪˈleɪtɪd drəg, esketamine*, bət ɪt ɪz ə fju jɪrz ɔf pərˈdəkʃən. ðɛr ɪz ˈɔlsoʊ nɑt jɛt ɪˈnəf ˈnɑlɪʤ əˈbaʊt ðə ˈlɔŋˈtərm ˈifɛkts bɪˈkəz traɪəlz ər ɪn səʧ ˈərli ˈsteɪʤɪz. ðə drəg ɪz ˈɔlsoʊ ˈkɑmənli lɪŋkt wɪθ əˈbjuz, ənd kən lɛd tɪ əˈdɪkʃən. məkˈʃeɪn ɪz ˈkɔlɪŋ fər ˈspɛʃəlɪst ˈklɪnɪks ˈjuzɪŋ tɪ træk ˈprɑˌgrɛs θru ə ˈnæʃənəl ənd ˌɪnərˈnæʃənɑl ˈrɛʤɪstər. kʊd hɛlp ˈθaʊzənz wɪθ səˈvɪr dɪˈprɛʃən, ˈdɑktərz seɪ rɛd mɔr wɪn juzd æt ə haɪ ˈlɛvəl əv ˈsɛvərəl græmz ə deɪ, ˈblædər ˈprɑbləmz əˈkər ənd ˈkɑgnɪtɪv ˈfəŋkʃən ɪz ˌɪmˈpɛrd. bət ðə doʊs juzd ɪn ˈtritmənt ˈsɛntərz ɪz məʧ loʊər. ˈhɛlən ɪkˈspleɪnz ðət ɪn hər ɪkˈspɪriəns ðə saɪd ˈifɛkts ər ˈprɪti ˈmɪnəməl, əˈspɛʃəli kəmˈpɛrd tɪ ˈəðər ˌænˌtidɪˈprɛsənts ʃi həz traɪd. ʃi sɪz ðə ˌɪmˈpækt ˈvɛriz dɪˈpɛndɪŋ ɔn haʊ ju teɪk ðə drəg. ju teɪk ɪt ˈɔrəli jʊr hɛd meɪ fil ˈfɑgi ənd ju kʊd luz jʊr ˈbæləns. ju hæv ɪt ˌɪnˈtrævənəsli ɪt ɪz ˈvɛri ˈdɪfərənt. ðə laɪn bɪtˈwin wət ɪz ril ənd nɑt blərz, wɪʧ ɪz ˈvɛri ˌdɪskənˈsərtɪŋ. aɪ du nɑt laɪk ðət bɪˈkəz aɪ æm ə bɪt əv ə kənˈtroʊl frik ˈsəmˌtaɪmz ju hæv ə maɪld hallucination.”*.” əˈnəðər ˈpeɪʃənt, ˈheɪzəl, 36 sɪz ðət ˈæftər ˈteɪkɪŋ ʃi ˈjuʒəwəli filz ə bɪt ˈtɪpsi. ðə pæst ɪt həz hæd ən ˈivɪn ˈbɪgər ˈifɛkt ɔn mi ənd meɪd mi fil haɪ fər əˈbaʊt ən hour.”*.” bət ʃi noʊts ðət ʃi fil laɪk ɪt wɛrz ɔf bɪtˈwin ˈdoʊsɪz laɪk səm drəgz. moʊst ˈpeɪʃənz ˈfaɪndɪŋ ɪt ˈifɛktɪv si ˈɛni ˌlɪmɪˈteɪʃənz ɛz ˌɪnsɪgnˈjɪfɪkənt kənˈsɪdərɪŋ ðə ˈbɛnəfɪts. ˈheɪzəl, hu həz ˈstrəgəld wɪθ dɪˈprɛʃən ənd ˌænərˈɛksiə sɪns hər ˈtiˌneɪʤ jɪrz, naʊ filz ˈeɪbəl tɪ teɪk ˈplɛʒər ɪn θɪŋz əˈgɛn. hæv mɔr ˈɛnərʤi ənd aɪ kən θɪŋk əˈbaʊt ðə fˈjuʧər ənd du stəf wɪθ friends,”*,” ʃi sɪz. fər səm ɪt goʊz ˈfərðər ðən ðət. ˈkɛrən, ə ˈtiʧər, ˈkrɛdɪts ðə drəg wɪθ ˈseɪvɪŋ hər laɪf wɪn ʃi wɑz ˌsuəˈsaɪdəl. ʃi sɪz ʃi tʊk ɪt wɪn ʃi wɑz æt hər ˈɛvər ebb”*”. θæŋks tɪ ðə drəg ʃi həz naʊ bɪn ˈeɪbəl tɪ rɪˈtərn tɪ wərk. səˈkaɪətrəsts hæv sɛd ðət kʊd bi ˌpɑrˈtɪkjələrli ˈjusfəl ɪn ˈimərʤənsiz wɛr ˈsəmˌwən ɪz dɪˈprɛst. ɛz ˈsəmˌwən hu həz spɛnt hər laɪf ɪn ənd aʊt əv ˈhɑˌspɪtəl, ˈhɛlən noʊz ðə ˈdæmɪʤɪŋ ˈifɛkt əv dɪˈprɛʃən. ʃi rɪˈflɛkts ɔn ðə frɛndz ʃi həz lɔst tɪ ˈmɛntəl ˈɪlnəs. ˈrisəntli lɔst ə ˈkəpəl əv ˈpipəl tɪ ˈsuɪˌsaɪd bɪˈkəz ðeɪ wər nɑt ˈgɪtɪŋ ðə hɛlp ðeɪ ˈnidɪd. əˈnəðər frɛnd ʤɪst woʊk əp frəm ə ˈkoʊmə ənd wi wər ðɪs kloʊz tɪ ˈluzɪŋ her,”*,” ʃi sɪz, ˈvɪzəbli ˈəpˌsɛt. ʃi ædz ðət həz ˈrædɪkli ʧeɪnʤd hər laɪf ənd ʃi bɪˈlivz ɪt kʊd du ðə seɪm fər ˈəðərz. ɪz ðə ˈlɔŋgɪst aɪ hæv bɪn aʊt əv hospital,”*,” ʃi sɪz. mɔr ˌɪmˈpɔrtəntli, fər ðə fərst taɪm ɪn ə lɔŋ taɪm, ˈhɛlən ɪz ˈhoʊpfəl. ðə ˈməðər əv tu ɪz ˌɑptɪˈmɪstɪk ðət ʃi meɪ naʊ bi ˈeɪbəl tɪ meɪk stɛps təˈwɔrdz goʊɪŋ bæk tɪ wərk. ʃi treɪnd tɪ bi ə nərs ɪn hər 20s*, bət ˈnɛvər gɑt tɪ ˈpræktɪs bɪˈkəz əv pur ˈmɛntəl hɛlθ. məkˈʃeɪn sɪz ˈwaɪdˈsprɛd juz əv ðə drəg kʊd bɪˈkəm ə ˌriˈæləˌti, ˌɔlˈðoʊ ɪt ɪz ənˈlaɪkli tɪ bi priˈskraɪbd baɪ ˈgipiˈɛs laɪk ˈəðər ˌænˌtidɪˈprɛsənts. ɪz ˈpɑsəbəl bət nɑt ˌɪˈnɛvətəbəl ðət wɪl ɪˈvɛnʧəwəli faɪnd ə pleɪs ɪn ˈsɛkənˌdɛri kɛr ˈtritmənt əv rɪˈzɪstənt depression,”*,” hi sɪz, ˈædɪŋ ðət fər ðɪs tɪ bi ruˈtin ðeɪ wɪl nid tɪ hæv wərkt aʊt haʊ tɪ meɪnˈteɪn ðə ˈbɛnəfɪts ˈseɪfli. hi wɔrnz, ˌhaʊˈɛvər, ðət fər ðə drəg tɪ riʧ ɪts pəˈtɛnʃəl ɪt məst bi ˌroʊˈbəstli ˈmɑnətərd. wɪˈθaʊt ðɪs hi fɪrz kʊd ˈizəli goʊ ðə weɪ əv ˈpriviəs ˈpaʊərfəl ˌsaɪkiˈætrɪk ˈmɛdɪkəl ˈtritmənts: ˌoʊvərˈjuz, ˈbæˌklæʃ ənd ˈstɪgmə.
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it has a reputation as a party drug, but some patients say it has transformed their lives after no other treatments helped
when depression takes hold of helen it feels like she is drowning in a pool of water, unable to swim up to the world above. the 36-year-old former nurse has had mental health problems most of her life. no drugs, hospital stays or therapies have been able to help.
then one day, during yet another spell in hospital, her consultant told her about a psychiatrist treating patients with ketamine. the psychiatrist in question visited her to discuss using the drug. he warned there were no guarantees, but it had helped some patients.
since then helen’s life has transformed. sitting on a bench in the grounds of the hospital where her treatment began a year and a half ago, she lists everything she can do now that she could not before: take her kids to school, give them hugs, go on coffee dates.
“i am managing my thoughts and that is what ketamine helps to do. it slows down my thought process so instead of being completely overwhelmed by all these immense negative thoughts and feelings … i can think, stop and breathe,” she says, nervously pulling her sleeves over her hands as she talks.
she adds: “it’s still really hard but now there is a tiny fraction of a second where my thoughts are slow enough to think: ‘i can deal with this. i cannot give up.’”
helen is not the only person changed by ketamine. for keith, a 64-year-old former businessman, who is also at the hospital, it has helped where other drugs have failed. he has been on it for three years to treat bipolar disorder. he explains that he has taken an infusion of the drug that morning, which is why he is so chatty.
facebook twitter pinterest keith: ‘my wife gets her husband back for a few days.’ photograph: graeme robertson for the guardian
“i take an infusion intravenously in hospital once every six weeks and then i have 10ml which i take orally twice a week at home. i go out afterwards and do things like gardening. when i am depressed i don’t want to do anything. all i do is sit on the sofa and watch tv shows like bargain hunt,” he says.
keith credits ketamine with helping soften his depression, such that he now has good days as well as bad ones. “my wife gets her husband back for those few days when i am normal – well, whatever normal is,” he says.
there is increasing evidence that ketamine, often thought of as a party drug of abuse, is an effective and powerful antidepressant. helen and keith are patients at warneford nhs hospital in oxford where dr rupert mcshane leads the uk’s only ketamine treatment centre. it caters for people for whom other antidepressants have not worked. mcshane is not the only doctor who has been experimenting with the drug – other uk hospitals have given it to patients as part of clinical treatments.
facebook twitter pinterest dr rupert mcshane at warneford hospital. photograph: graeme robertson for the guardian
doctors are able to prescribe it because it’s a licensed anaesthetic. but they have to use it “off label” for people with mental health problems. no one knows exactly how it works for depression, but as a “dissociative” drug it can alter people’s perceptions of the world. the drug may work by breaking “the reality” for people with depression. it could disrupt recurring negative thoughts patterns.
in oxford, over the last six years, 42% of their 101 patients have showed a useful improvement after taking the drug. this is significant given that other medication has not worked for these people. ketamine is usually not taken on its own. most patients also get therapy and some use other medications too.
despite promising findings, however, there are some limitations. it’s not as easy as taking a pill. patients at warneford get regular 40-minute intravenous infusion sessions under hospital supervision. they are also given oral ketamine to take twice weekly at home, with the possibility of further “top-up” infusions. the drug company johnson and johnson is making an intranasal spray form of a related drug, esketamine, but it is a few years off production.
there is also not yet enough knowledge about the long-term effects because trials are in such early stages. the drug is also commonly linked with abuse, and can lead to addiction. mcshane is calling for specialist clinics using ketamine to track progress through a national and international register.
ketamine could help thousands with severe depression, doctors say read more
when used at a high level of several grams a day, bladder problems occur and cognitive function is impaired. but the dose used in treatment centres is much lower. helen explains that in her experience the side effects are pretty minimal, especially compared to other antidepressants she has tried. she says the impact varies depending on how you take the drug. “if you take it orally your head may feel foggy and you could lose your balance.
“when you have it intravenously it is very different. the line between what is real and not blurs, which is very disconcerting. i do not like that because i am a bit of a control freak … sometimes you have a mild hallucination.”
another patient, hazel, 36, says that after taking ketamine she usually feels a bit tipsy. “in the past it has had an even bigger effect on me and made me feel high for about an hour.” but she notes that she doesn’t feel like it wears off between doses like some drugs.
most patients finding it effective see any limitations as insignificant considering the benefits. hazel, who has struggled with depression and anorexia since her teenage years, now feels able to take pleasure in things again. “i have more energy and i can think about the future and do stuff with friends,” she says.
for some it goes further than that. karen, a 42-year-old teacher, credits the drug with saving her life when she was suicidal. she says she took it when she was at her “lowest ever ebb”. thanks to the drug she has now been able to return to work. psychiatrists have said that ketamine could be particularly useful in emergencies where someone is suicidally depressed.
as someone who has spent her life in and out of hospital, helen knows the damaging effect of depression. she reflects on the friends she has lost to mental illness. “i recently lost a couple of people to suicide because they were not getting the help they needed. another friend just woke up from a nine-day coma and we were this close to losing her,” she says, visibly upset. she adds that ketamine has radically changed her life and she believes it could do the same for others. “this is the longest i have been out of hospital,” she says.
more importantly, for the first time in a long time, helen is hopeful. the mother of two is optimistic that she may now be able to make steps towards going back to work. she trained to be a nurse in her 20s, but never got to practise because of poor mental health.
mcshane says widespread use of the drug could become a reality, although it is unlikely to be prescribed by gps like other antidepressants. “it is possible but not inevitable that ketamine will eventually find a place in nhs secondary care treatment of resistant depression,” he says, adding that for this to be routine they will need to have worked out how to maintain the benefits safely.
he warns, however, that for the drug to reach its potential it must be robustly monitored. without this he fears ketamine could easily go the way of previous powerful psychiatric medical treatments: overuse, backlash and stigma.
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maɪ ˈsɪstər bɔt ə tən əv ˌkɔˈriən ˈprɑdəkts waɪl ʃi wɑz ɪn ˌkɔˈriə læst jɪr! ðeɪ ər ˈvɛri ʧip ˈoʊvər ðɛr ˈɔlˌmoʊst hæf tɪ ˌwənˈθərd əv ðə ˈsɛlɪŋ praɪs ɪn ˈloʊkəl ˌkɔˈriən ˈriˌteɪl ˈaʊˌtlɛts (skinfood*, faceshop*, haʊs, ˈbjuti ˈkrɛdɪt ˌɛtˈsɛtərə.) ti tri ˈɛsəns] ðə ˈɛsəns ɪz laɪk ə klɪr ˈlɪkwɪd ðət ɪz nɑt ˈvɪskəs bət nɑt tu ˈwɔtəri ɛz wɛl. jʊr ˈdeɪli ruˈtin ʃʊd goʊ laɪk ðɪs: cleanser->toner->essence/serum->moisturiser/emulsion*. ˌkɔˈriən brændz juz əˈlɑt əv ˈdɪfərənt kənfˈjuzɪŋ neɪmz wɪn ðeɪ ˈæˌkʧuəli min ðə seɪm θɪŋ. soʊ ðɪs ti tri ˈɛsəns ɪz ˈmeɪnli fər skɪn bɪˈkəz ɪts meɪn ˌɪnˈgridiənts ˌɪnˈklud ti tri ənd ˈwɪˌloʊ ərb wɪʧ ˈnæʧərəli ənd riˈlivz skɪn tɪ prɪˈvɛnt ˈækni. aɪ laɪk haʊ ɪt ɪz əbˈzɔrbd ˈprɪti kˈwɪkli ˈɪntu maɪ skɪn ənd livz ə ˈsəmˈwət mæt əˈpɪrəns. maɪ skɪn filz lɛs ˈɔɪli ˈæftər ˈlivɪŋ ɪt ɔn ˈoʊvərˈnaɪt. ˌhaʊˈɛvər, əm nɑt ˈjuzɪŋ ðɪs rɪˈlɪʤəsli ɛz aɪ faʊnd əˈnəðər reɪnʤ wɪʧ ɪz ˈsɪriəsli məˈtɪriəl fər mi rəvˈjuz ˈkəmɪŋ əp sun!) ɪts ˈriˌteɪl ˈpraɪsɪz ər ˈprɪti stip. fər səʧ ə small(30g*) ˈbɑtəl! ˈæftər ˈpeɪnˌsteɪkɪŋli ˈnævəˌgeɪtɪŋ θru ˌkɔˈriən ˈwɛbˌsaɪt, aɪ ˈmænɪʤd tɪ faɪnd ðə praɪs əv ðɪs ɪn ˌkɔˈriə wən (ˈbɛnəfɪts əv ˈlərnɪŋ ˈbeɪsɪk ˌkɔˈriən haha*) ˈæftər kənˈvərʒən ɪts ˈoʊnli ðət ɪz waɪ aɪ baɪ maɪ ˌkɔˈriə hɔlz frəm ˈɔnˌlaɪn spriz laɪk ər ti tri ɪˈməlʃən] nɛkst, hɪrz ðə ti tri ɪˈməlʃən wɪʧ ɪz ˈbeɪsɪkli ə moisturiser*. ɪts ɪn ə glæs ˈbɑtəl! ɪn fækt, moʊst ˈbɑtəlz ər meɪd əv glæs ənd ðæts waɪ ðeɪ ər soʊ ˈhɛvi! ˈdɛfənətli, nɑt travel-friendly*:( ˈɛniˌweɪ, ðɪs kəmz ˈæftər ðə ˈɛsəns ənd ɪts ə waɪt ˈlɪkwɪd. ˌɔlˈðoʊ ɪt ɪz ən ɪˈməlʃən, ɪt ɪz nɑt ˈɔɪli æt ɔl. ˈæˌkʧuəli, ɪt ɪz mɔr ˈwɔtəri ðən ðə ˈɛsəns. ðæts greɪt ɛz aɪ kən sprɛd ˈizəli ɔn maɪ feɪs! smell-wise*, boʊθ smɛlz laɪk ti tri ɔɪl, ə ˈlɪtəl məˈdɪsənəl bət ˈvɛri ˈsətəl. ˈprɪti əkˈsɛptəbəl smɛl! surpisingly*, ɪts ˈʧipər ðən ðə ˈɛsəns fər səʧ ə bɪg bottle(160ml*)! ɪts soʊld ɪn ˌkɔˈriə fər 6700 wən wɪʧ ɪz ˈoʊnli ˈæftər kənˈvərʒən.
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my sister bought a ton of korean skincareoducts while she was holidaying in korea last year! they are very cheap over there - almost half to one-third of the sellingice in local korean retail outlets (skinfood, faceshop, etude house, beauty credit etc.)
[sf tea tree essence]
the essence is like a clear liquid that is not viscous but not too watery as well. your daily skincare routine should go like this: cleanser->toner->essence/serum->moisturiser/emulsion.
korean brands use alot of different confusing names when they actually mean the same thing. so this tea tree essence is mainly for oily/combination skin because its main ingredients include tea tree and willow herb which naturally disinfects and relieves skin toevent acne.
i like how it is absorbedetty quickly into my skin and leaves a somewhat matte appearance. my skin feels less oily after leaving it on overnight. however, i'm not using this religiously as i found another sf range which is seriously holygrail material for me (haha reviews coming up soon!)
it's retailices areetty steep. s$26 for such a small(30g) bottle! =/
after painstakingly navigating through sf's korean website, i managed to find theice of this in korea 7,700원 won (benefits of learning basic korean haha) after conversion its only s$8.80! that is why i buy my korea hauls from online sprees like www.gmarket.com or www.gmarket.co.kr
[sf tea tree emulsion]
next, here's the tea tree emulsion which is basically a moisturiser. it's in a glass bottle! in fact, most skinfood bottles are made of glass and that's why they are so heavy! definitely, not travel-friendly:( anyway, this comes after the essence and its a white liquid. although it is an emulsion, it is not oily at all. actually, it is more watery than the essence. that's great as i can spread easily on my face!
smell-wise, both smells like tea tree oil, a little medicinal but very subtle.etty acceptable smell!
surpisingly, it's cheaper than the essence s$22 for such a big bottle(160ml)! it's sold in korea for 6700 won which is only s$7.65 after conversion.
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təˈdeɪ ɪz nɑt ə gʊd deɪ tɪ bi. ˈɛvəri ˈkəmpəˌni həz ðɛr mɪˈstɛps, bət ju ˈrɪli hæv tɪ stɑp ənd ˈwəndər haʊ ðə æt lɛt ə fiˈæskoʊ laɪk ðɪs ˈhæpən ɔn ðɛr wɔʧ: təˈdeɪ ðə ˌməlˌtiˈnæʃənəl snæk brænd ɪz ˈkərəntli pərˈfɔrmɪŋ səm ˈdæmɪʤ kənˈtroʊl ˈæftər ˈprɪnɪŋ ˈθaʊzənz əv bægz əv ðət kleɪmd kʊd bi juzd ɛz ə floʊˈteɪʃən dɪˈvaɪs. jəp, seɪf tɪ seɪ ˈgɪtɪŋ faɪərd fər ðɪs wən. teɪk ə lʊk æt ðə ˈpækɪʤɪŋ sˈnæfu bɪˈloʊ: ˌædvərˈtaɪzmənt jaɪks! goʊɪŋ tɪ liv ə steɪn ɔn ðə ˌrɛpjəˈteɪʃən. noʊ ˈmætər haʊ gʊd ðɛr ˌɪnˈtɛnʧənz meɪ hæv bɪn, ˈleɪbəlɪŋ ðɛr pəft ʧiz snæk ɛz ə floʊˈteɪʃən dɪˈvaɪs ˈoʊnli sərvd tɪ bloʊ əp ɪn ðɛr feɪs. ðə ˈkəmpəˌni həz sɪns ˈɪʃud ə ˈmæsɪv ˈriˌkɔl əv ðə bægz ənd lɔnʧt ən kæmˈpeɪn tɪ əˈpɑləˌʤaɪz fər səˈʤɛstɪŋ ðət wʊd səˈfaɪs ɪn ˈkipɪŋ ˈsəmˌwən əˈfloʊt ɪn ˈwɔtər. əˈdrɛst ðə ˈɪnsədənt ɪn ə kənˈtraɪt prɛs riˈlis: wi hir æt ər ˌɪˈmɛnsli ˈsɑri fər ˈhævɪŋ mɪsˈlɛd ɑr ˈkəstəmərz ɪn ˈkleɪmɪŋ ðət ər ən ˈædəkˌweɪt floʊˈteɪʃən dɪˈvaɪs. ɪt tərnz aʊt ðət ðɪs ɪz nɑt tru. ˈkænɑt vaʊʧ fər cheetos’*’ vaɪəˈbɪləti ɛz ˈɛniˌθɪŋ bət ə snæk fud. ɪn ðə ɪˈvɛnt ðət ə ˈpərsən ɪz ˈdraʊnɪŋ, wi ˈstrɔŋli dɪˈskərɪʤ ˈlaɪfˌgɑrdz frəm rɪˈspɑndɪŋ baɪ əv ˈɪntu ðə ˈwɔtər. ˈstɔrɪŋ ˈɑnˌbɔrd ə boʊt ər ˈɛni əkˈwɑtɪk ˈviɪkəl ʃʊd bi ˈsoʊəli fər ðə ˈpərpəs əv ˈitɪŋ, ɛz ðeɪ du nɑt fʊlˈfɪl ˈɛni ˈmænˌdeɪts ˈnɛsəˌsɛri fər kəmˈplaɪɪŋ wɪθ ˈfɛdərəl ˈboʊtɪŋ ˈseɪfti ˌrɛgjəˈleɪʃənz. tɪ ðoʊz hu hæv lɔst ə frɛnd ər ə ləvd wən bɪˈkəz əv ðɪs, wi ˈɔfər ɑr ˈdipəst əˈpɑləˌʤiz. ˌædvərˈtaɪzmənt tɪ ˌgɛrənˈti ðə əv ˈɛni ənd ɔl mɪskənˈsɛpʃənz ðət rɪˈzəltɪd frəm ðɪs foʊ pɑz, ˈɔlsoʊ vaʊd tɪ ˌɪnˈklud ə ˈdraʊnɪŋ ˈwɔrnɪŋ ˈleɪbəl ɔn fˈjuʧər bægz əv soʊ kənˈsumərz noʊ nɑt tɪ rɪˈlaɪ ɔn ðə snæk ɛz ə minz əv əkˈwɑtɪk ˈseɪfti. traɪ ɛz ðeɪ maɪt tɪ əˈleɪ ðə ˈdæmɪʤ, meɪ kənˈtɪnju rɪˈgrɛtɪŋ ðɪs mɪˈskælkjəˈleɪʃən fər səm taɪm tɪ kəm. stɪl ənˈklɪr hu wɑz riˈspɑnsəbəl fər ðə ˈdɪzməl dɪˈspleɪ əv ˈʤəʤmənt. huˈɛvər ɪt wɑz ˈbɛtər stɑrt ˈklinɪŋ aʊt ðɛr dɛsk, bɪˈkəz ðɪs wən wɑz ə fər ðə ˈeɪʤɪz.
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today is not a good day to be frito-lay. every company has their missteps, but you really have to stop and wonder how the higher-ups at frito-lay let a fiasco like this happen on their watch: today the multinational snack brand is currently performing some much-needed damage control after printing thousands of bags of cheetos that claimed cheetos could be used as a flotation device.
yup, it’s safe to say someone’s getting fired for this one. take a look at the packaging snafu below:
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yikes! that’s going to leave a stain on the company’s reputation. no matter how good their intentions may have been, labeling their puffed cheese snack as a flotation device only served to blow up in their face. the company has since issued a massive recall of the bags and launched an around-the-clock pr campaign to apologize for suggesting that cheetos would suffice in keeping someone afloat in water.
frito-lay addressed the incident in a contrite press release:
we here at frito-lay are immensely sorry for having misled our customers in claiming that cheetos are an adequate flotation device. it turns out that this is not true. frito-lay cannot vouch for cheetos’ viability as anything but a snack food. in the event that a person is drowning, we strongly discourage lifeguards from responding by strewing armfuls of cheetos into the water. storing cheetos onboard a boat or any aquatic vehicle should be solely for the purpose of eating, as they do not fulfill any mandates necessary for complying with federal boating safety regulations. to those who have lost a friend or a loved one because of this, we offer our deepest apologies.
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to guarantee the erasure of any and all misconceptions that resulted from this faux pas, frito-lay also vowed to include a drowning warning label on future bags of cheetos so consumers know not to rely on the snack as a means of aquatic safety.
try as they might to allay the damage, frito-lay may continue regretting this miscalculation for some time to come. it’s still unclear who was responsible for the dismal display of judgment. whoever it was better start cleaning out their desk, because this one was a screwup for the ages.
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ˈmidiə ˈpleɪˌbæk ɪz ənsəˈpɔrtɪd ɔn jʊr dɪˈvaɪs ˈmidiə ˈkæpʃən ˈaɪˈwɪtnəs ˈnætəli ˈgæli: "aɪ hərd ə juʤ ɪkˈsploʊʒən" ˈtərki həz vaʊd tɪ rɪˈtæliˌeɪt əˈgɛnst ðə ˈpərpəˌtreɪtərz əv ə ˈpaʊərfəl blæst ɪn ðə ˈkæpɪtəl ˈæŋkərə ðət lɛft æt list 28 ˈpipəl dɛd ənd 61 ˈɪnʤərd. "ˈtərki wɪl nɑt ʃaɪ əˈweɪ frəm ˈjuzɪŋ ɪts raɪt tɪ ˌsɛlfdɪˈfɛns æt ˈɛni taɪm, ˈɛni pleɪs ər ˈɛni əˈkeɪʒən," ˈprɛzɪdənt sɛd. əˈfɪʃəlz sɛd ə ˈviɪkəl fʊl əv ɪkˈsploʊsɪvz wɑz ˈdɛtəˌneɪtəd ɛz ˈmɪlɪˌtɛri ˈbəsɪz wər ˈpæsɪŋ baɪ ɔn ˈwɛnzˌdeɪ. fˈjunərəlz ər ɪkˈspɛktɪd tɪ teɪk pleɪs ˈleɪtər ɔn ˈθərzˌdeɪ. noʊ grup həz soʊ fɑr sɛd ɪt wɑz bɪˈhaɪnd ðə əˈtæk. ˈtərki ˈkəntri ˈproʊˌfaɪl ˈtərki ˈvaɪələns: haʊ ˈdeɪnʤərəs ɪz ˌɪnstəˈbɪlɪti? ðə ˈjuˈɛs kənˈdɛmd ðə blæst, wɪθ ˈnæʃənəl sɪˈkjʊrəti ˈkaʊnsəl ˈspoʊksmən nɛd praɪs seɪɪŋ: "wi stænd təˈgɛðər wɪθ ˈtərki, ə ˈneɪtoʊ ˈælaɪ, ə strɔŋ ˈpɑrtnər." ðə blæst ˈhæpənd ɪn ən ˈɛriə kloʊz tɪ ˈpɑrləmɛnt ənd ˈmɪlɪˌtɛri ˈhɛdˌkɔrtərz. lɑrʤ plumz əv smoʊk wər sin ˈraɪzɪŋ frəm ðə ˈɛriə ənd ˈwɪtnəsɪz sɛd ðə blæst wɑz hərd ɔl ˈoʊvər ðə ˈsɪti. səm əv ðə ˈvɪktɪmz wər səˈvɪljənz. ɪn ə ˈsɛpərˌeɪt dɪˈvɛləpmənt ˈleɪtər ɔn ˈwɛnzˌdeɪ, ən ɪkˈsploʊʒən ˈdæmɪʤd ə ˈbɪldɪŋ ˈhaʊzɪŋ ə ˈtərkɪʃ ˈkəlʧərəl ˈsɛntər nɪr ðə sˈwidɪʃ ˈkæpɪtəl ˈstɑˌkhoʊlm, əˈfɪʃəlz sɛd. ˈnoʊwən wɑz ˈɪnʤərd. ɪt ˈhæpənd ɪn fittja*, wɛr ə mæn wɑz ʃɑt dɛd ə fju deɪz əˈgoʊ ˈæftər əˈtɛndɪŋ ə ˈræli. ˈɪmɪʤ ˈkɑpiˌraɪt ˈɪmɪʤ ˈkæpʃən ˈprɛzɪdənt ˈkænsəld hɪz plænd ˈvɪzɪt tɪ ˌɑzərbaɪˈʤɑn ˈæftər ðə ˈæŋkərə əˈtæk ɪn ə ˈsteɪtmənt riˈlist ˈsɛvərəl aʊərz ˈæftər ðə ˈæŋkərə əˈtæk, ˈprɛzɪdənt sɛd: "ɑr dɪˌtərməˈneɪʃən tɪ rɪˈtæliˌeɪt tɪ ðiz əˈtæks, ɪn ˈtərki ənd əˈbrɔd, wɪʧ eɪm æt ɑr ˈjunɪti, təˈgɛðərnəs ənd fˈjuʧər, ɪz ˌɪnˈkrisɪŋ wɪθ səʧ ˈækʃənz." ˈmɪstər ˈkænsəld ə plænd trɪp tɪ ˌɑzərbaɪˈʤɑn ɔn ˈθərzˌdeɪ, waɪl praɪm ˈmɪnɪstər ˈɔlsoʊ sɛd hi wʊd nɑt goʊ tɪ ˈbrəsəlz wɛr hi wɑz du tɪ əˈtɛnd ˈmitɪŋz əˈbaʊt ðə ˈrɛfjuʤi ˈkraɪsəs ɪn ˈjʊrəp. ˈminˌwaɪl, ˈdɛpjəti praɪm ˈmɪnɪstər dɪˈskraɪbd ðə əˈtæk, wɪʧ ˈhæpənd æt əˈbaʊt ˈloʊkəl taɪm), ɛz ən "ækt əv ˈtɛrəˌrɪzəm". sɪˈkjʊrəti ˈfɔrsɪz ˈkɛrid aʊt ə kənˈtroʊld ɪkˈsploʊʒən ɔn ə ˈsəˌspɛkt ˈpækɪʤ ˈæftər ðə blæst. ˈtərki həz bɪn hɪt baɪ ə ˈsɪriz əv əˈtæks ɪn ˈrisənt mənθs, ənd ðɛr hæv bɪn ˌɪnˈkrisɪŋ kənˈsərnz ðət ðə ˈkəntri kʊd bi ˈtɑrgətɪd baɪ əˈnəðər bɪg əˈtæk. ɪt ɪz nɑt klɪr hu wɑz bɪˈhaɪnd ðə blæst ɪn ˈæŋkərə. sɪˈkjʊrəti ˈsɔrsəz bleɪmd boʊθ ˈsoʊˈkɔld ˌɪzˈlɑmɪk steɪt (ɪz) ənd ˈmɪlətənts frəm ðə bænd ˈkərdɪˌstæn ˈwərkərz ˈpɑrti (pkk*), ˈrɔɪtərz ˌriˈpɔrtəd. ə ˈgəvərnmənt ˈspoʊksmən sɛd ðə əˈtæk hæd bɪn wɛl plænd. ˈrisənt əˈtæks ɪn ˈtərki ˈʤænjuˌɛri 2016 æt list 10 ˈpipəl, ˈmoʊstli ˈʤərmən ˈtʊrɪsts, ər kɪld ɪn ə səˈspɛktɪd ɪz ˈsuɪˌsaɪd ˈbɑmɪŋ ɪn ˌɪstɑnˈbul æt list 10 ˈpipəl, ˈmoʊstli ˈʤərmən ˈtʊrɪsts, ər kɪld ɪn ə səˈspɛktɪd ɪz ˈsuɪˌsaɪd ˈbɑmɪŋ ɪn ˌɪstɑnˈbul ɑkˈtoʊbər 2015 mɔr ðən ə ˈhənərd ˈpipəl ər kɪld ɪn ə ˈbɑmɪŋ æt ə ˈkərdɪʃ pis ˈræli ɪn ˈæŋkərə mɔr ðən ə ˈhənərd ˈpipəl ər kɪld ɪn ə ˈbɑmɪŋ æt ə ˈkərdɪʃ pis ˈræli ɪn ˈæŋkərə ˌʤuˈlaɪ 2015 ɪn ðə ˌprɪˈdɑmənənˌtli ˈkərdɪʃ taʊn əv suruc*, nɪr ðə ˈsɪriən ˈbɔrdər, ˈoʊvər 30 ˈpipəl ər kɪld ɪn ə ˈsuɪˌsaɪd ˈbɑmɪŋ, əˈgɛn bleɪmd ɔn ɪz ðə həz bɪn ˈfaɪtɪŋ fər əˈtɑnəmi fər ˈtərkiz ˈkərdɪʃ məˈnɔrəti fər ˈdɛkeɪdz ənd həz ˈkɛrid aʊt ˈrɛgjələr əˈtæks ɔn ˈtərkɪʃ sɪˈkjʊrəti ˈfɔrsɪz. ðə blæst ɪn ˈæŋkərə kəmz ɛz ˈtərki stɛps əp ɪts ˌɪnˈvɑlvmənt ɪn ðə ˈkɑnflɪkt ɪn ˈneɪbərɪŋ ˈsɪriə. ɪt həz bɪn ˈʃɛlɪŋ ðə ˈkərdɪʃ mɪˈlɪʃə ɪn ˈnɔrðərn ˈsɪriə, hu ɪt siz ɛz ˈæˌlaɪd tɪ ðə. ˈtərki həz ˈɔlsoʊ əˈlaʊd ə ˌkoʊəˈlɪʃən ˈbɑmɪŋ ɪz tɪ juz wən əv ɪts ɛr ˈbeɪsɪz.
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media playback is unsupported on your device media caption eyewitness natalie galley: "i heard a huge explosion"
turkey has vowed to retaliate against the perpetrators of a powerful blast in the capital ankara that left at least 28 people dead and 61 injured.
"turkey will not shy away from using its right to self-defence at any time, any place or any occasion," president recep tayyip erdogan said.
officials said a vehicle full of explosives was detonated as military buses were passing by on wednesday.
funerals are expected to take place later on thursday.
no group has so far said it was behind the attack.
turkey country profile
turkey violence: how dangerous is instability?
the us condemned the blast, with national security council spokesman ned price saying: "we stand together with turkey, a nato ally, a strong partner."
the blast happened in an area close to parliament and military headquarters.
large plumes of smoke were seen rising from the area and witnesses said the blast was heard all over the city.
some of the victims were civilians.
in a separate development later on wednesday, an explosion damaged a building housing a turkish cultural centre near the swedish capital stockholm, officials said. no-one was injured. it happened in fittja, where a man was shot dead a few days ago after attending a pro-kurdish rally.
image copyright epa image caption president erdogan cancelled his planned visit to azerbaijan after the ankara attack
in a statement released several hours after the ankara attack, president erdogan said: "our determination to retaliate to these attacks, in turkey and abroad, which aim at our unity, togetherness and future, is increasing with such actions."
mr erdogan cancelled a planned trip to azerbaijan on thursday, while prime minister ahmet davutoglu also said he would not go to brussels where he was due to attend meetings about the refugee crisis in europe.
meanwhile, deputy prime minister bekir bozdag described the attack, which happened at about 16:30 gmt (18:30 local time), as an "act of terrorism".
security forces carried out a controlled explosion on a suspect package after the blast.
turkey has been hit by a series of attacks in recent months, and there have been increasing concerns that the country could be targeted by another big attack.
it is not clear who was behind the blast in ankara. security sources blamed both so-called islamic state (is) and militants from the banned kurdistan workers party (pkk), reuters reported.
a government spokesman said the attack had been well planned.
recent attacks in turkey
january 2016 : at least 10 people, mostly german tourists, are killed in a suspected is suicide bombing in istanbul
: at least 10 people, mostly german tourists, are killed in a suspected is suicide bombing in istanbul october 2015 : more than a hundred people are killed in a double-suicide bombing at a kurdish peace rally in ankara
: more than a hundred people are killed in a double-suicide bombing at a kurdish peace rally in ankara july 2015: in the predominantly kurdish town of suruc, near the syrian border, over 30 people are killed in a suicide bombing, again blamed on is
the pkk has been fighting for autonomy for turkey's kurdish minority for decades and has carried out regular attacks on turkish security forces.
the blast in ankara comes as turkey steps up its involvement in the conflict in neighbouring syria.
it has been shelling the kurdish ypg militia in northern syria, who it sees as allied to the pkk.
turkey has also allowed a us-led coalition bombing is to use one of its air bases.
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rɛpriˈzɛtətɪv. ˈkɛrən bæs ʤɔɪnd ˌɛʤəˈkeɪʃən ˈædvəˌkeɪts æt ðə 2013 ˈneɪʃən tɪ dɪˈskəs ðə ˈstudənt loʊn dɛt ˈkraɪsəs ɪn əˈmɛrɪkə. ˈɛvriˌwən əˈgrid: wi nid ˌproʊˈæktɪv səˈluʃənz tɪ ɪnˈʃʊr tru ˈkɑlɪʤ ˌæksɛsəˈbɪlɪti ənd əˌfɔrdəˈbɪləti. ðə ˈprɑbləm ɛz ju meɪ noʊ, ˈtoʊtəl ˌaʊtˈstændɪŋ ˈstudənt loʊn dɛt ɪn əˈmɛrɪkə həz sərˈpæst ðə 1 ˈtrɪljən mɑrk. ɪt həz ˈaʊtˌpeɪst ˈkrɛdɪt kɑrd dɛt, ˈɔtoʊ dɛt, ənd ɪz ˈsɛkənd ˈoʊnli tɪ ˈmɔrgɪʤ dɛt ɪn əˈmɛrɪkə. ɪn fækt, ə ˈrisənt ˈstədi ʃoʊz ðət ˈstudənt loʊn dɛt ɪz ðə ˈoʊnli taɪp əv kənˈsumər dɛt ɪn əˈmɛrɪkə ðət həz ˈæˌkʧuəli ˌɪnˈkrist ˈdʊrɪŋ ðə "greɪt ˌriˈsɛʃən" ənd ðə ˈprɑbləm ˈoʊnli kənˈtɪnjuz tɪ ˈwərsən. ɛz ə rɪˈzəlt əv ðiz dɛts, ˈmɪljənz əv əˈmɛrɪkənz ər nɑt baɪɪŋ kɑz, ˈpərʧəsɪŋ hoʊmz, ˈstɑrtɪŋ ˈbɪznɪsɪz, ər ˈəðərˌwaɪz ˈriəˌlaɪzɪŋ ðə əˈmɛrɪkən drim. səm ˈlɔˌmeɪkərz θɪŋk ðə ˈprɑbləm ɪz sɑlvd bɪˈkəz ˈkɑŋgrəs ˈrisəntli pæst ðə baɪˈpɑrtɪzən ˈstudənt loʊn ˈsərtənti ækt, bət ðɪs bɪl ˈdəzənt goʊ fɑr ɪˈnəf. ˌɪnˈstɛd əv ˈmeɪkɪŋ ʃʊr ˈstrəgəlɪŋ ˈbɑroʊərz hæv ðə rɪˈlif ðeɪ nid, ðə bɪl traɪz tɪ ðə peɪ ɑr ˈnæʃənəl dɛt ɔn ðə bæks əv ˈstudənts. ðə səˈluʃən wi nid ə fɛr ənd ˈsɪmpəl ˈfɛdərəl ˈstudənt loʊn riˈpeɪmənt ˈsɪstəm ənd wɪʧ siks tɪ əˈliviˌeɪt ðə ˌfaɪˈnænʃəl ˈbərdən əv ˈstudənt loʊn dɛt ɔn ˈkɑlɪʤ ˈgræʤəˌweɪts ənd səˈpɔrt ðɛm ɛz ðeɪ bɪˈgɪn ðɛr kərɪrz ənd lɪvz. baɪ kriˈeɪtɪŋ ən ˈɛkwɪtəbəl ˈsɪstəm tɪ iz ˈstudənt loʊn dɛt wi kən ˈlɛsən ðə ˌfaɪˈnænʃəl ˌɪmˈpækt ɔn ðə nɛkst ˌʤɛnərˈeɪʃən waɪl ðə ɪˈkɑnəmi, kriˈeɪtɪŋ ʤɑbz ənd prəˈmoʊtɪŋ ˌfaɪˈnænʃəl riˌspɑnsəˈbɪləti fər haɪər ˌɛʤəˈkeɪʃən. ˈsəməri əv ðə ˈstudənt loʊn ˈfɛrnəs ækt ðɪs ˌlɛʤəsˈleɪʃən ɪz ə ˌkɑmbəˈneɪʃən əv tu bɪlz frəm ðə ˈkɑŋgrəs: rɛpriˈzɛtətɪv. ˈhænsən klɑrks ˈstudənt loʊn fərˈgɪvnəs ækt (h.r*. 4170 ɛz wɛl ɛz ðə ˈgræʤəˌweɪt səkˈsɛs ækt (h.r*. 5895 ɪf pæst, ðɪs ˌlɛʤəsˈleɪʃən wʊd ɪˈstæblɪʃ ə nu ˈstændərd fər ˈstudənt loʊn riˈpeɪmənt ɛz ðə nu ˈstændərd riˈpeɪmənt plæn. ɪn ðə plæn, ən ˌɪndəˈvɪʤəwəl wʊd bi rikˈwaɪərd tɪ meɪk tɛn jɪrz əv ˈpeɪmənts æt 10 əv ðɛr dɪˈskrɛʃəˌnɛri ˈɪnˌkəm, ˈæftər wɪʧ, ðɛr rɪˈmeɪnɪŋ ˈfɛdərəl ˈstudənt loʊn dɛt wʊd bi fərˈgɪvən. ðə ˈstudənt loʊn ˈfɛrnəs ækt wʊd ˈɔlsoʊ ˈkɑmbæt ˈkrəʃɪŋ ˈɪntəˌrɛst reɪts əv ˈpəblɪk ənd ˈpraɪvət loʊnz baɪ ˈkæpɪŋ ˈfɛdərəl ˈɪntəˌrɛst reɪts æt ənd əˈlaʊɪŋ ɪgˈzɪstɪŋ ˈbɑroʊərz huz ˌɛʤəˈkeɪʃənəl loʊn dɛt ɪkˈsidz ðɛr ˈɪnˌkəm tɪ ˈkɑnvərt ðɛr ˈpraɪvət loʊn dɛt ˈɪntu ˈfɛdərəl dɪˈrɛkt loʊnz, ðɛn ɛnˈroʊlɪŋ ðɛr nu ˈfɛdərəl loʊnz ˈɪntu ðə ˈproʊˌgræm. ðɪs bɪl wərks tɪ ˈʤəmpˌstɑrt ðə ɪˈkɑnəmi ənd ædz tɪ ðə ˈpəblɪk ˈsərvɪs ˈwərkˌfɔrs baɪ rɪˈwɔrdɪŋ ˈstudənts hu ˈɛnər ˈpəblɪk ˈsərvɪs prəˈfɛʃənz ənd wərk ɪn ˌəndərˈsərvd kəmˈjunɪtiz wɪθ ə rɪˈdust ˈpɪriəd fər loʊn fərˈgɪvnəs. ðə ˈstudənt loʊn ˈfɛrnəs ækt ˈɔlsoʊ sɛndz ə ˈlaɪˌflaɪn tɪ ˈstudənt ˈbɑroʊərz hu hæv ˈfɑlən ɔn ˈdɪfəkəlt taɪmz. ðə bɪl siks tɪ ɪnˈʃʊr ðət noʊ wən wɪl bi pʊʃt ˈɪntu ˈpɑvərti bɪˈkəz əv ˈɪlnəs ər lɔs əv ðɛr ʤɑb ənd ɪkˈstɛndz dɪˈfərmənts tɪ ˌənɛmˈplɔɪd ˈbɑroʊərz əv ənˈsəbsəˌdaɪzd ˈfɛdərəl ˈstudənt loʊnz ənd ðoʊz ɛnˈroʊld ɪn ðə riˈpeɪmənt plæn. ɪt ˈɔlsoʊ siks tɪ ˌriˈpleɪs ðə ˈkɑrənt, 10 jɪr riˈpeɪmənt plan”*” fər ðə fʊl əˈmaʊnt əv ðə loʊn ˈbæləns wɪθ ðə plæn ɛz ðə dɪˈfɔlt riˈpeɪmənt ˈɔpʃən fər ˈbɑroʊərz ˈɛnərɪŋ riˈpeɪmənt. ðə ˈfaɪnəl kəmˈpoʊnənt əv ðə ˌlɛʤəsˈleɪʃən prəˈmoʊts ˌfaɪˈnænʃəl riˌspɑnsəˈbɪləti ɪn haɪər ˌɛʤəˈkeɪʃən ənd ˈstudənts tɪ bi ˈmaɪndfəl əv ˌɛʤəˈkeɪʃənəl kɔsts ənd fər ˈkɑlɪʤɪz ənd ˌjunəˈvərsətiz tɪ kənˈtroʊl tjuˈɪʃən ˌɪnˈkrisɪz. ˈstætəs ðə bɪl wɑz ˌɪntrəˈdust ɔn mɑrʧ 21 2013 ənd wɑz rɪˈfərd tɪ ðə ˌɛʤəˈkeɪʃən ˈwərkˌfɔrs kəˈmɪti. səˈpɔrtərz juˈnaɪtɪd steɪts ˈstudənt əˌsoʊʃiˈeɪʃən (ussa*), ˈstudənt dɛt ˈkraɪsəs, usaction*, əˈmɛrɪkən ˌfɛdərˈeɪʃən əv ˈtiʧərz, ðə əˈmɛrɪkən əˌsoʊʃiˈeɪʃən əv kəˈliʤɪt ˈrɛʤɪˌstrɑrz ənd ədˈmɪʃənz ˈɔfɪsərz (aacrao*), ðə əˈmɛrɪkən ˌɑstiəˈpæθɪk əˌsoʊʃiˈeɪʃən, ðə ˈstudənt ˈleɪbər ˈækʃən ˈprɑʤɛkt, ʤɑbz wɪθ ˈʤəstɪs əˈmɛrɪkən raɪts æt wərk, əˈmɛrɪkən əˌsoʊʃiˈeɪʃən əv ˈkɑlɪʤɪz əv ˌɑstiəˈpæθɪk ˈmɛdəsən, ðə nɑn kəˈmɪʃənd ˈɔfɪsərz əˌsoʊʃiˈeɪʃən, ˈstudənt ˈnɛtˌwərk, ðə əˈmɛrɪkən ˈstudənt əˌsoʊʃiˈeɪʃən əv kəmˈjunɪti ˈkɑlɪʤɪz, əˈmɛrɪkən əˌsoʊʃiˈeɪʃən əv ˌjunəˈvərsəti prəˈfɛsərz æd jʊr neɪm tɪ ðə lɪst əv ˈsɪtɪzənz hu səˈpɔrt ðɪs bɪl baɪ ˈfɪlɪŋ ɪn jʊr ˌɪnˌfɔrˈmeɪʃən bɪˈloʊ:
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rep. karen bass joined education advocates at the 2013 netroots nation to discuss the student loan debt crisis in america. everyone agreed: we need proactive solutions to ensure true college accessibility and affordability.
the problem
as you may know, total outstanding student loan debt in america has surpassed the $1 trillion mark. it has outpaced credit card debt, auto debt, and is second only to mortgage debt in america. in fact, a recent study shows that student loan debt is the only type of consumer debt in america that has actually increased during the "great recession" and the problem only continues to worsen.
as a result of these debts, millions of americans are not buying cars, purchasing homes, starting businesses, or otherwise realizing the american dream.
some lawmakers think the problem is solved because congress recently passed the bipartisan student loan certainty act, but this bill doesn't go far enough. instead of making sure struggling borrowers have the relief they need, the bill tries to the pay our national debt on the backs of students.
the solution
we need a fair and simple federal student loan repayment system and which seeks to alleviate the financial burden of student loan debt on college graduates and support them as they begin their careers and lives.
by creating an equitable system to ease student loan debt we can lessen the financial impact on the next generation while jumpstarting the economy, creating jobs and promoting financial responsibility for higher education.
summary of the student loan fairness act
this legislation is a combination of two bills from the 112th congress: rep. hansen clarke's student loan forgiveness act (h.r. 4170), as well as the graduate success act (h.r. 5895).
if passed, this legislation would establish a new “10-10” standard for student loan repayment as the new standard repayment plan. in the “10-10” plan, an individual would be required to make ten years of payments at 10% of their discretionary income, after which, their remaining federal student loan debt would be forgiven.
the student loan fairness act would also combat crushing interest rates of public and private loans by capping federal interest rates at 3.4% and allowing existing borrowers whose educational loan debt exceeds their income to convert their private loan debt into federal direct loans, then enrolling their new federal loans into the 10/10 program.
this bill works to jumpstart the economy and adds to the public service workforce by rewarding students who enter public service professions and work in underserved communities with a reduced period for loan forgiveness.
the student loan fairness act also sends a lifeline to student borrowers who have fallen on difficult times. the bill seeks to ensure that no one will be pushed into poverty because of illness or loss of their job and extends interest-free deferments to unemployed borrowers of unsubsidized federal student loans and those enrolled in the “10-10” repayment plan. it also seeks to replace the current, 10 year “standard repayment plan” for the full amount of the loan balance with the “10-10” plan as the default repayment option for borrowers entering repayment.
the final component of the legislation promotes financial responsibility in higher education and incentivizes students to be mindful of educational costs and for colleges and universities to control tuition increases.
status
the bill was introduced on march 21, 2013 and was referred to the education & workforce committee.
supporters
united states student association (ussa), student debt crisis, usaction, american federation of teachers, the american association of collegiate registrars and admissions officers (aacrao), the american osteopathic association, the student labor action project, jobs with justice / american rights at work, american association of colleges of osteopathic medicine, the non commissioned officers association, iiron student network, the american student association of community colleges, american association of university professors & naacp
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ˈmidiə ˈpleɪˌbæk ɪz nɑt səˈpɔrtɪd ɔn ðɪs dɪˈvaɪs ˈbrɪtɪʃ grænd pri ɪn 90 ˈsɛkəndz ˈæftər fərˈnɑndoʊ ˌɪmˈprɛsɪv ˈvɪktəri ɪn ðə ˈbrɪtɪʃ grænd pri, ðɛr wɑz ə bɪˈlif ɪn səm kˈwɔrtərz ðət fərˈɑri hæd ˈbɛnəˌfɪtɪd frəm ðə ʧeɪnʤ tɪ ðə rulz ðət wɑz ˌɪntrəˈdust fər ðə ˈwiˌkɪnd. ðə fɔr deɪz əv ˈsɪlvərˌstoʊn wər ˈdɑməˌneɪtəd baɪ ə ˈklæsɪk ˈfɔrmjələ 1 roʊ ˈoʊvər ə ˈkɑmpləˌkeɪtəd tɛkˈnɑləʤi ðət ɪz ˈdɪfəkəlt fər ðə ˈʤɛnərəl ˈɔdiəns tɪ ˌəndərˈstænd, bət ˈvɛri ˌɪnfluˈɛnʃəl ɔn ðə pərˈfɔrməns əv ðə kɑz. fərˈɑri wər ˈvɛri kwaɪət θru ɔl ðə ˌɪnˈkrisɪŋgli ˈbɪtər roʊz ˈoʊvər bloʊɪŋ əv ə tɛkˈnɑləʤi ˌpaɪəˈnɪrd baɪ rɛd bʊl wɪθ wɪʧ timz geɪn ˈɛkstrə frəm bloʊɪŋ ɪgˈzɔst ˈgæsɪz ˈoʊvər ðə rɪr əv ðə kɑr ˈivɪn wɪn ðə ˈdraɪvər ɪz nɑt ˈprɛsɪŋ ðə ækˈsɛlərˌeɪtər. pərˈhæps bɪˈkəz əv ˈsaɪləns, ðɛr wɑz ə ˈwaɪdˈsprɛd prɪˈzəmpʃən ðət ðə ˈifɛktɪv bæn ɔn ðə tɛkˈnɑləʤi fər ˈsɪlvərˌstoʊn hæd ðɛm. bət ðoʊz ɪkˈspɛktɪŋ fərˈɑri tɪ fɔl bæk əˈgɛn frəm ðə nɛkst reɪs ɪn ˈʤərməni, wɛr bloʊɪŋ wɪl bi əˈlaʊd əˈgɛn, maɪt bi səˈpraɪzd. ðɛr ɪz ˈɛvəri ˈɛvədəns tɪ səˈʤɛst ðət kəmˈpɛtɪtɪv lip ˈfɔrwərd wɑz mɔr tɪ du wɪθ ə ˈmeɪʤər dɪˈvɛləpmənt ðeɪ ˌɪntrəˈdust ɔn ðɛr kɑr æt ˈsɪlvərˌstoʊn ðən ˈɛni ˈʧeɪnʤɪz ɪn ðə ˌɪnˌtərprɪˈteɪʃən əv ðə rulz. fərˈɑri tərnd əp æt ˈsɪlvərˌstoʊn ðə sɔrt əv ˈhaɪˌspid, ˈsərkət ɔn wɪʧ ɪts kɑz hæv ˈrɛzəˌlutli rɪfˈjuzd tɪ pərˈfɔrm fər ðə læst fju jɪrz ənd ʃoʊd rɛd peɪs, ðə ˈbɛˌdrɑk əv ˈvɪktəri ðɛr. ðə fərˈɑri əv ðə læst fju ˈsizənz həz bɪn strɔŋ ˈəndər ˈbreɪkɪŋ ənd ˈtrækʃən ənd ˈðɛrˌfɔr ɔn træks laɪk ˈmɑnəˌkoʊ, ˌməntriˈɔl ənd vəˈlɛnsiə. bət ɪt həz bɪn bərˈɛft əv ˈhaɪˌspid, səʧ ɛz wɑz sin ðɪs ˈsizən æt ˌbɑrsɪˈloʊnə, wɛr ɪt kˈwɑləˌfaɪd mɔr ðən ə ˈsɛkənd ɔf rɛd bʊl ənd, dɪˈspaɪt ˈstɑrɪŋ ˈkæmiˌoʊ ðət əˈlaʊd ɪm tɪ lɛd, ˈfɪnɪʃt ə læpt fɪθ. bət baɪ ðə taɪm əv ðət ˌbɑrsɪˈloʊnə reɪs, fərˈɑri wər ɔˈrɛdi ˈwərkɪŋ ɔn ðə ˈəpˌgreɪdz ðət əˈpɪrd æt ˈsɪlvərˌstoʊn, beɪst ɔn ðɛr nu ˌəndərˈstændɪŋ əv ˈprɑbləmz ðət hæd lɛd ðɛm ˈɪntu ˈdɪfɪˌkəltiz æt ðə stɑrt əv ðə ˈsizən. ðə ɪgˈzɔst həz bɪn re-positioned*, ðə ˈəpər æt ðə rɪr ɪkˈstɛnsɪvli re-profiled*, ðɛr ɪz ə nu rɪr wɪŋ ənd flɔr. ɪn ˈifɛkt, ɪt ɪz ə ˌɛvəˈluʃən əv ðə ərˈɪʤənəl kɑr. æt ˈsɪlvərˌstoʊn, ˈsədənli ðə fərˈɑri kʊd gɪt ðə hɑrd pɪˈrɛli ˈwərkɪŋ fər ðə fərst taɪm ənd ɪt noʊ ˈlɔŋgər ˈstrəgəld tɪ gɪt ðə ˌɪnərˈmidiɪt taɪərz kˈwɪkli əp tɪ ˈtɛmpərəʧər. ðət ˌɪmˈplaɪz ə sɪgˈnɪfɪkənt bust ɪn nɑt ðət ðə ˌrɛgjəˈleɪʃənz hæd brɔt ˈɛvriˌwən bæk tɪ ˈpriviəs ˈlɛvəl. ðə ˈsɪlvərˌstoʊn ˌrɛgjəˈleɪʃənz meɪ ɪn ˈθɪri hæv rɪˈdust ˈɛvriˌwənz, bət ðɛr wɑz ˈɛvəri ˌɪndəˈkeɪʃən ðət ðə fərˈɑri hæd mɔr ðən ˌbiˈfɔr rəˈgɑrdləs, bɪˈkəz əv ðə ˈpoʊtənsi əv ɪts ˈəpˈgreɪd. əˈneɪbəl tɪ riʧ ə ˈwərkəbəl ˌɪnˌtərprɪˈteɪʃən ðət ɔl ˈɛnʤənz ənd kɑr dɪˈzaɪnz ˈikwəli, ðə ˈgəvərnɪŋ ˈbɑdi həz əˈgrid tɪ rɪˈvərt bæk tɪ ðə ˌɪnˌtərprɪˈteɪʃən əv ðə ˌrɛgjəˈleɪʃənz frəm ðə nɛkst reɪs ɪn ˈʤərməni. ðɪs wɪl əˈlaʊ bæk ə mɔr ˈpaʊərfəl bloʊɪŋ əv ðən wɑz pərˈmɪtɪd æt ˈsɪlvərˌstoʊn. ðɛr ɪz noʊ ˈrizən tɪ səˈpoʊz ðət ðɪs wɪl hərt fərˈɑri. ˈmidiə ˈpleɪˌbæk ɪz nɑt səˈpɔrtɪd ɔn ðɪs dɪˈvaɪs ˈsɪlvərˌstoʊn wɪn 'nis səˈpraɪz' fər fərˈnɑndoʊ əˈlɑnsoʊ bət ɪt ʃʊd hɛlp məˈklɛrən. ðə əˈpɪrd ˌpɑrˈtɪkjələrli tɪ ðə ˈsɪlvərˌstoʊn ˌrɛgjəˈleɪʃənz, ɛz ɪf ðə rɪˈdust wɑz rɪˈvilɪŋ ə lɔt əv ˌəndərˈlaɪɪŋ ˈprɑbləmz wɪθ ðə kɑr. ɪt əˈpɪrd ɛz ɪf ə ˈvɛri ˈdɛləkət riˈleɪʃənˌʃɪp bɪtˈwin ɪts ˈvɛriəs ˈsɪstəmz hæd bɪn ˈəpˌsɛt baɪ ə ˈkruʃəl ʧeɪnʤ. ɪt wɑz nɑt ɛz bæd ɛz ɪt əˈpɪrd ɪn kˈwɑləˌfaɪɪŋ, ðə reɪs rɪˈvilɪŋ ə sˈlaɪtli ˈbraɪtər ˈpɪkʧər, bət ɪt wɑz stɪl ˈoʊnli ə ˈʃæˌdoʊ əv ðə kɑr ðət hæd səˈbæsʧən rɛd bʊl ɪn ˈʧaɪnə, ˌbɑrsɪˈloʊnə, ˈmɑnəˌkoʊ ənd ˌməntriˈɔl. ðɛr wɪl ˈdaʊtləs bi ə lɔt əv rɪˈlif æt məˈklɛrən ðət ðə fʊl bloʊɪŋ əv wɪl bi bæk frəm ðə nurburgring*. bət pərˈhæps ðə ˈbɪgəst ˈlɛsən tɪ ˈimərʤ frəm ðə ɪˈvɛnts əv ˈsɪlvərˌstoʊn ɪz ðət ðə rɛd bʊl rɪˈmeɪnz ə ˌfɔrˈmɪdəbəl reɪs kɑr rəˈgɑrdləs əv wət ɪz dən wɪθ ðə ˌrɛgjəˈleɪʃənz. ðiz ər noʊ mɔr ðə ˈmæʤɪk ˈbʊlət əv ðət kɑrz pərˈfɔrməns ðən ˈɛni əv ðə ˈəðər ˈfiʧərz kleɪmd baɪ ˈraɪvəlz ˈoʊvər ðə pæst tu ˈsizənz. ðə ˈmæʤɪk ˈbʊlət ɪz ə tɔl, bɔld gaɪ wɪθ ə dɪˈstræktɪd lʊk ðə timz dɪˈzaɪn ʧif, ˈeɪdriən nui.
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media playback is not supported on this device british grand prix in 90 seconds
after fernando alonso's impressive victory in the british grand prix, there was a belief in some quarters that ferrari had benefited from the change to the rules that was introduced for the weekend.
the four days of silverstone were dominated by a classic formula 1 row over a complicated technology that is difficult for the general audience to understand, but very influential on the performance of the cars.
ferrari were very quiet through all the increasingly bitter rows over off-throttle blowing of diffusers - a technology pioneered by red bull with which teams gain extra downforce from blowing exhaust gases over the rear of the car even when the driver is not pressing the accelerator.
perhaps because of ferrari's silence, there was a widespread presumption that the effective ban on the technology for silverstone had favoured them.
but those expecting ferrari to fall back again from the next race in germany, where off-throttle blowing will be allowed again, might be surprised.
there is every evidence to suggest that ferrari's competitive leap forward was more to do with a major development they introduced on their car at silverstone than any changes in the interpretation of the rules.
ferrari turned up at silverstone - the sort of high-speed, aerodynamically-demanding circuit on which its cars have resolutely refused to perform for the last few years - and showed red bull-matching pace, the bedrock of alonso's victory there.
the ferrari of the last few seasons has been strong under braking and traction - and therefore on stop/start tracks like monaco, montreal and valencia.
but it has been bereft of high-speed downforce, such as was seen this season at barcelona, where it qualified more than a second off red bull and, despite alonso's starring cameo that allowed him to lead, finished a lapped fifth.
but by the time of that barcelona race, ferrari were already working on the upgrades that appeared at silverstone, based on their new understanding of wind-tunnel problems that had led them into difficulties at the start of the season.
the exhaust has been re-positioned, the upper bodywork at the rear extensively re-profiled, there is a new rear wing and floor. in effect, it is a b-spec evolution of the original car.
at silverstone, suddenly the ferrari could get the hard pirelli working for the first time and it no longer struggled to get the intermediate tyres quickly up to temperature.
that implies a significant boost in downforce - not that the diffuser regulations had brought everyone back to ferrari's previous level.
the silverstone regulations may in theory have reduced everyone's off-throttle downforce, but there was every indication that the ferrari had more downforce than before regardless, because of the potency of its upgrade.
unable to reach a workable off-throttle diffuser interpretation that penalised all engines and car designs equally, the governing body has agreed to revert back to the pre-silverstone interpretation of the regulations from the next race in germany.
this will allow back a more powerful off-throttle blowing of diffusers than was permitted at silverstone. there is no reason to suppose that this will hurt ferrari.
media playback is not supported on this device silverstone win 'nice surprise' for fernando alonso
but it should help mclaren.
the mp4-26 appeared particularly ill-suited to the silverstone regulations, as if the reduced off-throttle downforce was revealing a lot of underlying problems with the car.
it appeared as if a very delicate relationship between its various systems had been upset by a crucial change.
it was not as bad as it appeared in qualifying, the race revealing a slightly brighter picture, but it was still only a shadow of the car that had terrorised sebastian vettel's red bull in china, barcelona, monaco and montreal.
there will doubtless be a lot of relief at mclaren that the full blowing of diffusers will be back from the nurburgring.
but perhaps the biggest lesson to emerge from the events of silverstone is that the red bull remains a formidable race car regardless of what is done with the off-throttle diffuser regulations.
these are no more the magic bullet of that car's performance than any of the other features claimed by rivals over the past two seasons.
the magic bullet is a tall, bald guy with a distracted look - the team's design chief, adrian newey.
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ˈfɪlɪps ˈspɔrtɪŋ ˈpæʃən lɪvz ɔn ɪn ðə fɔrm əv ˈkɛrəʤ ˈdraɪvɪŋ ðə duk əv ˈɛdənbəroʊ həz ˈsəfərd ə "ˈmaɪnər ˈɪnʤəri" tɪ hɪz ˈæŋkəl waɪl ˈkɛrəʤ ˈdraɪvɪŋ æt ðə ˈwɪnzər ɛˈsteɪt, ˈbəkɪŋˌhæm ˈpæləs həz sɛd. prɪns ˈfɪlɪp, 88 wɑz wɪθ ə ˈfiˌmeɪl grum wɪn ðɛr ˈpoʊniz ræn əˈweɪ ənd ðə ˈkɛrəʤ hɪt ə tri stəmp. hi ˈsəfərd ˈbruzɪŋ ənd dɪd nɑt nid tɪ goʊ tɪ ˈhɑˌspɪtəl bət ðə grum wɑz ˈtritɪd fər ən ˈɛlˌboʊ ˈɪnʤəri. ˈərliər ðɪs mənθ, hɪz ˈdɔtərɪnˌlɔ, ðə ˈdəʧəs əv ˈkɔrnwɔl, ˈfrækʧərd hər lɛg waɪl ɪn ˈskɑtlənd. ˈspɔrtɪŋ ˈɪnʤəri ə ˈspoʊksˌwʊmən sɛd: "ðə duk həz ə ˈmaɪnər ˈɪnʤəri tɪ hɪz ˈæŋkəl ənd dɪd nɑt nid ˈhɑˌspɪtəl ˈtritmənt. hi həz bɪn aʊt ənd əˈbaʊt ɛz ˈnɔrməl ðɪs ˌæftərˈnun." ɪt ɪz nɑt noʊn wɪʧ ˈæŋkəl ɪz əˈfɛktɪd. ʃi ˈædɪd ðə ˈpoʊniz ˌɪnˈvɑlvd wər ɔl rɪˈkəvərd ənˈhɑrmd. ðə duk ɪz ə kəmˈpɛtɪtɪv ˈkɛrəʤ ˈdraɪvər, ˈhævɪŋ ˈteɪkən əp ðə spɔrt ɪn 1971 hi həz ˌrɛprɪˈzɛnɪd ˈbrɪtən æt ˈsɛvərəl ˌjʊrəˈpiən ənd wərld ˈʧæmpiənˌʃɪps ənd kənˈtɪnjuz tɪ kəmˈpit ɪn ˈkɛrəʤ ˈdraɪvɪŋ wɪθ hɪz tim əv fɛl ˈpoʊniz. [prɪns ˈfɪlɪp] həz hæd ˈsɛvərəl kwaɪt bæd ˈɪnʤəriz ˈkɛrəʤ ˈdraɪvɪŋ wɛr ðə ˈkɛrəʤ həz ˈæˌkʧuəli tərnd ˈoʊvər ˈɪŋgrɪd suərd ˈɪŋgrɪd suərd, ˈɛdɪtər əv ˈmæʤəsti ˈmægəˌzin, toʊld ðə ˌbibiˈsi ðət ðə duk wɑz æt ðə "tɔp əv hɪz tri" ɪn ðə ˈbɪznɪs. ʃi sɛd ðə duks ˈpoʊniz wər "kwaɪt ˈspɪrɪtəd" ənd ðeɪ wər juzd tɪ ˈreɪsɪŋ əraʊnd bɛndz. ʃi ɪkˈspɛktɪd ðə duk hæd bɪn fər ˌkɑmpəˈtɪʃənz ənd wət hæd ˈhæpənd kʊd hæv ˈhæpənd tɪ ˈɛniˌwən. bət ʃi sɛd: "ju kən səˈsteɪn kwaɪt ə ˈnæsti ˈɪnʤəri laɪk ðət. hi həz hæd ˈsɛvərəl kwaɪt bæd ˈɪnʤəriz ˈkɛrəʤ ˈdraɪvɪŋ wɛr ðə ˈkɛrəʤ həz ˈæˌkʧuəli tərnd ˈoʊvər." prɪns ˈfɪlɪp həz hæd ˈsɛvərəl ˈmɛdɪkəl ˈprɑbləmz. waɪl ə ˈpoʊloʊ pleɪər, hi dɪˈvɛləpt ɑrθˈraɪtɪs ɪn hɪz raɪt rɪst ənd synovitis*, ə ˈruməˌtɔɪd kənˈdɪʃən əv ðə ˈtɛndən ɪn ðə hænd. hi ˈɔlsoʊ broʊk ə boʊn ɪn hɪz lɛft ˈæŋkəl waɪl pleɪɪŋ ðə geɪm ɪn 1961 waɪl θri jɪrz ˈleɪtər hi pʊld ə ˈlɪgəmənt ɪn hɪz lɛft ˈʃoʊldər ˈæftər ˈfɑlɪŋ frəm hɪz ˈpoʊˌni. ɪn 2005 hi bruzd hɪz lɛft aɪ ˈæftər sˈlɪpɪŋ ɪn ðə bæθ ənd ɪn 2008 hi wɑz bɪˈkəz əv ə ʧɛst ˌɪnˈfɛkʃən. moʊst ˈrisəntli, ɪn 2009 ðə duk wɑz fɔrst tɪ mɪs ɪnˈgeɪʤmənts bɪˈkəz əv ə bæk ˈɪnʤəri səˈsteɪnd waɪl ˈdraɪvɪŋ ə hɔrs ənd ˈkɛrəʤ. hi ɪz sɛt tɪ əˈtɛnd ən əˈfɪʃəl ˈfəŋkʃən ɪn breɪ ɪn ˈbərkˌʃaɪr ɔn ˈsæˌtɪˌdeɪ. ˈbʊkmɑrk wɪθ: dɪˈlɪʃəs ˈfeɪsˌbʊk wət ər ðiz? ˈiˌmeɪl ðɪs tɪ ə frɛnd ˈprɪntəbəl ˈvərʒən
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philip's sporting passion lives on in the form of carriage driving the duke of edinburgh has suffered a "minor injury" to his ankle while carriage driving at the windsor estate, buckingham palace has said. prince philip, 88, was with a female groom when their ponies ran away and the carriage hit a treeump. he suffered bruising and did not need to go to hospital but the groom was treated for an elbow injury. earlier this month, his daughter-in-law, the duchess of cornwall, fractured her leg while hill-walking in scotland. sporting injury a spokeswoman said: "the duke has a minor injury to his ankle and did not need hospital treatment. he has been out and about as normal this afternoon." it is not known which ankle is affected. she added the ponies involved were all recovered unharmed. the duke is a competitive carriage driver, having taken up the sport in 1971. he has represented britain at several european and world championships and continues to compete in four-in-hand carriage driving with his team of fell ponies. [prince philip] has had several quite bad injuries carriage driving where the carriage has actually turned over
ingrid seward ingrid seward, editor of majesty magazine, told the bbc that the duke was at the "top of his tree" in the business. she said the duke's ponies were "quite spirited" and they were used to racing around bends. she expected the duke had been practising for competitions and what had happened could have happened to anyone. but she said: "you can sustain quite a nasty injury like that. he has had several quite bad injuries carriage driving where the carriage has actually turned over." prince philip has had several sports-related medical problems. while a polo player, he developed arthritis in his right wrist and synovitis, a rheumatoid condition of the tendon in the hand. he also broke a bone in his left ankle while playing the game in 1961, while three years later he pulled a ligament in his left shoulder after falling from his pony. in 2005, he bruised his left eye after slipping in the bath and in 2008, he was hospitalised because of a chest infection. most recently, in 2009, the duke was forced to miss engagements because of a back injury sustained while driving a horse and carriage. he is set to attend an official function in bray in berkshire on saturday.
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wət du ju gɪt ɪf ju dɪˈvaɪd saɪəns baɪ gɑd? ə kˈwɑntəm ˈfɪzɪsɪst sɪz ə ˈspɪrɪˌʧuəl ˌriˈæləˌti ɪz veɪld frəm ˈjuˈɛs, ənd saɪəns ˈɔfərz ə glɪmps bɪˈhaɪnd ðət veɪl. soʊ haʊ du ˈsaɪəntɪsts ˌɪnˈvɛstəˌgeɪtɪŋ ðə ˌfəndəˈmɛnəl ˈneɪʧər əv ðə ˈjunəˌvərs əˈsɛs ˈɛni roʊl əv gɑd, æsks mɑrk ˈvərnən. ðə ˈtɛmpəltən praɪz, əˈwɔrdɪd fər ˌkɑntrəˈbjuʃənz tɪ "əˈfərmɪŋ laɪfs ˈspɪrɪˌʧuəl dɪˈmɛnʃən", həz bɪn wən baɪ frɛnʧ ˈfɪzɪsɪst ˈbərnərd, hu həz wərkt ɔn kˈwɑntəm ˈfɪzɪks wɪθ səm əv ðə moʊst ˈfeɪməs neɪmz ɪn ˈmɑdərn saɪəns. kˈwɑntəm ˈfɪzɪks ɪz ə ˈhjuʤli səkˈsɛsfəl ˈθɪri: ðə priˈdɪkʃənz ɪt meɪks əˈbaʊt ðə bɪˈheɪvjər əv ˌsəbəˈtɑmɪk ˈpɑrtɪkəlz ər ɛkˌstrɔrdəˈnɛrəli ˈækjərət. ənd jɛt, ɪt ˈreɪzɪz proʊˈfaʊnd ˈpəzəlz əˈbaʊt ˌriˈæləˌti ðət rɪˈmeɪn ɛz jɛt tɪ bi ˌəndərˈstʊd. wət ɪz kˈwɑntəm ˈfɪzɪks? ərˈɪʤəˌneɪtəd ɪn wərk kənˈdəktəd baɪ mæks plæŋk ənd ˈælbərt ˈaɪnstaɪn æt stɑrt əv ˈsɛnʧəri ðeɪ dɪˈskəvərd ðət laɪt kəmz ɪn dɪˈskrit ˈpækɪts, ər quanta*, wɪʧ wi kɔl ˈfoʊˌtɑnz ðə ənˈsərtənti ˈprɪnsəpəl sɪz ˈsərtən ˈfiʧərz əv ˌsəbəˈtɑmɪk ˈpɑrtɪkəlz laɪk moʊˈmɛntəm ənd pəˈzɪʃən ˈkænɑt bi noʊn prɪˈsaɪsli æt ðə seɪm taɪm gæps rɪˈmeɪn, laɪk əˈtɛmpts tɪ faɪnd ðə 'gɑd ˈpɑrtɪkəl' ðət ˈsaɪəntɪsts hoʊp tɪ spɑt ɪn ðə lɑrʤ ˈhæˌdrɔn kəˈlaɪdər. ɪt ɪz rikˈwaɪərd tɪ gɪv ˈəðər ˈpɑrtɪkəlz mæs ðə bɪˈzɑr ˈneɪʧər əv kˈwɑntəm ˈfɪzɪks həz əˈtræktəd səm ˌspɛkjəˈleɪʃənz ðət ər ˈwæki bət ðə ˈθɪri səˈʤɛsts tɪ səm ˈsɪriəs ˈsaɪəntɪsts ðət ˌriˈæləˌti, æt ɪts moʊst ˈbeɪsɪk, ɪz ˈpərfəktli kəmˈpætəbəl wɪθ wət maɪt bi kɔld ə ˈspɪrɪˌʧuəl vju əv θɪŋz. səm səˈʤɛst ðət əbˈzərvərz pleɪ ə ki pɑrt ɪn dɪˈtərmənɪŋ ðə ˈneɪʧər əv θɪŋz. ˈlɛʤənˌdɛri ˈfɪzɪsɪst ʤɑn ˈwilər sɛd ðə ˈkɑzmoʊs "həz nɑt ˈrɪli ˈhæpənd, ɪt ɪz nɑt ə fəˈnɑməˌnɑn, ənˈtɪl ɪt həz bɪn əbˈzərvd tɪ ˈhæpən." wərkt wɪθ ˈwilər, ðoʊ hi hɪmˈsɛlf ˈrɛkənz kˈwɑntəm ˈθɪri səˈʤɛsts ˈsəmθɪŋ ˈdɪfərənt. fər ɪm, kˈwɑntəm ˈfɪzɪks ʃoʊz ˈjuˈɛs ðət ˌriˈæləˌti ɪz ˈəltəmətli "veɪld" frəm ˈjuˈɛs. ðə ɪkˈweɪʒənz ənd priˈdɪkʃənz əv ðə saɪəns, ðoʊ ðeɪ ər, ˈɔfər ˈjuˈɛs ˈoʊnli ə glɪmps bɪˈhaɪnd ðət veɪl. mɔˈroʊvər, ðət ˈhɪdən ˌriˈæləˌti ɪz, ɪn səm sɛns, dɪˈvaɪn. əˈlɔŋ wɪθ səm fəˈlɑsəfərz, hi həz kɔld ɪt "biɪŋ". ɪn ən ˈɛfərt tɪ sik ðə ˈænsərz tɪ ðə "ˈminɪŋ əv ˈfɪzɪks", aɪ spoʊk tɪ faɪv ˈlidɪŋ ˈsaɪəntɪsts. 1 ðə ˈeɪθiəst ˈwɪnɪŋ ˈfɪzɪsɪst ˈstivən ˈwaɪnbərg ɪz ˈwɛlˈnoʊn ɛz ən ˈeɪθiəst. fər ɪm, ˈfɪzɪks rɪˈflɛkts ðə "ˈʧɪlɪŋ ˌɪmˌpərsəˈnæləti" əv ðə ˈjunəˌvərs. hi wʊd bi ˈθɪŋkɪŋ hir əv, seɪ, ðə væst trækts əv ˈɛmti speɪs, ˈbɪljənz əv laɪt jɪrz əˈkrɔs, ðət mɑk ˈjumən ˈminɪŋ. hi sɪz: "ðə mɔr ðə ˈjunəˌvərs simz ˌkɑmpriˈhɛnsəbəl, ðə mɔr ɪt simz ˈpɔɪntləs." soʊ fər ˈwaɪnbərg, ðə ˈnoʊʃən ðət ðɛr maɪt bi ən ˈoʊvərˌlæp bɪtˈwin saɪəns ənd ˌspɪrɪˌʧuˈæləˌti ɪz ɪnˈtaɪərli mɪˈsteɪkən. 2 ðə ðə əˈstrɑnəmər rɔɪəl ənd ˈprɛzɪdənt əv ðə rɔɪəl soʊˈsaɪɪti, ˈmɑrtɪn riz, ʃoʊz ə dɪˈstɪŋkt rɪˈzərv wɪn ˈspɛkjəˌleɪtɪŋ əˈbaʊt wət ˈfɪzɪks maɪt min, ˈwɛðər ðət bi ər meaningfulness*. hi həz "noʊ strɔŋ əˈpɪnjənz" ɔn ðə ˌɪnˌtərprɪˈteɪʃən əv kˈwɑntəm ˈθɪri: ˈoʊnli taɪm wɪl tɛl ˈwɛðər ðə ˈθɪri bɪˈkəmz ˈbɛtər ˌəndərˈstʊd. "ðə ˌɪmpləˈkeɪʃənz əv kɔzˈmɔləʤi fər ðiz rɛlmz əv θɔt meɪ bi proʊˈfaʊnd, bət prɪˈvɛnts mi frəm ˈvɛnʧərɪŋ ˈɪntu ðɛm," hi həz ˈrɪtən. ɪn ʃɔrt, ɪt ɪz gʊd tɪ bi ˈhəmbəl ɪn ðə feɪs əv ðə ˈmɪstəriz ðət ˈfɪzɪks θroʊz əp. 3 ðə ˈpleɪtənəst ˈɑksfərd ˈfɪzɪsɪst ˈrɑʤər ˈpɛnˌroʊz ˈdɪfərz əˈgɛn. hi bɪˈlivz ðət ˌmæθəˈmætɪks səˈʤɛsts ðɛr ɪz ə wərld bɪɔnd ðə ˌɪˈmiˌdiət, məˈtɪriəl wən. kən saɪəns ɪkˈspleɪn ɔl əv laɪfs ˈminɪŋ? æsk ˈjɔrsɛlf ðɪs kˈwɛʃən: wʊd wən pləs wən ˈikwəl tu ˈivɪn ɪf aɪ ˈdɪdənt θɪŋk ɪt? ðə ˈænsər ɪz jɛs. wʊd ɪt ˈikwəl tu ˈivɪn ɪf ˈnoʊwən θɔt ɪt? əˈgɛn, prɪˈzuməbli, jɛs. wʊd ɪt ˈikwəl tu ˈivɪn ɪf ðə ˈjunəˌvərs ˈdɪdənt ɪgˈzɪst? ðət ɪz mɔr ˈtrɪki tɪ ˈkɑntəmˌpleɪt, bət əˈgɛn, ðɛr ər gʊd graʊnz fər ə ˈpɑzətɪv rɪˈspɑns. ˈpɛnˌroʊz, ˈðɛrˌfɔr, ˈɑrgjuz ðət ðɛr ɪz wət kən bi kɔld ə pləˈtɑnɪk wərld bɪɔnd ðə məˈtɪriəl wərld ðət "kənˈteɪnz" ˌmæθəˈmætɪks ənd ˈəðər æbˈstrækʃənz. 4 ðə bɪˈlivər ʤɑn wərkt ɔn kˈwɑntəm ˈfɪzɪks ɪn ðə fərst pɑrt əv hɪz kərɪr, bət ðɛn tʊk əp ə ˈdɪfərənt laɪn əv wərk: hi wɑz ɔrˈdeɪnd ən ˈæŋglɪkən prist. fər ɪm, saɪəns ənd rɪˈlɪʤən ər ɪnˈtaɪərli kəmˈpætəbəl. ðə ˈɔrdərd ˈjunəˌvərs saɪəns rɪˈvilz ɪz ˈoʊnli wət jʊd ɪkˈspɛkt ɪf ɪt wɑz meɪd baɪ ən ˈɔrdərli gɑd. ˌhaʊˈɛvər, ðə tu ˈdɪsəplənz ər ˈdɪfərənt. hi kɔlz ðɛm "ˌɪnəˈlɛkʧuəl ˈkəzənz". "ˈfɪzɪks ɪz ʃoʊɪŋ ðə wərld tɪ bi boʊθ mɔr ˈsəpəl ənd ˈsətəl, bət ju nid tɪ bi ˈkɛrfəl," hi sɪz. ɪf ju wɔnt tɪ ˌəndərˈstænd ðə ˈminɪŋ əv θɪŋz ju hæv tɪ goʊ bɪɔnd saɪəns, ənd ðə rɪˈlɪʤəs dɪˈrɛkʃɪn ɪz, hi ˈɑrgjuz, ðə bɛst. 5 ðə braɪən ɪz ə cosmologist*, ənd wɪθ ðə ˌθiəˈloʊʤiən ˈtɑməs ˈbɛri, roʊt ə bʊk kɔld ðə ˈjunəˌvərs ˈstɔri: frəm ðə prɪˈmɔrdiəl ˈflɛrɪŋ fɔrθ tɪ ðə ˈɪrə. ɪt ɪz ˈævədli rɛd baɪ ˌɪndəˈvɪʤəwəlz ɪn nu eɪʤ ənd ɛkəˈlɑʤɪkəl ˈsərkəlz, ənd tɛlz ðə ˌsaɪənˈtɪfɪk ˈstɔri əv ðə ˈjunəˌvərs, frəm ðə bɪg bæŋ tɪ ðə ˈimərʤəns əv ˈjumən ˈkɑnʃəsnəs, bət dɪz soʊ ɛz ə nu ˈseɪkrɪd mɪθ. bɪˈlivz ðət "ðə ˈjunəˌvərs ɪz əˈtɛmptɪŋ tɪ bi fɛlt", wɪʧ meɪks ɪm ə, ˈsəmˌwən hu bɪˈlivz ðə ˈkɑzmoʊs ɪn ɪts ɪnˈtaɪərti kən bi kɔld gɑd. mɑrk ˈvərnən ɪz ˈɔθər əv ˈæftər ˈeɪθiˌɪzəm: saɪəns, rɪˈlɪʤən ənd ðə ˈminɪŋ əv laɪf ə səˈlɛkʃən əv jʊr ˈkɑmɛnts əˈpɪrz bɪˈloʊ. ɛz ə ˈhɪnˌdu aɪ kən əˈgri wɪθ ðɛm ɔl. ðɛr ɪz ə (ˈsɛnʧəriz oʊld) ˈwɛstərn əˈproʊʧ tɪ saɪəns ðət ɪz ˈʤɛnərəli bækt əp bɪˈlifs. saɪəns ɪz biɪŋ ər ɪz sin ɪn ðət ˈmænər ɪf ə ɪz raɪt bi məst bi rɔŋ, ˈrəðər laɪk ðə ˈkɑnsɛpt əv ˈhɛvən ənd hɛl. ɪn ˈhɪnʤuˌɪzəm ənd ˈəðər 'dharmic*' bɪˈlifs ɪt həz ˈɔlˌweɪz bɪn sɛd ðət wi lɪv ɪn ðə eɪʤ əv "maɪə" ər ˌɪˈluʒən ər ˈivɪn 'veɪl' ənd ðət wət wi si ɪz meɪd frəm 'ˈkɑzmɪk vaɪˈbreɪʃənz'. ˈnəθɪŋ ðət wi si ɪz haʊ ɪt ɪz, ɪt ɪz ɑr aɪz ðət kən ˈoʊnli teɪk ɪn ˈlɪmɪtɪd ˌɪnˌfɔrˈmeɪʃən wɪʧ ɑr breɪn ˈprɑsɛsəz tɪ fɪl ɪn ðə gæps. ɪz ə rɑk ʤɪst ə rɑk ər ɪz ɪt ˈbɪljənz əv ˈpɑrtɪkəlz ˈrɛzəˌneɪtɪŋ æt ə ˈsərtən ˈfrikwənsi tɪ meɪk ðə 'ˈɪmɪʤ' əv ðə rɑk 'sin' baɪ ɑr aɪz. ðə ˈænsər ɪz boʊθ! siɪŋ meɪ bi bɪˈlivɪŋ, bət ɪt dɪˈpɛndz ɔn ˈwɛðər ju si wɪθ jʊr aɪz ər ən ˌɪˈlɛktrɑn ˈmaɪkrəˌskoʊp. dipen*, ˈstænmɔr aɪ æm ə ˈfɪzɪsɪst ənd ˌivænˈʤɛlɪkəl ˈkrɪsʧɪn, soʊ aɪ θɪŋk ˈpɛnˌroʊz ənd ər ˈkloʊsəst tɪ ðə truθ. əm plizd tɪ hir ðət ˈpipəl ər bɪˈgɪnɪŋ tɪ lʊk əˈgɛn æt ðə faʊnˈdeɪʃənz əv kˈwɑntəm ˈθɪri. ɪn ˈrisənt ˈdɛkeɪdz ˈfɪzɪks həz bɪn ˈdɑməˌneɪtəd baɪ wət aɪ kɔl 'kˈwɑntəm məˈkænɪks' (laɪk 'gərɑʒ məˈkænɪks') ˈpipəl hu kən du ðə səmz bət doʊnt θɪŋk əˈbaʊt wət ðeɪ min. ðə ˈdipər kˈwɛsʧənz ɪn ˈfɪzɪks ər baʊnd tɪ ˌɪnərˈækt wɪθ ðə əˈsəmpʃənz əv ðə ˈfɪzɪsɪst. deɪv, aɪ əˈgri wɪθ ˈwaɪnbərg. ðə maɪt ʃoʊ əp ðə kəmˈplɛksɪtiz ɪn ˈneɪʧər ənd pɔɪnt tɪ səm proʊˈfaʊnd kənˈkluʒənz, bət ðə hoʊl aɪˈdiə əv ˈsəmθɪŋ ˌsupərˈnæʧərəl ˈpʊlɪŋ ðə ˈlɛvərz əv ðə ˈjunəˌvərs ʤɪst ɪˈskeɪps mi. dæn wildsmith*, wɪn maɪ ˈigoʊ ɪz ˈflɛrɪŋ əm wɪθ ðə ˈeɪθiəst ˈsɪmpli bɪˈkəz ɔl θɔts, pərˈsɛpʃənz ənd ˈkɑnsɛpts kəm frəm ðət ˈwəndərfəl dɪˈluʒənəl ənd ˈɔfən ˈɪgnərənt ˈkriʧər wi kɔl ðə maɪnd. wɪn ðə sɛlf ɪz ɪn ʧɛk əm wɪθ ðə ðə seɪm ˈrizən! ˈoʊnli ˈmænˈkaɪndz ˈɛrəgəns, brɔt əˈbaʊt baɪ ðət dɪˈluʒənəl sɛlf, həz tɪ bɪˈliv ðeɪ ɪgˈzɪst fər səm "ˈspɛʃəl" ˈpərpəs. ˈbɪli, garnerville*, nu jɔrk ˈɑbviəsli ðə greɪt ˈmɑrtɪn riz, bət fər mɔr ˈditeɪl ənd ə lɔt əv wərk ɔn ðə ˌsaɪənˈtɪfɪk vju [eg*, ɪn "ɪkˈsplɔrɪŋ ˌriˈæləˌti"], aɪ goʊ wɪθ. maɪ oʊn vju ɪz 99 ˈdɔkɪnz' bət wət ə ˈdɪfərəns 1 kraɪst meɪks. jʊr ɪkˈweɪʒən ʃʊd bi ˈsəmθɪŋ əˈbaʊt exobiology*, ər ˌɛvəˈluʃən əv ˈæltruˌɪzəm: ðə praɪs ɪkˈweɪʒən, ər ʤɪst si. baɪˈɑləʤi dɪˈskraɪbz ðə wərld; ˈfɪzɪks ɪz ə ˈspɛʃəl keɪs. ˈvæləri ˈʤɛfriz, faversham*, ˈɪŋglənd ɛz ə ˈkrɪsʧɪn aɪ wʊd əˈgri wɪθ ʤɑn. saɪəns ʤɪst rɪˈvilz haʊ ˈɔsəm ðə wərld ɪz, ə wərld wɪʧ gɑd kriˈeɪtɪd ənd dɪˈzaɪnd. ɪt ɪz aɪˈrɑnɪk ðət ˈmɛni ˈsaɪəntɪsts traɪ ənd dɪˈspruv gɑd bət ɪn ˈmɛni ˈɪnstənsɪz ˈoʊnli ˈdɛmənˌstreɪt ʤɪst haʊ ˈkɑmplɛks ənd ˈwəndərfəl ðə wərld ɪz. ðɛr hæd tɪ bi ən ˈɔθər əv kriˈeɪʃən. wi ər nɑt hir baɪ ʧæns. ˈneɪθən goodearl*, aɪ moʊst əˈgri wɪθ ˈmɑrtɪn riz. hi simz tɪ əkˈsɛpt ðət wi ər nɑt ˈkərəntli ɪn ə pəˈzɪʃən tɪ ˌəndərˈstænd ðə ˈjunəˌvərs ɪn ɪts ɪnˈtaɪərti. aɪ wʊd bi ˈɪntəˌrɛstɪd tɪ hir hɪz vjuz ɔn ðə ˈsoʊˈkɔld 'gɑd ˈpɑrtɪkəl' (hɪgz boson*). aɪ ˌfəndəˈmɛnəli dɪsəˈgri wɪθ ðə vju ðət saɪəns ənd rɪˈlɪʤən ər kəmˈpætəbəl ənd feɪl tɪ si waɪ səm ˈpipəl hu ʧuz tɪ ˈɛksərˌsaɪz feɪθ ɪn ə rɪˈlɪʤəs bɪˈlif ʧuz tɪ du soʊ ˈviə saɪəns. rɪˈlɪʤən kən ɪgˈzɪst wɪˈθaʊt saɪəns, ənd saɪəns wɪˈθaʊt rɪˈlɪʤən. ˈreɪʧəl ɑˈmɑˌtoʊ, ˈbrɪstəl aɪ əˈgri wɪθ ðə ˈeɪθiəst. fər ɛz lɔŋ ɛz ˈɛniˌwən kən rɪˈmɛmbər ðə θɪŋz wi doʊnt ˌəndərˈstænd hæv bɪn ˈgɪvɪn ðə ˌɛkspləˈneɪʃən 'gɑd', ər 'gɑdz' ənd θruaʊt ˈhɪstəri saɪəns, ˈlɪtəl baɪ ˈlɪtəl, prəˈvaɪdz ˌɛkspləˈneɪʃənz fər θɪŋz (sənz, stɑrz, ˈkɑməts, ˈænəməlz, plænts ˌɛtˈsɛtərə.). ðɪs ˈpætərn lʊks sɛt tɪ rɪˈpit ˌɪtˈsɛlf æd ˌɪnˈfɪnɪtəm. ɪn taɪm wi wɪl bi ˈlʊkɪŋ æt ɑr ˈkɑrənt rɪˈlɪʤəs ˈθɪriz ənd ˈθɪŋkɪŋ haʊ ˈprɪmɪtɪv ənd kwaɪt ˈfræŋkli rɔŋ ðeɪ lʊk ɪn ðə ˈkɑntɛkst əv ˈmɑdərn ˈnɑlɪʤ. bət bɪˈlif simz tɪ bi ə nid fər ˈmɛni ˈjumənz ənd aɪ hæv noʊ daʊt ðɛr bɪˈlifs ənd gɑdz wɪl muv ɔn ɪn tɪ ðə fˈjuʧər gæps ɪn ɑr ˌəndərˈstændɪŋ. ˈʤuljən ˈhɛrɪsən, ʃˈruzˌbɛri 4 ðə bɪˈlivər ɪz kərˈɛkt inshallah*. ˈmɛni ˌsaɪənˈtɪfɪk fækts hæv bɪn faʊnd tɪ bi kənˈsɪstənt wɪθ ðə quran*. saɪəns ɪz ðə ˈræʃənəl ˈstədi əv kriˈeɪʃən, ənd ɪts fækts ər kənˈsɪstənt wɪθ ˌrɛvəˈleɪʃən. pervaiz*, ðə ˈeɪθiəst meɪks ðə moʊst sɛns. ðə ˈjunəˌvərs ɪz fʊl əv ˈmɪstəri ðət ˌmæθəˈmætɪks ənd ˈfɪzɪks wɪl, ɪn taɪm, ənˈrævəl. ˌhaʊˈɛvər, aɪ doʊnt ˌəndərˈstænd waɪ ˈstivən ˈwaɪnbərg nidz tɪ bɪˈliv ðət ðə ˈjunəˌvərs ʃʊd hæv ə ˌpərsəˈnælɪti ənd waɪ hi dimz ɪt ɛz ˈpɔɪntləs. ˈɛvriˌθɪŋ ɪn laɪf ɪz ˈpɔɪntləs frəm ðət pɔɪnt əv vju, ɪkˈspɪriənsɪz maɪ ˌɛnˈʤɔɪmənt əv ˈlɪvɪŋ ɪz maɪ ˌspɪrɪˌʧuˈæləˌti, fər mi ðɛr ɪz noʊ gɑd ənd waɪ dɪz ðət ˈmætər? ˈdeɪvɪd hənt, ˈkeɪmbrɪʤ ˈbʊkmɑrk wɪθ: dɪˈlɪʃəs ˈfeɪsˌbʊk wət ər ðiz? ˈiˌmeɪl ðɪs tɪ ə frɛnd ˈprɪntəbəl ˈvərʒən
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what do you get if you divide science by god?
a prize-winning quantum physicist says a spiritual reality is veiled from us, and science offers a glimpse behind that veil. so how do scientists investigating the fundamental nature of the universe assess any role of god, asks mark vernon. the templeton prize, awarded for contributions to "affirming life's spiritual dimension", has been won by french physicist bernard d'espagnat, who has worked on quantum physics with some of the most famous names in modern science. quantum physics is a hugely successful theory: the predictions it makes about the behaviour of subatomic particles are extraordinarily accurate. and yet, it raises profound puzzles about reality that remain as yet to be understood. what is quantum physics? originated in work conducted by max planck and albert einstein at start of 20th century they discovered that light comes in discrete packets, or quanta, which we call photons the heisenberg uncertainty principle says certain features of subatomic particles like momentum and position cannot be known precisely at the same time gaps remain, like attempts to find the 'god particle' that scientists hope to spot in the large hadron collider. it is required to give other particles mass the bizarre nature of quantum physics has attracted some speculations that are wacky but the theory suggests to some serious scientists that reality, at its most basic, is perfectly compatible with what might be called a spiritual view of things. some suggest that observers play a key part in determining the nature of things. legendary physicist john wheeler said the cosmos "has not really happened, it is not a phenomenon, until it has been observed to happen." d'espagnat worked with wheeler, though he himself reckons quantum theory suggests something different. for him, quantum physics shows us that reality is ultimately "veiled" from us. the equations and predictions of the science, super-accurate though they are, offer us only a glimpse behind that veil. moreover, that hidden reality is, in some sense, divine. along with some philosophers, he has called it "being". in an effort to seek the answers to the "meaning of physics", i spoke to five leading scientists. 1. the atheist nobel-prize winning physicist steven weinberg is well-known as an atheist. for him, physics reflects the "chilling impersonality" of the universe. he would be thinking here of, say, the vast tracts of empty space, billions of light years across, that mock human meaning. he says: "the more the universe seems comprehensible, the more it seems pointless." so for weinberg, the notion that there might be an overlap between science and spirituality is entirely mistaken. 2. the sceptic the astronomer royal and president of the royal society, martin rees, shows a distinct reserve when speculating about what physics might mean, whether that be pointlessness or meaningfulness. he has "no strong opinions" on the interpretation of quantum theory: only time will tell whether the theory becomes better understood. "the implications of cosmology for these realms of thought may be profound, but diffidence prevents me from venturing into them," he has written. in short, it is good to be humble in the face of the mysteries that physics throws up. 3. the platonist oxford physicist roger penrose differs again. he believes that mathematics suggests there is a world beyond the immediate, material one. can science explain all of life's meaning? ask yourself this question: would one plus one equal two even if i didn't think it? the answer is yes. would it equal two even if no-one thought it? again, presumably, yes. would it equal two even if the universe didn't exist? that is more tricky to contemplate, but again, there are good grounds for a positive response. penrose, therefore, argues that there is what can be called a platonic world beyond the material world that "contains" mathematics and other abstractions. 4. the believer john polkinghorne worked on quantum physics in the first part of his career, but then took up a different line of work: he was ordained an anglican priest. for him, science and religion are entirely compatible. the ordered universe science reveals is only what you'd expect if it was made by an orderly god. however, the two disciplines are different. he calls them "intellectual cousins". "physics is showing the world to be both more supple and subtle, but you need to be careful," he says. if you want to understand the meaning of things you have to go beyond science, and the religious direction is, he argues, the best. 5. the pantheist brian swimme is a cosmologist, and with the theologian thomas berry, wrote a book called the universe story: from the primordial flaring forth to the ecozoic era. it is avidly read by individuals in new age and ecological circles, and tells the scientific story of the universe, from the big bang to the emergence of human consciousness, but does so as a new sacred myth. swimme believes that "the universe is attempting to be felt", which makes him a pantheist, someone who believes the cosmos in its entirety can be called god. mark vernon is author of after atheism: science, religion and the meaning of life a selection of your comments appears below. as a hindu i can agree with them all. there is a (centuries old) western short-sightedness approach to science that is generally backed up abrahamic beliefs. science is being polarised or is seen in that manner ie if a is right b must be wrong, rather like the concept of heaven and hell. in hinduism and other 'dharmic' beliefs it has always been said that we live in the age of "maya" or illusion or even 'veil' and that what we see is made from 'cosmic vibrations'. nothing that we see is how it is, it is our eyes that can only take in limited information which our brain processes to fill in the gaps. is a rock just a rock or is it billions of particles resonating at a certain frequency to make the 'image' of the rock 'seen' by our eyes. the answer is both! seeing may be believing, but it depends on whether you see with your eyes or an electron microscope.
dipen, stanmore i am a physicist and evangelical christian, so i think penrose and polkinghorne are closest to the truth. i'm pleased to hear that people are beginning to look again at the foundations of quantum theory. in recent decades physics has been dominated by what i call 'quantum mechanics' (like 'garage mechanics') - people who can do the sums but don't think about what they mean. the deeper questions in physics are bound to interact with the religious/philosophical assumptions of the physicist.
dave, st neots i agree with weinberg. the maths might show up the complexities in nature and point to some profound conclusions, but the whole idea of something supernatural pulling the levers of the universe just escapes me.
dan wildsmith, barnsley when my ego is flaring i'm with the atheist simply because all thoughts, perceptions and concepts come from that wonderful delusional and often ignorant creature we call the mind. when the self is in check i'm with the sceptic...for the same reason! only mankind's arrogance, brought about by that delusional self, has to believe they exist for some "special" purpose.
billy, garnerville, new york obviously the great martin rees, but for more detail and a lot of work on the scientific view [eg, ch.6 in "exploring reality"], i go with polkinghorne. my own view is '99% dawkins' - but what a difference 1% christ makes. your equation should be something about exobiology, or evolution of altruism: the price equation, or just rb > c. biology describes the world; physics is a special case.
valerie jeffries, faversham, england as a christian i would agree with john polkinghorne. science just reveals how awesome the world is, a world which god created and designed. it is ironic that many scientists try and disprove god but in many instances only demonstrate just how complex and wonderful the world is. there had to be an author of creation. we are not here by chance.
nathan goodearl, guildford i most agree with martin rees. he seems to accept that we are not currently in a position to understand the universe in it's entirety. i would be interested to hear his views on the so-called 'god particle' (higgs boson). i fundamentally disagree with the view that science and religion are compatible and fail to see why some people who choose to exercise faith in a religious belief choose to do so via science. religion can exist without science, and science without religion.
rachael amato, bristol i agree with the atheist. for as long as anyone can remember the things we don't understand have been given the explanation 'god', or 'gods' and throughout history science, little by little, provides non-god explanations for things (suns, stars, comets, animals, plants etc.). this pattern looks set to repeat itself ad infinitum. in time we will be looking at our current religious theories and thinking how primitive and quite frankly wrong they look in the context of modern knowledge. but belief seems to be a need for many humans and i have no doubt their beliefs and gods will move on in to the future gaps in our understanding.
julian harrison, shrewsbury 4. the believer is correct inshallah. many scientific facts have been found to be consistent with the quran. science is the rational study of creation, and its facts are consistent with revelation.
saqib pervaiz, wolverhampton the atheist makes the most sense. the universe is full of mystery that mathematics and physics will, in time, unravel. however, i don't understand why steven weinberg needs to believe that the universe should have a personality and why he deems it as pointless. everything in life is pointless from that point of view, experiences - my enjoyment of living is my spirituality, for me there is no god and why does that matter?
david hunt, cambridge
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ðə ˈpɑʃə rɪˈlif ˌɛkspəˈdɪʃən əv 1886 tɪ 1889 wɑz wən əv ðə læst ˈmeɪʤər ˌjʊrəˈpiən ˌɛkspəˈdɪʃənz ˈɪntu ðə ˌɪnˈtɪriər əv ˈæfrɪkɑ ɪn ðə ˈnaɪnˈtinθ ˈsɛnʧəri, ɑˈstɛnsəbli tɪ ðə rɪˈlif əv ˈpɑʃə, ˈʤɛnərəl ˈʧɑrəlz ˈgɔrdənz bɪˈsiʤd ˈgəvərnər əv, θˈrɛtənd baɪ ˈfɔrsɪz. ðə ˌɛkspəˈdɪʃən wɑz lɛd baɪ ˈhɛnri ˈmɔrtən ˈstænli ənd keɪm tɪ bi boʊθ ˈsɛləˌbreɪtɪd fər ɪts æmˈbɪʃən ɪn ˈkrɔsɪŋ "ˈdɑrkəst ˈæfrɪkɑ", ənd noʊˈtɔriəs fər ðə dɛθs əv soʊ ˈmɛni əv ɪts ˈmɛmbərz ənd ðə dɪˈziz ənˈwɪtɪŋli lɛft ɪn ɪts weɪk. æŋˈzaɪəti əˈbaʊt ˈɛdət ðə ˈkæpʧərd ˌkɑrˈtum ɪn 1885 ənd ɪˈʤɪpʃən ædˌmɪnɪˈstreɪʃən əv ðə suˈdæn kəˈlæpst, ənd ðə ɪkˈstrim ˈsəðərn ˈprɑvɪns wɑz ˈnɪrli kət ɔf frəm ðə ˈaʊtˈsaɪd wərld, ˈloʊˌkeɪtəd ɛz ɪt wɑz ɔn ðə ˈəpər ˈriʧɪz əv ðə naɪl nɪr leɪk ˈælbərt. ˈpɑʃə wɑz ən ˈɑtəmən ˈdɔktər ənd ˈnæʧərələst hu hæd bɪn əˈpɔɪntɪd ˈgəvərnər əv. hi wɑz ˈeɪbəl tɪ sɛnd ənd rɪˈsiv ˈlɛtərz ˈviə ənd ˈzænzəˌbɑr ənd hæd bɪn ˌɪnˈfɔrmd ɪn ˈfɛbruˌɛri 1886 ðət ðə ɪˈʤɪpʃən ˈgəvərnmənt wʊd əˈbændən. ɪn ˌʤuˈlaɪ, hi wɑz ɪnˈkərəʤd baɪ ˈmɪʃəˌnɛri ˌælɪgˈzændər məˈkeɪ tɪ ˌɪnˈvaɪt ðə ˈbrɪtɪʃ ˈgəvərnmənt tɪ ˈæˌnɛks ˌɪtˈsɛlf. ðə ˈgəvərnmənt wɑz nɑt ˈɪntəˌrɛstɪd ɪn səʧ ə ˈdaʊtfəl ˈvɛnʧər, bət ðə ˈbrɪtɪʃ ˈpəblɪk keɪm tɪ si ɛz ə ˈsɛkənd ˈʤɛnərəl ˈgɔrdən ɪn ˈmɔrtəl ˈdeɪnʤər frəm ðə. ˈskɑtɪʃ ˈbɪznɪsˌmæn ənd fɪˈlænθrəpɪst ˈwɪljəm məˈkɪnən hæd bɪn ˌɪnˈvɑlvd ɪn ˈvɛriəs kəˈloʊniəl ˈvɛnʧərz, ənd baɪ noʊˈvɛmbər hi hæd əˈproʊʧt ˈstænli əˈbaʊt ˈlidɪŋ ə rɪˈlif ˌɛkspəˈdɪʃən. ˈstænli dɪˈklɛrd hɪmˈsɛlf ˈrɛdi "æt ə ˈmoʊmənts ˈnoʊtɪs" tɪ goʊ. məˈkɪnən ðɛn əˈproʊʧt ʤeɪ. ɛf. ˈhətən, ə ˈbɪznɪs əkˈweɪntəns ˈɔlsoʊ ˌɪnˈvɑlvd ɪn kəˈloʊniəl ækˈtɪvɪtiz, ənd təˈgɛðər ðeɪ ˈɔrgəˌnaɪzd ðə ˈpɑʃə rɪˈlif kəˈmɪti", ˈmoʊstli kənˈsɪstɪŋ əv frɛndz, huz fərst ˈmitɪŋ wɑz ɔn 19 dɪˈsɛmbər 1886 ðə kəˈmɪti reɪzd ə ˈtoʊtəl əv əˈbaʊt ˈstænli wɑz əˈfɪʃəli stɪl ɪn ðə ɪmˈplɔɪmənt əv əv ˈbɛlʤəm, baɪ hum hi hæd bɪn ɪmˈplɔɪd ɪn ˈkɑrvɪŋ aʊt 'ˈkɑŋgoʊ fri steɪt'. ɛz ə ˈkɑmprəˌmaɪz fər ˈlɛtɪŋ ˈstænli goʊ, ɪt wɑz əreɪnʤd ɪn ə ˈmitɪŋ ɪn ˈbrəsəlz bɪtˈwin ˈstænli ənd ðə kɪŋ, ðət ðə ˌɛkspəˈdɪʃən wʊd teɪk ə ˈlɔŋgər rut əp ðə ˈkɑŋgoʊ ˈrɪvər, ˈkɑntrɛri tɪ plænz fər ə ˈʃɔrtər rut ˈɪnˌlænd frəm ðə ˈistərn ˈæfrɪkɑn koʊst. ɪn rɪˈtərn, wʊd prəˈvaɪd hɪz fri steɪt ˈstimərz fər ðə ˌtrænspərˈteɪʃən əv ðə ˌɛkspəˈdɪʃən əp ðə ˈrɪvər, frəm ˈstænli pul (naʊ pul malebo*) ɛz fɑr ɛz ðə maʊθ əv ðə ˈrɪvər. baɪ 1 ˈʤænjuˌɛri 1887 ˈstænli wɑz bæk ɪn ˈləndən pərˈpɛrɪŋ ðə ˌɛkspəˈdɪʃən tɪ ˈwaɪdˈsprɛd ˈpəblɪk əˈkleɪm. ˈstænli hɪmˈsɛlf wɑz ˌɪnˈtɛnt ðət ðə ˌɛkspəˈdɪʃən bi wən əv ˌjuˌmænəˈtɛriən əˈsɪstəns ˈrəðər ðən əv ˈmɪlɪˌtɛri ˈkɑŋkwɛst. hi dɪˈklɛrd: ðə ˌɛkspəˈdɪʃən ɪz ɪz tɪ seɪ, ɪts ˈpərpəs ɪz nɑt tɪ faɪt, dɪˈstrɔɪ, ər weɪst; ɪts ˈpərpəs ɪz tɪ seɪv, tɪ rɪˈliv dɪˈstrɛs, tɪ ˈkɛri ˈkəmfərt. ˈpɑʃə meɪ bi ə gʊd mæn, ə breɪv ˈɔfɪsər, ə ˈgælənt ˈfɛloʊ dɪˈzərvɪŋ əv ə strɔŋ ˈɛfərt əv rɪˈlif, bət aɪ dɪˈklaɪn tɪ bɪˈliv, ənd aɪ hæv nɑt bɪn ˈeɪbəl tɪ ˈgæðər frəm ˈɛni wən ɪn ˈɪŋglənd ən ˌɪmˈprɛʃən, ðət hɪz laɪf, ər ðə lɪvz əv ðə fju ˈhənərdz ˈəndər ɪm, wʊd ðə lɪvz əv ˈθaʊzənz əv ˈneɪtɪvz, ənd ðə ˌdɛvəˈsteɪʃən əv ˌɪˈmɛns trækts əv ˈkəntri wɪʧ ən ˌɛkspəˈdɪʃən ˈstrɪktli ˈmɪlɪˌtɛri wʊd ˈnæʧərəli kɔz. ðə ˌɛkspəˈdɪʃən ɪz ə mɪr ˈpaʊərfəl ˈkɛrəˌvæn, ɑrmd wɪθ ˈraɪfəlz fər ðə ˈpərpəs əv ˌɪnˈʃʊrɪŋ ðə seɪf ˈkɑndəkt əv ðə ˌæmjəˈnɪʃən tɪ ˈpɑʃə, ənd fər ðə mɔr ˈsərtən prəˈtɛkʃən əv hɪz ˈpipəl ˈdʊrɪŋ ðə riˈtrit hoʊm. bət ɪt ˈɔlsoʊ həz minz əv ˈpərʧəsɪŋ ðə ˈfrɛndʃɪp əv traɪbz ənd ʧifs, əv baɪɪŋ fud ənd peɪɪŋ ɪts weɪ ˈlɪˌbərəˌli. ˈhɛnri ˈmɔrtən ˈstænli, ɪn ʤoʊəl ˈhɛdli, ˈstænliz ædˈvɛnʧərz ɪn ðə waɪldz əv ˈdəbəl ˈpərpəs əv ˌɛkspəˈdɪʃən ˈɛdət ɪn ə ˈnəmbər əv ˌpəblɪˈkeɪʃənz meɪd ˈæftər ðə ˌɛkspəˈdɪʃən, ˈstænli əˈsərts ðət ðə ˈpərpəs əv ðə ˈɛfərt wɑz ˈsɪŋgjələr; tɪ ˈɔfər rɪˈlif tɪ ˈpɑʃə. fər ɪgˈzæmpəl, hi raɪts ðə ˈfɑloʊɪŋ waɪl ɪkˈspleɪnɪŋ ðə ˈfaɪnəl rut dɪˈsɪʒən. ðə ædˈvæntɪʤɪz əv ðə ˈkɑŋgoʊ rut wər əˈbaʊt faɪv ˈhənərd maɪəlz ˈʃɔrtər lænd ˈʤərni, ənd lɛs ˌɑpərˈtunətiz fər ˈdɛzərtɪŋ. ɪt ˈɔlsoʊ kˈwaɪətɪd ðə fɪrz əv ðə frɛnʧ ənd ˈʤərmənz ðət, bɪˈhaɪnd ðɪs ˌjuˌmænəˈtɛriən kwɛst, wi maɪt hæv ˌænɛkˈseɪʃən ˈprɑʤɛkts. ˈhɛnri ˈmɔrtən ˈstænli, ðə ˌɔtəbaɪˈɑgrəfi əv sər ˈhɛnri ˈmɔrtən ˌhaʊˈɛvər, ˈstænliz ˈəðər ˈraɪtɪŋz pɔɪnt tɪ ə ˈsɛkənˌdɛri goʊl wɪʧ wɑz prɪˈsaɪsli ˌtɛrɪˈtɔriəl ˌænɛkˈseɪʃən. hi raɪts ɪn hɪz bʊk ɔn ðə ˌɛkspəˈdɪʃən, əˈbaʊt hɪz ˈmitɪŋ wɪθ ðə ˈsəltən əv ˈzænzəˌbɑr, wɪn hi əraɪvd ðɛr æt ðə stɑrt əv ðə ˌɛkspəˈdɪʃən, ənd ə ˈsərtən ˈmætər ðət wɑz dɪˈskəst æt ðət ˈmitɪŋ. æt fərst, hi ɪz nɑt ɪkˈsplɪsət ɔn ðə əˈʤɛndə bət ɪt ɪz klɪr ɪˈnəf. wi ðɛn ˈɛnərd ˈhɑrtəli ˈɪntu ɑr ˈbɪznɪs; haʊ ˌæbsəˈlutli ˈnɛsəˌsɛri ɪt wɑz ðət hi ʃʊd ˈprɑmptli ˈɛnər ˈɪntu ən əˈgrimənt wɪθ ðə ˈɪŋlɪʃ wɪˈθɪn ðə ˈlɪmɪts əˈsaɪnd baɪ ˈtriti. ɪt wʊd teɪk tu lɔŋ tɪ dɪˈskraɪb ðə ˈditeɪlz əv ðə ˌkɑnvərˈseɪʃən, bət aɪ əbˈteɪnd frəm ɪm ðə ˈænsər ˈnidɪd. ˈhɛnri ˈmɔrtən ˈstænli, ɪn ˈdɑrkəst ə fju ˈpeɪʤɪz ˈfərðər ɪn ðə seɪm bʊk, ˈstænli ɪkˈspleɪnz wət ðə ˈmætər wɑz əˈbaʊt ənd ðɪs taɪm, hi meɪks ɪt klɪr ðət ˌɪnˈdid, ɪt hæd tɪ du wɪθ ˌænɛkˈseɪʃən. aɪ hæv ˈsɛtəld ˈsɛvərəl ˈlɪtəl kəˈmɪʃənz æt ˈzænzəˌbɑr ˌsætɪsˈfæktrəli. wən wɑz tɪ gɪt ðə ˈsəltən tɪ saɪn ðə kənˈsɛʃənz wɪʧ məˈkɪnən traɪd tɪ əbˈteɪn ə lɔŋ taɪm əˈgoʊ. ɛz ðə ˈʤərmənz hæv mægˈnɪfɪsənt ˈtɛrɪˌtɔri ist əv ˈzænzəˌbɑr, ɪt wɑz bət fɛr ðət ˈɪŋglənd ʃʊd hæv səm ˈpɔrʃən fər ðə prəˈtɛkʃən ʃi həz əˈkɔrdɪd tɪ ˈzænzəˌbɑr sɪns 1841 ðə kənˈsɛʃən ðət wi wɪʃt tɪ əbˈteɪn ɛmˈbreɪst ə ˈpɔrʃən əv ist ˈæfrɪkɑn koʊst, əv wɪʧ mɑmˈbɑsə ənd wər ðə ˈprɪnsəpəl taʊnz. fər eɪt jɪrz, tɪ maɪ ˈnɑlɪʤ, ðə ˈmætər hæd bɪn pleɪst ˌbiˈfɔr hɪz ˈhaɪnəs, bət ðə ˈsəltənz ˈsɪgnəʧər wɑz ˈdɪfəkəlt tɪ əbˈteɪn. ˈhɛnri ˈmɔrtən ˈstænli, ɪn ˈdɑrkəst ðə ˈrɛkərdz æt ðə ˈnæʃənəl ˈɑrˌkaɪvz æt kju, ˈləndən, ˈɔfər ən ˈivɪn ˈdipər ˈɪnˌsaɪt ənd ʃoʊ ðət ˌænɛkˈseɪʃən wɑz ə ˈpərpəs hi hæd bɪn əˈwɛr əv fər ðə ˌɛkspəˈdɪʃən. ðɪs ɪz bɪˈkəz ðɛr ər ə ˈnəmbər əv ˈtritiz ðɛr (ənd ˈgæðərd baɪ ˈstænli hɪmˈsɛlf frəm wət ɪz ˈprɛzənt deɪ ˌjuˈgɑndɑ ˈdʊrɪŋ ðə ˈpɑʃə ˌɛkspəˈdɪʃən), ɑˈstɛnsəbli ˈgeɪnɪŋ ˈbrɪtɪʃ prəˈtɛkʃən fər ə ˈnəmbər əv ˈæfrɪkɑn ʧifs. əˈməŋst ðiz wər ə ˈnəmbər ðət hæv lɔŋ bɪn aɪˈdɛntəˌfaɪd ɛz ˈpɑsəbəl ə gʊd ɪgˈzæmpəl ɪz ˈtriti ˈnəmbər 56 səˈpoʊzədli əˈgrid əˈpɑn bɪtˈwin ˈstænli ənd ðə ˈpipəl əv "mazamboni*, katto*, ənd kalenge*". ðiz ˈpipəl hæd saɪnd ˈoʊvər tɪ ˈstænli "ðə ˈsɑvrən raɪt ənd raɪt əv ˈgəvərnmənt ˈoʊvər ɑr ˈkəntri fər ˈɛvər ɪn kənˌsɪdərˈeɪʃən əv ˈvælju rɪˈsivd ənd fər ðə prəˈtɛkʃən hi həz əˈkɔrdɪd ˈjuˈɛs ənd ɑr ˈneɪbərz əˈgɛnst ənd hɪz ˌprɛpərˈeɪʃənz ˈɛdət ədˈvæns ɛz dɪˈpɪktɪd ɪn ɪn ˈdɑrkəst ˈæfrɪkɑ baɪ h.m*. ˈstænli. ðə stil dɪˈpɪktɪd h.m*. ˈstænli. ðə plæn əv ðə ˌɛkspəˈdɪʃən wɑz tɪ goʊ tɪ ˈkaɪroʊ, ðɛn tɪ ˈzænzəˌbɑr tɪ haɪər ˈpɔrtərz, ðɛn saʊθ əv ˈæfrɪkɑ, əraʊnd ðə keɪp tɪ ðə maʊθ əv ðə ˈkɑŋgoʊ, əp ðə ˈkɑŋgoʊ baɪ ˈstimərz, ˈbrænʧɪŋ ɔf æt ðə ˈrɪvər. ˈstænli ˌɪnˈtɛndɪd tɪ ɪˈstæblɪʃ ə kæmp ɔn ðə, ðɛn goʊ ist ˈoʊvərˌlænd θru ənˈnoʊn ˈtɛrɪˌtɔri tɪ riʧ leɪk ˈælbərt ənd. hi ðɛn ɪkˈspɛktɪd ðət wʊd sɛnd ðə ˈfæməliz əv ɪˈʤɪpʃən ɪmˈplɔɪiz bæk əˈlɔŋ ðə rut, əˈlɔŋ wɪθ ə lɑrʤ stɔr əv ˈaɪvəri əˈkjumjəˌleɪtɪd ɪn, waɪl ˈstænli,, ənd ˈsoʊlʤərz wʊd pərˈsid ˈistwərd tɪ ˈzænzəˌbɑr. koʊˌɪnsɪˈdɛntəli, ˈpəblɪk daʊts ˈoʊvər ðə plæn ˈsɛntərd əraʊnd ˈwɛðər ɪt kʊd bi əˈʧivd; ðə ˌpɑsəˈbɪləˌti ðət maɪt nɑt wɔnt tɪ liv simz nɑt tɪ hæv bɪn kənˈsɪdərd. ðə ˌɛkspəˈdɪʃən wɑz ðə ˈlɑrʤəst ənd tɪ goʊ tɪ ˈæfrɪkɑ; ə stil boʊt neɪmd ðə ədˈvæns wɑz dɪˈzaɪnd tɪ bi dɪˈvaɪdɪd ˈɪntu 12 ˈsɛkʃənz fər ˈkɛriɪŋ ˈoʊvər lænd, ənd ˈhaɪrəm ˈmæksəm pərˈzɛnəd ðə ˌɛkspəˈdɪʃən wɪθ wən əv hɪz ˈrisəntli ˌɪnˈvɛntɪd ˈmæksəm gənz, wɪʧ wɑz ðə fərst tɪ bi brɔt tɪ ˈæfrɪkɑ. ˈmɪrli 'ɪgˈzɪbɪtɪŋ' ðə gən wɑz θɔt tɪ bi ə skɛr, wɪʧ wʊd spɛr ðə ˌɛkspəˈdɪʃən ˈprɑbləmz wɪθ ˈtrəbəlsəm ˈneɪtɪvz. ðə rɪˈlif kəˈmɪti rɪˈsivd 400 ˌæpləˈkeɪʃənz baɪ ˈhoʊpfəl pɑrˈtɪsəpənts. frəm ðiz, ˈstænli ʧoʊz ðə ˈɔfɪsərz hu wər tɪ əˈkəmpəni ɪm tɪ ˈæfrɪkɑ: ˈstænli dɪˈpɑrtɪd ˈləndən ɔn 21 ˈʤænjuˌɛri 1887 ənd əraɪvd ɪn ˈkaɪroʊ ɔn 27 ˈʤænjuˌɛri. ɪˈʤɪpʃən əˈbʤɛkʃənz tɪ ðə ˈkɑŋgoʊ rut wər ˈoʊvərˈrɪdən baɪ ə ˈtɛləˌgræm frəm lɔrd ˈsælzbəri, ənd ðə ˌɛkspəˈdɪʃən wɑz pərˈmɪtɪd tɪ mɑrʧ ˈəndər ðə ɪˈʤɪpʃən flæg. ˈstænli ˈɔlsoʊ mɛt wɪθ ˈmeɪsən beɪ, schweinfurth*, ənd ˈʤəŋkər, hu hæd mɔr ˌɪnˌfɔrˈmeɪʃən əˈbaʊt. ˈstænli lɛft ˈkaɪroʊ ɔn 3 ˈfɛbruˌɛri, ʤɔɪnd əp wɪθ ˌɛkspəˈdɪʃən ˈmɛmbərz ˈdʊrɪŋ stɑps ɪn ˈsuɛz ənd ˈeɪdən, ənd əraɪvd ɪn ˈzænzəˌbɑr ɔn 22 ˈfɛbruˌɛri. ðə nɛkst θri deɪz wər spɛnt ˈpækɪŋ fər ðə ˌɛkspəˈdɪʃən, ˈloʊdɪŋ ðə madura*, ənd nɪˈgoʊʃiˌeɪtɪŋ. ˈstænli ˈæktɪd ɛz ə ˌrɛprɪˈzɛnətɪv əv məˈkɪnən ɪn kənˈvɪnsɪŋ ðə ˈsəltən əv ˈzænzəˌbɑr tɪ grænt ə kənˈsɛʃən fər wət ˈleɪtər bɪˈkeɪm ðə ˌɪmˈpɪriəl ˈbrɪtɪʃ ist ˈæfrɪkɑ ˈkəmpəˌni (i.b.e.a.c*.), ənd meɪd tu əˈgrimənts wɪθ. ðə fərst ˌɪnˈkludɪd əˈpɔɪntɪŋ ɪm ɛz ˈgəvərnər əv ˈstænli fɔlz, ən ərˈeɪnʤmənt məʧ ˈkrɪtəˌsaɪzd ɪn ˈjʊrəp ɛz ə dil wɪθ ə slave-trader*, ənd ðə ˈsɛkənd əˈgrimənt rɪˈgɑrdɪd ðə prəˈvɪʒənz əv ˈkɛriərz fər ðə ˌɛkspəˈdɪʃən. ɪn əˈdɪʃən tɪ trænˈspɔrtɪŋ stɔrz, ðə ˈkɛriərz wər naʊ ˈɔlsoʊ ɪkˈspɛktɪd tɪ brɪŋ aʊt səm 75 tənz əv ˈaɪvəri stɔrd ɪn. ˈstænli ˈpoʊstɪd ˈlɛtərz tɪ prɪˈdɪktɪŋ hɪz ərˈaɪvəl ɔn leɪk ˈælbərt əraʊnd ˈɔgəst. əp ðə ˈkɑŋgoʊ ˈɛdət ðə ˌɛkspəˈdɪʃən rut bɪtˈwin ðə ˈəpər ˈkɑŋgoʊ ˈrɪvər ənd ðə ˌɛkspəˈdɪʃən lɛft ˈzænzəˌbɑr ɔn 25 ˈfɛbruˌɛri ənd əraɪvd æt bəˈnænə æt ðə maʊθ əv ðə ˈkɑŋgoʊ ɔn 18 mɑrʧ. ðɛr ərˈaɪvəl wɑz ˈsəmˈwət ˌənɪkˈspɛktɪd, bɪˈkəz ə ˈtɛləˌgræf ˈkeɪbəl hæd ˈbroʊkən ənd ˈloʊkəl əˈfɪʃəlz hæd rɪˈsivd noʊ ˌɪnˈstrəkʃənz. ˈʧɑrtərd ˈstimərz brɔt ðə ˌɛkspəˈdɪʃən tɪ matadi*, wɛr ðə ˈkɛriərz tʊk ˈoʊvər, ˈbrɪŋɪŋ səm 800 loʊdz əv stɔrz ənd ˌæmjəˈnɪʃən tɪ ɔn ðə ˈstænli pul. ˈprɑˌgrɛs wɑz sloʊ, sɪns ðə ˈreɪni ˈsizən wɑz æt ɪts haɪt, ənd fud wɑz ʃɔrt ə ˈprɑbləm ðət wɑz tɪ bi pərˈsɪstənt θruaʊt ðə ˌɛkspəˈdɪʃən (ðə ˈɛriə əˈlɔŋ ðə rut ˈrɛrli hæd spɛr fud fər ˈhɑrdˌwərkɪŋ mɛn, ɛz ɪt wɑz ə səbˈsɪstəns ɪˈkɑnəmi). lə pis lə ˈflɔrɪdə ɔn 21 ˈeɪprəl, ðə ˌɛkspəˈdɪʃən əraɪvd æt. kɪŋ ˈliəˌpoʊld hæd ˈprɑməst ə floʊˈtɪlə əv ˈrɪvər ˈstimərz, bət ˈoʊnli wən wərkt: ðə ˈstænli. ˈstænli ˌrɛkwəˈzɪʃənd tu (pis ənd ˈhɛnri rid) frəm ˈmɪʃəˌnɛriz əv ðə ˈbæptɪst ˈmɪʃən ənd ðə ˈlɪvɪŋˌstoʊn ˈɪnˌlænd ˈmɪʃən, huz ˈproʊˌtɛsts wər ˈoʊvərˈrɪdən, ɛz wɛl ɛz ðə ˈflɔrɪdə, wɪʧ wɑz stɪl ˈəndər kənˈstrəkʃən ənd soʊ juzd ɛz ə bɑrʤ. ˈivɪn ðiz wər ˌɪnsəˈfɪʃənt, soʊ ˈmɛni əv ðə stɔrz wər lɛft æt ənd mɔr æt bolobo*. æt ðɪs pɔɪnt, ˈstænli ˈɔlsoʊ əˈnaʊnst ðə dɪˈvɪʒən əv ðə ˌɛkspəˈdɪʃən: ə "rɪr ˈkɑləm" wʊd ɪnˈkæmp æt ɔn ðə, waɪl ðə "ədˈvæns ˈkɑləm" prɛst ɔn tɪ. ðə vɔɪəʤ əp ðə ˈkɑŋgoʊ ˈstɑrtɪd 1 meɪ ənd wɑz ˈʤɛnərəli ˌəniˈvɛntfəl. æt bɑnˈgɑlə ˈsteɪʃən, ənd kənˈtɪnjud əp tɪ ˈstænli fɔlz ɪn ðə ˈhɛnri rid, waɪl ˈstænli tʊk ðə tɪ. ðə ˌɪnˈhæbɪtənts əv rɪfˈjuzd pərˈmɪʃən tɪ rɪˈzaɪd ɪn ðɛr ˈvɪlɪʤ, soʊ ˈstænli əˈtækt ənd droʊv ðə ˈvɪlɪʤərz əˈweɪ, ˈtərnɪŋ ðə dɪˈzərtɪd ˈvɪlɪʤ ˈɪntu ə ˈfɔrtəˌfaɪd kæmp. ˈminˌwaɪl, æt ˈstænli fɔlz, əˈtɛmptəd tɪ əkˈwaɪər ˈkɛriərz, bət hi bɪˈlivd ðət ˈstænli hæd ˈbroʊkən hɪz pɑrt əv ðɛr əˈgrimənt baɪ ˈlivɪŋ ˌæmjəˈnɪʃən bɪˈhaɪnd, ənd keɪm tɪ wɪθ ˈoʊnli ən ˌɪnˈdɛfənət ˈprɑməs ðət ˈkɛriərz wʊd əraɪv ɪn ˈsɛvərəl wiks. ˈdɑrkəst ˈæfrɪkɑ ˈɛdət ˈstænli, ˌhaʊˈɛvər, ˌɪnˈsɪstɪd ɔn spid, ənd lɛft fər leɪk ˈælbərt ɔn 28 ʤun, ərˈɪʤənəli ɪkˈspɛktɪŋ tɪ teɪk tu mənθs. ðə ədˈvæns ˈkɑləm, ˌhaʊˈɛvər, wɑz ˌənpriˈpɛrd fər ðə ɪkˈstrim ˈdɪfɪˌkəltiz əv ˈtrævəl θru ðə ˈfɔrɪst ənd dɪd nɑt riʧ ðə leɪk ənˈtɪl dɪˈsɛmbər. ˈoʊnli 169 əv ðə 389 hu sɛt aʊt frəm wər stɪl əˈlaɪv. ðə triz əv ðə ˈfɔrɪst wər soʊ tɔl ənd dɛns ðət ˈlɪtəl laɪt riʧt ðə flɔr (ðəs ðə freɪz "ˈdɑrkəst ˈæfrɪkɑ"), fud wɑz ˈskɛrsli tɪ bi faʊnd, ənd ðə ˈloʊkəl ˈpɪgmiz tʊk ðə ˌɛkspəˈdɪʃən fər ən ˈærəb ˈreɪdɪŋ ˈpɑrti, ˈʃutɪŋ æt ðɛm wɪθ ˈpɔɪzənd ˈɛroʊz. ðə ˌɛkspəˈdɪʃən stɑpt æt tu ˈærəb ˈsɛtəlmənts, ənd, ɪn iʧ keɪs ˈlivɪŋ mɔr əv ðɛr ɪkˈwɪpmənt bɪˈhaɪnd ɪn ɪksˈʧeɪnʤ fər fud. ðə ˈfɔrɪst ɪˈvɛnʧəwəli geɪv weɪ tɪ ˈgræsˌlænd, ənd ɔn 13 dɪˈsɛmbər ðə ˌɛkspəˈdɪʃən wɑz ˈlʊkɪŋ daʊn ɔn leɪk ˈælbərt. ˌhaʊˈɛvər, wɑz nɑt ðɛr, ənd ðə ˈloʊkəlz hæd nɑt sin ə ˌjʊrəˈpiən ɪn ˈmɛni jɪrz. ˈstænli ˌdɪˈsaɪdɪd tɪ rɪˈtərn tɪ ðə ˈvɪlɪʤ əv ɔn ðə plæˈtoʊ əˈbəv ðə leɪk, wɛr ðeɪ bɪlt fɔrt ˈboʊdoʊ. stɛrz wɛnt bæk tɪ tɪ kəˈlɛkt mɛn ənd ɪkˈwɪpmənt, ənd rɪˈtərnd 12 ˈfɛbruˌɛri. ə ˈsɛkənd trɪp wɛnt bæk tɪ tɪ kəˈlɛkt mɔr ɪkˈwɪpmənt. ˈminˌwaɪl, ɔn 2 ˈeɪprəl ˈstænli rɪˈtərnd tɪ leɪk ˈælbərt, ðɪs taɪm wɪθ ðə ədˈvæns. ɔn 18 ˈeɪprəl ðeɪ rɪˈsivd ə ˈlɛtər frəm, hu hæd hərd əˈbaʊt ðə ˌɛkspəˈdɪʃən ə jɪr ˈərliər, ənd hæd kəm daʊn ðə leɪk ɪn mɑrʧ ˈæftər ˈhirɪŋ ˈrumərz əv ˈstænliz ərˈaɪvəl. wɪθ ˈɛdət wɑz sɛnt ɔn əˈhɛd tɪ ðə leɪk wɪθ ðə ədˈvæns, tʊk ðə boʊt əp tɪ mswa*, ənd mɛt ɔn 27 ˈeɪprəl 1888 brɔt hɪz ˈstimər tɪ ðə saʊθ ɛnd əv ðə leɪk, ənd ðɛr mɛt ˈstænli ɔn ðə 29th*, hu wɑz səˈpraɪzd tɪ faɪnd ðə ˈfɪgjər əv tɪ hæv "nɑt ə treɪs ɔn ɪt əv ər æŋˈzaɪəti", ənd ˈsɛləˌbreɪtɪd wɪθ θri ˈbɑtəlz əv ʃæmˈpeɪn ðət hæd bɪn ˈkɛrid ɔl ðə weɪ əp ðə ˈkɑŋgoʊ. prəˈvaɪdɪd ˈstænli wɪθ fud ənd ˈəðər səˈplaɪz, ðəs ˈrɛskjuɪŋ ðə ˈrɛˌskjuərz. æt ðɪs pɔɪnt θɪŋz bɪˈkeɪm ˈdɪfəkəlt. wɑz praɪˈmɛrəli ˈɪntəˌrɛstɪd ɪn ˌæmjəˈnɪʃən ənd ˈəðər səˈplaɪz, ənd ə kəmˌjunəˈkeɪʃənz rut, ɔl əv wɪʧ wʊd əˈsɪst ɪm ɪn rɪˈmeɪnɪŋ ɪn, waɪl ˈstænliz meɪn goʊl wɑz tɪ brɪŋ aʊt. ə mənθ əv dɪˈskəʃən prəˈdust noʊ əˈgrimənt, ənd ɔn 24 meɪ ˈstænli wɛnt bæk tɪ fɔrt ˈboʊdoʊ, ərˈaɪvɪŋ ðɛr 8 ʤun ənd ˈmitɪŋ stɛrz, hu hæd rɪˈtərnd frəm wɪθ ʤɪst ˌfɔrˈtin sərˈvaɪvɪŋ mɛn. ɔn ðə weɪ ˈstænli sɔ ðə ˈmaʊntənz fər ðə fərst taɪm (ˌɔlˈðoʊ pɑrk ənd hæd sin ðɛm ɔn 20 ˈeɪprəl). feɪt əv ðə rɪr ˈkɑləm ˈɛdət ɔn 16 ʤun, ˈstænli lɛft ðə fɔrt ɪn sərʧ əv ðə rɪr ˈkɑləm; noʊ wərd əv ðɛm ər frəm ðɛm hæd bɪn rɪˈsivd ɪn ə lɔŋ taɪm. ˈfaɪnəli, ɔn 17 ˈɔgəst æt banalya*, 90 maɪəlz ˈəpˈstrim frəm, ˈstænli faʊnd ˈbɑni ðə soʊl ˌjʊrəˈpiən lɛft ɪn ʧɑrʤ əv ðə ˈkɑləm, əˈlɔŋ wɪθ ə ˈhændˌfʊl əv ˈstɑrvɪŋ ˈkɛriərz. hæd bɪn ʃɑt ɪn ə dɪˈspjut, ˈʤeɪmsən wɑz æt bɑnˈgɑlə daɪɪŋ əv ə ˈfivər, trup hæd bɪn hoʊm, ənd ˈhərbərt wɔrd hæd gɔn bæk daʊn ðə ˈkɑŋgoʊ ə ˈsɛkənd taɪm tɪ ˈtɛləˌgræf ðə rɪˈlif kəˈmɪti ɪn ˈləndən fər ˈfərðər ˌɪnˈstrəkʃənz (ðə ˈkɑləm hæd nɑt hərd frəm ˈstænli ɪn ˈoʊvər ə jɪr). ðə ərˈɪʤənəl ˈpərpəs əv ðə rɪr ˈkɑləm tɪ weɪt fər ðə əˈdɪʃənəl ˈkɛriərz frəm hæd nɑt bɪn əˈkɑmplɪʃt, sɪns wɪˈθaʊt ðə ˌæmjəˈnɪʃən səˈplaɪd baɪ ðə ˌɛkspəˈdɪʃən, hæd ˈnəθɪŋ wɪθ wɪʧ tɪ rɪˈkrut. ˈæftər ˈsɛvərəl saɪd trɪps, ˌdɪˈsaɪdɪd tɪ sɛnd trup ənd ˈəðərz ɔn ðə sɪk lɪst daʊn ðə ˈkɑŋgoʊ, ənd 11 ʤun 1888 ˈæftər ðə ərˈaɪvəl əv ə grup əv ˈbrɪŋɪŋ ˈtoʊtəl tɪ 560 sɛt ɔf ɪn sərʧ əv ˈstænli. bət ðə mɑrʧ sun dɪˈsɪntəˌgreɪtɪd ˈɪntu keɪɑs, wɪθ ˈlɑrʤˌskeɪl dɪˈzərʃən ənd ˈməltəpəl trɪps tɪ traɪ tɪ brɪŋ əp stɔrz; ðɛn ɔn 19 ˌʤuˈlaɪ wɑz ʃɑt waɪl traɪɪŋ tɪ ˌɪnərˈfɪr wɪθ ə ˈfɛstɪvəl. ˈʤeɪmsən ˌdɪˈsaɪdɪd tɪ goʊ daʊn tɪ bɑnˈgɑlə tɪ brɪŋ əp ˈɛkstrə loʊdz ənd lɛft ɔn 9 ˈɔgəst, ˈʃɔrtli ˌbiˈfɔr ˈstænliz ərˈaɪvəl. ˈstænli wɑz ˈɪnˌsɛnst æt ðə steɪt əv ðə rɪr ˈkɑləm, ˈbleɪmɪŋ ðɛm fər læk əv ˈmoʊʃən dɪˈspaɪt hɪz ˈpriviəs ˈɔrdərz ðət ðeɪ weɪt fər ɪm æt. frəm sərˈvaɪvɪŋ ˈɔfɪsərz ˈstænli ˈɔlsoʊ hərd ˈstɔriz əv bruˈtælɪti ənd əv əˈnəðər ˈɔfɪsər, ˈʤeɪmsən, hu wɑz əˈlɛʤd tɪ hæv ˈpərʧəst ə jəŋ ˈfiˌmeɪl sleɪv ənd ˈgɪvɪn hər tɪ ˈkænəbəlz soʊ hi kʊd ˈrɛkərd hər biɪŋ kɪld ənd ˈæftər ðə dɪˈspæʧ əv ə ˈnəmbər əv ˈlɛtərz down-congo*, ðə ˌɛkspəˈdɪʃən rɪˈtərnd tɪ fɔrt ˈboʊdoʊ, ˈteɪkɪŋ ə ˈdɪfərənt rut ðət pruvd noʊ ˈbɛtər fər fud səˈplaɪ, ənd ɪt riʧt ðə fɔrt ɔn 20 dɪˈsɛmbər, naʊ rɪˈdust tɪ 412 mɛn, əv hum 124 wər tu ɪl tɪ ˈkɛri ˈɛni loʊdz. ɔn 16 ˈʤænjuˌɛri 1889 nɪr leɪk ˈælbərt, ˈstænli rɪˈsivd ˈlɛtərz frəm ənd, hu hæd bɪn meɪd ˈprɪzənər baɪ ˈɔfɪsərz fər ˈsɛvərəl mənθs, waɪl æt ðə seɪm taɪm ðə hæd bɪn ˈkæpʧərɪŋ əˈdɪʃənəl ˈsteɪʃənz əv. sɪns ˈstænliz ərˈaɪvəl, ˈnumərəs ˈrumərz hæd gɔn əraʊnd əˈbaʊt ˌɪnˈtɛnʧənz ənd ðə ˈlaɪkli feɪt əv ðə ˈsoʊlʤərz, ənd ɪn ˈɔgəst əv ðə ˈpriviəs jɪr ˈmætərz hæd kəm tɪ ə hɛd; ə ˈnəmbər əv ˈɔfɪsərz rɪˈbɛld, dɪˈpoʊzd ɛz ˈgəvərnər, ənd kɛpt ɪm ənd ˈəndər ə sɔrt əv haʊs ərˈɛst ɪn ənˈtɪl noʊˈvɛmbər. ˈivɪn soʊ, wɑz stɪl rɪˈləktənt tɪ əˈbændən ðə ˈprɑvɪns. tɪ ðə koʊst ˈɛdət baɪ 17 ˈfɛbruˌɛri ɔl ðə sərˈvaɪvɪŋ ˈmɛmbərz əv ðə ˌɛkspəˈdɪʃən, ənd wɪθ ə grup əv əˈbaʊt 65 lɔɪəl ˈsoʊlʤərz, mɛt æt ˈstænliz kæmp əˈbəv leɪk ˈælbərt, ənd ˈdʊrɪŋ ðə ˈsəbsəkwənt wiks ˈsɛvərəl ˈhənərd mɔr əv ˈfɑloʊərz, ˈmɛni əv ðɛm ðə ˈfæməliz əv ðə ˈsoʊlʤərz, əˈkjumjəˌleɪtɪd ðɛr. stɪl hæd nɑt ɪkˈsprɛst ə fərm ˌɪnˈtɛnʧən tɪ liv, ənd 5 ˈeɪprəl, ˈæftər ə ˈhitɪd ˈɑrgjəmənt, ˈstænli dɪˈtərmənd tɪ liv ˈʃɔrtli, ənd ðə ˌɛkspəˈdɪʃən dɪˈpɑrtɪd fər ðə koʊst ɔn 10 ˈeɪprəl. ðə trɪp tɪ ðə koʊst pæst fərst saʊθ, əˈlɔŋ ðə ˈwɛstərn flæŋk əv ðə ruwenzoris*, ənd stɛrz əˈtɛmptəd tɪ əˈsɛnd tɪ ə ˈsəmɪt, ˈriʧɪŋ ˌbiˈfɔr ˈhævɪŋ tɪ tərn əraʊnd. ðeɪ ðɛn pæst baɪ leɪk ˈɛdwərd ənd leɪk ʤɔrʤ, ðɛn əˈkrɔs tɪ ðə ˈsəðərnˌmoʊst pɔɪnt əv leɪk vɪkˈtɔriə, ˈpæsɪŋ θru ðə ˈkɪŋdəmz əv ənd karagwe*. ˈstænli meɪd "ˈtritiz" wɪθ ðə ˈvɛriəs ˈrulərz; ˌɔlˈðoʊ ɪt ɪz moʊst ˈlaɪkli ðət ðiz wər nɑt rɪˈgɑrdɪd ɛz səʧ baɪ ðə ˈloʊkəlz, ðeɪ wər ˈleɪtər juzd tɪ ɪˈstæblɪʃ kleɪmz ɪn ðə ˈɛriə. leɪk vɪkˈtɔriə wɑz sin ɔn 15 ˈɔgəst, ənd ðə ˌɛkspəˈdɪʃən riʧt ˈmɪʃəˌnɛri ˈsteɪʃən æt ɔn 28 ˈɔgəst. æt ðɪs pɔɪnt ðeɪ bɪˈgæn tɪ lərn əv ðə ˈkɑmpləˌkeɪtəd ˈʧeɪnʤɪŋ ˌsɪʧuˈeɪʃən ɪn ist ˈæfrɪkɑ, wɪθ ˈbrɪtɪʃ ənd ˈʤərmən ˈɪntərɪsts ˈskræmbəlɪŋ tɪ steɪk ðɛr kleɪmz, ənd ə ˈsɛkənd rɪˈlif ˌɛkspəˈdɪʃən ˈəndər ˈfrɛdərɪk ʤɑn ˈʤæksən. ˈæftər ˈweɪtɪŋ ˈfrutləsli fər nuz əv ðə ˈʤæksən ˌɛkspəˈdɪʃən, ˈstænli lɛft ɔn 17 sɛpˈtɛmbər, wɪθ ə ˈpɑrti naʊ rɪˈdust tɪ səm 700 baɪ ə ˌkɑmbəˈneɪʃən əv dɛθ ənd dɪˈzərʃən. ɛz ðə ˌɛkspəˈdɪʃən əˈproʊʧt ðə koʊst, ðeɪ ɪnˈkaʊnərd ˈpɑrtiz əv ˈʤərmənz ənd ˈəðər saɪnz əv ˈʤərmən ækˈtɪvɪti ɪn ðə ˌɪnˈtɪriər, ənd wər mɛt baɪ kəˈmɪʃənər ˈwɪsmən ɔn 4 dɪˈsɛmbər ənd ɛˈskɔrtɪd ˈɪntu. ðət ˈivnɪŋ ə ˈbæŋkwət wɑz hɛld, ˈdʊrɪŋ wɪʧ ən ˌɪˈnɛbriˌeɪtəd fɛl aʊt əv ə ˈwɪndoʊ hi mɪˈstʊk fər ə ˈbælkəni, ənd frəm wɪʧ hi dɪd nɑt rɪˈkəvər ənˈtɪl ðə ɛnd əv ˈʤænjuˌɛri 1890 ɪn ðə ˈminˌtaɪm, ðə rɛst əv ðə ˌɛkspəˈdɪʃən hæd dɪˈspərst; ˈstænli wɛnt tɪ ˈzænzəˌbɑr ənd ðɛn tɪ ˈkaɪroʊ, wɛr hi roʊt ðə 900 ˈpeɪʤɪz əv ɪn ˈdɑrkəst ˈæfrɪkɑ ɪn ʤɪst 50 deɪz. ðə ˈkɛriərz wər peɪd ɔf ər (ɪn ðə keɪs əv ˈprɪzənərz) rɪˈtərnd tɪ ðɛr ˈmæstərz, ðə ˌsudəˈniz ənd ɪˈʤɪpʃənz wər trænˈspɔrtəd bæk tɪ ˈiʤɪpt, səm ˈleɪtər rɪˈtərnɪŋ tɪ wərk fər ðə. tʊk ˈsərvɪs wɪθ ðə ˈʤərmənz ɪn ˈfɛbruˌɛri, ənd ðə ˈəðər ˌjʊrəˈpiənz rɪˈtərnd tɪ ˈɪŋglənd. ˈæftərˌmæθ ˈɛdət ˈstænli rɪˈtərnd tɪ ˈjʊrəp ɪn meɪ 1890 tɪ trɪˈmɛndəs ˈpəblɪk əˈkleɪm; boʊθ hi ənd hɪz ˈɔfɪsərz rɪˈsivd ˈnumərəs əˈwɔrdz, ˈɑnərˌɛri dɪˈgriz, ənd ˈspikɪŋ ɪnˈgeɪʤmənts. ɪn ʤun hɪz bʊk soʊld ˈkɑpiz əˈloʊn. bət ðə ˌæʤəˈleɪʃən wɑz tɪ bi ˌʃɔrˈtlɪvd. baɪ ˈɔtəm, ɛz ðə tru kɔst əv ðə ˌɛkspəˈdɪʃən bɪˈkeɪm noʊn, ənd ɛz ðə ˈfæməliz əv ənd ˈʤeɪmsən riˈæktɪd tɪ ˈstænliz ˌækjəˈzeɪʃənz əv ˌɪnˈkɑmpətəns ɪn ðə rɪr ˈkɑləm, ˈkrɪtɪˌsɪzəm ənd ˌkɑndəmˈneɪʃən bɪˈkeɪm ˈwaɪdˈsprɛd. ɪn ðə ɛnd, ɪt keɪm tɪ bi ðə læst ˌɛkspəˈdɪʃən əv ɪts taɪp; fˈjuʧər ˈæfrɪkɑn ˌɛkspəˈdɪʃənz wʊd bi ɪn pərˈsut əv ˈmɪlɪˌtɛri ər pəˈlɪtɪkəl goʊlz, ər kənˈdəktəd ˈpjʊrli fər saɪəns. frəm 1898 tɪ 1900 ə ˈdɛvəˌsteɪtɪŋ sˈlipɪŋ ˈsɪknəs ˌɛpɪˈdɛmɪk sprɛd ˈɪntu ˈtɛrəˌtɔriz ðət ər naʊ ˌdɛməˈkrætɪk riˈpəblɪk əv ˈkɑŋgoʊ, ˈwɛstərn ˌjuˈgɑndɑ ənd saʊθ əv suˈdæn. ˈneɪtɪv ˈkætəl ˈtrævəlɪŋ wɪθ ðə ˌɛkspəˈdɪʃən meɪ hæv ˌɪntrəˈdust ðə ˈpɛrəˌsaɪt ˈɪntu ˌhaʊˈɛvər, nɑt ɔl ˈɔθərz ˈmɑdərn ˈkəlʧər ˈɛdət ðə feɪt əv ðə rɪr ˈkɑləm ɪz ðə ˈsəbʤɪkt əv ˈsaɪmən greɪz 1978 pleɪ ðə rɪr ˈkɑləm, wɪʧ ˈfiʧərz, ˈʤeɪmsən, wɔrd, ˈbɑni, trup ənd ˈstænli ɛz ˈkɛrɪktərz. ˈrɛfərənsɪz ˈɛdət ˈfərðər ˈrɛdɪŋ ˈɛdət ˈpraɪˌmɛri ˈsɔrsəz ˈsɛkənˌdɛri wərks ˈmidiə rɪˈleɪtɪd tɪ ˈpɑʃə rɪˈlif ˌɛkspəˈdɪʃən æt ˈkɑmənz
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the emin pasha relief expedition of 1886 to 1889 was one of the last major european expeditions into the interior of africa in the nineteenth century, ostensibly to the relief of emin pasha, general charles gordon's besieged governor of equatoria, threatened by mahdist forces. the expedition was led by henry morton stanley and came to be both celebrated for its ambition in crossing "darkest africa", and notorious for the deaths of so many of its members and the disease unwittingly left in its wake.
anxiety about equatoria [ edit ]
the mahdists captured khartoum in 1885 and egyptian administration of the sudan collapsed, and the extreme southern province equatoria was nearly cut off from the outside world, located as it was on the upper reaches of the nile near lake albert. emin pasha was an ottoman doctor and naturalist who had been appointed governor of equatoria. he was able to send and receive letters via buganda and zanzibar and had been informed in february 1886 that the egyptian government would abandon equatoria. in july, he was encouraged by missionary alexander mackay to invite the british government to annex equatoria itself. the government was not interested in such a doubtful venture, but the british public came to see emin as a second general gordon in mortal danger from the mahdists.
scottish businessman and philanthropist william mackinnon had been involved in various colonial ventures, and by november he had approached stanley about leading a relief expedition. stanley declared himself ready "at a moment's notice" to go. mackinnon then approached j. f. hutton, a business acquaintance also involved in colonial activities, and together they organized the "emin pasha relief committee", mostly consisting of mackinnon's friends, whose first meeting was on 19 december 1886. the committee raised a total of about £32,000.
stanley was officially still in the employment of léopold ii of belgium, by whom he had been employed in carving out léopold's 'congo free state'. as a compromise for letting stanley go, it was arranged in a meeting in brussels between stanley and the king, that the expedition would take a longer route up the congo river, contrary to plans for a shorter route inland from the eastern african coast. in return, léopold would provide his free state steamers for the transportation of the expedition up the river, from stanley pool (now pool malebo) as far as the mouth of the aruwimi river.
by 1 january 1887, stanley was back in london preparing the expedition to widespread public acclaim. stanley himself was intent that the expedition be one of humanitarian assistance rather than of military conquest. he declared:
the expedition is non-military—that is to say, its purpose is not to fight, destroy, or waste; its purpose is to save, to relieve distress, to carry comfort. emin pasha may be a good man, a brave officer, a gallant fellow deserving of a strong effort of relief, but i decline to believe, and i have not been able to gather from any one in england an impression, that his life, or the lives of the few hundreds under him, would overbalance the lives of thousands of natives, and the devastation of immense tracts of country which an expedition strictly military would naturally cause. the expedition is a mere powerful caravan, armed with rifles for the purpose of insuring the safe conduct of the ammunition to emin pasha, and for the more certain protection of his people during the retreat home. but it also has means of purchasing the friendship of tribes and chiefs, of buying food and paying its way liberally. henry morton stanley, in joel headley, stanley's adventures in the wilds of africa[1]
double purpose of expedition [ edit ]
in a number of publications made after the expedition, stanley asserts that the purpose of the effort was singular; to offer relief to emin pasha. for example, he writes the following while explaining the final route decision.
the advantages of the congo route were about five hundred miles shorter land journey, and less opportunities for deserting. it also quieted the fears of the french and germans that, behind this professedly humanitarian quest, we might have annexation projects. henry morton stanley, the autobiography of sir henry morton stanley[2]
however, stanley's other writings point to a secondary goal which was precisely territorial annexation. he writes in his book on the expedition, about his meeting with the sultan of zanzibar, when he arrived there at the start of the expedition, and a certain matter that was discussed at that meeting. at first, he is not explicit on the agenda but it is clear enough.
we then entered heartily into our business; how absolutely necessary it was that he should promptly enter into an agreement with the english within the limits assigned by anglo-german treaty. it would take too long to describe the details of the conversation, but i obtained from him the answer needed. henry morton stanley, in darkest africa[3]
a few pages further in the same book, stanley explains what the matter was about and this time, he makes it clear that indeed, it had to do with annexation.
i have settled several little commissions at zanzibar satisfactorily. one was to get the sultan to sign the concessions which mackinnon tried to obtain a long time ago. as the germans have magnificent territory east of zanzibar, it was but fair that england should have some portion for the protection she has accorded to zanzibar since 1841 ... the concession that we wished to obtain embraced a portion of east african coast, of which mombasa and melindi were the principal towns. for eight years, to my knowledge, the matter had been placed before his highness, but the sultan's signature was difficult to obtain. henry morton stanley, in darkest africa[4]
the records at the national archives at kew, london, offer an even deeper insight and show that annexation was a purpose he had been aware of for the expedition. this is because there are a number of treaties curated there (and gathered by stanley himself from what is present day uganda during the emin pasha expedition), ostensibly gaining british protection for a number of african chiefs. amongst these were a number that have long been identified as possible frauds.[5] a good example is treaty number 56, supposedly agreed upon between stanley and the people of "mazamboni, katto, and kalenge". these people had signed over to stanley "the sovereign right and right of government over our country for ever in consideration of value received and for the protection he has accorded us and our neighbours against kabbarega and his warasura".[6]
preparations [ edit ]
advance as depicted in in darkest africa by h.m. stanley. the steel boatas depicted inby h.m. stanley.
the plan of the expedition was to go to cairo, then to zanzibar to hire porters, then south of africa, around the cape to the mouth of the congo, up the congo by leopold's steamers, branching off at the aruwimi river. stanley intended to establish a camp on the aruwimi, then go east overland through unknown territory to reach lake albert and equatoria. he then expected that emin would send the families of emin's egyptian employees back along the just-pioneered route, along with a large store of ivory accumulated in equatoria, while stanley, emin, and emin's soldiers would proceed eastward to zanzibar. coincidentally, public doubts over the plan centered around whether it could be achieved; the possibility that emin might not want to leave seems not to have been considered.
the expedition was the largest and best-equipped to go to africa; a 28-foot steel boat named the advance was designed to be divided into 12 sections for carrying over land, and hiram maxim presented the expedition with one of his recently invented maxim guns, which was the first to be brought to africa. merely 'exhibiting' the gun was thought to be a scare, which would spare the expedition problems with troublesome natives.
the relief committee received 400 applications by hopeful participants. from these, stanley chose the officers who were to accompany him to africa:
stanley departed london on 21 january 1887 and arrived in cairo on 27 january. egyptian objections to the congo route were overridden by a telegram from lord salisbury, and the expedition was permitted to march under the egyptian flag. stanley also met with mason bey, schweinfurth, and junker, who had more up-to-date information about equatoria.
stanley left cairo on 3 february, joined up with expedition members during stops in suez and aden, and arrived in zanzibar on 22 february. the next three days were spent packing for the expedition, loading the madura, and negotiating. stanley acted as a representative of mackinnon in convincing the sultan of zanzibar to grant a concession for what later became the imperial british east africa company (i.b.e.a.c.), and made two agreements with tippu tib. the first included appointing him as governor of stanley falls, an arrangement much criticized in europe as a deal with a slave-trader, and the second agreement regarded the provisions of carriers for the expedition. in addition to transporting stores, the carriers were now also expected to bring out some 75 tons of ivory stored in equatoria. stanley posted letters to emin predicting his arrival on lake albert around august.
up the congo [ edit ]
the expedition route between the upper congo river and bagamoyo
the expedition left zanzibar on 25 february and arrived at banana at the mouth of the congo on 18 march. their arrival was somewhat unexpected, because a telegraph cable had broken and local officials had received no instructions. chartered steamers brought the expedition to matadi, where the carriers took over, bringing some 800 loads of stores and ammunition to leopoldville on the stanley pool. progress was slow, since the rainy season was at its height, and food was short - a problem that was to be persistent throughout the expedition (the area along the route rarely had spare food for 1,000 hardworking men, as it was a subsistence economy).
le peace
le florida
on 21 april, the expedition arrived at leopoldville. king leopold had promised a flotilla of river steamers, but only one worked: the stanley. stanley requisitioned two (peace and henry reed) from missionaries of the baptist mission and the livingstone inland mission, whose protests were overridden, as well as the florida, which was still under construction and so used as a barge. even these were insufficient, so many of the stores were left at leopoldville and more at bolobo. at this point, stanley also announced the division of the expedition: a "rear column" would encamp at yambuya on the aruwimi, while the "advance column" pressed on to equatoria.
the voyage up the congo started 1 may and was generally uneventful. at bangala station, barttelot and tippu tib continued up to stanley falls in the henry reed, while stanley took the aruwimi to yambuya. the inhabitants of yambuya refused permission to reside in their village, so stanley attacked and drove the villagers away, turning the deserted village into a fortified camp. meanwhile, at stanley falls, tippu tib attempted to acquire carriers, but he believed that stanley had broken his part of their agreement by leaving ammunition behind, and barttelot came to yambuya with only an indefinite promise that carriers would arrive in several weeks.
darkest africa [ edit ]
stanley, however, insisted on speed, and left for lake albert on 28 june, originally expecting to take two months. the advance column, however, was unprepared for the extreme difficulties of travel through the ituri forest and did not reach the lake until december. only 169 of the 389 who set out from yambuya were still alive. the trees of the forest were so tall and dense that little light reached the floor (thus the phrase "darkest africa"), food was scarcely to be found, and the local pygmies took the expedition for an arab raiding party, shooting at them with poisoned arrows. the expedition stopped at two arab settlements, ugarrowwa's and ipoto, in each case leaving more of their equipment behind in exchange for food.
the forest eventually gave way to grassland, and on 13 december the expedition was looking down on lake albert. however, emin was not there, and the locals had not seen a european in many years. stanley decided to return to the village of ibwiri on the plateau above the lake, where they built fort bodo. stairs went back to ipoto to collect men and equipment, and returned 12 february. a second trip went back to ugarrowwa's to collect more equipment. meanwhile, on 2 april stanley returned to lake albert, this time with the advance. on 18 april they received a letter from emin, who had heard about the expedition a year earlier, and had come down the lake in march after hearing rumors of stanley's arrival.
with emin [ edit ]
jephson was sent on ahead to the lake with the advance, took the boat up to mswa, and met emin on 27 april 1888. emin brought his steamer to the south end of the lake, and there met stanley on the 29th, who was surprised to find the figure of emin to have "not a trace on it of ill-health or anxiety", and celebrated with three bottles of champagne that had been carried all the way up the congo. emin provided stanley with food and other supplies, thus rescuing the rescuers.
at this point things became difficult. emin was primarily interested in ammunition and other supplies, and a communications route, all of which would assist him in remaining in equatoria, while stanley's main goal was to bring emin out. a month of discussion produced no agreement, and on 24 may stanley went back to fort bodo, arriving there 8 june and meeting stairs, who had returned from ugarrowwa's with just fourteen surviving men. on the way stanley saw the ruwenzori mountains for the first time (although parke and jephson had seen them on 20 april).
fate of the rear column [ edit ]
on 16 june, stanley left the fort in search of the rear column; no word of them or from them had been received in a long time. finally, on 17 august at banalya, 90 miles upstream from yambuya, stanley found bonny the sole european left in charge of the column, along with a handful of starving carriers. barttelot had been shot in a dispute, jameson was at bangala dying of a fever, troup had been invalided home, and herbert ward had gone back down the congo a second time to telegraph the relief committee in london for further instructions (the column had not heard from stanley in over a year). the original purpose of the rear column – to wait for the additional carriers from tippu tib – had not been accomplished, since without the ammunition supplied by the expedition, tippu tib had nothing with which to recruit. after several side trips, barttelot decided to send troup and others on the sick list down the congo, and 11 june 1888, after the arrival of a group of manyema bringing barttelot's total to 560, set off in search of stanley.
but the march soon disintegrated into chaos, with large-scale desertion and multiple trips to try to bring up stores; then on 19 july barttelot was shot while trying to interfere with a manyema festival. jameson decided to go down to bangala to bring up extra loads and left on 9 august, shortly before stanley's arrival. stanley was incensed at the state of the rear column, blaming them for lack of motion despite his previous orders that they wait for him at yambuya. from surviving officers stanley also heard stories of barttelot's brutality and of another officer, jameson, who was alleged to have purchased a young female slave and given her to cannibals so he could record her being killed and eaten.[7] after the dispatch of a number of letters down-congo, the expedition returned to fort bodo, taking a different route that proved no better for food supply, and it reached the fort on 20 december, now reduced to 412 men, of whom 124 were too ill to carry any loads.
on 16 january 1889, near lake albert, stanley received letters from emin and jephson, who had been made prisoner by emin's officers for several months, while at the same time the mahdists had been capturing additional stations of equatoria. since stanley's arrival, numerous rumors had gone around about emin's intentions and the likely fate of the soldiers, and in august of the previous year matters had come to a head; a number of officers rebelled, deposed emin as governor, and kept him and jephson under a sort of house arrest in dufile until november. even so, emin was still reluctant to abandon the province.
to the coast [ edit ]
by 17 february all the surviving members of the expedition, and emin with a group of about 65 loyal soldiers, met at stanley's camp above lake albert, and during the subsequent weeks several hundred more of emin's followers, many of them the families of the soldiers, accumulated there. emin still had not expressed a firm intention to leave equatoria, and 5 april, after a heated argument, stanley determined to leave shortly, and the expedition departed kavalli's for the coast on 10 april.
the trip to the coast passed first south, along the western flank of the ruwenzoris, and stairs attempted to ascend to a summit, reaching 10,677 ft before having to turn around. they then passed by lake edward and lake george, then across to the southernmost point of lake victoria, passing through the kingdoms of ankole and karagwe. stanley made "treaties" with the various rulers; although it is most likely that these were not regarded as such by the locals, they were later used to establish i.b.e.a claims in the area.
lake victoria was seen on 15 august, and the expedition reached mackay's missionary station at usambiro on 28 august. at this point they began to learn of the complicated changing situation in east africa, with british and german interests scrambling to stake their claims, and a second relief expedition under frederick john jackson. after waiting fruitlessly for news of the jackson expedition, stanley left on 17 september, with a party now reduced to some 700 by a combination of death and desertion.
as the expedition approached the coast, they encountered parties of germans and other signs of german activity in the interior, and were met by commissioner wissmann on 4 december and escorted into bagamoyo. that evening a banquet was held, during which an inebriated emin fell out of a 2nd-story window he mistook for a balcony, and from which he did not recover until the end of january 1890. in the meantime, the rest of the expedition had dispersed; stanley went to zanzibar and then to cairo, where he wrote the 900 pages of in darkest africa in just 50 days. the zanzibari carriers were paid off or (in the case of prisoners) returned to their masters, the sudanese and egyptians were transported back to egypt, some later returning to work for the i.b.e.a. emin took service with the germans in february, and the other europeans returned to england.
aftermath [ edit ]
stanley returned to europe in may 1890 to tremendous public acclaim; both he and his officers received numerous awards, honorary degrees, and speaking engagements. in june his just-published book sold 150,000 copies alone. but the adulation was to be short-lived. by autumn, as the true cost of the expedition became known, and as the families of barttelot and jameson reacted to stanley's accusations of incompetence in the rear column, criticism and condemnation became widespread. in the end, it came to be the last expedition of its type; future african expeditions would be government-run in pursuit of military or political goals, or conducted purely for science.
from 1898 to 1900, a devastating sleeping sickness epidemic spread into territories that are now democratic republic of congo, western uganda and south of sudan. native cattle traveling with the expedition may have introduced the parasite into previously-unaffected regions.[8] however, not all authors agree.[9]
modern culture [ edit ]
the fate of the rear column is the subject of simon gray's 1978 play the rear column, which features barttelot, jameson, ward, bonny, troup and stanley as characters.
references [ edit ]
further reading [ edit ]
primary sources
secondary works
media related to emin pasha relief expedition at wikimedia commons
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nɑt ɔl əv ðə bɪg ˈænˌdrɔɪd foʊn ˈmeɪkərz hæv əˈnaʊnst ðɛr plænz fər ðə ˈəpˌdeɪt, bət ɪf ju lʊk æt ənd ənd əˈfɪʃəl lɪsts (ɛz wɛl ɛz ðə ˌsəpləˈmɛntəl lɪsts biɪŋ ˈpəblɪʃt baɪ səm ˈkɛriərz), ˈnoʊtɪs ðeɪ ɔl hæv wən bɪg θɪŋ ɪn ˈkɑmən. nən əv ðə foʊnz ər mɔr ðən ə jɪr ər tu oʊld. ənd waɪl ðɪs ɪz ˈsædli ðə nɔrm fər ðə ˈænˌdrɔɪd ˈikoʊˌsɪstəm, ɪt lʊks laɪk ðɪs ɪkˈsklusɪvli ðə fɔlt əv ˈleɪzi foʊn ˈmeɪkərz hu hæv ˈlɪtəl ˌɪnˈsɛnɪv tɪ prəˈvaɪd səˈpɔrt fər ˈɛniˌθɪŋ ɔˈrɛdi soʊld ju. ˈsoʊni, fər ˈɪnstəns, wɑz ˈwərkɪŋ ɔn ə bɪld fər ənd ˈivɪn gɑt ɪt ˈædɪd tɪ ðə əˈfɪʃəl dɪˈvɛləpər ˈproʊˌgræm ˈmɪdˌweɪ θru, ˈoʊnli tɪ bi drɑpt ɪn ðə læst ˈbeɪtə bɪld ənd ðə ˈfaɪnəl riˈlis. ˈæftər duɪŋ səm ˈdɪgɪŋ ənd ˈtɔkɪŋ tɪ səm ˈpipəl, wi kən seɪ ðət ɪt wɪl bi ˈiðər ˈvɛri ˈdɪfəkəlt ɪf nɑt kəmˈplitli ˌɪmˈpɑsəbəl fər ˈɛni foʊn ðət ˈjuzɪz sˈnæpˌdrægən 800 ər 801 tɪ gɪt ən əˈfɪʃəl, ˈəpˌdeɪt (ˌɪnˈkludɪŋ ðə ənd ə ˈprɪti bɪg dil, sɪns ðoʊz tu ʧɪps paʊərd ˈpræktɪkəli ˈɛvəri ˈsɪŋgəl ˈænˌdrɔɪd ˈflægˌʃɪp soʊld frəm leɪt 2013 ənˈtɪl leɪt 2014 ənd ə fju mɔr ˈrisənt dɪˈvaɪsɪz tɪ but. ðɪs ˌsɪʧuˈeɪʃən həz ˌɪmpləˈkeɪʃənz fər ðə ˈænˌdrɔɪd ˈikoʊˌsɪstəm. ənd waɪl ɪt kən bi ˈtɛmptɪŋ tɪ leɪ ðə bleɪm æt ðə fit əv ˈɛni wən fər kriˈeɪtɪŋ ðɪs ˈəpˌdeɪt mɛs ɪn ðə fərst pleɪs, kˈwɑlˌkɑm fər ˈfeɪlɪŋ tɪ səˈpɔrt ˈoʊldər, ənd ðə foʊn ˈmeɪkərz fər ˈfeɪlɪŋ tɪ kip əp wɪθ nu ˈrɪli kaɪnd əv fɔlt. haʊ ən ˈænˌdrɔɪd ˈəpˌdeɪt ɪz meɪd ə ˈlɪtəl ˈaʊtˌdeɪtɪd æt ðɪs pɔɪnt, bət wən əv ðə bɛst ˌɪləˈstreɪʃənz əv wət goʊz ˈɪntu ə ˈmeɪʤər ˈænˌdrɔɪd ˈəpˌdeɪt ɪz stɪl ðɪs ðət pʊt aʊt ə ˈkəpəl əv jɪrz əˈgoʊ. ˈprɪti ˈərli ɪn ðət ˈprɔˌsɛs, ˈʧɪpˌmeɪkərz laɪk kˈwɑlˌkɑm nid tɪ ˌdɪˈsaɪd wɪʧ əv ðɛr ˈprɑdəkts əˈfɪʃəli səˈpɔrt. ““supported”*” ʧɪps gɪt nu ˈdraɪvərz fər ðə gpu*, ˈmoʊdəm, ənd ˈəðər ˌɪmˈpɔrtənt pɑrts əv ðə soc*, ənd ðə ˈʧɪpˌmeɪkər wɪl ðɛn prəˈvaɪd ðət ˈəpˌdeɪtɪd ˈsɔfˌwɛr ɛz pɑrt əv ə ʤəˈnɛrɪk bɔrd səˈpɔrt ˈpækɪʤ (bsp*) dɪˈstrɪbjətəd tɪ foʊn ˈmeɪkərz. frəm ðɛr, ðət bsp*, ˈænˌdrɔɪd koʊd, ənd ˌwəˈtɛvər æps ənd skɪnz kən ɔl ɪˈvɛnʧəwəli bi mɪkst təˈgɛðər ənd sɛnt aʊt ɛz ən ˈænˌdrɔɪd ˈəpˌdeɪt, wɪʧ kən bi ˈɪʃud ɛz lɔŋ ɛz ðə foʊn mits kəmˌpætəˈbɪləˌti rɪkˈwaɪrmənts. pɑrt əv ðə ˈrizən waɪ ðə ˈænˌdrɔɪd ˈəpˌdeɪt mɛs ɪgˈzɪsts ɪz ðət ɔl əv ðiz ˈkəmpəˌniz (pləs jʊr ˈsɛljələr ˈkɛriər) nid tɪ əˈgri tɪ dɪˈvɛləp ənd riˈlis ðɪs ˈəpˌdeɪt ˈɛniˌθɪŋ goʊz rɔŋ æt ˈɛni pɔɪnt ɪn ðɪs ʧeɪn, ˈəpˌdeɪts ˈhæpən, fʊl stɑp. beɪst ɔn ɑr oʊn ˈrisərʧ (ənd ˌkɑnvərˈseɪʃənz wɪθ ˈpɑrtiz ðət prɪˈfərd nɑt tɪ bi neɪmd), ɪt lʊks laɪk ðə ˈbɪgəst ˈroʊdˌblɑk wɪθ ɔn ˈoʊldər dɪˈvaɪsɪz ɪz ðət kˈwɑlˌkɑm prəˈvaɪdɪŋ səˈpɔrt fər ðə sˈnæpˌdrægən 800 ənd 801 ˈəndər. wɪn æst dɪˈrɛkli əˈbaʊt səˈpɔrt fər ðiz ʧɪps ˈəndər, kˈwɑlˌkɑm hæd ðɪs tɪ seɪ: kˈwɑlˌkɑm tɛkˈnɑləʤiz, ɪŋk. wərks ˈkloʊsli wɪθ ɑr ˈkəstəmərz tɪ dɪˈtərmən ðə dɪˈvaɪsɪz səˈpɔrtɪd baɪ ˈvɛriəs ˈvərʒənz əv ðə ˈænˌdrɔɪd ɑs ɔn ɑr sˈnæpˌdrægən. ðə lɛŋθ əv taɪm ə ɪz səˈpɔrtɪd ənd ðə ɑs ˈvərʒənz əˈveɪləbəl fər ə ˌpɑˈtɪkjələr ɪz dɪˈtərmənd ɪn kəˌlæbərˈeɪʃən wɪθ ɑr ˈkəstəmərz. wi ˌrɛkəˈmɛnd ju ˈkɑnˌtækt jʊr dɪˈvaɪs ˌmænjəˈfækʧərər ər ˈkɛriər fər ˌɪnˌfɔrˈmeɪʃən ɔn səˈpɔrt fər ˈænˌdrɔɪd. ðɪs ˈsteɪtmənt dɪˈnaɪ ðət kˈwɑlˌkɑm səˈpɔrtɪŋ ðiz ˈoʊldər ˈəndər, bət ɪt ˈɔlsoʊ ˈpæsɪz ðə bək əˈlɔŋ tɪ ɪts ““customers”*” (i.e*., ðə ˈænˌdrɔɪd). ɪn ʃɔrt, kˈwɑlˌkɑm kʊd prəˈvaɪd səˈpɔrt fər ˈoʊldər ʧɪps, bət soʊ fju ˈænˌdrɔɪd foʊn ˈmeɪkərz ər ˈæˌkʧuəli ˈæskɪŋ fər ɪt ðət kˈwɑlˌkɑm həz ˌdɪˈsaɪdɪd nɑt tɪ goʊ tɪ ðə ˈtrəbəl. waɪ ɪz ðɪs ə bɪg dil? ðɪs ˈdɛfənətli ðə fərst taɪm ðət ˈænˌdrɔɪd ˈhɑrdˌwɛr həz feɪst ən ˈərli dɛθ bɪˈkəz əv læk əv ˈhɑrdˌwɛr ənd ˈdraɪvər səˈpɔrt. ˈgæləksi ˈnɛksəs hæd ɪts laɪf kət ʃɔrt wɪn ˈtɛksəs ˈɪnstrəmənts, ðə ˌmænjəˈfækʧərər əv ɪts, lɛft ðə ɑrm ʧɪp ˈmɑrkɪt. "ɪt wɑz ə ˈrɪli ˌɛkstrəˈɔrdəˌnɛri ɪˈvɛnt," deɪv bərk, ə ˌviˈpi əv ˈɛnʤəˈnɪrɪŋ æt ˈgugəl ənd ˈmænɪʤər əv ðə ˈnɛksəs ˈproʊˌgræm, toʊld ˈsɛvərəl mənθs ˈleɪtər. "ju hæd ə ˈsɪləkən ˈkəmpəˌni ˈɛksət ðə ˈmɑrkɪt, ðɛr wɑz ˈnoʊˌbɑˌdi lɛft ɪn ðə ˈbɪldɪŋ tɪ tɔk tɪ." ðə ˈdɪfərəns ɪn ðɪs keɪs ɪz ðət kˈwɑlˌkɑm ɪz nɑt ˈtɛksəs ˈɪnstrəmənts. nɑt ˈoʊnli ɪz kˈwɑlˌkɑm stɪl əˈlaɪv ənd ˈkɪkɪŋ, bət ɪt ˈdɑməˌneɪts ðə ˈmɑrkɪt fər haɪɛnd foʊn ʧɪps ɪn ðə ˈjuˈɛs, ˈsəmθɪŋ ðət wɑz ˈivɪn mɔr tru tu ər θri jɪrz əˈgoʊ ðən ɪt ɪz təˈdeɪ. ɪf baɪɪŋ ə haɪɛnd ˈænˌdrɔɪd ɪn ðə ˈjuˈɛs, kˈwɑlˌkɑm ɪz ˈnɪrli ˌənəˈvɔɪdəbəl. ðɪs minz ðət ðə ˈkəmpəˌni həz ən ˈaʊtˌsaɪz ˌɪmˈpɔrtəns ɪn ðə ˈænˌdrɔɪd ˈəpˌdeɪt ɪt ˈʧuzɪz nɑt tɪ riˈlis ˈdraɪvərz fər ə ˈgɪvɪn, ɪt əˈfɛkts ə lɔt əv ˈjuzərz. ənd ɪt sɛts ən ɪgˈzæmpəl fər ˈəðər ˈʧɪpˌmeɪkərz, tu. ɪf ðə ˈmɑrkɪt ˈlidər səˈpɔrt ɪts ʧɪps fər mɔr ðən tu ər θri jɪrz, waɪ ʃʊd sˈmɔlər pleɪərz laɪk mediatek*, ˈsæmˌsəŋ, ənd ðə rɛst ˈwəri əˈbaʊt ɪt? ðɪs sɛts ɔf ə ˈvɪʃəs ˈjuʒəwəli ˈəpˌdeɪt ðɛr foʊnz fər mɔr ðən ə jɪr ər tu, soʊ ˈʧɪpˌmeɪkərz ˈwəri əˈbaʊt səˈpɔrtɪŋ ðɛr fər mɔr ðən ə jɪr ər tu, soʊ ˈəpˌdeɪt ðɛr foʊnz fər mɔr ðən ə jɪr ər tu ˈivɪn ɪf ðeɪ wɔnt tɪ. ɪt tərnz ðə ˈmɪnəməm ˈtərgət ðət ˈgugəl həz bɪn ˈsaɪləntli ˈpʊʃɪŋ fər ðə læst ˈɪntu lɛs əv ə ““minimum”*” ənd mɔr əv ə scenario.”*.” ənd ˈpipəl hu baɪ ˈbrændˌnu foʊnz ðə deɪ ðeɪ kəm aʊt ər ˈivɪn wərs ɔf, sɪns moʊst əv ðiz ˈəpˌdeɪt ˈtaɪmlaɪnz ər ˈdrɪvən baɪ lɔnʧ deɪt ənd nɑt baɪ ðə deɪt ðə foʊnz wər ˈteɪkən ɔf ðə ˈmɑrkɪt.
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not all of the big android phone makers have announced their plans for the nougat update, but if you look at sony’s and google’s and htc’s official lists (as well as the supplemental lists being published by some carriers), you’ll notice they all have one big thing in common. none of the phones are more than a year or two old.
and while this is sadly the norm for the android ecosystem, it looks like this exclusively the fault of lazy phone makers who have little incentive to provide support for anything they’ve already sold you. sony, for instance, was working on a nougat build for 2014’s xperia z3 and even got it added to the official nougat developer program midway through, only to be dropped in the last beta build and the final nougat release.
after doing some digging and talking to some people, we can say that it will be either very difficult if not completely impossible for any phone that uses qualcomm’s snapdragon 800 or 801 to get an official, google-sanctioned nougat update (including the z3). and a pretty big deal, since those two chips powered practically every single android flagship sold from late 2013 until late 2014 and a few more recent devices to boot.
this situation has far-reaching implications for the android ecosystem. and while it can be tempting to lay the blame at the feet of any one company—google for creating this update mess in the first place, qualcomm for failing to support older chipsets, and the phone makers for failing to keep up with new software—it’s really kind of everybody’s fault.
how an android update is made
it’s a little outdated at this point, but one of the best illustrations of what goes into a major android update is still this infographic that htc put out a couple of years ago. pretty early in that process, chipmakers like qualcomm need to decide which of their products they’ll officially support. “supported” chips get new optimized-and-tested drivers for the gpu, modem, and other important parts of the soc, and the chipmaker will then provide that updated software as part of a generic board support package (bsp) distributed to phone makers. from there, that bsp, google’s android code, and whatever oem-supplied apps and skins can all eventually be mixed together and sent out as an android update, which can be issued as long as the phone meets google’s compatibility requirements.
part of the reason why the android update mess exists is that all of these companies (plus your cellular carrier) need to agree to develop and release this update together—if anything goes wrong at any point in this chain, updates happen, full stop.
based on our own research (and conversations with parties that preferred not to be named), it looks like the biggest roadblock with nougat on older devices is that qualcomm providing support for the snapdragon 800 and 801 chipsets under nougat. when asked directly about support for these chips under nougat, qualcomm had this to say:
qualcomm technologies, inc. works closely with our customers to determine the devices supported by various versions of the android os on our snapdragon chipsets. the length of time a chipset is supported and the upgradable os versions available for a particular chipset is determined in collaboration with our customers. we recommend you contact your device manufacturer or carrier for information on support for android 7.0 nougat.
this statement deny that qualcomm supporting these older chipsets under nougat, but it also passes the buck along to its “customers” (i.e., the android oems). in short, qualcomm could provide nougat support for older chips, but so few android phone makers are actually asking for it that qualcomm has decided not to go to the trouble.
why is this a big deal?
this definitely the first time that android hardware has faced an early death because of lack of hardware and driver support. 2011’s galaxy nexus had its life cut short when texas instruments, the manufacturer of its chipset, left the arm chip market.
"it was a really extraordinary event," dave burke, a vp of engineering at google and manager of the nexus program, told ars several months later. "you had a silicon company exit the market, there was nobody left in the building to talk to."
the difference in this case is that qualcomm is not texas instruments. not only is qualcomm still alive and kicking, but it dominates the market for high-end phone chips in the us, something that was even more true two or three years ago than it is today. if buying a high-end android smartphone in the us, qualcomm is nearly unavoidable.
this means that the company has an outsize importance in the android update chain—if it chooses not to release drivers for a given chipset, it affects a lot of users. and it sets an example for other chipmakers, too. if the market leader support its chips for more than two or three years, why should smaller players like mediatek, samsung, and the rest worry about it?
this sets off a vicious cycle—oems usually update their phones for more than a year or two, so chipmakers worry about supporting their chipsets for more than a year or two, so oems update their phones for more than a year or two even if they want to. it turns the 18-month minimum target that google has been silently pushing for the last half-decade into less of a “minimum” and more of a “best-case scenario.” and people who buy brand-new phones the day they come out are even worse off, since most of these update timelines are driven by launch date and not by the date the phones were taken off the market.
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ˌmoʊtəˈveɪʃən: ˈlɑʤɪk ˈvərsəz. ˈɪˌmoʊʃənz ˈɛvər ˈwəndərd waɪ ˌmoʊtəˈveɪʃən hɪts ju moʊst raɪt əraʊnd ˈbɛdˌtaɪm ər leɪt æt naɪt? ˈɛvər ˈwəndər waɪ ɪt ˈnɛvər læsts? ˈɛvər ˈwəndərd waɪ gɪt ˈmoʊtəˌveɪtəd fər ə ˈkəpəl əv deɪz ənd ðɛn ɪt ɔl ˌdɪsəˈpɪrz, ˈvænɪʃɪz ˈɪntu ðə non-existence*? waɪ du ju ˈɔlˌweɪz goʊ bæk tɪ graʊnd ˈziroʊ? ˈluzɪŋ weɪt, ˈbɪldɪŋ ˈməsəl, əˈproʊʧɪŋ gərlz, ˈhævɪŋ ə ˈpɑzətɪv ˈætəˌtud təˈwɔrdz laɪf, ˈmeɪkɪŋ ˈməni, ˈstɑrtɪŋ ə business…*… ˌɛtˈsɛtərə. ðiz ər ðə ˈrizənz ju sərʧ fər ˌmoʊtəˈveɪʃən ɔn ˈjuˌtub, ˈlʊkɪŋ fər ðət wən ˈvɪdioʊ tɪ jʊr nɛkst ʃɔrt ˌmoʊtəˈveɪʃənəl bərst, fər ɪt tɪ feɪl əˈgɛn ənd əˈgɛn. ənd ðɛn ju ʤɪst rɪˈpit ðə seɪm gɑd dæm ˈsaɪkəl. haʊ tɪ gɪt ˈmoʊtəˌveɪtəd? ˌmoʊtəˈveɪʃən: ˈlɑʤɪk ˈvərsəz. ˈɪˌmoʊʃənz ˌmoʊtəˈveɪʃən, ɪt ɪz wət wi sik tɪ gɪt ʃɪt dən. ɪt ɪz wət wi ‘‘think’*’ wi nid tɪ stɑrt duɪŋ ˈsəmθɪŋ, tɪ əˈʧiv ə goʊl. ju wɔʧ əv ˌmoʊtəˈveɪʃənəl ˈvɪdioʊz ˈɔnˌlaɪn, rɛd ˈɑrtɪkəlz ənd ˈlɪsən tɪ ˌmoʊtəˈveɪʃənəl ˈspikərz. ɪt sɛndz ˈdoʊsɪz əv əˈdrɛnələn daʊn jʊr ˈblədˌstrim, ə ˈfilɪŋ əv can”*” ənd ɪz it”*” fɪlz əp jʊr hɛd. hoʊp ˈbraɪtənz jʊr ˈʤərni, ˈsədənli jʊr goʊl ɪz əˈʧivəbəl ˈizi. fər ɪt tɪ ɔl feɪd əˈweɪ wɪˈθɪn ðə nɛkst 24 aʊərz, ˈɛvriˌθɪŋ, ðə ˈfilɪŋz, ðə ˈsərtənti ɪz ˈsədənli gɔn, ənd bæk ˈhoʊpləs ənd ˈfrəˌstreɪtəd. wət ɪz ðə ˈprɑbləm? waɪ ɪt ˈwərkɪŋ? ju ˌrivˈju ðə ˈprɔˌsɛs əˈgɛn ənd again…*… ɪf ɪt wɑz əˈbaʊt ðə ˌprɛzənˈteɪʃən ər ðə ˈkɑntɛnt, ˈtoʊni ˈfrikɪŋ ˈrɑbənz, ər reɪ ˌgɑˈdæm luɪs wʊd bi ɪˈnəf fər ðɪs hoʊl wərld tɪ bi ˈmoʊtəˌveɪtəd. bət ɪt ɪz nɑt ðə ˈkɑntɛnt nɔr ðə ˌprɛzənˈteɪʃən, ɪt ɪz haʊ ju vju ˌmoʊtəˈveɪʃən. ju lʊk æt ˌmoʊtəˈveɪʃən ɛz ɪt ɪz ə ˈfrikɪŋ ˈɑbʤɛkt, ˈhɪdən ˈsəmˌwɛr, bɪˈhaɪnd səm nis wərdz mɪkst wɪθ ə strɔŋ dɪˈlɪvəri əv, wət ˈjuʒəwəli ɪz, ə pənʧ əv ˈnɑnsɛns! ˌmoʊtəˈveɪʃən: ˈlɑʤɪk ˈvərsəz. ˈɪˌmoʊʃənz ˈlɑʤɪk ˈvərsəz. ˈɪˌmoʊʃənz, ðɛr laɪz ðə ˈænsər. θɪŋk əv jʊr læst ˌmoʊtəˈveɪʃənəl haɪ. ðə læst taɪm ju hæd jʊr ˈməsəl ˈtaɪtən əp ə bɪt. ðə læst taɪm ju hæd ɔl ðoʊz ˈɪˌmoʊʃənz floʊɪŋ ɪn jʊr breɪn. jʊr læst ɪz it!”…*!”… traɪ tɪ brɪŋ ɪt bæk ɛz ˈstrɔŋli ɛz ˈpɑsəbəl, hɛk! goʊ wɔʧ ðət ˈvɪdioʊ ðət ˈɔlˌweɪz gɪts tɪ ju, ðət ˈpɪkʧərz ðət meɪk ju ˈʃɪvər, blæst jʊr ˈfeɪvərɪt music…*… ˈfoʊkɪs ɔn ðə steɪt ju ər ɪn raɪt naʊ ɪf ju traɪd hɑrd ɪˈnəf tɪ du wət aɪ hæv ʤɪst toʊld ju dɪz ɪt riˈmaɪnd ju əv ə ˈsɪmələr ˈfilɪŋ? ˈvɛri, ˈvɛri ˈsɪmələr? ðə læst ˈkəpəl əv ˈsɛkəndz ˌbiˈfɔr ˈbəstɪŋ ə nət ˈmeɪbi? jʊr læst haɪ? ˈmeɪbi, ˈmeɪbi ˈsəmθɪŋ ɛls. bət ɪt ʃʊd bi klɪr tɪ ju ðət ˌmoʊtəˈveɪʃən ɪz ˈæˌkʧuəli ən ˈiˌmoʊʃənəl steɪt noʊ ʃɪt ˈʃərˌlɑk! ənd jɛt ju vju ɪt, ɪn jʊr maɪnd, ɛz ə ˈlɑʤɪkəl θɔt ðət həz tɪ bi ˌəndərˈstʊd. laɪk ə mæθ ˈprɑbləm ər ə ˈtreɪnɪŋ ˈsɛʃən fər səm nu skɪl, ju traɪ tɪ ˈfoʊkɪs mɔr ˈɛvəri taɪm ju rɪˈpit jʊr ˈsaɪkəl. ˌəndərˈstænd this…*… ˌmoʊtəˈveɪʃən ɪz ən ˈiˌmoʊʃənəl steɪt. moʊst ˈjumənz ˈkænɑt kənˈtroʊl ˈɪˌmoʊʃənz. moʊst ˈjumənz ər sleɪvz tɪ ðɛr oʊn ˈɪˌmoʊʃənz. ðɛr ɪz ˈnəθɪŋ rɔŋ wɪθ ðət fər naʊ!, ðə ˈprɑbləm ɪz ðət ju hæv tɪ dil wɪθ ˌmoʊtəˈveɪʃən laɪk ju dil wɪθ ˈɪˌmoʊʃənz (mɔr ɔn ˈdilɪŋ wɪθ ˈɪˌmoʊʃənz hir) ju hæv tɪ əkˈsɛpt ɪt ɛz ən ˈiˌmoʊʃənəl steɪt. ɛz ˈjumənz wi meɪnˈteɪn ˈɪˌmoʊʃənz, ˈɪˌmoʊʃənz ər ˈtrɪgərd baɪ ɪkˈstərnəl ˈfɔrsɪz. fər ˈjuˈɛs tɪ fil ən ˈiˌmoʊʃən wi nid tɪ ˈsəmˌhaʊ ˈtrɪgər ɪt, ənd ðət ɪz waɪ ju gɪt ˈmoʊtəˌveɪtəd wɪn ju wɔʧ səm ˌmoʊtəˈveɪʃənəl ˈvɪdioʊz ənd ɪt feɪdz əˈweɪ raɪt ˈæftər. fər ju tɪ bi ˈkɑnstəntli ˈmoʊtəˌveɪtəd, ju hæv tɪ ˈkɑnstəntli wɔʧ ˌmoʊtəˈveɪʃənəl ˈvɪdioʊz ənd səʧ. ðɪs kʊd bi ə gʊd ˌʃɔrtˈtərm ˈstrætəʤi, bət ɔn ðə lɔŋ rən, ɪt wɪl fɔl ɔf. soʊ, wət kən ju du tɪ ˈkɑnstəntli bi ˈmoʊtəˌveɪtəd? əˈtæʧ ɪt tɪ ə ˈfilɪŋ, nɑt tɪ ən ˈɑbʤɛkt. feɪs ɪt wɪθ əˈnəðər ˈiˌmoʊʃən. taɪ ɪt tɪ wən əv jʊr ˈɪˌmoʊʃənz ˌɪnˈstɛd əv ðɪs ˈpɪkʧər ər ðət video…*… ənd maɪ ˈfeɪvərɪt ˈiˌmoʊʃən tɪ bi ˈmoʊtəˌveɪtəd baɪ is…*… ˈæŋgər. ˌmoʊtəˈveɪʃən: ˈlɑʤɪk ˈvərsəz. ˈɪˌmoʊʃənz ju hæv bɪn toʊld: bi happy“*“ skru ðət, ˈhæpi ˈpipəl ʧeɪnʤ, ˈhæpi ˈpipəl straɪv. waɪ wərk hɑrd ɪf ju hæv ɔˈrɛdi riʧt ðə goʊl? ˈhæpinəs. bi angry…*… bi pɪst ɔf.. bi ˈvɛri, ˈvɛri pɪst ɔf, nɑt æt ˈɛniˌwən ər ˈɛniˌθɪŋ, bət æt ˈjɔrsɛlf. fil ðə hit fɪlz jʊr ˈbɑdi, grənt laɪk ə dæm laɪən. bi angry…*… bi ˈæŋgri ju əˈʧiv wət ju wɔnt soʊ fɑr. bi ˈæŋgri fər ˈɛvəri taɪm ju lɛt ˈjɔrsɛlf daʊn. bi ˈæŋgri bɪˈkəz nɑt ə kɪŋ jɛt. bi ˈæŋgri ju riʧt səˈprɛməsi jɛt. bi pɪst bɪˈkəz, bɪˈkəz jʊr laɪf ɪz ˈɛndɪŋ ˈsɛkənd baɪ ˈsɛkənd ənd nɑt ðɛr jɛt. bi pɪst today…*… bi pɪst now…*… ənd bi pɪst fərˈɛvər. ðɛn, wɛˈnɛvər pɪst, ˈmoʊtəˌveɪtəd. wɛˈnɛvər ju stɑrt ˈluzɪŋ ˌmoʊtəˈveɪʃən, ju gɪt pɪst ɔf bɪˈkəz ju ər ˈluzɪŋ jʊr ʃɪt, soʊ ju gɪt bæk tɪ biɪŋ ˈmoʊtəˌveɪtəd. ə ˈbjutəfəl ʧeɪn əv ɪˈvɛnts ðət ər mɔr ˈeɪbəl tɪ meɪnˈteɪn ˌɪtˈsɛlf, wɪθ ə bɪt əv fɔrs ˈdrɪvən baɪ ju. ðət ɪz haʊ tɪ gɪt ˈmoʊtəˌveɪtəd! ˈhæpi naʊ, stɪl pɪst bət ˈhæpi! aɪ wɑz pɪst ɔf fərst ðɛn aɪ riʧt happiness…*… ðɪs haʊ ɪt ɪz səˈpoʊzd tɪ ˈhæpən. biɪŋ ˈæŋgri min ju smaɪl, læf ər hæv ə gʊd taɪm, ɪt minz ju ər ˈʧeɪsɪŋ ˈɛksələns, ˈʧeɪsɪŋ səˈprɛməsi. ˈnɛvər satisfied…*… pɪst ɔf fər ˈgreɪtnəs. ˈəðərˌwaɪz, ˈoʊˈkeɪ wɪθ biɪŋ ˌmidiˈoʊkər, ənd ɪf ju are…*… ðɛn ɪz noʊ pleɪs fər ju. ðɪs ɪz ðə ˈstændərdz aɪ beɪs maɪ ˌmoʊtəˈveɪʃən ɔn, aɪ ˈriəˌlaɪz ˈfʊli ðət ˌmoʊtəˈveɪʃən ɪz ə ˈprɑdəkt əv maɪ ˈɪˌmoʊʃənz ənd ðəs ɪt wɪl əˈdhɪr tɪ ðə lɔz əv maɪ ˈɪˌmoʊʃənz, ənd ðə moʊst ˈprɑmənənt ɪz ˈnɛvər lasts”*”. ðə meɪn pɔɪnt ɪn ðə ˈlɑʤɪk ˈvərsəz ˈɪˌmoʊʃənz ˈɑrgjəmənt, jʊr ˈlɑʤɪkəl ənd ˈkɑnʃəs ˈθɪŋkɪŋ læsts məʧ ˈlɔŋgər ðən jʊr ˈɪˌmoʊʃənz, plæn əˈkɔrdɪŋli. ʃɛr ðə ˈwɪzdəm ɛn. sprɛd ðə wərd: ˈfeɪsˌbʊk tˈwɪtər ˈtəmblər ˈpɑkət
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motivation: logic vs. emotions
ever wondered why motivation hits you most right around bedtime or late at night?
ever wonder why it never lasts?
ever wondered why get motivated for a couple of days and then it all disappears, vanishes into the non-existence?
why do you always go back to ground zero?
losing weight, building muscle, approaching girls, having a positive attitude towards life, making money, starting a business… etc.
these are the reasons you search for motivation on youtube, looking for that one video to kick-start your next short motivational burst, for it to fail again and again.
and then you just repeat the same god damn cycle.
how to get motivated?
motivation: logic vs. emotions
motivation, it is what we seek to get shit done. it is what we ‘think’ we need to start doing something, to achieve a goal.
you watch 100’s of motivational videos online, read articles and listen to motivational speakers. it sends doses of adrenaline down your bloodstream, a feeling of “i can” and “this is it” fills up your head. hope brightens your journey, suddenly your goal is achievable & easy.
for it to all fade away within the next 24 hours, everything, the feelings, the certainty is suddenly gone, and you’re back hopeless and frustrated.
what is the problem? why isn’t it working?
you review the process again and again…
if it was about the presentation or the content, tony freaking robins, or ray goddamn lewis would be enough for this whole world to be motivated.
but it is not the content nor the presentation, it is how you view motivation.
you look at motivation as it is a freaking object, hidden somewhere, behind some nice words mixed with a strong delivery of, what usually is, a punch of hype-you-up nonsense!
motivation: logic vs. emotions
logic vs. emotions, there lies the answer.
think of your last motivational high. the last time you had your muscle tighten up a bit. the last time you had all those emotions flowing in your brain. your last “this is it!”… try to bring it back as strongly as possible, heck! go watch that video that always gets to you, that pictures that make you shiver, blast your favorite pre-workout music…
focus on the state you are in right now if you tried hard enough to do what i have just told you, does it remind you of a similar feeling? very, very similar?
the last couple of seconds before busting a nut maybe?
your last drug-induced high?
maybe, maybe something else. but it should be clear to you that motivation is actually an emotional state no shit sherlock! and yet you view it, in your mind, as a logical thought that has to be understood. like a math problem or a training session for some new skill, you try to focus more every time you repeat your moti-strubation cycle.
understand this… motivation is an emotional state. most humans cannot control emotions. most humans are slaves to their own emotions.
there is nothing wrong with that for now!, the problem is that you have to deal with motivation like you deal with emotions (more on dealing with emotions here) you have to accept it as an emotional state.
as humans we can’t maintain emotions, emotions are triggered by external forces. for us to feel an emotion we need to somehow trigger it, and that is why you get motivated when you watch some motivational videos and it fades away right after.
for you to be constantly motivated, you have to constantly watch motivational videos and such. this could be a good short-term strategy, but on the long run, it will fall off.
so, what can you do to constantly be motivated?
attach it to a feeling, not to an object. face it with another emotion.
tie it to one of your emotions instead of this picture or that video…
and my favorite emotion to be motivated by is… anger.
motivation: logic vs. emotions
you have been told: “just be happy“
screw that, happy people don’t change, happy people don’t strive. why work hard if you have already reached the goal? happiness.
be angry… be pissed off.. be very, very pissed off, not at anyone or anything, but at yourself.
feel the heat fills your body, grunt like a damn lion.
be angry… be angry you didn’t achieve what you want so far. be angry for every time you let yourself down. be angry because you’re not a king yet. be angry you haven’t reached supremacy yet. be pissed because, because your life is ending second by second and you’re not there yet. be pissed today… be pissed now… and be pissed forever.
then, whenever you’re pissed, you’re motivated. whenever you start losing motivation, you get pissed off because you are losing your shit, so you get back to being motivated. a beautiful chain of events that are more able to maintain itself, with a bit of force driven by you.
that is how to get motivated!
i‘m happy now, still pissed but happy! i was pissed off first then i reached happiness… this how it is supposed to happen.
being angry doesn’t mean you don’t smile, laugh or have a good time, it means you are chasing excellence, chasing supremacy. never satisfied… pissed off for greatness. otherwise, you’re ok with being mediocre, and if you are… then mysupremacy.com is no place for you.
this is the standards i base my motivation on, i realize fully that motivation is a product of my emotions and thus it will adhere to the laws of my emotions, and the most prominent is “it never lasts”. that’s the main point in the logic vs emotions argument, your logical and conscious thinking lasts much longer than your emotions, plan accordingly.
share the wisdom gentleme n.
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rɪˈpɔrt ʃoʊz əˈlæskə, ˈflɔrɪdə, gəlf əv ˈmɛksəˌkoʊ ənd ˈfɪʃəriz ər riˈspɑnsəbəl fər mɔr ðən hæf əv dɪˈskɑrdɪd fɪʃ ˈfɪʃɪŋ ˈvɛsəlz ˈɔpərˌeɪtɪŋ ɔf ðə koʊsts əv ˈflɔrɪdə ənd ˌkæləˈfɔrnjə ənd ɪn ðə gəlf əv ˈmɛksəˌkoʊ ruˈtinli dəmp mɔr fɪʃ ˈoʊvərˌbɔrd ðən ðeɪ brɪŋ tɪ ʃɔr, ə nu rɪˈpɔrt sɛd ɔn ˈθərzˌdeɪ. hæf əv ɔl ðə ˈweɪstɪd fɪʃ ənd ˈsiˌfud kən bi treɪst tɪ ʤɪst naɪn ˈfɪʃəriz, ˈɔpərˌeɪtɪŋ ɔf ðə koʊsts əv əˈlæskə, ˈflɔrɪdə, ðə gəlf əv ˈmɛksəˌkoʊ ənd ðə ˌnɔrˈθist. ðə ˈfɪʃəriz bɪtˈwin ðɛm ˈɔlsoʊ kɪl ənd ˈɪnʤər ˈhənərdz əv ˈθaʊzənz əv ʃɑrks, si ˈtərtəlz, ənd ˈdɑlfənz ˈɛvəri jɪr, sɛd ðə rɪˈpɔrt, ˈweɪstɪd kæʧ, frəm ðə oʊʃiˈænə ˌkɑnsərˈveɪʃən grup. bət ðeɪ əˈkaʊnt fər ˈoʊnli 7 əv ðə fɪʃ ənd ˈsiˌfud ðət ɪz brɔt tɪ pɔrt fər seɪl. ɪz ə ˈtaɪni slaɪs əv ˈfɪʃɪŋ industry,”*,” sɛd dɔmɪˈnik, kæmˈpeɪn dɪˈrɛktər fər oʊʃiˈænə. bət ʃi ˈædɪd: ˈproʊdus ən ɪˈnɔrmɪs əˈmaʊnt əv weɪst fər ðə smɔl pərˈsɛnɪʤ ðət ðeɪ hæv əv ˈtoʊtəl ˈjuˈɛs fisheries.”*.” səʧ ðə ˈtɛknɪkəl tərm fər ənˈwɔntɪd fɪʃ ər mərˈin laɪf ðət gɪt kɔt əp ɪn ˈtrɔlərz, gɪl nɛts ənd ɪz ˈdeɪnʤərəsli dɪˈplitɪŋ ðə ˈoʊʃən əv fɪʃ stɑks, ənd kʊd ˈgloʊbəl fud səˈplaɪ. ɛz məʧ ɛz 40 ər 63 ˈbɪljən paʊnz kg*), əv ðə paʊnz (paʊndz) əv fɪʃ kɔt ˈgloʊbəli ˈɛvəri jɪr ər dɪˈskɑrdɪd. ˈsaɪəntɪsts ˈɛstəˌmeɪt ɛz ˈmɛni ɛz weɪlz, ˈdɑlfənz ənd silz wər ˈɔlsoʊ kɪld ˈɛvəri jɪr baɪ ˈfɪʃɪŋ ˈvɛsəlz. ðə əˈmɛrɪkən ˈfɪʃɪŋ ˈɪndəstri həz meɪd ˌɪmˈpruvmənts ˈoʊvər ðə jɪrz ɪn ˈmuvɪŋ təˈwɔrdz mɔr səˈsteɪnəbəl ˈfɪʃɪŋ. li, hu ˈoʊvərˌsiz ðə ˈnæʃənəl ˌoʊʃiˈænɪk ənd ˌætməsˈfɛrɪk (ˈɛˈnoʊˈeɪˈeɪ) ˈɛfərts tɪ rɪˈdus, kənˈsidɪd ðət weɪst rɪˈmeɪnd ə ˈprɑbləm. ˈjuˈɛs dɪˈskɑrdɪd ˈfɪʃɪŋ ˈkæʧɪz ˈlɛvəlz wɪn ðeɪ ər tu haɪ prɪˈvɛnt ˈfɪʃəriz frəm riˈbɪldɪŋ frəm ˈstætəs. ðeɪ prɪˈvɛnt prəˈtɛkʃən əv ɪnˈdeɪnʤərd species,”*,” hi sɛd. bət hi sɛd ðə ˈeɪʤənsi wɑz ˈwərkɪŋ wɪθ ˈfɪʃəriz tɪ əˈdɑpt mɔr səˈlɛktɪv ˈfɪʃɪŋ gɪr tɪ hɛlp rɪˈdus. ər siɪŋ ən ˈoʊvərˌɔl ˈdiˌkris ɪn ənd ˈoʊvərˌɔl ðə saɪnz ər ˈsəmˈwət ˈpɑzətɪv ˈoʊvər ə faɪv jɪr ˈpɪriəd ðət fɪʃ ɪz ˈdiˌkrisɪŋ du tɪ ˈmænɪʤmənt ˈmɛʒərz ðət hæv bɪn pʊt ɪn pleɪs, sɛd baɪ ˈɛstəˌmeɪts ðə reɪt əv əˈkrɔs 240 ər soʊ ˈfɪʃəriz wɑz əˈbaʊt 17 ɪn 2005 wɪθ paʊndz əv weɪst fər paʊndz əv ˈlændɪd fɪʃ. ˈdætə fər 2010 səˈʤɛsts ə drɔp boʊθ ɪn ðə fɪʃ kæʧ ɛz wɛl ɛz ðə reɪt əv weɪst, hi sɛd. səm paʊnz əv fɪʃ wɑz dəmpt æt si, kəmˈpɛrd tɪ ə kæʧ əv paʊndz. bət ðə hold-outs*, ðə naɪn ˈfɪʃəriz aɪˈdɛntəˌfaɪd baɪ oʊʃiˈænə, kənˈtɪnjud tɪ juz ɪkˈwɪpmənt ðət ˌɪmˈpoʊzɪz dɪˈstrəktɪv ɔn ðə ˈoʊʃən ənd mərˈin laɪf, ðə rɪˈpɔrt sɛd ɔf ðə ˈflɔrɪdə koʊst, ˈvɛsəlz ˈjuzɪŋ lɔŋ laɪnz tɪ kæʧ sˈnæpər ənd ˈgrupər ruˈtinli θroʊ ˈoʊvərˌbɔrd 66 əv ðɛr kæʧ. boʊts ˈɔpərˌeɪtɪŋ ɪn ðə ˈɛriə ˈkæpʧərd ənd θru ˈoʊvərˌbɔrd ʃɑrks ʤɪst ɪn 2010 ˈvɛsəlz ˈjuzɪŋ gɪl nɛts tɪ fɪʃ fər ˈhæləbət ɔf ðə koʊst əv ˌkæləˈfɔrnjə ˈɔlsoʊ hæd haɪ ˈlɛvəlz əv weɪst, θroʊɪŋ bæk 65 əv ðɛr kæʧ bɪˈkəz ɪt wɑz tu smɔl, ər ðə rɔŋ ˈspiʃiz. ˈɪndəstri ˈvɛsəlz kɪld ʃɑrks ənd reɪz ˈoʊvər ə θˈriˌjɪr ˈpɪriəd, ðə rɪˈpɔrt faʊnd. səm əv ðə weɪst ˌɪnˈvɑlvz ˈvæljəbəl fɪʃ səʧ ɛz ˈsiˈoʊˈdi ənd ˈhæləbət. ˈfɪʃɪŋ flits ˈɔpərˌeɪtɪŋ ɪn ðə gəlf əv əˈlæskə θru 5 ˈmɪljən paʊndz əv ˈsiˈoʊˈdi ənd 2 ˈmɪljən paʊndz əv ˈhæləbət ˈoʊvərˌbɔrd wən jɪr, ðə ˈstədi faʊnd. ðə rɪˈpɔrt bleɪmd ðə weɪst ɔn ˌɪndɪˈskrɪmənət ˈfɪʃɪŋ gɪr: waɪd nɛts ðət ər drægd əˈlɔŋ ðə ər θru ðə ˈwɔtər ˈskupɪŋ əp ˈɛvriˌθɪŋ ɪn ðɛr pæθ, ər ˈfɪʃɪŋ laɪnz ˈstədɪd wɪθ ˈθaʊzənz əv ˈbeɪtɪd hʊks. ðə rɪˈpɔrt wɑz ˈdipli ˈkrɪtɪkəl əv ðə ˈfɛdərəl ˈrɛkərd ɪn rɪˈdusɪŋ səʧ weɪst, seɪɪŋ ðə ˈnæʃənəl mərˈin ˈfɪʃəriz ˈsərvɪs fails”*” æt ˈivɪn səʧ ˈbeɪsɪk tæsks ɛz meɪnˈteɪnɪŋ ˈækjərət ənd kæʧ ˈɛstəˌmeɪts. ɪz ə juʤ gæp ɪn information,”*,” sɛd. ɪz ˈgɪtɪŋ ðə ˌɪnˌfɔrˈmeɪʃən ðeɪ nid ˈfɪʃəriz tɪ hɛlp wɪθ ðɛr plænz, ənd ˌkɑnsərˈveɪʃənɪsts tɪ hɛlp prəˈtɛkt weɪlz ənd ˈəðər species.”*.” sɛd kəmˈpaɪlɪŋ rɪˈpɔrts frəm mɔr ðən 200 ˈfɪʃəriz tʊk taɪm. ər juʤ ˈfɪʃəriz aʊt there,”*,” hi sɛd.
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report shows alaska, florida, gulf of mexico and north-eastern fisheries are responsible for more than half of discarded fish
fishing vessels operating off the coasts of florida and california and in the gulf of mexico routinely dump more fish overboard than they bring to shore, a new report said on thursday.
half of all the wasted fish and seafood can be traced to just nine fisheries, operating off the coasts of alaska, florida, the gulf of mexico and the north-east.
the fisheries between them also kill and injure hundreds of thousands of sharks, sea turtles, and dolphins every year, said the report, wasted catch, from the oceana conservation group.
but they account for only 7% of the fish and seafood that is brought to port for sale.
“this is a tiny slice of america’s fishing industry,” said dominique cano-stocco, campaign director for oceana. but she added: “they produce an enormous amount of waste for the small percentage that they have of total us fisheries.”
such by-catch - the technical term for unwanted fish or marine life that get caught up in trawlers, gill nets and longlines - is dangerously depleting the ocean of fish stocks, and could jeopardise global food supply.
as much as 40%, or 63 billion pounds (28bn kg), of the 160bn pounds (lbs) of fish caught globally every year are discarded. scientists estimate as many as 650,000 whales, dolphins and seals were also killed every year by fishing vessels.
the american fishing industry has made improvements over the years in moving towards more sustainable fishing.
lee benaka, who oversees the national oceanic and atmospheric administration’s (noaa) efforts to reduce by-catch, conceded that waste remained a problem.
us discarded fishing catches
“by-catch levels when they are too high prevent fisheries from rebuilding from overfished status. they prevent protection of endangered species,” he said. but he said the agency was working with fisheries to adopt more selective fishing gear to help reduce by-catch.
“you are seeing an overall decrease in by-catch and overall the signs are somewhat positive over a five year period that fish by-catch is decreasing due to management measures that have been put in place, said
by noaa’s estimates the rate of by-catch across america’s 240 or so fisheries was about 17% in 2005, with 1.22bn lbs of waste for 6.07bn lbs of landed fish. data for 2010 suggests a drop both in the fish catch as well as the rate of waste, he said. some 607m pounds of fish was dumped at sea, compared to a catch of 4.79bn lbs.
but the hold-outs, the nine fisheries identified by oceana, continued to use equipment that imposes destructive side-effects on the ocean and marine life, the report said
off the florida coast, vessels using long lines to catch snapper and grouper routinely throw overboard 66% of their catch. boats operating in the area captured and threw overboard 400,000 sharks just in 2010.
vessels using gill nets to fish for halibut off the coast of california also had high levels of waste, throwing back 65% of their catch - because it was too small, or the wrong species. industry vessels killed 30,000 sharks and rays over a three-year period, the report found.
some of the waste involves valuable fish such as cod and halibut. fishing fleets operating in the gulf of alaska threw 5 million lbs of cod and 2 million lbs of halibut overboard one year, the study found.
the report blamed the waste on indiscriminate fishing gear: 160ft wide nets that are dragged along the seafloor or through the water scooping up everything in their path, or 50-mile fishing lines studded with thousands of baited hooks.
the report was deeply critical of the federal government’s record in reducing such waste, saying the national marine fisheries service “usually fails” at even such basic tasks as maintaining accurate and up-to-date catch estimates.
“there is a huge gap in information,” cano-stocco said. “nobody is getting the information they need – fisheries to help with their plans, and conservationists to help protect whales and other species.”
benaka said compiling reports from more than 200 fisheries took time. “there are huge fisheries out there,” he said.
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vinay* ˈgʊptə dɪˈskəst ə ˈnəmbər əv ˈkɑnsɛpts ɪn ðə ˈikoʊˌsɪstəm wɪθ ðə ˌjʊrəˈpiən ˈpɑrləmɛnt. ɔn meɪ 11 2017 ˈgloʊbəl rɪˈzɪljəns ˈguˌru ˈgʊptə geɪv ə ˌprɛzənˈteɪʃən əˈbaʊt tɛkˈnɑləʤi æt ðə ˌjʊrəˈpiən saɪəns ənd tɛkˈnɑləʤi əˈsɛsmənt ˈmitɪŋ. ˈgʊptə ˈfoʊkɪst ɔn ˈmɛni ˈtɑpɪks, ˌɪnˈkludɪŋ ən ˌɛkspləˈneɪʃən əv tɛkˈnɑləʤi, ɪts ˌɛkəˈnɑmɪk ˌɪmˈpækt, ənd ˈdɪʤəˌtaɪzd ˌrɛgjəˈleɪʃənz. waɪl ˈspikɪŋ əv ðə nəˈsɛsɪti tɪ ʧeɪnʤ ˈrɛgjələˌtɔri ənd ˈbɪznɪs əˈproʊʧɪz, ˈgʊptə meɪd əˈnæləgəs ˈrɛfərənsɪz tɪ ðə ˈifɛkt əv ˈimərʤənt tɛkˈnɑləʤiz ɔn hɪˈstɔrɪkəl ˈpræktɪsɪz, drɔɪŋ ə ˈsɪmpəl ˈkɔrəˌlɛri. "ðə fˈjuʧər ɪz ə ˈfɔrən ˈkəntri ənd ɪts ɑr ˈlɑrʤəst ˈtreɪdɪŋ ˈpɑrtnər," hi sɛd. ˈgʊptə ˈaʊˌtlaɪnd haʊ ˈmɑdəl ˈjuzɪz dɪˈstrɪbjətəd koʊd ˈkɑnˌtrækts tɪ bɪld ˌæpləˈkeɪʃənz ðət kən kəmˈjunəˌkeɪt wɪθ wən əˈnəðər tɪ fɔrm ˈsɪstəmz wɪθ ɔˈtɑnəməs ˈgəvərnəns. hi sɛd lɔz nid tɪ kæʧ əp wɪθ tɛkˈnɑləʤi ɪn ˈɔrdər tɪ brɪŋ daʊn ðə kɔst əv kəmˈplaɪəns. wɪθ ðə ˈfɔrwərd pʊʃ əv ˈgʊptə dɪˈskraɪbd haʊ wɛl ˈmænɪʤd riˈpɑzəˌtɔriz əv ˈdɪʤɪtəl lɔ ɔt tɪ meɪk ˈpɑsəbəl kɔst ˈifɛktɪv ˈʧeɪnʤɪz tɪ kəmˈplaɪəns, ɛˈsɛnʃəli riˈmuvɪŋ ˈbɛriərz "waɪl rɪˈteɪnɪŋ ˈtoʊtəl ˈloʊkəl kənˈtroʊl." wɪn ˈloʊkəl ˌrɛgjəˈleɪʃənz ər ˈmænɪʤd wɪθ kəmˈpjutɪŋ ˈsɪstəmz, ðoʊz ˈsɪstəmz wɪl ˈmɪtəˌgeɪt red-tape*, ˈmeɪkɪŋ ɪt ˈpɑsəbəl tɪ ˌrɛprɪˈzɛnt ə ˈmɑrkɪtˌpleɪs ɪn ə ˈsɔfˌwɛr test-state*. ˈsɪmjəˌleɪtɪd seɪlz kən dɪˈtərmən ˈwɛðər ˈrɛgjələˌtɔri kəmˈplaɪəns ɪz mɛt, ˈwɛðər ˈleɪbəlz mit ˈstæʧəˌtɔri ˈstændərdz, ənd ˈwɛðər ˈtɛrəfs məst bi peɪd. ˈsɪmjəˌleɪtɪd ˈmɑrkɪt bɪˈheɪvjər əv ə ˈprɑdəkt əˈlaʊz fər iz ɪn kəmˈplaɪəns, ə bun tɪ ˈbɪznɪsɪz. ˈgʊptə sɛd ɪf mɔr lɔz wər ˈdɪʤətəli ˌrɛprɪˈzɛnɪd, ɪt wʊd fəˈsɪləˌteɪt ˈbɛtər treɪd, bɪˈkəz ˈpɑləsi ˈʧeɪnʤɪz wʊd bi ˈəpˌdeɪtɪd θru koʊd prəˈvaɪdɪŋ ɛˈsɛnʃəli ˌɔtəˈmætɪk ˌnoʊtəfəˈkeɪʃən. ðə ˌjʊrəˈpiən ˈpɑrləmɛnt həz bɪn ɪnˈgeɪʤd ɪn ən æˈnælɪsɪs əv tɛkˈnɑləʤi. ən rɪˈpɔrt frəm ˈfɛbruˌɛri əv 2017 saɪts eɪt ˈpɑsəbəl ˌæpləˈkeɪʃənz ənd ðə ˈpɑləsiz ðət meɪ ˈfɑloʊ. ɪt rɪˈmeɪnz tɪ bi sin haʊ ðiz ˈpɑləsiz wɪl ˈmænəˌfɛst.
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vinay gupta discussed a number of concepts in the blockchain ecosystem with the european parliament.
on may 11, 2017, global resilience guru vinay gupta gave a presentation about blockchain technology at the european parliament’s science and technology assessment meeting.
gupta focused on many topics, including an explanation of blockchain technology, its economic impact, and digitized regulations.
while speaking of the necessity to change regulatory and business approaches, gupta made analogous references to the effect of emergent technologies on historical practices, drawing a simple corollary. "the future is a foreign country and it's our largest trading partner," he said.
gupta outlined how ethereum's blockchain model uses executable distributed code contracts to build applications that can communicate with one another to form systems with autonomous governance.
he said laws need to catch up with technology in order to bring down the cost of compliance. with the forward push of “globalization 2.0,” gupta described how well managed repositories of digital law ought to make possible cost effective changes to compliance, essentially removing non-tariff barriers "while retaining total local control."
when local regulations are managed with computing systems, those systems will mitigate red-tape, making it possible to represent a marketplace in a software test-state. simulated sales can determine whether regulatory compliance is met, whether labels meet statutory standards, and whether tariffs must be paid. simulated market behavior of a product allows for ease in compliance, a boon to businesses.
gupta said if more laws were digitally represented, it would facilitate better trade, because policy changes would be updated through code providing essentially automatic notification.
the european parliament has been engaged in an analysis of blockchain technology. an in-depth report from february of 2017 cites eight possible applications and the policies that may follow. it remains to be seen how these policies will manifest.
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jʊr ˈpeɪʃəntli ˈweɪtɪŋ jʊr tərn tɪ ˈɔrdər ə bɪr, bət ɪts ˈteɪkɪŋ fɑr tu lɔŋ. waɪ? bɪˈkəz ˈsəmθɪŋ vaɪl ɪz əˈkərɪŋ æt ðə ˈəðər ɛnd əv ðə bɑr. "kʊd aɪ traɪ ə teɪst əv ðət ipa*? u, tu ˈbɪtər. ˈoʊˈkeɪ, haʊ 'baʊt ðət barleywine*? tu ˈbuzi, hmmm*. ˈlɛmə əv that…pilsner*. ummmm*. ju noʊ wət, aɪ θɪŋk aɪl ʤɪst stɪk wɪθ ən waɪt." ɪts ðə həˈbɪʧuəl bɪr ˈsæmplər, ðə ˈæbsəˌlut wərst kaɪnd əv bɑr ˈkəstəmər. ðɪs maɪt bi ən ˌənˈpɑpjələr ˈsɛnəmənt, ˈivɪn əˈməŋst maɪ bɪr ˈdrɪŋkɪŋ ˈbrɛðrən ənd sistren*, bət aɪ ˌæbsəˈlutli heɪt ðə ˈpræktɪs əv bɪr ˈsæmpəlz. ju noʊ wət əm ˈtɔkɪŋ əˈbaʊt, ðoʊz fri wən- ər ˈsplæʃɪz əv ə sɪp ðət ər səˈpoʊzd tɪ klu ju ˈɪntu ˈwɛðər ju ˈæˌkʧuəli wɔnt tɪ fɔrk ˈoʊvər səm ˈməni fər ə fʊl glæs. ɪn ˌækʧuˈæləˌti, ɔl ðeɪ du ɪz weɪst ˈɛvriˌwənz taɪm. "bət aɪ nid ðoʊz ˈsæmpəlz!" aɪ noʊ, aɪ noʊ, wɪθ kræft bɪr bɑrz naʊ ˈhævɪŋ tˈwɛnti, ˈθərˌdi, ˈsəmˌtaɪmz ˈivɪn ˈfɔrti tæps, ɪt kən bi hɑrd tɪ ˌdɪˈsaɪd wət tɪ gɪt. ðə ˈpɛrəˌdɑks əv ʧɔɪs ɪz soʊ ˈpɛrəˌlaɪzɪŋ! ˈivɪn ɪf jʊr ðə kaɪnd əv ˈpərsən hu hɪz laɪf əˈweɪ ˈstədiɪŋ ðə ˈfɔrəmz ɔl deɪ stɪl ˈθaʊzənz əv əˈmɛrɪkən ˈbruəriz ˈædɪŋ tɛn əv ˈθaʊzənz əv nu bɪrz ˈɪntu ðə wərld ˈɛvəri ˈsɪŋgəl jɪr. ɪts bɪˈkəm ˈvərʧuəli ˌɪmˈpɑsəbəl tɪ noʊ wət ˈɛvriˌθɪŋ teɪsts laɪk ɔn ən ˌɛsəˈtɛrɪk bɪr ˈmɛnju æt ə ʤɔɪnt laɪk, seɪ, ˌproʊləˈtɛriət ɪn mænˈhætən ər mæp rum ɪn ʃəˈkɑˌgoʊ. aɪ gɪt ðət. ənd aɪ fil jʊr peɪn. stɪl, aɪ kænt tɛl ju haʊ məʧ əv maɪ laɪf aɪ məst sɪt əraʊnd ˈθərsti ənd ˈsoʊbər bɪˈkəz səm ˈjɑˌhu həz æst fər teɪst ˈæftər teɪst ˈæftər ˈsislɪs teɪst əv ðət (tu ˈbɔrɪŋ) ənd ðɛn ðət goʊz (tu ˈsɔlti) ənd ˈfaɪnəli ðət (tu tɑrt!) ˌbiˈfɔr ˈsɪmpli ˈɔrdərɪŋ hɪz oʊld ˈstændˈbaɪ. waɪ ər ju ˈteɪkɪŋ soʊ lɔŋ tɪ ˌdɪˈsaɪd?! bɪˈkəz, ˈəltəmətli ɪt ˈdəzənt ˈrɪli ˈmætər wət ju gɪt. bɪr ˈɪzənt aɪs krim ənd ju doʊnt ˈoʊnli gɪt wən ʧæns tɪ meɪk ðə kərˈɛkt dɪˈsɪʒən. lʊk, aɪ ˌəndərˈstænd ðə dɪˈzaɪər fər ə fju fri teɪsts æt ə koʊld stoʊn ˈkriməri. ðɛrz ə lɔt əv dæm ˈfleɪvərz wɪθ ˈsɪli neɪmz ənd ˈmeɪbi ju ˈoʊnli ʧit ɔn jʊr daɪət wəns ə wik wɪθ ðət ˈwɑfəl koʊn. soʊ ju maɪt ˈæˌkʧuəli nid ə fju ˈtaɪni əv ˈbərθˌdeɪ keɪk ər ˈkʊki ju wɔnt səm ˌbiˈfɔr ˌdɪˈsaɪdɪŋ wət jʊr wən bɪg ˈpərʧəs ɪz goʊɪŋ tɪ bi. bət bɪr ˈdəzənt wərk ðət weɪ. ˈvərʧuəli noʊ wən goʊz tɪ ðə bɑr fər ʤɪst ə bɪr. wi goʊ fər tu ər θri ər ˈsəmˌtaɪmz, "ʃɪt, dɪd aɪ ˈrɪli hæv tɛn læst naɪt?" jɛt wi ɔl stɪl ˈwəri soʊ məʧ əˈbaʊt ˈmeɪkɪŋ ə "mɪˈsteɪk." ɪts nɑt ʤɪst mi hu heɪts ɪt. aɪ noʊ ˈmɛni bɑrz loʊð ɪt ɛz wɛl. aɪ ˈkʊdənt gɪt ˈɛniˌwən tɪ goʊ ɔn ðə ˈrɛkərd bɪˈkəz ðeɪ doʊnt wɔnt ˈɛni ˈpjunətɪv jɛlp rəvˈjuz frəm ju ˌɪnˈvɛtərət ˈsæmpəl grifters*, bət aɪv hæd ˈplɛnti əv ˈbɑrˌtɛndərz ənd ˈbɛvərɪʤ dɪˈrɛktərz tɛl mi ðə ɪgˈzækt seɪm θɪŋ, ˈɔlˌmoʊst ɪn ðɪs ɪgˈzækt seɪm ˈfreɪzɪŋ: "ju ˈwʊdənt æsk fər ə ˈsæmpəl əv ˈɛniˌθɪŋ ɛls ɪn ɑr bɑr, soʊ waɪ bɪr?" ˌɪˈmæʤən: kʊd aɪ ʤɪst traɪ ə ˈlɪtəl splæʃ əv ðət uigeadail*? ju noʊ, ʤɪst tɪ si ɪf aɪ wɔnt ə fʊl ˈdiˌræm. wʊd ju maɪnd ˈgɪvɪŋ mi ə ˈsɪŋgəl ˈbəfəˌloʊ wɪŋ? aɪ wɔnt tɪ si haʊ hɑt ðeɪ ər ˌbiˈfɔr ˈɔrdərɪŋ ə ˈdəzən. jʊr haʊs laɪk ə teɪst əv ɪt. ʃeɪk mi əp ə ˈtini ˈtaɪni ˈkɑkˌteɪl, gʊd sər! ðoʊz sɪˈnɛrioʊz ɔl saʊnd soʊ ˈsɪli, jɛt ˈpipəl ər stɪl soʊ bræʃ əˈbaʊt ˈæskɪŋ fər, lɛts bi blənt, fri bɪr. laɪk ɪts ðɛr raɪt. ɪts ˈnɛvər, "du ju maɪnd ɪf aɪ traɪ ðət?" bət ˈɔfən "ˈlɛmə hæv ə teɪst əv ðət." aɪ noʊ, aɪ noʊ, səm bɑrz ənd ðɛr ˈbɑrˌtɛndərz ˈpraʊdli noʊt ðə ˈsɛkənd ju wɔk ɪn, "wɪl ˈɔfər ju ə teɪst əv ˈɛniˌθɪŋ!" ɔl wɪθ ə smaɪl ɔn ðɛr feɪs. bət ðeɪ doʊnt ˈæˌkʧuəli laɪk ɪt. ðeɪ ʤɪst laɪk ɪt ə hoʊl ˌhɛˈluvə lɔt ˈbɛtər ðən ˈstændɪŋ ðɛr ˈaɪdli waɪl ju skæn ðɛr ˈpeɪpər ˈmɛnju ənd ðɛn ðə bɪg ɔn ðə bæk wɔl ənd ðɛn ðə roʊ əv tæp ˈhændəlz ənd ðɛn ˈməmbəl ˈsəmθɪŋ əˈbaʊt ˈwɛðər ðɛrz ə ˈbɑtəl lɪst ər nɑt. ɪts nɑt ʤɪst ən ˌɛpɪˈdɛmɪk ɪn əˈmɛrɪkə. "ˈpipəl hu wɔnt ə ˈteɪstər əv ˈɛvəri eɪl ənd ðɛn ɛnd əp ʤɪst ˈɔrdərɪŋ ə hæf!" kəmˈpleɪnd ən əˈnɑnəməs mæn ɪn ən ˈɑrtɪkəl əˈbaʊt ðə tɔp kəmˈpleɪnts əv pəb ˈbɑrˌtɛndərz. aɪ fil ðɛr ˈbrɪtɪʃ peɪn. wi ˈhævənt ˈivɪn tɔkt əˈbaʊt ðə kɔsts əv ɔl ðiz ˈfribiz. bɪˈliv ɪt ər nɑt, bɪr ˈæˌkʧuəli kɔsts ˈməni. ʤɪst bɪˈkəz ɪt kəmz ɪn ə ˈtaɪni ʃɑt glæs ˈdəzənt min ɪts fri. kɛgz əv ˈtruli greɪt kræft bɪr kən rən bɑrz 150 tɪ ˈəpwərdz əv 250 ər mɔr. æt 661 ˈaʊnsɪz pər kɛg, jʊr fri ˈteɪstər əv bɪr kʊd bi ˈkɔstɪŋ ðə bɑr səm ˈfɪfti sɛnts ər soʊ ˈɛvəri ˈsɪŋgəl taɪm ju gɪt wən. ənd haʊ ˈmɛni ˈpipəl ər ˈgɪtɪŋ haʊ ˈmɛni fri ˈsæmpəlz ˈɛvəri ˈsɪŋgəl naɪt? ðeɪ ˈsərtənli ˈɑrənt ˈtɪpɪŋ ɔn ðə ˈhəsəl tɪ fɪl əp jʊr ˈfribiz. ɪn maɪ bʊk, ðɪs ɪz laɪk ˈpaʊndɪŋ ðə haʊs brɛd ˈbæskət ənd ðɛn ˈæskɪŋ fər ə ˈrifɪl ˌbiˈfɔr ˈɔrdərɪŋ ən ˈɑnˌtreɪ. nɑt ˌɪˈligəl, ʤɪst fraʊnd əˈpɑn (ənˈlɛs jʊr æt ðə ˈɑlɪv ˈgɑrdən). ˈləkəli, θɪŋz ər ˈstɑrtɪŋ tɪ ʧeɪnʤ ɛz greɪt kræft bɪr bɪˈkəmz mɔr ðə nɔrm ənd ˈkɑmpləˌkeɪtəd bɪr ˈmɛnjuz bɪˈkəm mɔr ˌkɑmpriˈhɛnsəbəl tɪ jʊr ˈævərɪʤ schmo*. əv leɪt aɪv ˈnoʊtɪst ˈmɛni bɑrz laɪk ɪn ˈwɔʃɪŋtən, d.c*. ˈsɪmpli ˈʧɑrʤɪŋ fər ðɛr smɔl pɔrz ər, ˈbɛtər jɛt, ˈɔfərɪŋ flaɪts. (wi woʊnt ˈivɪn dɪˈskəs haʊ ˈbɑrˌtɛndərz heɪt ˈpʊtɪŋ təˈgɛðər jʊr flaɪt ˈpædəl, əˈspɛʃəli æt ˈbɪziər taɪmz. ðoʊ aɪ wɪl ədˈmɪt biɪŋ ˈgɪlti əv ðə ɔˈkeɪʒənəl flaɪt ˈɔrdər). ɔn ə ˈrisənt trɪp tɪ sæn frænˈsɪskoʊ, aɪ wɑz ˈplɛzəntli səˈpraɪzd tɪ si moʊst ɔl əv ðɛr greɪt bɑrz nɑt ˈɔfərɪŋ fri ˈteɪstərz ˌwətsoʊˈɛvər. wɪn aɪ sɔ ə ˈwʊmən æt bɑr traɪ tɪ gɪt ə ˈsæmpəl əv ˈprɛri ˈsəmˌwɛr, aɪ wɔʧt ɛz ə ˈbɑrˌtɛndər pəˈlaɪtli toʊld hər, "ðə saɪz ˈlɪstɪd ɪz wət wi sərv." waɪl æt ˈsɪti bɪr, aɪ kɔt ə mæn traɪɪŋ tɪ snæg ə ˈsæmpəl əv ðə rɛr mæp əv ðə sən, ən ˈeɪprəˌkɑt saʊər. "ðæts ˈsɪmpli tu ɪkˈspɛnsɪv tɪ ˈɔfər ju ə teɪst," ðə ˈbɑrˌtɛndər rɪˈplaɪd. (ðə ˈkəstəmər ˈɔrdərd ɪt ˈɛniˌweɪ.) soʊ ˈpipəl, kən wi stɑp ˈweɪstɪŋ ˈbɑrˌtɛndərz' ənd ɑr ˈfɛloʊ ˈdrɪŋkərz' taɪm, stɑp ə fju fri ˈaʊnsɪz əv bɪr ˈɛvəri trɪp tɪ ðə bɑr, ənd ʤɪst mæn (ənd ˈwʊmən) əp ənd traɪ tɪ teɪk ə stæb æt ˈsəmθɪŋ ju θɪŋk ju maɪt laɪk tɪ drɪŋk?! ˈɪtəl ˈoʊnli kɔst ju ə 5 bɪl ər ˈɪtəl stɪl gɪt ju drəŋk. ˈivɪn ɪf ju heɪt ɪt. aɪ ˌgɛrənˈti ɪt.
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you're patiently waiting your turn to order a beer, but it's taking far too long. why? because something vile is occurring at the other end of the bar.
"could i try a taste of that ipa? oooh, too bitter. ok, how 'bout that barleywine? too boozy, hmmm. lemme get...a...sip of that…pilsner. ummmm. you know what, i think i'll just stick with an allagash white."
it's the habitual beer sampler, the absolute worst kind of bar customer.
this might be an unpopular sentiment, even amongst my beer drinking brethren and sistren, but i absolutely hate the practice of beer samples. you know what i'm talking about, those free one- or two-ounce splashes of a sip that are supposed to clue you into whether you actually want to fork over some money for a full glass.
in actuality, all they do is waste everyone's time.
"but i need those samples!"
i know, i know, with craft beer bars now having twenty, thirty, sometimes even forty taps, it can be hard to decide what to get. the paradox of choice is so paralyzing! even if you're the kind of person who fritters his life away studying the talkbeer forums all day long—guilty—there's still thousands of american breweries adding ten of thousands of new beers into the world every single year. it's become virtually impossible to know what everything tastes like on an esoteric beer menu at a top-notch joint like, say, proletariat in manhattan or map room in chicago.
i get that. and i feel your pain.
still, i can't tell you how much of my life i must sit around thirsty and sober because some yahoo has asked for taste after taste after ceaseless taste of that kölsch (too boring) and then that gose (too salty) and finally that gueuze (too tart!) before simply ordering his old standby.
why are you taking so long to decide?!
because, ultimately it doesn't really matter what you get. beer isn't ice cream and you don't only get one chance to make the correct decision. look, i understand the desire for a few free tastes at a cold stone creamery. there's a lot of damn flavors with silly names and maybe you only cheat on your diet once a week with that single-scoop waffle cone. so you might actually need a few tiny spoons-worth of birthday cake remix or cookie doughn't you want some before deciding what your one big purchase is going to be.
but beer doesn't work that way.
virtually no one goes to the bar for just a beer. we go for two or three or sometimes, "shit, did i really have ten last night?" yet we all still worry so much about making a "mistake."
it's not just me who hates it. i know many bars loathe it as well. i couldn't get anyone to go on the record because they don't want any punitive yelp reviews from you inveterate sample grifters, but i've had plenty of bartenders and beverage directors tell me the exact same thing, almost in this exact same phrasing:
"you wouldn't ask for a sample of anything else in our bar, so why beer?"
imagine:
could i just try a little splash of that ardbeg uigeadail? you know, just to see if i want a full dram.
would you mind giving me a single buffalo wing? i want to see how hot they are before ordering a dozen.
your house boulevardier—i'd like a taste of it. shake me up a teeny tiny cocktail, good sir!
those scenarios all sound so silly, yet people are still so brash about asking for, let's be blunt, free beer. like it's their god-given right.
it's never, "do you mind if i try that?" but often "lemme have a taste of that."
i know, i know, some bars and their bartenders proudly note the second you walk in, "we'll offer you a taste of anything!" all with a smile on their face. but they don't actually like it. they just like it a whole helluva lot better than standing there idly while you scan their paper menu and then the big chalkboard on the back wall and then the row of tap handles and then mumble something about whether there's a bottle list or not.
it's not just an epidemic in america.
"people who want a taster of every ale and then end up just ordering a half!" complained an anonymous man in an article about the top complaints of uk pub bartenders. i feel their british pain.
we haven't even talked about the costs of all these free-flowing freebies. believe it or not, beer actually costs money. just because it comes in a tiny shot glass doesn't mean it's free. kegs of truly great craft beer can run bars $150 to upwards of $250 or more. at 661 ounces per sixtel keg, your free taster of beer could be costing the bar some fifty cents or so every single time you get one. and how many people are getting how many free samples every single night? they certainly aren't tipping on the bartender's hustle to fill up your freebies.
in my book, this is like pounding the house bread basket and then asking for a refill before ordering an entree. not illegal, just frowned upon (unless you're at the olive garden).
luckily, things are starting to change as great craft beer becomes more the norm and complicated beer menus become more comprehensible to your average schmo. of late i've noticed many bars like churchkey in washington, d.c. simply charging for their small pours or, better yet, offering flights. (we won't even discuss how bartenders hate putting together your flight paddle, especially at busier times. though i will admit being guilty of the occasional flight order).
on a recent trip to san francisco, i was pleasantly surprised to see most all of their great bars not offering free tasters whatsoever. when i saw a woman at mikkeller bar try to get a sample of prairie somewhere, i watched as a bartender politely told her, "the size listed is what we serve." while at city beer, i caught a man trying to snag a sample of the rare barrel's map of the sun, an $11-a-glass apricot sour. "that's simply too expensive to offer you a taste," the bartender cooly replied. (the customer ordered it anyway.)
so people, can we stop wasting bartenders' and our fellow drinkers' time, stop scamming a few free ounces of beer every trip to the bar, and just man (and woman) up and try to take a stab at something you think you might like to drink?!
it'll only cost you a $5 bill or two...and it'll still get you drunk. even if you hate it. i guarantee it.
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baɪ ˈʤeɪsən ˈpætərsən ˈjuˈɛˈseɪ sˈwɔrθˌmɔr ˈkɑlɪʤ, wən əv ɑr ˈkəntriz tɔp ˈlɪˌbərəl ɑrts skul, ɪz ˈɔfərɪŋ ə klæs ɪn theology”*”. ˈmoʊtəˌveɪtəd tɪ ɛnd ðə trəˈdɪʃənəl bɪˈlifs wət ðə ˈbaɪbəl sɪz əˈbaʊt ˌsɛkʃuˈæləti ənd ˈʤɛndər aɪˈdɛntəˌti. ˈfaʊndɪd baɪ kˈweɪkərz, ðeɪ riˈlist ðɪs klæs ɛz ə klæs. ɪn ðɪs klæs, ˈstudənts ˈstədi kwɪr ˈtiʧɪŋz əˈbaʊt ðə ˈbaɪbəl. ðeɪ əˈpɛrəntli rɛd ðə ˈbaɪbəl wɪθ trænz ənd ˌhoʊmoʊˈsɛkʃuəl ˌθiərˈɛtɪkəl əˈproʊʧɪz ənd əˈkɔrdɪŋ tɪ ðə klæs dɪˈskrɪpʃən əˈsəmpʃənz wət ðə ˈbaɪbəl sɪz əˈbaʊt trænz ənd geɪ ˈjumənz. ˈædɪŋ tɪ ðɪs ðə rɪˈlɪʤən dɪˈpɑrtmənt ɪz ˈtiʧɪŋ ə klæs ðət kˈwɛsʧənz ðə ˌsɛkʃuˈæləti əv ɔlˈmaɪti gɑd, ˈfɔrsɪŋ əˈpɪnjənz ɔn ˈstudənts. ðɪs klæs ɪz kɔld kwɪr ənd ˈfɛmənɪst θiˈɑləʤi gɑd ənd ˈbaɪbəl əv ˈkrɪsʧɪn ˈtiʧɪŋz seɪ ðət gɑd ɪz ˈdɛfənətli ˈmæskjələn, ər ɪz he/she/they,”*,” ðə dɪˈskrɪpʃən sɪz. ˈkrɪsʧɪnz kleɪm ðət gɑd ɪz ˈkɛrɪŋ, ˈnərʧərɪŋ ənd məˈʧʊr, dɪz ðɪs min gɑd kʊd bi ˈfɛmənən, ɪt goʊz ɔn tɪ seɪ. ðɪs klæs həz bɪn ˈraɪtfəli ˈkrɪtəˌsaɪzd fər ˈəndərˌmaɪnɪŋ ˌkrɪsʧiˈænɪti, ənd fər ˈfɔrsɪŋ əˈpɪnjənz ɔn ˈstudənts. ðə ˈprɛzɪdənt əv əˈnəðər ˈkrɪsʧɪn skul kɔld aʊt sˈwɔrθˌmɔr fər ðə bible.”*.” əˈnəðər ˈkrɪtɪk, ˈdɑktər. sɛd ðət sˈwɔrθˌmɔr wɑz ə tɔp tɛn sˈnoʊˌfleɪk ˌjunəˈvərsəti ɪn ən ˈɪntərvˌju ɔn tɑd stɑrnz ˈreɪdiˌoʊ. əˈpɛrəntli, ðɪs klæs ˈɔlsoʊ ˈtiʧɪz ðət ˈæftər gɑd ˈflədɪd ðə ərθ ðə ˈreɪnˌboʊ wɑz tɪ ˈsɪmbəˌlaɪz hɪz səˈpɔrt fər ðə kəmˈjunɪti. lʊk, aɪ bɪˈliv ˌhoʊmoʊˌsɛkʃuˈæləˌti ɪz əˈgɛnst gɑd baɪ ˈɛni stæns. ˌhaʊˈɛvər, wi nid tɪ gɪt ˈbreɪnˌwɑʃɪŋ aʊt əv ˌɛʤəˈkeɪʃən, rɪˈlɪʤən aʊt əv ˌɛʤəˈkeɪʃən ənd wi nid tɪ stɑp pəˈlɪtɪˌsaɪzɪŋ ðə ˈbaɪbəl. ˈɔlsoʊ ə ˈwəndər ɪf ˈɔfər ə klæs kɔld ðə quran”*” ər ðə torah.”*.” aɪ θɪŋk soʊ. ˈædvərˌtaɪzmənts laɪk ðɪs: laɪk ˈloʊdɪŋ...
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by jason patterson | usa
swarthmore college, one of our countries top liberal arts school, is offering a class in “queer theology”. motivated to end the traditional beliefs what the bible says about sexuality and gender identity.
founded by quakers, they released this class as a one-credit class. in this class, students study queer teachings about the bible.
they apparently read the bible with trans and homosexual theoretical approaches and according to the class description ” destabilizes assumptions what the bible says about trans and gay humans.
adding to this the school’s religion department is teaching a class that questions the sexuality of almighty god, forcing opinions on students. this class is called ” queer and feminist theology “.
“the god and bible of christian teachings say that god is definitely masculine, or is he/she/they,” the description says. christians claim that god is caring, nurturing and mature, does this mean god could be feminine, it goes on to say.
this class has been rightfully criticized for undermining christianity, and for forcing opinions on students.
the president of another christian school called out swarthmore for ” prostrating the bible.”
another critic, dr. caner said that swarthmore was a top ten snowflake university in an interview on todd starnes radio.
apparently, this class also teaches that after god flooded the earth the rainbow was to symbolize his support for the lgbt community.
look, i don’t believe homosexuality is against god by any stance. however, we need to get brainwashing out of education, religion out of education and we need to stop politicizing the bible.
it’s also a wonder if they’d offer a class called ” queering the quran” or “queering the torah.” i don’t think so.
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ˈnʊˌroʊnəlz ɪz ˈɪmplɪˌkeɪtɪd ɪn ˈɛpɪˌlɛpsi ənd ˈəðər dɪˈzizɪz. ðə, ˈævrɪʤd ɪˈlɛktrɪk fildz frəm ˈmɛni ˈθaʊzənz əv ˈnʊrɑnz hæv bɪn ʃoʊn tɪ prəˈmoʊt. ɪt rɪˈmeɪnz ənˈklɪr ˈwɛðər ˈhaɪli ˈtrænʒənt, ˈloʊkəˌlaɪzd ɪˈlɛktrɪk fildz frəm ˈsɪŋgəl ˈækʃən pəˈtɛnʃəlz ˈkəplɪŋ) sɪgˈnɪfɪkəntli əˈfɛkt spaɪk ˈtaɪmɪŋ əv ˈneɪbərɪŋ sɛlz ənd ɪn ˈkɑnsəkwəns, ˌpɑpjəˈleɪʃən. ɪn ðɪs ˈstədi, wi ˈsɪmjəˌleɪtɪd ðə pəˈtɛnʃəlz ənd ðə rɪˈzəltɪŋ ˈkəplɪŋ bɪtˈwin ˈnʊrɑnz ɪn ðə ˈnʊrɑn ɪnˈvaɪrənmənt ənd ˈʤɛnərəˌlaɪzd ðɛr kəˈnɛkʃən rulz tɪ kriˈeɪt ən ˈɑsəˌleɪtər ˈnɛtˌwərk ˈmɑdəl əv ə ʃit əv ˈkəpəld ˈnʊrɑnz. wɪθ ðə juz əv boʊθ ˈmɑdəlz, wi ɪkˈspleɪnd ˈsɛvərəl ˈæˌspɛkts əv bɪˈheɪvjər nɑt ˈpriviəsli ˈmɑdəld baɪ ˈkəpəld ˈnɛtˌwərks. ˌɪmˈpɔrtəntli, rɪˈdəkʃən əv ˈnʊrɑn ˈspeɪsɪŋ ˌɪnˈdust ˌsɪŋkrənəˈzeɪʃən ˈviə ˈkəplɪŋ, əˈgriɪŋ wɪθ ˈsiʒər səˈprɛʃən sin ˈklɪnɪkəli ənd ɪn ˈvɪtroʊ ˈviə ˈvɑljum əˈʤəstmənt. ˈfərðər rɪˈdəkʃən əv ˈnʊrɑn ˈspeɪsɪŋ ˈjildɪd ˈloʊkəli ˈsɪŋkrəˌnaɪzd ˈkləstərz, prəˈvaɪdɪŋ ə ˈmɛkəˌnɪzəm fər ˈrisənt ɪn ˈvɪtroʊ ˌɑbzərˈveɪʃənz əv ˈloʊkəˌlaɪzd ˈnʊˌroʊnəlz ɪn ðə ˈæbsəns əv ənd ˈkəplɪŋ. ˈnʊˌroʊnəlz ɪz ˈɪmplɪˌkeɪtɪd ɪn ˈwərkɪŋ ˈmɛməri, ˈsɛnsəri ˈprɑsɛsɪŋ, ənd əˈtɛnʃən (fraɪz ɛt æl. 2001 ˈhænsəl ənd 1996 wæŋ 2001 ənd dɪˈzizɪz, səʧ ɛz ˈɛpɪˌlɛpsi, ˈpɑrkɪnsənz, ˌskɪtsəˈfriniə, ˈɑtszˌhaɪmərz, ənd ˈɔˌtɪzəm ənd ˈsɪŋər 2006 ˈkɔrtɛks ənd ˌhɪpoʊˈkæmpəs, du tɪ ðɛr ˈlæmɪnər ˈstrəkʧər, wɪʧ rɪˈzəlts ɪn lɑrʤ ˈloʊkəl fild pəˈtɛnʃəlz (lfps*), ər ˈmeɪʤər ˈrisərʧ ˈɑbʤɛkts ɪn ðə ˈstədi əv ˈnʊˌroʊnəlz ənd ˈɛpɪˌlɛpsi (ˈdudɪk ənd 2007 ɛt æl. 2010b*; məˈkɔrmɪk ənd kɑnˈtrɛrɑz 2001 ˈnʊˌroʊnəlz ˈnɛtˌwərk ˌhaɪpərækˈtɪvɪti ənd ˌəndərˈlaɪ ækˈtɪvɪti bərsts ənd ˈsprɛdɪŋ ˌɛksaɪˈteɪʃən, wɪʧ ər rɪˈleɪtɪd tɪ ˈtrænʒənt ˈsiʒər ˈɛpɪˌsoʊdz ɪˈvɛnts) ənd ˈsiʒər ˈɔnˌsɛt, rɪˈspɛktɪvli (ˈʤɛfəriz 1995 ɛt æl. 2010b*; trɔb ɛt æl. 2004 waɪs ənd ˈfeɪbər 2010 ðə moʊst ˈwaɪdli dɪˈskəst ˈmɛkəˌnɪzəm fər ɪn ˈnʊˌroʊnəlz ˈnɛtˌwərks ɪz ðə rɪˈmɑdəlɪŋ əv kəˈnɛkʃənz. ɪkˈspɛrəmənts ʃoʊ ðət lɔs əv ˌɪnˈhɪbəˌtɔri ənd ðə fɔrˈmeɪʃən əv rɪˈkərənt kəˈnɛkʃənz kən lɛd tɪ (ˈdudɪk ənd 2007 wɛˈræz rɪˈmɑdəlɪŋ ɪz ˈlaɪkli ˌɪnˈvɑlvd ɪn bɪˈheɪvjər, kən ˈɔlsoʊ ɪgˈzɪst wɪˈθaʊt kəˈnɛkʃənz (ˈʤɛfəriz ənd hɑs 1982 fər ɪgˈzæmpəl, ˈmidiəm ˈʧeɪnʤɪz ˌɪnˈdus ər səˈprɛs bɪˈheɪvjər ɪn ðə ˈæbsəns əv ˈfəŋkʃənɪŋ ˈsɪæpsɪz ɛt æl. 2003 ˈdudɪk ɛt æl. 1990 hɑs ənd ˈʤɛfəriz 1984 ˈʤɛfəriz 1995 ˈivɪn ðoʊ ˌθiərˈɛtɪkəl ənd ˈstədiz hæv səˈʤɛstɪd ðət gæp bɪtˈwin ˈnʊrɑnz kʊd ɪkˈspleɪn ðiz ˌɑbzərˈveɪʃənz ɛt æl. 2007 trɔb ɛt æl. 2000 2004 kən ˈivɪn pərˈsɪst wɪn gæp ər ˈfəŋkʃənəli blɑkt ɛt æl. 2010a*). ˈðɛrˌfɔr,, nɑt gap-junction-mediated*, ˈmɛkəˌnɪzəmz fər ˈnʊˌroʊnəlz ˈlaɪkli ɪgˈzɪst. wən pəˈtɛnʃəl ˈmɛkəˌnɪzəm ɪz ˈkəplɪŋ, ˈminɪŋ ˈkəplɪŋ ˈviə ˌɛnˈdɔʤɛnəs ɪˈlɛktrɪk pəˈtɛnʃəlz (vi i vi i ˈsɪmjəˌleɪtɪŋ ˈævrɪʤd pəˈtɛnʃəlz frəm ˈmɛni sɛlz, i.e*., lfps*, kən ˈsɪŋkrəˌnaɪz ˈnʊrɑnz ɛt æl. 2011 ɛt æl. 2013 ˈfroʊlɪk ənd məˈkɔrmɪk 2010 ˈrædmən ɛt æl. 2007 ɪt ɪz ənˈklɪr, ˌhaʊˈɛvər, haʊ vi i ˈʤɛnərˌeɪtɪd baɪ ˈsɪŋgəl ˈækʃən pəˈtɛnʃəlz, əˈfɛkt ˌpɑpjəˈleɪʃən spaɪk ˈtaɪmɪŋ. bɪˈkəz vi i ˈʤɛnərˌeɪtɪd baɪ ˌɪndəˈvɪʤəwəl spaɪks dɪˈkeɪ kˈwɪkli wɪθ ˈdɪstəns ənd ər ˈhaɪli ˈtrænʒənt, ˈkəplɪŋ ɪz ˈɔfən ˌdɪsrɪˈgɑrdɪd ɛt æl. 2012 ˌhaʊˈɛvər, ə ˌθiərˈɛtɪkəl ˈstədi prɪˈdɪktɪd ðət ˈkəplɪŋ maɪt sɪgˈnɪfɪkəntli ˈɔltər spaɪk taɪmz bɪtˈwin ə pɛr əv ˈnʊrɑnz (pɑrk ɛt æl. 2005 ə ˈsɪŋgəl ˈækʃən pəˈtɛnʃəl kən ˈʤɛnərˌeɪt boʊθ ənd vi i dɪˈpɛndənt ɔn loʊˈkeɪʃən (goʊld ɛt æl. 2006 2007 ˌɪnˈdust ˈʧeɪnʤɪz tɪ ðə ˈmɛmˌbreɪn pəˈtɛnʃəlz əv ˈnɪrˈbaɪ ˈnʊrɑnz ʃoʊ ə ˈsɪmələr ʃeɪp ɛt æl. 1997 ɪt rɪˈmeɪnz ənˈklɪr haʊ pəˈtɛnʃəlz ənd ðɛr ˈsɪgnəʧər əˈfɛkt spaɪk ˈtaɪmɪŋ ənd ˈnɛtˌwərk ˌsɪŋkrənəˈzeɪʃən (ˈʤɛfəriz 1995 waɪs ənd ˈfeɪbər 2010 hir, wi ˌɪnˈvɛstəˌgeɪt ðə ˈifɛkt əv ˈkəplɪŋ baɪ fərst ˈmɑdəlɪŋ ˈkəplɪŋ bɪtˈwin ˈnʊrɑn pɛrz, ˈdɛmənˌstreɪtɪŋ ɪts ˈifɛkts ɪn ə smɔl ˈnɛtˌwərk, ənd ðɛn, ˈʤɛnərəˌlaɪzɪŋ ˈkəplɪŋ ˌkɛrɪktərˈɪstɪks tɪ ən ˈɑsəˌleɪtər ˈnɛtˌwərk. ɑr rɪˈzəlts prəˈvaɪd ə pruf əv ˈprɪnsəpəl ðət ˈkəplɪŋ ˈsɪŋkrəˌnaɪzɪz ˈnʊrɑnz dɪˈpɛndənt ɔn ˈnʊˌroʊnəlz ˈspeɪsɪŋ ənd pəˈtɛnʃəl ʃeɪp ənd ˌəndərˈlaɪz fɔrˈmeɪʃən əv ˈloʊkəli. ˈmɛθədz ˈnʊrɑn ˌsɪmjəˈleɪʃənz ˈkəplɪŋ bɪtˈwin tu ˈnʊrɑnz. wi ˈɪmpləˌmɛnəd ə ˌrikənˈstrəktɪd leɪər vi pərˈæmədəl sɛl ˈmɑdəl wɪθ 176 ˈsɛkʃənz ɪn ðə ˈnʊrɑn ɪnˈvaɪrənmənt ˈjuzɪŋ prəˈsiʤərz ənd pərˈæmətərz əv ənd 1996 ðɪs ɪz ə ˈmɑdəl wɪθ ə haɪ ˈdɛnsɪti əv nɑ+ ˈʧænəlz ɪn ðə ˈækˌsɑn ˌɪˈnɪʃəl ˌsɛgˈmɛnt ənd ˈhɪlək. ðə ˈsoʊmə ənd kənˈteɪnd sloʊ keɪ+ ˈʧænəlz, ənd fæst keɪ+ ˈʧænəlz wər ˈprɛzənt ɪn ðə ˈækˌsɑn ənd ˈsoʊmə. spɑnˈteɪniəs ˈspaɪkɪŋ wɑz əˈʧivd baɪ ˌɪnˈkrisɪŋ baɪ ðə lik ənd ˈsɛtɪŋ ðə rɪˈvərsəl pəˈtɛnʃəl tɪ 0 ɪn ðə kəmˈpɑrtmənts (hoʊlt ənd kɔʧ 1999 tɪ əˈʧiv rɪˈpɛtɪtɪv ˈfaɪərrɪŋ wɪˈθaʊt sloʊər daɪˈnæmɪks, kərənts wər riˈmuvd frəm ɔl kəmˈpɑrtmənts. ðə rɪˈzəltɪŋ ˈmɛmˌbreɪn kərənts kɔzd ðə sɛl tɪ faɪər wɪθ ə ˈrɛgjələr ˈɪntərvəl əv mɪz. ɔl ˈmɛmˌbreɪn kərənts ənd ˌaɪˈɑnɪk) wər ˈkælkjəˌleɪtɪd ˈɛvəri mɪz. ðə bəlk i wɑz 400 ωωcm*. æt loʊˈkeɪʃən ɛks, ðə vi i (ɛks, ti) wɑz ˈkælkjəˌleɪtɪd ɛz ðə səm əv ˌɪndəˈvɪʤəwəl pəˈtɛnʃəlz (vi aɪ ˈʤɛnərˌeɪtɪd baɪ ɔl ˈmɛmˌbreɪn kərənts vi i aɪ 1 ɛn vi aɪ vi ɛs oʊ ɛm ə 1 ˈsoʊmə ˈsoʊmə ˈsoʊmə vi ɛs oʊ ɛm ə ɛks ti i aɪ ɛs oʊ ɛm ə 4 di 2 aɪ ðə pəˈtɛnʃəl du tɪ kərənts sɪns ðə ˈsoʊmə ɪz əˈsumd tɪ bi bi ˈkælkjəˌleɪtɪd ðə ˈdɪstəns ðə ˈsɛnər əv ðə ˈsoʊmə. iʧ ˈmɑdəl ˈsɛkʃən wɑz əˈprɑksəˌmeɪtəd ɛz kəmˈpoʊzd əv ˈməltəpəl streɪt ˈsɪləndərz, ənd ˈtoʊtəl ˈkɑrənt frəm ðə ˈsɛkʃən wɑz ˈjunəˌfɔrmli dɪˈstrɪbjətəd əˈkrɔs ɔl ˈsɪləndərz ɪn ðə ˈsɛkʃən. ˌɪndəˈvɪʤəwəl pəˈtɛnʃəlz wər ˈkælkjəˌleɪtɪd fər iʧ ˈsɪlɪndər. fər fʊl ˈditeɪlz, si hoʊlt 2008 ðə vi i ˈʤɛnərˌeɪtɪd baɪ wən (““stimulating”*”) ˈnʊrɑn wɑz əˈplaɪd tɪ ə ˈsɛkənd (““receiving”*”) ˈnʊrɑn. ðɪs wɑz əˈʧivd baɪ ˈsɛtɪŋ ðə pəˈtɛnʃəl əv ðə rɪˈsivɪŋ ˈnʊrɑn ˈikwəl tɪ vi i ˈjuzɪŋ ðə ˈmɛkəˌnɪzəm ɪn ˈnʊrɑn (kɑrneɪˈvɑleɪ ənd haɪnz 2006 ə juˈnik vi i wɑz ˈkælkjəˌleɪtɪd fər iʧ ˈsɛkʃən əv ðə rɪˈsivɪŋ ˈnʊrɑn, ənd baɪ ˈkælkjəˌleɪtɪŋ vi i æt ðə əˈproʊpriˌeɪt loʊˈkeɪʃənz ɛks, wi kʊd ˈvɛri ðə prɑkˈsɪməti ənd ˈrɛlətɪv pəˈzɪʃən əv ðə tu ˈnʊrɑnz. ɪkˈsɛpt fər ˈmɑdəˌfaɪɪŋ vi i ðə rɪˈsivɪŋ ˈnʊrɑn wɑz ˈɪmpləˌmɛnəd ɪn ˈnʊrɑn tɪ ðə ˈstɪmjəˌleɪtɪŋ ˈnʊrɑn. wɪˈθaʊt ˌstɪmjəˈleɪʃən, ðə rɪˈsivɪŋ ˈnʊrɑn ˈʤɛnərˌeɪtɪd ə spaɪk tɪ ðə ˈstɪmjəˌleɪtɪŋ ˈnʊrɑn. ɪn ðə ˌɪnərˈækʃənz, ðə ɪˈlɛktrɪk pəˈtɛnʃəl du tɪ ðə rɪˈsivɪŋ ˈnʊrɑn wɑz nɑt əˈkaʊntɪd fər. ɪts ˈifɛkt ɪz prɪˈdɪktɪd tɪ bi smɔl, ɛz ðə rɪˈsivɪŋ ˈnʊrɑn faɪərz ˈdʊrɪŋ ðə rəˈfræktəri ˈpɪriəd əv ðə ˈstɪmjəˌleɪtɪŋ ˈnʊrɑn. wi nɪˈglɛktɪd ðə ˈifɛkt əv ə vi i ɔn ˌɪtˈsɛlf (hoʊlt ənd kɔʧ 1999 ˈkəpəld, smɔl ˈnɛtˌwərks ɪn ˈnʊrɑn. wi əˈdɪʃəˌnəli ˈɪmpləˌmɛnəd ˈkəpəld ˈnɛtˌwərks ˌɪnˈsaɪd ˈnʊrɑn. ˌstɪmjəˈleɪʃən wɑz əˈʧivd tɪ ðə əˈbəv ˌstɪmjəˈleɪʃən. vi i æt iʧ ˈsɛkʃən əv iʧ ˈnʊrɑn, wɑz ˈkælkjəˌleɪtɪd baɪ ˈsəmɪŋ ðə ˌkɑntrəˈbjuʃənz tɪ ɪˈlɛktrɪk pəˈtɛnʃəl frəm ɔl ˈnʊrɑnz ɪkˈsɛpt ðə ˈnʊrɑn biɪŋ ˈstɪmjəˌleɪtɪd. ˈnɛtˌwərks kənˈsɪstɪd əv 16 aɪˈdɛntɪkəl leɪər vi pərˈæmədəl sɛlz əreɪnʤd ɪn ə skwɛr grɪd. ˈspeɪsɪŋ wɑz ˈvɛrid tɪ kənˈtroʊl ðə strɛŋθ əv ˈkəplɪŋ. sɪns wi juzd ˈnʊrɑn ðət wər lɛs ðən ðə ɪkˈstɛnt əv dɛnˈdrɪtɪk arbors*, ˈnʊrɑn ˌsɛgˈmɛnts kʊd ˈpɑsəbli ˈoʊvərˌlæp, ˌɔlˈðoʊ ɪn ˈpræktɪs, ə məˈnɔrəti əv ˌsɛgˈmɛnts dɪd əv pairings*). ˈoʊvərˌlæpɪŋ ˌsɛgˈmɛnts wər nɑt ˌɪnˈkludɪd wɪn ˈkælkjəˌleɪtɪŋ vi i wi ˈkælkjəˌleɪtɪd ˈpɪrsən ˌkɔrəˈleɪʃən ˌkoʊəˈfɪʃənts bɪtˈwin vi ɛm tɪ kˈwɑntɪˌfaɪ ˌsɪŋkrənəˈzeɪʃən bɪtˈwin pɛrz əv ˈnʊrɑnz ɪn ðə ˈnʊrɑn ˈnɛtˌwərk ənd ˈpitərsən 2008 ˈnʊrɑnz wər ˈsɪmjəˌleɪtɪd fər 500 mɪz, ənd vi ɛm frəm ðə læst hæf əv ˌsɪmjəˈleɪʃənz wər juzd tɪ kəmˈpjut ˌkɔrəˈleɪʃən ˌkoʊəˈfɪʃənts. ˈnʊrɑnz wər ˌɪˈnɪʃəˌlaɪzd wɪθ ˈdɪfərənt vi ɛm wɪʧ wɑz əˈsaɪnd ˈrændəmli bɪtˈwin ənd. ɔl ˈsɛkʃənz ɪn ə ˈgɪvɪn ˈnʊrɑn wər ˌɪˈnɪʃəˌlaɪzd tɪ ðə seɪm vi ɛm ɔl ˈəðər ˌɪˈnɪʃəl kənˈdɪʃənz wər aɪˈdɛntɪkəl bɪtˈwin ˈnʊrɑnz. ˌmæθəˈmætɪkəl æˈnælɪsɪs əv kənˈdɪʃənz fər ˈgloʊbəl feɪz riˈleɪʃənˌʃɪp bɪtˈwin tu ˈnʊrɑnz. wi kənˈstrəktɪd ən ˌænəˈlɪtɪkəl ˌmæθəˈmætɪkəl ˈmɑdəl kənˈsɪstɪŋ əv ə ˈstɪmjəˌleɪtɪŋ ˈnʊrɑn (ə) ənd ə rɪˈsivɪŋ ˈnʊrɑn (bi). boʊθ ˈnʊrɑnz ər ˈmɑdəld ɛz ˈsɪmpəl feɪz ˈɑsəˌleɪtərz wɪθ ˈfeɪzɪz ə ənd bi rɪˈspɛktɪvli. ˈnʊrɑn ə faɪərz wɪθ ə ˈkɑnstənt ˈfrikwənsi, soʊ ðət ə ɪz ˈkɑnstənt. bi ˌɪnˈkrisɪz wɪθ ðə seɪm ˌɪnˈtrɪnsɪk ˈfrikwənsi bət kən bi ˈɔltərd du tɪ pəˈtɛnʃəlz rɪˈsivd frəm ə, bi ə cf*. ˈðɛrˌfɔr, ˈəndərˌgoʊz ðə ˈfɑloʊɪŋ taɪm ˌɛvəˈluʃən ə bi ə bi si ɛf ə bi 3 ɔn ðə ˈɪntərvəl 0 ˈspɛsəˌfaɪd ɛz ə ˈfəŋkʃən ɔn kˈwɑləˌteɪtɪv ˈfiʧərz əv ɑr ˈnʊrɑn rɪˈzəlts tɪ əˈlaʊ ˈʤɛnərəl ˌmæθəˈmætɪkəl kənˈkluʒənz. kˈwɑntɪˌteɪtɪv pərˈæmətərz wər əˈsumd ˈoʊnli ɪn ˈleɪtər ˌsɪmjəˈleɪʃənz əv ˈnɛtˌwərk daɪˈnæmɪks. wɪθ ðə kənˌsɪdərˈeɪʃən əv ðə riˈleɪʃənˌʃɪp əv ə ənd bi, ðə ˌhɔrəˈzɑntəl ˈæksəs (si fɪg. 2e*) ˌkɔrəˈspɑndz tɪ ɪn ɑr ˌfɔrmjəˈleɪʃən, ənd ˌeɪˈpi ɔn ðə ˈvərtɪkəl ˈæksəs kən bi sin ɛz ˈrəfli prəˈpɔrʃənəl tɪ −−f*. æt ə spɪˈsɪfɪk ˈziroʊ ˈkrɔsɪŋ pɔɪnt i ðə ɛf ˈʧeɪnʤɪz frəm ˈpɑzətɪv tɪ ˈnɛgətɪv (fər pəˈtɛnʃəlz). fər i ðə pəˈtɛnʃəl frəm ə lidz tɪ ə ˈpriˈdeɪtɪd ˈfaɪərrɪŋ əv bi ˌeɪˈpi 0 wɪʧ ˌkɔrəˈspɑndz tɪ ə rɪˈdəkʃən əv (ɛf 0 fər pəˈtɛnʃəlz). fər i ðə ˈkəplɪŋ lidz tɪ ən ˌɪnˈkris əv (ɛf 0 fər pəˈtɛnʃəlz). wɪθ ðə əˈsəmpʃən əv ə kənˈtɪnjuəs ənd smuð ɛf ðət ɪz ˈziroʊ ˈoʊnli æt 0 ənd i ðɪs minz ðət fər pəˈtɛnʃəlz, 0 ɪz ə juˈnik, ˈsteɪbəl ˈstɛdi steɪt, əˈtræktɪŋ ɔl ˌɪˈnɪʃəl ˈvæljuz ɪkˈsɛpt i ðə loʊˈkeɪʃən əv ə juˈnik, ənˈsteɪbəl ˈstɛdi steɪt. wɪθ ðə ˈmeɪntənəns əv ðə seɪm ɛf, ˈsɛtɪŋ si 0 ˈkæpʧərz pəˈtɛnʃəlz, 0 ɪz ənˈsteɪbəl, ənd i ɪz ˈsteɪbəl. ɪn ˈsəməri, ðə ˈgloʊbəli əˈtræktɪv, ˈsteɪbəl ˈstɛdi steɪts ər ə bi si 0 0 si 0 i 0 4 kənˈdɪʃənz fər ə steɪt. fər ə ˈnɛtˌwərk əv ɛn aɪˈdɛntɪkəl ˈɑsəˌleɪtərz, naʊ wɪθ bidirectional*, ˈkəplɪŋ bɪtˈwin ɔl ˈɑsəˌleɪtər pɛrz, ðə kənˈdɪʃən fər ə ˈnɛtˌwərk ˈstɛdi steɪt ɪz ðət fər ɔl ə bi (ə, bi 1 ɛn}), ðə teɪk ɔn ə ˈvælju əv ˌsaɪməlˈteɪniəsli. beɪst ɔn ðə ˈfrækʃən əv (si 0 pəˈtɛnʃəlz (pi+), tu ɪkˈstrim ˈkeɪsɪz kən bi ˌɪnˈvɛstəˌgeɪtɪd ˌænəˈlɪtɪkli. fər pi+ 1 ɔl si 0 ənd ˈðɛrˌfɔr, ɔl ə bi 0 ɔl feɪz ˈdɪfərənsɪz ˈvænɪʃ, ənd ðə steɪt ɪz ˈpərfəktli. fər ðə ˈɑpəzɪt keɪs, pi+ 0 ɔl si 0 soʊ ə bi i 5 ə bi bi ə ə bi bi ə 6 si ə si bi si ə si bi bi ə 0 7 ˌdɪstrəˈbjuʃən əv feɪz ˈdɪfərənsɪz ɪn ən ɑnˈsɑmbəl əv ˈɑsəˌleɪtərz. fər ˈælɪs ðə kənˈdɪʃən fər ə ˈgloʊbəl ˈstɛdi steɪt. fər ˈɛni tu ˈɑsəˌleɪtərz (ənd) frəm ðə hoʊld tɪ fʊlˈfɪl ðə kənˈdɪʃən frəm. wɪθ ðə ˌɪntrəˈdəkʃən əv ə θərd ˈɑsəˌleɪtər ðə ˌpɑsəˈbɪləˌti əv ə ˈstɛdi steɪt kən bi dɪˈspruvd baɪ ðə ˈfɑloʊɪŋ ˌkɑntrəˈdɪkʃən wɪθ lɛt p(δ*(δ) bi ðə ˌdɪstrəˈbjuʃən əv ðə feɪz ˈdɪfərənsɪz əv ɛn ˈɑsəˌleɪtərz ˈrɛlətɪv tɪ ə ˈrɛfərəns feɪz 0 (ɔl ˈɑsəˌleɪtərz ənd ðə ˈrɛfərəns feɪz hæv ðə seɪm ˌɪnˈtrɪnsɪk feɪz ˈfrikwənsi). tɪ æd ə ˈɪnfluəns tɪ ðə ˈkəplɪŋ ˈifɛkts, ə ˈfɔrməˌlɪzəm ɪz juzd 1984 pi ti si ɛf pi di 2 pi 2 8 pi ti 0 si ɛf pi 2 pi 2 9 pi 1 0 si ɛf di 10 wɛr, ðə dɪfˈjuʒən ˈkɑnstənt, ðə strɛŋθ əv ˌfləkʧuˈeɪʃənz ɪn. æt ˈstɛdi statewhere*. ðə ðəs dɪˈskraɪbd baɪ ðə ˈsɪŋgəl pərˈæmətər. baɪ ˌsɛpərˈeɪʃən əv ˈvɛriəbəlz ɪz ə ˌnɔrməlɪˈzeɪʃən ˈkɑnstənt ðət ɪnˈʃʊrz 0 1p*(δ)dδ*δ 1 tɪ kəmˈpjut p*(δ**(δ), ən əˈprɑksəˌmeɪtəd ˈlɪniər f(δ*(δ) ˈfəŋkʃən ɪz juzd (si fɪg. 5a*) ɛf 0 i 2 i 2 3 i 2 3 i 2 2 i 2 i 2 i 2 i i 2 i i 0 11 zi 0 1 pi ɛks i 1 2 ɛks di ɛks 12 ˈɑsəˌleɪtər ˈnɛtˌwərk ˈmɑdəl thestatistic*, ˈkɑmənli juzd tɪ kˈwɑntɪˌfaɪ əv feɪz ˈɑsəˌleɪtərz, ðɛn ɪz ɛn feɪz ˈɑsəˌleɪtərz ˌrɛprɪˈzɛnɪŋ ˈkəpəld ˈnʊrɑnz wər pleɪst æt ˈrændəm pəˈzɪʃənz ɪn ə skwɛr wɪθ ɛn ɑr. ɑr ˈifɛktɪvli dɪˈfaɪnz ðə ˈɑsəˌleɪtər ˈdɛnsɪti, ɛn/( ɛn ðə feɪz aɪ 0 1 əv ˈnʊrɑn aɪ ˈprɑˌgrɛsəz əˈkɔrdɪŋ tɪ di aɪ di ti aɪ eɪʧ aɪ aɪ ti ɑr ʤeɪ 1 ɛn si ʤeɪ aɪ ə ɑr aɪ ʤeɪ ʤi ʤeɪ 13 aɪ 0 aɪ aɪ aɪ ɑr ɑr aɪ aɪ aɪ ˈteɪbəl 1 ˈɑsəˌleɪtər ˈnɛtˌwərk ˈmɑdəl pərˈæmətərz pərˈæmətər neɪm ˈvælju (ˈjunɪt) ə ˈifɛkt (μμm/ms*) spaɪk θˈrɛˌʃoʊld ˈækʃən pəˈtɛnʃəl threshold†*† (mv*) ti i taɪm ənˈtɪl pəˈtɛnʃəl rɪˈtərnz tɪ 0 ðə time‡*‡ (mɪz) ti ɑr rəˈfræktəri period§*§ (mɪz) 0 ˈfrikwənsi min 20 ˈfrikwənsi wɪθ= 1 ðə ˌɪnˈtrɪnsɪk ˈfrikwənsiz wər ˈrændəmli drɔn frəm ə ˈnɔrməl ˌdɪstrəˈbjuʃən ˈsɛntərd ən əv. ðə ˈəðər tərmz ˌrɛprɪˈzɛnt ˈkəplɪŋ əv ˈəðər ˈnʊrɑn, wɪʧ wər səmd tɪ gɪv ðə ˈoʊvərˌɔl ˌɔltərˈeɪʃən ðə ˈdɪstəns bɪtˈwin neuronsand*. ðə poʊˈlɛrəti əv ðə ˈkəplɪŋ wɑz sɛt baɪ= (i.e*.,= 1 fər ““up-down”*” ər= fər ““down-up”*”;= 0 wɑz juzd prɪˈvɛnt ˈɑsəˌleɪtərz frəm ˈkəplɪŋ tɪ əˈnæləgəs tɪ parametersand̄*̄ ɪn ðət ɔl dɪˈtərmən ðə poʊˈlɛrəti əv ˈkəplɪŋ, nɑt kənˈtroʊl ðə ˈæmpləˌtud əv əˈsaɪnd ˈrændəmli fər iʧ kəˈnɛkʃən, wɪθ ə probabilitythat*= 1 (e.g*.,= 1 minz ðət ɔl pəˈtɛnʃəlz hæv ən ʃeɪp).) ɪz ə ˈfəŋkʃən, ɪnˈʃʊrɪŋ ðət ðə nɑt əˈfɛktɪd baɪ pəˈtɛnʃəlz ˈdʊrɪŋ ə rəˈfræktəri ˈpɪriəd əv ˈkrɔsɪŋ= 1 ˈaʊtˌgoʊɪŋ pəˈtɛnʃəlz wər ˈtrɪgərd wɪn= 1 wɑz krɔst. æt ðə seɪm ˈrisɛt tɪ ˈziroʊ. ðə θri pərˈæmətərz, ʧeɪnʤd əˈməŋ ɑr ˈdɪfərənt ˌsɪmjəˈleɪʃənz. ðə fɪkst ˌsɪmjəˈleɪʃən pərˈæmətərz ər ʃoʊn ɪn ˈteɪbəl 1 ðə dɪˈteɪld ˈifɛkt əv pəˈtɛnʃəlz əv ˈɑsəˌleɪtər ʤeɪ ɔn ˈɑsəˌleɪtər aɪ wɑz dɪˈskraɪbd baɪ ʤi 0 0 ti i 2 0 ti i 2 3 0 ti i 2 3 0 ti i 2 2 0 ti i 2 0 ti 1 1 1 0 14 i ɛm ɛm ɛm i ə 2 ə ɛm ti i 20 15 ɪz ðə taɪm æt wɪʧ ðə pəˈtɛnʃəl dɪˈflɛkʃən fərst rɪˈtərnz tɪ 0 ðə ðə ˈæmpləˌtud əv ˈkəplɪŋ bɪtˈwin ˈɑsəˌleɪtərz æt ə ˈdɪstəns əv 1, wɪʧ wɑz dəraɪvd frəm ɑr ˈnʊrɑn rɪˈzəlts. ɪt wɑz əˈsumd ðət= 0 ˌkɔrəˈspɑndz tɪ ðə ˈrɛstɪŋ pəˈtɛnʃəl ənd= 1 tɪ ðə ˈfaɪərrɪŋ θˈrɛˌʃoʊld fər ən ˈækʃən pəˈtɛnʃəl. fər ˈnʊrɑn ˈsɪmjəˌleɪtɪd ɪn ˈnʊrɑn, ðɪs ˌkɔrəˈspɑndz tɪ ən ˈdɪfərəns ɪn ˈmɛmˌbreɪn pəˈtɛnʃəl ˈteɪbəl 1 ˈðɛrˌfɔr, ðə ˈæmpləˌtud əv ðə ʧeɪnʤ baɪ ən pəˈtɛnʃəl æt 1 ðə dɪˈflɛkʃən rɪˈsivɪŋ ənd ˈstɪmjəˌleɪtɪŋ ˈnʊrɑnz ər ˈɔfˌsɛt baɪ 1, ɛz ˈkælkjəˌleɪtɪd ɪn ˈnʊrɑn. tɪ dəraɪv ðə ˌɪnˈdust reɪt əv feɪz ʧeɪnʤ, ðɪs ˈæmpləˌtud wɑz dɪˈvaɪdɪd baɪ ðə taɪm ˈnɛsəˌsɛri tɪ riʧ ðə ˌɪnˈdust ðəs ˌsɪmjəˈleɪʃənz wər ˈɛksəˌkjutɪd baɪ ˌɪtəˈreɪʃən θru ɪˈvɛnts (trænˈzɪʃən pɔɪnts ɪn ˈlɪniər pəˈtɛnʃəlz, ɛn 1 θˈrɛˌʃoʊld ˈkrɔsɪŋz ðət ˈrisɛt ɛn tɪ 0 ənd ɛnd əv rəˈfræktəri ˈpɪriəd), ˌɪnˈkrisɪŋ nuˈmɛrɪkəl ɪˈfɪʃənsi ənd ˌɪnˈhɛrəntli ɪˈlɪməˌneɪtɪŋ ˈprɑbləmz əv ˈfaɪˌnaɪt ˈmɛθədz (e.g*., ˈɔɪlər ər skimz). ɪt ɪz ˌɪmˈpɔrtənt tɪ ˈriəˌlaɪz ðət ˈdɪfərənt frəm ðə praɪər æˈnælɪsɪs əv kənˈdɪʃənz fər, ðɪs ˈɑsəˌleɪtər ˈnɛtˌwərk ˈmɑdəl wɑz beɪst ɔn kənˈtɪnjuəs taɪm ənd ðə dɪˈteɪld ˌɪnərˈækʃən əv ˈkəpəld ˈɑsəˌleɪtərz θruaʊt ðə ɪnˈtaɪər feɪz ˈsaɪkəl. ðɪs ˈtritmənt wɑz noʊ ˈlɔŋgər beɪst ɔn ˈʧeɪnʤɪz ɪn feɪz ˈdɪfərəns ˈæftər ə ˈsaɪkəl əv ðə ˈstɪmjəˌleɪtɪŋ ˈnʊrɑn. ˌpɑpjəˈleɪʃən wɑz ˈkælkjəˌleɪtɪd wɪθ ðə zi stəˈtɪstɪk, zi 1 ɛn ʤeɪ 1 ɛn i 1 ʤeɪ 16 ʤeɪ ˌsɪmjəˈleɪʃən əv ɪkˈspɛrəmənts wɛr= 1 minz kəmˈplit (ɔl ˈikwəl), ənd= 0 minz kəmˈplit (ˈjunəˌfɔrm ˌdɪstrəˈbjuʃən əv ˈfeɪzɪz). tɪ əˈdæpt ðə ˈɑsəˌleɪtər ˈnɛtˌwərk ˈmɑdəl tɪ ɪkˈspɛrəmənts wɪθ sˈlaɪsɪz, ən ɪˈlɔŋgeɪtəd ʤiˈɑmətri əv ðə ˈɑsəˌleɪtər fild wɑz ˌɪntrəˈdust ɛt æl. 2010a*; məlˈdun ɛt æl. 2013 ðə skwɛr ˈɛriə wɑz ʧeɪnʤd tɪ ə rɛkˈtæŋgjələr ˈɛriə huz lɔŋ saɪd ɪz 10 taɪmz ðə lɛŋθ əv ɪts ʃɔrt saɪd, waɪl prɪˈzərvɪŋ ðə riˈleɪʃənˌʃɪp ðət ˈɑsəˌleɪtər ˈdɛnsɪti wɑz ˈikwəl tɪ (e.g*., si fɪg. 9a*). ˌhaɪˈrɑrkəkəl ˈkləstərɪŋ ˈælgərˌɪðəm) əv ðə ˈɑsəˌleɪtərz wɑz ˈɛksəˌkjutɪd beɪst ɔn ðə ˈævərɪʤ ˈmɪnəməm ˈdɪstəns (ˈeɪˌɛmˈdi) bɪtˈwin spaɪk treɪnz (spaɪks dɪˈtɛktɪd æt 1 θˈrɛˌʃoʊld) (fɛlt ɛt æl. 2009 ðə ˈeɪˌɛmˈdi bɪtˈwin tu ˈɑsəˌleɪtərz ɛm ənd ɛn wɑz ˈkælkjəˌleɪtɪd ɛz di ɛm ɛn ɛm ɛn ɛn ɛm 2 ɛm ɛn 1 ɛn ɛm keɪ 1 ɛn ɛm ti keɪ ɛm ɛn 17 keɪ ɛm ɛs ɛm ɛn 1 di ɛm ɛn mæks di ɛm ɛn 18 rɪˈzəlts vi i wɪθ ˈæmpləˌtud əraʊnd ə ˈspaɪkɪŋ ˈnʊrɑn wɛr ðə sˈmɔləst taɪm ˈdɪfərəns frəm ðə taɪm əv spaɪk ˈɛni spaɪk ɪn spaɪk treɪn, ˈændɪs ðə ˈnəmbər əv spaɪks dɪˈtɛktɪd ɪn spaɪk treɪn. ðə ˈnəmbər əv ˈkləstərz wɑz ˈʧoʊzən baɪ ˈmæksəməl ˈjuzɪŋ ðə ˌsɪməˈlɛrəti ˈmɛʒər wi juzd ə ˈpriviəsli ˈpəblɪʃt ˈnʊrɑn ˈmɑdəl əv ə leɪər vi pərˈæmədəl ˈnʊrɑn tɪ ˌɪnˈvɛstəˌgeɪt ˈkəplɪŋ frəm ə ˈstɪmjəˌleɪtɪŋ tɪ ə rɪˈsivɪŋ ˈnʊrɑn ənd 1996 (fɪg. 1a*). ɛz pər hoʊlt ənd kɔʧ 1999 ðə ˈmɑdəl wɑz ˈmɑdəˌfaɪd tɪ ˈproʊdus ən ˈækʃən pəˈtɛnʃəl. wi ˈkælkjəˌleɪtɪd ðə vi i rɪˈzəltɪŋ frəm ˈmɛmˌbreɪn kərənts ɪn ðə ˈstɪmjəˌleɪtɪŋ ˈnʊrɑn. ðə ˈækʃən pəˈtɛnʃəl bɪˈgæn æt ðə ˈsoʊmə ˈhɪlək ənd ˈækˌsɑn ˌɪˈnɪʃəl ˌsɛgˈmɛnt, ˈsɛkʃənz əv ðə ˈnʊrɑn wɪθ nɑ+ ˈʧænəl ˈdɛnsətiz taɪmz ˈgreɪtər ðən ˈəðər ˈɛriəz, ənd ˈprɑpəˌgeɪtɪd tɪ ðə. fɪg. ɪˈlɛktrɪk pəˈtɛnʃəlz əraʊnd ə ˈspaɪkɪŋ ˈnʊrɑn. ə:, 3-dimensional*, leɪər vi pərˈæmədəl sɛl ˈmɑdəl ənd 1996 ˈdupləˌkeɪt ˈmɑdəl sɛl ɪz ʃoʊn ɪn greɪ. bi: səmd ˈmɛmˌbreɪn ˈkɑrənt fər ɔl kəmˈpɑrtmənts əv ðə trəŋk, ˈsoʊmə [ˌɪnˈkludɪŋ ðə ˈhɪlək ənd ˌɪˈnɪʃəl ˈækˌsɑn ˌsɛgˈmɛnt (i.seg*)], ənd ðə ˈbeɪsəl. si: 2 ˌkɛrɪktərˈɪstɪk pəˈtɛnʃəlz (vi i wən ɪz ˈkælkjəˌleɪtɪd æt ə ˈdɪstəns 10 frəm ðə ˈhɪlək (ˈsɑləd treɪs) ənd ðə ˈəðər, frəm ðə ˈsoʊmə nɪr ðə trəŋk (dæʃt treɪs). ðə vi i kloʊz tɪ ðə trəŋk ɪz ˈhaɪˌlaɪtɪd. di: vi i fər 30 loʊˈkeɪʃənz ɪn ðə ɛks, waɪ pleɪn əv ðə ˈnʊrɑn ɪn ə. iʧ treɪs ɪz 3 mɪz ɪn ˈdʊˈreɪʃən, ənd ðə skeɪl bɑr ɪz 1. ˈtreɪsɪz ər ˈplɑtɪd æt ðə ˈspeɪʃəl loʊˈkeɪʃənz æt wɪʧ ðeɪ wər ˈkælkjəˌleɪtɪd. ðə ˈsoʊmə ɪz ˈsɛntərd æt 0 10 i: ˈæmpləˌtud əv vi i ɛz ə ˈfəŋkʃən əv ˈdɪstəns frəm ðə ˈhɪlək. loʊˈkeɪʃənz wər ˈsæmpəld əˈlɔŋ ðə ɛks-, waɪ-, ənd æt ˈrɛgjələr ˈɪntərvəlz. ðə laɪn (least-squares*) ənd ɪkˈweɪʒən ər ʃoʊn. ðə poʊˈlɛrəti əv ˈmɛmˌbreɪn kərənts ˈdɪfərd bɪtˈwin ˈnʊrɑn ˈsɛkʃənz (fɪg. 1b*). fər ɪgˈzæmpəl, ˈmɛmˌbreɪn kərənts ɪn ðə ˈsoʊmə (ənd ˈhɪlək ənd ˌɪˈnɪʃəl ˌsɛgˈmɛnt) wər ˌɪˈnɪʃəli ˈnɛgətɪv, wɛˈræz kərənts ɪn ðə wər ˌɪˈnɪʃəli ˈpɑzətɪv. ɛz vi i ɪz ðə əv pəˈtɛnʃəlz ˈʤɛnərˌeɪtɪd baɪ ɔl kərənts, vi i kʊd bi ˌɪˈnɪʃəli ˈpɑzətɪv ər ˈnɛgətɪv dɪˈpɛndɪŋ ɔn loʊˈkeɪʃən (fɪg. 1 si ənd di). fər ɪgˈzæmpəl, vi i ˈkælkjəˌleɪtɪd kloʊz tɪ ðə ˈsoʊmə wɑz ˈdɑməˌneɪtəd baɪ kərənts ɪn ðə ˈhɪlək ənd ˌɪˈnɪʃəl ˌsɛgˈmɛnt (fɪg. 1c*) kəmˈpɛrd wɪθ vi i kloʊz tɪ ðə trəŋk (fɪg. 1c*). ðə ˈæmpləˌtud əv vi i hæd ən əˈprɑksəmətli ˌɪnˈvərs riˈleɪʃənˌʃɪp wɪθ ˈdɪstəns ɑr, ˈmɛʒərd frəm ðə əv ðə ˌɪˈnɪʃəl ˌsɛgˈmɛnt ənd ˈhɪlək (fɪg. 1 di ənd i). fər ɑr 100, vi i wɑz wɛl əˈprɑksəˌmeɪtəd ɛz, wɛˈræz loʊˈkeɪʃənz ˈkloʊzər ðən 100 hæd vi i wɪθ ðə ˈsæmplɪŋ əv loʊˈkeɪʃənz ɪn θri dɪˈmɛnʃənz əraʊnd ðə ˌɪˈnɪʃəl ˌsɛgˈmɛnt ənd ˈhɪlək, ðə ˌkoʊəˈfɪʃənt əv bɛst fɪt əv vi i wɑz ə i , səʧ ðət vi i ə i /ɑr. ðəs wi noʊt θri ˌkɛrɪktərˈɪstɪks əv vi i ɪt kən bi əv lɑrʤ ˈæmpləˌtud 1), hæv boʊθ ənd ˈfeɪzɪz, ənd əˈprɑksəˌmeɪt ˈspeɪʃəl dɪˈpɛndənsi. ðə ˈspaɪkɪŋ daɪˈnæmɪks əv ˈnɪrˈbaɪ ˈnʊrɑnz kən bi lɪŋkt baɪ ˈkəplɪŋ wi nɛkst sɔt tɪ ˈkɛrɪktərˌaɪz haʊ vi i əraʊnd ə ˈspaɪkɪŋ ˈnʊrɑn əˈfɛktɪd vi ɛm ɪn ə ˈnɪrˈbaɪ ˈnʊrɑn. bɪˈkəz vi ɛm vi aɪ vi i ˈkəplɪŋ dɪˈflɛktɪd ˈmɛmˌbreɪn ˈvoʊltɪʤ vi ɛm ɪn ðə rɪˈsivɪŋ ˈnʊrɑn wɪθ ðə ˈɑpəzɪt poʊˈlɛrəti tɪ vi i (fɪg. 2 ə ənd bi). fər ðɪs ˌɪnərˈækʃən, wi dɪd nɑt ˌɪnˈklud ˈifɛkts ɔn ðə ˈstɪmjəˌleɪtɪŋ ˈnʊrɑn ənd kənˈsɪdərd ˈoʊnli ˈwənˈweɪ ˌstɪmjəˈleɪʃən. ˈfɪgjər ʃoʊz vi i ˈkælkjəˌleɪtɪd 5 frəm ðə ˈstɪmjəˌleɪtɪŋ ˈnʊrɑn ˈhɪlək. wi ˈsæmpəld ðə dɪˈflɛkʃən əv vi ɛm ɪn ðə rɪˈsivɪŋ ˈnʊrɑn, du tɪ ˌstɪmjəˈleɪʃən æt ˈməltəpəl ˈɔfˌsɛts bɪtˈwin ðə tu ˈnʊrɑnz. əˈnæləgəs tɪ ə i wi kəmˈpjutɪd ðə ˌkoʊəˈfɪʃənt əv bɛst fɪt (ə ɛm ), səʧ ðət vi ɛm ə ɛm /ɑr. du tɪ ðə ˈnʊrɑnz' ˈkɑmplɛks topologies*, ðɛr wɑz səm ˌvɛriˈeɪʃən ɪn vi ɛm dɪˈflɛkʃən æt ə ˈgɪvɪn ˈdɪstəns (ðə dɪˈflɛkʃən ɪn fɪg. ʃoʊz ə ɪgˈzæmpəl fər vi ɛm dɪˈflɛkʃən æt 5), ˌɔlˈðoʊ ɪn ˈʤɛnərəl, vi ɛm dɪˈflɛkʃən wɑz wɛl fɪt wɪθ ə ˈspeɪʃəl dɪˈpɛndənsi. fɪg. ˈkəplɪŋ ɪn ˈnʊrɑn. ə: ˈstɪmjəˌleɪtɪŋ pəˈtɛnʃəl vi i ˈkælkjəˌleɪtɪd 5 frəm ˈstɪmjəˌleɪtɪŋ ˈnʊrɑn ˈhɪlək. əˈdɪʃənəl ˈtreɪsɪz wər kriˈeɪtɪd baɪ ˈməltəˌplaɪɪŋ vi i baɪ ˌkoʊəˈfɪʃənts (ˈsɑləd, θɪn treɪs), 0 (ˈsɑləd, θɪk treɪs), ənd ənd (ˈdɑtɪd ˈtreɪsɪz). bi: ˌstɪmjəˈleɪʃən waɪl rɪˈsivɪŋ ˈnʊrɑn ɪz æt ˈrɛstɪŋ ˈmɛmˌbreɪn ˈvoʊltɪʤ (vi ɛm rɪˈsivɪŋ ənd ˈstɪmjəˌleɪtɪŋ ˈnʊrɑnz wər ˈsɛpərˌeɪtɪd baɪ 10. ˈɛroʊˌhɛd ʃoʊz stɑrt əv ˌstɪmjəˈleɪʃən. si: ˌstɪmjəˈleɪʃən waɪl rɪˈsivɪŋ ˈnʊrɑn ɪz kloʊz tɪ θˈrɛˌʃoʊld. aɪˈdɛntɪkəl ˌstɪmjəˈleɪʃən ɛz ɪn bi. ðə ˈɛroʊˌhɛd ʃoʊz ðə stɑrt əv ˌstɪmjəˈleɪʃən. vi ɛm ədˈvæns ðə spaɪk, wɛˈræz dɪˈleɪ ɪt. taɪm ti 0 ˌkɔrəˈspɑndz tɪ ðə pik əv vi ɛm wɪθ noʊ ˌstɪmjəˈleɪʃən (nɪl). di: kˌwɑntɪfəˈkeɪʃən əv si. ˈdætə pɔɪnts ər ˈʤɛnərˌeɪtɪd baɪ ˈməltəˌplaɪɪŋ ˈstɪmjəˌleɪtɪŋ vi i baɪ ə ˈskeɪlər ˌkoʊəˈfɪʃənt bɪtˈwin 1 ənd ɛz ɪn a–c*. i: ˈifɛkt əv ˈvɛriɪŋ stɑrt əv ˌstɪmjəˈleɪʃən (ˈɛroʊˌhɛdz ɪn a–c*) ɔn spaɪk ˈtaɪmɪŋ. boʊθ (ˈsɑləd treɪs) ənd (dæʃt treɪs) vi ɛm kən ədˈvæns ənd dɪˈleɪ ðə spaɪk. ˈɛroʊˌhɛd ˌkɔrəˈspɑndz wɪθ ˈɛroʊˌhɛdz ɪn a–c*. ˈkəplɪŋ ˈɔltərd spaɪk ˈtaɪmɪŋ ɪn ðə rɪˈsivɪŋ ˈnʊrɑn (fɪg. 2c*). wɪn ə vi i wɑz dɪˈlɪvərd, mɪz ˌbiˈfɔr ðə pik əv ðə spɑnˈteɪniəsli ˈʤɛnərˌeɪtɪd spaɪk ɪn ðə rɪˈsivɪŋ ˈnʊrɑn, ðə spaɪk wɑz ədˈvænst baɪ kloʊz tɪ mɪz. ɪn ˈʤɛnərəl, vi i wɪθ ən ˌɪˈnɪʃəl ˈnɛgətɪv pɑrt əˈkərɪŋ æt ðə ˈhɪlək, lɛd tɪ ˈərliər spaɪk taɪmz, wɛˈræz ən ˌɪˈnɪʃəli ˈpɑzətɪv vi i əˈkərɪŋ æt ðə ˈhɪlək, dɪˈleɪd spaɪk taɪmz. ðə rɪˈvərsəl əv ðə poʊˈlɛrəti əv vi i æt ˈɛvəri loʊˈkeɪʃən əv ðə rɪˈsivɪŋ ˈnʊrɑn ənd ðə dɪˈlɪvəri əv ɪt æt ðə seɪm taɪm rɪˈzəltɪd ɪn dɪˈleɪd spaɪk taɪmz ˈrəðər ðən ədˈvænst spaɪk taɪmz (fɪg. 2d*). du tɪ vi i biɪŋ, ˈifɛkts wər ˈɔlsoʊ dɪˈpɛndənt ɔn ðə taɪm æt wɪʧ vi i ˌstɪmjəˈleɪʃən wɑz dɪˈlɪvərd. ˈʧeɪnʤɪz tɪ vi i baɪ ən ˌɪˈnɪʃəl ˈnɛgətɪv pɑrt kʊd ədˈvæns spaɪk taɪmz, ɛz ðə ˌɪˈnɪʃəl ˈnɛgətɪv pɑrt əv vi i ðə ˈmɛmˌbreɪn pəˈtɛnʃəl ənd ˈtrɪgərd ə spaɪk. ˈtreɪsɪz əv vi i wɪθ ən ˌɪˈnɪʃəl ˈnɛgətɪv ənd ˈsəbsəkwənt ˈpɑzətɪv pɑrt ər hir rɪˈfərd tɪ ɛz, ɛz ðɪs ɪz ðə ʃeɪp əv ðɛr ˈifɛkt ɔn vi ɛm ɪn ðə rɪˈsivɪŋ ˈnʊrɑn. ðə seɪm ˌstɪmjəˈleɪʃən dɪˈlɪvərd 2 mɪz ˈərliər hæd ðə ˈɑpəzɪt ˈifɛkt, ɛz ðə ˈsəbsəkwənt ˈpɑzətɪv pɑrt əv vi i vi ɛm ənd dɪˈleɪd ðə spaɪk taɪm (fɪg. 2e*). ˈkəplɪŋ baɪ ə vi i wɪθ ðə ˈɑpəzɪt poʊˈlɛrəti (down-up*) ədˈvænst spaɪk taɪmz wɪn dɪˈlɪvərd ə fju ˈmɪlɪˌsɛkəndz ˌbiˈfɔr ðə spaɪk ənd dɪˈleɪd spaɪk taɪmz wɪn dɪˈlɪvərd dɪˈrɛkli ˌbiˈfɔr ðə spaɪk (fɪg. 2e*). ˈgloʊbəl ənd ˈimərʤ ɪn smɔl, ˈkəpəld ˈnʊˌroʊnəlz ˈnɛtˌwərks wi ɪkˈstɛndɪd ðə ˈnʊrɑn ˌsɪmjəˈleɪʃənz ˈɪntu ə ˈnɛtˌwərk əv ˈnʊrɑnz ðət wər ˈkəpəld ˈoʊnli; əˈgɛn, noʊ ər ˈəðər ˈkəplɪŋ wɑz ˈɪmpləˌmɛnəd. ˈnʊrɑnz wər ˈɔrgəˌnaɪzd ɪn ə skwɛr ˈlæmɪnər grɪd (fɪg. 3a*). wɪn ˈspeɪsɪŋ bɪtˈwin ˈnʊrɑnz wɑz ʧeɪnʤd, dɪˈstɪŋkt, daɪˈnæmɪk fəˈnɑmənə kʊd bi əbˈzərvd. æt lɑrʤ ˈdɪstənsɪz, ˈifɛkts wər ˈnɛglɪʤəbəl, ənd ˈnʊrɑn ˈfaɪərrɪŋ wɑz ˈeɪˈsɪŋkrənəs, ɛz ˈmɛʒərd baɪ smɔl, ˌkɔrəˈleɪʃənz bɪtˈwin vi ɛm (fɪg. 3a*). rɪˈdust ˈspeɪsɪŋ, e.g*., 10, rɪˈzəltɪd ɪn ˌsɪŋkrənəˈzeɪʃən bɪtˈwin ə məˈʤɔrəti əv ˈmɑdəl ˈnʊrɑnz (fɪg. 3b*). ˈspeɪsɪŋ ˈkloʊzər ðən 5 rɪˈzəltɪd ɪn ˈloʊkəl ˈkləstərz əv ˈnʊrɑnz (fɪg. 3c*). fɪg. ˈkəpəld ˈnɛtˌwərk ɪn ˈnʊrɑn. ə: ˈkəpəld ˈnɛtˌwərk əv 16 ˈnʊrɑnz əreɪnʤd ɪn ə skwɛr, 4 4 grɪd wɪθ ˈspeɪsɪŋ. tɔp: skɪˈmætɪk əv ˈlæmɪnər ˈnɛtˌwərk. ˈnʊrɑnz ˈplɑtɪd tɪ skeɪl. ˈsɛnər: plɑt əv vi ɛm fər ɔl 16 ˈnʊrɑnz. vi ɛm ˈkələr koʊd ɪz ʃoʊn ɔn ðə raɪt əv ðə ˈfɪgjər; ˈækʃən pəˈtɛnʃəl piks ər waɪt laɪnz. ˌsɪmjəˈleɪʃənz wər rən ɪn ðə ˈnʊrɑn ɪnˈvaɪrənmənt. ˈbɑtəm: ˌkɔrəˈleɪʃənz əˈməŋ ɔl ˈnʊrɑnz ɪn ðə ˈnɛtˌwərk (ˈpɪrsən ˌkɔrəˈleɪʃən ˌkoʊəˈfɪʃənt). bi: seɪm ɛz ə bət fər ə ˈnɛtˌwərk wɪθ 10 ˈspeɪsɪŋ. tɔp: fər ˈklɛrɪti, ˈoʊnli ər ʃoʊn (nɑt tɪ skeɪl). si: seɪm ɛz ə bət fər ə ˈnɛtˌwərk wɪθ 3 ˈspeɪsɪŋ. pərˈsɪstənt ˈnɛtˌwərk rikˈwaɪərz ˌhoʊməˈʤiniəs ənd spɪˈsɪfɪk ˈkəplɪŋ ˈproʊˌfaɪlz bɪˈkəz pəˈtɛnʃəlz ər, ən pəˈtɛnʃəl frəm wən ˈnʊrɑn kən ˌɪnˈkris ər ˈdiˌkris ðə feɪz əv əˈnəðər ˈnʊrɑn, dɪˈpɛndənt ɔn ðɛr ˈrɛlətɪv ˈfeɪzɪz. wi juzd ən ˌænəˈlɪtɪk ˈmɑdəl tɪ ˈaʊˌtlaɪn haʊ ðə ʃeɪp əv ðə ər tɪ ˌsɪŋkrənəˈzeɪʃən. wi fərst ˈstədid tu ˈfaɪərrɪŋ ˈnʊrɑnz (ˈstɪmjəˌleɪtɪŋ ənd rɪˈsivɪŋ ˈnʊrɑn, ˈmɑdəld ɛz feɪz ˈɑsəˌleɪtərz) wɪθ ˈikwəl ˌɪnˈtrɪnsɪk ˈfaɪərrɪŋ reɪts. ðə ˈfaɪərrɪŋ reɪt əv ðə ˈstɪmjəˌleɪtɪŋ ˈnʊrɑn wɑz ˈkɑnstənt ənd ˈðɛrˌfɔr, ˌɪndɪˈpɛndənt əv ðə ækˈtɪvɪti əv ðə rɪˈsivɪŋ ˈnʊrɑn. ðə rɪˈsivɪŋ ˈnʊrɑn rɪˈsivd pəˈtɛnʃəlz frəm ðə ˈstɪmjəˌleɪtɪŋ ˈnʊrɑn, wɪʧ ˈɔltərd ðə rɪˈsivɪŋ feɪz prəˈgrɛʃən. spəˈsɪfɪkli, fər pəˈtɛnʃəlz, ə ˈsteɪbəl ˈstɛdi steɪt ɪgˈzɪstəd æt ə feɪz ˈdɪfərəns əv ˈziroʊ, wɛˈræz fər pəˈtɛnʃəlz, ðə ˈsteɪbəl ˈstɛdi steɪt wɑz ənd ˈikwəl tɪ ðə feɪz i (si ˈmɛθədz fər ə fʊl dɪˈskrɪpʃən). ðəs dɪˈpɛndənt ɔn ðə pəˈtɛnʃəl ʃeɪp, ðə tu ˈnʊrɑnz wʊd ˈsɪŋkrəˌnaɪz ər əˈteɪn ə pərˈsɪstənt, ˈdɪfərəns. fər ˈnɛtˌwərks əv θri ər mɔr ˈnʊrɑnz, ðə ʃeɪp əv ðə ˈkəplɪŋ ˈfəŋkʃən dɪˈtərmənz ðə kˈwɑləˌteɪtɪv daɪˈnæmɪks ɔn ðə ˈnɛtˌwərk ˈlɛvəl. spəˈsɪfɪkli, ə ˈnɛtˌwərk wɪθ ˈoʊnli pəˈtɛnʃəlz həz ə ˈstɛdi steɪt ɪn wɪʧ ɔl ˈnʊrɑnz ər ˈfʊli ˈsɪŋkrəˌnaɪzd. ɪn ˈkɑntræst, wi ˌmæθəˈmætɪkəli pruvd ðət ə ˈnɛtˌwərk wɪθ ˈoʊnli pəˈtɛnʃəlz ˈkænɑt hæv ə ˈstɛdi. ðɪs ˈfaɪndɪŋ ˌɪmˈplaɪz ðət ˈnɛtˌwərks wɪθ ˈmoʊstli ʃeɪp pəˈtɛnʃəlz (pi+ 1 wʊd tɛnd təˈwɔrd ˌɪnˈkrist, wɛˈræz ˈnɛtˌwərks wɪθ ˈmoʊstli pəˈtɛnʃəlz (pi+ 0 ʃʊd ˌəndərˈgoʊ ækˈsɛlərˌeɪtɪd. tɪ ˌɪnˈvɛstəˌgeɪt ðɪs dɪˈpɛndəns əv ɔn pi+ ˈfərðər, wi dɪˈtərmənd feɪz ˈdɪfərəns ˌdɪstrəˈbjuʃənz ənd ɪn ˈnɛtˌwərks wɪθ ɛn ˈnʊrɑnz ənd stoʊˈkæstɪk ˌfləkʧuˈeɪʃənz ɪn ðə feɪz ˈdɪfərənsɪz. ə ˈnɛtˌwərk wɪθ pəˈtɛnʃəlz ˌɪnˈdid ʃoʊd ən əˌkjumjəˈleɪʃən kloʊz tɪ ə feɪz ˈdɪfərəns əv ˈziroʊ (fɪg. 4a*). ə ˈnɛtˌwərk wɪθ pəˈtɛnʃəlz ʃoʊd ə dɪˈspleɪsmənt əv ðə ˌdɪstrəˈbjuʃən əˈweɪ frəm ˈdɪfərəns, ˈɪndəˌkeɪtɪŋ əˈgɛn ən ˈæktɪv (fɪg. 4b*). ɪn ˈsəməri, ðə ˌfəndəˈmɛnəl ʃeɪp əv ðə pəˈtɛnʃəlz ˌɪntrəˈdusɪz ən ˌeɪˈsɪmətri ɪn ðə ˈifɛkts əv ˈkəplɪŋ bɪtˈwin pɛrz əv ˈnʊrɑnz ɔn ðə ˌmaɪkrəˈskɑpɪk ˈlɛvəl, wɪʧ fidz ˈɪntu ðə bɪˈheɪvjər əv ðə ˈnʊˌroʊnəlz ˈnɛtˌwərk. fər ˌɪnˈkrisɪŋ strɛŋθ əv ˈkəplɪŋ, pəˈtɛnʃəlz lɛd tɪ ə ˈstrɔŋgər ˌɪnˈkris; pəˈtɛnʃəlz ˌɪnˈkrisɪŋgli draɪv (fɪg. 4c*). fɪg. kənˈdɪʃənz fər. ə ənd bi: ˈdɪfərənt ˈifɛkt əv ˈvərsəz. pəˈtɛnʃəlz (c̅*̅ 0 ˈvərsəz. c̅*̅ 0 rɪˈspɛktɪvli), ˈkəplɪŋ strɛŋθ (ˈæbsəˌlut ˈmægnəˌtud c̅*̅), ənd ˈdɪfərənt ˈtɛmpərəl ˈproʊˌfaɪlz i ɔn əv ðə feɪz ˈdɪfərəns ˌdɪstrəˈbjuʃən [p(δ*(δ)]. c̅*̅ (ə); c̅*̅ (bi). i ər ˈɪndəˌkeɪtɪd baɪ ˈʃeɪdɪŋ frəm blæk tɪ greɪ. si: min zi ˈvælju fər ˈdɪfərənt c̅*̅ i seɪm ɛz ɪn ˈəðər ˈpænəlz). ˈimərʤənt bɪˈheɪvjərz ɪn ˈɑsəˌleɪtər ˈnɛtˌwərks dɪˈpɛnd ɔn ˈspeɪʃəl ˌdɪstrəˈbjuʃən wi əˈsɛst ðə ˈrɛləvəns əv ˈkəplɪŋ ɪn ə dɪˈstrɪbjətəd ˈnɛtˌwərk əv feɪz ˈɑsəˌleɪtərz, wɪʧ sərvz ɛz ˈsɪmpləˌfaɪd ˌrɛprəzənˈteɪʃənz əv ˈkəpəld ˈnʊrɑnz. ðə rɪˈdust nuˈmɛrɪkəl ˈwərˌkloʊd əv ˈsɪmjəˌleɪtɪŋ ən ˈɑsəˌleɪtər ˈnɛtˌwərk əˈlaʊd ən ɪkˈstɛnsɪv əˈsɛsmənt əv ˈlɑrʤər ˈnɛtˌwərks, wɪʧ wɑz nɑt ˈfizəbəl ɪn ˈnʊrɑn. kəˈnɛkʃənz bɪtˈwin ðə ˈɑsəˌleɪtərz ˈmɪmɪkt ˈkəplɪŋ ɪn θri weɪz: kəˈnɛkʃənz tʊk ˈifɛkt ɪn ə ˈtɛmpərəli dɪˈstrɪbjətəd ˈmænər ənd wər, ˈkəplɪŋ ˈæmpləˌtud skeɪld wɪθ ðə ˈdɪstəns bɪtˈwin ˈɑsəˌleɪtərz ɛz, ənd iʧ ˈɑsəˌleɪtər wɑz ˈkəpəld tɪ ˈɛvəri ˈəðər. ɪgˈzæmpəlz əv ðə pəˈtɛnʃəlz ər ʃoʊn ɪn fɪg. 5a*. ðɛr ˈifɛkts ɔn feɪz prəˈgrɛʃən (fɪg. 5c*) ər dɪˈfaɪnd ɪn eqs*. 11 ənd 13 wɛr noʊn, wi əˈsaɪnd ˈmɑdəl pərˈæmətərz ɪn əˈkɔrdəns wɪθ ˈlɪtərəʧər ənd ˈkɑmən ˈvæljuz (ˈteɪbəl 1 ðə ˈfɑloʊɪŋ pərˈæmətərz wər ˈvɛrid bɪtˈwin ˌsɪmjəˈleɪʃənz: ɛn, ðə ˈnəmbər əv ˈɑsəˌleɪtərz; ɑr, ðə ˈdɪstəns pərˈæmətər ðət sɛts ðə ˈdɛnsɪti əv ˈɑsəˌleɪtərz ənd ðəs ˈɔlsoʊ ðɛr ˈspeɪsɪŋ; ənd pi+, ðə ˌprɑbəˈbɪləˌti ðət ə ˈgɪvɪn kəˈnɛkʃən wɑz (ɛz əˈpoʊzd tɪ). wi juzd ðə zi stəˈtɪstɪk tɪ ˈɪndəˌkeɪt ˌpɑpjəˈleɪʃən (zi 0 minz fʊl; zi 1 minz fʊl). fɪg. ˈmɑdəl skɪˈmætɪk fər 3 ˈkəpəld ˈnʊrɑnz. ə: ˌʤiəˈmɛtrɪk ərˈeɪnʤmənt ənd pəˈtɛnʃəlz dɪˈfaɪnɪŋ ðə kəˈnɛkʃənz. ðə ˈæmpləˌtud əv ɪz ˈlɑrʤər, bɪˈkəz ɑr ɑr ˈɪnˌsɛt: ɪgˈzæmpəlz əv ðə pəˈtɛnʃəlz ər ʃoʊn. bi: ˈɑsəˌleɪtər ˈfeɪzɪz wɪˈθaʊt ˈkəplɪŋ (ɑr si: ˈɑsəˌleɪtər ˈfeɪzɪz wɪθ ˈkəplɪŋ. wi faʊnd ðət ˌɪnˈkrisɪŋ ɛn ənd ˈdiˌkrisɪŋ ɑr lɛd tɪ trænˈzɪʃənz frəm ˈeɪˈsɪŋkrənəs tɪ bɪˈheɪvjər. ðə trænˈzɪʃən spəˈsɪfɪkli rikˈwaɪərd ə prɪˈdɑmənəns əv pəˈtɛnʃəlz: ənd ˈbælənst ˈnɛtˌwərks dɪd nɑt ˈsɪŋkrəˌnaɪz (pi+ ənd pi+ fɪg. 6 ə ənd bi), wɛˈræz ˈnɛtˌwərks dɪd (pi+ 1 fɪg. 6c*). ðɪs ɪz ɪn əˈgrimənt wɪθ ɑr ˈərliər priˈdɪkʃənz əv haʊ ðə kˈwɑləˌteɪtɪv ʃeɪp əv ðə ˌɪndəˈvɪʤəwəl pəˈtɛnʃəlz dɪˈtərmənz ðə ɪˈstæblɪʃmənt ər lɔs əv. fər ˌɪnərˈmidiɪt ɑr ˈvæljuz, ðə dɪˈgri əv wɑz ˈlɑrʤli dɪˈpɛndənt ɔn ˌɪˈnɪʃəl kənˈdɪʃənz (fɪg. 6c*). fɪg. əv ɪn ðə ˈnɛtˌwərk ˈmɑdəl. ðə zi stəˈtɪstɪk əv dɪˈpɛndz ɔn ðə ˈnəmbər əv ˈnʊrɑnz (ɛn), ˈdɪstəns pərˈæmətər (ɑr), ənd ˈfrækʃən əv pəˈtɛnʃəlz (pi+). twɛlv pɔɪnt; zi ˈkælkjəˌleɪtɪd frəm tɪ mɪz; ʃoʊn ər ˌɛrɪθˈmɛtɪk minz. ˌɪˈnɪʃəl ˈfeɪzɪz wər ˈiðər ˈjunəˌfɔrmli dɪˈstrɪbjətəd (θɪn laɪnz) ər ˈfʊli ˈsɪŋkrəˌnaɪzd (θɪk laɪnz). pi+ ˈɪndəˌkeɪtɪd əˈbəv a–c*. ju, ˈjunəˌfɔrm ˌdɪstrəˈbjuʃən. ˈkloʊzər ˌɪnˌvɛstəˈgeɪʃən əv ðə ˈrɛləvəns əv ˌɪˈnɪʃəl kənˈdɪʃənz ˈdɛmənˌstreɪtɪd ə sloʊɪŋ down”*” əv ðə ˈnɛtˌwərks zi daɪˈnæmɪks fər ˌɪnərˈmidiɪt ɑr. ɪn ˈsɪstəmz wɪθ ˈkrɪtɪkəl bɪˈheɪvjər, ˈtɪpɪkəli, tu ˈsteɪbəl steɪts ər əˈteɪnəbəl baɪ əv ðə ˈsɪstəm. ðiz kən səkˈsɛsɪvli ˈlɑrʤər pɑrts əv ðə ˈoʊvərˌɔl ˈsɪstəm, ðəs ˈlidɪŋ tɪ ˈgloʊbəl ˈdɑmənəns əv wən ˈsteɪbəl steɪt. wəns ə ˈsteɪbəl steɪt həz riʧt ˈgloʊbəl ˈdɑmənəns, ɪt kən pərˈsɪst fər ˈpɪriədz sɪgˈnɪfɪkəntli ɪkˈsidɪŋ ˈlaɪfˌtaɪmz əv ˈsteɪbəl steɪts ɪn əv ðə ˈsɪstəm. ɪn ðə ˈɑsəˌleɪtər ˈnɛtˌwərk ˌsɪmjəˈleɪʃən, ˈgloʊbəl ˈdɑmənəns əv ðə ˈeɪˈsɪŋkrənəs steɪt ɪz ˈɪndəˌkeɪtɪd baɪ zi 0 ənd ˈgloʊbəl ˈdɑmənəns əv ðə steɪt baɪ zi 1 fər loʊ ɑr, ˈgloʊbəl ˌdɪsəˈpɪrz ˈræpədli, ənd ˈgloʊbəl pərˈsɪsts ɛz ə ˈsteɪbəl ˈgloʊbəl steɪt (fɪg. 7a*). ˈsəbˌgrups əv ˈɑsəˌleɪtərz kʊd ˈoʊnli əˈteɪn. əˈkɔrdɪŋli, noʊ ˈkrɪtɪkəl sloʊɪŋ daʊn əˈkərz. ˌɪnˈstɛd, ðə ɪnˈtaɪər ˈnɛtˌwərk ˈræpədli dɪˈpɑrts frəm ˈræpɪd zi 0 ˌɪˈnɪʃəl kənˈdɪʃənz, ˈfrikwɛntli əˈteɪnz zi 1 wɪˈθɪn ˈsɛkəndz, ər rɪˈmeɪnz æt zi 1 ˌɪˈnɪʃəl kənˈdɪʃənz. fər ˌɪnərˈmidiɪt ɑr, ɛz wɛl ɛz ˈeɪˈsɪŋkrənəs ˌɪˈnɪʃəl kənˈdɪʃənz pərˈsɪstɪd fər ˈsɛvərəl ˈsɛkəndz (fɪg. 7b*). ənd bɪtˈwin ˈɑsəˌleɪtərz ər tu ˈpɑsəbəl ˈsteɪbəl steɪts ɪn əv ðə ˈnɛtˌwərk. wəns ðə ɪnˈtaɪər ˈnɛtˌwərk wɑz ˈɪntu ðə steɪt, ˈimərʤəns əv bɪˈkeɪm ˈhaɪli ənˈlaɪkli ənd vaɪs ˈvərsə. bɪˈkəz ðə ˌɪˈnɪʃəl kənˈdɪʃənz wər səʧ, ˈeɪˈsɪŋkrənəs (zi 0 ər (zi 1 steɪts, ðiz ˌɪˈnɪʃəl kənˈdɪʃənz pərˈsɪstɪd fər ˈsɛvərəl ˈsɛkəndz. fər haɪər ɑr, wɑz lɔst fər ɔl ˌɪˈnɪʃəl kənˈdɪʃənz (fɪg. 7c*). ɪn ðɪs keɪs, ɪn ˈsəbˌgrups əv ˈɑsəˌleɪtərz wɑz nɑt ə ˈsteɪbəl steɪt. ðəs ˈoʊnli wən ˈsteɪbəl steɪt wɑz ˈpɑsəbəl ɪn səʧ ˈsəbˌgrups, ənd noʊ ˈkrɪtɪkəl sloʊɪŋ daʊn kʊd bi əbˈzərvd. ðə ˈnɛtˌwərk ˈræpədli əˈteɪnd zi 0 ˌɪrəˈspɛktɪv əv ˌɪˈnɪʃəl kənˈdɪʃən. fɪg. ɪn ˌpɑpjəˈleɪʃən ənd. ɛn 100 ˈɑsəˌleɪtərz wər ˈstɑrtɪd wɪθ ɔl 0 (greɪ laɪnz) ər wɪθ ˈjunəˌfɔrmli dɪˈstrɪbjətəd (blæk laɪnz). ə: fər loʊ ɑr, ɔl ˌsɪmjəˈleɪʃənz dɪˈvɛləp təˈwɔrd (zi 1 bi: fər ˌɪnərˈmidiɪt ɑr, ðə ˌɪˈnɪʃəl ˈlɛvəl pərˈsɪsts. si: fər haɪ ɑr, ɔl ˌsɪmjəˈleɪʃənz əˈproʊʧ (zi kloʊz tɪ 0 ˌsɪmjəˈleɪʃən pərˈæmətərz: pi+ 1 ɛn 100 skwɛr ʤiˈɑmətri wɑz juzd. ˈskænɪŋ ə reɪnʤ əv ɑr ɪn mɔr ˈditeɪl ʃoʊd θri ˈmeɪʤər rəˈʒimz. rəˈʒim ə: bɪˈloʊ ɑr 10, ðə ˈfaɪərrɪŋ reɪt wɑz ˈmɑrkɪdli ˈɛləˌveɪtɪd əˈbəv ðə ˈɑsəˌleɪtərz' ˌɪnˈtrɪnsɪk ˈfaɪərrɪŋ reɪt fɪg. 8a*). ən ˈɛləˌveɪtɪd zi 1 wɑz ˈprɛzənt, bət fʊl wɑz nɑt əˈteɪnd. rəˈʒim bi: fər ɑr 10, ðə ˈfaɪərrɪŋ reɪt hæd drɑpt tɪ ˈɔlˌmoʊst ðə ˌɪnˈtrɪnsɪk ˈfaɪərrɪŋ reɪt (fɪg. 8a*), wɛˈræz ðə ɪnˈtaɪər ˈnʊˌroʊnəlz ˌpɑpjəˈleɪʃən wɑz ˈsɪŋkrəˌnaɪzd (fɪg. 8b*). rəˈʒim si: ðə ˌɪnˈkris əv ɑr bɪɔnd 10 lɛd tɪ ə rɪˈdəkʃən əv zi ˈoʊvər ðə kɔrs əv ðə ˌsɪmjəˈleɪʃən. tɪ əˈsɛs haʊ lɔŋ ə zi ˈvælju ˈteɪkən ɔn æt ə ˈgɪvɪn pɔɪnt ɪn taɪm pərˈsɪstɪd ˈæftər ðɪs pɔɪnt, wi ˈkælkjəˌleɪtɪd ðə taɪm ˈeɪˈsi əv ðə zi ˈtreɪsɪz. ðə ˌkɑmpjəˈteɪʃən əv ðə əv zi ənd ðə ˌkælkjəˈleɪʃən əv ðə ˌkɛrɪktərˈɪstɪk ˌɛkspoʊˈnɛnʃəl dɪˈkeɪ reɪt əv ðə rɪˈzəltɪŋ ˈfəŋkʃən jild ˈeɪˈsi wɪʧ ɪz ə ˈkɑmən stəˈtɪstɪk fər ˈænəˌlaɪzɪŋ pərˈsɪstəns ɪn ə taɪm ˈsɪriz ɛt æl. 2012 ˈeɪˈsi ˌɪnˈkrist əp tɪ ə ˈmæksəməm əv ɛs, ˈɪndəˌkeɪtɪŋ ðət spɪˈsɪfɪk zi ˈvæljuz pərˈsɪstɪd fər taɪmz ðət ɪkˈsid ðə taɪm skeɪl əv ˌɪndəˈvɪʤəwəl ˈɑsəˌleɪtər ˈpɪriədz baɪ ˈsɛvərəl ˈɔrdərz (fɪg. 8c*). fər ɑr 80, ðə ˈævərɪʤ zi wɑz kloʊz tɪ ˈziroʊ, ənd ˈeɪˈsi tʊk ɔn ə ˈkɑnstənt ˈvælju əv ɛs. ðə daɪˈnæmɪks ɪn rəˈʒimz bi ənd si sim ˈʤɛnərəli ɪn laɪn wɪθ ɑr praɪər ˈrizənɪŋ: bɪˈloʊ ə ˈkrɪtɪkəl ɑr, ðə ˌpɑpjəˈleɪʃən ˈsɪŋkrəˌnaɪzd spɑnˈteɪniəsli ənd spɑnˈteɪniəsli əˈbəv ə ˈkrɪtɪkəl ɑr. ən ɔlˈtərnətɪv ˌɛkspləˈneɪʃən wʊd bi ðət fər ˌɪnˈkrisɪŋ ɑr, ðə dɪˈvɛləpmənt əv tʊk ˌɪnˈkrisɪŋgli lɔŋ: bɪˈloʊ ɑr 80, wʊd bi əˈteɪnd ˌbiˈfɔr ðə ˌsɪmjəˈleɪʃən ˈfɪnɪʃt; əˈbəv ɑr 80, wʊd hæv ˈteɪkən ˈlɔŋgər ðən ðə ˌsɪmjəˈleɪʃən taɪm; fər ˌɪnˈkrisɪŋ ɑr, ðə dɪˈvɛləpmənt əv ˈgloʊbəl wʊd hæv ˈteɪkən ˈlɔŋgər, ˈlidɪŋ tɪ ən ˌɪnˈkrist ˈeɪˈsi bɪˈkəz ˈsɪmjəˌleɪtɪŋ fər ə ˈlɔŋgər taɪm kʊd ˈnɛvər rul aʊt ðɪs ˌɪnˌtərprɪˈteɪʃən, wi ˈɛksəˌkjutɪd ðə seɪm ˌsɪmjəˈleɪʃənz bət juzd ˈpərfəktli ˌɪˈnɪʃəl kənˈdɪʃənz. wi faʊnd ðət rəˈʒim ə ˈɔlsoʊ ɪgˈzɪbətəd ən ˌɪnˈkrist ˈfaɪərrɪŋ reɪt ənd ˌɪnərˈmidiɪt zi ˈvæljuz, ɛz əbˈzərvd ˌbiˈfɔr (fɪg. 8 di ənd i). ɪn rəˈʒim bi, wɑz meɪnˈteɪnd θruaʊt ðə ˌsɪmjəˈleɪʃən, ˈlidɪŋ tɪ zi 1 wɛˈræz wɑz lɔst spɑnˈteɪniəsli θruaʊt rəˈʒim si (fɪg. 8e*). ðə lɔs əv wɑz mɔr prəˈnaʊnst fər ˌɪnˈkrisɪŋ ɑr, ˈɪndəˌkeɪtɪŋ ə mɔr ˈræpɪd ˈdiˌkris əv zi ˈæftər ðə ˌsɪmjəˈleɪʃən ɪz ˌɪˈnɪʃəˌlaɪzd. ˈlæstli, ə slaɪt ˌɪnˈkris ɪn ˈeɪˈsi wɑz ˈvɪzəbəl wɪn ðə trænˈzɪʃən frəm rəˈʒim bi tɪ rəˈʒim si wɑz əˈproʊʧt (fɪg. 8f*). ðɪs ˈɪndɪˌkeɪts ɔˈkeɪʒənəl rɪˈdəkʃənz əv zi θruaʊt ðə ˌsɪmjəˈleɪʃən, wɪʧ əˈkərd ɔn ə ˈsəmˈwət sloʊər taɪm skeɪl ðən ðə ˌɪndəˈvɪʤəwəl ˈnʊrɑnz' ˌɪnˈtrɪnsɪk ˈfaɪərrɪŋ reɪt. fɪg. əv ˈdɪstəns pərˈæmətər ɑr ɔn ˈgloʊbəl. ɛn 200 ˈɑsəˌleɪtərz wɪθ ˈoʊnli pəˈtɛnʃəlz (pi+ 1 wɑz ˌɪˈnɪʃəˌlaɪzd wɪθ ˈrændəm ˈfeɪzɪz (a–c*) ər ˈsɪŋkrəˌnaɪzd ˈfeɪzɪz (d–f*). stəˈtɪstɪks ˈkælkjəˌleɪtɪd ər ˈævərɪʤ ˈfrikwənsi əv ˌɪndəˈvɪʤəwəl ˈnʊrɑn spaɪks (ɛf; ə ənd di; greɪ laɪnz ˈɪndəˌkeɪt ˌɪnˈtrɪnsɪk ˈfrikwənsi əv 20 (zi; bi ənd i), ənd ðə taɪm əv ðə zi taɪm kɔrs ˈeɪˈsi si ənd ɛf). ən ɪˈlɔŋgeɪtəd ʤiˈɑmətri wɑz juzd; ˌsɪmjəˈleɪʃənz rən fər əp tɪ ˌɪtəˈreɪʃənz ər ənˈtɪl 40 ɛs ɪˈlæpst taɪm; stəˈtɪstɪks ˈkælkjəˌleɪtɪd fər ti 2 ɛs. greɪ ˈbɑksɪz, ˌɪndəˈvɪʤəwəl ˌsɪmjəˈleɪʃən rənz; ˈsɑləd laɪnz, ˌɛrɪθˈmɛtɪk min əv ˌɪndəˈvɪʤəwəl ˌsɪmjəˈleɪʃənz. ɪn ˈsəməri, wi faʊnd θri rəˈʒimz: (ə, rəˈʒim) ˈmɑrkɪdli ækˈsɛlərˌeɪtɪd ˈfaɪərrɪŋ reɪt ənd ˌɪnərˈmidiɪt; (bi, ˈkrɪtɪkəl rəˈʒim) sˈlaɪtli ækˈsɛlərˌeɪtɪd ˈfaɪərrɪŋ reɪt, spɑnˈteɪniəs ˈimərʤəns əv əˈkrɔs ðə ɪnˈtaɪər ˌpɑpjəˈleɪʃən, ənd pərˈsɪstəns əv steɪts əv ər ˈoʊvər ɪkˈstɛndɪd ˈpɪriədz əv taɪm; ənd (si, rəˈʒim) ˈfaɪərrɪŋ æt ˌɪndəˈvɪʤəwəl ˈnʊrɑnz' ˌɪnˈtrɪnsɪk ˈfaɪərrɪŋ reɪt ənd spɑnˈteɪniəs lɔs əv. rəˈʒimz bi ənd si ər ɛkˈsplɪkəbəl baɪ ɑr praɪər ˈrizənɪŋ. ə, steɪt wɑz ɪˈstæblɪʃt ənd lɔst dynamically*, wɪʧ bɪˈkeɪm mɔr prəˈnaʊnst fər ˈlɑrʤər əv ðə pəˈtɛnʃəlz. ɪn rəˈʒim ə, ˌhaʊˈɛvər, wi ˈnoʊtɪst ˌɪndəˈkeɪʃənz əv ˌsɪŋkrənəˈzeɪʃən, wɪʧ kʊd nɑt bi əˈsɛst ˈjuzɪŋ ə ˈgloʊbəl ˈmɛʒər əv, səʧ ɛz ðə zi ˈvælju. ˈgloʊbəl ənd ˈimərʤ ɪn ən ɪˈlɔŋgeɪtəd ˈnʊˌroʊnəlz fild wɪn ˈnʊrɑn ˈdɛnsɪti ɪz ˌɪnˈkrist wi əˈdæptɪd ɑr ˈɑsəˌleɪtər ˈmɑdəl tɪ ðə ɪˈlɔŋgeɪtəd ʤiˈɑmətri əv ˈnʊˌroʊnəlz fildz sin ɪn ˈrisənt ɪkˈspɛrəmənts wɪθ maʊs sˈlaɪsɪz. ɪn ðɪs ʤiˈɑmətri, wi əˈsɛst ðə dɪˈvɛləpmənt əv ɪn fər ˈdɪfərənt ˈvæljuz əv ðə ˈdɪstəns pərˈæmətər ɑr (məlˈdun ɛt æl. 2013 fər ɑr ˈvæljuz bɪˈloʊ ðoʊz ðət ʃoʊ zi 1 (subcritical*), ðə ˈnʊˌroʊnəlz fild ˈsɛpərˌeɪtɪd ˈɪntu ˈloʊkəˌlaɪzd ˈkləstərz əv; ˈtrænʒənt bɪtˈwin ðə ˈloʊkəl ˈkləstərz əˈkərd (fɪg. 9 ə ənd bi). fər ɑr ˈvæljuz ðət ʃoʊ zi 1 (ˈkrɪtɪkəl), ˈgloʊbəl θruaʊt ðə ˈnʊˌroʊnəlz fild wɑz sin (fɪg. 9c*); ˈkləstərz spænd lɑrʤ pɑrts əv ðə ˈnʊˌroʊnəlz fild ənd wər nɑt ɛz ˈklɪrli ˈsɛpərˌeɪtɪd ˈɛni ˈlɔŋgər (fɪg. 9d*). fər ɑr ˈvæljuz ɪkˈsidɪŋ ðə reɪnʤ ɪn wɪʧ zi 1 (supercritical*), noʊ klɪr ˈpætərn əv ˈgloʊbəl ər ˈloʊkəl ˈimərʤd (fɪg. 9e*); ˌkɔrəˈspɑndɪŋli, ˈrændəm ˈkləstər əˌsoʊʃiˈeɪʃənz əˈkərd, wɪʧ spænd ðə ɪnˈtaɪər ˈnʊˌroʊnəlz fild wɪθ noʊ əˈpɛrənt ˈspeɪʃəl ˈɔrdər (fɪg. 9f*). ə mɔr ˌsɪstəˈmætɪk əˈsɛsmənt fər ˈdɪfərənt ˈvæljuz əv ɑr kənˈfərmd ðiz ˌɑbzərˈveɪʃənz ɛz ˈʤɛnərəl ˈpætərnz (fɪg. 9g*). fər loʊ ɑr ˈvæljuz (ɑr 10), fju ˈkləstərz 10 əˈkərd, wɪʧ spænd ˈoʊnli smɔl ˈfrækʃənz əv ðə ˈnʊˌroʊnəlz fildz lɛŋθ. fər ˌɪnˈkrisɪŋ ɑr 10 ɑr 40), ˈivɪn fjuər ˈkləstərz əˈkərd 5 wɪʧ spænd ə lɑrʤ pɑrt əv ðə ˈnʊˌroʊnəlz fildz lɛŋθ, ɛz wɑz ðə keɪs wɪn ˈgloʊbəl wɑz ɪˈstæblɪʃt wɪˈθɪn ðə ˈnʊˌroʊnəlz fild. fər haɪər ɑr ˈvæljuz (ɑr 40), ðə ˈnəmbər əv ˈkləstərz ˌɪnˈkrist, ənd ðə ˈkləstərz spænd lɑrʤ pɑrts əv ðə ˈnʊˌroʊnəlz fild, ɛz əbˈzərvd ɪn fɪg. 9f*. ɪkˈsklusɪvli fər ɑr ˈvæljuz ðət lɛd tɪ microclustering*, ðə ˈævərɪʤ ˈfaɪərrɪŋ reɪt wɪˈθɪn ə ˈkləstər ˌɪnˈkrist wɪθ ðə ˈnəmbər əv ˈɑsəˌleɪtərz wɪˈθɪn ə ˈgɪvɪn ˈkləstər (fɪg. 9h*). fɪg. pərˈæmətər ɑr kənˈtroʊlz ˈgloʊbəl ənd ɪn ˈsɪmjəˌleɪtɪd slaɪs ɪkˈspɛrəmənts. ə: ˈræstər plɑt əv ɛn 150 feɪz ˈɑsəˌleɪtərz wɪθ ɑr 5; ˈɑsəˌleɪtərz ˈsɔrtɪd baɪ ˌɪnˈkrisɪŋ waɪ koʊˈɔrdəˌneɪt. bi: ˈnʊrɑn loʊˈkeɪʃənz ˌkɔrəˈspɑndɪŋ tɪ ə (greɪ ˈkrɔsɪz) wɪθ ˌɪndəˈkeɪʃənz əv dɪˈtɛktɪd ˈkləstər ˈmɛmbərˌʃɪp ɪnˈkloʊz ˈkləstərz; dɑts ˈɪndəˌkeɪt ˈkləstər ˈmɛmbərˌʃɪp). si ənd di: seɪm ɛz ə ənd bi, rɪˈspɛktɪvli, bət fər ɑr 35. i ənd ɛf: seɪm ɛz ə ənd bi, rɪˈspɛktɪvli, bət fər ɑr 150. ʤi: ˈnəmbər əv dɪˈtɛktɪd ˈkləstərz ˈoʊvər ə reɪnʤ əv ɑr (ˈsɑləd laɪn, min; dæʃt laɪnz, ənd pərˈsɛnˌtaɪl; ɛn 200 30 ˈvælju). eɪʧ: spæn əv ˈkləstərz ˈoʊvər ə reɪnʤ əv ɑr. ðə spæn əv ə ˈkləstər ɪz ðə waɪ ˈdɪfərəns bɪtˈwin ðə 2 ˈnʊrɑnz ɪn ə ˈgɪvɪn ˈkləstər ˈloʊˌkeɪtəd moʊst əˈlɔŋ ðə ənd ɪz ˈgɪvɪn ɛz ə ˈfrækʃən əv ðə ˈoʊvərˌɔl spæn əv ðə hoʊl ˈnʊˌroʊnəlz fild (seɪm laɪn staɪlz ənd ˌsɪmjəˈleɪʃən pərˈæmətərz ɛz ʤi). aɪ: ˈævərɪʤ ˈfaɪərrɪŋ reɪt əˈkrɔs ˈkləstər ˈmɛmbər ˈnʊrɑnz ˈvərsəz. ˈkləstər saɪz (ˈnəmbər əv ˈnʊrɑnz wɪˈθɪn ˈkləstər) fər ˈdɪfərənt ɑr (ɛn 200 30 ˈvælju). pi+ 1 0 ju fər ɔl ˌsɪmjəˈleɪʃənz. dɪˈskəʃən ˈfəŋkʃənəl ˈrɛləvəns əv ˈkəplɪŋ wi ˈdɛmənˌstreɪtɪd ðət ˈkəplɪŋ kʊd sɪgˈnɪfɪkəntli əˈfɛkt spaɪk ˈtaɪmɪŋ bɪtˈwin pɛrz əv ˈmɑdəl ˈnʊrɑnz, boʊθ ɪn ðə ˈrɛlətɪvli ˌriəˈlɪstɪk ˈnʊrɑn ɪnˈvaɪrənmənt ənd ə ˈsɪmpləˌfaɪd ˈɑsəˌleɪtər ˈnɛtˌwərk. vi i əraʊnd ə ˈspaɪkɪŋ ˈnʊrɑn ʃʊd, baɪ ðə lɔz əv ˌɪˌlɛktroʊˈmægnəˌtɪzəm, əˈfɛkt ʧɑrʤd aɪɑnz ənd ðə ækˈtɪvɪti əv ˈnɪrˈbaɪ ˈnʊrɑnz. ˌhaʊˈɛvər, ðə ˈifɛkts ər ˈʤɛnərəli loʊ ˈmægnəˌtud (vi i 1), ˈtrænʒənt 10 mɪz), ənd du tɪ ðə ˈreɪdiəl ˈsɪmətri əv vi i ˌnɑnspəˈsɪfɪk. fər ðiz ˈrizənz, ðə ˈfəŋkʃənəl ˈrɛləvəns əv ˈkəplɪŋ ɪz kˈwɛsʧənd ɛt æl. 2012 dɪˈspaɪt səʧ ˌrɛzərˈveɪʃənz, ˈrisənt ɪkˈspɛrəmənts pərˈfɔrmd baɪ ɛt æl. 2011 ənd ˈfroʊlɪk ənd məˈkɔrmɪk 2010 ʃoʊd ðət ˈʧeɪnʤɪz tɪ vi i kən ˌɪnˈkris ˌsɪŋkrənəˈzeɪʃən. ðiz ˈstɪmjəˌleɪtɪŋ pəˈtɛnʃəlz wər əv ˈsɪmələr ər loʊər ˈmægnəˌtud tɪ ðoʊz prəˈdust əraʊnd ə ˈsɪŋgəl ˈspaɪkɪŋ pərˈæmədəl ˈnʊrɑn (goʊld ɛt æl. 2006 hoʊlt ənd kɔʧ 1999 əˈsaɪd frəm pɑrk ɛt æl. 2005 moʊst ˈpriviəs ˈstədiz əv ˈkɔrtəkəl ˈkəplɪŋ juzd (e.g*., 1 ˈstɪmjəˌleɪtɪŋ pəˈtɛnʃəlz ɛt æl. 2011 ɛt æl. 2013 ˈfroʊlɪk ənd məˈkɔrmɪk 2010 ˈrædmən ɛt æl. 2007 ˌhaʊˈɛvər, ˈnʊrɑnz ər ˈɔlsoʊ ˈsəbʤɪkt tɪ haɪər ˈfrikwənsi ˈvoʊltɪʤɪz frəm ˈsɪŋgəl spaɪks. rɪˈkɔrdɪŋz əv maʊs sˈlaɪsɪz ʃoʊ ðət ðə fildz əraʊnd ə ˈnʊrɑn kɔz ““spikelets,”*,” ˈvoʊltɪʤ, ɪn rɪˈkɔrdɪŋz əv ˈnɪrˈbaɪ ˈnʊrɑnz ðət læst, æt moʊst, 10 mɪz ɛt æl. 1997 wɛˈræz ðiz ər ˌɪnˈdid ˈtrænʒənt, wi ʃoʊd hir ðət vi i əv ðɛr ˈmægnəˌtud ənd ˈdʊˈreɪʃən kʊd ˌnɛvərðəˈlɛs əˈfɛkt spaɪk ˈtaɪmɪŋ wɪn ðə rɪˈsivɪŋ ˈnʊrɑn ɪz kloʊz tɪ θˈrɛˌʃoʊld (fɪg. 2 ənd ˈsɪŋkrəˌnaɪz ˈkəpəld ˈmɑdəl ˈnɛtˌwərks (fɪgz. 3 ənd fər symmetric*,, ɛz ɪn ɑr ˈmɑdəl, ðə ˈifɛkt əv ˈkəplɪŋ ɪz ðəs dɪˈpɛndənt ɔn ðə feɪz əv ðə rɪˈsivɪŋ ˈnʊrɑn biɪŋ kloʊz tɪ θˈrɛˌʃoʊld. ðɪs feɪz dɪˈpɛndəns ˌɪnˈkrisɪz ðə ˈifɛktɪv ˌspɛsəˈfɪsəti əv ˈkəplɪŋ. ˈɛriəz, səʧ ɛz ðə ˌhɪpoʊˈkæmpəs, hæv ˈrɛlətɪvli haɪ ˈnʊˌroʊnəlz ˈdɛnsətiz, ˌɪnˈkrisɪŋ ðə ˈlaɪkliˌhʊd ðət ə ˈnʊrɑn ɪn ɪts ““receptive”*” feɪz (kloʊz tɪ θˈrɛˌʃoʊld) ɪz ɪn ðə ˈrɛləvənt ˈspeɪʃəl prɑkˈsɪməti. ˈrɛləvəns əv ˈproʊˌfaɪl ənd ˌdɪstrəˈbjuʃən əv pəˈtɛnʃəlz ɑr ˈsɪmpləˌfaɪd ˈɑsəˌleɪtər ˈnɛtˌwərk ˈmɑdəl ənd ˈsɪmjəˌleɪtɪd ˈnɛtˌwərks wɪˈθɪn ˈnʊrɑn ˈdɛmənˌstreɪtɪd ðət ˈkəplɪŋ kʊd lɛd tɪ ˌɪnˈkrist ˌsɪŋkrənəˈzeɪʃən. əˈdɪʃəˌnəli, wi meɪd priˈdɪkʃənz əˈbaʊt ðə roʊl əv ðə ʃeɪp əv vi i ˈvərsəz.) ənd haʊ ˌsɪŋkrənəˈzeɪʃən ənd ˈnʊˌroʊnəlz ˈkləstərɪŋ ˈvɛri ɛz ə ˈfəŋkʃən əv ˈnʊˌroʊnəlz ˈdɛnsɪti. sɪns ə prɪˈdɑmənəns əv ˈkəplɪŋ (pi+ 1 wɑz rikˈwaɪərd fər ðə əˈkərəns əv (fɪg. 6 wi ˈwəndərd ɪf ˈdɪfərənt ˌʤiəˈmɛtrɪk ərˈeɪnʤmənts əv ˈnʊrɑnz ər mɔr ˈlaɪkli tɪ jild pi+ 1 ənd ˈðɛrˈbaɪ prəˈmoʊt. ɪn ɑr ˈmɑdəl əv ə leɪər vi pərˈæmədəl sɛl, ðə ˈriʤən (ˈsoʊmə, ˈhɪlək, ˌɪˈnɪʃəl ˌsɛgˈmɛnt) prəˈdust kənˈdɪʃənz fər pi+ 1 ˈviə lɑrʤ ˌkɑntrəˈbjuʃənz frəm nɑ+ kərənts (ˌɪˈnɪʃəli, ˈnɛgətɪv vi i ˈfɑloʊd baɪ sloʊər keɪ+ kərənts (ˈsəbsəkwəntli, ˈpɑzətɪv vi i fildz əraʊnd ðə hæd ˈɑpəzɪt poʊˈlɛrəti (pi+ 0 ˌhaʊˈɛvər, sɪns vi i əraʊnd ðə ˈsoʊmə wɑz æt list ən ˈɔrdər əv ˈmægnəˌtud ˈgreɪtər ðən dɛnˈdrɪtɪk vi i sɪgˈnɪfɪkənt ˈkəplɪŋ strɛŋθs wər ˈlɪmɪtɪd tɪ ə zoʊn əv pi+ 1 əraʊnd ðə ˈsoʊmə. ˌɔlˈðoʊ ðə ʃeɪp əv ðə pəˈtɛnʃəl ɪz dɪˈpɛndənt ɔn ðə saɪt əv ˌɪˌnɪʃiˈeɪʃən (ˈlɪndən ɛt æl. 2010 ˌɛmˈpɪrɪkəl rɪˈkɔrdɪŋz ənd ˌsɪmjəˈleɪʃənz səˈʤɛst ðət ðə ˈriʤən ɪz ðə ˈdɑmənənt loʊˈkeɪʃən fər pi+ 1 ɛt æl. 2012 goʊld ɛt æl. 2006 ə ˈlæmɪnər ˌɔrgənəˈzeɪʃən, ɛz sin ɪn ðə ˈkɔrtɛks ənd ˌhɪpoʊˈkæmpəs, əˈlaɪnz ˈnʊrɑnz' pi+ 1 zoʊnz ənd ɪkˈskludz pi+ 1 ˈfæktərz frəm ðɪs ˈriʤən, ˈðɛrˈbaɪ prəˈmoʊtɪŋ ˌsɪŋkrənəˈzeɪʃən. ˈəðər ˈprɑpərtiz əv pərˈæmədəl sɛlz, səʧ ɛz ðɛr ɪˈlɔŋgeɪt ʃeɪp ðət kən spæn əp tɪ 1 mm*, meɪk ðɛm mɔr ˈsɛnsɪtɪv tɪ pəˈtɛnʃəlz kəmˈpɛrd wɪθ ˈəðər sɛl taɪps (ˈrædmən ɛt æl. 2009 ˈðɛrˌfɔr, pərˈæmədəl sɛlz ˈɔrgəˌnaɪzd ɪn ə ˈlæmɪnər ˈstrəkʧər, səʧ ɛz ɪn ðə ˌhɪpoʊˈkæmpəs, meɪ bi əˈspɛʃəli səˈsɛptəbəl tɪ ˌsɪŋkrənəˈzeɪʃən frəm ˈkəplɪŋ. ˈkəplɪŋ kən ɪkˈspleɪn ðə ˈimərʤəns əv ˈsɪŋkrəˌnaɪzd fər ðə loʊəst ɑr ˈvæljuz ðət wi ˌɪnˈvɛstəˌgeɪtɪd ɪn ɑr ˈɑsəˌleɪtər ˈnɛtˌwərk, ˈkəplɪŋ wɑz strɔŋ ɪˈnəf tɪ əˈlaʊ ðə ɪˈstæblɪʃmənt əv ˈloʊkəli ˈsɪŋkrəˌnaɪzd (fɪgz. 3 ənd 9 wɪˈθɪn, ðə ˈfaɪərrɪŋ ˈfrikwənsi wɑz haɪər ɪn ˈbɪgər ˈkləstərz. ˈɔlsoʊ, ˈkləstərz əˈlaɪnd ðɛr ˈfaɪərrɪŋ ˈpætərnz wɪθ ðoʊz əv ˈəðər ˈkləstərz. ɪn sˈlaɪsɪz frəm ˈɛpɪˌlɛpsi ˈmɑdəl maɪs, wɛr ənd ˈkəplɪŋ wɑz blɑkt, ðə seɪm ˌɑbzərˈveɪʃənz wər meɪd (məlˈdun ɛt æl. 2013 ˈfərðərˌmɔr, ðə ˈnʊrɑnz wər ˈdrɪvən ˈɪntu spɑnˈteɪniəs ˈfaɪərrɪŋ baɪ ə haɪ pəˈtæsiəm ˌkɑnsənˈtreɪʃən ([keɪ+] mm*), ˈmæʧɪŋ ɑr ˈmɑdəl əˈsəmpʃənz. wi ˈɔlsoʊ sɔ ˈloʊkəli ˈsɪŋkrəˌnaɪzd ˈkləstərz əv ˈkəpəld ˈnʊrɑnz wɪˈθɪn ɑr ˈnʊrɑn ˈnɛtˌwərk ˌsɪmjəˈleɪʃənz. ðiz ˈkləstərz əroʊz spɑnˈteɪniəsli frəm ˈeɪˈsɪŋkrənəs ˌɪˈnɪʃəl kənˈdɪʃənz. wɛˈræz ðə ˈmɛkəˌnɪzəm əv fɔrˈmeɪʃən wɑz ənˈklɪr ɪn ðə ɪkˌspɛrɪˈmɛntəl ˈstədi əv məlˈdun ɛt æl. 2013 wi ˈdɛmənˌstreɪtɪd hir ðət ˈkəplɪŋ ɪz səˈfɪʃənt tɪ ɪkˈspleɪn ˈmɛni ˈditeɪlz əv ðə ɪkˌspɛrɪˈmɛntəl ˌɑbzərˈveɪʃənz. ˈnʊˌroʊnəlz ˈspeɪsɪŋ ənd ˈdudɪk ɛt æl. 1990 ənd ˈroʊpər ɛt æl. 1992 səˈprɛst ɔl kəmˌjunəˈkeɪʃən ɪn ræt sˈlaɪsɪz kənˈsɪstɪŋ əv pərˈæmədəl ˈnʊrɑnz, ˈæftər wɪʧ, ðeɪ prəˈsidəd tɪ kənˈtroʊl ðə ˈvɑljum ˈviə kənˈtroʊl əv baɪ ər loʊ ˈmidiəm. rɪˈdəkʃən əv ˈvɑljum (ˌkɔrəˈspɑndɪŋ tɪ ɑr rɪˈdəkʃən ɪn ɑr ˈɑsəˌleɪtər ˈmɑdəl) ˌɪnˈkrist ðə ˈfrikwənsi əv əˈkərəns əv daɪˈnæmɪks, wɛˈræz ən ˌɪnˈkris əv ðə ˈvɑljum (ɑr ˌɪnˈkris) əˈbɑlɪʃt ðə əˈkərəns əv daɪˈnæmɪks. ðiz ˈfaɪndɪŋz ɪˈstæblɪʃ ðət ˈəndər kənˈdɪʃənz əv səˈprɛst ˈkəplɪŋ ɪn ˈlæbrəˌtɔri ɪkˈspɛrəmənts, ˈspeɪsɪŋ bɪtˈwin ˈnʊrɑnz (ɛz ˈɔltərd baɪ ˈvɑljum kəmˈprɛʃən ənd ɪkˈspænʧən) kənˈtroʊlz ðə əˈkərəns əv daɪˈnæmɪks ɔn ðə ˈlɛvəl əv ˈnʊˌroʊnəlz ˈnɛtˌwərks. ɑr ˈmɑdəl rɪˈzəlts, beɪst ˈsoʊəli ɔn ˈkəplɪŋ, ˈdɛmənˌstreɪt ə səˈfɪʃənt ənd spɪˈsɪfɪk ˈmɛkəˌnɪzəm fər ðiz ˌɑbzərˈveɪʃənz. ðə ˈfaɪndɪŋz əv ˈdudɪk ɛt æl. 1990 ənd ˈroʊpər ɛt æl. 1992 du nɑt ˈænsər ˈwɛðər ˈvɑljum ˈmɛkəˌnɪzəmz teɪk ˈprɛsədəns ˈoʊvər ðiz ˈmɛkəˌnɪzəmz ɪn ˈjumənz ˈəndər lɪv kənˈdɪʃənz ənd haʊ ðɪs ˌɪmˈpækts ˈækʧəwəl ˌɛpɪˈlɛptɪk ˈɛpɪˌsoʊdz. ˈhæglənd ənd ˈhɑkmən 2005 ˌɪnˈvɛstəˌgeɪtɪd ə grup əv ˈpeɪʃənz ˈsəfərɪŋ frəm ˈkɔrtəkəl ənd ˈɛpɪˌlɛpsi fər ðɛr riˈækʃən tɪ ənd ædˌmɪnɪˈstreɪʃən, wɪʧ ˌɪnˈkris ˈwɔtər ˈkɑntɛnt ənd ˈvɑljum əv ðə fluɪd (ˌkɔrəˈspɑndɪŋ tɪ ɑr ˌɪnˈkris ɪn ɑr ˈmɑdəl). ɪn əˈgrimənt wɪθ ðə ˈərliər ˈlæbrəˌtɔri ˈfaɪndɪŋz, ənd ædˌmɪnɪˈstreɪʃən səˈprɛst ðə spɑnˈteɪniəs əˈkərəns əv ɪˈlɛktrɪkəl spaɪks, ðə ˌkeɪpəˈbɪləti əv ɪkˈstərnəl ˌɪnˈdəkʃən əv ˈdɪsˌʧɑrʤəz, ənd ðə sprɛd əv ækˈtɪvɪti. əv ˈmidiˌeɪtɪd ɑr ˌsɪmjəˈleɪʃənz ʃoʊd ə ˈkrɪtɪkəl ɑr rəˈʒim wɛr ðə ˈeɪˈsɪŋkrənəs ənd ðə steɪts pərˈsɪst fər prəˈlɔŋd ˈpɪriədz wəns ðeɪ ər ɪˈstæblɪʃt. ðɪs kʊd ɪkˈspleɪn ɪkˌspɛrɪˈmɛntəl ˌɑbzərˈveɪʃənz əv prəˈlɔŋd ənd ˈfeɪzɪz wɪˈθaʊt ðə nid tɪ ˌɪnˈvoʊk əˈdɪʃənəl, sloʊər ˈprɑsɛsəz, səʧ ɛz ˈʧeɪnʤɪz ɪn ðə fluɪd ˌkɑmpəˈzɪʃən ɛt æl. 2010a*). ˈmɑdəl ˌlɪmɪˈteɪʃənz wi noʊt ə ˈnəmbər əv ˌlɪmɪˈteɪʃənz ɪn ɑr ˈnʊrɑn ənd ˈɑsəˌleɪtər ˈtritmənts. fərst, ɑr ˈnʊrɑn ˌsɪmjəˈleɪʃənz wər beɪst ɔn ə ˈsɪŋgəl taɪp əv ˈnʊrɑn. ɪt ɪz ˈðɛrˌfɔr nɑt klɪr haʊ fɑr ɑr ˈfaɪndɪŋz kən bi ˈʤɛnərəˌlaɪzd tɪ ˈəðər ˈnʊrɑn taɪps. ˈgɪvɪn ðət ˈkəplɪŋ ˈmoʊstli ədˈvænsɪz ər dɪˈleɪz ɪgˈzɪstɪŋ spaɪks, ɪt ɪz ˈlaɪkli ðət rɪˈzəlts hir ər dɪˈpɛndənt ɔn ˈsɪmələr ˌɪnˈtrɪnsɪk ˈfaɪərrɪŋ reɪts əˈməŋ ˈmɑdəl ˈnʊrɑnz. ˈsɛkənd, wi əˈsɛst ˌsɪŋkrənəˈzeɪʃən ˈviə ˈkəplɪŋ ənd ˌdɪsrɪˈgɑrdɪd ɔl ˈəðər moʊdz əv ˈkəplɪŋ. ðɪs rɪˈflɛkts ðə kənˈdɪʃənz əv ðə ɪkˈspɛrəmənts ɪkˈspleɪnd baɪ ɑr ˈmɑdəl. ðɪs dɪz nɑt, ˌhaʊˈɛvər, ˈæˌdrɛs ðə daɪˈnæmɪk ˈɪntərˌpleɪ bɪtˈwin ənd ˈəðər moʊdz əv ˈkəplɪŋ (e.g*., ˈsɪæpsɪz ənd gæp) ɪn ɪn ˈvivoʊ ˈnʊˌroʊnəlz ˈnɛtˌwərks. θərd, ðə smɔl ˌpɑpjəˈleɪʃən əv ˈnʊrɑnz ənd ðə ˈsɪmpləˌfaɪd ˌtudɪˈmɛnʃənəl rɛkˈtæŋgjələr ˈɑrkəˌtɛkʧər fɔl ʃɔrt əv ðə ˌʤiəˈmɛtrɪk kəmˈplɛksɪti əv ril ˈnʊˌroʊnəlz ˈɑrkəˌtɛkʧərz. ˈfaɪnəli, ɑr ˈmɑdəl əˈsɛsɪz ˈkəplɪŋ ˈoʊnli ɛz ə ˈfɪzɪkəl ˈmɛkəˌnɪzəm, nɑt ɛz ən ˈæˌspɛkt əv ən ˈsɪstəm. ɪt rɪˈmeɪnz ˈlɑrʤli ənˈklɪr haʊ ˈkəplɪŋ ənd ðə rɪˈzəltɪŋ ˈɪnəˌgreɪt wɪθ ðə ˌɪnˌfɔrˈmeɪʃən ˈprɑsɛsɪŋ baɪ ˈnʊˌroʊnəlz ˈnɛtˌwərks. wi juzd pəˈtɛnʃəlz wɪθ ə lɑrʤ ˈvælju fər ə i meɪ bi ˈlɑrʤər ðən ɪn ˈəðər ˌsɪmjəˈleɪʃənz [e.g*., goʊld ɛt æl. 2006 ðə leɪər vi pərˈæmədəl sɛl ðət wi ˈmɑdəl ˈlaɪkli prəˈdusɪz pəˈtɛnʃəlz wɪθ haɪər ðən ˈævərɪʤ ˈæmpləˌtud. ɪt ɪz ˈɔlsoʊ ˈpɑsəbəl ðət ɪkˌspɛrɪˈmɛntəl ˈmɛʒərz əv ˈvoʊltɪʤ ər ˌɑrtəˈfɪʃəli loʊərd baɪ ˈskɑrɪŋ əraʊnd ðə ˌɪˈlɛktroʊd. ˈfərðərˌmɔr, boʊθ ðə ˈpɑzətɪv ənd ðə ˈnɛgətɪv pɑrt əv ɛf hæv ðə seɪm ˈmægnəˌtud, wɛˈræz ðɪs ɪz nɑt ðə keɪs fər moʊst ˈækʃən pəˈtɛnʃəlz (goʊld ɛt æl. 2006 kəmˈpɛrəsən wɪθ ɛgˈzɪstənt ˈmɑdəlz ðə ˈlɪniər əˌprɑksəˈmeɪʃən juzd ɪn ðə ˈɑsəˌleɪtər ˈnɛtˌwərk ˈmɑdəl ˈkæpʧərz ðə ʃeɪp əv ðə pəˈtɛnʃəl bət nɑt ðə dɪˈteɪld ˈnuɑnsɪz əv ðə pəˈtɛnʃəlz ənd ðɛr dɪˈpɛndəns ɔn ˈrɛlətɪv ˈnʊrɑn pəˈzɪʃən. təˈgɛðər wɪθ ðə dɪˈsɪʒən tɪ ˈmɑdəl ˈnʊrɑnz ɛz ˈsɪmpəl feɪz ˈɑsəˌleɪtərz, ðɪs ɪz ə sɪgˈnɪfɪkənt rɪˈdəkʃən əv kəmˈplɛksɪti ənd ˈriəlɪzm kəmˈpɛrd wɪθ ðə ˈfɪzɪkəli ˌriəˈlɪstɪk ˈnʊrɑn ˌsɪmjəˈleɪʃənz. ðɪs rɪˈdəkʃən ɪn kəmˈplɛksɪti meɪd ɪt ˈfizəbəl tɪ trit ˈlɑrʤər ˈnɛtˌwərks. ɪn spaɪt əv ðə rɪˈdust ˈriəlɪzm, ɑr ˈmɑdəlz ˈdɛmənˌstreɪtɪd ˈsɛvərəl ˈprɪnsəpəlz əv ˈkəplɪŋ ɛz ə ˈmɛkəˌnɪzəm fər ˈnʊˌroʊnəlz ənd ɪkˈspleɪnd ˈsɛvərəl ɪkˌspɛrɪˈmɛntəl ˌɑbzərˈveɪʃənz ɪn səˈfɪʃənt ˌmɛkəˈnɪstɪk ˈditeɪl. ðə ˌɑbzərˈveɪʃən əv ˈgloʊbəl ənd ˈsɪŋkrəˌnaɪzd æt ˈdɪfərənt ˈdɛnsətiz əv ˈɑsəˌleɪtərz wɑz ˈɔlsoʊ kənˈfərmd ɪn ˈnʊrɑn ˌsɪmjəˈleɪʃənz. ə ˈpriviəs ˈstədi baɪ pɑrk ɛt æl. 2005 prəˈvaɪdz ˌkɑmpləˈmɛnʧi ˈɪnˌsaɪts, æˈdrɛsɪŋ ðə ˈkəplɪŋ ˈfəŋkʃənz bɪtˈwin ə pɛr əv ˈnʊrɑnz ɪn mɔr ˈditeɪl. pɑrk ɛt æl. 2005 fərst ˈsɪmjəˌleɪtɪd ə pɛr əv ˈnʊrɑn ˈmɑdəlz ðət ər ˈkəpəld ˈviə ənd kəˈnɛkʃənz tɪ dəraɪv dɪˈteɪld ˈkəplɪŋ ˈfəŋkʃənz fər ə ˈmɑdəl əv ðə pɛr əv ˈnʊrɑnz. əˈkɔrdɪŋli, ðɛr əˌprɑksəˈmeɪʃən səkˈsɛsfəli ɪkˈspleɪnz dɪˈteɪld ˈpætərnz əbˈzərvd ɪn ðə kəmˈpɑrtmənt ˈmɑdəl (pɑrk ɛt æl. 2005 ðəs fər ðə ˈlɔŋˈtərm daɪˈnæmɪks əv tu ˈkəpəld ˈnʊrɑnz, pɑrk ɛt æl. 2005 gɪv ə mɔr dɪˈteɪld əˈkaʊnt. ə ˈnəmbər əv ˌmæθəˈmætɪkəl ˈmɑdəlz əv bɪˈheɪvjər ər beɪst ɔn ˈʧeɪnʤɪz ɪn kəˈnɛkʃənz [si ˈlɪtən 2008 fər ˌrivˈju]. ɪn wən klæs əv ˈmɑdəlz, ““rewiring”*” əv ðə ˈnɔrməl ˈnɛtˌwərk ɪz əˈsumd ɛz ðə meɪn ˈmɛkəˌnɪzəm. kəˈnɛkʃənz ˈnʊˌroʊnəlz ækˈtɪvɪti) ər ˈædɪd tɪ ðə ˈnɛtˌwərk, ˌɪnˈhɪbəˌtɔri kəˈnɛkʃənz ɪn ðə ˈnɛtˌwərk (səˈprɛsɪŋ ɪkˈsɛsɪv ækˈtɪvɪti) ər riˈmuvd, ər ðə ˈnʊˌroʊnəlz ˈnɛtˌwərk təˈpɔləʤi ɪz ˈɔltərd. fər ɪgˈzæmpəl, ɛt æl. 2007 kənˈstrəktɪd ə ˌriəˈlɪstɪk gyrus”*” ˈmɑdəl. ˌɪnˈkrisɪŋ sklərˈoʊsəs əv ðə wɑz ˈmɪmɪkt baɪ 1 ˌɪnˈkrisɪŋ rɪˈmuvəl əv ˈnʊrɑnz wɪθ ˈlɔŋˈreɪnʤ kəˈnɛkʃənz ənd 2 ˌɪnˈkrisɪŋ ““sprouting,”*,” ðə ˌɪntrəˈdəkʃən əv nu, kəˈnɛkʃənz. wɪθ ˌɪnˈkrisɪŋ sklərˈoʊsəs, ˈnɛtˌwərk təˈpɔləʤi ənd daɪˈnæmɪks ˌəndərˈwɛnt ə ʧeɪnʤ. ˌɪnərˈmidiɪt dɪˈgriz əv sklərˈoʊsəs ˌɪnˈkrist ˈlɔŋˈreɪnʤ kənɛkˈtɪvɪti world”*” ˈnɛtˌwərk təˈpɔləʤi) ənd lɛd tɪ əv ðə ˈnɛtˌwərk, ðəs səˈpɔrtɪŋ. səˈvɪr sklərˈoʊsəs, ˌhaʊˈɛvər, riˈmuvd ˈlɔŋˈreɪnʤ kəˈnɛkʃənz tɪ səʧ ən ɪkˈstɛnt ðət ɪt broʊk daʊn ˈifɛktɪv ˈlɔŋˈreɪnʤ kənɛkˈtɪvɪti, ðəs prɪˈvɛnɪŋ ˈlɔŋˈreɪnʤ sprɛd əv ækˈtɪvɪti ənd. ɪn əˈnəðər ˌriəˈlɪstɪk ˈmɑdəl, beɪst ɔn kəˈnɛkʃənz ðət wər ˌɪnˈvɛstəˌgeɪtɪd baɪ ˈmɔrgən ənd ˈsoʊltɪʃ 2008 kəˈnɛkʃənz, spəˈsɪfɪkli wɪˈθɪn həbz əv ˈgrænjəl sɛlz, ɪˈstæblɪʃt ˈmaɪkroʊˌsərkəts. ˈsɪmələrli, ə ˈsɪmpləˌfaɪd ˈmɑdəl, beɪst ɔn ə smɔl ˈnɛtˌwərk kənˈstrəktɪd baɪ ɛt æl. 2004 kʊd ʧeɪnʤ frəm tɪ tɪ bɪˈheɪvjər baɪ ˈnɛtˌwərk ˈstrəkʧərəl ˈʧeɪnʤɪz. boʊθ ˈmɑdəlz baɪ ˈmɔrgən ənd ˈsoʊltɪʃ 2008 ənd ɛt æl. 2004 prɪˈdɪktɪd ˈtrævəlɪŋ weɪvz əv ˈnʊˌroʊnəlz ˌhaɪpərækˈtɪvɪti. ɪn ðə ɪkˈspɛrəmənt, ˌhaʊˈɛvər, ˈsteɪʃəˌnɛri ˈkləstərz əv ənd ˌhaɪpərækˈtɪvɪti ər əbˈzərvd ɛt æl. 2010a*; məlˈdun ɛt æl. 2013 ɛt æl. 2013 kənˈstrəktɪd smɔl ˈnɛtˌwərks ˌrɛprɪˈzɛnɪŋ leɪərz ˈjuzɪŋ ˈnʊrɑn. sɪgˈnɪfɪkənt ˌʤiəˈmɛtrɪk ˈriəlɪzm wɑz kənˈsɪdərd ɪn kənˈstrəktɪŋ ðiz ˈnɛtˌwərks, ənd pərˈæmədəl ˈnʊrɑnz ɛz wɛl ɛz wər ˌɪnˈkludɪd ɪn ðə ˌsɪmjəˈleɪʃən. ˈmɑdəl əˈsəmpʃənz rɪˈgɑrdɪŋ spɪˈsɪfɪk ˌaɪˈɑnɪk kərənts, sɪæps ˌdɪstrəˈbjuʃən, ənd ðə rɪˈspɑns tɪ ɪkˈstərnəl ɪˈlɛktrɪkəl fildz wər əˈsɛst ɪn ˈsɪŋgəl ˈnʊrɑn ɪkˈspɛrəmənts ɛt æl. 2013 ðɪs wərk ˈðɛrˌfɔr ˈæˈdrɛsɪz ˈmɛni əv ðə ðət wi meɪd ɪn ɑr ˈstədi. ˌhaʊˈɛvər, ˈkəplɪŋ wɑz nɑt kənˈsɪdərd. ˌɪmˈpɔrtəntli, ɪkˌspɛrɪˈmɛntəl ˈstədiz ʃoʊ ðət wɪθ ɔl kəˈnɛkʃənz ˈsaɪlənst, kən ɪgˈzɪst ɪn sˈlaɪsɪz (ˈʤɛfəriz ənd hɑs 1982 ðəs ˈəðər ˈmɛkəˌnɪzəmz, səʧ ɛz ˈkəplɪŋ, ər ˈlaɪkli ˌɪnˈvɑlvd ɪn bɪˈheɪvjər (ˈʤɛfəriz 1995 waɪs ənd ˈfeɪbər 2010 tɪ ɑr ˈnɑlɪʤ, ɑr ˈstədi ˌrɛprɪˈzɛnts ðə fərst ˈnɛtˌwərk ˈmɑdəl ˌɪnˈvɛstəˌgeɪtɪŋ ˌsɪŋkrənəˈzeɪʃən ˈsoʊəli ˈviə ˈkəplɪŋ. fˈjuʧər dɪˈrɛkʃɪnz əˈdɪʃənəl ˈnʊrɑn ˌsɪmjəˈleɪʃənz ˌriəˈlɪstɪkli ˈɪmpləˌmɛnɪŋ ˈvərsəz. ˈvɑljum ˈʧeɪnʤɪz wʊd ˈdipən ɑr ˌəndərˈstændɪŋ əv ðə kəˈnɛkʃən bɪtˈwin ˈvɑljum ˈʧeɪnʤɪz ənd daɪˈnæmɪks ɪn ˈnʊˌroʊnəlz ˌpɑpjəˈleɪʃənz. wi ˌɪnˈtərprətəd ɑr, ə ˈpraɪˌmɛri pərˈæmətər ˈgəvərnɪŋ ðə ɪgˈzɪstəns əv ˈgloʊbəl ənd ˈkləstər ɪn ɑr ˌsɪmjəˈleɪʃənz, ɛz ən ˈifɛktɪv ˈdɪstəns bɪtˈwin ˈnʊrɑnz' ˈmɛmˌbreɪnz. prɪˈzuməbli, ˈʧeɪnʤɪz ɪn ðə ˈvərsəz. ˈvɑljumz wʊd ˈɔltər ðə ˈdɪstəns bɪtˈwin ˈnʊrɑnz' ˈmɛmˌbreɪnz, wɪʧ ɪn tərn, ˈɔltərz ɑr. ˈfɑloʊɪŋ ðɪs əˈsəmpʃən, wi kʊd ɪkˈspleɪn ɪkˌspɛrɪˈmɛntəl ənd ˈklɪnɪkəl ˌɑbzərˈveɪʃənz. ˌhaʊˈɛvər, fˈjuʧər ˌsɪmjəˈleɪʃənz ʃʊd bi ˈɛksəˌkjutɪd wɛr ðə ʤiˈɑmətri əv ðə sɛl ˈmɛmˌbreɪn ɪz ˈɔltərd tɪ əˈsɛs ðɪs haɪˈpɑθəsəs ˈfʊli. ɪn ˈvɪtroʊ ɪkˈspɛrəmənts wɪθ sˈlaɪsɪz əv ˈnʊˌroʊnəlz ˈtɪʃu ðət ʃoʊd ˈgloʊbəl ənd ˈkləstər kən bi ɪkˈstɛndɪd tɪ əˈsɛs ðə ˈifɛkt əv ˈvərsəz. ˈvɑljum ˈʧeɪnʤɪz (məlˈdun ɛt æl. 2013 ˈgloʊbəl ənd ˈkləstər ɪn ðiz ɪkˈspɛrəmənts wɑz ˈgəvərnd baɪ tu pərˈæmətərz: əˈdɪʃən əv ˈpɑzətɪv aɪɑnz ˌɪnˈkrist ðə ˈʤɛnərəl ˈnʊˌroʊnəlz ækˈtɪvɪti, wɛˈræz ən mjuˈteɪʃən ˌɪnˈdust ˈkləstər (məlˈdun ɛt æl. 2013 ɑr ˌsɪmjəˈleɪʃənz, əˈlɔŋ wɪθ ˈpriviəs ɪkˌspɛrɪˈmɛntəl ənd ˈklɪnɪkəl rɪˈzəlts (ˈdudɪk ɛt æl. 1990 ˈhæglənd ənd ˈhɑkmən 2005 ˈroʊpər ɛt æl. 1992 səˈʤɛst ðət ðə ˈvərsəz. ˈvɑljum (əˈʤəstəbəl ˈviə, e.g*., ˈʃʊgərz ðət ˌɪnˈkris ˈmidiəm) wʊd ɪgˈzərt əˈdɪʃənəl kənˈtroʊl ˈoʊvər ˈgloʊbəl ənd ˈkləstərd. ˈlæstli, ɑr ˈstədi səˈʤɛsts ðət kɔzd ˈsoʊəli baɪ ˈkəplɪŋ wɪl bi lɛs ˈlaɪkli wɛr ˈnʊrɑnz ər ˈɔrgəˌnaɪzd lɛs ˈrɪʤɪdli ˈɪntu ə ˈlæmɪnər ʃit. ɪz ˈɔfən ˈstədid ɪn ˈtɪʃuz wɪθ ˈlæmɪnər ˌɔrgənəˈzeɪʃən əv ˈnʊrɑnz, bɪˈkəz ˈoʊnli hir kən dɪˈtɛkt ˈifɛktɪvli. ˌhaʊˈɛvər, ðə ˈɪmɪʤɪŋ əv ˌɪndəˈvɪʤəwəl ˈnʊrɑnz ɪn ə ˈlɑrʤər fild kʊd kənˈfərm ər ˈfɔlsəˌfaɪ ðə haɪˈpɑθəsəs ðət mɔr ˌɪˈrɛgjələrli ˈstrəkʧərd ˈnʊˌroʊnəlz ˈtɪʃuz ər lɛs ˈlaɪkli tɪ dɪˈvɛləp ˈsoʊəli du tɪ ˈkəplɪŋ. grænts ˈfəndɪŋ wɑz fər ðɪs ˈstədi wɑz prəˈvaɪdɪd baɪ ˈnæʧərəl ˈsaɪənsɪz ənd ˈɛnʤəˈnɪrɪŋ ˈrisərʧ ˈkaʊnsəl əv ˈkænədə (nserc*); məˈgɪl ˈfækəlti əv ˈmɛdəsən ˈskɑlərˌʃɪp (tɪ ɑr. ʤi. ˈsteɪsi); kəˈneɪdiən ˈɪnstɪˌtuts fər hɛlθ ˈrisərʧ (cihr*) məˈgɪl ˈsɪstəmz baɪˈɑləʤi ˈgræʤəˌweɪt ˈtreɪnɪŋ ˈproʊˌgræm (tɪ ɛl. ˈhɪlbərt); ənd hɑrt ənd stroʊk faʊnˈdeɪʃən (tɪ ti. kweɪl). dɪˈskloʊʒərz ðə ˈɔθərz dɪˈklɛr noʊ kəmˈpitɪŋ ˌfaɪˈnænʃəl ˈɪntərɪsts. ˈɔθər ˌkɑntrəˈbjuʃənz ˈɔθər ˌkɑntrəˈbjuʃənz: r.g.s*., l.h*., ənd t.q*. kənˈsɛpʃən ənd dɪˈzaɪn əv ˈrisərʧ; r.g.s*., l.h*., ənd t.q*. ˈænəˌlaɪzd ˈdætə; r.g.s*., l.h*., ənd t.q*. ˌɪnˈtərprətəd rɪˈzəlts əv ɪkˈspɛrəmənts; r.g.s*. ənd l.h*. priˈpɛrd ˈfɪgjərz; r.g.s*. ənd l.h*. ˈdræftɪd ˈmænjəˌskrɪpt; r.g.s*., l.h*., ənd t.q*. ˈɛdɪtɪd ənd rɪˈvaɪzd ˈmænjəˌskrɪpt; r.g.s*. ənd l.h*. əˈpruvd ˈfaɪnəl ˈvərʒən əv ˈmænjəˌskrɪpt. ðə ˈɔθərz θæŋk ˈkɔstəz fər ən ˈɛksələnt ˈlɪtərəʧər ˈoʊvərvˌju, ˈdænjəl fər ˈkɑmɛnts ɔn ɑr ˈmænjəˌskrɪpt, ənd ˈmaɪkəl ˈmæki fər hɪz ˈgaɪdəns ɪn ˈʤɛnərəl ənd ˌɪnˈsɪstɪŋ ɔn ˈfɪzɪkəl ˈriəlɪzm spəˈsɪfɪkli. ˈdɪfərəns ɪn feɪz bɪtˈwin ˈɑsəˌleɪtər ə ənd ˈɑsəˌleɪtər bi ˌeɪˈpi ˈdrɪvən ʧeɪnʤ ɪn spaɪk taɪm, ˈmɛʒərd æt pik vm*, ɛs i bəlk, əv ˈɑsəˌleɪtər ˈfrikwənsiz ɪn ən ˈɑsəˌleɪtər ˈnɛtˌwərk, i feɪz əv ɛf, mɪz aɪ feɪz əv ˈɑsəˌleɪtər aɪ aɪ ˈfrikwənsi əv ˈɑsəˌleɪtər aɪ, 0 min ˈfrikwənsi əv ɔl ˈɑsəˌleɪtərz ɪn ən ˈɑsəˌleɪtər ˈnɛtˌwərk, ə ˈæmpləˌtud əv ˈkəplɪŋ, ə i ˈvoʊltɪʤ 1, ə ɛm dɪˈflɛkʃən əv ˈmɛmˌbreɪn ˈvoʊltɪʤ 1, si kənˈtroʊlz ðə ˈæmpləˌtud ənd poʊˈlɛrəti əv pəˈtɛnʃəl kənˈtroʊlz ðə poʊˈlɛrəti əv pəˈtɛnʃəl c̄*̄ pərˈæmətər kəmˈbaɪnɪŋ si ənd di di ˈdɪstəns bɪtˈwin ɛks ənd ˈsoʊmə ˈsɛnər fər ˈnʊrɑn ˌkælkjəˈleɪʃənz, di dɪfˈjuʒən ˈkɑnstənt kˈwɑntɪˌfaɪɪŋ strɛŋθ əv ˌfləkʧuˈeɪʃənz ɪn di ˈævərɪʤ ˈmɪnəməm ˈdɪstəns, juzd tɪ ˈkləstər spaɪk treɪnz ɛf pəˈtɛnʃəl ʤi ˈfəŋkʃən dɪˈskraɪbɪŋ ðə saɪn əv ˈkəplɪŋ, aɪ ˈsoʊmə ˈmɛmˌbreɪn kərənts ɪn ðə ˈsoʊmə, ə ɛn ˈnəmbər əv ˈɑsəˌleɪtərz ɪn ən ˈɑsəˌleɪtər ˈnɛtˌwərk pi+ ˌprɑbəˈbɪləˌti əv pəˈtɛnʃəl p(δ*(δ) ˌprɑbəˈbɪləˌti ˌdɪstrəˈbjuʃən əv feɪz ˈdɪfərənsɪz ɑr pərˈæmətər kənˈtroʊlɪŋ ˈspeɪsɪŋ (ˈdɛnsɪti) əv ˈɑsəˌleɪtərz ɪn ˈɑsəˌleɪtər ˈnɛtˌwərk, ɑr ˈdɪstəns bɪtˈwin ˈɑsəˌleɪtər aɪ ənd ˈɑsəˌleɪtər ʤeɪ, ti i taɪm əv ʤi, ɛs ti ɑr rəˈfræktəri ˈpɪriəd əv ˈɑsəˌleɪtərz, ɛs vi i pəˈtɛnʃəl, vi aɪ ˌkɑntrəˈbjuʃən tɪ streɪt laɪn ˌsɛgˈmɛnt aɪ, vi ɛm ˈmɛmˌbreɪn pəˈtɛnʃəl, vi ˈsoʊmə ˌkɑntrəˈbjuʃən tɪ ˈsoʊmə, ɛks loʊˈkeɪʃən ɪn ˈnʊrɑn ˈmɑdəl, zi stəˈtɪstɪk ˈglɔsəri
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neuronal hypersynchrony is implicated in epilepsy and other diseases. the low-frequency, spatially averaged electric fields from many thousands of neurons have been shown to promote synchrony. it remains unclear whether highly transient, spatially localized electric fields from single action potentials (ephaptic coupling) significantly affect spike timing of neighboring cells and in consequence, population synchrony. in this study, we simulated the extracellular potentials and the resulting coupling between neurons in the neuron environment and generalized their connection rules to create an oscillator network model of a sheet of ephaptically coupled neurons. with the use of both models, we explained several aspects of epileptiform behavior not previously modeled by synaptically coupled networks. importantly, reduction of neuron spacing induced synchronization via single-spike ephaptic coupling, agreeing with seizure suppression seen clinically and in vitro via extracellular volume adjustment. further reduction of neuron spacing yielded locally synchronized clusters, providing a mechanism for recent in vitro observations of localized neuronal synchrony in the absence of synaptic and gap-junction coupling.
neuronal synchrony is implicated in working memory, sensory processing, and attention (fries et al. 2001; hansel and sompolinsky 1996; wang 2001) and diseases, such as epilepsy, parkinson's, schizophrenia, alzheimer's, and autism (uhlhaas and singer 2006). cortex and hippocampus, due to their laminar structure, which results in large local field potentials (lfps), are major research objects in the study of neuronal synchrony and epilepsy (dudek and sutula 2007; jiruska et al. 2010b; mccormick and contreras 2001). neuronal network hyperactivity and hypersynchrony underlie activity bursts and spreading excitation, which are related to transient seizure episodes (interictal events) and seizure onset, respectively (jefferys 1995; jiruska et al. 2010b; traub et al. 2004; weiss and faber 2010).
the most widely discussed mechanism for pathologic hypersynchrony in neuronal networks is the remodeling of synaptic connections. experiments show that loss of inhibitory interneurons and the formation of recurrent connections can lead to hypersynchrony (dudek and sutula 2007). whereas synaptic remodeling is likely involved in epileptiform behavior, hypersynchrony can also exist without synaptic connections (jefferys and haas 1982). for example, extracellular medium osmolality changes induce or suppress epileptiform behavior in the absence of functioning synapses (bikson et al. 2003; dudek et al. 1990; haas and jefferys 1984; jefferys 1995). even though theoretical and ultrastructural studies have suggested that gap junctions between neurons could explain these observations (hamzei-sichani et al. 2007; traub et al. 2000, 2004), synchrony can even persist when gap junctions are functionally blocked (jiruska et al. 2010a). therefore, nonsynaptic, not gap-junction-mediated, mechanisms for neuronal hypersynchrony likely exist.
one potential mechanism is ephaptic coupling, meaning coupling via endogenous electric extracellular potentials (v e ). low-frequency v e , simulating spatially averaged potentials from many cells, i.e., lfps, can synchronize neurons (anastassiou et al. 2011; berzhanskaya et al. 2013; frohlich and mccormick 2010; radman et al. 2007). it is unclear, however, how similar-magnitude v e , generated by single action potentials, affect population spike timing. because v e generated by individual spikes decay quickly with distance and are highly transient, single-spike ephaptic coupling is often disregarded (buzsáki et al. 2012). however, a theoretical study predicted that single-spike ephaptic coupling might significantly alter spike times between a pair of neurons (park et al. 2005). a single action potential can generate both hyperpolarizing and depolarizing v e , dependent on location (gold et al. 2006, 2007). ephaptically induced changes to the membrane potentials of nearby neurons show a similar biphasic shape (vigmond et al. 1997). it remains unclear how ephaptic potentials and their biphasic signature affect spike timing and network synchronization (jefferys 1995; weiss and faber 2010).
here, we investigate the effect of single-spike ephaptic coupling by first modeling ephaptic coupling between neuron pairs, demonstrating its effects in a small network, and then, generalizing pairwise coupling characteristics to an oscillator network. our results provide a proof of principle that single-spike ephaptic coupling synchronizes neurons dependent on neuronal spacing and ephaptic potential shape and underlies formation of locally synchronous microclusters.
methods
neuron simulations
ephaptic coupling between two neurons.
we implemented a reconstructed layer v pyramidal cell model with 176 sections in the neuron environment using procedures and parameters of mainen and sejnowski (1996). this is a multicompartment model with a high density of na+ channels in the axon initial segment and hillock. the soma and dendrites contained slow k+ channels, and fast k+ channels were present in the axon and soma. spontaneous spiking was achieved by increasing synaptic conductance by 0.2× the leak conductance and setting the reversal potential to 0 mv in the dendrite compartments (holt and koch 1999). to achieve repetitive firing without slower dynamics, ca2+ currents were removed from all compartments. the resulting membrane currents caused the cell to fire with a regular interspike interval of ∼15 ms. all membrane currents (capacitive and ionic) were calculated every 0.01 ms. the bulk extracellular resistivity (ρ e ) was 400 ωcm.
at location x, the v e (x, t) was calculated as the sum of individual potentials (v i ) generated by all membrane currents
v e = ∑ i = 1 n v i + v s o m a , (1)
soma
soma
soma
v s o m a ( x , t ) = ρ e i s o m a 4 π d , (2)
i
whereis the potential due to somatic currents (). since the soma is assumed to be spherical,can be calculated aswhereis the distance betweenand the center of the soma. each model section was approximated as composed of multiple straight cylinders, and total current from the section was uniformly distributed across all cylinders in the section. individual potentials () were calculated for each cylinder. for full details, see holt (2008)
the v e generated by one (“stimulating”) neuron was applied to a second (“receiving”) neuron. this was achieved by setting the extracellular potential of the receiving neuron equal to v e using the extracellular mechanism in neuron (carnevale and hines 2006). a unique v e was calculated for each section of the receiving neuron, and by calculating v e at the appropriate locations x, we could vary the proximity and relative position of the two neurons. except for modifying v e , the receiving neuron was implemented in neuron identically to the stimulating neuron. without ephaptic stimulation, the receiving neuron generated a spike identically to the stimulating neuron. in the pairwise interactions, the electric potential due to the receiving neuron was not accounted for. its effect is predicted to be small, as the receiving neuron fires during the refractory period of the stimulating neuron. we neglected the effect of a neuron's v e on itself (holt and koch 1999).
ephaptically coupled, small networks in neuron.
we additionally implemented ephaptically coupled networks inside neuron. ephaptic stimulation was achieved identically to the above pairwise stimulation. v e , at each section of each neuron, was calculated by summing the contributions to electric potential from all neurons except the neuron being stimulated. networks consisted of 16 identical layer v pyramidal cells arranged in a square grid. spacing was varied to control the strength of ephaptic coupling. since we used neuron spacings that were less than the extent of dendritic arbors, neuron segments could possibly overlap, although in practice, a minority of segments did (<1/2,000 of segment-to-segment pairings). overlapping segments were not included when calculating v e .
we calculated pearson correlation coefficients between somatic v m to quantify synchronization between pairs of neurons in the neuron network (poulet and petersen 2008). neurons were simulated for 500 ms, and v m from the last half of simulations were used to compute correlation coefficients. neurons were initialized with different v m , which was assigned randomly between −70 and −40 mv. all sections in a given neuron were initialized to the same v m . all other initial conditions were identical between neurons.
mathematical analysis of conditions for global synchrony
phase relationship between two neurons.
we constructed an analytical mathematical model consisting of a stimulating neuron (a) and a receiving neuron (b). both neurons are modeled as simple phase oscillators with phases ϕ a and ϕ b , respectively. neuron a fires tonically with a constant frequency, so that ϕ a is constant. ϕ b increases with the same intrinsic frequency but can be altered due to ephaptic potentials received from a, ϕ̇ b = ϕ̇ a + cf. therefore, δ a,b undergoes the following time evolution
δ ̇ a , b = ϕ ̇ a − ϕ ̇ b = c f ( δ a , b ) , (3)
whereis-periodic on the interval [0, 1).was specified as a function ofbased on qualitative features of our neuron results to allow general mathematical conclusions. quantitative parameters were assumed only in later simulations of network dynamics.
with the consideration of the relationship of a and b, the horizontal axis (see fig. 2e) corresponds to −δ in our formulation, and δt ap on the vertical axis can be seen as roughly proportional to −f. at a specific zero crossing point (ϕ e ), the biphasic f changes from positive to negative (for up-down potentials). for δ < ϕ e , the ephaptic potential from a leads to a predated firing of b (δt ap < 0), which corresponds to a reduction of δ (f > 0 for up-down potentials). for δ > ϕ e , the ephaptic coupling leads to an increase of δ (f < 0 for up-down potentials). with the assumption of a continuous and smooth f that is zero only at δ = 0 and δ = ϕ e , this means that for up-down potentials, δ* = 0 is a unique, stable steady state, attracting all initial values except δ* = ϕ e , the location of a unique, unstable steady state. with the maintenance of the same f, setting c < 0 captures down-up potentials, δ* = 0 is unstable, and δ* = ϕ e is stable. in summary, the globally attractive, stable steady states are
δ a , b * = { c > 0 : 0 , c < 0 : ϕ e > 0. (4)
conditions for a network-stable synchronous state.
for a network of n identical oscillators, now with bidirectional, ephaptic-like coupling between all oscillator pairs, the condition for a network steady state is that for all a ≠ b (a, b ∈ 1, . . . , n}), the δ a,b take on a steady-state value of δ a,b * simultaneously. based on the fraction of up-down (c > 0) potentials (p+), two extreme cases can be investigated analytically. for p+ = 1, all c > 0, and therefore, all δ a,b = δ a , b * = 0; all phase differences vanish, and the network-stable state is perfectly synchronous. for the opposite case, p+ = 0, all c < 0, so
δ a , b = ϕ e (5)
δ a , b = δ b , a ⇔ ϕ − a ϕ = b ϕ − b ϕ = a 0.5 (6)
δ c , a = δ c , b ⇔ ϕ − c ϕ = a ϕ − c ϕ ⇔ b ϕ − b ϕ = a 0. (7)
distribution of phase differences in an ensemble of oscillators.
for allis the condition for a global steady state. for any two oscillators (and) from the network,must hold to fulfill the condition from. with the introduction of a third oscillator (), the possibility of a network-wide steady state can be disproved by the following contradiction with
let p(δ) be the distribution of the phase differences of n → ∞ oscillators relative to a reference phase ϕ 0 (all oscillators and the reference phase have the same intrinsic phase frequency). to add a randomizing influence to the ephaptic-like coupling effects, a fokker-planck formalism is used (risken 1984)
∂ p ∂ t = ∂ ∂ δ [ c f ( δ ) p ( δ ) ] + d ∂ 2 p ∂ δ 2 , (8)
∂ p ∂ t = 0 ⇒ ∂ ∂ δ [ c ¯ f p * ] = − ∂ 2 p ∂ δ 2 , (9)
p * ( δ ) = 1 ∑ exp [ − ∫ 0 δ c ̅ f ( δ ′ ) d δ ′ ] . (10)
where, the diffusion constant, quantifies the strength of fluctuations in. at steady statewhere. the parametersandare thus described by the single parameter. by separation of variables
σ is a normalization constant that ensures ∫ 0 1p*(δ)dδ = 1. to compute p*(δ), an approximated piecewise linear f(δ) function is used (see fig. 5a)
f ( δ ) = { 0 ≤ δ < ϕ e / 2 : ϕ e / 2 ≤ δ < 3 ϕ e / 2 : 3 ϕ e / 2 ≤ δ < 2 ϕ e : 2 ϕ e ≤ δ : 2 δ / ϕ e , − 2 ( δ − ϕ e ) / ϕ e , − 2 ( δ − ϕ e ) / ϕ e , 0. (11)
z = ∣ ∫ 0 1 p ( x ) e − 1 2 π x d x ∣ . (12)
ephaptic-like oscillator network model
thestatistic, commonly used to quantify synchrony of phase oscillators, then is
n phase oscillators representing ephaptically coupled neurons were placed at random positions in a square with side-length n r. r effectively defines the oscillator density, n/area = n/( n r)2 = 1/r2. the phase ϕ i ∈ [0, 1) of neuron i progresses according to
d ϕ i d t = ω i + h ( ϕ i ω i − t r ) ∑ j = 1 n c ̂ j , i a r i j g ( ϕ j ) , (13)
i
0
ω
i
ij
j,i
j,i
j,i
j,i
j,i
j,i
i
i
r
r
i
i
i
table 1. oscillator network model parameters parameter name value (unit) a ephaptic effect amplitude* 0.06 (μm/ms) spike threshold action potential threshold† 20.0 (mv) t e time until ephaptic potential returns to 0 the 1st time‡ 2.5 (ms) t r refractory period§ 3.0 (ms) ω 0 frequency mean 20 (s−1) σ ω frequency sd 0.20 (s−1)
with= 1, . . . ,. the intrinsic frequencies () were randomly drawn from a normal distribution centered onwith an sd of. the other terms represent ephaptic coupling of other neuronsto neuron, which were summed to give the overall alteration ofby ephaptic coupling.is the euclidean distance between neuronsand. the polarity of the ephaptic-like coupling was set by= ±1 (i.e.,= +1 for “up-down” or= −1 for “down-up”;= 0 was used whento prevent oscillators from coupling to themselves).is analogous to parametersand̄ in that all determine the polarity of ephaptic coupling, althoughdoes not control the amplitude of coupling.was assigned randomly for each pairwise connection, with a probabilitythat= +1 (e.g.,= 1 means that all ephaptic potentials have an up-down shape).) is a heaviside function, ensuring that the oscillatorwas not affected by ephaptic potentials during a refractory period of durationafter crossing= 1. outgoing ephaptic potentials were triggered when= 1 was crossed. at the same time,was reset to zero. the three parameters, andwere changed among our different simulations. the fixed simulation parameters are shown in table 1
the detailed effect of ephaptic potentials of oscillator j on oscillator i was described by
g ( ϕ ) = { 0 ≤ ϕ < ω 0 t e / 2 : ω 0 t e / 2 ≤ ϕ < 3 ω 0 t e / 2 : 3 ω 0 t e / 2 ≤ ϕ < 2 ω 0 t e : 2 ω 0 t ≤ ϕ : + 1 , − 1 , + 1 , 0. (14)
e
m
m
m
e
a = 2 a m t e · 20 mv . (15)
is the time at which the ephaptic potential deflection first returns to 0. the coefficientexpresses the amplitude of ephaptic coupling between oscillators at a distance of 1 μm, which was derived from our neuron results. it was assumed that= 0 corresponds to the resting potential and= 1 to the firing threshold for an action potential. for thepyramidal neuron simulated in neuron, this corresponds to an ≈20-mv difference in membrane potential ( table 1 ). therefore, the amplitude of the change ininduced by an ephaptic potential at 1 μm was/20 mv.describes the peak-to-peak deflection ofwhen receiving and stimulating neurons are offset by 1 μm, as calculated in neuron. to derive the ephaptically induced rate of phase change, this amplitude was divided by the time necessary to reach the ephaptically induced deviation,/2. thus
simulations were executed by iteration through events (transition points in piecewise linear potentials, ϕ n = 1 threshold crossings that reset ϕ n to 0 and end of refractory period), increasing numerical efficiency and inherently eliminating step-size problems of finite time-step methods (e.g., euler or runge-kutta schemes). it is important to realize that different from the prior analysis of conditions for synchrony, this oscillator network model was based on continuous time and the detailed interaction of ephaptically coupled oscillators throughout the entire phase cycle. this treatment was no longer based on changes in phase difference after a whole-phase cycle of the stimulating neuron.
population synchrony was calculated with the z statistic,
z = 1 n ∣ ∑ j = 1 n e − 1 ϕ j ∣ , 16
j
simulation of experiments
where= 1 means complete synchrony (all phasesare equal), and= 0 means complete asynchrony (uniform distribution of phases).
to adapt the oscillator network model to experiments with hippocampal slices, an elongated geometry of the oscillator field was introduced (jiruska et al. 2010a; muldoon et al. 2013). the square area was changed to a rectangular area whose long side is 10 times the length of its short side, while preserving the relationship that oscillator density was equal to 1/r2 (e.g., see fig. 9a).
hierarchical clustering (single-linkage algorithm) of the oscillators was executed based on the average minimum distance (amd) between spike trains (spikes detected at ϕ = 1 threshold) (feldt et al. 2009). the amd between two oscillators m and n was calculated as
d m , n = θ m , n + θ n , m 2 , θ m , n = 1 n m ∑ k = 1 n m δ t k m , n , (17)
k
m
s m , n = 1 − d m , n / max ( d m , n ) (18)
results
biphasic v e with millivolt amplitude around a spiking neuron
where δis the smallest time difference from the time of spikein spike trainto any spike in spike train, andis the number of spikes detected in spike train. the number of clusters was chosen by maximal modularity using the similarity measure
we used a previously published neuron model of a layer v pyramidal neuron to investigate ephaptic coupling from a stimulating to a receiving neuron (mainen and sejnowski 1996) (fig. 1a). as per holt and koch (1999), the model was modified to produce an action potential. we calculated the v e , resulting from membrane currents in the stimulating neuron. the action potential began at the soma hillock and axon initial segment, sections of the neuron with na+ channel densities 100-1,000 times greater than other areas, and propagated to the dendrites.
fig. 1.characterizing electric potentials around a spiking neuron. a: multicompartment, 3-dimensional, layer v pyramidal cell model (mainen and sejnowski 1996). duplicate model cell is shown in gray. b: summed membrane current for all compartments of the apical trunk, soma [including the hillock and initial axon segment (i.seg)], and the basal dendrites. c: 2 characteristic extracellular potentials (v e ). one is calculated at a distance 10 μm from the hillock (solid trace) and the other, ∼80 μm from the soma near the apical trunk (dashed trace). the peak-to-peak v e close to the apical trunk is highlighted. d: v e for 30 locations in the x, y plane of the neuron in a. each trace is 3 ms in duration, and the scale bar is 1 mv. traces are plotted at the spatial locations at which they were calculated. the soma is centered at (0, 10). e: peak-to-peak amplitude of v e as a function of distance from the hillock. locations were sampled along the x-, y-, and z-axes at regular intervals. the 1/r best-fit line (least-squares) and equation are shown.
the polarity of membrane currents differed between neuron sections (fig. 1b). for example, membrane currents in the soma (and hillock and initial segment) were initially negative, whereas currents in the dendrites were initially positive. as v e is the superposition of potentials generated by all currents, v e could be initially positive or negative depending on location (fig. 1, c and d). for example, v e calculated close to the soma was dominated by perisomatic currents in the hillock and initial segment (fig. 1c) compared with v e close to the apical trunk (fig. 1c).
the amplitude of v e had an approximately inverse relationship with distance r, measured from the centroid of the initial segment and hillock (fig. 1, d and e). for r > 100 μm, peak-to-peak v e was well approximated as 1/r, whereas locations closer than 100 μm had larger-magnitude v e . with the sampling of locations in three dimensions around the initial segment and hillock, the coefficient of best fit of peak-to-peak v e was a e = 7.7 mvμm, such that peak-to-peak v e ≈ a e /r. thus we note three characteristics of v e : it can be of large amplitude (>1 mv), have both depolarizing and hyperpolarizing phases, and approximate 1/r spatial dependency.
the spiking dynamics of nearby neurons can be linked by ephaptic coupling
we next sought to characterize how v e around a spiking neuron affected v m in a nearby neuron. because v m = v i − v e , ephaptic coupling deflected membrane voltage v m in the receiving neuron with the opposite polarity to v e (fig. 2, a and b). for this interaction, we did not include ephaptic effects on the stimulating neuron and considered only one-way stimulation. figure 2a shows v e calculated 5 μm from the stimulating neuron hillock. we sampled the peak-to-peak deflection of v m in the receiving neuron, due to ephaptic stimulation at multiple offsets between the two neurons. analogous to a e , we computed the coefficient of best fit (a m = 1.5 mvμm), such that peak-to-peak v m ≈ a m /r. due to the neurons' complex topologies, there was some variation in peak-to-peak v m deflection at a given distance (the deflection in fig. 2b shows a high-amplitude example for v m deflection at 5 μm), although in general, v m deflection was well fit with a 1/r spatial dependency.
fig. 2.ephaptic coupling in neuron. a: stimulating potential v e calculated 5 μm from stimulating neuron hillock. additional traces were created by multiplying v e by coefficients +0.5 (solid, thin trace), 0 (solid, thick trace), and −0.5 and −1 (dotted traces). b: ephaptic stimulation while receiving neuron is at resting membrane voltage (v m ). receiving and stimulating neurons were separated by 10 μm. arrowhead shows start of ephaptic stimulation. c: ephaptic stimulation while receiving neuron is close to threshold. identical ephaptic stimulation as in b. the arrowhead shows the start of ephaptic stimulation. up-down v m deflections advance the spike, whereas down-up delay it. time t = 0 corresponds to the peak of v m with no ephaptic stimulation (nil). d: quantification of c. data points are generated by multiplying stimulating v e by a scalar coefficient between 1 and −1, as in a–c. e: effect of varying start of ephaptic stimulation (arrowheads in a–c) on spike timing. both up-down (solid trace) and down-up (dashed trace) v m deflections can advance and delay the spike. arrowhead corresponds with arrowheads in a–c.
single-spike ephaptic coupling altered spike timing in the receiving neuron (fig. 2c). when a 1.5-mv v e was delivered, ∼1 ms before the peak of the spontaneously generated spike in the receiving neuron, the spike was advanced by close to 0.4 ms. in general, biphasic v e , with an initial negative part occurring at the hillock, led to earlier spike times, whereas an initially positive v e , occurring at the hillock, delayed spike times. the reversal of the polarity of v e at every location of the receiving neuron and the delivery of it at the same time resulted in delayed spike times rather than advanced spike times (fig. 2d).
due to v e being biphasic, spike-timing effects were also dependent on the time at which v e stimulation was delivered. changes to v e by an initial negative part could advance spike times, as the initial negative part of v e depolarized the membrane potential and triggered a spike. biphasic traces of v e with an initial negative and subsequent positive part are here referred to as up-down, as this is the shape of their effect on v m in the receiving neuron. the same up-down stimulation delivered 2 ms earlier had the opposite effect, as the subsequent positive part of v e hyperpolarized v m and delayed the spike time (fig. 2e). coupling by a biphasic v e with the opposite polarity (down-up) advanced spike times when delivered a few milliseconds before the spike and delayed spike times when delivered directly before the spike (fig. 2e).
global synchrony and microclusters emerge in small, ephaptically coupled neuronal networks
we extended the neuron simulations into a network of neurons that were coupled only ephaptically; again, no synaptic or other coupling was implemented. neurons were organized in a square laminar grid (fig. 3a). when spacing between neurons was changed, distinct, dynamic phenomena could be observed. at large distances, ephaptic effects were negligible, and neuron firing was asynchronous, as measured by small, pairwise correlations between somatic v m (fig. 3a). reduced spacing, e.g., 10 μm, resulted in synchronization between a majority of model neurons (fig. 3b). spacing closer than 5 μm resulted in local clusters of synchronous neurons (fig. 3c).
fig. 3.ephaptically coupled network in neuron. a: ephaptically coupled network of 16 neurons arranged in a square, 4 × 4 grid with 5,000 μm spacing. top: schematic of laminar network. neurons plotted to scale. center: gray-scale plot of v m for all 16 neurons. v m color code is shown on the right of the figure; action potential peaks are white lines. simulations were run in the neuron environment. bottom: pairwise correlations among all neurons in the network (pearson correlation coefficient). b: same as a but for a network with 10 μm spacing. top: for clarity, only somas are shown (not to scale). c: same as a but for a network with 3 μm spacing.
persistent network synchrony requires homogeneous and specific ephaptic coupling profiles
because ephaptic potentials are biphasic, an ephaptic potential from one neuron can increase or decrease the phase of another neuron, dependent on their relative phases. we used an analytic model to outline how the shape of the ephaptic potential—up-down or down-up—contributed to synchronization. we first studied two tonically firing neurons (stimulating and receiving neuron, modeled as phase oscillators) with equal intrinsic firing rates. the firing rate of the stimulating neuron was constant and therefore, independent of the activity of the receiving neuron. the receiving neuron received ephaptic potentials from the stimulating neuron, which altered the receiving neuron's phase progression. specifically, for up-down potentials, a stable steady state existed at a phase difference of zero, whereas for down-up potentials, the stable steady state was nonzero and equal to the zero-crossing phase φ e (see methods for a full description). thus dependent on the ephaptic potential shape, the two neurons would synchronize or attain a persistent, nonzero-phase difference.
for networks of three or more neurons, the shape of the neuron-to-neuron coupling function determines the qualitative phase-difference dynamics on the network level. specifically, a network with only up-down ephaptic potentials has a network-stable steady state in which all neurons are fully synchronized. in contrast, we mathematically proved that a network with only down-up potentials cannot have a network-stable steady. this finding implies that networks with mostly up-down shape potentials (p+ = 1) would tend toward increased synchrony, whereas networks with mostly down-up potentials (p+ = 0) should undergo accelerated desynchronization.
to investigate this dependence of synchrony on p+ further, we determined phase difference distributions and synchrony in networks with n → ∞ neurons and stochastic fluctuations in the phase differences. a network with up-down potentials indeed showed an accumulation close to a phase difference of zero (fig. 4a). a network with down-up potentials showed a displacement of the distribution away from zero-phase difference, indicating again an active desynchronization (fig. 4b). in summary, the fundamental shape of the ephaptic potentials introduces an asymmetry in the effects of ephaptic coupling between pairs of neurons on the microscopic level, which feeds into the macroscopic behavior of the neuronal network. for increasing strength of ephaptic coupling, up-down potentials lead to a stronger synchrony increase; down-up potentials increasingly drive desynchronization (fig. 4c).
fig. 4.general conditions for synchrony. a and b: different effect of up-down vs. down-up ephaptic potentials (c̅ > 0 vs. c̅ < 0, respectively), coupling strength (absolute magnitude c̅), and different temporal profiles (ϕ e ) on synchrony of the phase difference distribution [p(δ)]. c̅ = +5,000 (a); c̅ = −5,000 (b). ϕ e = 0.01, 0.02, … , 0.1 are indicated by shading from black to gray. c: mean z value for different c̅ (ϕ e same as in other panels).
emergent behaviors in oscillator networks depend on spatial distribution
we assessed the relevance of ephaptic coupling in a spatially distributed network of phase oscillators, which serves as simplified representations of ephaptically coupled neurons. the reduced numerical workload of simulating an oscillator network allowed an extensive assessment of larger networks, which was not feasible in neuron. connections between the oscillators mimicked ephaptic coupling in three ways: connections took effect in a temporally distributed manner and were biphasic, coupling amplitude scaled with the distance between oscillators as 1/r, and each oscillator was coupled to every other. examples of the biphasic ephaptic potentials are shown in fig. 5a. their effects on phase progression (fig. 5c) are defined in eqs. 11 and 13. where known, we assigned model parameters in accordance with literature and common values (table 1). the following parameters were varied between simulations: n, the number of oscillators; r, the distance parameter that sets the density of oscillators and thus also their spacing; and p+, the probability that a given ephaptic connection was up-down (as opposed to down-up). we used the z statistic to indicate population synchrony (z = 0 means full asynchrony; z = 1 means full synchrony).
fig. 5.network model schematic for 3 coupled neurons. a: geometric arrangement and ephaptic potentials defining the connections. the amplitude of a/r b,c is larger, because r b,c < r a,b . inset: examples of the biphasic ephaptic potentials are shown. b: oscillator phases without coupling (r → ∞). c: oscillator phases with coupling.
we found that increasing n and decreasing r led to transitions from asynchronous to synchronous behavior. the transition specifically required a predominance of up-down ephaptic potentials: down-up-dominant and balanced networks did not synchronize (p+ = 0.0, and p+ = 0.5; fig. 6, a and b), whereas up-down-dominant networks did (p+ = 1; fig. 6c). this is in agreement with our earlier predictions of how the qualitative shape of the individual ephaptic potentials determines the establishment or loss of network-level synchrony. for intermediate r values, the degree of synchrony was largely dependent on initial conditions (fig. 6c).
fig. 6.occurrence of synchrony in the network model. the z statistic of synchrony depends on the number of neurons (n), distance parameter (r), and fraction of up-down potentials (p+). twelve simulations/data point; z calculated from 2,500 to 3,500 ms; shown are arithmetic means. initial phases were either uniformly distributed (thin lines) or fully synchronized (thick lines). p+ indicated above a–c. u, uniform distribution.
closer investigation of the relevance of initial conditions demonstrated a “critical slowing down” of the network's z dynamics for intermediate r. in systems with critical behavior, typically, two stable states are attainable by subparts of the system. these subparts can successively entrain larger parts of the overall system, thus leading to global dominance of one stable state. once a stable state has reached global dominance, it can persist for periods significantly exceeding lifetimes of stable states in subparts of the system. in the oscillator network simulation, global dominance of the asynchronous state is indicated by z = 0 and global dominance of the synchronous state by z = 1. for low r, global asynchrony disappears rapidly, and global synchrony persists as a stable global state (fig. 7a). subgroups of oscillators could only stably attain synchrony. accordingly, no critical slowing down occurs. instead, the entire network rapidly departs from rapid z = 0 initial conditions, frequently attains z = 1 within seconds, or remains at z = 1 initial conditions. for intermediate r, synchronous as well as asynchronous initial conditions persisted for several seconds (fig. 7b). synchrony and asynchrony between oscillators are two possible stable states in subparts of the network. once the entire network was entrained into the synchronous state, emergence of asynchrony became highly unlikely and vice versa. because the initial conditions were such network-wide, asynchronous (z = 0) or synchronous (z = 1) states, these initial conditions persisted for several seconds. for higher r, synchrony was lost for all initial conditions (fig. 7c). in this case, synchrony in subgroups of oscillators was not a stable state. thus only one stable state was possible in such subgroups, and no critical slowing down could be observed. the network rapidly attained z = 0, irrespective of initial condition.
fig. 7.hysteresis in population synchrony and asynchrony. n = 100 oscillators were started with all ϕ = 0 (gray lines) or with uniformly distributed ϕ (black lines). a: for low r, all simulations develop toward synchrony (z = 1). b: for intermediate r, the initial synchrony level persists. c: for high r, all simulations approach asynchrony (z close to 0). simulation parameters: p+ = 1; n = 100; square geometry was used.
scanning a range of r in more detail showed three major regimes. regime a: below r ≈ 10 μm, the firing rate was markedly elevated above the oscillators' intrinsic firing rate (≈20 s−1; fig. 8a). an elevated synchrony (0.5 ≤ z < 1) was present, but full synchrony was not attained. regime b: for r ≈ 10 μm, the firing rate had dropped to almost the intrinsic firing rate (fig. 8a), whereas the entire neuronal population was synchronized (fig. 8b). regime c: the increase of r beyond 10 μm led to a reduction of z over the course of the simulation. to assess how long a z value taken on at a given point in time persisted after this point, we calculated the autocorrelation time (τ ac ) of the z traces. the computation of the autocorrelation of z and the calculation of the characteristic exponential decay rate of the resulting autocorrelation function yield τ ac , which is a common statistic for analyzing persistence in a time series (aburn et al. 2012). τ ac increased up to a maximum of ≈15 s, indicating that specific z values persisted for times that exceed the time scale of individual oscillator periods by several orders (fig. 8c). for r ≥ 80 μm, the average z was close to zero, and τ ac took on a constant value of ∼2.5 s. the dynamics in regimes b and c seem generally in line with our prior reasoning: below a critical r, the population synchronized spontaneously and desynchronized spontaneously above a critical r. an alternative explanation would be that for increasing r, the development of synchrony took increasingly long: below r ≈ 80 μm, synchrony would be attained before the simulation finished; above r ≈ 80 μm, synchrony would have taken longer than the simulation time; for increasing r, the development of global synchrony would have taken longer, leading to an increased τ ac . because simulating for a longer time could never rule out this interpretation, we executed the same simulations but used perfectly synchronous initial conditions. we found that regime a also exhibited an increased firing rate and intermediate z values, as observed before (fig. 8, d and e). in regime b, synchrony was maintained throughout the simulation, leading to z = 1, whereas synchrony was lost spontaneously throughout regime c (fig. 8e). the loss of synchrony was more pronounced for increasing r, indicating a more rapid decrease of z after the simulation is initialized. lastly, a slight increase in τ ac was visible when the transition from regime b to regime c was approached (fig. 8f). this indicates occasional reductions of z throughout the simulation, which occurred on a somewhat slower time scale than the individual neurons' intrinsic firing rate.
fig. 8.influence of distance parameter r on global synchrony. n = 200 oscillators with only up-down potentials (p+ = 1) was initialized with random phases (a–c) or synchronized phases (d–f). statistics calculated are average frequency of individual neuron spikes (f; a and d; gray lines indicate intrinsic frequency of 20 s−1), synchrony (z; b and e), and the autocorrelation time of the z time course (τ ac ; c and f). an elongated geometry was used; simulations run for up to n·6,000 iterations or until 40 s elapsed time; statistics calculated for t ≥ 2 s. gray boxes, individual simulation runs; solid lines, arithmetic mean of individual simulations.
in summary, we found three r-dependent regimes: (a, subcritical regime) markedly accelerated firing rate and intermediate synchrony; (b, critical regime) slightly accelerated firing rate, spontaneous emergence of synchrony across the entire population, and persistence of states of synchrony or asynchrony over extended periods of time; and (c, supercritical regime) firing at individual neurons' intrinsic firing rate and spontaneous loss of synchrony. regimes b and c are explicable by our prior reasoning. a network-stable, synchronous state was established and lost dynamically, which became more pronounced for larger amplitudes of the ephaptic potentials. in regime a, however, we noticed indications of short-range synchronization, which could not be assessed using a global measure of synchrony, such as the z value.
global and microcluster synchrony emerge in an elongated neuronal field when neuron density is increased
we adapted our oscillator model to the elongated geometry of neuronal fields seen in recent experiments with mouse hippocampal slices. in this geometry, we assessed the development of synchrony in microclusters for different values of the distance parameter r (muldoon et al. 2013). for r values below those that show z ≈ 1 (subcritical), the neuronal field separated into localized clusters of synchrony; transient synchrony between the local clusters occurred (fig. 9, a and b). for r values that show z ≈ 1 (critical), global synchrony throughout the neuronal field was seen (fig. 9c); clusters spanned large parts of the neuronal field and were not as clearly separated any longer (fig. 9d). for r values exceeding the range in which z ≈ 1 (supercritical), no clear pattern of global or local synchrony emerged (fig. 9e); correspondingly, random cluster associations occurred, which spanned the entire neuronal field with no apparent spatial order (fig. 9f). a more systematic assessment for different values of r confirmed these observations as general patterns (fig. 9g). for low r values (r < 10 μm), few clusters (<10) occurred, which spanned only small fractions of the neuronal field's length. for increasing r (10 μm < r < 40 μm), even fewer clusters occurred (<5), which spanned a large part of the neuronal field's length, as was the case when global synchrony was established within the neuronal field. for higher r values (r > 40 μm), the number of clusters increased, and the clusters spanned large parts of the neuronal field, as observed in fig. 9f. exclusively for r values that led to microclustering, the average firing rate within a cluster increased with the number of oscillators within a given cluster (fig. 9h).
fig. 9.distance parameter r controls global and microcluster synchrony in simulated hippocampal slice experiments. a: raster plot of n = 150 phase oscillators with r = 5 μm; oscillators sorted by increasing y coordinate. b: neuron locations corresponding to a (gray crosses) with indications of detected cluster membership (polygons enclose clusters; dots indicate cluster membership). c and d: same as a and b, respectively, but for r = 35 μm. e and f: same as a and b, respectively, but for r = 150 μm. g: number of detected clusters over a range of r (solid line, mean; dashed lines, 10th and 90th percentile; n = 200; 30 simulations/r value). h: span of clusters over a range of r. the span of a cluster is the y difference between the 2 neurons in a given cluster located most distally along the y-axis and is given as a fraction of the overall span of the whole neuronal field (same line styles and simulation parameters as g). i: average firing rate across cluster member neurons vs. cluster size (number of neurons within cluster) for different r (n = 200; 30 simulations/r value). p+ = 1; ϕ 0 ∼ u for all simulations.
discussion
functional relevance of single-spike ephaptic coupling
we demonstrated that single-spike ephaptic coupling could significantly affect spike timing between pairs of model neurons, both in the relatively realistic neuron environment and a simplified oscillator network. v e around a spiking neuron should, by the laws of electromagnetism, affect charged ions and the activity of nearby neurons. however, the effects are generally low magnitude (v e < 1 mv), transient (<10 ms), and due to the radial symmetry of v e , nonspecific. for these reasons, the functional relevance of single-spike ephaptic coupling is questioned (buzsáki et al. 2012). despite such reservations, recent experiments performed by anastassiou et al. (2011) and frohlich and mccormick (2010) showed that sub-millivolt changes to v e can increase synchronization. these stimulating potentials were of similar or lower magnitude to those produced around a single spiking pyramidal neuron (gold et al. 2006; holt and koch 1999).
aside from park et al. (2005), most previous studies of cortical ephaptic coupling used low-frequency (e.g., 1 s−1), lfp-like stimulating potentials (anastassiou et al. 2011; berzhanskaya et al. 2013; frohlich and mccormick 2010; radman et al. 2007). however, neurons are also subject to higher frequency extracellular voltages from single spikes. intracellular recordings of mouse hippocampal slices show that the fields around a single-spiking neuron cause “spikelets,” biphasic voltage deflections, in intracellular recordings of nearby neurons that last, at most, 10 ms (vigmond et al. 1997). whereas these spikelets are indeed transient, we showed here that v e of their magnitude and duration could nevertheless affect spike timing when the receiving neuron is close to threshold (fig. 2) and synchronize ephaptically coupled model networks (figs. 3 and 6–9). for symmetric, biphasic spikelets, as in our model, the effect of ephaptic coupling is thus dependent on the phase of the receiving neuron being close to threshold. this phase dependence increases the effective specificity of single-spike ephaptic coupling. areas, such as the hippocampus, have relatively high neuronal densities, increasing the likelihood that a neuron in its “receptive” phase (close to threshold) is in the relevant spatial proximity.
relevance of profile and distribution of ephaptic-like potentials
our simplified oscillator network model and simulated networks within neuron demonstrated that single-spike ephaptic coupling could lead to increased synchronization. additionally, we made testable predictions about the role of the shape of v e (up-down vs. down-up) and how synchronization and neuronal clustering vary as a function of neuronal density. since a predominance of up-down-type ephaptic coupling (p+ ≈ 1) was required for the occurrence of synchrony (fig. 6), we wondered if different geometric arrangements of neurons are more likely to yield p+ ≈ 1 and thereby promote synchrony. in our model of a layer v pyramidal cell, the somatic region (soma, hillock, initial segment) produced conditions for p+ = 1 via large contributions from na+ currents (initially, negative v e ), followed by slower k+ currents (subsequently, positive v e ). fields around the dendrites had opposite polarity (p+ = 0). however, since v e around the soma was at least an order of magnitude greater than dendritic v e , significant ephaptic coupling strengths were limited to a zone of p+ = 1 around the soma.
although the shape of the extracellular potential is dependent on the site of action-potential initiation (linden et al. 2010), empirical recordings and simulations suggest that the perisomatic region is the dominant location for p+ ≈ 1 (buzsáki et al. 2012; gold et al. 2006). a laminar organization, as seen in the cortex and hippocampus, aligns neurons' p+ = 1 zones and excludes p+ < 1 factors from this region, thereby promoting ephaptic synchronization. other properties of pyramidal cells, such as their elongate shape that can span up to 1 mm, make them more sensitive to extracellular potentials compared with other cell types (radman et al. 2009). therefore, pyramidal cells organized in a laminar structure, such as in the hippocampus, may be especially susceptible to synchronization from ephaptic coupling.
ephaptic-like coupling can explain the emergence of synchronized microclusters
for the lowest r values that we investigated in our oscillator network, ephaptic-like coupling was strong enough to allow the establishment of locally synchronized microclusters (figs. 3 and 9). within microclusters, the firing frequency was higher in bigger clusters. also, clusters transiently aligned their firing patterns with those of other clusters. in dentate gyrus slices from epilepsy model mice, where synaptic and gap-junction coupling was blocked, the same observations were made (muldoon et al. 2013). furthermore, the neurons were driven into spontaneous firing by a high extracellular potassium concentration ([k+] = 7.5 mm), matching our model assumptions. we also saw locally synchronized clusters of ephaptically coupled neurons within our neuron network simulations. these clusters arose spontaneously from asynchronous initial conditions. whereas the mechanism of microcluster formation was unclear in the experimental study of muldoon et al. (2013), we demonstrated here that ephaptic coupling is sufficient to explain many details of the experimental observations.
neuronal spacing and epileptogenesis
dudek et al. (1990) and roper et al. (1992) suppressed all synaptic communication in rat hippocampal slices consisting of pyramidal neurons, after which, they proceeded to control the extracellular volume via control of extracellular osmolality by membrane-impermeant solutes or low osmolality medium. reduction of extracellular volume (corresponding to r reduction in our oscillator model) reproducibly increased the frequency of occurrence of epileptiform dynamics, whereas an increase of the extracellular volume (r increase) abolished the occurrence of epileptiform dynamics. these findings establish that under conditions of suppressed synaptic coupling in laboratory experiments, spacing between neurons (as altered by volume compression and expansion) controls the occurrence of epileptiform dynamics on the level of neuronal networks. our model results, based solely on ephaptic coupling, demonstrate a sufficient and specific mechanism for these observations.
the findings of dudek et al. (1990) and roper et al. (1992) do not answer whether synaptic volume compression-independent mechanisms take precedence over these nonsynaptic mechanisms in humans under live conditions and how this impacts actual epileptic episodes. haglund and hochman (2005) investigated a group of patients suffering from cortical and mesical temporal-lobe epilepsy for their reaction to furosemide and mannitol administration, which increase water content and volume of the extracellular fluid (corresponding to r increase in our model). in agreement with the earlier laboratory findings, mannitol and furosemide administration suppressed the spontaneous occurrence of electrical spikes, the capability of external induction of epileptiform discharges, and the spread of epileptiform activity.
hysteresis of ephaptically mediated synchrony
our simulations showed a critical r regime where the asynchronous and the synchronous states persist for prolonged periods once they are established. this could explain experimental observations of prolonged epileptiform and desynchronized phases without the need to invoke additional, slower processes, such as changes in the extracellular fluid composition (jiruska et al. 2010a).
model limitations
we note a number of limitations in our neuron and oscillator treatments. first, our neuron simulations were based on a single type of neuron. it is therefore not clear how far our findings can be generalized to other neuron types. given that ephaptic coupling mostly advances or delays existing spikes, it is likely that results here are dependent on similar intrinsic firing rates among model neurons. second, we assessed synchronization via ephaptic coupling and disregarded all other modes of coupling. this reflects the conditions of the experiments explained by our model. this does not, however, address the dynamic interplay between ephaptic and other modes of coupling (e.g., synapses and gap junctions) in in vivo neuronal networks. third, the small population of neurons and the simplified two-dimensional rectangular architecture fall short of the geometric complexity of real neuronal architectures. finally, our model assesses ephaptic coupling only as a physical mechanism, not as an aspect of an information-processing system. it remains largely unclear how ephaptic coupling and the resulting synchrony integrate with the information processing by neuronal networks.
we used extracellular potentials with a large amplitude—our value for a e may be larger than in other simulations [e.g., gold et al. (2006)]. the layer v pyramidal cell that we model likely produces extracellular potentials with higher than average amplitude. it is also possible that experimental measures of extracellular voltage are artificially lowered by scarring around the electrode. furthermore, both the positive and the negative part of f have the same magnitude, whereas this is not the case for most extracellular action potentials (gold et al. 2006).
comparison with existent models
the piecewise linear approximation used in the oscillator network model captures the biphasic shape of the extracellular potential but not the detailed nuances of the potentials and their dependence on relative neuron position. together with the decision to model neurons as simple phase oscillators, this is a significant reduction of complexity and realism compared with the physically realistic neuron simulations. this reduction in complexity made it feasible to treat larger networks. in spite of the reduced realism, our phase-oscillator models demonstrated several principles of ephaptic coupling as a mechanism for neuronal synchrony and explained several experimental observations in sufficient mechanistic detail. the observation of global synchrony and synchronized microclusters at different densities of oscillators was also confirmed in neuron simulations.
a previous study by park et al. (2005) provides complementary insights, addressing the coupling functions between a pair of neurons in more detail. park et al. (2005) first simulated a pair of two-compartment neuron models that are coupled via ephaptic and synaptic connections to derive detailed coupling functions for a phase-oscillator model of the pair of neurons. accordingly, their approximation successfully explains detailed phase-locking patterns observed in the compartment model (park et al. 2005). thus for the long-term dynamics of two coupled neurons, park et al. (2005) give a more detailed account.
a number of mathematical models of epileptiform behavior are based on changes in synaptic connections [see lytton (2008) for review]. in one class of models, “rewiring” of the normal synaptic network is assumed as the main mechanism. positive-feedback connections (potentiating neuronal activity) are added to the network, inhibitory connections in the network (suppressing excessive activity) are removed, or the neuronal network topology is altered. for example, dyhrfjeld-johnsen et al. (2007) constructed a realistic “virtual dentate gyrus” model. increasing sclerosis of the dentate gyrus was mimicked by 1) increasing removal of neurons with long-range connections and 2) increasing “sprouting,” the introduction of new, synaptic connections. with increasing sclerosis, network topology and dynamics underwent a biphasic change. intermediate degrees of sclerosis increased long-range connectivity (“small world” network topology) and led to hyperexcitability of the network, thus supporting epileptogenesis. severe sclerosis, however, removed long-range connections to such an extent that it broke down effective long-range connectivity, thus preventing long-range spread of activity and hyperexcitability. in another realistic dentate gyrus model, based on synaptic connections that were investigated by morgan and soltesz (2008), positive-feedback connections, specifically within hubs of granule cells, established epileptogenic microcircuits. similarly, a simplified model, based on a small network constructed by netoff et al. (2004), could change from quiescence to excitability to epileptogenic behavior by network structural changes. both models by morgan and soltesz (2008) and netoff et al. (2004) predicted traveling waves of neuronal hyperactivity. in the experiment, however, spatially stationary clusters of synchrony and hyperactivity are observed (jiruska et al. 2010a; muldoon et al. 2013).
berzhanskaya et al. (2013) constructed small networks representing hippocampal layers using neuron. significant geometric realism was considered in constructing these networks, and pyramidal neurons as well as interneurons were included in the simulation. model assumptions regarding specific ionic currents, synapse distribution, and the response to external electrical fields were assessed in single neuron experiments (berzhanskaya et al. 2013). this work therefore addresses many of the simplifications that we made in our study. however, ephaptic coupling was not considered.
importantly, experimental studies show that with all synaptic connections silenced, seizure-like synchrony can exist in hippocampal slices (jefferys and haas 1982). thus other mechanisms, such as ephaptic coupling, are likely involved in epileptiform behavior (jefferys 1995; weiss and faber 2010). to our knowledge, our study represents the first network model investigating synchronization solely via single-spike ephaptic coupling.
future directions
additional neuron simulations realistically implementing extracellular vs. intracellular volume changes would deepen our understanding of the connection between volume changes and epileptiform dynamics in neuronal populations. we interpreted r, a primary parameter governing the existence of global and cluster synchrony in our simulations, as an effective distance between close-by neurons' membranes. presumably, changes in the extracellular vs. intracellular volumes would alter the distance between neurons' membranes, which in turn, alters r. following this assumption, we could explain experimental and clinical observations. however, future simulations should be executed where the geometry of the cell membrane is altered to assess this hypothesis fully.
in vitro experiments with slices of neuronal tissue that showed global and cluster synchrony can be extended to assess the effect of extracellular vs. intracellular volume changes (muldoon et al. 2013). global and cluster synchrony in these experiments was governed by two parameters: addition of positive ions increased the general neuronal activity, whereas an epilepsy-disposing mutation induced cluster synchrony (muldoon et al. 2013). our simulations, along with previous experimental and clinical results (dudek et al. 1990; haglund and hochman 2005; roper et al. 1992), suggest that the extracellular vs. intracellular volume (adjustable via, e.g., sugars that increase medium osmolality) would exert additional control over global and clustered synchrony.
lastly, our study suggests that synchrony caused solely by ephaptic coupling will be less likely where neurons are organized less rigidly into a laminar sheet. synchrony is often studied in tissues with laminar organization of neurons, because only here can eegs detect synchrony effectively. however, the imaging of individual neurons in a larger field could confirm or falsify the hypothesis that more irregularly structured neuronal tissues are less likely to develop synchrony solely due to ephaptic coupling.
grants
funding was for this study was provided by natural sciences and engineering research council of canada (nserc); mcgill faculty of medicine scholarship (to r. g. stacey); canadian institutes for health research (cihr) mcgill systems biology graduate training program (to l. hilbert); and heart and stroke foundation (to t. quail).
disclosures
the authors declare no competing financial interests.
author contributions
author contributions: r.g.s., l.h., and t.q. conception and design of research; r.g.s., l.h., and t.q. analyzed data; r.g.s., l.h., and t.q. interpreted results of experiments; r.g.s. and l.h. prepared figures; r.g.s. and l.h. drafted manuscript; r.g.s., l.h., and t.q. edited and revised manuscript; r.g.s. and l.h. approved final version of manuscript.
acknowledgments the authors thank costas anastassiou for an excellent literature overview, daniel zysman for comments on our manuscript, and michael mackey for his guidance in general and insisting on physical realism specifically.
δ a,b difference in phase between oscillator a and oscillator b δt ap ephaptically driven change in spike time, measured at peak vm, s ρ e bulk extracellular resistivity, ωm σ ω sd of oscillator frequencies in an oscillator network, s−1 ϕ e zero-crossing phase of f, ms ϕ i phase of oscillator i ω i frequency of oscillator i, s−1 ω 0 mean frequency of all oscillators in an oscillator network, s−1 a amplitude of ephaptic-like coupling, μm s−1 a e peak-to-peak extracellular voltage veat 1 μm, mvμm a m peak-to-peak deflection of membrane voltage vmat 1 μm, mvμm c controls the amplitude and polarity of ephaptic-like potential ĉ controls the polarity of ephaptic-like potential c̄ parameter combining c and d d distance between x and soma center for neuron calculations, μm d diffusion constant quantifying strength of fluctuations in δ d m,n average minimum distance, used to cluster spike trains f ephaptic-like potential g function describing the sign of ephaptic-like coupling, s−1 i soma membrane currents in the soma, a n number of oscillators in an oscillator network p+ probability of up-down ephaptic-like potential p(δ) probability distribution of phase differences r parameter controlling spacing (density) of oscillators in oscillator network, μm r ij distance between oscillator i and oscillator j, μm t e zero-crossing time of g, s t r refractory period of oscillators, s v e extracellular potential, mv v i contribution to vefrom straight line segment i, mv v m membrane potential, mv v soma contribution to vefrom soma, mv x location in neuron model, μm z synchrony statistic
glossary
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baɪ sæm, ˈeɪliən gɪr ɛz wi ɔl noʊ, ə ˈligəl kleɪm əv ˌsɛlfdɪˈfɛns rikˈwaɪərz ðət ðɛr bi ə ril ˈdeɪnʤər tɪ laɪf ənd lɪm, ənd ðət səʧ ˈdeɪnʤər bi ˈɪmənənt. tɪ ʃut ə bæd ˈpərsən ɪn ə ˈʤəstəˌfaɪəbəl ˈmænər, ðeɪ hæv tɪ hæv ðə əˈbɪləˌti tɪ ˈsɪriəsli ˈɪnʤər ər kɪl ju. ðeɪ ˈɔlsoʊ hæv tɪ bi ɪn ə pəˈzɪʃən wɛr ðeɪ ər ʤɪst əˈbaʊt tɪ du soʊ ɛz wɛl. ɪf ju si ə mæn ˈkɛriɪŋ ə naɪf ɪn ə ʃiθ, hi həz ðə əˈbɪləˌti bət ˌnɛsəˈsɛrəli əˈbaʊt tɪ stæb ju. ə mæn wɪθ ə naɪf ɪn hɪz hænd ədˈvænsɪŋ təˈwɔrd ju seɪɪŋ ðət ju hæv tɪ gɪv əp jʊr ˈwɔlət ənd sɛl foʊn ər gɪt kɑrvd laɪk ə ˌθæŋksˈgɪvɪŋ ðət ˈɪnstəns, ˈɛniˌwən kʊd ˈrizənəbli drɔ ðɛr ˈpɪstəl frəm ə kənˈsild ˈkɛri ˈhoʊlstər ənd faɪər. ðə əˈbɪləˌti ɪz ðɛr, ðə ˌɑpərˈtunəti fər sɛd ˈkrɪmənəl tɪ du soʊ ɪz ðɛr, ənd ðə ˈʤɛpərdi ɪz ril. ˌhaʊˈɛvər, wət ˈkɑnstəˌtuts ə θrɛt əv ðət ˈkæləbər (ˈpɑrdən ðə pən) ˌɪnˈvɑlvz ən ɪˈkɑnəmi əv skeɪl. ˈgrænɪd, ðɪs ˈligəl ədˈvaɪs, ʤɪst fər ðə ˈʤɛnərəl ˈpərpəsɪz əv dɪˈskəʃən. wət meɪ nɑt bi məʧ əv ə θrɛt tɪ ən ˈeɪbəlˈbɑdid ˈpərsən əv jəŋ tɪ ˈmɪdəl eɪʤ (seɪ 21 tɪ 55 meɪ ɪn fækt bi ə ˈliθəl θrɛt tɪ ə ˈpərsən ðət kwaɪt ɛz ˈeɪbəl ˈbɑdid. ə greɪt ˈnəmbər əv ˈmɛdɪkəl kənˈdɪʃənz kən meɪk ə ˈpərsən fɑr mɔr ˈvəlnərəbəl tɪ ˈivɪn ə smɔl əˈmaʊnt əv ˈfɪzɪkəl ˈtrɔmə. ˈpriviəs ˈtrɔməz, kənˈʤɛnətəl ˈdifɛkts ənd ˈmɛni ˈəðər kənˈdɪʃənz kən ˈwikən ə əˈbɪləˌti tɪ teɪk ˈdæmɪʤ. ən ɪgˈzæmpəl. bæk ɪn ðə 1930s*, ðɛr wɑz ə ˈhɛviˌweɪt kənˈtɛndər neɪmd ˈərni ʃɑf. ɪn ˈfɛbruˌɛri 1933 ʃɑf fɔt ˈpriˌmoʊ, hu nɑkt ʃɑf aʊt ɪn ðə raʊnd. hi ˈnɛvər riˈgeɪnd ˈkɑnʃəsnəs, ˈlæpsɪŋ ˈɪntu ə ˈkoʊmə ənd daɪɪŋ ə fju deɪz ˈleɪtər. wɑz ə ˈpaʊərfəl; hi stɪl hoʊldz ðə kərɪr ˈnɑˌkaʊt ˈrɛkərd əˈməŋ ˈhɛviˌweɪt ˈʧæmpiənz. nɑt ˈoʊnli ðət, ˈpriviəs faɪt hæd bɪn ə ˈriˈmæʧ wɪθ mæks bɛr ˈɔlsoʊ ə ˈlɛʤənˌdɛri hu nɑkt ʃɑf aʊt koʊld. fərst faɪt wɪθ bɛr, ɪn fækt, tʊk pleɪs fɔr mənθs ˈæftər ˈɪnfəməs faɪt wɪθ ˈfræŋki ˈkæmbəl, hu daɪd frəm breɪn ˈtrɔmə səˈsteɪnd ˈdʊrɪŋ ðə faɪt. ˌhaʊˈɛvər, ˈɔˌtɑpsi rɪˈvild hi hæd ɪn fækt daɪd frəm ˈvaɪrəl ˌmɛnənˈʤaɪtəs, wɪʧ hi ˈkɑntræktəd ˈdʊrɪŋ ə baʊt əv ðə flu praɪər tɪ hɪz mæʧ wɪθ. ðə ˈpənʧɪz hi tʊk ˈmɪrli ækˈsɛlərˌeɪtɪd ðə ˈprɔˌsɛs; hi wɑz deɪz, ɪf nɑt aʊərz, frəm daɪɪŋ ɔˈrɛdi. wət wɑz ˈmɪrli ˈsəmˈwət ˈdeɪnʤərəs (ˈneɪmli, ˈfaɪtɪŋ) bɪˈkeɪm ˈfeɪtəli ˈdeɪnʤərəs ˈæftər ə bɪt əv ˌɪnfluˈɛnzə. ðɛr ər ˈplɛnti əv kənˈdɪʃənz ðət wʊd ˈsɪmələrli meɪk ˈmɑdərˌeɪt ˈtrɔmə ˈɪntu ˈfeɪtəl ˈtrɔmə. moʊst ˈpipəl kən rɪˈkəvər frəm ə stæb wund, dɪˈpɛndɪŋ ɔn loʊˈkeɪʃən. ˌhaʊˈɛvər, ə himəˈfɪljæk, ˈpərsən wɪθ ə ˈdɪfərənt ˈklɑtɪŋ dɪˈsɔrdər ər ə ˈpərsən ɔn bləd kʊd ˈizəli exsanguinate*. ən ˈɛldərli ˈpərsən meɪ bi ˈizəli nɑkt aʊt koʊld baɪ ə bloʊ ðət maɪt ˈmɪrli stən ə ˈpərsən ɪn jəŋ ər ˈmɪdəl eɪʤ. ə ˈpərsən hu həz hæd səkˈsɛsɪv hɑrt ˈsərʤəriz kʊd bi kɪld baɪ ə bloʊ tɪ ðə ʧɛst ðət meɪ ˈbɛrli əˈfɛkt əˈnəðər ˈpərsən. ənd soʊ ɔn ənd soʊ fɔrθ. ðə aɪˈdiə biɪŋ ðət wət ə ˈliθəl θrɛt tɪ ju, du tɪ ˈmɛdɪkəl ˈhɪstəri, eɪʤ ənd ˈəðər ˈfæktərz meɪ bi pərˈsivd ɛz ə θrɛt tɪ ə ˈkɑmprəˌmaɪzd ˈpərsən. waɪl ðə ˈəðərˌwaɪz ˈeɪbəl ənd fɪt ˈpərsən meɪ nɑt ˌnɛsəˈsɛrəli bi tu kənˈsərnd, ðət ɪz ˈsəmθɪŋ ðət ən ˈɛldərli, dɪˈseɪbəld ər ˈəðərˌwaɪz ˌɪmˈpɛrd ˈpərsən ˈligəli ˈkɛriɪŋ ʃʊd bi əˈwɛr əv. klɪk hir tɪ gɪt jʊr 1911 ˈpɪstəl ˈʃɑpɪŋ gaɪd. klɪk hir tɪ gɪt ðə kəmˈplit kənˈsild ˈkɛri ˈtreɪnɪŋ gaɪd sæm ɪz kənˈtrɪbjutɪŋ ˈɛdɪtər fər aliengearholsters.com*, ə səbˈsɪdiˌɛri əv ˈheɪdən, ˈaɪˈdi, beɪst ˈtɛdər ˈɪndəstriz, wɛr hi raɪts əˈbaʊt gən ækˈsɛsəriz, gən ˈseɪfti, ˈoʊpən ənd kənˈsild ˈkɛri tɪps. klɪk hir tɪ ˈvɪzɪt aliengearholsters.com*.
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by sam hoober, alien gear holsters
as we all know, a legal claim of self-defense requires that there be a real danger to life and limb, and that such danger be imminent. to shoot a bad person in a justifiable manner, they have to have the ability to seriously injure or kill you. they also have to be in a position where they are just about to do so as well.
if you see a man carrying a knife in a sheath, he has the ability but isn’t necessarily about toab you. a man with a knife in his hand advancing toward you saying that you have to give up your wallet and cell phone or get carved like a thanksgiving turkey…in that instance, anyone could reasonably draw their pistol from a concealed carry holster and fire. the ability is there, the opportunity for said criminal to do so is there, and the jeopardy is real.
however, what constitutes a threat of that caliber (pardon the pun) involves an economy of scale. granted, this isn’t legal advice, just for the general purposes of discussion.
what may not be much of a threat to an able-bodied person of young to middle age (say 21 to 55) may in fact be a lethal threat to a person that isn’t quite as able bodied. a great number of medical conditions can make a person far more vulnerable to even a small amount of physical trauma. previous traumas, congenital defects and many other conditions can weaken a person’s ability to take damage.
here’s an example. back in the 1930s, there was a fast-rising heavyweight contender named ernie schaaf. in february 1933, schaaf fought primo carnera, who knocked schaaf out in the 13th round. he never regained consciousness, lapsing into a coma and dying a few days later.
carnera was a powerful puncher; heill holds the career knockout record among heavyweight champions. not only that, schaaf’s previous fight had been a rematch with max baer also a legendary puncher who knocked schaaf out cold. schaaf’s first fight with baer, in fact, took place four months after baer’s infamous fight with frankie campbell, who died from brain trauma sustained during the fight.
however, schaaf’s autopsy revealed he had in fact died from viral meningitis, which he contracted during a bout of the flu prior to his match with carnera. the punches he took merely accelerated the process; he was days, if not hours, from dying already. what was merely somewhat dangerous (namely, fighting carnera) became fatally dangerous after a bit of influenza.
there are plenty of conditions that would similarly make moderate trauma into fatal trauma. most people can recover from aab wound, depending on location. however, a hemophiliac, person with a different clotting disorder or a person on blood thinners could easily exsanguinate. an elderly person may be easily knocked out cold by a blow that might merelyun a person in young or middle age. a person who has had successive heart surgeries could be killed by a blow to the chest that may barely affect another person.
and so on and so forth. the idea being that what isn’t a lethal threat to you, due to medical history, age and other factors may be perceived as a threat to a compromised person. while the otherwise able and fit person may not necessarily be too concerned, that is something that an elderly, disabled or otherwise impaired person legally carrying should be aware of.
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sam hoober is contributing editor for aliengearholsters.com, a subsidiary of hayden, id, based tedder industries, where he writes about gun accessories, gun safety, open and concealed carry tips. click here to visit aliengearholsters.com.
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‘‘the* θri ˈlɪvɪŋ ənd ðə θri dead’*’ ðɪs əv ˈsælzbəri æt æt [colophon*:] pər lə prɛst proʊ [sɪk], 1554 ˈkæntərˌbɛri kəˈθidrəl ˈlaɪbrɛˌri ðə ˈsəbʤɪkt ˈmætər əv ðɪs ˈdəbəl sprɛd wɑz ə fəˈmɪljər məˈkɑbər moʊˈtif ɪn mɪˈdjivəl ənd ˌrɛnəˈsɑns ɑrt noʊn ɛz ðə θri ˈlɪvɪŋ ənd ðə θri dead’*’. ðə sin hir, ˈteɪkən frəm ə 1555 ˈpraɪmər ˈprɪnɪd ɪn ənd ˌɪnˈtɛndɪd fər ðə ˈɪŋlɪʃ ˈmɑrkɪt ɪz kənˈstrəktɪd ˈoʊvər tu ˈpeɪʤɪz wɪʧ ər dɪˈzaɪnd tɪ bi rɛd ɛz ˌkɑmpləˈmɛnʧi pɑrts əv ðə seɪm ˈɪmɪʤ. ˌrɛprəzənˈteɪʃənz əv ðə θri ˈlɪvɪŋ ənd ðə θri dɛd əˈpɪrd ɪn bʊks ənd ʧərʧ ɑrt frəm ðə ˈθərˈtinθ ˈsɛnʧəri ənd ər ˌɪləˈstreɪʃənz əv ə ˈstɔri, huz ɪgˈzækt ˈɔrəʤɪnz ər ənˈnoʊn. waɪl ðɛr ər ˌvɛriˈeɪʃənz bɪtˈwin ðə tɛkst ˈvərʒənz stɪl ˈɛkstənt, ðə teɪl ɪz ˈbeɪsɪkli ðə seɪm ɪn ɔl əv ðɛm. ɪn brif, wən deɪ θri jəŋ, ˈɔfən ʃoʊn ɛz kɪŋz, wər aʊt ˈhəntɪŋ wɪn ðeɪ ˌənɪkˈspɛktɪdli ɪnˈkaʊnərd θri dɛd ˈbɑdiz. tɪ ðə əˈmeɪzmənt ənd ˈtɛrər, ðə kəˈdævərz muv ənd spik ənd ðɛr ɪz kənfˈjuʒən əˈbaʊt ˈwɛðər ðeɪ ər ˈhɛlɪʃ ˈdimənz. ɪn fækt, ðə θri dɛd wɔrn ðɛr ˈlɪvɪŋ ˈkaʊntərˌpɑrts əv ðə ˈtrænziəns əv laɪf ənd ɪgˈzɔrt ðə jəŋ mɛn tɪ lɪv wɛl ɛz dɛθ meɪ kəm æt ˈɛni taɪm. ðə tɛkst əv ðə teɪl, dɪ ɛt vifs,’*,’ ɪz əˈkəmpənid baɪ ə ˈsplɛndɪd ˈɪmɪʤ əv ˈgrɪnɪŋ ˈskɛlətənz ɪn ðə də laɪəl ˈsɔltər, si. 1308 si. 1340 (ˈbrɪtɪʃ ˈlaɪbrɛˌri, mɪz ˈɛrəndəl mɪz 83 ðɛr ˈɔlsoʊ ɪgˈzɪsts ə əˈlɪtərˌeɪtɪv poʊəm ˈvərʒən, θri kings’*’, wɪʧ wɑz ˈpɑsəbli pɛnd baɪ ʤɑn ˈlaɪbrɛˌri, mɪz 302 ðɪs ˈpraɪmər ˈɪmɪʤ hoʊldz ðə ˈfɛrli ˈkɑmən moʊˈtif əv ˈhævɪŋ ðə ˈlɪvɪŋ ənd ðə dɛd ˈfɪzɪkəli ˈsɛpərˌeɪt; ðə ər ˈhəntɪŋ ɪn ˈwʊˌdlænd, wɛˈræz ðə dɛd ər ɪn ə ˈsɛmɪˌtɛri, ɛz dɪˈnoʊtəd baɪ ðə wɔld ɪnˈkloʊʒər ənd ˈstændɪŋ krɔs. ɪn ðə ˈnumərəs dɪˈpɪkʃənz ɪt ɪz kwaɪt ˈkɑmən fər ðə θri kəˈdævərz tɪ bi ɪn ˈnoʊtɪsəbli ˈdɪfərɪŋ ˈsteɪʤɪz əv ˌdikəmpəˈzɪʃən, wɪθ ðə læst stɛp biɪŋ ə ˈskɛlətən wɪθ ɔl flɛʃ gɔn. ɪn ðɪs, ðə dɛd ər ɔl ɪn ən ‘‘intermediate’*’ steɪʤ əv dɪˈkeɪ wɪθ nən əv ðɛm ˈhævɪŋ lɔst ɔl əv ðɛr flɛʃ, ənd ðə ˈskɛlətən ˈfərθəst raɪt stɪl həz pɑrt əv hɪz ʃraʊd. ðə kəˈnɛkʃən bɪtˈwin ðə tu sinz ɪz əˈʧivd ɪn ˈvɛriəs weɪz. ðɛr ɪz ə sˈwərlɪŋ skroʊl ɪn ðə tɔp ˈrɛʤɪstər əv iʧ ˈɪmɪʤ, wɪʧ əˈʧivz ðə ˈifɛkt əv ə ˈbænər strəŋ əˈkrɔs ðə hoʊl; ðə skeɪl ɪz ˈjunəˌfɔrm ɔn ˈiðər saɪd wɪθ ðə triz ɪn boʊθ sinz ˈlɛndɪŋ ə ˈsɪmələr æt ðə ˌhɔrəˈzɑntəl pɔɪnt; ənd ðə ˈʤɛnərəl ɛn peɪʤ (peɪʤ leɪaʊt) əv rɛd ˈlætən ˈtaɪtəl, blæk ənd waɪt ˈɪmɪʤ ənd fɔr laɪnz əv ˈɪŋlɪʃ vərs meɪks ən ˌɔtəˈmætɪk əˌsoʊʃiˈeɪʃən. ˌhaʊˈɛvər, ðə ˈstrɔŋgəst lɪŋk kəmz frəm ðə juz əv ˈmuvmənt ɪn ðə ˌkɑmpəˈzɪʃən. boʊθ ˈɪmɪʤɪz ər fʊl əv ˈmoʊʃən ənd ðə ˈækʃən ɪz ˈtrævəlɪŋ tɪ ə pɔɪnt əv kənˈvərʤəns ɪn ðə ˈsɛntər. ðə dɛd ɔl muv frəm raɪt tɪ lɛft ənd moʊst əv ðə ˈmuvmənt frəm ðə ˈlɪvɪŋ ɪz ˈɔlsoʊ təˈwɔrdz ðə ˈsɛntər; ðə fərst ˈnoʊbəlmən, ðə ˈsɛkənd hɔrs ənd ðə ˈhəntɪŋ dɔg ɔl ˈtrævəl təˈwɔrdz dɛθ ɔn ðə ˈəðər saɪd. ðə ˈdɪfərənt ˈækʃənz əv ðə kən ˈprɑbəˌbli bi rɛd ɛz ˌɪnˈdɪkətɪv əv ˌkɛrɪktərˈɪstɪks. ðə fərst ˈnoʊbəlmən ɪz əˈblɪviəs tɪ ðə ˈwɔrnɪŋ skroʊl ˈoʊvər hɪz hɛd ənd muvz təˈwɔrdz ˈdeɪnʤər. ðə θərd ˈnoʊbəlmən simz moʊst əˈwɛr əv ðə ˈʤɛpərdi ənd hoʊldz hɪz hænd əp təˈwɔrdz ðə skroʊl tɪ brɪŋ ɪt tɪ hɪz companions’*’ ˈnoʊtɪs. ˈfərðərˌmɔr, hi həz tərnd hɪz hɔrs ɪn ðə ˈəðər dɪˈrɛkʃɪn ɪn ˈɔrdər tɪ liv ðə hənt ənd tɪ ɪˈnækt ðə læst laɪn əv ðə vərs bɪˈniθ ɪm: məst liv ɔl ləst ənd pleasaunce.’*.’ ðə ˈmɪdəl ˈnoʊbəlmən ɪz kɔt ˈsəmˈwət bɪtˈwin ðə tu ˈstænsɪz əv hɪz frɛndz ənd ˌɔlˈðoʊ hi tərnz təˈwɔrdz hɪz mɔr ˈkɔʃəs kəmˈpænjən, hɪz hɔrs stɪl pɔɪnts təˈwɔrdz ðə hənt ənd hɪz ɪkˈsprɛʃən ənd hænd ˈʤɛsʧər sim tɪ kənˈveɪ dɪˈsplɛʒər æt ðə ˌɪntərˈəpʃən. ðə ˈfəŋkʃən əv ðə θri ˈlɪvɪŋ ənd ðə θri dɛd ɪz tɪ ækt ɛz ən ɪˈlæbərˌeɪt mɛˈmɛntoʊ ˈmɔri, ˈɔfən ˈsɪmpli ˌrɛprɪˈzɛnɪd baɪ ə skəl ər ɪn ˈɪmɪʤɪz (e.g*. ˈpeɪnɪŋz əv ʤəroʊm). ə mɛˈmɛntoʊ ˈmɔri ˈfəŋkʃənd nɑt ˈoʊnli ɛz ə riˈmaɪndər ðət ɔl məst daɪ, bət ˌɪnˈtrɪnsɪkəli ɪt wɑz ə prɑmpt tɪ lɪv wɛl, i.e*. tɪ pʊt əˈweɪ ˈərθli ˈplɛʒərz wɪʧ wər ə rɪsk tɪ ðə sælˈveɪʃən ɪn ðə ˈæftərˌlaɪf. ɛz kən bi sin baɪ ðə rɛd ˈtaɪtəl, ðɪs ˈdəbəl sprɛd ɪz ˈloʊˌkeɪtəd æt ðə pɑrt əv ðə bʊk ˈdɛdəkeɪtəd tɪ ˈvɪʤəlz fər ðə dɛd. (si mɑrʧ 2014 ðə dead’*’ fər ən ˌɛkspləˈneɪʃən əv ðə mɪˈdjivəl ˌəndərˈstændɪŋ əv ðə ˈæftərˌlaɪf.) mɛˈmɛntoʊ ˈmɔri əkˈwaɪərd ə ˈgreɪtər sɪgˈnɪfɪkəns ˈæftər blæk dɛθ, æt ɪts pik ɪn ˈbrɪtən wɪʧ rɪˈdust ˌpɑpjəˈleɪʃən baɪ ən ˈɛstəˌmeɪtɪd səʧ ən əˈtrɪʃən reɪt ˈɑbviəsli hæd boʊθ ˈpræktɪkəl ənd ˌsaɪkəˈlɑʤɪkəl ˈifɛkts ɔn ðə rɪˈkəvərɪŋ ˈneɪʃənz. ðə fɪr əv ðə sˈwɪftnəs ənd ˈneɪʧər əv ðə pleɪg lɛft ɪts mɑrk ɔn ɑrt. ðɛr wɑz ə raɪz ɪn ðə ˈnəmbər əv ˈpisɪz wɪθ ˈsəbʤɪkt ˈmætər kəˈnɛktɪd tɪ dɛθ ənd ən ˌɪnˌtɛnsɪfəˈkeɪʃən əv ðə məˈkɑbər ˈɛləmənt. dɪˈvɛləpt; ðiz wər kənˈstrəkʃənz wɪθ ðə ˈɛfɪʤi əv ðə ˈbɛrid ˈpərsən ɔn tɔp ənd ən ˈɛfɪʤi əv ðə ˈskɛlətən ər ˈrɑtɪŋ kɔrps ˌəndərˈniθ. ˈkæntərˌbɛri kəˈθidrəl həz ən ɪgˈzæmpəl meɪd fər ˈɑrʧˈbɪʃəp ˈhɛnri ənd ˈloʊˌkeɪtəd ɪn ðə nɔrθ ˈæmbjələˌtɔri baɪ ðə kwaɪr. ˈæftər ðə blæk dɛθ rɛnˈdɪʃənz əv ðə θri ˈlɪvɪŋ ənd ðə θri dɛd bɪˈkeɪm mɔr θˈrɛtənɪŋ ðən ˈərliər mɪˈdjivəl ˈvərʒənz. sinz ɪn bʊks əv aʊərz ənd ˈpraɪmərz ʃoʊ ˈskɛlətənz noʊ ˈlɔŋgər dɪˈvaɪdɪd frəm ðə ˈlɪvɪŋ, bət ˈʧeɪsɪŋ ðə, ənd ˈsəmˌtaɪmz noblewomen*, wɪθ spɪrz ɪn ə əv ðə hənt sin əv ðə ərˈɪʤənəl teɪl (e.g*. aʊərz əv ʤoʊˈænə aɪ əv castile*, si. 1500 ˈbrɪtɪʃ ˈlaɪbrɛˌri æd mɪz 35313 fol*. 158v*). ɪn ðɪs ˈpraɪmər, tɛkst əˈkəmpəniz ˈɪmɪʤ wɪθ ˈlætən ɪn ðə ˈpɪkʧər ˌɪtˈsɛlf ənd ˈɔlsoʊ ˈɪŋlɪʃ ˈvərsɪz bɪˈniθ. ðə fərst vərs lɪŋks ðiz ˈskɛlətənz tɪ ðə məˈkɑbər, əˈnəðər mɛˈmɛntoʊ ˈmɔri huz raɪz ɪn ˌpɑpjəˈlɛrəti wɑz ə ˈkəlʧərəl əv ðə blæk dɛθ. ɪn ðə dæns, dɛθ pərˈsɑnəˌfaɪd ˌɪnˈvaɪts ˈpipəl əv ɔl ˈsteɪʃənz tɪ dæns ɪn ðə ˌjunəvərˈsæləti əv ɛnd ənd tɪ ʃoʊ əˈwɛrnəs əv ðə ˈflitɪŋ ˈneɪʧər əv ˈərθli ˈglɔriz ənd ˈplɛʒərz. ðə θri dɛd seɪ: wi hæv səm (əˈbaɪdɪd) ɑr ʧɔns ɪn ðɪs worlde*/ bət naʊ jɛ məst kəm treɪs ɔn ɑr ɔl ˈædəmz bi tɪ daɪ. ðə θri lɪv ˈænsər: wi bɛn (bɪn) ɪn ˈglɔri ənd ˈfeɪvər fʊl əv ɔl welth*/ richesse*/ ənd bət naʊ wi ðət kəm ɪz ðə ðət wi məst liv ɔl ləst ənd ɪn ðə ˈɪmɪʤ, ðə ˈlætən skroʊlz wɔrn: ˈərgoʊ dim ɛst. ɛt ˈhɔrə ˈðɛrˌfɔr bɪˈwɛr bɪˈkəz ju noʊ ˈniðər ðə deɪ nɔr aʊər dɛθ ɪz ˌɪˈnɛvətəbəl. ənd ɪts aʊər ɪz ənˈsərtən ɪn truθ, ˈlʊkɪŋ æt ðə ˈɪmɪʤ, aɪ θɪŋk ɪt ɪz ˈpɑsəbli tu leɪt tɪ əˈvərt ðə fərst ˈnoʊbəlmən, bət ðɛr ɪz ˈdɛfənətli stɪl hoʊp fər ðə ˈəðər tu. ʤeɪn wackett*: ˈɛdɪtər əv this…’*…’ ənd ðɪs kənˈtrɪbjətər ˈfərðər ˈrɛdɪŋ:
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‘the three living and the three dead’
this prymer of salisbury vse
at rouen : benewly enprynted at rouen [colophon:] impresse per johannem le prest pro robertum valentinum [sic], 1554.
canterbury cathedral library h/l-3-6
the subject matter of this double spread woodcut was a familiar macabre motif in medieval and renaissance art known as the ‘the three living and the three dead’. the scene here, taken from a 1555 primer printed in rouen and intended for the english market (h/l-3-6), is constructed over two pages which are designed to be read as complementary parts of the same image.
representations of the three living and the three dead appeared in books and church art from the thirteenth century and are illustrations of a story, whose exact origins are unknown. while there are variations between the text versions still extant, the tale is basically the same in all of them. in brief, one day three young noblemen, often shown as kings, were out hunting when they unexpectedly encountered three dead bodies. to the men’s amazement and terror, the cadavers move and speak and there is confusion about whether they are hellish demons. in fact, the three dead warn their living counterparts of the transience of life and exhort the young men to live well as death may come at any time. the anglo-norman text of the tale, ‘le dit des trios morts et trios vifs,’ is accompanied by a splendid image of grinning skeletons in the de lisle psalter, c. 1308 c. 1340 (british library, ms arundel ms 83). there also exists a fifteenth-century alliterative poem version, ‘the three kings’, which was possibly penned by john audelay (bodleian library, ms douce 302).
this rouen primer image holds the fairly common motif of having the living and the dead physically separate; the noblemen are hunting in woodland, whereas the dead are in a cemetery, as denoted by the walled enclosure and standing cross. in the numerous depictions it is quite common for the three cadavers to be in noticeably differing stages of decomposition, with the last step being a skeleton with all flesh gone. in this woodcut, the dead are all in an ‘intermediate’ stage of decay with none of them having lost all of their flesh, and the skeleton furthest right still has part of his shroud.
the connection between the two scenes is achieved in various ways. there is a swirling scroll in the top register of each image, which achieves the effect of a banner strung across the whole; the scale is uniform on either side with the trees in both scenes lending a similar verticality at the mid-way horizontal point; and the general mise en page (page layout) of red latin title, black and white image and four lines of english verse makes an automatic association. however, the strongest link comes from the use of movement in the composition. both images are full of motion and the action is travelling to a point of convergence in the centre. the dead all move from right to left and most of the movement from the living is also towards the centre; the first nobleman, the second man’s horse and the hunting dog all travel towards death on the other side.
the different actions of the noblemen can probably be read as indicative of characteristics. the first nobleman is oblivious to the warning scroll over his head and moves heedlessly towards danger. the third nobleman seems most aware of the jeopardy and holds his hand up towards the scroll to bring it to his companions’ notice. furthermore, he has turned his horse in the other direction in order to leave the hunt and to enact the last line of the verse beneath him: ‘we must leve all lust and pleasaunce.’ the middle nobleman is caught somewhat between the two stances of his friends and although he turns towards his more cautious companion, his horse still points towards the hunt and his expression and hand gesture seem to convey displeasure at the interruption.
the function of the three living and the three dead is to act as an elaborate memento mori, often simply represented by a skull or hour-glass in images (e.g. caravaggio’s paintings of st jerome). a memento mori functioned not only as a reminder that all must die, but intrinsically it was a prompt to live well, i.e. to put away earthly pleasures which were a risk to the soul’s salvation in the afterlife. as can be seen by the red title, this double spread is located at the part of the book dedicated to vigils for the dead. (see march 2014, ‘waking the dead’ for an explanation of the medieval understanding of the afterlife.)
memento mori acquired a greater significance after black death, at its peak in britain 1348-1350, which reduced europe’s population by an estimated 30-50%. such an attrition rate obviously had both practical and psychological effects on the recovering nations. the fear of the swiftness and undiscerning nature of the plague left its mark on art. there was a rise in the number of pieces with subject matter connected to death and an intensification of the macabre element. transi-tombs developed; these were two-tiered constructions with the effigy of the buried person on top and an effigy of the deceased’s skeleton or rotting corpse underneath. canterbury cathedral has an example made for archbishop henry chichele (1414-1443) and located in the north ambulatory by the quire. after the black death renditions of the three living and the three dead became more threatening than earlier medieval versions. scenes in books of hours and primers show skeletons no longer divided from the living, but chasing the noblemen, and sometimes noblewomen, with spears in a transmutation of the hunt scene of the original tale (e.g. hours of joanna i of castile, c. 1500, british library add ms 35313, fol. 158v).
in this rouen primer, text accompanies image with latin in the picture itself and also english verses beneath. the first verse links these skeletons to the danse macabre, another memento mori trope whose rise in popularity was a cultural by-product of the black death. in the dance, death personified invites people of all stations to dance in the universality of life’s end and to show awareness of the fleeting nature of earthly glories and pleasures.
the three dead say:
we have some tyme abyden (abided) our chaunce
in this worlde/ passinge tyme lustely
but now ye must come trace on our daunce
all adams kynde be ordeyned to dye.
the three live answer:
we ben (been) in glory and wordly favour
full of all welth/ richesse/ and substaunce
but now we perceyve that come is the houre
that we must leve all lust and pleasaunce
in the image, the latin scrolls warn:
vigilate ergo quia nescitis diem neque horam
mors inevitabilis est. et hora eius incerta
therefore beware because you know neither the day nor hour
death is inevitable. and its hour is uncertain
in truth, looking at the image, i think it is possibly too late to avert the first nobleman, but there is definitely still hope for the other two.
jayne wackett: editor of ‘picture this…’ and this month’s contributor
further reading:
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ɪt dɔnd ɔn mi ˈæftər ðə ˈəmpˌtinθ ˈpərsən ˌdɪˈsaɪdɪd tɪ prəˈvaɪd ə ˈpəblɪk ˈsərvɪs əˈnaʊnsmɛnt tɪ maɪ feɪs ənd ˌɪnˈfɔrm mi ðət ˈmoʊtərˌsaɪkəl ˈraɪdɪŋ wɑz ˈdeɪnʤərəs. nɑt ˈmoʊtərˌsaɪkəl ˈreɪsɪŋ, ʤɪst ˈraɪdɪŋ ɪn ˈʤɛnərəl. ə fɔrm əv ˈtrænspɔrt juzd baɪ ˈhənərdz əv ˈmɪljənz əv ˈpipəl əraʊnd ðə wərld. ˌɪnˈstɛd əv ˈɑrgjuɪŋ wɪθ ðɪs ˈkɛrɪŋ soʊl, maɪ ˈɪˌmoʊʃənz wər ðət əv ˈpɪti fər ðɛm. ˈpɪti ðət ðeɪ ˈæˌkʧuəli bɪˈlivd wət ðeɪ wər seɪɪŋ ənd ðeɪ ðɛmˈsɛlvz wʊd ˈnɛvər noʊ wət aɪ ɪkˈspɪriəns ɔn ə nɪr ˈdeɪli ˈbeɪsɪs waɪl ˈraɪdɪŋ. ənd ðɛn ɪt klɪkt ɛz aɪ lʊkt ˈɪntu ðɛr aɪz ə ˈbɛtər ˈpərsən ðən ju. aɪ ʃʊd ˈprɑbəˌbli kˈwɑləˌfaɪ ðət aɪ min baɪ ‘‘better’*’. ˈraɪdɪŋ ə ˈmoʊtərˌsaɪkəl tərn ju ˈɪntu ˈməðər tərˈisə. ˈraɪdɪŋ ə ˈmoʊtərˌsaɪkəl ˌɔtəˈmætɪkli tərn ju frəm ə ˈɪntu ə seɪnt. wət aɪ min baɪ ˈbɛtər ɪz ðət ɛz ə ˈmoʊtərˌsaɪkəl ˈraɪdər, ˈbɛtər ðən ju bɪˈkəz ˈbɛtər ˈeɪbəl tɪ ɪkˈspɪriəns wət laɪk tɪ bi ə ˈjumən biɪŋ. tɪ fil əˈlaɪv ənd lɪv, ˌɪnˈstɛd əv ʤɪst ɪgˈzɪstɪŋ. ˈpʊʃɪŋ bæk frəm ðə kənˈtɪnjuəl ɛnˈkroʊʧmənt əv rulz, ˌrɛgjəˈleɪʃənz ənd kənˈfɔrməti ðət ˈmɑdərn soʊˈsaɪɪti ɪz ˈmuvɪŋ təˈwɔrdz. ə wən ˈfɪŋgərd səˈlut tɪ pəˈlɪtɪkəl kərˈɛktnəs, kənˈsərvətɪv ˈvæljuz ənd hərd mɛnˈtælɪti. ənd ɪt meɪks bi ˈbɛtər ðən ju, ðə non-rider*. ə lɔt əv əˈbaʊt ˈmoʊtərˌsaɪkəl ˈraɪdərz ənd ˈraɪdɪŋ. bət laɪk ˈstɛrioʊˌtaɪps, ər ˈɔfən ˈspoʊkən ənd əˈplaɪd bɪˈkəz ðeɪ kən bi ən ˈækjərət rɪˈflɛkʃən əv ˌriˈæləˌti. comradery*, ˈbrəðərˌhʊd, ˈfridəm. waɪl ðoʊz θɪŋz ər nis, wət tɪ mi ɪz ðə ˈgreɪtəst pɑrt əv ˈraɪdɪŋ ə ˈmoʊtərˌsaɪkəl ɪz ˈfilɪŋ soʊ əˈlaɪv. bət ˈmoʊtərˌsaɪkəl ˈraɪdɪŋ ɪz ˈdeɪnʤərəs, ju seɪ. gɪt ˈjɔrsɛlf kɪld, ðeɪ seɪ. wɪn dɪd wi ɛz ə soʊˈsaɪɪti ənd ə ˈkəlʧər bɪˈkəm soʊ pəˈθɛtɪk? wɔrz reɪʤ ɔl ˈoʊvər ðə wərld, ˈʧɪldrən ər rɪˈkrutɪd ˈɪntu ˈɑrmiz, mɛn ənd ˈwɪmən wərk ɪn ˈdeɪnʤərəs kənˈdɪʃənz soʊ ðət ju ənd aɪ kən baɪ ðə ˈleɪtəst kræp ˈæpəl wɔnts tɪ sɛl ənd skɛrd əv ˈraɪdɪŋ ə baɪk? stɑp biɪŋ soʊ pəˈθɛtɪk ənd lərn tɪ lɪv ˈprɑpərli ənd nɑt ɪn fɪr. fɪr əv ˈtɛrəˌrɪzəm. fɪr əv iˈboʊlə. fɪr əv ˌwəˈtɛvər ðə nɛkst ˈtɔkɪŋ pɔɪnt wɪl bi. ɔl ðoʊz θɪŋz ˈmætər wɪn ˈraɪdɪŋ θru ˈbjutəfəl ˈmaʊntən ˈsinəri, ˈteɪkɪŋ ɪn sˈwipɪŋ tərn ˈæftər sˈwipɪŋ tərn. ˈpʊʃɪŋ bæk əˈgɛnst ðə ˌɛkspɛkˈteɪʃənz əv wət soʊˈsaɪɪti dimz əkˈsɛptəbəl, ənd duɪŋ ɪt ɪn ə weɪ ðət hərts noʊ ɛls. aɪ si ˈəðər ˈraɪdərz duɪŋ ðə əˈmeɪzɪŋ, ðə ˈbjutəfəl. ˈraɪdɪŋ θru ˈiʤɪpt, nəˈpɔl, ðə ˈændiz, ˈvɪzɪtɪŋ rɪˈmoʊt ənd ˈdɪstəns pɑrts əv ðɪs əˈmeɪzɪŋ ˈplænət. bət ˌɪnˈstɛd, ju ˌɛnˈʤɔɪ jʊr kruz ɔn ə boʊt fʊl əv ˈpipəl hu θɪŋk ˈlərnɪŋ əˈbaʊt ənd ˌəndərˈstændɪŋ ˈəðər ˈkəlʧərz ˌɪnˈvɑlvz ə deɪ trɪp tɪ ðɛr ˈloʊkəl biʧ. ˈivɪn ðə wərst θɪŋz əv ˈmɑdərn laɪf tərn ˈɪntu ˈpɑzətɪvz ɔn ə ˈmoʊtərˌsaɪkəl. waɪl stək ɪn ˈtræfɪk ɔn ðə ˈfriˌweɪ duɪŋ jʊr ˈdeɪli tu aʊər kəmˈjut, ˈraɪdɪŋ pæst ju bɪtˈwin jʊr kɑr ənd ˈɛvəri ˈəðər ˈpərsən hu filz ðə nid tɪ draɪv ə faɪv ˈɑkjəpənt ˈviɪkəl wɪθ ʤɪst ðɛmˈsɛlvz tɪ ðɛr ˈdeɪli graɪnd. jɛs, ˈtræfɪk ˈæˌkʧuəli bɪˈkəmz ə ˈpɑzətɪv ɔn ə baɪk ənd aɪ gɪt noʊ ˈgreɪtər ˌsætɪsˈfækʃən ðɛn wɪn ə ‘‘cager’*’ traɪz tɪ blɑk maɪ pæθ waɪl ˈfɪltərɪŋ, ɛz aɪ ʤɪst əraʊnd ðɛm ɔn ðə ˈɑpəzɪt saɪd əv ðɛr kɑr. aɪ ˈpɪti ju, bət ˈoʊnli ə ˈlɪtəl, bɪˈkəz jʊr ʧɔɪs tɪ bi ɪn ðə ˌsɪʧuˈeɪʃən ðət ju ər, ənd waɪ ˈbɛtər ðən ju. ju heɪt jʊr veɪˈkeɪʃən trɪp ɪn ðə kɑr bɪˈkəz əv ɔl ðə ʃɑrp tərnz ənd bɛndz ənd əv ðə roʊd. aɪ pæs ju ˈɛgzɪtɪŋ ə ənd fil ðə wɪnd ˈrəʃɪŋ mi, ðə smɛl əv ðə triz ənd ðə saʊnz əv laɪf ənd ˌɛnˈʤɔɪ ðə ˈʤərni ʤɪst ɛz məʧ ɛz ðə ˌdɛstɪˈneɪʃən. cliché*é, bət soʊ tru. ju maɪt θɪŋk aɪ saʊnd ˌigəˈtɪstɪkəl, bət nɑt. ju kən bi ˈbɛtər tu, nɑt ˈdɪfəkəlt. bət fər ˈɛvəri ˈpərsən aɪ ɪnˈkaʊnər hu lʊks daʊn ɔn mi fər ˈraɪdɪŋ ə baɪk, aɪ hɛlp bət grɪn ənd seɪ tɪ ˌmaɪˈsɛlf, aɪ raɪd ə ˈmoʊtərˌsaɪkəl ənd ˈðɛrˌfɔr ˈbɛtər ðən ju.
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it dawned on me after the umpteenth person decided to provide a public service announcement to my face and inform me that motorcycle riding was dangerous. not motorcycle racing, just riding in general. a form of transport used by hundreds of millions of people around the world. instead of arguing with this caring soul, my emotions were that of pity for them. pity that they actually believed what they were saying and they themselves would never know what i experience on a near daily basis while riding. and then it clicked as i looked into their eyes – i’m a better person than you.
i should probably qualify that i mean by ‘better’. riding a motorcycle doesn’t turn you into mother teresa. riding a motorcycle doesn’t automatically turn you from a wanker into a saint. what i mean by better is that as a motorcycle rider, i’m better than you because i’m better able to experience what it’s like to be a human being. to feel alive and live, instead of just existing. i’m pushing back from the continual encroachment of rules, regulations and conformity that modern society is moving towards. it’s a one fingered salute to political correctness, conservative values and herd mentality. and it makes be better than you, the non-rider.
there’s a lot of clichés about motorcycle riders and riding. but like stereotypes, clichés are often spoken and applied because they can be an accurate reflection of reality. comradery, brotherhood, freedom. while those things are nice, what to me is the greatest part of riding a motorcycle is feeling so alive.
but motorcycle riding is dangerous, you say. you’ll get yourself killed, they say. when did we as a society and a culture become so pathetic? wars rage all over the world, children are recruited into armies, men and women work in dangerous conditions so that you and i can buy the latest crap apple wants to sell – and you’re scared of riding a bike? stop being so pathetic and learn to live properly and not in fear.
fear of terrorism. fear of ebola. fear of whatever the next talking point will be. all those things don’t matter when i’m riding through beautiful mountain scenery, taking in sweeping turn after sweeping turn. i’m pushing back against the expectations of what society deems acceptable, and i’m doing it in a way that hurts no else.
i see other riders doing the amazing, the beautiful. riding through egypt, nepal, the andes, visiting remote and distance parts of this amazing planet. but instead, you enjoy your cruise on a boat full of self-absorbed people who think learning about and understanding other cultures involves a day trip to their local beach.
even the worst things of modern life turn into positives on a motorcycle. while you’re stuck in traffic on the freeway doing your daily two hour commute, i’m riding past you between your car and every other person who feels the need to drive a five occupant vehicle with just themselves to their daily grind. yes, traffic actually becomes a positive on a bike and i get no greater satisfaction then when a ‘cager’ tries to block my path while filtering, as i just manoeuvre around them on the opposite side of their car. i pity you, but only a little, because it’s your choice to be in the situation that you are, and that’s why i’m better than you.
you hate your vacation trip in the car because of all the sharp turns and bends and undulations of the road. i pass you exiting a hairpin and feel the wind rushing me, the smell of the trees and the sounds of life and enjoy the journey just as much as the destination. cliché, but so true.
you might think i sound egotistical, but i’m not. you can be better too, it’s not difficult. but for every person i encounter who looks down on me for riding a bike, i can’t help but grin and say to myself, i ride a motorcycle and therefore i’m better than you.
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ɪt tʊk 18 mənθs fər mæd mɛn tɪ rɪˈtərn fər ɪts fɪθ ˈsizən bət ˈoʊnli ə fju deɪz fər ðə ˈkrɪtɪkəli əˈkleɪmd ʃoʊ tɪ gɪt ˈɪntu hɑt ˈwɔtər. ˈfæməli ˈmɛmbərz əv ˈvɪktɪmz ər dɪˈkraɪɪŋ ə nu feɪz əv ðə ˈmɪnəməlɪst ˈmɑrkətɪŋ ˈɪmɪʤri, rɪˈpɔrts ðə nu jɔrk taɪmz. ðə ædz, wɪʧ ˈɛkoʊ ðə ˈoʊpənɪŋ ˈkrɛdɪts, ʃoʊ ə mæn (proʊˈtægənəst dɑn ˈdreɪpər) ˈfɑlɪŋ ˈɪntu ə waɪt vɔɪd. ðeɪ hæv əˈpɪrd ɪn ˈsəbˌweɪz ənd ɔn ˈbəsɪz sɪns mid-january*, bət ə nu ˈsɪriz ʤɪst ˈrisəntli bɪˈgæn əˈpɪrɪŋ ɔn ˈhaɪli pəˈzɪʃən ˈbɪlˌbɔrdz ənd ˈbɪldɪŋ fəˈsɑdz əraʊnd nu jɔrk ˈsɪti, ˈprɑmptɪŋ kraɪz əv ˌɪnˌsɛnsəˈtɪvəti. ˈsɛvərəl ˈfæməli ˈmɛmbərz əv ˈpipəl lɔst ɪn ðə ˈtɛrərɪst əˈtæks ɔn sɛpt. 11 2001 toʊld ðə taɪmz ðə ædz ər əˈfɛnsɪv bɪˈkəz ðeɪ brɪŋ tɪ maɪnd ðə ˈɪmɪʤri əv ˈvɪktɪmz ˈʤəmpɪŋ frəm ðə twɪn taʊərz ɔn ðə deɪ əv ðə ˈnæʃənəl ˈtræʤədi. ˈeɪˌɛmˈsi ˈɪʃud ðɪs ˈsteɪtmənt tɪ ðə taɪmz: ˈɪmɪʤ əv dɑn ˈdreɪpər ˈtəmbəlɪŋ θru speɪs həz bɪn juzd sɪns ðə ʃoʊ bɪˈgæn ɪn 2007 tɪ ˌrɛprɪˈzɛnt ə mæn huz laɪf ɪz ɪn ˈtərˌmɔɪl. ðə ˈɪmɪʤ juzd ɪn ðə kæmˈpeɪn ɪz ˌɪnˈtɛndɪd tɪ sərv ɛz ə ˈmɛtəfɔr fər wət ɪz ˈhæpənɪŋ ɪn dɑn ˈfɪkʃənəl laɪf ənd ɪn noʊ weɪ ˈrɛfərənsɪz ˈækʧəwəl events.”*.” wɪθ ə ˈlɪtəl mɔr ðən θri wiks ənˈtɪl ðə mɑrʧ 25 prɛˈmɪr, ˈeɪˌɛmˈsi dɪd nɑt rɪˈvil haʊ ˈmɛni ˈbɪlˌbɔrd ənd ˈbɪldɪŋ ædz wər pəˈzɪʃənd əraʊnd nu jɔrk ðoʊ bɪn ˈspɑtɪd nɪr wɛst ənd ˌpɛnsəlˈveɪnjə ˈsteɪʃən, sɪz æd eɪʤ nɔr dɪd ðə ˈnɛtˌwərk dɪˈskəs ˈwɛðər ðeɪ wʊd ˈæˌdrɛs ðə kəmˈpleɪnts baɪ riˈmuvɪŋ ðə ædz ˌɔltəˈgɛðər. rɛd mɔr: part-draper/part-banksy*: men’*’ ˈsizən 5 ˈpoʊstərz gɪt tægd men’*’ ənˈveɪlz ˈkrɪptɪk ˈɑrtˈsi ˈsizən 5 æd ˈfoʊˌtoʊ men’*’ skup: fərst ˈsizən 5 ˈproʊˌmoʊ ɪz hir! ɪkˈsklusɪv
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it took 18 months for mad men to return for its long-awaited fifth season but only a few days for the critically acclaimed show to get into hot water. family members of 9/11 victims are decrying a new phase of the show’s minimalist marketing imagery, reports the new york times. the ads, which echo the show’s opening credits, show a man (protagonist don draper) falling into a white void. they have appeared in subways and on buses since mid-january, but a new series just recently began appearing on highly position billboards and building facades around new york city, prompting cries of insensitivity. several family members of people lost in the terrorist attacks on sept. 11, 2001, told the times the ads are offensive because they bring to mind the imagery of victims jumping from the twin towers on the day of the national tragedy.
amc issued this statement to the times: “the image of don draper tumbling through space has been used since the show began in 2007 to represent a man whose life is in turmoil. the image used in the campaign is intended to serve as a metaphor for what is happening in don draper’s fictional life and in no way references actual events.”
with a little more than three weeks until the show’s march 25 premiere, amc did not reveal how many billboard and building ads were positioned around new york — though they’ve been spotted near west 34th street’s macy’s and pennsylvania station, says ad age — nor did the network discuss whether they would address the complaints by removing the ads altogether.
read more: part-draper/part-banksy: ‘mad men’ season 5 posters get tagged
‘mad men’ unveils cryptic artsy season 5 ad — photo
‘mad men’ scoop: first season 5 promo is here! — exclusive
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ɪn ə muv ðət ɪz stərɪŋ ə ˈkɑntrəˌvərsi ɪn ˈgeɪmɪŋ ˈsərkəlz, ðə məʧ ænˈtɪsəˌpeɪtɪd ˈdrægən eɪʤ: ˌɪnkwəˈzɪʃən həz bɪn pʊld frəm ðə ˈɪndiən ˈmɑrkɪt ˈivɪn ˌbiˈfɔr ɪts riˈlis baɪ geɪmz du tɪ ðə əbˈsɛnɪti lɔz. ɪn ən əˈfɪʃəl ˈsteɪtmənt ɔn ə ˈfɔrəm ɔn saɪt, ðə ˈkəmpəˌni sɛd: ɪn ˈɔrdər tɪ əˈvɔɪd ə briʧ əv ˈloʊkəl ˈkɑntɛnt lɔz, ˌɪˌlɛkˈtrɑnɪk ɑrts həz wɪθˈdrɔn ˈdrægən eɪʤ: ˌɪnkwəˈzɪʃən frəm seɪl ɪn ˈɪndiə. ənˈfɔrʧənətli, ðət minz əˈneɪbəl tɪ jʊr ˈɔrəʤən ˈɔrdər. ɔl əˈfɛktɪd ˈpərʧəsɪz fər ˈdrægən eɪʤ: ˌɪnkwəˈzɪʃən wɪl bi rɪˈfəndɪd. ðɪs əˈplaɪz rəˈgɑrdləs əv ˈpeɪmənt ˈmɛθəd ər deɪt əv ˈpərʧəs. ˈdrægən eɪʤ: ˌɪnkwəˈzɪʃən meɪ stɪl ˌtɛmpərˈɛrəli əˈpɪr ɪn jʊr ˈɔrəʤən ˈlaɪbrɛˌri, bət ɪt wɪl bi riˈmuvd ˌbiˈfɔr ɪts lɔnʧ deɪt. ðə nuz broʊk ɔn ˈgeɪmɪŋ ˈfɔrəmz ˈfɑloʊɪŋ ˈaʊˌtreɪʤ wɪˈθɪn ðə ˈgeɪmɪŋ kəmˈjunɪti ɪn ˈɪndiə. ˈmɛni hæv ˈɑrgjud ðət ðə ˈrizən əv ðə muv wɑz du tɪ ðə ˌɪnˈkluʒən əv ˌhoʊmoʊˈsɛkʃuəl sɛks sinz ɪn ðə ðə həz rɪˈsivd ə ‘‘mature’*’ ˈkɑntɛnt ˈreɪtɪŋ baɪ ðə ˌɛnərˈteɪnmənt ˈsɔfˌwɛr ˈreɪtɪŋ bɔrd (esrb*) wɪʧ steɪts, ɪz ˈʤɛnərəli ˈsutəbəl fər ˈeɪʤɪz 17 ənd əp. meɪ kənˈteɪn ˌɪnˈtɛns ˈvaɪələns, bləd ənd gɔr, ˈsɛkʃuəl ˈkɑntɛnt strɔŋ language.”*.” ɪn ðə pæst, ˈmɛni geɪmz kənˈteɪnɪŋ ɪkˈsplɪsət ˈkɑntɛnt hæv bɪn soʊld ɪn ðə ˈkəntri. geɪmz həz ə juʤ fæn beɪs ɪn ˈɪndiə fər ðɛr ɪkˈstrimli ˈpɑpjələr, ənd ˌkɑntrəˈvərʃəl, grænd θɛft ˈɔtoʊ. əv kɔrs, həz ˈɔlˌweɪz bɪn ˈkrɪtəˌsaɪzd fər ɪts ˈkɑntɛnt, nɑt ʤɪst ɪn ˈɪndiə bət ˈɔlsoʊ ɪn ðə wɛst. geɪmz laɪk gɑd əv wɔr wɪʧ ˌɪnˈklud ˈædəlt ˈkɑntɛnt hæv ˈɔlsoʊ bɪn ˈhjuʤli ˈpɑpjələr ɪn ˈɪndiə. ˈmaɪlˌstoʊn ˌɪnərˈæktɪv, ðə ˈɪndiə dɪˈstrɪbjətər fər ˈdrægən eɪʤ: ˌɪnkwəˈzɪʃən, dɪˈklaɪnd tɪ ˈkɑmɛnt, ˈoʊnli seɪɪŋ ðət ɪt jɛt rɪˈsivd ˈɛni əˈfɪʃəl kəmˌjunəˈkeɪʃən frəm ɔn ðə ˈɪʃu. ˌhaʊˈɛvər, əˈkɔrdɪŋ tɪ ndtv*, ˈmaɪlˌstoʊn ˌɪnərˈæktɪv həz sɛd, ðɪs rɪˈfərz tɪ ðə geɪmz ˌhoʊmoʊˈsɛkʃuəl sɛks sinz. ˈrəðər ðən feɪs ðə ræθ əv səm əv ˈɪndiəz mɔr ˈprudɪʃ ˌsɛgˈmɛnts əv soʊˈsaɪɪti, hæv ˌdɪˈsaɪdɪd tɪ meɪk ðə geɪm ˌənəˈveɪləbəl ɪn ˈɪndiə, wɪˈθaʊt kənˈfərmɪŋ ər ˈkɑmɛntɪŋ ɔn wɪʧ ˈloʊkəl lɔz wər biɪŋ breached.”*.” ðɪs muv əˈgɛn ˈhaɪˌlaɪts ðə ˈɪʃu ˈsɛnsərˌʃɪp əv ˈkɑntɛnt ɪn geɪmz ˈreɪnʤɪŋ frəm əv ˈwɪmən tɪ ˌglɔrɪfɪˈkeɪʃən əv kraɪm ənd ˈvaɪələns ənd ðə hɪˈpɑkrəsi əv ðə ˈgeɪmɪŋ ˈɪndəstri wɪʧ meɪnˈteɪnz ˌɪnˈdɪfərəns ɔn səʧ ˈɪʃuz. ˌæprɪˈhɛnʃən rɪˈgɑrdɪŋ əbˈsɛnɪti lɔz, ðoʊ, simz bɪˈzɑr kənˈsɪdərɪŋ ðə kaɪnd əv geɪmz wɪθ ɪkˈsplɪsət ˈkɑntɛnt ðət hæv riˈlist wɪˈθaʊt ə hɪʧ. baɪ ˈmeɪkɪŋ ən ˌɪmˈpəlsɪv ɪn ˈpʊlɪŋ ðə seɪlz əv ðə geɪm ðə muv ɪz ˈlaɪkli tɪ ˈɛskəˌleɪt ˈpaɪrəsi seɪlz əv ðə geɪm.
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in a move that is stirring a controversy in gaming circles, the much anticipated role-playing dragon age: inquisition has been pulled from the indian market even before its release by games due to the country’s obscenity laws.
in an official statement on a forum on ea’s site, the company said:
in order to avoid a breach of local content laws, electronic arts has withdrawn dragon age: inquisition from sale in india. unfortunately, that means we’re unable to fulfil your origin order.
· all affected purchases for dragon age: inquisition will be refunded. this applies regardless of payment method or date of purchase.
· dragon age: inquisition may still temporarily appear in your origin library, but it will be removed before its launch date.
the news broke on gaming forums following outrage within the gaming community in india. many have argued that the reason of the move was due to the inclusion of homosexual sex scenes in the
the has received a ‘mature’ content rating by the entertainment software rating board (esrb) which states, “content is generally suitable for ages 17 and up. may contain intense violence, blood and gore, sexual content and/or strong language.”
in the past, many games containing explicit content have been sold in the country. rockstar games has a huge fan base in india for their extremely popular, and controversial, grand theft auto. of course, gta has always been criticized for its content, not just in india but also in the west. games like god of war which include adult content have also been hugely popular in india.
milestone interactive, the india distributor for dragon age: inquisition, declined to comment, only saying that it hasn’t yet received any official communication from on the issue.
however, according to ndtv, milestone interactive has said, “… this refers to the game's homosexual sex scenes. rather than face the wrath of some of india's more prudish segments of society, have pre-emptively decided to make the game unavailable in india, without confirming or commenting on which local laws were being breached.”
this move again highlights the issue censorship of content in games ranging from objectification of women to glorification of crime and violence and the hypocrisy of the gaming industry which maintains indifference on such issues.
ea game’s apprehension regarding india’s obscenity laws, though, seems bizarre considering the kind of games with explicit content that have released without a hitch. by making an impulsive descision in pulling the sales of the game the move is likely to escalate piracy sales of the game.
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ˈbrɪtɪʃ kəˈləmbiə həz pʊt θri ˈpraɪvət hɛlθ ˈklɪnɪks ˈəndər ˈɔdɪt əˈmɪd kənˈsərnz əˈbaʊt ðə ˈpræktɪs əv, ˈlʊkɪŋ æt ˈdɑktərz hu wərk ɪn ðə ˈpəblɪk ˈsɪstəm ənd hu ˈɔlsoʊ ʧɑrʤ səm ˈpeɪʃənz ˈɛkstrə fiz fər kˈwɪkər ˈækˌsɛs tɪ ˈmɛdɪkəl kɛr. ˈfɛdərəl hɛlθ ˈmɪnɪstər ʤeɪn ˈfɪlpət ənd hər ˈnuli əˈpɔɪntɪd b.c*. ˈkaʊntərˌpɑrt, ˈeɪdriən dɪks, seɪ θri əv ðə ˈprɑvənsɪz ˈsɛvərəl ˈdəzən ˈklɪnɪks ər biɪŋ ɪgˈzæmənd fər ˈbɪlɪŋ ˈpeɪʃənz ˈɛkstrə fər ˈmɛdɪkəli ˈnɛsəˌsɛri kɛr, ə vaɪəˈleɪʃən əv ðə ˈkænədə hɛlθ ækt. "ðə ˈɔdɪt wɪl dɪˈtərmən ðə ɪkˈstɛnt tɪ wɪʧ ˈɛkstrə ˈbɪlɪŋ ənd ˈjuzər fiz hæv bɪn ə ˈbɛriər tɪ ækˈsɛsəbəl kɛr fər ˈpipəl ɪn ˈbrɪtɪʃ kəˈləmbiə," ˈdɑktər. ˈfɪlpət sɛd ɪn ə ˈsteɪtmənt ˈθərzˌdeɪ. ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt ɪn ʤun, ə gloʊb ənd meɪl ˌɪnˌvɛstəˈgeɪʃən faʊnd sɪgˈnɪfɪkənt, ənˈlɔfəl ˈɛkstrə ˈbɪlɪŋ baɪ fɪˈzɪʃənz θru ˈpraɪvət ˈklɪnɪks, wɛr ˈpeɪʃənz ˌɪnˈkrisɪŋgli peɪ aʊt əv ˈpɑkət tɪ ˈækˌsɛs ˈɛvriˌθɪŋ frəm ˈmɛdɪkəl əˈpɔɪntmənts tɪ ˈsərʤəri. prəˈvɪnʃəl lɔz fərˈbɪd ˈdɑktərz hu bɪl ðə ˈpəblɪk ˈsɪstəm frəm ˈɔlsoʊ ˈʧɑrʤɪŋ ˈpeɪʃənz tɪ ˈækˌsɛs ˈɛni taɪp əv ˈmɛdɪkəli ˈnɛsəˌsɛri ˈsərvɪs. rɪˈleɪtɪd: kəˈneɪdiən ˈpeɪʃənz, ˈædvəˌkeɪts spik aʊt əˈbaʊt ˌɪˈligəl ˈdɔktər ˈdəbəl ˈbɪlɪŋ əˈpɪnjən: ˈdɑktərz dɪˈfaɪ ðə ˈspɪrɪt əv kəˈneɪdiən ðə gloʊb faʊnd ðət bɪˈkəz ˈɛkstrə ˈbɪlɪŋ ɪz nɑt səˈpoʊzd tɪ bi əˈlaʊd, ˈpraɪsɪz ðət ˈklɪnɪks ʧɑrʤ fər ˈvɛriəs ˈsərvɪsɪz ər unadvertised*, ənˈrɛgjəˌleɪtɪd ənd ɔl ˈoʊvər ðə mæp. nɑt ˈoʊnli ɪz ðə ˈgəvərnmənt nɑt ˈreɪnɪŋ ɪn ðoʊz ˈpraɪvət fiz, bət, ɪn ˈkɑntræst tɪ ðə ˌsɪʧuˈeɪʃən ɪn ðə juˈnaɪtɪd steɪts, ˌɪnˈʃʊrəns ˈkəmpəˌniz ˈɑrənt əˈlaʊd tɪ stɛp ɪn tɪ nɪˈgoʊʃiˌeɪt ənd ˈkəvər ðə kɔsts, ˈiðər. kəˈneɪdiən ˈpeɪʃənz ər bɑrd frəm baɪɪŋ ˈpraɪvət ˌɪnˈʃʊrəns tɪ ˈkəvər ˈnɛsəˌsɛri ˈmɛdɪkəl ˈsərvɪsɪz, ɪkˈsɛpt ɪn kwəˈbɛk, wɛr ðə lɔ əˈlaʊz ɪt fər ˈmaɪnər ˈtritmənts. ˈpeɪʃənz ˈɪntərvˌjud ɪn ðə gloʊb ˌɪnˌvɛstəˈgeɪʃən sɛd ðeɪ ˈsɪmpli peɪd ðə ˈæskɪŋ praɪs, wɪˈθaʊt kˈwɛʃən nɑt ˌnɛsəˈsɛrəli bɪˈkəz ðeɪ hæd ðə ˈməni, bət bɪˈkəz ðeɪ wər ˈdɛspərɪt tɪ gɪt ˈtritmənt. səm ˈivɪn tʊk aʊt bæŋk loʊnz, nɑt ənˈlaɪk səm əˈmɛrɪkənz hu hæv noʊ hɛlθ ˌɪnˈʃʊrəns. ˈmɪstər. dɪks, ə ˈfɔrmər b.c*. ˈlidər ənd hɛlθ ˈkrɪtɪk hu bɪˈkeɪm hɛlθ ˈmɪnɪstər læst mənθ, sɛd hi ˈstrɔŋli səˈpɔrts ðə ˈɔdɪt əˈgrimənt, wɪʧ wɑz nɪˈgoʊʃiˌeɪtɪd ˈəndər ðə ˈprɑvənsɪz ˈpriviəs ˈlɪˌbərəl ˈgəvərnmənt. "wi hæv tɪ ækt tɪ ɪnˈʃʊr ðət ˈækˌsɛs tɪ ˈmɛdɪkəl kɛr ɪn b.c*. ɪz beɪst ɔn nid ənd nɑt ɔn ən ˌɪndəˈvɪʤəwəlz əˈbɪləˌti tɪ peɪ," ˈmɪstər. dɪks sɛd ɪn ən ˈɪntərvˌju wɪθ ðə kəˈneɪdiən prɛs. ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt "ðət ɪz ðə ˈrizən ðə lɔ ɪgˈzɪsts ənd ðət ɪz ˈsəmθɪŋ ðət həz bɪn ˌfəndəˈmɛnəl tɪ ˈkænədəz ˈsɪstəm fər ə lɔŋ taɪm ənd ɪz ˈsəmθɪŋ wi ˈstrɔŋli səˈpɔrt." ˈmɪstər. dɪks wɑz ˌənəˈveɪləbəl fər ˈfərðər ˈkɑmɛnt. leɪt læst jɪr, ˈdɑktər. ˈfɪlpət roʊt tɪ hər prəˈvɪnʃəl ˈkaʊntərˌpɑrts əˈbaʊt, ˈsɪŋgəlɪŋ aʊt weɪz iʧ ˌʤʊrɪsˈdɪkʃən kʊd ˈtækəl ðə ˈɪʃu. hɛlθ ˈkænədə ənd b.c*. ˌdɪˈsaɪdɪd tɪ pərˈsid wɪθ ðə ˈɑdəts ɪn mɑrʧ, ˈmɪstər. dɪks sɛd tɪ cp*, ˈnoʊtɪŋ ðət ə kənˈsɪdərəbəl əˈmaʊnt əv ˈplænɪŋ həz floʊd frəm ðət dɪˈsɪʒən. "ðə rɪˈzəlts əv ðə ˈɔdɪt meɪ hæv ˈkɑnsəkˌwɛnsəz bət ðə ˈɑdəts ˈhævənt bɪn kəmˈplitɪd jɛt soʊ ˈkɑmɛntɪŋ ɔn kənˈkluʒənz ðət ˈhævənt bɪn drɔn wʊd bi ˌɪnkərˈɛkt ənd ˌɔnˈfɛr," hi sɛd. "wi ər nɑt əˈsumɪŋ ðə rɪˈzəlts əv ðə ˈɑdəts." ðə ˈkænədə hɛlθ ækt, wɪʧ ˌɪmˈpoʊzɪz kənˈdɪʃənz ɔn ðə ˈprɑvənsəz ənd ˈtɛrəˌtɔriz ɪn ɪksˈʧeɪnʤ fər ˈfəndɪŋ, proʊˈhɪbəts ˈsoʊˈkɔld ˈɛkstrə ˈbɪlɪŋ ər ˈjuzər ˈʧɑrʤɪz fər ˈsərvɪsɪz ðət ər dimd ˈmɛdɪkəli ˈnɛsəˌsɛri. ɪf ˈɛkstrə ˈbɪlɪŋ ər ˈjuzər ˈʧɑrʤɪz ər kənˈfərmd, ə dɪˈdəkʃən frəm ðət ˈriʤənz ˈfɛdərəl hɛlθ ˈtrænsfər ˈpeɪmənt ɪz rikˈwaɪərd. ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt ˈɑtəˌwɑ həz ðə paʊər tɪ faɪn ˈprɑvənsəz ðət doʊnt pʊt ə stɑp tɪ ˈɛkstrə ˈbɪlɪŋ, bət ˈbrɪtɪʃ kəˈləmbiə ɪz ðə ˈoʊnli ˈprɑvɪns ɪt həz ˈpinəˌlaɪzd ɪn ðə pæst faɪv jɪrz, wɪθ faɪnz ˈtoʊtəlɪŋ ə ˈmɪljən ˈdɔlərz. ənd ðət ɪz ə drɔp ɪn ðə ˈbəkɪt kəmˈpɛrd wɪθ ðə tɛnz əv ˈmɪljənz əv ˈdɔlərz ðət floʊ θru fəˈsɪlɪtiz iʧ jɪr. ˈɑtəˌwɑ gɪts ɪts ˈdætə frəm ðə ˈprɑvənsəz ɔn haʊ məʧ ənˈlɔfəl ˈɛkstrə ˈbɪlɪŋ ɪt ʃʊd ˈpɛnəˌlaɪz ðɛm fər soʊ ðə ˈprɑvənsəz hæv ə ˈvɛstɪd ˈɪntəˌrɛst ɪn ˈmɪnəˌmaɪzɪŋ ðoʊz ˈfɪgjərz. rɔs, ə ˈsərʤɪn ˈɪntərvˌjud ɪn ðə gloʊb ˌɪnˌvɛstəˈgeɪʃən, sɛd hi ˈdəzənt noʊ ɪf ðə ˈsərʤɪkəl ˈsɛntər hi ˈfaʊndɪd ɪz biɪŋ ˈɔdɪtɪd, bət hi sɛd ðiz ˈækʃənz ər ˈpɔɪntləs ɛz lɔŋ ɛz ən ənrɪˈzɑlvd kɔrt ˈʧælənʤ ˌɪnˈvɑlvɪŋ ə vænˈkuvər ˈsərʤəri ˈklɪnɪk drægz ɔn. "ɪts ˈklɪrli ɪn ðə kɔrts soʊ ðeɪ ʃʊd liv ɪt ɪn ðə kɔrts ənd hæv ðɛm ˈfɪgjər ɪt aʊt fərst ˌbiˈfɔr ðeɪ stɑrt ˈɑdətɪŋ ˈklɪnɪks," ˈdɑktər. sɛd ˈθərzˌdeɪ. braɪən deɪ, ˈmɛdɪkəl dɪˈrɛktər əv ðə ˈsərʤəri ˈsɛntər, ə ˈpraɪvət vænˈkuvər ˈklɪnɪk, wɪl rɪˈtərn tɪ b.c*. səˈprim kɔrt ðɪs fɔl tɪ kənˈtɪnju hɪz ˌkɑnstəˈtuʃənəl ˈʧælənʤ əv ˈkænədəz ˈpəblɪk ˈsɪstəm. ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt ðə ˈʧælənʤ wɑz ˈstɑrtɪd ə ˈdɛkeɪd əˈgoʊ ˈæftər ðə ˈprɑvɪns toʊld ɪm ðət ˈɑdətərz wər ɔn ðɛr weɪ. ɔn ˈθərzˌdeɪ, ˈdɑktər. deɪ sɛd ðiz θri ˈɑdəts du nɑt ˌɪnˈvɑlv hɪz ˈsɛntər, bət hi ˈsəˌspɛkts ðə ˈgəvərnmənt maɪt hæv ˈbeɪgən ðɛm ˈæftər hi ˈrisəntli ˈpɔɪntɪd aʊt, ɪn hɪz kɔrt keɪs, ðət ˈəðər ˈklɪnɪks hæv bɪn əˈlaʊd tɪ kənˈtɪnju ˈʧɑrʤɪŋ ðə seɪm fiz. "sɪns wi ˈstɑrtɪd ɑr ˈlɔˌsut, ðeɪ ˈhævənt ˈtɑrgətɪd ˈɛni ˈəðər ˈklɪnɪks [ənˈtɪl naʊ]," hi sɛd. ðə ˈfɛdərəl ˈgəvərnmənt ɪz ˈɔlsoʊ ɪnˈgeɪʤd ɪn ðə keɪs, wɪʧ ɪt bɪˈlivz kʊd hæv ˌɪmˈpɔrtənt ˌɪmpləˈkeɪʃənz fər ˈpəblɪk hɛlθ kɛr əˈkrɔs ˈkænədə. ˈmɪstər. dɪks sɛd "səm əv ðə ˈprɪnsəpəlz" biɪŋ dɪˈfɛndɪd baɪ ðə ˈgəvərnmənt ɪn ðə keɪs ər ˈsɪmələr tɪ ðə kˈwɛsʧənz æt pleɪ ɪn ðə ˈɑdəts. "ɪt ɪz wət ðə ˈmɛdɪkəl ˈsərvɪsɪz kəˈmɪʃən ɪn b.c*. ənd ðə [prəˈvɪnʃəl] ˈmɪnɪstri əv hɛlθ ər dɪˈfɛndɪŋ ɪn ðət keɪs," hi sɛd. ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt ˈdɑktər. ˈfɪlpət, ˈminˌwaɪl, həz ˈɔlsoʊ wɔrnd ˈəðər prəˈvɪnʃəl ˈkaʊntərˌpɑrts əˈbaʊt ˈɛkstrə ˈbɪlɪŋ ənd ˈjuzər fiz, ˈnoʊtɪŋ ˈɑtəˌwɑ wɪl nɑt ˈtɑlərˌeɪt ðə ˈpræktɪs. ʃi həz əˈplɔdɪd kwəˈbɛk fər ɪts dɪˈsɪʒən ɪn ˈʤænjuˌɛri tɪ bæn ˈjuzər fiz, ənd ʃi həz ˈɔlsoʊ bɪn ɪn dɪˈskəʃənz wɪθ sæˈskæʧəˌwɔn əˈfɪʃəlz əˈbaʊt əˈphoʊldɪŋ ðə ˈkænədə hɛlθ ækt. ɪn əˈdɪʃən, ʃi həz bɪn ˈpʊʃɪŋ bæk əˈgɛnst ə sæˈskæʧəˌwɔn lɔ ðət əˈlaʊz ˈpraɪvət skænz ɪf ðeɪ ər ˈɔrdərd baɪ ə ˈdɔktər ənd ɪf ðə ˈpraɪvət ˈklɪnɪk dɪz ə ˈsɛkənd skæn tɪ ˈsəmˌwən ɔn ðə ˈpəblɪk ˈweɪtɪŋ lɪst æt noʊ ʧɑrʤ. əˈlaʊɪŋ ˈpipəl tɪ peɪ fər ˈpraɪvət skænz ðə ækt, ˈdɑktər. ˈfɪlpət sɪz. ðə ˌsɪʧuˈeɪʃən ɪz ˌpɑrˈtɪkjələrli əˈkjut ɪn b.c*., wɛr ðɛr ər naʊ ˈdəzənz əv ˈpraɪvət ˈmɛdɪkəl fəˈsɪlɪtiz. wɪθ ə rɪˈpɔrt frəm ðə kəˈneɪdiən prɛs
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british columbia has put three private health clinics under audit amid long-standing concerns about the practice of double-dipping, looking at doctors who work in the public system and who also charge some patients extra fees for quicker access to medical care.
federal health minister jane philpott and her newly appointed b.c. counterpart, adrian dix, say three of the province's several dozen clinics are being examined for billing patients extra for medically necessary care, a violation of the canada health act.
"the audit will determine the extent to which extra billing and user fees have been a barrier to accessible care for people in british columbia," dr. philpott said in a statement thursday.
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in june, a globe and mail investigation found significant, unlawful extra billing by physicians through private doctor-owned clinics, where patients increasingly pay out of pocket to access everything from medical appointments to surgery. provincial laws forbid doctors who bill the public system from also charging patients to access any type of medically necessary service.
related: canadian patients, advocates speak out about illegal doctor double billing
opinion: double-dipping doctors defy the spirit of canadian health-care
the globe found that because extra billing is not supposed to be allowed, prices that clinics charge for various services are unadvertised, unregulated and all over the map. not only is the government not reining in those private fees, but, in contrast to the situation in the united states, insurance companies aren't allowed to step in to negotiate and cover the costs, either. canadian patients are barred from buying private insurance to cover necessary medical services, except in quebec, where the law allows it for minor treatments.
patientserviewed in the globe investigation said they simply paid the asking price, without question – not necessarily because they had the money, but because they were desperate to get treatment. some even took out bank loans, not unlike some americans who have no health insurance.
mr. dix, a former b.c. ndp leader and health critic who became health minister last month, said he strongly supports the audit agreement, which was negotiated under the province's previous liberal government.
"we have to act to ensure that access to medical care in b.c. is based on need and not on an individual's ability to pay," mr. dix said in anerview with the canadian press.
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"that is the reason the law exists and that is something that has been fundamental to canada's health-care system for a long time and is something we strongly support."
mr. dix was unavailable for further comment.
late last year, dr. philpott wrote to her provincial counterparts about double-dipping, singling out ways each jurisdiction could tackle the issue.
health canada and b.c. decided to proceed with the audits in march, mr. dix said to cp, noting that a considerable amount of planning has flowed from that decision.
"the results of the audit may have consequences … but the audits haven't been completed yet so commenting on conclusions that haven't been drawn would be incorrect and unfair," he said. "we are not assuming the results of the audits."
the canada health act, which imposes conditions on the provinces and territories in exchange for health-care funding, prohibits so-called extra billing or user charges for services that are deemed medically necessary. if extra billing or user charges are confirmed, a dollar-for-dollar deduction from that region's federal health transfer payment is required.
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ottawa has the power to fine provinces that don't put a stop to extra billing, but british columbia is the only province it has penalized in the past five years, with fines totalling a million dollars.
and that is a drop in the bucket compared with the tens of millions of dollars that flow through private-billing facilities each year.
ottawa gets its data from the provinces – on how much unlawful extra billing it should penalize them for – so the provinces have a vestederest in minimizing those figures.
ross outerbridge, a surgeonerviewed in the globe investigation, said he doesn't know if the kamloops surgical centre he founded is being audited, but he said these actions are pointless as long as an unresolved court challenge involving a vancouver surgery clinic drags on.
"it's clearly in the courts so they should leave it in the courts and have them figure it out first before they start auditing clinics," dr. outerbridge said thursday.
brian day, medical director of the cambie surgery centre, a private vancouver clinic, will return to b.c. supreme court this fall to continue his constitutional challenge of canada's public health-care system.
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the challenge was started a decade ago after the province told him that auditors were on their way.
on thursday, dr. day said these three audits do not involve his centre, but he suspects the government might have begun them after he recently pointed out, in his court case, that other clinics have been allowed to continue charging the same fees.
"since we started our lawsuit, they haven't targeted any other clinics [until now]," he said.
the federal government is also engaged in the cambie case, which it believes could have important implications for public health care across canada.
mr. dix said "some of the principles" being defended by the government in the case are similar to the questions at play in the audits.
"it is what the medical services commission in b.c. and the [provincial] ministry of health are defending in that case," he said.
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dr. philpott, meanwhile, has also warned other provincial counterparts about extra billing and user fees, noting ottawa will not tolerate the practice.
she has applauded quebec for its decision in january to ban user fees, and she has also been in discussions with saskatchewan officials about upholding the canada health act.
in addition, she has been pushing back against a saskatchewan law that allows private mri scans if they are ordered by a doctor and if the private clinic does a second scan to someone on the public waiting list at no charge.
allowing people to pay for private scans contravenes the act, dr. philpott says.
the situation is particularly acute in b.c., where there are now dozens of private medical facilities.
with a report from the canadian press
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ˈsæˌtɪˌdeɪ naɪt ˈɔfərd ən ˌɑpərˈtunəti tɪ ˈstədi pɛn steɪts ˈbɑrkli ənd sæm ˈdɑrˌnoʊld ɪn ˈhaɪli ænˈtɪsəˌpeɪtɪd geɪmz, ənd aɪ tʊk ædˈvæntɪʤ əv ðə ʧæns. ðiz tu ˌsupərˈstɑrz wɪl ˈɔlˌweɪz bi lɪŋkt baɪ ðɛr ˈɛpɪk pərˈfɔrmənsɪz ɪn læst ˈsizənz roʊz boʊl. ðeɪ wər ðə bɛst pleɪərz ɔn ðə fild ɪn ðət geɪm, ənd aɪ θɪŋk ðɛr ðə tɔp tu pleɪərz ɪn ˈkɑlɪʤ ˈfʊtˌbɔl raɪt naʊ. aɪ noʊ ðɛr ər ə lɔt əv ˈɛˌnɛˈfɛl ðət fil ðə seɪm weɪ. ˈbɑrkli ənd hæv ˈmænɪʤd tɪ ˈkɛri ðə moʊˈmɛntəm frəm ðət roʊz boʊl, ˈivɪn ðoʊ ðeɪ lɔst ðə geɪm, ˈɪntu ðɪs ˈsizən, bət ˈdɑrˌnoʊld ənd hæv ˈstrəgəld tɪ meɪnˈteɪn ðət ˈmæʤɪk. ɪt wɑz ˈɛvədənt ɔn ˈsæˌtɪˌdeɪ naɪt, ɛz ˈmɪʃɪgən waɪl wɑz bloʊn aʊt baɪ ˈnoʊtər deɪm. aɪ ˈhævənt faʊnd wən ˈpərsən tɪ dɪsəˈgri wɪθ ðə əˈsɛsmənt ðət ˈbɑrkli ɪz ðə bɛst ɪn cfb*, bət ðɛr ər səm ˈdɑrˌnoʊld dɪˈtræktərz. ðɛr wɪl kənˈtɪnju tɪ bi ə dəˈbeɪt əˈbaʊt ðə qb*, ənd hi ˈdɪdənt hɛlp tɪ kwɛl kənˈsərnz wɪθ hɪz pleɪ ɔn ˈsæˌtɪˌdeɪ naɪt. aɪ doʊnt θɪŋk ˈdɑrˌnoʊld wɑz ðə ˈrizən lɔst, bət hi ˈdɪdənt pleɪ əp tɪ ðə ˈstændərd hi sɛt læst ˈsizən. hir ər faɪv frəm ðə ˈsæˌtɪˌdeɪ pərˈfɔrmənsɪz əv ðə tu pleɪərz. 1 ɪf ðɛr wɑz ˈɛni daʊt əˈbaʊt ˈwɛðər ˈbɑrkli wɑz ðə bɛst pleɪər ɪn ðə steɪt geɪm, hi pʊt ɪt tɪ rɛst ˈæftər hɪz fərst ˈkɛri əv ðə naɪt (ə rən). hɪz ˈsədənnəs ʤəmps ɔf ðə skrin. ju kʊd si ɪm pʊl əˈweɪ frəm ˈɛvriˌwən ɔn ðə fild ɔn ðət rən. hi meɪd wən hɛk əv ən ˈoʊpənɪŋ ˈsteɪtmənt ɔn ˈsæˌtɪˌdeɪ, ənd hi ˈdɪdənt stɑp ðɛr, ˈfɪnɪʃɪŋ ðə naɪt wɪθ 15 ˈkɛriz fər 108 jɑrdz ənd tu tds*, ɛz wɛl ɛz θri ˈkæʧɪz fər 53 jɑrdz ənd ə. 2 ˈbɑrkli hæd ə ˈkəpəl ˈɪʃuz ˈkæʧɪŋ ðə bɔl ˈsæˌtɪˌdeɪ, wɪʧ wɑz səˈpraɪzɪŋ. hi hæd wən drɔp ənd hi ˈʤəgəld ðə bɔl ɔn hɪz ˈtəʧˌdaʊn kæʧ. ˌhaʊˈɛvər, wɪn ju ˈstədi ðə teɪp əv ðə geɪm, jul si hiz ən ˌaʊtˈstændɪŋ rut ˈrənər. hi sɛts əp dɪˈfɛndərz ənd ɪkˈsploʊdz aʊt əv hɪz breɪks. hiz goʊɪŋ tɪ bi ə ˈbɪgˌtaɪm ˈwɛpən æt ðə nɛkst ˈlɛvəl. wiv spɛnt səm taɪm kəmˈpɛrɪŋ hɪz geɪm tɪ ɛˈzɛˌkiəl ˈɛliəts, ənd waɪl hiz nɑt kwaɪt ɛz ɛz ˈɛliət ɛz ə pæs prəˈtɛktər, hi noʊz hɪz əˈsaɪnmənt ənd hiz ˈvɛri ˈwɪlɪŋ. 3 aɪ ləv ðə ˈɛnərʤi ˈbɑrkli brɔt tɪ hɪz tim, ənd ˈrɪli ðə ɪnˈtaɪər ˈsteɪdiəm, ɔn ˈsæˌtɪˌdeɪ naɪt. ju kən tɛl hi həz ən ˌɪnˈfɛkʃəs ˈætəˌtud, wɪʧ ɪz ˈsəmθɪŋ skaʊts ləv tɪ si frəm ðə bɛst pleɪərz. ɪt ædz ə ˈvɪʒəwəl kəmˈpoʊnənt tɪ ˈɛvriˌθɪŋ ju hir əˈbaʊt ɪm biɪŋ ðə ˈkɑnsəˌmeɪt ˈtiˌmeɪt, wɪʧ maɪ ˈkɑlig ˈkɪmbərli ʤoʊnz ˈbrɪljəntli ˈdɑkjəˌmɛnəd ɪn ə ˈfiʧər ˈstɔri læst wik. ˈɛvriˌbɑdi həz ˈnəθɪŋ bət haɪ preɪz fər ɪm, ənd ɪts ˈizi tɪ si waɪ. 4 dɪˈspaɪt ðə rɪˈzəlt, aɪ θɔt ˈdɑrˌnoʊld wɑz ˈifɛktɪv wɪn hi wɑz prəˈtɛktɪd ɪn ðə ˈpɑkət ˈsæˌtɪˌdeɪ naɪt. ðə əˈfɛnsɪv laɪn ɪz nɑt ˈvɛri gʊd (ɪt wɑz ə ˈmeɪʤər ˈmɪsˌmæʧ əp frənt ɪn ˈnoʊtər deɪmz ˈfeɪvər), bət wɪn hi hæd ə klin ˈpɑkət, hi wɑz ɪn ˈrɪðəm ənd dɪˈlɪvərd ðə bɔl ˈækjərətli, əˈspɛʃəli ɔn ˌəndərˈniθ ənd ˌɪnərˈmidiɪt θroʊz (hi ˈfɪnɪʃt ðə naɪt 20 əv 28 fər 229 jɑrdz, 2 tds*, 1 ənd 1 ˈfəmbəl). hi ˈprɑbəˌbli woʊnt gɪt ˈkrɛdɪt fər ɪt bɪˈkəz ɪt wɑz səʧ ə ˈlɑpˈsaɪdɪd lɔs bət hi meɪd səm ˈrɪli nis θroʊz. hi lɪvz ɪn ˌsɪʧuˈeɪʃənz, wɪʧ ɪz ə təf spɑt tɪ bi ɪn wɪn ju hæv ən ˌɪnˈfɪriər grup əp frənt. ækˈnɑlɪʤd ˈæftər ðə geɪm ðət ˈdɑrˌnoʊld həz bɪn ˈdilɪŋ wɪθ ən ˈæŋkəl ˈɪnʤəri fər ðə pæst fju wiks, ənd ˈdɑrˌnoʊld sɛd hi ˈægrəˌveɪtɪd ɪt ɔn ˈsæˌtɪˌdeɪ naɪt. ju kʊd si ɪm ˈhɑbəlɪŋ ˈdʊrɪŋ ðə geɪm. hi lʊkt laɪk hiz ˈprɪti bit əp ˈfɪzɪkəli, ənd hiz ˈprɑbəˌbli ˈprɪti ˈiˌmoʊʃnəli ɪgˈzɔstɪd ɛz wɛl. wɪn ju kənˈsɪdər ɔl ðət, aɪ θɪŋk hi pleɪd ˈprɪti wɛl. 5 aɪ doʊnt θɪŋk aɪ ˈfʊli əˈpriʃiˌeɪtɪd haʊ məʧ ˈdɑrˌnoʊld wɑz goʊɪŋ tɪ mɪs ædərˈi' ˈʤæksən ənd ˈʤuʤu smith-schuster*. ˈʤæksən wɑz ˈoʊnli ˈsprɪŋkəld ɪn ɔn əˈfɛns fər læst ˈsizən, bət ðoʊz tu pleɪərz, hu ər naʊ ˈɛˌnɛˈfɛl ˈrʊkiz, wər ˈeɪbəl tɪ meɪk ə lɔt əv ɪkˈsploʊsɪv pleɪz, wɪʧ meɪd fər ˈizi draɪvz. ˈdəzənt hæv ðət ˈɛləmənt ðɪs jɪr. ðeɪ ər ˈpɪkɪŋ əp 10 jɑrdz æt ə taɪm, ənd ɪts hɑrd tɪ səˈsteɪn draɪvz ðət weɪ. ðeɪ doʊnt hæv ðə seɪm spid ðeɪv hæd ɪn ðə pæst, ənd ðət pʊts ˈivɪn mɔr ˈprɛʃər ɔn ˈdɑrˌnoʊld. ˈboʊnəs: wi təʧt ɔn ˈnoʊtər deɪm ʤɑʃ ˈædəmz ənd ðə bɪg jɪr hiz ˈhævɪŋ ɪn ðɪs wiks ˈnoʊtˌbʊk, ənd hi kənˈtɪnjud tɪ bɪld ɔn ðət wɪθ ə juʤ geɪm əˈgɛnst 19 ˈkɛriz fər 191 jɑrdz, 3 tds*). hiz ˈstɑrtɪŋ tɪ geɪn səm bəz ɪn ˈskaʊtɪŋ ˈsərkəlz. aɪ doʊnt pʊt ɪm ɪn seɪm klæs ɛz ˈbɑrkli ənd gaɪs, bət hiz ˈfərmli ɪnˈtrɛnʧt ɪn ðə ˈsɛkənd tir əv rbs*. ˈfɑloʊ ˈdænjəl ˌʤɛrəˈmaɪə ɔn tˈwɪtər @movethesticks*.
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saturday night offered an opportunity to study penn state's saquon barkley and usc's sam darnold in highly anticipated prime-time games, and i took advantage of the chance.
these two superstars will always be linked by their epic performances in last season's rose bowl. they were the best players on the field in that game, and i think they're the top two players in college football right now. i know there are a lot of nfl evaluators that feel the same way.
barkley and psu have managed to carry the momentum from that rose bowl, even though they lost the game, into this season, but darnold and usc have struggled to maintain that magic. it was evident on saturday night, as psu steamrolled michigan while usc was blown out by notre dame.
i haven't found one person to disagree with the assessment that barkley is the best rb in cfb, but there are some darnold detractors. there will continue to be a debate about the qb, and he didn't help to quell concerns with his play on saturday night. i don't think darnold was the reason usc lost, but he didn't play up to the standard he set last season.
here are five takeaways from the saturday performances of the two players.
1. if there was any doubt about whether barkley was the best player in the michigan-penn state game, he put it to rest after his first carry of the night (a 69-yard td run). his suddenness jumps off the screen. you could see him pull away from everyone on the field on that run. he made one heck of an opening statement on saturday, and he didn't stop there, finishing the night with 15 carries for 108 yards and two tds, as well as three catches for 53 yards and a td.
2. barkley had a couple issues catching the ball saturday, which was surprising. he had one drop and he juggled the ball on his touchdown catch. however, when you study the tape of the game, you'll see he's an outstanding route runner. he sets up defenders and explodes out of his breaks. he's going to be a big-time three-down weapon at the next level.
we've spent some time comparing his game to ezekiel elliott's, and while he's not quite as impactful as elliott as a pass protector, he knows his assignment and he's very willing.
3. i love the energy barkley brought to his team, and really the entire stadium, on saturday night. you can tell he has an infectious attitude, which is something scouts love to see from the best players.
it adds a visual component to everything you hear about him being the consummate teammate, which my colleague kimberly jones brilliantly documented in a feature story last week. everybody has nothing but high praise for him, and it's easy to see why.
4. despite the result, i thought darnold was effective when he was protected in the pocket saturday night. the usc offensive line is not very good (it was a major mismatch up front in notre dame's favor), but when he had a clean pocket, he was in rhythm and delivered the ball accurately, especially on underneath and intermediate throws (he finished the night 20 of 28 for 229 yards, 2 tds, 1 int and 1 fumble).
he probably won't get credit for it because it was such a lopsided loss (49-14), but he made some really nice throws. he lives in third-and-long situations, which is a tough spot to be in when you have an inferior group up front. usc acknowledged after the game that darnold has been dealing with an ankle injury for the past few weeks, and darnold said he aggravated it on saturday night. you could see him hobbling during the game. he looked like he's pretty beat up physically, and he's probably pretty emotionally exhausted as well.
when you consider all that, i think he played pretty well.
5. i don't think i fully appreciated how much darnold was going to miss adoree' jackson and juju smith-schuster. jackson was only sprinkled in on offense for usc last season, but those two players, who are now nfl rookies, were able to make a lot of explosive plays, which made for easy drives. usc doesn't have that element this year. they are picking up 10 yards at a time, and it's hard to sustain drives that way. they don't have the same speed they've had in the past, and that puts even more pressure on darnold.
bonus: we touched on notre dame rb josh adams and the big year he's having in this week's mts notebook, and he continued to build on that with a huge game against usc (19 carries for 191 yards, 3 tds). he's starting to gain some buzz in scouting circles. i don't put him in same class as barkley and lsu's derrius guice, but he's firmly entrenched in the second tier of rbs.
follow daniel jeremiah on twitter @movethesticks.
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2015 ɪz ðə jɪr fər ˈwɛrəbəl tɛk, soʊ doʊnt mɪs aʊt ðɪs jɪr ɔn səm greɪt blæk ˈfraɪˌdeɪ dilz soʊ doʊnt fərˈgɑt tɪ ʧɛk aʊt ɑr əˈfɪʃəl blæk ˈfraɪˌdeɪ lɪv ˈkəvərɪʤ fər ˈfɪtnəs ˈtrækərz ənd mɔr! ˌɪnˈkludɪŋ boʊθ ənd ˈæpəl wɔʧ spɔrt meɪk ən ˈɛksələnt fər ˈwərkɪŋ aʊt. ɪts nis biɪŋ ˈeɪbəl tɪ ˈlɪsən tɪ mˈjuzɪk θru ˈwaɪrlɪs ˈbluˌtuθ ˈhɛdˌfoʊnz frəm mˈjuzɪk stɔrd ɔn jʊr wɔʧ waɪl jʊr ˈɔlsoʊ ˈeɪbəl tɪ træk jʊr ˈwərˌkaʊt, peɪs, ˈkælɔˌriz bərnd, ənd hɑrt reɪt ˈdʊrɪŋ jʊr ˈɛksərˌsaɪz. ˈðɛrˌfɔr wi θɪŋk ɪt meɪks sɛns tɪ ˌɪnˈvɛst ə nis pɛr əv ˈbluˌtuθ ˈhɛdˌfoʊnz ðət wərks wɛl wɪθ ˈiðər ju ˈæpəl wɔʧ ənd wɔʧ səʧ ɛz ðə ˈmoʊtoʊ 360 wɔʧ, ˈsæmˌsəŋ gɪr ˌɛtˈsɛtərə. wi hæv səm gʊd ˌrɛkəmənˈdeɪʃənz fər ˈbluˌtuθ ˈhɛdˌfoʊnz ðət ər ɔn seɪl fər blæk ˈfraɪˌdeɪ ənd ˈsaɪbər ˈmənˌdeɪ ðɪs jɪr: blæk ˈfraɪˌdeɪ ˈbluˌtuθ ˈhɛdˌsɛt dilz ðiz ər kˈwɑləti ˈbluˌtuθ ˈɪrˌfoʊnz æt ə ˈtaɪni praɪs. ðə ˌrivˈju ər ˌæbsəˈlutli ˈɛksələnt ˈpipəl sim tɪ ləv ðɛm top-to-bottom*. ˈmɛni rəvˈjuz seɪ ðət ðə ˈoʊvərˌɔl kˈwɑləti əv ðə ˈhɛdˌfoʊnz ər greɪt ənd saʊnd kˈwɑləti ɪz ˈvɛri gʊd kənˈsɪdərɪŋ ðə loʊ kɔst. ðeɪ hæv ə gʊd dɪˈzaɪn ənd ˈpipəl seɪ ðeɪ ər ˈvɛri ˈkəmfərtəbəl tɪ wɛr ɛz wɛl. ˈoʊvərˌɔl, ɪf jʊr ˈlʊkɪŋ fər ə gʊd pɛr əv ˈbluˌtuθ ˈhɛdˌfoʊnz æt gʊd praɪs ðɪs simz tɪ bi ðə wən. 2 ɛks spɔrt ˈwaɪrlɪs ˈbluˌtuθ ˈhɛdˌfoʊnz ɔn ˈæməˌzɑn praɪm 54 ɔf) ˈnɔrməli 169 ðɪs ɪz ə ˈvɛri ˈpɑpjələr ˈwaɪrlɪs ˈbluˌtuθ ˈhɛdˌfoʊn sɪns ɪt ɪz wən əv ðə fərst ˈwaɪrlɪs ˈhɛdˌfoʊnz ðət lʊk ənd fil ˈɔlˌmoʊst aɪˈdɛntɪkəl tɪ waɪərd in-ears*. ˈsɪmələr tɪ ðə bits 2 ɪkˈsɛpt ˈʧipər, ðeɪ ər ˈeɪbəl tɪ pæk ɔl ðə tɛkˈnɑləʤi ˈɪntu ən ˌɪmˈprɛsɪvli smɔl fɔrm ˈfæktər, waɪl stɪl ˈhævɪŋ əp tɪ ˈbætəri laɪf. ðə ɛks ˈɔlsoʊ ˈfiʧər ɪr ˌsteɪbələˈzeɪʃən tɛkˈnɑləʤi, ðeɪ ər ˈfʊli swɛt rɪˈzɪstənt ənd ˈɔlsoʊ ˌɪnˈklud ə rɪˈmoʊt ənd ˈmaɪkrəˌfoʊn fər ˈmeɪkɪŋ kɔlz. ˈɔlsoʊ ʧɛk aʊt ðə nuər wɪʧ ər ˈɔlsoʊ ɔn seɪl fər 129 ɔn ˈæməˌzɑn! 3 bits 2 ˈwaɪrlɪs ˈhɛdˌfoʊnz 139 ɔn ˈæməˌzɑn praɪm 30 ɔf) ˈnɔrməli 200 ðiz ər meɪd baɪ ˈæpəl sɪns ðeɪ oʊn ðə brænd bits ənd ðə moʊst ˈstaɪlɪʃ ənd spəˈsɪfɪkli meɪd fər ˈæpəl ˈprɑdəkts ˌɪnˈkludɪŋ ðə ˈæpəl wɔʧ. ðə 2 ər ˈbluˌtuθ ənd ˈwaɪrlɪs, spəˈsɪfɪkli bɪlt fər æθˈlɛtɪk ˈpərpəsɪz boʊθ swɛt ənd ˈwɔtər rɪˈzɪstənt, ðeɪ ər ˈkəmfərtəbəl tɪ wɛr ənd steɪz ɪn jʊr ɪrz ˈvɛri wɛl noʊ ˈmætər haʊ hɑrd ðə ˈwərˌkaʊt. ðə saʊnd ɪz strɔŋ ənd laʊd ənd gɪt 6 aʊərz əv ˈbætəri laɪf frəm ə fʊl ʧɑrʤ, wɪθ ə kwɪk ʧɑrʤ ˈfiʧər ðət gɪvz ju əp tɪ 1 aʊər əv rən taɪm ɪn ˈoʊnli 15 ˈmɪnəts əv ˈʧɑrʤɪŋ. 4 spɔrt ˈwaɪrlɪs ˈbluˌtuθ ˈhɛdˌfoʊnz ɔn ˈæməˌzɑn praɪm 28 ɔf) ðiz ər ˈnɔrməli 179 bət ju kən gɪt ðə ˈəpˌdeɪtɪd ˈvərʒən əv ðə ˈpɑpjələr ɛks ˈhɛdˌfoʊnz fər 129 ðɛrz ə fju bɪg ˈəpˌdeɪts tɪ ðiz ˈhɛdˌfoʊnz, fərst wən biɪŋ ðə saʊnd kˈwɑləti ɪz ˈivɪn ˈbɛtər ðən ðə ərˈɪʤənəl ɛks. ðə ˈfɪnɪʃ ənd əˈveɪləbəl ˈkələrz ər ˈivɪn mɔr dɪˈvərs ənd ˈfiʧərz ən ˈivɪn mɔr ˈkɑmpækt dɪˈzaɪn. ˈɔlsoʊ ˈəpˌdeɪtɪd ðə tɪps wɪθ kəmˈplaɪ foʊm tɪps ənd ˌridɪˈzaɪnd ðə soʊ ðeɪ ər ˈivɪn mɔr ˈkəmfərtəbəl. əˈnəðər ˈmaɪnər ˈdɪfərəns ɪz ðə fækt ðət ðə kənˈtroʊlz ər naʊ ˈsaɪlənt. ðə ɛks juz ə smɔl bip toʊn tɪ lɛt ju noʊ wɪn ˈvɑljum ər træks ər ʧeɪnʤd ənd gɔn ðɪs taɪm əraʊnd. 5 goʊ 2 49 ɔn ˈæməˌzɑn ˈdəbəlju/ praɪm 50 ɔf) fər ə greɪt praɪs, ðiz ər ɪkˈstrimli ˈkəmfərtəbəl ənd ˈvɛri laɪt weɪt ˈbluˌtuθ ˈhɛdˌfoʊnz fər ðə ˈæpəl wɔʧ. ðeɪ hæv ə gʊd saʊnd kˈwɑləti ənd ər ˈɔlsoʊ wɪʧ meɪks ðɛm ˈpərˌfɪkt fər ˈrənɪŋ. waɪl ðə ˈbætəri laɪf ˈɪzənt ɛz gʊd ɛz ˈəðərz aʊərz) ɪt dɪz ˌɪnˈklud ə ˈvɛri kul prəˈtɛktɪv keɪs ðət ˈɔlsoʊ həz ə ˈbɪlˌtɪn ˈbætəri fər ˈʧɑrʤɪŋ ɔn ðə goʊ, wɪʧ minz ju kən kip ðɛm goʊɪŋ fər əˈbaʊt 14 aʊərz wɪθ ðə keɪs.
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2015 is the year for wearable tech, so don't miss out this year on some great black friday smartwatch deals so don't forgot to check out our official black friday live coverage for fitness trackers and more!
smartwatches including both androidwear and apple watch sport make an excellent smartwatch for working out. it's nice being able to listen to music through wireless bluetooth headphones from music stored on your watch while you're also able to track your workout, pace, calories burned, and heart rate during your exercise. therefore we think it makes sense to invest a nice pair of bluetooth headphones that works well with either you apple watch and androidwear watch such as the moto 360, huawei watch, samsung gear s2, etc. we have some good recommendations for bluetooth headphones that are on sale for black friday and cyber monday this year:
black friday bluetooth headset deals
these are quality bluetooth in-ear earphones at a tiny price. the review are absolutely excellent – people seem to love them top-to-bottom. many reviews say that the overall quality of the headphones are great and sound quality is very good considering the low cost. they have a good design and people say they are very comfortable to wear as well. overall, if you're looking for a good pair of bluetooth headphones at good price this seems to be the one.
2) jaybird x sport wireless bluetooth headphones - $79.00 on amazon prime (54% off)
normally $169, this is a very popular wireless bluetooth headphone since it is one of the first wireless in-ear headphones that look and feel almost identical to wired in-ears. similar to the beats powerbeats 2 except cheaper, they are able to pack all the technology into an impressively small form factor, while still having up to 8-hour battery life. the bluebuds x also feature ear stabilization technology, they are fully sweat resistant and also include a remote and microphone for making calls. also check out the newer jaybird x2 which are also on sale for $129 on amazon!
3) beats powerbeats 2 wireless in-ear headphones - $139 on amazon prime (30% off)
normally $200, these are made by apple since they own the brand beats and the most stylish and specifically made for apple products including the apple watch. the powerbeats 2 are bluetooth and wireless, specifically built for athletic purposesit's both sweat and water resistant, they are comfortable to wear and stays in your ears very well no matter how hard the workout. the sound is strong and loud and you’ll get 6 hours of battery life from a full charge, with a quick charge feature that gives you up to 1 hour of run time in only 15 minutes of charging.
4) jaybird x2 sport wireless bluetooth headphones - $129.99 on amazon prime (28% off)
these are normally $179, but you can get the updated version of the popular jaybird x headphones for $129. there's a few big updates to these headphones, first one being the sound quality is even better than the original jaybird x. the finish and available colors are even more diverse and features an even more compact design. jaybird also updated the tips with comply foam tips and redesigned the ear-fins so they are even more comfortable. another minor difference is the fact that the controls are now silent. the bluebuds x use a small beep tone to let you know when volume or tracks are changed and that’s gone this time around.
5) backbeat go 2 earset - $49 on amazon w/ prime (50% off)
for a great price, these are extremely comfortable and very light weight bluetooth headphones for the apple watch. they have a good sound quality and are also sweatproof which makes them perfect for running. while the battery life isn't as good as others (4.5 hours) it does include a very cool protective case that also has a built-in battery for charging on the go, which means you can keep them going for about 14 hours with the case.
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s.a*. ˈwərkər mɪˈsteɪkənli ʤeɪld ˌhoʊˈzeɪ hərˈnændɛz, ʃoʊn wɪθ hɪz waɪf, leisa*, wɑz ərˈɛstɪd æt hɪz ˌnɔrθˈwɛst saɪd hoʊm ɔkt. 22 baɪ ˈkaʊnti ˈʃɛrɪfs ˈdɛpjətiz wɪθ ə ˈwɔrənt aʊt əv ˈhɛrɪs ˈkaʊnti fər əˈnəðər mæn wɪθ ðə seɪm neɪm ənd deɪt əv bərθ. lɛs ˌhoʊˈzeɪ hərˈnændɛz, ʃoʊn wɪθ hɪz waɪf, leisa*, wɑz ərˈɛstɪd æt hɪz ˌnɔrθˈwɛst saɪd hoʊm ɔkt. 22 baɪ ˈkaʊnti ˈʃɛrɪfs ˈdɛpjətiz wɪθ ə ˈwɔrənt aʊt əv ˈhɛrɪs ˈkaʊnti fər əˈnəðər mæn wɪθ ðə seɪm neɪm ənd deɪt əv mɔr ˈfoʊˌtoʊ: ʤɑn ˈɔlˌbraɪt, sæn ænˈtoʊnioʊ ˈfoʊˌtoʊ: ʤɑn ˈɔlˌbraɪt, sæn ænˈtoʊnioʊ ˈɪmɪʤ 1 əv 1 ˈkæpʃən kloʊz s.a*. ˈwərkər mɪˈsteɪkənli ʤeɪld 1 1 bæk tɪ ˈgæləri əˈθɔrətiz ˈrisəntli dɪˈteɪnd ðə rɔŋ mæn ɔn ə ˈsɛkʃuəl əˈsɔlt ˈwɔrənt, ərˈɛstɪŋ ə sæn ænˈtoʊnioʊ kənˈstrəkʃən ˈwərkər wɪθ ðə ˈkɑmən neɪm əv ˌhoʊˈzeɪ hərˈnændɛz dɪˈspaɪt ən əˈpɛrənt haɪt ˈdɪfərəns wɪθ ðə ˈækʧəwəl ˈsəˌspɛkt, ˈrɛkərdz ʃoʊ. ˌhoʊˈzeɪ ˈgeɪbriəl hərˈnændɛz, hu stændz 6 fit 1 ˈɪnʧɪz ənd weɪz 230 paʊnz, wɑz ərˈɛstɪd æt hɪz hoʊm ɔkt. 22 baɪ ˈkaʊnti ˈʃɛrɪfs ˈdɛpjətiz, hu hæd ə ˈwɔrənt aʊt əv ˈhɛrɪs ˈkaʊnti fər əˈnəðər ˌhoʊˈzeɪ hərˈnændɛz wɪθ ðə seɪm deɪt əv bərθ. bət ðə ˈwɔntɪd mæn stʊd ˈoʊnli 5 fit 7 ənd weɪd əˈbaʊt 190 paʊnz, əˈkɔrdɪŋ tɪ kɔrt ˈrɛkərdz. ˈprɪti ˈɑbviəs ɪts nɑt me,”*,” sɛd hərˈnændɛz, 49 ɪn ðə deɪz ˈæftər hɪz ərˈɛst, hɪz waɪf ənd ˈəðər ˈrɛlətɪvz skreɪpt təˈgɛðər 15 pərˈsɛnt əv hɪz beɪl ənd riʧt aʊt tɪ ə frɛnd hu ɪz ən əˈtərni ɪn ə ˈhjustən lɔ fərm. ðət frɛnd kəˈnɛktɪd ðə ˈfæməli wɪθ ˈbɪli bɛlk, ə ˈfɔrmər ˈhjustən pəˈlis dɪˈtɛktɪv ənd ə dɪˈfɛns əˈtərni, hu tʊk ðə keɪs fər fri ənd ˈpɔɪntɪd aʊt ˈsɛvərəl ˈprɑbləmz wɪθ ðə aɪˌdɛntəfəˈkeɪʃən tɪ ˈprɑsɪˌkjutərz. ˈhɛrɪs ˈkaʊnti ˈprɑsɪˌkjutərz dɪsˈmɪst ðə ˈʧɑrʤɪz əˈgɛnst hərˈnændɛz ɔn ˈwɛnzˌdeɪ ˈæftər ə ˈhjustən pəˈlis dɪˈtɛktɪv kənˈfərmd ðət ˈfoʊˌtoʊz əv ðə ˈwɔntɪd mæn ənd ðə ərˈɛstɪd mæn dɪd nɑt mæʧ, əˈkɔrdɪŋ tɪ ðə ˈdɪstrɪkt əˈtərniz ˈɔfəs. ə noʊt baɪ ðə ˈprɑsɪˌkjutər ɔn ðə dɪsˈmɪsəl ˈpeɪpərˌwərk ridz: hərˈnændɛz' arrested.”*.” bɛlk sɛd hi ɪz stɪl ənˈʃʊr haʊ hɪz klaɪənt keɪm ˈɔntu ðə ˈkaʊnti ˈʃɛrɪfs ˈɔfəs ˈreɪˌdɑr. hi sɛd hərˈnændɛz ˈrisəntli əˈplaɪd fər ə ˈpɑrtˈtaɪm ʤɑb ɛz ə skul bəs ˈdraɪvər, wɪʧ maɪt hæv brɔt ðə ˌaʊtˈstændɪŋ ˈwɔrənt tɪ ðə əˈtɛnʃən əv əˈθɔrətiz kənˈdəktɪŋ ə ˈkrɪmənəl ˈbækˌgraʊnd ʧɛk. ˈkaʊnti ˈʃɛrɪfs əˈfɪʃəlz dɪˈklaɪnd tɪ ˈkɑmɛnt ɔn ðə keɪs. ˈhjustən pəˈlis dɪd nɑt ˌɪˈmiˌdiətli rɪˈtərn ə kɔl ˈmənˌdeɪ. doʊnt θɪŋk ðɛr wɑz ˈɛniˌθɪŋ malicious,”*,” hərˈnændɛz sɛd. wɑz ʤɪst ðət ˈsəmˌbɑdi gɑt ˈleɪzi ənd ˈdɪdənt du ðɛr ʤɑb. ðeɪ ʤɪst ʤəmpt ðə gən ənd ərˈɛstɪd ə ˌhoʊˈzeɪ hernandez”*” wɪθ ðə seɪm bərθ deɪt ɛz ðə ˈsəˌspɛkt. hərˈnændɛz sɛd hi ɪz aʊt ðə hɪz ˈfæməli peɪd ðə beɪl bondsman*. hi ˈkɑnˌtæktɪd ðə ˈkəmpəˌni ˈæftər ðə ʧɑrʤ wɑz dɪsˈmɪst bət sɛd hi wɑz toʊld ðɛr ər noʊ ˈriˌfəndz, ˈivɪn fər ˈrɔŋfəl ərˈɛsts. ðə ˈoʊnər əv ðə ˈkəmpəˌni, ˈælbərt sinz, kʊd nɑt ˌɪˈmiˌdiətli bi riʧt fər ˈkɑmɛnt. hərˈnændɛz sɛd hi stɪl həz tɪ ˈfɔrməli ɪkˈspənʤ ðə ˈʧɑrʤɪz frəm hɪz ˈrɛkərd, wɪʧ kən bi taɪm kənˈsumɪŋ. hi ˈædɪd ðət hi ɪz kənˈsɪdərɪŋ ə ˈlɔˌsut əˈgɛnst steɪt ənd ˈloʊkəl lɔ ɛnˈfɔrsmənt tɪ rɪˈkup səm əv hɪz kɔsts fər ðə ˈrɔŋfəl ərˈɛst. ðə ˈəðər ˌhoʊˈzeɪ hərˈnændɛz ɪz stɪl ˈwɔntɪd ɪn ðə 2005 ˈsɛkʃuəl əˈsɔlts, ənd ə ˈwɔrənt wɪθ əˈdɪʃənəl ˌɪnˌfɔrˈmeɪʃən həz bɪn riˈɪʃud fər hɪz ərˈɛst, əˈθɔrətiz sɛd. ɑd ɛz ɪt saʊnz, əm ˈɔlˌmoʊst glæd ɪt wɑz mi ðət gɑt ərˈɛstɪd ənd nɑt səm pur soʊl hu ˈdɪdənt noʊ ˈɛnibədi hu kʊd hɛlp him,”*,” hərˈnændɛz sɛd. stɪl bi ˈsɪtɪŋ ɪn jail.”*.”
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s.a. worker mistakenly jailed
jose hernandez, shown with his wife, leisa, was arrested at his northwest side home oct. 22 by bexar county sheriff's deputies with a warrant out of harris county for another man with the same name and date of birth. less jose hernandez, shown with his wife, leisa, was arrested at his northwest side home oct. 22 by bexar county sheriff's deputies with a warrant out of harris county for another man with the same name and date of ... more photo: john albright, san antonio express-news photo: john albright, san antonio express-news image 1 of / 1 caption close s.a. worker mistakenly jailed 1 / 1 back to gallery
authorities recently detained the wrong man on a sexual assault warrant, arresting a san antonio construction worker with the common name of jose hernandez — despite an apparent 6-inch height difference with the actual suspect, records show.
jose gabriel hernandez, who stands 6 feet 1 inches and weighs 230 pounds, was arrested at his home oct. 22 by bexar county sheriff's deputies, who had a warrant out of harris county for another jose hernandez with the same date of birth. but the wanted man stood only 5 feet 7 and weighed about 190 pounds, according to court records.
“it's pretty obvious it's not me,” said hernandez, 49.
in the days after his arrest, his wife and other relatives scraped together $22,500 — 15 percent of his $150,000 bail — and reached out to a friend who is an attorney in a houston law firm. that friend connected the family with billy belk, a former houston police detective and a defense attorney, who took the case for free and pointed out several problems with the identification to prosecutors.
harris county prosecutors dismissed the charges against hernandez on wednesday after a houston police detective confirmed that photos of the wanted man and the arrested man did not match, according to the district attorney's office. a note by the prosecutor on the dismissal paperwork reads: “wrong ‘jose hernandez' arrested.”
belk said he is still unsure how his client came onto the bexar county sheriff's office radar. he said hernandez recently applied for a part-time job as a school bus driver, which might have brought the outstanding warrant to the attention of authorities conducting a criminal background check.
bexar county sheriff's officials declined to comment on the case. houston police did not immediately return a call monday.
“i don't think there was anything malicious,” hernandez said. “it was just that somebody got lazy and didn't do their job. they just jumped the gun and arrested a jose hernandez” with the same birth date as the suspect.
hernandez said he is out the $22,500 his family paid the bail bondsman. he contacted the company after the charge was dismissed but said he was told there are no refunds, even for wrongful arrests. the owner of the company, albert saenz, could not immediately be reached for comment.
hernandez said he still has to formally expunge the charges from his record, which can be time consuming. he added that he is considering a lawsuit against state and local law enforcement to recoup some of his costs for the wrongful arrest.
the other jose hernandez is still wanted in the 2005 sexual assaults, and a warrant with additional information has been reissued for his arrest, authorities said.
“as odd as it sounds, i'm almost glad it was me that got arrested and not some poor soul who didn't know anybody who could help him,” hernandez said. “he'd still be sitting in jail.”
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tɔp ˈlidərˌʃɪp əv ðə ˈnɑvəˌhoʊ ˈneɪʃən ɛnˈdɔrst ˌdɛməˈkrætɪk ˌnɑməˈni ˈhɪləri ˈklɪntən fər ˈprɛzɪdənt ˈfraɪˌdeɪ. ðə ˌdɛməˈkrætɪk ˈnæʃənəl kəˈmɪti əˈnaʊnst ðə səˈpɔrt əv ˈnɑvəˌhoʊ ˈneɪʃən ˈprɛzɪdənt, ˈrəsəl, ənd vaɪs ˈprɛzɪdənt, ˈʤɑnəθən nɛz, ɔn ˈfraɪˌdeɪ. ðə ɛnˈdɔrsmənts keɪm ɛz pɑrt əv ðə bəs tʊr, wɪʧ ˈtrævəld tɪ ˈælbəkərki ˈərliər ðət seɪm deɪ. preɪzd wərk wɪθ ˈneɪtɪv əˈmɛrɪkənz boʊθ ˈdʊrɪŋ ðə kæmˈpeɪn ənd ˈdʊrɪŋ hər taɪm ɛz juz. ˈsɛnətər frəm nu jɔrk. ðɪs kæmˈpeɪn, ʃi həz kəˈmɪtɪd tɪ ˈsərvɪŋ ˈtraɪbəl ˈneɪʃənz θru ˈstrɛŋθənɪŋ ˈpəblɪk ˈseɪfti, kəmˈbætɪŋ drəgz ənd ˈælkəˌhɑl, ˈædvəˌkeɪtɪŋ fər ˈækˌsɛs tɪ haɪ kˈwɑləti ˌɛʤəˈkeɪʃən, ˌɪmˈpruvɪŋ ˈɪndiən hɛlθ kɛr, ənd ˈfaɪtɪŋ fər ɑr ˈneɪtɪv əˈmɛrɪkən veterans,”*,” sɛd. ə ˈsɛnətər, ʃi kənˈtɪnjud ðɪs ˈɛfərt baɪ ˌlɛʤəsˈleɪʃən tɪ ˌɪmˈpruv ˈɪndiən hɛlθ kɛr ənd ˈtraɪbəl ˈkɑlɪʤɪz. aɪ trəst ʃi wɪl rɪˈspɛkt ɑr ˈtriti ənd aɪ lʊk ˈfɔrwərd tɪ ˈwərkɪŋ wɪθ hər ædˌmɪnɪˈstreɪʃən ɔn ə basis.”*.” nɛz sɛd hi ɪz fʊl səˈpɔrt əv ˈhɪləri clinton.”*.” ðə bəs tʊr wɛnt tɪ ənd ˈtubə ˈsɪti. ðə bəs tʊr ˈɔlsoʊ wɛnt tɪ səˈpɔrt todacheene*, ə ˌdɛməˈkrætɪk ˈkænədɪt ɪn haʊs ˈdɪstrɪkt 4 ɪn əˈdɪʃən tɪ nɛz, ˌdɛməˈkrætɪk ˈpɑrti ʧɛr ˈdɛbrə ˈhɑlənd ənd ˈkɑŋgrəsˌwʊmən mɪˈʃɛl luˈjɑn ˈgrɪʃəm ʤɔɪnd ðət ˈræli. ɪn əˈdɪʃən tɪ ˈkəvərɪŋ ə lɑrʤ əˈmaʊnt əv ˌnɔrθˈwɛstərn nu ˈmɛksəˌkoʊ, ðə ˈnɑvəˌhoʊ ˈneɪʃən ˈɔlsoʊ ˈkəvərz ə lɑrʤ ˈɛriə əv ˌnɔrˈθistərn ˌɛrɪˈzoʊnə ənd ə smɔl pɑrt əv ˈjuˌtɔ. ɪn ðɪs ɪˈlɛkʃən, ˌɛrɪˈzoʊnə ənd ˈjuˌtɔ ər kənˈsɪdərd ˈbætəlˌgraʊnd steɪts. ˌɛrɪˈzoʊnə læst ˈvoʊtɪd fər ə ˌdɛməˈkrætɪk ˈkænədɪt ɪn 1996 wɪn bɪl ˈklɪntən wən ðə steɪt, ˈɛʤɪŋ rɪˈpəblɪkən bɑb læst taɪm ə ˌdɛməˈkrætɪk ˈkænədɪt wən ɪn ˈjuˌtɔ wɑz 1964 wɪn ˈlɪndən ˈʤɑnsən dɪˈfitɪd rɪˈpəblɪkən ˈbɛri ˈgoʊldˌwɔtər. boʊθ steɪts ər kənˈsɪdərd ɪn pleɪ ðɪs jɪr bɪˈkəz əv ðə ənˌpɑpjəˈlɛrɪti əv ˈdɑnəld trəmp əˈməŋ ˈmɛni grups. wən səʧ grup ɪz ˈmɔrmənz, hu meɪk əp mɔr ðən ˌtuˈθərdz əv ðə steɪt. ɪn ˌɛrɪˈzoʊnə, ˈmɔrmənz meɪk əp pərˈsɛnt əv ðə ˌpɑpjəˈleɪʃən, ðə ɪn ðə ˈneɪʃən.
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top leadership of the navajo nation endorsed democratic nominee hillary clinton for president friday.
the democratic national committee announced the support of navajo nation president, russell begaye, and vice president, jonathan nez, on friday. the endorsements came as part of the dnc’s bus tour, which traveled to albuquerque earlier that same day.
begaye praised clinton’s work with native americans both during the campaign and during her time as u.s. senator from new york.
“in this campaign, she has committed to serving tribal nations through strengthening public safety, combating drugs and alcohol, advocating for access to high quality education, improving indian health care, and fighting for our native american veterans,” begaye said. “as a senator, she continued this effort by cosponsoring legislation to improve indian health care and tribal colleges. i trust she will respect our treaty and i look forward to working with her administration on a government-to-government basis.”
nez said he is “in full support of hillary clinton.”
the bus tour went to shiprock and tuba city.
the bus tour also went to support glojean todacheene, a democratic candidate in house district 4. in addition to nez, democratic party chair debra haaland and congresswoman michelle lujan grisham joined that rally.
in addition to covering a large amount of northwestern new mexico, the navajo nation also covers a large area of northeastern arizona and a small part of utah.
in this election, arizona and utah are considered battleground states. arizona last voted for a democratic candidate in 1996, when bill clinton won the state, edging republican bob dole.the last time a democratic candidate won in utah was 1964, when lyndon johnson defeated republican barry goldwater.
both states are considered in play this year because of the unpopularity of donald trump among many groups. one such group is mormons, who make up more than two-thirds of the state. in arizona, mormons make up 6.14 percent of the state’s population, the fifth-highest in the nation.
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tri-cities*, wɑʃ. wɪn ðə ˈwɔtər ˈfɑliz ˈsɛləˌbreɪt jɪrz əv racing”*”, 12 ənˈlɪmɪtɪd ˈdraɪvərz maɪt bi ˈθɪŋkɪŋ əˈbaʊt ðə ˈhɪstəri əv ðə spɔrt ɔn ðə kəˈləmbiə ˈrɪvər, bət ðɛr fərst θɔts wɪl bi ˈwɪnɪŋ ðə goʊld kəp tɪ bi ɪgˈzækt. ðə ˈækʃən stɑrts ˈfraɪˌdeɪ, ˌʤuˈlaɪ wɪθ ˈtɛstɪŋ ənd kˈwɑləˌfaɪɪŋ. ˈreɪsɪŋ wɪl teɪk pleɪs ɔn ˈsæˌtɪˌdeɪ, ˌʤuˈlaɪ 25 wɪθ mɔr hit ˈreɪsɪŋ ənd ðə ˈʧæmpiənˌʃɪp ˈfaɪnəl ɔn ˈsənˌdi, ˌʤuˈlaɪ 26 wi hæd ðə ˌɑpərˈtunəti tɪ ʧeɪnʤ ˈvɛnuz fər ðə goʊld kəp, ɔl ðə reɪs saɪts ɔn ɑr ˈsərkət əˈgrid juˈnænəməsli ðət ðə ˌænəˈvərsəri əv ðə reɪs ɔn ðə kəˈləmbiə ˈrɪvər wɑz ðə ˈpərˌfɪkt ʧɔɪs fər ðə ˈbɪgəst əv ɔl boʊt races,”*,” sɛd ənˈlɪmɪtɪd ˈʧɛrmən stiv ˈdeɪvɪd. goʊld kəp ɪz ðə ˈoʊldəst ˈæktɪv ˈtroʊfi ɪn motorsports*, ənd tɪ hæv ɪt ɪn ɔn ðə ˌænəˈvərsəri əv ɪts ənˈlɪmɪtɪd ˈhɪstəri ɪz ɪkˈsaɪtɪŋ fər ðə fænz ənd ɔl əv ˈjuˈɛs ɪn ðə sport.”*.” ðə goʊld kəp reɪs, fərst kənˈtɛstəd ɪn 1904 wɑz ˈænsər tɪ ðə ˈhaɪli ˈtaʊtɪd ˌɪnərˈnæʃənɑl ˈtroʊfi. sɪns ðə goʊld kəp həz bɪn rən iʧ jɪr ɪkˈsɛpt ˈdʊrɪŋ wərld wɔr ənd wɪn ˈwɛðər kənˈdɪʃənz fɔrst ə ˌkænsəˈleɪʃən. ðɪs reɪs ɪz ðə ˈrənɪŋ əv ðə goʊld kəp ənd ðə fɪθ taɪm həz ˈhoʊstɪd ðɪs pərˈstiʤəs reɪs. ɪt wɪl ˈɔlsoʊ bi ðə fərst taɪm ðə goʊld kəp həz bɪn reɪst ˈaʊtˈsaɪd əv ðə ˈsɪti əv ˈdiˌtrɔɪt sɪns 1989 wɪθ ðə læst əˈdɪʃən əv ðə ˈoʊnli ˈpɪstən paʊərd ˈælɪsən paʊərd, ðə grɪgz ˈprɛzənts mɪs eɪs ˈhɑrdˌwɛr ˈpaɪlətɪd baɪ ˈʤɪmi kɪŋ, 12 ˈdraɪvərz, 11 ˈreɪsɪŋ ˈtərbaɪn paʊərd, wɪl kəmˈpit fər ðə ˈtaɪtəl. əv ðə ˈdəzən ˈdraɪvərz ˈlʊkɪŋ tɪ wɪn ðə moʊst pərˈstiʤəs ˈtroʊfi ɪn boʊt ˈreɪsɪŋ, ˈoʊnli tu ˈkɑrənt ˈdraɪvərz hæv ˈɛvər wən ðə goʊld kəp. ʤin wən ðə 2006 reɪs fər ˈbɪli ʤeɪn ˈʃuˌmɑkər ənd hi rɪˈtərnz tɪ ðə ˈsɪriz ˈfʊlˌtaɪm ðɪs jɪr ɪn ðə ˈɛləm pləs. ðə nu həl, ˈkrɪsənd læst jɪr æt ðɪs reɪs, ɪz wən əv ðə frənt ˈrənərz fər ðɪs goʊld kəp. ˈʤɪmi ʃeɪn droʊv ðə ˈmædɪsən tɪ ˈvɪktəri læst jɪr ɪn ðə goʊld kəp ɪn ˈdiˌtrɔɪt. ðə ˈvɪktəri geɪv ðə ˈsɪti əv ˈmædɪsən boʊt ɪts fərst wɪn sɪns 1971 ɪn boʊt mɑrˈki ɪˈvɛnt. ʤɑb wɑz meɪd ˈiziər wɪn hɪz meɪn kəmˈpɛtɪtər ʤeɪ. ˈmaɪkəl ˈkɛli ɪn ðə græm ˈtrəkɪŋ wɑz əˈsɛst ə ˈpɛnəlti praɪər tɪ ðə stɑrt əv ðə ˈʧæmpiənˌʃɪp hit. nɑt ˈoʊnli ɪz ʃeɪn ðə dɪˈfɛndɪŋ goʊld kəp ˈʧæmpiən, bət ʃeɪn ənd ðə tim ˈɔlsoʊ skɔrd ɪts ˈoʊnli ˈəðər ˈvɪktəri æt læst kəˈləmbiə kəp ɪn. ðɪs goʊld kəp reɪs wɪl bi ðə fərst ˈnæʃənəl haɪ pɔɪnt reɪs əv ðə 2015 ˈsizən. haɪ oʊˈhaɪoʊ ˈrɪvər ˈwɔtər ˈlɛvəlz fɔrst tɪ pʊt ɔn ə pɔɪnt ˈʃutaʊt ɪˈvɛnt ɪn ˈmædɪsən, ind*. ɔn ˌʤuˈlaɪ 5th*. ɪn ðə ˈʃutaʊt, ˈkɛli ɛʤd ʃeɪn ɪn ðə ˈfaɪnəl hit ˈsɛtɪŋ ðə əp ʃeɪn ənd ˈkɛli ɛz ðə tu ˈfeɪvərɪts fər ðə 2015 goʊld kəp. ˌbiˈsaɪdz ðə 12 ənˈlɪmɪtɪd, ðə grænd pri wɛst ˌɔtəˈmoʊtɪv paʊərd boʊts, ðə klæs ənd ˈvɪntɪʤ ənˈlɪmɪtɪd wɪl teɪk tɪ ðə kəˈləmbiə ˈrɪvər. ðə ˈhaɪˌspid ˈækʃən ɔn ðə ˈwɔtər wɪl ˈɔlsoʊ bi ˈkɑmpləˌmɛntɪd baɪ ðə ˈwɔtər ˈfɑliz ɛr ʃoʊz. fər ˈtɪkɪt ənd mɔr ˌɪnˌfɔrˈmeɪʃən ɔn ðɪs goʊld kəp goʊ tɪ http://www.waterfollies.com*/
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tri-cities, wash. — when the tri-city water follies celebrate “50 years of racing”, 12 h1 unlimited hydroplane drivers might be thinking about the history of the sport on the columbia river, but their first thoughts will be winning the gold—the hapo apba gold cup to be exact.
the action starts friday, july 24th with testing and qualifying. racing will take place on saturday, july 25 with more heat racing and the championship final on sunday, july 26.
“when we had the opportunity to change venues for the apba gold cup, all the race sites on our circuit agreed unanimously that the 50th anniversary of the tri-city race on the columbia river was the perfect choice for the biggest of all boat races,” said h1 unlimited chairman steve david. “the gold cup is the oldest active trophy in motorsports, and to have it in tri-cities on the 50th anniversary of its unlimited history is exciting for the fans and all of us in the sport.”
the gold cup race, first contested in 1904, was america’s answer to the highly touted international harmsworth trophy. since ’04, the gold cup has been run each year except during world war ii and when weather conditions forced a cancellation. this weekend’s race is the 106th running of the gold cup and the fifth time tri-cities has hosted this prestigious race. it will also be the first time the apba gold cup has been raced outside of the city of detroit since 1989.
with the last friday’s addition of the only piston powered allison powered, the u-3 griggs presents miss ace hardware piloted by jimmy king, 12 drivers, 11 racing turbine powered hydroplanes, will compete for the title.
of the dozen drivers looking to win the most prestigious trophy in boat racing, only two current drivers have ever won the gold cup.
jean theoret won the 2006 race for billy & jane schumacher and he returns to the h1 series full-time this year in the u-96 elam plus. the new u-96 hull, christened last year at this race, is one of the front runners for this year’s gold cup.
jimmy shane drove the oberto/miss madison to victory last year in the apba gold cup in detroit. the victory gave the city of madison community-owned boat its first win since 1971 in boat racing’s marquee event.
shane’s job was made easier when his main competitor j. michael kelly in the graham trucking was assessed a one-lap penalty prior to the start of the championship heat.
not only is shane the defending apba gold cup champion, but shane and the oberto team also scored its only other victory at last year’s hapo columbia cup in tri-cities.
this weekend’s apba gold cup race will be the first national high point race of the 2015 season. high ohio river water levels forced h1 to put on a non-high point shootout event in madison, ind. on july 5th. in the shootout, kelly edged shane in the final heat setting the up shane and kelly as the two favorites for the 2015 gold cup.
besides the 12 h1 unlimited hydroplanes, the grand prix west automotive powered boats, the apba one-litre class and vintage unlimited hydroplanes will take to the columbia river. the high-speed action on the water will also be complimented by the tri-city water follies air shows.
for ticket and more information on this week’s hapo gold cup go to http://www.waterfollies.com/
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ər ju ˈsɪtɪŋ ˈkəmfərtəbli? gʊd. ðɪs ɪz ə ˈmɑdəˌfaɪd ˈnisɑn ðət wɪl ə məˈklɛrən ənd tɔp aʊt æt ˈoʊvər 200mph*. gɪv ju ə ˈmoʊmənt tɪ lɛt ðət sɪŋk ɪn. kɔld ðə ɑr, ənd həz bɪn bɪlt baɪ ən ˈɛnʤəˈnɪrɪŋ ˈkəmpəˌni ɪn ˈtɛlfərd kɔld motorsport*. waɪ? bɪˈkəz waɪ ðə hɛl nɑt. ˈɔlsoʊ, ˈwɔntɪd tɪ oʊn ʤuk (rɪˈmɛmbər ðət?) ənd bɪld ə supercar’*’. soʊ, ðeɪ ˈstɑrtɪd wɪθ ə ənd ə. ðeɪ strɪpt ðə tɪ ɪts bɛr ʃɛl, kət ðə ˈbɑdi frəm ðə, ənd loʊərd ðə ʃɛl ˈɔntu ðə kəmˈplit frəm ðə. ðɪs əv kɔrs, mɛnt ðə kəmˈplit ˈrənɪŋ gɪr frəm ðə kʊd bi juzd fər ðə ɑr. ðɛn, wəns ðə tu ˈbɑdiz wər mæʧt, ðə ˈtərboʊ ˈɪnʤən wɑz strɪpt ənd riˈbɪlt baɪ tɪ ˈproʊdus ən əbˈsərd 1100bhp*. əbˈsərd wɪn ju kənˈsɪdər ðə ˌæpləˈkeɪʃən. ˈɔlsoʊ ə nu ɪgˈzɔst, ˈbɪgər, breɪks ənd wilz, ˈkəstəm bɪlt frənt ənd rɪr ˈbəmpərz, ˈbɑnət vɛnts ənd ˈivɪn ə ˈsətəl ‘‘r’*’ bæʤ ɔn ðə but, əˈməŋst ˈmɛni, ˈmɛni ˈəðər mods*. ˌɪnˈsaɪd ɔl tu (bɪˈkəz əv ðət), ðoʊ ðə dæʃ həz bɪn ˈmɑdəˌfaɪd tɪ əˈkɑməˌdeɪt ðə ˈvɛriəs ˈgeɪʤɪz ənd ˈɪnstrəmənts. ɔl ɪn, ðə ˈɛnʤəˈnɪrɪŋ tʊk tɛn mənθs ənd ˈmɛni swɛr wərdz tɪ gɪt ɪt ˈɪntu ðə ʃeɪp ju si ˌbiˈfɔr ju. ənd kwaɪt səm ʃeɪp: teɪks ˈsɛkəndz (kˈwɪkər ðən ə teɪks ʤɪst ˈsɛkəndz ɔf ə ˈpɔrʃə 918 spyder*), ənd ˈkəvər ə kˈwɔrtər maɪl ɪn ʤɪst ˈsɛkəndz æt 144mph*. mæd. ˈæˌkʧuəli, mæd. tɔp spid? ˈsəmˌwɛr nɑt fɑr nɔrθ əv 200mph*. ˈkɛvən kɛmp, ˈfaʊndər ənd bɔs, sɛd: bɪlt ə ˈspɛʃəl ʤuk ənd ɪt wɑz ˈgɪtɪŋ ə lɔt əv əˈtɛnʃən soʊ wi θɔt du ˈsəmθɪŋ ˈsɪmələr wɪθ ðə nɛkst ˈmɑdəl əp. ˈwɔntɪd tɪ bɪld ə ənd wi have,”*,” hi ˈædɪd. kən bi ˈdrɪvən tɪ ðə ʃɑps ər ɪt kən bi ˈdrɪvən ɔn ə əˈgɛnst ðə moʊst ɪgˈzɑtɪk ˈviɪkəlz. ɪt lʊks laɪk ə ˈstændərd bət goʊz laɪk ə. ˈrɪli ˈhæpi wɪθ ðə result.”*.” tɔp gɪr ɪz ˈhæpi θɪŋz laɪk ðɪs ɪgˈzɪst ɪn ðə wərld. ðoʊ ɪf ju θɪŋk ɪt wɑz ə ʧip fɪks, θɪŋk əˈgɛn: ðə hoʊl ˈprɑʤɛkt kɔst aʊʧ. ˈviə
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are you sitting comfortably? good. this is a modified nissan qashqai that will out-accelerate a mclaren p1 and top out at over 200mph.
we’ll give you a moment to let that sink in.
it’s called the svm qashqai r, and has been built by an engineering company in telford called severnvalley motorsport. why? because why the hell not. also, svm wanted to one-up nissan’s own gt-r-engined juke (remember that?) and build a ‘qashqai supercar’.
so, they started with a qashqai+2 and a gt-r. they stripped the qashqai to its bare shell, cut the body from the gt-r, and lowered the shell onto the complete floorplan from the r35 gt-r. this of course, meant the complete running gear from the gt-r could be used for the qashqai r.
then, once the two bodies were matched, the gt-r’s 3.8-litre-twin turbo engine was stripped and rebuilt by svm to produce an absurd 1100bhp. absurd when you consider the application.
there’s also a new exhaust, bigger, beefier brakes and wheels, custom built front and rear bumpers, bespoke r35 bonnet vents and even a subtle ‘r’ badge on the boot, amongst many, many other mods. inside it’s all gt-r too (because of that floorplan), though the qashqai’s dash has been modified to accommodate the r35’s various gauges and instruments.
all in, the engineering took ten months and many swear words to get it into the shape you see before you. and it’s quite some shape: 0-62mph takes 2.7 seconds (quicker than a p1), 0-124mph takes just 7.5 seconds (0.3s off a porsche 918 spyder), and it’ll cover a quarter mile in just 9.9 seconds at 144mph. that’s mad. actually, certifiably mad.
top speed? somewhere not far north of 200mph. kevan kemp, svm founder and boss, said: “nissan built a special juke and it was getting a lot of attention so we thought we’d do something similar with the next model up.
“we wanted to build a qashqai supercar and we have,” he added. “it can be driven to the shops or it can be driven on a dragstrip against the world’s most exotic vehicles. it looks like a standard qashqai but goes like a supercar. we’re really happy with the result.”
top gear is happy things like this exist in the world. though if you think it was a cheap fix, think again: the whole project cost £275,000. ouch.
pics via swns.com
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ðə frɛnʧ dɪˈrɛktərz ˌsaɪˈfaɪ ˈɛpɪk ˈfɪnɪʃt fərst æt ðə frɛnʧ bɑks ˈɔfəs. luk vəˈlɪriən ənd ðə ˈsɪti əv ə ˈθaʊzənd ˈplænəts ˈstɑrtɪd strɔŋ æt ðə frɛnʧ bɑks ˈɔfəs, ˈtɑpɪŋ ˈmɪljən ədˈmɪʃənz ɔn 970 skrinz ˈoʊvər ðə ˈoʊpənɪŋ ˈwiˌkɪnd ɪn ðə dɪˈrɛktərz ˈneɪtɪv ˈkəntri. ðə ˈnəmbərz meɪk ɪt ðə ˈdeɪbju əv ðə jɪr bɪˈhaɪnd ðə feɪt əv ðə fˈjʊriəs, wɪʧ ˈoʊpənd wɪθ ˈmɪljən ədˈmɪʃənz, ənd dɪˈspɪkəbəl mi 3 wɪʧ ˈoʊpənd wɪθ ˈmɪljən ˈtɪkɪts soʊld. dɪˈspɪkəbəl mi 3 wɪʧ ˈoʊpənd ɔn ˌʤuˈlaɪ 5 ɪz stɪl goʊɪŋ strɔŋ ɪn ˈθiətərz ənd ˈfɪnɪʃt ɪn θərd pleɪs ˈoʊvər ðə ˈwiˌkɪnd. boʊθ ər kənˈsɪdərd frɛnʧ fɪlmz ənd hæv ˈloʊkəl səˈpɔrt ðə dɪˈspɪkəbəl mi ˈfrænˌʧaɪz ɪz prəˈdust baɪ ˈpɛrɪs' ˌɪˌluməˈneɪʃən ənd ɪz beɪst ɪn ˈpɛrɪs. ˈæftər ˈdɪzməl ˈoʊpənɪŋ ɪn ðə juz., ˈbɛsən ɪz ˈbɛtɪŋ ɔn ˌɪnərˈnæʃənɑl bɑks ˈɔfəs tɪ seɪv hɪz ˌsaɪˈfaɪ ˈɛpɪk, wɪʧ kɔst ˈəpwərdz əv 180 ˈmɪljən tɪ meɪk. ɪt ˈoʊpənd ɪn fɪθ pleɪs æt ðə juz. bɑks ˈɔfəs læst ˈwiˌkɪnd wɪθ ʤɪst 17 ˈmɪljən. (ɪt həz meɪd ʤɪst 30 ˈmɪljən ɪn ðə juz. sɪns ɪts riˈlis ˌʤuˈlaɪ 21 stɪl, ˈlusi, wɪʧ ərnd 430 ˈmɪljən æt ðə ˈgloʊbəl bɑks ˈɔfəs ɔn ə məʧ sˈmɔlər 40 ˈmɪljən ˈbəʤɪt, ˈoʊpənd wɪθ ə ˈstrɔŋgər ˈmɪljən ədˈmɪʃənz ənd ɔn ˈoʊnli 615 skrinz wɪn ɪt boʊd ɪn ˈɔgəst 2014 ˈoʊpənɪŋ pʊts ɪt əˈbəv trænsˈfɔrmərz: ðə læst naɪt, wɪʧ əˈpilz tɪ ə ˈsɪmələr ˈɔdiəns bət ˈnɛtɪd ʤɪst ˈmɪljən ədˈmɪʃənz ɪn fɔr wiks, ə ˈnəmbər vəˈlɪriən tɑpt ɪn ɪts fərst faɪv deɪz. ˈoʊpənɪŋ æt ðə bɪˈgɪnɪŋ əv ˈmənθˌlɔŋ trəˈdɪʃənəl ˈsəmər veɪˈkeɪʃən kʊd pruv ə səkˈsɛsfəl pərʧ fər ðə fɪlm. əˈsaɪd frəm wɔr fər ˈplænət əv ðə eɪps ˈoʊpənɪŋ ðɪs wik, ˌsaɪˈfaɪ ˈɛpɪk wɪl feɪs skænt ˌkɑmpəˈtɪʃən ənˈtɪl sɛpˈtɛmbər, ənd ðə nɛkst bɪg ˈhɑliˌwʊd ˈblɑkˌbəstər, θɔr: ragnarok*, ˈdəzənt ˈoʊpən ənˈtɪl ɑkˈtoʊbər. ɪz ə ˈfrænˌʧaɪz ənd kaɪnd əv ðə ˈməni ənd run’*’ bɪˈkəz ðɛr wɑz [ˈspaɪdərmæn: ˈhoʊmˌkəmɪŋ] ˈoʊpənɪŋ tu wiks ˈæftər. ðeɪ hæd ə ʃɔrt ˈwɪndoʊ tɪ geɪn ən audience,”*,” sɛd ˈænəlɪst ˈɛrɪk ˈmɑrti, ˈʤɛnərəl ˈmænɪʤər əv comscore*. həz ən ˈoʊpən ˈmɑrkɪt fər sɪks weeks.”*.” ɪt ˈɔlsoʊ feɪs ɛz məʧ ˌkɑmpəˈtɪʃən frəm ˈdənkərk, wɪʧ həz ˈdɑməˌneɪtəd ðə juz. ənd u.k*. bɑks ˈɔfəs. ðoʊ ðə ˈɛpɪk wɑz ʃɑt ɪn ðə nɔrθ əv fræns, ðə ˈstɔri əv ðə ˈbrɪtɪʃ ˈrɛskju lum ɛz lɑrʤ ɪn frɛnʧ wɔr lɔr ɛz ɪt dɪz ɪn ˈkəntriz. stɪl, ɪf ˈbɛsən həz ˈɛni hoʊp tɪ rɪˈpit ðə ˌprɑfɪtəˈbɪlɪti əv ˈlusi, hi wɪl bi ˈkaʊntɪŋ ɔn ˈʧaɪnə, wɛr ðə fɪlm ɪz sɛt tɪ bi riˈlist ˈɔgəst. 25
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the french director's sci-fi epic finished first at the french box office.
luc besson’s valerian and the city of a thousand planets started strong at the french box office, topping 1.3 million admissions on 970 screens over the opening weekend in the director's native country.
the numbers make it the third-highest debut of the year behind the fate of the furious, which opened with 1.41 million admissions, and despicable me 3, which opened with 1.39 million tickets sold.
despicable me 3, which opened on july 5, is still going strong in theaters and finished in third place over the weekend. both are considered french films and have local support — the despicable me franchise is produced by paris' illumination macguff and besson's europacorp is based in paris.
after valerian's dismal opening in the u.s., besson is betting on international box office to save his sci-fi epic, which cost upwards of $180 million to make. it opened in fifth place at the u.s. box office last weekend with just $17 million. (it has made just $30 million in the u.s. since its release july 21.)
still, besson’s lucy, which earned $430 million at the global box office on a much smaller $40 million budget, opened with a stronger 1.51 million admissions and on only 615 screens when it bowed in august 2014.
valerian’s opening puts it above transformers: the last knight, which appeals to a similar audience but netted just 1.3 million admissions in four weeks, a number valerian topped in its first five days.
valerian’s opening at the beginning of france’s monthlong traditional summer vacation could prove a successful perch for the film. aside from war for planet of the apes opening this week, besson’s sci-fi epic will face scant competition until september, and the next big hollywood blockbuster, thor: ragnarok, doesn't open until october.
“transformers is a franchise and kind of ‘take the money and run’ because there was [spider-man: homecoming] opening two weeks after. they had a short window to gain an audience,” said analyst eric marti, general manager of comscore. “valerian has an open market for six weeks.”
it also won’t face as much competition from dunkirk, which has dominated the u.s. and u.k. box office. though the wwii epic was shot in the north of france, the story of the british rescue doesn’t loom as large in french war lore as it does in english-speaking countries.
still, if besson has any hope to repeat the profitability of lucy, he will be counting on china, where the film is set to be released aug. 25.
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ˌɪsˈlæməbæd: ðə ˈpækɪˌstæn ˈkrɪkɪt bɔrd (pcb*) ɔn ˈtuzˌdeɪ sɛd ɪt eɪmz tɪ hoʊld ə ˈwɪmənz ˈkrɪkɪt kəp ɪn ðə neɪm əv ˌpækɪˈstæni noʊˈbɛl pis praɪz ˈwɪnər tɪ peɪ ˈtrɪbjut tɪ hər fər ðə əˈʧivmənt. ə əˈfɪʃəl sɛd ðə ˈʧɛrmən həz θɔts tɪ ˌɪntrəˈdus ə ˈtʊrnəmənt neɪmd ˈæftər ɪn ˈɔrdər tɪ gɪv ðə ˈkəntriz ˈwɪmən cricketers*, hu hæd ˈrisəntli wən goʊld ˈdʊrɪŋ ðə ˈeɪʒən geɪmz, ə bust tɪ bɪld əp ðɛr ˈkɑnfədɛns. ““however*, ðə ˈfaɪnəl dɪˈsɪʒən wɪl bi meɪd ˈæftər ðə ˌkɑnsəlˈteɪʃən wɪθ ðə bɔrd tɪ ðə cup,”*,” hi sɛd ˈædɪŋ ðət ðə ˈtʊrnəmənt wɪl bi ə ˈtrɪbjut tɪ ðə noʊˈbɛl pis praɪz ˈwɪnər fər hər trɪˈmɛndəs əˈʧivmənt fər ðə ˈkəntri. geɪnd ˈwərldˈwaɪd ˌrɛkɪgˈnɪʃən ˈæftər ʃi wɑz ˈɪnʤərd tu jɪrz əˈgoʊ ɪn ə ˈtælɪˌbæn əˈtæk fər hər aʊtˈspoʊkənəs rɪˈgɑrdɪŋ ˈwɪmən ənd ðə raɪt tɪ ə fɛr ˌɛʤəˈkeɪʃən. ʃi sərˈvaɪvd ðə əˈtæk ənd həz sɪns bɪn ˈeɪbəl tɪ teɪk hər kæmˈpeɪn tɪ ə ˈgloʊbəl steɪʤ. ðə əˈfɪʃəl sɛd ðət ðə bɔrd həz ˈɔlˌweɪz pleɪd ə trɪˈmɛndəs roʊl ɪn ðə ˌɛvəˈluʃən ənd dɪˈvɛləpmənt əv ˈwɪmənz ˈkrɪkɪt ɪn ðə ˈkəntri. kənˈtɪnjuz tɪ prəˈvaɪd ə ˈnəmbər əv ˈwɪmənz ˈtərnəmənts biɪŋ fər ðə læst jɪrz naʊ ənd ðə ˈstændərd əv ðiz ˌkɑmpəˈtɪʃənz ɪz ˌɪmˈpruvɪŋ ˈɛvəri year,”*,” hi sɛd. hi sɛd ˈwɪmən pleɪərz wən ðə ˈeɪʒən goʊld ˈmɛdəl twaɪs ənd hɛns hæv ˈɛvəri raɪt tɪ bi wɛl ˈrɛkəgˌnaɪzd ˈwərldˈwaɪd.
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islamabad: the pakistan cricket board (pcb) on tuesday said it aims to hold a women's cricket cup in the name of pakistani nobel peace prize winner malala yousafzai]1 to pay tribute to her for the achievement.
a pcb official said the chairman has thoughts to introduce a tournament named after malala in order to give the country's women cricketers, who had recently won gold during the 17th asian games, a boost to build up their confidence.
“however, the final decision will be made after the consultation with the board to finalise the cup,” he said adding that the tournament will be a tribute to the nobel peace prize winner for her tremendous achievement for the country.
malala gained worldwide recognition after she was injured two years ago in a taliban attack for her outspokenness regarding women and the right to a fair education.
she survived the attack and has since been able to take her campaign to a global stage.
the pcb official said that the board has always played a tremendous role in the evolution and development of women's cricket in the country.
“pcb continues to provide a number of women's tournaments being organised for the last 3-4 years now and the standard of these competitions is improving every year,” he said.
he said women players won the asian gold medal twice and hence have every right to be well recognised worldwide.
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ðə ˈnæʃənəl mˈjuziəm əv ˈnæʧərəl ˈhɪstəri, ˈwɔʃɪŋtən ʤʊˈræsɪk ˌaɪˈkɑnɪk ˈɪmɪʤ əv ə ˈfɑsəˌlaɪzd məˈskitoʊ wɑz θɔt tɪ bi ˈfɪkʃən ənˈtɪl naʊ. fər ðə fərst taɪm, ˈrisərʧərz hæv aɪˈdɛntəˌfaɪd ə ˈfɑsəl əv ə ˈfiˌmeɪl məˈskitoʊ wɪθ ˈtreɪsɪz əv bləd ɪn ɪts ˈæbdəmən. ə tim lɛd baɪ deɪl ˈgrinwəlt æt ðə ˈjuˈɛs ˈnæʃənəl mˈjuziəm əv ˈnæʧərəl ˈhɪstəri ɪn ˈwɔʃɪŋtən ˌdiˈsi rɪˈpɔrts ðə ˈfɑsəl ˌdɪˈskəvri təˈdeɪ ɪn prəˈsidɪŋz əv ðə ˈnæʃənəl əˈkædəmi əv ˌɔlˈðoʊ ˈsaɪəntɪsts hæv faʊnd ˈfɑsəlz əv səˈspɛktɪd ˈɪnˌsɛkts, ðə ˈkriʧərz' ˈfidɪŋ ˈhæbəts hæv ˈmoʊstli bɪn ˌɪnˈfərd frəm ðɛr əˈnætəmi ər ðə ˈprɛzəns əv ˈpɛrəˌsaɪts ɪn ðɛr gəts. bət ˈfɑsəˌlaɪzd məˈskitoʊ kənˈteɪnz ˈmɑləˌkjulz ðət prəˈvaɪd strɔŋ ˈɛvədəns əv əˈməŋ ˈeɪnʧənt ˈɪnˌsɛkts bæk tɪ 46 ˈmɪljən jɪrz əˈgoʊ. ɪt ɪz ə ˈfɔrʧənət faɪnd. ˈæbdəmən əv ə məˈskitoʊ ɪz laɪk ə bəˈlun ˈrɛdi tɪ bərst. ɪt ɪz ˈvɛri fragile,”*,” sɪz ˈgrinwəlt. ˈʧænsɪz ðət ɪt hæv dɪˈsɪntəˌgreɪtɪd praɪər tɪ wər small.”*.” ə lɔŋ ʃɑt ðə ˈɪnˌsɛkt wɑz faʊnd nɑt ɪn ˈæmbər, ɛz dɪˈpɪktɪd ɪn ʤʊˈræsɪk pɑrk, bət ɪn ʃeɪl ˈsɛdəmənts frəm mɑnˈtænə. ˈæftər 46 ˈmɪljən jɪrz, ˈɛni ˈdiˌɛˈneɪ wʊd bi lɔŋ dɪˈgreɪdɪd, bət ˈəðər ˈmɑləˌkjulz kən sərˈvaɪv. tim ʃoʊd ðət ðə ˈæbdəmən stɪl kənˈteɪnz lɑrʤ ˈtreɪsɪz əv aɪərn ənd ðə ɔrˈgænɪk ˈmɑləˌkjul boʊθ kənˈstɪʧuənts əv, ðə ˈpɪgmɛnt faʊnd ɪn ˈvərtəˌbreɪt bləd. ðiz ˈmɑləˌkjulz wər ˈiðər rɛr ər ˈæbsənt ɪn ðə ˈæbdəmən əv ə ˈfɑsəˌlaɪzd meɪl məˈskitoʊ (wɪʧ dɪz nɑt drɪŋk bləd) əv ðə seɪm eɪʤ, faʊnd æt ðə seɪm loʊˈkeɪʃən. ʃoʊz ðət ˈditeɪlz əv ə məˈskitoʊ kən bi ˈnaɪsli prɪˈzərvd ɪn ə ˈmidiəm ˈəðər ðən amber,”*,” sɪz ʤɔrʤ poinar*, hu ˈstədiz ˈfɑsəˌlaɪzd ˈɪnˌsɛkts æt ˈɔrəˌgɑn steɪt ˌjunəˈvərsəti ɪn ˌkɔrˈvælɪs. ˈɔlsoʊ ʃoʊz ðət səm ˈkɑmpaʊndz ɪn ˈvərtəˌbreɪt bləd kən sərˈvaɪv ˈəndər ðə raɪt kənˈdɪʃənz fər ˈmɪljənz əv years.”*.” ˈgrinwəlt səˈʤɛsts ðət ðɪs prəˈvaɪdz səˈpɔrt fər ðə ˌkɑntrəˈvərʃəl kleɪmz əv ˈmɛri ʃˈwaɪtsər, ə æt nɔrθ ˌkɛrəˈlaɪnə steɪt ˌjunəˈvərsəti ɪn ˈrɔli, hu həz rɪˈpɔrtədli ˈaɪsəˌleɪtɪd ˈtreɪsɪz frəm ˈdaɪnəˌsɔr
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the national museum of natural history, washington
jurassic park’s iconic image of a fossilized blood-filled mosquito was thought to be fiction — until now. for the first time, researchers have identified a fossil of a female mosquito with traces of blood in its engorged abdomen. a team led by dale greenwalt at the us national museum of natural history in washington dc reports the fossil discovery today in proceedings of the national academy of sciences1.
although scientists have found fossils of suspected blood-sucking insects, the creatures' feeding habits have mostly been inferred from their anatomy or the presence of blood-borne parasites in their guts. but greenwalt's fossilized mosquito contains molecules that provide strong evidence of blood-feeding among ancient insects back to 46 million years ago. it is a fortunate find. “the abdomen of a blood-engorged mosquito is like a balloon ready to burst. it is very fragile,” says greenwalt. “the chances that it wouldn’t have disintegrated prior to fossilization were infinitesimally small.”
a long shot
the insect was found not in amber, as depicted in jurassic park, but in shale sediments from montana. after 46 million years, any dna would be long degraded, but other molecules can survive. greenwalt’s team showed that the insect’s abdomen still contains large traces of iron and the organic molecule porphyrin — both constituents of haemoglobin, the oxygen-carrying pigment found in vertebrate blood. these molecules were either rare or absent in the abdomen of a fossilized male mosquito (which does not drink blood) of the same age, found at the same location.
“this shows that details of a blood-sucking mosquito can be nicely preserved in a medium other than amber,” says george poinar, who studies fossilized insects at oregon state university in corvallis. “it also shows that some porphyrin compounds in vertebrate blood can survive under the right conditions for millions of years.”
greenwalt suggests that this provides support for the controversial claims of mary schweitzer, a palaeontologist at north carolina state university in raleigh, who has reportedly isolated haemoglobin traces from dinosaur bones2.
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bri koʊd ˈmənˌdeɪ noʊˈvɛmbər 2016 ʃɛr ðɪs ˈɑrtɪkəl ʃɛr ˈvɪdioʊ geɪmz ər ˈbɪgər ðən ˈmuviz. ˈɛvriˌwənz ə ˈgeɪmər. aɪv dɪˈvoʊtɪd maɪ ˈvɪdioʊ geɪmz fər 14 jɪrz, ˈwərkɪŋ ɔn ˈtaɪtəlz səʧ ɛz ˈkəmpəˌni əv ˈhɪroʊz, ə fju əˈsæsənz kridz, ənd ʧaɪld əv laɪt. bət ˈɛvriˌwɛr aɪ goʊ, aɪ mit ˈpipəl hu doʊnt laɪk ˈvɪdioʊ geɪmz. moʊst əv maɪ frɛndz doʊnt laɪk ˈvɪdioʊ geɪmz. ənd wən əv maɪ ˈfeɪvərɪt θɪŋz wɪn əm ˈmitɪŋ ə nu ˈpərsən ɪz tɪ wɔʧ ðɛm skwərm, tɪ ˈstrəgəl tɪ rɪˈleɪt, ˈæftər aɪ ˈmɛnʃən aɪ wərk ɪn ðə ˈvɪdioʊ geɪm ˈɪndəstri. ðɛl ˈmɛnʃən səm oʊld geɪm ðeɪ juzd tɪ pleɪ, traɪ tɪ seɪ ˈsəmθɪŋ nis əˈbaʊt ɪt, ənd ðɛn kənˈfɛs ðət ðeɪ doʊnt pleɪ ˈvɪdioʊ geɪmz. ˈminˌwaɪl, ɑr lɪvz hæv ʧeɪnʤd ˈrædɪkli kəmˈpɛrd tɪ ɑr ˈpɛrənts' lɪvz. ɛz wi əˈdæpt tɪ nu tɛkˈnɑləʤiz, ɑr lɪvz ər bɪˈkəmɪŋ ˌɪnˈkrisɪŋgli ˈfrægməntɪd, ˌməltiˈfæsətɪd, ˌɪnərˈæktɪv. ˈlɪniər ˈnɑvəlz ənd fɪlmz ər lɛs ˈrɛləvənt naʊ fər rɪˈflɛktɪŋ ɑr ˌriˈæləˌtiz. wət fɔrmz əv ɑrt ənd ˌɛnərˈteɪnmənt ər moʊst ˈrɛləvənt naʊ? kəˈlɑʒ? ˈmɛmˌwɑr? noʊ, ɪt ʃʊd bi ˈvɪdioʊ geɪmz. ˌɪnərˈæktɪv ˌɛnərˈteɪnmənt. jɛt, ˈmɛni ˈpipəl doʊnt laɪk ˈvɪdioʊ geɪmz. waɪ? grups əv ˈɛkspərts ənd grups əv ˈpipəl hu ər ˈsɪmələr tɪ iʧ ˈəðər gɪt stək. ˈpipəl hu ər ˈsɪmələr tɪ iʧ ˈəðər θɪŋk ˈsɪmələrli, drɔ ɔn ðə seɪm ˈnɑlɪʤ beɪs, ənd əˈproʊʧ ˈprɑbləmz frəm ðə seɪm ˈæŋgəlz. ðɛrz ˈivɪn ə ˈfərðər ˌsaɪkəˈlɑʤɪkəl ˈifɛkt wɛr ən ˌɪndəˈvɪʤəwəl ɪn ə grup əv ˈsɪmələr ˈpipəl wɪl hæv fjuər gʊd aɪˈdiəz ðən ðə seɪm ˌɪndəˈvɪʤəwəl ɪn ə dɪˈvərs grup. ɪf ðɛr ɪz ˈɛni ˈwərkˌfɔrs fʊl əv ˈpipəl hu ər ˈsɪmələr tɪ iʧ ˈəðər, ɪt ɪz ðə ˈvɪdioʊ geɪm ˈɪndəstri ˈwərkˌfɔrs. wi ər ˈmoʊstli mɛn, ˈmoʊstli waɪt, ənd ˈivɪn mɔr ˌɪmˈpɔrtəntli, wi ər ˈmoʊstli ˈgeɪmərz. kʊd ɪt ˈpɑsəbli bi ðət ˈmeɪbi, ʤɪst ˈmeɪbi, wi kʊd bi ˈmɪsɪŋ ˈsəmθɪŋ? ˈmeɪbi ˈɛvriˌθɪŋ wi noʊ ɪz rɔŋ. pɑrt 2 ˈɛvriˌθɪŋ aɪ noʊ ɪz rɔŋ θri jɪrz əˈgoʊ, fər ðə fərst taɪm, maɪ frɛndz hu doʊnt laɪk ˈvɪdioʊ geɪmz ˈstɑrtɪd tɪ æsk əˈbaʊt ˈvɪdioʊ geɪmz. ðɪs wɑz bɪˈkəz ðeɪ wər ˈstɑrtɪŋ tɪ baɪ ˈtæbləts. ənd səm əv ðɛm wər ˈgɪtɪŋ ˈkæˌstɔf kənˈsoʊlz frəm ˈneɪbərz ər ˈfæməli ˈmɛmbərz hu ˈəpˌgreɪdɪd. ðɪs wɑz ˈvɛri ɪkˈsaɪtɪŋ fər mi aɪ θɔt ˈmeɪbi aɪ wʊd ˈfaɪnəli bi ˈeɪbəl tɪ ʃɛr ðə θɪŋ aɪ ləv wɪθ ðə ˈpipəl aɪ ləv. ˈspɔɪlər: aɪ wɑz rɔŋ. ðeɪ ˈdɪdənt bɪˈkəm ˈgeɪmərz ˈæftər ðeɪ pleɪd ðə geɪmz aɪ ˌrɛkəˈmɛndɪd. bət ˈsəmθɪŋ ˈɪntəˌrɛstɪŋ dɪd ˈhæpən. maɪ ˈkloʊsəst frɛnd, maɪ ˈkəzən krɪˈstinə, həz bɪn pərˈhæps ðə moʊst ˈhɑstəl təˈwɔrdz maɪ əˈfɛkʃən fər ˈvɪdioʊ geɪmz. ʃiz ən ɑrt hɪˈstɔriən hu ləvz kənˈtɛmpərˌɛri ˈfɛmənɪst ɑrt ənd ʃi siz mi ɛz ə dɪˈzaɪnər. bət nɑt ə geɪm dɪˈzaɪnər. wɪn aɪ wʊd ˈmɛsɪʤ hər strɛst əˈbaʊt wərk ʃi ˈwʊdənt ˈɔfər hər səˈpɔrt. ˌɪnˈstɛd ʃi wʊd ɪnˈkərəʤ mi tɪ kwɪt ənd goʊ bæk tɪ skul tɪ ˈstədi ˌɪnˈtɪriər dɪˈzaɪn ər ˌɪnˈdəstriəl dɪˈzaɪn. ʃi θɔt aɪ wɑz ˈweɪstɪŋ maɪ laɪf ɪn ðə ˈvɪdioʊ geɪmz ˈɪndəstri. "ðɪs wɑz ˈvɛri ɪkˈsaɪtɪŋ fər mi aɪ θɔt ˈmeɪbi aɪ wʊd ˈfaɪnəli bi ˈeɪbəl tɪ ʃɛr ðə θɪŋ aɪ ləv wɪθ ðə ˈpipəl aɪ ləv. ˈspɔɪlər: aɪ wɑz rɔŋ" ənd ðɛn wən deɪ ʃi ˈstɑrtɪd tɪ æsk əˈbaʊt ˈvɪdioʊ geɪmz. aɪ wɑz θrɪld. əv kɔrs aɪ ˌrɛkəˈmɛndɪd ˈʤərni. ɪt simd laɪk ðə ˈnæʧərəl fɪt. tɪ maɪ səˈpraɪz, ʃi ˈdɪdənt ˈfɪnɪʃ ɪt. ʃi ˈdɪdənt laɪk ðət ðɛr ɪz ə sneɪk ðət kən kɪl ju. ɪts nɑt ðət ɪt ɪz tu hɑrd, ɪts ðət ʃi ɪz ˈdipli əˈnɪntrəstəd ɪn biɪŋ əˈtækt ɪn ə geɪm. bət ɪt dɪd ˌɪnˈtrig hər ɪˈnəf ðət ʃi æst fər mɔr ˌrɛkəmənˈdeɪʃənz. soʊ aɪ ˈstɑrtɪd ˈtɛstɪŋ geɪmz ɔn maɪ frɛndz hu ˈdɪdənt laɪk ˈvɪdioʊ geɪmz, tɪ si wət ðeɪ wʊd laɪk ənd dɪsˈlaɪk. wən naɪt aɪ ˌdɪˈsaɪdɪd aɪ hæd bɪlt ɪˈnəf trəst wɪθ krɪˈstinə tɪ ˌrɛkəˈmɛnd maɪ ˈfeɪvərɪt geɪm,. ʃi ˈgugəld ɪt ənd ˈtɛkstɪd mi bæk ˈsəmθɪŋ laɪk, aɪ doʊnt noʊ waɪ ju θɪŋk aɪ wʊd pleɪ ðɪs. aɪ doʊnt wɔʧ geɪm əv thrones*. aɪ doʊnt laɪk sɔrdz. aɪ doʊnt laɪk ˈfaɪtɪŋ. aɪ doʊnt laɪk ˈdrægənz." aɪ toʊld hər ʃi wʊd heɪt ðə fərst bɪt wɪθ ðə ˈdrægən bət ʤɪst tɪ gɪt θru ɪt ənd ðɛn gɪv ɪt ə ʧæns ənd gɪt bæk tɪ mi wɪθ hər θɔts. aɪ ˈnɛvər hərd bæk. θri wiks ˈleɪtər maɪ foʊn ræŋ. noʊ wən ˈɛvər kɔlz mi bɪˈkəz ðeɪ noʊ aɪ doʊnt ˈænsər. bət aɪ glænst daʊn ənd aɪ sɔ neɪm ɔn ðə skrin. maɪ ˈstəmək sæŋk ɛz ɪt əˈkərd tɪ mi ðət ðɛr məst bi səm kaɪnd əv ˈfæməli ˈimərʤənsi. aɪ ˈænsərd, ənd krɪˈstinə wɑz kraɪɪŋ. ʃi sɛd tɪ mi, "ˈlɪdiə daɪd". wi hæv noʊ ˈlɪdiə ɪn ɑr ˈfæməli. ʃi wɑz ˈtɔkɪŋ əˈbaʊt ðə ˈkɛrɪktər ɪn. fər θri wiks ʃi hæd bɪn pleɪɪŋ ɑbˈsɛsɪvli. ənd naʊ ʃid ˌæksəˈdɛnəli kɪld ˈlɪdiə ənd ʃi ˈdɪdənt hæv ə ˈrisənt seɪv geɪm. krɪˈstinə sɛd tɪ mi θru hər tɪrz ðət ʃi ˈdɪdənt ˈriəˌlaɪz ðət ju kʊd dɪˈvɛləp ən ˈiˌmoʊʃənəl əˈtæʧmənt tɪ ə ˈkɛrɪktər ɪn ə ˈvɪdioʊ geɪm. ʃi ˈdɪdənt ˈriəˌlaɪz ðət ju kʊd kriˈeɪt jʊr ˈkɛrɪktər ənd ɪgˈzɪst ɛz ə ˈvərʒən əv ˈjɔrsɛlf ɪn ə wərld fʊl əv ˈkɛrɪktərz hum ju kɛr əˈbaʊt. aɪ hæd ˈnɛvər ˈriəˌlaɪzd ðət ʃi ˈdɪdənt noʊ ðɪs, bɪˈkəz aɪ nu ðɪs soʊ ˈdipli. ʃi sɛd tɪ mi ðət fər ɔl ðiz jɪrz, ɪt ˈwəzənt ðət ʃi ˈdɪdənt laɪk ˈvɪdioʊ geɪmz, ɪt wɑz ðət ʃi ˈdɪdənt noʊ wət ðeɪ wər. ʃi ˈdɪdənt ˈriəˌlaɪz ðət ju kʊd kriˈeɪt jʊr ˈkɛrɪktər ənd ɪgˈzɪst ɛz ə ˈvərʒən əv ˈjɔrsɛlf ɪn ə wərld fʊl əv ˈkɛrɪktərz hum ju kɛr əˈbaʊt" (wɪn aɪ tɛl ðɪs ˈstɔri æt ˈkɑnfərənsəz ˈpipəl tɛl mi ðɛr ˈlɪdiə ˈstɔriz ˈæftərwərdz. wi ɔl hæv ə ˈlɪdiə ˈstɔri.) soʊ maɪ ˈkəzən ləvd. maɪ frɛndz hu doʊnt laɪk ˈvɪdioʊ geɪmz maɪt laɪk ˈvɪdioʊ geɪmz. ðɪs ʧeɪnʤd maɪ hoʊl ˈfoʊkɪs. aɪ hɛlpt meɪk ʧaɪld əv laɪt. aɪ θɔt maɪ frɛndz wʊd laɪk ɪt. bət aɪ ˈnɛvər ʃoʊd ɪt tɪ ðɛm waɪl ɪt wɑz ɪn dɪˈvɛləpmənt. ənd wɪn ɪt keɪm aʊt, tɪ maɪ səˈpraɪz, maɪ frɛndz ˈdɪdənt laɪk ʧaɪld əv laɪt ˈiðər. ənd ðə truθ ɪz ðət krɪˈstinə stɑpt pleɪɪŋ ˈprɪti sun ˈæftər ˈlɪdiə daɪd, bɪˈkəz ʃi ˈtruli ˈdəzənt laɪk sɔrdz nɔr ˈfaɪtɪŋ nɔr ˈdrægənz. ənd θri jɪrz hæv gɔn baɪ ənd ðɛr ɪz stɪl noʊ geɪm ðət ˈrɛzəˌneɪts wɪθ maɪ frɛndz. ɪn tɪm gənz wərdz, "ðɪs ɪz ə dɪˈzaɪn ˈfeɪljər ənd nɑt ə ˈkəstəmər ˈɪʃu". aɪ ləv ˈvɪdioʊ geɪmz ənd aɪ wərk wɪθ ˈpipəl hu ləv ˈvɪdioʊ geɪmz. bət wɪn aɪ ˈlɪsən tɪ krɪˈstinə dɪˈskraɪb ðə ˈvɪdioʊ geɪmz ʃi sɪz ʃi ˈwɪʃɪz ʃi kʊd pleɪ, ðə ˈvɪdioʊ geɪmz ʃi sɪz ʃi ˈwɪʃɪz ðət wʊd saʊnd ɪkˈstrimli ˈbɔrɪŋ tɪ moʊst ˈgeɪmərz bət ˈɪntəˌrɛstɪŋ tɪ moʊst əv maɪ ˈriəˌlaɪz ðət aɪ tu wʊd ləv ðoʊz geɪmz soʊ məʧ mɔr. ˈlɪsənɪŋ tɪ krɪˈstinə meɪd mi ˈriəˌlaɪz ðət aɪ ˈhædənt bɪn ˈhævɪŋ gʊd aɪˈdiəz. aɪ ˈriəˌlaɪzd ðət aɪ hæd bɪn ˈwərkɪŋ wɪθ ˈpipəl hu θɪŋk tu ˈsɪmələrli tɪ ˌmaɪˈsɛlf, hu drɔ ɔn ðə seɪm ˈkəlʧərəl ˈrɛfərənsɪz (gik ˈkəlʧər), hu juz ðə seɪm geɪm dɪˈzaɪn ˈθɪri ðət wɑz dɪˈvɛləpt ˈmeɪnli baɪ (waɪt, meɪl) ˈgeɪmərz fər (waɪt, meɪl) ˈgeɪmərz. aɪ ˈriəˌlaɪzd ðət aɪ wɑz stək. ðɪs ɪz wət ˈhæpənz wɪn ˈɛvriˌwən ɪz ðə seɪm ɛz iʧ ˈəðər. wi meɪk ˈbɔrɪŋ θɪŋz. "aɪ ˈriəˌlaɪzd ðət aɪ wɑz stək. ðɪs ɪz wət ˈhæpənz wɪn ˈɛvriˌwən ɪz ðə seɪm ɛz iʧ ˈəðər. wi meɪk ˈbɔrɪŋ θɪŋz" ənd maɪ frɛndz ər stɪl ˈæskɪŋ əˈbaʊt geɪmz. ðə ˈɪntəˌrɛst ɪz stɪl ðɛr. ənd ˈfaɪnəli aɪ keɪm tɪ ðə ˈriləˈzeɪʃən ðət ɪt ˈwəzənt əˈbaʊt kənˈvɪnsɪŋ maɪ frɛndz tɪ pleɪ geɪmz aɪ laɪkt ˈɛləmənts əv ənd ˈhoʊpɪŋ ðeɪ wʊd laɪk ˈɛləmənts əv ðɛm tu. ɪt ˈwəzənt əˈbaʊt ˈænsərɪŋ ðɛm; ɪt wɑz əˈbaʊt ˈæskɪŋ ðɛm. ɪt wɑz əˈbaʊt ˈrɪli ˈtɔkɪŋ wɪθ ðɛm, ənd ðɛn ˈmeɪkɪŋ ə geɪm ðət ðeɪ wʊd laɪk soʊ rəˈdɪkjələsli məʧ ðət ðeɪ ˈkʊdənt hɛlp bət pleɪ ɪt. pɑrt 3 laɪf ɪz ˈrɪli ˈdɪfəkəlt soʊ waɪ doʊnt maɪ frɛndz laɪk ˈvɪdioʊ geɪmz ənd wət wʊd ðeɪ laɪk? wɪn maɪ frɛndz tɔk əˈbaʊt waɪ ðeɪ doʊnt laɪk ˈvɪdioʊ geɪmz, ðeɪ ər ˈtɔkɪŋ əˈbaʊt θri θɪŋz. ðə moʊst ˌɪmˈpɔrtənt θɪŋ ɪz ðət ðeɪ θɪŋk ˈvɪdioʊ geɪmz læk dɛpθ. ðeɪ seɪ θɪŋz laɪk, "ənˈlaɪk books/films/podcasts*, wɪθ ˈvɪdioʊ geɪmz aɪ doʊnt lərn ˈɛniˌθɪŋ ər ʧeɪnʤ ɛz ə ˈpərsən". ˈsɛkəndli, ɔn ə ˈsərfəs ˈlɛvəl, ðeɪ ər ˈɔlsoʊ ˈɔfən ʤɪst flæt aʊt riˈpəlst baɪ ˈvɪdioʊ geɪmz. fju ˈwɪmən, fər ɪgˈzæmpəl, ər goʊɪŋ tɪ pleɪ ə ˈvɪdioʊ geɪm wɪθ ˈtɛrəbəl pɔrˈtreɪəlz əv ˈwɪmən. ðeɪ seɪ θɪŋz laɪk "ðeɪ ˌɪnˈsəlt ˌdɛməˈgræfɪk." ənd ˈθərdli, ðeɪ doʊnt faɪnd ðɛr oʊn ˈkəlʧərəl ˈrɛfərənsɪz ər ˈɪntərɪsts ɪn ˈvɪdioʊ geɪmz. ðeɪ seɪ θɪŋz laɪk "ðeɪ ˌɪgˈnɔr mi", ənd "əm ˈfeɪlɪŋ æt θɪŋz aɪ ˈdɪdənt kɛr əˈbaʊt ɪn ðə fərst pleɪs." ˈəðər θɪŋz ðeɪ ʤɪst ˈrɪli doʊnt kɛr əˈbaʊt: ˌriəˈlɪstɪk ˈgræfɪks. ˈækʃən. "soʊ maɪ frɛndz wɔnt nɑt tɪ bi riˈpəlst, tɪ ˈrɛkəgˌnaɪz ðɛr oʊn teɪsts, ənd tɪ faɪnd dɛpθ. bɪˈkəz wi ɛz ən ˈɪndəstri feɪl æt ðə fərst tu" soʊ maɪ frɛndz wɔnt nɑt tɪ bi riˈpəlst, tɪ ˈrɛkəgˌnaɪz ðɛr oʊn teɪsts, ənd tɪ faɪnd dɛpθ. bɪˈkəz wi ɛz ən ˈɪndəstri feɪl æt ðə fərst tu, maɪ frɛndz doʊnt gɪt tɪ ɪkˈspɪriəns ðət ˈgeɪmɪŋ ɪz pərˈhæps ðə moʊst ˈpaʊərfəl ˈmidiəm fər ˈlərnɪŋ ənd fər groʊɪŋ ənd ˈʧeɪnʤɪŋ ɛz ə ˈpərsən. ɛz ˈgeɪmərz, wi noʊ ðət ə geɪm mɪˈkænɪk kən kənˈveɪ ˈminɪŋ mɔr ɪˈfɪʃəntli ðən ə ˈnɑvəl ər fɪlm. ˈpeɪpərz, pliz tɔt ˈjuˈɛs ðət. treɪn tɔt ˈjuˈɛs ðət. ðɪs wɔr əv maɪn. ˌɛtˈsɛtərə. aɪˈdɛntəˌfaɪɪŋ ðiz kraɪˈtɪriə hɛlpt mi ˌəndərˈstænd waɪ ˈniðər nɔr ʧaɪld əv laɪt wərkt fər maɪ frɛndz. həz ðə dɛpθ, bət nɑt ðə teɪst. krɪˈstinə ˌɛnˈʤɔɪd pleɪɪŋ wɪθ hər aɪˈdɛntəˌti ənd kəˈnɛktɪŋ wɪθ ˈkɛrɪktərz, bət ʃi ˈdəzənt laɪk sɔrdz nɔr ˈfaɪtɪŋ nɔr ˈdrægənz. ʧaɪld əv laɪt həz ðə teɪst bət nɑt ðə dɛpθ. ðə ˈlɪniər ˈstɔri ənd ˈkɑmbæt ˈdɪdənt prəˈvaɪd speɪs fər hər tɪ pleɪ əraʊnd wɪθ ðə kaɪnd əv kˈwɛsʧənz ʃi kɛrz əˈbaʊt ɪn laɪf. (pləs ðə kənˈtroʊlz wər nɑt ækˈsɛsəbəl, wɪʧ wi wʊd hæv noʊn ɪf wi hæd wɪθ ˈpipəl hu wərənt ˈgeɪmərz.) ɪts nɑt ɪˈnəf tɪ riˈmuv ðə θɪŋz ðət maɪ frɛndz doʊnt laɪk ənd θɪŋk ðeɪ wɪl laɪk ˈvɪdioʊ geɪmz. ðə ɪkˈspɪriəns məst bi beɪst ɪn θɪŋz ðət ðeɪ kɛr əˈbaʊt, ɪn ˈprɑbləmz ðeɪ hæv ɪn laɪf. ɪt məst hɛlp ðɛm ˌəndərˈstænd ðɛr lɪvz mɔr. laɪf ɪz ˈrɪli ˈdɪfəkəlt. soʊ ˈæskɪŋ maɪ frɛndz wət ðeɪ doʊnt laɪk əˈbaʊt ˈvɪdioʊ geɪmz ɪz hæf ðə kˈwɛʃən. ˈæskɪŋ maɪ frɛndz wət ðeɪ doʊnt laɪk əˈbaʊt laɪf, ənd haʊ ə ˈvɪdioʊ geɪm kʊd hɛlp ðɛm wɪθ ðət, ɪz ðə ˈsɛkənd ənd mɔr ˌɪmˈpɔrtənt hæf. laɪk ˈmɛni ˈwɪmən, laɪf ɪz ˈvɛri ˈdɪfərənt frəm hər ˈpɛrənts' lɪvz. ʃi ɪz ðə fərst ˈwʊmən ɪn hər ˈfæməli tɪ ərn ə ˌjunəˈvərsəti dɪˈgri ənd bɪld ə bɪg kərɪr, bət skul ˈdɪdənt priˈpɛr hər fər ˈɔfəs ˈpɑləˌtɪks ər ˈmɛni əv ðə ˈəðər ˈæˌspɛkts əv hər laɪf. ʃi ɪz ˈtaɪni ənd soʊ ˈivɪn ðoʊ ʃi ɪz ˈɔlsoʊ ˈvɛri smɑrt ənd ˈvɛri strɔŋ, ˈpipəl ˈɔfən doʊnt teɪk hər ˈsɪriəsli. wɪn ʃi wɔks tɪ wərk ʃi ɪz ənd wɪn ʃi wərks leɪt ənd wɔks hoʊm ʃi fɪrz fər hər ˈseɪfti. ðə kɔst əv ˈlɪvɪŋ ɪn vænˈkuvər ɪz ˈvɛri haɪ ənd ʃi həz ˈstudənt loʊnz. ʃi ˈdəzənt noʊ haʊ ʃi ɪz goʊɪŋ tɪ ˈbæləns kərɪr ənd ˈfæməli. hər frɛndz ər ɔl ɛz ˈbɪzi ɛz ʃi ɪz. ʃi həz noʊ ˈɑbviəs roʊl ˈmɑdəlz. ʃi ɪz ˈfɪgjərɪŋ ˈɛvriˌθɪŋ aʊt hərˈsɛlf. wɪn krɪˈstinə gɪts hoʊm frəm ə lɔŋ deɪ, ʃi ˈdəzənt wɔnt tɪ ˈbætəl ɪt aʊt ɪn ə geɪm ər gɪt ˈfrəˌstreɪtəd ɪn ə geɪm. ʃi wɔnts tɪ ɪkˈspɛrəmənt wɪθ hu ʃi ɪz ɪn ə ˈsoʊʃəl ˈkɑntɛkst əv ˈkɛrɪktərz hum ʃi kɛrz əˈbaʊt ənd hu kɛr əˈbaʊt hər. ðɪs ɪz haʊ ʃi fɛlt əˈbaʊt ˈlɪdiə ɪn ənd ðɪs ɪz haʊ aɪ fil əˈbaʊt ðə ˈkɛrɪktərz ɪn tu. "ðə dɪˈgri əv ˌɪnərˌækˈtɪvɪti ɪn ɑr lɪvz ɪz əˈmeɪzɪŋ ənd ˈwəndərfəl ənd aɪ ˈwʊdənt ɪksˈʧeɪnʤ ɪt fər ˈɛniˌθɪŋ, bət ɪt ɪz ˈɔlsoʊ ˈʃɑkɪŋ ənd ˌoʊvərˈwɛlmɪŋ" ðə ˈɑrtɪst ˈhɛri ʤaɪlz ˈrisəntli pʊt ˈɪntu wərdz ˈɛvriˌθɪŋ aɪ wɑz ˈfilɪŋ əˈbaʊt ɑrt ənd ˈðɛrˌfɔr əˈbaʊt geɪmz. ðeɪ tɔk əˈbaʊt haʊ ˈɑrtɪsts hæv ˈɔfən juzd ʃɑk tɪ gɪt θru tɪ ˈɔdiənsəz, bət haʊ ðət tɛkˈnik həz bɪn əbˈzɔrbd ˈɪntu ɑr ˈkəlʧər ənd naʊ wi ɪgˈzɪst ɪn "ə steɪt əv ˈkɑnstənt ʃɑk, əv ˈkɑnstənt ˌstɪmjəˈleɪʃən". æt ðə seɪm taɪm, wi ər ɪkˈspɪriənsɪŋ ə "drəˈmætɪk ɪˈroʊʒən əv ˈstrəkʧərz əv kɛr". aɪ ˈrɪli fil ðɪs. wɪr θroʊɪŋ aʊt ˈrisɔrsɪz əv kɛr ɑr ˈpɛrənts hæd səʧ ɛz rɪˈlɪʤən ənd ˈhaʊsˌwaɪvz (wɪʧ ɪz faɪn wɪθ mi), ənd nɑt rɪˈpleɪsɪŋ ðɛm wɪθ məʧ (wɪʧ ɪz nɑt faɪn wɪθ mi). ʤaɪlz sɪz: "ɪz prəˈvaɪdɪŋ kɛr ðəs ə ˈvæljəbəl ˈævəˌnu əv ɑrˈtɪstɪk ˌɛksplərˈeɪʃən? ɪz ðə ɑrt əv kɛr ə fɔrm əv ˈrædɪkəl pəˈlɪtɪkəl ɑrt? ɪz kɛr, ɪn ə soʊˈsaɪɪti wɪʧ kɛr, ˌɪtˈsɛlf ˈʃɑkɪŋ?" əm nɑt riˈmoʊtli ˈɪntəˌrɛstɪd ɪn ˈʃɑkɪŋli gʊd ˈgræfɪks, ɪn ˈmərdər ˈsɪmjəˌleɪtərz, ɪn gənz ənd naɪvz ənd sɔrdz. əm nɑt ðət ˈɪntəˌrɛstɪd ɪn əˈdrɛnələn. maɪ oʊn laɪf ɪz θˈrɪlɪŋ ɪˈnəf. ðɛr ɪz ɪˈnəf fɪr ənd ˈheɪtrəd ɪn ðə wərld tɪ gɪt maɪ hɑrt ˈpaʊndɪŋ. maɪ ˈfeɪsˌbʊk fid ənd tˈwɪtər fid ər ɪˈnəf fər ðət. ˈwɔkɪŋ ˈaʊtˈsaɪd ɪn ˈsəmər ˈkloʊðɪŋ ɪz ɪˈnəf fər ðət. əm ˈɪntəˌrɛstɪd ɪn kɛr, ɪn ˈkɛrɪktərz, ɪn kriˈeɪʃən, ɪn ˈfaɪndɪŋ ə pæθ ˈfɔrwərd ˌɪnˈsaɪd geɪmz ðət hɛlps mi faɪnd maɪ pæθ ˈfɔrwərd ɪn laɪf. aɪ æm ˈɪntəˌrɛstɪd ɪn kəmˈpæʃən ənd ˌəndərˈstændɪŋ. əm ˈɪntəˌrɛstɪd ɪn kəˈnɛktɪŋ. ɛz mərˈændə ˌʤuˈlaɪ sɛd, "ɔl aɪ ˈɛvər ˈwɔntɪd tɪ noʊ ɪz haʊ ˈəðər ˈpipəl ər ˈmeɪkɪŋ ɪt θru laɪf." aɪ wɔnt tɪ meɪk geɪmz ðət hɛlp ˈəðər ˈpipəl ˌəndərˈstænd laɪf. wi ər ɔl ˌoʊvərˈwɛlmd wɪθ ʃɑk, wɪθ ˌɪnˌfɔrˈmeɪʃən, wɪθ ʧeɪnʤ. ðə dɪˈgri əv ˌɪnərˌækˈtɪvɪti ɪn ɑr lɪvz ɪz əˈmeɪzɪŋ ənd ˈwəndərfəl ənd aɪ ˈwʊdənt ɪksˈʧeɪnʤ ɪt fər ˈɛniˌθɪŋ, bət ɪt ɪz ˈɔlsoʊ ˈʃɑkɪŋ ənd ˌoʊvərˈwɛlmɪŋ ənd ɪts ˈkɔzɪŋ ˈjuˈɛs tɪ dɪg ɪn ənd traɪ tɪ faɪnd səm pis baɪ ˈʃətɪŋ iʧ ˈəðər aʊt. ɔn ɔl saɪdz əv ðə pəˈlɪtɪkəl ˈspɛktrəm wiv stɑpt ˈlɪsənɪŋ tɪ iʧ ˈəðər ənd aɪ fɪr wi ər ɔl ˈlinɪŋ təˈwɔrd ˈfæʃɪst ˈθɪŋkɪŋ. wi ʃʊd bi ˈjuzɪŋ ðɪs ˈmidiəm tɪ hɛlp ˈjuˈɛs əˈdæpt tɪ ɑr nu, ˌɪnərˈæktɪv lɪvz. ðɪs ɪz haʊ wi bɪˈkəm ˈrɛləvənt. pɑrt 4 ˈɪntəˌrɛstɪŋ ˈvɪdioʊ geɪmz soʊ ˈkɛrɪŋ əˈbaʊt jʊr ˈɔdiəns ɪz gʊd, ˈrɛləvənt, ənd ˈnɛsəˌsɛri ɑrt. bət ɪt ɪz ˈɔlsoʊ gʊd ˈbɪznɪs. ju kən rɛd ˈɛni bʊk əˈbaʊt haʊ tɪ rən ə ˈstɑrˌtəp ənd rən ˈɪntu aɪˈdiəz əˈbaʊt ˈkəstəmər dɪˈvɛləpmənt ənd ˈvælju ˌprɑpəˈzɪʃən. rɛd ə fju mɔr ənd ju rən ˈɪntu aɪˈdiəz əˈbaʊt tɪ teɪk ðə rɪsk aʊt əv kriˈeɪtɪŋ fər nu ˈmɑrkɪts. ðɪs ɪz kɛr. tɪm gən sɪz, "ˈtudeɪz dɪˈzaɪnərz ˈɔpərˌeɪt wɪˈθɪn ˈpɛrəˌdaɪmz ðət wər ɪˈstæblɪʃt ˈdɛkeɪdz ðɪs ɪz naʊ ðə ʃeɪp əv ˈwɪmən ɪn ðɪs ˈneɪʃən, ənd dɪˈzaɪnərz nid tɪ ræp ðɛr maɪndz əˈbaʊt ɪt." ɪn maɪ læst deɪz ˌbiˈfɔr kˈwɪtɪŋ maɪ ˈkɔrpərət ʤɑb aɪ ˈkʊdənt gɪt ʤɑn 1971 pis aɪ wɪl nɑt meɪk ˈɛni mɔr ˈbɔrɪŋ ɑrt aʊt əv maɪ hɛd. hi bərnd ɔl hɪz ˈpeɪnɪŋz bɪˈkəz hi wɑz ˈɔlsoʊ kˈwɛsʧənɪŋ ðə ˈpɛrəˌdaɪmz. wɪn aɪ tɔk wɪθ maɪ frɛndz əˈbaʊt wət ðeɪ wʊd laɪk ɪn ən ˌɪnərˈæktɪv ɪkˈspɪriəns, ɪt ˈdəzənt fɪt kənˈvɛnʃənəl geɪmz ˈɪndəstri ˈwɪzdəm əˈbaʊt wət meɪks ə gʊd geɪm. wɪn aɪ θɪŋk wət aɪ wʊd laɪk ɪn ə geɪm, ɪt ˈdəzənt fɪt kənˈvɛnʃənəl geɪmz ˈɪndəstri ˈwɪzdəm. ənd əm səˈpraɪzd æt haʊ sˈloʊli ðə ˌkɑnvərˈseɪʃən ɪz ɪˈvɑlvɪŋ. ɪts bɪn θri jɪrz sɪns maɪ frɛndz ənd aɪ bɔt ˈtæbləts ənd hæv bɪn ˈlʊkɪŋ fər geɪmz. fər jɪrz aɪv bɪn bɔrd əv traɪɪŋ tɪ pruv tɪ maɪ ˈkɑligz ðət ˈwɪmən ər ˈjumən, ðət ˈwɪmən ˈɑrənt tu ˌənprɪˈdɪktəbəl tɪ ˈstədi, ðət wət ˈwɪmən laɪk ɪz nɑt lɛs ˈwərði nɔr ˈbɔrɪŋ nɔr rɔŋ nɔr hɑrd tɪ ˌəndərˈstænd. ðət ɪts ˈgɑrbɪʤ tɪ seɪ ðət ˈwɪmən doʊnt nid dip, rɪʧ ɪkˈspɪriənsɪz. aɪ noʊ ðət wi ˈnɛvər ˈnidɪd tɪ snɪr wɪn ðə wərdz kɪm ˈkɑdəˌʃeɪn: ˈhɑliˌwʊd wər ˈmɛnʃənd. aɪ noʊ ðət ðə səkˈsɛs əv ə geɪm əˈbaʊt kəˈlɛktɪŋ kæts ɪz nɑt ə ˈmɪstəri. aɪ ˈstɑrtɪd maɪ ˈlɪtəl ˈstudiˌoʊ bɪˈkəz aɪ kɛr əˈbaʊt geɪmz, aɪ kɛr əˈbaʊt maɪ frɛndz ənd ˈpipəl laɪk ðɛm, aɪ wɔnt maɪ frɛndz tɪ kɛr əˈbaʊt geɪmz, ənd aɪ wɔnt tɪ meɪk geɪmz ðət kɛr əˈbaʊt maɪ frɛndz. æt maɪ ˈstudiˌoʊ wi ər ˈmeɪkɪŋ geɪmz wɪθ ˈpipəl hu doʊnt laɪk ˈvɪdioʊ geɪmz bɪˈkəz wi wɔnt tɪ breɪk aʊt əv ɪˈstæblɪʃt ˈpɛrəˌdaɪmz. wi wɔnt tɪ θɪŋk əˈbaʊt aɪˈdiəz frəm ˈdɪfərənt ˈæŋgəlz ənd drɔ ɔn ˈdɪfərənt ˈrɛfərənsɪz. wi wɔnt geɪmz ðət ˈɑrənt ˈgrɪti, ˈtɑksɪk ˈnɑnsɛns nɔr ˈfrəˌstreɪtɪŋ taɪm ˈweɪstərz ðət liv ju ˈfilɪŋ dɛd ˌɪnˈsaɪd. wi wɔnt geɪmz əˈbaʊt haʊ iʧ əv ˈjuˈɛs kʊd bi ɪn ðə fˈjuʧər, haʊ ðə wərld kʊd bi ɪn ðə fˈjuʧər. wi wɔnt geɪmz bɪlt ɔn kəmˈpæʃən ənd rɪˈspɛkt ənd fearlessness*. ðɪs ɪz soʊ məʧ mɔr ˈɪntəˌrɛstɪŋ.
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brie code monday 7th november 2016 share this article share
video games are bigger than movies. everyone's a gamer. i've devoted my life-no exaggeration-to video games for 14 years, working on titles such as company of heroes, a few assassin's creeds, and child of light. but everywhere i go, i meet people who don't like video games. most of my friends don't like video games. and one of my favourite things when i'm meeting a new person is to watch them squirm, to struggle to relate, after i mention i work in the video game industry. they'll mention some old game they used to play, try to say something nice about it, and then confess that they don't play video games.
meanwhile, our lives have changed radically compared to our parents' lives. as we adapt to new technologies, our lives are becoming increasingly fragmented, multifaceted, interactive. linear novels and films are less relevant now for reflecting our realities. what forms of art and entertainment are most relevant now? collage? memoir? no, it should be video games. interactive entertainment. yet, many people don't like video games.
why?
groups of experts and groups of people who are similar to each other get stuck. people who are similar to each other think similarly, draw on the same knowledge base, and approach problems from the same angles. there's even a further psychological effect where an individual in a group of similar people will have fewer good ideas than the same individual in a diverse group.
if there is any workforce full of people who are similar to each other, it is the video game industry workforce. we are mostly men, mostly white, and even more importantly, we are mostly gamers. could it possibly be that maybe, just maybe, we could be missing something?
maybe everything we know is wrong.
part 2: everything i know is wrong
three years ago, for the first time, my friends who don't like video games started to ask about video games. this was because they were starting to buy tablets. and some of them were getting castoff consoles from neighbours or family members who upgraded. this was very exciting for me - i thought maybe i would finally be able to share the thing i love with the people i love. spoiler: i was wrong. they didn't become gamers after they played the games i recommended. but something interesting did happen.
my closest friend, my cousin kristina, has been perhaps the most hostile towards my affection for video games. she's an art historian who loves contemporary feminist art and she sees me as a designer. but not a game designer. when i would message her stressed about work she wouldn't offer her support. instead she would encourage me to quit and go back to school to study interior design or industrial design. she thought i was wasting my life in the video games industry.
"this was very exciting for me - i thought maybe i would finally be able to share the thing i love with the people i love. spoiler: i was wrong"
and then one day she started to ask about video games. i was thrilled. of course i recommended journey. it seemed like the natural fit. to my surprise, she didn't finish it. she didn't like that there is a snake that can kill you. it's not that it is too hard, it's that she is deeply uninterested in being attacked in a game. but it did intrigue her enough that she asked for more recommendations.
so i started testing games on my friends who didn't like video games, to see what they would like and dislike. one night i decided i had built enough trust with kristina to recommend my favourite game, skyrim. she googled it and texted me back something like, "uhhhhh i don't know why you think i would play this. i don't watch game of thrones. i don't like swords. i don't like fighting. i don't like dragons." i told her she would hate the first bit with the dragon but just to get through it and then give it a chance and get back to me with her thoughts. i never heard back.
three weeks later my phone rang. no one ever calls me because they know i don't answer. but i glanced down and i saw kristina's name on the screen. my stomach sank as it occurred to me that there must be some kind of family emergency. i answered, and kristina was crying.
she said to me, "lydia died".
we have no lydia in our family. she was talking about the character in skyrim. for three weeks she had been playing skyrim obsessively. and now she'd accidentally killed lydia and she didn't have a recent save game.
kristina said to me through her tears that she didn't realize that you could develop an emotional attachment to a character in a video game. she didn't realize that you could create your character and exist as a version of yourself in a world full of characters whom you care about. i had never realized that she didn't know this, because i knew this so deeply. she said to me that for all these years, it wasn't that she didn't like video games, it was that she didn't know what they were.
" she didn't realize that you could create your character and exist as a version of yourself in a world full of characters whom you care about"
(when i tell this story at conferences people tell me their lydia stories afterwards. we all have a lydia story.)
so my cousin loved skyrim. my friends who don't like video games might like video games. this changed my whole focus. i helped make child of light. i thought my friends would like it. but i never showed it to them while it was in development. and when it came out, to my surprise, my friends didn't like child of light either.
and the truth is that kristina stopped playing skyrim pretty soon after lydia died, because she truly doesn't like swords nor fighting nor dragons. and three years have gone by and there is still no game that resonates with my friends. in tim gunn's words, "this is a design failure and not a customer issue".
i love video games and i work with people who love video games. but when i listen to kristina describe the video games she says she wishes she could play, the video games she says she wishes existed-games that would sound extremely boring to most gamers but interesting to most of my friends-i realize that i too would love those games so much more.
listening to kristina made me realize that i hadn't been having good ideas. i realized that i had been working with people who think too similarly to myself, who draw on the same cultural references (geek culture), who use the same game design theory that was developed mainly by (white, male) gamers for (white, male) gamers. i realized that i was stuck. this is what happens when everyone is the same as each other. we make boring things.
"i realized that i was stuck. this is what happens when everyone is the same as each other. we make boring things"
and my friends are still asking about games. the interest is still there. and finally i came to the realization that it wasn't about convincing my friends to play games i liked elements of and hoping they would like elements of them too. it wasn't about answering them; it was about asking them. it was about really talking with them, and then making a game that they would like so ridiculously much that they couldn't help but play it.
part 3: life is really difficult
so why don't my friends like video games and what would they like?
when my friends talk about why they don't like video games, they are talking about three things. the most important thing is that they think video games lack depth. they say things like, "unlike books/films/podcasts, with video games i don't learn anything or change as a person". secondly, on a surface level, they are also often just flat out repulsed by video games. few women, for example, are going to play a video game with terrible portrayals of women. they say things like "they insult me/my demographic." and thirdly, they don't find their own cultural references or interests in video games. they say things like "they ignore me", and "i'm failing at things i didn't care about in the first place."
other things they just really don't care about: realistic graphics. action.
"so my friends want not to be repulsed, to recognize their own tastes, and to find depth. because we as an industry fail at the first two"
so my friends want not to be repulsed, to recognize their own tastes, and to find depth. because we as an industry fail at the first two, my friends don't get to experience that gaming is perhaps the most powerful medium for learning and for growing and changing as a person. as gamers, we know that a well-designed game mechanic can convey meaning more efficiently than a novel or film. papers, please taught us that. train taught us that. this war of mine. etc.
identifying these criteria helped me understand why neither skyrim nor child of light worked for my friends. skyrim has the depth, but not the taste. kristina enjoyed playing with her identity and connecting with characters, but she doesn't like swords nor fighting nor dragons. child of light has the taste but not the depth. the linear story and turn-based combat didn't provide space for her to play around with the kind of questions she cares about in life. (plus the controls were not accessible, which we would have known if we had play-tested with people who weren't gamers.)
it's not enough to remove the things that my friends don't like and think they will like video games. the experience must be based in things that they care about, in problems they have in life. it must help them understand their lives more. life is really difficult.
so asking my friends what they don't like about video games is half the question.
asking my friends what they don't like about life, and how a video game could help them with that, is the second and more important half.
like many women, kristina's life is very different from her parents' lives. she is the first woman in her family to earn a university degree and build a big career, but school didn't prepare her for office politics or many of the other aspects of her career-oriented life. she is tiny and so even though she is also very smart and very strong, people often don't take her seriously. when she walks to work she is cat-called and when she works late and walks home she fears for her safety. the cost of living in vancouver is very high and she has student loans. she doesn't know how she is going to balance career and family. her friends are all as busy as she is. she has no obvious role models. she is figuring everything out herself.
when kristina gets home from a long day, she doesn't want to battle it out in a game or get frustrated in a game. she wants to experiment with who she is in a social context of characters whom she cares about and who care about her. this is how she felt about lydia in skyrim and this is how i feel about the characters in skyrim too.
"the degree of interactivity in our lives is amazing and wonderful and i wouldn't exchange it for anything, but it is also shocking and overwhelming"
the artist harry giles recently put into words everything i was feeling about art and therefore about games. they talk about how artists have often used shock to get through to audiences, but how that technique has been absorbed into our culture and now we exist in "a state of constant shock, of constant stimulation". at the same time, we are experiencing a "dramatic erosion of structures of care". i really feel this. we're throwing out resources of care our parents had such as religion and housewives (which is fine with me), and not replacing them with much (which is not fine with me). giles says: "is providing care thus a valuable avenue of artistic exploration? is the art of care a form of radical political art? is care, in a society which devalues care, itself shocking?"
i'm not remotely interested in shockingly good graphics, in murder simulators, in guns and knives and swords. i'm not that interested in adrenaline. my own life is thrilling enough. there is enough fear and hatred in the world to get my heart pounding. my facebook feed and twitter feed are enough for that. walking outside in summer clothing is enough for that. i'm interested in care, in characters, in creation, in finding a path forward inside games that helps me find my path forward in life. i am interested in compassion and understanding. i'm interested in connecting. as miranda july said, "all i ever wanted to know is how other people are making it through life." i want to make games that help other people understand life.
we are all overwhelmed with shock, with information, with change. the degree of interactivity in our lives is amazing and wonderful and i wouldn't exchange it for anything, but it is also shocking and overwhelming and it's causing us to dig in and try to find some peace by shutting each other out. on all sides of the political spectrum we've stopped listening to each other and i fear we are all leaning toward fascist thinking. we should be using this medium to help us adapt to our new, interactive lives. this is how we become relevant.
part 4: interesting video games
so caring about your audience is good, relevant, and necessary art. but it is also good business. you can read any book about how to run a start-up and run into ideas about customer development and value proposition. read a few more and you run into ideas about co-design to take the risk out of creating for new markets. this is care.
tim gunn says, "today's designers operate within paradigms that were established decades ago...but this is now the shape of women in this nation, and designers need to wrap their minds about it." in my last days before quitting my corporate job i couldn't get john baldessari's 1971 piece i will not make any more boring art out of my head. he burned all his paintings because he was also questioning the paradigms. when i talk with my friends about what they would like in an interactive experience, it doesn't fit conventional games industry wisdom about what makes a good game. when i think what i would like in a game, it doesn't fit conventional games industry wisdom.
and i'm surprised at how slowly the conversation is evolving. it's been three years since my friends and i bought tablets and have been looking for games. for years i've been bored of trying to prove to my colleagues that women are human, that women aren't too unpredictable to study, that what women like is not less worthy nor boring nor wrong nor hard to understand. that it's garbage to say that women don't need deep, rich experiences. i know that we never needed to sneer when the words kim kardashian: hollywood were mentioned. i know that the success of a game about collecting cats is not a mystery.
i started my little studio because i care about games, i care about my friends and people like them, i want my friends to care about games, and i want to make games that care about my friends. at my studio we are making games with people who don't like video games because we want to break out of established paradigms. we want to think about ideas from different angles and draw on different references. we want games that aren't gritty, toxic pseudo-realistic pseudo-masculine nonsense nor frustrating time wasters that leave you feeling dead inside. we want games about how each of us could be in the future, how the world could be in the future. we want games built on compassion and respect and fearlessness. this is so much more interesting.
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gɪt ðə ˈleɪtəst frəm təˈdeɪ saɪn əp fər ɑr ˈnuzˌlɛtər ˌʤuˈlaɪ 5 2013 piɛm baɪ skɑt stəmp ɛmˈbætəld səˈlɛbrɪti ʃɛf ˈpɔlə din kən naʊ æd biɪŋ ðə ˈtərgət əv ən əˈlɛʤd ɛkˈstɔrʃən əˈtɛmpt tɪ ən ɔˈrɛdi fʊl pleɪt əv ˈligəl ˈdrɑmə. ˈɛfˈbiˈaɪ əˈfɪʃəlz əˈnaʊnst ˈfraɪˌdeɪ ðət ðeɪ ərˈɛstɪd ˈtɑməs, 62 ɪn ˈnuˌfild, n.y*., ɪn kəˈnɛkʃən wɪθ ən ɛkˈstɔrʃən skim ˈtɑrgətɪŋ din., hu ˈpriviəsli rɪˈzaɪdɪd ɪn səˈvænə ənd əˈgəstə ɪn hoʊm steɪt əv ˈʤɔrʤə, həz bɪn ʧɑrʤd wɪθ əˈtɛmptɪŋ tɪ ɛkˈstɔrt din baɪ rɪkˈwɛstɪŋ ɪn ˌkɑmpənˈseɪʃən ɪn rɪˈtərn fər nɑt riˈlisɪŋ ənd damning”*” ˈsteɪtmənts tɪ ðə ˈmidiə meɪd baɪ din, əˈkɔrdɪŋ tɪ ə ˈfɛdərəl ˈkrɪmənəl kəmˈpleɪnt faɪld ɔn ʤun 24 ˈlɔjər ˈkɑnˌtæktɪd ðə æˈtlæntə ˈɔfəs ˈæftər sɛnt ən iˈmeɪl ənd ˈfɑloʊd əp wɪθ ə foʊn kɔl rɪkˈwɛstɪŋ ðə ˈməni, əˈkɔrdɪŋ tɪ ðə kəmˈpleɪnt. ˈɪndəˌkeɪtɪd ðət ðə ˌɪnˌfɔrˈmeɪʃən hi θˈrɛtənd tɪ riˈlis wʊd brɪŋ ˈhɑrdʃɪp ənd ˌfaɪˈnænʃəl ruɪn tɪ din, əˈkɔrdɪŋ tɪ ˈɛfˈbiˈaɪ ˈspɛʃəl ˈeɪʤənt mɑrk ɛf. ˌʤuliˈɑnoʊ. ðə ɛkˈstɔrʃən ʧɑrʤ əˈgɛnst kəmz ˈæftər din həz bɪn drɑpt baɪ ə ˈdəzən ˈkəmpəˌniz ɪn ðə pæst fju wiks ˈæftər ʃi ədˈmɪtəd hər pæst juz əv ə ˈreɪʃəl slər ˈdʊrɪŋ ə ˈligəl ˌdɛpəˈzɪʃən. ə ˈlɔˌsut faɪld əˈgɛnst hər baɪ ə ˈfɔrmər ɪmˈplɔɪi kleɪmz ðə ɪmˈplɔɪi wɑz ˈsɛkʃuəli həræst ənd wərkt ɪn ə dɪˈskrɪmənəˌtɔri ɪnˈvaɪrənmənt. wɑz ˈteɪkən tɪ ˌɑnənˈdɔgə ˈkaʊnti ʤeɪl ɪn nu jɔrk ənd ɪz ˈskɛʤʊld tɪ əˈpɪr ɪn frənt əv ə juz. ˈmæʤɪˌstreɪt ʤəʤ ɪn səˈvænə ɔn ˌʤuˈlaɪ 16 əˈkɔrdɪŋ tɪ ðə ˈɛfˈbiˈaɪ ˈsteɪtmənt. ˌrɛprɪˈzɛnətɪvz fər din dɪd nɑt ˌɪˈmiˌdiətli rɪˈspɑnd tɪ rɪkˈwɛsts fər ˈkɑmɛnt. ðə əˈlɛʤd ɛkˈstɔrʃən plɑt ɪz ðə ˈleɪtəst ɪn ðə ˈsɑgə əv din, hu ˈɔlsoʊ əˈnaʊnst ʃi həz splɪt wɪθ hər ˈeɪʤənt əv mɔr ðən ə ˈdɛkeɪd, ˈbɛri ˈwaɪnər, θru ə ˈsteɪtmənt ˈɪʃud baɪ hər ˈspoʊksˌwʊmən.
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july 5, 2013, 7:10 pm gmt by scott stump
embattled celebrity chef paula deen can now add being the target of an alleged extortion attempt to an already full plate of legal drama.
fbi officials announced friday that they arrested thomas paculis, 62, in newfield, n.y., in connection with an extortion scheme targeting deen. paculis, who previously resided in savannah and augusta in deen’s home state of georgia, has been charged with attempting to extort deen by requesting $250,000 in compensation in return for not releasing “true and damning” statements to the media made by deen, according to a federal criminal complaint filed on june 24.
deen's lawyer contacted the fbi’s atlanta office after paculis sent an email and followed up with a phone call requesting the money, according to the complaint. paculis indicated that the information he threatened to release would bring hardship and financial ruin to deen, according to fbi special agent mark f. giuliano.
the extortion charge against paculis comes after deen has been dropped by a dozen companies in the past few weeks after she admitted her past use of a racial slur during a legal deposition. a lawsuit filed against her by a former employee claims the employee was sexually harassed and worked in a discriminatory environment.
paculis was taken to onondaga county jail in new york and is scheduled to appear in front of a u.s. magistrate judge in savannah on july 16, according to the fbi statement. representatives for deen did not immediately respond to requests for comment.
the alleged extortion plot is the latest in the saga of deen, who also announced she has split with her agent of more than a decade, barry weiner, through a statement issued by her spokeswoman.
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səˈmænθə bi ʤɪst skuld ðə rɪˈlɪʤəs raɪt wɪθ ə ˈraɪʧəs ˈhɪstəri ˈlɛsən ˈfɔrti jɪrz əˈgoʊ, ðə ˈplætˌfɔrm ˈbɛrli təʧt rɪˈlɪʤən. baɪ 1980 ˈɛvriˌθɪŋ ʧeɪnʤd. sæm bi breɪks ɪt ɔl daʊn "fʊl ˈfrəntəl" hoʊst səˈmænθə bi bɪˈgæn læst naɪts ˈɛpɪˌsoʊd baɪ dɪˈteɪlɪŋ ðə ˈɔrəʤən ˈstɔri əv rɪˈlɪʤəs kənˈsərvətɪvz ˈɛnərɪŋ ˈɪntu ðə pəˈlɪtɪkəl ərˈinə. "fər ə ˌʤɛnərˈeɪʃən, ðeɪv bɪn laɪk ə wɑsp ɪn ən ˈɛrˌpleɪn," bi sɛd əv ðə nu rɪˈlɪʤəs raɪt. "ðɛr smɔl ənd ˌaʊtˈnəmbərd, bət ˈɛvriˌwən stɪl həz tɪ əˈvɔɪd ˈpɪˌsɪŋ ðɛm ɔf." ˌædvərˈtaɪzmənt: ðoʊ ðə rɪˈlɪʤəs raɪt ɪz səʧ ə ˈfɪksʧər ɪn ˈmɑdərn əˈmɛrɪkən ˈpɑləˌtɪks (ˈivɪn ˈfildɪŋ ə ˈsɪlvər ˌprɛzɪˈdɛnʃəl ˈkænədɪt), bi sɛd, "ɪt ˈwəzənt ˈɔlˌweɪz ðət weɪ." ðə raɪz əv ðə rɪˈlɪʤəs raɪt kən bi treɪst bæk tɪ ən ˈmɛʒər prəˈpoʊzd ɪn 1978 baɪ ðə ˈaɪˌɑˈrɛs tɪ rɪˈvoʊk tæks ɪgˈzɛmpʃənz fər ˈpraɪvət skulz huz ədˈmɪʃənz dɪˈskrɪməˌneɪt baɪ reɪs. "ɪn 1972 ðə ˈplætˌfɔrm ˈdɪdənt kənˈteɪn ə ˈsɪŋgəl ˈrɛfərəns tɪ gɑd ər rɪˈlɪʤəs ˈɪʃuz," bi ɪkˈspleɪnd. "bət frəm 1980 ˈɑnwərdz, ðə ˈplætˌfɔrm keɪm tɪ rɛd laɪk ə ˈbæptɪst drim ˈʤərnəl." ðə gʊd nuz, bi ˈædɪd, ɪz ðət "ðə rɪˈlɪʤəs raɪt həz bɪn ˈluzɪŋ graʊnd fər 15 jɪrz. geɪ ˈpipəl kən ˈmɛri ənd sərv ɪn ðə ˈmɪlɪˌtɛri, ənd əˈpɑrt frəm ə ˈhændˌfʊl əv ˈbɪgətɪd ˈbeɪkərz, moʊst ˈpipəl ər faɪn wɪθ ɪt." wɔʧ ðə fʊl ˌsɛgˈmɛnt bɪˈloʊ:
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samantha bee just schooled the religious right with a righteous history lesson forty years ago, the gop platform barely touched religion. by 1980, everything changed. sam bee breaks it all down
"full frontal" host samantha bee began last night's episode by detailing the origin story of religious conservatives entering into the political arena.
"for a generation, they've been like a wasp in an airplane," bee said of the new religious right. "they're small and outnumbered, but everyone still has to avoid pissing them off."
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though the religious right is such a fixture in modern american politics (even fielding a silver medal-winning presidential candidate), bee said, "it wasn't always that way."
the rise of the religious right can be traced back to an anti-segregation measure proposed in 1978 by the irs to revoke tax exemptions for private schools whose admissions discriminate by race.
"in 1972, the gop platform didn't contain a single reference to god or religious issues," bee explained. "but from 1980 onwards, the platform came to read like a baptist dream journal."
the good news, bee added, is that "the religious right has been losing ground for 15 years. gay people can marry and serve in the military, and apart from a handful of bigoted bakers, most people are fine with it."
watch the full segment below:
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kju: wɪθ ˈrumərz əv ə ˈpɑsəbəl krɪs ˈændərsən treɪd, dɪz ðɪs ˈɛləˌveɪt ðə pəˈtɛnʃəl əv ðə hit ˈteɪkɪŋ ˈwɪli ər fræŋk kəˈmɪnski, ɪf ˈstænli ˈʤɑnsən ənd ˈdɛvɪn ˈbʊkər ər ɔf ðə bɔrd? ˈmælkəm. ə: wɪn ðɪs ˈprɔˌsɛs ˈstɑrtɪd bæk ɪn ˈeɪprəl wɪθ ðə ʧeɪs fər ˈlɑtəri ˈsidɪŋ, ənd ðɛn ɪn meɪ, wɪn ðə hit hɛld ðɛr noʊ. 10 sid ənd dɪd nɑt hæv tɪ ˈfɔrwərd ðɪs jɪrz pɪk tɪ ˌfɪləˈdɛlfiə, ɪt əˈpɪrd ə lɑk ðət ðə hit wʊd lʊk tɪ ˈboʊlstər ə pərˈɪmətər roʊˈteɪʃən daʊn tɪ ðə laɪks əv ʤeɪmz ˈɛnɪs ənd ˈtaɪlər ˈʤɑnsən wɪn ɪt keɪm tɪ dɛpθ. bət naʊ, wɪθ noʊ ˈsərtənti əˈbaʊt ˈwɛðər ˈbərdmæn steɪz ər ˈivɪn həz ɪˈnəf lɛft ɪn ðə tæŋk tɪ bæk əp həˈsɑn ˈwaɪtˌsaɪd, ənd ˈwɛðər ˈwaɪtˌsaɪd maɪt bi ˈbɛtər dɛlt ˈsunər ˈrəðər ðən peɪd ˈleɪtər, aɪv kəm əraʊnd tɪ ðə ˌpɑsəˈbɪlətiz əv ðə hit goʊɪŋ bɪg. ɪf ˈwɪli ɪz ðɛr (wɪʧ aɪ doʊnt bɪˈliv hi wɪl bi), aɪ wʊd goʊ ɪn ðət dɪˈrɛkʃɪn. əm nɑt ɛz soʊld ɔn kəˈmɪnski, bət ðət kʊd pʊt ʤɑʃ məˈkrɑbərts ˈɪntu pleɪ. aɪ ˈɔlsoʊ bɪˈliv ðət maɪlz ˈtərnər ɪz mɔr ɪn pleɪ ðən ˌɪˈnɪʃəli θɔt. ˈivɪn ɪf ˈʤɑnsən ɪz əˈveɪləbəl æt noʊ. 10 aɪ stɪl kʊd si ðə hit goʊɪŋ bɪg. ðɛr ʃʊd bi ˈplɛnti əv səˈspɛns wɪθ ðə hits pɪk ˈθərzˌdeɪ naɪt. kju: ɛz məʧ ɛz aɪ ˌɛnˈʤɔɪ ˈwɑʧɪŋ prəˈfɛʃənəl ˈbæskətˌbɔl biɪŋ pleɪd, ənd ɛz məʧ ɛz aɪ æm ə fæn əv ðə hit, aɪ æm ˈɔlsoʊ ˈfʊli əˈwɛr ðət ðɪs ɪz ə ˈbɪznɪs, wən ˌsɛgˈmɛnt əv ðə ˈlɑrʤər ˌɛnərˈteɪnmənt ˈɪndəstri. ðɛrz ˈmɪljənz əv ˈdɔlərz ðət floʊ θru ðɪs ˈɪndəstri ənd aɪ əˈplɔd ˈtælənt ənd ʃrud ˌfaɪˈnænʃəl ˈmænɪʤmənt ˈikwəli. ˈðɛrˌfɔr, aɪ æm nɑt ˈʧuzɪŋ "saɪdz" ɪn ðɪs ˈvɛri ˈpəblɪk nɪˌgoʊʃiˈeɪʃən bɪtˈwin weɪd ənd ðə hit ˌɔrgənəˈzeɪʃən, fər ðə pleɪərz ˈlaɪkli læst ˈkɑnˌtrækt ˌbiˈfɔr rɪˈtaɪərmənt. aɪ ˌəndərˈstænd boʊθ pəˈzɪʃənz ənd boʊθ ˈpɑrtiz nid tɪ ˈsɛtəl ðɪs ɪn ðə bɛst ˈpɑsəbəl weɪ fər iʧ ər ðɛr ˈbɪznɪs kənˈsərnz. ˈhævɪŋ sɛd ðət, aɪ wɪl ˌɛnˈʤɔɪ ˈwɑʧɪŋ ˈwɪnɪŋ ˈbæskətˌbɔl nɛkst ˈsizən. ˈwɛðər ðət ˌɪnˈkludz ˈwɑʧɪŋ ðə hit pleɪ ɪz ˈɛnibədiz gɛs. aɪv sin ðə hit wɪn wɪθ ənd aɪv sin ðə hit luz wɪθ. ɔl ðɪs ˈəðər "stəf" ɪz ˈrɪli ˈminɪŋləs tɪ mi. wən weɪ ər əˈnəðər, aɪ hoʊp ðiz tu ˈpɑrtiz ˈsɛtəl ðɪs ənd wi kən muv ɔn ənd wɔʧ ˈwɪnɪŋ maɪˈæmi hit ˈbæskətˌbɔl. ˈʃɛrəl, fɔrt ˈlɔdərˌdeɪl. ə: ənd ðæts wət meɪd ɪt mɔr ˈpælətəbəl wɪn ɔl ðɪs stəf, ɪn ˈpriviəs hit ˈfæʃən, wɑz ˈhændəld kˈwaɪətli ənd prəˈfɛʃənəli. aɪ doʊnt kɛr haʊ ðə ˈsɔsɪʤ ɪz meɪd, ʤɪst ðət ɪt ɪz ˈsutəbəl tɪ teɪst. ðɪs hoʊl əˈfɛr həz meɪd ðə offseason*, tɪ ðɪs pɔɪnt, ˈmoʊstli ənˈpælətəbəl. kju: ˈɛni ʧæns ðə hit kən gɪt krɪs bɑʃ tɪ riˈstrəkʧər hɪz ˈkɑnˌtrækt soʊ ðət ðeɪ kən juz ðə ˈməni tɪ weɪd? ɪt simz laɪk ɪt ɪz hɪz tərn tɪ "teɪk wən fər ðə tim," ənd ðeɪ ˈoʊvərˈpeɪd ɪm læst jɪr mæt, ˌælfərˈɛtə, ˈʤɔrʤə. ə: ju ˈkænɑt riˈstrəkʧər ˈkɑnˌtrækts ɪn ðə ˈɛnˌbiˈeɪ. wəns jʊr ɪn, jʊr ɪn. ðə ril kˈwɛʃən ɪz ˈwɛðər pæt ˈraɪli tʊk ˈɪntu əˈkaʊnt wət maɪt ˈfɑloʊ (laɪk ðɪs) wɪn ˈpʊtɪŋ ðət ˈpækɪʤ təˈgɛðər fər krɪs. ðə bɛst weɪ tɪ gɪt ðə truɪst ˈvælju aʊt əv ðət ˈkɑnˌtrækt naʊ ɪz tɪ gɪt bɑʃ tɪ pleɪ əp tɪ hɪz ˈsæləri, ˈimərʤ ɛz ðə feɪs əv ðə hit, ˈɔfər bɪg ˈmɪnəts ənd bɪg ˈnəmbərz ɔn ə kənˈsɪstənt ˈbeɪsɪs.
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q: with rumors of a possible chris andersen trade, does this elevate the potential of the heat taking willie cauley-stein or frank kaminsky, if stanley johnson and devin booker are off the board? -- malcolm.
a: when this process started back in april with the chase for lottery seeding, and then in may, when the heat held their no. 10 seed and did not have to forward this year's first-round pick to philadelphia, it appeared a lock that the heat would look to bolster a perimeter rotation down to the bare-bone likes of james ennis and tyler johnson when it came to late-season depth. but now, with no certainty about whether birdman stays or even has enough left in the tank to back up hassan whiteside, and whether whiteside might be better dealt sooner rather than paid later, i've come around to the possibilities of the heat going big. if willie cauley-stein is there (which i don't believe he will be), i would go in that direction. i'm not as sold on kaminsky, but that could put josh mcroberts into play. i also believe that myles turner is more in play than initially thought. even if johnson is available at no. 10, i still could see the heat going big. there should be plenty of suspense with the heat's pick thursday night.
q: as much as i enjoy watching professional basketball being played, and as much as i am an of the heat, i am also fully aware that this is a business, one segment of the larger entertainment industry. there's millions of dollars that flow through this industry and i applaud talent and shrewd financial management equally. therefore, i am not choosing "sides" in this very public negotiation between dwyane wade and the heat organization, for the player's likely last contract before retirement. i understand both positions and both parties need to settle this in the best possible way for each or their business concerns. having said that, i will enjoy watching winning basketball next season. whether that includes watching the heat play is anybody's guess. i've seen the heat win with dwyane and i've seen the heat lose with dwyane. all this other "stuff" is really meaningless to me. one way or another, i hope these two parties settle this and we can move on and watch winning miami heat basketball. -- cheryl, fort lauderdale.
a: and that's what made it more palatable when all this stuff, in previous heatshion, was handled quietly and professionally. i don't care how the sausage is made, just that it is suitable to taste. this whole affair has made the offseason, to this point, mostly unpalatable.
q: any chance the heat can get chris bosh to restructure his contract so that they can use the money to re-sign wade? it seems like it is his turn to "take one for the team," and they overpaid him last year -- matt, alpharetta, ga.
a: you cannot restructure contracts in the nba. once you're in, you're in. the real question is whether pat riley took into account what might follow (like this) when putting that package together for chris. the best way to get the truest value out of that contract now is to get bosh to play up to his salary, emerge as thece of the heat, offer big minutes and big numbers on a consistent basis.
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ˈmænˌʧɛstər juˈnaɪtɪd bɔs sər ˈæləks ˈfərgəsən həz ˈhɪnɪd ðət nɛkst ˈsizən meɪ bi hɪz ˈfaɪnəl jɪr æt oʊld ˈtræfərd. ðə ˈmænˌʧɛstər juˈnaɪtɪd ˈmænɪʤər wɑz ˈspikɪŋ æt ðə ənˈveɪlɪŋ əv ə ˈstæʧut ɪn hɪz ˈɑnər ˈaʊtˈsaɪd oʊld ˈtræfərd, wɪθ səm əv ðə ˈbɪgəst neɪmz ɪn ðə kləbz ˈhɪstəri ɪn əˈtɛndəns. ənd, əˈkɔrdɪŋ tɪ ðə ˈdeɪli ɪkˈsprɛs, ðə juˈnaɪtɪd bɔs rɪˈvild ðət hi kʊd kɔl ɪt ə deɪ æt ðə ɛnd əv ðə ˈsizən. ˈfərgəsən, hu wɪl bi 71 ɔn dɪˈsɛmbər 31 sɛd: "aɪv hæd 26 jɪrz æt ðə kləb soʊ fɑr. ənd wɪn ðə taɪm kəmz ənd aɪ ˌdɪˈsaɪd tɪ hæŋ əp maɪ buts æt hu noʊz ˈmeɪbi 27 jɪrz, aɪ θɪŋk ɪt wɪl bi ə ˈtɛstɪˌmoʊni tɪ ðə wərk aɪv dən æt ðə kləb." ðə ˈmænˌʧɛstər juˈnaɪtɪd bɔs ɪz ðə moʊst səkˈsɛsfəl ˈmænɪʤər ɪn ðə kləbz ˈhɪstəri, ənd ɪts ˈlɔŋgɪst ˈsərvɪŋ. ˈdʊrɪŋ hɪz reɪn æt oʊld ˈtræfərd, ˈmænˌʧɛstər juˈnaɪtɪd hæv wən 12 prɛˈmɪr lig ˈtaɪtəlz, faɪv kəps, fɔr lig kəps, ənd tu ˈʧæmpiənz ligz. kristiˈɑnoʊ ənd ˈdeɪvɪd ˈbɛˌkhæm sɛnt ˈvɪdioʊ ˈmɛsɪʤɪz kənˈgræʧəˌleɪtɪŋ ðɛr ɔn hɪz əˈʧivmənt. ˈfərgəsənz ˈmænˌʧɛstər juˈnaɪtɪd saɪd teɪk ɔn kwinz pɑrk ˈreɪnʤərz ɪn ðə prɛˈmɪr lig ɔn ˈsæˌtɪˌdeɪ, ˈlʊkɪŋ tɪ sɪˈkjʊr ðə θri pɔɪnts ðət wɪl teɪk ðɛm tɔp əv ðə prɛˈmɪr lig ˈteɪbəl, æt list ənˈtɪl ˈmænˌʧɛstər ˈsɪti pleɪ ˈʧɛlsi ɔn ˈsənˌdi. ər ˈkərəntli ˈbɑtəm əv ðə ˈteɪbəl, wɪθ ʤɪst fɔr pɔɪnts frəm 12 ˈmæʧɪz, ənd sækt ðɛr ˈmænɪʤər mɑrk juz ɔn ˈfraɪˌdeɪ, rɪˈpleɪsɪŋ ɪm wɪθ ˈmænɪʤər ˈhɛri redknapp*.
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manchester united boss sir alex ferguson has hinted that next season may be his final year at old trafford.
the manchester united manager was speaking at the unveiling of aatute in his honour outside old trafford, with some of the biggest names in the club's history in attendance.
and, according to the daily express, the united boss revealed that he could call it a day at the end of the 2013-14 season.
ferguson, who will be 71 on december 31, said: "i've had 26 years at the club so far. and when the time comes and i decide to hang up my boots at - who knows - maybe 27 years, i think it will be a testimony to the work i've done at the club."
the manchester united boss is the most successful manager in the club's history, and it's longest serving.
during his 26-year reign at old trafford, manchester united have won 12 premier league titles, five fa cups, four league cups, and two champions leagues.
cristiano ronaldo and david beckham sent video messages congratulating their former-boss on his achievement.
ferguson's manchester united side take on queens park rangers in the premier league on saturday, looking to secure the three points that will take them top of the premier league table, at least until manchester city play chelsea on sunday.
qpr are currently bottom of the table, with just four points from 12 matches, and sacked their manager mark hughes on friday, replacing him with former-tottenham manager harry redknapp.
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vju ɑr mæp baɪ ˈklɪkɪŋ hir! mɔr ˈditeɪlz ənd ˈskɛʤʊl ˌɪnˌfɔrˈmeɪʃən ˈkəmɪŋ sun! ˈfərðər ˌɪnˌfɔrˈmeɪʃən ɔn ɑr ɪz əˈveɪləbəl ɔn ɑr ɪˈvɛnt mæp! ˈspɛʃəl ˈproʊˌgræmɪŋ: ˈhæməltən frɪnʤ ˈfɛstɪvəl ðə ˈtɪvəli ˈgɑrdən wɪθ ˈspɛʃəl ˈproʊˌgræmɪŋ frəm ˈfɛstɪvəl ˈpəpɪt pəreɪd frəm kɪŋ ˈwɪljəm tɪ ðə nɔrθ ɛnd ˈstɑrtɪŋ æt wɔk ə maɪl ɪn hər ʃuz ˈfənˌdreɪzər ˈsteɪʃən ˈstɑrtɪŋ æt ˈtɪvəli ˈθiətər mˈjʊrəl ɑrt ˈprɑʤɛkt ðə ˈtɪvəli ˈstɑrtɪŋ æt mˈjuzɪk steɪʤ . ˈstɑrtɪŋ æt ˈlɪstər blɑk mˈjuzɪk steɪʤ kɪŋ ˈwɪljəm. ˈstɑrtɪŋ æt ənˈfɪltərd fækts təʧ ˈfʊtˌbɔl ˈstræʧən. ɔl deɪ ðɪs ˈhɑliˌwʊd mˈjuzɪk steɪʤ ˈməri. waɪ ɔn wilz ˈsɪmˌkoʊ. ɔl deɪ pɑrk ˈpɪktən. ɔl deɪ ənd mɔr! ækˈtɪvɪtiz: dɪˈfaɪnɪŋ ˈmuvmənt dæns . fɪt ənd fən dæns . ˈlætən dæns jɔrk ˈbʊləˌvɑrd ɪn faɪn ˈfɛðər ˈjoʊgə . ˈdɑljə ˈmɛloʊ ˈfɪtnəs ðə ˈlɪstər blɑk ɪˈlɪziəm ˈtraɪbəl dæns rəˈbɛkə. ˈstudiˌoʊ zi pɪˈlɑˌtis ˈwɪlsən ˈstræʧən ˈdɛˌmoʊz æt ˈkænən. ðə ˈkɑmənz jɔrk ˈbʊləˌvɑrd ˈʤæksən ˈhɑki kɪŋ ənd mɔr! participants/vendors*: ɑrts kræfts: mˈjʊrəl ɑrt baɪ rəs smɪθ ˈhæməltən ˈskəlptərz gɪld ʤeɪ ˈstaɪnbərg fəˈtɑgrəfi kæt aɪ gɪfts ˈædəˌleɪd ɑrts kriˈeɪtɪv pərˈdəkʃənz ɪŋk. ˈhæməltən frɪnʤ ˈfɛstɪvəl hɛlθ ˈfɪtnəs: ˈlætən ˈstudiˌoʊ zi pɪˈlɑˌtis ɪn faɪn ˈfɛðər ˈjoʊgə kɪˈwɑnɪs fɪt ənd fən dæns ɪˈlɪziəm ˈtraɪbəl dæns ˈdɑljə ˈmɛloʊ ˈfɪtnəs dɪˈfaɪnɪŋ ˈmuvmənt dæns ðə ˈhæməltən ˈnæʃənəlz ləˈkrɔs tim waɪ ɔn wilz ənˈfɪltərd fækts ˈfʊtˌbɔl mˈjuzɪk: rut 66 ðɪs ˈhɑliˌwʊd ˈlɪstər blɑk mˈjuzɪk steɪʤ ðə hɑb grups: jɛs wi ˈkænən grin ˈvɛnʧər ɪnˈvaɪrənmənt ˈhæməltən spraʊt kæmp ðə ˈkɑmənz ˈhæməltən ˈdaʊnˈtaʊn mɔsk ˈhæməltən ˈhæməltən bɑrk fər laɪf juθ ˈaʊˌtriʧ ˈwərkərz əv ˈhæməltən nɔrθ ɛnd ˈneɪbərz ðə ˈwɛlkəm ɪn ˈbizli ˈneɪbərˌhʊd əˌsoʊʃiˈeɪʃən ˈpæθˌweɪz tɪ ˌɛʤəˈkeɪʃən ˈhæməltən kəmˈjunɪti vɪkˈtɔriə ˌkɑŋgrəˈgeɪʃən əv ˈwɪtnəsɪz ɪnˌvaɪrənˈmɛnəl dɪˈfɛns blumz fər ˈæfrɪkɑ ˈeɪθiəsts ˈhjumənɪsts ˈhæməltən ˈsaɪkəlɪŋ kəˈmɪti ˈwɛsli ˈərbən ˈmɪnɪstriz ˈɛnʤəˈnɪrz wɪˈθaʊt ˈbɔrdərz fɪks aʊt wərld fɛr voʊt ˈkænədə ˈkaʊnsəl əv kəˈneɪdiənz buθ fud drɪŋks: ɑr ˈkɔrnər bɑr grɪl rut 66 spɑt ˈhæməltən strit ˈkɔfiˌhaʊs ðə breɪn ðə grin bɑr ˈkreɪzi ˈkreɪvɪŋz aɪs krim ˈloʊkəl dept*: ˈeɪvɑn ˈkænədə ðə ˈhæməltən ˈspɛkteɪtər ˈhænˈmeɪd ɪn ðə ˈhæmər smɑrt kəmˈjut ˈhæməltən ˈtʊˌrɪzəm ˈlaɪfˌstaɪl ˈkɑnsɛpt ʃɑp rɔɪəl ˈlɛpɪʤ steɪt ˈriəlˌti ˈwɪtən lɔfts buθ ðə ˈbətən ˈpʊʃərz ˈsæsəˌfræs ˈdaʊnˈtaʊn ˈhæməltən ˈsɪti əv ˈhæməltən weɪst ˈɪnfoʊ buθ ˈdɪzi ˈælɪs ʃɑp ənd mɔr!
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view our map by clicking here!
more details and schedule information coming soon!
further information on our participants/programming is available on our event map!
special programming:
hamilton fringe festival @ the tivoli garden with special programming from 10am-3pm
solus festival puppet parade – from king william st to the north end starting at 12pm
walk a mile in her shoes fundraiser @ liuna station starting at 12:30pm
tivoli theatre mural art project @ the tivoli starting at 12pm
artword artbar music stage @ colbourne st. starting at 11am
lister block music stage @ king william st. starting at 10am
unfiltered facts touch football @ strachan st. all day
this aint hollywood music stage @ murray st.
y on wheels @ simcoe st. all day
sk8 park @ picton st. all day
and more!
activities:
defining movement dance @ colbourne st.
fit and fun zumba dance @ piction st.
nuvitzo latin dance @ york blvd
in fine feather yoga @ mullberry st.
dalia melo zumba fitness @ the lister block
elysium tribal dance @ rebecca st.
studio zee pilates @ wilson st
kinderdance @ strachan st – demos at 11am & 2pm
surfset @ cannon st.
the commons labrynth @ york blvd
jackson rooftop/awkward hockey @ king st
and more!
participants/vendors:
arts & crafts:
mural art by russ smith
hamilton sculptors guild
j steinberg photography
kat eye krafts
pendo gifts
adelaide arts
cj creative productions inc.
hamilton fringe festival
health & fitness:
nuvitzo latin fance
studio zee pilates
in fine feather yoga
kiwanis skatepark
fit and fun dance
elysium tribal dance
dalia melo zumba fitness
defining movement dance
the hamilton nationals lacrosse team
surfset
kinderdance
y on wheels
unfiltered facts football
music:
artword artbar
route 66
this aint hollywood
lister block music stage
the hob
organizations/community groups:
yes we cannon
green venture
environment hamilton
sprout camp
the commons
gritlit
hamilton downtown mosque
ywca hamilton
hamilton spca
bark for life
youth outreach workers of hamilton
north end neighbours
the welcome inn
beasley neighbourhood association
pathways to education
hamilton community carshare
victoria congregation of jehovah’s witnesses
environmental defence
blooms for africa
hamilton-niagara atheists & humanists
hamilton cycling committee
wesley urban ministries
engineers without borders
fix out world
fair vote canada
council of canadians
cfmu 93,3 booth
food & drinks:
our corner bar & grill
route 66
gelato spot hamilton
mullberry street coffeehouse
the brain
the green smoothie bar
crazy cravings ice cream
local business/city dept:
avon canada
the hamilton spectator
handmade in the hammer
smart commute hamilton
brantford tourism
humblepie lifestyle concept shop
royal lepage state realty witton lofts booth
the button pushers
sassafras
artrageous
supercrawl
downtown hamilton bia
city of hamilton waste info booth
dizzy alice pop-up shop
and more!
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sərvz 2 3 kəps ˈɛgˌplænt- kjubz 1 kəp bɛl ˈpɛpərz( aɪ juzd ˈjɛloʊ ənd ˈɔrɪnʤ)- kjubd kəp ˈjɛloʊ ˈənjən- kjubd 2 kloʊvz ˈgɑrlɪk- smæʃt 1 ˈbæzəl- daɪvd sɔs: 4 sɔs 5 sɔs kəp ˈwɔtər 1 sɔs 2 ˈkɔrnˌstɑrʧ pʊt 2 ɔɪl ɪn ə wɑk ənd æd ˈɛgˌplænt. stər ənd kʊk ɔn ˈmidiəm hit fər əˈbaʊt ə ˈmɪnət. æd kəp ˈwɔtər ənd ˈkəvər fər 6 ˈmɪnəts ɔn hit. ənˈkəvər ənd fər əˈnəðər 6 ˈmɪnəts. riˈmuv frəm wɑk. æd ˈpɛpərz ənd ˈənjənz ənd kʊk ənˈtɪl sˈlaɪtli sɔft ðɛn æd ˈgɑrlɪk. æd ˈɛgˌplænt ənd ðɛn ˈkɑmbaɪn ðə sɔs ˌɪnˈgridiənts ənd æd tɪ mɪks. kʊk ənˈtɪl ˈθɪkənd. ˈteɪsti! æd mɔr hɑt sɔs ɪf ju laɪk ɪt ˈspaɪsi! ðə ˈɛgˌplænt ɪz sɔft ənd goey*! kʊk lɛs ɪf ju laɪk ɪt fərm. ðə ˈpɛpərz ənd ˈənjənz ʃʊd hæv ə nis krənʧ, bət kʊk ɛz ju laɪk. hu nidz teɪk aʊt!!!! ˈædvərˌtaɪzmənts
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serves 2
3 cups eggplant- 3/4 ” cubes
1 cup bell peppers( i used yellow and orange)- cubed
3/4 cup yellow onion- cubed
2 cloves garlic- smashed
1 1/2 tbsp basil- dived
sauce:
4 tbdp hoisin sauce
5 tbspsoy sauce
1/3 cup water
1 tbsp sriracha sauce
2 tbsp cornstarch
put 2 tbsp oil in a wok and add eggplant. stir and cook on medium heat for about a minute. add 1/3 cup water and cover for 6 minutes on low-medium heat. uncover and coook for another 6 minutes. remove from wok. add peppers and onions and cook until slightly soft then add garlic. add eggplant and then combine the sauce ingredients and add to mix. cook until thickened.
sooooo tasty! add more hot sauce if you like it spicy! the eggplant is soft and goey! cook less if you like it firm. the peppers and onions should have a nice crunch, but cook as you like. who needs take out!!!!
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ɪn 1981 ʤɑn ɪˈskeɪp frəm nu small-budget*, ɪt ɪn æt ðə bɑks ˈɔfəs ənd sɛt əp kərt ˈrəsəl ɛz ən ˈækʃən stɑr. ˈfɪfˈtin jɪrz ˈleɪtər, ˈrəsəl hɪz roʊl ɛz sneɪk fər ɪˈskeɪp frəm l.a*. bət dɪˈspaɪt ɔl ðə ˈhɔlˌmɑrks əv ˈæktər, noʊn ˈprɑpərti, ənd ðə rɪˈtərn əv ə ˈlɛʤənˌdɛri 50 ˈmɪljən ˈsikwəl ˈivɪn ərn hæf ɪts ˈməni bæk ɪn ˈθiətərz. kriˈeɪtɪvli, ðɛr ər ˈnumərəs ˈrizənz ðət hɛlp ɪkˈspleɪn waɪ ðɪs fɪlm əv wɪʧ ər hɪˈlɛriəsli ˈpɔɪntɪd aʊt ɪn ðə ˈleɪtəst ˈɛpɪˌsoʊd əv haʊ dɪd ðɪs gɪt meɪd? bət ɪn əˈdɪʃən tɪ ɔl ðət, əˈnəðər ˈvɛriəbəl æt pleɪ: ˈtaɪmɪŋ. hæd ɪˈskeɪp frəm l.a*. bɪn meɪd tɛn jɪrz 1986 hɪts laɪk ˈkoʊbrə ənd ˈkrɑkəˌdaɪl ˈivɪn tɛn jɪrz 2006 riˈbuts laɪk kəˈsinoʊ rɔɪæl ənd ˈrɑki simz mɔr ˈlaɪkli ðət ðə fɪlm wʊd hæv səkˈsidɪd. wɪʧ bɛgz ðə kˈwɛʃən: ɪf ɪˈskeɪp frəm l.a*. hæd bɪn meɪd ɪn ðə leɪt, wət wʊd ðət hæv lʊkt laɪk? soʊ hu ˈbɛtər tɪ ˈænsər ðət kˈwɛʃən ðən ˈkoʊlmən lək hu, ɪn 1987 wɑz haɪərd baɪ ʤɑn ˈkɑrpəntər tɪ raɪt ðə fərst dræft əv ɪˈskeɪp frəm l.a*. ˈkjʊriəs tɪ lərn ˈɔlsoʊ lərn waɪ baɪoʊ lɪsts ðət ɪm ɛz ə ənd ə ˈmɛmbər əv ðə əˈkædəmi əv ˈmæʤɪkəl ˈmænɪʤd tɪ træk daʊn ðə ˈraɪtər. bɪˈloʊ ɪz ə ˈkɑpi əv ɑr conversation…*… sɪˈnɑpsɪs: ˈæftər ən ˈərθkˌweɪk ˈsɛpərˌeɪts lɔs ˈænʤəlɪs frəm ðə ˈmeɪnˌlænd, ðə ˈfɔrmər ˈsɪti əv ˈeɪnʤəlz bɪˈkəmz ə ˈpinəl ˈkɑləni fər ðə wərst əv ðə wərst. bət wət ˈvɛri fju ˈriəˌlaɪz ɪz ðət bɪˈniθ ðə keɪɑs, ˈvaɪələns ənd ɪz ˈɔlsoʊ hoʊm tɪ ə ˌrɛvəˈluʃən. ə ˌrɛvəˈluʃən ðət kən ˈoʊnli bi stɑpt baɪ ə ˈbæˌdæs baɪ ðə neɪm əv sneɪk (kərt ˈrəsəl) ˈtæˌglaɪn: sneɪk ɪz bæk pɑrt 1 ðə ˈneɪʧər əv ɪf ju bɪˈlɔŋ bleɪk ʤeɪ. ˈhɛrɪs: fərst tɛl mi, ˌbiˈfɔr ˈmuviz, ˈmæʤɪk ənd ɔl əv ðət, wət dɪd ju wɔnt tɪ bi wɪn ju wər groʊɪŋ əp? ˈkoʊlmən lək: [læfs] wɛl, wɑz bæk əˈbaʊt 350 jɪrz əˈgoʊ. bleɪk ʤeɪ. ˈhɛrɪs: [læfs] ˈkoʊlmən lək: aɪ gru ɪn ə ˈsəbərb əv chicago—wheaton*, nɑt ðə sˈlaɪtəst ˌɪndəˈkeɪʃən ər ˌɪnkləˈneɪʃən ðət aɪ wʊd bɪˈkəm ə ˈraɪtər. ɪn fækt, ˈraɪtɪŋ wɑz ðə læst θɪŋ aɪ ˈwɔntɪd tɪ du, ˈrɪli, bɪˈkəz ɪt wɑz tu ˈdɪfəkəlt. ju noʊ, hɑrd tɪ raɪt! fər ə waɪl, wɪn aɪ wɑz ɪn haɪ skul, aɪ ˈwɔntɪd tɪ bi ən ˈæktər. θæŋk gɑd aɪ wɑz frid əv ðət dɪˈziz! bleɪk ʤeɪ. ˈhɛrɪs: hɑ! soʊ wɪn dɪd ju ˈæˌkʧuəli bɪˈgɪn ə kərɪr ɪn ˈraɪtɪŋ? ˈkoʊlmən lək: aɪ ˈstɑrtɪd ɔf ˈrɪli ˈraɪtɪŋ ɪn ˈædvərˌtaɪzɪŋ æt ə smɔl æd ˈeɪʤənsi ɪn ʃəˈkɑˌgoʊ ənd wərkt ɛz ən ˈædvərˌtaɪzɪŋ ˈmænɪʤər fər ə smɔl ˈmægəˌzin ɪn ˌdiˈsi. ʤɪst ɪn ˈdɪfərənt ˈpleɪsɪz. ɔl əv ðət fɛl əˈpɑrt wɪn aɪ wɑz ɪn maɪ 20s*. baɪ ðət pɔɪnt spɛnt ˈsɛvərəl jɪrz ɪn ðə ˈɑrmi. bɪn tɪ viˌɛtˈnɑm. aɪ wɑz ə jəŋ ˈɪnfəntri luˈtɛnənt ðɛr, ˈlidɪŋ ə ˈraɪfəl pləˈtun ɪn bleɪk ʤeɪ. ˈhɛrɪs: waʊ. ˈkoʊlmən lək: keɪm bæk. wɑz ˈmɛrid, hæd kɪdz ənd noʊ wət tɪ du wɪθ maɪ laɪf. æt ðət pɔɪnt aɪ wɛnt tɪ ˈnɔrðərn ˌɪləˈnɔɪz ˌjunəˈvərsəti ɔn ðə bɪl ənd tʊk ə ˈhɪstəri əv fɪlm kɔrs. ɪt wɑz ən ˈɛksələnt ˈlərnɪd ɔl əˈbaʊt ðə əˈmeɪzɪŋ ˈhɪstəri əv ˈdʊrɪŋ ðət taɪm ɪt keɪm ˈɪntu maɪ maɪnd: ɪz ɪt ˈpɑsəbəl fər mi tɪ bi ˌɪnˈvɑlvd ɪn ˈsəmθɪŋ laɪk ðɪs? bleɪk ʤeɪ. ˈhɛrɪs: haʊ dɪd ju goʊ əˈbaʊt traɪɪŋ tɪ ˈænsər ðət kˈwɛʃən? ˈkoʊlmən lək: ðɪs wɑz bæk ɪn 1975 ju noʊ, ðɛr wɑz noʊ kɔrs æt ðɪs taɪm ðət kʊd ˈivɪn təʧ ju haʊ tɪ raɪt ə ˈskrinˌpleɪ. soʊ aɪ dɪd ən ˌɪndɪˈpɛndənt ˈstədi; aɪ roʊt ə skrɪpt ənd aɪ didn’t’*’ noʊ wət tɪ du wɪθ ɪt. ɪt wɑz ɪn ðə rɔŋ wɪn ə ˈraɪtər, ju hæv ˈnəθɪŋ tɪ luz. soʊ aɪ sɛnt ə ˈkɑpi əv ðə skrɪpt tɪ pɔˈlin keɪl hu wɑz ə ˈfeɪməs fɪlm ˈkrɪtɪk æt nu ˈjɔrkər ˈmægəˌzin. ənd aɪ sɛnt ə ˈkɑpi tɪ ˈərnɪst ˈlimən, ðə greɪt ˈskrinˌraɪtər, hu wɑz ðə hɛd əv ðə gɪld. bleɪk ʤeɪ. ˈhɛrɪs: ə smɑrt muv. ˈkoʊlmən lək: ðə sɔrt əv θɪŋ ju du wɪn ju noʊ wət ɛls tɪ du. pɔˈlin keɪl roʊt ə noʊt tɪ mi ənd sɛd aɪ θɪŋk ju noʊ wət duɪŋ. aɪ roʊt ə noʊt bæk tɪ hər seɪɪŋ ɪf ju θɪŋk aɪ noʊ wət duɪŋ kən aɪ juz jʊr neɪm tɪ traɪ ənd gɪt ˈɪntu græd skul ənd ʃi sɛd jɛs. ənd ˈərnɪst ˈlimən roʊt ðɪs tu peɪʤ, krɪˈtik əv maɪ skrɪpt. aɪ ˌəndərˈstænd æt ðə taɪm wət ə gɪft ðət wɑz. hi toʊld mi səm θɪŋz ðət aɪ hæv ˈnɛvər fərˈgɑtən. ənd aɪ wɑz soʊ əˈpriʃjətɪv. ənd ðət lɛd mi tɪ kəm aʊt tɪ usc*, goʊ tɪ græd skul ðɛr. bleɪk ʤeɪ. ˈhɛrɪs: wət kaɪnd əv ədˈvaɪs tɪ ˈərnɪst gɪv ju? ˈkoʊlmən lək: wɛl, ˈərnɪst ˈlimən roʊt tɪ mi ˈsəmθɪŋ ðət həz stək wɪθ mi θruaʊt ɔl ðə jɪrz əv maɪ ˈraɪtɪŋ. hi sɛd tɪ mi ɪn ðɪs ˈlɛtər ðət əv ðə ˈprɑbləmz gɑt wɪθ jʊr skrɪpt ɪz ðət ju kɛr ɪˈnəf əˈbaʊt jʊr ˈsɛntrəl ˈkɛrɪktər. wət dən ɪz kriˈeɪtɪd, ˈbeɪsɪkli, ə ðət əˈlaʊz ju tɪ seɪ ˌwəˈtɛvər ju wɔnt tɪ seɪ ənd teɪk ju θru ɔl ðə ˈnɛrətɪv pɔɪnts ju wɔnt tɪ hɪt. bət ju ˈrɪli kɛr əˈbaʊt him.”*.” ðət wɑz ə ˈvɛri ˌɪmˈpɔrtənt ˈsteɪtmənt. ənd ɛz ə ˈvælju, aɪ θɪŋk ˈsəmθɪŋ ðət ˈhɑliˌwʊd həz ˈlɑrʤli fərˈgɑtən təˈdeɪ. ənd ðət ˈkɔrələts wɪθ əˈnəðər rɪˈmɛmbər hu sɛd ðət ˈstɔri ɪz ˈəltəmətli ə rɪˈdɛmʃən story.”*.” ənd ˈmoʊstli tru ɪn ˈwɛstərn ˈlɪtərəʧər. ɪn ˈwɛstərn ˌsɪvəlɪˈzeɪʃən. bɪn ən ˌɪmˈpɔrtənt ˈvælju wɪʧ aɪ θɪŋk həz bɪn ˈlɑrʤli lɔst təˈdeɪ. bleɪk ʤeɪ. ˈhɛrɪs: tɛl mi ə bɪt əˈbaʊt fɪlm skul. wɑz ɪt wət ju ɪkˈspɛktɪd? ˈkoʊlmən lək: wɛl, ju noʊ, aɪ gɑt ən ˈɪntəˌrɛstɪŋ ˌɛʤəˈkeɪʃən ðə fərst naɪt; ðə fərst ˈskrinˌraɪtɪŋ kɔrs aɪ tʊk. ɪt wɑz ən ˈivnɪŋ klæs (bɪˈkəz aɪ wɑz ˈwərkɪŋ ˈfʊlˌtaɪm ˈdʊrɪŋ ðə deɪz), ðɛr wər əˈbaʊt 25 ˈstudənts, ɪn wɔks ðə ˈtiʧər, ˌæbsəˈlutli drəŋk aʊt əv hɪz maɪnd. aɪ wɑz əˈmeɪzd. hir aɪ æm, ˈsɪtɪŋ ɪn græd skul æt wən əv ðə prɛˈmɪr ˌɛʤəˈkeɪʃənəl ˌɪnstɪˈtuʃənz ɪn ðə ˈkəntri, ənd ðə fərst drəŋk. bleɪk ʤeɪ. ˈhɛrɪs: waʊ. ˈkoʊlmən lək: aɪ ˈmɛnʃən hɪz neɪm, bət hi hæd ə lɪst əv ˈkrɛdɪts ɛz lɔŋ ɛz jʊr ɑrm. ənd hi wɑz ɪn ˈægəni. ðət mæn wɑz ɪn, aɪ səˈpoʊz ju kʊd seɪ, ˌsaɪkəˈlɑʤɪkəl /ˈspɪrɪˌʧuəl ˈægəni. ənd hi spɛnt ðə nɛkst tu aʊərz: aʊt əv ɪm wɑz ʤɪst floʊɪŋ peɪn. hi hæd ɔl ðə səkˈsɛs ɪn ðə wərld. hi hæd ɔl ðə ˈməni hi ˈnidɪd. bət hɪz waɪf wɑz dɪˈvɔrsɪŋ ɪm, hɪz ˈfæməli wɑz ˈfɑlɪŋ əˈpɑrt; ɔl ðə θɪŋz ðət hi θɔt wʊd lɛd ɪm tɪ səkˈsɛs, ɪt wɑz ðə ɪgˈzækt ˈɑpəzɪt əv wɛr hi wɑz. ənd ju noʊ ðət wɑz ə trɪˈmɛndəs ˌɛʤəˈkeɪʃənəl ˈmoʊmənt. ˈnɛvər fərˈgɑtən ðət tu. ənd ˈsəmθɪŋ ðət, ɛz ˈɔfəl ɛz ɪt wɑz fər ɪm, ɪt wɑz ə greɪt gɪft fər mi. bleɪk ʤeɪ. ˈhɛrɪs: soʊ ɪn laɪt əv ðət ðə ˈtræpɪŋz əv wət wɑz jʊr ɛz ə ˈraɪtər? wət dɪd ju wɔnt jʊr laɪf tɪ bi laɪk? ˈkoʊlmən lək: ðə fərst θɪŋ aɪ wʊd seɪ ɪz ðət wɪn ju goʊ tɪ ˈhɑliˌwʊd ju ˌəndərˈstænd ðət ju ər əˈtɛmptɪŋ tɪ muv ˈɪntu ən ˈɪndəstri ðət həz ə lɔŋ trəˈdɪʃən; ənd ˈmuvɪŋ ˈɪntu ɪt wɪθ ðə ˈkɑnsɛpt ðət goʊɪŋ tɪ bi ˈraɪtɪŋ kəˈmərʃəl ˈprɑʤɛkts. bɪˈkəz ˈpipəl ər goʊɪŋ tɪ bi ˈhaɪrɪŋ ju tɪ du ðət. soʊ maɪ fərst θɔt wɑz: du aɪ hæv ðə əˈbɪləˌti tɪ du ðɪs? ˌoʊˈkeɪ, ˈrɪtən ə skrɪpt. ɪt gɑt mi ˈɪntu skul. bət ə kərɪr? maɪ ˈgreɪtəst fɪr wɑz ðət aɪ hæv ðə ʧɑps tɪ du ɪt ənd noʊ wən wʊd tɛl mi ðə truθ. ənd wɪnd up…*… ənd aɪ wɑz 32 baɪ ðə taɪm aɪ keɪm aʊt. aɪ hæv jɪrz tɪ mɛs əraʊnd. aɪ hæd ə ˈfæməli tɪ səˈpɔrt. soʊ ðɛr wɑz ə dip kənˈsərn əˈbaʊt ðət wɪn aɪ fərst ˈsteɪtɪd. bleɪk ʤeɪ. ˈhɛrɪs: ʃʊr. ˈkoʊlmən lək: ənd ðə ˈəðər θɪŋ ðɪs ɪz ˈdipli ˈpərsɪnəl, bət ˈvɛri aɪ wɑz ə ˈkrɪsʧɪn ənd aɪ gru əp ɪn ə ˈkrɪsʧɪn kəmˈjunɪti. ənd, ju noʊ, bɪn θru ðə ˈɑrmi ənd bɪn θru ə lɔt əv ɪkˈspɪriənsɪz soʊ aɪ ˌəndərˈstʊd ðə ˈneɪʧər əv wət ɪt mɛnt tɪ bi ðət [ə dɪˈvaʊt ˈkrɪsʧɪn] ɪn ˈpleɪsɪz ðət ər nɑt ˌpɑrˈtɪkjələrli kənˈdəktɪv tɪ ðoʊz bɪˈlifs. bət maɪ ˈəltəmət goʊl ɪn ðə ˈmɪdəl əv ɔl əv ɪt wɑz: ˌoʊˈkeɪ, æm aɪ hir ʤɪst tɪ sərv ˌmaɪˈsɛlf? ɪz maɪ goʊl tɪ gɪt rɪʧ? maɪ kənˈsərn ɪt meɪ saʊnd ˈvɛri, ˈvɛri maɪ kənˈsərn wɑz tɪ seɪ ðət ɪn maɪ laɪf ɪn ˈraɪtɪŋ, ˌwəˈtɛvər duɪŋ, ˈivɪn ɪf ˈraɪtɪŋ kəˈmərʃəl ˈprɑʤɛkts ɪn ˈhɑliˌwʊd (ˈivɪn wɪθ ʤɑn ˈkɑrpəntər, fər seɪk!) aɪ wɔnt tɪ du ɪt tɪ ˈglɔrəˌfaɪ gɑd. ə streɪnʤ goʊl, aɪ ˌəndərˈstænd ðət. aɪ daʊt ðət ˈɛvər tɔkt tɪ ˈɛnibədi hu hæd ə goʊl laɪk ðət, bət bɪn ðə goʊl əv maɪ laɪf. bleɪk ʤeɪ. ˈhɛrɪs: tru, ˈnɛvər hərd ðət ˌbiˈfɔr! ˈkoʊlmən lək: [kræks əp] bleɪk ʤeɪ. ˈhɛrɪs: bət ˈɔlsoʊ seɪ ðət nɑt ˈtoʊtəli səˈpraɪzd. ˈpɑrtli bɪˈkəz əv ðə ˌɛʤəˈkeɪʃənəl ˈmoʊmənts ˈmɛnʃənd, ˈɔlsoʊ ˈpɑrtli bɪˈkəz ju wər ɪn jʊr æt ðə taɪm. aɪ ˈsəˌspɛkt ðət ɪf ju hæd bɪn ɪn jʊr 20s*, hæv hæd ə ˈdɪfərənt əˈbʤɛktɪv. ˈkoʊlmən lək: ɪf gɔn tɪ fɪlm skul ɪn maɪ 20s*, ənd ɪf hæv kəm ˈsɪŋgəl, aɪ θɪŋk aɪ wʊd hæv bɪn dɪˈstrɔɪd! [læfs] nɑt ˈizi wɪn ju kəm aʊt jəŋ. soʊ jæ, aɪ keɪm aʊt ˈoʊldər; pləs aɪ hæd ˈmɪlɪˌtɛri ɪkˈspɪriəns bɪˈhaɪnd mi, wɪʧ wɑz ə ˈvɛri, ˈvɛri ˌɪnˈtɛns ɪkˈspɪriəns. aɪ min, wɪn aɪ wɑz 22 aɪ wɑz ˈlidɪŋ ə ˈraɪfəl pləˈtun ɪn ˈkɑmbæt. bleɪk ʤeɪ. ˈhɛrɪs: aɪ ˈivɪn ˌɪˈmæʤən. soʊ wɪn dɪd ju stɑrt tɪ fil laɪk kən du ðɪs. aɪ belong.”*.” ˈkoʊlmən lək: wɛl, ðə ˈneɪʧər əv ɪf ju bɪˈlɔŋ ɪz ˈmeɪbi ə ˈsɛpərˌeɪt kˈwɛʃən. bət du aɪ hæv ðə əˈbɪləˌti tɪ du ɪt? aɪ θɪŋk ˈæftər aɪ ˈfɪnɪʃt ðə ˈskrinˌraɪtɪŋ kɔrs æt usc*. aɪ hæd ə ˈfilɪŋ æt ðət pɔɪnt: jæ, aɪ θɪŋk aɪ kən du ðɪs. ˈɔlsoʊ, ju lʊk stɑrt tɪ mit ˈəðər ðə kɔrs ənd ɛz ju gɪt əraʊnd ə ju ˈriəˌlaɪz: ju noʊ wət? ðiz ˈpipəl ər noʊ ˈbɛtər æt wət duɪŋ. aɪ min, gʊd ˈpipəl, ˈtæləntɪd ˈpipəl. bət aɪ θɪŋk ˈprɪti məʧ ðə seɪm. gɪv ɪt ə ʃɑt.
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in 1981, john carpenter’s escape from new york—a small-budget, post-apocalyptic bruiser—raked it in at the box office and set up kurt russell as an 80s action star. fifteen years later, russell reprised his role as now-iconic anti-hero snake plissken for escape from l.a. but despite all the hallmarks of promise—star actor, known property, and the return of a legendary director—the $50 million sequel didn’t even earn half its money back in theaters.
creatively, there are numerous reasons that help explain why this film flopped—many of which are hilariously pointed out in the latest episode of how did this get made? but in addition to all that, there’s another variable at play: timing. had escape from l.a. been made ten years earlier—alongside 1986 hits like cobra and crocodile dundee—or even ten years later—alongside 2006 reboots like casino royale and rocky balboa—it seems more likely that the film would have succeeded. which begs the question: if escape from l.a. had been made in the late 80s, what would that have looked like?
so who better to answer that question than coleman luck who, in 1987, was hired by john carpenter to write the first draft of escape from l.a. curious to learn more—and also learn why luck’s bio lists that him as “also a mentalist and a member of the academy of magical arts”—i managed to track down the now-retired writer. below is a copy of our conversation…
synopsis: after an earthquake separates los angeles from the mainland, the former city of angels becomes a penal colony for the worst of the worst. but what very few realize is that beneath the surface—the chaos, violence and debauchery—la is also home to a world-threatening revolution. a revolution that can only be stopped by a badass motherfuker by the name of snake plissken (kurt russell)
tagline: snake is back
part 1: the nature of if you belong
blake j. harris: first tell me, before movies, magic and all of that, what did you want to be when you were growing up?
coleman luck: [laughs] well, let’s see…that was back about 350 years ago.
blake j. harris: [laughs]
coleman luck: i grew in a suburb of chicago—wheaton, illinois—had not the slightest indication or inclination that i would become a writer. in fact, writing was the last thing i wanted to do, really, because it was too difficult. you know, it’s hard to write! for a while, when i was in high school, i wanted to be an actor. thank god i was freed of that disease!
blake j. harris: ha! so when did you actually begin a career in writing?
coleman luck: i started off really writing in advertising at a small ad agency in chicago and worked as an advertising manager for a small magazine in dc. just in different places. all of that fell apart when i was in my 20s. by that point i’d spent several years in the army. i’d been to vietnam. i was a young infantry lieutenant there, leading a rifle platoon in ’68.
blake j. harris: wow.
coleman luck: came back. was married, had kids and didn’t know what to do with my life. at that point i went to northern illinois university on the gi bill and took a history of film course. it was an excellent course—i learned all about the amazing history of hollywood—and during that time it came into my mind: is it possible for me to be involved in something like this?
blake j. harris: how did you go about trying to answer that question?
coleman luck: this was back in 1975. you know, there was no course at this time that could even touch you how to write a screenplay. so i did an independent study; i wrote a script and i didn’t’ know what to do with it. it was in the wrong form…but when you’re a writer, you have nothing to lose. so i sent a copy of the script to pauline kael who was a famous film critic at new yorker magazine. and i sent a copy to ernest lehman, the great screenwriter, who was the head of the writer’s guild.
blake j. harris: that’s a smart move.
coleman luck: that’s the sort of thing you do when you don’t know what else to do. pauline kael wrote a note to me and said i think you know what you’re doing. i wrote a note back to her saying if you think i know what you’re doing can i use your name to try and get into grad school and she said yes. and ernest lehman wrote this two page, single-spaced critique of my script. i didn’t understand at the time what a gift that was. he told me some things that i have never forgotten. and i was so appreciative. and that led me to come out to usc, go to grad school there.
blake j. harris: what kind of advice to earnest give you?
coleman luck: well, earnest lehman wrote to me something that has stuck with me throughout all the years of my writing. he said to me in this letter that “one of the problems you’ve got with your script is that you don’t care enough about your central character. what you’ve done is created, basically, a stick-man that allows you to say whatever you want to say and take you through all the narrative points you want to hit. but you didn’t really care about him.” that was a very important statement. and as a value, i think it’s something that hollywood has largely forgotten today. and that correlates with another quote—i don’t remember who said it—but that “every story is ultimately a redemption story.” and that’s mostly true in western literature. in western civilization. that’s been an important value which i think has been largely lost today.
blake j. harris: tell me a bit about film school. was it what you expected?
coleman luck: well, you know, i got an interesting education the first night; the first screenwriting course i took. it was an evening class (because i was working full-time during the days), there were about 25 students, in walks the teacher, absolutely drunk out of his mind. i was amazed. here i am, sitting in grad school at one of the premier educational institutions in the country, and the teacher—the first night—he’s drunk.
blake j. harris: wow.
coleman luck: i won’t mention his name, but he had a list of credits as long as your arm. and he was in agony. that man was in, i suppose you could say, psychological /spiritual agony. and he spent the next two hours: out of him was just flowing pain. he had all the success in the world. he had all the money he needed. but his wife was divorcing him, his family was falling apart; all the things that he thought would lead him to success, it was the exact opposite of where he was. and you know that was a tremendous educational moment. i’ve never forgotten that too. and that’s something that, as awful as it was for him, it was a great gift for me.
blake j. harris: so in light of that lesson—about the trappings of success—but what was your goal/objective as a writer? what did you want your life to be like?
coleman luck: the first thing i would say is that when you go to hollywood you understand that you are attempting to move into an industry that has a long tradition; and you’re moving into it with the concept that you’re going to be writing commercial projects. because people are going to be hiring you to do that. so my first thought was: do i have the ability to do this? okay, i’ve written a script. it got me into school. but a career? my greatest fear was that i wouldn’t have the chops to do it and no one would tell me the truth. and i’d wind up… and i was 32 by the time i came out. i didn’t have years to mess around. i had a family to support. so there was a deep concern about that when i first stated.
blake j. harris: sure.
coleman luck: and the other thing was—and this is deeply personal, but it’s very real—that i was a christian and i grew up in a christian community. and, you know, i’d been through the army and i’d been through a lot of hardass experiences so i understood the nature of what it meant to be that [a devout christian] in places that are not particularly conductive to those beliefs. but my ultimate goal in the middle of all of it was: okay, am i here just to serve myself? is my goal to get rich? my concern was—and it may sound very, very strange—but my concern was to say that in my life in writing, whatever i’m doing, even if it’s writing commercial projects in hollywood (even with john carpenter, for pete’s sake!) i want to do it to glorify god. that’s a strange goal, i understand that. i doubt that you’ve ever talked to anybody who had a goal like that, but that’s been the goal of my life.
blake j. harris: true, i’ve never heard that before!
coleman luck: [cracks up]
blake j. harris: but i’ll also say that i’m not totally surprised. partly because of the educational moments you’ve mentioned, also partly because you were in your 30s at the time. i suspect that if you had been in your 20s, you’d have had a different objective.
coleman luck: if i’d gone to film school in my 20s, and if i’d have come single, i think i would have been destroyed! [laughs] it’s not easy when you come out young. so yeah, i came out older; plus i had military experience behind me, which was a very, very intense experience. i mean, when i was 22, i was leading a rifle platoon in combat.
blake j. harris: i can’t even imagine. so when did you start to feel like “i can do this. i belong.”
coleman luck: well, the nature of if you belong is maybe a separate question. but do i have the ability to do it? i think after i finished the screenwriting course at usc. i had a feeling at that point: yeah, i think i can do this. also, you look around…you start to meet other writers—in the course and as you get around a bit—and you realize: you know what? these people are no better at what they’re doing. i mean, they’re good people, they’re talented people. but i think i’m pretty much the same. let’s give it a shot.
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ˈʃʊrli nɑt əˈnəðər ˈkɑmənˌwɛlθ bæŋk skæm: ˈʃʊrli nɑt ɔn tɔp əv austrac*, ˈliˌbɔr ˈrɪgɪŋ, ənd ˌfaɪˈnænʃəl ˈsərvɪsɪz ˈbɔɪlər rum ɪŋk. ˈʃʊrli, ðeɪ ər nɑt ˈgeɪmɪŋ ðə ˈrɛgjəˌleɪtərz baɪ sˈwɪʧɪŋ ˈkəstəmərz aʊt əv ˌɪnˈvɛstmənt ˈprɑpərti ˈɪntu ““owner-occupied”*” hoʊmz. ðə tˈwɪtər fid ˈpəblɪʃt bɪˈloʊ ʃoʊz ən ˌɪnˈvɛstər, ˈboʊboʊ, ˈæskɪŋ ðə bæŋk ɪf hi kən swɪʧ hɪz θri ˌɪnˈvɛstmənt ˈprɑpərtiz ˈɪntu hoʊmz wɪθ ʤɪst wən foʊn kɔl. ˈboʊboʊ, ju ʃʊd bi ˈeɪbəl tɪ du ðɪs ɔl ɔn ðə wən call,”*,” ðə ˈfrɛndli ˈɑpərˌeɪtər. ənˈlɛs, ˌhaʊˈɛvər, ˈboʊboʊ həz ðə ˌtrænsənˈdɛnəl skɪlz tɪ ˈkrɛdəbli kleɪm ðət hi kən lɪv ɪn θri ˈhaʊsɪz æt ðə seɪm taɪm ər ˈboʊboʊ ɪz pərˈhæps æt ðə ˈvænˌgɑrd əv kˈwɑntəm ˈfɪzɪks ənd həz dɪˈvaɪzd ðə minz tɪ ɪgˈzɪst ˌsaɪməlˈteɪniəsli ɪn θri ˈdɪfərənt steɪts ðɛn ðɪs ““switching”*” frəm ˌɪnˈvɛstər tɪ ˈstætəs wʊd sim tɪ bi ə ˈvɛri ˈdubiəs ˈkeɪpər ˌɪnˈdid. ðɛr ər ˈəðər ˌɛkspləˈneɪʃənz. pərˈhæps ðə twit ˈɑpərˌeɪtər həz gɑt ɪt rɔŋ. ənd ɪf soʊ, wi stænd ˈrɛdi tɪ əˈmɛnd ðɪs ˈstɔri. ər ɪt kʊd bi ðət θri ˌɪnˈvɛstmənt ˈprɑpərtiz ər ɪn ðə seɪm blɑk ənd hi həz nɑkt daʊn ə ˈkəpəl əv əˈʤɔɪnɪŋ wɔlz. ðɛr ɪz ˈəðər ˈɛvədəns ˌhaʊˈɛvər ðət səˈʤɛsts ðə bæŋks maɪt bi ˈpʊlɪŋ ə swiftie*. ɪn ˈɔrdər tɪ prəˈtɛkt ðə ˈprɑpərti ˈmɑrkɪt frəm ənˈriznəbəl ˌspɛkjəˈleɪʃən, ˈrɛgjəˌleɪtərz kəmˈpɛld ðə bæŋks tɪ praɪs ðɛr ˌɪnˈvɛstmənt ˈprɑpərti ˈmɔrgɪʤɪz haɪər ðən hoʊm loʊnz ɪn 2015 ðə pɔɪnt əv ɪt wɑz tɪ ““de-risk”*” ðə hoʊl ˈbæŋkɪŋ ˈsɪstəm. ðoʊ ðə ˈleɪtəst ˌfaɪˈnænʃəl ˈægrəˌgeɪts ˈbʊlɪtən frəm ðə rɪˈzərv bæŋk ˈklɪrli pɔɪnts aʊt ðɛr həz bɪn ə nɛt swɪʧ əv 61 ˈbɪljən ɪn loʊnz frəm ˌɪnˈvɛstər ˈstætəs tɪ ˈstætəs sɪns ðə ˈʧeɪnʤɪz wər ˌɪntrəˈdust. ðɪs ɪz ðə tɛst əv ðə ˈrɛləvənt rɪˈzərv bæŋk noʊt ɔn ˈægrəˌgeɪts: ˈfɑloʊɪŋ ðə ˌɪntrəˈdəkʃən əv ən ˈɪntəˌrɛst reɪt ˌdɪfərˈɛnʃəl bɪtˈwin ˈhaʊzɪŋ loʊnz tɪ ˌɪnˈvɛstərz ənd ɪn ə ˈnəmbər əv ˈbɑroʊərz hæv ʧeɪnʤd ðə ˈpərpəs əv ðɛr ɪgˈzɪstɪŋ loʊn; ðə nɛt ˈvælju əv sˈwɪʧɪŋ əv loʊn ˈpərpəs frəm ˌɪnˈvɛstər tɪ ɪz ˈɛstəˌmeɪtɪd tɪ hæv bɪn 61 ˈbɪljən ˈoʊvər ðə ˈpɪriəd əv ˌʤuˈlaɪ 2015 tɪ noʊˈvɛmbər 2017 əv wɪʧ ˈbɪljən əˈkərd ɪn noʊˈvɛmbər 2017 ðiz ˈʧeɪnʤɪz ər rɪˈflɛktɪd ɪn ðə ˈlɛvəl əv ənd ˌɪnˈvɛstər ˈkrɛdɪt ˌaʊtˈstændɪŋ. ˌhaʊˈɛvər, groʊθ reɪts fər ðiz ˈsɪriz hæv bɪn əˈʤəstɪd tɪ riˈmuv ðə ˈifɛkt əv loʊn ˈpərpəs ˈʧeɪnʤɪz. tɪ gɪv ðə bæŋks ˈkrɛdɪt fər ˈsəmθɪŋ ðoʊ, wi wɪl riˈmaɪnd ˈridərz əˈspɛʃəli hɑrd ɔn ðə hilz əv ðə riˈlis əv θri jɪrz əv tæks trænˈspɛrənsi ˈdætə baɪ ðə tæks ˈɔfəs ðət ðə bɪg fɔr bæŋks hæv peɪd 25 ˈbɪljən ɪn tæks ˈoʊvər ðə pæst tu jɪrz əˈloʊn.
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surely not another commonwealth bank scam: surely not on top of austrac, libor rigging, comminsure and financial services boiler room inc. surely, they are not gaming the regulators by switching customers out of investment property into “owner-occupied” homes.
the twitter feed published below shows an investor, bobo, asking the bank if he can switch his three investment properties into owner-occupied homes with just one phone call.
“hi bobo, you should be able to do this all on the one call,” tweets the friendly operator. unless, however, bobo has the transcendental skills to credibly claim that he can live in three seperate houses at the same time – or bobo is perhaps at the vanguard of quantum physics and has devised the means to exist simultaneously in three different states – then this “switching” from investor to owner-occupied status would seem to be a very dubious caper indeed.
there are other explanations. perhaps the commbank tweet operator has got it wrong. and if so, we stand ready to amend this story. or it could be that bobo’s three investment properties are in the same block and he has knocked down a couple of adjoining walls.
there is other evidence however that suggests the banks might be pulling a swiftie. in order to protect the property market from unreasonable speculation, regulators compelled the banks to price their investment property mortgages higher than home loans in 2015.
the point of it was to “de-risk” the whole banking system. though the latest financial aggregates bulletin from the reserve bank clearly points out there has been a net switch of $61 billion in loans from investor status to owner-occupied status since the changes were introduced.
this is the test of the relevant reserve bank note on aggregates:
following the introduction of an interest rate differential between housing loans to investors and owner-occupiers in mid-2015, a number of borrowers have changed the purpose of their existing loan; the net value of switching of loan purpose from investor to owner-occupier is estimated to have been $61 billion over the period of july 2015 to november 2017, of which $1.2 billion occurred in november 2017. these changes are reflected in the level of owner-occupier and investor credit outstanding. however, growth rates for these series have been adjusted to remove the effect of loan purpose changes.
to give the banks credit for something though, we will remind readers – especially hard on the heels of the release of three years of tax transparency data by the tax office – that the big four banks have paid $25 billion in tax over the past two years alone.
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ˈəpˌdeɪt ˈʤænjuˌɛri 9 2017 geɪm dɪˈrɛktər ʤɛf ˈkæplən həz ˈklɛrəˌfaɪd səm əv ðə ˈkɑmɛnts hi meɪd rɪˈgɑrdɪŋ pleɪərz ˈjuzɪŋ ðə, seɪɪŋ ˈlʊkɪŋ fər feedback”*”, nɑt fər ˈɛvriˌwən tɪ ʤəmp ɪn. ˈkæplən tʊk tɪ ðə ˈfɔrəmz wəns mɔr tɪ ɪkˈspleɪn ðət hi ˈlʊkɪŋ fər ˈɛvriˌwən tɪ ʤəmp ˈɪntu ðə, ˈæftər wən pleɪər səˈʤɛstɪd nɑt wərθ ðə ˈhæsəl fər ə lɔt əv ˈpipəl. wɔnt tɪ noʊ hu ðə bɛst tæŋk ɪz? hæv ə ˈstədi əv ɑr ˈkɛrɪktər klæs gaɪd. tɪ ˈklɛrəˌfaɪ, maɪ poʊst ðə ˈəðər deɪ traɪɪŋ tɪ fɔrs ɔl pleɪərz tɪ pleɪ ɔn ðə ptr,”*,” ˈkæplən sɪz. ˈrəðər aɪ wɑz traɪɪŋ tɪ hɛlp ˈpipəl ˈfɔrmjəˌleɪt ˈbɛtər ˈfidˌbæk. ˌɪmˈpɔrtənt tɪ jʊr ˈfidˌbæk ənd ˈɔlsoʊ ˈklɛrəˌfaɪ ɪf ju hæd pleɪd wɪθ ðə ˈʧeɪnʤɪz fər ən ɪkˈstɛndɪd ˈpɪriəd ər not.”*.” ˈbeɪsɪkli, hi wɔnts ˈpipəl tɪ stɑp ˈmeɪkɪŋ gət dɪˈsɪʒənz beɪst ɔn wən mæʧ ər baɪ ˈsɪmpli pərˈuzɪŋ ðə pæʧ noʊts. hi ˈɔlsoʊ wɛnt ɔn tɪ ɪkˈspleɪn waɪ ðɛr bɪn səm kaɪnd əv ˌɪnˈsɛnɪv ˈædɪd tɪ ɪnˈtaɪs pleɪərz ˈoʊvər tɪ ðə. ðə ɪkˈspɪriəns, ɪt ˈɔlˌweɪz bi ə smuð platform,”*,” hi kənˈtɪnjuz. ““obviously*, ðə θɪŋz ɔn ˈrɛdi tɪ goʊ lɪv jɛt ənd ðə hoʊl pɔɪnt əv ðə. soʊ ɪf nɑt ˈwərkɪŋ aʊt fər ju, fil ˈɑbləˌgeɪtɪd tɪ kip traɪɪŋ. wi hæv səm aɪˈdiəz tɪ meɪk ðə fil mɔr rɪˈwɔrdɪŋ bət ðiz ər sɪgˈnɪfɪkənt dɪˈvɛləpmənt tæsks ðət wʊd dɪˈrɛkli teɪk əˈweɪ frəm dɪˈvɛləpmənt taɪm ɔn ðə kɔr game.”*.” ərˈɪʤənəl ˈstɔri ˈʤænjuˌɛri 7 2017 wɪn ˈkɛrɪktərz gɪt hɪt wɪθ ðə bæt, ju kən ˈɔlˌweɪz ɪkˈspɛkt səm sɔ tæŋks ənd rɪˈsiv səm sɪgˈnɪfɪkənt ˈʧeɪnʤɪz, wɪθ ˈgɪtɪŋ səm ˈmeɪʤər ˌɔltərˈeɪʃənz tɪ hɪz hʊk waɪl ˈɑrmər ənd ˈkænən ˈdæmɪʤ wɑz rɪˈdust. wɪθ tæŋks ˈdɑməˌneɪtɪŋ ðə kəmˈpɛtɪtɪv ˈmitə æt ðə ˈmoʊmənt, ðiz ˈʧeɪnʤɪz wər noʊ daʊt tɪ dɪsˈweɪd ˈpipəl frəm ˈɔlˌweɪz ˈpɪkɪŋ ˈbifi ˈbɑdiz. pæʧ noʊts rɪˈflɛkt ðɪs dɪˈzaɪər, wɪθ ðə ˈɛdɪtər ˈkɑmɛnts ˈsteɪtɪŋ ðət ˈɑrmər rɪˈdəkʃən ɪz tɪ dil wɪθ hər ˈhævɪŋ ˈwiknəsɪz, ˈivɪn əˈgɛnst ˈhɪroʊz ðət ər ˈɔfən ˈifɛktɪv əˈgɛnst ˈbɪgər ˈtɑrgəts (laɪk reaper).”*).” ˈsərtən fænz si aɪ tɪ aɪ wɪθ ðɪs dɪˈzaɪn fəˈlɑsəfi, ˈteɪkɪŋ tɪ ðə ˈfɔrəmz tɪ æsk ðə skaɪ ˈrɪli falling?’*?’ ɪn rɪˈspɑns tɪ ðiz nerfs*. ɪn ˈɔrdər tɪ kwaɪət ðə ˈmæsɪz, geɪm dɪˈrɛktər ʤɛf ˈkæplən ənd ˈprɪnsəpəl dɪˈzaɪnər ʤɛf ˈgʊdmən tʊk tɪ ˈsərtən θrɛdz tɪ ˈklɛrəˌfaɪ ə fju θɪŋz əˈbaʊt ðə ənd ˈʧeɪnʤɪz. fərst ɔf, ˈgʊdmən kənˈsidɪd ðət ðɛr wər stɪl səm ˈprɑbləmz wɪθ hʊk, ˈmeɪnli ɪt ˈmɪsɪŋ ˈtɑrgəts huz ɪkˈstɛnd frəm bɪˈhaɪnd ə wɔl. ə fɪks fər ðɪs ˈɪʃu ɪz ˈkəmɪŋ tɪ ðə, əˈlɔŋ wɪθ ˈəðər hʊk ˈʧeɪnʤɪz laɪk ðə əˈbɪləˌti tɪ θroʊ əˈpoʊnənts bɪˈhaɪnd ju ɪf ju spɪn əraʊnd ˌbiˈfɔr jʊr hʊk kəˈnɛkts. ðə ˈbæləns tim ər ˈɔlsoʊ ɛkˈspɛrəˌmɛntɪŋ wɪθ ðə hʊk sloʊɪŋ pleɪərz ɔn ˌɪmˈpækt, əˈspɛʃəli əˈgɛnst ˈɛrˌbɔrn foʊz. əˈkɔrdɪŋ tɪ ˈgʊdmən, ðɪs ɪz tɪ ˈkɑmbæt ɪkˈstrim ˈkeɪsɪz wɛr pleɪər wɑz streɪf ˈʤəmpɪŋ ənd gɑt hʊkt, bət ʤɪst ˌbiˈfɔr ðeɪ gɪt pʊld ðeɪ ˈtrævəld ə gʊd ˈmitərz ˌbiˈfɔr ˈbreɪkɪŋ lɔs, ˈkɔzɪŋ ðə hʊk tɪ fail.”*.” ɛz fər, ˈkæplən wɑz kin tɪ ˈkɑmbæt səm əv ðə ənˈnɛsəˌsɛri ˌdumˈseɪɪŋ baɪ ˈfaɪərrɪŋ ɔf səm stæts əˈbaʊt pleɪ taɪm wɪθ ðə ˈleɪtəst ˈəpˌdeɪt. ˈoʊnli əv pleɪərz hæv ˈtɛstɪd ðiz ˈʧeɪnʤɪz ɔn ðə ptr”*” ənd əv ðiz pleɪərz, ˈævərɪʤ ɔn ðə (ˌɪnˈkludɪŋ ˈsɪtɪŋ ɪn ˈmɛnjuz ˌɛtˈsɛtərə.) ðɪs wik ɪz 26 minutes.”*.” ˈkæplən ˈðɛrˌfɔr ɪnˈkərəʤd pleɪərz tɪ spɛnd mɔr ðən ˌænɪkˈdoʊtəl match”*” wɪθ ðə nu ˈvərʒən əv, tɪ fɔrm ə mɔr ˌɪnˈfɔrmd əˈpɪnjən ɔn ðiz ˈʧeɪnʤɪz.
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update january 9, 2017: overwatch game director jeff kaplan has clarified some of the comments he made regarding players using the ptr, saying he’s looking for “better feedback”, not for everyone to jump in.
kaplan took to the forums once more to explain that he wasn’t looking for everyone to jump into the ptr, after one player suggested not worth the hassle for a lot of people.
want to know who the best tank is? have a study of our overwatch character class guide.
“just to clarify, my post the other day wasn’t trying to force all players to play on the ptr,” kaplan says. “but rather i was trying to help people formulate better feedback. important to contextualise your feedback and also clarify if you had played with the changes for an extended period or not.”
basically, he wants people to stop making gut decisions based on one ptr match or by simply perusing the patch notes. he also went on to explain why there hasn’t been some kind of incentive added to entice players over to the ptr.
“regarding the ptr experience, it won’t always be a smooth platform,” he continues. “obviously, the things on ptr aren’t ready to go live yet and the whole point of the ptr. so if not working out for you, feel obligated to keep trying. we have some ideas to make the ptr feel more rewarding but these are significant development tasks that would directly take away from development time on the core game.”
original story january 7, 2017: when characters get hit with the nerf bat, you can always expect some backlash.patch 1.7for overwatch’s ptr saw tanks d.va and roadhog receive some significant changes, with roadhog getting some major alterations to his hook while d.va’s armour and cannon damage was reduced.
with tanks dominating the overwatch competitive meta at the moment, these changes were no doubt to dissuade people from always picking beefy bodies. d.va’s patch notes reflect this desire, with the editor comments stating that d.va’s armour reduction is to deal with her having “no weaknesses, even against heroes that are often effective against bigger targets (like reaper).”
certain overwatch fans see eye to eye with this design philosophy, taking to the forums to ask ‘is the sky really falling?’ in response to these nerfs. in order to quiet the masses, game director jeff kaplan and principal designer geoff goodman took to certain threads to clarify a few things about the d.va and roadhog changes.
first off, goodman conceded that there were still some problems with roadhog’s hook, mainly it missing targets whose hitboxes extend from behind a wall. a fix for this issue is coming to the ptr, along with other hook changes like the ability to throw opponents behind you if you spin roadhog around before your hook connects. the balance team are also experimenting with the hook slowing players on impact, especially against airborne foes. according to goodman, this is to combat extreme cases where “a player was strafe jumping and got hooked, but just before they get pulled they traveled a good 3-4 meters before breaking los, causing the hook to fail.”
as for d.va, kaplan was keen to combat some of the unnecessary doomsaying by firing off some stats about play time with the latest update. only “0.26% of overwatch players have tested these changes on the ptr” and of these players, “the average playtime on the ptr (including sitting in menus etc.) this week is 26 minutes.” kaplan therefore encouraged players to spend more than “one anecdotal match” with the new version of d.va, to form a more informed opinion on these changes.
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ˈmeɪʤər ˈnɛlsən keɪm baɪ ðə ˈɔfəs ɔn ˈwɛnzˌdeɪ tɪ ʃoʊ ənd aɪ haʊ ðə nu twɪʧ æp wərkt ɔn wən. hi hæd stɑpt baɪ ə fju wiks praɪər ənd faʊnd ˈjuˈɛs ˈstrimɪŋ frəm ðə ˈlɛri ɪz ə kul gaɪ ðoʊ ənd ˈivɪn ʤəmpt ˈɪntu ɑr strim ənd ʃoʊd ɔf ðə kənˈtroʊlər. aɪ wɑz ə ˈlɪtəl ˈwərid ðə ˈkæmərə wʊd mɛlt ɪm bət hi lɛft ənˈskeɪðd. ˈɛniˌweɪ hi noʊz wi laɪk tɪ strim naʊ ənd hi ˈwɔntɪd tɪ ʃoʊ ɔf ðɛr nu æp. hi ˈɛndɪd əp ˈhʊkɪŋ mi əp wɪθ ə koʊd soʊ aɪ kʊd græb ɪt ˌmaɪˈsɛlf æt hoʊm ənd pleɪ wɪθ ɪt ˌbiˈfɔr ɪts əˈfɪʃəl riˈlis ɔn ˈtuzˌdeɪ əˈlɔŋˈsaɪd. aɪ pleɪd wɪθ ɪt læst naɪt ənd keɪm əˈweɪ ˈrɪli ˌɪmˈprɛst. aɪ strim məʧ frəm maɪ ˈpiˈsi. ˈrɪli ˈoʊnli ˈstɑrtɪd ˈstrimɪŋ ˈsɪriəsli sɪns ðə meɪd ti soʊ ˈizi. soʊ wət dɪz ðɪs nu æp du ˈdɪfərˈɛntli ðən ðə ə lɔt ˈæˌkʧuəli. ðə bɪg stəf ɪn maɪ əˈpɪnjən. ju kən ˈɑrˌkaɪv strimz nɑt ʃʊr waɪ ðɪs ə θɪŋ ɔn ðə ˈpleɪˌsteɪʃən. ˈɛvər sɪns wi ˈstɑrtɪd ˈstrimɪŋ hæd ˈpipəl ˈæskɪŋ ɪf wi kən ˈrɛkərd ðɛm soʊ ðət foʊks hu meɪk ðə lɪv ʃoʊ kən wɔʧ ɪt ˈɔltər. frəm wət aɪ ˌəndərˈstænd ðɪs ɪz ˈsəmθɪŋ ðət ɪz ˈkəmɪŋ tɪ ðə ““soon”*” bət ɪn ðɪs wən æp ənd ɪt wərks greɪt. ɪn fækt ju kən wɔʧ ðə strim aɪ dɪd læst naɪt ɔn maɪ twɪʧ peɪʤ. ˈɔsəm ɔn ðə ðə ˈstrimər gɪts ə blæk bɑr æt ðə ˈbɑtəm ʃoʊɪŋ tu laɪnz əv twɪʧ ʧæt æt ə taɪm. ju ˈɔlsoʊ hæv ə bɑr ɔn ðə raɪt saɪd ðət ɪz ˈmoʊstli ˈɛmti speɪs wɪθ ə ˈprivˌju əv wət jʊr ˈkæmərə ɪz ʃoʊɪŋ vjuərz æt ðə tɔp. ə tən əv ˈweɪstɪd speɪs ənd ðə ʧæt ɪz ɛˈsɛnʃəli ˈwərθləs ɪf ju hæv ə lɔt əv ˈpipəl ˈtɔkɪŋ. ɔn ðə wən ju hæv ə fju ˈɔpʃənz. fərst ju kən ““snap”*” ðə twɪʧ æp tɪ ðə raɪt saɪd əv ðə skrin ʤɪst laɪk ˈɛni ˈəðər æp. wɪn ju du ðɪs ju si ə ˈprivˌju əv wət ðə ɪz ʃoʊɪŋ vjuərz ɛz wɛl ɛz tɛn laɪnz əv twɪʧ ʧæt. ju kən ˈɔlsoʊ rən ðə geɪm fʊl skrin ðoʊ. ɪf ju du ðɪs ju ʤɪst hæv ə ˈlɪtəl ˈbətən æt ðə ˈbɑtəm ðət sɪz lɪv ənd gɪvz ju ə vjuər kaʊnt. əˈnəðər greɪt ˈfiʧər ɪz ðə əˈbɪləˌti tɪ ʧeɪnʤ ðə pəˈzɪʃən əv ðə pɪp ˈwɪndoʊ. fər ɪgˈzæmpəl læst naɪt aɪ hæd ðə ʃoʊɪŋ mi ənd maɪ sən ɔn ðə kaʊʧ ənd ðət wɑz ˌsupərəmˈpoʊzd ɪn ðə ˈbɑtəm raɪt əv ðə fid. bət ɪn ˈgɑrdən ˈwɔrˌfɛr ðət ɪz wɛr ðə geɪm dɪˈspleɪz jʊr paʊərz. soʊ ˈpipəl æt hoʊm kʊd nɑt si ðɛm ənd wər ˈæskɪŋ əˈbaʊt haʊ ðeɪ wərkt. ðə twɪʧ æp lɛts ju muv ðət pɪp ˈwɪndoʊ ðoʊ soʊ aɪ wɑz ˈeɪbəl tɪ θroʊ ɪt əp ɪn ðə tɔp lɛft wɪʧ ˈrɪli hæv ˈɛniˌθɪŋ goʊɪŋ ɔn ɪn tərmz əv geɪm. greɪt ˈvɪdioʊ kˈwɑləti beɪst ɔn jʊr ˈbændwɪdθ ðə twɪʧ æp wɪl dɪˈtərmən ðə bɛst kˈwɑləti fər jʊr strim. gɑt ə ˈprɪti nis ˈsɛˌtəp æt hoʊm ənd soʊ ɪt lɛt mi strim æt ðə haɪəst ˈsɛtɪŋ. ɔn ˈwɛnzˌdeɪ ənd əˈgɛn læst naɪt lɑts əv ˈpipəl wər ˈkɑmɛntɪŋ ɔn haʊ greɪt ðə strim lʊkt. aɪ æm nɑt ˈjuʒəwəli wən tɪ tɔk əˈbaʊt bət ɪt wɑz əˈpɛrəntli sɪgˈnɪfɪkəntli ˈbɛtər ðən ðə strimz aɪ wɑz duɪŋ frəm ðə beɪst ɔn wət ˈpipəl ɪn ðə ʧæt wər ˈtɛlɪŋ mi. ˈɔlsoʊ ə bənʧ əv ˈlɪtəl stəf nis. ɔn ðə ɪf ju nid tɪ bæk aʊt tɪ ðə ˈdæʃˌbɔrd ɪt ˌɔtəˈmætɪkli stɑps jʊr strim. ɔn ðə wən ɪt ˈpɔzɪz jʊr strim ənd ʃoʊz vjuərz ən ˈænəˌmeɪtɪd hoʊld skrin. ɔn ðə ɪf aɪ gɪt ə frɛnd rɪkˈwɛst ər ə ˈtroʊfi waɪl ˈstrimɪŋ ɪt ˈkəvərz ðoʊz əp wɪθ ə bɪg blæk bɑks. ɔn ðə wən ɪt ˈsɪmpli dɪz nɑt ˈrɛndər ðoʊz ˈɛləmənts tɪ ðə ˈstrimɪŋ ˈɔdiəns. ˈoʊvər ɔl ʤɪst ə məʧ ˈbɛtər ɪkˈspɪriəns. bɪn ˈprɪti ˈvoʊkəl əˈbaʊt prɪˈfərɪŋ ðə soʊ fɑr ðɪs ˌʤɛnərˈeɪʃən. aɪ hæv tɪ seɪ ðə twɪʧ æp ɪz ə pɔɪnt wɛr aɪ kən seɪ ðə wən ɪz ʤɪst weɪ bɪɔnd wət ðə ɪz duɪŋ raɪt naʊ. ˈkɑmbaɪn ðət wɪθ ənd aɪ θɪŋk hæv ə hɑrd taɪm ˈgɪtɪŋ mi ɔf maɪ fər ə waɪl. -geɪb aʊt
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major nelson came by the office on wednesday to show tycho and i how the new twitch app worked on xbox one. he had stopped by a few weeks prior and found us streaming from the ps4. larry is a cool guy though and even jumped into our stream and showed off the titanfall controller. i was a little worried the ps4 camera would melt him but he left unscathed. anyway he knows we like to stream now and he wanted to show off their new app. he ended up hooking me up with a code so i could grab it myself at home and play with it before its official release on tuesday alongside titanfall. i played with it last night and came away really impressed.
i stream much from my pc. i’ve really only started streaming seriously since the ps4 made t so easy. so what does this new app do differently than the ps4? a lot actually. here’s the big stuff in my opinion.
you can archive streams
not sure why this isn’t a thing on the playstation. ever since we started streaming we’ve had people asking if we can record them so that folks who can’t make the live show can watch it alter. from what i understand this is something that is coming to the ps4 “soon” but it’s in this xbox one app and it works great. in fact you can watch the stream i did last night on my twitch page.
awesome ui
on the ps4 the streamer gets a black bar at the bottom showing two lines of twitch chat at a time. you also have a bar on the right side that is mostly empty space with a preview of what your camera is showing viewers at the top. there’s a ton of wasted space and the chat is essentially worthless if you have a lot of people talking.
on the xbox one you have a few options. first you can “snap” the twitch app to the right side of the screen just like any other xbox app. when you do this you see a preview of what the kinect is showing viewers as well as ten lines of twitch chat. you can also run the game full screen though. if you do this you just have a little button at the bottom that says you’re live and gives you a viewer count.
another great feature is the ability to change the position of the pip window. for example last night i had the kinect showing me and my son on the couch and that was superimposed in the bottom right of the feed. but in garden warfare that is where the game displays your character’s powers. so people at home could not see them and were asking about how they worked. the twitch app lets you move that pip window though so i was able to throw it up in the top left which didn’t really have anything going on in terms of game ui.
great video quality
based on your bandwidth the twitch app will determine the best quality for your stream. i’ve got a pretty nice setup at home and so it let me stream at the highest setting. on wednesday and again last night lots of people were commenting on how great the stream looked. i am not usually one to talk about resomolutions but it was apparently significantly better than the streams i was doing from the ps4 based on what people in the chat were telling me.
there’s also a bunch of little stuff that’s nice. on the ps4 if you need to back out to the dashboard it automatically stops your stream. on the xbox one it pauses your stream and shows viewers an animated hold screen. on the ps4 if i get a friend request or a trophy while streaming it covers those up with a big black box. on the xbox one it simply does not render those elements to the streaming audience. over all it’s just a much better experience.
i’ve been pretty vocal about preferring the ps4 so far this generation. i have to say the twitch app is a point where i can say the xbox one is just way beyond what the ps4 is doing right now. combine that with tianfall and i think you’ll have a hard time getting me off my xbox for a while.
-gabe out
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ˈləndən (ˈrɔɪtərz) ˈbrɪtənz ər əˈməŋ ðə ˈəgliəst ˈpipəl ɪn ðə wərld, əˈkɔrdɪŋ tɪ ə ˈdeɪtɪŋ ˈwɛbˌsaɪt ðət sɪz ɪt ˈoʊnli əˈlaʊz people”*” tɪ ʤɔɪn. ən ˈɪŋglənd ˈsɑkər fæn ˈspɔrtɪŋ ə ˈjunjən ʤæk ˈhɛrˌstaɪl ɪn kəˈloʊn, ʤun 20 2006 ˈmɛlvɪl fjuər ðən wən ɪn eɪt ˈbrɪtɪʃ mɛn ənd ʤɪst θri ɪn 20 ˈwɪmən hu hæv əˈplaɪd tɪ hæv bɪn ækˈsɛptɪd, ən iˈmeɪld ˈsteɪtmənt frəm ðə ˈwɛbˌsaɪt ʃoʊd. ɪgˈzɪstɪŋ ˈmɛmbərz əv ðə ˈdeɪtɪŋ site”*” reɪt haʊ əˈtræktɪv pəˈtɛnʃəl ˈmɛmbərz ər ˈoʊvər ə 48 aʊər ˈpɪriəd, ˈæftər ˈæplɪkənts ˈəˌploʊd ə ˈrisənt ˈfoʊˌtoʊ ənd ˈpərsɪnəl ˈproʊˌfaɪl. sˈwidɪʃ mɛn hæv pruvd ðə moʊst səkˈsɛsfəl, wɪθ 65 pərˈsɛnt biɪŋ ækˈsɛptɪd, waɪl ˌnɔrˈwiʤən ˈwɪmən ər kənˈsɪdərd ðə moʊst ˈbjutəfəl wɪθ 76 pərˈsɛnt ækˈsɛptɪd, ðə ˈwɛbˌsaɪt sɛd. ðə weɪ ðət ækˈsɛpts nu ˈmɛmbərz ɪz ˈsɪmpəl. ə pəˈtɛnʃəl ˈmɛmbər əˈplaɪz wɪθ ə ˈfoʊˌtoʊ ənd ə brif ˈproʊˌfaɪl. ˈoʊvər 48 aʊərz, ɪgˈzɪstɪŋ ˈmɛmbərz əv ðə ˈɑpəzɪt sɛks voʊt ˈwɛðər ər nɑt tɪ ədˈmɪt ðɛm, ðə saɪt sɛd. ˈɔpʃənz ər: definitely,”*,” jɛs, o.k,”*,” noʊ, nɑt really”*” ənd ˈdɛfənətli not.”*.” ðə saɪt wɑz ˈfaʊndɪd ɪn 2002 ɪn ˈdɛnˌmɑrk ənd wɛnt lɪv əˈkrɔs ðə gloʊb læst mənθ. sɪns ðɛn, ðə saɪt həz rɪˈʤɛktɪd ˈnɪrli ˈmɪljən ˈpipəl frəm 190 ˈkəntriz, ədˈmɪtɪŋ ʤɪst nu ˈmɛmbərz. wʊd seɪ ˈbrɪtən ɪz ˈstəmbəlɪŋ bɪˈkəz ðeɪ spɛnd ɛz məʧ taɪm ˈpɑlɪʃɪŋ əp ðɛr əˈpɪrəns ənd ðeɪ ər ˈlɛtɪŋ ðɛmˈsɛlvz daʊn ɔn ˈfɪzɪkəl fitness,”*,” ˈbjutəfəl ˈpipəl ˈmænəʤɪŋ dɪˈrɛktər grɛg hɑʤ sɛd. tɪ brəˈzɪljən ənd ˌskændɪˈneɪviən ˈbjutiz, ˈbrɪtɪʃ ˈpipəl ʤɪst ɛz toʊnd ər glamorous.”*.” ˈoʊnli ðə meɪl ˈrəʃən ənd ˈpɑlɪʃ ˈæplɪkənts fɛrd wərs ðən ˈbrɪtɪʃ mɛn, ˌɔlˈðoʊ ˈrəʃən ˈwɪmən hæd ə 44 pərˈsɛnt əkˈsɛptəns reɪt. ˈpɑlɪʃ ˈwɪmən dɪd nɑt əˈpɪr ɪn ðə ˈteɪbəl. ˈʤərmən ˈæplɪkənts wər sˈleɪtɪd fər ˈɔfərɪŋ əp ənˈflætərɪŋ ˈfoʊtəˌgræfs, wɪʧ meɪ hæv ˈhɪndərd ðɛr əkˈsɛptəns reɪts æt 15 pərˈsɛnt fər mɛn ənd 13 pərˈsɛnt fər ˈwɪmən, ðə loʊəst reɪt ɪn ðɛr ˈkætəˌgɔri. mɛn ənd ˈwɪmən ˈfɛriŋ wɛl, bət ðeɪ ər səbˈmɪtɪŋ stərn ˈɪmɪʤɪz, ðeɪ nid tɪ ˈsɔfən up,”*,” hɑʤ sɛd.
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london (reuters) - britons are among the ugliest people in the world, according to a dating website that says it only allows “beautiful people” to join.
an england soccer fan sporting a union jack hairstyle in cologne, june 20 2006. reuters/toby melville
fewer than one in eight british men and just three in 20 women who have applied to beautifulpeople.com have been accepted, an emailed statement from the website showed.
existing members of the “elite dating site” rate how attractive potential members are over a 48 hour period, after applicants upload a recent photo and personal profile.
swedish men have proved the most successful, with 65 percent being accepted, while norwegian women are considered the most beautiful with 76 percent accepted, the website said.
the way that beautifulpeople.com accepts new members is simple. a potential member applies with a photo and a brief profile. over 48 hours, existing members of the opposite sex vote whether or not to admit them, the site said.
options are: “yes definitely,” “hmm yes, o.k,” “hmm no, not really” and “no definitely not.”
the site was founded in 2002 in denmark and went live across the globe last month. since then, the site has rejected nearly 1.8 million people from 190 countries, admitting just 360,000 new members.
“i would say britain is stumbling because they don’t spend as much time polishing up their appearance and they are letting themselves down on physical fitness,” beautiful people managing director greg hodge said. “next to brazilian and scandinavian beauties, british people just aren’t as toned or glamorous.”
only the male russian and polish applicants fared worse than british men, although russian women had a 44 percent acceptance rate. polish women did not appear in the table.
german applicants were slated for offering up unflattering photographs, which may have hindered their acceptance rates at 15 percent for men and 13 percent for women, the lowest rate in their category.
“german men and women aren’t faring well, but they are submitting stern images, they need to soften up,” hodge said.
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ðə ˌkɑntrəˈvərʃəl ʧif ɪgˈzɛkjətɪv əv ðə pərˈstiʤəs əˈmɛrɪkən əˈkædəmi əv ɑrts ənd ˈsaɪənsɪz həz əˈgrid tɪ rɪˈzaɪn ɔn ˌʤuˈlaɪ 31 ˈfɑloʊɪŋ rɪˈpɔrts ðət ʃi ɛmˈbɛlɪʃt hər ˈrɛzəˌmeɪ, ðə ˌɪnstɪˈtuʃən əˈnaʊnst təˈdeɪ. ʃi wɪl rɪˈsiv ə ˈwəˌtaɪm ˈpeɪmənt əv fər rɪˈtaɪərmənt ənd ˈəðər ˈbɛnəfɪts, əˈkɔrdɪŋ tɪ ən əˈkædəmi ˈsteɪtmənt, bət noʊ ˈsɛˌvərəns ˈpeɪmənt. ˈlɛsli koʊən, hu həz ˈoʊvərˌsin ðə ˈkeɪmbrɪʤ ˈɑnərˌɛri soʊˈsaɪɪti fər ðə pæst 17 jɪrz, hæd bɪn ɔn peɪd liv frəm ðə əˈkædəmi fər mɔr ðən ə mənθ ˈæftər ðə gloʊb ˌriˈpɔrtəd ðət ʃi ˈfɔlsli kleɪmd ə ˈdɑktərət frəm nu jɔrk ˌjunəˈvərsəti ənd mɪˈsteɪtɪd hər wərk ˈhɪstəri ɪn ˈfɛdərəl grænt ˌæpləˈkeɪʃənz ənd ˈəðər ˈdɑkjəmənts ˈoʊvər ðə pæst ˈdɛkeɪd. ˌædvərˈtaɪzmənt ˈɔlsoʊ keɪm ˈəndər faɪər fər ˈrɛgjələrli bɪˈreɪtɪŋ ˈstæfərz, ˌmaɪkroʊˈmænɪʤɪŋ ðə əˈfɛrz, ˈbɑrɪŋ ˈskɑlərz frəm vjuɪŋ ðə hɪˈstɔrɪk ˈɑrˌkaɪvz, ənd rɪˈsivɪŋ ən ˈaʊtˌsaɪzd peɪ ˈpækɪʤ mɔr ðən ɪn ˈfɪskəl jɪr 2012 əˈloʊn fər ən ˌɔrgənəˈzeɪʃən wɪθ ˈoʊnli ə fju ˈdəzən ˈstæfərz, ˈsɛvərəl taɪmz wət hər pɪrz wər peɪd. ˌɪnˈvɛstəˌgeɪtərz wər ˈɔlsoʊ ɪgˈzæmɪnɪŋ ˈwɛðər ðə əˈkædəmi ˈfʊli ˌriˈpɔrtəd ɔl hər ɪgˈzɛkjətɪv pərks ɔn ɪts tæks rɪˈtərnz, səʧ ɛz ˈkeɪtərd milz, ˌfərstˈklæs ˈtrævəl, ənd ˈʃoʊfərd ˈtrænzɪt tɪ hər hoʊm. ðə ˌɪnstɪˈtuʃən sɛd wɪl kənˈtɪnju tɪ rɪˈsiv hər ˈsæləri θru nɛkst wik ənd rɪˈsiv ðə ˈwəˌtaɪm ˈpeɪmənt fər rɪˈtaɪərmənt ˈbɛnəfɪts ʃi ɪz oʊd ˈəndər hər ˈkɑnˌtrækt, ənˈjuzd veɪˈkeɪʃən taɪm ənd ˈəðər dɪˈfərd ˌkɑmpənˈseɪʃən. ʃi wɪl ˈɔlsoʊ rɪˈsiv ˌsəpləˈmɛntəl hɛlθ ˌɪnˈʃʊrəns fər faɪv jɪrz. əˈgrimənt dɪz nɑt kɔl fər ˈɛni ˈsɛˌvərəns payment,’’*,’’ əˈkædəmi ˈʧɛrmən luɪs ˈdəbəlju. ˈkæbət sɛd ɪn ə ˈlɛtər tɪ ˈmɛmbərz. əˈgrimənt həz bɪn rivˈjud baɪ ˌɪndɪˈpɛndənt ˈligəl ˈkaʊnsəl, ənd ðə bɔrd həz dɪˈtərmənd ðət ðɪs əˈgrimənt ɪz ɪn ðə bɛst interest.’’*.’’ ðə əˈkædəmi ˈɔlsoʊ sɛd ɪt ɪz ˈlɔnʧɪŋ ə sərʧ fər ə nu ʧif ɪgˈzɛkjətɪv ənd ðə bɔrd həz əˈpɔɪntɪd ə ˈspɛʃəl kəˈmɪti tɪ ɪgˈzæmɪn ɪts ɪgˈzɛkjətɪv ˌkɑmpənˈseɪʃən ˈpræktɪsɪz. ðə ˈkɑntrəˌvərsi həz əˈtræktəd ˈnæʃənəl əˈtɛnʃən bɪˈkəz əv ðə prɛˈstiʒ. ˈfaʊndɪd baɪ ʤɑn ˈædəmz ənd ˈəðər ˈhɑrvərd ˈkɑlɪʤ ˈgræʤəˌweɪts ˈdʊrɪŋ ðə ˌrɛvəˈluʃəˌnɛri wɔr, ðə əˈkædəmi kənˈdəkts ˈrisərʧ, hoʊldz ˈlɛkʧərz fər ˈmɛmbərz, ənd ˈænjuəli ˌɪˈlɛkts skɔrz əv ðə ˈbraɪtəst ˈskɑlərz, ˈɑrtɪsts ənd ˈlidərz ˈɛvəri jɪr. ɪts ˈmɛmbərˌʃɪp ˈkərəntli ˌɪnˈkludz 50 noʊˈbɛl ˈlɔriəts ənd 60 ˈpʊlətsər praɪz ˈwɪnərz. ˌædvərˈtaɪzmənt bət ˌækəˈdɛmɪks ˈtɪpɪkəli hæv ˈlɪtəl ˈtɑlərəns fər ˈpipəl ɪgˈzæʤərˌeɪtɪŋ ðɛr ˌɛʤəˈkeɪʃənəl krəˈdɛnʃəlz. ʤoʊnz, ə ˈpɑpjələr ədˈmɪʃənz din æt ðə ˌmæsəˈʧusəts ˈɪnstɪˌtut əv tɛkˈnɑləʤi, lɛft ɪn dɪsˈgreɪs ɪn 2007 ˈæftər ʃi ˈfɔlsəˌfaɪd hər dɪˈgriz. ənd dəg lɪnʧ, ə vaɪs din æt ðə ˌjunəˈvərsəti əv ˌpɛnsəlˈveɪnjə, rɪˈzaɪnd læst jɪr ˈæftər ˌrɛvəˈleɪʃənz ðət hi ˈfɔlsli kleɪmd tɪ hæv ə ˈdɑktərət frəm kəˈləmbiə ˌjunəˈvərsəti.
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the controversial chief executive of the prestigious american academy of arts and sciences has agreed to resign on july 31 following reports that she embellished her resume, the institution announced today. she will receive a one-time payment of $475,000 for retirement and other benefits, according to an academy statement, but no severance payment.
leslie cohen berlowitz, who has overseen the 233-year-old cambridge honorary society for the past 17 years, had been on paid leave from the academy for more than a month after the globe reported that she falsely claimed a doctorate from new york university and misstated her work history in federal grant applications and other documents over the past decade.
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berlowitz also came under fire for regularly berating staffers, micromanaging the academy’s affairs, barring scholars from viewing the academy’s historic archives, and receiving an outsized pay package — more than $598,000 in fiscal year 2012 alone for an organization with only a few dozen staffers, several times what her peers were paid. investigators were also examining whether the academy fully reported all her executive perks on its tax returns, such as catered meals, first-class travel, and chauffeured transit to her home.
the institution said berlowitz will continue to receive her salary through next week and receive the one-time payment for retirement benefits she is owed under her contract, unused vacation time and other deferred compensation. she will also receive supplemental health insurance for five years.
“the agreement does not call for any severance payment,’’ academy chairman louis w. cabot said in a letter to members. “the agreement has been reviewed by independent legal counsel, and the board has determined that this agreement is in the academy’s best interest.’’
the academy also said it is launching a search for a new chief executive and the board has appointed a special committee to examine its executive compensation practices.
the controversy has attracted national attention because of the academy’s prestige. founded by john adams and other harvard college graduates during the revolutionary war, the academy conducts research, holds lectures for members, and annually elects scores of the brightest scholars, artists and leaders every year. its membership currently includes 50 nobel laureates and 60 pulitzer prize winners.
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but academics typically have little tolerance for people exaggerating their educational credentials. marilee jones, a popular admissions dean at the massachusetts institute of technology, left in disgrace in 2007 after she falsified her degrees. and doug lynch, a vice dean at the university of pennsylvania, resigned last year after revelations that he falsely claimed to have a doctorate from columbia university.
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ˌɪˌlɛkˈtrɑnɪk frənˈtɪrz ɔˈstreɪljə (efa*) ˈwɛlkəmz ˈtudeɪz əˈnaʊnsmɛnt baɪ kəmˌjunəˈkeɪʃənz ˈmɪnɪstər ˈstivən ˈkɔnrɔɪ ðət ðə ˈgəvərnmənt həz ˈfaɪnəli əˈbændənd ɪts plænz tɪ ˌɪntrəˈdus ˈmændəˌtɔri ˈɪntərˌnɛt ˈfɪltərɪŋ., θru ɪts ˈoʊpən ˈɪntərˌnɛt kæmˈpeɪn, wɑz wən əv ðə ˈmɛni ˈsɪvəl soʊˈsaɪɪti grups ðət kæmˈpeɪnd hɑrd əˈgɛnst ðɪs ˈpɑləsi ˈoʊvər ə ˈnəmbər əv jɪrz. ðə ˈɪntərˌnɛt ɪz bɪlt ɔn ˈoʊpən ˈstændərdz, ənd ˈstrɔŋli bɪˈlivz ðət meɪnˈteɪnɪŋ ɪts ˈoʊpən ˈneɪʧər ɪz ˈkrɪtɪkəl tɪ ɪnˈʃʊrɪŋ ðət ɪt kənˈtɪnjuz tɪ bi ə ˈpaʊərfəl ˈplætˌfɔrm fər dɪˈsɛməˌneɪtɪŋ ˌɪnˌfɔrˈmeɪʃən, kəˈnɛktɪŋ kəmˈjunɪtiz, ˌɪnˈkrisɪŋ trænˈspɛrənsi, ˈdraɪvɪŋ ˌɪnəˈveɪʃən ənd ɪˈneɪbəlɪŋ ˈgloʊbəl ˈkɑmərs. ˈfʊli ˌəndərˈstændz ðət səʧ ən ˈoʊpən ˈnɛtˌwərk ˈɔlsoʊ kriˈeɪts ə ˈnəmbər əv ˈsɪriəs ˈʧælənʤɪz fər ˈgəvərnmənt, ˌpɑrˈtɪkjələrli ɪn riˈleɪʃən tɪ lɔ ɛnˈfɔrsmənt ənd sɪˈkjʊrəti. ˈtɔpˌdaʊn, əˈproʊʧɪz tɪ ˈdilɪŋ wɪθ ðiz ˈʧælənʤɪz, səʧ ɛz ðə ˈgəvərnmənts ˈmændəˌtɔri ˈɪntərˌnɛt ˈfɪltər, ər nɑt əˈproʊpriˌeɪt, nɔr ˈlaɪkli tɪ bi ˈifɛktɪv ɪn tərmz əv ˈaʊtˌkəmz ər ˈvælju fər ˈməni. mɔr nuɑnst ˈpɑləsi əˈproʊʧɪz ðət ɪmˈplɔɪ prəˈpɔrʃənət ˈtɛknɪkəl rɪˈspɑnsɪz, kəmˈbaɪnd wɪθ ɪmˈpaʊərɪŋ ˌɪndəˈvɪʤəwəlz, ˌpɑrˈtɪkjələrli θru ˌɛʤəˈkeɪʃən, ər ɪn moʊst ˈkeɪsɪz ˈlaɪkli tɪ bi məʧ mɔr səkˈsɛsfəl. wi ər ˈðɛrˌfɔr plizd ðət ðə ˈgəvərnmənt əˈpɪrz tɪ naʊ ˈfaɪnəli əkˈsɛpt ðət ɪts ˈmændəˌtɔri ˈɪntərˌnɛt ˈfɪltər ˈpɑləsi wɑz səʧ ə ˈtɔpˌdaʊn əˈproʊʧ ðət wɑz ənˈwərkəbəl ənd poʊzd ə ˈsɪriəs θrɛt tɪ fri spiʧ ɪn ɔˈstreɪljə. waɪl ðə ˈgəvərnmənts nu plæn, fər ˈhævɪŋ blɑk ʧaɪld əˈbjuz saɪts beɪst ɔn ən lɪst dɪz əˈmaʊnt tɪ ə fɔrm əv ˈɪntərˌnɛt ˈfɪltərɪŋ, ɪt ɪz ˈkərəntli əv ə ˈvɛri ˈlɪmɪtɪd ˈneɪʧər ənd ˌɪnˈvɑlvz ə dɪˈgri əv trænˈspɛrənsi ənd əˈkaʊntəˌbɪlɪti ɪn riˈleɪʃən tɪ ðə lɪst əv blɑkt saɪts. wi kənˈtɪnju tɪ bɪˈliv ðət ˈfɪltərɪŋ beɪst ɔn blɑk lɪsts ɪz ə ˈrɛlətɪvli ˌɪnɪˈfɛktɪv əˈproʊʧ wɪθ ə ˈnəmbər əv pəˈtɛnʃəl ˈprɑbləmz, ˌhaʊˈɛvər, ðɪs nu ˈpɑləsi əˈpɪrz tɪ bi ə ˈwərkəbəl əˈproʊʧ tɪ æˈdrɛsɪŋ wən ˈæˌspɛkt əv ðə ˈprɑbləm əv ˈhɑrmfəl ˈkɑntɛnt. wi ɪnˈkərəʤ tɪ ˈəndərˌteɪk ˈminɪŋfəl ɛnˈgeɪʤmənt wɪθ ˈsɪvəl soʊˈsaɪɪti grups ˈərli ɔn ɪn ðə ˈpɑləsi ˌfɔrmjəˈleɪʃən ˈprɔˌsɛs tɪ ɪnˈʃʊr ðət səʧ ˈpɑləsiz ər əˈvɔɪdɪd ɪn fˈjuʧər.
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electronic frontiers australia (efa) welcomes today's announcement by communications minister stephen conroy that the government has finally abandoned its plans to introduce mandatory internet filtering. efa, through its open internet campaign, was one of the many civil society groups that campaigned hard against this policy over a number of years.
the internet is built on open standards, and efa strongly believes that maintaining its open nature is critical to ensuring that it continues to be a powerful platform for disseminating information, connecting communities, increasing transparency, driving innovation and enabling global commerce. efa fully understands that such an open network also creates a number of serious challenges for government, particularly in relation to law enforcement and security.
top-down, one-size-fits-all approaches to dealing with these challenges, such as the government's now-abandoned mandatory internet filter, are not appropriate, nor likely to be effective in terms of outcomes or value for money. more nuanced policy approaches that employ proportionate technical responses, combined with empowering individuals, particularly through education, are in most cases likely to be much more successful.
we are therefore pleased that the government appears to now finally accept that its mandatory internet filter policy was such a top-down approach that was unworkable and posed a serious threat to free speech in australia.
while the government's new plan, for having isps block child abuse sites based on an interpol-maintained list does amount to a form of internet filtering, it is currently of a very limited nature and involves a degree of transparency and accountability in relation to the list of blocked sites.
we continue to believe that filtering based on block lists is a relatively ineffective approach with a number of potential problems, however, this new policy appears to be a workable approach to addressing one aspect of the problem of harmful content.
we encourage policy-makers to undertake meaningful engagement with civil society groups early on in the policy formulation process to ensure that such poorly-designed policies are avoided in future.
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ˌvɛˈraɪzən bɔs loʊəl məˈkædəm, hɪz ˈkəmpəˌni ˈfeɪsɪŋ sloʊɪŋ seɪlz əv ˈmoʊbəl foʊnz, meɪd ə prəˈpoʊzəl tɪ əkˈwaɪər ˈkeɪbəl ˌtɛləˈvɪʒən ʤaɪənt ˈʧɑrtər kəmˌjunəˈkeɪʃənz ɪn ˈrisənt mənθs, θri ˈsɔrsəz toʊld ðə poʊst. ðə ˈɔfər ˈvæljud æt bɪtˈwin 350 ənd 400 ə ʃɛr, ənd wɛl ˈoʊvər 100 ˈbɪljən, əˈkɔrdɪŋ tɪ tu əv ðə ˈsɔrsəz fəˈmɪljər wɪθ ðə muv wɑz rɪˈʤɛktɪd baɪ ˈʧɑrtər bɪˈkəz ɪt wɑz tu loʊ ənd bɪˈkəz ˈʧɑrtər ənd ɪts ˈlɑrʤəst ˈʃɛˌrhoʊldər, ˈlɪbərˌti ˈmidiə, ˈrɛdi tɪ sɛl. ˌvɛˈraɪzən, huz ˈɑˌrʧraɪvəl həz muvd tɪ ɪkˈspænd bɪɔnd ðə ˈwaɪrlɪs wərld baɪ baɪɪŋ dɪˈrɛkˈtiˈvi ənd taɪm ˈwɔrnər, ˈɔlsoʊ ˈrisəntli ɪkˈsprɛst ˈɪntəˌrɛst ɪn əˈnəðər ˈlɪbərˌti ˈmidiə ˈprɑpərti, ˈhoʊldɪŋz, ˈsɔrsəz sɛd. ˈɪntəˌrɛst ɪn gɪt ɛz fɑr ɛz ə bɪd, ðə ˈsɔrsəz sɛd. ˈɔlsoʊ ˈstændɪŋ ɪn ðə weɪ əv ˈlɪbərˌti ˈmidiə əˈgriɪŋ tɪ ə dil fər ˈɛni əv ɪts ˈjunɪts ɪz ðə tæks ˌɪmpləˈkeɪʃənz, wɪʧ wʊd bi ənˈpælətəbəl tɪ ɪts ˌbɪljəˈnɛr ˈʧɛrmən ʤɑn məˈloʊn, ˈsɔrsəz sɛd. məˈloʊn ɪz ˈfeɪməs fər əˈvɔɪdɪŋ ˈtæksɪz ɪn bɪg trænˈzækʃənz. ɪn əˈdɪʃən, məˈloʊn wɔnts tɪ gɪv ˈstæmfərd, ˈʧɑrtər səm taɪm tɪ kəmˈplit ðə ˌɪnəˈgreɪʃən əv ɪts ˌækwəˈzɪʃən əv taɪm ˈwɔrnər ˈkeɪbəl, ˈsɔrsəz sɛd. stɑk həz bɪn ɔn ə tɪr sɪns ˈlɪbərˌti tʊk ə steɪk ɪn ðə fərm ɪn mɑrʧ 2013 ənd ˈdræftɪd ˈfɔrmər ˈkeɪbəlˌvɪʒən ʧif ˈɔpərˌeɪtɪŋ ˈɔfɪsər tɑm ˈrətlɪʤ ɛz ðə bɔs. ðə ʃɛrz hæv sɔrd ˈrəfli 262 pərˈsɛnt θru kloʊz æt əp 2 pərˈsɛnt ɔn ðə deɪ. ˌvɛˈraɪzən, huz ˈɪntəˌrɛst ɪn əkˈwaɪərɪŋ ə ˈkeɪbəl ʤaɪənt laɪk ˈʧɑrtər ər ˈkɑmˌkæst wɑz ˌriˈpɔrtəd baɪ ðə poʊst ɪn ˈʤænjuˌɛri, ɪz ˈskræmbəlɪŋ tɪ groʊ ɪts skeɪl ɪn ə ˈræpədli kənˈsɑləˌdeɪtɪŋ ˈsɛktər. ɛz groʊθ æt ðə ˈwaɪrlɪs foʊn ˈbɪznɪs stɔlz, ɪt həz bɪn ˈlʊkɪŋ tɪ ədˈvæns ɪts ˈɔnˌlaɪn ˈædvərˌtaɪzɪŋ ˈbɪznɪs baɪ ˈfoʊkɪsɪŋ ɔn millennials*. si ˈɔlsoʊ ˌvɛˈraɪzən ˈməlɪŋ ˌækwəˈzɪʃən əv bɪg ˈkeɪbəl ˈkəmpəˌni ˌvɛˈraɪzən ʧif ɪgˈzɛkjətɪv loʊəl məˈkædəm meɪ bi ˈgɪtɪŋ ˈrɛdi tɪ... ˌvɛˈraɪzən wɪl kloʊz ɔn ɪts ˌækwəˈzɪʃən əv ˈjɑˌhu nɛkst mənθ ənd ɪz ˈplænɪŋ tɪ mərʤ ɪts ˌɑpərˈeɪʃənz wɪθ əˈmərɪkəˈɑnˌlaɪn ˈəndər tɪm ˈɑrmˌstrɔŋ. stɪl, ˈsiˌiˈoʊ məˈkædəm nidz ˈsəmθɪŋ mɔr ˌtrænsˈfɔrmɑˌtɪv naʊ ðət ˈfeɪsɪŋ ɔf əˈgɛnst ˈraɪvəl ənd ɪts prəˈpoʊzd 85 ˈbɪljən ˈgɛtəˈgɛðər wɪθ taɪm ˈwɔrnər. ˌvɛˈraɪzən ɪz aɪɪŋ ə bɪg ˈkeɪbəl ˌækwəˈzɪʃən tɪ hɛlp ɪt lɔnʧ ɪts ˈhaɪˌspid ˈwaɪrlɪs plænz, wɪʧ ˌrikˈwaɪər ðə kaɪnd əv ˈnɛtˌwərks ˈɑpərˌeɪtəd baɪ ˈkeɪbəl. ˈminˌwaɪl, ən əˈgrimənt ˌvɛˈraɪzən kət jɪrz əˈgoʊ tɪ lis ˈwaɪrlɪs ˈspɛktrəm tɪ ðə ˈkeɪbəl ˈɪndəstri fər ˈmoʊbəl foʊn ˈsərvɪsɪz meɪ sun kəm bæk tɪ hɔnt ɪt. ˈərliər ðɪs mənθ, ˈʧɑrtər ənd ˈkɑmˌkæst saɪnd ə dil tɪ wərk təˈgɛðər tɪ lɔnʧ ðɛr oʊn ˈwaɪrlɪs foʊn plænz. səm ˈsɔrsəz ˈɔlsoʊ ˈspɛkjəˌleɪt ðət ðə ɑd ˈkəplɪŋ əv ˈɑˌrʧraɪvəlz ˈʧɑrtər ənd ˈkɑmˌkæst ɪz mɛnt tɪ prɑd ˌvɛˈraɪzən ˈɪntu ə ˈkeɪbəl ˌækwəˈzɪʃən ðət wʊd bust ˈkeɪbəl stɑks ɛz wɛl ɛz kriˈeɪt ə ˈvaɪəbəl kəmˈpɛtɪtər tɪ ənd taɪm ˈwɔrnər. bæk ɪn dɪˈsɛmbər, məˈkædəm sɛd ə ˈgɛtəˈgɛðər wɪθ ˈʧɑrtər meɪd sense.”*.” neɪm krɑps əp ˈfrikwɛntli ɪn kənˈʤəŋkʃən wɪθ ˈprɑpərtiz fər seɪl ənd səm səˈʤɛst ɪt ˈɔlsoʊ wʊd bi ə gʊd fɪt wɪθ ˈɔnˌlaɪn ˈreɪdiˌoʊ ʤaɪənt pænˈdɔrə. ˌvɛˈraɪzən ʃɛrz ˈædɪd 1 pərˈsɛnt ˈwɛnzˌdeɪ tɪ kloʊz æt ˌvɛˈraɪzən dɪˈklaɪnd ˈkɑmɛnt. əˈdɪʃənəl rɪˈpɔrtɪŋ baɪ ˈrɪʧərd ˈmɔrgən
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verizon boss lowell mcadam, his company facing slowing sales of mobile phones, made a proposal to acquire cable tv giant charter communications in recent months, three sources told the post.
the offer — valued at between $350 and $400 a share, and well over $100 billion, according to two of the sources familiar with the move — was rejected by charter because it was too low — and because charter and its largest shareholder, liberty media, weren’t ready to sell.
verizon, whose archrival at&t has moved to expand beyond the wireless world by buying directv and time warner, also recently expressed interest in another liberty media property, sirius xm holdings, sources said.
verizon’s interest in siriusxm didn’t get as far as a bid, the sources said.
also standing in the way of liberty media agreeing to a deal for any of its units is the tax implications, which would be unpalatable to its billionaire chairman john malone, sources said.
malone is famous for avoiding taxes in big transactions.
in addition, malone wants to give stamford, conn.-based charter some time to complete the integration of its acquisition of time warner cable, sources said.
charter’s stock has been on a tear since liberty took a stake in the firm in march 2013 and drafted former cablevision chief operating officer tom rutledge as the boss. the shares have soared roughly 262 percent through wednesday’s close at $345.55, up 2 percent on the day.
verizon, whose interest in acquiring a cable giant like charter or comcast was reported by the post in january, is scrambling to grow its scale in a rapidly consolidating sector.
as growth at the wireless giant’s phone business stalls, it has been looking to advance its online advertising business by focusing on phone-obsessed millennials.
see also verizon mulling acquisition of big cable company verizon chief executive lowell mcadam may be getting ready to...
verizon will close on its acquisition of yahoo next month and is planning to merge its operations with aol under tim armstrong. still, ceo mcadam needs something more transformative now that he’s facing off against rival at&t and its proposed $85 billion get-together with time warner.
verizon is eyeing a big cable acquisition to help it launch its high-speed 5g wireless plans, which require the kind of fiber-optic networks operated by cable.
meanwhile, an agreement verizon cut years ago to lease wireless spectrum to the cable industry for mobile phone services may soon come back to haunt it. earlier this month, charter and comcast signed a deal to work together to launch their own wireless phone plans.
some sources also speculate that the odd coupling of archrivals charter and comcast is meant to prod verizon into a high-priced cable acquisition that would boost cable stocks as well as create a viable competitor to at&t and time warner.
back in december, mcadam said a get-together with charter made “industrial sense.”
verizon’s name crops up frequently in conjunction with properties for sale and some suggest it also would be a good fit with online radio giant pandora.
verizon shares added 1 percent wednesday to close at $46.64. verizon declined comment.
additional reporting by richard morgan
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ˈmeɪbi noodles”*” ɪz ə ˈlɪtəl mɪsˈlidɪŋ. ˈbeɪsɪkli ðɛr wɑz ə pɔɪnt ɪn taɪm wɪn aɪ ˈwɔntɪd frid raɪs, bət wɑz ˈtɛrəˌfaɪd əv ˈmeɪkɪŋ raɪs fər fɪr əv ˈmɛsɪŋ ɪt əp. soʊ aɪ meɪd ˈpɑstə ˌɪnˈstɛd, ˈlusli ˌɪnˈspaɪərd baɪ frid raɪs ənd ˈəðər ˈrɛsəpiz ˈɔnˌlaɪn. ðə ˌɪnˈgridiənts ər ɛz ˈfɑloʊz: spəˈgɛti ˈʧɪkən (ər pɔrk, ər bif) ˈbrɑkəli sɔɪ sɔs fɔr ˌɪnˈgridiənts! aɪ ˈædɪd ðə ˈbrɑkəli tɪ ˈkɑntræst ðə ˈʧɪkən, bət ɪt kən bi ˌriˈpleɪst wɪθ ˈəðər grinz ər ˌɪgˈnɔrd ˌɔltəˈgɛðər. əv kɔrs, ju kən ˈɔlˌweɪz æd tɪ ðə ˈʧɪkən ɛz ˈsizənɪŋ ɪf soʊ ˌɪnˈklaɪnd (aɪ ˈjuʒəwəli du). ɛz fər ðə ˌprɛpərˈeɪʃən, ðɛr ər θri stɛps: stɛp 1 kʊk spəˈgɛti (ɪf ˈnɛvər dən ðɪs ˌbiˈfɔr, ər hæv ˈtrəbəl ˈkʊkɪŋ spəˈgɛti, ju kən faɪnd ˌɪnˈstrəkʃənz hir stɛp 2 pʊt ɔɪl ər ˈbətər ɪn pæn hit pæn pʊt ɪn ˈʧɪkən æd ˈbrɑkəli æd sɔɪ sɔs stər ɔˈkeɪʒənəˌli ənˈtɪl kʊkt stɛp 3 dreɪn ðə spəˈgɛti ənd pɔr ðə sɔs ˈoʊvər ɪt ɪn ˈɛni keɪs, haʊ aɪ meɪd ɪt, bət fil fri tɪ ɪkˈspɛrəmənt wɪθ ˈəðər ˈsɔsɪz (səʧ ɛz ˌtɛrɪˈjɑki), ˈəðər mits, ənd ˈəðər ˈvɛʤtəbəlz. ˈprɪti dɪˈlɪʃəs, ənd ɪf ju meɪk tu məʧ əv ɪt, ju kən ˈɔlˌweɪz seɪf səm ˈlɛfˌtoʊvərz fər ˈleɪtər. ˈædvərˌtaɪzmənts
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maybe “asian noodles” is a little misleading. basically there was a point in time when i wanted fried rice, but was terrified of making rice for fear of messing it up. so i made pasta instead, loosely inspired by fried rice and other recipes online. the ingredients are as follows:
spaghetti
chicken (or pork, or beef)
broccoli
soy sauce
four ingredients! i added the broccoli to contrast the chicken, but it can be replaced with other greens or ignored altogether. of course, you can always add salt/pepper/garlic to the chicken as seasoning if you’re so inclined (i usually do). as for the preparation, there are three steps:
step 1
cook spaghetti (if you’ve never done this before, or have trouble cooking spaghetti, you can find instructions here
step 2
put oil or butter in pan
heat pan
put in chicken
add broccoli
add soy sauce
stir occasionally until it’s cooked
step 3
drain the spaghetti and pour the chicken/broccoli/soy sauce over it
in any case, that’s how i made it, but feel free to experiment with other sauces (such as teriyaki), other meats, and other vegetables.
it’s pretty delicious, and if you make too much of it, you can always safe some leftovers for later.
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ðə pəˈlis ər ˌɪnˈvɛstəˌgeɪtɪŋ ə ˈsɪriz əv θˈrɛtənɪŋ ˈlɛtərz sɛnt tɪ hɔŋ kɔŋg fri prɛs stæf. ðə əˈnɑnəməs ˈmeɪlɪŋz, rɪˈsivd bɪtˈwin ˈɔgəst ənd sɛpˈtɛmbər, hæv ɪˈlɪsɪtɪd ˈkrɪtɪˌsɪzəm frəm prɛs ˈfridəm ˈwɑʧˌdɔgz. hɔŋ ˈkrɪmənəl ˌɪnˌvɛstəˈgeɪʃən dɪˈpɑrtmənt ˈoʊpənd ə keɪs ɔn ˈsənˌdi, ˈæftər ə ˈlɛtər wɑz sɛnt tɪ ðə hoʊm əv ðə ˈfæməli əv ənd ʧif ˈɛdɪtər tɑm ˈgrəndi. ðə ““warning”*” ˈlɛtər rɪˈsivd læst ˈfraɪˌdeɪ baɪ ɛr meɪl frəm hɔŋ kɔŋg ˈsteɪtɪd ðət ˈgrəndi ʃʊd carefully”*” ənd bi waɪz əˈbaʊt hɪz ˈækʃənz ənd ðɛr ˈkɑnsəkˌwɛnsəz. ˈpɑləˌtɪks, wɪn wən dɪz nɑt noʊ wənz ˈɛnəmiz ˈklɪrli, wən kʊd gɪt hurt…*… aɪ ənd ˈmɛni ˈpipəl wʊd ˈrɪli rɪˈgrɛt ɪf ˈsəmθɪŋ ˈhæpənd tɪ tɑm ɪn ðə nɛkst fju years.”*.” ðə fərst ˈlɛtər, rɪˈsivd ɔn ˈɔgəst 25 wɑz əˈdrɛst tɪ ˈkɑrənt ənd ˈfɔrmər stæf ˈmɛmbərz əˈkjuzɪŋ ðɛm əv ˈraɪtɪŋ baɪəst ənd ˈnɛgətɪv ˈstɔriz əˈbaʊt hɔŋ kɔŋg ənd ˈʧaɪnə, ənd biɪŋ ““brainwashed”*” baɪ ˈfɔrənərz. əˈnəðər ˈlɪstɪd 50 neɪmz, ˌɪnˈkludɪŋ kənˈtrɪbjətərz ənd dɪˈmɑkrəsi ˈæktɪvɪsts ˈəndər ðə ˈhɛdɪŋ: ˈfɑloʊɪŋ ˈfɔrənərz hæv bɪn dimd ˈgɪlti əv ˈsprɛdɪŋ ˈheɪtrəd ənd dɪˈvaɪdɪŋ hɔŋ kɔŋg, ˈʧaɪnə society.”*.” ɪt sɛd ˈpənɪʃmənt ʃæl bi ˈmænˌdeɪtɪd ɛz əv ˈʤænjuˌɛri 2018 ɪkˈspəlʃən frəm ʧaɪˈniz ˈtɛrɪˌtɔri. ə lɪst wɪl bi sɛnt tɪ ˌɪməˈgreɪʃən staff.”*.” əˈnəðər ˈlɛtər, sɛnt tɪ ðə hoʊm ˈæˌdrɛs əv gɛst ˈɛdɪtər tɪm ˈhæmlɪt læst wik, ˌɪnˈkludɪd mɑk ˈɪntərˌpoʊl ˈwɔntɪd ˈlifləts, ˈfiʧərɪŋ ““mugshots”*” əv ˈgrəndi, ˈhæmlɪt ənd ˈkɑləmnəst kɛnt juɪŋ. ˈəðər ˈlɛtərz ərʤd ˈgrəndi tɪ kloʊz ənd liv hɔŋ kɔŋg fər ðə. ðə pəˈlis rɪˈteɪnd ɔl ˈlɛtərz ɛz ˈɛvədəns. həz ˈɔlsoʊ ˌɪnˈvɑlvd ˈlɔjərz, ˈlɔˌmeɪkərz ənd ˈmidiə ˈwɑʧˌdɔgz ɪn laɪt əv ðə θrɛts. ˈkrɪmənəl ˌɪnˌtɪmɪˈdeɪʃən ɪz ə vaɪəˈleɪʃən əv ˈsɛkʃən 24 əv ðə kraɪmz ˈɔrdənəns ənd ˈkɛriz ə ˈpɛnəlti əv əp tɪ faɪv jɪrz ɪn ˈprɪzən ənd ə faɪn əv ˈwɑʧˌdɔgz ərʤ ˈækʃən ˈʃərli jæm, əv ðə hɔŋ kɔŋg ˈʤərnəlɪsts əˌsoʊʃiˈeɪʃən, sɛd ðeɪ wər əˈpɔld baɪ ðə θrɛts: kɔl ɔn ðə pəˈlis tɪ ˌɪnˈvɛstəˌgeɪt ɪt wɪθ ɪts bɛst ɪnˈdɛvər. ˈʤərnəlɪsts ʃʊd bi əˈlaʊd tɪ wərk wɪˈθaʊt fɪr. ðə ˌɪnˌtɪmɪˈdeɪʃən ɪz ril nɑt ˈoʊnli bɪˈkəz əv ðə θrɛt tɪ hɑrm, bət ˈɔlsoʊ ðə dɪˈlɪvəri əv ðə ˈlɛtərz tɪ ðə hoʊm ˈæˌdrɛs əv tu journalists.”*.” alviani*, dɪˈrɛktər əv ðə rɪˈpɔrtərz wɪˈθaʊt ˈbɔrdərz (rsf*) ist ˈeɪʒə ˈɔfəs kɔld əˈpɑn ðə əˈθɔrətiz tɪ ækt: θrɛts əˈgɛnst ˈʤərnəlɪsts ənd ðɛr ˈfæməliz ər ˌɪnˈtɑlərəbəl ənd ʃʊd nɑt bi lɛft unaddressed.”*.” ə ˈspoʊkspərsən fər ðə kəˈmɪti tɪ prəˈtɛkt ˈʤərnəlɪsts ˈɛkoʊd ðə ˈkɑmɛnts: əˈgɛnst ˈʤərnəlɪsts əˈmaʊnt tɪ ə dɪˈrɛkt əˈtæk ɔn ˈfridəm əv ðə prɛs, wɪʧ ənˈtɪl naʊ həz bɪn ə ˌfəndəˈmɛnəl ˈvælju ɪn hɔŋ kong.”*.” ðə ˌɪnərˈnæʃənɑl ˌfɛdərˈeɪʃən əv ˈʤərnəlɪsts sɛd ðə ˈlɛtərz wər ən ˈɛfərt tɪ ənd ˈsaɪləns ðə stæf æt hkfp.”*.” ɪt ˈædɪd: stænd ɪn ˌsɑləˈdɛrəti wɪθ ɑr ˈkɑligz ɪn hɔŋ kɔŋg ɛz ðeɪ kənˈtɪnju tɪ faɪt ənd ˈædvəˌkeɪt fər prɛs ˈfridəm ənd fri speech.”*.” ɪt ˈlɔˌmeɪkər ˈʧɑrəlz mɑk sɛd: kaɪnd əv ˌɪnˌtɪmɪˈdeɪʃən ɪz ˌənækˈsɛptəbəl ənd həz noʊ pleɪs ɪn ə səˈpoʊzədli soʊˈsaɪɪti laɪk hɔŋ kɔŋg. ɪf ðə ˈgəvərnmənt ɪz ˈsɪriəs əˈbaʊt meɪnˈteɪnɪŋ hɔŋ rul əv lɔ, ɑr pəˈlis ənd ɑr ˈʤəstɪs dɪˈpɑrtmənt məst pərˈsu səʧ kaɪnd əv θrɛts ˈsɪriəsli ənd brɪŋ ðə ˈpərpəˌtreɪtərz tɪ justice.”*.”
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the police are investigating a series of threatening letters sent to hong kong free press staff. the anonymous mailings, received between august and september, have elicited criticism from press freedom watchdogs.
hong kong’s criminal investigation department opened a case on sunday, after a letter was sent to the uk home of the family of hkfp co-founder and chief editor tom grundy. the “warning” letter – received last friday by air mail from hong kong – stated that grundy should “tread carefully” and be wise about his actions and their consequences.
“[i]n politics, when one does not know ones enemies clearly, one could get hurt… i and many people would really regret if something happened to tom in the next few years.”
the first letter, received on august 25, was addressed to current and former hkfp staff members accusing them of writing biased and negative stories about hong kong and china, and being “brainwashed” by foreigners.
another listed 50 non-chinese names, including hkfp contributors and democracy activists under the heading: “the following foreigners have been deemed guilty of spreading hatred and dividing hong kong, china society.” it said “the punishment shall be mandated as of january 2018. expulsion from chinese territory. a list will be sent to immigration staff.”
another letter, sent to the home address of guest editor tim hamlett last week, included mock interpol wanted leaflets, featuring “mugshots” of grundy, hamlett and columnist kent ewing. other letters urged grundy to close hkfp and leave hong kong for the uk.
the police retained all letters as evidence. hkfp has also involved lawyers, lawmakers and media watchdogs in light of the threats.
criminal intimidation is a violation of section 24 of the crimes ordinance and carries a penalty of up to five years in prison and a fine of hk$2,000.
watchdogs urge action
shirley yam, of the hong kong journalists association, said they were appalled by the threats: “we call on the police to investigate it with its best endeavour. journalists should be allowed to work without fear. the intimidation is real not only because of the threat to harm, but also the delivery of the letters to the home address of two journalists.”
cédric alviani, director of the reporters without borders (rsf) east asia office called upon the authorities to act: “these threats against journalists and their families are intolerable and should not be left unaddressed.” a spokesperson for the us-based committee to protect journalists echoed the comments: “threats against journalists amount to a direct attack on freedom of the press, which until now has been a fundamental value in hong kong.”
the international federation of journalists said the letters were an effort to “intimidate and silence the staff at hkfp.” it added: “we stand in solidarity with our colleagues in hong kong as they continue to fight and advocate for press freedom and free speech.”
it lawmaker charles mok said: “such kind of intimidation is unacceptable and has no place in a supposedly civilised society like hong kong. if the government is serious about maintaining hong kong’s rule of law, our police and our justice department must pursue such kind of threats seriously and bring the perpetrators to justice.”
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ɪn taɪmz əv ˌɛkəˈnɑmɪk ˈtrəbəl, spæm flaɪz ɔf ðə ʃɛlvz. bət naʊ, ɛz ðə ɪˈkɑnəmi ˌɪmˈpruvz, hɔrˈmɛl foods’*’ kænd pɔrk ɪz ˈlʊkɪŋ fər ə nu, ˈmɑrkɪt. ðə ˈprɑdəkt həz pleɪd ə bɪt pɑrt ɪn ””haute”*” kwɪˈzin sɪns æt list 2009 wɪn ˈvɪni əv ðə lɑ ˈitəri ˈænəməl pɛrd ɪt wɪθ fɔɪ grɑ. ɪn 2011 ʃɛf kɪm pʊt ɪt ɪn ə stu æt hɪz nu jɔrk ˈrɛˌstrɑnt danji*. læst ˈeɪprəl, ˌriˈpɔrtəd ðət nu jɔrk ˈsuʃi koʊ ˌɪnˈkludɪd spæm frid raɪs ɔn ə 135 ˈteɪstɪŋ ˈmɛnju. fər ɪts pɑrt, hɔrˈmɛl simz tɪ bi ˈmeɪkɪŋ ðə moʊst əv ɪts ˈnuˈfaʊnd ˈfudi hipness*, ənd ɪz ˈlʊkɪŋ tɪ ˈkæpətəˌlaɪz ɔn ɪt wɪθ ðə spamerican*! tʊr, lɔnʧt læst wik. hɔrˈmɛl tɛlz kwɔrts ðət ðə əˈpɪrəns ɔn ˈrɛˌstrɑnt ˈmɛnjuz ˌɪnˈspaɪərd ðə fud trək vɔɪəʤ θru 12 ˈjuˈɛs ˈsɪtiz, wɪʧ wɪl ˈfiʧər spæm ˈrɛsəpiz dɪˈzaɪnd baɪ ðə fud ˈsəni ˈændərsən, pləs ˈɔfərɪŋz dɪˈvɛləpt baɪ əˈkleɪmd ˈloʊkəl ʃɛfs. sæn frænˈsɪskənz kən traɪ ˈrɑbərt tɑts ənd ʃəˈkɑˌgoʊənz gɪt ˈkɛvɪn spæm ənd ʤæk ˈprɛtzəl ˈsænwɪʧ. nɑt ˈɛvriˌbɑdi ləvz ˈleɪtəst nɔˈstælʤɪk ˌriɪnkɑrˈneɪʃən. ɛmˈbreɪsɪŋ ðə ˌɪnˈgridiənt rikˈwaɪərz ˌɪgˈnɔrɪŋ ɪts pərˈdəkʃən ˈprɔˌsɛs (paywall*), wɪʧ ˌɪnˈvɑlvz ðə ˌɛkˌsplɔɪˈteɪʃən əv ˈɪməgrənt ˈwərkərz, ɛz wɛl ɛz ˈænəməl ˈkruəlti, pəˈluʃən, ənd ðə kriˈeɪʃən əv nu ˈɪlnəsɪz, sɪz tɛd ɪn hɪz bʊk, ðə ʧeɪn: fɑrm, ˈfæktəri, ənd ðə feɪt əv ɑr fud. ˈfræŋkli ˈʃɑkɪŋ tɪ si haʊ ˈrɛdəli ənd ʃɛfs kən dɪskəˈnɛkt ðə fud frəm ðə ˈwərkərz hu ˈproʊdus it,”*,” hi toʊld kwɔrts. ˌɪgˈnɔr ðoʊz θɪŋz ɪz tɪ bi ˌfəndəˈmɛnəli ˌənkənˈsərnd fər fud ənd ðə weɪ fud ɪz made.”*.” hɔrˈmɛl rɪˈspɑndɪd tɪ genoways’*’ ˈkɑmɛnts baɪ seɪɪŋ ðət ɪt ɪz tɪ ˈgɪvɪŋ ɪmˈplɔɪiz fɛr ˌkɑmpənˈseɪʃən, ˈikwəl ˌɑpərˈtunətiz, ə seɪf wərk ɪnˈvaɪrənmənt ənd ə ˈbæləns bɪtˈwin wərk ənd ˈpərsɪnəl life…*… ɛz pɑrt əv ɑr kəˈmɪtmənt tɪ ɑr ɪmˈplɔɪiz, wi hæv dɪˈvɛləpt plænt ˈseɪfti ˈpræktɪsɪz ənd ə roʊˈbəst ˈtreɪnɪŋ program.”*.” ə fud əv kənˈvinjəns frəm ðə stɑrt laɪk ɪt ər heɪt ɪt, spæm həz bɪn ə ˈpæntri ˈsteɪpəl ɪn əˈmɛrɪkə ənd əraʊnd ðə wərld fər ˈɔlˌmoʊst eɪt ˈdɛkeɪdz. ˈdʊrɪŋ ðə greɪt dɪˈprɛʃən, ðə ʤəˈlætənəs pɔrk ˈprɑdəkt wɑz fərst dɪˈvaɪzd baɪ ʤeɪ hɔrˈmɛl, ðə sən əv ðə ˈfaʊndər, ʤɔrʤ hɔrˈmɛl, tɪ sɑlv ə ˈleɪbər ˈprɑbləm: workers’*’ dɪˈmændz fər ˈfʊlˌtaɪm, wərk. hɔrˈmɛl wɑz goʊɪŋ tɪ peɪ ˈwərkərz ˌgɛrənˈtid ˈweɪʤɪz ənd ˈprɑməs tɪ meɪk noʊ ˈsizənəl leɪɔfs, ðɛn ʤeɪ hɔrˈmɛl ˈrizənd ðət ðoʊz ˈwərkərz ʃʊd bi əˈsaɪnd tɪ tæsks ˈpriviəsli kənˈsɪdərd tu tɪ bi cost-effective,”*,” ɪkˈspleɪnd. ˈdɛkeɪdz, ðə ˈkəmpəˌni hæd dɪˈskɑrdɪd ˈθaʊzənz əv paʊnz əv pɔrk ˈʃoʊldər dimd ənˈwərði əv ðə ˈɛfərt ɪt rikˈwaɪərd tɪ kət ɪt ɔf ðə boʊn. bət naʊ, ʤeɪ sərˈmaɪzd ðət ðə kɔst əv əˈdɪʃənəl ˈweɪʤɪz wʊd bi ˈɔfˌsɛt ɪf hɔrˈmɛl kʊd ˈsɪmpli kənˈvɪns ˈkəstəmərz tɪ baɪ ðət skræp meat.”*.” spæm wɑz bɔrn. ðə ˈkæˌʧi neɪm fər ðə əˈmælgəm əv pɔrk, sɔlt, ˈwɔtər, pəˈteɪˌtoʊ stɑrʧ, ˈʃʊgər ənd ˈsoʊdiəm wɑz ˈrɛʤɪstərd ɛz ə ˈtreɪdˌmɑrk ɪn 1937 ənd ən ˈɔˈlaʊt ˈmɑrkətɪŋ kæmˈpeɪn sun ˈfɑloʊd. timz əv jəŋ seɪlz ɪgˈzɛkjətɪvz dəbd crews”*” ənd ə ˈfiˌmeɪl pərˈfɔrmɪŋ trup kɔld hɔrˈmɛl girls”*” ɪkˈstoʊld ðə ˈprɑdəkt ɔl ˈoʊvər ðə ˈkəntri. ʤɔrʤ bərnz ənd ˈgreɪsi ˈælən prəˈmoʊtəd spæm ɔn ðɛr ˈreɪdiˌoʊ ʃoʊ. baɪ 1940 ɪt wɑz ˈitən ɪn 70 əv ˈərbən hoʊmz. spæm, spæm, spæm, spæm ˈgreɪsi ˈælən ənd ʤɔrʤ bərnz ɪn ə 1940 spæm æd. ɪt wɑz wərld wɔr ðət geɪv spæm ɪts ˈbɪgəst ˌædvərˈtaɪzmənt: hɔrˈmɛl ˈkɑntræktəd wɪθ ðə ˈmɪlɪˌtɛri tɪ sɛnd mɔr ðən 100 ˈmɪljən paʊnz əv spæm tɪ ˈæˌlaɪd trups ˈsteɪʃənd əˈbrɔd. ðɛn, ɛz ˈjʊrəp ˈstrəgəld θru ðə ˈʃɔrtɪʤɪz əv ðə 1950s*, spæm bɪˈkeɪm ə ˈmeɪnˌsteɪ ðɛr ɛz wɛl. ɪn ðə 1960s*, ɛz ðə ˈjuˈɛs ɪˈkɑnəmi ˌɪmˈpruvd, spæm lɔst səm əv ɪts ˌpɑpjəˈlɛrəti ɪn ˈmeɪnˌlænd əˈmɛrɪkə. bət ɪn həˈwaɪˌi ənd ðə ˈeɪʒən pəˈsɪfɪk, ɪts ˌpɑpjəˈlɛrəti ˈoʊnli gru. ˈæftər ðə wɔr, ðə ˈjuˈɛs ˈgəvərnmənt pleɪst ˈsæŋkʃənz ɔn həˈwaɪən ˈrɛzɪdənts, ˈlɪmətɪŋ ðə ˈfɪʃɪŋ ˈbɪznɪs ðət hæd səˈplaɪd soʊ məʧ əv ðə islands’*’ ˈproʊˌtin, ˈhɪstəri əv spæm ˌriˈkaʊnts. ˈminˌwaɪl, ɪn ˌkɔˈriə ənd ʤəˈpæn, ˌpɑpjəˈleɪʃənz wər ɔn ðə brɪŋk əv stɑrˈveɪʃən. ˈʃɪpmənts əv spæm bɪˈkeɪm ˈæbsəˌlut godsend,”*,” fud hɪˈstɔriən ˈreɪʧəl toʊld ˈitər, ənd təˈdeɪ ˌkɔˈriə ɪz ðə kənˈsumər (paywall*) əv spæm, ˈæftər ðə juˈnaɪtɪd steɪts. baɪ 1970 spæm wɑz pɑrt əv ðə ˌɪnərˈnæʃənɑl tˈsaɪtˌgaɪst. ɪt ʃoʊd əp ɪn kwɪˈzinz əraʊnd ðə wərld, ənd wɑz ˌɪˈmɔrtəlaɪzd ɪn ə ˈmɔnti ˈpaɪθɑn skɪt ɪn ðə uk*. ðət jɪr, ðə ˈkəmpəˌni soʊld ɪts kən. ˈoʊvər ðə nɛkst ˈθərˌdi jɪrz, seɪlz spaɪkt ˈdʊrɪŋ rɪˈsɛʃənz wɪn ˈəðər mit ˈpraɪsɪz wɛnt əp (ðə ˈmɪdəl ˈistərn ɔɪl ˈkraɪsəs, ðə ˌriˈsɛʃən əv ðə ˈərli 1980s*), ənd ˈɔlsoʊ wɪn fud skɛrz meɪd ˈəðər ˈproʊˌtin ˈsɔrsəz lʊk ˈrɪski (ðə 1990s’*’ mæd kaʊ dɪˈziz skɛr, ðə i. ˈkoʊli ˈbreɪˌkaʊt æt ʤæk ɪn ðə bɑks), toʊld kwɔrts. ðə trɛnd hɛld əp θru ðə aughts*. ɪn 2008 wɪn ðə əˈmɛrɪkən ənd ˈgloʊbəl ɪˈkɑnəmi wɑz ˈkɑntræktɪŋ, hɔrˈmɛl soʊld ˈɛvər mɔr ˈnɪrli 8 ˌɪnˈkris ˈoʊvər 2007 əˈkɔrdɪŋ tɪ ˈdætə frəm euromonitor*. ə nu ˈstrætəʤi fər spæm naʊ ðət ðə ˈjuˈɛs ɪˈkɑnəmi ɪz ˈbaʊnsɪŋ bæk, hɔrˈmɛl ɪz ˈwərkɪŋ tɪ meɪk ʃʊr ðət spæm stɪks əraʊnd. waɪl seɪlz dɪpt ɪn ðə bɪˈgɪnɪŋ əv 2012 ɛz ðə ɪˈkɑnəmi pɪkt əp, ðə strɔŋ ˌɪnərˈnæʃənɑl seɪlz rɪˈzəlts fər ðə ˈfɪskəl jɪr ðə ˈkəmpəˌni ˌriˈpɔrtəd. ənd ˈleɪtli, ˈivɪn ɛz ðə ðə əˈmɛrɪkən ɪˈkɑnəmi rɪˈkəvərz, ˈjuˈɛs spæm seɪlz ər əˈgɛn ɔn ðə raɪz. ɪn ɪts ˈleɪtəst kˈwɔrtərli ˈfaɪlɪŋ, ðə ˈkəmpəˌni ˌriˈpɔrtəd ˌɪmˈpruvd seɪlz rɪˈzəlts ɪn ðə spæm ˈprɑdəkts dɪˈspaɪt loʊər ˈɛkspɔrt rɪˈzəlts. ðɛr ər ˈsɛvərəl ˌɛkspləˈneɪʃənz fər ðɪs, ˌɪnˈkludɪŋ haɪ bif ˈpraɪsɪz ənd pərˈsɪstəntli ˈstægnənt ˈweɪʤɪz. bət ɪt hərt ðət spæm həz faʊnd ə nu, ˌənɪkˈspɛktɪd ˈfʊˌthoʊld ɪn ðə ˈmɑrkɪt, ˈlɑrʤli θæŋks tɪ ɪts fænz əˈməŋ ˌhaɪˈproʊfaɪl ʃɛfs. ðə ʃɛf ˈʃɛrən wæŋ əv ˈbeɪkəri gru əp wɪθ spæm ɪn ˈtaɪˈwɑn, ˈtɛlɪŋ kwɔrts ðət bɪˈkəz ɪt wɑz ən ˌɪmˈpɔrt, ɪt wɑz əv ə rɪˈwɔrd ðən ə ˈdeɪtuˌdeɪ [food].”*].” ɪn ˈkɑlɪʤ, ðoʊ, ɪt bɪˈkeɪm ə product.”*.” ʃi ˈstɑrtɪd ˈkʊkɪŋ wɪθ ɪt prəˈfɛʃənəli əraʊnd 2012 ənd wɪn ʃi stɑpt, ˈkəstəmərz kəmˈpleɪnd. naʊ ˈmeɪkɪŋ hər ˈkɪmʧi spæm pəfs fər ðə spamamerican*! tʊr. ənd ˌɪnərˈnæʃənɑli, ˈsəmθɪŋ fəˈmɪljər with,”*,” ʃi sɪz. əv kɔrs, ˌrɛnəˈsɑns meɪ ʤɪst bi ə ˈpæsɪŋ ˈmoʊmənt əv fud nɔˈstælʤə, ənd ˈwɛðər ər nɑt hɔrˈmɛl kən səkˈsɛsfəli ˈlɛvərɪʤ ɪts ˈfudi ˌkrɛdəˈbɪlɪti rɪˈmeɪnz tɪ bi sin. bət fud trɛnz ˈɔfən ərˈɪʤəˌneɪt wɪθ ʃɛfs ˌbiˈfɔr ˈwərkɪŋ ðɛr weɪ ˈɪntu əˈmɛrɪkən ˈkɪʧənz. ðə spamamerican*! tʊr lʊks laɪk əˈtɛmpt tɪ muv ðət ˈprɔˌsɛs əˈlɔŋ.
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in times of economic trouble, spam flies off the shelves. but now, as the economy improves, hormel foods’ canned pre-cooked pork is looking for a new, higher-brow market.
the product has played a bit part in ”haute” cuisine since at least 2009, when vinny dotolo of the la eatery animal paired it with foie gras. in 2011, chef hooni kim put it in a stew at his new york restaurant danji. last april, gothamist reported that new york sushi ko included spam fried rice on a $135 tasting menu.
for its part, hormel seems to be making the most of its newfound foodie hipness, and is looking to capitalize on it with the spamerican! tour, launched last week. hormel tells quartz that the product’s appearance on restaurant menus inspired the three-month food truck voyage through 12 us cities, which will feature spam recipes designed by the food network’s sunny anderson, plus city-specific offerings developed by acclaimed local chefs. san franciscans can try robert lam’s spammy tots and chicagoans get kevin hickey’s spam and jack pretzel sandwich.
not everybody loves spam’s latest nostalgic reincarnation. embracing the ingredient requires ignoring its production process (paywall), which involves the exploitation of immigrant workers, as well as animal cruelty, pollution, and the creation of new food-borne illnesses, says ted genoways in his book, the chain: farm, factory, and the fate of our food. ”it’s frankly shocking to see how readily foodies and chefs can disconnect the food from the workers who produce it,” he told quartz. “to ignore those things is to be fundamentally unconcerned for food and the way food is made.”
hormel responded to genoways’ comments by saying that it is “committed to giving employees fair compensation, equal opportunities, a safe work environment and a balance between work and personal life… as part of our commitment to our employees, we have developed industry-leading plant safety practices and a robust training program.”
a food of convenience from the start
like it or hate it, spam has been a pantry staple in america and around the world for almost eight decades. during the great depression, the gelatinous pork product was first devised by jay hormel, the son of the company’s founder, george hormel, to solve a labor problem: workers’ demands for full-time, year-round work.
“if hormel was going to pay workers guaranteed wages and promise to make no seasonal layoffs, then jay hormel reasoned that those workers should be assigned to tasks previously considered too time-consuming to be cost-effective,” explained genoways. ”for decades, the company had discarded thousands of pounds of pork shoulder deemed unworthy of the effort it required to cut it off the bone. but now, jay surmised that the cost of additional wages would be offset if hormel could simply convince customers to buy that scrap meat.”
spam was born. the catchy name for the amalgam of pork, salt, water, potato starch, sugar and sodium nitrite was registered as a trademark in 1937, and an all-out marketing campaign soon followed. teams of young sales executives dubbed “spam crews” and a 60-member female performing troupe called “the hormel girls” extolled the product all over the country. george burns and gracie allen promoted spam on their radio show. by 1940, it was eaten in 70% of america’s urban homes.
spam, spam, spam, spam
gracie allen and george burns in a 1940 spam ad.
it was world war ii that gave spam its biggest advertisement: hormel contracted with the military to send more than 100 million pounds of spam to allied troops stationed abroad. then, as europe struggled through the post-war shortages of the 1950s, spam became a mainstay there as well.
in the 1960s, as the us economy improved, spam lost some of its popularity in mainland america. but in hawaii and the asian pacific, its popularity only grew. after the war, the us government placed sanctions on hawaiian residents, limiting the japanese-dominated deep-sea fishing business that had supplied so much of the islands’ protein, eater’s history of spam recounts.
meanwhile, in korea and japan, populations were on the brink of starvation. shipments of spam became “an absolute godsend,” food historian rachel laudan told eater, and today korea is the world’s second-largest consumer (paywall) of spam, after the united states.
by 1970, spam was part of the international zeitgeist. it showed up in cuisines around the world, and was immortalized in a monty python skit in the uk. that year, the company sold its two-billionth can.
over the next thirty years, sales spiked during recessions when other meat prices went up (the 1970s middle eastern oil crisis, the recession of the early 1980s), and also when food scares made other protein sources look risky (the 1990s’ mad cow disease scare, the e. coli breakout at jack in the box), genoways told quartz.
the trend held up through the aughts. in 2008, when the american and global economy was contracting, hormel sold ever more spam—a nearly 8% increase over 2007, according to data from euromonitor.
a new strategy for spam
now that the us economy is bouncing back, hormel is working to make sure that spam sticks around. while sales dipped in the beginning of 2012 as the economy picked up, the product’s strong international sales ”drove top-line results for the fiscal year 2012,” the company reported.
and lately, even as the the american economy recovers, us spam sales are again on the rise. in its latest quarterly filing, the company reported improved sales results in the spam products despite lower export results.
there are several explanations for this, including high beef prices and persistently stagnant wages. but it doesn’t hurt that spam has found a new, unexpected foothold in the market, largely thanks to its fans among high-profile chefs.
the la-based chef sharon wang of sugarbloom bakery grew up with spam in taiwan, telling quartz that because it was an import, it was ”more of a reward than a day-to-day [food].” in college, though, it became a “go-to product.” she started cooking with it professionally around 2012, and when she stopped, customers complained. now she’s making her kimchi spam musubi puffs for the spamamerican! tour. “culturally and internationally, something we’re familiar with,” she says.
of course, spam’s renaissance may just be a passing moment of food nostalgia, and whether or not hormel can successfully leverage its foodie credibility remains to be seen. but food trends often originate with chefs before working their way into american kitchens. the spamamerican! tour looks like hormel’s attempt to move that process along.
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tɛkst ˈvərʒən bɪˈloʊ, fər ˈklɛrɪti: ˈfɪfti ʃeɪdz ˈdɑrkər: ˌmæskərˈeɪd bɔl ðə gʊd: ˈhɑliˌwʊd ɪz kin ɔn fər pr”*” wɪʧ ɪz ə gʊd θɪŋ. gʊd mˈjuzɪk ənd saʊnd dɪˈzaɪn. ðə bæd: ən ˈaɪˌsɔr wɪn ˈwɑʧɪŋ vr”*” wɛr ðə sin goʊz flæt ɛz ju lʊk əraʊnd æt ə bɔl!) tɪ kənˈvərʒən ˈhaʊsɪz: ɪn, ðə skrin ɪz stræpt tɪ jʊr feɪs ju kən tɛl ˈbædli dən flɔr rɪˈflɛkʃənz ɛz wɛl ɛz wɪn ðə wərld ˈaʊtˈsaɪd ðə ˈwɪndoʊ ɪz ‘‘pasted’*’ ˈɔntu ðə ˈwɪndoʊ! ɪn ðə ˈpɪkʧər əˈbəv -ðə ˈwʊmən ɔn ðə raɪt həz hæf hər ˈbɑdi goʊ flæt ɛz ʃi grits ðə ˈkəpəl æt ðə bɔl. nuvision*: ˌɛpəˈsɑdɪk ˈsɪriz. ðə gʊd: ˌsɪnəˈmætɪk ɪz goʊɪŋ ˈmeɪnˌstrim wɪθ dɪˈmænd ˈraɪzɪŋ fər pərˈdəkʃən əv ˌɛpəˈsɑdɪk ˈkɑntɛnt. ðə ˈstɔri lʊks ˈprɑməsɪŋ ənd kʊd tərn aʊt tɪ bi ə ril peɪʤ ˈtərnər. ðɪs ˈɛpɪˌsoʊd ʃoʊz pruf ðət siɪŋ ðə ˈjumən fɔrm ənd ˈæktɪŋ, ɪn, ɪz wət wɪl drɔ ˈɔdiənsəz ðə bæd: ðə ɪz ə bɪt ɔf: ðɪs pərˈdəkʃən nidz ə ənd ə ˈkæmərə rɪg ˌridɪˈzaɪn. ˈmæsɪv nid fər ˈstɛriˌoʊ (kˈwɑləti kənˈtroʊl) skeɪl ɪf ɔf ðə ɪn ðɪs meɪks ˈfərnɪʧər lʊk laɪk ˈlɛgoʊ ˈpisɪz ənd ˈpipəl sim tɪ bi minifigures*. *ʤɪst ɛz ˌɪˈnɪʃəli hæd ˈæktərz ˈfɪrɪŋ ˈkloʊˈsəps, bæd ˈæktɪŋ wɪl fɪr. ðə klɪk ˈifɛkt. ðə gʊd: ˈəndərˌwɔtər ɪz nɑt ən ˈizi tæsk, ənd ðɛr wər səm gʊd sinz ˈkæpʧərd hir. ˌɪˈmərʒən ˈfæktər ɪz ɪt wərks. fər nɑn ˈdaɪvərz, ðɪs ɪz ðə ˈkloʊsəst wən kʊd kəm tɪ, tɪ ɪkˈspɪriənsɪŋ dip si ˈdaɪvɪŋ. ðə bæd: ˈɛdɪtərz nid tɪ cut’*’ nɑt spəˈsɪfɪkli ˈwɛðər tɪ kət ər nɑt, bət mɔr loʊər ˈlɛvəl ˈifɛkts əv ɔn ˈɔdiənsəz. ðə fərst sin ɪz gʊd, ðɛn ðə hoʊl pərˈdəkʃən goʊz saʊθ ðə ˈmoʊmənt ðə fərst krɔs dɪˈzɑlv kɪks ɪn ðɪs fɪlm kən ˈlɪtərəli lɛd tɪ si ˈsɪknəs bɪˈkəz əv ðə ˈkæmərə ˈbɑbɪŋ əraʊnd ɛz ðə ˈdaɪvərz liv ðə ʃɪp rɛk. ˈstɛriˌoʊ kənˈvərʒən ɪn ˈmɛni ʃɑts lidz tɪ skeɪl mɪsˈmæʧɪz (ˈdaɪvərz goʊ frəm ˈlɑrʤər ðən laɪf tɪ tɔɪ saɪz ɪn ˈsɪŋgəl sinz) ˈkjʊrətərz æt fɪlm ˈfɛstɪvəlz nid tɪ əp ðɛr tɛk skɪlz fər ðɪs ˈʒɑnrə. həz ðə paʊər tɪ ˌɪˈmərs, jɛt ˈɔlsoʊ kɔz ˈfɪzɪkəl hɑrm tɪ ˈɔdiənsəz. ðə ˈhɑrbɪnʤər traɪəl. ðə gʊd: kwaɪt immersive*. ðɪs ˈrɪli ðə seɪm ɛz ðə ˈəðərz, ɛz dən ɪn ə geɪm ˈɪnʤən ənd ˈoʊnli. jɛt, ðɛr ɪz ˈstɔri. ˈɔdiəns ˌɪnərˈækʃən ɪz haɪ ənd aɪ kən si səʧ ˈnɛrətɪv ɪkˈspɪriənsɪz pleɪɪŋ aʊt wɛl æt ˈaɪˌmæks, ənd ˈəðər cinemas”*” ðət wɪl bɪˈgɪn tɪ ˈməʃrum ðɪs jɪr, ˈwərldˈwaɪd. ðə bæd: dɪˈspaɪt ɪt biɪŋ dɛd ˈizi kəmˈpɛrd tɪ ˈvɪdioʊ beɪst tɪ kənˈtroʊl ɔl ˈæˌspɛkts əv ðə ˈkæmərə həz ju ˈfloʊtɪŋ weɪ əˈbəv ənd filz ənˈnæʧərəl. soʊ, ðɛr ɪt ɪz. maɪ krɪˈtik (ˈmoʊstli frəm ə ˈtɛknɪkəl pərˈspɛktɪv) ɔn səm əv ðə ˈrisənt rɪˈlisɪz ɔn ðə ˈsæmˌsəŋ gɪr ˈplætˌfɔrm, tɪ ðoʊz ˌɪnˈvɑlvd ɪn ðə pərˈdəkʃən əv ðiz ɪkˈspɪriənsɪz, aɪ əˈpriʃiˌeɪt ðə wərk pʊt ɪn, ənd ˈhoʊpfəli ðə krɪˈtik kəmz əˈkrɔs kənˈstrəktɪvli. ɪf kˈwɛsʧənz ər laɪk tɪ rɛd mɔr ɔn ˌsɪnəˈmætɪk pərˈdəkʃən, riʧ mi ˈviə ər ɔn tˈwɪtər @cly3d*.
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text version below, for clarity:
fifty shades darker: masquerade ball
the good: – hollywood is keen on “vr for pr” which is a good thing.
– good music and sound design.
the bad: – an eyesore when watching “cinematic vr” where the scene goes flat as you look around (you’re at a masqurade ball!)
– 2d to 3d conversion houses: in vr, the 3d screen is strapped to your face – you can tell badly done floor reflections as well as when the world outside the window is ‘pasted’ onto the window!
– in the picture above -the woman on the right has half her body go flat as she greets the couple at the ball.
nuvision: episodic vr series.
the good:
– cinematic vr is going mainstream with demand rising for production of episodic content.
– the story looks promising and could turn out to be a real vr page turner.
– this episode shows proof that seeing the human form and acting, up-close in vr, is what will draw audiences in*
the bad:
– the stereoscopy is a bit off: – this production needs a stereographer and a camera rig redesign.
– massive need for stereo qc (quality control)
– scale if off – the hyperstereo in this espisode makes furniture look like lego pieces and people seem to be minifigures.
– *just as hd initially had actors fearing closeups, bad acting will fear vr.
the click effect.
the good:
– underwater vr is not an easy task, and there were some good scenes captured here.
– immersion factor is high…when it works. for non divers, this is the closest one could come to, to experiencing deep sea diving.
the bad:
– editors need to unlearn ‘the cut’ not specifically whether to cut or not, but more lower level effects of vr on audiences.
– the first scene is good, then the whole production goes south the moment the first cross dissolve kicks in
– this film can literally lead to sea sickness because of the camera bobbing around as the divers leave the ship wreck.
– stereo conversion in many shots leads to scale mismatches (divers go from larger than life to toy size in single scenes)
– curators at film festivals need to up their tech skills for this genre. vr has the power to immerse, yet also cause physical harm to audiences.
the harbinger trial.
the good:
– quite immersive. this isn;t really the same as the others, as done in a game engine and cg only. yet, there is story.
– audience interaction is high and i can see such vr narrative experiences playing out well at imax vr, dreamscape and other “vr cinemas” that will begin to mushroom this year, worldwide.
the bad:
– despite it being dead easy compared to video based vr to control all aspects of the production…the camera has you floating way above and feels unnatural.
so, there it is. my critique (mostly from a technical perspective) on some of the recent releases on the oculus / samsung gear vr platform,
to those involved in the production of these experiences, i appreciate the work put in, and hopefully the critique comes across constructively.
if there’s questions or you’d like to read more on cinematic vr production, reach me via www.realvision.ae/blog or on twitter @cly3d.
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ðə ˈsɛˌtəp ɪf ju ˌɛnˈʤɔɪ ðɪs ˈɑrtɪkəl, səbˈskraɪb (ˈviə ər ˈiˌmeɪl) ənd ˈfɑloʊ mi ɔn tˈwɪtər. soʊ, ju hæv səm sɔrt əv æp. ˈmeɪbi,, ər ˈsəmθɪŋ ɛls ðət həz ə ˈsikrɪt stɔrd ˌɪnˈsaɪd ðə ˈbaɪnəˌri. ju wɔnt tɪ ˈɛkˌstrækt ðɪs ˈsikrɪt, ˈmeɪbi bɪˈkəz ju wɔnt tɪ ˌɪmˈpərsəˌneɪt ðə əˈfɪʃəl klaɪənt əv ə ˈsərvɪs ər ˈmeɪbi ʤɪst bɪˈkəz ju wɔnt tɪ si ɪf ju kən hæk ðə ˈgɪbsən. aɪ ˈæˌkʧuəli ˈrɪli kɛr əˈbaʊt tˈwɪtər klaɪənts, ˈpərsənəli. aɪ ʤɪst ˈwɔntɪd tɪ si ɪf aɪ kʊd rɪp ðə ˈtoʊkən aʊt əv səm əˈfɪʃəl klaɪənts ənd haʊ lɔŋ ɪt wʊd teɪk mi. strɪŋz, mitm*,,, ɛt æl. nɑt səˈpraɪzɪŋli, ðɛr ər ˈmɛni ˈdɪfərənt weɪz tɪ rɪp ˈdætə aʊt əv ə ˈbaɪnəˌri. ju kən juz strɪŋz tɪ dəmp ˈprɪntəbəl strɪŋz, pleɪ wɪθ mitmproxy*, ər ˈsɪmpli rɪˈvərs ˈɛnʤəˈnɪr ðə ˈbaɪnəˌri baɪ ˈrɛdɪŋ (ər ər ˌwəˈtɛvər) ˈaʊtˌpʊt. juzd ɔl əv ðiz ˈmɛθədz ˌbiˈfɔr wɪθ greɪt səkˈsɛs wɪn əˈtɛmptɪŋ tɪ hæk ðə ˈplænət, bət aɪ hæd ən aɪˈdiə fər ˈsəmθɪŋ ə ˈlɪtəl bɪt mɔr ˈɪntəˌrɛstɪŋ ðət kən bi ˈizəli riuzd. wət ˈhæpənz æt ə loʊ ˈlɛvəl tərnz aʊt ðət, æt list æt ə loʊ ˈlɛvəl, ˈjuʒəwəli ənd fri ɛnd əp ˈgɪtɪŋ kɔld tɪ ˈæləˌkeɪt ənd ˈmɛməri ˈriʤənz juzd baɪ ˌæpləˈkeɪʃənz. ʃʊr, səm æps ˈoʊnli juz ˈstætɪk ˈmɛməri, ˈəðər æps ər bɪlt ɪn ˈlæŋgwɪʤɪz ðət hæv ə ˈkəstəm ˈæləˌkeɪtər, bət ðɛr ər ɪˈnəf æps aʊt ðɛr ðət ˈæftər ju pil əˈweɪ ðə ˈvɛriəs ˈkændi ˈkoʊtɪd leɪərz əv æbˈstrækʃən ʤɪst ɛnd əp ˈkɔlɪŋ ənd fri prəˈvaɪdɪd ɪn ðə ɔn ðɛr ˈsɪstəm prəˈvaɪdɪd baɪ ðə ˈvɛndər. soʊ, aɪ əˈsumd ðət,, ənd ˈɛvriˌwən ɛls wʊd bi duɪŋ ˈsəmθɪŋ laɪk ðɪs ˌəndərˈniθ ɔl ðə ˈfænsi ˈfreɪmˌwərks: koʊd, ˈɑbviəsli malloc(n*); memcpy(buf*, "secretkey*", strlen("secretkey*")); səm ˈfəŋkʃənz ðət tɔk tɪ ðə ˈsərvər ənd du ˈəðər stəf free(buf*); ˈmɛni prəˈvaɪd ən ˈɪnərˌfeɪs fər ðə ˈjuzər tɪ kriˈeɪt ˈkəstəm ʃɪm ˈfəŋkʃənz tɪ ˈɛksəˌkjut ɪn pleɪs əv ðə fri ˈfəŋkʃənz. ðiz ʃɪm ˈɪnərˌfeɪsɪz ər ˈjusfəl fər ˈmɛni ˈrizənz, ˌɪnˈkludɪŋ bət nɑt ˈlɪmɪtɪd tɪ ˈmɛməri profilers*, lik ˈʧɛkərz, ənd ˈəðər ˈjusfəl diˈbəgɪŋ tulz. əˈbjuz wət ɪf aɪ əˈbjuz ʃɪm ˈɪnərˌfeɪs ɔn ənd prəˈvaɪd ə fri ˈfəŋkʃən ðət prɪnts ðə ˈkɑntɛnts əv ˈɛvəri ˈbəfər ɪt ɪz səˈpoʊzd tɪ fri ˌbiˈfɔr ˈæˌkʧuəli friɪŋ ɪt? ʃɪm koʊd əˈbaʊt 50 laɪnz əv ˈhɔrəbəl si koʊd (ˈɔlsoʊ əˈveɪləbəl hir.): vɔɪd *zoʊn, vɔɪd *ptr*); vɔɪd *zoʊn, vɔɪd *ptr*, saɪz); vɔɪd *zoʊn, vɔɪd *ptr*) ʧɑr ptr*; ʧɑr 0 ˈtoʊtəl 0 lɔl ɪts faɪn waɪl 0 tmp_buf[total*] ; ˈtoʊtəl++; ɪf (ˈtoʊtəl 1024 breɪk; tmp*++; tmp_buf*); real_free(zone*, ptr*); vɔɪd *zoʊn, vɔɪd *ptr*, saɪz) ʧɑr 0 ɪf (saɪz 1024 memcpy(tmp_buf*, ptr*, saɪz); ɛls memcpy(tmp_buf*, ptr*, 1023 tmp_buf*); real_free_definite_size(zone*, ptr*, saɪz); vɔɪd __attribute__((constructor*)) my_init*() *zoʊn malloc_default_zone*(); seɪv ðə ˈæˈdrɛsɪz əv ðə ril fri ˈfəŋkʃənz ; ; ˌriˈpleɪs ðɛr wɪθ maɪ my_free_definite_size*; my_free*; ˌɪnˈsərʃən ɔl ju hæv tɪ du ɪz bɪld ə əv ðə əˈbəv si koʊd ənd ˌɪnˈsərt ɪt laɪk ðɪs: dyld_insert_libraries="mallshim.dylib*" ənd, bum. ə lɔt əv strɪŋz wɪl gɪt ˈprɪnɪd aʊt, soʊ ju ʃʊd juz tɪ hɛlp sɪft θru ðə ˈaʊtˌpʊt. ˈaʊtˌpʊt si wət ˈhæpənz ɪf wi ˌɪnˈsərt ðɪs ˈlɪtəl gaɪ ˈɪntu ənd: dyld_insert_libraries="mallshim.dylib*" -aɪ "oauth_token|oauth_consumer|oauth_timestamp|oauth_nonce*" (aɪ ˈsɛnsərd aʊt səm əv ðə gʊd stəf) dyld_insert_libraries="mallshim.dylib*" -aɪ "oauth_token|oauth_consumer|oauth_timestamp|oauth_nonce*" ɑrmz reɪs ðɛr məʧ ðə æp kən du əˈbaʊt ðɪs sɔrt əv hæk. aɪ min, ʃʊr, ðə æp kʊd ˈziroʊ ˈmɛməri ðə ˈmɛməri ˌbiˈfɔr friɪŋ ɪt. bət, ðɛn ʤɪst juz ər ə ər ˌwəˈtɛvər tɪ dɪˈseɪbəl ðə kɔl tɪ memcpy*. soʊ ɔn ənd soʊ fɔrθ. ɪf ju ʃɪp ə ˈbaɪnəˌri tɪ ə kəmˈpjutər ənd ðət ˈbaɪnəˌri həz ə ˈsikrɪt ɛmˈbɛdɪd ɪn ɪt, ðət ˈsikrɪt wɪl ɪˈvɛnʧəwəli bi dɪˈskəvərd. ˈəðər æps wət ˈəðər ˈɪntəˌrɛstɪŋ strɪŋz fɔl aʊt əv æps ju juz ˈɛvriˈdeɪ? ɪf ju ˌɛnˈʤɔɪd ðɪs ˈɑrtɪkəl, səbˈskraɪb (ˈviə ər ˈiˌmeɪl) ənd ˈfɑloʊ mi ɔn tˈwɪtər.
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the setup
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so, you have some sort of osx app. maybe it’s twitter.app, tweetdeck, or something else that has a secret stored inside the binary. you want to extract this secret, maybe because you want to impersonate the official client of a service or maybe just because you want to see if you can hack the gibson.
i don’t actually really care about twitter clients, personally. i just wanted to see if i could rip the oauth token out of some official clients and how long it would take me.
strings, mitm, objdump, gdb, et al.
not surprisingly, there are many different ways to rip data out of a binary. you can use strings to dump printable strings, play with mitmproxy, or simply reverse engineer the binary by reading objdump (or gdb or whatever) output. i’ve used all of these methods before with great success when attempting to hack the planet, but i had an idea for something a little bit more interesting that can be easily reused.
what happens at a low level
turns out that, at least at a low level, usually malloc/calloc/whatever and free end up getting called to allocate and deallocate memory regions used by applications. sure, some apps only use static memory, other apps are built in languages that have a custom allocator, but there are enough apps out there that after you peel away the various candy coated layers of abstraction just end up calling malloc and free provided in the libc on their system provided by the vendor.
so, i assumed that tweetdeck, twitter.app, and everyone else would be doing something like this underneath all the fancy frameworks:
/* psuedo code, obviously */ buf = malloc(n); memcpy(buf, "secretkey", strlen("secretkey")); /* some functions that talk to the api server and do other stuff */ free(buf);
malloc shims
many malloc implementations provide an interface for the user to create custom shim functions to execute in place of the system-provided malloc / calloc / realloc / free functions. these shim interfaces are useful for many reasons, including but not limited to memory profilers, leak checkers, and other useful debugging tools.
abuse
what if i abuse malloc’s shim interface on osx and provide a free function that prints the contents of every buffer it is supposed to free before actually freeing it?
shim code
about 50 lines of horrible c code (also available here.):
void (*real_free)(malloc_zone_t *zone, void *ptr); void (*real_free_definite_size)(malloc_zone_t *zone, void *ptr, size_t size); void my_free(malloc_zone_t *zone, void *ptr) { char *tmp = ptr; char tmp_buf[1025] = {0}; size_t total = 0; /* lol its fine */ while (*tmp != '\0') { tmp_buf[total] = *tmp; total++; if (total == 1024) break; tmp++; } malloc_printf("%s
", tmp_buf); real_free(zone, ptr); } void my_free_definite_size(malloc_zone_t *zone, void *ptr, size_t size) { char tmp_buf[1024] = {0}; if (size < 1024) { memcpy(tmp_buf, ptr, size); } else { memcpy(tmp_buf, ptr, 1023); } malloc_printf("%s
", tmp_buf); real_free_definite_size(zone, ptr, size); } void __attribute__((constructor)) my_init() { malloc_zone_t *zone = malloc_default_zone(); /* save the addresses of the real free functions */ real_free = zone->free; real_free_definite_size = zone->free_definite_size; /* replace there with my shims */ zone->free_definite_size = my_free_definite_size; zone->free = my_free; }
insertion
all you have to do is build a dylib of the above c code and insert it like this:
% dyld_insert_libraries="mallshim.dylib" /applications/twitter.app/contents/macos/twitter
and, boom. a lot of strings will get printed out, so you should use grep to help sift through the output.
output
let’s see what happens if we insert this little guy into tweetdeck and twitter.app:
twitter.app
% dyld_insert_libraries="mallshim.dylib" /applications/twitter.app/contents/macos/twitter 2>&1| egrep -i "oauth_token|oauth_consumer|oauth_timestamp|oauth_nonce" --color=auto
(i censored out some of the good stuff)
tweetdeck
dyld_insert_libraries="mallshim.dylib" /applications/tweetdeck.app/contents/macos/tweetdeck -psn_0_12827707 2>&1 | egrep -i "oauth_token|oauth_consumer|oauth_timestamp|oauth_nonce" --color=auto
arms race
there isn’t much the app can do about this sort of hack. i mean, sure, the app could zero memory the memory before freeing it. but, then i’ll just use gdb or a hexeditor or whatever to disable the call to memcpy. so on and so forth.
if you ship a binary to a person’s computer and that binary has a secret embedded in it, that secret will eventually be discovered.
other apps
what other interesting strings fall out of osx apps you use everyday?
if you enjoyed this article, subscribe (via rss or e-mail) and follow me on twitter.
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ribeirao* ˈmæθju həz hæd ðə læst læf ˈoʊvər ˈfɔrmər ˈtɔrˌmɛntərz səˈmɪr ənd fræŋk ˈæftər bɪˈkəmɪŋ ˈɪnəgrəl tɪ wərld kəp hoʊps. ðə 29 jɪr oʊld, ˈnɪkˌneɪmd ðə bike”*”, həz ˈɔlˌweɪz pənʧt əˈbəv hɪz weɪt ənd ˈnɛvər ʃərkt ə ˈʧælənʤ. ðəs, hi ˈfaɪnəli ɪˈstæblɪʃt hɪmˈsɛlf fər hɪz ˈkəntri əˈhɛd əv ˈæftər ðə ˈɛpɪk wɪn ˈoʊvər juˈkreɪn læst noʊˈvɛmbər. hɪz ˈjuʒəwəli ˈʧɪri ˌdɪspəˈzɪʃən hɛlpt ərn ə pleɪs ˈoʊvər ðə mɔr, huz ˈɪmɪʤ ənd dɪsˈrəptɪv ˈɪnfluəns ˈkaʊntɪd əˈgɛnst ɪm wɪn ˈdɛʃəmps neɪmd hɪz skwɑd., bɔrn nɪr bɔrˈdoʊ tɪ ə ˈspænɪʃ ˈfɑðər ənd ə frɛnʧ ˈməðər, wɪl hæv ʃɛd noʊ tɪrz ˈoʊvər hɪz oʊˈmɪʃən, ˈgɪvɪn ðət ənd əp ɔn ɪm wɪn hi fərst əraɪvd æt mɑrˈsaɪl, ˈmeɪkɪŋ ə ˌpɑˈtɪkjələr pɔɪnt əv ˈsɪŋgəlɪŋ ɪm aʊt bɪˈkəz əv hɪz læk əv haɪt hi stændz ʤɪst ˈmitərz. aɪ si ðɛm æt ðə ˈnæʃənəl saɪd ˈgɛtəˈgɛðərz, aɪ prɪˈfər tɪ meɪk laɪt əv wət wɛnt ɔn bɪˈkəz ðə ˈstɔri ɪz over,”*,” hi sɛd læst jɪr. ɪt biɪŋ ˈoʊvər, aɪ stɪl hæv ə bæd ˈmɛməri əv wət wɛnt ɔn. tɪ bi ˌsɪstəˈmætɪkli ˈsɪŋgəld aʊt fər bæd ʤoʊks ˈrɪli hərts. ɛls ɪn ðə ˈdrɛsɪŋ rum wʊd hæv pʊt əp biɪŋ ˈtɑrgətɪd laɪk aɪ wɑz. aɪ wɑz nɑt ˈrɛdi tɪ bi səˈbʤɛktɪd tɪ ðət. aɪ wɑz tu nis, bət aɪ æm naʊ meɪd əv ˈhɑrdər stuff.”*.”, hu həz skɔrd faɪv goʊlz ɪn 35 ˌɪnərˈnæʃənɑl əˈpɪrənsəz sɪns ˈmeɪkɪŋ hɪz ˈdeɪbju ɪn 2010 meɪ nɑt hæv ərnd ə muv əˈbrɔd laɪk ər hæv dən. bət ˈdɛʃəmps, fər hum wɑz ən ˈɪnəgrəl pɑrt əv ðə mɑrˈsaɪl saɪd hi koʊʧt tɪ ðə 2010 ˈtaɪtəl, ɪz ˌoʊvərˈʤɔɪd tɪ hæv səʧ ə ˈʧɪrfəl ˈprɛzəns æt ðə ˈfaɪnəlz. [valbuena*] həz bɪn sʊˈpərb fər ˈjuˈɛs fər ðə pæst tu years,”*,” ˈdɛʃəmps sɛd. əraɪvd wɪθ ə bɪg smaɪl, ə greɪt ˈigərnəs tɪ səkˈsid, ənd ju kən si ðət ɔn ðə pɪʧ. ju kən ˈrɪli fil ɪt. hi həz ˈnɛvər bɪn ˈbɛtər ðən hi həz bɪn fər fræns ˈkəmɪŋ ˈɪntu ðə finals.”*.” gaɪ ˈstɛfən, əˈsɪstənt koʊʧ tɪ ˈdɛʃəmps æt ðə ˈnæʃənəl ˈlɛvəl ɛz hi wɑz æt mɑrˈsaɪl, səmd əp ðə ˌɪmˈpɔrtəns əv tɪ ðə fræns ˈsɛˌtəp. ɪz indispensable,”*,” hi sɛd. həz bɪn ˈgɪvɪn ə roʊl hi həz ˈnɛvər hæd ˌbiˈfɔr. ˈdɪdiər həz əˈlaʊd ɪm ə lɔt əv ˈfridəm tɪ muv əraʊnd ənd ˈænəˌmeɪt ðə floʊ əv ðə geɪm, bət hi noʊz ðət hi həz tɪ gɪt aʊt tɪ ə flæŋk ɪf wi luz ðə bɔl. ɪz ən ɛkˌstrɔrdəˈnɛrəli ˈgɪvɪŋ ˈpərsən ɔn ðə pitch.”*.” dru ˈkrɪtɪˌsɪzəm læst ˈsizən frəm səm hu sɛd hɪz pərˈfɔrmənsɪz fər mɑrˈsaɪl lækt ðə ɪnˈθuziˌæzəm ənd ˈlɛvəl əv ˈpriviəs ˈsizənz, wɛˈræz wɪn hi pʊld ɔn ðə frɛnʧ tim ʃərt ɪn ðə geɪmz, hi wɑz trænsˈfɔrmd bæk ˈɪntu ðə ˌhɑrdˈwərkɪŋ, ˈifɛktɪv pleɪər ðət ˈpipəl rɪˈmɛmbərd. hi wɑz ˈvɛri jəŋ, hi wɑz ˈɔlˌweɪz laɪk that,”*,” sɛd ˈfɛloʊ fræns pleɪər ˈrioʊ mavuba*, hu keɪm θru ðə juθ ˈsɪstəm wɪθ. ləvz ɪt wɪn ðɛr wər bɪg ˈmæʧɪz. hi ləvz ðət pressure.”*.” ˈfɑloʊ ˈjuˈɛs ɔn tˈwɪtər æt
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ribeirao preto // mathieu valbuena has had the last laugh over former tormentors samir nasri and franck ribery after becoming integral to france’s world cup hopes.
the pocket-sized 29 year old, nicknamed the “little bike”, has always punched above his weight and never shirked a challenge.
thus, he finally established himself for his country ahead of nasri after the epic two-leg play-off win over ukraine last november.
his usually cheery disposition helped earn valbuena a place over the more skilful nasri, whose bad-boy image and disruptive influence counted against him when dider deschamps named his squad.
valbuena, born near bordeaux to a spanish father and a french mother, will have shed no tears over his omission, given that nasri and ribery ganged up on him when he first arrived at marseille, making a particular point of singling him out because of his lack of height – he stands just 1.52 metres.
“when i see them at the national side get-togethers, i prefer to make light of what went on because the story is over,” he said last year.
“despite it being over, i still have a bad memory of what went on. to be systematically singled out for bad jokes really hurts.
“nobody else in the dressing room would have put up being targeted like i was. i was not ready to be subjected to that. i was too nice, but i am now made of harder stuff.”
valbuena, who has scored five goals in 35 international appearances since making his debut in 2010, may not have earned a big-money move abroad like ribery or nasri have done. but deschamps, for whom valbuena was an integral part of the marseille side he coached to the 2010 title, is overjoyed to have such a cheerful presence at the finals.
“he [valbuena] has been superb for us for the past two years,” deschamps said.
“he arrived with a big smile, a great eagerness to succeed, and you can see that on the pitch. you can really feel it. he has never been better than he has been for france coming into the finals.”
guy stephan, assistant coach to deschamps at the national level as he was at marseille, summed up the importance of valbuena to the france set-up.
“mathieu is indispensable,” he said. “he has been given a role he has never had before. didier has allowed him a lot of freedom to move around and animate the flow of the game, but he knows that he has to get out to a flank if we lose the ball.
“he is an extraordinarily giving person on the pitch.”
valbuena drew criticism last season from some who said his performances for marseille lacked the enthusiasm and level of previous seasons, whereas when he pulled on the french team shirt in the warm-up games, he was transformed back into the hard-working, effective player that people remembered.
“since he was very young, he was always like that,” said fellow france player rio mavuba, who came through the youth system with valbuena.
“he loves it when there were big matches. he loves that pressure.”
sports@thenational.ae
follow us on twitter at @sprtnationaluae
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naɪt 1 əv rɪŋ əv ˈɑnər ˈmitɪŋ nu ʤəˈpæn proʊ ˈrɛsəlɪŋ fər wɔr əv ðə wərldz ɪz ɪn ðə bʊks, ənd nu ʤəˈpæn keɪm aʊt ɔn tɔp ɪn təˈnaɪts ˈbætəl. ðə ʃoʊ tʊk pleɪs frəm ðə oʊld ərˈinə ɪn ˌfɪləˈdɛlfiə, wɪθ naɪt 2 ˈteɪkɪŋ pleɪs təˈmɑˌroʊ. ju kən rɛd ðə kwɪk rɪˈzəlts bɪˈloʊ: def*. dɪˈlɪriəs ˈviə ˈrɑdrɪk strɔŋ dɪˈfitɪd ˈviə roʊ ˈtɛləˌvɪʒən ˈʧæmpiən ʤeɪ ˈliθəl dɪˈfitɪd ˈviə ˈʤunjər tæg tim ˈʧæmpiənz jəŋ bəks dɪˈfitɪd roʊ tæg tim ˈʧæmpiənz ðə əˈdɪkʃən (ˈkrɪstəfər ˈdænjɛlz kəˈzɛriən) ənd tæg tim ˈʧæmpiənz ðə ˈkɪŋdəm ˈviə mus kət ə ˈproʊˌmoʊ seɪɪŋ hi ɪz ˈkəmɪŋ fər ðə roʊ ˈtaɪtəl ˈneɪtoʊ def*. ˈmaɪkəl ˈɛlʤɪn ˈviə. ˈɛlʤɪn traɪd tɪ ʃeɪk hænz ˈæftər, bət gɑt əˈtækt baɪ ˈneɪtoʊ dɪˈfitɪd ˈθəndər ənd hɪˈroʊʃi ˈʧæmpiən staɪlz dɪˈfitɪd ˈædəm koʊl baɪ. koʊl wərkt ɛz ə hil oʊˈkɑdə ənd nɑkɑˈmʊrə dɪˈfitɪd ðə ˈviə ˈæftər oʊˈkɑdə hɪt ðə ˈreɪnˌmeɪkər.
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night 1 of ring of honor meeting new japan pro wrestling for war of the worlds is in the books, and new japan came out on top in tonight's battle. the show took place from the old ecw arena in philadelphia, with night 2 taking place tomorrow. you can read the quick results below:
* gedo def. delirious via pinfall
* roderick strong defeated kushida via pinfall
* roh television champion jay lethal defeated wanatabe via pinfall
* iwgp junior tag team champions young bucks defeated roh tag team champions the addiction (christopher daniels & kazarian) and iwgp tag team champions the kingdom via pinfall
- moose cut a promo saying he is coming for the roh title
* tetsuya naito def. michael elgin via pinfall. elgin tried to shake hands after, but got attacked by naito
* redragon defeated jushin thunder liger and hiroshi tanahashi
* iwgp champion aj styles defeated adam cole by pinfall. cole worked as a heel
* okada and shinsuke nakamura defeated the briscoes via pinfall after okada hit the rainmaker.
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ðə lɔs ˈænʤəlɪs ˈklɪpərz wər əp baɪ 19 pɔɪnts ɪn ðə θərd kˈwɔrtər əˈgɛnst ðə ˈhjustən ˈrɑkəts ɪn geɪm 6 ɔn ˈθərzˌdeɪ, ənd ðə geɪm (ɛz wɛl ɛz ðə ˈsɪriz) fɛlt ɛz ðoʊ ɪt wɑz ʤɪst əˈbaʊt ˈoʊvər wɪn bleɪk ˈgrɪfɪn meɪd ðɪs ˈsərkəs ˈspɪnɪŋ layup*. ðɛn ˈsəmθɪŋ ənˈθɪŋkəbəl ˈhæpənd: wɪθ ʤeɪmz ˈhɑrdən ˈsɪtɪŋ ɔn ðə bɛnʧ, ðə ˈrɑkəts klɔd ðɛr weɪ bæk ˈɪntu ðə geɪm ɪn ðə fɔrθ kˈwɔrtər ənd aʊtˈskɔrd ðə ˈklɪpərz tɪ kəm aʊt wɪθ ə ˈvɪktəri tɪ fɔrs ə geɪm 7 ʤɑʃ smɪθ wɑz ðə ˈbɪgəst ˌɪnɪˈʃieɪtər əv ðə ˌənbəˈlivəbəl ˈkəmˌbæk, ˈskɔrɪŋ 14 əv hɪz 19 pɔɪnts ɪn ðə dɪˈsaɪsɪv fɔrθ kˈwɔrtər. ˈkɔri bruər ˈɔlsoʊ pleɪd ə ˈkrɪtɪkəl roʊl ɔf ðə bɛnʧ, ˈskɔrɪŋ 19 pɔɪnts ənd ˈgræbɪŋ 10 ˈriˌbaʊndz. ˈhɑrdən wɑz ˈʤɛnərəli ˌɪnɪˈfɛktɪv ɪn ðɪs geɪm, ˈskɔrɪŋ 23 pɔɪnts bət ˈʃutɪŋ ʤɪst ˈɛnˌbiˈeɪ pleɪərz əraʊnd ðə lig bɪˈliv wət ðeɪ ˈwɪtnəst ənd riˈæktɪd əˈkɔrdɪŋli, ɛz bɪˈloʊ: ðə feɪs ju meɪk wɪn ju goʊ græb ə ˈsænwɪʧ ənd ðə ˈrɑkəts wər daʊn 17 ənd rɪˈtərn ðeɪ əp ˈkɛˌni smɪθ (@thejetontnt*) meɪ 15 2015 mæn aɪ ˈsɪriəsli eɪt maɪ wərdz ðɪs ɪz maɪnd bloʊɪŋ. pliz hɛlp mi ˌəndərˈstænd ðɪs. ˈkɔri (@corey_maggette*) meɪ 15 2015 ə ˈkəmˌbæk! ˈrɑkəts ˈɑrənt gɔɪn daʊn wɪˈθaʊt ə ˈhɑrdən ɪz ɔn ðə bɛnʧ! ˈkreɪzi! ˈænθɔˌni ˈtoʊlɪvər meɪ 15 2015 wowww*!!!! dɪd ðə #ˈklɪpərz θɪŋk ðɪs geɪm wɑz ˈoʊvər? ðeɪ ˈprɑbəˌbli ʤɪst ɪˈlɪməˌneɪtɪd frəm ˈgɪtɪŋ tɪ ðə ˈwɛstərn ˈkɑnfərəns ˈfaɪnəlz. kɑrl ˈlændri (@carllandry*) meɪ 15 2015 ʤɑʃ tʊk ɪt ˈoʊvər. ˈkɔˌri bruər gɑt ɪt ˈkrækɪŋ raɪt meɪ 15 2015 ʃaʊt aʊt tɪ ʤeɪmz fər nɑt biɪŋ ˈθərsti ənd ˈtɛlɪŋ hɪz koʊʧ tɪ aʊt ɪm bæk sɔ ə grup ˈgɪtɪŋ ɪt dən ənd hi bɪˈliv ɪn hɪz meɪts raɪt meɪ 15 2015 ðɪs ɪz ˌənbəˈlivəbəl! wət ə ˈkəmˌbæk. hæts ɔf. ˈʧændlər ˈpɑrsənz (@chandlerparsons*) meɪ 15 2015 weɪt wət!!!!!!!!!!!!!!!! ˈoʊˈkeɪ ʤɑʃ aɪ si ju! ˈbrændən ˈʤɛnɪŋz (@brandonjennings*) meɪ 15 2015 stənd c.j*. ˈwɑtsən meɪ 15 2015 haʊ kəm wi gɪt ə ʃɑt əv ˈbælmər naʊ? tɑm ˈtoʊlbərt meɪ 15 2015 ʤɑʃ smɪθ ˈmaɪkəl meɪ 15 2015 wət ə ˈkəmˌbæk baɪ ˈhjustən ˈdɛrɪk ˈkoʊlmən 44thelegend*) meɪ 15 2015 wət ɪz ˈhæpənɪŋ. ˈkɛndəl ˈmɑrʃəl meɪ 15 2015 ðeɪ ˈbɛtər wɪˈθaʊt ˈhɑrdən raɪt boʊθ hænz.. ˈrudi ˈgɑbərt meɪ 15 2015 ˈrɑkəts ʃoʊɪŋ hɑrt əv ə ˈʧæmpiən raɪt naʊ fɔrd (@tj_ford*) meɪ 15 2015 ðə ˈklɪpərz dɪd nɑt kloʊz aʊt ðə ənd ðə ˈrɑkəts stoʊl ðə moʊˈmɛntəm æt ðə bɪˈgɪnɪŋ əv ðə. ˈərvɪn ˈmæʤɪk ˈʤɑnsən (@magicjohnson*) meɪ 15 2015 ɛz ˌɪmˈprɛsɪv əv ə ˈkəmˌbæk ɛz ˈɛvər si ..ʃiʃ. ʤɑn ˈhɛnsən (@_john_henson*_) meɪ 15 2015 waɪ? ju ˈgɑtə stɑp kəmˈpleɪnɪŋ tɪ jʊr ˈgroʊsər əˈbaʊt jʊr ən əˈmeɪzɪŋ tərn əv ɪˈvɛnts. brɛnt ˈbɛri (@barryathree*) meɪ 15 2015 ʤɑʃ smɪθ ɪz ðə ˈhɪroʊ fər ðə ˈrɑkəts ˈnɑkɪŋ daʊn 3 ənd ˈskɔrɪŋ əv hɪz ɪn ðə kˈwɔrtər! ˈərvɪn ˈmæʤɪk ˈʤɑnsən (@magicjohnson*) meɪ 15 2015 ðə ˈklɪpərz ər ɪn ə wərld əv ˈtrəbəl ˈæftər nɑt ˈkloʊzɪŋ aʊt æt hoʊm ɪn geɪm 6 ənd naʊ ˈhævɪŋ tɪ goʊ tɪ ˈhjustən fər geɪm 7 ˈərvɪn ˈmæʤɪk ˈʤɑnsən (@magicjohnson*) meɪ 15 2015 ʤɪm pɑrk ɪz ə ˈblɔgər ənd ˈɛdɪtər əv ˈʃɛrɪdən hups. ˈfɑloʊ ɪm ɔn tˈwɪtər @sheridanblog*.
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the los angeles clippers were up by 19 points in the third quarter against the houston rockets in game 6 on thursday, and the game (as well as the series) felt as though it was just about over when blake griffin made this circus spinning layup.
then something unthinkable happened: with james harden sitting on the bench, the rockets clawed their way back into the game in the fourth quarter and outscored the clippers 49-18 to come out with a 119-107 victory to force a game 7.
josh smith was the biggest initiator of the unbelievable comeback, scoring 14 of his 19 points in the decisive fourth quarter. corey brewer also played a critical role off the bench, scoring 19 points and grabbing 10 rebounds. harden was generally ineffective in this game, scoring 23 points but shooting just five-of-20.
nba players around the league couldn’t believe what they witnessed and reacted accordingly, as below:
the face you make when you go grab a sandwich and the rockets were down 17 and return they up 9..… https://t.co/i1skxiyfpb kenny smith (@thejetontnt) may 15, 2015
man i seriously ate my words this is mind blowing. please help me understand this. #inablinkofandeye corey maggette (@corey_maggette) may 15, 2015
wow…what a comeback! rockets arent goin down without a fight…and harden is on the bench! crazy! #nbaplayoffs anthony tolliver (@atolliver44) may 15, 2015
wowww!!!! did the #clippers think this game was over? they probably just eliminated them-self from getting to the western conference finals. carl landry (@carllandry) may 15, 2015
b4 josh took it over. cory brewer got it cracking dorell wright (@dwrightway1) may 15, 2015
shout out to james for not being thirsty and telling his coach to out him back in.he saw a group getting it done and he believe in his mates dorell wright (@dwrightway1) may 15, 2015
this is unbelievable! what a comeback. hats off. chandler parsons (@chandlerparsons) may 15, 2015
wait what!!!!!!!!!!!!!!!! ok josh i see you! brandon jennings (@brandonjennings) may 15, 2015
stunned c.j. watson (@quietstorm_32) may 15, 2015
how come we can’t get a shot of ballmer now? tom tolbert (@byronjr23) may 15, 2015
josh smith hoopin michael carter-willi (@mcw1) may 15, 2015
what a comeback by houston derrick coleman (@44thelegend) may 15, 2015
what is happening. kendall marshall (@kbutter5) may 15, 2015
they better without harden right now…on both hands.. rudy gobert (@rudygobert27) may 15, 2015
rockets showing heart of a champion right now tj ford (@tj_ford) may 15, 2015
the clippers did not close out the 3rd qtr and the rockets stole the momentum at the beginning of the 4th qtr. earvin magic johnson (@magicjohnson) may 15, 2015
that’s as impressive of a comeback as you’ll ever see ..sheesh. john henson (@_john_henson_) may 15, 2015
why? you gotta stop complaining to your grocer about your barber…what an amazing turn of events. https://t.co/du26f1nvfy brent barry (@barryathree) may 15, 2015
josh smith is the hero for the rockets knocking down 3 three-pointers and scoring 14pts of his 19pts in the 4th quarter! earvin magic johnson (@magicjohnson) may 15, 2015
the clippers are in a world of trouble after not closing out at home in game 6 and now having to go to houston for game 7. earvin magic johnson (@magicjohnson) may 15, 2015
jim park is a blogger and editor of sheridan hoops. follow him on twitter @sheridanblog.
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saʊθ ˈpɔrtlənd, meɪn ˈdɑktər. ˈmaɪkəl ˈʧɔmpi tʊk ə stɛp ðɪs spərɪŋ ðət ˈmɛni əv hɪz ˈfɛloʊ fɪˈzɪʃənz wʊd dɪˈskraɪb ɛz ˈrædɪkəl. ðə ˈfæməli fəˈzɪʃən stɑpt əkˈsɛptɪŋ ɔl fɔrmz əv hɛlθ ˌɪnˈʃʊrəns. ɪn ˈərli 2013 ˈʧɔmpi sɛnt ə ˈlɛtər tɪ hɪz ˈpeɪʃənz ˌɪnˈfɔrmɪŋ ðɛm ðət hi wʊd noʊ ˈlɔŋgər əkˈsɛpt ˈɛni kaɪnd əv hɛlθ ˈkəvərɪʤ, boʊθ ˈpraɪvət ənd government-sponsored*. ˈgɪvɪn ðət hi wɑz naʊ ˈæskɪŋ ˈpeɪʃənz tɪ peɪ fər hɪz ˈsərvɪsɪz aʊt əv ˈpɑkət, hi ˈpoʊstɪd hɪz ˈpraɪsɪz ɔn ðə ˈwɛbˌsaɪt. ðə ʧeɪnʤ tʊk ˈifɛkt ˈeɪprəl 1 rɛd: ˈmɛdəˌkɛr rɪˈvilz hospitals’*’ ˈpraɪsɪz fər fərst taɪm bɪn ˈɔlˌmoʊst juˈnænəməs ðət ˈpeɪʃənz hæv ɪkˈsprɛst ˌəndərˈstændɪŋ æt waɪ duɪŋ wət duɪŋ, ˌɔlˈðoʊ hæd ˈmɛni ˈpipəl liv ðə ˈpræktɪs bɪˈkəz ðeɪ wɔnt tɪ bi ˈkəvərd baɪ ˌɪnˈʃʊrəns, wɪʧ ɪz understandable,”*,” ˈʧɔmpi sɛd. ˌbiˈfɔr ðə swɪʧ, ˈʧɔmpi hæd əˈbaʊt ˈpeɪʃənz. hi lɔst ˈsɛvərəl ˈhənərd, hi sɛd. səm ˈpeɪʃənz wɪθ hɛlθ ˈkəvərɪʤ, feɪst wɪθ ˈhævɪŋ tɪ sik ˌriɪmˈbərsmənt ðɛmˈsɛlvz ˈrəðər ðən θru hɪz ˈɔfəs, ˈbrɪsəld æt ðə ˈpeɪpərˌwərk ˈbərdən. bət ðə dɪˈsɪʒən tɪ du əˈweɪ wɪθ ˌɪnˈʃʊrəns əˈlaʊz ˈʧɔmpi tɪ ˈpræktɪs ˈmɛdəsən ðə weɪ hi siz fɪt, hi sɛd. ˌɪnˈʃʊrəns ˈkəmpəˌniz noʊ ˈlɔŋgər ˈdɪkˌteɪt haʊ məʧ hi ˈʧɑrʤɪz. hi kən ˈɔfər ˈdɪˌskaʊnts tɪ ˈpeɪʃənz ˈstrəgəlɪŋ wɪθ ðɛr ˈmɛdɪkəl bɪlz. hi kən meɪk haʊs kɔlz. frid əp tɪ du wət aɪ θɪŋk ɪz raɪt fər ðə patients,”*,” ˈʧɔmpi sɛd. prəˈvaɪdɪŋ ðɛm ə ˈsərvɪs ðət ðeɪ ˈvælju, ðeɪ kən peɪ mi, ənd wi kət ðə ˌɪnˈʃʊrəns aʊt ɛz ðə ˈmɪdəlˌmæn ənd kət aʊt ə lɔt əv ðə expense.”*.” rɛd: haʊ məʧ fər ʤɔɪnts, hɑrt əˈtæk ər nəˈmoʊnjə? kəmˈpɛr haʊ meɪn ˈhɑˌspɪtəlz ʧɑrʤ fər ˈkɑmən ˈsərvɪsɪz ˈʧɔmpi ɪkˈspɛkts mɔr ˈdɑktərz wɪl ˈfɑloʊ sut. səm meɪ ʧuz tɪ rən practices”*” ɪn wɪʧ ˈpeɪʃənz peɪ tɪ kip ə ˈdɔktər ɔn rɪˈteɪnər, hi sɛd. ˈgɔrdən smɪθ, ə ˈspoʊksmən fər ðə meɪn ˈmɛdɪkəl əˌsoʊʃiˈeɪʃən, soʊ ʃʊr, seɪɪŋ moʊst ˈpeɪʃənz ˈiðər wɔnt tɪ juz ðə ˌɪnˈʃʊrəns ðeɪ peɪ fər ər nid tɪ rɪˈlaɪ ɔn ˈmɛdəˌkɛr ənd ˈmɛdəˌkeɪd. ˈivɪn wɪθ ðə lɔs əv səm ˈpeɪʃənz, ˈʧɔmpi ɪkˈspɛkts hɪz ˈpræktɪs tɪ pərˈfɔrm ʤɪst ɛz wɛl ˌfaɪˈnænʃəli, ɪf nɑt ˈbɛtər, ðən ˌbiˈfɔr hi dɪʧt ˌɪnˈʃʊrəns. ðə nu əˈproʊʧ wɪl ˈlaɪkli əˈtrækt nu ˈpeɪʃənz hu ər self-employed*, læk ˌɪnˈʃʊrəns ər hæv plænz, hi sɛd, bɪˈkəz ˈʧɔmpi həz slæʃt hɪz ˈpraɪsɪz. bɪn ˈeɪbəl tɪ kət maɪ ˈpraɪsɪz ɪn hæf bɪˈkəz maɪ ˈoʊvərˈhɛd wɪl bi soʊ məʧ less,”*,” hi sɛd. rɛd: meɪn ˈhɑˌspɪtəl ˈʧɑrʤɪz ˌɪnˈʃʊrəns ˈkəmpəˌni kəˈludɪd wɪθ kəmˈpɛtɪtər ˌbiˈfɔr, ˈʧɔmpi ʧɑrʤd 160 fər ən ˈɔfəs ˈvɪzɪt wɪθ ən ɪgˈzɪstɪŋ ˈpeɪʃənt ˈfeɪsɪŋ wən ər mɔr ˈkɑmpləˌkeɪtəd hɛlθ ˈprɑbləmz. naʊ, hi ˈʧɑrʤɪz 75 ˈpeɪʃənz wɪθ ən ər strɛp θroʊt kən spɛnd 300 æt ðɛr ˈloʊkəl ˈhɑˌspɪtəl ˈimərʤənsi rum, ər ˈprɑmptli gɪt ən əˈpɔɪntmənt æt hɪz ˈɔfəs ənd peɪ 50 hi sɛd. ˈʧɔmpi kəˈlɛkts ˈpeɪmənt æt ðə ɛnd əv ðə ˈvɪzɪt, friɪŋ ɪm əv ðə taɪm ənd kɔsts əˈsoʊʃiˌeɪtəd wɪθ ˈsɛndɪŋ bɪlz, hi sɛd. ðət taɪm ɪz ˈkruʃəl tɪ ˈʧɔmpi. wɪn hɪz ˈpeɪʃənz kəm tɪ hɪz ˈɔfəs, ðeɪ si ɪm, nɑt ə əˈsɪstənt ər ə nərs prækˈtɪʃənər, hi sɛd. mɔr ˈdɑktərz wər ˈeɪbəl tɪ du ðɪs, ðət wʊd bi ril hɛlθ kɛr reform,”*,” hi sɛd. wɪn si ðə kɔst əv ˈmɛdəsən ˈtruli goʊ down.”*.” rɛd: wɪθ haɪ dɪˈdəktəbəl hɛlθ plænz, ɪt peɪz tɪ ʃɑp əraʊnd fər kɛr
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south portland, maine — dr. michael ciampi took a step this spring that many of his fellow physicians would describe as radical.
the family physician stopped accepting all forms of health insurance. in early 2013, ciampi sent a letter to his patients informing them that he would no longer accept any kind of health coverage, both private and government-sponsored. given that he was now asking patients to pay for his services out of pocket, he posted his prices on the practice’s website.
the change took effect april 1.
read: medicare reveals hospitals’ prices for first time
“it’s been almost unanimous that patients have expressed understanding at why i’m doing what i’m doing, although i’ve had many people leave the practice because they want to be covered by insurance, which is understandable,” ciampi said.
before the switch, ciampi had about 2,000 patients. he lost several hundred, he said. some patients with health coverage, faced with having to seek reimbursement themselves rather than through his office, bristled at the paperwork burden.
but the decision to do away with insurance allows ciampi to practice medicine the way he sees fit, he said. insurance companies no longer dictate how much he charges. he can offer discounts to patients struggling with their medical bills. he can make house calls.
“i’m freed up to do what i think is right for the patients,” ciampi said. “if i’m providing them a service that they value, they can pay me, and we cut the insurance out as the middleman and cut out a lot of the expense.”
read: how much for joints, heart attack or pneumonia? compare how maine hospitals charge for common services
ciampi expects more doctors will follow suit. some may choose to run “concierge practices” in which patients pay to keep a doctor on retainer, he said.
gordon smith, a spokesman for the maine medical association, wasn’t so sure, saying most patients either want to use the insurance they pay for or need to rely on medicare and medicaid.
even with the loss of some patients, ciampi expects his practice to perform just as well financially, if not better, than before he ditched insurance. the new approach will likely attract new patients who are self-employed, lack insurance or have high-deductible plans, he said, because ciampi has slashed his prices.
“i’ve been able to cut my prices in half because my overhead will be so much less,” he said.
read: maine hospital charges insurance company colluded with competitor
before, ciampi charged $160 for an office visit with an existing patient facing one or more complicated health problems. now, he charges $75.
patients with an earache or strep throat can spend $300 at their local hospital emergency room, or promptly get an appointment at his office and pay $50, he said.
ciampi collects payment at the end of the visit, freeing him of the time and costs associated with sending bills, he said.
that time is crucial to ciampi. when his patients come to his office, they see him, not a physician’s assistant or a nurse practitioner, he said.
“if more doctors were able to do this, that would be real health care reform,” he said. “that’s when we’d see the cost of medicine truly go down.”
read: with high deductible health plans, it pays to shop around for care
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soʊ ðɪs ʤɪst ˈhæpənd ɔn "ˈhɑrdˌbɔl" ˈfɔrmər ˌwaɪˈoʊmɪŋ sɛn. ˈælən ˈsɪmpsən, əv ðə kəˈmɪʃən, ɛˈsɛnʃəli kɔld fər ˈædvəˌkeɪt ˈgroʊvər ˈnɔrkwɪst tɪ slɪp ənd fɔl ɪn ðə təb. ˈnɔrkwɪst həz sɛd hi wɔnts ə ˈgəvərnmənt smɔl ɪˈnəf ðət ɪt kən draʊn ɪn ðə ˈbæθtəb. ˌædvərˈtaɪzmənt: sɛd ˈsɪmpsən: "soʊ haʊ du ju dil wɪθ ˈsəmˌwən hu kəmz tɪ stɑp ˈgəvərnmənt? ˈgroʊvər ˈwɑndərɪŋ ðə ərθ ɪn hɪz waɪt roʊb seɪɪŋ hi wɔnts tɪ draʊn ˈgəvərnmənt ɪn ðə ˈbæθtəb. aɪ hoʊp hi slɪps ɪn ðɛr wɪθ ɪt." krɪs ˈmæθjuz, ɪn ə nu ˈrɛkərd, wɑz lɛft ˈspiʧləs fər ˈsɛvərəl ˈmoʊmənts. ənd ðət ˈwəzənt ˈivɪn ðə ˈstreɪnʤɪst θɪŋ ˈsɪmpsən sɛd ɪn ðə ˈɪntərvˌju. ɪn ə dɪˈskəʃən əv ˈtæksɪz ənd haʊ ðə ˈmɪdəlˈklæs wʊd ɛnd əp ɔn ðə ʃɔrt ɛnd, ˈsɪmpsən poʊzd ðɪs kˈwɛʃən: "hu gɪts ðə moʊst?" ˈəpˌdeɪt: naʊ həz ðə ˈvɪdioʊ.
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so this just happened on "hardball" -- former wyoming sen. alan simpson, of the simpson-bowles commission, essentially called for anti-tax advocate grover norquist to slip and fall in the tub.
norquist has said he wants a government small enough that it can drown in the bathtub.
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said simpson:
"so how do you deal with someone who comes to stop government? ... grover wandering the earth in his white robe saying he wants to drown government in the bathtub. i hope he slips in there with it."
chris matthews, in a new record, was left speechless for several moments.
and that wasn't even the strangest thing simpson said in the interview. in a discussion of taxes and how the middle-class would end up on the short end, simpson posed this question: "who gets diddled the most?"
update: buzzfeed now has the video.
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rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˈkænədɪt ˈdɑnəld trəmp ɪz ˈgɪtɪŋ ˈrɛdi tɪ spik tɪ səˈpɔrtərz æt ə ˈræli ɪn sæn diˈeɪgoʊ, ˌkæləˈfɔrnjə. trəmp wɪl bi ˈspikɪŋ æt ðə sæn diˈeɪgoʊ kənˈvɛnʃən ˈsɛnər fər ən ɪˈvɛnt ˈskɛʤʊld tɪ bɪˈgɪn æt p.m*. pdt*. trəmp, ˌhaʊˈɛvər, ˈtɪpɪkəli kəmz ɔn steɪʤ əˈbaʊt ə ˈhæˌfaʊər ˈæftər ðə ˈskɛʤʊld taɪm ˈfɑloʊɪŋ ən ˌɪntrəˈdəkʃən. ðə ɪˈvɛnt kən bi wɔʧt ˈviə əˈbəv ˈjuˌtub strim. ðə sæn diˈeɪgoʊ pəˈlis dɪˈpɑrtmənt ɪz ˈrɛdi fər ˈproʊˌtɛsts, ənd bɪn pərˈpɛrɪŋ sɪˈkjʊrəti sɪns əˈbaʊt ðɪs ˈmɔrnɪŋ, əˈkɔrdɪŋ tɪ ˈɛnˌbiˈsi nuz. ðeɪ hæv sɛt əˈsaɪd ˈdɛdəkeɪtəd zoʊnz fər trəmp səˈpɔrtərz ənd ˈəðər zoʊnz fər ˈproʊˌtɛstərz ɪn hoʊps əv əˈvɔɪdɪŋ ðə ˈvaɪələns sin æt ðə ˈænəˌhaɪm ˈræli ðɪs wik. sæn pəˈlis ʧif sɛd ðət dɪˈsaɪsɪv ˈækʃən wɪl bi ˈteɪkən əˈgɛnst ˈɛniˌwən hu plænz tɪ ˌɪnˈsaɪt ˈvaɪələns ˈdʊrɪŋ ˈvɪzɪt. ðɪs ɪz ˈsɛkənd ˈræli əv ðə deɪ ˈæftər ə spiʧ ɪn ˈfrɛznoʊ, ˌkæləˈfɔrnjə. hi toʊld ðoʊz ɪn əˈtɛndəns ðət hi ɛˈsɛnʃəli həz noʊ ˈrizən tɪ ˈivɪn bi ɪn ˌkæləˈfɔrnjə, ɛz hi həz ɔˈrɛdi sɪˈkjʊrd ðə rɪˈpəblɪkən ˌnɑməˈneɪʃən, bət ðət hir təˈdeɪ bɪˈkəz hi ˈprɑməst hɪz ˌkæləˈfɔrnjə fænz hi wʊd kəm. pləs, hi ˈædɪd, hi ʤɪst ˌɛnˈʤɔɪz ˈspikɪŋ tɪ lɑrʤ kraʊdz. du ðɪs bɪˈkəz aɪ hæv fən duɪŋ it,”*,” hi sɛd.
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republican presidential candidate donald trump is getting ready to speak to supporters at a rally in san diego, california.
trump will be speaking at the san diego convention center for an event scheduled to begin at 2:00 p.m. pdt. trump, however, typically comes on stage about a half-hour after the scheduled time following an introduction. the event can be watched via above youtube stream.
the san diego police department is ready for protests, and they’ve been preparing security since about 6:00 this morning, according to nbc news. they have set aside dedicated zones for trump supporters and other zones for protestors in hopes of avoiding the violence seen at the anaheim rally this week. san diego’s police chief said that decisive action will be taken against anyone who plans to incite violence during trump’s visit.
this is trump’s second rally of the day after a speech in fresno, california. he told those in attendance that he essentially has no reason to even be in california, as he has already secured the republican nomination, but that he’s here today because he promised his california fans he would come. plus, he added, he just enjoys speaking to large crowds.
“i do this because i have fun doing it,” he said.
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"hu kɛrz əˈbaʊt? ðə wərld ɪˈkɑnəmi ɪz soʊ bɪg," ˈdɪmən sɛd, ˈnoʊtɪŋ ðə bæŋk muvz əˈbaʊt 6 ˈtrɪljən ɪn ˈməni əraʊnd ðə wərld ˈɛvəri deɪ. ɪn kəmˈpɛrəsən, ˈoʊnli həz ə ˈmɑrkɪt ˌkæpɪtəlɪˈzeɪʃən əv lɛs ðən 100 ˈbɪljən. tˈwɛntiˌfɔr aʊər ˈtreɪdɪŋ ˈvɑljum ɪn bitcoin-u.s*. ˈdɔlərz wɑz ˈbɪljən ˈfraɪˌdeɪ, əˈkɔrdɪŋ tɪ coinmarketcap*. "ðɪs ɪz ðə læst taɪm əm ˈɛvər goʊɪŋ tɪ ˈænsər ˈɛni kˈwɛsʧənz əˈbaʊt, bɪˈkəz aɪ ˈrɪli doʊnt kɛr," ˈdɪmən sɛd ɔn ˈfraɪˌdeɪ. "wɪn aɪ meɪd ðət 'ˈstupɪd ˈsteɪtmənt' [ˈkɔlɪŋ ə] frɔd, maɪ ˈdɔtər sɛnt mi ən iˈmeɪl seɪɪŋ, 'dæd, aɪ oʊn tu bitcoins*,'" ˈdɪmən ðɛn ʤoʊkt, "maɪ ˈfɔrmərli smɑrt ˈdɔtər." hɪrz ə ˈtrænˌskrɪpt əv səm əv ˈkɑmɛnts: "aɪ kʊd kɛr lɛs əˈbaʊt. aɪ doʊnt noʊ waɪ aɪ sɛd ˈɛniˌθɪŋ əˈbaʊt ɪt. ðə ɪz ə tɛkˈnɑləʤi wɪʧ ɪz ə gʊd tɛkˈnɑləʤi. wi ˈæˌkʧuəli juz ɪt. ɪt wɪl bi ˈjusfəl ɪn ə lɔt əv ˈdɪfərənt θɪŋz. gɑd blɛs ðə. cryptocurrencies*, ˈdɪʤɪtəl ˈkərənsiz, aɪ θɪŋk ər ˈɔlsoʊ faɪn. muvz 6 ˈtrɪljən əraʊnd ðə wərld ˈɛvəri deɪ, ənd wi doʊnt du ɪt ɪn kæʃ, ɪts dən ˈdɪʤətəli. ɪf ɪt kən bi dən ˈdɪʤətəli wɪθ ðə, soʊ bi ɪt. bət ɪt wɪl stɪl bi ə ˈdɔlər cryptocurrency*. wət aɪ hæv ən ˈɪʃu wɪθ ɪz ə cryptocurrency*. soʊ ˈkrɪptoʊ ˈstərlɪŋ, ˈjʊrə, jɛn, ðeɪ ər ɔl faɪn. aɪ doʊnt ˈpərsənəli ˌəndərˈstænd ðə ˈvælju əv ˈsəmθɪŋ ðət həz noʊ ˈækʧəwəl ˈvælju. ju ɔl kən du ˌwəˈtɛvər ju wɔnt ənd aɪ doʊnt kɛr. "aɪ kʊd kɛr lɛs wət treɪdz fər, haʊ ɪt treɪdz, waɪ ɪt treɪdz, hu treɪdz ɪt. ɪf jʊr ˈstupɪd ɪˈnəf tɪ baɪ ɪt, jul peɪ ðə praɪs fər ɪt wən deɪ. aɪv ˈɔlsoʊ toʊld ˈpipəl ðət ɪt kən treɪd æt ˌbiˈfɔr ɪt treɪdz tɪ ˈziroʊ. ˈtulɪp bəlbz ˈtreɪdɪd fər ər ˈsəmθɪŋ laɪk ðət. "ðə ˈoʊnli ˈvælju əv ɪz wət ðə ˈəðər peɪ fər ɪt. ˈɑnəstli aɪ θɪŋk ðɛrz ə gʊd ʧæns ə lɔt əv ðə baɪərz aʊt ðɛr ər aʊt ðɛr ɪt əp ˈɛvəri deɪ soʊ ðət ˈmeɪbi jul baɪ ɪt tu, ənd teɪk ðɛm aʊt. "aɪ kwaɪt min ðət baɪ ðə weɪ. ˈpipəl ər ˈvɛri gʊd æt məˈnɪpjəˌleɪtɪŋ ðə prɛs ðiz deɪz ənd ˈgɪtɪŋ nuz aʊt. ˈɛvəri deɪ, ju hæv cnbc*, ˌnɑnˈstɑp hu kɛrz əˈbaʊt? ðə wərld ɪˈkɑnəmiz soʊ bɪg, əˈloʊn, 6 ˈtrɪljən, wi muv ɔl ðɪs ˈməni, ənd ɪn ˈtoʊtəl, ɔl ðiz ˈkərənsiz, 50 ˈbɪljən ˈdɔlərz, ˈmeɪbi ə ˈbɪljən ˈdɔlərz treɪdz ə deɪ. "ðə ˈəðər θɪŋ aɪv ˈɔlˌweɪz [sɛd] əˈbaʊt, ˈgəvərnmənts ənd ðɪs ɪz nɑt ə ˌtɛknəˈlɑʤɪkəl ˈsteɪtmənt ˈgəvərnmənts ər goʊɪŋ tɪ krəʃ ɪt wən deɪ. ˈgəvərnmənts laɪk tɪ noʊ wɛr ðə ˈməni ɪz, hu həz ɪt ənd wət jʊr duɪŋ wɪθ ɪt, ɪn keɪs ju ˈhævənt ˈnoʊtɪst. raɪt? "ənd ˈgəvərnmənts laɪk tɪ kənˈtroʊl ðɛr ˈkərənsi, laɪk tɪ kənˈtroʊl ðɛr oʊn ɪˈkɑnəmi. soʊ ˈʧaɪnəz ɔˈrɛdi pʊt kərbz ɔn ɪt. ʤəˈpæn, ðeɪ seɪ ʤəˈpæn ækˈsɛptɪd. noʊ ðeɪ ˈdɪdənt. wət aɪ ˈgæðər ʤəˈpæn dɪd wɑz ðeɪ kɔl ɪt j-coin*. ɪts ə jɛn cryptocurrency*. ɪts nɑt ə [ˈdɪʤɪtəl ˈkərənsi]. "ˈpipəl hæv sɛd ləˈʤɪtəmətli ˈoʊˈkeɪ, ɪts kloʊz tɪ goʊld. nɑt ˈrɪli. goʊld ɪz ˈlɪmɪtɪd, ɪts bɪn əraʊnd fər əˈlɔŋ taɪm. [ˈpipəl ˈɔlsoʊ seɪ ɪz] kloʊz tɪ ə faɪæt ˈkərənsi. nɑt ˈrɪli. ə faɪæt ˈkərənsi ɪz wɪn ə ˈgəvərnmənt sɪz ðɪs ɪz jʊr ˈligəl ˈtɛndər, ju hæv tɪ gɪv ɪt ənd əkˈsɛpt ɪt. "ənd ə ˈsɛntrəl bæŋk əv kɔrs ðeɪ kən mɪsˈjuz ɪt. ðə ˈsɛntrəl bæŋk [kən ˈɔlsoʊ] ɪnˈfleɪt ɪt. soʊ ðɛr ɪz ə juz keɪs fər. ɪf ju lɪv ɪn ˌvɛnɪzˈweɪlə, nɔrθ ˌkɔˈriə, ɪf jʊr ə ˈkrɪmənəl, greɪt ˈprɑdəkt. aɪ min ðət. ɪts ˈbɛtər ðən kæʃ ər dɪˈpɑzəts ɪn ðət ˈkəntri. ˈkjubə. "bət ðɪs ɪz ðə læst taɪm əm ˈɛvər goʊɪŋ tɪ ˈænsər kˈwɛsʧənz əˈbaʊt bɪˈkəz aɪ ˈrɪli doʊnt kɛr. "wɪn aɪ meɪd ðət 'ˈstupɪd ˈsteɪtmənt' [ˈkɔlɪŋ ə] frɔd, maɪ ˈdɔtər sɛnt mi ən iˈmeɪl seɪɪŋ, 'dæd, aɪ oʊn tu bitcoins*.' maɪ ˈfɔrmərli smɑrt ˈdɔtər."
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"who cares about bitcoin? the world economy is so big," dimon said, noting the bank moves about $6 trillion in money around the world every day.
in comparison, bitcoin only has a market capitalization of less than $100 billion. twenty-four hour trading volume in bitcoin-u.s. dollars was $3.7 billion friday, according to coinmarketcap.
"this is the last time i'm ever going to answer any questions about bitcoin, because i really don't care," dimon said on friday.
"when i made that 'stupid statement' [calling bitcoin a] fraud, my daughter sent me an email saying, 'dad, i own two bitcoins,'" dimon then joked, "my formerly smart daughter."
here's a transcript of some of dimon's comments:
"i could care less about bitcoin. i don't know why i said anything about it. the blockchain is a technology which is a good technology. we actually use it. it will be useful in a lot of different things. god bless the blockchain. cryptocurrencies, digital currencies, i think are also fine. jpmorgan moves $6 trillion around the world every day, and we don't do it in cash, it's done digitally. if it can be done digitally with the blockchain, so be it. but it will still be a dollar cryptocurrency. what i have an issue with is a non-fiat cryptocurrency. so crypto sterling, euro, yen, they are all fine. i don't personally understand the value of something that has no actual value. you all can do whatever you want and i don't care.
"i could care less what bitcoin trades for, how it trades, why it trades, who trades it. if you're stupid enough to buy it, you'll pay the price for it one day. i've also told people that it can trade at $100,000 before it trades to zero. tulip bulbs traded for $75,000 or something like that.
"the only value of bitcoin is what the other guy'll pay for it. honestly i think there's a good chance a lot of the buyers out there are out there jazzing it up every day so that maybe you'll buy it too, and take them out.
"i quite mean that by the way. people are very good at manipulating the press these days and getting news out. every day, you have cnbc, nonstop bitcoin — who cares about bitcoin? the world economy's so big, jpmorgan alone, $6 trillion, we move all this money, and bitcoin in total, all these currencies, $50 billion dollars, maybe a billion dollars trades a day.
"the other thing i've always [said] about bitcoin, governments — and this is not a technological statement — governments are going to crush it one day. governments like to know where the money is, who has it and what you're doing with it, in case you haven't noticed. right?
"and governments like to control their currency, like to control their own economy. so china's already put curbs on it. japan, they say japan accepted bitcoin. no they didn't. what i gather japan did was they call it j-coin. it's a yen cryptocurrency. it's not a non-fiat [digital currency].
"people have said legitimately ok, it's close to gold. not really. gold is limited, it's been around for along time. [people also say bitcoin is] close to a fiat currency. not really. a fiat currency is when a government says this is your legal tender, you have to give it and accept it.
"and a central bank — of course they can misuse it. the central bank [can also] inflate it. so there is a use case for bitcoin. if you live in venezuela, north korea, if you're a criminal, great product. i mean that. it's better than cash or deposits in that country. cuba.
"but this is the last time i'm ever going to answer questions about bitcoin because i really don't care.
"when i made that 'stupid statement' [calling bitcoin a] fraud, my daughter sent me an email saying, 'dad, i own two bitcoins.' my formerly smart daughter."
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ˈhərmən keɪnz tɔp eɪd əˈkjuzd ˈtɛksəs gəv. rɪk kæmˈpeɪn əv biɪŋ bɪˈhaɪnd ðə ˈrisənt ˈstɔriz əˈbaʊt ˈsɛkʃuəl hərˈæsmənt ˌæləˈgeɪʃənz əˈgɛnst keɪn frəm ðə ðət hæv rɑkt ðə ˈfɔrmər ˈpitsə ˈkəmpəˌni ˌprɛzɪˈdɛnʃəl kæmˈpeɪn. "ðɪs ɪz wən əv ðə ˈækʃənz ɪn əˈmɛrɪkə ðət ɪz ðə ˈrizən waɪ ˈpipəl doʊnt gɪt ˌɪnˈvɑlvd ɪn ˈpɑləˌtɪks," mɑrk blɑk, keɪnz kæmˈpeɪn ʧif əv stæf, sɛd ɪn ən ɪkˈsklusɪv ˈɪntərvˌju wɪθ fɑks nuz' "ˈspɛʃəl rɪˈpɔrt." "ðə ˈækʃənz əv ðə ˈpɛri kæmˈpeɪn ər dɪˈspɪkəbəl." "rɪk ˈpɛri ənd hɪz kæmˈpeɪn oʊ ˈhərmən keɪn ənd hɪz ˈfæməli ən əˈpɑləˌʤi," blɑk ˈædɪd. keɪn həz bɪn ˈgræpəlɪŋ wɪθ ðə ˌæləˈgeɪʃənz sɪns pəˈlɪtɪˌkoʊ fərst ˌriˈpɔrtəd ˈsənˌdi naɪt ðət æt list tu ˈwɪmən hu wərkt fər ðə ˈnæʃənəl ˈrɛˌstrɑnt əˌsoʊʃiˈeɪʃən wɪn keɪn wɑz ɪts hɛd hæd rɪˈsivd ˌfaɪˈnænʃəl ˈsɛtəlmənts ˈæftər ðeɪ kəmˈpleɪnd əˈbaʊt hɪz bɪˈheɪvjər. ðə keɪn kæmˈpeɪn səˈʤɛsts ðə sɔrs fər ðət ˈstɔri wɑz ˈlɔŋˌtaɪm kənˈsəltənt kərt ˈændərsən, hu wərkt fər keɪnz feɪld 2004 juz. ˈsɛnɪt bɪd ənd hæd bɪn dɪˈbrift ɔn ðə hərˈæsmənt ˌæləˈgeɪʃənz baɪ keɪn hɪmˈsɛlf. ˈændərsən naʊ wərks fər ˈpɛri. ənd krɪs ˈwɪlsən, ə ˈfɔrmər ˈpoʊlstər fər ðə ˈrɛˌstrɑnt əˌsoʊʃiˈeɪʃən, sɛd ˈwɛnzˌdeɪ hi ˈwɪtnəst keɪnz əˈlɛʤd ˌɪnəˈproʊpriɪt bɪˈheɪvjər. hiz naʊ ˌɪnˈvɑlvd wɪθ ə ˈsupər pəˈlɪtɪkəl ˈækʃən kəˈmɪti. bət boʊθ mɛn dɪˈnaɪ ˈlikɪŋ ðə ˈstɔri. "aɪv noʊn ˈhərmən keɪn fər əˈbaʊt ˈsɛvən jɪrz. aɪ wɑz wən əv ˈsɛvərəl kənˈsəltənts ɔn hɪz ˈsɛnɪt reɪs ɪn 2004 ənd wɑz praʊd tɪ hɛlp ɪm," ˈændərsən sɛd. "aɪd ˈnɛvər hərd ˈɛni əv ðiz ˌæləˈgeɪʃənz ənˈtɪl aɪ rɛd ðɛm ɪn pəˈlɪtɪˌkoʊ, nɔr dɪz ˈɛniˌθɪŋ aɪ rɛd ɪn ðə prɛs ʧeɪnʤ maɪ əˈpɪnjən ðət ˈhərmən ɪz ən ˈəpˌstændɪŋ mæn ənd ə ˈʤɛnəlmən." "aɪ hæv greɪt rɪˈspɛkt fər ˈhərmən ənd hɪz ˈkɛrɪktər ənd aɪ wʊd ˈnɛvər spik ɪl əv ɪm, ɔn ðə ˈrɛkərd ər ɔf ðə ˈrɛkərd," hi ˈædɪd. "ðæts tru təˈdeɪ ənd ɪts nɑt goʊɪŋ tɪ ʧeɪnʤ." ðə ˈpɛri kæmˈpeɪn ˈɔlsoʊ ˌdɪsəˈvaʊd ˈɛni kəˈnɛkʃən tɪ ðə ˈstɔri, ˈkɔlɪŋ blɑks ʧɑrʤ "ˈrɛkləs ənd fɔls." "fər ə ˈkænədɪt ənd kæmˈpeɪn ðət kleɪm tɪ bi ðə ˈvɪktɪmz əv ənˈfaʊndɪd ənd ənˈpruvən ˌækjəˈzeɪʃənz, ðeɪ ər ˈɔfəli kwɪk tɪ hərl ənˈfaʊndɪd ˌækjəˈzeɪʃənz ðɛmˈsɛlvz," ˈpɛri kæmˈpeɪn ˈspoʊksmən reɪ ˈsəlɪvən sɛd ɪn iˈmeɪl. "ˈkɑntrɛri tɪ ðə keɪn kæmˈpeɪnz fɔls ˌækjəˈzeɪʃənz, ðɛr ɪz nɑt wən ʃrɛd əv ˈɛvədəns ðət ˈɛni ˈmɛmbər əv ðə ˈpɛri tim hæd ˈɛniˌθɪŋ tɪ du wɪθ ðə ˈrisənt ˈstɔriz rɪˈgɑrdɪŋ ˈhərmən keɪn bɪˈkəz ɪt ˈɪzənt tru." ˈsəlɪvən ˈɔlsoʊ ˈnoʊtɪd ðət ˈbækərz əv mɪt ˈrɑmniz kæmˈpeɪn ər kəˈnɛktɪd tɪ ðə ˈnæʃənəl ˈrɛˌstrɑnt əˌsoʊʃiˈeɪʃən, ðoʊ ðə ˈrɑmni kæmˈpeɪn rɪˈspɑndɪd ˈsɪmpli ðət ˈɛni səˈʤɛsʧən ɪt pʊʃt ðə keɪn ˈstɔri ɪz "nɑt tru." blɑk sɛd nɑt ˈoʊnli dɪz ðə ˈpɛri kæmˈpeɪn oʊ keɪn ən əˈpɑləˌʤi, bət soʊ dɪz pəˈlɪtɪˌkoʊ. "pəˈlɪtɪˌkoʊ woʊnt riˈlis ˈɛni ˌdɑkjəmɛnˈteɪʃən ər ˈivɪn ədˈmɪt ðeɪ spoʊk tɪ ðiz tu ˈwɪmən," hi sɛd. "waɪ? bɪˈkəz ðeɪ hæv ˈnəθɪŋ ənd ˈsaɪtɪd ənˈneɪmd ˈsɔrsəz." ˈərliər ˈwɛnzˌdeɪ, ə θərd ˈwʊmən sɛd ʃi kənˈsɪdərd ˈfaɪlɪŋ ə ˈwərkˌpleɪs kəmˈpleɪnt əˈgɛnst keɪn ˈoʊvər wət ʃi vjud ɛz əˈgrɛsɪv ənd ənˈwɔntɪd bɪˈheɪvjər, ˌɪnˈkludɪŋ ə ˈpraɪvət ˌɪnvɪˈteɪʃən tɪ hɪz ˈkɔrpərət əˈpɑrtmənt. bət ʃi sɛd ʃi dɪd nɑt faɪl wən bɪˈkəz ʃi bɪˈgæn ˈhævɪŋ fjuər ˌɪnərˈækʃənz wɪθ keɪn. ˈæftərwərd, ʃi ˈlərnɪd ðət ə ˈkoʊˈwərkər hæd ɔˈrɛdi dən soʊ. ʃi sɛd ʃi wʊd hæv hæd tɪ faɪl ɪf ðeɪ ˈhædənt. ˈminˌwaɪl, ðə əˈtərni fər wən əv tu ˈwɪmən hu əˈpɛrəntli rɪˈsivd ˌfaɪˈnænʃəl ˈsɛtəlmənts sɛd ˈwɛnzˌdeɪ ðət hi wɪl ˈfɔrməli rɪkˈwɛst hɪz klaɪənt bi əˈlaʊd tɪ spik ˈpəblɪkli əˈbaʊt ðə keɪs. əˈtərni ʤoʊəl ˈbɛnɪt toʊld fɑks ˈbɪznɪs ˈnɛtˌwərk ðət hi wɪl faɪl hɪz rɪkˈwɛst ɔn ˈθərzˌdeɪ ˌbiˈfɔr ðə ˈnæʃənəl ˈrɛˌstrɑnt əˌsoʊʃiˈeɪʃən ˈæskɪŋ ðət hɪz klaɪənt bi riˈmuvd frəm ə ˌkɑnfəˌdɛnʃiˈæləti əˈgrimənt əˈtæʧt tɪ ðə ˈsɛtəlmənt. "wi wɪl sɛnd ə ˈfɔrməl ˈlɛtər təˈmɑˌroʊ tɪ ðə ˈrɛˌstrɑnt əˌsoʊʃiˈeɪʃən, ənd wi wɪl ˈhoʊpfəli bi ˈeɪbəl tɪ ðɛn pʊt aʊt ə ˈsteɪtmənt," ˈbɛnɪt sɛd ɪn ən ˈɪntərvˌju. hi sɛd keɪnz ˈsteɪtmənts, ɪn wɪʧ hi sɛd hi wɑz "ˈfɔlsli əˈkjuzd" ənd ðət hi ˈnɛvər ˈsɛkʃuəli həræst ˈɛniˌwən, ʃʊd ˈoʊpən ðə dɔr fər hɪz klaɪənt tɪ bi ˈeɪbəl tɪ spik əˈbaʊt ðə keɪs. ˈbɛnɪt sɛd hiz ˈteɪkɪŋ ðə rɪkˈwɛst streɪt tɪ ðə əˌsoʊʃiˈeɪʃən, ənd ðət ɪt "dɪz nɑt hæv tɪ goʊ tɪ ə ʤəʤ." ðə ˈnæʃənəl ˈrɛˌstrɑnt əˌsoʊʃiˈeɪʃən ɪz nɑt seɪɪŋ məʧ əˈbaʊt ðə keɪs. ən əˌsoʊʃiˈeɪʃən ˈspoʊksˌwʊmən riˈlist ə ˈsteɪtmənt ˈwɛnzˌdeɪ seɪɪŋ ˈbɛnɪt təʧt beɪs wɪθ ðə əˌsoʊʃiˈeɪʃən ðət ˈmɔrnɪŋ. "ən əˌsoʊʃiˈeɪʃən ˌrɛprɪˈzɛnətɪv ˈprɑmptli rɪˈtərnd hɪz kɔl ənd æst ˈmɪstər. ˈbɛnɪt tɪ ˈkɑnˌtækt ðə əˌsoʊʃiˈeɪʃənz ˈaʊtˈsaɪd ˈkaʊnsəl. ˈmɪstər. ˈbɛnɪt ˈɪndəˌkeɪtɪd ðət hi wʊd du soʊ təˈmɑˌroʊ, ˈæftər hi mɛt wɪθ hɪz klaɪənt," ˈspoʊksˌwʊmən su ˈhɛnzli sɛd ɪn ðə ˈsteɪtmənt. əˈkɔrdɪŋ tɪ ə sɔrs kˈwoʊtɪd baɪ ðə əˈsoʊʃiˌeɪtəd prɛs, ðə ˈwʊmən ɪn kˈwɛʃən ɪz stɪl rɪˈləktənt əˈbaʊt ˈkəmɪŋ ˈfɔrwərd dɪˈspaɪt hər ˈlɔjərz ˈkɑmɛnts. ɪts ənˈklɪr haʊ məʧ ðə ˈwʊmən ˈbɛnɪt ˌrɛprɪˈzɛnts rɪˈsivd ɪn ðə ˈsɛtəlmənt. ðə nu jɔrk taɪmz ˌriˈpɔrtəd ˈwɛnzˌdeɪ ðət ðə ˈəðər ˈwʊmən rɪˈsivd ˌrɛprɪˈzɛnɪŋ ə jɪrz ˈsæləri.
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herman cain's top aide accused texas gov. rick perry’s campaign of being behind the recent stories about sexual harassment allegations against cain from the 1990s that have rocked the former pizza company executive’s presidential campaign.
"this is one of the actions in america that is the reason why people don't get involved in politics," mark block, cain's campaign chief of staff, said in an exclusive interview with fox news' "special report." "the actions of the perry campaign are despicable."
"rick perry and his campaign owe herman cain and his family an apology," block added.
cain has been grappling with the allegations since politico first reported sunday night that at least two women who worked for the national restaurant association when cain was its head had received financial settlements after they complained about his behavior.
the cain campaign suggests the source for that story was longtime gop consultant curt anderson, who worked for cain's failed 2004 u.s. senate bid and had been debriefed on the harassment allegations by cain himself. anderson now works for perry.
and chris wilson, a former pollster for the restaurant association, said wednesday he witnessed cain's alleged inappropriate behavior. he's now involved with a pro-perry super political action committee.
but both men deny leaking the story.
"i've known herman cain for about seven years. i was one of several consultants on his senate race in 2004 and was proud to help him," anderson said. "i'd never heard any of these allegations until i read them in politico, nor does anything i read in the press change my opinion that herman is an upstanding man and a gentleman."
"i have great respect for herman and his character and i would never speak ill of him, on the record or off the record," he added. "that's true today and it's not going to change."
the perry campaign also disavowed any connection to the story, calling block's charge "reckless and false."
"for a candidate and campaign that claim to be the victims of unfounded and unproven accusations, they are awfully quick to hurl unfounded accusations themselves," perry campaign spokesman ray sullivan said in email. "contrary to the cain campaign's false accusations, there is not one shred of evidence that any member of the perry team had anything to do with the recent stories regarding herman cain -- because it isn't true."
sullivan also noted that backers of mitt romney's campaign are connected to the national restaurant association, though the romney campaign responded simply that any suggestion it pushed the cain story is "not true."
block said not only does the perry campaign owe cain an apology, but so does politico.
"politico won't release any documentation or even admit they spoke to these two women," he said. "why? because they have nothing and cited unnamed sources."
earlier wednesday, a third woman said she considered filing a workplace complaint against cain over what she viewed as aggressive and unwanted behavior, including a private invitation to his corporate apartment.
but she said she did not file one because she began having fewer interactions with cain. afterward, she learned that a co-worker had already done so. she said she would have had to file if they hadn't.
meanwhile, the attorney for one of two women who apparently received financial settlements said wednesday that he will formally request his client be allowed to speak publicly about the case.
attorney joel bennett told fox business network that he will file his request on thursday before the national restaurant association asking that his client be removed from a confidentiality agreement attached to the settlement.
"we will send a formal letter tomorrow to the restaurant association, and we will hopefully be able to then put out a statement," bennett said in an interview.
he said cain's statements, in which he said he was "falsely accused" and that he never sexually harassed anyone, should open the door for his client to be able to speak about the case.
bennett said he's taking the request straight to the association, and that it "does not have to go to a judge."
the national restaurant association is not saying much about the case. an association spokeswoman released a statement wednesday saying bennett touched base with the association that morning.
"an association representative promptly returned his call and asked mr. bennett to contact the association's outside counsel. mr. bennett indicated that he would do so tomorrow, after he met with his client," spokeswoman sue hensley said in the statement.
according to a source quoted by the associated press, the woman in question is still reluctant about coming forward despite her lawyer's comments.
it's unclear how much the woman bennett represents received in the settlement. the new york times reported wednesday that the other woman received $35,000, representing a year's salary.
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waɪl əˈmɛrɪkənz ər ˈbɪzi ˈtrævəlɪŋ, peɪɪŋ əˈtɛnʃən tɪ blæk ˈfraɪˌdeɪ dilz, ənd ˈspɛndɪŋ taɪm wɪθ ˈfæməli, ðə ˈfɛdərəl kəmˌjunəˈkeɪʃənz kəˈmɪʃən wɪl bi ˈroʊlɪŋ aʊt ɪts list ˈpɑpjələr prəˈpoʊzəl əv ðə jɪr: ɪts ˈfaɪnəl plæn tɪ dɪsˈmænəl nɛt nuˈtræləti ðə sɛt əv rulz ðət prɪˈvɛnt ˈɪntərˌnɛt prəˈvaɪdərz frəm ˈgɪvɪŋ səm ˈwɛbˌsaɪts ənd ˈɪntərˌnɛt ˈtræfɪk ən ædˈvæntɪʤ ˈoʊvər ˈəðərz. əˈkɔrdɪŋ tɪ ðə wɔl strit ˈʤərnəl, ðə ɪz ɪkˈspɛktɪd tɪ ənˈveɪl ɪts prəˈpoʊzəl ðɪs wik, lɛs ðən θri mənθs ˈæftər ðə ˈpəblɪk ˈkɑmɛnt ˈpɪriəd ˈɛndɪd ɔn ðə ˌɪˈnɪʃəl prəˈpoʊzəl. ðə ˈprɔˌsɛs ˈʤɛnərˌeɪtɪd 22 ˈmɪljən ˈkɑmɛnts fər ðə kəˈmɪʃən tɪ rɛd ənd kənˈsɪdər. ðə ˈfaɪnəl prəˈpoʊzəl ɪz ˈlaɪkli tɪ kəmˈplitli ənˈdu ðə strɪkt nɛt nuˈtræləti rulz ðət ðə ɛˈnæktəd ʤɪst tu jɪrz əˈgoʊ. tɪ du ðət, ðə prəˈpoʊzəl wɪl hæv tɪ riˈklæsɪˌfaɪ ˈɪntərˌnɛt prəˈvaɪdərz ɛz ˌɪnˌfɔrˈmeɪʃən ˈsərvɪsɪz, ˈəndər ˈtaɪtəl aɪ əv ðə kəmˌjunəˈkeɪʃənz ækt, ˌɪnˈstɛd əv ˈkɑmən ˈkɛriərz, ˈəndər ˈtaɪtəl əv ðə ækt. ðɪs ˈsimɪŋli dəl ˈligəl dɪˈstɪŋkʃən ɪz ðə ˈdɪfərəns bɪtˈwin ˈgɪvɪŋ ðə səm ˈoʊvərˌsaɪt əv (ˈtaɪtəl aɪ) ənd ðə əˈbɪləˌti tɪ pleɪs ˈrɪgərəs kənˈsumər prəˈtɛkʃənz ɔn ðɛm (ˈtaɪtəl). rɪˈpəblɪkənz ˈɑrgju ðət nɛt nuˈtræləti ˈhæmpərz ˌɪnˈvɛstmənt ɪn ˈbrɔdˌbænd, bət ˈlɪtəl ˈɛvədəns rɪˈpəblɪkənz æt ðə, hu ər bɪˈhaɪnd ðɪs prəˈpoʊzəl, ˈɑrgju ðət ðə ˈstrɪktər rulz ɛˈnæktəd tu jɪrz əˈgoʊ hæv ˈhæmpərd ˌɪnˈvɛstmənt ɪn ˈbrɔdˌbænd ənd kɔzd ˈɪntərˌnɛt prəˈvaɪdərz tɪ sloʊ ðə ɪkˈspænʧən əv ðɛr ˈnɛtˌwərks. ðɪs ɪz ə ˈprɑbləm, ˈgɪvɪn ðət ðə ɪz tæskt wɪθ ɪnˈʃʊrɪŋ ðə ɪnˈtaɪər ˈkəntri gɪts kəˈnɛktɪd. bət ðɛr ə tən əv ˈdætə tɪ bæk ðɪs əp. ˈoʊnli bɪn tu jɪrz, ənd ðoʊ ðɛr wɑz ə smɔl dɪp ɪn ˌɪnˈvɛstmənt, ɪt wɑz ˈɔlsoʊ əˈtrɪbjətəbəl tɪ ˈfæktərz laɪk haɪ ɔɪl ˈpraɪsɪz ənd ˈkɔstli ˌækwəˈzɪʃənz. ðə rɪˈpəblɪkən kəˈmɪʃənərz ˈɔlsoʊ ʤɪst ˈʤɛnərəli bɪˈliv ðət ˈmeɪkɪŋ ˈkəmpəˌniz fɪl aʊt kəmˈplaɪəns fɔrmz ənd ˈfɑloʊ rulz ɪz ˈoʊnərəs ənd prɪˈvɛnts ˌɪnəˈveɪʃən. səˈpɔrtərz əv nɛt nuˈtræləti ˈɑrgju ðət ɪts prəˈvɪʒənz ər ˈnɛsəˌsɛri tɪ prɪˈvɛnt ˈɪntərˌnɛt prəˈvaɪdərz frəm skˈwizɪŋ mɔr ˈməni aʊt əv kənˈsumərz ənd dɪˈstrɔɪɪŋ smɔl ˈbɪznɪsɪz ðət ər traɪɪŋ tɪ kəmˈpit wɪθ ɪˈstæblɪʃt wɛb ʤaɪənts. wən fɪr ɪz ðət wɪˈθaʊt nɛt nuˈtræləti, ˈɪntərˌnɛt prəˈvaɪdərz wɪl bɪˈgɪn ˈɔfərɪŋ fæst lanes,”*,” wɪʧ wʊd əˈlaʊ ˈwɛlθi ˈkəmpəˌniz tɪ peɪ fər ə ˈbɛtər kəˈnɛkʃən tɪ kənˈsumərz. ðət kʊd kriˈeɪt ril ˌkɑmpəˈtɪʃən ˈprɑbləmz: netflix*, fər ˈɪnstəns, kən əˈfɔrd tɪ peɪ ðiz fiz ənd ˈɔfər ə sˈnæpi kəˈnɛkʃən tɪ ˈɛvriˌwən, bət bi məʧ ˈhɑrdər fər ə nu ˈstrimɪŋ ˈsərvɪs tɪ əˈtrækt ˈkəstəmərz ənd gɪt ɔf ðə graʊnd wɪˈθaʊt ə ˈkɔstli ˌɪnˈvɛstmənt ɪn dɪˈlɪvəri spid. nɛt nuˈtræləti rulz ˈɔlsoʊ prɪˈvɛnt ˈɪntərˌnɛt prəˈvaɪdərz frəm ðɛr oʊn ˈkɑntɛnt ənd ˈblɑkɪŋ competitors’*’ æps ənd ˈsərvɪsɪz. ˈkɑmˌkæst, fər ˈɪnstəns, maɪt wɔnt tɪ dɪˈlɪvər ˈvɪdioʊ frəm ˈɛnˌbiˈsi, wɪʧ ɪt oʊnz, ˈfæstər ðən ˈvɪdioʊ frəm netflix*, wɪʧ ɪt kəmˈpits wɪθ. ɪt maɪt ˈɔlsoʊ ʧuz tɪ ɪgˈzɛmpt ˈɛnˌbiˈsi ˈvɪdioʊ frəm ˈkaʊntɪŋ təˈwɔrd ə ˈdætə kæp, ɪnˈkərəʤɪŋ ðɛm tɪ wɔʧ ˈɛnˌbiˈsi ˌɪnˈstɛd əv ə kəmˈpɛtɪtər. ˈlaɪkˌwaɪz, nɛt nuˈtræləti prɪˈvɛnts θɪŋz laɪk ˌvɛˈraɪzən ˈblɑkɪŋ ən ˈpeɪmənts æp bɪˈkəz ɪt wʊd ˈrəðər ju juz ən æp kɔld ˈaɪsəs ðət ɪt hæd ən ˌɪnˈvɛstmənt ɪn. wət, ɪf ˈɛni, kənˈsumər prəˈtɛkʃənz wɪl ˌriˈpleɪs ðə wənz biɪŋ riˈmuvd? fər naʊ, wi hæv ə fʊl aɪˈdiə əv wət ðə ˈfaɪnəl prəˈpoʊzəl wɪl lʊk laɪk ˈmoʊstli bɪˈkəz ɪts ˌɪˈnɪʃəl prəˈpoʊzəl wɑz soʊ ˌɪnˈkrɛdəbli veɪg. ɪt simz ˈvɛri seɪf tɪ əˈsum ðət ənˈdu ðə ˈtaɪtəl ˌklæsəfəˈkeɪʃən əv ˈɪntərˌnɛt prəˈvaɪdərz ənd ˈðɛrˌfɔr riˈmuv ɔl ˈkɑrənt nɛt nuˈtræləti prəˈtɛkʃənz, sɪns ðə krəks əv ðə ˌɪˈnɪʃəl prəˈpoʊzəl. bət ðɛr ər səm ˈvɛri bɪg ˈoʊpən kˈwɛsʧənz bɪɔnd ðət: ˈneɪmli, wət kənˈsumər prəˈtɛkʃənz wɪl ðə pʊt ɪn pleɪs əv ðə rulz ðət ˈstraɪkɪŋ daʊn? ðət ɪz, ɪf ɪt pʊts ɪn pleɪs ˈɛni nu rulz æt ɔl. ə ˈfɛdərəl kɔrt həz ɔˈrɛdi ruld ðət, ˈəndər ðə ˈtaɪtəl aɪ ˌklæsəfəˈkeɪʃən ðə plænz tɪ goʊ bæk tɪ, ðə kəˈmɪʃən hæv ðə əˈθɔrəti tɪ pʊt ɪn pleɪs fʊl nɛt nuˈtræləti rulz. ɪt kən pʊt ɪn pleɪs səm rulz, bət ðeɪ goʊ ɛz fɑr ɛz, fər ɪgˈzæmpəl, kəmˈplitli ˈbænɪŋ peɪd fæst leɪnz. soʊ wɪn ðə prəˈpoʊzəl ɪz riˈlist, bi ˈlʊkɪŋ tɪ faɪnd aʊt haʊ fɑr ɪt goʊz tɪ riˈstrɪkt peɪd fæst leɪnz, ˈlɪmət ˈblɑkɪŋ əv æps ənd ˈsərvɪsɪz, ənd prɪˈvɛnt ˌɔnˈfɛr θˈrɑtəlɪŋ əv wɛb ˈtræfɪk. ˈlidərˌʃɪp simz ˈskɛptɪkəl ðət prəˈtɛkʃənz əraʊnd ðiz θɪŋz ər ˈnidɪd æt ɔl. ənd rɪˈpəblɪkənz hæv ˈɑrgjud ðət riˈstrɪktɪŋ ðɛm wʊd ˈlɪmət isps’*’ əˈbɪləˌti tɪ ˈɔfər nu ˈpraɪsɪŋ ˈmɑdəlz ðət kʊd pəˈtɛnʃəli əˈlaʊ ðɛm tɪ ɪkˈstɛnd ˈsərvɪs tɪ ˌloʊˈɪnkəm ənd ˈrʊrəl kəmˈjunɪtiz ðət ˈəðərˌwaɪz bi ˈprɑfətəbəl ɪˈnəf tɪ sərv. (ðɛr ɪz ə ˈtræʤɪk ˈaɪrəni ɪn rɪˈpəblɪkənz ˈvoʊtɪŋ tɪ pʊl bæk ɔn ˌloʊˈɪnkəm ˈbrɔdˌbænd ˈsəbsɪdiz ʤɪst læst wik.) bɪˈkəz əv ðoʊz kənˈsərnz, ˈɔlsoʊ ˈfɛrli seɪf tɪ gɛs ðət ˌwəˈtɛvər ˈrɛmnənts əv ðə nɛt nuˈtræləti prəˈtɛkʃənz rɪˈmeɪn ər ˈlaɪkli tɪ bi məʧ mɔr ˈlɪmɪtɪd ɪn skoʊp ənd ˈɔfər ə lɔt mɔr ˌflɛksəˈbɪləti tɪ, ˈivɪn ɪf ɪt minz ˈoʊpənɪŋ əp rɪsks. ðə nɛkst ˈmitɪŋ, wɛr ɪt voʊts ɔn prəˈpoʊzəlz, ɪz dɪˈsɛmbər 14th*. wɪn ɪkˈspɛktɪd tɪ voʊt ɔn ɪts plæn tɪ rɪˈvərs nɛt nuˈtræləti. noʊ fərm deɪt ɔn wɪn ðə prəˈpoʊzəl wɪl bi əˈnaʊnst, bət ðə kəˈmɪʃən ˈjuʒəwəli ˈditeɪlz ɪts plænz fər iʧ ˈmitɪŋ ˈsɛvərəl wiks əˈhɛd əv taɪm, ənd, ɛz əv ðɪs jɪr, ˈpəblɪkli rɪˈvilz ðə tɛkst əv wət bi ˈvoʊtɪŋ ɔn, tu. ˈskɛʤʊlɪŋ ðə nɛt nuˈtræləti əˈnaʊnsmɛnt fər ˌθæŋksˈgɪvɪŋ wik meɪ bi ə koʊˈɪnsɪdəns, bət ɪt ˈsərtənli simz laɪk ðə ɪz traɪɪŋ tɪ riˈlis ðɪs plæn æt ə taɪm wɪn bi ˈhɑrdər fər nɛt nuˈtræləti ˈædvəˌkeɪts tɪ gɪv ɪt ðɛr fʊl əˈtɛnʃən.
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while americans are busy traveling, paying attention to black friday deals, and spending time with family, the federal communications commission will be rolling out its least popular proposal of the year: its final plan to dismantle net neutrality — the set of rules that prevent internet providers from giving some websites and internet traffic an advantage over others. according to the wall street journal, the fcc is expected to unveil its proposal this week, less than three months after the public comment period ended on the initial proposal. the process generated 22 million comments for the commission to read and consider.
the fcc’s final proposal is likely to completely undo the strict net neutrality rules that the fcc enacted just two years ago. to do that, the proposal will have to reclassify internet providers as information services, under title i of the communications act, instead of common carriers, under title ii of the act. this seemingly dull legal distinction is the difference between giving the fcc some oversight of isps (title i) and the ability to place rigorous consumer protections on them (title ii).
republicans argue that net neutrality hampers investment in broadband, but there’s little evidence
republicans at the fcc, who are behind this proposal, argue that the stricter rules enacted two years ago have hampered investment in broadband and caused internet providers to slow the expansion of their networks. this is a problem, given that the fcc is tasked with ensuring the entire country gets connected. but there isn’t a ton of data to back this up. it’s only been two years, and though there was a small dip in investment, it was also attributable to factors like high oil prices and costly acquisitions. the republican commissioners also just generally believe that making companies fill out compliance forms and follow rules is onerous and prevents innovation.
supporters of net neutrality argue that its provisions are necessary to prevent internet providers from squeezing more money out of consumers and destroying small businesses that are trying to compete with established web giants. one fear is that without net neutrality, internet providers will begin offering “paid fast lanes,” which would allow wealthy companies to pay isps for a better connection to consumers. that could create real competition problems: netflix, for instance, can afford to pay these fees and offer a snappy connection to everyone, but it’ll be much harder for a new streaming service to attract customers and get off the ground without a costly investment in delivery speed.
net neutrality rules also prevent internet providers from advantaging their own content and blocking competitors’ apps and services. comcast, for instance, might want to deliver video from nbc, which it owns, faster than video from netflix, which it competes with. it might also choose to exempt nbc video from counting toward a subscriber’s data cap, encouraging them to watch nbc instead of a competitor. likewise, net neutrality prevents things like verizon blocking an nfc payments app because it would rather you use an app called isis that it had an investment in.
what, if any, consumer protections will replace the ones being removed?
for now, we don’t have a full idea of what the fcc’s final proposal will look like — mostly because its initial proposal was so incredibly vague. it seems very safe to assume that it’ll undo the title ii classification of internet providers and therefore remove all current net neutrality protections, since that’s the crux of the initial proposal. but there are some very big open questions beyond that: namely, what consumer protections will the fcc put in place of the rules that it’s striking down? that is, if it puts in place any new rules at all.
a federal court has already ruled that, under the title i classification the fcc plans to go back to, the commission doesn’t have the authority to put in place full net neutrality rules. it can put in place some rules, but they can’t go as far as, for example, completely banning paid fast lanes. so when the proposal is released, we’ll be looking to find out how far it goes to restrict paid fast lanes, limit blocking of apps and services, and prevent unfair throttling of web traffic.
fcc leadership seems skeptical that protections around these things are needed at all. and republicans have argued that restricting them would limit isps’ ability to offer new pricing models that could potentially allow them to extend service to low-income and rural communities that otherwise wouldn’t be profitable enough to serve. (there is a tragic irony in republicans voting to pull back on low-income broadband subsidies just last week.) because of those concerns, it’s also fairly safe to guess that whatever remnants of the net neutrality protections remain are likely to be much more limited in scope and offer a lot more flexibility to isps, even if it means opening up anti-competitive risks.
the fcc’s next meeting, where it votes on proposals, is december 14th. that’s when it’s expected to vote on its plan to reverse net neutrality. there’s no firm date on when the proposal will be announced, but the commission usually details its plans for each meeting several weeks ahead of time, and, as of this year, publicly reveals the text of what it’ll be voting on, too. scheduling the net neutrality announcement for thanksgiving week may be a coincidence, but it certainly seems like the fcc is trying to release this plan at a time when it’ll be harder for net neutrality advocates to give it their full attention.
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ɔn ðə iv əv ˈprɛzɪdənt trəmps rɪˈtərn tɪ pɑm biʧ, rɛpriˈzɛtətɪv. loʊəs ˈfræŋkəl əˈnaʊnst ðət ˈfimə ɪz ˌriɪmˈbərsɪŋ pɑm biʧ ˈkaʊnti ˈmɪljən tɪ ˈkəvər ðə kɔst əv hɪz ˈvɪzɪts. ðə ˈməni ˈkəvərz ˈoʊvərˌtaɪm kɔsts əv prəˈtɛktɪŋ ðə ˈprɛzɪdənt frəm hɪz ˌɪˌnɔgjəˈreɪʃən θru sɛpt. 30 ˈspɛʃəl ˈsɛkʃən: ˈdɑnəld trəmp ɪn pɑm biʧ ðə pɑm biʧ ˈkaʊnti ˈʃɛrɪfs ˈɔfəs, wɛst pɑm biʧ pəˈlis dɪˈpɑrtmənt ənd taʊn əv pɑm biʧ wɪl gɪt ˌriɪmˈbərsmənts θru ðə ˌprɛzɪˈdɛnʃəl prəˈtɛkʃən əˈsɪstəns grænt. ðə əˈwɔrd əˈmaʊnts ər: pɑm biʧ ˈkaʊnti ˈʃɛrɪfs ˈɔfəs taʊn əv pɑm biʧ wɛst pɑm biʧ pəˈlis dɪˈpɑrtmənt sɪns biɪŋ swɔrn ɪn ʤæn. 20 ˈprɛzɪdənt trəmp həz spɛnt 33 deɪz æt mar-a-lago*. hi ɪz ɪkˈspɛktɪd tɪ rɪˈtərn ˈfraɪˌdeɪ ˈmɔrnɪŋ fər ðə ˈkrɪsməs ˈhɑləˌdeɪz. pəˈlis aɪˈdɛntəˌfaɪ jəŋ ˈkəpəl kɪld ɪn ˈsɪŋər ˈaɪlənd ˌɛrɪˈzoʊnə dæd sɪz ˌsaʊθˈwɛst ˈɛˌrlaɪnz ˌriˈpɔrtəd ɪm fər ˈtræfɪkɪŋ ˈdɔtər
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on the eve of president trump's return to palm beach, rep. lois frankel announced that fema is reimbursing palm beach county $3.4 million to cover the cost of his visits.
the money covers overtime costs of protecting the president from his inauguration through sept. 30.
special section: donald trump in palm beach
the palm beach county sheriff's office, west palm beach police department and town of palm beach will get reimbursements through the presidential protection assistance grant.
the award amounts are:
$ 3,293,988.00 - palm beach county sheriff's office
$ 71,270.12 - town of palm beach
$ 63,163.73 - west palm beach police department
since being sworn in jan. 20, president trump has spent 33 days at mar-a-lago. he is expected to return friday morning for the christmas holidays.
police identify young couple killed in singer island murder-suicide
arizona dad says southwest airlines reported him for trafficking daughter
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krɔs leɪk, mæn. ə rɪˈmoʊt ˌmænɪˈtoʊbə fərst ˈneɪʃən dɪˈklɛrd ə steɪt əv ˈimərʤənsi ˈwɛnzˌdeɪ ˈæftər sɪks ˈsuəˌsaɪdz ɪn ðə læst tu mənθs ənd 140 əˈtɛmpts ɪn ðə læst tu wiks əˈloʊn. əˈfɪʃəlz frəm ðə kri ˈneɪʃən, noʊn ɛz krɔs leɪk, seɪ hɛlθ ˈwərkərz ɔn ðə ˈnɔrðərn rɪˈzərv kən noʊ ˈlɔŋgər koʊp. bænd ˈdɑni məˈkeɪ sɛd ðə ˈnərsɪŋ ˈsteɪʃən ɪz ˈoʊnli stæft baɪ tu ˈnərsɪz ˈoʊvərˈnaɪt. "ðɛr goʊɪŋ 24 aʊərz ənd ðɛr ˈrɛdi tɪ drɔp." ðə kəmˈjunɪti əv ɪz ˈtrɔməˌtaɪzd ənd nidz ˌɪˈmiˌdiət hɛlp frəm ðə prəˈvɪnʃəl ənd ˈfɛdərəl ˈgəvərnmənts, məˈkeɪ sɛd. ə ˈmitɪŋ wɪθ ˌmænɪˈtoʊbə hɛlθ ˈmɪnɪstər ˈʃɛrən læst mənθ rɪˈzəltɪd ɪn wən ˈwərkər biɪŋ sɛnt tɪ ðə kəmˈjunɪti fər ən ʃɪft, hi sɛd. "ɪts rɪˈdɪkjələs,'' sɛd məˈkeɪ, hu wɑz kɔld tɪ ə hoʊm ə fju deɪz əˈgoʊ tɪ traɪ tɪ tɔk ə mæn aʊt əv ˈteɪkɪŋ hɪz oʊn laɪf. "ðɪs ˈwʊdənt ˈhæpən ˈɛniˌwɛr ɛls.'' lændz bɪˈkeɪm ə ˈæktɪŋ ʧif ˈʃərli ˈrɑbənsən sɛd ðə rɪˈzərv əˈbaʊt 500 ˌkɪˈlɔˌmətərz nɔrθ əv ˈwɪnɪpəg nɪr ə ˌmænɪˈtoʊbə ˈhaɪˌdroʊ ˈʤɛnərˌeɪtɪŋ ˈsteɪʃən həz ən 80 pər sɛnt ˌənɪmˈplɔɪmənt reɪt. ˈfrəˌstreɪtəd ˈrɛzɪdənts ˈɑkjəˌpaɪd ðə ˈʤɛnərˌeɪtɪŋ ˈsteɪʃən ɪn 2013 ðeɪ sɛd ðɛr trəˈdɪʃənəl lændz ər ˈrɛgjələrli trænsˈfɔrmd ˈɪntu ə ənd nən əv ðə ˈprɑməst ˌɛkəˈnɑmɪk dɪˈvɛləpmənt ənd ɪmˈplɔɪmənt ˈproʊˌgræmz həz məˈtɪriəˌlaɪzd. prɛˈmɪr grɛg ˈsɛlɪŋər ˈpərsənəli əˈpɑləˌʤaɪzd ə jɪr əˈgoʊ fər ðə ˈdæmɪʤ kɔzd baɪ ðə ˈhaɪˌdroʊ dɪˈvɛləpmənt tɪ krɔs leɪks trəˈdɪʃənəl lænd, weɪ əv laɪf ənd ˈkəlʧərəl aɪˈdɛntəˌti. ˈæftər ðət əˈpɑləˌʤi, ˈrɑbənsən sɛd ðɛr wɑz ə sɛns əv hoʊp, bət ðət kˈwɪkli ˈvænɪʃt. "ðɛr ɪz lɑts əv dɪˈspɛr." "ɪts bɪn ˈvɛri ˈdɪfəkəlt fər ˈɛvriˌwən." ˈrɑbənsənz ˈkəzən, ə ˈməðər əv θri, wɑz ðə sɪksθ ˈpərsən læst ˈwiˌkɪnd əˈloʊn tɪ kəˈmɪt ˈsuɪˌsaɪd. ðə kəmˈjunɪti həz bɪn drɔɪŋ ɔn ˈɛvəri ˈrisɔrs ɪt kən tɪ seɪv lɪvz, sɛd ˈrɑbənsən. "wiv bɪn ˈjuzɪŋ ˈklərʤi. wiv bɪn ˈjuzɪŋ ɑr ˈloʊkəl ˈɛldərz. wiv bɪn ˈjuzɪŋ ɑr ˈloʊkəl ˈnərsɪz ənd ˈdɑktərz." "ɪts bɪn ˈvɛri ˈdɪfəkəlt fər ˈɛvriˌwən." ə ˈspoʊkspərsən fər ˌɪnˈdɪʤənəs ənd ˈnɔrðərn əˈfɛrz ˈkænədə sɛd ɪn ən iˈmeɪld ˈsteɪtmənt ðə dɪˈpɑrtmənt ɪz ˈwərkɪŋ wɪθ ðə bænd ˈkaʊnsəl ənd ˈəðər ˈwərkərz tɪ "aɪˈdɛntəˌfaɪ nid ənd teɪk ˌɪˈmiˌdiət ˈækʃən ɪn rɪˈspɑns.'' "ɪt simz laɪk wɪr (ˈkipɪŋ) ə ˈwɑʧfəl aɪ ˈɛvəri ˈmɪnət, ˈɛvəri aʊər." "hɛlθ ˈkænədə əˈfɪʃəlz hæv riʧt aʊt tɪ ðə ʧif əv krɔs leɪk fərst ˈneɪʃən tɪ ˈɔfər əˈsɪstəns, ənd wɪl wərk wɪθ ðə kəmˈjunɪti tɪ hɛlp ˈæˌdrɛs ðɛr nidz ɪn ðɪs ˈdɪfəkəlt taɪm,'' mɪˈʃɛl ˈpɛrən roʊt. ðə bænd ɪz ˈæskɪŋ fər æt list sɪks ˈwərkərz ˌɪˈmiˌdiətli, ɛz wɛl ɛz fər ə ʧaɪld saɪˈkɑləʤəst ənd ˈfæməli ˈθɛrəpɪst. ˈkaʊnsəl ɪz ˈɔlsoʊ ˈkɔlɪŋ fər ˈkaʊnsələrz ənd fɪˈzɪʃənz. ɪn ðə lɔŋ tərm, ðə rɪˈzərv ɪz ˈæskɪŋ fər ə ˈhɑˌspɪtəl ənd ˌrɛkriˈeɪʃənəl fəˈsɪlɪtiz fər ɪts juθ. ˈrɑbənsən sɛd, wɪθ ˈɛvəri ˈmɪnət ðət ˈpæsɪz, ˈpipəl ər ˈwərid əˈbaʊt ˈluzɪŋ əˈnəðər ləvd wən. ðɛr wər tu ˈsuɪˌsaɪd əˈtɛmpts ˈtuzˌdeɪ, ʃi sɛd. "ɪt simz laɪk wɪr (ˈkipɪŋ) ə ˈwɑʧfəl aɪ ˈɛvəri ˈmɪnət, ˈɛvəri aʊər. wi doʊnt wɔnt ðɪs tɪ ˈhæpən ˌɛniˈmɔr. ðə hoʊl kəmˈjunɪti ɪz ɪn grif." ˈɔlsoʊ ɔn
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cross lake, man. — a remote manitoba first nation declared a state of emergency wednesday after six suicides in the last two months and 140 attempts in the last two weeks alone.
officials from the pimicikamak cree nation, known as cross lake, say health workers on the northern reserve can no longer cope. band councillor donnie mckay said the nursing station is only staffed by two nurses overnight.
"they're going 24 hours and they're ready to drop."
the community of 8,300 is traumatized and needs immediate help from the provincial and federal governments, mckay said. a meeting with manitoba health minister sharon blady last month resulted in one mental-health worker being sent to the community for an eight-hour shift, he said.
"it's ridiculous,'' said mckay, who was called to a home a few days ago to try to talk a man out of taking his own life. "this wouldn't happen anywhere else.''
lands became a floodway
acting chief shirley robinson said the reserve — about 500 kilometres north of winnipeg near a manitoba hydro generating station — has an 80 per cent unemployment rate.
frustrated residents occupied the generating station in 2013. they said their traditional lands are regularly transformed into a floodway and none of the promised economic development and employment programs has materialized.
premier greg selinger personally apologized a year ago for the damage caused by the hydro development to cross lake's traditional land, way of life and cultural identity.
after that apology, robinson said there was a sense of hope, but that quickly vanished.
"there is lots of despair."
"it's been very difficult for everyone."
robinson's 33-year-old cousin, a mother of three, was the sixth person last weekend alone to commit suicide.
the community has been drawing on every resource it can to save lives, said robinson.
"we've been using clergy. we've been using our local elders. we've been using our local nurses and doctors."
"it's been very difficult for everyone."
a spokesperson for indigenous and northern affairs canada said in an emailed statement the department is working with the band council and other front-line workers to "identify need and take immediate action in response.''
"it seems like we're (keeping) a watchful eye — every minute, every hour."
"health canada officials have reached out to the chief of cross lake first nation to offer assistance, and will work with the community to help address their mental-health needs in this difficult time,'' michelle perron wrote.
the band is asking for at least six mental-health workers immediately, as well as for a child psychologist and family therapist. council is also calling for after-hours counsellors and physicians.
in the long term, the reserve is asking for a hospital and recreational facilities for its youth.
robinson said, with every minute that passes, people are worried about losing another loved one. there were two suicide attempts tuesday, she said.
"it seems like we're (keeping) a watchful eye — every minute, every hour. we don't want this to happen anymore. the whole community is in grief."
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pəˈlis wər fɔrst tɪ juz ə ˈteɪzər tɪ səbˈdu ðə ɪkˈstrimli ˌkɑmˈbæˌtɪv mæn. fɔr vɪkˈtɔriə pəˈlis ˈɔfɪsərz wər ˈɪnʤərd ɪn ə ˈvaɪələnt tɛnt ˈsɪti ərˈɛst ˈæftər ðeɪ wər əˈsɔltɪd baɪ ə mæn æt ðə ˈbərdɪt strit ɪnˈkæmpmɪnt ˈθərzˌdeɪ ˈivnɪŋ. θri ˈɔfɪsərz wər sɛnt tɪ ˈhɑˌspɪtəl fər ˈtritmənt waɪl ə fɔrθ wɑz ˈtritɪd æt ðə sin. ðə əˈtækər, hu ɪz noʊn tɪ pəˈlis, wɑz səbˈdud wɪθ ə ˈteɪzər ənd ˈɔlsoʊ ˈteɪkən tɪ ˈhɑˌspɪtəl. hi wɑz klɪrd ˈmɛdɪkəli ənd wɪl spɛnd ðə naɪt ɪn ə sɛl æt vɪkˈtɔriə pəˈlis ˈhɛdˌkɔrtərz ɔn kˈwædrə strit. hi wɑz nɑt ˈɪnʤərd. vɪkˈtɔriə pəˈlis ˈspoʊksmən const*. mæt ˈrəθərfərd sɛd ˈspɛʃəl ˈduti ˈɔfɪsərz ˈsteɪʃənd æt ðə ɪnˈkæmpmɪnt hərd ən ˌɑltərˈkeɪʃən ɪn wən əv ðə tɛnts ənd əˈtɛmptəd tɪ ˌɪntərˈvin ɪn wət ˈsaʊndɪd laɪk ə dəˈmɛstɪk əˈsɔlt. ðeɪ ɪnˈkaʊnərd ən combative”*” mæn hu bɪˈgæn tɪ əˈsɔlt ðɛm, ˈrəθərfərd sɛd. ðə tu ˈɔfɪsərz kɔld fər ˈbæˌkəp ənd ˈməltəpəl pəˈlis ˈjunɪts kˈwɪkli rɪˈspɑndɪd. əˈsɪstɪŋ ˈɔfɪsərz wər ˈɔlsoʊ əˈsɔltɪd ənd ə ˈteɪzər wɑz ðɛn dɪˈplɔɪd tɪ geɪn kənˈtroʊl əv ðə mæn hu wɑz ðɛn ˈteɪkən ˈɪntu ˈkəstədi wɪˈθaʊt ˈfərðər incident,”*,” ə pəˈlis ˈsteɪtmənt sɛd. dɪˈtɛktɪvz ər ˈɪntərvˌjuɪŋ ˈwɪtnəsɪz hu əbˈzərvd ðə ˈɪnsədənt. pəˈlis ər ˌrɛkəˈmɛndɪŋ fɔr ˈʧɑrʤɪz əv əˈsɔltɪŋ ə pəˈlis ˈɔfɪsər, pəˈzɛʃən əv ə proʊˈhɪbətəd ˈwɛpən, əˈsɔlt ənd rɪˈzɪstɪŋ ərˈɛst. ðə mæn ɪz ɪkˈspɛktɪd tɪ əˈpɪr ɪn kɔrt təˈdeɪ. ˈkɑpiˌraɪt taɪmz ˈkɑlənɪst
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police were forced to use a taser to subdue the extremely combative man.
four victoria police officers were injured in a violent tent city arrest after they were assaulted by a man at the burdett street encampment thursday evening. three officers were sent to hospital for treatment while a fourth was treated at the scene.
the attacker, who is known to police, was subdued with a taser and also taken to hospital. he was cleared medically and will spend the night in a cell at victoria police headquarters on quadra street. he was not injured.
victoria police spokesman const. matt rutherford said special duty officers stationed at the encampment heard an altercation in one of the tents and attempted to intervene in what sounded like a domestic assault. they encountered an “extremely combative” man who began to assault them, rutherford said.
the two officers called for backup and multiple police units quickly responded. “two assisting officers were also assaulted and a taser was then deployed to gain control of the man who was then taken into custody without further incident,” a police statement said.
detectives are interviewing witnesses who observed the incident.
police are recommending four charges of assaulting a police officer, possession of a prohibited weapon, assault and resisting arrest. the man is expected to appear in court today.
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ðə ˌjunəˈvərsəti əv ˈmɛlbərn həz ðə bɛst ˌrɛpjəˈteɪʃən ɪn ɔˈstreɪljə, əˈkɔrdɪŋ tɪ ə ˈgloʊbəl ˈræŋkɪŋ əv ðə tɔp 100 ˌjunəˈvərsətiz. ðə ˌjunəˈvərsəti ˈfɪnɪʃt 41 ɪn ðə taɪmz haɪər ˌɛʤəˈkeɪʃən 2015 wərld ˌrɛpjəˈteɪʃən ˈræŋkɪŋz, əp frəm 43 ðə ˈpriviəs jɪr. faɪv ɔˈstreɪljən ˌjunəˈvərsətiz wər ˌɪnˈkludɪd ɪn ðə tɔp 100 ðə ɔˈstreɪljən ˈnæʃənəl ˌjunəˈvərsəti ˈlɪftɪd ɪts ˈræŋkɪŋ frəm ðə bænd tɪ ðə bænd, ɛz dɪd ðə ˌjunəˈvərsəti əv ˈsɪdni. ˈmɑˌnæʃ ˌjunəˈvərsəti ɪn ˈmɛlbərn ˈɔlsoʊ riˈgeɪnd ə ˈkəvətɪd spɑt ɪn ðə tɔp 100 ˈfɪnɪʃɪŋ ɪn ðə 91 tɪ 100 grup. ˌjunəˈvərsəti əv ˈmɛlbərn ˈæktɪŋ prəˈfɛsər ˈsuzən ˈɛliət sɛd ðə rɪˈzəlt wɑz ə ˈwəndərfəl ɛnˈdɔrsmənt ənd ˈhaɪˌlaɪtɪd stæfs strɔŋ ˌɪnərˈnæʃənɑl kəˈnɛkʃənz. "wɪr plizd tɪ əˈgɛn ˈmɛʒər əp soʊ ˈhaɪli əˈgɛnst səm əv ðə bɛst ˌɪnstɪˈtuʃənz ɪn ðə wərld. ðiz rɪˈzəlts rɪˈflɛkt ə ˈgloʊbəl əˈwɛrnəs əv ðə ˌjunəˈvərsətiz ækˈtɪvɪti baɪ ˈmɛni əv ɑr ˌækəˈdɛmɪk pɪrz." taɪmz haɪər ˌɛʤəˈkeɪʃən ˈræŋkɪŋz ˈɛdɪtər fɪl ˈbeɪti sɛd ɪt hæd bɪn ə "strɔŋ" jɪr fər ɔˈstreɪljən ˌjunəˈvərsətiz. "ðɪs strɔŋ pərˈfɔrməns ɪz ˈtɛstəmənt tɪ ɔˈstreɪljəz ˈgloʊbəl haɪər ˌɛʤəˈkeɪʃən ˈfoʊkɪs, ˈkruʃəl ɛz ðə ˌkɑmpəˈtɪʃən fər ˌɪnərˈnæʃənɑl ˈstudənts hɑts əp." ðə ˈɪndɛks wɑz beɪst ɔn ə ˈgloʊbəl ˈsərˌveɪ əv mɔr ðən ˈsinjər ˌækəˈdɛmɪks ɪn 142 ˈkəntriz. ˌækəˈdɛmɪks wər æst tɪ ˈnɑməˌneɪt əp tɪ 10 əv ðə bɛst ˌjunəˈvərsətiz beɪst ɔn ðɛr ɪkˈspɪriəns ənd ˈnɑlɪʤ. ˈhɑrvərd ˌjunəˈvərsəti ˈfɪnɪʃt æt ðə tɔp.
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the university of melbourne has the best reputation in australia, according to a global ranking of the top 100 universities.
the university finished 41 in the times higher education 2015 world reputation rankings, up from 43 the previous year.
five australian universities were included in the top 100. the australian national university lifted its ranking from the 61-70 band to the 51-60 band, as did the university of sydney. monash university in melbourne also regained a coveted spot in the top 100, finishing in the 91 to 100 group.
university of melbourne acting vice-chancellor professor susan elliott said the result was a wonderful endorsement and highlighted staff's strong international connections.
"we're pleased to again measure up so highly against some of the best institutions in the world. these results reflect a global awareness of the university's activity by many of our academic peers."
times higher education rankings editor phil baty said it had been a "strong" year for australian universities. "this strong performance is testament to australia's global higher education focus, crucial as the competition for international students hots up."
the index was based on a global survey of more than 10,507 senior academics in 142 countries. academics were asked to nominate up to 10 of the best universities based on their experience and knowledge. harvard university finished at the top.
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wən əv ðə bɛst əv ðə jɪr, ˈkɛˌni "kennys*", teɪks ðə pleɪs ɔn ɑr tɔp 20 əv 2013 baɪ esportsventure.com*. ˈivɪn ðoʊ ðə ˈfrɛnʧmæn wɑz kət frəm ɪn meɪ, hi wɛnt ɔn tɪ hɛlp ənd əˈʧiv ˈnoʊtəbəl ˈpleɪsmənts æt boʊθ ɪˈvɛnts. ˈbeɪsɪk ˈɪnfoʊ ənd ˈhɪstəri ˈkɛˌni "kennys*" ʃoʊd ˈtælənt æt ə ˈvɛri jəŋ eɪʤ, ənd hi wɑz baɪ ɪn dɪˈsɛmbər əv 2011 wɪn hi wɑz ˈoʊnli 16 jɪrz oʊld. bət hi ˈdɪdənt hæv ˈɛni kaɪnd əv ɪkˈspɪriəns ɪn hɪz kərɪr æt ðət pɔɪnt, soʊ ðə frɛnʧ ʤaɪənts pɪkt əp ˈmaɪkəl "mk*" ˌɪnˈstɛd. hi tʊk hɪz fərst stɛps ɔn læn wɪθ ɪkˈstɛnsɪv ɪn 2012 ˈoʊnli tɪ faɪnd ˈkɔlɪŋ ɪn ˈeɪprəl ˈæftər wɑz riˈmuvd. ðə ˈjəŋstər ʤəmpt æt ðə ˌɑpərˈtunəti ənd ʤɔɪnd ðə moʊst ˈfeɪməs tim ɪn ˈhɪstəri tɪ hɛlp ðɛm gɪt bæk ɔn tɔp ˈæftər ə pleɪs ˈkoʊpənˌhɑgən geɪmz. ɪt ˈwəzənt lɔŋ ˌbiˈfɔr ðə tim swɪʧt tɪ ɪn sɛpˈtɛmbər, ənd wɑz kˈwɪkli ˈleɪbəld ə ˈraɪzɪŋ stɑr ɪn ðə nu geɪm fər hɪz greɪt pərˈfɔrmənsɪz æt vəˈlɛnsiə ənd. ðə tim wʊd ɛnd əp ˈriʧɪŋ ðə ˈfaɪnəl əv ˈɛvəri ɪˈvɛnt ðeɪ əˈtɛndəd bət ɛz ə rul, ˈluzɪŋ tɪ nɪp wɪn ðeɪ gɑt ðɛr. baɪ ðə ɛnd əv 2012 hæd bɪˈkəm ðə timz tɔp dɪˈspaɪt biɪŋ ən, ənd wɑz ˈivɪn ˈpʊtɪŋ əp bɪg ˈnəmbərz ɪn ˈlɔsɪz tɪ ðə swidz. æt ðə stɑrt əv 2013 ˈædɪd "skrim" ɪn hoʊps əv goʊɪŋ ðət wən stɛp ˈfərðər, bət ðeɪ ˈdɪdənt stɑrt soʊ greɪt ɛz ðeɪ lɔst tɪ ɪn lig tɪ ˈfɪnɪʃ. mæd viˈɛnə æt ðə ɛnd əv ˈfɛbruˌɛri wɑz ðə fərst taɪm wi sɔ ðə nu ˈlaɪˌnəp ɪn ˈækʃən, bət ðeɪ ˈdɪdənt du ɛz wɛl ɛz ɪkˈspɛktɪd, ˈhævɪŋ lɔst tɪ boʊθ ɪn ðə grup steɪʤ, ənd ðɛn ɪn ðə, fər ðɛr fərst pleɪs ɪn. pleɪd ˈsɑləd ˈhævɪŋ ə ˈreɪtɪŋ, bət nɑt æt ðə seɪm ˈlɛvəl ɛz ɪn ˈpriviəs ˈtərnəmənts sɪns wɑz naʊ ðə timz ˈpraɪˌmɛri. hi ˈivɪn juzd ðə lɛs ðən ˈɛvər ˌbiˈfɔr, fər 30 əv hɪz kɪlz (kəmˈpɛrd tɪ ən ˈævərɪʤ 44 æt læn ɪˈvɛnts ɪn 2012 ənd ˈɛndɪd əp wɪθ ðə ɪˈvɛnts bɛst kpr*. ɪn viˈɛnə ðɛr ˈfɔrʧənz ˈdɪdənt ˌɪmˈpruv məʧ æt ˈkoʊpənˌhɑgən geɪmz, wɪθ ðə tim fər ðə ˈsɛkənd taɪm ɪn ə roʊ ˈfeɪlɪŋ tɪ riʧ ðə ˈfaɪnəl, ðɪs taɪm ˈluzɪŋ tɪ ðɛr oʊld ˈnɛməsɪs nɪp ənd ɪˈvɛnʧəwəli ɪn ðə loʊər ˈbrækɪt ˈfaɪnəl tɪ ðɛr nu ˈnɛməsɪs ex-anexis*, naʊ kɔld ˈwɛstərn wʊlvz. ˈivɪn ðoʊ wəns əˈgɛn ˈoʊnli bɛst ɪn hɪz tim, dɪd ˈbɛtər ˈoʊvərˌɔl, wɪθ ə ˈreɪtɪŋ ənd ˈpʊtɪŋ əp ðə moʊst rɪˈzɪstəns ɪn jɛt əˈnəðər lɔs tɪ ðə swidz. hi ˈɔlsoʊ ˌɪmˈpruvd ɪn ðə sˈnaɪpɪŋ dɪˈpɑrtmənt, ˈhævɪŋ kɪlz pər raʊnd ənd ɪn ˈtoʊtəl 8 mæps wɪθ ˈdəbəl ˈdɪʤɪt kɪlz. wən wik ˈleɪtər ðeɪ wʊd ˈfaɪnəli klaɪm tɪ ðə tɔp əv ðə ˈpoʊdiəm æt mæd ˈbərmɪŋˌhæm, ˌɔlˈðoʊ nɪp ənd ˈdɪdənt əˈtɛnd ðət ɪˈvɛnt. ðeɪ hæd səm ˈtrəbəl ˈərli ɔn, ˈluzɪŋ tɪ ˈbrɪtɪʃ ɪn ðə grup steɪʤ, ənd ðɛn ˈnidɪŋ ˈoʊvərˌtaɪm tɪ wɪn ðə ˈsɛkənd mæp ˈoʊvər fm.toxic*, bət ɪn ðə ˈfaɪnəl əˈgɛnst ˈɛvriˌθɪŋ wɛnt sˈmuðli ənd gɑt ðɛr fərst ˈtaɪtəl. hæd wən əv hɪz bɛst ˈtərnəmənts əv ðə jɪr ɔn ðɪs əˈkeɪʒən, ˈpʊtɪŋ ɪn ən ˈwərði pərˈfɔrməns wɪθ ðə ɪˈvɛnts haɪəst ˈreɪtɪŋ. hɪz wɑz ˈɔlsoʊ ˌpɑrˈtɪkjələrli ɔn faɪər wɪθ kɪlz pər raʊnd ənd 14 ər mɔr kɪlz wɪθ ɪt ɪn 6 əv hɪz 8 mæps, ˈmeɪkɪŋ ɪt wən əv ðə bɛst ˈsɪŋgəl ɪˈvɛnt pərˈfɔrmənsɪz əv ðə jɪr ɪn ðət rɪˈgɑrd. wɪθ ən pərˈfɔrməns ɪn ˈbərmɪŋˌhæm "aɪ hæv ə lɔt əv gʊd ˈmɛməriz əˈbaʊt ðɪs jɪr, aɪ θɪŋk ðə fərst wɑz ˈbərmɪŋˌhæm wɪθ, ɪt wɑz ðə ˈmeɪʤər ɪˈvɛnt ðət wi wən." fər ðɛr θərd ɪˈvɛnt ɪn θri ˈwiˌkɛndz, ˈtrævəld tɪ ˈʤərməni nɛkst fər wən spərɪŋ ˈfaɪnəlz. ˈæftər ˈgɪtɪŋ riˈvɛnʤ əˈgɛnst ðə brɪts əv ɪn wət ˈɛndɪd əp biɪŋ ə kloʊz mæʧ ðə ˈfrɛnʧmɛn hæd tɪ mit nɪp əˈgɛn. əˈnəðər əˈtɛmpt hæd feɪld bət ɪn noʊ weɪ θæŋks tɪ ɛz hi wəns əˈgɛn pʊt əp ə gʊd faɪt əˈgɛnst ðə swidz, ənd pleɪd wɛl ɪn ɔl ˈəðər mæps tɪ ˈfɪnɪʃ wɪθ ən ˌɪmˈprɛsɪv dɪˈspaɪt hɪz tim ˈboʊstɪŋ ˈoʊnli ə mæp ˈrɛkərd fər ðə ˈtʊrnəmənt. wɪθ noʊ taɪm tɪ rɛst, nɛkst ˈwiˌkɪnd sɔ ˈtrævəl əˈkrɔs ðə pɑnd tɪ ˈdæləs, ˈtɛksəs fər ˈsizən 13 ˈgloʊbəl ˈfaɪnəlz. ˈæftər ə ˈʃeɪki stɑrt əˈgɛnst daɪˈnæmɪk, ðeɪ bit ðə poʊlz ənd ðɛn mɛt nɪp ɪn ðə ˈəpər ˈbrækɪt ˈfaɪnəl. ðeɪ wʊd kəm ˈkloʊzər ðən ˈɛvər bət stɪl luz tu mæps ɪn ə ˈhɑrtˌbreɪkɪŋ ˈfæʃən, dɪˈspaɪt ˈlidɪŋ æt ðə hæf boʊθ taɪmz. tɪ ˈfɑloʊ ðət əp, ðə nɛkst deɪ ðeɪ lɔst tɪ ˈspɛnsər "hiko*" ˈmɑrtənz ɪn ə ˈsɪmələr sɪˈnɛrioʊ fər əˈnəðər ˌdɪsəˈpɔɪnɪŋ pleɪs. ˈivɪn ðoʊ hi dɪd wɛl əˈgɛnst nɪp jɛt əˈgɛn, ˈoʊvərˌɔl hæd hɪz wərst pərˈfɔrməns ənˈtɪl ðət pɔɪnt, ˈpʊtɪŋ əp ˈoʊnli kɪlz pər raʊnd fər ə bɪˈloʊ ˈævərɪʤ ˈreɪtɪŋ. ˈgɪtɪŋ ˈrɛdi tɪ pleɪ' læst ɪˈvɛnt ɪn ə fju wiks ˈæftər ðɛr rɪˈtərn frəm juˈnaɪtɪd steɪts meɪd ðə dɪˈsɪʒən tɪ riˈmuv frəm ðə tim, ɪm ɛz ðə ˈrizən fər ðɛr ˈrisənt ˈlɔsɪz ənd læk əv prəˈgrɛʃən, wɪʧ wɑz ə ˈrɪli hɑrd hɪt fər ðə stɪl pleɪər. "ɪt wɑz ˈvɛri hɑrd, aɪ fɛlt bæd fər ə fju mənθs. fər mi ɪt wɑz ɪkˈspɛktɪd bət aɪ θɔt aɪ wɑz biɪŋ ˈpɛrəˌnɔɪd. ˈmeɪbi bɪˈkəz aɪ fɛlt bɪˈloʊ ðɛm, aɪ wɑz jəŋ wɪn rɪˈkrutɪd mi, aɪ ˈdɪdənt pleɪ æt ðɪs ˈlɛvəl ˌbiˈfɔr, soʊ ɪt wɑz maɪ fərst jɪr wɪn aɪ kʊd pleɪ æt ðə tɔp ˈlɛvəl. ðeɪ riˈmuvd mi bɪˈkəz aɪ ˈdɪdənt meɪk səˈfɪʃənt ˈɛfərts tɪ bɪˈkəm ˈbɛtər ənd hɛlp maɪ tim laɪk aɪ hæv tɪ du. aɪ wɑz ˈprɪti ˌɪməˈtjʊr, aɪ lækt ˈkɑnfədɛns ɪn ˌmaɪˈsɛlf, ðæts waɪ maɪ wɑz ˈdɪfərənt wɪθ ðən naʊ." əˈbaʊt biɪŋ kət frəm ðə tim ɪt ˈdɪdənt teɪk ɪm lɔŋ tɪ faɪnd ə nu tim, ɛz hi wund əp ˈʤɔɪnɪŋ tɪ ˌriˈpleɪs ˈfæbin "æˈtlænɪs" deguiraud*. ənd θri deɪz ˈleɪtər ðeɪ wʊd ɔˈrɛdi meɪk ðɛr fərst bum, dɪˈfitɪŋ ɪn ðə fərst wən ˈsəmər kəp. ðə tim wʊd kənˈtɪnju ˈbɪldɪŋ əp ɪts ˌrɛpjəˈteɪʃən wɪθ səkˈsɛs ˈɔnˌlaɪn, ˈgɪtɪŋ tɪ əˈnəðər ˈfaɪnəl ɪn kəp 3 ˈwɪnɪŋ kəp 4 ənd ˈleɪtər kˈwɑləˌfaɪɪŋ fər ðə læn ˈfaɪnəlz, ˌɔlˈðoʊ ɪn pleɪs ˈæftər ˈwɛstərn wʊlvz. ɪn əˈnəðər ˈɔnˌlaɪn ˌkɑmpəˈtɪʃən, lig ˈsizən 2 wɛnt ɔn tɪ dɪˈfit ɪn ðə kˈwɔrtərz, ˈɛpsəˌlɑn ɪn ðə ˈsɛmaɪz ənd ɪˈvɛnʧəwəli ənd tɪ ˈɛvriˌwənz səˈpraɪz nɪp ɪn ðə grænd ˈfaɪnəl wɑz ðə timz meɪn stɑr ɔn ðət roʊd tɪ hɪz fərst ˈvɪktəri ˈoʊvər ðə swidz, ənd hi hæd ˈɔlsoʊ hɛlpt ðɛm sɪˈkjʊr ə spɑt æt ˈsəmər baɪ ˈwɪnɪŋ ðə lig. "[əˈnəðər greɪt ˈmɛməri wɑz] ðə ˈɔnˌlaɪn ˈtʊrnəmənt wɪθ, wi hæd ə lɔt əv ˌɪnˈtɛns ˈmæʧɪz ənd wi bit nɪp ɪn ˈfaɪnəl, ðət wɑz maɪ taɪm, ənd ˈivɪn ðoʊ ɪt wɑz ɔn ðə ˈɪntərˌnɛt wi wər ˈrɪli ˈhæpi." dɪˈspaɪt ðɛr ˌɪmˈprɛsɪv fɔrm ˈɔnˌlaɪn, wərənt jɛt ˈsɪriəsli kənˈsɪdərd ɛz wən əv ðə tɔp timz ɪn ðə sin bət ðeɪ wʊd pruv ðɛmˈsɛlvz ɪn jönköping*, ɛz wʊd hɪmˈsɛlf. ˈstɑrtɪŋ wɪθ hɪz bɛst mæp pərˈfɔrməns əv ðə jɪr ɪn ə wɪn ˈoʊvər ˈɔltərˌneɪt ˈreɪtɪŋ), wɛnt ɔn tɪ pleɪ greɪt ɪn ˈɛvəri mæʧ, ˈlidɪŋ tɪ ðə ˈæftər ˈbitɪŋ ənd ðɛn ˈgeɪmɪŋ ɪn ðə ðeɪ ˈstɑrtɪd greɪt əˈgɛnst ˈɛpsəˌlɑn ɪn ðə ˈsɛmaɪz ɛz wɛl, ˈteɪkɪŋ ðə fərst mæp bət ðə jəŋ swidz wʊd teɪk ðə ˈsɛkənd wən ɔn ˈoʊvərˌtaɪm ənd ðɛn ðə θərd mæp wʊd ɛnd wɪθ ˈhævɪŋ tɪ ˈsɛtəl fər pleɪs. jəŋ wɑz ðə meɪn ˈrizən fər ðɛr səkˈsɛs, ɛz hi hæd hɪz bɛst ˈtʊrnəmənt əv ðə jɪr. wɪθ kɪlz pər raʊnd ənd ə ˈreɪtɪŋ, hi wɑz wən əv ðə bɛst pleɪərz æt ðə ɪˈvɛnt, ənd hɪz wɑz ˈɔlsoʊ ɔn faɪər ˈhævɪŋ kɪlz pər raʊnd wɪθ ɪt. ˈkɛrid tɪ pleɪs æt ˈsəmər "fər ðɪs ɪˈvɛnt wi hæd ə ˌbiˈfɔr wɛr wi wən ˈoʊvər nɪp, soʊ wi wər ˈrɪli ˈkɑnfədənt fər dhs*, wi ˈdɪdənt hæv ˈɛni ˈdɪfɪˌkəltiz tɪ meɪk ðə pleɪɔfs, ənd wi wər ˈləki wɪθ ðə ˈbrækɪt. wi pleɪd ɪn ðə kˈwɔrtər ənd wi meɪd ən əˈmeɪzɪŋ ˈkəmˌbæk ɔn treɪn ənd wən ˈprɪti ˈizəli ɔn nuk. ˈæftər ðət wi pleɪd ˈɛpsəˌlɑn, wəns əˈgɛn wi wər ˈrɪli ˈkɑnfədənt, ˈmeɪbi tu məʧ... wi wən ɔn ˌɪnˈfərˌnoʊ ɛz ðə mæp, ənd ðə mæp wɑz mərɑʒ. aɪ doʊnt rɪˈmɛmbər haʊ ɪgˈzæktli ɪt wɛnt, bət aɪ noʊ ðət wi lɛd ðə mæp ənd aɪ θɪŋk ðə moʊst ˌɪmˈpɔrtənt ˈmoʊmənt ɪn ðə mæʧ wɑz kləʧ wɪn hi wɑz ə ræmp, ɪt wɑz ə ˈvɛri ˌɪmˈpɔrtənt raʊnd ənd wi lɔst ðə mæp ˈæftər ˈoʊvərˌtaɪm. wi wər ˈrɪli ˌdɪsəˈpɔɪnɪd əˈbaʊt ðɪs rɪˈzəlt ɔn mərɑʒ... ɔn treɪn ðeɪ wər ˈbɛtər ðən ˈjuˈɛs ənd wi ˈkʊdənt du ˈɛniˌθɪŋ..." nɛkst əp ə ˈkəpəl əv wiks ˈleɪtər wɑz wən ˈsəmər ˈfaɪnəlz ənd ðɪs taɪm θæŋks tɪ ðɛr səkˈsɛs æt, wər ə fər æt list ə bərθ. ˌhaʊˈɛvər, ðeɪ lɔst tɪ ɪn ðə ənd hæd tɪ goʊ hoʊm ˈərli ˈfɪnɪʃɪŋ ɪn pleɪs. "[ˈluzɪŋ tɪ ˈɛpsəˌlɑn æt ˈsəmər] wɑz ˈrɪli ˈfrəˌstreɪtɪŋ fər mi, ənd ˈæftər ðət aɪ hæd ə lɑrʤ drɔp ɪn ˌmoʊtəˈveɪʃən. ðæts waɪ aɪ wɑz ə "goʊst" fju wiks ˈleɪtər ɪn. naʊ aɪ hæv ə lɔt əv rɪˈgrɛts, bɪˈkəz əv maɪ drɔp əv ˌmoʊtəˈveɪʃən aɪ meɪd ðə ˈbɪgəst mɪˈsteɪk ɪn maɪ kərɪr æt ðɪs ˈmoʊmənt, ðə əv." ðə tim əˈfɪʃəli dɪsˈbændɪd du tɪ ə læk əv ˌmoʊtəˈveɪʃən æt ðə ˈlætər pɑrt əv ˈɔgəst, bət ˌbiˈfɔr ðət hæd əˈnəðər ɪˈvɛnt wɪʧ wʊd mɑrk hɪz jɪr. ɪn ðə ˈmɪdəl əv ˌʤuˈlaɪ hi wɑz æst tɪ əˈtɛnd prɑg ˈʧælənʤ ɪn ʧɛk riˈpəblɪk wɪθ hɪz ˈtiˌmeɪt dæn "ˈeɪˌpɛks" ɪn ən ˌɪnərˈnæʃənɑl mɪks tim kriˈeɪtɪd baɪ "ˈoʊvərˌdraɪv" (wɪʧ ˈɔlsoʊ kənˈteɪnd tu ˈpɑlɪʃ stɑrz ˈfɪlɪp "ˈnioʊ" ənd "taz*" ˈwɔɪtəs). goʊɪŋ ˈɪntu ðə ɪˈvɛnt wɪˈθaʊt bɪg ˌɛkspɛkˈteɪʃənz ər ˈɛni kaɪnd əv ˌprɛpərˈeɪʃən, ðə tim ʃɑkt ðə wərld, ˈkəmɪŋ bæk frəm mæp daʊn ɪn iʧ əv ðɛr pleɪɔfs ˈsɪriz əˈgɛnst tɪ ɪˈvɛnʧəwəli wɪn ðə ɪˈvɛnt ˈoʊvər wɑz ðə fərst stɑr əv ðə ˈtʊrnəmənt, ˈpʊtɪŋ ɪn əˈnəðər pərˈfɔrməns wɪθ kɪlz pər raʊnd wɪθ ðə) ənd ə ˈreɪtɪŋ.' bɛst frəm prɑg ˈʧælənʤ "aɪ θɪŋk maɪ bɛst ˈmɛməri [əv 2013 wɑz ðə ˈvɪktəri wɪθ bɪˈkəz wi wər ˈoʊnli ˈʧælənʤərz, ənd tɪ bi ˈɑnəst aɪ ɪkˈspɛktɪd æt ðɪs ɪˈvɛnt. ənd əv kɔrs aɪ pleɪd wɪθ ˈnioʊ ənd taz*, aɪ wɑz ˈvɛri praʊd." hɪz læk əv ˌmoʊtəˈveɪʃən wɪʧ lɛd tɪ ðə əv ˈlæstɪd ənˈtɪl ɑkˈtoʊbər, wɪn hi ˈfaɪnəli ʤɔɪnd ə tim kɔld wi gɑt geɪm, əˈgɛn ˈlɪŋkɪŋ əp wɪθ hɪz ˈpriviəs ˈlidər ˈvɪnsɪnt "ˈhæpi" cervoni*. ˈæftər ˈfeɪlɪŋ tɪ kˈwɑləˌfaɪ fər wən fɔl ˈfaɪnəlz du tɪ ˈlɔsɪz tɪ nɪp ənd ˈsərbiən saɪd ˈrɛfˌjuz ɪn ðə grup steɪʤ, ðeɪ meɪd ə ˈlaɪˌnəp ʧeɪnʤ ˈbrɪŋɪŋ ɪn "uzzziii*" ɪn hoʊps əv ˈgɪtɪŋ ˈbɛtər əˈhɛd əv ðə frɛnʧ kˈwɑləˌfaɪər. ˌhaʊˈɛvər, ðeɪ wər ˈbɛstɪd baɪ əˈvɛnʧuəl ˈfaɪnəlɪsts əv ðə meɪn ɪˈvɛnt, ənd, soʊ hæd mɪst aʊt ɔn əˈnəðər bɪg ɪˈvɛnt ˈæftər ˈɔlsoʊ ˈmɪsɪŋ ˈbukəˌrɛst. wən mɔr ˈlaɪˌnəp ʧeɪnʤ ˈfɑloʊd wɪn swɪs pleɪər ˈmæθju "ˈmeɪniˌæk" ʤɔɪnd tɪ kəmˈplit ə ˈtriˌoʊ frəm æt ðə bɪˈgɪnɪŋ əv noʊˈvɛmbər. ðeɪ ˌɪˈmiˌdiətli tʊk pɑrt ɪn ðə ˈwɪntər ˈɔnˌlaɪn kˈwɑləˌfaɪər ənd traɪəmft ˈæftər wɪnz ˈoʊvər xapso*, ənd ˈɛnroʊ griffins*. wɪθ ə spɑt æt ðə ˈbɪgəst ɪˈvɛnt ɪn ˈhɪstəri, ðeɪ sun əˈnaʊnst ðeɪ doʊnt hæv ɪˈnəf fəndz fər ðə trɪp, bət kˈwɪkli ʤəmpt ɪn tɪ hɛlp ənd wʊd ɛnd əp ˈmeɪkɪŋ ən əˈpɪrəns æt ðə ˈtʊrnəmənt. ðeɪ wund əp ɪn ə grup wɪθ nɪp, nɔrθ əˈmɛrɪkənz ənd hɪz prɑg ˈtimˌmeɪts frəm ˈpoʊlənd hu wər naʊ ɪn ə nu tim kɔld ˌjunəˈvərsəl ˈsoʊlʤərz. nɑt məʧ wɑz ɪkˈspɛktɪd əv tim, bət ˈsəmˌhaʊ ðeɪ ˈmænɪʤd tɪ gɪt θru ðə grup. æt ˈwɪntər ˈæftər ˈluzɪŋ tɪ ðə swidz, ðeɪ bit ðə ˈəðər tu timz, waɪl ˈmeɪkɪŋ wən əv ðə ˈbɪgəst ˈkəmˌbæks əv ðə jɪr ɪn ðə ˌdɪˈsaɪdɪŋ mæʧ əˈgɛnst ˈjuˈɛs wɪθ ə ˈsɛkənd hæf wɪn). əˈgɛnst ˌɪˈmiˌdiətli ˈfɑloʊd, bət ˈsɪmələrli tɪ ˈsəmər, ˈrɑbɪn "flusha*" koʊ. wʊd tim ənd meɪk ðɛm ˈfɪnɪʃ ɪn pleɪs. "æt, ɪn maɪ əˈpɪnjən wi hæd ðə moʊst ˈdɪfəkəlt soʊ wi wərənt ˈrɪli ˈkɑnfədənt. bət ˈɛvriˌθɪŋ ɪz ˈpɑsəbəl ənd wi nu ðət, ˈmeɪnli ˈæftər wi sɔ wɪn. wi θɔt wɑz ˈbɛtər bət wi bit ðɛm ˈprɪti ˈizəli. əˈgɛnst ðə poʊlz wi pleɪd ˌɪnˈfərˌnoʊ ənd wi ˈstɑrtɪd ɛz ti, wi lɔst ɪt wɑz ə ˈrɪli bæd saɪd ɪn wɪʧ wi wərənt ˈfoʊkɪst ɪˈnəf ənd wi wər laɪk əsˈlip. bət ɪn ðət kaɪnd əv ɪˈvɛnt wi ˈkʊdənt gɪv əp, ənd wɪn wi ˈstɑrtɪd ðə kɔrt saɪd wi hæd ə riˈbut wɪn ˈmeɪniˌæk meɪd ən eɪs ɪn ðə ˈpɪstəl raʊnd. ˈæftər ðət wi meɪd ə greɪt ˈkəmˌbæk, bət aɪ ˈwəzənt səˈpraɪzd əˈbaʊt ɪt bɪˈkəz wi hæd ˈvɛri gʊd teamspirit*, ɔl əv ˈjuˈɛs wər gʊd ˈdʊrɪŋ ðə hoʊl əv ðə ˈtʊrnəmənt, wi dɪd ɑr ʤɑbz, ənd wɪn wi wən ˈoʊvər ˈjuˈɛs wi əˈʧivd wət wi ˈwɔntɪd. wi pleɪd ɪn kˈwɔrtər raɪt ˈæftər wi hæd ə ˈdɪfəkəlt grup steɪʤ, soʊ wi wər ˈprɪti taɪərd ɔn ˌɪnˈfərˌnoʊ, ðə 1stmap*, wi ˈstɑrtɪd ˈbædli laɪk wi dɪd əˈgɛnst ˈjuˈɛs ənd ðɪs taɪm wi ˈdɪdənt meɪk ə ˈkəmˌbæk. ðə mæp wɑz ɔn wɪʧ tɪ bi ˈɑnəst, wi wərənt ˈrɪli ˈkɑnfədənt, bɪˈkəz wi ˈdɪdənt ˈrɪli pleɪ ðɪs mæp ˌbiˈfɔr ɛz tim. bət wi dɪd ɪt, wi bit ðɛm ˈprɪti ˈizəli, ənd wi wər səˈpraɪzd. ɔn treɪn ɪt wɑz ðə seɪm θɪŋ, wi wərənt ˈrɛdi fər ðɪs mæp (wi hæd ˈoʊnli 2 mæps fər ðɪs ɪˈvɛnt...). ənˈfɔrʧənətli ɪts wən əv ðɛr bɛst mæps, ənd aɪ hæd wən əv maɪ wərst mæps ˈɛvər soʊ wi lɔst... bət ðɪs tɔp 8 wɑz ˌənɪkˈspɛktɪd ənd wi wər ˈrɪli praʊd ənd glæd tɪ riʧ ɪt." hɪmˈsɛlf dɪd wɛl ɪn ðə grup steɪʤ, əˈspɛʃəli ˈdʊrɪŋ ðə ˈkəmˌbæk əˈgɛnst ˈjuˈɛs, bət ðə ˈsɪriz brɔt hɪz ˈoʊvərˌɔl pərˈfɔrməns bɪˈloʊ ˈævərɪʤ ɛz hi ˈfɪnɪʃt wɪθ hɪz ˈreɪtɪŋ. ˌnɛvərðəˈlɛs, hi ˈɛndɪd əp ɛz ðə bɛst əv ðə ɪˈvɛnt wɪθ kɪlz pər raʊnd. ˈæftər ˈwɪntər hi hɛlpt riʧ ðə ˈfaɪnəl əv ˈmæstərz baɪ fər", bət ðə swidz wər tu məʧ tɪ teɪk fər ðə mɪkst skwɑd ɪn ðə ɛnd. ɪn hɪz læst ˈaʊtɪŋ əv 2013 ˈtrævəld tɪ ˈbɛlˌgrɑd, ˈsərbiə fər ðə ˈfaɪnəl əv ˌjʊrəˈpiən ˈʧæmpiənˌʃɪp bɪtˈwin fræns ənd ˈdɛnˌmɑrk. ənˈfɔrʧənətli fər ɪm, dɪˈspaɪt ˈwɪnɪŋ ðə fərst mæp, fræns lɔst ənd hi keɪm bæk hoʊm wɪθ ə ˈsɪlvər ˈmɛdəl. ˈsɪlvər ˈmɛdəl wɪθ fræns ɪn ðə ˌjʊrəˈpiən ˈʧæmpiənˌʃɪp ɛz wən əv ðə tɔp 8 timz æt ˈwɪntər, wɪl hæv ə spɑt æt ðə nɛkst ˈmeɪʤər, wən katowice*, ənd ˈdɛfənətli wɔnts tɪ du ˈivɪn ˈbɛtər ɪn 2014 "aɪ θɪŋk ɑr tim ɪz ˈrɪli gʊd, wi hæd ə gʊd rɪˈzəlt æt wɪˈθaʊt ə gʊd ˌprɛpərˈeɪʃən, bət naʊ ˈɛvəri tim wɪl peɪ əˈtɛnʃən tɪ ˈjuˈɛs, soʊ ɪt wɪl bi ˈivɪn mɔr ˈdɪfəkəlt tɪ gɪt səm rɪˈzəlts naʊ! bət aɪ bɪˈliv ɪn ˈjuˈɛs. ənd əˈbaʊt ɑr goʊlz fər 2014 aɪ doʊnt noʊ ˈrɪli, ˈmeɪbi wɪn ə ˈmeɪʤər ɪˈvɛnt, bɪˈkəz ˈɛvriˌθɪŋ ɪz ˈpɑsəbəl ɪn, ənd ˈpərsənəli aɪ wɔnt tɪ wərk ɔn maɪ dɪˈfɔlt ənd bi mɔr ɪˈfɪʃənt. aɪ θɪŋk ðɪs jɪr wɑz gʊd fər mi, bət ɪf əm ɪts nɑt ɪˈnəf ənd aɪ wɔnt tɪ bi ˈbɛtər ənd mɔr kənˈsɪstənt ɪn 2014 bət ðə moʊst ˌɪmˈpɔrtənt ɪz maɪ tim ənd maɪ meɪn goʊl ɪz tɪ si maɪ tim wɪn!" waɪ ɪz hi ðə bɛst pleɪər əv 2013 ˈkɛˌni "kennys*" ˈoʊnli tərnd 18 ɪn meɪ læst jɪr, bət hi ɔˈrɛdi həz mɔr ɪkˈspɪriəns ðən moʊst pleɪərz. kəmˈpɛrd tɪ ðə weɪ hi ˈɛndɪd 2012 hi ˈdɪdənt pleɪ ɔn ðə seɪm ˈlɛvəl ɪn hɪz ˈpɪriəd ɪn 2013 wɪʧ wɑz stɪl kwaɪt gʊd, ənd ˈæftər ˈmuvɪŋ ɔn tɪ hɪz nu timz hi ˌɪmˈpruvd ɔl əv ðɛm wɪθ hɪz ˈprɛzəns. wən əv ðə meɪn θɪŋz ðət meɪk ɪm ðə geɪm ˈʧeɪnʤər ðət hi ɪz ɪz awping*, ənd hi wɑz noʊ daʊt wən əv ðə bɛst ɪn ðət roʊl ˈdʊrɪŋ ðə jɪr ɪn wɪʧ hi rɪˈkɔrdɪd kɪlz pər raʊnd. ɛz fɑr ɛz tim əˈʧivmənts goʊ, ˈæftər ə ˈnəmbər əv ˈpleɪsɪz ənd wən ˈtaɪtəl wɪθ, hi hɛlpt riʧ pleɪs æt ˈsəmər ənd ˈleɪtər brɔt tɪ ðə əv ðə ˈbɪgəst ɪˈvɛnt əv ðə jɪr. ˌhaʊˈɛvər, hɪz ˈoʊnli ˈtaɪtəl wɑz frəm ə ɪˈvɛnt mæd ˈbərmɪŋˌhæm, ənd hi wɑz ˈsəmˈwət ˌɪnkənˈsɪstənt, ˈhævɪŋ ə fju bɪˈloʊ ˈævərɪʤ ɪˈvɛnts, wɪʧ ɔl brɔt ɪm daʊn tɪ ðə pleɪs. ɔn əˈnəðər noʊt, hi wɑz ðə bɛst ˈpɪstəl əv ðə jɪr, rɪˈkɔrdɪŋ kɪlz pər raʊnd wɪθ ɔl ˈpɑsəbəl ˈpɪstəlz, mɔr ðən ˈɛni ˈəðər pleɪər. boʊld priˈdɪkʃən ʤɪst ɛz ə ˈkəpəl əv pleɪərz ˌbiˈfɔr ɪm ɔˈrɛdi dɪd, prɪˈdɪktɪd ɛz ðə nɛkst bɪg stɑr ɪn ðə geɪm." wɑz ˈrɪli ˌɪmˈprɛsɪv ðɪs jɪr ˈivɪn ðoʊ hi həz bɪn noʊn ˈoʊnli fər fju ə mənθs. hi ɪz ˈrɪli ɪˈfɪʃənt wɪθ hɪz ənd wɪθ ˈraɪfəl ɛz wɛl, aɪ woʊnt bi səˈpraɪzd ɪf nɛkst jɪr hiz ɔn ðɪs wət dɪd ju θɪŋk əv ˈkɛˌni "kennys*" pərˈfɔrməns ɪn 2013 ɪz ðə pleɪs tu loʊ, tu haɪ ər ʤɪst raɪt fər ɪm? kip jʊr ˈbraʊzərz lɑkt ɔn ɛz wi hæv ˈilɛvən mɔr pleɪərz ɪn ɑr tɔp 20 əv 2013 ˈræŋkɪŋ baɪ esportsventure.com*!
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one of the best awpers of the year, kenny "kennys" schrub, takes the 12th place on our top 20 of 2013 by esportsventure.com. even though the 18-year-old frenchman was cut from verygames in may, he went on to help ldlc.com and recursive achieve notable placements at both dreamhack events.
basic info and history
kenny "kennys" schrub showed talent at a very young age, and he was trialed by verygames in december of 2011 when he was only 16 years old. but he didn't have any kind of experience in his career at that point, so the french giants picked up michael "mk" zaidi instead.
he took his first steps on lan with extensive in 2012, only to find verygames calling in april after zaidi was removed. the youngster jumped at the opportunity and joined the most famous cs:source team in history to help them get back on top after a 9th-12th place copenhagen games.
it wasn't long before the team switched to cs:go in september, and schrub was quickly labeled a rising star in the new game for his great performances at dreamhack valencia and eswc. the team would end up reaching the final of every event they attended but as a rule, losing to nip when they got there. by the end of 2012 schrub had become the team's top fragger despite being an awper, and was even putting up big numbers in losses to the swedes.
at the start of 2013, verygames added adil "scream" benrlitom in hopes of going that one step further, but they didn't start so great as they lost to virtus.pro in fnatic fragout cs:go league to finish 3rd.
mad catz vienna at the end of february was the first time we saw the new lineup in action, but they didn't do as well as expected, having lost to anexis both in the group stage, and then in the semi-final, for their first 3rd place in cs:go.
schrub played solid having a 1.10 rating, but not at the same level as in previous tournaments since benrlitom was now the team's primary fragger. he even used the awp less than ever before, for 30% of his kills (compared to an average 44% at lan events in 2012), and ended up with the event's 3rd best 0.22 awp kpr.
kennys in vienna
their fortunes didn't improve much at copenhagen games, with the team for the second time in a row failing to reach the final, this time losing to their old nemesis nip and eventually 4-16 in the lower bracket final to their new nemesis ex-anexis, now called western wolves.
even though once again only 3rd best in his team, schrub did better overall, with a 1.21 rating and putting up the most resistance in yet another loss to the swedes. he also improved in the sniping department, having 0.37 kills per round and in total 8 maps with double digit awp kills.
one week later they would finally climb to the top of the podium at mad catz birmingham, although nip and virtus.pro didn't attend that event. they had some trouble early on, losing to british anexis in the group stage, and then needing overtime to win the second semi-final map over fm.toxic, but in the final against fnatic everything went smoothly and verygames got their first title.
schrub had one of his best tournaments of the year on this occasion, putting in an mvp worthy performance with the event's highest 1.30 rating. his awp was also particularly on fire with 0.48 kills per round and 14 or more kills with it in 6 of his 8 maps, making it one of the best single event performances of the year in that regard.
kennys with an mvp-worthy performance in birmingham
"i have a lot of good memories about this year, i think the first was madcatz birmingham with verygames, it was the 1st major event that we won."
for their third event in three weekends, verygames travelled to germany next for raidcall ems one spring finals. after getting revenge against the brits of anexis in what ended up being a close match (16-1, 9-16, 16-14), the frenchmen had to meet nip again.
another attempt had failed (3-16, 14-16), but in no way thanks to schrub as he once again put up a good fight against the swedes, and played well in all other maps to finish with an impressive 1.23 tournament-rating despite his team boasting only a 2-3 map record for the tournament.
with no time to rest, next weekend saw vg travel across the pond to dallas, texas for esea season 13 global finals. after a shaky start against dynamic, they beat the poles esc (16-10, 16-9) and then met nip in the upper bracket final.
they would come closer than ever but still lose two maps in a heartbreaking fashion, 14-16, despite leading at the half both times. to follow that up, the next day they lost to spencer "hiko" martin's quantic in a similar scenario (20-22, 14-16) for another disappointing 3rd place.
even though he did well against nip yet again, schrub overall had his worst performance until that point, putting up only 0.66 kills per round for a below average 0.98 rating.
verygames getting ready to play
kennys' last event in verygames
a few weeks after their return from united states verygames made the decision to remove schrub from the team, deeming him as the reason for their recent losses and lack of progression, which was a really hard hit for the still 17-year-old player.
"it was very hard, i felt bad for a few months. for me it was expected but i thought i was being paranoid. maybe because i felt below them, i was young when verygames recruited me, i didn't play at this level before, so it was my first year when i could play at the top level. they removed me because i didn't make sufficient efforts to become better and help my team like i have to do. i was pretty immature, i lacked confidence in myself, that's why my playstyle was different with verygames than now." - about being cut from the team
it didn't take him long to find a new team, as he wound up joining ldlc.com to replace fabien "atlantis" deguiraud. and three days later they would already make their first boom, defeating verygames 16-13 in the first raidcall ems one summer cup.
the team would continue building up its reputation with success online, getting to another final in cup #3, winning cup #4 and later qualifying for the lan finals, although in 2nd place after western wolves.
in another online competition, fnatic fragout league season 2, ldlc.com went on to defeat virtus.pro in the quarters, epsilon in the semis and eventually and to everyone's surprise nip in the grand final (16-9, 25-23). schrub was the team's main star on that road to his first victory over the swedes, and he had also helped them secure a spot at dreamhack summer by winning the league.
"[another great memory was] the fnatic fragout online tournament with ldlc, we had a lot of intense matches and we beat nip in final, that was my 1st time, and even though it was on the internet we were really happy."
despite their impressive form online, ldlc.com weren't yet seriously considered as one of the top teams in the scene but they would prove themselves in jönköping, as would schrub himself.
starting with his best map performance of the year in a 16-1 win over alternate (24:6, 2.39 rating), schrub went on to play great in every match, leading ldlc.com to the semi-final after beating lemondogs 16-7 and then esc gaming in the quarter-final (19-16, 16-4).
they started great against epsilon in the semis as well, taking the first map 16-10, but the young swedes would take the second one on overtime 15-19 and then the third map would end 9-16, with ldlc having to settle for 3rd-4th place.
young schrub was the main reason for their success, as he had his best tournament of the year. with 0.88 kills per round and a 1.33 rating, he was one of the best players at the event, and his awp was also on fire having 0.36 kills per round with it.
kennys carried ldlc to 3rd place at dh summer
"for this event we had a bootcamp before where we won over nip, so we were really confident for dhs, we didn't have any difficulties to make the playoffs, and we were lucky with the bracket. we played esc in the quarter and we made an amazing comeback on train and won pretty easily on nuke. after that we played epsilon, once again we were really confident, maybe too much... we won 16-10 on inferno as the 1st map, and the 2nd map was mirage. i don't remember how exactly it went, but i know that we led the map and i think the most important moment in the match was flusha's 1vs4 clutch when he was a ramp, it was a very important round and we lost the map after overtime. we were really disappointed about this result on mirage... on train they were better than us and we couldn't do anything..."
next up a couple of weeks later was raidcall ems one summer finals and this time thanks to their success at dreamhack, ldlc.com were a lock-in for at least a semi-final berth. however, they lost to fnatic in the quarter-finals and had to go home early (13-16, 11-16), finishing in 5th-8th place.
"[losing to epsilon at dh summer] was really frustrating for me, and after that i had a large drop in motivation. that's why i was a "ghost" few weeks later in ems. now i have a lot of regrets, because of my drop of motivation i made the biggest mistake in my career at this moment, the disbandment of ldlc."
the team officially disbanded due to a lack of motivation at the latter part of august, but before that schrub had another event which would mark his year.
in the middle of july he was asked to attend prague challenge in czech republic with his teammate dan "apex" madesclaire in an international mix team nostalgie created by alexey "overdrive" birukov (which also contained two polish stars filip "neo" kubski and wiktor "taz" wojtas).
going into the event without big expectations or any kind of preparation, the team shocked the world, coming back from map down in each of their playoffs series – against gf-gaming (10-16, 16-8, 16-9), anexis (9-16, 16-13, 16-1) to eventually win the event over natus vincere (7-16, 16-12, 16-12).
schrub was the first star of the tournament, putting in another mvp-worthy performance with 0.93 kills per round (0.45 with the awp) and a 1.36 rating.
kennys' best frags from prague challenge
"i think my best memory [of 2013] was the victory with nostalgie because we were only challengers, and to be honest i expected top3 at this event. and of course i played with neo and taz, i was very proud."
his lack of motivation which led to the disbandment of ldlc.com lasted until october, when he finally joined a team called we got game, again linking up with his previous in-game leader vincent "happy" cervoni.
after failing to qualify for raidcall ems one fall finals due to losses to nip and serbian side refuse in the group stage, they made a lineup change bringing in kévin "uzzziii" vernel in hopes of getting better ahead of the french eswc qualifier.
however, they were bested by eventual finalists of the main event, verygames and clan-mystik, so schrub had missed out on another big event after also missing dh bucharest.
one more lineup change followed when swiss player mathieu "maniac" quiquerez joined to complete a trio from ldlc.com at the beginning of november. they immediately took part in the dreamhack winter online qualifier and triumphed after wins over xapso, mousesports and enro griffins.
with a spot at the biggest event in counter-strike history, they soon announced they don't have enough funds for the trip, but recursive quickly jumped in to help and schrub would end up making an appearance at the $250,000 tournament.
they wound up in a group with nip, north americans ibuypower and his prague teammates from poland who were now in a new team called universal soldiers. not much was expected of schrub's team, but somehow they managed to get through the group.
kennys at dreamhack winter
after losing to the swedes, they beat the other two teams, while making one of the biggest comebacks of the year in the deciding match against us with a 13-1 second half (16-13 win). quarter-final against fnatic immediately followed, but similarly to dreamhack summer, robin "flusha" rönnquist & co. would outplay schrub's team (9-16, 16-13, 10-16) and make them finish in 5th-8th place.
"at dreamhack, in my opinion we had the most difficult groupstage so we weren't really confident. but everything is possible and we knew that, mainly after we saw clan-mystik win eswc. we thought ibuypower was better but we beat them pretty easily. against the poles we played inferno and we started as t, we lost 3-12, it was a really bad side in which we weren't focused enough and we were like asleep. but in that kind of event we couldn't give up, and when we started the ct side we had a reboot when maniac made an ace in the pistol round. after that we made a great comeback, but i wasn't surprised about it because we had very good teamspirit, all of us were good during the whole of the tournament, we did our jobs, and when we won over us we achieved what we wanted. we played fnatic in quarter right after we had a difficult group stage, so we were pretty tired on inferno, the 1stmap, we started badly like we did against us and this time we didn't make a comeback. the 2nd map was dust2 on which to be honest, we weren't really confident, because we didn't really play this map before as team. but we did it, we beat them pretty easily, and we were surprised. on train it was the same thing, we weren't ready for this map (we had only 2 maps for this event...). unfortunately it's one of their best maps, and i had one of my worst maps ever so we lost... but this top 8 was unexpected and we were really proud and glad to reach it."
schrub himself did well in the group stage, especially during the comeback against us, but the fnatic series brought his overall performance below average as he finished with his year-low 0.93 rating. nevertheless, he ended up as the 2nd best awper of the event with 0.29 kills per round.
after dreamhack winter he helped clan-mystik reach the final of fragbite masters by standing-in for hovik "kqly" tovmassian, but the swedes were too much to take for the mixed squad in the end.
in his last outing of 2013, schrub traveled to belgrade, serbia for the final of european championship between france and denmark. unfortunately for him, despite winning the first map, france lost 1-3 and he came back home with a silver medal.
silver medal with france in the european championship
as one of the top 8 teams at dreamhack winter, recursive will have a spot at the next cs:go major, ems one katowice, and schrub definitely wants to do even better in 2014.
"i think our team is really good, we had a good result at dhw without a good preparation, but now every team will pay attention to us, so it will be even more difficult to get some results now! but i believe in us. and about our goals for 2014? i don't know really, maybe win a major event, because everything is possible in cs:go, and personally i want to work on my default and be more efficient. i think this year was good for me, but if i'm 12th it's not enough and i want to be better and more consistent in 2014. but the most important is my team and my main goal is to see my team win!"
why is he the 12th best player of 2013?
kenny "kennys" schrub only turned 18 in may last year, but he already has more cs:go experience than most players. compared to the way he ended 2012, he didn't play on the same level in his verygames period in 2013, which was still quite good, and after moving on to his new teams he improved all of them with his presence.
one of the main things that make him the game changer that he is is awping, and he was no doubt one of the best in that role during the year in which he recorded 0.32 awp kills per round.
as far as team achievements go, after a number of 3rd places and one title with verygames, he helped ldlc.com reach 3rd place at dreamhack summer and later brought recursive to the quarter-final of the biggest event of the year.
however, his only title was from a medium-competitive event mad catz birmingham, and he was somewhat inconsistent, having a few below average events, which all brought him down to the 12th place.
on another note, he was the best pistol of the year, recording 0.17 kills per round with all possible pistols, more than any other player.
bold prediction
just as a couple of players before him already did, schrub predicted clan-mystik's awper as the next big star in the game.
hovik "kqly" tovmassian
"kqly was really impressive this year even though he has been known only for few a months. he is really efficient with his awp and with rifle as well, i won't be surprised if next year he's on this top20!"
what did you think of kenny "kennys" schrub's performance in 2013? is the 12th place too low, too high or just right for him?
keep your browsers locked on hltv.org as we have eleven more players in our top 20 of 2013 ranking by esportsventure.com!
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nu jɔrk (afp*) ʧərʧ, ˈpɪˌkəp trəks ənd daɪv bɑrz ðə ˈɪmɪʤri əv ˈklæsɪk ˈkəntri sɔŋz ɪˈvoʊks "trəˈdɪʃənəl" əˈmɛrɪkən laɪf. naʊ ə ˈraɪzɪŋ ˈnəmbər əv ˈoʊpənli geɪ ər ˈtɛstɪŋ ʤɪst haʊ ˌɪnˈklusɪv ðət ˈvɪʒən kən bi. tu ˈprɑmənənt ˈsɪŋərz keɪm aʊt əv ðə ˈklɑzət wɪˈθɪn aʊərz əv iʧ ˈəðər ɔn ˈθərzˌdeɪ. taɪ ˈhərndən, hu roʊz tɪ ˈstɑrdəm ɪn ðə wɪθ boʊθ ləv ˈbælədz ənd ˈkrɪsʧɪn sɔŋz, dɪˈklɛrd hɪmˈsɛlf tɪ bi ən "aʊt, praʊd ənd ˈhæpi geɪ mæn." ˈhərndən, hu æt 52 həz bɪn ˈmɛrid twaɪs tɪ ˈwɪmən, sɛd ðət hi hæd ˈstrəgəld sɪns hɪz ˈʧaɪlˌdhʊd tɪ kəm tɪ tərmz wɪθ hɪz ˌsɛkʃuˈæləti. hi sɛd hi wɑz naʊ ɪn ə riˈleɪʃənˌʃɪp wɪθ ə mæn ənd həz ˈrɛkənˌsaɪld hɪz ˌkrɪsʧiˈænɪti ənd ˈsɛkʃuəl ˌɔriɛnˈteɪʃən. "aɪ sɪt ɔn ðə ˈteɪlˌgeɪt əv maɪ ˈpɪˌkəp trək, ənd aɪ ˈmɛdəˌteɪt, ənd aɪ tɔk tɪ gɑd," hi toʊld səˈlɛbrɪti ˈmægəˌzin ˈpipəl. sun ˈæftər ðə ˈɑrtɪkəl əˈpɪrd, əˈnəðər ˈmeɪʤər neɪm ɪn ˈkəntri mˈjuzɪk sɛd hi wɑz ˌɪnˈspaɪərd baɪ ˈhərndən tɪ kəm aʊt ˈbɪli ˈgɪlmən, hu fərst ˈɛnərd ðə ˈkəntri ʧɑrts ɪn 2000 æt eɪʤ 11 kəmˈpɛrd wɪθ ˈkɔriəˌgræft ˈkəmɪŋ aʊt, wɑz ˈpərsɪnəl. hi riˈlist ən ˈiˌmoʊʃənəl ˈvɪdioʊ ɔn ˈjuˌtub, seɪɪŋ hi wɑz "skɛrd tɪ dɛθ" tɪ goʊ ˈpəblɪk bət hæd bɪn hərt baɪ ˈgɑsəp əˈbaʊt hɪz laɪf. "biɪŋ ə geɪ meɪl ˈkəntri ˈɑrtɪst ɪz nɑt ðə bɛst θɪŋ," ˈgɪlmən sɛd əv ðə ˈɪndəstri. "ɪf ˈpipəl doʊnt laɪk jʊr mˈjuzɪk, ðæts wən θɪŋ. bət ˈæftər ˈhævɪŋ soʊld ˈoʊvər faɪv ˈmɪljən ˈrɛkərdz, ˈhævɪŋ ə ˈwəndərfəl laɪf ɪn ðə mˈjuzɪk ˈɪndəstri, aɪ nu ˈsəmθɪŋ wɑz rɔŋ wɪn noʊ ˈmeɪʤər ˈleɪbəl ˈwɔntɪd tɪ sɪt daʊn ənd hæv ə ˈmitɪŋ ənd ˈlɪsən tɪ ðə nu stəf," hi sɛd. ðə ˈfɔrmər ʧaɪld stɑr sɛd hi wɑz nɑt əˈʃeɪmd tɪ bi geɪ bət vɔɪst dɪsˈmeɪ ðət hi wɑz "ɪn ə ˈʒɑnrə ənd ɪn ən ˈɪndəstri ðət ɪz əˈʃeɪmd əv mi fər biɪŋ mi." mɔr geɪ θimz ˈoʊpənli geɪ ˈɑrtɪsts hæv hɪˈstɔrɪkəli feɪst ˈɑbstəkəlz əˈkrɔs ˈʒɑnrəz. pɑp ʤaɪənts səʧ ɛz ˈɛltən ʤɑn ənd ʤɔrʤ ˈmaɪkəl ˈweɪtɪd ənˈtɪl wɛl ˈæftər ðeɪ meɪd ɪt bɪg ˌbiˈfɔr biɪŋ ˈpəblɪk əˈbaʊt ðɛr ˌsɛkʃuˈæləti. bɔɪ ʤɔrʤ, wɪn hɪz bænd ˈkəlʧər kləb wɑz ˈtɑpɪŋ pɑp ʧɑrts ɪn ðə ənd hɪz ænˈdrɔʤənəs lʊk feɪst ˈskrutəni, ˈfeɪməsli toʊld ən ˈɪntərvˌjuər ðət hi prɪˈfərd ə "kəp əv ti" tɪ sɛks. ðə pəˈlɪtɪkəl ənd ˈkəlʧərəl ˈklaɪmɪt həz ˈʃɪftɪd ˈræpədli ɪn ˈrisənt jɪrz, wɪθ ˌseɪmˈsɛks ˈkəpəlz naʊ ˈeɪbəl tɪ ˈmɛri ɪn 35 əv ðə 50 ˈjuˈɛs steɪts moʊst ˈrisəntli, θru ə kɔrt dɪˈsɪʒən, ɪn kənˈsərvətɪv ənd ˈkəntri saʊθ ˌkɛrəˈlaɪnə. ˈkəntri mˈjuzɪk ɪz nɑt ˈjunəˌfɔrm ənd ˈdɑli ˈpɑrtən, wən əv ˈbɪgəst neɪmz ɪn ˈnæʃvɪl, həz ən ˈævɪd geɪ ˈfɑloʊɪŋ ðət ʃi həz ɛmˈbreɪst. tu ˈfiˌmeɪl ˈkəntri stɑrz, raɪt ənd k.d*. læŋ, ər boʊθ aʊt əv ðə ˈklɑzət, ˌɔlˈðoʊ ðeɪ hæv pərˈsud kərɪrz aʊt əv ðə ˈnæʃvɪl ˈmeɪnˌstrim. ðə ˈwɪnər fər sɔŋ əv ðə jɪr æt ðɪs jɪrz ˈkəntri mˈjuzɪk əˌsoʊʃiˈeɪʃən əˈwɔrdz wɑz' "ˈfɑloʊ jʊr ˈɛroʊ," huz ˈmɛsɪʤ əv nɑt ˈkɛrɪŋ əˈbaʊt aʊtˈsaɪdərz' ˈʤəʤmənt əˈludz boʊθ tɪ ˌseɪmˈsɛks ləv ənd marijuana-smoking*. "du ju gaɪz ˈriəˌlaɪz wət ðɪs minz fər ˈkəntri mˈjuzɪk?" sɛd ɛz ʃi ækˈsɛptɪd ðə əˈwɔrd. ʃi ðə sɔŋ wɪθ ˈbrændi klɑrk ənd ʃeɪn ˈmækəˌnæli, hu ər boʊθ ˈoʊpənli geɪ bət huz ˈlɪrɪks tɛnd tɪ steɪ gender-neutral*. ðə ˈkəntri ˈɪndəstriz ˈstrəgəlz wɪθ geɪ əkˈsɛptəns hæv ˈɔlsoʊ ˈfiʧərd ˈprɑmənəntli ɔn ðə ˈtɛləˌvɪʒən soʊp ˈɑprə "ˈnæʃvɪl," ɪn wɪʧ wən əv ðə meɪn ˈkɛrɪktərz ɪz geɪ, bət rɪˈmeɪnz ɪn ðə ˈklɑzət ənd ˈivɪn ˈmɛriz ə ˈraɪzɪŋ ˈfiˌmeɪl stɑr ɛz hi traɪz tɪ meɪnˈteɪn hɪz ˈhɑrtθˌrɑb ˈɪmɪʤ wɪθ ˈwɪmən. ˈɪnsələr wərld əv ˈnæʃvɪl ˌbiˈsaɪdz ˈkəntri mˈjuzɪk, hɪp hɑp huz stɑrz ˈɔfən vaɪ ɪn ðɛr ˈmɑʧoʊ brəˈvɑdoʊ ˈɔlsoʊ həz ˈrɛlətɪvli fju ˈoʊpənli geɪ stɑrz. bət fræŋk ˈoʊʃən keɪm aʊt ɪn 2012 ənd rɪˈsivd wərdz əv səˈpɔrt frəm ðə ˈtaɪtənz səʧ ɛz ʤeɪ zi. ˈgɪlmən sɛd ðət hi həz rɪˈsivd ɛnˈkərɪʤmənt frəm ˈfɛloʊ ˈkəntri stɑrz. bət ɪt rɪˈmeɪnz tɪ bi sin haʊ fɑr ˈnæʃvɪl wɪl goʊ. ˈkəntri mˈjuzɪks ˌpɑpjəˈlɛrəti həz groʊn ˈræpədli ɪn ˈrisənt jɪrz, wɪθ ˈkəntri stɑrz rɪˈpitɪdli ˈtɑpɪŋ ðə ˈmeɪnˌstrim ˈbɪlˌbɔrd ʧɑrts. bət ˈkəntri ər ənd si ðɛr ki ˈɔdiəns ɛz 30 ˈwɪmən, sɛd ˈʤoʊzəf brænt, ˈmænəʤɪŋ ˈdɪʤɪtəl ˈɛdɪtər əv aʊt əˈbaʊt ˈnæʃvɪl, ə ˈmənθli ˈnuzˌpeɪpər eɪmd æt ðə kəmˈjunɪti. "ɪts nɑt laɪk ðə ˈɪndəstri ɪz anti-gay*. ðeɪ ər ʤɪst traɪɪŋ tɪ gɛs wət ðeɪ noʊ əˈbaʊt ðɛr kɔr ˈɔdiəns ðət ðɛr wɪl bi ə dɪskəˈnɛkt, ðət ðiz ˈwɪmən, ˈivɪn ɪf ðeɪ ər səˈbərbən mɑmz, ðeɪ stɪl woʊnt faɪnd ðət relatability*," brænt sɛd. ənd waɪl ˈhərndən ənd ˈgɪlmən ər boʊθ bɪg neɪmz, boʊθ ɔˈrɛdi ɪˈstæblɪʃt ðɛmˈsɛlvz ɛz stɑrz jɪrz əˈgoʊ. "ɪf ju hæd jʊr ˈnəmbər wən ðɪs wik ənd ju kəm aʊt ðɪs wik, ðæts wəts goʊɪŋ tɪ bloʊ əp ðə hoʊl məˈʃin," sɛd brænt.
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new york (afp) - church, pickup trucks and dive bars -- the imagery of classic country songs evokes "traditional" small-town american life. now a rising number of openly gay crooners are testing just how inclusive that vision can be.
two prominent singers came out of the closet within hours of each other on thursday. ty herndon, who rose to stardom in the 1990s with both love ballads and christian songs, declared himself to be an "out, proud and happy gay man."
herndon, who at 52 has been married twice to women, said that he had struggled since his childhood to come to terms with his sexuality.
he said he was now in a relationship with a man and has reconciled his christianity and sexual orientation.
"i sit on the tailgate of my pickup truck, and i meditate, and i talk to god," he told celebrity magazine people.
soon after the article appeared, another major name in country music said he was inspired by herndon to come out -- billy gilman, who first entered the country charts in 2000 at age 11.
compared with herndon's choreographed coming out, gilman's was rawly personal. he released an emotional video on youtube, saying he was "scared to death" to go public but had been hurt by gossip about his life.
"being a gay male country artist is not the best thing," gilman said of the nashville-based industry.
"if people don't like your music, that's one thing. but after having sold over five million records, having a wonderful life in the music industry, i knew something was wrong when no major label wanted to sit down and have a meeting and listen to the new stuff," he said.
the former child star said he was not ashamed to be gay but voiced dismay that he was "in a genre and in an industry that is ashamed of me for being me."
- more gay themes -
openly gay artists have historically faced obstacles across genres. pop giants such as elton john and george michael waited until well after they made it big before being public about their sexuality.
boy george, when his band culture club was topping pop charts in the 1980s and his androgynous look faced scrutiny, famously told an interviewer that he preferred a "cup of tea" to sex.
the political and cultural climate has shifted rapidly in recent years, with same-sex couples now able to marry in 35 of the 50 us states -- most recently, through a court decision, in conservative and country music-loving south carolina.
country music is not uniform and dolly parton, one of biggest names in nashville, has an avid gay following that she has embraced.
two female country stars, chely wright and k.d. lang, are both out of the closet, although they have pursued careers out of the nashville mainstream.
the winner for song of the year at this year's country music association awards was kacey musgraves' "follow your arrow," whose message of not caring about outsiders' judgment alludes both to same-sex love and marijuana-smoking.
"do you guys realize what this means for country music?" musgraves said as she accepted the award. she co-wrote the song with brandy clark and shane mcanally, who are both openly gay but whose lyrics tend to stay gender-neutral.
the country industry's struggles with gay acceptance have also featured prominently on the television soap opera "nashville," in which one of the main characters is gay, but remains in the closet and even marries a rising female star as he tries to maintain his heartthrob image with women.
- insular world of nashville -
besides country music, hip hop -- whose stars often vie in their macho bravado -- also has relatively few openly gay stars. but frank ocean came out in 2012, and received words of support from the genre's titans such as jay z.
gilman said that he has received encouragement from fellow country stars. but it remains to be seen how far nashville will go.
country music's popularity has grown rapidly in recent years, with country stars repeatedly topping the mainstream billboard charts.
but country decision-makers are close-knit and see their key audience as 30- 35-year-old women, said joseph brant, managing digital editor of out & about nashville, a monthly newspaper aimed at the lgbt community.
"it's not like the industry is anti-gay. they are just trying to guess what they know about their core audience -- that there will be a disconnect, that these women, even if they are suburban moms, they still won't find that relatability," brant said.
and while herndon and gilman are both big names, both already established themselves as stars years ago.
"if you had your number one this week and you come out this week, that's what's going to blow up the whole machine," said brant.
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ə prəˈpoʊzd reɪt haɪk baɪ ˈɛnərʤi fər hoʊmz wɪθ ˈsoʊlər ˈɛnərʤi ˈpænəlz ɪz ˈsɛndɪŋ ə weɪv əv kənˈsərn θru ðə ˈsoʊlər ˈɛnərʤi ˌɪnstəˈleɪʃən ˈɪndəstri. ˈɛstəˌmeɪts ðət fər ən ˈævərɪʤ ˈboʊldər hoʊm wɪθ ə ˈsoʊlər əreɪ, ðə ˈænjuəl ʧɑrʤ wʊd bi əˈbaʊt 23 bət ðə ˌkɑlərˈɑdoʊ ˈsoʊlər ˈɛnərʤi ˈɪndəstriz əˌsoʊʃiˈeɪʃən ˈkælkjəˌleɪtɪd ðət fər ˈvɛri ɪˈfɪʃənt ˈsoʊlər hoʊmz, ðə fi kʊd æd əp tɪ 200 ə jɪr ər mɔr. ðə ʧɑrʤ wɪl ˈdæmpən ðə seɪl əv ˈsoʊlər ˈɛnərʤi ˈsɪstəmz, sɛd bɛθ hɑrt, dɪˈrɛktər əv ðə ˈsoʊlər ˈɪndəstriz əˌsoʊʃiˈeɪʃən. wən ɪz goʊɪŋ tɪ baɪ ə ˈsɪstəm ˈoʊpən tɪ ən ˈɛskəˌleɪtɪŋ ʧɑrʤ ðɛr ˈneɪbərz paying,”*,” hɑrt sɛd. sɪns mɑrʧ 2006 əˈbaʊt hoʊmz ənd ˈbɪznɪsɪz hæv ˌɪnˈstɔld 33 ˈmɛgəˌwɑts əv ˈsoʊlər paʊər ˈvæljud æt əˈbaʊt 200 ˈmɪljən, əˈkɔrdɪŋ tɪ ðə ˈɪndəstri əˌsoʊʃiˈeɪʃən. ɪz səm ˈtɛnʃən bɪtˈwin ənd ˈsoʊlər paʊər users,”*,” sɛd ˈʤɛrəˌmi ˈnɪkəlz, ˈɛnərʤi dɪˈrɛktər fər ˈgɑrdiənz, ən ɪnˌvaɪrənˈmɛnəl grup. səm dɪˈgri ðeɪ ər ɪn competition.”*.” ðə prəˈpoʊzəl fər ə beɪs ˈmənθli ʧɑrʤ ɔn hoʊmz ðət meter”*” ər sɛl ˈɪntu ðə grɪd ɛz wɛl ɛz ˈpərʧəs paʊər ɪz tɪ hɛlp peɪ fər ðə kɔst əv trænzˈmɪʃən laɪnz, əˈkɔrdɪŋ tɪ əˈfɪʃəlz. ə ʧɑrʤ fər trænzˈmɪʃən ənd ˌdɪstrəˈbjuʃən laɪnz ɪz bɪlt ˈɪntu ðə reɪts fər ðə ˈævərɪʤ ˈkəstəmər, sɛd tɑm ˈhɛnli, ən ˈspoʊksmən. hoʊmz wɪθ ˈsoʊlər ðət nɛt ˈmitər ənd juz fɑr lɛs paʊər peɪd ðət ʧɑrʤ. ˈoʊnli fɛr ˈɛvriˌwən peɪ fər ðə system,”*,” ˈhɛnli sɛd, ˈædɪŋ ðət ðə ɪˈlɛktrɪk grɪd prəˈvaɪdz ə ““backup”*” fər ðə ˈsoʊlər hoʊmz. fər ɪgˈzæmpəl, ðət ˈboʊldər hoʊm wɪθ ə pik mənθ əv 879 wʊd hæv ə ˈmɪnəməm ˈmənθli reɪt əv əˈkɔrdɪŋ tɪ ən ˈfaɪlɪŋ wɪθ ðə ˈpəblɪk juˈtɪlətiz kəˈmɪʃən. ɪn mənθs wɛr ðə haʊs juzd mɔr ɪˌlɛkˈtrɪsəti ðən ðə ˈmɪnəməm reɪt, ðə bɪl wʊd bi haɪər. ɪn mənθs wɛr ɪˌlɛkˈtrɪsəti juz drɑpt bɪˈkəz əv ˈsoʊlər ˈɔfˌsɛts, ðə ˈhoʊˌmoʊnər wʊd stɪl hæv tɪ peɪ ðət ˈmɪnəməm reɪt. ˈɛstəˌmeɪts ðə ˈtoʊtəl ˈænjuəl kɔst tɪ səʧ ə ˈboʊldər ˈhoʊˌmoʊnər fər paʊər ðət ˈæˌkʧuəli juzd wʊd bi bət kənˈsidz ðə reɪt kʊd bi haɪər. ðə ˈɪndəstri əˌsoʊʃiˈeɪʃən sɪz, fər ɪgˈzæmpəl, ðət ə hoʊm ðət juzd 879 fər wən mənθ ənd juzd noʊ ɪˌlɛkˈtrɪsəti fər ðə ˈəðər 11 mənθs wʊd hæv ə ˈmɪnəməm ˈmənθli reɪt əv ˈikwəl tɪ ən ˈænjuəl ʧɑrʤ əv 274 mɑrk ˈʤæfi: ər haʊ ðə ʧɑrʤ wʊd bi sɛt ˈəndər ðə prəˈpoʊzəl, hoʊmz wɪθ ˈsoʊlər ˈsɪstəmz ˌɪnˈstɔld ˈæftər ˈeɪprəl 2010 wʊd peɪ ə ˈmɪnəməm trænzˈmɪʃən ʧɑrʤ beɪst ɔn ðə pik ɪˌlɛkˈtrɪsəti kənˈsəmʃən ɪn ə jɪr.
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a proposed rate hike by xcel energy for homes with solar energy panels is sending a wave of concern through the state’s solar energy installation industry.
xcel estimates that for an average boulder home with a 4.5-kilowatt solar array, the annual charge would be about $23.
but the colorado solar energy industries association calculated that for very efficient solar homes, the fee could add up to $200 a year or more.
the charge will dampen the sale of solar energy systems, said beth hart, director of the solar industries association.
“no one is going to buy a system open to an escalating charge their neighbors aren’t paying,” hart said.
since march 2006, about 3,000 homes and businesses have installed 33 megawatts of solar power valued at about $200 million, according to the industry association.
“there is some tension between xcel and solar power users,” said jeremy nichols, energy director for wildearth guardians, an environmental group. “to some degree they are in competition.”
the proposal for a base monthly charge on homes that “net meter” or sell into the xcel grid as well as purchase power is to help pay for the cost of transmission lines, according to xcel officials.
a charge for transmission and distribution lines is built into the rates for the average customer, said tom henley, an xcel spokesman.
homes with solar that net meter and use far less power haven’t paid that charge.
“it’s only fair everyone pay for the system,” henley said, adding that the electric grid provides a “backup” for the solar homes.
for example, that boulder home with a peak month of 879 kilowatt-hours would have a minimum monthly rate of $22.87, according to an xcel filing with the public utilities commission.
in months where the house used more electricity than the minimum rate, the bill would be higher. in months where electricity use dropped because of solar offsets, the homeowner would still have to pay that $22.87 minimum rate.
xcel estimates the total annual cost to such a boulder homeowner for power that wasn’t actually used would be $22.75.
but xcel concedes the rate could be higher.
the industry association says, for example, that a home that used 879 kilowatt-hours for one month and used no electricity for the other 11 months would have a minimum monthly rate of $22.87, equal to an annual charge of $274.
mark jaffe: 303-954-1912 or mjaffe@denverpost.com
how the charge would be set
under the proposal, homes with solar systems installed after april 2010 would pay a minimum transmission charge based on the peak month’s electricity consumption in a year.
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ˈɪmɪʤ ˈkæpʃən ðə ˈɪnsədənt ˈhæpənd wɪn ˈkæbənət ˈmɪnɪstər ˈændru ˈmɪʧəl wɑz stɑpt frəm ˈsaɪkəlɪŋ θru ˈdaʊnɪŋ strits meɪn geɪts ə pəˈlis ˈɔfɪsər həz əˈpɪrd ɪn kɔrt ʧɑrʤd wɪθ mɪˈskɑndəkt ɪn ə ˈpəblɪk ˈɔfəs, əˈkjuzd əv ˈfɔlsli ˈkleɪmɪŋ tɪ hæv ˈwɪtnəst ðə "plebgate*" ˈɪnsədənt. ðə roʊ bɪtˈwin ˈfɔrmər ˈkæbənət ˈmɪnɪstər ˈændru ˈmɪʧəl ənd pəˈlis ˈɔfɪsərz æt ðə geɪts əv ˈdaʊnɪŋ strit tʊk pleɪs ɔn 19 sɛpˈtɛmbər 2012 ˈpiˈsi kiθ dɪd nɑt ˈɛnər ə pli æt ˌwɛstˈmɪnstər ˈmæʤɪˌstreɪts' kɔrt. ˈpiˈsi ˈwɔlɪs, əv ðə mɛt pəˈlis ˌdɪpləˈmætɪk prəˈtɛkʃən grup, wɪl əˈpɪr æt kraʊn kɔrt ɔn 3 ˈʤænjuˌɛri. ˈwɛrɪŋ ə dɑrk sut wɪθ ə waɪt ʃərt ənd ə dɑrk taɪ, ˈpiˈsi ˈwɔlɪs spoʊk ˈoʊnli tɪ kənˈfərm hɪz neɪm ənd deɪt əv bərθ æt ə brif ˈhirɪŋ. hi ɪz ˈfeɪsɪŋ kleɪmz hi sɛnt ən iˈmeɪl tɪ kənˈsərvətɪv ˈdɛpjəti ʧif wɪp ʤɑn ˈrændəl, hu wɑz hɪz mp*, ˈrɔŋli ˈkleɪmɪŋ ðət hi hæd sin ðə "plebgate*" ˈɪnsədənt ɪn ˈdaʊnɪŋ strit. ɪz ðə neɪm ˈgɪvɪn baɪ ðə ˈmidiə tɪ ðə dɪˈspjut wɪʧ bɪˈgæn wɪn ˈmɪstər ˈmɪʧəl, ðə ðɛn ʧif wɪp, wɑz stɑpt frəm ˈsaɪkəlɪŋ θru ˈdaʊnɪŋ strits geɪts baɪ əˈnəðər pəˈlis ˈɔfɪsər. ˈmɪstər ˈmɪʧəl ədˈmɪts sˈwɛrɪŋ ˈdʊrɪŋ ðə ˈɪnsədənt bət dɪˈnaɪz ɪt wɑz dɪˈrɛktɪd æt ðə ˈɔfɪsərz ər ðət hi kɔld ðɛm plebs*.
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image caption the plebgate incident happened when cabinet minister andrew mitchell was stopped from cycling through downing street's main gates
a police officer has appeared in court charged with misconduct in a public office, accused of falsely claiming to have witnessed the "plebgate" incident.
the row between former cabinet minister andrew mitchell and police officers at the gates of downing street took place on 19 september 2012.
pc keith wallis,53, did not enter a plea at westminster magistrates' court.
pc wallis, of the met police diplomatic protection group, will appear at southwark crown court on 3 january.
wearing a dark suit with a white shirt and a dark tie, pc wallis spoke only to confirm his name and date of birth at a brief hearing.
he is facing claims he sent an email to conservative deputy chief whip john randall, who was his mp, wrongly claiming that he had seen the "plebgate" incident in downing street.
plebgate is the name given by the media to the dispute which began when mr mitchell, the then chief whip, was stopped from cycling through downing street's gates by another police officer.
mr mitchell admits swearing during the incident but denies it was directed at the officers or that he called them plebs.
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ðə 20 wərst bænd neɪmz əv ɔl taɪm moʊst wɪl əˈgri ðət ðɛr ər ə fju ˌjunəˈvərsəli ˈrɛkəgˌnaɪzd bæd bænd neɪmz, səʧ ɛz ˈpədəl əv məd ənd toʊd ðə wɛt ˈsprɑkət. ˌhaʊˈɛvər, səm ˈlɛsər noʊn, mɔr əbˈskjʊr bændz dɪˈzərv tɪ bi ɪkˈspoʊzd fər ðɛr ˈtɛrəbəl neɪmz, ɛz wɛl. fər ðɪs pis, ðə fərst stɛp ɪn dɪˈtərmənɪŋ ðə wərst bænd neɪmz wɑz tɪ goʊ θru ðə ˈdɔntɪŋ, ˈsɛrəbrəl tæsk əv rivˈjuɪŋ ɔl bænd neɪmz ɔn ˈwɪkiˌpiˌdiə ənd ə fju ˈəðər saɪts. ɪt tʊk ə fʊl deɪ bət ðə bæd wənz ʤəmpt aʊt ˈprɪti kwɪk. wət wɑz lɛft wɑz 150 neɪmz ənd ə nid tɪ ˈnɛroʊ ɪt daʊn tɪ ðə wərst əv ðə wərst. soʊ fər iʧ wən, aɪ ˌɪˈmæʤənd ˌmaɪˈsɛlf æt ə ˈkɑnsərt, ˈstændɪŋ ɪn ðə ˈmɪdəl əv ə kraʊd, ɪkˈsaɪtɪd ənd ˈweɪtɪŋ fər ðə nɛkst sɔŋ tɪ bi pleɪd. aɪ klæp, ˈwɪsəl, ənd ðɛn jɛl aʊt ðə neɪm əv ðət bænd. frəm ðɪs ˈænɪkˌdoʊt, ju noʊ ˈɪnstəntli ɪf ðət bænd neɪm ɪz ˈətərli ˈtɛrəbəl ər nɑt. ju ˈmɛnəli skræʧ jʊr hɛd ənd ˈwəndər ɪf bɪn dupt, ənd waɪ ðə hɛl dɪd ðeɪ əˈgri ɔn ðɪs neɪm. ðət ɪz ɪgˈzæktli wət əˈkərd fər ðə ˈfɑloʊɪŋ 20 bændz. noʊ. 20 hæf mæn hæf ˈbɪskət ˈɪŋlɪʃ rɑk bænd ˈæktɪv sɪns ðə mid-1980’s*. ɪf ðɛr ˌɪnˈtɛnt ɪz ˈnɑnsɛns, ðɛn ðeɪ hæv səkˈsidɪd. noʊ. 19 ðə ˈpɪloʊz ˌʤæpəˈniz ɔlˈtərnətɪv rɑk bænd fɔrmd ɪn 1989 wɪθ 18 ˈstudiˌoʊ ˈælbəmz. goʊ si ðə ˈpɪloʊz təˈnaɪt, broʊ. ðeɪ rock!”*!” ðə neɪm ˌɪtˈsɛlf simz tɪ bi ə ˌkɑntrəˈdɪkʃən tɪ ðə rɑk ‘‘n’*’ roʊl ˈʒɑnrə ɪt leɪz ɪts hɛd ɔn. noʊ. 18 əˈmɛrɪkən rɑk bænd ˈfaʊndɪd ɪn 1987 ənd dɪsˈbændɪd ɪn 1989 ʤɪst bɪˈkəz ðə neɪm kəmz frəm ə ˈkɑmɪk bʊk ˈkɛrɪktər dɪz nɑt ˌnɛsəˈsɛrəli min ɪt wɪl bi ðə raɪt ʧɔɪs fər ə bænd neɪm. noʊ. 17 səm ˈvɛlvət ˈsaɪdˌwɔk ləv rɑk bænd fɔrmd ɪn ˈjuʤin, ˈɔrəˌgɑn, ɪz ðɪs ə əv θri ˈəðər ˈɔfəl bænd neɪmz? noʊ. 16 sən əv ˈbrɪtɪʃ pɑp rɑk bænd frəm ɔl ðeɪ hæd tɪ du wɑz æd ən ““a”*” bɪtˈwin əv ənd ənd ɪt maɪt nɑt hæv əv meɪd ðɪs lɪst. noʊ. 15 pri) θɪŋ nu ˈmɛtəl bænd fɔrmd ɪn ˈbjutəfəl moʊˈdɛstoʊ, ˌkæləˈfɔrnjə, rɪˈmɛmbər ðə bænd ˈkreɪzi taʊn? ðɪs wɑz hɪz nu bænd, ðɛn hi daɪd əv ə hɑrt əˈtæk. ˈsɪmpəθi dɪz nɑt kip ðɪs ˈhɔrəbəl bænd neɪm ɔf ðə lɪst, ðoʊ. noʊ. 14 dɪˈfɔlt kəˈneɪdiən bænd, 1999-present*. ɪf ju ər traɪɪŋ tɪ bi post-modern*, ˌoʊˈkeɪ aɪ gɪt ɪt. ʤɪst rɪˈmɛmbər; dɪˈfɔlt bænd neɪm dɪˈfɔlt fænz dɪˈfɔlt ˌɪnspərˈeɪʃən. noʊ. 13 əˈmɛrɪkən ˈmɛtəl bænd, 2007-present*. ˈteɪkɪŋ ðə ˈspeɪsɪz aʊt bɪtˈwin wərdz dɪz nɑt meɪk ðoʊz wərdz ˈɛni ˈbɛtər. noʊ. 12 oʊld beɪst frəm nu ˈʤərzi, ərˈɪʤənəli ən ˈækrənɪm fər oʊld ˈleɪdi ˈdraɪvərz, naʊ ʤɪst oʊld. wɪn ju seɪ ðə neɪm əv ðə bænd, laɪk ˈɪnstənt ˌnɛgəˈtɪvəti. waɪ du ɪt? noʊ. 11 ənd ˈɔlsoʊ ðə triz ˈbrɪtɪʃ bænd, 1979-present*. ðɛr simz tɪ bi ə hoʊl əv bænd neɪmz meɪd əp əv ˈbroʊkən ˈsɛntənsɪz. ɔn ðət noʊt, sentences”*” wʊd bi ə weɪ ˈbɛtər bænd neɪm ðən ðɪs wən. noʊ. 10 ən hɔrs tu ˈpərsən ˈɪndi rɑk bænd frəm ɔˈstreɪljə, 2007-present*. ˈsəmˌtaɪmz ˌɪnˈtɛnʃənəl ˌɪnkərˈɛkt ˈɪŋlɪʃ kən wərk. ˌhaʊˈɛvər, ðiz wərdz ɪn ðɪs ˈkɑntɛkst kəmz əˈkrɔs ɛz səˈvɪrli off-putting*. noʊ. 9 ðə ˈdɪnər ɪz ruɪnd kəˈneɪdiən ˈɪndi rɑk bænd, 1991-present*. ˈprɪti ˈɑbviəs goʊɪŋ ɔn hir. wɪn dɪˈtərmənɪŋ jʊr bænd neɪm ju ˈrɪli nid tɪ bi ə ˈlɪtəl mɔr dɪˈsərnɪŋ ənd ˈkrɪtɪkəl wɪn səˈlɛktɪŋ wən. ðɪs ɪz ə ˈklæsɪk ɪgˈzæmpəl əv ˈsəmθɪŋ ðət ˈhæpənz ɪn laɪf (ə ˈdɪnər biɪŋ ruɪnd), ðɛn ˈsəmˌwən sɪz tɪ hɪmˈsɛlf, ə ˈbrɪljənt bænd name.”*.” wɪθ ˈnoʊˌbɑˌdi tɪ tɛl ðət ˈjumən ˈəðərˌwaɪz, ɪt ɛndz əp ɔn lɪsts laɪk ðiz. noʊ. 8 bænd frəm d.c*. [æt ə ˈkɑnsərt] ““lunchmeat*!! lunchmeat!”*!” jɛt ˈstɑrtɪŋ tɪ ˈwəndər, ɪz ðɪs wərs ðən ˈmitloʊf? noʊ. 7 səˈbərbən kɪdz wɪθ ˈbɪblɪkəl neɪmz sˈwidɪʃ pɑp bænd, 2003-present*. hæd ə təf taɪm ˈædɪŋ ðɪs wən bɪˈkəz aɪ kaɪnd əv laɪk ðə ˈsɛntəns ˌɪtˈsɛlf. ðə ˈprɑbləm ɪz wɪn ju seɪ ɪt aʊt laʊd ɪn ðə ˈkɑntɛkst əv ə bænd neɪm, ɪt saʊnz kənˈtraɪvd ənd həz ˈziroʊ fluˈɪdəti. noʊ. 6 geɪ blæk rɪˈpəblɪkən əˈmɛrɪkən pəŋk bænd, 2001-present*. teɪk tu məˈnɔrəti grups ˈkəpəld wɪθ ðə list ˈlaɪkli pəˈlɪtɪkəl ˈpɑrti fər sɛd məˈnɔrətiz tɪ bi ɪn, ənd vˌwɑˈlɑ, ðɛr ju hæv ɪt, ə bænd neɪm ɪz bɔrn ər ʤɪst ə traɪt ˈfɔrmjələ wɪθ ə ˈtɛrəbəl rɪŋ. noʊ. 5 gɑt ɔn jʊr brɛθ ɔˈstreɪljən bænd, 1981-present*. ʃɑk ˈvælju wɑz ðə ˈoʊnli əˈʤɛndə hir. noʊ. 4 ˌæksəˈdɛnəl goʊt ˈsɑdəmi ˈhəntɪŋtən biʧ, ˌkæləˈfɔrnjə pəŋk bænd, 2007-present*. 92 ʃɑk, ðə rɪˈmeɪnɪŋ 8 pərˈvərʒən. noʊ. 3 ˈɛskroʊ təˈmɑˌtoʊ bænd frəm æˈtlæntə, ˈʤɔrʤə, 2005-present*. teɪk tu wərdz ðət wɪl ˈnɛvər goʊ təˈgɛðər ənd meɪk ðət jʊr bænd neɪm. greɪt aɪˈdiə. noʊ. 2 ˌgɑˈdæm ɪˈlɛktrɪk bɪl bænd frəm sæn diˈeɪgoʊ, ˌkæləˈfɔrnjə, 2004-present*. ðɪs neɪm fɔlz ˈɪntu ðə seɪm ˈkætəˌgɔri ɛz ðə ˈdɪnər ɪz ruɪnd. ˈsəmˌbɑdi sɛd ɪt aʊt laʊd ənd θɔt ɪt wʊd bi ə greɪt aɪˈdiə fər ə bænd neɪm. nɑt. noʊ. 1 ðə ælˈbaɪˌnoʊ ˈtɔɪlət bɔɪz ˈflɔrɪdə pəŋk bænd, 2005-present*. 52 ʃɑk pləs 48 nɑnˈsɛnsɪkəl ˈikwəlz 100 bæd. kənˈgræts, ˈfɛləs.
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the 20 worst band names of all time
most will agree that there are a few universally recognized bad band names, such as puddle of mudd and toad the wet sprocket. however, some lesser known, more obscure bands deserve to be exposed for their terrible names, as well. for this piece, the first step in determining the worst band names was to go through the daunting, cerebral task of reviewing all band names on wikipedia and a few other sites. it took a full day but the bad ones jumped out pretty quick. what was left was 150 names and a need to narrow it down to the worst of the worst. so for each one, i imagined myself at a concert, standing in the middle of a crowd, excited and waiting for the next song to be played. i clap, whistle, and then yell out the name of that band. from this anecdote, you know instantly if that band name is utterly terrible or not. you mentally scratch your head and wonder if you’ve been duped, and why the hell did they agree on this name. that is exactly what occurred for the following 20 bands.
no. 20 – half man half biscuit
english rock band active since the mid-1980’s.
if their intent is nonsense, then they have succeeded.
no. 19 – the pillows
japanese alternative rock band formed in 1989 with 18 studio albums.
“gonna go see the pillows tonight, bro. they rock!” the name itself seems to be a contradiction to the rock ‘n’ roll genre it lays its head on.
no. 18 – rapeman
american post-hardcore/noise rock band founded in 1987 and disbanded in 1989.
just because the name comes from a comic book character does not necessarily mean it will be the right choice for a band name.
no. 17 – some velvet sidewalk
lo-fi love rock band formed in eugene, oregon, 1987-1997.
is this a mashup of three other awful band names?
no. 16 – son of dork
british pop rock band from 2005-2008.
all they had to do was add an “a” between of and dork and it might not have of made this list.
no. 15 – pre) thing
nu metal band formed in beautiful modesto, california, 2001-2004.
remember the band crazy town? this was his new band, then he died of a heart attack. sympathy does not keep this horrible band name off the list, though.
no. 14 – default
canadian post-grunge band, 1999-present.
if you are trying to be post-modern, okay i get it. just remember; default band name = default fans = default inspiration.
no. 13 – iwrestledabearonce
american metal band, 2007-present.
taking the spaces out between words does not make those words any better.
no. 12 – old
grind-core/metal based from new jersey, 1986-2002.
originally an acronym for old lady drivers, now just old. when you say the name of the band, it’s like instant negativity. why do it?
no. 11 – and also the trees
british post-punk band, 1979-present.
there seems to be a whole subgenre of band names made up of broken sentences. on that note, “broken sentences” would be a way better band name than this one.
no. 10 – an horse
two person indie rock band from australia, 2007-present.
sometimes intentional incorrect english can work. however, these words in this context comes across as severely off-putting.
no. 9 – the dinner is ruined
canadian indie rock band, 1991-present.
pretty obvious what’s going on here. when determining your band name you really need to be a little more discerning and critical when selecting one. this is a classic example of something that happens in life (a dinner being ruined), then someone says to himself, “what a brilliant band name.” with nobody to tell that human otherwise, it ends up on lists like these.
no. 8 – lunchmeat
post-hardcore band from d.c. 1985-1986.
[at a concert] “lunchmeat! lunchmeat! lunchmeat!” yet i’m starting to wonder, is this worse than meatloaf?
no. 7 – suburban kids with biblical names
swedish twee pop band, 2003-present.
had a tough time adding this one because i kind of like the sentence itself. the problem is when you say it out loud in the context of a band name, it sounds contrived and has zero fluidity.
no. 6 – gay black republican
american punk band, 2001-present.
take two minority groups coupled with the least likely political party for said minorities to be in, and voila, there you have it, a band name is born — or just a trite formula with a terrible ring.
no. 5 – you’ve got foetus on your breath
industrial/experimental/avant-garde australian band, 1981-present.
shock value was the only agenda here.
no. 4 – accidental goat sodomy
huntington beach, california punk band, 2007-present.
92% shock, the remaining 8% perversion.
no. 3 – escrow tomato
blues/pop/rock band from atlanta, georgia, 2005-present.
take two words that will never go together and make that your band name. great idea.
no. 2 – goddamn electric bill
ambient/electronica band from san diego, california, 2004-present.
this name falls into the same category as the dinner is ruined. somebody said it out loud and thought it would be a great idea for a band name. it’s not.
no. 1 – the albino toilet boys
florida punk band, 2005-present.
52% shock plus 48% nonsensical equals 100% bad. congrats, fellas.
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ˈkænədəz bɪg bæŋks rɪˈdust ðɛr praɪm ˈlɛndɪŋ reɪts ɪn ðə weɪk əv ðə bæŋk əv ˈkænədəz ˌənɪkˈspɛktɪd muv læst wik, bət stɑpt ʃɔrt əv ˈmæʧɪŋ ðə ˈsɛntrəl bæŋks kət ɪn ə bɪd tɪ prəˈtɛkt ˈprɑfɪts. rɔɪəl bæŋk əv ˈkænədə wɑz fərst tɪ əˈnaʊns ˈtuzˌdeɪ ðət ɪt wʊd kət ɪts reɪt baɪ pərˈsɛnɪʤ pɔɪnts tɪ pər sɛnt ɔn ˈwɛnzˌdeɪ. bæŋk, bæŋk əv ˌməntriˈɔl, kəˈneɪdiən ˌɪmˈpɪriəl bæŋk əv ˈkɑmərs, ˈnæʃənəl bæŋk əv ˈkænədə ənd bæŋk əv ˈnoʊvə ˈskoʊʃə sˈwɪftli ˈfɑloʊd sut wɪθ aɪˈdɛntɪkəl kəts. ðə praɪm reɪt drɑps keɪm ə wik ˈæftər ðə bæŋk əv ˈkænədə loʊərd ɪts ˈoʊvərˈnaɪt ˈlɛndɪŋ reɪt baɪ pɔɪnts, ənd əˈmɪd ˈmaʊntɪŋ ˌspɛkjəˈleɪʃən ðət ˈlɛndərz wər ˈəndər ˈprɛʃər frəm ˈɑtəˌwɑ tɪ pæs əˈlɔŋ ðə ˈsɛntrəl bæŋks ˈmɑnəˌtɛri ˈstɪmjələs. wɑz ˈɔlsoʊ ðə fərst tɪ slæʃ ˈfaɪvˌjɪr ˈmɔrgɪʤ reɪts ˈoʊvər ðə ˈwiˌkɪnd, ɛz ˈgəvərnmənt əv ˈkænədə bɑnd jildz təʧt ˈrɛkərd loʊz. bət bæŋks hæd hɛld ɔf ˈtəʧɪŋ ðɛr praɪm reɪts, drɔɪŋ ðə aɪr əv kənˈsumərz hu hæd ɪkˈspɛktɪd loʊər reɪts ɔn ðɛr ˈmɔrgɪʤɪz, laɪnz əv ˈkrɛdɪt ənd loʊnz. ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt sɛd ɪn ə ˈsteɪtmənt ðət ɪts reɪt kət wɑz ˈdrɪvən baɪ "ə ˈnəmbər əv ˈfæktərz," nɑt ˈsoʊəli ðə bæŋk əv ˈkænədə reɪt. trəˈdɪʃənəli, bæŋk praɪm reɪts muv ɪn ˈlɑkˌstɛp wɪθ ðə ˈsɛntrəl bæŋk, bət sɛd ɪt naʊ ˈfæktərz ɪn ˈəðər ˈvɛriəbəlz, səʧ ɛz ðə ˈɪndəstriz kəmˈpɛtɪtɪv ˈlænˌskeɪp ɛz wɛl ɛz ðə bæŋks ˈfəndɪŋ kɔsts. ðə ˈlætər ˌɪnˈkludz ðə reɪt ɪt peɪz dəˈpɑzɪtərz ɛz wɛl ɛz ðə reɪt ɪt məst peɪ tɪ ˈbɑˌroʊ ˈməni ɪn dɛt ˈmɑrkɪts. hɪˈstɔrɪkəli, ðə ˈkəntriz tu ˈlɑrʤəst bæŋks, ənd, hæv ˈtɛndɪd tɪ bi ðə fərst tɪ ækt ɔn ˈsɛntrəl bæŋk reɪt ˈʧeɪnʤɪz, sɛd ˈdeɪvɪd məkˈveɪ əv məkˈveɪ ənd əˈsoʊʃiˌeɪts, ə ˌfaɪˈnænʃəl ˈsərvɪsɪz ˈɪndəstri kənˈsəltənt. læst wik, əˈnaʊnst ɪt wɑz ˈhoʊldɪŋ ɪts praɪm reɪt æt 3 pər sɛnt, ˈsɛndɪŋ ə ˈsɪgnəl tɪ sˈmɔlər bæŋks tɪ dɪˈleɪ reɪt kəts. muv ɔn ˈtuzˌdeɪ ʧeɪnʤd ðə geɪm. bət ɪn loʊərɪŋ ðɛr praɪm reɪts, bæŋks ˈɑptɪd nɑt tɪ ˈfʊli mæʧ ðə ˈsɛntrəl bæŋk reɪt kət, ˈʧuzɪŋ ˌɪnˈstɛd tɪ prəˈtɛkt ðɛr ˈprɑfɪt ˈmɑrʤənz ɛz sprɛdz bɪtˈwin ðə reɪts æt wɪʧ bæŋks ˈbɑˌroʊ ənd lɛnd ˈməni hæv ˈbɑtəmd aʊt. ðə bɪg bæŋks ˈhædənt ʧeɪnʤd ðɛr praɪm reɪts sɪns sɛpˈtɛmbər, 2010 ðə praɪm reɪt həz ˈnɛvər ˈfɑlən baɪ lɛs ðən ə kˈwɔrtər pɔɪnt sɪns ðə bæŋk əv ˈkænədə bɪˈgæn ˈtrækɪŋ səʧ ˈdætə ɪn 1935 sɛd ˈrɑbərt mclister*, ˈfaʊndər əv ratespy.com*. "ˈbɑtəm laɪn, bæŋks sɔ ðɪs ɛz ən ˌɑpərˈtunəti tɪ rɪˈteɪn ˈprɑfɪt ɪn ðə feɪs əv ˈmɑrʤən ˈprɛʃərz ðət hæv bɪn ˈbɪldɪŋ fər ə fju jɪrz," hi sɛd. wɪθ ˈriˌteɪl ˈlɛndɪŋ groʊθ sloʊɪŋ əˈmɪd ə drɔp ɪn ɔɪl ˈpraɪsɪz, bæŋks hæv bɪn ˈəndər ˈprɛʃər frəm ˈʃɛˌrhoʊldərz tɪ bust ðɛr ˈprɑfɪts baɪ 10 pər sɛnt ə jɪr, ə təf ˈtərgət. səm hæd ˈbeɪgən sˈlæʃɪŋ ɪkˈspɛnsɪz ɪn ˈɔrdər tɪ ʃɔr əp ˈprɑfɪts ˈivɪn ˌbiˈfɔr ðə ˈsɛntrəl bæŋk reɪt kət. "aɪd seɪ [bæŋks] ər biɪŋ ˈprudənt ɪn ðət ðeɪ ər traɪɪŋ tɪ pæs ðə ˈbɛnəfɪts," ˈmɪstər. məkˈveɪ sɛd. "ðeɪv rɪˈdust ðɛr ˈmɔrgɪʤ reɪts ənd rɪˈdust ðə praɪm reɪt, nɑt ɛz məʧ ɛz ðə bæŋk reɪt həz gɔn daʊn, bət ɛz məʧ ɛz ðeɪ kənˈsɪdər ˈprudənt ˈgɪvɪn ðə ˈprɑfɪt ˈprɛʃərz ðɛr ˈəndər raɪt naʊ." wɪθ ðə ˈmeɪʤər ˈlɛndərz sˈlæʃɪŋ ðɛr praɪm reɪts, ðɛr ɪz ˈlɪtəl rum fər bæŋks tɪ kəmˈpit fər ˈmɑrkɪt ʃɛr ɔn praɪs əˈloʊn. ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt ˈfaɪˌnæns ˈmɪnɪstər ʤoʊ ˈɑlɪvərz ˈɔfəs dɪˈklaɪnd tɪ ˈkɑmɛnt ɔn ðə bæŋks' reɪt kəts, seɪɪŋ ðə ˈgəvərnmənt həz noʊ plænz tɪ gɪt ˌɪnˈvɑlvd ɪn ðə ˈdeɪli ˌɑpərˈeɪʃənz əv ðə bæŋks. "ðət ɪz ə dɪˈsɪʒən fər ðə bæŋks tɪ meɪk," sɛd ˈmɪstər. ˈɑlɪvərz prɛs ˈsɛkrəˌtɛri nɪk bərgɑˈmini. wɪθ faɪlz frəm rɪˈpɔrtər tɪm
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canada's big banks reduced their prime lending rates in the wake of the bank of canada's unexpected move last week, but stopped short of matching the central bank's quarter-percentage-point cut in a bid to protect profits.
royal bank of canada was first to announce tuesday that it would cut its rate by 0.15 percentage points to 2.85 per cent on wednesday. toronto-dominion bank, bank of montreal, canadian imperial bank of commerce, national bank of canada and bank of nova scotia swiftly followed suit with identical cuts.
the prime rate drops came a week after the bank of canada lowered its overnight lending rate by 0.25 points, and amid mounting speculation that lenders were under pressure from ottawa to pass along the central bank's monetary stimulus. rbc was also the first to slash five-year fixed-rate mortgage rates over the weekend, as government of canada bond yields touched record lows. but banks had held off touching their prime rates, drawing the ire of consumers who had expected lower rates on their variable-rate mortgages, lines of credit and loans.
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rbc said in a statement that its rate cut was driven by "a number of factors," not solely the bank of canada rate. traditionally, bank prime rates move in lockstep with the central bank, but rbc said it now factors in other variables, such as the industry's competitive landscape as well as the bank's funding costs. the latter includes the rate it pays depositors as well as the rate it must pay to borrow money in debt markets.
historically, the country's two largest banks, rbc and td, have tended to be the first to act on central bank rate changes, said david mcvay of mcvay and associates, a financial services industry consultant. last week, td announced it was holding its prime rate at 3 per cent, sending a signal to smaller banks to delay rate cuts. rbc's move on tuesday changed the game.
but in lowering their prime rates, banks opted not to fully match the central bank rate cut, choosing instead to protect their profit margins as spreads between the rates at which banks borrow and lend money have bottomed out.
the big banks hadn't changed their prime rates since september, 2010. the prime rate has never fallen by less than a quarter point since the bank of canada began tracking such data in 1935, said robert mclister, founder of ratespy.com. "bottom line, banks saw this as an opportunity to retain profit in the face of margin pressures that have been building for a few years," he said.
with retail lending growth slowing amid a drop in oil prices, banks have been under pressure from shareholders to boost their profits by 10 per cent a year, a tough target. some had begun slashing expenses in order to shore up profits even before the central bank rate cut.
"i'd say [banks] are being prudent in that they are trying to pass the benefits," mr. mcvay said. "they've reduced their mortgage rates and reduced the prime rate, not as much as the bank rate has gone down, but as much as they consider prudent given the profit pressures they're under right now."
with the major lenders slashing their prime rates, there is little room for banks to compete for market share on price alone.
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finance minister joe oliver's office declined to comment on the banks' rate cuts, saying the government has no plans to get involved in the daily operations of the banks. "that is a decision for the banks to make," said mr. oliver's press secretary nick bergamini.
with files from reporter tim kiladze
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ðɪs ɪz ə ˈkætəlɔg əv θɪŋz ˈɔpərˌeɪtɪŋ ˈsɪstəmz kən du, ˈmeɪkɪŋ ðɛm ˈjusfəl ɛz ˈbɪldɪŋ blɑks fər ənd ˈproʊˌgræmz wɪˈθaʊt ər lɑks. ðə lɪst ɪz baɪ noʊ minz ɪgˈzɔstɪv ənd aɪ ɪkˈspɛkt ɪt tɪ bi ˈəpˌdeɪtɪd ˈfrikwɛntli fər ðə fɔrˈsiəbəl fˈjuʧər. ðə fəˈlɑsəfi hir ɪz tɪ lɛt ðə ˈkərnəl du ɛz məʧ wərk ɛz ˈpɑsəbəl. æt maɪ moʊst ˌpɛsəˈmɪstɪk, aɪ trəst ðə ˈkərnəl dɪˈvɛləpərz mɔr ðən ə trəst ˌmaɪˈsɛlf. mɔr ˈpræktɪkəli, ˈstupɪd tɪ spɛnd taɪm ˈlɑkɪŋ əraʊnd ən ˌɑpərˈeɪʃən ɔˈrɛdi əˈtɑmɪk. ˈædɪd ˈɔpərˌeɪtɪŋ ɔn ə ðə ˌɑpərˈeɪʃənz bɪˈloʊ ər bɛst lɛft tɪ ˈloʊkəl filesystems*. mɔr ðən ə fju ˈpipəl hæv ˈrɪtən ɪn kraɪɪŋ faʊl ɪf ˈɛni əv ðiz tɛkˈniks ər juzd ɔn ən maʊnt. tru. wɪn ðɛr ər ˈməltəpəl ˈkərnəlz ˌɪnˈvɑlvd, ðə ˈkərnəl ˈvɛri wɛl teɪk kɛr əv ɔl ðə ˈlɑkɪŋ fər ˈjuˈɛs. ˈædɪd -ti <oldsymlink*> <newsymlink*> ˈʧeɪnʤɪz ðə ˈtərgət əv <newsymlink*> tɪ ðə dɪˈrɛktəri ˈpɔɪntɪd tɪ baɪ <oldsymlink*> ənd ɪz ˌɪndɪˈspɛnsəbəl wɪn dɪˈplɔɪɪŋ nu koʊd. ˈəpˌdeɪtɪd boʊθ ər symlinks*. (soʊ ðɪs ə ˈsɪstəm kɔl, stɪl ˈjusfəl.) ə ˈridər ˈpɔɪntɪd aʊt ðət leɪn <dɪˈrɛktəri> <symlink*> əˈkɑmplɪʃɪz ðə seɪm θɪŋ wɪˈθaʊt ðə ˈsɛkənd symlink*. ˈædɪd dɪˈlitəd ʃoʊz ðət leɪn <dɪˈrɛktəri> <symlink*> ˈæˌkʧuəli kɔlz ənd wəns mɔr, dɪskˈwɑləˌfaɪɪŋ ɪt frəm ðɪs peɪʤ. -ti <oldsymlink*> <newsymlink*> ɛndz əp ˈkɔlɪŋ wɪʧ kən ˌriˈpleɪs <newsymlink*> ˈkeɪviˌæt ðɪs dɪz nɑt əˈplaɪ tɪ mæk ɑs ɛks, huz kɔl ˈʧeɪnʤɪz ðə ˈtərgət əv tɪ ðə dɪˈrɛktəri ˈpɔɪntɪd tɪ baɪ ənd ɪz ˌɪndɪˈspɛnsəbəl wɪn dɪˈplɔɪɪŋ nu koʊd. ˈəpˌdeɪtɪd boʊθ ər symlinks*. (soʊ ðɪs ə ˈsɪstəm kɔl, stɪl ˈjusfəl.) dɪˈlitəd ʃoʊz ðət ˈæˌkʧuəli kɔlz ənd wəns mɔr, dɪskˈwɑləˌfaɪɪŋ ɪt frəm ðɪs peɪʤ. ɛndz əp ˈkɔlɪŋ wɪʧ kən ˌriˈpleɪs ˈkeɪviˌæt ðɪs dɪz nɑt əˈplaɪ tɪ mæk ɑs ɛks, huz kɔl link(oldpath*,) kriˈeɪts ə nu hɑrd lɪŋk kɔld ˈpɔɪntɪŋ tɪ ðə seɪm ɛz ənd ˌɪnˈkrisɪz ðə lɪŋk kaʊnt baɪ wən. ðɪs wɪl feɪl wɪθ ðə ˈɛrər koʊd ɪf ɔˈrɛdi ɪgˈzɪsts, ˈmeɪkɪŋ ðɪs ə ˈjusfəl ˈmɛkəˌnɪzəm fər ˈlɑkɪŋ ə faɪl əˈməŋst θrɛdz ər ˈprɑsɛsəz ðət kən ɔl əˈgri əˈpɑn ðə neɪm aɪ prɪˈfər ðɪs tɛkˈnik fər ˈlɑkɪŋ bɪˈkəz ðə lɑk ɪz ˈvɪzəbəl tɪ kriˈeɪts ə nu hɑrd lɪŋk kɔld ˈpɔɪntɪŋ tɪ ðə seɪm ɛz ənd ˌɪnˈkrisɪz ðə lɪŋk kaʊnt baɪ wən. ðɪs wɪl feɪl wɪθ ðə ˈɛrər koʊd ɪf ɔˈrɛdi ɪgˈzɪsts, ˈmeɪkɪŋ ðɪs ə ˈjusfəl ˈmɛkəˌnɪzəm fər ˈlɑkɪŋ ə faɪl əˈməŋst θrɛdz ər ˈprɑsɛsəz ðət kən ɔl əˈgri əˈpɑn ðə neɪm aɪ prɪˈfər ðɪs tɛkˈnik fər ˈlɑkɪŋ bɪˈkəz ðə lɑk ɪz ˈvɪzəbəl tɪ symlink(oldpath*,) ˈɑpərˌeɪts ˈvɛri məʧ laɪk bət kriˈeɪts ə sɪmˈbɑlɪk lɪŋk æt ə nu ˈrəðər ðən ə hɑrd lɪŋk tɪ ðə seɪm. sɪmˈbɑlɪk lɪŋks kən pɔɪnt tɪ dɪˈrɛktəriz, wɪʧ hɑrd lɪŋks ˈkænɑt, ˈmeɪkɪŋ ðɛm ə ˈpərˌfɪkt əˈnæləʤi tɪ wɪn ˈlɑkɪŋ ɪnˈtaɪər dɪˈrɛktəriz. ðɪs wɪl feɪl wɪθ ðə ˈɛrər koʊd ɪf ɔˈrɛdi ɪgˈzɪsts, ˈmeɪkɪŋ ðɪs ə ˈpərˌfɪkt əˈnæləʤi tɪ ðət wərks fər dɪˈrɛktəriz, tu. bi ˈkɛrfəl əv sɪmˈbɑlɪk lɪŋks huz ˈtərgət həz bɪn riˈmuvd ("ˈdæŋgəlɪŋ" sɪmˈbɑlɪk lɪŋks) wɪl feɪl wɪθ ðə ˈɛrər koʊd ɪt ʃʊd bi ˈmɛnʃənd ðət ər ə ˈfaɪˌnaɪt ˈrisɔrs (ðɪs ˌpɑˈtɪkjələr məˈʃin həz). ˈædɪd ˈɑpərˌeɪts ˈvɛri məʧ laɪk bət kriˈeɪts ə sɪmˈbɑlɪk lɪŋk æt ə nu ˈrəðər ðən ə hɑrd lɪŋk tɪ ðə seɪm. sɪmˈbɑlɪk lɪŋks kən pɔɪnt tɪ dɪˈrɛktəriz, wɪʧ hɑrd lɪŋks ˈkænɑt, ˈmeɪkɪŋ ðɛm ə ˈpərˌfɪkt əˈnæləʤi tɪ wɪn ˈlɑkɪŋ ɪnˈtaɪər dɪˈrɛktəriz. ðɪs wɪl feɪl wɪθ ðə ˈɛrər koʊd ɪf ɔˈrɛdi ɪgˈzɪsts, ˈmeɪkɪŋ ðɪs ə ˈpərˌfɪkt əˈnæləʤi tɪ ðət wərks fər dɪˈrɛktəriz, tu. bi ˈkɛrfəl əv sɪmˈbɑlɪk lɪŋks huz ˈtərgət həz bɪn riˈmuvd ("ˈdæŋgəlɪŋ" sɪmˈbɑlɪk lɪŋks) wɪl feɪl wɪθ ðə ˈɛrər koʊd ɪt ʃʊd bi ˈmɛnʃənd ðət ər ə ˈfaɪˌnaɪt ˈrisɔrs (ðɪs ˌpɑˈtɪkjələr məˈʃin həz). ˈædɪd rename(oldpath*,) kən ʧeɪnʤ ə, prəˈvaɪdɪd ənd ər ɔn ðə seɪm filesystem*. ðɪs wɪl feɪl wɪθ ðə ˈɛrər koʊd ɪf dɪz nɑt ɪgˈzɪst, ɪˈneɪbəlɪŋ ˈlɑkɪŋ məʧ laɪk link(oldpath*,) əˈbəv. aɪ faɪnd ðɪs tɛkˈnik mɔr ˈnæʧərəl wɪn ðə faɪlz ɪn kˈwɛʃən wɪl bi ɛd ˈleɪtər. kən ʧeɪnʤ ə, prəˈvaɪdɪd ənd ər ɔn ðə seɪm filesystem*. ðɪs wɪl feɪl wɪθ ðə ˈɛrər koʊd ɪf dɪz nɑt ɪgˈzɪst, ɪˈneɪbəlɪŋ ˈlɑkɪŋ məʧ laɪk əˈbəv. aɪ faɪnd ðɪs tɛkˈnik mɔr ˈnæʧərəl wɪn ðə faɪlz ɪn kˈwɛʃən wɪl bi ɛd ˈleɪtər. open(pathname*, , 0644 kriˈeɪts ənd ˈoʊpənz ə nu faɪl. fərˈgɛt tɪ sɛt ðə moʊd ɪn ðə θərd ˈɑrgjəmənt!) ˌɪnˈstrəkts ðɪs tɪ feɪl wɪθ ðə ˈɛrər koʊd ɪf ɪgˈzɪsts. ðɪs ɪz ə ˈjusfəl weɪ tɪ ˌdɪˈsaɪd wɪʧ ˈprɔˌsɛs ʃʊd ˈhændəl ə tæsk: huˈɛvər səkˈsɛsfəli kriˈeɪts ðə faɪl. kriˈeɪts ənd ˈoʊpənz ə nu faɪl. fərˈgɛt tɪ sɛt ðə moʊd ɪn ðə θərd ˈɑrgjəmənt!) ˌɪnˈstrəkts ðɪs tɪ feɪl wɪθ ðə ˈɛrər koʊd ɪf ɪgˈzɪsts. ðɪs ɪz ə ˈjusfəl weɪ tɪ ˌdɪˈsaɪd wɪʧ ˈprɔˌsɛs ʃʊd ˈhændəl ə tæsk: huˈɛvər səkˈsɛsfəli kriˈeɪts ðə faɪl. mkdir(dirname*, 0755 kriˈeɪts ə nu dɪˈrɛktəri bət feɪlz wɪθ ðə ˈɛrər koʊd ɪf ɪgˈzɪsts. ðɪs prəˈvaɪdz fər dɪˈrɛktəriz ðə seɪm ˈmɛkəˌnɪzəm wɪθ prəˈvaɪdz fər faɪlz. ˈædɪd ˈɛdɪtɪd ˈɔpərˌeɪtɪŋ ɔn ə faɪl fcntl(fd*, f_getlk*, &lɑk) fcntl(fd*, f_setlk*, &lɑk) ənd fcntl(fd*,, &lɑk) əˈlaʊ koʊˈɑpərˌeɪtɪŋ ˈprɑsɛsəz tɪ lɑk ˈriʤənz əv ə faɪl tɪ ˈsɪˌriəˌlaɪz ðɛr ˈækˌsɛs. lɑk ɪz əv taɪp flɑk ənd dɪˈskraɪbz ðə taɪp əv lɑk ənd ðə ˈriʤən biɪŋ lɑkt. ɪz ˌpɑrˈtɪkjələrli ˈjusfəl ɛz ɪt blɑks ðə ˈkɔlɪŋ ˈprɔˌsɛs ənˈtɪl ðə lɑk ɪz əkˈwaɪərd. ðɛr ɪz ə locking”*” moʊd bət ˌɪmpləmɛnˈteɪʃən ɪz ˌənrɪˈlaɪəbəl ɛz ˈsəbʤɪkt tɪ ə reɪs kənˈdɪʃən. ənd əˈlaʊ koʊˈɑpərˌeɪtɪŋ ˈprɑsɛsəz tɪ lɑk ˈriʤənz əv ə faɪl tɪ ˈsɪˌriəˌlaɪz ðɛr ˈækˌsɛs. ɪz əv taɪp ənd dɪˈskraɪbz ðə taɪp əv lɑk ənd ðə ˈriʤən biɪŋ lɑkt. ɪz ˌpɑrˈtɪkjələrli ˈjusfəl ɛz ɪt blɑks ðə ˈkɔlɪŋ ˈprɔˌsɛs ənˈtɪl ðə lɑk ɪz əkˈwaɪərd. ðɛr ɪz ə locking”*” moʊd bət ˌɪmpləmɛnˈteɪʃən ɪz ˌənrɪˈlaɪəbəl ɛz ˈsəbʤɪkt tɪ ə reɪs kənˈdɪʃən. fcntl(fd*, f_getlease*) ənd fcntl(fd*, f_setlease*, lis) æsk ðə ˈkərnəl tɪ ˈnoʊtəˌfaɪ ðə ˈkɔlɪŋ ˈprɔˌsɛs wɪθ wɪn əˈnəðər ˈprɔˌsɛs ˈoʊpən ɛs ər ˈtrəŋˌkeɪt ɛs ðə faɪl rɪˈfərd tɪ baɪ wɪn ðət ˈsɪgnəlz əraɪvz, ðə lis nidz tɪ bi riˈmuvd baɪ fcntl(fd*, f_setlease*, f_unlck*) fcntl(fd*, f_notify*, arg*) ɪz ˈsɪmələr bət blɑk ˈəðər ˈprɑsɛsəz, soʊ ɪt ˈjusfəl fər ˌsɪŋkrənəˈzeɪʃən. ənd æsk ðə ˈkərnəl tɪ ˈnoʊtəˌfaɪ ðə ˈkɔlɪŋ ˈprɔˌsɛs wɪθ wɪn əˈnəðər ˈprɔˌsɛs ɛs ər ɛs ðə faɪl rɪˈfərd tɪ baɪ wɪn ðət ˈsɪgnəlz əraɪvz, ðə lis nidz tɪ bi riˈmuvd baɪ ɪz ˈsɪmələr bət blɑk ˈəðər ˈprɑsɛsəz, soʊ ɪt ˈjusfəl fər ˌsɪŋkrənəˈzeɪʃən. lɛŋθ, prot_write*, map_shared*,, 0 rɪˈtərnz ə ˈpɔɪntər frəm wɪʧ ə ˈkɑntɛnts kən bi rɛd ənd ˈrɪtən baɪ ˈnɔrməl ˈmɛməri ˌɑpərˈeɪʃənz. baɪ ˈmeɪkɪŋ ˈfrikˌwɛnt juz əv msync(addr*, lɛŋθ, ms_invalidate*) ˈdætə ˈrɪtən ɪn ðɪs ˈmænər kən bi ʃɛrd bɪtˈwin ˈprɑsɛsəz ðət boʊθ mæp ðə seɪm faɪl. ˈɔpərˌeɪtɪŋ ɔn ˈvərʧuəl ˈmɛməri ənd frɛndz prəˈvaɪd ə fʊl ˈbɛriər soʊ ˈmɛməri wɪl bi muvd əˈkrɔs ðə ˌɑpərˈeɪʃən, ˈiðər ˈfɔrwərd ər backward.”*.” ðiz ˌɑpərˈeɪʃənz ər ðə ˈbeɪsɪs fər moʊst (ɔl?) ˈælgərˌɪðəmz. əˈtɑmɪk builtins*. ˈsəmθɪŋ aɪ ʃʊd æd tɪ maɪ ˈrɛpərtˌwɑr? reɪs kənˈdɪʃən? lɛt mi noʊ æt ər ənd fɪks ɪt.
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this is a catalog of things unix-like/posix-compliant operating systems can do atomically, making them useful as building blocks for thread-safe and multi-process-safe programs without mutexes or read/write locks. the list is by no means exhaustive and i expect it to be updated frequently for the foreseeable future.
the philosophy here is to let the kernel do as much work as possible. at my most pessimistic, i trust the kernel developers more than a trust myself. more practically, stupid to spend cpu time locking around an operation already atomic. added 2010-01-07.
operating on a pathname
the operations below are best left to local filesystems. more than a few people have written in crying foul if any of these techniques are used on an nfs mount. true. when there are multiple kernels involved, the kernel very well take care of all the locking for us. added 2010-01-06.
mv -t <oldsymlink> <newsymlink> atomically changes the target of <newsymlink> to the directory pointed to by <oldsymlink> and is indispensable when deploying new code. updated 2010-01-06: both operands are symlinks. (so this a system call, still useful.) a reader pointed out that ln -tfs <directory> <symlink> accomplishes the same thing without the second symlink. added 2010-01-06. deleted 2010-01-06: strace(1) shows that ln -tfs <directory> <symlink> actually calls symlink(2) , unlink(2) , and symlink(2) once more, disqualifying it from this page. mv -t <oldsymlink> <newsymlink> ends up calling rename(2) which can atomically replace <newsymlink> . caveat 2013-01-07: this does not apply to mac os x, whose mv(1) call rename(2) . mv(1) .
atomically changes the target of to the directory pointed to by and is indispensable when deploying new code. updated 2010-01-06: both operands are symlinks. (so this a system call, still useful.) deleted 2010-01-06: shows that actually calls , , and once more, disqualifying it from this page. ends up calling which can atomically replace . caveat 2013-01-07: this does not apply to mac os x, whose call . . link(oldpath, newpath) creates a new hard link called newpath pointing to the same inode as oldpath and increases the link count by one. this will fail with the error code eexist if newpath already exists, making this a useful mechanism for locking a file amongst threads or processes that can all agree upon the name newpath . i prefer this technique for whole-file locking because the lock is visible to ls(1) . link(2) .
creates a new hard link called pointing to the same inode as and increases the link count by one. this will fail with the error code if already exists, making this a useful mechanism for locking a file amongst threads or processes that can all agree upon the name . i prefer this technique for whole-file locking because the lock is visible to . . symlink(oldpath, newpath) operates very much like link(2) but creates a symbolic link at a new inode rather than a hard link to the same inode. symbolic links can point to directories, which hard links cannot, making them a perfect analogy to link(2) when locking entire directories. this will fail with the error code eexist if newpath already exists, making this a perfect analogy to link(2) that works for directories, too. be careful of symbolic links whose target inode has been removed ("dangling" symbolic links) — open(2) will fail with the error code enoent . it should be mentioned that inodes are a finite resource (this particular machine has 1,245,184 inodes). symlink(2) . added 2010-01-07
operates very much like but creates a symbolic link at a new inode rather than a hard link to the same inode. symbolic links can point to directories, which hard links cannot, making them a perfect analogy to when locking entire directories. this will fail with the error code if already exists, making this a perfect analogy to that works for directories, too. be careful of symbolic links whose target inode has been removed ("dangling" symbolic links) — will fail with the error code . it should be mentioned that inodes are a finite resource (this particular machine has 1,245,184 inodes). . added 2010-01-07 rename(oldpath, newpath) can change a pathname atomically, provided oldpath and newpath are on the same filesystem. this will fail with the error code enoent if oldpath does not exist, enabling interprocess locking much like link(oldpath, newpath) above. i find this technique more natural when the files in question will be unlink ed later. rename(2) .
can change a pathname atomically, provided and are on the same filesystem. this will fail with the error code if does not exist, enabling interprocess locking much like above. i find this technique more natural when the files in question will be ed later. . open(pathname, o_creat | o_excl, 0644) creates and opens a new file. (don’t forget to set the mode in the third argument!) o_excl instructs this to fail with the error code eexist if pathname exists. this is a useful way to decide which process should handle a task: whoever successfully creates the file. open(2) .
creates and opens a new file. (don’t forget to set the mode in the third argument!) instructs this to fail with the error code if exists. this is a useful way to decide which process should handle a task: whoever successfully creates the file. . mkdir(dirname, 0755) creates a new directory but fails with the error code eexist if dirname exists. this provides for directories the same mechanism link(2) open(2) with o_excl provides for files. mkdir(2) . added 2010-01-06; edited 2013-01-07.
operating on a file descriptor
fcntl(fd, f_getlk, &lock) , fcntl(fd, f_setlk, &lock) , and fcntl(fd, f_setlkw, &lock) allow cooperating processes to lock regions of a file to serialize their access. lock is of type struct flock and describes the type of lock and the region being locked. f_setlkw is particularly useful as it blocks the calling process until the lock is acquired. there is a “mandatory locking” mode but linux’s implementation is unreliable as subject to a race condition. fcntl(2) .
, , and allow cooperating processes to lock regions of a file to serialize their access. is of type and describes the type of lock and the region being locked. is particularly useful as it blocks the calling process until the lock is acquired. there is a “mandatory locking” mode but linux’s implementation is unreliable as subject to a race condition. . fcntl(fd, f_getlease) and fcntl(fd, f_setlease, lease) ask the kernel to notify the calling process with sigio when another process open s or truncate s the file referred to by fd . when that signals arrives, the lease needs to be removed by fcntl(fd, f_setlease, f_unlck) . fcntl(fd, f_notify, arg) is similar but block other processes, so it useful for synchronization. fcntl(2) .
and ask the kernel to notify the calling process with when another process s or s the file referred to by . when that signals arrives, the lease needs to be removed by . is similar but block other processes, so it useful for synchronization. . mmap(0, length, prot_read | prot_write, map_shared, fd, 0) returns a pointer from which a file’s contents can be read and written by normal memory operations. by making frequent use of msync(addr, length, ms_invalidate) , data written in this manner can be shared between processes that both map the same file. mmap(2) , msync(2) .
operating on virtual memory
__sync_fetch_and_add , __sync_add_and_fetch , __sync_val_compare_and_swap , and friends provide a full barrier so “no memory operand will be moved across the operation, either forward or backward.” these operations are the basis for most (all?) lock-free algorithms. gcc atomic builtins.
something i should add to my repertoire? race condition? let me know at r@rcrowley.org or @rcrowley and fix it.
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fər ðə θərd jɪr ɪn ə roʊ (ɪf ju kaʊnt ðɛr 2009 taɪ wɪθ ˈpɔrtlənd), ˈæʃˌvɪl, wɑz neɪmd ðə bɪr ˈsɪti ˈjuˈɛˈseɪ. fər ə smɔl ˈsɪti əv ʤɪst ˈoʊvər ˈpipəl, ðɪs ɪz ən ˌɪmˈprɛsɪv fit tɪ seɪ ðə list. aɪ ˌdɪˈsaɪdɪd ɪt wɑz haɪ taɪm aɪ peɪd əˈnəðər ˈvɪzɪt tɪ ðə ˈbjutəfəl ˈmaʊntən taʊn tɪ si waɪ ðə ˈridərz kənˈsɪdər ɪt səʧ ə ˈmɛkə fər. ˈfɔrʧənətli, aɪ ˈoʊnli lɪv əˈbaʊt faɪv aʊərz frəm ˈwɛstərn nɔrθ ˌkɛrəˈlaɪnə, soʊ ðə klæn ˌdɪˈsaɪdɪd tɪ meɪk ˈæʃˌvɪl ɑr ˌdɛstɪˈneɪʃən fər ə ˈfæməli veɪˈkeɪʃən. lɛt mi æd ə ˈkeɪviˌæt ˌbiˈfɔr ju kənˈtɪnju ˈrɛdɪŋ. ɪf ɪkˈspɛktɪŋ wən əv kɪd bɪr ˌɪnˈvɑlvɪŋ ˈsidi moʊˈtɛl rumz, ɪkˈstɛnsɪv ˈɪntərvˌjuz wɪθ bruərz, ənd ˈkɛrfəli plænd deɪz əv ənd bɪr ˈsæmplɪŋ, bi ˌdɪsəˈpɔɪnɪd baɪ ðɪs poʊst. ənˈlaɪk ðə kɪd, maɪ bɪr trɪps ər noʊ ˈlɔŋgər ˈsoʊˌloʊ ɪnˈdɛvərz. ɔn maɪ ʤɔnt tɪ ˈæʃˌvɪl, ə ˈprɛgnənt ənd ˈbeɪbi ʤɔɪnd mi. waɪl ðə geɪv mi liv tɪ ˈsæmpəl məʧ əv ˈgʊdnɪs, ˈoʊnli soʊ məʧ bɪr ““research”*” ju kən du ɛz ə ˈfæməli mæn ɔn veɪˈkeɪʃən. mɔr ˌɪmˈpɔrtəntli, ən oʊld mæn ənd bɪr meɪks mi sˈlipi. ə fju bɪrz æt lənʧ ənd ju kən kaʊnt mi ɪn fər ən ˌæftərˈnun næp raɪt əˈlɔŋˈsaɪd ˈbeɪbi. wɪθ ðoʊz ɪkˈskjuzɪz aʊt əv ðə weɪ, teɪk ə lʊk æt ðə ʤuəl əv ˈkaʊnti ənd si haʊ ɪt ərnd ðə ˈtaɪtəl əv bɪr ˈsɪti usa…*… ə gaɪd tɪ ðə ˈæʃˌvɪl bɪr sin fər ən əbˈsɛsɪv ˈlʊkɪŋ tɪ riˈstɑk ðɛr ˌɪnˈkrisɪŋgli spɑrs bɪr frɪʤ, ðə fərst stɑp ɪn ˈæʃˌvɪl wɪl bi tɪ wən əv ðə ˈmɛni well-stocked…*… 1 ˈbɑtəl ʃɑps: ɛz ju maɪt ɪkˈspɛkt fər ə smɔl taʊn ðət praɪdz ˌɪtˈsɛlf ɔn ɪts bɪr ˈkəlʧər, ˈæʃˌvɪl həz ɪts fɛr ʃɛr əv ˈɛksələnt ˈbɑtəl ʃɑps. θri əv ðə bɛst ər hɑps vaɪnz, ðə ˈæʃˌvɪl waɪn ˈmɑrkɪt, ənd ðə ˌæpəˈlæʧən ˈvɪntnər (daʊn nɪr ðə kweɪnt ˈbɪltˌmɔr ˈvɪlɪʤ). ju kən ˈɔlsoʊ faɪnd ən ˈɛksələnt səˈlɛkʃən əv bruz æt ðə ˈgroʊsəri, ə lɑrʤ ɔrˈgænɪk ˈmɑrkɪt ðət wɑz ˈrisəntli bɔt aʊt baɪ hoʊl fudz. bət fər tru, ðə pleɪs tɪ ˈvɪzɪt (ənd, nɑt səˈpraɪzɪŋli, maɪ fərst stɑp ɔn ɑr veɪˈkeɪʃən) ɪz bruisin’*’ eɪlz ɔn ˈbrɔdˌweɪ. ənˈlaɪk ðə stɔrz ˈlɪstɪd əˈbəv, ðɪs ɪz ʤɪst ə bɪr ˈbɑtəl ər noʊ ˈsɪli ˈbɑtəlz əv waɪn ər ˈlɪkər ˈklətərɪŋ əp ðə ʃɛlvz. ðə stɔr ɪz ˈhoʊli dɪˈvoʊtɪd tɪ hɑps ənd ˈbɑrli. ðə stæf ɪz ˈhaɪli ˈnɑləʤəbəl, noʊz ðɛr stɑk wɛl, ənd wɪl ˈglædli pɔɪnt ju tɪ əˈnəðər ʃɑp ɪn taʊn ɪf ju faɪnd ə spɪˈsɪfɪk bɪr ˈlʊkɪŋ fər. əˈpɑn fərst glæns, ðə stɔr simd sˈmɔlər ðən aɪ wɑz ɪkˈspɛktɪŋ, bət sɪns ðeɪ ˈkɛri ˈɛni ənd hæv ˈlɪtəl rɪˈfrɪʤərˌeɪtər speɪs (ʤɪst wən ˈjunɪt ɛz fɑr ɛz aɪ kʊd tɛl), ðə stɔr ɪz ˈmoʊstli stɑkt wɪθ ˈwʊdən ʃɛlvz fɪld wɪθ ˈspɛʃəlti ˈbɑmərz. fər ən ˈlʊkɪŋ fər ˈrɛrɪtiz, ˈloʊkəl bruz, ənd high-gravity*, ˈbɑtəlz, ɪt wɑz ˈhɛvən. aɪ pɪkt əp ðɛr læst ˈbɑtəl əv laɪf lɪm, ðə riˈunjən ənd səm ˈloʊkəl bruz laɪk ðə frɛnʧ brɔd, ˈæʃˌvɪl bruɪŋ ˈʃivə, ənd oʊld ˈhɪkəri dɛθ baɪ hɑps. pləs ə fju mɔr, əv course…*… əv kɔrs, ˈoʊnli ənˈfrɛndli ˈsoʊsioʊˌpæðz laɪk mi wʊd sɪt æt hoʊm wɪθ ə frɪʤ fʊl əv bɪr wɪn ˈæʃˌvɪl həz soʊ ˈmɛni incredible…*… 2 bɪr bɑrz: hu kɛrz əˈbaʊt ˈbɑtəl ʃɑps wɪn ju kən ˈbɛli əp tɪ ðə bɑr wɪθ səm ˈfɛloʊ ˈtrævələrz ənd ˈsæmpəl sədz frɛʃ frəm ðə tæp? ˈæʃˌvɪl mɛs əraʊnd wɪn ɪt kəmz tɪ bɪr bɑrz. ɪf ˈlʊkɪŋ fər ə gʊd tæp səˈlɛkʃən ənd kˈwɑləti ˈbɑrˌtɛndərz, gɑt ˈplɛnti tɪ ʧuz frəm ɪn taʊn. ˌbiˈsaɪdz ðə fækt ðət moʊst əv ðə ˈloʊkəl ˈbruəriz ˈiðər hæv ər ər pɑrt əv, ðɛr ər ˈɔlsoʊ ə ˈnəmbər əv ˈrɛˌstrɑnts ənd pəbz ɪn taʊn wɪθ greɪt tæp lɪsts (laɪk 12 boʊnz, ə ˈbɑrbɪˌkju ʤɔɪnt ənd ðə ˈmɛloʊ ˈməʃrum, pɑrt əv ə lɑrʤ, ˈsəðərn ˈpitsə ʧeɪn noʊn fər ðɛr greɪt bɪr səˈlɛkʃən). ðɛn ðə bir ˈgɑrdən (dɪˈspaɪt ɪts neɪm, ʤɪst ə nis, bɪr ə tru ““biergarden”*” wɪθ ən ˈaʊtˌdɔr ˈkɔrˌtjɑrd) ənd ðə ʤæk əv ðə wʊd ˈpəblɪk haʊs wɪʧ simz tɪ ˈfəŋkʃən ɛz ðə organ”*” fər grin mæn bruɪŋ (grin mæn ɪz sərvd æt ə ˈnəmbər əv ɛˈstæblɪʃmənts ɪn taʊn ənd həz ðɛr oʊn, bət ðə ʤæk əv ðə wʊd meɪks ɪt ə pɔɪnt tɪ ““feature”*” ðɛr bruz). bət ɪf ju æsk ə ˈloʊkəl wɪʧ bɪr bɑr ju hæv tɪ ˈvɪzɪt, tu neɪmz kip ˈkəmɪŋ ənd ðə ˈθərsti məŋk. ˈdʊrɪŋ ɑr fərst fʊl deɪ ɪn taʊn, ənd ˈbeɪbi ˌdɪˈsaɪdɪd tɪ ˈhəŋkər daʊn fər ən ˌæftərˈnun næp ənd aɪ wɑz ˈgɪvɪn liv tɪ ˈfrikˌwɛnt wən əv ðiz bɑrz. ˈkæʒəwəl ˈridərz maɪt əˈsum ɪt ˈivɪn ə dəˈbeɪt ənd ðət aɪ ˌɪˈmiˌdiətli wɛnt tɪ. boʊθ bɑrz wər wɪˈθɪn wən blɑk əv wɛr wi wər steɪɪŋ ənd ədˈmɪt ðət ˈhɛdɪŋ tɪ maɪ ˈneɪmˌseɪk pəb wɑz ˈvɛri ɛnˈtaɪsɪŋ. bət ɑr dɪˈvaʊt ˈridərz noʊ ðət ə ˈsəkər fər ˈɛni bɑr wɪθ ðə wərd ““monk”*” ɪn ðə ˈtaɪtəl. tu əv maɪ ˌɔlˈtaɪm ˈfeɪvərɪt ɛˈstæblɪʃmənts ɪn ðə ˈjuˈɛs ər café*é ɪn ˈfɪli ənd ðə ˈkɛtəl ɪn sæn fræn. soʊ, ˈbəkɪŋ ɔl ˌɛkspɛkˈteɪʃənz, aɪ wɔkt əˈkrɔs ðə strit tɪ ðə ˈθərsti wɑz nɑt ˌdɪsəˈpɔɪnɪd. ðə ˈθərsti məŋk ɪz ə tu ˈstɔri ɪˈstæblɪʃmənt wɪθ ðə səbtərˈeɪniən ˈdaʊnˈstɛrz speɪs biɪŋ rɪˈzərvd fər ˈbɛlʤən ənd bruz ənd ðə brightly-lit*, əpˈstɛrz bɑr rɪˈzərvd fər əˈmɛrɪkən kræft bruz. waɪl aɪ ləvz mi səm ˈbɛlʤən bruz, aɪ ˈplænɪd ˌmaɪˈsɛlf ɔn ən əpˈstɛrz ˈkɔrnər əˈbaʊt 30 ˈsɛkəndz ˈæftər ðə məŋk ˈoʊpənd ənd skænd ðə dræft lɪst. si ɪf ju kən tɛl wɪʧ bru kɔt maɪ aɪ first…*… jæ, ˈeɪvəri ˈæˌdɪkt. aɪ ləv ˈeɪvəri bruz ɪn ˈʤɛnərəl, ənd ðə ɪn ˌpɑˈtɪkjələr. soʊ wɪn aɪ sɔ ə 16 barrel-aged*, ˈvərʒən əv ðə ɔˈrɛdi ˌɪnˈkrɛdəbli ˌɪmˈpɪriəl staʊt? aɪ min, ʃʊr, waɪ nɑt? tɪ seɪ ðət aɪ lʊkt laɪk ə tul waɪl ˈdrɪŋkɪŋ ɪt wʊd bi ə kəmˈplit ˈəndərˌsteɪtmənt. aɪ snɪft ðə glæs laɪk ə ˈblədhaʊnd, stɛrd æt ðə ˈkələr laɪk ə kraɪm sin ˌɪnˈvɛstəˌgeɪtər, ənd tʊk ˈkɛrfəl, ˈmɛʒərd frəm ðə glæs laɪk ɪt wɑz ðə læst bɪr aɪ wʊd ˈɛvər drɪŋk. wɪn wən əv ðə ˈbɑrˌtɛndərz wɔkt baɪ, ʃi æst addict?”*?” aɪ traɪd tɪ pleɪ ɪt kul ənd sɛd, kwaɪt good.”*.” ʃi snɪrd (ɪn ə ˈfrɛndli weɪ) ənd sɛd, ““oh*, ˈbɛtər ðən good’.”*’.” ʃi wɑz raɪt, əv kɔrs. aɪ dɪˈskraɪbd ɪt tɪ maɪ ˈfɛloʊ ɛz ə ˈvərʒən əv founders’*’ dɪz ðət saʊnd laɪk ˈsəmθɪŋ ju maɪt bi ˈɪntəˌrɛstɪd ɪn? *ˈspikɪŋ əv ˈfaʊndərz, ðə ˈnɛməsɪs ənd ˈbrɛkfəst staʊt wər ˈɔlsoʊ ɔn ðə ˈmɛnju ənd aɪ təkt ˈɪntu ðoʊz tu bruz ɛz well…*… waɪl aɪ rɪˈgrɛtɪd nɑt biɪŋ ˈeɪbəl tɪ hɪt əp (ðɛr ər ˈoʊnli soʊ ˈmɛni fri ˌæftərˈnunz ɔn ˈfæməli veɪˈkeɪʃənz), aɪ noʊ aɪ meɪd ðə raɪt kɔl fər ðə ˈæˌdɪkt əˈloʊn. rəˈgɑrdləs, ɪf ˈlʊkɪŋ fər ə ˈwərldˌklæs bɪr bɑr, gɑt ˈplɛnti o’*’ ˈɔpʃənz ɪn ˈæʃˌvɪl. bət wət ɪf ju kɛr əˈbaʊt ˈrɛrɪtiz ənd bɪrz ju kən gɪt ˈɛlsˌwɛr? wət ɪf ə bɪr ɪkˈsplɔrər ðət ʤɪst wɔnts tɪ ˈsæmpəl ðə ˈloʊkəl stəf? nɑt ə stɑp ˈɪntu wən əv ˈmɛni local…*… 3 ˈbruəriz: jʊr taʊn goʊɪŋ tɪ bi neɪmd bɪr ˈsɪti ˈjuˈɛˈseɪ fər θri jɪrz ɪn ə roʊ ʤɪst bɪˈkəz gɑt ə fju greɪt ˈbɑtəl ʃɑps ənd bɑrz. ərn ðət ˌsoʊbrəˈkɛt, ju nid tɪ bi ə prəˈdusər, ˈdæmɪt. ənd noʊ ˈsɪti prəˈdusɪz ˈloʊkəl bruz ɔn ə pər ˈkæpɪtə ˈbeɪsɪs kwaɪt laɪk ˈæʃˌvɪl *ˈpɔrtlənd ˈrɛzɪdənts ər ˈroʊlɪŋ ðɛr aɪz raɪt naʊ ənd ˈraɪtli soʊ. ˈkɔlɪŋ ˈɛni ˈəðər ˈsɪti ˈsɪti usa”*” ɪz ˈprɪti rɪˈdɪkjələs ɛz lɔŋ ɛz ˈpɔrtlənd rɪˈmeɪnz pɑrt əv ðə ˈkəntri. laɪk ˈneɪmɪŋ kɑrl ðə ˈoʊvər ˈmaɪkəl ˈʤɔrdən. wɪθ 40 ˈbruəriz ɪn ðə ˈpɔrtlənd ˈɛriə, noʊ ˈsɪti ɪn ðə wərld kən kəmˈpit wɪθ ðə roʊz ˈsɪti ɪn tərmz əv ʃɪr ˈnəmbərz. ˌhaʊˈɛvər, pər ˈkæpɪtə, ˈæʃˌvɪl ˈæˌkʧuəli wɪnz aʊt. ˈbruəriz pər ˈkæpɪtə ˈreɪʃiˌoʊ wərks aʊt tɪ əraʊnd 1 ˈbruəri pər ˈrɛzɪdənts. waɪl ˈæʃˌvɪl həz fɑr fjuər ˈbruəriz, ðeɪ ˈɔlsoʊ hæv ˈsɛvən taɪmz fjuər ˈrɛzɪdənts wɪʧ gɪvz ðə ˈsɪti ə pər ˈkæpɪtə ˈbruəri ˈreɪʃiˌoʊ əv 1 ˈbruəri pər ashevillians*. ə ˈsɪli weɪ tɪ ˈmɛʒər wɪʧ ˈsɪti ɪz ““best”*” ənd ɛz fɑr ɛz ˈmɛˌtroʊ ˈɛriəz ər kənˈsərnd, aɪ wʊd ˈsərtənli pʊt ˈpɔrtlənd, ˈdɛnvər, sæn fræn, ənd sæn diˈeɪgoʊ əˈhɛd əv ˈæʃˌvɪl. bət, ju wʊd bi tɪ faɪnd ə smɔl taʊn ˈɛniˌwɛr ɛls ɪn ðə ˈkəntri wɪθ səʧ praɪd ɪn ɛz ˈæʃˌvɪl. ə ˈmɑdəl baɪ wɪʧ ɔl ˈəðər smɔl, əˈmɛrɪkən ˈsɪtiz ʃʊd bi ˈmɛʒərd. ˈæʃˌvɪl ɪz hoʊm tɪ 9 əv wɪʧ həz ɪts oʊn ˌpərsəˈnælɪti ənd ˈfleɪvər: ˈhaɪlənd bruɪŋ: fər ðə moʊst pɑrt, aɪ ˌɪgˈnɔrd ðə ˈɔfərɪŋz frəm ˈoʊldəst ənd ˈbɪgəst ˈbruəri. nɑt bɪˈkəz aɪ laɪk ðɛr bɪrz (aɪ ˌɛnˈʤɔɪ ðɛm ˈvɛri məʧ), bət bɪˈkəz ðə wən ˈæʃˌvɪl ˈbruəri ðət dɪˈstrɪbjuts ɪn ˌæləˈbæmə. noʊ nid tɪ kɪl ˌmaɪˈsɛlf ˈgræbɪŋ ə ˈbɑtəl əv ˈgeɪlɪk eɪl ər ˈoʊtˌmil ˈpɔrtər wɪn aɪ kən rən tɪ maɪ ˈloʊkəl ˈpækɪʤ stɔr ˈɛni taɪm ənd græb ə ˈsɪksər. aɪ dɪd pɪk əp ə fju ˈbɑtəlz əv ðɛr blæk ˈmoʊkə staʊt, ˌhaʊˈɛvər, sɪns wən əv ðɛr fju bruz ðət ju faɪnd ɪn ðə steɪts ə ˈpɪti ə greɪt bɪr). waɪl ˈhaɪlənd hæd ˈlɪtəl ˌɪmˈpækt ɔn maɪ veɪˈkeɪʃən ɪn ˈæʃˌvɪl, ɪt meɪ bi ðə bɛst ˈbruəri ənd ðɛr ˈsizənəl (ə ˈgɔrʤəs skɑʧ eɪl) maɪt bi ðə bɛst bru meɪd ɪn *aɪ ˈsəˌspɛkt səm ˈloʊkəlz wʊd kˈwɛʃən maɪ kleɪm ðət ˈhaɪlənd ɪz ðə bɛst ɪn ˈæʃˌvɪl, ənd sɪns aɪ gɪt ə ʧæns tɪ ˈsæmpəl bruz frəm ˈɛvəri ˈbruəri ðɛr, aɪ boʊ tɪ ðɛr ˈʤəʤmənt. ðət sɛd, dɪˈskəvərd ˈoʊvər ðə jɪrz ðət, ɪn ˈʤɛnərəl, kræft ˈbruəriz ðət hæv bɪn əraʊnd ə ˈlɪtəl waɪl tɛnd tɪ hæv ðə kɪŋks wərkt aʊt ˈbɛtər ðən nuər eɪl ˈfæktəriz. nɑt tɪ seɪ ðət ən ˈəpˌstɑrt ˈbruəri kræŋk aʊt ən ˌɪnˈkrɛdəbəl ðət ɪt kən teɪk ə fju jɪrz tɪ ˈrɪli ˈmæstər ðə kənˈsɪstənsi ənd kˈwɑləti ˈnɛsəˌsɛri tɪ bi ə ˈtruli greɪt ˈbruəri. ˈnoʊtɪst ðət maɪ ˈloʊkəl ˈbruəriz sim tɪ gɪt ˈbɛtər ənd ˈbɛtər wɪθ iʧ bæʧ. streɪt tɪ eɪl, ən ˈaʊtˌfɪt ɪn ˈhəntsvɪl, lɛft mi ə ˈlɪtəl koʊld wɪn ðɛr ˈɔfərɪŋz fərst meɪd ðɛr weɪ tɪ ˈbərmɪŋˌhæm. bət wɪθ iʧ səkˈsɛsɪv ˈsæmplɪŋ əv ðɛr sədz, bɪn mɔr ənd mɔr ˌɪmˈprɛst wɪθ ðɛr ˈaʊtˌpʊt. ˈmeɪkɪŋ bɪr ɪz ˈmeɪkɪŋ greɪt, kənˈsɪstənt bɪr ɪz hɑrd ənd teɪks ə lɔt əv ɪkˈspɪriəns. ˈhaɪlənd ˈsɪmpli həz mɔr ɪkˈspɪriəns ənd mɔr ˈbæʧɪz ˈəndər ðɛr bɛlt ðən ˈɛni ˈəðər ˈæʃˌvɪl ˈbruəri ənd aɪ θɪŋk ðə pruf ɪz ɪn ðə ˈpʊdɪŋ. frɛnʧ brɔd bruɪŋ: ðɪs smɔl ˈmaɪˌkroʊˌbruəri ɪz ˈloʊˌkeɪtəd saʊθ əv taʊn nɪr ˈbɪltˌmɔr ˈvɪlɪʤ. ɪn ðə pæst, ˌɛnˈʤɔɪd ðɛr raɪ ˈhɑpər soʊ aɪ wɑz ˈlʊkɪŋ ˈfɔrwərd tɪ səm mɔr əv ðɛr bruz. aɪ wɑz ˈeɪbəl tɪ traɪ ðɛr ənd 13 ˈrɛbəlz boʊθ əv wɪʧ wər ˈsɑləd, ˈkɑmpətɪnt ˈvərʒənz əv ðɛr rɪˈspɛktɪv staɪlz. ˌpɑrˈtɪkjələrli ˈlʊkɪŋ ˈfɔrwərd tɪ ðə ˈbɑmər əv ðət aɪ bɔt æt bruisin’*’ eɪlz. ðə ˈʤɛnəlmən ˈrɪŋɪŋ mi əp toʊld mi ðət ɪt wɑz ðɛr bɛst bru baɪ fɑr. grin mæn bruɪŋ: grin mæn, laɪk frɛnʧ brɔd, ˈmoʊstli ˈfoʊkɪsɪz ɔn sessionable*, bruz. ðɛr ɪz ˈklɪrli ɪn ðə ˈɪŋlɪʃ staɪl wɪθ ə ˈsətəl, ˈflɔrəl hɑp ərˈoʊmə ənd maɪld ˈbɪtərnəs ənd ðɛr ɪz ə ˈwərkˌmænˌlaɪk, ɪf ˌənspɛkˈtækjələr ˈɔfərɪŋ. maɪ ˈfeɪvərɪt bru əv ðɛrz wɑz ə ˈvɛri ˈteɪsti wɪʧ wɑz ɔn tæp æt ən ˈɪndiən ˈrɛˌstrɑnt wɛr wi hæd ˈdɪnər wɪθ səm ˈloʊkəlz. aɪ hərd frəm ə ˈnəmbər əv foʊks ðət ðə bɛst pleɪs tɪ kənˈsum grin eɪlz wɑz ˈiðər æt ðɛr ər æt ðə ʤæk əv ðə wʊd. sɪns aɪ ˈvɪzɪt ˈiðər loʊˈkæl, gɪv ˌmaɪˈsɛlf ən ˌɪnkəmˈplit ɔn grin mæn. *aɪ θɪŋk ˈɛvəri həz ə staɪl əv bɪr ðət ðeɪ nɑt laɪk (fərˈgɪv ðə ˈdəbəl ˈnɛgətɪv). fər mi, ðət staɪl ɪz ˈpɔrtər (ər staʊt). laɪk ðə oʊld seɪɪŋ əˈbaʊt ðɛr biɪŋ noʊ səʧ θɪŋ ɛz bæd ˈpitsə ər bæd sɛks, noʊ səʧ θɪŋ ɛz ə ““bad”*” ˈpɔrtər tɪ mi. aɪ faɪnd ˈivɪn ˈklɪrli ˌmidiˈoʊkər ˈvərʒənz əv ðə staɪl tɪ bi ˈpərfəktli ˈdrɪnkəbəl. ər ðə ˈɑpəzɪt fər mi. ə ˈseɪsɑn həz tɪ bi ˌɪnˈkrɛdəbəl fər mi tɪ ˌɛnˈʤɔɪ ə ˈpɔrtər ˈrɛrli, ɪf ˈɛvər, ˈtruli ˌdɪsəˈpɔɪnts mi. ðə ˈoʊnli ˌənfɔrˈgɪvəbəl sɪn fər ə ˈpɔrtər ɪz tɪ bi tu thin-bodied*. ðeɪ kən bi blænd, over-roasted*, tu ˈbɪtər, ˌɛtˈsɛtərə. ənd stɪl ˈprɑbəˌbli laɪk sərv mi ə θɪn, ˈwɔtəri ˈpɔrtər, ənd aɪ ˈivɪn ˈfɪnɪʃ **ʤɪst kɔrs ˈfɪnɪʃ ɪt. ən! bruɪŋ ˈkəmpəˌni: ðɪs ɪz ðə ˈbruəri aɪ nid tɪ meɪk ə tɪ ɔn maɪ nɛkst ˈvɪzɪt tɪ ˈæʃˌvɪl. aɪ hæd ðɛr peɪl eɪl ənd ˈpɔrtər ənd θɔt, ““hey*, ðiz ər ˈprɪti ˈɑbviəsli ə kˈwɑləti ˈbruəri ˈmeɪkɪŋ səm ˈbeɪsɪk, products.”*.” əˈpɑn rɪˈtərnɪŋ tɪ ˈbərmɪŋˌhæm ənd ˈʧɛkɪŋ ðɛr ˈwɛbˌsaɪt, ɪt bɪˈkeɪm klɪr ðət aɪ mɪst ðə boʊt ɔn. ðɛr all-organic*, ˈlaɪˌnəp ˌɪnˈkludz ə 10 ənd ðɛr ˌɪnˈklud ə ˈkɔfi staʊt, ə ˈbeɪkən staʊt (ˈɔsəm), ˈsəmθɪŋ kɔld ˈæpəl jaxx*, ənd ðə ˈvɔrtɛks 1 wɪʧ ðeɪ kleɪm ɪz ðə bɪr ɪn ðə ˈæʃˌvɪl ˈmɛˌtroʊ ˈɛriə., wɪʧ ɪz ˈæˌkʧuəli ˈloʊˌkeɪtəd ɪn blæk ˈmaʊntən (ʤɪst ə ʃɔrt draɪv frəm ˈæʃˌvɪl), wɪl ˈɑbviəsli bi maɪ fərst stɑp wɪn nɛkst aɪ hɪt əp ˈkaʊnti. ˈæʃˌvɪl bruɪŋ ˈkəmpəˌni: ðɛr ər tu ˈæʃˌvɪl bruɪŋ ˈkəmpəˌni loʊˈkeɪʃənz ɪn taʊn. wən ɪz mɔr ənd həz ə ˈmuvi ˈθieɪtər ənd ɑrˈkeɪd waɪl ðə ˈəðər ɪz ənd spɔrts ə lɑrʤ, ˈaʊtˌdɔr ˈpætiˌoʊ ənd ə mɔr ˈəpˌskeɪl ˈlɪkər bɑr. ðeɪ boʊθ ˈfiʧər ˈeɪˌbiˌsi bɪrz, ðə moʊst ˈpɑpjələr əv wɪʧ ər ðə ˈʃivə ənd ˈnɪnʤə ˈpɔrtər. aɪ ˈsæmpəld boʊθ ənd ˌɛnˈʤɔɪd boʊθ. ðə sim tɪ bi ˈvɛri ˈpɑpjələr əˈməŋst ðə ˈloʊkəlz ənd ðeɪ kip ə loʊ ˈproʊˌfaɪl baɪ ˈfoʊkɪsɪŋ ɔn smuð, ˈsɛʃən bɪrz. ˈnəθɪŋ ˈfænsi æt ˈeɪˌbiˌsi, bət ɪt ɔl simz tɪ wərk. ˈlɛksɪŋtən ˈævəˌnu ˈbruəri (læb): bi ˈvɛri ˈwɛri əv ˈɛni ðət həz ˈklɪrli pʊt ə tən əv ˈɛfərt ˈɪntu ˈætməsˌfɪr ənd staɪl. counter-intuitive*, bət ˈɔfən faʊnd ðət ðə moʊst ˈhəmbəl ˈbruəriz ənd hæv səm əv ðə bɛst bɪr (ðoʊ ðɛr ər ˈɑbviəs ɪkˈsɛpʃənz tɪ ðə rul laɪk stoʊn wɪʧ həz wən əv ðə ˈprɪtiəst ɔn ərθ ənd meɪks ˈwərldˌklæs bɪr). ˈlɛksɪŋtən ˈævəˌnu ˈbruəri ɪz ðə bɛst ““looking”*” ˈbruəri ɪn ˈæʃˌvɪl wɪθ ə ˈgɔrʤəs, ˈoʊpən ˈpætiˌoʊ ˈɛriə, ənd ə hɪp, ˈstaɪlɪʃ bɑr wɪθ lɛd laɪts. ðeɪ sərv ˈəpˌskeɪl pəb grəb ənd hæv əˈbaʊt ə ˈhæfˌdəzən bruz ɔn tæp æt ˈɛni wən taɪm. ðə ˈprɑbləm, ɛz ə aɪ kˈwɪkli ˈlərnɪd, ɪz ðət ðə ˈbruəri ɪz ɔl staɪl ˈoʊvər ˈsəbstəns. waɪl ə greɪt pleɪs tɪ ənd græb ə baɪt, ðə bɪr ɪz wɛl bɪˈloʊ ˈævərɪʤ. aɪ traɪd ðɛr braʊn eɪl wɪʧ wɑz ə ˈwɔtəri, lɪmp mɛs ənd ðɛn swɪʧt tɪ ðɛr wɪʧ wɑz kəmˈplitli (ɪt smɛld ənd ˈteɪstɪd laɪk ə hæd gɔn ɔf ɪn ɪt). boʊθ bɪrz wər kəmˈplitli flæt wɪn ðeɪ əraɪvd tɪ æd tɪ ðə fən. ɑr ˈloʊkəl frɛndz ənd ðə faɪn ʤɛnts æt bruisin’*’ eɪlz ˌɪnˈfɔrmd ˈjuˈɛs ðət læb wɑz ðə list ˈpɑpjələr ˈbruəri əˈməŋst ˈæʃˌvɪl ˈneɪtɪvz. ʃʊd hæv ˈlɪsənd tɪ ðɛm. wɛʤ bruɪŋ ˈkəmpəˌni: ɔn ðə əv læb ɪz wɛʤ wɪʧ wi wər ˌɪnˈfɔrmd wɑz ðə wən ˈbruəri wi hæd tɪ ˈvɪzɪt ɪn taʊn. ˈæftər ə deɪ ˈʃɑpɪŋ ɪn ˈbɪltˌmɔr ˈvɪlɪʤ, wi ˈwɑndərd əp tɪ ðə wɛʤ wɪʧ ɪz ˈloʊˌkeɪtəd ɪn ðə hɪp ˈrɪvər ɑrts ˈdɪstrɪkt. lɛt ðə neɪm ful ˈrɪvər ɑrts ˈdɪstrɪkt ɪz ə ˈræmˌʃækəl, ˌɪnˈdəstriəl pɑrt əv taʊn ˈkɛrɪktərˌaɪzd baɪ treɪn træks, ˈwɛˌrhaʊzɪz, ənd ˈfɛnsɪz. wɛʤ ɪz ə bɪt hɑrd tɪ faɪnd sɪns ðə ˈstɔrˌfrɑnt ˈæˌkʧuəli ˈfeɪsɪz əˈweɪ frəm ðə roʊd ənd ju hæv tɪ draɪv θru ə ˈgrævəl ˈpɑrkɪŋ lɔt tɪ faɪnd ɪt. ɪt həz ə ˈtaɪni ˈteɪstɪŋ rum kəˈnɛktɪd tɪ ðə ˈbruəri ənd ə ˈaʊtˌdɔr speɪs fɪld wɪθ ˈvɛri kul ˌɪnˈdəstriəl ˈskəlpʧərz (θɪŋk gɪrz, ˈpɪstənz, ənd ˈɪnʤən pɑrts). ə ˈvɛri boʊˈhimiən pleɪs wɪʧ ʃʊr əˈpilz tɪ ðə super-liberal*, ˈkəlʧər əv ˈæʃˌvɪl. aɪ æst ðə ˈvɛri ˈhɛlpfəl ˈbɑrˌtɛndər wɪʧ bɪr aɪ ““had”*” tɪ traɪ ənd ʃi sɛd ðə aɪərn reɪl wɑz ðə moʊst ˈpɑpjələr bru, bət ðət ðə dɪˈreɪld hɛmp braʊn eɪl wɑz hər ˈfeɪvərɪt ɔn tæp. feɪst wɪθ ðət ˌɪmˈpɑsəbəl ʧɔɪs, aɪ æst fər ə hæf əv iʧ (heɪ, aɪ wɑz ˈdraɪvɪŋ!). ðə ““half”*” bɪrz wər ˈvɛri ˈʤɛnərəs pɔrz (aɪ ləv pɔrz) ənd wi ˈsɛtəld ˈɪntu ðə bɑr ənd lɛt ˈbeɪbi səm ˈpiˌnəts waɪl aɪ təkt ˈɪntu ðə bruz. ðə wɑz ˈvɛri ˈteɪsti ðoʊ ɪt hæd ə sˈlaɪtli ənˈplɛzənt ɪn ðə ˈfɪnɪʃ (ˈnəθɪŋ ɪˈgriʤəs, bət ɪt kɛpt ɪt frəm biɪŋ ə ““great”*”). ðə dɪˈreɪld wɑz ˌæbsəˈlutli dɪˈlɪʃəs, ˌhaʊˈɛvər. ə sˈlaɪtli ˈspaɪsi, ˈvɛri braʊn eɪl wɪθ ə smuð, ˈroʊstɪd ˈfɪnɪʃ ənd ə nis, ˈkrimi ˈbɑdi. ʤɪst ən ˈɛksələnt bɪr ɔl əraʊnd. bruɪŋ ˈkəmpəˌni: əˈlæs, wɪθ səʧ ə ʃɔrt trɪp tɪ ˈæʃˌvɪl, aɪ ˈeɪbəl tɪ ˈsæmpəl bɪrz frəm ɔl ðə ˈloʊkəl ˈbruəriz. ðə tu aɪ mɪst kəmˈplitli wɛr ðə ənd bruɪŋ ˈkəmpəˌniz. ɪz ə ˈtaɪni ˈbruəri wɪˈθɪn ðə ˈlɑbstər træp ˈrɛˌstrɑnt ɔn ˈpætən ˈævəˌnu. ðə sˈmɔləst ˈbruəri ɪn ðə ˈsɪti ənd, ɛz fɑr ɛz aɪ noʊ, ju kən ˈoʊnli gɪt ðɛr bɪrz æt ðə ˈlɑbstər træp. sɪns ˈbeɪbi ə bɪg ˈlɑbstər ər ˈɔɪstər fæn, wi stɑp ɪn. ɪz əˈnəðər smɔl ˈloʊkəl ˈbruəri ðət simz tɪ bru ə waɪd vərˈaɪəti əv staɪlz. ə lʊk æt ðɛr ˈwɛbˌsaɪt rɪˈvilz ən ʧɪˈpoʊˌtli ˈpɔrtər, ə dubbel*, ə hɪˈstɔrɪkəl sprus ənd məˈlæsəz eɪl, ə bəˈvɛriən ˈlɑgər, ənd ə raɪ eɪl. seɪf tɪ seɪ ðət sæd aɪ gɪt ə ʧæns tɪ ˈvɪzɪt. ɑ ˈɔlˌweɪz nɛkst taɪm! wɪθ ɔl əv ðoʊz ˈbruəriz tɪ ʧuz frəm, noʊ ˈwəndər ðət ˈæʃˌvɪl ɪz wən əv ðə bɛst ˈsɪtiz ɪn əˈmɛrɪkə wɪn ɪt kəmz to…*… 4 bɪr ˈkəlʧər: ˈrɛrli spɛnt taɪm ɪn ə ˈsɪti ðət tʊk mɔr praɪd ɪn ðɛr ˈhoʊmˌtaʊn bɪr ðən ˈæʃˌvɪl dɪz. noʊ ˈmætər wɛr aɪ wɛnt, aɪ hərd ðə ˈloʊkəlz ˈtɔkɪŋ əˈbaʊt ðɛr bɪr. wɪn wi sæt daʊn wɪθ frɛndz, ðə fərst kˈwɛʃən ðeɪ æst wɑz, ““so*, wət ˈloʊkəl bɪrz hæv ju tried?”*?” ðeɪ ər ˈraɪtfəli praʊd əv biɪŋ neɪmd ˈsɪti usa”*” ənd aɪ θɪŋk 90 əv ðə bɪr aɪ sɔ ˈɔrdərd ˈdʊrɪŋ ɑr ˈvɪzɪt wɑz ˈloʊkəli prəˈdust. ˈæʃˌvɪl ɪz ˈsəmθɪŋ əv ə ““hippie”*” taʊn wɪθ ə ˈfoʊkɪs ɔn ɔrˈgænɪk, ˈloʊkəl fudz, ɪnˌvaɪrənˈmɛnəl səˌsteɪnəˈbɪlɪti, ˈaʊtˌdɔr ˌrɛkriˈeɪʃən, ˌtæˈtuz, piercings*, ənd drəm ˈsərkəlz. ənd ɪn ˈrisənt jɪrz, ˈædɪd bɪr tɪ ðə lɪst əv θɪŋz ˈpæʃənət əˈbaʊt. ɪt wɑz soʊ rɪˈfrɛʃɪŋ tɪ bi ɪn ə taʊn wɛr bɪr həz bɪn soʊn ˈɪntu ðə ˈvɛri wɔrp ənd wuf əv ðə ˈfæbrɪk. ˈɛvriˌwɛr ju wɛnt ðɛr wɑz səm ˈrɛfərəns tɪ ə ˈloʊkəl ˈbruəri ər ˈloʊkəl bɪr. ənd ʃʊr, ˈmeɪbi ˈæʃˌvɪl mæʧ ˈpɔrtlənd fər vərˈaɪəti ər ˈdɛnvər fər kˈwɑləti ər sæn diˈeɪgoʊ fər kənˈsɪstənsi, bət fər ə smɔl, ˈmaʊntən taʊn, ðeɪ ˈrɪli, ˈrɪli kɛr əˈbaʊt ðɛr bɪr. ənd ɪf ju kɛr əˈbaʊt bɪr, meɪk ðə trɛk tɪ ˈæʃˌvɪl sun tɪ si wət bɪr ˈsɪti ˈjuˈɛˈseɪ ɪz ɔl əˈbaʊt.
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for the third year in a row (if you count their 2009 tie with portland), asheville, nc was named the examiner’s beer city usa. for a small city of just over 80,000 people, this is an impressive feat to say the least. i decided it was high time i paid another visit to the beautiful mountain town to see why the examiner’s readers consider it such a mecca for aleheads. fortunately, i only live about five hours from western north carolina, so the mchops clan decided to make asheville our destination for a much-needed family vacation.
let me add a caveat before you continue reading. if you’re expecting one of kid carboy’s beer travelogs involving seedy motel rooms, extensive interviews with brewers, and carefully planned days of bar-hopping and beer sampling, you’ll be disappointed by this post. unlike the kid, my beer trips are no longer solo endeavors. on my jaunt to asheville, a pregnant wifey and two-year-old baby mchops joined me. while the long-suffering wifey gave me leave to sample much of asheville’s sudsy goodness, there’s only so much beer “research” you can do as a family man on vacation. more importantly, i’m an old man and beer makes me sleepy. a few beers at lunch and you can count me in for an afternoon nap right alongside baby mchops.
with those excuses out of the way, let’s take a look at the jewel of buncombe county and see how it earned the title of beer city usa…
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a guide to the asheville beer scene
for an obsessive alehead looking to restock their increasingly sparse beer fridge, the first stop in asheville will be to one of the city’s many well-stocked…
1. bottle shops: as you might expect for a small town that prides itself on its beer culture, asheville has its fair share of excellent bottle shops. three of the best are hops & vines, the asheville wine market, and the appalachian vintner (down near the quaint biltmore village). you can also find an excellent selection of brews at the greenlife grocery, a large organic market that was recently bought out by whole foods. but for true aleheads, the place to visit (and, not surprisingly, my first stop on our vacation) is bruisin’ ales on broadway. unlike the stores listed above, this is just a beer bottle shop….there are no silly bottles of wine or liquor cluttering up the shelves. the store is wholly devoted to hops and barley. the staff is highly knowledgeable, knows their stock well, and will gladly point you to another shop in town if you can’t find a specific beer you’re looking for. upon first glance, the store seemed smaller than i was expecting, but since they don’t carry any macros and have little refrigerator space (just one unit as far as i could tell), the store is mostly stocked with wooden shelves filled with specialty bombers. for an alehead looking for rarities, local brews, and high-gravity, cellarable bottles, it was heaven. i picked up their last bottle of life & limb, the terrapin reunion ’11, and some local brews like the french broad wee-heavy-er, asheville brewing shiva, and olde hickory death by hops. plus a few more, of course…
of course, only unfriendly sociopaths like me would sit at home with a fridge full of beer when asheville has so many incredible…
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2. beer bars: who cares about bottle shops when you can belly up to the bar with some fellow travelers and sample suds fresh from the tap? asheville doesn’t mess around when it comes to beer bars. if you’re looking for a good tap selection and quality bartenders, you’ve got plenty to choose from in town. besides the fact that most of the local breweries either have taprooms or are part of full-fledged brewpubs, there are also a number of restaurants and pubs in town with great tap lists (like 12 bones, a bbq joint and the mellow mushroom, part of a large, southern pizza chain known for their great beer selection). then there’s the bier garden (despite its name, it’s just a nice, well-stocked beer bar…not a true “biergarden” with an outdoor courtyard) and the jack of the wood public house which seems to function as the “house organ” for green man brewing (green man is served at a number of establishments in town and has their own taproom, but the jack of the wood makes it a point to “feature” their brews).
but if you ask a local which beer bar you have to visit, two names keep coming up…barley’s taproom and the thirsty monk. during our first full day in town, wifey and baby decided to hunker down for an afternoon nap and i was given leave to frequent one of these bars. casual readers might assume it wasn’t even a debate and that i immediately went to barley’s. both bars were within one block of where we were staying and i’ll admit that heading to my namesake pub was very enticing. but our devout readers know that i’m a sucker for any bar with the word “monk” in the title. two of my all-time favorite establishments in the us are monk’s café in philly and the monk’s kettle in san fran. so, bucking all expectations, i walked across the street to the thirsty monk…i was not disappointed.
the thirsty monk is a two story establishment with the subterranean downstairs space being reserved for belgian and belgian-inspired brews and the brightly-lit, open-air upstairs bar reserved for american craft brews. while i loves me some belgian brews, i planted myself on an upstairs corner barstool about 30 seconds after the monk opened and scanned the draught list. see if you can tell which brew caught my eye first…
yeah, that’s right…the avery meph addict. i love avery brews in general, and the mephistopheles in particular. so when i saw a 16%, barrel-aged, coffee-infused version of the already incredibly imperial stout? i mean, sure, why not? to say that i looked like a tool while drinking it would be a complete understatement. i sniffed the glass like a bloodhound, stared at the color like a crime scene investigator, and took careful, measured quaffs from the glass like it was the last beer i would ever drink. when one of the bartenders walked by, she asked “meph addict?” i tried to play it cool and said, “yeah…it’s quite good.” she sneered (in a friendly way) and said, “oh, it’s better than ‘quite good’.” she was right, of course. i described it to my fellow aleheads as a high-octane version of founders’ kbs.* does that sound like something you might be interested in?
*speaking of founders, the nemesis and breakfast stout were also on the menu and i tucked into those two brews as well…
while i regretted not being able to hit up barley’s (there are only so many free afternoons on family vacations), i know i made the right call for the meph addict alone. regardless, if you’re looking for a world-class beer bar, you’ve got plenty o’ options in asheville. but what if you don’t care about out-of-state rarities and beers you can get elsewhere? what if you’re a beer explorer that just wants to sample the local stuff? not a problem…just stop into one of asheville’s many local…
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3. breweries: your town isn’t going to be named beer city usa for three years in a row just because you’ve got a few great bottle shops and bars. no…to earn that sobriquet, you need to be a producer, dammit. and no city produces local brews on a per capita basis quite like asheville does.*
*portland residents are rolling their eyes right now and rightly so. calling any other city “beer city usa” is pretty ridiculous as long as portland remains part of the country. it’s like naming karl marlone the mvp over michael jordan. with 40 breweries in the portland area, no city in the world can compete with the rose city in terms of sheer numbers. however, per capita, asheville actually wins out. portland’s breweries per capita ratio works out to around 1 brewery per 14,600 residents. while asheville has far fewer breweries, they also have seven times fewer residents which gives the city a per capita brewery ratio of 1 brewery per 9,200 ashevillians. it’s a silly way to measure which city is “best” and as far as metro areas are concerned, i would certainly put portland, denver, san fran, and san diego ahead of asheville. but, you would be hard-pressed to find a small town anywhere else in the country with such pride in beer-making as asheville. it’s a model by which all other small, american cities should be measured.
asheville is home to 9 breweries…each of which has its own personality and flavor:
highland brewing: for the most part, i ignored the offerings from asheville’s oldest and biggest brewery. not because i don’t like their beers (i enjoy them very much), but because they’re the one asheville brewery that distributes in alabama. no need to kill myself grabbing a bottle of gaelic ale or oatmeal porter when i can run to my local package store any time and grab a sixer. i did pick up a few bottles of their black mocha stout, however, since that’s one of their few brews that you can’t find in the yellowhammer states (it’s a pity too…what a great beer). while highland had little impact on my vacation in asheville, it may be the city’s best brewery and their seasonal tasgall (a gorgeous scotch ale) might be the best brew made in town.*
*i suspect some locals would question my claim that highland is the best in asheville, and since i didn’t get a chance to sample brews from every brewery there, i bow to their judgment. that said, i’ve discovered over the years that, in general, craft breweries that have been around a little while tend to have the kinks worked out better than newer ale factories. that’s not to say that an upstart brewery can’t crank out an incredible product…just that it can take a few years to really master the consistency and quality necessary to be a truly great brewery. i’ve noticed that my local ‘bama breweries seem to get better and better with each batch. straight to ale, an outfit in huntsville, left me a little cold when their offerings first made their way to birmingham. but with each successive sampling of their suds, i’ve been more and more impressed with their output. making beer is easy…but making great, consistent beer is hard and takes a lot of experience. highland simply has more experience and more batches under their belt than any other asheville brewery and i think the proof is in the pudding.
french broad brewing: this small microbrewery is located south of town near biltmore village. in the past, i’ve enjoyed their rye hopper ipa so i was looking forward to some more of their brews. i was able to try their kölsch and 13 rebels esb both of which were solid, competent versions of their respective styles. i’m particularly looking forward to the bomber of wee-heavy-er that i bought at bruisin’ ales. the gentleman ringing me up told me that it was their best brew by far.
green man brewing: green man, like french broad, mostly focuses on sessionable, english-style brews. their ipa is clearly in the english style with a subtle, floral hop aroma and mild bitterness and their esb is a workmanlike, if unspectacular offering. my favorite brew of theirs was a very tasty porter* which was on tap at an indian restaurant where we had dinner with some locals. i heard from a number of folks that the best place to consume green man’s ales was either at their taproom or at the jack of the wood. since i didn’t visit either locale, i’ll give myself an incomplete on green man.
*i think every alehead has a style of beer that they can’t not like (forgive the double negative). for me, that style is porter (or stout). like the old saying about there being no such thing as bad pizza or bad sex, there’s no such thing as a “bad” porter to me. i find even clearly mediocre versions of the style to be perfectly drinkable. saisons are the opposite for me. a saison has to be incredible for me to enjoy it…but a porter rarely, if ever, truly disappoints me. the only unforgivable sin for a porter is to be too thin-bodied. they can be bland, over-roasted, too bitter, etc. and i’ll still probably like it…but serve me a thin, watery porter, and i won’t even finish it.**
**just kidding…of course i’ll finish it. i’m an alehead!
pisgah brewing company: this is the brewery i need to make a beeline to on my next visit to asheville. i had their pale ale and porter and thought, “hey, these are pretty good…they’re obviously a quality brewery making some basic, no-nonsense products.” upon returning to birmingham and checking their website, it became clear that i missed the boat on pisgah. their all-organic, year-round line-up includes a 10% abv tripel and their seasonals include a delicious-sounding coffee stout, a bacon stout (awesome), something called apple jaxx, and the vortex 1 which they claim is the hoppiest beer in the asheville metro area. pisgah, which is actually located in black mountain (just a short drive from asheville), will obviously be my first stop when next i hit up buncombe county.
asheville brewing company: there are two asheville brewing company locations in town. one is more family-oriented and has a second-run movie theater and arcade while the other is adult-oriented and sports a large, outdoor patio and a more upscale liquor bar. they both feature abc beers, the most popular of which are the shiva ipa and ninja porter. i sampled both and enjoyed both. the brewpubs seem to be very popular amongst the locals and they keep a low profile by focusing on smooth, highly-drinkable session beers. nothing fancy at abc, but it all seems to work.
lexington avenue brewery (lab): be very wary of any brewpub that has clearly put a ton of effort into atmosphere and style. it’s counter-intuitive, but i’ve often found that the most humble breweries and brewpubs have some of the best beer (though there are obvious exceptions to the rule like stone which has one of the prettiest taprooms on earth and makes world-class beer). lexington avenue brewery is the best “looking” brewery in asheville with a gorgeous, open patio area, and a hip, stylish bar with multi-colored led lights. they serve upscale pub grub and have about a half-dozen brews on tap at any one time. the problem, as a i quickly learned, is that the brewery is all style over substance. while it’s a great place to people-watch and grab a bite, the beer is well below average. i tried their brown ale which was a watery, limp mess and then switched to their ipa which was completely skunked (it smelled and tasted like a sulfur-bomb had gone off in it). both beers were completely flat when they arrived to add to the fun. our local friends and the fine gents at bruisin’ ales informed us that lab was the least popular brewery amongst asheville natives. should have listened to them.
wedge brewing company: on the flipside of lab is wedge which we were informed was the one brewery we had to visit in town. after a day shopping in biltmore village, we wandered up to the wedge which is located in the hip river arts district. don’t let the name fool you…the river arts district is a ramshackle, industrial part of town characterized by train tracks, warehouses, and chain-link fences. wedge is a bit hard to find since the storefront actually faces away from the road and you have to drive through a gravel parking lot to find it. it has a tiny tasting room connected to the brewery and a nice-sized outdoor space filled with very cool industrial sculptures (think gears, pistons, and engine parts). it’s a very bohemian place which i’m sure appeals to the super-liberal, free-spirited culture of asheville. i asked the very helpful bartender which beer i “had” to try and she said the iron rail ipa was the most popular brew, but that the derailed hemp brown ale was her favorite on tap. faced with that impossible choice, i asked for a half of each (hey, i was driving!). the “half” beers were very generous 12-ounce pours (i love taproom pours) and we settled into the bar and let baby mchops unshell some peanuts while i tucked into the brews. the ipa was very tasty though it had a slightly unpleasant astringency in the finish (nothing egregious, but it kept it from being a “great” ipa). the derailed was absolutely delicious, however. a slightly spicy, very well-crafted brown ale with a smooth, roasted finish and a nice, creamy body. just an excellent beer all around.
oysterhouse brewing/craggie brewing company: alas, with such a short trip to asheville, i wasn’t able to sample beers from all the local breweries. the two i missed completely where the oysterhouse and craggie brewing companies. oysterhouse is a tiny brewery within the lobster trap restaurant on patton avenue. it’s the smallest brewery in the city and, as far as i know, you can only get their beers at the lobster trap. since baby mchops isn’t a big lobster or oyster fan, we didn’t stop in. craggie is another small local brewery that seems to brew a wide variety of styles. a look at their website reveals an oak-aged chipotle porter, a dubbel, a historical spruce and molasses ale, a bavarian zwickel lager, and a rye ale. it’s safe to say that i’m sad i didn’t get a chance to visit craggie. ah well…there’s always next time!
with all of those breweries to choose from, it’s no wonder that asheville is one of the best cities in america when it comes to…
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4. beer culture: i’ve rarely spent time in a city that took more pride in their hometown beer than asheville does. no matter where i went, i heard the locals talking about their beer. when we sat down with friends, the first question they asked was, “so, what local beers have you tried?” they are rightfully proud of being named “beer city usa” and i think 90% of the beer i saw ordered during our visit was locally produced. asheville is something of a “hippie” town with a focus on organic, local foods, environmental sustainability, outdoor recreation, tattoos, piercings, and drum circles. and in recent years, they’ve added beer to the list of things they’re passionate about. it was so refreshing to be in a town where beer has been sewn into the very warp and woof of the city’s fabric. everywhere you went there was some reference to a local brewery or local beer. and sure, maybe asheville doesn’t match portland for variety or denver for quality or san diego for consistency, but for a small, mountain town, they really, really care about their beer. and if you care about beer, you’ll make the trek to asheville soon to see what beer city usa is all about.
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ˈɪmɪʤ ˈkæpʃən ðə sɪz ðə nu rulz prɪˈvɛnt bækˈtɪriə biɪŋ sprɛd mɔr dɪˈzizd mit kʊd ɛnd əp ɪn ˈsɔsɪʤɪz ənd paɪz bɪˈkəz əv ˈʧeɪnʤɪz tɪ ˈseɪfti ʧɛks ɪn sˈlɔtərˌhaʊsɪz, ˈhaɪˌʤin ˌɪnˈspɛktərz hæv wɔrnd. ˌɪnˈspɛktərz ɪn juzd tɪ bi ˈeɪbəl tɪ kət ˈoʊpən pɪg ˈkɑrkəsɪz tɪ ʧɛk fər saɪnz əv dɪˈziz. bət ˈəndər nu ˌjʊrəˈpiən ˌrɛgjəˈleɪʃənz, səˈpɔrtɪd baɪ ˈbrɪtənz fud ˈstændərdz ˈeɪʤənsi (fsa*), ðeɪ wɪl hæv tɪ rɪˈlaɪ ɔn ˈvɪʒəwəl ʧɛks əˈloʊn. ðə sɪz ðə nu ˈsɪstəm əˈvɔɪdz ðə rɪsk əv ˈhɑrmfəl bækˈtɪriə biɪŋ sprɛd. əraʊnd eɪt ˈmɪljən pɪgz ə jɪr ər sˈlɔtərd fər mit ɪn ðə uk*. rɑn ˈspɛlmən, ə ˈbrɪtɪʃ mit ˌɪnˈspɛktər wɪθ 30 jɪrz' ɪkˈspɪriəns, sɪz ðə nu ˌrɛgjəˈleɪʃənz, wɪʧ tʊk ˈifɛkt frəm 1 ʤun, rɪsk dɪˈzizd pɑrts əv ˈænəməlz goʊɪŋ ˌəndɪˈtɛktɪd. faɪnd aʊt mɔr ˈɪmɪʤ ˈkæpʃən ˈɛkspərts ər dɪˈvaɪdɪd əˈbaʊt ˈwɛðər ˈfɪzɪkəl ər ˈvɪʒəwəl ˌɪnˈspɛkʃənz ər ˈbɛtər ˈlɪsən tɪ ˈælən rɪˈpɔrt ɔn faɪl ɔn fɔr ɔn ˌbibiˈsi ˈreɪdiˌoʊ 4 æt ɔn ˈtuzˌdeɪ 17 ʤun, ər kæʧ əp ɔn ðə ˌbibiˈsi ˈmɪstər ˈspɛlmən, hu ɪz dɪˈrɛktər ˈʤɛnərəl əv ðə ˌjʊrəˈpiən ˈwərkɪŋ kəmˈjunɪti fər fud ˌɪnˈspɛktərz ənd kənˈsumər prəˈtɛkʃən (ewfc*), wɪʧ ˌrɛprɪˈzɛnts mit ˌɪnˈspɛktərz əˈkrɔs ðə eu*, sɛd: "læst jɪr wi noʊ ðət ðɛr wər æt list pɪgz' hɛdz wɪθ ər təˌbərkjəˈloʊsɪs ˈliʒənz ɪn lɪmf noʊdz ɪn ðə hɛd. ðeɪ woʊnt bi kət naʊ. "ðɛrz noʊ weɪ tɪ si ðoʊz ˈlɪtəl, ˈlɪtəl təˌbərkjəˈloʊsɪs ˈliʒənz wɪˈθaʊt ˈkətɪŋ ðoʊz lɪmf noʊdz." mit frəm pɪgz' hɛdz, ɪz rɪˈkəvərd baɪ pɑrts əv ˈboʊnɪŋ plænts ənd goʊz ˈɪntu paɪz, ˈsɔsɪʤɪz ənd ˈəðər ˈprɑsɛst fudz. ðə nu ˌrɛgjəˈleɪʃənz hæv bɪn drɔn əp baɪ ðə ˌjʊrəˈpiən fud ˈseɪfti əˈθɔrəti, ən ˈeɪʤənsi ˈfəndɪd baɪ ðə eu*, bət ðeɪ ər beɪst ɔn ˌsaɪənˈtɪfɪk ədˈvaɪs frəm ðə. ðə ʧif ˈɔpərˌeɪtɪŋ ˈɔfɪsər ˈændru roʊdz toʊld ðə ˌbibiˈsi ɪt wɑz ˈbɛtər tɪ hæv ə ˈsɪstəm ˈjuzɪŋ ˈvɪʒəwəl ʧɛks tɪ rɪˈdus cross-contamination*, bɪˈkəz bəgz laɪk i. ˈkoʊli ənd ər ˈkɔzɪŋ ˈsaɪəntɪsts mɔr kənˈsərn. hi sɛd: "ðə rɪsks tɪ ðə kənˈsumərz ər ˌɪnˈkrisɪŋgli frəm ənd ˌpæθəˈʤɛnɪk ˈhæzərdz ənd ðæts wət wi məst kənˈtroʊl. "wi ˈkænɑt ˈsɪmpli ˌɪgˈnɔr ðə rɪsks ðət ər brɔt baɪ ˈtəʧɪŋ, ˈkətɪŋ ənd ˈhændəlɪŋ ˈprɑdəkts ðət ər ˈleɪtər goʊɪŋ tɪ goʊ ɔn tɪ bi kʊkt ənd ˈitən, wi hæv tɪ du ðɪs ˈprɑpərli." bət ðə səˈpɔrt fər ðə nu ˈmɛʒərz pʊts ðɛm æt ɑdz wɪθ ˈmɛni əv ðɛr oʊn ˈfrənˌtlaɪn stæf, ðə mit ˌɪnˈspɛktərz hu ʧɛk ˈseɪfti ˈstændərdz ɪn ˈbrɪtənz 350 sˈlɔtərˌhaʊsɪz ənd ɪn plænts wɪʧ ˈprɔˌsɛs ˈkɑrkəsɪz. səm ɪn ðə sˈlɔtərɪŋ ˈɪndəstri ər ˈɔlsoʊ əˈpoʊzɪŋ ðə ˈʧeɪnʤɪz. ˈɪmɪʤ ˈkæpʃən səm ɪn ðə mit ˈɪndəstri seɪ ðə rulz wɪl lɛd tɪ ə ˈsɪstəm ˈkɛvɪn bəroʊz, əv si ənd keɪ mits, oʊnz ən ɪn ˈsəfək huz meɪn ˈbɪznɪs ɪz pɔrk. hi siz ðə nu əˈproʊʧ ɛz "ə ˈbækwərd stɛp" ənd sɪz hɪz ˈkəstəmərz ɪn ˈeɪʒən ˈmɑrkɪts stɪl ˌɪnˈsɪst ɔn ðɛr pɔrk biɪŋ ʧɛkt ɪn ðə oʊld weɪ, wɪʧ ðə həz əˈgrid tɪ əˈlaʊ ɪm tɪ du. bət hi sɪz: "waɪ ʃʊd ən ɪkˈspɔrtəd ˈprɑdəkt bi ˈəndər haɪər ˈskrutəni ðən ə ˈbrɪtɪʃ ˈprɑdəkt? wɪl ɛnd əp wɪθ ə ˈsɪstəm." ˈʃæˌdoʊ fud ənd ˈfɑrmɪŋ ˈmɪnɪstər həz kɔld fər ən ˈərʤənt ˈmitɪŋ wɪθ ðə. hi sɪz hi ɪz nɑt kənˈvɪnst baɪ ðə saɪəns hi həz sin ɔn ðə ˈmætər ənd ɪz ˈwərid ðə nu rulz kʊd ˈdæmɪʤ ˈbrɪtənz ˈɛkspɔrts, wɪʧ rɪˈlaɪ ɔn ə ˌrɛpjəˈteɪʃən fər haɪ ˈwɛlˌfɛr ənd mit ˈhaɪˌʤin ˈstændərdz. ˈmɪstər sɛd: "wi wɔnt tɪ si ˈæbsəˌlut əˈʃʊrəntsɪz ðət ðɪs ɪz nɑt kənˈsumər prəˈtɛkʃən ənd wɪr nɑt ˌriəˈʃʊrd jɛt bɪˈkəz dɪˈspaɪt ðə wərk ðət ðə həz bɪn duɪŋ ˈoʊvər ə fju jɪrz naʊ tɪ lʊk æt ðɪs ˈɪʃu, wət ðeɪ hæv pərˈzɛnəd tɪ ˈjuˈɛs ɪz nɑt ə kəmˈpɛlɪŋ keɪs fər ə ʧeɪnʤ ɪn ðə weɪ ðət ðɪs wərks." ə dɪˈpɑrtmənt fər ɪnˈvaɪrənmənt, fud ənd ˈrʊrəl əˈfɛrz (defra*) ˈspoʊksmən sɛd: "ðə ˈʧeɪnʤɪz tɪ ðə mit ˌɪnˈspɛkʃənz wɪl min lɛs ˈkətɪŋ ənd ˈhændəlɪŋ əv ˈkɑrkəsɪz ənd offal*, rɪˈdusɪŋ ðə pəˈtɛnʃəl rɪsk əv ˈhɑrmfəl bækˈtɪriə ˈsprɛdɪŋ ˈɔntu ðə mit. "pɪgz wɪl kənˈtɪnju tɪ bi ˌɪnˈspɛktɪd fər ˈliʒənz baɪ ə vɛt ənd əˈgɛn ˈæftər sˈlɔtər baɪ ə mit ˌɪnˈspɛktər. "ɔl pɪgz fər ˈɛkspɔrt wɪl bi ˌɪnˈspɛktɪd ˈjuzɪŋ ðə ˈmɛθədz əˈgrid wɪθ ðə ˈmɑrkɪts wi ˈɛkspɔrt tɪ."
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image caption the fsa says the new rules prevent bacteria being spread
more diseased meat could end up in sausages and pies because of changes to safety checks in slaughterhouses, hygiene inspectors have warned.
inspectors in abattoirs used to be able to cut open pig carcasses to check for signs of disease.
but under new european regulations, supported by britain's food standards agency (fsa), they will have to rely on visual checks alone.
the fsa says the new system avoids the risk of harmful bacteria being spread.
around eight million pigs a year are slaughtered for meat in the uk.
ron spellman, a british meat inspector with 30 years' experience, says the new regulations, which took effect from 1 june, risk diseased parts of animals going undetected.
find out more image caption experts are divided about whether physical or visual inspections are better listen to allan urry's report on file on four on bbc radio 4 at 20:00 bst on tuesday 17 june, or catch up on the bbc iplayer
mr spellman, who is director general of the european working community for food inspectors and consumer protection (ewfc), which represents meat inspectors across the eu, said: "last year we know that there were at least 37,000 pigs' heads with abscesses or tuberculosis lesions in lymph nodes in the head. they won't be cut now.
"there's no way to see those little abscesses, little tuberculosis lesions without cutting those lymph nodes."
meat from pigs' heads, is recovered by specialised parts of boning plants and goes into pies, sausages and other processed foods.
the new regulations have been drawn up by the european food safety authority, an agency funded by the eu, but they are based on scientific advice from the fsa.
the fsa's chief operating officer andrew rhodes told the bbc it was better to have a hands-off system using visual checks to reduce cross-contamination, because bugs like e. coli and campylobacter are causing scientists more concern.
he said: "the risks to the consumers are increasingly from microbiological and pathogenic hazards and that's what we must control.
"we cannot simply ignore the risks that are brought by touching, cutting and handling products that are later going to go on to be cooked and eaten, we have to do this properly."
but the fsa's support for the new measures puts them at odds with many of their own frontline staff, the 1,100 meat inspectors who check safety standards in britain's 350 slaughterhouses and in meat-cutting plants which process carcasses.
some in the slaughtering industry are also opposing the changes.
image caption some in the meat industry say the rules will lead to a two-tier system
kevin burrows, of c and k meats, owns an abattoir in suffolk whose main business is pork.
he sees the new hands-off approach as "a backward step" and says his customers in asian markets still insist on their pork being checked in the old way, which the fsa has agreed to allow him to do.
but he says: "why should an exported product be under higher scrutiny than a british product? we'll end up with a two-tier system."
shadow food and farming minister huw irranca-davies has called for an urgent meeting with the fsa.
he says he is not convinced by the science he has seen on the matter and is worried the new rules could damage britain's exports, which rely on a reputation for high welfare and meat hygiene standards.
mr irranca-davies said: "we want to see absolute categoric assurances that this is not jeopardising consumer protection and we're not reassured yet because despite the work that the fsa has been doing over a few years now to look at this issue, what they have presented to us is not a compelling case for a change in the way that this works."
a department for environment, food and rural affairs (defra) spokesman said: "the changes to the meat inspections will mean less cutting and handling of carcasses and offal, reducing the potential risk of harmful bacteria spreading onto the meat.
"pigs will continue to be inspected for lesions by a vet and again after slaughter by a meat inspector.
"all pigs for export will be inspected using the methods agreed with the markets we export to."
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ˌvɛriˈeɪʃənz ɔn ə θim baɪ ˈvɛriəs ˈspɪrɪˌʧuəl ənd rɪˈlɪʤəs ˌaɪdiˈɑləʤiz si saɪəns ɛz səm fɔrm əv səˈtænɪk ər ““fallen”*” ˈθɪŋkɪŋ ðət siz ˈoʊnli ə ˈpɔrʃən əv ˌriˈæləˌti. ˈwɪljəm bleɪk pʊt ɪt kwaɪt enchantingly*, ðət wɪn wi si ə ˈbətərˌflaɪ, wi ər siɪŋ ˈmɪrli ðə hɛm əv ðə gaʊn əv ə ˈdænsər, ˈglaɪdɪŋ ənd ˈwərlɪŋ əˈkrɔs ðə flɔr əv ɑr θˌrizdɪˈmɛnʃənəl rɛlm. ɛz hi ˈfeɪməsli roʊt, wɪn ðə dɔrz əv pərˈsɛpʃən ər klɛnzd, wi ʃæl si θɪŋz ɛz ðeɪ ˈtruli ər ˈɪnfənət. bleɪk əˈpoʊzd ðə məˌtɪriəˈlɪstɪk saɪəns əv hɪz taɪm wɪʧ hi ˈkɛrɪktərˌaɪzd ɛz ˈsɪŋgəl ˈvɪʒən ənd slip. bət wət meɪks wərk raɪz ˈɪntu ðə rɛlm əv greɪt ɑrt ɪz ðət hɪz ˈpoʊətri əroʊz frəm ə kriˈeɪtɪv ˈvɪʒən, ˈrəðər ðən ən ˌɪnəˈlɛkʧuəl skˈwɑbəl. hi wɑz rɪˈspɑndɪŋ tɪ səm dip ˌsaɪkəˈlɑʤɪkəl təg ɪn hɪz biɪŋ, ˌɪnˈfɔrmɪŋ ɪm ðət ðɛr ɪz mɔr goʊɪŋ ɔn ðən wi kən pərˈsiv wɪθ ɑr ˈsɛnsɪz. hɪz ˈpoʊətri sərˈvaɪvz ðə trænˈzɪʃən tɪ ə taɪm əv ˈgreɪtər ˌsaɪənˈtɪfɪk ˈnɑlɪʤ, ənd stɛps ˈizəli ˈɪntu ɪkˈsprɛsɪŋ ə ˈvɪʒən əv ə wərld əv ˈætəmz ˈdænsɪŋ, ˈfɔrmɪŋ, ənd ɪˈtərnəli. ðə seɪm ˈkænɑt bi sɛd əv ˈmɑdərn ˌspɪrɪˌʧuˈæləˌti ɪn ˈʤɛnərəl. wɛr bleɪk juzd ˌɛsəˈtɛrɪk aɪˈdiəz ənd hɪz kriˈeɪtɪv ˈɪnˌsaɪt tɪ meɪk greɪt ɑrt, nu eɪʤ ˌaɪdiˈɑləʤi ɪz ˈdrɪvən ˈmoʊstli baɪ ˌmɑrkɪtəˈbɪlɪti əv aɪˈdiəz. dɪˈspaɪt ðə sɪnˈsɛrəti əv ˈmɛni nu eɪʤ bɪˈlivərz, ɪt ʃʊd nɑt bi ˈoʊvərˌlʊkt ðət saɪəns ˈpoʊzɪz ə ˈmæsɪv θrɛt tɪ ðə ˈprɑfɪts əv ɔl ˈpʊʃərz əv ənd ˈsɛlərz əv paʊərz. ðə ˈjuʒəwəl rɪˈspɑns tɪ ðɪs ˈdeɪnʤər ɪz tɪ mɪsˌrɛprəˈzɛnt ənd əˈtæk saɪəns ɔn ˌaɪdiəˈlɑʤɪkəl graʊnz. ðə ˈnumərəs ˌaɪdiˈɑləʤiz ðət si saɪəns ɛz blaɪnd tɪ ˈspɪrɪˌʧuəl fəˈnɑmənə, hæv ə fju ˈkɑmən ˈɛləmənts: fər ɪgˈzæmpəl, ðə vju ðət ðɛr ɪz ˌɪnˈdid ˈɛvədəns fər ðə ˈspɪrɪt ənd ɪt həz bɪn ˌɪgˈnɔrd ər ˈæktɪvli səˈprɛst; ənd ðə vju ðət saɪəns ɪz blaɪnd tɪ ðə ˈspɪrɪˌʧuəl, ər həz dɪˈfaɪnd ɪt aʊt əv ˌriˈæləˌti. ˈleɪtər poʊsts ɪn ðɪs ˈsɪriz wɪl lʊk æt boʊθ ðiz vˈjuˌpɔɪnts mɔr ˈkloʊsli, bət ɪn ðɪs poʊst aɪ wɪl əˈspɛʃəli ˈfoʊkɪs ɔn ə θərd ˈɛləmənt: ðə aɪˈdiə ðət saɪəns ɪz ˈsəmˌhaʊ ˈeɪliən tɪ juˈmænɪti, ˌɪnˈhjumən, ər ““unnatural”*”. ˌsaɪənˈtɪfɪk ˈθɪŋkɪŋ ɪz ə pɑrt əv ˈjumən ˈneɪʧər. ʤɪst ˈsəmθɪŋ ðət ˈjumənz tɛnd tɪ du. ə bɪt laɪk wi ˈnæʧərəli meɪk mˈjuzɪk ər drɔ ɔn keɪv wɔlz, (ər fər ˈpɛrənts wɪθ smɔl ˈʧɪldrən, ɔn ˈbɛˌdrum wɔlz). wi ʤɪst du ɪt. ɪt kəmz aʊt əv ˈjuˈɛs. wi ˈnoʊtɪs ˈɑbviəs ˈkeɪsɪz əv kɔz ənd ˈifɛkt ənd traɪ tɪ ˌɪnˈtuɪtɪvli græsp lɛs ˈɑbviəs wənz. ˈsunər ər ˈleɪtər wi stɑrt traɪɪŋ tɪ dɪˈvaɪz weɪz əv ˈwərkɪŋ aʊt wɪʧ θɪŋz wərk ənd wɪʧ don’t*. ðə fərst ˈrɪtən rɪˈpɔrt əv ə ˌsaɪənˈtɪfɪk ɪkˈspɛrəmənt ðət aɪ hæv kəm əˈkrɔs (wɪˈθaʊt ˈlʊkɪŋ ˈvɛri fɑr) ɪz səˈpraɪzɪŋli ɪˈnəf frəm ðə ˈbɪblɪkəl ˈprɑfət ɛˈlaɪʤə (kɪŋz aɪ: hi ˈʧælənʤd ðə prists əv ðə ˌmɛsəpəˈteɪmiən fərˈtɪlɪti gɑd tɪ sˈlɔtər ˈɑksən, stæk əp ðə faɪər wʊd ənd preɪ tɪ tɪ laɪt ðə ˌsækrəˈfɪʃəl faɪər wɪθ ˈlaɪtnɪŋ. noʊ faɪərz rɪˈzəltɪd, soʊ ɛˈlaɪʤə kənˈkludɪd ðət ðə prists ənd ðɛr gɑd wər ˌɪnɪˈfɛktɪv. hi rɪˈpɔrts ðət ˈjɑˌwɛ səkˈsɛsfəli kəmˈplitɪd ðə tæsk, ənd ðət hi, ɛˈlaɪʤə, ˈɔrdərd ɔl 450 əv ðə prists əv tɪ bi sˈlɔtərd. ˈɑbviəsli, ˈɛθɪks kəˈmɪtiz əraʊnd ɪn ˈbɪblɪkəl taɪmz, bət ɛˈlaɪʤə bɪˈkeɪm ðə fərst ˈpərsən tɪ ˈpəblɪʃ ðə rɪˈzəlts əv ən ɪkˈspɛrəmənt ɪn ə ˈʤərnəl. ənd ðoʊz hu kˈwɛʃən ˌriˈpɔrtəd ˌkeɪpəˈbɪlətiz ər fri tɪ ˈrɛplɪˌkeɪt æt list səm pɑrts əv ðə ˈstədi. ðə pɔɪnt ɪz ðət ɪn taɪm, ɪt wɑz ˈɑbviəsli ˈkɑmən tɪ sɛt əp səʧ æd hɑk ɪkˈspɛrəmənts ənd tɪ əkˈsɛpt ðɛr ˈaʊtˌkəmz ɛz ˈvælɪd. ʤɪst ɛz təˈdeɪ wi ɔl θɪŋk əˈlɔŋ səʧ laɪnz ɪn ˈdeɪli laɪf, fər ɪgˈzæmpəl, ðət ðə bəs məst hæv ʤɪst lɛft bɪˈkəz ðə ˈnɔrməli ˈkraʊdɪd bəs stɑp ɪz ˈɛmti, ər ˌwəˈtɛvər. ˈnɔrməl ˈjumən bɪˈheɪvjər tɪ du ðət. ənd ˈθɪŋkɪŋ laɪk ðət ɪz wən ˈɛləmənt əv saɪəns. əˈgrid? əˈnəðər ˈɛləmənt ɪz ðə əˈbɪləˌti tɪ drim əp ˈkɑmplɛks ˈsɪstəmz əv aɪˈdiəz tɪ ɪkˈspleɪn θɪŋz. ðɪs ɪz ʤɪst ɛz ˈjumən ɛz ˈmeɪkɪŋ əp ˈstɔriz, ənd ˈfaɪndɪŋ ðɛm ˈfæsəˌneɪtɪŋ ənd kəmˈpɛlɪŋ, rəˈgɑrdləs əv ðɛr ˈækʧəwəl truθ ər ˌfəŋkʃəˈnælɪti. oʊld kriˈeɪʃən mɪθs, ˈstɔriz əˈbaʊt waɪ ðə sən muvz əˈkrɔs ðə skaɪ, ənd ɔl ðət stəf ðiz ər ˈɔfən ˈfæsəˌneɪtɪŋ ˈstɔriz ɪn ðɛmˈsɛlvz. wi ləv ˈmeɪkɪŋ ðɛm əp, ənd ðeɪ sim tɪ ɪˈvoʊk səm dip ˈfilɪŋ əv sɪˈkjʊrəti ənd ˌsætɪsˈfækʃən, ˈivɪn wɪn wi noʊ biɪŋ lɛd əp ðə ˈgɑrdən pæθ. (ˌɪnsɪˈdɛntəli, ðə ˈlɪtərˌɛri tərm, səˈspɛnʃən əv ˌdɪsbɪˈlif həz ˈɔlˌweɪz simd tɪ mi laɪk ə əv ˈrəðər kənˈsitəd ˈɔrəʤɪnz. waɪ nɑt ʤɪst kɔl ɪt bɪˈlif? ɛz ɪf wi ɔl lɪv ɪn ə ˈkɑnstənt steɪt əv ˈskɛptɪk dubiosity*, ənˈtɪl ˌdɪˈsaɪdɪŋ tɪ əˈlaʊ ɑrˈsɛlvz ðə ˈləgʒəri əv ə ˈlɪtəl ˈpleɪfəl ˌdɪsbɪˈlif səˈspɛnʃən. ˈbʊlˌʃɪt, aɪ seɪ: ɑr ˈbeɪsɪk ˈweɪkɪŋ steɪt ɪz wən əv bɪˈlif. ˈskɛptɪˌsɪzəm ɪz ðə səˈspɛnʃən əv bɪˈlif, ənd ˈoʊnli ɪn riˈleɪʃən tɪ ðət spɪˈsɪfɪk θɪŋ biɪŋ skeptified*!) soʊ ðɪs kəˈpæsɪti ɪz greɪt fər ˈdrimɪŋ əp ˈθɪriz. ənd ɛz wi hæv əˈgrid əˈbəv, wi ˈɔlsoʊ laɪk ˈjuzɪŋ ðət bɪg ˈbləstərɪŋ əv ɑrz tɪ ˈfɪgjər aʊt weɪz əv ˈtɛstɪŋ ˈwɛðər ər nɑt ðiz ˈstɔriz ər ˈfəŋkʃənəli tru. ər, pərˈhæps moʊst ˌɪmˈpɔrtəntli, haʊ ˈlaɪkli ɪt ɪz ðət wi hæv faʊnd ðə raɪt ˈænsər. (ə ˈhɑlˌmɑrk əv, ˌɪnsɪˈdɛntəli, ɪz ˌkætəˈgɔrɪkəl kleɪmz əv ˈæbsəˌlut səkˈsɛs ənd ðə ˈæbsəns əv kˈwɑləˌfaɪɪŋ tərmz.) ðoʊz aɪˈdiəz wɪʧ hæv səkˈsɛsfəli pæst θru ˈmɛni, ˈmɛni, ˈmɛni ˈvɛrid tɛsts, kən bi kɔld ˈnɑlɪʤ. ɪn ˈifɛkt, ˌsaɪənˈtɪfɪk ““knowledge”*” ɪz ɔl ðə stəf ðət həz pæst ðə tɛsts soʊ ˈɔfən ðət ɪt noʊ ˈlɔŋgər meɪks sɛns tɪ tɛst ðoʊz θɪŋz əˈgɛn. ɪt wʊd ʤɪst bi ə weɪst əv taɪm. ɪt min noʊ wən ɪz əˈlaʊd tɪ tɛst ðɛm, ʤɪst ðət riˈtɛstɪŋ ðɛm ɪz ɪkˈstrimli ˈlaɪkli tɪ bi ən ˈətər weɪst əv taɪm. ənˈlɛs wi teɪk ðə stɛp əv aɪˈdɛntəˌfaɪɪŋ səʧ aɪˈdiəz ɛz ˈnɑlɪʤ, noʊ ˈprɑˌgrɛs æt ɔl wʊd bi ˈpɑsəbəl. ðɪs ɪz ən ˌɪmˈpɔrtənt fækt wɪʧ nu ˈeɪʤərz ənd ˈəðər rɪˈlɪʤəs ˈpipəl ˈnɛvər sim tɪ græsp. ˈrupərt kən ˈaɪdli səˈʤɛst ðət ðə lɔz əv ˈfɪzɪks maɪt bi ˈvɛriəbəl, bət hi ɪz ˈətərli ənd ˌɪdiˈɑtɪkli blaɪnd tɪ ðə fækt ðət ɪf səʧ ə θɪŋ wər tru, ɪt wʊd liv spɛkˈtækjələr ˈfʊtˌprɪnts ˈɛvriˌwɛr wɪʧ kʊd ˈizəli bi ˈspɑtɪd; ənd əˈbəv ɔl, ðət ˈjuzɪŋ səʧ ən əˈsəmpʃən ɛz ən ɪkˌspɛrɪˈmɛntəl ˈbeɪsɪs wʊd ˌɪˈmiˌdiətli meɪk ɔl fɔrmz əv ɪkˌspɛrəmənˈteɪʃən ˌɪmˈpɑsəbəl. ˈɛvriˌθɪŋ. ju wɔnt tɪ tɛst ðət nu ˈkænsər ˈtritmənt? noʊ weɪ ðə rɪˈzəlts maɪt gɪt skjud baɪ ˈrændəm ˌfləkʧuˈeɪʃənz ɪn ðə lɔz əv ˈneɪʧər. ɪf ˈsaɪəntɪsts wər tɪ θroʊ aʊt ðə væst əv ˌsaɪənˈtɪfɪk ˈnɑlɪʤ ɛz ˈpipəl laɪk ədˈvaɪz, ɪt wʊd bi æt ə ˌhɔˈrɛndəs ˈjumən kɔst. wi hæv ən ˈɪntəˌrɛst ɪn ˈvæljuɪŋ ˌsaɪənˈtɪfɪk ˈnɑlɪʤ: ɔl ðə stəf ðət wi kən juz. ˌsaɪənˈtɪfɪk ˈnɑlɪʤ ʤɪst ə bɪg paɪl əv ˈnɑnsɛns fər ˈsaɪəntɪsts tɪ sɪt ɔn tɔp əv ənd sˈməgli seɪ wi noʊ ɔl ðət now.”*.” ˈrəðər, ðə θɪŋ ðət draɪvz ˌsaɪənˈtɪfɪk ˈprɑˌgrɛs ˈfɔrwərd. ðə ˈɛkstrə ˈnɑlɪʤ ənd ɪts ˌfɪləˈsɑfɪkəl ˌɪmpləˈkeɪʃənz ər ə saɪd ˈifɛkt əv ˌsaɪənˈtɪfɪk ˈprɑˌgrɛs. ðə eɪm ʤɪst tɪ stɑp sˈməgli wəns ˈsəmθɪŋ ɪz ““known”*”, bət tɪ bɪld ɔn ɪt. ɪt ɪz ɔl ə væst wərk ɪn ˈprɑˌgrɛs, ənd ˈɛvəri ˈsɪŋgəl stɛp əv ɪt həz ə ˈθaʊzənd ˈjumən ˈstɔriz bɪˈhaɪnd ɪt, ˈrɛndərd fər ðə moʊst pɑrt ˌɪnˈvɪzəbəl baɪ ðə ˌɛkˈsɪʤənsiz əv ˈpərpəs ənd ˈprɑˌgrɛs. fər ðoʊz hu ləv ðə kriˈeɪtɪv wərk əv ˈmeɪkɪŋ əp ˈstɔriz ənd ˈbɪldɪŋ ˈfænsi ˈsɪstəmz əv aɪˈdiəz, ðə ˈsədən ɪgˈzɪstəns əv ˈmæsɪz əv əˈkjumjəˌleɪtɪd ˌsaɪənˈtɪfɪk ˈnɑlɪʤ kən sim laɪk ə bɪt əv ə ˈdaʊnər. ðə meɪn ˈrizən, aɪ θɪŋk, waɪ nu ˈeɪʤərz ər soʊ ˈhɑstəl tɪ saɪəns. ðɪs ˈmæsɪv ˈbɑdi əv ˈnɑlɪʤ ˈoʊnli simz ˈfɔrən ənd streɪnʤ bɪˈkəz wi hæv kəˈlɛktəd soʊ məʧ əv ɪt soʊ sˈwɪftli ənd ˈækjərətli. ɑr ˈkəlʧər stɪl kwaɪt əˈʤəstɪd tɪ ðə ˈprɛzəns əv ðɪs ˈɛləfənt ɪn ðə rum. ˌɪnˈstɛd (ɪf aɪ kən bi fərˈgɪvən ðɪs əˈtroʊʃəs ɪkˈstɛnʃən əv ðə ˈmɛtəfɔr), nu eɪʤ prɪˈfər tɪ ækt laɪk ə bʊl ɪn ə ˈʧaɪnə ʃɑp. æt list ˌθiəˈloʊʤənz ˈlɪmət ðɛmˈsɛlvz tɪ traɪɪŋ tɪ ˌɪnˈsərt gɑd ˈɪntu ðə rɪˈmeɪnɪŋ ˈɛmti nʊks ənd ˈkrɛvəsɪz əv ˌsaɪənˈtɪfɪk ˈnɑlɪʤ. bət nu eɪʤ ˈtiʧərz smæʃ hoʊlz ɪn ðə moʊst ˈbeɪsɪk ənd nɑnˌkɑntrəˈvərʃəl ˈæˌspɛkts əv ˈkɛmɪstri ənd ˈfɪzɪks wɪˈθaʊt ˈivɪn ˈrɛʤɪstərɪŋ ðə saʊnd əv ʃɛlvz ˈkræʃɪŋ daʊn əraʊnd ðɛm. ˈpoʊstɪd baɪ
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variations on a theme by various spiritual and religious ideologies see science as some form of satanic or “fallen” thinking that sees only a portion of reality.
william blake put it quite enchantingly, that when we see a butterfly, we are seeing merely the hem of the gown of a dancer, gliding and whirling across the floor of our three-dimensional realm. as he famously wrote, when the doors of perception are cleansed, we shall see things as they truly are infinite.
blake opposed the materialistic science of his time which he characterized as single vision and newton’s sleep. but what makes blake’s work rise into the realm of great art is that his poetry arose from a creative vision, rather than an intellectual squabble. he was responding to some deep psychological tug in his being, informing him that there is more going on than we can perceive with our senses. his poetry survives the transition to a time of greater scientific knowledge, and steps easily into expressing a vision of a world of atoms dancing, forming, and recombining eternally.
the same cannot be said of modern spirituality in general. where blake used esoteric ideas and his creative insight to make great art, new age ideology is driven mostly by marketability of ideas. despite the sincerity of many new age believers, it should not be overlooked that science poses a massive threat to the profits of all pushers of pseudo-science and sellers of magickal powers. the usual response to this danger is to misrepresent and attack science on ideological grounds.
the numerous ideologies that see science as blind to spiritual phenomena, have a few common elements: for example, the view that there is indeed evidence for the spirit and it has been ignored or actively suppressed; and the view that science is blind to the spiritual, or has defined it out of reality. later posts in this series will look at both these viewpoints more closely, but in this post i will especially focus on a third element: the idea that science is somehow alien to humanity, inhuman, or “unnatural”.
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scientific thinking is a part of human nature. just something that humans tend to do. a bit like we naturally make music or draw on cave walls, (or for parents with small children, on bedroom walls). we just do it. it comes out of us. we notice obvious cases of cause and effect and try to intuitively grasp less obvious ones. sooner or later we start trying to devise ways of working out which things work and which.
the first written report of a scientific experiment that i have come across (without looking very far) is surprisingly enough from the biblical prophet elijah (kings i: 22-40). he challenged the priests of the mesopotamian fertility god baal to slaughter oxen, stack up the fire wood and pray to baal to light the sacrificial fire with lightning. no fires resulted, so elijah concluded that the priests and their god were ineffective. he reports that yahweh successfully completed the task, and that he, elijah, ordered all 450 of the priests of baal to be slaughtered. obviously, ethics committees weren’t around in biblical times, but elijah became the first person to publish the results of an experiment in a peer-reviewed journal. and those who question yahweh’s reported capabilities are free to replicate at least some parts of the study.
the point is that in elijah’s time, it was obviously common to set up such ad hoc experiments and to accept their outcomes as valid. just as today we all think along such lines in daily life, for example, deducing that the bus must have just left because the normally crowded bus stop is empty, or whatever. normal human behavior to do that. and thinking like that is one element of science. agreed?
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another element is the ability to dream up complex systems of ideas to explain things. this is just as human as making up stories, and finding them fascinating and compelling, regardless of their actual truth or functionality.
old creation myths, stories about why the sun moves across the sky, and all that stuff — these are often fascinating stories in themselves. we love making them up, and they seem to evoke some deep feeling of security and satisfaction, even when we know we’re being led up the garden path. (incidentally, the literary term, suspension of disbelief has always seemed to me like a tautology of rather conceited origins. why not just call it belief? as if we all live in a constant state of skeptic dubiosity, until deciding to allow ourselves the luxury of a little playful disbelief suspension. bullshit, i say: our basic waking state is one of belief. skepticism is the suspension of belief, and only in relation to that specific thing being skeptified!)
so this story-telling capacity is great for dreaming up theories. and as we have agreed above, we also like using that big blustering neocortex of ours to figure out ways of testing whether or not these stories are functionally true. or, perhaps most importantly, how likely it is that we have found the right answer. (a hallmark of pseudo-science, incidentally, is categorical claims of absolute success and the absence of qualifying terms.)
those ideas which have successfully passed through many, many, many varied tests, can be called knowledge. in effect, scientific “knowledge” is all the stuff that has passed the tests so often that it no longer makes sense to test those things again. it would just be a waste of time. it doesn’t mean no one is allowed to test them, just that retesting them is extremely likely to be an utter waste of time. unless we take the step of identifying such ideas as knowledge, no progress at all would be possible. this is an important fact which new agers and other religious people never seem to grasp.
rupert sheldrake can idly suggest that the laws of physics might be variable, but he is utterly and idiotically blind to the fact that if such a thing were true, it would leave spectacular footprints everywhere which could easily be spotted; and above all, that using such an assumption as an experimental basis would immediately make all forms of experimentation impossible. everything. you want to test that new cancer treatment? no way — the results might get skewed by random fluctuations in the laws of nature. if scientists were to throw out the vast swathes of scientific knowledge as people like sheldrake advise, it would be at a horrendous human cost. we have an interest in valuing scientific knowledge: all the stuff that we can use.
scientific knowledge isn’t just a big pile of nonsense for scientists to sit on top of and smugly say “well we know all that now.” rather, the thing that drives scientific progress forward. the extra knowledge and its philosophical implications are a side effect of scientific progress. the aim isn’t just to stop smugly once something is “known”, but to build on it. it is all a vast work in progress, and every single step of it has a thousand human stories behind it, rendered for the most part invisible by the exigencies of purpose and progress.
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for those who love the creative work of making up stories and building fancy systems of ideas, the sudden existence of masses of accumulated scientific knowledge can seem like a bit of a downer. the main reason, i think, why new agers are so hostile to science. this massive body of knowledge only seems foreign and strange because we have collected so much of it so swiftly and accurately. our culture still quite adjusted to the presence of this elephant in the room. instead (if i can be forgiven this atrocious extension of the metaphor), new age blabber-mouths prefer to act like a bull in a china shop. at least theologians limit themselves to trying to insert god into the remaining empty nooks and crevices of scientific knowledge. but new age teachers smash holes in the most basic and non-controversial aspects of chemistry and physics without even registering the sound of shelves crashing down around them.
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posted by yakaru
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laɪk geɪm əv, məˈnɑpəli ˈɔfən ɛndz wɪθ ˈsədən ækts əv ˌɪnəkˈsplɪkəbəl ˈvaɪələns. ɪts ˌɪˈnɛvətəbəl səkˈsɛs wɪl peɪv ðə weɪ fər səkˈsɛsərz səʧ ɛz geɪm əv ˈspɔɪlər moʊst ˈmɑdərn ˈtɛləˌvɪʒən lɛnd ðɛmˈsɛlvz ˌpɑrˈtɪkjələrli wɛl tɪ bɔrd geɪmz ɪf ðeɪ dɪd, ˈmɪltən ˈbrædli maɪt hæv ˈæˌkʧuəli rɪˈspɑndɪd tɪ maɪ ˈlɛtər səˈʤɛstɪŋ ðə ˌənbəˈlivəbəl ˈlaɪsənsɪŋ pəˈtɛnʃəl əv tru dɪˈtɛktɪv kerplunk*. bət wən ˈnoʊtəbəl ɪkˈsɛpʃən. ðət ɪkˈsɛpʃən, əv kɔrs, ɪz geɪm əv. geɪm əv kəmz frəm səʧ ə ˈrɪʧli drɔn ˈjunəˌvərs, ənd ɪz əˈwɑʃ wɪθ soʊ ˈmɛni ˈkəlʧərəl bɪˈləvəd baɪ soʊ ˈmɛni ˌstɛrioʊˈtɪpɪkəl bɔrd geɪm pleɪərz, ðət ɪt həz bɪn kraɪɪŋ aʊt tɪ bɪˈkəm ə ˈmeɪnˌstrim bɔrd geɪm fər jɪrz. naʊ, ˈfaɪnəli ˈhæpənɪŋ. geɪm əv məˈnɑpəli həz ʤɪst bɪn əˈnaʊnst. ɪf pleɪd ril məˈnɑpəli, noʊ waɪ ðɪs ɪz soʊ ɪkˈsaɪtɪŋ. ə ˈpərˌfɪkt fɪt. ðə ˈstɔri əv geɪm əv ɪz ɔˈrɛdi ˈbeɪsɪkli ʤɪst ə məˈnɑpəli ˈsɛʃən rɪt lɑrʤ, fʊl əv əˈgrɛsɪv ˈtreɪdɪŋ ənd ˈspəriəs ənd pleɪərz ˈsikɪŋ tɪ geɪn ˈtoʊtəl kənˈtroʊl ˈoʊvər ðɛr pɪrz. laɪk geɪm əv, məˈnɑpəli riˈvɑlvz əraʊnd ˈsɛvərəl loʊˈkeɪʃənz əv ˈdɪfərɪŋ ˈvæljuz. laɪk geɪm əv, məˈnɑpəli ˈɔfən ɛndz wɪθ ˈsədən ækts əv ˌɪnəkˈsplɪkəbəl ˈvaɪələns. laɪk geɪm əv, məˈnɑpəli ˈɔlˌweɪz ɛndz əp biɪŋ ruɪnd baɪ ə lannister*. geɪm əv' dothraki*: mit ðə mæn hu ˌɪnˈvɛntɪd ə ˈlæŋgwɪʤ rɛd mɔr mɔr, geɪm əv məˈnɑpəli wɪl ˈprɑbəˌbli goʊ daʊn ɪn ˈhɪstəri ɛz ðə dɪˈfɪnɪtɪv ˈvərʒən əv ðə geɪm. ˈivɪn ˌbiˈfɔr ɪt ɪgˈzɪsts, ɔˈrɛdi soʊ məʧ ˈbɛtər ðən ðə ˈləndən ɪˈdɪʃən. ðə ˈpisɪz wɪl bi mɔr ˌɪˈmæʤənətɪv ɪkˈspɛktɪŋ ənd ənd ɔl sɔrts əv grəˈtuətəs ˈnɪpəlz pləs ðə steɪks wɪl bi haɪər ənd, ənˈlaɪk ðə ˈləndən ɪˈdɪʃən, ɪt maɪt ˈæˌkʧuəli ækˈnɑlɪʤ ðə ɪgˈzɪstəns əv ðə nɔrθ fər wəns. ənd aɪ ˈdɛspərətli wɔnt geɪm əv məˈnɑpəli tɪ bi ə səkˈsɛs. bɪˈkəz ðə ˈoʊnli weɪ ˈəðər geɪm əv bɔrd geɪmz wɪl gɪt ðə go-ahead*. ðə ˌpɑsəˈbɪlətiz fər brænd ɪkˈspænʧən hir ər ˈɛndləs. pərˈhæps sun bi ə geɪm əv ˈtrɪviəl pərˈsut, wɛr pleɪərz kən kwɪz iʧ ˈəðər ɔn ðə ˈkɑmplɛks ænˈsɛstrəl əˈliʤənsɪz əv ˈvɛriəs ˈmaɪnər ˈkɛrɪktərz ɪn ðə hoʊp bi ˈeɪbəl tɪ wɔʧ fˈjuʧər ˈɛpɪˌsoʊdz wɪˈθaʊt ˈkɑnstəntli ˈhævɪŋ tɪ rɪˈfər tɪ ˈwɪkiˌpiˌdiə. ər ə geɪm əv sneɪks ənd ˈlædərz wɛr, ˌɪnˈstɛd əv sˈlaɪdɪŋ daʊn ə sneɪk, θroʊn ɔf ə taʊər ənd hæv tɪ spɛnd ðə rɛst əv ðə geɪm biɪŋ ˈkɑrtɪd əraʊnd baɪ ə kɔld hodor*. bɛst əv ɔl, wət əˈbaʊt ə geɪm əv ˈspɔɪlər? dən ˈprɑpərli, ðɪs kʊd bi ðə ˈpərˌfɪkt ˌrɛkriˈeɪʃən əv ˈtɔkɪŋ əˈbaʊt ðə ʃoʊ tɪ frɛndz ənd ˈstreɪnʤərz ɪn ril laɪf. pleɪərz wʊd teɪk tərnz tɪ ˈʤɪnʤərli pleɪs ˈpisɪz əv ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə ˈsɪriz ˈɔntu ðə ˈʃoʊldərz əv ə ˈplæstɪk vjuər, bət, æt ˈɛni ˈmoʊmənt, ə ˈsɪŋgəl əbˈskjʊr fækt əˈbaʊt ən ˈɛpɪˌsoʊd hi sin maɪt sɛnd ɪm ˈspaɪrəlɪŋ ˈɪntu ə proʊˈtræktɪd fɪt ənˈtɪl ˈɛvriˌwən goʊz hoʊm. wɪl ɪt bi ðə ˈditeɪlz əv ðə rɛd ˈwɛdɪŋ? wɪl ɪt bi ə ʤoʊk əˈbaʊt ˈwɑndərɪŋ ˈækˌsɛnt? wɪl ɪt bi ən ækˈnɑlɪʤmənt əv ðə ɪgˈzɪstəns əv qarth*? hu noʊz? bət, ənˈtɪl ðɛn, geɪm əv məˈnɑpəli wɪl bi mɔr ðən ɪˈnəf tɪ taɪd ˈjuˈɛs ˈoʊvər. əˈspɛʃəli ɪf ju gɪt tɪ pleɪ ɛz stɑrk.
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like game of thrones, monopoly often ends with sudden acts of inexplicable violence. its inevitable success will pave the way for successors such as game of thrones spoiler buckaroo
most modern television programmes don’t lend themselves particularly well to board games – if they did, milton bradley might have actually responded to my letter suggesting the unbelievable licensing potential of true detective kerplunk. but there’s one notable exception. that exception, of course, is game of thrones.
game of thrones comes from such a richly drawn universe, and is awash with so many cultural signifiers beloved by so many stereotypical board game players, that it has been crying out to become a mainstream board game for years. now, finally happening. game of thrones monopoly has just been announced.
if you’ve played real monopoly, you’ll know why this is so exciting. a perfect fit. the story of game of thrones is already basically just a monopoly session writ large, full of aggressive trading and spurious imprisonments and players seeking to gain total control over their peers. like game of thrones, monopoly revolves around several locations of differing values. like game of thrones, monopoly often ends with sudden acts of inexplicable violence. like game of thrones, monopoly always ends up being ruined by a lannister.
game of thrones' dothraki: meet the man who invented a language read more
what’s more, game of thrones monopoly will probably go down in history as the definitive version of the game. even before it exists, already so much better than the london edition. the pieces will be more imaginative – i’m expecting thrones and direwolves and all sorts of gratuitous nipples – plus the stakes will be higher and, unlike the london edition, it might actually acknowledge the existence of the north for once.
and i desperately want game of thrones monopoly to be a success. because that’s the only way other game of thrones board games will get the go-ahead. the possibilities for brand expansion here are endless. perhaps there’ll soon be a game of thrones trivial pursuit, where players can quiz each other on the complex ancestral allegiances of various minor characters in the hope they’ll be able to watch future episodes without constantly having to refer to wikipedia.
or a game of thrones snakes and ladders where, instead of sliding down a snake, you’re thrown off a tower and have to spend the rest of the game being carted around by a loveable simpleton called hodor.
best of all, what about a game of thrones spoiler buckaroo? done properly, this could be the perfect recreation of talking about the show to friends and strangers in real life. players would take turns to gingerly place pieces of information about the series onto the shoulders of a plastic viewer, but, at any moment, a single obscure fact about an episode he hasn’t seen might send him spiralling into a protracted full-body fit until everyone goes home. will it be the details of the red wedding? will it be a joke about littlefinger’s wandering accent? will it be an acknowledgement of the existence of qarth? who knows?
but, until then, game of thrones monopoly will be more than enough to tide us over. especially if you get to play as arya stark.
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ðə ˈəðər kˈwɛsʧənəbəl pleɪərz ˈsənˌdi: lɛft gɑrd ˈpætrɪk (kwɑd), raɪt ˈtækəl ˈpɑrnəl (ni) ənd ˈlaɪnˌbækər blɛr braʊn (ˈhæmˌstrɪŋ). waɪd rɪˈsivər ˈælən (ˈæŋkəl) ənd bɛn (ni) wər ruld aʊt fər ðə geɪm. tough,”*,” mɑˈroʊni sɛd. hæv tɪ meɪk səm təf dɪˈsɪʒənz. ju hæv tɪ si wɛr ju ər. ju hæv tɪ meɪk ʃʊr gaɪz ər ˈrɛdi ənd pleɪərz hu ˈmeɪbi hæv bɪn ˌɪˈnæktɪv ˌbiˈfɔr ər ˈrɛdi tɪ stɛp əp ənd pleɪ. nɑt ðə ˈoʊnli tim goʊɪŋ θru ðɪs, ənd noʊ goʊɪŋ tɪ fil ˈsɑri fər ju ɪn ðɪs lig. ʤɪst hæv tɪ bi ˈeɪbəl tɪ goʊ. ju hæv tɪ bi ɔn tɔp əv jʊr geɪm. ju hæv tɪ bi ˈeɪbəl tɪ meɪk dɪˈsɪʒənz, ənd təf. nɑt ˈizi ðɪs taɪm əv jɪr ˈmænəʤɪŋ ə roster.”*.” ðə ˈɪnʤəriz tɪ ənd ˈpɑrnəl meɪk ðə laɪn ən ənˈsərtənti ˈɛnərɪŋ ðə ˈwiˌkɪnd. ʤɑʃ wɛlz ˈstɑrtɪd ɪn pleɪs əv ˈpɑrnəl læst ˈsənˌdi ɪn ə ˈvɪktəri ˈoʊvər ðə lɔs ˈænʤəlɪs ˈʧɑrʤərz, ənd ˈtaɪlər ˈʃætli ˌriˈpleɪst ˈæftər 26 əˈfɛnsɪv snæps.
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the other questionable players sunday:
left guard patrick omameh (quad), right tackle jermey parnell (knee) and linebacker blair brown (hamstring). wide receiver allen hurns (ankle) and arrelious benn (knee) were ruled out for the game.
“it’s tough,” marrone said. “you have to make some tough decisions. you have to see where you are. you have to make sure practice-squad guys are ready and players who maybe have been inactive before are ready to step up and play. we’re not the only team going through this, and no one’s going to feel sorry for you in this league.
“you just have to be able to go. you have to be on top of your game. you have to be able to make decisions, and they’re tough. it’s not easy this time of year managing a roster.”
the injuries to omameh and parnell make the line an uncertainty entering the weekend. josh wells started in place of parnell last sunday in a victory over the los angeles chargers, and tyler shatley replaced omameh after 26 offensive snaps.
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ˈgritɪŋz ɔl, taɪm fər əˈnəðər ˈhɑbi ˈəpˌdeɪt ənd ɛz ju kən si frəm ðə əˈbəv, aɪv bɪn ˈvɛri məʧ ˈfoʊkɪst ɔn ˈgɪtɪŋ ðə ˈpeɪnɪd ənd ðə skwɑd ɪz naʊ 30 dən, ˈhoʊpɪŋ tɪ gɪt əˈnəðər ˈmoʊstli dən təˈnaɪt. tu ˈəðər ˈmeɪʤər θɪŋz hæv ˈhæpənd ðɪs wi lɔnʧt ðə blɔg ˈfeɪsˌbʊk grup ənd ˈfɔrəm fər ðə grɪm dɑrk ˈbrəðərˌhʊd, ə ˈvɛnʧər ˌmaɪˈsɛlf ənd maɪ gʊd frɛnd tɑm ər ˈəndərˌteɪkɪŋ, tɪ brɪŋ ɔl ˈæˌspɛkts əv ðə ˈhɑbi ˈɪntu ə ˈsɪriz əv ˈtərnəmənts, ənd tɪ kəˈlɛkt ðə ˈvɛri bɛst ɪgˈzæmpəlz ənd tuˈtɔriəlz təˈgɛðər ˈɪntu wən pleɪs soʊ ðət ˈhɑbiɪsts kən gɪt ðə bɛst ədˈvaɪs tɪ hæv ə ˈfʊli ˈraʊndɪd ðə aɪərn fɪsts wɪl noʊ ˈlɔŋgər əˈpɪr ɔn ðɪs blɔg. aɪ hæv soʊld ðɛm, ðə fəndz goʊɪŋ təˈwɔrdz ˈfɪnɪʃɪŋ ðə ˈbeɪsɪk lɪst fər ðə dəsk naɪts ənd ˈgɪtɪŋ ˌmaɪˈsɛlf səm tulz aɪv nɑt hæd fər ə waɪl ənd wɪl ˈvɛri məʧ nid ɪf ðə grɪm dɑrk ˈbrəðərˌhʊd ˈvɛnʧər ɪz tɪ bi successful.so*, ɔn tɪ ˈhɑbi ˈprɑˌgrɛs ðɛn! læst naɪt aɪ ˈfaɪnəli gɑt tɪ du səm wərk ɔn rɪˈpleɪsɪŋ ðə ˈgeɪmɪŋ bɔrd ɪn maɪ gərɑʒ, ənd waɪlst aɪ wɑz æt ɪt, aɪ ˈɔlsoʊ gɑt ˈstɑrtɪd ɔn ˈbɪldɪŋ ðə fərst əv θri ˈfaɪtɪŋ pɪt bɔrdz fər ðə. wəns ɪt gɑt tu koʊld ɪn ðɛr tɪ du ˈɛni mɔr ðoʊ, aɪ pɑpt bæk ˌɪnˈsaɪd ənd ˈfɪnɪʃt ðə θərd ˈtərməˌneɪtər. hir ər ɔl θri ˈfɪnɪʃt ˈmɑdəlz soʊ fɑr ɪn ɔl ðɛr fərst ˈmɑdəl ɪz ˈsɑrʤənt ˈrikoʊ, ðə grəˈneɪd ˈhɑrnɪs æt list minz ðət hɪz paʊər sɔrd ˈɪzənt ə weɪst wəns hi ˈʧɑrʤɪz əˈkrɔs ə ˌpɑrˈtɪkjələrli rəf pæʧ əv græs. aɪv ˈædɪd ə bɪt mɔr gɔr tɪ ðə paʊər sɔrd sɪns ðɪs ˈfoʊˌtoʊ, ənd aɪ wɔnt tɪ meɪk ðət məʧ mɔr əv ə ˈfiʧər əv ðə əˈsɔlt ˈɛləmənts əv ðə dəsk naɪts əm ˈwɛðərɪŋ ðə ˈɑrmər soʊ waɪ ˈʃʊdənt ðə ˈwɛpənz ʃoʊ ðə rɪˈzəlts əv ðə wɔr ðɛr ˈfaɪtɪŋ eberardo*, aɪ noʊ ðət ˈstrɪktli ˈspikɪŋ ðə ˈhɛvi ˈfleɪmər ˈɪzənt ə greɪt ˈwɛpən tɪ pʊt ɔn ə skwɑd ɛz ɪkˈspɛnsɪv ɛz, bət ɪts soʊ aɪ ˈkʊdənt rɪˈzɪst, ənd baɪ ˈædɪŋ ðə tɪ ðə seɪm ˈmɑdəl, aɪ ðə ˈnəmbər əv 'ˈspɛʃəl' ˈmɑdəlz aɪ nid tɪ prəˈtɛkt wɪˈθɪn ðə ˈjunɪt. si, ˈfləfi stəf ənd mɔr kəmˈpɛtɪtɪv ˈrizənɪŋ ˈʤɔɪnɪŋ təˈgɛðər ɔn ə ˈsɪŋgəl fɪˈdɛl. aɪ ləv mi səm ˈlaɪtnɪŋ klɔz bət ðə ˈlɑʤɪk əv ˈteɪkɪŋ ə pɛr ɔn ðə, hu ər ˈrɪli ˈlɪmɪtɪd ɪn tərmz əv haʊ ðeɪ kən gɪt ˈɪntu pəˈzɪʃən tɪ ʧɑrʤ, mɛnt ə rɪˈdəkʃən ɪn ðə faɪər ˈaʊtˌpʊt əv ðə skwɑd. aɪ ˈrɪli laɪk ðə ˌflɛksəˈbɪləti ðə əˈlaʊz ɪn ðɪs rɪˈgɑrd, ɛz aɪ gɪv əp ən ˈɛkstrə əˈtæk tɪ geɪn tɪ wund ənd ˈstraɪkɪŋ æt ˌɪˈnɪʃətɪv. naʊ ɔl aɪ nid ɪz ə ˈʧæplən ɪn ˈtərməˌneɪtər ˈɑrmər ənd aɪl bi ʤɪst əˈbaʊt ˈɛvriˌθɪŋ ðeɪ ˌpɑrˈtɪkjələrli praʊd əv ðə bləd ənd gɔr ˈifɛkt ɔn ðə ˈlaɪtnɪŋ klɔz fər ˈbrəðər fɪˈdɛl, wɪʧ ju kən si ɪn ˈgreɪtər ˈditeɪl bɪˈloʊ. ɪts ə tɛkˈnik aɪl bi ˈkəvərɪŋ ɪn mɔr ˈditeɪl ˈoʊvər ɔn ðə blɔg nɛkst taɪm, 'aɪl bi
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greetings all, time for another hobby update and as you can see from the above, i've been very much focused on getting the cataphractii terminators painted and the squad is now 30% done, hoping to get another mostly done tonight. two other major things have happened this week.first - we launched the blog facebook group and forum for the grim dark brotherhood, a venture myself and my good friend tom are undertaking, to bring all aspects of the hobby into a series of tournaments, and to collect the very best examples and tutorials together into one place so that hobbyists can get the best advice to have a fully rounded collectionsecond - the iron fists will no longer appear on this blog. i have sold them, the funds going towards finishing the basic list for the dusk knights and getting myself some tools i've not had for a while and will very much need if the grim dark brotherhood venture is to be successful.so, on to hobby progress then! last night i finally got to do some work on replacing the gaming board in my garage, and whilst i was at it, i also got started on building the first of three fighting pit boards for the gdb. once it got too cold in there to do any more though, i popped back inside and finished the third terminator. here are all three finished models so far in all their glory!this first model is sergeant rico, the grenade harness at least means that his power sword isn't a waste once he charges across a particularly rough patch of grass. i've added a bit more gore to the power sword since this photo, and i want to make that much more of a feature of the assault elements of the dusk knights - i'm weathering the armour so why shouldn't the weapons show the results of the war they're fighting too?brother eberardo, i know that strictly speaking the heavy flamer isn't a great weapon to put on a squad as expensive as terminators, but it's so characterful i couldn't resist, and by adding the chainfist to the same model, i minimise the number of 'special' models i need to protect within the unit. see, fluffy stuff and more competitive reasoning joining together on a single model!brother fidel. i love me some lightning claws but the logic of taking a pair on the terminators, who are really limited in terms of how they can get into position to charge, meant a reduction in the fire output of the squad. i really like the flexibility the cataphractii datasheet allows in this regard, as i give up an extra attack to gain re-rolls to wound and striking at initiative. now all i need is a chaplain in terminator armour and i'll be re-rolling just about everything they have!i'm particularly proud of the blood and gore effect on the lightning claws for brother fidel, which you can see in greater detail below. it's a technique i'll be covering in more detail over on the gdb blog soon!till next time, 'i'll be back!'tbe
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ˈfoʊˌtoʊz baɪ ˈkɛrəˌlaɪn ˈbreɪdi ə fju ʧaɪmz pæst faɪv ɔn ə ˈrisənt ˈθərzˌdeɪ, ənd strit ɪz ˈfɪlɪŋ əp. ən oʊld mæn wɪθ ə paɪp θru ə kraʊd əv ˈpipəl ˈweɪtɪŋ fər ðə bəs. θri gərlz riˈɔrdər ˈɪntu ə wɛʤ fɔrˈmeɪʃən ənd pʊʃ θru ðə ˈɔnˌkəmɪŋ ˈpeɪvmənt ˈtræfɪk. ˈdəblɪn ˈsɪti ˈkaʊnsəl simz tɪ peɪ hips əv əˈtɛnʃən tɪ ˈmeɪkɪŋ ðə ˈsɪti ˈwɛlkəmɪŋ fər ˈdraɪvərz ənd ˈsaɪkəlɪsts, bət səm seɪ ɪt dən ɪˈnəf tɪ meɪk ʃʊr ðə ˈsɪti ɪz tu. ənd traɪɪŋ tɪ ʧeɪnʤ ðət. ðə læst 18 mənθs, peɪɪŋ mɔr əˈtɛnʃən tɪ ðə nidz əv pedestrians,”*,” sɛd ˈleɪbər ˈændru ˈmɑntəˌgju. wən ˈglumi ˈsæˌtɪˌdeɪ ɪn mid-may*, ˈdəblɪn ˌɪnkˈwaɪrər sɛt aʊt tɪ ʧɛk ˈkraʊdɪŋ ɔn ɪn fɔr spɑts əraʊnd ðə ˈsɪti, ˈstilɪŋ ðə ˈmɛθəd juzd ɪn ˈləndən. ðɛr, ˈtrænspɔrt ˈplænərz reɪt frəm ˈkəmfərtəbəl tɪ ˈvɛri ənˈkəmfərtəbəl beɪst ɔn ðə ˈnəmbər əv pəˈdɛstriənz pər ˈmitər əv ˈjuzəbəl wɪdθ. fər ˈsɛvərəl aʊərz, wi stʊd ˈɔkwərdli ɪn ˈdɔrˌweɪz ənd geɪʤd pəˈdɛstriən floʊz ɔn deɪm strit ənd strit ɪn ðə saʊθ ˈɪnər ˈsɪti ənd ˈmɛʒərd floʊz ɔn ˈkeɪpəl strit ənd strit. ðiz spɑts fil ˈkraʊdɪd, bət ðə goʊl wɑz tɪ dɪˈtərmən ˈwɛðər ðeɪ wər ˈdeɪnʤərəsli kənˈʤɛstɪd ˈfɔrsɪŋ ˈpipəl tɪ stɛp ɔf əv ənd ˈɪntu ˈtræfɪk. ə mæp əv wət wi faʊnd: ɔn deɪm strit, ˈkraʊdɪŋ ɪz ə bɪg ˈɪʃu. pik aʊər pəˈdɛstriən floʊz reɪnʤd frəm 18 tɪ 23 ˈpipəl pər ˈmɪnət pər ˈmitər (ppmm*) əv ˈfʊtˌpæθ wɪdθ. əˈkɔrdɪŋ tɪ ˈtrænspɔrt fər ˈləndən, ðə ˈfɪgjər ˈprɑbəˌbli tɔp 17ppmm*. strit wɑz pækt, tu, əˈproʊʧɪŋ wət ˈtrænspɔrt fər skeɪl wʊd ʤəʤ ɛz ‘‘discomfort’*’, dɪˈspaɪt ə 2003 riˈvæmp ðət sɔ ˈfʊtˌpæθ wɪdθs ˈnɪrli ˈdəbəld frəm 6 ˈmitərz tɪ 11 ˈmitərz. pəˈdɛstriən floʊz reɪnʤd frəm 6 tɪ 23. ˈlɛvəlz əv ˈkraʊdɪŋ æt ðə taɪm əv ðə ɪkˈspɛrəmənt wər wɪˈθɪn ˈrizənəbəl ˈlɛvəlz ɔn strit ənd ˈkeɪpəl strit, ˌɔlˈðoʊ ˈsɛvərəl ˈpæʧɪz ɔn ˈkeɪpəl strit ər ˈnɛroʊər ðən ˈtrænspɔrt fər ˈləndən sɪz səˈpoʊzd tɪ bi ɪn ə ˈɛriə. ðɛr ər ə bənʧ əv ˈrizənz waɪ pəˈdɛstriən ˈkəmfərt ʃʊd nɑt bi sin ɛz ə ˈləgʒəri. nɑt list, lɛs ˈsaɪdˌwɔk speɪs minz mɔr ˈkɑnflɪkts bɪtˈwin roʊd ˈjuzərz. rɪˈpɔrts səˈʤɛst groʊɪŋ ˈɪnstənsɪz əv ˈkɑnflɪkt bɪtˈwin ˈsaɪkəlɪsts ənd pəˈdɛstriənz ɪn ˈdəblɪn ˈsɪti. ˈfʊtˌpæθ kənˈʤɛsʧən ˈkɔzɪz noʊˈtɔriəsli ˌɪmˈpeɪʃənt pəˈdɛstriənz tɪ ˈwɑndər ˈɪntu ˈsaɪkəl leɪnz soʊ ðeɪ hæv tɪ wɔk sloʊər. ɪt ɪz noʊ ˈsikrɪt ðət ˈdəblɪn ˈfeɪsɪz ə ˈsɪriəs kənˈʤɛsʧən ˈprɑbləm. moʊst əv ðə ʤɑbz ər ˈloʊˌkeɪtəd wɪˈθɪn ðə kəˈnælz; ðə məˈʤɔrəti əv ɪmˈplɔɪiz lɪv ˈaʊtˈsaɪd ðɛm. ðə 2014 kəˈnæl ˈkɔrdən kaʊnt faʊnd ðət ˈʤərniz ˈɪntu ˈdəblɪn ˈdʊrɪŋ pik aʊərz ər stɪl bɪˈloʊ wət ðeɪ wər ɪn ðə ˈsɛltɪk ˈtaɪgər jɪrz, bət ər rɪˈkəvərɪŋ fæst. ənd mɔr ˈpipəl ər ˈwɔkɪŋ. ðə seɪm kaʊnt faʊnd ðət ðə ʃɛr əv pəˈdɛstriənz ˈɛnərɪŋ ˈdəblɪn ˈdʊrɪŋ ðə ˈmɔrnɪŋ rəʃ aʊər wɑz pərˈsɛnt haɪər ðən ɪn 2013 fər ðə fərst taɪm sɪns ðə kaʊnt bɪˈgæn, pəˈdɛstriənz meɪd əp mɔr ðən 10 pərˈsɛnt əv ɔl ˈʤərniz ˈɪntu ˈdəblɪn. ðə ˈsɪti ˈkaʊnsəl ˈfeɪsɪz ə ˈdɪfəkəlt tæsk ɪn prəˈvaɪdɪŋ fər groʊɪŋ ˈnəmbərz əv kəmˈjutərz ɪn ə ˈsɪti huz mɪˈdjivəl roʊd ˈnɛtˌwərk hɪt pik jɪrz əˈgoʊ, ənd ˈəndər ˈkɑrənt ˈpɑləsi, ɪz nɑt goʊɪŋ tɪ groʊ ˈrædɪkli. wɔnt ən ˈækʧəwəl plan,”*,” ˈmɑntəˌgju sɛd æt ə ˈlɛŋθi ˈsɪti ˈkaʊnsəl ˈmitɪŋ ɔn 5 meɪ. ““like*, pɪk aʊt ðə wərst 10 ər 20 pərˈsɛnt əv ɑr, ðə wənz ðət ər ɪn ðə wərst kənˈdɪʃən, ənd ðɛn ˈoʊvər ðə faɪv ər sɪks jɪrz əv ðə plæn ðət wi ˌɪmˈpruv ðoʊz ˈrəðər ðən ʤɪst kaɪnd əv du bɪts ənd ˈpisɪz hir ənd there.”*.” ˈmɑntəˌgju wɑz əˈnɔɪd wɪθ wət hi fɛlt wɑz ə veɪg ˌrɛkəmənˈdeɪʃən frəm ˈdəblɪn ˈsɪti əˈsɪstənt ʧif ɪgˈzɛkjətɪv, ʤɪm keogan*, tɪ hɪz ˈmoʊʃən ˈæskɪŋ fər ˌɪmˈpruvmənts tɪ ðə wərst. ðə ˈmitɪŋ wɑz ˈsɪti councillors’*’ ʧæns tɪ ʃeɪp ðə 2016 tɪ 2022 ˈdəblɪn ˈsɪti dɪˈvɛləpmənt plæn, ənd fju wər ˈæbsənt. ðə dɪˈvɛləpmənt plæn ɪz kaɪnd əv laɪk ðə ˈsɪti ˈkaʊnsəl ˈbaɪbəl. ɪt sɛts ðə əˈʤɛndə fər ðə ˈplænərz, ˈbjʊrəˌkræts ənd ˈɛnʤəˈnɪrz, hu ər tæskt wɪθ ɛˈnæktɪŋ ðə ˈstrætəʤiz ˈaʊˌtlaɪnd ɪn ɪts ˈpeɪʤɪz. ˈɛni rɪkˈwɛst fər ˈplænɪŋ pərˈmɪʃən ɪz weɪd əˈgɛnst ðə bʊk, laɪk ə lɔ tɪ ðə ˌkɑnstəˈtuʃən. wən əv ðə moʊst ˌɪmˈpɔrtənt ˈæˌspɛkts əv ðə plæn ɪz ðə fˈjuʧər əv ˌtrænspərˈteɪʃən ɪn ðə ˈsɪti. æt ðə 5 meɪ ˈmitɪŋ, mɔr ðən 50 ˈmoʊʃənz wər ˈdɛdəkeɪtəd tɪ ðət ˈɪʃu əˈloʊn. bət waɪl ðə ˈkɑrənt ˈkaʊnsəl ˈædvəˌkeɪts ˈstrɔŋli fər mɔr səˈsteɪnəbəl ənd lɛs moʊdz əv ˈtrævəl, ðɛr əˈpɪrz tɪ bi ə ˈfoʊkɪs ɔn ˈsaɪkəlɪŋ ɛz ðə grin ˈtrævəl ʧɔɪs fər ðə fˈjuʧər. ˈmoʊʃənz ˈtɑrgətɪŋ ðə nidz əv ˈsaɪkəlɪsts aʊtˈnəmbər ðoʊz ðət ˈæˌdrɛs ˈwɔkɪŋ baɪ ˈnɪrli tu tɪ wən. ˈsɪti, baɪ ənd lɑrʤ, əˈgri ðət səˈsteɪnəbəl moʊdz əv ˈtrænspɔrt məst bi ɪnˈkərəʤd. dɪˈpɛndɪŋ ɔn ˈhoʊldɪŋ fɔrθ, ˈrizənz reɪnʤ frəm ðə ˈnoʊbəl (tɪ rɪˈdus ɪˈmɪʃənz ənd ˌɪmˈpruv ðə ˈərbən ɪkˈspɪriəns) tɪ ðə ˈpræktɪkəl (tɪ ʃɪft roʊd ˈjuzərz tɪ mɔr moʊdz ənd gɪt ˈtræfɪk ˈmuvɪŋ). kəf, ə grin ˈpɑrti frəm ðə nɔrθ ˈɪnər ˈsɪti, ɪz ə ˈvɛtərən əv ðə ˈbɛnəfɪts əv səˈsteɪnəbəl ˈtrænspɔrt. hi, laɪk ˈmɑntəˌgju, həz ˈlɑbid ˈfɪrsli ɔn bɪˈhæf əv pəˈdɛstriənz. kəf ənd hɪz grin ˈpɑrti ˈkɑligz wɔnt ðə dɪˈvɛləpmənt plæn tɪ ˌɪnˈklud ə ˈhaɪˌrɑrki əv beɪst ɔn huz nidz ʃʊd bi prioritised*. æt ðə tɔp, ʃʊd bi pəˈdɛstriənz, hi θɪŋks. ˈtrævəlɪŋ baɪ fʊt kən ˈbjutəfli ˈkɑmbaɪn ˈsoʊʃəˌlaɪzɪŋ, ˌɛkəˈnɑmɪk ækˈtɪvɪti ənd travel,”*,” kəf sɛd. fju ˈəðər moʊdz kən mæʧ ðət, ənd ˈsɪtiz ər ɔl əˈbaʊt ðə kəˈnɛkʃənz bɪtˈwin ˈdɪfərənt activities.”*.” ˈmɑntəˌgju sɛd wər ˈstɑrtɪŋ tɪ weɪk əp tɪ ðə kaɪnd əv ˈfʊtˌpæθ kənˈʤɛsʧən ˈdɑkjəˌmɛnəd baɪ ˈdəblɪn ˌɪnkˈwaɪrər. naʊ ðət wi ər əˈwɛr əv it,”*,” hi sɛd, θɪŋk wi nid tɪ kəm əp wɪθ ə plæn tɪ stɑrt æˈdrɛsɪŋ ˈʃɔrtˌkəmɪŋz ɪn ɑr footpaths.”*.” ər ˈsikɪŋ tɪ meɪk ɪt ˈiziər tɪ muv ɔn, ənd ˈɔlsoʊ tɪ stænd stɪl ɔn ðɛm. ˈsɛvərəl ˈmoʊʃənz əˈdrɛst ðə nid fər ðət ɪnˈkərəʤ ˈsoʊʃəl ˌɪnərˈækʃən ənd ˈəðər ækˈtɪvɪtiz. ˈoʊnli du wi wɔnt tɪ juz ɑr fər ˈpipəl tɪ wɔk daʊn ðə strit, wi ˈɔlsoʊ wɔnt ˈpipəl tɪ stɑp ənd ˈlɪŋər ənd ʧæt ənd ˌɛnˈʤɔɪ ðə city,”*,” ˈmɑntəˌgju sɛd.
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photos by caroline brady
it’s a few chimes past five o’clock on a recent thursday, and o’connell street is filling up. an old man with a pipe slaloms through a crowd of people waiting for the bus. three girls reorder into a wedge formation and push through the oncoming pavement traffic.
dublin city council seems to pay heaps of attention to making the city welcoming for drivers and cyclists, but some councillors say it hasn’t done enough to make sure the city is pedestrian-friendly too. and they’re trying to change that.
“over the last 18 months, i’m paying more attention to the needs of pedestrians,” said labour councillor andrew montague.
one gloomy saturday in mid-may, dublin inquirer set out to check crowding on dublin’s footpaths in four spots around the city, stealing the method used in london. there, transport planners rate footpaths from comfortable to very uncomfortable based on the number of pedestrians per metre of usable width.
for several hours, we stood awkwardly in doorways and gauged pedestrian flows on dame street and wexford street in the south inner city and measured northside flows on capel street and o’connell street.
these spots feel crowded, but the goal was to determine whether they were dangerously congested – forcing people to step off of footpaths and into traffic. here’s a map of what we found:
on dame street, crowding is a big issue. peak hour pedestrian flows ranged from 18 to 23 people per minute per metre (ppmm) of footpath width. according to transport for london, the figure probably shouldn’t top 17ppmm.
o’connell street was packed, too, approaching what transport for london’s scale would judge as ‘discomfort’, despite a 2003 revamp that saw footpath widths nearly doubled from 6 metres to 11 metres. pedestrian flows ranged from 6 ppmm to 23 ppmm.
levels of crowding at the time of the experiment were within reasonable levels on wexford street and capel street, although several patches on capel street are narrower than transport for london says they’re supposed to be in a city-centre area.
there are a bunch of reasons why pedestrian comfort should not be seen as a luxury. not least, less sidewalk space means more conflicts between road users. reports suggest growing instances of conflict between cyclists and pedestrians in dublin city. footpath congestion causes notoriously impatient pedestrians to wander into cycle lanes so they don’t have to walk slower.
it is no secret that dublin faces a serious congestion problem. most of the city’s jobs are located within the canals; the majority of employees live outside them. the 2014 canal cordon count found that journeys into dublin during peak hours are still below what they were in the celtic tiger years, but are recovering fast. and more people are walking.
the same count found that the share of pedestrians entering dublin during the morning rush hour was 12.7 percent higher than in 2013. for the first time since the count began, pedestrians made up more than 10 percent of all journeys into dublin.
the city council faces a difficult task in providing for growing numbers of commuters in a city whose medieval road network hit peak car-capacity years ago, and under current policy, is not going to grow radically.
“i want an actual plan,” montague said at a lengthy city council meeting on 5 may. “like, pick out the worst 10 or 20 percent of our footpaths, the ones that are in the worst condition, and then over the five or six years of the plan that we improve those rather than just kind of do bits and pieces here and there.”
montague was annoyed with what he felt was a vague recommendation from dublin city council’s assistant chief executive, jim keogan, to his motion asking for improvements to the city’s worst footpaths. the meeting was city councillors’ chance to shape the 2016 to 2022 dublin city development plan, and few were absent.
the development plan is kind of like the city council executive’s bible. it sets the agenda for the city’s planners, bureaucrats and engineers, who are tasked with enacting the strategies outlined in its pages. any request for planning permission is weighed against the book, like a law to the constitution.
one of the most important aspects of the plan is the future of transportation in the city. at the 5 may meeting, more than 50 motions were dedicated to that issue alone.
but while the current council advocates strongly for more sustainable and less space-hungry modes of travel, there appears to be a focus on cycling as the green travel choice for the future. motions targeting the needs of cyclists outnumber those that address walking by nearly two to one.
city councillors, by and large, agree that sustainable modes of transport must be encouraged. depending on who’s holding forth, reasons range from the noble (to reduce emissions and improve the urban experience) to the practical (to shift road users to more space-efficient modes and get traffic moving).
ciaran cuffe, a green party councillor from the north inner city, is a veteran proselytiser of the benefits of sustainable transport. he, like montague, has lobbied fiercely on behalf of dublin’s pedestrians.
cuffe and his green party colleagues want the development plan to include a hierarchy of road-users based on whose needs should be prioritised. at the top, should be pedestrians, he thinks.
“those traveling by foot can beautifully combine socializing, economic activity and travel,” cuffe said. “very few other modes can match that, and cities are all about the connections between different activities.”
montague said councillors were starting to wake up to the kind of footpath congestion documented by dublin inquirer. “but now that we are aware of it,” he said, “i think we need to come up with a plan to start addressing shortcomings in our footpaths.”
councillors are seeking to make it easier to move on footpaths, and also to stand still on them. several motions addressed the need for footpaths that encourage social interaction and other activities.
“not only do we want to use our footpaths for people to walk down the street, we also want people to stop and linger and chat and enjoy the city,” montague said.
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ˈoʊvər tɪ ju ʤoʊ. ʃmɪt muvz ˈivɪn ˈkloʊzər tɪ səkˈsidɪŋ ˈkɪdni ɛz ˈaɪərlənd bɔs koʊʧ ʤoʊ ʃmɪt wʊd bi ðə fərst ʧɔɪs əv ə lɔt əv ˈaɪrɪʃ ˈrəgbi fænz tɪ səkˈsid ˈkɪdni ɛz ˈaɪrɪʃ koʊʧ ənd rɪˈpɔrts ðɪs ˈmɔrnɪŋ səˈʤɛst ðə ʤɑb ɪz hɪz ɪf hi wɔnts ɪt. ʃmɪt ˈimərʤd ɛz ðə ˈfeɪvərɪt tɪ bɪˈkəm ðə nu ˈaɪrɪʃ koʊʧ læst ˈwiˌkɪnd əˈmɪdst rɪˈpɔrts ðət ðə hæd meɪd ˈoʊvərˌʧʊrz təˈwɔrdz ðə ˈkiwi ˈneɪtɪv, hu wɑz ˈoʊvərˌsin ə fəˈnɑmənəl fju jɪrz əv səkˈsɛs wɪθ ðə bluz sɪns ərˈaɪvɪŋ ɪn ˈdəblɪn ɪn 2010 kˈwinzˌlænd rɛdz koʊʧ juən məˈkɛnzi, ˈkɑrənt weɪlz dɪˈfɛns koʊʧ ʃɔn ˈɛdwərdz ənd lɛs kɪs, hu həz bɪn ˌɪnˈstɔld ɛz ˈɪnərəm koʊʧ fər ðə ˈsəmər tʊr əv nɔrθ əˈmɛrɪkə, hæv ˈɔlsoʊ bɪn lɪŋkt wɪθ ðə roʊl ɪn ˈrisənt wiks. ə rɪˈpɔrt ɪn ˈaɪrɪʃ ˌɪndɪˈpɛndənt səˈʤɛsts ðət ðə ər ˈkərəntli ˈsɛtɪŋ əp ə lɪst əv ˌɪntərvjuˈiz ənd hoʊp tɪ əˈpɔɪnt səkˈsɛsər baɪ ðə ɛnd əv ðə mənθ. ˈaɪrɪʃ ˌɪndɪˈpɛndənt ˈsɔrsəz səˈʤɛst ðət waɪl ɔl ˈkænədɪts wɪl bi ˈɪntərvˌjud fər ðə roʊl, ʃmɪt ɪz ðə mæn ðə ər ˈæftər ənd ðə ʤɑb wɪl bi hɪz ɪf hi ɪz kin tɪ teɪk ɪt ɔn. ɪt həz bɪn sɛd ɪn ðə pæst ðət ʃmɪt ɪz kin tɪ rɪˈtərn hoʊm tɪ nu ˈzilənd ɪˈvɛnʧəwəli bət fər naʊ hi ənd hɪz ˈfæməli sim wɛl ˈsɛtəld ɪn ˈdəblɪn ənd ˌɔlˈðoʊ hɪz ˈkɑnˌtrækt wɪθ ɪkˈspaɪr ənˈtɪl nɛkst ˈsəmər, ɪt naʊ əˈpɪrz ɛz ɪf ðɛr ɪz ə ˈvɛri gʊd ʧæns ðət ðə wɪl gɪt ðɛr mæn. ɪf hi dɪz gɪt ðə gɪg, lɛs kɪs ɪz ɪkˈspɛktɪd tɪ rɪˈmeɪn ɔn ɛz dɪˈfɛns koʊʧ bət ʃmɪt wɪl ˈlaɪkli sik ə nu ˈfɔrwərdz koʊʧ tɪ ˌriˈpleɪs gərt smal*. ˈoʊvər tɪ ju ʤoʊ.
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