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sports illustrated’s brian straus recently dropped the bombshell that chivas usa may take a hiatus for the 2015 season (or longer) as the incoming ownership group prepares to re-brand the team. since then there have been multiple reports saying different things with mls commissioner don garber recently admitting a hiatus may be necessary, while espn reported that the league is “dead set” against the idea.
current chivas usa president nelson rodriguez clearly wants the team around in 2015, and he believes the team can be successful, saying that even if the rebrand isn’t ready for 2015 the team could still be successful:
“i also think if we returned as chivas usa, but improved our investment on promotion, and marketing and driving fans to the game, i think we could still be successful.”
success may be a long shot for chivas usa in 2015, but they should continue to play regardless. the team and the league owe it to the fans that have continued to support the team to give them a team to support. it won’t be easy, it won’t be simple, but they should do it anyways. here’s three reasons:
the fans
they exist. there are real chivas usa fans. there may not be tens of thousands of them, but there are die-hard fans that have followed this team for years. one of the things that has made recent additions to mls successful have been the fan bases, specifically the die-hards, the supporters groups. if chivas takes a year or two off, they risk losing those die hard fans, and those are exactly the ones they need to keep to have around when they push “reset” and do a re-brand. imagine what it could do for the re-branded team if they already have an established group of die-hards. they may not be a huge group, but they’re devoted to this club. with how bad the product has been on and off the field, they’ve still shown up to games week after week, year after year. these are the people mls should want forming the base of the new club’s support, and any hiatus will risk alienating those fans.
the players
chivas taking a year off would be complicated for the players involved. mls has proven time and again that it is not good at handling complicated things involving rosters. look at the recent jermaine jones acquisition. a blind draw? seriously? and that was just for a player who two teams were after.
now imagine a scenario in which a whole team worth of players (or maybe half a team with expiring contracts and ones that can be terminated easily) needs to be dispersed across the league (or out of the league) either permanently or temporarily (and return to the new club the following year?). there’s no way mls handles that situation well. more than likely they’d come up with some overcomplicated allocation order which would leave nobody happy and the league looking bad.
as for ives galarcep’s idea to drop chivas down to usl pro, that still doesn’t solve the player issue. chivas usa may not be a good team, but they do have some good players. they’ve shown, in stretches, the potential to not be an absolute dumpster fire on the field. most of their players, will at least believe themselves good enough to play in mls. collectively they may make a bad team, but individually many of them could contribute on good mls teams. are they really going to want to play in usl pro, especially if there are mls teams that want them?
contraction
this is supposed to be an era of expansion for mls. the league is growing. fanbases are growing. television audiences are (supposed to be) growing. there’s two new franchises joining the league in 2015 (orlando city and new york city) and more to come. putting chivas usa on hiatus, even for a year, feels like contraction. it might not technically be contraction, but it feels like it.
in suggesting dropping chivas to usl pro, galarcep said the new owners could use the year as practice running a club. however everyone knows that mls is its own beast when it comes to roster rules, etc, so how much would that “practice” really be worth? wouldn’t they be better off “practicing” in mls for a year?
even if the new ownership group isn’t ready to rebrand the team for the 2015 season, they can’t do a worse job than the last ownership group, and they’re certain to learn a few things along the way. in the process, they’ll the die-hard fans they still have and maybe even start to gain a few new fans as interest builds around the re-brand fans will know the owners are working on.
whatever happens will not be perfect. it won’t be simple. but mls must remember that above all else, it’s the fans that make the league. without fans there’s no ticket sales, no tv audience, no merchandise revenue, nothing. so when deciding how to handle chivas usa, priority number one must be to the fans, however many or few there are.
i’ll close with this thought from alicia rodriguez from the goat parade on the idea of the thing she and other fans have poured so much into simply vanishing:
“but please — consider that which you love, something you spend your time, money, and energy on, something that may not be perfect, but it’s your thing — and consider it disappearing, maybe temporarily, maybe permanently, and through no fault of your own.
you would deserve better, wouldn’t you?”
thank you for reading. please take a moment to follow me on twitter- @ericwalcott. support lwos by following us on twitter – @lastwordonsport and @lwosworld – and “liking” our facebook page.
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23123.5* (ə) ə ˈpərsən ʃæl nɑt draɪv ə ˈmoʊtər ˈviɪkəl waɪl ˈjuzɪŋ ən ˌɪˌlɛkˈtrɑnɪk ˈwaɪrlɪs kəmˌjunəˈkeɪʃənz dɪˈvaɪs tɪ raɪt, sɛnd, ər rɛd ə kəmˌjunəˈkeɪʃən, ənˈlɛs ðə ˌɪˌlɛkˈtrɑnɪk ˈwaɪrlɪs kəmˌjunəˈkeɪʃənz dɪˈvaɪs ɪz spəˈsɪfɪkli dɪˈzaɪnd ənd kənˈfɪgjərd tɪ əˈlaʊ ənd ˌɑpərˈeɪʃən tɪ ˈdɪkˌteɪt, sɛnd, ər ˈlɪsən tɪ ə kəmˌjunəˈkeɪʃən, ənd ɪt ɪz juzd ɪn ðət ˈmænər waɪl ˈdraɪvɪŋ. (bi) ɛz juzd ɪn ðɪs ˈsɛkʃən ““write*, sɛnd, ər rɛd ə communication”*” minz ˈjuzɪŋ ən ˌɪˌlɛkˈtrɑnɪk ˈwaɪrlɪs kəmˌjunəˈkeɪʃənz dɪˈvaɪs tɪ ˈmænjuəli kəmˈjunəˌkeɪt wɪθ ˈɛni ˈpərsən ˈjuzɪŋ ə kəmˌjunəˈkeɪʃən, ˌɪnˈkludɪŋ, bət nɑt ˈlɪmɪtɪd tɪ, kəmˌjunəˈkeɪʃənz rɪˈfərd tɪ ɛz ə tɛkst ˈmɛsɪʤ, ˈɪnstənt ˈmɛsɪʤ, ər ˌɪˌlɛkˈtrɑnɪk meɪl. (si) fər ˈpərpəsɪz əv ðɪs ˈsɛkʃən, ə ˈpərsən ʃæl nɑt bi dimd tɪ bi ˈraɪtɪŋ, ˈrɛdɪŋ, ər ˈsɛndɪŋ ə kəmˌjunəˈkeɪʃən ɪf ðə ˈpərsən ridz, səˈlɛkts, ər ˈɛnərz ə ˈtɛləˌfoʊn ˈnəmbər ər neɪm ɪn ən ˌɪˌlɛkˈtrɑnɪk ˈwaɪrlɪs kəmˌjunəˈkeɪʃənz dɪˈvaɪs fər ðə ˈpərpəs əv ˈmeɪkɪŋ ər rɪˈsivɪŋ ə ˈtɛləˌfoʊn kɔl ər ɪf ə ˈpərsən ˈəðərˌwaɪz ˈæktəˌveɪts ər ə ˈfiʧər ər ˈfəŋkʃən ɔn ən ˌɪˌlɛkˈtrɑnɪk ˈwaɪrlɪs kəmˌjunəˈkeɪʃənz dɪˈvaɪs. (di) ə vaɪəˈleɪʃən əv ðɪs ˈsɛkʃən ɪz ən ˌɪnˈfrækʃən ˈpənɪʃəbəl baɪ ə beɪs faɪn əv tˈwɛnti ˈdɔlərz 20 fər ə fərst əˈfɛns ənd ˈfɪfti ˈdɔlərz 50 fər iʧ ˈsəbsəkwənt əˈfɛns. (i) ðɪs ˈsɛkʃən dɪz nɑt əˈplaɪ tɪ ən ˈimərʤənsi ˈsərvɪsɪz prəˈfɛʃənəl ˈjuzɪŋ ən ˌɪˌlɛkˈtrɑnɪk ˈwaɪrlɪs kəmˌjunəˈkeɪʃənz dɪˈvaɪs waɪl ˈɔpərˌeɪtɪŋ ən ˈɔθərˌaɪzd ˈimərʤənsi ˈviɪkəl, ɛz dɪˈfaɪnd ɪn ˈsɛkʃən 165 ɪn ðə kɔrs ənd skoʊp əv hɪz ər hər ˈdutiz.
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23123.5. (a) a person shall not drive a motor vehicle while using an electronic wireless communications device to write, send, or read a text-based communication, unless the electronic wireless communications device is specifically designed and configured to allow voice-operated and hands-free operation to dictate, send, or listen to a text-based communication, and it is used in that manner while driving.
(b) as used in this section “write, send, or read a text-based communication” means using an electronic wireless communications device to manually communicate with any person using a text-based communication, including, but not limited to, communications referred to as a text message, instant message, or electronic mail.
(c) for purposes of this section, a person shall not be deemed to be writing, reading, or sending a text-based communication if the person reads, selects, or enters a telephone number or name in an electronic wireless communications device for the purpose of making or receiving a telephone call or if a person otherwise activates or deactivates a feature or function on an electronic wireless communications device.
(d) a violation of this section is an infraction punishable by a base fine of twenty dollars ($20) for a first offense and fifty dollars ($50) for each subsequent offense.
(e) this section does not apply to an emergency services professional using an electronic wireless communications device while operating an authorized emergency vehicle, as defined in section 165, in the course and scope of his or her duties.
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kɑrdz əˈgɛnst juˈmænɪti ɪz bæk æt ɪt əˈgɛn. ðə geɪm ˈkəmpəˌni ðət ɪn 2016 dəg (ənd fɪld ɪn) ə ʤaɪənt hoʊl tɪ ˈnoʊˌwɛr həz ə nu ˈhɑlɪˌdeɪ stənt ðɪs jɪr. fər 15 ˈkəstəmərz kən saɪn əp æt kɑrdz əˈgɛnst juˈmænɪti seɪvz əˈmɛrɪkə, ənd wɪl rɪˈsiv sɪks səˈpraɪzɪz" ɪn ðə meɪl. "ɪt wɪl bi fən, ɪt wɪl bi wɪrd, ənd ɪf ju ˈvoʊtɪd fər trəmp, ju maɪt wɔnt tɪ sɪt ðɪs wən aʊt," ðə ˈkəmpəˌni noʊts ɔn ɪts saɪt. naʊ pleɪɪŋ: wɔʧ ðɪs: ə kɑrd geɪm bɔt lænd tɪ stɑp trəmps wɔl ðə səˈpraɪzɪz rɪˈmeɪn ˈsikrɪt, əv kɔrs, bət səm ər ɔl əv ðɛm ˌɪnˈvɑlv ˈprɛzɪdənt ˈdɑnəld trəmps prəˈpoʊzd wɔl bɪtˈwin ðə ˈjuˈɛs ənd ˈmɛksəˌkoʊ. "wiv ˈpərʧəst ə plɑt əv ˈveɪkənt lænd ɔn ðə ˈbɔrdər ənd rɪˈteɪnd ə lɔ fərm ˈspɛʃəˌlaɪzɪŋ ɪn ˈɛmənənt doʊˈmeɪn tɪ meɪk ɪt ɛz ənd ɪkˈspɛnsɪv ɛz ˈpɑsəbəl fər ðə wɔl tɪ gɪt bɪlt," ðə saɪt sɪz. "ɔl kɑrdz əˈgɛnst juˈmænɪti seɪvz əˈmɛrɪkə rɪˈsɪpiənts wɪl gɪt ən ˈɪləˌstreɪtɪd mæp əv ðə lænd, ə sərˈtɪfɪkət əv ɑr ˈprɑməs tɪ faɪt ðə wɔl, səm nu kɑrdz ənd ə fju ˈəðər səˈpraɪzɪz." kɑrdz əˈgɛnst juˈmænɪti, əv kɔrs, ɪz ðə ˈfeɪməsli ˈnɔti ˈpɑrti geɪm bɔrn aʊt əv ə 2010 kæmˈpeɪn ðət reɪzd ˈnɪrli 400 pərˈsɛnt əv ɪts goʊl. pleɪərz traɪ tɪ ˈaʊtˌwɪt ðə ˈəðərz baɪ pleɪɪŋ ə kɑrd wɪθ ə wərd ər freɪz ðət pɛrz ˈhjumərəsli wɪθ əˈnəðər kɑrd. laɪk moʊst kɑrdz əˈgɛnst juˈmænɪti pərˈmoʊʃənz, ðɪs wən ɪz ˈlɪmɪtɪd. ðə fərst ˈpipəl hu saɪn əp wɪl gɪt ɪn. ə ˈkaʊntˌdaʊn klɑk ʃoʊd ðət ˈnɪrli hæf ðə spɑts wər ɔˈrɛdi gɔn baɪ p.m*. ˈistərn ɔn ˈtuzˌdeɪ. hæv mɔr kˈwɛsʧənz? ðə ˈviəməntli ˈtækəlz səm əv ðɛm. fər ðoʊz hu wɔnt tɪ ˈkænsəl ðɛr ˈɔrdər, ðə ˈkəmpəˌni rɪˈplaɪz, "wid laɪk tɪ ˈkænsəl ðə 2016 ɪˈlɛkʃən, bət ˈniðər əv ˈjuˈɛs ɪz goʊɪŋ tɪ gɪt wət wi wɔnt."
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cards against humanity is back at it again. the game company that in 2016 dug (and filled in) a giant hole to nowhere has a new holiday stunt this year.
for $15, customers can sign up at cards against humanity saves america, and will receive six "america-saving surprises" in the mail.
"it will be fun, it will be weird, and if you voted for trump, you might want to sit this one out," the company notes on its site.
now playing: watch this: a card game bought land to stop trump's wall
the surprises remain secret, of course, but some or all of them involve president donald trump's proposed wall between the us and mexico.
"we've purchased a plot of vacant land on the border and retained a law firm specializing in eminent domain to make it as time-consuming and expensive as possible for the wall to get built," the site says. "all cards against humanity saves america recipients will get an illustrated map of the land, a certificate of our promise to fight the wall, some new cards and a few other surprises."
cards against humanity, of course, is the famously naughty party game born out of a 2010 kickstarter campaign that raised nearly 400 percent of its goal. players try to outwit the others by playing a card with a word or phrase that pairs humorously with another card.
like most cards against humanity promotions, this one is limited. the first 150,000 people who sign up will get in. a countdown clock showed that nearly half the spots were already gone by 5:30 p.m. eastern on tuesday.
have more questions? the vehemently anti-trump faq tackles some of them. for those who want to cancel their order, the company replies, "we'd like to cancel the 2016 election, but neither of us is going to get what we want."
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ˈoʊklənd həz bɪˈkəm ə ˈsɪti əv mosts*: ðə moʊst ənəˈfɔrdəbəl ˈsɪti ɪn əˈmɛrɪkə, ðə fɔrθ moʊst ɪkˈspɛnsɪv ˈsɪti, ənd ðə ˈsɪti wɪθ ðə ˈfæstəst groʊɪŋ ˌɪnɪkˈwɑləti, əˈkɔrdɪŋ ðə ˈbrʊkɪŋz ˌɪnstɪˈtuʃən. ɛz ə ˈsɪti əˈfɛktɪd baɪ ðə beɪ ˈhaʊzɪŋ ˈkraɪsəs, ˈoʊklənd dru ˈnɪrli 400 ˈsteɪˌkhoʊldərz ɔn ˈsæˌtɪˌdeɪ tɪ dɪˈskəs ˈkɔzɪz ənd səˈluʃənz tɪ ðə ˈɪʃu əv dɪˈspleɪsmənt, ər ðə ˈstrəgəl tɪ əˈfɔrd ˈhaʊzɪŋ. ə kˈwɔrtər əv maɪ ˈrɛzɪdənts hir ɪn ˈoʊklənd ər ˈhaʊzɪŋ insecure,”*,” sɛd meɪər ˈlɪˌbi ʃɑf æt ðə ˈhaʊzɪŋ ˈfɔrəm ˈhoʊstɪd baɪ ðə ˌmɛtrəˈpɑlətən ˌtrænspərˈteɪʃən kəˈmɪʃən (mtc*), ðə əˌsoʊʃiˈeɪʃən əv beɪ ˈɛriə ˈgəvərnmənts (abag*) ənd ˈhændˌfʊl əv kəmˈjunɪti ˌɔrgənəˈzeɪʃənz. ɪn ˈəðər wərdz, ˈnɪrli ˈpipəl ər æt rɪsk fər ˈluzɪŋ ðɛr hoʊm, ər ˈlɪvɪŋ ɪn ənˈhɛlθi kənˈdɪʃənz ər ər ˈkərəntli ˈhoʊmləs. ðə ˈfɔrəm, hɛld æt ðə ˈoʊklənd ˈsɪti ˈsɛnər, wɑz dɪˈzaɪnd tɪ brɪŋ ˌrɛprɪˈzɛnətɪvz əv ðə ˌtrænspərˈteɪʃən, ˈgəvərnmənt, ˌækəˈdɛmɪk ənd ˈbɪldɪŋ ˈɪndəstriz ˈɪntu dɪˈskəʃən wɪθ kəmˈjunɪti ˈmɛmbərz əˈbaʊt ðə ˈɪʃu əv ˌʤɛntrɪfɪˈkeɪʃən. ˈθiələ poʊlk, hu muvd tɪ ˈoʊklənd frəm ˈɑrkənˌsɑ ɪn ðə tɪ ɪˈskeɪp ˈreɪʃəl ˌsɛgrəˈgeɪʃən, ɪz wən əv ðiz ˈrɛzɪdənts. ʃi sɛd ʃi ɪz æt rɪsk əv biɪŋ dɪˈspleɪst, ənd ðə ˌʤɛntrɪfɪˈkeɪʃən ʃi ɪz ˈwɪtnəsɪŋ riˈmaɪndz hər əv ðə dɪˈspleɪsmənt ʃi wɛnt θru ɪn ðə saʊθ. ər siɪŋ naʊ əˈnəðər ˈsaɪkəl əv segregation,”*,” sɛd poʊlk, ə ˈmɛmbər əv ist beɪ ˈhaʊzɪŋ ˌɔrgənəˈzeɪʃənz (ebho*), wɪʧ eɪmz tɪ ɪkˈspænd əˈfɔrdəbəl ˈhaʊzɪŋ. ɔn ðə ˈteɪbəl ɪz ðə beɪ area”*” ˈmænˌdeɪt, wɪʧ ˈaʊˌtlaɪnz haʊ ˈhaʊzɪŋ ənd ˌtrænspərˈteɪʃən fəndz wɪl bi ˈbəʤɪtɪd ənˈtɪl 2040 əˈbaʊt 292 ˈbɪljən ɪz æt steɪk. ðə ɪz ðə ˈbɑdi ɪn ʧɑrʤ əv ˌtrænspərˈteɪʃən fɪˈnænsɪŋ ənd ˈplænɪŋ fər ðə naɪn ˈkaʊntiz ˈmeɪkɪŋ əp ðə beɪ ˈɛriə. ˈnɪrli 87 pərˈsɛnt əv ðə plæn beɪ ˈɛriə fəndz wɪl bi juzd tɪ meɪnˈteɪn ənd ˈɔpərˌeɪt ˌtrænspərˈteɪʃən. ðə tu ˈeɪʤənsiz ər əˈsaɪnd baɪ ðə steɪt wərk təˈgɛðər ɔn ˈsɪti ˈplænɪŋ ˈprɑʤɛkts. kɛn ˈkərki, ðə ˈplænɪŋ dɪˈrɛktər fər, sɛd ðə dɪˈskəʃənz wɪl ˈɪnfluəns ðə dɪˌlɪbərˈeɪʃənz ðət wɪl goʊ ˈɪntu ˈəpˌdeɪtɪŋ plæn beɪ ˈɛriə. hi dɪˈskraɪbd ðə ˈhaʊzɪŋ ˈkraɪsəs ɛz ə storm”*” ðət ɪz 30 jɪrz ɪn ðə ˈmeɪkɪŋ ənd ɪn pɑrt du tɪ ə læk əv ˈfəndɪŋ fər əˈfɔrdəbəl ˈhaʊzɪŋ. meɪər ʃɑf ənd ril ɛˈsteɪt dɪˈvɛləpər maɪk ghielmetti*, ˈprɛzɪdənt əv ˈsɪgnəʧər dɪˈvɛləpmənt grup, ər ˈæskɪŋ ðə steɪt tɪ fʊt ðə 45 ˈmɪljən bɪl fər 500 ˈjunɪts əv əˈfɔrdəbəl ˈhaʊzɪŋ æt ˈbrʊklɪn ˈbeɪsən. ðə dɪˈvɛləpmənt həz ə ˈtoʊtəl əv ˈjunɪts plænd ənd ɪz ˈɛstəˌmeɪtɪd tɪ kɔst ə ˈtoʊtəl əv ˈbɪljən. ðɪs ɪz ðə ˈlɑrʤəst ril ɛˈsteɪt ˈprɑʤɛkt ɪn ˈoʊklənd ənd ɪz ɪn laɪn wɪθ bɪˈlif ðət prəˈvaɪdɪŋ ˈhaʊzɪŋ fər ɔl ˈɪnˌkəm ˈlɛvəlz wɪl ˈkaʊntərˌækt ðə θrɛt əv dɪˈspleɪsmənt. ðɛr ɪz ənˈsərtənti əˈbaʊt wɪn ˈgəvərnər ˈʤɛri braʊn, hu bækt ðə ˈbrʊklɪn ˈbeɪsən ˈprɑʤɛkt ənd ˈfɔrmərli sərvd ɛz meɪər, meɪ rɪˈspɑnd tɪ ðə rɪkˈwɛst fər fəndz. əˈkɑstɪŋ ʃɑf ɪn ðə ˈhɔlˌweɪ, ə kəmˈjunɪti ˌɔrgənəˈzeɪʃən kɔld ðə i 12 ˌkoʊəˈlɪʃən kˈwɛsʧənd ðə meɪər əˈbaʊt haʊ hər ˈpɑləsi wɪl pleɪ aʊt ɔn ˈpəblɪk ˈprɑpərti nɪr leɪk ˈmɛrɪt. plænz wər prəˈpoʊzd baɪ ˈpraɪvət dɪˈvɛləpər, urbancore*, tɪ bɪld ə market-rate*, ˈləgʒəri ɔn ist strit, ə pis əv ˈsərpləs lænd. ˌhaʊˈɛvər, ðə ˌkoʊəˈlɪʃən ɪz ˈfaɪtɪŋ bæk wɪθ ðə ˈɑrgjəmənt ðət ðə dɪˈvɛləpər ɪz ˈvaɪəleɪtɪŋ ðə ˌkæləˈfɔrnjə ˈsərpləs lænd ækt, wɪʧ steɪts ðət praɪˈɔrəti ɪz ˈgɪvɪn tɪ fər ˈpərsənz ənd ˈfæməliz əv loʊ ənd ˈmɑdərˌeɪt income.”*.” ðə ˌkoʊəˈlɪʃən həz dɪˈvɛləpt ɪts oʊn plæn wɪθ ə dɪˈvɛləpər, ˈsætəˌlaɪt əˈfɔrdəbəl ˈhaʊzɪŋ əˈsoʊʃiˌeɪts, wɪʧ wʊd rɪˈzərv 87 pərˈsɛnt əv ˈjunɪts fər ˌloʊˈɪnkəm ˈrɛzɪdənts ənd 13 pərˈsɛnt fər ˈrɛzɪdənts. ðə ˈsɪti wɪl hir ðə prəˈpoʊzəlz nɛkst wik, bət ɪt ɪz nɑt noʊn wɪn ə dɪˈsɪʒən wɪl bi meɪd. ˈʧeɪni ənd ˈtiə ˌmoʊˈnik, tu ˈoʊklənd ˈrɛzɪdənts hu ər kənˈsərnd əˈbaʊt ðə ˈʧeɪnʤɪŋ feɪs əv ðə ˈsɪti, ər ˈræliɪŋ fər əˈfɔrdəbəl ˈhaʊzɪŋ ɔn ðɪs ˈpɑrsəl, wɪʧ ɪz ɔn ˈpəblɪk lænd. ˈʧeɪni lɪvz nɪr ist ənd wərks ɪn ðə tɛk ˈɪndəstri. ʃi toʊld ʃɑf ʃi həz bɪn dɪˈspleɪst twaɪs du tɪ ðə haɪ kɔst əv rɛnt ɪn ðə ˈɛriə. hæv tu. aɪ hæv too,”*,” sɛd ʃɑf ɪn rɪˈspɑns ˌbiˈfɔr ˈdɛləˌgeɪtɪŋ ˈfərðər kˈwɛsʧənz tɪ hər ʧif əv stæf, mɔs. (hər stæf ˈleɪtər kənˈfərmd bət dɪd nɑt ˈfərðər ɪkˈspleɪn ðə ˈsteɪtmənt.) ər ˈfɪrfəl ðət ˈbrɪŋɪŋ ˈrɛzɪdənts tɪ ðət ˈneɪbərˌhʊd wɪl ˈəltəmətli dɪˈspleɪs ˈəðər foʊks, bət ɪf wi hæv ˈjunɪts fər ˈrɛzɪdənts tɪ ˈæˌkʧuəli lɪv ɪn, ðɛn ɪt displace,”*,” sɛd mɔs. ɪn əˈdɪʃən tɪ ðə taɪp əv ˈhaʊzɪŋ bɪlt ɪn ˈoʊklənd, ðɛr ɪz ðə ˈɪʃu əv ðə reɪt əv kənˈstrəkʃən. əˈkɔrdɪŋ tɪ ə stəˈtɪstɪk ˈsaɪtɪd baɪ ʧɛr deɪv kərˈteɪzi æt ðə ˈfɔrəm, ðə ˈsɪti həz kriˈeɪtɪd wən ˈhaʊzɪŋ ˈjunɪt fər ˈɛvəri 10 ʤɑbz ɪn ðə læst faɪv jɪrz. ɛz ðə tɛk ˈɪndəstri drɔz higher-income*, ˈmoʊstli waɪt ˈwərkərz tɪ ˈoʊklənd, ðɛr həz ˈsɪmpli nɑt bɪn ɪˈnəf ˈhaʊzɪŋ tɪ əbˈzɔrb ðə ˈɪnˌfləks, sɛd mɔs. ˈkərki, ˈplænɪŋ dɪˈrɛktər, sɛd ðə ˈfɔrəm wɑz mɛnt tɪ brɪŋ ˈpipəl frəm ˈdɪfərənt ˈeɪʤənsiz ənd ˈlɛvəlz əv ˈpɑləsi təˈgɛðər tɪ lɛd tɪ ˈʧeɪnʤɪz ðət kən bɪˈgɪn tɪ skeɪl ðə problem.”*.” ɪz ˈɔlsoʊ ˈpʊʃɪŋ fər ə ˈmərʤər wɪθ ɪn ˈɔrdər tɪ əˈʧiv ˈjunəˌfaɪd səˈluʃənz tɪ boʊθ ðə ˈhaʊzɪŋ ˈkraɪsəs ənd wik ˈtrænzɪt ˌɪnfrəˈstrəkʧər. əˈpoʊnənts əv ðə prəˈpoʊzəl bɪˈliv ɪt wɪl lɛd tɪ lɛs trænˈspɛrənsi. ˈʃɛri, ən ˈoʊklənd ˈrɛzɪdənt əv 28 jɪrz ənd ə kəmˈjunɪti ˌkoʊəˈlɪʃən ˈmɛmbər, sɛd ʃi wɑz ˌdɪsəˈpɔɪnɪd ðət ðə ˈpænəl ˌɪnˈklud kəmˈjunɪti ˌrɛprəzɛnˈteɪʃən. fərˈgɛt ˈsəmˌtaɪmz wər ˈdilɪŋ wɪθ ˈjumən biɪŋz ənd ju ʤɪst θroʊ ˈpipəl aʊt laɪk trash,”*,” sɛd ˈʃɛri. naʊ ðə ˈpɑləsiz ər nɑt rɪˈflɛktɪŋ ðə juˈmænɪti pɑrt əv ðə community.”*.”
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oakland has become a city of mosts: the most unaffordable city in america, the fourth most expensive city, and the city with the fastest growing inequality, according the brookings institution. as a city affected by the bay area-wide housing crisis, oakland drew nearly 400 stakeholders on saturday to discuss causes and solutions to the issue of displacement, or the struggle to afford housing.
“nearly a quarter of my residents here in oakland are housing insecure,” said mayor libby schaaf at the housing forum hosted by the metropolitan transportation commission (mtc), the association of bay area governments (abag) and handful of community organizations. in other words, nearly 100,000 people are at risk for losing their home, are living in unhealthy conditions or are currently homeless. the forum, held at the oakland marriot city center, was designed to bring representatives of the transportation, government, academic and building industries into discussion with community members about the issue of gentrification.
theola polk, who moved to oakland from arkansas in the 1960s to escape racial segregation, is one of these residents. she said she is at risk of being displaced, and the gentrification she is witnessing reminds her of the displacement she went through in the south.
“we are seeing now another cycle of segregation,” said polk, a member of east bay housing organizations (ebho), which aims to expand affordable housing.
on the table is the “plan bay area” mandate, which outlines how housing and transportation funds will be budgeted until 2040. about $292 billion is at stake. the mtc is the body in charge of transportation financing and planning for the nine counties making up the bay area. nearly 87 percent of the plan bay area funds will be used to maintain and operate transportation. the two agencies are assigned by the state work together on city planning projects.
ken kirkey, the planning director for mtc, said the discussions will influence the deliberations that will go into updating plan bay area. he described the housing crisis as a “perfect storm” that is 30 years in the making and in part due to a lack of funding for affordable housing.
mayor schaaf and real estate developer mike ghielmetti, president of signature development group, are asking the state to foot the $45 million bill for 500 units of affordable housing at brooklyn basin. the development has a total of 3,100 units planned and is estimated to cost a total of $1.5 billion. this is the largest real estate project in oakland and is in line with schaaf’s belief that providing housing for all income levels will counteract the threat of displacement. there is uncertainty about when governor jerry brown, who backed the brooklyn basin project and formerly served as oakland’s mayor, may respond to the request for funds.
accosting schaaf in the hallway, a community organization called the e 12 coalition questioned the mayor about how her policy will play out on public property near lake merritt. plans were proposed by private developer, urbancore, to build a market-rate, luxury high-rise on east 12th street, a piece of surplus land. however, the coalition is fighting back with the argument that the developer is violating the california surplus land act, which states that priority is given to “housing for persons and families of low and moderate income.”
the coalition has developed its own plan with a developer, satellite affordable housing associates, which would reserve 87 percent of units for low-income residents and 13 percent for moderate-income residents. the city will hear the proposals next week, but it is not known when a decision will be made.
ayohenia chaney and tia monique, two oakland residents who are concerned about the changing face of the city, are rallying for affordable housing on this parcel, which is on public land. chaney lives near east 12th and works in the tech industry. she told schaaf she has been displaced twice due to the high cost of rent in the area.
“i have too. i have too,” said schaaf in response before delegating further questions to her chief of staff, tomiqua moss. (her staff later confirmed but did not further explain the statement.)
“people are fearful that bringing high-income residents to that neighborhood will ultimately displace other folks, but if we have units for high-income residents to actually live in, then it doesn’t displace,” said moss.
in addition to the type of housing built in oakland, there is the issue of the rate of construction. according to a statistic cited by mtc chair dave cortese at the forum, the city has created one housing unit for every 10 jobs in the last five years. as the tech industry draws higher-income, mostly white workers to oakland, there has simply not been enough housing to absorb the influx, said moss.
kirkey, mtc’s planning director, said the forum was meant to bring people from different agencies and levels of policy together to lead to “meaningful changes that can begin to scale the problem.” mtc is also pushing for a merger with abag in order to achieve unified solutions to both the housing crisis and weak transit infrastructure. opponents of the proposal believe it will lead to less transparency.
towanda sherry, an oakland resident of 28 years and a community coalition member, said she was disappointed that the panel include community representation.
“we forget sometimes were dealing with human beings and you can’t just throw people out like they’re trash,” said sherry. “right now the policies are not reflecting the humanity part of the community.”
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ˈsɛnɪt ˈdɛməˌkræts ər ədˈvænsɪŋ ˌlɛʤəsˈleɪʃən tɪ bif əp ˈikwəl peɪ prəˈtɛkʃənz fər ˈwɪmən, ðə ˈleɪtəst ˈsælvoʊ ɪn ðə ˈbætəl fər ˈwɪmən ˈvoʊtərz. ˈsɛnɪt məˈʤɔrəti ˈlidər ˈhɛri rid (d-nv*) ɪz sɛt tɪ faɪl ˈkloʊʧər ˈθərzˌdeɪ ɔn ðə ˈpeɪˌʧɛk prəˈtɛkʃən ækt, wɪʧ wʊd ˈstrɛŋθən prəˈtɛkʃənz fər ˈwɪmən hu su fər peɪ dɪˌskrɪməˈneɪʃən. ðə muv pʊts rɪˈpəblɪkənz ɪn ən ənˈkəmfərtəbəl pəˈzɪʃən ɛz ðeɪ wərk tɪ rɪˈpɛr ðɛr wik brænd ˈɪmɪʤ wɪθ ˈwɪmən ˈvoʊtərz əˈhɛd əv ðə noʊˈvɛmbər ɪˈlɛkʃən. faɪv ˈfiˌmeɪl ˌdɛməˈkrætɪk ˈsɛnətərz tɔkt əp ðə bɪl ˈwɛnzˌdeɪ ˌæftərˈnun ˈdʊrɪŋ ə ˈkæpɪtəl ˈbrifɪŋ ənd meɪd klɪr ðeɪ ˌɪnˈtɛnd tɪ ˈhæmər rɪˈpəblɪkənz ɛz ɪf ðeɪ stænd ɪn ɪts aɪ lʊk æt ðə ˈrɛkərd əv rɪˈpəblɪkənz ɔn ˈwɪmən, ɪt ɪz nɑt good,”*,” sɛd sɛn. ˈbɑrbərə ˈbɑksər (d-ca*). aɪ seɪ ə wɔr ɔn ˈwɪmən, ənd ðə mɔr ðeɪ ˈproʊˌtɛst ɪt ðə mɔr aɪ seɪ ɪt. bɪˈkəz aɪ ˈrɪli, ˈtruli bɪˈliv ɪt. ðeɪ ˈfɪləˌbəstərd ðə ˈpeɪˌʧɛk ˈfɛrnəs ækt ˌbiˈfɔr. ðeɪ lɛft ˈmɪljənz əv ˈwɪmən aʊt əv ðə ˈvaɪələns əˈgɛnst ˈwɪmən ækt. ðeɪ lɔnʧt rɪˈpitɪd əˈtæks ɔn hɛlθ ˌɪnˈkludɪŋ dɪˈnaɪɪŋ əˈfɔrdəbəl ˈækˌsɛs tɪ bərθ kənˈtroʊl. ðeɪ wɔnt tɪ ˈkrɪmənəˌlaɪz ə raɪt tɪ ʧuz. ənd ðeɪ traɪd tɪ rɪˈpil hɛlθ rɪˈfɔrm, wɪʧ proʊˈhɪbəts dɪˌskrɪməˈneɪʃən bɪˈkəz əv ˈʤɛndər nɑt tɪ ˈmɛnʃən, meɪks ˌɪnˈvɛstmənts ɪn prevention.”*.” ðə ˌlɛʤəsˈleɪʃən, ˈspɪˌrhɛdɪd baɪ sɛn. ˈbɑrbərə mɪˈkəlski (d-md*), eɪmz tɪ bɪld ɔn ðə ˈlɪli ˈlɛdbərtər fɛr peɪ ækt baɪ prəˈtɛktɪŋ ˈwɪmən frəm riˌtæliˈeɪʃən ɪf ðeɪ su fər ˈikwəl peɪ. ɪt wʊd ˈɔlsoʊ ˈnɛroʊ ðə kraɪˈtɪriə ˈəndər wɪʧ ən ɪmˈplɔɪər kən dɪˈfɛnd peɪ dɪˈspɛrətiz ənd ˌɛnˈlɪst ðə dɪˈpɑrtmənt əv ˈleɪbər tɪ hɛlp ɪˈlɪməˌneɪt peɪ gæps. bɪˈniθ ðə ˈɛfərt ɪz ən ˈɔnˌgoʊɪŋ dəˈbeɪt ɛz tɪ waɪ, ɛz ˈsɛnsəs ˈdætə ʃoʊz, ˈwɪmən ərn 77 sɛnts fər ˈɛvəri ˈdɔlər mɛn meɪk. prɑˈgrɛsɪvz seɪ ə ˈprɑdəkt əv ˌɪnstɪˈtuʃənəl dɪˌskrɪməˈneɪʃən waɪl kənˈsərvətɪvz ʧɔk ɪt əp tɪ ˈdɪfərənsɪz ɪn kərɪr ˈʧɔɪsɪz. ˈstədiz səˈʤɛst ðət ˈwɪmən ər ˈlaɪkli tɪ ərn lɛs ðən mɛn əˈkrɔs prəˈfɛʃənz, ˌɔlˈðoʊ pɑrt əv ðə ˈoʊvərˌɔl gæp ɪz kɔzd baɪ kərɪr dɪˈsɪʒənz ənd ðə fækt ðət ˈwɪmən tɛnd tɪ teɪk mɔr taɪm ɔf fər ˈʧɪldrən. ˈpeɪˌʧɛk ˈfɛrnəs ækt ʤɪst əˈbaʊt ˈwɪmən, ənd nɑt ʤɪst əˈbaʊt ˈfɛrnəs. ɪt ɪz əˈbaʊt ðə economy,”*,” sɛd sɛn. ˈpæti ˈməri (d-wa*), ə ˈmɛmbər əv ðə ˌdɛməˈkrætɪk ˈlidərˌʃɪp. ˈwɪmən ər nɑt peɪd wət ðeɪ dɪˈzərv, ˈmɪdəl klæs ˈfæməliz ənd kəmˈjunɪtiz peɪ ðə price.”*.” rɪˈpəblɪkən eɪdz dɪˈklaɪnd tɪ ˈkɑmɛnt fər ðɪs ˈɑrtɪkəl. ðə blɑkt ðə ˈpeɪˌʧɛk ˈfɛrnəs ækt bɪl ɪn noʊˈvɛmbər 2010 wɪn ˈsɛnɪt ˈdɛməˌkræts wər əˈneɪbəl tɪ ˈoʊvərˌkəm ə juˈnænəməs rɪˈpəblɪkən ˈfɪləˌbəstər. ˈsɛnɪt ˈwɪmən hu hæd ˈvoʊtɪd fər ˈlɪli ˈlɛdbərtər ˈɑrgjud æt ðə taɪm ðət ðə wʊd ɪkˈspoʊz smɔl ˈbɪznɪsɪz tɪ ɪkˈsɛsɪv ˈlɔˌsuts ənd ˌɪmˈpoʊz nu kɔsts ənd riˈstrɪkʃənz ɪn ə təf ˌɛkəˈnɑmɪk ˈklaɪmɪt. ðɪs taɪm, ˌhaʊˈɛvər, ðə democrats’*’ lɑrʤ ædˈvæntɪʤ wɪθ ˈwɪmən ˈvoʊtərz meɪks ɪt ˈrɪskiər fər rɪˈpəblɪkənz tɪ stænd ɪn ðə weɪ əv ðə bɪl. ˌwəˈtɛvər ðɛr ˌræʃəˈnæl, ˈdɛməˌkræts wɪl tɑr ðɛm wɪθ ə ˈfrikˌwɛnt rɪˈfreɪn ðət həz ˈfrəˌstreɪtəd ðə ənd ɪts ˌprɛzɪˈdɛnʃəl ˌnɑməˈni mɪt ˈrɑmni. seɪ ðeɪ lɔnʧ ə wɔr ɔn women,”*,” ˈbɑksər sɛd ˈwɛnzˌdeɪ, ˈgɪvɪŋ ðɛm ə ʧæns tɪ wɔk ðɪs back.”*.”
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senate democrats are advancing legislation to beef up equal pay protections for women, the latest salvo in the election-year battle for women voters.
senate majority leader harry reid (d-nv) is set to file cloture thursday on the paycheck protection act, which would strengthen protections for women who sue for pay discrimination. the move puts republicans in an uncomfortable position as they work to repair their weak brand image with women voters ahead of the november election.
five female democratic senators talked up the bill wednesday afternoon during a capitol briefing — and made clear they intend to hammer republicans as anti-women if they stand in its way.“as i look at the record of republicans on women, it is not good,” said sen. barbara boxer (d-ca). “personally i say it’s a war on women, and the more they protest it the more i say it. because i really, truly believe it. they filibustered the paycheck fairness act before. they left millions of women out of the violence against women act. they launched repeated attacks on health including denying affordable access to birth control. they want to criminalize a woman’s right to choose. and they tried to repeal health reform, which prohibits discrimination because of gender — not to mention, makes investments in prevention.”
the legislation, spearheaded by sen. barbara mikulski (d-md), aims to build on the lily ledbetter fair pay act by protecting women from retaliation if they sue for equal pay. it would also narrow the criteria under which an employer can defend pay disparities and enlist the department of labor to help eliminate gender-based pay gaps.
beneath the effort is an ongoing debate as to why, as census data shows, women earn 77 cents for every dollar men make. progressives say it’s a product of institutional discrimination while conservatives chalk it up to differences in career choices. studies suggest that women are likely to earn less than men across professions, although part of the overall gap is caused by career decisions and the fact that women tend to take more time off for children.
“the paycheck fairness act isn’t just about women, and it’s not just about fairness. it is about the economy,” said sen. patty murray (d-wa), a member of the democratic leadership. “when women are not paid what they deserve, middle class families and communities pay the price.”
republican aides declined to comment for this article. the gop blocked the paycheck fairness act bill in november 2010, when senate democrats were unable to overcome a unanimous republican filibuster. senate gop women who had voted for lily ledbetter argued at the time that the pfa would expose small businesses to excessive lawsuits and impose new costs and restrictions in a tough economic climate.
this time, however, the democrats’ large advantage with women voters makes it riskier for republicans to stand in the way of the bill. whatever their rationale, democrats will tar them with a frequent refrain that has frustrated the gop and its presidential nominee mitt romney.
“they say they launch a war on women,” boxer said wednesday, “so we’re giving them a chance to walk this back.”
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poshmark* ɪz ðə ˈlidɪŋ ˈmɑrkɪtˌpleɪs tɪ baɪ ənd sɛl ˈfæʃən. ***ʃɑp ˈoʊvər brændz ɪn ˈɛvəri pləs saɪz, ˌpɛˈtits ənd juniors—*— æt əp tɪ 70 ɔf ˈriˌteɪl ***sɛl ənd tərn jʊr ˈklɑzət ˈɪntu kæʃ. lɪst jʊr ˈaɪtəmz fər fri! ɔf ˈɛvriˌθɪŋ faɪnd ˈdɪˌskaʊnts ɔn ˈtrɛndi ˈfæʃən, ʃuz, ˈbjuti, ˈʤuəlri, ˈwɑʧɪz, ækˈsɛsəriz, ˈhændˌbægz, mɛnz ˈfæʃən, kɪdz ˈfæʃən, ər ˈɛniˌθɪŋ ɔn jʊr wɪʃ lɪst! fæst ˈʃɪpɪŋ ɔl ˈɔrdərz ər ʃɪpt ˈjuzɪŋ ˈɛkspɪˌdaɪtɪd praɪˈɔrəti meɪl. wəns jʊr ˈsɛlər ʃɪps, jʊr ˈɔrdər wɪl bi dɪˈlɪvərd ɪn ˈbɪznɪs deɪz. ʃɑp. sɛl. staɪl. ˈpɑrti. ʃɑp ˌwəˈtɛvər ˈʃɑpɪŋ fər, gɑt məʧ lɛs ðən æt ˈdɪskaʊnt ˈkloʊðɪŋ ˈriˌteɪlərz ənd ˈaʊˌtlɛt mɔlz. wɪθ ˈoʊvər ə ˈmɪljən ˈdɔlərz wərθ əv nu ənd ˈʤɛntli juzd ˈmərʧənˌdaɪz ˈædɪd tɪ ðə ˈmɑrkɪtˌpleɪs ˈdeɪli, jul faɪnd əˈmeɪzɪŋ ˈfæʃən ənd ˈbjuti ˈprɑdəkts frəm ˈtudeɪz ˈhɑtəst brændz, laɪk ˈnaɪki, əˈdidəs, athletica*, ˈmaɪkəl kors*, luɪs ˌvʊˈtɔn, ˈguʧi, ˈkrɪsʧɪn louboutin*, koʊʧ, keɪt speɪd, ˈtɔri bərʧ, ɪkˈsprɛs, anthropologie*, fri ˈpipəl, birkenstock*, ˈkɑnvərs, vænz, səˈprim, ənd mɔr! staɪl nid aɪˈdiəz fər wət tɪ wɛr tɪ jʊr nɛkst deɪt ər ðət ˈəpˌkəmɪŋ ˈwɛdɪŋ? du ju heɪt ˈgɪtɪŋ drɛst ɪn ðə ˈmɔrnɪŋ? həz ˈmɪljənz əv əv ˈaʊtˌfɪt aɪˈdiəz fər ju. ʃɑp ðə ˈpərsɪnəl staɪl ənd ˈklɑzəts əv ˈəðər təˈdeɪ! sɛl du ju hæv ˈaɪtəmz ɪn jʊr ˈklɑzət ðət wərk aʊt? ˈmeɪbi ə dɪˈzaɪnər ˈhændˌbæg, ˈsteɪtmənt ʃuz, ər ˈivɪn jʊr oʊld ˈwɛdɪŋ drɛs ju wɔr wəns ənd ˈɛvər wɛr əˈgɛn? ɪz ðə 1 ˈɔnˌlaɪn kənˈsaɪnmənt səˈluʃən tɪ tɪ sɛl jʊr ənˈwɔntɪd ˈkloʊðɪŋ ənd baɪ nu θɪŋz ju ləv, prəˈvaɪdɪŋ ən ɔlˈtərnətɪv tɪ kənˈsaɪnmənt stɔrz ðət ˈoʊnli ˈɔfər ˈpɛniz ɔn ðə ˈdɔlər. 1 ɪn 50 əˈmɛrɪkən ˈwɪmən hæv ðɛr ˈklɑzəts ˈoʊpən fər seɪl ɔn kʊd bi nɛkst! ˈpɑrti ˈpɑrti ɔn ðə goʊ, noʊ ˈmætər wɛr ju ər! ʤɔɪn ðə ˈθaʊzənz əv ˈwɪmən hu kəm təˈgɛðər ˈɛvəri deɪ tɪ pɑrˈtɪsəˌpeɪt ɪn ɑr θimd ˈvərʧuəl pɑʃ ˈpɑrtiz. ju kən braʊz, baɪ, ənd ˈivɪn lɪst wɪθ jʊr frɛndz. wɪθ ə waɪd vərˈaɪəti əv θimz ənd brændz, ðɛrz ə pɑʃ ˈpɑrti fər ˈɛvriˌwən! ˈfæʃən ˈbjuti ˈfæʃən: athleisure*, sˈwɪmˌwɛr, ˈdrɛsɪz, ˈʤækɪts, ˈbɑtəmz, tɑps, sˈwɛtərz, ʃuz, ˈsændəlz, hilz, pləs saɪz, məˈtərnɪti ˈfæʃən: ˈʤækɪts, sˈwɛtərz, ʃərts, button-ups*, ˈwərˌkaʊt wɛr, dri-fit*, tɛk flis, hoodies*, ˈʤɑgərz kids’*’ ˈfæʃən: ʃərts, ˈbɑtəmz, ʃuz, sɑks, ˈbeɪbi kloʊðz, ˈtɑdlər ənd juθ ˈsaɪzɪz ækˈsɛsəriz: ˈpərsɪz, ˈhændˌbægz, bɛlts, ˈʤuəlri, ˈwɑʧɪz, ˈtrævəl bægz, ˈbækˌpæks, hæts, ˈsənˌglæsɪz, ˈwɔləts ˈbjuti: ˈlɪpˌstɪk, palettes*, faʊnˈdeɪʃən, concealer*, bləʃ, highlighter*, ˈaɪˌlaɪnər, krim, ˈsiˈsi krim, ˈpaʊdər ʃuz: ˈsændəlz, sˈnikərz, hilz, buts, mjulz, ˈwɛʤɪz, ˈæŋkəl buts, espadrilles*, flæts weɪst əˈnəðər ˈprɛʃəs ˈmoʊmənt wɪθ ˈəðər ˈdɪskaʊnt ˈfæʃən ˈriˌteɪlərz ər kənˈsaɪnmənt səˈluʃənz. wɪl ʧeɪnʤ ðə weɪ ju ʃɑp fər ˈkloʊðɪŋ ənd ˈfæʃən. traɪ ˈjuˈɛs aʊt təˈdeɪ!
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poshmark is the leading marketplace to buy and sell fashion.
***shop over 5,000 brands in every size—including plus size, petites and juniors— at up to 70% off retail
***sell and turn your closet into cash. list your items for free!
40-70% off everything
find discounts on trendy fashion, shoes, beauty, jewelry, watches, accessories, handbags, mens fashion, kids fashion, or anything on your wish list!
fast shipping
all poshmark orders are shipped using expedited usps priority mail. once your seller ships, your order will be delivered in 1-3 business days.
shop. sell. style. party.
shop
whatever you’re shopping for, poshmark’s got it—for much less than at discount clothing retailers and outlet malls. with over a million dollars worth of new and gently used merchandise added to the marketplace daily, you'll find amazing fashion and beauty products from today's hottest brands, like nike, adidas, lululemon athletica, michael kors, louis vuitton, gucci, christian louboutin, coach, kate spade, tory burch, express, anthropologie, free people, birkenstock, converse, vans, supreme, and more!
style
need ideas for what to wear to your next date or that upcoming wedding? do you hate getting dressed in the morning? poshmark has millions of of outfit ideas for you. shop the personal style and closets of other poshers today!
sell
do you have items in your closet that didn’t work out? maybe a designer handbag, statement shoes, or even your old wedding dress you wore once and won’t ever wear again? poshmark is the #1 online consignment solution to to sell your unwanted clothing and buy new things you love, providing an alternative to consignment stores that only offer pennies on the dollar. 1 in 50 american women have their closets open for sale on poshmark—you could be next!
party
party on the go, no matter where you are! join the thousands of women who come together every day to participate in our themed virtual posh parties. you can browse, buy, and even list with your friends. with a wide variety of themes and brands, there's a posh party for everyone!
fashion & beauty
women’s fashion: athleisure, swimwear, dresses, jackets, bottoms, tops, sweaters, shoes, sandals, heels, plus size, maternity
men’s fashion: jackets, sweaters, shirts, button-ups, workout wear, dri-fit, tech fleece, hoodies, joggers
kids’ fashion: shirts, bottoms, shoes, socks, baby clothes, toddler and youth sizes
accessories: purses, handbags, belts, jewelry, watches, travel bags, backpacks, hats, sunglasses, wallets
beauty: lipstick, eyeshadow palettes, foundation, concealer, blush, highlighter, eyeliner, bb cream, cc cream, powder
shoes: sandals, sneakers, heels, boots, mules, wedges, ankle boots, espadrilles, flats
don’t waste another precious moment with other discount fashion retailers or consignment solutions. poshmark will change the way you shop for clothing and fashion. try us out today!
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dæn ˈgeɪnər əv ðə ˈmidiə ˈrisərʧ ˈsɛnər θɪŋks ˈmidiə ˈaʊˌtlɛts ər koʊˈvərtli əˈtækɪŋ ˌkrɪsʧiˈænɪti baɪ rɪˈpɔrtɪŋ ɔn spɔrts ənd feɪθs. ˈspikɪŋ ˈfraɪˌdeɪ wɪθ rɪˈlɪʤəs raɪt tɔk ʃoʊ hoʊst ˈʤænɪt ˈmɛfərd, ˈgeɪnər kəmˈpleɪnd ðət ˈnuzˌpeɪpərz hæv ɪnˈtaɪər ˈsɛkʃən dɪˈvoʊtɪd tɪ sports”*” bət ər dɪˈvɔɪd əv ˈmɛnʃənz əv rɪˈlɪʤən. wɪn ˈnuzˌpeɪpərz du ˈkəvər rɪˈlɪʤən, ˈgeɪnər ædz, ðə ˈstɔriz ər wɪθ ˈlɛfti ˌprɑpəˈgændə əˈbaʊt feɪθ ðət əˈtæks christianity.”*.” ðə ˈlɛfti vju əv feɪθ, wi ˈgɑtə ʃoʊ ˈhɪnˌdu ðɪs, wi ˈgɑtə ʃoʊ ˈbudɪzəm, wi ˈgɑtə tɔk əˈbaʊt ˌsaɪənˈtɑləʤi, wi ˈgɑtə tɔk əˈbaʊt wiccans.”*.” hi sɛd. ““no*, waɪ nɑt traɪ tɪ bi æt list ˌrɛprɪˈzɛnətɪv? ɪf pərˈsɛnt ˈkrɪsʧɪnz [ɪn ðə ˈjuˈɛs ˌpɑpjəˈleɪʃən], goʊɪŋ tɪ bi pərˈsɛnt ˈkrɪsʧɪn, ənd ðɛn wi wɪl ɔˈkeɪʒənəˌli ˈdæbəl ɪn ðiz ˈəðər feɪθs, ˈsərtənli ˌɪnˈklud judaism,”*,” hi sɛd.
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dan gainor of the media research center thinks media outlets are covertly attacking christianity by reporting on sports and non-christian faiths. speaking friday with religious right talk show host janet mefferd, gainor complained that newspapers have “an entire section devoted to sports” but are devoid of mentions of religion.
when newspapers do cover religion, gainor adds, the stories are “filled with lefty propaganda about faith that attacks christianity.”
“that’s the lefty view of faith, we gotta show hindu this, we gotta show buddhism, we gotta talk about scientology, we gotta talk about wiccans.” he said. “no, why not try to be at least representative? if there’s 80-85 percent christians [in the us population], it’s going to be 80-85 percent christian, and then we will occasionally dabble in these other faiths, we’ll certainly include judaism,” he said.
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haʊ tɪ ˌɪnˈstɔl (ənd juz)! fər əraʊnd 50 bəks, ju kən bɪld jʊr ˈvɛri oʊn ˈvɪntɪʤ ˈgeɪmɪŋ rɪg ðət wɪl hʊk əp tɪ ˈɛni ˌtɛləˈvɪʒən ər ˈmɑnətər. ðɪs gaɪd wɪl ʃoʊ ju ˈɛvriˌθɪŋ ju nid tɪ du tɪ gɪt pleɪɪŋ. fər ðɪs bɪld, wɪr goʊɪŋ tɪ juz, ən ˈɔsəm ˈsɔfˌwɛr ˈpækɪʤ ðət ˈhændəlz ɔl jʊr ˌɛmjəˈleɪʃən nidz. wət ɪz? ɪz ə ˈsɔfˌwɛr ˈlaɪbrɛˌri juzd tɪ ˈɛmjəˌleɪt ˈrɛtroʊ ˈvɪdioʊ geɪmz ɔn ðə ˈræzˌbɛri paɪ kəmˈpjutər. ðə moʊst ˈpɑpjələr ˌɛmjəˈleɪʃən ˈsɪstəm fər ðə ˈræzˌbɛri paɪ, ˈfiʧərz ə ˈɪnərˌfeɪs ənd ən ˈivɪn ˈfrɛndliər ˈsɛˌtəp ˈprɔˌsɛs. rənz ˌɛmjəˈleɪʃən ˈsteɪʃən ənd səˈpɔrts ɔl ˈmeɪʤər ˈrɛtroʊ ˈvɪdioʊ geɪm emulators*, əˈlaʊɪŋ ju tɪ pleɪ geɪmz frəm ðə nɛs, snes*, ˈʤɛnəsəs, əˈtɑri, ənd mɔr ɔn jʊr paɪ, ðəs bɪˈkəmɪŋ jʊr oʊn ˈræzˌbɛri paɪ emulator*. aɪ ˈɔlˌweɪz ˈwəndərd waɪ ðə dɪˈvɛləpərz kɔld ɪt ˌɪnˈstɛd əv retropi*... bət aɪ daɪˈgrɛs. ˈɛni ˈræzˌbɛri paɪ ˈmɑdəl kən rən, bət aɪ ˌrɛkəˈmɛnd ˈjuzɪŋ ðə ˈræzˌbɛri paɪ 3 ər ˈræzˌbɛri paɪ 3 bi+ ɛz ðiz wɪl ˈmæksəˌmaɪz ðə reɪnʤ əv geɪmz ju kən pleɪ ɛz ðiz hæv ˌɪmˈpruvd gpu*, ənd ræm ˌkeɪpəˈbɪlətiz. bi ʃʊr tɪ ˈɔlsoʊ ʧɛk aʊt maɪ paɪ kɑrt bɪld, wɛr aɪ pʊt ə ˈræzˌbɛri paɪ ˈziroʊ ɪn ən nɛs ˈkɑrtrɪʤ.
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how to install (and use) retropie!
for around 50 bucks, you can build your very own vintage gaming rig that will hook up to any hdmi-enabled tv or monitor. this guide will show you everything you need to do to get playing.
for this build, we're going to use retropie, an awesome software package that handles all your emulation needs.
what is retropie?
retropie is a software library used to emulate retro video games on the raspberry pi computer. the most popular emulation system for the raspberry pi, retropie features a user-friendly interface and an even friendlier setup process. retropie runs emulation station and supports all major retro video game emulators, allowing you to play games from the nes, snes, genesis, atari, and more on your pi, thus becoming your own raspberry pi emulator. i always wondered why the developers called it retropie instead of retropi... but i digress.
any raspberry pi model can run retropie, but i recommend using the raspberry pi 3 or raspberry pi 3 b+ as these will maximize the range of games you can play as these pis have improved gpu, cpu and ram capabilities.
be sure to also check out my pi cart build, where i put a raspberry pi zero in an nes cartridge.
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ðə səˈblaɪm, ɪn ɛsˈθɛtɪk ˈθɪri, ɪz ˈsəmθɪŋ ˈpaʊərfəl ənd ˈtɛrəˌfaɪɪŋ ðət ərˈaʊzɪz ə streɪnʤ ˈfilɪŋ əv ˈplɛʒər ɪn ðə ˈsəbʤɪkt. fər ɪgˈzæmpəl, wɪn vjuɪŋ ə ˈhərəˌkeɪnz ər væst ˈdɛzərt ˈweɪˌstlænd ju kən bi ˌoʊvərˈwɛlmd baɪ ðɛr ˈɔsəm fɔrs, bət ɪgˈzəltɪd æt ðə seɪm taɪm. fər schopenhauer*, ðɪs ˌɪnˈvɑlvd ə kaɪnd əv "ˈtərnɪŋ əˈweɪ əv ðə wɪl". ðə ʃɪr ˈɔsəm paʊər əv ðə ˈɑbʤɛkt ˌoʊvərˈwɛlmz ɑr wɪl ənd ˈvaɪələntli tərnz ɪt əˈweɪ frəm ɑrˈsɛlvz, ənd wi ˈɛnər ˈɪntu ə steɪt əv pjʊr ˌkɑntəmˈpleɪʃən əv ðə ˈɑbʤɛkt, wɪʧ rɪˈzəlts ɪn ə streɪnʤ exultation*: ðə səˈblaɪm. ðɪs ɪz ən ənˈsteɪbəl steɪt, wɪʧ ɪz ˈdɪfəkəlt tɪ meɪnˈteɪn, bɪˈkəz ˈɛni əˈwɛrnəs əv ðə ˌpɑˈtɪkjələr ˈdeɪnʤər ðət ðə ˈɑbʤɛkt ˈkɔzɪz ˈjuˈɛs, ər rɪˈflɛkʃən ɔn ɑrˈsɛlvz ɪn riˈleɪʃən tɪ ðə ˈɑbʤɛkt, wʊd dɪˈstrɔɪ ðə əˈfɛkt. soʊ wi fil ðə səˈblaɪm æt ˈwɪtnəsɪŋ ðə ˈɔsəm paʊər əv ə tɔrˈneɪˌdoʊ, bət ɪf wi bɪˈkəm əˈwɛr ðət ðə tɔrˈneɪˌdoʊ ɪz ɪn fækt ˈhɛdɪŋ təˈwɔrdz ˈjuˈɛs ənd ɪz ˈprɑbəˌbli goʊɪŋ tɪ kɪl ˈjuˈɛs, wi wɪl ʤɪst fil ˈrɛgjələr oʊld, ˈtɛrər. wən əv maɪ ˈoʊldər ˈkɑmɪks wɑz ə mɔr ˈsɪriəs teɪk ɔn ðɪs ɛsˈθɛtɪk ˈθɪri. ɪf ju ər ˈɪntəˌrɛstɪd ɪn mɔr, ðɪs ɪz ə ˈprɪti gʊd ˈlɛkʧər əv ɛsˈθɛtɪks, baɪ ˈæləks nil. ðə ˈstænfərd ɪnˌsaɪkləˈpidiə ˈɔlsoʊ həz ə gʊd ˈɑrtɪkəl ɔn ɪt. ðə ɑrt ɪz ə ˈrɛfərəns tɪ ˈkæˌspɑr ˈdeɪvɪd ˈwɑndərər əˈbəv ðə si əv fɔg, wɪʧ ɪz ˈkɑmənli juzd tɪ pɔrˈtreɪ ðə səˈblaɪm ɪn ɑrt, ənd ˈmɛni əv hɪz ˈəðər ˈpeɪnɪŋz hæd ˈsɪmələr θimz.
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the sublime, in aesthetic theory, is something powerful and terrifying that arouses a strange feeling of pleasure in the subject. for example, when viewing a hurricane or vast desert wasteland you can be overwhelmed by their awesome force, but exulted at the same time. for schopenhauer, this involved a kind of "turning away of the will". the sheer awesome power of the object overwhelms our will and violently turns it away from ourselves, and we enter into a will-less state of pure contemplation of the object, which results in a strange exultation: the sublime. this is an unstable state, which is difficult to maintain, because any awareness of the particular danger that the object causes us, or reflection on ourselves in relation to the object, would destroy the affect. so we feel the sublime at witnessing the awesome power of a tornado, but if we become aware that the tornado is in fact heading towards us and is probably going to kill us, we will just feel regular old, non-sublimey terror. one of my older comics was a more serious take on this aesthetic theory.
if you are interested in more, this is a pretty good lecture of schopenhauer's aesthetics, by alex neill. the stanford encyclopedia also has a good article on it.
the art is a reference to caspar david friedrich's wanderer above the sea of fog, which is commonly used to portray the sublime in art, and many of his other paintings had similar themes.
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baɪ pɔl skɑt læst ˈəpˌdeɪtɪd æt 22 ˈfɛbruˌɛri 2007 əˈmɪd ðə ˈfeɪsləs ənd dɪˈstɪŋktli ˈʧɪli ˈkɑnˌfaɪnz əv ə saʊθ ˈləndən ˈstudiˌoʊ læst wik, ˈdænjəl ˈrædklɪf wɑz ˈrɛsəlɪŋ wɪθ ə səˈvɪr baʊt əv ˌlæsˈmɪnət nərvz. ˈhɑrdli səˈpraɪzɪŋ. ðə ˈdrɛdɪd ˈmoʊmənt hæd əraɪvd fər ðə ˈæktər hi əv ˈhɛri ˈpɑtər feɪm tɪ ənˈdrɛs ənd ʤɔɪn hɪz ˈikwəli ˈneɪkəd ˈfiˌmeɪl ɪn rɪˈhərsəlz fər ən ɪkˈsplɪsət ləv sin. wət wɪl ˌhərˈmaɪni seɪ, ˈhɛri? 'hi hæd tɪ gɪt hɪz kɪt ɔf wɪθ ə ˈvɛri ˈbjutəfəl jəŋ gərl,' sɛd prəˈdusər ˈdeɪvɪd pju ðɪs wik. 'kwaɪt ˈfræŋkli, aɪd hæv bɪn skɛrd ˈwɪtləs tu.' səʧ fɪrz, ˌhaʊˈɛvər, meɪ bi ˈnəθɪŋ kəmˈpɛrd wɪθ ðə ˈɪmənənt ˈtɛrər əv pleɪɪŋ ðə seɪm sinz ˈleɪtər ðɪs mənθ ɪn frənt əv ə wɛst ɛnd ˈɔdiəns, səm əv hum (ʤɪst tɪ æd tɪ hɪz ɪmˈbɛrəsmənt) wɪl bi ˈsitɪd ɔn ðə steɪʤ. noʊ ˈwəndər ðə ˈtiˌneɪʤər wɑz ˈhævɪŋ ˈsɛkənd θɔts. ˌpɑrˈtɪkjələrli ɛz hi ɪz ˈgæmbəlɪŋ ɔn ðə roʊl hɪz fərst ˈsɪriəs drəˈmætɪk lɛd ˈwərkɪŋ ə ˈmæʤɪkəl ˌtrænsfərˈmeɪʃən frəm bɔɪ ˈwɪzərd tɪ sɛks ˈsɪmbəl. ˈsərtənli, ɪf pəˈblɪsɪti ˈfoʊtəˌgræfs frəm ðə ˌkɑntrəˈvərʃəl pleɪ ər ˈɛniˌθɪŋ tɪ goʊ baɪ, hɪz ˌriɪnˈvɛnʃən kʊd nɑt bi mɔr mɑrkt. gɔn ər ðə raʊnd, ˈglæsɪz ənd hɪz ˈhɪˌðərˈtu ˈɛvər- əˈpɪrəns, tɪ bi ˌriˈpleɪst baɪ ə toʊnd (ənd səˈpraɪzɪŋli hərˈsut) ˈtɔrˌsoʊ, hɛr ənd ðə ˈmɛrəst hɪnt əv ˈmænli ˈstəbəl. ˈɔlsoʊ ˈpleɪnli ˈmɪsɪŋ ər ðə ˈəndərˌgɑrmənts əv ðə ˈʃeɪpli ʤoʊˈænə ˈkrɪsti, ðə ˈfɔrmər ˈsɪti ˈæktrəs hu gɪts tɪ ʃɛr ˈstimi sinz ənd hu ɪz sin ˈrɛstɪŋ hər ˈneɪkəd ˈbɑdi əˈgɛnst hɪz waɪl kərˈɛsɪŋ hɪz bɛr flɛʃ əˈgɛnst ðə proʊˈvɑkətɪv ˈbækˌdrɑp əv ə ˈheɪˌstæk. ɔl əv wɪʧ wʊd, ˈdaʊtləs, hæv ˈhɛriz ˈfiˌmeɪl ˈsaɪdˌkɪk ˌhərˈmaɪni ˈgreɪnʤər ˈfilɪŋ ˌdɪˈsaɪdədli ˈgɪdi. ə sɛnˈseɪʃən ʃɛrd baɪ ɪgˈzɛkjətɪvz frəm ˈwɔrnər, hu meɪk ðə ˈhjuʤli səkˈsɛsfəl fɪlm ˈvərʒənz əv j.k*. bʊks əˈbaʊt ðə ˈskulˌbɔɪ ˈwɪzərd. ðeɪ ər sɛd tɪ bi 'ˈətərli dɪsˈmeɪd' baɪ ðə ˈstimi ʃɑts, ɛz wɛl ɛz ðə ˌdɪˈskəvri ðət ðə wɪl nɑt ˈoʊnli kəˈvɔrt ˈneɪkəd fər ə fʊl tɛn ˈmɪnəts ˈdʊrɪŋ ðə pərˈdəkʃən, bət wɪl ˈɔlsoʊ bi sin, ˈsɔrsəz seɪ, ˈsɪmjəˌleɪtɪŋ sɛks waɪl ˈraɪdɪŋ ə 'hɔrs' pleɪd baɪ meɪl bæˈleɪ ˈdænsər wɪl kɛmp. ðeɪ fɪr ðə sinz kʊd ˈdæmɪʤ ðɛr fɪlm ˈfrænˌʧaɪz ənd kʊd ˈivɪn lɛd, juz. ɪgˈzɛkjətɪvz æt ðə ˈkəmpəˌni toʊld ðə meɪl ðɪs wik, tɪ ðə ˈæktər biɪŋ ˌriˈpleɪst ɛz ðə klin- kət ˈhɪroʊ əv ˈhɑgˌwɔrts skul. wən juz. sɔrs rɪˈvild: 'ˈwɔrnər hæv bɪn ˈbɪldɪŋ əp ðɛr pəˈblɪsɪti məˈʃin fər ˈhɛriz fərst ʧeɪst skrin kɪs wɪn ðə nɛkst ˈpɑtər fɪlm kəmz aʊt ɪn ðə ˈsəmər. 'naʊ ɑr stɑr ɪz aʊt ðɛr duɪŋ sɛks. wiv bɪn bloʊn kəmˈplitli aʊt əv ðə ˈwɔtər baɪ ðɪs.' ðə ˈkəmpəˌni ɪz ˈɔlsoʊ ˈfɪrfəl əv ə ˈbæˌklæʃ frəm ˈpɛrənts ənd jəŋ ˈhɛri ˈpɑtər fænz. ˌɪnˈdid, ˈwɛbˌsaɪts hæv ɔˈrɛdi bɪn ˈɪnənˌdeɪtɪd ðɪs wik wɪθ kəmˈpleɪnts əˈbaʊt nu roʊl. ˈsərtənli, ɛz ən əˈtɛmpt tɪ rɪd hɪmˈsɛlf əv ðə joʊk əv hɪz ˈfeɪməs ˈɔltər ˈigoʊ, ˈteɪkɪŋ ðə roʊl əv ə dɪˈreɪnʤd ˈsteɪbəl læd hu blaɪndz sɪks ˈhɔrsɪz ˈæftər dɪˈvɛləpɪŋ ə bɪˈzɑr ˈsɛkʃuəl əbˈsɛʃən wɪθ ðə hɔrs gɑd kʊd nɑt bi mɔr drəˈmætɪk ər dɛr wən seɪ ˈsɪnɪkəl. ənd ɪf ðə ˈstudiˌoʊz dɪd nɑt ɔˈrɛdi hæv ɪˈnəf tɪ ˈwəri əˈbaʊt, ˈsɔrsəz kloʊz tɪ ˈrædklɪf toʊld ðə meɪl ðɪs wik ðət hi ɪz kin tɪ teɪk ɔn ðə skrin roʊl əv nən ˈəðər ðən pit ˈdɔrti, ðə ˈləvər əv ˈsupərˌmɑdəl keɪt mɔs, ɪn ə əˈbaʊt ðə ˈʤəŋki ˈsɪŋər. ɪt kəmz, tu, ˈæftər ðə ˈkəmpəniz ˈsinjər ɪgˈzɛkjətɪvz wər ˌriˈpɔrtəd tɪ bi kənˈsərnd læst mənθ əˈpɑn ˈlərnɪŋ ðɛr jəŋ stɑr həz ˈɔlsoʊ strɪpt ɔf fər ə sin ɪn ðə ˈfɔrθˈkəmɪŋ ˈmuvi dɪˈsɛmbər bɔɪz. soʊ ʤɪst wət ɪz goʊɪŋ ɔn wɪθ ðə ˈθəroʊli ˈmɪdəlˈklæs ˈpəblɪk ˈskulˌbɔɪ, hu woʊnt tərn 18 ənˈtɪl ˌʤuˈlaɪ? əˈpɛrəntli, ðə ˈæktər (ənd, mɔr ˌɪmˈpɔrtəntli, hɪz ˈhaɪli æmˈbɪʃəs ˈpɛrənts) ər naʊ kin tɪ ˈdɪstəns ɪm frəm ðə skrin roʊl wɪʧ tərnd ɪm ˈɪntu ə ənd ˈhaʊsˌhoʊld neɪm æt ðə eɪʤ əv 12 hɪz ˈpɛrənts ˈælən, ə ˈlɪtərˌɛri ˈeɪʤənt, ənd ˈmɑrʃə, ə ˈkæstɪŋ dɪˈrɛktər ər kin tɪ ɪˈstæblɪʃ ˈdænjəl ɛz ə ˈlidɪŋ mæn ɪn ðə moʊld əv ˌliəˈnɑrdoʊ dɪˈkæpriˌoʊ ər bræd pɪt. baɪ weɪ əv ˈmeɪkɪŋ ðə trænˈzɪʃən, hi həz, seɪ frɛndz, bɪn ˈspɛndɪŋ ˈsɛvərəl aʊərz ə deɪ ˈhoʊnɪŋ hɪz fəˈzik ɪn ðə ʤɪm, ɛz wɛl ɛz əˈtɛndɪŋ ˈwikli ˈklæsɪz wɪθ ə vɔɪs koʊʧ. bət hɪz nu lʊk ɪz ən ˈædɪd sɔrs əv dɪˈskəmfərt fər hɪz fɪlm ˈbɔsɪz, hu læst jɪr bænd ɪm frəm ˈwərkɪŋ aʊt ˈdʊrɪŋ ˈʃutɪŋ əv ðə fɪθ ˈmuvi, ˈhɛri ˈpɑtər ənd ðə ˈɔrdər əv ðə ˈfinɪks, fər fɪr hi wʊd əˈpɪr tu məˈʧʊr. ˈɔlsoʊ prəˈvoʊkɪŋ kənˈsərn ər hɪz ˈrisənt ˈkɑmɛnts ðət hi hoʊps ðə ˈkɛrɪktər wɪʧ meɪd ɪm ən ˌɪnərˈnæʃənɑl ʧaɪld stɑr wɪl bi kɪld ɔf wɪn mɪs ˈsɛvənθ ənd ˈfaɪnəl bʊk ɪn ðə ˈsɪriz, ˈhɛri ˈpɑtər ənd ðə ˈdɛθli ˈhæloʊz, ɪz ˈpəblɪʃt ɪn ˌʤuˈlaɪ. bət, ðɛn, ðoʊz hu səraʊnd ðə ˈtiˌneɪʤər, ˌɪnˈkludɪŋ hɪz ˌfɔrˈmɪdəbəl ˈeɪʤənt pəˈtrɪʃə məkˈnɔtən, ər ˈmeɪkɪŋ bɪg plænz fər laɪf ˈæftər ˈhɛri ˈpɑtər. ɔˈrɛdi, ɪn ən əˈtɛmpt tɪ gɪv ˈdænjəl mɔr ˈædəlt əˈpil, hi həz əˈpɪrd ɛz ə sex-obsessed*, əv hɪmˈsɛlf ɪn ðə ˈrɪˌki ʒərˈveɪ ˈsɪtˌkɑm ˈɛkstrəz. ˈminˌwaɪl, hɪz ˈhændələrz ər sɛd tɪ hæv pʊt aʊt ðə wərd ɪn ˈtɪnsəlˌtaʊn ðət hi ɪz ˈlʊkɪŋ fər ən 'ˈɛʤi, dɑrk roʊl' fər hɪz fərst ˈgroʊˌnəp ˈhɑliˌwʊd ˈaʊtɪŋ. hi ɪz dɪˈtərmənd ðət hi wɪl nɑt goʊ ðə weɪ əv ˈpriviəs ʧaɪld stɑrz səʧ ɛz ʤæk waɪld ənd məˈkɔli ˈkəlkɪn, huz kərɪrz kəˈlæpst wəns ðeɪ bɪˈkeɪm ˈædəlts. ˈminˌwaɪl, ˈdænjəl, hu ɪz sɛd tɪ hæv ərnd ə ˈmɪljən ˈfɔrʧən frəm hɪz roʊl ɪn ðə ˈpɑtər fɪlmz, ˈmeɪkɪŋ ɪm ðə ˈjəŋgəst ˈpərsən ɔn ðə ˈleɪtəst ˈsənˌdi taɪmz rɪʧ lɪst, həz bɪn ˈhæpəli pɔrˈtreɪɪŋ hɪmˈsɛlf ɛz ə fæn əv ðə sɛks ˈpɪstəlz ɪn ən əˈtɛmpt tɪ pleɪ əp hɪz kul krəˈdɛnʃəlz. hi wɑz əˈproʊʧt tɪ pleɪ ðə roʊl əv ˈælən stræŋ ɪn ðə rɪˈvaɪvəl əv ˈpitər pleɪ mɔr ðən ə jɪr əˈgoʊ, bət toʊld prəˈdusərz hi wʊd pleɪ ðə pɑrt ˈoʊnli wɪn hi wɑz ˈoʊldər. wɪn ðə pleɪ fərst ˈoʊpənd ɪn ðə wɛst ɛnd ɪn 1973 ɪts ɪkˈsplɪsət sinz kɔzd ˈəˌprɔr. ɪt wɑz ˈfɑloʊd fɔr jɪrz ˈleɪtər baɪ ə fɪlm ˈvərʒən ˈstɑrɪŋ ˈrɪʧərd ˈbərtən. ðət, tu, kɔzd ˈkɑntrəˌvərsi ˈoʊvər ðə sinz ˈfiʧərɪŋ ˈpitər fərθ ɪn ðə roʊl əv stræŋ ənd ˈʤɛni ɛz hɪz ˈgərlˌfrɛnd ʤɪl. ɪn ðə ˈleɪtəst steɪʤ ˈvərʒən əv ðə dɪˈstərbɪŋ pleɪ ˈbrændɪd ˈdrɑmə' baɪ wən ˈkrɪtɪk ˈhɛri ˈpɑtər koʊ- stɑr ˈrɪʧərd ˈgrɪfɪθs teɪks ðə roʊl əv ə səˈkaɪətrəst hu əˈtɛmpts tɪ dɪˈskəvər waɪ ðə ˈsteɪbəl grum həz meɪmd ðə ˈhɔrsɪz wɪθ ə huf pɪk. ˈpɛrənts ər sɛd tɪ hæv ˈoʊvərˌsin ˈʧeɪnʤɪz tɪ ðə skrɪpt, ənd ˈsɔrsəz ˌɪnˈtrigɪŋli seɪ ðət ˈkɛnɪθ ˈbrænəg, hu wɑz səˈpoʊzd tɪ dɪˈrɛkt ðə pleɪ, lɛft ɪn ðə ˈərli ˈsteɪʤɪz ˈoʊvər 'ɑrˈtɪstɪk ˈdɪfərənsɪz'. ɛz prəˈdusər pju pʊt ɪt: 'ðɪs ɪz ə bɔɪ hu ɪz naʊ ˈmeɪkɪŋ hɪz oʊn dɪˈsɪʒənz ənd ˈrəðər ðən ʤɪst biɪŋ sin ɛz ə sɔrt əv ˈʃərli ˈtɛmpəl, hi ɪz dɪˈtərmənd ðət hi wɔnts tɪ ækt fər ðə rɛst əv hɪz laɪf, ənd ðɪs ɪz hɪz weɪ əv ˈpʊtɪŋ hɪmˈsɛlf aʊt ðɛr. 'wi ˈnidɪd tɪ ʃoʊ ðət hi kən pleɪ ðiz sɔrts əv pɑrts, ənd ðæts waɪ wi dɪˈlɪbərətli pʊt aʊt ðə photoshoot*: bɪˈkəz wi wɔnt ˈpipəl tɪ noʊ ðeɪ ər goʊɪŋ tɪ kəm tɪ si ə ʃoʊ əˈbaʊt ə jəŋ mæn, nɑt ə jəŋ bɔɪ. 'aɪ hoʊp tɪ gɑd ɪt wərks aʊt, bɪˈkəz hi həz bɪn ˈvɛri kərˈeɪʤəs ˈteɪkɪŋ ðɪs roʊl ɔn. hi ˈnɛvər sɛd hi ˈwʊdənt du ɪt nud, bɪˈkəz hi nu ðə sinz wər pɑrt əv ðə pleɪ. 'hi wɑz ʃaɪ ənd ˈhɛzɪtənt æt fərst, bət wi ˌdɪˈsaɪdɪd tɪ θroʊ ɪm streɪt ˈɪntu ðoʊz sinz æt ðə ɛnd əv ðə fərst wik əv rɪˈhərsəlz. 'ðɛr wər ʤɪst faɪv ˈpipəl ɪn ðə rum æt fərst, bət wəns hi ənd ʤoʊˈænə hæd dən ðɛm ə fju taɪmz, ðeɪ wər ˈhæpi fər ðə hoʊl ˈkəmpəˌni tɪ bi əraʊnd. 'ɪt ˈsərtənli ɪz nɑt ðə keɪs əv ə kwɪk flæʃ. hiz ɔn ðə steɪʤ ɪn ðə bəf fər ə lɔŋ taɪm. hɪz ˈpɛrənts ər ɪn ðə ˈbɪznɪs ənd ðeɪ ər ˈbækɪŋ ɪm ˈtoʊtəli.' dɪˈspaɪt ðə juʤ ˈfɔrʧən hi həz ərnd, laɪf ɪn ðə ˈrædklɪf hoʊm həz ʧeɪnʤd ˈvɛri ˈlɪtəl sɪns ˈdænjəl wən ðə ˈkəvətɪd ˈhɛri ˈpɑtər roʊl ɪn 2001 ən ˈoʊnli ʧaɪld, hi stɪl lɪvz wɪθ hɪz ˈməðər ənd ˈfɑðər ɪn ə ˈhəmbəl, ˈtɛrəs hoʊm ʤɪst jɑrdz frəm ˈfʊtˌbɔl kləbz ˈkreɪvən ˈkɑtɪʤ graʊnd ɪn wɛst ˈləndən. ðɛr ər ˈɔlsoʊ ˈprɛʃəs fju ˈaʊtwərd saɪnz əv ɛkˈstrævəgəns, ənd ɪt ɪz ə ˈstændɪŋ ʤoʊk wɪθ frɛndz əv ðə ˈfæməli ðət ˈmɪsɪz ˈrædklɪf stɪl ˈfɛriz hər sən əraʊnd ɪn ə mərun rɪˈnɔlt ˈsinɪk. ˈdænjəl ɪz ə ʤɔɪnt ˈʃɛˌrhoʊldər wɪθ hɪz ˈpɛrənts ɪn hɪz oʊn ˈkəmpəˌni, ˈgɪlmɔr ˈʤeɪkəbz. ɪts bæŋk əˈkaʊnt, seɪ ˈsɔrsəz, həz bɪn ˈbustɪd baɪ ðɪs jɪr əˈloʊn θæŋks tɪ ˈrɔɪəltiz ənd ən ˌɪmˈpruvd peɪ dil fər ðə ˈleɪtəst ˈhɛri ˈpɑtər instalment*. ˈdænjəl, hu əˈʧivd θri ɪn hɪz læst ˈsəmər, ɪz ə ˈpjupəl æt ə skul ɪn ˈnɪrˈbaɪ ˈʧɛlsi. ˌhaʊˈɛvər, hi həz ʧeɪnʤd skulz twaɪs sɪns ˈfaɪndɪŋ feɪm, əˈmɪd ˈrumərz əv ˈbʊliɪŋ frəm ˈʤɛləs ˈklæsˌmeɪts. wɪn hi wɑz ə ˈstudənt æt ðə ˌɪndɪˈpɛndənt ˈsɪti əv ˈləndən bɔɪz skul ə jɪr əˈgoʊ, hi fɛl ˈvɪktɪm tɪ ə heɪt kæmˈpeɪn ɔn ə ˈwɛbˌsaɪt sɛt əp fər hɪz ˈfɛloʊ ˈpjupəlz. hi ˈɔlsoʊ kəmˈpleɪnz ðət, dɪˈspaɪt rɪˈsivɪŋ fæn ˈlɛtərz ə deɪ, hɪz juʤ feɪm həz meɪd ɪt ˈdɪfəkəlt fər ɪm tɪ meɪk ˈʤɛnjuˌaɪn frɛndz. ðə ˈhænsəm jəŋ ˈæktər həz, ˌhaʊˈɛvər, nɑt bɪn ʃɔrt əv əˈtɛnʃən frəm ðə ˈɑpəzɪt sɛks, ənd ɪn 2005 hi bɪˈgæn ˈdeɪtɪŋ 24-year*- oʊld ˈtreɪˈni ˈhɛrˌdrɛsər ˈeɪmi bərn, hum hi hæd mɛt ðə ˈpriviəs jɪr ɔn ðə sɛt əv ðə fɔrθ ˈpɑtər fɪlm. hi wɑz sɛd tɪ bi ə ˈrɛgjələr ˈvɪzɪtər tɪ hər ˈmɑdəst flæt ɪn ˈwɔtfərd, herts*, bət frɛndz seɪ ðə riˈleɪʃənˌʃɪp kuld ˈæftər ʃi wɑz sɛnt tɪ ˈtərki tɪ wərk ɔn ə fɪlm, ˌɔlˈðoʊ ðeɪ stɪl ˈrɛgjələrli tɛkst iʧ ˈəðər. nɔr dɪz hɪz ˈpənɪʃɪŋ ˈskɛʤʊl əˈlaʊ fər məʧ spɛr taɪm. frɛndz seɪ ðət ɪn ˈrisənt mənθs, ˈdænjəl həz bɪn ˈfɪlmɪŋ sɪks deɪz ə wik, ɛz wɛl ɛz ˈspɛndɪŋ ˈsənˌdiz æt ə ˈkəvənt ˈgɑrdən ˈθiətər wɪθ hɪz vɔɪs koʊʧ. hi ɪz du tɪ fɪlm tu mɔr ˈhɛri ˈpɑtər ˈmuviz, baɪ wɪʧ taɪm hi wɪl bi kloʊz tɪ 20 ənd wɪθ ən ˈɛstəˌmeɪtɪd ɪn ðə bæŋk. ðət ɪz əˈsumɪŋ hɪz æt ˈwɔrnər du nɑt ˌdɪˈsaɪd ðət hɪz nu, oʊ steɪʤ pərˈfɔrməns ɪz ʤɪst tu ˈdæmɪʤɪŋ tɪ ðɛr fɪlm ˈsɪriz. ə sɔrs ɪn lɔs ˈænʤəlɪs sɛd: 'æt ðɪs steɪʤ, wɪθ tu fɪlmz stɪl tɪ bi meɪd, ˈdænjəl ɪz stɪl saɪnd tɪ stɑr ɪn ðɛm, bət ðə ˈkəmpəˌni wɪl hæv tɪ wɔʧ ðə riˈækʃən əv ðə ˈpəblɪk wɪn ðɪs pleɪ bɪˈgɪnz. 'ðə truθ ɪz ðət ɪt wʊd bi ˈvɛri hɑrd tɪ riˈkæst, bɪˈkəz ˈdænjəl ɪz soʊ ˈfeɪməs ɪn ðə roʊl ənd ɪz əˈdɔrd baɪ ðə fænz. bət ɪf hɪz nu ˈɪmɪʤ ɪz sin tɪ bi æt ɑdz wɪθ ðə ˈfrænˌʧaɪz, ðɛn ðə hoʊl ˈɪʃu wʊd hæv tɪ bi lʊkt æt. 'aɪ gɛs wi ˈɔlˌweɪz nu ðət ˈhɛri ənd ˈdænjəl wʊd hæv tɪ groʊ əp, bət wi ˈhædənt ˈbɑrgənd ɔn sɛks sinz.' nɔr, wən ˌɪˈmæʤənz, hæd ðə stɑrz ˈmɪljənz əv jəŋ fænz.
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by paul scott
last updated at 16:37 22 february 2007
amid the faceless and distinctly chilly confines of a south london studio last week, daniel radcliffe was wrestling with a severe bout of last-minute nerves. hardly surprising. the dreaded moment had arrived for the 17-year-old actor - he of harry potter fame - to undress and join his equally naked female co-star in rehearsals for an explicit love scene.
what will hermione say, harry?
'he had to get his kit off with a very beautiful young girl,' said producer david pugh this week. 'quite frankly, i'd have been scared witless too.'
such fears, however, may be nothing compared with the imminent terror of playing the same scenes later this month in front of a west end audience, some of whom (just to add to his embarrassment) will be seated on the stage.
no wonder the teenager was having second thoughts. particularly as he is gambling on the role - his first serious dramatic lead - working a magical transformation from boy wizard to sex symbol.
certainly, if publicity photographs from the controversial play equus are anything to go by, his reinvention could not be more marked.
gone are the round, nhs glasses and his hitherto ever- so-geeky appearance, to be replaced by a toned (and surprisingly hirsute) torso, tousled hair and the merest hint of manly stubble.
also plainly missing are the undergarments of the shapely joanna christie, the former holby city actress who gets to share radcliffe's steamy scenes and who is seen resting her naked body against his while caressing his bare flesh against the provocative backdrop of a haystack.
all of which would, doubtless, have harry's female sidekick hermione granger feeling decidedly giddy. a sensation shared by executives from warner bros, who make the hugely successful film versions of j.k. rowling's books about the schoolboy wizard.
they are said to be 'utterly dismayed' by the steamy shots, as well as the discovery that the sixth-former will not only cavort naked for a full ten minutes during the production, but will also be seen, sources say, simulating sex while riding a 'horse' played by male ballet dancer will kemp.
they fear the scenes could damage their multi-million-dollar film franchise and could even lead, u.s. executives at the company told the mail this week, to the actor being replaced as the clean- cut hero of hogwarts school. one u.s. source revealed: 'warner bros have been building up their publicity machine for harry's first - chaste - screen kiss when the next potter film comes out in the summer.
'now our star is out there doing full-frontal sex. we've been blown completely out of the water by this.'
the company is also fearful of a backlash from parents and young harry potter fans. indeed, websites have already been inundated this week with complaints about radcliffe's new role.
certainly, as an attempt to rid himself of the yoke of his famous alter ego, taking the role of a deranged stable lad who blinds six horses after developing a bizarre sexual obsession with the horse god equus could not be more dramatic or - dare one say - cynical.
and if the studio's moneymen did not already have enough to worry about, sources close to radcliffe told the mail this week that he is keen to take on the screen role of none other than pete doherty, the debauched lover of supermodel kate moss, in a biopic about the junkie singer.
it comes, too, after the company's senior executives were reported to be concerned last month upon learning their young star has also stripped off for a scene in the forthcoming movie december boys.
so just what is going on with the thoroughly middle-class public schoolboy, who won't turn 18 until july?
apparently, the actor (and, more importantly, his highly ambitious parents) are now keen to distance him from the screen role which turned him into a multi-millionaire and household name at the age of 12.
his parents - alan, a literary agent, and marcia, a casting director - are keen to establish daniel as a leading
man in the mould of leonardo dicaprio or brad pitt.
by way of making the transition, he has, say friends, been spending several hours a day honing his physique in the gym, as well as attending weekly classes with a voice coach.
but his new look is an added source of discomfort for his film bosses, who last year banned him from working out during shooting of the fifth movie, harry potter and the order of the phoenix, for fear he would appear too mature.
also provoking concern are his recent comments that he hopes the character which made him an international child star will be killed off when miss rowling's seventh and final book in the series, harry potter and the deathly hallows, is published in july.
but, then, those who surround the teenager, including his formidable agent patricia macnaughton, are making big plans for life after harry potter.
already, in an attempt to give daniel more adult appeal, he has appeared as a sex-obsessed, chain-smoking send-up of himself in the ricky gervais sitcom extras.
meanwhile, his handlers are said to have put out the word in tinseltown that he is looking for an 'edgy, dark role' for his first grown-up hollywood outing.
he is determined that he will not go the way of previous child stars such as jack wild and macaulay culkin, whose careers collapsed once they became adults.
meanwhile, daniel, who is said to have earned a £20 million fortune from his role in the potter films, making him the youngest person on the latest sunday times rich list, has been happily portraying himself as a fan of the sex pistols in an attempt to play up his cool credentials.
he was approached to play the role of alan strang in the revival of peter shaffer's play equus more than a year ago, but told producers he would play the part only when he was older.
when the play first opened in the west end in 1973, its explicit scenes caused uproar. it was followed four years later by a film version starring richard burton. that, too, caused controversy over the full-frontal scenes featuring peter firth in the role of strang and jenny agutter as his girlfriend jill.
in the latest stage version of the disturbing play - branded 'sicko drama' by one critic - radcliffe's harry potter co- star richard
griffiths takes the role of a psychiatrist who attempts to discover why the stable groom has maimed the horses with a hoof pick.
radcliffe's ever-present parents are said to have overseen changes to the script, and sources intriguingly say that kenneth branagh, who was supposed to direct the play, left in the early stages over 'artistic differences'.
as equus producer pugh put it: 'this is a boy who is now making his own decisions and rather than just being seen as a sort of shirley temple, he is determined that he wants to act for the rest of his life, and this is his way of putting himself out there.
'we needed to show that he can play these sorts of parts, and that's why we deliberately put out the photoshoot: because we want people to know they are going to come to see a show about a young man, not a young boy.
'i hope to god it works out, because he has been very courageous taking this role on. he never said he wouldn't do it nude, because he knew the scenes were part of the play.
'he was shy and hesitant at first, but we decided to throw him straight into those scenes at the end of the first week of rehearsals.
'there were just five people in the room at first, but once he and joanna had done them a few times, they were happy for the whole company to be around.
'it certainly is not the case of a quick flash. he's on the stage in the buff for a long time. his parents are in the business and they are backing him totally.'
despite the huge fortune he has earned, life in the radcliffe home has changed very little since daniel won the coveted harry potter role in 2001. an only child, he still lives with his mother and father in a humble, terrace home just yards from fulham football club's craven cottage ground in west london.
there are also precious few outward signs of extravagance, and it is a standing joke with friends of the family that mrs radcliffe still ferries her son around in a four-year-old maroon renault scenic.
daniel is a joint shareholder with his parents in his own company, gilmore jacobs. its bank account, say sources, has been boosted by £8million this year alone thanks to royalties and an improved pay deal for the latest harry potter instalment.
daniel, who achieved three a-grades in his as-levels last summer, is a pupil at a £4,000-a-term school in nearby chelsea. however, he has changed schools twice since finding fame, amid rumours of bullying from jealous classmates.
when he was a student at the independent city of london boys school a year ago, he fell victim to a foul-mouthed hate campaign on a website set up for his fellow pupils.
he also complains that, despite receiving 1,000 fan letters a day, his huge fame has made it difficult for him to make genuine friends. the handsome young actor has, however, not been short of attention from the opposite sex, and in 2005 he began dating 24-year- old trainee hairdresser amy byrne, whom he had met the previous year on the set of the fourth potter film.
he was said to be a regular visitor to her modest flat in watford, herts, but friends say the relationship cooled after she was sent to turkey to work on a film, although they still regularly text each other.
nor does his punishing schedule allow for much spare time. friends say that in recent months, daniel has been filming six days a week, as well as spending sundays at a covent garden theatre with his voice coach.
he is due to film two more harry potter movies, by which time he will be close to 20 and with an estimated £40million in the bank.
that is assuming his paymasters at warner bros do not decide that his new, au naturel stage performance is just too damaging to their money-making film series.
a source in los angeles said: 'at this stage, with two films still to be made, daniel is still signed to star in them, but the company will have to watch the reaction of the public when this play begins.
'the truth is that it would be very hard to recast, because daniel is so famous in the role and is adored by the fans. but if his new image is seen to be at odds with the franchise, then the whole issue would have to be looked at.
'i guess we always knew that harry and daniel would have to grow up, but we hadn't bargained on full-frontal sex scenes.'
nor, one imagines, had the star's millions of young fans.
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laɪk ðɛr ˈraɪvəlz ənd ˈtiˌmoʊbəl, ˌvɛˈraɪzən ənd sprɪnt hæv ˈɔlsoʊ əˈgrid peɪ bæk ðɛr ˈkəstəmərz hu gɑt hɪt wɪθ ˈboʊgəs ˈkræmɪŋ ˈʧɑrʤɪz. ðə ˈfɛdərəl kəmˌjunəˈkeɪʃənz kəˈmɪʃən əˈnaʊnst ɔn ˈmənˌdeɪ ðət sprɪnt ənd ˌvɛˈraɪzən wʊd fɔrk ˈoʊvər ə kəmˈbaɪnd ˈtoʊtəl əv 158 ˈmɪljən tɪ ˈsɛtəl ðə ˈmætər ənd moʊst əv ðət ˈməni wɪl bi goʊɪŋ dɪˈrɛkli bæk tɪ kənˈsumərz. frəm ˈərliər: nu saɪt eɪmz tɪ fɪks ə bɪg sɔrs əv rɪˈmɔrs fər ˈæpəl wɔʧ ˈoʊnərz fər ðoʊz hu noʊ, ““cramming”*” rɪˈfərz tɪ ðə ˈpræktɪs əv ˈbɪlɪŋ ˈkəstəmərz fər səbˈskrɪpʃənz tɪ ənd ˈprimiəm tɛkst ˈmɛsɪʤ ˈsərvɪsɪz ðət ðeɪ ˈnɛvər saɪnd əp fər. ɔl fɔr ˈmeɪʤər juz. ˈkɛriərz gɑt tɪ kip ə ˈpɔrʃən əv ðiz səbˈskrɪpʃən fiz, wɪʧ ðeɪ naʊ hæv tɪ peɪ bæk. ɪn ˈtoʊtəl, ˌvɛˈraɪzən ɪz peɪɪŋ 90 ˈmɪljən, ˌɪnˈkludɪŋ 70 ˈmɪljən bɪn ˈɪrˌmɑrkt fər kənˈsumərz hu hæv bɪn hərt baɪ ˈkræmɪŋ ˈʧɑrʤɪz. sprɪnt, ˈminˌwaɪl, həz əˈgrid tɪ peɪ 68 ˈmɪljən, əv wɪʧ æt list 50 ˈmɪljən wɪl goʊ tɪ kənˈsumərz. ˈɛni ˈməni lɛft ˈoʊvər goʊz tɪ ðə steɪt ˈgəvərnmənts ðət pɑrˈtɪsəˌpeɪtɪd ɪn ðə ˈlɔˌsuts əˈgɛnst ðə ˈkɛriərz. ɪf ˈfɑlən ˈvɪktɪm tɪ ˈkræmɪŋ ɔn ˌvɛˈraɪzən, ju kən əˈplaɪ fər jʊr ˈriˌfənd æt ðɪs ˈwɛbˌsaɪt ənd ju kən kɔl ðə tɪ æsk kˈwɛsʧənz əˈbaʊt jʊr pəˈtɛnʃəl ˈriˌfənd baɪ ˈkɔlɪŋ sprɪnt ˈkəstəmərz, ˈminˌwaɪl, kən səbˈmɪt ðɛr kleɪmz æt ðɪs ˈwɛbˌsaɪt ənd kən æsk ðə əˈbaʊt ðɛr ˌsɪʧuˈeɪʃən baɪ ˈkɔlɪŋ ðə ˈdɛˌdlaɪn tɪ səbˈmɪt ə kleɪm ɪz dɪˈsɛmbər 31st*, 2015
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like their rivals at&t and t-mobile, verizon and sprint have also agreed pay back their customers who got hit with bogus cramming charges. the federal communications commission announced on monday that sprint and verizon would fork over a combined total of $158 million to settle the matter and most of that money will be going directly back to consumers.
from earlier: new site aims to fix a big source of buyer’s remorse for apple watch owners
for those who know, “cramming” refers to the practice of billing customers for $9.99 subscriptions to ringtones and premium text message services that they never signed up for. all four major u.s. carriers got to keep a portion of these ill-gotten subscription fees, which they now have to pay back.
in total, verizon is paying $90 million, including $70 million that’s been earmarked for consumers who have been hurt by cramming charges. sprint, meanwhile, has agreed to pay $68 million, of which at least $50 million will go to consumers. any money left over goes to the state governments that participated in the lawsuits against the carriers.
if you’ve fallen victim to cramming on verizon, you can apply for your refund at this website and you can call the fcc to ask questions about your potential refund by calling 1-888-726-7063. sprint customers, meanwhile, can submit their claims at this website and can ask the fcc about their situation by calling 1-877-389-8787.
the deadline to submit a claim is december 31st, 2015.
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9.2* ˈɛksələnt ðə ˈgæləksi noʊt 5 ɪz pækt wɪθ ðə spɛks ɔn ðə ˈmɑrkɪt. ɪt pərˈfɔrmz wɛl, bət ʤɪst laɪk ˈɛvəri ˈsæmˌsəŋ dɪˈvaɪs ɪt həz ɪts ˈhɪkəps. ɪts sæd tɪ si ðə rɪˈmuvəbəl ˈbætəri ənd ɪkˈspændəbəl ˈstɔrɪʤ goʊ, bət ðə pərˈfɔrməns ənd bɪld kˈwɑləti ˈɔlˌmoʊst meɪk əp fər ɪt. dɪˈzaɪn dɪˈspleɪ pərˈfɔrməns ˈkæmərə ˈbætəri ˈjuzər ˈreɪtɪŋz 3 voʊts) ðə ˈgæləksi noʊt ˈsɪriz həz ˈnɛvər ˈrɪli sin ə flɑp ɛz ðə ˈgæləksi ɛs ˈsɪriz dɪd wɪθ ðə bət ˈsæmˌsəŋ kənˈtɪnjuz tɪ ˈɔltər ðɛr əˈpɪrəns. ɪt ˈstɑrtɪd ˈərliər ðɪs jɪr wɛr ˈsæmˌsəŋ ˈdeɪbjutɪd ə kəmˈplitli riˈvæmpt ˈgæləksi ðət ˈfiʧərd noʊ ˈplæstɪk ɔn ðə dɪˈvaɪs æt ɔl. ɪt wɑz ˌɪˈnɛvətəbəl ðət ðə ˈgæləksi noʊt 5 wʊd rɪˈsiv ðə seɪm ˈtritmənt, bət wɑz ɪt ˈwɔrəntɪd? ðə ˈgæləksi noʊt laɪn həz ˈɔlˌweɪz bɪn dəbd ðə user”*” dɪˈvaɪs, bət ɪt ˈɔlsoʊ ˌɪnˈkludɪd ə rɪˈmuvəbəl ˈbætəri ənd ɪkˈspændəbəl ˈstɔrɪʤ. ˈmɛni ˈlɔŋˌtaɪm ˈgæləksi noʊt kraɪd faʊl wəns ðə noʊt 5 wɑz əˈnaʊnst ənd ɪt wɑz tɪ ˈbaɪˌpæs ðə user”*” ˈfiʧərz. dɪz nɑt ˈhævɪŋ ə rɪˈmuvəbəl ˈbætəri ənd ɪkˈspændəbəl ˈstɔrɪʤ ruɪn ðə noʊt laɪn? ɪz glæs ənd ˈmɛtəl ˈrɪli ɔl ðət? teɪk ə lʊk. dɪˈzaɪn ˌbiˈfɔr 2015 ˈsæmˌsəŋ wɑz ˈɔlˌweɪz mɑkt fər ðɛr læk əv θɔt wɪn ɪt keɪm tɪ ðɛr foʊn dɪˈzaɪnz. ɪt wɑz ˈjuʒəwəli ðə ɛs ˈsɪriz ðət kɔt ɔl əv ðə flæk ɛz ðə noʊt ˈsɪriz wʊd bɪld əˈpɑn wət ðə kənˈsumərz laɪkt ənd dɪsˈlaɪkt. ðə noʊt 3 wɑz ə juʤ ˈəpˈgreɪd tɪ wət ðə brɔt tɪ ðə ˈteɪbəl; ˈsæmˌsəŋ dɪˈvaɪsɪz lɔst ðɛr wɪrd kərvz ənd ˈstɑrtɪd tɪ bɪˈkəm mɔr skwɛrd. ðə noʊt 4 tʊk ɪt ə stɛp ˈfərðər baɪ θroʊɪŋ ðə dɪˈzaɪn kəmˈplitli aʊt ðə ˈwɪndoʊ ənd ˈfɑloʊɪŋ ðə pæθ əv ðə ˈgæləksi ə ˈsɪriz. ɪt wɑz ðə fərst ˈsæmˌsəŋ ˈflægˌʃɪp dɪˈvaɪs tɪ ʃɪp wɪθ ə ˈmɛtəl freɪm, bət stɪl ˈkɛrid ɔn ðə əˈbɪləˌti tɪ hæv ɪkˈspændəbəl ˈstɔrɪʤ ənd ə rɪˈmuvəbəl ˈbætəri. wəns ðə ˈgæləksi wɑz ˈdeɪbjutɪd ənd kənˈteɪnd noʊ rɪˈmuvəbəl ˈbætəri ənd noʊ ɪkˈspændəbəl ˈstɔrɪʤ, noʊt ˈjuzərz, ˌmaɪˈsɛlf ˌɪnˈkludɪd, bɪˈgæn tɪ ˈwəri. ʃʊr ɪˈnəf, ðə noʊt 5 wɑz əˈnaʊnst ɔn ˈɔgəst ənd ɪt keɪm wɪθ ə ˈmɛtəl freɪm wɪθ gərˈɪlə glæs 4 ˈflæŋkɪŋ ɪt ɔn ˈiðər saɪd. noʊ rɪˈmuvəbəl ˈbætəri ər ɪkˈspændəbəl ˈstɔrɪʤ. ˈsæmˌsəŋ ˈsækrəˌfaɪst wət ˈmɛni θɔt meɪd ðɛr dɪˈvaɪsɪz ˈpɑpjələr tɪ goʊ wɪθ ə mɔr ˈprimiəm ənd əˈpilɪŋ dɪˈzaɪn. aɪ məst seɪ, aɪ du θɪŋk ðə noʊt 5 ɪz dɪˈzaɪnd ˈvɛri wɛl. ɪt filz ˈɛksələnt ɪn ðə hænz, ðə ˈbətənz ə ˈvɛri ˈtækˌtaɪl ənd clicky*, ənd ðə foʊn həz noʊ ˈkriki ˈplæstɪk ˈɛniˌwɛr tɪ bi faʊnd. ðə noʊt 5 ɪz kənˈsɪdərəbəl ˈθɪnər æt ðən ðə noʊt ˈθɪknəs. nɑt ˈoʊnli ðət ɪt ɪz sˈlaɪtli lɛs waɪd ənd lɛs tɔl ˈkəmɪŋ ɪn æt ˈvərsəz ənd ˈvərsəz əv ðə ˈpriviəs dɪˈvaɪs. ɪt ɪz ˈprɪti ˌɪnˈkrɛdəbəl ðət ˈsæmˌsəŋ kən fɪt ðə seɪm ɪnʧ dɪˈspleɪ ɪn ə dɪˈvaɪs ðət ɪz lɛs waɪd. ðeɪ ˈɔlsoʊ stɪl faʊnd ə weɪ tɪ meɪk ðə dɪˈvaɪs ˈʃɔrtər ˈivɪn wɪθ ə sˈlaɪtli ˈlɑrʤər hoʊm ˈbətən tɪ əˈkɑməˌdeɪt ə ˈlɑrʤər ˈfɪŋgər prɪnt ˈsɛnsər. ɛz fər ðə rɛst əv ðə dɪˈvaɪs, ɪf ju rɛd ɑr ˈgæləksi ɛʤ ˌrivˈju ju ər ɔˈrɛdi ˈprɪti ɪn ðə greɪt ˈsæmˌsəŋ ˌridɪˈzaɪn. ðə frənt əv ðə dɪˈvaɪs stɪl lʊks laɪk ə ˈsæmˌsəŋ dɪˈvaɪs wɪθ ðə lɑrʤ hoʊm ˈbətən ɔn ðə ˈbɑtəm flæŋkt baɪ kiz ənd ðə juʤ ˈsæmˌsəŋ ˈbrændɪŋ ɔn ðə tɔp əv ðə dɪˈvaɪs əˈbəv ðə ˈspikər. ɛz ˈɔlˌweɪz, ðə paʊər ˈbətən kən bi faʊnd ɔn ðə raɪt saɪd əv ðə dɪˈvaɪs wɛˈræz ðə ˈvɑljum ˈbətənz ər ɔn ðə lɛft. ɔn ðə noʊt 5 ðə ˈvɑljum ˈbətənz ər tu ˈsɛpərˌeɪt ˈbətənz ˌɪnˈstɛd əv wən ˈrɑkər faʊnd ɔn ðə noʊt 4 laɪk aɪ ˈmɛnʃənd ˈərliər, ðə ˈbətənz ə ˈvɛri fərm ənd taɪt tɪ ðə ˈʧæsi, ˈsəmθɪŋ ðət ɪz ˈɔlˌweɪz əˈpriʃiˌeɪtɪd. ðə ˈʧɑrʤɪŋ pɔrt kən bi faʊnd ɔn ðə ˈbɑtəm nɛkst tɪ ðə ˈspikər ənd ˈhɛdˌfoʊn ʤæk. ɔn ðə noʊt 4 ðə ˈhɛdˌfoʊn ʤæk wɑz ɔn tɔp əv ðə dɪˈvaɪs ənd ðə ˈspikər wɑz ɔn ðə bæk. ðə steɪz pʊt, bət ðɪs taɪm ˈjuzɪz ə ˈmɛkəˌnɪzəm fər riˈlisɪŋ ðə pɛn frəm ɪts hoʊld. ðə bæk əv ðə noʊt 5 hoʊldz ə ˈsɛntərd ˈkæmərə wɪθ ðə flæʃ ənd hɑrt reɪt ˈmɑnətər ɔf tɪ ðə raɪt. ˈpriviəsli ðə flæʃ ənd hɑrt reɪt ˈmɑnətər wɑz faʊnd bɪˈloʊ ðə ˈkæmərə. ən ˈɪntəˌrɛstɪŋ θɪŋ əˈbaʊt ðə bæk əv ðə dɪˈvaɪs ɪz ðət ɪt kərvz daʊn təˈwɔrdz ðə ˈʧæsi, ˈɔlˌmoʊst laɪk ðə edge/edge*+ du ɔn ðə frənt. ðɪs meɪks ðə dɪˈvaɪs ɪkˈstrimli ˈkəmfərtəbəl tɪ hoʊld. ɔl hɛlp ɪz əˈpriʃiˌeɪtɪd wɪn ˈhoʊldɪŋ ə dɪˈvaɪs ðət həz ə glæs bæk ənd ˈraʊndɪd ˈmɛtəl ˈɛʤɪz. dɪˈspleɪ ðə dɪˈspleɪ, ɪz əˈmeɪzɪŋ. dɪd ju ɪkˈspɛkt ðət? ˈsæmˌsəŋ həz ˈɔlˌweɪz bɪn ðə ˈlidər ɪn dɪˈspleɪ tɛkˈnɑləʤi ənd ðɪs ɪnʧ ˈsupər dɪˈspleɪ ɪz noʊ ˈdɪfərənt. ðə noʊt 5 kəmz ɪn wɪθ 515 ʤɪst laɪk ɪts ˈprɛdəˌsɛsər, bət ðɪs dɪˈspleɪ ɪz məʧ mɔr ˈækjərət ənd ɪˈfɪʃənt (nɑt tɪ seɪ ðə noʊt wɑz ˈiðər). ˈkələrz ər ˈrɛplɪˌkeɪtɪd əˈmeɪzɪŋli ənd əv kɔrs ˈsæmˌsəŋ laɪks tɪ ˈsæʧərˌeɪt ðɛm, bət ðɛr dɪˈspleɪ dɪz ə greɪt ʤɑb. tɪ tɔp ɪt ɔl ɔf, ɪt ˈfiʧərz gərˈɪlə glæs 4 wɪʧ hoʊld ˈfɪŋgər prɪnts ənd ɪz ˈvɛri klɪr ənd ˈdʊrəbəl. ðə ˈpænəl ɔn ðə noʊt 5 meɪ hæv wən əv ðə bɛst ˈbraɪtnəs ˈreɪnʤɪz aɪ hæv sin soʊ fɑr ɪn ə dɪˈvaɪs. aɪ ˈnɛvər hæv ə hɑrd taɪm siɪŋ maɪ dɪˈspleɪ ɪn dɪˈrɛkt ˈsənˌlaɪt wɪʧ ɪz ˈjuʒəwəli ə ˈprɑbləm fər moʊst dɪˈvaɪsɪz. nɑt ˈoʊnli ðət, aɪ kən tərn ðə ˈbraɪtnəs ɔl ðə weɪ daʊn æt naɪt taɪm ənd ɪt blaɪnd mi æt ɔl. pərˈfɔrməns wɪn ðə noʊt 5 ˈrumərz wər flaɪɪŋ əraʊnd ˈæftər ðə wɑz əˈnaʊnst, ɪt wɑz lɔŋ ˈrumərd ðət ɪt wʊd ˈfiʧər ən ˈəpˌgreɪdɪd 7420 ˈprɑˌsɛsər, ðə 7422 wɛl ɪt tərnd aʊt ðət ˈsæmˌsəŋ θɔt ðə noʊt 5 wʊd du faɪn wɪθ ðə ˈstændərd 7420 ˈprɑˌsɛsər ənd ʤɪst pæk əˈnəðər ˈgɪgəˌbaɪt əv ræm ɔn bɔrd. hu kən bleɪm ðɛm? ðə 7420 ɪz stɪl əˈməŋ ðə tɔp pərˈfɔrmɪŋ ˈprɑˌsɛsərz ɪn ðə ˈmoʊbəl wərld. wɪθ ðə 7420 ˈprɑˌsɛsər wɪʧ həz fɔr kɔrz klɑkt æt ənd fɔr mɔr kɔrz klɑkt ənd 4 əv ræm, ðə noʊt kən ɛˈsɛnʃəli boʊl ˈɛniˌθɪŋ ˈoʊvər. ɪt paʊərz θru ˈbɛnʧˌmɑrks ənd kən noʊ ˈprɑbləm. aɪ wɑz ˈæˌkʧuəli ˈrɪli ˌɪmˈprɛst wɪθ ðɪs ˈfiʧər ðɪs jɪr ɛz ˈnɪrli ɔl æps kən bi ˈhændəld saɪd baɪ saɪd, ˈmaɪnəs ðə ˈkæmərə. ju kən ˈizəli wɔʧ ə ˈjuˌtub ˈvɪdioʊ waɪl θru jʊr nuz fid. ˌɔlˈðoʊ ɪt kən paʊər θru ˈbɛnʧˌmɑrks ənd ˈməltiˌtæskɪŋ, ɪt stɪl həz. aɪ məst seɪ, ðə noʊt 5 ɪz ðə bɛst ˈrənɪŋ ˈsæmˌsəŋ dɪˈvaɪs wɪθ ɪts oʊn ˈsɔfˌwɛr, bət ɪt stɪl həz ɪts ˈɪʃuz. ˈsæmˌsəŋ ɪmˈplɔɪz əˈgrɛsɪv ræm ˈmænɪʤmənt fər ənˈnoʊn ˈrizənz, ˌɔlˈðoʊ ˈmɛni θɪŋk ɪts tɪ kip fluɪd. ɪt ðə wərst θɪŋ, bət wɪn ju ər goʊɪŋ bæk θru jʊr ˈoʊpənd æps, ɪt wɪl hæv tɪ kəmˈplitli riˈloʊd. fər ə dɪˈvaɪs wɪθ 4 əv ræm, ɪt ɪz kaɪnd əv ˌdɪsˈhɑrtnɪŋ, maɪ ˈnɛksəs 5 dɪd ə ˈbɛtər ʤɑb. ˌɔlˈðoʊ aɪ seɪ ðət, lɛt ðət dɪˈtər ju. ðə noʊt 5 ɪz baɪ fɑr ðə bɛst pərˈfɔrmɪŋ dɪˈvaɪs aɪ hæv ˈɛvər juzd, ˈivɪn wɪθ ɪts flɔz. ðɛr ɪz ʤɪst noʊ ˈprɑˌsɛsər ɔn ðə ˈmɑrkɪt ɛz əv ðɪs ˌrivˈju ðət kən kəmˈpit. ɪf ˈoʊnli ðɛr wɑz ə ˈgugəl pleɪ ɪˈdɪʃən, wi kʊd si ðə tru pəˈtɛnʃəl əv ˈhɑrdˌwɛr ɔn ə stɑk ˈɔpərˌeɪtɪŋ ˈsɪstəm. wət kips ðə noʊt ˈsɪriz əˈweɪ frəm vəˈnɪlə ˈænˌdrɔɪd, ɪz ɪts ˈtreɪdˌmɑrkt. aɪ hæv juzd ðə noʊt 3 ənd noʊt 4 ˈpriviəsli, ənd ðə noʊt ɪz ə juʤ ˈəpˈgreɪd. ðə ˈɪnərˌfeɪs fər ˈjuzɪŋ ðə ɪz məʧ ˈiziər tɪ ˈnævəˌgeɪt ənd ɪt ˈɔlsoʊ əˈlaʊz fər ˈjuzərz tɪ æd ðɛr oʊn ˈʃɔrtˌkəts tɪ ˈsɔfˌwɛr. ɔn tɔp əv ðət, ðə simz mɔr ˈsɛnsɪtɪv ðən ˈɛvər ənd ˈrɛplɪˌkeɪts ˈrilˌwərld ˈraɪtɪŋ ˈvɛri wɛl. əˈlɔŋ wɪθ ðə ˈəpˌdeɪtɪd ˈɪnərˌfeɪs ənd, ðə noʊt 5 ˌɪnˈkludz ə nu ˈfiʧər. wɪn ðə skrin ɪz ɔf, ju ər ˈeɪbəl tɪ riˈmuv ðə ənd raɪt ɔn ðə blæk skrin ənd teɪk noʊts ˈɪnstəntli. ðɪs ɪz θæŋks tɪ ðə greɪt dɪˈspleɪ ɔn ðə dɪˈvaɪs. ˈkæmərə əˈlɔŋ wɪθ ðə dɪˈspleɪ, ˈsæmˌsəŋ ˈɔlsoʊ teɪks ˈɛkstrə praɪd ɪn haʊ ðɛr ˈkæmərə ˈfəŋkʃənz. ˈsæmˌsəŋ ˈɔlˌweɪz goʊz ɪn ðə ˈɪmɪʤɪŋ dɪˈpɑrtmənt, soʊ ðət minz ðə noʊt 5 ɪz noʊ ˈdɪfərənt. ðə noʊt 5 ˈfiʧərz ðə seɪm 16 ˈkæmərə faʊnd ɔn ɪts ˈjəŋgər ˈsɪblɪŋz ˈərliər ðɪs jɪr, ˈminɪŋ ɪt həz ən ˈæpərʧər greɪt fər. tɪ tɔp ðət ɔf, ɪt həz ˈɑptɪkəl ˈɪmɪʤ ˌsteɪbələˈzeɪʃən. ɔn ðə frənt, ɪt həz ə 5 ˈkæmərə wɪθ ˈɔtoʊ hdr*. ˈsæmˌsəŋ həz ˈfaɪnəli faʊnd ə gʊd ˈbæləns bɪtˈwin ˈkipɪŋ ðə ˈɪmɪʤ ˈlʊkɪŋ nis ənd nɑt ˈoʊvər ˈʃɑrpənɪŋ. aɪ hæv faʊnd ðət ðə məˈʤɔrəti əv maɪ ˈpɪkʧərz ər ɛz krɪsp ɛz ˈɛvər ənd lʊk əˈmeɪzɪŋ wɪn bloʊn əp ɔn ə ˈmɑnətər. wəns əˈgɛn, ðə ˈkæmərə ɪz ˈoʊnli ə ˈdəbəl prɛs əv ðə hoʊm ˈbətən əˈweɪ, wɪʧ ˈlɔnʧɪz ɪn ˈəndər 7 ˈsɛkəndz. aɪ ˈnɛvər hæv ən ˈɪʃu wɪθ ˈsæmˌsəŋ ˈkæmərəz, soʊ ðə noʊt 5 ɪz noʊ ˈdɪfərənt. ˈkələrz kəm əp ˈnaɪsli ənd ˈtɛksʧər ɪz ˈrɛplɪˌkeɪtɪd ˈvɛri, ˈvɛri wɛl. ɪt ˈɔlsoʊ ɪkˈsɛlz æt ɪkˈstrim close-ups*, bət wɪn ðə ˈsəbʤɪkt ɪz fɑr əˈweɪ, ɪt ˈnæʧərəli ˈluzɪz aʊt ɔn ˈditeɪl. ˈivɪn wɪθ ən ˈæpərʧər, ʃɑts stɪl ʃoʊ səm nɔɪz, bət ðət ɪz ɪkˈspɛktɪd. ɪt stɪl kəmz əp ˈbɛtər ðən ɪkˈspɛktɪd ɪn maɪ əˈpɪnjən. əˈspɛʃəli wɪn kəmˈpɛrɪŋ ɪt tɪ ˈəðər dɪˈvaɪsɪz. ɪf ju wʊd laɪk tɪ si ðə ˈɪmɪʤɪz æt fʊl ˌrɛzəˈluʃən, hɛd ˈoʊvər tɪ hir. ðə ˈpɪkʧər əv ðə bləd mun wɑz ˈteɪkən æt fʊl ˈdɪʤɪtəl zum, aɪ ʤɪst θru ɪt ɪn hir fər fən. ˈbætəri ˈkəmɪŋ ɔf əv ˈjuzɪŋ ðə ˈgæləksi ɛʤ, aɪ nu ðət ðə 7420 ˈprɑˌsɛsər wɑz ˈdɛfənətli ɪˈfɪʃənt, ðə ˈprɑbləm wɑz ðət ˈsæmˌsəŋ pækt ə ˈbætəri ɪn ðə dɪˈvaɪs ðət wɑz kənˈsɪdərəbli sˈmɔlər ðən ɪts ˈprɛdəˌsɛsər. tɪ noʊ səˈpraɪz, ˈsæmˌsəŋ kət səm ˈbætəri saɪz tɪ kip ðə dɪˈvaɪs ɛz θɪn ɛz ˈpɑsəbəl. ðət livz ˈjuˈɛs wɪθ ə mɑ ˈbætəri ˈvərsəz ðə mɑ ˈbætəri faʊnd ɪn ðə noʊt 4 ɪn ðɪs ˌsɪʧuˈeɪʃən, ðə gʊd ˈdɛfənətli ˈaʊtˌweɪz ðə bæd ɛz ðə 7420 sɪps paʊər ənd livz ðə noʊt 5 ˈlæstɪŋ kwaɪt əˈwaɪl. ɪt meɪks mi ˈwəndər ðoʊ, haʊ məʧ ˈlɔŋgər ðə ˈbætəri wʊd hæv ˈlæstɪd ɪf ðə ˈbætəri wʊd hæv steɪd ðə seɪm saɪz. aɪ wʊd kənˈsɪstəntli gɪt æt list 4 aʊərz əv skrin ɔn taɪm ɪn ə fʊl deɪ. maɪ deɪ kənˈsɪsts əv goʊɪŋ tɪ skul, wɛr ˈsərvɪs ɪz ˈtɛrəbəl fər 8 aʊərz, tɪ wərk fər 6 aʊərz wɛr ˈsərvɪs ɪz ˈɛksələnt. ðɪs wʊd bi ˈmoʊstli wɪˈθaʊt ˈwiˌfi, ɛz moʊst rəvˈjuz aɪ si bræg əˈbaʊt əˈmeɪzɪŋ skrin ɔn taɪm, bət kəˈnɛktɪd tɪ ˈwiˌfi. ðə ˈstændˈbaɪ taɪm ɪz ˈɔlsoʊ kwaɪt gʊd, ɛz aɪ kʊd liv ɪt sɪt ˈoʊvər naɪt ənd luz ˈəndər 3 ˈbætəri. ðə ˈrizən aɪ ˈmɛnʃən ɔl əv ðɪs ɪz bɪˈkəz ˈbætəri laɪf ɪz soʊ dɪˈpɛndənt ɔn kənˈdɪʃənz, soʊ aɪ traɪ tɪ gɪt ðə bɛst ˌrɛprəzɛnˈteɪʃən ɛz ˈpɑsəbəl. kənˈkluʒən ˌɔlˈðoʊ ðə ˈgæləksi noʊt 5 læks səm ˈfiʧərz ðət meɪd ɪt user”*” ˈfrɛndli ɪn ðə pæst, ɪt meɪks əp fər ɪt ɪn dɪˈzaɪn ənd rɑ pərˈfɔrməns. ˈsæmˌsəŋ ˈfaɪnəli lʊks laɪk ðeɪ ər traɪɪŋ tɪ bɪld ənd ˈɪnəˌveɪt ˈrəðər ðən steɪ ˈstætɪk wɪθ wət ðeɪ noʊ. ðə ˈrædɪkəl ˌridɪˈzaɪn ˈkəpəld wɪθ ðə ˈnuli ˌɪmˈpruvd meɪks ðə noʊt ɛz gʊd ɛz ˈɛvər. ðə noʊt 5 həz sin ən ˈəpˈgreɪd ɪn ˈɛvəri ˈkætəˌgɔri frəm dɪˈzaɪn, tɪ pərˈfɔrməns, tɪ ˈivɪn ˈsɔfˌwɛr. ɪt ɪz ˈdɛfənətli ə ˈwərði dɪˈvaɪs, noʊ ˈmætər ðə slaɪt ˈprɑbləmz ðət ɪt ɪz. ðə ˈɪʃuz wɪθ ər fɑr aʊtˈweɪd baɪ ðə əˈbɪləˌti fər ðə 7420 ˈprɑˌsɛsər tɪ paʊər θru. ðə seɪm goʊz fər ðə rɪˈmuvəbəl ˈbætəri ɛz ɪt ɪz mɔr ðən ɪˈnəf tɪ gɪt mi θru ə deɪ, əˈspɛʃəli wɪθ kwɪk ˈʧɑrʤɪŋ. ðə ˈoʊnli θɪŋ ðət ju ˌriˈpleɪs ɪz ɪkˈspændəbəl ˈstɔrɪʤ. ˈoʊvərˌɔl, ðə rɑ pərˈfɔrməns ənd ˈəpˌdeɪtɪd dɪˈzaɪn maɪt bi ɪˈnəf tɪ gɪt ju tɪ ˈəpˈgreɪd frəm ðə noʊt 4 ər əˈnəðər phablet*, bət fil laɪk ju hæv tɪ.
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9.2 excellent the galaxy note 5 is packed with the highest-end specs on the market. it performs well, but just like every samsung device it has its hiccups. it's sad to see the removable battery and expandable storage go, but the performance and build quality almost make up for it. design 9.5
display 9.8
performance 9.2
camera 9.1
battery 8.5
user ratings ( 3 votes) 9.7
the galaxy note series has never really seen a flop as the galaxy s series did with the s5, but samsung continues to alter their device’s appearance. it started earlier this year where samsung debuted a completely revamped galaxy s6 that featured no plastic on the device at all. it was inevitable that the galaxy note 5 would receive the same treatment, but was it warranted?
the galaxy note line has always been dubbed the “power user” device, but it also included a removable battery and expandable storage. many longtime galaxy note cried foul once the note 5 was announced and it was to bypass the “power user” features. does not having a removable battery and expandable storage ruin the note line? is glass and metal really all that? let’s take a look.
design
before 2015, samsung was always mocked for their lack of thought when it came to their phone designs. it was usually the s series that caught all of the flack as the note series would build upon what the consumers liked and disliked. the note 3 was a huge upgrade to what the s4 brought to the table; samsung devices lost their weird curves and started to become more squared.
the note 4 took it a step further by throwing the s5’s design completely out the window and following the path of the galaxy a series. it was the first samsung flagship device to ship with a metal frame, but still carried on the ability to have expandable storage and a removable battery.
once the galaxy s6 was debuted and contained no removable battery and no expandable storage, note users, myself included, began to worry. sure enough, the note 5 was announced on august and it came with a metal frame with gorilla glass 4 flanking it on either side. no removable battery or expandable storage. samsung sacrificed what many thought made their devices popular to go with a more premium and appealing design.
i must say, i do think the note 5 is designed very well. it feels excellent in the hands, the buttons a very tactile and clicky, and the phone has no creaky plastic anywhere to be found. the note 5 is considerable thinner at 7.6 mm than the note 4’s 8.5 mm thickness. not only that it is slightly less wide and less tall coming in at 76.1 mm versus 78.6 mm and 153.2 mm versus 153.5 mm of the previous device. it is pretty incredible that samsung can fit the same 5.7 inch display in a device that is 2.5 mm less wide. they also still found a way to make the device shorter even with a slightly larger home button to accommodate a larger finger print sensor.
as for the rest of the device, if you read our galaxy s6 edge review you are already pretty well-versed in the great samsung redesign. the front of the device still looks like a samsung device with the large home button on the bottom flanked by capacitive keys and the huge samsung branding on the top of the device above the in-call speaker.
as always, the power button can be found on the right side of the device whereas the volume buttons are on the left. on the note 5 the volume buttons are two separate buttons instead of one rocker found on the note 4. like i mentioned earlier, the buttons a very firm and tight to the chassis, something that is always appreciated. the charging port can be found on the bottom next to the re-located speaker and re-located headphone jack. on the note 4 the headphone jack was on top of the device and the speaker was on the back. the s-pen stays put, but this time uses a push-to-eject mechanism for releasing the pen from its hold.
the back of the note 5 holds a centered camera with the flash and heart rate monitor off to the right. previously the flash and heart rate monitor was found below the camera. an interesting thing about the back of the device is that it curves down towards the chassis, almost like the s6 edge/edge+ do on the front. this makes the device extremely comfortable to hold. all help is appreciated when holding a device that has a glass back and rounded metal edges.
display
the display, is amazing. did you expect that?
samsung has always been the leader in display technology and this 5.7 inch super amoled qhd display is no different. the note 5 comes in with 515 ppi just like its predecessor, but this display is much more accurate and efficient (not to say the note 4’s was either). colors are replicated amazingly and of course samsung likes to saturate them, but their display does a great job. to top it all off, it features gorilla glass 4 which doesn’t hold finger prints and is very clear and durable.
the amoled panel on the note 5 may have one of the best brightness ranges i have seen so far in a device. i never have a hard time seeing my display in direct sunlight which is usually a problem for most devices. not only that, i can turn the brightness all the way down at night time and it doesn’t blind me at all.
performance
when the note 5 rumors were flying around after the s6 was announced, it was long rumored that it would feature an upgraded exynos 7420 processor, the 7422. well it turned out that samsung thought the note 5 would do fine with the standard 7420 processor and just pack another gigabyte of ram on board. who can blame them? the exynos 7420 is still among the top performing processors in the mobile world.
with the exynos 7420 processor which has four cores clocked at 2.1 ghz and four more cores clocked 1.5 ghz and 4 gb of lpddr4 ram, the note can essentially bowl anything over. it powers through benchmarks and can multi-task no problem. i was actually really impressed with this feature this year as nearly all apps can be handled side by side, minus the camera. you can easily watch a youtube video while scrolling through your news feed.
although it can power through benchmarks and multitasking, it still has touchwiz. i must say, the note 5 is the best running samsung device with its own software, but it still has its issues. samsung employs aggressive ram management for unknown reasons, although many think its to keep touchwiz fluid. it isn’t the worst thing, but when you are going back through your opened apps, it will have to completely reload. for a device with 4 gb of ram, it is kind of disheartening, my nexus 5 did a better job.
although i say that, don’t let that deter you. the note 5 is by far the best performing device i have ever used, even with its flaws. there is just no processor on the market as of this review that can compete. if only there was a google play edition, we could see the true potential of samsung’s hardware on a stock operating system.
what keeps the note series away from vanilla android, is its trademarked s-pen. i have used the note 3 and note 4 previously, and the note 5’s s-pen is a huge upgrade. the interface for using the s-pen is much easier to navigate and it also allows for users to add their own shortcuts to software.
on top of that, the s-pen seems more sensitive than ever and replicates real-world writing very well. along with the updated interface and s-pen, the note 5 includes a new feature. when the screen is off, you are able to remove the s-pen and write on the black screen and take notes instantly. this is thanks to the great amoled display on the device.
camera
along with the display, samsung also takes extra pride in how their camera functions. samsung always goes top-of-the-line in the imaging department, so that means the note 5 is no different. the note 5 features the same 16 mexapixel camera found on its younger siblings earlier this year, meaning it has an f/1.9 aperture great for low-light. to top that off, it has optical image stabilization. on the front, it has a 5 megapixel camera with auto hdr.
samsung has finally found a good balance between keeping the image looking nice and not over sharpening. i have found that the majority of my pictures are as crisp as ever and look amazing when blown up on a monitor. once again, the camera is only a double press of the home button away, which launches in under .7 seconds.
i never have an issue with samsung cameras, so the note 5 is no different. colors come up nicely and texture is replicated very, very well. it also excels at extreme close-ups, but when the subject is far away, it naturally loses out on detail. even with an f/1.9 aperture, low-light shots still show some noise, but that is expected. it still comes up better than expected in my opinion. especially when comparing it to other devices. if you would like to see the images at full resolution, head over to here.
the picture of the blood moon was taken at full 10x digital zoom, i just threw it in here for fun.
battery
coming off of using the galaxy s6 edge, i knew that the exynos 7420 processor was definitely efficient, the problem was that samsung packed a battery in the device that was considerably smaller than its predecessor. to no surprise, samsung cut some battery size to keep the device as thin as possible. that leaves us with a 3,000 mah battery versus the 3,220 mah battery found in the note 4.
in this situation, the good definitely outweighs the bad as the exynos 7420 sips power and leaves the note 5 lasting quite awhile. it makes me wonder though, how much longer the battery would have lasted if the battery would have stayed the same size.
i would consistently get at least 4 hours of screen on time in a full day. my day consists of going to school, where service is terrible for 8 hours, to work for 6 hours where service is excellent. this would be mostly without wifi, as most reviews i see brag about amazing screen on time, but it’s connected to wifi. the standby time is also quite good, as i could leave it sit over night and lose under 3% battery. the reason i mention all of this is because battery life is so dependent on conditions, so i try to get the best representation as possible.
conclusion
although the galaxy note 5 lacks some features that made it “power user” friendly in the past, it makes up for it in design and raw performance. samsung finally looks like they are trying to build and innovate rather than stay static with what they know. the radical redesign coupled with the newly improved s-pen makes the note as good as ever.
the note 5 has seen an upgrade in every category from design, to performance, to even software. it is definitely a worthy device, no matter the slight problems that it is. the issues with samsung’s touchwiz are far outweighed by the ability for the exynos 7420 processor to power through. the same goes for the removable battery as it is more than enough to get me through a day, especially with quick charging. the only thing that you can’t replace is expandable storage.
overall, the raw performance and updated design might be enough to get you to upgrade from the note 4 or another phablet, but don’t feel like you have to.
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ˈhɔrər ˈsɪnəmə həz ˈnɛvər ʃaɪd əˈweɪ frəm ˈvaɪələns, gɔr, ənd sɛks, ˈfrikwɛntli dɪˈpɪktɪŋ ðə ˈfiˌmeɪl lidz ɪn ə ˈfæʃən. ˈnudɪti ɪz səˈnɑnəməs wɪθ fraɪt flɪks, bət ðə ˈwɪmən əv ˈhɔrər hæv pleɪd ə ˈpɪvətəl roʊl ɪn ˈmeɪkɪŋ ðiz ˈmuviz ə səkˈsɛs. ðə skrim kwin kən ˈsɪmpli bi ə ˈvɪktɪm ər ə ʃˈrikɪŋ ˈdæmzəl ɪn dɪˈstrɛs ˈweɪtɪŋ tɪ bi seɪvd baɪ hər meɪl co-star*, bət ðə roʊl əv ðə skrim kwin həz ɪˈvɑlvd ˈɪntu ˈsəmθɪŋ fɑr mɔr ˈkɑmplɛks. ɪn ðə ˈspɪrɪt əv ðə ˈsizən əv ðə jɪr, ˈhaɪˌlaɪtɪd 15 əv ðə ˈgreɪtəst skrim kwinz əv ɔl taɪm ðoʊz hu fɔt ˈmɑnstərz ənd ˈəðərz huz ˈvoʊkəlz lɛft ə ˈlæstɪŋ ˌɪmˈprɛʃən. ˈʤænɪt li li tʊk ðə moʊst ˈfeɪməs ʃaʊər ɪn ˈhɪstəri wɪn ʃi stɑrd ɪn ˈælfrɪd ˈsaɪkoʊ, fər wɪʧ ʃi wən ðə bɛst səˈpɔrtɪŋ ˈæktrəs ˈgoʊldən gloʊb. ðə dɪˈrɛktər ʃɑkt ˈɔdiənsəz wɪn ˈkɛrɪktər daɪd ɪn ðə fərst ækt əv ðə fɪlm, ˈsɛndɪŋ ðə ˈmɛsɪʤ tɪ vjuərz ðət noʊ wən wɑz seɪf frəm ðə beɪts ˈlumɪŋ ˈmɛnɪs. fən fækt: ðə ˈæktrəs wɪθ ˈdɔtər ənd ˈfɛloʊ skrim kwin ˈʤeɪmi li ˈkərtɪs ɪn ðə fɔg ənd ˌhæləˈwin ˈʤeɪmi li ˈkərtɪs ˈʤeɪmi li curtis’*’ ˈməðər wɑz ə ˈfeɪməs skrim kwin, soʊ ðə ˈʒɑnrə wɑz ɛˈsɛnʃəli ɪn hər bləd. ʃi gɑt hər fərst bɪg breɪk ɪn 1978 wɪn ʃi ˈbætəld ˈmərdərər ˈmaɪkəl maɪərz ɪn ˌhæləˈwin. ˈkərtɪs bɪˈkeɪm ðə moʊst ˈfeɪməs ˈhɔrər fɪlm ˈfiˌmeɪl lɛd əv ðə taɪm, ˈhɛlpɪŋ ʤɑn sˈlæʃər teɪk hoʊm ðə ˈtaɪtəl əv ˌɪndɪˈpɛndənt ˈmuvi ˈɛvər meɪd æt ðət taɪm. ˈkərtɪs wɛnt ɔn tɪ stɑr ɪn ˈəðər kəlt ˈklæsɪks, səʧ ɛz ðə fɔg ənd prɑm naɪt, bət ˈɔlˌweɪz bi rɪˈmɛmbərd ɛz ˌɪnfluˈɛnʃəl ˈfaɪnəl gərl ˈlɔri stroʊd ɪn ˈmuvi. ˈhɛðər moʊst ˈfeɪməs fər hər roʊl ɛz ˈnænsi ˈtɑmsən ɪn ðə ˈnaɪtˌmɛr ɔn ɛlm strit ˈsɪriz, ˈhɛðər lʊkt laɪk ðə ˈtɪpɪkəl gərl nɛkst dɔr. dɪˈrɛktər wɛs ˈkreɪvən kənˈsɪdərd hər ðə hɑrt ənd soʊl əv ðə səˈbərbən ˈnaɪtˌmɛr teɪl. waɪl moʊst skrim kwinz əv ðə ɪgˈzudɪd sɛks, pleɪd əˈgɛnst taɪp ɛz ðə ˈvərʤənəl, riˈsɔrsfəl, ˌɪnˈtɛləʤənt jəŋ ˈwɪmən ənd ʃi wɑz bəˈlivəbəl. ˈnænsi wɑz ə ˈwərði ˈædvərˌsɛri fər ʧaɪld ˈkɪlər ˈfrɛdi ˈkrugər. ʃi weɪt əraʊnd fər ˈɛni mæn tɪ seɪv hər ənd dəv raɪt ˈɪntu drim wərld tɪ feɪs ɪm head-on*. ɑdriˈɛn kɪŋ kɪŋ sɛt ðə ˈstændərd fər ˈfraɪˌdeɪ ðə ˈfaɪnəl gərlz. ʃi pleɪd ðə ˈtɪpɪkəl kæmp ˈkaʊnsələr ˈkɛrɪktər (ɪn hər keɪs, ˈælɪs) hu teɪk drəgz, buz ɪt əp, ər hæv sɛks ənd ˈðɛrˌfɔr, lɪvd tɪ bit ˈʤeɪsən ˈvʊrhiz. bət laɪk moʊst ˈfaɪnəl gərlz ɪn ðə ˈsəmər kæmp sˈlæʃər, ʃi ɪˈvɛnʧəwəli mɛt hər ˈmeɪkər ɪn ðə nɛkst fɪlm. feɪ reɪ ðə ˈæktrəs wən ðə pɑrt əv kɪŋ kɔŋg ˈkæptɪv æn ˈdɛroʊ ˈoʊvər ˈdɔrθi ˈʤɔrdən, ʤin ˈhɑrloʊ, ənd ˈʤɪnʤər ˈrɑʤərz. ɪt wɑz ðə roʊl əv ə ˈlaɪfˌtaɪm, bət ðə skrim kwin hæd pɑrts ɪn ˈəðər ˈʒɑnrə ˈpɪkʧərz ˈdʊrɪŋ hər ˈkɑnˌtrækt fər ˈreɪdiˌoʊ ˈpɪkʧərz. wɪn dɪˈrɛktər si. ˈkupər pɪʧt hər ðə roʊl, hi toʊld hər: hæv ðə ˈtɔlɪst, ˈdɑrkəst ˈlidɪŋ mæn ɪn hollywood.”*.” ʃi θɔt hi wɑz rɪˈfərɪŋ tɪ ˈkɛri grænt. ˌdænˈjɛl ˈhɛrɪs ˈhɛrɪs ɪz ðə ˈjəŋgəst skrim kwin ɪn ˈhɔrər ˈhɪstəri, θæŋks tɪ ˈstɑrɪŋ roʊlz ɪn ˌhæləˈwin 4 ənd 5 ʃi gru əp ənd rɪˈtərnd tɪ ðə ˈʒɑnrə, bɪˈkəmɪŋ ðə ˈoʊnli ˈhɔrər ˈæktrəs tɪ stɑr ɪn ən ərˈɪʤənəl ˈsɪriz ənd ɪts ˈriˈmeɪk (rɑb əv ðə ˈsɪriz). wɑz ˈfrikɪŋ ɪgˈzɔstɪŋ ˈfaɪtɪŋ ðiz ʤaɪənt gaɪz ənd kaɪnd əv ˈhævɪŋ tɪ ˈkɛri ðə ˈmuvi ˈfɪzɪkəli ɛz wɛl ɛz ˈiˌmoʊʃnəli, bɪˈkəz ðə ˈfaɪnəl gərl həz tɪ du boʊθ əv ðoʊz θɪŋz, ənd həz tɪ ˈkɛri ðə ˈɔdiəns θru ðə ˈʤərni əv survival,”*,” ˈhɛrɪs toʊld buzzfeed*. ən ˈɪntəˌrɛstɪŋ challenge.”*.” niv ˈkæmbəl niv ˈkæmbəl ɪz ˈɔfən vjud ɛz ə ˈmɑdərn ˈhɛðər əˈnəðər riˈsɔrsfəl taɪp bət hər ˈsɪdni ˈprɛskɑt ɪn ðə skrim ˈsɪriz ˌəndərˈstʊd ðə rulz əv sˈlæʃər ˈsɪnəmə (ɪn ə sɛt əv fɪlmz ðət ˌəndərˈstʊd ðə rulz) ənd juzd ðɛm (ˈmoʊstli) tɪ hər ædˈvæntɪʤ. ˈkæmbəl wɑz ə ˈnæʧərəl wɪn ɪt keɪm tɪ ˈkɛvɪn ˈstaɪˌlaɪzd, ˈdaɪəˌlɔg ənd bɪˈkeɪm ə ˈlidɪŋ ˈaɪkɑn əv ˈhɔrər. ˈbɑrbərə ˈkræmptən ˈɑpəzɪt frəm ðə ˈhɛðərz ənd nivz ɔn ɑr lɪst ɪz ˈbɑrbərə ˈkræmptən ə skrim kwin hu wɑz nɑt əˈfreɪd tɪ ʃɛd hər kloʊðz ˈfrikwɛntli rɪˈmɛmbərd fər hɛd scene”*” ɪn re-animator*), bət ðə ˈæktrəs həz ˈæktɪŋ ʧɑps tɪ but. wən əv ðə ˈgreɪtəst skrim kwinz əv ðə, ˈkræmptən kənˈtɪnjuz tɪ stɑr ɪn ˈʒɑnrə ˈmuviz ənd kən bi sin ɪn ˈædəm hoʊm ˌɪnˈveɪʒən fɪlm, nɛkst. ˈbɑrbərə stil stil ɪz bɛst rɪˈmɛmbərd ɛz ˈmɑrioʊ mjuz ɪn ðə ˌɪˈtæljən ˈgɑθɪk ˈhɔrər ˈmæstərˌpis, blæk ˈsənˌdi. ʃi wɑz əˈdɛpt æt pleɪɪŋ ðə ˈfaɪnəl gərl ər ðə ˈmɑnstər, ənd hər ɪgˈzɑtɪk lʊks ˈsɛpərˌeɪtɪd hər frəm ðə ˌstɛrioʊˈtɪpɪkəl blɑnd ˈstɑrləts ˈfiʧərd ɪn ˈkaʊntləs ˈhɔrər fɪlmz. ˈlɪniə kˈwɪgli ɪf ju wɔnt tɪ noʊ əˈbaʊt ˈlɪniə kˈwɪgli, lʊk noʊ ˈfərðər ðən ðə ˈnɪpəl scene”*” ɪn naɪt əv ðə ˈdimənz ər rɪˈtərn əv ðə ˈlɪvɪŋ dɛd, wɛr ðə ˈæktrəs ˈdænsɪz ˈneɪkəd ɪn ə ˈsɛmɪˌtɛri. kˈwɪgli wɑz ˈfrikwɛntli sin ɪn ðə flɛʃ, ənd ʃi mɛt ə lɔt əv ˈtɛrəbəl ɛndz, ˈmeɪkɪŋ hər ðə ˈfiˌmeɪl ʤɑn (ˈkænəbəl ferox*). məˈgi ðə ˈæktrəs stɑrd ɛz ðə ləv ˈɪntəˌrɛst əv ðə ˈvæmpaɪr ɪn ɪn ðə ˈpɛrədi ənd rɪˈmeɪnz wən əv ðə fju ˈæfrɪkənəˈmɛrɪkən skrim kwinz ˈfiʧərd ɪn ə ˈprɑmənənt roʊl. ʃi hɛlpt peɪvd ðə weɪ fər kənˈtɛmpərˌɛriz laɪk sɔ gʊd. ˈmɛrəlɪn bərnz ðə ˈtɛksəs ˈʧeɪnˌsɔ ˈmæsəkər ɪz nɑt ˈnɪrli ɛz ˈgɔri ɛz moʊst ˈɔdiənsəz θɪŋk, soʊ ðə ˈoʊnəs wɑz ɔn bərnz tɪ ˈhaɪtən ðə ʧɪlz θru hər ˈiˌmoʊʃənəl riˈækʃən tɪ ðə ˈgrusəm sinz ənd groʊˈtɛsk ˈkɛrɪktərz. ʃi ərnd hər skrim kwin ˈtaɪtəl baɪ ˈspɛndɪŋ ðə læst ˈθərˌdi ˈmɪnəts əv baɪ duɪŋ ˈnəθɪŋ bət ˈskrimɪŋ. wən əv ðə ˈfaɪnəl freɪmz, ˈfiʧərɪŋ ə ˈblədi bərnz ɪˈskeɪpɪŋ ðə məˈnaɪəkəl ɪn ðə bæk əv ə ˈpɪˌkəp trək, ɪz bərnd ˈɪntu ðə ˈmɛməri əv ˈhɔrər fænz. burns’*’ staɪl wɑz ˈnæʧərəl ənd bəˈlivəbəl, ˈpʊtɪŋ ˈɔdiənsəz ˈfərðər ɔn ðə ɛʤ əv ðɛr sits. ˈæʃli ˈlɔrəns ɪz wən əv ðə moʊst ˈtɛrəˌfaɪɪŋ ˈhɔrər ˈvɪlənz ɔn fɪlm, bət ˈæʃli wɛnt wɪθ ðə ɪn tu ˈdɪfərənt ˈmuviz. ɪn ðə fərst fɪlm, ɪz ˈɪnəsənt ənd dɪˈpɪktɪd ɛz ə ˈfɛri ˈkɛrɪktər, ˈmeɪkɪŋ hər mɔr əv ə ˈvɪktɪm. baɪ ˈhɛˌlreɪzər ii*, mɔr ˈsævi ənd ˌənəˈfreɪd tɪ ˈvɛnʧər ˈɪntu hɛl tɪ faɪt ənd feɪs hər ˈwɪkəd ˈstɛpˌməðər. ɑdriˈɛn bɑrˈboʊ ɑdriˈɛn bɑrˈboʊ wɑz ə skrim kwin sɛks ˈsɪmbəl ˈdʊrɪŋ ðə ənd wɑz ˈivɪn ˈmɛrid tɪ ˈʒɑnrə dɪˈrɛktər ʤɑn ˈkɑrpəntər (ənd stɑrd ɪn hɪz fɪlm ðə fɔg). hər əˈpɪrəns ɪn swɔmp θɪŋ ənd ər ˈəðər fæn ˈfeɪvərɪts. ʃi rɪˈtərnd tɪ ðə ˈkripi ˈstɔriz əv hər pæst wɪn ʃi pleɪd ðə sneɪk ˈdænsər ˈruθi ɪn carnivàle*. ˈɛvəlɪn ˈnɪkˌneɪmd ðə əv ðə screamers,”*,” ɪz ˈsəmˌtaɪmz kənˈsɪdərd ðə ərˈɪʤənəl skrim kwin du tɪ hər ˈərli roʊlz fər ˌjunəˈvərsəl ˈstudiˌoʊz, ˌɪnˈkludɪŋ ðə ˈwʊlfmən, sən əv ˈdrækjulə, ənd ðə ˌɪnˈvɪzəbəl riˈvɛnʤ. ˈivɪn ðoʊ ʃi əˈpɪrd ˈɑpəzɪt ˈhɔrər ˈaɪkɑn lɑn ˈʧeɪni jr*. ɪn ˈɔlˌmoʊst tɛn fɪlmz, ðə tu stɑrz rɪˈpɔrtədli ˈheɪtɪd iʧ ˈəðər.
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horror cinema has never shied away from violence, gore, and sex, frequently depicting the genre’s female leads in a misogynistic fashion. nudity is synonymous with fright flicks, but the women of horror have played a pivotal role in making these movies a success. the scream queen can simply be a victim or a shrieking damsel in distress waiting to be saved by her male co-star, but the role of the scream queen has evolved into something far more complex. in the spirit of the spookiest season of the year, we’ve highlighted 15 of the greatest scream queens of all time — those who fearlessly fought monsters and others whose blood-curdling vocals left a lasting impression.
janet leigh
leigh took the most famous shower in history when she starred in alfred hitchcock’s psycho, for which she won the best supporting actress golden globe. the director shocked audiences when leigh’s character died in the first act of the film, sending the message to viewers that no one was safe from the bates motel’s looming menace. fun fact: the actress co-starred with daughter and fellow scream queen jamie lee curtis in the fog and halloween h20.
jamie lee curtis
jamie lee curtis’ mother was a famous scream queen, so the genre was essentially in her blood. she got her first big break in 1978 when she battled murderer michael myers in halloween. curtis became the most famous horror film female lead of the time, helping john carpenter’s slasher take home the title of highest-grossing independent movie ever made at that time. curtis went on to star in other cult classics, such as the fog and prom night, but she’ll always be remembered as influential final girl laurie strode in carpenter’s movie.
heather langenkamp
most famous for her role as nancy thompson in the nightmare on elm street series, heather langenkamp looked like the typical girl next door. director wes craven considered her the heart and soul of the suburban nightmare tale. while most scream queens of the 1980s exuded sex, langenkamp played against type as the virginal, resourceful, intelligent young women — and she was believable. nancy was a worthy adversary for child killer freddy krueger. she didn’t wait around for any man to save her and dove right into freddy’s dream world to face him head-on.
adrienne king
king set the standard for friday the 13th final girls. she played the typical camp counselor character (in her case, alice) who didn’t take drugs, booze it up, or have sex — and therefore, lived to beat f13 baddie jason voorhees. but like most final girls in the summer camp slasher, she eventually met her maker in the next film.
fay wray
the canadian-born actress won the part of king kong captive ann darrow over dorothy jordan, jean harlow, and ginger rogers. it was the role of a lifetime, but the scream queen had parts in other genre pictures during her contract for rko radio pictures. when director merian c. cooper pitched her the role, he told her: “you’ll have the tallest, darkest leading man in hollywood.” she thought he was referring to cary grant.
danielle harris
harris is the youngest scream queen in horror history, thanks to starring roles in halloween 4 and 5. she grew up and returned to the genre, becoming the only horror actress to star in an original series and its remake (rob zombie’s reimagining of the series). “it was freaking exhausting fighting these giant guys and kind of having to carry the movie physically as well as emotionally, because the final girl has to do both of those things, and has to carry the audience through the journey of survival,” harris told buzzfeed. “it’s an interesting challenge.”
neve campbell
neve campbell is often viewed as a modern heather langenkamp — another resourceful girl-next-door type — but her sidney prescott in the scream series understood the rules of slasher cinema (in a set of films that understood the rules) and used them (mostly) to her advantage. campbell was a natural when it came to co-creator kevin williamson’s stylized, post-modern dialogue and became a leading icon of ’90s horror.
barbara crampton
opposite from the heathers and neves on our list is barbara crampton — a scream queen who was not afraid to shed her clothes (she’s frequently remembered for “the head scene” in re-animator), but the actress has acting chops to boot. one of the greatest scream queens of the 1980s, crampton continues to star in genre movies and can be seen in adam wingard’s home invasion film, you’re next.
barbara steele
steele is best remembered as mario bava’s muse in the italian gothic horror masterpiece, black sunday. she was adept at playing the final girl or the monster, and her exotic looks separated her from the stereotypical blonde starlets featured in countless horror films.
linnea quigley
if you want to know about linnea quigley, look no further than the “lipstick nipple scene” in night of the demons or return of the living dead, where the actress dances naked in a cemetery. quigley was frequently seen in the flesh, and she met a lot of terrible ends, making her the female john morghen (cannibal ferox).
vonetta mcgee
the actress starred as the love interest of the vampire in blacula in the blaxploitation parody and remains one of the few african-american scream queens featured in a prominent role. she helped paved the way for contemporaries like saw v‘s meagan good.
marilyn burns
the texas chainsaw massacre is not nearly as gory as most audiences think, so the onus was on burns to heighten the chills through her emotional reaction to the gruesome scenes and grotesque characters. she earned her scream queen title by spending the last thirty minutes of tcm by doing nothing but screaming. one of the film’s final frames, featuring a bloody burns escaping the maniacal leatherface in the back of a pick-up truck, is burned into the memory of horror fans. burns’ style was natural and believable, putting audiences further on the edge of their seats.
ashley laurence
hellraiser‘s pinhead is one of the most terrifying horror villains on film, but ashley laurence’s kirsty went toe-to-toe with the cenobite in two different movies. in the first film, kirsty is innocent and depicted as a fairy tale-esque character, making her more of a victim. by hellraiser ii, she’s more savvy and unafraid to venture into hell to fight pinhead and face her wicked stepmother.
adrienne barbeau
adrienne barbeau was a scream queen sex symbol during the 1980s and was even married to genre director john carpenter (and starred in his film the fog). her appearance in swamp thing and creepshow are other fan favorites. she returned to the creepy stories of her past when she played the snake dancer ruthie in hbo’s carnivàle.
evelyn ankers
nicknamed the “queen of the screamers,” ankers is sometimes considered the original scream queen due to her early roles for universal studios, including the wolfman, son of dracula, and the invisible man’s revenge. even though she appeared opposite horror icon lon chaney jr. in almost ten films, the two stars reportedly hated each other.
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baɪ əraʊnd a.m*., səm 50 prɛp kʊks, laɪn kʊks ənd ɔn ˈsɛvən laɪnz hæd əˈsɛmbəld ðə fərst əv 600 ˈdeɪli ˈlənʧɪz. bɪtˈwin ɪts tu loʊˈkeɪʃənz, ðə ˈkəmpəˌni ɪmˈplɔɪz mɔr ðən 200 ˈpipəl. waɪl ðət simz laɪk ə lɔt tɪ fid ə ˈrɛlətɪvli smɔl ˈnəmbər əv ˈdaɪnərz, ðə ˈlɑʤɪkəl ˈnəmbər tɪ gɪt fud aʊt ɪn ə ˈrizənəbəl taɪm, əˈkɔrdɪŋ tɪ zagor*, hu sɛd ðə ˈfɪgjər ʤaɪbz wɪθ ðə əˈbɪləˌti tɪ meɪk ə ˈprɑfɪt. ɪz gɑt 600 ˈɔrdərz tɪ gɪt out,”*,” ðə prəˈfɛsər sɛd. ðə laɪnz ˈɔrgəˌnaɪz əraʊnd ə ˈmɛnju ˈkætəˌgɔri: ˈsælədz, boʊlz, ˈsænwɪʧɪz, drɪŋks. iʧ brænd həz ən æt ə smɔl ˈsteɪʃən hu rɪˈsivz ðə fud ənd pæks ɪt. ˈfɪnɪʃt ˈɔrdərz goʊ aʊt tɪ ðə frənt ɪn ˈpeɪpər sæks ˌɪmˈprɪnɪd wɪθ iʧ ˈloʊgoʊ. ðeɪ ər ðɛn stəft ˈɪntu ˈsimləs bægz ənd ˈɔrgəˌnaɪzd baɪ ˈkəstəmər ənd ˈfaɪnəl ˌdɛstɪˈneɪʃən. paɪl ə ˈdəzən bægz ˈɪntu duffels*, wɪʧ ðeɪ loʊd ˈɔntu ðɛr bæks ˌbiˈfɔr ˈɛgzɪtɪŋ əp ðə stɛrz tɪ dɪˈpɑrt ɔn baɪks ər ɔn fʊt. wɪn ˈbɪznɪs sˈlækənz əraʊnd 1 p.m*., ˈwərkərz it ənd klin əp ˌbiˈfɔr ðə ˈdɪnər rəʃ bɪtˈwin p.m*. ənd 8 p.m*., wɪn əˈnəðər 600 ˈɔrdərz fləd ɪn. ˈʃætsbərg wɑz ˈrənɪŋ ən ɔrˈgænɪk ˈdɛli ɔn wɛst strit neɪmd wɪn hi lɔnʧt grin ˈsəmɪt wɪθ wən brænd, əˈθɛnɪk. əbˈzərvd ðət hæf maɪ ˈvɑljum wɑz delivery,”*,” hi sɛd. ˈmɪlmən wɑz ˈɔpərˌeɪtɪŋ ə ˌhɑspəˈtæləti kənˈsəltɪŋ ˈkəmpəˌni kɔld blu ˈrædɪʃ ənd oʊnd ˈsɛvərəl ˈmɪdˌtaʊn ðət dɪˈlɪvərd θru ˈsimləs. wɪn ˈmɪlmən ˈfrikwəntɪd stɔr, ˈmɪlmən wʊd ˈpɛpər ɪm wɪθ səˈʤɛsʧənz ɔn ˌɪmˈpruvɪŋ ðə ˈbɪznɪs. ðɛr ˌɑbzərˈveɪʃənz spɑrkt ðə ˈkɑnsɛpt əv ə ˈkɪʧən. ˈʃætsbərg əˈproʊʧt ˈkɑnˌtækts æt ˈsimləs, ðɛn ˈsɛpərˌeɪt frəm, əˈbaʊt ˈlɪstɪŋ hɪz ˈmɛnju. ˈoʊnli ˈæftər ðə ˈmərʤər wɑz hi əp ðə ranks”*” tɪ goʊ ˈfɔrwərd, ənd ˈsænwɪʧɪz ənd ˈsælədz meɪd ðɛr weɪ ˈɔntu ðə ˈplætˌfɔrm. (ðə ˈsimləs brænd stɪl məˈnɑpəˌlaɪzɪz nu jɔrk ˈteɪˌkaʊt sin; ˈdɑməˌneɪts ɪn ˈəðər loʊˈkælz, səʧ ɛz ɪts ʃəˈkɑˌgoʊ beɪs.) ðə ˈduoʊ ˌɛnʤəˈnird ˈdɪʃɪz tɪ sərˈvaɪv ðə ˈrɪgərz əv ˈsɪti ˌtrænspərˈteɪʃən. ˈpipəl ˈoʊnli ˈriəˌlaɪz ˈleɪtər ðət dɪˈlɪvəri wɪl bi 35 əv sales,”*,” ˈʃætsbərg sɛd. ju hæv tɪ jʊr ˈmɛnju ənd packaging.”*.” ɛz hi ˌɪntrəˈdust mɔr brændz, hi traɪd tɪ ˌdɪfərˈɛnʧiˌeɪt ðɛm wɪθ fri, ˈsɪgnəʧər ˈɔfərɪŋz: ˈpɑpˌkɔrn, ˈkændi bɑrz, saɪdz, ˈmeɪsən ʤɑrz tɪ hoʊld smoothies*, ˈʤusɪz ənd milkshakes*. fri slɔ ɪz 15 sɛnts əv cabbage,”*,” hi sɛd. tɪ lɔnʧ ə ˈkɑnsɛpt, grin ˈsəmɪt nidz ˈlɪtəl mɔr ðən ə ˈloʊgoʊ ənd ə ˈmɛnju. ðə ˈkəmpəˌni həz ˈteɪkən ə brænd frəm ˈɔrəʤən tɪ ɪn ɛz ɛz ə wik. hæd ðət ɪˈpɪfəni ɪn ðə ˈmɔrnɪŋ, ənd wi lɔnʧt ɪn ðə afternoon,”*,” ˈʃætsbərg sɛd. ðə kɔst əv ˈfeɪljər ɪz ˈɔlsoʊ loʊ. ə aɪˈdiə ðət ðə ˈpɑrtnərz skræpt ˈtoʊtəld əˈbaʊt ɪn səŋk kɔsts, ɛz əˈpoʊzd tɪ ðə tɪ ðət ə smɔl ˈmɪdˌtaʊn ˈriˌteɪl ˌɑpərˈeɪʃən wʊd əbˈzɔrb, baɪ ˈɛstəˌmeɪt. ðoʊ ɪt brɔt ɪn əˈbaʊt ə ˈdɔlərz, ˈʃætsbərg sɛd, hi bɪˈlivd ðət ðə ənd ˈhʊməs wər nɑt ˈmæksəˌmaɪzɪŋ ˈrɛvəˌnu fər ðɛr skwɛr ˈfʊtɪʤ. soʊ hi ˈʃətərd ðə spɑt. ðə downside?”*?” hi æst hɪmˈsɛlf. ˈvɛri ˈlɪtəl. ˈnoʊˌbɑˌdi wɑz faɪərd, noʊ ˈlisɪz ˈtərməˌneɪtɪd. hi ˈsɪmpli hæd tɪ teɪk ðə ˈkəmpəˌni ɔf ˈsimləs. ˌbiˈfɔr grin ˈsəmɪt ˌdɪˈsaɪdɪd tɪ lɔnʧ ˈhəmɪŋˌbərd, ˈʃætsbərg ənd ˈmɪlmən ˈtɛstɪd pəˈtɛnʃəl ɔn ðə ˈmɛnjuz əv tu brændz: ənd əˈθɛnɪk. ðeɪ ˈlərnɪd haʊ tɪ meɪk roʊlz ɔn ˈjuˌtub. ˈwɔntɪd tɪ si ɪf ˈpipəl wər ˈɪntəˌrɛstɪd ɪn ˈpərʧəsɪŋ ˈsuʃi frəm ə pleɪs ˈoʊnli ˈəpˌskeɪl ənd ˈhɛlθi, bət nɑt japanese,”*,” sɛd ˈʃætsbərg. simd tɪ bi ðə case.”*.”
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by around 10:30 a.m., some 50 prep cooks, line cooks and expediters on seven lines had assembled the first of 600 daily lunches. between its two locations, the company employs more than 200 people. while that seems like a lot to feed a relatively small number of diners, the logical number to get food out in a reasonable time, according to ice’s zagor, who said the figure jibes with the firm’s ability to make a profit. “this is complex—you’ve got 600 orders to get out,” the professor said.
the lines organize around a menu category: salads, quinoa bowls, sandwiches, drinks. each brand has an expediter at a small station who receives the food and packs it. finished orders go out to the front in paper sacks imprinted with each brand’s logo. they are then stuffed into seamless bags and organized by customer and final destination. deliverymen pile a dozen bags into duffels, which they load onto their backs before exiting up the stairs to depart on bikes or on foot.
when business slackens around 1 p.m., workers eat and clean up before the dinner rush between 5:30 p.m. and 8 p.m., when another 600 orders flood in.
schatzberg was running an organic deli on west 45th street named freefoods when he launched green summit with one online-only brand, authentic. “i observed that half my volume was delivery,” he said. millman was operating a hospitality consulting company called blue radish and owned several midtown delis that delivered through seamless.
when millman frequented schatzberg’s store, millman would pepper him with suggestions on improving the business. their observations sparked the concept of a delivery-only kitchen.
schatzberg approached contacts at seamless, then separate from grubhub, about listing his menu. only after the merger was he “cleared up the ranks” to go forward, and authentic’s sandwiches and salads made their way onto the platform. (the seamless brand still monopolizes new york city’s takeout scene; grubhub dominates in other locales, such as its chicago base.)
the duo engineered dishes to survive the rigors of city transportation. “other people only realize later that delivery will be 35% of sales,” schatzberg said. “then you have to bastardize your menu and packaging.” as he introduced more brands, he tried to differentiate them with free, signature offerings: popcorn, candy bars, sides, mason jars to hold smoothies, juices and milkshakes. “the free slaw is 15 cents of cabbage,” he said.
to launch a concept, green summit needs little more than a logo and a menu. the company has taken a brand from origin to market-ready in as little as a week. “quinoa bowls—i had that epiphany in the morning, and we launched in the afternoon,” schatzberg said.
the cost of failure is also low. a mediterranean-food idea that the partners scrapped totaled about $25,000 in sunk costs, as opposed to the $100,000 to $500,000-plus that a small midtown retail operation would absorb, by zagor’s estimate. though it brought in about a half-million dollars, schatzberg said, he believed that the kebabs and hummus were not maximizing revenue for their square footage. so he shuttered the spot. “what’s the downside?” he asked himself. very little. nobody was fired, no leases terminated. he simply had to take the company off seamless.
before green summit decided to launch hummingbird, schatzberg and millman tested sushi’s potential on the menus of two brands: ’leafage and authentic. they learned how to make rolls on youtube. “we wanted to see if people were interested in purchasing sushi from a place that’s only upscale and healthy, but not japanese,” said schatzberg. “that seemed to be the case.”
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dɔgz hæv ˈɔlˌweɪz bɪn ˈləvɪŋ ənd ˈsɛlfləs ˈkriʧərz. ˌhaʊˈɛvər, ˈrisəntli, ðɛr hæv bɪn ə lɔt əv ˈkeɪsɪz əv ˈkeɪˌnaɪn əˈbjuz wɛr ˈpipəl hæv hɑrmd ˈɪnəsənt dɔgz fər səˈdɪstɪk ˈplɛʒər. ðə prəˈtɛkʃən əv streɪ dɔgz wɑz hərld ˈɪntu ə ˈʤɛpərdi wɪn əˈnəðər ˈɪnsədənt wɑz ˈædɪd tɪ ðə dɪsˈgreɪsfəl kraɪm əv ˈænəməl əˈbjuz. ə ˈtæksi ˈdraɪvər, kuˈmɑr, əˈlɛʤədli reɪpt ə ˈfiˌmeɪl ˈpəpi ənd lɛft ɪt tɪ daɪ ɔn 25 ˈɔgəst ɪn ˈɛriə, ˈdɛli. ðə ˈdraɪvər wɑz drəŋk æt ðə taɪm ənd græbd ðə ˈpəpi neɪmd ˈʤɛni baɪ ðə ˈloʊkəlz. hi ðɛn reɪpt ðə dɔg ənd lɛft ɪt ˈblidɪŋ. ðə əˈkjuzd wɪθ ðə hɛlp əv hɪz ˈɛldər ˈbrəðər, sərˈɛʃ, stəft ðə ˈpəpi ˈɪntu ə ʤut bæg ənd dəmpt ɪt ɪn ə draɪ dreɪn nɪr ˌɪnˈdəstriəl ˈɛriə. ən ˈænəməl ˈləvər, kuˈmɑr, hu rɪˈzaɪdz ɪn ðə seɪm ˈkɑləni ɛz ðə ˈdraɪvər toʊld ˈɪndiə təˈdeɪ ðə ˈpəpi wɑz rəʃt tɪ ˈsænʤeɪ ˈgɑndi ˈænəməl kɛr ˈsɛntər wɛr ɪt wɑz dɪˈklɛrd dɛd. ə poʊstˈmɔrtɛm ˈfərðər rɪˈvild ðət ðə ˈpəpi daɪd du tɪ ɪkˈsɛsɪv ˈblidɪŋ frəm ˈpraɪvət pɑrts ənd ʃɑk. dɪˈspaɪt ˈlɑʤɪŋ ən fər, ˈæktɪvɪsts seɪ ðət ðə əˈkjuzd ɪz stɪl nɑt ərˈɛstɪd ənd ɪz ˈroʊmɪŋ fri, ˈæftər hi ʃoʊd ðə ˈloʊkəlz ðə ˈkɑrkəs ənd ræn əˈweɪ. ˈɪndiə təˈdeɪ ˈɔlsoʊ spoʊk tɪ waɪf hu rɪˈvild ðət hi wɑz ə ˈpərvərt ənd hæd ˈrisəntli əˈsɔltɪd hər ənd ˈbroʊkən hər ɑrm. ˈgʊptə, ðə ˈpərsən hu lɑʤd ðə kəmˈpleɪnt, kleɪmd ðət ɪt wɑz meɪd ˈɪntu ən fər ˈoʊnli wɪn hi əˈproʊʧt ðə ˈsinjər əˈfɪʃəlz. ən fər wɑz lɑʤd ˈəndər ˈsɛkʃən 429 əv ðə ˈɪndiən ˈpinəl koʊd ənd ˈsɛkʃən 11 əv priˈvɛnʃən əv ˈkruəlti tɪ ˈænəməlz ækt. streɪ dɔgz hæv ˈfɑlən ˈvɪktɪm tɪ ˈvɛriəs ˈkeɪsɪz əv əˈlɑrmɪŋ kraɪm, ˈsɪmpli bɪˈkəz ðeɪ hæv ˈnoʊˌbɑˌdi tɪ teɪk kɛr əv ðɛm ənd ðɪs ɪˈneɪbəlz ˈsaɪkoʊˌpæθs laɪk ənd ˈsɛvərəl ˈəðərz tɪ əˈbjuz ðɛm fər ðɛr səˈdɪstɪk wɪmz. taɪm wi stɑrt ˈteɪkɪŋ kɛr əv ðiz ˈʤɛnəl ˈkriʧərz laɪk wi wʊd du fər ɑr oʊn. ˈkəvər ˈɪmɪʤ sɔrs
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dogs have always been loving and selfless creatures. however, recently, there have been a lot of cases of canine abuse where people have harmed innocent dogs for sadistic pleasure. the protection of stray dogs was hurled into a jeopardy when another incident was added to the disgraceful crime of animal abuse.
a 34-year-old taxi driver, naresh kumar, allegedly raped a female puppy and left it to die on 25 august in narayana area, delhi. the driver was drunk at the time and grabbed the puppy named jenney by the locals. he then raped the dog and left it bleeding.
the accused with the help of his elder brother, suresh, stuffed the puppy into a jute bag and dumped it in a dry drain near naraina industrial area.
an animal lover, abhishek kumar, who resides in the same colony as the driver told india today
the puppy was rushed to sanjay gandhi animal care centre where it was declared dead. a post-mortem further revealed that the puppy died due to excessive bleeding from private parts and shock.
despite lodging an fir, activists say that the accused is still not arrested and is roaming free, after he showed the locals the puppy’s carcass and ran away. india today also spoke to naresh’s wife who revealed that he was a pervert and had recently assaulted her and broken her arm.
abhishek gupta, the person who lodged the complaint, claimed that it was made into an fir only when he approached the senior officials. an fir was lodged under section 429 of the indian penal code and section 11 of prevention of cruelty to animals act.
stray dogs have fallen victim to various cases of alarming crime, simply because they have nobody to take care of them and this enables psychopaths like naresh and several others to abuse them for their sadistic whims. it’s time we start taking care of these gentle creatures like we would do for our own.
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ˈdɛpjəti ˈmɪnɪstər əv dɪˈfɛns ənd ˈmɪlɪˌtɛri ˈvɛtərənz həz əˈkjuzd ˈpəblɪk prəˈtɛktər əv biɪŋ ə siaɪeɪ plænt, əˈkɔrdɪŋ tɪ ə rɪˈpɔrt. "wi kænt əˈlaʊ ˈpipəl tɪ ˈhaɪˌʤæk ðə. faɪt ənd dɪˈfɛnd ðə ˈæfrɪkɑn ˈnæʃənəl ˈkɑŋgrəs. məst tɛl ˈjuˈɛs hu hər ˈhændələr ɪz]," wɑz kˈwoʊtɪd ɛz seɪɪŋ baɪ ðə stɑr ˈnuzˌpeɪpər. hi wɑz ˈspikɪŋ æt ðə ˈtumˌstoʊn ənˈveɪlɪŋ əv kəmˈbætənt ˈlɪndə "laɪən əv tshiawelo*" ɪn soʊˈeɪtoʊ ɔn ˈsæˌtɪˌdeɪ. hi sɛd wɑz ɔn ðə ˈpeɪˌroʊl əv ðə siaɪeɪ. "ðeɪ ər ˈivɪn ˈjuzɪŋ ɑr ˌɪnstɪˈtuʃən ˈʧæptər 9 ˌɪnstɪˈtuʃənz wər kriˈeɪtɪd baɪ ðə bət ər naʊ biɪŋ juzd əˈgɛnst ˈjuˈɛs, ənd ɪf ju æsk waɪ, ɪt ɪz ðə ˈsɛntrəl ˌɪnˈtɛləʤəns ˈeɪʤənsi. [ðə] əˈmɛrɪkənz wɔnt ðɛr oʊn ˈsiˌiˈoʊ ɪn saʊθ ˈæfrɪkɑ ənd wi məst nɑt əˈlaʊ ðət," sɛd. sɪns sɛnt ə ˈlɛtər læst mənθ tɪ ˈprɛzɪdənt ˈʤeɪkəb ˈæskɪŋ ɪm tɪ gɪv ˈditeɪlz ɔn wɪn wɑz hi goʊɪŋ tɪ rɪˈspɑnd tɪ ðə ˌrɛkəmənˈdeɪʃənz ɪn hər rɪˈpɔrt ɔn hɪz ˈhoʊmˌstɛd, ʃi həz kəm ˈəndər əˈtæk frəm ðə ənd səm əˈlaɪəns ˈstrəkʧərz. sɛd ʃi wʊd teɪk ˈligəl ˈækʃən əˈgɛnst, ˈæskɪŋ ɪm tɪ riˈtrækt ənd əˈpɑləˌʤaɪz, ər "prəˈvaɪd ˌɪŋˌkɑntroʊˈvərtɪbəl ˈɛvədəns" ðət ʃi wɑz ən ˈeɪʤənt. ɪn hər rɪˈpɔrt ˌrɛkəˈmɛndɪd ðət məst peɪ bæk ə pərˈsɛnɪʤ əv ðə ˈəpˌgreɪdz æt hɪz ˈrɛzɪdəns ðət ər nɑt rɪˈleɪtɪd tɪ sɪˈkjʊrəti.
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deputy minister of defence and military veterans kebby maphatsoe has accused public protector thuli madonsela of being a cia plant, according to a report.
"we can't allow people to hijack the anc. we"ll fight and defend the african national congress. uthuliumele asitshele ukuthi ubani ihandler yakhe [thuli must tell us who her handler is]," maphatsoe was quoted as saying by the star newspaper.
he was speaking at the tombstone unveiling of umkhonto wesizwe combatant linda "lion of tshiawelo" jabane in soweto on saturday.
he said madonsela was on the payroll of the cia.
"they are even using our institution now...these chapter 9 institutions were created by the anc but are now being used against us, and if you ask why, it is the central intelligence agency. ama [the] americans want their own ceo in south africa and we must not allow that," maphatsoe said.
since madonsela sent a letter last month to president jacob zuma asking him to give details on when was he going to respond to the recommendations in her report on his nkandla homestead, she has come under attack from the anc and some alliance structures.
madonsela said she would take legal action against maphatsoe, asking him to retract and apologise, or "provide incontrovertible evidence" that she was an agent.
in her report madonsela recommended that zuma must pay back a percentage of the upgrades at his nkandla residence that are not related to security.
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ðə nu ˈvoʊlvoʊ trəˈdɪʃənəli ðə əˈfɪʃəl kɑr əv ˈmɪdəlˈklæs ˈfæməliz. ðət sɛd, ˈpraɪsɪz ər noʊ ˈlɔŋgər fər ðə skwizd ˈmɪdəl, ɛz ðə həz muvd əp ə ˈlɛvəl. bət ɛz si ɪt həz wərkt hɑrd tɪ ˈʤəstəˌfaɪ ðə ˌɪnˈkris: ðə nu ɛz ɪn updated’*’. nu ɛz ɪn ˈplætˌfɔrm, wɪʧ həz səˈspɛnʃən, ɪˈlɛktrɪks ənd ˈdraɪvər ˈɪnərˌfeɪs. ˈivɪn, ɪf ju lʊk ˈkloʊsli, ə ˌridɪˈzaɪnd ˈvoʊlvoʊ bæʤ. powertrains.yup*, bɪg ɔn ðə ˈaʊtˈsaɪd ənd ˈsimɪŋli ˈivɪn ˈbɪgər wɪˈθɪn. ðɛr ər θri roʊz əv ˈvɛri ˈhæbətəbəl sits, ənd ˈləgɪʤ speɪs bɪˈhaɪnd ðət. ˈɔlsoʊ ˈɛndləsli ˈvərsətəl, θæŋks tɪ ˈɛni ˈnəmbər əv sˈlaɪdɪŋ, rɪˈklaɪnɪŋ ənd ˈfoʊldɪŋ ˌpərmjuˈteɪʃənz. ɔl sits hæv ə səˈpraɪzɪŋli gʊd vju aʊt tu, θæŋks tɪ ðɛr ˈkɛrfəl ‘‘theatre’*’ pəˈzɪʃənɪŋ ənd ˈglæsi ˈvoʊlvoʊ tʊk səm breɪv dɪˈsɪʒənz wɪθ ðə nu ˈplætˌfɔrm. laɪk dɪˈzaɪnɪŋ ɪt əraʊnd ˈɛnʤənz ˈoʊnli. ðət minz gʊd kræʃ ˈseɪfti ɪn ə ˈʃɔrtər frənt ˈoʊvərˌhæŋ, wɪʧ hɛlps ðə lʊks. ɪt ˈɔlsoʊ minz ˈbɛtər ˈpækɪʤɪŋ, wɪʧ hɛlps ðə ˈkæbən speɪs. ənd ˈɛnʤənz drɪŋk lɛs ðən ˈsɪksɪz, ˈhɛlpɪŋ grin ˈdizəl həz tu bloʊərz ənd meɪks ə ˈhændi 225bhp*. ðə ˈpɛtroʊl həz ə ənd ə ˈtərboʊ, fər ə staʊt 320 ðeɪ boʊθ sərv əp ˈrizənəbli kwaɪət ənd ˈvɛri pʊʃ, bət tɪ bi ˈɑnəst wɔnt ə mɔr ˈɪntəˌrɛstɪŋ nɔɪz frəm ðə ˈpɛtroʊl. ðə ˈɛnʤəˈnɪrz seɪ ˈwərkɪŋ ɔn ðət ɪn ðə ˈfaɪnəl wiks ˌbiˈfɔr fʊl pərˈdəkʃən stɑrts. boʊθ ðoʊz ˈɛnʤənz kəm wɪθ ˈnɔrməl məˈkænɪkəl draɪv. ðə ˈəðər ɪz ðə ðɪs pɛrz ðə seɪm ˈpɛtroʊl wɪθ ən ɪˈlɛktrɪk draɪv tɪ ðə rɪr. baɪ duɪŋ əˈweɪ wɪθ ðə rum ɪn ðə spaɪn əv ðə kɑr fər ə ˈhaɪbrɪd ˈbætəri. rɪˈzəlt ɪz pərˈfɔrməns ɪn wən moʊd, ənd əp tɪ 25 maɪəlz əv pjʊr ɛv reɪnʤ ɪn əˈnəðər. ənd ə tɪ ðə taxman*. ɪt ˈlɔnʧɪz ə fju mənθs ˈæftər ðə ˈəðərz, ənd ðə ɪgˈzæmpəl aɪ droʊv ˈnidɪd ə mɔr prəˈgrɛsɪv breɪk ˈpɛdəl ənd lɛs ˈnərvəs trænzˈmɪʃən ˌkæləˈbreɪʃən. ˈvoʊlvoʊ sɪz ˈfɪksɪz ər ɪn ðə wərks. bət draɪv ɪt wɪθ səm θɔt ənd smuð ənd ɪn ˈərbən ˈhaɪbrɪd ˈdraɪvɪŋ, ənd ˈprɑpərli ˈræpɪd wɪθ boʊθ paʊər ˈjunɪts ɔn ðə ˈmɛni, bət ɪn fækt ðə nu ˈʧæsi ɪz ˈprɪti ˈkeɪpəbəl. ðə ˈnɛvər dɪz bɪg understeer*, ənd kənˈtroʊlz ɪts roʊl ənd ˈbɑdi hiv ˈvɛri wɛl. bət nɑt mɛnt tɪ ˌɪnˈspaɪr jʊr ˈɪnər cornerist*. əˈbaʊt brɪsk, dɪˈskrit progress.comfort*, fər ə stɑrt. nɑt ʤɪst ðə ˈstætɪk ˈkəmfərt əv sits ənd speɪs, bət ˈkəmfərt ɔn ðə muv. ðə ˈɔpʃənəl ɛr səˈspɛnʃən sərvz əp ən ˈædmərəbli ˈplæsɪd raɪd, ˈivɪn ɔn ðə wilz ðət ər ˈstændərd æt tɔp trɪm. ðə ˈɔpʃənəl meɪk θɪŋz ə ˈlɪtəl jiggly*. bət nɔɪz ɪz ˈprɪti loʊ tu soʊ ə kruz tɪ ðə skiɪŋ ˈhɑlɪˌdeɪ wʊd bi ʤɪst jɛs ðə nu interface’*’. ə ˈsupərbli ˈpaʊərfəl ənd rɪˈspɑnsɪv, wɪθ ˈvɛri smuð ˈgræfɪks ənd ˈʤɛsʧərz. ənd ə nɛt kəˈnɛkʃən ər ˈstændərd, ənd ju kən pɛr ɪt wɪθ ˈæpəl ənd, ˈleɪtər ˈænˌdrɔɪd ˈɔtoʊ. bət ðə ˈsɪstəm ˈɑpərˌeɪts soʊ wɛl as-is*, aɪ si waɪ ju wʊd. swaɪp daʊn frəm ðə tɔp ənd ju kən ˈækˌsɛs ə juʤ reɪnʤ əv ˈɔpʃənz fər ðə ˈəðər ˈsɪstəmz tu. sˈwɪʧɪŋ bɪtˈwin ˈklaɪmɪt, foʊn, ˌnævəˈgeɪʃən ənd ˌɛnərˈteɪnmənt skrinz ɪz ˈizi. bət ju nid tɪ əˈspɛʃəli ˈɔfən bɪˈkəz ə kənˈsaɪs ˈvərʒən əv iʧ əv ðoʊz ɪz dɪˈspleɪd ɪn taɪlz ɔn ðə hoʊm bɪɔnd nis. ˈrɪli top-notch*. ˈsɪmpəl ənd ˈkɑmɪŋ jɛt ˈvɛri ˈprimiəm. bət ɪn ə wɔrm, sɔrt əv soʊ. ˈvoʊlvoʊ ˈstədiz ˈrilˌwərld ˈkræʃɪz mɔr ðən kræʃ tɛsts ənd wərks hɑrd tɪ meɪk kɑz ðət əˈvɔɪd ðɛm ər prəˈtɛkt əˈgɛnst ðɛm. ðeɪ ˈrɪli du θɪŋk ˈnoʊwən wɪl bi kɪld ɪn ə nu ˈvoʊlvoʊ ɪn 2020 ðə rɪˈdəkʃən ɪn ˈkæʒəwəltiz sɪns əˈbaʊt 2010 həz bɪn ɔn ðə raɪt pæθ. ðə həz ə ˈvæstli ˈsɑləd keɪʤ, ənd ə ˈpænɑpli əv ˈæktɪv əˈvɔɪdəns ˈsɪstəmz, səm juˈnik. ˈivɪn ðə ˈaʊtˌgoʊɪŋ stɪl tɑps lɑts əv ˈseɪfti ˈpraɪsɪz stɑrt æt fər ðə ˈdizəl ə raɪz əv eɪt grænd ər soʊ ɔn ðə ˈaʊtˌgoʊɪŋ ˈklaɪmɪŋ tɪ ə ˈhɛfti fər ðə ˈhaɪbrɪd. soʊ fɑr frəm ə ˈbəʤɪt ˈɔfərɪŋ, bət ðə filz wərθ ɪts ˈprimiəm price-tag*.
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the new volvo xc90 , traditionally the official car of middle-class cotswold families. that said, prices are no longer for the squeezed middle, as the xc90 has moved up a level. but as we’ll see it has worked hard to justify the increase: the second-gen xc90 new as in ‘somewhat updated’. new as in ‘all-new’.an all-new platform, which has all-new suspension, electrics and driver interface. even, if you look closely, a redesigned volvo badge. and-new powertrains.yup, big on the outside and seemingly even bigger within. there are three rows of very habitable seats, and luggage space behind that. also endlessly versatile, thanks to any number of sliding, reclining and folding permutations. all seats have a surprisingly good view out too, thanks to their careful ‘theatre’ positioning and glassy sides.because volvo took some brave decisions with the new platform. like designing it around four-cylinder engines only. that means good crash safety in a shorter front overhang, which helps the looks. it also means better packaging, which helps the cabin space. and four-cylinder engines drink less than sixes, helping volvo’s green message.the d5 diesel has two blowers and makes a handy 225bhp. the t6 petrol has a supercharger and a turbo, for a stout 320. they both serve up reasonably quiet and very broad-shouldered push, but to be honest you’d want a more interesting noise from the petrol. the engineers say they’re working on that in the final weeks before full production starts. both those engines come with normal mechanical four-wheel-drive.hybrid four-wheel drive. the other xc90 is the top-end t8. this pairs the same 320bhp petrol with an electric drive to the rear. by doing away with the propshaft room in the spine of the car for a plug-in hybrid battery. result is 400bhp performance in one mode, and up to 25 miles of pure ev range in another. and a notional 113mpg to the taxman. it launches a few months after the others, and the example i drove needed a more progressive brake pedal and less nervous transmission calibration. volvo says fixes are in the works. but drive it with some thought and smooth and near-silent in urban hybrid driving, and properly rapid with both power units on the go.not many, but in fact the new chassis is pretty capable. the xc90 never does big understeer, and controls its roll and body heave very well. but not meant to inspire your inner cornerist. about brisk, discreet progress.comfort, for a start. not just the static comfort of seats and space, but comfort on the move. the optional air suspension serves up an admirably placid ride, even on the 20-inch wheels that are standard at top trim. the optional 21s make things a little jiggly. but noise is pretty low too so a cruise to the skiing holiday would be just dandy.ah yes the new ‘human-machine interface’. a touchscreen superbly powerful and responsive, with very smooth tablet-style graphics and gestures. satnav and a net connection are standard, and you can pair it with apple carplay and, later android auto. but the system operates so well as-is, i see why you would. swipe down from the top and you can access a huge range of configurable options for the car’s other systems too. switching between climate, phone, navigation and entertainment screens is trivially easy. but you need to especially often because a concise version of each of those is displayed in tiles on the home screen.well beyond nice. really top-notch. simple and calming yet very premium. but in a warm, scandi sort of way.amazingly so. volvo studies real-world crashes more than crash tests and works hard to make cars that avoid them or protect against them. they really do think no-one will be killed in a new volvo in 2020 - the reduction in casualties since about 2010 has been on the right path. the xc90 has a vastly solid cage, and a panoply of active avoidance systems, some unique. even the 12-year-old outgoing xc90 still tops lots of safety lists.uk prices start at £45,550 for the ‘d5’ diesel - a rise of eight grand or so on the outgoing xc90 - climbing to a hefty £63,550 for the top-spec ‘t8’ hybrid. so far from a budget offering, but the xc90 feels worth its premium price-tag.
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aɪ du ðɪs fər ʤoʊks, ənd soʊ waɪl ðət sˈmætərɪŋ əv ˈlæftər ɪz daɪɪŋ ɔf ˈɪntu ðə ˈsɛkənd, ˈmɛnəli ˈbaʊndɪŋ əp ðə stɛrz əv maɪ haʊs, ˈɪntu maɪ ˈkɪʧən ənd ˈɪntu maɪ ˈbɛˌdrum wɛr ən ˌɛgˌzɪˈstɛnʃəl ʤoʊk ɪz ˈweɪtɪŋ fər mi ɔn ðə bɛd. ə ˈmɛməri trɪk, wɛr ɪn ˈɔrdər tɪ bi ˈeɪbəl tɪ ˈriˌkɔl ə lɑrʤ əˈmaʊnt əv ˌɪnˌfɔrˈmeɪʃən, ju stɔr ðət ˌɪnˌfɔrˈmeɪʃən ɪn ə fəˈmɪljər ˈfɪzɪkəl speɪs ðət ju kən ˌrikənˈstrəkt ɪn jʊr maɪnd, laɪk jʊr haʊs ər jʊr ˈloʊkəl bɑr. ɛz ju wɔk frəm rum tɪ rum ju kən ðɛn pleɪs ðə ˌɪnˌfɔrˈmeɪʃən ju nid tɪ rɪˈmɛmbər ɪn ˈsərtən ˈpleɪsɪz wɪˈθɪn ðət speɪs, wɪʧ ər ðɛn mɔr ˈizəli rɪˈkɔld ðə nɛkst taɪm ju wɔk θru jʊr nu ˈmɛntəl ˈstɔrɪʤ fəˈsɪlɪti. səm loʊ ˈʧəkəlz bɪˈgɪn tɪ ˈimərʤ frəm ðə bæk, wɪʧ ðɛn stɑrt ˈsprɛdɪŋ əˈkrɔs ðə rum, but…*… stɑp. ɪt. ə ˈflitɪŋ loʊ ˈʧəkəl. aɪ ˈmɛnəli mɑrk daʊn ðə ʤoʊk ɛz ‘‘okay’*’; noʊ side-splitter*, bət bɪn ə gʊd wən tɪ stɑrt wɪθ ənd soʊ frəm ðɛr aɪ lɔnʧ ˈɪntu ðə rɛst əv ðə wən ˈlaɪnərz. ðɪs ʤoʊk ˈɔlˌweɪz teɪks ə waɪl fər ˈpipəl tɪ əˈsɛmbəl ɪn ðɛr maɪndz. ə ˈsɛkənd fər ðɛm tɪ ˈriəˌlaɪz ˈfɪnɪʃt ɪt, əˈnəðər ˈsɛkənd fər ðɛm tɪ goʊ bæk ˈoʊvər ðə kəmˈpoʊnənt pɑrts, ənd ðɛn əˈnəðər ˈsɛkənd fər ðɛm tɪ ˈkɑnstrəkt ðə sin, si ðə ʤoʊk ənd ðɛn læf æt ðə fækt ðeɪ mɪst ɪt, bət ˌrɛtroʊˈæktɪvli kənˈstrəktɪd ɪt, ɛˈsɛnʃəli ˈlæfɪŋ æt ðɛr oʊn ˌəndərˈstændɪŋ əv ðə ʤoʊk*. ˈrɛlətɪvli fæst ɪn ril taɪm, bət wɪn ˈstændɪŋ ðɛr ɪn frənt əv ðət mɪk ˈəndər ðət laɪt; taɪm sloʊz tɪ ə ˈtrɪkəl ənd ðoʊz ˈsɛkəndz filz laɪk ən ɪˈtərnəti. ˈstændɪŋ ɪn ə ˈbeɪsmənt, ˈəndər ə laɪt wɪθ ə ˈmaɪkrəˌfoʊn ɪn frənt əv mi ənd əˈbaʊt 20 ˈəðər kəˈmidiənz ˈstɛrɪŋ bæk æt mi ɪn ˈsaɪləns. θɪŋk ə ˌkɔrəˈleɪʃən bɪtˈwin haʊ ˈbædli ju nid ðə ˈtɔɪlət ənd haʊ hɑrd ɪt ɪz tɪ faɪnd jʊr haʊs keys”*” kaɪnd əv kjut haʊ wi neɪmd ðə deɪz ənd ˈbəndəld ðɛm əp ˈɪntu wiks soʊ ɛz nɑt tɪ bi ˌoʊvərˈwɛlmd baɪ ðə əv everything.”*.” noʊ ril læfs hir. nɑt ˈlʊkɪŋ fər ðɛm ˈrɪli, aɪ ʤɪst wɔnt tɪ brɪŋ ðɪs kraʊd daʊn tɪ bi ˈɑnəst. ðə ʤoʊk hir ˈlæfɪŋ æt ðə frəˈvɑləti əv laɪf, bət ˈrəðər ɪn ˌmaɪˈsɛlf ɛz ə ˈkɛrɪktər ɪkˈspɪriənsɪŋ ən ˌɛgˌzɪˈstɛnʃəl ˈkraɪsəs. aɪ gɪv ɪt əˈnəðər ˈsɛkənd ənd ðɛn stɛr ˈhoʊpləsli ˈɪntu ðə graʊnd əˈbaʊt 2 ˈmitərz əˈhɛd əv mi ənd lɛt aʊt ə dɪˈfitɪd saɪ. əˈnəðər ˈsɛkənd. stɪl noʊ ˈlæftər. ðɛr ʃʊd bi səm ˈlæftər hir. nu ˈtæktɪk: kip ˈweɪtɪŋ, ˈdəbəl daʊn ɔn ɪt, pʊʃ ɔl ðə ʧɪps bæk ɪn. aɪ lʊk ˈsaɪdˌweɪz, bloʊ aʊt maɪ ʧiks ənd gɪv əˈnəðər ɛksˈheɪl, ˈlɛtɪŋ ðə ˈsaɪləns kəm ˈkloʊzər, ˈlinɪŋ ɪn ɔn mi. naʊ səm ˈlæftər. ɪt ʤɪst teɪks wən ˈpərsən, ənd naʊ ə fju mɔr ʤɔɪn ɪn. ˈrɪli ʃʊr ɪgˈzæktli ˈfəni hir, bət ˈɔkwərd ɪˈnəf tɪ ˈgɑrnər læfs, ənd ðət filz ˈrɪli gʊd. ˈɔlsoʊ kwaɪt rɪˈlivɪŋ, ənd aɪ ˈmɛnəli noʊt tɪ kip ðət lɔŋ pɔz ɪn fər ðə nɛkst taɪm aɪ traɪ ðət ʤoʊk. frəm ðɛr aɪ hɛd ˈɪntu maɪ ˈkɪʧən wɛr ə ˈvɛgən, ə kənˈspɪrəsi θiərɪst ənd ə gaɪ ər ˈsɪtɪŋ əraʊnd maɪ ˈkɪʧən ˈteɪbəl. ðɛr ʤoʊk gɪts noʊ læfs ˌwətsoʊˈɛvər, ənd soʊ frəm ðɛr aɪ rən aʊt əv ðə haʊs ənd ˈoʊvər ðə roʊd tɪ maɪ ˈloʊkəl bɑr wɛr lɛft ə ʤoʊk ðət kɔlz ˈɪntu kˈwɛʃən ðə aɪˈdiə əv ˈtɪpɪŋ ðɪs wən fɔlz flæt ɛz wɛl, ənd gɪts tɔst ˈɪntu ðə work’*’ bɪn əˈlɔŋ wɪθ ðə ˈvɛgən ənd hɪz meɪts. tu dɛd flæt səks əp ə lɔt əv ˈɑksɪʤən ɪn ðə rum, ənd ðət ˈkɑnfədɛns ðət ðə wən səkˈsɛsfəl ʤoʊk hæd brɔt ɔn ɪz naʊ kˈwɪkli rɪˈsidɪŋ ənd bæk ɪn maɪ haʊs ˈrənɪŋ frəm rum tɪ rum traɪɪŋ tɪ faɪnd ˈsəmθɪŋ ðət maɪt wərk. nɑt ˈbɑmɪŋ jɛt, bət ðə θrɛt ɪz ˈlumɪŋ ˈoʊvər mi mɔr ˈhɛvəli ɛz iʧ ˈsɛkənd weɪsts əˈweɪ. ˈθæŋkfəli ˈteɪkən ə lɔt əv taɪm bɪtˈwin ʤoʊks əp ənˈtɪl ðɪs pɔɪnt, ənd ɛz səʧ lɔŋ ˈpɔzɪz lʊk tu aʊt əv pleɪs, ənd wɪθ ˈɛni lək ðeɪ ɔl əˈsum ˈpɔzɪŋ fər ˈifɛkt ˈrəðər ðən ɪn ðə ˈprɔˌsɛs əv ˈmɛnəli ˈreɪdɪŋ maɪ haʊs fər ə ʤoʊk. ɪn ə steɪt əv ˌdɛspərˈeɪʃɪn, rən ˈɪntu ðə ˈbæθˌrum ənd ˈfrænəkəli pʊld bæk ðə ʃaʊər ˈkərtən tɪ rɪˈvil ə goʊt. ə goʊt. ə bɪg ˈbjutəfəl waɪt ˈmaʊntən goʊt ɪz ɪn maɪ ˈmɛntəl ˈhævɪŋ ə ʃaʊər. ðə goʊt ʤoʊk. ðə goʊt ʤoʊk ˈivɪn ˈrɛdi. ˈbɛrli ˈivɪn ə ʤoʊk. ɪt nidz mɔr taɪm, bət raɪt naʊ kəmˈplitli aʊt əv taɪm ənd soʊ ðə goʊt ɪz ʤɪst goʊɪŋ tɪ hæv tɪ du. ““so…*…. ˈjɛstərˌdeɪ aɪ woʊk əp ɛz ə goat….”*….” ˈlæftər. ˈhoʊli ʃɪt, ˈlæftər? wɑz awkward”*” mɔr ˈlæftər. kip goʊɪŋ then…*… soʊ aɪ dɛlv ˈɪntu ɪt, aɪ stɑrt ˈtɔkɪŋ əˈbaʊt haʊ hɑrd ɪt wɑz ˈjuzɪŋ ən ˈaɪˌfoʊn wɪθ maɪ hʊfs, haʊ ˈhævɪŋ ə ʃaʊər wɑz ˈtrɪki, ðə fækt aɪ juz ə taʊəl tɪ draɪ ˌmaɪˈsɛlf, haʊ ˈkæʧɪŋ ðə treɪn wʊd bi ˈdɪfəkəlt. nɑt ˈivɪn ˈlʊkɪŋ fər ʤoʊks naʊ, ˈmɛnəli ʧeɪnʤd maɪ ˈfɪzɪkəl fɔrm ənd naʊ ʤɪst ˈwɔkɪŋ əraʊnd nu jɔrk, ˈgrɛgər ðə goʊt, əbˈzərvɪŋ maɪ nu goʊt laɪf ənd ɪkˈspleɪnɪŋ ɪt tɪ ðɪs ˈɔdiəns əv kəˈmidiənz ɪn ðɪs ˈbeɪsmənt ənd səm əv ðɛm ər ˈlæfɪŋ æt ɔl əv ðɪs ənd ðət θrɛt əv ˈfeɪljər həz stɑpt æt mi frəm ðə ˈsaɪˌdlaɪnz ənd ðɪs filz gʊd. aɪ kip ɪt goʊɪŋ ɛz lɔŋ ɛz aɪ kən, aɪ pæs ðə 4 ˈmɪnət mɑrk ənd kæʧ ðə flæʃ əv ə laɪt ɪn ðə saɪd əv maɪ aɪ, ə hɛld əp tɪ ˈɪndəˌkeɪt 1 ˈmɪnət əv taɪm lɛft. aɪ kʊd goʊ ˈlɔŋgər, bət nɑt ʃʊr ðə məˈtɪriəl ɪz strɔŋ ɪˈnəf ənd ˈæftər ðə nɪr mɪs ˈərli ɔn, aɪ wɔnt tɪ ɛnd strɔŋ hir, ənd soʊ aɪ weɪt fər wən mɔr læf, θroʊ aʊt ə ɪt fər mi, θæŋks guys’*’, ˈɔkwərdli slɑt ðə mɪk bæk ɪn ɪts stænd, stɛp daʊn ɔf ðə steɪʤ, ənd wɔk bæk θru 20 ˈklæpɪŋ kəˈmidiənz tɪ maɪ sit, ənd then…*… ɛksˈheɪl. ə ˈfilɪŋ hir, ə kaɪnd əv ˈgɪdi ˈbərnɪŋ nɑt ɪn ðə ʧɛst, ɛz ɪf ˈɔlˌmoʊst ˈfɑlən ɔf ə klɪf bət kɔt ˈjɔrsɛlf ʤɪst ɪn taɪm ənd naʊ ˈteɪkən ə stɛp bæk tɪ ə ˈseɪfər ˈdɪstəns ju kən teɪk ɪn ðə vju ənd θɪŋk əˈbaʊt ɔl ðə bæd θɪŋz ðət ˈɔlˌmoʊst ʤɪst ˈhæpənd, bət didn’t*. ən əˈdɪktɪv ˈlɪtəl rəʃ, ənd wəns ðə rɛst əv ðə ˈkɑmɪks hæv ˈfɪnɪʃt aɪ ɛnd əp ˈsɪtɪŋ æt ðə bɑr skaʊərɪŋ ðə ˈoʊpən lɪst fər maɪ nɛkst ˈlɪtəl hɪt əv fɪr.
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i do this for jokes, and so while that smattering of laughter is dying off into the 4th second, mentally bounding up the stairs of my house, into my kitchen and into my bedroom where an existential joke is waiting for me on the bed.
there’s a memory trick, where in order to be able to recall a large amount of information, you store that information in a familiar physical space that you can reconstruct in your mind, like your house or your local bar. as you walk from room to room you can then place the information you need to remember in certain places within that space, which are then more easily recalled the next time you walk through your new mental storage facility.
some low chuckles begin to emerge from the back, which then start spreading across the room, but… stop. that’s it. a fleeting low chuckle. i mentally mark down the joke as ‘okay’; it’s no side-splitter, but it’s been a good one to start with and so from there i launch into the rest of the one liners.
this joke always takes a while for people to assemble in their minds. a second for them to realise finished it, another second for them to go back over the component parts, and then another second for them to construct the scene, see the joke and then laugh at the fact they missed it, but retroactively constructed it, essentially laughing at their own understanding of the joke*. it’s relatively fast in real time, but when you’re standing there in front of that mic under that light; time slows to a trickle and those seconds feels like an eternity.
i’m standing in a basement, under a light with a microphone in front of me and about 20 other comedians staring back at me in silence.
“i think there’s a correlation between how badly you need the toilet and how hard it is to find your house keys”
“it’s kind of cute how we named the days and bundled them up into weeks so as not to be overwhelmed by the pointlessness of everything.”
no real laughs here. not looking for them really, i just want to bring this crowd down to be honest. the joke here isn’t laughing at the frivolity of life, but rather in myself as a character experiencing an existential crisis. i give it another second and then stare hopelessly into the ground about 2 meters ahead of me and let out a defeated sigh.
another second. still no laughter. there should be some laughter here. new tactic: keep waiting, double down on it, push all the chips back in. i look sideways, blow out my cheeks and give another exhale, letting the silence come closer, leaning in on me.
now there’s some laughter. it just takes one person, and now a few more join in. nobody’s really sure what’s exactly funny here, but it’s awkward enough to garner laughs, and that feels really good. it’s also quite relieving, and i mentally note to keep that long pause in for the next time i try that joke.
from there i head into my kitchen where a vegan, a conspiracy theorist and a crossfit guy are sitting around my kitchen table. their joke gets no laughs whatsoever, and so from there i run out of the house and over the road to my local bar where left a joke that calls into question the idea of tipping this one falls flat as well, and gets tossed into the ‘needs work’ bin along with the vegan and his mates.
two dead flat one-liners sucks up a lot of oxygen in the room, and that confidence that the one successful joke had brought on is now quickly receding and back in my house running from room to room trying to find something that might work.
i’m not bombing yet, but the threat is looming over me more heavily as each second wastes away. thankfully taken a lot of time between jokes up until this point, and as such long pauses don’t look too out of place, and with any luck they all assume pausing for effect rather than realising in the process of mentally raiding my house for a joke.
in a state of desperation, run into the bathroom and frantically pulled back the shower curtain to reveal a goat.
a goat. a big beautiful white mountain goat is in my mental bath-tub having a shower. the goat joke. the goat joke isn’t even ready. it’s barely even a joke. it needs more time, but right now completely out of time and so the goat is just going to have to do.
“so…. yesterday i woke up as a goat….”
laughter. holy shit, laughter?
“…which was awkward”
more laughter. keep going then… so i delve into it, i start talking about how hard it was using an iphone with my hoofs, how having a shower was tricky, the fact i couldn’t use a towel to dry myself, how catching the train would be difficult. not even looking for jokes now, mentally changed my physical form and now just walking around new york, gregor the goat, observing my new goat life and explaining it to this audience of comedians in this basement and some of them are laughing at all of this and that threat of failure has stopped leering at me from the sidelines and this feels good.
i keep it going as long as i can, i pass the 4 minute mark and catch the flash of a light in the side of my eye, a smartphone held up to indicate 1 minute of time left. i could go longer, but not sure the material is strong enough and after the near miss early on, i want to end strong here, and so i wait for one more laugh, throw out a ‘that’s it for me, thanks guys’, awkwardly slot the mic back in its stand, step down off the stage, and walk back through 20 clapping comedians to my seat, and then… exhale.
there’s a feeling here, a kind of giddy burning knot in the chest, as if you’ve almost fallen off a cliff but caught yourself just in time and now you’ve taken a step back to a safer distance you can take in the view and think about all the bad things that almost just happened, but. it’s an addictive little rush, and once the rest of the comics have finished i end up sitting at the bar scouring the open mics list for my next little hit of fear.
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ə pʊʃ frəm ˈhɔrər story”*” stɑr ˈdɪlən məkˈdərmət həz lɛd pəˈlis ɪn ˈwɔtərˌbɛri, kɑn., tɪ ðə 1967 dɛθ əv hɪz ˈməðər ənd kənˈklud ðət hər ˈgæŋstər ˈbɔɪˌfrɛnd æt ðə taɪm ʃɑt ənd kɪld hər, əˈkɔrdɪŋ tɪ ðə ˈloʊkəl ˈnuzˌpeɪpər ðə republican-american*. ðə ˈbɔɪˌfrɛnd, ʤɑn, hu wɑz faʊnd ʃɑt tɪ dɛθ ɪn ðə trəŋk əv ə kɑr faɪv jɪrz ˈleɪtər, toʊld pəˈlis æt ðə taɪm ðət ˈməðər ˌæksəˈdɛnəli ʃɑt hərˈsɛlf ˈæftər ˈpɪkɪŋ əp ə gən hi hæd bɪn ˈklinɪŋ. bət ðə kəˈnɛtəkət ˈmɛdɪkəl ɪgˈzæmənər hu ˈrisəntli rivˈjud ðə ˈɔˌtɑpsi sɪz ðə gən juzd ɪn ðə ˈmərdər wɪʧ ˈkʊdənt hæv bɪn ðə wən faʊnd baɪ ˈbɑdi hæd bɪn prɛst tɪ ðə bæk tɪ hər hɛd. ɛz ə rɪˈzəlt əv ðə riˈoʊpənd ˌɪnˌvɛstəˈgeɪʃən, pəˈlis hæv ˈɔlsoʊ bɪn ˈeɪbəl tɪ taɪ tɪ tu ˈəðər ənˈsɑlvd ˈmərdərz. əˈθɔrətiz naʊ fɔlt pəˈlis æt ðə taɪm fər ðə læk əv ˈfɑloʊˌəp. ðə ˈæktər, hu wɑz 5 wɪn hɪz ˈməðər daɪd, toʊld pəˈlis ˈrisəntli ðət hi rɪˈmɛmbərz ˈgɪtɪŋ ˈɪntu ˈvaɪələnt faɪts wɪθ hɪz ˈməðər, bət toʊld pəˈlis æt ðə taɪm ðət hi ˈrɛrli fɔt wɪθ ˈməðər. məkˈdərmət riʧt aʊt tɪ pəˈlis ˌsupərɪnˈtɛndənt ˈmaɪkəl gugliˈoʊti ˈæftər ˈmitɪŋ ɪm æt ə ˈfənˌdreɪzər læst jɪr. sɛd ɪn ˈɔrdər fər mi tɪ sərˈvaɪv ənd tɪ gɪt wɛr aɪ æm təˈdeɪ, aɪ ˈnidɪd tɪ ˈbɛri ðət ˈmoʊmənt ɪn maɪ laɪf dip wɪˈθɪn myself,”*,” gugliˈoʊti tɛlz ðə ˈnuzˌpeɪpər. sɛd ɪt ənˈtɪl ˈrisəntli ðət kəm tɪ ðə pɔɪnt ɪn maɪ laɪf wɛr ˈeɪbəl tɪ bɪˈgɪn tɪ ˈprɔˌsɛs ɔl əv ðɪs ənd meɪk ɪt pɑrt əv hɪz life.”*.” məkˈdərmət ˈkɑmɛnt əˈbaʊt ðə nu ˈfaɪndɪŋz, bət hɪz ˈsɪstər, ˈrɑbɪn hərˈɛrə, sɪz ʃi wɑz rɪˈlivd tɪ rul aʊt ðə ˌpɑsəˈbɪləˌti hər ˈməðər hæd kəˈmɪtɪd ˈsuɪˌsaɪd. tʊk hər frəm ˈjuˈɛs; ʃi liv us.”*.” ˈfɑloʊ mɔr ˌɛnərˈteɪnmənt nuz: 'ˈʤɛpərdi!' hoʊst ˈæləks ˈsəfərz maɪld hɑrt əˈtæk əˈmɛrɪkən ˈglædiˌeɪtər: æt 95 kərk ˈdəgləs woʊnt kwɪt, ənd ˈnɛvər həz
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a push from “american horror story” star dylan mcdermott has led police in waterbury, conn., to re-investigate the 1967 death of his mother and conclude that her gangster boyfriend at the time shot and killed her, according to the local newspaper the republican-american.
the boyfriend, john sponza, who was found shot to death in the trunk of a car five years later, told police at the time that mcdermott’s mother accidentally shot herself after picking up a gun he had been cleaning.
but the connecticut medical examiner who recently reviewed the autopsy says the gun used in the murder — which couldn't have been the one found by mcdermott’s mother’s body — had been pressed to the back to her head. as a result of the reopened investigation, police have also been able to tie sponza to two other unsolved murders.
authorities now fault police at the time for the lack of follow-up. the actor, who was 5 when his mother died, told police recently that he remembers sponza getting into violent fights with his mother, but sponza told police at the time that he rarely fought with mcdermott’s mother.
mcdermott reached out to police superintendent michael gugliotti after meeting him at a fundraiser last year. “he said in order for me to survive and to get where i am today, i needed to bury that moment in my life deep within myself,” gugliotti tells the newspaper. “he said it wasn’t until recently that i’ve come to the point in my life where i’m able to begin to process all of this and make it part of his life.”
mcdermott didn’t comment about the new findings, but his sister, robin herrera, says she was relieved to rule out the possibility her mother had committed suicide. “somebody took her from us; she didn’t leave us.”
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fər moʊst əv ðə læst aɪs eɪʤ, ɪˈnɔrmɪs ˈgleɪʃərz ˈkəvərd ˈwɛstərn ˈkænədə. ənd jɛt ˈpipəl stɪl ˈmænɪʤd tɪ krɔs dip ˈɪntu ðə əˈmɛrɪkəz frəm ðɛr ˈsɛtəlmənts ɪn ˈwɛstərn əˈlæskə. haʊ dɪd ðeɪ du ɪt? ˌɑrkiˈɑləʤɪsts wəns θɔt ə ˈnɛroʊ strɪp əv lænd ˈoʊpənd əp bɪtˈwin ðə ˈgleɪʃərz, əˈlaʊɪŋ ðɛm ˈpæsɪʤ. bət ˈəðərz ˈsəˌspɛkt ðə ˈmaɪgrənts hɑpt daʊn ðə pəˈsɪfɪk koʊst ɪn boʊts lɔŋ ˌbiˈfɔr ðət ˈhæpənd. naʊ, ə nu ˈstədi əv ˈbaɪsən ˈfɑsəlz ˈɔfərz ðə moʊst prɪˈsaɪs deɪt jɛt fər ðə ˈoʊpənɪŋ əv ðə ˈkɔrɪdər: jɪrz əˈgoʊ. kəmˈbaɪnd wɪθ ˈɛvədəns əv ˈərliər ˌɑkjəˈpeɪʃənz ɪn ðə loʊər 48 ɪt səˈʤɛsts ðə ˈkɔrɪdər kʊd nɑt hæv bɪn ðə fərst rut ˈpipəl tʊk ˈɪntu ðə nu wərld. ɪz ðə fərst strɔŋ ˌɛmˈpɪrɪkəl ˈdætə ˈɪndəˌkeɪtɪŋ wɪn ðət ˈkɔrɪdər wɑz viable,”*,” sɪz ˈmaɪkəl ˈwɔtərz, ən ˌɑrkiˈɑləʤɪst æt ˈtɛksəs ˌjunəˈvərsəti, ˈkɑlɪʤ ˈsteɪʃən. ˌɪndərˈɛkt ˈɛvədəns, bət stɪl strɔŋ evidence.”*.” ðə ˈoʊpənɪŋ deɪt həz lumd lɑrʤ ɪn dəˈbeɪts əˈbaʊt ðə ˈsɛtəlɪŋ əv ðə əˈmɛrɪkəz. ˈrisərʧərz lɔŋ θɔt ðət ˈkloʊvɪs ˈhəntərz, aɪˈdɛntəˌfaɪd baɪ ðɛr dɪˈstɪŋktɪv ““fluted”*” spɪr pɔɪnts mɑrkt wɪθ lɔŋ, ˈʃæloʊ gruvz, ˈfɑloʊd geɪm saʊθ θru ðə ˈkɔrɪdər mɔr ðən jɪrz əˈgoʊ, wɪn ðɛr tulz bɪˈgɪn tɪ ʃoʊ əp ɪn ðə ˌkɑntəˈnɛnəl juˈnaɪtɪd steɪts. ˈrisəntli dɪˈskəvərd ˈɛvədəns əv ˈərliər ˈjumən ˌhæbəˈteɪʃən ɪn ðə əˈmɛrɪkəz səˈʤɛstɪd ðeɪ meɪ hæv juzd ə ˈdɪfərənt, mɔr ˈeɪnʧənt rut. bət hɑrd ˈdætə ɔn ðə ˈkɔrɪdər wər ˈvərʧuəli ˌnɑnəgˈzɪstənt. dweɪn froʊs ənd ˌɑrkiˈɑləʤɪst ʤæk aɪvz, boʊθ æt ðə ˌjunəˈvərsəti əv ælˈbərtə, ˈɛdməntən, ɪn ˈkænədə, wər ˌdɪsəˈpɔɪnɪd wɪn ðeɪ rivˈjud ðə ˈlɪtərəʧər ə fju jɪrz əˈgoʊ. [hadn’t*] ˈrɪli muvd məʧ ɪn ðə læst 20 years,”*,” froʊs sɪz. soʊ froʊs ənd aɪvz sɛt aʊt tɪ faɪnd wɪn ðə ˈkɔrɪdər bɪˈkeɪm ˈhæbətəbəl ˈjuzɪŋ ə nu tul: ˈbaɪsən ˈfɑsəlz. ˈbaɪsən wər ɔˈrɛdi ɪn nɔrθ əˈmɛrɪkə wɪn ðə ˈgleɪʃərz bɪˈgæn tɪ groʊ, ənd ðə aɪs ˈsɛpərˌeɪtɪd ðɛr ˌpɑpjəˈleɪʃənz ˈɪntu ˈnɔrðərn ənd ˈsəðərn ˈbrænʧɪz. ˈdʊrɪŋ ðət taɪm, ˈsəðərn ˈbaɪsən ɪkˈspɪriənst ə drəˈmætɪk die-off*, ʃˈrɪŋkɪŋ tɪ ʤɪst ə fju ˈkloʊsli rɪˈleɪtɪd ˌɪndəˈvɪʤəwəlz. wɪn ðə ˌpɑpjəˈleɪʃən bɪˈgæn tɪ groʊ əˈgɛn, ðeɪ ɔl hæd ˈvɛri ˈsɪmələr ʤinz. ɪn ˌpɑˈtɪkjələr, ðɛr ɪn ðə paʊər plænts əv sɛlz, pæst daʊn ˈoʊnli frəm ðə ˈbeɪsɪkli aɪˈdɛntɪkəl. baɪ ðə taɪm ðə aɪs ʃits rɪˈsidɪd ˈθaʊzənz əv jɪrz ˈleɪtər, ɪn ðə saʊθ ɔl lʊk ðə seɪm, ənd ˈbaɪsən ɪn ðə nɔrθ lʊk different,”*,” sɪz bɛθ ʃəˈpɪroʊ, ən ˌɛvəˈluʃəˌnɛri baɪˈɑləʤɪst æt ðə ˌjunəˈvərsəti əv ˌkæləˈfɔrnjə, ˈsænə kruz. soʊ tɪ tɛl wɪʧ grup ə ˈbaɪsən ˈfɑsəl bɪˈlɔŋd tɪ, ɔl ʃi hæd tɪ du wɑz ˈsikwəns ɪts ˈdiˌɛˈneɪ. ˈfaɪndɪŋ ə ˈsəðərn ˈbaɪsən ɪn ðə nɔrθ ər ə ˈnɔrðərn ˈbaɪsən ɪn ðə saʊθ wʊd ˈɪndəˌkeɪt ðət ðə ˈænəməlz wər səkˈsɛsfəli trəˈvərsɪŋ ðə ˈkɔrɪdər. deɪts frəm ˈkɑləgən ɪn ðə ˈfɑsəlz kʊd rɪˈvil ɪgˈzæktli wɪn ðət hæd ˈhæpənd. ˈnɔrðərn ənd ˈsəðərn ˈbaɪsən wər ˈmɪŋgəlɪŋ wɪˈθɪn ðə ˈkɔrɪdər baɪ əˈbaʊt jɪrz əˈgoʊ, ðə tim rɪˈpɔrts ˈɔnˌlaɪn təˈdeɪ ɪn ðə prəˈsidɪŋz əv ðə ˈnæʃənəl əˈkædəmi əv ˈsaɪənsɪz raɪt əraʊnd ðə fərst əˈpɪrəns əv ˈkloʊvɪs pɔɪnts. bət wɛl ˈæftər ə ˈhændˌfʊl əv saɪts ˈdeɪtɪd tɪ ðə ˈpɪriəd, ˌɪnˈkludɪŋ ɪn ˈflɔrɪdə, wɛr ˌɑrkiˈɑləʤɪsts ˈrisəntli dɪˈskəvərd ə stoʊn biface*. stɪl, ðə ˈkɔrɪdər meɪ hæv bɪn ˌɪmˈpɔrtənt fər ˈpipəl ɔn ðə muv. meɪ nɑt hæv bɪn ˈhaɪˌweɪ ˈɪntu ðə nu wərld, aɪvz sɪz. ɪt wɑz ˈhaɪˌweɪ baɪ ðə taɪm ˈbaɪsən wər ˈeɪbəl tɪ pæs θru ðə ˈkɔrɪdər, hi sɪz, ˈjumənz wər ɔˈrɛdi ˈlɪvɪŋ saʊθ əv ðə aɪs ʃits, prɪˈzuməbli ˈæftər ˈtrævəlɪŋ daʊn ðə pəˈsɪfɪk koʊst baɪ boʊt. ðoʊz aɪs ˈmæsɪz ˈpɑrtɪd, ˈjumən grups ðət hæd bɪn ˈsɛpərˌeɪtɪd fər ˈmeɪbi ə ˈθaʊzənd ər ˈivɪn fju ˈθaʊzənd jɪrz wʊd hæv hæd ə ʧæns tɪ gɪt bæk ɪn təʧ wɪθ iʧ other,”*,” aɪvz ɛz ðə ˈbaɪsən əˈpɪr tɪ hæv dən. ˌɪnˈtrigɪŋli, ðə ˈrisərʧərz faʊnd mɔr ˈsəðərn ˈbaɪsən ˈjuzɪŋ ðə ˈkɔrɪdər tɪ muv nɔrθ ðən ˈnɔrðərn ˈbaɪsən ˈkəmɪŋ saʊθ, pərˈhæps bɪˈkəz ðə loʊər ˈriʧɪz əv ðə ˈkɔrɪdər bɪˈkeɪm ˈpæsəbəl waɪl ðə nɔrθ wɑz stɪl ˈfroʊzən. ɪf keɪs, ˈlaɪkli ˈpipəl dɪd ðə seɪm, ˈflɪpɪŋ ðə trəˈdɪʃənəl skrɪpt əˈbaʊt ðə ˈkɔrɪdər ɔn ɪts hɛd. ˈɔlˌweɪz hɪˈstɔrɪkəli lʊkt æt ðə ˈkɔrɪdər ɛz ðə weɪ ðət ˈpipəl ˈmaɪˌgreɪtɪd frəm əˈlæskə daʊn ˈɪntu ðə ˌɪnˈtɪriər əv ðə juˈnaɪtɪd states,”*,” sɪz ˈwɔtərz, hu ˈɛkskəˌveɪtɪd ənd ˈsɛvərəl ˈəðər saɪts. naʊ, siɪŋ ðət ðə kəmˈplit ˈɑpəzɪt. ˈæˌkʧuəli ə ˈkɔrɪdər baɪ wɪʧ ˈpipəl ər ˈtrævəlɪŋ bæk əp tɪ ðə north.”*.” ðət kʊd ɪkˈspleɪn waɪ pɔɪnts ɪn ˈnɔrðərn əˈlæskə əˈpɪr tɪ bi ˈjəŋgər ðən ðoʊz dɪˈskəvərd ɪn ðə loʊər 48 aɪvz sɪz: ˈlaɪkli ðət ˈkloʊvɪs tɛkˈnɑləʤi dɪˈvɛləpt ɪn ðə saʊθ, ənd ˈpipəl ˈkɛrid ɪt nɔrθ. səm ˈrisərʧərz rɪˈmeɪn ˈskɛptɪkəl, ˌhaʊˈɛvər, ˌɪnˈkludɪŋ ˈkloʊvɪs ˈɛkspərt ˈgɛri heɪnz, ən ˌɑrkiˈɑləʤɪst æt ðə ˌjunəˈvərsəti əv nəˈvɑdə, ˈrinoʊ. hi ˈkɔʃənz əˈgɛnst ɛkˈstræpəˌleɪtɪŋ ðə ˈbaɪsən ˈdætə tɪ ˈjumənz. sɛts ə deɪt fər ðə ˈoʊpənɪŋ əv ðɪs ˈkɔrɪdər tɪ bɪg, grəˈgɛriəs, ˈhərdɪŋ ˈænəməlz, bət aɪ noʊ ɪf ɪt ˌnɛsəˈsɛrəli sɛts ə deɪt fər ðə ˈvɛri fərst ˈmuvmənt əv humans,”*,” hi sɪz. ˈpipəl kʊd hæv bɪn ˈmuvɪŋ θru ðə ˈkɔrɪdər lɔŋ ˌbiˈfɔr ɪt wɑz ˈkeɪpəbəl əv ˈhoʊstɪŋ ðə kaɪnd əv ɪkˈstɛnsɪv ˈgræsˌlænd ˈbaɪsən dɪˈpɛnd ɔn, pərˈhæps baɪ ˈfɑloʊɪŋ ənd ˈhəntɪŋ lɛs ɛkəˈlɑʤɪkli dɪˈmændɪŋ ˈwɔtərˌfaʊl, hi sɪz. ˈtænəˌlaɪzɪŋ ˈɛvədəns, bət nɑt ðə kaɪnd əv evidence.”*.” ˈrisərʧərz əˈgri ðət ðə ˈbaɪsən ˈdætə ˈɔfər ˈoʊnli ən ˈəpər ˈlɪmət ɔn ðə əv ðə ˈkɔrɪdər; ˈpɑsəbəl ðət ˈpipəl kʊd hæv juzd ɪt ˌbiˈfɔr ðə ˈbaɪsən. wʊd bi greɪt tɪ hæv ˈsɑləd ˈɛvədəns əv humans,”*,” ˈwɛðər θru boʊnz ər treɪs əˈmaʊnts əv ˈeɪnʧənt ˈdiˌɛˈneɪ lɛft bɪˈhaɪnd ɪn ˈsɛdəmənt kɔrz, ʃəˈpɪroʊ sɪz. ðɪs [ˈstədi] wɪl ˌriɪgˈnaɪt səm əv ðə ˈɪntəˌrɛst ɪn ðə ˈkɔrɪdər ˈriʤən, ənd hɛlp ˈpipəl hu hæv ˈəðər taɪps əv ˌɛkspərˈtiz ər ər kəˈlɛktɪŋ ˈəðər taɪps əv ˈdætə tɪ ˈrɪli stɑrt ˈfoʊkɪsɪŋ ɔn ðɪs ˈɛriə again.”*.” *kərˈɛkʃən, 6 ʤun, p.m*.: ən ˈərliər ˈvərʒən əv ðɪs ˈstɔri ˌɪnkərˈɛktli aɪˈdɛntəˌfaɪd bɛθ ʃəˈpɪroʊ ɛz biɪŋ əˈfɪliˌeɪtɪd wɪθ ˈstænfərd ˌjunəˈvərsəti. ʃi ɪz ən ˌɛvəˈluʃəˌnɛri baɪˈɑləʤɪst æt ðə ˌjunəˈvərsəti əv ˌkæləˈfɔrnjə, ˈsænə kruz.
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for most of the last ice age, enormous glaciers covered western canada. and yet people still managed to cross deep into the americas from their settlements in western alaska. how did they do it? archaeologists once thought a narrow strip of land opened up between the glaciers, allowing them passage. but others suspect the migrants hopped down the pacific coast in boats long before that happened. now, a new study of bison fossils offers the most precise date yet for the opening of the ice-free corridor: 13,000 years ago. combined with evidence of earlier occupations in the lower 48, it suggests the corridor could not have been the first route people took into the new world.
“this is the first strong empirical data indicating when that corridor was viable,” says michael waters, an archaeologist at texas a&m university, college station. “it’s indirect evidence, but it’s still strong evidence.”
the opening date has loomed large in debates about the settling of the americas. researchers long thought that clovis hunters, identified by their distinctive “fluted” spear points marked with long, shallow grooves, followed game south through the corridor more than 13,000 years ago, when their tools begin to show up in the continental united states. recently discovered evidence of earlier human habitation in the americas suggested they may have used a different, more ancient route. but hard data on the corridor were virtually nonexistent. geoscientist duane froese and archaeologist jack ives, both at the university of alberta, edmonton, in canada, were disappointed when they reviewed the literature a few years ago. “it [hadn’t] really moved much in the last 20 years,” froese says.
so froese and ives set out to find when the corridor became habitable using a new tool: bison fossils. bison were already in north america when the glaciers began to grow, and the ice separated their populations into northern and southern branches. during that time, southern bison experienced a dramatic die-off, shrinking to just a few closely related individuals. when the population began to grow again, they all had very similar genes. in particular, their mitochondrial dna—genes in the power plants of cells, passed down only from the mother—was basically identical. by the time the ice sheets receded thousands of years later, “bison in the south all look the same, and bison in the north look different,” says beth shapiro, an evolutionary biologist at the university of california, santa cruz. so to tell which group a bison fossil belonged to, all she had to do was sequence its mitochondrial dna. finding a southern bison in the north or a northern bison in the south would indicate that the animals were successfully traversing the ice-free corridor. radiocarbon dates from collagen in the fossils could reveal exactly when that had happened.
northern and southern bison were mingling within the ice-free corridor by about 13,000 years ago, the team reports online today in the proceedings of the national academy of sciences . that’s right around the first appearance of clovis points. but it’s well after a handful of sites dated to the pre-clovis period, including page-ladson in florida, where archaeologists recently discovered a 14,500-year-old stone biface.
still, the corridor may have been important for people on the move. “it may not have been highway 1” into the new world, ives says. “but it was highway 2.” by the time bison were able to pass through the corridor, he says, humans were already living south of the ice sheets, presumably after traveling down the pacific coast by boat. “when those ice masses parted, human groups that had been separated for maybe a thousand or even few thousand years would have had a chance to get back in touch with each other,” ives says—just as the bison appear to have done.
intriguingly, the researchers found more southern bison using the corridor to move north than northern bison coming south, perhaps because the lower reaches of the corridor became passable while the north was still frozen. if that’s case, it’s likely people did the same, flipping the traditional script about the corridor on its head. “we’ve always historically looked at the corridor as the way that people migrated from alaska down into the interior of the united states,” says waters, who excavated page-ladson and several other pre-clovis sites. “but now, we’re seeing that it’s the complete opposite. it’s actually a corridor by which people are traveling back up to the north.” that could explain why fluted points in northern alaska appear to be younger than those discovered in the lower 48, ives says: it’s likely that clovis technology developed in the south, and people carried it north.
some researchers remain skeptical, however, including clovis expert gary haynes, an archaeologist at the university of nevada, reno. he cautions against extrapolating the bison data to humans. “it sets a date for the opening of this corridor to big, gregarious, herding animals, but i don’t know if it necessarily sets a date for the very first movement of humans,” he says. people could have been moving through the corridor long before it was capable of hosting the kind of extensive grassland bison depend on, perhaps by following and hunting less ecologically demanding waterfowl, he says. “it’s tantalizing evidence, but it’s not the slam-dunk kind of evidence.”
researchers agree that the bison data offer only an upper limit on the habitability of the ice-free corridor; it’s possible that people could have used it before the bison. “it would be great to have solid evidence of humans,” whether through bones or trace amounts of ancient dna left behind in sediment cores, shapiro says. “maybe this [study] will reignite some of the interest in the corridor region, and help people who have other types of expertise or are collecting other types of data to really start focusing on this area again.”
*correction, 6 june, 4:56 p.m.: an earlier version of this story incorrectly identified beth shapiro as being affiliated with stanford university. she is an evolutionary biologist at the university of california, santa cruz.
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ˈɪmɪʤ ˈkɑpiˌraɪt ˈɪmɪʤ ˈkæpʃən ˈvɪlɪʤərz ˈgæðərd fər ðə fˈjunərəl əv moʊˈhɑmɛd pəˈlis ɪn ˈkæʃmɪr seɪ ðeɪ hæv kɪld ə ˈmɪlətənt ˈsɛpərətɪst ˈlidər ɪn ə ˈaʊtˈsaɪd ðə ˈsɪti əv ʃˈrinəˌgɑr. moʊˈhɑmɛd wɑz ə kəˈmændər ɪn ðə (ʤɛm) grup. pəˈlis sɛd ðeɪ ɪnˈgeɪʤd ɪn ə fɪrs gən ˈbætəl wɪθ. ɛz ðə nuz əv hɪz dɛθ sprɛd, ˈhənərdz əv ˈrɛzɪdənts keɪm ɔn tɪ ðə strits ˈʃaʊtɪŋ sˈloʊgənz ənd ˈklæʃɪŋ wɪθ pəˈlis. pəˈlis sɛd ə lɛd ðɛm tɪ ðə haʊs ɪn ˈdɪstrɪkt wɛr wɑz ˈhaɪdɪŋ ənd tu ˈəðər səˈspɛktɪd ˈmɪlətənts wər ˈhaɪdɪŋ. ə pəˈlis ˈɔfɪsər hu ərˈɛstɪd ɪn ˈdɛli ɪn 2003 sɛd hi hæd ərˈɪʤənəli bɪn rɪˈkrutɪd bɪˈkəz æt 1.27m*) hi dɪd nɑt lʊk laɪk ə ˈmɪlətənt. "ˈnoʊwən wʊd ˈsəˌspɛkt ɪm tɪ bi ə ˈtɛrərɪst ənd ðət ɪz waɪ ʤɛm rɪˈkrutɪd ɪm ɛz ən ˈwərkər," ðə ˈɔfɪsər sɛd. bət hɪz ʃɔrt ˈstæʧər ənd ə lɪmp ˈɔlsoʊ meɪd ɪt ˈizi tɪ aɪˈdɛntəˌfaɪ ɪm. hu wɑz moʊˈhɑmɛd? ˈmɪlətənt ɪn, ˈleɪbəld ɛz ə "ˈmərʧənt əv dɛθ" æt hɪz traɪəl ərˈɪʤənəli rɪˈkrutɪd bɪˈkəz hɪz ʃɔrt ˈstæʧər wɑz θɔt tɪ meɪk ɪm lʊk lɛs laɪk ə ˈmɪlətənt kloʊz eɪd əv ˈbəbə, ðə ʤɛm kəˈmændər hu ˈmæstərˌmaɪndɪd ðə 2001 ˈsuɪˌsaɪd əˈtæk ɔn ðə ˈɪndiən ˈpɑrləmɛnt ərˈɛstɪd ɪn ˈdɛli ɪn 2003 wɪθ ə sæk fʊl əv ˈkərənsi ˈsɛntənst tɪ laɪf ɪn ˈprɪzən ɪn 2011 bət ʤəmpt pəroʊl ɪn 2015 ˈsəˌspɛkt ɪn ə grəˈneɪd əˈtæk ˈtɑrgətɪŋ ə ˈloʊkəl ˈmɪnɪstər ɪn sɛpˈtɛmbər 2017 "ɪt wɑz ə klin ˌɑpərˈeɪʃən beɪst ɔn spɪˈsɪfɪk ˌɪnˈtɛləʤəns ˈɪnˌpʊts," ʤəˈmu ənd pəˈlis dɪˈrɛktər ˈʤɛnərəl pɔl sɛd. "ˌhaʊˈɛvər, baɪ ðə taɪm sɪˈkjʊrəti ˈfɔrsɪz leɪd ˈkɔrdən, tu ˈtɛrəˌrɪsts ˈmænɪʤd tɪ ɪˈskeɪp. sərʧ ˌɑpərˈeɪʃənz ɪn ˈɛriə ər ɔn tɪ aɪˈdɛntəˌfaɪ ənd ərˈɛst ðɛm," hi sɛd. ˈloʊkəl ˈmidiə sɛd ðət hæd bɪˈkəm "ə ˈhɛˌdeɪk" fər pəˈlis ˈæftər hi ʤəmpt pəroʊl ənd tʊk kənˈtroʊl əv ʤɛm saʊθ ənd ˈsɛntrəl ˈkæʃmɪr. ˈɪmɪʤ ˈkɑpiˌraɪt ˈɪmɪʤ ˈkæpʃən kæʃˈmiri ˈsɛpərətɪsts hæv bɪn ˈklæʃɪŋ wɪθ pəˈlis ɪn ˈrisənt wiks ˈmɪstər sɛd ðət hæd bɪn ˈplænɪŋ ən əˈtæk ɔn ə ˈkɑnˌvɔɪ ɔn ðə ˈhaɪˌweɪ wɪn pəˈlis trækt ɪm daʊn. hi wɑz ˈɔlsoʊ bɪˈlivd tɪ hæv ˈmæstərˌmaɪndɪd ən əˈtæk ɔn ə ˈbɔrdər sɪˈkjʊrəti fɔrs kæmp nɪr ʃˈrinəˌgɑr ˈɛrˌpɔrt ɪn ɑkˈtoʊbər. ˈvaɪələns həz ˈɛbəd ənd floʊd ɪn ˈkæʃmɪr sɪns 1989 bət ðə ˈriʤən həz sin ə frɛʃ weɪv əv ənˈrɛst ˈfɑloʊɪŋ ˈpɑpjələr ˈmɪlətənt ˈlidər ˈkɪlɪŋ baɪ ˈɪndiən ˈfɔrsɪz ɪn ˌʤuˈlaɪ 2016 ðə ˈkɪlɪŋ əv moʊˈhɑmɛd ɪz sin ɛz ə ˈmeɪʤər səkˈsɛs fər ðə sɪˈkjʊrəti ˈfɔrsɪz ɪn ðɛr faɪt əˈgɛnst ˈsɛpərətɪst ˈmɪlətənts.
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image copyright afp image caption villagers gathered for the funeral of noor mohammad tantray
police in indian-administered kashmir say they have killed a militant separatist leader in a shoot-out outside the city of srinagar.
noor mohammad tantray was a commander in the pakistan-based jaish-e-mohammad (jem) group.
police said they engaged in a fierce gun battle with tantray.
as the news of his death spread, hundreds of residents came on to the streets shouting anti-india slogans and clashing with police.
police said a tip-off led them to the house in pulwama district where tantray was hiding and two other suspected militants were hiding.
a police officer who arrested tantray in delhi in 2003 said he had originally been recruited because at 4ft 2inches (1.27m) he did not look like a militant.
"no-one would suspect him to be a terrorist and that is why jem recruited him as an over-ground worker," the officer said.
but his short stature and a limp also made it easy to identify him.
who was noor mohamed tantray?
forty-seven-year-old militant in jaish-e-mohammad, labelled as a "merchant of death" at his trial
originally recruited because his short stature was thought to make him look less like a militant
close aide of ghazi baba, the jem commander who masterminded the 2001 suicide attack on the indian parliament
arrested in delhi in 2003 with a sack full of currency
sentenced to life in prison in 2011 but jumped parole in 2015
suspect in a grenade attack targeting a local minister in september 2017
"it was a clean operation based on specific intelligence inputs," jammu and kashmir's police director general shesh paul vaid said.
"however, by the time security forces laid cordon, two terrorists managed to escape. search operations in area are on to identify and arrest them," he said.
local media said that tantray had become "a headache" for police after he jumped parole and took control of jem south and central kashmir.
image copyright epa image caption kashmiri separatists have been clashing with police in recent weeks
mr vaid said that tantray had been planning an attack on a convoy on the srinagar-jammu highway when police tracked him down.
he was also believed to have masterminded an attack on a border security force camp near srinagar airport in october.
violence has ebbed and flowed in indian-administered kashmir since 1989 but the region has seen a fresh wave of unrest following popular militant leader burhan wani's killing by indian forces in july 2016.
the killing of noor mohammad tantray is seen as a major success for the security forces in their fight against separatist militants.
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zantilla* tɪ riˈlis ɪnˈkaʊnərz ɔn ɑkˈtoʊbər wi wʊd laɪk tɪ ˈwɛlkəm ˈɑkə ˈeɪdriən wɪθ hɪz ˈdeɪbju ˈælbəm ˈtaɪtəld ɪnˈkaʊnərz! ˈfeɪvərɪt "tɔɪ" ɛz ə ʧaɪld wɑz ən ˈəˌpraɪt piˈænə, ˈgɪvɪŋ ɪm ˈɛndləs aʊərz tɪ dɪˈskəvər θɔts ənd ˈfilɪŋz θru mˈjuzɪk. ɛz hi gɑt ˈoʊldər, hɪz "tɔɪ" kəˈlɛkʃən gru tɪ ˌɪnˈklud drəmz ənd gɪˈtɑr. baɪ haɪ skul, ˈeɪdriən hæd əkˈwaɪərd ə ˈvɛri ˌpɑˈtɪkjələr teɪst fər ˌɪˌlɛkˈtrɑnɪk mˈjuzɪk ənd prəˈgrɛsɪv ˈmɛtəl. waɪl kənˈdəktɪŋ ˈsɛvərəl ˌɪˌlɛkˈtrɑnɪk ˈprɑʤɛkts, hi hæd ˈsikrɪtli bɪn traɪɪŋ tɪ mərʤ hɪz əbˈsɛʃən fər sɪnˈθɛtɪk saʊnz ənd dɛns, prəˈgrɛsɪv ˌkɑmpəˈzɪʃənz. jɪrz ˈleɪtər, ˈæftər ˈhirɪŋ hi faʊnd hɪz ˈpæʃən ɪn ðə wərld. ðəs, wɑz bɔrn. ˌɪnˈspaɪərd baɪ prəˈgrɛsɪv ˈmɛtəl ækts laɪk drim ˈθieɪtər, ˈænəməlz ɛz ˈlidərz ənd ʧɪmp ˈspænər, ənd ə ˈhændˌfʊl əv ˈɑrtɪsts ɛz virt*, shnabubula*, ˈkoʊdə, ənd diad*, əˈtɛmpts tɪ kip hɪz wərks ɪn boʊθ sinz. ɪnˈkaʊnərz ɪz ə kəˈlɛkʃən əv wərks ðət ˈfoʊkɪsɪz ɔn ʤeɪ. ˈælən skeɪl əv kloʊz ɪnˈkaʊnərz wɪʧ rɪˈleɪts tɪ ˈɛvriˌθɪŋ frəm ˌjuˌɛˈfoʊ ˈsaɪtɪŋz, tɪ əbˈdəkʃənz, ənd ˈivɪn kəmˌjunəˈkeɪʃən bɪtˈwin ˈjumənz ənd ˌɛkstrətərˈɛstriəl biɪŋz. tɪ peɪnt ðɪs mˈjuzɪkəl ˈpɪkʧər, ˈeɪdriən ʧoʊz ə waɪd əreɪ əv ˈɛˈfɛm saʊnz, wɪθ səm əˈdɪʃənz. ðɪs, ɪn ˌkɑmbəˈneɪʃən wɪθ ˈmɑdərn ˈmɛtəl rɪˈkɔrdɪŋ tɛkˈniks ənd lɪv drəm saʊnz, gɪv ɪnˈkaʊnərz ə ˈvɛri rɪʧ ˈsɑnɪk ˈpælət ˈjuzɪŋ ˈsɪmpəl ˈtɛksʧərz. ðə fərst træk ɔf əv ɪnˈkaʊnərz wi wʊd laɪk tɪ ʃɛr ɪz ˈtaɪtəld kaɪnd": ɪnˈkaʊnərz wɪl bi riˈlist ɔn ɑkˈtoʊbər. trəˈdɪʃənəli, əv nɔɪz ˈʧænəl ˈreɪdiˌoʊ wɪl ˈhændəl ə ˈlɪsənɪŋ ˈpɑrti, ənd raɪt ˈæftər ðə ˈælbəm wɪl bi əˈveɪləbəl tɪ ˈdaʊnˌloʊd. ˈfɑloʊ: ˈfeɪsˌbʊk
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zantilla to release encounters on october 24th
we would like to welcome zantilla aka adrian shegstad with his debut album titled encounters!
adrian's favorite "toy" as a child was an upright piano, giving him endless hours to discover thoughts and feelings through music. as he got older, his "toy" collection grew to include drums and guitar.
by high school, adrian had acquired a very particular taste for electronic music and progressive metal. while conducting several electronic projects, he had secretly been trying to merge his obsession for synthetic sounds and dense, progressive compositions. years later, after hearing virt's fx4, he found his passion in the chiptune world. thus, zantilla was born. inspired by progressive metal acts like dream theater, animals as leaders and chimp spanner, and a handful of chiptune artists as virt, shnabubula, coda, and diad, zantilla attempts to keep his works in both scenes.
encounters is a collection of works that focuses on j. allen hynek's scale of close encounters which relates to everything from ufo sightings, to abductions, and even communication between humans and extraterrestrial beings. to paint this musical picture, adrian chose a wide array of fm sounds, with some 2a03 additions. this, in combination with modern metal recording techniques and live drum sounds, give encounters a very rich sonic palette using simple textures.
the first track off of encounters we would like to share is titled "7th kind":
encounters will be released on october 24th. traditionally, truestar of noise channel radio will handle a listening party, and right after the album will be available to download.
follow zantilla:
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ˈsɔroʊs fənd ˈmænɪʤmənt həz ˌɪnˈkrist ɪts ˈbɛrɪʃ bɛt əˈgɛnst ˈjuˈɛs ˈkəmpəˌniz ɔn ðə 500 ˈɪndɛks. ɪts ˌbɪljəˈnɛr ˈoʊnər wɪl meɪk ˈməni ɪf ðə ˈɪndɛks kəˈlæpsɪz. rɛd mɔr ðə ˈstændərd 500 ɪz ən əˈmɛrɪkən stɑk ˈmɑrkɪt ˈɪndɛks beɪst ɔn ˈmɑrkɪt ˌkæpɪtəlɪˈzeɪʃən əv 500 lɑrʤ ˈjuˈɛs ˈkəmpəˌniz ˈhævɪŋ ˈkɑmən stɑk ˈlɪstɪd ɔn ðə nu jɔrk stɑk ɪksˈʧeɪnʤ ər ɔn ˈnæzdæk. ðə ˌɪnˈvɛstərz fənd həz ˌriˈpɔrtəd ɪt hæd əreɪnʤd ‘‘put’*’ ˈɔpʃənz ɔn ˈrəfli 4 ˈmɪljən ʃɛrz ɛz əv ʤun 30 ðɪs ɪz əp frəm ˈmɪljən ʃɛrz ɛz əv mɑrʧ 31 ə pʊt ˈɔpʃən gɪvz ˌɪnˈvɛstər ðə raɪt, nɑt ən ˌɑbləˈgeɪʃən, tɪ sɛl ðiz ʃɛrz ɪn ðə fˈjuʧər. ðɪs minz ˈsɔroʊs wɪl ərn, ɪf ðə 500 ˈɪndɛks goʊz daʊn. ðə fənd ˈspɛsəˌfaɪ ðə praɪs ər ˌɛkspərˈeɪʃən əv ðiz pəˈzɪʃənz. ə ˈræli sɪns leɪt ʤun həz ðə 500 əp ˈnɪrli 7 pərˈsɛnt ɪn 2016 ˈsɛtɪŋ nu ˈɔlˌmoʊst ˈɛvəri deɪ. ðə ˈɪndɛks sɛt ə ˈrɛkərd ˈkloʊzɪŋ æt pɔɪnts ɔn ˈmənˌdeɪ. ðə fənd ˈɔlsoʊ slæʃt ɪts ˈhoʊldɪŋz ɪn goʊld trəst tɪ ʃɛrz wərθ ˈmɪljən, frəm ˈmɪljən ʃɛrz wərθ ˈmɪljən ɪn ðə fərst kˈwɔrtər əv ðə jɪr. ˈsɔroʊs fənd ˈmænɪʤmənt ˈɔlsoʊ sɪgˈnɪfɪkəntli rɪˈdust ɪts steɪk ɪn ˈbɛrɪk goʊld tɪ ˈmɪljən ʃɛrz wərθ ˈmɪljən, frəm ˈmɪljən ʃɛrz ɪn january-march*. rɛd mɔr: ˈsɔroʊs siks seɪf ˈheɪvən ɪn goʊld, kənˈsərnd əˈbaʊt ˈpɑsəbəl kəˈlæps ˈfaʊndɪd baɪ ʤɔrʤ ˈsɔroʊs ɪn 1969 ðə fənd ˈmænɪʤɪz hɪz ˈfæməli ˈfɔrʧən. məʧ əv ðə ˈməni goʊz ˈɪntu ˈəðər hɛʤ fəndz ənd ˌɪnˈvɛstmənt fərmz. wɪθ ə ˈbɪljən ˈfɔrʧən, ʤɔrʤ ˈsɔroʊs ɪz ræŋkt baɪ fɔrbz ɛz ðə ˈpərsən ɪn ðə ˈjuˈɛs. waɪl θri ˈmeɪʤər ˈjuˈɛs stɑk ˈɪndɪˌsiz ˈɛndɪd æt ˌɔlˈtaɪm haɪz ɔn ˈmənˌdeɪ, ɪt ˈoʊnli ˈsɔroʊs əˈməŋ ˌbɪljəˈnɛrz tɪ bi ˈbɛrɪʃ ɪn ðə ˈsɛkənd kˈwɔrtər. ˈʤɛfri ˈgəndlək, kɑrl ˈaɪkɑn ənd ˈdeɪvɪd ˈtɛpər ˈɔlsoʊ slæʃt ðɛr ‘‘long’*’ pəˈzɪʃənz. rɛd mɔr: ˈgloʊbəl stɑks æt ˈrɛkərd haɪz wɪθ krud ˈræliɪŋ ˈɑrtɪst ˈkrɪstəfər wʊl həz ə wərd ˈpeɪnɪŋ, ðə haʊs, sɛl ðə kɑr, sɛl ðə kids.’*.’ ðæts ɪgˈzæktli haʊ aɪ fil sɛl ˈɛvriˌθɪŋ. ˈnəθɪŋ hir lʊks good,”*,” ˈgəndlək toʊld ˈrɔɪtərz læst mənθ. ˈgəndlək həz bɪn ˈʃɔrtənɪŋ ɔn stɑks ənd ˈkipɪŋ haɪ ɪkˈspoʊʒər ɔn goʊld. goʊld ˈpraɪsɪz hæv groʊn frəm pər trɔɪ aʊns æt ðə ɛnd əv læst jɪr tɪ ɔn ˈtuzˌdeɪ.
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soros fund management has increased its bearish bet against us companies on the s&p 500 index. its billionaire owner will make money if the index collapses.
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the standard & poor’s 500 is an american stock market index based on market capitalization of 500 large us companies having common stock listed on the new york stock exchange or on nasdaq.
the 86-year-old investor's fund has reported it had arranged ‘put’ options on roughly 4 million shares as of june 30. this is up from 2.1 million shares as of march 31.
a put option gives investor the right, not an obligation, to sell these shares in the future. this means soros will earn, if the s&p 500 index goes down. the fund didn’t specify the price or expiration of these positions.
a rally since late june has the s&p 500 up nearly 7 percent in 2016, setting new historic-highs almost every day. the index set a record closing at 2,190 points on monday.
the billionaire’s fund also slashed its holdings in spdr gold trust to 240,000 shares worth $30.4 million, from 1.05 million shares worth $123.5 million in the first quarter of the year.
soros fund management also significantly reduced its stake in barrick gold to 1.07 million shares worth $22.9 million, from 19.4 million shares in january-march.
read more: soros seeks safe haven in gold, concerned about possible eu collapse
founded by george soros in 1969, the fund manages his family fortune. much of the money goes into other hedge funds and investment firms.
with a $24.9 billion fortune, george soros is ranked by forbes as the 15th-richest person in the us.
while three major us stock indices ended at all-time highs on monday, it wasn’t only soros among billionaires to be bearish in the second quarter. jeffrey gundlach, carl icahn and david tepper also slashed their ‘long’ positions.
read more: global stocks at record highs with crude rallying
“the artist christopher wool has a word painting, ‘sell the house, sell the car, sell the kids.’ that's exactly how i feel – sell everything. nothing here looks good,” gundlach told reuters last month.
gundlach has been shortening on stocks and keeping high exposure on gold. gold prices have grown from $1,060 per troy ounce at the end of last year to $1,356 on tuesday.
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noida*: ə tim əv ˈstudənts frəm ðə ˈæmɪti ˌɪnərˈnæʃənɑl skul hir həz wən ðə pərˈstiʤəs ˈænjuəl ˌɪnərˈnæʃənɑl speɪs ˈsɛtəlmənt dɪˈzaɪn ˌkɑmpəˈtɪʃən, 2015 hɛld æt ˈnæsəz ˈkɛnədi speɪs ˈsɛnər ɪn ˈflɔrɪdə, ˈæmɪti tim kəmˈpraɪzd 12 ˈstudənts ˈkænə,, ˈɑmən ˈɑgɑrwɑl, harisinghani*, ʃrivɑˈstɑvə, ˈpræsəd, ʤeɪn, rəˈhul rajput*, asija*, chaturvedi*, frəm klæs ʃi ənd ˈgʊptə frəm klæs ˈfaɪnəl raʊnd əv speɪs ˈsɛtəlmənt dɪˈzaɪn ˌkɑmpəˈtɪʃən, hɛld bɪtˈwin ˈɔgəst sɔ pɑrˌtɪsəˈpeɪʃən əv 4 ˈkəmpəˌniz' wɪθ 50 pɑrˈtɪsəpənts iʧ frəm ɔl ˈoʊvər ðə wərld hu wər kəmˈpitɪŋ fər ðə ˌɪnərˈnæʃənɑl skul ˈprɪnsəpəl sɪŋ sɛd ðət hər ˈstudənts wər ɪn ə ˈkəmpəˌni kɔld 'ˈvəlʧər ˌeɪviˈeɪʃən' ənd wər kləbd wɪθ timz frəm ˈlætən əˈmɛrɪkə ənd nɔrθ əˈmɛrɪkə ənd tu səˈlɛktɪd tim ˈfaɪnəlɪsts frəm ðə ənd ˈæmɪti tim dɪˈzaɪnd tu meɪn ˈsɛtəlmənts ənd fɔr ˈaʊˌtlaɪɪŋ ˈsɛtəlmənts tɪ əˈkɑməˌdeɪt ə ˌpɑpjəˈleɪʃən əv ɛz wɛl ɛz ə ˈtrænʒənt əv mɔr ɔn mɑrz ˈjuzɪŋ ə trænˈspɛrənt məˈtɪriəl, 'ˌæˈljumɪnəm dɪˈzaɪnɪŋ ðə ˈsɛtəlmənt, ðə tim ˈmɛmbərz wərkt ɔn ˈæˌspɛkts səʧ ɛz ɔtəˈmeɪʃən ˈɛnʤəˈnɪrɪŋ, ˌɑpərˈeɪʃənz ˈɛnʤəˈnɪrɪŋ, ˈjumən ˈɛnʤəˈnɪrɪŋ, ˈmɑrkətɪŋ ənd ˈfaɪˌnæns, ˈskɛʤʊl ənd tim wərkt ɔn ðə dɪˈzaɪn fər 48 ə brif əˈbaʊt ðə ˈprɑʤɛkt, sɛd ðət ðə mɑrz speɪs ˈsɛtəlmənt wɑz neɪmd bəlt' ənd prəˈpoʊzd tɪ bi dɪˈzaɪnd ˌɪnˈsaɪd ə ˈfərðər ˈædɪd ðət ðə səˈlɛkʃən əv loʊˈkeɪʃən fər ðə mɑrz ˈkɑləni dɪˈpɛndɪd ɔn ðə kˈwɑləti əv sɔɪl ənd əˈmaʊnt əv dəst stɔrm ɪn ðə ˌpɑˈtɪkjələr sɛd ðət ðə ˈtoʊtəl kɔst ˌɪnˈvɑlvd ɪn ˈbɪldɪŋ ə ˈkɑləni fər wʊd bi ˌɪnərˈnæʃənɑl speɪs ˈsɛtəlmənt dɪˈzaɪn ˌkɑmpəˈtɪʃən ɪz ə pərˈstiʤəs ˈkɑntɛst wɪʧ eɪmz tɪ ˌɪmˈpɑrt ˌɪnˈdəstriəl skɪlz ɪn ˈstudənts. ðə ˌkɑmpəˈtɪʃən pʊts haɪ skul ˈstudənts ɪn ðə ʃuz əv ˈɛroʊˌspeɪs ˈɛnʤəˈnɪrz.
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noida: a team of students from the amity international school here has won the prestigious 20th annual international space settlement design competition, 2015, held at nasa's kennedy space center in florida, usa.the amity team comprised 12 students -- dhruv khanna, aabhas vaish, aman agarwal, anuj harisinghani, rishab srivastava, chittaranjan prasad, suchit jain, rahul rajput, tanay asija, anant chaturvedi, grishma purewal from class xi and mudit gupta from class x.the final round of space settlement design competition, held between august 2-4, saw participation of '4 companies' with 50 participants each from all over the world who were competing for the title.amity international school principal renu singh said that her students were in a company called 'vulture aviation' and were clubbed with teams from latin america and north america and two selected team finalists from the uk and usa.the amity team designed two main settlements and four outlying settlements to accommodate a population of 24,000 as well as a transient of 3,000 more on mars using a transparent material, 'aluminium oxinitride'.while designing the settlement, the team members worked on aspects such as automation engineering, operations engineering, human engineering, marketing and finance, schedule and cost.the team worked on the design for 48 hours.presenting a brief about the project, aabhas vaish said that the mars space settlement was named 'argonom bult' and proposed to be designed inside a crater.he further added that the selection of location for the mars colony depended on the quality of soil and amount of dust storm in the particular area.he said that the total cost involved in building a colony for 24,000 habitants would be 1,225,571,360,000 dollars.the international space settlement design competition is a prestigious contest which aims to impart industrial skills in students. the competition puts high school students in the shoes of aerospace engineers.
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simz ˈkəntriz ər naʊ ˈmɛdəˌteɪtɪŋ ɪn kriˈeɪtɪŋ ðɛr oʊn ˈdɪʤɪtəl ˈkərənsi ʤɪst laɪk wɪʧ ɪz naʊ juzd baɪ ˈmɪljənz əv ˈpipəl ˈdeɪli ɛz ə ˈpeɪmənt ˈɔpʃən ənd ˌɪnˈvɛstmənt ˈpərpəsɪz. ˈjɛstərˌdeɪ wi ˌriˈpɔrtəd ɔn haʊ sˈwidən ɪz kənˈsɪdərɪŋ ˈdɪʤɪtəl ˈkərənsi bɪˈkəz əv ðə ˈmæsɪv dɪˈklaɪn ɪn ˈjusɪʤ əv ðə bæŋk noʊts baɪ ðə ˈsɪtɪzənz. naʊ ɪn ə frɛʃ ˈɑrtɪkəl ʤəˈpæn ɪz naʊ rɪˈpɔrtədli kənˈsɪdərɪŋ ɪts oʊn ˈdɪʤɪtəl ˈkərənsi wɪʧ ɪz sɛd tɪ bi kɔld ənd ɪz ˌɪnˈtɛndɪd tɪ ˈstrimˌlaɪn ðə ˌfaɪˈnænʃəl ˈikoʊˌsɪstəm. ðɪs kəmz tɪ me(opinion*) ,waɪ ər ˈkəntriz naʊ ˈkɑntəmˌpleɪtɪŋ ɔn kriˈeɪtɪŋ ðɛr oʊn ˈdɪʤɪtəl ˈkərənsi ˈriˌkɔl ˈpriviəsli ðət ˈkrɪtɪks ˈɔlˌweɪz seɪ ðət ˈkərənsi ˈkænɑt bi ˈdɪʤɪtəl, dɪz ɪt min ðət ðeɪ hæv sin ðə greɪt fˈjuʧər bɪˈhaɪnd ˈdɪʤɪtəl ˈkərənsiz laɪk mɔr ənd mɔr ˈkəntriz wɪl sun stɑrt tɪ dɪˈskəs ɔn ˈhævɪŋ ðɛr oʊn ˈdɪʤɪtəl ˈkərənsi laɪk soʊ ðət ðeɪ kən kənˈtroʊl ɪt bɪˈkəz ðeɪ ˈkænɑt kənˈtroʊl. ˈmeɪbi ˈɔlsoʊ soʊ ðeɪ kən træk ˈməni ˈmuvɪŋ ɪn ənd aʊt əv ðə ˈkəntri, sɪns kæʃ bi trækt ənd wɪl hɛlp ɪn ˈtrækɪŋ ˌfaɪˈnænʃəl kərˈəpʃənz ʤɪst laɪk ɪn ðə wɛr ˈɛvriˌwən kən lʊk əp ə ˈwɔlət ˈæˌdrɛs ənd si haʊ ðə fəndz wər muvd. bət wən θɪŋ ɪz ˈsərtən, noʊ ˈdɪʤɪtəl ˈkərənsi əv ˈɛni ˈkəntri wɪl bit ðə greɪt ˈfiʧərz əv ənd ðə ˈmæksəməm əˈdɑpʃən ənd əkˈsɛptəns ɪt həz geɪnd ˈoʊvər ðə jɪrz. ˈhævɪŋ ə ˈnæʃənəl ˈdɪʤɪtəl ˈkərənsi həz noʊ məʧ ˈdɪfərəns frəm ðə ˈnɔrməl faɪæt ənd ɪz ˈɔlsoʊ bɪˈhaɪnd ðə ˌfaɪˈnænʃəl ˈrɛgjəˌleɪtərz hu ˈrɛgjəˌleɪts ɔn haʊ tɪ spɛnd ɪt. wət du ju θɪŋk əv ˈkəntriz dɪˈplɔɪɪŋ ðə ˈdɪʤɪtəl ˈɪrə, lɛt ˈjuˈɛs noʊ bɪˈloʊ ɪn ðə ˈkɑmɛnt bɑks. wəts jʊr θɔt ɔn ðɪs lɛt ˈjuˈɛs noʊ ɪn ðə ˈkɑmɛnt ˈsɛkʃən bɪˈloʊ. ˈdeɪli ˈkrɪptoʊ nuz ɔn ˈfeɪsˌbʊk tˈwɪtər ˈtɛləˌgræm ædz baɪ
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seems countries are now meditating in creating their own digital currency just like which is now used by millions of people daily as a payment option and investment purposes.
yesterday we reported on how sweden is considering digital currency because of the massive decline in usage of the bank notes by the citizens.
now in a fresh article , japan is now reportedly considering its own digital currency which is said to be called j-coin and is intended to streamline the financial ecosystem.
this comes to me(opinion) ,why are countries now contemplating on creating their own digital currency ? , recall previously that critics always say that currency cannot be digital, does it mean that they have seen the great future behind digital currencies like ?
more and more countries will soon start to discuss on having their own digital currency like,maybe so that they can control it because they cannot control.
maybe also so they can track money moving in and out of the country, since cash can’t be tracked and will help in tracking financial corruptions just like in the blockchain where everyone can look up a wallet address and see how the funds were moved.
but one thing is certain, no digital currency of any country will beat the great features of and the maximum adoption and acceptance it has gained over the years.
having a national digital currency has no much difference from the normal fiat and is also behind the financial regulators who regulates on how to spend it.
what do you think of countries deploying the blockchain digital era, let us know below in the comment box.
what's your thought on this ?, let us know in the comment section below. ♥get daily crypto news on facebook | twitter | telegram | instagram ads by cointraffic
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wət ˈhæpənd æt ðə sɑˈtoʊʃi ˈraʊndˌteɪbəl braɪən ˈɑrmˌstrɔŋ blɑkt ˈfɑloʊ ˈfɑloʊɪŋ mɑr 4 2016 læst ˈwiˌkɪnd aɪ əˈtɛndəd ðə sɑˈtoʊʃi ˈraʊndˌteɪbəl ˈkɑnfərəns əˈlɔŋ wɪθ ˈʧɑrli li ənd əˈbaʊt 70 ˈəðər ˈmɛmbərz əv ðə kəmˈjunɪti. aɪ ˈwɔntɪd tɪ ʃɛr maɪ ˈpərsɪnəl əˈpɪnjən əˈbaʊt wət ˈhæpənd æt ðə ˈkɑnfərəns (wɪˈθaʊt dɪˈskloʊzɪŋ ðə neɪmz ər ˈkɑntɛnt əv ˈɛni ˈpraɪvət ˌkɑnvərˈseɪʃənz). ə ˈnəmbər əv ˈmitɪŋz tʊk pleɪs bɪtˈwin kɔr dɪˈvɛləpərz, ˈmaɪnərz, ənd əv ˈkəmpəˌniz. ɛz əˈwɛr, ðɛr ɪz ə lɑrʤ dɪsəˈgrimənt əˈbaʊt haʊ ʃʊd skeɪl raɪt naʊ. ɔn wən saɪd ju hæv ðə kɔr dɪˈvɛləpərz hu hæv kənˈsərnz əˈbaʊt haʊ ˈskeɪlɪŋ wɪl ˌɪmˈpækt dɪˌsɛntrəlɪˈzeɪʃən. ɔn ðə ˈəðər saɪd ju hæv moʊst ˈkəmpəˌniz hu wɔnt groʊθ. ðə ˈmaɪnərz ər sɔrt əv kɔt ɪn bɪtˈwin ənd ər splɪt. aɪ θɪŋk ðə ˈɔrgəˌnaɪzərz əv ðə ˈkɑnfərəns wər ˈhoʊpɪŋ fər səm sɔrt əv kənˈsɛnsəs (laɪk wət ˈhæpənd ɪn hɔŋ kɔŋg), ˌhaʊˈɛvər ɪt bɪˈkeɪm klɪr baɪ ðə ɛnd ðət ðə dɪˈvaɪd wɑz tu greɪt. ðə ˌkɑnvərˈseɪʃənz ˌɪˈnɪʃəli ˈfoʊkɪst ɔn ˈvɛriəs ˈkɑmprəˌmaɪzɪz tɪ kɪk ðə kən daʊn ðə roʊd ɔn scalability*. bət ɛz ðə ˌkɑnvərˈseɪʃənz wɛnt ɔn, aɪ bɪˈkeɪm lɛs ənd lɛs kənˈsərnd əˈbaʊt wət ʃɔrt tərm səˈluʃən wi pɪk bɪˈkəz aɪ ˈriəˌlaɪzd wi ɔl hæd ə məʧ ˈbɪgər ˈprɑbləm: ðə sɪˈstɛmɪk rɪsk tɪ ɪf kɔr wɑz ðə ˈoʊnli tim ˈwərkɪŋ ɔn. ðə kɔr tim kənˈteɪnz səm ˈvɛri haɪ ˈaɪˈkju ˈpipəl, bət ðɛr ər səm θɪŋz wɪʧ aɪ faɪnd ˈvɛri kənˈsərnɪŋ əˈbaʊt ðɛm ɛz ə tim ˈæftər ˈspɛndɪŋ səm taɪm wɪθ ðɛm læst ˈwiˌkɪnd. səm əv ðɛm ʃoʊ ˈvɛri pur kəmˌjunəˈkeɪʃən skɪlz ər ə læk əv məˈʧʊrəti ðɪs həz hərt əˈbɪləˌti tɪ brɪŋ nu ˈproʊtəˌkɔl dɪˈvɛləpərz ˈɪntu ðə speɪs. ðeɪ prɪˈfər ‘‘perfect’*’ səˈluʃənz tɪ enough’*’. ənd ɪf noʊ ˈpərˌfɪkt səˈluʃən ɪgˈzɪsts ðeɪ sim ˈoʊˈkeɪ wɪθ ˌɪˈnækʃən, ˈivɪn ɪf ðət pʊts æt rɪsk. ðeɪ sim tɪ hæv ə strɔŋ bɪˈlif ðət wɪl nɑt bi ˈeɪbəl tɪ skeɪl lɔŋ tərm, ənd ˈɛni blɑk saɪz ˌɪnˈkris ɪz ə sˈlɪpəri sloʊp tɪ ə fˈjuʧər ðət ðeɪ ər ənˈwɪlɪŋ tɪ əˈlaʊ. ˈivɪn ðoʊ kɔr sɪz ðeɪ ər ˈoʊˈkeɪ wɪθ ə hɑrd fɔrk tɪ (ðeɪ hæv ɪt ɔn ðɛr oʊn, ʤɪst ˈvɛri fɑr ɪn ðə fˈjuʧər), ðeɪ ˈrɛfˌjuz tɪ praɪˈɔrəˌtaɪz ɪt. ðeɪ prɪˈfər tɪ wɪθˈhoʊld ˈsəmθɪŋ ðət kʊd hɛlp ðə ˈnɛtˌwərk naʊ, bɪˈkəz ðeɪ trəst ðə kəmˈjunɪti tɪ meɪk ˈɛʤəˌkeɪtɪd dɪˈsɪʒənz ɪn ðə fˈjuʧər. ðeɪ vju ðɛmˈsɛlvz ɛz ðə ˈsɛntrəl ˈplænərz əv ðə ˈnɛtˌwərk, ənd prəˈtɛktərz əv ðə ˈpipəl. ðeɪ sim ˈoʊˈkeɪ wɪθ ˈwɑʧɪŋ feɪl, ɛz lɔŋ ɛz ðeɪ ˈkɑmprəˌmaɪz ɔn ðɛr ˈprɪnsəpəlz. biɪŋ haɪ ˈaɪˈkju ɪz nɑt ɪˈnəf fər ə tim tɪ səkˈsid. ju nid tɪ meɪk ˈrizənəbəl treɪd ɔfs, kəˈlæbərˌeɪt, bi ˈwɛlkəmɪŋ, kəmˈjunəˌkeɪt, ənd bi ˈizi tɪ wərk wɪθ. ˈɛni tim ðət hæv ðɪs wɪl bi əˈneɪbəl tɪ əˈtrækt tɔp ˈtælənt ənd wɪl ˈstrəgəl lɔŋ tərm. ɪn maɪ əˈpɪnjən, pərˈhæps ðə ˈbɪgəst rɪsk ɪn raɪt naʊ ɪz, aɪˈrɑnɪkli, wən əv ðə θɪŋz ðət həz hɛlpt ɪt ðə moʊst ɪn ðə pæst: ðə kɔr dɪˈvɛləpərz. ˈtrəbəl ɔn ðə hərˈaɪzən ən ˈɪntəˌrɛstɪŋ ˈfeɪljər sɪˈnɛrioʊ wɑz dɪˈskraɪbd æt ðə ˈkɑnfərəns ðət aɪ θɪŋk ɪz ˈtrəbəlɪŋ, ənd ʃoʊz ʤɪst haʊ fɑr θɪŋz hæv ˈgɔtən. ðə nɛkst blɑk rɪˈwɔrd ˈhævɪŋ ɪz ˈkəmɪŋ əp ɪn ˌʤuˈlaɪ. seɪ ðət ˈmaɪnərz ɔn ˈævərɪʤ ər ˈeɪbəl tɪ maɪn ə kɔɪn fər 250 (aɪ noʊ ðə ɪgˈzækt ˈnəmbər, soʊ ðɪs ɪz ə gɛs). ˈæftər ðə ˈhævɪŋ ɪn ˌʤuˈlaɪ ðɛr kɔst tɪ maɪn ə kɔɪn wɪl ˈdəbəl tɪ 500 ɪf ðə praɪs steɪz əraʊnd 425 ɪt wɪl bi ənˈprɑfɪtəbəl fər ə ˈnəmbər əv ˈmaɪnərz tɪ kənˈtɪnju ˈmaɪnɪŋ. ðə ˌɪmpləˈkeɪʃən əv ðɪs ɪz ðət wi kʊd si ə rɪˈdəkʃən əv ˈhæʃɪŋ paʊər ɔn ðə ˈnɛtˌwərk æt ðə ˌʤuˈlaɪ ˈhævɪŋ deɪt. pərˈhæps ɪn ðə reɪnʤ əv (aɪ hæv ə gʊd weɪ tɪ ˈɛstəˌmeɪt ðɪs, ɪf ˈɛniˌwən dɪz pliz poʊst ɪt). ɪn ə wərst keɪs, seɪ ðət 50 əv ˈhæʃɪŋ paʊər tərnz ɔf æt ðə blɑk ˈhævɪŋ bɪˈkəz ɪt ɪz noʊ ˈlɔŋgər ˈprɑfətəbəl fər ðoʊz ˈmaɪnərz. ðɪs wʊd min ðət wi stɑrt ˈgɪtɪŋ blɑks maɪnd ˈɛvəri 20 ˈmɪnəts ɔn ˈævərɪʤ ˌɪnˈstɛd əv 10 ˈmɪnəts. bət blɑks ər ɔˈrɛdi 70 fʊl təˈdeɪ. ɪf ðə ˈævərɪʤ ˌkɑnfərˈmeɪʃən taɪm goʊz tɪ 20 ˈmɪnəts, ɪt minz ðət wi wɪl bi æt 140 əv kəˈpæsɪti ɔn ˈɛvəri blɑk, ənd stɑrt əˈkjumjəˌleɪtɪŋ ə ˈbæˌklɔg. həz ə ˈmɛkəˌnɪzəm tɪ əˈʤəst ðə ˈdɪfɪˌkəlti əv wɪn ˈhæʃɪŋ paʊər ˈʧeɪnʤɪz. ðɪs ˈhæpənz ˈɛvəri blɑks, wɪʧ ɪz ˈnɔrməli əˈbaʊt tu wiks. bət ɪf ˈmaɪnɪŋ ə blɑk ˈoʊnli ˈɛvəri 20 ˈmɪnəts, ðɛn ðɪs wɪl teɪk fɔr wiks. ɪt gɪts wərs. ˈivɪn ˈæftər fɔr wiks əv biɪŋ ˈoʊvər kəˈpæsɪti ˈweɪtɪŋ fər ðə ˈdɪfɪˌkəlti tɪ əˈʤəst, ðɛr ɪz stɪl əp tɪ əˈnəðər tu wiks əv ˈbæˌklɔg tɪ ʧərn θru ˌbiˈfɔr ˈgɪtɪŋ bæk tɪ ““normal”*” 70 kəˈpæsɪti ənd ɔˈkeɪʒənəl dɪˈleɪz). soʊ ju ər ˈlʊkɪŋ æt əˈbaʊt ə sɪks wik ˈpɪriəd əv 2 wik ˌkɑnfərˈmeɪʃən taɪmz ər ˈdræstɪkli haɪər trænˈzækʃən fiz. ɪn əˈdɪʃən, wɪθ soʊ ˈmɛni ˈpɛndɪŋ trænˈzækʃənz ðə əv moʊst noʊdz wɪl fɪl əp, ˈminɪŋ ɪt ɪz ˈlaɪkli ðət moʊst trænˈzækʃənz wɪl nɑt ˈivɪn ˈriˌleɪ, məʧ lɛs kənˈfərm. ðɪs kʊd prɪˈvɛnt ˈmərʧənts ənd ˈwɔləts frəm ˈgɪtɪŋ ə ˌnoʊtəfəˈkeɪʃən əˈbaʊt ə trænˈzækʃən fər wiks. ɪf ðɪs ˈkɔzɪz ðə praɪs tɪ fɔl, ɪt wɪl meɪk ˈmaɪnɪŋ lɛs ˈprɑfətəbəl, ənd ə ˈnɛgətɪv ˈspaɪrəl kʊd ˈhæpən. ənˈklɪr wət ðə ˈlaɪkliˌhʊd ɪz əv ðə əˈbəv sɪˈnɛrioʊ (admitedly*, dɪˈskraɪbd ə wərst keɪs sɪˈnɛrioʊ). wɪθ ðə nu səˈplaɪ əv ˈhævɪŋ, ðɪs kʊd ˈɔlsoʊ draɪv ðə praɪs əp. ənd ˈdɪfəkəlt tɪ ˈɛstəˌmeɪt wət əv ˈhæʃɪŋ paʊər kʊd tərn ɔf æt ðə ˈhævɪŋ. ɪt kʊd bi məʧ lɛs ðən 50 bət aɪ ˈɔlsoʊ fil ðət ðɛr ɪz noʊ ˈrizən tɪ rɪsk ɪt ənd ˌɪnˈkrɛdəbli ˌɪrəˈspɑnsəbəl tɪ pleɪ θɪŋz soʊ kloʊz tɪ ðə ɛʤ. ðə ˈnɛtˌwərk təˈdeɪ, wɪθ 70 əv blɑks fʊl, ɪz ɔˈrɛdi ɪkˈspɪriənsɪŋ kənˈʤɛsʧən ˈɪʃuz ənd ˈbæˌklɔgz. ˈɛni rɪˈdəkʃən ɪn ˈhæʃɪŋ paʊər wɪl ɪgˈzæsərˌbeɪt ðə ˈprɑbləm. ðə fækt ðət kɔr həz əˈlaʊd ðə ˈnɛtˌwərk tɪ riʧ ðɪs pɔɪnt ɪz ˌɪnˈkrɛdəbli ˈnɛglɪʤənt, ənd aɪ θɪŋk sɪz ə lɔt əˈbaʊt ðɛr ˌmoʊtəˈveɪʃənz ənd ˈkɑmpətɪnsi ɛz ə tim. ðɛr ɪz noʊ ˈrizən tɪ roʊl ðə daɪs ənd si ɪf ðɪs ˈfeɪljər sɪˈnɛrioʊ kəmz tɪ fruˈɪʃən. ˈləkəli, ˈvɔɪsɪz əv ˈrizən ɪn ðə kəmˈjunɪti hæv bɪn ˈkɔlɪŋ fər ˈprudənt kəˈpæsɪti ˈplænɪŋ ɛz fɑr bæk ɛz tu jɪrz əˈgoʊ, ənd hæv ˈivɪn lɛft ðə kɔr tim tɪ raɪt ðə koʊd tɪ meɪk ɪt ˈhæpən. ðɛr ɪz ə weɪ wi kən əˈvɔɪd ðɪs. ə pæθ ˈfɔrwərd aɪ bɪˈliv wi hæv ə pæθ ˈfɔrwərd tɪ əˈvərt ðə sɪˈnɛrioʊ dɪˈskraɪbd əˈbəv. ðə fərst stɛp ɪz ðət wi nid tɪ du ən ˌɪˈmiˌdiət ˈəpˈgreɪd tɪ blɑks. ðɪs ɪz ðə moʊst ˌriəˈlɪstɪk ʃɔrt tərm ˈskeɪlɪŋ səˈluʃən ðət wɪl baɪ ˈjuˈɛs taɪm. maɪ bɪˈlif ɪz ðət wi wɪl ˈiðər bi duɪŋ ðɪs ˈəpˈgreɪd naʊ (wɪn ðɛr ɪz səˈfɪʃənt lɛd taɪm fər ˈɛvriˌwən tɪ priˈpɛr), ər wi wɪl bi duɪŋ ɪt ɪn ðə mɪst əv ən ˈimərʤənsi daʊn ðə roʊd. ɪt ɪz nɑt ə ˈmætər əv ɪf, bət wɪn. ðɛr ɪz koʊd ɔˈrɛdi əˈveɪləbəl tɪ əˈkɑmplɪʃ ðɪs təˈdeɪ. ðə koʊd ɪz haɪ kˈwɑləti, ɪz ˈrɪtən baɪ ˈfɔrmər kɔr dɪˈvɛləpərz, ənd ɪz ɔˈrɛdi biɪŋ rən ɪn pərˈdəkʃən baɪ ə ˈnəmbər əv ˈkəmpəˌniz (ˌɪnˈkludɪŋ). baɪ ˈəpˌgreɪdɪŋ tɪ ɪt dɪz nɑt min wi nid tɪ steɪ wɪθ ðə ˈklæsɪk tim fərˈɛvər, ɪt ˈsɪmpli ɪz ðə bɛst ˈɔpʃən tɪ ˈmɪtəˌgeɪt rɪsk raɪt naʊ. wi kən juz koʊd frəm ˈɛni tim ɪn ðə fˈjuʧər. wi nid tɪ kəmˈjunəˌkeɪt wɪθ ðə ʧaɪˈniz ˈmaɪnərz əˈbaʊt ðɪs ˈəpˈgreɪd pæθ. ðeɪ hæv bɪn mɪsˈlɛd tɪ bɪˈliv ðət ˈoʊnli ˈpipəl ɪn ðə wərld kən ˈseɪfli wərk ɔn ðə ˈproʊtəˌkɔl, wɪn ɪn fækt ɪt ɪz ðɪs grup ðət ˈpoʊzɪz ðə ˈgreɪtəst rɪsk fər ðɛr ˈbɪznɪsɪz. aɪ wɪl bi ˈæskɪŋ ɔn tˈwɪtər tɪ hɛlp trænzˈleɪt ðɪs poʊst ənd gɪt ðə wərd aʊt (ˈəpˌdeɪt: ɪt ɪz naʊ trænzˈleɪtəd). wi ɪn ðə kəmˈjunɪti nid tɪ du ə ˈbɛtər ʤɑb ˈbɪldɪŋ riˈleɪʃənˌʃɪps wɪθ ðə ʧaɪˈniz ˈmaɪnərz. lɔŋ tərm, wi nid tɪ fɔrm ə nu tim tɪ wərk ɔn ðə ˈproʊtəˌkɔl. ə tim ðət ɪz ˈwɛlkəmɪŋ əv nu dɪˈvɛləpərz tɪ ðə kəmˈjunɪti, ˈwɪlɪŋ tɪ meɪk ˈrizənəbəl treɪd ɔfs, ənd ə tim ðət wɪl hɛlp ðə ˈproʊtəˌkɔl kənˈtɪnju tɪ skeɪl. bi ˈhirɪŋ mɔr əˈbaʊt ðɪs ˈoʊvər ðə nɛkst mənθ ər tu. ɪt ɪz wərθ ˈnoʊtɪŋ ðət rɪˈspɑns tɪ ˈskeɪlɪŋ həz bɪn tɪ prəˈpoʊz ə səˈluʃən kɔld ˈsɛgrəˌgeɪtɪd ˈwɪtnəs. waɪl ɪt ɪz ə wɛl dən pis əv tɛkˈnɑləʤi, aɪ bɪˈliv ɪt wʊd bi kwaɪt ˈrɪski tɪ juz ˈsɛgrəˌgeɪtɪd ˈwɪtnəs ɛz ə ˈskeɪlɪŋ səˈluʃən ˈgɪvɪn ðə ˌsɪʧuˈeɪʃən ˈmɛnʃənd əˈbəv. wən əv ðə ˈbɪgəst rɪsks əv ˈjuzɪŋ ˈsɛgrəˌgeɪtɪd ˈwɪtnəs ɛz ə ˈskeɪlɪŋ səˈluʃən (wɪʧ wɑz ˈsərfɪst æt ðə ˈkɑnfərəns) ɪz ðət tɪ əbˈteɪn ðə ˈskeɪlɪŋ ˈbɛnəfɪt ɪt wɪl ˌrikˈwaɪər nɑt ˈoʊnli nu kɔr koʊd, bət ˈɔlsoʊ nu koʊd tɪ bi ˈrɪtən baɪ iʧ əv ðə ˈmeɪʤər ˈwɔlət prəˈvaɪdərz hu ər ˈʤɛnərˌeɪtɪŋ trænˈzækʃənz. ɪt ɪz ənˈlaɪkli ðɪs wɪl bi dən ɪn taɪm tɪ əˈvɔɪd ðə ˈskeɪlɪŋ ˈɪʃu wi ər ˈkərəntli ˈfeɪsɪŋ. ðə ˈnəmbər əv laɪnz əv koʊd ðət nid tɪ bi ˈrɪtən fər ðɪs əˈkrɔs ðə ɪnˈtaɪər ˈɪndəstri wɪl bi ˈsɛvərəl ˈɔrdərz əv ˈmægnəˌtud mɔr ðən ə ˈskeɪlɪŋ səˈluʃən əv ˈʧeɪnʤɪŋ blɑks tɪ blɑks. ðɪs wɑz ɪkˈspleɪnd tɪ kɔr dɪˈvɛləpərz æt ðə ˈkɑnfərəns ənd ɪt sim tɪ ʧeɪnʤ ðɛr əˈpɪnjən əv wət ðə bɛst ʃɔrt tərm səˈluʃən wɑz tɪ ˈskeɪlɪŋ. ˈgɪvɪn ðə blɑk ˈhævɪŋ ərˈaɪvɪŋ ɪn ˌʤuˈlaɪ, ənd ðə fækt ðət ˈnɛtˌwərk dɪˈleɪz ər ɔˈrɛdi biɪŋ ɪkˈspɪriənst ɔn ðə ˈnɛtˌwərk, maɪ əˈpɪnjən ɪz ðət ɪt wʊd bi ˌɪrəˈspɑnsəbəl ənd ˈdeɪnʤərəs tɪ ˈfɑloʊ ðə ˈskeɪlɪŋ prəˈpoʊzd ɪn ðə hɔŋ kɔŋg kənˈsɛnsəs æt ðɪs pɔɪnt, wɪʧ ˌɪnˈkludz ˈsɛgrəˌgeɪtɪd ˈwɪtnəs. kənˈkluʒən maɪ ˈʤɛnərəl vju (wɪʧ aɪ ɑrˈtɪkjəˌleɪtəd æt ðə ˈraʊndˌteɪbəl læst ˈwiˌkɪnd) ɪz ðət wɪl bi fɑr mɔr səkˈsɛsfəl wɪθ ə ˈsɪstəm ˈwərkɪŋ ɔn ˈproʊtəˌkɔl dɪˈvɛləpmənt ðən ə ˈsɪŋgəl tim wɪθ ðə ˌlɪmɪˈteɪʃənz aɪ ˈmɛnʃənd əˈbəv. aɪ θɪŋk wi kən meɪk ðɪs ˈhæpən. ɪn fækt, wi məst meɪk ðɪs ˈhæpən. ɪf ju wɔnt tɪ ɪnˈʃʊr səkˈsɛs, ɪnˈkərəʤ ju tɪ ˈəpˈgreɪd tɪ ˈklæsɪk ɪn ðə ʃɔrt tərm ənd ðɛn du wət ju kən tɪ hɛlp wɪθ ðə θri stɛp plæn aɪ ˈaʊˌtlaɪnd əˈbəv. ðɪs ɪz ðə bɛst pæθ ˈfɔrwərd tɪ ˈmɪtəˌgeɪt ðə ˈdeɪnʤərəs ˌsɪʧuˈeɪʃən faʊnd ɑrˈsɛlvz ɪn. ɪn ðə fˈjuʧər, wi wɪl nid tɪ kriˈeɪt ə nu tim tɪ wərk ɔn ðə ˈproʊtəˌkɔl ənd hɛlp bɪˈkəm ə ˈsɪstəm tɪ əˈvɔɪd ðə sɪˈstɛmɪk rɪsk əv kɔr biɪŋ ðə ˈoʊnli tim ˈwərkɪŋ ɔn ðə ˈproʊtəˌkɔl. aɪ hoʊp tɪ hæv ən ˈəpˌdeɪt fər ju ɔn ðət ɪn ðə ˈkəmɪŋ mənθs. ˈkɑmən æt ðə ˈraʊndˌteɪbəl, hir ər ðə ˈkɑmən aɪ gɑt əˈgɛnst ðɪs laɪn əv ˈθɪŋkɪŋ: ðə ˈmɑrkɪt ɪz ənˈsərtən bɪˈkəz ˈɛvriˌwən ɪz dɪsəˈgriɪŋ, ɪt bi ˈbɛtər ɪf wi ɔl ʤɪst pʊt əˈsaɪd ɑr ˈdɪfərənsɪz ənd wərkt təˈgɛðər? ɪt ɪz ˈdɪfəkəlt ɪˈnəf tɪ gɪt tu ˈpipəl tɪ əˈgri. θri ɪz ˈhɑrdər, ənd fɔr ɪz ˈivɪn ˈhɑrdər. wəns ə kəmˈjunɪti gɪts tɪ ˈfɪfti ər ˈhənərdz əv ˈpipəl, ˈgɪtɪŋ ˈɛvriˌwən tɪ əˈgri ɪz ən ˌɪˈræʃənəl goʊl. bət ðɪs ɪz ˈoʊˈkeɪ. ˈmɛkəˌnɪzəmz ɪgˈzɪst tɪ riˈzɑlv dɪsəˈgrimənt əˈməŋst lɑrʤ grups əv ˈpipəl (laɪk ˈvoʊtɪŋ). ˈweɪtɪŋ fər ˈɛvriˌwən tɪ əˈgri ɪz ðə seɪm ɛz seɪɪŋ ðət ˈnəθɪŋ wɪl bi dən. aɪ geɪv ðə əˈnæləʤi əv ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃənz ɪn ðə juˈnaɪtɪd steɪts. ˈgɪtɪŋ trəmp ənd ˈhɪləri səˈpɔrtərz tɪ ɔl əˈgri wʊd bi ə fulz ˈɛrənd. bət ɪˈlɛkʃənz ˈhæpən ənd ˈæftərwərdz ˈɛvriˌwən steɪz ɪn ðə seɪm ˈkəntri ˈivɪn ɪf wən wɪnz baɪ ə ˈnɛroʊ ˈmɑrʤən. ðə ˈsɪstəm wərks. (ˈsəmˌwən ˈpɔɪntɪd aʊt ðət ˈpipəl maɪt muv tɪ ˈkænədə ɪf trəmp wɪnz waɪl ðɪs ɪz tru, ɪt wɪl bi fɑr lɛs ðən 1 əv ðə juz. ˌpɑpjəˈleɪʃən, wɪʧ goʊz tɪ ˈfərðər pruv maɪ pɔɪnt.) aɪ ˈɔlsoʊ geɪv ðə ɪgˈzæmpəl əv wɛb ˈbraʊzərz. ðə kroʊm ənd səˈfɑri tim ər fɪrs kəmˈpɛtɪtərz, bət ˈɔlsoʊ əˈtɛnd ðə seɪm ˈkɑnfərənsəz ənd kəˈlæbərˌeɪt wɪθ ðə ɔn ˈstændərdz. ˈmɛni kəmˈpitɪŋ ˈkəmpəˌniz wər ˈprɛzənt æt ðə ˈkɑnfərəns ɛz wɛl. ðeɪ ˈhɑstəl ər ˌkɑmˈbæˌtɪv bɪtˈwin iʧ ˈəðər. wi ər ɔl ˈwərkɪŋ ɪn ðə seɪm ˈɪndəstri ənd ər frɛndz ɪn ˈmɛni weɪz. ɪt wʊd bi ðə seɪm wɪθ ˈməltəpəl timz ˈwərkɪŋ ɔn ðə ˈproʊtəˌkɔl. baɪ prəˈvaɪdɪŋ ʧɔɪs ɪn ðə ˈmɑrkɪt ju wɪl gɪt mɔr ˈprɑˌgrɛs, nɑt lɛs. ðə ˈmɑrkɪt ɪz ənˈsərtən naʊ bɪˈkəz ɪt ɪz laɪk ə ˈkəntri goʊɪŋ θru ɪts fərst ɪˈlɛkʃən. wəns ðə fərst hɑrd fɔrk əˈkərz səkˈsɛsfəli ənd ˈməltəpəl timz ˈimərʤ, ðɪs wɪl kriˈeɪt ˈkɑnfədɛns ɪn ðə ˈmɑrkɪt bɪˈkəz ɪt ʃoʊz bɪlt ɪn ˈgəvərnəns ˈsɪstəm ɪz ˈwərkɪŋ (ˈmaɪnər ˈvoʊtɪŋ). ɪz ˈdɪfərənt bɪˈkəz ɪt rikˈwaɪərz kənˈsɛnsəs rulz ɪt wʊd ˈnɛvər wərk wɪθ ˈməltəpəl timz. aɪ θɪŋk ðɪs ɪz kərˈɛkt. ˈdɪfərənt timz ənd kən iʧ wərk ɔn ˈsɔfˌwɛr ðət ɪz ənd ˈjuzɪz ðə seɪm ˈproʊtəˌkɔl (ðɪs ɪz ɔˈrɛdi tru təˈdeɪ ɪn). ˈəpˌgreɪdz ər ɛnˈhænsmənts kən bi prəˈpoʊzd baɪ ˈɛni tim, bət ðeɪ teɪk ˈifɛkt ənˈtɪl ə məˈʤɔrəti θˈrɛˌʃoʊld ɪz riʧt. həz ə ˈmɛkəˌnɪzəm tɪ riˈzɑlv ðiz ˌdɪsəˈgrimənts: ˈmaɪnər ˈvoʊtɪŋ. æt ðə ˈkɑnfərəns wi spɛnt ə bənʧ əv taɪm dɪˈskəsɪŋ ˌɪmˈpruvmənts tɪ ˈmaɪnər ˈvoʊtɪŋ, ˌɪnˈkludɪŋ weɪz ðət ˈjuzərz (ər ˈhoʊldərz əv) kʊd voʊt. ðɛr wər səm gʊd prəˈpoʊzəlz meɪd əˈbaʊt ˈjuzɪŋ destroyed”*” ɛz ə ˈvoʊtɪŋ ˈmɛkəˌnɪzəm wɛr ˈjuzərz hu ˈʤɛnərˌeɪt trænˈzækʃənz kən ˈsɪgnəl ˈrɛdinəs fər ən ˈəpˈgreɪd ər ə voʊt ɪn ˈfeɪvər əv ən ˈəpˈgreɪd. ðiz ər gʊd aɪˈdiəz ðət aɪ θɪŋk ʃʊd bi ɪkˈsplɔrd ˈfərðər, bət aɪ θɪŋk ðə ɪgˈzækt ˌɪmpləmɛnˈteɪʃən əv haʊ ɪt kən bi dən wɪl bi ɛz ˌkɑntrəˈvərʃəl ɛz ˈɛni ˈəðər ˈmeɪʤər ʧeɪnʤ ɪn, soʊ ɪt ɪz ənˌriˈlɪstɪk tɪ weɪt ɔn ðɪs bɪˈkəmɪŋ ə ˌriˈæləˌti ˈgɪvɪn ðə ˈlumɪŋ ˈskeɪlɪŋ ˈɪʃuz wi hæv. nid tɪ ˈəpˈgreɪd tɪ tɪ baɪ ɑrˈsɛlvz səm taɪm ˌbiˈfɔr ˈwərkɪŋ aʊt ðə ˈditeɪlz əv ðɪs, ənd ɪt wɪl ˈprɑbəˌbli ˌrikˈwaɪər ə nu tim tɪ bɪld ɪt ðət ɪz lɛs dɪˈvaɪsɪv ɪn ðə kəmˈjunɪti. ə 75 θˈrɛˌʃoʊld ɪz nɑt səˈfɪʃənt tɪ ˈtrɪgər ən ˈəpˈgreɪd bɪˈkəz ðə ˈnɛtˌwərk wɪl splɪt! dɪˈskəst ðɪs æt lɛŋθ ˈɛlsˌwɛr, bət ðɪs ɪz ˈɔlsoʊ fɔls ɪn maɪ vju. ðə ˌɛkəˈnɑmɪk ˌɪnˈsɪnɪvz ər əˈlaɪnd tɪ hæv ðə væst məˈʤɔrəti 99 əv ˈmaɪnərz, ˈwɔləts, ənd ɪksˈʧeɪnʤɪz ɛnd əp ɔn wən fɔrk. ðɛr ɪz ə bɪg ˈdɪfərəns bɪtˈwin ðə ˈtrɪgər θˈrɛˌʃoʊld ənd wət ðə ˈəltəmət məˈʤɔrəti wɪl ɛnd əp ɔn. səm ˈpipəl səˈʤɛstɪd ðət ɪf aɪ wɑz ʃʊr əˈbaʊt ðɪs, waɪ nɑt meɪk ðə θˈrɛˌʃoʊld 95 tɪ bi seɪf. ðɛr ər ə fju ˈprɑbləmz wɪθ ðɪs. wɪn ˌdɪˈsaɪdɪŋ ə θˈrɛˌʃoʊld ju ər ˈbælənsɪŋ tu θɪŋz: əpˈsɛtɪŋ ə məˈnɔrəti ənd ðə rɪsk əv ˈdɛˌdlɑk. ɪf ju pʊt ɪt æt 51 ðɛn ðə proʊ ɪz ðət ɪt ɪz ˈiziər tɪ riˈzɑlv ˌɪndɪˈsɪʒən əˈməŋst ˈməltəpəl ˈpɑrtiz, bət ðə rɪsk ɪz ðət ə lɑrʤ pərˈsɛnɪʤ əv ˈpipəl gɪt drægd əˈlɔŋ wɪθ ˈsəmθɪŋ ðeɪ laɪk. ɪf ju meɪk ə 95 θˈrɛˌʃoʊld, ðɛn ˈvɛri fju ˈpipəl gɪt drægd əˈlɔŋ, bət ju rɪsk ˈnɛvər riˈzɑlvɪŋ ˈkɑnflɪkt bɪˈkəz ˈdɪfəkəlt tɪ gɪt 95 əv ˈpipəl tɪ ˈɛvər əˈgri ɔn ˈɛniˌθɪŋ (əˈgɛn, ˌɪˈmæʤən ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃənz). pʊt əˈnəðər weɪ, ɪt gɪvz ə 5 məˈnɔrəti ðə raɪt tɪ ˈviˌtoʊ ˈɛni ʧeɪnʤ ðət 95 əv ˈpipəl wɔnt. ˈsɛtɪŋ ə 95 θˈrɛˌʃoʊld ɪz ˈɔlˌmoʊst ɪkˈwɪvələnt tɪ seɪɪŋ ˈnɛvər ʧeɪnʤ anything”*”. aɪ θɪŋk ˈklæsɪk teɪks ə ˈvɛri ˈrizənəbəl ənd ˈbælənst əˈproʊʧ tɪ ðɪs baɪ ˈsɛtɪŋ ə 75 θˈrɛˌʃoʊld, ənd ˈædɪŋ ə 28 deɪ greɪs ˈpɪriəd fər ˈpipəl tɪ ˈəpˈgreɪd wəns ðə θˈrɛˌʃoʊld ɪz riʧt. maɪ gɛs ɪz ðət ðɪs (ər ˈsəmθɪŋ kloʊz tɪ ɪt) wɪl ˈimərʤ ɛz ə ˈstændərd fər fˈjuʧər ˈproʊtəˌkɔl ˈʧeɪnʤɪz. ðɛr ər soʊ fju dɪˈvɛləpərz hu ˌəndərˈstænd ðə ˈproʊtəˌkɔl ðət ɪt wʊd bi ˈdeɪnʤərəs tɪ ˈeɪljəˌneɪt ðə smɔl ˈhændˌfʊl əv ˈpipəl hu ər ˈwərkɪŋ ɔn ɪt. tɪ ˈænsər ðɪs aɪ traɪd tɪ meɪk ðə dɪˈstɪŋkʃən bɪtˈwin kəmˈpjutər ˈsaɪəntɪsts (ˌækəˈdɛmɪk ˈrisərʧərz ˈwərkɪŋ ɔn ˈkrɪptoʊ ˈkərənsi) ənd ˈsɔfˌwɛr ˈɛnʤəˈnɪrz (ˈpipəl hu bɪld rɪˈlaɪəbəl, ˈskeɪləbəl ˈsɔfˌwɛr). ðɛr ər ˈprɑbəˌbli ə ˈkəpəl ˈdəzən kˈwɑləˌfaɪd kəmˈpjutər ˈsaɪəntɪsts ˈwərkɪŋ ɔn ˈkrɪptoʊ ˈkərənsi ˈrisərʧ raɪt naʊ, bət ðɛr ər æt list tɛnz əv ˈθaʊzənz əv kˈwɑləˌfaɪd ˈsɔfˌwɛr ˈɛnʤəˈnɪrz ɪn ðə wərld hu ər ˈkeɪpəbəl əv ˈbɪldɪŋ ˈproʊtəˌkɔl ˈsɔfˌwɛr. ˈgugəl əˈloʊn ˈprɑbəˌbli ɪmˈplɔɪz faɪv ər tɛn ˈθaʊzənd əv ðə ˈlætər. bɪn ˈeɪbəl tɪ bɪld timz əv ˈɛnʤəˈnɪrz æt hu kən bɪld ˈskeɪləbəl noʊd ˈsɔfˌwɛr, fər ɪgˈzæmpəl, ɛz hæv ˈsɛvərəl ˈəðər ˈkəmpəˌniz ɪn ðə speɪs. maɪ hoʊp ɪz ðət ˈmɛni əv ðə kɔr dɪˈvɛləpərz kənˈtɪnju tɪ steɪ ɪn (səm wɪl kwɪt, ənd ðət ɪz ˈoʊˈkeɪ). ðə ˈɪndəstri nidz boʊθ ˈrisərʧərz ənd ˈsɔfˌwɛr ˈɛnʤəˈnɪrz. bət ðɛr ɪz nɑt ə ˈʃɔrtɪʤ əv ðə ˈlætər. ɪn ˈʤɛnərəl, ɪt ʃʊd bi ˈɑbviəs ðət wɪl əˈtrækt mɔr smɑrt ˈpipəl tɪ wərk ɔn ɪt ɛz ə səkˈsɛsfəl ˈprɑʤɛkt ðən ə ˈstrəgəlɪŋ ˈprɑʤɛkt. aɪ wɪl ˈɔlsoʊ seɪ ðət aɪ θɪŋk kɔr ɪz pɑrt əv ðə ˈrizən ðɛr ər soʊ fju dɪˈvɛləpərz ˈwərkɪŋ ɔn ðə ˈproʊtəˌkɔl təˈdeɪ. ə ˈkɑmən θim æt ðə ˈkɑnfərəns wɑz ˈpipəl ˈmɛnʃənɪŋ ðət kɔr həz bɪn unwelcoming*, kʊd juz ˌɪmˈpruvd dɪˈvɛləpər ˌdɑkjəmɛnˈteɪʃən, ənd həz nɑt prəˈdust ə ˈfɔrməl spɛk fər ðə ˈproʊtəˌkɔl tɪ ɪnˈkərəʤ ˈəðər. ðə ˈklæsɪk tim ɪz nɑt gʊd ɪˈnəf tɪ teɪk ˈoʊvər raɪt naʊ. maɪ ˈɑrgjəmənt hir ɪz ðət wi ər nɑt ˈæskɪŋ ðɛm tɪ teɪk ˈoʊvər. wi ʃʊd ˈsɪmpli ˈəpˈgreɪd tɪ ðə moʊst rɪˈlaɪəbəl pis əv ˈsɔfˌwɛr ðət wɪl sɑlv ˈkɑrənt ˈskeɪlɪŋ ˈʧælənʤ aʊt əv nəˈsɛsɪti. ˈæftər ðət wi kən ˈəpˈgreɪd tɪ ˈsɔfˌwɛr ˈrɪtən baɪ ˈɛni tim ɪn ðə speɪs (ənd aɪ hoʊp ðɛr wɪl bi mɔr). ˈpipəl ˈɔlsoʊ fərˈgɛt ðət ðə ˈklæsɪk koʊd həz bɪn ˈrɪtən ənd rivˈjud baɪ ˈfɔrmər kɔr dɪˈvɛləpərz (ˈgævɪn ənd ʤɛf). soʊ aɪ əˈgri wɪθ ðə kˈwɑləti ˈɑrgjəmənt, əˈspɛʃəli fər ðɪs ˈkɑrənt riˈlis. fˈjuʧər rɪˈlisɪz wi kən ʤəʤ ˌɪndɪˈpɛndəntli. bət ðɛr ˈkɑrənt ˈskeɪlɪŋ koʊd ɪz haɪ kˈwɑləti, ənd ðət ɪz ɔl ˈædvəˌkeɪtɪŋ wi juz. ˈklæsɪk ɪz ˈrɛdi ənd biɪŋ rən ɪn pərˈdəkʃən təˈdeɪ baɪ ə ˈnəmbər əv ˈkəmpəˌniz. kɔr həz prəˈdust noʊ səʧ ˈɔpʃən ðət ɪz pərˈdəkʃən ˈrɛdi, ənd simz kəˈmɪtɪd tɪ ˈpʊtɪŋ aʊt səˈluʃənz ðət aɪ dɪˈskraɪbd əˈbəv. lɔŋ tərm wi ʃʊd ˈfoʊkɪs ɔn kriˈeɪtɪŋ nu timz, bət æt ðɪs pɔɪnt ɪt wʊd bi ˌɪrəˈspɑnsəbəl nɑt tɪ ˈəpˈgreɪd tɪ ˈklæsɪk. wi nid tɪ sɑlv ðə ˌɪˈmiˌdiət ˈskeɪlɪŋ ˈɪʃu wi ər ˈfeɪsɪŋ. ˈfaɪnəl pɔɪnt ðɛr kənˈtɪnjuz tɪ bi ˈræmpənt ˈsɛnsərˌʃɪp ɔn rɪˈgɑrdɪŋ ðɪs dəˈbeɪt, wɪʧ ɪz ənˈfɔrʧənət. aɪ kənˈtɪnju tɪ ɪnˈkərəʤ ˈɛvriˌwən tɪ muv tɪ ɛz ən ɔlˈtərnətɪv ðət ɪz ˈsɛnsərˌʃɪp fri. θæŋk ju.
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what happened at the satoshi roundtable
brian armstrong blocked unblock follow following mar 4, 2016
last weekend i attended the satoshi roundtable conference along with charlie lee and about 70 other members of the bitcoin community.
i wanted to share my personal opinion about what happened at the conference (without disclosing the names or content of any private conversations).
a number of meetings took place between core developers, miners, and ceos of bitcoin companies. as you’re aware, there is a large disagreement about how bitcoin should scale right now. on one side you have the core developers who have concerns about how on-chain scaling will impact decentralization. on the other side you have most bitcoin companies who want growth. the miners are sort of caught in between and are split.
i think the organizers of the conference were hoping for some sort of consensus (like what happened in hong kong), however it became clear by the end that the divide was too great. the conversations initially focused on various compromises to kick the can down the road on scalability. but as the conversations went on, i became less and less concerned about what short term solution we pick because i realized we all had a much bigger problem: the systemic risk to bitcoin if bitcoin core was the only team working on bitcoin.
the core team contains some very high iq people, but there are some things which i find very concerning about them as a team after spending some time with them last weekend.
some of them show very poor communication skills or a lack of maturity — this has hurt bitcoin’s ability to bring new protocol developers into the space. they prefer ‘perfect’ solutions to ‘good enough’. and if no perfect solution exists they seem ok with inaction, even if that puts bitcoin at risk. they seem to have a strong belief that bitcoin will not be able to scale long term, and any block size increase is a slippery slope to a future that they are unwilling to allow.
even though core says they are ok with a hard fork to 2mb (they have it on their own roadmap, just very far in the future), they refuse to prioritize it. they prefer to withhold something that could help the network now, because they don’t trust the community to make educated decisions in the future. they view themselves as the central planners of the network, and protectors of the people. they seem ok with watching bitcoin fail, as long as they don’t compromise on their principles.
being high iq is not enough for a team to succeed. you need to make reasonable trade offs, collaborate, be welcoming, communicate, and be easy to work with. any team that doesn’t have this will be unable to attract top talent and will struggle long term. in my opinion, perhaps the biggest risk in bitcoin right now is, ironically, one of the things that has helped it the most in the past: the bitcoin core developers.
trouble on the horizon
an interesting failure scenario was described at the conference that i think is troubling, and shows just how far things have gotten.
the next block reward halving is coming up in july. let’s say that miners on average are able to mine a coin for $250 (i don’t know the exact number, so this is a guess). after the halving in july their cost to mine a coin will double to $500. if the bitcoin price stays around $425, it will be unprofitable for a number of miners to continue mining.
the implication of this is that we could see a reduction of hashing power on the network at the july halving date. perhaps in the range of 10–50% (i don’t have a good way to estimate this, if anyone does please post it).
in a worst case, let’s say that 50% of hashing power turns off at the block halving because it is no longer profitable for those miners. this would mean that we start getting blocks mined every 20 minutes on average instead of 10 minutes. but blocks are already 70% full today. if the average confirmation time goes to 20 minutes, it means that we will be at 140% of capacity on every block, and start accumulating a backlog.
bitcoin has a mechanism to adjust the difficulty of proof-of-work when hashing power changes. this happens every 2,016 blocks, which is normally about two weeks. but if we’re mining a block only every 20 minutes, then this will take four weeks.
it gets worse. even after four weeks of being over capacity waiting for the difficulty to adjust, there is still up to another two weeks of backlog to churn through before getting back to “normal” (70% capacity and occasional delays). so you are looking at about a six week period of ~2 week confirmation times or drastically higher transaction fees. in addition, with so many pending transactions the mempools of most nodes will fill up, meaning it is likely that most bitcoin transactions will not even relay, much less confirm. this could prevent merchants and wallets from getting a notification about a transaction for weeks.
if this causes the bitcoin price to fall, it will make mining less profitable, and a negative spiral could happen.
it’s unclear what the likelihood is of the above scenario (admitedly, i’ve described a worst case scenario). with the new supply of bitcoin halving, this could also drive the price up. and it’s difficult to estimate what % of hashing power could turn off at the halving. it could be much less than 50%. but i also feel that there is no reason to risk it and it’s incredibly irresponsible to play things so close to the edge. the network today, with 70% of blocks full, is already experiencing congestion issues and backlogs. any reduction in hashing power will exacerbate the problem.
the fact that bitcoin core has allowed the network to reach this point is incredibly negligent, and i think says a lot about their motivations and competency as a team. there is no reason to roll the dice and see if this failure scenario comes to fruition.
luckily, voices of reason in the community have been calling for prudent capacity planning as far back as two years ago, and have even left the bitcoin core team to write the code to make it happen. there is a way we can avoid this.
a path forward
i believe we have a path forward to avert the scenario described above.
the first step is that we need to do an immediate upgrade to 2mb blocks. this is the most realistic short term scaling solution that will buy us time. my belief is that we will either be doing this upgrade now (when there is sufficient lead time for everyone to prepare), or we will be doing it in the midst of an emergency down the road. it is not a matter of if, but when. there is code already available to accomplish this today. the code is high quality, is written by former core developers, and is already being run in production by a number of bitcoin companies (including coinbase). by upgrading to bitcoinclassic it does not mean we need to stay with the classic team forever, it simply is the best option to mitigate risk right now. we can use code from any team in the future. we need to communicate with the chinese miners about this upgrade path. they have been misled to believe that only 4–5 people in the world can safely work on the bitcoin protocol, when in fact it is this group that poses the greatest risk for their businesses. i will be asking @cnledger on twitter to help translate this post and get the word out (update: it is now translated). we in the community need to do a better job building relationships with the chinese miners. long term, we need to form a new team to work on the bitcoin protocol. a team that is welcoming of new developers to the community, willing to make reasonable trade offs, and a team that will help the protocol continue to scale. you’ll be hearing more about this over the next month or two.
it is worth noting that bitcoin core’s response to scaling has been to propose a solution called segregated witness. while it is a well done piece of technology, i believe it would be quite risky to use segregated witness as a scaling solution given the situation mentioned above. one of the biggest risks of using segregated witness as a scaling solution (which was surfaced at the conference) is that to obtain the scaling benefit it will require not only new bitcoin core code, but also new code to be written by each of the major wallet providers who are generating transactions. it is unlikely this will be done in time to avoid the scaling issue we are currently facing. the number of lines of code that need to be written for this across the entire industry will be several orders of magnitude more than a scaling solution of changing 1mb blocks to 2mb blocks. this was explained to core developers at the conference and it didn’t seem to change their opinion of what the best short term solution was to scaling. given the block halving arriving in july, and the fact that network delays are already being experienced on the network, my opinion is that it would be irresponsible and dangerous to follow the scaling roadmap proposed in the hong kong consensus at this point, which includes segregated witness.
conclusion
my general view (which i articulated at the roundtable last weekend) is that bitcoin will be far more successful with a multi-party system working on protocol development than a single team with the limitations i mentioned above. i think we can make this happen. in fact, we must make this happen.
if you want to ensure bitcoin’s success, i’d encourage you to upgrade to bitcoin classic in the short term and then do what you can to help with the three step plan i outlined above. this is the best path forward to mitigate the dangerous situation we’ve found ourselves in.
in the future, we will need to create a new team to work on the bitcoin protocol and help bitcoin become a multi-party system to avoid the systemic risk of core being the only team working on the protocol. i hope to have an update for you on that in the coming months.
common questions/criticisms
at the roundtable, here are the common arguments/criticisms i got against this line of thinking:
the market is uncertain because everyone is disagreeing, wouldn’t it be better if we all just put aside our differences and worked together?
it is difficult enough to get two people to agree. three is harder, and four is even harder. once a community gets to fifty or hundreds of people, getting everyone to agree is an irrational goal. but this is ok. mechanisms exist to resolve disagreement amongst large groups of people (like voting). waiting for everyone to agree is the same as saying that nothing will be done.
i gave the analogy of presidential elections in the united states. getting trump and hilary supporters to all agree would be a fools errand. but elections happen and afterwards everyone stays in the same country even if one wins by a narrow margin. the system works. (someone pointed out that people might move to canada if trump wins — while this is true, it will be far less than 1% of the u.s. population, which goes to further prove my point.)
i also gave the example of web browsers. the chrome and safari team are fierce competitors, but also attend the same conferences and collaborate with the ietf on standards. many competing companies were present at the conference as well. they weren’t hostile or combative between each other. we are all working in the same industry and are friends in many ways. it would be the same with multiple teams working on the bitcoin protocol. by providing choice in the market you will get more progress, not less.
the market is uncertain now because it is like a country going through its first election. once the first hard fork occurs successfully and multiple teams emerge, this will create confidence in the market because it shows bitcoin’s built in governance system is working (miner voting).
bitcoin is different because it requires consensus rules — it would never work with multiple teams.
i don’t think this is correct. different teams and implementations can each work on software that is interoperable and uses the same protocol (this is already true today in bitcoin). upgrades or enhancements can be proposed by any team, but they won’t take effect until a majority threshold is reached. bitcoin has a mechanism to resolve these disagreements: miner voting.
at the conference we spent a bunch of time discussing improvements to miner voting, including ways that users (or holders of bitcoin) could vote. there were some good proposals made about using “days destroyed” as a voting mechanism where users who generate transactions can signal readiness for an upgrade or a vote in favor of an upgrade. these are good ideas that i think should be explored further, but i think the exact implementation of how it can be done will be as controversial as any other major change in bitcoin, so it is unrealistic to wait on this becoming a reality given the looming scaling issues we have. we’ll need to upgrade to 2mb to buy ourselves some time before working out the details of this, and it will probably require a new team to build it that is less divisive in the community.
a 75% threshold is not sufficient to trigger an upgrade because the network will split!
i’ve discussed this at length elsewhere, but this is also false in my view. the economic incentives are aligned to have the vast majority (99%+) of miners, wallets, and exchanges end up on one fork. there is a big difference between the trigger threshold and what the ultimate majority will end up on.
some people suggested that if i was sure about this, why not make the threshold 95% to be safe. there are a few problems with this.
when deciding a threshold you are balancing two things: upsetting a minority and the risk of deadlock. if you put it at 51% then the pro is that it is easier to resolve indecision amongst multiple parties, but the risk is that a large percentage of people get dragged along with something they don’t like. if you make a 95% threshold, then very few people get dragged along, but you risk never resolving conflict because it’s difficult to get 95% of people to ever agree on anything (again, imagine presidential elections). put another way, it gives a 5% minority the right to veto any change that 95% of people want. setting a 95% threshold is almost equivalent to saying “we’ll never change anything”.
i think bitcoin classic takes a very reasonable and balanced approach to this by setting a 75% threshold, and adding a 28 day grace period for people to upgrade once the threshold is reached. my guess is that this (or something close to it) will emerge as a standard for future protocol changes.
there are so few developers who understand the protocol that it would be dangerous to alienate the small handful of people who are working on it.
to answer this i tried to make the distinction between computer scientists (academic researchers working on crypto currency) and software engineers (people who build reliable, scalable software). there are probably a couple dozen qualified computer scientists working on crypto currency research right now, but there are at least tens of thousands of qualified software engineers in the world who are capable of building bitcoin protocol software. google alone probably employs five or ten thousand of the latter. we’ve been able to build teams of engineers at coinbase who can build scalable bitcoin node software, for example, as have several other companies in the space.
my hope is that many of the core developers continue to stay in bitcoin (some will quit, and that is ok). the industry needs both researchers and software engineers. but there is not a shortage of the latter.
in general, it should be obvious that bitcoin will attract more smart people to work on it as a successful project than a struggling project.
i will also say that i think bitcoin core is part of the reason there are so few developers working on the protocol today. a common theme at the conference was people mentioning that bitcoin core has been unwelcoming, could use improved developer documentation, and has not produced a formal spec for the protocol to encourage other implementations.
the bitcoin classic team is not good enough to take over right now.
my argument here is that we are not asking them to take over. we should simply upgrade to the most reliable piece of software that will solve bitcoin’s current scaling challenge out of necessity. after that we can upgrade to software written by any team in the space (and i hope there will be more).
people also forget that the bitcoin classic code has been written and reviewed by former core developers (gavin and jeff). so i don’t agree with the quality argument, especially for this current release. future releases we can judge independently. but their current scaling code is high quality, and that is all i’m advocating we use.
bitcoin classic is ready and being run in production today by a number of bitcoin companies. bitcoin core has produced no such option that is production ready, and seems committed to putting out sub-optimal solutions that i described above.
long term we should focus on creating new teams, but at this point it would be irresponsible not to upgrade to bitcoin classic. we need to solve the immediate scaling issue we are facing.
final point
there continues to be rampant censorship on https://www.reddit.com/r/bitcoin regarding this debate, which is unfortunate. i continue to encourage everyone to move to https://www.reddit.com/r/btc as an alternative that is censorship free. thank you.
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roʊd ˌɪmˈpruvmənts ɔn ər ɪkˈspɛktɪd tɪ meɪk ˈdraɪvɪŋ ɔn ðə ˈmeɪʤər ˈθəroʊˌfɛr ˈlɪtərəli ə bæd trɪp fər ˈmoʊtərɪsts ɪn ðə nɛkst tu jɪrz. ðə ˌpɑsəˈbɪləˌti lumd ˈæftər ðə ˈmɛˌtroʊ məˈnɪlə ˈkaʊnsəl əˈpruvd juˈnænəməsli ɔn ˈfraɪˌdeɪ ə plæn əv ðə dɪˈpɑrtmənt əv ˈpəblɪk wərks ənd ˈhaɪˌweɪz tɪ ˌriəˈbɪləˌteɪt ðə ˈævəˌnu ˈstɑrtɪŋ meɪ. ˌædvərˈtaɪzmənt ˈpəblɪk wərks ˈsɛkrəˌtɛri roʊˈgilioʊ sɛd ðə rɪˈpɛr wərk ɔn wɪl bi dən ɪn θri ˈfeɪzɪz fər 23 mənθs ˈəndər ðə ˈərʤənt ˌɪnfrəˈstrəkʧər dɪˈvɛləpmənt ˈprɑʤɛkt, ɪn taɪm fər ðə wərld ˌɛkəˈnɑmɪk ˈfɔrəm ɪn 2014 ənd ðə ˈeɪʒə pəˈsɪfɪk ˌɛkəˈnɑmɪk kˌwɔpərˈeɪʃən ˈsəmɪt ɪn 2015 ðə ˈprɑʤɛkt ɪz pɑrt əv ðə kəˈmɪtmənt tɪ ˌɪmˈpruv ɔl ɑgˈzɪljəri roʊdz baɪ 2014 ənd ɔl ˈsɛkənˌdɛri roʊdz ɪn 2016 wɪθ ə ˈmeɪntənəns fi. ðə sɛd ɪt eɪmz tɪ ˌriˈpleɪs ɔl ˈdæmɪʤd ˈkɑnkrit ˈpeɪvmənts tɪ ɪnˈʃʊr roʊd stəˈbɪlɪti ənd ðə ˈkɛriɪŋ kəˈpæsɪti əv ðə roʊd baɪ ˈjuzɪŋ ˈæsˌfɔlt, ɛz wɛl ɛz ˈæˌdrɛs ðə ˈflədɪŋ ˈprɑbləm ɔn baɪ ðə ɪgˈzɪstɪŋ ˈdreɪnɪʤ laɪn. ˌmɛtrəˈpɑlətən məˈnɪlə dɪˈvɛləpmənt əˈθɔrəti ʧɛr ˈfrænsɪs ˌtoʊlɛnˈtinoʊ sɛd ðeɪ ər jɛt tɪ ʧɛk aʊt ðə əˈveɪləbəl ɔlˈtərnətɪv rʊts ənd ˈtræfɪk skimz ðət ʃʊd bi ɪn pleɪs baɪ ðə taɪm ðə rɪˈpɛr wərk stɑrts. həz rɪkˈwɛstɪd ðə hɛlp əv ɔl ˈmɛˌtroʊ məˈnɪlə meɪərz ɪn ˈæskɪŋ ˈpraɪvət ˈsəbdɪˌvɪʒənz tɪ ˈoʊpən ðɛr leɪnz ɛz ɔlˈtərnətɪv rʊts, ɛz wɛl ɛz ˈklɪrɪŋ ðə ˈsaɪdˌwɔks ənd strits əv ˈvɛndərz ənd ˌɪˈligəli pɑrkt ˈviɪkəlz. vɑlɛnˈzulə meɪər ˈʃərwɪn sɛd ðə ˈəndərˌjutəˌlaɪzd roʊd 10 ɪn camanava*, ðət sərvz ɛz ə ˈpɑrkɪŋ lɔt fər trəks, kən ˈɔlsoʊ bi juzd ɛz ən ɔlˈtərnətɪv rut. ðə wɪl bi ˈpoʊstɪŋ rɪˈgɑrdɪŋ ðə riˈrutɪŋ skim ɛz sun ɛz ˈpɑsəbəl tɪ gɪt ˈmoʊtərɪsts juzd tɪ ðə nu rʊts. ʤɪst ˈweɪtɪŋ fər ðə rɪˈpɛr əv ə ˈmeɪʤər paɪp ɪn ˈəndərˌteɪkən baɪ məˈnɪlə ˈwɔtər. ðeɪ ʃʊd bi dən ɪn fɔr months,”*,” sɛd, ˈædɪŋ ðət ðɛr wɪl bi noʊ ækˈtɪvɪti ɪn ðə ˈɛriəz ˈkəvərd baɪ məˈnɪlə ˈwɔtər. ðə hɛd sɛd ðɛr wɪl bi ˌɪnkənˈvinjənsɪz ɔl əraʊnd, bət ðə rɪˈtərnz wɪl bi haɪər ˈæftər bɪˈkəmz ə ˈwərldˌklæs ˈhaɪˌweɪ wɪθ ə smuð ˈraɪdɪŋ ˈsərfəs ˈkɑmprəbəl tɪ ðə nɔrθ ənd saʊθ expressways*. ˌædvərˈtaɪzmənt ə nu ˈhaɪˌweɪ wɪl ˈɔlsoʊ min ˈbɛtər ˈtrævəl ɔn ðə roʊd ənd lɛs ˈkɑrbən daɪˈɑkˌsaɪd ɪˈmɪʃənz, hi ˈædɪd. ˈmoʊtərɪsts ər ˈɔlsoʊ ɪkˈspɛktɪd tɪ seɪv ɔn gæs sɪns ðə nu ənd ˌɪmˈpruvd wɪl ˈɔlsoʊ rɪˈdus ˈtrævəl taɪm frəm 76 ˈmɪnəts tɪ 57 ˈmɪnəts ˈdʊrɪŋ pik aʊərz. rɛd nɛkst ˈleɪtəst ˈstɔriz moʊst rɛd
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road improvements on edsa are expected to make driving on the major thoroughfare literally a bad trip for motorists in the next two years.
the possibility loomed after the metro manila council approved unanimously on friday a plan of the department of public works and highways to rehabilitate the 23-km avenue starting may.
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public works secretary rogelio singson said the repair work on edsa will be done in three phases for 23 months under the dpwh’s urgent infrastructure development project, in time for the world economic forum in 2014 and the asia pacific economic cooperation summit in 2015.
the p3.7-billion project is part of the agency’s commitment to improve all auxiliary roads by 2014 and all secondary roads in 2016, with a 5-year maintenance fee.
the dpwh said it aims to replace all damaged concrete pavements to ensure road stability and the carrying capacity of the road by using high-grade asphalt, as well as address the flooding problem on edsa by declogging the existing drainage line.
metropolitan manila development authority chair francis tolentino said they are yet to check out the available alternative routes and traffic schemes that should be in place by the time the repair work starts.
singson has requested the help of all metro manila mayors in asking private subdivisions to open their lanes as alternative routes, as well as clearing the sidewalks and streets of vendors and illegally parked vehicles.
valenzuela mayor sherwin gatchalian said the underutilized road 10 in camanava, that serves as a parking lot for trucks, can also be used as an alternative route.
the dpwh will be posting signages regarding the rerouting scheme as soon as possible to get motorists used to the new routes.
“we’re just waiting for the repair of a 1.5m major pipe in edsa undertaken by manila water. they should be done in four months,” singson said, adding that there will be no reblocking activity in the areas covered by manila water.
the dpwh head said there will be inconveniences all around, but the returns will be higher after edsa becomes a world-class highway with a smooth riding surface comparable to the north and south expressways.
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a new highway will also mean better travel on the road and less carbon dioxide emissions, he added.
motorists are also expected to save on gas since the new and improved edsa will also reduce travel time from 76 minutes to 57 minutes during peak hours.
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dust-tipped* ˈbʊləts spən θru ðə ɛr, ˈsɛndɪŋ ðə ˈtaɪniəst əv ɛr kərənts ˈrɪpəlɪŋ ˈaʊtwərd. moʊst ˈpipəl ˈwʊdənt fil ðə ʃɪft ɪn ɛr ˈprɛʃər hæd ðə ˈbʊləts mɪst ðɛm baɪ mɪr ˈmɪləˌmitərz, bət laɪ rɛn sɛnst ɪt ɔn hɪz skɪn ˈivɪn ˈæftər ˈdɑʤɪŋ mɔr ðən ə ˈmitər aʊt əv ðə pæθ əv ðə prɑˈʤɛktəlz. hi hæd bɪn ɪn ðə ˈmɪdəl əv ə ˈlipɪŋ əˈtæk təˈwɔrdz ən əˈpoʊnənt wɪn hi sɛnst ðə ˈwɛpənz ˈdɪsˌʧɑrʤ tɪ hɪz lɛft. hi meɪd ən əˈʤəstmənt tɪ hɪz əˈtæk ˈpætərn. hi ɪkˈstɛndɪd hɪz raɪt ɑrm ˈfɔrwərd, hænd aʊtˈstrɛʧt, ˈkipɪŋ hɪz lɛft pʊld bæk ənd ˈrɛdi tɪ lænd ən pənʧ. hi kloʊzd ðə ˈdɪstəns bɪtˈwin hɪmˈsɛlf ənd hɪz ˈtərgət, ə ˈgɑrdiən ɪn ðə ˈprɔˌsɛs əv ˈreɪzɪŋ hɪz ˈwɛpən tɪ faɪər æt. hi prəˈpɛld hɪz fɪst ˈfɔrwərd, trænsˈfərɪŋ ɛz məʧ əv ðə kɪˈnɛtɪk fɔrs əv hɪz ʤəmp ɛz hi kʊd ˈɪntu ə pənʧ, eɪmd dɪˈrɛkli æt ðə ˈgɑrdiənz ˈtɛmpəl. ɪn bɪtˈwin ðə pənʧ ˌɪmˈpæktɪŋ ənd ðə ˈgɑrdiən ˈluzɪŋ ˈkɑnʃəsnəs, wɪʧ wɑz ə ˈvɛri ʃɔrt spæn əv taɪm ˌɪnˈdid, raɪt hænd tʊk hoʊld əv ɪts oʊn ˈtərgət: ðə ˈgɑrdiənz ˈwɛpən. ðə ˈwɛpən wɑz ə ˈsɪmpəl əˈsɔlt ˈraɪfəl wɪθ ə drill-bayonet*. rɛn pʊld ðə ˈwɛpən frəm hɪz əˈpoʊnənts hænd, riˈmuvd ðə ˈmægəˌzin ənd θru ɪt wɪθ ɔl hɪz strɛŋθ tɪ hɪz lɛft. hi ˈdɪdənt nid tɪ lʊk tɪ noʊ ðət ɪt wʊd lænd ɪn ðə feɪs əv ðə ˈgɑrdiən ˈfaɪərrɪŋ æt ɪm. ðə ˈraɪfəl ɪn hænz wɑz nɑt kəmˈplitli ˈɛmti; ə ˈsɪŋgəl ˈkɑrtrɪʤ rɪˈmeɪnd ɪn ðə ˈʧeɪmbər. hi klɪrd ɪt ənd tɔst ðə ˈwɛpən əˈsaɪd. hɪz fit ˈfaɪnəli mɛt ðə graʊnd, ənd hi ˌɪˈmiˌdiətli tˈwɪstɪd, ˈɔltərɪŋ hɪz dɪˈrɛkʃɪn, ənd lɛpt əˈgɛn, naʊ flaɪɪŋ ɪn dɪˈrɛkʃɪn. hi ˈʧaɪdɪd hɪmˈsɛlf ˌɪnˈtərnəli fər ˈweɪstɪŋ səm əv hɪz moʊˈmɛntəm. wɑz ˈɑkjəˌpaɪd wɪθ ˈfaɪtɪŋ ðə ˈgɑrdiən ɪn frənt əv ɪm. hi wɑz sˈwɪŋɪŋ hɪz sɔrd ˈwaɪldli æt hɪz foʊ, hɪz əˈtæks ˈgəvərnd baɪ reɪʤ. hɪz læk əv kənˈtroʊld əˈlaʊd hɪz əˈpoʊnənt tɪ ˈizəli dɪˈflɛkt iʧ əˈtæk wɪθ hɪz duəl tonfas*. ˈminˌwaɪl, ə ˈsɛkənd ˈgɑrdiən wɑz ˈkloʊzɪŋ ɪn tɪ stæb ɪn ðə bæk. wɑz ɛz ˌənəˈwɛr əv ðɪs θrɛt ɛz ðə ˈgɑrdiən rɛn hæd ʤɪst dɪˈseɪbəld hæd bɪn əv rɛn hɪmˈsɛlf. ɪt wɑz ðɪs əˈtækər ðət rɛn wɑz naʊ flaɪɪŋ təˈwɔrdz. ɑrk hæd ə ˈfaɪtɪŋ staɪl rɛn faʊnd tɪ bi ˈhaɪli ˈædmərəbəl ɪn ə ˈlidər. fɔt wɪθ ə ˈbræʃnəs wɪʧ dru əˈtækərz təˈwɔrdz hɪmˈsɛlf, ˈtrəstɪŋ hɪz tim tɪ dɪˈseɪbəl ðiz əˈpoʊnənts ˌbiˈfɔr ðeɪ kʊd lænd ðɛr əˈtæks. rɛn hæd ˈɔlˌweɪz kənˈsɪdərd ɪt ən ˈɑnər tɪ ˈfɑloʊ ə ˈlidər hu ˈvæljud hɪz timz ˈseɪfti soʊ ˈhaɪli əˈbəv hɪz oʊn. ɪt peɪnd rɛn tɪ si ˈbɛrɪŋ səʧ gɪlt ˈfɑloʊɪŋ ðə ˈfeɪljər əv ðɪs ˈstrætəʤi ɪn ðɛr ɪnˈkaʊnər wɪθ ˈoʊkər. rɛn ˈriəˌlaɪzd hi hæd sˈlaɪtli mɪsˈʤəʤd ðə ˈdɪstəns bɪtˈwin hɪmˈsɛlf ənd hɪz ˈtərgət. hɪz kɪk wʊd fɔl ʃɔrt əv hɪz ˈɛnəmiz hɛd, ənd hi wʊd hæv tɪ ˈsɛtəl fər ðə bloʊ ˈstraɪkɪŋ hɪz əˈpoʊnənts ˈtɔrˌsoʊ. ə ˈkɑnsəkwəns əv ðə lɔst moʊˈmɛntəm wɪn hi hæd ʧeɪnʤd dɪˈrɛkʃɪnz soʊ əˈkjutli. ˌnənðəˈlɛs, ðə kɪk wʊd sɛnd ðə ˈgɑrdiən ˈtəmbəlɪŋ tɪ hɪz saɪd. rɛn əˈʤəstɪd ðə pəˈzɪʃən əv hɪz raɪt hænd, pərˈpɛrɪŋ tɪ lɔnʧ ðə raɪt hæf əv frəm hɪz sliv. ðə lɛft hæf əv hæd bɪn lɛft bɪˈhaɪnd wɪn ðeɪd flɛd ðə ˈaɪlənd ˈsɛvərəl deɪz ˌbiˈfɔr. rɛn ˈhædənt hæd taɪm tɪ mɔrn ɪts lɔs. fɑr mɔr ˌɪmˈpɔrtənt θɪŋz hæd bɪn lɛft bɪˈhaɪnd ðət deɪ. hɪz fʊt mɛt ðə ˈgɑrdiənz ˈtɔrˌsoʊ ʤɪst əˈbəv ðə hɪp. ðə ˈgɑrdiən ˈtəmbəld əˈweɪ, hɪz hɛd ˈstraɪkɪŋ ðə dərt, nɑt kwaɪt hɑrd ɪˈnəf tɪ nɑk ɪm aʊt. flu aʊt əv sliv ənd ˈɪntu hɪz hænd. hi ˈlɛvəld ðə ˈpɪstəl æt ðə ˈtəmbəlɪŋ fɔrm əv ðə ˈgɑrdiən ənd faɪərd, ˈstraɪkɪŋ ɪm ɪn ðə ʧɛst. ðə ˈgɑrdiənz ˈɔrə ˈʃætərd ənd hi wɑz ˈrɛndərd ˌənˈkɑnʃəs. ˈhɪtɪŋ ðə graʊnd, rɛn sɛnst ˈmuvmənt bɪˈhaɪnd ɪm. ðə ˈgɑrdiən hud bɪn strək baɪ ðə ˈmægəˌzin hæd rɪˈkəvərd ənd wɑz ˈteɪkɪŋ eɪm wəns əˈgɛn. "ðɛr hir, ðɛr ˈkɪkɪŋ ɑr ˈæsəz!" hi wɑz ˈjɛlɪŋ ˈɪntu hɪz ˈreɪdiˌoʊ, ˈhoʊldɪŋ hɪz ˈwɛpən one-handed*. rɛn spən, ˈdrɑpɪŋ tɪ ə kraʊʧ ənd ˈteɪkɪŋ eɪm æt hɪz əˈpoʊnənts hɛd. hi wɑz ɔˈrɛdi ˈpʊlɪŋ ðə ˈtrɪgər ˌbiˈfɔr ˈriəˌlaɪzɪŋ ðət ðə ˈɪˌdiət ˈdɪdənt ˈivɪn hæv hɪz ˈɔrə reɪzd. hi tˈwɪstɪd hɪz rɪst, əˈʤəstɪŋ hɪz eɪm wɪθ noʊ taɪm æt ɔl tɪ spɛr. faɪərd, ðə ˈbʊlət ˈstraɪkɪŋ ðə ˈgɑrdiən ɪn ðə ni, dɪˈstrɔɪɪŋ hɪz ˈniˌkæp ənd ˈtɪrɪŋ ˈsɛvərəl ˈtɛndənz əˈpɑrt. ðə ˈgɑrdiən fɛl, ˈkləʧɪŋ hɪz lɛg ɪn peɪn. ðə ˈgɑrdiən ðət wɑz ˈklæʃɪŋ wɪθ sɔ ɔl ðɪs ˈhæpənɪŋ bɪˈhaɪnd hɪz əˈpoʊnənt. hi drɑpt hɪz gɑrd ˌmoʊmənˈtɛrəli, ənd sizd ðə ˌɑpərˈtunəti. θrəst hɪz sɔrd ˈfɔrwərd, ˈstæbɪŋ ðə tɪp ˈɪntu ðə ˈgɑrdiənz ʧɛst. ðə ˈgɑrdiən wɪnst, ˈfərðər ˈdrɑpɪŋ hɪz gɑrd, ənd ˈfɑloʊd əp baɪ sˈwɪŋɪŋ hɪz ʃild ˈəndərˈhændɪd, sˈlæmɪŋ ɪt ˈɪntu ðə ˈgɑrdiənz grɔɪn. ðə mæn fɛl tɪ hɪz niz, ˈdəbəld ˈoʊvər ɪn ˈægəni. dru hɪz sɔrd bæk ənd swəŋ wɪθ ɔl hɪz maɪt. ðə bleɪd strək ðə ˈgɑrdiənz ʧik, ənd ðɛr wɑz ə hɔˈrɪfɪk saʊnd əv ˈsplɪntərɪŋ boʊn. rɛn wɪnst ənd lʊkt əˈweɪ frəm ðə ˈgrusəm mɛs əv ðə mænz hɛd. pleɪst hɪz fʊt əˈgɛnst hɪz dɪˈfitɪd əˈpoʊnənts ʧɛst, ˈhoʊldɪŋ ɪt ɪn pleɪs ɛz hi rɛnʧt ðə ˈsɛˌreɪtɪd bleɪd fri frəm ðə ˈgɑrdiənz ruɪnd skəl. glænst əraʊnd, ˈteɪkɪŋ noʊt əv ðə pæθ əv dɪˈfitɪd ˈɛnəmiz rɛn hæd meɪd əˈkrɔs ðə ˈbætəlˌfild. hi grɪnd ənd ˈmoʊʃənd hɪz hɛd təˈwɔrdz ðə loʊn ˈɛnəmi hi hæd ˈteɪkən daʊn. "doʊnt ˈwəri, aɪ gɑt ðət wən." ˈʧəkəld. "gʊd ʤɑb," rɛn ˈnɑdɪd. ðeɪ boʊθ glænst tɪ ðə raɪt æt ðə saʊnd əv ˈsəmˌbɑdi ˈʃaʊtɪŋ ɪn ˈtɛrər. ðɛr wɑz ə ˈgɑrdiən flaɪɪŋ θru ðə ɛr, prəˈpɛld baɪ ən ɪkˈsploʊsɪv bloʊ frəm ˈkɑrdɪn meɪs. rɛn ənd tərnd ʤɪst ɪn taɪm tɪ si ˈnɔrə lip ˈɪntu ðə ɛr ənd kət hɪz flaɪt ʃɔrt wɪθ ə bloʊ frəm hər ˈhæmər. ʃi drɑpt bæk daʊn tɪ ðə graʊnd ˈgreɪsfəli, waɪl ðə ˈgɑrdiən fɛl ɪn ə ˈkrəmpəld hip ˌbiˈsaɪd hər. ʤɪst bɪˈhaɪnd hər, bleɪk wɑz ˈjuzɪŋ ə sɔrd tɪ kliv streɪt θru ðə ʃild əv əˈnəðər əˈpoʊnənt. ðə bleɪd ˈdɪdənt sloʊ daʊn wɪn ɪt mɛt ðə mænz ɑrm. hi fɛl ˈbækwərdz, ˈkləʧɪŋ æt ə stəmp. reɪzd hɪz ɑrm tɪ ʧɛk ðə ˈtaɪmər ɔn hɪz skroʊl. ðɛr wɑz stɪl ˈɔlˌmoʊst 30 ˈsɛkəndz ˌbiˈfɔr ðə ˈbʊˌlhɛdz wʊd kəmˈplit ðɛr ˈsərkəl ənd pɪk ðɛm bæk əp. ðeɪd ˈteɪkən ðɪs grup daʊn ˈvɛri ɪˈfɪʃəntli, ˈmoʊstli du tɪ ðə ˈɛləmənt əv səˈpraɪz. ɪt hæd bɪn ˈfulɪʃ əv ðɛm tɪ ˈɛvər əˈtæk ðə ˈgɑrdiənz wɪˈθaʊt ðə ˈhɪtænˌrən tɛkˈnik. əv kɔrs, ðeɪ ˈdɪdənt ˈriəˌlaɪz haʊ ˈpaʊərfəl ə fɔrs ðeɪ wər ˈfaɪtɪŋ ðɛn. wɑz ʤɪst əˈbaʊt tɪ æsk wɛr ˈrubi ənd waɪs wər wɪn ðeɪ meɪd ðɛr ˌriəˈpɪrəns. ðeɪ keɪm ˈkræʃɪŋ θru ə lɑrʤ ˈwɪndoʊ ɔn ðə saɪd əv ðə ˈbɪldɪŋ, ˈroʊlɪŋ ɛz ðeɪ ˈlændɪd ɔn ðə græs. ɛz sun ɛz boʊθ əv ðɛm wər ɔn ðə graʊnd, ˈrubi ræpt hər ɑrmz əraʊnd ˈwaɪsɪz weɪst ənd ðeɪ ˈvænɪʃt ɪn ə bərst əv roʊz ˈpɛtəlz. ðeɪ ˌriəˈpɪrd wɛr ðə rɛst əv ðə grup wɑz ˈgæðərd, əˈmɪdst ðə strun ˈbɑdiz əv ˌənˈkɑnʃəs ər dɛd ˈgɑrdiənz. ðə spɑt wɛr ðeɪd bɪn ˈstændɪŋ, ˈaʊtˈsaɪd ðə ˈwɪndoʊ, wɑz kənˈsumd baɪ ə ˈfaɪərˌbɔl frəm wɪˈθɪn ðə ˈbɪldɪŋ ˌbiˈfɔr ðə roʊz ˈpɛtəlz ˈrubi hæd lɛft bɪˈhaɪnd ˈivɪn ˈdɪsəˌpeɪtɪd. "ˈgɑrdiənz ˌɪnˈsaɪd klɪrd aʊt, drəg læb dɪˈstrɔɪd," ˈrubi ˌriˈpɔrtəd, ˈpraʊdli. "gʊd wərk," bleɪk sɛd, ɪn bɪtˈwin ʃɔrt brɛθs. ˈrubi tʊk ˈnoʊtɪs əv ðə ˈwundɪd mæn skˈwərmɪŋ æt bleɪks fit. hər aɪz ˈwaɪdənd ɪn səˈpraɪz. "waʊ, bleɪk," ˈrubi sɛd, "ju tʊk hɪz hoʊl ɑrm ɔf." "ðə ˈplæzmə ɔn ðə sɔrd ˈkɔtəraɪzd ðə wund," bleɪk sɛd, nɑt ˈlʊkɪŋ daʊn æt ɪm, "hil lɪv." stɛp ˈfɔrwərd, spən hɪz sɔrd əraʊnd ɪn hɪz hænd, ənd brɔt ɪt daʊn ɔn ðə ˈwundɪd mæn. ðə bleɪd stæbd streɪt θru hɪz θroʊt, ʤɪst ˈmɪsɪŋ ðə spaɪn. rɛnʧt ðə bleɪd aʊt, ˈkɔzɪŋ ə groʊˈtɛsk ˈfaʊntən əv bləd tɪ spju frəm ðə ˈgɑrdiənz nɛk. hi kɔft ənd ˈspətərd, ˈkləʧɪŋ æt hɪz nɛk wɪθ hɪz rɪˈmeɪnɪŋ hænd. "...jæ, aɪ daʊt ðət," sɛd, ˌbiˈfɔr ˈglænsɪŋ ˈnɑnʃəˈlɑntli æt ðə skaɪ, ʤɪst əˈbəv ðə tri laɪn, "ˈɛrˌʃɪps ˈɪnˌkəmɪŋ." waɪs ənd ˈrubi wər boʊθ ɪn ˈhɔrər. bleɪk stɛrd daʊn æt ðə daɪɪŋ mæn wɪθ ˌɪnˈdɪfərəns. rɛn ənd ˈnɔrə wər ˈlʊkɪŋ æt ðɛr ˈlidər wɪθ ʃɑk ənd kənˈsərn. tim riˈækʃənz wər splɪt bɪtˈwin dɪsˈgəst ənd ˌædmərˈeɪʃən. "jaune*..." ˈnɔrə bɪˈgæn. "ju hæv ˈsəmθɪŋ tɪ seɪ, seɪv ɪt," sɛd, "gɪt ˈrɛdi fər ˈpɪˌkəp." ðə ˈɛrˌʃɪps flu ɪn sloʊ, ˈdrɑpɪŋ tɪ ʤɪst ə fju ˈmitərz əˈbəv ðə graʊnd. ˈɛvriˌbɑdi lɛpt ˈəpwərdz, ˈlændɪŋ wɪˈθɪn ðə ʃɪps. ðə ˈmoʊmənt ðə læst əv ðɛm pʊld ðɛmˈsɛlvz wɪˈθɪn ðə dɔrz, ðə ˈbʊˌlhɛdz faɪərd ðɛr ˈɛnʤənz ənd spɛd ɔf. rɛn tʊk ə sit ənd pʊld wən əv ðə ˈseɪfti ˈhɑrnəsɪz ˈoʊvər hɪmˈsɛlf. stʊd ɪn ðə ˈoʊpən dɔr əv ðə ˈbʊˌlhɛd, ˈlʊkɪŋ bæk æt ðə ruɪn əv ðə ˈbætəlˌfild ɪn frənt ðə ˈbɪldɪŋ biɪŋ kənˈsumd baɪ fleɪmz. hi sɔ ə ˈkɑnˌvɔɪ əv ˈviɪkəlz ˈbɛrəlɪŋ daʊn ðə dərt roʊd təˈwɔrdz ðə ˈbɪldɪŋ ðeɪd ʤɪst lɛft. grɪnd. "tu leɪt, ˈæshoʊlz," ˈwɪspərd, "teɪk ə gʊd lʊk æt ɑr ˈhændiˌwərk, ðoʊ." "jaune*, ər ju ʃʊr jʊr nɑt ˈteɪkɪŋ ðɪs tu fɑr?" ˈnɔrə æst, "ju ʤɪst ˈɛksəˌkjutɪd ðət-" "ðiz ˈpipəl kɪld pyrrha*, ˈnɔrə," sɛd, ˈglænsɪŋ ˈoʊvər hɪz ˈʃoʊldər, "ˈivɪn ˈæftər jæŋ daɪd, wi wərənt ˈteɪkɪŋ ðɪs ˈsɪriəsli. wi wər ʤɪst... kɪdz ˈpɪkɪŋ faɪts. əm dən wɪθ ðət. əm dən wɪθ ˈmərsi." ˈnɔrə lʊkt ˈhɔrəˌfaɪd. "wɪr səˈpoʊzd tɪ bi ðə gʊd gaɪz," ʃi sɛd, "ɪf wi sɪŋk tɪ ðɛr ˈlɛvəl, wət meɪks ˈjuˈɛs ˈbɛtər ðən ðɛm?" tərnd ənd lʊkt æt hər, ˈreɪzɪŋ ən ˈaɪˌbraʊ incredulously*. "haʊ kən ju ˈivɪn seɪ ðət? ˈæftər ˈɛvriˌθɪŋ ðeɪv dən, haʊ kʊd ðeɪ nɑt dɪˈzərv ˈɛvriˌθɪŋ wi kʊd du tɪ ðɛm?" "ðeɪ dɪˈzərv ɪt," ˈnɔrə sɛd, "bət wi doʊnt dɪˈzərv tɪ du ɪt. wi doʊnt hæv ðət raɪt." roʊld hɪz aɪz. hi glænst ˈoʊvər æt rɛn. "rɛn, ˈɛniˌθɪŋ?" æst, "ˈɛniˌθɪŋ tɪ æd?" rɛn lʊkt əp æt ðɛm. ə ˈstili, jɛt ˈsɑmbər lʊk ɪn hɪz aɪz. "aɪl du wəts ˈnɛsəˌsɛri tɪ stɑp ðɛm," hi sɛd, "aɪl kɪl, ɪf ðæts ðə ˈoʊnli weɪ. bət aɪ faɪt tɪ pʊt ə stɑp tɪ ɔl ðɪs dɛθ, nɑt pərˈpɛʧəˌweɪt ɪt. aɪ wɔnt ðə ˈgɑrdiənz stɑpt, aɪ doʊnt wɔnt ðɛm ɔl tɪ daɪ." fər ʤɪst ə ˈmoʊmənt, ˈhɑrdənd ˈgrɪməs ˈfɑltərd, ənd ˈnɔrə sɔ ə glɪmps əv ðə ril, ən aɪˌdiəˈlɪstɪk bɔɪ nɑt soʊ əˈfreɪd əv self-doubt*. ʃʊk hɪz hɛd ənd stild hɪmˈsɛlf əˈgɛn. hi tərnd bæk tɪ ðə ˈoʊpən dɔr, ðɪs taɪm ˈlʊkɪŋ əˈhɛd tɪ ðɛr nɛkst ˈtərgət. "aɪ ˈnɛvər sɛd ju hæd tɪ kɪl ˈɛniˌwən," sɛd, "bət aɪ eɪm tɪ pʊt ə stɑp tɪ ðiz ˈpipəl, ənd əm goʊɪŋ tɪ meɪk dæm ʃʊr ðeɪ kən ˈnɛvər hərt ˈɛnibədi ɛls. doʊnt traɪ tɪ stɑp mi." frəm ðə ˈpaɪlət sit, ʤɑn kɔld bæk tɪ ðɛm, "ˈkəmɪŋ əp ɔn ðə ˈviɪkəl ˈdipoʊ naʊ." muvd ˈfɔrwərd, ˈrɛstɪŋ ə hænd ɔn ʤɑnz ˈʃoʊldər ənd ˈlʊkɪŋ æt ðə holo-displays*. "ˈɛnəmi ækˈtɪvɪti?" æst. "lɑrʤ ˈnəmbər əv ˈkɑnˌtækts," ʤɑn ˌriˈpɔrtəd, "lʊks laɪk ðɛr əˈbaʊt tɪ muv aʊt tɪ ðə drəg læb." "wɛl, wi kən seɪv ðɛm ðə trɪp," grɪnd, "wi woʊnt bi ˈeɪbəl tɪ hoʊld aʊt əˈgɛnst ðət ˈmɛni fər lɔŋ. ˈpɪˌkəp wən ˈmɪnət ˈæftər drɔp, ðɪs taɪm." "jɛs, sər." tæpt ə fju ˈbətənz ɔn hɪz skroʊl tɪ ˈoʊpən əp ə ˈkɑnfərəns kɔl wɪθ ðə ˈəðərz. "tim hir," ˈrubi ˈænsərd. "wəts əp?" keɪm vɔɪs. wɪr goʊɪŋ tɪ du ə kwɪk ˈhɪtænˌrən ənd ðɪs taɪm," sɛd, "wən ˈmɪnət. ðɛr ər ə lɔt əv soʊ wi kænt lɛt ðə ˈɛləmənt əv səˈpraɪz wɛr ɔf. traɪ tɪ bloʊ əp ə fju ˈviɪkəlz wɪn ju lænd, kɔz ɛz məʧ keɪɑs ɛz ju kən." "gɑt ɪt." ˈkɑrdɪn rɪˈplaɪd. "gʊd plæn," ˈrubi sɛd, "lɛts du ðɪs. ənd?" "wət?" æst. hi ˈdɪdənt laɪk ðə kənˈsərn ɪn ˈrubiz vɔɪs. ɪt ˈsaʊndɪd tu məʧ laɪk ˈsɪmpəθi. "...ˈnɛvər maɪnd. lɛts goʊ." ˈɛndɪd ðə kɔl, dru hɪz sɔrd ənd wɛnt tɪ ðə dɔr. rɛn wɑz ɔˈrɛdi ˈstændɪŋ ðɛr, æt ðə ˈrɛdi. ˈnɔrə wɑz ˈstændɪŋ bæk, hər ˈwɛpən ˈhæŋɪŋ ˈlæzəli æt hər saɪd. "ju ˈkəmɪŋ, ˈnɔrə?" æst, ʤɪst ˌbiˈfɔr ˈlipɪŋ aʊt. rɛn lʊkt bæk ɪn kənˈsərn, ðɛn lɛpt aʊt ˈæftər. ˈnɔrə saɪd, spən ˈɪntu hammer-form*, ənd dəv aʊt ˈæftər ðɛm. ðə ˈkɑnˌvɔɪ əv ˈviɪkəlz, iʧ ˈloʊdɪd fʊl əv ˈgɑrdiənz, tɔr daʊn ðə roʊd təˈwɔrdz ðə drəg læb. ɪn ðə ʤip æt ðə hɛd əv ðə ˈkɑnˌvɔɪ ðɛr wər fɔr əv ðɛm. tu əp frənt, ənd tu ˈstændɪŋ ɪn ðə ˈflætˌbɛd, ˈwɛpənz ˈrɛdi. ðə ˈdraɪvər riʧt tɪ ðə ˈkɑnsoʊl ənd græbd ðə ˈreɪdiˌoʊ ˈhændˌsɛt. "ˈkloʊzɪŋ ɪn ɔn ðə drəg læb," hi jɛld ˈɪntu ðə ˈhændˌsɛt, "ər ðə stɪl ðɛr?" "ðɛr hir, ðɛr ˈkɪkɪŋ ɑr ˈæsəz!" keɪm ðə ˈpænɪkt rɪˈplaɪ. "wɪl bi ðɛr ɪn wən ˈmɪnət," ðə ˈdraɪvər sɛd, tɪ noʊ rɪˈspɑns, "ˈdeɪmən, du ju ˈkɑpi?" "ðeɪ kip ˈrɛkɪŋ ɑr ʃɪt laɪk ðɪs," ðə gaɪ ɪn ðə ˈpæsənʤər sit sɛd, "wi woʊnt hæv ɪˈnəf lɛft fər ðə əˈtæk təˈmɑˌroʊ." "æt ðɪs pɔɪnt, ðeɪ kænt stɑp ɪt," ðə ˈdraɪvər sɛd, "əˈspɛʃəli ˈæftər aɪ kɪl ə fju əv ðoʊz-" ə blər əv ˈmuvmənt ɪn ðə ˈmɪrər kɔt hɪz aɪ. hi əˈʤəstɪd ðə ˈmɪrər ənd lʊkt ˈkloʊzər ʤɪst ɪn taɪm tɪ si wən əv ðə gaɪz ɪn ðə bæk goʊ flaɪɪŋ ɔf ðə ʤip, ˈmɪsɪŋ hɪz hɛd. "wət ðə fək?!" ðə ˈdraɪvər jɛld. ðɛr wɑz ðə kræk əv ə ˈgənˌʃɑt ənd ðə ˈəðər ˈgɑrdiən ɪn ðə bæk wɑz θroʊn ˈbækwərdz. hi maɪt hæv sərˈvaɪvd ðə fɔl frəm ðə ˈviɪkəl hæd hi nɑt mɛt ðə grɪl əv ðə ˈsɛmi trək bɪˈhaɪnd ðɛm, ˌbiˈfɔr biɪŋ pʊld daʊn bɪˈniθ ðə trəks wilz. ðə ˈdraɪvər wɑz soʊ ˈfoʊkɪst ɔn ðə, hi ˈɔlˌmoʊst mɪst ðə ˈfɪgjər ˈlændɪŋ ɔn ðə hʊd əv ðə ʤip. hi ənd hɪz rɪˈmeɪnɪŋ ˈpæsənʤər hæd ˈoʊnli ɪˈnəf taɪm tɪ lɛt aʊt ə səˈpraɪzd jɛlp ˌbiˈfɔr ðə ˈfɪgjər slæʃt hɪz sɔrd, sˈlaɪsɪŋ ðə ˈwɪndˌʃild ɪn hæf ˌhɔrɪˈzɑntəli. ðə seɪm swɪŋ diˈkæpəˌteɪtɪd ðə ˈdraɪvər ənd ˈpæsənʤər boʊθ. ˌbiˈfɔr ðɛr hɛdz ˈivɪn hæd taɪm tɪ flaɪ ɔf, ðə ˈfɪgjər wɑz ˈstændɪŋ, ənd ˈsprɪntɪŋ əˈlɔŋ ðə rʊf əv ðə ˈmuvɪŋ ʤip. ˈwɪtnəsɪŋ ðɪs, ðə trək ˈdraɪvər slæmd ɔn ðə gæs, ˈhoʊpɪŋ tɪ ræm ðə əˈtækər. ðə trəks ˈpæsənʤər dru hɪz ənd ɪkˈstɛndɪd ɪt aʊt ðə ˈwɪndoʊ. "ɪts ˈtɔrəs!" ðə ˈpæsənʤər ˈʃaʊtɪd, "kɪl ɪm!" ˈædəm ˈtɔrəs ʤəmpt frəm ðə rʊf əv ðə ʤip ʤɪst ˌbiˈfɔr ɪt bɪˈgæn kərˈinɪŋ aʊt əv kənˈtroʊl. flaɪɪŋ θru ðə ɛr təˈwɔrdz ðə trək, hi faɪərd ɔf tu ʃɑts frəm ðə əv hɪz ˈwɛpən, ˈʃutɪŋ ðə trək ˈdraɪvər ənd ˈpæsənʤər boʊθ ɪn ðə hɛd. hi ˈlændɪd ɔn ðə rʊf əv ðə trəks kæb, ənd ˈsprɪntɪd əˈlɔŋ ðə ˈtreɪlər. hi hæd ˈbɛrli ʤəmpt ɔf ðə ˈtreɪlər wɪn ə heɪl əv ˈbʊləts rɪpt ˈəpwərdz θru ðə rʊf, ˈkæʧɪŋ ɪm off-guard*. ðə ˈgɑrdiənz wər ˈjuzɪŋ ðə ˈsɛmi ɛz ən ˌɪmˈprɑmptu trup trək. ˈædəm flu θru ðə ɛr təˈwɔrdz ðə nɛkst ˈviɪkəl ɪn ðə ˈkɑnˌvɔɪ, ə ˈpɪˌkəp trək wɪθ ə ˈhɛvi məˈʃin gən sɛt əp ɔn ə ˈtraɪˌpɑd ɪn ðə bɛd. ðə ˈgɑrdiən ˈmænɪŋ ðə gən riˈæktɪd kˈwɪkli, ˈtərnɪŋ ðə gən ˈəpwərdz ənd ˈfaɪərrɪŋ. ˈædəm spən ɪn mid-air*, ðə ˈbʊləts ˈpæsɪŋ ʤɪst bɪˈniθ ɪm. hi flu æt ðə ˈgənər. hi ˈriəˌlaɪzd tu leɪt ðət waɪl ˈfaɪərrɪŋ wɪθ wən hænd, ðə ˈgənər wɑz ˈriʧɪŋ ˈɪntu hɪz ˈʤækɪt. ðə sɔrd straɪk ðət ʃʊd hæv ˈteɪkən hɪz hɛd ɔf wɑz ˈpɛrid baɪ ə ˈkɑmbæt naɪf. ˈædəm ˈtəmbəld θru ðə ɛr ˌbiˈfɔr ˈbɛrli ˈstɪkɪŋ ðə ˈlændɪŋ ɔn ðə dərt roʊd. hɪmˈsɛlf, ˈædəm sɔ ðə læst ˈviɪkəl ɪn ðə ˈkɑnˌvɔɪ, ə ˈgɑrdiən ɔn ə ˈmoʊtərˌsaɪkəl ˈhoʊldɪŋ ə məˈʧɛˌti, ˈtɪrɪŋ təˈwɔrdz ɪm. hi dɑʤd tɪ ðə saɪd, ʃiðd hɪz sɔrd, ənd juzd ɪt laɪk ə kləb tɪ nɑk ðə ˈgɑrdiən klin ɔf ðə baɪk. ðə baɪk fɛl ˈoʊvər ənd əˈkrɔs ðə graʊnd. ðə ˈsɛmi ənd ðə ˈpɪˌkəp boʊθ ˈskɪdɪd tɪ ə stɑp. ðə bæk dɔr əv ðə ˈsɛmi flu ˈoʊpən ənd ˈgɑrdiənz spɪld aʊt əv ɪt, ˈwɛpənz drɔn. ðə ˈgənər ɪn ðə ˈpɪˌkəp spən ðə məˈʃin gən əraʊnd ənd ˈlɛvəld ɪt æt ˈædəm. ˈgrɪtɪŋ hɪz tiθ, ˈædəm əˈdɑptəd ə ˈkɑmbæt stæns, sɔrd ʃiðd æt hɪz saɪd bət ˈrɛdi tɪ bi drɔn. hi ɛksˈheɪld sˈloʊli, hɪz ˈməsəlz tɛns. ðə ˈhɛvi ˈgənər ˈoʊpənd faɪər, ˈsɛndɪŋ ə heɪl əv ˈbʊləts æt ˈædəm. ˈædəm faɪərd hɪz ʃiθ, prəˈpɛlɪŋ hɪz sɔrd aʊt æt ˈlaɪtnɪŋ spid. hi ˈwəzənt ˈkɑnʃəs əv ˈɛvəri ˈsɪŋgəl ˈmuvmənt əv hɪz bleɪd ɛz ɪt nɑkt iʧ ˈbʊlət ɔf kɔrs, moʊst əv hɪz ˈmoʊʃən wɑz ˈpjʊrli instinctual*. stɪl, hi hæd noʊ ˈdɪfɪˌkəlti ˈtrækɪŋ ðə ˈmoʊʃən əv sɔrd ɪn hɪz hænz, dɪˈspaɪt ɪt ˈmuvɪŋ ˈfæstər ðən moʊst ˈjumən aɪz kʊd si. ðə məˈʃin gənz faɪər ˈlæstɪd ə ˈlɪtəl ˈoʊvər θri ˈsɛkəndz, ˈsɛndɪŋ aʊt ˈɔlˌmoʊst 200 ˈhənərd ˈbʊləts ɪn ˈtoʊtəl. ðə ˈgənər riˈlist ðə ˈtrɪgər, ˈstɛrɪŋ æt hɪz ənˈskeɪðd əˈpoʊnənt ɪn kənfˈjuʒən. hi glænst ˈoʊvər tɪ ðə skwɑd əv ˈgɑrdiənz hud kəm aʊt əv ðə trək ʤɪst ɪn taɪm tɪ si ðɛr ˈbɑdiz fɔl tɪ ðə graʊnd. hi lʊkt bæk æt ˈædəm ɪn ʃɑk. ˈædəm snɪrd bæk æt ɪm, ˈbriðɪŋ ˈhɛvəli frəm ðə ɪgˈzərʃən. "ju gɪt... wən mɔr ʃɑt." ˈædəm toʊld ɪm. ðə ˈgənər lʊkt daʊn æt ðə məˈʃin gən, ʃʊk hɪz hɛd, ənd lɛpt ɔf ðə trək, drɔɪŋ tu ˈkɑmbæt naɪvz. hi ʧɑrʤd æt ˈædəm, ənˈliʃɪŋ ə ˈfləri əv sˈlæʃɪz ɛz hi kloʊzd ðə ˈdɪstəns. ˈædəm dæʃt ˈbækwərdz, ˈdɑʤɪŋ iʧ swɪŋ. hi pʊt hɪz fʊt daʊn, ˈstɑpɪŋ hɪz ˈmuvmənt, ənd əˈtɛmptəd ə ˈkaʊntər. hi wɑz səˈpraɪzd tɪ bi ˈpɛrid wəns əˈgɛn. ðə ˈgɑrdiən wɪθ ə θrəst æt ˈædəmz gət. ˈædəm dæʃt ˈbækwərdz ə ˈsɛkənd taɪm, ʤɪst ˈbɛrli əˈvɔɪdɪŋ ðə əˈtæk. ðə ˈgɑrdiən wɛnt fər ə ˈlipɪŋ əˈtæk, ənd ˈædəm sɔ hɪz ˈwɪndoʊ. hi faɪərd hɪz ˈraɪfəl, ˈstraɪkɪŋ ðə ˈgɑrdiən ɪn ðə lɛg. ðə ˈgɑrdiən wɪnst ənd lɛt goʊ əv hɪz naɪvz ɛz hi fɛl aʊt əv ðə ɛr, ˈlændɪŋ hɑrd ɔn hɪz saɪd æt ˈædəmz fit. hi əˈtɛmptəd tɪ stænd əp, bət wɪθ ə kwɪk swɪŋ, ˈædəm diˈkæpəˌteɪtɪd ɪm. ˈædəm kəmˈplitɪd ðə straɪk baɪ swɪŋ hɪz bleɪd ənd rɪˈtərnɪŋ ɪt tɪ ɪts ʃiθ. "wɛl," ˈædəm sɛd tɪ hɪmˈsɛlf, "ðət wɛnt wɛl. kʊd hæv gɔn ˈbɛtər." hi wɑz səˈpraɪzd baɪ ə ˈsədən ɪˈlɛktrɪkəl ˈstætɪk saʊnd. ðə ˈreɪdiˌoʊ əˈtæʧt tɪ ðə ˈʤækɪt əv ðə dɛd ˈgɑrdiən ˈkrækəld tɪ laɪf. "wi ʤɪst gɑt ðə drəg læb!" ə ˈgɑrdiən wɑz seɪ, ˈfrænəkəli, "ðɛr gɔn! wi mɪst ðɛm! oʊ gɑd, ə lɔt əv ɑr gaɪz ər dɛd!" ˈædəm ʃʊk hɪz hɛd, "dæm bleɪk, ˈgɪtɪŋ kaɪnd əv hɑrd tɪ kip əp wɪθ ju." ə ˈdɪfərənt vɔɪs ˈsədənli keɪm θru ðə ˈreɪdiˌoʊ. "ðɪs ɪz ˈbɑrtən! wɪr æt ðə gərɑʒ!" ðə vɔɪs ˈʃaʊtɪd, "ðeɪ ʤɪst drɑpt ɪn, ðɛr ˈrɛkɪŋ ðə pleɪs! ju ˈɪˌdiəts ˈgɑtə gɪt hir, raɪt naʊ!" "ˈgɑʧə," ˈædəm sɛd, sˈmaɪlɪŋ. hi ræn ˈoʊvər ðə ðə ˈfɑlən ˈmoʊtərˌsaɪkəl, ənd ˈraɪtɪd ɪt. hi əˈtæʧt hɪz sɔrd tɪ hɪz bæk ənd klaɪmd ɔn ðə baɪk. ˈrɛvɪŋ ðə ˈɪnʤən, hi ˈæktɪˌveɪtɪd ðə ˈgipiˈɛs ɔn ðə holo-display*. ðə gərɑʒ wɑz kənˈvinjəntli mɑrkt ɔn ɪt. hi slæmd ɔn ðə ækˈsɛlərˌeɪtər ənd tʊk ə hɑrd raɪt, ˈteɪkɪŋ ðə baɪk ˈɪntu ðə wʊdz. hid spɛnt ɪˈnəf taɪm ˈtreɪlɪŋ ˈæftər bleɪk. ɪt wɑz əˈbaʊt taɪm hi kɔt əp tɪ hər.
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dust-tipped bullets spun through the air, sending the tiniest of air currents rippling outward. most people wouldn't feel the shift in air pressure had the bullets missed them by mere millimeters, but lie ren sensed it on his skin even after dodging more than a meter out of the path of the projectiles. he had been in the middle of a leaping attack towards an opponent when he sensed the weapon's discharge to his left. he made an on-the-fly adjustment to his attack pattern. he extended his right arm forward, hand outstretched, keeping his left pulled back and ready to land an aura-boosted punch. he closed the distance between himself and his target, a guardian in the process of raising his weapon to fire at jaune. he propelled his fist forward, transferring as much of the kinetic force of his jump as he could into a punch, aimed directly at the guardian's temple. in between the punch impacting and the guardian losing consciousness, which was a very short span of time indeed, ren's right hand took hold of its own target: the guardian's weapon. the weapon was a simple assault rifle with a drill-bayonet. ren pulled the weapon from his opponent's hand, removed the magazine and threw it with all his strength to his left. he didn't need to look to know that it would land in the face of the guardian firing at him. the rifle in ren's hands was not completely empty; a single cartridge remained in the chamber. he cleared it and tossed the weapon aside. his feet finally met the ground, and he immediately twisted, altering his direction, and leapt again, now flying in jaune's direction. he chided himself internally for wasting some of his momentum.
jaune's was occupied with fighting the guardian in front of him. he was swinging his sword wildly at his foe, his attacks governed by rage. his lack of controlled allowed his opponent to easily deflect each attack with his dual tonfas. meanwhile, a second guardian was closing in to stab jaune in the back. jaune was as unaware of this threat as the guardian ren had just disabled had been of ren himself. it was this attacker that ren was now flying towards. jaune arc had a fighting style ren found to be highly admirable in a leader. jaune fought with a brashness which drew attackers towards himself, trusting his team to disable these opponents before they could land their attacks. ren had always considered it an honour to follow a leader who valued his team's safety so highly above his own. it pained ren to see jaune bearing such guilt following the failure of this strategy in their encounter with ochre.
ren realized he had slightly misjudged the distance between himself and his target. his kick would fall short of his enemy's head, and he would have to settle for the blow striking his opponent's torso. a consequence of the lost momentum when he had changed directions so acutely. nonetheless, the kick would send the guardian tumbling to his side. ren adjusted the position of his right hand, preparing to launch the right half of stormflower from his sleeve. the left half of stormflower had been left behind when they'd fled the island several days before. ren hadn't had time to mourn its loss. far more important things had been left behind that day. his foot met the guardian's torso just above the hip. the guardian tumbled away, his head striking the dirt, not quite hard enough to knock him out. stormflower flew out of ren's sleeve and into his hand. he leveled the pistol at the tumbling form of the guardian and fired, striking him in the chest. the guardian's aura shattered and he was rendered unconscious. hitting the ground, ren sensed movement behind him. the guardian who'd been struck by the magazine had recovered and was taking aim once again.
"they're here, they're kicking our asses!" he was yelling into his radio, holding his weapon one-handed.
ren spun, dropping to a crouch and taking aim at his opponent's head. he was already pulling the trigger before realizing that the idiot didn't even have his aura raised. he twisted his wrist, adjusting his aim with no time at all to spare. stormflower fired, the bullet striking the guardian in the knee, destroying his kneecap and tearing several tendons apart. the guardian fell, clutching his leg in pain.
the guardian that jaune was clashing with saw all this happening behind his opponent. he dropped his guard momentarily, and jaune seized the opportunity. jaune thrust his sword forward, stabbing the tip into the guardian's chest. the guardian winced, further dropping his guard, and jaune followed up by swinging his shield underhanded, slamming it into the guardian's groin. the man fell to his knees, doubled over in agony. jaune drew his sword back and swung with all his might. the blade struck the guardian's cheek, and there was a horrific sound of splintering bone. ren winced and looked away from the gruesome mess of the man's head. jaune placed his foot against his defeated opponent's chest, holding it in place as he wrenched the serrated blade free from the guardian's ruined skull. jaune glanced around, taking note of the path of defeated enemies ren had made across the battlefield. he grinned and motioned his head towards the lone enemy he had taken down.
"don't worry, i got that one." jaune chuckled.
"good job," ren nodded.
they both glanced to the right at the sound of somebody shouting in terror. there was a guardian flying through the air, propelled by an explosive blow from cardin winchester's mace. ren and jaune turned just in time to see nora leap into the air and cut his flight short with a blow from her hammer. she dropped back down to the ground gracefully, while the guardian fell in a crumpled heap beside her. just behind her, blake was using a plasma-sheathed sword to cleave straight through the shield of another opponent. the blade didn't slow down when it met the man's arm. he fell backwards, clutching at a stump.
jaune raised his arm to check the timer on his scroll. there was still almost 30 seconds before the bullheads would complete their circle and pick them back up. they'd taken this group down very efficiently, mostly due to the element of surprise. it had been foolish of them to ever attack the guardians without the hit-and-run technique. of course, they didn't realize how powerful a force they were fighting then. jaune was just about to ask where ruby and weiss were when they made their reappearance. they came crashing through a large window on the side of the building, rolling as they landed on the grass. as soon as both of them were on the ground, ruby wrapped her arms around weiss's waist and they vanished in a burst of rose petals. they reappeared where the rest of the group was gathered, amidst the strewn bodies of unconscious or dead guardians. the spot where they'd been standing, outside the window, was consumed by a fireball from within the building before the rose petals ruby had left behind even dissipated.
"guardians inside cleared out, drug lab destroyed," ruby reported, proudly.
"good work," blake said, in between short breaths.
ruby took notice of the wounded man squirming at blake's feet. her eyes widened in surprise.
"wow, blake," ruby said, "you took his whole arm off."
"the plasma on the sword cauterized the wound," blake said, not looking down at him, "he'll live."
jaune step forward, spun his sword around in his hand, and brought it down on the wounded man. the blade stabbed straight through his throat, just missing the spine. jaune wrenched the blade out, causing a grotesque fountain of blood to spew from the guardian's neck. he coughed and sputtered, clutching at his neck with his remaining hand.
"...yeah, i doubt that," jaune said, before glancing nonchalantly at the sky, just above the tree line, "airships incoming."
weiss and ruby were both recoiling in horror. blake stared down at the dying man with indifference. ren and nora were looking at their leader with shock and concern. team crdl's reactions were split between disgust and admiration.
"jaune..." nora began.
"you have something to say, save it," jaune said, "get ready for pick-up."
the airships flew in slow, dropping to just a few meters above the ground. everybody leapt upwards, landing within the ships. the moment the last of them pulled themselves within the doors, the bullheads fired their engines and sped off. ren took a seat and pulled one of the safety harnesses over himself. jaune stood in the open door of the bullhead, looking back at the ruin of the battlefield in front the building being consumed by flames. he saw a convoy of vehicles barreling down the dirt road towards the building they'd just left. jaune grinned.
"too late, assholes," jaune whispered, "take a good look at our handiwork, though."
"jaune, are you sure you're not taking this too far?" nora asked, "you just executed that-"
"these people killed pyrrha, nora," jaune said, glancing over his shoulder, "even after yang died, we weren't taking this seriously. we were just... kids picking fights. i'm done with that. i'm done with mercy."
nora looked horrified.
"we're supposed to be the good guys," she said, "if we sink to their level, what makes us better than them?"
jaune turned and looked at her, raising an eyebrow incredulously.
"how can you even say that? after everything they've done, how could they not deserve everything we could do to them?"
"they deserve it," nora said, "but we don't deserve to do it. we don't have that right."
jaune rolled his eyes. he glanced over at ren.
"ren, anything?" jaune asked, "anything to add?"
ren looked up at them. a steely, yet somber look in his eyes.
"i'll do what's necessary to stop them," he said, "i'll kill, if that's the only way. but i fight to put a stop to all this death, not perpetuate it. i want the guardians stopped, i don't want them all to die."
for just a moment, jaune's hardened grimace faltered, and nora saw a glimpse of the real jaune, an idealistic boy not so afraid of self-doubt. jaune shook his head and steeled himself again. he turned back to the open door, this time looking ahead to their next target.
"i never said you had to kill anyone," jaune said, "but i aim to put a stop to these people, and i'm going to make damn sure they can never hurt anybody else. don't try to stop me."
from the pilot seat, john maranz called back to them, "coming up on the vehicle depot now."
jaune moved forward, resting a hand on john's shoulder and looking at the holo-displays.
"enemy activity?" jaune asked.
"large number of contacts," john reported, "looks like their about to move out to the drug lab."
"well, we can save them the trip," jaune grinned, "we won't be able to hold out against that many for long. pick-up one minute after drop, this time."
"yes, sir."
jaune tapped a few buttons on his scroll to open up a conference call with the others.
"team rwby here," ruby answered.
"what's up?" came cardin's voice.
we're going to do a quick hit-and-run and this time," jaune said, "one minute. there are a lot of hostiles so we can't let the element of surprise wear off. try to blow up a few vehicles when you land, cause as much chaos as you can."
"got it." cardin replied.
"good plan," ruby said, "let's do this. and jaune?"
"what?" jaune asked. he didn't like the concern in ruby's voice. it sounded too much like sympathy.
"...never mind. let's go."
jaune ended the call, drew his sword and went to the door. ren was already standing there, at the ready. nora was standing back, her weapon hanging lazily at her side.
"you coming, nora?" jaune asked, just before leaping out.
ren looked back in concern, then leapt out after jaune. nora sighed, spun magnhild into hammer-form, and dove out after them.
the convoy of vehicles, each loaded full of guardians, tore down the road towards the drug lab. in the jeep at the head of the convoy there were four of them. two up front, and two standing in the flatbed, weapons ready. the driver reached to the console and grabbed the radio handset.
"closing in on the drug lab," he yelled into the handset, "are the huntsmen still there?"
"they're here, they're kicking our asses!" came the panicked reply.
"we'll be there in one minute," the driver said, to no response, "damon, do you copy?"
"they keep wrecking our shit like this," the guy in the passenger seat said, "we won't have enough left for the attack tomorrow."
"at this point, they can't stop it," the driver said, "especially after i kill a few of those-"
a blur of movement in the rear-view mirror caught his eye. he adjusted the mirror and looked closer just in time to see one of the guys in the back go flying off the jeep, missing his head.
"what the fuck?!" the driver yelled.
there was the crack of a gunshot and the other guardian in the back was thrown backwards. he might have survived the fall from the vehicle had he not met the grill of the semi truck behind them, before being pulled down beneath the truck's wheels. the driver was so focused on the rear-view, he almost missed the black-cloaked figure landing on the hood of the jeep. he and his remaining passenger had only enough time to let out a surprised yelp before the figure slashed his sword, slicing the windshield in half horizontally. the same swing decapitated the driver and passenger both. before their heads even had time to fly off, the figure was standing, and sprinting along the roof of the moving jeep.
witnessing this, the truck driver slammed on the gas, hoping to ram the attacker. the truck's passenger drew his auto-pistol and extended it out the window.
"it's taurus!" the passenger shouted, "kill him!"
adam taurus jumped from the roof of the jeep just before it began careening out of control. flying through the air towards the truck, he fired off two shots from the rifle-sheath of his weapon, shooting the truck driver and passenger both in the head. he landed on the roof of the truck's cab, and sprinted along the trailer. he had barely jumped off the trailer when a hail of bullets ripped upwards through the roof, catching him off-guard. the guardians were using the semi as an impromptu troop truck. adam flew through the air towards the next vehicle in the convoy, a pick-up truck with a heavy machine gun set up on a tripod in the bed. the guardian manning the gun reacted quickly, turning the gun upwards and firing. adam spun in mid-air, the bullets passing just beneath him. he flew blade-first at the gunner. he realized too late that while firing with one hand, the gunner was reaching into his jacket. the sword strike that should have taken his head off was parried by a combat knife. adam tumbled through the air before barely sticking the landing on the dirt road.
steadying himself, adam saw the last vehicle in the convoy, a guardian on a motorcycle holding a machete, tearing towards him. he dodged to the side, sheathed his sword, and used it like a club to knock the guardian clean off the bike. the bike fell over and skittered across the ground. the semi and the pickup both skidded to a stop. the back door of the semi flew open and guardians spilled out of it, weapons drawn. the gunner in the pickup spun the machine gun around and leveled it at adam. gritting his teeth, adam adopted a combat stance, sword sheathed at his side but ready to be drawn. he exhaled slowly, his muscles tense.
the heavy gunner opened fire, sending a hail of bullets at adam. adam fired his sheath, propelling his sword out at lightning speed. he wasn't conscious of every single movement of his blade as it knocked each bullet off course, most of his motion was purely instinctual. still, he had no difficulty tracking the motion of sword in his hands, despite it moving faster than most human eyes could see. the machine gun's fire lasted a little over three seconds, sending out almost 200 hundred bullets in total. the gunner released the trigger, staring at his unscathed opponent in confusion. he glanced over to the squad of guardians who'd come out of the truck just in time to see their bullet-riddled bodies fall to the ground. he looked back at adam in shock. adam sneered back at him, breathing heavily from the exertion.
"you get... one more shot." adam told him.
the gunner looked down at the machine gun, shook his head, and leapt off the truck, drawing two combat knives. he charged at adam, unleashing a flurry of slashes as he closed the distance. adam dashed backwards, dodging each swing. he put his foot down, stopping his movement, and attempted a counter. he was surprised to be parried once again. the guardian riposted with a thrust at adam's gut. adam dashed backwards a second time, just barely avoiding the attack. the guardian went for a leaping attack, and adam saw his window. he fired his rifle, striking the guardian in the leg. the guardian winced and let go of his knives as he fell out of the air, landing hard on his side at adam's feet. he attempted to stand up, but with a quick swing, adam decapitated him. adam completed the strike by swing his blade and returning it to its sheath.
"well," adam said to himself, "that went well. could have gone better."
he was surprised by a sudden electrical static sound. the radio attached to the jacket of the dead guardian crackled to life.
"we just got the drug lab!" a guardian was say, frantically, "they're gone! we missed them! oh god, a lot of our guys are dead!"
adam shook his head, "damn blake, getting kind of hard to keep up with you."
a different voice suddenly came through the radio.
"this is barton! we're at the south-side garage!" the voice shouted, "they just dropped in, they're wrecking the place! you idiots gotta get here, right now!"
"gotcha," adam said, smiling.
he ran over the the fallen motorcycle, and righted it. he attached his sword to his back and climbed on the bike. revving the engine, he activated the gps on the bike's holo-display. the south-side garage was conveniently marked on it. he slammed on the accelerator and took a hard right, taking the bike into the woods. he'd spent enough time trailing after blake. it was about time he caught up to her.
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ˌproʊdəkˈtɪvɪti həz bɪn loʊ ðɪs ˈmɔrnɪŋ fər ˈrizənz əv pjʊr self-indulgence*. ɪn ən ˌənɪkˈspɛktɪd pis əv ˈfɔˌlaʊt frəm maɪ ˌɪnˌvɛstəˈgeɪʃən əv ðə streɪnʤ əˈfɛr əv ˈrɑbərt klɑrk jəŋ, ðə roʊg ˈwɪkiˌpiˌdiə ˈɛdɪtər, ˈwɪkiˌpiˌdiə həz ˌdɪˈsaɪdɪd fər ðə ˈmoʊmənt ðət aɪ æm ˈwərði əv maɪ oʊn ˈwɪkiˌpiˌdiə peɪʤ. fər ˈsəmˌwən hu həz bɪn ˈraɪtɪŋ əˈbaʊt "ðə ˈɪntərˌnɛt" fər ˈɔnˌlaɪn ˌpəblɪˈkeɪʃənz sɪns 1994 ðɪs filz laɪk ə ˈsɪgnəl əˈʧivmənt. ɪt ˈɔlsoʊ filz ə ˈlɪtəl laɪk tɑm ˈsɔjər əˈtɛndɪŋ hɪz oʊn fˈjunərəl, ɪkˈsɛpt ɪts maɪ bərθ ðət ɪz biɪŋ ˈsɛləˌbreɪtɪd (ər ɪˈvɛnʧəwəli, pərˈhæps, mɔrnd), ənd nɑt maɪ ˈpæsɪŋ. ɪts ə streɪnʤ ɪkˈspɪriəns. ˈpipəl aɪ du nɑt noʊ, dɪsˈgaɪzd baɪ ðɛr ˈwɪkiˌpiˌdiə ˈsudəˌnɪmz, ər kənˈstrəktɪŋ ə ˈtɛksˌʧuəl ˈvərʒən əv maɪ aɪˈdɛntəˌti. heɪ! əm ə ˈraɪtər ˈɪzənt ðət maɪ ʤɑb?! ˈʃʊdənt aɪ bi æt list ˌɪnˈvɑlvd? ˌædvərˈtaɪzmənt: noʊp. nɑt ɔn ɔn ˈwɪkiˌpiˌdiə. ɪf ðɛrz wən θɪŋ aɪ ˈlərnɪd waɪl ˈraɪtɪŋ əˈbaʊt jəŋ, ɪts ðət ˈɛdɪtɪŋ wənz oʊn peɪʤ ɪz kənˈsɪdərd ə səˈvɪr vaɪəˈleɪʃən əv rulz. bət naʊ aɪ ˌəndərˈstænd waɪ soʊ ˈmɛni ˈraɪtərz kænt rɪˈzɪst ˈbreɪkɪŋ ðoʊz rulz. ɪts ˈkreɪzi ˈmeɪkɪŋ, ˈwɑʧɪŋ ˈtoʊtəl ˈstreɪnʤərz pɪk ənd ʧuz θru maɪ ˈɔnˌlaɪn ˈdɛtrətəs. ðə tɛmˈteɪʃən tɪ ˈræli maɪ oʊn ˈɑrmi əv sɑk ˈpəpɪts ənd sɛnd ðɛm fɔrθ tɪ ˈbreɪvli ˈɛdət ɪz ˈdɪfəkəlt tɪ rɪˈzɪst. aɪv bɪn ˈkætəgərˌaɪzd: (əˈmɛrɪkən ˈmægəˌzin ˈʤərnəlɪsts, əˈmɛrɪkən tɛkˈnɑləʤi ˈraɪtərz, ˈkrɪtɪks əv ˈwɪkiˌpiˌdiə!). aɪv bɪn ˈsəmərˌaɪzd: ("ˈændru ˈlɛnərd (bɔrn 1962 ɪz ən əˈmɛrɪkən ˈʤərnəlɪst hu raɪts fər əˈbaʊt saɪəns ˈfɪkʃən ənd ˈɪntərˌnɛt ˈkəlʧər, əˈməŋ ˈəðər ˈtɑpɪks."). aɪv gɑt "səˈlɛktɪd wərks" ənd "ˈrɛfərənsɪz" səm əv wɪʧ sim tɪ bi ˈʧoʊzən æt ˈrændəm. aɪ min, aɪ ləv ðət pis ɔn ˈzinə ənd fæn ˈfɪkʃən, bət əm nɑt ʃʊr aɪ wʊd pleɪs ɪt ɪn maɪ tɔp tɛn əv ɔl taɪm. (haʊ əˈbaʊt "mˈjutəni ɔn ðə nɛt," ər ðə ˈʧæptərz ɔn ˈfɪnˌlænd ənd bɪl ʤɔɪ frəm maɪ fri ˈsɔfˌwɛr ˈprɑʤɛkt?) ˈlɔrə ˈmɪlərz ˈɛləˌʤi tɪ maɪ ˈfɑðər ɪz ˌɪnˈkludɪd ɔn maɪ ˈwɪkiˌpiˌdiə peɪʤ, soʊ waɪ nɑt maɪ oʊn? fər sɪks jɪrz aɪ roʊt ə blɔg fər səˈlɑn ɔn ˌgloʊbəlɪˈzeɪʃən ənd ˌɛkəˈnɑmɪks kɔld haʊ ðə wərld wərks. bət frəm maɪ baɪoʊ, jʊd ˈnɛvər noʊ ɪt ˈɛvər ɪgˈzɪstəd. sɑb. (hɑ hɑ. si wət aɪ dɪd ðɛr? hu nidz sɑk ˈpəpɪts tɪ du jʊr ˈdərti wərk? ˈstrɪktli ˈspikɪŋ, ˈɑrtɪkəlz baɪ ðə ˈsəbʤɪkt əv ə ˈwɪkiˌpiˌdiə peɪʤ ər nɑt kənˈsɪdərd əˈproʊpriˌeɪt ˈsɔrsəz fər ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðət ˈpərsən, bət wət əˈbaʊt ˈɑrtɪkəlz əˈbaʊt ðə kənˈstrəkʃən əv ə ˌpɑˈtɪkjələr ˈwɪkiˌpiˌdiə peɪʤ? hə? hə?! aɪ θɪŋk ɪt ɪz ˈpərfəktli əˈproʊpriˌeɪt ðət maɪ dikənˈstrəkʃən əv ðə kənˈstrəkʃən əv maɪ ˈwɪˌki aɪˈdɛntəˌti bi ˌɪnˈkludɪd ɛz ə ˈrɛfərəns. aɪ min, ˈɪzənt maɪ ˈpərsɪnəl ˌɪnˈvɑlvmənt ɪn ðə ˈɔnˌgoʊɪŋ ˌɛvəˈluʃən əv ˈwɪkiˌpiˌdiə ðə ˈpraɪˌmɛri ˈrizən waɪ aɪ meɪd ɪt ˈɪntu ˈwɪkiˌpiˌdiə ɪn ðə fərst pleɪs?) ˈwɑʧɪŋ jʊr oʊn ˈwɪkiˌpiˌdiə peɪʤ gɪt ˈrɪtən, aɪ hæv dɪˈskəvərd, kriˈeɪts ə strɔŋ ərʤ tɪ ˈhɔrheɪ luis ˈbɔrgeɪs. aɪ ˈɔlsoʊ kænt əkˈsɛpt ðət ə fʊl 10 pərˈsɛnt əv maɪ baɪoʊ ɪz dɪˈvoʊtɪd tɪ maɪ skɪl æt ˈkʊkɪŋ ˈɔɪli ˈskæljən ˈpænˌkeɪks. ɪt ɪz tru, əˈməŋ ˈsərtən ˈsərkəlz, əˈspɛʃəli maɪ ˈʧɪldrən, ðət ðɪs fit ɪz maɪ meɪn kleɪm tɪ feɪm, ər ɛz ˈwɪkiˌpiˌdiə pʊts ɪt, notability*. soʊ aɪ ˈsəˌspɛkt ðət ˈsəmˌwən hu ˈæˌkʧuəli noʊz mi həz ʤəmpt ˈɪntu ðə ˈɛdɪtɪŋ freɪ. tət tət! əm əˈfreɪd ðət maɪ proʊˈfaʊnd rɪˈspɛkt fər ˈwɪkiˌpiˌdiə ˌɛdəˈtɔriəl ˈprɪnsəpəlz rikˈwaɪərz mi tɪ dɪˈmænd ðət ðɪs ˈsɛkʃən bi ˈɛkˌsaɪzd. ˈsizərz waɪf məst bi əˈbəv səˈspɪʃən! pləs, ˈpipəl ər ɔˈrɛdi ˈæskɪŋ mi waɪ aɪv ˈnɛvər kʊkt ðɛm ˈskæljən ˈpænˌkeɪks. ɪl wɪl ɪz ˈsprɛdɪŋ θru maɪ kəmˈjunɪti! soʊ, ril wərk həz graʊnd tɪ ə hɔlt hir. aɪ kænt stɑp ˈklɪkɪŋ, ˈʧɛkɪŋ ðə ˈɛdət ˈhɪstəri tɪ si wət ˈditeɪlz ər biɪŋ məˈsɑʒd. bət əm ə ˈlɪtəl ˌdɪsəˈpɔɪnɪd. wɛr ər ðə ˈfaɪrˌwərks? wɛrz ðə ˈdrɑmə? ðə edit-wars*? ðə daɪər revenge-editing*? waɪ ˈhævənt aɪ jɛt bɪn mɑrkt fər dɪˈliʃən? ˈʃʊrli aɪ hæv ɪˈnəf ˈɛnəmiz aʊt ðɛr ˈʃɑrpənɪŋ ðɛr naɪvz, ˈsiðɪŋ æt ðə bæd prɛs aɪ hæv ˈrisəntli ʃaʊərd ɔn ˈwɪkiˌpiˌdiə. ˌædvərˈtaɪzmənt: ˌɔlˈðoʊ, aɪ məst kənˈfɛs, ɪn ə veɪn ənd noʊ daʊt ˈfrutləs əˈtɛmpt tɪ fɔrˈstɔl ðə ˌɪˈnɛvətəbəl ˈbæˌklæʃ, ðət aɪ ˌfəndəˈmɛnəli səˈpɔrt ˈwɪkiˌpiˌdiəz ˈmɪʃən. aɪ ləv ju, ˈrɪli, aɪ du. mɔr naʊ, ðən ˈɛvər. ˈəpˌdeɪt: sɪns ðə ˌpəblɪˈkeɪʃən əv ðɪs pis, maɪ ˈwɪkiˌpiˌdiə peɪʤ həz bɪn səbˈstænʃəli ˈəpˌdeɪtɪd ənd rɪˈvaɪzd. ˌɪnˌfɔrˈmeɪʃən prəˈvaɪdɪd hir wɑz ˌɪnˈkɔrpərˌeɪtɪd, ˌɪnˈkludɪŋ ə ˈlɛŋθi kwoʊt əˈbaʊt frəm ðə ˈstɔri ðət meɪd ðə hoʊl "hɔl əv ˈmɪrərz" ˈmɛtəfɔr ə ˈlɪtərəl ˌriˈæləˌti. ðət kwoʊt wɑz ˈleɪtər riˈmuvd ˌhaʊˈɛvər, ɛz wɑz ə ˈpɛrəˌgræf əˈkjuzɪŋ mi əv ˈfeɪlɪŋ tɪ əˈpɑləˌʤaɪz fər ˈgoʊdɪŋ ɔn ðə lɪnʧ mɑb ˈdʊrɪŋ ðə ˈbɔstən ˈbɑmɪŋ ˈtræʤədi. ðə ˈstɔri ɪz naʊ ˈɔlsoʊ ˈɪləˌstreɪtɪd baɪ ðə ˈfoʊˌtoʊ ðət ˈɪləˌstreɪts ðɪs ˈɑrtɪkəl, wɪʧ əv kɔrs, ˌɪnˈkludz ə sˈnæpˌʃɑt əv ən ˈərliər ˈvərʒən əv ðə peɪʤ. ˈdɪzi jɛt?
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productivity has been low this morning for reasons of pure self-indulgence. in an unexpected piece of fallout from my investigation of the strange affair of robert clark young, the rogue wikipedia editor, wikipedia has decided -- for the moment -- that i am worthy of my own wikipedia page. for someone who has been writing about "the internet" for online publications since 1994, this feels like a signal achievement.
it also feels a little like tom sawyer attending his own funeral, except it's my birth that is being celebrated (or eventually, perhaps, mourned), and not my passing. it's a strange experience. people i do not know, disguised by their wikipedia pseudonyms, are constructing a textual version of my identity. hey! i'm a writer -- isn't that my job?! shouldn't i be at least involved?
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nope. not on on wikipedia. if there's one thing i learned while writing about young, it's that editing one's own page is considered a severe violation of conflict-of-interest rules. but now i understand why so many writers can't resist breaking those rules. it's crazy making, watching total strangers pick and choose through my online detritus. the temptation to rally my own army of sock puppets and send them forth to bravely edit is difficult to resist.
i've been categorized: (american magazine journalists, american technology writers, critics of wikipedia!). i've been summarized: ("andrew leonard (born 1962) is an american journalist who writes for salon.com about science fiction and internet culture, among other topics."). i've got "selected works" and "references" -- some of which seem to be chosen at random. i mean, i love that 16-year-old piece on xena and fan fiction, but i'm not sure i would place it in my top ten of all time. (how about "mutiny on the net," or the chapters on finland and bill joy from my never-finished free software project?) laura miller's elegy to my father is included on my wikipedia page, so why not my own? for six years i wrote a blog for salon on globalization and economics called how the world works. but from my bio, you'd never know it ever existed. sob.
(ha ha. see what i did there? who needs sock puppets to do your dirty work? strictly speaking, articles by the subject of a wikipedia page are not considered appropriate sources for information about that person, but what about articles about the construction of a particular wikipedia page? huh? huh?! i think it is perfectly appropriate that my deconstruction of the construction of my wiki identity be included as a reference. i mean, isn't my personal involvement in the ongoing evolution of wikipedia the primary reason why i made it into wikipedia in the first place?)
watching your own wikipedia page get written, i have discovered, creates a strong urge to re-read jorge luis borges.
i also can't accept that a full 10 percent of my bio is devoted to my skill at cooking oily scallion pancakes. it is true, among certain circles, especially my children, that this feat is my main claim to fame, or as wikipedia puts it, notability. so i suspect that someone who actually knows me has jumped into the editing fray. tut tut! i'm afraid that my profound respect for wikipedia editorial principles requires me to demand that this section be excised. caesar's wife must be above suspicion! plus, people are already asking me why i've never cooked them scallion pancakes. ill will is spreading through my community!
so, real work has ground to a halt here. i can't stop clicking, checking the edit history to see what details are being massaged. but i'm a little disappointed. where are the fireworks? where's the drama? the edit-wars? the dire revenge-editing? why haven't i yet been marked for deletion? surely i have enough enemies out there sharpening their knives, seething at the bad press i have recently showered on wikipedia.
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although, i must confess, in a vain and no doubt fruitless attempt to forestall the inevitable backlash, that i fundamentally support wikipedia's mission. i love you, really, i do. more now, than ever.
update: since the publication of this piece, my wikipedia page has been substantially updated and revised. information provided here was incorporated, including a lengthy quote about from the story that made the whole "hall of mirrors" metaphor a literal reality. that quote was later removed however, as was a paragraph accusing me of failing to apologize for goading on the reddit lynch mob during the boston bombing tragedy. the story is now also illustrated by the photo that illustrates this article, which of course, includes a snapshot of an earlier version of the page. dizzy yet?
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əˈtæʧmənts: ˈmɛˌmoʊ 1007 6 ˈdaʊnˌloʊdz græfs 1719 6 ˈdaʊnˌloʊdz ˈfrikwənsi kˌwɛsʧəˈnɛr 288 5 ˈdaʊnˌloʊdz ə nu ˈnæʃənəl ˈsərˌveɪ kənˈdəktəd fər dɪˈmɑkrəsi kɔrz ənd ðə ˈvɔɪsɪz voʊt ˈækʃən ʃoʊz ən ˌɪnˈtɛns nu məˈʤɔrəti fər ˈɪmpləˌmɛnɪŋ ənd ˌɪmˈpruvɪŋ ðə əˈfɔrdəbəl kɛr ækt. ə məˈnɔrəti əv ˈvoʊtərz wɔnt tɪ rɪˈpil ər ˌriˈpleɪs ““obamacare,”*,” wɪʧ həz bɪn ðə kɔr dɪˈmænd əv ðə rɪˈpəblɪkənz ɪn ˈkɑŋgrəs hu hæv ʃət daʊn ðə ˈgəvərnmənt. wi wɔnt tɪ bi klɪr bɪˈkəz soʊ məʧ əv ðə ˈpəndətri əˈsumz ɪz ““unpopular.”*.” ˈmɛni səˈpɔrtərz əˈsum ðət səˈpɔrt wɪl kəm wəns ðə ˈbɛnəfɪts teɪk ˈifɛkt ɪn ˈʤænjuˌɛri. ˈniðər əv ðiz əˈsəmpʃənz ɪz tru. səˈpɔrt həz ˈʃɪftɪd drəˈmætɪkəli sɪns 2010 wɪn rɪˈfɔrmz wər ˌənˈpɑpjələr ənd səˈpɔrtərz peɪd ə haɪ pəˈlɪtɪkəl praɪs. səm əv ðət rɪˈflɛkts pərˈsɛpʃənz əv nu ˈpɑzətɪv ˈbɛnəfɪts baɪ ˈpipəl ˈoʊvər 50 jɪrz, waɪt ˈoʊldər ˈwɪmən ənd ənˈmɛrid ˈwɪmən. waɪl səˈpɔrtərz ənd əˈpoʊnənts ər dɪˈvaɪdɪd ˈivənli ɔn ðə hɛlθ kɛr rɪˈfɔrmz, 8 pərˈsɛnt ər əˈpoʊzd bɪˈkəz ðeɪ du nɑt goʊ fɑr ɪˈnəf. ʤɪst 38 pərˈsɛnt ər əˈpoʊzd bɪˈkəz ɪt ɪz bɪg ˈgəvərnmənt ˈvɛri kloʊz tɪ ðə ˈnəmbər hu stɪk wɪθ ðə rɪˈpəblɪkən kɔl tɪ rɪˈpil ənd ˌriˈpleɪs ðə lɔ. ðə dəˈbeɪt əˈhɛd ɪz əˈbaʊt ˌɪmpləmɛnˈteɪʃən əv ðə əˈfɔrdəbəl kɛr ækt, ər. wɪn ðət ɪz ðə ʧɔɪs, ˈvoʊtərz trəst ðə ˈdɛməˌkræts baɪ 17 pɔɪnts 49 tɪ 32 pərˈsɛnt) tɪ du ə ˈbɛtər ʤɑb. ðə mɔr rɪˈpəblɪkənz meɪk ðə ˈpɪriəd əˈhɛd əˈbaʊt ˈblɑkɪŋ ˌɪmpləmɛnˈteɪʃən, ðə mɔr ðeɪ trəst ˈdɛməˌkræts tɪ du ə ˈbɛtər ʤɑb ɪn ˈgəvərnmənt. si ðə kˌwɛsʧəˈnɛr ənd rɪˈzəlts. rɛd ðə fʊl ˈmɛˌmoʊ. ki ˈfaɪndɪŋz: ʤɪst 38 pərˈsɛnt naʊ ˈklɪrli əˈpoʊz ðə əˈfɔrdəbəl kɛr ækt. waɪl ˈlaɪkli ˈvoʊtərz dɪˈvaɪd ˈivənli ɔn ðə plæn, 8 pərˈsɛnt əˈpoʊz ðə lɔ bɪˈkəz ɪt dɪz nɑt goʊ fɑr ɪˈnəf. ɛz ə rɪˈzəlt, ʤɪst 38 pərˈsɛnt əˈpoʊz ðə lɔ bɪˈkəz ɪt ɪz bɪg ˈgəvərnmənt. baɪ sɪgˈnɪfɪkənt ˈmɑrʤənz, ˈvoʊtərz wɔnt ˈlɔˌmeɪkərz tɪ ˈɪmpləmənt ənd fɪks ðə lɔ, ˈrəðər ðən rɪˈpil ɪt. baɪ ə ˈmɑrʤən, 58 pərˈsɛnt tɪ 38 pərˈsɛnt, ˈvoʊtərz seɪ ˈlɔˌmeɪkərz ʃʊd ˈɪmpləmənt ənd fɪks ðə lɔ ˈrəðər ðən rɪˈpil ɪt. əˈdɪʃəˌnəli, ˌɪnˈtɛnsɪti ˈfeɪvərz pərˈsɛnt ˈstrɔŋli ˈfeɪvər ˈɪmpləˌmɛnɪŋ ðə lɔ waɪl 28 pərˈsɛnt ˈstrɔŋli ˈfeɪvər rɪˈpil. strɔŋ ˌɑpəˈzɪʃən tɪ ðə lɔ həz drɑpt ə nɛt 10 pɔɪnts sɪns 2010 æt 34 pərˈsɛnt. ðɪs ɪz ə ˈtoʊtəli ˈdɪfərənt ˈkɑntɛkst ðən 2010 wɪn ˈdɛməˌkræts peɪd ðə praɪs fər ðə ˈækə ənd rɪˈpəblɪkənz tʊk kənˈtroʊl əv ðə haʊs ðiz ʃɪfts ər ˈdrɪvən baɪ ˈmuvmənt əˈməŋ ki grups hu ər ðə fərst tɪ si ðə ˈbɛnəfɪts. ðə ˈbɪgəst ʃɪfts ɔn ˌfævərəˈbɪlɪti sɪns 2010 kəm nɑt frəm ˈpɑrtəzənz bət frəm ˌɪndɪˈpɛndənts ənd ki grups, ˌɪnˈkludɪŋ ənˈmɛrid ˈwɪmən, waɪt ˈvoʊtərz, ənd ˈsinjərz. ðiz ər ˈɔlsoʊ ðə grups moʊst ˈlaɪkli tɪ rɪˈpɔrt ðət ðeɪ ər siɪŋ ðə ˈbɛnəfɪts əv ðə lɔ. ðɪs ɪz nɑt biɪŋ ˈdrɪvən baɪ ˈpɑrtəzənz əˈlaɪnɪŋ ðɛr vjuz; ðɪs ɪz biɪŋ ˈdrɪvən baɪ ðə ˈrɛləvəns əv ðə ˈʧeɪnʤɪz tɪ lɪvz. ənˈmɛrid ˈwɪmən, ˌɪndɪˈpɛndənts, waɪt ˈvoʊtərz, ənd ˈsinjərz ər bɪˈgɪnɪŋ tɪ si ðə ˈifɛkts əv ðə əˈfɔrdəbəl kɛr ækt. waɪl ˈmɛni stɪl rɪˈpɔrt ˈərli tɪ tell,”*,” ðə pərˈsɛnt əv ənˈmɛrid ˈwɪmən, ˌɪndɪˈpɛndənts, babyboomers*, ˈkɑlɪʤ ˈvoʊtərz, ənd ˈsinjərz hu seɪ ðət ðeɪ ər bɪˈgɪnɪŋ tɪ si ðə ˈifɛkts əv ðə əˈfɔrdəbəl kɛr ækt həz ˈdəbəld sɪns mɑrʧ. baɪ ə ˈmɑrʤən 49 tɪ 32 ˈvoʊtərz seɪ ðeɪ trəst ˈdɛməˌkræts mɔr ðən rɪˈpəblɪkənz ɔn ˈɪmpləˌmɛnɪŋ ðə əˈfɔrdəbəl kɛr ækt. ðə mɔr rɪˈpəblɪkənz meɪk ðə ˈpɪriəd əˈhɛd əˈbaʊt ˌɪmpləmɛnˈteɪʃən, ðə mɔr ˈvoʊtərz trəst ˈdɛməˌkræts tɪ du ə ˈbɛtər ʤɑb ɪn ˈgəvərnmənt. ˈpɑzətɪv ˌɪnˌfɔrˈmeɪʃən ənd ˈmɛsɪʤɪŋ muvz səˈpɔrt fər ðə ˈækə ˈivɪn ˈfərðər. ˈfoʊkɪsɪŋ ɔn ðə prəˈtɛkʃənz fər ˌɪnˈʃʊrəns kənˈsumərz ənd ðə ˌɪmˈpruvd ˌɪnˈʃʊrəns ˈbɛnəfɪts fər kənˈsumərz muvz ˈvoʊtərz tɪ ə mɔr ˈpɑzətɪv pəˈzɪʃən ɔn ðə ˈækə. ˈmɛsɪʤɪŋ ənd ˈpɑləsiz ɔn boʊθ saɪdz ˈproʊdus ə nɛt 11 pɔɪnt ʃɪft ɪn ðə ˈnəmbər seɪɪŋ ðeɪ ɪkˈspɛkt ˈpɑzətɪv ˈbɛnəfɪts wɪθ hɛlθ kɛr rɪˈfɔrm. ðə geɪn ɪz ˈivɪn ˈgreɪtər əˈməŋ ðoʊz hu ər moʊst ˈlaɪkli tɪ bi pɔɪnts əˈməŋ jəŋ ˈpipəl ənd ənˈmɛrid ˈwɪmən. ðɛr ɪz stɪl ə ril læk əv ˌɪnˌfɔrˈmeɪʃən əˈməŋ ˈvoʊtərz, əˈspɛʃəli ðoʊz hu ər moʊst ˈlaɪkli tɪ ˈbɛnəfɪt frəm ðə lɔ. ˈɔlˌmoʊst hæf əv ɔl ˈvoʊtərz 46 pərˈsɛnt) stɪl seɪ ɪt ɪz tu ˈərli tɪ tɛl haʊ ðə ˈækə wɪl əˈfɛkt sɪns mɑrʧ. ðə læk əv ˌɪnˌfɔrˈmeɪʃən ɪz ˌpɑrˈtɪkjələrli prəˈnaʊnst əˈməŋ ðə reɪ. ðɪs ˌɪnˈkludz ənˈmɛrid ˈwɪmən, ˈivɪn ɛz ˈmɛni ər bɪˈgɪnɪŋ tɪ si ˈbɛnəfɪts. ðɪs əˈlaɪnz ˈkloʊsli wɪθ wət wi hərd ɪn ˈfoʊkɪs grups. ˈvoʊtərz si ðɪs ɛz ə draft”*” ənd ˌəndərˈstænd ðət ɪt wɪl teɪk taɪm tɪ gɪt ɪt raɪt. ɪn ˈfoʊkɪs grups wɪθ ənˈmɛrid ˈwɪmən, ˈvoʊtərz sɛd ðɪs lɔ ɪz ə draft.”*.” ðeɪ si ɪt ɛz ə bɪg ʧeɪnʤ ənd bɪˈliv ɪt wɪl teɪk səm taɪm tɪ wərk wɛl fər ðeɪ wɔnt ɪt tɪ bi ˈɪmpləˌmɛnəd soʊ wi kən bɪˈgɪn tɪ rip ɪts ˈbɛnəfɪts ənd meɪk ðoʊz ˌɪmˈpɔrtənt ˈʧeɪnʤɪz. əˈməŋ ɔl ˈvoʊtərz, ɛz wɛl ɛz ənˈmɛrid ˈwɪmən ənd ðə reɪ, ðə ˈbɪgəst kənˈsərnz ər əˈbaʊt ʤɑbz ənd ˈprimiəmz goʊɪŋ əp. ɔl əv ðiz keɪm θru ˈvɛri ˈklɪrli ɪn ˈfoʊkɪs grups əˈməŋ ənˈmɛrid ˈwɪmən hu wər ˈdipli kənˈsərnd ðət ðə ˈækə wʊd hæv ə ˈnɛgətɪv ˈifɛkt ɔn ðə ˈnəmbər ənd kˈwɑləti əv ʤɑbz əˈveɪləbəl, ɛz wɛl ɛz ðə pəˈtɛnʃəl kɔst əv ˌɪnˈʃʊrəns plænz. ˌhaʊˈɛvər, ˈvoʊtərz du nɑt si ðə əˈfɔrdəbəl kɛr ækt ɛz ðə meɪn ˈkəmpəˌniz ər. ðə moʊst ˈpɑzətɪv ˈmɛsɪʤ fər ðə əˈfɔrdəbəl kɛr ækt ˈfoʊkɪsɪz ɔn prəˈtɛktɪŋ kənˈsumərz frəm ˌɪnˈʃʊrəns ˈkəmpəˌniz-- ənd prəˈdusɪz bɪg ʃɪfts æt ðə ɛnd əv ðə ˈsərˌveɪ. ə ˈwərkɪŋ əˈʤɛndə, ˌɪnˈkludɪŋ hɛlθ kɛr rɪˈfɔrm, ɪz ɪmˈpaʊərɪŋ fər ənˈmɛrid ˈwɪmən. ənˈmɛrid ˈwɪmən si ˈhɛlθˌkɛr ɛz wən ɛˈsɛnʃəl pɑrt əv ˈbrɔdər ˌɛkəˈnɑmɪk goʊlz fər ˈwɪmən. bɪˈkəz ˈmɛni ənˈmɛrid ˈwɪmən hæv tɪ meɪk ˈhɛlθˌkɛr ˈʧɔɪsɪz beɪst ɔn ˈbeɪsɪk ˈhaʊsˌhoʊld ˈfaɪˌnænsɪz, ə ˈmɛsɪʤ kəˈnɛktɪŋ ˈhɛlθˌkɛr tɪ ˈpɑkətˌbʊk ˈpɑləsiz fər ˈwərkɪŋ ˈwɪmən ɪz ˈvɛri ˈpaʊərfəl fər ðɪs grup ənd əˈlaɪnz ˈkloʊsli wɪθ haʊ ðeɪ θɪŋk əˈbaʊt ˈhɛlθˌkɛr. 1 beɪst ɔn ə ˈnæʃənəl ˈsərˌveɪ kənˈdəktəd baɪ ˈgrinbərg kˈwɪnlən ˈrɑsnər fər dɪˈmɑkrəsi kɔrz ənd ˈvɔɪsɪz ˈwɪmən voʊt ˈækʃən fənd. ðə ˈsərˌveɪ əv 950 2012 ˈvoʊtərz 1150 unweighted*) ˈneɪʃənˈwaɪd, ˌɪnˈkludɪŋ 860 ˈlaɪkli 2014 ˈvoʊtərz, wɑz kənˈdəktəd frəm ɑkˈtoʊbər 2013 ənˈlɛs ˈəðərˌwaɪz ˈnoʊtɪd, ˈoʊvərˌɔl ˈmɑrʤən əv ˈɛrər= pərˈsɛnɪʤ pɔɪnts æt 95 ˈkɑnfədɛns.
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attachments: memo [ ] 1007 kb 6 downloads graphs [ ] 1719 kb 6 downloads frequency questionnaire [ ] 288 kb 5 downloads a new national survey conducted for democracy corps and the women’s voices women’s vote action fund[1] shows an intense new majority for implementing and improving the affordable care act. a minority of voters want to repeal or replace “obamacare,” which has been the core demand of the republicans in congress who have shut down the government.
we want to be clear because so much of the punditry assumes obamacare is “unpopular.” many supporters assume that support will come once the benefits take effect in january. neither of these assumptions is true. support has shifted dramatically since 2010 when reforms were unpopular and supporters paid a high political price. some of that reflects perceptions of new positive benefits by people over 50 years, white older women and unmarried women. while supporters and opponents are divided evenly on the health care reforms, 8 percent are opposed because they do not go far enough. just 38 percent are opposed because it is big government very close to the number who stick with the republican call to repeal and replace the law. the debate ahead is about implementation of the affordable care act, or obamacare. when that is the choice, voters trust the democrats by 17 points (49 to 32 percent) to do a better job. the more republicans make the period ahead about blocking implementation, the more they trust democrats to do a better job in government. see the questionnaire and results. read the full memo. key findings: · just 38 percent now clearly oppose the affordable care act. while likely voters divide evenly on the plan, 8 percent oppose the law because it does not go far enough. as a result, just 38 percent oppose the law because it is big government. · by significant margins, voters want lawmakers to implement and fix the law, rather than repeal it. by a 20-point margin, 58 percent to 38 percent, voters say lawmakers should implement and fix the law rather than repeal it. additionally, intensity favors implementation—38 percent strongly favor implementing the law while 28 percent strongly favor repeal. · strong opposition to the law has dropped a net 10 points since 2010 —now at 34 percent. this is a totally different context than 2010, when democrats paid the price for the aca and republicans took control of the house · these shifts are driven by movement among key groups who are the first to see the benefits. the biggest shifts on favorability since 2010 come not from partisans but from independents and key groups, including unmarried women, white non-college voters, and seniors. these are also the groups most likely to report that they are seeing the benefits of the law. this is not being driven by partisans aligning their views; this is being driven by the relevance of the changes to people’s lives. · unmarried women, independents, white non-college voters, and seniors are beginning to see the effects of the affordable care act. while many still report “too early to tell,” the percent of unmarried women, independents, babyboomers, white-non college voters, and seniors who say that they are beginning to see the effects of the affordable care act has doubled since march. · by a 17-point margin (49 to 32), voters say they trust democrats more than republicans on implementing the affordable care act. the more republicans make the period ahead about implementation, the more voters trust democrats to do a better job in government. · positive information and messaging moves support for the aca even further. focusing on the law’s protections for insurance consumers and the improved insurance benefits for consumers moves voters to a more positive position on the aca. messaging and policies on both sides produce a net 11- point shift in the number saying they expect positive benefits with health care reform. the gain is even greater among those who are most likely to be impacted—20 points among young people and unmarried women. · there is still a real lack of information among voters, especially those who are most likely to benefit from the law. almost half of all voters (46 percent) still say it is too early to tell how the aca will affect them—unchanged since march. the lack of information is particularly pronounced among the rae. this includes unmarried women, even as many are beginning to see benefits. this aligns closely with what we heard in focus groups. · voters see this as a “first draft” and understand that it will take time to get it right. in focus groups with unmarried women, voters said this law is a “first draft.” they see it as a big change and believe it will take some time to work well for everyone—but they want it to be implemented so we can begin to reap its benefits and make those important changes. · among all voters, as well as unmarried women and the rae, the biggest concerns are about jobs and premiums going up. all of these came through very clearly in focus groups among unmarried women who were deeply concerned that the aca would have a negative effect on the number and quality of jobs available, as well as the potential cost of insurance plans. · however, voters do not see the affordable care act as the main enemy—insurance companies are. the most positive message for the affordable care act focuses on protecting consumers from insurance companies-- and produces big shifts at the end of the survey. · a working women’s agenda, including health care reform, is empowering for unmarried women. unmarried women see healthcare as one essential part of broader economic goals for women. because many unmarried women have to make healthcare choices based on basic household finances, a message connecting healthcare to pocketbook policies for working women is very powerful for this group and aligns closely with how they think about healthcare. [1] based on a national survey conducted by greenberg quinlan rosner for democracy corps and women’s voices women vote action fund. the survey of 950 2012 voters (1150 unweighted) nationwide, including 860 likely 2014 voters, was conducted from october 6-8, 2013. unless otherwise noted, overall margin of error= +/-3.18 percentage points at 95% confidence.
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ɪn hɪz ˈɑrtɪkəl baɪ one-percenter”*” (mɑr 3 ˈpitər ʃɔn ˈteɪlər meɪks ə ˈvɛri streɪnʤ ˈɑrgjəmənt. hi səˈʤɛsts ðət fɪˈzɪʃənz ənd ˈpəblɪk hɛlθ ˈɛkspərts, ʧɑrʤd wɪθ ˈkɛrɪŋ fər ðə hɛlθ əv kəˈneɪdiənz, ʃʊd nɑt kənˈsərn ðɛmˈsɛlvz wɪθ ðə rut ˈkɔzɪz əv ˈɪlnəs ənd stɪk tɪ ə ˈnɛroʊ reɪnʤ əv hɛlθ ˌɪntərˈvɛnʃənz. ˈfɔrʧənətli, kəˈneɪdiən hɛlθ ˈɛkspərts hæv ə ˈbrɔdər ənd mɔr kəmˈplit ˌəndərˈstændɪŋ əv haʊ ənd waɪ ˈpipəl gɪt sɪk. ðeɪ ˈsætɪsˌfaɪd wɪθ ˈsɪmpli ˈpʊlɪŋ ˈdraʊnɪŋ kɪdz aʊt əv ðə ˈrɪvər; ðoʊ ðɪs ɪz ˈɑbviəsli ˌɪmˈpɔrtənt, ðeɪ ˈɔlsoʊ lʊk ˈəpˈstrim tɪ æsk waɪ kɪdz ər ˈfɑlɪŋ ɪn ðə ˈrɪvər ɪn ðə fərst pleɪs. ˈdɛkeɪdz əv ˈstədiz hæv ʃoʊn kənˈklusɪvli ðət ˈɪnˌkəm ənd ɪts ˌdɪstrəˈbjuʃən, ˌɛʤəˈkeɪʃən, ɪmˈplɔɪmənt, ˈhaʊzɪŋ, fud sɪˈkjʊrəti ənd ðə ˈwaɪdər ɪnˈvaɪrənmənt hæv ə fɑr ˈgreɪtər ˌɪmˈpækt ɔn hɛlθ ˈaʊtˌkəmz ðən hɛlθ kɛr. aɪ si ðɪs bɔrn aʊt ˈdeɪli ɪn ðə lɪvz əv ˈpeɪʃənz huz laɪf ˈsərkəmˌstænsɪz hæv ˈlɪmɪtɪd ðɛr əˈbɪləˌti tɪ ˌɛnˈʤɔɪ fʊl hɛlθ. ˈteɪlər bɪˈlɪtəlz ðɪs ənd səˈpɔrtɪd ˈkɑnsɛpt əv ðə ˈsoʊʃəl dɪˈtərmənənts əv hɛlθ ɛz broad.”*.” tru ðət ðiz ˈəpˈstrim ˈfæktərz təʧ ɔn ɔl ˈæˌspɛkts əv ˈpəblɪk ˈpɑləsi. ɑr hɛlθ ɪz dɪˈtərmənd baɪ pəˈlɪtɪkəl ˈʧɔɪsɪz. ɪf wi wɔnt ðə bɛst fər kəˈneɪdiənz, ɑr pəˈlɪtɪkəl ˈʧɔɪsɪz bi dɪˈtərmənd baɪ hɛlθ? ðɛr ɪz ə groʊɪŋ ˌɪnərˈnæʃənɑl ˈmuvmənt, səˈpɔrtɪd baɪ ðə wərld hɛlθ ˌɔrgənəˈzeɪʃən, təˈwɔrd ɪn ɔl policies,”*,” ən əˈproʊʧ ðət həz bɪn əˈdɑptəd baɪ ˈgəvərnmənts əraʊnd ðə wərld. hir ɪn ˈkænədə, kwəˈbɛk həz səʧ ə ˈpɑləsi, ənd ˈnufəndlənd ənd ˈlæbrəˌdɔr ɪz ˈkərəntli ɪkˈsplɔrɪŋ ðɪs ˈmɑdəl. ˈteɪlər teɪks ˌpɑˈtɪkjələr ˈəmbrɪʤ wɪθ ən aɪˈdiə ðət həz bɪn ɪkˈsprɛst moʊst ˈklɪrli ɪn ðə ˈbrɪtɪʃ ˈmɛdɪkəl ˈʤərnəl: mɔr ˈikwəli wɛlθ ɪz dɪˈstrɪbjətəd ðə ˈbɛtər ðə hɛlθ əv ðət society.”*.” ðɛr ər θri ki weɪz ɪn wɪʧ wɛlθ ˌɪnɪkˈwɑləti kən lɛd tɪ wərs hɛlθ ˈaʊtˌkəmz. ðə fərst, ənd moʊst ˈɑbviəs, ɪz ˈpɑvərti. ɪn ə lɛs ˈikwəl soʊˈsaɪɪti, mɔr ˈpipəl lɪv ɪn ˈrɛlətɪv ˌdɪsədˈvænɪʤ, ənd ər lɛs ˈeɪbəl tɪ əˈfɔrd seɪf ˈhaʊzɪŋ ənd nuˈtrɪʃəs fud ər tɪ ˈækˌsɛs ˌɛʤəˈkeɪʃənəl ənd ˌɛkəˈnɑmɪk ˌɑpərˈtunətiz. ðɛr hɛlθ ˈsəfərz ɛz ə rɪˈzəlt, wɪθ ˈpipəl ˈlɪvɪŋ ɪn ˈpɑvərti ˈɔfən ˈhævɪŋ laɪf ɪkˈspɛktənsiz 20 ər mɔr jɪrz ˈʃɔrtər ðən ˈwɛlθiər ˈsɪtɪzənz. ɪn maɪ ˈneɪbərˌhʊd əv ˈsæskəˌtun, ðət ˈmænəˌfɛsts ɪn reɪts əv ˌdaɪəˈbitiz, hɑrt dɪˈziz, stis*, ˈɪnfənt ənd ˈoʊvərˌɔl mɔrˈtæləti ˈmɛni taɪmz ˈgreɪtər ðən ðə rɛst əv ðə ˈsɪti. ridɪˈstrɪbjətɪv ˈpɑləsiz kən ˌɪmˈpruv ˌɛkəˈnɑmɪk pərˈfɔrməns ɪn ðə lɔŋ tərm ðə ˈsɛkənd weɪ ðət ˌɪnɪkˈwɑləti əˈfɛkts hɛlθ, waɪl ædˈmɪtɪdli mɔr ˌkɑntrəˈvərʃəl, ɪz nɑt kənˈfaɪnd tɪ ðə moʊst ˌdɪsədˈvænɪʤd. ɛz ˈwɪlkɪnsən ənd ˈpɪkɪt dɪˈskraɪbd ɪn ðɛr 2009 bʊk, ðə ˈspɪrɪt ˈlɛvəl, sɪgˈnɪfɪkənt ˈɛvədəns səˈʤɛsts ðət ˈpipəl ˈlɪvɪŋ ɪn lɛs ˈikwəl ˈkəntriz ˈsəfər frəm wərs ˈfɪzɪkəl ənd ˈmɛntəl hɛlθ, ˈivɪn ɪf ðeɪ ər æt ər nɪr ðə tɔp əv ðə soʊˌsiˌoʊˌɛkəˈnɑmɪk skeɪl. ˈsəmθɪŋ əˈbaʊt ˈgreɪtər ˌɪnɪkˈwɑləti bi ɪt haɪər ˈlɛvəlz əv kraɪm, ˈgreɪtər streɪn ɔn ðə ˈsoʊʃəl ˈseɪfti nɛt, ər ˈivɪn haɪər ˈlɛvəlz əv strɛs əˈpɪrz tɪ hɑrm ðə hɛlθ əv ɔl bət ðə ˈvɛri ˈwɛlθiəst ˈmɛmbərz əv ə soʊˈsaɪɪti. ˈθərdli, nu ˈɛvədəns səˈʤɛsts ðət nɑt ˈoʊnli ðə ˈpipəl ɪn əˈnikwəl ˈkəntriz ðət ər ˈsɪkər; ðɛr ˈmɑrkɪts ɛz wɛl. ðə ˌriˈpɔrtəd ɪn 2014 ðət ˈɪnˌkəm ˌɪnɪkˈwɑləti ɪz æt ɪts haɪəst ˈlɛvəl ɪn 30 jɪrz, wɪθ ˌɛkəˈnɑmɪk groʊθ sloʊd baɪ ɛz məʧ ɛz 10 ɪn səm ˈkəntriz ɛz ə rɪˈzəlt. ən ˈstədi ʃoʊd ðət ridɪˈstrɪbjətɪv ˈpɑləsiz kən ˌɪmˈpruv ˌɛkəˈnɑmɪk pərˈfɔrməns ɪn ðə lɔŋ tərm. ˈmɛni ˈɛkspərts, ˌɪnˈkludɪŋ ɪˈkɑnəmɪsts æt bæŋk, ər ˈkɑnsəkˌwɛntli ˈkɔlɪŋ fər ˈækʃən ɔn ˈɪnˌkəm ˌɪnɪkˈwɑləti. ˈgreɪtər ˈlɛvəlz əv ˌɪnɪkˈwɑləti ˈdæmɪʤ ðə ɪˈkɑnəmi, ˈwərsənɪŋ ðə məˈtɪriəl kənˈdɪʃənz əv ɔl hu pɑrˈtɪsəˌpeɪt ɪn ðə ɪˈkɑnəmi, ənd wɪθ ðɛm ðɛr hɛlθ ənd ˌwɛlˈbiɪŋ. ˈgɪvɪn ðət ˌɪnɪkˈwɑləti həz groʊn sɪgˈnɪfɪkəntli ɪn ˈkænədə, wɪθ ðə ˈrɪʧəst 20 naʊ ˈhoʊldɪŋ əv wɛlθ ɪn ðɪs ˈkəntri, ðɪs ɪz ən ˈɪʃu əv greɪt kənˈsərn. wɪθ kəˈneɪdiənz ˌɪnˈkrisɪŋgli ˈweɪkɪŋ əp tɪ ðə nid fər ən ˈəpˈstrim əˈproʊʧ tɪ hɛlθ ənd ˈpɑləˌtɪks, ðoʊz hu ˈæktɪvli əˈpoʊz ˈsoʊʃəl ˌɪnˈvɛstmənt ənd ˈgreɪtər ɪkˈwɑləti ər ʃʊr tɪ teɪk eɪm æt ðə ˈnoʊʃən əv hɛlθ ɛz ə ˈgaɪdɪŋ ˈprɪnsəpəl ɪn ˈpəblɪk ˈpɑləsi. ðɪs ɪz bɪɔnd ənˈfɔrʧənət, ɛz æˈdrɛsɪŋ ðə ˈəpˈstrim dɪˈtərmənənts əv hɛlθ kən boʊθ ˌɪmˈpruv ðə ɪˈkɑnəmi ənd ðə əˈbɪləˌti əv ðət ɪˈkɑnəmi tɪ prəˈvaɪd fər ðə ˌwɛlˈbiɪŋ əv kəˈneɪdiənz. ə ˈhoʊpfəl ənd kəmˈpɛlɪŋ aɪˈdiə, ənd, tɪ səm, ə ˈdeɪnʤərəs wən. ðə fækt ðət rɪˈsivɪŋ soʊ məʧ prɛs əˈtɛnʃən səˈʤɛsts ən aɪˈdiə huz taɪm həz kəm. raɪən ɪz ə ˈfæməli fəˈzɪʃən ɪn ˈsæskəˌtun ənd ˈfaʊndər əv ˈəpˈstrim: ˈɪnstɪˌtut fər ə ˈhɛlθi soʊˈsaɪɪti.
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in his article “death by one-percenter” (mar 3), peter shawn taylor makes a very strange argument. he suggests that physicians and public health experts, charged with caring for the health of canadians, should not concern themselves with the root causes of illness and stick to a narrow range of health interventions.
fortunately, canadian health experts have a broader and more complete understanding of how and why people get sick. they aren’t satisfied with simply pulling drowning kids out of the river; though this is obviously important, they also look upstream to ask why kids are falling in the river in the first place. decades of studies have shown conclusively that income and its distribution, education, employment, housing, food security and the wider environment have a far greater impact on health outcomes than health care. i see this borne out daily in the lives of patients whose life circumstances have limited their ability to enjoy full health.
taylor belittles this well-established and supported concept of the social determinants of health as “impossibly broad.” true that these upstream factors touch on all aspects of public policy. our health is determined by political choices. if we want the best for canadians, shouldn’t our political choices be determined by health?
there is a growing international movement, supported by the world health organization, toward “health in all policies,” an approach that has been adopted by governments around the world. here in canada, quebec has such a policy, and newfoundland and labrador is currently exploring this model.
taylor takes particular umbrage with an idea that has been expressed most clearly in the british medical journal: “the more equally wealth is distributed the better the health of that society.” there are three key ways in which wealth inequality can lead to worse health outcomes. the first, and most obvious, is poverty. in a less equal society, more people live in relative disadvantage, and are less able to afford safe housing and nutritious food or to access educational and economic opportunities. their health suffers as a result, with people living in poverty often having life expectancies 20 or more years shorter than wealthier citizens. in my inner-city neighbourhood of saskatoon, that manifests in rates of diabetes, heart disease, stis, infant and overall mortality many times greater than the rest of the city.
redistributive policies can improve economic performance in the long term
the second way that inequality affects health, while admittedly more controversial, is not confined to the most disadvantaged. as wilkinson and pickett described in their 2009 book, the spirit level, significant evidence suggests that people living in less equal countries suffer from worse physical and mental health, even if they are at or near the top of the socioeconomic scale. something about greater inequality – be it higher levels of crime, greater strain on the social safety net, or even higher levels of stress – appears to harm the health of all but the very wealthiest members of a society.
thirdly, new evidence suggests that not only the people in unequal countries that are sicker; their markets as well. the oecd reported in 2014 that income inequality is at its highest level in 30 years, with economic growth slowed by as much as 10% in some countries as a result. an imf study showed that redistributive policies can improve economic performance in the long term. many experts, including economists at td bank, are consequently calling for action on income inequality. greater levels of inequality damage the economy, worsening the material conditions of all who participate in the economy, and with them their health and wellbeing. given that inequality has grown significantly in canada, with the richest 20% now holding 67.4% of wealth in this country, this is an issue of great concern.
with canadians increasingly waking up to the need for an upstream approach to health and politics, those who actively oppose social investment and greater equality are sure to take aim at the notion of health as a guiding principle in public policy.
this is beyond unfortunate, as addressing the upstream determinants of health can both improve the economy and the ability of that economy to provide for the wellbeing of canadians. that’s a hopeful and compelling idea, and, to some, a dangerous one. the fact that receiving so much press attention suggests an idea whose time has come.
ryan meili is a family physician in saskatoon and founder of upstream: institute for a healthy society. @ryanmeili
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wi hæv ə ˈprɪzən ˈprɑbləm ɪn ðɪs ˈkəntri, ənd wi nid tɪ tɔk əˈbaʊt ɪt. wi hæv weɪ tu ˈmɛni ˈpipəl bɪˈhaɪnd bɑrz ɪn ˈʤɛnərəl ənd, ɪn ˌpɑˈtɪkjələr, fər ˌloʊˈlɛvəl əˈfɛnsɪz. ðə ˈbrɛnən ˈsɛnər fər ˈʤəstɪs ˈrisəntli dɪd ən əˈθɔrəˌteɪtɪv lʊk æt wət ɪt kənˈkludɪd tɪ bi incarceration”*” ənd ðɛn keɪm əp wɪθ səm səˈʤɛsʧənz. ðə nu rɪˈpɔrt, ˈrisəntli brɔt tɪ laɪt baɪ ðə ˈwɔʃɪŋtən poʊst, kənˈteɪnz ðə ɪnˈtaɪər ˈloʊˌdaʊn ɔn ðə ˈtoʊtəli skjud ˈprɪzən ˌsɪʧuˈeɪʃən, ənd nɑt ə ˈprɪti ˈpɪkʧər. ɪt ˈfoʊkɪsɪz ɔn ðə ˈivəlz əv ˌɪmˈprɪzənɪŋ ˈpipəl fər ˌloʊˈlɛvəl əˈfɛnsɪz ənd ˈkipɪŋ ðɛm ʤeɪld fər ˈhənərdz əv ˈθaʊzənz əv lɪvz, ˈweɪstɪŋ ˈbɪljənz əv ˈdɔlərz ənd ˈəltəmətli ˈhævɪŋ ˈlɪtəl ˈifɛkt ɔn ˈpəblɪk ˈseɪfti. tɪ pʊt ðə ˈɪʃu ɪn ˈkɑntɛkst, hir ər səm kwɪk fækts ɔn mæs ˌɪnˌkɑrsərˈeɪʃən ɪn ðə juz., ˈkərtəsi əv ðə ˈprɪzən ˈpɑləsi ˌɪˈnɪʃətɪv: ðə juz. ɪz kəmˈpraɪzd əv 5 pərˈsɛnt əv ðə ˈbɪljən ˈpipəl, jɛt wi hæv ˈnɪrli əv ðə ˈprɪzənərz. wi hæv əˈbaʊt ˈmɪljən ˈpipəl bɪˈhaɪnd bɑrz, ˈgɪvɪŋ ˈjuˈɛs ðə ˈdubiəs dɪˈstɪŋkʃən əv ˈhævɪŋ ðə haɪəst ˌɪnˌkɑrsərˈeɪʃən reɪt ɪn ðə wərld. bət ðə ˈbrɛnən rɪˈpɔrt ˈfoʊkɪsɪz ɔn wət ðə ˈɔθərz bɪˈliv ər ðə ˈprɪzənərz hu ʃʊd nɑt bi ɪn ˈprɪzən. səm ˈpipəl ər duɪŋ taɪm fər ˌloʊˈlɛvəl əˈfɛnsɪz, səʧ ɛz drəg pəˈzɛʃən ənd ˈmaɪnər ˈbərgləriz. ɪn ˈəðər wərdz, 25 pərˈsɛnt əv ðə ˈkɑrənt ˈprɪzən ˌpɑpjəˈleɪʃən ɪz kəmˈpraɪzd əv ˌloʊˈlɛvəl əˈfɛndərz. ðə ˈbrɛnən səˈʤɛsʧənz fər ˈkətɪŋ ɑr ənˈwildi ˈprɪzən ˌpɑpjəˈleɪʃən stɑrt wɪθ riˈlisɪŋ ðiz ˌloʊˈlɛvəl əˈfɛndərz baɪ ˈjuzɪŋ səʧ ɔlˈtərnətɪvz ɛz proʊˈbeɪʃən, drəg ˈtritmənt ər kəmˈjunɪti ˈsərvɪs. waɪl ðɪs ɔl saʊnz fəˈmɪljər, ðiz səˈluʃənz ər ˈoʊnli ˌɪnˈfrikwəntli ˈjutəˌlaɪzd. ˈnæʧərəli, ðə ˈstədi teɪks ˈɪntu əˈkaʊnt ə ˈnəmbər əv ˈfæktərz rɪˈgɑrdɪŋ ðə kraɪmz: ˈsɪriəsnəs, ˈwɛðər ə ˈvɪktɪm wɑz əˈfɛktɪd (ɛz ɪn ˈbərgləri), ðə steɪt əv maɪnd (ˈwɛðər ər nɑt) ənd ðə rɪsk əv rəˈsɪdɪˌvɪzəm. ðiz əˈfɛnsɪz wər kraɪmz ðət dɪd nɑt rɪˈzəlt ɪn ˈsɪriəs hɑrm tɪ ə ˈvɪktɪm ər səbˈstænʃəl dɪˈstrəkʃən əv ˈprɑpərti, fər wɪʧ məˈlɪʃəs ˌɪnˈtɛnt meɪ nɑt hæv bɪn ˈprɛzənt, fər wɪʧ ˈprɪzən wɑz nɑt ˈifɛktɪv æt rɪˈdusɪŋ recidivism,”*,” ðə ˈɔθərz ɪkˈspleɪnd. ðə ˈɔθərz pɔɪnt tɪ ðə ˈpipəl ˈsərvɪŋ ˈprɪzən taɪm fər ˈsɪmpəl drəg pəˈzɛʃən; fər ˈmaɪnər θɛft ənd ˈəðər ˈprɑpərti kraɪmz; ənd tɛnz əv ˈθaʊzənz ˈsərvɪŋ taɪm fər ˈəðər əˈfɛnsɪz laɪk ˌprɑstəˈtuʃən, ˈgæmbəlɪŋ ənd ˈdiˈjuˈaɪ. ðə rɪˈpɔrt ˈɔlsoʊ lʊkt æt ðə aɪˈdiə əv ˈʃɔrtənɪŋ ˈsɛntənsɪz əv ˈpipəl ˈsərvɪŋ taɪm fər səm ˈvaɪələnt kraɪmz. ðɪs ɪz beɪst ɔn ˈrisərʧ ʃoʊɪŋ ðət, fər ˈsərtən kraɪmz, ˈlɔŋgər ˈsɛntənsɪz ækt ɛz dɪˈtərənts nɔr prəˈvaɪd ˌriəˌbɪləˈteɪʃən. ɪn fækt, roʊt ðə ˈwɔʃɪŋtən poʊst, ˈmɛni ˈstədiz hæv ʃoʊn ðət ˈlɔŋgər ˈprɪzən steɪz ˌɪnˈkrisɪz ðə ˈlaɪkliˌhʊd əv reoffending*. tɪ ðət ɛnd, ðə ˈbrɛnən ˈsɛnər ˈrisərʧərz ˈɔlsoʊ ˌrɛkəˈmɛnd rɪˈdusɪŋ ˈprɪzən ˈsɛntənsɪz baɪ 25 pərˈsɛnt fər ə ˈnəmbər əv ˈsɪriəs kraɪmz, ˌɪnˈkludɪŋ ˈrɑbəri, ˈmeɪʤər drəg ˈtræfɪkɪŋ ənd ˈmərdər. ənd, sɪns kraɪm ɪn ˈmoʊstli kəˈmɪtɪd baɪ jəŋ ˈpipəl, waɪ ər ˈprɪzənz ˈhoʊldɪŋ ˈɛldərli ˈprɪzənərz? rəˈgɑrdləs, ɪf ɔl ðoʊz ˈsɪmpli ˌɪnˈkɑrsərˌeɪtɪd fər nɑnˈvaɪələnt drəg əˈfɛnsɪz wər riˈlist, ðə ˈkɑrənt ˈprɪzən ˌpɑpjəˈleɪʃən wʊd ˈɪnstəntli drɔp baɪ 25 pərˈsɛnt. ju kən kip əp wɪθ ɔl əv haɪ times’*’ nuz raɪt hir.
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we have a prison problem in this country, and we need to talk about it. we have way too many people behind bars in general and, in particular, for low-level offenses.
the brennan center for justice recently did an authoritative look at what it concluded to be “unnecessary incarceration” and then came up with some suggestions.
the new report, recently brought to light by the washington post, contains the entire lowdown on the country’s totally skewed prison situation, and it’s not a pretty picture.
it focuses on the evils of imprisoning people for low-level offenses and keeping them jailed for years—ruining hundreds of thousands of lives, wasting billions of dollars and ultimately having little effect on public safety.
to put the issue in context, here are some quick facts on mass incarceration in the u.s., courtesy of the prison policy initiative: the u.s. is comprised of 5 percent of the world’s 7.4 billion people, yet we have nearly one-quarter of the world’s prisoners. we have about 2.3 million people behind bars, giving us the dubious distinction of having the highest incarceration rate in the world.
but the brennan center’s report focuses on what the authors believe are the prisoners who should not be in prison. some 364,000 people are doing time for low-level offenses, such as drug possession and minor burglaries. in other words, 25 percent of the current prison population is comprised of low-level offenders.
the brennan center’s suggestions for cutting our unwieldy prison population start with releasing these low-level offenders by using such alternatives as probation, drug treatment or community service. while this all sounds familiar, these solutions are only infrequently utilized.
naturally, the study takes into account a number of factors regarding the crimes: seriousness, whether a victim was affected (as in burglary), the perpetrator’s state of mind (whether pre-meditated or not) and the risk of recidivism.
“among these lower-level offenses were crimes that did not result in serious harm to a victim or substantial destruction of property, for which malicious intent may not have been present, and/or for which prison was not effective at reducing recidivism,” the authors explained.
the authors point to the 66,000 people serving prison time for simple drug possession; 70,000 for minor theft and other property crimes; and tens of thousands serving time for other offenses like prostitution, gambling and first-time dui.
the report also looked at the idea of shortening sentences of people serving time for some violent crimes. this is based on research showing that, for certain crimes, longer sentences don’t act as deterrents nor provide rehabilitation.
in fact, wrote the washington post, many studies have shown that longer prison stays increases the inmate’s likelihood of reoffending.
to that end, the brennan center researchers also recommend reducing prison sentences by 25 percent for a number of serious crimes, including robbery, major drug trafficking and murder.
and, since crime in mostly committed by young people, why are prisons holding elderly prisoners?
regardless, if all those simply incarcerated for non-violent drug offenses were released, the current prison population would instantly drop by 25 percent.
you can keep up with all of high times’ news right here.
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ians* ˈplætˌfɔrm ɔn ˈmənˌdeɪ lɔnʧt, ə kəmˌjunəˈkeɪʃən ˈplætˌfɔrm tɪ ɪˈneɪbəl ðɛm trænˈzækt, co-ordinate*, kəmˈpit, kəˈlæbərˌeɪt ənd nɪˈgoʊʃiˌeɪt wɪθ iʧ ˈəðər. ˈtaʊtɪd ɛz ðə wərldz fərst, kəmˌjunəˈkeɪʃənz ɪˈneɪbəl ˈdɪfərənt kaɪnz əv, səʧ ɛz ˈʃɑpɪŋ tɪ nɪˈgoʊʃiˌeɪt wɪθ ˈmərʧənt tɪ faɪnd ðə bɛst ˈpraɪsɪz. ə ˈtrævəl kən bʊk ˈpækɪʤɪz baɪ kəmˈbaɪnɪŋ ðə ˈsərvɪsɪz əv flaɪt ənd hoʊˈtɛl. ə ˈtæksi kən æsk ðə café*é tɪ hæv ðə ˈkɔfi ˈrɛdi baɪ ðə taɪm ðə ˈjuzərz ˈtæksi əraɪvz. ˈgeɪmɪŋ kən pleɪ ˈstrætəʤi geɪmz wɪθ ˈdilər. trænzˈleɪt kən ˈkɑmbaɪn wɪθ tɪ ɪˈneɪbəl trænˈzækʃənz. ˈpərsɪnəl əˈsɪstənt kən ˈskɛʤʊl ˈmitɪŋz ɔn bɪˈhæf əv ˈjumənz. kən fɔrm grups ənd ˈhaɪˌrɑrkiz tɪ ˌɪmˈpruv dɪˈsɪʒənˌmeɪkɪŋ wɪˈθɪn ðə ˈɛnərˌpraɪz. ənˈliʃɪz ˈɛndləs ˌpɑsəˈbɪlətiz ðət lɛd tɪ mɔr ˌɪnˈtɛləʤənt ənd ˈsɪstəmz. ʤɪst ɛz ðə ˈjumən ˌsɪvəlɪˈzeɪʃən ˈhɑrnəsɪz ðə kəˈlɛktɪv paʊər əv ˌɪndəˈvɪʤəwəl ˈjumənz, ɪˈneɪbəlz tɪ pərˈfɔrm kəˈlɛktɪv ˈækʃən drəˈmætɪkəli ˈæmpləˌfaɪɪŋ ˌɪndəˈvɪʤəwəl ˌkeɪpəˈbɪlətiz. ˌrɛprɪˈzɛnts wən smɔl stɛp fər, wən ʤaɪənt stɛp fər 'botkind*'," ʃɛθ, ˈsiˌiˈoʊ əv, sɛd ɪn ə ˈsteɪtmənt. tɪ juz, wɪl fərst hæv tɪ ˈpəblɪʃ ðɛmˈsɛlvz ɔn ðɪs nu ˈʧænəl. ðiz kən ɪksˈʧeɪnʤ ˈsərvɪsɪz ənd lərn frəm iʧ ˈəðər. dɪˈvɛləpərz kən naʊ kriˈeɪt ˈsɪmpli baɪ kəˈnɛktɪŋ ðɛm wɪθ iʧ ˈəðər, laɪk ˈlɛgoʊ blɑks, wɛr ðə ˈaʊtˌpʊt əv wən bɪˈkəmz ðə ˈɪnˌpʊt əv ðə nɛkst. ɪz naʊ ɔn. fər ɔl ðə bəz ɔn ðə ˈleɪtəst tɛk ənd saɪəns, saɪn əp fər ɑr ˈsərvɪsɪz. ʤɪst goʊ tɪ ənd hɪt ðə səbˈskraɪb ˈbətən.
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ians
us-based bot platform gupshup on monday launched interbot, a bot-to-bot communication platform to enable them transact, co-ordinate, compete, collaborate and negotiate with each other. touted as the world's first, interbot communications enable different kinds of bots, such as shopping bots to negotiate with merchant bots to find the best prices.
a travel bot can book packages by combining the services of flight and hotel bots. a taxi bot can ask the café bot to have the coffee ready by the time the user's taxi arrives. gaming bots can play strategy games with dealer bots. translate bots can combine with e-commerce bot to enable multi-lingual transactions. personal assistant bots can schedule meetings on behalf of humans. bots can form groups and hierarchies to improve decision-making within the enterprise.
"interbot unleashes endless possibilities that lead to more intelligent bots and systems. just as the human civilization harnesses the collective power of individual humans, interbot enables bots to perform collective action dramatically amplifying individual bot capabilities. interbot represents one small step for bot, one giant step for 'botkind'," beerud sheth, ceo of gupshup, said in a statement.
to use interbot, bots will first have to publish themselves on this new channel. these bots can exchange services and learn from each other. developers can now create bots simply by connecting them with each other, like lego blocks, where the output of one bot becomes the input of the next.
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ˈlʊkɪŋ fər nuz ju kən trəst? səbˈskraɪb tɪ ɑr fri ˈnuzˌlɛtərz. ɔn ˈwɛnzˌdeɪ, ˌmɪljəˈnɛr ɪgˈzɛkjətɪv ˈændru wɪθˈdru hɪz ˌnɑməˈneɪʃən tɪ bɪˈkəm ˈprɛzɪdənt ˈdɑnəld ˈsɛkrəˌtɛri əv ˈleɪbər. ˌkɑnfərˈmeɪʃən ˈhirɪŋ, dɪˈleɪd wiks du tɪ hɪz ˈfeɪljər tɪ səbˈmɪt rikˈwaɪərd ˌfaɪˈnænʃəl ənd ˈɛθɪks ˈpeɪpərˌwərk, wɑz sɛt fər ˈθərzˌdeɪ. wɪθ hɪz ˌnɑməˈneɪʃən ˈfeɪsɪŋ stɪf ˌɑpəˈzɪʃən frəm ˈleɪbər grups, hæd bɪn ˈblidɪŋ səˈpɔrt ɪn ˈrisənt deɪz. ɔn ˈwɛnzˌdeɪ, ˈməðər ʤoʊnz ˈpəblɪʃt ˈditeɪlz əv səm əv ðə 39 ˈleɪbər vaɪəˈleɪʃən kleɪmz ðət hæv bɪn brɔt əˈgɛnst hɪz ˈkəmpəˌni, cke*, wɪʧ oʊnz boʊθ ənd jr*. ˈɔlsoʊ ɔn ˈwɛnzˌdeɪ, pəˈlɪtɪˌkoʊ əbˈteɪnd ənd ˈpəblɪʃt ˈvɪdioʊ əv ə 1990 ˈɛpɪˌsoʊd əv ðə ˈoʊprə ˈwɪnfri ʃoʊ, ɪn wɪʧ ˈɛksˈwaɪf, ˈlisə ˈfirˌstin, wɔr ə dɪsˈgaɪz ənd kleɪmd hi əˈbjuzd hər. (ˈwɪnfri ˈhændɪd ˈoʊvər ðə teɪp æt ðə rɪkˈwɛst əv ˈsɛnətərz.) ˈərliər ɪn ðə deɪ, ˈnæʃənəl ˌrivˈju traɪd tɪ gɪt əˈhɛd əv ðə ˌɪmˈpɛndɪŋ kəˈlæps baɪ əˈpoʊzɪŋ ɪt ɔn ˌɪməˈgreɪʃən graʊnz. bət ɛz ˈkɛvɪn drəm ˈnoʊtɪd, ɪt wɑz ˈprɑbəˌbli ʤɪst tɪ ʧeɪnʤ ðə ˈnɛrətɪv. wɛl, ɪt tərnz aʊt sɔft ɔn ˌɪməˈgreɪʃən: hi səˈpɔrts ˌkɑmpriˈhɛnsɪv ˌɪməˈgreɪʃən rɪˈfɔrm ˈrəðər ðən wɔlz ənd ˌhaɪˈproʊfaɪl reɪdz. hæv ðət. ənd ʤɪst baɪ koʊˈɪnsɪdəns, ˌɑpəˈzɪʃən kəmz ˈʃɔrtli ˈæftər wi ˈlərnɪd ðət ən ənˈdɑkjəmɛnɪd ˈhaʊˌskipər fər ˈsɛvərəl jɪrz ənd feɪld tɪ peɪ rɪˈleɪtɪd taxes.”*.” aɪ θɪŋk ˈæˌkʧuəli kɛrz əˈbaʊt ðət, ðoʊ. ðeɪ ˈoʊnli kɛr ðət ɪt gɪvz ˈdɛməˌkræts ə hʊk tɪ faɪər əp ðə ˌɑpəˈzɪʃən. waɪ gɪv ðɛm ə ˈvɪktəri ðət wɪl ʤɪst meɪk ðɛm ˈivɪn ðən ˈjuʒəwəl? maɪt ɛz wɛl pʊl ðə pləg naʊ ənd priˈtɛnd ðət ɪt wɑz ɔl bɪˈkəz kənˈsərvətɪvz hæv səʧ haɪ ˈmɔrəl ˈstændərdz. ðɪs ɪz ə dɪˈvɛləpɪŋ ˈstɔri ənd ˈəpˌdeɪt ɛz mɔr ˌɪnˌfɔrˈmeɪʃən bɪˈkəmz əˈveɪləbəl.
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on wednesday, millionaire fast-food executive andrew puzder withdrew his nomination to become president donald trump’s secretary of labor. puzder’s confirmation hearing, delayed weeks due to his failure to submit required financial and ethics paperwork, was set for thursday.
with his nomination facing stiff opposition from labor groups, puzder had been bleeding support in recent days. on wednesday, mother jones published details of some of the 39 labor violation claims that have been brought against his company, cke, which owns both hardee’s and carl’s jr. also on wednesday, politico obtained and published video of a 1990 episode of the oprah winfrey show, in which puzder’s ex-wife, lisa fierstein, wore a disguise and claimed he abused her. (winfrey handed over the tape at the request of senators.)
earlier in the day, national review tried to get ahead of the nomination’s impending collapse by opposing it on immigration grounds. but as mojo‘s kevin drum noted, it was probably just to change the narrative.
well, it turns out he’s soft on immigration: he supports comprehensive immigration reform rather than walls and high-profile raids. can’t have that. and just by coincidence, nr’s opposition comes shortly after we learned that puzder “employed an undocumented housekeeper for several years and failed to pay related taxes.” i don’t think nr actually cares about that, though. they only care that it gives democrats a hook to fire up the opposition. why give them a victory that will just make them even smugger than usual? might as well pull the plug now and pretend that it was all because conservatives have such high moral standards.
this is a developing story and we’ll update as more information becomes available.
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perspectivism* ənd ˈɪnər ˈstɔri ˈwɛlkəm tɪ ðə stɑrt əv ðə ˈsoʊʃəl ˈɛnʤəˈnɪrɪŋ ˈbeɪsɪks ˈsɪriz! hir wɪl lʊk æt, ðə ˈtɑməs ˈθɪrəm, ənd ðɛn daɪv ˈɪntu əˈbjuzɪŋ ˈpipəlz sɛlf ˈɪntəˌrɛst ˈviə ɑr "ˈɪnər ˈstɔri". ənd ðə ˈtɑməs ˈθɪrəm ɑr wərld ɪz nɑt ə mɛrɪˈtɔkrəsi; ɪt ɪz nɑt beɪst ɔn fækt, ˈmɛrət, ər əˈbʤɛktɪv ˌriˈæləˌti. ˈɑrgjuɪŋ frəm ðiz ˈstænsɪz ɪz ˈjuʒəwəli ə ˈfrutləs ɪnˈdɛvər ənd ə grænd weɪst əv ənˈlɛs jʊr ˈtərgət ˈɔdiəns ɪz muvd baɪ ðiz taɪps əv ˈɑrgjəmənts (θɪŋk stɛm ˈmeɪʤərz ˌɛtˈsɛtərə). ɪt kən ˈɔlsoʊ lɛd tɪ ðə ˈbækˌfaɪr ˈifɛkt ɪn wɪʧ ˈpipəl kən bɪˈkəm mɔr ɪnˈtrɛnʧt ɪn ðɛr bɪˈlifs ˈivɪn ˈæftər biɪŋ pərˈzɛnəd wɪθ ˈɛvədəns ʃoʊɪŋ ðeɪ ər rɔŋ. wɪl tɪ paʊər, ˈæfərˌɪzəm 481 ɪn soʊ fɑr ɛz ðə wərd ““knowledgeâ€*†həz ˈɛni ˈminɪŋ, ðə wərld ɪz knowable*; bət ɪt ɪz ˈəðərˌwaɪz, ɪt həz noʊ ˈminɪŋ bɪˈhaɪnd ɪt, bət ˈkaʊntləs ˈminɪŋz. ɪt ɪz ɑr nidz ðət ˌɪnˈtərprət ðə wərld; ɑr draɪvz ənd ðɛr fər ənd əˈgɛnst. ˈɛvəri draɪv ɪz ə kaɪnd əv ləst tɪ rul; iʧ wən həz ɪts pərˈspɛktɪv ðət ɪt wʊd laɪk tɪ kəmˈpɛl ɔl ðə ˈəðər draɪvz tɪ əkˈsɛpt ɛz ə nɔrm. teɪk ə lʊk æt ðə ˈtɑməs ˈθɪrəm ɛz wɛl. ˈtɑməs ˈθɪrəm: ɪf ə ˈpərsən pərˈsivz ə ˌsɪʧuˈeɪʃən ɛz ril ðɛn ɪt ɪz ril ɪn ɪts ˈkɑnsəkˌwɛnsəz. wət ðiz tu mɛn ər seɪɪŋ bɔɪlz daʊn tɪ ðɪs: ə ˈpərsənz pərˈsɛpʃən əv ə ˌsɪʧuˈeɪʃən həz ə ˈvɛri ril ˈifɛkt ɔn ðɛr θɔts, bɪˈlifs, ənd ˈækʃənz rəˈgɑrdləs əv wət ðə əˈbʤɛktɪv truθ əv ðə ˈmætər ɪz. ðə seɪm kən bi sɛd fər ˈpeɪʃənz ˈsəfərɪŋ frəm dɪˈmɛnʃiə ər ˈpipəl həˈlusɪneɪtɪŋ ɪf ðeɪ bɪˈliv ðə fɔls ˌriˈæləˌti tɪ bi ril ðɛn ɪts ˈifɛkts ər ˈvɛri ril. ðɛr ər ˈkaʊntləs ˈminɪŋz ðət kən bi dəraɪvd frəm boʊθ ˈlɑʤɪkəl ənd ˌɪˈlɑʤɪkəl ˈstændˌpɔɪnts ənd ðə ˌɪmˈpɔrtəns əv ðɪs fər seɪ ɪz ˌɪˈmɛns; ə gʊd ɪgˈzæmpəl ɪz ðə "ˌɪˈmæʤəˌnɛri" ˈvælju ˈpipəl ənd soʊˈsaɪɪti əˈskraɪb tɪ faɪæt ˈməni. ˈgoʊldən rul: əˈbjuzɪŋ sɛlf ˈɪntəˌrɛst ðə ˈsɪŋgəl bɛst, haɪəst reɪt əv rɪˈtərn ˈmɛθəd fər məˈnɪpjəˌleɪtɪŋ ˈəðərz həz ˈɔlˌweɪz ˈɔlˌweɪz bi əˈbjuzɪŋ ˌsɛlˈfɪntəˌrɛst (nɑt ðət ɪt ɪz ðə ˈoʊnli weɪ bət mɔr ɔn ðət ˈleɪtər). ɑr goʊl ɪz tɪ ˈprɛzənt ɑr məˌnɪpjəˈleɪʃən ɪn weɪz ðət kənˈfərm praɪər hɛld bɪˈlifs, du nɑt ˈkɑnflɪkt wɪθ ðɛr bɪˈlifs, ər æt list meɪk laɪf "ˈiziər" ɔn ˈpipəl ɪn səm weɪ. ðɪs kən bi sin ɪn ˈmɛni ˈpleɪsɪz frəm ðə lɔ əv paʊər (pleɪ tɪ ˈpipəlz ˈfænəsiz) tɪ kwoʊts frəm ˈfeɪməs writers/thinkers*. ə fju ɪgˈzæmpəlz: bleɪz "kənˈvɪns baɪ ˈtɛlɪŋ ðɛm ðeɪ ər raɪt" wɪn wi wɪʃ tɪ kərˈɛkt wɪθ ædˈvæntɪʤ, ənd tɪ ʃoʊ əˈnəðər ðət hi ɛrz, wi məst ˈnoʊtɪs frəm wət saɪd hi vjuz ðə ˈmætər, fər ɔn ðət saɪd ɪt ɪz ˈjuʒəwəli tru, ənd ədˈmɪt ðət truθ tɪ ɪm, bət rɪˈvil tɪ ɪm ðə saɪd ɔn wɪʧ ɪt ɪz fɔls. hi ɪz ˈsætɪsˌfaɪd wɪθ ðət, fər hi siz ðət hi wɑz nɑt mɪˈsteɪkən, ənd ðət hi ˈoʊnli feɪld tɪ si ɔl saɪdz. naʊ, noʊ wən ɪz əˈfɛndɪd æt nɑt siɪŋ ˈɛvriˌθɪŋ; bət wən dɪz nɑt laɪk tɪ bi mɪˈsteɪkən, ənd ðət pərˈhæps ərˈaɪzɪz frəm ðə fækt ðət mæn ˈnæʧərəli ˈkænɑt si ˈɛvriˌθɪŋ, ənd ðət ˈnæʧərəli hi ˈkænɑt ɛr ɪn ðə saɪd hi lʊks æt, sɪns ðə pərˈsɛpʃənz əv ɑr ˈsɛnsɪz ər ˈɔlˌweɪz tru.... ˈpipəl ər ˈʤɛnərəli ˈbɛtər pərsˈweɪdɪd baɪ ðə ˈrizənz wɪʧ ðeɪ hæv ðɛmˈsɛlvz dɪˈskəvərd ðən baɪ ðoʊz wɪʧ hæv kəm ˈɪntu ðə maɪnd əv ˈəðərz. lɔ əv paʊər pleɪ tɪ ˈpipəlz ˈfænəsiz "ðə truθ ɪz ˈɔfən əˈvɔɪdɪd bɪˈkəz ɪt ɪz ˈəgli ənd ənˈplɛzənt. ˈnɛvər əˈpil tɪ truθ ənd ˌriˈæləˌti ənˈlɛs ju ər priˈpɛrd fər ðə ˈæŋgər ðət kəmz frəm dɪsɪnˈʧæntmənt. laɪf ɪz soʊ hɑrʃ ənd dɪˈstrɛsɪŋ ðət ˈpipəl hu kən ˌmænjəˈfækʧər ˈroʊmæns ər ˈkɑnʤər əp ˈfænəsi ər laɪk oʊˈeɪsiz ɪn ðə ˈdɛzərt: ˈɛvriˌwən flɑks tɪ ðɛm. ðɛr ɪz greɪt paʊər ɪn ˈtæpɪŋ ˈɪntu ðə ˈfænəsiz əv ðə ˈmæsɪz." frəm "leɪk woebegon*" (ɛz ˈmɛnʃənd baɪ ɪn "ə ˈpleɪbʊk fər ˈsoʊsioʊˌpæðz") ˈwɛlkəm tɪ leɪk ˈwoʊbəgɑn, wɛr ɔl ðə ˈwɪmən ər strɔŋ, ɔl ðə mɛn ər ˈgʊˌdlʊkɪŋ, ənd ɔl ðə ˈʧɪldrən ər əˈbəv ˈævərɪʤ. frəm "ˈwɪzdəm əv ðə sændz" baɪ ɑntˈwɑn də ɪf ju wɔnt tɪ bɪld ə ʃɪp, doʊnt drəm əp ðə mɛn tɪ ˈgæðər wʊd, dɪˈvaɪd ðə wərk ənd gɪv ˈɔrdərz. ˌɪnˈstɛd, tiʧ ðɛm tɪ jərn fər ðə væst ənd ˈɛndləs si. ðə ˈɪnər ˈstɔri ˌfəndəˈmɛnəli ˈjumənz ər baɪ ˈneɪʧər ənd wi ləv ə gʊd ˈstɔri; fər moʊst wi ər ðə ˈsɛnər əv ðət ˈstɔri (ˈɑkə wi ər ðə guyâ€/protagonist*). ðə wərld ɪz ˈɔfən kruəl, ˌɪmˈpərsənəl, ənd hɑrʃ soʊ moʊst wɪl sik zonesâ€*†baɪ ˌɪgˈnɔrɪŋ θɪŋz ðeɪ doʊnt laɪk, ˈsikɪŋ aʊt θɪŋz ðət brɪŋ pleasure/happiness*, ər ˈsikɪŋ aʊt θɪŋz ðət kənˈfərm ðɛr bɪˈlifs. ju nid tɪ bɪld jʊr plæn tɪ fɪt ðət ˈmɑdəl fər iʧ ˈpərsən ənd, fər hjʊˈrɪstɪk ˈpərpəsɪz, ju nid tɪ bɪld ɪt beɪst ɔn ˈkɑmən treɪts əv ðə grup. grup hjʊˈrɪstɪk ɛks: æt wərk sɪˈkjʊrəti gɑrdz kən ˈɔfən bi ˈheɪtɪd, vjud ɛz ə ˈnusəns, ər æt list gɪt ˈtritɪd æt ˈmɪnəməm biɪŋ "ˈoʊvərli nis" tɪ ðɛm, kəmˈpɛrɪŋ ðɛm tɪ seɪ ə ˈeɪʤənt, ər ˈgɪvɪŋ ðɛm ə ˈmoʊmənt əv meɪ bi ˈeɪbəl tɪ wərk ˈwəndərz. ʤɪst bi ʃʊr ju doʊnt kəm ɔf ɛz ˈʧizi ər ən ˈɑbviəs brown-noser*; traɪ ˈsəmθɪŋ laɪk "ˈæskɪŋ ə ˈfeɪvər fər ə jəŋ hu wɔnts tɪ bi ə siaɪeɪ ˈeɪʤənt". jʊr story?â€*?†ɪz səʧ ə ˈklæsɪk kˈwɛʃən ənd ˈnɪrli ˈɛvriˌwən həz ə ˈstɔri wɪθ ðɛm ˈfiʧərd ɛz ðə proʊˈtægənəst. ˈivɪn ““evilâ€*†ər ˈəðərˌwaɪz ““immoralâ€*†ˈpipəl ˈɔfən kənˈvɪns ðɛmˈsɛlvz ðət ðeɪ ər ðə gʊd gaɪ (ˈklæsɪk ɪgˈzæmpəl ɪz ˈhɪtlər). ˌəndərˈstændɪŋ ðɛr ˈɪnər ˈstɔri ɪz ðə moʊst ˌɪmˈpɔrtənt pɑrt ɪts ðə θrɛd ðeɪ klɪŋ tɪ, ðə lɔz əv ðɛr ˈjunəˌvərs. əˈbjuzɪŋ ˈpipəlz oʊn ˌsɛlˈfɪntəˌrɛst ɪz ɛz kloʊz ɛz ju kən gɪt tɪ ə ruleâ€*†fər seɪ ɪn tərmz əv ˈifɛktɪvnəs ənd ðə ˈɪnər ˈstɔri ɪz əˈbaʊt ɛz ““self-interestedâ€*†ɛz ju kən gɪt. ju ˈɔlsoʊ gɪt ðə ˈædɪd ædˈvæntɪʤ əv priˈdɪkʃən; ɪf ju noʊ ðə ˈɪnər ˈstɔri ðɛn ju ʃʊd hæv fænˈtæstɪk əˈbɪləˌti tɪ prɪˈdɪkt haʊ ˈpipəl wɪl ˈlaɪkli riækt. naʊ noʊ priˈdɪkʃən ɪz ˈpərˌfɪkt ənd ju wɪl stɪl nid tɪ hæv ““outsâ€*†ˈɑkə weɪz tɪ ˈmɪtəˌgeɪt rɪsk sɪns ˈpipəl ər ˈdaʊnˌraɪt ˌɪˈlɑʤɪkəl (ˈivɪn ɪn ðɛr oʊn ˈstɔriz) jɛt ðɪs simz tɪ hæv ðə haɪəst rɪˈtərn reɪt aɪv sin. si bɪˈloʊ fər tu ɪgˈzæmpəlz. ɛks 1 wərk ˈwəri wɔrt ˈsəmˌwən æt wərk kips ˈweɪstɪŋ taɪm ˈwəriɪŋ əˈbaʊt ɪf wi wɪl ˈfɪnɪʃ ə ˈprɑʤɛkt ɔn taɪm ənd haʊ wi kən ˌɪmˈpruv ɪt wɪʧ prɪˈvɛnts ˈjuˈɛs frəm duɪŋ ðə ˈækʧəwəl wərk. kəm tɪ ðɛm ˈæskɪŋ ə ˈfeɪvər (ʃoʊz ju ˈvælju ðɛr ˈɛkspərt əˈpɪnjən) ənd seɪ səm ˌvɛriˈeɪʃən əv "heɪ, aɪ hæd ə rəf naɪt læst naɪt ənd wɑz ˈhoʊpɪŋ ju kʊd ʧɛk maɪ mæθ tɪ kənˈfərm maɪ səˈspɪʃən. aɪ gɑt ˈwərid ˈæftər ˈhirɪŋ jʊr pɔɪnts ənd ju ər raɪt! wi ˈrɪli doʊnt hæv məʧ taɪm lɛft ənd, wərs jɛt, æt ðɪs pɔɪnt ɪt simz wi ʤɪst ˈbɛrli hæv ɪˈnəf taɪm tɪ goʊ wɪθ ðə ərˈɪʤənəl plæn. wət du ju θɪŋk?". ðeɪ fil greɪt bɪˈkəz ðeɪ wər ˈvælədeɪtəd twaɪs (aɪ θɪŋk ðɛr ˈɛkspərt ənd aɪ əˈgri) ənd aɪ gɪt ðə kənˈkluʒən aɪ wɔnt (ʃət əp ənd gɪt bæk tɪ wərk). ðɪs kən ˈɔlsoʊ kriˈeɪt ə "ˈgreɪsfəl ˈɛksət" ɪn wɪʧ ðeɪ kən ˈriəˌlaɪz ə ənd stɪl hæv ən "aʊt" tɪ bɪˈliv ðeɪv seɪvd feɪs ər "pʊld wən ˈoʊvər" ɔn ju. ju wɔnt tɪ ˈɛnʤəˈnɪr "aʊt" ˌsɪʧuˈeɪʃənz fər ˈpipəl tɪ ˈwɪlɪŋli teɪk ənd "meɪk ðɛr oʊn aɪˈdiə" aʊt əv. ɛks 2 ˌnɑrsɪˈsɪstɪk bɔs traɪ pərsˈweɪdɪŋ ə ˌnɑrsɪˈsɪstɪk bɔs fər ə reɪz baɪ əˈpilɪŋ tɪ ðɛr ˈigoʊ wɪθ ˈsəmθɪŋ laɪk "aɪv ˈrɪli ˈlərnɪd soʊ məʧ frəm ju ðɪs pæst jɪr, aɪv bɪn ˈmeɪkɪŋ greɪt straɪdz ɔn ðiz ˈprɑʤɛkts θæŋks tɪ jʊr ˈgaɪdəns, hæv haɪ ˌɛtˈsɛtərə". bi spɪˈsɪfɪk, spɪt bæk ədˈvaɪs ðeɪ geɪv ju ənd haʊ ɪt ˈgreɪtli hɛlpt laɪ əˈbaʊt ðɛm ˈgɪvɪŋ gʊd ədˈvaɪs ɪf ju hæv tɪ. ðɪs kriˈeɪts ə "ˈplizɪŋ" ˈævəˌnu fər ðɛm tɪ əˈgri wɪθ ju ðət ˈvæləˌdeɪts ənd fjuəlz ðɛr oʊn səˈbʤɛktɪv ˌəndərˈstændɪŋ əv ˌriˈæləˌti ˈɑkə ðə "ˈstɔri" ðeɪ tɛl ðɛmˈsɛlvz. ɪn ðɛr maɪnd ðeɪ ər ˈlaɪkli ˈθɪŋkɪŋ əv ju ɛz ən naʊ ənd ər seɪɪŋ tɪ ðɛmˈsɛlvz "ju noʊ, ˈrɪli həz meɪd səm greɪt straɪdz ˈəndər maɪ leadership/guidance*". ɪts nɑt əˈbaʊt əˈbʤɛktɪv raɪt ənd rɔŋ ju kænt θɪŋk laɪk ðət. ˈjumənz ər ˈɔfən ˌɪˈlɑʤɪkəl, ˌɪˈræʃənəl ənd ˈiˌmoʊʃənəl. ɪn ðɪs ɪgˈzæmpəl ju ərˈɪʤənəli hæd ˈsəmθɪŋ ju ˈwɔntɪd wɪʧ ˌɪndərˈɛkˌtli kriˈeɪtɪd ə ˈprɑbləm fər ðə bɔs; ˈkəmpəˌniz doʊnt sərˈvaɪv baɪ ˈfrili ˈgɪvɪŋ aʊt ˈreɪzɪz soʊ naʊ ðɛr ɪz ə tɪ meɪk ɔn haʊ "ˈwərði" ju ər. ə ˈnɑrsɪsɪst ɪz ˈlaɪkli tɪ bɪˈliv ðə timz səkˈsɛs ɪz beɪst ɔn ðɛm ənd nɑt ju (wɪʧ ɪz ə ˈmeɪʤər ˈprɑbləm fər ju) soʊ ˈkəmɪŋ tɪ ðə kənˈkluʒən ðət ju ˈrɪli "pʊld ˈjɔrsɛlf əp baɪ jʊr ˈbutˌstræps ənd pərˈfɔrmd wɛl" ˈkɑnflɪkts wɪθ ðɛr ˌəndərˈstændɪŋ əv ˌriˈæləˌti ənd meɪ meɪk ðɛm ˈfɪrfəl əv ju ˈgənɪŋ fər ðɛr pəˈzɪʃən. ju ˈsɪmpləˌfaɪ ðɪs ˈkɑnflɪkt baɪ prɪˈzɛntɪŋ ɪt ɪn ə weɪ ðət ˌriɪnˈfɔrsɪz ðɛr ˌnɑrsɪˈsɪstɪk bɪˈlif ðət ju ər ðə əˈprɛntɪs ənd ðət ðeɪ ər ˈəltəmətli riˈspɑnsəbəl fər jʊr səkˈsɛs ˈivɪn ɪf ðeɪ hæd ˈnəθɪŋ tɪ du wɪθ ɪt. nɛkst poʊst
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Perspectivism and Inner Story
Welcome to the start of the Social Engineering Basics series! Here we'll look at Nietzsche's Perspectivism, The Thomas Theorem, and then dive into abusing people's self interest via our "inner story".
Nietzsche's Perspectivism and The Thomas Theorem
Our world is not a meritocracy; it is not based on fact, merit, or objective reality. Arguing from these stances is usually a fruitless endeavor and a grand waste of time/energy unless your target audience is moved by these types of arguments (think STEM majors etc). It can also lead to the Backfire Effect in which people can become more entrenched in their beliefs even after being presented with evidence showing they are wrong.
Will to Power, Aphorism 481:
In so far as the word “knowledge†has any meaning, the world is knowable; but it is interpretable otherwise, it has no meaning behind it, but countless meanings. It is our needs that interpret the world; our drives and their For and Against. Every drive is a kind of lust to rule; each one has its perspective that it would like to compel all the other drives to accept as a norm.
Take a look at the Thomas Theorem as well.
Thomas Theorem:
If a person perceives a situation as real then it is real in its consequences.
What these two men are saying boils down to this: a person's perception of a situation has a very real effect on their thoughts, beliefs, and actions regardless of what the objective truth of the matter is. The same can be said for patients suffering from dementia or people hallucinating - if they believe the false reality to be real then it's effects are very real. There are countless meanings that can be derived from both logical and illogical standpoints and the importance of this for SE is immense; a good example is the "imaginary" value people and society ascribe to fiat money.
SE's Golden Rule: Abusing Self Interest
The single best, highest rate of return method for manipulating others has always been/will always be abusing self-interest (not that it is the only way but more on that later). Our goal is to present our manipulation in ways that confirm prior held beliefs, do not conflict with their beliefs, or at least make life "easier" on people in some way. This can be seen rehashed in many places from the 32nd law of power (play to people's fantasies) to quotes from famous writers/thinkers. A few examples:
Blaise Pascal's "Convince by telling them they are right"
When we wish to correct with advantage, and to show another that he errs, we must notice from what side he views the matter, for on that side it is usually true, and admit that truth to him, but reveal to him the side on which it is false. He is satisfied with that, for he sees that he was not mistaken, and that he only failed to see all sides. Now, no one is offended at not seeing everything; but one does not like to be mistaken, and that perhaps arises from the fact that man naturally cannot see everything, and that naturally he cannot err in the side he looks at, since the perceptions of our senses are always true.... People are generally better persuaded by the reasons which they have themselves discovered than by those which have come into the mind of others.
32nd Law of Power - Play to People's Fantasies
"The truth is often avoided because it is ugly and unpleasant. Never appeal to truth and reality unless you are prepared for the anger that comes from disenchantment. Life is so harsh and distressing that people who can manufacture romance or conjure up fantasy are like oases in the desert: Everyone flocks to them. There is great power in tapping into the fantasies of the masses."
From "Lake Woebegon" (as mentioned by V.Rao in "A Playbook for Sociopaths")
Welcome to Lake Wobegon,
where all the women are strong,
all the men are good-looking,
and all the children are above average.
From "Wisdom of the Sands" by Antoine de Saint-Exupery
If you want to build a ship, don't drum up the men to gather wood, divide the work and give orders. Instead, teach them to yearn for the vast and endless sea.
The Inner Story
Fundamentally humans are story-tellers by nature and we love a good story; for most we are the center of that story (aka we are the “good guyâ€/protagonist). The world is often cruel, impersonal, and harsh so most will seek “comfort zones†by ignoring things they don't like, seeking out things that bring pleasure/happiness, or seeking out things that confirm their beliefs. You need to build your plan to fit that model for each person and, for heuristic purposes, you need to build it based on common traits of the group.
Group Heuristic Ex:
At work security guards can often be hated, viewed as a nuisance, or at least get treated indifferently at minimum - being "overly nice" to them, comparing them to say a FBI/Secret Agent, or giving them a moment of happiness/entertainment may be able to work wonders. Just be sure you don't come off as cheesy or an obvious brown-noser; try something like "asking a favor for a young cousin/son who wants to be a CIA agent".
“What's your story?†is such a classic question and nearly everyone has a story with them featured as the protagonist. Even “evil†or otherwise “immoral†people often convince themselves that they are the good guy (classic example is Hitler).
Understanding their inner story is the most important part - it's the thread they cling to, the laws of their universe. Abusing people's own self-interest is as close as you can get to a “golden rule†for SE in terms of effectiveness and the inner story is about as “self-interested†as you can get.
You also get the added advantage of prediction; if you know the inner story then you should have fantastic ability to predict how people will likely react. Now no prediction is perfect and you will still need to have “outs†aka ways to mitigate risk since people are downright illogical (even in their own stories) yet this seems to have the highest return rate I've seen. See below for two examples.
Ex 1: Work Worry Wart
Someone at work keeps wasting time worrying about if we will finish a project on time and how we can improve it which prevents us from doing the actual work. Come to them asking a favor (shows you value their expert opinion) and say some variation of "Hey, I had a rough night last night and was hoping you could check my math to confirm my suspicion. I got worried after hearing your points and you are right! We really don't have much time left and, worse yet, at this point it seems we just barely have enough time to go with the original plan. What do you think?". They feel great because they were validated twice (I think they're expert and I agree) and I get the conclusion I want (shut up and get back to work). This can also create a "graceful exit" in which they can realize a mistake/fact and still have an "out" to believe they've saved face or "pulled one over" on you. You want to engineer "out" situations for people to willingly take and "make their own idea" out of.
Ex 2: Narcissistic Boss
Try persuading a narcissistic boss for a raise by appealing to their ego with something like "I've really learned so much from you this past year, I've been making great strides on these projects thanks to your guidance, have high numbers/satisfaction etc". Be specific, spit back advice they gave you and how it greatly helped - lie about them giving good advice if you have to. This creates a "pleasing" avenue for them to agree with you that validates and fuels their own subjective understanding of reality aka the "story" they tell themselves. In their mind they are likely thinking of you as an apprentice/protege now and are saying to themselves "you know, he/she really has made some great strides under my leadership/guidance".
It's not about objective right and wrong - you can't think like that. Humans are often illogical, irrational and emotional. In this example you originally had something you wanted which indirectly created a problem for the boss; companies don't survive by freely giving out raises so now there is a decision/judgement to make on how "worthy" you are. A narcissist is likely to believe the teams success is based mostly/solely on them and not you (which is a major problem for you) so coming to the conclusion that you really "pulled yourself up by your bootstraps and performed well" conflicts with their understanding of reality and may make them fearful of you gunning for their position. You simplify this conflict by presenting it in a way that reinforces their narcissistic belief that you are the apprentice and that they are ultimately responsible for your success even if they had nothing to do with it.
Next post
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wɛl ɪn jʊr fərst lɪŋk ju ˌɪnˈsəltɪd ˈwɪmən ənd meɪd ˈjuˈɛs saʊnd dəm. "kænt tɛl ə ˈkæʒəwəl ər ˈsɪriəs riˈleɪʃənˌʃɪp əˈpɑrt, ər ˈɪnfluəns baɪ ˈprɪnsɛs ˈfɛri teɪlz," ənd ju ˈɑbviəsli meɪk ˈrɪli fɑr fɛʧt ˌʤɛnərələˈzeɪʃənz. ɪf ju ər goʊɪŋ tɪ ðət ðɛn jɛs, wi wɪl bæʃ ju. ʤɪst laɪk jʊd bæʃ ə ˈwʊmən hu grups ɔl mɛn təˈgɛðər beɪst ɔn ɪkˈspɪriəns ʃiz hæd wɪθ laɪk 5 gaɪz ɪn ril laɪf. ˈɔlsoʊ wɪn ˈpipəl ər ˈbleɪtəntli rɔŋ ðɛn jɛs, ju wɪl ˈɔlsoʊ gɪt bæʃt. ju kænt seɪ fɔls θɪŋz ənd ɪkˈspɛkt ˈpipəl tɪ nɑt tɛl ju ðət ju ər rɔŋ ɪn jʊr ˈmaɪndˌsɛt. ɪn jʊr ˈsɛkənd lɪŋk ju æst ˈjuˈɛs fər ɑr əˈpɪnjənz, wi geɪv ðɛm. ɪf ju du nɑt laɪk ˈpipəl ˈhævɪŋ əˈpɪnjənz ˈdɪfərənt tɪ jʊrz ðən doʊnt æsk ðɛm. ˈɔlsoʊ doʊnt ʤɪst əˈsum jʊr vju pɔɪnt ɪz ðə ˈoʊnli kərˈɛkt wən. ɪts jʊr əˈpɪnjən. ɛz fər jʊr kˈwɛʃən, ju doʊnt hæv tɪ. noʊ wən ɪz seɪɪŋ ju nid tɪ rɪˈspɛkt ˈpipəl hu əˈfɛnd ju ər ˈpeɪtrəˌnaɪzəz ju. ðɛrz noʊ wən bɪˈhaɪnd ju wɪθ ə gən. soʊ doʊnt rɪˈspɛkt ðɛm ðɛn. ʤɪst doʊnt bi ə ˈhɪpəˌkrɪt ənd θɪŋk ɪts rɔŋ wɪn ˈsəmˌwən ˈʤəʤɪz ənd ˈrɪdəˌkjulz ju fər θɪŋz ðət səm ˈəðər mɛn hæv dən waɪl ju ˈoʊpənli heɪt ɔn ɔl ˈfɛmənɪsts. ju ʃʊd bi ˈwɪlɪŋ ðɛn tɪ teɪk ɪt wɪn ðə ˈteɪbəlz hæv tərnd tu.
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well in your first link you insulted women and made us sound dumb. "can't tell a casual or serious relationship apart, are influence by princess fairy tales," and you obviously make really far fetched generalizations. if you are going to that then yes, we will bash you. just like you'd bash a woman who groups all men together based on experience she's had with like 5 guys in real life. also when people are blatantly wrong then yes, you will also get bashed. you can't say false things and expect people to not tell you that you are wrong in your mindset.
in your second link you asked us for our opinions, we gave them. if you do not like people having opinions different to yours than don't ask them. also don't just assume your view point is the only correct one. it's your opinion.
as for your question, you don't have to. no one is saying you need to respect people who offend you or patronizes you. there's no one behind you with a gun. so don't respect them then. just don't be a hypocrite and think it's wrong when someone judges and ridicules you for things that some other men have done while you openly hate on all feminists. you should be willing then to take it when the tables have turned too.
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ɪt həz spɛnt ˈhɛvəli ɔn ˈmɪlɪˌtɛri ɪkˈspænʧən dɪˈspaɪt ɪts ˈpɑvərti ɔn ən ɑrmz reɪs ɪt ˈkænɑt wɪn, əˈkɔrdɪŋ tɪ ən ˌɛdəˈtɔriəl ɪn ˈʧaɪnəz ˈgloʊbəl taɪmz ˈnuzˌpeɪpər. ðə ˌɛdəˈtɔriəl wɑz ˈpəblɪʃt ˈæftər ˈɪndiə kleɪmd ɪts səkˈsɛsfəl tɛst əv ðə vi mɛnt ɪt hæd ʤɔɪnd ðə ɪˈlit grup əv ˈkəntriz wɪθ ˌɪntərˌkɑntəˈnɛntəl bəˈlɪstɪk ˈmɪsəl ˌkeɪpəˈbɪlətiz. ðə ˈmɪsəl kən hɪt ˈɛni ˈsɪti wɪˈθɪn 3000 maɪəlz wɪθ ə ˈnukliər wɔr hɛd. ðə əˈgrɛsɪv toʊn ˈteɪkən baɪ ðə ˈgloʊbəl taɪmz kənˈtræstəd wɪθ ðə əˈfɪʃəl riˈækʃən əv ɪts ˈfɔrən ˈmɪnɪstri wɪʧ sɛd ˈɪndiə ənd ˈʧaɪnə wər nɑt ˈraɪvəlz bət "ˌkoʊˈɑˌpərətɪv ˈpɑrtnərz. wi ʃʊd ˈʧɛrɪʃ ðə moʊˈmɛntəm əv co-operation*," sɛd ɪts ˈspoʊksmən lju weimin*. "ˈɪndiə ɪz stɪl pur ənd lægz bɪˈhaɪnd ɪn ˌɪnfrəˈstrəkʧər kənˈstrəkʃən, bət ɪts soʊˈsaɪɪti ɪz ˈhaɪli səˈpɔrtɪv əv dɪˈvɛləpɪŋ ˈnukliər paʊər ənd ðə wɛst ˈʧuzɪz tɪ ˈoʊvərˌlʊk ˈɪndiəz ˌdɪsrɪˈgɑrd əv ˈnukliər ənd ˈmɪsəl kənˈtroʊl ˈtritiz. ðə wɛst rɪˈmeɪnz ˈsaɪlənt ɔn ðə fækt ðət ˈɪndiəz ˈmɪlɪˌtɛri ˈspɛndɪŋ ˌɪnˈkrist baɪ 17 pər sɛnt ɪn 2012 ənd ðə ˈkəntri həz əˈgɛn bɪˈkəm ðə ˈlɑrʤəst ˈwɛpənz ˌɪmˈpɔrtər ɪn ðə wərld. "ˈɪndiə ʃʊd nɑt ˌoʊvərˈɛstəˌmeɪt ɪts strɛŋθ. ˈivɪn ɪf ɪt həz ˈmɪsəlz ðət kʊd riʧ moʊst pɑrts əv ˈʧaɪnə, ðət dɪz nɑt min ɪt wɪl geɪn ˈɛniˌθɪŋ frəm biɪŋ ˈɛrəgənt ˈdʊrɪŋ dɪˈspjuts wɪθ ˈʧaɪnə. ˈɪndiə ʃʊd bi klɪr ðət ˈʧaɪnəz ˈnukliər paʊər ɪz ˈstrɔŋgər ənd mɔr rɪˈlaɪəbəl. fər ðə fɔrˈsiəbəl fˈjuʧər, ˈɪndiə wʊd stænd noʊ ʧæns ɪn ən ˈoʊvərˌɔl ɑrmz reɪs wɪθ ˈʧaɪnə," ðə ˌɛdəˈtɔriəl kleɪmd. ɪt ˈɔlsoʊ wɔrnd ˈɪndiə əˈgɛnst ˈsərvɪŋ ðə ˈɪntəˌrɛst əv ðə juˈnaɪtɪd steɪts ənd ˈəðər ˈwɛstərn ˈpɑrtnərz ɪn ˈsikɪŋ tɪ "kənˈteɪn" ˈʧaɪnəz ɪkˈspænʧən. "ˈɪndiə ʃʊd ˈɔlsoʊ nɑt ˈoʊvərˌsteɪt ðə ˈvælju əv ɪts ˈwɛstərn ˈælaɪz ənd ðə ˈprɑfɪts ɪt kʊd geɪn frəm pɑrˈtɪsəˌpeɪtɪŋ ɪn ə kənˈteɪnmənt əv ˈʧaɪnə. ɪf ɪt ɪkˈweɪts lɔŋ reɪnʤ strəˈtiʤɪk ˈmɪsəlz wɪθ dɪˈtərəns əv ˈʧaɪnə, ənd stərz əp ˈfərðər hɑˈstɪləti, ɪt kʊd bi ˈsɔrli mɪˈsteɪkən," ɪt wɔrnd.
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it has spent heavily on military expansion despite its poverty on an arms race it cannot win, according to an editorial in china's state-controlled global times newspaper.
the editorial was published after india claimed its successful test of the agni v meant it had joined the elite group of countries with intercontinental ballistic missile capabilities. the missile can hit any city within 3000 miles with a nuclear war head.
the aggressive tone taken by the global times contrasted with the official reaction of its foreign ministry which said india and china were not rivals but "co-operative partners. we should cherish the hard-earned momentum of co-operation," said its spokesman liu weimin.
"india is still poor and lags behind in infrastructure construction, but its society is highly supportive of developing nuclear power and the west chooses to overlook india's disregard of nuclear and missile control treaties. the west remains silent on the fact that india's military spending increased by 17 per cent in 2012 and the country has again become the largest weapons importer in the world.
"india should not overestimate its strength. even if it has missiles that could reach most parts of china, that does not mean it will gain anything from being arrogant during disputes with china. india should be clear that china's nuclear power is stronger and more reliable. for the foreseeable future, india would stand no chance in an overall arms race with china," the editorial claimed.
it also warned india against serving the interest of the united states and other western partners in seeking to "contain" china's expansion.
"india should also not overstate the value of its western allies and the profits it could gain from participating in a containment of china. if it equates long range strategic missiles with deterrence of china, and stirs up further hostility, it could be sorely mistaken," it warned.
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netflix’s* ˌsaɪˈfaɪ ænˈθɔləˌʤi ˈsɪriz mirror”*” həz tæpt tu ˈæktrəsɪz fər lɛd roʊlz, ðə ˈstrimɪŋ ˈsərvɪs əˈnaʊnst ˈsənˌdi æt ðə ˈtɛləˌvɪʒən ˈkrɪtɪks əˌsoʊʃiˈeɪʃən ˈwɪntər prɛs tʊr ɪn ˌpæsəˈdinər, ˈkælɪf. ˈbrɪtɪʃ stɑr ðə lights,”*,” ““concussion”*”) ənd məˈkɛnzi ˈdeɪvɪs ənd kæʧ fire,”*,” martian”*”) wɪl stɑr ɪn wən əv ðə ˈɛpɪˌsoʊdz əv ðə ˈəpˌkəmɪŋ ərˈɪʤənəl ˈsɪriz, tɪ bi dɪˈrɛktɪd baɪ oʊən ˈhɛrɪs jʊr friends”*”). kriˈeɪtɪd ənd ˈrɪtən baɪ ˈʧɑrli ˈbrʊkər, mirror”*” ɪz prəˈdust baɪ haʊs əv təˈmɑˌroʊ, wɪθ ˈbrʊkər ənd ˈænəˌbɛl ʤoʊnz ˈsərvɪŋ ɛz ɪgˈzɛkjətɪv prəˈdusərz. ˈpriviəsli ˈɔrdərd 12 ˈɛpɪˌsoʊdz læst sɛpˈtɛmbər. ðə ˌɪtəˈreɪʃən ɪz beɪst ɔn ðə hɪt ˈbrɪtɪʃ ˈsɪriz əv ðə seɪm neɪm, wɪʧ geɪnd ˌpɑpjəˈlɛrəti ˈsteɪtˈsaɪd ˈæftər əkˈwaɪərd ɪkˈsklusɪv ˈstrimɪŋ raɪts fər ðə ərˈɪʤənəl ˈsɛvən ˈɛpɪˌsoʊdz. ðə moʊst ˈrisənt ˌɪnˈstɔlmənt əv ðə ˈbrɪtɪʃ ˈvərʒən stɑrd men’s”*” ʤɑn hæm ɪn ə ˈkrɪsməs ˈspɛʃəl wɪʧ ɛrd ɪn dɛk. 2014 ðə u.k*. ˈɛpɪˌsoʊdz wər ˈɔlsoʊ ɪgˈzɛkjətɪv prəˈdust baɪ ˈbrʊkər ənd ʤoʊnz, wɪθ ˈbrʊkər ˈpɛnɪŋ ɔl ˈpriviəs ˌɪnˈstɔlmənts. ɔl ˈvɛri ɪkˈsaɪtɪŋ ə hoʊl nu bənʧ əv mirror’*’ ˈɛpɪˌsoʊdz ɔn ðə moʊst ˈfɪtɪŋ ˈplætˌfɔrm imaginable,”*,” sɛd ˈbrʊkər ɪn ə ˈsteɪtmənt æt ðə taɪm əv ˌækwəˈzɪʃən. kəˈnɛkts ˈjuˈɛs wɪθ ə ˈgloʊbəl ˈɔdiəns soʊ ðət wi kən kriˈeɪt ˈbɪgər, ˈstreɪnʤər, mɔr ˌɪnərˈnæʃənɑl ənd dɪˈvərs ˈstɔriz ðən ˌbiˈfɔr, waɪlst meɪnˈteɪnɪŋ ðət mirror’*’ fil. aɪ ʤɪst hoʊp nən əv ðiz nu ˈstɔri aɪˈdiəz kəm true.”*.” sɛd ˈsɪndi ˈhɑlənd, ˌviˈpi əv ərˈɪʤənəl ˈkɑntɛnt, həz kriˈeɪtɪd ə ˈsɪriz wɪθ ən ənˈkæni vɔɪs ənd ˈprɛsiənt, ˈdɑrkli kəˈmidɪk vision.”*.”
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netflix’s sci-fi anthology series “black mirror” has tapped two actresses for lead roles, the streaming service announced sunday at the television critics association winter press tour in pasadena, calif.
british star gugu mbatha-raw (“beyond the lights,” “concussion”) and canada’s mackenzie davis (“halt and catch fire,” “the martian”) will star in one of the episodes of the upcoming netflix original series, to be directed by owen harris (“kill your friends”).
created and written by charlie brooker, “black mirror” is produced by house of tomorrow, with brooker and annabel jones serving as executive producers. netflix previously ordered 12 all-new episodes last september.
the netflix iteration is based on the hit british series of the same name, which gained popularity stateside after netflix acquired exclusive streaming rights for the original seven episodes. the most recent installment of the british version starred “mad men’s” jon hamm in a christmas special which aired in dec. 2014.
the u.k. episodes were also executive produced by brooker and jones, with brooker penning all previous installments.
“it’s all very exciting — a whole new bunch of ‘black mirror’ episodes on the most fitting platform imaginable,” said brooker in a statement at the time of netflix’s acquisition. “netflix connects us with a global audience so that we can create bigger, stranger, more international and diverse stories than before, whilst maintaining that ‘black mirror’ feel. i just hope none of these new story ideas come true.”
said cindy holland, netflix’s vp of original content, “charlie has created a one-of-a-kind series with an uncanny voice and prescient, darkly comedic vision.”
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ɔˈstreɪljə ənd stɑrt kənˌsɪliˈeɪʃən tɔks ɪn ðə heɪg ɔn ˈmənˌdeɪ ɪn ən ˈɛfərt tɪ riˈzɑlv ðɛr ˈbɪtər ˈligəl dɪˈspjut ˈoʊvər ˈmærəˌtaɪm ˈbaʊndəriz ənd əv pəˈtroʊliəm raɪts. tiˈmɔr ˈɑrgjuz ðət ɔˈstreɪljə rɪfˈjuzɪz tɪ ˈrɛkəgˌnaɪz ɪts raɪts ˈəndər ˌɪnərˈnæʃənɑl lɔ. ðə kənˌsɪliˈeɪʃən ɪz kəmˈpəlsəri ˈəndər ðə ˈjuˈɛn lɔ əv ðə si kənˈvɛnʃən, bət ɪt wɪl nɑt ˈproʊdus ə ˈbaɪndɪŋ dɪˈsɪʒən. ðə ˌɪndɪˈpɛndənt meɪ ˌnənðəˈlɛs hɛlp boʊθ ˈkəntriz tɪ ˈklɛrəˌfaɪ ðə ˈligəl ˈɪʃuz ənd rɪˈflɛkt ɔn ðɛr kleɪmz ənd əˈʤəst ðɛm tɪ riʧ ə fɛr səˈluʃən. ˈleɪtli ɔˈstreɪljə həz bɪn ɔn ðə noʊz ɪn. grəˈfiti ɪz ˈsprɪŋkəld əraʊnd ðə ˈkæpɪtəl,. ˈθaʊzənz əv ˌtimɔˈriz ˈproʊˌtɛstəd ˈaʊtˈsaɪd ðə ɔˈstreɪljən ˈɛmbəsi ˈərliər ðɪs jɪr. ðə dɪˈspjut θˈrɛtənz ðə ˈgʊdˈwɪl frəm səˈpɔrt fər ˌɪndɪˈpɛndəns sɪns 1999 θɪŋz ər nɑt hɛlpt baɪ ˈɛspiənɑʤ kleɪmz ðət peɪnt ɔˈstreɪljə ɛz ðə ˈneɪbərˌhʊd ʧit ənd ˈbʊli. ðə ˈmɔrəli ˈbæŋkrəpt ˈfɔrən ˈpɑləsi ðət ɛnˈtrɛnʧɪz ɔˈstreɪljəz ˌrɛpjəˈteɪʃən ɛz ə ˈriʤənəl ˈbʊli tɑm klɑrk rɛd mɔr ɔˈstreɪljə dɪˈnaɪz ˈbriʧɪŋ ˌɪnərˈnæʃənɑl lɔ. ðə ˈligəl ˈɪʃuz ər nɑt klɪr kət. tiˈmɔr ənd ɔˈstreɪljə əˈgrid ɔn θri ˈtritiz frəm 2002 ənd 2006 tɪ ʃɛr ˈrisɔrsɪz ɪn əˈʤeɪsənt ˈmærəˌtaɪm ˈɛriəz ənd tɪ səˈspɛnd ˈmærəˌtaɪm ˈbaʊndəri kleɪmz fər 50 jɪrz. tiˈmɔr həz əˈmæst ə pəˈtroʊliəm fənd ɛz ə rɪˈzəlt. ɔˈstreɪljə meɪ bi raɪt tɪ ˈɑrgju ðət ɪt ɪz ˈlɔfəl tɪ ˈmænɪʤ dɪˈspjuts ɪn ðɪs weɪ. ɪn ˈpræktɪs, ˌhaʊˈɛvər, tiˈmɔr hæd ˈlɪtəl ʧɔɪs bət tɪ kət ə dil. ɪn 2002 ɔˈstreɪljə wɪθˈdru ɪts kənˈsɛnt tɪ ðə kəmˈpəlsəri ˈsɛtəlmənt əv ˈmærəˌtaɪm ˈbaʊndəri dɪˈspjuts æt ðə ˌɪnərˈnæʃənɑl kɔrt əv ˈʤəstɪs ənd ˈəndər ðə ˈjuˈɛn lɔ əv ðə si kənˈvɛnʃən. ðɪs wɑz ˈtɛknɪkəli ˈligəl. ˈkəntriz meɪ gɪv ər wɪθˈhoʊld ðɛr kənˈsɛnt ɪn ədˈvæns tɪ ˌɪnərˈnæʃənɑl əˌʤudəˈkeɪʃən. tiˈmɔr wɑz ðəs prɪˈvɛnɪd frəm suɪŋ ɔˈstreɪljə ɪn ən ˌɪndɪˈpɛndənt kɔrt ˈivɪn ɪf ɪts ˈsəbstəntɪv ˈligəl kleɪmz tɪ ˈmærəˌtaɪm ˈbaʊndəriz wər kərˈɛkt. ɔˈstreɪljə prɪˈfərz nɪˌgoʊʃiˈeɪʃən ɔn ˈbaʊndəri dɪˈspjuts tɪ əˌʤudəˈkeɪʃən. nɪˌgoʊʃiˈeɪʃən həz səm ædˈvæntɪʤɪz. bət ɪt ˈɔlsoʊ ˈɔfən ˈbɛnəfɪts ə ˈkəntri wɪθ mɔr ˈbɑrgɪnɪŋ paʊər, ɛz ɪn ðə juʤ ɪmˈbæləns bɪtˈwin ɔˈstreɪljə ənd tiˈmɔr. ˈʧaɪnə ˈsɪmələrli prɪˈfərz nɪˌgoʊʃiˈeɪʃən ˈoʊvər kɔrts ɪn ðə saʊθ ˈʧaɪnə si bɪˈkəz ɪt həz mɔr ˈlɛvərɪʤ ˈoʊvər ɪts ˈneɪbərz. wɪn nɪˌgoʊʃiˈeɪʃən breɪks daʊn, ðɛr ɪz ðɛn noʊ ˌɪndɪˈpɛndənt kɔrt tɪ əˈplaɪ ˌɪnərˈnæʃənɑl lɔ, wɪʧ prəˈvaɪdz ðə ˌəndərˈlaɪɪŋ rulz ɔn wɛr ˈbaʊndəriz ʃʊd bi drɔn. ən əbˈstrəktɪv ˈkəntri kən ˈsɪmpli ˈrɛfˌjuz tɪ riʧ əˈgrimənt ər tɪ ˈrɛkəgˌnaɪz əˈnəðər raɪts. tiˈmɔr naʊ ˈɑrgjuz ðət ðə 2006 ˈtriti ɪz ˌɪnˈvæləd bɪˈkəz ɔˈstreɪljə spaɪd ɔn ɪts ˈtriti nɪˈgoʊʃiˌeɪtərz, ðəs ˈgeɪnɪŋ ən ˌɔnˈfɛr ædˈvæntɪʤ. waɪl spaɪɪŋ əˈloʊn dɪz nɑt ˌɪnˈvælɪˌdeɪt ə ˈtriti, frɔd kən. ɪt ɪz ənˈtɛstɪd ˈwɛðər ˈɛspiənɑʤ ˈkɑnstəˌtuts frɔd. ðət kleɪm ɪz biɪŋ ˈtɛstɪd ɪn əˈnəðər keɪs, ə ˈbaɪndɪŋ ˌɑrbɪˈtreɪʃən bɪtˈwin ɔˈstreɪljə ənd tiˈmɔr ˌɪtˈsɛlf ˈtɑrnɪʃt baɪ ˈsiʒər əv ˈdɑkjəmənts frəm ˈlɔjər ɪn ˌkænˈbɛrə, ˈbərnərd collaery*. ɪn 2014 ðə ˌɪnərˈnæʃənɑl kɔrt əv ˈʤəstɪs ˈɔrdərd ɔˈstreɪljə nɑt tɪ ˌɪnərˈfɪr wɪθ ˈligəl kəmˌjunəˈkeɪʃənz, sɪns duɪŋ soʊ meɪ ˈəndərˌmaɪn ðə ɪkˈwɑləti əv ˈpɑrtiz tɪ ə dɪˈspjut ˈəndər ðə juˈnaɪtɪd ˈneɪʃənz ˈʧɑrtər. ɔˈstreɪljə ˌɪˈligəli ˈɑkjəˌpaɪɪŋ ˈmærəˌtaɪm ˈtɛrɪˌtɔri əv, ˈproʊˌtɛstərz seɪ rɛd mɔr ɪf ðə ˈtriti ɪz ˌɪnˈvæləd ɪt wʊd riˈoʊpən ðə ˈbaʊndəri ənd ˈrisɔrs ˈɪʃuz. tiˈmɔr kleɪmz ðət dɪˈtərmənɪŋ ðə ˈmærəˌtaɪm ˈbaʊndəri ɪn əˈkɔrdəns wɪθ ˌɪnərˈnæʃənɑl lɔ wʊd gɪv ɪt ɪkˈsklusɪv ˈoʊnərˌʃɪp ˈoʊvər ˈsərtən ˈrisɔrsɪz ˈkərəntli ʃɛrd wɪθ ɔˈstreɪljə. ˈɛkspərts ˈdɪfər ɔn wɛr ðə ˈbaʊndəri maɪt ˈæˌkʧuəli bi drɔn, ˌɪnˈkludɪŋ ɪf ˌɪndoʊˈniʒə kʊd ɪkˈstɛnd ɪts ˈbaʊndəri æt ɪkˈspɛns. ðɛr ər ˈpræktɪkəl kənˈsərnz tu əˈbaʊt ðə ˌɛkəˈnɑmɪk ənd ɪnˌvaɪrənˈmɛnəl ˌfizəˈbɪləti əv æmˈbɪʃəs dɪˈvɛləpmənt plænz. ˈbaʊndəri kleɪmz ər ˌnənðəˈlɛs strɔŋ. læst ˈmɪnət, pərˈɛmptəri rɪˈmuvəl əv ˌɪnərˈnæʃənɑl ʤuˈdɪʃəl ˈoʊvərˌsaɪt ɪn 2002 meɪ wɛl ˈɪndəˌkeɪt ðət ɪt ˈpraɪvətli əˈgriz. ˈəltəmətli, wət ɪz ˈtɛknɪkəli ˈligəl meɪ nɑt ˌnɛsəˈsɛrəli bi waɪz, ʤɪst, ər ˈɛθɪkəl ˈfɔrən ˈpɑləsi. ðɛr ɪz ən ˌɪnɪˈskeɪpəbəl pərˈsɛpʃən ðət ɔˈstreɪljə ɪz dɪˈnaɪɪŋ ɪts ˈtaɪni, ˌɪmˈpɑvrɪʃt ˈneɪbər ɪts ˈsɑvrən ˈbərθˌraɪt tɪ dɪˈtərmən ɪts ˈbaʊndəriz, kənˈtroʊl ɪts oʊn ˈrisɔrsɪz, ənd ʃeɪp ɪts oʊn ˈdɛstəni. ðɪs daɪˈnæmɪk kənˈtæməˌneɪts ðə ˈwaɪdər baɪˈlætərəl riˈleɪʃənˌʃɪp. ðə dɪˈspjut ˈkænɑt bi vjud ɪn ˌaɪsəˈleɪʃən bət ɪz pɑrt əv ə lɔŋ ˈhɪstəri əv bæd feɪθ baɪ ɔˈstreɪljə ðət kənˈtɪnjuz tɪ ˈpɔɪzən riˈleɪʃənz ənd kəroʊd trəst. frəm ðə leɪt 1970s*, səkˈsɛsɪv ɔˈstreɪljən ˈgəvərnmənts ˌɪˈligəli ˈrɛkəgˌnaɪzd ˌɪndoʊˈniʒən ˈsɑvrənti ˈoʊvər tiˈmɔr. rɪˈzɪstəns mˈjuziəm dɪˈspleɪz ən ˈɪnfəməs ˈfoʊˌtoʊ əv ðə ðɛn ˈfɔrən ˈmɪnɪstərz, ˈgɛrɪθ ˈɛvənz ənd ˈɑli əˈlɑtəs, ˈtoʊstɪŋ ʃæmˈpeɪn ɪn flaɪt əˈbəv ðə tiˈmɔr si, ˈæftər ˈkɑrvɪŋ əp ðə ˈrisɔrs spɔɪlz fɑr bɪˈloʊ ɪn 1988 ˈtɑnjə plibersek*: ɔˈstreɪljə məst rɪˈstɔr 'ˈpɔɪzənd riˈleɪʃənz' wɪθ rɛd mɔr ɔˈstreɪljə ˈɔlsoʊ dɪd ˈlɪtəl tɪ ˈproʊˌtɛst ˌɪndoʊˈniʒən əˈtrɑsətiz, wɪʧ lɛft əp tɪ dɛd, ˌɪnˈkludɪŋ sɪks ɔˈstreɪljən ˈʤərnəlɪsts ˈmərdərd æt ənd ɪn 1975 ðɪs ˈlɛgəsi ənd ðə ˈprɛzənt dɪˈspjut ˈoʊvərˈʃædoʊ ˈpɑzətɪv ˌkɑntrəˈbjuʃənz. ɔˈstreɪljən ˈmɪlɪˌtɛri ˈfɔrsɪz rɪˈzɪstɪd ðə ˌʤæpəˈniz ˌɪnˈveɪʒən əv tiˈmɔr ɪn 1942 ənd lɛd ðə ˈjuˈɛn ˌɪntərˈvɛnʃən ɪn 1999 ˈɛvər sɪns, ɔˈstreɪljə həz tiˈmɔr baɪ səˈpɔrtɪŋ dɪˈmɑkrəsi, dɪˈvɛləpmənt, nuˈtrɪʃən, ˈpəblɪk hɛlθ ənd sɪˈkjʊrəti. ɔˈstreɪljə ʃʊd bi ˈfeɪθfəl tɪ ðə ˈspɪrɪt ɛz wɛl ɛz ðə ˈlɛtər əv ðə lɔ ənd bi mɔr ˈʤɛnərəs. ðə ˈmɑdəst ˈbɛnəfɪts tɪ ɔˈstreɪljə əv ðə ˈkɑrənt ərˈeɪnʤmənts ər fɑr aʊtˈweɪd baɪ ðə ˌdɪpləˈmætɪk ˈdæmɪʤ ðeɪ ˌɪnˈflɪkt. fər tiˈmɔr, dɪˈtərmənɪŋ ɪts ˈbaʊndəriz ɪz əˈbaʊt kəmˈplitɪŋ ɪts ˈsɑvrənti ənd ɪnˈʃʊrɪŋ ɪts ˌɛkəˈnɑmɪk fˈjuʧər. ðət həz bɪn ə lɔŋ, ˈpeɪnfəl ˈʤərni ˈoʊvər 450 jɪrz, ˈaʊˌtlæstɪŋ ˈpɔrʧəˌgiz kəˈloʊniəˌlɪzəm ənd ˌɪndoʊˈniʒən ˌɑkjəˈpeɪʃən. ɔˈstreɪljə ʃʊd stɑp əbˈstrəktɪŋ tiˈmɔr ənd hɛlp ɪt tɪ sɪˈkjʊr ɪts ˈbɔrdərz ənd ɪts fˈjuʧər. ðɪs kənˌsɪliˈeɪʃən gɪvz ɔˈstreɪljə ə nu ʧæns tɪ du ðə raɪt θɪŋ. bɛn sɔl ɪz ˈʃæli ʧɛr əv ˌɪnərˈnæʃənɑl lɔ æt ðə ˌjunəˈvərsəti əv ˈsɪdni. hi ˈrisəntli ˈvɪzɪtɪd tiˈmɔr ənd wɑz ə ˈbɛrɪstər ɪn ðə faɪv ˈɪnkˌwɛst ɪn 2007
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australia and timor-leste start conciliation talks in the hague on monday in an effort to resolve their bitter legal dispute over maritime boundaries – and $40bn of petroleum rights. timor argues that australia refuses to recognise its rights under international law.
the conciliation is compulsory under the un law of the sea convention, but it will not produce a binding decision. the independent conciliators may nonetheless help both countries to clarify the legal issues and reflect on their claims – and adjust them to reach a fair solution.
lately australia has been on the nose in timor-leste. anti-australia graffiti is sprinkled around the capital, dili. thousands of timorese protested outside the australian embassy earlier this year. the dispute threatens the goodwill from australia’s support for timor’s independence since 1999. things are not helped by espionage claims that paint australia as the neighbourhood cheat and bully.
the morally bankrupt foreign policy that entrenches australia's reputation as a regional bully | tom clarke read more
australia denies breaching international law. the legal issues are not clear cut. timor and australia agreed on three treaties from 2002 and 2006 to share resources in adjacent maritime areas and to suspend maritime boundary claims for 50 years. timor has amassed a $16bn petroleum fund as a result.
australia may be right to argue that it is lawful to manage disputes in this way. in practice, however, timor had little choice but to cut a deal. in 2002, australia cunningly withdrew its consent to the compulsory settlement of maritime boundary disputes at the international court of justice and under the un law of the sea convention.
this was technically legal. countries may give or withhold their consent in advance to international adjudication. timor was thus prevented from suing australia in an independent court – even if its substantive legal claims to maritime boundaries were correct.
australia prefers negotiation on boundary disputes to adjudication. negotiation has some advantages. but it also often benefits a country with more bargaining power, as in the huge imbalance between australia and timor. china similarly prefers negotiation over courts in the south china sea because it has more leverage over its neighbours.
when negotiation breaks down, there is then no independent court to apply international law, which provides the underlying rules on where boundaries should be drawn. an obstructive country can simply refuse to reach agreement or to recognise another country’s rights.
timor now argues that the 2006 treaty is invalid because australia spied on its treaty negotiators, thus gaining an unfair advantage. while spying alone does not invalidate a treaty, fraud can. it is untested whether espionage constitutes fraud.
that claim is being tested in another case, a binding arbitration between australia and timor – itself tarnished by australia’s seizure of documents from timor’s lawyer in canberra, bernard collaery. in 2014, the international court of justice ordered australia not to interfere with timor’s legal communications, since doing so may undermine the equality of parties to a dispute under the united nations charter.
australia illegally occupying maritime territory of timor-leste, protesters say read more
if the treaty is invalid it would reopen the boundary and resource issues. timor claims that determining the maritime boundary in accordance with international law would give it exclusive ownership over certain resources currently shared with australia.
experts differ on where the boundary might actually be drawn, including if indonesia could extend its boundary at timor’s expense. there are practical concerns too about the economic and environmental feasibility of timor’s ambitious development plans.
timor’s boundary claims are nonetheless strong. australia’s last minute, peremptory removal of international judicial oversight in 2002 may well indicate that it privately agrees.
ultimately, what is technically legal may not necessarily be wise, just, or ethical foreign policy. there is an inescapable perception that australia is denying its tiny, impoverished neighbour its sovereign birthright to determine its boundaries, control its own resources, and shape its own destiny.
this dynamic contaminates the wider bilateral relationship. the dispute cannot be viewed in isolation but is part of a long history of bad faith by australia that continues to poison relations and corrode trust.
from the late 1970s, successive australian governments illegally recognised indonesian sovereignty over timor. timor’s resistance museum displays an infamous photo of the then foreign ministers, gareth evans and ali alatas, toasting champagne in flight above the timor sea, after carving up the resource spoils far below in 1988.
tanya plibersek: australia must restore 'poisoned relations' with timor-leste read more
australia also did little to protest indonesian atrocities, which left up to 183,000 dead, including six australian journalists murdered at balibo and dili in 1975.
this legacy and the present dispute overshadow australia’s positive contributions. australian military forces resisted the japanese invasion of timor in 1942 and led the un intervention in 1999. ever since, australia has stabilised timor by supporting democracy, development, nutrition, public health and security.
australia should be faithful to the spirit as well as the letter of the law – and be more generous. the modest benefits to australia of the current arrangements are far outweighed by the diplomatic damage they inflict.
for timor, determining its boundaries is about completing its sovereignty and ensuring its economic future. that has been a long, painful journey over 450 years, outlasting portuguese colonialism and indonesian occupation.
australia should stop obstructing timor and help it to secure its borders and its future. this week’s conciliation gives australia a new chance to do the right thing.
ben saul is challis chair of international law at the university of sydney. he recently visited timor and was a barrister in the balibo five inquest in 2007.
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wikileaks*' riˈlis əv ˈθaʊzənz əv likt iˈmeɪlz frəm ˈhɪləri ˈklɪntənz kæmˈpeɪn ðɪs mənθ həz nɑt jɛt prəˈdust ðə kaɪnd əv ˈbɑmˌʃɛl ˌrɛvəˈleɪʃən ðət səm hoʊpt wʊd sɪŋk ðə ˌdɛməˈkrætɪk ˌnɑməˈniz ˌprɛzɪˈdɛnʃəl bɪd. bət wən iˈmeɪl rɪˈvilz ðə ˈtɛnʃən bɪtˈwin ðə ˈklɪntən kæmˈpeɪn ənd wən əv ɪts ˈbɪgəst ˈkrɪtɪks frəm ðə lɛft, ðə blæk lɪvz ˈmætər ˈsoʊʃəl ˈʤəstɪs ˈmuvmənt. ɪn ən iˈmeɪl frəm ˈʤænjuˌɛri, ə ˈklɪntən kæmˈpeɪn ˈstæfər, dəˈmɛstɪk ˈpɑləsi ædˈvaɪzər ˈsɛrə ˈsɑloʊ, weɪd ɪn ɔn ən ˈɪntərvˌju ðə nu ˈjɔrkər ˈreɪdiˌoʊ aʊər kənˈdəktəd ðət mənθ wɪθ blæk lɪvz ˈmætər əˈlɪʃə ˈgɑrzə. ɪn rɪˈspɑns tɪ ðə ˈɪntərvˌju, ɪn wɪʧ ˈgɑrzə ˈkrɪtəˌsaɪzd ˈklɪntənz dɪˈminər ɪn ə ˈmitɪŋ wɪθ blæk lɪvz ˈmætər ˈæktɪvɪsts, ˈsɑloʊ hæd ʤɪst wən wərd: "jək." ðə iˈmeɪl ɪz wən əv ˈoʊvər ðə ˌkɑntrəˈvərʃəl ˈʤərnəlɪst ˌɔrgənəˈzeɪʃən ˈpəblɪʃt ˈərliər ðɪs mənθ ðət wər sɛnt ər rɪˈsivd baɪ ˈhɪləri ˈklɪntən kæmˈpeɪn ˈmænɪʤər ʤɑn poʊˈdɛstə ˈoʊvər ðə kɔrs əv ðə 2016 kæmˈpeɪn. kərt ˈmɛsɪʤ wɑz ɪn rɪˈplaɪ tɪ ən iˈmeɪl θrɛd ˈsərkjəˌleɪtɪŋ əraʊnd ˈklɪntən kæmˈpeɪn stæf wɪθ ə ˈtrænˌskrɪpt əv ˈɪntərvˌju. ˈgɑrzə əˈkjuzd ˈklɪntən əv biɪŋ ˌkɑndɪˈsɛndɪŋ ənd dɪsˈmɪsɪv əv ðə blæk lɪvz ˈmætər ˈæktɪvɪsts ʃi spoʊk wɪθ ˈdʊrɪŋ ən ˈɔgəst 2015 ˈmitɪŋ. ˈklɪntən hæd toʊld ðoʊz ˈæktɪvɪsts ðət waɪl ðeɪ wər kənˈsərnd wɪθ ˈwɪnɪŋ hɑrts ənd maɪndz, ʃi hæd tɪ ˈkɑnsənˌtreɪt ɔn ˈækʧəwəl ˈpɑləsi. "noʊ ʧeɪnʤ ɪn ðɪs ˈkəntri həz ˈɛvər ˈhæpənd ˈmɪrli baɪ ˈʧeɪnʤɪŋ lɔz ənd ɪt wɑz ˌdɪsəˈpɔɪnɪŋ, kwaɪt ˈfræŋkli, tɪ hir ˈfɔrmər ˈsɛkrəˌtɛri ˈklɪntən juz ðət ˈlæŋgwɪʤ bɪˈkəz ˈsərtənli ən ˈækjərət vju əv ˈhɪstəri ʃoʊz ˈjuˈɛs ðət wi ər ˈɔlˌweɪz ɪn ə ˌdaɪəˈlɛktɪkəl riˈleɪʃənˌʃɪp bɪtˈwin ˈʧeɪnʤɪŋ ˈkəlʧər, ər ˈʧeɪnʤɪŋ hɑrts, ənd ˈʧeɪnʤɪŋ ˈpɑləsi ənd ðət ɪf wi doʊnt du wən ðə ˈəðər wən ˈdəzənt ˈhæpən aɪ ˈɔlsoʊ wɑz ˈrɪli ˌdɪsəˈpɔɪnɪd ðət ʃi juzd, wət aɪ θɔt, wɑz ə fænˈtæstɪk ˌɑpərˈtunəti tɪ sɪt ənd ˈrɪli bɪld wɪθ jəŋ blæk ˈæktɪvɪsts, hu hæd kəm spəˈsɪfɪkli tɪ ʃɛr ðɛr kənˈsərnz wɪθ hər ðət ʃi juzd ðət ˌɑpərˈtunəti tɪ ˈɔlˌmoʊst ʃən ðɛm," ˈgɑrzə sɛd. "əm nɑt goʊɪŋ tɪ voʊt fər ˈhɪləri ˈklɪntən. ðæts wɛr maɪ stæns ɪz. ənd əm nɑt ˈvoʊtɪŋ fər ˈɛni rɪˈpəblɪkənz." iˈmeɪl ˌəndərˈskɔrz ðə ˈrɑki riˈleɪʃənˌʃɪp ˈklɪntən həz hæd wɪθ blæk lɪvz ˈmætər. dɪˈspaɪt kənˈsɪstəntli ˈdɑnəld trəmp əˈməŋ ˈæfrɪkənəˈmɛrɪkən ˈvoʊtərz baɪ waɪd ˈmɑrʤənz æt wən pɔɪnt ɪn ðə ɪˈlɛkʃən, trəmp wɑz ˈpoʊlɪŋ æt ˈziroʊ pərˈsɛnt ˈklɪntən həz feɪst kənˈtɪnjud ˈprɛʃər frəm ˈæktɪvɪsts ɪn ðə ˈmuvmənt tɪ əˈdɑpt mɔr prəˈgrɛsɪv ˈstænsɪz ɔn ˈɪʃuz səʧ ɛz pəˈlis bruˈtælɪti ənd mæs ˌɪnˌkɑrsərˈeɪʃən. ʃi həz ˈɔlsoʊ feɪst ˈkrɪtɪˌsɪzəm fər hər pæst səˈpɔrt əv ˈprɛzɪdənt bɪl ˈklɪntənz 1994 kraɪm bɪl, wɪʧ ˈmɛni ˈɛkspərts ˈɑrgju ækˈsɛlərˌeɪtɪd mæs ˌɪnˌkɑrsərˈeɪʃən, ənd hər juz əv ðə tərm "ˈsupər ˈprɛdətərz" æt ðə taɪm tɪ dɪˈskraɪb blæk, meɪl drəg ˈdilərz.
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wikileaks' release of thousands of leaked emails from hillary clinton's campaign this month has not yet produced the kind of bombshell revelation that some hoped would sink the democratic nominee's presidential bid. but one email reveals the tension between the clinton campaign and one of its biggest critics from the left, the black lives matter social justice movement.
in an email from january, a clinton campaign staffer, domestic policy adviser sara solow, weighed in on an interview the new yorker radio hour conducted that month with black lives matter co-founder alicia garza. in response to the interview, in which garza criticized clinton's demeanor in a meeting with black lives matter activists, solow had just one word: "yuck."
the email is one of over 2,000 the controversial journalist organization wikileaks published earlier this month that were sent or received by hillary clinton campaign manager john podesta over the course of the 2016 campaign. solow's curt message was in reply to an email thread circulating around clinton campaign staff with a transcript of garza's interview. garza accused clinton of being condescending and dismissive of the black lives matter activists she spoke with during an august 2015 meeting. clinton had told those activists that while they were concerned with winning hearts and minds, she had to concentrate on actual policy.
"no change in this country has ever happened merely by changing laws and it was disappointing, quite frankly, to hear former secretary clinton use that language because certainly an accurate view of history shows us that we are always in a dialectical relationship between changing culture, or changing hearts, and changing policy and that if we don't do one the other one doesn't happen ... i also was really disappointed that she used, what i thought, was a fantastic opportunity to sit and really build with young black activists, who had come specifically to share their concerns with her — that she used that opportunity to almost shun them," garza said. "i'm not going to vote for hillary clinton. that's where my stance is. and i'm not voting for any republicans."
solow's email underscores the rocky relationship clinton has had with black lives matter. despite consistently outpolling donald trump among african-american voters by wide margins — at one point in the election, trump was polling at zero percent — clinton has faced continued pressure from activists in the movement to adopt more progressive stances on issues such as police brutality and mass incarceration. she has also faced criticism for her past support of president bill clinton's 1994 crime bill, which many experts argue accelerated mass incarceration, and her use of the term "super predators" at the time to describe black, male drug dealers.
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wiv bɪn ˈhirɪŋ ə lɔt əˈbaʊt bɛr reɪdz ənd ʃɔrt ˈsɛlɪŋ ˈmɑrkɪt məˌnɪpjəˈleɪʃən ˈleɪtli bət ˈəpˈsaɪd məˌnɪpjəˈleɪʃən ɪz fɑr mɔr ˈkɑmən. ə ˈrisənt ˌɪnˌvɛstəˈgeɪʃən ɪn ɔˈstreɪljə həz rɪˈvild ðət ˈmɛrəl lɪnʧ əˈlɛʤədli ɪnˈgeɪʤd ɪn "ˈwɪndoʊ ˈdrɛsɪŋ." hɪrz haʊ ðɪs ˌpɑˈtɪkjələr skæm wərks. ə fənd ˈmænɪʤər hu ɪz səˈpoʊzd tɪ rɪˈpɔrt hɪz geɪnz æt ðə ɛnd əv ðə kˈwɔrtər baɪz əp ə ˈsɪŋgəl ʃɛr æt ən ˌɪnˈfleɪtɪd praɪs ʤɪst ˌbiˈfɔr ðə ˈmɑrkɪt ˈkloʊzɪz. ðə tɪk ɔn ðə stɑk ʤəmps æt ðə kloʊz, ənd ðə fənd ˈmænɪʤər gɪts tɪ əˈkaʊnt fər ðə stɑk æt ðə haɪər praɪs. ɪts ən ˈɪnstəntli vanishing--gain*. bət doʊnt ˈwəri. ˈmɛrəl ˈwəzənt duɪŋ ðɪs fər ˌɪtˈsɛlf. ɪt wɑz ʤɪst ˈsərvɪŋ ɪts klaɪənts nidz! (hu ˈhæpənd tɪ bi ə fənd ˈmænɪʤər hu wɑz ˈʧitɪŋ hɪz klaɪənts.) hɪrz haʊ ðə ɔˈstreɪljən dɪˈskraɪbz ɪt. ðə ɔˈstreɪljən ˌəndərˈstændz ðət ˈmɛrəl lɪnʧ wɑz ˈæktɪŋ ɔn bɪˈhæf əv ə klaɪənt, ə fənd ˈmænɪʤər. ɪn wən ˈɪnstəns, ˈmɛrəl lɪnʧ ˈpərʧəst wən ʃɛr ɪn ˈlɪstɪd ˈfaɪˌnæns ˈkəmpəˌni ˈmərʧɪsən ˈhoʊldɪŋz æt ɔn sɛpˈtɛmbər 30 fər ɪt wɑz ðə ˈoʊnli ˈrɛʤɪstərd treɪd ɪn ðə ˈkəmpəˌni ðət deɪ ənd sɔ ɪts ʃɛr praɪs kloʊz 19 pər sɛnt haɪər. ðə ˈbroʊkərz ˈpərʧəs əv wən ˈgloʊbəl aɪərn ʃɛr fər sɔ ðə ˈkəmpəniz ʃɛr praɪs kloʊz haɪər æt. ˈəðər stɑks ˈtreɪdɪd baɪ ˈmɛrəl lɪnʧ ɪn ə ˈsɪmələr ˈfæʃən ˌɪnˈklud ˈmaɪnərz ˈmɛtəlz, ˈrisɔrsɪz, ˈɔstən ˌɛksplərˈeɪʃən, ˈpraɪˌmɛri ˈrisɔrsɪz, ˈmaɪnɪŋ, rɛd ˈmɛtəl, ˈprɑpərti ˈkəmpəˌni ˌɛriˈædni ɔˈstreɪljə, ənd ˈbaɪoʊˌtɛks ənd ˌfɑrməˈsutɪkəlz.
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we've been hearing a lot about bear raids and short selling market manipulation lately but upside manipulation is far more common. a recent investigation in australia has revealed that merrill lynch allegedly engaged in "window dressing."
here's how this particular scam works. a fund manager who is supposed to report his gains at the end of the quarter buys up a single share at an inflated price just before the market closes. the tick on the stock jumps at the close, and the fund manager gets to account for the stock at the higher price. it's an instant--and instantly vanishing--gain.
but don't worry. merrill wasn't doing this for itself. it was just serving it's clients needs! (who happened to be a fund manager who was cheating his clients.) here's how the australian describes it.
the australian understands that merrill lynch was acting on behalf of a client, a small-cap fund manager.
in one instance, merrill lynch purchased one share in listed finance company murchison holdings at 2.49pm on september 30 for $1.50.
it was the only registered trade in the company that day and saw its share price close 19 per cent higher.
the broker's purchase of one global iron share for 22c saw the company's share price close 8c higher at 22c.
other stocks traded by merrill lynch in a similar fashion include miners graynic metals, nupower resources, austin exploration, primary resources, natasa mining, red metal, property company ariadne australia, and biotechs heartware and halcygen pharmaceuticals.
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ðɪs ˈɛdəbəl pɛn ɪz ˈʤinjəs deɪv θɪŋk ə ˈtoʊtəl ˈwɪrdoʊ fər ʧuɪŋ ɔn jʊr pɛn. ɪn fækt, hi ˈwɛlkəmz ðə ˈnərvəs tɪk wɪθ ˈoʊpən ɑrmz. hi ˈwɔntɪd tɪ kriˈeɪt ə pɛn ðət kən bi eaten…entirely*. ˈæftər ˈrisərʧ ðət ˌɪnˈkludɪd ˈgæðərɪŋ ə lɔt əv pɛnz ðət lʊkt ˈteɪsti, hi ˈstɑrtɪd aʊt wɪθ 3 ˈdɪfərənt moʊldz ənd ˈtɛstɪd aʊt ˈdɪfərənt taɪps əv ˈkændi. wət ju si hir ɪz ðə ˈfaɪnəl ˈprɑdəkt, ɪn ɔl ɪts ˈpɛpərˌmɪnt ˈfleɪvərd ˈglɔri. ðə ˈkændi, wɪʧ həz ðə seɪm ˈtɛksʧər ɛz ˈɛdəbəl ˈkændi ˈnɛkləsɪz, stɪk ɔn ˈɛniˌθɪŋ ənd mɛlt wɪn ɪn jʊr hænz. ðə ˈjəmi ˈkɑnsɛpt pɛn kənˈteɪnz 22 ˈpisɪz ənd ɪz fɪld wɪθ ˈɛdəbəl ɪŋk. ðə ˈoʊnli pɑrt wɪʧ ˈɛdəbəl ɪz ðə smɔl pɔɪnt wɛr ju raɪt wɪθ. wɪn ˈfɪnɪʃt, ju kən θroʊ ɪt əˈweɪ ər pʊt ɪn ə nu pɛn.
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this edible pen is genius
dave hakkens doesn’t think you’re a total weirdo for chewing on your pen. in fact, he welcomes the nervous tick with open arms. he wanted to create a pen that can be eaten…entirely. after research that included gathering a lot of pens that looked tasty,
he started out with 3 different molds and tested out different types of candy. what you see here is the final product, in all its peppermint flavored glory. the candy, which has the same texture as edible candy necklaces, doesn’t stick on anything and doesn’t melt when it’s in your hands. the yummy concept pen contains 22 pieces and is filled with edible ink. the only part which isn’t edible is the small point where you write with. when finished, you can throw it away or put in a new re-fill pen.
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səm tɔp ˈwɔlˌmɑrt ɪgˈzɛkjətɪvz hæv bɪn ˈæktɪv ɪn ə ˈlɑbiɪŋ grup ðət ɪz ˈpʊʃɪŋ tɪ ˈwikən ðə ˈkəntriz meɪn lɔ, ɛz fərst ˌriˈpɔrtəd ɪn ðə ˈwɔʃɪŋtən poʊst. ðət ˈstæʧut ɪz æt ðə hɑrt əv ðə ˈʤəstɪs dɪˈpɑrtmənts ˈkrɪmənəl ˌɪnˌvɛstəˈgeɪʃən əv ðə ʤaɪənt ˈriˌteɪlər ɪn ðə weɪk əv ən ɪkˈsploʊsɪv rɪˈpɔrt əˈlɛʤɪŋ ðət ˈwɔlˌmɑrt əˈfɪʃəlz ˈkəvərd əp ən ˌɪnˈtərnəl proʊb ˈɪntu ˈbraɪbəri baɪ ɪts ˈmɛksəkən səbˈsɪdiˌɛri. ˈwɔlˌmɑrts ˈʤɛnərəl ˈkaʊnsəl, ʤɛf ˈgɪrhɑrt, ənd ˈtɑməs haɪd, ˈfɔrmər ɪgˈzɛkjətɪv vaɪs ˈprɛzɪdənt fər ˈligəl kəmˈplaɪəns ˈɛθɪks, wər ˈlɪstɪd ɛz bɔrd ˈmɛmbərz əv ðə juz. ˈʧeɪmbər ˈɪnstɪˌtut fər ˈligəl rɪˈfɔrm (ilr*), ən ɑrm əv ðə ˈkəntriz moʊst ˈpaʊərfəl ˈbɪznɪs ˈlɑbi, ðə juz. ˈʧeɪmbər əv ˈkɑmərs, ɔn ɪts moʊst ˈrisənt tæks ˈfaɪlɪŋ. haɪd wɑz wən əv ðə ˈkəmpəniz ɪgˈzɛkjətɪvz hu wɑz ˌɪˈnɪʃəli ˌɪnˈfɔrmd əˈbaʊt ðə əˈlɛʤd braɪbz ɪn 2005 əˈkɔrdɪŋ tɪ ðə nu jɔrk taɪmz. ðə ɪz ˈspɪˌrhɛdɪŋ ən ˌɪˈnɪʃətɪv tɪ əˈmɛnd ðə ˈfɔrən kərəpt ˈpræktɪsɪz ækt baɪ rɪˈdusɪŋ ˌlaɪəˈbɪlɪti fər ˈkəmpəˌniz ðət braɪb ˈfɔrən əˈfɪʃəlz ənd ɪgˈzɛmptɪŋ ˈkəmpəˌniz səʧ ɛz ˈwɔlˌmɑrt ðət hæv ðɛr oʊn kəmˈplaɪəns ˈproʊˌgræmz. ðɛr ɪz noʊ ˌɪndəˈkeɪʃən ðət ˈwɔlˌmɑrts ˈprɑbləmz ɪn ˈmɛksəˌkoʊ ˈprɑmptɪd ɪts ˌɪnˈvɑlvmənt ɪn ðə ˈɛfərt tɪ əˈmɛnd ðə lɔ. ðə ˈriˌteɪlər, wɪʧ ɪmˈplɔɪz ˈmɪljən ˈpipəl ənd rənz mɔr ðən stɔrz əraʊnd ðə wərld, ˈrisəntli ˈsteɪtɪd ðət ɪt hæd ɪˈstæblɪʃt nu ˈproʊtəˌkɔlz tɪ ɪnˈʃʊr ðət ˌɪnˈtərnəl proʊbz əv əˈlɛʤd vaɪəˈleɪʃənz ər ˈhændəld kənˈsɪstəntli ənd ðət ɪt hæd kriˈeɪtɪd ə pəˈzɪʃən fər ə ˈgloʊbəl kəmˈplaɪəns ˈɔfɪsər. ˈdeɪvɪd toʊˈvɑr, vaɪs ˈprɛzɪdənt fər ˈkɔrpərət kəmˌjunəˈkeɪʃənz fər ˈwɔlˌmɑrt, toʊld ðə ˈhəfɪŋtən poʊst, "ˈwɔlˌmɑrt həz ˈnɛvər ˈlɑbid ɔn. ˈsɪmpli bɪˈkəz ˈwɔlˌmɑrt ɪz ə ˈmɛmbər əv ən ˌɔrgənəˈzeɪʃən dɪz nɑt min wi əˈgri wɪθ ˈɛvəri pəˈzɪʃən ðeɪ teɪk." fər ˈoʊvər ðə læst jɪr ənd ə hæf, ðə ˈʧeɪmbər ənd ˈəðər ˈlidɪŋ ˈbɪznɪs ˈlɑbiz, ˌɪnˈkludɪŋ ðə ˈnæʃənəl əˌsoʊʃiˈeɪʃən əv ˌmænjəˈfækʧərərz, ðə ˌfɑrməˈsutɪkəl ˈrisərʧ ənd ˌmænjəˈfækʧərərz əˌsoʊʃiˈeɪʃən ənd ðə ˌfaɪˈnænʃəl ˈsərvɪsɪz ˈraʊndˌteɪbəl, hæv bɪn ˈpʊʃɪŋ tɪ rɪˈfɔrm ðə. ənd ðə ˈʧeɪmbər həz haɪərd səm ˈlɑbiɪsts, ˌɪnˈkludɪŋ ˈfɔrmər əˈtərni ˈʤɛnərəl ˈmaɪkəl mˈjukɪsi, tɪ faɪt ðə ˈɪʃu, ˈspɛndɪŋ læst fɔl ɔn ˈaʊtˈsaɪd ˈlɑbiɪsts ənd ˈoʊvər 5 ˈmɪljən ɔn ɪts oʊn tim. ðə lɔ, wɪʧ proʊˈhɪbəts əˈmɛrɪkən ˈkəmpəˌniz frəm ˈmeɪkɪŋ ˌɪmˈprɑpər ˈpeɪmənts tɪ ˈfɔrən əˈfɪʃəlz, wɑz pæst ɪn 1977 ɪn ðə weɪk əv ˈsɛvərəl ˌhaɪˈproʊfaɪl ˈbraɪbəri ˈskændəlz səʧ ɛz bananagate*, ɪn wɪʧ ʧɪˈkitə ədˈmɪtəd tɪ ˈbraɪbɪŋ ðə ˈprɛzɪdənt əv hɑnˈdʊrəs tɪ loʊər ðə ˈkəmpəniz ˈtæksɪz. ðə ˈɪndəstri grups kleɪm ðət ðə ˈʤəstɪs dɪˈpɑrtmənt ənd sɪˈkjʊrətiz ənd ɪksˈʧeɪnʤ kəˈmɪʃənz ɛnˈfɔrsmənt əv ðə lɔ həz bɪn ˈoʊvərli əˈgrɛsɪv ənd ðət ðə hərts ðə əˈbɪləˌti əv əˈmɛrɪkən ˈkəmpəˌniz tɪ kəmˈpit ɪn ə ˈgloʊbəl ˈmɑrkɪtˌpleɪs. əˈməŋ ɪts prəˈpoʊzd əˈmɛndmənts tɪ ðə: rɪˈdusɪŋ ˌlaɪəˈbɪlɪti fər ˈkəmpəˌniz ðət braɪb ˈfɔrən əˈfɪʃəlz, ˈkɑrvɪŋ aʊt ɪkˈsɛpʃənz fər ˈkəmpəˌniz ðət hæv kəmˈplaɪəns ˈproʊˌgræmz, ənd ridɪˈfaɪnɪŋ hu ɪz ə "ˈfɔrən əˈfɪʃəl." ðə ˈlɑbiɪŋ pʊʃ wɑz ˈprɑmptɪd baɪ ðə grups' əˈlɑrm ˈoʊvər ðə ˌɪnˈkris ɪn ɛnˈfɔrsmənt ˈækʃənz ɪn 2010 sɪz mɑrk ʤeɪ. ˈrɑʧən, hu ʧɛrz ðə ˈsəbkəˈmɪti æt ðə ˈnæʃənəl əˌsoʊʃiˈeɪʃən əv ˈkrɪmənəl dɪˈfɛns ˈlɔjərz, wɪʧ həz ʤɔɪnd ðə ˈʧeɪmbər ɪn ˈpʊʃɪŋ fər ˈʧeɪnʤɪz tɪ ðə lɔ. ðət ˈsɪŋgəl jɪr sɔ eɪt əv ðə tɔp 10 ˈlɑrʤəst ˈsɛtəlmənts əv vaɪəˈleɪʃənz əv ɔl taɪm, wɪθ ə ˈrɛkərd ˈbɪljən ɪn ˌfaɪˈnænʃəl ˈpɛnəltiz tɪ ðə ənd sɛk. ˈəndər ˈprɛʃər frəm ðə ˈɪndəstri ənd səm ˈmɛmbərz əv ˈkɑŋgrəs, ðə ˈʤəstɪs dɪˈpɑrtmənt əˈnaʊnst læst fɔl ðət ɪt wʊd ˈɪʃu səm ˈgaɪdəns ɔn ðə ˈminɪŋ əv ðə ənd ɪts ˌæpləˈkeɪʃən. ənd ɪn ˈrisənt mənθs, ðə ˈbɪznɪs ˈlɑbi həz bɪn ænˈtɪsəˌpeɪtɪŋ ðət səm əv ɪts prəˈpoʊzəlz tɪ ˈtaɪtən ðə ˈstændərdz wʊd bi əˈdɑptəd: æt ðə daʊ ʤoʊnz ˈgloʊbəl kəmˈplaɪəns sɪmˈpoʊziəm ɪn mɑrʧ, ðə ˈʧeɪmbərz mˈjukɪsi wɑz ˌɑptɪˈmɪstɪk fər fˈjuʧər ˈʧeɪnʤɪz, ˈɛmfəˌsaɪzɪŋ ðət ðə lɔ wɑz ˈfɔrsɪŋ səm ˈkəmpəˌniz tɪ əˈbændən ˈbɪznɪs ɪn pɑrts əv ðə wərld, ˈoʊpənɪŋ ðə dɔr tɪ "foʊks laɪk ðə ʧaɪˈniz ənd ðə ˈrəʃənz hu ər lɛs ˈdɛləkət" ɪn ɛnˈfɔrsɪŋ kəmˈplaɪəns əv lɔz. səm ˈpænəlɪsts ˈkrɪtəˌsaɪzd ðə ˈʤəstɪs dɪˈpɑrtmənt fər biɪŋ ˈoʊvərli əˈgrɛsɪv ɪn ɪts ɛnˈfɔrsmənt, ˈnoʊtɪŋ ðə ˈrisənt dɪsˈmɪsəl əv ə juʤ keɪs brɔt baɪ əˈfɪʃəlz əˈgɛnst dɪˈfɛndənts əˈkjuzd əv peɪɪŋ braɪbz tɪ wɪn ˈkɑnˌtrækts tɪ sɛl ˈbɑdi ˈɑrmər ənd ˈwɛpənz. ˈbətlər ˌjunəˈvərsəti prəˈfɛsər maɪk ˈkoʊlər ləˈmɛntɪd ðət "ðiz wər əˈstaʊndɪŋ ˈfeɪljərz ɔn bɪˈhæf əv ðə. ðeɪ ruɪn ril ˈpipəlz lɪvz. ðeɪ ˈɛmti ˈpipəlz ˈwɔləts." ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən ɪz "ˌənikˈwɪvəkəli əˈpoʊzd" tɪ ˈwikənɪŋ ðə ˈstæʧut, sɛd ˈsɛkrəˌtɛri əv steɪt ˈhɪləri ˈklɪntən ˈdʊrɪŋ ə spiʧ æt ən ɪˈvɛnt læst mənθ ˈhoʊstɪd baɪ trænˈspɛrənsi ˌɪnərˈnæʃənɑl, ən grup. "wi doʊnt nid tɪ loʊər ɑr ˈstændərdz. wi nid tɪ wərk wɪθ ˈəðər ˈkəntriz tɪ reɪz ðɛrz. aɪ ˈæˌkʧuəli θɪŋk ə reɪs tɪ ðə ˈbɑtəm wʊd ˈprɑbəˌbli ˌdɪsədˈvænɪʤ ˈjuˈɛs. ɪt wʊd nɑt gɪv ˈjuˈɛs ðə ˈlɛvərɪʤ ənd ðə ˌkrɛdəˈbɪlɪti ðət wi ər ˈsikɪŋ." ðə ˌɪˈnɪʃətɪv simd tɪ bi ˈmeɪkɪŋ səm ˈprɑˌgrɛs. ɔn ˈeɪprəl 11 ʤɪst ə wik ənd ə hæf ˌbiˈfɔr ðə nu jɔrk taɪmz ˈstɔri ɔn ðə ˈbraɪbəri ˈskændəl ʃʊk əp ðə ˈbɛltˌweɪ, ðə ˈhoʊstɪd ə ˈmitɪŋ æt ðə ˈʧeɪmbərz ˈhɛdˌkɔrtərz tɪ dɪˈskəs ɪts kənˈsərnz wɪθ ˈsɛvərəl ˈsinjər ˈgəvərnmənt əˈfɪʃəlz, ˌɪnˈkludɪŋ əˈsɪstənt əˈtərni ˈʤɛnərəl ˈlæni bruər, frɔd ˈjunɪt ʧif ˈdɛnɪs məˈkɪnərni ənd sɪˈkjʊrətiz ənd ɪksˈʧeɪnʤ kəˈmɪʃən ɛnˈfɔrsmənt dɪˈrɛktər ˈrɑbərt khuzami*. (ˈʤəstɪs dɪˈpɑrtmənt əˈfɪʃəlz ˈsɛpərətli mɛt wɪθ grups, səʧ ɛz ðə ˈoʊpən soʊˈsaɪɪti ˈɪnstɪˌtut ənd ðə ˈprɑʤɛkt ɔn ˈgəvərnmənt ˈoʊvərˌsaɪt, wɪʧ səˈpɔrt təf ɛnˈfɔrsmənt əv ðə.) "ɪt wɑz ə ˈvɛri pərˈdəktɪv ənd kənˈstrəktɪv ˈsɛʃən," sɪz ˈrɑʧən. "wi keɪm əˈweɪ plizd ðət ðeɪ wər ɪnˈgeɪʤɪŋ wɪθ ðə ˈɪʃuz ənd ər əˈtɛntɪv tɪ ðiz kənˈsərnz." naʊ ɪt simz ˈlaɪkli ðət ˈɛni ˈʧeɪnʤɪz tɪ ðə lɔ wɪl bi pʊt ɔn aɪs fər naʊ. "aɪ doʊnt si ˈɛni pəˈlɪtɪkəl moʊˈmɛntəm tɪ si rɪˈfɔrm naʊ, wɪθ wət lʊks laɪk ə ˈlændˌmɑrk keɪs," ʤeɪmz poʊst, prəˈfɛsər əv ˈmænɪʤmənt æt ˈbɔstən ˌjunəˈvərsəti, toʊld ðə wɔl strit ˈʤərnəl ɔn ˈtuzˌdeɪ. "jʊd hæv ə hɑrd taɪm ɪn ən ɪˈlɛkʃən jɪr, ɪn ˈɛni ɪˈvɛnt, bət aɪ θɪŋk ðə ˈwɔlˌmɑrt keɪs ɪz soʊ ˌkɑnsəkˈwɛnʃəl, ɪt ˈbeɪsɪkli ˈfrizɪz ðə ˌpɑsəˈbɪləˌti əv rɪˈfɔrm ˈɛni taɪm sun." bɛn ˈfrimən, ə ˈnæʃənəl sɪˈkjʊrəti ˈfɛloʊ æt ðə ˈprɑʤɛkt ɔn ˈgəvərnmənt ˈoʊvərˌsaɪt, wɪʧ əˈpoʊzɪz ðə ˌɪˈnɪʃətɪv tɪ ˈwikən ðə lɔ, sɪz ðət ðə taɪd həz ˈʃɪftɪd ɪn ðə weɪk əv ðə rɪˈpɔrt. "ɪt hæd bɪn ə ˈsisˈfaɪər ɪn ˈrisənt mənθs bət ðɪs ˈwɔlˌmɑrt ˈstɔri ʤɪst ʃoʊd ðət wi nid ə. ɪts ˈæˌmoʊ fər ɑr saɪd."
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some top walmart executives have been active in a lobbying group that is pushing to weaken the country's main anti-bribery law, as first reported in the washington post. that statute is at the heart of the justice department's criminal investigation of the giant retailer in the wake of an explosive report alleging that walmart officials covered up an internal probe into bribery by its mexican subsidiary.
walmart's general counsel, jeff gearhart, and thomas hyde, former executive vice president for legal compliance ethics, were listed as board members of the u.s. chamber institute for legal reform (ilr), an arm of the country's most powerful business lobby, the u.s. chamber of commerce, on its most recent tax filing. hyde was one of the company's executives who was initially informed about the alleged bribes in 2005, according to the new york times. the ilr is spearheading an initiative to amend the foreign corrupt practices act by reducing liability for companies that bribe foreign officials and exempting companies such as walmart that have their own compliance programs.
there is no indication that walmart's problems in mexico prompted its involvement in the effort to amend the law. the retailer, which employs 2.2 million people and runs more than 10,000 stores around the world, recently stated that it had established new protocols to ensure that internal probes of alleged fcpa violations are handled consistently and that it had created a position for a global fcpa compliance officer.
david tovar, vice president for corporate communications for walmart, told the huffington post, "walmart has never lobbied on fcpa. simply because walmart is a member of an organization does not mean we agree with every position they take."
for over the last year and a half, the chamber and other leading business lobbies, including the national association of manufacturers, the pharmaceutical research and manufacturers association and the financial services roundtable, have been pushing to reform the fcpa. and the chamber has hired some well-connected lobbyists, including former attorney general michael mukasey, to fight the issue, spending $400,000 last fall on outside lobbyists and over $5 million on its own team. the law, which prohibits american companies from making improper payments to foreign officials, was passed in 1977 in the wake of several high-profile bribery scandals such as bananagate, in which chiquita admitted to bribing the president of honduras to lower the company's taxes.
the industry groups claim that the justice department and securities and exchange commission's enforcement of the law has been overly aggressive and that the fcpa hurts the ability of american companies to compete in a global marketplace. among its proposed amendments to the fcpa: reducing liability for companies that bribe foreign officials, carving out exceptions for companies that have compliance programs, and redefining who is a "foreign official."
the lobbying push was prompted by the groups' alarm over the increase in enforcement actions in 2010, says mark j. rochon, who chairs the fcpa subcommittee at the national association of criminal defense lawyers, which has joined the chamber in pushing for changes to the law. that single year saw eight of the top 10 largest settlements of fcpa violations of all time, with a record $1.8 billion in financial penalties to the doj and sec.
under pressure from the industry and some members of congress, the justice department announced last fall that it would issue some guidance on the meaning of the fcpa and its application. and in recent months, the business lobby has been anticipating that some of its proposals to tighten the standards would be adopted: at the dow jones global compliance symposium in march, the chamber's mukasey was optimistic for future changes, emphasizing that the law was forcing some companies to abandon business in parts of the world, opening the door to "folks like the chinese and the russians who are less delicate" in enforcing compliance of anti-bribery laws.
some panelists criticized the justice department for being overly aggressive in its enforcement, noting the recent dismissal of a huge case brought by officials against defendants accused of paying bribes to win contracts to sell body armor and weapons. butler university professor mike koehler lamented that "these were astounding failures on behalf of the doj. they ruin real people's lives. they empty people's wallets."
the obama administration is "unequivocally opposed" to weakening the statute, said secretary of state hillary clinton during a speech at an event last month hosted by transparency international, an anti-corruption group. "we don't need to lower our standards. we need to work with other countries to raise theirs. i actually think a race to the bottom would probably disadvantage us. it would not give us the leverage and the credibility that we are seeking."
the chamber-led initiative seemed to be making some progress. on april 11, just a week and a half before the new york times story on the bribery scandal shook up the beltway, the ilr hosted a meeting at the chamber's headquarters to discuss its concerns with several senior government officials, including assistant attorney general lanny breuer, doj fraud unit chief denis mcinerny and securities and exchange commission enforcement director robert khuzami. (justice department officials separately met with good-government groups, such as the open society institute and the project on government oversight, which support tough enforcement of the fcpa.)
"it was a very productive and constructive session," says rochon. "we came away pleased that they were engaging with the issues and are attentive to these concerns."
now it seems likely that any changes to the law will be put on ice for now. "i don't see any political momentum to see fcpa reform now, with what looks like a landmark case," james post, professor of management at boston university, told the wall street journal on tuesday. "you'd have a hard time in an election year, in any event, but i think the walmart case is so consequential, it basically freezes the possibility of reform any time soon."
ben freeman, a national security fellow at the project on government oversight, which opposes the chamber-led initiative to weaken the law, says that the tide has shifted in the wake of the report. "it had been a cease-fire in recent months but this walmart story just showed that we need a fcpa. it's ammo for our side."
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wɪn wi əˈnaʊnst ənˈʧɑrtɪd 3 wi sɛt aʊt tɪ meɪk ðə ˈməltiˌpleɪər kəmˈpoʊnənt ɛz roʊˈbəst ənd kəmˈpɛlɪŋ ɛz ˈɛni ˈməltiˌpleɪər geɪm aʊt ðɛr. wi tʊk ˈlɛsənz ˈlərnɪd frəm ɑr ˈsəmər ˈbeɪtə ənd juzd ðɛm fər ɑr lɔnʧ. sɪns lɔnʧ, nu dɪˈzaɪn aɪˈdiəz ənd kəmˈjunɪti ˈfidˌbæk hæv bɪn əˈplaɪd tɪ ˈɛvəri pæʧ riˈlist. naʊ ɔn pæʧ ˈləki ˈnəmbər 13 ənd ˈplænɪd səm frɛʃ aɪˈdiəz dip ˈɪntu ðə geɪm. pæʧ fər ənˈʧɑrtɪd 3 ˈməltiˌpleɪər həz bɪn mənθs ɪn ðə ˈmeɪkɪŋ ənd ɑr ˈbɪgəst pæʧ ˈɛvər. pæʧ wɪl bi əˈveɪləbəl təˈdeɪ, ˈɔgəst. ɪf nɑt ə fæn əv ˈrɛdɪŋ, ʧɛk aʊt ðə pæʧ noʊts ˈvɪdioʊ bɪˈloʊ fər ə fʊl ˈrənˌdaʊn əv ˌɪnˈkludɪd. wi ˈwɔntɪd tɪ gɪv ju səm kwɪk ˈhaɪˌlaɪts ɔn səm əv ðə nu ɪkˈsaɪtɪŋ ˈkɑntɛnt ju kən ɪkˈspɛkt wɪn ju ˈdaʊnˌloʊd ðə pæʧ. wi hæv juˈnik, brænd nu ˈməltiˌpleɪər ðət wɪl stɑrt ˈroʊlɪŋ aʊt tɪ ˈjuzərz ɛz pɑrt əv ðə stɔr ˈəpˌdeɪts ˈstɑrtɪŋ ɔn ˈɔgəst. ðə ˈəpˌkəmɪŋ kən bi ənˈlɑkt ˈiðər baɪ ˈərnɪŋ ðə ˈnɛsəˌsɛri ˈlɛvəlz, kəmˈplitɪŋ spɪˈsɪfɪk ˈtrɛʒər sɛts, ər ɪf ˈrəðər ənˈlɑk ə ˈsərtən ˈaɪtəm kˈwɪkli ju kən ˈpərʧəs ɪt ɪn ðə stɔr. ʧɛk aʊt ðə ˈtizər ˈvɪdioʊ bɪˈloʊ tɪ ʧɛk aʊt frɛʃ nu ˈkɑntɛnt ˈædɪŋ 137 ˈpisɪz tɪ bi ɪgˈzækt!). əˈnəðər ˈmeɪʤər ˈæˌspɛkt əv ðɪs pæʧ ɪz ðət ˌɪntrəˈdusɪŋ ə hoʊl nu ˈfiʧər tɪ ənˈʧɑrtɪd 3 ˈməltiˌpleɪər. ðə ˈtʊrnəmənt ˈsɪstəm ˈəʃərz ɪn ə ˌkɑmpəˈtɪʃən ðət həz θri rɪˈwɔrd tirz wɪʧ grænt ju ˈspɛʃəl ˈwɛpənz ər ˈaɪtəmz beɪst ɔn haʊ wɛl ju pleɪd. wəns ju ənˈlɑk ə ˈwɛpən ər ˈaɪtəm jʊrz tɪ juz ənˈtɪl ðə nɛkst ˈtʊrnəmənt ˈpɪriəd. ju kən baɪ ˈɪntu ə ˈtʊrnəmənt ˈjuzɪŋ ˈtʊrnəmənt ˈtɪkɪts. ˈɔlˌweɪz ˈkɛri ə ˈbæləns əv tɛn ˈtɪkɪts pər ˈtʊrnəmənt ˈpɪriəd bət ju wɪl bi ˈeɪbəl tɪ ˈpərʧəs mɔr ˈviə ðə stɔr. ə ˈtʊrnəmənt wɪl bi ˈædɪd tɪ ðə ˈsɛkʃən soʊ ju kən træk jʊr skɪl ˈlɛvəl əˈməŋ jʊr frɛndz. fər ə lʊk æt ðə spɪˈsɪfɪks ənd rulz əv ðə ˈtʊrnəmənt ˈsɪstəm, wi hæv ən ˈvɪdioʊ ɔn əˈlɔŋˈsaɪd ə wɪθ ˈrɑbərt ˈkɑgˌbərn, lɛd ˈməltiˌpleɪər dɪˈzaɪnər, ənd ˈrɑbərt raɪən, ˈgeɪmˌpleɪ dɪˈzaɪnər, dɪˈskəsɪŋ mɔr ɔn ˈtərnəmənts, ɔl ðə nu ənd waɪ ˈməltiˌpleɪər kənˈtɪnjuz tɪ bi soʊ ˌɪmˈpɔrtənt tɪ ðə tim. ˈɔlsoʊ hæv ə dɪˈteɪld poʊst əˈbaʊt ðə ˈtʊrnəmənt ˈsɪstəm ˈoʊvər ɔn ˈleɪtər ðɪs wik. waɪl ɔl əv ðɪs greɪt nu ˈkɑntɛnt ɪz ˈroʊlɪŋ aʊt təˈdeɪ, ˈvɛri ɪkˈsaɪtɪd tɪ əˈnaʊns ðət nu ɪkˌspɛrɪˈmɛntəl blɑk mɛʃ mæps ər ˈkəmɪŋ tɪ ðə læb ˈæftər pæʧ rɪˈlisɪz. blɑk mɛʃ mæps ər mæps əv ˈkələrd blɑk mɛʃ ðət hæv bɪn dɪˈzaɪnd baɪ ˌɪˈmæʤənətɪv ˈɑrtɪsts hir æt ˈnɔti dɔg tɪ prəˈvaɪd səm waɪld ənd dɪˈstɪŋkt ˈməltiˌpleɪər ˈgeɪmˌpleɪ. bi ˈpoʊstɪŋ ə ˈskɛʤʊl fər ðə ˈəpˌkəmɪŋ læbz ɪn ðə nɪr fˈjuʧər soʊ bi ɔn ðə ˈlʊˌkaʊt ˈoʊvər ɔn. waɪl nu læbz, nu ənd ðə ˈtʊrnəmənt ˈsɪstəm ər ðə ˈmeɪʤər ˈɛləmənts əv pæʧ ə ˈlɔndri lɪst əv ˈəðər ˈʧeɪnʤɪz ənd ˌɪmˈpruvmənts wi meɪd tɪ ðə ˈməltiˌpleɪər ɪkˈspɪriəns ənd ju kən si ðə fʊl lɪst əv ˈfiʧərz ənd ˈgeɪmˌpleɪ ˈʧeɪnʤɪz ɔn ðə ˈnɔti dɔg blɔg. ˈɔlsoʊ bi ˈəpˌdeɪtɪŋ ɑr blɔg ˈwikli frəm ˈɔgəst tɪ sɛpˈtɛmbər wɪθ ðə fʊl lɪst əv ˈaɪtəmz ɛz ðeɪ kəm əˈveɪləbəl ɪn ðə stɔr. ɛz ˈɔlˌweɪz faɪər əˈweɪ wɪθ səm ˈkɑmɛnts tɪ lɛt ˈjuˈɛs noʊ wət ju θɪŋk ənd ˈɛni kˈwɛsʧənz ju maɪt hæv. si ju ˈɔnˌlaɪn!
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when we announced uncharted 3 we set out to make the multiplayer component as robust and compelling as any multiplayer game out there. we took lessons learned from our summer beta and used them for our launch. since launch, new design ideas and community feedback have been applied to every patch we’ve released. we’re now on patch lucky number 13 and we’ve planted some fresh ideas deep into the game. patch 1.13 for uncharted 3 multiplayer has been months in the making and it’s our biggest patch ever.
patch 1.13 will be available today, 7th august. if you’re not a fan of reading, check out the patch notes video below for a full rundown of what’s included. we wanted to give you some quick highlights on some of the new exciting content you can expect when you download the patch.
we have unique, brand new multiplayer dlc that will start rolling out to users as part of the ps store updates starting on 15th august. the upcoming dlc can be unlocked either by earning the necessary in-game levels, completing specific treasure sets, or if you’d rather unlock a certain item quickly you can purchase it in the ps store. check out the teaser video below to check out fresh new content we’re adding (137 pieces to be exact!).
another major aspect of this patch is that we’re introducing a whole new feature to uncharted 3 multiplayer. the tournament system ushers in a points-based competition that has three reward tiers which grant you special in-game weapons or items based on how well you played. once you unlock a weapon or item it’s yours to use until the next tournament period.
you can buy into a tournament using tournament tickets. you’ll always carry a balance of ten tickets per tournament period but you will be able to purchase more via the ps store. a tournament leaderboard will be added to the leaderboards section so you can track your skill level among your friends. for a look at the specifics and rules of the tournament system, we have an in-depth video on ign alongside a qa with robert cogburn, lead multiplayer designer, and robert ryan, gameplay designer, discussing more on tournaments, all the new dlc and why multiplayer continues to be so important to the team. we’ll also have a detailed post about the tournament system over on naughtydog.com later this week.
while all of this great new content is rolling out today, we’re very excited to announce that new experimental block mesh maps are coming to the lab after patch 1.13 releases. block mesh maps are maps of coloured block mesh that have been designed by imaginative artists here at naughty dog to provide some wild and distinct multiplayer gameplay. we’ll be posting a schedule for the upcoming labs in the near future so be on the lookout over on naughtydog.com.
while new labs, new dlc and the tournament system are the major elements of patch 1.13, there’s a laundry list of other changes and improvements we made to the multiplayer experience and you can see the full list of features and gameplay changes on the naughty dog blog. we’ll also be updating our blog weekly from 14th august to 4th september with the full list of dlc items as they come available in the ps store.
as always fire away with some comments to let us know what you think and any questions you might have. see you online!
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ʤɑn məˈkeɪn ɪz ˌɪnɪkˈsplɪkəbli kæmˈpeɪnɪŋ ɪn ˈaɪəwə təˈdeɪ, ənd hir ɪz ðə ˌɪnvəˈkeɪʃən frəm ˈpæstər ˈkɑnræd əv ðə ˌivænˈʤɛlɪkəl fri ʧərʧ ˌbiˈfɔr məˈkeɪn meɪd hɪz əˈpɪrəns: ər ˈplɛnti əv ˈpipəl əraʊnd ðə wərld hu ər preɪɪŋ tɪ ðɛr gɑd, bi ðeɪ ˈhɪnˌdu, buddah*, ər ˈɑlə, ðət (mccain’s*) əˈpoʊnənt wɪnz. aɪ preɪ ðət ju stɛp ˈfɔrwərd ənd ˈɑnər jʊr oʊn name.”*.” ɛndz wɪθ jesus’*’ name.”*.” soʊ, ɪn ðə feɪs əv greɪt ənˈsərtənti, ˈkɔlɪŋ əˈpɑn ðɛr waɪt, tɪ faɪt ðə ˈfɔrsɪz əv ˈivəl ɛz pərˈsɑnəˌfaɪd baɪ ðə əv ðə ˈhiðən ˌnɑnbɪˈlivərz ɪn ə ˈdiəti deathmatch*. ˈsɪtɪŋ ɔn ðə ˈsaɪˌdlaɪnz ər ðə ˈlɛsər ˈdiətiz: ðə flaɪɪŋ spəˈgɛti ˈmɑnstər, cthulthu*, ˈɛrɪk ˈklæptən, baal*, æs, ənd ˌwəˈtɛvər ðə hɛl ðoʊz ˈkreɪzi ˌsaɪənˈtɑləʤəsts ˈwərʃɪp ˌbiˈsaɪdz ˈməni. (lɪŋk ˈædɪd baɪ ˈpɑpjələr dɪˈmænd)
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john mccain is inexplicably campaigning in iowa today, and here is the invocation from pastor conrad of the evangelical free church before mccain made his appearance:
“there are plenty of people around the world who are praying to their god, be they hindu, buddah, or allah, that (mccain’s) opponent wins. i pray that you step forward and honor your own name.” ends with “in jesus’ name.”
so, in the face of great uncertainty, they’re calling upon their white, blue-eyed bible-jesus to fight the forces of evil as personified by the mudgods of the heathen nonbelievers in a steelcage deity deathmatch.
sitting on the sidelines are the lesser deities: the flying spaghetti monster, cthulthu, eric clapton, baal, shakira’s ass, and whatever the hell those crazy scientologists worship besides money.
(link added by popular demand)
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hoʊm nuz ˈbɔstən gloʊb aɪˈdiəz ə ˌruˈɑndən ʧaɪld stɛrz æt ðə skəlz əv səm hu wər ˈmæsəkərd ɪn ənd əraʊnd ðə ˈkæθlɪk ʧərʧ ənd ðə sərˈaʊndɪŋ kəmˈjunɪti ɪn 1994 ˈnɪrli wən ˈmɪljən ˌruˈɑndənz wər ˈmərdərd ɪn ðə ˈʤɛnəˌsaɪd. ˈsɑbə ˈfoʊˌtoʊ luiz gəs) wən ɪn ə ˈmɪljən kən ˈʤɛnəˌsaɪd bi ˈtruθfəli ˌrɛprɪˈzɛnɪd ɪn ə ˈfiʧər fɪlm ðət ˈfoʊkɪsɪz ɔn wən mænz ˈhɛroʊˌɪzəm? ðə ˈskrinˌraɪtər əv "hoʊˈtɛl ˌruˈɑndə" rɪˈflɛkts ɔn ðə ˈfɪlˌmeɪkərz riˌspɑnsəˈbɪləti tɪ tɪ ðə ˈprɛzənt. ɪn 1999 aɪ hæd ʤɪst ˈgræʤəˌweɪtɪd frəm fɪlm skul ənd wɑz ˈwərkɪŋ ɛz ə ˌdɑkjəˈmɛnəri fɪlm ˈɛdɪtər ɪn nu jɔrk wɪn ə ˈnɑvələst frɛnd toʊld mi ə ˈstɔri əˈbaʊt ə ˌruˈɑndən hoʊˈtɛl ˈmænɪʤər neɪmd pɔl hu wild ənd tɪ seɪv mɔr ðən ˈpipəl hu hæd sɔt ˈrɛfjuʤ ɪn ðə hoʊˈtɛl mɪl ˈdʊrɪŋ ðə haɪt əv ðə ˈkəntriz hɔˈrɪfɪk ˈʤɛnəˌsaɪd ɪn 1994 maɪ frɛnd, ʤɑn ˈrɑbənsən, hæd bɪn ˈlɪvɪŋ ɪn ˈneɪbərɪŋ ˌtænˈzeɪnjə æt ðə taɪm əv ðə ˈʤɛnəˌsaɪd ənd hæd hərd ðə ˈstɔri frəm ə ˈʃɑkɪŋ nuz rɪˈpɔrt ˈbrɔdˌkæst ˈoʊvər ˈreɪdiˌoʊ fræns ˌɪnərˈnæʃənɑl baɪ ə ˌruˈɑndən ˈʤərnəlɪst træpt ɪn ðə hoʊˈtɛl. ðə ˈrɛfˌjuʤiz wər fɔrst tɪ drɪŋk ˈwɔtər frəm ðə sˈwɪmɪŋ pul tɪ sərˈvaɪv, ənd ɛz pɔl dɪd hɪz bɛst tɪ hoʊld ɔf ðə ˈmərdərəs (ðə ˈhuˌtu mɪˈlɪʃə) sərˈaʊndɪŋ ðə hoʊˈtɛl, ðə ˈwɛstərn baɪ fræns, ˈbɛlʤəm, ənd ðə juˈnaɪtɪd ðɛr vaʊz əv "ˈnɛvər əˈgɛn" ənd tərnd ðɛr bæks ɔn ðə sˈlɔtər. ˈnɪrli wən ˈmɪljən ˌruˈɑndənz, moʊst əv ðɛm məˈnɔrəti ˈtutsi, daɪd ɪn ðə speɪs əv ə ˈhənərd deɪz. aɪ ˈkʊdənt hɛlp bət æsk ˌmaɪˈsɛlf: ɪf mɔr ˈpipəl, ˈsərtənli ˈpipəl əv paʊər, hæd ðə kərɪʤ tɪ ækt laɪk pɔl, haʊ ˈmɛni ˈhənərdz əv ˈθaʊzənz əv lɪvz kʊd hæv bɪn seɪvd? hɪz ˈstɔri ˈnidɪd tɪ bi toʊld. ˈlɪtəl dɪd aɪ noʊ ðət jɪrz ˈleɪtər, ˈhævɪŋ ˈrɪtən ə skrɪpt əˈbaʊt pɔl ənd sin ɪt prəˈdust (ðə fɪlm, "hoʊˈtɛl ˌruˈɑndə," ˈoʊpənz ˈnæʃənəli ɔn ʤæn. 7 əˈnəðər ˈʤɛnəˌsaɪd wʊd bi ˈteɪkɪŋ pleɪs ɪn ˈæfrɪkɑ, ðɪs taɪm ɪn ðə ˌdɑˈfur ˈriʤən əv suˈdæn, ənd ðə wərld wʊd əˈgɛn bi duɪŋ ˈnəθɪŋ. bət ɪn 1999 ðə kˈwɛʃən aɪ feɪst wɑz haʊ tɪ tɛl pɔlz ˈstɔri ɪn ə fɪlm. haʊ kʊd ə fɪlm du ˈʤəstɪs tɪ boʊθ ðə ˈhɛroʊˌɪzəm əv pɔlz ˈstɔri ənd ðə ˌoʊvərˈwɛlmɪŋ ˈhɔrər əv ðə ˌruˈɑndən ˈʤɛnəˌsaɪd? ðə fərst dɪˈsɪʒən aɪ hæd tɪ meɪk ɛz ə ˈraɪtər wɑz ˈwɛðər tɪ əˈproʊʧ ðɪs ɛz ə ˌdɑkjəˈmɛnəri ər ə ˈfiʧər fɪlm. ðə ˌdɑkjəˈmɛnəri əˈproʊʧ simd ˈɑbviəs, bət ðɛr ɔˈrɛdi wɑz ə wɛlθ əv ˌɪnˌfɔrˈmeɪʃən ɔn ðə ˈʤɛnəˌsaɪd, ˌɪnˈkludɪŋ ˌdɑkjəˈmɛnəriz, ənd stɪl moʊst ˈpipəl simd tɪ noʊ ˈlɪtəl əv wət ˈhæpənd ɪn ˌruˈɑndə ɪn ðə spərɪŋ əv 1994 ˈfiʧər fɪlmz, ɔn ðə ˈəðər hænd, hæv ðə əˈbɪləˌti tɪ riʧ ə mæs ˈwərldˈwaɪd ˈɔdiəns. aɪ ˈɔlsoʊ fɛlt ðət pɔlz ˈstɔri wɑz wɛl ˈsutɪd fər ˈfiʧər fɪlmz, nɑt ˈoʊnli bɪˈkəz əv ɪts "wən mæn kən meɪk ə ˈdɪfərəns" ˈmɛsɪʤ, bət ˈɔlsoʊ bɪˈkəz hɪˈroʊɪk ˈstɔriz ər əˈpilɪŋ tɪ ˈmuvi ˈmuvi ˈstudiˌoʊz. aɪ kɔld ðə fju ˈpipəl aɪ nu ɪn ðə fɪlm ˈbɪznɪs ənd ðə rɪˈspɑns wɑz ˈɔlˌweɪz ðə seɪm: "jʊr ˈtɔkɪŋ əˈbaʊt ə ˈʤɛnəˌsaɪd ɪn ˈæfrɪkɑ ðət noʊ wən kɛrd əˈbaʊt æt ðə taɪm, soʊ waɪ wɪl ˈɛniˌwən kɛr naʊ? nɑt tɪ ˈmɛnʃən ðət ˈreɪzɪŋ ˈməni fər ə fɪlm wɪθ ə ˌprɪˈdɑmənənˌtli blæk kæst ɪz nɛkst tɪ ˌɪmˈpɑsəbəl." ˈpɑrtɪŋ rɪˈmɑrks wər ˈjuʒəwəli əˈlɔŋ ðə laɪnz əv, "doʊnt weɪst jʊr taɪm. ɪt wɪl ˈnɛvər gɪt meɪd." bət aɪ prɛst əˈhɛd ənd spɛnt ðə nɛkst jɪr ˈɪntərvˌjuɪŋ ˌruˈɑndən ˈʤɛnəˌsaɪd sərˈvaɪvərz ənd ˈɛkspərts ɪn ðə juˈnaɪtɪd steɪts, ənd ɪˈvɛnʧəwəli trækt pɔl daʊn ɪn ˈbɛlʤəm, wɛr hi wɑz ˈlɪvɪŋ wɪθ hɪz ˈfæməli ənd ˈwərkɪŋ ɛz ə ˈtæksi ˈdraɪvər. aɪ kɔld ɪm, ənd hi əˈgrid tɪ mit. ɪn ðə fɔl əv 2000 ʤɑn ənd aɪ flu tɪ ˈbɛlʤəm ənd mɛt pɔl ɪn ə ˈsəbərb əv ˈbrəsəlz, ənd hi ˌɪnˈvaɪtɪd ˈjuˈɛs tɪ hɪz hoʊm. pɔl ɪkˈspleɪnd ðət hi wɑz ðə fərst ˈæfrɪkɑn ˈmænɪʤər fər ðə səˈbinə ˈkɔrpərˈeɪʃən., wɪʧ oʊnd ˈsɛvərəl ˈprɑpərtiz ɪn ˌruˈɑndə. ðə pəˈzɪʃən geɪv ɪm ðə ˌɑpərˈtunəti tɪ ˈkəri ˈfeɪvər wɪθ ðə ˈkəntriz ɪˈlit, ˌɪnˈkludɪŋ ˈmɪlɪˌtɛri ˈɔfɪsərz. ɪt ˈɔlsoʊ geɪv ɪm ən ˈɪnɪmət ˈnɑlɪʤ əv haʊ tɪ gɪt θɪŋz dən ɪn ə ˈkəntri wɛr əˈfɪʃəl kərˈəpʃən wɑz ˈræmpənt. wɪn ðə ˈʤɛnəˌsaɪd bɪˈgæn, pɔl, ə ˈhuˌtu, wɑz ɪn ə juˈnik pəˈzɪʃən tɪ ˌɛkˈsplɔɪt ðiz riˈleɪʃənˌʃɪps ənd nɪˈgoʊʃiˌeɪt fər ðə hoʊˈtɛlz ˈseɪfti. ˈædɪŋ tɪ hɪz ˈərʤənsi wɑz ðə fækt ðət hɪz waɪf, ˌtæˌtiˈæˌnɑ, ɪz ˈtutsi, wən əv ðə "ˈkɑˌkroʊʧɪz" ðə sɛt aʊt tɪ ɪkˈstərməˌneɪt. pɔl toʊld ˈjuˈɛs ˈmɛni ˈditeɪlz ðət deɪ, ənd ðeɪ leɪd ðə ˈgraʊndˌwərk fər wət wʊd bɪˈkəm "hoʊˈtɛl ˌruˈɑndə." ˈæftər ˈmitɪŋ wɪθ pɔl, ʤɑn ənd aɪ flu tɪ kiˈgɑli, wɛr wi ʧɛkt ˈɪntu ðə hoʊˈtɛl mɪl, wɪʧ wɑz məʧ ðə seɪm ɛz ˌbiˈfɔr ðə ˈʤɛnəˌsaɪd, ənˈskeɪðd ɪkˈsɛpt fər ə ˈnoʊtəsəbəl rɪˈpɛr ʤɑb wɛr ə hæd ɪkˈsploʊdɪd. ˈoʊvər ðə nɛkst fju wiks wi ˈvɪzɪtɪd ˈmɛni ˈʤɛnəˌsaɪd saɪts. wi sɔ ˈbrɪʤɪz wɛr ˈvɪktɪmz wər θroʊn tɪ ðɛr dɛθs ənd wɛlz wɛr ˈhɛlpləs ˈtutsiz wər ˈbɛrid əˈlaɪv. wi sɔ ðə ʧərʧ ɪn wɛr ðə ˈvɪktɪmz wər lɛft wɛr ðeɪ hæd bɪn ˈbʊʧərd, ə ˈkɑnstənt riˈmaɪndər tɪ ɔl hu pæs. ˈmoʊstli, ðoʊ, aɪ spɛnt ˈhənərdz əv aʊərz ˈɪntərvˌjuɪŋ sərˈvaɪvərz, əˈspɛʃəli ðoʊz frəm ðə mɪl. wɪn aɪ rɪˈtərnd tɪ nu jɔrk tɪ bɪˈgɪn ˈraɪtɪŋ ðə skrɪpt, aɪ fɛlt ən ˌoʊvərˈwɛlmɪŋ riˌspɑnsəˈbɪləti təˈwɔrd ðə sərˈvaɪvərz aɪd mɛt, əˈspɛʃəli pɔl. aɪ hæd ə ˈmaʊntən əv məˈtɪriəl, bət aɪ wɑz goʊɪŋ tɪ hæv tɪ kənˈdɛns taɪm ənd kriˈeɪt səm kəmˈpɑzət ˈkɛrɪktərz. ðɪs wɑz ðə moʊst ˈdɔntɪŋ ˈʧælənʤ. əv kɔrs, ˈɛvəri ˈskrinˌraɪtər ˈtækəlɪŋ ə ˈstɔri həz tɪ du ðɪs. ˈivɪn ˈɛdɪtɪŋ ˌdɑkjəˈmɛnəriz fər pbs*, aɪ wɑz æst tɪ trɪm ənd ʃeɪp ˌriˈæləˌti tɪ tɛl ə ˈstɔri. ɪn ʃɔrt, ɔl ˈfɪlˌmeɪkɪŋ ɪz səˈbʤɛktɪv. ðə ˈvɛri ækt əv ˈpɪkɪŋ əp ə ˈkæmərə ənd ˈfoʊkɪsɪŋ ɔn ə ˌpɑˈtɪkjələr ˈsəbʤɪkt freɪmz aʊt ər əbˈskjʊrz ðə rɛst əv ðə wərld. ɪts ən ˌɪnˈtrɪnsɪk ˈifɛkt əv ˈfɪlˌmeɪkɪŋ ðət səm ˌækəˈdɛmɪks laɪk tɪ kɔl ˈkæmərə. fər ɪgˈzæmpəl, "hoʊˈtɛl ˌruˈɑndə" ˈdəzənt ˈæˌdrɛs ˈɛvəri ˈfæsət əv ðə ˌruˈɑndən ˈʤɛnəˌsaɪd, məʧ lɛs ðə ˈɔnˌgoʊɪŋ wɔr ənd əˈtrɑsətiz ɪn ˈneɪbərɪŋ ˈkɑŋgoʊ; ɪt ˌrɛprɪˈzɛnts maɪ səˈbʤɛktɪv dɪˈsɪʒən tɪ ˈfoʊkɪs ɔn ə spɪˈsɪfɪk mæn ənd hɪz ˈækʃənz ɪn ə spɪˈsɪfɪk taɪm ənd pleɪs. jɛt ˈhævɪŋ meɪd ðɪs dɪˈsɪʒən, aɪ stɪl hæd tɪ ˈænsər ˈbeɪsɪk kˈwɛsʧənz ɛz ə ˈskrinˌraɪtər, ðə moʊst ˌɪmˈpɔrtənt biɪŋ, "wət ɪz pɔlz drəˈmætɪk ɑrk?" ðə drəˈmætɪk ɑrk, ˈsɪmpli pʊt, ɪz wət jʊr meɪn ˈkɛrɪktər lərnz ər haʊ hi ˈʧeɪnʤɪz. ɪts ən aɪˈdiə ɛz oʊld ɛz grik ˈdrɑmə. ˈgɪvɪn ðət "hoʊˈtɛl ˌruˈɑndə" ɪz beɪst ɔn pɔlz tru ˈstɔri, aɪ ˈwɔntɪd tɪ kriˈeɪt ən ɑrk ðət wɑz ˈtruθfəl. soʊ aɪ wɛnt bæk tɪ ðə fækts. ɪt ɪz tru, fər ɪgˈzæmpəl, ðət pɔl hæd ˈkərid ˈfeɪvər wɪθ ðə ˈkəntriz ɪˈlit. ɪt ɪz tru ðət wɪn ðə ˈʤɛnəˌsaɪd ˈstɑrtɪd hɪz moʊst ˈprɛsɪŋ kənˈsərn wɑz tɪ juz ðɪs ˈfeɪvər tɪ seɪv ðə laɪf əv hɪz ˈfæməli. ɪt ɪz tru ðət wɪn ðə fərst ˈkɑnˌvɔɪ lɛft ðə hoʊˈtɛl wɪθ pɔlz ˈfæməli æt ðə haɪt əv ðə ˈkɪlɪŋ, hi steɪd bɪˈhaɪnd bɪˈkəz ðə ˈseɪfti əv ðə hoʊˈtɛlz ˈrɛfˌjuʤiz dɪˈpɛndɪd ɔn ɪt. beɪst ɔn ðiz fækts, aɪ ˌdɪˈsaɪdɪd tɪ pɔrˈtreɪ pɔl ɛz ˈsəmˌwən hu wɑz ˈfɪrsli prəˈtɛktɪv əv hɪz ˈfæməli, ənd ðɛn ɛz ðə ˈʤɛnəˌsaɪd ˌɪˈrəptɪd ənd hi wɑz feɪst wɪθ ɪts ˈhɔrərz, fɛlt hɪz ˈgreɪtər juˈmænɪti əˈweɪkənd ənd kəˈmɪtɪd hɪmˈsɛlf tɪ ə ˈlɑrʤər əv ðə hoʊˈtɛlz ˈrɛfˌjuʤiz. ðɪs ɪz waɪ ðə sin ˈərli ɪn ðə fɪlm wɪn pɔlz ˈtutsi ˈneɪbər ɪz biɪŋ drægd əˈweɪ baɪ ˈhuˌtu ˈsoʊlʤərz ˌbiˈfɔr ðə ˈʤɛnəˌsaɪd ɪz soʊ ˌɪmˈpɔrtənt. hi wɪθ hɪz ˈneɪbər, bət hi kænt hɛlp bɪˈkəz hiz kənˈsərvɪŋ hɪz ˈfeɪvərz fər ˈleɪtər juz, tɪ seɪv hɪz ˈfæməli ɪf ðə taɪm kəmz. ɪn ʃɔrt, pɔl ˈpleɪsɪz hɪz ˈfæməliz nidz əˈbəv ˈəðərz. ˈleɪtər ɪn ðə fɪlm, wɪn hi lɛts hɪz ˈfæməli traɪ tɪ ɪˈskeɪp ɔn ðə ˈkɑnˌvɔɪ ənd steɪz bɪˈhaɪnd, hi ˈpleɪsɪz ðə gʊd əv ˈəðərz əˈbəv ðət əv hɪmˈsɛlf ənd hɪz ˈfæməli. ˈæftər ə jɪr əv ˈraɪtɪŋ, aɪ ˈfɪnɪʃt "hoʊˈtɛl ˌruˈɑndə" ɪn ðə fɔl əv 2001 ənd ˈbɔrdɪd ə pleɪn fər lɔs ˈænʤəlɪs tɪ lʊk fər ˈbækɪŋ. ˈləkəli, ðə skrɪpt fɛl ˈɪntu ðə hænz əv ˈvɛtərən ˈfɪlˌmeɪkər ˈtɛri "ɪn ðə neɪm əv ðə ˈfɑðər" ənd dɪˈrɛktɪd "səm ˈməðərz hi əˈgrid tɪ dɪˈrɛkt ɪt. ðə fərst θɪŋ ˈtɛri dɪd wɑz flaɪ pɔl tɪ nu jɔrk ɪn ðə ˈsəmər əv 2002 ənd ðə θri əv ˈjuˈɛs spɛnt deɪz ˈpɔrɪŋ ˈoʊvər ðə skrɪpt, ˈʧɛkɪŋ fækts ənd ˈfɪlɪŋ ɪn mɔr ˈditeɪlz. ɪt wɑz ðɛn ðət pɔl toʊld ˈjuˈɛs haʊ hi hæd braɪbd ə ˈgəvərnmənt əˈfɪʃəl wɪθ ə kɑr tɪ gɪt ˌtæˌtiˈæˌnɑ, hu wɑz ˈwərkɪŋ ɛz ə nərs, ˈtrænsfərd frəm tɪ kiˈgɑli soʊ hi kʊd stil hər əˈweɪ frəm ə ˈdɔktər ənd ˈmɛri hər. ˈtɛri ʤəmpt aʊt əv hɪz sit, seɪɪŋ, "ðæts ɪt! ðæts gɑt tɪ bi ɪn ðə skrɪpt!" ɪt wʊd bi ə ˈlaɪtər ˈmoʊmənt, ˈædɪŋ dɛpθ tɪ pɔlz ˈkɛrɪktər ənd ʃoʊɪŋ ðət ˈivɪn ɪn ləv hi wild ənd. ˈæftər pɔl rɪˈtərnd tɪ ˈbɛlʤəm, ˈtɛri ənd aɪ spɛnt ðə nɛkst ˈsɛvərəl mənθs riˈraɪtɪŋ "hoʊˈtɛl ˌruˈɑndə," ˈpɛrɪŋ daʊn ðə səˈpɔrtɪŋ ˈkɛrɪktərz ənd ˈtoʊnɪŋ daʊn ðə ðə moʊst ˈgræfɪk sinz əv ˈkɪlɪŋ ɪn ðə ˈdɪstəns ər ðət wi kʊd goʊ fər ə ˈreɪtɪŋ ənd riʧ ə ˈwaɪdər ˈɔdiəns. wɪn ˈtɛri ˈstɑrtɪd ˈʃɑpɪŋ ðə skrɪpt əraʊnd ɪn ˈhɑliˌwʊd, wi wər toʊld ðət noʊ ˈstudiˌoʊ wʊd fənd ðə fɪlm ənˈlɛs wɪl smɪθ ər ˈdɛnzəl ˈwɔʃɪŋtən wər əˈtæʧt tɪ stɑr. bət ɪn ðə ɛnd, prəˈdusər ə. ˈkɪtmən hoʊ ənd ɪgˈzɛkjətɪvz krɪs məˈgərk ənd ˈdæni ˈroʊzət ˌdɪˈsaɪdɪd tɪ teɪk ə ʧæns ɔn ɪt. ɪt ɪz naʊ faɪv jɪrz frəm wɪn aɪ fərst hərd ðə ˈstɔri əv ðə mɪl, ənd ðə ˈfeɪsɪz ənd ðə ˈstɔriz əv ðə ˈʤɛnəˌsaɪd sərˈvaɪvərz aɪ ˈɪntərvˌjud ər stɪl wɪθ mi, əˈspɛʃəli pɔlz. bət ðɛrz wən sərˈvaɪvər frəm ðə hoʊˈtɛl hu hɔnts mi laɪk noʊ ˈəðər, ˈmeɪbi bɪˈkəz ʃi wɑz ðə fərst wən aɪ mɛt. wɪn aɪ ˈstɑrtɪd duɪŋ ˈrisərʧ bæk ɪn 1999 maɪ fərst kɔl wɑz tɪ ðə ˌruˈɑndən ˈɛmbəsi ɪn ˈwɔʃɪŋtən, d.c*. ə ˈwʊmən ˈænsərd ðə foʊn, ənd aɪ toʊld hər aɪ wɑz ˈɪntəˌrɛstɪd ɪn pɔl ənd ðə ɪˈvɛnts sərˈaʊndɪŋ ðə mɪl. ʃi rɪˈplaɪd ðət ʃi wɑz ə sərˈvaɪvər frəm ðə hoʊˈtɛl. aɪ hɑpt ðə nɛkst treɪn tɪ d.c*. ənd tʊk hər tɪ ə ˈloʊkəl ˈrɛˌstrɑnt fər ˈdɪnər. fər fɔr aʊərz, ˈnɛvər wəns ˈtəʧɪŋ hər fud, ʃi toʊld mi ðə moʊst ˈhɛroʊɪŋ ˈstɔri əv haʊ ʃi, ɛz ə ˈtutsi, sərˈvaɪvd ðə ˈʤɛnəˌsaɪd. fər wiks, ˌbiˈfɔr θɪŋz gɑt ˈtruli ˈdɛspərɪt, ʃi hɪd ɪn ðə ʃrəbz bɪˈhaɪnd hər haʊs wɪθ hər sən. æt læst, hæf stɑrvd, ʃi əˈproʊʧt ðə ˈneɪbərˌhʊd ˈlidər wɪθ ə ˈboʊgəs ʧɛk ənd bɔt hɪz prəˈtɛkʃən, noʊɪŋ fʊl wɛl hi wʊd ɛnsˈleɪv hər. ʃi æst ʤɪst wən θɪŋ: ðət hi nɑt ʃɛr hər wɪθ ˈɛniˌwən. fər ðə nɛkst tu mənθs hi reɪpt hər, ˈɔfən ˈkəvərd ɪn ðə bləd əv ðoʊz hi kɪld, ˈoʊnli ə məd wɔl ˈsɛpərˌeɪtɪŋ hər ˈnaɪtˌmɛr frəm hər ˈtɑdlər ɪn ðə nɛkst rum. (ʃi æst ðət aɪ ˈnɛvər juz hər neɪm.) wɪn ðə ˈtutsi ˈrɛbəlz, ðə ˈɑrˈpiˈɛf, ˈfaɪnəli kloʊzd ɪn ɔn ðə ˈneɪbərˌhʊd, hi kʊd hæv kɪld hər ənd hər sən, bət mərˈækjələsli hi tʊk ðɛm tɪ ðə mɪl. mənθs ˈleɪtər, ʃi kənˈfrəntɪd mi, ˈwɑnɪŋ tɪ noʊ waɪ aɪ wɑz ˈraɪtɪŋ ə skrɪpt əˈbaʊt ðə mɪl. "wi ɔl sərˈvaɪvd ðɛr," wər hər ɪgˈzækt wərdz. ðə ril ˈstɔri əv ðə ˈʤɛnəˌsaɪd, ɛz ʃi pʊt ɪt, wɑz ðə nɪr wən ˈmɪljən ˈpipəl ˈmərdərd. "raɪt əˈbaʊt ðɛm." æt ðət ˈmoʊmənt, ʃi hæd dɪˈskraɪbd ðə ˈpaʊərfəl ˈifɛkt əv ˈkæmərə ˈbɛtər ənd mɔr ˈpɔɪnjəntli ðən ˈɛni fɪlm θiərɪst ˈɛvər kʊd. aɪ əˈgrid ənd ɪkˈspleɪnd tɪ hər ðət aɪ wɑz traɪɪŋ tɪ tɛl ðə ˈstɔri əv ðoʊz hu hæd daɪd, bɪˈkəz pɔlz ˈstɔri wʊd drɔ ˈpipəl ˈɪntu ðə ˈθiətərz, ənd ðeɪ wʊd wɔk aʊt noʊɪŋ haʊ ˈmɛni ˈpipəl hæd bɪn kɪld ɪn ðə ˈʤɛnəˌsaɪd. ˈʃʊrli ðeɪ wʊd æsk kˈwɛsʧənz ənd wɔnt tɪ noʊ mɔr əˈbaʊt waɪ ɪt ˈhæpənd. ˈstɛdˌfæst, ʃi rɪˈpitɪd ðət ðə ril ˈstɔri wɑz ðə nɪr wən ˈmɪljən ˈpipəl dɛd. aɪ traɪd tɪ ɪkˈspleɪn ˈfərðər, ˈtɛlɪŋ hər ðət pɔl sərvz ɛz ə ˈlɛsən tɪ ˈjuˈɛs ɔl. ɪf ðə ˈlidərz ɪn ðə wɛst hæd bɪn hæf ɛz breɪv, ˈkaʊntləs ˌruˈɑndənz wʊd hæv bɪn seɪvd. aɪ ˈivɪn ˈædɪd, maɪ vɔɪs ˈweɪnɪŋ, "ðə ˈsəbʤɪkt ˈmætər nidz ə hɪˈroʊɪk ˈstɔri." ʃi stɛrd æt mi ənd ʧeɪnʤd ðə ˈsəbʤɪkt. soʊ aɪ hoʊp ðət ðoʊz hu si "hoʊˈtɛl ˌruˈɑndə" wɪl sɪt daʊn ˈæftər ˈwɑʧɪŋ ðə fɪlm ənd traɪ tɪ ˌɪˈmæʤən ˈnɪrli wən ˈmɪljən ˈpipəl biɪŋ hækt, stoʊnd, kləbd, ənd bərnd tɪ dɛθ. ɪf ju kən du ðət, ðɛn traɪ tɪ gɪt jʊr maɪnd əraʊnd ðə ˈʤɛnəˌsaɪd ðət ɪz ˈhæpənɪŋ raɪt naʊ ɪn ˌdɑˈfur, wɛr æt list ˈpipəl hæv bɪn kɪld soʊ fɑr ənd ən ˈɛstəˌmeɪtɪd wɪl kənˈtɪnju tɪ daɪ pər mənθ ɪf eɪd dɪz nɑt riʧ ðɛm. ˈæftər ɔl, "hoʊˈtɛl ˌruˈɑndə" ɪz ˈoʊnli ə fɪlm. wəts moʊst ˌɪmˈpɔrtənt ɪz wət ju, ðə ˈɔdiəns, teɪk əˈweɪ frəm ɪt. ˈhoʊpfəli ˈsəmˌdeɪ, wɪn wi seɪ "ˈnɛvər əˈgɛn," wɪl ˈæˌkʧuəli min ɪt. kir ˈpɪrsən ðə ˈskrinˌpleɪ fər ðə ˈfiʧər fɪlm "hoʊˈtɛl ˌruˈɑndə." ˈkɑpiˌraɪt 2006 gloʊb ˈnuzˌpeɪpər ˈkəmpəˌni. ˌædvərˈtaɪzmənt pɔl, ˈfɔrmər ˈmænɪʤər əv ðə hoʊˈtɛl mɪl, ɪz ˈkrɛdɪtɪd wɪθ ˈseɪvɪŋ ðə lɪvz əv mɔr ðən ˌruˈɑndənz ˈdʊrɪŋ ðə ˈʤɛnəˌsaɪd. (ðə nu jɔrk taɪmz ˈfoʊˌtoʊ ˈʃænən ˈsteɪpəltən) sərʧ ðə ˈɑrˌkaɪvz ədˈvænst sərʧ hɪˈstɔrɪk ˈɑrˌkaɪvz ˌædvərˈtaɪzmənt
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a rwandan child stares at the skulls of some who were massacred in and around the nyamata catholic church and the surrounding kanzenze community in 1994. nearly one million rwandans were murdered in the genocide. (corbis saba photo / louise guss) one in a million can genocide be truthfully represented in a feature film that focuses on one man's heroism? the screenwriter of "hotel rwanda" reflects on the filmmaker's responsibility to history--and to the present. in 1999, i had just graduated from nyu film school and was working as a documentary film editor in new york when a novelist friend told me a story about a rwandan hotel manager named paul rusesabagina who wheeled and dealed to save more than 1,200 people who had sought refuge in the hotel mille collines during the height of the country's horrific genocide in 1994. my friend, john robinson, had been living in neighboring tanzania at the time of the genocide and had heard the story from a shocking news report broadcast over radio france international by a rwandan journalist trapped in the hotel. the refugees were forced to drink water from the swimming pool to survive, and as paul did his best to hold off the murderous interahamwe (the hutu militia) surrounding the hotel, the western democracies--led by france, belgium, and the united states--abandoned their vows of "never again" and turned their backs on the slaughter. nearly one million rwandans, most of them minority tutsi, died in the space of a hundred days. i couldn't help but ask myself: if more people, certainly people of power, had the courage to act like paul rusesabagina, how many hundreds of thousands of lives could have been saved? his story needed to be told. little did i know that years later, having written a script about paul and seen it produced (the film, "hotel rwanda," opens nationally on jan. 7), another genocide would be taking place in africa, this time in the darfur region of sudan, and the world would again be doing nothing. but in 1999, the question i faced was how to tell paul's story in a film. how could a film do justice to both the heroism of paul's story and the overwhelming horror of the rwandan genocide? the first decision i had to make as a writer was whether to approach this as a documentary or a feature film. the documentary approach seemed obvious, but there already was a wealth of information on the genocide, including documentaries, and still most people seemed to know little of what happened in rwanda in the spring of 1994. feature films, on the other hand, have the ability to reach a mass worldwide audience. i also felt that paul's story was well suited for feature films, not only because of its "one man can make a difference" message, but also because heroic stories are appealing to movie audiences--and movie studios. i called the few people i knew in the film business and the response was always the same: "you're talking about a genocide in africa that no one cared about at the time, so why will anyone care now? not to mention that raising money for a film with a predominantly black cast is next to impossible." parting remarks were usually along the lines of, "don't waste your time. it will never get made." but i pressed ahead and spent the next year interviewing rwandan genocide survivors and experts in the united states, and eventually tracked paul down in belgium, where he was living with his family and working as a taxi driver. i called him, and he agreed to meet. in the fall of 2000, john and i flew to belgium and met paul rusesabagina in a suburb of brussels, and he invited us to his home. paul explained that he was the first african manager for the belgium-based sabena corp., which owned several properties in rwanda. the position gave him the opportunity to curry favor with the country's elite, including high-ranking military officers. it also gave him an intimate knowledge of how to get things done in a country where official corruption was rampant. when the genocide began, paul, a hutu, was in a unique position to exploit these relationships and negotiate for the hotel's safety. adding to his urgency was the fact that his wife, tatiana, is tutsi, one of the "cockroaches" the interahamwe set out to exterminate. paul told us many details that day, and they laid the groundwork for what would become "hotel rwanda." after meeting with paul, john and i flew to kigali, where we checked into the hotel mille collines, which was much the same as before the genocide, unscathed except for a noticeable repair job where a hutu-fired rpg had exploded. over the next few weeks we visited many genocide sites. we saw bridges where victims were thrown to their deaths and wells where helpless tutsis were buried alive. we saw the church in ntarama where the victims were left where they had been butchered, a constant reminder to all who pass. mostly, though, i spent hundreds of hours interviewing survivors, especially those from the mille collines. . . . when i returned to new york to begin writing the script, i felt an overwhelming responsibility toward the survivors i'd met, especially paul. i had a mountain of material, but i was going to have to condense time and create some composite characters. this was the most daunting challenge. of course, every screenwriter tackling a true-life story has to do this. even editing documentaries for pbs, i was asked to trim and shape reality to tell a story. in short, all filmmaking is subjective. the very act of picking up a camera and focusing on a particular subject frames out or obscures the rest of the world. it's an intrinsic effect of filmmaking that some academics like to call camera obscura. for example, "hotel rwanda" doesn't address every facet of the rwandan genocide, much less the ongoing war and atrocities in neighboring congo; it represents my subjective decision to focus on a specific man and his actions in a specific time and place. yet having made this decision, i still had to answer basic questions as a screenwriter, the most important being, "what is paul's dramatic arc?" the dramatic arc, simply put, is what your main character learns or how he changes. it's an idea as old as greek drama. given that "hotel rwanda" is based on paul's true story, i wanted to create an arc that was truthful. so i went back to the facts. it is true, for example, that paul had curried favor with the country's elite. it is true that when the genocide started his most pressing concern was to use this favor to save the life of his family. it is true that when the first convoy left the hotel with paul's family at the height of the killing, he stayed behind because the safety of the hotel's refugees depended on it. based on these facts, i decided to portray paul as someone who was fiercely protective of his family, and then as the genocide erupted and he was faced with its horrors, felt his greater humanity awakened and committed himself to a larger good--that of the hotel's refugees. this is why the scene early in the film when paul's tutsi neighbor is being dragged away by hutu soldiers before the genocide is so important. he empathizes with his neighbor, but he can't help because he's conserving his favors for later use, to save his family if the time comes. in short, paul places his family's needs above others. later in the film, when he lets his family try to escape on the convoy and stays behind, he places the good of others above that of himself and his family. after a year of writing, i finished "hotel rwanda" in the fall of 2001, and boarded a plane for los angeles to look for backing. luckily, the script fell into the hands of veteran filmmaker terry george--who co-wrote "in the name of the father" and directed "some mother's son"--and he agreed to direct it. the first thing terry did was fly paul to new york in the summer of 2002, and the three of us spent days poring over the script, checking facts and filling in more details. it was then that paul told us how he had bribed a government official with a car to get tatiana, who was working as a nurse, transferred from ruhengeri to kigali so he could steal her away from a doctor and marry her. terry jumped out of his seat, saying, "that's it! that's got to be in the script!" it would be a lighter moment, adding depth to paul's character and showing that even in love he wheeled and dealed. after paul returned to belgium, terry and i spent the next several months rewriting "hotel rwanda," paring down the supporting characters and toning down the violence--keeping the most graphic scenes of killing in the distance or off-camera--so that we could go for a pg-13 rating and reach a wider audience. when terry started shopping the script around in hollywood, we were told that no studio would fund the film unless will smith or denzel washington were attached to star. but in the end, producer a. kitman ho and mgm/ua executives chris mcgurk and danny rosett decided to take a chance on it. . . . it is now five years from when i first heard the story of the mille collines, and the faces and the stories of the genocide survivors i interviewed are still with me, especially paul's. but there's one survivor from the hotel who haunts me like no other, maybe because she was the first one i met. when i started doing research back in 1999, my first call was to the rwandan embassy in washington, d.c. a woman answered the phone, and i told her i was interested in paul rusesabagina and the events surrounding the mille collines. she replied that she was a survivor from the hotel. i hopped the next train to d.c. and took her to a local restaurant for dinner. for four hours, never once touching her food, she told me the most harrowing story of how she, as a tutsi, survived the genocide. for weeks, before things got truly desperate, she hid in the shrubs behind her house with her 2-year-old son. at last, half starved, she approached the neighborhood interahamwe leader with a bogus check and bought his protection, knowing full well he would enslave her. she asked just one thing: that he not share her with anyone. for the next two months he raped her, often covered in the blood of those he killed, only a mud wall separating her nightmare from her toddler in the next room. (she asked that i never use her name.) when the tutsi rebels, the rpf, finally closed in on the neighborhood, he could have killed her and her son, but miraculously he took them to the mille collines. months later, she confronted me, wanting to know why i was writing a script about the mille collines. "we all survived there," were her exact words. the real story of the genocide, as she put it, was the near one million people murdered. "write about them." at that moment, she had described the powerful effect of camera obscura better and more poignantly than any film theorist ever could. i agreed and explained to her that i was trying to tell the story of those who had died, because paul's story would draw people into the theaters, and they would walk out knowing how many people had been killed in the genocide. surely they would ask questions and want to know more about why it happened. steadfast, she repeated that the real story was the near one million people dead. i tried to explain further, telling her that paul serves as a lesson to us all. if the leaders in the west had been half as brave, countless rwandans would have been saved. i even added, my voice waning, "the subject matter needs a heroic story." she stared at me and changed the subject. so i hope that those who see "hotel rwanda" will sit down after watching the film and try to imagine nearly one million people being hacked, stoned, clubbed, and burned to death. if you can do that, then try to get your mind around the genocide that is happening right now in darfur, where at least 70,000 people have been killed so far and an estimated 10,000 will continue to die per month if aid does not reach them. after all, "hotel rwanda" is only a film. what's most important is what you, the audience, take away from it. hopefully someday, when we say "never again," we'll actually mean it. keir pearson co-wrote the screenplay for the feature film "hotel rwanda." © copyright 2006 globe newspaper company.
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paul rusesabagina, former manager of the hotel mille collines, is credited with saving the lives of more than 1,200 rwandans during the genocide. (the new york times photo / shannon stapleton) search the archives advanced search / historic archives advertisement
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pərˈæbələ ə ˈsɪmpəl ɪgˈzæmpəl əv ə kərv ɪn ˌmæθəˈmætɪks, ə kərv (ˈɔlsoʊ kɔld ə kərvd laɪn ɪn ˈoʊldər tɛksts) ɪz, ˈʤɛnərəli ˈspikɪŋ, ən ˈɑbʤɛkt ˈsɪmələr tɪ ə laɪn bət ðət nid nɑt bi streɪt. ðəs, ə kərv ɪz ə ˌʤɛnərəlɪˈzeɪʃən əv ə laɪn, ɪn ðət ɪts ˈkərvəʧər nid nɑt bi zero.[a*] ˈvɛriəs ˈdɪsəplənz wɪˈθɪn ˌmæθəˈmætɪks hæv ˈgɪvɪn ðə tərm ˈdɪfərənt ˈminɪŋz dɪˈpɛndɪŋ ɔn ðə ˈɛriə əv ˈstədi, soʊ ðə prɪˈsaɪs ˈminɪŋ dɪˈpɛndz ɔn ˈkɑntɛkst. ˌhaʊˈɛvər, ˈmɛni əv ðiz ˈminɪŋz ər ˈspɛʃəl ˈɪnstənsɪz əv ðə ˌdɛfəˈnɪʃən wɪʧ ˈfɑloʊz. ə kərv ɪz ə təpəˈlɑʤɪkəl speɪs wɪʧ ɪz ˈloʊkəli tɪ ə laɪn. ɪn ˈɛvriˈdeɪ ˈlæŋgwɪʤ, ðɪs minz ðət ə kərv ɪz ə sɛt əv pɔɪnts wɪʧ, nɪr iʧ əv ɪts pɔɪnts, lʊks laɪk ə laɪn, əp tɪ ə ˌdifɔrˈmeɪʃən. ə ˈsɪmpəl ɪgˈzæmpəl əv ə kərv ɪz ðə pərˈæbələ, ʃoʊn tɪ ðə raɪt. ə lɑrʤ ˈnəmbər əv ˈəðər kərvz hæv bɪn ˈstədid ɪn ˈməltəpəl ˌmæθəˈmætɪkəl fildz. ə kloʊzd kərv ɪz ə kərv ðət fɔrmz ə pæθ huz ˈstɑrtɪŋ pɔɪnt ɪz ˈɔlsoʊ ɪts ˈɛndɪŋ ɪz, ə pæθ frəm ˈɛni əv ɪts pɔɪnts tɪ ðə seɪm pɔɪnt. ˈkloʊsli rɪˈleɪtɪd ˈminɪŋz ˌɪnˈklud ðə græf əv ə ˈfəŋkʃən (fər ɪgˈzæmpəl, ˈfɪlɪps kərv) ənd ə ˌtudɪˈmɛnʃənəl græf. ˈhɪstəri ˈɛdət ˈɪntəˌrɛst ɪn kərvz bɪˈgæn lɔŋ ˌbiˈfɔr ðeɪ wər ðə ˈsəbʤɪkt əv ˌmæθəˈmætɪkəl ˈstədi. ðɪs kən bi sin ɪn ˈnumərəs ɪgˈzæmpəlz əv ðɛr ˈdɛkrətɪv juz ɪn ɑrt ənd ɔn ˈɛvriˈdeɪ ˈɑbʤɛkts ˈdeɪtɪŋ bæk tɪ ˌprihɪˈstɔrɪk kərvz, ər æt list ðɛr ˈgræfɪkəl ˌrɛprəzənˈteɪʃənz, ər ˈsɪmpəl tɪ kriˈeɪt, fər ɪgˈzæmpəl baɪ ə stɪk ɪn ðə sænd ɔn ə biʧ. hɪˈstɔrɪkəli, ðə tərm laɪn wɑz juzd ɪn pleɪs əv ðə mɔr ˈmɑdərn tərm kərv. hɛns ðə ˈfreɪzɪz streɪt laɪn ənd raɪt laɪn wər juzd tɪ dɪˈstɪŋgwɪʃ wət ər təˈdeɪ kɔld laɪnz frəm kərvd laɪnz. fər ɪgˈzæmpəl, ɪn bʊk aɪ əv ˈɛləmənts, ə laɪn ɪz dɪˈfaɪnd ɛz ə lɛŋθ" (def*. 2 waɪl ə streɪt laɪn ɪz dɪˈfaɪnd ɛz "ə laɪn ðət laɪz ˈivənli wɪθ ðə pɔɪnts ɔn ˌɪtˈsɛlf" (def*. 4 aɪˈdiə əv ə laɪn ɪz pərˈhæps ˈklɛrəˌfaɪd baɪ ðə ˈsteɪtmənt "ðə ɛkˈstrɛmətiz əv ə laɪn ər pɔɪnts," (def*. ˈleɪtər ˈkɑmənˌteɪtərz ˈfərðər ˈklæsəˌfaɪd laɪnz əˈkɔrdɪŋ tɪ ˈvɛriəs skimz. fər kəmˈpɑzət laɪnz (laɪnz ˈfɔrmɪŋ ən ˈæŋgəl) laɪnz dɪˈtərməˌneɪt (laɪnz ðət du nɑt ɪkˈstɛnd ˌɪnˈdɛfənətli, səʧ ɛz ðə ˈsərkəl) ˌɪndɪˈtərmɪnɪt (laɪnz ðət ɪkˈstɛnd ˌɪnˈdɛfənətli, səʧ ɛz ðə streɪt laɪn ənd ðə pərˈæbələ) ðə kərvz kriˈeɪtɪd baɪ sˈlaɪsɪŋ ə koʊn ˈkɑnɪk ˈsɛkʃənz wər əˈməŋ ðə kərvz ˈstədid ɪn ˈeɪnʧənt gris. ðə grik hæd ˈstədid ˈmɛni ˈəðər kaɪnz əv kərvz. wən ˈrizən wɑz ðɛr ˈɪntəˌrɛst ɪn ˈsɑlvɪŋ ˌʤiəˈmɛtrɪkəl ˈprɑbləmz ðət kʊd nɑt bi sɑlvd ˈjuzɪŋ ˈstændərd ˈkəmpəs ənd ˈstreɪˌtɛʤ kənˈstrəkʃən. ðiz kərvz ˌɪnˈklud: ˌænəˈlɪtɪk ʤiˈɑmətri əˈlaʊd kərvz, səʧ ɛz ðə əv deɪˈkɑrt tɪ bi dɪˈfaɪnd ˈjuzɪŋ ɪkˈweɪʒənz ˌɪnˈstɛd əv ˌʤiəˈmɛtrɪkəl kənˈstrəkʃən. ə ˌfəndəˈmɛnəl ədˈvæns ɪn ðə ˈθɪri əv kərvz wɑz ðə ˈædˌvɛnt əv ˌænəˈlɪtɪk ʤiˈɑmətri ɪn ðə ˈsɛvənˈtinθ ˈsɛnʧəri. ðɪs ɪˈneɪbəld ə kərv tɪ bi dɪˈskraɪbd ˈjuzɪŋ ən ɪkˈweɪʒən ˈrəðər ðən ən ɪˈlæbərˌeɪt ˌʤiəˈmɛtrɪkəl kənˈstrəkʃən. ðɪs nɑt ˈoʊnli əˈlaʊd nu kərvz tɪ bi dɪˈfaɪnd ənd ˈstədid, bət ɪt ɪˈneɪbəld ə ˈfɔrməl dɪˈstɪŋkʃən tɪ bi meɪd bɪtˈwin kərvz ðət kən bi dɪˈfaɪnd ˈjuzɪŋ ˌælʤəˈbreɪɪk ɪkˈweɪʒənz, ˌælʤəˈbreɪɪk kərvz, ənd ðoʊz ðət ˈkænɑt, ˌtrænsənˈdɛnəl kərvz. ˈpriviəsli, kərvz hæd bɪn dɪˈskraɪbd ɛz "ˌʤiəˈmɛtrɪkəl" ər "məˈkænɪkəl" əˈkɔrdɪŋ tɪ haʊ ðeɪ wər, ər səˈpoʊzədli kʊd bi, ˈkɑnɪk ˈsɛkʃənz wər əˈplaɪd ɪn əˈstrɑnəmi baɪ ˈkɛplər. ˈnutən ˈɔlsoʊ wərkt ɔn ən ˈərli ɪgˈzæmpəl ɪn ðə ˈkælkjələs əv ˌvɛriˈeɪʃənz. səˈluʃənz tɪ ˈprɑbləmz, səʧ ɛz ðə ənd kˈwɛsʧənz, ˌɪntrəˈdust ˈprɑpərtiz əv kərvz ɪn nu weɪz (ɪn ðɪs keɪs, ðə cycloid*). ðə gɪts ɪts neɪm ɛz ðə səˈluʃən tɪ ðə ˈprɑbləm əv ə ˈhæŋɪŋ ʧeɪn, ðə sɔrt əv kˈwɛʃən ðət bɪˈkeɪm ruˈtinli ækˈsɛsəbəl baɪ minz əv ˌdɪfərˈɛnʃəl ˈkælkjələs. ɪn ðə ˈeɪˈtinθ ˈsɛnʧəri keɪm ðə bɪˈgɪnɪŋz əv ðə ˈθɪri əv pleɪn ˌælʤəˈbreɪɪk kərvz, ɪn ˈʤɛnərəl. ˈnutən hæd ˈstədid ðə ˈkjubɪk kərvz, ɪn ðə ˈʤɛnərəl dɪˈskrɪpʃən əv ðə ril pɔɪnts ˈɪntu 'ovals*'. ðə ˈsteɪtmənt əv ˈθɪrəm ʃoʊd ə ˈnəmbər əv ˈæˌspɛkts wɪʧ wər nɑt dɪˈrɛkli ækˈsɛsəbəl tɪ ðə ʤiˈɑmətri əv ðə taɪm, tɪ du wɪθ ˈsɪŋgjələr pɔɪnts ənd ˈkɑmplɛks səˈluʃənz. sɪns ðə ˈnaɪnˈtinθ ˈsɛnʧəri ðɛr həz nɑt bɪn ə ˈsɛpərˌeɪt ˈθɪri əv kərvz, bət ˈrəðər ðə əˈpɪrəns əv kərvz ɛz ðə ˈæˌspɛkt əv prɑˈʤɛktɪv ʤiˈɑmətri, ənd ˌdɪfərˈɛnʃəl ʤiˈɑmətri; ənd ˈleɪtər təˈpɔləʤi, wɪn fər ɪgˈzæmpəl ðə ˈʤɔrdən kərv ˈθɪrəm wɑz ˌəndərˈstʊd tɪ laɪ kwaɪt dip, ɛz wɛl ɛz biɪŋ rikˈwaɪərd ɪn ˈkɑmplɛks æˈnælɪsɪs. ðə ˈɪrə əv ðə kərvz ˈfaɪnəli prəˈvoʊkt ðə ˈmɑdərn ˌdɛfəˈnɪʃənz əv kərv. ˌdɛfəˈnɪʃən ˈɛdət ˈbaʊndəriz əv ˌhaɪpərˈbɑlɪk kəmˈpoʊnənts əv sɛt ɛz kloʊzd kərvz ɪn ˈʤɛnərəl, ə kərv ɪz dɪˈfaɪnd θru ə kənˈtɪnjuəs ˈfəŋkʃən aɪ ɛks \ˈgæmə \ˈkoʊlən ɛks} frəm ən ˈɪntərvəl aɪ əv ðə ril ˈnəmbərz ˈɪntu ə təpəˈlɑʤɪkəl speɪs ɛks. dɪˈpɛndɪŋ ɔn ðə ˈkɑntɛkst, ɪt ɪz ˈiðər \ˈgæmə ər ɪts ˈɪmɪʤ aɪ \ˈgæmə (aɪ)} wɪʧ ɪz kɔld ə kərv. ɪn ˈʤɛnərəl təˈpɔləʤi, wɪn ˈfəŋkʃənz ər kənˈsɪdərd, ɪt ɪz ðə mæp \ˈgæmə wɪʧ ɪz kɔld ə kərv, bɪˈkəz ɪts ˈɪmɪʤ meɪ lʊk ˈvɛri ˈdɪfərˈɛntli frəm wət ɪz ˈkɑmənli kɔld ə kərv. fər ɪgˈzæmpəl, ðə ˈɪmɪʤ əv ðə kərv kəmˈplitli fɪlz ðə skwɛr. ɔn ðə ˈəðər hænd, wɪn wən kənˈsɪdərz kərvz dɪˈfaɪnd baɪ ə ˈfəŋkʃən (ər, æt list, ə ˈfəŋkʃən), ðɪs ɪz ˈkɑmənli ðə ˈɪmɪʤ əv ðə ˈfəŋkʃən wɪʧ ɪz kɔld ə kərv. ðə kərv ɪz sɛd tɪ bi ˈsɪmpəl, ər ə ˈʤɔrdən kərv ɑrk, ɪf \ˈgæmə , i.e*. ɪf fər ɔl ɛks ɛks} waɪ waɪ} aɪ aɪ} ɛks waɪ \ˈgæmə (waɪ)} ɛks waɪ x=y*} aɪ aɪ} ə bi [a,b*]} ə bi \ˈgæmə (bi)} 7, i.e*. ɪf fər ɔl ɪf ɛks waɪ \ˈgæmə (waɪ)} ɛks waɪ ɛks waɪ} aɪ aɪ} ɛks \ˈgæmə (ɛks)} ˈsɪŋgjələr pɔɪnt əv ə kərv. ˈsɪŋgjələr pɔɪnt əv ə kərv. ə kərv \ˈgæmə aɪ ə bi i=[a,b*]} ə bi \ˈgæmə (bi)} ɛs 1 ə pleɪn kərv ɪz ə kərv fər wɪʧ ɛks ɛks} ɪz ðə ər ðə ɪgˈzæmpəlz fərst ɪn səm ˈkeɪsɪz ðə prɑˈʤɛktɪv pleɪn. ə speɪs kərv ɪz ə kərv fər wɪʧ ɛks ɛks} ɪz əv θri dɪˈmɛnʃənz, ˈjuʒəwəli speɪs; ə skju kərv ɪz ə speɪs kərv wɪʧ laɪz ɪn noʊ pleɪn. ðiz ˌdɛfəˈnɪʃənz əv pleɪn, speɪs ənd skju kərvz əˈplaɪ ˈɔlsoʊ tɪ ril ˌælʤəˈbreɪɪk kərvz, ˌɔlˈðoʊ ðə əˈbəv ˌdɛfəˈnɪʃən əv ə kərv dɪz nɑt əˈplaɪ (ə ril ˌælʤəˈbreɪɪk kərv meɪ bi ˌdɪskəˈnɛktɪd). ðɪs ˌdɛfəˈnɪʃən əv kərv ˈkæpʧərz ɑr ˌɪnˈtuətɪv ˈnoʊʃən əv ə kərv ɛz ə kəˈnɛktɪd, kənˈtɪnjuəs ˌʤiəˈmɛtrɪk ˈfɪgjər ðət ɪz "laɪk" ə laɪn, wɪˈθaʊt ˈθɪknəs ənd drɔn wɪˈθaʊt ˌɪntərˈəpʃən, ˌɔlˈðoʊ ɪt ˈɔlsoʊ ˌɪnˈkludz ˈfɪgjərz ðət kən ˈhɑrdli bi kɔld kərvz ɪn ˈkɑmən ˈjusɪʤ. fər ɪgˈzæmpəl, ðə ˈɪmɪʤ əv ə kərv kən ˈkəvər ə skwɛr ɪn ðə pleɪn kərv). ðə ˈɪmɪʤ əv ˈsɪmpəl pleɪn kərv kən hæv dɪˈmɛnʃən ˈbɪgər ðən wən (si kɔʧ sˈnoʊˌfleɪk) ənd ˈivɪn ˈpɑzətɪv (ðə læst ɪgˈzæmpəl kən bi əbˈteɪnd baɪ smɔl ˌvɛriˈeɪʃən əv ðə kərv kənˈstrəkʃən). ðə ˈdrægən kərv ɪz əˈnəðər ənˈjuˌʒuəl ɪgˈzæmpəl. kərv ˈɛdət ˈrəfli ˈspikɪŋ ə kərv ɪz ə kərv ðət ɪz dɪˈfaɪnd ɛz biɪŋ ˈloʊkəli ðə ˈɪmɪʤ əv ən ˈfəŋkʃən aɪ ɛks \ˈgæmə \ˈkoʊlən ɛks} frəm ən ˈɪntərvəl aɪ əv ðə ril ˈnəmbərz ˈɪntu ə ˈmænɪˌfoʊld ɛks, ˈɔfən ɑr ɛn {ɑr} ^{ɛn}.} mɔr prɪˈsaɪsli, ə kərv ɪz ə ˈsəbˌsɛt si əv ɛks wɛr ˈɛvəri pɔɪnt əv si həz ə ˈneɪbərˌhʊd ju səʧ ðət si ju ju} ɪz tɪ ən ˈɪntərvəl əv ðə ril ˈnəmbərz. ɪn ˈəðər wərdz, ə kərv ɪz ə ˈmænɪˌfoʊld əv dɪˈmɛnʃən wən. lɛŋθ əv ə kərv ˈɛdət ɪf ɛks ɑr ɛn {ɑr} ^{ɛn}} ɪz ðə ɛn ɛn} -dɪˈmɛnʃənəl speɪs, ənd ɪf ə bi ɑr ɛn \ˈgæmə {ɑr} ^{ɛn}} ɪz ən ənd kənˈtɪnjuəsli ˈfəŋkʃən, ðɛn ðə lɛŋθ əv \ˈgæmə ɪz dɪˈfaɪnd ɛz ðə kˈwɑntəti lɛŋθ ə bi ti di ti {lɛŋθ} (\ˈgæmə {di} {ti}.} ðə lɛŋθ əv ə kərv ɪz ˌɪndɪˈpɛndənt əv ðə \ˈgæmə ɪn ˌpɑˈtɪkjələr, ðə lɛŋθ ɛs ɛs} əv ðə græf əv ə kənˈtɪnjuəsli ˈfəŋkʃən waɪ ɛf ɛks y=f(x*)} dɪˈfaɪnd ɔn ə kloʊzd ˈɪntərvəl ə bi [a,b*]} ɪz ɛs ə bi 1 ɛf ɛks 2 di ɛks {di} {ɛks}.} mɔr ˈʤɛnərəli, ɪf ɛks ɛks} ɪz ə ˈmɛtrɪk speɪs wɪθ ˈmɛtrɪk di di} ðɛn wi kən dɪˈfaɪn ðə lɛŋθ əv ə kərv ə bi ɛks \ˈgæmə ɛks} baɪ lɛŋθ səp aɪ 1 ɛn di ti aɪ ti aɪ 1 ɛn ɛn ənd ə ti 0 ti 1 ti ɛn bi {lɛŋθ} (\ˈgæmə {ɛn} <t_{n}=b\right\}\right*),} wɛr ðə ɪz ˈteɪkən ˈoʊvər ɔl ɛn ɛn {ɛn} ənd ɔl pɑrˈtɪʃənz ti 0 ti 1 ti ɛn <t_{n*}} əv ə bi [a,b*]} ə kərv ɪz ə kərv wɪθ ˈfaɪˌnaɪt lɛŋθ. ə kərv ə bi ɛks \ˈgæmə ɛks} ɪz kɔld ˈnæʧərəl (ər ər baɪ ɑrk lɛŋθ) ɪf fər ˈɛni ti 1 ti 2 ə bi [a,b*]} səʧ ðət ti 1 ti 2 wi hæv lɛŋθ ti 1 ti 2 ti 2 ti 1 {lɛŋθ} ɪf ə bi ɛks \ˈgæmə ɛks} ɪz ə ˈfəŋkʃən, ðɛn ɪt ɪz ˌɔtəˈmætɪkli. mɔˈroʊvər, ɪn ðɪs keɪs, wən kən dɪˈfaɪn ðə spid (ər ˈmɛtrɪk dərˈɪvɪtɪv) əv \ˈgæmə æt ti ə bi [a,b*]} ɛz spid ti lɪm səp ə bi ɛs ti di ɛs ti ɛs ti {spid} _{\ˈgæmə _{[a,b*] aɪ (t))}{|s-t*|}}} ənd ðɛn ʃoʊ ðət lɛŋθ ə bi spid ti di ti {lɛŋθ} (\ˈgæmə {spid} _{\ˈgæmə {di} {ti}.} ˌdɪfərˈɛnʃəl ʤiˈɑmətri ˈɛdət waɪl ðə fərst ɪgˈzæmpəlz əv kərvz ðət ər mɛt ər ˈmoʊstli pleɪn kərvz (ðət ɪz, ɪn ˈɛvriˈdeɪ wərdz, kərvd laɪnz ɪn ˌtudɪˈmɛnʃənəl speɪs), ðɛr ər ˈɑbviəs ɪgˈzæmpəlz səʧ ɛz ðə ˈhilɪks wɪʧ ɪgˈzɪst ˈnæʧərəli ɪn θri dɪˈmɛnʃənz. ðə nidz əv ʤiˈɑmətri, ənd ˈɔlsoʊ fər ɪgˈzæmpəl ˈklæsɪkəl məˈkænɪks ər tɪ hæv ə ˈnoʊʃən əv kərv ɪn speɪs əv ˈɛni ˈnəmbər əv dɪˈmɛnʃənz. ɪn ˈʤɛnərəl ˌrɛləˈtɪvəti, ə wərld laɪn ɪz ə kərv ɪn spacetime*. ɪf ɛks ɛks} ɪz ə ˈmænɪˌfoʊld, ðɛn wi kən dɪˈfaɪn ðə ˈnoʊʃən əv kərv ɪn ɛks ɛks} ðɪs ˈʤɛnərəl aɪˈdiə ɪz ɪˈnəf tɪ ˈkəvər ˈmɛni əv ðə ˌæpləˈkeɪʃənz əv kərvz ɪn ˌmæθəˈmætɪks. frəm ə ˈloʊkəl pɔɪnt əv vju wən kən teɪk ɛks ɛks} tɪ bi speɪs. ɔn ðə ˈəðər hænd, ɪt ɪz ˈjusfəl tɪ bi mɔr ˈʤɛnərəl, ɪn ðət (fər ɪgˈzæmpəl) ɪt ɪz ˈpɑsəbəl tɪ dɪˈfaɪn ðə ˈtænʤənt ˈvɛktərz tɪ ɛks ɛks} baɪ minz əv ðɪs ˈnoʊʃən əv kərv. ɪf ɛks ɛks} ɪz ə smuð ˈmænɪˌfoʊld, ə smuð kərv ɪn ɛks ɛks} ɪz ə smuð mæp aɪ ɛks \ˈgæmə \ˈkoʊlən ɛks} ðɪs ɪz ə ˈbeɪsɪk ˈnoʊʃən. ðɛr ər lɛs ənd mɔr riˈstrɪktɪd aɪˈdiəz, tu. ɪf ɛks ɛks} ɪz ə si keɪ c^{k*}} ˈmænɪˌfoʊld (i.e*., ə ˈmænɪˌfoʊld huz ʧɑrts ər keɪ keɪ} taɪmz kənˈtɪnjuəsli), ðɛn ə si keɪ c^{k*}} kərv ɪn ɛks ɛks} ɪz səʧ ə kərv wɪʧ ɪz ˈoʊnli əˈsumd tɪ bi si keɪ c^{k*}} (i.e*. keɪ keɪ} taɪmz kənˈtɪnjuəsli). ɪf ɛks ɛks} ɪz ən ˌænəˈlɪtɪk ˈmænɪˌfoʊld (i.e*. ˈɪnfənətli ənd ʧɑrts ər ɛz paʊər ˈsɪriz), ənd \ˈgæmə ɪz ən ˌænəˈlɪtɪk mæp, ðɛn \ˈgæmə ɪz sɛd tɪ bi ən ˌænəˈlɪtɪk kərv. ə kərv ɪz sɛd tɪ bi ˈrɛgjələr ɪf ɪts dərˈɪvɪtɪv ˈnɛvər ˈvænɪʃɪz. (ɪn wərdz, ə ˈrɛgjələr kərv ˈnɛvər sloʊz tɪ ə stɑp ər ˈbækˌtræks ɔn ˌɪtˈsɛlf.) tu si keɪ c^{k*}} kərvz 1 aɪ ɛks \ˈgæmə ɛks} 2 ʤeɪ ɛks \ˈgæmə ɛks} ər sɛd tɪ bi ɪkˈwɪvələnt ɪf ðɛr ɪz ə si keɪ c^{k*}} mæp pi ʤeɪ aɪ aɪ} səʧ ðət ðə ˌɪnˈvərs mæp pi 1 aɪ ʤeɪ ʤeɪ} ɪz ˈɔlsoʊ si keɪ c^{k*}} ənd 2 ti 1 pi ti \ˈgæmə 1}(p(t*))} fər ɔl ti ti} ðə mæp 2 \ˈgæmə 2 ɪz kɔld ə əv 1 \ˈgæmə 1 ənd ðɪs meɪks ən ɪkˈwɪvələns riˈleɪʃən ɔn ðə sɛt əv ɔl si keɪ c^{k*}} kərvz ɪn ɛks ɛks} ə si keɪ c^{k*}} ɑrk ɪz ən ɪkˈwɪvələns klæs əv si keɪ c^{k*}} kərvz ˈəndər ðə riˈleɪʃən əv. ˌælʤəˈbreɪɪk kərv ˈɛdət ˌælʤəˈbreɪɪk kərvz ər ðə kərvz kənˈsɪdərd ɪn ˌælʤəˈbreɪɪk ʤiˈɑmətri. ə pleɪn ˌælʤəˈbreɪɪk kərv ɪz ðə sɛt əv ðə pɔɪnts əv koʊˈɔrdəˌneɪts ɛks, waɪ səʧ ðət f(x*, waɪ) 0 wɛr ɛf ɪz ə ˌpɑˌliˈnoʊmiəl ɪn tu ˈvɛriəbəlz dɪˈfaɪnd ˈoʊvər səm fild ɛf. ˌælʤəˈbreɪɪk ʤiˈɑmətri ˈnɔrməli lʊks nɑt ˈoʊnli ɔn pɔɪnts wɪθ koʊˈɔrdəˌneɪts ɪn ɛf bət ɔn ɔl ðə pɔɪnts wɪθ koʊˈɔrdəˌneɪts ɪn ən ˌælʤəˈbreɪɪkli kloʊzd fild keɪ. ɪf si ɪz ə kərv dɪˈfaɪnd baɪ ə ˌpɑˌliˈnoʊmiəl ɛf wɪθ ˌkoʊəˈfɪʃənts ɪn ɛf, ðə kərv ɪz sɛd tɪ bi dɪˈfaɪnd ˈoʊvər ɛf. ðə pɔɪnts əv ðə kərv si wɪθ koʊˈɔrdəˌneɪts ɪn ə fild ʤi ər sɛd tɪ bi ˈræʃənəl ˈoʊvər ʤi ənd kən bi dɪˈnoʊtəd c(g*)). wɪn ʤi ɪz ðə fild əv ðə ˈræʃənəl ˈnəmbərz, wən ˈsɪmpli tɔks əv ˈræʃənəl pɔɪnts. fər ɪgˈzæmpəl, læst ˈθɪrəm meɪ bi riˈsteɪtɪd ɛz: fər ɛn 2 ˈɛvəri ˈræʃənəl pɔɪnt əv ðə kərv əv dɪˈgri ɛn həz ə ˈziroʊ koʊˈɔrdəˌneɪt. ˌælʤəˈbreɪɪk kərvz kən ˈɔlsoʊ bi speɪs kərvz, ər kərvz ɪn ə speɪs əv haɪər dɪˈmɛnʃən, seɪ ɛn. ðeɪ ər dɪˈfaɪnd ɛz ˌælʤəˈbreɪɪk vərˈaɪətiz əv dɪˈmɛnʃən wən. ðeɪ meɪ bi əbˈteɪnd ɛz ðə ˈkɑmən səˈluʃənz əv æt list ˌpɑˌliˈnoʊmiəl ɪkˈweɪʒənz ɪn ɛn ˈvɛriəbəlz. ɪf ər səˈfɪʃənt tɪ dɪˈfaɪn ə kərv ɪn ə speɪs əv dɪˈmɛnʃən ɛn, ðə kərv ɪz sɛd tɪ bi ə kəmˈplit ˌɪntərˈsɛkʃən. baɪ ɪˈlɪməˌneɪtɪŋ ˈvɛriəbəlz (baɪ ˈɛni tul əv ɪˌlɪməˈneɪʃən ˈθɪri), ən ˌælʤəˈbreɪɪk kərv meɪ bi prɑˈʤɛktəd ˈɔntu ə pleɪn ˌælʤəˈbreɪɪk kərv, wɪʧ ˌhaʊˈɛvər meɪ ˌɪntrəˈdus nu səʧ ɛz ər ˈdəbəl pɔɪnts. ə pleɪn kərv meɪ ˈɔlsoʊ bi kəmˈplitɪd ɪn ə kərv ɪn ðə prɑˈʤɛktɪv pleɪn: ɪf ə kərv ɪz dɪˈfaɪnd baɪ ə ˌpɑˌliˈnoʊmiəl ɛf əv ˈtoʊtəl dɪˈgri di, ðɛn wdf(u/w*, v/w*) ˈsɪmpləˌfaɪz tɪ ə ˌhoʊməˈʤiniəs ˌpɑˌliˈnoʊmiəl g(u*, vi, ˈdəbəlju) əv dɪˈgri di. ðə ˈvæljuz əv ju, vi, ˈdəbəlju səʧ ðət g(u*, vi, ˈdəbəlju) 0 ər ðə ˌhoʊməˈʤiniəs koʊˈɔrdəˌneɪts əv ðə pɔɪnts əv ðə kəmˈpliʃən əv ðə kərv ɪn ðə prɑˈʤɛktɪv pleɪn ənd ðə pɔɪnts əv ðə ˌɪˈnɪʃəl kərv ər ðoʊz səʧ ˈdəbəlju ɪz nɑt ˈziroʊ. ən ɪgˈzæmpəl ɪz ðə kərv ˈjuˈɛn wn*, wɪʧ həz ən əˈfaɪn fɔrm 1 ə ˈsɪmələr ˈprɔˌsɛs əv hoʊˈmɑʤənɪˌzeɪʃən meɪ bi dɪˈfaɪnd fər kərvz ɪn haɪər dɪˈmɛnʃənəl ˈspeɪsɪz ˌɪmˈpɔrtənt ɪgˈzæmpəlz əv ˌælʤəˈbreɪɪk kərvz ər ðə ˈkɑnɪks, wɪʧ ər kərvz əv dɪˈgri tu ənd ˈʤinəs ˈziroʊ, ənd kərvz, wɪʧ ər kərvz əv ˈʤinəs wən ˈstədid ɪn ˈnəmbər ˈθɪri ənd wɪʧ hæv ˌɪmˈpɔrtənt ˌæpləˈkeɪʃənz tɪ cryptography*. bɪˈkəz ˌælʤəˈbreɪɪk kərvz ɪn fildz əv ˌkɛrɪktərˈɪstɪk ˈziroʊ ər moʊst ˈɔfən ˈstədid ˈoʊvər ðə ˈkɑmplɛks ˈnəmbərz, ˌælʤəˈbreɪɪk kərvz ɪn ˌælʤəˈbreɪɪk ʤiˈɑmətri meɪ bi kənˈsɪdərd ɛz ril ˈsərfəsɪz. ɪn ˌpɑˈtɪkjələr, ðə ˈkɑmplɛks prɑˈʤɛktɪv ˌælʤəˈbreɪɪk kərvz ər kɔld ˈrimən ˈsərfəsɪz. si ˈɔlsoʊ ˈɛdət noʊts ˈɛdət wɪn? laɪnz kʊd bi ˈiðər kərvd ər streɪt.[ saɪˈteɪʃən ˈnidɪd ɪn ˈkɑrənt ˌmæθəˈmætɪkəl ˈjusɪʤ, ə laɪn ɪz streɪt. kʊd bi ˈiðər kərvd ər streɪt.
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parabola , a simple example of a curve
in mathematics, a curve (also called a curved line in older texts) is, generally speaking, an object similar to a line but that need not be straight. thus, a curve is a generalization of a line, in that its curvature need not be zero.[a]
various disciplines within mathematics have given the term different meanings depending on the area of study, so the precise meaning depends on context. however, many of these meanings are special instances of the definition which follows. a curve is a topological space which is locally homeomorphic to a line. in everyday language, this means that a curve is a set of points which, near each of its points, looks like a line, up to a deformation. a simple example of a curve is the parabola, shown to the right. a large number of other curves have been studied in multiple mathematical fields.
a closed curve is a curve that forms a path whose starting point is also its ending point—that is, a path from any of its points to the same point.
closely related meanings include the graph of a function (for example, phillips curve) and a two-dimensional graph.
history [ edit ]
interest in curves began long before they were the subject of mathematical study. this can be seen in numerous examples of their decorative use in art and on everyday objects dating back to prehistoric times.[1] curves, or at least their graphical representations, are simple to create, for example by a stick in the sand on a beach.
historically, the term line was used in place of the more modern term curve. hence the phrases straight line and right line were used to distinguish what are today called lines from curved lines. for example, in book i of euclid's elements, a line is defined as a "breadthless length" (def. 2), while a straight line is defined as "a line that lies evenly with the points on itself" (def. 4). euclid's idea of a line is perhaps clarified by the statement "the extremities of a line are points," (def. 3).[2] later commentators further classified lines according to various schemes. for example:[3]
composite lines (lines forming an angle)
incomposite lines determinate (lines that do not extend indefinitely, such as the circle) indeterminate (lines that extend indefinitely, such as the straight line and the parabola)
the curves created by slicing a cone ( conic sections ) were among the curves studied in ancient greece.
the greek geometers had studied many other kinds of curves. one reason was their interest in solving geometrical problems that could not be solved using standard compass and straightedge construction. these curves include:
analytic geometry allowed curves, such as the folium of descartes , to be defined using equations instead of geometrical construction.
a fundamental advance in the theory of curves was the advent of analytic geometry in the seventeenth century. this enabled a curve to be described using an equation rather than an elaborate geometrical construction. this not only allowed new curves to be defined and studied, but it enabled a formal distinction to be made between curves that can be defined using algebraic equations, algebraic curves, and those that cannot, transcendental curves. previously, curves had been described as "geometrical" or "mechanical" according to how they were, or supposedly could be, generated.[1]
conic sections were applied in astronomy by kepler. newton also worked on an early example in the calculus of variations. solutions to variational problems, such as the brachistochrone and tautochrone questions, introduced properties of curves in new ways (in this case, the cycloid). the catenary gets its name as the solution to the problem of a hanging chain, the sort of question that became routinely accessible by means of differential calculus.
in the eighteenth century came the beginnings of the theory of plane algebraic curves, in general. newton had studied the cubic curves, in the general description of the real points into 'ovals'. the statement of bézout's theorem showed a number of aspects which were not directly accessible to the geometry of the time, to do with singular points and complex solutions.
since the nineteenth century there has not been a separate theory of curves, but rather the appearance of curves as the one-dimensional aspect of projective geometry, and differential geometry; and later topology, when for example the jordan curve theorem was understood to lie quite deep, as well as being required in complex analysis. the era of the space-filling curves finally provoked the modern definitions of curve.
definition [ edit ]
boundaries of hyperbolic components of mandelbrot set as closed curves
in general, a curve is defined through a continuous function γ : i → x {\displaystyle \gamma \colon i\rightarrow x} from an interval i of the real numbers into a topological space x. depending on the context, it is either γ {\displaystyle \gamma } or its image γ ( i ) {\displaystyle \gamma (i)} which is called a curve.
in general topology, when non-differentiable functions are considered, it is the map γ {\displaystyle \gamma } , which is called a curve, because its image may look very differently from what is commonly called a curve. for example, the image of the peano curve completely fills the square. on the other hand, when one considers curves defined by a differentiable function (or, at least, a piecewise differentiable function), this is commonly the image of the function which is called a curve.
the curve is said to be simple, or a jordan curve theorem|jordan arc, if γ {\displaystyle \gamma } injective, i.e. if for all x {\displaystyle x} y {\displaystyle y} i {\displaystyle i} γ ( x ) = γ ( y ) {\displaystyle \gamma (x)=\gamma (y)} x = y {\displaystyle x=y} i {\displaystyle i} [ a , b ] {\displaystyle [a,b]} γ ( a ) = γ ( b ) {\displaystyle \gamma (a)=\gamma (b)} [7]
injective, i.e. if for all if γ ( x ) = γ ( y ) {\displaystyle \gamma (x)=\gamma (y)} x ≠ y {\displaystyle x
eq y} i {\displaystyle i} γ ( x ) {\displaystyle \gamma (x)} singular point of a curve.
singular point of a curve. a curve γ {\displaystyle \gamma } i = [ a , b ] {\displaystyle i=[a,b]} γ ( a ) = γ ( b ) {\displaystyle \gamma (a)=\gamma (b)} s 1 {\displaystyle s^{1}}
a plane curve is a curve for which x {\displaystyle x} is the euclidean plane—these are the examples first encountered—or in some cases the projective plane. a space curve is a curve for which x {\displaystyle x} is of three dimensions, usually euclidean space; a skew curve is a space curve which lies in no plane. these definitions of plane, space and skew curves apply also to real algebraic curves, although the above definition of a curve does not apply (a real algebraic curve may be disconnected).
this definition of curve captures our intuitive notion of a curve as a connected, continuous geometric figure that is "like" a line, without thickness and drawn without interruption, although it also includes figures that can hardly be called curves in common usage. for example, the image of a curve can cover a square in the plane (space-filling curve). the image of simple plane curve can have hausdorff dimension bigger than one (see koch snowflake) and even positive lebesgue measure[8] (the last example can be obtained by small variation of the peano curve construction). the dragon curve is another unusual example.
differentiable curve [ edit ]
roughly speaking a differentiable curve is a curve that is defined as being locally the image of an injective differentiable function γ : i → x {\displaystyle \gamma \colon i\rightarrow x} from an interval i of the real numbers into a differentiable manifold x, often r n . {\displaystyle \mathbb {r} ^{n}.}
more precisely, a differentiable curve is a subset c of x where every point of c has a neighborhood u such that c ∩ u {\displaystyle c\cap u} is diffeomorphic to an interval of the real numbers. in other words, a differentiable curve is a differentiable manifold of dimension one.
length of a curve [ edit ]
if x = r n {\displaystyle x=\mathbb {r} ^{n}} is the n {\displaystyle n} -dimensional euclidean space, and if γ : [ a , b ] → r n {\displaystyle \gamma :[a,b]\to \mathbb {r} ^{n}} is an injective and continuously differentiable function, then the length of γ {\displaystyle \gamma } is defined as the quantity
length ( γ ) = df ∫ a b | γ ′ ( t ) | d t . {\displaystyle \operatorname {length} (\gamma )~{\stackrel {\text{df}}{=}}~\int _{a}^{b}|\gamma \,'(t)|~\mathrm {d} {t}.}
the length of a curve is independent of the parametrization γ {\displaystyle \gamma } .
in particular, the length s {\displaystyle s} of the graph of a continuously differentiable function y = f ( x ) {\displaystyle y=f(x)} defined on a closed interval [ a , b ] {\displaystyle [a,b]} is
s = ∫ a b 1 + [ f ′ ( x ) ] 2 d x . {\displaystyle s=\int _{a}^{b}{\sqrt {1+[f'(x)]^{2}}}~\mathrm {d} {x}.}
more generally, if x {\displaystyle x} is a metric space with metric d {\displaystyle d} , then we can define the length of a curve γ : [ a , b ] → x {\displaystyle \gamma :[a,b]\to x} by
length ( γ ) = df sup ( { ∑ i = 1 n d ( γ ( t i ) , γ ( t i − 1 ) ) | n ∈ n and a = t 0 < t 1 < < t n = b } ) , {\displaystyle \operatorname {length} (\gamma )~{\stackrel {\text{df}}{=}}~\sup \!\left(\left\{\sum _{i=1}^{n}d(\gamma (t_{i}),\gamma (t_{i-1}))~{\bigg |}~n\in \mathbb {n} ~{\text{and}}~a=t_{0}<t_{1}<\ldots <t_{n}=b\right\}\right),}
where the supremum is taken over all n ∈ n {\displaystyle n\in \mathbb {n} } and all partitions t 0 < t 1 < < t n {\displaystyle t_{0}<t_{1}<\ldots <t_{n}} of [ a , b ] {\displaystyle [a,b]} .
a rectifiable curve is a curve with finite length. a curve γ : [ a , b ] → x {\displaystyle \gamma :[a,b]\to x} is called natural (or unit-speed or parametrized by arc length) if for any t 1 , t 2 ∈ [ a , b ] {\displaystyle t_{1},t_{2}\in [a,b]} such that t 1 ≤ t 2 {\displaystyle t_{1}\leq t_{2}} , we have
length ( γ | [ t 1 , t 2 ] ) = t 2 − t 1 . {\displaystyle \operatorname {length} \!\left(\gamma |_{[t_{1},t_{2}]}\right)=t_{2}-t_{1}.}
if γ : [ a , b ] → x {\displaystyle \gamma :[a,b]\to x} is a lipschitz-continuous function, then it is automatically rectifiable. moreover, in this case, one can define the speed (or metric derivative) of γ {\displaystyle \gamma } at t ∈ [ a , b ] {\displaystyle t\in [a,b]} as
speed γ ( t ) = df lim sup [ a , b ] ∋ s → t d ( γ ( s ) , γ ( t ) ) | s − t | {\displaystyle {\operatorname {speed} _{\gamma }}(t)~{\stackrel {\text{df}}{=}}~\limsup _{[a,b]
i s\to t}{\frac {d(\gamma (s),\gamma (t))}{|s-t|}}}
and then show that
length ( γ ) = ∫ a b speed γ ( t ) d t . {\displaystyle \operatorname {length} (\gamma )=\int _{a}^{b}{\operatorname {speed} _{\gamma }}(t)~\mathrm {d} {t}.}
differential geometry [ edit ]
while the first examples of curves that are met are mostly plane curves (that is, in everyday words, curved lines in two-dimensional space), there are obvious examples such as the helix which exist naturally in three dimensions. the needs of geometry, and also for example classical mechanics are to have a notion of curve in space of any number of dimensions. in general relativity, a world line is a curve in spacetime.
if x {\displaystyle x} is a differentiable manifold, then we can define the notion of differentiable curve in x {\displaystyle x} . this general idea is enough to cover many of the applications of curves in mathematics. from a local point of view one can take x {\displaystyle x} to be euclidean space. on the other hand, it is useful to be more general, in that (for example) it is possible to define the tangent vectors to x {\displaystyle x} by means of this notion of curve.
if x {\displaystyle x} is a smooth manifold, a smooth curve in x {\displaystyle x} is a smooth map
γ : i → x {\displaystyle \gamma \colon i\rightarrow x}
this is a basic notion. there are less and more restricted ideas, too. if x {\displaystyle x} is a c k {\displaystyle c^{k}} manifold (i.e., a manifold whose charts are k {\displaystyle k} times continuously differentiable), then a c k {\displaystyle c^{k}} curve in x {\displaystyle x} is such a curve which is only assumed to be c k {\displaystyle c^{k}} (i.e. k {\displaystyle k} times continuously differentiable). if x {\displaystyle x} is an analytic manifold (i.e. infinitely differentiable and charts are expressible as power series), and γ {\displaystyle \gamma } is an analytic map, then γ {\displaystyle \gamma } is said to be an analytic curve.
a differentiable curve is said to be regular if its derivative never vanishes. (in words, a regular curve never slows to a stop or backtracks on itself.) two c k {\displaystyle c^{k}} differentiable curves
γ 1 : i → x {\displaystyle \gamma _{1}\colon i\rightarrow x}
γ 2 : j → x {\displaystyle \gamma _{2}\colon j\rightarrow x}
are said to be equivalent if there is a bijective c k {\displaystyle c^{k}} map
p : j → i {\displaystyle p\colon j\rightarrow i}
such that the inverse map
p − 1 : i → j {\displaystyle p^{-1}\colon i\rightarrow j}
is also c k {\displaystyle c^{k}} , and
γ 2 ( t ) = γ 1 ( p ( t ) ) {\displaystyle \gamma _{2}(t)=\gamma _{1}(p(t))}
for all t {\displaystyle t} . the map γ 2 {\displaystyle \gamma _{2}} is called a reparametrisation of γ 1 {\displaystyle \gamma _{1}} ; and this makes an equivalence relation on the set of all c k {\displaystyle c^{k}} differentiable curves in x {\displaystyle x} . a c k {\displaystyle c^{k}} arc is an equivalence class of c k {\displaystyle c^{k}} curves under the relation of reparametrisation.
algebraic curve [ edit ]
algebraic curves are the curves considered in algebraic geometry. a plane algebraic curve is the set of the points of coordinates x, y such that f(x, y) = 0, where f is a polynomial in two variables defined over some field f. algebraic geometry normally looks not only on points with coordinates in f but on all the points with coordinates in an algebraically closed field k. if c is a curve defined by a polynomial f with coefficients in f, the curve is said to be defined over f. the points of the curve c with coordinates in a field g are said to be rational over g and can be denoted c(g)). when g is the field of the rational numbers, one simply talks of rational points. for example, fermat's last theorem may be restated as: for n > 2, every rational point of the fermat curve of degree n has a zero coordinate.
algebraic curves can also be space curves, or curves in a space of higher dimension, say n. they are defined as algebraic varieties of dimension one. they may be obtained as the common solutions of at least n–1 polynomial equations in n variables. if n–1 polynomials are sufficient to define a curve in a space of dimension n, the curve is said to be a complete intersection. by eliminating variables (by any tool of elimination theory), an algebraic curve may be projected onto a plane algebraic curve, which however may introduce new singularities such as cusps or double points.
a plane curve may also be completed in a curve in the projective plane: if a curve is defined by a polynomial f of total degree d, then wdf(u/w, v/w) simplifies to a homogeneous polynomial g(u, v, w) of degree d. the values of u, v, w such that g(u, v, w) = 0 are the homogeneous coordinates of the points of the completion of the curve in the projective plane and the points of the initial curve are those such w is not zero. an example is the fermat curve un + vn = wn, which has an affine form xn + yn = 1. a similar process of homogenization may be defined for curves in higher dimensional spaces
important examples of algebraic curves are the conics, which are nonsingular curves of degree two and genus zero, and elliptic curves, which are nonsingular curves of genus one studied in number theory and which have important applications to cryptography. because algebraic curves in fields of characteristic zero are most often studied over the complex numbers, algebraic curves in algebraic geometry may be considered as real surfaces. in particular, the nonsingular complex projective algebraic curves are called riemann surfaces.
see also [ edit ]
notes [ edit ]
^ [ when? ] lines could be either curved or straight.[ citation needed ] in current mathematical usage, a line is straight. previouslylines could be either curved or straight.
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ˈæftər biɪŋ taɪd æt ðə ɛnd əv ðə θərd kˈwɔrtər, ðə maɪˈæmi hit wʊd goʊ ɔn tɪ aʊtˈskɔr ðə ˈbɔstən ˈsɛltɪks ɪn ðə fɔrθ tɪ wɪn geɪm 7 ənd bɪˈkəm ðə 2012 ˈistərn ˈkɑnfərəns ˈʧæmpiənz. ðə hit wɪl naʊ muv ɔn tɪ ðə ˈɛnˌbiˈeɪ ˈfaɪnəlz əˈgɛnst ðə ˈwɛstərn ˈkɑnfərəns ˈʧæmpiən ˌoʊkləˈhoʊmə ˈsɪti ˈθəndər. geɪm 1 ɪz ðɪs ˈtuzˌdeɪ naɪt ɪn okc*. ɛnd əv ən ˈɪrə ɔl foʊks. ðə three”*” ˈɪrə ɪn ˈbɔstən ɪz naʊ mɔr ðən ˈlaɪkli ˈoʊvər. reɪ ˈælən ənd pɔl pɪrs ər boʊθ ˌənriˈstrɪktɪd ˈhɛdɪŋ ˈɪntu ðə offseason*. ðɛr ər ˈɔlsoʊ ˈrumərz sˈwərlɪŋ ðət ˈkɛvɪn ˈgɑrnɪt meɪ bi kənˈsɪdərɪŋ rɪˈtaɪərmənt. bət wət ə weɪ tɪ goʊ aʊt. əp ənˈtɪl ðə fɔrθ kˈwɔrtər, ðɪs geɪm wɑz ˈvɛri ˈwɪnəbəl fər ðə ˈbɔstən ˈsɛltɪks. ðə tim wɑz ˈfaɪərrɪŋ ɔn ɔl ˈsɪləndərz ɪn ðə fərst hæf. ðeɪ ʃɑt 52 4 fər 8 frəm reɪnʤ ənd 7 fər 8 frəm ðə laɪn ɪn ðə fərst 2 kˈwɔrtərz tɪ ʤəmp aʊt tɪ ə ˈhæfˌtaɪm lɛd. ˈbrændən bæs keɪm aʊt ˈbleɪzɪŋ, ˈskɔrɪŋ 14 pɔɪnts, ˈgræbɪŋ 3 ˈriˌbaʊndz ənd ˈstilɪŋ ðə bɔl 3 taɪmz. wɪθ ˈkɛvɪn ˈgɑrnɪt ɪn ˈsɪriəs faʊl ˈtrəbəl 3 bæs wɑz ˈeɪbəl tɪ hoʊld daʊn ðə fɔrt ɪn ðə peɪnt ənd bi ðə rɪˈsɪpiənt əv səm ˈpæsɪz, hu ˈfɪnɪʃt ðə fərst hæf wɪθ 10 əˈsɪsts ənd 0 ˈtərˌnoʊvərz. ənˈfɔrʧənətli fər ˈbɔstən, ɪt wɑz ðət fɔrθ kˈwɔrtər ðət ˈəltəmətli lɛd tɪ ðɛr dɪˈmaɪz. ðə ˈsɛltɪks wɛnt koʊld wɪn ɪt ˈmætərd moʊst ənd ðeɪ rɪˈkəvər. ˈæftər moʊˈmɛntəm ˈʧeɪnʤɪŋ frəm krɪs bɑʃ ənd ʃeɪn battier*, ðə geɪm ənd ðə ˈsɪriz wɑz ðɛn ɔl bət ˈoʊvər. ˈfɪnɪʃt geɪm 7 wɪθ ə əv 22 pɔɪnts, 10 ˈriˌbaʊndz ənd 14 əˈsɪsts. ɪn wət kʊd bi ðɛr læst geɪm təˈgɛðər ɛz ə ˈtriˌoʊ, ˈkɛvɪn ˈgɑrnɪt 14 pɔɪnts, 7 ˈriˌbaʊndz), reɪ ˈælən 15 pɔɪnts, 3) ənd pɔl pɪrs 19 pɔɪnts, 4 ˈriˌbaʊndz) kəmˈbaɪnd fər 48 əv ðə 88 pɔɪnts. ˈæftərwərdz, ðə pleɪərz ənd koʊʧ dɑk ˈrɪvərz bɪˈkeɪm ˈvɛri ˈiˌmoʊʃənəl ənd ˈraɪtfəli soʊ. ˈwɛðər ju ləv ðə ˈsɛltɪks ər ju heɪt ðɛm, ðeɪ hæv ˈsərtənli ərnd ðə rɪˈspɛkt əv ɔl ˈɛnˌbiˈeɪ fænz əraʊnd ðə lig wɪθ ðɛr kəˈlɛktɪv pərˈfɔrməns ɪn ðɪs jɪrz pleɪɔfs. fər ə tim ðət ˈivɪn riʧ ðə ˌɔlˈstɑr breɪk wɪθ ə ˈrɛkərd əˈbəv 500 ðeɪ ʃʊr wər kloʊz tɪ ˈriʧɪŋ ðə ˈprɑməs lænd wən mɔr taɪm. ɪf ðət wɑz ˌɪnˈdid ðə læst taɪm wi si ðət kɔr əv ˈsɛltɪks pleɪərz pleɪ təˈgɛðər ɛz wən, ðɛn wət ən əˈmeɪzɪŋ 5 jɪr strɛʧ bɪn. ðə hit ər bæk əˈgɛn fər ðə streɪt jɪr, ðə maɪˈæmi hit wɪl ˌrɛprɪˈzɛnt ðə ˈistərn ˈkɑnfərəns ɪn ðə ˈɛnˌbiˈeɪ ˈfaɪnəlz. ˈgɪtɪŋ ðɛr ˈizi ðoʊ. əp ənˈtɪl ðə læst 7 ər soʊ ˈmɪnəts əv ðə fɔrθ kˈwɔrtər, ðə geɪm ənd ðə wɪn wɑz ˈvɛri məʧ ɪn kˈwɛʃən. ˈlɛbrən ʤeɪmz pleɪd ɔl bət 30 ˈsɛkəndz əv geɪm 7 ɛz hi ˈfɪnɪʃt wɪθ ə əv 31 pɔɪnts ənd 12 ˈriˌbaʊndz. hi ˈɔlsoʊ gɑt tɪ ðə ˈʧɛrɪti straɪp 17 taɪmz, ˈhɪtɪŋ 12 king”*” ɪz pleɪɪŋ aʊt əv ðɪs wərld ˈbæskətˌbɔl æt ðə ˈmoʊmənt ənd ɪz ˈlʊkɪŋ laɪk ə pleɪər hu ɪz ˈmoʊtəˌveɪtəd ənd dɪˈtərmənd tɪ ˈɛksərˌsaɪz hɪz ˈdimənz ənd wɪn ðət əˈlusɪv ˈɛnˌbiˈeɪ ˈʧæmpiənˌʃɪp rɪŋ. haʊ əˈbaʊt krɪs bɑʃ? keɪm ɔf ðə bɛnʧ tɪ skɔr 19 pɔɪnts ɔn 8 fər 10 ˈʃutɪŋ. hi ˈɔlsoʊ ʃɑt ə ˈvɛri ˌənˌkɛrɪktərˈɪstɪk 3 fər 4 frəm reɪnʤ, wɪθ 2 ki meɪks ɪn ðə fɔrθ kˈwɔrtər. ðə hit dɪd faɪnd səkˈsɛs wɪˈθaʊt krɪs ˈərliər ɪn ðiz pleɪɔfs, bət ðə daɪˈnæmɪk əv ðɪs tim ɪz ˈdræstɪkli ˈdɪfərənt wɪn hi ɪz ɔn ðə kɔrt. hi wɑz ðɛr ɪn geɪm 7 fər ʃʊr. dweɪn weɪd ˈɔlsoʊ hæd ən ˈifɛktɪv deɪ ˈʃutɪŋ ðə bɔl, ɛz hi ˈfɪnɪʃt wɪθ 23 pɔɪnts ɔn 8 fər 17 ˈʃutɪŋ. hi ˈɔlsoʊ ʧɪpt ɪn 6 ˈriˌbaʊndz ənd 6 əˈsɪsts ɛz wɛl. ðə kəˈlɛktɪv pleɪ əv three”*” wɑz tu məʧ fər ˈbɔstən tɪ ˈoʊvərˌkəm ɪn ðət ˈfaɪnəl kˈwɔrtər. ðoʊz 3 ˌɪndəˈvɪʤəwəlz skɔrd ˈɛvəri ˈsɪŋgəl wən əv ðə 28 pɔɪnts ɪn ðə 4th*. ðə ˈsɛltɪks lʊkt fəˈtigd ənd dɪˈfitɪd wəns ðə hit tʊk ðə lɛd. ðeɪ ˈnɛvər lʊkt bæk. naʊ wɪθ ðə ˈistərn ˈkɑnfərəns ˈʧæmpiənˌʃɪp ræpt əp ənd wən, ðə ˈbɪgər praɪz ɪz ʤɪst əraʊnd ðə ˈkɔrnər. ðə ˈsizən wɪl bi dɪˈfaɪnd baɪ wət ðeɪ du ɪn ðɪs nɛkst ˈsɪriz. ˈʧæmpiənˌʃɪp ər bəst ɪn saʊθ biʧ. ðə ˌoʊkləˈhoʊmə ˈsɪti ˈθəndər ənd ðə ˈlɛri ˈtroʊfi əˈweɪt. kwoʊts əv ðə geɪm hæd ˈnəθɪŋ lɛft. haʊ ɪt fɛlt, ɛz ə koʊʧ. bət ˈoʊvərˌɔl, aɪ noʊ ɪf ˈɛvər hæd ə grup laɪk this.”*.” ˈsɛltɪks koʊʧ dɑk ˈrɪvərz wət wi tɔk əˈbaʊt. ɪt həz tɪ bi ə kəˈlɛktɪv grup tɪ wɪn ðə ˈʧæmpiənˌʃɪp. ˈɛvriˌbɑdi wɑz ɪn tun təˈdeɪ. wi ˈwɔntɪd tɪ gɪv ɑr fænz ə bɪg wɪn. wi lʊk ˈfɔrwərd tɪ ðə nɛkst challenge.”*.” hit ˈfɔrwərd ˈlɛbrən ʤeɪmz twit əv ðə geɪm hit ˈdænsɪŋ ɪn ðə ˈlɑkər rum. raɪt. soʊk ɪn ðɪs ˈmoʊmənt, maɪˈæmi. jʊr læst ˈsɪriz ˈvɪktəri fər əˈwaɪl. ʤeɪmz bɪrd (@hardenbeard*) ʤun 10 2012 ˈfaɪnəl θɔts hu tɔt ðə maɪˈæmi hit pleɪərz haʊ tɪ dæns? ə lɔt əv grif həz bɪn ˈgɪvɪn tɪ ənd ˈkɛvɪn ˈgɑrnɪt fər ˈlivɪŋ ðə kɔrt ˌbiˈfɔr ðə geɪm hæd ˈɛndɪd ənd rɪfˈjuzɪŋ tɪ ʃeɪk ðə hænz əv ðə hit pleɪərz. soʊ wət? hu kɛrz ˈrɪli. waɪ ʃʊd ðeɪ wɔnt tɪ ʃeɪk ðɛr hænz? waɪ wʊd ðeɪ wɔnt tɪ steɪ aʊt ðɛr ənd wɔʧ maɪˈæmi ˈsɛləˌbreɪt? aɪ bleɪm ðɛm wən bɪt ənd ˈniðər ʃʊd ˈɛniˌwən ɛls. ˈkrɪstəfər ˈwɔldər ɪz ə spɔrts ˈblɔgər ənd lɛd ˈɛdɪtər fər sər ˈʧɑrəlz ɪn ʧɑrʤ. ju meɪ ˈfɑloʊ ɪm ɔn tˈwɪtər
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after being tied 73-73 at the end of the third quarter, the miami heat would go on to outscore the boston celtics 28-15 in the fourth to win game 7 101-88 and become the 2012 eastern conference champions.
the heat will now move on to the nba finals against the western conference champion oklahoma city thunder. game 1 is this tuesday night in okc.
end of an era
that’s all folks.
the “big three” era in boston is now more than likely over.
ray allen and paul pierce are both unrestricted free-agents heading into the offseason. there are also rumors swirling that kevin garnett may be considering retirement.
but what a way to go out. up until the fourth quarter, this game was very winnable for the boston celtics.
the team was firing on all cylinders in the first half. they shot 52%, 4 for 8 from three-point range and 7 for 8 from the free-throw line in the first 2 quarters to jump out to a 53-46 halftime lead. brandon bass came out blazing, scoring 14 points, grabbing 3 rebounds and stealing the ball 3 times. with kevin garnett in serious foul trouble (3), bass was able to hold down the fort in the paint and be the recipient of some well-timed rajon rondo passes, who finished the first half with 10 assists and 0 turnovers.
unfortunately for boston, it was that fourth quarter that ultimately led to their demise. the celtics went cold when it mattered most and they couldn’t recover. after momentum changing three-pointers from chris bosh and shane battier, the game and the series was then all but over.
rajon rondo finished game 7 with a triple-double of 22 points, 10 rebounds and 14 assists. in what could be their last game together as a trio, kevin garnett (14 points, 7 rebounds), ray allen (15 points, 3 three-pointers) and paul pierce (19 points, 4 rebounds) combined for 48 of the team’s 88 points.
afterwards, the players and coach doc rivers became very emotional and rightfully so.
http://www.youtube.com/watch?v=yrsbp6zh4ku
whether you love the celtics or you hate them, they have certainly earned the respect of all nba fans around the league with their collective performance in this years playoffs. for a team that didn’t even reach the all-star break with a record above .500, they sure were close to reaching the promise land one more time.
if that was indeed the last time we see that core of celtics players play together as one, then what an amazing 5 year stretch it’s been.
the heat are back again
for the 2nd straight year, the miami heat will represent the eastern conference in the nba finals.
getting there wasn’t easy though.
up until the last 7 or so minutes of the fourth quarter, the game and the win was very much in question.
lebron james played all but 30 seconds of game 7 as he finished with a double-double of 31 points and 12 rebounds. he also got to the charity stripe 17 times, hitting 12. “the king” is playing out of this world basketball at the moment and is looking like a player who is motivated and determined to exercise his demons and win that allusive nba championship ring.
http://www.youtube.com/watch?v=aiki6gqsjui
how about chris bosh? cb1 came off the bench to score 19 points on 8 for 10 shooting. he also shot a very uncharacteristic 3 for 4 from three-point range, with 2 key makes in the fourth quarter. the heat did find success without chris earlier in these playoffs, but the dynamic of this team is drastically different when he is on the court. he was their x-factor in game 7, that’s for sure.
dwayne wade also had an effective day shooting the ball, as he finished with 23 points on 8 for 17 shooting. he also chipped in 6 rebounds and 6 assists as well.
the collective play of miami’s “big three” was too much for boston to overcome in that final quarter. those 3 individuals scored every single one of the heat’s 28 points in the 4th. the celtics looked fatigued and defeated once the heat took the lead. they never looked back.
now with the eastern conference championship wrapped up and won, the bigger prize is just around the corner. the heat’s season will be defined by what they do in this next series. it’s championship or bust in south beach.
the oklahoma city thunder and the larry o’brien trophy await.
quotes of the game
”we had nothing left. that’s how it felt, as a coach. … but overall, i don’t know if i’ve ever had a group like this.” – celtics coach doc rivers
”that’s what we talk about. it has to be a collective group to win the championship. everybody was in tune today. we wanted to give our fans a big win. we look forward to the next challenge.” – heat forward lebron james
tweet of the game
heat dancing in the locker room. that’s right. soak in this moment, miami. it’s your last series victory for awhile. #thunderup — james harden’s beard (@hardenbeard) june 10, 2012
final thoughts
– who taught the miami heat players how to dance?
– a lot of grief has been given to rajon rondo and kevin garnett for leaving the court before the game had ended and refusing to shake the hands of the heat players. so what? who cares really. why should they want to shake their hands? why would they want to stay out their and watch miami celebrate? i don’t blame them one bit and neither should anyone else.
christopher walder is a sports blogger and lead editor for sir charles in charge. you may follow him on twitter @waldersports
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baɪ ˈmaɪzɪz baɪ tu jɪrz əˈgoʊ, wɑz kənˈsɪdərd ə frɪnʤ tɛkˈnɑləʤi fər ˌlɪbərˈtɛˌriənz ənd kəmˈpjutər giks. naʊ, ənd ˈəðər, səʧ ɛz, ər ˈgeɪnɪŋ ˈmeɪnˌstrim əˈdɑpʃən. ˌhaʊˈɛvər, ˈmeɪnˌstrim əˈdɑpʃən həz bɪn prəˈpɛld baɪ ˌfaɪˈnænʃəl ˌspɛkjəˈleɪʃən ˌɪnˈstɛd əv baɪ dɪˈmænd fər ə ˈpraɪvətli ˈmɪntɪd ənd dɪˈfleɪʃəˌnɛri ˈmidiəm əv ɪksˈʧeɪnʤ. ˈæftər ðə reɪt haɪk ðɪs wik, ənd ɔlˈtərnətɪv, səʧ ɛz ənd dæʃ drɑpt ɪn ˈvælju ˈɪnstəntli., fər ɪgˈzæmpəl, drɑpt baɪ əˈprɑksəmətli 16 ɪn ˈvælju waɪl ˈəðər kɔɪnz drɑpt baɪ əˈprɑksəmətli 25 ˌhaʊˈɛvər, praɪs rɪˈkəvərd tɪ ðə ˈpriviəs haɪ wɪˈθɪn 18 aʊərz. ðə riˈækʃən əv ðə tɪ ðə ˈfɛdərəl rɪˈzərv əˈnaʊnsmɛnt prəˈvaɪdz ˈɛvədəns ðət ər sin ɛz ə ˌɪnˈvɛstmənt ˈdʊrɪŋ taɪmz əv sɪgˈnɪfɪkənt faɪæt ˈkərənsi dɪˈluʃən. ɛz aɪ roʊt fər fɔrbz ˈɔstriə ɪn ˈeɪprəl, ðɪs ɪz waɪ ðə dɪˈmænd fər ɪz goʊɪŋ əp ɪn ˈkəntriz ðət ər ðɛr faɪæt ˈkərənsiz, səʧ ɛz ˈɪndiə ənd ˌvɛnɪzˈweɪlə. ˈfɑloʊɪŋ ðə əv ðə 500 ənd ruˈpi ˈbæŋkˌnoʊts ɪn noʊˈvɛmbər əv læst jɪr, ðə praɪs əv ɔn ˈlɑrʤəst ɪksˈʧeɪnʤ, unocoin*, ʃɑt əp tɪ 818 waɪl əˈmɛrɪkən ɪksˈʧeɪnʤɪz kˈwoʊtɪd ðə ɪksˈʧeɪnʤ reɪt ɛz 709 pər. ˈsɪmələrli, surbitcoin*, ˈlɑrʤəst ɪksˈʧeɪnʤ, sɔ ən ˌɪnˈkris frəm 450 əˈkaʊnts ɪn 2014 tɪ ˈoʊvər ɪn 2016 riˈæktɪŋ tɪ fɛd ˈpɑləsi ˌhaʊˈɛvər, ɪf ðə fɛd kənˈtɪnjuz tɪ reɪz reɪts, ðɛn ðə dɪˈmænd fər meɪ ˈdiˌkris. wɪn ðə fɛd ˈkloʊzɪz ðə ˈfɔsət ɔn ˈnuli ˈprɪnɪd ˈməni, ðɛr ɪz lɛs ˈnuli ˈprɪnɪd ˈməni ðət kən floʊ ˈɪntu ˈæˌsɛt ˈklæsɪz səʧ ɛz ril ɛˈsteɪt, stɑks, ənd, ˌɛtˈsɛtərə. ˈðɛrˌfɔr, ˌɪnˈvɛstərz wɪl hæv lɛs dɪˈmænd fər ˈæˌsɛts ðət hɛʤ əˈgɛnst ˌɪnˈfleɪʃən. ˌɪnˈfleɪʃən ˈkɑntrɛri tɪ ˈpɑpjələr bɪˈlif ðət ɪz dɪˈfleɪʃəˌnɛri, ðə ˈkərənsi ˈkərəntli həz ən ˈænjuəl ˌɪnˈfleɪʃən reɪt əv əˈprɑksəmətli 4 ðə ˈrizən ðət əˈlaʊz ˌɪnˈvɛstərz tɪ hɛʤ ðə ɪkˈspænʧəˌnɛri ˈmɑnəˌtɛri ˈpɑləsiz æˈdhɪrd tɪ baɪ ˈsɛntrəl bæŋks ɪz bɪˈkəz ðə dɪˈmænd fər ɪz groʊɪŋ æt ə peɪs ðət ɪz haɪər ðən ðə ˌɪnˈkris ɪn ðə səˈplaɪ əv. ɛz ɪkˈspleɪnd ɪn ə ˈmaɪzɪz ˈdeɪli ˈɑrtɪkəl ˈrɪtən baɪ fræŋk ˈʃɑstək ɪn 2002 ðə tərm ˌɪnˈfleɪʃən wɑz ərˈɪʤənəli juzd tɪ dɪˈskraɪb ən ˌɪnˈkris ɪn ðə ˈməni səˈplaɪ. təˈdeɪ, ðə tərm ˌɪnˈfleɪʃən rɪˈfərz tɪ ə ˈʤɛnərəl ˌɪnˈkris ɪn ˈpraɪsɪz. ɪf ðə ərˈɪʤənəl ˌdɛfəˈnɪʃən ɪz əˈplaɪd, ðɛn ɪz ən ˌɪnˈfleɪʃəˌnɛri ˈkərənsi. ˌhaʊˈɛvər, ɛz aɪ dɪˈskəst ɪn ðə 2017 ɪˈdɪʃən əv ɪn goʊld wi trəst, ðə səˈplaɪ əv ˈnuli ˈmɪntɪd ˈfɑloʊz ə prɪˈdɪktəbəl ˌɪnˈfleɪʃən reɪt ðət dɪˈmɪnɪʃɪz ˈoʊvər taɪm. sɑˈtoʊʃi ˈmɑdəld ðə floʊ əv nu ɛz ə ˈpɔɪzsən ˈprɔˌsɛs, wɪʧ wɪl rɪˈzəlt ɪn ə dɪˈsərnəbəl ˌɪnˈfleɪʃən reɪt kəmˈpɛrd tɪ ðə stɑk əv ɪgˈzɪstɪŋ baɪ 2020 ˈɛvəri fɔr jɪrz, ðə əˈmaʊnt əv ˈmɪntɪd ˈænjuəli ɪz hævd. ðə læst ˈproʊˌgræmd ““halving”*” əˈkərd ɪn ʤun əv 2016 ˈðɛrˌfɔr, ðə nɛkst ˈhævɪŋ wɪl əˈkər ɪn 2020 ðə ˌɪnˈvərs əv ðə ˌɪnˈfleɪʃən reɪt, ðə, ˈɔlsoʊ ˈɪndɪˌkeɪts ðə ˈdiˌkrisɪŋ floʊ əv ˈnuli ˈmɪntɪd kɔɪnz ˈɪntu ðə ɪˈkɑnəmi. ðə stɑk tɪ floʊ ˈreɪʃiˌoʊ (stfr*) əv ɪz ˈkərəntli 25 jɪrz; ˌhaʊˈɛvər, ðə ˈreɪʃiˌoʊ wɪl ˌɪnˈkris tɪ əˈprɑksəmətli 56 jɪrz. ðɪs minz ðət ðə əv ʃʊd sərˈpæs ˈdʊrɪŋ ðə nɛkst faɪv jɪrz. praɪər tɪ ˈʤænjuˌɛri 3 2009 noʊ ɪgˈzɪstəd. ˈðɛrˌfɔr, wɑz ˈifɛktɪvli ˈziroʊ. ˌhaʊˈɛvər, ðə ˈræpɪd rɪˈdəkʃən ɪn ðə əˈmaʊnt əv ˈmaɪnɪŋ ˈoʊvər taɪm rɪˈzəlts ɪn ən ˌɪnˈkrisɪŋ ˈoʊvər taɪm. baɪ 2024 ˈoʊnli wɪl bi maɪnd ˈɛvəri tɛn ˈmɪnəts rɪˈzəltɪŋ ɪn ə əv əˈprɑksəmətli 119 jɪrz. ɪf ðə nu ˈminɪŋ əv ˌɪnˈfleɪʃən ɪz əˈplaɪd, ðɛn ɪz dɪˈfleɪʃəˌnɛri bɪˈkəz ðə ˈpərʧəsɪŋ paʊər əv iʧ ˈjunɪt ˌɪnˈkrisɪz ˈoʊvərˌtaɪm. wɪn aɪ bɪˈgæn ˌɪnˈvɛstɪŋ ɪn ɪn 2014 ə ˈmɑdəl ɛs ˈtɛzlə wərθ kɔst 230. təˈdeɪ, ə ˈmɑdəl ɛs ˈtɛzlə wərθ kɔsts 28. ɔn ʤun 11 əv ðɪs jɪr, ðə praɪs əv riʧt ə nu ˌɔlˈtaɪm haɪ əˈbəv ˈæftər ˈtreɪdɪŋ æt əˈprɑksəmətli tu wiks əˈgoʊ. ˈfərðərˌmɔr, ˈmɑrkɪt ˌkæpɪtəlɪˈzeɪʃən əv 40 ˈbɪljən ɪz ɪkˈspɛktɪd tɪ raɪz ˈfərðər ɛz ðə ənˈsərtənti sərˈaʊndɪŋ ðɪs tɛkˈnɑləʤi ˈdiˌkrisɪz. praɪs ˈdætə ˈoʊnli ˈkəvərz ðə pæst sɪks jɪrz, wɪʧ minz ðɛr ɪz ˈbeɪsɪkli noʊ ˈdætə əˈveɪləbəl fər stəˈtɪstɪkəl æˈnælɪsɪs. rɪsk əˈsɛsmənts ðə ˈɛlzbərg ˈpɛrəˌdɑks ʃoʊz ðət ˈpipəl prɪˈfər ˈaʊtˌkəmz wɪθ noʊn ˌprɑbəˈbɪləˌti ˌdɪstrəˈbjuʃənz kəmˈpɛrd tɪ ˈaʊtˌkəmz wɛr ðə ˌprɑbəˈbɪləˌtiz ər ənˈnoʊn. ðə ˌɛstəˈmeɪʃən ˈɛrər əˈsoʊʃiˌeɪtəd wɪθ ˈfɔrˌkæsts əv rɪsks ənd rɪˈtərnz meɪ bi ˈnɛgətɪvli ðə praɪs ˈdaʊnwərd. ɛz taɪm ˈpæsɪz, ˈpipəl wɪl bɪˈkəm mɔr ““experienced”*” wɪθ, wɪʧ meɪ rɪˈdus ənˈsərtənti ənd ðə ˈsəbsəkwənt ˈdɪskaʊnt ɪt wildz ɔn ðə praɪs əv. ən ˌɛkəˈnɑmɪk ˈdaʊnˌtərn əˈkərz əˈprɑksəmətli wəns ˈɛvəri tɛn jɪrz ɪn ðə ˈjuˈɛs, ənd ɪt həz bɪn ə ˈdɛkeɪd sɪns ðə ˌfaɪˈnænʃəl ˈmɛltˌdaʊn. ɪf ðə ɪˈkɑnəmi ˈkænɑt ˈhændəl ðə ˌɪnˈkris ɪn reɪts, ənd ðə fɛd ɪz fɔrst tɪ rɪˈvərs ðɛr dɪˈsɪʒən, ðə praɪs əv ənd ˈəðər ər ˈlaɪkli tɪ rɪˈspɑnd ˈpɑzətɪvli. ˌɔlˈðoʊ ðə ˈmɑrkɪt tʊk ə stip plənʤ ˈæftər ˈʤænɪt ˈsɛkənd reɪt haɪk əv 2017 ˈpraɪsɪz ˈfʊli rɪˈkəvərd wɪˈθɪn ə deɪ. ðə kwɪk riˈbaʊnd ˌəndərˈskɔrz ðə læk əv ˈæˌsɛts ðət əˈlaʊ ˌɪnˈvɛstərz tɪ əˈkjumjəˌleɪt wɛlθ ˈseɪfli. ˈnɛgətɪv ˈɪntəˌrɛst reɪts ɪn ˈjʊrəp ənd faɪæt ɪn dɪˈvɛləpɪŋ ˈkəntriz ər stɪl ˈdraɪvɪŋ dɪˈmænd fər ənd ɔlˈtərnətɪv. ˌɔlˈðoʊ wɑz ˌɪˈnɪʃəli ˈrɪdəˌkjuld ɛz ˈməni fər kəmˈpjutər nərdz ənd ə ˈkɑnʤuɪt fər ˌɪˈligəl ækˈtɪvɪti, ˌɪnˈvɛstərz ər bɪˈgɪnɪŋ tɪ si ðə pəˈtɛnʃəl fər ðɪs tɛkˈnɑləʤi tɪ bi ən ˈɪnəgrəl pɑrt əv wɛlθ ˈmænɪʤmənt frəm ðə pərˈspɛktɪv əv pɔrtˈfoʊliˌoʊ dɪˌvərsəfəˈkeɪʃən. əˈbaʊt ðə ˈɔθər: heɪz ɪz ə ˈdɑktərət ˈstudənt ɪn ðə dɪˈpɑrtmənt əv ˌɛkəˈnɑmɪks æt ðə ˌjunəˈvərsəti əv ˈlɪktənˌstaɪn ɪn ˈjʊrəp. praɪər tɪ əˈtɛndɪŋ ðə ˌjunəˈvərsəti əv ˈlɪktənˌstaɪn, kəmˈplitɪd hər ɪn ˌɛkəˈnɑmɪks æt ðə tuˈluz skul əv ˌɛkəˈnɑmɪks ɪn ˈsəðərn fræns. ɛz ə ˈsəmər ˈfɛloʊ æt ðə ˈmaɪzɪz ˈɪnstɪˌtut, ʃi ˌɪnˈvɛstəˌgeɪtɪd ɪf ɪz kəmˈpætəbəl wɪθ ˈfrækʃənəl rɪˈzərv ˈbæŋkɪŋ. sɔrs: ðɪs ˈɑrtɪkəl wɑz ˈpəblɪʃt baɪ ðə ˈmaɪzɪz ˈɪnstɪˌtut
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by mises
by demelza hays*
two years ago, bitcoin was considered a fringe technology for libertarians and computer geeks. now, bitcoin and other cryptocurrencies, such as ethereum, are gaining mainstream adoption. however, mainstream adoption has been propelled by financial speculation instead of by demand for a privately minted and deflationary medium of exchange. after the fed’s rate hike this week, bitcoin and alternative cryptocurrencies, such as ethereum and dash dropped in value instantly. bitcoin, for example, dropped by approximately 16% in value while other coins dropped by approximately 25%. however, bitcoin’s price recovered to the previous high within 18 hours.
the reaction of the cryptomarket to the federal reserve announcement provides evidence that cryptocurrencies are seen as a safe-haven investment during times of significant fiat currency dilution. as i wrote for forbes austria in april, this is why the demand for bitcoin is going up in countries that are demonetizing their fiat currencies, such as india and venezuela. following the demonetization of the 500 and 1,000 rupee banknotes in november of last year, the price of bitcoin on india’s largest bitcoin exchange, unocoin, shot up to $818 while american exchanges quoted the exchange rate as $709 per bitcoin. similarly, surbitcoin, venezuela’s largest bitcoin exchange, saw an increase from 450 accounts in 2014 to over 85,000 in 2016.
reacting to fed policy
however, if the fed continues to raise rates, then the demand for cryptocurrency may decrease. when the fed closes the faucet on newly printed money, there is less newly printed money that can flow into asset classes such as real estate, stocks, and cryptocurrencies, etc. therefore, investors will have less demand for assets that hedge against inflation.
bitcoin inflation
contrary to popular belief that bitcoin is deflationary, the currency currently has an annual inflation rate of approximately 4%. the reason that bitcoin allows investors to hedge the expansionary monetary policies adhered to by central banks is because the demand for bitcoin is growing at a pace that is higher than the increase in the supply of bitcoin. as explained in a mises daily article written by frank shostak in 2002, the term inflation was originally used to describe an increase in the money supply. today, the term inflation refers to a general increase in prices.
if the original definition is applied, then bitcoin is an inflationary currency. however, as i discussed in the 2017 edition of in gold we trust, the supply of newly minted bitcoin follows a predictable inflation rate that diminishes over time. satoshi modeled the flow of new bitcoin as a poisson process, which will result in a discernible inflation rate compared to the stock of existing bitcoin by 2020. every four years, the amount of bitcoin minted annually is halved. the last programmed “halving” occurred in june of 2016. therefore, the next halving will occur in 2020. the inverse of the inflation rate, the stfr, also indicates the decreasing flow of newly minted coins into the bitcoin economy. the stock to flow ratio (stfr) of bitcoin is currently 25 years; however, the stfr ratio will increase to approximately 56 years. this means that the stfr of bitcoin should surpass gold’s during the next five years. prior to january 3, 2009, no bitcoin existed. therefore, bitcoin’s stfr was effectively zero. however, the rapid reduction in the amount of bitcoin mining over time results in an increasing stfr over time. by 2024, only 3.125 bitcoin will be mined every ten minutes resulting in a stfr of approximately 119 years.
if the new meaning of inflation is applied, then bitcoin is deflationary because the purchasing power of each unit increases overtime. when i began investing in bitcoin in 2014, a model s tesla worth $70,000 cost 230 bitcoin. today, a model s tesla worth $70,000 costs 28 bitcoin. on june 11 of this year, the price of bitcoin reached a new all-time high above $3,000 after trading at approximately $2,300 two weeks ago. furthermore, bitcoin’s market capitalization of $40 billion is expected to rise further as the uncertainty surrounding this technology decreases. bitcoin’s price data only covers the past six years, which means there is basically no data available for statistical analysis.
risk assessments
the ellsberg paradox shows that people prefer outcomes with known probability distributions compared to outcomes where the probabilities are unknown. the estimation error associated with forecasts of bitcoin’s risks and returns may be negatively biasing the price downward. as time passes, people will become more “experienced” with bitcoin, which may reduce uncertainty and the subsequent discount it wields on the price of bitcoin.
an economic downturn occurs approximately once every ten years in the us, and it has been a decade since the 2007/2008 financial meltdown. if the economy cannot handle the increase in rates, and the fed is forced to reverse their decision, the price of bitcoin and other cryptocurrencies are likely to respond positively. although the cryptocurrency market took a steep plunge after janet yellen’s second rate hike of 2017, prices fully recovered within a day. the quick rebound underscores the lack of assets that allow investors to accumulate wealth safely. negative interest rates in europe and fiat demonetization in developing countries are still driving demand for bitcoin and alternative cryptocurrencies. although bitcoin was initially ridiculed as money for computer nerds and a conduit for illegal activity, investors are beginning to see the potential for this technology to be an integral part of wealth management from the perspective of portfolio diversification.
about the author:
*demelza hays is a doctorate student in the department of economics at the university of liechtenstein in europe. prior to attending the university of liechtenstein, demelza completed her master’s in economics at the toulouse school of economics in southern france. as a summer fellow at the mises institute, she investigated if cryptocurrency is compatible with fractional reserve banking.
source:
this article was published by the mises institute
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nu ˈdɛli: ˈæpəl ˈsiˌiˈoʊ tɪm kʊk, ɪn ə ˈlɛtər tɪ ɪmˈplɔɪiz, həz sɛd ðət 2014 wɪl bi ə bɪg jɪr fər ðə ˈkəmpəˌni ənd ˈkəstəmərz wɪl ləv ɪts nu ˈprɑdəkts. ˈmɛni ɪn ðə tɛk kəmˈjunɪti hæv ˈteɪkən ðɪs ɛz ə hɪnt ðət ˈæpəl wɪl ˈfaɪnəli ənˈveɪl ˈaɪˌfoʊnz ənd ˈaɪˌpædz. ənd ə ˈrisənt rɪˈpɔrt gɪvz ˈkridəns tɪ ðɪs tɛkˈnɑləʤi ˈwɛbˌsaɪt digitimes*, wɪʧ həz likt ˈæpəl ˈgæʤəts ˈækjərətli ɪn ðə pæst, həz ˌriˈpɔrtəd ðət ðə ˈaɪˌfoʊn ɪz ˈskɛʤʊld fər ə meɪ lɔnʧ. ðɪs ˈəpˌkəmɪŋ ˈmɑdəl wɪl hæv ə meɪd baɪ ˈtaɪˈwɑn ˌsɛmɪkənˈdəktər ˌmænjəˈfækʧərɪŋ ˈkəmpəˌni həz lɔŋ bɪn ðət ˈæpəl ɪz ˈwərkɪŋ ɔn tu ˈaɪˌfoʊnz wən wɪθ ə dɪˈspleɪ ənd ðə ˈəðər wɪθ ə rɪˈpɔrt ˈɔlsoʊ sɪz ðət ə ˈaɪˌpæd, wɪθ dɪˈspleɪ ˈsaɪzɪz ˈmɛʒərɪŋ ər 13.3-inch*, wɪl bi ənˈveɪld ɪn ɑkˈtoʊbər nɛkst jɪr. ɪt ɪz ˈlaɪkli ðət ˈæpəl wɪl pɪk ðə skrin saɪz fər ˈfaɪnəl pərˈdəkʃən; ðɪs fɔlz ɪn laɪn wɪθ ən ˈərliər rɪˈpɔrt ðət ˈæpəl wɪl lɔnʧ ə ˈaɪˌpæd proʊ wɪθ ˌrɛzəˈluʃən ɪn ɪz ˈwərkɪŋ wɪθ kəmˈpjutər tɪ ˌmænjəˈfækʧər ðɪs ˈəpˌkəmɪŋ ˈtæblət. ðɪs ˈaɪˌpæd wɪl ˌriˈpleɪs ðə ɛr, sɪz ðə rɪˈpɔrt, ˈsaɪtɪŋ ˈsɔrsəz.
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new delhi: apple ceo tim cook, in a letter to employees, has said that 2014 will be a big year for the company and customers will love its new products. many in the tech community have taken this as a hint that apple will finally unveil big-screen iphones and ipads. and a recent report gives credence to this speculation.chinese technology website digitimes, which has leaked apple gadgets accurately in the past, has reported that the big-screen iphone is scheduled for a may launch. this upcoming model will have a 20nm chipset made by taiwan semiconductor manufacturing company (tsmc).it has long been rumoured that apple is working on two big-screen iphones – one with a 4.7-inch display and the other with a 6-inch panel.the report also says that a big-screen ipad, with display sizes measuring 12.9-inch or 13.3-inch, will be unveiled in october next year. it is likely that apple will pick the 12.9-inch screen size for final production; this falls in line with an earlier report that apple will launch a 12.9-inch ipad pro with 4k resolution in october.apple is working with taiwan’s quanta computer to manufacture this upcoming tablet. this large-screen ipad will replace the 11-inch macbook air, says the report, citing sources.
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lorde* həz rɪˈvild ðət ˈdeɪvɪd boʊi preɪzd hər mˈjuzɪk wɪn ðeɪ mɛt ɪn nu jɔrk læst jɪr. ðə pɛr wər ˈfoʊtəˌgræft wɪθ ˈtɪldə sˈwɪntən æt hər ˈbərθˌdeɪ ˈpɑrti æt nu jɔrks mˈjuziəm əv ˈmɑdərn ɑrt ɪn noʊˈvɛmbər. ˈspikɪŋ əˈbaʊt hər ˈmitɪŋ wɪθ boʊi, toʊld ˈrʊki: "tɪ hæv ˈsəmˌwən laɪk ðət tɛl ju ðət ˈlɪsənɪŋ tɪ ju fɛlt laɪk ˈlɪsənɪŋ tɪ təˈmɑˌroʊ. aɪ wɑz laɪk... aɪ kʊd kriˈeɪtɪvli daɪ ənd ʤɪst bi ˈhæpi fərˈɛvər. "aɪ ˈnɛvər tɛl ˈɛniˌwən əˈbaʊt ðət ɪkˈspɪriəns, bɪˈkəz ɪt mɛnt soʊ məʧ tɪ mi, ənd aɪ fil laɪk ɪt wʊd bi dəld ər ˈsəmθɪŋ ɪf aɪ ˈɔlˌweɪz tɔkt əˈbaʊt ɪt ɪn ˈmægəˌzinz ər ˌwəˈtɛvər. ɪts maɪ ˈspɛʃəl θɪŋ." ʃi kənˈtɪnjud: "ɪt wɑz ˈsupər kjut, ðoʊ fər səm ˈrizən wi wər ˈhoʊldɪŋ hænz ənd ʤɪst ˈstɛrɪŋ ˈɪntu iʧ ˈəðərz aɪz ənd ˈtɔkɪŋ, ənd aɪ wɑz laɪk, 'ðɪs ɪz ˈdeɪvɪd hænd, wət æm aɪ duɪŋ?' ɪt wɑz ˌɪnˈseɪn. ə ˈbjutəfəl ˈmoʊmənt." tɑpt ʧɑrts ˈwərldˈwaɪd wɪθ hər ˈbreɪˌkaʊt ˈsɪŋgəl 'rɔɪəlz' ɪn 2013 ˈriʧɪŋ ˈnəmbər wən ɔn ðə tɔp 40 ənd ˈjuˈɛs ˈbɪlˌbɔrd hɑt 100 ˈminˌwaɪl, ðə nu stɑrz ˈdeɪbju ˈælbəm pjʊr ˈhɛroʊən riʧt ˈnəmbər θri ɪn ðə ˈjuˈɛs ənd ˈnəmbər fɔr ɪn ðə. wɔʧ ðə mˈjuzɪk ˈvɪdioʊ fər 'rɔɪəlz' bɪˈloʊ:
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lorde has revealed that david bowie praised her music when they met in new york last year.
the pair were photographed with tilda swinton at her 53rd birthday party at new york's museum of modern art in november.
speaking about her meeting with bowie, lorde told rookie: "to have someone like that tell you that listening to you felt like listening to tomorrow. i was like... i could creatively die and just be happy forever.
"i never tell anyone about that experience, because it meant so much to me, and i feel like it would be dulled or something if i always talked about it in magazines or whatever. it's my special thing."
she continued: "it was super cute, though - for some reason we were holding hands and just staring into each other's eyes and talking, and i was like, 'this is david bowie's hand, what am i doing?' it was insane. a beautiful moment."
lorde topped charts worldwide with her breakout single 'royals' in 2013, reaching number one on the uk top 40 and us billboard hot 100.
meanwhile, the new zealand-born star's debut album pure heroine reached number three in the us and number four in the uk.
watch the music video for lorde's 'royals' below:
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wɔnt tɪ si səm ˌənɪkˈspleɪnd laɪts ɪn ðə skaɪ ər sloʊ ˈmuvɪŋ ər ˈɑbʤɛkts? gæs əp ðə kɑr ənd hɛd aʊt tɪ ðə ˌsaʊθˈwɛst ˈsɛkʃən əv ˌkɑlərˈɑdoʊ. ðə sæn luis ˈvæli əv ðə sɛnˈtɛniəl steɪt ɪz rɪˈpɔrtədli ə ˈɛriə əv ðə əˈmɛrɪkən ˈlænˌskeɪp, wɪθ ˌjuˌɛˈfoʊ ˈsaɪtɪŋz goʊɪŋ bæk tɪ ðə 1600s*. wɪn ˈʤudi fərst muvd hir ɪn 1995 tɪ reɪz ˈkætəl, ʃi bɪˈkeɪm ˌɪnˈtrigd baɪ ðə ˈmɛni ˌjuˌɛˈfoʊ ˈstɔriz toʊld tɪ hər baɪ ðə ˈloʊkəlz. ʃi ɪˈvɛnʧəwəli əˈbændənd ðə rænʧ aɪˈdiə ənd ɪn 2000 bɪlt ə ˈspɛʃəl ˌjuˌɛˈfoʊ, ə rɛkˈtæŋgjələr ˈmɛtəl ˈplætˌfɔrm ˈstændɪŋ 10 fit haɪ əˈbəv ðə graʊnd wɛr əp tɪ 60 ˈpipəl æt ə taɪm kən ˈgæðər ənd swɑp teɪlz əv ˌənɪkˈspleɪnd ɪkˈspɪriənsɪz. "wi si ˈɑbʤɛkts ðət wi ˈkænɑt ɪkˈspleɪn laɪts ðət goʊ ril fæst ənd stɑp, ər ðɛl goʊ ɪn wən dɪˈrɛkʃɪn ənd ˈsədənli goʊ ɪn ðə ˈɑpəzɪt dɪˈrɛkʃɪn wɪˈθaʊt ˈstɑpɪŋ," toʊld əˈmərɪkəˈɑnˌlaɪn. "ðə ˈkloʊsəst wən wi sɔ frəm hir bɪtˈwin ðə taʊər ənd ðə ˈmaʊntənz wɑz ˈnɛroʊ ənd ˈrɪli lɔŋ ənd ˌɪˈluməˌneɪtəd frəm ðə ˌɪnˈsaɪd. ˈoʊvər ə ˈdəzən ˈpipəl sɔ ɪt ˈmuvɪŋ ˈræpədli frəm ðə nɔrθ tɪ ðə saʊθ." soʊ fɑr, əv ðə ˈnɪrli 60 ˈsaɪtɪŋz sɪns ʃi ˈoʊpənd hər ˈeɪliən ˈlʊˌkaʊt, həz hæd 26 ˈsaɪtɪŋz əv hər oʊn. "ˈdʊrɪŋ ðə deɪ, wi si ˈsɪlvər bɔlz ənd ˈɑbʤɛkts. wiv ˈɔlsoʊ hæd rɪˈpɔrts əv ˈpipəl ˈdraɪvɪŋ daʊn ðə ˈkəntri roʊdz aʊt hir huv sin ˈsɔsərz flaɪɪŋ raɪt nɛkst tɪ ðɛm," ʃi ˈædɪd. sɪns 2000 ən ˈɛstəˌmeɪtɪd ˈvɪzɪtərz hæv ˈʤərnid frəm əraʊnd ðə wərld tɪ ˌjuˌɛˈfoʊ ˈhoʊpɪŋ fər ə glɪmps æt ən ˈəðərˈwərldli saɪt ɪn ðə skaɪ. ənd ˈivɪn ɪf ðeɪ ˈɑrənt ˈləki ɪˈnəf tɪ spɑt ən ənˈnoʊn laɪt ər kræft, ðɛr ˈsɛldəm ˌdɪsəˈpɔɪnɪd. taʊər sɪts ɔn 600 ˈeɪkərz əv lænd ʃi oʊnz ʤɪst ˈaʊtˈsaɪd ðə taʊn əv ˈhupər, wɛr ɪkˈspɪriəns ðə ˈmæʤəsti əv ðə ˈrɑki ˈmaʊntənz (sərˈaʊndɪd baɪ ðə sæn wɑn ənd də ˈkrɪˌstoʊ ˈreɪnʤɪz) baɪ deɪ. æt naɪt, ðə ˌɪnˈkrɛdəbli klɪr, skaɪz ˈprɛzənt ðə ˈwəndərz ənd ˌæstrəˈnɑmɪkəl ˈvɪstəz əv ðə ˈmɪlki weɪ ˈgæləksi. ənd ðɛn ðɛrz "ˈvɔrtɛks ˈgɑrdən" ə lɑrʤ, ˈwaɪdˈsprɛd ˈɛriə wɛr ðɛr ər, əˈkɔrdɪŋ tɪ ˈvɛriəs ˈsaɪkɪks, ˈpɔrtəlz tɪ əˈnəðər ˈjunəˌvərs. ɪts ə pleɪs wɛr ɪnˈkərəʤəz ˈvɪzɪtərz tɪ liv ˈpərsɪnəl ˈtrɪŋkəts bɪˈhaɪnd. "foʊks ˈrɪli laɪk ðə aɪˈdiə əv ˈlivɪŋ ˈsəmθɪŋ əv ðɛrz ɪn ðət ˈgɑrdən: ˈsənˌglæsɪz, hæts ənd tɔɪz səm θɪŋz ər ˈrɪli soʊ nis ðət aɪ hæv tɪ pəˈtroʊl ðə ˈgɑrdən tɪ meɪk ʃʊr ðət θɪŋz steɪ pʊt." həz hər oʊn ˈθɪri əˈbaʊt waɪ hər ˌpɑˈtɪkjələr plɑt ənd ðə sərˈaʊndɪŋ ɪnˈvaɪrənmənt ər soʊ ˌjuˌɛˈfoʊ, ˈvɔrtɛks energy-friendly*. "ðɛr hæv bɪn ˈdɑkjəˌmɛnəd ˌjuˌɛˈfoʊ ˈsaɪtɪŋz hir sɪns ðə 1600s*, soʊ ɪts ˈnəθɪŋ nu ənd ɪts kənˈsɪdərd ðə ˈneɪʃənz hɑt spɑt fər ˌjuˌɛˈfoʊ ɪkˈspɪriənsɪz," ʃi sɛd. "səm seɪ ɪts ðə ˌspɪrɪˌʧuˈæləˌti əv ðə ˈvæli ˈneɪtɪv əˈmɛrɪkənz kənˈsɪdər ðə ˈvæli flɔr ɛz ˈseɪkrɪd." ɪf ˌjuˌɛˈfoʊz ˈɑrənt jʊr kəp əv ti, ðɛr ər ˈəðər ækˈtɪvɪtiz nɪr ðɪs ˈtʊrɪst spɑt ðət maɪt sut jʊr ˈfænsi. doʊnt mɪs ðə ˈloʊkəl ˈæləˌgeɪtər fɑrm, ðə greɪt sænd dunz ˈnæʃənəl pɑrk, ə ˈmaʊntən treɪn ənd ˌʤioʊˈθərməl hɑt spərɪŋ pulz. ənd ju kænt bit ðə praɪs tɪ ʧɛk aʊt ðə ˌjuˌɛˈfoʊ. "wi ʧɑrʤ 2 ə ˈpərsən, ər 5 ə kɑr ˈʧipəst," sɛd. hər ərˈɪʤənəl drim wɑz tɪ hæv ə lɔg haʊs ɔn 100 ˈeɪkərz wɪθ ə ˈpraɪvəsi fɛns əraʊnd ɪt, tɪ kip aʊt ðə ˈneɪbərz. ˈɛndɪd əp wɪθ ðə lɔg haʊs bət wɪθ noʊ ˈpraɪvəsi fɛns. ənd ˈæftər soʊ ˈmɛni jɪrz əv ˈsaɪtɪŋz əv streɪnʤ laɪts ənd ˈɑbʤɛkts ɪn ðə skaɪ əˈbəv ənd əraʊnd hər ˌkɑlərˈɑdoʊ hoʊm, bɪˈlif ˈsɪstəm həz bɪn ˈdipli əˈfɛktɪd. "aɪ juzd tɪ ˈɔlˌweɪz bɪˈliv ðət ðɛr hæd tɪ bi laɪf ˈsəmˌpleɪs ɛls bɪˈkəz ðə ˈjunəˌvərs ɪz ʤɪst tu ˈmæsɪv fər ðɛr nɑt tɪ bi. bət aɪ noʊ ɪt naʊ."
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want to see some unexplained lights in the sky or slow moving cigar-shaped or saucer-shaped objects? gas up the car and head out to the southwest section of colorado.
the san luis valley of the centennial state is reportedly a paranormal-rich area of the american landscape, with ufo sightings going back to the 1600s.
when judy messoline first moved here in 1995 to raise cattle, she became intrigued by the many ufo stories told to her by the locals. she eventually abandoned the ranch idea and in 2000, built a special ufo watchtower, a rectangular metal platform standing 10 feet high above the ground where up to 60 people at a time can gather and swap tales of unexplained experiences.
"we see objects that we cannot explain -- lights that go real fast and stop, or they'll go in one direction and suddenly go in the opposite direction without stopping," messoline told aol.
"the closest one we saw from here between the tower and the mountains was cigar-shaped -- narrow and really long -- and illuminated from the inside. over a dozen people saw it moving rapidly from the north to the south."
so far, of the nearly 60 sightings since she opened her alien lookout, messoline has had 26 sightings of her own.
"during the day, we see silver balls and saucer-shaped objects. we've also had reports of people driving down the country roads out here who've seen saucers flying right next to them," she added.
since 2000, an estimated 20,000 visitors have journeyed from around the world to messoline's ufo watchtower hoping for a glimpse at an otherworldly sight in the sky. and even if they aren't lucky enough to spot an unknown light or craft, they're seldom disappointed.
messoline's tower sits on 600 acres of land she owns just outside the town of hooper, where skywatchers experience the majesty of the rocky mountains (surrounded by the san juan and sangre de cristo ranges) by day. at night, the incredibly clear, non-polluted skies present the wonders and astronomical vistas of the milky way galaxy.
and then there's messoline's "vortex garden" -- a large, widespread area where there are, according to various psychics, portals to another universe. it's a place where messoline encourages visitors to leave personal trinkets behind.
"folks really like the idea of leaving something of theirs in that garden: sunglasses, hats and toys -- some things are really so nice that i have to patrol the garden to make sure that things stay put."
messoline has her own theory about why her particular 600-acre plot and the surrounding environment are so ufo, vortex energy-friendly.
"there have been documented ufo sightings here since the 1600s, so it's nothing new and it's considered the nation's hot spot for ufo experiences," she said. "some say it's the spirituality of the valley -- native americans consider the valley floor as sacred."
if ufos aren't your cup of tea, there are other activities near this out-of-the-way tourist spot that might suit your fancy. don't miss the local alligator farm, the great sand dunes national park, a mountain train and geothermal hot spring pools.
and you can't beat the price to check out the ufo watchtower. "we charge $2 a person, or $5 a car -- whichever's cheapest," said messoline.
her original dream was to have a log house on 100 acres with a 6-foot-high privacy fence around it, to keep out the neighbors. messoline ended up with the log house but with no privacy fence.
and after so many years of sightings of strange lights and objects in the sky above and around her colorado home, messoline's belief system has been deeply affected.
"i used to always believe that there had to be life someplace else because the universe is just too massive for there not to be. but i know it now."
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mɑrk ˈlɛvɪn wɑz nɑt ˈhæpi wɪθ haʊ ðə ˈmɑdərˌeɪtərz ˈhændəld ðə fɑks nuz dəˈbeɪt læst naɪt. hi sɛd ðə fərst aʊər wɑz mɔr laɪk ə ˌriˈæləˌti ˌtɛləˈvɪʒən ʃoʊ ðət ɪt wɑz ə dəˈbeɪt. ˈlɛvɪn sɛd ðət ðɪs ˌprɛzɪˈdɛnʃəl reɪs əˈbaʊt ˈreɪtɪŋz, əˈbaʊt ɑr ˈkəntri. hi ˈɛmfəˌsaɪzd ðət nɑt ‘‘trashing’*’ fɑks nuz, dɪˈspaɪt wət ˈəðər ˈhɛˌdlaɪnz meɪ seɪ. ˈprɑfərɪŋ hɪz ˈkrɪtɪˌsɪzəm ɛz ə ˈsɪriəs ˈpərsən ənd hi bɪˈlivz ðət dəˈbeɪt kˈwɛsʧənz ʃʊd bi ˈpərtɪnɪnt tɪ ðə əˈmɛrɪkən ˈpipəl. ˈlɛvɪn sɛd ðə fərst aʊər wɑz dɪˈzæstrəs ənd ˈpɔɪntɪd aʊt ðət ðə ˈsɛkənd kˈwɛʃən wɑz kəmˈplitli ˌɔnˈfɛr ənd prəˈsidəd tɪ dɪˈbəŋk pɑrt əv ɪt. hi ˈɔlsoʊ sɛd kˈwɛʃən ðə əˈbɔrʃən kˈwɛsʧənz, seɪɪŋ ðət ðiz rɪˈpəblɪkən ˈkænədɪts wər ˈgɪtɪŋ ˈhæmərd bɪˈkəz ðeɪ ər pro-life*. ə ˈmɑdərˌeɪtər həz ən əˈʤɛndə ðeɪ ʃʊd æt list traɪ ənd kənˈsil ɪt somewhat,”*,” ˈlɛvɪn ˈnoʊtɪd. ˈlɪsən tɪ hɪz ˈoʊpənɪŋ ˌsɛgˈmɛnt:
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mark levin was not happy with how the moderators handled the fox news debate last night. he said the first hour was more like a reality tv show that it was a debate. levin said that this presidential race isn’t about ratings, it’s about our country.
he emphasized that he’s not ‘trashing’ fox news, despite what other headlines may say. he’s proffering his criticism as a serious person and he believes that debate questions should be pertinent to the american people.
levin said the first hour was disastrous and pointed out that the second question was completely unfair and proceeded to debunk part of it. he also said question the abortion questions, saying that these republican candidates were getting hammered because they are pro-life.
“when a moderator has an agenda they should at least try and conceal it somewhat,” levin noted.
listen to his opening segment:
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baɪ ˈfoʊˌtoʊ ˈgrinvɪl ˈkaʊnti skulz ɪz ˈlɔnʧɪŋ ə nu fud trək ɛz pɑrt əv ɪts fud ənd nuˈtrɪʃən ˈsərvɪsɪz ˈproʊˌgræm. (ˈfoʊˌtoʊ: ˈkərtəsi ˈgrinvɪl ˈkaʊnti ˈfoʊˌtoʊ ðə ˈleɪtəst ˈgrinvɪl ˌɪnstɪˈtuʃən tɪ gɪt ə fud trək? ˈgrinvɪl ˈkaʊnti skulz. ˈgrinvɪl ˈkaʊnti skulz təˈdeɪ əˈnaʊnst ðət ɪt wʊd ɪkˈspænd ɪts fud ənd nuˈtrɪʃən ˈsərvɪsɪz ˈproʊˌgræm wɪθ ðə əˈdɪʃən əv ə fʊl ˈsərvɪs fud trək. ðə trək wɪl hɪt ðə strits ðɪs ˈsəmər ɛz pɑrt əv ðə skul ˈsəmər ˈfidɪŋ ˈproʊˌgræm, ənd wɪl bi juzd θruaʊt ðə skul jɪr tɪ hɛlp ðə fud ənd nuˈtrɪʃən ˈsərvɪsɪz ˈproʊˌgræm ˌɪntrəˈdus fən nu ˈaɪtəmz tɪ ðə skul lənʧ ˈmɛnju. ˈgrinvɪl ˈkaʊnti skulz dɪˈrɛktər əv fud ənd nuˈtrɪʃən ˈsərvɪsɪz ʤoʊ ˈərbən əˈludəd tɪ ðə fækt ðət ðə ˈdɪstrɪkt wɑz ˈwərkɪŋ ɔn ˈgɪtɪŋ ə trək læst jɪr, bət hæd nɑt ˈfaɪnəˌlaɪzd ˈɛniˌθɪŋ æt ðət taɪm. ˈændərsən 5 skul ˈdɪstrɪkt lɔnʧt ɪts fud trək læst ˈsəmər ɛz ə weɪ tɪ riʧ mɔr ˈʧɪldrən ˈdʊrɪŋ ðə ˈsəmər mənθs. ðə fud trək ɪz ðə ˈleɪtəst ɪn ðə fud ənd nuˈtrɪʃən ˌɪnəˈveɪʃən. ɪn ðə skul jɪr, fænz ˌɪntrəˈdust nu ˈaɪtəmz tɪ skul lənʧ ˈmɛnjuz laɪk ˈsuʃi, st*. luɪs staɪl rɪbz, ˈbəfəˌloʊ wɪŋz, ə mæk ənd ʧiz bɑr, ə mæʃt pəˈteɪˌtoʊ bɑr ənd ˈlætən fˈjuʒən ˈtɑkoʊz. ðə nu fʊl ˈsərvɪs fud trək wɪl bi juzd tɪ fid ˈʧɪldrən fri ˈsəmər milz ənd wɪl bi juzd æt skulz tɪ ˌɪntrəˈdus nu, juˈnik lənʧ ˈaɪtəmz θruaʊt ðə skul jɪr. rɛd ər ʃɛr ðɪs ˈstɔri:
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buy photo greenville county schools is launching a new food truck as part of its food and nutrition services program. (photo: courtesy greenville county schools)buy photo
the latest greenville institution to get a food truck? greenville county schools.
greenville county schools today announced that it would expand its food and nutrition services program with the addition of a full service food truck. the truck will hit the streets this summer as part of the school system’s summer feeding program, and will be used throughout the school year to help the food and nutrition services program introduce fun new items to the school lunch menu.
greenville county schools director of food and nutrition services joe urban alluded to the fact that the district was working on getting a truck last year, but had not finalized anything at that time.
anderson 5 school district launched its food truck last summer as a way to reach more children during the summer months.
the food truck is the latest in the food and nutrition service’s innovation. in the 2015-2016 school year, fans introduced new items to school lunch menus like sushi, st. louis style ribs, buffalo wings, a mac and cheese bar, a mashed potato bar and latin fusion tacos.
the new full service food truck will be used to feed children free summer meals and will be used at schools to introduce new, unique lunch items throughout the school year.
read or share this story: http://grnol.co/29udokg
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ˈælɪs ˈkupər bloʊz ðə məˈʤɛstɪk tɪ ˈpisɪz ˈælɪs ˈkupər pərˈfɔrmz ˈdʊrɪŋ hɪz "reɪz ðə dɛd" tʊr æt ðə məˈʤɛstɪk ˈθiətər ɪn sæn ænˈtoʊnioʊ ɔn ˈwɛnzˌdeɪ, ˈfɛbjəˌwɛri. 11 2015 ˈælɪs ˈkupər pərˈfɔrmz ˈdʊrɪŋ hɪz "reɪz ðə dɛd" tʊr æt ðə məˈʤɛstɪk ˈθiətər ɪn sæn ænˈtoʊnioʊ ɔn ˈwɛnzˌdeɪ, ˈfɛbjəˌwɛri. 11 2015 ˈfoʊˌtoʊ: ˈbɪli kɑlˈzɑdə, sæn ænˈtoʊnioʊ ˈfoʊˌtoʊ: ˈbɪli kɑlˈzɑdə, sæn ænˈtoʊnioʊ ˈɪmɪʤ 1 əv 72 ˈkæpʃən kloʊz ˈælɪs ˈkupər bloʊz ðə məˈʤɛstɪk tɪ ˈpisɪz 1 72 bæk tɪ ˈgæləri sæn ænˈtoʊnioʊ ˈθəmɪŋ hɪz noʊz æt əˈθɔrəti, kənˈvɛnʃən ənd ˈfɑðər taɪm, ˈælɪs ˈkupər stɪl θɪŋk əv ə wərd ðət raɪmz. wɪʧ wɑz ˌæbsəˈlutli faɪn fər fænz æt məˈʤɛstɪk ˈθiətər ɔn ˈwɛnzˌdeɪ. ðə ənd ʃɑk ˈrɑkər tərnd ɔn æt list wən tin wɪθ ə ˌbænˈdænə dreɪpt ˈoʊvər hɪz aɪz, ˈwɪmən ɪn ˈhɛvi gɑθ ˈmeɪˌkəp ənd ˈsɛvərəl ˈeɪʤɪŋ fænz ˈspɔrtɪŋ ə kæləˈvɛrəz lʊk ˈwərði əv deɪ əv ðə dɛd. ʤərɑrd vɛˈlɑskoʊ, 18 wɑz əˈməŋ ðə kraʊd, ˈkɔlɪŋ ˈælɪs mˈjuzɪk brɛθ əv frɛʃ air,”*,” kəmˈpɛrd tɪ ðə ˈkɑrənt sin. hi wɑz əˈkəmpənid baɪ hɪz dæd, hu ˈnɛvər sɔ ˈkupər bæk ɪn ðə deɪ. ðə ˈjəŋgər vɛˈlɑskoʊ wʊd ˈnɛvər hæv ˈteɪkən səʧ ən ˌɑpərˈtunəti fər ˈgrænɪd. wʊd hæv bɪn fænˈtæstɪk tɪ bi ðɛr ɪn ðə ‘70s,”*,” hi sɛd. wʊd hæv bɪn greɪt tɪ bi there.”*.” wət dɪd hi θɪŋk əˈbaʊt ɪt? ˈɛvriˌθɪŋ aɪ ˌɪˈmæʤənd. ɪt ɔl ʤɪst fɪts together,”*,” vɛˈlɑskoʊ sɛd. ˈkupər ˈæˌkʧuəli lɛft ˈlɪtəl tɪ ˌɪˌmæʤəˈneɪʃən, dɪˈlɪvərɪŋ hɪz ˈtreɪdˌmɑrk ˈθitrɪks ɪn fʊl ˈmeɪˌkəp ənd ˈkɑstumz. hi ˈoʊpənd wɪθ ““hello*, hooray”*” ənd əv fire,”*,” ɔl əv ɪt fjuəld baɪ θri ɪˈlɛktrɪk gɪˈtɑrz, bæs ənd drəmz. ðə ˈɔdiəns wɑz ɔn ɪts fit frəm bɪˈgɪnɪŋ tɪ ɛnd. ɪf tɔp ɪz ˈeɪʤləs (ðə ˈbɪrdəd ˈtriˌoʊ pleɪd ðə ˈvɛnju læst mənθ), ðɛn ˈkupər ɪz ɪˈtərnəl ənd ˈmeɪkɪŋ ðə ˈɑrgjəmənt ðət hɪz pɑp ˈmɛtəl wɪʧ ˈɪnfluənst glam*, rɑk, gɑθ ənd ˈivɪn səm əv ðə pəŋk ˈmuvmənt trəmps ðə bluz wɪn ɪt kəmz tɪ kəˈmərʃəl əˈpil. mɔr ˈmɪstər. nis guy”*” keɪm ˈərli, ˈsɛtɪŋ ðə steɪʤ fər təŋ ɪn ʧik gɔr, frəm baɪt jʊr feɪs off”*” tɪ ˈdɔlər babies.”*.” ˌɪmˈpɑsəbəl tɪ pruv, bət ə kwɪk ˈsərˌveɪ əv ðə ˈɔdiəns ˈdaʊnˈstɛrz ənd əp tɔp, simd tɪ ˈɪndəˌkeɪt ðət (pər ˈkæpɪtə) ðɛr wər mɔr smaɪlz ðən ˈjuʒəwəl. bɪˈkəz ˈkupər, 67 ɪz ˈhaɪli ˌɛnərˈteɪnɪŋ, ˌɛnərˈʤɛtɪk ənd ˈbəfərd baɪ kul ˌpaɪroʊˈtɛknɪks. bət noʊ klaʊn. mɔr ðən 20 jɪrz əˈgoʊ (ənd 20 jɪrz pæst hɪz ˈheɪˌdeɪ), ˈkupər wɑz ˈsɪŋɪŋ ɪn america,”*,” wɪθ prəˈfɛtɪk laɪnz səʧ ɛz goʊ tɪ skul aɪ gɑt ə gun.”*.” ðɛn stoopid,”*,” wɪʧ kən bi sin ɛz sɪd vicious’*’ ˈɛpəˌtæf ər ə ˈriˈmeɪk əv pɔl rɪˈvɪr ðə raiders’*’ ““kicks.”*.” wən əv ðə ru ˈhaɪˌlaɪts wɑz tɪ maɪ nightmare”*” wɪθ ðə stɑr əv ðə ʃoʊ ˈspɔrtɪŋ ə ril, lɪv boʊə kənˈstrɪktər ræpt əraʊnd hɪz nɛk ənd raɪt ɑrm. hi kɪst ɪt ə ˈkəpəl əv taɪmz, tu. ðət wɛnt ðə seɪm fər hɪz ənd ˈwɔkɪŋ stɪks. ˈkupər ˈprɑməst ðət ðə ðə dɛd tour”*” wʊd lɪv əp tɪ ɪts neɪm, ənd hi ˈɑnərd fɔr əv hɪz ˈfeɪvərɪt frɛndz frəm ðə ˈweɪstɪd oʊld deɪz ʤɪm ˈmɔrɪsən, ʤɑn ˈlɛnən, ˈʤɪmi ˈhɛndrɪks ənd kiθ mun. hɪz bænd ˈdəstɪd ɔf ðə doors’*’ ɔn through,”*,” ðə beatles’*’ ““revolution,”*,” lady”*” ənd ðə generation.”*.” nɔˈstælʤɪk, jɛs. bət bɪn duɪŋ ðiz sɔŋz sɪns hi wɑz ə tin ənd hi sæŋ ðɛm wɪθ ʤɔɪ. ˈkupər kloʊzd hɪz sɛt wɪθ eighteen,”*,” ““poison”*” ənd out.”*.” ðɛr ər ˈplɛnti ðət prɪˈfər hɪz maɪ frankenstein”*” ənd ləv ðə dead”*” ˌrɛpjəˈteɪʃən bət out,”*,” wɪʧ tæps ˈɪntu (ənd ˈəpˌdeɪts) ðə ˈætəˌtud əv ʧək days”*” ənd wɪʧ kən stɪl spik tɪ ðə tinz æt ðə məˈʤɛstɪk ɔn ˈwɛnzˌdeɪ. bɪn bloʊn tɪ ˈpisɪz.
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alice cooper blows the majestic to pieces
alice cooper performs during his "raise the dead" tour at the majestic theatre in san antonio on wednesday, feb. 11, 2015. alice cooper performs during his "raise the dead" tour at the majestic theatre in san antonio on wednesday, feb. 11, 2015. photo: billy calzada, san antonio express-news photo: billy calzada, san antonio express-news image 1 of / 72 caption close alice cooper blows the majestic to pieces 1 / 72 back to gallery
san antonio — thumbing his nose at authority, convention and father time, alice cooper still can’t think of a word that rhymes.
which was absolutely fine for 1,800 fans at majestic theatre on wednesday.
the ‘70s and ‘80s shock rocker turned on at least one teen cholo with a bandana draped over his eyes, sexed-up women in heavy goth makeup and several aging fans sporting a calaveras look worthy of day of the dead.
gerard velasco, 18, was among the fired-up crowd, calling alice cooper’s music “a breath of fresh air,” compared to the current scene. he was accompanied by his dad, who never saw cooper back in the day.
the younger velasco would never have taken such an opportunity for granted. “it would have been fantastic to be there in the ‘70s,” he said. “it would have been great to be there.”
what did he think about it? “it’s everything i imagined. it all just fits together,” velasco said.
cooper actually left little to imagination, delivering his trademark theatrics in full make-up and costumes. he opened with “hello, hooray” and “house of fire,” all of it fueled by three electric guitars, bass and drums.
the multi-generational audience was on its feet from beginning to end. if zz top is ageless (the bearded trio played the venue last month), then cooper is eternal and making the argument that his ‘70s pop metal — which influenced glam, big-hair rock, goth and even some of the punk movement — trumps the blues when it comes to commercial appeal.
“no more mr. nice guy” came early, setting the stage for cooper’s tongue in cheek gore, from “i’ll bite your face off” to “billion dollar babies.”
it’s impossible to prove, but a quick survey of the audience downstairs and up top, seemed to indicate that (per capita) there were more smiles than usual. that’s because cooper, 67, is highly entertaining, energetic and buffered by cool pyrotechnics.
but he’s no clown. more than 20 years ago (and 20 years past his heyday), cooper was singing “lost in america,” with prophetic lines such as “i can’t go to school ‘cause i ain’t got a gun.” then there’s “hey stoopid,” which can be seen as sid vicious’ epitaph or a remake of paul revere & the raiders’ “kicks.”
one of the rue highlights was “welcome to my nightmare” with the star of the show sporting a real, live boa constrictor wrapped around his neck and right arm. he kissed it a couple of times, too. that went the same for his bullwhips and walking sticks.
cooper promised that the “raise the dead tour” would live up to its name, and he honored four of his favorite friends from the wasted old days — jim morrison, john lennon, jimi hendrix and keith moon. his band dusted off the doors’ “break on through,” the beatles’ “revolution,” hendrix’s “foxy lady” and the who’s “my generation.”
nostalgic, yes. but cooper’s been doing these songs since he was a teen and he sang them with joy.
cooper closed his 23-song set with “i’m eighteen,” “poison” and “school’s out.” there are plenty that prefer his “feed my frankenstein” and “i love the dead” reputation but it’s “school’s out,” which taps into (and updates) the attitude of chuck berry’s “school days” and which can still speak to the pogo-dancing teens at the majestic on wednesday.
school’s been blown to pieces.
hsaldana@express-news.net
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oʊˈhaɪoʊ steɪt dɪˈnaɪd waɪt ˈnæʃənəlɪst ˈrɪʧərd rɪkˈwɛst tɪ rɛnt ˈkæmpəs speɪs fər ðə ˈsɛkənd taɪm ðɪs fɔl, ˈpʊtɪŋ kənˈsərnz ˈoʊvər ˈpəblɪk ˈseɪfti ɪn frənt əv fri spiʧ. ɪn ə ˈlɛtər tɪ ˈlɔjər, kaɪl ˈbrɪstoʊ, oʊˈhaɪoʊ ˈsinjər vaɪs ˈprɛzɪdənt ənd ˈʤɛnərəl ˈkaʊnsəl əv ˈligəl əˈfɛrz, ˈkrɪstəfər ˈkəli, sɛd ðə ˌjunəˈvərsəti ɪz kənˈsɪdərɪŋ ˈəðər alternatives”*” tɪ ərˈɪʤənəli rɪkˈwɛstɪd juz əv ðə oʊˈhaɪoʊ ˈjunjən pərˈfɔrməns hɔl speɪs. ðə ˌjunəˈvərsəti ɪz nɑt ˈkərəntli ˈkɑmɛntɪŋ ˈfərðər ɔn ðə ˈlɛtər sɛnt dɪˈnaɪɪŋ ðə rɪkˈwɛst. ˌhaʊˈɛvər, ðə ˈlɛtər sɛd oʊˈhaɪoʊ steɪt wɪl bi ɪn təʧ wɪθ ˈbrɪstəl baɪ ðə ɛnd əv ðə wik wɪθ ˈpɑsəbəl ɪˈvɛnt ɔlˈtərnətɪvz. ðə rɪkˈwɛst wɑz meɪd baɪ ˈkæmərən ˈpæʤɪt, ə ˈʤɔrʤə steɪt ˌjunəˈvərsəti ˈstudənt, fər ˈspɛnsər tɪ juz ðə hɔl fər ə noʊv. 15 ɪˈvɛnt, wɪʧ wʊd hæv ˈteɪkən pleɪs frəm 7 tɪ 9 p.m*. ˌjunəˈvərsəti əv ˌsɪnsəˈnæti ˈprɛzɪdənt ˈnɛvɪl ˈpɪnˌtoʊ riˈlist ə ˈsteɪtmənt ˈfraɪˌdeɪ əˈnaʊnsɪŋ ðə ˌjunəˈvərsəti wɪl əˈlaʊ ˈspɛnsər tɪ rɛnt ə speɪs ɔn ɪts ˈkæmpəs. oʊˈhaɪoʊ steɪt dɪˈnaɪd fərst rɪkˈwɛst tɪ juz ˈkæmpəs speɪs ɪn sɛpˈtɛmbər, ˈɔlsoʊ ˈsaɪtɪŋ ˈseɪfti kənˈsərnz. ðə ˈlæntərn riʧt aʊt tɪ ˈbrɪstəl fər ˈkɑmɛnt, bət dɪd nɑt rɪˈsiv ɛz ə rɪˈspɑns baɪ ˌpəblɪˈkeɪʃən taɪm. ðə ˈlæntərn ˈɔlsoʊ lɛft ə ˈvɔɪsˌmeɪl fər ðə ˈnæʃənəl ˈpɑləsi ˈɪnstɪˌtut, ə waɪt suˈprɛməsɪst θɪŋk tæŋk æt wɪʧ ˈspɛnsər ɪz ðə ˈʧɛrmən. ˈlɔjər həz ˈpriviəsli faɪld ˈlɔˌsuts əˈgɛnst ˌjunəˈvərsətiz wɪʧ hæv nɑt ˈgrænɪd ɪm ˈkæmpəs speɪs tɪ spik.
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ohio state denied white nationalist richard spencer’s request to rent campus space for the second time this fall, putting concerns over public safety in front of free speech.
in a letter to spencer’s lawyer, kyle bristow, ohio state’s senior vice president and general counsel of legal affairs, christopher culley, said the university is “currently considering other alternatives” to spencer’s originally requested use of the ohio union performance hall space.
the university is not currently commenting further on the letter sent denying the request. however, the letter said ohio state will be in touch with bristol by the end of the week with possible event alternatives.
the request was made by cameron padgett, a georgia state university student, for spencer to use the hall for a nov. 15 event, which would have taken place from 7 to 9 p.m.
university of cincinnati president neville pinto released a statement friday announcing the university will allow spencer to rent a space on its campus.
ohio state denied spencer’s first request to use campus space in september, also citing safety concerns.
the lantern reached out to bristol for comment, but did not receive as a response by publication time. the lantern also left a voicemail for the national policy institute, a white supremacist think tank at which spencer is the chairman.
spencer’s lawyer has previously filed lawsuits against universities which have not granted him campus space to speak.
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pliz ɪˈneɪbəl ˈʤɑvəˌskrɪpt tɪ wɔʧ ðɪs ˈvɪdioʊ ˈkaʊnti, va*. ə vərˈʤɪnjə mɑm əˈpɛrəntli dɪd nɑt lərn hər ˈlɛsən. ˈnubi, 25 ɪz ʧɑrʤd wɪθ θri kaʊnts əv kənˈtrɪbjutɪŋ tɪ ðə dɪˈlɪŋkwənsi ər əˈbjuz əv ʧaɪld ˈæftər pəˈlis sɛd ʃi lɛft hər tu ˈʧɪldrən ˌɪnˈsaɪd hər hɑt kɑr ˈaʊtˈsaɪd ðə ˈkaʊnti ˈkɔrˌthaʊs ɔn ˈmənˌdeɪ. əˈkɔrdɪŋ tɪ wtvr*, ˈnubi wɑz æt ðə ˈkɔrˌthaʊs tɪ tərn hərˈsɛlf ɪn fər ə ˈpriviəs ˌsɪʧuˈeɪʃən ðət ˌɪnˈvɑlvd hər əˈlɛʤədli ˈlivɪŋ ə ʧaɪld ɪn ə hɑt kɑr. ɔn meɪ 26 ˈnubi wɑz əˈkjuzd əv ˈlivɪŋ ə ʧaɪld ɪn ə kɑr waɪl ʃi ʃɑpt æt sæmz kləb. wɪn pəˈlis əraɪvd, ðeɪ faʊnd ˈnubi baɪ hər kɑr ənd kʊd nɑt ərˈɛst hər fər ðə əˈlɛʤd kraɪm bɪˈkəz ðeɪ hæd nɑt ˈwɪtnəst ɪt. ˌɪnˈstɛd, ðə ˈɔfɪsər swɔr aʊt ə ˈwɔrənt ɪf ˈnubi ˈprɑməst tɪ ˈleɪtər tərn hərˈsɛlf ɪn, əˈkɔrdɪŋ tɪ wtvr*. wɪn ˈnubi tərnd hərˈsɛlf ɪn ɔn ˈmənˌdeɪ, pəˈlis sɛd ʃi lɛft hər tu ˈʧɪldrən ˈeɪʤɪz 6 ənd 1 ɪn hər kɑr. ˈdɛpjətiz kʊd nɑt seɪ fər ʃʊr haʊ lɔŋ ðə tu ˈʧɪldrən wər ɪn ðə kɑr bət sərˈveɪləns ˈvɪdioʊ ʃoʊd ɪt wɑz mɔr ðən ən aʊər. ðə kɑrz ˈwɪndoʊz wər kloʊzd ənd ˈtɛmpərəʧərz hɪt ðə ɔn ˈmənˌdeɪ ɪn ˈkaʊnti, pəˈlis sɛd. ˈnubi wɑz bʊkt ɪn ðə ʤeɪl. hər bɑnd wɑz ˈleɪtər dɪˈnaɪd. ðə ˈʧɪldrən wər pleɪst ɪn ðə ˈkəstədi əv ðɛr ˈfɑðər.
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henrico county, va. -- a virginia mom apparently did not learn her lesson.
laquanda newby, 25, is charged with three counts of contributing to the delinquency or abuse of child after police said she left her two children inside her hot car outside the henrico county courthouse on monday.
according to wtvr, newby was at the courthouse to turn herself in for a previous situation that involved her allegedly leaving a child in a hot car.
on may 26, newby was accused of leaving a child in a car while she shopped at sam's club. when police arrived, they found newby by her car and could not arrest her for the alleged crime because they had not witnessed it.
instead, the officer swore out a warrant if newby promised to later turn herself in, according to wtvr.
when newby turned herself in on monday, police said she left her two children -- ages 6 and 1 -- in her car. deputies could not say for sure how long the two children were in the car but surveillance video showed it was more than an hour.
the car's windows were closed and temperatures hit the 90s on monday in henrico county, police said.
newby was booked in the henrico jail. her bond was later denied.
the children were placed in the custody of their father.
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ðɪs poʊst ɪz ə ˈfɑloʊˌəp tɪ ɑr ˈpriviəs poʊst ɔn ðə kæʃ hɑrd fɔrk wɪθ ə fju ˌklɛrɪfɪˈkeɪʃənz ənd riˈmaɪndərz fər ɑr klaɪənts. wɪn ɪgˈzæktli wɪl ðə fɔrk ˈhæpən? ðə ɪgˈzækt taɪm ˈkænɑt bi noʊn ɪn ədˈvæns bɪˈkəz ɪt ɪz beɪst ɔn time.”*.” ˈmidiən taɪm ɪz ðə ˈmidiən əv ðə əv ðə læst 11 blɑks. wɪn ˈmidiən taɪm ˈɪŋkrəˌmɛnts tɪ piɛm (ər ˈleɪtər) ɔn ˈɔgəst 1 ðə nu rulz fər kæʃ ˈæktəˌveɪt. soʊ ðə læst ˈkɑmən blɑk əv (xbt*) ənd kæʃ) wɪl bi ðə fərst blɑk ðət meɪks ðə ˈmidiən taɪm ˈɪnkrəmənt tɪ piɛm (ər ˈleɪtər) ɔn ˈɔgəst 1 ənd ðə fərst blɑk ðət gɪts maɪnd ˈæftər ðə læst ˈkɑmən blɑk wɪl mɑrk ðə pɔɪnt æt wɪʧ ðə ʧeɪnz pɑrt. wət taɪm wɪl juz tɪ dɪˈtərmən haʊ ˈmɛni aɪ rɪˈsiv? wi wɪl juz ðə əv ðə læst ˈkɑmən blɑk. ɪn ˈəðər wərdz, ðə əv ðə fərst blɑk ðət meɪks ðə ˈmidiən taɪm ˈɪnkrəmənt tɪ piɛm (ər ˈleɪtər) ɔn ˈɔgəst 1 (si ˈpɛrəˌgræf əˈbəv fər ˈfərðər ˌɛkspləˈneɪʃən). wi wɪl lʊk æt ðə ˈbæləns ju hæd æt ðɪs ənd æd ən ˈikwəl əˈmaʊnt əv tɪ jʊr ˈbæləns (soʊ ɪf ju hæd 10 æt ðɪs taɪm, ju wɪl ɛnd əp wɪθ 10 ənd 10). haʊ leɪt kən aɪ sɛnd maɪ dɪˈpɑzət ənd stɪl rɪˈsiv kæʃ? ɛz ˈsteɪtɪd əˈbəv, wi wɪl juz jʊr ˈbæləns ɛz əv ðə əv ðə læst ˈkɑmən blɑk. wi ˌrikˈwaɪər 6 ˌkɑnfərˈmeɪʃənz ˌbiˈfɔr ə dɪˈpɑzət ɪz ˈkrɛdɪtɪd tɪ jʊr ˈbæləns, soʊ ju məst sɛnd jʊr dɪˈpɑzət ˈərli ɪˈnəf tɪ əˈlaʊ fər 6 ˌkɑnfərˈmeɪʃənz baɪ ðə læst ˈkɑmən blɑk. ɪn ɑr ˈpriviəs poʊst, wi ˈsteɪtɪd ðət wi wɪl dɪˈseɪbəl ˈfəndɪŋ æt 11 æm ɔn ˈɔgəst 1 wi naʊ plæn tɪ əˈlaʊ ˈfəndɪŋ pæst ənd wɪl kip ɪt ˈoʊpən lɔŋ ɪˈnəf fər klaɪənts tɪ meɪk ðə ˈfaɪnəl 6 ˌkɑnfərˈmeɪʃən ˈdɛˌdlaɪn. ˌhaʊˈɛvər, wi wɪl nɑt meɪk ˈɛni əˈnaʊnsmɛnt ˈmɑrkɪŋ ðə ˈdɛˌdlaɪn fər dɪˈpɑzəts tɪ bi sɛnt ənd ˈstrɔŋli ˌrɛkəˈmɛnd ðət ˈɛvriˌwən sɛnd ˈjuˈɛs ðɛr ˈfaɪnəl dɪˈpɑzəts noʊ ˈleɪtər ðən 11 æm ɔn ˈɔgəst 1 ʤɪst tɪ bi seɪf. haʊ kən aɪ træk ðə ˈmidiən taɪm ðə fɔrk dɪˈpɛndz ɔn? ɪn ə ˈrisənt poʊst əˈbaʊt ðə fɔrk ˌæktəˈveɪʃən ˈtaɪmɪŋ, ðə kæʃ tim pɔɪnts aʊt ðət ˈmidiən taɪm treɪlz klɑk taɪm baɪ əˈbaʊt 6 blɑks. soʊ ðə læst ˈkɑmən blɑk wɪl bi əˈprɑksəmətli ðə blɑk wɪθ ə ˈæftər piɛm klɑk taɪm ɔn ˈɔgəst 1 ðɛr ɪz ˈɔlsoʊ æt list wən blɑk ɪkˈsplɔrər ðət gɪvz ðə ˈmidiən taɪm ɪn: wi ˈkænɑt vaʊʧ fər ðə ˈækjərəsi əv ðɪs saɪt, ˌhaʊˈɛvər, soʊ ˈtrækɪŋ ðə ˈmidiən taɪm ðɪs weɪ ʃʊd bi kənˈsɪdərd əˈprɑksəˌmeɪt æt bɛst. wɪn wɪl ˈbælənsɪz bi ˈkrɛdɪtɪd ənd ˈtreɪdɪŋ bɪˈgɪn? waɪl wi wɪl traɪ tɪ ˈkrɛdɪt ˈbælənsɪz ənd ɪˈneɪbəl ˈtreɪdɪŋ ɪn ðə pɛrz bch/xbt*, bch/usd*, ənd ɛz sun ɛz ˈpɑsəbəl ˈæftər ðə læst ˈkɑmən blɑk, wi ˈkænɑt seɪ ɪn ədˈvæns wɪn ðɪs wɪl bi. wi əˈpriʃiˌeɪt jʊr ˈpeɪʃəns ɛz wi meɪk ðə ˈnɛsəˌsɛri ˌprɛpərˈeɪʃənz tɪ ˈkrɛdɪt ˈbælənsɪz ənd ˈoʊpən ˈtreɪdɪŋ. ˈwɔrnɪŋ: ˈoʊnli sɛnd dɪˈpɑzəts tɪ dɪˈpɑzət ˈæˈdrɛsɪz wɪn ðeɪ bɪˈkəm əˈveɪləbəl (du nɑt sɛnd ˈɛni tɪ dɪˈpɑzət ˈæˈdrɛsɪz) wi wɪl nɑt ɪˈneɪbəl ˈfəndɪŋ ənˈtɪl wi θɪŋk ɪt ɪz seɪf tɪ du soʊ, ənd wi du nɑt noʊ ɪn ədˈvæns haʊ lɔŋ ðɪs meɪ teɪk. ɪt kʊd bi 24 aʊərz ər ˈlɔŋgər ˈæftər ˈtreɪdɪŋ ɪz ɪˈneɪbəld ðət ˈfəndɪŋ ɪz əˈveɪləbəl. du nɑt sɛnd ˈɛni dɪˈpɑzəts ənˈtɪl wi meɪk dɪˈpɑzət ˈæˈdrɛsɪz əˈveɪləbəl. wi wɪl nɑt ˈɑnər dɪˈpɑzəts sɛnt tɪ dɪˈpɑzət ˈæˈdrɛsɪz. wi wɪl ˈnoʊtəˌfaɪ klaɪənts ˈviə ˈsoʊʃəl ˈmidiə (si bɪˈloʊ) wɪn ˈfəndɪŋ həz bɪn ɪˈneɪbəld. bi ʃʊr tɪ splɪt jʊr kɔɪnz ˌbiˈfɔr ˈsɛndɪŋ ˈjuˈɛs ər dɪˈpɑzəts (si ðə ˈbeɪsɪk ˈsplɪtɪŋ ˌɪnˈstrəkʃənz æt ðə ˈbɑtəm əv ðɪs blɔg poʊst fər ˌɪnˈstrəkʃən ɔn haʊ tɪ splɪt jʊr kɔɪnz). əˈlərt fər ˈmɑrʤən ˈtreɪdərz (ˈɔlsoʊ si ˈpriviəs blɔg poʊst fər mɔr ˈditeɪlz) lɔŋ ˈmɑrʤən pəˈzɪʃənz ˈoʊpən ɛz əv ðə əv ðə læst ˈkɑmən blɑk wɪl rɪˈzəlt ɪn ə ˈkrɛdɪt ɪgˈzæmpəl 1 ˈmɑrʤən baɪ (lɔŋ) 10 10 (lɔŋ, ʃɔrt usd*) ɪgˈzæmpəl 2 ˈmɑrʤən sɛl (ʃɔrt) 10 10 (ʃɔrt eth*, lɔŋ) ʃɔrt ˈmɑrʤən pəˈzɪʃənz ˈoʊpən ɛz əv ðə əv ðə læst ˈkɑmən blɑk wɪl rɪˈzəlt ɪn ə ˈdɛbɪt ɪgˈzæmpəl 1 ˈmɑrʤən sɛl (ʃɔrt) 10 10 (ʃɔrt, lɔŋ usd*) ɪgˈzæmpəl 2 ˈmɑrʤən baɪ (lɔŋ) 10 10 (lɔŋ eth*, ʃɔrt) ˈtritmənt əv ˈnɛgətɪv ˈbælənsɪz ˈdɛbɪt) əˈkaʊnts wɪθ ˈnɛgətɪv ˈbælənsɪz wɪl bi prɪˈvɛnɪd frəm wɪθˈdrɔɪŋ ˈɛni ˈæˌsɛts ənˈtɪl ɔl ˈæˌsɛts hæv ˈbælənsɪz 0 ˈnɛgətɪv ˈbælənsɪz ər nɑt hɑrd tɪ kərˈɛkt. ɪf ju hæv ə ˈnɛgətɪv ˈbæləns əv 10, ˈsɪmpli baɪ 10 ər dɪˈpɑzət 10 ənd ðə ˈbæləns wɪl ˌɔtəˈmætɪkli kərˈɛkt. wɪl nɑt bi ə kəˈlætərəl ˈkərənsi bi ˈkɛrfəl əˈbaʊt ˈtreɪdɪŋ ˈɛni kəˈlætərəl ˈkərənsiz fər ɪf ju hæv ˈmɑrʤən pəˈzɪʃənz ˈoʊpən, bɪˈkəz ðɪs wɪl rɪˈdus jʊr kəˈlætərəl ˈkərənsi ˈbæləns ənd kʊd kɔz ˌlɪkwɪˈdeɪʃən əv jʊr ˈmɑrʤən pəˈzɪʃənz. ðə seɪm ˈkɔʃən ʃʊd əv kɔrs bi ˈteɪkən wɪn ˈtreɪdɪŋ ˈɛni ˈəðər ˈkərənsi ˈæˌsɛts waɪl ju hæv ˈmɑrʤən pəˈzɪʃənz ˈoʊpən. ɪkˈstrim ˌvɑləˈtɪləti ənd kæˈskeɪdɪŋ ˌlɪkwɪˈdeɪʃənz ʃʊd bi ɪkˈspɛktɪd ˈtreɪdɪŋ ɔn ˈmɑrʤən ɪn ən ɪnˈvaɪrənmənt əv səʧ haɪ ˈpɑsəbəl ˌvɑləˈtɪləti ɪz ɛkˌstrɔrdəˈnɛrəli ˈrɪski. ˈʧænsɪz ər haɪ ðət ˈmɑrkɪts wɪl bɪˈkəm səbˈstænʃəli dɪsɪnˈgeɪʤd frəm wən əˈnəðər ənd aʊt əv sɪŋk wɪθ ˈəðər ˈgloʊbəl ˈmɑrkɪts. ðə ˈseɪfəst pleɪ ɪz tɪ ˈɛksət jʊr ˈmɑrʤən pəˈzɪʃənz əˈhɛd əv ðə fɔrk ənd raɪd ɪt aʊt ənˈlɛvrɪʤd. ˈsərvɪs əˌveɪləˈbɪlɪti nɑt ˌgɛrənˈtid wi ˈɔfən si dɪˈnaɪəl əv ˈsərvɪs əˈtɛmpts ðət ˌkoʊɪnˈsaɪd wɪθ ˈɪnstənsɪz əv haɪ ˈmɑrkɪt ˌvɑləˈtɪləti. ˈtreɪdərz ʃʊd plæn fər ˌɪntərˈmɪtənt ənd ˌənprɪˈdɪktəbəl ˈækˌsɛs tɪ ðə ˈsərvɪs ənd ˈəðər ˈpɑsəbəl ˌənɪkˈspɛktɪd bɪˈheɪvjər. ˈfɑloʊ ˈjuˈɛs ɔn ˈsoʊʃəl ˈmidiə fər kæʃ ˈəpˌdeɪts ˈbeɪsɪk stɛps tɪ splɪt jʊr kɔɪnz ˈɪntu ən ˈwɔlət ənd ən ˈwɔlət wi wɪl nɑt ˌrɛkəˈmɛnd ˈɛni spɪˈsɪfɪk ˈwɔləts hir, ˈoʊnli ˈkəvərɪŋ ðə ˈbeɪsɪk splɪt stɛps. ðiz stɛps teɪk priˈkɔʃən əˈgɛnst ðə ˌpɑsəˈbɪləˌti ðət ðə ˈwɔlət həz məˈlɪʃəs koʊd. ˈæftər ɔl, ðə ˈwɔləts ər ɔl ˈvɛri nu ənd wi noʊ fər ʃʊr ɪf ɔl əv ðɛm kən bi ˈtrəstɪd. ˈfɑloʊɪŋ ðə stɛps bɪˈloʊ wɪl hɛlp ɪnˈʃʊr ðət ˈivɪn ɪf ðə ˈwɔlət ɪz məˈlɪʃəs ju wɪl ˈoʊnli luz jʊr ənd nɑt jʊr ɛz wɛl. weɪt ənˈtɪl ˈæftər ðə fɔrk wɪn ə fju blɑks hæv bɪn maɪnd. muv ɔl jʊr (xbt*) tɪ ə nu ˈwɔlət wɪθ ə nu ˈpraɪvət ki. həz riˈpleɪ prəˈtɛkʃən, soʊ ju wɪl bi ˈeɪbəl tɪ muv jʊr wɪˈθaʊt ˈmuvɪŋ jʊr. weɪt ənˈtɪl jʊr ɪz kənˈfərmd ɪn ðə nu ˈwɔlət. bi ʃʊr tɪ kəmˈplit stɛps ˌbiˈfɔr ˈmuvɪŋ tɪ stɛp 4 ˌɪnˈstɔl ə kæʃ) ˈwɔlət ənd ˈɛnər ðə ˈpraɪvət kiz əv ðə ərˈɪʤənəl ˈwɔlət (ðə ˈwɔlət ju ʤɪst muvd jʊr aʊt əv). tɪ bi seɪf, ðə ˈwɔlət ʃʊd bi ˌɪnˈstɔld ɔn ə ˈdɪfərənt məˈʃin ðən ðə wən ðət həz jʊr nu ˈwɔlət ɔn ɪt. ju kən faɪnd ə lɪst əv ˈwɔləts ɔn ðə kæʃ ˈwɛbˌsaɪt ðɪs stɛp ˈnɛsəˌsɛri, bət ɛz ə ˈfaɪnəl stɛp ju meɪ wɔnt tɪ muv jʊr tɪ ə nu ˈwɔlət wɪθ ə nu ˈpraɪvət ki, ʤɪst tɪ hɛlp ɪnˈʃʊr ju mɪˈsteɪk jʊr ˈwɔlət ˈæˌdrɛs fər ðə ˈæˌdrɛs ɪt juzd tɪ bi. ʃɛr ðɪs: tˈwɪtər ˈfeɪsˌbʊk
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this post is a follow-up to our previous post on the bitcoin cash hard fork with a few clarifications and reminders for our clients.
when exactly will the fork happen?
the exact time cannot be known in advance because it is based on “median time.” median time is the median of the timestamps of the last 11 blocks. when median time increments to 12:20 pm utc (or later) on aug 1 the new rules for bitcoin cash activate. so the last common block of bitcoin (xbt) and bitcoin cash (bch) will be the first block that makes the median time increment to 12:20 pm utc (or later) on aug 1. and the first block that gets mined after the last common block will mark the point at which the chains part.
what time will kraken use to determine how many bch i receive?
we will use the timestamp of the last common block. in other words, the timestamp of the first block that makes the median time increment to 12:20 pm utc (or later) on aug 1 (see paragraph above for further explanation). we will look at the xbt balance you had at this timestamp and add an equal amount of bch to your balance (so if you had 10 xbt at this time, you will end up with 10 xbt and 10 bch).
how late can i send my bitcoin deposit and still receive bitcoin cash?
as stated above, we will use your bitcoin balance as of the timestamp of the last common block. we require 6 confirmations before a bitcoin deposit is credited to your balance, so you must send your deposit early enough to allow for 6 confirmations by the last common block. in our previous post, we stated that we will disable bitcoin funding at 11 am utc on aug 1. we now plan to allow funding past 11am and will keep it open long enough for clients to make the final 6 confirmation deadline. however, we will not make any announcement marking the deadline for deposits to be sent and strongly recommend that everyone send us their final deposits no later than 11 am utc on aug 1 just to be safe.
how can i track the median time the bch fork depends on?
in a recent post about the fork activation timing, the bitcoin cash team points out that median time trails clock time by about 6 blocks. so the last common block will be approximately the 6th block with a timestamp after 12:20 pm utc clock time on aug 1. there is also at least one block explorer that gives the median time in utc:
we cannot vouch for the accuracy of this site, however, so tracking the median time this way should be considered approximate at best.
when will bch balances be credited and trading begin?
while we will try to credit bch balances and enable trading in the pairs bch/xbt, bch/usd, and bch/eur as soon as possible after the last common block, we cannot say in advance when this will be. we appreciate your patience as we make the necessary preparations to credit balances and open trading.
warning: only send bch deposits to bch deposit addresses when they become available (do not send any bch to xbt deposit addresses)
we will not enable bch funding until we think it is safe to do so, and we do not know in advance how long this may take. it could be 24 hours or longer after bch trading is enabled that bch funding is available. do not send any bch deposits until we make bch-specific deposit addresses available. we will not honor bch deposits sent to xbt-specific deposit addresses. we will notify clients via social media (see below) when bch funding has been enabled. be sure to split your coins post-fork before sending us xbt or bch deposits (see the basic splitting instructions at the bottom of this blog post for instruction on how to split your coins).
alert for margin traders (also see previous blog post for more details)
long xbt margin positions open as of the timestamp of the last common block will result in a bch credit
example 1: margin buy (long) 10 xbt/usd = +10 bch (long xbt, short usd)
example 2: margin sell (short) 10 eth/xbt = +10 bch (short eth, long xbt)
short xbt margin positions open as of the timestamp of the last common block will result in a bch debit
example 1: margin sell (short) 10 xbt/usd = -10 bch (short xbt, long usd)
example 2: margin buy (long) 10 eth/xbt = -10 bch (long eth, short xbt)
treatment of negative balances (bch debit)
accounts with negative balances will be prevented from withdrawing any assets until all assets have balances >= 0. negative balances are not hard to correct. if you have a negative balance of -10 bch, simply buy 10 bch or deposit 10 bch and the balance will automatically correct.
bch will not be a collateral currency
be careful about trading any collateral currencies for bch if you have margin positions open, because this will reduce your collateral currency balance and could cause liquidation of your margin positions. the same caution should of course be taken when trading any other non-collateral currency assets while you have margin positions open.
extreme volatility and cascading liquidations should be expected
trading on margin in an environment of such high possible volatility is extraordinarily risky. chances are high that kraken’s bitcoin markets will become substantially disengaged from one another and out of sync with other global markets. the safest play is to exit your margin positions ahead of the fork and ride it out unleveraged.
service availability not guaranteed
we often see denial of service attempts that coincide with instances of high market volatility. traders should plan for intermittent and unpredictable access to the kraken service and other possible unexpected behavior.
follow us on social media for bitcoin cash updates
basic steps to split your coins into an xbt wallet and an bch wallet
we will not recommend any specific wallets here, only covering the basic split steps. these steps take precaution against the possibility that the bch wallet has malicious code. after all, the bch wallets are all very new and we don’t know for sure if all of them can be trusted. following the steps below will help ensure that even if the bch wallet is malicious you will only lose your bch and not your xbt as well.
wait until after the fork when a few bch blocks have been mined. move all your bitcoin (xbt) to a new wallet with a new private key. bch has replay protection, so you will be able to move your xbt without moving your bch. wait until your bitcoin is confirmed in the new wallet. be sure to complete steps 1-3 before moving to step 4. install a bitcoin cash (bch) wallet and enter the private keys of the original wallet (the wallet you just moved your bitcoin out of). to be maximally safe, the bch wallet should be installed on a different machine than the one that has your new bitcoin wallet on it. you can find a list of bch wallets on the bitcoin cash website . this step isn’t necessary, but as a final step you may want to move your bch to a new bch wallet with a new private key, just to help ensure you don’t mistake your bch wallet address for the xbt address it used to be.
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ˌɪnˈvɛntɪd baɪ ˈæksədənt ɪn ə ˌfɪləˈdɛlfiə ˈʃɪˌpjɑrd, ðə sˈlɪŋki ɪz ə stæk əv kɔɪld ˈmɛtəl ðət bɪˈkəmz ə bɪt əv ˈɑsəˌleɪtɪŋ ˈmæʤɪk, ə ˈmuvɪŋ, ˈtrævəlɪŋ tɔɪ ˈpərˌfɪkt fər ˈflɪpɪŋ tɪ ““walk”*” daʊn stɛrz. ˈɔlˌweɪz meɪd ɪn ˌpɛnsəlˈveɪnjə, ðə sˈlɪŋki bɪˈkeɪm ɪkˈwɪpmənt fər ˌʤɛnərˈeɪʃənz əv əˈmɛrɪkən ˈʧɪldrən ənd ə fəˈmɪljər, fən ˈpleɪˌθɪŋ fər ˈgroʊˌnəps ɛz wɛl. ðə kriˈeɪtər əv ðə sˈlɪŋki, ˈrɪʧərd ʤeɪmz dɪd nɑt sɛt aʊt tɪ ˌɪnˈvɛnt ə tɔɪ. ɪn 1943 fɔr jɪrz ˈæftər hi ərnd ə dɪˈgri frəm ˌpɛnsəlˈveɪnjə steɪt ˌjunəˈvərsəti, ʤeɪmz wɑz ˈwərkɪŋ æt ðə kræmp ˈʃɪpˌbɪldɪŋ koʊ. ɔn ðə ˈdɛləˌwɛr ˈrɪvər. waɪl traɪɪŋ tɪ dɪˈvaɪz ə spərɪŋ tɪ kip ˈsɛnsɪtɪv ˈʃɪpˌbɔrd ɪkˈwɪpmənt frəm ˈʤɑsəlɪŋ ɔn ðə haɪ siz, hi ɪkˈspɛrəməntəd wɪθ ˈhənərdz əv kɔɪlz. wən deɪ, ə ˈriʤɛkt fɛl ənd əraʊnd ðə flɔr, ənd ðə aɪˈdiə fər ə tɔɪ wɑz bɔrn. fər ðə nɛkst tu jɪrz, ʤeɪmz ˈtɛstɪd ˈmɛtəlz ənd prəˈpɔrʃənz ˌbiˈfɔr ˈhɪtɪŋ əˈpɑn ə ˈwərkəbəl ˈmɑdəl. hi æst hɪz waɪf, ˈbɛti tɪ neɪm ɪt. ʃi lift θru ə ˈdɪkʃəˌnɛri ənd pɪkt ““slinky,”*,” ˈminɪŋ ˈgreɪsfəl ɪn ˈmuvmənt. ʤeɪmz hæd ə ˌfɪləˈdɛlfiə fərm meɪk əˈbaʊt 450, ənd ə bɪg breɪk keɪm ɪn 1945 wɪn dɪˈpɑrtmənt stɔr, ə ʤaɪənt əv ðə ˈmɑrkɪt strit ist ˈriˌteɪl ˈkɔrɪdər, əˈgrid tɪ traɪ aʊt ðə sˈlɪŋki ˈdʊrɪŋ ðə ˈkrɪsməs rəʃ. ɔn ðə ˈivnɪŋ əv noʊˈvɛmbər 27 1945 ʤeɪmz ʃoʊd ˈʃɑpərz haʊ ðə sˈlɪŋki kʊd wɔk daʊn ən ˌɪnˈklaɪn. hɪz stɑk əv 400 praɪst æt 1 iʧ, soʊld aʊt ɪn ˈnaɪnti ˈmɪnəts. ðə ˈrɛntɪd ˈfæktəri speɪs ɪn ˈʤərmənˌtaʊn, wɛr ðə nu ʤeɪmz ˈɪndəstriz ˈɑpərˌeɪtəd sɪks məˈʃinz ˈtərnɪŋ aʊt 100 ən aʊər. ˈleɪtər, pərˈdəkʃən muvd tɪ ˈklɪftən haɪts ɪn ˈdɛləˌwɛr ˈkaʊnti. baɪ 1960 ðoʊ, ðə ˈkəmpəˌni wɑz ˈstrəgəlɪŋ wɪθ ˈsægɪŋ seɪlz ənd dɛt. ˈrɪʧərd ʤeɪmz ʃɑkt hɪz ˈfæməli baɪ əˈnaʊnsɪŋ ðət hi wɑz goʊɪŋ tɪ bəˈlɪviə tɪ ʤɔɪn ðə ˌivænˈʤɛlɪkəl ˈbaɪbəl trænzˈleɪtərz. hi lɛft bɪˈhaɪnd ðə ˈbɪznɪs, hɪz waɪf, ənd sɪks ˈʧɪldrən ˈeɪʤɪd 2 tɪ 18 hi daɪd ɪn saʊθ əˈmɛrɪkə ɪn 1974 ˈbɛti ʤeɪmz sɛd hər ˈhəzbənd hæd ˈdoʊˌneɪtɪd soʊ məʧ ˈməni tɪ ðə rɪˈlɪʤəs grup ðət ðeɪ wər ˈɔlˌmoʊst ˈbæŋkrəpt. bət ɪn ˈrənɪŋ ðə ˈkəmpəˌni əˈloʊn, ʃi fɔrʤd ə pæθ fər ˈfiˌmeɪl ceos*. ɪn 1963 ʃi ˈmɔrgɪʤd hər haʊs tɪ pʊʃ ðə sˈlɪŋki æt ðə nu jɔrk tɔɪ fɛr, əˈtræktɪŋ nu ˈɔrdərz ənd əˈtɛnʃən. hər ɪmˈbreɪs əv ˈnæʃənəl ˈædvərˌtaɪzɪŋ meɪd ðə sˈlɪŋki ˈʤɪŋgəl fəˈmɪljər: wət wɔks daʊn stɛrz əˈloʊn ər ɪn pɛrz ənd meɪks ə saʊnd? ə spərɪŋ ə spərɪŋ, ə ˈmɑrvələs θɪŋ. ˈɛvriˌwən noʊz sˈlɪŋki. pərˈdəkʃən əv ðə sˈlɪŋki muvd tɪ hollidaysburg*, ˌpɛnsəlˈveɪnjə, ɪn ðə mid-1960s*. ˈbɛti ʤeɪmz ˈædɪd sˈlɪŋki ˈʤunjər, ˈplæstɪk ˈvərʒənz, ənd ˈreɪnˌboʊ ˈkələrz, ənd ʃi əˈgrid tɪ sˈlɪŋki ˌɪnˈkluʒən ɪn ðə 1995 tɔɪ ˈstɔri ˈmuvi, wɪʧ brɔt nu seɪlz. ɪn 1998 ʃi soʊld ðə ˈkəmpəˌni tɪ puf ˈprɑdəkts əv ˈplɪməθ, ˈmɪʃɪgən, ənd ɪn 2014 ðət fərm ənd tu ˈəðərz mərʤd tɪ bɪˈkəm ˈæləks brændz, ˈhɛdˌkɔrtərd ɪn ˈfɛrˌfild, nu ˈʤərzi. ˈbɛti ʤeɪmz daɪd ɪn ˌfɪləˈdɛlfiə æt eɪʤ 90 ɪn 2008 baɪ 2015 ən ˈɛstəˌmeɪtɪd 350 ˈmɪljən hæd bɪn soʊld ˈwərldˈwaɪd. ə ˈstændərd sˈlɪŋki kɔst bət baɪərz dɪd nɑt hæv tɪ ˈsɛtəl fər stil: ə ˈvərʒən wɑz əˈveɪləbəl fər ðə sˈlɪŋki wɔkt ɔn ðə greɪt wɔl əv ˈʧaɪnə ənd ˈrɑkətɪd ˈɪntu speɪs əˈbɔrd ðə ˈʃətəl ˌdɪˈskəvri. ˈklæsˌrum ˈtiʧərz juzd ðə sˈlɪŋki tɪ ˈdɛmənˌstreɪt ˈfrɪkʃən, ˌɪˈnərʃə, ənd moʊˈmɛntəm. ˈfɪzɪsɪsts ɪkˈspɛrəməntəd wɪθ ðə sˈlɪŋki fər ɪts riˈækʃənz tɪ ˈgrævɪti, ənd mæθ ˈtiʧərz hæv juzd ɪt ɪn ˈlɛsənz əˈbaʊt ˌikwəˈlɪbriəm. ðə sˈlɪŋki sərˈvaɪvd ənd ˈprɑspərd waɪl ˈtrævəlɪŋ ðə gloʊb, ðə stɑrz, ənd ðə ˈstɛrˌweɪz əv hoʊmz əˈkrɔs əˈmɛrɪkə. ʤɛf ˈgæmɪʤ ɪz ə rɪˈpɔrtər æt ðə ˌfɪləˈdɛlfiə ˌɪnkˈwaɪrər. ˈkɑpiˌraɪt 2016 ˈrətgərz ˌjunəˈvərsəti rɪˈleɪtɪd ˈrɛdɪŋ ˈpleɪsɪz tɪ ˈvɪzɪt
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invented by accident in a philadelphia shipyard, the slinky is a stack of coiled metal that becomes a bit of oscillating magic, a moving, traveling toy perfect for flipping head-over-heels to “walk” down stairs. always made in pennsylvania, the slinky became standard-issue equipment for generations of american children and a familiar, fun plaything for grown-ups as well.
the creator of the slinky, richard james (1914-74), did not set out to invent a toy. in 1943, four years after he earned a mechanical-engineering degree from pennsylvania state university, james was working at the cramp shipbuilding co. on the delaware river. while trying to devise a spring to keep sensitive shipboard equipment from jostling on the high seas, he experimented with hundreds of coils. one day, a reject fell and shimmied around the floor, and the idea for a toy was born. for the next two years, james tested metals and proportions before hitting upon a workable model. he asked his wife, betty (1918-2008), to name it. she leafed through a dictionary and picked “slinky,” meaning graceful in movement.
james had a philadelphia piston-ring firm make about 450 slinkys, and a big break came in 1945 when gimbels department store, a giant of the market street east retail corridor, agreed to try out the slinky during the christmas rush. on the evening of november 27, 1945, james showed shoppers how the slinky could walk down an incline. his stock of 400, priced at $1 each, sold out in ninety minutes.
the jameses rented factory space in germantown, where the new james industries operated six machines turning out 100 slinkys an hour. later, production moved to clifton heights in delaware county.
by 1960, though, the company was struggling with sagging sales and debt. richard james shocked his family by announcing that he was going to bolivia to join the evangelical wycliffe bible translators. he left behind the business, his wife, and six children aged 2 to 18. he died in south america in 1974.
betty james said her husband had donated so much money to the religious group that they were almost bankrupt. but in running the company alone, she forged a path for female ceos. in 1963, she mortgaged her house to push the slinky at the new york toy fair, attracting new orders and attention. her embrace of national advertising made the slinky jingle familiar:
what walks down stairs
alone or in pairs
and makes a slinkety sound?
a spring a spring,
a marvelous thing.
everyone knows slinky.
production of the slinky moved to hollidaysburg, pennsylvania, in the mid-1960s. betty james added slinky junior, plastic versions, and rainbow colors, and she agreed to slinky dog’s inclusion in the 1995 toy story movie, which brought new sales. in 1998, she sold the company to poof products of plymouth, michigan, and in 2014 that firm and two others merged to become alex brands, headquartered in fairfield, new jersey. betty james died in philadelphia at age 90 in 2008.
by 2015, an estimated 350 million slinkys had been sold worldwide. a standard slinky cost $4.99, but buyers did not have to settle for steel: a 14k-gold-plated version was available for $149.99. the slinky walked on the great wall of china and rocketed into space aboard the shuttle discovery. classroom teachers used the slinky to demonstrate friction, inertia, and momentum. physicists experimented with the slinky for its reactions to gravity, and math teachers have used it in lessons about equilibrium. the slinky survived and prospered while traveling the globe, the stars, and the stairways of homes across america.
jeff gammage is a reporter at the philadelphia inquirer.
copyright 2016, rutgers university
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wən əv ðə greɪt θɪŋz əˈbaʊt ˈlɪvɪŋ ɪn ə ˈsɪti wɛr ðə ˈstændərd lɔt saɪz ɪz 30 ɛks 100 fit ənd æt list hæf əv ðət ɪz haʊs, gərɑʒ, dɛk, ənd ˈgɑrdən ɪz haʊ ˈizi maʊɪŋ ðə lɔn bɪˈkəmz. tru, wi hæv tɪ moʊ ˈkɑnstəntli, bɪˈkəz ˌmɪdˈwɛst sɔɪl ɪz əbˈsərdli ˈfərtəl ənd ðə ˈneɪbərz ər əˈprɑksəmətli θri fit əˈweɪ æt ˈɛni ˈmoʊmənt, kloʊz ɪˈnəf tɪ əbˈzərv ˈɛvəri bleɪd əv græs. bət stɪl, ən ˈizi ʧɔr. rɪˈleɪtɪd: ðə haʊs ˈvoʊtɪd tɪ sɛnd tinz hu tɪ ˈprɪzən fər 15 jɪrz ˈsɪriəsli ənd ˈoʊnli tu rɪˈpəblɪkənz əˈpoʊzd ɪt ðət ɪz nɑt ðə keɪs ˈɛlsˌwɛr, wɪʧ ɪz waɪ ˈtiˌneɪʤərz ˈgɪtɪŋ peɪd tɪ moʊ lɔnz ɪz ə əˈmɛrɪkən trəˈdɪʃən ənd wən ðət ɔt tɪ bi ˈeɪbəl tɪ pərˈsid wɪˈθaʊt ðə ˌɪnərˈfɪrəns əv ˈloʊkəl ˈgəvərnmənts. nɑt soʊ ɪn, ə taʊn nɪr ˈbərmɪŋˌhæm, ˌæləˈbæmə. frəm ə ˈloʊkəl nuz rɪˈpɔrt: tinz ɪn ər ɪn fər ə rud əˈweɪkənɪŋ ðɪs ˈsəmər wɪn ɪt kəmz tɪ ˈkətɪŋ græs. əˈkɔrdɪŋ tɪ ðə ˈɔrdənəns, ju məst hæv ə ˈbɪznɪs ˈlaɪsəns. ˈtiˌneɪʤərz hæv bɪn θˈrɛtənd baɪ əˈfɪʃəlz ənd ˈəðər lɔn ˈsərvɪsɪz tɪ ʃoʊ ðɛr ˈsɪti ˈɪʃud ˈlaɪsəns ˌbiˈfɔr ˈkətɪŋ ə lɔn fər ˈɛkstrə ˈsəmər kæʃ. ˈkətɪŋ græs ɪz ˈɔfən wən əv ðə fərst ʤɑbz ˈmɛni hæv ɪn ðə ˈsəmər. bət ə ˈbɪznɪs ˈlaɪsəns ɪn kɔsts 110 ənd fər ə ʤɑb, ʤɪst fər ə ˈkəpəl əv mənθs, ðət kən bi ə bɪt ɪkˈstrim. ðɪs ˌsɪʧuˈeɪʃən bɪˈkəmz ˈivɪn mɔr rɪˈdɪkjələs wɪn ju faɪnd aʊt ðə goʊɪŋ reɪt fər maʊɪŋ ə lɔn ɪn ɪz soʊ ə ˈtiˌneɪʤər wʊd hæv tɪ moʊ əˈbaʊt faɪv lɔnz ʤɪst tɪ peɪ fər ðə pərˈmɪʃən tɪ moʊ lɔnz. ˈbɪznɪs ˈlaɪsəns rikˈwaɪərd fər tinz tɪ kət ˈeɪˌbiˌsi nuz meɪ 31 2017 ˌənsərˈpraɪzɪŋli, ðə ˈrizən ðɪs həz bɪˈkəm ən ˈɪʃu ɪz ˈkroʊni ˈkæpɪtəˌlɪzəm ɔn ə ˈmaɪˌkroʊ ˈlɛvəl. əv ðə mɛn ðət kəts ˈsɛvərəl jɑrdz meɪd ə rɪˈmɑrk tɪ wən əv ɑr ˈneɪbərz, ɪf hi sɔ hər ˈkətɪŋ græs əˈgɛn ðət hi wɑz goʊɪŋ tɪ kɔl bɪˈkəz ʃi hæv ə ˈbɪznɪs license,'”*,'” sɛd ˈɛltən ˈkæmbəl, huz ˈgrænˌdɔtər ɪz wən əv ðə kɪdz əˈfɛktɪd baɪ ðə ˈbɪznɪs ˈlaɪsəns rɪkˈwaɪrmənt. rɪˈleɪtɪd: ðɪs haɪ skul rɪˈdɪkjələs səˈspɛnʃən ˈoʊvər ə ʃərt kən tiʧ ˈjuˈɛs ən ˌɪmˈpɔrtənt ˈlɛsən əˈbaʊt ˈpɑləˌtɪks ðə moʊst ˈlaɪkli ˌɛkspləˈneɪʃən ɪz ðət ðə ˈtiˌneɪʤərz wər ˈɔfərɪŋ ə ˈbɛtər praɪs fər lɔn kɛr, ənd ˈrəðər ðən ˈfɛrli kəmˈpitɪŋ ɪn ðə ˈmɑrkɪt baɪ loʊərɪŋ ˈpraɪsɪz ər prəˈvaɪdɪŋ ˈbɛtər ˈsərvɪs, ðɪs ˈbɪznɪs ˌdɪˈsaɪdɪd tɪ gɪt ˈloʊkəl ˈgəvərnmənt ˌɪnˈvɑlvd tɪ skwɑʃ ðə ˌkɑmpəˈtɪʃən. əv kɔrs, ðə ˌəndərˈlaɪɪŋ ˈprɑbləm ɪz nɑt ðə mæn hu θˈrɛtənd tɪ kɔl ðə ˈsɪti, bət ˈrəðər ðə fækt ðət ðə lɔ ɪgˈzɪsts fər ɪm tɪ məˈnɪpjəˌleɪt tɪ hɪz ædˈvæntɪʤ.
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one of the great things about living in a city where the standard lot size is 30 x 100 feet — and at least half of that is house, garage, deck, and garden — is how easy mowing the lawn becomes. true, we have to mow constantly, because midwest soil is absurdly fertile and the neighbors are approximately three feet away at any moment, close enough to observe every out-of-place blade of grass. but still, it’s an easy chore.
related: the house voted to send teens who sext to prison for 15 years seriously and only two republicans opposed it
that is not the case elsewhere, which is why teenagers getting paid to mow lawns is a time-honored american tradition — and one that ought to be able to proceed without the interference of busybody local governments. not so in gardendale, a town near birmingham, alabama. from a local news report:
teens in gardendale are in for a rude awakening this summer when it comes to cutting grass. according to the ordinance, you must have a business license. teenagers have been threatened by officials and other lawn services to show their city issued license before cutting a person’s lawn for extra summer cash. cutting grass is often one of the first jobs many have in the summer. but a business license in gardendale costs $110. and for a job, just for a couple of months, that can be a bit extreme.
this situation becomes even more ridiculous when you find out the going rate for mowing a lawn in gardendale is $20-30, so a teenager would have to mow about five lawns just to pay for the government’s permission to mow lawns.
business license required for gardendale teens to cut grasshttps://t.co/2ou94yx4oj pic.twitter.com/9hqgmk0igp — abc 33/40 news (@abc3340) may 31, 2017
unsurprisingly, the reason this has become an issue is crony capitalism on a micro level. “one of the men that cuts several yards made a remark to one of our neighbors, ‘that if he saw her cutting grass again that he was going to call gardendale because she didn’t have a business license,'” said elton campbell, whose granddaughter is one of the kids affected by the business license requirement.
related: this high school senior’s ridiculous suspension over a shirt can teach us an important lesson about politics
the most likely explanation is that the teenagers were offering a better price for lawn care, and rather than fairly competing in the market by lowering prices or providing better service, this business decided to get local government involved to squash the competition.
of course, the underlying problem is not the man who threatened to call the city, but rather the fact that the law exists for him to manipulate to his advantage.
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ˈpɔrtlənd, ɔr. wɪl ʤeɪl bi ðə nɛkst loʊˈkeɪʃən tɪ hɛlp əˈliviˌeɪt ˈhoʊmləs ˈkraɪsəs? ˌməlˈnoʊmə ˈkaʊnti kəˈmɪʃənərz, ˈloʊkəl ˈlidərz ənd ðə kəmˈjunɪti mɛt ˈθərzˌdeɪ tɪ dɪˈskəs ðə nɛkst stɛps ɪn æˈdrɛsɪŋ ðə ˈhoʊmləs ˈimərʤənsi. wən əv ðə meɪn ˈtɑpɪks əv dɪˈskəʃən wɑz ˈtərnɪŋ ðə ənˈjuzd ʤeɪl ˈɪntu ə ˈʃɛltər. əˈkɔrdɪŋ tɪ ə ˌprɛzənˈteɪʃən æt ðə ˈmitɪŋ, ɪt wʊd kɔst ðə ˈkaʊnti tɪ ˌɪmˈpruv ˌbiˈfɔr ɪt wʊd bi seɪf ɪˈnəf tɪ ˈoʊpən ɛz ə ˈʃɛltər fəˈsɪlɪti. ˈɔlsoʊ əp fər dɪˈskəʃən wər ðə sɪks ˈʃɛltərz ˈkərəntli sˈleɪtɪd tɪ ˈoʊpən ðɪs jɪr ənd ðə nid fər ɪkˈspænʧən. ʤɪst ˈoʊpənd 90 bɛdz ɪn ə ˈwɪmənz ˈʃɛltər læst wik ɪn ˈgrɛʃəm. wɪr ˈlʊkɪŋ tɪ ˈoʊpən əˈnəðər 120 bɛdz fər ˈkəpəlz baɪ ðə ɛnd əv ðɪs ˈkæləndər year,”*,” sɛd mɑrk ˈʤoʊlɪn, ʧɛr əv ðə ʤɔɪnt ˈɔfəs əv ˈhoʊmləs ˈsərvɪsɪz. goʊl ɪz tɪ gɪt ɛz ˈmɛni ˈpipəl ɔf ðə strits ɛz ˈpɑsəbəl, bət ðə ˈstrætəʤi ˈɪzənt ʤɪst ˈʃɛltər. ɪts priˈvɛnʃən, ˈpleɪsmənt ənd shelter.”*.” kəˈmɪʃənərz ˈɔlsoʊ dɪˈskəst ə plæn tɪ kip ˈpipəl ɪn ðɛr hoʊmz wɪθ rɛnt ənd ˈɛnərʤi əˈsɪstəns.
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portland, ore. – will wapato jail be the next location to help alleviate portland’s homeless crisis?
multnomah county commissioners, local leaders and the community met thursday to discuss the next steps in addressing the city’s homeless emergency.
one of the main topics of discussion was turning the unused wapato jail into a shelter. according to a presentation at the meeting, it would cost the county $953,000 to improve wapato before it would be safe enough to open as a shelter facility.
also up for discussion were the six shelters currently slated to open this year and the need for expansion.
“we just opened 90 beds in a women's shelter last week in gresham. we're looking to open another 120 beds for couples by the end of this calendar year,” said marc jolin, chair of the joint office of homeless services. “the goal is to get as many people off the streets as possible, but the strategy isn't just shelter. it's prevention, placement and shelter.”
commissioners also discussed a plan to keep people in their homes with rent and energy assistance.
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ə ˈmitɪŋ əv ðə maɪndz! ˈbərni ˈsændərz ɪz sɛt tɪ əˈpɪr ˈɑpəzɪt hɪz doppelgänger*, ˈlɛri ˈdeɪvɪd, ɔn ˈsæˌtɪˌdeɪ naɪt lɪv ˈfɛbruˌɛri 6 ˈmɑrkɪŋ ðə fərst taɪm ðə ˌdɛməˈkrætɪk ˌprɛzɪˈdɛnʃəl ˈhoʊpfəl həz stɑpt baɪ ðə skɛʧ ˈkɑmədi ʃoʊ, ənd ðə fərst taɪm ðə kəˈmidiən həz ˈhoʊstɪd ɪt. əˈkɔrdɪŋ tɪ ə ˈsinjər kæmˈpeɪn əˈfɪʃəl, ˈsændərz, 74 wɪl bi ˈmeɪkɪŋ ðə ˈditʊr tɪ nu jɔrk ˈdʊrɪŋ hɪz kæmˈpeɪn trɪp tɪ nu ˈhæmʃər. ðə nu jɔrk taɪmz rɪˈpɔrts ðət ˈdeɪvɪd, 68 wɪl ˈɪntərvˌju ˈsændərz æt wən pɔɪnt ˈdʊrɪŋ ðə ˈivnɪŋ. ðə kərb jʊr ɪnˈθuziˌæzəm ˈæləm pleɪd ðə ˈsɛnətər ɪn ə ˈmɛmərəbəl skɛʧ ɪn ɑkˈtoʊbər, wɪn hi wɛnt wɪθ ˈəðər ˌdɛməˈkrætɪk ˈkænədɪts, ˌɪnˈkludɪŋ ˈhɪləri ˈklɪntən (keɪt məˈkɪnən), ʤɪm wɛb (ˈælɪk ˈbɔldwən), ˈlɪŋkən ˈʧæfi (kaɪl ˈmuni) ənd ˈmɑrtɪn ˈkɪləm). ˈdeɪvɪd ˈɔlsoʊ ˈfeɪməsli (ənd ˈʤoʊkɪŋli) ˈhɛkəld ˈdɑnəld trəmp ˈdʊrɪŋ ə noʊˈvɛmbər ˈɛpɪˌsoʊd, ˈkɔlɪŋ ðə ril ɛˈsteɪt ˈmoʊgəl ə ““racist.”*.” ˈklɪntən ˈpriviəsli əˈpɪrd ɔn ðə ʃoʊ ɪn ɑkˈtoʊbər, ɛz ə seɪʤ ˈbɑrˌtɛndər neɪmd væl hu geɪv clinton”*” səm smɑrt ədˈvaɪs fər ðə kæmˈpeɪn ˈsizən. sanders’*’ ˈvɪzɪt tɪ ðə sɛt kəmz æt ə ˈkruʃəl taɪm ɪn hɪz reɪs əˈgɛnst ˈklɪntən təˈwɔrd ðə ˌdɛməˈkrætɪk ˌnɑməˈneɪʃən. ɔn ˈθərzˌdeɪ, ˈfɛbruˌɛri 4 ðeɪ wər boʊθ faɪərd əp ˌɑnˈsteɪʤ ɪn nu ˈhæmʃər fər ə ˌwənɔnˈwən dəˈbeɪt ˈhoʊstɪd baɪ msnbc*. saɪn əp naʊ fər ðə ˈjuˈɛs ˈwikli ˈnuzˌlɛtər tɪ gɪt ˈbreɪkɪŋ səˈlɛbrɪti nuz, hɑt ənd mɔr dɪˈlɪvərd streɪt tɪ jʊr inbox*! wɔnt ˈstɔriz laɪk ðiz dɪˈlɪvərd streɪt tɪ jʊr foʊn? ˈdaʊnˌloʊd ðə ˈjuˈɛs ˈwikli ˈaɪˌfoʊn æp naʊ!
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a meeting of the minds! bernie sanders is set to appear opposite his doppelgänger, larry david, on saturday night live february 6 — marking the first time the democratic presidential hopeful has stopped by the sketch comedy show, and the first time the comedian has hosted it.
according to a senior campaign official, sanders, 74, will be making the detour to new york during his campaign trip to new hampshire. the new york times reports that david, 68, will interview sanders at one point during the evening.
the curb your enthusiasm alum played the senator in a memorable snl sketch in october, when he went head-to-head with other democratic candidates, including hillary clinton (kate mckinnon), jim webb (alec baldwin), lincoln chafee (kyle mooney) and martin o’malley (taran killam).
david also famously (and jokingly) heckled donald trump during a november episode, calling the real estate mogul a “racist.”
clinton previously appeared on the show in october, as a sage bartender named val who gave mckinnon’s “hillary clinton” some smart advice for the campaign season.
sanders’ visit to the snl set comes at a crucial time in his race against clinton toward the democratic nomination. on thursday, february 4, they were both fired up onstage in new hampshire for a one-on-one debate hosted by msnbc.
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moʊndrɑˈgɔn, speɪn (ˈrɔɪtərz) dæʃ ˈɪntu ˈtʊˌrɪzəm ɪn ðə ənd ɪts ˈprɑpərti bum læst ˈdɛkeɪd ˈlɑrʤli pæst baɪ ðə bæsk ˈriʤən, ə kul, dæmp ˈkɔrnər əv ðə nɔrθ wɪθ ə ˌrɛpjəˈteɪʃən fər ˈsɛpərətɪst ˈvaɪələns. ˌɪnˈstɛd ðə bæsks stək wɪθ ˈɪndəstri, baɪ fɔrs əv ˈsərkəmˌstæns. ðə ˈɔfəsɪz əv ˈspænɪʃ bæŋk ˈbæŋkoʊ bɪlˈbaʊ vɪzˈkaɪə (bbva*) ər ˌɪˈluməˌneɪtəd baɪ ðə leɪt ˌæftərˈnun sən ɪn ˈsɛntrəl bɪlˈbaʊ meɪ 4 2012 wɛst euskadi*, ðə bæsk neɪm fər ðə ˈhɪli ˈprɑvɪns əv 2 ˈmɪljən ˈbɔrdərɪŋ fræns, naʊ ˈaʊˌʧaɪnz ðə rɛst əv speɪn wɪθ ə ˈbɛtər ˈkrɛdɪt ˈreɪtɪŋ ðən ˈsɛntrəl ˈgəvərnmənt, ðə loʊəst ˈriʤənəl ˌənɪmˈplɔɪmənt ənd ˈbɑroʊɪŋ kɔsts hæf ðoʊz əv ˈəðər ˈɛriəz. ðə səkˈsɛs əv moʊndrɑˈgɔn əˈsɛmbli, wən əv ðə tɔp prəˈdusərz əv ˌmænjəˈfækʧərɪŋ ɪkˈwɪpmənt, rɪˈflɛkts ðə əˈbɪləˌti tɪ ˈwɛðər ə ˈjʊrə zoʊn dɛt ˈkraɪsəs ðət həz fɔrst speɪn tɪ æsk fər əp tɪ 100 ˈbɪljən ˈjuˌroʊz əv eɪd fər ɪts bæŋks. ɪn ə ˈfæktəri sɛt ɪn ə ˈfɔrɪst, ə ˈroʊˌbət ˈhɪsɪz bɪˈhaɪnd ə glæs skrin, laɪts ˈflɪkərɪŋ ɛz ɪt pərˈpɛrz tɪ teɪk ɪn taɪlz tɪ stɪʧ ˈɪntu ˈsoʊlər ˈpænəlz. ðə məˈʃin kʊd bi ʃɪpt ˈɛniˌwɛr, frəm ˈʤərməni tɪ ˌkɑzɑkˈstɑn, ənd ˈbɪznɪs ɪz ˈflərɪʃɪŋ. ðə bæsk ˈsikrɪt həz bɪn ɪn ˈstɪkɪŋ tɪ ˌmænjəˈfækʧərɪŋ ˈoʊvər ðə ˈprɑpərti ənd ˈtʊˌrɪzəm ˈɪndəstriz ðət ˈɛndɪd ɪn ˌɛkəˈnɑmɪk ˈmɪzəri ˈɛlsˌwɛr ɪn speɪn wɪn ə ril ɛˈsteɪt ˈbəbəl fjuəld baɪ ˈizi ˈkrɛdɪt bərst ɪn 2009 ˈtʊˌrɪzəm wɑz ˈɔlˌweɪz goʊɪŋ tɪ bi ə ˈdɪfəkəlt sɛl fər ðə bæsks bɪˈkəz əv ðə ˈsɛpərətɪst ˈvaɪələns ðət ˈoʊnli ˈɛndɪd ɪn ɑkˈtoʊbər 2011 wɪn, læst ɑrmd gərˈɪlə grup, kɔld ən ɛnd tɪ ɪts ˈstrəgəl. wi ˈɛkspɔrt, bi ˈhævɪŋ ə hɑrd time,”*,” sɛd ˈmɪkəl lezamiz*, ə dɪˈrɛktər æt moʊndrɑˈgɔn. θæŋks tɪ ˈɛkspɔrts ðət wi sərˈvaɪv ər ðɪs hoʊl θɪŋ wʊd kəm ˈkræʃɪŋ daʊn. sərˈvaɪvəl kəmz frəm nɑt dɪˈpɛndɪŋ ɔn ə ˈsɪŋgəl ˈmɑrkɪt, bət ɔn ə ˈnəmbər əv ˈmɑrkɪts. moʊndrɑˈgɔn əˈsɛmbli, pɑrt əv ðə ənˈlɪstɪd moʊndrɑˈgɔn grup, ɪz ðə ˈlɑrʤəst koʊˈɑpərˌeɪtɪv ənd ɪmˈplɔɪz ˈnɪrli ˈpipəl. əraʊnd 80 ˈpipəl wərk ɪn ðɪs plænt. ɪt ˈɔlsoʊ həz ˈfæktəriz ɪn fræns, ˈʤərməni ənd ˈmɛksəˌkoʊ. ðə bæsk ˈkəntri ɪz fɪθ ˈlɑrʤəst ˈriʤənəl ɪˈkɑnəmi, wɪθ ə groʊs dəˈmɛstɪk ˈprɑdəkt əv ˈbɪljən ˈjuˌroʊz, ˈminɪŋ ɪt əˈkaʊnts fər əraʊnd 7 pərˈsɛnt əv ˈnæʃənəl gdp*. ðə ˈɛkspɔrts ər mɔr ər lɛs ˈivənli ˈbælənst bɪtˈwin ðə rɛst əv speɪn ənd ˈmɑrkɪts bɪɔnd ˈspænɪʃ ˈbɔrdərz. ɪts ˈreɪʃiˌoʊ ɪz ʤɪst pərˈsɛnt, kəmˈpɛrd wɪθ ˈnɪrli 90 pərˈsɛnt fər ðə ˈsɛntrəl steɪt. ɪt həz ðə loʊəst ˌənɪmˈplɔɪmənt reɪt ɪn speɪn æt pərˈsɛnt, kəmˈpɛrd wɪθ pərˈsɛnt ˈnæʃənəli. tulz nɑt ˈtʊˌrɪzəm baɪ ðə taɪm speɪn rɪˈtərnd tɪ dɪˈmɑkrəsi ˈæftər ˈʤɛnərəl frænˈsisoʊ dɛθ ɪn 1975 ˈmɛni əv ɪts ˈriʤənz hæd ɔˈrɛdi dɪʧt ðə ˈnoʊʃən əv dɪˈvɛləpɪŋ ðɛr ˈɪndəstri ɪn ˈfeɪvər əv ˈtʊˌrɪzəm, ˈfaɪˌnæns ənd ˈtɛləkɑmz. ˈistərn ənd ˈsəðərn koʊsts ər ˈdɑtɪd wɪθ əˈpɑrtmənt blɑks ənd ˈhɑlɪˌdeɪ hoʊmz, ˈmɛni əv ðɛm ˌɪmˈpɑsəbəl tɪ sɛl sɪns ðə dəˈmɛstɪk ˈprɑpərti ˈmɑrkɪt ˈbəkəld. ðə wɛt bæsk ˈklaɪmɪt meɪd ɪts grin hɪlz ə mɔr ˈlaɪkli hoʊm tɪ ˈfɑrmˌhaʊsɪz ər ˈfæktəriz ðən ˈləgʒəri ˈvɪləz. ðə ˈriʤən, æt ˈbɔrdər wɪθ ˌkɑntəˈnɛnəl ˈjʊrəp, ɪz rɪʧ ɪn ˈnæʧərəl ˈrisɔrsɪz. ə ˈkreɪdəl əv ðə aɪərn ənd stil ˈɪndəstri, ɪt wɑz ən ˈɑbviəs ʧɔɪs ɛz ə ˌmænjəˈfækʧərɪŋ beɪs. wɑz ə klɪr bɛt ɔn ˈɪndəstri hir, ə bɛt ɔn ðoʊz trəˈdɪʃənəl ˈsɛktərz, səʧ ɛz aɪərn, stil, ˈɛnərʤi ənd smɔl ənd ˈkəmpəˌniz ðət meɪk ɔl ðoʊz kəmˈpoʊnənts fər ðə ˈɛnərʤi ənd kɑr ˈsɛktərz, ðət meɪk θɪŋz ðət ju kən hoʊld ɪn jʊr hand,”*,” ˌhoʊˈzeɪ luis kʊrˈbɛloʊ, dɪˈrɛktər ˈʤɛnərəl əv ðə bæsk ˈɪnstɪˌtut fər kəmˈpɛtɪtɪvnɪs, sɛd. ɪz ðə ˈsikrɪt əv ðə bæsk economy,”*,” hi sɛd. ˈɪndəstri ˌɪˈmiˌdiətli ˌɪnərˈnæʃənɑlaɪzd, ˈwɛðər ðət wɑz baɪ prəˈdusɪŋ kəmˈpoʊnənts ənd ˈgæʤəts fər ˈoʊvərˈsiz ˈkəmpəˌniz, ər baɪ ˈsɛtɪŋ əp ʃɑp ənd ˌmænjəˈfækʧərɪŋ abroad.”*.” ˈprɔˌsɛs wɑz məʧ ˈfæstər ənd məʧ mɔr kəˈmɪtɪd ðən ɪn ðə rɛst əv speɪn, soʊ ðə kəˈlæps ɪn ðə dəˈmɛstɪk ˈmɑrkɪt əˈfɛktɪd bæsk ˈkəmpəˌniz ɛz məʧ. ə lɔt əv ðɛr seɪlz ər ˈgloʊbəl ənd ðeɪ kən wɪθˈstænd ðə ˈkraɪsəs ɪn ˈbɛtər shape.”*.” kʊrˈbɛloʊ, ˈspikɪŋ ɪn ðə ˈbɪznɪs skul əv ðə ˌjunəˈvərsəti əv ɪn bɪlˈbaʊ, sɛd ˌɛʤəˈkeɪʃən ənd ˈtreɪnɪŋ hæv ˈɔlsoʊ bɪn ki ɪn ˈʃɑrpənɪŋ ðə bæsk ˈbɪznɪs ɛʤ. ðə ˈriʤən həz ðə haɪəst pər ˈkæpɪtə ˈaʊtˌpʊt ɪn speɪn ˈjuˌroʊz kəmˈpɛrd wɪθ ə ˈnæʃənəl ˈævərɪʤ əv ˈjuˌroʊz ənd ən ˈævərɪʤ əv ˈjuˌroʊz, əˈkɔrdɪŋ tɪ ðə ˈnæʃənəl stəˈtɪstɪks ˈɔfəs. ɪz ɪn ˈbɛtər ʃeɪp tɪ ˈwɛðər ðɪs ˌsɪʧuˈeɪʃən bɪˈkəz ˈoʊvər 20 jɪrz əˈgoʊ ɪt bɛt ɔn ˌɪnˈdəstriəl policies,”*,” sɛd urkullu*, ðə ˈlidər əv ðə bæsk ˈnæʃənəlɪst ˈpɑrti. ˈmɛni əv ˈbɪgəst ˈkɔrpərət neɪmz ər bæsk., ðə bæŋk, ɪz ə ˈmeɪʤər pleɪər ɪn saʊθ əˈmɛrɪkə, sɔrs əv mɔr ðən hæf ɪts ˈrɛvəˌnuz. həz sɛd ɪt həz noʊ nid əv ˌfaɪˈnænʃəl əˈsɪstəns. ɪz ðə fɔrθ ˈlɑrʤəst ˌmænjəˈfækʧərər əv wɪnd ˈtərbaɪnz. caf*, ə prəˈdusər əv ˈroʊlɪŋ stɑk, sɛlz treɪnz ɛz fɑr əˈfild ɛz ðə juˈnaɪtɪd steɪts ənd ˈʧaɪnə. ðə sɪˈvɛrɪti əv ðə ˌjʊrəˈpiən dɛt ˈkraɪsəs həz pʊʃt ðə ˈbɑroʊɪŋ kɔsts əv ðə ˈspænɪʃ steɪt tɪ ðɛr haɪəst sɪns ðə lɔnʧ əv ðə ˈjʊrə ɪn 1999 ənd ˈmɛni əv ˈoʊvərˌspɛndɪŋ ˈriʤənz ər ʃət aʊt əv ˈkæpɪtəl ˈmɑrkɪts ˌɔltəˈgɛðər. ðə bæsk ˈriʤən, baɪ ˈkɑntræst, kən ˈbɑˌroʊ dɛt æt pərˈsɛnt ˈɪntəˌrɛst, kəmˈpɛrd wɪθ 18 pərˈsɛnt fər vəˈlɛnsiə ər ˈnɪrli 14 pərˈsɛnt fər ˌkætəˈloʊnjə. bət ðə bæsk ɪˈkɑnəmi ɪz nɑt ˌɪmˈjun tɪ ɪˈvɛnts ɪn ˈjʊrəp. ɪt ʃræŋk baɪ pərˈsɛnt ɪn ðə fərst kˈwɔrtər ˈmeɪnli bɪˈkəz əv ə drɔp ɪn ˈɛkspɔrts tɪ ˈəðər ˌjʊrəˈpiən ˈneɪʃənz. ðə ˈspænɪʃ ɪˈkɑnəmi ˈkɑntræktəd pərˈsɛnt ˈoʊvər ðə seɪm ˈpɪriəd. ˈloʊpɛz, ˈprɛzɪdənt əv bæsk ˈkəntri, sɪz ðə dip ˈspɛndɪŋ kəts ðət hæv hɪt ðə rɛst əv speɪn, ər nɑt ðə ˌpænəˈsiə. speɪn nidz tɪ bɪˈkəm ə ˈlɪtəl mɔr bæsk. nidz tɪ ʧeɪnʤ ɪts ˌproʊdəkˈtɪvɪti ˈmɑdəl, ðə wən ˈpipəl kɔl brɪk bubble’*’. ðət həz tɪ change,”*,” sɛd ˈloʊpɛz, ə ˈsoʊʃəlɪst. ˈpərmɑˌnɛnˌtli spɛnd mɔr ðən wi ərn, bət ˈrəðər nid tɪ ˌɪnˈvɛst ɪn ðə ˈrisɔrsɪz ðət wi du have.”*.” ˈloʊpɛz sɛd ðə bæsk ˈgəvərnmənt həz mɑrkt əp ˈnɪrli hæf ə ˈmɪljən ˈjuˌroʊz fər ðoʊz pɑrts əv ðə ɪˈkɑnəmi ðət hæv bɪn moʊst hərt baɪ ðə ˌfaɪˈnænʃəl ˈkraɪsəs: smɔl- ənd ˈkəmpəˌniz, ˌɑntrəprəˈnərz ənd ðə self-employed*. ə ˈstədi frəm ðə ʃoʊz ˌɪnəˈveɪʃən ənd ˈrisərʧ ənd dɪˈvɛləpmənt ɪn ðə bæsk ˈkəntri fɑr aʊtˈstrɪps ðət sin ɔn ˈævərɪʤ ɪn ðə rɛst əv speɪn ɔn moʊst ˈmɛʒərz. ˌɪnəˈveɪʃən, ˌaɪsəˈleɪʃən ðə bæsks hæv ə ˌrɛpjəˈteɪʃən əˈməŋ ˈspænjərdz ɛz təˈneɪʃəs ˈwərkərz ənd ðɛr ˈrɛlətɪv ˌaɪsəˈleɪʃən ɪn ðə pæst frəm ðə rɛst əv speɪn həz bɪn ˈkrɛdɪtɪd ɪn pɑrt wɪθ ˈmeɪkɪŋ ðɛm mɔr ˈɪnəˌveɪtɪv. ðə ɛnd əv ɑrmd ˈstrəgəl həz nɑt brɔt ən ɛnd tɪ ðə dɪˈzaɪər əv ˈmɛni bæsks fər ˈgreɪtər pəˈlɪtɪkəl ənd ˌfaɪˈnænʃəl əˈtɑnəmi. ə noʊˈvɛmbər poʊl baɪ ðə ˌsoʊsiəˈlɑʤɪkəl ˈrisərʧ ˈsɛnər, ər cis*, ʃoʊd ðət 56 pərˈsɛnt əv bæsks wɔnt ə ˌrɛfərˈɛndəm ɔn sɛlf dɪˌtərməˈneɪʃən naʊ ðət pis ɪz ˈprɪti wɛl ɪˈstæblɪʃt ənd ðət moʊst si ðɛmˈsɛlvz ɛz bæsk ˈnæʃənəlɪsts tɪ səm dɪˈgri. ðə seɪm poʊl ʃoʊz 65 pərˈsɛnt ˈwɔntɪd ɔl pəˈlɪtɪkəl ˈpɑrtiz lɪŋkt tɪ tɪ bi ˈligəˌlaɪzd, ˈsəmθɪŋ ðət həz ˈstɑrtɪd tɪ kəm əˈbaʊt ɪn ə ˈsɪriz əv səˈprim kɔrt ˈrulɪŋz. ɪn ə kəˈfeɪ ɔn ə ˈævəˌnu ɪn bɪlˈbaʊ, ˈɑpəzɪt ðə sæn ˈfʊtˌbɔl ˈsteɪdiəm, ˌhoʊˈzeɪ ænˈtoʊnioʊ dɛl ˈmɔrəl, wən əv ðə ˈfaʊndɪŋ ˈpɑrtnərz əv wɛb ˈpɔrtəl ya.com*, rɪˈflɛkts ɔn ðə bæsk ɪkˈspɪriəns. ðə ʤəmp tɪ sɛt əp ə ˈkəmpəˌni ɪz juʤ ənd wɪn ju du ɪt, laɪk ˈlipɪŋ ˈɪntu ðə əˈbɪs laɪk bungee-jumping*. ju lʊk ˈɪntu ðə vɔɪd. ˈfilɪŋ ðət ju wɪl hæv ðə səˈpɔrt əv ˈpipəl wɪn ju du ʤəmp ɪz ˈkruʃəl ənd ɪt ɪz tru ðət hir, ðɛr ɪz ə ˈrɪli ˈsɑləd, ˈhaɪli dɪˈvɛləpt ˈikoʊˌsɪstəm ənd ðə fərst tɪ seɪ ‘‘hey*, aɪ sɛt əp ə ˈkəmpəˌni hir fər ðət reason.’”*.’”
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mondragon, spain (reuters) - spain’s dash into tourism in the 1970s and its property boom last decade largely passed by the basque region, a cool, damp corner of the north with a reputation for separatist violence. instead the basques stuck with industry, by force of circumstance.
the offices of spanish bank banco bilbao vizcaya argentaria (bbva) are illuminated by the late afternoon sun in central bilbao may 4, 2012. reuters/vincent west
euskadi, the basque name for the hilly province of 2 million bordering france, now outshines the rest of spain with a better credit rating than central government, the lowest regional unemployment and borrowing costs half those of other areas.
the success of mondragon assembly, one of the world’s top producers of solar-panel manufacturing equipment, reflects the region’s ability to weather a euro zone debt crisis that has forced spain to ask for up to 100 billion euros of eu aid for its banks.
in a factory set in a forest, a multi-armed robot hisses behind a glass screen, lights flickering as it prepares to take in cobalt-blue tiles to stitch into solar panels. the machine could be shipped anywhere, from germany to kazakhstan, and business is flourishing.
the basque region’s secret has been in sticking to manufacturing over the property and tourism industries that ended in economic misery elsewhere in spain when a real estate bubble fuelled by easy credit burst in 2009.
tourism was always going to be a difficult sell for the basques because of the separatist violence that only ended in october 2011 when eta, europe’s last armed guerrilla group, called an end to its 50-year struggle.
“if we export, we’d be having a hard time,” said mikel lezamiz, a director at mondragon. “it’s thanks to exports that we survive or this whole thing would come crashing down. survival comes from not depending on a single market, but on a number of markets.
mondragon assembly, part of the unlisted mondragon group, is the world’s largest cooperative and employs nearly 100,0000 people. around 80 people work in this plant. it also has factories in france, germany and mexico.
the basque country is spain’s fifth largest regional economy, with a gross domestic product of 66.1 billion euros, meaning it accounts for around 7 percent of national gdp. the region’s exports are more or less evenly balanced between the rest of spain and markets beyond spanish borders.
its deficit-to-gdp ratio is just 0.25 percent, compared with nearly 90 percent for the central state. it has the lowest unemployment rate in spain at 13.55 percent, compared with 24.4 percent nationally.
tools not tourism
by the time spain returned to democracy after general franciso franco’s death in 1975, many of its regions had already ditched the notion of developing their industry in favor of tourism, finance and telecoms.
spain’s sun-soaked eastern and southern coasts are dotted with apartment blocks and holiday homes, many of them impossible to sell since the domestic property market buckled. the wet basque climate made its green hills a more likely home to farmhouses or factories than luxury villas.
the region, at spain’s border with continental europe, is rich in natural resources. a cradle of the iron and steel industry, it was an obvious choice as a manufacturing base.
“there was a clear bet on industry here, a bet on those traditional sectors, such as iron, steel, energy and small and medium-sized companies that make all those components for the energy and car sectors, that make things that you can hold in your hand,” jose luis curbelo, director general of the basque institute for competitiveness, said.
“that is the secret of the basque economy,” he said. “basque industry immediately internationalized, whether that was by producing components and gadgets for overseas companies, or by setting up shop and manufacturing abroad.”
“that process was much faster and much more committed than in the rest of spain, so the collapse in the domestic market hasn’t affected basque companies as much. a lot of their sales are global and they can withstand the crisis in better shape.”
curbelo, speaking in the business school of the university of deusto in bilbao, said education and training have also been key in sharpening the basque business edge.
the region has the highest per capita output in spain - 31,288 euros compared with a national average of 23,271 euros and an eu average of 25,134 euros, according to the national statistics office.
“euskadi is in better shape to weather this situation because over 20 years ago it bet on industrial policies,” said inigo urkullu, the leader of the basque nationalist party.
many of spain’s biggest corporate names are basque.
bbva, the country’s second-largest bank, is a major player in south america, source of more than half its revenues. bbva has said it has no need of eu financial assistance. gamesa is the world’s fourth largest manufacturer of wind turbines. caf, a producer of rolling stock, sells trains as far afield as the united states and china.
the severity of the european debt crisis has pushed the borrowing costs of the spanish state to their highest since the launch of the euro in 1999 and many of spain’s overspending regions are shut out of capital markets altogether.
the basque region, by contrast, can borrow two-year debt at 8.5 percent interest, compared with 18 percent for valencia or nearly 14 percent for catalonia.
but the basque economy is not immune to events in europe. it shrank by 0.3 percent in the first quarter mainly because of a drop in exports to other european nations. the spanish economy contracted 0.4 percent over the same period.
patxi lopez, president of basque country, says the deep spending cuts that have hit the rest of spain, are not the panacea. spain needs to become a little more basque.
“spain needs to change its productivity model, the one people call ‘the brick bubble’. that has to change,” said lopez, a socialist. “we can’t permanently spend more than we earn, but rather need to invest in the resources that we do have.”
lopez said the basque government has marked up nearly half a million euros for those parts of the economy that have been most hurt by the financial crisis: small- and medium-sized companies, entrepreneurs and the self-employed.
a study from the oecd shows innovation and research and development in the basque country far outstrips that seen on average in the rest of spain on most measures.
innovation, isolation
the basques have a reputation among spaniards as tenacious workers and their relative isolation in the past from the rest of spain has been credited in part with making them more innovative.
the end of eta’s armed struggle has not brought an end to the desire of many basques for greater political and financial autonomy. a november poll by the sociological research center, or cis, showed that 56 percent of basques want a referendum on self determination now that peace is pretty well established and that most see themselves as basque nationalists to some degree. the same poll shows 65 percent wanted all political parties linked to eta to be legalized, something that has started to come about in a series of supreme court rulings.
in a cafe on a tree-lined avenue in bilbao, opposite the city’s san mames football stadium, jose antonio del moral, one of the founding partners of web portal ya.com, reflects on the basque experience.
“making the jump to set up a company is huge and when you do it, it’s like leaping into the abyss ... like bungee-jumping. you look into the void. feeling that you will have the support of people when you do jump is crucial and it is true that here, there is a really solid, highly developed public-private ecosystem and i’m the first to say ‘hey, i set up a company here for that reason.’”
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ˈɛdwɪn ˈvɑrgəs, ə dɪˈtɛktɪv wɪθ ðə nu jɔrk ˈsɪti pəˈlis dɪˈpɑrtmənt, həz bɪn ərˈɛstɪd ɔn ˈtuzˌdeɪ fər kəmˈpjutər ˈhækɪŋ kraɪmz. əˈkɔrdɪŋ tɪ ðə kəmˈpleɪnt ənˈsild ɪn mænˈhætən ˈfɛdərəl kɔrt, bɪtˈwin mɑrʧ 2011 ənd ɑkˈtoʊbər 2012 ˈvɑrgəs, ən ˌɛnˈwaɪˌpiˌdi dɪˈtɛktɪv əˈsaɪnd tɪ ə ˈpriˌsɪŋkt ɪn ðə brɑŋks, haɪərd ən ˈiˌmeɪl ˈhækɪŋ ˈsərvɪs tɪ əbˈteɪn krəˈdɛnʃəlz, səʧ ɛz ðə ˈpæsˌwərd ənd username*, fər ˈsərtən ˈiˌmeɪl əˈkaʊnts. ɪn ˈtoʊtəl, hi ˈpərʧəst æt list 43 ˈpərsɪnəl ˈiˌmeɪl əˈkaʊnts ənd wən ˈsɛljələr foʊn bɪˈlɔŋɪŋ tɪ æt list 30 ˈdɪfərənt ˌɪndəˈvɪʤəwəlz, ˌɪnˈkludɪŋ 21 hu ər əˈfɪliˌeɪtɪd wɪθ ðə ˌɛnˈwaɪˌpiˌdi. ˈæftər rɪˈsivɪŋ ðə krəˈdɛnʃəlz hi hæd ˈpərʧəst, hi ˈækˌsɛst æt list wən ˈpərsɪnəl ˈiˌmeɪl əˈkaʊnt bɪˈlɔŋɪŋ tɪ ə ˈkɑrənt ˌɛnˈwaɪˌpiˌdi ˈɔfɪsər, ənd ən ˈɔnˌlaɪn ˈsɛljələr ˈtɛləˌfoʊn əˈkaʊnt bɪˈlɔŋɪŋ tɪ əˈnəðər ˈvɪktɪm. hi peɪd ə ˈtoʊtəl əv mɔr ðən tɪ ˈɛntɪtiz əˈsoʊʃiˌeɪtəd wɪθ ðə ˈiˌmeɪl ˈhækɪŋ ˈsərvɪsɪz. ən ɪgˌzæməˈneɪʃən əv ðə ˈkɑntɛnts əv ðə hɑrd draɪv frəm vargas’*’ ˌɛnˈwaɪˌpiˌdi kəmˈpjutər rɪˈvild, əˈməŋ ˈəðər θɪŋz, ðət ðə ˈkɑnˌtækts ˈsɛkʃən əv hɪz əˈkaʊnt ˌɪnˈkludɪd ə lɪst əv æt list 20 ˈiˌmeɪl ˈæˈdrɛsɪz, əˈlɔŋ wɪθ wət əˈpɪr tɪ bi ˈtɛləˌfoʊn ˈnəmbərz, hoʊm ˈæˈdrɛsɪz, ənd ˈviɪkəl ˌɪnˌfɔrˈmeɪʃən ˌkɔrəˈspɑndɪŋ tɪ ðoʊz ˈiˌmeɪl ˈæˈdrɛsɪz, ɛz wɛl ɛz wət əˈpɪr tɪ bi ðə ˈpæsˌwərdz fər ðoʊz ˈiˌmeɪl ˈæˈdrɛsɪz. hi ˈɔlsoʊ ˈækˌsɛst ðə ˈnæʃənəl kraɪm ˌɪnˌfɔrˈmeɪʃən ˈsɛnər (ncic*) ˈdætəˌbeɪs, ə ˈfɛdərəl ˈdætəˌbeɪs, tɪ əbˈteɪn ˌɪnˌfɔrˈmeɪʃən əˈbaʊt æt list tu ˌɛnˈwaɪˌpiˌdi ˈɔfɪsərz wɪˈθaʊt ˌɔθərəˈzeɪʃən. ðə ˈiˌmeɪl əˈkaʊnts əv ðoʊz tu ˈɔfɪsərz wər əˈməŋ ðə ˈiˌmeɪl əˈkaʊnts ˈvɑrgəs peɪd ðə ˈiˌmeɪl ˈhækɪŋ ˈsərvɪsɪz tɪ hæk ˈɪntu soʊ hi kʊd əbˈteɪn krəˈdɛnʃəlz. ðə ˌɪnˌvɛstəˈgeɪʃən wɑz kənˈdəktəd baɪ ðə ˈɛfˈbiˈaɪ ənd ðə ˌɪnˈtərnəl əˈfɛrz ˈbjʊroʊ, ənd ˈvɑrgəs həz ˈəltəmətli bɪn ʧɑrʤd wɪθ wən kaʊnt əv kənˈspɪrəsi tɪ kəˈmɪt kəmˈpjutər ˈhækɪŋ ənd wən kaʊnt əv kəmˈpjutər ˈhækɪŋ. iʧ kaʊnt ˈkɛriz ə ˈmæksəməm ˈsɛntəns əv wən jɪr ɪn ˈprɪzən. ɔl ˈpleɪsɪz, ðə pəˈlis dɪˈpɑrtmənt ɪz nɑt ə ˈwərkˌpleɪs wɛr wən ʃʊd hæv tɪ bi kənˈsərnd əˈbaʊt ən ənˈskrupjələs ˈfɛloʊ ɪmˈplɔɪi. ənˈlaɪk ðə ˈiˌmeɪl əˈkaʊnts, ðə dɪˈfɛndənt nid tɪ peɪ ˈɛniˌwən tɪ geɪn ˈækˌsɛs tɪ ðə ˈdætəˌbeɪs. bət ˈækˌsɛs ɪz nɑt ˌɔθərəˈzeɪʃən, ənd hi hæd noʊ authorization,”*,” ˈkɑmɛntəd ˈɛfˈbiˈaɪ əˈsɪstənt dɪˈrɛktər ɪn ʧɑrʤ ʤɔrʤ venizelos*.
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edwin vargas, a detective with the new york city police department, has been arrested on tuesday for computer hacking crimes.
according to the complaint unsealed in manhattan federal court, between march 2011 and october 2012, vargas, an nypd detective assigned to a precinct in the bronx, hired an e-mail hacking service to obtain log-in credentials, such as the password and username, for certain e-mail accounts.
in total, he purchased at least 43 personal e-mail accounts and one cellular phone belonging to at least 30 different individuals, including 21 who are affiliated with the nypd.
after receiving the log-in credentials he had purchased, he accessed at least one personal e-mail account belonging to a current nypd officer, and an online cellular telephone account belonging to another victim.
he paid a total of more than $4,000 to entities associated with the e-mail hacking services.
an examination of the contents of the hard drive from vargas’ nypd computer revealed, among other things, that the contacts section of his gmail account included a list of at least 20 e-mail addresses, along with what appear to be telephone numbers, home addresses, and vehicle information corresponding to those e-mail addresses, as well as what appear to be the passwords for those e-mail addresses.
he also accessed the national crime information center (ncic) database, a federal database, to obtain information about at least two nypd officers without authorization. the e-mail accounts of those two officers were among the e-mail accounts vargas paid the e-mail hacking services to hack into so he could obtain log-in credentials.
the investigation was conducted by the fbi and the pd’s internal affairs bureau, and vargas has ultimately been charged with one count of conspiracy to commit computer hacking and one count of computer hacking. each count carries a maximum sentence of one year in prison.
“of all places, the police department is not a workplace where one should have to be concerned about an unscrupulous fellow employee. unlike the e-mail accounts, the defendant didn’t need to pay anyone to gain access to the ncic database. but access is not authorization, and he had no authorization,” commented fbi assistant director in charge george venizelos.
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ˈjuʒəwəli wɪn ju si saɪnz riˈmaɪndɪŋ ˈpipəl əv ˈpɛnəltiz fər kraɪmz, bɪˈkəz ə ˌpɑˈtɪkjələr əˈfɛns ˈkɛriz wɪθ ɪt ə ˈpɛnəlti ˈdəbəld ɪn wərk zone,”*,” ə ˈtrænzɪt ɪmˈplɔɪi ɪz ə felony,”*,” tɪ ˈfɑloʊ ˈkæbən ˌɪnˈstrəkʃənz meɪ rɪˈzəlt ɪn arrest”…*”… ðət kaɪnd əv θɪŋ. bət ðə ˈwərdɪŋ ɔn wən saɪn ɪn luˌiziˈænə meɪks ˈjuˈɛs ˈwəndər haʊ ˈlɪtəl ðə foʊks əv ðət steɪt ˈvælju ˈtæksi ˈdraɪvərz. əv ə ˈtæksiˌkæb ˈdraɪvər meɪ bi ə fərst dɪˈgri ˈmərdər əˈfɛns ɪn ðə steɪt əv luˌiziˈænə, ˈpənɪʃəbəl baɪ death,”*,” ridz ðə ˈnoʊtɪs sɛnt ɪn baɪ kənˈsumərɪst ˈridər kæθˈlin (@kathleenlago*). ðə fækt ðət wən ˈivɪn nidz ə saɪn tɪ riˈmaɪnd ˈtæksi ˈpæsənʤərz tɪ nɑt sˈlɔtər ðə mæn ər ˈwʊmən bɪˈhaɪnd ðə wil ɪz ˌdɪskənˈsərtɪŋ. waɪl hæd mɔr ðən ə fju bæd ər rud hæks ˈoʊvər ðə jɪrz, ˈnɛvər wəns θɔt əv duɪŋ ˈɛni ˈfɪzɪkəl hɑrm tɪ ðɛm, lɛt əˈloʊn goʊɪŋ soʊ fɑr ɛz tɪ ɛnd ðɛr lɪvz. ənd ˈprɪti ʃʊr ðət ˈɛniˌwən hu meɪ bi kənˈsɪdərɪŋ ˈkɪlɪŋ ə kæb ˈdraɪvər ˈwɛðər fər ðə kæʃ, ðə kɑr, ər ʤɪst fər səm bɪˈzɑr θrɪl ɪz ɔˈrɛdi wɛl əˈwɛr ðət fərst dɪˈgri ˈmərdər. ðə ˈsɛkənd θɪŋ ɑd əˈbaʊt ðə noʊt ɪz ðə bi ə fərst dɪˈgri murder”*” pɑrt. waɪl ɪt ɪz ˈpɑsəbəl ðət ə ˈtæksi ˈpæsənʤər kʊd kɔz ðə dɛθ əv ðə ˈdraɪvər ɪn səʧ ə weɪ ðət ɪt fɔlz ˈəndər ðə luˌiziˈænə ˌdɛfəˈnɪʃənz əv ˈsɛkənd dɪˈgri ˈmərdər, ˈmænsˌlɔtər, ər ˈnɛglɪʤənt ˈhɑməˌsaɪd, ðə ˈkɪlər ɪn ðoʊz ˌsɪʧuˈeɪʃənz hæv bɪn ˈsɪtɪŋ ɪn ðə bæk sit ˈplænɪŋ tɪ kɪl ðə ˈdraɪvər. soʊ ðə saɪn əˈplaɪ tɪ ðɛm. pərˈhæps ðɛr ʃʊd bi ə ˈlɔŋgər ˈvərʒən ðət sɪz ə ˈtæksiˌkæb ˈdraɪvər ɪn ðə ər əˈtɛmptəd əv ˈægrəˌveɪtɪd reɪp, ˈfɔrsəbəl reɪp, ˈægrəˌveɪtɪd ˈɑrsən, ˈægrəˌveɪtɪd ˈbərgləri, ˈægrəˌveɪtɪd ˈkɪdˌnæpɪŋ, ˈsɛkənd dɪˈgri ˈkɪdˌnæpɪŋ, ˈægrəˌveɪtɪd ɪˈskeɪp, əˈsɔlt baɪ ˈdraɪvˈbaɪ ˈʃutɪŋ, ɑrmd ˈrɑbəri, fərst dɪˈgri ˈrɑbəri, ˈsɛkənd dɪˈgri ˈrɑbəri, ˈsɪmpəl ˈrɑbəri, ˈkruəlti tɪ ˈʤuvəˌnaɪlz, ˈsɛkənd dɪˈgri ˈkruəlti tɪ ˈʤuvəˌnaɪlz, ər ˈtɛrəˌrɪzəm, ˈivɪn ðoʊ ju hæv noʊ ˌɪnˈtɛnt tɪ kɪl ər tɪ ˌɪnˈflɪkt greɪt ˈbɑdəli hɑrm, meɪ bi ə ˈsɛkənd dɪˈgri ˈmərdər əˈfɛns, ˈpənɪʃəbəl baɪ laɪf ɪn ˈprɪzən wɪˈθaʊt ˈbɛnəfɪt əv pəroʊl, proʊˈbeɪʃən, ər səˈspɛnʃən əv sentence.”*.” ər ˈmeɪbi ə saɪn ðət ˈsɪmpli sɪz ˈθɪŋkɪŋ əˈbaʊt duɪŋ, ʤɪst du ɪt bɪˈkəz goʊ tɪ jail.”*.”
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usually when you see signs reminding people of penalties for crimes, it’s because a particular offense carries with it a harsher-than-usual penalty — “fines doubled in work zone,” “assaulting a transit employee is a felony,” “failure to follow cabin crew’s instructions may result in arrest”… that kind of thing. but the wording on one sign in louisiana makes us wonder how little the folks of that state value taxi drivers.
“killing of a taxicab driver may be a first degree murder offense in the state of louisiana, punishable by death,” reads the notice sent in by consumerist reader kathleen (@kathleenlago).
the fact that one even needs a sign to remind taxi passengers to not slaughter the man or woman behind the wheel is disconcerting. while we’ve had more than a few bad or rude hacks over the years, we’ve never once thought of doing any physical harm to them, let alone going so far as to end their lives.
and we’re pretty sure that anyone who may be considering killing a cab driver — whether it’s for the cash, the car, or just for some bizarre thrill — is already well aware that it’s first degree murder.
the second thing that’s odd about the note is the “may be a first degree murder” part. while it is possible that a taxi passenger could cause the death of the driver in such a way that it falls under the louisiana definitions of second degree murder, manslaughter, or negligent homicide, the killer in those situations wouldn’t have been sitting in the back seat planning to kill the driver. so the sign doesn’t apply to them.
perhaps there should be a longer version that says “killing a taxicab driver in the perpetration or attempted perpetration of aggravated rape, forcible rape, aggravated arson, aggravated burglary, aggravated kidnapping, second degree kidnapping, aggravated escape, assault by drive-by shooting, armed robbery, first degree robbery, second degree robbery, simple robbery, cruelty to juveniles, second degree cruelty to juveniles, or terrorism, even though you have no intent to kill or to inflict great bodily harm, may be a second degree murder offense, punishable by life in prison without benefit of parole, probation, or suspension of sentence.”
or maybe a sign that simply says “whatever you’re thinking about doing, just don’t do it because you’ll go to jail.”
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ˈtrænzˈʤɛndər ˈwɪmən meɪ bi ˈpætɪd daʊn baɪ meɪl ˈɔfɪsərz ənd dɪˈteɪnd ɪn meɪl sɛlz wɪˈθaʊt kənˌsɪdərˈeɪʃən fər ðɛr ˈseɪfti baɪ əˈlisə tɑŋ ˈbæŋkɑk, ʤun 28 (ˈtɑmsən ˈrɔɪtərz faʊnˈdeɪʃən) ˈlɛzbiən, geɪ, ˌbaɪˈsɛkʃuəl ənd ˈtrænzˈʤɛndər (lgbt*) ˈpipəl ɪn ðə ˈfɪləˌpinz feɪs ɛkˈstɔrʃən, ˈvaɪələns ənd reɪp wɪn ˈsikɪŋ hɛlp frəm ðə pəˈlis ənd du nɑt trəst lɔ ɛnˈfɔrsmənt ˈɔfɪsərz tɪ prəˈtɛkt ðɛm, ə raɪts grup sɛd. ə rɪˈpɔrt dɪˈteɪlɪŋ pəˈlis əˈbjuzɪz əˈgɛnst ˈpipəl sɪz pəˈlis ˈɔfɪsərz ˈɔfən əˈsum ðət geɪ mɛn ənd ˈtrænzˈʤɛndər ˈwɪmən ər sɛks ˈwərkərz, ənd dɪˈnaɪ əˈsɪstəns tɪ ðɛm. ɪt ˈɔlsoʊ ˈnoʊtɪd pəˈlis baɪəs ɪn dəˈmɛstɪk ˈvaɪələns ˈkeɪsɪz ˌɪnˈvɑlvɪŋ ˈlɛzbiən ˈkəpəlz, ɪn wɪʧ ðə mɔr "bʊʧ" ˈpɑrtnər ɪz ˌɔtəˈmætɪkli əˈsumd tɪ bi ðə ˈpərpəˌtreɪtər. "ɪt ɪz ˈrɪli bæd bɪˈkəz ju doʊnt si ðə pəˈlis ɛz ən ˌɪnstɪˈtuʃən wɛr ju kən gɪt prəˈtɛkʃən," sɛd ʤɪŋ ˈkrɪstəbəl, ˈɔθər əv ðə rɪˈpɔrt ənd ˈprɑmənənt ˈæktɪvɪst ˈwərkɪŋ wɪθ nu raɪts grup ˈaʊˈtraɪt ˈækʃən ˌɪnərˈnæʃənɑl. "ðə ˈmɑtoʊ əv ˈfɪləˌpinz ˈnæʃənəl pəˈlis ɪz 'tɪ sərv ənd prəˈtɛkt', bət ɪn tərmz əv ðə ˌɪnˌfɔrˈmeɪʃən wi gɪt, ɪts ɪgˈzæktli ðə ˈɑpəzɪt," ʃi sɛd ɪn ə skaɪp ˈɪntərvˌju frəm məˈnɪlə. ˈfɪləˌpinz pəˈlis ʧif ˌsupərɪnˈtɛndənt meɪər sɛd pəˈlis ər ˌɪnˈstrəktɪd tɪ rɪˈspɛkt ɔl ˈpipəl, rəˈgɑrdləs əv reɪs, rɪˈlɪʤən ənd ˈʤɛndər. "wi du nɑt dɪˈskrɪməˌneɪt əˈgɛnst ðə kəmˈjunɪti ɪn ɑr pəˈlis ˌɑpərˈeɪʃənz, ɪn ˈmeɪkɪŋ ərˈɛsts ər ɪn əˈsɪstɪŋ ðɛm ɪn ˌwəˈtɛvər weɪ ðə pəˈlis kʊd," hi sɛd. "wi hæv ə ˈjumən raɪts ˈɔfəs ðət hɛlps ðə ˈlidərˌʃɪp kræft ˈpɑləsiz ənd ˌɑpərˈeɪʃənəl prəˈsiʤərz ðət prəˈtɛkt ənd rɪˈspɛkt ˈjumən raɪts, nɑt ˈoʊnli fər ðə bət fər ɔl ˈpipəl, əˈspɛʃəli ðə əˈkjuzd," hi ˈædɪd. ðə rɪˈpɔrt sɛd ə læk əv ˈgaɪˌdlaɪnz ɔn ˈdilɪŋ wɪθ ˈpipəl ɪn ðə ˈfɪləˌpinz pəˈlisɪz ˌɑpərˈeɪʃənəl ˈhændˌbʊk minz ˈɔfɪsərz ər "lɛft tɪ juz ðɛr ˈpərsɪnəl ˈʤəʤmənt" wɪn frisking*, ˈmeɪkɪŋ ərˈɛsts ənd dɪˈteɪnɪŋ ˈpipəl. ˈtrænzˈʤɛndər ˈwɪmən meɪ bi ˈpætɪd daʊn baɪ meɪl ˈɔfɪsərz ənd dɪˈteɪnd ɪn meɪl sɛlz wɪˈθaʊt kənˌsɪdərˈeɪʃən fər ðɛr ˈseɪfti. ˈtrænzˈʤɛndər mɛn meɪ bi groʊpt tɪ si ɪf ðeɪ hæv brɛsts, ðoʊ səm hæv nɑt hæv hæd ə mæˈstɛktəmi, ˈkrɪstəbəl sɛd. ðə rɪˈpɔrt sɛd wən geɪ mæn wɛnt tɪ pəˈlis ˈæftər biɪŋ reɪpt wɑz læft æt ənd æst, "ˈɪzənt ðət wət ju wɔnt?" ɪn əˈnəðər keɪs, ə geɪ mæn wɑz pɪkt əp fər sɛks baɪ ən ˈɔfɪsər, hu ˈɔrdərd ɪm tɪ pərˈfɔrm ˈɔrəl sɛks, ðɛn rɑbd ɪm əv hɪz wɔʧ ənd ˈməni, ðə rɪˈpɔrt sɛd. ðə ˈvɪktɪm ˌriˈpɔrtəd ðə ˈɪnsədənt tɪ hɪz ˈbrəðər, ən ˈɔfɪsər ɪn əˈnəðər ˈsɪti, ənd ðə əˈfɛndɪŋ pəˈlismən wɑz ərˈɛstɪd tɪ feɪs ˈʧɑrʤɪz əv reɪp, ˈrɑbəri ənd ˌjusərˈpeɪʃən əv əˈθɔrəti, ɪt sɛd. ˈpipəl hu hæv kɛpt ðɛr ˈsɛkʃuəl ˌɔriɛnˈteɪʃən ər ˈʤɛndər aɪˈdɛntəˌti ˈsikrɪt frəm ˈfæməli, skul əˈθɔrətiz, frɛndz ənd ˈkɑligz ər ˈvəlnərəbəl tɪ pəˈlis ɛkˈstɔrʃən, ðə ˈstədi sɛd. jɛt ˈmɛni əˈbjuzɪz goʊ ˌənriˈpɔrtɪd. "noʊ wən wɔnts tɪ faɪl ə kəmˈpleɪnt əˈgɛnst pəˈlis bɪˈkəz ðeɪ kænt trəst pəˈlis wɪl ˈkɑndəkt ən ˌɪnˌvɛstəˈgeɪʃən əˈgɛnst ˈɔfɪsərz, soʊ ˌɪmˈpjunɪti ˈhæpənz," ˈkrɪstəbəl sɛd. ðə rɪˈpɔrt kɔld fər ðə ˈfɪləˌpinz ˈnæʃənəl pəˈlis tɪ əˈmɛnd ɪts ˌɑpərˈeɪʃənz ˈhændˌbʊk tɪ ˌɪnˈklud spɪˈsɪfɪk prəˈsiʤərz fər ˈsɛnsɪtɪv ˈhændəlɪŋ əv ˈpipəl, ˌpɑrˈtɪkjələrli ˈdʊrɪŋ ˈbɑdi ˈsərʧɪz ənd dɪˈtɛnʃən. ɪt ˈɔlsoʊ ˌrɛkəˈmɛndz ðət pəˈlis əˈkædəmiz tiʧ ˈstudənts əˈbaʊt ˈɪʃuz rɪˈleɪtɪŋ tɪ ˈsɛkʃuəl ˌɔriɛnˈteɪʃən ənd ˈʤɛndər aɪˈdɛntəˌti. (rɪˈpɔrtɪŋ baɪ əˈlisə tɑŋ @alisatang*, əˈdɪʃənəl rɪˈpɔrtɪŋ baɪ mɑnˈwɛl ɪn məˈnɪlə, ˈɛdɪtɪŋ baɪ rɔs ˈrəsəl ənd ˈkeɪti nuˈjɛn; pliz ˈkrɛdɪt ðə ˈtɑmsən ˈrɔɪtərz faʊnˈdeɪʃən, ðə ˈʧɛrətəbəl ɑrm əv ˈtɑmsən ˈrɔɪtərz, ðət ˈkəvərz ˌjuˌmænəˈtɛriən nuz, ˈwɪmənz raɪts, kərˈəpʃən ənd ˈklaɪmɪt ʧeɪnʤ. ˈvɪzɪt tɪ si mɔr ˈstɔriz) ɑr ˈstændərdz: ðə ˈtɑmsən ˈrɔɪtərz trəst ˈprɪnsəpəlz.
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transgender women may be patted down by male officers and detained in male cells without consideration for their safety
by alisa tang
bangkok, june 28 (thomson reuters foundation) - lesbian, gay, bisexual and transgender (lgbt) people in the philippines face extortion, violence and rape when seeking help from the police and do not trust law enforcement officers to protect them, a rights group said.
a report detailing police abuses against lgbt people says police officers often assume that gay men and transgender women are sex workers, and deny assistance to them.
it also noted police bias in domestic violence cases involving lesbian couples, in which the more "butch" partner is automatically assumed to be the perpetrator.
"it is really bad because you don't see the police as an institution where you can get protection," said ging cristobal, author of the report and prominent filipina activist working with new york-based rights group outright action international.
"the motto of philippines national police is 'to serve and protect', but in terms of the information we get, it's exactly the opposite," she said in a skype interview from manila.
philippines police chief superintendent wilben mayor said police are instructed to respect all people, regardless of race, religion and gender.
"we do not discriminate against the lgbt community in our police operations, in making arrests or in assisting them in whatever way the police could," he said.
"we have a human rights office that helps the leadership craft policies and operational procedures that protect and respect human rights, not only for the lgbt but for all people, especially the accused," he added.
the report said a lack of guidelines on dealing with lgbt people in the philippines police's operational handbook means officers are "left to use their personal judgement" when frisking, making arrests and detaining lgbt people.
transgender women may be patted down by male officers and detained in male cells without consideration for their safety. transgender men may be groped to see if they have breasts, though some have not have had a mastectomy, cristobal said.
the report said one gay man went to police after being raped was laughed at and asked, "isn't that what you want?"
in another case, a gay man was picked up for sex by an officer, who ordered him to perform oral sex, then robbed him of his watch and money, the report said.
the victim reported the incident to his brother, an officer in another city, and the offending policeman was arrested to face charges of rape, robbery and usurpation of authority, it said.
lgbt people who have kept their sexual orientation or gender identity secret from family, school authorities, friends and colleagues are vulnerable to police extortion, the study said.
yet many abuses go unreported.
"no one wants to file a complaint against police because they can't trust police will conduct an investigation against co-police officers, so impunity happens," cristobal said.
the report called for the philippines national police to amend its operations handbook to include specific procedures for sensitive handling of lgbt people, particularly during body searches and detention.
it also recommends that police academies teach students about issues relating to sexual orientation and gender identity.
(reporting by alisa tang @alisatang, additional reporting by manuel mogato in manila, editing by ros russell and katie nguyen; please credit the thomson reuters foundation, the charitable arm of thomson reuters, that covers humanitarian news, women's rights, corruption and climate change. visit http://news.trust.org to see more stories)
our standards: the thomson reuters trust principles.
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ˈmuvɪŋ tɪ ə nu ˈsɪti kən bi ɪkˈsaɪtɪŋ; ˌhaʊˈɛvər, ðɪs taɪp əv muv kəm wɪˈθaʊt strɛs. ðɪs ɪz əˈspɛʃəli tru ɪf ɪt həz tɪ bi dən ɔn ʃɔrt ˈnoʊtɪs, wɪθ ə ˈkəpəl əv wiks ər ˈivɪn deɪz tɪ ˈtrænspɔrt jʊr laɪf. tɪ hɛlp rɪˈliv ðə ˈprɛʃər, ˈjutəˌlaɪz ðə tɪps bɪˈloʊ. səm əv ðə bɛst fər ˈprɛpɪŋ fər ðɪs bɪg ʧeɪnʤ wɪˈθaʊt ðə ˈləgʒəri əv taɪm ɔn jʊr saɪd. tɪps fər ˈplænɪŋ 1 ˌdɪˈsaɪd ɔn ˈmuvərz ɪf ˈtruli krənʧt fər taɪm, ˈmuvɪŋ baɪ ˈjɔrsɛlf goʊɪŋ tɪ bi ən ˈɔpʃən. wɪn ˈmuvɪŋ læst ˈmɪnət, ˌsækrəˈmɛntoʊ ˈmuvɪŋ ˈkəmpəˌni, ʧip ˈmuvərz, səˈʤɛst ˈgɪvɪŋ ˈjɔrsɛlf ə breɪk baɪ ˈhaɪrɪŋ ˈmuvərz tɪ kəm ɔn ðə deɪ laɪk tɪ muv. ðɪs ʃʊd bi ðə fərst θɪŋ ju du, ɛz ˈmɛni ˈmuvɪŋ ˈkəmpəˌniz ər bʊkt wiks ɪn ədˈvæns. 2 ˌdɪˈsaɪd ɔn ˈpækərz ˌbiˈfɔr ju pæk, ˌdɪˈsaɪd haʊ ðɪs wɪl bi dən. kən ju əˈfɔrd tɪ haɪər ˈpækərz? ɪf ju kən, ˌrɛkəˈmɛndɪd tɪ hæv ðɛm teɪk kɛr əv ðɪs bɪˈkəz ðeɪ kən gɪt moʊst hoʊmz pækt ɪn wən ər tu deɪz. ɪf nɑt, ðɛn æsk frɛndz ənd ˈfæməli tɪ hɛlp, wɪθ ðə ˈprɑməs əv ˈgrætəˌtud ənd ˈpitsə ɛz θæŋks. 3 faɪnd ə hoʊm ˌɛnˈlɪst ə ril ɛˈsteɪt ˈeɪʤənt ər ˈprɑpərti ˈmænɪʤər tɪ hɛlp ju faɪnd ə nu hoʊm wɛr ˈmuvɪŋ tɪ. ju kən faɪnd greɪt tɪps fər ˈfaɪndɪŋ ən əˈpɑrtmənt fæst hir. ɪf ˈkərəntli ə ˈhoʊˌmoʊnər, hæv tɪ ˌdɪˈsaɪd ɔn ˈsɛlɪŋ ər ˈrɛntɪŋ aʊt. ɪf ˈrɛntɪŋ, ðɛn tɔk tɪ jʊr ˈprɑpərti ˈmænɪʤər əˈbaʊt ðə nɛkst stɛps ɪn ˈbreɪkɪŋ jʊr lis. 4 kɔl juˈtɪlətiz kɔl iʧ əv jʊr juˈtɪləti ˈkəmpəˌniz tɪ hæv ə deɪt dɪˈtərmənd. ˈɔlsoʊ nid tɪ hæv jʊr ˈtɛləˌvɪʒən ʧeɪnʤd, əˈlɑrm ˈsɪstəmz stɑpt, ənd jʊr meɪl ˈfɔrwərdɪd. læst bət nɑt list, kɔl ɔl ˈkrɛdɪt kɑrd ənd ˈbæŋkɪŋ ˈkəmpəˌniz tɪ ʧeɪnʤ jʊr loʊˈkeɪʃən. kip ɪn maɪnd moʊst əv ðiz θɪŋz bi dən ənˈtɪl ju hæv ə nu ˈæˌdrɛs. haʊ tɪ pæk 1 dɪˈvaɪd ənd ˈkɑŋkər græb ə fju frɛndz ər ˈpækɪŋ prəˈfɛʃənəlz ənd əˈsaɪn wən tɪ iʧ rum ɪn ðə haʊs. iʧ ˈpərsən ʃʊd hæv ðɛr ˈpækɪŋ teɪp, ˈbɑksɪz, ˈpeɪpər, ənd ˈpækɪŋ məˈtɪriəlz. 2 pæk ˈprɑpərli bɪˈgɪn wɪθ ˈhɛvi ˈaɪtəmz fərst tɪ ɪnˈʃʊr jʊr ˈaɪtəmz ər lɛs ˈlaɪkli tɪ bi ˈdæmɪʤd wɪn ju muv. həz greɪt tɪps fər ˈprɑpərli ˈpækɪŋ ˈmuvɪŋ ˈbɑksɪz. 3 juz ˈwɔrˌdroʊb ˈbɑksɪz fər ˈkloʊðɪŋ ðət ɪz həŋ əp, juz ˈwɔrˌdroʊb ˈbɑksɪz ðət wɪl əˈlaʊ ðɛm tɪ steɪ ɔn ðə ˈhæŋər. 4 tɔs ər ˈdoʊˌneɪt juzd ər wɔrn ˈsəmθɪŋ ɪn mɔr ðən ə jɪr? tɔs ər ˈdoʊˌneɪt ɪt tɪ seɪv ju taɪm ənd ɪˈlɪməˌneɪt əˈdɪʃənəl ˈbɑksɪz. 5 ˈmænɪʤ jʊr taɪm ɛz ˈpækɪŋ, ɪt kən bi ˈtɛmptɪŋ tɪ stɑp ənd teɪk ə breɪk. ˌhaʊˈɛvər, wɪˈθaʊt taɪm ɔn jʊr saɪd, ðɪs ən ˈɔpʃən. steɪ laser-focused*, ˈmænɪʤ jʊr taɪm ˈprɑpərli, ənd plæn ˈɛvriˌθɪŋ aʊt tɪ ɪnˈʃʊr pækt ɪn taɪm fər ˈmuvɪŋ deɪ. pərˈpɛrɪŋ fər ʧeɪnʤ ə ˌlæsˈmɪnət muv ɪz ˈnɛvər ˈizi, ˈivɪn ɪf ˈoʊnli ˈmuvɪŋ tɪ ðə nɛkst ˈsɪti ˈoʊvər. ˌhaʊˈɛvər, baɪ ˈjuzɪŋ ðə tɪps əˈbəv, ɪt kən bi ə ˈlɪtəl lɛs ˈstrɛsfəl. ɛz lɔŋ ɛz ju hæv ðə hɛlp əv frɛndz ər prəˈfɛʃənəlz, jʊr muv ɪz ʃʊr tɪ goʊ mɔr sˈmuðli, dɪˈspaɪt ðə taɪm krənʧ.
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moving to a new city can be exciting; however, this type of move doesn’t come without stress. this is especially true if it has to be done on short notice, with a couple of weeks or even days to transport your life. to help relieve the pressure, utilize the tips below. they’re some of the best for prepping for this big change without the luxury of time on your side.
tips for planning
1. decide on movers
if you’re truly crunched for time, moving by yourself isn’t going to be an option. when moving last minute, sacramento moving company, cheap movers, suggest giving yourself a break by hiring movers to come on the day you’d like to move. this should be the first thing you do, as many moving companies are booked weeks in advance.
2. decide on packers
before you pack, decide how this will be done. can you afford to hire packers? if you can, it’s recommended to have them take care of this because they can get most homes packed in one or two days. if not, then ask friends and family to help, with the promise of gratitude and pizza as thanks.
3. find a home
enlist a real estate agent or property manager to help you find a new home where you’re moving to. you can find great tips for finding an apartment fast here. if you’re currently a homeowner, you’ll have to decide on selling or renting out. if you’re renting, then talk to your property manager about the next steps in breaking your lease.
4. call utilities
call each of your utility companies to have a shut-off date determined. you’ll also need to have your television changed, alarm systems stopped, and your mail forwarded. last but not least, call all credit card and banking companies to change your location. keep in mind most of these things can’t be done until you have a new address.
how to pack
1. divide and conquer
grab a few friends or packing professionals and assign one to each room in the house. each person should have their packing tape, boxes, paper, and packing materials.
2. pack properly
begin with heavy items first to ensure your items are less likely to be damaged when you move. u-haul has great tips for properly packing moving boxes.
3. use wardrobe boxes
for clothing that is hung up, use wardrobe boxes that will allow them to stay on the hanger.
4. toss or donate
haven’t used or worn something in more than a year? toss or donate it to save you time and eliminate additional boxes.
5. manage your time
as you’re packing, it can be tempting to stop and take a break. however, without time on your side, this isn’t an option. stay laser-focused, manage your time properly, and plan everything out to ensure you’re packed in time for moving day.
preparing for change
a last-minute move is never easy, even if you’re only moving to the next city over. however, by using the tips above, it can be a little less stressful. as long as you have the help of friends or professionals, your move is sure to go more smoothly, despite the time crunch.
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lɛts ʤɪst seɪ ðət ðə ˌɪˈrɑk ˈɑrmi ˈɪzənt ɪgˈzæktli ˈæŋkərɪŋ ə ˌdɛməˈkrætɪk əˈweɪkənɪŋ ɪn ðə ˈmɪdəl ist. ˈərliər ðɪs wik, ˌɪˈrɑks ɑrmd ˈfɔrsɪz ɪn ənd səˈplaɪd baɪ ðə juˈnaɪtɪd steɪts tɪ sɪˈkjʊr ðə ˌwɛlˈbiɪŋ əv ɪts ˈpipəl ənd drɑpt ðɛr gənz, ʃɛd ðɛr ˈjunəˌfɔrmz, ənd sərˈɛndərd tɪ ˈsuni ˌɪnˈsərʤənts ɪn ə mɪr fɔr deɪz. noʊ hir. əˈbaʊt ə səˈvɪljənz hæv lɛft ðə ˈsɪti ɪn ˌɪˈrɑk tɪ fli wət ɪz ˈʃʊrli goʊɪŋ tɪ bɪˈkəm ə ˈhɑtˌbɛd əv bɪˈhɛdɪŋz ənd ˈəðər əˈsɔrtɪd ækts əv ˈʤihɑd. ənd naʊ, əˈkɔrdɪŋ tɪ ˈsiˈɛˈnɛn, ðə ˌɪzˈlɑmɪk steɪt əv ˌɪˈrɑk ənd ˈsɪriə ˈɔlsoʊ həz ˈɔlˌmoʊst kəmˈplit kənˈtroʊl əv tikrit*. (ər ˈsəmθɪŋ ˈvɛri məʧ laɪk ɪt) ɪz ˈdɛfənətli ɔn ðə təˈwɔrd ɑr ˈælaɪz. nɑt ðət wi ʃʊd bi səˈpraɪzd. bæk ɪn 2010 ˈɑrmi ʤɛn. ʤɔrʤ ˈkeɪsi wɔrnd ðət ðə ˌɪˈræki pəˈlis ənd ˈsoʊlʤərz lækt ˈlidərz, wər ˈdɛzərtɪŋ baɪ ðə ˈθaʊzənz, wər ˈhæmpərd baɪ kərˈəpʃən, dɪˈspleɪd ˈlɪtəl wɪl tɪ faɪt, ənd wʊd ˈprɑbəˌbli ˈnɛvər bi ˈeɪbəl tɪ fɛnd ɔf ˌɪnˈsərʤənts. ˈɑbviəsli, nɑt məʧ həz ʧeɪnʤd, dɪˈspaɪt ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑməz əˈsərʃən ɪn 2011 ðət ðə wɔr wɑz ˈoʊvər ənd "ˌɪˈrækiz hæv ˈteɪkən fʊl riˌspɑnsəˈbɪləti fər ðɛr ˈkəntriz sɪˈkjʊrəti." pʊt ɪt ðɪs weɪ: praɪm ˈmɪnɪstər kræk "ˈkraɪsəs ˈjunɪt," wɪʧ kənˈsɪsts əv səˈvɪljən ˌvɑlənˈtɪrz, ɪz pərˈpɛrɪŋ ə ˌkaʊntərɔˈfɛnsɪv tɪ ðə nɔrθ. ə ˈmeɪkˌʃɪft mɪˈlɪʃə ɪz wət 10 jɪrz, ˈθaʊzənz əv əˈmɛrɪkən lɪvz, ənd ˈhənərdz əv ˈbɪljənz əv ˈdɔlərz baɪz ɪn ðoʊz pɑrts. stɪl, ɪts ˈdɪfəkəlt tɪ bɪˈliv ðət ˈɛni ædˌmɪnɪˈstreɪʃən wʊd əˈlaʊ ðə fɔl əv ˌɪˈrɑk tɪ ˈhæpən. əˈmɛrɪkə wʊd bi ˈlivɪŋ ə ˈneɪʃən wɪθ ən ˈɑrmi ðət kænt dɪˈfɛnd ˌɪtˈsɛlf frəm noʊˈmædɪk ˈtɛrər grups, məʧ lɛs ˈpaʊərfəl ˈneɪbərz. ɪf ðə juˈnaɪtɪd steɪts wər nɑt tɪ stɑp ðə "ˌɪzˈlɑmɪk steɪt əv ˌɪˈrɑk ənd ˈsɪriə" (ənd, ˌɪnsɪˈdɛntəli, ˈɪsləmɪsts ʃʊd ˈrɪli faɪnd ə neɪm ðæts ə ˈlɪtəl lɛs dərˈɪvɪtɪv), wi wʊd bi əˈlaʊɪŋ ə ˈbədɪŋ ˈtɛrər steɪt tɪ ˈimərʤ ɪn ˌɪˈrɑk. ənd ɪn səm weɪz, ɪt wɑz ɑr ˌɪntərˈvɛnʃən, ˈkəpəld wɪθ ðə ˌɪnəˈbɪlɪti əv ˌɪˈrækiz tɪ fɔrm ə koʊˈhisɪv ˈneɪʃən, ðət hɛlpt kriˈeɪt ðə ˈvækjum ənd pəˈlɪtɪkəl ɪnˈvaɪrənmənt ðət kʊd əˈlaʊ ə ˈmɪlətənt ˈɑrmi (wən ðət bɪˈlivz ɪz tu ənˈkɑmprəmaɪzɪŋ) tɪ steɪk aʊt ən ˌɪzˈlɑmɪk steɪt ðət ˌɪnˈkludz ˌɪˈrɑks ˈlɑrʤəst ɔɪl rɪˈfaɪnəri. ðɪs ˈɛndɪŋ wʊd, tɪ seɪ ðə list, meɪk ə ˈdɛkeɪd əv ˈsækrəˌfaɪs əˈpɪr ˈkaʊnərprəˌdəktɪv. duɪŋ ˈnəθɪŋ ɪz əˈnəðər ʧɔɪs. ðɪs wʊd ˈprɑbəˌbli min ðət ðə splɪt wʊd kənˈtɪnju tɪ dɪˈsɛnd ˈɪntu ˈvaɪələns ənd ðət ˈrædɪkəˌlɪzəm wʊd proʊˈlɪfərˌeɪt ənd dɪˈsteɪbəˌlaɪz ðə ˈriʤən. ˈθaʊzənz əv səˈvɪljənz wʊd, doubtlessly*, ˈpɛrɪʃ. səm wɪl, noʊ daʊt, ˈɑrgju ðət duɪŋ ˈnəθɪŋ (ənd wi maɪt ˈvɛri wɛl bi duɪŋ ˈsəmθɪŋ sun) wʊd min ðət mɔr ðən juz. trups ənd ˈoʊvər 700 ˈbɪljən wɑz ˈweɪstɪd ɪn ə wɔr ðət ˈɛndɪd bət wɑz nɑt wən. pərˈhæps. bət ə mɔr ˌɪmˈpɔrtənt ˈmætər ɪz ðɪs: wʊd ðə dɛθ əv əˈnəðər ər 400 ər fɔr brɪŋ əˈbaʊt ə ˈprɛfərəbəl ˈaʊtˌkəm ər ə sɛt əv kənˈdɪʃənz ðət əˈlaʊ ðə juˈnaɪtɪd steɪts tɪ kənˈvɪnsɪŋli dɪˈklɛr ˈvɪktəri? ɪf ə ˈdɛkeɪd əv ˈneɪʃən ˈbɪldɪŋ brɔt ˈjuˈɛs ðɪs, wət kʊd wi ˈpɑsəbli geɪn baɪ ˈsɪriəsli re-engaging*? ˈklɪrli, tɪ meɪk ɪt wərk, ðə əˈmɛrɪkən ˈpipəl wʊd nid tɪ bi priˈpɛrd tɪ meɪk ə ˌʤɛnərˈeɪʃənəl poʊlz doʊnt tɛl ˈjuˈɛs ðət wɪr ɪn ðə mud fər ən ˈoʊpəˌnɛndəd ˈkɑnflɪkt ɪn ðə ˈmɪdəl ist. ðiz ər ˈhɔrəbəl ˈʧɔɪsɪz, ˌɪnˈdid. ðoʊ ˈmɪljənz əv səˈvɪljənz noʊ ˈlɔŋgər ɪkˈspɪriəns laɪf ˈəndər ðə rəˈʒim əv ˈsɑdəm wi ʃʊd nɑt fərˈgɛt ðə ˈsækrəˌfaɪs ˈθaʊzənz əv ˈsərvɪs ˈmɛmbərz meɪd tɪ əˈlaʊ ðət tɪ gɪts ˌɪnˈkrisɪŋgli ˈdɪfəkəlt tɪ ˌɪˈmæʤən ðət ðə juˈnaɪtɪd steɪts həz geɪnd ˈɛniˌθɪŋ ˈwərθˈwaɪl frəm ɪts ˌɪnˈveɪʒən əv ˌɪˈrɑk. ɪts ˈdɪfəkəlt tɪ ˌəndərˈstænd haʊ ˈspɛndɪŋ əˈnəðər faɪv ər 10 jɪrz ˈsɔrtɪŋ aʊt ə sɛkˈtɛriən ˈsɪvəl wɔr kʊd ˈpɑsəbli bi ɪn ɑr bɛst ˈɪntərɪsts.
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let's just say that the iraq army isn't exactly anchoring a democratic awakening in the middle east.
earlier this week, iraq's armed forces in mosul—trained and supplied by the united states to secure the well-being of its people and institutions—reportedly dropped their guns, shed their uniforms, and surrendered to black-flag-waving sunni insurgents in a mere four days. no thermopylae here. about a half-million civilians have left the second-largest city in iraq to flee what is surely going to become a hotbed of beheadings and other assorted acts of jihad. and now, according to cnn, the islamic state of iraq and syria also has almost complete control of tikrit. al-qaida (or something very much like it) is definitely on the run—right toward our allies.
not that we should be surprised. back in 2010, army gen. george casey warned that the 130,000-strong iraqi police and soldiers lacked leaders, were deserting by the thousands, were hampered by corruption, displayed little will to fight, and would probably never be able to fend off insurgents. obviously, not much has changed, despite president barack obama's assertion in 2011 that the war was over and "iraqis have taken full responsibility for their country's security."
put it this way: prime minister nouri al-maliki's crack "crisis unit," which consists of civilian volunteers, is preparing a counteroffensive to the north. a makeshift militia is what 10 years, thousands of american lives, and hundreds of billions of dollars buys in those parts.
still, it's difficult to believe that any administration would allow the fall of iraq to happen. america would be leaving a nation with an army that can't defend itself from nomadic terror groups, much less powerful neighbors. if the united states were not to stop the "islamic state of iraq and syria" (and, incidentally, islamists should really find a name that's a little less derivative), we would be allowing a budding terror state to emerge in iraq. and in some ways, it was our intervention, coupled with the inability of iraqis to form a cohesive nation, that helped create the vacuum and political environment that could allow a militant army (one that ayman al-zawahri believes is too uncompromising) to stake out an islamic state that includes iraq's largest oil refinery. this ending would, to say the least, make a decade of sacrifice appear counterproductive.
doing nothing is another choice. this would probably mean that the sunni-shiite split would continue to descend into violence and that radicalism would proliferate and destabilize the region. thousands of civilians would, doubtlessly, perish.
some will, no doubt, argue that doing nothing (and we might very well be doing something soon) would mean that more than 4,400 u.s. troops and over $700 billion was wasted in a war that ended but was not won. perhaps. but a more important matter is this: would the death of another 4,000 or 400 or four bring about a preferable outcome or a set of conditions that allow the united states to convincingly declare victory?
if a decade of nation building brought us this, what could we possibly gain by seriously re-engaging? clearly, to make it work, the american people would need to be prepared to make a generational commitment—and polls don't tell us that we're in the mood for an open-ended conflict in the middle east.
these are horrible choices, indeed. though millions of civilians no longer experience life under the regime of saddam hussein—and we should not forget the sacrifice thousands of service members made to allow that to happen—it gets increasingly difficult to imagine that the united states has gained anything worthwhile from its invasion of iraq. it's difficult to understand how spending another five or 10 years sorting out a sectarian civil war could possibly be in our best interests.
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ˈæftər ˈsɛnətər ˈmɑrkoʊ ˈrubioʊ əv ˈflɔrɪdə ˌɪnˈsɪstɪd æt ðə rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl dəˈbeɪt ðət reɪp ənd ˈɪnˌsɛst ˈvɪktɪmz ʃʊd ˈkɛri ˈprɛgnənsiz tɪ tərm, eɪdz tɪ ˈhɪləri ˈrɔdəm ˈklɪntən kʊd ˈbɛrli kənˈteɪn ðɛr dɪˈlaɪt æt hɪz ənˈjildɪŋ stæns, ˈrəʃɪŋ tɪ tɛl rɪˈpɔrtərz æt hər ˈhɛdˌkɔrtərz ðət ðoʊz rɪˈmɑrks wʊd hərt ˈmɪstər. ˈrubioʊ wɪθ ˈfiˌmeɪl ˈvoʊtərz. wɪn ˈdɑnəld ʤeɪ. trəmp ʧoʊz ɔn ˈfraɪˌdeɪ tɪ stænd baɪ hɪz slaɪts əˈgɛnst ˈwɪmən ˈdʊrɪŋ ðə dəˈbeɪt, seɪɪŋ ðə fɑks nuz ˈʤərnəlɪst ˈkɛli ˈvɛri badly”*” ɛz ə ˈmɑdərˌeɪtər ənd ðɛn prəˈmoʊtɪŋ ə tˈwɪtər ˈmɛsɪʤ ˈkɔlɪŋ hər ə ““bimbo”*” ˈfɛmənɪsts wər nɑt ðə ˈoʊnli wənz ˈaʊˌtreɪʤd: ðə ˈʧɛrˌwʊmən əv ðə nu ˈhæmʃər rɪˈpəblɪkən ˈpɑrti əˈkjuzd ˈmɪstər. trəmp əv ˈʃoʊvəˌnɪzəm. ənd ɪn rɪˈspɑns tɪ ˈməltəpəl meɪl ˈkænədɪts seɪɪŋ ðeɪ wʊd ʃət daʊn ðə ˈfɛdərəl ˈgəvərnmənt ˈoʊvər fɪˈnænsɪŋ fər plænd ˈpɛrənˌthʊd, ðə ˌdɛməˈkrætɪk ˈnæʃənəl kəˈmɪti iˈmeɪld ˈtɔkɪŋ pɔɪnts tɪ ˈælaɪz wɪˈθɪn ən aʊər seɪɪŋ ðət əˈməŋ ðə ˈluzərz æt ðə dəˈbeɪt wər ˈwɪmən, hu wər əˈtækt æt ˈɛvəri turn.”*.” rɪˈpəblɪkən ˈpɑrti ˈlidərz, huz ˌprɛzɪˈdɛnʃəl ˌnɑməˈniz hæv nɑt wən ə məˈʤɔrəti əv ˈfiˌmeɪl ˈvoʊtərz sɪns 1988 ər ˈsɛtɪŋ ðɛr saɪts ɔn ˈmeɪkɪŋ ɪˈlɛktərəl geɪnz əˈməŋ ˈwɪmən ɪn ðə 2016 ˌprɛzɪˈdɛnʃəl reɪs ənd traɪɪŋ tɪ kloʊz ðə ˈʤɛndər gæp ɪn swɪŋ steɪts laɪk ˈflɔrɪdə ənd ˌkɑlərˈɑdoʊ. bət ðə rɪˈmɑrks ənd toʊn əˈbaʊt ˈwɪmən æt dəˈbeɪt ənd ðə saɪt əv 10 meɪl ˈkænədɪts ˈoʊnɪŋ ðə steɪʤ meɪ hæv ˈoʊnli ˈdæmɪʤd ðə ˈstændɪŋ əˈməŋ ˈfiˌmeɪl ˈvoʊtərz ɪn ðə 2016 ˈʤɛnərəl ɪˈlɛkʃən, əˈkɔrdɪŋ tɪ ˈpoʊlstərz ənd səm rɪˈpəblɪkən ˈlidərz.
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after senator marco rubio of florida insisted at the republican presidential debate that rape and incest victims should carry pregnancies to term, aides to hillary rodham clinton could barely contain their delight at his unyielding stance, rushing to tell reporters at her headquarters that those remarks would hurt mr. rubio with female voters.
when donald j. trump chose on friday to stand by his slights against women during the debate, saying the fox news journalist megyn kelly “behaved very badly” as a moderator — and then promoting a twitter message calling her a “bimbo” — feminists were not the only ones outraged: the chairwoman of the new hampshire republican party accused mr. trump of chauvinism.
and in response to multiple male candidates saying they would shut down the federal government over financing for planned parenthood, the democratic national committee emailed talking points to allies within an hour saying that among the losers at the debate were “american women, who were attacked at every turn.”
republican party leaders, whose presidential nominees have not won a majority of female voters since 1988, are setting their sights on making electoral gains among women in the 2016 presidential race and trying to close the gender gap in swing states like florida and colorado. but the remarks and tone about women at thursday’s debate — and the sight of 10 male candidates owning the stage — may have only damaged the party’s standing among female voters in the 2016 general election, according to pollsters and some republican leaders.
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hɛd əv, fɪl ˈspɛnsər, ˈrisəntli sæt daʊn wɪθ tɪ ɪkˈspleɪn ʤɪst wət pleɪ ˈbɪgəst strɛŋθ ɪz. wɪθ moʊst pleɪərz ˈiðər ˌɪnˈvɛstɪŋ ɪn ə ˈkɑnsoʊl ər ə haɪɛnd ˈpiˈsi bət nɑt boʊθ wi æst ʤɪst hu ðə ˈproʊˌgræm wɑz dɪˈzaɪnd fər, ənd ɪf ˌfəŋkʃəˈnælɪti wɑz ə muv tɪ gɪt ə pleɪər tɪ baɪ ðə ˈplætˌfɔrm ˈkərəntli ˈmɪsɪŋ. ““no*. nɑt æt all,”*,” ˈspɛnsər sɛd. ˈrɪli kəmz frəm ˈjuˈɛs ˈtɔkɪŋ tɪ ɑr ˈkəstəmərz ənd ˈæskɪŋ wət ðeɪ du. ə lɔt əv ɑr moʊst ˈhɑrdˈkɔr fænz ˈɔlsoʊ pleɪ ɔn pc.”*.” tɪ ˈspɛnsər, pleɪ ˈbɪgəst ɪz pleɪ wɪθ frɛndz, əˈlaʊɪŋ wən tɪ pleɪ gɪrz 4 ɔn ˈpiˈsi əˈlɔŋˈsaɪd əˈnəðər ɔn wən. ju hæv tɪ ˌdɪˈsaɪd wɛr goʊɪŋ tɪ goʊ pleɪ wɪθ jʊr frɛndz, raɪt? ju lɔg ɪn ənd ju si ðə geɪmz ju wɔnt tɪ pleɪ ənd ðə ˈpipəl ju wɔnt tɪ pleɪ wɪθ. ˈizi. lɪv kəˈnɛkʃən ɪz there,”*,” ˈspɛnsər kənˈtɪnjud. wɪl goʊ əp rəˈgɑrdləs əv ˈwɛðər ju pleɪ ɔn ˈwɪndoʊz ər ju pleɪ ɔn xbox.”*.” hæv mɔr wɪθ ˈspɛnsər ɪn ðə ˈkəmɪŋ wiks.
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head of xbox, phil spencer, recently sat down with stevivor to explain just what xbox play anywhere’s biggest strength is. with most players either investing in a console or a high-end pc – but not both – we asked just who the program was designed for, and if cross-save functionality was a move to get a player to buy the platform they’re currently missing.
“no. not at all,” spencer said. “it really comes from us talking to our customers and asking what they do. a lot of our most hardcore xbox fans also play on pc.”
to spencer, xbox play anywhere’s biggest drawcard is cross-platform play with friends, allowing one to play gears 4 on pc alongside another on xbox one.
“now you don’t have to decide where going to go play with your friends, right? you log in and you see the games you want to play and the people you want to play with. it’s easy.
“your xbox live connection is there,” spencer continued. “your gamerscore will go up regardless of whether you play on windows or you play on xbox.”
we’ll have more with spencer in the coming weeks.
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frəm ˈɔrsən wɛlz tɪ ˈrɪdli skɑt, greɪt ˈfɪlˌmeɪkərz hæv dɪˈvɛləpt ˈsɪgnəʧər staɪlz ðət wi noʊ ənd ˈrɛkəgˌnaɪz. lʊk æt ðə ˈfeɪvərɪt ˈfoʊkəl lɛŋθs əv ˈfeɪməs dɪˈrɛktərz ənd haʊ ðeɪ meɪd ðɛm ðɛr oʊn. ˈkəvər ˈɪmɪʤ ˈviə dɪˈskleɪmər: wi ækˈnɑlɪʤ ðət ɔl fɪlm dɪˈrɛktərz juz ə waɪd vərˈaɪəti əv ˈlɛnzɪz ənd ˈfoʊkəl lɛŋθs ɪn ðɛr fɪlmz ənd θruaʊt ðɛr kərɪrz. wi ər ˈmɪrli ˈlʊkɪŋ mɔr æt ðə ˈfoʊkəl lɛŋθs wɪʧ meɪ pɑp əp taɪm ənd taɪm əˈgɛn ɪn ˈfeɪməs ʃɑts ənd fɪlmz wɪʧ wi rɪˈleɪt tɪ ˈfeɪməs directors’*’ ˈlɛgəsiz. ˌɛnˈʤɔɪ! wɪn kriˈeɪtɪŋ ə fɪlm, ðə dɪˈrɛktər ɪz ˈjuʒəwəli kənˈsɪdərd ðə wən ˈpərsən wɪθ ðə ˈvɪʒən tɪ tɛl ðə ˈstɔri. ɔl pɑrts əv pərˈdəkʃən fid ɔf ðə dɪˈrɛktər ɪn ˈkɑnsərt tɪ brɪŋ ðət ˈvɪʒən tɪ laɪf. wən əv ðə ˈmɛni, ˈmɛni dɪˈsɪʒənz ðət ə dɪˈrɛktər məst meɪk goʊɪŋ ˈɪntu iʧ ənd ˈɛvəri ʃɑt ɪz ɔn ðə ˈfoʊkəl lɛŋθ. ɪf ju lʊk bæk θru ðə ˌsɪnəˈmætɪk ˈhɪstəriz əv səm əv ðə moʊst ˈfeɪməs dɪˈrɛktərz, ju kən ənˈkəvər ˈpætərnz ənd rulz tɪ haʊ ðiz dɪˈrɛktərz hæv meɪd ˌsɪstəˈmætɪk juz əv ˈdɪfərənt ˈfoʊkəl lɛŋθs tɪ ɪˈlɪsɪt ˈdɪfərənt ˈfilɪŋz, θimz ənd moʊˈtifs tɪ tɛl ðɛr ˈstɔri. æt pʊt təˈgɛðər ə ˌkɑmpriˈhɛnsɪv ˈbreɪkˌdaʊn əv haʊ ˈnaɪnˈtin ˈfeɪməs dɪˈrɛktərz hæv juzd spɪˈsɪfɪk ˈfoʊkəl lɛŋθs ɪn ðɛr fɪlmz ənd wɪʧ wənz ər moʊst ˌrɛprɪˈzɛnətɪv əv ðɛr wərk. ju kən wɔʧ hɪz ɪnˈtaɪər ˈvɪdioʊ hir ər æt ðə ˈbɑtəm əv ðɪs poʊst, bət hir ər hɪz ˈfaɪndɪŋz. ˈɔrsən wɛlz: ənd ˈɔrsən wɛlz ɪn təʧ əv ˈivəl ˈviə ˌjunəˈvərsəl ˈɔrsən wɛlz, laɪk ˈmɛni dɪˈrɛktərz əv hɪz ˈɪrə, ˈmoʊstli ʃɑt sinz wɪθ waɪd ˈfoʊkəl lɛŋθs ənd ˈlɪtəl ˈmuvmənt. ˌɪnˈstɛd, ðə ˈkɛrɪktərz muvd wɪˈθɪn ðə freɪmz bɪtˈwin ðə kəmˈpoʊzd fɔr ənd ˈbækˌgraʊndz. pɔɪnts aʊt ðət ðə tu ˈprɑmənənt ˈfoʊkəl lɛŋθs wɛlz juzd ɪn hɪz moʊst ˈfeɪməs fɪlmz wər (təʧ əv ˈivəl) ənd (ˈsɪtɪzən keɪn). ðə wideness*, waɪl nɑt tu waɪd, əˈlaʊd wɛlz tɪ ðət dip ˈfoʊkɪs ənd məˈʤɛstɪk ˈblɑkɪŋ ˈoʊvər lɔŋ takes.”*.” ˈɪmɪʤ frəm ˈsɪtɪzən keɪn ˈviə ˈəðər dɪˈrɛktərz hu ˈɔfən ˈfeɪvərd waɪd ˈæŋgəlz laɪk ənd wər ˌʒænˈpjɛr ɪn ˌdɛlɪkəˈtɛsən ənd ˈroʊmən pəˈlænski ɪn ˈbeɪbi. ˈɪmɪʤ frəm ˌdɛlɪkəˈtɛsən ˈviə ˈɪmɪʤ frəm ˈbeɪbi ˈviə ˈpɛrəˌmaʊnt ˈstivən ˈspilbərg: ˈɪmɪʤ ˈviə ˈpɛrəˌmaʊnt əˈkɔrdɪŋ tɪ, rɪˈpɔrtədli siz ðə wərld θru 21mm,”*,” wɪʧ kən bi treɪst θruaʊt hɪz væst filmography*. ðə dɪˈrɛktər meɪks ˈhɛvi juz əv hɪz prɪˈfərd waɪd ˈæŋgəl lɛnz, ˈlɛtɪŋ ðə ˈkɛrɪktərz əv hɪz fɪlmz muv θruaʊt ðɛr freɪmz. hɪz staɪl ɪz ˈsɪmələr tɪ ˈɔrsən wɛlz, ˈɑrgjuz, ɛz hi ˈjuzɪz ˈblɑkɪŋ wɪˈθɪn hɪz ʃɑts ˈbɛtər ðən ˈɛniˌwən. ˈɪmɪʤ frəm mˈjunɪk ˈviə ˌjunəˈvərsəl ˈəðər dɪˈrɛktərz hu meɪk prɪˈdɑmənənt juz əv ðə waɪd ˈæŋgəl ər tɪm ˈbərtən ənd ˈmɑrtɪn ˌskɔrˈsiz. ˈɪmɪʤ frəm ˈɛdwərd ˈviə ˈsɛnʧəri fɑks ˈɪmɪʤ frəm ˈtæksi ˈdraɪvər ˈviə kəˈləmbiə ðə koʊɪn ˈbrəðərz: ˈɪmɪʤ ˈviə ˈwərkɪŋ ˈtaɪtəl fɪlmz ðə koʊɪn ˈbrəðərz ʤɔɪn ðə lɔŋ laɪn əv ˈfɪlˌmeɪkərz hu prɪˈfər ðə əˈproʊʧ. ˌɔlˈðoʊ ðeɪ ˈvɛri fɪlm tɪ fɪlm, meɪks ðə keɪs ðət ɪz ðɛr tru ˈfeɪvərɪt ˈfoʊkəl lɛŋθ. pɔɪnts aʊt ðət ˈdeɪvɪd ˈfɪnʧər, laɪk ðə koʊɪn ˈbrəðərz, ɪz əˈnəðər dɪˈrɛktər hu ˈvɛriz hɪz ˈlɛnzɪz bət meɪks ðə moʊst juz əv ðə. ˈɪmɪʤ frəm ˈfɑrˌgoʊ ˈviə ˈwərkɪŋ ˈtaɪtəl dɪˈrɛktərz laɪk wɛs ˈændərsən hæv meɪd ˈhɛvi juz əv waɪd ˈlɛnzɪz laɪk ðə bət ɪn ə ˈdɪfərənt ˈfɔrˌmæt. wɛs ˈændərsən laɪks tɪ juz ˈlɛnzɪz, wɪʧ, waɪl ˈwaɪdər, kriˈeɪts ðə seɪm kəmˈprɛʃən ɛz ə lɛnz. ˈɪmɪʤ ˈviə ðə rɔɪəl ˈviə ˈtəʧˌstoʊn ˈælfrɪd ˈhɪʧˌkɑk: ˈɪmɪʤ ˈviə ˈɛvər ðə pərˈfɛkʃənɪst, ˈælfrɪd ˈhɪʧˌkɑk prɪˈfərd ðə fər ðə məˈʤɔrəti əv hɪz fɪlmz, ɛz ɪt wɑz ðə ˈkloʊsəst tɪ ðə fild əv view”*” əˈkɔrdɪŋ tɪ. hi ˈivɪn wɛnt ɛz fɑr ɛz tɪ hæv hɪz fɪlm sɛts bɪlt tɪ bɛst əˈkɑməˌdeɪt ðə ˈfreɪmɪŋ hi wʊd nid fər ðə fild əv vju. ˈɪmɪʤ ˈviə ˈsaɪkoʊ ˈviə ˈpɛrəˌmaʊnt ˈfeɪməs ˌɪnərˈnæʃənɑl ˈfɪlˌmeɪkərz laɪk ˈrɑbərt ˈbrɛsən ənd ˈɔlsoʊ prɪˈfərd ðə ənd wʊd meɪk əˈʤəstmənts tɪ ðɛr sɛts tɪ əˈkɑməˌdeɪt ðə lɛnz. ˈɪmɪʤ ˈviə ə mæn ɪˈskeɪpt ˈviə ˈɪmɪʤ ˈviə ˈtoʊkiˌoʊ ˈstɔri ˈviə ˈɪmɪʤ ˈviə ˈɪndi rɪˈvɑlvər ˈrɪdli skɑt ɪz wən əv ðə rɛr dɪˈrɛktərz hu prɪˈfərz tɪ juz lɔŋ ˈlɛnzɪz. fər ˈeɪliən, hi juzd ənd əˈbəv. ˈɔlsoʊ noʊts əˈfɛkʃən fər ˈjuzɪŋ zum ˈlɛnzɪz ənd ˈʃutɪŋ sˈfɛrɪkəl ənd krɑpt fər widescreen*. hɪz ʃɑts ər bət luz səm əv ðə dɛpθ ðət əˈkəmpəniz waɪd ˈfoʊkəl lɛŋθ ʃɑts. ˈɪmɪʤ frəm ˈeɪliən ˈviə ˈsɛnʧəri fɑks pɔɪnts aʊt ðət wən əv ðə moʊst ˈfeɪməs dɪˈrɛktərz ɪn fɪlm ˈhɪstəri, əˈkirə ˌkʊroʊˈsɑwə, ɪz ˈɔfən bɪˈlivd tɪ hæv juzd lɔŋ zum ˈlɛnzɪz ɛz wɛl, bət ˈæˌkʧuəli wərkt ˈmoʊstli ɪn ðə tɪ reɪnʤ. ˈoʊnli ɔˈkeɪʒənəˌli wʊd ˌkʊroʊˈsɑwə juz ˈtɛləˌfoʊtoʊ fər ɪts ɪkˈstrim kəmˈprɛʃən. ˈɪmɪʤ frəm ˈviə ɪf ˈɪntəˌrɛstɪd, həz ˈʧɑrtɪd ðə prɪˈfərd ˈfoʊkəl lɛŋθs əv ˈnaɪnˈtin əv hɪz ˈfeɪvərɪt dɪˈrɛktərz wɪʧ ju kən vju bɪˈloʊ. ju kən ˈɔlsoʊ wɔʧ hɪz ˈvɪdioʊ ɔn ðə ˈsəbʤɪkt tɪ gɪt ðə fʊl ɪkˈspɪriəns. jʊr ˈfeɪvərɪt ˈfoʊkəl lɛŋθ tɪ juz? wɑz jʊr ʧɔɪs ˌɪnˈspaɪərd baɪ wən əv ðə dɪˈrɛktərz əˈbəv? lɛt ˈjuˈɛs noʊ ɪn ðə ˈkɑmɛnts.
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from orson welles to ridley scott, great filmmakers have developed signature styles that we know and recognize. let’s look at the favorite focal lengths of famous directors and how they made them their own.
cover image via shotonwhat
disclaimer: we acknowledge that all film directors use a wide variety of lenses and focal lengths in their films and throughout their careers. we are merely looking more in-depth at the focal lengths which may pop up time and time again in famous shots and films which we relate to famous directors’ legacies. enjoy!
when creating a film, the director is usually considered the one person with the vision to tell the story. all parts of production feed off the director in concert to bring that vision to life. one of the many, many decisions that a director must make going into each and every shot is on the focal length. if you look back through the cinematic histories of some of the most famous directors, you can uncover patterns and rules to how these directors have made systematic use of different focal lengths to elicit different feelings, themes and motifs to tell their story.
sareesh sudhakaran at wolfcrow.com put together a comprehensive breakdown of how nineteen famous directors have used specific focal lengths in their films and which ones are most representative of their work. you can watch his entire video here or at the bottom of this post, but here are his findings.
orson welles: 18mm and 25mm
orson welles in touch of evil via universal
orson welles, like many directors of his era, mostly shot scenes with wide focal lengths and little movement. instead, the characters moved within the frames between the composed fore and backgrounds. sudhakaran points out that the two prominent focal lengths welles used in his most famous films were 18mm (touch of evil) and 25mm (citizen kane). the wideness, while not too wide, allowed welles to “get that deep focus and majestic blocking over long takes.”
image from citizen kane via rko
other directors who often favored wide angles like 18mm and 25mm were jean-pierre jeunet in delicatessen and roman polanski in rosemary’s baby.
image from delicatessen via ugc
image from rosemary’s baby via paramount
steven spielberg: 21mm
image via paramount
according to sudhakaran, “spielberg reportedly sees the world through 21mm,” which can be traced throughout his vast filmography. the oscar-award-winning director makes heavy use of his preferred wide angle lens, letting the characters of his films move throughout their frames. his style is similar to orson welles, sudhakaran argues, as he uses blocking within his shots better than anyone.
image from munich via universal
other directors who make predominant use of the 21mm wide angle are tim burton and martin scorsese.
image from edward scissorhands via 20th century fox
image from taxi driver via columbia
the coen brothers: 27mm
image via working title films
the coen brothers join the long line of filmmakers who prefer the wide-angle approach. although they vary film to film, sudhakaran makes the case that 27mm is their true favorite focal length. sudhakaran points out that david fincher, like the coen brothers, is another director who varies his lenses but makes the most use of the 27mm.
image from fargo via working title
directors like wes anderson have made heavy use of wide lenses like the 27mm but in a different format. wes anderson likes to use anamorphic lenses, which, while wider, creates the same compression as a non-anamorphic lens.
image via the royal tenenbaums via touchstone
alfred hitchcock: 50mm
image via waldina
ever the perfectionist, alfred hitchcock preferred the 50mm for the majority of his films, as it was the closest to the “natural field of view” according to sudhakaran. he even went as far as to have his film sets built to best accommodate the framing he would need for the 50mm field of view.
image via psycho via paramount
famous international filmmakers like robert bresson and yasujiro ozu also preferred the 50mm and would make adjustments to their sets to accommodate the lens.
image via a man escaped via gaumont
image via tokyo story via shochiku
image via indie revolver
ridley scott is one of the rare directors who prefers to use long lenses. for 1979’s alien, he used anamorphic 75mm and above. sudhakaran also notes scott’s affection for using zoom lenses and shooting spherical and cropped for widescreen. his shots are well-composed but lose some of the depth that accompanies wide focal length shots.
image from alien via 20th century fox
sudhakaran points out that one of the most famous directors in film history, akira kurosawa, is often believed to have used long zoom lenses as well, but actually worked mostly in the 35mm to 50mm range. only occasionally would kurosawa use telephoto for its extreme compression.
image from yojimbo via toho
if you’re interested, sudhakaran has charted the preferred focal lengths of nineteen of his favorite directors which you can view below. you can also watch his video on the subject to get the full experience.
what’s your favorite focal length to use? was your choice inspired by one of the directors above? let us know in the comments.
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naftali* ˈbɛnɪt sɛd ˈmənˌdeɪ ðət ə kwoʊt əˈtrɪbjətəd tɪ ɪm, seɪɪŋ, kɪld ˈmɛni ˈærəbz ɪn maɪ laɪf, ənd noʊ ˈprɑbləm wɪθ that,”*,” wɑz ˈteɪkən aʊt əv ˈkɑntɛkst. hi meɪd ðə ˈsteɪtmənt ˈdʊrɪŋ ˈkæbənət ˈmitɪŋ ˈɔθərˌaɪzɪŋ ðə riˈlis əv ˌpælɪˈstɪniən ˈprɪzənərz, ˌriˈpɔrtəd ˈmənˌdeɪ ˈmɔrnɪŋ. ðə ɪˈkɑnəmi ˈmɪnɪstər ənd ʤuɪʃ hoʊm ˈpɑrti hɛd wɑz ˈɑrgjuɪŋ wɪθ ˈnæʃənəl sɪˈkjʊrəti ædˈvaɪzər əˈbaʊt ðə ˈprɪzənər riˈlis. əˈkɔrdɪŋ tɪ ðə rɪˈpɔrt ɪn prɪnt ɪˈdɪʃən, ˈbɛnɪt ə ˌprɑbləˈmætɪk ənd ˌkɑntrəˈvərʃəl weɪ fər ˈɪzriəl tɪ əˈvɔɪd ˈhævɪŋ tɪ pʊt [ˈkæpʧərd ˈtɛrər ˈsəˌspɛkts] ɔn trial.”*.” ˈbɛnɪt: ju kæʧ ˈtɛrəˌrɪsts, ju hæv tɪ ˈsɪmpli kɪl them.”*.”: ““listen*, nɑt legal.”*.” ˈbɛnɪt: kɪld lɑts əv ˈærəbz ɪn maɪ laɪf ənd noʊ ˈprɑbləm wɪθ that.”*.” ˈæftər rɪˈpitɪd əˈtɛmpts æt ˈriʧɪŋ ˈspoʊkspərsən, ʃi sɛd ðət ˈiðər ðə rɪˈpɔrtər frəm rɪˈsivd rɔŋ ˌɪnˌfɔrˈmeɪʃən ɔn ɪgˈzæktli wət ˈbɛnɪt sɛd æt ðə ˈmitɪŋ, ər hi ˌdɪˈsaɪdɪd tɪ ˌɪnˈtərprət ɪt ðɪs weɪ. ʃi ˌɪnˈsɪsts ðət wɪn ˈbɛnɪt rɪˈfərd tɪ ˈkɪlɪŋ ˈærəbz, ɪt wɑz ɪn ðə ˈkɑntɛkst əv ““operations”*” hi pɑrˈtɪsəˌpeɪtɪd ɪn waɪl ˈsərvɪŋ ɪn ˈkɑmbæt ˌsɪʧuˈeɪʃənz ɪn ðə ˈɑrmi, ənd ðət hi wɑz ɪkˈsprɛsɪŋ ðət ə mɔr ˈifɛktɪv ˈpɑləsi ɪz tɪ aʊt terrorists”*” ˈrəðər ðɛn ˈkipɪŋ ðɛm əˈlaɪv ɪn ˈprɪzən ənd ðɛn riˈlisɪŋ ðɛm. ðɪs poʊst wɪl bi ˈəpˌdeɪtɪd wɪθ ˈɛni ˈfərðər ˈrɛləvənt ˌɪnˌfɔrˈmeɪʃən. fər əˈdɪʃənəl ərˈɪʤənəl æˈnælɪsɪs ənd ˈbreɪkɪŋ nuz, ˈvɪzɪt 972 ˈmægəˌzinz ˈfeɪsˌbʊk peɪʤ ər ˈfɑloʊ ˈjuˈɛs ɔn tˈwɪtər. ɑr ˈnuzˌlɛtər ˈfiʧərz ə ˌkɑmpriˈhɛnsɪv əv ðə wiks ɪˈvɛnts. saɪn əp hir.
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naftali bennett said monday that a quote attributed to him, saying, “i’ve killed many arabs in my life, and there’s no problem with that,” was taken out of context. he made the statement during sunday’s cabinet meeting authorizing the release of palestinian prisoners, yedioth ahronoth reported monday morning.
the economy minister and jewish home party head was arguing with national security adviser ya’akov amidror about the prisoner release. according to the hebrew-language report in yedioth‘s print edition, bennett “proposed a problematic and controversial way for israel to avoid having to put [captured terror suspects] on trial.”
bennett: “if you catch terrorists, you have to simply kill them.”
amidror: “listen, that’s not legal.”
bennett: “i’ve killed lots of arabs in my life – and there’s no problem with that.”
after repeated attempts at reaching naftali bennett’s spokesperson, she said that either the reporter from yedioth ahronoth received wrong information on exactly what bennett said at the meeting, or he decided to interpret it this way. she insists that when bennett referred to killing arabs, it was in the context of “operations” he participated in while serving in combat situations in the army, and that he was expressing that a more effective policy is to “wipe out terrorists” rather then keeping them alive in prison and then releasing them.
this post will be updated with any further relevant information.
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sæn frænˈsɪskoʊ bɪˈkeɪm ðə fərst juz. ˈsɪti tɪ ˈmænˌdeɪt sɪks wiks əv ˈfʊli peɪd pərˈɛntəl liv, rikˈwaɪərɪŋ ɪmˈplɔɪərz tɪ ˈʃoʊldər məʧ əv ðə kɔst ənd ɪkˈsidɪŋ ˈfɛdərəl ənd steɪt ˈbɛnəfɪt rulz fər ɪmˈplɔɪiz, ə ˈsɪti ˈsupərˌvaɪzər sɛd ɔn ˈtuzˌdeɪ. ðə lɔ, juˈnænəməsli əˈpruvd baɪ ðə sæn frænˈsɪskoʊ bɔrd əv ˌsupərˈvaɪzərz, grænts liv fər ˈfɑðərz ənd ˈməðərz ˈwərkɪŋ fər ˈkəmpəˌniz wɪθ 20 ər mɔr ɪmˈplɔɪiz, ˈnɪrli ˈdəbəlɪŋ ðə peɪ ðeɪ ər naʊ ˈɛlɪʤəbəl tɪ kəˈlɛkt ˈəndər ˌkæləˈfɔrnjə lɔ. "ɑr ˈkəntriz pərˈɛntəl liv ˈpɑləsiz ər ˈwoʊfəli bɪˈhaɪnd ðə rɛst əv ðə wərld, ənd təˈdeɪ sæn frænˈsɪskoʊ həz ˈteɪkən ðə lɛd ɪn ˈpʊʃɪŋ fər ˈbɛtər ˈfæməli liv ˈpɑləsiz fər ɑr ˈwərkərz," ˈsupərˌvaɪzər skɑt ˈwinər sɛd ɪn ə ˈsteɪtmənt. ˈbɛtər ˈbɛnəfɪts fər ˈpɛrənts ər pɑrt əv kæmˈpeɪnz əˈkrɔs ðə ˈneɪʃən eɪmd æt kəmˈbætɪŋ ˈraɪzɪŋ ˈɪnˌkəm ˌɪnɪkˈwɑləti. ˌkælɪˈfɔrnjəz ˈgəvərnər ɔn ˈmənˌdeɪ saɪnd ˈɪntu lɔ ə bɪl ˈreɪzɪŋ ðə steɪts ˈmɪnəməm weɪʤ frəm 10 tɪ 15 ən aʊər baɪ ðə jɪr 2023 sæn frænˈsɪskoʊ ɔˈrɛdi ˈɔfərz 12 wiks əv ˈfʊli peɪd pərˈɛntəl liv tɪ ɪts əˈprɑksəmətli ˈsɪti ɪmˈplɔɪiz. ɔn ˈmənˌdeɪ, nu jɔrks ˈgəvərnər saɪnd ə bɪl ˈgrænɪŋ peɪd ˈfæməli liv fər ˈwərkərz ðət wɪl feɪz ɪn baɪ 2021 ˌkæləˈfɔrnjə ənd nu ˈʤərzi prəˈvaɪd əp tɪ sɪks wiks əv ˈpɑrʃəl peɪ, waɪl roʊd ˈaɪlənd ˈɔfərz fɔr, əˈkɔrdɪŋ tɪ ðə ˈnæʃənəl ˈkɑnfərəns əv steɪt ˈlɛʤɪsˌleɪʧərz. ˈəndər ðə sæn frænˈsɪskoʊ ˈpɑləsi, ˈifɛktɪv ɪn 2017 ɪmˈplɔɪərz məst peɪ 45 pərˈsɛnt əv ˈweɪʤɪz fər ɛz lɔŋ ɛz sɪks wiks. ðə rɪˈmeɪnɪŋ 55 pərˈsɛnt əv ˈwikli ˈweɪʤɪz kəmz frəm ə steɪt ˌdɪsəˈbɪlɪti ˈproʊˌgræm.
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san francisco became the first u.s. city to mandate six weeks of fully paid parental leave, requiring employers to shoulder much of the cost and exceeding federal and state benefit rules for private-sector employees, a city supervisor said on tuesday.
the law, unanimously approved by the san francisco board of supervisors, grants six-week leave for fathers and mothers working for companies with 20 or more employees, nearly doubling the pay they are now eligible to collect under california law.
"our country's parental leave policies are woefully behind the rest of the world, and today san francisco has taken the lead in pushing for better family leave policies for our workers," supervisor scott wiener said in a statement.
better benefits for parents are part of campaigns across the nation aimed at combating rising income inequality. california's governor on monday signed into law a bill raising the state's minimum wage from $10 to $15 an hour by the year 2023.
san francisco already offers 12 weeks of fully paid parental leave to its approximately 30,000 city employees.
on monday, new york's governor signed a bill granting 12-week paid family leave for private-sector workers that will phase in by 2021. california and new jersey provide up to six weeks of partial pay, while rhode island offers four, according to the national conference of state legislatures.
under the san francisco policy, effective in 2017, employers must pay 45 percent of wages for as long as six weeks. the remaining 55 percent of weekly wages comes from a worker-funded state disability program.
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2010 haʊs ˈreɪsɪz ˈreɪtɪŋz ˈʧeɪnʤɪz ʤəˈnɛrɪk kənˈgrɛʃənəl ˈbælət ˈfaɪnəl haʊs mæp haʊs ˈreɪsɪz ˌæləˈbæmə ˈdɪstrɪkt ˌæləˈbæmə ˈdɪstrɪkt ˈɑrkənˌsɑ ˈdɪstrɪkt ˈɑrkənˌsɑ ˈdɪstrɪkt ˈɑrkənˌsɑ ˈdɪstrɪkt ˌɛrɪˈzoʊnə ˈdɪstrɪkt ˌɛrɪˈzoʊnə ˈdɪstrɪkt ˌɛrɪˈzoʊnə ˈdɪstrɪkt ˌɛrɪˈzoʊnə ˈdɪstrɪkt ˌɛrɪˈzoʊnə ˈdɪstrɪkt ˌkæləˈfɔrnjə ˈdɪstrɪkt ˌkæləˈfɔrnjə ˈdɪstrɪkt ˌkæləˈfɔrnjə ˈdɪstrɪkt ˌkæləˈfɔrnjə ˈdɪstrɪkt ˌkæləˈfɔrnjə ˈdɪstrɪkt ˌkæləˈfɔrnjə ˈdɪstrɪkt ˌkɑlərˈɑdoʊ ˈdɪstrɪkt ˌkɑlərˈɑdoʊ ˈdɪstrɪkt ˌkɑlərˈɑdoʊ ˈdɪstrɪkt kəˈnɛtəkət ˈdɪstrɪkt kəˈnɛtəkət ˈdɪstrɪkt kəˈnɛtəkət ˈdɪstrɪkt kəˈnɛtəkət ˈdɪstrɪkt ˈdɛləˌwɛr ˈflɔrɪdə ˈdɪstrɪkt ˈflɔrɪdə ˈdɪstrɪkt ˈflɔrɪdə ˈdɪstrɪkt ˈflɔrɪdə ˈdɪstrɪkt ˈflɔrɪdə ˈdɪstrɪkt ˈflɔrɪdə ˈdɪstrɪkt ˈʤɔrʤə ˈdɪstrɪkt ˈʤɔrʤə ˈdɪstrɪkt ˈʤɔrʤə ˈdɪstrɪkt həˈwaɪˌi ˈdɪstrɪkt ˈaɪəwə ˈdɪstrɪkt ˈaɪəwə ˈdɪstrɪkt ˈaɪəwə ˈdɪstrɪkt ˈaɪdəˌhoʊ ˈdɪstrɪkt ˌɪləˈnɔɪz ˈdɪstrɪkt ˌɪləˈnɔɪz ˈdɪstrɪkt ˌɪləˈnɔɪz ˈdɪstrɪkt ˌɪləˈnɔɪz ˈdɪstrɪkt ˌɪləˈnɔɪz ˈdɪstrɪkt ˌɪndiˈænə ˈdɪstrɪkt ˌɪndiˈænə ˈdɪstrɪkt ˌɪndiˈænə ˈdɪstrɪkt ˈkænzəs ˈdɪstrɪkt kənˈtəki ˈdɪstrɪkt kənˈtəki ˈdɪstrɪkt luˌiziˈænə ˈdɪstrɪkt luˌiziˈænə ˈdɪstrɪkt ˌmæsəˈʧusəts ˈdɪstrɪkt ˌmæsəˈʧusəts ˈdɪstrɪkt ˌmæsəˈʧusəts ˈdɪstrɪkt ˌmæsəˈʧusəts ˈdɪstrɪkt ˈmɛrələnd ˈdɪstrɪkt meɪn ˈdɪstrɪkt meɪn ˈdɪstrɪkt ˈmɪʃɪgən ˈdɪstrɪkt ˈmɪʃɪgən ˈdɪstrɪkt ˈmɪʃɪgən ˈdɪstrɪkt ˈmɪʃɪgən ˈdɪstrɪkt ˌmɪnɪˈsoʊtə ˈdɪstrɪkt ˌmɪnɪˈsoʊtə ˈdɪstrɪkt ˌmɪnɪˈsoʊtə ˈdɪstrɪkt ˌmɪnɪˈsoʊtə ˈdɪstrɪkt məˈzʊri ˈdɪstrɪkt məˈzʊri ˈdɪstrɪkt ˌmɪsɪˈsɪpi ˈdɪstrɪkt ˌmɪsɪˈsɪpi ˈdɪstrɪkt ˌmɪsɪˈsɪpi ˈdɪstrɪkt nɔrθ ˌkɛrəˈlaɪnə ˈdɪstrɪkt nɔrθ ˌkɛrəˈlaɪnə ˈdɪstrɪkt nɔrθ ˌkɛrəˈlaɪnə ˈdɪstrɪkt nɔrθ ˌkɛrəˈlaɪnə ˈdɪstrɪkt nɔrθ ˌkɛrəˈlaɪnə ˈdɪstrɪkt nɔrθ ˌkɛrəˈlaɪnə ˈdɪstrɪkt nɔrθ dəˈkoʊtə nəˈbræskə ˈdɪstrɪkt nu ˈhæmʃər ˈdɪstrɪkt nu ˈhæmʃər ˈdɪstrɪkt nu ˈʤərzi ˈdɪstrɪkt nu ˈʤərzi ˈdɪstrɪkt nu ˈʤərzi ˈdɪstrɪkt nu ˈmɛksəˌkoʊ ˈdɪstrɪkt nu ˈmɛksəˌkoʊ ˈdɪstrɪkt nu ˈmɛksəˌkoʊ ˈdɪstrɪkt nəˈvɑdə ˈdɪstrɪkt nu jɔrk ˈdɪstrɪkt nu jɔrk ˈdɪstrɪkt nu jɔrk ˈdɪstrɪkt nu jɔrk ˈdɪstrɪkt nu jɔrk ˈdɪstrɪkt nu jɔrk ˈdɪstrɪkt nu jɔrk ˈdɪstrɪkt nu jɔrk ˈdɪstrɪkt nu jɔrk ˈdɪstrɪkt nu jɔrk ˈdɪstrɪkt nu jɔrk ˈdɪstrɪkt nu jɔrk ˈdɪstrɪkt oʊˈhaɪoʊ ˈdɪstrɪkt oʊˈhaɪoʊ ˈdɪstrɪkt oʊˈhaɪoʊ ˈdɪstrɪkt oʊˈhaɪoʊ ˈdɪstrɪkt oʊˈhaɪoʊ ˈdɪstrɪkt oʊˈhaɪoʊ ˈdɪstrɪkt oʊˈhaɪoʊ ˈdɪstrɪkt oʊˈhaɪoʊ ˈdɪstrɪkt ˌoʊkləˈhoʊmə ˈdɪstrɪkt ˈɔrəˌgɑn ˈdɪstrɪkt ˈɔrəˌgɑn ˈdɪstrɪkt ˈɔrəˌgɑn ˈdɪstrɪkt ˌpɛnsəlˈveɪnjə ˈdɪstrɪkt ˌpɛnsəlˈveɪnjə ˈdɪstrɪkt ˌpɛnsəlˈveɪnjə ˈdɪstrɪkt ˌpɛnsəlˈveɪnjə ˈdɪstrɪkt ˌpɛnsəlˈveɪnjə ˈdɪstrɪkt ˌpɛnsəlˈveɪnjə ˈdɪstrɪkt ˌpɛnsəlˈveɪnjə ˈdɪstrɪkt ˌpɛnsəlˈveɪnjə ˈdɪstrɪkt ˌpɛnsəlˈveɪnjə ˈdɪstrɪkt ˌpɛnsəlˈveɪnjə ˈdɪstrɪkt ˌpɛnsəlˈveɪnjə ˈdɪstrɪkt roʊd ˈaɪlənd ˈdɪstrɪkt saʊθ ˌkɛrəˈlaɪnə ˈdɪstrɪkt saʊθ dəˈkoʊtə ˌtɛnəˈsi ˈdɪstrɪkt ˌtɛnəˈsi ˈdɪstrɪkt ˌtɛnəˈsi ˈdɪstrɪkt ˌtɛnəˈsi ˈdɪstrɪkt ˈtɛksəs ˈdɪstrɪkt ˈtɛksəs ˈdɪstrɪkt ˈtɛksəs ˈdɪstrɪkt ˈtɛksəs ˈdɪstrɪkt ˈtɛksəs ˈdɪstrɪkt ˈjuˌtɔ ˈdɪstrɪkt vərˈʤɪnjə ˈdɪstrɪkt vərˈʤɪnjə ˈdɪstrɪkt vərˈʤɪnjə ˈdɪstrɪkt vərˈʤɪnjə ˈdɪstrɪkt ˈwɔʃɪŋtən ˈdɪstrɪkt ˈwɔʃɪŋtən ˈdɪstrɪkt ˈwɔʃɪŋtən ˈdɪstrɪkt ˈwɔʃɪŋtən ˈdɪstrɪkt wɪˈskɑnsən ˈdɪstrɪkt wɪˈskɑnsən ˈdɪstrɪkt wɪˈskɑnsən ˈdɪstrɪkt wɛst vərˈʤɪnjə ˈdɪstrɪkt wɛst vərˈʤɪnjə ˈdɪstrɪkt
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ðə ˈjuˈɛs ˈgəvərnmənt juzd ˈvizəz ɛz ə ki weɪ tɪ ɪnˈtaɪs ˈæfˌgænz ənd ˌɪˈrækiz tɪ wɪθ ˈwɛstərn trups, əˈspɛʃəli sɪns ðoʊz hu dɪd soʊ ˈɔfən bɪˈkeɪm ˈtælɪˌbæn ənd ˈtɑrgəts. ðə ˈjuˈɛs ˈspɛʃəl ˈɪməgrənt ˈvizə ˈproʊˌgræm fər ˌɪˈrækiz pæst ɪn 2008 ənd sɛt ə ˈmæksəməm əv ˈvizəz, bət ə mɪr 20 hæv bɪn ˈgɪvɪn aʊt ðəs fɑr. ə ˈsɪmələr ˈvizə ˈproʊˌgræm fər ˈæfˌgænz hu ˈeɪdɪd trups wɑz ɛˈnæktəd ɪn 2009 ənd ˈɔfərd əp tɪ ˈvizəz. kip ɪn maɪnd ðət ðə ˈɪnfəməs "sərʤ" hæd nɑt jɛt ˈteɪkən pleɪs ðɛn, ðəs ˈkɑŋgrəs ˈdɪdənt θɪŋk ˈmɛni ˈvizəz wər ˈnidɪd. tɪ deɪt, ˈoʊnli 12 əv ðə ˈspɛʃəl ˈæfˌgæn ˈvizəz hæv bɪn ˈgɪvɪn aʊt. bɪɔnd ðə fækt ðət ðiz ˈæfˌgænz ənd ˌɪˈrækiz pʊt ðɛr lɪvz ɔn ðə laɪn fər ˈwɛstərn trups ənd ɑr ˈgəvərnmənts ʃʊd kip ðɛr ˈprɑməsəz, ðɛrz ə ˌbjʊrəˈkrætɪk ˈdɛˌdlaɪn əˈproʊʧɪŋ ðət wɪl meɪk θɪŋz ˈivɪn wərs. ðə ˈjuˈɛs ˈvizə ˈproʊˌgræm fər ˌɪˈrækiz wɪl ɪkˈspaɪr ˈmənˌdeɪ ənˈlɛs ˈkɑŋgrəs rɪˈnuz ɪt, wɪʧ lʊks ˈdaʊtfəl ˈgɪvɪn ðə ˈkɑrənt ˈgrɪˌdlɑk. ðət minz ðət ˈmɛni ˌɪˈræki ˌɪnˈtərprətərz hu θɔt ðeɪ wər ˈvərʧuəli ˈprɑməst ə ˈvizə naʊ faɪnd ðɛmˈsɛlvz əˈbaʊt tɪ bi kət əˈdrɪft. ðə seɪm feɪt ˈlaɪkli əˈweɪts ðə ˈæfˌgæn ˈproʊˌgræm nɛkst jɪr. ɪts əˈspɛʃəli ˈsɪkənɪŋ ðət ðiz ˈproʊˌgræmz kʊd fɔl əˈpɑrt naʊ bɪˈkəz əv ˈdɛməˌkræts ənd rɪˈpəblɪkənz fˈjudɪŋ ˈoʊvər ðə ˈbəʤɪt. ɪn ðə pæst, ðɛr wɑz baɪˈpɑrtɪzən səˈpɔrt tɪ kriˈeɪt ðiz ˈspɛʃəl ˈvizəz. ənd ðət ɪz waɪ ˈjuˈɛs ˈɑrmi ˈvɛtərən mæt ˈzɛlər ɪz ɔn ə nu ˈmɪʃən: tɪ gɪt hɪz ˈfɔrmər ˌɪnˈtərprətər ðə ˈjuˈɛs ˈvizə hi ənd hɪz ˈfæməli wər ˈprɑməst fər ˈeɪdɪŋ ˈwɛstərn trups. ɪn ðə ˈgɑrdiən ˈjɛstərˌdeɪ wɛnt ˈvaɪrəl, ˈmeɪkɪŋ ɪt tɪ ðə tɔp əv ˈsoʊʃəl ˈmidiə saɪt ənd əˈtræktɪŋ ðə əˈtɛnʃən əv ˈkɑŋgrəsmən ʤɪm məkˈdərmət, ə ˈdɛməˌkræt frəm ðə steɪt əv ˈwɔʃɪŋtən, hu sɛnt ə ˈlɛtər (pdf*) tɪ ðə steɪt dɪˈpɑrtmənt ənd ˈjuˈɛs dɪˈrɛktər əv ˈnæʃənəl ˌɪnˈtɛləʤəns dɪˈmændɪŋ ən ˌɪnˌvɛstəˈgeɪʃən ˈɪntu ˈʤænɪs keɪs. məkˈdərmət, hu sərvd ɪn ðə ˈjuˈɛs ˈneɪvi ˈdʊrɪŋ ðə viˌɛtˈnɑm wɔr, roʊt ɪn ðə ˈlɛtər: ɛz ə ˈmɛmbər əv ˈkɑŋgrəs, aɪ teɪk ˈnæʃənəl sɪˈkjʊrəti ˈsɪriəsli. bət ɛz ˈsəmˌwən hu ˈɔlsoʊ sərvd ɪn ðə ˈneɪvi, aɪ noʊ haʊ məʧ wi dɪˈpɛnd əˈpɑn ˈloʊkəl stæf tɪ səkˈsid ɪn ɑr ˈmɪʃənz əˈbrɔd. ˈmɪstər dɪˈzərvz tɪ bi ˈtritɪd wɪθ ˈdɪgnəti. wi meɪd ə ˈprɑməs tɪ ɪm ənd wi məst stænd baɪ ɑr ˈprɑməs. ˈbækɪŋ əˈweɪ naʊ wɪˈθaʊt duɪŋ ˈɛni du ˈdɪlɪʤəns wɪn wi noʊ hɪz laɪf ɪz ɔn ðə laɪn ɪz ˌɪˈmɔrəl. bət ðə ˈprɑbləm ɪz mɔr ˈwaɪdˈsprɛd ðən ðɪs wən keɪs. ˈsɛvərəl ˈpoʊstərz ɔn ʃɛrd ˈsɪmələr ˈstɔriz: geminitx*: ðɪs ˈhæpənd tɪ maɪ ˈbrəðərz ˌɪnˈtərprətər ɪn æfˈgænəˌstæn. ˈləkəli hi meɪd ɪt aʊt əv ðə ˈkəntri baɪ ˈtrævəlɪŋ tɪ ˈʤərməni, ənd ɪz ˈkərəntli ˈsikɪŋ əˈsaɪləm ɪn ðə ˈjuˈɛs. ɑr ˈfæməli ɪz səˈpɔrtɪŋ ɪm ɛz məʧ ɛz wi kən wɪθ doʊˈneɪʃənz ənd ˈraɪtɪŋ ɑr ˈkɑŋgrəsmɪn ənd ˈsɛnətərz. ðə ˈprɔˌsɛs teɪks tu lɔŋ, əˈspɛʃəli fər ə ˈpərsən hu ˈlɪtərəli pʊt hɪz laɪf ɔn ðə laɪn fər maɪ ˈbrəðər ənd ˈəðər ˈjuˈɛs ˈsoʊlʤərz. lɔl ðɪs aɪ ˈhæpənɪŋ tɪ maɪ raɪt naʊ, hi sɪz "aɪ hæv tɪ goʊ tɪ əˈmɛrɪkə, ɪf aɪ dont*, ˈtælɪˌbæn wɪl kɪl mi" gɔn tɪ du hɪz ˈɪntərvˌju tɪ gɪt hɪz ˈvizə laɪk 4 taɪmz ˈoʊvər ðə jɪrz, ˈɔlˌweɪz gɪts ðə rən əraʊnd, ˈʃɪˌti tɪ θɪŋk ðət əˈmɛrɪkə ɪz ʤɪst ˈgɑnə wɔʧ ðiz ˈpipəl daɪ. ˈzɛlər ənd ðə ˌɪˈræki ˈrɛfjuʤi əˈsɪstəns ˈprɑʤɛkt hæv hərd frəm "tənz əv ˈpipəl" ɪn ˈsɪmələr ˌsɪʧuˈeɪʃənz. "aɪv lɔst kaʊnt əv ðə ˈnəmbər əv ˈpipəl hu hæv ˈkɑnˌtæktɪd mi hu hæv æst fər hɛlp ɪn ðə seɪm θɪŋ", ˈzɛlər sɛd. "ɪt ˈrɪli kəmz daʊn tɪ ˈkɑŋgrəs duɪŋ ðɛr θɪŋ ənd ˈfɪksɪŋ ðə dæm lɔ." əv ðə fɔr ˌɪnˈtərprətərz ˈzɛlər ˈpərsənəli wərkt wɪθ, ˈoʊnli wən həz bɪn ˈeɪbəl tɪ kəm tɪ ðə ˈjuˈɛs ənd ðət wɑz bɪˈkəz hi ˈmɛrid ən əˈmɛrɪkən. ˈbrɪtɪʃ ˈblɔgər ˈsəni roʊt ˈrisəntli əˈbaʊt ˈsɪmələr ˈprɑbləmz ðət ˈæfˌgæn ˌɪnˈtərprətərz feɪs traɪɪŋ tɪ əbˈteɪn ˈvizəz tɪ ðə juˈnaɪtɪd ˈkɪŋdəm. ənd ˈəðərz juzd ˈsoʊʃəl ˈmidiə tɪ maʊnt ə kæmˈpeɪn tɪ gɪt mɔr ˈvizəz fər ˌɪˈræki ˌɪnˈtərprətərz fər ˈbrɪtɪʃ trups. ðeɪ hoʊp tɪ du ðə seɪm fər ˈæfˌgænz. ðə ˈgɑrdiən ɪz ˈlʊkɪŋ fər ˈəðər ˌɪˈræki ənd ˈæfˌgænz hu ˈeɪdɪd trups ənd ər ˈstrəgəlɪŋ tɪ əbˈteɪn ˈvizəz. iˈmeɪl ər ɔn tˈwɪtər. ˈəpˌdeɪt: mɔr ˈstɔriz əˈnəðər ˈjuˈɛs ˈsoʊlʤər sɛd hi həz faɪld ðə ˈnɛsəˌsɛri ˈpeɪpərˌwərk fər hɪz ˌɪnˈtərprətər, ʃæg (ə ˈnɪkˌneɪm), tɪ əbˈteɪn ə ˈvizə ˈnumərəs taɪmz. ðɪs ˈsoʊlʤər ˈtrævəld əraʊnd æfˈgænəˌstæn ˈtreɪnɪŋ ˈvɛriəs ˈmɛdɪkəl ˈjunɪts. hi ˈstɑrtɪd ˈæskɪŋ əraʊnd tɪ si ɪf ˈəðər ˌɪnˈtərprətərz wər ˈgɪtɪŋ ðɛr ˈvizəz əˈpruvd, bət hi ˈnoʊtɪst ən əˈlɑrmɪŋ trɛnd: ˈoʊnli ðə ˌɪnˈtərprətərz əv tɔp ˈmɪlɪˌtɛri əˈfɪʃəlz ənd ðoʊz ɪn ˈkɑbʊl, wɛr ðə ˈjuˈɛs ˈɛmbəsi ɪz, wər ˈgɪtɪŋ ˈprɑsɛst. "maɪ ˌɪnˈtərprətər geɪv əp ˈɛvriˌθɪŋ. hi seɪvd ɑr lɪvz ɪt ˈsaʊndɪd laɪk ɔl [ˌɪnˈtərprətərz] hæv tɪ du ɪz du ə jɪr ənd ðɛn gɪt ˈsɪtɪzənˌʃɪp, bət ðæts nɑt haʊ ɪts goʊɪŋ daʊn ˈoʊvər ðɛr", ðə ˈsoʊlʤər sɛd, ˈæskɪŋ tɪ rɪˈmeɪn əˈnɑnəməs ɪn ˈɔrdər nɑt tɪ hərt ðə ˈʧænsɪz əv hɪz ˌɪnˈtərprətər. ʃæg ˈmænɪʤd tɪ gɪt tɪ ˈʤərməni, bət naʊ hi ɪz ɪn ˈlɪmboʊ, ənˈʃʊr ɪf hi wɪl ˈɛvər gɪt ə ˈvizə tɪ steɪ ɪn ˈjʊrəp ər ðə ˈjuˈɛs. ðə ˈoʊnli θɪŋ hi noʊz ɪz ðət hi ˈkænɑt rɪˈtərn tɪ æfˈgænəˌstæn.
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the us government used visas as a key way to entice afghans and iraqis to co-operate with western troops, especially since those who did so often became taliban and al-qaida targets. the us special immigrant visa program for iraqis passed in 2008 and set a maximum of 25,000 visas, but a mere 20% have been given out thus far.
a similar visa program for afghans who aided troops was enacted in 2009 and offered up to 8,500 visas. keep in mind that the infamous "surge" had not yet taken place then, thus congress didn't think many visas were needed. to date, only 12% of the special afghan visas have been given out.
beyond the fact that these afghans and iraqis put their lives on the line for western troops and our governments should keep their promises, there's a bureaucratic deadline approaching that will make things even worse. the us visa program for iraqis will expire monday unless congress renews it, which looks doubtful given the current gridlock. that means that many iraqi interpreters who thought they were virtually promised a visa now find themselves about to be cut adrift. the same fate likely awaits the afghan program next year.
it's especially sickening that these programs could fall apart now because of democrats and republicans feuding over the budget. in the not-too-distant past, there was bipartisan support to create these special visas.
and that is why us army veteran matt zeller is on a new mission: to get his former interpreter the us visa he and his family were promised for aiding western troops. zeller's op-ed in the guardian yesterday went viral, making it to the top of social media site reddit and attracting the attention of congressman jim mcdermott, a democrat from the state of washington, who sent a letter (pdf) to the state department and us director of national intelligence demanding an investigation into janis shinwari's case.
mcdermott, who served in the us navy during the vietnam war, wrote in the letter:
as a member of congress, i take national security seriously. but as someone who also served in the navy, i know how much we depend upon local staff to succeed in our missions abroad. mr shinwari deserves to be treated with dignity. we made a promise to him and we must stand by our promise. backing away now without doing any due diligence when we know his life is on the line is immoral.
but the problem is more widespread than this one case. several posters on reddit shared similar stories:
geminitx: this happened to my brother's interpreter in afghanistan. luckily he made it out of the country by travelling to germany, and is currently seeking asylum in the us. our family is supporting him as much as we can with donations and writing our congressmen and senators. the process takes waaaaay too long, especially for a person who literally put his life on the line for my brother and other us soldiers.
fattymcnasty123: lol this i happening to my terp right now, he says "i have to go to america, if i dont, taliban will kill me" hes gone to do his interview to get his visa like 4 times over the years, always gets the run around, shitty to think that america is just gonna watch these people die.
zeller and the iraqi refugee assistance project have heard from "tons of people" in similar situations. "i've lost count of the number of people who have contacted me who have asked for help in the same thing", zeller said. "it really comes down to congress doing their thing and fixing the damn law." of the four interpreters zeller personally worked with, only one has been able to come to the us and that was because he married an american.
british blogger sunny hundal wrote recently about similar problems that afghan interpreters face trying to obtain visas to the united kingdom. hundal and others used social media to mount a campaign to get more visas for iraqi interpreters for british troops. they hope to do the same for afghans.
the guardian is looking for other iraqi and afghans who aided troops and are struggling to obtain visas. email heather.long@theguardian.com or @byheatherlong on twitter.
update: more stories
another us soldier said he has filed the necessary paperwork for his interpreter, shag (a nickname), to obtain a visa numerous times. this soldier traveled around afghanistan training various medical units. he started asking around to see if other interpreters were getting their visas approved, but he noticed an alarming trend: only the interpreters of top military officials and those in kabul, where the us embassy is, were getting processed.
"my interpreter gave up everything. he saved our lives … it sounded like all [interpreters] have to do is do a year and then get citizenship, but that's not how it's going down over there", the soldier said, asking to remain anonymous in order not to hurt the chances of his interpreter. shag managed to get to germany, but now he is in limbo, unsure if he will ever get a visa to stay in europe or the us. the only thing he knows is that he cannot return to afghanistan.
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ɪz ˈdɑnəld trəmp dɪˈlɪbərətli traɪɪŋ tɪ luz ðɪs reɪs? ɪn ˈfeɪsɪŋ ˌækjəˈzeɪʃənz əv ˈsɛkʃuəl əˈsɔlt, trəmp ɪz ˈdɪgɪŋ ɪn ənd pərˈpɛrɪŋ tɪ ʤɪst slɪŋ mɔr məd ɪn ðə ˈəðər dɪˈrɛkʃɪn æt ðə ˈmidiə ənd bɪl ˈklɪntən. ɛz fər dɪˈfɛndɪŋ hɪmˈsɛlf əˈgɛnst ˈkɑrənt ˌækjəˈzeɪʃənz, ðə trəmp kæmˈpeɪn brɔt ˈfɔrwərd ə ˈwɪtnəs, ˈænθɔˌni frəm greɪt ˈbrɪtən, hu kleɪmz trəmp əˈkjuzər, ˈʤɛsɪkə lidz ɪz laɪɪŋ əˈbaʊt hər ɪnˈkaʊnər wɪθ trəmp ɔn ə flaɪt ɪn 1980 ər 1981 frəm ðə poʊst:, 54 sɛd hi wɑz ˈsɪtɪŋ əˈkrɔs ðə fərst klæs aɪəl frəm ðə ˈkəpəl ənd sɔ ˈnəθɪŋ ˌɪnəˈproʊpriɪt. lidz wɑz ˈwɛrɪŋ ə waɪt ˈpæntˌsut, hi sɛd, waɪl trəmp wɑz ˈwɛrɪŋ ə sut ənd cuff-links*, wɪʧ hi geɪv tɪ hɪz ˈbrɪtɪʃ flaɪt kəmˈpænjən. ˌɪnˈdid, kleɪmd, lidz wɑz tu hard”*” ɪn hər əˈtɛmpt tɪ wɪn trəmp ˈoʊvər. ˈwɔntɪd tɪ ˈmɛri him,”*,” sɛd əv lidz, hu əˈpɛrəntli meɪd ðə kənˈfɛʃən wɪn trəmp ɪkˈskjuzd hɪmˈsɛlf ənd wɛnt tɪ ðə ˈbæθˌrum. ðɛr wɑz noʊ ˈkɪsɪŋ, bət ðə ““shrill”*” lidz wɑz məʧ ɪn jʊr face”*” wɪθ ðə ril ɛˈsteɪt dɪˈvɛləpər. ənd ðɛn ðə wilz fɔl ɔf: meɪd ˈhɛˌdlaɪnz ɪn 2014 wɪn hi wɛnt ˈpəblɪk wɪθ ə kleɪm ðət ɛz ə hi proʊˈkjʊrd bɔɪz (səm hu hæv been”*” underage”*”) fər sɛks ˈpɑrtiz wɪθ ˈbrɪtɪʃ ˌpɑləˈtɪʃənz. wət? jɛs, tru. hir ɪz ðə ˈstɔri frəm 2014 ˈsinjər ˈtɔri ˈkæbənət ˈmɪnɪstərz wər səˈplaɪd wɪθ ˈəndərɪʤ bɔɪz fər sɛks ˈpɑrtiz, ɪt ɪz kleɪmd. ˈfɔrmər kənˈsərvətɪv ˈæktɪvɪst ˈænθɔˌni sɛd hi toʊld ˈmɑrgərɪt ˈθæʧər 25 jɪrz əˈgoʊ əˈbaʊt wət hi hæd ˈwɪtnəst ənd geɪv hər neɪmz əv ðoʊz ˌɪnˈvɑlvd. hɪz ˌæləˈgeɪʃənz ðət hi sɔ tɔp ˈtɔˌriz ˈhævɪŋ sɛks wɪθ bɔɪz kəmz ˈæftər ˈdeɪvɪd ˈkæmərən lɔnʧt ə ˈgəvərnmənt ˌɪnkˈwaɪˌri ˈɪntu kleɪmz əv ə ˈkəvərˌəp. ˈænθɔˌni, 52 sɛd: æm priˈpɛrd tɪ spik tɪ ðə ˌɪnkˈwaɪˌri. aɪ bɪˈliv aɪ æm ə ki witness.”*.” ˈsidi strits ˈdʊrɪŋ ə ˈtɔri ˈkɑnfərəns, sɪz hi wɑz æst tɪ faɪnd ˈəndərɪʤ rɛnt bɔɪz fər ə ˈpraɪvət sɛks ˈpɑrti æt ə tɔp hoʊˈtɛl. təˈdeɪ, mɔr ðən θri ˈdɛkeɪdz ˈleɪtər, hi kleɪmz hi wɑz ˈæktɪŋ ɔn ðə ˈɔrdərz əv səm əv ðə moʊst ˈsinjər ˈfɪgjərz əv ˈmɑrgərɪt ˈgəvərnmənt. ˈænθɔˌni sɪz hi wɑz ə ˈæktɪvɪst wɪn hi hɛlpt proʊˈkjʊr ðə ənd prettiest”*” bɔɪz fər ˈsɛvərəl ˈkæbənət ˈmɪnɪstərz ˈæftər biɪŋ toʊld tɪ faɪnd ““entertainment”*”. ɪn ə ˈsɪriz əv ɪkˈsploʊsɪv kleɪmz əˈbaʊt ˈkɑnfərənsəz æt ˈblækˌpul ənd ˈbraɪtən ɪn ðə 1980s*, hi əˈlɛʤɪz bɔɪz ɛz jəŋ ɛz 15 ˌɪnˈdəlʤd ɪn ˈælkəˌhɑl ənd koʊˈkeɪn ˌbiˈfɔr ðeɪ hæd sɛks wɪθ ðə ˈpaʊərfəl ˌpɑləˈtɪʃənz. ðɪs ɪz hu trəmp sɛndz ˈfɔrwərd ɛz ə ˈkɛrɪktər ˈwɪtnəs tɪ dɪˈfɛnd ɪm? ə pɪmp? həz ˈɛnibədi ʧɛkt ɔn ˈkɛliˈæn ˈkɑnˌweɪ? ðə kæmˈpeɪn həz gɔn fʊl ˈbænən. ˈəpˌdeɪt: ɪt ɪz ˈpɑsəbəl ðət ɪz laɪɪŋ əˈbaʊt hɪz ˈpɪmpɪŋ pæst. soʊ wət ɪf hi ɪz? hu ðə hɛl laɪz əˈbaʊt ðət? ənd ɪf hi ɪz laɪɪŋ əˈbaʊt ɪt, waɪ ɔn ərθ ʃʊd ˈɛnibədi bɪˈliv hɪz teɪk əˈbaʊt wət ˈhæpənd ɔn ðət pleɪn? soʊ ðə trəmp kæmˈpeɪn wɑz feɪst wɪθ tu ˈʧɔɪsɪz: wɑz ˈiðər ə pɪmp ər ə ˈsɪˌriəl laɪər ənd fabulist*. ˈiðər weɪ, noʊ weɪ ɪn hɛl ðeɪ ʃʊd hæv pʊt ɪm ˈfɔrwərd ɛz ə ˈkɛrɪktər ˈwɪtnəs.
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is donald trump deliberately trying to lose this race? in facing accusations of sexual assault, trump is digging in and preparing to just sling more mud in the other direction at the media and bill clinton. as for defending himself against current accusations, the trump campaign brought forward a witness, anthony gilberthorpe from great britain, who claims trump accuser, jessica leeds is lying about her encounter with trump on a flight in 1980 or 1981.
from the ny post:
gilberthorpe, 54, said he was sitting across the first class aisle from the couple and saw nothing inappropriate. leeds was wearing a white pantsuit, he said, while trump was wearing a suit and cuff-links, which he gave to his british flight companion. indeed, gilberthorpe claimed, leeds was “trying too hard” in her attempt to win trump over. “she wanted to marry him,” gilberthorpe said of leeds, who apparently made the confession when trump excused himself and went to the bathroom. there was no kissing, but the “shrill” leeds was “very much in your face” with the real estate developer.
and then the wheels fall off:
gilberthorpe made headlines in 2014, when he went public with a claim that as a 17-year-old he procured boys (some who “could have been” underage”) for sex parties with high-ranking british politicians.
what?
yes, true. here is the story from 2014:
senior tory cabinet ministers were supplied with underage boys for sex parties, it is sensationally claimed. former conservative activist anthony gilberthorpe said he told margaret thatcher 25 years ago about what he had witnessed and gave her names of those involved. his allegations that he saw top tories having sex with boys comes after david cameron launched a government inquiry into claims of a cover-up. anthony, 52, said: “i am prepared to speak to the inquiry. i believe i am a key witness.” trawling seedy streets during a tory conference, gilberthorpe says he was asked to find underage rent boys for a private sex party at a top hotel. today, more than three decades later, he claims he was acting on the orders of some of the most senior figures of margaret thatcher’s government. anthony says he was a full-time political activist when he helped procure the “youngest and prettiest” boys for several cabinet ministers after being told to find “entertainment”. in a series of explosive claims about conferences at blackpool and brighton in the 1980s, he alleges boys as young as 15 indulged in alcohol and cocaine before they had sex with the powerful politicians.
this is who trump sends forward as a character witness to defend him? a self-described pimp?
has anybody checked on kellyanne conway? the campaign has gone full bannon.
update: it is possible that gilberthorpe is lying about his pimping past. so what if he is? who the hell lies about that? and if he is lying about it, why on earth should anybody believe his take about what happened on that plane?
so the trump campaign was faced with two choices: gilberthorpe was either a pimp or a serial liar and fabulist. either way, there’s no way in hell they should have put him forward as a character witness.
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ðə mɑrʧ ɔn ʤun sɔ ə blɑk əv 150 ˈænərˌkɪsts ˈmɑrʧɪŋ təˈgɛðər ɪn ˈləndən mɔr ðən hæd ɪn ə waɪl. (nɑt ʃʊr wət ə blɑk ɪz? si noʊt æt ðə ɛnd əv ðɪs article…*…) bɪg flægz mɛnt ðət ˈpipəl kʊd faɪnd iʧ ˈəðər, ənd ðə mæsks ˈhændɪd aʊt baɪ mɛnt ðət ˈɔlˌmoʊst ˈɛvriˌwən hæd ðɛr feɪs ˈkəvərd. ˈsædli, ðə ˈækʧəwəl ˈækʃən ðət ˈhæpənd wɑz ə bɪt ʃɪt. ðə blɑk ˈstɑrtɪd ɔf ɛz pɑrt əv ðə meɪn mɑrʧ, wɪθ noʊ ˈjunəˌfɔrmd pəˈlis ɪn saɪt. flɛrz ənd smoʊk bɑmz wər lɛt ɔf. bət ˈivɪn ðoʊ ɪt wɔkt pæst ˈplɛnti əv ˈɑbviəs ˈtɑrgəts, ðɛr wɑz ˈoʊnli ˈmaɪnər ˈdæmɪʤ kɔzd. ˌɔlˈðoʊ ðə flægz ənd ˈbænərz mɛnt ðət ðə blɑk kɛpt təˈgɛðər ə lɔt ˈbɛtər ðən ˈnɔrməl, ˈpipəl wər stɪl ˈɔfən sprɛd aʊt ənd ɪn ˈdeɪnʤər əv ˈgɪtɪŋ ˈsɛpərˌeɪtɪd kəmˈplitli. ðɛn keɪm ðə ˈbreɪkəˌweɪ ˈpipəl wər lɛd əˈweɪ frəm ðə ˈsɛntər əv ˈləndən, ənd ɔn ə lɔŋ wɔk saʊθ əv ðə ˈrɪvər. ðɪs wɑz ˈtaɪrɪŋ bət lɛd tɪ ˈɛni ˈækʃənz. nɑt ˈoʊnli wɑz ðɛr lɛs ˈɑbviəsli wərθ duɪŋ, ðə blɑk ˈɔlsoʊ pɪkt əp ə bɪg ˈfɑloʊɪŋ əv raɪət vænz ənd pəˈlis. ˈæftər wət fɛlt laɪk ə lɔŋ ənd ˈpɔɪntləs wɔk, ðə blɑk ˈɛndɪd əp bæk æt ðə ˈspiʧɪz əv ðə meɪn mɑrʧ. (əˈpɛrəntli ðə ˈtərgət ɪn saʊθ ˈləndən wɑz ə ˈprɑpərti dɪˈvɛləpər, wɪʧ ˈpipəl ðɛn lɛft ˈrɪli fæst wɪn pəˈlis muvd ɪn) waɪl ɪt wɑz ə gʊd ʃoʊ əv fɔrs, ənd ˈbɛtər ðən ʤɪst ˈwɔkɪŋ frəm ə tɪ bi, ðɛr wɑz soʊ məʧ wi kʊd hæv dən ˈbɛtər! ðɪs ˈɑrtɪkəl həz θri aɪˈdiəz ɔn that…*… mɔr ˈbænərz pəˈlis traɪ tɪ gɪt ˈpipəl ɔn ə blɑk tɪ ˈpænɪk soʊ ðət ðeɪ stɑrt ˈrənɪŋ tu fæst ənd liv ˈpipəl bɪˈhaɪnd, ˈsplɪtɪŋ ðə grup ˈɪntu sˈmɔlər ənd sˈmɔlər ˈsɛkʃənz. wi nid tɪ brɪŋ mɔr θɪŋz ðət hɛlp ˈjuˈɛs tɪ dɪˈfɛnd ɑrˈsɛlvz ənd steɪ təˈgɛðər. ɪn ˈʤərməni, ˈkɑmən tɪ du ðɪs ˈjuzɪŋ ˈbænərz nɑt ʤɪst æt ðə frənt əv ə blɑk bət əraʊnd ðə saɪdz ənd æt ðə bæk. ðɪs hɛlps stɑp ðə blɑk ˈmərʤɪŋ wɪθ ðə rɛst əv ðə ˈproʊˌtɛst, ənd meɪks ɪt ˈhɑrdər fər pəˈlis tɪ snæʧ ˈpipəl. ˈbænərz ər ˈsəmθɪŋ ðət ˈproʊˌtɛstərz hu hæv ˈteɪkən ˈækʃən kən haɪd bɪˈhaɪnd. sˈmɑrtər bɪˈkəz ðə ˈbreɪkəˌweɪ ɔn ˈsæˌtɪˌdeɪ wɔkt soʊ fɑr, ˈpipəl gɑt tu taɪərd tɪ teɪk ˈɛni ˈækʃən, ənd pəˈlis hæd ˈplɛnti əv taɪm tɪ brɪŋ ɪn ˌriɪnˈfɔrsmənts. ɪf wi breɪk əˈweɪ æt ɔl ðɛn ðɛr nidz tɪ bi ə goʊl ˈnɪrˈbaɪ ðə pəˈlis kʊd hæv stɑpt ˈjuˈɛs ɪf traɪd ˈhɑrdər, ənd ðɛn ðə hoʊl θɪŋ wʊd hæv bɪn ˈpɔɪntləs. ðə ˈbreɪkəˌweɪ ˈɔlsoʊ ˈoʊnli simd tɪ hæv wən ˈtərgət. ðɪs ɪz ə ˈprɑbləm bɪˈkəz ɑr ædˈvæntɪʤ ˈoʊvər ðə pəˈlis ɪz spid wi nid tɪ bi ˈflɛksəbəl ənd ʧeɪnʤ ɑr plænz æt ðə læst ˈmɪnət, ənd ðət minz ˈpɪkɪŋ ə rut ðət livz ˈmɛni ˈɔpʃənz ˈoʊpən. ɪn ðə ˈsərkəmˌstænsɪz, wi wʊd hæv bɪn ˈbɛtər ɔf steɪɪŋ ɔn ðə əˈfɪʃəl rut wɪʧ wɛnt pæst ˈbɪznɪsɪz riˈspɑnsəbəl fər ˌɔˈstɛrɪti, ə ˈmeɪʤər ˈpraɪvət bæŋk, ənd ðə ˈlɑrʤəst kəˈmərʃəl ˈprɑpərti ˈkəmpəˌni ɪn ðə uk*! (si ðɪs mæp) meɪk plænz ðə ˈbɪgəst ˈprɑbləm ɔn ðə deɪ wɑz ðət moʊst əv ˈjuˈɛs teɪk ðə ˌɪˈnɪʃətɪv tɪ du ˈɛniˌθɪŋ. ðɪs ɪz dɪˈspaɪt biɪŋ ə ˈdisənt saɪz, wɪθ ˈhɑrdli ˈɛni pəˈlis! nɑt ɪˈnəf tɪ weɪt fər ˈəðər ˈpipəl tɪ stɑrt ˈsəmθɪŋ ˌbiˈfɔr ˈʤɔɪnɪŋ ɪn. ɪf ˈɛvriˌwən hæd ðət ˈætəˌtud ðɛn ˈnəθɪŋ wʊd ˈɛvər ˈhæpən! aɪˈdili, ˈɛvəri ˈænərˌkɪst goʊɪŋ ɔn ə ˈproʊˌtɛst ʃʊd gɪt təˈgɛðər ən əˈfɪnɪti grup bɪˈfɔˌrhænd ənd plæn tɪ teɪk ˈækʃən ɔn ðə deɪ. ðɪs gaɪd tɪ ˈproʊˌtɛsts ənd əˈfɪnɪti grups ɪz wərθ ə rɛd. ɔn ˈsæˌtɪˌdeɪ ɪt fɛlt laɪk moʊst əv ˈjuˈɛs wər ““self-policing”*”. pəˈlis hæv bɪn soʊ ˈhɛvi ˈhændɪd ɪn ðə pæst ðət ˈnoʊwən ɪkˈspɛktɪd tɪ hæv ðə ʧæns tɪ du mɔr ðən ʤɪst ˈtəsəl wɪθ raɪət kɑps. ðə ˈoʊnli weɪ tɪ gɪt aʊt əv ðɪs mɛnˈtælɪti ɪz tɪ ʤɪst du ɪt faɪnd ˈpipəl, gɪt ənd meɪk ə plæn! (noʊt ə ““bloc”*” ɪz wɛr ə grup əv ˈpipəl wɪθ ˈsɪmələr aɪˈdiəz gɪt təˈgɛðər ɔn ə ˈproʊˌtɛst mɑrʧ, ˈhoʊldɪŋ ə wɪˈθɪn ə protest”*”. ˈænərˌkɪsts ˈnɔrməli juz ðiz tɪ ˈgæðər ˈpipəl ðət wɔnt tɪ teɪk dɪˈrɛkt ˈækʃən ɪn wən pleɪs, soʊ ðeɪ kən bæk iʧ ˈəðər əp ənd dɪˈfɛnd ðɛmˈsɛlvz əˈgɛnst pəˈlis. moʊst ˈænərˌkɪsts juz blæk blɑk ˈtæktɪks tɪ prəˈtɛkt ðɛr ˌænəˈnɪmɪti. ðɪs ˈliflət ɪkˈspleɪnz səm əv ðə ˈrizənz wi ˈhæpi wɪθ ˈnɔrməl ˈproʊˌtɛsts) ˈædvərˌtaɪzmənts
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the anti-austerity march on june 20th saw a bloc of 150+ anarchists marching together in london – more than we’ve had in a while. (not sure what a bloc is? see note at the end of this article…) big flags meant that people could find each other, and the masks handed out by netpol meant that almost everyone had their face covered. sadly, the actual action that happened was a bit shit. the bloc started off as part of the main march, with no uniformed police in sight. flares and smoke bombs were let off. but even though it walked past plenty of obvious targets, there was only minor damage caused. although the flags and banners meant that the bloc kept together a lot better than normal, people were still often spread out and in danger of getting separated completely. then came the breakaway – people were led away from the centre of london, and on a long walk south of the river. this was tiring but didn’t lead to any actions. not only was there less obviously worth doing, the bloc also picked up a big following of riot vans and police. after what felt like a long and pointless walk, the bloc ended up back at the speeches of the main march. (apparently the target in south london was a property developer, which people spray-painted then left really fast when police moved in)
while it was a good show of force, and better than just walking from a to b, there was so much we could have done better! this article has three ideas on that…
more banners
police try to get people on a bloc to panic so that they start running too fast and leave people behind, splitting the group into smaller and smaller sections. we need to bring more things that help us to defend ourselves and stay together. in germany, it’s common to do this using banners – not just at the front of a bloc but around the sides and at the back. this helps stop the bloc merging with the rest of the protest, and makes it harder for police to snatch people. banners are something that protesters who have taken action can hide behind.
smarter breakaways
because the breakaway on saturday walked so far, people got too tired to take any action, and police had plenty of time to bring in reinforcements. if we break away at all then there needs to be a goal nearby – the police could have stopped us if they’d tried harder, and then the whole thing would have been pointless. the breakaway also only seemed to have one target. this is a problem because our advantage over the police is speed – we need to be flexible and change our plans at the last minute, and that means picking a route that leaves many options open. in the circumstances, we would have been better off staying on the official route – which went past businesses responsible for austerity, a major private bank, and the largest commercial property company in the uk! (see this map)
make plans
the biggest problem on the day was that most of us didn’t take the initiative to do anything. this is despite being a decent size, with hardly any police! it’s not enough to wait for other people to start something before joining in. if everyone had that attitude then nothing would ever happen! ideally, every anarchist going on a protest should get together an affinity group beforehand and plan to take action on the day. this guide to protests and affinity groups is worth a read.
on saturday it felt like most of us were “self-policing”. police have been so heavy handed in the past that no-one expected to have the chance to do more than just tussle with riot cops. the only way to get out of this mentality is to just do it – find like-minded people, get organised and make a plan!
(note – a “bloc” is where a group of people with similar ideas get together on a protest march, holding a “protest within a protest”. anarchists normally use these to gather people that want to take direct action in one place, so they can back each other up and defend themselves against police. most anarchists use black bloc tactics to protect their anonymity. this leaflet explains some of the reasons we aren’t happy with normal protests)
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kloʊz ə juz. ʤəʤ rɪˈpɔrtədli ruld ˈfraɪˌdeɪ ðət ˈgugəl məst kəmˈplaɪ wɪθ ən ˈɛfˈbiˈaɪ proʊb ˈsikɪŋ ˈækˌsɛs tɪ iˈmeɪlz stɔrd ɔn ə ˈfɔrən ˈsərvər. juz. ˈmæʤɪˌstreɪt ʤəʤ ˈtɑməs ˈrutər ˈhændɪd daʊn ðə ˈrulɪŋ, ˈɔrdərɪŋ sərˈɛndər əv sɛd iˈmeɪlz. ðə muv ɪz ˌɪnˈvərs tɪ ðət əv ə ˈpriviəs keɪs ðət ˌɪnˈvɑlvd ˈmaɪˌkroʊˈsɔft, wɪʧ, ənˈlaɪk ˈgugəl, kʊd nɑt bi fɔrst tɪ hænd ˈoʊvər iˈmeɪlz stɔrd ɔn ə ˈsərvər ɪn ˈaɪərlənd, wɪʧ wɑz ˈnidɪd fər ə keɪs ˌɪnˈvɑlvɪŋ nɑrˈkɑtɪks. ˈgugəl ˈɔrdərd tɪ sərˈɛndər iˈmeɪlz stɔrd ɔn ə ˈfɔrən ˈsərvər ɪn ðɪs nu keɪs, ˌhaʊˈɛvər, ʤəʤ ˈrutər əv ðə juz. ˈdɪstrɪkt kɔrt fər ðə ˈistərn ˈdɪstrɪkt əv ˌpɛnsəlˈveɪnjə ruld ðət ðə ˈtrænsfər əv iˈmeɪlz kəld frəm ə ˈfɔrən ˈsərvər fər ˈɛfˈbiˈaɪ ˌrivˈju ˈdɪdənt kˈwɑləˌfaɪ ɛz ə ˈsiʒər, ˈrɔɪtərz rɪˈpɔrts. əˈkɔrdɪŋ tɪ ðə ʤəʤ, ðɪs wɑz bɪˈkəz ðɛr wɑz noʊ "ˈminɪŋfəl ˌɪnərˈfɪrəns" wɪθ ðə əˈkaʊnt ˈhoʊldərz ˈɪntəˌrɛst" ɪn ðə ˈdætə biɪŋ proʊbd ɛz pɑrt əv ə dəˈmɛstɪk frɔd keɪs. ðə ʤəʤ ˈnoʊtɪd ðət waɪl rɪˈtrivəl əv ˈdætə frəm ˈfɔrən ˈsərvərz maɪt kˈwɑləˌfaɪ ɛz ən ækt əv ˈpraɪvəsi ˌɪnˈveɪʒən, ðə ˈækʧəwəl ˌɪnˈfrɪnʤmənt "əˈkərz æt ðə taɪm əv dɪˈskloʊʒər ɪn ðə juˈnaɪtɪd steɪts." ðə ˈrulɪŋ, ˌhaʊˈɛvər, ɪz nɑt sɛt ɪn stoʊn, ɛz ɪt həz ðə pəˈtɛnʃəl tɪ goʊ əˈgɛnst ðə ˈprɛsɪdənt sɛt læst jɪr ɛz pɑrt əv ˈmaɪˌkroʊˈsɔfts keɪs. ðə keɪs ənd ɪts ˈəpˌʃɑt rɪˈsivd sɪgˈnɪfɪkənt ˈfænˌfɛr baɪ ˈəðər tɛk ˈkəmpəˌniz, kruˈseɪdərz əv ˈpraɪvəsi, ənd ˈəðər ˌɪnstɪˈtuʃənz. ˈgugəl sɪz ˈrulɪŋ ˌkɑntrəˈdɪkts ˈprɛsɪdənt sɛt baɪ ˈsɪmələr ˈmaɪˌkroʊˈsɔft keɪs ˈgugəl ɔˈrɛdi həz ˌɪnˈtɛnʧənz tɪ əˈpil ðə ˈrulɪŋ, riˈlisɪŋ ə ˈsteɪtmənt ðət ˈnoʊtɪd ðə dɪˈpɑrʧər frəm ðə əˈfɔrˌmɛnʃənd ˈprɛsɪdənt. "wi wɪl kənˈtɪnju tɪ pʊʃ bæk ɔn ˈwɔrənts," ðə ˈmaʊntən vju, ˈkəmpəˌni sɛd ˈsæˌtɪˌdeɪ. ðə ˈmaɪˌkroʊˈsɔft ˈrulɪŋ læst ˌʤuˈlaɪ wɑz ˈnɪrli riˈvɪzətɪd baɪ ðə seɪm əˈpilz kɔrt leɪt ˈʤænjuˌɛri, wɪθ ðə fɔr dɪˈsɛnɪŋ ˈʤəʤɪz ˈkɔlɪŋ ɔn ðə juz. səˈprim kɔrt ər ˈkɑŋgrəs tɪ rɪˈvərs ɪt, oʊˈpaɪnɪŋ ðət ðə dɪˈsɪʒən wɑz ˈdɛtrəmənt tɪ lɔ ɛnˈfɔrsmənt, waɪl ˈɔlsoʊ ˌɪnˈsaɪtɪŋ ˈnæʃənəl sɪˈkjʊrəti kənˈsərnz. boʊθ ˈkeɪsɪz ˌɪnˈvɑlvd ˈwɔrənts ˈɪʃud ˈəndər ðə stɔrd kəmˌjunəˈkeɪʃənz ækt, ə 1986 ˈfɛdərəl lɔ ˈmɛni tɛk ˈkəmpəˌniz ənd ˈædvəˌkeɪts əv ˈpraɪvəsi kənˈsɪdər ɑrˈkeɪɪk ənd ˈaʊtˌdeɪtɪd, ər æt ðə ˈvɛri list ˈsərtənli nɑt ˈmɑdərn ɪˈnəf fər ˌsɪʧuˈeɪʃənz. kɔrt ˈpeɪpərz ˈsteɪtɪd ðət ˈgugəl "ˈsəmˌtaɪmz" iˈmeɪlz ˈɪntu ˈdɪspərɪt ˈpisɪz ɛz ə weɪ tɪ ˌɪmˈpruv ɪts ˈnɛtˌwərk pərˈfɔrməns, ˈminɪŋ ðə ˈkəmpəˌni ˈdɪdənt ˌpɑrˈtɪkjələrli noʊ wɛr spɪˈsɪfɪk iˈmeɪlz maɪt bi stɔrd. ˈgugəl bɪˈlivz ɪt həz kəmˈplaɪd wɪθ ðə ˈwɔrənts ɪt hæd rɪˈsivd baɪ fəˈsɪləˌteɪtɪŋ ðə ˈhændoʊvər əv ˈdætə stɔrd ɪn juz. ˈsərvərz. əˈkɔrdɪŋ tɪ ðə ˈʤəʤɪz ˈrulɪŋ, ˈgugəl rɪˈsivz ˈoʊvər rɪkˈwɛsts pər jɪr fər iˈmeɪl ðət eɪd ˈkrɪmənəl proʊbz. ðə stɔrd kəmˌjunəˈkeɪʃənz ækt ɪz naʊ mɔr ðən 30 jɪrz oʊld, ənd ˈgɪvɪn haʊ ˈrisənt θrɛts tɪ ˈpraɪvəsi hæv ʃeɪpt ðə ˈklaɪmɪt əv ðə ˈsəbʤɪkt ˈmætər, ˈmeɪbi ðə ˈfɛdərəl lɔ nidz ə ˈtaɪmli touch-up*. ˈmeɪbi ɪt kʊd juz səm əˈmɛndmənts tɪ rɪˈflɛkt kənˈsərnz təˈdeɪ. ðɪs pæst dɪˈsɛmbər, ˈgugəl riˈlist eɪt ˈnæʃənəl sɪˈkjʊrəti ˈlɛtərz sɛnt baɪ ðə ˈɛfˈbiˈaɪ ɛz pɑrt əv ðə sərʧ ˈkəmpəniz kəˈmɪtmənt tɪ trænˈspɛrənsi. ðə ˈlɛtərz wər sɛnt baɪ ˈdɪfərənt ˈɛfˈbiˈaɪ ˈɔfəsɪz əˈkrɔs ðə ˈkəntri, ˈspænɪŋ 2010 tɪ 2015 ðə ˈlɛtərz, ɪn moʊst ˈkeɪsɪz, wər traɪɪŋ tɪ əbˈteɪn neɪmz, ˈæˈdrɛsɪz, ənd əˈkaʊnt ˈjusɪʤ ənd bɪˈheɪvjər ɔn ˌpɑˈtɪkjələr ˈplætˌfɔrmz. ˈjuʒəwəli rəŋ taɪt soʊ ɛz tɪ vɪr əˈweɪ frəm ˈpəblɪk dɪˈskloʊʒər, ˈgugəl rɪˈlaɪd ɔn ðə ˈrisəntli pæst ˈjuˈɛˈseɪ ˈfridəm ækt tɪ ˈpəblɪʃ ðə ˈlɛtərz. tæg ˈgugəl, ˈɛfˈbiˈaɪ, iˈmeɪl 2018 ɔl raɪts rɪˈzərvd. du nɑt ˌriprəˈdus wɪˈθaʊt pərˈmɪʃən.
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a u.s. judge reportedly ruled friday that google must comply with an fbi probe seeking access to emails stored on a foreign server.
u.s. magistrate judge thomas rueter handed down the ruling, ordering google's surrender of said emails. the move is inverse to that of a previous case that involved microsoft, which, unlike google, could not be forced to hand over emails stored on a server in ireland, which was needed for a case involving narcotics.
google ordered to surrender emails stored on a foreign server
in this new case, however, judge rueter of the u.s. district court for the eastern district of pennsylvania ruled that the transfer of emails culled from a foreign server for fbi agents's review didn't qualify as a seizure, reuters reports.
according to the judge, this was because there was no "meaningful interference" with the account holder's "possessory interest" in the data being probed as part of a domestic fraud case. the judge noted that while google's retrieval of data from foreign servers might qualify as an act of privacy invasion, the actual infringement "occurs at the time of disclosure in the united states."
the ruling, however, is not set in stone, as it has the potential to go against the precedent set last year as part of microsoft's case. the case and its upshot received significant fanfare by other tech companies, crusaders of privacy, and other institutions.
google says ruling contradicts precedent set by similar microsoft case
google already has intentions to appeal the ruling, releasing a statement that noted the magistrate's departure from the aforementioned precedent.
"we will continue to push back on overbroad warrants," the mountain view, california-based company said saturday.
the microsoft ruling last july was nearly revisited by the same appeals court late january, with the four dissenting judges calling on the u.s. supreme court or congress to reverse it, opining that the decision was detriment to law enforcement, while also inciting national security concerns.
both cases involved warrants issued under the stored communications act, a 1986 federal law many tech companies and advocates of privacy consider archaic and outdated, or at the very least certainly not modern enough for present-day situations.
court papers stated that google "sometimes" parses emails into disparate pieces as a way to improve its network performance, meaning the company didn't particularly know where specific emails might be stored.
google believes it has complied with the warrants it had received by facilitating the handover of data stored in u.s. servers. according to the judge's ruling, google receives over 25,000 requests per year for email handovers that aid criminal probes.
the stored communications act is now more than 30 years old, and given how recent threats to privacy have shaped the climate of the subject matter, maybe the federal law needs a timely touch-up. maybe it could use some amendments to reflect concerns today.
this past december, google released eight national security letters sent by the fbi as part of the search company's commitment to transparency. the letters were sent by different fbi offices across the country, spanning 2010 to 2015. the letters, in most cases, were trying to obtain names, addresses, and account usage and behavior on particular platforms.
usually wrung tight so as to veer away from public disclosure, google relied on the recently passed usa freedom act to publish the letters.
tag google, fbi, email
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ˈmɪstər. ˌoʊˈbɑmə wɑz ən ˈərli əˈdhɪrənt əv ˈmɪstər. ˈædvəkəsi fər ˌkɑmpriˈhɛnsɪv ˈproʊˌgræmz tɪ rɪˈdus ðə əˈmaʊnt əv ˈnukliər məˈtɪriəl ɪn ðə wərld, ənd baɪ ˈɛni ˈmɛʒər hɪz ˈɛfərt tɪ prɪˈvɛnt ˈnukliər ˈtɛrəˌrɪzəm həz meɪd ˈmeɪʤər ˈprɑˌgrɛs. iʧ ˈsəmɪt ˈmitɪŋ həz fɔrst ˈkəntriz tɪ meɪk ˈprɑˌgrɛs ɔn ˈlɑkɪŋ daʊn ər ɪˈlɪməˌneɪtɪŋ məˈtɪriəlz. ðə ˈnukliər θrɛt ˌɪˈnɪʃətɪv, wɪʧ ˈpəblɪʃɪz ən ˈænjuəl ˈɪndɛks əv ˈnukliər sɪˈkjʊrəti əraʊnd ðə wərld, noʊts ðət ə ˈdəzən ˈkəntriz hæv ɪˈlɪməˌneɪtɪd ɔl ˈnukliər məˈtɪriəlz sɪns ðə ˈsəmɪt ˈmitɪŋz bɪˈgæn. ˈmɛni mɔr hæv ˈgreɪtli ˌɪmˈpruvd ðə sɪˈkjʊrəti sərˈaʊndɪŋ ˈlaɪtli ˈgɑrdɪd məˈtɪriəlz, wɪʧ ər stɔrd ˈɛvəri pleɪs frəm ˈhɑˌspɪtəlz tɪ ˈrisərʧ riˈæktərz ɔn ˌjunəˈvərsəti ˈkæmpəsɪz. bət æt ðə ˈvɛri ˈmoʊmənt ðət ðə blæk ˈmɑrkɪt ɪn ˈnukliər məˈtɪriəlz rɪˈmeɪnz ˈæktɪv, ðə rɪˈpɔrt faʊnd ðət 24 ˈneɪʃənz stɪl hæd mɔr ðən paʊnz əv ˈnukliər məˈtɪriəl, əv ɪt stɪl tu ˈvəlnərəbəl tɪ theft,”*,” ənd ˈmɛni hæv ʤɪst ˈbeɪgən tɪ θɪŋk əˈbaʊt ðɛr ˌvəlnərəˈbɪlɪti tɪ ðət kʊd ɪˈneɪbəl ən əˈtækər tɪ ˈsæbəˌtɑʒ ə saɪt wɪˈθaʊt ˈbreɪkɪŋ θru ˈfɛnsɪz ər rɪsk ˈsɛtɪŋ ɔf pərˈɪmətər əˈlɑrmz. ðə moʊst ˈfeɪməs ɔn ə ˈnukliər fəˈsɪlɪti wɑz dən baɪ ðə juˈnaɪtɪd steɪts ənd ˈɪzriəl: ðə ˈɛfərt tɪ dɪˈstrɔɪ ənd dɪˈseɪbəl ˈnukliər ˈsɛntrəfˌjuʤɪz æt ðə ˈnukliər ɪnˈrɪʧmənt plænt ɪn ˌɪˈrɑn. ðət ˈproʊˌgræm, oʊˈlɪmpɪk geɪmz, juzd ə wərm ðət wɑz ˈleɪtər neɪmd tɪ nɑk ðə ˈsɛntrəfˌjuʤɪz aʊt əv ˌɑpərˈeɪʃən. ɪt dɪd nɑt riˈlis ˌreɪdioʊˈæktɪv məˈtɪriəl ˈɪntu ðə ˈætməsˌfɪr, bət ɪt wɑz ə ˈvɪvɪd ˌdɛmənˈstreɪʃən əv ðə ˌvəlnərəˈbɪlɪti əv ˈnukliər fəˈsɪlɪtiz tɪ. ˌɪˈrɑn hæd kəmˈplitli ˈaɪsəˌleɪtɪd ðə fəˈsɪlɪti frəm ðə ˈɪntərˌnɛt, bət ðə ərˈɪʤəˌneɪtərz əv ðə ˈproʊˌgræm faʊnd weɪz tɪ ˌɪnˈsərt ɪt. ðə ˈlɛsən əv, ˌhaʊˈɛvər, həz əˈpɛrəntli bɪn lɔst ɔn ˈmɛni ˈneɪʃənz ðət hæv jɛt tɪ dɪˈvɛləp rɪkˈwaɪrmənts ðət ˈnukliər fəˈsɪlɪtiz hæv ɪn pleɪs ˌbiˈfɔr ðeɪ kən ˈɔpərˌeɪt. ˈmɛni steɪts ˌrikˈwaɪər ˈvərʧuəli noʊ ˈifɛktɪv sɪˈkjʊrəti ˈmɛʒərz æt ˈnukliər fəˈsɪlɪtiz tɪ ˈæˌdrɛs ðə θrɛt poʊzd baɪ hackers,”*,” ðə ˈstədi, ɪn wɪʧ ðə ɪˈkɑnəmɪst ˌɪnˈtɛləʤəns ˈjunɪt ˈɔlsoʊ pɑrˈtɪsəˌpeɪtɪd, kənˈkludɪd. əv ðə tu ˈdəzən ˈneɪʃənz wɪθ məˈtɪriəl, naɪn gɑt ðə ˈmæksəməm skɔr fər cyberindicators*, ənd ˈsɛvən gɑt ə skɔr əv ˈziroʊ. ɪn 23 ˈneɪʃənz ðət pəˈzɛst noʊ məˈtɪriəlz, bət hæd ˈnukliər paʊər plænts ər ˈəðər ˈnukliər fəˈsɪlɪtiz ðət kənˈteɪn fjuəl ðət kʊd bi kənˈvərtɪd tɪ ˈwɛpənz juz, 13 gɑt ə ˈziroʊ skɔr. mɔr ðən 80 pərˈsɛnt əv ɔl ˈnukliər ˈstɑkˌpaɪlz ər ˈklæsəˌfaɪd ɛz ˈmɪlɪˌtɛri məˈtɪriəl, ˈminɪŋ ðeɪ ər ˈlɑrʤli juzd ɪn ˈwɛpənz ˈproʊˌgræmz, ənd ɔl əv ðoʊz ər ˈaʊtˈsaɪd ˌɪnərˈnæʃənɑl sɪˈkjʊrəti ˌrivˈju, ˌɪnˈkludɪŋ ðə ˈgaɪˌdlaɪnz ˈɪʃud baɪ ðə ˌɪnərˈnæʃənɑl əˈtɑmɪk ˈɛnərʤi ˈeɪʤənsi fər ðə prəˈtɛkʃən əv səˈvɪljən ˈnukliər stɑks.
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mr. obama was an early adherent of mr. nunn’s advocacy for comprehensive programs to reduce the amount of nuclear material in the world, and by any measure his six-year effort to prevent nuclear terrorism has made major progress. each summit meeting has forced countries to make progress on locking down or eliminating materials.
the nuclear threat initiative, which publishes an annual index of nuclear security around the world, notes that a dozen countries have eliminated all weapons-usable nuclear materials since the summit meetings began. many more have greatly improved the security surrounding lightly guarded materials, which are stored every place from hospitals to research reactors on university campuses.
but at the very moment that the black market in nuclear materials remains active, the report found that 24 nations still had more than 2.2 pounds of weapons-usable nuclear material, “much of it still too vulnerable to theft,” and many have just begun to think about their vulnerability to cyberthreats that could enable an attacker to sabotage a site without breaking through fences or risk setting off perimeter alarms.
the most famous cyberattack on a nuclear facility was done by the united states and israel: the effort to destroy and disable nuclear centrifuges at the natanz nuclear enrichment plant in iran. that program, code-named olympic games, used a worm that was later named stuxnet to knock the centrifuges out of operation. it did not release radioactive material into the atmosphere, but it was a vivid demonstration of the vulnerability of nuclear facilities to cyberattack. iran had completely isolated the natanz facility from the internet, but the originators of the program found ways to insert it.
the lesson of stuxnet, however, has apparently been lost on many nations that have yet to develop requirements that nuclear facilities have cyberprotections in place before they can operate.
“too many states require virtually no effective security measures at nuclear facilities to address the threat posed by hackers,” the study, in which the economist intelligence unit also participated, concluded. of the two dozen nations with weapons-usable material, nine got the maximum score for cyberindicators, and seven got a score of zero.
in 23 nations that possessed no weapons-usable materials, but had nuclear power plants or other nuclear facilities that contain fuel that could be converted to weapons use, 13 got a zero score.
more than 80 percent of all nuclear stockpiles are classified as military material, meaning they are largely used in weapons programs, and all of those are outside international security review, including the guidelines issued by the international atomic energy agency for the protection of civilian nuclear stocks.
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ə ˌvækˈsin kəmˈbaɪnɪŋ ˈsɛntrəˌlaɪzd ænˈsɛstrəl ʤinz frəm fɔr ˈmeɪʤər ˌɪnfluˈɛnzə streɪnz əˈpɪrz tɪ prəˈvaɪd brɔd prəˈtɛkʃən əˈgɛnst ðə ˈdeɪnʤərəs ˈeɪlmənt, əˈkɔrdɪŋ tɪ nu ˈrisərʧ baɪ ə tim frəm ðə nəˈbræskə ˈsɛnər fər vɪˈrɑləʤi. maɪs prəˈtɛktɪd baɪ ðə ˌənkənˈvɛnʃənəl ˌvækˈsin sərˈvaɪvd ɪkˈspoʊʒər tɪ ˈliθəl ˈdoʊsɪz əv ˈsɛvən əv naɪn ˈwaɪdli dɪˈvərʤənt ˌɪnfluˈɛnzə ˈvaɪrəsɪz. ðoʊz ðət rɪˈsivd haɪər ˈdoʊsɪz əv ðə ˌvækˈsin ˈivɪn gɪt sɪk. ɪn ˈkɑntræst, maɪs ðət rɪˈsivd trəˈdɪʃənəl flu ʃɑts ər ˈneɪzəl spreɪz ɔl ˈsɪkənd ənd daɪd wɪn ɪkˈspoʊzd tɪ ðə seɪm ˈvaɪrəsɪz. ðə ˈdɛdli ˈpæθəʤənz wər ˈeɪbəl tɪ ɪˈveɪd ðə ˌɪmˈjun rɪˈspɑnsɪz ˈtrɪgərd baɪ ðə trəˈdɪʃənəl ˌvækˈsinz. waɪl ɪt ɪz tu sun tɪ seɪ ðə əˈproʊʧ kʊd bi səkˈsɛsfəli juzd ɪn ˈjumənz, ɪt əˈpɪrz tɪ bi ə ˈprɑməsɪŋ ˈævəˌnu təˈwɔrd ə ˌjunəˈvərsəl flu ʃɑt, əˈkɔrdɪŋ tɪ lɛd ˈrisərʧər ˈɛrɪk ˈwivər, ən əˈsɪstənt prəˈfɛsər ɪn ðə skul əv ˌbaɪəˈlɑʤɪkəl ˈsaɪənsɪz æt ðə ˌjunəˈvərsəti əv nebraska-lincoln*. ˈwivər sɛd ðə ˈstədi ɪz ðə fərst tɪ rɪˈpɔrt ɔn ˈwɛðər ə ˌjunəˈvərsəl flu ʃɑt kʊd bi kriˈeɪtɪd baɪ ˈjuzɪŋ ə ˌkɑmbəˈneɪʃən əv ˈməltəpəl ʤinz ʃɛrd æt ðə ænˈsɛstrəl ˈlɛvəl baɪ flu streɪnz ˈsərkjəˌleɪtɪŋ təˈdeɪ. ˈəltəmət goʊl ɪz tɪ bi ˈeɪbəl tɪ ˈvæksəneɪt wəns ənd prəˈvaɪd ˈlaɪˈflɔŋ protection,”*,” ˈwivər sɛd. ðə ˈsɛnərz fər dɪˈziz kənˈtroʊl ənd priˈvɛnʃən ˈɛstəˌmeɪts ðət 40 ˈmɪljən əˈmɛrɪkənz ˈkɑntræktəd ˌɪnfluˈɛnzə ˈdʊrɪŋ ðə flu ˈsizən ənd ˈpipəl wər ˈhɑspɪtəˌlaɪzd fər ðə ˈeɪlmənt. ðə ˈeɪʤənsi ˈɛstəˌmeɪtɪd ðət ˌvæksəˈneɪʃənz prɪˈvɛnɪd əˈbaʊt ˈmɪljən ˈɪlnəsɪz ənd ˌhɑspɪtələˈzeɪʃənz. pʊt ðɪs ɪn ˈəðər tərmz, ɑr ˈkɑrənt ˌɪnfluˈɛnzə ˌvækˈsin ˈproʊˌgræmz ənd tɛkˈnɑləʤiz rɪˈdus ˌɪnfluˈɛnzə ˌɪnˈfɛkʃənz ənd ˌhɑspɪtələˈzeɪʃənz baɪ pərˈsɛnt ənd pərˈsɛnt, respectively,”*,” ˈwivər sɛd. ɪz noʊ daʊt ðət ðɛr ɪz ə nid fər mɔr ˈifɛktɪv ˌvækˈsin technologies.”*.” jɛt bɪˈkəz ðə ˌɪnfluˈɛnzə ˈvaɪrəs ˈræpədli ənd bɪˈkəz ˈpipəl, ˈænəməlz ənd bərdz ˈɔfən ˈkɛri ðə ˈvaɪrəs wɪˈθaʊt dɪˈspleɪɪŋ ˈsɪmptəmz, bɪn ˈdɪfəkəlt tɪ dɪˈvɛləp ə ˌvækˈsin wɪθ ˈlɔŋˈtərm ˈifɛktɪvnəs. ðə kənˈvɛnʃənəl ˌɪnfluˈɛnzə ˌvækˈsin ˈplætˌfɔrm ˈjuzɪz ˈwikənd ər dɛd ˈvərʒənz əv ðə ˌɪnfluˈɛnzə ˈvaɪrəs tɪ ˈstɪmjəˌleɪt ˌɪmˈjunɪti əˈgɛnst (hɑ), ə ˈproʊˌtin ðət ɪkˈstɛndz frəm ðə ˈsərfəs əv ðə ˈvaɪrəs ənd əˈtæks sɛlz. əˈkɔrdɪŋ tɪ ə 2013 ˈklɪnɪkəl ˌmaɪkrəˌbaɪˈɑləʤi rəvˈjuz ˈɑrtɪkəl, ðə ˈʧælənʤɪz əv ðə kənˈvɛnʃənəl əˈproʊʧ ˌɪnˈklud prɪˈdɪktɪŋ wɪʧ flu streɪn wɪl ˈsərkjəˌleɪt ɪn ˈkəmɪŋ jɪrz; ˌmænjəˈfækʧərɪŋ ənd dɪˈlɪvərɪŋ seɪf, ˈtaɪmli ənd ˈædəkˌweɪt səˈplaɪz; ənd pur rɪˈspɑnsɪvnəs əˈməŋ ðə ˈɛldərli, hu ˈɔfən ər ðə moʊst ˈvəlnərəbəl tɪ ˌɪnfluˈɛnzə ˌɪnˈfɛkʃən. kənˈvɛnʃənəl ˌvækˈsinz hæv bɪn ʃoʊn tɪ bi lɛs ðən 60 pərˈsɛnt ˈifɛktɪv wɪn səkˈsɛsfəli mæʧt tɪ ðə ˈkərəntli ˈsərkjəˌleɪtɪŋ streɪn. fɑr lɛs ˈifɛktɪv wɪn mɪsˈmæʧt. aɪˈdil ˌɪnfluˈɛnzə ˌvækˈsin wʊd bi ˌɪnɪkˈspɛnsɪv, prəˈvaɪd ˌɪmˈjunɪti, ˌrikˈwaɪər fju ˌɪmjunəˈzeɪʃənz ənd wʊd wərk əˈgɛnst ɔl ˈvɛriənts əv ðə virus,”*,” ˈwivər sɛd. səm ˈɛkspərts seɪ ɪt kʊd teɪk ənˈtɪl 2020 ər 2025 ˌbiˈfɔr ə ˌjunəˈvərsəl flu ˌvækˈsin ɪz əˈveɪləbəl. pərˈsut əv ə ˌjunəˈvərsəl ˌɪnfluˈɛnzə ˌvækˈsin həz bɪn ˈdɪfəkəlt. ˈsaɪəntɪsts ər traɪɪŋ ˈvɛriəs əˈproʊʧɪz tɪ ˈbɛtər mæʧ ˌvækˈsinz tɪ ˈməltəpəl ˈvaɪrəl streɪnz. ˈəðər ˈstrætəʤiz ˌɪnˈklud dɪˈvɛləpɪŋ ˌvækˈsinz eɪmd æt ðə ˈproʊˌtin koʊt, ˈəðər ˈproʊˌtinz ðət hæv bɪn faʊnd tɪ bi aɪˈdɛntɪkəl ɪn ˈməltəpəl flu streɪnz, ər ðə stɔk əv ðə ˈproʊˌtin ˈrəðər ðən ɪts hɛd. ðiz əˈproʊʧɪz hæv ʃoʊn ˈprɑməsɪŋ rɪˈzəlts. ˌhaʊˈɛvər, ˈwivər sɛd hɪz ˈstədi ɪz ðə fərst tɪ rɪˈpɔrt ðə juz əv ˈməltəpəl ˈsɛntrəˌlaɪzd hɑ ʤinz, aɪˈdɛntəˌfaɪd ˈjuzɪŋ ˈproʊˌtin ˈsikwəns æˈnælɪsɪs ˈproʊˌgræmz, tɪ prəˈvaɪd ðə ˈgreɪtəst ˈlɛvəl əv ˌɪmˈjunɪti ˈpɑsəbəl. ɪn ðə ˈɑrtɪkəl ˈpəblɪʃt noʊv. 2 ɪn ˌsaɪənˈtɪfɪk rɪˈpɔrts, ˈwivər ənd hɪz ˈkɑligz ˈeɪmi ənd briˈænə ɛl. ˈbʊlərd ˈditeɪl ən əˈproʊʧ ðeɪ seɪ ɪz ənd tɪ ˈjumənz ənd meɪ prəˈvaɪd ðə faʊnˈdeɪʃən fər kəmˈplit ənd immunity.”*.” ðə aɪˈdiə əroʊz frəm pæst ˈrisərʧ lɛd baɪ ˈdɑktər. ˈbɛti ˈkɔrbər æt lɔs ˈæləmoʊz ˈnæʃənəl ˈlæbrəˌtɔriz tɪ dɪˈskəvər ðə ænˈsɛstrəl ʤinz fər ðə ˈjumən ˌɪmjunoʊˌdɪˈfɪʃənsi ˈvaɪrəs ənd tɪ ˈpɪnˌpɔɪnt wɪn ðət ˈvaɪrəs ʤəmpt frəm ˈməŋkiz tɪ mæn. ˈwivər wɑz ˌɪnˈvɑlvd wɪθ ðət ˈɛfərt waɪl ə ˈrisərʧər æt duk ˌjunəˈvərsəti skul əv ˈmɛdəsən. hi ənd hɪz ˈkɑligz ˌdɪˈsaɪdɪd tɪ traɪ ə ˈsɪmələr ˈkɑnsɛpt wɪθ ðə ˌɪnfluˈɛnzə ˈvaɪrəs, ˈsɪnθəˌsaɪzɪŋ ʤinz ðət ər ˈsɛntrəl tɪ tri. ˌɪnˈstɛd əv ˈjuzɪŋ ˈwikənd ər flu ˈvaɪrəs, hɪz ɪkˈspɛrəmənts æt ðə nəˈbræskə ˈsɛnər fər vɪˈrɑləʤi hæv juzd wɪʧ kɔz ðə ˈkɑmən koʊld ðət hæv bɪn ˈɔltərd tɪ ˈkɛri wət hi kɔlz kənˈsɛnsəs ʤinz fər ənd ˌɪnfluˈɛnzə streɪnz. ðə ˌvækˈsin ɪz noʊ ˈlɔŋgər ˈkeɪpəbəl əv ˈkɔzɪŋ koʊld ˈsɪmptəmz, bət ɪz stɪl ˈeɪbəl tɪ ˈseɪfli dɪˈlɪvər ðə ˌɪnfluˈɛnzə ˌvækˈsin ʤinz. aɪˈdiə ɪz ðət ðiz ˈsɛntrəˌlaɪzd ˈæntɪʤənz kən sɛt əp ə faʊnˈdeɪʃən əv ˌɪmˈjunɪti əˈgɛnst influenza,”*,” hi sɛd. ðeɪ ər ˈsɛntrəˌlaɪzd ənd ˌrɛprɪˈzɛnt ɔl ðə streɪnz ˈikwəli, ðeɪ kʊd prəˈvaɪd ə ˈbeɪsɪs fər ˌɪmˈjunɪti əˈgɛnst ɔl ɪˈvɑlvd strains.”*.” ˈrisərʧ ɪz ˈfəndɪd baɪ ə ˈnæʃənəl ˈɪnstɪˌtuts əv hɛlθ grænt.
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a vaccine combining centralized ancestral genes from four major influenza strains appears to provide broad protection against the dangerous ailment, according to new research by a team from the nebraska center for virology.
mice protected by the unconventional vaccine survived exposure to lethal doses of seven of nine widely divergent influenza viruses. those that received higher doses of the vaccine even get sick.
in contrast, mice that received traditional flu shots or nasal sprays all sickened and died when exposed to the same viruses. the deadly pathogens were able to evade the immune responses triggered by the traditional vaccines.
while it is too soon to say the approach could be successfully used in humans, it appears to be a promising avenue toward a universal flu shot, according to lead researcher eric weaver, an assistant professor in the school of biological sciences at the university of nebraska-lincoln.
weaver said the study is the first to report on whether a universal flu shot could be created by using a combination of multiple genes shared at the ancestral level by flu strains circulating today.
“the ultimate goal is to be able to vaccinate once and provide lifelong protection,” weaver said.
the centers for disease control and prevention estimates that 40 million americans contracted influenza during the 2015-16 flu season and 970,000 people were hospitalized for the ailment. the agency estimated that vaccinations prevented about 1.9 million illnesses and 67,000 hospitalizations.
“to put this in other terms, our current influenza vaccine programs and technologies reduce influenza infections and hospitalizations by 4.75 percent and 6.9 percent, respectively,” weaver said. “there is no doubt that there is a need for more effective vaccine technologies.”
yet because the influenza virus mutates rapidly and because people, animals and birds often carry the virus without displaying symptoms, been difficult to develop a vaccine with long-term effectiveness. the conventional influenza vaccine platform uses weakened or dead versions of the influenza virus to stimulate immunity against hemagglutinin (ha), a spike-shaped protein that extends from the surface of the virus and attacks cells.
according to a 2013 clinical microbiology reviews article, the challenges of the conventional approach include predicting which flu strain will circulate in coming years; manufacturing and delivering safe, timely and adequate supplies; and poor responsiveness among the elderly, who often are the most vulnerable to influenza infection.
conventional vaccines have been shown to be less than 60 percent effective when they’re successfully matched to the currently circulating strain. they’re far less effective when mismatched.
“an ideal influenza vaccine would be inexpensive, provide long-lasting immunity, require few immunizations and would work against all variants of the virus,” weaver said.
some experts say it could take until 2020 or 2025 before a universal flu vaccine is available.
pursuit of a universal influenza vaccine has been difficult. scientists are trying various approaches to better match vaccines to multiple viral strains. other strategies include developing vaccines aimed at the virus’s protein coat, other proteins that have been found to be identical in multiple flu strains, or the stalk of the hemagglutinin protein rather than its head.
these approaches have shown promising results. however, weaver said his study is the first to report the use of multiple centralized ha genes, identified using protein sequence analysis programs, to provide the greatest level of cross-protective immunity possible.
in the article published nov. 2 in scientific reports, weaver and his colleagues amy lingel and brianna l. bullard detail an approach they say is “scalable and translatable to humans and may provide the foundation for complete and long-lasting anti-influenza immunity.”
the idea arose from past research led by dr. bette korber at los alamos national laboratories to discover the ancestral genes for the human immunodeficiency virus and to pinpoint when that virus jumped from monkeys to man. weaver was involved with that effort while a post-doctoral researcher at duke university school of medicine. he and his colleagues decided to try a similar concept with the influenza virus, synthesizing genes that are central to influenza's phylogenetic tree.
instead of using weakened or deadened flu virus, his experiments at the nebraska center for virology have used replication-defective adenoviruses which cause the common cold that have been altered to carry what he calls consensus genes for h1, h2, h3 and h5 influenza strains. the vaccine is no longer capable of causing cold symptoms, but is still able to safely deliver the influenza vaccine genes.
“our idea is that these centralized antigens can set up a foundation of immunity against influenza,” he said. “because they are centralized and represent all the strains equally, they could provide a basis for immunity against all evolved strains.”
weaver’s research is funded by a national institutes of health grant.
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hɛˈloʊ ənd ˈwɛlkəm! aɪ hoʊp ju ˌɛnˈʤɔɪ wət ju rɛd hir. ɪf ju wɔnt tɪ steɪ əp tɪ deɪt saɪn əp fər maɪ fid ər gɪt maɪ nu poʊsts sɛnt tɪ jʊr iˈmeɪl ər faɪnd mi ɔn ˈfeɪsˌbʊk ər pinterest*! ˈwɛlkəm pinners*!!! fərst aɪ hæv tɪ seɪ: waʊ! aɪ æm ˈtoʊtəli ʃɑkt æt ðə rɪˈspɑns tɪ ðɪs poʊst! hæd ə lɔt əv ˈpipəl æsk əˈbaʊt ðə ˈʃɑpɪŋ lɪst aɪ juzd. hir ɪt ɪz! ðɪs ˌɪnˈkludz ɔl ðə θɪŋz aɪ ˈnɔrməli hæv ɪn maɪ ˈpæntri. θɪŋz laɪk sɔlt ənd ˈəðər ˈspaɪsɪz aɪ ˌɪnˈklud soʊ ˌbiˈfɔr ju stɑrt ˈʧɑpɪŋ pliz du goʊ ˈoʊvər ðə ˈrɛsəpiz ənd meɪk ʃʊr ju hæv ˈɛvriˌθɪŋ. ɪt ˈɔlsoʊ ɪz fər 1 ˈrɛsəpi wərθ əv ɔl ðə ˈrɛsəpiz ɔn ðə ˈrɛsəpi peɪʤ. pliz lɛt mi noʊ haʊ jʊr ˈkʊkɪŋ ədˈvɛnʧər wɛnt! aɪ ləv tɪ hir frəm ju ɔl! əˈnəðər greɪt ˈrisɔrs ɪz ðɪs kʊk bʊk. ɪt həz kwaɪt ə fju ˈrɛsəpiz ɛz wɛl ɛz ˈʃɑpɪŋ lɪsts! ʧɛk ɪt aʊt! aɪ naʊ hæv ə peɪʤ kəmˈplaɪd frəm ˈkɑmən kˈwɛsʧənz. ʧɛk ɪt aʊt! ɪf ju hæv ˈɛni ˈəðər kˈwɛsʧənz, fil fri tɪ æsk! mɔr milz ɪf ju jɛt meɪk ʃʊr tɪ ʧɛk aʊt ðə ˈfɑloʊ əp ˈkʊkɪŋ deɪz wɪθ mɔr ˈrɛsəpiz ənd ˈʃɑpɪŋ lɪsts: ˈfrizər krɑk pɑt milz raʊnd 2 ˈfrizər krɑk pɑt milz raʊnd 3 ər ʧɛk aʊt ðɪs greɪt wɪθ ˈəðər greɪt ˈrɛsəpiz pliz ˈɔlsoʊ stɑp baɪ maɪ ˈfeɪsˌbʊk peɪʤ ənd seɪ haɪ! ər səbˈskraɪb fər ˈəpˌdeɪts! ˈʤɔɪnɪŋ ðə ˈfrizər ˈkʊkɪŋ ““sensation”*” ənd ˈfɪlɪŋ maɪ ˈfrizər wɪθ krɑk pɑt milz! ˈləki fər ju ˈʃɛrɪŋ wət aɪ dɪd ənd haʊ aɪ meɪd 34 milz (ˈmɛni wɪθ ɪˈnəf ˈlɛfˌtoʊvərz fər ˈdaɪnər ðə ˈfɑloʊɪŋ deɪ) ɪn wən ˌæftərˈnun fər ˈoʊnli ˈɪntəˌrɛstɪd? wɔnt ðə ˈrɛsəpiz aɪ juz? ðeɪ ər hir! aɪ ˈdəbəld ˈtrɪpəld ˈmɛni əv ðə ˈrɛsəpiz ɔn ðət ˈrɛsəpi peɪʤ tɪ meɪk ðə 34 milz. aɪ dɪd ˈsəmθɪŋ laɪk ðɪs bæk wɪn boʊθ bræd ənd aɪ wər ˈwərkɪŋ fʊl taɪm wɪθ boʊθ bɔɪz ɪn deɪ kɛr. aɪ ʤɪst ˈheɪtɪd ˈgɪtɪŋ hoʊm ənd ˈhævɪŋ ðə rəʃ əv traɪɪŋ tɪ gɪt ˈdɪnər ˈrɛdi waɪl ɔl aɪ ˈrɪli ˈwɔntɪd tɪ du wɑz spɛnd wət fju ˈweɪkɪŋ ˈmoʊmənts aɪ hæd lɛft wɪθ ðə bɔɪz. ɪt wɑz ˈɔsəm tɪ ˈoʊnli hæv tɪ bɔɪl səm ˈwɔtər fər ˈnudəlz ər θroʊ səm raɪs ɪn ðə raɪs ˈkʊkər ənd hæv ˈsupər ˈhɛlθi ˈjəmi ˈdɪnərz. baɪɪŋ ðə fud aɪ ˈstɑrtɪd ˈplænɪŋ ðɪs aʊt læst wik. aɪ wɛnt ðoʊ ˈrɛsəpiz ðət aɪ hæd, ˈrɛsəpiz ˈɔnˌlaɪn ɛz wɛl ɛz ˈəðər blɔgz ðət hæv dən ə ˈsɪmələr tæsk. aɪ keɪm əp wɪθ 9 krɑk pɑt ˈrɛsəpiz ənd ˈædɪd ˈtɑkoʊ, spəˈgɛti ənd ˈhæmbərgər ˈpætiz ɛz wɛl. aɪ ˈdəbəl (ər mɔr) ɔl əv ðə krɑk pɑt ˈrɛsəpiz. aɪ aɪ traɪd tɪ faɪnd θɪŋz wɪθ ˈsɪmələr ˌɪnˈgridiənts bət nɑt soʊ ˈsɪmələr ðət ðeɪ wər ðə seɪm. aɪ meɪk ə sprɛd ʃit fər ə ˈʃɑpɪŋ lɪst ənd kənˈsɑlɪˌdeɪt ɔl əv ðə ˈrɛsəpiz təˈgɛðər. ju kən ˈɔfən seɪv ðɪs weɪ baɪ baɪɪŋ ðə ˈlɑrʤər kænz əv θɪŋz laɪk təˈmɑˌtoʊ sɔs ˈrəðər ðən ə tən əv sˈmɔlər ˌɪndəˈvɪʤəwəl wənz. ðɛn aɪ wɛnt θru ðə seɪl flaɪərz fər, raley’s*, ənd ˈseɪfˌweɪ ənd faʊnd wət wɑz ðə ˈʧipəst (noʊɪŋ ðət aɪ wɑz ˈprɑbəˌbli ˈoʊnli goʊɪŋ tɪ bi goʊɪŋ tɪ ənd frəm ˈpriviəs ɪkˈspɪriəns). həz ðɪs ˈɔsəm seɪl ðət ɔn səˈlɛkt deɪz ə wik ju kən gɪt frɛʃ ˈboʊnləs ˈskɪnləs ˈʧɪkən brɛsts fər 1.59/lb*. ðeɪ ˈɔlsoʊ hæd ˈʧɪkən lɛg kˈwɔrtərz ɔn seɪl fər ənd səm ˈboʊnləs pɔrk ʧɑps fər 1.99/lb*. aɪ ˈjuʒəwəli baɪ maɪ mit frəm wɪn ɔn seɪl bɪˈkəz ðɛr ˈpraɪsɪz ər soʊ loʊ. bət ðə ˈivɪn ˈbɛtər tip…*… du jʊr ˈʃɑpɪŋ æt ðə ɛnd əv ðət seɪl ɪn ðə ˈərli ˈmɔrnɪŋ. nɑt ˈoʊnli du ju gɪt ɔn seɪl mit, bət ju kən ˈɔfən faɪnd ɪt mɑrkt daʊn bɪˈkəz du tɪ ““expire”*”. moʊst əv ðə mit aɪ gɑt təˈdeɪ wɑz tɪ ɔf ðə ˈpækɪʤ praɪs bɪˈkəz əv ðɪs. aɪ fɪld maɪ kɑrt fər ˈoʊnli 67 ənd səm ʧeɪnʤ. aɪ wɛnt tɪ fər ˈɛvriˌθɪŋ ɛls. pərˈpɛrɪŋ ðə fud wəns hoʊm aɪ leɪ ˈɛvriˌθɪŋ aʊt ɔn ðə ˈkaʊntər (ˈləvɪŋ maɪ nu ˈkɪʧən raɪt əˈbaʊt now…*…) ənd wɑʃ ˈɛvriˌθɪŋ. aɪ traɪ tɪ du ɔl əv ðə seɪm tæsk (laɪk ˈwɑʃɪŋ) æt ðə seɪm taɪm. faʊnd ɪt seɪvz mi səm taɪm. ˈlændən ɪz ə ˈmæstər grin bin sˈnæpər! hi snæpt ɔf ɔl ðə stɛmz ənd snæpt ðə bin ɪn hæf hi dɪd moʊst ɔl əv ɪt baɪ hɪmˈsɛlf! ðɛn aɪ kət əp ˈɛvriˌθɪŋ. aɪ goʊ ðoʊ ðə ˈrɛsəpiz wən mɔr taɪm ənd noʊt wət nidz tɪ bi slaɪst, daɪst ər chopped…*… ənd du ðət tɪ ðə əˈproʊpriˌeɪt ˈnəmbər əv ˈvɛʤiz. aɪ noʊt ðə ˈvɑljum əv ən ˈævərɪʤ 1 əv iʧ ˈvɛʤi soʊ ˈmɛʒərɪŋ aʊt fər ðə ˈrɛsəpi ɪz ə lɔt ˈiziər wəns ðə ˈvɛʤiz ər dən aɪ rɪˈpit ðə ˈprɔˌsɛs wɪθ ðə mit. aɪ du ðə mit læst soʊ ɪt həz ðə ˈlɔŋgɪst taɪm ɪn ðə frɪʤ ˌbiˈfɔr biɪŋ əˈsɛmbəld ˈɪntu ə mil ˈfɪlɪŋ ðə bægz ðɛn aɪ sɪt daʊn (jeɪ! ə breɪk!) wɪθ ðə bɑks əv bægz ənd stɑrt ˈleɪbəlɪŋ. aɪ raɪt ðə ˈrɛsəpi ˈtaɪtəl ənd deɪt ənd ˈɛni dɪˈrɛkʃɪnz əv θɪŋz ðət nid tɪ bi ˈædɪd ər ˈspɛʃəl ˈsərvɪŋ ˌɪnˈstrəkʃənz ɔn ðə bæg. aɪ traɪ tɪ pʊt ɛz məʧ stəf ˈɪntu ðə bæg ɛz ˈpɑsəbəl, bət ˈsəmˌtaɪm ðə ˈlɪkwɪd woʊnt fɪt wɪθ ɔl ðə mit ənd ˈvɛʤiz. aɪ meɪk maɪ oʊn ˈtərki stɑk soʊ aɪ hæv bægz ˈfroʊzən ðət ʤɪst pʊl aʊt wɪn aɪ pʊl ðə meɪn fud bæg aʊt. ðɛn aɪ fɪl ɔl ðə bægz wɪθ ðə mit fərst, mɔr tɪ gɪt ðə rɑ mit əp ɔf ðə ˈkətɪŋ bɔrdz bət ˈɔlsoʊ tɪ hoʊld ðə bægz əp soʊ aɪ kən fɪl ɪt wɪθ ðə ˈvɛʤiz ənd ˈəðər ˌɪnˈgridiənts ˈbɛtər. ðɪs taɪm tʊk mi ə bɪt ˈlɔŋgər ðən aɪ θɔt, bræd keɪm hoʊm frəm wərk, aɪ sɛd ready…*…. fər ðə nɛkst fju mənθs, bət nɑt today!”*!” hi wɑz ə greɪt ˈhəbi ənd pʊld stəf təˈgɛðər (ənd tʊk maɪ ˈpɪkʧər) waɪl aɪ ˈfɪnɪʃt ˈstəfɪŋ bægz. ðə ˈkɪʧən ɪz ə mɛs ˈæftər ɔl dən ənd maɪ lɛgz ənd fit ər ˈkɪlɪŋ mi, bət tu loʊdz əv ðə ˈdɪʃˌwɑʃər ənd ə mɑp əv ðə flɔr ənd bæk tɪ ˈnɔrməl. bət ɪf ju θɪŋk əˈbaʊt ɪt, ðət mɛs ˈrɪli ˈhæpən əˈgɛn fər əˈbaʊt 2 mənθs ər soʊ. pləs ɔl ðə taɪm aɪ gɪt tɪ spɛnd pleɪɪŋ wɪθ ðə bɔɪz ˌɪnˈstɛd əv ˈkʊkɪŋ. pləs ðət fækt ðət aɪ ˈoʊnli spɛnt ə ˈlɪtəl ˈoʊvər 100 fər ˈɔlˌmoʊst 2 mənθs wərθ əv milz. plus…*… wɛl ju gɪt ðə aɪˈdiə. ɪt dɪd teɪk mi moʊst əv 5 aʊərz tɪ du ɔl əv ðɪs, bət ðət wɑz wɪθ ðə tu ˈlɪtəl wənz ““helping”*”. ˈlændən hɛlpt ə tən ənd aɪ paʊərd θru wɪn ˈraɪli wɑz ˈnæpɪŋ tɪ gɪt ə lɔt dən. ʤɪst noʊ ˈtoʊtəli ˈpɑsəbəl tɪ du. nɑt ˈpɪkʧərd ɪz ðə spəˈgɛti sɔs, ˈhæmbərgər ˈpætiz ənd ˈtɑkoʊ meat…*… wups! fərˈgɑt tɪ teɪk ə ˈpɪkʧər əv ðoʊz! hæv ju dən ˈsəmθɪŋ laɪk ðɪs? ˈɔlˌweɪz ˈlʊkɪŋ fər nu ˈrɛsəpiz ðət goʊ ɪn ðə krɑk pɑt ðət friz wɛl. ʃɛr! greɪt! ɪkˈsaɪtɪd tɪ ˈɔlsoʊ lɛt ju noʊ əˈbaʊt ə greɪt ðət ɪz ɔl əˈbaʊt krɑk pɑt ˈfrizər ˈkʊkɪŋ. frəm ðə kriˈeɪtər əv ðə ˈhɛlθi ˈmɑmə ˈbɑrbɪˌkju ˈʧɪkən ˈrɛsəpi ðət aɪ juzd ɪn ðɪs bæʧ əv milz. ɪt həz səm greɪt aɪˈdiəz fər ˈglutən ənd greɪn fri krɑk pɑt ˈrɛsəpiz! ʧɛk ɪt aʊt! hir ɪz ðə məʧ æst fər ˈʃɑpɪŋ lɪst! rɪˈmɛmbər ðɪs ˌɪnˈklud ˈspaɪsɪz ənd ˈəðər ˈnɔrməl ˈpæntri stəf, soʊ ʧɛk tɪ meɪk ʃʊr ju hæv ɔl ju nid ˌbiˈfɔr ju stɑrt ˈʧɑpɪŋ. ðɪs lɪst ɪz fər ɔl ðə ˈrɛsəpiz ˈpoʊstɪd hir, ˌɪnˈkludɪŋ ðə wən ˈaʊtˈsaɪd lɪŋk fər ðə ˈhɛlθi ˈmɑmə ˈbɑrbɪˌkju ˈʧɪkən! ˈfrizər ˈkʊkɪŋ ˈʃɑpɪŋ lɪst
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hello and welcome! i hope you enjoy what you read here.
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welcome pinners!!! first i have to say: wow! i am totally shocked at the response to this post! i’ve had a lot of people ask about the shopping list i used. here it is! this includes all the things i wouldn’t normally have in my pantry. things like salt and other spices i didn’t include – so before you start chopping please do go over the recipes and make sure you have everything. it also is for 1 recipe worth of all the recipes on the recipe page. please let me know how your cooking adventure went! i love to hear from you all! another great resource is this cook book. it has quite a few recipes as well as shopping lists! check it out!
**update** i now have a faq page complied from common questions. check it out! if you have any other questions, feel free to ask!
more meals
if you haven’t yet make sure to check out the follow up cooking days with more recipes and shopping lists:
freezer crock pot meals round 2
freezer crock pot meals round 3
or check out this great e-cookbook with other great recipes
please also stop by my facebook page and say hi! or subscribe for updates!
i’m joining the freezer cooking “sensation” and filling my freezer with crock pot meals! lucky for you i’m sharing what i did and how i made 34 meals (many with enough leftovers for diner the following day) in one afternoon for only $146.96. interested? want the recipes i use? they are here! *clarification* i doubled and/or tripled many of the recipes on that recipe page to make the 34 meals.
i did something like this back when both brad and i were working full time with both boys in day care. i just hated getting home and having the rush of trying to get dinner ready while all i really wanted to do was spend what few waking moments i had left with the boys. it was awesome to only have to boil some water for noodles or throw some rice in the rice cooker and have super healthy yummy dinners.
buying the food
i started planning this out last week. i went though recipes that i had, recipes online as well as other blogs that have done a similar task. i came up with 9 crock pot recipes and added taco, spaghetti and hamburger patties as well. i double (or more) all of the crock pot recipes. i i tried to find things with similar ingredients but not so similar that they were the same. i make a spread sheet for a shopping list and consolidate all of the recipes together. you can often save this way by buying the larger cans of things like tomato sauce rather than a ton of smaller individual ones. then i went through the sale fliers for savemart, raley’s, winco and safeway and found what was the cheapest (knowing that i was probably only going to be going to savemart and winco from previous experience).
savemart has this awesome sale that on select days a week you can get fresh boneless skinless chicken breasts for $1.59/lb. they also had chicken leg quarters on sale for $.68/lb and some boneless pork chops for $1.99/lb. i usually buy my meat from savemart when it’s on sale because their prices are so low. but here’s the even better tip… do your shopping at the end of that sale in the early morning. not only do you get on sale meat, but you can often find it marked down because it’s due to “expire”. most of the meat i got today was $1.00 to $3.00 off the package price because of this. i filled my cart for only $67 and some change.
i went to winco for everything else.
preparing the food
once home i lay everything out on the counter (loving my new kitchen right about now…) and wash everything. i try to do all of the same task (like washing) at the same time. i’ve found it saves me some time.
landon is a master green bean snapper! he snapped off all the stems and snapped the bean in half – he did most all of it by himself!
then i cut up everything. i go though the recipes one more time and note what needs to be sliced, diced or chopped… and do that to the appropriate number of veggies. i note the volume of an average 1 of each veggie so measuring out for the recipe is a lot easier
once the veggies are done i repeat the process with the meat. i do the meat last so it has the longest time in the fridge before being assembled into a meal
filling the bags
then i sit down (yay! a break!) with the box of ziploc bags and start labeling. i write the recipe title and date and any directions of things that need to be added or special serving instructions on the bag. i try to put as much stuff into the bag as possible, but sometime the liquid wont fit with all the meat and veggies. i make my own turkey stock so i have bags frozen that i’ll just pull out when i pull the main food bag out.
then i fill all the bags with the meat first, more to get the raw meat up off the cutting boards but also to hold the bags up so i can fill it with the veggies and other ingredients better.
this time took me a bit longer than i thought, brad came home from work, i said “dinner’s ready…. for the next few months, but not today!” he was a great hubby and pulled stuff together (and took my picture) while i finished stuffing bags.
the kitchen is a mess after i’m all done and my legs and feet are killing me, but two loads of the dishwasher and a mop of the floor and it’s back to normal. but if you think about it, that mess really won’t happen again for about 2 months or so. plus all the time i get to spend playing with the boys instead of cooking. plus that fact that i only spent a little over $100 for almost 2 months worth of meals. plus… well you get the idea. it did take me most of 5 hours to do all of this, but that was with the two little ones “helping”. landon helped a ton and i powered through when riley was napping to get a lot done. just know it’s totally possible to do.
not pictured is the spaghetti sauce, hamburger patties and taco meat… whoops! forgot to take a picture of those!
have you done something like this? i’m always looking for new recipes that go in the crock pot that freeze well. share!
great e-cookbook!
i’m excited to also let you know about a great e-cookbook that is all about crock pot freezer cooking. it’s from the creator of the healthy mama bbq chicken recipe that i used in this batch of meals. it has some great ideas for gluten and grain free crock pot recipes! check it out!
here is the much asked for shopping list!
remember this doesn’t include spices and other normal pantry stuff, so check to make sure you have all you need before you start chopping. this list is for all the recipes posted here, including the one outside link for the healthy mama bbq chicken!
freezer cooking shopping list
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ˈoʊvər ðə ˈsəmər, ˈkɪkər ˈkoʊlbi dɛləˈhaʊseɪ wɑz ˌɪnˈvɑlvd (ənd ˈhɑspɪtəˌlaɪzd) ɪn ə ˈfaɪəri kɑr ˈæksədənt ðət tʊk ðə lɪvz əv nəˈbræskə ˈpəntər sæm foʊlts ənd ˈfɔrmər ˈmɪʃɪgən steɪt ˈpəntər maɪk ˈsædlər. ðə θri wər ˈlivɪŋ ðə ˈkɪkɪŋ kæmp ɪn weɪlz, wɪs. wɪn ðə ˈviɪkəl lɔst kənˈtroʊl ɔn wɛt ˈpeɪvmənt, lɛft ðə ˈroʊdˌweɪ ənd strək ə tri. dɛləˈhaʊseɪ wɪl bi ˈɑnərɪŋ hɪz frɛndz ˈdʊrɪŋ ðə tigers’*’ ˈəpˌkəmɪŋ geɪm ˈvərsəz. ˈɑbərn ɪn ə ˈspɛʃəl weɪ wɪθ ðiz ˈkəstəm klits: ðɪs ɪz fər maɪ tu bɔɪz, aɪ gɑt ju gaɪz ˈɔlˌweɪz wɪθ mi! ðɪs ˈsizən ɪz fər jɔl! ləv ənd mɪs ju tu. ˈkoʊlbi dɛləˈhaʊseɪ (@colbydely*) sɛpˈtɛmbər 20 2016 ðɪs ɪz ən ˈɔsəm ˈtrɪbjut frəm dɛləˈhaʊseɪ, hu kəˈnɛktɪd ɔn hɪz fərst fild goʊl əˈtɛmpt əv ðə ˈsizən ɪn læst wɪn ˈoʊvər ˌmɪsɪˈsɪpi steɪt.
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over the summer, lsu kicker colby delahoussaye was involved (and hospitalized) in a fiery car accident that took the lives of nebraska punter sam foltz and former michigan state punter mike sadler. the three were leaving the kohl’s kicking camp in wales, wis. when the vehicle lost control on wet pavement, left the roadway and struck a tree.
delahoussaye will be honoring his friends during the tigers’ upcoming game vs. auburn in a special way with these custom cleats:
this is for my two boys, i got you guys always with me! this season is for y'all! love and miss you two. @samfoltz27 @sadler_3 pic.twitter.com/8pyafgtsqf — colby delahoussaye (@colbydely) september 20, 2016
this is an awesome tribute from delahoussaye, who connected on his first field goal attempt (1-for-1) of the season in last week’s 23-20 win over mississippi state.
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ðoʊ sʊˈpərlətɪvz kən mɪˈskærəktərˌaɪz ˈɛni kˈwɑlətiz, ɪt ɪz nɑt ən ˈoʊvərˌsteɪtmənt, aɪ θɪŋk, tɪ kɔl ““citizenfour,”*,” ˈlɔrə poitras’*’ fɪlm əˈbaʊt ˈɛdwərd sˈnoʊdən, ðə ˈmuvi əv ðə ˈsɛnʧəri (tɪ deɪt). ðət ˈsteɪtmənt ɪz mɛnt, fərst ɔf, tɪ səˈʤɛst ˈsərtən θɪŋz əˈbaʊt ɪts riˈleɪʃən tɪ ɑr kəˈlɛktɪv pæst, ˈprɛzənt ənd fˈjuʧər. noʊ fɪlm soʊ ˈboʊldli ˈɛksˌreɪz ˈsərtən ˈkruʃəl ˈʧeɪnʤɪz rɔt əˈpɑn ðə wərld, ənd əˈspɛʃəli əˈmɛrɪkə ənd ɪts ˈgəvərnmənt, baɪ ðə ˈtɛrərɪst əˈtæks əv sɛpˈtɛmbər 11 2001 noʊ fɪlm soʊ dɪˈmændz tɪ bi sin baɪ ˈɛvəri ˈpərsən hu ˈvæljuz hɪz ər hər oʊn ˈfridəm ənd ˈpraɪvəsi. noʊ fɪlm soʊ ˈklɪrli ˌɪmˈplaɪz ˈækʃənz ðət nid tɪ bi ˈteɪkən tɪ prɪˈvɛnt ðə ˈsɛnʧəri frəm ˈtərnɪŋ ˈɪntu ən ˌɔrˈwɛliən ˈnaɪtˌmɛr ɪn wɪʧ ˈtɪrəni ɪz ˈæbsəˌlut ənd tru pəˈlɪtɪkəl ˈlɪbərˌti, fər ɔl ˌɪnˈtɛnts ənd ˈpərpəsɪz, ˌnɑnəgˈzɪstənt. ˌædvərˈtaɪzmənt ðɪs ɪz nɑt tɪ seɪ ðət ““citizenfour”*” ɪz ə ˈpərˌfɪkt fɪlm, ɪf ˈɛniˌwən bɪˈlivz ðət səʧ ə θɪŋ ɪgˈzɪsts. ɔn ðə ˈkɑntrɛri, pərˈhæps mɔr ðən ˈɛni ˌdɑkjəˈmɛnəri ɪn ˈhɪstəri, ɪt ˌɪnˈvaɪts ˈɛndləs kˈwɛsʧənz əˈbaʊt wət pɔɪˈtrɑz ʧoʊz tɪ pʊt ɪn ənd liv aʊt, tɪ ˈɛmfəˌsaɪz ənd tɪ elide*. bət səʧ dəˈbeɪts ər ˈoʊnli ə ˈvɛri əv ə ˈbrɔdər ˈnæʃənəl ənd ˌɪnərˈnæʃənɑl dɪˈskəʃən ðət ðə fɪlm dɪˈzərvz tɪ stɑrt. ðeɪ du ˈnəθɪŋ tɪ dɪˈmɪnɪʃ ɪts kəˈlɑsəl ˌɪmˈpɔrtəns. ˌɪnˈdid, noʊ fɪlm həz ˈɛvər bɪn hɪˈstɔrɪk ɪn kwaɪt ðə weɪ ðɪs wən ɪz, sɪns ɪt tɛlz ə ˈstɔri ɪn wɪʧ ðə ˈfɪlˌmeɪkər ənd hər wərk pleɪ ə ˈkruʃəl pɑrt. ɛz ɪf ˈdænjəl ˈɛlzbərg hæd ə frɛnd wɪθ ə ˈmuvi ˈkæmərə hu fɪlmd hɪz dɪˈskloʊʒər əv ðə ˈpɛnɪˌgɑn ˈpeɪpərz ˈɛvəri stɛp əv ðə weɪ. ər ɪf ðə ˈwɔtərˌgeɪt ˈbərglərz hæd ˈteɪkən əˈlɔŋ ə ˈfɪlˌmeɪkər hu ʃɑt ðɛr kraɪmz ənd ðə ˈkəvərˌəp ðət ˈfɑloʊd. ɪkˈsɛpt ðət ðə ˈɪʃuz ““citizenfour”*” dilz wɪθ ər, ˈɑrgjuəbli, ə ˈθaʊzənd taɪmz mɔr ˈpoʊtənt ðən viˌɛtˈnɑm ər ˈwɔtərˌgeɪt. ðə pɑrt əv ðə fɪlm ðət ʃoʊz ˈɛdwərd sˈnoʊdən biɪŋ ˈɪntərvˌjud ɪn hɔŋ kɔŋg ɪn ʤun əv 2013 ɪt sim ˈlɔŋgər əˈgoʊ?) ˈɑkjəˌpaɪz ˈrəfli ən aʊər ɪn ðə ˈmɪdəl əv ɪts sˈlaɪtli lɛs ðən lɛŋθ. ðə fɪlm bɪˈgɪnz, ˈɪrəli, laɪk ə view,”*,” wɪθ ʃɑts frəm ə kɑr ˈmuvɪŋ θru ə dɑrk ˈtræfɪk ˈtənəl (ɪn hɔŋ kɔŋg, ɪt tərnz aʊt) ɛz pɔɪˈtrɑz ridz iˈmeɪlz ʃi rɪˈsivd frəm ðə sˈnoʊdən. wən sɪz ðət hi ʧuz hər fər ðə wərk ʃi ɪz goʊɪŋ tɪ du wɪθ ɪm; ʃi meɪd ðə ʧɔɪs θru ðə fɪlmz ʃi ˈpriviəsli meɪd. ə ˈtaɪtəl sɪz ðət ˈæftər 2006 (wɪn hər ˌɪˈrɑk fɪlm ˈkəntri, maɪ country”*” keɪm aʊt) ʃi wɑz pleɪst ɔn ə ˈsikrɪt ˈgəvərnmənt wɔʧ lɪst ənd ðɛˈræftər stɑpt ənd sərʧt ˈdəzənz əv taɪmz ɛz ʃi traɪd tɪ ˈɛnər ðə juz. ðɪs hərˈæsmənt, ʃi noʊts, ˈprɑmptɪd hər tɪ muv tɪ bərˈlɪn. ˌɔlˈðoʊ ʃi seɪ ɪt, pɔɪˈtrɑz wɑz æt wərk ɔn ə fɪlm əˈbaʊt ˈgəvərnmənt sərˈveɪləns ˌbiˈfɔr ʃi fərst hərd frəm sˈnoʊdən, ənd səm əv ðət ˈfʊtɪʤ kəmˈpraɪzɪz məʧ əv ðə fərst ˈhæˌfaʊər əv ““citizenfour.”*.” wi si ˈʤərnəlɪst glɛn ˈgrinˌwɔld, hu wɪl bɪˈkəm pɑrt əv ðə sˈnoʊdən ˈstɔri, ˈwərkɪŋ æt hɪz hoʊm ɪn ˈrioʊ də ʤəˈnɛˌroʊ ɪn 2012 wi si dɪˈrɛktər əv ˈnæʃənəl ˌɪnˈtɛləʤəns ʤeɪmz ˈklæpər ənd dɪˈrɛktər əv ðə ˈnæʃənəl sɪˈkjʊrəti ˈeɪʤənsi (nsa*) kiθ ˌælɪgˈzændər boʊθ laɪɪŋ tɪ ˈəndər ðə ɪkˈstɛnt əv ðə spaɪɪŋ ɔn əˈmɛrɪkən ˈsɪtɪzənz. ˌædvərˈtaɪzmənt bət pərˈhæps ðə moʊst ˌɪmˈpɔrtənt pɑrt əv ðɪs də ˈfæktoʊ ˈproʊlɑg kənˈsərnz ˈwɪljəm ˈbɪni, ə ˈgəvərnmənt ˌɪnˈtɛləʤəns ˈænəlɪst hu tərnd ˈwɪsəlˌbloʊər tɪ ˈproʊˌtɛst əˈbjuzɪz hi sɔ ˈteɪkɪŋ pleɪs ɪn ðə ˈækʃənz ˈæftər fər hɪz ˈtrəbəlz, ˈbɪni wɑz ˈreɪdɪd baɪ ˈɛfˈbiˈaɪ ˈeɪʤənts hu stɔrmd ˈɪntu hɪz haʊs wɪθ gənz drɔn. ðə ɪgˈzæmpəlz əv ˈbɪni ənd ˈəðərz laɪk ɪm əv kɔrs ˈɪndəˌkeɪt ðə əv ðə baɪ ˈprɛzɪdənt ˌoʊˈbɑmə ənd ˈəðərz ɪn ðə ˈgəvərnmənt ənd ˈɛvriˌθɪŋ wʊd hæv bɪn faɪn ɪf sˈnoʊdən hæd gɔn θru channels”*” tɪ meɪk hɪz ˌrɛvəˈleɪʃənz tɪ ðə əˈmɛrɪkən ˈpəblɪk. ˈæftər ˈkɑnˌtæktɪŋ pɔɪˈtrɑz ˈviə ɪnˈkrɪptɪd iˈmeɪl, ənd ˈleɪtər ˈæskɪŋ hər tɪ ˌɪnˈvɑlv ˈgrinˌwɔld, ðə stɪl ˈneɪmləs snowden–“citizenfour”*” ɪz ðə fərst ˈeɪliəs hi ðə tu tɪ goʊ tɪ nu jɔrk ənd əˈweɪt ˈfərðər ˌɪnˈstrəkʃənz. hi ðɛn tɛlz ðɛm tɪ mit ɪm ɪn hɔŋ kɔŋg (wɪʧ hi həz ˈʧoʊzən ˈθɪŋkɪŋ ɪt meɪ bi ˈfərðər frəm ðə aɪz əv juz. ˌɪnˈtɛləʤəns ðən ˈəðər ˈpleɪsɪz). ɪn maɪ vju, ðə ˈsɪŋgəl ˈbɪgəst flɔ laɪz ɪn nɑt seɪɪŋ æt ðɪs pɔɪnt ðət sˈnoʊdən sɛnt pɔɪˈtrɑz ənd ˈgrinˌwɔld ˈmæsɪv ˈnəmbərz əv ˈsikrɪt faɪlz kənˈsərnɪŋ ˈgəvərnmənt sərˈveɪləns, wɪʧ ðeɪ wər ˈeɪbəl tɪ pəruz ˌbiˈfɔr ˈmitɪŋ ɪm. ɪn ˈɛni keɪs, ðiz məˈtɪriəlz fɔrmd ðə ˈbeɪsɪs əv ˈstɔriz ðə tu roʊt frəm hɔŋ kɔŋg, ˈgrinˌwɔld fər ðə ˈgɑrdiən, pɔɪˈtrɑz fər ðə ˈwɔʃɪŋtən poʊst. (ən əˈkaʊnt əv wət sˈnoʊdən sɛnt ðə ˈʤərnəlɪsts kən bi faʊnd ɪn bʊk pleɪs tɪ hide,”*,” wɪʧ dɪˈzərvz tɪ bi rɛd ɪn ˈtændəm wɪθ ““citizenfour.”*.”) wi du nɑt si pɔɪˈtrɑz ənd ˈgrinˌwɔld ˈmitɪŋ sˈnoʊdən ɪn ðə ˈlɑbi əv hɔŋ ˈmɪrə hoʊˈtɛl (ˈgrinˌwɔld rɪˈkɔld ðeɪ wər stənd æt haʊ jəŋ hi wɑz), bət wɪˈθɪn ˈmɪnəts əv ərˈaɪvɪŋ ɪn rum pɔɪˈtrɑz həz sɛt əp hir ˈkæmərə ənd ˈbeɪgən ˈfɪlmɪŋ. tru tɪ hər ˈsɪnəmə ˈiθɑs, ðə ˈfɪlˌmeɪkər ˈmoʊstli rɪˈmeɪnz ənˈsin ənd ənˈhərd, ˈlivɪŋ ðə kˈwɛsʧənɪŋ tɪ ˈgrinˌwɔld, ənd, bɪˈgɪnɪŋ ɔn ðə ˈsɛkənd deɪ, əˈnəðər rɪˈpɔrtər frəm ðə ˈgɑrdiən, juən macaskill*. ðə aʊər wi spɛnd wɪθ sˈnoʊdən ənd ˈkəmpəˌni ɪz ənd ɪn səm weɪz undramatic*, jɛt ɪt ɪz wən əv ðə moʊst əbˈzɔrbɪŋ θɪŋz ˈɛvər sin ɪn ə fɪlm. (ˈhævɪŋ naʊ wɔʧt ðə ˈmuvi θri taɪmz, aɪ faʊnd ðɪs ˌsɛgˈmɛnt ˈivɪn mɔr ˈrɪvətɪŋ ɔn ðə θərd vjuɪŋ ðən ɔn ðə fərst.) wət græbz ju hir ɪz nɑt, əv kɔrs, ðə ˈkɑntɛnts əv ˌrɛvəˈleɪʃənz, wɪʧ hæv bɪn ˈwaɪdli ˌriˈpɔrtəd. ˈrəðər, ðə sɛns əv ˈwɑʧɪŋ ə smɔl grup əv ˌɪndəˈvɪʤəwəlz ɛmˈbɑrkt ɔn ən ˈɛnərˌpraɪz ðət ðeɪ noʊ ɪz əv trɪˈmɛndəs hɪˈstɔrɪkəl ˌɪmˈpɔrt, jɛt ˈɔlsoʊ pəˈtɛnʃəli ˈdeɪnʤərəs ənd wɪθ noʊ ˌgɛrənˈtid ˈaʊtˌkəm. ɪn səʧ ə ˈkɑntɛkst, ˈɛvəri smɔl ˈʤɛsʧər, pɔz ənd dɪˈsɪʒən kən sim tɪ teɪk ɔn greɪt ˈminɪŋ, kriˈeɪtɪŋ ə ˈkɑnstənt sɛns əv ˈtɛnʃən ənd ˌdɪˈskəvri. ˌædvərˈtaɪzmənt ðɛn ðɛr ɪz ðə ˈprɛzəns əv sˈnoʊdən. ɪn ðə ˈərli ˈstɔriz ˈgrinˌwɔld bɪˈgɪnz ˈfaɪlɪŋ frəm hɔŋ kɔŋg, wɪʧ kriˈeɪt ən ˌɪˈmiˌdiət ˌɪnərˈnæʃənɑl sɛnˈseɪʃən, hi aɪˈdɛntəˌfaɪ hɪz sɔrs, ɪn pɑrt bɪˈkəz sˈnoʊdən sɪz hi wɔnts ðə əˈtɛnʃən tɪ goʊ tɪ ðə ɪkˈsploʊsɪv məˈtɪriəlz prəˈvaɪdɪŋ ˈrəðər ðən tɪ hɪmˈsɛlf. jɛt ðə əˈtɛnʃən məst sun ɪˈnəf ʃɪft tɪ ɪm bɪˈkəz, ɛz hi meɪd klɪr tɪ pɔɪˈtrɑz ˈərli ɔn, hi ˌɪnˈtɛndz tɪ aɪˈdɛntəˌfaɪ hɪmˈsɛlf ˈpəblɪkli ənd teɪk ˌwəˈtɛvər ˈkɑnsəkˌwɛnsəz meɪ kəm, ˈhoʊpɪŋ hi wɪl ˈðɛrˈbaɪ ˌɪnˈspaɪr ˈəðərz tɪ du ðə seɪm. soʊ, ə fju deɪz ˈɪntu ðɛr ˈmitɪŋz, pɔɪˈtrɑz fɪlmz ə ˈɪntərvˌju wɪθ ɪm, wɪʧ ɪz riˈlist tɪ ðə ˈmidiə, ənd ˈɔlˌmoʊst ˈɪnstəntli feɪs ənd neɪm ər noʊn ɔl ˈoʊvər ðə gloʊb. θru ɔl əv ðɪs, ðə mæn hɪmˈsɛlf rɪˈmeɪnz ə ˈpɪkʧər əv rɪˈmɑrkəbəl kɑm, pɔɪz ənd gʊd ˈspɪrɪts. ɪn hɪz bʊk ˈgrinˌwɔld sɪz hi wɑz soʊ ɪkˈsaɪtɪd ɪn hɔŋ kɔŋg ðət hi slip mɔr ðən tu aʊərz pər naɪt, ənd ðəs kʊd ˈoʊnli ˈmɑrvəl æt əˈbɪləˌti tɪ tərn ɪn æt 10 p.m*. fər ɪgˈzæktli ˈsɛvən ənd ə hæf aʊərz əv slip. səʧ ˈditeɪlz ər sɪgˈnɪfɪkənt bɪˈkəz, ɪn wən sɛns, ðə ril ˈdrɑmə ɪn ˈsəmθɪŋ noʊ bʊk kʊd gɪv ɪn ɑr əbˈzərvɪŋ sˈnoʊdən ənd ˈkəmɪŋ tɪ ɑr oʊn kənˈkluʒənz əˈbaʊt hɪz ˈkɛrɪktər ənd ˈmoʊtɪvz. noʊ daʊt ðə ˈmuvi wɪl ˌɪnˈspaɪr ˈvɛriəs riˈækʃənz. fər ˌmaɪˈsɛlf, aɪ teɪk ðə gaɪ æt feɪs ˈvælju. hi simz ˈɛmənəntli seɪn ənd ˈdisənt, ə gʊd gaɪ, smɑrt, ɑrˈtɪkjəˌleɪt, ənd, ˈgɪvɪn ðə ˈsərkəmˌstænsɪz brɔt əˈpɑn hɪmˈsɛlf, ˌɪnˈkrɛdəbli kərˈeɪʤəs. ɛz fər hɪz ˈmoʊtɪvz, ɪt bɪˈfɪts hɪz ˈstætəs ɛz ə mɪˈlɛniəl ðət ˈpæʃənət əˈbaʊt ðə pəˈtɛnʃəl əv ðə ˈɪntərˌnɛt ənd ðə ˈdeɪnʤərz əv ɪts əˈbjuz. laɪk ˈgrinˌwɔld ənd pɔɪˈtrɑz, hi ɪz ˈɔlsoʊ əˈlɑrmd æt ðə paʊər ðə ˈgəvərnmənt həz əˈkjumjəˌleɪtɪd tɪ spaɪ ɔn ɪts oʊn ˈsɪtɪzənri ˈvərʧuəli wɪˈθaʊt ˈlɪmɪts ər kənˈtroʊlz, ənd wɪˈθaʊt ðə ˈnɑlɪʤ. hi sɪz, ɪn hɪz ˈjuʒəwəl ˈrəðər ˈfɔrməl weɪ əv ˈspikɪŋ: æm mɔr ˈwɪlɪŋ tɪ rɪsk ˌɪmˈprɪzənmənt, ər ˈɛni ˈəðər ˈnɛgətɪv ˈaʊtˌkəm ˈpərsənəli, ðən aɪ æm tɪ rɪsk ðə kərˈteɪlmənt əv maɪ ˌɪnəˈlɛkʧuəl ˈfridəm ənd ðət əv ðoʊz əraʊnd mi, hum aɪ kɛr fər ˈikwəli ɛz aɪ du fər myself.”*.” ˌædvərˈtaɪzmənt ˈæftər eɪt deɪz, sˈnoʊdən livz ðə hoʊˈtɛl wɪθ ðə hɛlp əv ʧaɪˈniz ˈjumən raɪts ˈlɔjərz ənd tɪ ə u.n*. fəˈsɪlɪti ənd ðɛn ə seɪf haʊs. wi si ɪm ðɛˈræftər ɪn ˈoʊnli tu sinz ˈsəmˈwət ˈleɪtər ɪn ˈmɔˌskaʊ, wɛns hi ɪz ˈspɪrɪtəd wɪθ ðə hɛlp əv wikileaks*, ənd wɛr ðə ˈgəvərnmənt ɪˈvɛnʧəwəli grænts ɪm wən jɪr əv pəˈlɪtɪkəl əˈsaɪləm. ɪn ðə læst ˈhæˌfaʊər, pɔɪˈtrɑz gɪvz ˈjuˈɛs ən ˈɔlˌmoʊst ˌɪmˌprɛʃəˈnɪstɪk ˈkrɑnɪkəl əv ɪˈvɛnts floʊɪŋ frəm ˌrɛvəˈleɪʃənz, ˌɪnˈkludɪŋ ˈgrinˌwɔld ɪn brəˈzɪl ˈtɔkɪŋ wɪθ rɪˈpɔrtərz ənd ˈgəvərnmənt ˈpipəl əˈbaʊt juz. spaɪɪŋ; ˈwɪljəm ˈbɪni ənd ˈəðərz ˈtɛstɪˌfaɪɪŋ ɔn ðə seɪm ˈsəbʤɪkt ɪn ˈjʊrəp; ˈlɔjərz ˈmitɪŋ proʊ ˈboʊnoʊ tɪ dɪˈskəs ˈligəl ˈstrætəʤi fər sˈnoʊdən; ðə bɪˈzɑr dɪˈtɛnʃən əv ˈpɑrtnər ɪn ˈləndən ənd ðɛr riˈunjən ɪn ˈrioʊ. ənd ðɛn ðə ˈfaɪnəl sin, ɪn ˈmɔˌskaʊ, wɛr sˈnoʊdən ənd ˈgrinˌwɔld raɪt noʊts ɔn ˈpeɪpər ɪn ˈɔrdər tɪ əˈvɔɪd ˈtɔkɪŋ əˈbaʊt əˈnəðər, nuər whistle-blower*. wi si wət ˈtɔkɪŋ əˈbaʊt bət əˈstɑnɪʃmənt spiks ˈvɑljumz. ðə sin ɪz ʃʊr tɪ kɔz ˈpəzəlmənt ənd pərˈhæps ˈkɑntrəˌvərsi, jɛt aɪ faʊnd ɪt ˈrɪli ˈwəndərfəl, poʊˈɛtɪkli mɪˈstɪriəs jɛt ˈɔlsoʊ rɪˈtərnɪŋ ˈjuˈɛs tɪ ˈklɪrli ˈsteɪtɪd dɪˈzaɪər tɪ ˌɪnˈspaɪr ˈəðərz tɪ ˈfɑloʊ ɪn hɪz ˈfʊtˌstɛps. noʊ ˈmuvi həz ˈɛvər bɪn mɔr ˈʤəstəˌfaɪd ɪn ˌɪnˈkludɪŋ ““citizen”*” ɪn ɪts ˈtaɪtəl, ənd nɑt ˈspikɪŋ əv ʤɪst ðə ækts əv hɪˈroʊɪk ˈsɪtɪzənˌʃɪp baɪ sˈnoʊdən, wɪʧ dɪˈzərv tɪ bi ˈstədid ənd ˈɛmjəˌleɪtɪd fər ˈsɛnʧəriz. ðə ˈblikəst ˌɪmpləˈkeɪʃən əv ðə fɪlm ɪz ðət ˈɛvəri ˈgəvərnmənt sun sˈwɑloʊz əp ðoʊz hu ˈɛnər ɪt ənd ðə ˌɪmˈpəls fər ˈminɪŋfəl dɪˈsɛnt. waɪ həz noʊ ˈmɛmbər əv ˈkɑŋgrəs ˈrɪzən tɪ dɪˈfɛnd sˈnoʊdən, hu ɪz ə ˈhɪroʊ tɪ məʧ əv ðə ˈkəntri ənd wɪl bi mɔr soʊ wəns ðɪs fɪlm ɪz ˈwaɪdli sin? waɪ hæv ðə ˈgəvərnmənts əv ˈʤərməni ənd brəˈzɪl, tu ˈpaʊərfəl ˈneɪʃənz ˈaʊˌtreɪʤd baɪ ˌrɛvəˈleɪʃənz, nɑt ˈɔfərd ɪm əˈsaɪləm? ˈʧeɪnʤɪŋ səʧ θɪŋz, ðə fɪlm ˈvɛri ˈklɪrli ˌɪmˈplaɪz, wɪl dɪˈpɛnd ɔn ˈsɪtɪzənz ˈwɪlɪŋ tɪ ˈʧælənʤ ðə paʊər əv ðɛr ˈgəvərnmənts. θruaʊt ðɛr ækˈtɪvɪtiz, sˈnoʊdən, ˈgrinˌwɔld ənd pɔɪˈtrɑz tʊk ə ˈgæmbəl ɔn ˈpræktɪsɪŋ ɪgˈzæktli ðə kaɪnd əv trænˈspɛrənsi ənd ɪn ðɛr wərk ðət ðeɪ wɔnt tɪ si ɪn ðə ˈgəvərnmənt. ðə aɪˈdiə biɪŋ ðət ðə mɔr ɪn ðə ˈpəblɪk aɪ ðeɪ wər, ðə mɔr prəˈtɛktɪd frəm nəˈfɛriəs duɪŋz baɪ ðə ˈgəvərnmənt. ɪt həz wərkt, ˈoʊnli tɪ ə pɔɪnt. ˌrɛvəˈleɪʃənz gɑt aʊt, bət wət həz bɪˈkəm əv ðɛm? ɪt ɪz tɪ bi hoʊpt ðət ɪt roʊlz aʊt ˈɪntu ˈθiətərz ɪn ðə nɛkst mənθs, skrinz ɔn ˈeɪʧbiˈoʊ ənd goʊz tɪ ðə ˌriɪgˈnaɪt dəˈbeɪt ənd ˈækʃən ɔn ɔl ðə əˈproʊpriˌeɪt frənts.
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though superlatives can mischaracterize any movie’s qualities, it is not an overstatement, i think, to call “citizenfour,” laura poitras’ film about edward snowden, the movie of the century (to date).
that statement is meant, first off, to suggest certain things about its relation to our collective past, present and future. no film so boldly x-rays certain crucial changes wrought upon the world, and especially america and its government, by the terrorist attacks of september 11, 2001. no film so demands to be seen by every sentient person who values his or her own freedom and privacy. no film so clearly implies actions that need to be taken to prevent the 21st century from turning into an orwellian nightmare in which technologically-enabled tyranny is absolute and true political liberty, for all intents and purposes, nonexistent.
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this is not to say that “citizenfour” is a perfect film, if anyone believes that such a thing exists. on the contrary, perhaps more than any documentary in history, it invites endless questions about what poitras chose to put in and leave out, to emphasize and to elide. but such debates are only a secondary–if very fascinating–aspect of a broader national and international discussion that the film deserves to start. they do nothing to diminish its colossal importance.
indeed, no film has ever been historic in quite the way this one is, since it tells a story in which the filmmaker and her work play a crucial part. as if daniel ellsberg had a friend with a movie camera who filmed his disclosure of the pentagon papers every step of the way. or if the watergate burglars had taken along a filmmaker who shot their crimes and the cover-up that followed. except that the issues “citizenfour” deals with are, arguably, a thousand times more potent than vietnam or watergate.
the part of the film that shows edward snowden being interviewed in hong kong in june of 2013 (doesn’t it seem longer ago?) occupies roughly an hour in the middle of its slightly less than two-hour length. the film begins, eerily, like a latter-day “parallax view,” with shots from a car moving through a dark traffic tunnel (in hong kong, it turns out) as poitras reads emails she received from the then-anonymous snowden. one says that he didn’t choose her for the work she is going to do with him; she made the choice through the films she previously made. a title says that after 2006 (when her iraq film “my country, my country” came out) she was placed on a secret government watch list and thereafter stopped and searched dozens of times as she tried to enter the u.s. this harassment, she notes, prompted her to move to berlin.
although she doesn’t say it, poitras was at work on a film about government surveillance before she first heard from snowden, and some of that footage comprises much of the first half-hour of “citizenfour.” we see journalist glenn greenwald, who will become part of the snowden story, working at his home in rio de janeiro in 2012. we see director of national intelligence james clapper and director of the national security agency (nsa) keith alexander both lying to congress–presumably under oath–about the extent of the government’s spying on american citizens.
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but perhaps the most important part of this de facto prologue concerns william binney, a government intelligence analyst who turned whistleblower to protest abuses he saw taking place in the government’s actions after 9/11. for his troubles, binney was raided by fbi agents who stormed into his house with guns drawn. the examples of binney and others like him of course indicate the ridiculousness of the claim–made by president obama and others in the government and media–that everything would have been fine if snowden had gone through “proper channels” to make his revelations to the american public.
after contacting poitras via encrypted email, and later asking her to involve greenwald, the still nameless snowden–“citizenfour” is the first alias he uses–asks the two to go to new york and await further instructions. he then tells them to meet him in hong kong (which he has chosen thinking it may be further from the eyes of u.s. intelligence than other places).
in my view, the film’s single biggest flaw lies in not saying at this point that snowden sent poitras and greenwald massive numbers of secret files concerning government surveillance, which they were able to peruse before meeting him. in any case, these materials formed the basis of stories the two wrote from hong kong, greenwald for the guardian, poitras for the washington post. (an account of what snowden sent the journalists can be found in greenwald’s book “no place to hide,” which deserves to be read in tandem with “citizenfour.”)
we do not see poitras and greenwald meeting snowden in the lobby of hong kong’s mira hotel (greenwald recalled they were stunned at how young he was), but within minutes of arriving in snowden’s room poitras has set up here camera and begun filming. true to her cinema verite ethos, the filmmaker mostly remains unseen and unheard, leaving the questioning to greenwald, and, beginning on the second day, another reporter from the guardian, ewan macaskill.
the hour we spend with snowden and company is matter-of-fact and in some ways undramatic, yet it is one of the most absorbing things i’ve ever seen in a film. (having now watched the movie three times, i found this segment even more riveting on the third viewing than on the first.) what grabs you here is not, of course, the contents of snowden’s revelations, which have been widely reported. rather, the sense of watching a small group of individuals embarked on an enterprise that they know is of tremendous historical import, yet also potentially dangerous and with no guaranteed outcome. in such a context, every small gesture, pause and decision can seem to take on great meaning, creating a constant sense of tension and discovery.
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then there is the presence of snowden. in the early stories greenwald begins filing from hong kong, which create an immediate international sensation, he doesn’t identify his source, in part because snowden says he wants the attention to go to the explosive materials providing rather than to himself. yet the attention must soon enough shift to him because, as he made clear to poitras early on, he intends to identify himself publicly and take whatever consequences may come, hoping he will thereby inspire others to do the same. so, a few days into their meetings, poitras films a 12-minute interview with him, which is released to the media, and almost instantly snowden’s face and name are known all over the globe.
through all of this, the man himself remains a picture of remarkable calm, poise and good spirits. in his book greenwald says he was so excited in hong kong that he couldn’t sleep more than two hours per night, and thus could only marvel at snowden’s ability to turn in at 10 p.m. for exactly seven and a half hours of sleep.
such details are significant because, in one sense, the real drama in “citizenfour”–and something no book could give us–lies in our observing snowden and coming to our own conclusions about his character and motives. no doubt the movie will inspire various reactions. for myself, i take the guy at face value. he seems eminently sane and decent, a good guy, smart, articulate, good-humored and, given the circumstances brought upon himself, incredibly courageous.
as for his motives, it befits his status as a millennial that passionate about the potential of the internet and the dangers of its abuse. like greenwald and poitras, he is also alarmed at the power the government has accumulated to spy on its own citizenry virtually without limits or controls, and without the country’s knowledge. he says, in his usual rather formal way of speaking: “i am more willing to risk imprisonment, or any other negative outcome personally, than i am to risk the curtailment of my intellectual freedom and that of those around me, whom i care for equally as i do for myself.”
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after eight days, snowden leaves the hotel with the help of chinese human rights lawyers and decamps to a u.n. facility and then a safe house. we see him thereafter in only two scenes somewhat later in moscow, whence he is spirited with the help of wikileaks, and where the government eventually grants him one year of political asylum.
in the film’s last half-hour, poitras gives us an almost impressionistic chronicle of events flowing from snowden’s revelations, including greenwald in brazil talking with reporters and government people about u.s. spying; william binney and others testifying on the same subject in europe; lawyers meeting pro bono to discuss legal strategy for snowden; the bizarre detention of greenwald’s partner in london and their reunion in rio.
and then there’s the film’s final scene, in moscow, where snowden and greenwald write notes on paper in order to avoid talking about another, newer whistle-blower. we can’t see what they’re talking about but snowden’s astonishment speaks volumes. the scene is sure to cause puzzlement and perhaps controversy, yet i found it really wonderful, poetically mysterious yet also returning us to snowden’s clearly stated desire to inspire others to follow in his footsteps.
no movie has ever been more justified in including “citizen” in its title, and i’m not speaking of just the acts of heroic citizenship by snowden, which deserve to be studied and emulated for centuries. the bleakest implication of the film is that every government soon swallows up those who enter it and squelches the impulse for meaningful dissent. why has no member of congress risen to defend snowden, who is a hero to much of the country and will be more so once this film is widely seen? why have the governments of germany and brazil, two powerful nations outraged by snowden’s revelations, not offered him asylum?
changing such things, the film very clearly implies, will depend on citizens willing to challenge the power of their governments. throughout their activities, snowden, greenwald and poitras took a gamble on practicing exactly the kind of transparency and straightforwardness in their work that they want to see in the government. the idea being that the more in the public eye they were, the more protected from nefarious doings by the government. it has worked, obviously…but only to a point. snowden’s revelations got out, but what has become of them? it is to be hoped that “citizenfour”–as it rolls out into theaters in the next months, screens on hbo and goes to the oscars–will reignite debate and action on all the appropriate fronts.
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ˈəpˌdeɪtɪd æt 2 p.m*. brus ˈbɑrtlɪt, ðə ɪˈkɑnəmɪst ənd ˈfɔrmər ˈrigən ædˌmɪnɪˈstreɪʃən əˈfɪʃəl, həz bɪn ˈpaʊndɪŋ ðə drəm tɪ gɪt ˈpipəl tɪ bi mɔr ˌriəˈlɪstɪk əˈbaʊt ˈtæksɪz. hɪz keɪs, ɪn ʃɔrt, ɪz ðət ˈtæksɪz wɪl hæv tɪ goʊ əp tɪ ˈkəvər ðə kɔst əv ˈgəvərnmənt ðət əˈmɛrɪkənz wɔnt. rɪˈfərɪŋ tɪ ðɪs ti ˈpɑrtiz ðə ˈproʊˌtɛsts əˈgɛnst ˈtæksɪz ˈmɪstər. ˈbɑrtlɪt raɪts ɔn forbes.com*: fərst, ˈmɛni ˈproʊˌtɛstərz ˌɪmˈplɪsətli əˈsum ðət ðə ˈdɛfəsət həz ˌɪnˈkrist ˈsoʊəli ɛz ə rɪˈzəlt əv ˈbɑrək ˈpɑləsiz. bət ɪn fækt, ðə kənˈgrɛʃənəl ˈbəʤɪt ˈɔfəs wɑz prɑˈʤɛktɪŋ ə ˈdɛfəsət əv mɔr ðən 1 ˈtrɪljən ðɪs jɪr bæk ɪn ˈʤænjuˌɛri, ˌbiˈfɔr ˈɛni əv ˈpɑləsiz hæd bɪn ɛˈnæktəd, ənd ə ˈkjumjələtɪv ˈdɛfəsət əv ˈtrɪljən θru 2019 meɪd noʊ əˈsəmpʃənz əˈbaʊt wət hɪz ˈpɑləsiz maɪt bi ɪn ˈmeɪkɪŋ ɪts prɑˈʤɛkʃən.) tru ðət prɑˈʤɛktəd ˈdɛfɪsɪts hæv ˈgɔtən ˈlɑrʤər sɪns ˈʤænjuˌɛri. bət məʧ əv ðɪs rɪˈzəltɪd frəm dɪˈtɪriərˌeɪtɪŋ ˌɛkəˈnɑmɪk kənˈdɪʃənz ðət wʊd hæv əˈkərd ˈivɪn ɪf ʤɑn məˈkeɪn wər ˈprɛzɪdənt. mɔˈroʊvər, ɪt ɪz əbˈsərd tɪ əˈsum ðət məˈkeɪn wʊd nɑt hæv ɛˈnæktəd ˈɛni ˈstɪmjələs ˈproʊˌgræmz hæd hi bɪn elected…*… aɪ ˈstrɔŋli ˈsəˌspɛkt ðət ˈmɛni əv ðoʊz ðət ˈlaʊdli dɪˈnaʊnst ðə ˌoʊˈbɑmə ˈstɪmjələs ˈpækɪʤ fər ɪts ˌɪmˈpækt ɔn ðə ˈdɛfəsət wʊd hæv ʧɪrd ðə məˈkeɪn ˈstɪmjələs ˈpækɪʤ ˈivɪn ðoʊ ɪt wʊd hæv ˌɪnˈkrist ðə ˈdɛfəsət baɪ əˈbaʊt ðə seɪm əˈmaʊnt. pruf əv ðɪs ˌprɑpəˈzɪʃən ɪz ðət ðɛr wər noʊ ti ˈpɑrtiz ˈdʊrɪŋ ðə jɪrz wɪn ʤɔrʤ ˈdəbəlju. bʊʃ wɑz ˈtərnɪŋ ðə ˈsərpləsɪz əv ðə ˈklɪntən jɪrz ˈɪntu ˈmæsɪv ˈdɛfɪsɪts. ˌɪnˈdid, ɪf kənˈsərnz əˈbaʊt ˈdɛfɪsɪts ər ðə ˈpraɪˌmɛri ˌmoʊtəˈveɪʃən fər ðɪs tæks ˈproʊˌtɛsts, ðɛn ðiz seɪm ˈpipəl ʃʊd hæv bɪn ˈhoʊldɪŋ ˌdɛmənˈstreɪʃənz əv səˈpɔrt fər bɪl ˈklɪntən ɪn 2000 wɪn ðə ˈfɛdərəl ˈgəvərnmənt ræn ə ˈbəʤɪt ˈsərpləs əv əv ðə groʊs dəˈmɛstɪk tɪ ə ˈsərpləs əv 336 ˈbɪljən ðɪs jɪr. ðə truθ ɪz ðət ðə ˈgreɪtəst əˈdɪʃən tɪ ˈnæʃənəl ˌɪnˈdɛtɪdnɪs əˈkərd ɪn 2003 wɪn bʊʃ ræmd θru ðə rɪˈpəblɪkən ˈkɑŋgrəs ə ˈmæsɪv ɪkˈspænʧən əv ˈmɛdəˌkɛr tɪ prəˈvaɪd drəg ˈbɛnəfɪts ˈivɪn ðoʊ ðə ˈsɪstəm wɑz ɔˈrɛdi broke…*…. ˈpipəl ʃʊd rɪˈmɛmbər ðət waɪl ðeɪ hæv ðə raɪt tɪ ðɛr əˈpɪnjən, ðeɪ ər nɑt ɛnˈtaɪtəld tɪ bi ˈteɪkən ˈsɪriəsli. ðət ˈoʊnli kəmz frəm ˈhævɪŋ ˌkrɛdəˈbɪlɪti geɪnd baɪ ðə kərˈɛkt ˌprɛzənˈteɪʃən əv fækts ənd æˈnælɪsɪs ənd ə ˈwɪlɪŋnəs tɪ bi oʊn saɪd wɪn ɪt ɪz rɔŋ ənd nɑt ˈoʊnli ˈspikɪŋ əp wɪn ðə ˈəðər ˈpɑrti dɪz ðə seɪm θɪŋ. ˈəpˌdeɪt: ˈmɪstər. ˈbɑrtlɪt roʊt mi ən ˈiˌmeɪl ðɪs ˌæftərˈnun, rɪˈspɑndɪŋ tɪ səm əv ðə ˈkɑmɛnts rɪˈsivd frəm ˈridərz:
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updated at 2 p.m.
bruce bartlett, the economist and former reagan administration official, has been pounding the drum to get people to be more realistic about taxes. his case, in short, is that taxes will have to go up to cover the cost of government that americans want.
referring to this week’s tea parties — the protests against taxes — mr. bartlett writes on forbes.com:
first, many protesters implicitly assume that the deficit has increased solely as a result of barack obama’s policies. but in fact, the congressional budget office was projecting a deficit of more than $1 trillion this year back in january, before any of obama’s policies had been enacted, and a cumulative deficit of $4.3 trillion through 2019. (cbo made no assumptions about what his policies might be in making its projection.) it’s true that projected deficits have gotten larger since january. but much of this resulted from deteriorating economic conditions that would have occurred even if john mccain were president. moreover, it is absurd to assume that mccain would not have enacted any stimulus programs had he been elected… i strongly suspect that many of those that loudly denounced the obama stimulus package for its impact on the deficit would have cheered the mccain stimulus package even though it would have increased the deficit by about the same amount. proof of this proposition is that there were no tea parties during the years when george w. bush was turning the surpluses of the clinton years into massive deficits. indeed, if concerns about deficits are the primary motivation for this week’s tax protests, then these same people should have been holding demonstrations of support for bill clinton in 2000 when the federal government ran a budget surplus of 2.4% of the gross domestic product–equivalent to a surplus of $336 billion this year. the truth is that the greatest addition to national indebtedness occurred in 2003 when bush rammed through the republican congress a massive expansion of medicare to provide drug benefits even though the system was already broke…. people should remember that while they have the right to their opinion, they are not entitled to be taken seriously. that only comes from having credibility gained by the correct presentation of facts and analysis and a willingness to be even-handed–criticizing one’s own side when it is wrong and not only speaking up when the other party does the same thing.
update: mr. bartlett wrote me an e-mail this afternoon, responding to some of the comments he’s received from readers:
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ˈluzɪŋ ə lɪm kən min nu ˈlɪmɪts, ˈivɪn ən ɛnd tɪ səm ækˈtɪvɪtiz, bət saɪəns kənˈtɪnjuz tɪ ˈɔfər ˈprɑməsɪŋ ˈprɑˌgrɛs ɪn ðɪs ˈɛriə. ən ˈɔsəm ɑrm frəm ˈrisəntli hɛlpt wən ˈmɪlɪˌtɛri vɛt du ˈsəmθɪŋ trəˈdɪʃənəl prɑsˈθɛtɪks ˈwʊdənt əˈlaʊ ɪm tɪ du hɪt ðə wɔl əˈgɛn. ɛz sin ɪn ðə ˈvɪdioʊ əˈbəv, riˈlist ðɪs wik, ðə ˈjuˈɛs ˈɑrmi ˈvɛtərən traɪd ðə ɑrm æt ə ˈklaɪmɪŋ wɔl æt ðə ˈwɔltər rid ˈnæʃənəl ˈmɪlɪˌtɛri ˈmɛdɪkəl ˈsɛnər ɪn bəˈθɛzdə, md*. ðə ɪz dɪˈzaɪnd tɪ prəˈvaɪd ə haɪ ˈlɛvəl əv kənˈtroʊl, ənd əˈsaɪd frəm ə ˈmaɪnər slɪp əv ðə hænd wɪn ˈgræbɪŋ ˈɔntu ðə fərst rɑk, ðə vɛt ɪz ˈeɪbəl tɪ klaɪm ðə rɑk wɔl wɪθ iz, ɪf ə bɪt mɔr sˈloʊli ðən hi ˈpriviəsli kʊd hæv. ðə ˌroʊˈbɑtɪk ɑrm ˈsɪstəm ɪz ˈfəndɪd baɪ ðə dɪˈfɛns ədˈvænst ˈrisərʧ ˈprɑʤɛkts ˈeɪʤənsi (ˈdɑrpə) ənd wɑz dɪˈvɛləpt baɪ din ˈkɑmɛn, hu kriˈeɪtɪd ðə segway*. ɪt lɛts ˈwɛrərz du θɪŋz laɪk kənˈtroʊl ˈməltəpəl ʤɔɪnts, gɪt ˈfidˌbæk ɔn haʊ ˈfərmli ðɛr ˈgræspɪŋ ən ˈɑbʤɛkt ənd ˈivɪn ˈfaɪnli kənˈtroʊl ˌɪndəˈvɪʤəwəl ˈfɪŋgərz ɔn ðə hænd. ðɪs minz ɪt kən bi juzd fər θɪŋz ˈəðər prɑsˈθɛtɪks kænt, laɪk ˈjuzɪŋ ˈzɪpərz ənd ˈdrɪŋkɪŋ aʊt əv ə ˈplæstɪk ˈwɔtər ˈbɑtəl. ðə ˈkɑrənt ɑrm ˈsɪstəm ˈjuzɪz ˌɪˈlɛktroʊdz, wɪʧ ˈmɛʒər ðə ɪˈlɛktrɪkəl ækˈtɪvɪti əv ˈməsəlz æt rɛst ənd ˈdʊrɪŋ kənˈtrækʃən, tɪ rɛd ˈsɪgnəlz sɛnt baɪ ˈməsəlz ɪn ðə rɪˈmeɪnɪŋ pɑrt əv ðə ɑrm ənd ˈʃoʊldər, ɛz wɛl ɛz ˈwaɪrlɪs ˈsɛnsərz ɔn ðə fit. ənd ˈdɑrpə ər ˈlʊkɪŋ ˈɪntu maɪnd kənˈtroʊl fər fˈjuʧər ˈvərʒənz əv ðə ˈsɪstəm, ˈbrɪŋɪŋ ˈjuˈɛs ˈɛvər ˈkloʊzər tɪ ˈhævɪŋ ə ɑrm ðət ˈfəŋkʃənz ɛz ˈpərfəktli ɛz luk hænd ɪn ðə ˈleɪtər pɑrts əv ðə "stɑr wɔrz" ˈsɪriz. (ɪn fækt, ɛz ə nɑd tɪ ðə ˈsɪriz, ðə tim əˈfɛkʃənətli rɪˈfərz tɪ ðɛr ɑrm ɛz "luk.") rɪˈsivd əˈpruvəl ɪn 2014 ðət geɪv ðə ˈkəmpəˌni ðə tɪ ɪkˈsplɔr riˈlisɪŋ ðə ˌroʊˈbɑtɪk ɑrm kəˈmərʃəli, ðoʊ noʊ kəˈmərʃəl əˌveɪləˈbɪlɪti həz jɛt bɪn əˈnaʊnst. soʊ waɪl ɪt meɪ bi ə waɪl ənˈtɪl ju si tɛkˈnɑləʤi laɪk ðɪs ɪn ˈɛvriˈdeɪ laɪf, ɛz ðə ˈvɪdioʊz ɪn ðɪs ˈstɔri ʃoʊ, ˈæmpjəˈtiz meɪ bi wən stɛp ˈkloʊzər tɪ ˈfaɪndɪŋ nu ˌpɑsəˈbɪlətiz laɪk ˈskaɪˌwɔkər. (ˈviə ˈmɪrər)
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losing a limb can mean new limits, even an end to some favortie activities, but science continues to offer promising progress in this area. an awesome bionic arm from deka recently helped one military vet do something traditional prosthetics wouldn't allow him to do -- hit the rock-climbing wall again.
as seen in the video above, released this week, the us army veteran tried the deka arm at a climbing wall at the walter reed national military medical center in bethesda, md. the deka is designed to provide a high level of control, and aside from a minor slip of the hand when grabbing onto the first rock, the vet is able to climb the rock wall with ease, if a bit more slowly than he previously could have.
the deka robotic arm system is funded by the defense advanced research projects agency (darpa) and was developed by dean kamen, who created the segway. it lets wearers do things like control multiple joints, get feedback on how firmly they're grasping an object and even finely control individual fingers on the hand. this means it can be used for things other prosthetics can't, like using zippers and drinking out of a plastic water bottle.
the current deka arm system uses electromyogram electrodes, which measure the electrical activity of muscles at rest and during contraction, to read signals sent by muscles in the remaining part of the arm and shoulder, as well as wireless sensors on the wearer's feet. deka and darpa are looking into mind control for future versions of the system, bringing us ever closer to having a bionic arm that functions as perfectly as luke skywalker's bionic hand in the later parts of the "star wars" series. (in fact, as a nod to the series, the deka team affectionately refers to their arm as "luke.")
deka received fda approval in 2014 that gave the company the go-ahead to explore releasing the robotic arm commercially, though no commercial availability has yet been announced. so while it may be a while until you see technology like this in everyday life, as the videos in this story show, amputees may be one step closer to finding new possibilities like skywalker.
(via mirror)
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ˈfulˌpruf vɪl vi. dɪˈzaɪnər æt ɔp læb aɪv bɪn ˈθɪŋkɪŋ ənd ˈproʊtoʊˌtaɪpɪŋ ə ˈneɪtɪv ˈɛdɪtər fər ə while⁺*⁺. (ˈneɪtɪv ɛz əˈpoʊzd tɪ ə tɛkst ˈɛdɪtər ðæts ˈkəstəˌmaɪzd tɪ wərk wɪθ) ðɪs ɪz ə rəf ˈtrænˌskrɪpt əv ə ˌprɛzənˈteɪʃən aɪ geɪv ɔn ðə ˈsəbʤɪkt. ðɪs ˌprɛzənˈteɪʃən ɪz əˈbaʊt, bət ðiz aɪˈdiəz kʊd bi ˈjusfəl fər ˈəðər ˈmɑrˌkəp ˈlæŋgwɪʤɪz, ˈdætə ˈfɔrˌmæts ənd ˈproʊˌgræmɪŋ ˈlæŋgwɪʤɪz tu. wəts ðə ˈprɑbləm? du ju raɪt koʊd? hæv ju ˈɛvər ɪnˈkaʊnərd ə ˈsɪnˌtæks ˈɛrər? (əv kɔrs ju hæv) wət ɪf ju hæd tɪ raɪt ə ˈlæŋgwɪʤ wɛr ju kən meɪk mɪˈsteɪks, bət ðɛr ər noʊ ˈɛrərz? wɛr jʊr ˈpɑrsər ʤɪst ˈsaɪləntli ækˈsɛpts ˈɛniˌθɪŋ ju gɪv ɪt. wɛr jul hæv tɪ ˈkɛrfəli kəmˈpɛr jʊr ˌɪnˈtɛnʧənz tɪ ðə pɑrst ˈaʊtˌpʊt tɪ ˈfɪgjər aʊt wət wɛnt rɔŋ. du ju raɪt? wət aɪ ʤɪst dɪˈskraɪbd wɑz haʊ ˈbraʊzərz ˈhændəl. ðeɪ wɪl ˈhæpəli əkˈsɛpt ˈɛniˌθɪŋ ju gɪv ðɛm ənd traɪ ðɛr bɛst tɪ meɪk sɛns əv ɪt. ðeɪ kʊd swɑp aʊt ˈɛləmənt ˈpleɪsɪz, ʧeɪnʤ əˈtrɪˌbjuts, ər du ˌwəˈtɛvər ɪf ðɛrz ə ˈtaɪpoʊ ɪn jʊr koʊd. du ju juz wɛb dɪˈvɛləpər tulz? ɔl ˈpɑpjələr ˈbraʊzərz hæv ðɛm ðiz deɪz. ðɛr ˈɔsəm! goʊ əˈhɛd ənd ˈoʊpən jʊr, lɛts traɪ səm stəf. ɪn kroʊm ðɛr ˈəndər ðə vju ˈmɛnju. goʊ tɪ vju dɪˈvɛləpər dɪˈvɛləpər tulz. ˈoʊpən ðə ˈɛləmənts tæb ənd prɛs tɪ ʃoʊ ðə ˈkɑnsoʊl æt ðə seɪm taɪm. wət ˈhæpənz ɪf ju fərˈgɛt ðə ˈkloʊzɪŋ kwoʊt əv ən əˈtrɪˌbjuts ˈvælju? traɪ ðɪs bɪt əv koʊd ɪn ðə ˈkɑnsoʊl. a="b><span></span></div*>' ˈæftər ˈpɑrsɪŋ ðət, kroʊm θɪŋks ðə rɪˈzəlt ʃʊd bi ˈnəθɪŋ! ðə ˈbɑdi ˈɛləmənt ɪz ˈɛmti. naʊ lɛts traɪ ðə seɪm θɪŋ, ˈoʊnli wɪθ ðə fərst kwoʊt ˈmɪsɪŋ. a=b"><span></span></div*>' ˌoʊˈkeɪ, ðə rɪˈzəlt ɪz ə bɪt ˈbɛtər, ˈmeɪbi. naʊ kroʊm ðə ˈsɛkənd kwoʊt ɛz ən ˈɛntɪti bɪˈkəz ɪt θɪŋks ðə əˈtrɪˌbjut ɪz ˈrɪtən wɪˈθaʊt kwoʊts, soʊ ɪt ˌɪnˈkludz ðə ˈlætər kwoʊt ɛz ə pɑrt əv ðə əˈtrɪˌbjut ˈvælju. wət ɪf ju mɪs ən ˈæŋgəl ˈbrækɪt? something="else"<span>test</span></div*>' naʊ wi gɪt ən ˈɛmti əˈtrɪˌbjut ðæts neɪmd <spæn jɛp, ðə ˈkɑnsoʊl əˈgriz. wət ˈhæpənz ɪf ju hæv mɪsˈmæʧt tægz? haʊ du ju ˈfɪgjər aʊt ðə ˈstrəkʧər ɪf ju gɪt ənˈklɪr ˌɪnˌdɛnˈteɪʃən, ər wərs, koʊd wɪθ noʊ æt ɔl? wən ˈtaɪpoʊ ər ˈkɑpi peɪst kʊd ʧeɪnʤ ðə weɪ jʊr ˈdɑkjəmɛnt ɪz ˈrɛndərd, bət ðə ˈoʊnli weɪ jul gɪt ˈfidˌbæk ɪz ˈwɑʧɪŋ jʊr æp breɪk. ˈæˌkʧuəli həz wɛl dɪˈfaɪnd ˈpɑrsɪŋ rulz ðət tɛl ju haʊ ˌɪnˈvæləd ˈmɑrˌkəp ʃʊd bi ˈhændəld, bət ˈbraʊzərz wɪl ˈhæpəli əkˈsɛpt ˈɛniˌθɪŋ ju θroʊ æt ðɛm wɪˈθaʊt ˈtɛlɪŋ ju wət ðeɪ fɪkst ər ʧeɪnʤd. ju kʊd ˈvælədeɪt jʊr wɪθ validator.nu*, ðət wʊd gɪv ju ə ˈdisənt ˈoʊvərvˌju ər ˈɛni ˈpɑsəbəl ˈtaɪpoʊ beɪst ˈɛrərz. ðɛr ər ˈbraʊzər ənd tɛkst ˈɛdɪtər fər ˈvæləˌdeɪtɪŋ tu! du ju ɔˈrɛdi ˈvælədeɪt jʊr? aɪ ɪkˈspɛkt ðə ˈænsər tɪ bi noʊ. ˈvɛri fju dɪˈvɛləpərz du ðət, aɪ doʊnt ˈiðər. ˈvæləˌdeɪtɪŋ woʊnt meɪk jʊr ˈfulˌpruf, bət ɪt wɪl gɪv ju səm rɪˈpɔrtɪŋ ɔn ðə ɛnd rɪˈzəlt. ðæts faɪn fər pleɪn, ənd ˈʧɛkɪŋ ðə koʊd æt ðə steɪʤ wɪn ðə ˈjuzər siz ɪt, bət wət əˈbaʊt wɪn jʊr ˈraɪtɪŋ templates*? ɪf ju hæv ə gʊd ˈstrætəʤi fər ˈvæləˌdeɪtɪŋ jʊr ˈtɛmplət faɪlz, aɪd ləv tɪ hir ɪt! haʊ əˈbaʊt ə ˈʤɑvəˌskrɪpt ˈrɛndərd ˈsɪŋgəl peɪʤ æp? wət əˈbaʊt ɪkˈstərnəl dɪˈpɛndənsiz ðət kʊd ˈproʊdus ˌənɪkˈspɛktɪd ˈmɑrˌkəp? ˌvæləˈdeɪʃən ɛz ə pɑrt əv jʊr bɪld ˈsɪstəm kʊd wərk ðoʊ. ðɛr ər ˈsɪnˌtæks highlighters*,, ənd ɔl ðət. ˈsɪnˌtæks ˈhaɪˌlaɪtɪŋ ənd tɛkst ˈɛdɪtərz hæv sərvd ˈjuˈɛs fər ə lɔŋ taɪm, bət wi nid tulz ðət ˈbɛtər ˌəndərˈstænd haʊ wɪr ˈθɪŋkɪŋ. ˈlɪntərz, sˈnɪpəts, ˌɛtˈsɛtərə. ər ɔl pɑrt əv ðɪs, ənd ðɛr greɪt, bət ə lɔt əv ˈkoʊdɪŋ ɪz stɪl ˈmænəʤɪŋ tɛkst ənd ˈsɪnˌtæks. ɪz pɑrst tɪ tri ˈstrəkʧər ɪn ðə ˈbraʊzər, nɑt ə bənʧ əv tɛkst. wɪθ koʊd ɔn ðə tɔp, ɪf ju meɪk ˈtaɪpoʊ, jʊr skrud. ɔn ðə ˈbɑtəm, wɪθ, ju kən ˈɛdət tægz, əˈtrɪˌbjuts ənd ˌwəˈtɛvər, ju kən taɪp ˈɛniˌθɪŋ ənd ðə ˈstrəkʧər stɪl meɪks sɛns. ər ˈɔsəm, bət kænt ˈrɪli bi juzd fər kriˈeɪtɪŋ ənd ˈɛdɪtɪŋ faɪlz. ɪn, ju ˈɛdət ðə ˈækʧəwəl θɪŋ, nɑt ə dɪˈskrɪpʃən əv ðə θɪŋ. ɔl ˈfəni ˈsɪnˌtæks ˈkɛrɪktərz ər ɪˈskeɪpt ˌɔtəˈmætɪkli soʊ ju kænt mɛs əp ˈsɪnˌtæks baɪ ˈtaɪpɪŋ. kʊd wi meɪk ˈtaɪpoʊ beɪst ˈɛrərz goʊ əˈweɪ? kʊd wi prɪˈvɛnt ɔl ˈsɪnˌtæks mɪˈsteɪks? praɪər ɑrt rɪˈmɛmbər frənt peɪʤ 98 (ðæts haʊ aɪ ˈstɑrtɪd ˈlərnɪŋ) kən bi greɪt fər dɪˈzaɪn, bət ju kænt ˈjuʒəwəli koʊd stəf wɪθ ɪt, bət ðæts ən ˈɑrtɪkəl fər əˈnəðər deɪ du ˈɛni əv ðoʊz lʊk fəˈmɪljər? ˈɛmɪt ɪz ə tɛkst ˈɛdɪtər fər ˈɛdɪtɪŋ. ʤeɪd (ˈrisəntli riˈneɪmd tɪ pəg), ənd slɪm ər fʊl ˈʃɔrˌthænd ˈlæŋgwɪʤɪz ðət kəmˈpaɪl tɪ. hɪrz slɪm: lʊks nis! lɛs ˈsɪnˌtæks minz lɛs ˈɛrərz, raɪt? aɪ əˈspɛʃəli laɪk slɪm bɪˈkəz ɪt ʤɪst lʊks ˈprɪti ənd fəˈmɪljər. rɪˈdusɪŋ ˈsɪnˌtæks laɪk ðɪs kən bi ˈtɛmptɪŋ, bət ðə koʊd gɪts lɛs ɪkˈsplɪsət ənd mɔr ˈfræʤəl. jʊr koʊd bɪˈkəmz mɔr ɔn ˈprɑpər ənd ju ˈæˌkʧuəli hæv lɛs rum fər mɪˈsteɪks. ˈlæŋgwɪʤɪz du hæv ðə ædˈvæntɪʤ ðət ðeɪ wɪl rɪˈpɔrt ˈɛrərz. ɪf ju fərˈgɛt ə kwoʊt, ðə ˈpɑrsər wɪl jɛl æt ju ənd ʃoʊ wɛr ɪt θɪŋks ðə ˈɛrər ɪz. ðiz ˈʃɔrˌthænd ˈtɛmplət ˈlæŋgwɪʤɪz ər ˈprɪti greɪt, bət ðɛr ˈjuʒəwəli taɪd tɪ ə ˈsərtən ˈproʊˌgræmɪŋ ˈlæŋgwɪʤ ər ˈivɪn ə ˈfreɪmˌwərk. aɪ swɪʧ bɪtˈwin ˈlæŋgwɪʤɪz ənd ˈfreɪmˌwərks ɔl ðə taɪm. aɪ wɔnt ə ˈneɪtɪv ˈɛdɪtər wɪθ ˈʃɔrˌthænd ˈlæŋgwɪʤ ˌsupərˈpaʊərz ðət ˈdəzənt kɛr ɪf ðɛrz səm ˈrændəm koʊd mɪkst ɪn wɪθ ðə. prəˈpoʊzəl hɪrz ə ˈspɛktrəm əv səˈluʃənz tɪ hɛlp wɪθ kriˈeɪtɪŋ. kʊd ðɛr bi ˈsəmθɪŋ ˌənɪkˈsplɔrd ɪn ðə ˈmɪdəl? soʊ fɑr aɪ ˈhævənt faʊnd məʧ fər wɛb dɪˈzaɪn ðət wʊd kˈwɑləˌfaɪ fər ðə ˈsɛnər ˈkɑləm. aɪv sin səm ˈprɑməsɪŋ stɑrts, bət ðeɪv ˈɔlˌweɪz bɪn kwaɪt ə bɪt tɪ ðə saɪd əv ðə græf, soʊ aɪ ˈstɑrtɪd ˈmeɪkɪŋ maɪ oʊn. hir ər səm haɪ ˈlɛvəl ˈprɪnsəpəlz ðət aɪd laɪk tɪ hæv ɪn ən (ər) ˈɛdɪtər. haɪd ˈɛniˌθɪŋ ðæts ˌɪˈrɛləvənt tɪ ˈjumənz lɛt ˈjumənz ˈoʊnli ˈɛdət ðə pɑrts ðeɪ kɛr əˈbaʊt lɛt ˈjumənz ˌɪgˈnɔr ˈraɪtɪŋ ˈsɪnˌtæks praɪˈɔrəˌtaɪz ðə moʊst ˈkɑmən ˈækʃənz ðiz kʊd əˈplaɪ tɪ ˈɛni kaɪnd əv ˈɛdɪtɪŋ ˈrɪli. ðɛr ər ˈprɑbəˌbli lɑts əv ˈəðər gʊd ˈprɪnsəpəlz, lɛt mi noʊ ɪf ju hæv aɪˈdiəz! lɛts goʊ θru ðiz wən baɪ wən wɪθ ðə ˈproʊtoʊˌtaɪp aɪ bɪlt. haɪd ˈɛniˌθɪŋ ðæts ˌɪˈrɛləvənt tɪ ˈjumənz ˌɪˈmæʤən ɪt wərks laɪk ðə kroʊm, soʊ ðə ʃoʊn ɪz ə tri, nɑt tɛkst. lɛts haɪd ðə ɛnd tægz. lɛts riˈmuv ˈæŋgəl ˈbrækɪts. lʊks laɪk ðət slɪm ɪgˈzæmpəl! lɛts ˈsɪmpləˌfaɪ ˈivɪn mɔr. ðət wʊd ˈprɑbəˌbli bi ˈprɪti ˈfræʤəl ɪf ɪt wɑz tɛkst ˈoʊnli ˈsɪnˌtæks. lɛt ˈjumənz ˈoʊnli ˈɛdət ðə pɑrts ðeɪ kɛr əˈbaʊt ju ˈɛdət wən ˈsɛpərˌeɪt θɪŋ æt ə taɪm. ju kænt təʧ ðə ɪn bɪtˈwin ðə əˈtrɪˌbjut neɪm ənd ˈvælju. ɪf ju dɪˈlit ðət ˈaɪˈdi əˈtrɪˌbjut neɪm ðɛr, ðə ˈvælju ʃʊd gɪt dɪˈlitəd tu, ər ɪf ju dɪˈlit ðə ˈbɑdi tæg neɪm, ðə hoʊl roʊ gɪts dɪˈlitəd. lɛt ˈjumənz ˌɪgˈnɔr ˈraɪtɪŋ ˈsɪnˌtæks ju ʃʊd bi ˈeɪbəl tɪ raɪt ˈɛni kræp ju wɔnt ənd ˈɛvriˌθɪŋ ʃʊd ʤɪst wərk. ˈɛvriˌθɪŋ ʃʊd bi ˌɔtəˈmætɪkli ɪˈskeɪpt. praɪˈɔrəˌtaɪz ðə moʊst ˈkɑmən ˈækʃənz hɪrz haʊ aɪ θɪŋk ðə moʊst ˈkɑmən ˈɛdɪtɪŋ ˈækʃənz kʊd wərk. jʊr ˈprɛfərəns fər ˈʃɔrtˌkəts ənd haʊ ˈkɑmən ju θɪŋk ðiz ˈækʃənz ər wɪl ˈprɑbəˌbli ˈdɪfər frəm maɪn. lɛt mi noʊ wət ju θɪŋk ər ðə moʊst ˈkɑmən ˈækʃənz ənd haʊ ju θɪŋk ðeɪ ʃʊd wərk. taɪp ˈlɛtərz tɪ meɪk ˈɛləmənts. prɛs speɪs tɪ æd ən əˈtrɪˌbjut. prɛs (hæʃ) ər (dɑt) tɪ æd ənd ˈklæsɪz, ðɪs ʃʊd bi fəˈmɪljər frəm. taɪp tɪ æd pleɪn tɛkst. dræg drɔp tɪ muv stəf əraʊnd. səˈlɛkt ˈaɪtəmz əv ˈɪntəˌrɛst ˌɪnˈstɛd əv wən ˈkɛrɪktər æt ə taɪm, prɛs ˈɛnər tɪ ˈɛdət. fər səm ˈhɑrdˈkɔr ˈkoʊdɪŋ, ðɪs ˈmɑdəl wʊd ˈprɑbəˌbli riˈstrɪkt jʊr ˈaʊtˌpʊt ə bɪt. ˈsəmˌtaɪmz ðæts ə gʊd θɪŋ. ˈoʊpən kˈwɛsʧənz haʊ məʧ ˈfridəm ˈvərsəz. haʊ məʧ fɔrst kərˈɛktnəs? haʊ tɪ æd ɪf ˈspɛʃəl ˈkɛrɪktərz ər ˌɔtəˈmætɪkli ɪˈskeɪpt? ˈsəmˌtaɪmz nidz wɪθ, haʊ ʃʊd ðət wərk? lɛts meɪk ˈfulˌpruf ˈhæpən! aɪ ˈrɪli nid səm dɪˈvɛləpər hɛlp wɪθ ðɪs. aɪ kən du ə lɔt wɪθ ˈʤɑvəˌskrɪpt, bət kriˈeɪtɪŋ ə fʊl bloʊn ˈɛdɪtər ɪz kwaɪt ə bɪt əv wərk ənd nidz səm ˈkɑmpətɪnt æp architecting*! lɛts tɔk. vɪl vi. noʊts
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foolproof html
ville v. vanninen
ux designer at op lab
@sakamies
i've been thinking and prototyping a native html editor for a while⁺. (native as opposed to a text editor that's customized to work with html) this is a rough transcript of a presentation i gave on the subject. this presentation is about html, but these ideas could be useful for other markup languages, data formats and programming languages too.
what's the problem?
do you write code? have you ever encountered a syntax error? (of course you have)
what if you had to write a language where you can make mistakes, but there are no errors? where your parser just silently accepts anything you give it. where you'll have to carefully compare your intentions to the parsed output to figure out what went wrong.
do you write html?
what i just described was how browsers handle html. they will happily accept anything you give them and try their best to make sense of it. they could swap out element places, change attributes, or do whatever if there's a typo in your code.
do you use web developer tools?
all popular browsers have them these days. they're awesome! go ahead and open your devtools, let's try some stuff. in chrome they're under the view menu. go to view → developer → developer tools. open the elements tab and press esc to show the console at the same time.
what happens if you forget the closing quote of an attributes value? try this bit of code in the console.
document.body.innerhtml = '<div a="b><span></span></div>'
after parsing that, chrome thinks the result should be nothing! the body element is empty.
now let's try the same thing, only with the first quote missing.
document.body.innerhtml = '<div a=b"><span></span></div>'
okay, the result is a bit better, maybe. now chrome encodes the second quote as an entity because it thinks the attribute is written without quotes, so it includes the latter quote as a part of the attribute value.
what if you miss an angle bracket?
body.innerhtml = '<div something="else"<span>test</span></div>'
now we get an empty attribute that's named <span .
yep, the console agrees.
what happens if you have mismatched start/end tags? how do you figure out the html structure if you get unclear indentation, or worse, code with no whitespace at all? one typo or copy & paste could change the way your document is rendered, but the only way you'll get feedback is watching your app break.
html5 actually has well defined parsing rules that tell you how invalid markup should be handled, but browsers will happily accept anything you throw at them without telling you what they fixed or changed.
you could validate your html with validator.nu, that would give you a decent overview or any possible typo based errors. there are browser and text editor plugins for validating too! do you already validate your html? i expect the answer to be no. very few developers do that, i don't either. validating won't make your html foolproof, but it will give you some reporting on the end result.
that's fine for plain html, and checking the code at the stage when the user sees it, but what about when you're writing templates?
if you have a good strategy for validating your template files, i'd love to hear it! how about a javascript rendered single page app? what about external dependencies that could produce unexpected markup? validation as a part of your build system could work though.
there are syntax highlighters, linting plugins, autocomplete and all that. syntax highlighting and text editors have served us for a long time, but we need tools that better understand how we're thinking. linters, snippets, autocomplete etc. are all part of this, and they're great, but a lot of coding is still managing text and syntax.
html is parsed to tree structure in the browser, not a bunch of text. with code on the top, if you make typo, you're screwed. on the bottom, with devtools, you can edit tags, attributes and whatever, you can type anything and the structure still makes sense. devtools are awesome, but can't really be used for creating and editing files. in devtools, you edit the actual thing, not a description of the thing. all funny syntax characters are escaped automatically so you can't mess up syntax by typing.
could we make typo based errors go away?
could we prevent all syntax mistakes?
prior art
remember front page 98? (that's how i started learning html) wysiwyg can be great for design, but you can't usually code stuff with it, but that's an article for another day
do any of those look familiar?
emmet is a text editor plugin for html & css editing. jade (recently renamed to pug), haml and slim are full shorthand languages that compile to html. here's slim:
looks nice! less syntax means less errors, right? i especially like slim because it just looks pretty and familiar. reducing syntax like this can be tempting, but the code gets less explicit and more fragile. your code becomes more dependant on proper formatting and you actually have less room for mistakes. pre-processed languages do have the advantage that they will report errors. if you forget a quote, the parser will yell at you and show where it thinks the error is.
these shorthand template languages are pretty great, but they're usually tied to a certain programming language or even a framework. i switch between languages and frameworks all the time. i want a native html editor with shorthand language superpowers that doesn't care if there's some random code mixed in with the html.
proposal
here's a spectrum of solutions to help with creating html. could there be something unexplored in the middle?
so far i haven't found much for web design that would qualify for the center column. i've seen some promising starts, but they've always been quite a bit to the wysiwyg side of the graph, so i started making my own.
here are some high level principles that i'd like to have in an html (or css) editor.
hide anything that's irrelevant to humans let humans only edit the parts they care about let humans ignore writing syntax prioritize the most common actions
these could apply to any kind of editing really. there are probably lots of other good principles, let me know if you have ideas! let's go through these one by one with the prototype i built.
hide anything that's irrelevant to humans
imagine it works like the chrome devtools, so the html shown is a tree, not text.
let's hide the end tags.
let's remove angle brackets. looks suspiciosly like that slim example!
let's simplify even more.
that would probably be pretty fragile if it was text only syntax.
let humans only edit the parts they care about
you edit one separate thing at a time. you can't touch the colons in between the attribute name and value. if you delete that id attribute name there, the value should get deleted too, or if you delete the body tag name, the whole row gets deleted.
let humans ignore writing syntax
you should be able to write any crap you want and everything should just work. everything should be automatically escaped.
prioritize the most common actions
here's how i think the most common html editing actions could work. your preference for shortcuts and how common you think these actions are will probably differ from mine. let me know what you think are the most common actions and how you think they should work.
type lowercase letters to make elements. press space to add an attribute. press # (hash) or . (dot) to add id's and classes, this should be familiar from css. type uppercase to add plain text. drag & drop to move stuff around. select items of interest instead of one character at a time, press enter to edit.
for some hardcore coding, this model would probably restrict your output a bit. sometimes that's a good thing.
open questions
how much freedom vs. how much forced correctness?
how to add ruby/js/whatever if special characters are automatically escaped?
html sometimes needs formatting with whitespace, how should that work?
let's make foolproof html happen!
i really need some developer help with this. i can do a lot with javascript, but creating a full blown editor is quite a bit of work and needs some competent app architecting! let's talk.
ville v. vanninen / @sakamies
notes
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haʊ ““high-rise’s*" ˈɔrʤi sinz gɑt meɪd ɔn ə ˈbəʤɪt: əv thrones’*’ həz pəmpt ðə kɔst əv ˈnudɪti θru ðə roof”*” səˈlɑn tɔks tɪ stɑr tɑm dɪˈrɛktər bɛn ˈwitli əˈbaʊt ðə j.g*. ˈbælərd əˌpɑkəˈlɪptɪk əˈpil ““high-rise”*” ɪz dɪˈrɛktər bɛn ˈdɪziɪŋ, ˈsævɪʤ ˌædəpˈteɪʃən əv j.g*. ˈdæzəlɪŋ, ˈsævɪʤ ˈnɑvəl. ˈeɪmi ʤəmp, hu ɪz waɪf, pɛnd ðə ˈskrinˌpleɪ. ðə ˈstɔri kənˈsərnz ə ˌfɪziˈɑləʤɪst, ˈdɑktər. ˈrɑbərt lɑɪŋ (tɑm), hu muvz ˈɪntu ə ˈmɑdərn əˈpɑrtmənt wɪθ sˈwɪmɪŋ pulz, ˈsupərˌmɑrkɪts ənd ˈəðər ˈwɑʧɪz soʊˈsaɪɪti breɪk daʊn kəmˈplitli. ðə ɪz, əv kɔrs, ə ˈmɛtəfɔr fər klæs ˌɪnɪkˈwɑləti, wɪθ ˈrɪʧərd ˈwaɪldər (luk ˈɛvənz), ə ˌdɑkjəˈmɛnəri ˈfɪlˌmeɪkər ənd ˈlɪvɪŋ ɔn wən əv ðə loʊ flɔrz, ˈʧælənʤɪŋ ðə ˈstætəs kwoʊ əv ˈænθɔˌni rɔɪəl (ˈʤɛrəˌmi aɪərnz), ðə dɪˈzaɪnər, hu lɪvz ɪn ðə ˈpɛnˌthaʊs. lɑɪŋ, hu lɪvz ɔn ə ˈmɪdəl flɔr, ˈwɑʧɪz ðə ˌdɛvəˈluʃən ənd ˈsəbsəkwənt ˌrɛvəˈluʃən wɪθ ə kul ɪz, ənˈtɪl hɪz hænd ɪz fɔrst ənd hi məst ækt tɪ sərˈvaɪv. (rɛd ˈændru səˈlɑn ˌrivˈju.) ˈwitli dɪˈlɪvərz ðə gʊdz ɪn ““high-rise”*” wɪθ ril pəˈnɑʃ, ˈvɪvədli dɪˈpɪktɪŋ ðə ˈvaɪələns, ˈɔrʤiz ənd ˈəðər bæd bɪˈheɪvjər., ˈkərəntli ˈstɑrɪŋ ɪn ðə ˌɪmˈprɛsɪv ˌtɛləˈvɪʒən ˈmɪnɪˌsɛriz naɪt manager,”*,” ənd ˈwitli hæd ti wɪθ səˈlɑn ɪn ə nu jɔrk hoʊˈtɛl rum tɪ dɪˈskəs ðɛr fɪlm, ˈʃutɪŋ ˈɔrʤiz, ənd haʊ ðeɪ wʊd fɛr wɪθ ðə ɛnd əv ðə wərld. ˌædvərˈtaɪzmənt: tɑm, ɔn skrin, lɪvd ɪn ə kənˈvərtɪd bɑrn ɪn ˈtəskəni ɪn ““unrelated,”*,” ə ˈsteɪtli ˈmænʃən ɪn peak,”*,” ənd naʊ ɪn ə ˈmɑdərn əˈpɑrtmənt ˈkɑmplɛks ɪn ““high-rise.”*.” ɪf ə hoʊm ɪz hɪz ˈkæsəl, wɛr ər ju moʊst ˈkəmfərtəbəl?: aɪ laɪk maɪ haʊs ɪn ˈləndən, tɪ bi ˈɑnəst. aɪ wɔnt tɪ rɪˈvil tu məʧ, bət ən oʊld ˈstudiˌoʊ frəm ðə ˈsɛnʧəri. ðɛr hæv bɪn ɪkˈstɛnʃənz, bət ɪt ɪz, ɛˈsɛnʃəli, ə ˈbəŋgəˌloʊ. maɪ fit ər ɔn ðə graʊnd. gɑt ə ˈlɪtəl ˈaʊtˈsaɪd speɪs, ənd ɪt suts mi ʤɪst faɪn. wət əˈbaʊt ju, bɛn? ˈwitli: aɪ lɪv ɪn ə haʊs.: ə ˈləvli haʊs. ˈwitli: wi hæd ə ˈlɪtəl haʊs, ənd naʊ wi hæv ə ˈbɪgər haʊs. ɪf aɪ swɪŋ ə kæt əraʊnd, ɪt hɪt ðə wɔlz ər ðə flɔr ər ðə ˈwɪndoʊz. tɑm, əˈpɪrd ɪn ˈsɛvərəl ˈstɔriz, frəm ʤoʊˈænə fɪlmz ““unrelated”*” ənd ““archipelago”*” tɪ ““high-rise.”*.” wət əˈpilz tɪ ju əˈbaʊt ðiz kaɪnz əv ˈkɛrɪktərz? ˌædvərˈtaɪzmənt:: aɪ hoʊp aɪ bɪn ˈtaɪpˌkæst. ðə hɑg fɪlmz ər dɪˈpɪkʃənz əv ˈjumən laɪf ðət ʃi recognizes…*… ˈwitli: ðə ʤoʊˈænə hɑg roʊlz ər ˈvɛri ˈdɪfərənt frəm iʧ ˈəðər ənd ðə lɑɪŋ roʊl.: ðə wən θɪŋ ðət aɪ θɪŋk juˈnaɪts ðiz θri ˈkɛrɪktərz is…*… ˈwitli [ˌɪntərˈəptɪŋ]: haɪt! ənd ˈwitli bərst aʊt ˈlæfɪŋ].: ðeɪ ɔl lʊk laɪk me…*… ˈwitli: ənˈkæni! [ˈlæftər kənˈtɪnjuz] [ˈgɪtɪŋ ˈsɪriəs əˈgɛn]: ðeɪ sim laɪk wən θɪŋ ɔn ðə ˈsərfəs, ənd ðɛr ɪz ˈsəmθɪŋ ɛls goʊɪŋ ɔn bɪˈniθ ɪt. ˌædvərˈtaɪzmənt: ˈwitli: ˈdɛfənətli wət əˈtræktəd ˈeɪmi ənd mi tɪ wərk wɪθ tɑm. hi həz ə sɛns əv kənˈtroʊl ənd ðɛn hi həz ə sɛns əv ˈsəmθɪŋ ɛls ˈbəbəlɪŋ bɪˈloʊ ðə ˈsərfəs, traɪɪŋ tɪ ˈkæpʧər ðoʊz ˈɪˌmoʊʃənz. laɪk ðət ɛz loki*.: ˈprɑbəˌbli hu aɪ æm. aɪ noʊ ˈɛniˌwən hu laɪk ðət. maɪ, nɑt ə klin ɪkˈspɪriəns. wi ər ɔl soʊ ˈkɑmplɛks ənd ˌkɑntrəˈdɪktəri. wi traɪ tɪ pʊt ɑr bɛst fʊt ˈfɔrwərd ənd, kwaɪt ˈɔfən, bɪˈhaɪnd kloʊzd dɔrz ɪz ˈsəmθɪŋ məʧ mɔr keɪˈɑtɪk ənd ˈtərbjələnt ənd ˈvəlnərəbəl. ðət freɪz ðət ˈɛvriˌwən ju mit ɪz ˈfaɪtɪŋ ə ˈbætəl ju noʊ əˈbaʊt. ˈwitli: ə gʊd wən. ðət frəm? ˌædvərˈtaɪzmənt:: aɪ rɪˈmɛmbər. aɪ noʊ. frəm ˈsəmˌwɛr. bət tru! nɑt ʃʊr ˈwɛðər əˈbaʊt ðə saɪz əv ɑr soʊˈsaɪɪti naʊ. maɪ ˈsɪstər [ˈstədid] ˈsoʊʃəl ˌænθrəˈpɑləʤi æt ˈkɑlɪʤ ənd ʃi dɪd ə ˈpeɪpər əˈbaʊt ðɪs. wi stɪl ɪˈvɑlvd bɪɔnd ˈrɪli biɪŋ ˈeɪbəl tɪ əˈsoʊʃiˌeɪt wɪθ mɔr ðən əˈbaʊt 100 ˈpipəl. ɛz ˌɛvəˈluʃəˌnɛri biɪŋz, stɪl meɪd tɪ noʊ əˈbaʊt 100 ˈpipəl. ɛz ðə ˈnəmbərz gɪt ˈbɪgər, ðə mɔr ənd dɪˈtæʧt wi bɪˈkəm frəm ˈɛvriˌbɑdi ɛls. ɪn ˈɔrdər tɪ meɪk sɛns əv ðə wərld, ˌsaɪkəˈlɑʤɪkli, ˈiziər tɪ ˈpipəl ənd seɪ, ər that.”*.” ˈpipəl ər dɪˈfaɪnd baɪ ðɛr ʤɑb, ər ðɛr ˈfɪzɪkəl əˈpɪrəns, ər ðɛr zɪp koʊd. ənd ɪt ɪz ˈiziər ɔn ðə aɪ səˈpoʊz wət seɪɪŋ ɪz ðət ɪf ju ækˈnɑlɪʤ iʧ əv ðoʊz ˌɪndəˈvɪʤəwəl ˈfeɪsɪz ɪn ə kraʊd ɪz juˈnik, ðɛn iʧ ˈkɛrɪktər ɪz goʊɪŋ tɪ hæv ɪts juˈnik kəmˈplɛksɪti ənd ˈtərbjələns, ənd wət aɪ faɪnd ˈɪntəˌrɛstɪŋ əˈbaʊt biɪŋ ən ˈæktər. flɪps hɪz hænd ɪn ðə ɛr ɪn ə traɪˈəmfənt ˈʤɛsʧər. ˈwitli əˈpriʃiˌeɪts ɪt wɪθ ə ˈrɔkəs ʧɪr.] bɛn, haʊ du ju əˈproʊʧ ə ˈtrɪki tɛkst laɪk ðə ˈbælərd ˈnɑvəl ənd ˈkæpʧər ðə ˈspɪrɪt əv ɪt ɔn skrin? ˈwitli: wɛl, tɛl ju haʊ dən. ju gɪt ə ˈrɪli, ˈrɪli ˈbrɪljənt ˈpərsən tɪ raɪt ðə skrɪpt. ˈeɪmi ʤəmp dɪd ɪt. tɪ bi klɪr, aɪ hæd noʊ hænd ɪn ðə ˈraɪtɪŋ əv ðə skrɪpt. ðə cliché*é əv haʊ ə dɪˈrɛktər ˌɪnərˈækts wɪθ ə ˈskrinˌraɪtər, ˈstɔkɪŋ əraʊnd ðə rum ɪn ə sˈmoʊkɪŋ ˈʤækɪt, ˈrɪpɪŋ ˈpeɪʤɪz frəm ðə ˈnɑvəl, ənd ˈɪndəˌkeɪtɪŋ ðɪs nɑt laɪk ðət. ɑr riˈleɪʃənˌʃɪp ɪz kəmˈplitli ˈsɛpərˌeɪt. ʃi tʊk ðə bʊk əˈweɪ ənd keɪm bæk wɪθ ə ˈfʊli fɔrmd skrɪpt. ðət wɑz ɪt. ðət wɑz ðə skrɪpt ðət wi meɪd. ˌædvərˈtaɪzmənt: wət kən ju seɪ əˈbaʊt jʊr ˈvɪʒən fər ðə fɪlm? haʊ dɪd ju ˌɪˈmæʤən ɪt frəm ðə bʊk? ˈwitli: maɪ ʤɑb wɑz əˈdæptɪŋ ðə ˈskrinˌpleɪ. ðə skrɪpt ɪz ə ˈvɛri ˈklɛvər ˌædəpˈteɪʃən əv ðə bʊk, bət ðɛr ər ˈəðər θɪŋz goʊɪŋ ɔn ɪn ɪt. ˈtɔkɪŋ əˈbaʊt ˈeɪmiz ənd maɪ ˈʧaɪlˌdhʊd, ənd ɑr riˈleɪʃənˌʃɪp wɪθ ðət ˌʤɛnərˈeɪʃən. ɪt kəmz [təˈgɛðər] ɪn ˈbeɪbi stɛps. ðɛr ər ˈɛləmənts ðət ər ˈpræktɪkəl, laɪk ðə hoʊl aɪˈdiə ðət ðə ˈkɛrɪktərz ər ˈtɔkɪŋ frəm ˈbælkəni tɪ ˈbælkəni. ðət ˈdɪkˌteɪts ðə ʃeɪp əv ðə ˈbɪldɪŋ. ɪt tʊk mi ə waɪl tɪ wərk ɪt aʊt. aɪ steɪd ɪn ən əˈpɑrtmənt wɪθ ˈbælkəniz. wɪn ðɛr wɑz ə dɪˈskrɪpʃən ɪn ðə bʊk ðət ðə taʊər ɪz laɪk ə hænd ənd ðə pɑm ɪz ðə leɪk, aɪ θɔt: wət ɪt ɪz. wɪn ju si ðə bɛnd ɔn ðə ˈfɪŋgərz, wɛr wi ər goʊɪŋ tɪ pʊt ðiz tird ˈbælkəniz. aɪ hæd ə lɔt əv ˌkɑnvərˈseɪʃənz wɪθ mɑrk tildesley*, ðə pərˈdəkʃən dɪˈzaɪnər, hu keɪm əp wɪθ ə weɪ tɪ ˈjunəˌfaɪ ðə hoʊl speɪs. wi wər ˈwərid ðət ðə sˈwɪmɪŋ pul ənd ðə ˈsupərˌmɑrkɪt ənd ˈəðər ˈdɪspərɪt ˈpleɪsɪz wʊd fil laɪk ðeɪ wər ɪn ˈdɪfərənt loʊˈkeɪʃənz frəm ðə taʊər, ənd ðət wʊd θroʊ ðə ˈɔdiəns. mɑrk keɪm əp wɪθ ðə aɪˈdiə əv ðɪs moʊˈtif tɪ brɪŋ ˈɛvriˌθɪŋ təˈgɛðər wɪθ ə traɪˈæŋgjələr ˈpɪlər, ənd bɪlt ðət ˈɪntu ˈɛvəri sɛt. aɪ laɪkt ðət ɪt ˌɪmˈpɪnʤd ɔn ðə ˈjumənz. nɑt ə nis ʃeɪp. ju gɪt ðə ˈfilɪŋ əv hoʊl ˈbɪldɪŋ ɪz weɪd daʊn ɔn ˈɛvriˌbɑdi. ðət hɛlps. tɔk əˈbaʊt ðə ɛnd əv ðə world…*…: ə greɪt ˈsəbʤɪkt! ˌædvərˈtaɪzmənt: lɑɪŋ ɪz ˈɔrgəˌnaɪzd, prɑˈfɪʃənt, ˈdɪsəplənd. jɛt æt ðə stɑrt əv ““high-rise”*” hi ɪz sin biɪŋ bɑrˈbɛrɪk. hi əˈdæpts, ɛz ˈnɛsəˌsɛri, tɪ ðə bɪˈzɑr. wət ər jʊr sərˈvaɪvəl skɪlz, ənd haʊ wʊd ju fɛr wɪθ ðə ˈbreɪkˌdaʊn əv soʊˈsaɪɪti? ər ju mɔr ˈlaɪkli tɪ bi əˈsərtɪv (ɛz ˈwaɪldər ɪz) ər bi ˌɪnˈvɪzəbəl (ɛz lɑɪŋ traɪz tɪ bi)? ˈwitli: ˈhæpənɪŋ, ɪt? ɔˈrɛdi ɪn ɪt. aɪ ˈɔlˌweɪz ləv ðət ɪn maɪ riˈleɪʃənˌʃɪp wɪθ ˈeɪmi, ðə wən ˈrɛdi tɪ bi kɔld streɪt tɪ ɑrmz. wɛˈræz aɪ gɪt stənd ˈizəli ɪn ˈstrɛsfəl ˌsɪʧuˈeɪʃənz, soʊ aɪ wʊd bi kwaɪt ˈjusləs. jɛs, maɪ spaʊs sɪz ɪf ə ˈdərti bɔm wər tɪ goʊ ɔf, goʊ ˈaʊtˈsaɪd ənd ˌɪnˈheɪl ˈdipli. aɪ, ˌhaʊˈɛvər, wʊd traɪ tɪ steɪ əˈlaɪv, ˈivɪn ɪf ɪt kɪlz mi! ˈwitli: hæd ə ˈsɪmələr θɪŋ. aɪ ˈɔlˌweɪz θɪŋk ɪn ðə ˈmoʊmənt, bɪˈkəm ðə mæn. ənd kəm ðə ˈmoʊmənt, ðə mæn tərn əp. maɪ ˈɪnər kaʊərd wʊd ˈmænəˌfɛst ˌɪtˈsɛlf. ˌædvərˈtaɪzmənt: tɑm, haʊ du ju θɪŋk ju wʊd ju riækt?: aɪ θɪŋk spɛnt maɪ hoʊl ˈæktɪŋ kərɪr ˈænsərɪŋ ðət kˈwɛʃən. ðə truθ ɪz, aɪ noʊ. haʊ kʊd aɪ noʊ? ˈwitli: ˈvɛri gʊd æt ˈrənɪŋ, though…*… ju kʊd ˈprɑbəˌbli riˈmuv ˈjɔrsɛlf frəm ˈɛni ˌsɪʧuˈeɪʃən ənd bi faɪv maɪəlz əˈweɪ ˌbiˈfɔr ɪt kɪkt ɔf.: θæŋks, teɪk ðət. ˌædvərˈtaɪzmənt: ˈsədənli, bɛn ˈnoʊtɪsɪz ˈsəmθɪŋ ənˈjuˌʒuəl goʊɪŋ ɔn ˈaʊtˈsaɪd. ðə ˈɪntərvˌju stɑps fər ə ˈmoʊmənt. wi ɔl lʊk aʊt ðə ˈwɪndoʊ wɛr ʤɛt pleɪnz ər ˈskaɪˌraɪtɪŋ. ["fækt ʧɛk ɑrˈminiə," ðə tɛkst ridz wɪn kəmˈplitɪd] [əˈstɑnɪʃt]: ˈnɛvər sin ˈɛniˌθɪŋ laɪk ðət ɪn maɪ laɪf! dɪz ðət ruˈtinli ˈhæpən ɪn nu jɔrk? ˈwitli: maɪ ɔn ɪz ðət?!... laɪk ə ˈbəbəl ʤɛt ˈprɪnər fər ðə skaɪ! [ˌɪnˈkrɛʤələs]: ˈgɛri, ɪz ðɪs ðə ɛnd əv ðə wərld? [ˈlæftər, ənd ðɛn ðə ˈɪntərvˌju ˈrɛzəˌmeɪz əˈgɛn ɪn ˈərnɪst] ˌædvərˈtaɪzmənt:: ˈdrɑmə ɪz wət ˈhæpənz tɪ ˈjumən biɪŋz ɪn ɪkˈstrim ˌsɪʧuˈeɪʃənz. ðət ɪz waɪ ˈfæsəˌneɪtɪd baɪ ɪt. waɪ ˈɛvriˌbɑdi flɑks tɪ fɪlmz əˈbaʊt ðə əˈpɑkəˌlɪps, waɪ ˈpipəl ləv ˈzɑmbi ˈmuviz. waɪ ˈpipəl ər muvd baɪ ˌsupərˈhiroʊ ˈmuviz. waɪ ˈɛvriˌwən siz revenant.”*.” ðeɪ ər ˈæskɪŋ: wət wʊd aɪ du ɪn ðət ˌsɪʧuˈeɪʃən? ənd ðə truθ ɪz ðət nən əv ˈjuˈɛs noʊ. wi wʊd laɪk tɪ bɪˈliv ðət wi wʊd meɪk ˈnoʊbəl, kərˈeɪʤəs dɪˈsɪʒənz, bət ju noʊ ənˈtɪl ɪt ˈhæpənz, aɪ səˈpoʊz, ðə ˈʧɔɪsɪz ju wʊd meɪk. wʊd aɪ bi ˈsəmˌwən hu ɪz ˈkrɪpəld baɪ fɪr? wʊd aɪ bi tu breɪv, tu sun, ənd ˈðɛrˌfɔr ˌdɪsədˈvænɪʤ ˌmaɪˈsɛlf? aɪ rɪˈmɛmbər ˈwɑʧɪŋ ““alive”*” ənd biɪŋ soʊ ˈɪntəˌrɛstɪd baɪ ðɪs tru ˈstɔri wɛr ˈsərtən ˈpipəl ˈimərʤd frəm ðə grup ənd wər ˈtəfər ðən ˈəðərz. ˈwitli: aɪ θɪŋk ðə ˈstɔri əv biɪŋ breɪv ɪz ə ˌfæbrɪˈkeɪʃən. ɔn ə ˈbeɪsɪs, ju gɪt ˈtɛstɪd əˈgɛn ənd əˈgɛn. wɪn ju rɛd əˈbaʊt ðə ˈsɛkənd wərld wɔr, ðiz gaɪz ər kənˈfrəntɪŋ stəf əˈgɛn ənd əˈgɛn ənd əˈgɛn, nɑt ʤɪst sərˈvaɪvɪŋ wən θɪŋ. bət wɪˈθɪn ðət bɪˈheɪvjər, ju kən hæv deɪz wɛr ˈtɛrəbli əˈfreɪd, ənd deɪz wɪn nɑt. aɪ θɪŋk ðət ɪz ˈprɑbəˌbli ˈkloʊzər tɪ ɪt. ju ˈɔlˌweɪz bɪˈheɪv ɪkˈstrimli wɛl, bət ˈsəmˌtaɪmz ju du.: wən əv ðə fərst pɑrts aɪ ˈɛvər pleɪd wɑz ɪn ə pleɪ kɔld end,”*,” əˈbaʊt ə ˈkəmpəˌni əv ˈɔfɪsərz ɪn ə trɛnʧ ɪn 1918 ənd ðeɪ ɔl dil wɪθ ðə ˈhɔrər əv ðə fərst wərld wɔr ɪn ə kəmˈplitli ˈdɪfərənt weɪ. ə ˈskulˌmæstər ðə ˈstɔri əv ɪn wonderland,”*,” bɪˈkəz ɪt meɪks ɪm fil ˈkəmfərtəbəl. ˈsəmˌbɑdi ɛls kəmˈpleɪnz əˈbaʊt ðə fud; ðə nɛkst traɪz tɪ ɔf sɪk wɪθ neuralgia*; ənd ðə ˈsoʊlʤər aɪ pleɪ, hu ɪz ˌɪnˈtɛnsli breɪv ɪn ˈbætəl bət ɪz ˈdipli, ˈdipli ˈdæmɪʤd, ənd gɪts hɪmˈsɛlf tɪ slip wɪθ ə ˈbɑtəl əv ˈwɪski ˈɛvəri naɪt. ənd aɪ rɪˈmɛmbər aɪ wɑz 18 jɪrz oʊld wɪn aɪ pleɪd ðɪs pɑrt, ənd aɪ hæd noʊ freɪm əv ˈrɛfərəns tɪ drɔ ɔn. aɪ wɑz ðə raɪt eɪʤ, ənd hæd aɪ bɪn ðɛr 100 jɪrz əˈgoʊ, aɪ ˈwəndər wɪʧ gaɪ aɪ wʊd bi? lɑɪŋ simz ˈsəmˈwət əˈfreɪd əv ˈhævɪŋ ən ˈiˌmoʊʃənəl kəˈnɛkʃən. kən ju dɪˈskəs ðət ˈæˌspɛkt əv hɪz ˈkɛrɪktər? ˌædvərˈtaɪzmənt:: ðə ˈɪntəˌrɛstɪŋ ˈʧælənʤ tɪ mi, pərˈzɛnəd baɪ ðə bʊk. ˈbælərd dɪˈlɪbərətli ʧoʊz prəˈfɛʃən ɛz ə ˌfɪziˈɑləʤɪst. ˈsəmˌwən hu ɪz əˈblaɪʤd tɪ bi dɪˈtæʧt tɪ ˌdikənˈstrəkt ðə əv ˈjumən ˈɛnʤəˈnɪrɪŋ, wɪʧ kips ɪm æt lɛŋθ frəm bɪˈheɪvjər dɪsˈfəŋkʃən. ˈeɪbəl tɪ ˌdaɪəgˈnoʊs ˈjumən bɪˈheɪvjər əˈkɔrdɪŋ tɪ ˈkɛmɪkəlz ənd ˈhɔrˌmoʊnz, ənd ˈɔrgən dɪsˈfəŋkʃən, bət ðə fækt ɪz, ə mæn feɪst wɪθ ə ˈkraɪsəs, ənd æt wət pɔɪnt dɪz hi kəˈmɪt wən weɪ ər əˈnəðər? haʊ dɪz hi fil əˈbaʊt ɪt? aɪ θɪŋk ðət dɪˈtæʧmənt ɪz wət meɪks ɪt ˈɪntəˌrɛstɪŋ. aɪ θɪŋk hi kəmz feɪs tɪ feɪs wɪθ səm truθ əˈbaʊt hɪmˈsɛlf ðət hi ˈnɛvər ækˈnɑlɪʤd, ənd hæd ˈnɛvər bɪn əˈwɛr əv, ɪn ðə ˌdɛvəˈluʃən əv ðə. lɑɪŋ həz muvd ˈɪntu ðə tɪ gɪt əˈweɪ frəm ðə ɪnˈtæŋgəlmənts əv ril laɪf. hi wɔnts ðə ˌænəˈnɪmɪti əv ə klin, greɪ, ˈklɪnɪkəl speɪs. lɑɪŋ əˈtɛndz ˈvɛriəs ˈpɑrtiz ɪn ðə: ˈkɑstum ˈpɑrtiz, ˈpɑrtiz, ˈsoʊʃəl ˈgɛtəˈgɛðərz ənd ˈivɪn ˈɔrʤiz. haʊ dɪd ju fɪlm ðə ˈɔrʤiz, bɛn? ˈwitli: ˈrɪli təf ˈfɪlmɪŋ ˈɔrʤiz, faʊnd. ˈeɪmi wɑz ˈlæfɪŋ, bɪˈkəz ɪn ðə skrɪpt, ðət ˈpɑrti goʊɪŋ tɪ bi ɛz ˈrɔkəs ɛz ɪt wɑz. aɪ brɔt ðət əˈpɑn ˌmaɪˈsɛlf. aɪ sɛnt ðə pərˈdəkʃən tim aʊt tɪ goʊ gɪt mi ə loʊd əv ˈneɪkəd ˈpipəl, ənd ˈvɛri hɑrd tɪ gɪt ðɛm ɪn ˈnɔrðərn ˈaɪərlənd bɪˈkəz əv thrones”*” həz pəmpt ðə kɔst əv ˈnudɪti θru ðə rʊf. soʊ naʊ, noʊ wən wɪl bi ˈneɪkəd ɪn ˈnɔrðərn ˈaɪərlənd fər ˈəndər ˈvɛri ɪkˈspɛnsɪv. soʊ wi hæd tɪ ˈfɪgjər aʊt haʊ tɪ du ɪt. wɪn aɪ dɪd list”*” ɪn ˈɪŋglənd, ˈoʊnli mɔr tɪ bi ˈneɪkəd fər ən ˈɛkstrə. bət ɪn ˈaɪərlənd, ɪt wɑz streɪt əp. soʊ aɪ hæd ðɪs ˈklɛvər aɪˈdiə tɪ ˈkɑnˌtækt ˈloʊkəl sˈwɪŋərz grups, bɪˈkəz aɪ nu ðeɪ wʊd bi ʤɪst ðə kaɪnd əv people…*…: aɪ ˈprɛzənt ðət deɪ. ˈwitli: soʊ ðiz gaɪz ənd gælz tərnd əp ənd ðeɪ ləvd ɪt. ðeɪ ləvd biɪŋ ˈneɪkəd. ənd si ðɛm aʊt əv ðə ˈkɔrnər əv jʊr aɪ, ənd ðə ˈtrɪkiəst wən wɑz ðɪs gaɪ hu hæd ðə moʊst ɪˈnɔrmɪs ˈpinɪs ˈɛvər sin. ɪt wɑz daʊn tɪ hɪz ni. aɪ θɪŋk, ɛz ə mæn, ə θɪŋ frəm ðə ˌsɛrənˈgɛti wɪn ju si ə ˈpinɪs ðət bɪg. ju kən ˈɔlˌweɪz si ɪt. ˈivɪn wɪn ju hæv tɪ θɪŋk əˈbaʊt ˈsəmθɪŋ ənd ər ˈfoʊkɪsɪŋ ɔn səm ˈmɪdəl ˈdɪstəns, ju ˈriəˌlaɪz, ˈstɛrɪŋ raɪt æt ðɪs cock!”*!” [tɑm stɑrts ˈklæpɪŋ ɪn hɪˈlɛrəti] ɪt wɑz ʤɪst juʤ. ənd hi wɑz soʊ praʊd əv ɪt. ðə bɛst θɪŋ ðət ˈhæpənd tɪ ɪm. aɪ mɛt ɪm ˈərliər ɪn ðə deɪ, ənd hi wɑz ə ˈvɛri ˈkɑnfədənt mæn, bət ˈlɪtəl dɪd aɪ noʊ waɪ. bət aɪ dɪd faɪnd aʊt. soʊ haʊ ju fɪlm ˈɔrʤiz.
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how “high-rise’s" orgyenes got made on a budget: “‘game of thrones’ has pumped the per-person cost of nudity through the roof” salon talks to star tom hiddleston & director ben wheatley about the j.g. ballard adaptation's apocalyptic appeal
“high-rise” is director ben wheatley’s dizzying, savage adaptation of j.g. ballard’s dazzling, savage novel. amy jump, who is wheatley’s wife, penned thereenplay. the story concerns a physiologist, dr. robert laing (tom hiddleston), who moves into a modern apartment complex—complete with swimming pools, supermarkets and other amenities—and watches society break down completely. the high-rise is, of course, a metaphor for class inequality, with richard wilder (luke evans), a documentary filmmaker and shit-stirrer living on one of the low floors, challenging the status quo of anthony royal (jeremy irons), the building’s designer, who lives in the penthouse. laing, who lives on a middle floor, watches the devolution and subsequent revolution with a cool detachment--that is, until his hand is forced and he must act to survive. (read andrew o'hehir's salon review.)
wheatley delivers the goods in “high-rise” with real panache, vividly depicting the violence, orgies and other bad behavior. hiddleston, currently starring in the impressive tv miniseries “the night manager,” and wheatley had tea with salon in a new york hotel room to discuss their film, shooting orgies, and how they would fare with the end of the world.
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tom, onreen, you’ve lived in a converted barn in tuscany in “unrelated,” a stately mansion in “crimson peak,” and now in a modern apartment complex in “high-rise.” if a man’s home is his castle, where are you most comfortable?
hiddleston: i like my house in london, to be honest. i don’t want to reveal too much, but an old artist’s studio from the mid-19th century. there have been extensions, but it is, essentially, a bungalow. my feet are on the ground. i’ve got a little outside space, and it suits me just fine.
what about you, ben?
wheatley: i live in a house.
hiddleston: a lovely house.
wheatley: we had a little house, and now we have a bigger house. if i swing a cat around, it doesn’t hit the walls or the floor or the windows.
tom, you’ve appeared in several class-based stories, from joanna hogg’s films “unrelated” and “archipelago” to “high-rise.” what appeals to you about these kinds of characters?
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hiddleston: i hope i haven’t been typecast. the hogg films are depictions of human life that she recognizes…
wheatley: the joanna hogg roles are very different from each other and the laing role.
hiddleston: the one thing that i think unites these three characters is…
wheatley [interrupting]: height! [hiddleston and wheatley burst out laughing].
hiddleston: they all look like me…
wheatley: uncanny! [laughter continues]
hiddleston [getting serious again]: they seem like one thing on the surface, and there is something else going on beneath it.
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wheatley: that’s definitely what attracted amy and me to work with tom. he has a sense of control and then he has a sense of something else bubbling below the surface, trying to capture those emotions. he’s like that as loki.
hiddleston: that’s probably who i am. i don’t know anyone who isn’t like that. that’s my, perhaps—and not a clean reading—my experience. we are all so complex and contradictory. we try to put our best foot forward and, quite often, behind closed doors is something much more chaotic and turbulent and vulnerable. there’s that phrase that everyone you meet is fighting a battle you don’t know about.
wheatley: that’s a good one. where’s that from?
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hiddleston: i can’t remember. i don’t know. from somewhere. but true! i’m not sure whether about the size of our society now. my sister [studied] social anthropology at college and she did a paper about this. we still haven’t evolved beyond really being able to associate with more than about 100 people. as evolutionary beings, we’re still made to know about 100 people. as the numbers get bigger, the more dissociated and detached we become from everybody else. in order to make sense of the world, psychologically, easier to objectify people and say, “you are that.” people are defined by their job, or their physical appearance, or their zip code. and it is easier on the brain—and i suppose what i’m saying is that if you acknowledge each of those individual faces in a crowd is unique, then each character is going to have its unique complexity and turbulence, and that’s what i find interesting about being an actor. [hiddleston flips his hand in the air in a triumphant gesture. wheatley appreciates it with a raucous cheer.]
ben, how do you approach a tricky text like the ballard novel and capture the spirit of it onreen?
wheatley: well, i’ll tell you how done. you get a really, really brilliant person to write theript. amy jump did it. to be clear, i had no hand in the writing of theript. the cliché of how a director interacts with areenwriter, stalking around the room in a smoking jacket, ripping pages from the novel, and indicating “put this in!”--it’s not like that. our relationship is completely separate. she took the book away and came back with a fully formedript. that was it. that was theript that we made.
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what can you say about your vision for the film? how did you imagine it from the book?
wheatley: my job was adapting thereenplay. theript is a very clever adaptation of the book, but there are other things going on in it. talking about amy's and my 1970s childhood, and our relationship with that generation. it comes [together] in baby steps. there are elements that are practical, like the whole idea that the characters are talking from balcony to balcony. that dictates the shape of the building. it took me a while to work it out. i stayed in an apartment with balconies. when there was a description in the book that the tower is like a hand and the palm is the lake, i thought: that’s what it is. when you see the bend on the fingers, that’s where we are going to put these tiered balconies. i had a lot of conversations with mark tildesley, the production designer, who came up with a way to unify the whole space. we were worried that the swimming pool and the supermarket and other disparate places would feel like they were in different locations from the tower, and that would throw the audience. mark came up with the idea of this motif to bring everything together with a triangular pillar, and built that into every set. i liked that it impinged on the humans. not a nice shape. you get the feeling of weight—the whole building is weighed down on everybody. that helps.
let’s talk about the end of the world…
hiddleston: a great subject!
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laing is organized, proficient, disciplined. yet at the start of “high-rise” he is seen being barbaric. he adapts, as necessary, to the bizarre. what are your survival skills, and how would you fare with the breakdown of society? are you more likely to be assertive (as wilder is) or be invisible (as laing tries to be)?
wheatley: happening, isn’t it? we’re already in it. i always love that in my relationship with amy, she’s the one who’s ready to be called straight to arms. whereas i get stunned easily in stressful situations, so i would be quite useless.
yes, my spouse says if a dirty bomb were to go off, he’d go outside and inhale deeply. i, however, would try to stay alive, even if it kills me!
wheatley: i’ve had a similar thing. i always think in the moment, i’d become the man. and come the moment, the man doesn’t turn up. my inner coward would manifest itself.
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tom, how do you think you would you react?
hiddleston: i think i’ve spent my whole acting career answering that question. the truth is, i don’t know. how could i know?
wheatley: you’re very good at running, though… you could probably remove yourself from any situation and be five miles away before it kicked off.
hiddleston: thanks, i’ll take that.
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suddenly, ben notices something unusual going on outside. the interview stops for a moment. we all look out the window where jet planes are skywriting. ["fact check armenia," the text reads when completed]
hiddleston [astonished]: i’ve never seen anything like that in my life! does that routinely happen in new york?
wheatley: my brain’s on fire…what is that?!... like a bubble jet printer for the sky!
hiddleston [incredulous]: gary, is this the end of the world? [laughter, and then the interview resumes again in earnest]
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hiddleston: drama is what happens to human beings in extreme situations. that is why we’re fascinated by it. that’s why everybody flocks to films about the apocalypse, that’s why people love zombie movies. that’s why people are moved by superhero movies. that’s why everyone sees “the revenant.” they are asking: what would i do in that situation? and the truth is that none of us know. we would like to believe that we would make noble, courageous decisions, but you don’t know until it happens, i suppose, the choices you would make. would i be someone who is crippled by fear? would i be too brave, too soon, and therefore disadvantage myself? i remember watching “alive” and being so interested by this true story where certain people emerged from the group and were tougher than others.
wheatley: i think the story of being brave is a fabrication. on a moment-by-moment basis, you get tested again and again. when you read about the second world war, these guys are confronting stuff again and again and again, not just surviving one thing. but within that behavior, you can have days where you’re terribly afraid, and days when you’re not. i think that is probably closer to it. you don’t always behave extremely well, but sometimes you do.
hiddleston: one of the first parts i ever played was in a play called “journey’s end,” about a company of officers in a trench in 1918, and they all deal with the horror of the first world war in a completely different way. ahoolmaster retells the story of “alice in wonderland,” because it makes him feel comfortable. somebody else complains about the food; the next tries to skive off sick with neuralgia; and the soldier i play, who is intensely brave in battle but is deeply, deeply damaged, and gets himself to sleep with a bottle of whisky every night. and i remember i was 18 years old when i played this part, and i had no frame of reference to draw on. i was the right age, and had i been there 100 years ago, i wonder which guy i would be?
laing seems somewhat afraid of having an emotional connection. can you discuss that aspect of his character?
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hiddleston: that’s the interesting challenge to me, presented by the book. ballard deliberately chose laing’s profession as a physiologist. he’s someone who is obliged to be detached to deconstruct the biomechanics of human engineering, which keeps him at arm’s length from behavior dysfunction. he’s able to diagnose human behavior according to chemicals and hormones, and organ dysfunction, but the fact is, he’s a man faced with a crisis, and at what point does he commit one way or another? how does he feel about it? i think that detachment is what makes it interesting. i think he comes face to face with some truth about himself that he never acknowledged, and had never been aware of, in the devolution of the high-rise. laing has moved into the high-rise to get away from the entanglements of real life. he wants the anonymity of a clean, grey, clinical space.
laing attends various parties in the high-rise: costume parties, children’s parties, social get-togethers and even orgies. how did you film the orgies, ben?
wheatley: really tough filming orgies, i’ve found. amy was laughing, because in theript, that party wasn’t going to be as raucous as it was. i brought that upon myself. i sent the production team out to go get me a load of naked people, and very hard to get them in northern ireland because “game of thrones” has pumped the per-person cost of nudity through the roof. so now, no one will be naked in northern ireland for under £1,000. very expensive. so we had to figure out how to do it. when i did “kill list” in england, only £30 more to be naked for an extra. but in ireland, it was £1,000 straight up. so i had this clever idea to contact local swingers groups, because i knew they would be just the kind of people…
hiddleston: i wasn’t present that day.
wheatley: so these guys and gals turned up and they loved it. they loved being naked. and you’d see them out of the corner of your eye, and the trickiest one was this guy who had the most enormous penis i’ve ever seen. it was down to his knee. i think, as a man, a fight-or-flight thing from the serengeti when you see a penis that big. you can always see it. even when you have to think about something and are focusing on some middle distance, you realize, “i’m staring right at this guy’s cock!” [tom starts clapping in hilarity] it was just huge. and he was so proud of it. the best thing that happened to him. i met him earlier in the day, and he was a very confident man, but little did i know why. but i did find out. so that’s how you film orgies.
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bæk ɪn ðə ˈsəmər əv 2014 ɪn brəˈzɪl æt ðə wərld kəp, ˈkɔstɑ ˈrikə ənˈliʃt ə ˈvɪʃəs, ɔn ðə ˈtʊrnəmənt ənd roʊd ɪt ɔl ðə weɪ tɪ ðə quarterfinals*. ðeɪ wər əˈhɛd əv ðə ˈtæktɪkəl kərv, ənd bɪˈkəz əv ɪt ðeɪ ˈprɑbəˌbli ðɛr ˈbeɪsˌlaɪn ˈtælənt. æt ðət pɔɪnt, ʤɪst θri jɪrz əˈgoʊ, fju timz ˈaʊtˈsaɪd əv ə ər ˈɛvər juzd bæk ər bæk ɪn ˈminɪŋfəl geɪmz, ənd ˈnoʊˌwɛr wɑz ðət mɔr tru ðən ɪn. ðɛr wər 19 timz ɪn ðət ˈsizən, ənd 19 timz pleɪd ə bæk fɔr. əv ðoʊz, 16 pleɪd ə bət ˈɑbviəsli, ˈpipəl ˈnoʊtɪst ˈkɔstɑ ˈrikəz səkˈsɛs, ənd ðeɪ sɔ səm əv ðə fən θɪŋz ænˈtoʊnioʊ ˈkɔnteɪ hæd dən wɪθ juventus*, ənd haʊ pɛp gɑrdiˈoʊlə hæd fərst ˌbɑrsɪˈloʊnə ənd ðɛn mˈjunɪk ˈflɪpɪŋ frəm ə tɪ ə ənd ðeɪ rɪˈmɛmbərd ðə greɪt ˈʤərmən ənd timz əv ðə ənd 1990s*, ənd brəˈzɪl ɪn 2002 ənd fərst ˈrɪli sˈloʊli, ənd ðɛn ˈprɪti kˈwɪkli, bæk ənd bæk krɛpt bæk ˈɪntu ðə wərldz geɪm. ənd ðæts bɪˈkəm ɛz tru hir ɛz ˈɛniˌwɛr ɛls. tərˈɑntoʊ ˈrɪli ˈstɑrtɪd ðə rəʃ læst ˈsizən, wɪθ ðɛr ənd ˈoʊvər ðə læst ˈkəpəl əv mənθs wiv sin kəˈləmbəs sæn ˌhoʊˈzeɪ ˌməntriˈɔl nu jɔrk ənd ˈivɪn ˌkɑlərˈɑdoʊ (aɪ ðət wɑz ə fər ðə læst 25 ˈmɪnəts əv ðɛr geɪm ðɪs ˈwiˌkɪnd) ʤəmp ˈɪntu ðə freɪ. ɪts meɪd geɪmz, ɛz ə hoʊl, lʊk ˈdɪfərənt ðən ðeɪ juzd tɪ, ənd ʤɪst ðɪs ˈwiˌkɪnd aɪ ˈkaʊntɪd naɪn ˈdɪfərənt fɔrˈmeɪʃənz əˈkrɔs 11 geɪmz. bɛr ɪn maɪnd ðət fɔrˈmeɪʃənz ˈɑrənt ˈtæktɪks ju kən pleɪ ˈbjutəfəl, ˈsɑkər ɪn ə ɪf juv gɑt ðə raɪt gaɪz fər ɪt, ənd ju kən pleɪ ˈəgli ɛz sɪn ɪn ə ɪf ðæts wət jʊr ˈeɪmɪŋ fər. pleɪərz meɪk ðə geɪm, nɑt ˈnəmbərz. bət fɔrˈmeɪʃənz du gɪv ju ə ˈbeɪsˌlaɪn, ˈbɛˌdrɑk ˌəndərˈstændɪŋ frəm wɪʧ tɪ bɪld, ənd ðeɪ ˈmætər kwaɪt ə bɪt. ər ˈʤɛnərəli juzd tɪ ˈnutrəˌlaɪz ˈwɪŋərz, ˈfɔrwərdz ˈfloʊtɪŋ ɔf ðə ˈfrənˌtlaɪn ˈɪntu ðə tɪ bɪˈkəm ˈkɑnˌfaʊnd timz wɪθ loʊn d-mids*, ˈtərgət ˈfɔrwərdz kən rɛk ˈhævək ɔn ə ˈsɛntrəl dɪˈfɛnsɪv ˈpɛrɪŋ ˈrəðər ðən ə traɪˈəmvərət, ənd soʊ ɔn ənd soʊ fɔrθ. wɪr siɪŋ mɔr əv ðiz ˈtæktɪkəl əˈproʊʧɪz ənd əˈʤəstmənts ɔn ə ˈwikli ˈbeɪsɪs ɪn, naʊ. ɪts meɪd fər ˈbɛtər, mɔr nuɑnst ənd mɔr fən ˈsɑkər frəm maɪ pɔɪnt əv vju. ðət wɑz əˈpɛrənt ɔn ə waɪld ˈwɛnzˌdeɪ naɪt əv ˈækʃən, riˈkæpt ə ˈlɪtəl bɪt hir, ənd ˈdʊrɪŋ ðə ˈwiˌkɛndz fʊl sleɪt ɛz wɛl. lɛts daɪv ɪn: rɪˈdɛmʃən sɔŋ ɪts tu ˈərli tɪ kɔl kəˈləmbəsɪz swɪʧ ə ˈreɪʤɪŋ səkˈsɛs, bət kru hæv naʊ pleɪd ðət ɪn tu streɪt geɪmz, ənd wən tu streɪt geɪmz baɪ scorelines*. ˈniðər wɑz əˈgɛnst wən əv ðə mɔr ˈmɑnstrəs timz ɪn ðə lig ˌfɪləˈdɛlfiə, hum kəˈləmbəs bit ɔn ˈsæˌtɪˌdeɪ, wər ˈmɪsɪŋ ðɛr ɪnˈtaɪər ˈfrənˌtlaɪn ənd ə ˈgoʊlˌkipər huz bɪn ˈhævɪŋ ə ˈprɪti gʊd mənθ bət ə "ˈziroʊ" əv ˈɛni sɔrt ɪz gʊd fər ə kru dɪˈfɛns ðæts ˈstrəgəld ɔl ˈsizən lɔŋ. grɛg həz tɪ bi ˈhæpi wɪθ ðət ənd meɪ, æt səm pɔɪnt, ˈæˌkʧuəli smaɪl. ðɪs ˈnɛtˌwərk ˈpæsɪŋ græf, meɪd ˈjuzɪŋ ˈdætə, gɪvz ˈjuˈɛs ən aɪˈdiə əv ðɛr ʃeɪp: iʧ ˈnəmbər ˌrɛprɪˈzɛnts ðə loʊˈkeɪʃən əv ðə ˌkɔrəˈspɑndɪŋ pleɪərz ˈægrəgət təʧ, waɪl ðə ˈθɪknəs əv ðə laɪnz kəˈnɛktɪŋ ðɛm ˌrɛprɪˈzɛnts ðə ˈvɑljum əv ˈpæsɪz ɪksˈʧeɪnʤd. ɪts nɑt ˈpərfəktli ˌrɛprɪˈzɛnətɪv ˈʤəstɪn meram*, noʊ. 9 wɑz ˈæˌkʧuəli wən əv ðə tu ˈrəðər ðən ə ˈsɛnər ˈfɔrwərd bət ɪt dɪz ˈprɛzənt ə ˈprɪti gʊd aɪˈdiə əv haʊ θɪŋz lʊks. ðə ˈbɪgəst strɛŋθ əv ðɪs fɔrˈmeɪʃən soʊ fɑr fər kəˈləmbəs ɪz ðət ɪt əˈlaʊz boʊθ, ˈhɛrɪsən (noʊ. 25 ənd (noʊ. 2 tɪ gɪt ˈfɔrwərd æt wɪl, bət stɪl hæv θri ˈsɛnər bæks rɑk ˈstɛdi ɪn dɪˈfɛns. ɪn ðət sɛns ɪt ɪz ə mɔr kənˈsərvətɪv fɔrˈmeɪʃən. ɪn ˈsɛntrəl, ˌhaʊˈɛvər, ɪt ɪz ə mɔr ˈdɛrɪŋ fɔrˈmeɪʃən. wɪl træp (noʊ. 20 ɪz lɛft tɪ du hɪz dɪˈfɛnsɪv wərk ɔn ən ˈaɪlənd, ənd jɛs ðɪs ˈdɛfənətli dɪz fil laɪk ə bɪg tɛst fər ðə kləbz ˈkæptən. træp həz ˈstrəgəld dɪˈfɛnsɪvli ðɪs jɪr ɛz timz hæv bɪn ˈeɪbəl tɪ ˌɛkˈsplɔɪt hɪz læk əv ənd peɪs. ˈpʊtɪŋ ɪm ɪn ðɪs ˌsɪʧuˈeɪʃən minz ðət hi wɪl hæv θri gaɪz bɪˈhaɪnd ɪm ɪf ðət ˈhæpənz, bət ɪt ˈɔlsoʊ minz hiz gɑt tɪ bi ˈeɪbəl tɪ wɪn ðə fərst bɔl mɔr ˈɔfən ənd mɔr dɪˈfɪnɪtɪvli. θru 180 ˈmɪnəts ɪts ˈmoʊstli wərkt. bət ɛz wɪθ ˈɛvəri ˈəðər fɔrˈmeɪʃən, rɪˈmɛmbər ðət ɪts ðə pleɪərz ðət meɪk ɪt wərk. ˈsərtənli ˈdɪfərənt ðən haʊ bɪn ˈəndər grɛg fər ðə læst θri jɪrz, soʊ ˈteɪkən ə ˈlɪtəl taɪm tɪ əˈʤəst to,”*,” træp toʊld ɑr oʊn ˈændru kɪŋ ˈæftər ðə geɪm.. ðə ˈsɛnər bæks hæv dən ə ˈrɪli gʊd ʤɑb, ənd ˈɛvriˌwən ɛls ɪz sˈloʊli ˈfaɪndɪŋ ə weɪ tɪ meɪk ɪt wərk. ɪt ˈdɛfənətli ʃɔrz əp θɪŋz ɪn ðə back.”*.” ðoʊz ˈsɛnər bæks, lɛd baɪ ˈrʊkiz ˈæləks ənd ˈlɑləs ənd ˈboʊlstərd baɪ ə ˈvɛri gʊd geɪm fər ˈʤɑnəθən ˈmɛnsə ɔn ˈsæˌtɪˌdeɪ, ˈrɪli ər ðə gaɪz huv meɪd ðɪs θɪŋ hoʊld taɪt. ðɛr moʊˈbɪlɪti, ənd əˈbɪləˌti tɪ pɑp ɔf ðə laɪn, stɛp ˈɪntu ənd meɪk ə pleɪ, minz ðət træp ˈhæzənt bɪn ˈstrændɪd ənd ˌoʊvərˈwɛlmd, ənd ðət timz ˈhævənt bɪn ˈeɪbəl tɪ bɪld θru ðə moʊst ˈdeɪnʤərəs pɑrts əv ðə pɪʧ. ˈkɑmbaɪn ɪt wɪθ ðɛr əˈbɪləˌti tɪ gɪt bæk ənd træk rənz θru ðə laɪnz (nɑt ðət ˈiðər ˌmɪnɪˈsoʊtə ər ˈfɪli meɪd ˈmɛni əv ðoʊz, tɪ bi ˈɑnəst), ənd ðæts haʊ ju poʊst shutouts*. ɪts nɑt ə tən tɪ goʊ ɔn, bət ðoʊz sɪks pɔɪnts wər ˈdɛspərətli ˈnidɪd kəˈləmbəs ər ʤɪst tu pɔɪnts əˈhɛd əv ɔˈrlænˌdoʊ ˈsɪti fər ðə ˈfaɪnəl spɑt ɪn ðə ˈistərn ˈkɑnfərəns pleɪɔf reɪs. ənd ɪt tərnz aʊt ðeɪ meɪ hæv hɪt əˈpɑn ˈsəmθɪŋ ðət kips ðɛm ðɛr. ˈpɑzətɪv vaɪˈbreɪʃən noʊ tim həz ˈdræftɪd mɔr ˈoʊvər ðə jɪrz ðən ðə ˈpɔrtlənd ˈtɪmbərz. ðɛr ˈvɛri fərst pɪk, ˈdɑrlɪŋtən nagbe*, wɑz ə ˈreɪʤɪŋ səkˈsɛs. sɪns ðɛn, ðə moʊst səkˈsɛsfəl pɪk ðeɪv hæd wɑz ˈmeɪbi ʤɔrʤ fochive*? ər ˌtuˈθərdz əv ə gʊd ˈsizən frəm ˈændru ˌʒɑnbəpˈtɪst? ðə ˈtɪmbərz ˈænjuəli pʊt əp ˈziroʊz ɪn ðə dræft. franchise-wide*, ðə ˈfilɪŋ ɪz ðət ðɛr ər ˈəðər, ˈbɛtər ˈpleɪsɪz tɪ faɪnd ˈænsərz, ənd ðæts əˈpɛrənt ɪn ðə ˌkɑntrəˈbjuʃənz ðeɪv ˈgɔtən frəm ðɛr pɪks ˈoʊvər ðə jɪrz. sɪns ˌʒɑnbəpˈtɪst (ə tɔp 10 pɪk ɪn 2012 ðeɪv nɑt səˈlɛktɪd wən gaɪ huz skɔrd ən goʊl. ðə væst məˈʤɔrəti ˈhævənt ˈivɪn pleɪd ən ˈmɪnət. ðəs ɪt wɑz səm blɛnd əv ˈaɪrəni, poʊˈɛtɪk ˈʤəstɪs ənd rɑ, ənˈvɑrnɪʃt koʊˈɪnsɪdəns ðət ˈpɔrtləndz ˈsizən wɑz pərˈhæps seɪvd ɔn ˈsənˌdi baɪ ðɛr tɔp 2017 pɪk, ˈfɔrwərd ˈʤɛrəˌmi. ðə ˈtɪmbərz ˈɛnərd ðə geɪm ˈhævɪŋ wən ʤɪst twaɪs ɪn ðɛr læst 13 ˈmæʧɪz, ənd wɪθ ə ˈrɑstər dɪˈplitɪd baɪ ˈɪnʤəri, ˌɪnərˈnæʃənɑl ənd ɪn ðə keɪs əv ˈstɑrtɪŋ ˈsɛnər ˈfɔrwərd səˈspɛnʃən. tʊk hɪz ʧæns. hi hæd ə goʊl ənd ən əˈsɪst ɪn ˈpɔrtləndz wɪn æt vænˈkuvər, ə əv ə rɪˈzəlt fər ə 'kæps tim ˈʃʊrli ˈkɪkɪŋ ðɛmˈsɛlvz fər ðɪs ˌɑpərˈtunəti mɪst. wɑz ˈwəndərfəl ɪn hɪz 78 ˈmɪnəts, ðə klɪr mæn əv ðə mæʧ. hir, hæv ə teɪst: ðət gɪvz ə ˈprɪti gʊd aɪˈdiə əv hɪz ˈvɪʒən. hi ˈɔlsoʊ gɑt ə goʊl, dɪd səm gʊd wərk, ənd moʊst ˌɪmˈpɔrtəntli wɑz ˈeɪbəl tɪ pʊʃ ðə vænˈkuvər ˈdipər baɪ ˈmeɪkɪŋ hɑrd rənz dɪˈrɛkli ˈɪntu ðə ə gæp bɪtˈwin ðə ˈsɛntrəl dɪˈfɛndərz., hu ɪz ə greɪt mæn ənd ə rɪˈlaɪəbəl ˈtərgət ɪn ðə 18 ˈdəzənt du məʧ əv ðət. hi ʧɛks tɪ ðə bɔl, wɪʧ ˈɔfən ˈkɑmprɛsəz ðə speɪs ɪn wɪʧ gaɪz laɪk səˈbæsʧən ˈblæŋkoʊ ənd diˈeɪgoʊ vɑˈlɛri wərk. ðə ˈpɔrtlənd əˈtæk ʃʊd bi ə ˈbjutəfəl dæns, bət tu ˈɔfən ɪts ə slɑg wɪθ ɔl ðə pɑrts ˈmuvɪŋ ˌɪnˈstɛd əv ɪn ˈjunɪsən. ˈɑbviəsli ˈɪtəd bi ˈfulɪʃ tɪ kɔl ə ˈseɪvjər. ɪts ʤɪst 78 ˈvɛri gʊd ˈmɪnəts æt ðɪs pɔɪnt, ənd waɪl hɪz rənz wər ˈdeɪnʤərəs ɪn ðə fərst hæf hi wɑz ə ˈlɪtəl tu ɪn ðə ˈsɛkənd. aɪ ˈwɔntɪd tɪ si ɪm kriˈeɪt ˈivɪn mɔr ˈdeɪnʤər ɔf ðə bɔl. bət wət hi brɔt tɪ ðə ˈtɪmbərz wɑz ə bɪt əv ˈdeɪˌlaɪt ənd ə lɔt əv frɛʃ ɛr. ɪt minz ðeɪ kən lʊk æt ðə ˈstændɪŋz, si ðɛr ɪn fɔrθ pleɪs ənd fər naʊ æt list ɛksˈheɪl. ə fju mɔr θɪŋz tɪ ˈpɑndər... 10 waɪl ˈəðər timz hæv faʊnd ə ˈmɛʒər əv dɪˈfɛnsɪv stəˈbɪlɪti ˈkərtəsi əv ðɛr bæk 5 əˈlaɪnmənts, ðə kweɪks hæd ə ˈmɪzərəbəl wik. ðeɪ lɔst æt nu jɔrk ɔn ˈwɛnzˌdeɪ, ðɛn æt siˈætəl ɔn ˈsənˌdi naɪt. ˈvɪktər ənd ˈɑndreɪz ˌɪmpəriˈɑli boʊθ hæd ə hip əv ˈtrəbəl ˈkəvərɪŋ ðə rikˈwaɪərd əˈmaʊnt əv graʊnd tɪ du ðə ʤɑb. krɪs liʧ, huz tim həz bɪn ənd əˈtækɪŋ, maɪt hæv tɪ meɪk ə kənˈsɛʃən tɪ ðə ˌriˈæləˌtiz əv hɪz ˈrɑstər ənd hæv hɪz pleɪ ˈdipər. ðə ʃʊd ˈprɑbəˌbli bɪˈkəm ə 9, ənd wərənt ðə ˈoʊnli ˈrʊkiz tɪ hæv ə nis ˈwiˌkɪnd, ɛz ˈʤɑnəθən luɪs pɪkt əp ən əˈsɪst ənd wɑz ˈmoʊstli ˈvɛri gʊd ɪn nu jɔrk ˈsɪti short-handed*, wɪn ˈoʊvər ˈvɪzɪtɪŋ ʃəˈkɑˌgoʊ. ju kən si hi noʊz wɛr tɪ faɪnd ðə geɪm ənd ˈɪzənt əˈfreɪd tɪ hɪt ðə læst pæs, bət hɪz rənz ˈɑrənt kwaɪt raɪt: 8 ˈfɑloʊɪŋ ˈsætərdiz wɪn ˈoʊvər ˌmɪnɪˈsoʊtə, hæv naʊ wən θri streɪt roʊd geɪmz, hæv ə ˈbɛtər ˈrɛkərd æt ðɪs pɔɪnt ðən læst jɪrz tim (wɪʧ wən ðə ist), ər ˈɪntu ðə ˌsɛmɪˈfaɪnəlz əv ðə ˈjuˈɛs ˈoʊpən kəp fər ðə fərst taɪm sɪns 2003 ənd ər wɪθ ə 8 goʊl ˌdɪfərˈɛnʃəl əˈkrɔs ɔl ˌkɑmpəˈtɪʃənz sɪns mid-april*. ðeɪ doʊnt pæs ðə aɪ tɛst kwaɪt ɛz kənˈvɪnsɪŋli ɛz læst jɪrz tim dɪd æt ðɪs pɔɪnt, bət ˈʤɛsi mɑrʃ həz ˈklɪrli ˈfɪgjərd aʊt ə gʊd ʧəŋk əv wət hi ˈnidɪd tɪ. 7 ˈhjustən ˈfaɪnəli gɑt ðɛr fərst roʊd wɪn əv ðə jɪr, goʊɪŋ tɪ ənd ˈteɪkɪŋ ə rɪˈzəlt əˈweɪ frəm d.c*. juˈnaɪtɪd. ˈæləks, hu hæd fɔr əˈsɪsts ɪn hɪz kərɪr ˈɛnərɪŋ ðɪs ˈsizən, hæd θri ɪn ðə geɪm ənd naʊ həz 10 ɔn ðə jɪr. 6 nu ˈɪŋglənd ˈkɑnʤərd ə "kip hoʊp wɪn ˈoʊvər ˈvɪzɪtɪŋ lɑ ɔn ˈsæˌtɪˌdeɪ æt ˈfɑksbəroʊ. ðə rɛvz ər eɪt pɔɪnts ɔf ðə ˈfaɪnəl pleɪɔf spɑt ɪn ðə ist ənd kænt stɑp ˈɛnibədi dɪˈfɛnsɪvli, soʊ ðɛl ˈprɑbəˌbli hæv tɪ kip ˈpʊtɪŋ mɔr ɔn ðə bɔrd. 5 æˈtlæntə ˈbædli mɪst ˈʤoʊsəf mɑrˈtinɛz ɪn ə ˈmoʊstli ˈstægnənt trɪp tɪ ɔˈrlænˌdoʊ ˈsɪti, bət gɑt ə viˈlɑlbə tɪ bit ðə ˈrilɪŋ ˈpərpəl laɪənz ɔn ˈfraɪˌdeɪ naɪt. ɪts ðə fərst taɪm ɔl ˈsizən hæv bɪn bɪˈloʊ ðə pleɪɔf laɪn, ənd ɪt həz tɪ bi gət ˈrɛnʧɪŋ fər ðɛm tɪ fil laɪk ðeɪ ˈweɪstɪd wən əv moʊst ˌɛnərˈʤɛtɪk dɪˈspleɪz əv ðə ˈsizən. 4 ɪt wɑz ə rən frəm səˈbæsʧən ðət hɛlpt ˈoʊpən ðə ˈskɔrɪŋ ɪn tərˈɑntoʊ ˈəltəmətli ˌdɪsəˈpɔɪnɪŋ drɔ əˈgɛnst ˈvɪzɪtɪŋ ˌkɑlərˈɑdoʊ ɔn ˈsæˌtɪˌdeɪ: ðə rɛdz wər shorthanded*, ənd ðɛr rɪˈmeɪnɪŋ ˈskɛʤʊl minz ðɛr stɪl ˈprɑbəˌbli ðə səˈpɔrtərz' ʃild ˈfeɪvərɪts. bət ɪf ðeɪ mɪs aʊt ɔn ðət ˌpɑˈtɪkjələr praɪz baɪ ə pɔɪnt ər tu, ðeɪ wɪl lʊk bæk æt ðɪs geɪm ənd noʊ ðət ðɪs ɪz wɛr ˈsɪlvərˌwɛr wɑz lɔst. 3 maɪk stoʊl ðə ˈhɛˌdlaɪnz wɪθ hɪz ˌpoʊstˈgeɪm prɛs ˈkɑnfərəns ˈfɑloʊɪŋ drɔ əˈgɛnst ˈvɪzɪtɪŋ ˈspɔrtɪŋ ɔn ˈsæˌtɪˌdeɪ, bət əm ˈfilɪŋ ðə nid tɪ gɪv səm tɪ ˈhoʊmˈgroʊn lɛft bæk əˈkɔstə. twaɪs ðɪs wik ðə kənˈvərtɪd stroʊd ˈfɔrwərd ɔf ðə, ˈɪntu hɪz oʊld pəˈzɪʃən, ənd hɪt ə through-ball*: ˈhævɪŋ ə ˈfʊlˌbæk stɛp əp ənd du ðət ˈʧeɪnʤɪz ðə weɪ timz kən dɪˈfɛnd əˈgɛnst ju, ənd ðət meɪks ðɪs ɑr pæs əv ðə wik. hɛl əv ə ˈfɪnɪʃ frəm luis ˈsɪlvə, tu. 2 ˈfɑloʊɪŋ ˈsætərdiz wɪn æt ˌməntriˈɔl, ˈdæləs hæv naʊ wən θri streɪt, ər əˈtɑp ðə ˈwɛstərn ˈkɑnfərəns, ənd ər əp tɪ θərd ɪn ðə lig ɪn pɔɪnts pər geɪm. ðeɪ dɪd ɪt ðɪs taɪm wɪˈθaʊt mæt ˈhɛʤɪz, əˈkɔstə ər ˈmɔroʊ diɑz, bət ðeɪ dɪd hæv bɛst ʃi ˈkænədɪt ˈmæksi ənd ɔl təˈgɛðər naʊ ˈkoʊlmən! ðə ˌpɛrəgˈwaɪən ˈfaɪnəli broʊk hɪz dək, ˈtæpɪŋ ɪn æt ðə bæk poʊst ˈæftər ən aʊˈtreɪʤəs krɔs ənd ðɛn ˈrənɪŋ ˈɔntu ənd kənˈtroʊlɪŋ ə ˌbiˈfɔr ˈhərdəlɪŋ ˌməntriˈɔl 'ˈkipər ˈɛvən bʊʃ ənd ˈfaɪərrɪŋ hoʊm. ˈmuvmənt wɑz ˈɛksələnt, ɛz ɪt ˈɔlˌweɪz ɪz, ənd hi ˈfaɪnəli faʊnd ˈʧænsɪz hi ˈkʊdənt ər ʃut dɪˈrɛkli ˈɪntu ðə 'ˈkipər. ˈsəmˌtaɪmz ðæts ɪgˈzæktli wət ə ˈstraɪkər nidz ɪn ˈɔrdər tɪ gɪt goʊɪŋ ənd faɪnd ðɛr fɔrm, ənd ɪf ðæts ðə keɪs hir ɪf ˈkoʊlmən ɪz goʊɪŋ tɪ stɑrt biɪŋ ˈdeɪnʤərəs, ənd ɪz goʊɪŋ tɪ kip pleɪɪŋ laɪk ðɪs, ənd diɑz, əˈkɔstə ənd ˈhɛʤɪz ər ɔl goʊɪŋ tɪ bi bæk ɪn ə ˈmɪnət ˈdæləs ər goʊɪŋ tɪ bi bɪg, bæd ənd ˈskɛri fər ðə rɛst əv ðə ˈsizən. 1 ənd ˈfaɪnəli, ɑr feɪs əv ðə wik:
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back in the summer of 2014, in brazil at the world cup, costa rica unleashed a vicious, lane-clogging 5-4-1 on the tournament and rode it all the way to the quarterfinals. they were ahead of the tactical curve, and because of it they probably overperformed their baseline talent.
at that point, just three years ago, few teams outside of serie a or liga mx ever used back 3s or back 5s in meaningful games, and nowhere was that more true than in mls. there were 19 teams in mls that season, and 19 teams played a back four. of those, 16 played a 4-2-3-1.
but obviously, people noticed costa rica's success, and they saw some of the fun things antonio conte had done with juventus, and how pep guardiola had first barcelona and then bayern munich flipping from a 4-3-3 to a 3-4-3. and they remembered the great german and argentinean teams of the 1980s and 1990s, and brazil in 2002. and first really slowly, and then pretty quickly, back 3s and back 5s crept back into the world's game.
and that's become as true here as anywhere else. toronto fc really started the rush last season, with their 3-5-2, and over the last couple of months we've seen columbus (3-4-2-1), san jose (3-5-2), montreal (5-4-1), new york (3-3-3-1) and even colorado (i thiiiiiink that was a 3-4-3 for the last 25 minutes of their game this weekend) jump into the fray.
it's made mls games, as a whole, look different than they used to, and just this weekend i counted nine different formations across 11 games. bear in mind that formations aren't tactics – you can play beautiful, possession-based soccer in a 4-4-2 if you've got the right guys for it, and you can play ugly as sin in a 3-4-2-1 if that's what you're aiming for. players make the game, not numbers.
but formations do give you a baseline, bedrock positional understanding from which to build, and they matter quite a bit. wingbacks are generally used to neutralize wingers, forwards floating off the frontline into the half-spaces to become playmakers confound teams with lone d-mids, target forwards can wreck havoc on a central defensive pairing rather than a triumvirate, and so on and so forth.
we're seeing more of these tactical approaches and adjustments on a weekly basis in mls, now. it's made for better, more nuanced and more fun soccer from my point of view.
that was apparent on a wild wednesday night of action, recapped a little bit here, and during the weekend's full slate as well. let's dive in:
redemption song
it's too early to call columbus's switch a raging success, but crew sc have now played that 3-4-2-1 in two straight games, and won two straight games by 1-0 scorelines. neither was against one of the more monstrous teams in the league – philadelphia, whom columbus beat on saturday, were missing their entire frontline and a goalkeeper who's been having a pretty good month – but a "zero" of any sort is good for a crew sc defense that's struggled all season long. gregg berhalter has to be happy with that and may, at some point, actually smile.
this network passing graph, made using opta data, gives us an idea of their shape:
each number represents the location of the corresponding player's aggregate touch, while the thickness of the lines connecting them represents the volume of passes exchanged. it's not perfectly representative – justin meram, no. 9, was actually one of the two playmakers rather than a center forward – but it does present a pretty good idea of how things looks.
the biggest strength of this formation so far for columbus is that it allows both wingbacks, harrison afful (no. 25) and jukka raitala (no. 2) to get forward at will, but still have three center backs rock steady in defense. in that sense it is a more conservative formation.
in central midfield, however, it is a more daring formation. wil trapp (no. 20) is left to do his defensive work on an island, and yes this definitely does feel like a big test for the club's captain. trapp has struggled defensively this year as teams have been able to exploit his lack of physicality and pace. putting him in this situation means that he will have three guys behind him if that happens, but it also means he's got to be able to win the first ball more often and more definitively.
through 180 minutes it's mostly worked. but as with every other formation, remember that it's the players that make it work.
“it’s certainly different than how we’ve been under gregg for the last three years, so taken a little time to adjust to,” trapp told our own andrew king after the game.. “but the center backs have done a really good job, and everyone else is slowly finding a way to make it work. it definitely shores up things in the back.”
those center backs, led by rookies alex crognale and lalas abubakar and bolstered by a very good game for oft-maligned dp jonathan mensah on saturday, really are the guys who've made this thing hold tight. their mobility, and ability to pop off the line, step into midfield and make a play, means that trapp hasn't been stranded and overwhelmed, and that teams haven't been able to build through the most dangerous parts of the pitch. combine it with their ability to get back and track runs through the lines (not that either minnesota or philly made many of those, to be honest), and that's how you post back-to-back shutouts.
it's not a ton to go on, but those six points were desperately needed – columbus are just two points ahead of orlando city for the final spot in the eastern conference playoff race.
and it turns out they may have hit upon something that keeps them there.
positive vibration
no team has drafted more indifferently over the years than the portland timbers. their very first mls superdraft pick, darlington nagbe, was a raging success. since then, the most successful pick they've had was maybe george fochive? or two-thirds of a good season from andrew jean-baptiste?
the timbers annually put up zeroes in the draft. franchise-wide, the feeling is that there are other, better places to find answers, and that's apparent in the boxscore contributions they've gotten from their picks over the years. since jean-baptiste (a top 10 pick in 2012), they've not selected one guy who's scored an mls goal. the vast majority haven't even played an mls minute.
thus it was some blend of irony, poetic justice and raw, unvarnished coincidence that portland's season was perhaps saved on sunday by their top 2017 superdraft pick, forward jeremy ebobisse. the timbers entered the game having won just twice in their last 13 matches, and with a roster depleted by injury, international call-up and – in the case of starting center forward fanendo adi – suspension.
ebobisse took his chance. he had a goal and an assist in portland's 2-1 win at vancouver, a gut-punch of a result for a 'caps team surely kicking themselves for this opportunity missed.
ebobisse was wonderful in his 78 minutes, the clear man of the match. here, have a taste:
that gives a pretty good idea of his vision. he also got a poacher's goal, did some good hold-up work, and most importantly was able to push the vancouver backline deeper by making hard runs directly into the a gap between the central defenders.
adi, who is a great hold-up man and a reliable target in the 18, doesn't do much of that. he checks to the ball, which often compresses the space in which guys like sebastian blanco and diego valeri work. the portland attack should be a beautiful dance, but too often it's a slog with all the parts moving reactively instead of in unison.
obviously it'd be foolish to call ebobisse a savior. it's just 78 very good minutes at this point, and while his runs were dangerous in the first half he was a little too flat-footed in the second. i wanted to see him create even more danger off the ball.
but what he brought to the timbers was a bit of daylight and a lot of fresh air. it means they can look at the standings, see they're in fourth place and – for now at least – exhale.
a few more things to ponder...
10. while other teams have found a measure of defensive stability courtesy of their back 3/back 5 alignments, the quakes had a miserable week. they lost 5-1 at new york on wednesday, then 3-0 at seattle on sunday night. victor bernardez and andres imperiale both had a heap of trouble covering the required amount of ground to do the job.
chris leitch, whose team has been hyper-aggressive and attacking, might have to make a concession to the realities of his roster and have his wingbacks play deeper. the 3-5-2 should probably become a 5-3-2.
9. ebobisse, crognale and abubakar weren't the only rookies to have a nice weekend, as jonathan lewis picked up an assist and was mostly very good in new york city fc's short-handed, 2-1 win over visiting chicago. you can see he knows where to find the game and isn't afraid to hit the last pass, but his runs aren't quite right:
8. following saturday's 3-0 win over minnesota, rbny have now won three straight road games, have a better record at this point than last year's team (which won the east), are into the semifinals of the us open cup for the first time since 2003, and are 10-5-2 with a +8 goal differential across all competitions since mid-april.
they don't pass the eye test quite as convincingly as last year's team did at this point, but jesse marsch has clearly figured out a good chunk of what he needed to.
7. houston finally got their first road win of the year, going to rfk and taking a 3-1 result away from d.c. united. alex, who had four assists in his mls career entering this season, had three in the game and now has 10 on the year.
6. new england conjured a "keep hope alive!"-style 4-3 win over visiting la on saturday at foxborough. the revs are eight points off the final playoff spot in the east and can't stop anybody defensively, so they'll probably have to keep putting more 4s on the board.
5. atlanta badly missed josef martinez in a mostly stagnant trip to orlando city, but got a héctor villalba golazo to beat the reeling purple lions 1-0 on friday night. it's the first time all season ocsc have been below the playoff line, and it has to be gut wrenching for them to feel like they wasted one of kaká's most energetic displays of the season.
4. it was a martinez-esque run from sebastian giovinco that helped open the scoring in toronto fc's ultimately disappointing 1-1 draw against visiting colorado on saturday:
the reds were shorthanded, and their remaining schedule means they're still probably the supporters' shield favorites. but if they miss out on that particular prize by a point or two, they will look back at this game and know that this is where silverware was lost.
3. mike petke stole the headlines with his awesome-to-the-max postgame press conference following rsl's 1-1 draw against visiting sporting kc on saturday, but i'm feeling the need to give some dap to 19-year-old homegrown left back danilo acosta. twice this week the converted midfielder strode forward off the backline, into his old position, and hit a game-changing through-ball:
having a fullback step up and do that changes the way teams can defend against you, and that makes this our pass of the week. hell of a finish from luis silva, too.
2. following saturday's 2-1 win at montreal, fc dallas have now won three straight, are atop the western conference, and are up to third in the league in points per game. they did it this time without matt hedges, kellyn acosta or mauro diaz, but they did have low-key best xi candidate maxi urruti and – all together now – cristian colman!
the paraguayan dp finally broke his duck, tapping in at the back post after an outrageous urruti cross and then running onto and controlling a long-ball before hurdling montreal 'keeper evan bush and firing home.
colman's movement was excellent, as it always is, and he finally found chances he couldn't flub or shoot directly into the 'keeper. sometimes that's exactly what a striker needs in order to get going and find their form, and if that's the case here – if colman is going to start being dangerous, and urruti is going to keep playing like this, and diaz, acosta and hedges are all going to be back in a minute – dallas are going to be big, bad and scary for the rest of the season.
1. and finally, our face of the week:
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it’s* bɪn 22 jɪrz sɪns ˈrɑʤər ˈwɔtərz læst riˈlist ə rɑk ˈrɛkərd (əmˈjuzd tɪ dɛθ ɪn 1992 bət əˈkɔrdɪŋ tɪ ə nu ˈɪntərvˌju wɪθ ˈroʊlɪŋ stoʊn hɑrd æt wərk ɔn hɪz nɛkst wən. [ˈfoʊˌtoʊ baɪ ʤoʊ ˈrusoʊ] ˈfɪnɪʃt ə ˈdɛmoʊ əv ɪt læst night,”*,” ˈwɔtərz toʊld ˈroʊlɪŋ ˈændi grin. 55 ˈmɪnəts lɔŋ. sɔŋz ənd ˈθieɪtər ɛz wɛl. aɪ wɔnt tɪ gɪv tu məʧ əˈweɪ, bət kaʊʧt ɛz ə ˈreɪdiˌoʊ pleɪ. ɪt həz ˈkɛrɪktərz hu spik tɪ iʧ ˈəðər, ənd ə kwɛst. əˈbaʊt ən oʊld mæn ənd ə jəŋ ʧaɪld traɪɪŋ tɪ ˈfɪgjər aʊt waɪ ðeɪ ər ˈkɪlɪŋ ðə children.”*.” wɪl ˈwɔtərz tʊr bɪˈhaɪnd ðə ˈkɑnsɛpt ˈælbəm? ˈsəfərɪŋ ə ˈlɪtəl bɪt əv wɪθˈdrɔəl ˈæftər ˈɛndɪŋ ðə wɔl tʊr. sɔrt əv ə rɪˈlif tɪ nɑt hæv tɪ goʊ aʊt ənd du ðət ˈɛvəri naɪt, bət səʧ ə greɪt tim. ðɛr wər 180 əv ˈjuˈɛs təˈgɛðər ˈɛvriˈdeɪ. ðət pis wɑz ˈvɛri ˈmuvɪŋ ˈɛvəri night.”*.” ˈwɔtərz ˈfɔrmər pɪŋk flɔɪd bænd meɪt ˈdeɪvɪd ʒɪlˈmʊr ɪz ˈɔlsoʊ ˈwərkɪŋ ɔn ə nu ˈælbəm. ləv tɪ si boʊθ mɛn pʊt aʊt ðɛr ˈælbəmz baɪ ðə ɛnd əv nɛkst jɪr, bət wi pʊt ˈməni ɔn ɪt.
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it’s been 22 years since roger waters last released a rock record (amused to death in 1992), but according to a new interview with rolling stone he’s hard at work on his next one.
[photo by joe russo]
“i finished a demo of it last night,” waters told rolling stone’s andy greene. “it’s 55 minutes long. songs and theater as well. i don’t want to give too much away, but couched as a radio play. it has characters who speak to each other, and a quest. about an old man and a young child trying to figure out why they are killing the children.”
will waters tour behind the concept album? “i’m suffering a little bit of withdrawal after ending the wall tour. sort of a relief to not have to go out and do that every night, but they’re such a great team. there were 180 of us together everyday. that piece was very moving every night.”
waters former pink floyd band mate david gilmour is also working on a new album. we’d love to see both men put out their long-awaited albums by the end of next year, but we wouldn’t put money on it.
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kubernetes* kənˈtɪnjuz ɪts ˌɛvəˈluʃən wɪθ ˈvərʒən əˈnaʊnst təˈdeɪ ɔn ðə blɔg. ðɪs riˈlis prəˈmoʊts ðə roʊlz beɪst ˈækˌsɛs kənˈtroʊl (rbac*) tɪ ˈʤɛnərəl əˌveɪləˈbɪlɪti, ənd ˌɪnˈkludz ə ˈsteɪbəl riˈlis əv ðə ˈlaɪtˈweɪt kənˈteɪnər fər,. jul ˈɔlsoʊ faɪnd ˌɪmˈpruvmənts tɪ ðə, ˈkləstər stəˈbɪlɪti, ˈsərvɪs ɔtəˈmeɪʃən, ənd mɔr. ɪf ju ər nɑt fəˈmɪljər wɪθ, ðə ˈprɑʤɛkt kriˈeɪts ə ˈsɪstəm fər ˈɔtəˌmeɪtɪŋ ðə dɪˈplɔɪmənt, ˈskeɪlɪŋ, ənd ˈmænɪʤmənt əv kənˈteɪnərˌaɪzd ˌæpləˈkeɪʃənz. rɛd hæt bɪldz ɔn tɪ ˈproʊdus ɪts kənˈteɪnər ˈplætˌfɔrm, rɛd hæt kənˈteɪnər ˈplætˌfɔrm. dɪˈlɪvərz əˈdɪʃənəl stəˈbɪlɪti, sɪˈkjʊrəti ˌɪmˈpruvmənts, ənd sɪmˈplɪsɪti tɪ ðə ˈəpˈstrim ˈprɑʤɛkt. rɛd hæt ɪz praʊd tɪ hæv wərkt ɔn ə ˈnəmbər əv ˈfiʧərz ɪn ðɪs ˈmaɪlˌstoʊn əˈlɔŋˈsaɪd ˈəðər kəmˈjunɪti ˈmɛmbərz. rɛd hæt məˈʃinəri, ɔθ,, bɪg ˈdætə, kəˈmænd laɪn ˈɪnərˌfeɪs (cli*), ˈnɛtˌwərk, noʊd, openstack*, ˈsərvɪs ˈkætəlɔg, ˈstɔrɪʤ, kənˈteɪnər aɪˈdɛntəˌti ˈwərkɪŋ grup, ənd ðə ˈrisɔrs ˈmænɪʤmənt ˈwərkɪŋ ˈprɪti hɑrd tɪ mɪs ˈjuˈɛs! spəˈsɪfɪkli fər rɛd hæt ˈɛnʤəˈnɪrɪŋ ˈfoʊkɪst ɔn ðə ˈfɑloʊɪŋ ˈɛriəz: ˈwərˌkloʊd dɪˈvərsɪti sɪˈkjʊrəti ˌɪmˈpruvmənts ˈkləstər stəˈbɪlɪti ˈsərvɪs ɔtəˈmeɪʃən ˈwərˌkloʊd dɪˈvərsɪti rɛd hæt lʊkt ˈɪntu tu ˈæˌspɛkts əv ˈwərˌkloʊd dɪˈvərsɪti ɪn ðɪs riˈlis. ðə fərst wɑz rɪˈleɪtɪd tɪ bæʧ ər tæsk beɪst kəmˈjutɪŋ. wi hæv ə lɔt əv ˈkəstəmərz ðət ər ˈɪntəˌrɛstɪd ɪn ˈmuvɪŋ səm bæʧ ˈwərˌkloʊdz tɪ ðɛr ˈkləstərz. wi wər ˈeɪbəl tɪ lænd səm ˈælfə ˈfiʧərz əraʊnd bæʧ retries*, ˈweɪtɪŋ bɪtˈwin ˈfeɪljərz, ənd ˈəðər ɛˈsɛnʃəl ˈfiʧərz rikˈwaɪərd fər kənˈtroʊlɪŋ lɑrʤ ˈpɛrəˌlɛl ər ˈsɪˌriəl dɪˈplɔɪmənts. ɛnd ˈjuzərz wɪl ˈɔlsoʊ bi glæd tɪ si həz bɪˈkəm ənd həz muvd tɪ ˈbeɪtə. ɛz ɪkˈsaɪtɪŋ ɛz bæʧ ʤɑbz ər, wi bɪˈliv ðət ðɪs nɛkst ˈtɑpɪk ɪz goʊɪŋ tɪ ɪˈneɪbəl ðə nɛkst weɪv ɪn klaʊd kəmˈpjutɪŋ. ðə ˈrisɔrs ˈmænɪʤmənt ˈwərkɪŋ grup ˈrisəntli tʊk ɔn ə ˈmæsɪv ˈʧɑrtər ənd ðeɪ wər ˈeɪbəl tɪ mərʤ səm ˈælfə koʊd ɪn ju wɪl wɔnt tɪ kip ə wɔʧ aʊt fər ðiz ˈfiʧərz ɛz ðeɪ groʊ əp aʊt əv ˈælfə ˈoʊvər ðə ˈkəmɪŋ rɪˈlisɪz. dɪˈvaɪs ˈmænɪʤər prəˈvaɪd ˈækˌsɛs tɪ ˈhɑrdˌwɛr dɪˈvaɪsɪz səʧ ɛz nics*, gpus*, fpga*, ənd soʊ ɔn. ˈmænɪʤər prəˈvaɪd ə weɪ fər ˈjuzərz tɪ rɪkˈwɛst ˈstætɪk əˈsaɪnmənt ˈviə ðə ˌgɛrənˈtid tir. hugepages*: ʃʊd prəˈvaɪd ə weɪ fər ˈjuzərz tɪ kənˈsum juʤ ˈpeɪʤɪz əv ˈɛni saɪz. θæŋks tɪ wərk frəm ðə ˈspɛʃəl ˈɪntəˌrɛst grup, wi kən naʊ əˈlaʊ tɪ hæv plugins*. ðɪs ˈfiʧər ɪˈneɪbəlz ˈpipəl tɪ ɪkˈstɛnd wɪˈθaʊt ˈhævɪŋ tɪ kloʊn ðə koʊd riˈpɑzəˌtɔri baɪ ˈsɪmpli ˈraɪtɪŋ ɪn ˈɛni ˈlæŋgwɪʤ ənd ˌridɪˈplɔɪɪŋ ðə kəˈmænd. ðɪs rɪˈzəlts ɪn nu ˈædɪd baɪ ˈpleɪsɪŋ ən ɪn ə spɪˈsɪfɪk loʊˈkeɪʃən ɔn dɪsk; all-in-all*, ə fænˈtæstɪk aɪˈdiə ðət həz riʧt ˈælfə ˈstætəs. ðə ˈkəstəm ˈrisɔrs ˌdɛfəˈnɪʃənz wi spoʊk əˈbaʊt ɪn həz muvd tɪ ɪn ðɪs riˈlis. ðeɪ əˈlaʊ fər ðə ɪkˈstɛnʃən əv ðə tɪ prəˈvaɪd ˈfiʧərz nɑt ɪn kɔr, bət meɪk ðɛm lʊk laɪk ˌfərstˈklæs tɪ ˈjuzərz. sɪˈkjʊrəti ˌɪmˈpruvmənts: ˈækˌsɛs kənˈtroʊl wɑz wən əv ðə fərst səˈluʃənz tɪ ˈɔfər. wɪθ kəmz ə nid tɪ dɪˈzaɪn fər ˈækˌsɛs kənˈtroʊl (rbac*) tɪ ðə ˈkləstər, ə nid ðət rɛd hæt həz bɪn ˈfoʊkɪst ɔn fər səm taɪm. wi ər plizd tɪ əˈnaʊns ðət ɪz naʊ ˈsteɪbəl ɪn ðə ˌɔθərəˈzeɪʃən ɪz ə dɪˈrɛkt pɔrt əv ðə ˌɔθərəˈzeɪʃən ˈsɪstəm ðət həz hæd sɪns ənd ɪˈneɪbəlz kənˈtroʊl ˈoʊvər ˈækˌsɛs tɪ ðə. laɪk ˈɛniˌθɪŋ ɪn ˈoʊpən sɔrs, ðə mɔr ˈpipəl ðət wərk ɔn ðə ˈprɑbləm frəm ˈdɪfərənt pərˈspɛktɪvz, ðə ˈbɛtər ðə rɪˈzəlt. wi ər ˈhæpi wɪθ ðə vərˈaɪəti əv aʊt əv ðə bɑks ðət reɪnʤ frəm ˌdɪˈskəvri roʊlz, roʊlz, ˈfreɪmˌwərk kəmˈpoʊnənt roʊlz, ənd kənˈtroʊlər roʊlz. ðə ˌɪnəˈgreɪʃən wɪθ ˌɛskəˈleɪʃən priˈvɛnʃən ənd noʊd ɪz ˈɛksələnt ənd ðə əˈbɪləˌti tɪ ˈkəstəˌmaɪz ənd ɪkˈspænd ðə ənd ər fərst klæs. ˈkləstər stəˈbɪlɪti rɛd hæt həz ə fju ˈɔfərɪŋz ðət rɪˈzəlt ɪn ˈjuˈɛs ˈrənɪŋ ˈmɛni lɑrʤ ˈkləstərz. wi hæv ˈɔnˌlaɪn ɪf ju stɑpt baɪ, goʊ lɔnʧ ə kənˈteɪnər fər fri æt wi ˈɔlsoʊ hæv ˈdɛdəkeɪtəd wɛr ju kən oʊn jʊr oʊn ˈpərsɪnəl ˈkləstər. ðɛn ðɛr ɪz ɑr next-generation*, kəˈlæbərˌeɪtɪv koʊd dɪˈvɛləpmənt ˈplætˌfɔrm æt ɪf spərɪŋ ɪz jʊr ˈfænsi, hɪt ˈjuˈɛs əp æt launch.openshift.io*. ɔl əv ðiz, əv kɔrs, ər ˈrənɪŋ ɔn. wət kən aɪ seɪ? wi ləv! wɪθ soʊ ˈmɛni ˈhoʊstɪd ˈsərvɪsɪz ˈrənɪŋ ˈkləstərz, wi hæv bɪn ˈeɪbəl tɪ əbˈzərv ˈrənɪŋ æt skeɪl, ənd ˌɪnˈvɛst ɪn ˈkləstər stəˈbɪlɪti. ɪn ðə dɪˈvɛləpmənt ˈsaɪkəl, wi wərkt ɔn ˈædɪŋ ə klaɪənt saɪd ɪˈvɛnt spæm ˈfɪltər tɪ stɑp ɪkˈsɛsɪv ˈtræfɪk tɪ ðə ˈsərvər frəm ˌɪnˈtərnəl ˈkləstər kəmˈpoʊnənts. wi ˈɔlsoʊ ˈædɪd ðə əˈbɪləˌti tɪ ˈlɪmət ɪˈvɛnts ˈprɑsɛst baɪ ðə ˈsərvər. ˈlɪmɪts kən bi sɛt ˈgloʊbəli ɔn ə ˈsərvər, per-namespace*, per-user*, ənd per-source+object*. ðɪs ɪz ˈnidɪd tɪ prɪˈvɛnt ər ˌmɪsbəˈheɪvɪŋ pleɪərz frəm ˈmeɪkɪŋ ə ˈkləstər ənˈsteɪbəl. wi roʊt ˈmɑnətərɪŋ ˌɪmˈpruvmənts tɪ ðə ˈmæstər tɪ hɛlp ˈplætˌfɔrm ˈɔpərˌeɪtərz tɪ ˈbɛtər əbˈzərv ˈfeɪljərz, si wɪn ðə ˈsɪstəm ɪz ˈʃɛdɪŋ loʊd, ənd rɪˈpɔrt ˈækjərət ˈmɛtrɪks əˈbaʊt haʊ ɪz əˈʧivɪŋ ɪts ˈsərvɪs ˈlɛvəl əˈbʤɛktɪvz. wi ˈɔlsoʊ wərkt ɔn əˈlaʊɪŋ kənˈsumərz, əˈspɛʃəli ðoʊz ðət məst rɪˈtriv lɑrʤ sɛts əv ˈdætə, tɪ rɪˈtriv rɪˈzəlts ɪn ˈpeɪʤɪz soʊ ɛz tɪ rɪˈdus ðə ˈmɛməri ənd saɪz ˌɪmˈpækt əv ðoʊz ˈvɛri lɑrʤ kˈwɪriz. ðɪs rɪˈdusɪz ðə ˈmɛməri ˌæləˈkeɪʃən ˌɪmˈpækt əv ˈvɛri lɑrʤ lɪst ˌɑpərˈeɪʃənz əˈgɛnst ðə apiserver*. ˈlaɪtˈweɪt kənˈteɪnər fər ɪkˈspændz ˈɔpʃənz fər ˈʧuzɪŋ kənˈteɪnər ˈviə, wɪʧ ɪz ˈsteɪbəl ənd ˈpæsɪz ɔl noʊd ənd ˈkləstər (e2e*) tɛsts ɪn ɪz ən ˌɪmpləmɛnˈteɪʃən əv ðə (kənˈteɪnər ˈɪnərˌfeɪs) tɪ ɪˈneɪbəl ˈjuzɪŋ (ˈoʊpən kənˈteɪnər ˌɪˈnɪʃətɪv) kəmˈpætəbəl, ənd ɪt muvz ɪn wɪθ ðə ˈprɑʤɛkt. ɪt əˈlaʊz tɪ juz ˈɛni ɛz ðə kənˈteɪnər fər ˈrənɪŋ pɑdz. təˈdeɪ wərks wɪθ ənd klɪr kənˈteɪnərz ɛz ðə kənˈteɪnər, bət ˈɛni kən bi pləgd ɪn ˈprɪnsəpəl. ðə eɪm hir ɪz fər tɪ hæv ə lin ənd ˈsteɪbəl kənˈteɪnər ðət ˌɪnˈkludz ˌɪmˈpruvd sɪˈkjʊrəti ˈfiʧərz ənd səˈpɔrts ɛz ɪts ˈpraɪˌmɛri goʊl. wɪr ˈhæpi tɪ hæv wərkt wɪθ ðə ˈwaɪdər kəmˈjunɪti ɔn dɪˈvɛləpɪŋ ənd lʊk ˈfɔrwərd tɪ kənˈtɪnju wərk ɔn ɛz ə "ˈbɔrɪŋ" pis əv ðə kənˈteɪnər ˈplætˌfɔrm ˌɪnfrəˈstrəkʧər. ˈsərvɪs ɔtəˈmeɪʃən ðɛr ɪz noʊ juz ˈrənɪŋ ə dɪˈstrɪbjətəd ˈkləstər ɪf ju goʊɪŋ tɪ rən ˈsəmθɪŋ ɔn ɪt! ðɛr ər ə fju ˈfiʧərz ɪn ðət wɪl hɛlp wɪθ ˈsərvɪsɪz. wən ˈɛriə əv ˌɪnəˈveɪʃən həz bɪn ˌhɔrəˈzɑntəl pɑd (hpa*). ɪˈneɪbəlz tɪ ˌɔtəˈmætɪkli skeɪl ðə ˈnəmbər əv pɑdz beɪst ɔn ˌjutələˈzeɪʃən. ˌɪˈnɪʃəli, wɑz ˈlɪmɪtɪd tɪ ˈskeɪlɪŋ beɪst ɔn ˈjusɪʤ, bət wərk ɪn ðiz θri ˈɛriəz ɪˈneɪbəlz ðə ˈfiʧər tɪ wərk wɪθ ˈkəstəm ˈmɛtrɪks. ðɪs wɪl gɪv ˈjuzərz məʧ mɔr ˌflɛksəˈbɪləti ɪn ˈskeɪlɪŋ ˈwərˌkloʊdz. ˈkəstəm ˈmɛtrɪks fər wɪl ɪˈneɪbəl ˈskeɪlɪŋ beɪst ɔn ˈɑrbɪˌtrɛri ˈmɛtrɪks (ˈrəðər ðən ˈoʊnli ˈskeɪlɪŋ beɪst ɔn ˈjusɪʤ), ənd səˈpɔrts ˈskeɪlɪŋ baɪ rɪkˈwɛst pərˈsɛnɪʤɪz. ˈstætəs kənˈdɪʃənz wɪl ˈɪndəˌkeɪt ˈkɑrənt ˈstætəs ˈɪʃuz fər. ˈmɑnətərɪŋ ˈpaɪˌplaɪn ˈmɛtrɪks prəˈvaɪdz ən fər ˈskeɪlɪŋ beɪst ɔn ˈbɪlˌtɪn ˈmɛtrɪks bɪɔnd ˈmɛtrɪks ɛz wɛl ɛz ˈskeɪlɪŋ beɪst ɔn ˈɑrbɪˌtrɛri ˈmɛtrɪks ənd rɪkˈwɛst pərˈsɛnɪʤɪz. ˈmɛni pərˈdəkʃən ˈsərvɪsɪz ˌrikˈwaɪər ˈstɔrɪʤ ər ˈdætə pərˈsɪstəns. wɪθ ˈælfə ˈstɔrɪʤ snapshotting*, ðə kəmˈjunɪti həz ˈfɪgjərd aʊt haʊ tɪ ˈlɛvərɪʤ ðə ˌəndərˈlaɪɪŋ ˈstɔrɪʤ tɪ ɪˈneɪbəl səm ˈklɛvər ˈfiʧərz. ðɪs ˌɪnˈkludz ɪkˈspoʊzɪŋ ðə əˈbɪləˌti ɪn ðə tɪ kriˈeɪt, lɪst, dɪˈlit, ənd rɪˈstɔr sˈnæpˌʃɑts frəm ən ˈɑrbɪˌtrɛri ˌəndərˈlaɪɪŋ ˈstɔrɪʤ ˈsɪstəmz ðət səˈpɔrt ɪt. ˈɪmɪʤ dɪˈvɛləpərz kən ˈəltəmətli spid əp ˈtɛstɪŋ ənd rɪˈkəvəri θru snapshotting*. ˈfaɪnəli, ðə ˈɪŋkjəˌbeɪtər ˈsərvɪs ˈkætəlɔg ˈprɑʤɛkt həz riʧt əˈgrimənt ɔn ðə skoʊp əv ðə ˌɪˈnɪʃəl ˈbeɪtə riˈlis. ðə ˈsərvɪs ˈkætəlɔg klinz əp ðə ˈsərvɪs ˌdɪˈskəvri ənd səˈlɛkʃən ˈjuzər ɪkˈspɪriəns ənd ædz əraʊnd ˈbaɪndɪŋ ˈsərvɪsɪz təˈgɛðər waɪl fəˈsɪləˌteɪtɪŋ ə ˌprɑgrəˈmætɪk weɪ tɪ kənˈsum ˈsərvɪs frəm ˈaʊtˈsaɪd ənd ˌɪnˈsaɪd ðə ˈkləstər. wət ɛls hæv rɛd hæt kənˈtrɪbjətərz bɪn ˈwərkɪŋ ɔn wɪθ ˈəpˈstrim ˈleɪtli? swɪŋ baɪ wən əv ðə ˈspɛʃəl ˈɪntəˌrɛst grups (sɪg) ˈɛniˌtaɪm tɪ faɪnd aʊt. ɛz ju kən si, rɛd hæt ɪz ˌɪnˈvɑlvd ɪn ˈmɛni ˈɛnərˌpraɪz ənd ˈoʊpən ˈhaɪbrɪd klaʊd ˈprɑʤɛkts əˈkrɔs. wi ər pɑrt əv ə fænˈtæstɪk ˈoʊpən sɔrs tim ðət spænz ˈmɛni ˈkəmpəˌniz ənd nən əv ðiz ˈfiʧərz əˈbəv wʊd hæv bɪn ˈpɑsəbəl wɪˈθaʊt ðə ˈkɑnstənt səˈpɔrt ɔl ˈmɛmbərz ˈɔfər tɪ wən əˈnəðər. wi lʊk ˈfɔrwərd tɪ siɪŋ ju ɪn θri mənθs fər hoʊld ɔn taɪt! əˈdɪʃənəl ˈrisɔrsɪz
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kubernetes continues its evolution with version 1.8, announced today on the kubernetes blog. this release promotes the roles based access control (rbac) to general availability, and includes a stable release of the lightweight container runtime for kubernetes, cri-o. you'll also find improvements to the kubernetes cli, cluster stability, service automation, and more.
if you are not familiar with kubernetes, the project creates a system for automating the deployment, scaling, and management of containerized applications. red hat builds on kubernetes to produce its enterprise-grade container platform, red hat openshift container platform. kubernetes 1.8 delivers additional stability, security improvements, and simplicity to the upstream project.
red hat is proud to have worked on a number of features in this milestone alongside other community members. red hat co-leads api machinery, auth, autoscaling, big data, command line interface (cli), network, node, openstack, service catalog, storage, container identity working group, and the resource management working group...so it’s pretty hard to miss us! specifically for kubernetes 1.8, red hat engineering focused on the following areas:
workload diversity
extensibility
security improvements
cluster stability
service automation
workload diversity
red hat looked into two aspects of workload diversity in this release. the first was related to batch or task based commuting. we have a lot of customers that are interested in moving some batch workloads to their openshift clusters. we were able to land some alpha features around batch retries, waiting between failures, and other essential features required for controlling large parallel or serial deployments. end users will also be glad to see scheduledjob has become cronjobs and has moved to beta.
as exciting as batch jobs are, we believe that this next topic is going to enable the next wave in cloud computing. the resource management working group recently took on a massive charter and they were able to merge some alpha code in kubernetes 1.8. you will want to keep a watch out for these features as they grow up out of alpha over the coming releases.
device manager : provide access to hardware devices such as nics, gpus, fpga, infiniband and so on.
cpu manager : provide a way for users to request static cpu assignment via the guaranteed qos tier.
hugepages: should provide a way for users to consume huge pages of any size.
extensibility
thanks to work from the cli special interest group, we can now allow kubectl to have plugins. this feature enables people to extend kubectl without having to clone the code repository by simply writing in any language and redeploying the command. this results in new subcommands added by placing an executable in a specific location on disk; all-in-all, a fantastic idea that has reached alpha status.
the custom resource definitions we spoke about in kubernetes 1.7 has moved to beta2 in this release. they allow for the extension of the kubernetes api to provide features not in core kubernetes, but make them look like first-class apis to users.
security improvements: role-based access control
openshift was one of the first kubernetes solutions to offer multi-tenancy. with multi-tenancy comes a need to design for role-based access control (rbac) to the cluster, a need that red hat has been focused on for some time. we are pleased to announce that rbacv1 is now stable in kubernetes 1.8. the rbac authorization is a direct port of the authorization system that openshift has had since 3.0, and enables fine-grained control over access to the kubernetes api.
like anything in open source, the more people that work on the problem from different perspectives, the better the result. we are happy with the variety of out of the box rolebindings that range from discovery roles, user-facing roles, framework component roles, and controller roles. the integration with escalation prevention and node bootstrapping is excellent and the ability to customize and expand the rolebindings and clusterrolebindings are first class.
cluster stability
red hat has a few offerings that result in us running many large kubernetes clusters. we have openshift online — if you haven’t stopped by, go launch a container for free at https://manage.openshift.com we also have openshift dedicated where you can own your own personal cluster. then there is our next-generation, collaborative code development platform at openshift.io if spring is your fancy, hit us up at launch.openshift.io.
all of these, of course, are running on kubernetes. what can i say? we love kubernetes!
with so many hosted services running kubernetes clusters, we have been able to observe kubernetes running at scale, and invest in cluster stability. in the kubernetes 1.8 development cycle, we worked on adding a client side event spam filter to stop excessive traffic to the api server from internal cluster components. we also added the ability to limit events processed by the api server. limits can be set globally on a server, per-namespace, per-user, and per-source+object. this is needed to prevent badly-configured or misbehaving players from making a cluster unstable.
we wrote monitoring improvements to the kubernetes master to help platform operators to better observe failures, see when the system is shedding load, and report accurate metrics about how kubernetes is achieving its service level objectives.
we also worked on allowing api consumers, especially those that must retrieve large sets of data, to retrieve results in pages so as to reduce the memory and size impact of those very large queries. this reduces the memory allocation impact of very large list operations against the kubernetes apiserver.
cri-o - lightweight container runtime for kubernetes
kubernetes 1.8 expands options for choosing container runtimes via cri-o, which is stable and passes all node and cluster end-to-end (e2e) tests in 1.8.
cri-o is an implementation of the kubernetes cri (container runtime interface) to enable using oci (open container initiative) compatible runtimes, and it moves in lock-step with the kubernetes project. it allows kubernetes to use any oci-compliant runtime as the container runtime for running pods. today cri-o works with runc and clear containers as the container runtimes, but any oci-conformant runtime can be plugged in principle.
the aim here is for cri-o to have a lean and stable container runtime that includes improved security features and supports kubernetes as its primary goal. we're happy to have worked with the wider community on developing cri-o and look forward to continue work on cri-o as a "boring" piece of the container platform infrastructure.
service automation
there is no use running a distributed cluster if you aren’t going to run something on it! there are a few features in kubernetes 1.8 that will help with services. one area of innovation has been horizontal pod autoscaling (hpa). hpa enables kubernetes to automatically scale the number of pods based on utilization. initially, kubernetes was limited to scaling based on cpu usage, but work in these three areas enables the feature to work with custom metrics. this will give users much more flexibility in scaling workloads.
custom metrics for hpa - will enable scaling based on arbitrary metrics (rather than only scaling based on cpu usage), and supports scaling by request percentages.
hpa status conditions - will indicate current status orblocking issues for hpa.
monitoring pipeline metrics hpa api - provides an api for scaling based on built-in metrics beyond pod-based metrics as well as scaling based on arbitrary metrics and request percentages.
many production services require storage or data persistence. with alpha storage snapshotting, the community has figured out how to leverage the underlying storage apis to enable some clever application-level features. this includes exposing the ability in the kubernetes api to create, list, delete, and restore snapshots from an arbitrary underlying storage systems that support it. image developers can ultimately speed up testing and recovery through snapshotting.
finally, the kubernetes incubator service catalog project has reached agreement on the scope of the initial beta release. the service catalog cleans up the service discovery and selection user experience and adds automations around binding services together while facilitating a programmatic way to consume service from outside and inside the cluster.
what else have red hat contributors been working on with upstream kubernetes lately? swing by one of the special interest groups (sig) anytime to find out. as you can see, red hat is involved in many enterprise and open hybrid cloud projects across kubernetes. we are part of a fantastic open source team that spans many companies and none of these features above would have been possible without the constant support all members offer to one another. we look forward to seeing you in three months for kubernetes 1.9. hold on tight!
additional resources
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ə ˈmæsɪv ˌdɛmənˈstreɪʃən ɪz ˈteɪkɪŋ ʃeɪp ɪn ˈkæpɪtəl ˈkɑbʊl ɛz ˈhənərdz ənd ˈθaʊzənz əv ˈpipəl frəm əˈkrɔs ðə ˈsɪti ˈræli tɪ ðə saɪt əv ðə ˈdɛdli ɪkˈsploʊʒən ðət lɛft ˈhənərdz əv ˈpipəl dɛd ər ˈwundɪd. ˌdɛmənˈstreɪʃən teɪks ʃeɪp ˈæftər ə ˈsɪmələr ˈgæðərɪŋ wɑz ˈɔrgəˌnaɪzd ɪn ˈkɑbʊl ˈsɪti, ˈmeɪnli ˌɪnˈvɑlvɪŋ ðə ˈsɪvəl soʊˈsaɪɪti ˈæktɪvɪsts tɪ ˈproʊˌtɛst əˈgɛnst ðə ˈbrutəl əˈtæk nɪr ðə ˈʤərmən ˈɛmbəsi ɔn ˈwɛnzˌdeɪ. ðə ˌdɛmənˈstreɪʃən ɪz biɪŋ ˈɔrgəˌnaɪzd ɛz ðə sɪˈkjʊrəti ˌsɪʧuˈeɪʃən rɪˈmeɪnz tɛns ɪn ðə ˈsɪti wɪθ ðə əˈfɪʃəlz seɪɪŋ ðə sɪˈkjʊrəti əˈlərt ɪz haɪ ˈæftər ðə ˈdɛdli ˈbɑmɪŋ. ðɛr ər ˈɔlsoʊ rɪˈpɔrts əv spərˈædɪk ˈgənˌʃɑts nɪr ðə skwɛr wɛr ə lɑrʤ ˈnəmbər əv ˈdɛmənˌstreɪtərz hæv ˈgæðərd. əˈkɔrdɪŋ tɪ rɪˈpɔrts, ðə ʃɑts wər faɪərd baɪ ðə pəˈlis ˈfɔrsɪz ɪn ə bɪd tɪ ˈskætər ðə ˈproʊˌtɛstərz. ˈoʊvər 90 ˈpipəl wər kɪld ənd mɔr ðən 400 ˈəðərz səˈsteɪnd ˈɪnʤəriz ˈæftər ə ˈviɪkəl bɪˈlivd tɪ bi ə ˈwɔtər ˈtæŋkər pækt wɪθ ɪkˈsploʊsɪvz wɑz ˈdɛtəˌneɪtəd nɪr ðə ˈɛmbəsi əv ˈʤərməni ɔn ˈwɛnzˌdeɪ ˈmɔrnɪŋ. ðə ˈæfˌgæn ˌɪnˈtɛləʤəns sɛd ðə əˈtæk wɑz ˈplɑtɪd ənd ˈkɛrid aʊt baɪ ðə ˈtɛrərɪst ˈnɛtˌwərk beɪst ɪn ˈpækɪˌstæn. ðə ˈkɑbʊl pəˈlis əˈfɪʃəlz sɛd ˈθərzˌdeɪ ðət ðə əˈtæk wɑz eɪmd æt ðə ˈɛmbəsi əv ˈʤərməni.
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a massive demonstration is taking shape in capital kabul as hundreds and thousands of people from across the city rally to the site of the deadly explosion that left hundreds of people dead or wounded.
today’s demonstration takes shape after a similar gathering was organized in kabul city, mainly involving the civil society activists to protest against the brutal attack near the german embassy on wednesday.
the demonstration is being organized as the security situation remains tense in the city with the officials saying the security alert is high after the deadly bombing.
there are also reports of sporadic gunshots near the zambaq square where a large number of demonstrators have gathered.
according to reports, the shots were fired by the police forces in a bid to scatter the protesters.
over 90 people were killed and more than 400 others sustained injuries after a vehicle believed to be a water tanker packed with explosives was detonated near the embassy of germany on wednesday morning.
the afghan intelligence said the attack was plotted and carried out by the haqqani terrorist network based in pakistan.
the kabul police officials said thursday that the attack was aimed at the embassy of germany.
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ˌoʊˈbɑmə slæps æt skɑt ˈwɔkər ɛz hi dɪˈfɛndz ˌɪˈrɑn dil ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə sɪz hɪz səkˈsɛsər ɪn ðə waɪt haʊs wɪl nɑt kɔl ˈɪntu kˈwɛʃən ðə ɪgˈzɛkjətɪv paʊər tɪ kət dilz bɪtˈwin ðə juˈnaɪtɪd steɪts ənd ˈəðər ˈkəntriz, səʧ ɛz ðə ˈnukliər ˈfreɪmˌwərk riʧt læst wik wɪθ ˌɪˈrɑn. æm ˈkɑnfədənt ðət ˈɛni ˈprɛzɪdənt hu gɪts ɪˈlɛktɪd wɪl bi ˈnɑləʤəbəl ɪˈnəf əˈbaʊt ˈfɔrən ˈpɑləsi ənd ˈnɑləʤəbəl ɪˈnəf əˈbaʊt ðə trəˈdɪʃənz ənd ˈprɛsəˌdɛnts əv ˌprɛzɪˈdɛnʃəl paʊər ðət ðeɪ stɑrt ˈkɔlɪŋ tɪ kˈwɛʃən ðə kəˈpæsɪti əv ðə ɪgˈzɛkjətɪv brænʧ əv ðə juˈnaɪtɪd steɪts tɪ ˈɛnər ˈɪntu əˈgrimənts wɪθ ˈəðər countries,”*,” ˌoʊˈbɑmə sɛd ɪn ən ˈɪntərvˌju wɪθ edition”*” sɛt tɪ ɛr ˈtuzˌdeɪ. ˈstɔri kənˈtɪnjud bɪˈloʊ wɪˈskɑnsən gəv. skɑt ˈwɔkər, hu həz ɪkˈsprɛst ˈɪntəˌrɛst ɪn ˈrənɪŋ fər ðə rɪˈpəblɪkən ˌnɑməˈneɪʃən, həz sɛd ðət hi wʊd ˈkænsəl ðə dil ɔn ʤæn. 20 2017 hɪz fərst deɪ ɪn ˈɔfəs. kˈwɛsʧənɪŋ ðə paʊər tɪ nɪˈgoʊʃiˌeɪt əˈgrimənts wʊd hɑrm riˈleɪʃənˌʃɪp wɪθ ˈælaɪz ənd ɛmˈboʊldən ˈɛnəmiz, ˌoʊˈbɑmə sɛd, ˈædɪŋ ðət ðə rɪˈpəblɪkən ˈgəvərnər ʃʊd teɪk səm taɪm tɪ kæʧ əp ɔn ˈfɔrən ˈpɑləsi. ɪt wʊd bi ə ˈfulɪʃ əˈproʊʧ tɪ teɪk, ənd, ju noʊ, pərˈhæps ˈmɪstər. ˈwɔkər, ˈæftər ˈteɪkən səm taɪm tɪ boʊn əp ɔn ˈfɔrən ˈpɑləsi, wɪl fil ðə seɪm way,”*,” ˌoʊˈbɑmə toʊld stiv ˈɪnzˌkip. ˈwɔkər faɪərd bæk ɔn ˈtuzˌdeɪ ˈmɔrnɪŋ, sˈlæmɪŋ leadership”*” əraʊnd ðə wərld. wʊd bi ˈbɛtər sərvd baɪ ə ˈprɛzɪdənt hu spɛnt mɔr taɪm ˈwərkɪŋ wɪθ ˈgəvərnərz ənd ˈmɛmbərz əv ˈkɑŋgrəs ˈrəðər ðən əˈtækɪŋ them,”*,” ˈwɔkər rɪˈplaɪd ɪn ə ˈsteɪtmənt. ɪt ɪz ˈkətɪŋ ə bæd dil wɪθ ˌɪˈrɑn, ˈkɔlɪŋ ˈaɪsəs ðə skwɑd, ər ˈtaʊtɪŋ ˈjɛmən ɛz ə səkˈsɛs ˈstɔri, læk əv ˈlidərˌʃɪp həz hərt ˈseɪfti ənd ˈstændɪŋ ɪn ðə world,”*,” hi sɛd. ðə ˈprɛzɪdənt ˈɔlsoʊ sɛd ˌɪzˈreɪliz ər tɪ bi səˈspɪʃəs əv iran”*” bət ðət ðə juz. ənd ˈɪzriəl kən dɪˈtər ˈɛni θrɛt poʊzd tɪ ðə ˈkəntri. ɪf, ˈoʊvər taɪm, ðɛr ər ˌɑpərˈtunətiz ɪn wɪʧ wi si ˈʧeɪnʤɪz ɪn ðə ˌɪˈrɑniən rəˈʒim, ɔl ðə ˈbɛtər. bət wi hæv tɪ kaʊnt ɔn that,”*,” ˌoʊˈbɑmə sɛd. hæv tɪ meɪk ʃʊr ðət ˈivɪn ɪf ˌɪˈrɑn ʧeɪnʤ, ðə ˌɪzˈreɪli ˈpipəl ər safe.”*.” ˌoʊˈbɑmə sɛd ɪt wʊd bi hɑrd tɪ ˈɑrgju ðət ðə ˌsɪʧuˈeɪʃən ɪz ˈbɛtər ɔf wɪθ noʊ ˈbreɪˌkaʊt ˈpɪriəd, riˈɪtərˌeɪtɪŋ ðət ˌɪˈrɑn həz əˈgrid tɪ ““unprecedented”*” ˌɪnˈspɛkʃənz ənd əv ɪts ˈnukliər ˈproʊˌgræm. ɪz ə mɔr ˈrɛləvənt fɪr wʊd bi ðət ɪn jɪr 13 14 15 ðeɪ hæv ədˈvænst ˈsɛntrəfˌjuʤɪz ðət ɪnˈrɪʧ jərˈeɪniəm ˈfɛrli ˈræpədli, ənd æt ðət pɔɪnt, ðə ˈbreɪˌkaʊt taɪmz wʊd hæv ʃrəŋk ˈɔlˌmoʊst daʊn tɪ zero,”*,” ˌoʊˈbɑmə sɛd, ˈædɪŋ ðət ˈɔpʃənz ər stɪl ɔn ðə ˈteɪbəl ʃʊd ˌɪnˈspɛktərz faɪnd ðət ˌɪˈrɑn həz nɑt ˌsætɪsˈfæktrəli kəmˈplaɪd. ðə steɪt dɪˈpɑrtmənt sɔt tɪ ˈklɛrəˌfaɪ ðə rɪˈmɑrk æt ɪts ˈdeɪli nuz ˈbrifɪŋ ˈleɪtər ɔn ˈtuzˌdeɪ. kwoʊt, aɪ θɪŋk, ðət ˈpipəl ər rɪˈfərɪŋ tɪ, aɪ θɪŋk hɪz wərdz wər ə ˈlɪtəl mɪkst əp ðɛr, bət wət hi wɑz rɪˈfərɪŋ tɪ wɑz ə sɪˈnɛrioʊ ɪn wɪʧ ðɛr wɑz noʊ deal,”*,” ˈspoʊksˌwʊmən mərˈi sɛd. wɑz nɑt ˈɪndəˌkeɪtɪŋ wət wʊd ˈhæpən ˈəndər ən əˈgrimənt ɪn ðoʊz years.”*.” ðə ˈdræftɪŋ əv ə ˈfaɪnəl əˈgrimənt wɪl bi ˈdɪfəkəlt, ˌoʊˈbɑmə sɛd, ˈlaɪkənɪŋ ɪt tɪ ˈsaɪnɪŋ ə ˈkɑnˌtrækt tɪ ə hoʊm bət ˈweɪtɪŋ ɔn ðə əˈpreɪzəl. hi ˈɔlsoʊ pʊʃt bæk əˈgɛnst əˈsərʃənz baɪ ˌɪzˈreɪli praɪm ˈmɪnɪstər ˈbɛnʤəmən ˌnɛtənˈjɑˌhu ðət əˈplaɪɪŋ mɔr ˈprɛʃər wʊd jild ə ˈbɛtər dil. noʊ, ðə ˈkəntri ðət ɪz moʊst ˈaɪsəˌleɪtɪd ɪn ðə wərld ɪz nɔrθ korea,”*,” ˌoʊˈbɑmə sɛd. θɪŋk ɪt wʊd bi hɑrd tɪ ˈɑrgju ðət baɪ ˈvərʧu əv ðə fækt ðət ðeɪ fid ðɛr ˈpipəl, ənd ðət ðeɪ ər ˈɔlˌmoʊst ɪnˈtaɪərli kət ɔf frəm ˈgloʊbəl treɪd, ðət ðət ˈsəmˌhaʊ həz ˈlɛsənd ðɛr kəˈpæsɪti fər ˈmɪsʧəf ənd trouble-making.”*.” ɪn ə ˈpriviəsli riˈlist ˌsɛgˈmɛnt frəm ðə ˈɪntərvˌju, ˌoʊˈbɑmə rɪˈʤɛktɪd kɔl fər ˌɪˈrɑn tɪ ˈrɛkəgˌnaɪz ðə steɪt əv ˈɪzriəl ɛz pɑrt əv ðə ˈfaɪnəl dil, ˈkɔlɪŋ ɪt ˌfəndəˈmɛnəl misjudgment.”*.”
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obama slaps at scott walker as he defends iran deal
president barack obama says his successor in the white house will not call into question the executive branch’s power to cut deals between the united states and other countries, such as the nuclear framework reached last week with iran.
“i am confident that any president who gets elected will be knowledgeable enough about foreign policy and knowledgeable enough about the traditions and precedents of presidential power that they won’t start calling to question the capacity of the executive branch of the united states to enter into agreements with other countries,” obama said in an interview with npr’s “morning edition” set to air tuesday.
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wisconsin gov. scott walker, who has expressed interest in running for the republican nomination, has said that he would cancel the deal on jan. 20, 2017, his first day in office.
questioning the president’s power to negotiate agreements would harm america’s relationship with allies and embolden enemies, obama said, adding that the republican governor should take some time to catch up on foreign policy.
“and it would be a foolish approach to take, and, you know, perhaps mr. walker, after he’s taken some time to bone up on foreign policy, will feel the same way,” obama told npr’s steve inskeep.
walker fired back on tuesday morning, slamming “failed leadership” around the world.
“americans would be better served by a president who spent more time working with governors and members of congress rather than attacking them,” walker replied in a statement.
“whether it is cutting a bad deal with iran, calling isis the jv squad, or touting yemen as a success story, lack of leadership has hurt america’s safety and standing in the world,” he said.
the president also said israelis are “right to be suspicious of iran” but that the u.s. and israel can deter any threat posed to the country.
“and if, over time, there are opportunities in which we see changes in the iranian regime, all the better. but we don’t have to count on that,” obama said. “we have to make sure that even if iran doesn’t change, the israeli people are safe.”
obama said it would be hard to argue that the situation is better off with no breakout period, reiterating that iran has agreed to “unprecedented” inspections and verifications of its nuclear program.
“what is a more relevant fear would be that in year 13, 14, 15, they have advanced centrifuges that enrich uranium fairly rapidly, and at that point, the breakout times would have shrunk almost down to zero,” obama said, adding that options are still on the table should inspectors find that iran has not satisfactorily complied.
the state department sought to clarify the president’s remark at its daily news briefing later on tuesday.
“that quote, i think, that people are referring to, i think his words were a little mixed up there, but what he was referring to was a scenario in which there was no deal,” spokeswoman marie harf said. “he was not indicating what would happen under an agreement in those years.”
the drafting of a final agreement will be difficult, obama said, likening it to signing a contract to a home but waiting on the appraisal.
he also pushed back against assertions by israeli prime minister benjamin netanyahu that applying more pressure would yield a better deal.
“you know, the country that is most isolated in the world is north korea,” obama said. “i think it would be hard to argue that by virtue of the fact that they can’t feed their people, and that they are almost entirely cut off from global trade, that that somehow has lessened their capacity for mischief and trouble-making.”
in a previously released segment from the interview, obama rejected netanyahu’s call for iran to recognize the state of israel as part of the final deal, calling it “a fundamental misjudgment.”
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ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən ɪz ˈkɔlɪŋ ɔn ˈeɪʤənsiz tɪ gɪt sˈmɑrtər əˈbaʊt ˈtrækɪŋ ɪmˈplɔɪi məræl ənd ɛnˈgeɪʤmənt. ðə ædˌmɪnɪˈstreɪʃən plænz tɪ roʊl aʊt ən dashboard”*” ðɪs jɪr ðət ˈeɪʤənsi ˌsupərˈvaɪzərz kən juz tɪ træk ðə mud əv ðɛr workforces*. ʤɪst wən pɑrt əv ə plænd ˈoʊvərˌhɔl əv ˈfɛdərəl ˈmænɪʤmənt kɔld fər ɪn ˈprɛzɪdənt ˈbɑrək ˈfɪskəl 2015 ˈbəʤɪt ˈbluˌprɪnt. ˈəðər ˌɪˈnɪʃətɪvz ˌɪnˈklud ə riˈvæmp əv ðə ˈʤɛnərəl ˈskɛʤʊl ˌpərsəˈnɛl ˈsɪstəm, ˈrilˌtaɪm pərˈfɔrməns rəvˈjuz əv ˈmænɪʤmənt ˈɛfərts ənd ɛnˈhænst ˈtreɪnɪŋ fər ˈsinjər ɪgˈzɛkjətɪvz. ðə ˈɔfəs əv ˈmænɪʤmənt ənd ˈbəʤɪt riˈlist ə ˈvɑljum əv ˌsəpləˈmɛntəˌri ˈbəʤɪt məˈtɪriəlz, ˌɪnˈkludɪŋ mɔr ˈditeɪlz ɔn ðə ˌoʊˈbɑmə ˈwərkˌfɔrs ˌɪˈnɪʃətɪvz, ˈmənˌdeɪ. ˌædvərˈtaɪzmənt nu tulz fər ˈmænɪʤərz ðə nu ˈdæʃˌbɔrd wɪl ˈkəpəl ˈdætə frəm ðə ˈɔfəs əv ˌpərsəˈnɛl ɪmˈplɔɪi vˈjuˌpɔɪnt ˈsərˌveɪ wɪθ ˈeɪʤənsi pərˈfɔrməns ˈdætə tɪ ˈækʃənəbəl ˈɪnˌsaɪts tɪ ˈtərgət ˈɛriəz wɛr ˌɪmˈpruvmənt ɪz ˈnidɪd ðə most,”*,” əˈkɔrdɪŋ tɪ ðə ˈbəʤɪt ˈdɑkjəmənts. ðə ˈdæʃˌbɔrd, wɪʧ ðə ædˌmɪnɪˈstreɪʃən eɪmz tɪ roʊl aʊt ˈleɪtər ðɪs jɪr, wɪl bi ækˈsɛsəbəl tɪ ˌsupərˈvaɪzərz ɛz wɛl ɛz ˈmænɪʤmənt ðə ˈleɪtəst muv baɪ tɪ gɪt ˈeɪʤənsiz tɪ juz ðə ˈsərˌveɪ, wɪʧ həz bɪn ˈɔfərd sɪns 2004 nɑt ʤɪst ɛz ə ˈwəˌtaɪm bərˈɑmɪtər əv ɪmˈplɔɪi ˈsɛnəmənt bət ɛz ə ˌfʊlˈskeɪl ˈmænɪʤmənt tul. ˈeɪʤənsiz ər ˈeɪbəl tɪ drɪl ˈfərðər daʊn ˈɪntu ðə ˈdætə ðən ˈɛvər ˌbiˈfɔr. ˌɪnˈstɛd əv riˈlaɪɪŋ ɔn rɪˈzəlts, mɔr ˈmænɪʤərz kən træk ˈdætə fər ðɛr ˌɪndəˈvɪʤəwəl ˈɔfəsɪz. ɪn 2011 ˈɔfərd rɪˈzəlts tɪ ʤɪst ˈeɪʤənsi kəmˈpoʊnənts. baɪ 2013 ðət ˈnəmbər hæd groʊn tɪ mɔr ðən ˌɪnˈkrist rɪˈspɑns ənd rɪˈpɔrtɪŋ ɪˈneɪbəlz ˈeɪʤənsiz tɪ aɪˈdɛntəˌfaɪ ˈɛriəz əv strɛŋθ, ˈɔfərɪŋ ˈpɑsəbəl ˈmɑdəlz fər ˈəðərz, ənd ˈɛriəz əv ˈwiknəs attention,”*,” ðə ˈbəʤɪt ˈdɑkjəmɛnt steɪts. əˈkrɔs ˈgəvərnmənt ər ˈjuzɪŋ ˈdætə tɪ dɪˈvɛləp ənd ˈɪmpləmənt ˈtɑrgətɪd, ˈækʃən plænz tɪ ˈæˌdrɛs aɪˈdɛntəˌfaɪd challenges.”*.” ðə ædˌmɪnɪˈstreɪʃən ɪz ˈɔlsoʊ ˈplænɪŋ ən ɪkˈspænʧən əv ɪts ˌrivˈju ˈsɛʃənz. ˈrəðər ðən kəmˈpaɪlɪŋ rimz əv ˈdɑkjəmənts ˈtrækɪŋ trɛnz səʧ ɛz ðə taɪm ɪt teɪks tɪ ˈɑnˌbɔrd nu haɪərz ər ðə ˈnəmbər əv ˈwərkərz ˈɛlɪʤəbəl tɪ ˌriˈtaɪər ˌrivˈju ˈsɛʃənz eɪm tɪ əˈlaʊ ˈmænɪʤərz tɪ ˈlɛvərɪʤ ðət ˈdætə fər ˈrilˌtaɪm dɪˈsɪʒənˌmeɪkɪŋ. ɪn 2012 əˈbaʊt ə ˈdəzən ˈeɪʤənsiz fərst ˈstɑrtɪd ðə ˈplætˌfɔrm ɪn ˈpaɪlət ˈstætəs. ðɪs jɪr, eɪt mɔr ˈeɪʤənsiz wɪl ʤɔɪn ðə ˈpaɪlət wɪθ ˌɪmpləmɛnˈteɪʃən tɪ kəm nɛkst ˈfɪskəl jɪr. ˈbəʤɪt kɔlz fər, rɪˈfɔrmz ðə ˈbəʤɪt prəˈpoʊzəl ˈɔlsoʊ ˈplɛʤɪz tɪ ɪgˈzæmɪn ðə ənd ˈtreɪnɪŋ əv ˈmɛmbərz əv ðə ˈsinjər ɪgˈzɛkjətɪv ˈsərvɪs (ses*). ðə ædˌmɪnɪˈstreɪʃən sɛd kənˈsərnd ðət ðə ˈkɑrənt ˈhaɪrɪŋ ˈprɔˌsɛs fər ˈmɛmbərz meɪ bi ˌɪnɪˈfɪʃənt ənd ˈtərnɪŋ əˈweɪ pəˈtɛnʃəl ˈæplɪkənts. ðə ˈbəʤɪt prəˈpoʊzəl kənˈtɪnjud ðə ˌoʊˈbɑmə kɔl fər ən ˈoʊvərˌhɔl əv ðə ˈʤɛnərəl ˈskɛʤʊl ˌpərsəˈnɛl ˈsɪstəm. dɪˈspaɪt ən ɪˈvɑlvɪŋ ˈfɛdərəl ˈwərkˌfɔrs, ðə ˌpərsəˈnɛl ˈsɪstəm nɑt kɛpt əp ənd rɪˈmeɪnz ˌɪnˈflɛksəbəl ənd outdated,”*,” ðə ˈbəʤɪt ˈsteɪtɪd. ɪn ˈrisənt jɪrz, həz ˈɪnstɪˌtutɪd ˈsɛvərəl nu ˈproʊˌgræmz dɪˈzaɪnd tɪ bɪld əp nu ˈævəˌnuz tɪ ˈfɛdərəl ɪmˈplɔɪmənt ənd fɪl skɪl gæps ɪn ðə ˈfɛdərəl ˈwərkˌfɔrs, səʧ ɛz ðə ˌprɛzɪˈdɛnʃəl ˌɪnəˈveɪʃən ˈfɛloʊz ˈproʊˌgræm ənd ðə ˈpæθˌweɪz ˈɪntərnˌʃɪp ˈproʊˌgræm. ˈrisənt ˈhaɪrɪŋ rɪˈfɔrm ˈɛfərts ər ʃoʊɪŋ səm ˈprɑˌgrɛs ɪn ˈsɪmpləˌfaɪɪŋ ˈhaɪrɪŋ, əˈdɪʃənəl rɪˈfɔrmz ər ˈnidɪd tɪ ˈəpˌdeɪt ðə hiring*, peɪ, ˌklæsəfəˈkeɪʃən, ənd ˈbɛnəfɪts systems,”*,” ðə ˈbəʤɪt ˈsteɪtɪd. ˈkɑŋgrəs dɪˈvaɪzd ðə ˈsɪstəm ɪn 1949 ənd ɪt wɑz fərst ˈɪmpləˌmɛnəd ɪn 1951 mɔr ðən 60 jɪrz əˈgoʊ. ˈɔlsoʊ ˈɪntəˌrɛst ɔn ˈkæpɪtəl hɪl ɪn rɪˈvaɪzɪŋ ðə ˈsɪstəm. læst spərɪŋ, ə baɪˈpɑrtɪzən kənˈtɪnʤənt əv ˈlɔˌmeɪkərz ɔn ðə haʊs ˈoʊvərˌsaɪt ənd ˈgəvərnmənt rɪˈfɔrm kəˈmɪti rɪkˈwɛstɪd ˈɑdətərz æt ðə ˈgəvərnmənt əˈkaʊntəˌbɪlɪti ˈɔfəs ɪgˈzæmɪn ðə ˈkɑrənt ˈfeɪlɪŋz. ˈfɛdərəl ˈwərkˌfɔrs ɪn fləks ðə kɔlz fər ˈfɛdərəl ˈmænɪʤmənt rɪˈfɔrmz kəmz əˈmɪd ə ˈfɛdərəl ˈwərkˌfɔrs ɪn fləks. ˈoʊvərˌɔl, ðə saɪz əv ðə ˈfɛdərəl səˈvɪljən ˈwərkˌfɔrs kəmˈpɛrd tɪ ðə juz. ˌpɑpjəˈleɪʃən dɪˈklaɪnd dramatically”*” ˈoʊvər ðə pæst fju ˈdɛkeɪdz ənd rɪˈmeɪnz ɔn ə ˈdaʊnsˌwɪŋ, əˈkɔrdɪŋ tɪ hɪˈstɔrɪkəl ˈdætə prəˈvaɪdɪd ɪn ðə ˈbəʤɪt. ðə ˈbəʤɪt ɪz ˈplænɪŋ fər ˈmɑdəst ˈstæfɪŋ ˌɪnˈkrisɪz æt moʊst ˈeɪʤənsiz ˈoʊvər ðə nɛkst jɪr. əˈməŋ ðə ˈlɑrʤəst ˌɪnˈkrisɪz ər ə mɔr ðən 7 pərˈsɛnt ˈstæfɪŋ bust tɪ ðə ˈtrɛʒəri dɪˈpɑrtmənt məʧ əv ɪt fər ðə ˌɪnˈtərnəl ˈrɛvəˌnu ˈsərvɪs ənd ə ˈnɪrli 12 pərˈsɛnt bust tɪ ðə sɪˈkjʊrətiz ənd ɪksˈʧeɪnʤ kəˈmɪʃən. ˈfɛdərəl wərk ˈoʊvər ðə ˈdɛkeɪdz həz ˈɔlsoʊ bɪˈkəm ˌɪnˈkrisɪŋgli mɔr ˈkɑmplɛks, ðə ˈdætə ʃoʊz, ənd ˈfɛdərəl ɪmˈplɔɪiz ər mɔr ˈlaɪkli tɪ hoʊld ən ədˈvænst dɪˈgri. ˈnɪrli ə kˈwɔrtər əv ðə ˈfɛdərəl ˈwərkˌfɔrs həz ə dɪˈgri ər əˈbəv, kəmˈpɛrd tɪ lɛs ðən 15 pərˈsɛnt əv ˈwərkərz. ˈfɛdərəl ˈwərkərz, ɛz ə grup, ər ˈɔlsoʊ ˈoʊldər ðən ðɛr ˈkaʊntərˌpɑrts, ˈævrɪʤɪŋ mɔr ðən oʊld kəmˈpɛrd 42 ɪn ðə ˈpraɪvət ˈsɛktər. rɪˈleɪtɪd ˈstɔriz: wɪθ ˈbəʤɪt riˈlis, siks stəˈbɪlɪti fər ˈfɛdərəl ˈwərkˌfɔrs waɪt haʊs ˈbəʤɪt eɪmz tɪ bust ˈfɛdərəl ɪmˈplɔɪi peɪ, ˈtreɪnɪŋ waɪt haʊs ˈbəʤɪt ˈbreɪkˌdaʊn: 2015 ˈfəndɪŋ ˈlɛvəlz ˈbəʤɪt prəˈpoʊzəl aʊt ˈmænɪʤmənt əˈʤɛndə ˈkɑpiˌraɪt 2019 ˈfɛdərəl nuz ˈnɛtˌwərk. ɔl raɪts rɪˈzərvd. ðɪs ˈwɛbˌsaɪt ɪz nɑt ˌɪnˈtɛndɪd fər ˈjuzərz ˈloʊˌkeɪtəd wɪˈθɪn ðə ˌjʊrəˈpiən ˌɛkəˈnɑmɪk ˈɛriə.
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the obama administration is calling on agencies to get smarter about tracking employee morale and engagement.
the administration plans to roll out an “engagement dashboard” this year that agency supervisors can use to track the mood of their workforces.
it’s just one part of a planned overhaul of federal management called for in president barack obama’s fiscal 2015 budget blueprint. other initiatives include a revamp of the general schedule personnel system, real-time performance reviews of management efforts and enhanced training for senior executives.
the office of management and budget released a volume of supplementary budget materials, including more details on the obama administration’s workforce initiatives, monday.
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new tools for managers
the new employee-engagement dashboard will couple data from the office of personnel management’s employee viewpoint survey with agency performance data to “provide actionable insights to target areas where improvement is needed the most,” according to the budget documents.
the dashboard, which the administration aims to roll out later this year, will be accessible to supervisors as well as higher-level management
it’s the latest move by opm to get agencies to use the survey, which has been offered semi-annually since 2004, not just as a one-time barometer of employee sentiment but as a full-scale management tool.
agencies are able to drill further down into the data than ever before. instead of relying on broad-brush agencywide results, more managers can track data for their individual offices.
in 2011, opm offered office-specific results to just 1,687 agency components. by 2013, that number had grown to more than 12,500.
“the increased response and reporting granularity enables agencies to identify areas of strength, offering possible models for others, and areas of weakness needing attention,” the budget document states. “agencies across government are using evs data to develop and implement targeted, mission-driven action plans to address identified challenges.”
the administration is also planning an expansion of its hrstat review sessions.
rather than compiling reams of documents tracking hr trends such as the time it takes to onboard new hires or the number of workers eligible to retire hrstat review sessions aim to allow managers to leverage that data for real-time decision-making.
in 2012, about a dozen agencies first started the platform in pilot status. this year, eight more agencies will join the pilot with governmentwide implementation to come next fiscal year.
budget calls for ses, gs reforms
the administration’s budget proposal also pledges to examine the onboarding and training of members of the senior executive service (ses). the administration said it’s concerned that the current hiring process for ses members may be inefficient and turning away potential applicants.
the budget proposal continued the obama administration’s call for an overhaul of the general schedule personnel system.
despite an evolving federal workforce, the personnel system “has not kept up and remains inflexible and outdated,” the budget stated.
in recent years, opm has instituted several new programs designed to build up new avenues to federal employment and fill skill gaps in the federal workforce, such as the presidential innovation fellows program and the pathways internship program.
“while recent hiring reform efforts are showing some progress in simplifying hiring, additional reforms are needed to update the hiring, pay, classification, and benefits systems,” the budget stated.
congress devised the gs system in 1949 and it was first implemented in 1951 more than 60 years ago.
there’s also interest on capitol hill in revising the gs system. last spring, a bipartisan contingent of lawmakers on the house oversight and government reform committee requested auditors at the government accountability office examine the current system’s failings.
federal workforce in flux
the administration’s calls for federal management reforms comes amid a federal workforce in flux.
overall, the size of the federal civilian workforce compared to the u.s. population “has declined dramatically” over the past few decades and remains on a downswing, according to historical data provided in the budget.
the administration’s budget is planning for modest staffing increases at most agencies over the next year. among the largest increases are a more than 7 percent staffing boost to the treasury department much of it for the internal revenue service and a nearly 12 percent boost to the securities and exchange commission.
federal work over the decades has also become increasingly more complex, the data shows, and federal employees are more likely to hold an advanced degree.
nearly a quarter of the federal workforce has a master’s degree or above, compared to less than 15 percent of private-sector workers.
federal workers, as a group, are also older than their private-sector counterparts, averaging more than 45-years old compared 42 in the private sector.
related stories:
with budget release, omb seeks stability for federal workforce
white house budget aims to boost federal employee pay, training
white house budget breakdown: fy 2015 agency-by-agency funding levels
budget proposal fleshes out omb’s management agenda
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duk pəˈlɪtɪkəl saɪəns ˈdɑktərəl ˈkænədɪt mæt ˈdɪkɪnsən hæd ə greɪt poʊst læst wik ɪn wɪʧ hi lʊkt æt ðə wi kɔl ““meals.”*.” ˌɪnˈspaɪərd baɪ ðə trəˈdɪʃənəl əˈmɛrɪkən ˌθæŋksˈgɪvɪŋ ““dinner,”*,” wɪʧ ɪz ˈɔfən ˈitən əraʊnd (i.e*., bɪtˈwin ðə ˈjuʒəwəl taɪmz fər lənʧ ənd ˈdɪnər ɪn ðə juˈnaɪtɪd steɪts), mæt æst waɪ moʊst əv ˈjuˈɛs it θri milz ə deɪ, ənd waɪ ər ðoʊz θri milz ˈbrɛkfəst, lənʧ, ənd ˈdɪnər? ən ˈɛksərpt frəm hɪz poʊst: ðɪs breɪk frəm ðə ˈjuʒəwəl θri milz ə deɪ ˈpætərn ˈɔfərz ə ʧæns tɪ æsk: haʊ lɔŋ həz ðə ˈskɛʤʊl bɪn ðə nɔrm? nɑt ðət lɔŋ, ɛz ɪt tərnz aʊt. ˈitɪŋ ˈpætərnz ɪn ˈhɪstəri hæv ˈɔfən bɪn ʃeɪpt baɪ θri ˈfæktərz: ˈpɑləˌtɪks, ˌɛkəˈnɑmɪks ənd rɪˈlɪʤən. teɪk ˈbrɛkfəst, fər ɪgˈzæmpəl. fud hɪˈstɔriən ˈkɛrəˌlaɪn rɪˈpɔrts ɪt wɑz nɑt ˈɔlˌweɪz sin ɛz ðə moʊst ˌɪmˈpɔrtənt mil əv ðə deɪ: ˈroʊmənz bɪˈlivd ɪt wɑz ˈhɛlθiər tɪ it ˈoʊnli wən mil ə day,”*,” ʃi sɪz. wər əbˈsɛst wɪθ daɪˈʤɛsʧən ənd ˈitɪŋ mɔr ðən wən mil wɑz kənˈsɪdərd ə fɔrm əv ˈglətəni. ðɪs ˈθɪŋkɪŋ ˌɪmˈpæktɪd ɔn ðə weɪ ˈpipəl eɪt fər ə ˈvɛri lɔŋ time.”*.” ðɛr ɪz æt list wən ˈfeɪməs ˌɪndəˈvɪʤəwəl meɪd ˈivɪn mɔr ˈfeɪməs ɪn ˈrisənt wiks hum aɪ ˈriˌkɔl ɪz noʊn fər ˈitɪŋ ˈoʊnli wən mil ə deɪ. aɪ ˌmaɪˈsɛlf æm ɛkˈspɛrəˌmɛntɪŋ wɪθ ˌɪntərˈmɪtənt ˈfæstɪŋ (i.e*., ˈitɪŋ ˈoʊnli frəm nun tɪ 8 piɛm) fər ðə nɛkst fju wiks. mæt goʊz ɔn: ˌɛkəˈnɑmɪkli ˈspikɪŋ, ˈitɪŋ ˈpætərnz ˈɔfən down”*” frəm ðə ˈwɛlθi tɪ ðə ˈpurər ˈklæsɪz: əˈbaʊt ðə ˈsɛnʧəri ɪt ɪz bɪˈlivd ðət ɔl ˈsoʊʃəl ˈklæsɪz ˈstɑrtɪd ˈitɪŋ ˈbrɛkfəst, əˈkɔrdɪŋ tɪ ʃɛf klərˈɪsə ˈdɪksən raɪt. ˈæftər ðə ˌrɛstərˈeɪʃən əv ˈʧɑrəlz ii*, ˈkɔfi, ti ənd ˈdɪʃɪz laɪk ˈskræmbəld ɛgz ˈstɑrtɪd tɪ əˈpɪr ɔn ðə ˈteɪbəlz əv ðə ˈwɛlθi. baɪ ðə leɪt 1740s*, ˈbrɛkfəst rumz ˈɔlsoʊ ˈstɑrtɪd əˈpɪrɪŋ ɪn ðə hoʊmz əv ðə rich.”*.” ðɪs ɪz ˌrɛməˈnɪsənt əv haʊ ˈbeɪbi neɪmz ˈtrɪkəl daʊn frəm ðə ˈwɛlθi tɪ ðə ˈpurər ˈklæsɪz ɛz wɛl. ˈhævɪŋ bɪn ˈɪnfluənst baɪ ˈθɪri əv ˈsoʊʃəl nɔrmz (si hir ənd hir), əˈkɔrdɪŋ tɪ wɪʧ ˈsoʊʃəl nɔrmz ˈimərʤ ənd ɪˈvɑlv soʊ ɛz tɪ ˈmæksəˌmaɪz wɛlθ ənd ˈmɪnəˌmaɪz trænˈzækʃən kɔsts, aɪ faɪnd ðə ˈstədi əv ðoʊz nɔrmz ə ˈsəbˌsɛt əv wət mæt kɔlz ˈfæsəˌneɪtɪŋ. noʊ rɪˈleɪtɪd ˈkɑntɛnt faʊnd.
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duke political science doctoral candidate matt dickenson had a great post last week in which he looked at the micro-institutions we call “meals.”
inspired by the traditional american thanksgiving “dinner,” which is often eaten around 3pm (i.e., between the usual times for lunch and dinner in the united states), matt asked why most of us eat three meals a day, and why are those three meals breakfast, lunch, and dinner?
here’s an excerpt from his post:
this break from the usual three meals a day pattern offers a chance to ask: how long has the breakfast-lunch-dinner schedule been the norm?
not that long, as it turns out. eating patterns in history have often been shaped by three factors: politics, economics and religion. take breakfast, for example. food historian caroline yeldham reports it was not always seen as the most important meal of the day:
“the romans believed it was healthier to eat only one meal a day,” she says. “they were obsessed with digestion and eating more than one meal was considered a form of gluttony. this thinking impacted on the way people ate for a very long time.”
there is at least one famous individual — made even more famous in recent weeks — whom i recall is known for eating only one meal a day. i myself am experimenting with 16/8 intermittent fasting (i.e., eating only from noon to 8 pm) for the next few weeks.
matt goes on:
economically speaking, eating patterns often “trickle down” from the wealthy to the poorer classes:
“in about the 17th century it is believed that all social classes started eating breakfast, according to chef clarissa dickson wright. after the restoration of charles ii, coffee, tea and dishes like scrambled eggs started to appear on the tables of the wealthy. by the late 1740s, breakfast rooms also started appearing in the homes of the rich.”
this is reminiscent of how baby names trickle down from the wealthy to the poorer classes as well.
having been influenced by ellickson’s theory of social norms (see here and here), according to which social norms emerge and evolve so as to maximize wealth and minimize transaction costs, i find the study of those norms — a subset of what matt calls micro-institutions — fascinating.
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ˈkeɪti ˈkɔrɪk həz dɪˈskraɪbd haʊ tu əv hər prəˈdusərz wər hɪt baɪ ə 'ˈjʊrən bɔm' waɪl ʃi wɑz ˈkəvərɪŋ ðə ˈproʊˌtɛsts ɪn ˈʃɑrlətsˌvɪl læst wik. ðə ˈbrɔdˌkæst ˈʤərnəlɪst, 60 wɑz ˈfɪlmɪŋ ðə ˈvaɪələnt vərˈʤɪnjə ˈræli ɛz pɑrt əv ə ˌdɑkjəˈmɛnəri ˈsɪriz ʃi ɪz ˈwərkɪŋ ɔn fər ˈnæʃənəl ˌʤiəˈgræfɪk. ˈkɔrɪk roʊt ən ðət wɑz ˈpəblɪʃt ˈfraɪˌdeɪ baɪ ðə ˈaʊˌtlɛt ɛz ə weɪ fər hər tɪ 'rɪˈflɛkt ɔn hər ɪkˈspɪriənsɪz'. ɪn ðə ˈtaɪtəld 'biɪŋ ɪn ˈʃɑrlətsˌvɪl broʊk maɪ hɑrt. ɪt ˈɔlsoʊ fɪld mi wɪθ hoʊp', ˈkɔrɪk sɛd tu əv hər prəˈdusərz wər splæʃt wɪθ ə ˈmɪksʧər əv məd ənd ˈjʊrən. 'əbˈzərvɪŋ ðə ˈraɪzɪŋ ˈbætəl əv ˈproʊˌtɛst ʧænts, tu əv maɪ prəˈdusərz wər ˈstændɪŋ ɔn ən ˈɛləˌveɪtɪd ɛʤ əv ðə pɑrk wɪn ˈsədənli ðeɪ wər daʊst wɪθ ə kənˈkɑkʃən əv ˈjumən ˈjʊrən ənd məd,' ˈkɔrɪk roʊt. skroʊl daʊn fər ˈvɪdioʊ ˈkeɪti ˈkɔrɪk, 60 (ˈpɪkʧərd ɪn meɪ) həz dɪˈskraɪbd haʊ tu əv hər ˈnæʃənəl ˌʤiəˈgræfɪk prəˈdusərz wər hɪt baɪ ə 'ˈjʊrən bɔm' waɪl ʃi wɑz ˈkəvərɪŋ ðə ˈvaɪələnt ˈproʊˌtɛsts ɪn ˈʃɑrlətsˌvɪl læst ˈsæˌtɪˌdeɪ. ʃi roʊt əˈbaʊt ðə ɪkˈspɪriəns ɪn ən ˈpəblɪʃt ˈfraɪˌdeɪ ˈkɔrɪk wɑz ɪn ˈʃɑrlətsˌvɪl ˈkəvərɪŋ ðə ˈræli ɛz pɑrt əv ə ˌdɑkjəˈmɛnəri ˈsɪriz ʃi ɪz ˈwərkɪŋ ɔn fər ˈnæʃənəl ˌʤiəˈgræfɪk əˈbaʊt 'ðə ˌrɛvəˈluʃənz ˈhæpənɪŋ ɪn ɑr ˈkəlʧər, kəmˈjunɪtiz ənd ˈfæməliz'. ˈpɪkʧərd: ˈproʊˌtɛstərz ənd klæʃ æt ðə ˈjuˌnaɪt ðə raɪt ˈræli læst ˈsæˌtɪˌdeɪ 'ɪt wɑz θroʊn ˈɪntu ðə ɛr ˈoʊvər ðə kraʊd frəm wət ðeɪ θɪŋk wɑz ə ˈwɔtər ˈbɑtəl. stɪl ənˈʃʊr hu θru ɪt ənd hu ɪgˈzæktli wɑz ˈtɑrgətɪd.' ˈkɔrɪk hæd ɔˈrɛdi ˈmɛnʃənd ðə ˈɪnsədənt ɪn ə twit læst ˈsæˌtɪˌdeɪ. ʃi roʊt: 'tu əv maɪ prəˈdusərz ʤɪst gɑt spreɪd wɪθ ˈjʊrən. ˈləvli. hɑrd tɪ kip jʊr kul.' ɪn ðə, ˈkɔrɪk kənˈtɪnjud tɪ ɪkˈspleɪn ˈəðər ɪnˈkaʊnərz ðət wər ˈhæpənɪŋ əraʊnd hər. 'əraʊnd ðə seɪm taɪm, ə lɑrʤ ənd ˈvaɪələnt brɔl broʊk aʊt nɪr ðə ˈkɔrnər əv ist ˈmɑrkɪt ənd strit,' ʃi roʊt. 'ˈstændɪŋ ɔn ðə ˈhɪlˌsaɪd æt ðə ˈɛntrəns tɪ ðə pɑrk, wi lʊkt aʊt ˈoʊvər ðə si əv ˈpipəl ˈstrəgəlɪŋ tɪ teɪk ˈkəvər. 'wi sɔ prɑˈʤɛktəlz biɪŋ θroʊn bæk ənd fɔrθ, ˌɪnˈkludɪŋ ˈbɑtəlz ənd braʊn ˈkələrd bəˈlunz (wɪʧ əˈnəðər rɪˈpɔrtər toʊld mi wər fɪld wɪθ ˈfiˌsiz).' weɪt ˈaʊtˈsaɪd li pɑrk tɪ hərl ˌɪnˈsəlts ɛz waɪt ˈnæʃənəlɪsts, ənd ˈmɛmbərz əv ðə 'alt-right*' ər fɔrst aʊt ˈæftər ðə ˈjuˌnaɪt ðə raɪt ˈræli wɑz dɪˈklɛrd ən ənˈlɔfəl ˈgæðərɪŋ ɔn ˈɔgəst 12 ɪn ˈʃɑrlətsˌvɪl, vərˈʤɪnjə waɪt ˈnæʃənəlɪsts, ənd ˈmɛmbərz əv ðə 'alt-right*' klæʃ wɪθ pəˈlis ɛz ðeɪ ər fɔrst aʊt əv li pɑrk læst ˈsæˌtɪˌdeɪ ˈkɔrɪk spɛnt 72 aʊərz ɪn ˈʃɑrlətsˌvɪl ˈlidɪŋ əp tɪ ðə ˈjuˌnaɪt ðə raɪt ˈræli ðət tərnd ˈvaɪələnt læst ˈsæˌtɪˌdeɪ. ðə ˈnæʃənəl ˌʤiəˈgræfɪk ˈtɛləˌvɪʒən ˈsɪriz ʃi wɑz ˈwərkɪŋ ɔn ɪz əˈbaʊt 'ðə ˌrɛvəˈluʃənz ˈhæpənɪŋ ɪn ɑr ˈkəlʧər, kəmˈjunɪtiz ənd ˈfæməliz'. ʃi sɛd ðə fərst ˈɛpɪˌsoʊd ˈkəvərz ðə 'ˈnæʃənəl ˌkɑnvərˈseɪʃən ˈteɪkɪŋ pleɪs ˈoʊvər ˈmɑnjəmənts ənd ˈstæˌʧuz'. 'aɪ nu ˈʃɑrlətsˌvɪl wɑz æt ðə ˈɛpəˌsɛntər əv ðə dəˈbeɪt bɪˈkəz əv ðə ˈstæˌʧu əv ðə mæn æt ðə ˈsɛnər əv taʊn: ˈrɑbərt i. li,' ʃi roʊt. 'ðɛrz bɪn soʊ məʧ sɛd ənd ˈrɪtən əˈbaʊt wət ˈhæpənd ðɛr, aɪ fɛlt aɪ ˈnidɪd tɪ gɪv maɪ oʊn əˈkaʊnt əv maɪ θri deɪz ɪn ˈʃɑrlətsˌvɪl. 'ɪts bɪˈkəm ðə ˈsɪmbəl əv wɛr wi ər, ɛz əˈmɛrɪkənz ɪn 2017 ənd ɪt breɪks maɪ hɑrt. bət ɪt ˈɔlsoʊ fɪlz mi wɪθ hoʊp.' ˈkɔrɪk (ˈpɪkʧərd ɪn ˌʤuˈlaɪ) sɛd ɪn hər ðət ðə əˈsaɪnmənt ɪn ˈʃɑrlətsˌvɪl ˈwəzənt ʤɪst ən əˈsaɪnmənt tɪ hər, bət ðət ɪt fɛlt mɔr ˈpərsɪnəl sɪns ʃi ˈgræʤəˌweɪtɪd frəm ðə ˌjunəˈvərsəti əv vərˈʤɪnjə ənd hər leɪt ˈsɪstər wɑz ə steɪt ˈsɛnətər ɪn ˈʃɑrlətsˌvɪl fər tɛn jɪrz ˌbiˈsaɪdz dɪˈskraɪbɪŋ hər taɪm ɪn ˈʃɑrlətsˌvɪl fər ðə 72 aʊərz ʃi spɛnt ðɛr, ˈkɔrɪk ˈɔlsoʊ ɪkˈspleɪnd haʊ hər əˈsaɪnmənt fɛlt mɔr ˈpərsɪnəl. ˈkɔrɪk ˈgræʤəˌweɪtɪd frəm ðə ˌjunəˈvərsəti əv vərˈʤɪnjə ənd hər leɪt ˈsɪstər hæd bɪn ə steɪt ˈsɛnətər ɪn ˈʃɑrlətsˌvɪl fər tɛn jɪrz. ˈkɔrɪk ˈrisəntli lɛft ˈjɑˌhu nuz wɛr ʃi hæd bɪn ˈwərkɪŋ sɪns ˈərli 2014 ðə tu jɪrz ˌbiˈfɔr ðət ʃi hæd bɪn ə ˈgloʊbəl ˌkɔrəˈspɑndənt ɔn ˈeɪˌbiˌsi. ʃi hæd ˈpriviəsli spɛnt 16 jɪrz ɔn təˈdeɪ ʃoʊ ənd ˈleɪtər wərkt æt ˈsiˌbiˌɛs.
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katie couric has described how two of her producers were hit by a 'urine bomb' while she was covering the protests in charlottesville last week.
the broadcast journalist, 60, was filming the violent virginia rally as part of a six-hour documentary series she is working on for national geographic.
couric wrote an op-ed that was published friday by the outlet as a way for her to 'reflect on her experiences'.
in the op-ed titled 'being in charlottesville broke my heart. it also filled me with hope', couric said two of her producers were splashed with a mixture of mud and urine.
'observing the rising battle of protest chants, two of my producers were standing on an elevated edge of the park when suddenly they were doused with a concoction of human urine and mud,' couric wrote.
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katie couric, 60, (pictured in may) has described how two of her national geographic producers were hit by a 'urine bomb' while she was covering the violent protests in charlottesville last saturday. she wrote about the experience in an op-ed published friday
couric was in charlottesville covering the rally as part of a six-hour documentary series she is working on for national geographic about 'the revolutions happening in our culture, communities and families'. pictured: protesters and counter-protesters clash at the unite the right rally last saturday
'it was thrown into the air over the crowd from what they think was a water bottle. still unsure who threw it and who exactly was targeted.'
couric had already mentioned the incident in a tweet last saturday.
she wrote: 'two of my producers just got sprayed with urine. lovely. hard to keep your cool.'
in the op-ed, couric continued to explain other encounters that were happening around her.
'around the same time, a large and violent brawl broke out near the corner of east market and 2nd street,' she wrote.
'standing on the hillside at the entrance to the park, we looked out over the sea of people struggling to take cover.
'we saw projectiles being thrown back and forth, including bottles and brown colored balloons (which another reporter told me were filled with feces).'
anti-fascist counter-protesters wait outside lee park to hurl insults as white nationalists, neo-nazis and members of the 'alt-right' are forced out after the unite the right rally was declared an unlawful gathering on august 12 in charlottesville, virginia
white nationalists, neo-nazis and members of the 'alt-right' clash with police as they are forced out of lee park last saturday
couric spent 72 hours in charlottesville leading up to the unite the right rally that turned violent last saturday.
the national geographic television series she was working on is about 'the revolutions happening in our culture, communities and families'.
she said the first episode covers the 'national conversation taking place over monuments and statues'.
'i knew charlottesville was at the epicenter of the debate because of the statue of the man at the center of town: robert e. lee,' she wrote.
'there's been so much said and written about what happened there, i felt i needed to give my own account of my three days in charlottesville.
'it's become the symbol of where we are, as americans in 2017, and it breaks my heart. but it also fills me with hope.'
couric (pictured in july) said in her op-ed that the assignment in charlottesville wasn't just an assignment to her, but that it felt more personal since she graduated from the university of virginia and her late sister was a state senator in charlottesville for ten years
besides describing her time in charlottesville for the 72 hours she spent there, couric also explained how her assignment felt more personal.
couric graduated from the university of virginia and her late sister had been a state senator in charlottesville for ten years.
couric recently left yahoo news where she had been working since early 2014. the two years before that she had been a global correspondent on abc.
she had previously spent 16 years on nbc's today show and later worked at cbs.
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noʊ, ˌkrɪsʧiˈænɪti ənd ər nɑt ˌɪnkəmˈpætəbəl: ə rɪˈplaɪ tɪ ˈkɑrloʊs mɔˈrɑlɛs ɛl æst jɪr, ˈkɑrloʊs mɔˈrɑlɛs roʊt ə pis ˈɑrgjuɪŋ ðət ˌkrɪsʧiˈænɪti ənd ər ˌɪnkəmˈpætəbəl. wɛl, tɪ bi ˈstrɪktli ˈtɛknɪkəl, hi roʊt ən ˈɑrtɪkəl ɛnˈtaɪtəld ənd ər incompatible.”*.” ˈɛniˌwən hu rɛd ðə ˈɑrtɪkəl ɪkˈspɛktɪŋ tɪ si ɪm ˈæˌkʧuəli ˈɑrgju ðɪs keɪs wʊd hæv bɪn ˌdɪsəˈpɔɪnɪd; mɔˈrɑlɛs əˈpɪrd kwaɪt əˈnɪntrəstəd ɪn dɪˈfɛndɪŋ hɪz ˈsteɪtmənt. ˌɪnˈstɛd, ðə ˈridər ɪz ˈtritɪd tɪ ə ˈlɛŋθi ˈdaɪəˌtraɪb fɪld wɪθ ðə ˈjuʒəwəl ˈeɪθiəst gəf əˈbaʊt ðə səˈpoʊzd ˌɪnˈʤəstəsɪz ənd ˌɪŋˈkɑnsɪˌstɛnsiz ɪn ðə ˈbaɪbəl. ðə ˌəndərˈlaɪɪŋ ˈprɛmɪs biɪŋ ðət, bɪˈkəz mɔˈrɑlɛs ˈkænɑt hɪmˈsɛlf riˈzɑlv ðə ˈpɛrəˌdɑksɪz ɪn ðə ˈbaɪbəl, ðeɪ məst ɪn fækt bi ˌɪnˈtərnəl ˌkɑntrəˈdɪkʃənz ðət ˈkænɑt bi riˈzɑlvd. ðɪs, ˌhaʊˈɛvər, ɪz nɑt ən ˈɑrgjəmənt əˈgɛnst ˌkrɪsʧiˈænɪti ər ˈkrɪsʧɪn, soʊ məʧ ɛz ɪt ɪz ə ˌdɛmənˈstreɪʃən ðət mɔˈrɑlɛs dɪz nɑt noʊ wət hi ɪz ˈtɔkɪŋ əˈbaʊt. ɛz ɪz ˈjuʒəwəli ðə keɪs wɪθ ˈprɑsələˌtaɪzɪŋ ˈeɪθiəsts əv ðɪs sɔrt, ðə ˈrɛtərɪk həz fɑr aʊˈtrən ðə ˈækʧəwəl ˈɑrgjəmənt. ðə ˈɑrtɪkəl smæks əv ðə əˈnərnd ɛr əv ˌsupɪriˈɔrɪti bɪˈlɔŋɪŋ tɪ ðə ˈeɪθiəst hu həz ˈlərnɪd əˈbaʊt rɪˈlɪʤən baɪ kənˈvərsɪŋ wɪθ ˈəðər ˈeɪθiəsts. ɪf ju əˈvɔɪd strɔŋ ˌɪnəˈlɛkʧuəl ˈkrɪtɪˌsɪzəm, ənd ˌɪnˈstɛd ˈfoʊkɪs ɔn kənˈvɪnsɪŋ ðoʊz hu ɔˈrɛdi əˈgri wɪθ ju, ˈizi tɪ dɪˈlud ˈjɔrsɛlf ˈɪntu ˈθɪŋkɪŋ jʊr keɪs ɪz ə lɔt ˈstrɔŋgər ðən ɪt ɪz. wət mɔˈrɑlɛs bɪˈlivz ər ““contradictions”*” ər ˈsɪmpli hɪz oʊn ˌɪnˈtərprətɪv ˈɛrərz, wɪʧ kʊd bi ˈizəli riˈzɑlvd baɪ ˈsəmˌwən wɪθ ə ˈbeɪsɪk ˌəndərˈstændɪŋ əv ˈbɪblɪkəl ənd interpretation…*… ər ɪn ˈmɛni ˈkeɪsɪz ʤɪst baɪ biɪŋ lɛs ˈkɛrlɛs ɪn ˈrɛdɪŋ ðə tɛkst. ˈɔfərɪŋ oʊn ˈɪgnərəns əv ˈbɪblɪkəl ˌɪnˌtərprɪˈteɪʃən ɛz pruf əv ə flɔd ˈbaɪbəl meɪ ərn ju frəm ˈəðər ˈeɪθiəsts; ˌhaʊˈɛvər, ɪf wən ɪz ˈɔlsoʊ traɪɪŋ tɪ poʊz ɛz ə ˌɪnəˈlɛkʧuəl ˈkrɪtɪk əv ˌkrɪsʧiˈænɪti, ˈɪgnərəns ɪz ˈhɑrdli ə ˈvərʧu. bət ˈgeɪnɪŋ ril ˈnɑlɪʤ əv ə ˈsəbʤɪkt kən bi oʊ soʊ ˈtidiəs, soʊ ɪt meɪks sɛns ðət mɔˈrɑlɛs həz ˈɑptɪd fər ðə ˈiziər roʊd əv ˈjuzɪŋ strɔŋ ˈrɛtərɪk tɪ mæsk wik ˌəndərˈstændɪŋ. ˌɪˈrɛləvənt ɪgˈzæmpəlz sɪns moʊst əv ðə səˈpoʊzd ˌkɑntrəˈdɪkʃənz mɔˈrɑlɛs traɪz tɪ pɔɪnt aʊt hæv ˈnəθɪŋ tɪ du wɪθ, ɪt wɪl səˈfaɪs tɪ ˈæˌdrɛs ˈoʊnli ə fju əv hɪz ˈsaɪtɪd ɪgˈzæmpəlz: gɑd sɪz tɪ ləv jʊr ˈneɪbər (ləˈvɪtəkəs ənd ðɛn tɛlz ˈmoʊzɪs tɪ kɪl hɪz ˈneɪbərz hu ər mɛn, ˈwɪmən, ənd ˈʧɪldrən ənd liv ðə ˈlɪtəl ˈvərʤənz tɪ du wɪθ ˌwəˈtɛvər ju laɪk 1 ˈsæmjul ðɪs ɪz ə praɪm ɪgˈzæmpəl əv mɔˈrɑlɛs ˈoʊvərˌlʊkɪŋ hɪz oʊn ˈθiˌsɪs ɪn ˈɔrdər tɪ teɪk ən ˌɪˈrɛləvənt swaɪp æt ðə ˈbaɪbəl. hi kʊd hæv, ɪf hi kɛrd tɪ, ədˈvænst ðə ˈɑrgjəmənt ðət ðə kəˈmænd gɑd geɪv tɪ kɪŋ sɔl (hum mɔˈrɑlɛs həz mɪˈsteɪkən fər ˈmoʊzɪs) tɪ meɪk wɔr ɔn ðə wɑz ə vaɪəˈleɪʃən əv ðə ˈprɪnsəpəl. bət hi ˈnɛvər ˈbɑðərz tɪ meɪk ðɪs ˈkrɪtɪˌsɪzəm, ənd soʊ aɪ wɪl nɑt ˈbɑðər tɪ rɪˈspɑnd tɪ ɪt. ˌɪnˈstɛd hi ˈoʊnli simz kənˈsərnd wɪθ ðə fækt ðət hi hɪmˈsɛlf ˈkænɑt ˈrɛkənˌsaɪl ðɪs wɪθ ðə kəˈmænd gɑd geɪv ɪn ləˈvɪtəkəs bət hæd hi rɛd ʤɪst ðə priˈsidɪŋ vərs, ðə əˈpɛrənt ˌkɑntrəˈdɪkʃən wʊd hæv bɪn ˈrɛkənˌsaɪld: 17 nɑt heɪt ə ˈfɛloʊ ˈɪzrəˌlaɪt ɪn jʊr hɑrt. rɪˈbjuk jʊr ˈneɪbər ˈfræŋkli soʊ ju wɪl nɑt ʃɛr ɪn ðɛr gɪlt. 18 nɑt sik riˈvɛnʤ ər bɛr ə grəʤ əˈgɛnst ˈɛniˌwən əˈməŋ jʊr ˈpipəl, bət ləv jʊr ˈneɪbər ɛz ˈjɔrsɛlf. aɪ æm ðə lɔrd. (niv*) ɪn ləˈvɪtəkəs, gɑd ɪz ˌɪnˈstrəktɪŋ ˈɪzrəˌlaɪts haʊ ðeɪ ʃʊd trit ˈəðər ˈɪzrəˌlaɪts; ɪn 1 ˈsæmjul, gɑd ɪz ˌɪnˈstrəktɪŋ ðə kɪŋ əv ˈɪzriəl tɪ meɪk wɔr əˈgɛnst ðə, hu wər ə ˈraɪvəl, ˈhɑstəl ˈneɪʃən. ðɛr ɪz noʊ ˌkɑntrəˈdɪkʃən. mɔˈrɑlɛs meɪ wɪʃ tɪ ˈɑbʤɛkt tɪ ðə ˈlætər kəˈmænd ɔn wən ˈbeɪsɪs ər əˈnəðər, bət ðət ɪz nɑt ðə əˈbʤɛkʃən hi ˈæˌkʧuəli reɪzd. pərˈhæps hi ʃʊd teɪk mɔr kɛr ɪn ˈfɔrmɪŋ hɪz ˈɑrgjəmənts; ˌɪnəˈlɛkʧuəl ˈleɪzinəs həz ə kɔst. hi kənˈtɪnjuz: ðə meɪk [sɪk] ˈprɑməsəz əv ɪkˈstərnəl ˈpraɪzɪz tɪ ðoʊz hu ər biɪŋ skrud ˈoʊvər ɪn ðə hir ənd naʊ. ɪt ɛˈsɛnʃəli əˈmaʊnts tɪ, gaɪz, aɪ noʊ ðə wərld goʊɪŋ tɪ gɪv ju ə ˈmæʤɪkəl praɪz wɪn dɛd ðət ˈnɛvər bi ˈeɪbəl tɪ tɛst. pləs, ðoʊz ˈəðər ˈæshoʊlz hu ju laɪk wɪl bi ˈpənɪʃt ɪn ðə ˈæftərˌlaɪf. gɑd awesome?!”*?!” ˈivɪn ɪf wi əkˈsɛpt ðə ˈprɛmɪs əv morales’*’ ˈɑrgjəmənt, ðət ðə ˈprɑməsəz əv ðə kənˈsərnɪŋ ˈhɛvən, hɛl ənd ðə ˈæftərˌlaɪf ˈkænɑt bi ˈpruvən, ðɪs dɪz nɑt lɛd ˈjuˈɛs tɪ ˈɛni ˌkɑntrəˈdɪkʃən wɪθ. [ˈʤizəs] tɛlz mɛn tɪ rɪp aʊt ðɛr aɪz ɪf ðeɪ lʊk æt ə ˈwʊmən. ˈʤizəs ˈɔlsoʊ kleɪmz ðət mɛn hu ˈmɛri dɪˈvɔrst ˈwɪmən ər əˈdəltərərz. hi dɪz ɔl ðiz θɪŋz, bət moʊst ˈpipəl ʤɪst rɪˈmɛmbər ðə nis jʊr neighbor”*” laɪn. ˈivɪn ɪf ˈʤizəs wər ˈædvəˌkeɪtɪŋ tɪ dil wɪθ ləst (hi), wət ˈdɪfərəns wʊd ðət meɪk frəm ə ˈstrɪktli ˌlɪˌbərˈtɛˌriən pərˈspɛktɪv? ɪn ə fri soʊˈsaɪɪti ˈpipəl wʊd bi fri tɪ hɑrm ðɛr ˈbɑdiz baɪ ˈteɪkɪŋ drəgz ər baɪ ˈoʊvərˈitɪŋ, ðeɪ ˈɔlsoʊ bi fri tɪ aʊt ðɛr eyes?”*?” mɔˈrɑlɛs simz tɪ hæv fərˈgɑtən əˈbaʊt self-ownership*. hi kleɪmz tɪ bi ˈpɔɪntɪŋ aʊt ˌkɑntrəˈdɪkʃənz bɪtˈwin ˈkrɪsʧɪn ənd ˌlɪˌbərˈtɛˌriən θɔt, bət həz səkˈsidɪd ˈoʊnli ɪn ˈpɔɪntɪŋ aʊt hɪz dɪˈsteɪst wɪθ ˈkrɪsʧɪn ˈsɛkʃuəl ˈɛθɪks. ðeɪ ər nɑt ðə seɪm. soʊ, sɪns mɔˈrɑlɛs simz tɪ læk ˈɛni ˈɪntəˌrɛst ɪn ˈæˌkʧuəli ˈmeɪkɪŋ hɪz keɪs ðət ənd ˌkrɪsʧiˈænɪti ˈkænɑt bi ˈrɛkənˌsaɪld, wət ɪz hɪz ril əˈʤɛndə? jʊr neighbor,”*,” bət ɪf ju θɪŋk ˈsɛksi rɪp aʊt jʊr aɪ. nɑt ɪgˈzæktli ðə kaɪnd əv ləv ə fæn əv. ˈrəfli 850 wərdz ɪn, ənd ˈfaɪnəli mɔˈrɑlɛs kəmz klin: hi ɪz ə fan”*” əv ˌkrɪsʧiˈænɪti. ðɛr ɪz ˈnəθɪŋ tɪ ˈɑrgju wɪθ hir hi kən bi ə ““fan”*” əv ˌwəˈtɛvər hi ˈwɪʃɪz. jɛt ənd ˌkrɪsʧiˈænɪti du nɑt ˌkɑntrəˈdɪkt wən əˈnəðər ˈsɪmpli bɪˈkəz hi laɪks ðə wən ənd dɪz nɑt laɪk ðə ˈəðər. ðə sˈleɪvəri ɪn rɪˈspɑns tɪ ˈrɑbərt pɔɪnt ðət ˈbɪblɪkəl ˈraɪtərz wər nɑt ˈsikɪŋ tɪ rɪˈfɔrm soʊˈsaɪɪti (e.g*. baɪ ˈsikɪŋ tɪ əˈbɑlɪʃ sˈleɪvəri) bət tɪ priʧ ðə ˈkrɪsʧɪn ˈgɔspəl, mɔˈrɑlɛs rɪˈtɔrts: əˈgri ɪf oʊˈbeɪɪŋ jʊr sleɪv ˈmæstər rɪˈpitɪd æd ˈnaʊˌzim [sɪk] θruaʊt ðə ɪnˈtaɪər ˈbaɪbəl (ʤoʊəl ənd ˈɔlsoʊ ɪf sɛd ˈpæsɪʤɪz pleɪ ə pɑrt ɪn ðə hɪˈstɔrɪkəl ˌʤəstəfəˈkeɪʃən əv ˈʧætəl sˈleɪvəri ɪn ðɪs ˈkəntri ənd ˈɛlsˌwɛr. hir mɔˈrɑlɛs ɪz ˈsɪmpli biɪŋ ɑbˈtus ənd əˌnækrəˈnɪstɪk. tru, ðə ˈbaɪbəl dɪz nɑt ˈaʊˈtraɪt kənˈdɛm sˈleɪvəri; bət ðɪs dɪz nɑt ˈkɑnstəˌtut ən ɛnˈdɔrsmənt əv sˈleɪvəri. ˈoʊnli ə ˈmɑdərn ˈeɪθiəst traɪɪŋ tɪ juz ˈmɑdərn ˈmɔrəl ˈʤəʤmənts tɪ ˈɪmplɪˌkeɪt ə tɛkst ˈrɪtən ˈθaʊzənz əv jɪrz ˌbiˈfɔr hɪz taɪm wʊd meɪk ðət mɪˈsteɪk. hɪz ˌprɑkləˈmeɪʃən ðət ˈbaɪbəl həz bɪn juzd tɪ ˈʤəstəˌfaɪ slavery!”*!” ɪz ˈdaʊnˌraɪt ˈpɛˌti. sˈleɪvəri həz bɪn ən ˌɪnstɪˈtuʃən θruaʊt ˈjumən ˌsɪvəlɪˈzeɪʃən, ənd həz bɪn ˈʤəstəˌfaɪd ɔn ˈɛni graʊnz, ər ɔn noʊ graʊnz æt ɔl. ðə ˈbaɪbəl ækˈnɑlɪʤɪz ənd əˈlaʊz fər ðə ɪgˈzɪstəns əv sˈleɪvəri, ɛz ˈɛvəri ˈeɪnʧənt bʊk dɪz; æt ðə seɪm taɪm ɪt ˈɔlsoʊ, ˈkruʃəli, ˈpleɪsɪz ˌlɪmɪˈteɪʃənz ɔn ðə ˈkɑndəkt əv ˈmæstərz təˈwɔrd ðɛr sleɪvz. kənˈsɪdərɪŋ ðə ˈeɪʤɪz ɪn wɪʧ ɪt wɑz ˈrɪtən, ðə aɪˈdiə əv ˌlɪmɪˈteɪʃənz ɔn wɑz ˈrædɪkəl ɪn ˌɪtˈsɛlf. ɪn fækt, ðə ˈkɑmənˌtɛri ɔn sˈleɪvəri ˈɔlsoʊ soʊd ðə sidz fər ðə ˌæbəˈlɪʃən əv sˈleɪvəri: ˌɪnˈdid, ðə greɪt ˈbrɪtɪʃ ˌæbəˈlɪʃənəst ˈwɪljəm ˈwɪlbərˌfɔrs kənˈsɪdərd hɪz wərk əˈgɛnst ðə sleɪv treɪd hɪz ˈkrɪsʧɪn ˈduti, ənd ɛkˈskɔriˌeɪtɪd ðoʊz hu juzd ðə ˈbaɪbəl tɪ ˈʤəstəˌfaɪ sˈleɪvəri: ɪt ɪz ˌhaʊˈɛvər, moʊst əv ɔl əˈstɑnɪʃɪŋ, ðət ɑr əˈpoʊnənts əˈtɛmpt tɪ ˈvɪndəkeɪt ðə sleɪv treɪd ɔn graʊnz əv rɪˈlɪʤən ˈɔlsoʊ. ðə ˈoʊnli ˈɑrgjəmənt wɪʧ ðeɪ ərʤ wɪθ, ðə sˈlaɪtəst ˈkələr əv ˈrizən ɪz ðət sˈleɪvəri wɑz əˈlaʊd ˈəndər ðə ʤuɪʃ dispensation…*…. bət ðeɪ hu ðəs ərʤ ɔn ˈjuˈɛs ðə dɪˈvaɪn ˌtɑlərˈeɪʃən əv sˈleɪvəri ˈəndər ðə ʤuɪʃ θiˈɑkrəsi, ʃʊd rɪˈmɛmbər ðət ðə ʤuz ðɛmˈsɛlvz wər ɛkˈsprɛsli kəˈmændɪd nɑt tɪ rɪˈteɪn ˈɛni əv ðɛr oʊn ˈneɪʃən, ˈɛni əv ðɛr ˈbrɛðrən ɪn ˈðɛrˌfɔr, ɛz wi ər rɪˈpitɪdli ənd ɛkˈsprɛsli toʊld ðət kraɪst həz dən əˈweɪ ɔl dɪˈstɪŋkʃənz əv ˈneɪʃənz, ənd meɪd ɔl ˈmænˈkaɪnd wən greɪt ˈfæməli, ɔl ɑr ˈfɛloʊ ˈkriʧərz ər naʊ ɑr ˈbrɛðrən; ənd ˈðɛrˌfɔr ðə ˈvɛri ˈprɪnsəpəlz ənd ˈspɪrɪt əv ðə ʤuɪʃ lɔ ˌɪtˈsɛlf wʊd fərˈbɪd ɑr ˈkipɪŋ ðə ˈæfrɪkənz, ˈɛni mɔr ðən ɑr oʊn ˈfɛloʊ ˈsəbʤɪkts, ɪn ə steɪt əv sˈleɪvəri. pur ˈwɪlbərˌfɔrs; ɪf hi hæd ˈoʊnli bɪn ˈeɪbəl tɪ drɔ ɔn morales’*’ dip ˈɪnˌsaɪt ˈɪntu ðə ˈbaɪbəl, hi wʊd hæv noʊn hi wɑz ˈweɪstɪŋ hɪz ˈɛfərts. ɪf mɔˈrɑlɛs ˈriʤɛkts ðə ˈbaɪbəl bɪˈkəz səm ˈpipəl hæv juzd ɪt tɪ ˈʤəstəˌfaɪ əv sˈleɪvəri, hi ʃʊd ˈɔlsoʊ ɪmˈbreɪs ðə ˈbaɪbəl bɪˈkəz ˈəðər ˈpipəl hæv juzd ɪt tɪ ˈʤəstəˌfaɪ ˌæbəˈlɪʃən. pərˈhæps hi ʃʊd ˈwəri əˈbaʊt hɪz oʊn ˌkɑntrəˈdɪkʃənz. nɑt ˌɪnkəmˈpætəbəl ɪn kənˈkluʒən, ɪf mɔˈrɑlɛs ˈwɪʃɪz tɪ pərsˈweɪd ˈkrɪsʧɪn ˌlɪbərˈtɛˌriənz tɪ fɔrˈseɪk ðɛr rɪˈlɪʤən bɪˈkəz ɪt ɪz ˌɪnkəmˈpætəbəl wɪθ ðɛr pəˈlɪtɪkəl bɪˈlifs, hi ʃʊd stɑrt baɪ əbˈteɪnɪŋ səm ˈbeɪsɪk ˈnɑlɪʤ əˈbaʊt ðə rɪˈlɪʤən hi ɪz əˈpoʊzɪŋ. ənˈtɪl hi dɪz soʊ, hi ɪz ˈsɪmpli ˈpriʧɪŋ tɪ ðə ˈeɪθiəst kwaɪər. ðɪs ˈʧaɪldɪʃ, ˈkɛrɪkəˌʧər əv ˌkrɪsʧiˈænɪti maɪt ˈgɑrnər əˈplɔz frəm ðoʊz hu ɔˈrɛdi əˈgri wɪθ ɪm, bət ɪt dɪz nɑt hɛlp ɪm meɪk ə strɔŋ keɪs ər ˈɛni keɪs æt ɔl tɪ ðoʊz hum hi kleɪmz tɪ bi traɪɪŋ tɪ kənˈvɪns. ˌkrɪsʧiˈænɪti ənd ər nɑt ˌɪnkəmˈpætəbəl; ʤɪst ðət mɔˈrɑlɛs læks ɪˈnəf ˈnɑlɪʤ əv ˌkrɪsʧiˈænɪti tɪ ˈrɛkənˌsaɪl ðɛm. [ɪf ˈɛniˌwən ɪz ˈlʊkɪŋ fər ˈfərðər ˈraɪtɪŋz wɪʧ ɪkˈspleɪn haʊ ənd ˌkrɪsʧiˈænɪti ər nɑt ˈoʊnli kəmˈpætəbəl, bət ɪgˈzæktli ˌkɑmpləˈmɛnʧi, ʧɛk aʊt ðə ˈrisɔrs peɪʤ, wɪʧ kənˈteɪnz ə wɛlθ əv ˈɛˌseɪz ɔn ðə ˈsəbʤɪkt.]
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no, christianity and libertarianism are not incompatible: a reply to carlos morales
l
ast year, carlos morales wrote a piece arguing that christianity and libertarianism are incompatible.
well, to be strictly technical, he wrote an article entitled “christianity and libertarianism are incompatible.” anyone who read the article expecting to see him actually argue this case would have been disappointed; morales appeared quite uninterested in defending his statement.
instead, the reader is treated to a lengthy diatribe filled with the usual atheist guff about the supposed injustices and inconsistencies in the bible. the underlying premise being that, because morales cannot himself resolve the paradoxes in the bible, they must in fact be internal contradictions that cannot be resolved.
this, however, is not an argument against christianity or christian libertarianism, so much as it is a demonstration that morales does not know what he is talking about.
as is usually the case with proselytizing atheists of this sort, the rhetoric has far outrun the actual argument. the article smacks of the unearned air of superiority belonging to the atheist who has learned about religion by conversing with other atheists. if you avoid strong intellectual criticism, and instead focus on convincing those who already agree with you, easy to delude yourself into thinking your case is a lot stronger than it is.
what morales believes are “contradictions” are simply his own interpretive errors, which could be easily resolved by someone with a basic understanding of biblical hermeneutics and interpretation… or in many cases just by being less careless in reading the text.
offering one’s own ignorance of biblical interpretation as proof of a flawed bible may earn you backslaps from other atheists; however, if one is also trying to pose as a intellectual critic of christianity, ignorance is hardly a virtue. but gaining real knowledge of a subject can be oh so tedious, so it makes sense that morales has opted for the easier road of using strong rhetoric to mask weak understanding.
irrelevant examples
since most of the supposed contradictions morales tries to point out have nothing to do with libertarianism, it will suffice to address only a few of his cited examples:
god says to love your neighbor (leviticus 19:18) and then tells moses to kill his neighbors who are men, women, and children and leave the little virgins to do with whatever you like (1 samuel 15:3).
this is a prime example of morales overlooking his own thesis in order to take an irrelevant swipe at the bible. he could have, if he cared to, advanced the argument that the command god gave to king saul (whom morales has mistaken for moses) to make war on the amalekites was a violation of the non-aggression principle. but he never bothers to make this criticism, and so i will not bother to respond to it.
instead he only seems concerned with the fact that he himself cannot reconcile this with the command god gave in leviticus 19:18. but had he read just the preceding verse, the apparent contradiction would have been reconciled:
17 “‘do not hate a fellow israelite in your heart. rebuke your neighbor frankly so you will not share in their guilt. 18 “‘do not seek revenge or bear a grudge against anyone among your people, but love your neighbor as yourself. i am the lord. (niv)
in leviticus, god is instructing israelites how they should treat other israelites; in 1 samuel, god is instructing the king of israel to make war against the amalekites, who were a rival, hostile nation. there is no contradiction. morales may wish to object to the latter command on one basis or another, but that is not the objection he actually raised. perhaps he should take more care in forming his arguments; intellectual laziness has a cost.
he continues:
the beatitudes make improvable [sic] promises of external prizes to those who are being screwed over in the here and now. it essentially amounts to, “look guys, i know the world sucks….i’m going to give you a magical prize when you’re dead that you’ll never be able to test. plus, those other assholes who you don’t like will be punished in the afterlife. isn’t god awesome?!”
even if we accept the premise of morales’ argument, that the promises of the beatitudes concerning heaven, hell and the afterlife cannot be proven, this does not lead us to any contradiction with libertarianism.
[jesus] tells men to rip out their eyes if they lustfully look at a woman. jesus also claims that men who marry divorced women are adulterers. he does all these things, but most people just remember the nice “love your neighbor” line.
even if jesus were advocating self-harm to deal with lust (he isn’t), what difference would that make from a strictly libertarian perspective? in a free society people would be free to harm their bodies by taking drugs or by overeating, wouldn’t they also be free to “rip out their eyes?” morales seems to have forgotten about self-ownership. he claims to be pointing out contradictions between christian and libertarian thought, but has succeeded only in pointing out his distaste with christian sexual ethics. they are not the same.
so, since morales seems to lack any interest in actually making his case that libertarianism and christianity cannot be reconciled, what is his real agenda?
“love your neighbor,” but if you think they’re sexy rip out your eye. not exactly the kind of love i’m a fan of.
roughly 850 words in, and finally morales comes clean: he is “not a fan” of christianity. there is nothing to argue with here — he can be a “fan” of whatever he wishes. yet libertarianism and christianity do not contradict one another simply because he likes the one and does not like the other.
the slavery straw-man
in response to robert murphy‘s point that biblical writers were not seeking to reform society (e.g. by seeking to abolish slavery) but to preach the christian gospel, morales retorts:
i’d agree if obeying your slave master wasn’t repeated ad nauseam [sic] throughout the entire bible (joel 3:8). and also if said passages didn’t play a part in the historical justification of chattel slavery in this country and elsewhere.
here morales is simply being obtuse and anachronistic. true, the bible does not outright condemn slavery; but this does not constitute an endorsement of slavery. only a modern atheist trying to use modern moral judgments to implicate a text written thousands of years before his time would make that mistake.
his proclamation that “the bible has been used to justify slavery!” is downright petty. slavery has been an institution throughout human civilization, and has been justified on any grounds, or on no grounds at all. the bible acknowledges and allows for the existence of slavery, as every ancient book does; at the same time it also, crucially, places limitations on the conduct of masters toward their slaves. considering the ages in which it was written, the idea of limitations on slave-owners was radical in itself.
in fact, the bible’s commentary on slavery also sowed the seeds for the abolition of slavery: indeed, the great british abolitionist william wilberforce considered his work against the slave trade his christian duty, and excoriated those who used the bible to justify slavery:
it is however, most of all astonishing, that our opponents attempt to vindicate the slave trade on grounds of religion also. the only argument which they urge with, the slightest color of reason is that slavery was allowed under the jewish dispensation…. but they who thus urge on us the divine toleration of slavery under the jewish theocracy, should remember that the jews themselves were expressly commanded not to retain any of their own nation, any of their brethren in slavery….inasmuch therefore, as we are repeatedly and expressly told that christ has done away all distinctions of nations, and made all mankind one great family, all our fellow creatures are now our brethren; and therefore the very principles and spirit of the jewish law itself would forbid our keeping the africans, any more than our own fellow subjects, in a state of slavery.
poor wilberforce; if he had only been able to draw on morales’ deep insight into the bible, he would have known he was wasting his efforts.
if morales rejects the bible because some people have used it to justify of slavery, he should also embrace the bible because other people have used it to justify abolition. perhaps he should worry about his own contradictions.
not incompatible
in conclusion, if morales wishes to persuade christian libertarians to forsake their religion because it is incompatible with their political beliefs, he should start by obtaining some basic knowledge about the religion he is opposing. until he does so, he is simply preaching to the atheist choir. this childish, cereal-box caricature of christianity might garner applause from those who already agree with him, but it does not help him make a strong case — or any case at all — to those whom he claims to be trying to convince.
christianity and libertarianism are not incompatible; just that morales lacks enough knowledge of christianity to reconcile them.
[if anyone is looking for further writings which explain how libertarianism and christianity are not only compatible, but exactly complementary, check out the libertarianchristians.com resource page, which contains a wealth of essays on the subject.]
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fər ðoʊz hu drim əv ə juˈnaɪtɪd steɪts ɪn wɪʧ ˈwɪmən ər nɑt əˈlaʊd tɪ hæv ən əˈbɔrʃən, 2015 simz tɪ bi ˈstɑrtɪŋ ɔn ə gʊd noʊt. boʊθ ˈhaʊsɪz əv ˈkɑŋgrəs ər naʊ rən baɪ rɪˈpəblɪkənz, hu kəm ɪn wɪθ ə speɪt əv bɪlz eɪmd æt ˈlɪmətɪŋ ˈækˌsɛs tɪ əˈbɔrʃən ənd ˈkrɪpəlɪŋ ðə ˌkɑnstəˈtuʃənəl raɪts ˈɔfərd baɪ roʊ vi weɪd. ɪz ˈvɛri klɪr ðət ˈlɛʤəsˌleɪtərz ənd ˈpipəl ˈrənɪŋ fər ˈɔfəs ər ɔn ðə əˈfɛns, ənd ɑr əˈpoʊnənts ər ɔn ðə defense,”*,” sɛd ˈmɑrʤəri, ˈprɛzɪdənt əv ðə ˈsuzən bi ˈænθɔˌni lɪst, ən grup ðət wərks tɪ ɪˈlɛkt ˈkænədɪts. sɛd ðət æt ðə ˈnæʃənəl prɛs kləb ɪn ˈwɔʃɪŋtən ˌdiˈsi ɔn ˈθərzˌdeɪ, wən deɪ ˈæftər plænd ˈpɛrənˌthʊd ˈprɛzɪdənt, sɪˈsil ˈrɪʧərdz, stʊd ɪn ðə seɪm ˈbɪldɪŋ ənd sɛd ðət ðə nu ˈkɑŋgrəs ənd ˈmɛni steɪt legislatures”*” ər əˈtækɪŋ raɪts tɪ meɪk ðɛr oʊn hɛlθ dɪˈsɪʒənz. pərˈhæps ðə moʊst ˈprɑmənənt əv ðə bɪlz ɔn sleɪt ɪz ðə ˈənˈbɔrn ʧaɪld prəˈtɛkʃən ækt, wɪʧ kɔlz fər ə bæn ɔn əˈbɔrʃənz ˈæftər 20 wiks əv ˈprɛgnənsi. ðə bɪl feɪld ɪn ðə ˈsɛnɪt læst jɪr, bət ɪt ɪz biɪŋ ˌriɪntrəˈdust nɛkst wik, ənd ɪt wɪl ˈizəli pæs ðə haʊs ənd naʊ həz strɔŋ səˈpɔrt ɪn ðə ˈsɛnɪt. ðə ˈənˈbɔrn ʧaɪld prəˈtɛkʃən ækt ɪz biɪŋ ɔn 22 ˈʤænjuˌɛri. ðət seɪm deɪ, mɑrʧ fər laɪf wɪl hoʊld ɪts ˈænjuəl ˈræli ɪn ˈwɔʃɪŋtən ˌdiˈsi ɛz ˈəðərz ˈsɛləˌbreɪt ðə ˌænəˈvərsəri əv ðə səˈprim roʊ vi weɪd dɪˈsɪʒən, wɪʧ kənˈtɪnjuz tɪ ˈɔfər ˈwɪmən ˌkɑnstəˈtuʃənəl prəˈtɛkʃən əv ðɛr raɪt tɪ ʧuz. bət ðɪs swɛl əv ˈsɛnəmənt məst feɪs ðə mæn wɪθ ðə ˈviˌtoʊ pɛn, ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə, hu ɪz ənd huz waɪt haʊs həz ɔˈrɛdi ˈɪʃud ˈviˌtoʊ θrɛts ɔn ˈəðər ˈɪʃuz ɪn ðə fərst wiks əv ˈkɑŋgrəs. lɪst sɛd ɪt ənd ɪts ˈpɑrtnərz spɛnt mɔr ðən ɪn ðə 2014 ɪˈlɛkʃən tɪ dɪˈfit ˈkænədɪts ənd tɪ ɪˈlɛkt ðoʊz hu ər nɑt. sɛd ðət ðə ˈmuvmənt wɑz ɪmˈpaʊərd baɪ ðə 2014 ˈmɪdˌtərm ɪˈlɛkʃən ənd ɪz traɪɪŋ tɪ ˈkæpətəˌlaɪz ɔn ɪts səkˈsɛsɪz ðɛr tɪ meɪk ɪt ə wɛʤ ˈɪʃu fər ˈvoʊtɪŋ grups ˌɪnˈkludɪŋ hɪˈspænɪks, ˈkæθlɪks ənd ˈwɪmən. wɪl kənˈtɪnju tɪ ˌɪnˈkrisɪŋgli bi ðə ˈwɪnɪŋ ˈmɑrʤən ɪn ɪˈlɛkʃənz ɪf wi pʊt ɑr wɪl tɪ ɪt, wɪʧ wi will,”*,” sɛd. ˈtælkət kæmp, ˈdɛpjəti dɪˈrɛktər əv ðə ˌriprəˈdəktɪv ˈfridəm ˈprɑʤɛkt, sɛd ðət ðə ˈlænˌskeɪp fər hɛlθ lɔz ɪn ðə ˈjuˈɛs ɪz worrisome”*”, bət teɪks ˈkəmfərt ɪn ðə fækt ðət stɪl ˈsəmˌwən səˈpɔrtɪv əv dɪˈsɪʒənz ɪn ðə waɪt house.”*.” ðə ˈəðər bɪlz ˌɪntrəˈdust ɪn ˈkɑŋgrəs soʊ fɑr ər ənˈlaɪkli tɪ drəm əp ˈwaɪdˈsprɛd səˈpɔrt. ˈsɛnətər ˈdeɪvɪd vitter*, ə luˌiziˈænə rɪˈpəblɪkən, ˌɪntrəˈdust fɔr bɪlz ðət wʊd, ɪf pæst, kənˈteɪn prəˈvɪʒənz ˌɪnˈkludɪŋ rikˈwaɪərɪŋ əˈbɔrʃən prəˈvaɪdərz tɪ hæv ədˈmɪtɪŋ ˈprɪvɪˌlɪʤɪz tɪ ə ˈloʊkəl ˈhɑˌspɪtəl; ˈbænɪŋ əˈbɔrʃənz pərˈfɔrmd ɔn ðə ˈbeɪsɪs əv ˈʤɛndər ənd ˈbɑrɪŋ plænd ˈpɛrənˌthʊd frəm rɪˈsivɪŋ ˈfɛdərəl ˈməni. ˈivɪn ɪf bɪlz laɪk ðə ˈənˈbɔrn ʧaɪld prəˈtɛkʃən ækt ənd prəˈpoʊzd ˈmɛʒərz ˈnɛvər pæs, ðeɪ meɪ stɪl bi əˈkɑmplɪʃɪŋ ˈsəmθɪŋ fər ðə ˈmuvmənt. həz ðɪs ˈifɛkt ɔn ˈpipəl ˈθɪŋkɪŋ əv əˈbɔrʃən ɛz ˈsɛpərˌeɪt frəm ˌriprəˈdəktɪv healthcare,”*,” sɛd li, ˈpɑləsi koʊˈɔrdəˌneɪtər fər ðə ˈsɛkʃən əv ˈfæməli ˈplænɪŋ ˌkɑntrəˈsɛptɪv ˈrisərʧ æt ðə ˌjunəˈvərsəti əv ʃəˈkɑˌgoʊ. ˈrɪli ðə seɪm ˈwɪmən hu ər ˈkəmɪŋ tɪ gɪt ˌkɑntrəˈsɛpʃən, meɪ kəm fər ən əˈbɔrʃən, bət ðɛn ðeɪ meɪ kəm bæk tu jɪrz ˈleɪtər fər priˈneɪtəl kɛr fər ðɛr ˈwɔntɪd pregnancy.”*.” ʃi sɛd wɪn əˈbɔrʃən bɪˈkəmz ˈsɛpərˌeɪtɪd frəm ˈhɛlθˌkɛr ɪt ðə ˈprɔˌsɛs fər ˈwɪmən ənd ðɛr prəˈvaɪdərz. ɪz ˌɑptɪˈmɪstɪk ðət ðɪs ɪz ˈʧeɪnʤɪŋ ənd ɪz ɪnˈkərəʤd baɪ ˈəðər nu ˈpɑləsiz ðət kənˈtrɪbjut tɪ ˌɪmˈpruvd ˌriprəˈdəktɪv hɛlθ kɛr, ˌɪnˈkludɪŋ ˈʧeɪnʤɪŋ ˌkɑntrəˈsɛptɪv lɔz ənd ðə faɪt fər peɪd pərˈɛntəl liv. æt list wən ˌrɛprɪˈzɛnətɪv əv ˈkɑŋgrəs ɪz traɪɪŋ tɪ stɪr ðə ˌkɑnvərˈseɪʃən ɪn ðət dɪˈrɛkʃɪn. ˌdɛməˈkrætɪk ˌrɛprɪˈzɛnətɪv ˈroʊzə dɛˈlɔroʊ, əv kəˈnɛtəkət, toʊld pəˈlɪtɪˌkoʊ ðət ˈrɛgjəˌleɪtɪŋ əˈbɔrʃən ɪz bɪɔnd ˈdutiz. roʊl əv ˈkɑŋgrəs ʃʊd nɑt bi tɪ dɪˈnaɪ ˈwɪmən ə ˈmɛdɪkəl prəˈsiʤər ðət ðeɪ hæv ˌdɪˈsaɪdɪd wɪθ ðɛr fəˈzɪʃən ɪz ðə raɪt kɔrs əv action,”*,” dɛˈlɔroʊ sɛd. ˈkɑŋgrəs ʃʊd bi duɪŋ ɪz ˈwərkɪŋ ˈɛvəri deɪ tɪ rɪˈdus ˌənɪnˈtɛndɪd ˈprɛgnənsiz ənd kip ˈwɪmən healthy.”*.”
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for those who dream of a united states in which women are not allowed to have an abortion, 2015 seems to be starting on a good note.
both houses of congress are now run by republicans, who come in with a spate of bills aimed at limiting access to abortion and crippling the constitutional rights offered by roe v wade.
“it is very clear that pro-life legislators and people running for office are on the offense, and our opponents are on the defense,” said marjorie dannenfelser, president of the susan b anthony list, an anti-abortion group that works to elect candidates.
dannenfelser said that at the national press club in washington dc on thursday, one day after planned parenthood president, cecile richards, stood in the same building and said that the new congress and “too many state legislatures” are attacking women’s rights to make their own health decisions.
perhaps the most prominent of the anti-abortion bills on congress’s slate is the pain-capable unborn child protection act, which calls for a ban on abortions after 20 weeks of pregnancy. the bill failed in the senate last year, but it is being reintroduced next week, and it will easily pass the house and now has strong support in the senate.
the pain-capable unborn child protection act is being re-introduced on 22 january. that same day, march for life will hold its annual rally in washington dc as others celebrate the 42nd anniversary of the supreme court’s roe v wade decision, which continues to offer women constitutional protection of their right to choose.
but this swell of anti-choice sentiment must face the man with the veto pen, president barack obama, who is pro-choice and whose white house has already issued veto threats on other issues in the first weeks of congress.
sba list said it and its partners spent more than $15m in the 2014 election to defeat pro-choice candidates and to elect those who are not. dannenfelser said that the anti-abortion movement was empowered by the 2014 midterm election and is trying to capitalize on its successes there to make it a wedge issue for voting groups including hispanics, catholics and women. “it will continue to increasingly be the winning margin in elections if we put our will to it, which we will,” dannenfelser said.
talcott camp, deputy director of the aclu’s reproductive freedom project, said that the landscape for women’s health laws in the us is “very worrisome”, but takes comfort in the fact that “there’s still someone supportive of women’s decisions in the white house.”
the other anti-abortion bills introduced in congress so far are unlikely to drum up widespread support.
senator david vitter, a louisiana republican, introduced four bills that would, if passed, contain provisions including requiring abortion providers to have admitting privileges to a local hospital; banning abortions performed on the basis of gender and barring planned parenthood from receiving federal money.
even if bills like the pain-capable unborn child protection act and vitter’s proposed measures never pass, they may still be accomplishing something for the anti-abortion movement.
“it has this effect on people thinking of abortion as separate from women’s reproductive healthcare,” said lee hasselbacher, policy coordinator for the section of family planning & contraceptive research at the university of chicago. “when really it’s the same women who are coming to get contraception, may come for an abortion, but then they may come back two years later for prenatal care for their wanted pregnancy.”
she said when abortion becomes separated from women’s healthcare it stigmatizes the process for women and their providers. hasselbacher is optimistic that this is changing and is encouraged by other new policies that contribute to improved reproductive health care, including changing contraceptive laws and the fight for paid parental leave.
at least one representative of congress is trying to steer the conversation in that direction. democratic representative rosa delauro, of connecticut, told politico that regulating abortion is beyond congress’s duties.
“the role of congress should not be to deny women a medical procedure that they have decided with their physician is the right course of action,” delauro said. “what congress should be doing is working every day to reduce unintended pregnancies and keep women healthy.”
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ˈpɔrtlənd, meɪn wət ˈlɪtəl ʧæns moʊnˈkɑdə hæd əv ˈblɛndɪŋ ɪn tɪ hɪz nu kəmˈjunɪti ˈvænɪʃt θri wiks əˈgoʊ wɪn hi ʃoʊd əp ˈdraɪvɪŋ ə ˈbiˌɛmˈdəbəlju ˈwaɪdˌbɑdi wɪθ ə ˈkəstəˌmaɪzd "ym*" krɛst ɔn ðə hʊd. ˈmaɪnər lig taʊnz doʊnt ˈjuʒəwəli si səʧ bɪg lig wilz. "ˈɛvriˌbɑdi wɑz ˈkəmɪŋ aʊt ənd ˈlʊkɪŋ æt ðə kɑr," sɛd ˈdeɪvɪd ˈheɪstɪŋz, ˈeɪʤənt. "ˈɛvəri taɪm wi wʊd stɑp fər gæs, ər stɑp fər dɪˈrɛkʃɪnz, ər stɑp æt ðə hoʊˈtɛl, ˈɛniˌθɪŋ, ˈɛvriˌbɑdi wɑz ˈkəmɪŋ aʊt ənd goʊɪŋ, 'wət ɪz ðət? wət ɪz ðət?'" ðɛrz ə lɔt əˈbaʊt moʊnˈkɑdə ðət foʊks hir ˈhævənt sin ˌbiˈfɔr. ɪt ˈɪzənt ðət ɪˈlit ˈprɑspɛkts doʊnt stɑp ɪn ˈpɔrtlənd, hoʊm tɪ ðə ˈbɔstən rɛd ˈsɑksɪz tim sɪns 2003 ənd ə ˈflɔrɪdə ˈmɑrlənz əˈfɪliˌeɪt ˌbiˈfɔr ðət. ˈeɪdriən gɑnˈzɑləz ənd ʤɑʃ ˈbɛkɪt pleɪd hir. soʊ dɪd ˈdəstɪn, ˈhænli rəˈmɪrɛz, ʤɑn ˈlɛstər ənd ˈʤɑnəθən (ɔl ɪn wən ˈsizən, noʊ lɛs). mɔr ˈrisəntli, ˈʤæki ˈbrædli jr*., ənd bɛts pæst θru ˈdaʊnˈtaʊn ˈhædlək fild ɔn ðɛr weɪ tɪ ˈfɛnˌweɪ pɑrk. ənd moʊnˈkɑdə wɑz prɪˈsidɪd baɪ wən mənθ baɪ ðə ərˈaɪvəl əv 2015 dræft pɪk ˈændru, hu səm ˈtælənt ræŋk əˈhɛd əv moʊnˈkɑdə ɛz ˈbɔstənz tɔp ˈprɑspɛkt. bət nən keɪm wɪθ ˈmɪljən ɔˈrɛdi ɪn ðə bæŋk. ðæts wət ðə rɛd sɑks spɛnt læst jɪr tɪ saɪn moʊnˈkɑdə, ə ˈɪnˌfildər hu lɛft ˈkjubə 25 mənθs əˈgoʊ. ðeɪ ˈɔlsoʊ peɪd ˈmɪljən tɪ ˈmeɪʤər lig ˈbeɪsˈbɔl fər ɪkˈsidɪŋ ðɛr əˈlɑtɪd ˌɪnərˈnæʃənɑl ˈboʊnəs ˈməni, bət fər ə pleɪər əv ˈtælənt, ˈoʊnər ʤɑn ˈhɛnri wɑz ˈwɪlɪŋ tɪ teɪk ðə ˈpɛnəlti. soʊ, ɪf ˌɛkspɛkˈteɪʃənz fər moʊnˈkɑdə wərənt haɪ ɪˈnəf, ðeɪ hæv bɪn ˈræʧətɪd əp ˈivɪn mɔr sɪns hɪz ʤun 20 pərˈmoʊʃən tɪ ˈpɔrtlənd, ˈmɑrkɪŋ hɪz ərˈaɪvəl ɪn nu ˈɪŋglənd ˈæftər ˈspɛndɪŋ læst jɪr æt ˈgrinvɪl (saʊθ ˌkɛrəˈlaɪnə) ənd ðə fərst hæf əv ðɪs ˈsizən æt ˈseɪləm (vərˈʤɪnjə). naʊ, æt læst, rɛd sɑks fænz kən si wɪθ ðɛr oʊn aɪz wət ɔl ðə fəs ɪz əˈbaʊt. ənd meɪk noʊ mɪˈsteɪk: ɪts ˈɑbviəs. ˈɛnərɪŋ pleɪ ˈfraɪˌdeɪ naɪt, moʊnˈkɑdə wɑz 317 wɪθ θri ˈdəbəlz, tu ˈtrɪpəlz, fɔr ˈhoʊmərz, 14 rbis*, fɔr ˈstoʊlən ˈbeɪsɪz ɪn fɔr əˈtɛmpts ənd ə 977 ɑps ɪn 15 geɪmz. hi ˈɔlsoʊ ˈhædənt kəˈmɪtɪd ən ˈɛrər æt ˈsɛkənd beɪs. ɔn ˈsənˌdi, hi wɪl ʤɔɪn ɪn sæn diˈeɪgoʊ fər ðə fˈjuʧərz geɪm, ðə ˈænjuəl ˈʃoʊˌkeɪs əv ˈbeɪsˈbɔlz moʊst ˈhaɪli ˈtaʊtɪd ˈprɑspɛkts. ˈpɔrtlənd ˈmænɪʤər ˈkɑrloʊs ˈfɛbəlz wɪl bi səˈpraɪzd ɪf moʊnˈkɑdə ˈɪzənt ðə bɛst pleɪər ðɛr. læst ˈfraɪˌdeɪ naɪt ˌbiˈfɔr moʊnˈkɑdə laɪnd ə ˈleɪzər bim ˈoʊvər ðə wɔl, pɑrt əv ə geɪm ɪn ðə fəˈnæli əv ə ˈfɛbəlz sɛd hiz ðə moʊst ˈtæləntɪd pleɪər hi həz bɪn əraʊnd æt ðə ˈlɛvəl sɪns ˈkɑrloʊs ˈbɛltrən. ˈfɛbəlz ənd ˈbɛltrən wər ˈtimˌmeɪts ɪn ðə ˈkænzəs ˈsɪti rɔɪəlz ˌɔrgənəˈzeɪʃən, ˌɪnˈkludɪŋ ɪn 1998 wɪn ˈbɛltrən ˈbætɪd 352 wɪθ 14 ˈhoʊmərz ənd ˈsɛvən stilz ɪn 47 geɪmz fər ˈwɪʧəˌtɔ. ɪf ˈɛniˌθɪŋ, ˈfɛbəlz sɪz, moʊnˈkɑdə ɪz mɔr ˈdɛrɪŋ ɔn ðə ˈbeɪsɪz, ˌənəˈfreɪd tɪ rən əˈgɛnst ˈɛni ˈpɪʧər ɪn ˈɛni ˌsɪʧuˈeɪʃən. "ɪf ə gaɪ wɑz [ˈsɛkəndz tɪ ðə pleɪt], ˈbɛltrən wʊd nɑt goʊ," ˈfɛbəlz rɪˈkɔld. ðə ˈəðər weɪ əraʊnd. hi sɪz, əm goʊɪŋ.' mɔr əˈgrɛsɪv ðən ˈbɛltrən. bət aɪ θɪŋk ɪf ju wɔʧ ˈbɛltrən hɪt ənd moʊnˈkɑdə hɪt, ðeɪ boʊθ kaɪnd əv hæv ðə seɪm ˈsɛˌtəp æt ðə pleɪt. ɪts ə ˈvɛri, ˈvɛri ˈsɪmələr kaɪnd əv gaɪ. "ˈkɑrloʊs wɑz fæst, greɪt ɑrm, paʊər. ðə gaɪ kʊd du ɪt ɔl, ənd hi ʤɪst kɛpt ˈgɪtɪŋ ˈbɛtər ənd ˈbɛtər ənd ˈbɛtər ˈɛvəri jɪr. ju si moʊnˈkɑdə wɪθ ðə seɪm kaɪnd əv tulz ðət ˈbɛltrən hæd. hiz ə gaɪ ðət kən goʊ tɪ ðə bɪg ligz ənd hɪt 20 ˈhoʊmərz laɪk ˈkɑrloʊs dɪd æt ðə bɪˈgɪnɪŋ əv hɪz kərɪr ənd stil mɔr bægz ðən ˈkɑrloʊs. aɪ min, waɪ nɑt θɪŋk əˈbaʊt ðət?" moʊnˈkɑdə ˌɪnˈsɪsts hi ˈɪzənt ˈθɪŋkɪŋ əˈbaʊt məʧ ˈəðər ðən kənˈtɪnjuɪŋ tɪ ˌɪmˈpruv. sˈwɪʧɪŋ pəˈzɪʃənz frəm ˈsɛkənd beɪs, wɛr ˈrisəntli ˈleɪbəld baɪ ˈmænɪʤər ʤɑn ˈfɛrɪl ɛz ðə rɛd ˈsɑksɪz "də ˈfæktoʊ ˈkæptən" ɪz oʊd ˈmɪljən ənd saɪnd θru 2021 "ðæts ɔn [ðə rɛd sɑks]," moʊnˈkɑdə sɪz θru ðə trænzˈleɪʃən əv ˈpɪʧər ˈwɪljəmz jɛˈrɛz, ˈædɪŋ hi "wɪl pleɪ ˈɛni pəˈzɪʃən dɪˈpɛndɪŋ ɔn wət ðə tim wɔnts mi tɪ du." ðə ˌpɑsəˈbɪləˌti ðət ðə sɑks kʊd meɪk ɪm ðə ˈsɛntərˌpis əv ə dil, ˈiðər ˌbiˈfɔr ðə ˈɔgəst. 1 treɪd ˈdɛˌdlaɪn ər ɪn ðə offseason*, fər ˈsəmˌwən laɪk maɪˈæmi ˈmɑrlənz eɪs ˌhoʊˈzeɪ fɛrˈnɑndɛz? "ðæts aʊt əv maɪ kənˈtroʊl," moʊnˈkɑdə kleɪmz. ˈprɛʃər tɪ lɪv əp tɪ ðə ˈrənəˌweɪ haɪp əˈsoʊʃiˌeɪtəd wɪθ biɪŋ ə 63 ˈmɪljən ˌɪnˈvɛstmənt? wət ˈprɛʃər? "noʊ, aɪ doʊnt fil ˈɛni ˈprɛʃər," moʊnˈkɑdə sɛd. "əm ˈoʊnli hir tɪ pleɪ ˈbeɪsˈbɔl ənd nɑt θɪŋk əˈbaʊt ˈɛniˌθɪŋ ɛls. aɪ ʤɪst kəm tɪ ðə fild, pleɪ ˈɛvəri deɪ, pleɪ maɪ geɪm ənd doʊnt ˈwəri əˈbaʊt ˈɛniˌθɪŋ." sɛd ʤoʊ ˈheɪstɪŋz, waɪf əv ˈeɪʤənt ənd ˈsəmθɪŋ əv ə ˈsərəˌgeɪt ˈməðər sɪns moʊnˈkɑdə əraɪvd ɪn ðə juˈnaɪtɪd steɪts: "aɪ doʊnt θɪŋk hi gɪts ɪt. aɪ doʊnt θɪŋk hi siz hɪmˈsɛlf ɛz moʊnˈkɑdə, tɔp ˈprɑspɛkt.'" bət moʊnˈkɑdə ɔˈrɛdi ɪz ə bɪg dil, əˈspɛʃəli ɪn nu ˈɪŋglənd. ˈivɪn ˌbiˈfɔr ðə ˈsaɪnɪŋ bɪˈkeɪm əˈfɪʃəl ɪn ˈfɛbruˌɛri 2015 ˈdeɪvɪd ˈheɪstɪŋz sɛd hi rɪˈsivd ˈiˌmeɪlz frəm ˈməltəpəl ˈpɔrtlənd ˈrɛzɪdənts ˈɔfərɪŋ tɪ lɛt moʊnˈkɑdə steɪ wɪθ ðɛm wɪn hi wɑz prəˈmoʊtəd tɪ. moʊnˈkɑdə əˈpɪrz tɪ bi ˌɛnˈʤɔɪɪŋ hɪz ˌnoʊtərˈaɪəti. ˈæftər hɪz ˈdeɪbju, hi həŋ əraʊnd baɪ ðə ˈdəˌgaʊt tɪ saɪn ˈɔtəˌgræfs fər ˈbrɛθləs fænz. ənd hi ˈɪzənt əˈfreɪd tɪ flɔnt hɪz ˈnuˈfaʊnd ˈrɪʧɪz. moʊnˈkɑdə oʊnz θri ˈvɪntɪʤ kɑz: ə ˌlæmbərˈgini ənd tu bmws*. ˌlæmbərˈgini. ˈkərtəsi əv ˈæləks ˈveɪgə, ðə ˈɔtoʊ fərm. "aɪ hæd ə toʊˈjoʊtə siena*, ə væn," ˈheɪstɪŋz sɛd. "aɪ kɛpt ˈtɛlɪŋ ɪm, 'ju nid ðɪs. ðɪs ɪz wət ju nid.' hi wʊd krɪnʤ. aɪ θɪŋk ɪts bɪn ə juʤ əˈʤəstmənt fər ɪm, ˈkəmɪŋ frəm ˈkjubə ənd nɑt noʊɪŋ ˈɛniˌθɪŋ əˈbaʊt ɑr trəˈdɪʃənz ənd ɑr ˈhɪstəri ənd wəts ɪkˈspɛktɪd əv ɪm. ənd ðɛn θroʊ ɪn ðə ˈməni ˈæˌspɛkt, goʊɪŋ frəm biɪŋ ˈtoʊtəli dərt pur tɪ ɪkˈstrimli ˈwɛlθi ənd ˈhævɪŋ ɔl ðə ˈprɛʃər əv ˈɛvriˌbɑdi ˈwɑnɪŋ tɪ bi hɪz frɛnd, ˈɛvriˌbɑdi ˈwɑnɪŋ tɪ fɔl ɪn ləv wɪθ ɪm." ˈwɑʧɪŋ moʊnˈkɑdə pleɪ, ðɛrz ə lɔt tɪ ləv. tu ˈɪnɪŋz ˈɪntu hɪz fərst geɪm, moʊnˈkɑdə meɪd ə ˈdaɪvɪŋ pleɪ tɪ hɪz lɛft. wən ˈɪnɪŋ ˈæftər ðət, hi reɪnʤd tɪ hɪz lɛft əˈgɛn ənd θru əˈkrɔs hɪz ˈbɑdi tɪ stɑrt ə ˈdəbəl pleɪ. ɪts noʊ ˈwəndər ˈfɛbəlz bɪˈlivz moʊnˈkɑdə həz ðə æθˈlɛtɪˌsɪzm tɪ pleɪ ˈɛni pəˈzɪʃən. "aɪ ˈnɛvər ˌɪˈmæʤənd pleɪɪŋ ˈaʊtˌfild ənd hiz pleɪɪŋ ðɛr naʊ," sɛd ˈfɛbəlz, hu pleɪd bɛts ɛz ə ˈsɛkənd ˈbeɪsmən ɪn ˈgrinvɪl ɪn 2013 "ɪf ðə taɪm kəmz fər [moʊnˈkɑdə] tɪ goʊ tɪ ðə ˈaʊtˌfild, aɪ doʊnt si noʊ ˈrizən fər ɪm nɑt tɪ bi səkˈsɛsfəl aʊt ðɛr. ər θərd beɪs. hiz ˈdɛfənətli ˈkeɪpəbəl əv duɪŋ ðət." ənd ənˈlaɪk ˈmɛni ˈrisənt ˈkjubən pleɪərz hu wɛnt dɪˈrɛkli tɪ ðə bɪg ligz, moʊnˈkɑdə ɪz ˈlərnɪŋ ðə ˈnuɑnsɪz əv ðə geɪm æt ðə ˈlɛvəl. əˈkɔrdɪŋ tɪ ˈfɛbəlz, moʊnˈkɑdə ɪz "mɔr rɪˈfaɪnd" ðən səm əv ðə ˈəðər ˈkjubən pleɪərz ðət spɛnd ɛz məʧ taɪm ɪn ðə ˈmaɪnərz. rɛd sɑks ˈprɛzɪdənt əv ˈbeɪsˈbɔl ˌɑpərˈeɪʃənz deɪv dəmˈbrɔfski pruvd hiz ˈwɪlɪŋ tɪ ˈsækrəˌfaɪs ˈprɑspɛkts fər ðə kɔz əv ˈwɪnɪŋ naʊ wɪn hi dɛlt ˈtaʊtɪd ˈsɛnər ˈfildər mɑnˈwɛl ˈmɑrgoʊ ənd θri ˈəðər ˈmaɪnər ˈligərz tɪ ðə sæn diˈeɪgoʊ ˈpæˌdreɪz læst noʊˈvɛmbər fər ˈkloʊzər kreɪg ˈkɪmbrəl. bət ðɛrz ə sɛns wɪˈθɪn ðə ˈɪndəstri ðət hi wʊd nid tɪ bi ˌoʊvərˈwɛlmd tɪ muv moʊnˈkɑdə. "hiz ə ˈvɛri gʊd əˈfɛnsɪv pleɪər," dəmˈbrɔfski sɛd. "hi draɪvz ðə bɔl; hi hɪts fər ən ˈævərɪʤ; hiz wɔkt ə lɔt ðɪs jɪr; hi stilz ə lɔt əv ˈbeɪsɪz. ˈprɑbəˌbli goʊɪŋ tɪ kənˈtɪnju tɪ lərn ðə ˈnuɑnsɪz əv ˈstilɪŋ ˈbeɪsɪz. bət hiz ə ˈfaɪnli skɪld əˈfɛnsɪv pleɪər. aɪl bi səˈpraɪzd ɪf hiz nɑt ə ˈrɪli gʊd bɪg ˈligər." ˈfræŋkli, ˈfɛbəlz wʊd bi stənd. "aɪ θɪŋk hiz goʊɪŋ tɪ bi ə ləˈʤɪtəmət bɪg ˈligər, ən ˌɔlˈstɑr ɪn ðə bɪg ligz," ˈfɛbəlz sɛd. "aɪ θɪŋk hi ʤɪst nidz tɪ gɪt səm mɔr geɪmz ˈəndər hɪz bɛlt. gɪt ə jɪr ənd hæf, tu jɪrz, ənd ðɛrz noʊ daʊt hiz goʊɪŋ tɪ bi ən ˌɪmˈpækt pleɪər ɪn ðə bɪg ligz." ənd soʊ, moʊnˈkɑdə wɪl kənˈtɪnju tɪ tərn hɛdz ɪn ˈpɔrtlənd fər ˈrizənz ðət goʊ bɪɔnd hɪz ˈfænsi kɑr.
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portland, maine -- what little chance yoan moncada had of blending in to his new community vanished three weeks ago when he showed up driving a bmw x6m lumma widebody with a customized "ym" crest on the hood. minor league towns don't usually see such big league wheels.
"everybody was coming out and looking at the car," said david hastings, moncada's agent. "every time we would stop for gas, or stop for directions, or stop at the hotel, anything, everybody was coming out and going, 'what is that? what is that?'"
there's a lot about moncada that folks here haven't seen before.
it isn't that elite prospects don't stop in portland, home to the boston red sox's double-a team since 2003 and a florida marlins affiliate before that. adrian gonzalez and josh beckett played here. so did dustin pedroia, hanley ramirez, jon lester and jonathan papelbon (all in one season, no less). more recently, jackie bradley jr., xander bogaerts and mookie betts passed through downtown hadlock field on their way to fenway park. and moncada was preceded by one month by the arrival of 2015 first-round draft pick andrew benintendi, who some talent evaluators rank ahead of moncada as boston's top prospect.
but none came with $31.5 million already in the bank. that's what the red sox spent last year to sign moncada, a 21-year-old switch-hitting infielder who left cuba 25 months ago. they also paid $31.5 million to major league baseball for exceeding their allotted international bonus money, but for a player of moncada's talent, owner john henry was willing to take the penalty.
so, if expectations for moncada weren't high enough, they have been ratcheted up even more since his june 20 promotion to portland, marking his arrival in baseball-crazed new england after spending last year at low-a greenville (south carolina) and the first half of this season at high-a salem (virginia). now, at last, red sox fans can see with their own eyes what all the fuss is about.
and make no mistake: it's obvious.
entering play friday night, moncada was 20-for-63 (.317) with three doubles, two triples, four homers, 14 rbis, four stolen bases in four attempts and a .977 ops in 15 double-a games. he also hadn't committed an error at second base. on sunday, he will join benintendi in san diego for the futures game, the annual showcase of baseball's most highly touted prospects.
portland manager carlos febles will be surprised if moncada isn't the best player there.
last friday night -- before moncada lined a laser beam over the right-field wall, part of a five-rbi game in the finale of a doubleheader -- febles said he's the most talented all-around player he has been around at the double-a level since carlos beltran. febles and beltran were teammates in the kansas city royals organization, including in 1998 when beltran batted .352 with 14 homers and seven steals in 47 games for double-a wichita. if anything, febles says, moncada is more daring on the bases, unafraid to run against any pitcher in any situation.
"if a guy was 1.3 [seconds to the plate], beltran would not go," febles recalled. "moncada's the other way around. he says, '1.3? i'm going.' moncada's more aggressive than beltran. but i think if you watch beltran hit and moncada hit, they both kind of have the same setup at the plate. it's a very, very similar kind of guy.
"carlos was fast, great arm, power. the guy could do it all, and he just kept getting better and better and better every year. you see moncada with the same kind of tools that beltran had. he's a guy that can go to the big leagues and hit 20 homers like carlos did at the beginning of his career and steal more bags than carlos. i mean, why not think about that?"
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moncada insists he isn't thinking about much other than continuing to improve.
switching positions from second base, where pedroia -- recently labeled by manager john farrell as the red sox's "de facto captain" -- is owed $77.5 million and signed through 2021? "that's on [the red sox]," moncada says through the translation of pitcher williams jerez, adding he "will play any position depending on what the team wants me to do."
the possibility that the pitching-starved sox could make him the centerpiece of a deal, either before the aug. 1 trade deadline or in the offseason, for someone like miami marlins ace jose fernandez? "that's out of my control," moncada claims.
pressure to live up to the runaway hype associated with being a $63 million investment? what pressure?
"no, i don't feel any pressure," moncada said. "i'm only here to play baseball and not think about anything else. i just come to the field, play every day, play my game and don't worry about anything."
said jo hastings, wife of moncada's agent and something of a surrogate mother since moncada arrived in the united states: "i don't think he gets it. i don't think he sees himself as 'yoan moncada, top prospect.'"
but moncada already is a big deal, especially in new england. even before the signing became official in february 2015, david hastings said he received e-mails from multiple portland residents offering to let moncada stay with them when he was promoted to double-a.
moncada appears to be enjoying his notoriety. after his double-a debut, he hung around by the dugout to sign autographs for breathless fans. and he isn't afraid to flaunt his newfound riches. moncada owns three vintage cars: a lamborghini huracan and two bmws.
yoan moncada's lamborghini huracan. courtesy of alex vega, the auto firm.
"i had a 12-year-old toyota siena, a van," hastings said. "i kept telling him, 'you need this. this is what you need.' he would cringe. i think it's been a huge adjustment for him, coming from cuba and not knowing anything about our traditions and our history and what's expected of him. and then throw in the money aspect, going from being totally dirt poor to extremely wealthy and having all the pressure of everybody wanting to be his friend, everybody wanting to fall in love with him."
watching moncada play, there's a lot to love.
***
two innings into his first double-a game, moncada made a diving play to his left. one inning after that, he ranged to his left again and threw across his body to start a double play.
it's no wonder febles believes moncada has the athleticism to play any position.
"i never imagined mookie playing outfield and he's playing there now," said febles, who played betts as a second baseman in greenville in 2013. "if the time comes for [moncada] to go to the outfield, i don't see no reason for him not to be successful out there. or third base. he's definitely capable of doing that."
and unlike many recent cuban players who went directly to the big leagues, moncada is learning the nuances of the game at the minor-league level. according to febles, moncada is "more refined" than some of the other cuban players that didn’t spend as much time in the minors.
red sox president of baseball operations dave dombrowski proved he's willing to sacrifice prospects for the cause of winning now when he dealt touted center fielder manuel margot and three other minor leaguers to the san diego padres last november for closer craig kimbrel. but there's a sense within the industry that he would need to be overwhelmed to move moncada.
"he's a very good offensive player," dombrowski said. "he drives the ball; he hits for an average; he's walked a lot this year; he steals a lot of bases. probably going to continue to learn the nuances of stealing bases. but he's a finely skilled offensive player. i'll be surprised if he's not a really good big leaguer."
frankly, febles would be stunned.
"i think he's going to be a legitimate big leaguer, an all-star in the big leagues," febles said. "i think he just needs to get some more games under his belt. get a year and half, two years, and there's no doubt he's going to be an impact player in the big leagues."
and so, moncada will continue to turn heads in portland for reasons that go beyond his fancy car.
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ˌbeɪˈʒɪŋ həz dɪˈplɔɪd ɪts ɛr dɪˈfɛns ˈmɪsəl ˈwɛpənz ˈsɪstəmz tɪ faɪər æt ˈsɪmjəˌleɪtɪd ˈsərfəs ənd ɛr ˈtɑrgəts æt si, ɛz ðə ʧaɪˈniz ɛr fɔrs sɛd ɪts ˌpərsəˈnɛl ər tɪ bi ˈmɑdəˌfaɪd tɪ lɔŋ ˈdɪstəns ˈtreɪnɪŋ, ˈhævɪŋ ˈpriviəsli ˈkɔnsənˌtreɪtɪd ɔn ˌtɛrɪˈtɔriəl ɛr dɪˈfɛns. ə ʧaɪˈniz bəˈtæljən ənd ˈmɪsəl brɪˈgeɪd ˈkɛrid aʊt ə ˈɛksərˌsaɪz nɪr beɪ ɪn ist ˈʧaɪnə ɔn ˈtuzˌdeɪ, ən əˈfɪʃəl ˈwɛbˌsaɪt əv ðə ʧaɪˈniz ˈmɪlɪˌtɛri ˌriˈpɔrtəd. ðə ˈsɪmjəˌleɪtɪd ˈbætəl drɪlz nɪr ðə ˌkɔˈriən pəˈnɪnsələ wər eɪmd æt ˈwɔrdɪŋ ɔf ə "səˈpraɪz əˈtæk" frəm ˈoʊvərˈsiz, ðə ˈmɪlɪˌtɛri sɛd. rɛd mɔr ˈʧaɪnəz ˈmɪsəl ˈwɛpənz ˈsɪstəm əˈtæʧt tɪ ˈʧaɪnəz ɛr fɔrs wɑz ˈtɛstɪd ˈdʊrɪŋ ðə ˈɛksərˌsaɪz, ˈhævɪŋ səkˈsɛsfəli faɪərd æt ˈsɪmjəˌleɪtɪd si ənd ˈɛriəl ˈtɑrgəts, ɪt ˈædɪd. ðə ˈɛksərˌsaɪz kəmz ˈfɑloʊɪŋ ən əˈnaʊnsmɛnt əv ðə nu kəˈmændər əv ðə ʧaɪˈniz ɛr fɔrs, luˈtɛnənt ˈʤɛnərəl dɪŋ, hu sɛd ðət hɪz trups wʊd kənˈtɪnju tɪ ˈtrænsfɔrm frəm ə ˌtɛrɪˈtɔriəl ɛr dɪˈfɛns ˈjunɪt ˈɪntu ən ɪkˈstɛndɪd ɑrm ˈkeɪpəbəl əv ˈseɪfˌgɑrdɪŋ ˈnæʃənəl ˈɪntərɪsts ˈɛniˌwɛr ɪn ðə wərld. "ɪn ðə pæst, ɑr ˈstrætəʤiz ənd ˈgaɪˌdlaɪnz ˈfoʊkɪst ɔn ˌtɛrɪˈtɔriəl ɛr dɪˈfɛns. naʊ wi ər ˈʃɪftɪŋ ɑr əˈtɛnʃən tɪ ˈhoʊnɪŋ ɑr əˈbɪləˌti ɪn tərmz əv ˈlɔŋˈreɪnʤ strəˈtiʤɪk prɑˈʤɛkʃən ənd ˈlɔŋˈreɪnʤ straɪk," ðə ˈmɪlɪˌtɛri ˈwɛbˌsaɪt kˈwoʊtɪd ɛz seɪɪŋ. ðə ɛr fɔrs "wɪl kənˈtɪnju tɪ ˈkɛri aʊt ˌlɔŋˈdistəns ˈtreɪnɪŋ ˈoʊvər ˈoʊʃənz" ˈrəðər ðən biɪŋ ʤɪst ə "strəˈtiʤɪk fɔrs," hi ˈædɪd, seɪɪŋ ðət sɪˈkjʊrəti ˈʧælənʤɪz ɪn ðə ˈriʤən kənˈtɪnju tɪ ˈimərʤ. ˈərliər ðɪs wik, ˈʧaɪnəz ˈɛnvɔɪ tɪ ðə ˈjuˈɛn həz wəns əˈgɛn ərʤd ɔl ˈpɑrtiz tɪ ðə ˈraɪzɪŋ ˈtɛnʧənz ɔn ðə ˌkɔˈriən pəˈnɪnsələ tɪ rɪˈtərn tɪ ˈdaɪəˌlɔg. seɪɪŋ ðət ðə ˌsɪʧuˈeɪʃən ɪn ðə ˈriʤən ɪz ˈfɑlɪŋ ˈɪntu ə ˈvɪʃəs ˈsərkəl, hi sɛd ðət "ˈʧaɪnə wɪl ˈnɛvər əˈlaʊ keɪɑs ənd wɔr ɔn ðə pəˈnɪnsələ," ˈzɪnhjuə ˌriˈpɔrtəd. maʊnt dum: ɛn. ˌkɔˈriə nuk tɛst saɪt kʊd keɪv ɪn sprɛd ˌreɪdiˈeɪʃən ʧaɪˈniz ˈɛkspərts (@rt_com*) sɛpˈtɛmbər 5 2017 əˈlɔŋˈsaɪd ˈmɔˌskaʊ, ˌbeɪˈʒɪŋ həz bɪn ˈkɔlɪŋ fər ˌɪmpləmɛnˈteɪʃən əv ə "ˈdəbəl ˈfrizɪŋ" ˌɪˈnɪʃətɪv, dɪˈzaɪnd tɪ sis boʊθ ˈmɪsəl ˈlɔnʧɪz ənd ˈnukliər tɛsts baɪ ˈpjɔŋˈjæŋ, ənd ˈlɑrʤˌskeɪl ˈmɪlɪˌtɛri ˈɛksərˌsaɪzɪz baɪ ˈwɔʃɪŋtən ənd soʊl. rɛd mɔr: du nɑt draɪv ɛn. ˌkɔˈriə ˈɪntu ˈkɔrnər, ˈsæŋkʃənz əˈloʊn wɪl nɑt sɑlv ˈprɑbləm ˈputɪn ðə ˈjuˈɛs həz rɪˈʤɛktɪd ðə ʤɔɪnt plæn, ənd həz bɪn dɪˈskəsɪŋ ˈfərðər dɪˈplɔɪmənt əv ˈmɪlɪˌtɛri ɪkˈwɪpmənt ˌɪnˈkludɪŋ ˈɛrˌkræft ˈkɛriərz ənd strəˈtiʤɪk ˈbɑmərz tɪ ðə ˈɛriə. ˌbeɪˈʒɪŋ həz rɪˈpitɪdli ɪkˈsprɛst groʊɪŋ kənˈsərnz ˈoʊvər ðə ˈbɪlˌdəp kloʊz tɪ ɪts ˈbɔrdərz, seɪɪŋ ɪt ˈfərðər ðə ˌsɪʧuˈeɪʃən ɪn ist ˈeɪʒə.
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beijing has deployed its air defense missile weapons systems to fire at simulated surface and air targets at sea, as the chinese air force said its personnel are to be modified to long distance training, having previously concentrated on territorial air defense.
a chinese air-defense battalion and surface-to-air missile brigade carried out a live-fire exercise near bohai bay in east china on tuesday, an official website of the chinese military reported.
the simulated battle drills near the korean peninsula were aimed at warding off a "surprise attack" from overseas, the military said.
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china's hq-6 air-defense missile weapons system attached to china's air force was tested during the exercise, having successfully fired at simulated sea and aerial targets, it added.
the exercise comes following an announcement of the new commander of the chinese air force, lieutenant general ding laihang, who said that his troops would continue to transform from a territorial air defense unit into an extended arm capable of safeguarding national interests anywhere in the world.
"in the past, our strategies and guidelines focused on territorial air defense. now we are shifting our attention to honing our ability in terms of long-range strategic projection and long-range strike," the military website quoted laihang as saying.
the air force "will continue to carry out long-distance training over oceans" rather than being just a "strategic force," he added, saying that security challenges in the region continue to emerge.
earlier this week, china's envoy to the un has once again urged all parties to the rising tensions on the korean peninsula to return to dialogue. saying that the situation in the region is falling into a vicious circle, he said that "china will never allow chaos and war on the peninsula," xinhua reported.
mount doom: n. korea nuke test site could cave in & spread radiation chinese experts https://t.co/q46pf81tvdpic.twitter.com/pirvgrutch — rt (@rt_com) september 5, 2017
alongside moscow, beijing has been calling for implementation of a "double freezing" initiative, designed to cease both missile launches and nuclear tests by pyongyang, and large-scale military exercises by washington and seoul.
read more: do not drive n. korea into corner, sanctions alone will not solve problem putin
the us has rejected the joint russia-china plan, and has been discussing further deployment of military equipment including aircraft carriers and strategic bombers to the area. beijing has repeatedly expressed growing concerns over the build-up close to its borders, saying it further destabilizes the situation in east asia.
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nu ˈdɛli: ðə ˈpɑrti həz ʧeɪnʤd, ənd ɪt ʃoʊz ɪn ðə weɪ ðə ˈpɑrti həz riˈstrəkʧərd ɪts tim əv ˈspoʊkspərsənz. ɪf ðə ˈərliər bənʧ lʊkt ənd spoʊk laɪk ˈərnɪst aʊtˈsaɪdərz ˈigər tɪ bi ˈdɪfərənt frəm ðə rən əv ðə mɪl ˌpɑləˈtɪʃənz ˈspikɪŋ fər rɪˈspɛktɪv ˈpɑrtiz, ðə nu wənz spik ðə ˈlæŋgwɪʤ əv ðə ˌɪnˈsaɪdər. ðə ˈfræŋknəs, ˌɪnəˈlɛkʧuəl ˈklɛrɪti ənd luˈsɪdɪti əv ðə ˈfɔrmər pərˈhæps rɪˈflɛktɪd wət ðə ˈpɑrti wɑz ðɛn ən ˈɛntɪti ˈbəbəlɪŋ wɪθ ˌaɪdiəˈlɑʤɪkəl ˈɛnərʤi; ðə hard-nosed*, ˌkɑmˈbæˌtɪv ənd ˈklɛvər əˈproʊʧ əv ðə ˈprɛzənt ˈɔrdər meɪks ju ˈriəˌlaɪz ðət ðə həz muvd ɔn ənd ˈɛnərd ə nu feɪz. ˈæftər θroʊɪŋ aʊt ɛz ðə ʧif ˈspoʊkspərsən, ɪt həz ˈkɑnstəˌtutəd ə tim əv 21 ˈspoʊkspərsənz wɪθ wən ˈmidiə koʊˈɔrdəˌneɪtər. ˈdiˌpæk wɪl sərv ɛz ðə ˈlætər. ə kənˈspɪkjuəs ˈæbsəns frəm ðə nu tim ɪz mɑˈrleɪnə, ðə bɛst noʊn ˈfiˌmeɪl ˈspoʊkspərsən ɔn ˈtɛləˌvɪʒən. mɑˈrleɪnə hæd ˌriˈpleɪst ˈæftər ðə ˈɛksət frəm. əˈkɔrdɪŋ tɪ ðə nɑnˈpɑrtəzən ˌvɑlənˈtɪrz, ðə ˈɛksət əv ‘‘loyalist’*’ mɑˈrleɪnə həz bɪn du tɪ hər stand’*’ ɪn ðə keɪs əv ənd. ““sanjay*, sɪŋ, əˈʃiʃ, ashutosh*, ˌɛtˈsɛtərə wər ˈvɪzəbli əˈgrɛsɪv ɔn nuz ˈʧænəlz waɪl ˈgɪvɪŋ baɪts əˈgɛnst ənd. ˈivɪn, əˈgɛnst ðə bhushans*. naʊ, ðeɪ hæv bɪn rɪˈwɔrdɪd fər ðɪs act,”*,” ən ˌvɑlənˈtɪr rɪˈmɑrkt. wət dɪz ðə ʧeɪnʤ əv ˈspoʊkspərsənz, əˈspɛʃəli, tɛl əˈbaʊt ðə nu ˈkɛrɪktər? ˈæftər ɔl, səkˈsɛs oʊd ə lɔt tɪ ɪts ˈspoʊkspərsənz hu hæd bɪn ˈiðər tɪ ˌɪnərˈækt wɪθ ðə ˈmidiə ər tɪ dəˈbeɪt ɔn nuz ˈʧænəlz. wɑz ˈdʊrɪŋ ənd ˌprɑˈʃɑnt ðət ðə ˈpɑrti kʊd kəˈnɛkt wɪθ ðə ˌɪntəˈlɛkʧuəlz ənd ɪt geɪv ˌkrɛdəˈbɪlɪti tɪ dəˈbeɪts ɔn ˌtɛləˈvɪʒən ˈʧænəlz. ɛz ə rɪˈzəlt wɑz səkˈsɛsfəl ɪn ɪˈstæblɪʃɪŋ ə strɔŋ kəˈnɛkʃən wɪθ ðə ˌɪnˌtɛləˈʤɛntsiə əˈkrɔs ðə ˈkəntri, ənd ˈmɛni ʤɔɪnd ðə ˈpɑrti. naʊ ˈgræʤuəli, ðət kəˈnɛkt wɪl bi gɔn. ə bɪg lɔs fər aap,”*,” rɪˈmɑrkt ˈsinjər ˈlidər ˈænənd kuˈmɑr, hu həz ˈrisəntli bɪn riˈmuvd frəm ˈnæʃənəl ɪgˈzɛkjətɪv ənd ˈnæʃənəl ˈkaʊnsəl. ə ˈsinjər ˈlidər əv ˈkaʊntərz, ðə ˈprɑbləm? ˈɛni ˈpɑrti kən əˈpɔɪnt ɪts ˈmɛmbərz ɛz ˈspoʊkspərsənz ɪt faɪndz ˈprɑpər. ðɛr ɪz ˈɔlsoʊ roʊˈteɪʃən ˈsɪstəm, wɪn ən oʊld gɑrd ɪz ˌriˈpleɪst baɪ ə nu wən. ðə dɪˈsɪʒən əv ðə tɔp ˈlidərˌʃɪp ənd ðeɪ ər fri tɪ əˈpɔɪnt, hu ðeɪ wɔnt tɪ, ɛz pər ðə nid əv ðə ˈpɑrti. ən ˌɪnˈtərnəl matter.”*.” ˈivɪn, ˌprɑˈʃɑnt, hu wɑz ˈnɛvər ə ˈdɛzɪgˌneɪtɪd ˈspoʊkspərsən əv, wɑz ˈɔfən ˈvɪzəbəl ɔn ˌtɛləˈvɪʒən ˈʧænəlz fər ðə ˈpɑrti. ˈwɛðər ɪt wɑz rɪˈleɪtɪd tɪ ˈɛni skæm ər ɔn ˌɪnˈtərnəl ˈɪʃuz, hɪz əˈpɪrəns prəˈvaɪdɪd ˌkrɛdəˈbɪlɪti tɪ ðə tɔk. təˈdeɪ, aʊt tu, laɪk ðə ˈɑmbədzmən (ˌɪnˈtərnəl) ˈædmərəl (retd*) ɛl ramdas*. ðiz stɛps hæv hæd ə ˈnɛgətɪv ˌɪmˈpækt ɔn ðə ˈɪmɪʤ əv, wɪʧ ˈstɑrtɪd ɛz ə ˈpɑrti wɪθ ə difference,’*,’ wɪθ haɪ ˌɪnəˈlɛkʧuəl kˈwoʊʃənt. weɪ θɪŋz hæv dɪˈvɛləpt ˈoʊvər ðə pæst fju wiks, həz ˈrɛndərd ˈɪntu ə ˈriʤənəl ˈpɑrti. ɪt wɑz ðət vəˈsɪfərəsli spoʊk əˈbaʊt, ənd ðə seɪm ˈpɑrti ðət həz ˈʃəntɪd ɪts oʊn ramdas*. ə ˈspoʊkspərsən ɪz ðə feɪs əv ə pəˈlɪtɪkəl ˈpɑrti, hu kriˈeɪts ə pərˈsɛpʃən əˈbaʊt ðə ˈpɑrti ɔn ˈpəblɪk maɪnd. bət, baɪ riˈmuvɪŋ ɪts ˈkrɛdəbəl ˈfeɪsɪz, ðə ɪz baʊnd tɪ gɪt ə dɛnt ɪn ɪts image,”*,” sɛd dɛb, ən ˈædvərˌtaɪzɪŋ ənd brænd kənˈsəltənt. ˈivɪn pəˈlɪtɪkəl ˈænəlɪsts hæv tərmd ðə ˈrisənt ˈɛksət əv ˈkrɛdəbəl ˈfeɪsɪz frəm ɛz drain”*”. ˌɪnˈstɛd əv ɪts ˈpriviəs ˈævəˌtɑr əv ən ˌɪnəˈlɛkʧuəli ɑrˈtɪkjəˌleɪt jɛt əˈsərtɪv ˈpɑrti, ðə ˈmæntrə fər ðiz nu ˈspoʊkspərsənz ɪz tɪ bi əˈgrɛsɪv, ənd tɪ ˈivɪn spju ˈvɛnəm æt taɪmz. ðə ˈdɪfərəns bɪtˈwin ənd ˈɛni ˈəðər pəˈlɪtɪkəl ˈpɑrti ɪz passé*é. ˈædɪd pəˈlɪtɪkəl ˌsoʊsiˈɑləʤɪst sɪŋ, ˈaʊstɪŋ ˈligəl ˈluməˌnɛri ˌprɑˈʃɑnt ənd pəˈlɪtɪkəl ˈɛkspərt, hu wər wən əv ðə moʊst ˈkrɛdəbəl ˈfeɪsɪz ɪn ðə əˈməŋst ˈpəblɪk, ðə ˈpɑrti həz lɔst ɪts ˈbeɪsɪk ˈprɪnsəpəl əv ˈʧeɪnʤɪŋ ðə ˈsɪstəm ðoʊ ə ˈmuvmənt, wɪʧ ɪt həz bɪn propounding*. naʊ, ðoʊz hu hæv bɪn fər paʊər ər ˈkɔlɪŋ ðə ʃɑts ɪn ðə ˈpɑrti. ðɪs ˈbeɪsɪk ˈkɛrɪktər ɪz lɔst ənd ðɪs wɪl ˈwikən ðə ˈpɑrti ɪn lɔŋ term.”*.” ɪn ðə ˈleɪtəst tərn əv ɪˈvɛnts, ðə ˈoʊnli ˈwʊmən ɪn ðə ˈnæʃənəl ɪgˈzɛkjətɪv, krɪˈstinə frəm ˈʧɛˌnaɪ, həz rɪˈzaɪnd. həz lɔst trəst ɪn ɪts oʊn ˈfaʊndɪŋ ˈprɪnsəpəlz ənd ðə ˌkɑnstəˈtuʃən ənd ˈsɪstəm əv. ɪt həz ˈʃætərd ðə hoʊps ənd drimz əv ˈmɪljənz əv ˈkɑmən people,”*,” sɛd ɪn hər ˌrɛzɪgˈneɪʃən ˈlɛtər ɔn ˈwɛnzˌdeɪ ˈivnɪŋ. ɪz naʊ ɔn. fər ðə ˈleɪtəst æˈnælɪsɪs, ˈkɑmənˌtɛri ənd nuz ˈəpˌdeɪts, saɪn əp fər ɑr ˈsərvɪsɪz. ʤɪst goʊ tɪ ənd hɪt ðə səbˈskraɪb ˈbətən.
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new delhi: the aam aadmi party has changed, and it shows in the way the party has restructured its team of spokespersons. if the earlier bunch looked and spoke like earnest outsiders eager to be different from the run of the mill politicians speaking for respective parties, the new ones speak the language of the insider.
the frankness, intellectual clarity and lucidity of the former perhaps reflected what the party was then – an entity bubbling with ideological energy; the hard-nosed, combative and clever approach of the present order makes you realize that the aap has moved on and entered a new phase.
after throwing out yogendra yadav as the chief spokesperson, it has constituted a team of 21 spokespersons with one media coordinator. deepak bajpai will serve as the latter. a conspicuous absence from the new team is atishi marlena, the party’s best known female spokesperson on television. marlena had replaced shazia ilmi after the latter’s exit from aap. according to the non-partisan volunteers, the exit of ‘loyalist’ marlena has been due to her ‘non-aggressive stand’ in the case of yadav and bhushan.
“sanjay, singh, ashish khetan, ashutosh, etc were visibly aggressive on news channels while giving bytes against bhushan and yadav. even, khetan tweeted against the bhushans. now, they have been rewarded for this act,” an aap volunteer remarked.
what does the change of spokespersons, especially yogendra yadav, tell about the aap’s new character? after all, aap’s success owed a lot to its spokespersons who had been deputed either to interact with the media or to debate on news channels.
“it was during yogendra yadav and prashant bhushan that the party could connect with the intellectuals and it gave credibility to debates on tv channels. as a result aap was successful in establishing a strong connection with the intelligentsia across the country, and many joined the party. now gradually, that connect will be gone. it’s a big loss for aap,” remarked party’s senior leader prof anand kumar, who has recently been removed from national executive and national council.
a senior leader of aap counters, “where’s the problem? any party can appoint its members as spokespersons it finds proper. there is also rotation system, when an old guard is replaced by a new one. it’s the decision of the party’s top leadership and they are free to appoint, who they want to, as per the need of the party. it’s an internal matter.”
even, prashant bhushan, who was never a designated spokesperson of aap, was often visible on tv channels fire-fighting for the party. whether it was related to any scam or on party’s internal issues, his appearance provided credibility to the talk. today, he’s out too, like the aap ombudsman (internal lokpal) admiral (retd) l ramdas. these steps have had a negative impact on the image of aap, which started as a ‘political party with a difference,’ with high intellectual quotient.
“the way things have developed over the past few weeks, has rendered aap into a regional party. it was aap that vociferously spoke about lokpal, and it’s the same party that has shunted its own lokpal adm ramdas. a spokesperson is the face of a political party, who creates a perception about the party on public mind. but, by removing its credible faces, the aap is bound to get a dent in its image,” said indrajit deb, an advertising and brand consultant.
even political analysts have termed the recent exit of credible faces from aap as “brain drain”. instead of its previous avatar of an intellectually articulate yet assertive party, the mantra for these new spokespersons is to be aggressive, and to even spew venom at times. the difference between aap and any other political party is passé.
added political sociologist prof manjit singh, “by ousting legal luminary prashant bhushan and political expert yogendra yadav, who were one of the most credible faces in the aap amongst public, the party has lost its basic principle of changing the system though a movement, which it has been propounding. now, those who have been clamouring for power are calling the shots in the party. this basic character is lost and this will weaken the party in long term.”
in the latest turn of events, the only woman in the national executive, christina samy from chennai, has resigned. “aap has lost trust in its own founding principles and the constitution and system of lokpal. it has shattered the hopes and dreams of millions of common people,” said samy in her resignation letter on wednesday evening.
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ˌdɛməˈkrætɪk sɛn. ˈhɛrɪs (ˈkælɪf.) həz peɪd ðə ˈɔnˌlaɪn ˈmidiə fərm ðət hɛlpt prəˈpɛl vərˈmɑnt sɛn. ˈbərni ˈsændərz ˈdʊrɪŋ hɪz dɑrk hɔrs rən fər ðə 2016 ˌdɛməˈkrætɪk ˈpraɪˌmɛri mɔr ðən ðɪs jɪr, ˈfaɪlɪŋz ʃoʊ. ˌrɛvəˈluʃən ˈmɛsɪʤɪŋ llc*, ə ˈwɔʃɪŋtən, prəˈgrɛsɪv ˈɔnˌlaɪn ˈmidiə fərm ˈfaʊndɪd baɪ skɑt ˈgʊdˌstin, ən ˈɔnˌlaɪn dɪˈrɛktər fər ˌoʊˈbɑmə fər əˈmɛrɪkə ɪn 2008 wɑz ˌɪnstrəˈmɛnəl ɪn ˈhɛlpɪŋ pʊʃ ˈsændərzɪz ˈmɛsɪʤ aʊt ənd reɪz hɪz ˈproʊˌfaɪl ˈdʊrɪŋ hɪz reɪs əˈgɛnst ˈhɪləri ˈklɪntən baɪ kriˈeɪtɪŋ hɪz ˈdɪʤɪtəl ənd ˈbrændɪŋ ˈstrætəʤi. "ɪn ðə spərɪŋ əv 2015 ˌbiˈfɔr ðə kæmˈpeɪn lɔnʧt, wi nu ˈbərni ˈsændərz wɑz ə ˈlidər hu stʊd ɔn ðə raɪt saɪd əv ˈhɪstəri," ðə grup roʊt ɪn ðɛr keɪs ˈstədi. "bət ˈbərni wɑz ˈpoʊlɪŋ əraʊnd 3 pərˈsɛnt, hæd noʊ ɪˈstæblɪʃmənt səˈpɔrt, ˈlɪtəl neɪm ˌrɛkɪgˈnɪʃən ənd wɑz ˈrənɪŋ əˈgɛnst ə ˈpɑpjələr ənd ‘‘inevitable*' ˌdɛməˈkrætɪk ˈpraɪˌmɛri əˈpoʊnənt. wi hæd ɑr wərk kət aʊt fər ˈjuˈɛs. wɪθ noʊ ˈɔˌflaɪn ˈfənˌdreɪsɪŋ tim, noʊ ˈsupər pæk, ənd noʊ wɔl strit ˈməni, wi wʊd hæv tɪ reɪz ˈɔlˌmoʊst ɔl əv ðə ˈməni frəm doʊˈneɪʃənz." ˌrɛvəˈluʃən ˈəltəmətli hɛlpt ˈsændərz reɪz 218 ˈmɪljən ˈɔnˌlaɪn ənd həz wən ˈnumərəs əˈwɔrdz fər ðɛr wərk ɔn bɪˈhæf əv hɪz kæmˈpeɪn. ˈhɛrɪs, hu ɪz ˈkɑmənli ˈfloʊtɪd ɛz ə pəˈtɛnʃəl ˈkænədɪt fər ˈprɛzɪdənt ɪn 2020 peɪd ðə fərm lɑrʤ səmz əv ˈməni fər ðə laɪks əv ˈædvərˌtaɪzɪŋ dɪˈspaɪt nɑt biɪŋ əp fər riɪˈlɛkʃən ɪn hər hoʊm steɪt əv ˌkæləˈfɔrnjə ənˈtɪl 2022 ˈhɛrɪsɪz ˈsɛnɪt kæmˈpeɪn bɪˈgæn peɪɪŋ ˌrɛvəˈluʃən ˈmɛsɪʤɪŋ ɪn ˌʤuˈlaɪ 2016 ˈfɛdərəl ɪˈlɛkʃən kəˈmɪʃən ˈrɛkərdz ʃoʊ. frəm ˌʤuˈlaɪ 7 tɪ ɪˈlɛkʃən deɪ, ðə kæmˈpeɪn peɪd ðə fərm fər ˈædvərˌtaɪzɪŋ ənd kæmˈpeɪn kənˈsəltɪŋ. frəm ɪˈlɛkʃən deɪ tɪ ðə ɛnd əv ðə jɪr, ən ɪn ˈpeɪmənts frəm ˈhɛrɪsɪz kæmˈpeɪn wər meɪd tɪ ˌrɛvəˈluʃən. klɪk fər mɔr frəm ðə ˈwɔʃɪŋtən fri ˈbikən.
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