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those who want just quick instructions, go to step-1 directly. i have qnap ts-110 nas box with debian installed in it. i am using it for backup and also as nas server. this is going to be switched on for 24×7. so i thought of adding a monitor to this headless device and use it as a digital photo frame also. the job is simpler than i expected.
to know more on my hardware setup, installing debian and configuring backup and nas functionalites refer here. though i have a nas box, the following instructions are applicable to any linux machine with debian installed. the backup data on this machine which includes photos of all my machines in home network – serves as source for photo frame functionality. in case you don’t want nas/backup functionalites, just install debian with basic xorg server. my usb monitor is um-70 lilliput display of 7″, which can be installed with instructions from another post of mine.
step-1: install debian, basic xorg server and fluxbox. i have installed light weight fluxbox also for other functionalities proposed for future.
step-2: install qiv. qiv is a nice open source image viewer, very much suitable – customizable – for photo frame functionality.
# apt-get install x11-xserver-utils qiv
step-3: create a normal user. include the below lines in ~/.fluxbox/startup of this user just above “exec fluxbox” line. if you don’t want fluxbox, you can use .xinitrc to do the following stuff.
xset -display :0.0 s off & qiv -f -s -i -t -r -u -d 5 /home/nas/laptop/blackgod/pictures
the xset command disables blank screensaver, which is essential for slide show.
the next qiv command is the core slide show program. note down the absence of & at end of this line, which prohibits running fluxbox desktop, which is not necessary for a photo frame. the last argument is the path of photos. here is the break-up of argument to qiv.
-f full screen -s slide show -i disable status bar -u recursively get photos from directory given -t fit image size to screen size -r randomize slide show -d <sec> slide show delay
at this stage, when you start x with startx command, your slide show should start. now we need to automatically start x and login as normal user and start slide show when the system is power on. this can be done by following step.
step-4: to get better display life and conserve some power, i enable the display power management system (dpsm) at 10pm and disable it at 8am daily with this cron tab settings. create a file called “slideshow” in /etc/cron.d/ as root user with the following content.
0 8 * * * <username> /usr/bin/xset -display :0.0 dpms force on 0 22 * * * <username> /usr/bin/xset -display :0.0 dpms force off
the first line disables the dpms at 8am and second line enables it at 10pm.
in case you have any problem with “dpms force off”, you can try with “dpms force suspend” or “dpms force standby” also.
in case you don’t want to switch off display at all, you can disable dpms through /etc/x11/xorg.conf file by adding the following line in “monitor” section. in this case, the above mentioned cron table entries should not be there.
option “dpms” “false”
step-5: modify the /etc/initab with following lines as shown below.
id:5:initdefault: x:5:once:/bin/su <username> -l -c “/bin/bash –login -c /usr/bin/startx > /dev/null 2>&1”
the above lines set default init level as 5. in default init level 5, we start x server for your normal user.
step-6: reboot to get your digital photo frame ready.
here is my photo frame powered by qnap ts-110. this is a bonus functionality of my nas/backup server 🙂
reference for auto display power on/off options:
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wɪθ ən ɛnˈdɔrsmənt frəm ˈgəvərnər, ˈpitər shumlin*, ðə steɪt ˈrisəntli ˌdɪˈsaɪdɪd tɪ ɪkˈsplɔr ðə juz əv tɛkˈnɑləʤi. ðə ˌlɛʤəsˈleɪʃən pæst ˈərliər ðɪs ˈsəmər wɪθ ðə ˌɪnˈtɛnʧən əv ˈlʊkɪŋ æt haʊ ðə steɪt kən ˈsɪmpləˌfaɪ ðə ˈmænɪʤmənt əv steɪt ˈrɛkərdz. ðɪs mɑrks ən ˌɪmˈpɔrtənt fərst stɛp fər ˈgəvərnmənt ˈbɑdiz ɪkˈsplɔrɪŋ ðə pəˈtɛnʃəl ˈbɛnəfɪts ðət ˈɔfərz. ˈfɔreɪ ˈɪntu, waɪl stɪl ɪn ɪts ˌɪnˈvɛstəˌgeɪtɪv steɪʤ, meɪ sərv ɛz ˈnoʊtɪs tɪ ˈəðər steɪts ðət ðə pəˈtɛnʃəl sun meɪ bi ˈkəmɪŋ tɪ fruition.”*.” ɛz ə ˈnæʧərəl trænˈzɪʃən fər ˈɛni steɪt ˈlʊkɪŋ tɪ kət kɔsts ənd ˈoʊvərˈhərd, ˈmænɪʤmənt ˈɔfərz ə mɔr ˈmɑdərn ˈsɪstəm tɪ ˈmænɪʤ ˈrɛkərdz. fər ðoʊz ˌənfəˈmɪljər wɪθ ðə tɛkˈnɑləʤi, hir ɪz ə kwɪk rən daʊn ɔn ɪgˈzæktli wət ɪt kən prəˈvaɪd. ˌɪˈmæʤən ˈkæbənəts fʊl əv məˈnɪlə ˈfoʊldərz. sim ˈaʊtˌdeɪtɪd ənd ˈweɪstfəl? ɛz ɪt stændz, ðɪs ɪz haʊ ədˈmɪnɪˌstreɪtɪv ˈoʊvərˈhərd ˈkərəntli ˈmænɪʤɪz ənd stɔrz ə ˈpəblɪk ˈrɛkərdz ənd ˈdɑkjəmənts. prəˈvaɪdz ðə səˈluʃən tɪ ðə ˈklətər baɪ kriˈeɪtɪŋ ə nit, ˌkrɑnəˈlɑʤɪkəl ʧeɪn əv ˈrɛkərdz. ən ˈɔdɪt goʊz frəm ən ɪkˈspɛnsɪv ˌbjʊrəˈkrætɪk ɔrˈdil, tɪ ə ˈsɪmpəl sərʧ θru ðə tɪ faɪnd wət ju nid. kɔst ˈseɪvɪŋz wʊd əˈbaʊnd. æt ˈfɑloʊ maɪ voʊt, wi əˈplɔd ˌɛksplərˈeɪʃən ˈɪntu ðə ɪkˈsaɪtɪŋ frənˈtɪr əv. wi wɪl bi ʃʊr tɪ ˈmɑnətər ðɪs ˈstɔri ɛz ɪt dɪˈvɛləps, ɪn hoʊps ðət ˈəðər steɪts wɪl ˈfɑloʊ lɛd. ˈfərðər ˈrɛdɪŋ: ə mɔr lʊk æt ðə ˌlɛʤəsˈleɪʃən ˌɪtˈsɛlf. ˈsɔrsəz: govtech.com*, əˈbaʊt ðə ˈɔθər: ˈtaɪlər ɪz ə ˈmɑrkətɪŋ ˈɪntərn æt ˈfɑloʊ maɪ voʊt. hi hoʊps tɪ ˌɪnˈkris əˈwɛrnəs əˈbaʊt ðə ˈbɛnəfɪts əv ˈɔnˌlaɪn ˈvoʊtɪŋ ˈsɪstəmz. səbˈskraɪb tɪ ðə blɔg
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with an endorsement from vermont’s governor, peter shumlin, the state recently decided to explore the use of blockchain technology. the legislation passed earlier this summer with the intention of looking at how the state can simplify the management of state records. this marks an important first step for government bodies exploring the potential benefits that blockchain offers.
“vermont’s foray into blockchain, while still in its investigative stage, may serve as notice to other states that the technology’s potential soon may be coming to fruition.”
as a natural transition for any state looking to cut costs and overheard, blockchain management offers a more modern system to manage records. for those unfamiliar with the technology, here is a quick run down on exactly what it can provide.
imagine cabinets full of manilla folders. seem outdated and wasteful? as it stands, this is how administrative overheard currently manages and stores a state’s public records and documents. blockchain provides the solution to the clutter by creating a neat, chronological chain of records. an audit goes from an expensive bureaucratic ordeal, to a simple search through the blockchain to find what you need. cost savings would abound.
at follow my vote, we applaud vermont’s exploration into the exciting frontier of blockchain. we will be sure to monitor this story as it develops, in hopes that other states will follow vermont’s lead.
further reading: a more in-depth look at the legislation itself.
sources: govtech.com, recode.net
about the author: tyler molihan is a marketing intern at follow my vote. he hopes to increase awareness about the benefits of online voting systems.
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gʊd ˈmɔrnɪŋ! ɛz fɑr ɛz goʊ, ˈnɛvər bɪn wən tɪ hip maɪ heɪt əv ə ˌpɑˈtɪkjələr deɪ əv ðə wik. aɪ wɪl ədˈmɪt tɪ ˈgrəmbəlɪŋ əˈbaʊt ɪt, bət ɪt ɪz nɑt ən ɪkˈsklusɪv heɪt dɪˈrɛktɪd æt ðə deɪ ˈsɪmpli bɪˈkəz ɪt ˈhæpənz tɪ fɔl æt ə ˈsərtən pɔɪnt ɪn ðə ˈsaɪkəl. ˌɪnˈstɛd, aɪ æm ˈwɪlɪŋ tɪ heɪt ɔl deɪz əv ðə wik ˈikwəli. ɪf ðɛr ɪz ə trɛnd fər ˈtuzˌdeɪz tɪ bi ˌpɑrˈtɪkjələrli ˈərksəm, ər ˈsədənli aɪ faɪnd maɪ tɪ bi ˈoʊvərli ˈkɑmpləˌkeɪtəd, aɪ wɪl ʃɪft maɪ ˈgɑrˌfild ˈɪˌmoʊʃənz. aɪ ˈɔfər əp səm ˈvɛri ʃɔrt ɪkˈspɛrəmənts ɪn kriˈeɪtɪv ˈraɪtɪŋ; ðeɪ hæv noʊ ril plɑt, ənd noʊ ril dɪˈrɛkʃɪn. ðeɪ ər ˈrɪtən ˈsɪmpli bɪˈkəz aɪ hæd ðə ərʤ tɪ raɪt ˈsəmθɪŋ, ənd ðeɪ ər wət ˈhæpənd tɪ fɔl. ðeɪ meɪ hæv ə fˈjuʧər, ðeɪ meɪ nɑt. aɪ hæv nɑt θɔt tɪ kənˈstreɪn ðɛm tɪ ə ˈgɪvɪn sɛt əv ˈsərkəmˌstænsɪz, ənd aɪ hæv nɑt əˈsaɪnd ðə ˈnɛrətɪv ˈvɔɪsɪz ə goʊl tɪ fʊlˈfɪl. ðeɪ ʤɪst ˈwɔntɪd tɪ bi hərd. 1 frəm hər fərst brɛθ ʃi nu ðət ˈsəmθɪŋ hæd ʧeɪnʤd; ðə ɛr ˈtrɪkəld daʊn ðə bæk əv hər θroʊt, ˈkɛriɪŋ ðə ˈbərnɪŋ koʊld ðət ʃi kʊd ˈoʊnli ɪkˈweɪt wɪθ ðə fækt ðət ðə sən hæd jɛt tɪ raɪz. hər lɪmz fɛlt stɪf ɛz ʃi ɑrʧt hər bæk, ˈdɪgɪŋ ɪn ðə sɔft, ˈjildɪŋ graʊnd bɪˈniθ hər. ə ˈʃədərɪŋ ˈtrɛmər ræn frəm hər ˈʃoʊldərz daʊn ðə dip roʊd əv hər spaɪn, ˈtɛnʃən riˈlisɪŋ frəm ɔl ðə ˈməsəlz əˈlɔŋ ðə fəroʊd pæθ. ðoʊ ðə koʊld hæd kəm, ðə ərθ bɪˈniθ hæd jɛt tɪ bi ˈkəvərd ɪn ðə θɪk ˈblæŋkɪt ðət ˈsɪgnəld ðə dip slip, wɪn stərɪŋ ɪn ðə ˈbrænʧɪz wɑz ˈlɪmɪtɪd tɪ ðə dræb braʊn ˈspɛroʊz. ɪt wɑz ðə snæp əv twɪgz ðət kɔzd hər hɛd tɪ tərn, hər aɪz tɪ ˈfoʊkɪs ɪn ðə laɪt, dɪm ənd ˈʃædoʊd. ʃi ˈfoʊkɪst wɪθ ɔl ʃi hæd ɪn ðə dɪˈrɛkʃɪn əv ðə saʊnd; ɪt gru ˈstɛdəli ˈkloʊzər. ðə ɛr simd tɪ ˈkrækəl, tɪ ʃɪft ənd fɪl wɪθ ˈsəmθɪŋ nu. ʃi kʊd nɑt pleɪs ɪt ɪn hər ˈmɛməri. loʊ tɪ ðə graʊnd ʃi ɪnʧt ˈfɔrwərd, ˈpleɪsɪŋ iʧ stɛp ˈpərfəktli soʊ ɛz tɪ liv ðə graʊnd kəmˈplitli ˌəndɪˈstərbd. wɛr ʃi pæst ɪt lʊkt ɛz ɪf ˈnəθɪŋ ˈlɪvɪŋ hæd wɔkt, ðə ərθ dɪd nɑt gɪv bɪˈloʊ hər, ðə græs dɪd nɑt sweɪ æt hər ˈpæsɪŋ. 2 ðə sɪmˈplɪsɪti əv ɪt ɔl wɑz wət fərst kɔt hər əˈtɛnʃən, wət droʊv hər tɪ kənˈtɪnju əbˈzərvɪŋ, ˌdɪsˈmæntlɪŋ, ənd ˈænəˌlaɪzɪŋ ðə hoʊl θɪŋ pis baɪ pis. ðə məˈtɪriəl fɛlt laɪk ˈwɔtər ɪn hər hænz, ənd jɛt ðə ˌɪnˈtɛgrəti əv ɪt wɑz ˈkloʊzər tɪ ðə ˈgɑsəmər əv ə wɪŋ. ðə gaʊn wɑz ˈsəmθɪŋ aʊt əv ˈfænəsi, ə θɪŋ əv ˈbjuti ðət ˈɛvəri ˈwʊmən ˈɛnvid wɪn ðeɪ sɔ ɪt ɔn ðə ˈbɑdi əv əˈnəðər; ə θɪŋ ðət dru ðə aɪz əv ˈsɪŋgəl ənd ˈmɛrid mɛn əˈlaɪk, wɪθ həʃt ˈwɪspərz əv dɪˈzaɪərz ənd θɔts ðət hæd ˈlɪtəl pleɪs ɪn ˈkæʒəwəl ˌkɑnvərˈseɪʃən. hər hænd treɪst ˈoʊvər ðə ˈbɛrli əˈpɛrənt simz, əˈlɔŋ ðə sɪnʧt weɪst ənd ðə floʊɪŋ neckline*. wət ʃi gɪv tɪ bi ˈeɪbəl tɪ wɛr ðə drɛs fər wən naɪt, tɪ bi ðə ˈɛnvi əv ˈɛvəri ˈwʊmən, ðə ˈfoʊkɪs əv ˈɛvəri mæn, ənd ðə ˈtɑpɪk əv ˈɛvəri ˈsɛntəns. ənˈfɔrʧənətli, məʧ ɛz ɪt wʊd hæv plizd hər tɪ du səʧ ə θɪŋ, ðɛr wər noʊ ˈgælənt fər hər tɪ əˈtɛnd, ðɛr wər ˈivɪn fjuər ˈʧænsɪz əv hər əkˈwaɪərɪŋ səʧ ə ˈmɑrvələs pis əv ˈkloʊðɪŋ fər hər ˈvɛri oʊn. ˌɪnˈstɛd əv ˈwərkɪŋ, ɛz ˈmɛni ˈwɪmən hər eɪʤ dɪd, ʃi spɛnt hər taɪm ˈtreɪnɪŋ hər ˈbɑdi ənd hər maɪnd, ənd ˈtruli hæd ˈlɪtəl taɪm fər ˈaɪdəl ˈfænəsiz əv biɪŋ swɛpt əˈweɪ baɪ səm ˈgɔrʤəs ˈkriʧər. ðə ˈoʊnli mɛn ʃi wɑz ɔn ˈspikɪŋ tərmz wɪθ wər hər ˈtreɪnərz, hər ˈgɑrdiənz, ənd hər ˈtimˌmeɪts, ənd ʃi nu ðət nən əv ðɛm ˈivɪn glɪmpst səʧ ə ˈfæsət ɪn hər pərˈsoʊnə ðət wʊd tɛmpt ðɛm tɪ bi ˈɪntəˌrɛstɪd ɪn hər ɪn ˈɛni ˈəðər weɪ ðɛn wət ðeɪ ɔˈrɛdi wɛr ɛz frɛndz ənd ˈælaɪz. saɪɪŋ ˈsɔftli ʃi lɛt ðə məˈtɪriəl fɔl frəm hər hænd ənd lɛft ðə dɪˈspleɪ, ˈpʊlɪŋ hər ˈʤækɪts mɔr ˈkloʊsli əraʊnd hər laɪð ˈbɑdi tɪ gɑrd frəm ðə ˈwɪntər wɪnd ɛz ʃi stɛpt aʊt ˈɪntu ðə ˈivnɪŋ lɪt strits, sˈlɪpɪŋ ˈɪntu ðə kraʊdz ˈhɛdɪŋ hoʊm frəm wərk tɪ ðɛr ˈfæməliz. 3 ðə sɛnt əv ˈdrɪftɪd əp tɪ hər θru ðə heɪz əv hər slip, ˈplɛzəntli əˈsɔltɪŋ hər ˈsɛnsɪz ənd riˈmaɪndɪd hər ɪgˈzæktli wɛr ʃi wɑz. wɪθ ən ˈlæŋgwɪʃt strɛʧ ʃi fɛlt ðə wɔrm ðət ˈrɛstɪd æt ðə ˈmɪdəl əv hər bæk, ˌriəˈʃʊrɪŋ ˈprɛʃər ðət riˈmaɪndɪd hər ʃi wɑz nɑt əˈloʊn əˈməŋ ðə si əv ʃits. ʃi filz ðə wɔrm hænd ɔn ðə smɔl əv hər bæk kərl əraʊnd hər saɪd, sˈlɪpɪŋ tɪ hər hɪp ənd ˈʤɛnəl ˈpʊlɪŋ hər bæk ˈɪntu ðə wɔrmθ əv ðə ʃits, ənˈtɪl ʃi ˈrɛstɪd ˈfərmli əˈgɛnst hɪz ʧɛst, hɪz skɪn ˈædɪŋ tɪ ðə ɔˈrɛdi ˈkəmfərtəbəl wɔrmθ ʃi wɑz ˈfilɪŋ. hɪz ˈəðər ɑrmz ˈpɪloʊz hər hɛd ɛz ʃi ˈkloʊzɪz hər aɪz, ˈteɪkɪŋ əˈnəðər dip, ˈsuðɪŋ brɛθ əv ðə smɛl ðət ɪz kəmˈplitli ɪm, ðət riˈmaɪndz hər əv ˈɛvriˌθɪŋ əˈbaʊt ɪm. hi ˈʧəkəlz ˈsɔftli, hɪz brɛθ ˈrəfəlɪŋ hər ənˈbaʊnd hɛr, əˈkrɔs hər ɪr ɛz hi skˈwizɪz hər ˈʤɛnəl, əˈʃʊrɪŋ hər ðət hi dɪz nɑt plæn ɔn goʊɪŋ ˈɛniˌwɛr. ʃi ˈnɛsəlz hərˈsɛlf bæk əˈgɛnst ɪm, ˈlɛtɪŋ hər aɪz drɪft kloʊzd ɛz ʃi bæsks ɪn hɪz wɔrmθ. ɪt ɪz nɑt ˈɔfən ðət ðeɪ kən bi təˈgɛðər laɪk ðɪs, əˈloʊn, kwaɪət, ˈkəmfərtəbəl, ənd wɪˈθaʊt ðə ˌɪnˈtruʒən ðət ˈjuʒəwəli pleɪgd ðɛm wɛˈnɛvər ðeɪ əˈtɛmptəd tɪ ˈgɑrnər ə ˈmoʊmənt əˈloʊn təˈgɛðər. ˈɛvəri ˈsɪŋgəl ˈmoʊmənt ðeɪ ʃɛrd wɑz ˈspɛʃəl, ə hoʊp hɛld fər ðə fˈjuʧər wɪn ðə wərld əraʊnd ðɛm, ðɛr ˈfæməliz ənd frɛndz, wʊd bi ˈeɪbəl tɪ ˈsɛtəl daʊn əˈgɛn ənd brɛθ, wɪˈθaʊt ˈʤəmpɪŋ æt ˈʃæˌdoʊz ənd ˈʤəmpɪŋ frəm ˈkəntri tɪ ˈkəntri. ðə hænd æt hər hɪp krɛpt sˈloʊli əp hər tɔt ˈstəmək, ˈbrəʃɪŋ ˈoʊvər hər ˈneɪvəl, ənd ˈkəmɪŋ tɪ rɛst bɪˈloʊ ðə rɪb, ˈfilɪŋ hər ləŋz ɪkˈspænd ɛz ʃi tʊk iʧ brɛθ. hɪz hænd kʊd ˈizəli spæn hər weɪst, ə mæs əv ˈtaɪtli nɪt ˈməsəl ðət soʊ ˈvɛri ˈrɛrli rɪˈlækst. bət ɪt wɑz ˈdɪfərənt wɪθ ɪm. wɪn ðeɪ wər təˈgɛðər ʃi drɑpt ɔl hər gɑrd, ɔl hər ˈseɪftiz; ʃi nu ðət wɪn hi wɑz ˈnɪrˈbaɪ ʃi hæv tɪ bi əˈfreɪd əv wət wɑz ˈkəmɪŋ frəm bɪˈhaɪnd, bɪˈkəz hi wɑz ˈwɑʧɪŋ hər bæk, ˌɪnˈʃʊrɪŋ ðət ˈnəθɪŋ ˈhæpənd tɪ hɪz ˈlɪtəl bərd, ənd ʃi wɔʧt hɪz ˈlaɪkˌwaɪz. fər naʊ ˈnəθɪŋ ˈmætərd bɪɔnd ðɛr ʃɛrd wɔrmθ, ðə sɔft ʃits, ənd ðə sɛnt əv wɪʧ ˈsɛtəld ˈoʊvər ɪt ɔl.
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good morning! as far as monday’s go, i’ve never been one to heap my hate of a particular day of the week. i will admit to grumbling about it, but it is not an exclusive hate directed at the day simply because it happens to fall at a certain point in the work/rest cycle. instead, i am willing to hate all days of the week equally. if there is a trend for tuesdays to be particularly irksome, or suddenly i find my friday’s to be overly complicated, i will fluidly shift my garfield emotions.
i offer up some very short experiments in creative writing; they have no real plot, and no real direction. they are written simply because i had the urge to write something, and they are what happened to fall. they may have a future, they may not. i have not thought to constrain them to a given set of circumstances, and i have not assigned the narrative voices a goal to fulfill. they just wanted to be heard.
1.
from her first breath she knew that something had changed; the air trickled down the back of her throat, carrying the burning cold that she could only equate with the fact that the sun had yet to rise. her limbs felt stiff as she arched her back, digging in the soft, yielding ground beneath her. a shuddering tremor ran from her shoulders down the deep road of her spine, tension releasing from all the muscles along the furrowed path. though the cold had come, the earth beneath had yet to be covered in the thick blanket that signaled the deep sleep, when stirring in the branches was limited to the drab brown sparrows. it was the snap of twigs that caused her head to turn, her eyes to focus in the pre-dawn light, dim and shadowed. she focused with all she had in the direction of the sound; it grew steadily closer. the air seemed to crackle, to shift and fill with something new. she could not place it in her memory. low to the ground she inched forward, placing each step perfectly so as to leave the ground completely undisturbed. where she passed it looked as if nothing living had walked, the earth did not give below her, the grass did not sway at her passing.
2.
the simplicity of it all was what first caught her attention, what drove her to continue observing, dismantling, and analyzing the whole thing piece by piece. the material felt like water in her hands, and yet the integrity of it was closer to the gossamer of a butterfly’s wing. the gown was something out of fantasy, a thing of beauty that every woman envied when they saw it on the body of another; a thing that drew the eyes of single and married men alike, with hushed whispers of desires and thoughts that had little place in casual conversation. her hand traced over the barely apparent seams, along the cinched waist and the flowing neckline. what she wouldn’t give to be able to wear the dress for one night, to be the envy of every woman, the focus of every man, and the topic of every sentence. unfortunately, much as it would have pleased her to do such a thing, there were no gallant soirée’s for her to attend, there were even fewer chances of her acquiring such a marvelous piece of clothing for her very own. instead of working, as many women her age did, she spent her time training her body and her mind, and truly had little time for idle fantasies of being swept away by some gorgeous creature. the only men she was on speaking terms with were her trainers, her guardians, and her teammates, and she knew that none of them even glimpsed such a facet in her persona that would tempt them to be interested in her in any other way then what they already where as friends and allies. sighing softly she let the material fall from her hand and left the display, pulling her jackets more closely around her lithe body to guard from the winter wind as she stepped out into the evening lit streets, slipping into the crowds heading home from work to their families.
3.
the scent of sandalwood drifted up to her through the haze of her sleep, pleasantly assaulting her senses and reminded her exactly where she was. with an languished stretch she felt the warm that rested at the middle of her back, reassuring pressure that reminded her she was not alone among the sea of sheets. she feels the warm hand on the small of her back curl around her side, slipping to her hip and gentle pulling her back into the warmth of the sweet-smelling sheets, until she rested firmly against his chest, his skin adding to the already comfortable warmth she was feeling. his other arms pillows her head as she closes her eyes, taking another deep, soothing breath of the smell that is completely him, that reminds her of everything about him. he chuckles softly, his breath ruffling her unbound hair, ghosting across her ear as he squeezes her gentle, assuring her that he does not plan on going anywhere.
she nestles herself back against him, letting her eyes drift closed as she basks in his warmth. it is not often that they can be together like this, alone, quiet, comfortable, and without the intrusion that usually plagued them whenever they attempted to garner a moment alone together. every single moment they shared was special, a hope held for the future when the world around them, their families and friends, would be able to settle down again and breath, without jumping at shadows and jumping from country to country.
the hand at her hip crept slowly up her taut stomach, brushing over her navel, and coming to rest below the intercostal rib, feeling her lungs expand as she took each breath. his hand could easily span her waist, a mass of tightly knit muscle that so very rarely relaxed. but it was different with him. when they were together she dropped all her guard, all her safeties; she knew that when he was nearby she didn’t have to be afraid of what was coming from behind, because he was watching her back, insuring that nothing happened to his little bird, and she watched his likewise. for now nothing mattered beyond their shared warmth, the soft sheets, and the scent of sandalwood which settled over it all.
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ˈɪmɪʤ ˈkɑpiˌraɪt ˈgɛti ˈɪmɪʤɪz ˈɪmɪʤ ˈkæpʃən ðə kɔrt ruld sˈwɪtsərlənd wɑz ˈʤəstəˌfaɪd ɪn ɛnˈfɔrsɪŋ ðə "fʊl skul kərˈɪkjələm" sˈwɪtsərlənd həz wən ə keɪs æt ðə ˌjʊrəˈpiən kɔrt əv ˈjumən raɪts (echr*) əˈblaɪʤɪŋ ˈməzlɪm ˈpɛrənts tɪ sɛnd ðɛr ˈʧɪldrən tɪ mɪkst sˈwɪmɪŋ ˈlɛsənz. ɪt sɛd əˈθɔrətiz wər ˈʤəstəˌfaɪd ɪn ˈgɪvɪŋ ˈprɛsədəns tɪ ɛnˈfɔrsɪŋ "ðə fʊl skul kərˈɪkjələm" ənd ðə ˈʧɪldrənz "səkˈsɛsfəl ˌɪnəˈgreɪʃən" ˈɪntu soʊˈsaɪɪti. ðə ækˈnɑlɪʤd ðət rɪˈlɪʤəs ˈfridəm wɑz biɪŋ ˌɪnərˈfɪrd wɪθ. bət ˈʤəʤɪz sɛd ɪt dɪd nɑt əˈmaʊnt tɪ ə vaɪəˈleɪʃən. ðə keɪs wɑz brɔt baɪ tu swɪs ˈnæʃənəlz, əv ˈtərkɪʃ ˈɔrəʤən, hu rɪfˈjuzd tɪ sɛnd ðɛr ˈtiˌneɪʤ ˈdɔtərz tɪ ðə kəmˈpəlsəri mɪkst ˈlɛsənz ɪn ðə ˈsɪti əv ˈbɑzəl. ˌɛʤəˈkeɪʃən əˈfɪʃəlz, ˌhaʊˈɛvər, sɛd ðət ɪgˈzɛmpʃənz wər əˈveɪləbəl ˈoʊnli fər gərlz hu hæd riʧt ðə eɪʤ əv ˈpjubərti wɪʧ ðə gərlz hæd nɑt riʧt æt ðə taɪm. ɪn 2010 ˈæftər ə dɪˈspjut, ðə ˈpɛrənts wər ˈɔrdərd tɪ peɪ ə kəmˈbaɪnd faɪn əv swɪs fræŋks "fər ˈæktɪŋ ɪn briʧ əv ðɛr pərˈɛntəl ˈduti". ðeɪ ˈɑrgjud ðət səʧ ˈtritmənt wɑz ə vaɪəˈleɪʃən əv ˈɑrtɪkəl naɪn əv ðə ˌjʊrəˈpiən kənˈvɛnʃən ɔn ˈjumən raɪts, wɪʧ ˈkəvərz ðə raɪt tɪ ˈfridəm əv θɔt, ˈkɑnʃəns ənd rɪˈlɪʤən. ˈɪmɪʤ ˈkɑpiˌraɪt ˈgɛti ˈɪmɪʤɪz ˈɪmɪʤ ˈkæpʃən ðə ˌkɑntrəˈvərʃəl keɪs wɑz ˌdɪˈsaɪdɪd ɔn æt ðə ˌjʊrəˈpiən kɔrt əv ˈjumən raɪts ɪn ə ˈsteɪtmənt, ðə sɛd ðə rɪfˈjuzəl tɪ ɪgˈzɛmpt ðə gərlz hæd ˌɪnərˈfɪrd wɪθ ðə raɪt tɪ ˈfridəm əv rɪˈlɪʤən. bət ɪt ˈɔlsoʊ sɛd ðə lɔ ˌɪnˈvɑlvd wɑz dɪˈzaɪnd tɪ "prəˈtɛkt ˈfɔrən ˈpjupəlz frəm ˈɛni fɔrm əv ˈsoʊʃəl ɪkˈskluʒən" ənd sˈwɪtsərlənd wɑz fri tɪ dɪˈzaɪn ɪts ˌɛʤəˈkeɪʃən ˈsɪstəm əˈkɔrdɪŋ tɪ ɪts oʊn nidz ənd trəˈdɪʃənz. skulz, ɪt sɛd, pleɪd ən ˌɪmˈpɔrtənt roʊl ɪn ˈsoʊʃəl ˌɪnəˈgreɪʃən, ənd ɪgˈzɛmpʃənz frəm səm ˈlɛsənz ər "ˈʤəstəˌfaɪd ˈoʊnli ɪn ˈvɛri ɪkˈsɛpʃənəl ˈsərkəmˌstænsɪz". sˈwɪmɪŋ,, ənd ˌɪnəˈgreɪʃən ɪn 2016 əˈfɪʃəlz ɪn ˈbɑzəl səˈspɛndɪd ðə ˈsɪtɪzənˌʃɪp ˈprɔˌsɛs fər ðə ˈfæməli əv tu ˈtiˌneɪʤ ˈməzlɪm ˈbrəðərz hu rɪfˈjuzd tɪ ʃeɪk hænz wɪθ ˈfiˌmeɪl ˈtiʧərz. sˈwɪtsərlənd həz ˈɔlsoʊ əˈplaɪd ðə lɔ tɪ ˈəðər ˈkeɪsɪz ə mæn əv ˈbɑzniən ˈɔrəʤən wɑz faɪnd læst jɪr fər rɪfˈjuzɪŋ tɪ əˈlaʊ hɪz ˈdɔtər tɪ teɪk pɑrt ɪn sˈwɪmɪŋ ˈlɛsənz ˈdʊrɪŋ skul aʊərz, əˈməŋ ˈəðər ækˈtɪvɪtiz. ˈʤərməni ˈɔlsoʊ ˈbætəld wɪθ ðə ˈɪʃu əv mɪkst sˈwɪmɪŋ ˈlɛsənz ɪn 2013 wɪn ə ʤəʤ ruld ðət ə gərl məst əˈtɛnd bət əˈlaʊd ðə ˈwɛrɪŋ əv ə burkini*. ɪn fræns, ɪn 2009 ə ˈwʊmən wɑz bænd frəm sˈwɪmɪŋ ɪn ə ˈpəblɪk pul ɪn hər burkini*. ðət wʊd bi ˈfɑloʊd ɪn 2016 baɪ ə ˌkɑntrəˈvərʃəl əˈfɪʃəl bæn ɔn ðə ˈgɑrmənt ɪn ˈpəblɪk ˈspeɪsɪz wɪʧ wɑz ɪˈvɛnʧəwəli ˈoʊvərˌtərnd baɪ frɛnʧ kɔrts. fræns, ˈbɛlʤəm, ənd ðə ˈnɛðərləndz ɔl hæv bænz ɔn ˈməzlɪm veɪlz ɪn ˈpəblɪk, tɪ ˈvɛriɪŋ dɪˈgriz. rɛd mɔr: ðə ˌɪzˈlɑmɪk veɪl əˈkrɔs ˈjʊrəp "əˈkɔrdɪŋli, ðə ˈʧɪldrənz ˈɪntəˌrɛst ɪn ə fʊl ˌɛʤəˈkeɪʃən, ðəs fəˈsɪləˌteɪtɪŋ ðɛr səkˈsɛsfəl ˈsoʊʃəl ˌɪnəˈgreɪʃən əˈkɔrdɪŋ tɪ ˈloʊkəl ˈkəstəmz ənd ˈmɔˌriz, prɪˈveɪld ˈoʊvər ðə ˈpɛrənts' wɪʃ tɪ hæv ðɛr ˈʧɪldrən ɪgˈzɛmptɪd frəm mɪkst sˈwɪmɪŋ ˈlɛsənz," ðə kɔrt sɛd. ðə kɔrt ˈɔlsoʊ ˈnoʊtɪd ðət "ˈvɛri ˈflɛksəbəl ərˈeɪnʤmənts" hæd bɪn ˈɔfərd ɛz ə ˈkɑmprəˌmaɪz, ˌɪnˈkludɪŋ əˈlaʊɪŋ ðə gərlz tɪ wɛr ˈdʊrɪŋ ˈlɛsənz ˈrəðər ðən trəˈdɪʃənəl sˈwɪmˌwɛr, ənd əˈlaʊɪŋ ðɛm tɪ ʧeɪnʤ kloʊðz wɪθ noʊ bɔɪz ɪn ðə rum.
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image copyright getty images image caption the court ruled switzerland was justified in enforcing the "full school curriculum"
switzerland has won a case at the european court of human rights (echr) obliging muslim parents to send their children to mixed swimming lessons.
it said authorities were justified in giving precedence to enforcing "the full school curriculum" and the children's "successful integration" into society.
the echr acknowledged that religious freedom was being interfered with.
but judges said it did not amount to a violation.
the case was brought by two swiss nationals, of turkish origin, who refused to send their teenage daughters to the compulsory mixed lessons in the city of basel.
education officials, however, said that exemptions were available only for girls who had reached the age of puberty - which the girls had not reached at the time.
in 2010, after a long-running dispute, the parents were ordered to pay a combined fine of 1,400 swiss francs ($1,380, £1,136) "for acting in breach of their parental duty".
they argued that such treatment was a violation of article nine of the european convention on human rights, which covers the right to freedom of thought, conscience and religion.
image copyright getty images image caption the controversial case was decided on at the european court of human rights
in a statement, the echr said the refusal to exempt the girls had interfered with the right to freedom of religion.
but it also said the law involved was designed to "protect foreign pupils from any form of social exclusion" and switzerland was free to design its education system according to its own needs and traditions.
schools, it said, played an important role in social integration, and exemptions from some lessons are "justified only in very exceptional circumstances".
swimming, burkinis, and integration
in 2016, officials in basel suspended the citizenship process for the family of two teenage muslim brothers who refused to shake hands with female teachers.
switzerland has also applied the law to other cases - a man of bosnian origin was fined last year for refusing to allow his daughter to take part in swimming lessons during school hours, among other activities.
germany also battled with the issue of mixed swimming lessons in 2013, when a judge ruled that a 13-year-old girl must attend - but allowed the wearing of a burkini.
in france, in 2009, a woman was banned from swimming in a public pool in her burkini. that would be followed in 2016 by a controversial official ban on the garment in public spaces - which was eventually overturned by french courts.
france, belgium, and the netherlands all have bans on muslim veils in public, to varying degrees.
read more: the islamic veil across europe
"accordingly, the children's interest in a full education, thus facilitating their successful social integration according to local customs and mores, prevailed over the parents' wish to have their children exempted from mixed swimming lessons," the court said.
the court also noted that "very flexible arrangements" had been offered as a compromise, including allowing the girls to wear burkinis during lessons rather than traditional swimwear, and allowing them to change clothes with no boys in the room.
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wɪn aɪ ʃɛr ˈrɛsəpiz, maɪ hoʊp ɪz ðət ju wɪl beɪk ənd ˌɛnˈʤɔɪ ðɛm ɪn jʊr hoʊm. aɪ bɪˈliv ðət ˈɛvriˌwən kən ənd ʃʊd beɪk frəm skræʧ ənd aɪ traɪ tɪ ˌɪnˈstɔl ˈkɑnfədɛns ɪn soʊ ðət ðeɪ kən beɪk ˈkəpˌkeɪks ðət ˈpipəl wɪl reɪv əˈbaʊt. aɪ ˈɑptɪd fər ðə ərˈɪʤənəl ˈləki ʧɑrmz ʃeɪps: pɪŋk hɑrts, ˈɔrɪnʤ stɑrz, ˈjɛloʊ munz, grin clovers*, ənd blu ˈdaɪməndz (ðə fərst ˈædɪd ʃeɪp). ðə ʃeɪps naʊ ər ˈsəmˈwət ˈdɪfərənt. ðət sɛd, ˈmeɪkɪŋ ˈhoʊˈmeɪd ˈləki ʧɑrmz ɪz nɑt fər ˈɛvriˌwən. ju kən rɛd ðət ˈsɛntəns ɛz ə ˈwɔrnɪŋ ər ɛz ə ˈʧælənʤ tɪ bi wən əv ðə fju hu ər əp tɪ ðə tæsk. aɪ wɪl ˈnɛvər meɪk ðɛm əˈgɛn. nɑt bɪˈkəz ðeɪ tərnd aʊt ˈpurli. noʊ, kwaɪt ðə ˈɑpəzɪt ðeɪ wər əˈmeɪzɪŋ! ˌhaʊˈɛvər, ˈhoʊˈmeɪd ˈləki ʧɑrmz wər soʊ ðət boʊθ ˈʤɑnəθən ənd aɪ ər stɪl rɪˈkəvərɪŋ wi hæv ˈblɪstərz ɔn ɑr θəmz frəm kənˈtɪnjuəs ˈprɛsɪŋ ɔn ˈkʊki ˈkətərz (ˈʤɑnəθən hæd tɪ teɪk ˈoʊvər ˈæftər maɪ ˈfɪŋgərz hərt soʊ məʧ ðət aɪ kət ˌɛniˈmɔr). ˈmeɪkɪŋ ˈləki ʧɑrmz frəm skræʧ ɪz ən əˈʧivmənt ðət aɪ æm praʊd əv, bət laɪk ˈklaɪmɪŋ maʊnt ˈɛvərəst, ɪt ɪz nɑt ˈsəmθɪŋ ðət aɪ wʊd ˌrɛkəˈmɛnd tɪ ˈɛvriˌwən. ʃʊr, ju kʊd du ɪt. ju kʊd ˈfɑloʊ ðə stɛps ənd meɪk ɪt ˈhæpən. bət, ˈəðər ðən ðə kul ˈfæktər, ðə bræg ˈfæktər, ənd ðə aɪ ʤɪst dɪd ðɪs ˈfæktər, aɪ kən ˈoʊnli θɪŋk əv wən kəmˈpɛlɪŋ ˈrizən tɪ meɪk ˈhoʊˈmeɪd ˈləki ʧɑrmz. hoʊst ə ˈləki ʧɑrmz plɛʤ draɪv bɪn æst fər ˈplɛʤɪz baɪ jʊr frɛndz ənd ˈfæməli hu rən ˈmɛrəˌθɑnz, ər ˈmeɪbi bɪn ðə wən ˈæskɪŋ ðɛm fər ˈplɛʤɪz wɪn rən wən. ˈpipəl hæv tɪ gɪv ðə ˈrənər ə ˈsərtən əˈmaʊnt əv ˈməni wɪn ðeɪ kəmˈplit ðə ˈʧælənʤ, ənd ðə ˈməni ðeɪ kəˈlɛkt ɪz ðɛn tərnd ˈoʊvər tɪ ə ˈwərði ˈʧɛrɪti. sɪns ˈmeɪkɪŋ ˈhoʊˈmeɪd ˈləki ʧɑrmz ɪz laɪk ə ˈmɛrəˌθɑn fər jʊr θəmz ˌəndərˈstænd wəns ju stɑrt ˈkətɪŋ ðoʊz ˈlɪtəl ʃeɪps aʊt), ju kʊd æsk jʊr frɛndz ənd ˈfæməli tɪ ˈdoʊˌneɪt tɪ jʊr ˈfeɪvərɪt ˈʧɛrɪti ɪn ɪksˈʧeɪnʤ fər ju kriˈeɪtɪŋ ˈhoʊˈmeɪd ˈləki ʧɑrmz. ɛz ə ˈboʊnəs, ˈplɛʤɪz ˈoʊvər ə ˈsərtən əˈmaʊnt kʊd rɪˈsiv ə θæŋk ju boʊl əv ˈhoʊˈmeɪd ˈləki ʧɑrmz. du ju θɪŋk jʊr frɛndz wʊd plɛʤ? haʊ tɪ meɪk ˈhoʊˈmeɪd ˈləki ʧɑrmz ɪf meɪd ɪt ðɪs fɑr ɪn ðɪs poʊst, ju ər ˈklɪrli nɑt skɛrd ɔf baɪ hɑrd wərk. ˌɪmˈprɛst. wət nid tɪ du tɪ meɪk ˈhoʊˈmeɪd ˈləki ʧɑrmz:
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when i share recipes, my hope is that you will bake and enjoy them in your home. i believe that everyone can and should bake from scratch and i try to install confidence in newbies so that they can bake cupcakes that people will rave about.
i opted for the original lucky charms shapes: pink hearts, orange stars, yellow moons,
green clovers, and blue diamonds (the first added shape). the shapes now are somewhat different.
that said, making homemade lucky charms is not for everyone.
you can read that sentence as a warning or as a challenge to be one of the few who are up to the task. i will never make them again. that’s not because they turned out poorly. no, quite the opposite – they were amazing! however, homemade lucky charms were so labor-intensive that both jonathan and i are still recovering – we have blisters on our thumbs from continuous pressing on cookie cutters (jonathan had to take over after my fingers hurt so much that i couldn’t cut anymore).
making lucky charms from scratch is an achievement that i am proud of, but like climbing mount everest, it is not something that i would recommend to everyone. sure, you could do it. you could follow the steps and make it happen. but, other than the cool factor, the brag factor, and the omg i just did this factor, i can only think of one compelling reason to make homemade lucky charms.
host a lucky charms pledge drive
you’ve been asked for pledges by your friends and family who run marathons, or maybe you’ve been the one asking them for pledges when you’ve run one. people have to give the runner a certain amount of money when they complete the challenge, and the money they collect is then turned over to a worthy charity. since making homemade lucky charms is like a marathon for your thumbs (you’ll understand once you start cutting those little shapes out), you could ask your friends and family to donate to your favorite charity in exchange for you creating homemade lucky charms. as a bonus, pledges over a certain amount could receive a thank you bowl of homemade lucky charms.
do you think your friends would pledge?
how to make homemade lucky charms
if you’ve made it this far in this post, you are clearly not scared off by hard work. i’m impressed. here’s what you’ll need to do to make homemade lucky charms:
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ðə əbˈsɛʃən wɪθ ˈhɪləri ˈklɪntən ɪz ˈriʧɪŋ nu ˈlɛvəlz əv əbˈsərdəti ɛz ðə ˈspɛʃəl ˈkaʊnsəlz ˌɪnˌvɛstəˈgeɪʃən ɪz ˈziroʊɪŋ ɪn ɔn trəmp ənd hɪz ˈkroʊniz. dɪˈspaɪt ˈwɪnɪŋ ðə ˈpɑpjələr voʊt, ˈhɪləri ˈklɪntən dɪd nɑt bɪˈkəm ˈprɛzɪdənt ðɪs pæst ˈʤænjuˌɛri. bət ˈlɪsənɪŋ tɪ səm ɔn ðə raɪt, ˈnɛvər noʊ ɪt. ɛz ˈspɛʃəl ˈkaʊnsəl ˈrɑbərt ˌɪnˌvɛstəˈgeɪʃən ɪz ˈkloʊzɪŋ ɪn, ˌɪnˈkludɪŋ sɪˈkjʊrɪŋ ɪts fərst ˌɪnˈdaɪtmənts, ðə fɪkˈseɪʃən ɔn ˈklɪntən baɪ ðə trəmp tim ənd ˈəðərz ɔn ðə raɪt ɪz ˈɛskəˌleɪtɪŋ tɪ ðə pɔɪnt ðət wən bɪˈgɪnz tɪ ˈwəndər ɪf fərˈgɑtən ðə ˈaʊtˌkəm əv ðə ɪˈlɛkʃən. ðə ˈmɔrnɪŋ ˈæftər nuz əv ðə sild ˌɪnˈdaɪtmənts ˈimərʤd, ˈfɔrmər trəmp kæmˈpeɪn ˈmænɪʤər ˈkɔri luənˈdɔfski wɛnt ɔn fɑks ənd frɛndz tɪ əˈtæk ðə ˈmɪθɪkəl administration.”*.” "wət wi ʃʊd bi ˈfoʊkɪsɪŋ ɔn ər ðə kənˈtɪnjud laɪz əv ðə ˈklɪntən ædˌmɪnɪˈstreɪʃən" ˈkɔri luənˈdɔfski ɔn fɑks frɛndz, ʤɑn ˈwaɪˌthaʊs (@existentialfish*) ɑkˈtoʊbər 28 2017 ənd luənˈdɔfski ðə ˈoʊnli wən ˈpʊʃɪŋ ðɪs bɪˈzɑr aɪˈdiə. ɛz leɪt naɪt hoʊst sɛθ maɪərz ˈnoʊtɪd waɪl fɑks nuz fər ðɛr ˈklɪntən əbˈsɛʃən, trəmp ædˌmɪnɪˈstreɪʃən simz ˈpərmɑˌnɛnˌtli ˈɪnənˌdeɪtɪd baɪ ˈskændəl ənd ˈkɑnstəntli ˈəndər siʤ wɪʧ maɪt ɪkˈspleɪn waɪ ˈmɛni ɔn ðə raɪt sim wɔnt tɪ lɪv ɪn ən ˈɔltərˌneɪt ˌriˈæləˌti wɛr trəmp ˈæˌkʧuəli president.”*.” ɛz maɪərz noʊts, fɑks həz rɪˈpitɪdli rɪˈfərd tɪ ðə russia”*” ˈstɔri ˈminɪŋ ðə nu ˌrɛvəˈleɪʃənz əˈbaʊt ðə trəmp ““dossier”*” biɪŋ ˈpɑrtli ˈfəndɪd baɪ ðə ˈklɪntən kæmˈpeɪn ənd ðə ˈdiˌɛnˌsi ˌɪnˈsɪstɪŋ ðət ðɪs ɪz wət mˈjulər ɔt tɪ bi ˌɪnˈvɛstəˌgeɪtɪŋ. raɪt, ɪn ðə trəmp ˈɪrə, hæv koʊˈhɪrənt ˈprɪnsəpəlz ər ən ideology,”*,” maɪərz ˈnoʊtɪd ɪn hɪz ˈkloʊzɪŋ. ʤɪst həz ˈɛnəmiz, wɪʧ ɪz waɪ ðeɪ prɪˈfər tɪ ˌɪnˈhæbət ən ˈɔltərˌneɪt ˌriˈæləˌti wɛr ˈhɪləri ˈklɪntən ɪz president.”*.” ˌɪnˈdid, ˈrəðər ðən feɪs ðə ˌriˈæləˌti ðət ðeɪ hæv brɔt əˈpɑn ðɛmˈsɛlvz ənd ðə ˈneɪʃən, rɪˈpəblɪkənz hæv ˌɪnˈvɛntɪd ən ˈɔltərˌneɪt ˌriˈæləˌti wɛr ˈprɑbləmz kən bi bleɪmd ɔn ðɛr ˈfeɪvərɪt ˈskeɪpˌgoʊt ˈivɪn ðoʊ ə ˈpraɪvət ˈsɪtɪzən. ðə aɪˈdiə əv ˈhoʊldɪŋ trəmp əˈkaʊntəbəl həz bɪn ɪˈnəf tɪ draɪv 17 rɪˈpəblɪkənz ənd ˈkaʊntɪŋ aʊt əv ˈkɑŋgrəs, fliɪŋ ˈrəðər ðən ˈstændɪŋ əp fər ðɛr ˈpɑrti ər ðə əˈmɛrɪkən ˈpipəl. ənd ɪt ɪz noʊ səˈpraɪz ðət ə ˈpɑrti lɛd baɪ ən ˈsɪˌriəl ˈsɛkʃuəl ˈprɛdətər həz ˈʧoʊzən tɪ əˈtæk ə smɑrt, ˈwʊmən ˈrəðər ðən teɪk ə lɔŋ lʊk ɪn ðə ˈmɪrər ənd ədˈmɪt ðət ðə ril ˈprɑbləm ɪz ðə əv ðə rɪˈpəblɪkən ˈpɑrti.
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the obsession with hillary clinton is reaching new levels of absurdity as the special counsel's investigation is zeroing in on trump and his cronies.
despite winning the popular vote, hillary clinton did not become president this past january.
but listening to some on the right, you’d never know it.
as special counsel robert mueller’s investigation is closing in, including securing its first indictments, the fixation on clinton by the trump team and others on the right is escalating to the point that one begins to wonder if they’ve forgotten the outcome of the election.
the morning after news of the sealed indictments emerged, former trump campaign manager corey lewandowski went on fox and friends to attack the mythical “clinton administration.”
"what we should be focusing on are the continued lies of the clinton administration" corey lewandowski on fox & friends, ht @dbernstein pic.twitter.com/vbvdwzqpov john whitehouse (@existentialfish) october 28, 2017
and lewandowski isn’t the only one pushing this bizarre idea.
as late night host seth myers noted while skewering fox news for their clinton obsession, “the trump administration seems permanently inundated by scandal and constantly under siege … which might explain why many on the right seem want to live in an alternate reality where trump actually isn’t president.”
as myers notes, fox has repeatedly referred to the “real russia” story meaning the new revelations about the trump “dossier” being partly funded by the clinton campaign and the dnc insisting that this is what mueller ought to be investigating.
“the right, in the trump era, doesn’t have coherent principles or an ideology,” myers noted in his closing. “it just has enemies, which is why they prefer to inhabit an alternate reality where hillary clinton is president.”
indeed, rather than face the reality that they have brought upon themselves and the nation, republicans have invented an alternate reality where self-induced problems can be blamed on their favorite scapegoat even though she’s a private citizen.
the idea of holding trump accountable has been enough to drive 17 republicans and counting out of congress, fleeing rather than standing up for their party or the american people.
and it is no surprise that a party led by an self-admitted serial sexual predator has chosen to attack a smart, compentent woman rather than take a long look in the mirror and admit that the real problem is the trump-rot of the republican party.
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wɪθ ðə juˈnaɪtɪd steɪts ənd ˈtaɪˌlænd ˈkɪkɪŋ ɔf ðə 2017 ˌɪtəˈreɪʃən əv ðə ˈænjuəl ˈkoʊbrə goʊld ˈmɪlɪˌtɛri ˈɛksərˌsaɪzɪz ˈlɑrʤəst ˈmɪlɪˌtɛri drɪl wi hæv sin ðə ˈjuʒəwəl strim əv ˈkɑmənˌtɛriz ɔn ðə steɪt əv ðə baɪˈlætərəl əˈlaɪəns (si: ənd ðə alliance”*”). wɪθ ðɪs, sin ˈrɛfərənsɪz tɪ ˈtaɪˌlænd ɛz ðə juˈnaɪtɪd states’*’ ˈeɪʒən ally.”*.” ðə juz əv ðət tərm baɪ səm ɪz ˈɪntəˌrɛstɪŋ ɪn ənd əv ˌɪtˈsɛlf. ɪn ˈkɑmənˌtɛri ɔn juz. ˈtriti əˈlaɪənsɪz ɪn ðə asia-pacific*, ˈkɑmən tɪ faɪnd ðət boʊθ ˈtaɪˌlænd ənd ðə ˈfɪləˌpinz ər rɪˈfərd tɪ ˈvɛriəsli ɛz ðə juˈnaɪtɪd states’*’ ˈeɪʒən ally.”*.” wət əˈkaʊnts fər ðɪs, ənd wɪʧ wən ɪz ɪt? hæd ə fju ˈpipəl æsk mi əˈbaʊt ɪt, ənd wərθ ˈbrifli ɪkˈsplɔrɪŋ. ðə juˈnaɪtɪd steɪts təˈdeɪ həz ˈsɛvən meɪn kəˈlɛktɪv sɪˈkjʊrəti ˈtritiz əˈkrɔs ðə wərld, əv wɪʧ faɪv ər ɪn ˈeɪʒə, ə pɔɪnt wɪʧ ˈdɛmənˌstreɪts ðə ɪnˈdʊrɪŋ ˌɪmˈpɔrtəns tɪ ˈwɔʃɪŋtən. ðiz ər: ðə ˈrioʊ ˈtriti wɪθ ˈlætən əˈmɛrɪkən steɪts (wɪʧ həz sin ˈsɛvərəl wɪθˈdrɔəlz ˈoʊvər ðə pæst fju jɪrz); ðə nɔrθ əˈtlæntɪk ˈtriti ˌɔrgənəˈzeɪʃən (ˈneɪtoʊ) wɪθ ˈjʊrəp; ənd baɪˈlætərəl əˈlaɪənsɪz wɪθ ʤəˈpæn, saʊθ ˌkɔˈriə, ˈtaɪˌlænd, ðə ˈfɪləˌpinz, ənd ɔˈstreɪljə. əv ðə ˈeɪʒən sɪˈkjʊrəti əˈlaɪənsɪz, ðə wən wɪθ ðə ˈfɪləˌpinz wɑz ˈæˌkʧuəli ðə ˈərliəst wən tɪ bi fɔrʤd. ðə mˈjuʧuəl dɪˈfɛns ˈtriti wɑz saɪnd ɔn ˈɔgəst 30 1951 ə fju deɪz ˌbiˈfɔr ðə wən wɪθ ɔˈstreɪljə ənd nu ˈzilənd (ˈænzəs) wɑz ɔn sɛpˈtɛmbər 1 1951 (nu ˈzilənd wɑz səˈspɛndɪd ɪn 1986 ənd jɪrz ˌbiˈfɔr ðə əˈlaɪəns wɑz ɔn ɑkˈtoʊbər 1 1953 ənd ðə əˈlaɪəns ɔn ˈʤænjuˌɛri 19 1960 ˌɪnˈdid, ɪn tərmz əv sɪˈkjʊrəti ˈtriti kəˈmɪtmənts, ˈtaɪˌlænd ɪz ðə ɑd wən aʊt əˈməŋ ðiz ˈkəntriz sɪns ðɛr wɑz noʊ ˌɪˈnɪʃəl baɪˈlætərəl faʊnˈdeɪʃənəl ˈtriti bɪtˈwin ˈwɔʃɪŋtən ənd ˈbæŋkɑk. ˈrəðər, boʊθ ˈkəntriz wər ˈsɪgnəˌtɔriz əv ðə 1954 məˈnɪlə pækt əv ðə ˌsaʊˈθist ˈeɪʒə ˈtriti ˌɔrgənəˈzeɪʃən (ˈsitoʊ), ənd ˈivɪn ðoʊ ˈsitoʊ ˌɪtˈsɛlf wɑz dɪˈzɑlvd bæk ɪn 1977 ðə məˈnɪlə pækt ˌɪtˈsɛlf rɪˈmeɪnd ɪn fɔrs ənd, əˈlɔŋ wɪθ ˈəðər baɪˈlætərəl ˌəndərˈstændɪŋz laɪk ðə kəmˌjunəˈkeɪ əv 1962 ənd ðə 2012 ʤɔɪnt ˈvɪʒən ˈsteɪtmənt fər ðə dɪˈfɛns əˈlaɪəns, ɪz kənˈsɪdərd ðə ˈwaɪdər ˈbeɪsɪs fər juz. sɪˈkjʊrəti kəˈmɪtmənts tɪ ˈtaɪˌlænd. ðɪs spiks tɪ ə ˈbrɔdər pɔɪnt ˈɔfən mɪst əˈbaʊt sɪˈkjʊrəti əˈlaɪənsɪz: ðoʊ əˈtɛnʃən tɛndz tɪ bi ˌoʊvərˈwɛlmɪŋli peɪd ɔn faʊnˈdeɪʃənəl ˈtritiz, ðeɪ ər ˈɔlsoʊ ˈɔfən ˈəndərˌpɪnd baɪ ə ˈsɪriz əv mɔr spɪˈsɪfɪk əˈgrimənts ənd ˌəndərˈstændɪŋz ðət ˈmætər ɛz məʧ, ɪf nɑt mɔr. bət, goʊɪŋ bæk tɪ ðə ərˈɪʤənəl kˈwɛʃən: ˈgɪvɪn ðə fækt ðət ðə sɪˈkjʊrəti ˈtriti wɑz ðə fərst tɪ bi saɪnd, waɪ, ðɛn, wʊd ˈtaɪˌlænd bi ˈsaɪtɪd ɛz ðə juˈnaɪtɪd states’*’ ˈoʊldəst ˈælaɪ? ðə ˈrizən waɪ ˈtaɪˌlænd ɪz ˈɔfən ˈsaɪtɪd ɛz ðə juˈnaɪtɪd states’*’ ˈoʊldəst ˈælaɪ ɪn ˈeɪʒə ɪz bɪˈkəz boʊθ ˈkəntriz hæd ə ˈtriti ɔn ˈæmɪti ənd ˈkɑmərs bæk ɪn 1833 ˈæftər ðeɪ əˈfɪʃəli ɪˈstæblɪʃt riˈleɪʃənz ɪn 1818 ɪf wən wər tɪ vju ðə tərm ˈælaɪ ɛz nɑt ˈnɛroʊli dɪˈfaɪnd tɪ ˌɪnˈklud ʤɪst ðə sɪˈkjʊrəti rɛlm, bət ðə ˌɛkəˈnɑmɪk wən ɛz wɛl, ðət wʊd kˈwɑləˌfaɪ ˈtaɪˌlænd fər ðɪs ally”*” ˈstætəs. mɔr ˈbrɔdli, ˈgɪvɪŋ ðə ˌdɛzɪgˈneɪʃən tɪ ˈtaɪˌlænd ˈɔlsoʊ ækˈnɑlɪʤɪz ðə ˌriˈæləˌti ðət juz. ˌɪnˈvɑlvmənt wɪθ ˈtaɪˌlænd goʊz bæk məʧ ˈfərðər ðən ɪt dɪz wɪθ ðə ˈfɪləˌpinz, ˈivɪn ðoʊ taɪz wɪθ ðə ˈlætər ˈɛndɪd əp bɪˈkəmɪŋ məʧ ˈdipər fɑr kˈwɪkər ɪn ə mɔr ˈfɔrməl sɛns ɪn ðə ˈsɛnʧəri. ðə juˈnaɪtɪd steɪts ˈprɛzəns ɪn ˈtaɪˌlænd wɑz sɪgˈnɪfɪkənt ənd ɪn səm weɪz kwaɪt juˈnik ˈivɪn ˈərli ɔn: baɪ ðə ˈsɛnʧəri, wɪn ˈfɔrməl ˌdɪpləˈmætɪk taɪz wər ɪˈstæblɪʃt, juz. ˈkɑmərs wɪθ ˈtaɪˌlænd hæd sərˈpæst ˈɛvəri ˈkəntri ɪkˈsɛpt ˈbrɪtən (ˌbiˈfɔr ðə ˈsɪvəl wɔr ˌɪntərˈvind), ənd ə ˈlɛvəl əv ˈkəmfərt dɪˈvɛləpt səʧ ðət baɪ ðə ˈərli tˈwɛnˌtiɛθ ˈsɛnʧəri, əˈmɛrɪkənz wər ˈsərvɪŋ ɛz ˈfɔrən əˈfɛrz ædˈvaɪzərz tɪ ðə taɪ kɪŋ. juz. taɪz tɪ ðə ˈfɪləˌpinz, baɪ ˈkɑntræst, ˈrɪli bɪˈgæn tɪ bi fɔrʤd wəns ˈwɔʃɪŋtən ˌɪnˈhɛrətɪd ɪt ɛz ə ˈspænɪʃ ˈkɑləni təˈwɔrdz ðə ɛnd əv ðə ˈsɛnʧəri, wɪʧ ˈfɑloʊd ə ˈpɪriəd əv ˌɑkjəˈpeɪʃən ənd ðɛn ˈfɪləˌpin ˌɪndɪˈpɛndəns frəm ˈwɔʃɪŋtən ɪn 1946 ðə ˈlɛgəsi əv ðə juˈnaɪtɪd steɪts ɪn ðə ˈfɪləˌpinz ɪz ˌɪmˈpɔrtənt tɪ kip ɪn maɪnd bɪˈkəz ɪt kən ˈænəˌmeɪt ðə riˈleɪʃənˌʃɪp ˈivɪn təˈdeɪ, ɛz wi hæv sin wɪθ səm əv ˈfɪləˌpin ˈprɛzɪdənt rəˈdrigoʊ ˈrisənt ˈkɑmɛnts (si: ðə philippines’*’ rəˈdrigoʊ heɪts america”*”). ˈgɪvɪn ɔl ðɪs, hu ɪz raɪt? ɪz ɪt ðə ˈfɪləˌpinz ər ˈtaɪˌlænd hu dɪˈzərvz ðə ˈstætəs əv ˈoʊldəst juz. ˈeɪʒən ˈælaɪ? ðə ˈænsər tɪ ðət kˈwɛʃən dɪˈpɛndz ɔn haʊ ˈnɛroʊli ər ˈbrɔdli wən dɪˈfaɪnz ðə tərm ˈælaɪ, ɛz wɛl ɛz ˈdipər ˈbaɪəsɪz wɪθ rɪˈspɛkt tɪ ˈɛmfəˌsaɪzɪŋ mɔr ðə ˌɪnˈfɔrməl hɪˈstɔrɪkəl taɪz ər ˈdipər, ˈmɑdərn wənz. ə keɪs kən ˈizəli bi meɪd fər boʊθ, ˈivɪn ðoʊ ɪt ɪz ˈɔfən ˈsteɪtɪd ɛz fækt ˈrəðər ðən ˈʤəstəˌfaɪd. ðoʊz hu hæv ˈgræpəld wɪθ ðɪs kˈwɛʃən ˈpriviəsli ˌmaɪˈsɛlf ˌɪnˈkludɪd ˈsəmˌtaɪmz traɪ tɪ bi ˈhɛlpfəl ˈiðər baɪ ˈspikɪŋ ər ˈraɪtɪŋ wɪθ mɔr ˌspɛsəˈfɪsəti (e.g*., ˈtaɪˌlænd ɪz ðə juˈnaɪtɪd states’*’ ˈoʊldəst treɪd ənd ˌɛkəˈnɑmɪk ˈælaɪ); ər mɔr ˈklɛrɪti (e.g*., ˈtaɪˌlænd ɪz ˈɔfən rɪˈgɑrdɪd ɛz ðə ˈoʊldəst juz. ˈælaɪ ɔn ðə ˈbeɪsɪs əv ðə 1833 ˈtriti ɔn ˈæmɪti ənd ˈkɑmərs) wɪn taɪm ˈpərˌmɪts. ˈivɪn soʊ, nən əv ðiz ˈditeɪlz kən ˈsəbstəˌtut fər ə ˈdipər ənd mɔr ˈgrænjələr ˈpərsɪnəl ˌəndərˈstændɪŋ əv ðə ˈɔrəʤɪnz ənd ˌɛvəˈluʃən əv ðiz əˈlaɪənsɪz, wɪʧ ər ˈɔfən ˈgroʊsli ˈsɪmpləˌfaɪd təˈdeɪ ɔn ðə ˈbeɪsɪs əv əˈsəmpʃənz ðət ər mɔr ˈɔfən ðən nɑt ənˈsteɪtɪd.
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with the united states and thailand kicking off the 2017 iteration of the annual cobra gold military exercises – asia’s largest military drill – we have seen the usual stream of commentaries on the state of the bilateral alliance (see: “trump and the us-thailand alliance”). with this, we’ve seen references to thailand as the united states’ “oldest asian ally.”
the matter-of-fact use of that term by some is interesting in and of itself. in commentary on u.s. treaty alliances in the asia-pacific, it’s common to find that both thailand and the philippines are referred to variously as the united states’ “oldest asian ally.” what accounts for this, and which one is it? i’ve had a few people ask me about it, and it’s worth briefly exploring.
the united states today has seven main collective security treaties across the world, of which five are in asia, a point which demonstrates the region’s enduring importance to washington. these are: the rio treaty with latin american states (which has seen several withdrawals over the past few years); the north atlantic treaty organization (nato) with europe; and bilateral alliances with japan, south korea, thailand, the philippines, and australia.
of the asian security alliances, the one with the philippines was actually the earliest one to be forged. the u.s.-philippine mutual defense treaty was signed on august 30, 1951; a few days before the one with australia and new zealand (anzus) was inked on september 1, 1951 (new zealand was suspended in 1986); and years before the u.s.-rok alliance was inked on october 1, 1953 and the u.s.-japan alliance on january 19, 1960.
indeed, in terms of security treaty commitments, thailand is the odd one out among these countries since there was no initial bilateral foundational treaty between washington and bangkok. rather, both countries were signatories of the 1954 manila pact of the southeast asia treaty organization (seato), and even though seato itself was dissolved back in 1977, the manila pact itself remained in force and, along with other bilateral understandings like the thanat-rusk communique of 1962 and the 2012 joint vision statement for the u.s.-thailand defense alliance, is considered the wider basis for u.s. security commitments to thailand.
this speaks to a broader point often missed about security alliances: though attention tends to be overwhelmingly paid on foundational treaties, they are also often underpinned by a series of more specific agreements and understandings that matter as much, if not more.
but, going back to the original question: given the fact that the u.s.-philippines security treaty was the first to be signed, why, then, would thailand be cited as the united states’ oldest ally?
the reason why thailand is often cited as the united states’ oldest ally in asia is because both countries had inked a treaty on amity and commerce back in 1833, after they officially established relations in 1818. if one were to view the term ally as not narrowly defined to include just the security realm, but the economic one as well, that would qualify thailand for this “oldest ally” status.
more broadly, giving the designation to thailand also acknowledges the reality that u.s. involvement with thailand goes back much further than it does with the philippines, even though ties with the latter ended up becoming much deeper far quicker in a more formal sense in the 20th century. the united states presence in thailand was significant and in some ways quite unique even early on: by the mid-19th century, when formal diplomatic ties were established, u.s. commerce with thailand had surpassed every country except britain (before the civil war intervened), and a level of comfort developed such that by the early twentieth century, americans were serving as foreign affairs advisers to the thai king.
u.s. ties to the philippines, by contrast, really began to be forged once washington inherited it as a spanish colony towards the end of the 19th century, which followed a period of occupation and then philippine independence from washington in 1946. the legacy of the united states in the philippines is important to keep in mind because it can animate the relationship even today, as we have seen with some of philippine president rodrigo duterte’s recent comments (see: “why the philippines’ rodrigo duterte hates america”).
given all this, who is right? is it the philippines or thailand who deserves the status of oldest u.s. asian ally? the answer to that question depends on how narrowly or broadly one defines the term ally, as well as one’s deeper biases with respect to emphasizing more the informal historical ties or deeper, modern ones. a case can easily be made for both, even though it is often stated as fact rather than justified.
those who have grappled with this question previously — myself included — sometimes try to be helpful either by speaking or writing with more specificity (e.g., thailand is the united states’ oldest trade and economic ally); or more clarity (e.g., thailand is often regarded as the oldest u.s. ally on the basis of the 1833 treaty on amity and commerce) when time permits. even so, none of these details can substitute for a deeper and more granular personal understanding of the origins and evolution of these alliances, which are often grossly simplified today on the basis of assumptions that are more often than not unstated.
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ˈmɑnstər ˈhəntər 4 ˈəltəmət ɪz ˈɔlˌmoʊst əˈpɑn ˈjuˈɛs, ənd tɪ ˈsɛləˌbreɪt ðə riˈlis, wiv timd əp wɪθ ðə nɪnˈtɛndoʊ wərld stɔr ɪn nu jɔrk ˈsɪti tɪ hoʊst ə ˈspɛʃəl ˈmɪdˌnaɪt lɔnʧ ɪˈvɛnt! soʊ ʤɔɪn ˈjuˈɛs (jɛs, aɪl bi ðɛr!) æt ɔn ˈfɛbruˌɛri fər jʊr ʧæns tɪ gɪt ðə geɪm ɛz sun ɛz ɪts əˈveɪləbəl ənd stɑrt ˈhəntɪŋ raɪt əˈweɪ. ənd ə ˈnoʊtɪs tɪ ɔl ˈmɑnstər ˈhəntər aʊt ðɛr, ɪf ju ʃoʊ əp ɪn jʊr ənd ər pɑrt əv ðə fərst 150 ˈpipəl ɪn laɪn, ju meɪ bi səˈlɛktɪd tɪ gɪt ɪn ˈərli ənd bi ðə fərst wənz tɪ baɪ ðə geɪm! nɪnˈtɛndoʊ wɪl bi səˈlɛktɪŋ 20 fər ðɪs, soʊ meɪk ʃʊr jʊr ˈhəntɪŋ ˈɑrmər ˈrɛdi, bət pliz doʊnt friz tɪ dɛθ ɪts ˈgɑnə bi koʊld... hɪrz mæp əv ðə nɪnˈtɛndoʊ wərld stɔr; si ju ðɛr!
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monster hunter 4 ultimate is almost upon us, and to celebrate the release, we've teamed up with the nintendo world store in new york city to host a special midnight launch event!
so join us (yes, i'll be there!) at 12am on february 13th for your chance to get the game as soon as it's available and start hunting right away. =)
and a notice to all monster hunter cosplayers out there, if you show up in your cosplay and are part of the first 150 people in line, you may be selected to get in early and be the first ones to buy the game! nintendo will be selecting 20 cosplayers for this, so make sure your hunting armor ready, but please don't freeze to death - it's gonna be cold...
here's map of the nintendo world store; see you there!
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waʊ, ɪt wɑz ˈrɪli ˈtaɪərsəm ɛz wɛl ɛz ɪkˈsaɪtɪŋ tɪ dɪg ðə ˈsɪstəm dəmp əv ðə ʤi wɔʧ wɪʧ wɑz əˈlɛʤədli likt baɪ ðə tˈwɪtər @upleaks*. waɪl ˈdɪgɪŋ əraʊnd wi keɪm əp wɪθ səm ˈɪntəˌrɛstɪŋ nu fækts ðət wɑz ˈərliər ə vɔɪd əˈbaʊt ðə ʤi wɔʧ. ðə geɪv ˈjuˈɛs ə lɔt əv ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə ˈəpˌkəmɪŋ wɔʧ. hir ər ə fju ˈfaɪndɪŋz wi dəg ˈæftər ən aʊər lɔŋ dɪg. frəm ðiz laɪnz ðə əv ðə ˈsɪstəm dəmp wi hæv keɪm tɪ noʊ ðət ðə ʤi wɔʧ dəbz wɪθ ðə ˈprɑdəkt neɪm ənd ðə fər ðə ˈprɑdəkt wɑz ˈdɔri. jɛt əˈnəðər səˈpraɪzɪŋ faɪnd ɪz ðə hɪnt əv ðət ɪz paʊərɪŋ ðə ʤi wɔʧ. ðə rɪˈvilz ðə ˈfɑloʊɪŋ koʊd tɪ ˈjuˈɛs: ðɪs minz ðət ðə ʤi wɔʧ ɪz tɪ bi paʊərd baɪ ðə sˈnæpˌdrægən 400 ˈprɑˌsɛsər. ðɛr ər fju ˈəðər ˈpisɪz əv koʊd wɪʧ gɪvz ə wət ðə ʤi wɔʧ kəmz wɪθ. 1187829 ðə bɪld ɔn ðə ʤi wɔʧ ɪz ənd wɪθ, wɛr ˈdəbəlju kʊd stænd fər ““wear”*” bət nɑt ʃʊr wət ənd wɛr ər duɪŋ təˈgɛðər hir.
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wow, it was really tiresome as well as exciting to dig the system dump of the lg g watch which was allegedly leaked by the twitter leakster @upleaks. while we’re digging around we came up with some interesting new facts that was earlier a void about the lg g watch.
the build.prop gave us a lot of information about the upcoming watch. here are a few findings we dug after an hour long dig.
ro.product.name=platina
ro.product.device=dory
from these lines the build.prop of the system dump we have came to know that the lg g watch dubs with the product name platina and the codename for the product was dory.
yet another surprising find is the hint of chipset that is powering the lg g watch. the build.prop reveals the following code to us:
ro.board.platform=msm8226
this means that the up-coming lg g watch is to be powered by the snapdragon 400 msm8226 quad-core processor.
there are few other pieces of code which gives a sneak-peak what the lg g watch comes with.
ro.build.description=platina-user 4.4w kkv51 1187829 release-keys
the firmware build on the lg g watch is kkv51 and with 4.4w, where w could stand for “wear” but we’re not sure what kitkat and wear are doing together here.
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ˈstɔri ˈhaɪˌlaɪts ˈʃænən ˈmɔrgən rɪkˈwɛstɪd ə ˈvænɪti ˈlaɪsəns pleɪt ˈrɛdɪŋ 8theist*" ðə nu ˈʤərzi ˈmoʊtər ˈviɪkəl kəˈmɪʃən rɪˈʤɛktɪd hər rɪkˈwɛst ˈlidər əv ˈeɪθiəst grup: steɪt ɪz "ˈfeɪvərɪŋ rɪˈlɪʤən waɪl dɪˈspɛrɪʤɪŋ nonbelief*" sut əˈgɛnst ðə kəˈmɪʃən kleɪmz ˈmɔrgənz fərst əˈmɛndmənt raɪts wər ˈvaɪəleɪtɪd ˈʃænən ˈmɔrgən aɪˈdɛntəˌfaɪz ɛz ən ˈeɪθiəst ənd wɔnts ðə wərld, ər æt list ðə kɑr bɪˈhaɪnd hər, tɪ noʊ ɪt. bət ðə steɪt əv nu ˈʤərzi sɪz noʊ. ˈmɔrgən, əv ˈlizbərg, ɪz suɪŋ ðə nu ˈʤərzi ˈmoʊtər ˈviɪkəl kəˈmɪʃən fər rɪˈʤɛktɪŋ hər rɪkˈwɛst fər ə ˈvænɪti ˈlaɪsəns pleɪt ˈrɛdɪŋ 8theist*," əˈkɔrdɪŋ tɪ ə ˈfɔrməl kəmˈpleɪnt faɪld ˈθərzˌdeɪ wɪθ ðə ˈdɪstrɪkt kɔrt. bət ðə kəˈmɪʃən nɪkst hər rɪkˈwɛst, seɪɪŋ ðə ˈmɛsɪʤ "meɪ ˈkɛri ˌkɑnəˈteɪʃənz əˈfɛnsɪv tɪ gʊd teɪst ənd ˈdisənsi," əˈkɔrdɪŋ tɪ ðə kəmˈpleɪnt. ən əˈmɛrɪkənz juˈnaɪtɪd fər ˌsɛpərˈeɪʃən əv ʧərʧ ənd steɪt ˈligəl tim ɪz naʊ ˈhɛlpɪŋ hər su ðə kəˈmɪʃən ˈkleɪmɪŋ ˈmɔrgənz fərst əˈmɛndmənt raɪts wər ˈvaɪəleɪtɪd. "ðə steɪt əv nu ˈʤərzi ɪz ˈfeɪvərɪŋ rɪˈlɪʤən waɪl dɪˈspɛrɪʤɪŋ nonbelief*," sɛd ðə rɛv. ˈbɛri ˈdəbəlju. lɪn, ɪgˈzɛkjətɪv dɪˈrɛktər əv ðə grup. "ɪt ˈsɪmpli həz noʊ raɪt tɪ du ðət." ˈmɔrgən kleɪmz ðət ʃi wɑz dɪˈnaɪd ə ˈlaɪsəns pleɪt fər 8theist*" bət əˈpruvd fər wən ðət rɛd "ˈbæptɪst" ənd ðət ðɪs "ɪkˈsprɛsɪz ə ˈprɛfərəns fər rɪˈlɪʤəs bɪˈlifs, ˈoʊvər bɪˈlifs" əˈkɔrdɪŋ tɪ ðə kəmˈpleɪnt. ðɪs keɪs ɪz ɔl tu fəˈmɪljər tɪ əˈnəðər nu ˈʤərzi ˈneɪtɪv, ˈdeɪvɪd ˈsɪlvərˌmæn, hu hæd tɪ pəˈtɪʃən fər ə ˈvænɪti ˈlaɪsəns pleɪt əˈnaʊnsɪŋ hɪz ˌeɪθiˈɪstɪk vjuz. ˈæftər hi wɑz ˌɪˈnɪʃəli rɪˈʤɛktɪd fər ə pleɪt ˈrɛdɪŋ, "athe1st*," ˈsɪlvərˌmæn faɪld ə ˈfɔrməl kəmˈpleɪnt wɪθ ðə nu ˈʤərzi ˈmoʊtər ˈviɪkəl kəˈmɪʃən. hi sɪz ðət wɪˈθɪn θri deɪz, ə ˈsupərˌvaɪzər æt ðə kəˈmɪʃən ˈɪʃud ɪm ðə pleɪt. "ðə wərd 'ˈeɪθiəst,' ɪn maɪ əˈpɪnjən, ɪz nɑt əˈbʤɛkʃənəbəl," ˈsɪlvərˌmæn, hu ɪz ˈprɛzɪdənt əv əˈmɛrɪkən ˈeɪθiəsts, toʊld ˈsiˈɛˈnɛn. "ɪts nɑt ə bæd wərd ənd ˈʃʊdənt bi rɪˈgɑrdɪd ɛz ə bæd wərd." hi teɪks ˈɪʃu wɪθ ðə ˈprɔˌsɛs, seɪɪŋ ðət ɪts ˌprɑbləˈmætɪk ðət ˈeɪθiəsts hæv tɪ ʤəmp θru hups ˈoʊnli tɪ bi dɪˈnaɪd, ðɛn hæv tɪ əˈpil ˌbiˈfɔr ðɛr ˈlaɪsəns pleɪts gɪt əˈpruvd. kɔlz tɪ ðə nu ˈʤərzi ˈmoʊtər ˈviɪkəl kəˈmɪʃən wər nɑt ˌɪˈmiˌdiətli rɪˈtərnd.
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story highlights shannon morgan requested a vanity license plate reading "8theist"
the new jersey motor vehicle commission rejected her request
leader of atheist group: state is "favoring religion while disparaging nonbelief"
suit against the commission claims morgan's first amendment rights were violated
shannon morgan identifies as an atheist and wants the world, or at least the car behind her, to know it. but the state of new jersey says no.
morgan, of leesburg, is suing the new jersey motor vehicle commission for rejecting her request for a vanity license plate reading "8theist," according to a formal complaint filed thursday with the district court.
but the commission nixed her request, saying the message "may carry connotations offensive to good taste and decency," according to the complaint.
an americans united for separation of church and state legal team is now helping her sue the commission claiming morgan's first amendment rights were violated.
"the state of new jersey is favoring religion while disparaging nonbelief," said the rev. barry w. lynn, executive director of the group. "it simply has no right to do that."
morgan claims that she was denied a license plate for "8theist" but approved for one that read "baptist" and that this "expresses a preference for theistic religious beliefs, over non-theistic beliefs" according to the complaint.
this case is all too familiar to another new jersey native, david silverman, who had to petition for a vanity license plate announcing his atheistic views. after he was initially rejected for a plate reading, "athe1st," silverman filed a formal complaint with the new jersey motor vehicle commission. he says that within three days, a supervisor at the commission issued him the plate.
"the word 'atheist,' in my opinion, is not objectionable," silverman, who is president of american atheists, told cnn. "it's not a bad word and shouldn't be regarded as a bad word."
he takes issue with the process, saying that it's problematic that atheists have to jump through hoops only to be denied, then have to appeal before their license plates get approved.
calls to the new jersey motor vehicle commission were not immediately returned.
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ðə juz. ˈvɪdioʊ ˈstrimɪŋ ʤaɪənt wɪl ˈɔfər ðə riˈbut əv ðə kəlt ˈkɑmədi tɪ ɪts kəˈneɪdiən səbˈskraɪbərz ˈæftər læst jɪr ənˈveɪlɪŋ ə dil ðət ˈkəvərd ˈoʊnli ðə əˈmɛrɪkən ˈmɑrkɪt. tərˈɑntoʊ ðə ərˈɛstɪd dɪˈvɛləpmənt riˈbut ɪz ˈkəmɪŋ nɔrθ tɪ strim ɔn ˈkænədə ˈæftər ɔl. ðə ɪkˈsaɪtmənt sərˈaʊndɪŋ ðə rɪˈtərn əv ərˈɛstɪd dɪˈvɛləpmənt, wi ər θrɪld tɪ prɛˈmɪr ðə nu ˈsizən əv ðə ʃoʊ ɪn ˈkænədə æt ðə seɪm taɪm ɛz wi lɔnʧ ɪt ɪn ðə u.s.,”*.,” ʧif ˈkɑntɛnt ˈɔfɪsər tɛd sɛd ɪn ə ˈsteɪtmənt ˈmənˌdeɪ. ə swɪʧ frəm læst jɪr, wɪn ənˈveɪld ə dil tɪ ˈɔfər ə nu ˈsizən əv ðə fɑks ˈkɑmədi ɪkˈsklusɪvli ɔn ðə juz. ˈstrimɪŋ ˈsərvɪs ˈsteɪtˈsaɪd, ɪkˈskludɪŋ ˈkænədə. ərˈɛstɪd dɪˈvɛləpmənt wɛnt ɔf ðə ɛr ɪn 2006 ənd ˈkænədə səbˈskraɪbərz naʊ kən strim ðə fərst θri ˈsizənz əv ðə kəlt fɑks ˈkɑmədi əˈhɛd əv ðə nu ˈsaɪkəl ˈkəmɪŋ tɪ ðə ˈstrimɪŋ ˈsərvɪs. mɪʧ ˈhərwɪts, trɔɪ ˈmɪlər, rɑn haʊərd, braɪən ˈgreɪzər ənd ˈfræŋki ər ɪgˈzɛkjətɪv prəˈdusɪŋ ðə ˈəpˌkəmɪŋ fɔrθ ˈsizən əv ərˈɛstɪd dɪˈvɛləpmənt, tɪ bi prəˈdust baɪ ˌɪˈmæʤən ˌtɛləˈvɪʒən ənd ˈsɛnʧəri fɑks ˈtɛləˌvɪʒən fər. ðə meɪn ər bæk ˌɪnˈkludɪŋ ˈʤeɪsən ˈbeɪtmən, ˈpɔrʃə də ˈrɔsi, wɪl ɑrˈnɛt, ˈmaɪkəl ˈsɛrə, shawkat*, ˈtoʊni heɪl, ˈdeɪvɪd krɔs, ˈʤɛfri ənd ˈʤɛsɪkə ˈwɔltər. ðə bɪˈleɪtɪd əˈdɪʃən əv ðə fɑks ˈkɑmədi tɪ ðə ˈkænədə ˈsərvɪs stændz ɪn ˈkɑntræst tɪ ðə juz. ˈvɪdioʊ ʤaɪənt ˈɔfərɪŋ ðə ˈhəŋgər geɪmz ˈmuvi tɪ kəˈneɪdiən səbˈskraɪbərz dɛk. 31 ˌbiˈfɔr ɪts meɪd əˈveɪləbəl saʊθ əv ðə ˈbɔrdər. ˈkænədə ˈɔlsoʊ ˈædɪd ˈloʊkəl ˈkɑntɛnt tɪ ɪts ˈskɛʤʊl, ˌɪnˈkludɪŋ səʧ fɛr ɛz ðə ˈfæməli ˈdrɑmə lɑ ənd ðə ˌdɑkjəˈmɛnəri ˌɑˈmur, ɛt propagande*.
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the u.s. video streaming giant will offer the reboot of the cult comedy to its canadian subscribers after last year unveiling a deal that covered only the american market.
toronto -- the arrested development reboot is coming north to stream on netflix canada after all.
“with the excitement surrounding the return of arrested development, we are thrilled to premiere the new season of the show in canada at the same time as we launch it in the u.s.,” netflix chief content officer ted sarandos said in a statement monday.
that’s a switch from last year, when netflix unveiled a deal to offer a new season of the fox comedy exclusively on the u.s. streaming giant’s service stateside, excluding canada.
arrested development went off the air in 2006, and netflix canada subscribers now can stream the first three seasons of the cult fox comedy ahead of the new cycle coming to the streaming service.
mitch hurwitz, troy miller, ron howard, brian grazer and francie calfo are executive producing the upcoming fourth season of arrested development, to be produced by imagine tv and 20th century fox television for netflix. the main castmembers are back including jason bateman, portia de rossi, will arnett, michael cera, alia shawkat, tony hale, david cross, jeffrey tambor and jessica walter.
the belated addition of the fox comedy to the netflix canada service stands in contrast to the u.s. video giant offering the hunger games movie to netflix’s canadian subscribers dec. 31, before it's made available south of the border.
netflix canada also added local content to its schedule, including such french-language fare as the family drama la galere and the documentary amour, haine et propagande.
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ðə ðə ˈbɪtər teɪst əv aɪərn ˈkoʊtɪd θroʊt ɛz ʃi dræŋk dip frəm ðə blæk veɪn ɔn ðə rɪst əv ʧərʧ. ˌɪˈmiˌdiətli hər ˈstəmək rɛnʧt, ənd tˈwɪstɪd. hər ˈvɪʒən gru ˌɪnˈtɛns, laɪk ɔl ðə ˈkələrz ɪn ðə rum gru mɔr ˈvaɪbrənt. mɔr əˈlaɪv. ˈlɔrɪˌlaɪ fɛl ˈbækwərdz ˈɪntu ə lɑrʤ ˈkʊʃən pleɪst ðɛr praɪər tɪ ðə ˈrɪʧuəl, spəˈsɪfɪkli fər ðɪs ˈsərkəmˌstæns. ʃi leɪd ðɛr ənd stɛrd əp æt ðə ˈsilɪŋ. ɪt wɑz ˈpeɪnɪd wɪθ mˈjʊrəlz əv ˈeɪnʤəlz ənd ˈʃæˌdoʊz, bət moʊst əv ɪt wɑz blɑkt baɪ ðə feɪs əv ʧərʧ ˈlʊkɪŋ daʊn ɔn ˈlɔrɪˌlaɪ. hi klɛnʧt ənd hɪz ʤɔ ˈməsəlz fər ə ˈmoʊmənt ˌbiˈfɔr ˈspikɪŋ, "ˈhæpi fərst ˈbərθˌdeɪ ˈlɔrɪˌlaɪ. təˈdeɪ ɪz ðə fərst deɪ əv jʊr new...life*. təˈdeɪ ju ʤɔɪn klæn, ənd ðə ɪˈtərnəl ɪmˈbreɪs əv ðə ˈɛmpaɪər." dɛd bət stɪl ˈvɛri məʧ əˈlaɪv ðə ər ə reɪs əv ˈlɪvɪŋ dɛd. bləd stɪl pəmps θru ðɛr veɪnz blæk, θɪk, ənd ˈvɪskəs, bət ðeɪ noʊ ˈlɔŋgər eɪʤ. ðə, neɪmd ˈæftər ðɛr kriˈeɪtər ˈɛmpərər, ər ˈoʊnli tˈwɛnti jɪrz oʊld, ðoʊ ə ˈsɪŋgjələr kən bi ˈɛniˌwɛr frəm tɛn tɪ ə ˈhənərd jɪrz oʊld. ðɪs ɪz bɪˈkəz ə ˈɪzənt bɔrn bət ʃi ɪz kriˈeɪtɪd, ənd ðeɪ wərənt kriˈeɪtɪd ənˈtɪl ˈæftər ðə ˈhɑrvəst. ðə fərst wər ˈʧoʊzən baɪ ˈɛmpərər wɪn hi tʊk θroʊn ənd ˈgɪvɪn ðə gɪft əv ɪˈtərnəl laɪf. noʊn ɛz ðə ˈʃæˌdoʊ ˈkaʊnsəl ðə fərst fɔr wərk wɪθ ðə ˈɛmpərər tɪ hɛlp lɛd hɪz ˈpipəl ənd ɪkˈspænd hɪz ˈlumɪŋ ˈʃæˌdoʊ ˈoʊvər ðə wərld. iʧ əv ðiz fɔr wɛnt ɔn tɪ kriˈeɪt ðɛr oʊn klænz, ˈsprɛdɪŋ ðə gɪft ˈgɪvɪn tɪ ðɛm baɪ ðɛr ˈɛmpərər, tɪ ðoʊz ðə fɔr dim ˈwərði. ɪt wɑz kˈwɪkli ˈriəˌlaɪzd ðət ˈoʊnli hɪz ˈdɑrknəs, ənd ðə fɔr ər ˈkeɪpəbəl əv kriˈeɪtɪŋ ðə. waɪl ðə hæv juˈnik ənd kənˈsɪdərəbəl gɪfts, ðeɪ peɪl ɪn kəmˈpɛrəsən tɪ ðə fɔr ənd ˈivɪn mɔr soʊ tɪ ðə ˈɛmpərər hɪmˈsɛlf. ðə ˈʃæˌdoʊ ˈkaʊnsəl ðə gɪft ˌɪtˈsɛlf ɪz noʊn ɛz ðə teɪst əv ˈʃæˌdoʊ. fər ðə gɪft tɪ bi pæst ɔn wən məst drɪŋk ðə bləd frəm ðə veɪnz frəm hɪz ˈdɑrknəs ˈɛmpərər ər frəm wən əv ðə fɔr ˈʃæˌdoʊ ˈkaʊnsəl ˈmɛmbərz: ʧərʧ, dreɪs,, ənd ruudyn*. ˈoʊnli ˈjumənz ənd ðə spɑrs kən rɪˈsiv ðə gɪft, fər səm ənˈnoʊn ˈrizən ðə ˈəðər ˈreɪsɪz ˈsɪmpli daɪ wɪn ðeɪ drɪŋk ðə bləd. ðoʊ, ɪt ɪz ənˈnoʊn ɪf ðə ˈɛmpərər hɪmˈsɛlf kən meɪk ðə ˈəðər ˈreɪsɪz ə, ɛz ðə fɔr ər ðə ˈoʊnli wənz noʊn tɪ hæv rɪˈsivd ðə gɪft dɪˈrɛkli frəm ðə ˈɛmpərər. jʊr frɪst baɪt moʊst stɑrt ɛz ˌɪˈnɪʃiəts: ˈjumənz ər ðət wɪʃ tɪ bi ˈgrænɪd ðə gɪft ənd pəˈtɪʃən ə haʊs fər ˈɛntri. ɔl ðə ˈhaʊsɪz, bət ruudyn*, hæv ˌɪˈnɪʃiəts. ðɪs hɛlps ɪn tu weɪz: səbˈsərviənt sleɪv laɪk kæst hu wɪl du ˈɛniˌθɪŋ fər ðə gɪft, ənd ə ˈstɛdi səˈplaɪ əv bləd fər ðə haʊs ˈlidərz. ðoʊ, səm ˈhaʊsɪz wɪl gɪv ðə gɪft tɪ ə ɪf ðə hɛd fɛlt ðət ˈpərsən wɑz əˈspɛʃəli dɪˈzərvɪŋ. treɪts noʊ ˈmætər wət ˈbləˌdlaɪn ju ər ə pɑrt əv ju ʃɛr ðiz treɪts wɪθ ɔl ˈəðər: əˈbɪləˌti skɔr ˌɪnˈkris ju ər ˈhɑrdiər ðən moʊst ˈəðər ˈlɪvɪŋ ˈkriʧərz. jʊr ˌkɑnstəˈtuʃən skɔr ˌɪnˈkrisɪz baɪ 2 ju ər ˈhɑrdiər ðən moʊst ˈəðər ˈlɪvɪŋ ˈkriʧərz. jʊr ˌkɑnstəˈtuʃən skɔr ˌɪnˈkrisɪz baɪ 2 eɪʤ: ju lɪv fərˈɛvər θæŋks tɪ ðə teɪst əv ˈʃæˌdoʊ, bət juv ˈoʊnli bɪn ə fər tˈwɛnti jɪrz æt moʊst. ju lɪv fərˈɛvər θæŋks tɪ ðə teɪst əv ˈʃæˌdoʊ, bət juv ˈoʊnli bɪn ə fər tˈwɛnti jɪrz æt moʊst. saɪz: ˈjumən kən bi ˈəndər 5 fit wɛl ˈoʊvər 6 fit tɔl. tɛnd tɪ faɪnd ðɛmˈsɛlvz sˈlaɪtli ˈtɔlər ðən ðɛr ˈjumən ˈkəzənz, bət tɛnd tɪ bi mɔr sˈlɛndər. ˈjumən kən bi ˈəndər 5 fit wɛl ˈoʊvər 6 fit tɔl. tɛnd tɪ faɪnd ðɛmˈsɛlvz sˈlaɪtli ˈtɔlər ðən ðɛr ˈjumən ˈkəzənz, bət tɛnd tɪ bi mɔr sˈlɛndər. spid: ju beɪs ˈwɔkɪŋ spid ɪz 30 fit. ju beɪs ˈwɔkɪŋ spid ɪz 30 fit. ˈlæŋgwɪʤɪz: ˈkɑmən ənd. ˈivɪn ðə ˈjumən tɛnd tɪ spik ənd rɛd. ˈkɑmən ənd. ˈivɪn ðə ˈjumən tɛnd tɪ spik ənd rɛd. darkvision*: ju ər əˈkəstəmd tɪ ðə ˈʃæˌdoʊ əv. ju kən si ɪn dɪm laɪt wɪˈθɪn 60 fit əv ju ɛz ɪf ɪt wər braɪt laɪt, ənd ɪn ˈdɑrknəs ɛz ɪf ɪt wər dɪm laɪt. ju kən nɑt dɪˈsərn ˈkələr, ˈoʊnli ʃeɪdz əv greɪ. ju ər əˈkəstəmd tɪ ðə ˈʃæˌdoʊ əv. ju kən si ɪn dɪm laɪt wɪˈθɪn 60 fit əv ju ɛz ɪf ɪt wər braɪt laɪt, ənd ɪn ˈdɑrknəs ɛz ɪf ɪt wər dɪm laɪt. ju kən nɑt dɪˈsərn ˈkələr, ˈoʊnli ʃeɪdz əv greɪ. θərst fər ðə ˈlɪvɪŋ: nid tɪ it ənd slip ʤɪst laɪk ˈnɔrməl ˈpipəl bət ðeɪ wət ðeɪ ˈtruli kreɪv ɪz ðə bləd əv ˈlɪvɪŋ ˈkriʧərz. ɪf ju səp ɔn ðə bləd əv ə ˈlɪvɪŋ ˈkriʧər ɛz pɑrt əv ə lɔŋ rɛst ju ˈoʊnli nid tɪ rɛst fər 4 aʊərz. ɪn əˈdɪʃən ju geɪn ə bləd daɪ. jʊr bləd daɪ ɪz ə ju kən ˈoʊnli hæv wən bləd daɪs æt ə taɪm. ju meɪ spɛnd jʊr bləd daɪs ɔn ˈɛni strɛŋθ ənd dɛkˈstɛrɪti skɪl ʧɛks. wəns ju spɛnd jʊr bləd daɪ ju kən nɑt juz ɪt əˈgɛn ənˈtɪl ju fid ɔn ðə bləd əv ə ˈlɪvɪŋ ˈkriʧər ˈdʊrɪŋ ə lɔŋ rɛst. ðə ˈkriʧər dɪz nɑt nid tɪ bi dɛd nɔr du ðeɪ daɪ frəm ðɪs; ə frɛnd meɪ ˈɔfər ðɛr bləd fər ə ˈfidɪŋ. nid tɪ it ənd slip ʤɪst laɪk ˈnɔrməl ˈpipəl bət ðeɪ wət ðeɪ ˈtruli kreɪv ɪz ðə bləd əv ˈlɪvɪŋ ˈkriʧərz. ɪf ju səp ɔn ðə bləd əv ə ˈlɪvɪŋ ˈkriʧər ɛz pɑrt əv ə lɔŋ rɛst ju ˈoʊnli nid tɪ rɛst fər 4 aʊərz. ɪn əˈdɪʃən ju geɪn ə bləd daɪ. jʊr bləd daɪ ɪz ə ju kən ˈoʊnli hæv wən bləd daɪs æt ə taɪm. ju meɪ spɛnd jʊr bləd daɪs ɔn ˈɛni strɛŋθ ənd dɛkˈstɛrɪti skɪl ʧɛks. wəns ju spɛnd jʊr bləd daɪ ju kən nɑt juz ɪt əˈgɛn ənˈtɪl ju fid ɔn ðə bləd əv ə ˈlɪvɪŋ ˈkriʧər ˈdʊrɪŋ ə lɔŋ rɛst. ðə ˈkriʧər dɪz nɑt nid tɪ bi dɛd nɔr du ðeɪ daɪ frəm ðɪs; ə frɛnd meɪ ˈɔfər ðɛr bləd fər ə ˈfidɪŋ. fɔr ˈhaʊsɪz: iʧ ˈmɛmbər əv ðə ˈʃæˌdoʊ ˈkaʊnsəl həz kriˈeɪtɪd ðɛr oʊn ˈbləˌdlaɪn baɪ ˈgɪvɪŋ ðə gɪft tɪ ðoʊz hu ðeɪ dim ˈwərði. ðiz ˈbləˌdlaɪnz ər noʊn tɪ ˈpipəl, ənd ˈəðər ɛz ðə ˈʃæˌdoʊ ˈkaʊnsəl. haʊs, haʊs, haʊs, ənd haʊs ruudyn*. ʧuz wən əv ðiz ˈhaʊsɪz. haʊs ʧərʧ wɑz ðə haɪəst ˈræŋkɪŋ ˈjumən ɪn ðə soʊˈsaɪɪti ˌbiˈfɔr ˈdɛsəˌmeɪtɪd ðə ˈpipəl. ɪn ˈɔrdər tɪ səkˈsid ɪn səʧ ən ɪnˈvaɪrənmənt hæd tɪ kəˈmɪt didz ðət wʊd meɪk ˈivɪn ðə moʊst vaɪl ʃaɪ əˈweɪ. wɪn ðə kɔld ðə soʊlz əv ðə fər ðə ˈhɑrvəst ˌɪˈmiˌdiətli tʊk ˌɪˈnɪʃətɪv. ðə ˈsɪti wɑz ɪn keɪɑs, ˈpipəl fliɪŋ ˈɪntu ðə ˈʤəŋgəl, ˈlutərz ˈteɪkɪŋ ˈɛvriˌθɪŋ ɪn saɪt, ˌɪmˈpɔrtənt ˈbɪldɪŋz wər biɪŋ tɔrʧt. wɪθ spɪr ənd ˈdægər ʧərʧ stroʊd ˈɪntu ðə freɪ. ɪt ɪz sɛd hi lɛft ə treɪl əv ˈbɑdiz frəm wən ɛnd əv tɪ ðə ˈəðər. ɪˈvɛnʧəwəli stɑpt æt ðə kəˈθidrəl əv ðə fərst ˈʃæˌdoʊ, ənd hɛld ðə geɪts baɪ hɪmˈsɛlf, nɑt əˈlaʊɪŋ ˈɛniˌwən tɪ ˈɛnər fər tu deɪz. wɪn rɪˈtərnd tɪ ˈæftər ˈhævɪŋ dɪˈfitɪd hi wɑz ˈgritɪd baɪ ə ˈbərnɪŋ ˈsɪti. ðə kəˈθidrəl əv ðə fərst ˈʃæˌdoʊ stʊd laɪk ə ˈbikən əv hoʊp wɪʧ tʊk ɛz hɪz ˈkæsəl ənˈtɪl riˈbɪldɪŋ kʊd bɪˈgɪn. wɪn ˈɛmpərər ˌdɪˈsaɪdɪd tɪ kriˈeɪt ðə fɔr wɑz ðə fərst tɪ gɪt ðə ˈɔfər, bət ðə læst tɪ teɪst ðə gɪft. ʧərʧ ɪz ə mæn hu ˈoʊnli muvz wɪn hi wɪlz ɪt, bət wɪn hi dɪz ˈɛniˌwən ɪn hɪz weɪ ˈbɛtər wɔʧ aʊt. ðə haʊs əv ʃɛrz ðoʊz treɪts. haʊs ɪz sɛt əp laɪk ə ˈmɪlɪˌtɛri ˌɔrgənəˈzeɪʃən. iʧ ˈmɛmbər həz ðɛr ræŋk ənd noʊz ðɛr pleɪs. ʧərʧ ɪkˈspɛkts ˈdɪsəplən ənd ˈlɔɪəlti frəm hɪz ˌɪˈnɪʃiəts. ðə ˈbrutəl ˈtreɪnɪŋ ˈfɔrʤɪz strɔŋ bɑndz əˈməŋ ðə ræŋk ənd faɪl əv haʊs. wəns ˈtreɪnɪŋ ɪz dən ˈoʊnli ðə ˌɪˈnɪʃiəts hu ɪkˈsɛld ər ˈɔfərd ðə gɪft, ənd tɪ ˈtruli ʤɔɪn ðə haʊs. tru ˈmɛmbərz əv ðə haʊs ər ˈgrænɪd məʧ mɔr ˈfridəm tɪ pərˈsu ðɛr oʊn lɪvz, ɛz lɔŋ ɛz ðeɪ steɪ lɔɪəl tɪ haʊs. ðə ˈfæməli trits iʧ ˈəðər wɪθ rɪˈspɛkt du ðɛr ræŋk, ˈivɪn ɪf ˌdɪsəˈgrimənts ˈhæpən. ɔˈkeɪʒənəˌli, həz ˈɔfərd ðə gɪft tɪ ˈsəmˌwən skɪld ɪˈnəf tɪ ˌɪmˈprɛs ɪm. ˈmɛni əv hɪz tɔp luˈtɛnənts ər ˈpipəl hi wəns kɔld ˈɛnəmiz. əˈbɪləˌti skɔr ˌɪnˈkris: jʊr strɛŋθ ɪz ˌɪnˈkrist baɪ 1 jʊr strɛŋθ ɪz ˌɪnˈkrist baɪ 1 ˈwɛpən ˈtreɪnɪŋ: ju ər prɑˈfɪʃənt wɪθ spɪrz, ˈdægərz, ənd hænd ˈkrɔsˌboʊz. ju ər prɑˈfɪʃənt wɪθ spɪrz, ˈdægərz, ənd hænd ˈkrɔsˌboʊz. bləd əv: jʊr hænz ər mɔr klɔ laɪk ðən ˈəðər. jʊr əˈnɑrmd əˈtæks dil strɛŋθ sˈlæʃɪŋ ˈdæmɪʤ. ju kən ˈɔlsoʊ spɛnd jʊr bləd daɪs tɪ ˌɪnˈkris ðə klɔz ˈdæmɪʤ tɪ strɛŋθ ˌɪnˈstɛd fər 1 ˈmɪnət, ənd ju æd ðə rɪˈzəlt tɪ ðə ˈdæmɪʤ əv ðə fərst klɔ əˈtæk ju meɪk. jʊr hænz ər mɔr klɔ laɪk ðən ˈəðər. jʊr əˈnɑrmd əˈtæks dil strɛŋθ sˈlæʃɪŋ ˈdæmɪʤ. ju kən ˈɔlsoʊ spɛnd jʊr bləd daɪs tɪ ˌɪnˈkris ðə klɔz ˈdæmɪʤ tɪ strɛŋθ ˌɪnˈstɛd fər 1 ˈmɪnət, ənd ju æd ðə rɪˈzəlt tɪ ðə ˈdæmɪʤ əv ðə fərst klɔ əˈtæk ju meɪk. vaɪl didz: ju hæv ædˈvæntɪʤ wɪθ ˌɪnˈtɪmɪˌdeɪt ʧɛks əˈgɛnst ðoʊz hu noʊ ðə neɪm əv haʊs. haʊs ðə kɔl əv ˈsəmənd ˈɔlˌmoʊst ˈɛvəri ˈsɪŋgəl əraʊnd ðə gloʊb. dreɪs hərd ðə kɔl bət wɑz nɑt ɛnθˈrɔld baɪ ðə ˈmæʤɪk bɪˈhaɪnd ɪt. dreɪs, biɪŋ ˈkjʊriəs ɛz ˈɔlˌweɪz, ˌdɪˈsaɪdɪd tɪ hɛd tɪ ˈɛniˌweɪz. wɪn hi gɑt ðə veɪl hi ˈwɪtnəst ə mæs əv ˈkraʊdɪd əraʊnd ðə ˈʃæˌdoʊ taʊər əˈweɪtɪŋ ðɛr .iʧ deɪ mɔr ənd mɔr wʊd əraɪv, ˈfɪlɪŋ ðə ˈsɪti tɪ ðə brɪŋk. wɪˈθɪn ðə deɪ dreɪs hæd sɛt əp ə ɪn ən əˈbændənd ˈbɪldɪŋ ənd bɪˈgæn ɛkˈspɛrəˌmɛntɪŋ ɔn ðə ˈmaɪndləs. ðeɪ əˈpɪrd tɪ bi ˈnɔrməl, ˈkɑnʃəs ˈpipəl bət huz ˈoʊnli goʊl wɑz tɪ weɪt fər. goʊl wɑz tɪ ˈfɪgjər aʊt ðə ˈneɪʧər əv ðɪs paʊər, nɑt tɪ əˈbjuz ɪt bət ʤɪst fər ðə ˈnɑlɪʤ ənd ðə ˈʧælənʤ. hɪz ɪkˈspɛrəmənts bɪˈkeɪm mɔr ənd mɔr ˌɪnˈveɪsɪv. ˈmɛni ɪkˈspaɪrd ˈəndər ðə kɛr əv dreɪs, bət ˈəltəmətli dreɪs dɪˈskəvərd ðə sɔrs əv ðə hɛks. hi traɪd tɪ faɪnd ˈsəmˌwən ɪn ʧɑrʤ ɪn tɪ ɪkˈspleɪn hɪz ˈfaɪndɪŋz bət hi wɑz tərnd daʊn æt ˈɛvəri dɔr. ˈæftər ðə ˈhɑrvəst, wɪn tʊk ɔl ðə soʊlz əv ðə, dreɪs brɔt hɪz ˈfaɪndɪŋz tɪ. ðə nu ˈɛmpərər wɑz soʊ ˌɪmˈprɛst wɪθ hɪz ˈfaɪndɪŋz ənd hɪz ˈmɛθədz hi ˈɔfərd ɪm ə spɑt ɔn ðə ˈʃæˌdoʊ ˈkaʊnsəl. ˌkjʊriˈɑsəti gɑt ðə bɛst əv dreɪs wən mɔr taɪm. haʊs ɪz mɔr əv ən əˈkædəmi ðən ə skul. ˌɪˈnɪʃiəts ər ɪkˈspɛktɪd tɪ əˈtɛnd ˈlɛkʧərz ˈgɪvɪn tɪ ðɛm baɪ ˈmɛmbərz, ənd tɪ kəmˈplit əˈsaɪnmənts. ðə ɪkˈspɛrəmənts ðeɪ ər ˈɔfən ˈmɔrəli kˈwɛsʧənəbəl. ɪf ən ˌɪˈnɪʃiˌeɪt dɪˈskəvərz ˈsəmθɪŋ əv wərθ tɪ ðə haʊs hi ər ʃi wɪl bi ˈɔfərd ðə gɪft. ðə ˈfæməli tɛndz tɪ trit iʧ ˈəðər ɛz ˈfrɛndli ˈraɪvəlz. ðeɪ əˈtɛmpt tɪ spaɪ, ənd stil iʧ ˈəðərz wərk, bət ɪf ən aʊtˈsaɪdər əˈtɛmpts ðə seɪm θɪŋ ðə hoʊl ˈfæməli wɪl bɛr fæŋ ɪn dɪˈfɛns. doʊnt bi fuld baɪ ðɛr ˌɪnˈtərnəl ˈstrəgəlz, ɛz ðeɪ ər ə kloʊz nɪt grup əˈbɪləˌti skɔr ˌɪnˈkris: jʊr ˌɪnˈtɛləʤəns ɪz ˌɪnˈkrist baɪ 1 jʊr ˌɪnˈtɛləʤəns ɪz ˌɪnˈkrist baɪ 1 braɪt maɪnd: ju ər prɑˈfɪʃənt wɪθ tu tulz əv jʊr ʧɔɪs. ju ər prɑˈfɪʃənt wɪθ tu tulz əv jʊr ʧɔɪs. bləd əv: ju meɪ spɛnd jʊr bləd daɪs ɔn ˈɛni ˌɪnˈtɛləʤəns skɪl ʧɛk. ju meɪ ˈɔlsoʊ ɪkˈspɛnd jʊr bləd daɪs ɪn ˈkɑmbæt tɪ juz jʊr ˌɪnˈtɛləʤəns ɔn ˈɛni ˈmeɪˌleɪ ər reɪnʤd əˈtæk ˌɪnˈstɛd əv jʊr strɛŋθ ər dɛkˈstɛrɪti, ðə daɪs rɪˈzəlt ɪz ˈædɪd tɪ ðə əˈtæk. ju meɪ spɛnd jʊr bləd daɪs ɔn ˈɛni ˌɪnˈtɛləʤəns skɪl ʧɛk. ju meɪ ˈɔlsoʊ ɪkˈspɛnd jʊr bləd daɪs ɪn ˈkɑmbæt tɪ juz jʊr ˌɪnˈtɛləʤəns ɔn ˈɛni ˈmeɪˌleɪ ər reɪnʤd əˈtæk ˌɪnˈstɛd əv jʊr strɛŋθ ər dɛkˈstɛrɪti, ðə daɪs rɪˈzəlt ɪz ˈædɪd tɪ ðə əˈtæk. ˈmɔrbəd ˌkjʊriˈɑsəti: ju hæv ædˈvæntɪʤ ɔn ˈɛni ʧɛks ˌɪnˈvɑlvɪŋ ˈkriʧərz ðət hæv bɪn kɪld ɪn ðət læst 24 aʊərz. haʊs əraɪvd ˈʃɔrtli ˈæftər ˈhɑrvəst. æt ðə taɪm əv ðə ˈhɑrvəst wɑz ə jəŋ hu wərkt ɪn ə ˈplɛʒər haʊs ɪn laevel*. taɪərd əv ðə laɪf ʃi pɪkt əp ənd meɪd hər weɪ tɪ ðə veɪl ˈhoʊpɪŋ tɪ faɪnd wərk, ər æt list plaɪ hər treɪd ɪn ə pleɪs wɪθ noʊ ˌkɑmpəˈtɪʃən. sɛt əp ʃɑp ɪn ən oʊld əˈbændənd ʧərʧ ɔn ðə ˈaʊtˈsaɪd əv taʊn. wərd kˈwɪkli sprɛd əv hər ˈsərvɪsɪz ənd ʃi faʊnd hər sɛlf wɪθ mɔr wərk ðən ʃi kʊd ˈhændəl. ðə ˌkɑmbəˈneɪʃən əv ɪˈtərnəl tˈwaɪˌlaɪt, ənd ˈhənərdz əv ˈsɪtɪzənz ˈlʊkɪŋ fər ə sɛns əv ˈnɔrməlsi, ə sɛns əv ˈkəmfərt, kˈwɪkli fɪld ˈkɔfərz. ˈpərʧəsɪŋ ə ˈnuli bɪlt ɪn, bɪˈgæn tɪ haɪər ˈəðər ˈwɪmən, ənd mɛn tɪ wərk ðə treɪd. wəns θɪŋz ˈstɑrtɪd tɪ ˈsɛtəl daʊn ɪn hər wərk ˈstɑrtɪd tɪ sloʊ daʊn tu. nɑt ˈwɑnɪŋ tɪ rɪˈtərn tɪ ðə smɔl ʧərʧ, ər wərs bæk tɪ laevel*, bɪˈgæn ˈbreɪkɪŋ ðə ˈkɑrdɪnəl rul: du nɑt kɪs ənd tɛl. ˈjuzɪŋ ɔl ðə ˈsikrɪts ʃi hæd geɪnd ˈoʊvər ðə fju jɪrz əv ˈwərkɪŋ ˈblækˌmeɪld, braɪbd, məˈnɪpjəˌleɪtɪd, ənd swit tɔkt hər weɪ ˈɪntu treɪd dilz, bæk ˈælaɪ ˈgæmbəlɪŋ, ðə ʧərʧ əv ˈdilɪŋz, ənd səm seɪ ˈivɪn ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə ˈɛmpərər hɪmˈsɛlf. ˈɛmpərər tʊk ˈnoʊtɪs əv hər wərk ənd wɑz ˌɪmˈprɛst. hi ˈɔfərd hər ə dil ðət ʃi kʊd nɑt ˈrɛfˌjuz. noʊ wən ɪz ˈrɪli ʃʊr haʊ tɪ bɪˈkəm ə ˈmɛmbər əv ðə ˈfæməli, wɪʧ ɪn ɪt sɛlf ɪz pɑrt əv ðə tɛst. ðə meɪn hoʊst əv ðə ˈfæməli lɪv wɪθ ɪn hər ɪn, ðə ˈtɛmptrɪs, ə dəst dɛn ənd haʊs əv ˈplɛʒər. ˈaʊtˈsaɪd ðə ɪn ðə ˈfæməli tɛndz tɪ wərk ɛz ˌɪndəˈvɪʤəwəlz, noʊ wən ˈmɛmbər ˈrɪli noʊz hu ɔl ðə ˈəðər ˈmɛmbərz ər. ɪt ɪz nɑt ənˈkɑmən fər smɔl grups əv tɪ fɔrm ðɛr oʊn smɔl ˈfæməli ˈjunɪts. ˈivɪn wɪθ ðɪs ˈdɪstəns bɪtˈwin ðə meɪn haʊs ənd ðə smɔl fəˈmɪljəl ˈjunɪts, ɪf kɔlz ɔl ˈmɛmbərz kəm ˈrənɪŋ tɪ hɛlp. əˈbɪləˌti skɔr ˌɪnˈkris: jʊr kərˈɪzmə ɪz ˌɪnˈkrist baɪ 1 jʊr kərˈɪzmə ɪz ˌɪnˈkrist baɪ 1 tulz əv ðə treɪd: ju ər prɑˈfɪʃənt ɪn ˈiðər dɪˈsɛpʃən ər pərsˈweɪʒən. ju ər prɑˈfɪʃənt ɪn ˈiðər dɪˈsɛpʃən ər pərsˈweɪʒən. bləd əv: ju kən kæst ðə frɛndz æt wɪl. ɪf ju spɛnd jʊr bləd daɪs ju meɪ kæst ʧɑrm ˈpərsən, æd ðə daɪs tɪ ðə rɪˈzəlt. ðə ˈkæstɪŋ stæt fər ðɪs ɪz kərˈɪzmə.
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the rothi the bitter taste of iron coated lorelei's throat as she drank deep from the black vein on the wrist of church heliot. immediately her stomach wrenched, and twisted. her vision grew intense, like all the colors in the room grew more vibrant. more alive. lorelei fell backwards into a large cushion placed there prior to the ritual, specifically for this circumstance. she laid there and stared up at the ceiling. it was painted with murals of angels and shadows, but most of it was blocked by the face of church looking down on lorelei. he clenched and unclenched his jaw muscles for a moment before speaking, "happy first birthday lorelei. today is the first day of your new...life. today you join clan heliot, and the eternal embrace of the daggoroth empire." dead but still very much alive the rothi are a race of living dead. blood still pumps through their veins black, thick, and viscous, but they no longer age. the rothi, named after their creator emperor zinnath daggoroth, are only twenty years old, though a singular rothi can be anywhere from ten to a hundred years old. this is because a rothi isn't born but she is created, and they weren't created until after the harvest. the first rothi were chosen by emperor daggoroth when he took darkvale's throne and given the gift of eternal life. known as the shadow council the first four rothi work with the emperor to help lead his people and expand his looming shadow over the world. each of these four went on to create their own clans, spreading the gift given to them by their emperor, to those the four deem worthy. it was quickly realized that only his darkness, zinnath daggoroth and the four are capable of creating the rothi. while the rothi have unique and considerable gifts, they pale in comparison to the four and even more so to the emperor himself. the shadow council the gift itself is known as the taste of shadow. for the gift to be passed on one must drink the blood from the veins from his darkness emperor daggoroth or from one of the four shadow council members: church heliot, drace trevil, maeard thraa'l, and jek ruudyn. only humans and the sparse valian can receive the gift, for some unknown reason the other races simply die when they drink the blood. though, it is unknown if the emperor himself can make the other races a rothi, as the four are the only ones known to have received the gift directly from the emperor. your frist bite most rothi start as initiates: humans or valian that wish to be granted the gift and petition a house for entry. all the houses, but ruudyn, have initiates. this helps in two ways: subservient slave like cast who will do anything for the gift, and a steady supply of blood for the house leaders. though, some houses will give the gift to a non-initiate if the head rothi felt that person was especially deserving. traits no matter what bloodline you are a part of you share these traits with all other rothi: ability score increase : you are hardier than most other living creatures. your constitution score increases by 2.
: you are hardier than most other living creatures. your constitution score increases by 2. age: you live forever thanks to the taste of shadow, but you've only been a rothi for twenty years at most.
you live forever thanks to the taste of shadow, but you've only been a rothi for twenty years at most. size: human rothi can be under 5 feet well over 6 feet tall. valian rothi tend to find themselves slightly taller than their human cousins, but tend to be more slender.
human rothi can be under 5 feet well over 6 feet tall. valian rothi tend to find themselves slightly taller than their human cousins, but tend to be more slender. speed: you base walking speed is 30 feet.
you base walking speed is 30 feet. languages: common and valian. even the human rothi tend to speak and read valian.
common and valian. even the human rothi tend to speak and read valian. darkvision: you are accustomed to the shadow of darkvale. you can see in dim light within 60 feet of you as if it were bright light, and in darkness as if it were dim light. you can not discern color, only shades of grey.
you are accustomed to the shadow of darkvale. you can see in dim light within 60 feet of you as if it were bright light, and in darkness as if it were dim light. you can not discern color, only shades of grey. thirst for the living: rothi need to eat and sleep just like normal people but they what they truly crave is the blood of sentient living creatures. if you sup on the blood of a living creature as part of a long rest you only need to rest for 4 hours. in addition you gain a blood die. your blood die is a 1d6. you can only have one blood dice at a time. you may spend your blood dice on any strength and dexterity skill checks. once you spend your blood die you can not use it again until you feed on the blood of a sentient living creature during a long rest. the creature does not need to be dead nor do they die from this; a friend may offer their blood for a feeding.
rothi need to eat and sleep just like normal people but they what they truly crave is the blood of sentient living creatures. if you sup on the blood of a living creature as part of a long rest you only need to rest for 4 hours. in addition you gain a blood die. your blood die is a 1d6. you can only have one blood dice at a time. you may spend your blood dice on any strength and dexterity skill checks. once you spend your blood die you can not use it again until you feed on the blood of a sentient living creature during a long rest. the creature does not need to be dead nor do they die from this; a friend may offer their blood for a feeding. four houses: each member of the shadow council has created their own bloodline by giving the gift to those who they deem worthy. these bloodlines are known to people, and other rothi as the shadow council. house heliot, house trevil, house traa'l, and house ruudyn. choose one of these houses. house heliot church heliot was the highest ranking human in the darkvale society before sorath decimated the valian people. in order to succeed in such an environment heliot had to commit deeds that would make even the most vile valian shy away. when sorath the blackwing called the souls of the valian for the harvest heliot immediately took initiative. the city was in chaos, people fleeing into the jungle, looters taking everything in site, important buildings were being torched. with spear and dagger church heliot strode into the fray. it is said he left a trail of bodies from one end of darkvale to the other. heliot eventually stopped at the cathedral of the first shadow, and held the gates by himself, not allowing anyone to enter for two days.
when zinnath daggoroth returned to darkvale after having defeated sorath he was greeted by a burning city. the cathedral of the first shadow stood like a beacon of hope which zinnath daggoroth took as his castle until rebuilding could begin. when emperor daggoroth decided to create the four heliot was the first to get the offer, but the last to taste the gift. church heliot is a man who only moves when he wills it, but when he does anyone in his way better watch out. the house of heliot shares those traits. house heliot is set up like a military organization. each member has their rank and knows their place. church heliot expects discipline and loyalty from his initiates. the brutal training forges strong bonds among the rank and file of house heliot. once training is done only the initiates who excelled are offered the gift, and to truly join the house. true members of the house are granted much more freedom to pursue their own lives, as long as they stay loyal to house heliot. the family treats each other with respect due their rank, even if disagreements happen. occasionally, heliot has offered the gift to someone skilled enough to impress him. many of his top lieutenants are people he once called enemies. ability score increase: your strength is increased by 1.
your strength is increased by 1. heliot weapon training: you are proficient with spears, daggers, and hand crossbows.
you are proficient with spears, daggers, and hand crossbows. blood of heliot: your hands are more claw like than other rothi. your unarmed attacks deal 1d4+ strength slashing damage. you can also spend your blood dice to increase the claws damage to 1d8 + strength instead for 1 minute, and you add the result to the damage of the first claw attack you make.
your hands are more claw like than other rothi. your unarmed attacks deal 1d4+ strength slashing damage. you can also spend your blood dice to increase the claws damage to 1d8 + strength instead for 1 minute, and you add the result to the damage of the first claw attack you make. vile deeds: you have advantage with intimidate checks against those who know the name of house heliot. house trevil the call of sorath summoned almost every single valian around the globe. drace trevil heard the call but was not enthralled by the magic behind it. drace, being curious as always, decided to head to darkvale anyways. when he got the vale he witnessed a mass of valian crowded around the shadow tower awaiting their summoner sorath .each day more and more valian would arrive, filling the city to the brink. within the day drace had set up a labratory in an abandoned building and began experimenting on the mindless valian. they appeared to be normal, conscious people but whose only goal was to wait for sorath. drace's goal was to figure out the nature of this power, not to abuse it but just for the knowledge and the challenge. his experiments became more and more invasive. many valian expired under the care of drace trevil, but ultimately drace discovered the source of the hex. he tried to find someone in charge in darkvale to explain his findings but he was turned down at every door. after the harvest, when sorath took all the souls of the valian, drace brought his findings to zinnath daggoroth. the new emperor was so impressed with his findings and his methods he offered him a spot on the shadow council. curiosity got the best of drace one more time. house trevil is more of an academy than a school. initiates are expected to attend lectures given to them by members, and to complete assignments. the experiments they preform are often morally questionable. if an initiate discovers something of worth to the house he or she will be offered the gift. the family tends to treat each other as friendly rivals. they attempt to spy, and steal each others work, but if an outsider attempts the same thing the whole family will bear fang in defense. don't be fooled by their internal struggles, as they are a close knit group ability score increase: your intelligence is increased by 1.
your intelligence is increased by 1. bright mind: you are proficient with two tools of your choice.
you are proficient with two tools of your choice. blood of trevil: you may spend your blood dice on any intelligence skill check. you may also expend your blood dice in combat to use your intelligence on any melee or ranged attack instead of your strength or dexterity, the dice result is added to the attack.
you may spend your blood dice on any intelligence skill check. you may also expend your blood dice in combat to use your intelligence on any melee or ranged attack instead of your strength or dexterity, the dice result is added to the attack. morbid curiosity: you have advantage on any checks involving creatures that have been killed in that last 24 hours. house thraa'l maeard arrived shortly after sorath's harvest. at the time of the harvest maeard was a young valian who worked in a pleasure house in laevel. tired of the life she picked up and made her way to the vale hoping to find work, or at least ply her trade in a place with no competition. maeard set up shop in an old abandoned church on the outside of town. word quickly spread of her services and she found her self with more work than she could handle. the combination of eternal twilight, and hundreds of darkvale citizens looking for a sense of normalcy, a sense of comfort, quickly filled maeard's coffers. purchasing a newly built inn, maeard began to hire other women, and men to work the trade. once things started to settle down in darkvale her work started to slow down too. not wanting to return to the small church, or worse back to laevel, maeard began breaking the cardinal rule: do not kiss and tell. using all the secrets she had gained over the few years of working maeard blackmailed, bribed, manipulated, and sweet talked her way into trade deals, back ally gambling, the church of gerana's dealings, and some say even information about the emperor himself. emperor daggoroth took notice of her work and was impressed. he offered her a deal that she could not refuse. no one is really sure how to become a member of the thraa'l family, which in it self is part of the test. the main host of the family live with maeard in her inn, the temptress, a dust den and house of pleasure. outside the inn the family tends to work as individuals, no one member really knows who all the other members are. it is not uncommon for small groups of traa'l rothi to form their own small family units. even with this distance between the main house and the small familial units, if maeard thraa'l calls all members come running to help. ability score increase: your charisma is increased by 1.
your charisma is increased by 1. tools of the trade: you are proficient in either deception or persuasion.
you are proficient in either deception or persuasion. blood of thraa'l: you can cast the cantrip friends at will. if you spend your blood dice you may cast charm person, add the dice to the result. the casting stat for this is charisma.
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jɪrz frəm naʊ, ˈʧɑrli ˈstaɪnər sɛd, wɪn hi ˈriˌkɔlz wən əv ðə ˈgreɪtəst ˈpɪʧɪŋ pərˈfɔrmənsɪz ɪn ˈmeɪʤər lig ˈhɪstəri, hi wɪl fərst rɪˈmɛmbər ˈkleɪtən ˈkərˌʃɑ ðə ˈhɪtər. ɪn ðə ˈbɑtəm əv ðə eɪθ ˈɪnɪŋ ˈwɛnzˌdeɪ naɪt, wɪn hi keɪm tɪ bæt wɪθ ən lɛd, ˈkərˌʃɑ, ðə eɪs əv ðə lɔs ˈænʤəlɪs ˈdɑʤərz, kəmˈpitɪd wɪθ ˈɛvriˌθɪŋ hi hæd. graʊnz ruˈtinli tɪ ðə ˈʃɔrtˌstɑp, ənd ˈsprɪntɪŋ ˈɛvəri stɛp əv ðə weɪ tɪ ðə bag,”*,” ˈstaɪnər, ə ˈdɑʤərz ˈbrɔdˌkæstər, sɛd ˈθərzˌdeɪ. ˈθɪŋkɪŋ, ɔn ərθ kʊd ˈpɑsəbli bi waɪərd ɪn səʧ ə way?’*?’ θri aʊts ənd wən ˈɛrər əˈweɪ frəm ə ˈpərˌfɪkt geɪm, ənd ðɛr ɪz noʊ ˈgəvərnər ɔn hɪz engine.”*.” ˈkərˌʃɑ ˈfɪnɪʃt ɔf ðə ˌkɑlərˈɑdoʊ ˈrɑkiz ɪn ðə naɪnθ, rɪˈtaɪrɪŋ ˈkɔri ˈdɪkərsən wɪθ ə ˈvɪʃəs sˈlaɪdər fər hɪz ˈstraɪˌkaʊt. ɪt wɑz nɑt ə ˈpərˌfɪkt geɪm bɪˈkəz əv ə θroʊɪŋ ˈɛrər baɪ ˈʃɔrtˌstɑp ˈhænli rəˈmɪrɛz ɪn ðə ˈsɛvənθ. bət ɪt wɑz wən əv ə kaɪnd: ðə fərst taɪm ɪn ˈmeɪʤər lig ˈhɪstəri ðət ə ˈpɪʧər strək aʊt æt list 15 wɪˈθaʊt əˈlaʊɪŋ ə hɪt ər ə wɔk. ɪt wɑz ðə ˈsɛkənd əv ðə ˈmeɪʤər lig ˈsizən ənd ðə ˈsɛkənd baɪ ə ˈdɑʤər: ʤɑʃ ˈbɛkɪt ˈstaɪmid ðə ˌfɪləˈdɛlfiə ˈfɪliz ɔn ðə roʊd læst mənθ. ˈkərˌʃɑ ənd ˈbɛkɪt ər ðə fərst ˈtimˌmeɪts tɪ θroʊ ɪn ðə seɪm ˈsizən sɪns bərt ˈhutən ənd mɪlt ˈpæpəs əv ðə 1972 ʃəˈkɑˌgoʊ kəbz.
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years from now, charley steiner said, when he recalls one of the greatest pitching performances in major league history, he will first remember clayton kershaw the hitter. in the bottom of the eighth inning wednesday night, when he came to bat with an eight-run lead, kershaw, the ace of the los angeles dodgers, competed with everything he had.
“he grounds routinely to the shortstop, and he’s sprinting every step of the way to the bag,” steiner, a dodgers broadcaster, said thursday. “and i’m thinking, ‘who on earth could possibly be wired in such a way?’ he’s three outs and one error away from a perfect game, and there is no governor on his engine.”
kershaw finished off the colorado rockies in the ninth, retiring corey dickerson with a vicious slider for his 15th strikeout. it was not a perfect game because of a throwing error by shortstop hanley ramirez in the seventh. but it was one of a kind: the first time in major league history that a pitcher struck out at least 15 without allowing a hit or a walk.
it was the second no-hitter of the major league season and the second by a dodger: josh beckett stymied the philadelphia phillies on the road last month. kershaw and beckett are the first teammates to throw complete-game no-hitters in the same season since burt hooton and milt pappas of the 1972 chicago cubs.
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wɪn ə ˌprɛzɪˈdɛnʃəl kæmˈpeɪn ˈəndərˌgoʊz ðə ˈprɔˌsɛs əv ˈskrutəˌnaɪzɪŋ pəˈtɛnʃəl ˈrənɪŋ meɪts, ˌɪnˈkrɛdəbli ˈdɪfəkəlt. ˈpʊlɪŋ təˈgɛðər ə lɪst əv ˈkænədɪts, ˈkoʊmɪŋ θru ðɛr ˈbækˌgraʊndz, ɪˈvæljuˌeɪtɪŋ ðə pəˈlɪtɪkəl kɔsts ənd ˈbɛnəfɪts tɪ iʧ, ɔl kwaɪt ˈʧælənʤɪŋ, ˈivɪn fər ɪkˈspɪriənst timz əv prəˈfɛʃənəlz. pʊt ən ɪˈrætɪk, ˈizəli kənfˈjuzd ˈæməˌʧər æt ðə tɔp əv ðə ˌɑpərˈeɪʃən, ənd ɪt bɪˈkəmz ðət məʧ mɔr ˈdɪfəkəlt. bət wəns ə ˈrənɪŋ meɪt ɪz ˈʧoʊzən, ˈɛvriˌθɪŋ ɪz səˈpoʊzd tɪ gɪt məʧ ˈiziər. ˈskɛʤʊl ən əˈnaʊnsmɛnt, ˈrɛʤɪstər ə ˈwɛbˌsaɪt, dɪˈzaɪn ə ˈloʊgoʊ, ənd priˈpɛr fər ðə kənˈvɛnʃən. pis əv keɪk. ˈkænədɪts fər ˈnæʃənəl ˈɔfəs dil wɪθ ə vərˈaɪəti əv dɪˈmændɪŋ tɛsts; ðɪs wən əv ðɛm. soʊ haʊ ɪn ðə wərld ɪz ˈdɑnəld trəmp ˈmænəʤɪŋ tɪ skru ðɪs əp soʊ ˈbædli? ɔn təˈdeɪ, ˈkɛli ˌriˈpɔrtəd ɔn ˈditeɪlz ðət ˈfərðər ˈəndərˌmaɪn ˈkɑnfədɛns ɪn ðə priˈzəmptɪv rɪˈpəblɪkən ˌnɑməˈni: læst naɪt, wɪn ˈdɑnəld trəmp wɑz ɪn ˌkæləˈfɔrnjə, hi wɑz ˈmeɪkɪŋ səm foʊn kɔlz tɪ traɪ tɪ əˈsɛs ɪf hi wɑz lɑkt ɪn tɪ ðə [maɪk] pɛns ʧɔɪs ər ɪf hi kʊd meɪk ə change…*…. ˈsɔrsəz sɛd hi wɑz ˈriʧɪŋ aʊt, ˈlʊkɪŋ fər ə weɪ tɪ meɪk ə change.”*.” naʊ, wərθ ˈnoʊtɪŋ ðət kæmˈpeɪn əˈfɪʃəlz hæv pʊʃt bæk əˈgɛnst ðiz rɪˈpɔrts. ðɛn əˈgɛn, klɪr ðət ˈsɔrsəz kloʊz tɪ ðə ˈkænədɪt ər ˈtɛlɪŋ ˈsɛvərəl ˈmeɪʤər nuz ˌɔrgənəˈzeɪʃənz əˈbaʊt ənˈsərtənti ənd dɪˈzaɪər ɛz ˈrisəntli ɛz læst naɪt tɪ ənˈdu wət wɑz dən. həz ˈɛni əv ðɪs gɔn raɪt? ðɪs ɪz ðə kaɪnd əv ædˌmɪnɪˈstreɪʃən ˈvoʊtərz kən ɪkˈspɛkt fər fɔr jɪrz? əv kɔrs, nɑt ʤɪst təˈdeɪ. stæf ɪz ə mɛs. hɪz fild ˌɑpərˈeɪʃən ɪz ən ɪmˈbɛrəsmənt. hɪz kæmˈpeɪn ˈfaɪˌnænsɪz məʧ ˈbɛtər. ˈjuʒəwəli æt əˈbaʊt ðɪs pɔɪnt wɪn kənˈsərvətɪv ˈridərz æsk, ““oh*, jæ? wɛl ɪf ɪnˈtaɪər kæmˈpeɪn ˌɑpərˈeɪʃən ɪz səʧ ə ʤoʊk, waɪ ɪz hi ˈoʊnli ˈtreɪlɪŋ ˈhɪləri ˈklɪntən baɪ ə fju pɔɪnts? ðɪs bi ə bloʊaʊt ɪf hi ənd hɪz tim ər soʊ incompetent?”*?” ðiz ər ˈpərfəktli ləˈʤɪtəmət kˈwɛsʧənz, ənd ðə truθ ɪz, ðə væst məˈʤɔrəti əv əˈmɛrɪkənz noʊ ər kɛr ðət trəmp ɪz ə bæd ˈkænədɪt kəmˈplitli ˌɪnˈkeɪpəbəl əv ˈoʊvərˌsiɪŋ ə ˈfəŋkʃənɪŋ pəˈlɪtɪkəl ˌɑpərˈeɪʃən. məʧ əv ðə ˈmeɪnˌstrim həz səm sɛns əv ˈmɛsɪʤ ənd ˈiðər priˈpɛrd tɪ səˈpɔrt ɪt ər nɑt. ðə fækt ðət trəmp ˈivɪn ˌɪntrəˈdus hɪz ˈrənɪŋ meɪt wɪˈθaʊt sˈlɪpɪŋ ɔn ə bəˈnænə pil meɪ bi ə ˈvɛri bæd saɪn, bət fər məʧ əv ðə ˈkəntri, ˈɔlsoʊ pəˈlɪtɪkəl mɪˈnuʃiə. ðə ˈbrɔdər kˈwɛʃən, ˌhaʊˈɛvər, ɪz ˈwɛðər ə ˈbreɪkɪŋ pɔɪnt æt wɪʧ tim dɪsˈfəŋkʃən ˈkæʧɪz əp wɪθ ðɛm. ɪn krənʧ taɪm, wɪn ðə ˈkænədɪt ənd ðə ˈpɑrti nid tɪ ˈɛksəˌkjut ən ˈifɛktɪv plæn tɪ wɪn ðə waɪt haʊs, ənd ðə ˈtɪkɪt ɪz əp əˈgɛnst ril pəˈlɪtɪkəl proʊz, wɪl ðə fækt ðət ˈniðər trəmp nɔr hɪz stæf hæv ˈɛni aɪˈdiə wət duɪŋ poʊz ə ˈprɑbləm, ər wɪl tɛnz əv ˈmɪljənz əv əˈmɛrɪkənz ʤɪst nɑt kɛr ɪˈnəf tɪ bi ˈbɑðərd?
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when a major-party presidential campaign undergoes the process of scrutinizing potential running mates, it’s incredibly difficult. pulling together a list of candidates, combing through their backgrounds, evaluating the political costs and benefits to each, it’s all quite challenging, even for experienced teams of professionals. put an erratic, easily confused amateur at the top of the operation, and it becomes that much more difficult.
but once a running mate is chosen, everything is supposed to get much easier. schedule an announcement, register a website, design a logo, and prepare for the convention. piece of cake. candidates for national office deal with a variety of demanding tests; this isn’t one of them.
so how in the world is donald trump managing to screw this up so badly?
on msnbc today, kelly o’donnell reported on details that further undermine confidence in the presumptive republican nominee:
“even last night, when donald trump was in california, he was making some phone calls to try to assess if he was locked in to the [mike] pence choice or if he could make a change…. sources said he was reaching out, looking for a way to make a change.”
now, it’s worth noting that campaign officials have pushed back against these reports. then again, it’s clear that sources close to the candidate are telling several major news organizations about trump’s uncertainty – and desire as recently as last night to undo what was done.
has any of this gone right? this is the kind of administration voters can expect for four years?
of course, it’s not just today. trump’s staff is a mess. his field operation is an embarrassment. his campaign finances aren’t much better.
it’s usually at about this point when conservative readers ask, “oh, yeah? well if trump’s entire campaign operation is such a joke, why is he only trailing hillary clinton by a few points? shouldn’t this be a blowout if he and his team are so incompetent?”
these are perfectly legitimate questions, and the truth is, the vast majority of americans don’t know or care that trump is a bad candidate who’s completely incapable of overseeing a functioning political operation. much of the mainstream has some sense of trump’s message and they’re either prepared to support it or not.
the fact that trump can’t even introduce his running mate without slipping on a banana peel may be a very bad sign, but for much of the country, it’s also political minutiae.
the broader question, however, is whether there’s a breaking point at which team trump’s dysfunction catches up with them. in crunch time, when the candidate and the party need to execute an effective plan to win the white house, and the gop ticket is up against real political pros, will the fact that neither trump nor his staff have any idea what they’re doing pose a problem, or will tens of millions of americans just not care enough to be bothered?
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ˈbreɪkɪŋ nuz iˈmeɪlz gɪt ˈbreɪkɪŋ nuz əˈlərts ənd ˈspɛʃəl rɪˈpɔrts. ðə nuz ənd ˈstɔriz ðət ˈmætər, dɪˈlɪvərd ˈwikˌdeɪ ˈmɔrnɪŋz. dɛk. 22 2017 piɛm ˈəpˌdeɪtɪd dɛk. 22 2017 piɛm baɪ ʤeɪn si. tɪm ˈsɛnɪt məˈʤɔrəti ˈlidər mɪʧ məˈkɑnəl, r-ky*., mɑkt ˈstivən roʊl ɪn ðə ˌæləˈbæmə ˈsɛnɪt reɪs ɔn ˈfraɪˌdeɪ, ðə ˈleɪtəst ˈsælvoʊ ɪn ðə ˈɔnˌgoʊɪŋ fjud bɪtˈwin ðə ɪˈstæblɪʃmənt rɪˈpəblɪkənz ənd ðə ˈæktɪvɪsts hu hæv vaʊd tɪ ənˈsit ðɛm. "wɛl, lɛt mi ʤɪst seɪ ðɪs: ðə pəˈlɪtɪkəl ˈʤinjəs ɔn dɪˈspleɪ θroʊɪŋ əˈweɪ ə sit ɪn ðə ˈrɛdɪst steɪt ɪn əˈmɛrɪkə ɪz hɑrd tɪ ˌɪgˈnɔr," məˈkɑnəl sɛd ˈdʊrɪŋ ə nuz ˈkɑnfərəns. rɪˈpəblɪkənz ˌənɪkˈspɛktɪdli lɔst ðə ˌæləˈbæmə ˈsɛnɪt sit ðɪs mənθ ˈæftər ə rɪˈpəblɪkən, rɔɪ mʊr, ənˈsitɪd məˈkɑnəlz ˈʧoʊzən ˈkænədɪt ɪn ðə ˈpraɪˌmɛri, bət lɔst tɪ ˈdɛməˌkræt dəg ʤoʊnz ɪn ðə ˈʤɛnərəl ɪˈlɛkʃən ðɪs mənθ. ˈbænən hæd kæmˈpeɪnd ɪn ˌæləˈbæmə fər mʊr. rɪˈpəblɪkən ˈkænədɪt fər juz. ˈsɛnɪt ʤəʤ rɔɪ mʊr (ɑr) ənd ˈfɔrmər waɪt haʊs ʧif ˈstrætɪʤɪst stiv ˈbænən ʃeɪk hænz ˈdʊrɪŋ ə kæmˈpeɪn ɪˈvɛnt ɔn dɪˈsɛmbər 5 2017 ɪn fairhope*, ˌæləˈbæmə. ˈʤɑnəθən ˈbɑkmən ˈrɔɪtərz ˈbænən, ə ˈfɔrmər waɪt haʊs ædˈvaɪzər, həz sɛd hiz ˈplænɪŋ ə wɔr ɔn ɪˈstæblɪʃmənt rɪˈpəblɪkənz laɪk məˈkɑnəl. "ðɛrz ə ˌkoʊəˈlɪʃən ˈkəmɪŋ təˈgɛðər ðət ɪz goʊɪŋ tɪ ˈʧælənʤ ˈɛvəri rɪˈpəblɪkən ˌɪnˈkəmbənt ɪkˈsɛpt fər tɛd cruz,”*,” ˈbænən sɛd ɔn fɑks ɪn ɑkˈtoʊbər. məˈkɑnəlz dɪs kəmz ə deɪ ˈæftər ˈvænɪti fɛr ˈpəblɪʃt ə ˈfiʧər ɔn ˈbænən ənd hɪz pəˈlɪtɪkəl ˌæspərˈeɪʃənz, wɪθ ˈbænən ˈlæʃɪŋ aʊt æt ðə ˈsɛnɪt məˈʤɔrəti ˈlidər fər nɑt mɔr ˈfʊli səˈpɔrtɪŋ ðə ˈprɛzɪdənts əˈʤɛndə. məˈkɑnəl sɛd ˈfraɪˌdeɪ ðət hi həz ə "gʊd ˈwərkɪŋ riˈleɪʃənˌʃɪp" wɪθ ðə ˈprɛzɪdənt. "aɪ θɪŋk wi goʊ ˈɪntu ðə nu jɪr wɪθ ə haɪ ˈlɛvəl əv ˈkɑnfədɛns ɪn ɑr əˈbɪləˌti tɪ wərk təˈgɛðər," hi sɛd. trəmp ˈɔlsoʊ preɪzd məˈkɑnəl ɪfˈjusɪvli ðɪs wik fər hɪz wərk ɔn ðə tæks bɪl ðət ðə ˈprɛzɪdənt saɪnd ˈɪntu lɔ ɔn ˈfraɪˌdeɪ. ðə ˈspɛʃəl ɪˈlɛkʃən tɪ fɪl əˈtərni ˈʤɛnərəl ʤɛf ˈsɛʃənz' ˈfɔrmər ˈsɛnɪt sit ɪn ˌæləˈbæmə ˈmɪrərd ðə dɪˈvaɪd. ɪn ðə ˈpraɪˌmɛri, ɪˈstæblɪʃmənt rɪˈpəblɪkənz ənd ðə ˈprɛzɪdənt ˈʧæmpiənd sɛn. ˈluθər streɪnʤ, hu hæd bɪn əˈpɔɪntɪd tɪ ðə ˈveɪkənt sit. ˈbænən ənd ˈəðərz laɪk ˈsɛrə ˈpælɪn ɛmˈbreɪst mʊr, ə ˌkɑntrəˈvərʃəl ˈfɔrmər steɪt ʤəʤ. mʊr wɑz əˈkjuzd əv ˈsɛkʃuəl mɪˈskɑndəkt wɪθ tinz, wɪʧ kənˈtrɪbjutɪd tɪ hɪz dɪˈfit. ˈbænən wɑz nɑt feɪzd: "ˈtoʊtəli uncowed*," hi sɛd ˈæftər mʊrz lɔs.
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dec. 22, 2017, 8:06 pm gmt / updated dec. 22, 2017, 8:06 pm gmt by jane c. timm
senate majority leader mitch mcconnell, r-ky., mocked stephen bannon's role in the alabama senate race on friday, the latest salvo in the ongoing feud between the establishment republicans and the far-right activists who have vowed to unseat them.
"well, let me just say this: the political genius on display throwing away a seat in the reddest state in america is hard to ignore," mcconnell said during a year-end news conference.
republicans unexpectedly lost the alabama senate seat this month after a bannon-backed republican, roy moore, unseated mcconnell's chosen candidate in the primary, but lost to democrat doug jones in the general election this month. bannon had campaigned in alabama for moore.
republican candidate for u.s. senate judge roy moore (r) and former white house chief strategist steve bannon shake hands during a campaign event on december 5, 2017 in fairhope, alabama. jonathan bachman / reuters
bannon, a former white house adviser, has said he's planning a war on establishment republicans like mcconnell. "there's a coalition coming together that is going to challenge every republican incumbent except for ted cruz,” bannon said on fox in october.
mcconnell's dis comes a day after vanity fair published a feature on bannon and his political aspirations, with bannon lashing out at the senate majority leader for not more fully supporting the president's agenda.
mcconnell said friday that he has a "good working relationship" with the president. "i think we go into the new year with a high level of confidence in our ability to work together," he said.
trump also praised mcconnell effusively this week for his work on the tax bill that the president signed into law on friday.
the special election to fill attorney general jeff sessions' former senate seat in alabama mirrored the gop's divide. in the primary, establishment republicans and the president championed sen. luther strange, who had been appointed to the vacant seat. bannon and others like sarah palin embraced moore, a controversial former state judge.
moore was accused of sexual misconduct with teens, which contributed to his defeat.
bannon was not fazed: "totally uncowed," he said after moore's loss.
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ɔn ðə kæmˈpeɪn treɪl ɪn 2008 (ʤoʊ raedle/getty*) "æmˈbɪʃəs" ɪz ən ˈəndərˌsteɪtmənt, ənd ðə ˈpəblɪk ɪz ˈwɛri. ɪn ðə tɪ ˈhɪləri ˌprɛzɪˈdɛnʃəl əˈnaʊnsmɛnt, ə lɔt əv ˈkɑmənˌteɪtərz dɪsˈmɪst ˈkrɪtɪˌsɪzəm əv hər ər səˈʤɛstɪd ɪt wʊd ˈbumərˌæŋ əˈgɛnst rɪˈpəblɪkənz. hər ˈfɔrmər kənˈsəltənt ʤeɪmz ˈkɑrˌvɪl əˈkjuzd ʤoʊ ˈskɑrˌbəroʊ əv ““scandalmongering.”*.” ɔn ˈsənˌdi, ʧək tɑd əv mit ðə prɛs, ˈspikɪŋ tɪ ˈreɪdiˌoʊ hoʊst ju hjuɪt, ɪkˈsprɛst hɪz ˈskɛptɪˌsɪzəm əv rɪˈpəblɪkən ˈɛfərts əˈgɛnst ðə ˈklɪntənz: lʊk æt sɔrt əv ən əbˈsɛʃən ɔn ðə raɪt əv ˈbitɪŋ ˌoʊˈbɑmə ənd ˈbitɪŋ bɪl ˈklɪntən ˈoʊvər ðə jɪrz ɪz ðɛr ə pɔɪnt wɛr ju du ðɪs tu much?”*?” ˌædvərˈtaɪzmənt ˌædvərˈtaɪzmənt bət ˈklɪrli ˈmɛni ˈvoʊtərz dɪsəˈgri. ə nu ˈblumbərg poʊl faɪndz əˈpruvəl əv ˈhɪləri æt 48 pərˈsɛnt ɪn ðə weɪk əv hər ˈiˌmeɪl ˈskændəl. ðə poʊl faɪndz 53 pərˈsɛnt əv əˈmɛrɪkənz bɪˈliv ˈpərpəsli wɪθˈhɛld ər dɪˈlitəd səm ˈrɛləvənt ˈiˌmeɪlz frəm ə ˈpraɪvət əˈkaʊnt ənd hoʊm ˈsərvər ʃi juzd waɪl ɪn office.”*.” ʤɪst 29 pərˈsɛnt əv rɪˈspɑndənts θɪŋk ʃi ɪz biɪŋ ˈtruθfəl. du θɪŋk ʃi ɪz ə strɔŋ ˈlidər ə ki ˈmɛtrɪk bət ənˈlɛs ʃi kən ʧeɪnʤ ðə ˈɑnəsti pərˈsɛpʃən, ˈrənɪŋ ɛz ə ˈkɑmpətɪnt bət dɪˈsɑnəst ˈkænədɪt həz ˈsɪriəs pəˈtɛnʃəl problems,”*,” kənˈkludz əˈsɪstənt ˈpoʊlɪŋ dɪˈrɛktər ˈpitər braʊn. hɪz nu poʊlz faɪnd məˈʤɔrɪtiz ɪn ðə swɪŋ steɪts əv ˌkɑlərˈɑdoʊ, ˈaɪəwə, ənd vərˈʤɪnjə bɪˈliv ʃi ɪz ˈɑnəst ər ˈtrəstˌwərði. rɪˈleɪtɪd: ˈhɪləri ˈtrumən ʃoʊ kæmˈpeɪn ˌædvərˈtaɪzmənt rimz əv ˈkɑpi hæv bɪn ˈrɪtən baɪ rɪˈpɔrtərz əˈbaʊt læk əv wɔrmθ, hər ˈsikrəsi, ənd hər bɪˈlif ɪn pəˈlɪtɪkəl ˈkɑmbæt. bət wət simz tɪ bəg ˈvoʊtərz aɪ spik wɪθ ɪz ðə sɛns ðət ʃi ɪz ˈmoʊstli ə pjʊr pəˈlɪtɪkəl ˈænəməl. nu jɔrk ˈmægəˌzin ˌriˈpɔrtəd ðət ðə ˈsɛnɪt, [hər ˌdɛməˈkrætɪk ˈkɑlig] ʧək ˈʃumər juzd tɪ tɛl eɪdz ðət ˈklɪntən wɑz moʊst oʊˈpeɪk ˈpərsən ˈɛvər mit ɪn jʊr life.’”*.’” hi wʊd ðɛn æd, [i’d*] lɪvd hər laɪf, bi ðət weɪ, too.”*.” ˌædvərˈtaɪzmənt bət ðə laɪf ʃi ənd bɪl ˈklɪntən hæv lɛd ˌɪnˈkludz ə dɪˈgri əv æmˈbɪʃən ənd ˈtæktɪkəl ˈruθləsnəs ðət ɪz rɪˈmɑrkəbəl ˈivɪn baɪ ʧək ˈstændərdz. ʤɛf gərθ ənd dɑn væn ˈætə, tu ˈpʊlətsər praɪz ˈwɪnərz ˈfɔrmərli wɪθ ðə nu jɔrk taɪmz, roʊt ɪn ðɛr 2007 baɪˈɑgrəfi əv ˈhɪləri, hər weɪ, ðət ɪn ðə ˈərli 1970s*, ʃi ənd bɪl hæd ə ˈsikrɪt pækt əv ambition.”*.” ðeɪ wʊd ɔn ə pəˈlɪtɪkəl ˈpɑrtnərˌʃɪp wɪθ tu ˈstægərˌɪŋ goʊlz: ˌrɛvəˈluʃəˌnaɪz ðə ˌdɛməˈkrætɪk ˈpɑrti ənd, æt ðə seɪm taɪm, ˈkæpʧər ðə ˈprɛzɪdənsi fər bill,”*,” ðeɪ roʊt. kɔld ɪt ðɛr project.’”*.’” ˌɪnˈdid ɪt tʊk ðɛm ˈoʊnli tu ˈdɛkeɪdz ənˈtɪl bɪl wɑz ɪˈlɛktɪd ɪn 1992 ðɛr project’*’ wɑz ˈriəˌlaɪzd, ðɛr plæn bɪˈkeɪm ˈivɪn mɔr æmˈbɪʃəs: eɪt jɪrz ɛz ˈprɛzɪdənt fər ɪm, ðɛn eɪt jɪrz fər hər. ðɛr ɑˈdeɪʃəs pækt həz rɪˈmeɪnd ə ˈsikrɪt ənˈtɪl now.”*.” rɪˈleɪtɪd: ˈrɛkərd: fri əv əˈkɑmplɪʃmənts, fʊl əv ˈsɛtˌbæks ˌædvərˈtaɪzmənt əˈpɑləʤɪsts fər ðə ˈklɪntənz hæv əˈtækt gərθ ənd væn əˈkaʊnt, ˈnoʊtɪŋ ðət ðɛr sɔrs fər ðə waɪt haʊs plæn ɪz ˈfɔrmər nu jɔrk taɪmz rɪˈpɔrtər æn krɪˈtɛndən ənd hər ˈhəzbənd. ðeɪ ɪn tərn hərd ɪt frəm hɪˈstɔriən ˈteɪlər brænʧ, ə frɛnd əv ðə ˈklɪntənz. ˈæftər hər weɪ əˈpɪrd, brænʧ rɪˈvərst ən ˈərliər ˈsteɪtmənt hi hæd meɪd tɪ wən əv ɪts ˈɔθərz, seɪɪŋ remember”*” ðə ˌkɑnvərˈseɪʃən əˈbaʊt ə pækt. bət nɑt dɪˈnaɪɪŋ it,”*,” hi ˈɔlsoʊ ˈsteɪtɪd. wɪn ˈkɑnˌtæktɪd baɪ ðə ˈwɔʃɪŋtən poʊst ɪn mɑrʧ 2007 brænʧ sɛd, ˈnɛvər hərd ˈiðər ˈklɪntən tɔk əˈbaʊt ə ‘‘plan’*’ fər ðɛm boʊθ tɪ bɪˈkəm president.”*.” ˌædvərˈtaɪzmənt bət ðə ˈækjərəsi əv ðɛr ərˈɪʤənəl project”*” saɪˈteɪʃən bɪn ˈʧælənʤd. gərθ ənd væn ˈætə seɪ ðɛr sɔrs wɑz nən ˈəðər ðən bɪl waɪt haʊs ʧif əv stæf, liɑn pəˈnɛtə, hu hərd əˈbaʊt ðə ““project”*” frəm bɪl ˈklɪntən hɪmˈsɛlf ɔn ɛr fɔrs wən ɪn 1996 ˈklɪntən toʊld pəˈnɛtə waɪ ðeɪ rɪˈlaɪd ɔn ˈpipəl laɪk ædˈvaɪzər dɪk ˈmɔrɪs, hu həz sɪns bɪˈkəm ən ˈaʊtˈspoʊkən ˈklɪntən basher,”*,” ˈeɪˌbiˌsi nuz ˌriˈpɔrtəd ɪn ʤun 2007 tɪ ðə ˈɔθərz, ˈklɪntən toʊld pəˈnɛtə ðət hæd tɪ hir frəm ðə dɑrk side,’*,’ rɪˈfərɪŋ tɪ ˈmɔrɪs, ənd hæd tɪ du wət wi hæd tɪ do.’”*.’” liɑn pəˈnɛtə həz ˈnɛvər ˈɔltərd hɪz əˈkaʊnt. rɪˈleɪtɪd: ˈhɪləri ɔl ðə weɪ daʊn ˌædvərˈtaɪzmənt ðə fəˈnætəˌsɪzəm wɪθ wɪʧ ðə ˈklɪntən məˈʃin wɛnt ˈæftər gərθ ənd væn ˈætə ˈoʊvər ðə ˈnoʊʃən əv ðɛr ʃɛrd ˌprɛzɪˈdɛnʃəl ““project”*” hɛlps meɪk ðə pɔɪnt ðət ðə məˈʃin ɪz əbˈsɛst wɪθ ˈpəblɪk ˈɪmɪʤri ənd ˈgɪtɪŋ ˈivɪn wɪθ əˈpoʊnənts. “[“[bill*] gɪts ˈæŋgri, ənd hi gɪts ˈoʊvər ɪt. ʃi gɪts ˈæŋgri, ənd ʃi rɪˈmɛmbərz ɪt forever,”*,” ˈrɑbərt ˈburstɪn, hu ˈoʊvərˌsɔ kəmˌjunəˈkeɪʃənz fər tæsk fɔrs, toʊld ˈfɔrmər ˈwɔʃɪŋtən poʊst rɪˈpɔrtər kɑrl ˈbərnstin fər 2007 ˈhɪləri baɪˈɑgrəfi ə ˈwʊmən ɪn ʧɑrʤ. æt əˈnəðər pɔɪnt ɪn hɪz ˈɪntərvˌju wɪθ ˈbərnstin, hi sɛd əv ˈhɪləri: faɪnd hər tɪ bi əˈməŋ ðə moʊst ˌsɛlˈfraɪʧəs ˈpipəl ˈɛvər noʊn ɪn maɪ life.”*.” əv ðiz bɪˈheɪvjər ˈpætərnz ər ənˈnoʊn əˈməŋ ˌpɑləˈtɪʃənz, ənd ˈvoʊtərz noʊ ðə geɪm ɪz ə ˈdərti ˈbɪznɪs, soʊ ðeɪ ˈjuʒəwəli ˈfoʊkɪs ɔn ˈəðər ˈɪʃuz. bət ɪˈlɛktɪŋ ə ˈprɛzɪdənt ɪz ˈdɪfərənt, ənd ðɛr ər saɪnz ðət ˈhɪləri wɪl bi hɛld tɪ ə haɪər ˈstændərd ðə ˈkloʊzər ʃi əˈpɪrz tɪ bi rɪˈtərnɪŋ tɪ ðə waɪt haʊs. ˈlaɪkli tɪ si mɔr ˈstɔriz laɪk ðə wən læst mənθ frəm gərθ, ˈraɪtɪŋ fər proʊ publica*: tɔp faɪv ˈklæʃɪz ˈoʊvər secrecy.”*.” əˈnəðər ˈskændəl kʊd ˈsədənli pɑp əp, ˈfərðər ˌɪnˈkrisɪŋ hər trəst ˈdɛfəsət wɪθ ðə ˈpəblɪk. ˌædvərˈtaɪzmənt səm ˈdɛməˌkræts sim ˈɔlˌmoʊst tɪ ˈrɛlɪʃ ɔl ðə ˈɪnˌkəmɪŋ faɪər ˈhɪləri əˈtrækts frəm rɪˈpəblɪkənz. pɔl ˈwɑldmən, ə ˈlɛftɪst hu raɪts fər ðə ˈwɔʃɪŋtən poʊst ənd ðə əˈmɛrɪkən ˈprɑspɛkt, ˈgloʊtɪd ˈərliər ðɪs mənθ: ʃʊr ðə aɪˈdiə ðət ˈhɪləri ˈklɪntən maɪt ˌɛnˈʤɔɪ ˌɪmˈjunɪti frəm ˌloʊˈlɛvəl pəˈlɪtɪkəl ˈskændəl bɪˈkəz bɪn ˌɪnˈvɑlvd ɪn soʊ ˈmɛni ˈpriviəs ˈskændəlz (ril ənd feɪk) ʤɪst draɪvz rɪˈpəblɪkənz batty.”*.” ˌædvərˈtaɪzmənt bət ðɛr ər saɪnz ðət ðə ɪˈveɪʒənz ənd ˈkaʊnərəˌtæks ðət wərkt fər ə fərst ˈleɪdi, fər ə juz. ˈsɛnətər, ənd ˈivɪn fər ə ˈsɛkrəˌtɛri əv steɪt maɪt nɑt sərv ˈhɪləri ɛz ə ˌprɛzɪˈdɛnʃəl ˈkænədɪt, əˈspɛʃəli ˈoʊvər ðə lɔŋ strɛʧ ənˈtɪl ˈvoʊtərz goʊ tɪ ðə poʊlz ɪn noʊˈvɛmbər 2016 ˈæftər ɔl, ðeɪ wərk fər hər ɪn ðə 2008 ˈpraɪˌmɛriz əˈgɛnst ˈbɑrək ˌoʊˈbɑmə ə ˈkɑntɛst ɪn wɪʧ ʃi wɑz ˈɔlsoʊ vjud ɛz ən ˌɪnˈvɪnsəbəl ˈfrənˌtrənər. ʤɑn fənd ɪz ˌkɔrəˈspɑndənt fər ˈnæʃənəl ˌrivˈju ˈɔnˌlaɪn.
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on the campaign trail in 2008. (joe raedle/getty)
"ambitious" is an understatement, and the public is wary.
in the run-up to hillary clinton’s presidential announcement, a lot of commentators dismissed criticism of her or suggested it would boomerang against republicans. her former consultant james carville accused msnbc’s joe scarborough of “scandalmongering.” on sunday, chuck todd of nbc’s meet the press, speaking to radio talk-show host hugh hewitt, expressed his skepticism of republican efforts against the clintons: “i look at sort of an obsession on the right of beating obama and beating bill clinton over the years . . . is there a point where you do this too much?”
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but clearly many voters disagree. a new bloomberg poll finds approval of hillary at 48 percent in the wake of her e-mail scandal. the poll finds 53 percent of americans believe “she purposely withheld or deleted some relevant e-mails from a private account and home server she used while in office.” just 29 percent of respondents think she is being truthful.
“voters do think she is a strong leader — a key metric — but unless she can change the honesty perception, running as a competent but dishonest candidate has serious potential problems,” concludes quinnipiac’s assistant polling director peter brown. his firm’s new polls find majorities in the swing states of colorado, iowa, and virginia don’t believe she is honest or trustworthy.
related: hillary clinton’s truman show campaign
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reams of copy have been written by reporters about hillary’s lack of warmth, her secrecy, and her belief in hand-to-hand political combat. but what seems to bug voters i speak with is the sense that she is mostly a pure political animal. new york magazine reported that “in the senate, [her democratic colleague] chuck schumer used to tell aides that clinton was ‘the most opaque person you’ll ever meet in your life.’” he would then add, “if [i’d] lived her life, i’d be that way, too.”
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but the life she and bill clinton have led includes a degree of ambition and tactical ruthlessness that is remarkable even by chuck schumer’s standards. jeff gerth and don van atta, two pulitzer prize winners formerly with the new york times, wrote in their 2007 biography of hillary, her way, that in the early 1970s, she and bill had “made a secret pact of ambition.” they would “embark on a political partnership with two staggering goals: revolutionize the democratic party and, at the same time, capture the presidency for bill,” they wrote. “they called it their ‘twenty-year project.’” indeed it took them only two decades until bill was elected in 1992. “once their ‘20-year project’ was realized, their plan became even more ambitious: eight years as president for him, then eight years for her. their audacious pact has remained a secret until now.”
related: hillary’s record: free of accomplishments, full of setbacks
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apologists for the clintons have attacked gerth and van atta’s account, noting that their source for the his-and-hers white house plan is former new york times reporter ann crittenden and her husband. they in turn heard it from historian taylor branch, a friend of the clintons. after her way appeared, branch reversed an earlier statement he had made to one of its authors, saying “i don’t remember” the conversation about a pact. but “i’m not denying it,” he also stated. when contacted by the washington post in march 2007, branch said, “i never heard either clinton talk about a ‘plan’ for them both to become president.”
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but the accuracy of their original “20-year project” citation hasn’t been challenged. gerth and van atta say their source was none other than bill clinton’s white house chief of staff, leon panetta, who heard about the “project” from bill clinton himself on air force one in 1996. clinton “allegedly told panetta that’s why they relied on people like adviser dick morris, who has since become an outspoken clinton basher,” abc news reported in june 2007. “according to the authors, clinton told panetta that ‘you had to hear from the dark side,’ referring to morris, and ‘we had to do what we had to do.’” leon panetta has never altered his on-the-record account.
related: it’s hillary all the way down
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the fanaticism with which the clinton machine went after gerth and van atta over the notion of their shared presidential “project” helps make the point that the machine is obsessed with public imagery and getting even with opponents. “[bill] gets angry, and he gets over it. she gets angry, and she remembers it forever,” robert boorstin, who oversaw communications for hillary’s health-care task force, told former washington post reporter carl bernstein for bernstein’s 2007 hillary biography a woman in charge. at another point in his interview with bernstein, he said of hillary: “i find her to be among the most self-righteous people i’ve ever known in my life.”
#related#none of these behavior patterns are unknown among politicians, and voters know the game is a dirty business, so they usually focus on other issues. but electing a president is different, and there are signs that hillary will be held to a higher standard the closer she appears to be returning to the white house. you’re likely to see more stories like the one last month from gerth, writing for pro publica: “hillary clinton’s top five clashes over secrecy.” another scandal could suddenly pop up, further increasing her trust deficit with the public.
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some democrats seem almost to relish all the incoming fire hillary attracts from republicans. paul waldman, a leftist who writes for the washington post and the american prospect, gloated earlier this month: “i’m sure the idea that hillary clinton might enjoy immunity from low-level political scandal because she’s been involved in so many previous scandals (real and fake) just drives republicans batty.”
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but there are signs that the evasions and counterattacks that worked for a first lady, for a u.s. senator, and even for a secretary of state might not serve hillary as a full-fledged presidential candidate, especially over the long 20-month stretch until voters go to the polls in november 2016. after all, they didn’t work for her in the 2008 primaries against barack obama — a contest in which she was also viewed as an invincible frontrunner.
— john fund is national-affairs correspondent for national review online.
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ˌəndərˈstændɪŋ haʊ ækt ˌɪmˈpækts ˌɪnˈvɛstmənt ˈbæŋkɪŋ ənd ðə roʊl əv kəˈmərʃəl bæŋks ˌɪntrəˈdəkʃən tɪ ðə ækt [rɪˈtərn tɪ tɔp] ðə ækt həz rɪˈmeɪnd wən əv ðə ˈpɪlərz əv ˈbæŋkɪŋ lɔ sɪns ɪts ˈpæsɪʤ ɪn 1933 baɪ ɪˈrɛktɪŋ ə wɔl bɪtˈwin kəˈmərʃəl ˈbæŋkɪŋ ənd ˌɪnˈvɛstmənt ˈbæŋkɪŋ. ɪn ˈifɛkt, ðə lɔ kips bæŋks frəm duɪŋ ˈbɪznɪs ɔn wɔl strit, ənd vaɪs ˈvərsə. ɪn ˌækʧuˈæləˌti, ðɛr ər tu glæs ˈstigəl ˈmɛʒərz. ðə fərst wɑz ðə ækt əv 1932 ə ˈbʊkˌkipɪŋ prəˈvɪʒən ðət əˈlaʊd ðə ˈtrɛʒəri tɪ ˈbæləns ɪts əˈkaʊnt. ənd wət ɪz ˈkɑmənli noʊn təˈdeɪ ɛz ðə lɔ ɪz ˈæˌkʧuəli ðə bæŋk ækt əv 1933 kənˈteɪnɪŋ ðə prəˈvɪʒən ɪˈrɛktɪŋ ə wɔl bɪtˈwin ðə ˈbæŋkɪŋ ənd sɪˈkjʊrətiz ˈbɪznɪsɪz. ɪt ˈɔlsoʊ leɪd ðə ˈgraʊndˌwərk fər ˌlɛʤəsˈleɪʃən ðət wʊd əˈlaʊ ðə ˈfɛdərəl rɪˈzərv tɪ lɛt bæŋks ˈɪntu ðə sɪˈkjʊrətiz ˈbɪznɪs ɪn ə ˈlɪmɪtɪd weɪ. ˈkɔzɪz fər ənd brif ˈhɪstəri əv ækt [rɪˈtərn tɪ tɔp] ˌfəndəˈmɛnəl tɪ ən ˌəndərˈstændɪŋ əv ðə ˈpæsɪʤ əv ðə ækt ɪz ðə fækt ðət baɪ 1933 ðə juz. wɑz ɪn wən əv ðə wərst dɪˈprɛʃənz əv ɪts ˈhɪstəri. ə kˈwɔrtər əv ðə ˈfɔrmərli ˈwərkɪŋ ˌpɑpjəˈleɪʃən wɑz ˌənɛmˈplɔɪd. ðə ˈneɪʃənz ˈbæŋkɪŋ ˈsɪstəm wɑz keɪˈɑtɪk. ˈoʊvər bæŋks hæd feɪld ər hæd tɪ mərʤ, rɪˈdusɪŋ ðə ˈnəmbər baɪ 40 pər sɛnt, frəm tɪ ðə ˈgəvərnərz əv ˈsɛvərəl steɪts hæd kloʊzd ðɛr steɪts' bæŋks ənd ɪn mɑrʧ ˈprɛzɪdənt ˈruzəˌvɛlt kloʊzd ɔl ðə bæŋks ɪn ðə ˈkəntri. kənˈgrɛʃənəl ˈhirɪŋz kənˈdəktəd ɪn ˈərli 1933 simd tɪ ʃoʊ ðət ðə prɪˈzumd ˈlidərz əv əˈmɛrɪkən ˈɛnərˌpraɪz ðə ˈbæŋkərz ənd ˈbroʊkərz wər ˈgɪlti əv dɪsˈrɛpjətəbəl ənd ˈsimɪŋli dɪˈsɑnəst ˈdilɪŋz ənd groʊs mɪsˈjuzɪz əv ðə ˈpəblɪks trəst. ˈlʊkɪŋ bæk, səm hɪˈstɔriənz hæv kəm tɪ ə ˈdɪfərənt kənˈkluʒən əˈbaʊt ðə roʊl səʧ əˈbjuzɪz pleɪd ɪn ˈbrɪŋɪŋ daʊn bæŋks. səm hɪˈstɔriənz naʊ seɪ ðə ʧif ˈkəlprɪt əv bæŋk ˈfeɪljərz wɑz ðə dɪˈprɛʃən ˌɪtˈsɛlf, wɪʧ kɔzd ril ɛˈsteɪt ənd ˈəðər ˈvæljuz tɪ fɔl, ˈəndərˌmaɪnɪŋ bæŋk loʊnz. sɪˈkjʊrətiz əˈbjuzɪz pleɪd ə ˈmɪnəməl roʊl ɪn ðə kəˈlæps əv bæŋks, ðiz hɪˈstɔriənz seɪ, ənd kɔzd fju ˈfeɪljərz əˈməŋ ðə nu jɔrk bæŋks wɪθ ðə ˈlɑrʤəst wɔl strit ˌɑpərˈeɪʃənz. ðə ˈbæŋkɪŋ ækt əv 1933 wɑz ˈprɑbəˌbli ðə ˈruzəˌvɛlt ædˌmɪnɪˈstreɪʃənz moʊst ˌɪmˈpɔrtənt rɪˈspɑns tɪ ðə pərˈsivd ˈʃæmbəlz əv ðə ˈneɪʃənz ˌfaɪˈnænʃəl ənd ˌɛkəˈnɑmɪk ˈsɪstəm. bət ðə ækt dɪd nɑt ʧeɪnʤ ðə moʊst ˌɪmˈpɔrtənt ˈwiknəs əv ðə əˈmɛrɪkən ˈbæŋkɪŋ ˈsɪstəm ˈjunɪt ˈbæŋkɪŋ wɪˈθɪn steɪts ənd ðə ˌproʊəˈbɪʃən əv ˈneɪʃənˈwaɪd ˈbæŋkɪŋ. ðɪs ˈstrəkʧər ɪz kənˈsɪdərd ðə ˈprɪnsəpəl ˈrizən fər ðə ˈfeɪljər əv soʊ ˈmɛni juz. bæŋks, səm 90 pərˈsɛnt əv wɪʧ wər ˈjunɪt bæŋks wɪθ ˈəndər 2 ˈmɪljən ɪn ˈæˌsɛts. (ɪn ˈkɑntræst, ˈkænədə, wɪʧ hæd ˈneɪʃənˈwaɪd ˈbæŋkɪŋ, ˈsəfərd noʊ bæŋk ˈfeɪljərz ənd ˈoʊnli ə fju əv ðə ˈoʊvər juz. bæŋks ðət feɪld ər mərʤd wər brænʧ bæŋks.) ˌɪnˈstɛd, ðə ækt ɪˈstæblɪʃt nu əˈproʊʧɪz tɪ ˌfaɪˈnænʃəl ˌrɛgjəˈleɪʃən ˌpɑrˈtɪkjələrli ðə ˌɪnstɪˈtuʃən əv dɪˈpɑzət ˌɪnˈʃʊrəns ənd ðə ˈligəl ˌsɛpərˈeɪʃən əv moʊst ˈæˌspɛkts əv kəˈmərʃəl ənd ˌɪnˈvɛstmənt ˈbæŋkɪŋ (ðə ˈprɪnsəpəl ɪkˈsɛpʃən biɪŋ əˈlaʊɪŋ kəˈmərʃəl bæŋks tɪ ˈəndərˌraɪt moʊst bɑndz). ˈkɑrtər glæs ənd ˈhɛnri ˈstigəl [rɪˈtərn tɪ tɔp] ðə ˈpraɪˌmɛri fɔrs bɪˈhaɪnd ðə lɔ wɑz ˈmɪstər. glæs, ə ˈsɛnətər hu stʊd 5 fit 4 ˈɪnʧɪz. ə ˈfɔrmər ˈtrɛʒəri ˈsɛkrəˌtɛri, hi wɑz ə ˈfɑðər əv ðə ˈfɛdərəl rɪˈzərv ˈsɪstəm ənd ə ˈkrɪtɪk əv bæŋks ðət ɪnˈgeɪʤd ɪn wət hi kənˈsɪdərd ðə ˈrɪski ˈbɪznɪs əv ˌɪnˈvɛstɪŋ ɪn stɑks. hi ˈwɔntɪd bæŋks tɪ stɪk tɪ kənˈsərvətɪv kəˈmərʃəl ˈlɛndɪŋ, ənd hi ˈɛkˌsplɔɪtəd ðə ˈsɛnəmənt tɪ pʊʃ θru ðə ˈʧeɪnʤɪz hi ˈwɔntɪd. bət ʤɪst tu jɪrz ˈæftər wɑz ɛˈnæktəd, ˈmɪstər. glæs hɛlpt lɛd ən ˈɛfərt tɪ hæv ɪt rɪˈpild, ɛz "hi θɔt ɪt wɑz ə mɪˈsteɪk ənd ən ˈoʊvərriˌækʃən." ˈmɪstər. glæs pæst ɔn ɪn 1946 æt ðə eɪʤ əv 88 ˈmɪstər. ˈstigəl (prəˈnaʊnst stee-gahl*), ə ˌdɛməˈkrætɪk hu wɑz ˈʧɛrmən əv ðə haʊs ˈbæŋkɪŋ ənd ˈkərənsi kəˈmɪti, dɪˈvɛləpt ə ˈpæʃən fər ˈhɛlpɪŋ ˈfɑrmərz ənd ˈrʊrəl bæŋks frəm groʊɪŋ əp ɪn ˈoʊˌzɑrk, ˌæləˈbæmə. hi hæd ˈlɪtəl ˈɪntəˌrɛst ɪn ˈsɛpərˌeɪtɪŋ ˈbæŋkɪŋ frəm wɔl strit, bət saɪnd ɔn tɪ ðə bɪl ˈæftər ˈmɪstər. glæs əˈgrid tɪ əˈtæʧ ˈmɪstər. əˈmɛndmənt, wɪʧ ˈɔθərˌaɪzd bæŋk dɪˈpɑzət ˌɪnˈʃʊrəns fər ðə fərst taɪm. fər ˈsɛvərəl jɪrz ˌbiˈfɔr 1933 ˈsɛnətər glæs hæd ˈwɔntɪd tɪ riˈstrɪkt ər fərˈbɪd kəˈmərʃəl bæŋks frəm ˈdilɪŋ ɪn ənd ˈhoʊldɪŋ ˈkɔrpərət sɪˈkjʊrətiz. hi ˈstrɔŋli bɪˈlivd ðət bæŋk ˌɪnˈvɑlvmənt wɪθ sɪˈkjʊrətiz wɑz ˌdɛtrəˈmɛnəl tɪ ðə ˈfɛdərəl rɪˈzərv ˈsɪstəm, ˈkɑntrɛri tɪ ðə rulz əv gʊd ˈbæŋkɪŋ, ənd riˈspɑnsəbəl fər stɑk ˈmɑrkɪt ˌspɛkjəˈleɪʃən, ðə kræʃ əv 1929 bæŋk ˈfeɪljərz, ənd ðə greɪt dɪˈprɛʃən. ɪt ɪz ˈʤɛnərəli ækˈsɛptɪd ðət hi wɑz əˈneɪbəl tɪ əˈʧiv ðə goʊl əv ˈsɛpərˌeɪtɪŋ kəˈmərʃəl ənd ˌɪnˈvɛstmənt ˈbæŋkɪŋ ənˈtɪl ˌrɛvəˈleɪʃənz kənˈsərnɪŋ ˈnæʃənəl ˈsɪti bæŋk wər brɔt fɔrθ ɪn ðə ˈsɛnɪt kəˈmɪti ɔn ˈbæŋkɪŋ ənd ˈkərənsiz stɑk ɪksˈʧeɪnʤ ˈpræktɪsɪz ˈhirɪŋz. ˌdɪsɪˈluʒənmənt wɪθ ˈspɛkjəˌleɪtərz ənd sɪˈkjʊrətiz ˈmərʧənts ˈkɛrid ˈoʊvər frəm ˌɪnˈvɛstmənt ˈbæŋkərz tɪ kəˈmərʃəl ˈbæŋkərz; ðə tu wər ˈɔfən ðə seɪm, ənd ən ɛmˈbɪtərd ˈpəblɪk dɪd nɑt kɛr tɪ meɪk faɪn dɪˈstɪŋkʃənz. ðə ˈbæŋkɪŋ ækt əv 1933 wɑz pæst ənd kˈwɪkli saɪnd ˈɪntu lɔ. riˈstrɪkʃənz ənd riˈpilz ɪn ðə bæŋk ˈhoʊldɪŋ ˈkəmpəˌni ækt [rɪˈtərn tɪ tɔp] ˈkərbɪŋ bæŋks' əˈbɪləˌti tɪ groʊ tu lɑrʤ həz bɪn ə ˈkɑmən θim ɪn ˌlɛʤəsˈleɪʃən θru ðə jɪrz. ˈdʊrɪŋ ðə ənd 1940s*, bæŋks stək tɪ ðə ˈbeɪsɪks əv ˈteɪkɪŋ dɪˈpɑzəts ənd ˈmeɪkɪŋ loʊnz. ˈkɑŋgrəs ˈdɪdənt ˌɪntərˈvin əˈgɛn ənˈtɪl 1956 wɪn ɪt ɛˈnæktəd ðə bæŋk ˈhoʊldɪŋ ˈkəmpəˌni ækt tɪ kip kənˈglɑmərəts frəm əˈmæsɪŋ tu məʧ paʊər. ðət lɔ kriˈeɪtɪd ə ˈbɛriər bɪtˈwin ˈbæŋkɪŋ ənd ˌɪnˈʃʊrəns ɪn rɪˈspɑns tɪ əˈgrɛsɪv ˌækwəˈzɪʃənz ənd ɪkˈspænʧən baɪ ˌtrænsəˈmɛrɪkə ˈkɔrpərˈeɪʃən., ən ˌɪnˈʃʊrəns ˈkəmpəˌni ðət oʊnd bæŋk əv əˈmɛrɪkə ənd ən əreɪ əv ˈəðər ˈbɪznɪsɪz. ˈkɑŋgrəs θɔt ɪt ˌɪmˈprɑpər fər bæŋks tɪ rɪsk ˈpɑsəbəl ˈlɔsɪz frəm ˈəndərˈraɪtɪŋ ˌɪnˈʃʊrəns. waɪl ˈmɛni bæŋks təˈdeɪ 1990s*) sɛl ˌɪnˈʃʊrəns ˈprɑdəkts prəˈvaɪdɪd baɪ ˌɪnˈʃʊrərz, bæŋks kænt teɪk ɔn ðə rɪsk əv ˈəndərˈraɪtɪŋ. ˈsɛvərəl əˈtɛmpts sɪns 1933 baɪ kəˈmərʃəl ˈbæŋkərz, ənd æt taɪmz ˈrɛgjəˌleɪtərz, tɪ rɪˈpil ər dræft ɪkˈsɛpʃənz tɪ ðoʊz ˈsɛkʃənz əv ðə lɔ ðət ˈmænˌdeɪt ˌsɛpərˈeɪʃən əv kəˈmərʃəl ənd ˌɪnˈvɛstmənt ˈbæŋkɪŋ ˈjuʒəwəli rɪˈfərd tɪ əˈloʊn ɛz ækt' ˈʤɛnərəli hæv nɑt bɪn səkˈsɛsfəl. ɛz ə rɪˈzəlt, ðə juˈnaɪtɪd steɪts ənd ʤəˈpæn (wɪʧ wɑz fɔrst tɪ əˈdɑpt lɔz ˈsɪmələr tɪ ðə juz. ˈbæŋkɪŋ ˈstæˌʧuz ˈæftər ðə ˈsɛkənd wərld wɔr), əˈloʊn əˈməŋ ðə wərldz ˌɪmˈpɔrtənt ˌfaɪˈnænʃəl ˈneɪʃənz, ˈligəli ˌrikˈwaɪər ðɪs ˌsɛpərˈeɪʃən. (ˌʤæpəˈniz bæŋks kən ɪnˈgeɪʤ ɪn ˈmɛni sɪˈkjʊrətiz ækˈtɪvɪtiz, ˌhaʊˈɛvər, ˌɪnˈkludɪŋ ˈəndərˈraɪtɪŋ ənd ˈdilɪŋ ɪn kəˈmərʃəl ˈpeɪpər ənd ˈoʊnərˌʃɪp əv əp tɪ 5 pərˈsɛnt əv ˈnɑnˈbæŋk ˈɛnərˌpraɪzɪz.). ðə prəˈvɪʒənz wɪˈθɪn ðə ˈsɛkʃənz əv ðə ækt [rɪˈtərn tɪ tɔp] ðə ækt həz kəm tɪ min ˈoʊnli ðoʊz ˈsɛkʃənz əv ðə ˈbæŋkɪŋ ækt əv 1933 ðət rɪˈfər tɪ bæŋks' sɪˈkjʊrətiz ˌɑpərˈeɪʃənz ˈsɛkʃənz 16 20 21 ənd 32 ðiz fɔr ˈsɛkʃənz əv ðə ækt, ɛz əˈmɛndɪd ənd ˌɪnˈtərprətəd baɪ ðə ˈkɑmˌtroʊlər əv ðə ˈkərənsi, ðə ˈfɛdərəl rɪˈzərv bɔrd ənd ðə kɔrts, ˈgəvərn kəˈmərʃəl bæŋks' dəˈmɛstɪk sɪˈkjʊrətiz ˌɑpərˈeɪʃənz ɪn ˈvɛriəs weɪz. ˈsɛkʃənz 16 ənd 21 rɪˈfər tɪ ðə dɪˈrɛkt ˌɑpərˈeɪʃənz əv kəˈmərʃəl bæŋks. ˈsɛkʃən 16 ənd 21 rɪˈfər tɪ ðə dɪˈrɛkt ˌɑpərˈeɪʃənz əv kəˈmərʃəl bæŋks. ˈsɛkʃən 16 ɛz əˈmɛndɪd baɪ ðə ˈbæŋkɪŋ ækt əv 1935 ˈʤɛnərəli proʊˈhɪbəts ˈfɛdərəl rɪˈzərv ˈmɛmbər bæŋks frəm ˈpərʧəsɪŋ sɪˈkjʊrətiz fər ðɛr oʊn əˈkaʊnt. bət ə ˈnæʃənəl bæŋk (ˈʧɑrtərd baɪ ðə ˈkɑmˌtroʊlər əv ðə ˈkərənsi) meɪ ˈpərʧəs ənd hoʊld ˌɪnˈvɛstmənt sɪˈkjʊrətiz (dɪˈfaɪnd ɛz bɑndz, noʊts, ər dəˈbɛnʧərz rɪˈgɑrdɪd baɪ ðə ˈkɑmˌtroʊlər ɛz ˌɪnˈvɛstmənt sɪˈkjʊrətiz) əp tɪ 10 pər sɛnt əv ɪts ˈkæpɪtəl ənd ˈsərpləs. ˈsɛkʃənz 16 ənd 21 ˈɔlsoʊ fərˈbɪd ˌɪnstɪˈtuʃənz frəm boʊθ əkˈsɛptɪŋ dɪˈpɑzəts ənd ɪnˈgeɪʤɪŋ ɪn ðə ˈbɪznɪs əv 'ˈɪʃuɪŋ, ˈəndərˈraɪtɪŋ, ˈsɛlɪŋ, ər dɪˈstrɪbjutɪŋ, æt ˈhoʊlˌseɪl ər ˈriˌteɪl, ər θru ˈsɪndɪkət pɑrˌtɪsəˈpeɪʃən, stɑk, bɑndz, dəˈbɛnʧərz, noʊts ər ˈəðər sɪˈkjʊrətiz', wɪθ səm ˌɪmˈpɔrtənt ɪkˈsɛpʃənz. ðiz ɪkˈsɛpʃənz ˌɪnˈklud juz. ˈgəvərnmənt ˌɑbləˈgeɪʃənz, ˌɑbləˈgeɪʃənz ˈɪʃud baɪ ˈgəvərnmənt ˈeɪʤənsiz, ˈkɑlɪʤ ənd ˌjunəˈvərsəti ˈdɔrməˌtɔri bɑndz, ənd ðə ˈʤɛnərəl ˌɑbləˈgeɪʃənz əv steɪts ənd pəˈlɪtɪkəl ˈsəbdɪˌvɪʒənz. mjuˈnɪsəpəl ˈrɛvəˌnu bɑndz (ˈəðər ðən ðoʊz juzd tɪ ˈfaɪˌnæns haɪər ˌɛʤəˈkeɪʃən ənd ˈtiʧɪŋ ˈhɑˌspɪtəlz), wɪʧ ər naʊ əv ˈgreɪtər ˌɪmˈpɔrtəns ðən ˈʤɛnərəl ˌɑbləˈgeɪʃənz, ər nɑt ˌɪnˈkludɪd ɪn ðə ɪkˈsɛpʃənz, ɪn spaɪt əv ðə əˈtɛmpts əv kəˈmərʃəl bæŋks tɪ hæv ˈkɑŋgrəs əˈmɛnd ðə ækt. ɪn 1985 ˌhaʊˈɛvər, ðə ˈfɛdərəl rɪˈzərv bɔrd ˌdɪˈsaɪdɪd ðət kəˈmərʃəl bæŋks kʊd ækt ɛz ædˈvaɪzərz ənd ˈeɪʤənts ɪn ðə ˈpraɪvət ˈpleɪsmənt əv kəˈmərʃəl ˈpeɪpər. ˈsɛkʃən 16 ˈpərˌmɪts kəˈmərʃəl bæŋks tɪ ˈpərʧəs ənd sɛl sɪˈkjʊrətiz dɪˈrɛkli, wɪˈθaʊt ˈrikɔrs, ˈsoʊəli ɔn ðə ˈɔrdər əv ənd fər ðə əˈkaʊnt əv ˈkəstəmərz. ɪn ðə ˈərli 1970 ðə ˈkɑmˌtroʊlər əv ðə ˈkərənsi əˈpruvd ˈsɪtiˌbæŋks plæn tɪ ˈɔfər ðə ˈpəblɪk ˈjunɪts ɪn kəˈlɛktɪv ˌɪnˈvɛstmənt trəsts ðət ðə bæŋk ˈɔrgəˌnaɪzd. bət ɪn 1971 ðə juz. səˈprim kɔrt ruld ðət ˈsɛkʃənz 16 ənd 21 proʊˈhɪbət bæŋks frəm ˈɔfərɪŋ ə ˈprɑdəkt ðət ɪz ˈsɪmələr tɪ mˈjuʧuəl fəndz. ɪn ən ˈɔfən kˈwoʊtɪd dɪˈsɪʒən dɪˈskəst æt lɛŋθ ɪn ˈsɛkʃən əv ðɪs ˈʧæptər ənd ɪn ˈʧæptərz ənd 5 ðə kɔrt faʊnd ðət ðə ækt wɑz ˌɪnˈtɛndɪd tɪ prɪˈvɛnt bæŋks frəm ɛnˈdeɪnʤərɪŋ ðɛmˈsɛlvz, ðə ˈbæŋkɪŋ ˈsɪstəm, ənd ðə ˈpəblɪk frəm ənˈseɪf ənd ənˈsaʊnd ˈpræktɪsɪz ənd ˈkɑnflɪkts əv ˈɪntəˌrɛst. ˌnɛvərðəˈlɛs ɪn 1985 ənd 1986 ðə ˈkɑmˌtroʊlər əv ðə ˈkərənsi ˌdɪˈsaɪdɪd ðət ðə ækt əˈlaʊd ˈnæʃənəl bæŋks tɪ ˈpərʧəs ənd sɛl mˈjuʧuəl ʃɛrz fər ɪts ˈkəstəmərz ɛz ðɛr ˈeɪʤənt ənd sɛl ˈjunɪts ɪn ˈjunɪt ˌɪnˈvɛstmənt trəsts. ɪn 1987 ðə ˈkɑmˌtroʊlər ˈɔlsoʊ kənˈkludɪd ðət ə ˈnæʃənəl bæŋk meɪ ˈɔfər tɪ ðə ˈpəblɪk, θru ə səbˈsɪdiˌɛri, ˈbroʊkərɪʤ ˈsərvɪsɪz ənd ˌɪnˈvɛstmənt ədˈvaɪs, waɪl ˈæktɪŋ ɛz ən ædˈvaɪzər tɪ ə mˈjuʧuəl fənd ər ˈjunɪt ˌɪnˈvɛstmənt trəst. sɪns 1985 ðə ˈrɛgjəˌleɪtərz hæv əˈlaʊd bæŋks tɪ ˈɔfər ˈdɪskaʊnt ˈbroʊkərɪʤ ˈsərvɪsɪz θru səbˈsɪdiˌɛriz, ənd ðiz mɔr pərˈmɪsɪv rulz hæv bɪn əˈphɛld baɪ ðə kɔrts. ðəs, mɔr ˈrisənt kɔrt dɪˈsɪʒənz ənd ˈrɛgjələˌtɔri ˈeɪʤənsi ˈrulɪŋz hæv ˈtɛndɪd tɪ ˈsɔfən ðə 1971 səˈprim kɔrts əˈpɛrəntli strɪkt ˌɪnˌtərprɪˈteɪʃən əv ðə ækts ˌproʊəˈbɪʃənz. ˈsɛkʃənz 20 ənd 32 rɪˈfər tɪ kəˈmərʃəl bæŋk əˌfɪliˈeɪʃənz. ˈsɛkʃən 20 fərˈbɪdz ˈmɛmbər bæŋks frəm əˈfɪliˌeɪtɪŋ wɪθ ə ˈkəmpəˌni 'ɪnˈgeɪʤd ˈprɪnsɪpli' ɪn ðə 'ˈɪʃu, floʊˈteɪʃən, ˈəndərˈraɪtɪŋ, ˈpəblɪk seɪl, ər ˌdɪstrəˈbjuʃən æt ˈhoʊlˌseɪl ər ˈriˌteɪl ər θru ˈsɪndɪkət pɑrˌtɪsəˈpeɪʃən əv stɑks, bɑndz, dəˈbɛnʧərz, noʊts, ər ˈəðər sɪˈkjʊrətiz'. ɪn ʤun 1988 ðə juz. səˈprim kɔrt (baɪ dɪˈnaɪɪŋ certiorari*) əˈphɛld ə loʊər kɔrts ˈrulɪŋ əkˈsɛptɪŋ ðə ˈfɛdərəl rɪˈzərv bɔrdz ˈeɪprəl 1987 əˈpruvəl fər ˈmɛmbər bæŋks tɪ əˈfɪliˌeɪt wɪθ ˈkəmpəˌniz ˈəndərˈraɪtɪŋ kəˈmərʃəl ˈpeɪpər, mjuˈnɪsəpəl ˈrɛvəˌnu bɑndz, ənd sɪˈkjʊrətiz bækt baɪ ˈmɔrgɪʤɪz ənd kənˈsumər dɛts, ɛz lɔŋ ɛz ðə əˈfɪliˌeɪt dɪz nɑt ˈprɪnsɪpli ɪnˈgeɪʤ ɪn ðoʊz ækˈtɪvɪtiz. 'ˈprɪnsɪpli ɪnˈgeɪʤd' wɑz dɪˈfaɪnd baɪ ðə ˈfɛdərəl rɪˈzərv ɛz ækˈtɪvɪtiz kənˈtrɪbjutɪŋ mɔr ðən frəm 5 tɪ 10 pər sɛnt əv ðə əˈfɪliˌeɪts ˈtoʊtəl ˈrɛvəˌnu. ɪn 1987 ðə ˌdiˈsi kɔrt əv əˈpilz əˈfərmd ðə ˈfɛdərəl rɪˈzərv bɔrdz 1985 ˈrulɪŋ əˈlaʊɪŋ ə bæŋk ˈhoʊldɪŋ ˈkəmpəˌni tɪ əkˈwaɪər ə səbˈsɪdiˌɛri ðət prəˈvaɪdɪd boʊθ ˈbroʊkərɪʤ ˈsərvɪsɪz ənd ˌɪnˈvɛstmənt ədˈvaɪs tɪ ˌɪnstɪˈtuʃənəl ˈkəstəmərz. ɪn 1984 ənd 1986 ðə kɔrt hɛld ðət əˈfɪliˌeɪts əv ˈmɛmbər bæŋks kən ˈɔfər ˈriˌteɪl ˈdɪskaʊnt ˈbroʊkərɪʤ ˈsərvɪs (wɪʧ ɪkˈskludz ˌɪnˈvɛstmənt ədˈvaɪs), ɔn ðə graʊnz ðət ðiz ækˈtɪvɪtiz du nɑt ˌɪnˈvɑlv ən ˈəndərˈraɪtɪŋ əv sɪˈkjʊrətiz, ənd ðət 'ˈpəblɪk seɪl' rɪˈfərz tɪ ən ˈəndərˈraɪtɪŋ. ˈsɛkʃən 32 proʊˈhɪbəts ə ˈmɛmbər bæŋk frəm ˈhævɪŋ ˈɪntərˌlɑkɪŋ dɪˈrɛktərˌʃɪps ər kloʊz ˈɔfɪsər ər ɪmˈplɔɪi riˈleɪʃənˌʃɪps wɪθ ə fərm 'ˈprɪnsɪpli ɪnˈgeɪʤd' ɪn sɪˈkjʊrətiz ˈəndərˈraɪtɪŋ ənd ˌdɪstrəˈbjuʃən. ˈsɛkʃən 32 əˈplaɪz ˈivɪn ɪf ðɛr ɪz noʊ ˈkɑmən ˈoʊnərˌʃɪp ər ˈkɔrpərət əˌfɪliˈeɪʃən bɪtˈwin ðə kəˈmərʃəl bæŋk ənd ðə ˌɪnˈvɛstmənt ˈkəmpəˌni. ˈsɛkʃənz 20 ənd 32 du nɑt əˈplaɪ tɪ nɑnˈmɛmbər bæŋks ənd ˈseɪvɪŋz ənd loʊn əˌsoʊʃiˈeɪʃənz. ðeɪ ər ˈligəli fri tɪ əˈfɪliˌeɪt wɪθ sɪˈkjʊrətiz fərmz. ðəs ðə lɔ əˈplaɪz əˈnivənli tɪ ɛˈsɛnʃəl ˈsɪmələr ˌɪnstɪˈtuʃənz. ˈfərðərˌmɔr, sɪˈkjʊrətiz ˈbroʊkərz' kæʃ ˈmænɪʤmənt əˈkaʊnts, wɪʧ ər ˈfəŋkʃənəli aɪˈdɛntɪkəl tɪ ʧɛk əˈkaʊnts, hæv bɪn ʤəʤd nɑt tɪ bi dɪˈpɑzəts ɛz ˈspɛsəˌfaɪd ɪn ðə ækt. kəˈmərʃəl bæŋks ər nɑt ˈfɔrbɪdən frəm ˈəndərˈraɪtɪŋ ənd ˈdilɪŋ ɪn sɪˈkjʊrətiz ˈaʊtˈsaɪd əv ðə juˈnaɪtɪd steɪts. ðə ˈlɑrʤər ˈməni ˈsɛnər bæŋks, əˈgɛnst hum ðə ˌproʊəˈbɪʃənz əv ðə ækt wər dɪˈrɛktɪd, ər ˌpɑrˈtɪkjələrli ˈæktɪv ɪn ðiz ˈmɑrkɪts. faɪv əv ðə tɔp 30 ˈlidɪŋ ˈəndərˌraɪtərz ɪn ðə ˈjuroʊˌbɑnd ˈmɑrkɪt ɪn 1985 wər əˈfɪliˌeɪts əv juz. bæŋks, wɪθ 11 pər sɛnt əv ðə ˈtoʊtəl ˈmɑrkɪt. ðiz əˈfɪliˌeɪts ˌɪnˈklud 11 əv ðə tɔp 50 ˈəndərˌraɪtərz əv ˈjurəˌnoʊts. ˈsɪtiˌkɔrp, fər ɪgˈzæmpəl, həz ˈmɛmbərˌʃɪp ɪn səm 17 ˈmeɪʤər ˈfɔrən stɑk ɪksˈʧeɪnʤɪz, ənd ɪt ˈɔfərz ˌɪnˈvɛstmənt ˈbæŋkɪŋ ˈsərvɪsɪz ɪn ˈoʊvər 35 ˈkəntriz. ɪn 1988 ɪt əreɪnʤd fər ɪts ˈləndən sɪˈkjʊrətiz səbˈsɪdiˌɛri tɪ kˈwɑpərˌeɪt wɪθ ə juz. sɪˈkjʊrətiz fərm tɪ meɪk ˈmɑrkɪts ɪn sɪˈkjʊrətiz ɪn ðə juˈnaɪtɪd steɪts. ðə ʧeɪs mænˈhætən bæŋk ˈædvərˌtaɪzɪz ðət ɪt 'həz ˈɔfəsɪz ɪn ˈɔlˌmoʊst twaɪs ɛz ˈmɛni ˈkəntriz ɛz tɛn [ˈmeɪʤər ˈlɪstɪd] ˌɪnˈvɛstmənt bæŋks kəmˈbaɪnd. ˈfərðərˌmɔr, kəˈmərʃəl bæŋks' trəst dɪˈpɑrtmənts kən treɪd sɪˈkjʊrətiz θru ðɛr sɪˈkjʊrətiz səbˈsɪdiˌɛriz ər əˈfɪliˌeɪts fər ˈpɛnʃən plænz ənd ˈəðər trəst əˈkaʊnts. ɪn ˈsəməri, kəˈmərʃəl bæŋks kən ˈɔfər səm ˈæˌspɛkts əv ˌɪnˈvɛstmənt ædˈvaɪzəri ˈsərvɪsɪz, ˈbroʊkərɪʤ ækˈtɪvɪtiz, sɪˈkjʊrətiz ˈəndərˈraɪtɪŋ, mˈjuʧuəl fənd ækˈtɪvɪtiz, ˌɪnˈvɛstmənt ənd ˈtreɪdɪŋ ækˈtɪvɪtiz, ˈæˌsɛt sɪˌkjʊrətəˈzeɪʃən, ʤɔɪnt ˈvɛnʧərz, ənd kəˈmɑdətiz ˈdilɪŋ, ənd ðeɪ kən ˈɔfər dɪˈpɑzət ˈɪnstrəmənts ðət ər ˈsɪmələr tɪ sɪˈkjʊrətiz. ðə ˈʤɛnərəli ækˈsɛptɪd ˌræʃəˈnæl fər ðə ˌsɛpərˈeɪʃən əv kəˈmərʃəl ənd ˌɪnˈvɛstmənt ˈbæŋkɪŋ [rɪˈtərn tɪ tɔp] ðə ˈʤɛnərəli ækˈsɛptɪd ˌræʃəˈnæl fər ðə ækt ɪz wɛl ɪkˈsprɛst ɪn ðə brif faɪld baɪ ðə fərst ˈnæʃənəl ˈsɪti bæŋk 1970 ɪn səˈpɔrt əv ðə ˈkɑmˌtroʊlər əv ðə ˈkərənsi (ˈwɪljəm kæmp), hu hæd ˈgɪvɪn ðə bæŋk pərˈmɪʃən tɪ ˈɔfər kɑˈmɪŋgəld ˌɪnˈvɛstmənt əˈkaʊnts. fər ðɪs keɪs (ˌɪnˈvɛstmənt ˈkəmpəˌni ˈɪnstɪˌtut vi. kæmp, 401 ˈjuˈɛs 617 1971 wɪʧ ðə səˈprim kɔrt ˌdɪˈsaɪdɪd ɪn ˈfeɪvər əv ðə ˌɪnˈvɛstmənt ˈkəmpəˌni ˈɪnstɪˌtut, əˈtərniz dɪˈskraɪbd ðə ˌræʃəˈnæl fər ðə ækt ðəs: (fərst ˈnæʃənəl ˈsɪti bæŋk, 1970 pp*. ðə ækt wɑz ɛˈnæktəd tɪ ˈrɛmədi ðə ˈspɛkjələtɪv əˈbjuzɪz ðət ˌɪnˈfɛktɪd kəˈmərʃəl ˈbæŋkɪŋ praɪər tɪ ðə kəˈlæps əv ðə stɑk ˈmɑrkɪt ənd ðə ˌfaɪˈnænʃəl ˈpænɪk əv ˈmɛni bæŋks, əˈspɛʃəli ˈnæʃənəl bæŋks, nɑt ˈoʊnli ˌɪnˈvɛstɪd ˈhɛvəli ɪn ˈspɛkjələtɪv sɪˈkjʊrətiz bət ˈɛnərd ðə ˈbɪznɪs əv ˌɪnˈvɛstmənt ˈbæŋkɪŋ ɪn ðə trəˈdɪʃənəl sɛns əv ðə tərm baɪ baɪɪŋ ərˈɪʤənəl ˈɪʃuz fər ˈpəblɪk ˈriˌseɪl. əˈpɑrt frəm ðə ˈspɛʃəl ˈprɑbləmz kənˈfaɪnd tɪ əˌfɪliˈeɪʃən θri ˈivəlz wər faʊnd tɪ floʊ frəm ðə ˌkɑmbəˈneɪʃən əv ˌɪnˈvɛstmənt ənd kəˈmərʃəl ˈbæŋkɪŋ. prəˈvɪʒənz əv ðə ækt wər dɪˈrɛktɪd æt ðiz əˈbjuzɪz: [rɪˈtərn tɪ tɔp] bæŋks wər ˌɪnˈvɛstɪŋ ðɛr oʊn ˈæˌsɛts ɪn sɪˈkjʊrətiz wɪθ ˈkɑnsəkwənt rɪsk tɪ kəˈmərʃəl ənd ˈseɪvɪŋz dɪˈpɑzəts. ðə kənˈsərn əv ˈkɑŋgrəs tɪ blɑk ðɪs ˈivəl ɪz ˈklɪrli ˈsteɪtɪd ɪn ðə rɪˈpɔrt əv ðə ˈsɛnɪt ˈbæŋkɪŋ ənd ˈkərənsi kəˈmɪti ɔn ən ˌɪˈmiˌdiət ˈfɔˌrənər əv ðə ækt. ənˈsaʊnd loʊnz wər meɪd ɪn ˈɔrdər tɪ ʃɔr əp ðə praɪs əv sɪˈkjʊrətiz ər ðə ˌfaɪˈnænʃəl pəˈzɪʃən əv ˈkəmpəˌniz ɪn wɪʧ ə bæŋk hæd ˌɪnˈvɛstɪd ɪts oʊn ˈæˌsɛts. ə kəˈmərʃəl bæŋks ˌfaɪˈnænʃəl ˈɪntəˌrɛst ɪn ðə ˈoʊnərˌʃɪp, praɪs, ər ˌdɪstrəˈbjuʃən əv sɪˈkjʊrətiz ˌɪˈnɛvətəbli ˈtɛmptɪd bæŋk əˈfɪʃəlz tɪ prɛs ðɛr ˈbæŋkɪŋ ˈkəstəmərz ˈɪntu ˌɪnˈvɛstɪŋ ɪn sɪˈkjʊrətiz wɪʧ ðə bæŋk ˌɪtˈsɛlf wɑz ˈəndər ˈprɛʃər tɪ sɛl bɪˈkəz əv ɪts oʊn pɛˈkjuniˌɛri steɪk ɪn ðə trænˈzækʃən. ə ˈsəməri əv ðə ˌræʃəˈnæl ˈlidɪŋ əp tɪ ðə ɛˈnæktmənt əv ðə glæs ˈstigəl ækt [rɪˈtərn tɪ tɔp] ðə ərˈɪʤənəl (ənd ɪn səm ˈmɛʒər, kənˈtɪnjuɪŋ) ˈrizənz ənd ˈɑrgjəmənts fər ˈligəli ˈsɛpərˌeɪtɪŋ kəˈmərʃəl ənd ˌɪnˈvɛstmənt ˈbæŋkɪŋ ˌɪnˈklud: rɪsk əv ˈluzɪz (ˈseɪfti ənd ˈsaʊndnəs). bæŋks ðət ɪnˈgeɪʤd ɪn ˈəndərˈraɪtɪŋ ənd ˈhoʊldɪŋ ˈkɔrpərət sɪˈkjʊrətiz ənd mjuˈnɪsəpəl ˈrɛvəˌnu bɑndz pərˈzɛnəd sɪgˈnɪfɪkənt rɪsk əv lɔs tɪ dəˈpɑzɪtərz ənd ðə ˈfɛdərəl ˈgəvərnmənt ðət hæd tɪ kəm tɪ ðɛr ˈrɛskju; ðeɪ ˈɔlsoʊ wər mɔr ˈsəbʤɪkt tɪ ˈfeɪljər wɪθ ə rɪˈzəltɪŋ lɔs əv ˈpəblɪk ˈkɑnfədɛns ɪn ðə ˈbæŋkɪŋ ˈsɪstəm ənd ˈgreɪtər rɪsk əv ˌfaɪˈnænʃəl ˈsɪstəm kəˈlæps. ˈkɑnflɪkts əv ˈɪntəˌrɛst ənd ˈəðər əˈbjuzɪz. bæŋks ðət ˈɔfər ˌɪnˈvɛstmənt ˈbæŋkɪŋ ˈsərvɪsɪz ənd mˈjuʧuəl fəndz wər ˈsəbʤɪkt tɪ ˈkɑnflɪkts əv ˈɪntəˌrɛst ənd ˈəðər əˈbjuzɪz, ˈðɛrˈbaɪ rɪˈzəltɪŋ ɪn hɑrm tɪ ðɛr ˈkəstəmərz, ˌɪnˈkludɪŋ ˈbɑroʊərz, dəˈpɑzɪtərz, ənd ˌkɔrəˈspɑndənt bæŋks. ˌɪmˈprɑpər ˈbæŋkɪŋ ækˈtɪvɪti. ˈivɪn ɪf ðɛr wər noʊ ˈækʧəwəl əˈbjuzɪz, ækˈtɪvɪtiz ər ˈkɑntrɛri tɪ ðə weɪ ˈbæŋkɪŋ ɔt tɪ bi kənˈdəktəd. prəˈdusər dɪˈzaɪərd kənˈstreɪnts ɔn ˌkɑmpəˈtɪʃən. səm sɪˈkjʊrətiz ˈbroʊkərz ənd ˈəndərˌraɪtərz ənd səm ˈbæŋkərz wɔnt tɪ bɑr ðoʊz bæŋks ðət wʊd ˈɔfər sɪˈkjʊrətiz ənd ˈəndərˈraɪtɪŋ ˈsərvɪsɪz frəm ˈɛnərɪŋ ðɛr ˈmɑrkɪts. ðə ˈfɛdərəl 'ˈseɪfti nɛt' ʃʊd nɑt bi ɪkˈstɛndɪd mɔr ðən ˈnɛsəˌsɛri. ˈfɛdərəli prəˈvaɪdɪd dɪˈpɑzət ˌɪnˈʃʊrəns ənd ˈækˌsɛs tɪ ˈdɪskaʊnt ˈwɪndoʊ ˈbɑroʊɪŋz æt ðə ˈfɛdərəl rɪˈzərv ˈpərˌmɪt ənd ˈivɪn ɪnˈkərəʤ bæŋks tɪ teɪk ˈgreɪtər rɪsks ðən ər ˈsoʊʃəli ˈɑptɪməl. sɪˈkjʊrətiz ækˈtɪvɪtiz ər ˈrɪski ənd ʃʊd nɑt bi pərˈmɪtɪd tɪ bæŋks ðət ər prəˈtɛktɪd wɪθ ðə ˈfɛdərəl 'ˈseɪfti nɛt'. ˌɔnˈfɛr ˌkɑmpəˈtɪʃən. ɪn ˈɛni ɪˈvɛnt, bæŋks gɪt ˈsəbsɪˌdaɪzd ˈfɛdərəl dɪˈpɑzət ˌɪnˈʃʊrəns wɪʧ gɪvz ðɛm ˈækˌsɛs tɪ 'ʧip' dɪˈpɑzət fəndz. ðəs ðeɪ hæv ˈmɑrkɪt paʊər ənd kən ɪnˈgeɪʤ ɪn ðət gɪvz ðɛm ən ˌɔnˈfɛr kəmˈpɛtɪtɪv ædˈvæntɪʤ ˈoʊvər ˈnɑnˈbæŋk kəmˈpɛtɪtərz (e.g*. sɪˈkjʊrətiz ˈbroʊkərz ənd ˈəndərˌraɪtərz) wər ðeɪ pərˈmɪtɪd tɪ ˈɔfər ˌɪnˈvɛstmənt ˈbæŋkɪŋ ˈsərvɪsɪz. ˌkɑnsənˈtreɪʃən əv paʊər ənd pərˈfɔrməns. kəˈmərʃəl bæŋks' kəmˈpɛtɪtɪv ædˈvæntɪʤɪz wʊd rɪˈzəlt ɪn ðɛr ˌdɑməˈneɪʃən ər ˈteɪˌkoʊvər əv sɪˈkjʊrətiz ˈbroʊkərɪʤ ənd ˈəndərˈraɪtɪŋ fərmz ɪf ðeɪ wər pərˈmɪtɪd tɪ ˈɔfər ˌɪnˈvɛstmənt ˈbæŋkɪŋ ˈsərvɪsɪz ər hoʊld ˈkɔrpərət ˈɛkwətiz. ðə rɪˈzəlt wʊd bi ən ˌənækˈsɛptəbəl ˌkɑnsənˈtreɪʃən əv paʊər ənd pərˈfɔrməns. ˌjunəˈvərsəl vi. ˈspɛʃəˌlaɪzd ˈbæŋkɪŋ. ɪf ðə ækt wər rɪˈpild, ðə juz. ˈbæŋkɪŋ ˈsɪstəm wʊd kəm tɪ rɪˈzɛmbəl ðə ˈʤərmən ˌjunəˈvərsəl ˈsɪstəm, wɪʧ wʊd bi ˌdɛtrəˈmɛnəl tɪ bæŋk klaɪənts ənd ðə ɪˈkɑnəmi. [rɪˈtərn tɪ tɔp]
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understanding how glass-steagall act impacts investment banking and the role of commercial banks
introduction to the glass-steagall act [return to top]
the glass-steagall act has remained one of the pillars of banking law since its passage in 1933 by erecting a wall between commercial banking and investment banking. in effect, the law keeps banks from doing business on wall street, and vice versa. in actuality, there are two glass steagall measures. the first was the glass-steagall act of 1932, a bookkeeping provision that allowed the treasury to balance its account. and what is commonly known today as the glass-steagall law is actually the bank act of 1933, containing the provision erecting a wall between the banking and securities businesses. it also laid the groundwork for legislation that would allow the federal reserve to let banks into the securities business in a limited way.
causes for and brief history of glass-steagall act [return to top]
fundamental to an understanding of the passage of the glass-steagall act is the fact that by 1933 the u.s. was in one of the worst depressions of its history. a quarter of the formerly working population was unemployed. the nation's banking system was chaotic. over 11,000 banks had failed or had to merge, reducing the number by 40 per cent, from 25,000 to 14,000. the governors of several states had closed their states' banks and in march president roosevelt closed all the banks in the country. congressional hearings conducted in early 1933 seemed to show that the presumed leaders of american enterprise -- the bankers and brokers -- were guilty of disreputable and seemingly dishonest dealings and gross misuses of the public's trust. looking back, some historians have come to a different conclusion about the role such abuses played in bringing down banks. some historians now say the chief culprit of bank failures was the depression itself, which caused real estate and other values to fall, undermining bank loans. securities abuses played a minimal role in the collapse of banks, these historians say, and caused few failures among the new york banks with the largest wall street operations.
the banking act of 1933 was probably the newly-elected roosevelt administration's most important response to the perceived shambles of the nation's financial and economic system. but the act did not change the most important weakness of the american banking system -- unit banking within states and the prohibition of nationwide banking. this structure is considered the principal reason for the failure of so many u.s. banks, some 90 percent of which were unit banks with under $2 million in assets. (in contrast, canada, which had nationwide banking, suffered no bank failures and only a few of the over 11,000 u.s. banks that failed or merged were branch banks.) instead, the act established new approaches to financial regulation -- particularly the institution of deposit insurance and the legal separation of most aspects of commercial and investment banking (the principal exception being allowing commercial banks to underwrite most government-issued bonds).
carter glass and henry steagall [return to top]
the primary force behind the law was mr. glass, a 75-year-old senator who stood 5 feet 4 inches. a former treasury secretary, he was a father of the federal reserve system and a critic of banks that engaged in what he considered the risky business of investing in stocks. he wanted banks to stick to conservative commercial lending, and he exploited the antibank sentiment to push through the changes he wanted. but just two years after glass-steagall was enacted, mr. glass helped lead an effort to have it repealed, as "he thought it was a mistake and an overreaction." mr. glass passed on in 1946 at the age of 88. mr. steagall (pronounced stee-gahl), a democratic who was chairman of the house banking and currency committee, developed a passion for helping farmers and rural banks from growing up in ozark, alabama. he had little interest in separating banking from wall street, but signed on to the bill after mr. glass agreed to attach mr. steagall's amendment, which authorized bank deposit insurance for the first time.
for several years before 1933 senator glass had wanted to restrict or forbid commercial banks from dealing in and holding corporate securities. he strongly believed that bank involvement with securities was detrimental to the federal reserve system, contrary to the rules of good banking, and responsible for stock market speculation, the crash of 1929, bank failures, and the great depression. it is generally accepted that he was unable to achieve the goal of separating commercial and investment banking until revelations concerning national city bank were brought forth in the senate committee on banking and currency's stock exchange practices hearings. disillusionment with speculators and securities merchants carried over from investment bankers to commercial bankers; the two were often the same, and an embittered public did not care to make fine distinctions. the banking act of 1933 was passed and quickly signed into law.
restrictions and repeals in the bank holding company act [return to top]
curbing banks' ability to grow too large has been a common theme in legislation through the years. during the 1930s and 1940s, banks stuck to the basics of taking deposits and making loans. congress didn't intervene again until 1956, when it enacted the bank holding company act to keep financial-services conglomerates from amassing too much power. that law created a barrier between banking and insurance in response to aggressive acquisitions and expansion by transamerica corp., an insurance company that owned bank of america and an array of other businesses. congress thought it improper for banks to risk possible losses from underwriting insurance. while many banks today (1990s) sell insurance products provided by insurers, banks can't take on the risk of underwriting.
several attempts since 1933 by commercial bankers, and at times regulators, to repeal or draft exceptions to those sections of the law that mandate separation of commercial and investment banking -- usually referred to alone as 'glass-steagall act' -- generally have not been successful. as a result, the united states and japan (which was forced to adopt laws similar to the u.s. banking statues after the second world war), alone among the world's important financial nations, legally require this separation. (japanese banks can engage in many securities activities, however, including underwriting and dealing in commercial paper and ownership of up to 5 percent of non-bank enterprises.).
the provisions within the sections of the glass-steagall act [return to top]
the glass-steagall act has come to mean only those sections of the banking act of 1933 that refer to banks' securities operations -- sections 16, 20, 21, and 32. these four sections of the act, as amended and interpreted by the comptroller of the currency, the federal reserve board and the courts, govern commercial banks' domestic securities operations in various ways.
sections 16 and 21 refer to the direct operations of commercial banks. section 16 and 21 refer to the direct operations of commercial banks. section 16, as amended by the banking act of 1935, generally prohibits federal reserve member banks from purchasing securities for their own account. but a national bank (chartered by the comptroller of the currency) may purchase and hold investment securities (defined as bonds, notes, or debentures regarded by the comptroller as investment securities) up to 10 per cent of its capital and surplus. sections 16 and 21 also forbid deposit-taking institutions from both accepting deposits and engaging in the business of 'issuing, underwriting, selling, or distributing, at wholesale or retail, or through syndicate participation, stock, bonds, debentures, notes or other securities', with some important exceptions. these exceptions include u.s. government obligations, obligations issued by government agencies, college and university dormitory bonds, and the general obligations of states and political subdivisions. municipal revenue bonds (other than those used to finance higher education and teaching hospitals), which are now of greater importance than general obligations, are not included in the exceptions, in spite of the attempts of commercial banks to have congress amend the act. in 1985, however, the federal reserve board decided that commercial banks could act as advisers and agents in the private placement of commercial paper.
section 16 permits commercial banks to purchase and sell securities directly, without recourse, solely on the order of and for the account of customers. in the early 1970, the comptroller of the currency approved citibank's plan to offer the public units in collective investment trusts that the bank organized. but in 1971 the u.s. supreme court ruled that sections 16 and 21 prohibit banks from offering a product that is similar to mutual funds. in an often quoted decision discussed at length in section iv of this chapter and in chapters 2,3,4 and 5, the court found that the act was intended to prevent banks from endangering themselves, the banking system, and the public from unsafe and unsound practices and conflicts of interest. nevertheless in 1985 and 1986 the comptroller of the currency decided that the act allowed national banks to purchase and sell mutual shares for its customers as their agent and sell units in unit investment trusts. in 1987, the comptroller also concluded that a national bank may offer to the public, through a subsidiary, brokerage services and investment advice, while acting as an adviser to a mutual fund or unit investment trust. since 1985 the regulators have allowed banks to offer discount brokerage services through subsidiaries, and these more permissive rules have been upheld by the courts. thus, more recent court decisions and regulatory agency rulings have tended to soften the 1971 supreme court's apparently strict interpretation of the act's prohibitions.
sections 20 and 32 refer to commercial bank affiliations. section 20 forbids member banks from affiliating with a company 'engaged principally' in the 'issue, flotation, underwriting, public sale, or distribution at wholesale or retail or through syndicate participation of stocks, bonds, debentures, notes, or other securities'. in june 1988 the u.s. supreme court (by denying certiorari) upheld a lower court's ruling accepting the federal reserve board's april 1987 approval for member banks to affiliate with companies underwriting commercial paper, municipal revenue bonds, and securities backed by mortgages and consumer debts, as long as the affiliate does not principally engage in those activities. 'principally engaged' was defined by the federal reserve as activities contributing more than from 5 to 10 per cent of the affiliate's total revenue. in 1987, the dc court of appeals affirmed the federal reserve board's 1985 ruling allowing a bank holding company to acquire a subsidiary that provided both brokerage services and investment advice to institutional customers. in 1984 and 1986 the court held that affiliates of member banks can offer retail discount brokerage service (which excludes investment advice), on the grounds that these activities do not involve an underwriting of securities, and that 'public sale' refers to an underwriting.
section 32 prohibits a member bank from having interlocking directorships or close officer or employee relationships with a firm 'principally engaged' in securities underwriting and distribution. section 32 applies even if there is no common ownership or corporate affiliation between the commercial bank and the investment company.
sections 20 and 32 do not apply to non-member banks and savings and loan associations. they are legally free to affiliate with securities firms. thus the law applies unevenly to essential similar institutions. furthermore, securities brokers' cash management accounts, which are functionally identical to cheque accounts, have been judged not to be deposits as specified in the act.
commercial banks are not forbidden from underwriting and dealing in securities outside of the united states. the larger money center banks, against whom the prohibitions of the glass-steagall act were directed, are particularly active in these markets. five of the top 30 leading underwriters in the eurobond market in 1985 were affiliates of u.s. banks, with 11 per cent of the total market. these affiliates include 11 of the top 50 underwriters of euronotes. citicorp, for example, has membership in some 17 major foreign stock exchanges, and it offers investment banking services in over 35 countries. in 1988, it arranged for its london securities subsidiary to cooperate with a u.s. securities firm to make markets in securities in the united states. the chase manhattan bank advertises that it 'has offices in almost twice as many countries as ten [major listed] investment banks combined. furthermore, commercial banks' trust departments can trade securities through their securities subsidiaries or affiliates for pension plans and other trust accounts.
in summary, commercial banks can offer some aspects of investment advisory services, brokerage activities, securities underwriting, mutual fund activities, investment and trading activities, asset securitization, joint ventures, and commodities dealing, and they can offer deposit instruments that are similar to securities.
the generally accepted rationale for the separation of commercial and investment banking [return to top]
the generally accepted rationale for the glass-steagall act is well expressed in the brief filed by the first national city bank (1970) in support of the comptroller of the currency (william camp), who had given the bank permission to offer commingled investment accounts. for this case (investment company institute v. camp, 401 us 617, 1971), which the supreme court decided in favor of the investment company institute, fncb's attorneys described the rationale for the act thus: (first national city bank, 1970, pp. 40-2):
the glass-steagall act was enacted to remedy the speculative abuses that infected commercial banking prior to the collapse of the stock market and the financial panic of 1929-1933. many banks, especially national banks, not only invested heavily in speculative securities but entered the business of investment banking in the traditional sense of the term by buying original issues for public resale. apart from the special problems confined to affiliation three well-defined evils were found to flow from the combination of investment and commercial banking.
provisions of the glass-steagall act were directed at these abuses: [return to top]
banks were investing their own assets in securities with consequent risk to commercial and savings deposits. the concern of congress to block this evil is clearly stated in the report of the senate banking and currency committee on an immediate forerunner of the glass-steagall act.
unsound loans were made in order to shore up the price of securities or the financial position of companies in which a bank had invested its own assets.
a commercial bank's financial interest in the ownership, price, or distribution of securities inevitably tempted bank officials to press their banking customers into investing in securities which the bank itself was under pressure to sell because of its own pecuniary stake in the transaction.
a summary of the rationale leading up to the enactment of the glass steagall act [return to top]
the original (and in some measure, continuing) reasons and arguments for legally separating commercial and investment banking include:
risk of loses (safety and soundness). banks that engaged in underwriting and holding corporate securities and municipal revenue bonds presented significant risk of loss to depositors and the federal government that had to come to their rescue; they also were more subject to failure with a resulting loss of public confidence in the banking system and greater risk of financial system collapse.
conflicts of interest and other abuses. banks that offer investment banking services and mutual funds were subject to conflicts of interest and other abuses, thereby resulting in harm to their customers, including borrowers, depositors, and correspondent banks.
improper banking activity. even if there were no actual abuses, securities-related activities are contrary to the way banking ought to be conducted.
producer desired constraints on competition. some securities brokers and underwriters and some bankers want to bar those banks that would offer securities and underwriting services from entering their markets.
the federal 'safety net' should not be extended more than necessary. federally provided deposit insurance and access to discount window borrowings at the federal reserve permit and even encourage banks to take greater risks than are socially optimal. securities activities are risky and should not be permitted to banks that are protected with the federal 'safety net'.
unfair competition. in any event, banks get subsidized federal deposit insurance which gives them access to 'cheap' deposit funds. thus they have market power and can engage in cross-subsidization that gives them an unfair competitive advantage over non-bank competitors (e.g. securities brokers and underwriters) were they permitted to offer investment banking services.
concentration of power and less-than-competitive performance. commercial banks' competitive advantages would result in their domination or takeover of securities brokerage and underwriting firms if they were permitted to offer investment banking services or hold corporate equities. the result would be an unacceptable concentration of power and less-than-competitive performance.
universal v. specialized banking. if the glass-steagall act were repealed, the u.s. banking system would come to resemble the german universal system, which would be detrimental to bank clients and the economy.
[return to top]
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ðə juz. ˈfɛdərəl kəmˌjunəˈkeɪʃənz kəˈmɪʃən ʃʊd əˈbændən ɪts ˈɛfərts tɪ pæs nɛt nuˈtræləti rulz bɪˈkəz nu ˌrɛgjəˈleɪʃənz wʊd hərt ˌɪnˈvɛstmənt ənd ðə dɪˈplɔɪmənt əv ˈbrɔdˌbænd, ə pəreɪd əv rɪˈpəblɪkən ˈsɛnətərz ənd ˈædvəˌkeɪts sɛd ˈwɛnzˌdeɪ. ˈædvəˌkeɪts əv strɔŋ nɛt nuˈtræləti rulz hæv ˈpɔɪntɪd tɪ fju ˈprɑbləmz ðət ˈʤəstəˌfaɪ ˌɪnˈtrusɪv nu ˌrɛgjəˈleɪʃənz, ˈsɛvərəl rɪˈpəblɪkən ˈsɛnətərz ˈɑrgjud ˈdʊrɪŋ ə ˈhirɪŋ ˌbiˈfɔr ðə ˈsɛnɪt ʤuˈdɪʃiˌɛri kəˈmɪti. nɛt nuˈtræləti wʊd əˈmaʊnt tɪ ðə ˈteɪkɪŋ ““control”*” əv ðə ˈɪntərˌnɛt, sɛd ˈsɛnətər ˈɔrɪn hæʧ, ə ˈjuˌtɔ rɪˈpəblɪkən. ˈgəvərnmənt ˌrɛgjəˈleɪʃən ðə ˈɪntərˌnɛt ɪz growing,”*,” hi sɛd. ðə ˈprɑbləm? wət ɪz ˈbroʊkən? wət ɪz ɪt ðət nidz tɪ bi fixed?”*?” ˌɪnˈstɛd əv kˈwɛsʧənɪŋ ˈwɪtnəsɪz, ˈsɛnətər tɛd kruz, ə ˈtɛksəs rɪˈpəblɪkən, geɪv ə spiʧ əˈbaʊt wət hi siz ɛz ðə ˈivəlz əv ə state”*” əv groʊɪŋ ˈgəvərnmənt ˌrɛgjəˈleɪʃən. ˈɛvəri taɪm ðə nɛt nuˈtræləti dəˈbeɪt rɪˈtərnz tɪ ˈwɔʃɪŋtən, d.c*., stərz əp ən ˈɪntəˌrɛstɪŋ dəˈbeɪt bɪtˈwin ˈgəvərnmənt ˌrɛgjəˈleɪʃən ˈvərsəz, tɪ səm, ðə ˈtɛrəˌfaɪɪŋ ˈfridəm əv ðə internet,”*,” kruz sɛd. θɪŋk ðə əˈmɛrɪkən ˈpipəl faɪnd ðət ˈfridəm ɔl ðət terrifying.”*.” seɪm oʊld ˈɑrgjəmənts ðə ʤuˈdɪʃiˌɛri kəˈmɪti ˈhirɪŋ həz noʊ dɪˈrɛkt ˌɪmˈpækt ɔn ðə ˈɔnˌgoʊɪŋ nɛt nuˈtræləti ˈrulˌmeɪkɪŋ prəˈsidɪŋ, ˌɔlˈðoʊ ˈsɛnətərz ənd ˈwɪtnəsɪz ɔn boʊθ saɪdz juzd ðə taɪm tɪ riˈsteɪt pəˈzɪʃənz ɔn ðə ˈɪʃu. rɪˈpəblɪkənz ɪn ˈkɑŋgrəs hæv traɪd tɪ pæs ˌlɛʤəsˈleɪʃən prɪˈvɛnɪŋ ðə frəm ˈteɪkɪŋ ˈækʃən, bət ə bɪl ɪz ˈlaɪkli tɪ pæs ɪn ðə ˈsɛnɪt, wɛr ˈdɛməˌkræts hoʊld ə məˈʤɔrəti. ˈsɛvərəl ˌdɛməˈkrætɪk ˈsɛnətərz ənd θri ˈhirɪŋ ˈwɪtnəsɪz dɪˈfɛndɪd nɛt nuˈtræləti rulz, seɪɪŋ rulz ər ˈnidɪd tɪ kip ðə ˈɪntərˌnɛt fri frəm səˈlɛktɪv ˈtræfɪk sˈloʊˌdaʊnz baɪ ˈbrɔdˌbænd prəˈvaɪdərz ˈsikɪŋ tɪ pəmp əp ˈprɑfɪts θru peɪd ˈtræfɪk dilz. ˈbrɔdˌbænd ˈjuzərz ər kənˈsərnd əˈbaʊt ðə pəˈtɛnʃəl fər prəˈvaɪdərz tɪ dɪˈvaɪd ðə ˈɪntərˌnɛt ˈɪntu fæst ənd sloʊ leɪnz, sɛd nuˈɑlə, ˈprɛzɪdənt ənd ˈsiˌiˈoʊ æt ðə ˈdɪʤɪtəl raɪts grup, ðə ˈsɛnər fər dɪˈmɑkrəsi ənd tɛkˈnɑləʤi. mɔr ðən ˈmɪljən ˈpipəl hæv faɪld ˈkɑmɛnts ɔn nɛt nuˈtræləti wɪθ ðə sɪns ˈərli ðɪs jɪr, ənd ðə majority”*” əv ðɛm hæv kɔld fər strɔŋ nɛt nuˈtræləti rulz, ʃi sɛd. ˈbrɔdˌbænd prəˈvaɪdərz, ɪn ˈrisənt jɪrz, hæv geɪnd ðə əˈbɪləˌti tɪ si wət ˌæpləˈkeɪʃənz ənd ˈsərvɪsɪz ər ˈrənɪŋ əˈkrɔs ðɛr ˈnɛtˌwərks ənd səˈlɛktɪvli blɑk ər sloʊ ˈsərvɪsɪz, sɛd bræd ˈbərnəm, ˈmænəʤɪŋ ˈpɑrtnər æt ˈvɛnʧər ˈkæpɪtəl fərm ˈjunjən skwɛr ˈvɛnʧərz. wɪˈθaʊt nɛt nuˈtræləti rulz, nu ˌæpləˈkeɪʃənz wɪl bi kriˈeɪtɪd ɪn ə dɔrm room,”*,” hi sɛd. ˌæpləˈkeɪʃənz laɪk ˈvɪdioʊ ənd vɔɪs ðət kəmˈpit wɪθ ˈkeɪbəl ənd ˈtɛləˌfoʊn ˈkəmpəˌniz wɪl faɪnd ɪt əˈspɛʃəli hɑrd tɪ reɪz money.”*.” ˈbrɔdˌbænd prəˈvaɪdərz hæv ˈlɪtəl ˌɪnˈsɛnɪv tɪ θˈrɑtəl ðə ˈtræfɪk əv wɛb ˈstɑrˌtəps, ˈkaʊnərd ˈʤɛfri ˈaɪzəˌnɑk, ə ˈvɪzɪtɪŋ ˈskɑlər æt kənˈsərvətɪv θɪŋk tæŋk ðə əˈmɛrɪkən ˈɛnərˌpraɪz ˈsɛnər fər ˈɪntərˌnɛt, kəmˌjunəˈkeɪʃənz ənd tɛkˈnɑləʤi ˈpɑləsi. noʊ wən kən ɪkˈspleɪn waɪ wʊd wɔnt tɪ dɪˈskrɪməˌneɪt əˈgɛnst ˈstɑrˌtəp ɛʤ prəˈvaɪdərz, wɪʧ poʊz noʊ kəmˈpɛtɪtɪv θrɛt ənd wɪʧ kriˈeɪt ðə ˌæpləˈkeɪʃənz ənd ˈkɑntɛnt ðət drɔ kənˈsumərz tɪ səbˈskraɪb tɪ ˈbrɔdˌbænd ɪn ðə fərst place,”*,” hi sɛd. bɪɔnd θˈrɛtənɪŋ ˈbrɔdˌbænd ˌɪnˈvɛstmənt əˈnəðər ˈdeɪnʤər əv nɛt nuˈtræləti rulz ɪz ðət ˈəðər ˈgəvərnmənts wɪl si ðə juz. ˈrɛgjəˌleɪtɪŋ ðə ˈɪntərˌnɛt ənd bi ˈtɛmptɪd tɪ ˈfɑloʊ sut, ˈædɪd ˈrɑbərt məkˈdaʊəl, ə ˈfɔrmər rɪˈpəblɪkən ˈmɛmbər əv ðə. ðə gloʊb, ˈkɑntɛnt ˌæpləˈkeɪʃən ˈkəmpəˌniz ər ˈfɑlɪŋ ˈəndər ðə ˈpərvˌju əv mɔr ənd mɔr ˌrɛgjəˈleɪʃənz ənd kɔrt orders,”*,” sɛd məkˈdaʊəl, naʊ ə ˈpɑrtnər æt ðə ˈwaɪli reɪn lɔ fərm. həz ðə pəˈtɛnʃəl tɪ stoʊk ə kənˈteɪʤən əv ˌɪnərˈnæʃənɑl ˈɪntərˌnɛt regulation.”*.” ɪz ðɪs ðə riˌspɑnsəˈbɪləti? ˌɪnˈstɛd əv nɛt nuˈtræləti ˌrɛgjəˈleɪʃənz, ðə juz. ˈgəvərnmənt ʃʊd rɪˈlaɪ ɔn ɪgˈzɪstɪŋ ˌæntaɪˈtrəst ənd kənˈsumər prəˈtɛkʃənz lɔz tɪ gɑrd əˈgɛnst bæd bɪˈheɪvjər baɪ ˈbrɔdˌbænd prəˈvaɪdərz, məkˈdaʊəl ənd ˈaɪzəˌnɑk ˈɑrgjud. ðə juz. dɪˈpɑrtmənt əv ˈʤəstɪs ənd ˈfɛdərəl treɪd kəˈmɪʃən hæv sɪgˈnɪfɪkənt paʊər tɪ ækt əˈgɛnst ˌæntɪkəmˈpɛtɪtɪv bɪˈheɪvjər ənd ðə kən teɪk ˈækʃən əˈgɛnst ˈkəmpəˌniz ɪnˈgeɪʤɪŋ ɪn ˌɔnˈfɛr ˈbɪznɪs ˈpræktɪsɪz, ðeɪ ˈɑrgjud. bət ˌæntaɪˈtrəst ɛnˈfɔrsmənt kən teɪk jɪrz tɪ bi riˈzɑlvd, ˈbərnəm sɛd. ˈɪntərˌnɛt ˈstɑrˌtəps ˈɔfən hæv ðə ˈməni tɪ reɪz ˌæntaɪˈtrəst kəmˈpleɪnts, ənd ˈmɛni wʊd goʊ aʊt əv ˈbɪznɪs ˌbiˈfɔr ən ˌæntaɪˈtrəst kəmˈpleɪnt əˈgɛnst ˈbrɔdˌbænd ˈtræfɪk θˈrɑtəlɪŋ kʊd pleɪ aʊt, hi sɛd. ˌæntaɪˈtrəst lɔ prəˈtɛkt ðə fri spiʧ ənd ˈdɪʤɪtəl raɪts əv smɔl ˈbɪznɪsɪz ənd ˈɪntərˌnɛt ˈjuzərz, sɛd. ˈæskɪŋ smɔl ˈstɑrˌtəps ər ˌɪndəˈvɪʤəwəl ˈɪntərˌnɛt ˈjuzərz tɪ reɪz ˌæntaɪˈtrəst kəmˈpleɪnts ˈæftər ˈɛvədəns əv ˈtræfɪk θˈrɑtəlɪŋ ˈbeɪsɪkli prɪˈvɛnt ˌɪndəˈvɪʤəwəl ˈfridəm ənd ˌɑpərˈtunəti əv ˈgɪtɪŋ ˈɪntu ðə ˈɪntərˌnɛt economy,,”*,,” ʃi sɛd. nɑt ə kəmˈplit səˈluʃən tɪ ðə ˈprɑbləm ˈfeɪsɪŋ əv ə ˈtruli ˈoʊpən ənd ˈvaɪbrənt ˈdɪʤɪtəl life.”*.”
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the u.s. federal communications commission should abandon its efforts to pass net neutrality rules because new regulations would hurt investment and the deployment of broadband, a parade of republican senators and advocates said wednesday.
advocates of strong net neutrality rules have pointed to few problems that justify intrusive new regulations, several republican senators argued during a hearing before the senate judiciary committee.
net neutrality would amount to the fcc taking “control” of the internet, said senator orrin hatch, a utah republican. “without government regulation the internet is growing,” he said. “so what’s the problem? what is broken? what is it that needs to be fixed?”
instead of questioning witnesses, senator ted cruz, a texas republican, gave a six-minute speech about what he sees as the evils of a “nanny state” of growing government regulation.
every time the net neutrality debate returns to washington, d.c., “it stirs up an interesting debate between government regulation versus, to some, the terrifying freedom of the internet,” cruz said. “i think the american people don’t find that freedom all that terrifying.”
same old arguments
the judiciary committee hearing has no direct impact on the fcc’s ongoing net neutrality rulemaking proceeding, although senators and witnesses on both sides used the time to restate long-held positions on the issue. republicans in congress have tried to pass legislation preventing the fcc from taking action, but a bill is likely to pass in the senate, where democrats hold a majority.
several democratic senators and three hearing witnesses defended net neutrality rules, saying rules are needed to keep the internet free from selective traffic slowdowns by broadband providers seeking to pump up profits through paid traffic prioritization deals.
broadband users are concerned about the potential for providers to divide the internet into fast and slow lanes, said nuala o’connor, president and ceo at the digital rights group, the center for democracy and technology. more than 3.7 million people have filed comments on net neutrality with the fcc since early this year, and the “vast majority” of them have called for strong net neutrality rules, she said.
broadband providers, in recent years, have gained the ability to see what applications and services are running across their networks and selectively block or slow services, said brad burnham, managing partner at venture capital firm union square ventures.
without net neutrality rules, “no new applications will be created in a dorm room,” he said. “the applications like video and voice that compete with cable and telephone companies will find it especially hard to raise money.”
broadband providers have little incentive to throttle the traffic of web startups, countered jeffrey eisenach, a visiting scholar at conservative think tank the american enterprise institute’s center for internet, communications and technology policy. “what no one can explain ... why isps would want to discriminate against startup edge providers, which pose no competitive threat and which create the applications and content that draw consumers to subscribe to broadband in the first place,” he said.
beyond threatening broadband investment another danger of net neutrality rules is that other governments will see the u.s. regulating the internet and be tempted to follow suit, added robert mcdowell, a former republican member of the fcc.
“across the globe, content application companies are falling under the purview of more and more regulations and court orders,” said mcdowell, now a partner at the wiley rein law firm. “the fcc has the potential to stoke a contagion of international internet regulation.”
is this the ftc's responsibility?
instead of net neutrality regulations, the u.s. government should rely on existing antitrust and consumer protections laws to guard against bad behavior by broadband providers, mcdowell and eisenach argued. the u.s. department of justice and federal trade commission have significant power to act against anticompetitive behavior and the ftc can take action against companies engaging in unfair business practices, they argued.
but antitrust enforcement can take years to be resolved, burnham said. internet startups often don’t have the money to raise antitrust complaints, and many would go out of business before an antitrust complaint against broadband traffic throttling could play out, he said.
antitrust law wouldn’t protect the free speech and digital rights of small businesses and internet users, o’connor said. asking small startups or individual internet users to raise antitrust complaints after evidence of traffic throttling “would basically prevent individual freedom and opportunity of getting into the internet economy,,” she said. “it’s not a complete solution to the problem we’re facing of a truly open and vibrant digital life.”
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nu ˈdɛli: ðə ˈɪndiən ɪˈkɑnəmi ɪz ɪkˈspɛktɪd tɪ ˈwɪtnəs ˈsɪklɪkəl groʊθ rɪˈkəvəri, wɪθ ril groʊs dəˈmɛstɪk ˈprɑdəkt (gdp*) groʊθ ˈlaɪkli tɪ ækˈsɛlərˌeɪt frəm ðɪs jɪr tɪ ɪn 2018 ənd ˈfərðər tɪ ɪn 2019 sɪz ə rɪˈpɔrt. əˈkɔrdɪŋ tɪ ˈgloʊbəl ˌfaɪˈnænʃəl ˈsərvɪsɪz ˈmeɪʤər ˈmɔrgən ˈstænli, ˈkɔrpərət rɪˈtərn ˌɛkspɛkˈteɪʃənz ənd ˈbæləns ʃit ˌfəndəˈmɛnəlz ər ˌɪmˈpruvɪŋ, ənd ə ˈstrɛŋθənɪŋ ˌfaɪˈnænʃəl ˈsɪstəm ʃʊd bi ˈeɪbəl tɪ mit ˌɪnˈvɛstmənt ˈkrɛdɪt dɪˈmænd. sɛts ðə steɪʤ fər ə ˈfʊli flɛʤd rɪˈkəvəri ɪn 2018 ənd wi ɪkˈspɛkt ril groʊθ tɪ ækˈsɛlərˌeɪt frəm ɪn 2017 tɪ ɪn 2018 ənd ˈfərðər tɪ ɪn 2019 ˈmɔrgən ˈstænli sɛd ɪn ə ˈrisərʧ noʊt. ðə ˈgloʊbəl ˈbroʊkərɪʤ ɪz ˈkɑnfədənt əˈbaʊt ˈprɑspɛkts fər ə rɪˈkəvəri ɪn ˈpraɪvət ˈkæpɪtəl ˈspɛndɪŋ ɛz dɪˈmænd kənˈdɪʃənz ər ˌɪmˈpruvɪŋ poʊst ənd gʊdz ənd ˈsərvɪsɪz tæks (gst*) ˌɪmpləmɛnˈteɪʃən. ˌbiˈsaɪdz, boʊθ kənˈsəmʃən ənd ˈɛkspɔrts ər ˈpɪkɪŋ əp ənd ðɪs ɪn tərn ʃʊd lɛd tɪ ən ˌɪmˈpruvmənt ɪn ˈkɔrpərət ˈrɛvəˌnuz. tɪ ðə bæŋks wʊd riˈmuv ðə pəˈtɛnʃəl teɪl rɪsk əv ðə ˈbæŋkɪŋ ˈsɪstəm ˈpoʊzɪŋ ə dræg ɔn groʊθ, ˌɪmˈpruv ðə ˈhɛˌdrum fər groʊθ ənd bust investors’*’ ənd dəˈmɛstɪk ˈkɔrpərət ˈsɛnəmənt," ˈmɔrgən ˈstænli sɛd, ˈædɪŋ ʃʊd hɛlp tɪ sɪˈmɛnt ðə groʊθ ˌækˌsɛlərˈeɪʃən ənd rɪˈkəvəri ðət wi wər ɪkˈspɛktɪŋ". ɔn ˈpraɪsɪz, ðə rɪˈpɔrt sɛd ðə ˈsɪklɪkəl groʊθ rɪˈkəvəri ənd fud ˈpraɪsɪz ʃʊd draɪv ə ˈpɪˌkəp ɪn ˈhɛˌdlaɪn ˌɪnˈfleɪʃən. ðə ˈbækˌdrɑp əv ˈbɛtər ˈmækroʊ ˈaʊˌtlʊk, wi ɪkˈspɛkt ðə tɪ haɪk ɪn ðə ˈsɛkənd hæf əv ˈfɪskəl 2019 ɪt ˈnoʊtɪd. ðə rɪˈzərv bæŋk əv ˈɪndiə ɪn ɪts fɪθ ˌrivˈju fər ðə ˈkɑrənt ˈfɪskəl ɔn 6 dɪˈsɛmbər, kɛpt ˈripoʊ reɪt ənˈʧeɪnʤd æt 6 ənd rɪˈvərs ˈripoʊ æt
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new delhi: the indian economy is expected to witness cyclical growth recovery, with real gross domestic product (gdp) growth likely to accelerate from 6.4% this year to 7.5% in 2018 and further to 7.7% in 2019, says a report.
according to global financial services major morgan stanley, corporate return expectations and balance sheet fundamentals are improving, and a strengthening financial system should be able to meet investment credit demand.
“this sets the stage for a fully fledged recovery in 2018, and we expect real gdp growth to accelerate from 6.4 % in 2017 to 7.5 % in 2018 and further to 7.7 % in 2019," morgan stanley said in a research note.
the global brokerage is confident about prospects for a recovery in private capital spending as demand conditions are improving post demonetisation and goods and services tax (gst) implementation.
besides, both consumption and exports are picking up and this in turn should lead to an improvement in corporate revenues.
“...plan to recapitalise the state-owned banks would remove the potential tail risk of the banking system posing a drag on growth, improve the headroom for growth and boost investors’ and domestic corporate sentiment," morgan stanley said, adding “this should help to cement the growth acceleration and capex recovery that we were expecting".
on prices, the report said the cyclical growth recovery and normalising food prices should drive a pick-up in headline inflation.
“against the backdrop of better macro outlook, we expect the rbi to hike in the second half of fiscal 2019," it noted.
the reserve bank of india in its fifth bi-monthly review for the current fiscal on 6 december, kept repo rate unchanged at 6 % and reverse repo at 5.75 %.
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bitcoin* həz ˈhɛrəldɪd ə nu eɪʤ ɪn kənˈsɛnsəs ˈproʊtəˌkɔlz wɪʧ həz ɔˈrɛdi spɔnd ɔlˈtərnətɪvz beɪst ɔn pruf əv steɪk, ˌrɛpjəˈteɪʃən ənd ə ˈprɑməs əv nu ˌvɛriˈeɪʃənz ənd ˈhaɪbrədz. ɪts ɪkˈsaɪtɪŋ tɪ θɪŋk ðɪs ɪz ʤɪst ðə fərst ˌʤɛnərˈeɪʃən əv ˈoʊpən. ðə fˈjuʧər kʊd si ə mɛʃ əv ʧeɪnz, blɑk triz, ˈhaɪbrədz, ənd ˈvælju ˈtrænsfər əˈkrɔs ðə ˈɪntərˌnɛt əv θɪŋz, ɛnˈhænst baɪ ˈpaʊərfəl məˈʃin ˈlərnɪŋ ˈælgərˌɪðəmz ɔl ðɪs ɔtəˈmeɪʃən. kənˈsɛnsəs ˈproʊtəˌkɔlz deɪt bæk tɪ ðə leɪt ɛz ˈpipəl ˈnidɪd tɪ kip dɪˈstrɪbjətəd ˈsɪstəmz ɪn sɪnʧ wɪn ˈrɛplɪˌkeɪtɪŋ səm steɪt. ðiz wər ɛˈsɛnʃəli kloʊzd kənˈsɛnsəs ˈsɪstəmz, wɛr pɑrˈtɪsəpənts meɪ nɑt ˌnɛsəˈsɛrəli trəst wən əˈnəðər bət noʊ hu iʧ ˈəðər ər. wɑz ðə fərst ðət ˈrɪli əˈlaʊd ˈɛnibədi tɪ ʤɔɪn waɪl ˈsəmˌhaʊ ðə ˈsɪstəm rɪˈmeɪnd prəˈtɛktɪd frəm ðə məˈlɪʃəs ækˈtɪvɪtiz əv ðə pɑrˈtɪsəpənts. ðə ˈproʊtəˌkɔl ɪz probabilistic*; nɑkɑˈmoʊtoʊ kənˈsɛnsəs ˈæˌkʧuəli ˈwikənd strɪkt kənˈsɛnsəs ʤɪst ə ˈtaɪni bɪt. ˈjuzɪz ə ˌmæθəˈmætɪkəl trɪk tɪ ɪnˈʃʊr ðət wɪn ðə ˈsɪstəm ˈʧeɪnʤɪz steɪt ənd ðə reorganises*, ðə ˌprɑbəˈbɪləˌti əv ə trænˈzækʃən ˈʧeɪnʤɪŋ ˌəndərˈniθ ju drɑps daʊn ˌɛkspoʊˈnɛnʃəli ɛz ɪt gɪts ˈoʊldər. ðɪs ɪz waɪ ˈpipəl hu juz weɪt fər səm ˈnəmbər əv ˌkɑnfərˈmeɪʃənz; ðə ʧæns əv ˈsəmθɪŋ ˈʧeɪnʤɪŋ ɪz ˌɛkspoʊˈnɛnʃəli sˈmɔlər ɛz taɪm goʊz ɔn. ðə ˌkɑmpjuˈteɪʃənəl loʊd ˈnidɪd tɪ rɪˈvərs ðɪs steɪt ɪz ðə ˈbeɪsɪs əv sɪˈkjʊrəti. sɪˈkjʊrəti kɔr dɪˈvɛləpər ˈpitər tɑd sɛd: "ɪn ðə keɪs əv pruf əv wərk, ðɛn jæ, aɪ noʊ ˈsəmˌwən bərnd ə tən əv ˈɛnərʤi ənd aɪ kən pruv ɪt, ər ˈæftər maɪ trænˈzækʃən həz hæd ɛks ˈnəmbər əv ˌkɑnfərˈmeɪʃənz, aɪ noʊ ɪgˈzæktli haʊ məʧ ˈɛnərʤi ɪts goʊɪŋ tɪ kɔst, wɪˈθɪn səm baʊndz, tɪ goʊ rɪˈvərs ðət. wi hæv ˈprɪti gʊd aɪˈdiəz əv haʊ məʧ ˈɛnərʤi ɪt teɪks tɪ du ʃɑ 256 ˌkɑmpjəˈteɪʃən, ɪn pɑrt bɪˈkəz ðɛr ɪz ə rɪˈwɔrd tɪ rɪˈvil ˈpəblɪkli haʊ gʊd ju ər æt ɪt." wɪˈθɪn ə kloʊzd ər ˈtrəstɪd ɪnˈvaɪrənmənt ðə θrɛt əv noʊdz wɪˈθɪn ə ˈnɛtˌwərk biɪŋ ˈkɑmprəˌmaɪzd kən bi dɛlt wɪθ əp frənt ˈjuzɪŋ ə reɪnʤ əv ˈjumən ˈlɛvəl tɛkˈniks ənd əˈʃʊrəntsɪz, səʧ ɛz ðə ˈligəl ˈsɪstəm, ˈfænsi tɛkˈnɑləʤi, ˈɑdətɪŋ, ˌwəˈtɛvər, sɛd tɑd. ˈstɑrtɪŋ wɪθ ən ˈoʊpən ˈsɪstəm ðɛr ɪz ɛˈsɛnʃəli ˈziroʊ kɔst tɪ ðə pəˈtɛnʃəl əˈtækər tɪ saɪn ə ˈdɪʤɪtəl ˈsɪgnəʧər; ɪf ˈsəmˌwən gɪts ə ˈkɑpi əv kiz ðɛn tɪ kriˈeɪt ə nu ˈvərʒən əv ˈhɪstəri kɔsts ˈnəθɪŋ. "ɪn ðə keɪs əv pruf əv wərk, ðɛn jæ, aɪ noʊ ˈsəmˌwən bərnd ə tən əv ˈɛnərʤi ənd aɪ kən pruv ɪt, ər ˈæftər maɪ trænˈzækʃən həz hæd ɛks ˈnəmbər əv ˌkɑnfərˈmeɪʃənz, aɪ noʊ ɪgˈzæktli haʊ məʧ ˈɛnərʤi ɪts goʊɪŋ tɪ kɔst, wɪˈθɪn səm baʊndz, tɪ goʊ rɪˈvərs ðət." ˈpitər tɑd pruf əv steɪk prəˈvaɪdz ən ɔlˈtərnətɪv wɛrˈbaɪ blɑks ər nɑt ɛz ˈoʊnərəs tɪ maɪn, bət ɪf ə ɔn ðə ˈnɛtˌwərk bɪˈheɪvz ˈbædli ər ˌənprɪˈdɪktəbli ðeɪ ər penalised*. ɪn ðɪs keɪs wʊd ˈfɔrfɪt fəndz frəm ə sɪˈkjʊrəti dɪˈpɑzət. vlæd zæmˈfɪr əv ɪkˈspleɪnd: "ˈkæspər ɪz ə sɪˈkjʊrəti ˈproʊtəˌkɔl. ðɛrz əv ɔl taɪps əv bɪˈheɪvjər ðət ˈɑrənt ɔn ðə ˈprɪnsəpəl. ðə weɪ tɪ θɪŋk əˈbaʊt ɪt ɪz ðət ˈɛvriˌθɪŋ wɪl bi ˌɪnˈkludɪd ɪn blɑks, ˈivɪn ɪf ɪts ˈɔrfənd, soʊ ðət ɪt wɪl ˈɪnfluəns ðə ˌɪnˈsɪnɪvz. ðɛr ɪz ə ˈvərʒən əv ˈkæspər ðət ˈjuzɪz ˌɪnˈstɛd əv, bət wi ər nɑt goʊɪŋ tɪ goʊ wɪθ ðət fər ðə fərst riˈlis moʊst ˈlaɪkli ɪkˈsɛpt fər ɪn ðɪs ˈnɑndərˈɛkt weɪ əv ʤɪst ˌɪnˈkludɪŋ θɪŋz ɪn ˈɔrdər tɪ hæv ən ˈifɛkt ɔn incentivistion*." tɑd sɛd ðə pruf əv steɪk ˌfəŋkʃəˈnælɪti əv wɪl ˈsərtənli wərk bət wɔrnd ðɪs həz ˈnəθɪŋ tɪ du wɪθ sɪˈkjʊrəti. "ðə kˈwɛʃən ɪz: dɪz ɪt gɪt tɪ ə pɔɪnt wɛr ðə sɪˈkjʊrəti gɪts ˈbroʊkən? ˌriəˈlɪstɪkli ɪf ðeɪ əkˈsɛpt səm centralisation*, ðeɪ kən ˈprɑbəˌbli ˈæˌkʧuəli gɪt əˈweɪ wɪθ ðɪs. ɪn məʧ ðə seɪm weɪ ðət, ɪf ju lʊk æt ðə doʊˈmeɪn neɪm ˈsɪstəm ɪn ˈditeɪl, ɪts ˈprɪti wət ɪts ˈæˌkʧuəli beɪst ɔn. ju kən hæv ˈsɛvən gaɪz hu dɪd səm ˈkreɪzi ki ˈsaɪnɪŋ ˈsɛrəˌmoʊni; ɪn ðə ˈkɑntɛkst əv soʊˈsaɪɪti ðət wərks ˈrizənəbli wɛl. aɪ θɪŋk ðə θɪŋ ʃʊd ˈwəri əˈbaʊt ɪz wət ˈhæpənz ɪf ˈgəvərnmənts stɑrt θˈrɛtənɪŋ ɪt, ər wət ˈhæpənz ɪf ju gɪt dɪˈvɛləpərz ˈtərnɪŋ ɔn iʧ ˈəðər. wət ˈhæpənz ɪf ju hæv ˈikwəli strɔŋ ˌɪnˈsɪnɪvz tɪ ˈkɑmprəˌmaɪz ɪt?" ˌrɛpjəˈteɪʃən ɪˈvɑlvɪŋ frəm ðə wərld əv kloʊzd kənˈsɛnsəs kəm ˈsɪstəmz beɪst ɔn ˌrɛpjəˈteɪʃən. ðiz ər ˈjuʒəwəli ˈstrəkʧərd əraʊnd grups əv kˈwɔrəmz əv kloʊzd pɑrˈtɪsəpənts wɪθ səm ˈoʊvərˌleɪ ˈproʊtəˌkɔl tɪ kip ðə kˈwɔrəmz ɪn sɪnʧ wɪθ iʧ ˈəðər. ðə ˌrɛpjəˈteɪʃən əˈproʊʧ, ɪt ɪz ˈɑrgjud, kən bi ˈizəli məˈnɪpjəˌleɪtɪd. sɪˈkjʊrəti seɪ ˌrɛpjəˈteɪʃən teɪks ˈjuˈɛs ˈfərðər əˈweɪ frəm ˈpruvəbəl sɪˈkjʊrəti ənd məʧ mɔr ˈɪntu lænd. "ˈivɪn ɪn ðə wərld, ju si ðɪs kənˌsɑləˈdeɪʃən əv ˈmaɪnɪŋ paʊər wɛr ˈɛvriˌbɑdi ɪz ɛˈsɛnʃəli ˈtrəstɪŋ ðɪs ˈhændˌfʊl əv faɪv gaɪz ðət rən ɔl ðə ˈmaɪnɪŋ paʊər. bət ju doʊnt gɪt tɪ ʧuz ðɛm soʊ ðeɪ ʤɪst ʧuz ðɛmˈsɛlvz baɪ ʤɪst ˈhævɪŋ ə lɔt əv ˈmaɪnɪŋ paʊər." ʤɛd məˈkeɪləb ʤɛd məˈkeɪləb, ənd ˈstɛlər dɪˈvɛləpmənt faʊnˈdeɪʃən, sɛd: "aɪ noʊ wɛr ðeɪ ər ˈkəmɪŋ frəm. aɪˈdili ðeɪ wʊd laɪk tɪ hæv ðɪs ˈtoʊtəli ˈsɪstəm wɛr ˈnoʊˌbɑˌdi həz tɪ noʊ hu ˈɛnibədi ɛls ɪz ɪn ðə ˈsɪstəm. bət ðə ˌriˈæləˌti ɪz ðət ˈməni ɪz ˈbeɪsɪkli beɪst ɔn feɪθ. ju bɪˈliv ðət ðɪs wən ˌɪnstɪˈtuʃən wɪl əkˈsɛpt ðɪs ˈkrɛdɪt. aɪ θɪŋk ðət ɪts ˌɪˈnɛvətəbəl ðət ðɛr ɪz səm ˈlɛvəl əv trəst ər ˌrɛpjəˈteɪʃən ðət həz tɪ ˈhæpən. "ˈivɪn ɪn ðə wərld, ju si ðɪs kənˌsɑləˈdeɪʃən əv ˈmaɪnɪŋ paʊər wɛr ˈɛvriˌbɑdi ɪz ɛˈsɛnʃəli ˈtrəstɪŋ ðɪs ˈhændˌfʊl əv faɪv gaɪz ðət rən ɔl ðə ˈmaɪnɪŋ paʊər. bət ju doʊnt gɪt tɪ ʧuz ðɛm soʊ ðeɪ ʤɪst ʧuz ðɛmˈsɛlvz baɪ ʤɪst ˈhævɪŋ ə lɔt əv ˈmaɪnɪŋ paʊər. ɪts ˈrɪli nɑt ə ˈbɛtər ˌsɪʧuˈeɪʃən ðən biɪŋ ˈeɪbəl tɪ seɪ: ˈoʊˈkeɪ, ɛz lɔŋ ɛz ðiz ˈrɛpjətəbəl ˌɪnstɪˈtuʃənz ðət doʊnt hæv ˈɛni riˈleɪʃənˌʃɪp wɪθ iʧ ˈəðər, ɔl θɪŋk ðət ðɪs ɪz ðə kərˈɛkt ʧeɪn, ðɛn aɪ kən ˈɔlsoʊ θɪŋk ðət ðɪs ɪz ðə kərˈɛkt ʧeɪn; ðiz gaɪz hæv ɔl ˈvælədeɪtəd ðət ðɪs ɪz wət həz ˈhæpənd ɪn ðə wərld. "ðɛn ɛz lɔŋ ɛz ðə ˈpipəl ju ər ˈpɪkɪŋ tɪ ˈlɪsən tɪ ər dɪˈstɪŋkt ɪˈnəf, laɪk səm bæŋks, səm ˈnɑnˈprɔfɪts, səm ˌjunəˈvərsətiz, səm ˈhækər ˈsəmˌwɛr ðiz ˈpipəl ər nɑt goʊɪŋ tɪ kəˈlud. ɛz lɔŋ ɛz ju ʧuz jʊr sɛt əv ˈpipəl ˈwaɪdli ɪˈnəf ðɛn aɪ θɪŋk ju ər weɪ ˈseɪfər." zæmˈfɪr əv sɛd ðɛr ər ˈdɪfərənt taɪps əv ˌrɛpjəˈteɪʃən ðət ju kʊd juz. ðiz ər ˈiðər goʊɪŋ tɪ bi səˈbʤɛktɪv, ɛz ɪn ˈpipəl hæv ðɛr oʊn aɪˈdiə əv wət ˈɛvriˌwənz ˌrɛpjəˈteɪʃənz ər, ər ðeɪ wɪl bi əˈbʤɛktɪv ənd beɪst ɔn ˈnəmbərz. hi sɛd: "ɪf ðeɪ ər səˈbʤɛktɪv ðɛn ðɛr ɪz noʊ weɪ fər ðə ˈproʊtəˌkɔl tɪ ˈpənɪʃ bæd bɪˈheɪvjər. ɪf ðeɪ ər əˈbʤɛktɪv ðɛn ðɛr ɪz, bət ðə praɪs əv ðə ˌrɛpjəˈteɪʃən ɪz ˈbeɪsɪkli goʊɪŋ tɪ hæv tɪ bi ˈmɛʒərd ɪn taɪm rɪˈpitɪdli duɪŋ gʊd bɪˈheɪvjər ɪn ˈɔrdər tɪ gɪt ðət gʊd ˌrɛpjəˈteɪʃən. soʊ ju ər goʊɪŋ tɪ hæv ˈbeɪsɪkli ðə lɔŋ kɑn ˈprɑbləm. ɪf ɪts ˈrɛlətɪvli ʧip fər ˈsəmˌwən tɪ bɪld ə gʊd ˌrɛpjəˈteɪʃən ðɛn ðə ˈpənɪʃmənt ðət ˈproʊtəˌkɔl kən leɪ ɔn ðɛm wɪn ðeɪ bɪˈheɪv ˈbædli ˈɪzənt ðət haɪ. "ðə ˈdɪfəkəlt θɪŋ əˈbaʊt ˌrɛpjəˈteɪʃən ˈsɪstəmz ɪz ðət ɪts ˈrɪli tɪ ˈmɛʒər ðɛr sɪˈkjʊrəti. ju kænt seɪ: wət ɪz ðə praɪs əv ðɪs ˌrɛpjəˈteɪʃən ənˈlɛs ðət ˌrɛpjəˈteɪʃən ɪz trænsˈfərəbəl ənd ju kən baɪ ɪt ɔn ðə ˈmɑrkɪt, ɪn wɪʧ keɪs ɪts nɑt ˈrɪli ˌrɛpjəˈteɪʃən ˈɛni mɔr, ɪts ʤɪst ə dɪˈpɑzət." gən, ən əˈsoʊʃiˌeɪt prəˈfɛsər frəm kɔrˈnɛl ˌjunəˈvərsəti ənd ˈɛkspərt ɔn kənˈsɛnsəs ˈproʊtəˌkɔlz, əˈgrid ðət ˈsɪstəmz ər ˈɔlˌweɪz ˈkɑmpləˌkeɪtəd bɪˈkəz əv ðə əˈtæk wɛr ˈsəmˌbɑdi bɪldz əp ə gʊd ˌrɛpjəˈteɪʃən ənd ˈkæʃɪz aʊt. hi sɛd: "wi si ɪt ɪn ðə ril wərld ɔl ðə taɪm. aɪ seɪ ðɪs ˈhævɪŋ wərkt ɔn ˌrɛpjəˈteɪʃən ˈsɪstəmz fər ˌpɪrtoʊˈpɪr faɪl ˈʃɛrɪŋ. bət ðət ˈdəzənt min ðeɪ ər dɛd ɪn ðə ˈwɔtər; ðɛr ɪz stɪl lɑts əv gʊd ˈjuzɪz fər ðɛm." hi ˈpɔɪntɪd aʊt ðət ˌrɛpjəˈteɪʃən ɪz ˈdipli ɛmˈbɛdɪd ɪn ðə ˈkɑrənt ˌfaɪˈnænʃəl ˈsɪstəm; əˈplaɪɪŋ fər ə ˈmɔrgɪʤ ər ə ˈkrɛdɪt kɑrd ɪmˈplɔɪz ə ˌrɛpjəˈteɪʃən beɪst ˈsɪstəm. "soʊ wi ər goʊɪŋ tɪ si ðə seɪm θɪŋ ˈhæpən wɪθ," hi sɛd. "məˈʃin ˈlərnɪŋ ˈælgərˌɪðəmz ər ˈvɛri ˈkɑmplɛks ənd dɪˈpɛndɪŋ ɔn ðə ˈɪnˌpʊts ðeɪ hæv sin ðeɪ maɪt kənˈklud ˈdɪfərənt θɪŋz." gən məˈʃin ˈlərnɪŋ ɪf lɑrʤ ənd ˈkɑmplɛks pɪr ˈnɛtˌwərks sim tɪ bi ɔn ðə kəsp əv ˌɛkspoʊˈnɛnʃəl groʊθ, soʊ dɪz ðə wərld əv bɪg ˈdætə, məˈʃin ˈlərnɪŋ ənd ˌɑrtəˈfɪʃəl ˌɪnˈtɛləʤəns. ɛz ˈfaɪˌnæns bɪˈkəmz mɔr ˈɔtəˌmeɪtɪd θæŋks tɪ, smɑrt ˈkɑnˌtrækts ənd ðə ˈɪntərˌnɛt əv θɪŋz, eɪaɪ kʊd pərˈfɔrm ɔl sɔrts əv tæsks. ˌhaʊˈɛvər, æt ðɛr loʊəst ˈlɛvəlz kənˈsɛnsəs ˈproʊtəˌkɔlz ər ɔl əˈbaʊt ˈkipɪŋ rulz ənd ˌgɛrənˈtiz ɪn pleɪs; prɪˌdɪktəˈbɪlɪti, sɪmˈplɪsɪti ənd ə dɪˌtərməˈnɪstɪk ˈneɪʧər ər ɛˈsɛnʃəl tɪ kənˈsɛnsəs ˈælgərˌɪðəmz, ˈnoʊtɪd gən. "məˈʃin ˈlərnɪŋ ˈælgərˌɪðəmz ər ˈvɛri ˈkɑmplɛks ənd dɪˈpɛndɪŋ ɔn ðə ˈɪnˌpʊts ðeɪ hæv sin ðeɪ maɪt kənˈklud ˈdɪfərənt θɪŋz," hi sɛd. "wɛr aɪ si ðɛm pəˈtɛnʃəli pleɪɪŋ ən ɪˈnɔrmɪs roʊl ɪz wɪn ðɛr ɪz ə leɪər ɔn tɔp, wɛr ˈtɪpɪkəli ðɛr ər dɪˈsɪʒənz tɪ bi meɪd. fər ɪgˈzæmpəl, ɪf ju ər ə ˈmərʧənt ənd ˈsəmˌbɑdi wɔnts tɪ gɪv ju ə ˈpeɪmənt, du ju trəst ðɪs ˈpərsən tɪ gɪt əˈweɪ wɪθ ðə gʊdz wɪθ ˈvɛri fju ˈnəmbərz əv ˌkɑnfərˈmeɪʃən. ɪz ðɪs ə ˈwərði trænˈzækʃən; ər ˈmeɪbi ˈsəmˌbɑdi wɔnts tɪ baɪ ˈsəmθɪŋ frəm ju wɪθ ˈɛskroʊ ər ˌwəˈtɛvər, wɪl ðət ˈpeɪmənt bi rɪˈvərst ɔn ju. "ðɪs ɪz ˈsəmθɪŋ ðət wi noʊ ˈkrɛdɪt kɑrd ˈvɛndərz ˈæˌkʧuəli juz. ðæts ɛˈsɛnʃəli ə məˈʃin ˈlərnɪŋ ˈælgərˌɪðəmz ˈmeɪkɪŋ ə ˌfaɪˈnænʃəl dɪˈsɪʒən tɪ pərˈhæps blɑk ə kɑrd ər blɑk ə ˈpeɪmənt bɪˈkəz ðɪs ɪz aʊt əv ðə ˈɔrdəˌnɛri. ðət wɪl ˈhæpən tɪ ə məʧ ˈgreɪtər ɪkˈstɛnt wɪn wi hæv bɪˈkəz hɛlp ˈjuˈɛs ˈɔtəˌmeɪt ˈɛvriˌθɪŋ." zæmˈfɪr sɛd ɪt wɑz ˈpɑsəbəl ə ɔn ðə ˈnɛtˌwərk kʊd du ðɛr oʊn məˈʃin ˈlərnɪŋ tɪ traɪ ənd prɪˈdɪkt wɪʧ blɑk wɪl bi ˈvælɪd, bət ðət pərˈfɔrmɪŋ ˈækʃənz ðət du nɑt hɛlp kənˈsɛnsəs wʊd bi penalised*. hi sɛd ðɛr kʊd bi skoʊp fər sˈmɑrtər ˈælgərˌɪðəmz æt ˈproʊtəˌkɔl ˈlɛvəl prəˈvaɪdɪd ðiz ˈɑpərˌeɪtəd trænˈspɛrəntli. "aɪ wʊd seɪ ˈdɛfənətli ɪn ðə ˈstrætəʤi speɪs i.e*. haʊ ˈpipəl ʧuz tɪ ˌɪnərˈækt wɪθ ðə ˈproʊtəˌkɔl. aɪ θɪŋk ðɛr wɪl ˈprɑbəˌbli ɛnd əp biɪŋ məˈʃin ˈlərnɪŋ ðɛr, ənˈlɛs wi kən faɪnd səˈluʃənz wɪʧ seɪ ðɪs ɪz ðə bɛst weɪ tɪ ˌɪnərˈækt wɪθ ðə ˈproʊtəˌkɔl, wɪʧ aɪ θɪŋk wɪl bi ə ˈlɪtəl bɪt hɑrd ˈgɪvɪn ðə ˈnɛtˌwərk daɪˈnæmɪks. "ðə meɪn ˈrizən waɪ wi doʊnt wɔnt tɪ pʊt məˈʃin ˈlərnɪŋ laɪk blæk bɑks məˈʃin ˈlərnɪŋ ˌɪnˈsaɪd ðə ˈproʊtəˌkɔl ɪz ðət ˈbeɪsɪkli ðə mɔr fri ˈvɛriəbəlz ðɛr ər ðət əˈfɛkt ðə bɪˈheɪvjər əv ðə ˈproʊtəˌkɔl, ðə lɛs wi kən seɪ əˈbaʊt ðə ˌgɛrənˈtiz ðə ˈproʊtəˌkɔl wɪl hæv." vlæd zæmˈfɪr "ðɛr maɪt ˈɔlsoʊ bi ˈɪnfərəns aɪ gɛs ˈrəðər ðən blæk bɑks, kɔl ɪt ˈklɪrər bɑks məˈʃin ˈlərnɪŋ wɛr, fər ɪgˈzæmpəl, ðə ˈproʊtəˌkɔl maɪt əˈʤəst ˈsərtən ˈvɛriəbəlz ɛz ə ˈfəŋkʃən əv wəts goʊɪŋ ɔn ɪn ðə ˈsɪstəm, ənd ðət ɪz, ɪn ðə moʊst ˈʤɛnərəl sɛns, məˈʃin ˈlərnɪŋ. fər ɪgˈzæmpəl, ðə ˈdɪfɪˌkəlti wi ər ˈtɑrgətɪŋ wɪθ ɪz ɪn ə sɛns du tɪ ˈɪnfərəns; ðeɪ ər traɪɪŋ tɪ laɪk ˌɪnˈfər ðə hæʃ reɪt ɪn ˈɔrdər tɪ ʧeɪnʤ ðə ˈdɪfɪˌkəlti. "ðə meɪn ˈrizən waɪ wi doʊnt wɔnt tɪ pʊt məˈʃin ˈlərnɪŋ laɪk blæk bɑks məˈʃin ˈlərnɪŋ ˌɪnˈsaɪd ðə ˈproʊtəˌkɔl ɪz ðət ˈbeɪsɪkli ðə mɔr fri ˈvɛriəbəlz ðɛr ər ðət əˈfɛkt ðə bɪˈheɪvjər əv ðə ˈproʊtəˌkɔl, ðə lɛs wi kən seɪ əˈbaʊt ðə ˌgɛrənˈtiz ðə ˈproʊtəˌkɔl wɪl hæv." ˈhaɪbrɪd ˈsɪstəmz ˈpitər tɑd sɛd moʊst əv hɪz ˈrisərʧ wərk həz ˈæˌkʧuəli bɪn ɔn ˈsəmθɪŋ ˈeɪkɪn tɪ ˈhaɪbrɪd ˈsɪstəmz. hi sɛd ðə ˈbeɪsɪk sɪˈkjʊrəti ˈprɑpərti əv ə pruf əv wərk ɪz ˈsəmθɪŋ ˈɛvriˌwən kən ʃɛr; laɪk ə ˈprɪmɪtɪv ðət ɔl ðiz ˈdɪfərənt ˌæpləˈkeɪʃənz kən juz. "ɪf ju goʊ pʊʃ ɔl ðə ˈækʧəwəl ˈlɑʤɪk fər haʊ du ju ˌɪnˈtərprət ðət ˈdætə tɪ ðə klaɪənt saɪd, ɪts kəmˈplitli ˈoʊˈkeɪ ɪf ju noʊ ðə bæŋk əv ˈɪŋgləndz θɪŋ fər ˈmuvɪŋ ðɛr paʊnz əraʊnd ˈhæpənz tɪ ɔn ðə seɪm ˈsɪstəm ɛz ðə ˈsɛntrəl bæŋk əv ˈrəʃəz θɪŋ fər ˈmuvɪŋ ˈrubəlz əraʊnd. ðeɪ kən ˌɪnˈtərprət ðə rulz ðeɪ kɛr əˈbaʊt ənd ˌɪgˈnɔr ðə ˈəðər ˈdætə. "ˈsɪmələrli ˈivɪn ɪf ju hæv ə ʧeɪn huz kənˈsɛnsəs ɪz saɪnd baɪ seɪ ə grup əv θri bæŋks ər ˈsəmθɪŋ, ðeɪ kən ˈɔlˌweɪz teɪk ðət steɪt ənd seɪ ɪts pruvd θru ɪn əˈnəðər. ɪt lɛts ju noʊ ɪf ðoʊz ˈtrəstɪd ˈpɑrtiz hæv bɪn ˈkɑmprəˌmaɪzd. ɪf aɪ ɪkˈspɛkt ðiz θri ˈpipəl tɪ saɪn ɪt ənd aɪ ˈɔlsoʊ ɪkˈspɛkt tɪ si ə ˈsəməri əv ðət steɪt ɪn ðə, wɛl ɪf ðoʊz θri ˈpipəl gɪt ˈkɑmprəˌmaɪzd ðeɪ ər naʊ ˈsaɪnɪŋ tu ˈdɪfərənt ˈlɛʤərz æt wəns. ðɛl si ɪt ɔn ðə bɪˈkəz ðeɪ kænt kənˈtroʊl ðə, ðeɪ kən ˈoʊnli ˈpəblɪʃ tɪ ɪt. ðət gɪts ju ðə bɛst əv boʊθ wərldz." məˈkeɪləb prɪˈdɪktɪd səm ˈlɛvəl əv wɪl kəm ˈɪntu pleɪ ɛz ɪt gɪts ˈhɑrdər tɪ riʧ kənˈsɛnsəs ɔn ɔl ðə trænˈzækʃənz ɪn ˈvɛri lɑrʤ ˈnɛtˌwərks. "ju nid səm weɪ əv ˈbreɪkɪŋ ðət əp ənd ˈmeɪkɪŋ ɪt mɔr ˈtræktəbəl, wɛr ˈmeɪbi ɔl ðə trænˈzækʃənz ɪn nɔrθ əˈmɛrɪkə ər ˈsɛtəld baɪ wən kənˈsɛnsəs ˈælgərˌɪðəm ənd ˈmeɪbi ðɛrz laɪk ən ˈoʊvərˌɑrʧɪŋ wən ðət ˈsɛtəlz bɪtˈwin ɔl ðə ˈdɪfərənt wənz ər ˈsəmθɪŋ laɪk ðət," hi sɛd. "ðɪs ɪz ðə θɪŋ ju hæv wɪθ ˈdætəˌbeɪsɪz wɪn ðeɪ gɪt ju ˈbeɪsɪkli ʤɪst hæv tɪ ʃɑrd ðɛm. ju hæv ˈsərtən pɑrts əv ðə ˈdætə ˈhændəld baɪ ˈsərtən ˈdɪfərənt ˈdætəˌbeɪsɪz, ənd aɪ θɪŋk ðɛr wɪl bi ə ˈsɪmələr θɪŋ fər kənˈsɛnsəs. æt səm pɔɪnt ju hæv tɪ ˈlɪmət ðə sɛt əv kəmˈpjutərz ðət ər ˈkəmɪŋ tɪ əˈgrimənt ər ðə sɛt əv stəf ðeɪ ər traɪɪŋ əˈgri əˈpɑn ˈəðərˌwaɪz ɪt ʤɪst woʊnt skeɪl." hi sɛd ˌɪnəˈveɪʃənz wɪl teɪk fɔrmz laɪk ðə ˈlaɪtnɪŋ ˈnɛtˌwərk wɛr tənz əv trænˈzækʃənz ər dən æt ə riˈmuv frəm ðə kənˈsɛnsəs ˈmɛkəˌnɪzəm. "aɪ θɪŋk ðiz ˈpəblɪk dɪˈstrɪbjətəd ˈdætəˌbeɪsɪz wɪl ˈoʊnli bɪˈkəm weɪz tɪ ˈsɛtəl dɪˈspjuts ər ˈsɛtəl ˈlɑrʤər θɪŋz æt ðə ɛnd əv ðə deɪ, nɑt ɔl ðiz ˈtaɪni ˈlɪtəl trænˈzækʃənz. ju doʊnt nid tɪ ˈbrɔdˌkæst ˈpəblɪkli tɪ ðə wərld ðət ju bɔt ðɪs ˈkɔfi, raɪt."
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bitcoin has heralded a new age in consensus protocols which has already spawned alternatives based on proof of stake, reputation and a promise of new variations and hybrids. it's exciting to think this is just the first generation of open blockchains. the future could see a mesh of interoperable chains, block trees, hybrids, and value transfer across the internet of things, enhanced by powerful machine learning algorithms overlaying all this automation.
consensus protocols date back to the late 1980s as people needed to keep distributed systems in synch when replicating some state. these were essentially closed consensus systems, where participants may not necessarily trust one another but know who each other are. bitcoin was the first that really allowed anybody to join while somehow the system remained protected from the malicious activities of the participants.
the bitcoin protocol is probabilistic; nakamoto consensus actually weakened strict consensus just a tiny bit. bitcoin uses a mathematical trick to ensure that when the system changes state and the blockchain reorganises, the probability of a transaction changing underneath you drops down exponentially as it gets older. this is why people who use bitcoin wait for some number of confirmations; the chance of something changing is exponentially smaller as time goes on. the computational load needed to reverse this state is the basis of bitcoin's security.
security
core bitcoin developer peter todd said: "in the case of proof of work, then yeah, i know someone burned a ton of energy and i can prove it, or after my transaction has had x number of confirmations, i know exactly how much energy it's going to cost, within some bounds, to go reverse that. we have pretty good ideas of how much energy it takes to do sha 256 computation, in part because there is a reward to reveal publicly how good you are at it."
within a closed or trusted environment the threat of nodes within a network being compromised can be dealt with up front using a range of human level techniques and assurances, such as the legal system, fancy technology, auditing, whatever, said todd. starting with an open system there is essentially zero cost to the potential attacker to sign a digital signature; if someone gets a copy of keys then to create a new version of history costs nothing.
"in the case of proof of work, then yeah, i know someone burned a ton of energy and i can prove it, or after my transaction has had x number of confirmations, i know exactly how much energy it's going to cost, within some bounds, to go reverse that." peter todd
proof of stake provides an alternative whereby blocks are not as computationally onerous to mine, but if a validator on the network behaves badly or unpredictably they are penalised. in this case ethereum's validators would forfeit funds from a security deposit.
vlad zamfir of ethereum explained: "casper is a security deposit-based protocol. there's incentivisation of all types of behaviour that aren't on the principle blockchain. the way to think about it is that everything will be included in blocks, even if it's orphaned, so that it will influence the incentives. there is a version of casper that uses blocktrees instead of blockchains, but we are not going to go with that for the first release most likely except for in this non-direct way of just including things in order to have an effect on incentivistion."
todd said the proof of stake functionality of ethereum will certainly work but warned this has nothing to do with security. "the question is: does it get to a point where the security gets broken? realistically if they accept some centralisation, they can probably actually get away with this. in much the same way that, if you look at the domain name system in detail, it's pretty dodgy what it's actually based on. you can have seven guys who did some crazy key signing ceremony; in the context of society that works reasonably well. i think the thing ethereum should worry about is what happens if governments start threatening it, or what happens if you get developers turning on each other. what happens if you have equally strong incentives to compromise it?"
reputation
evolving from the world of closed consensus come systems based on reputation. these are usually structured around groups of quorums of closed participants with some overlay protocol to keep the quorums in synch with each other. the reputation approach, it is argued, can be easily manipulated. security maximalists say reputation takes us further away from provable security and much more into hand-waving land.
"even in the bitcoin world, you see this consolidation of mining power where everybody is essentially trusting this handful of five guys that run all the mining power. but you don't get to choose them so they just choose themselves by just having a lot of mining power." jed mccaleb
jed mccaleb, co-founder and cto stellar development foundation, said: "i know where they are coming from. ideally they would like to have this totally trustless system where nobody has to know who anybody else is in the system. but the reality is that money is basically based on faith. you believe that this one institution will accept this credit. i think that it's inevitable that there is some level of trust or reputation that has to happen.
"even in the bitcoin world, you see this consolidation of mining power where everybody is essentially trusting this handful of five guys that run all the mining power. but you don't get to choose them so they just choose themselves by just having a lot of mining power. it's really not a better situation than being able to say: ok, as long as these reputable institutions that don't have any relationship with each other, all think that this is the correct chain, then i can also think that this is the correct chain; these guys have all validated that this is what has happened in the world.
"then as long as the people you are picking to listen to are distinct enough, like some banks, some non-profits, some universities, some hacker somewhere – these people are not going to collude. as long as you choose your set of people widely enough then i think you are way safer."
zamfir of ethereum said there are different types of reputation that you could use. these are either going to be subjective, as in people have their own idea of what everyone's reputations are, or they will be objective and based on numbers.
he said: "if they are subjective then there is no way for the protocol to punish bad behaviour. if they are objective then there is, but the price of the reputation is basically going to have to be measured in time – repeatedly doing good behaviour in order to get that good reputation. so you are going to have basically the long con problem. if it's relatively cheap for someone to build a good reputation then the punishment that protocol can lay on them when they behave badly isn't that high.
"the difficult thing about reputation systems is that it's really super-hard to measure their security. you can't say: what is the price of this reputation unless that reputation is transferable and you can buy it on the market, in which case it's not really reputation any more, it's just a deposit."
emin gun sirer, an associate professor from cornell university and expert on consensus protocols, agreed that reputation-based systems are always complicated because of the attack where somebody builds up a good reputation and cashes out. he said: "we see it in the real world all the time. i say this having worked on reputation systems for peer-to-peer file sharing. but that doesn't mean they are dead in the water; there is still lots of good uses for them." he pointed out that reputation is deeply embedded in the current financial system; applying for a mortgage or a credit card employs a reputation based system. "so we are going to see the same thing happen with blockchains," he said.
"machine learning algorithms are very complex and depending on the inputs they have seen they might conclude different things." emin gun sirer
machine learning
if large and complex peer networks seem to be on the cusp of exponential growth, so does the world of big data, machine learning and artificial intelligence. as finance becomes more automated thanks to blockchains, smart contracts and the internet of things, ai could perform all sorts of tasks. however, at their lowest levels consensus protocols are all about keeping rules and guarantees in place; predictability, simplicity and a deterministic nature are essential to consensus algorithms, noted gun sirer.
"machine learning algorithms are very complex and depending on the inputs they have seen they might conclude different things," he said.
"where i see them potentially playing an enormous role is when there is a layer on top, where typically there are decisions to be made. for example, if you are a merchant and somebody wants to give you a payment, do you trust this person to get away with the goods with very few numbers of confirmation. is this a worthy transaction; or maybe somebody wants to buy something from you with escrow or whatever, will that payment be reversed on you.
"this is something that we know credit card vendors actually use. that's essentially a machine learning algorithms making a financial decision to perhaps block a card or block a payment because this is out of the ordinary. that will happen to a much greater extent when we have blockchains because blockchains help us automate everything."
zamfir said it was possible a validator on the ethereum network could do their own machine learning to try and predict which block will be valid, but that performing actions that do not help finalise consensus would be penalised. he said there could be scope for smarter algorithms at protocol level provided these operated transparently. "i would say definitely in the strategy space i.e. how people choose to interact with the protocol. i think there will probably end up being machine learning there, unless we can find solutions which say this is the best way to interact with the protocol, which i think will be a little bit hard given the network dynamics.
"the main reason why we don't want to put machine learning – like black box machine learning – inside the protocol is that basically the more free variables there are that affect the behaviour of the protocol, the less we can say about the guarantees the protocol will have." vlad zamfir
"there might also be inference – i guess rather than black box, call it clearer box machine learning – where, for example, the protocol might dynamically adjust certain variables as a function of what's going on in the system, and that is, in the most general sense, machine learning. for example, the difficulty we are targeting with bitcoin is in a sense due to inference; they are trying to like infer the hash rate in order to change the difficulty.
"the main reason why we don't want to put machine learning – like black box machine learning – inside the protocol is that basically the more free variables there are that affect the behaviour of the protocol, the less we can say about the guarantees the protocol will have."
hybrid systems
peter todd said most of his research work has actually been on something akin to hybrid systems. he said the basic security property of a proof of work blockchain is something everyone can share; like a primitive that all these different applications can use.
"if you go push all the actual logic for how do you interpret that data to the client side, it's completely ok if you know the bank of england's blockchain thing for moving their pounds around happens to co-exist on the same system as the central bank of russia's thing for moving rubles around. they can interpret the rules they care about and ignore the other data.
"similarly even if you have a chain whose consensus is signed by say a group of three banks or something, they can always take that state and say it's proved through check-pointing in another blockchain. it lets you know if those trusted parties have been compromised. if i expect these three people to sign it and i also expect to see a summary of that state in the bitcoin blockchain, well if those three people get compromised they are now signing two different ledgers at once. they'll see it on the bitcoin blockchain because they can't control the bitcoin blockchain, they can only publish to it. that gets you the best of both worlds."
mccaleb predicted some level of sharding will come into play as it gets harder to reach consensus on all the transactions in very large networks. "you need some way of breaking that up and making it more tractable, where maybe all the transactions in north america are settled by one consensus algorithm and maybe there's like an overarching one that settles between all the different ones or something like that," he said.
"this is the thing you have with databases when they get super-big you basically just have to shard them. you have certain parts of the data handled by certain different databases, and i think there will be a similar thing for consensus. at some point you have to limit the set of computers that are coming to agreement or the set of stuff they are trying agree upon otherwise it just won't scale."
he said innovations will take forms like the lightning network where tons of transactions are done at a remove from the consensus mechanism. "i think these public distributed databases will only become ways to settle disputes or settle larger things at the end of the day, not all these tiny little transactions. you don't need to broadcast publicly to the world that you bought this coffee, right."
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təˈpikɑ, ˈhɛlpləs ɪn ðə weɪk əv ðə ˈhɔrəbəl sɛpt. 11 ˈtɛrərɪst əˈtæks ðət kɪld ˈθaʊzənz, krɪˈstin ˈpɪrsən beɪkt ə keɪk ənd ˈdɛkərˌeɪtɪd ɪt laɪk ən əˈmɛrɪkən flæg ˈmənˌdeɪ. "aɪ hæd tɪ du ˈsəmθɪŋ tɪ fɔrs ˌmaɪˈsɛlf əˈweɪ frəm ðə ˌtɛləˈvɪʒən," sɛd ˈpɪrsən, 33 ˈkɛrfəli leɪɪŋ roʊz əv ˈstrɔˌbɛri sˈlaɪsɪz ɔn ðə keɪk. "ɔl əv ðoʊz ˈpipəl. ðoʊz pur ˈpipəl. aɪ doʊnt noʊ wət ɛls tɪ du." ˌædvərˈtaɪzmənt ˈpɪrsən, hu hæd ˈnɛvər ˌbiˈfɔr ɪkˈsprɛst ˈfilɪŋz əv ˈpeɪtriəˌtɪzəm ɪn keɪk fɔrm, əˈtrɪbjətəd ðə ˈbeɪkɪŋ ˈprɑʤɛkt tɪ ə lɔs əv dɪˈrɛkʃɪn. ˈhævɪŋ ɔˈrɛdi ˈdoʊˌneɪtɪd bləd, meɪld ə ʧɛk tɪ ðə rɛd krɔs, ənd sɛnt ə ˈlɛtər əv θæŋks tɪ ðə nu jɔrk faɪər dɪˈpɑrtmənt, ˈpɪrsən wɑz ˈeɪmləsli ˈwɑndərɪŋ frəm rum tɪ rum ɪn hər əˈpɑrtmənt wɪn ðə aɪˈdiə əv kriˈeɪtɪŋ ðə kənˈfɛkʃəˌnɛri stɑrz ənd straɪps keɪm tɪ hər. "maɪ frɛndz ˈkæsi ənd ˈpætrɪk [ˈoʊvərˌstrit] ˌɪnˈvaɪtɪd mi ˈoʊvər tɪ hæv ˈdɪnər ənd ʤɪst tɔk əˈbaʊt, ju noʊ, ˈɛvriˌθɪŋ," sɛd ˈpɪrsən, ə təˈpikɑ ˈligəl ˈsɛkrəˌtɛri hu həz ˈnɛvər ˈvɪzɪtɪd ənd noʊz noʊ wən ɪn ˈiðər nu jɔrk ər ˈwɔʃɪŋtən, d.c*. "aɪ θɔt aɪd meɪk ˈsəmθɪŋ ˈspɛʃəl ər du ˈsəmθɪŋ aʊt əv rɪˈspɛkt fər ɔl əv ðə ˈpipəl hu daɪd. ɔl ðoʊz ˈɪnəsənt ˈpipəl. ɔl ðoʊz ˈrɛskju ˈwərkərz hu lɔst ðɛr lɪvz." ˌædvərˈtaɪzmənt ˈmɪksɪŋ ðə keɪk ənd ˈpleɪsɪŋ ɪt ɪn ðə ˈəvən ˈʃɔrtli ˈæftər 3 p.m*., ˈpɪrsən sæt æt ðə ˈkɪʧən ˈteɪbəl ənd stɛrd æt ðə ˈəvən dɔr ənˈtɪl ðə ˈtaɪmər ræŋ 50 ˈmɪnəts ˈleɪtər. ɛz ðə keɪk kuld, ˈpɪrsən ˈgæðərd məˈtɪriəlz tɪ ˈdɛkərˌeɪt ɪt. ʃi sərʧt ðə spaɪs ˈkəbərd fər ə tub əv blu fud ˈkələrɪŋ, bət kʊd nɑt faɪnd ɪt. ˈæftər ˈfrænəkəli ˈpʊlɪŋ ɔl ðə kænz ənd ʤɑrz frəm ðə ˈkəbərd, ʃi ˈfaɪnəli faʊnd ðə tub ɪn ðə ˈvɛri bæk. ɪˈmɪtɪŋ ə dip saɪ əv rɪˈlif, ʃi sprɛd ðə ˈkələrɪŋ ˈoʊvər ðə keɪks ˈkɔrnər tɪ kriˈeɪt ðə blu fild. "aɪ beɪkt ə keɪk," sɛd ˈpɪrsən, ʃˈrəgɪŋ hər ˈʃoʊldərz ənd ˈfɔrsɪŋ ə smaɪl ɛz ʃi ənˈveɪld ðə dɪˈzərt ɪn ðə ˈoʊvərˌstrit ˈhaʊsˌhoʊld ˈleɪtər ðət ˈivnɪŋ. "aɪ meɪd ɪt ˈɪntu ə flæg." ˌædvərˈtaɪzmənt ˈpɪrsən ənd ðə stɛrd æt ðə keɪk ɪn ˈsaɪləns fər ˈnɪrli ə ˈmɪnət, ənˈtɪl ˈkæsi həgd ˈpɪrsən. "ɪts ˈbjutəfəl," ˈkæsi sɛd. "ðə keɪk ɪz ˈbjutəfəl."
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topeka, ks—feeling helpless in the wake of the horrible sept. 11 terrorist attacks that killed thousands, christine pearson baked a cake and decorated it like an american flag monday.
"i had to do something to force myself away from the tv," said pearson, 33, carefully laying rows of strawberry slices on the white-fudge-frosting-covered cake. "all of those people. those poor people. i don't know what else to do."
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pearson, who had never before expressed feelings of patriotism in cake form, attributed the baking project to a loss of direction. having already donated blood, mailed a check to the red cross, and sent a letter of thanks to the new york fire department, pearson was aimlessly wandering from room to room in her apartment when the idea of creating the confectionery stars and stripes came to her.
"my friends cassie and patrick [overstreet] invited me over to have dinner and just talk about, you know, everything," said pearson, a topeka legal secretary who has never visited and knows no one in either new york or washington, d.c. "i thought i'd make something special or do something out of respect for all of the people who died. all those innocent people. all those rescue workers who lost their lives."
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mixing the cake and placing it in the oven shortly after 3 p.m., pearson sat at the kitchen table and stared at the oven door until the timer rang 50 minutes later.
as the cake cooled, pearson gathered materials to decorate it. she searched the spice cupboard for a half-used tube of blue food coloring, but could not find it. after frantically pulling all the cans and jars from the cupboard, she finally found the tube in the very back. emitting a deep sigh of relief, she spread the coloring over the cake's upper-left-hand corner to create the flag's blue field.
"i baked a cake," said pearson, shrugging her shoulders and forcing a smile as she unveiled the dessert in the overstreet household later that evening. "i made it into a flag."
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pearson and the overstreets stared at the cake in silence for nearly a minute, until cassie hugged pearson.
"it's beautiful," cassie said. "the cake is beautiful."
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ˈfoʊˌtoʊ baɪ neɪˈoʊki fuˈkudə luis skɔrd ə ˈnɑˌkaʊt tɪ teɪk rɪŋ ənd ˈtaɪtəlz læst mənθ, bət ðə reɪn wɪl bi ˌʃɔrˈtlɪvd. ə ˈsæmpəl səbˈmɪtəd baɪ 18 ˈnɑˌkaʊts) ˈtɛstɪd ˈpɑzətɪv fər ðə bænd ˈsəbstəns, ˈæftər wɪʧ hi hæd ðə raɪt tɪ hæv hɪz ““b”*” ˈsæmpəl tɛst. ðət ˈsæmpəl ˈɔlsoʊ keɪm bæk ˈdərti, ˈsɔrsəz toʊld. wɑz ˈtɛstɪd baɪ ðə ˈvɑləntɛri əˌsoʊʃiˈeɪʃən, wɪʧ wərks ɪn kənˈʤəŋkʃən wɪθ ðə klin ˈbɑksɪŋ ˈproʊˌgræm. maʊˈrisioʊ toʊld hi ɪkˈspɛkts tɪ hæv ən əˈfɪʃəl ˈrulɪŋ ɔn ðə ˈmætər ˈleɪtər ðɪs wik. ˈpɑsəbəl ˌɪnˈʤɛstəd kənˈtæməˌneɪtɪd mit. ɪz ən ˈægənɪst (ˈstɪmjələnt) ˈsɪmələr tɪ ənd ɪz ˈɔfən juzd tɪ ˌɪnˈkris ðə saɪz əv ˈkætəl. wɪn juzd baɪ ˈæθˌlits, ðə ˈsəbstəns ɪz bɪˈlivd tɪ hɛlp ðə dɪˈvɛləpmənt əv ˈməsəl ənd ˈɔlsoʊ ˌɪnˈkrisɪz ðə məˈtæbəˌlɪzəm. ɛz ə rɪˈzəlt əv ““b”*” ˈsæmpəl rɪˈzəlt, ˌjɑmɑˈnɑkə wɪl bi ˌriɪnˈsteɪtɪd ɛz rɪŋ ˈʧæmpiən. ənd ɪn əˈkɔrdəns wɪθ ðə ˈpɑləsi ɔn drəgz,, hu wɑz ˈreɪtɪd ɪn tɔp 10 praɪər tɪ ðə baʊt, wɪl ˈɛksət ðə ˈreɪtɪŋz ɪnˈtaɪərli. ðə ˈmɛksəkən hæv ðə ˌɑpərˈtunəti tɪ ərn hɪz weɪ bæk ˈɪntu ðə ˈreɪtɪŋz ˈæftər ˈɛni səˈspɛnʃən ˈpɪriəd ɪz completed,”*,” pər ðə rulz. ˌjɑmɑˈnɑkə 19 kɑs) meɪd 12 səkˈsɛsfəl dɪˈfɛnsɪz əv ðə ˈtaɪtəl hi wən ɪn 2011 ɔl əv ðə baʊts hæv bɪn ɪn ʤəˈpæn, wɛr ə stɑr. ðə wɑz ɪn ðə tɔp 10 praɪər tɪ ðə ˈnɑˌkaʊt lɔs, wɪʧ naʊ ˈfɪgjərz tɪ bi ˈoʊvərˌtərnd baɪ ðə kəˈmɪʃən ɪn ʤəˈpæn. ˌjɑmɑˈnɑkə wɪl nɑt ðə tɔp 10 bɪˈkəz ðə ˌɛdəˈtɔriəl bɔrd filz ˈəðər ˈfaɪtərz hæv sərˈpæst ɪm. maɪk ˈkɑpɪŋər ɪz ðə ˈsinjər ˈraɪtər fər. ˈfɑloʊ ɪm ɔn tˈwɪtər: noʊ poʊsts faʊnd.
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photo by naoki fukuda
luis nery scored a fourth-round knockout to take shinsuke yamanaka’s ring and wbc bantamweight titles last month, but the reign will be short-lived.
a pre-fight sample submitted by nery (24-0, 18 knockouts) tested positive for the banned substance zilpaterol, after which he had the right to have his “b” sample test. that sample also came back dirty, sources told ringtv.com.
nery was tested by the voluntary anti-doping association, which works in conjunction with the wbc clean boxing program.
wbc pesident mauricio sulaiman told ringtv.com he expects to have an official ruling on the matter later this week.
it’s possible nery ingested contaminated meat. zilpaterol is an adrenergic agonist (stimulant) similar to clenbuterol and is often used to increase the size of cattle. when used by athletes, the substance is believed to help the development of muscle and also increases the metabolism.
as a result of nery’s “b” sample result, yamanaka will be reinstated as ring bantamweight champion. and in accordance with the ring’s policy on performance-enhancing drugs, nery, who was rated in top 10 prior to the bout, will exit the ratings entirely.
the 22-year-old mexican “will have the opportunity to earn his way back into the ratings after any suspension period is completed,” per the ring’s rules.
yamanaka (27-1-2, 19 kos) made 12 successful defenses of the wbc title he won in 2011. all of the tokyo-based fighter’s bouts have been in japan, where he’s a star. the 34-year-old was in the ring’s pound-for-pound top 10 prior to the knockout loss, which now figures to be overturned by the commission in japan.
yamanaka will not re-enter the pound-for-pound top 10 because the editorial board feels other fighters have surpassed him.
mike coppinger is the senior writer for ringtv.com. follow him on twitter: @mikecoppinger
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ðə ˌɪnərˈnæʃənɑl kɔrt əv ˈʤəstɪs ɔn ˈtuzˌdeɪ naɪt ˈɔrdərd ə steɪ ɔn ðə ˌɛksəˈkjuʃən əv ˈfɔrmər ˈɪndiən ˈneɪvi ˈɔfɪsər, hu wɑz ˈsɛntənst tɪ dɛθ baɪ ə ˌpækɪˈstæni ˈmɪlɪˌtɛri kɔrt ɔn ˈɛspiənɑʤ ˈʧɑrʤɪz, əˈkɔrdɪŋ tɪ. mɔr ˈditeɪlz ər əˈweɪtɪd ɔn ðə ˌɪnərˈnæʃənɑl kɔrt əv ˈʤəstɪs ˈɔrdər, wɪʧ wɑz sɛnt tɪ ˈpækɪˌstæn praɪm ˈmɪnɪstər ʃərˈif, ˌriˈpɔrtəd. hɪz ˈməðər, əˈvɑnti, hæd faɪld ən əˈpil æt ə haɪər kɔrt ɪn ˈpækɪˌstæn ˈsikɪŋ ə steɪ ɔn hɪz dɛθ ˈsɛntəns. ɪkˈstərnəl əˈfɛrz ˈmɪnɪstər sɛd ɔn ˈsoʊʃəl ˈmidiə ðət ʃi hæd ˌɪnˈfɔrmd ˈməðər əˈbaʊt ðə ˈɔrdər. aɪ hæv ˈspoʊkən tɪ ðə ˈməðər əv ənd toʊld hər əˈbaʊt ðə ˈɔrdər əv ˈprɛzɪdənt, ˈəndər ɑrt 74 ˈpɛrəˌgræf 4 əv rulz əv kɔrt. (@sushmaswaraj*) meɪ 9 2017 ˈpækɪˌstæn hæd əˈkjuzd əv ˈhævɪŋ ˈɛnərd ðə ˈkəntri θru ˌɪˈrɑn ənd ˈhɛlpɪŋ ˈsɛpərətɪsts. ɪt hæd ʧɑrʤd ɪm wɪθ ˈtɛrəˌrɪzəm, ˈsæbəˌtɑʒ ənd ˈvaɪəleɪtɪŋ ðə ˈfɔrənər ækt. ˈæftər hɪz ərˈɛst, ðə ˌpækɪˈstæni ˈɑrmi hæd riˈlist wət ðeɪ kleɪmd wɑz ə video”*”. soʊ fɑr, ˌɪsˈlæməbæd həz dɪˈnaɪd nu ˈdɛli ˈkɑnsələr ˈækˌsɛs tɪ 16 taɪmz. ˈɪndiə hæd ədˈmɪtəd ðət hi wɑz ə rɪˈtaɪrd ˈɪndiən ˈneɪvi ˈɔfɪsər, bət hæd dɪˈnaɪd ɔl kleɪmz ðət hi wɑz ˌɪnˈvɑlvd wɪθ ðə ˈgəvərnmənt ɪn ˈɛni weɪ. hir ɪz ðə tɛkst əv ðə ˌɪnərˈnæʃənɑl prɛs riˈlis ðət ˈditeɪlz əˈpil tɪ ðə ˌɪnərˈnæʃənɑl kɔrt, əˈkjuzɪŋ ˈpækɪˌstæn əv vaɪəˈleɪʃənz əv ðə viˈɛnə kənˈvɛnʃən ɔn ˈkɑnsələr access”*”. rɪˈfərɪŋ tɪ ɪkˈstrim ˈgrævɪti ənd ˌɪˈmiˌdiəsi əv ðə θrɛt ðət əˈθɔrətiz ɪn ˈpækɪˌstæn wɪl ˈɛksəˌkjut ən ˈɪndiən ˈsɪtɪzən ɪn vaɪəˈleɪʃən əv ˌɑbləˈgeɪʃənz ˈpækɪˌstæn oʊz tɪ india”*”, ˈɪndiə ərʤd ðə kɔrt tɪ dɪˈlɪvər ən ˈɔrdər ˈɪndəˌkeɪtɪŋ prəˈvɪʒənəl ˈmɛʒərz ˌɪˈmiˌdiətli, ˈweɪtɪŋ fər ən ˈɔrəl hearing.”*.”
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the international court of justice on tuesday night ordered a stay on the execution of former indian navy officer kulbhushan jadhav, who was sentenced to death by a pakistani military court on espionage charges, according to ndtv.
more details are awaited on the international court of justice order, which was sent to pakistan prime minister nawaz sharif, ndtv reported. his mother, avanti jadhav, had filed an appeal at a higher court in pakistan seeking a stay on his death sentence.
external affairs minister sushma swaraj said on social media that she had informed jadhav’s mother about the order.
i have spoken to the mother of #kulbhushanjadhav and told her about the order of president, icj under art 74 paragraph 4 of rules of court. — sushma swaraj (@sushmaswaraj) may 9, 2017
pakistan had accused jadhav of having entered the country through iran and helping baloch separatists. it had charged him with terrorism, sabotage and violating the country’s foreigner act. after his arrest, the pakistani army had released what they claimed was a “confessional video”. so far, islamabad has denied new delhi consular access to jadhav 16 times.
india had admitted that he was a retired indian navy officer, but had denied all claims that he was involved with the government in any way.
here is the text of the international court’s press release that details india’s appeal to the international court, accusing pakistan of “egregious violations of the vienna convention on consular access”.
referring to “the extreme gravity and immediacy of the threat that authorities in pakistan will execute an indian citizen in violation of obligations pakistan owes to india”, india urged the court to deliver an order indicating provisional measures immediately, “without waiting for an oral hearing.”
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kəˈmændərz, ɪt ɪz taɪm. θru ˈmɛni ˈbætəlz ðiz ˈwɔrjərz hæv kəm. ðeɪ hæv stʊd əˈtɑp ðə sˈmoʊldərɪŋ ruɪnz əv ðɛr əˈpoʊnənts. ðeɪ hæv ˈlɪtərd ðə ˈlænˌskeɪp wɪθ tˈwɪstɪd ˈmɛtəl rɛks əv ˈɑrmiz ðət hæv ˈfɑlən ˌbiˈfɔr ðɛr maɪt. ɪt ɪz taɪm fər ðɛm tɪ faɪt wəns mɔr, ə ˈfaɪnəl ˈbætəl tɪ ˌdɪˈsaɪd hu ðə ˈʧæmpiən əv ðə proʊˈʤɛnɪtər wɪl bi. ðə proʊˈʤɛnɪtər ɪn hɪz ˈɪnfənət ˈwɪzdəm wɪl bɪˈstoʊ ˌənɪˈmæʤɪnəbəl gɪfts tɪ θri ˈvɪktərz. blɛst bi ðə proʊˈʤɛnɪtər. ˈɪnfoʊ: ˈpraɪzɪz: [əˈtɛnʃən ˈkæstərz]: iz saɪn ju ˈkɑrənt pleɪərz ənd ˈstætəs: ækˈsɛptɪd: rɪˈʤɛktɪd: ju nsure*: ˈjuˈɛs faɪnd ðɛm): əˈweɪtɪŋ ju si ðɛm, tɛl ðɛm tɪ rɪˈplaɪ): ˈfiʧərɪŋ ðə ˈvoʊkəl ˈtælənt əv: mæp ˈwɪzərd: ðɪs ˈmɛsɪʤ wɑz peɪd fər baɪ ðə proʊˈʤɛnɪtər kəlt. faɪnd aʊt mɔr ˈɪnfoʊ baɪ ˈkɔlɪŋ ər baɪ ˈvɪzɪtɪŋ ɑr ˈwɛbˌsaɪt æt taɪm: ðɛr æt fər roʊl call)date*: ˈɔgəst 9th*, 2014teamspeak*: teamspeak.paceleague.com1st*: 42.702nd*: 253rd*: baɪ: ɪf ju wɔnt tɪ pɑrˈtɪsəˌpeɪt plp*: hir wiv ˈgɔtən ɪn ˈkɑnˌtækt wɪθ fər jʊr hɛlp ɪn ˈfaɪndɪŋ them!oathalliance*: twɪʧ gandalf:brianpurkiss*: ˈjuˌtub egipop*:
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commanders, it is time.
through many battles these warriors have come. they have stood atop the smoldering ruins of their opponents. they have littered the landscape with twisted metal wrecks of armies that have fallen before their might. it is time for them to fight once more, a final battle to decide who the champion of the progenitor will be.
the progenitor in his infinite wisdom will bestow unimaginable gifts to three victors.
blessed be the progenitor.
info:
prizes:
[attention casters]:
ease sign u
current players and status:
accepted:
rejected:
u nsure:
mia(help us find them):
awaiting response(if you see them, tell them to reply):
featuring the vocal talent of:
map wizard:
this message was paid for by the progenitor cult. find out more info by calling 1-800-pro-cult or by visiting our website at www.allhailtheprogenitorasthegodcommanderthatheobviouslyis.cult
time: 18:00 utc(be there at 17:50utc for roll call)date: august 9th, 2014teamspeak: teamspeak.paceleague.com1st: $42.702nd: $253rd: $15donated by: @ totalannihilation if you want to participate plp: here we've gotten in contact with everyone!thanks for your help in finding them!oathalliance: twitch gandalf:brianpurkiss: youtube egipop:
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ðə tim ər ˈvɛri ˈhæpi tɪ əˈnaʊns ðə riˈlis əv 500 ˈtaɪtəlz ɔn wən θru ðə ˈproʊˌgræm! ˈkjʊriəs wɪʧ geɪmz ər pɑrt əv ðə ˈproʊˌgræm? ʧɛk aʊt ðə fʊl lɪst ɪn ˈɔrdər əv riˈlis bɪˈloʊ! straɪk sut ˈziroʊ riˈlis ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈsupər taɪm fɔrs riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk wərmz ˈbætəlˌgraʊndz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk 1001 spaɪks riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈsɪksti ˈsɛkənd ˈʃutər praɪm riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈaʊˌtlæst riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈbeɪsˈbɔl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk əˈnəðər wərld ˌænəˈvərsəri ɪˈdɪʃən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈkɑntræst riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈzɑmbi ˈdraɪvər: ˈəltəmət ɪˈdɪʃən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk guacamelee*: ˈsupər ˈtərboʊ ˈʧæmpiənˌʃɪp ɪˈdɪʃən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈpɪnˌbɔl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə gɔlf kləb riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk stɪk ɪt tɪ ðə mæn riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk dɪˈfɪnɪtɪv ɪˈdɪʃən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈspɛʃəl ɪˈdɪʃən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈʧɛriət riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk daɪv kɪk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˈvaɪkɪŋ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk pjʊr pul riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈnɛvər əˈloʊn innitchuna*) riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˈpɑrti pæk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈtɑməs wɑz əˈloʊn riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk pɪr ˈsoʊlər ənd ðə greɪt ˈɑrkəˌtɛkts riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈpɪnˌbɔl ɑrˈkeɪd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk bum bɔl fər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk θriz! riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈlɪmboʊ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈsɪstərz: tˈwɪstɪd drimz: kət riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk fəŋk əv ˈtaɪtənz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk unmechanical*: ədˈvænst ɪˈdɪʃən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk hænd əv feɪt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk blu ɛˈsteɪt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈraʊndəˌbaʊt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk pneuma*: brɛθ əv laɪf riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈzɑmbi ˈɑrmi ˈtrɪləʤi riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ʤɛt kɑr stənts: ɪˈdɪʃən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk lɑ kɑps riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk frut ˈnɪnʤə 2 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈzɪgərˌæt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk sˈlɛndər: ðə ərˈaɪvəl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk oddworld*: nu ‘‘n’*’ ˈteɪsti riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk pul ˈneɪʃən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈbeɪsˈbɔl 15 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk stɛlθ ɪŋk. 2 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk taʊər əv gənz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk goʊt ˈsɪmjəˌleɪtər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk wi ər dumd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk əˈweɪkənɪŋ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˌɪnˈfɪnɪti ˈrənər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈhæpi wɔrz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈprɑʤɛkt rut riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈʃəvəl naɪt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk slaɪs ˈzɑmbiz fər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈlaɪfləs ˈplænət riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk kæt ənd ðə ˈreɪdərz əv ðə læst kwɑrk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈtɔroʊ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈnɪroʊ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈmɛgə kɔɪn skwɑd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk spaɪ kəˈmiliən ˈeɪʤənt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk roʊg ˈlɛgəsi riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈbæˌdlænd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk biʧ ˈbəgi ˈreɪsɪŋ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈmæsɪv ˈʧælɪs riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈspɑrkəl ənˈliʃt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk dɪg riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə lɔŋ dɑrk (geɪm ˈprivˌju) riˈlist ˈɪntu geɪm ˈprivˌju: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk kˈwɑntəm rəʃ: ˈʧæmpiənz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk kju riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈspɛktrə riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈprɑʤɛkt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə fɔl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk soʊ ˈmɛni mi riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk noʊ taɪm tɪ ɪkˈspleɪn riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk qube*: kət riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˈbaɪndɪŋ əv ˈaɪzɪk: riˈbərθ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk skwɪd ˈhɪroʊ fər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈmæʤɪk duəlz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk bɪɔnd aɪz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə sˈwɪndəl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk beatbuddy*: teɪl əv ðə ˈgɑrdiənz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk səbˈmərʤd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk kəˈmændər ˈʧɛri fər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈsupər ˈmɛgə ˈbeɪsˈbɔl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə brɪʤ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈsɪstərz: drim ˈrənərz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk klæʃ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk brɪʤ kənˈstrəktər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk pjʊr hoʊld riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ædˈvɛnʧərz əv pɪp riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk goʊt ˈsɪmjəˌleɪtər: ɪˈdɪʃən riˈlis deɪt: stɑrv: ʤaɪənt ɪˈdɪʃən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈnɪnʤə riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk octodad*: kæʧ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk bluz ˈbʊləts riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈwɪspərɪŋ ˈwɪˌloʊz riˈlis deɪt: 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ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈməŋki kɪŋ ˈsɑgə riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk goʊld riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk 2 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈɪntu ðə ˈbɛli əv ðə bist riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk lænd ɪt! riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk fər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk fʊl ˈmoʊʤoʊ ˈræmˌpeɪʤ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk lɔst si riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˌɪnˈsaɪd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˈmæʤɪk ˈsərkəl: goʊld ɪˈdɪʃən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈprɪzən ˈɑrkəˌtɛkt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈdaɪnəˌmaɪt ˈfɪʃɪŋ wərld geɪmz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈiθən: ˈmitiər ˈhəntər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˌɪnˈkrɛdəbəl ædˈvɛnʧərz əv væn riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˈbænər ˈsɑgə 2 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ədˈvɛnʧər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk dɛks riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk carmageddon*: mæks ˈdæmɪʤ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk sɔŋ əv ðə dip riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈsupər mˈjutənt ˈeɪliən əˈsɔlt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˌfɛrəˈɑnɪk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈraɪvəlz əv (geɪm ˈprivˌju) riˈlist ˈɪntu geɪm ˈprivˌju: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk sˈnʊkər ˈneɪʃən ˈʧæmpiənˌʃɪp (geɪm ˈprivˌju) riˈlist ˈɪntu geɪm ˈprivˌju: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk speɪs ˈproʊˌgræm riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə wərld 2 ˈhəntɪŋ bɔs riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˈprɑʤɛkt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk kwɛst riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk 10 ˈsɛkənd ˈnɪnʤə ɛks riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk sɔrd koʊst ˈlɛʤəndz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk kɑˈstɪlə ɛks kərst riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈnɪnʤə ˈpitsə gərl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk kæst əv ðə ˈsɛvən ˈgɑdˌsɛndz ˈriˌdəks riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈhaɪpər laɪt ˈdrɪftər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈdənʤən pəŋks riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk wi ˈhæpi fju (geɪm ˈprivˌju) riˈlist ˈɪntu geɪm ˈprivˌju: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈækʃən nuz ˈhɪroʊz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈɔrəʤɪnz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk briʧ klɪr: ˈdɛˌdlaɪn riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˌoʊvərˈkʊkt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk drim kwɛst riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈkænən brɔl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈkɪŋdəm riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈæˌnoʊd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk laɪz əv riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk moʊˈmɛntəm riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈbaɪlə ləˈtinoʊ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ənˈneɪmd fiˈæskoʊ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk slaɪm ˈrænʧər (geɪm ˈprivˌju) riˈlist ˈɪntu geɪm ˈprivˌju: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk hju riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk wərmz: riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈvæli riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk stɑr ˈhæmər: ðə ˈvænˌgɑrd ˈprɑfəsi riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈnaɪtˌmɛrz frəm ðə dip 2 ðə kɔl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈsoʊlər ˈʃɪftər ɛks riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk 140 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˈtʊrɪŋ tɛst riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈbaɪnəˌriz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk 2020 maɪ ˈkəntri riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk aɪ, ˈzɑmbi riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk hæk, slæʃ, riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk earthlock*: ˈfɛstɪvəl əv ˈmæʤɪk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈstɔriz əv bethem*: fʊl mun riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˈfaɪnəl ˈsteɪʃən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk klɛr: ɪkˈstɛndɪd kət riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈmɑnstər əv ənˈʧɑrtɪd siz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk əˈsɛmbəl! riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk kɪŋ ˈɑdˌbɔl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈstɑrˌdəst ˈgæləksi ˈwɔrjərz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk pjʊr ʧɛs riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈɛmɪli wɔnts tɪ pleɪ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˈwɪtnəs riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈpərˌfɪkt ˈwʊmən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk maʊnt bleɪd: riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk dɪr ˈɛstər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk tɔɪ ˈɑdəsi: ðə lɔst ənd faʊnd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk eventide*: sˈlɑvɪk ˈfeɪbəl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˈbəŋkər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk (geɪm ˈprivˌju) riˈlist ˈɪntu geɪm ˈprivˌju: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈzinɪθ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈæksiəm vərʤ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ɛnd taɪmz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈkæsəlz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈspidˌboʊt ˈʧælənʤ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈhæpi ˈdənʤənz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk roʊg riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk wən ˈhənərd weɪz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈkæsəl ˌɪnˈveɪʒən: θroʊn aʊt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk blu ˈraɪdər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈmæntɪs bərn ˈreɪsɪŋ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈkɔzmoʊ rən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈmænjuəl ˈsæmjul riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə bəg ˈbʊʧər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈrɑkət raɪət riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk sleɪn: bæk frəm hɛl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˈpɑrti pæk 3 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk hɔrs ˈreɪsɪŋ 2016 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈʤɪnʤər: bɪɔnd ðə ˈkrɪstəl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈvɛnʤ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ɛnd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈsæˌtɪˌdeɪ ˈmɔrnɪŋ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk blæst brɔl 2 ˈblədi riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk dɔn riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈsupər ˈdənʤən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk gæs ˈgəzələrz ɪkˈstrim riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk wɔrz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk du 2 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈnɛbjələs riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk klaʊdz ʃip 2 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk wilz əv riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈbɑmɪŋ ˈbəstərz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk 2 ðə mɪsts əv riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk stərn ˈpɪnˌbɔl ɑrˈkeɪd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk wɑnd wɔrz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk hər ˈspɪfɪŋ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈɛnərʤi ˈsaɪkəl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈtɛnɪs ɪn ðə feɪs riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk westerado*: ˈdəbəl ˈbɛrəld riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈsaɪləns ðə ˈwɪspərd wərld 2 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk skaɪ fɔrs ˌænəˈvərsəri riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˈlɪtəl ˈeɪkər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk faɪst riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈvæli riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈænəˌmeɪtɪd ˈpəzəlz stɑr riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk (geɪm ˈprivˌju) riˈlist ˈɪntu geɪm ˈprivˌju: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk brɪʤ kənˈstrəktər stənts riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk stil reɪn ɛks riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk: ˈhɪroʊ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk wɪk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈpɪnˌbɔl ædˈvɛnʧərz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk krɪpt əv ðə ˈsərpənt kɪŋ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk bum bɔl 2 fər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk wərld əv væn: riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈnɛvərˌmaɪnd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈeɪkɔrn əˈsɔlt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk raɪz ənd ʃaɪn riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk dɛd ˈifɛkt 2 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈfraɪˌdeɪ naɪt ˈbʊlət ərˈinə riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈsɪlvioʊ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk pɪt ˈpipəl (geɪm ˈprivˌju) riˈlist ˈɪntu geɪm ˈprivˌju: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈsiʤˌkræft kəˈmændər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk aɪ æm brɛd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk metrico*+ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈtoʊbi: ðə ˈsikrɪt maɪn riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈlɛgəsi riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə əˈsɛmbli riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk əˈsɛnʃən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə sən ənd mun riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈdudəl gɑd: ˈəltəmət ɪˈdɪʃən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk wɛlz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk kɪl ðə bæd gaɪ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈpɪksəl ˈhɪroʊz: baɪt ˈmæʤɪk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈɑkwə ˈkɪti riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ni dip riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈgɪmi faɪv riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk pɪks ðə kæt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk krɪpt əv ðə riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ənˈkæni ˈvæli riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk aɪoʊ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈnɪtroʊ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk sˈnaɪpər ɪˈlit 4 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈvərtɪkəl drɔp ˈhɪroʊz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˌvækˈsin riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ʃɪft ˈhæpənz! riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈzɑmbi ˈvaɪkɪŋz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk kwɛst riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ʧaɪm ʃɑrp riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk trulon*: ðə ˈʃæˌdoʊ ˈɪnʤən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ə ˈpɪksəl ˈstɔri riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk gp*: ˈrɛnəˌgeɪd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk wi ər ðə dwɔrvz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk goʊst bleɪd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈsplɪntərz əv ðə dɑrk ʃɑrd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk 5 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈhɪˌʧhaɪkər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈvərdən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈziroʊ ˈriˌdəks riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈteɪbəl tɔp ˈreɪsɪŋ: wərld tʊr ˈəltəmət ɪˈdɪʃən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈklɪkər ˈhɪroʊz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈkɪti paʊər ˈmæʧˌmeɪkər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk dɛθ skwɛrd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk momodora*: ˈrɛvəri ˈəndər ðə ˈmunˌlaɪt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk dɑrk ɑrˈkænə: ðə ˈkɑrnəvəl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈæstrəˌnɑt riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk 88 ˈhɪroʊz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk wərldz əv ˈmæʤɪk: ˈpleɪnər ˈkɑŋkwɛst riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk həz bɪn ˈhɪroʊz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk r.b.i*. ˈbeɪsˈbɔl 17 riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk sneɪk pæs riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ɛr gɪˈtɑr ˈwɔrjər fər riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk pɑrk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˈɪnər wərld riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk fɔr ˈsaɪdɪd ˈfænəsi riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk pənʧ kləb riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk juz jʊr wərdz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈɛnər ðə riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈtælənt nɑt ˌɪnˈkludɪd riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈblækˌwʊd ˈkrɔsɪŋ riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk krɔl riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ðə ˈsɛksi riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈvuˌdu vɪns: riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈwəndər bɔɪ: ðə træp riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk leɪt ʃɪft riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk reɪs ðə sən riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk ˈsɪtiz: ˈskaɪˌlaɪnz riˈlis deɪt: ˈmaɪˌkroʊˈsɔft stɔr: lɪŋk bɛst! ʤɪl kəmˈjunɪti ˈmænɪʤər
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the id@xbox team are very happy to announce the release of 500 titles on xbox one through the id@xbox program! curious which games are part of the program? check out the full list in order of release below!
strike suit zero
release date:04/08/2014 microsoft store: link
nutjitsu
release date: 05/08/2014 microsoft store: link
super time force
release date: 05/14/2014 microsoft store: link
worms battlegrounds
release date: 05/30/2014 | microsoft store: link
1001 spikes
release date: 06/10/2014 | microsoft store: link
sixty second shooter prime
release date: 06/18/2014 | microsoft store: link
outlast
release date: 06/19/2014 | microsoft store: link
rbi baseball ’14
release date: 06/24/2016 | microsoft store: link
another world – 20th anniversary edition
release date: 06/25/2014 | microsoft store: link
contrast
release date: 06/26/2014 | microsoft store: link
zombie driver: ultimate edition
release date: 07/01/2014 | microsoft store: link
guacamelee: super turbo championship edition
release date: 07/02/2014 | microsoft store: link
pinball fx2
release date: 08/14/2014 | microsoft store: link
the golf club
release date: 08/19/2014 | microsoft store: link
fibbage
release date: 08/21/2014 | microsoft store: link
stick it to the man
release date: 08/28/2014 | microsoft store: link
warframe
release date: 09/02/2014 | microsoft store: link
flockers
release date: 09/19/2014 | microsoft store: link
castlestorm definitive edition
release date: 09/24/2014 | microsoft store: link
kickbeat special edition
release date: 09/26/2014 | microsoft store: link
chariot
release date: 10/01/2014 | microsoft store: link
dive kick
release date: 10/08/2014 | microsoft store: link
volgarr the viking
release date: 11/01/2014 | microsoft store: link
pure pool
release date: 11/14/2014 | microsoft store: link
never alone (kisima innitchuna)
release date: 11/19/2014 | microsoft store: link
the jackbox party pack
release date: 11/19/2014 | microsoft store: link
thomas was alone
release date: 11/21/2014 | microsoft store: link
pier solar and the great architects
release date: 11/26/2014 | microsoft store: link
pinball arcade
release date: 11/26/2016 | microsoft store: link
boom ball for kinect
release date: 11/28/2014 | microsoft store: link
threes!
release date: 12/05/2014 | microsoft store: link
limbo
release date: 12/05/2014 | microsoft store: link
giana sisters: twisted dreams: director’s cut
release date: 12/12/2014 | microsoft store: link
funk of titans
release date: 01/09/2015 | microsoft store: link
riptide gp2
release date: 01/23/2015 | microsoft store: link
unmechanical: advanced edition
release date: 01/30/2015 | microsoft store: link
#idarb
release date: 01/30/2015 | microsoft store: link
the escapists
release date: 02/13/2015 | microsoft store: link
hand of fate
release date: 02/18/2015 | microsoft store: link
blue estate
release date: 02/18/2015 | microsoft store: link
roundabout
release date: 02/20/2015 | microsoft store: link
pneuma: breath of life
release date: 02/27/2015 | microsoft store: link
olliolli
release date: 03/06/2015 | microsoft store: link
zombie army trilogy
release date: 03/06/2015 | microsoft store: link
jet car stunts: next-gen edition
release date: 03/13/2015 | microsoft store: link
la cops
release date: 03/13/2015 | microsoft store: link
fruit ninja kinect 2
release date: 03/18/2015 | microsoft store: link
ziggurat
release date: 03/20/2015 | microsoft store: link
slender: the arrival
release date: 03/25/2015 | microsoft store: link
oddworld: new ‘n’ tasty
release date: 03/27/2015 | microsoft store: link
pool nation fx
release date: 04/01/2015 | microsoft store: link
rbi baseball 15
release date: 04/01/2015 | microsoft store: link
stealth inc. 2
release date: 04/03/2015 | microsoft store: link
tower of guns
release date: 04/10/2015 | microsoft store: link
goat simulator
release date: 04/17/2015 | microsoft store: link
we are doomed
release date: 04/17/2015 | microsoft store: link
aaru’s awakening
release date: 04/22/2015 | microsoft store: link
infinity runner
release date: 04/22/2015 | microsoft store: link
happy wars
release date: 04/24/2015 | microsoft store: link
project root
release date: 04/29/2015 | microsoft store: link
shovel knight
release date: 04/29/2015 | microsoft store: link
ultratron
release date: 05/08/2015 | microsoft store: link
slice zombies for kinect
release date: 05/08/2015 | microsoft store: link
lifeless planet
release date: 05/13/2015 | microsoft store: link
schrodinger’s cat and the raiders of the last quark
release date: 05/13/2015 | microsoft store: link
toro
release date: 05/15/2015 | microsoft store: link
nero
release date: 05/15/2015 | microsoft store: link
mega coin squad
release date: 05/20/2015 | microsoft store: link
spy chameleon – rgb agent
release date: 05/22/2015 | microsoft store: link
rogue legacy
release date: 05/27/2015 | microsoft store: link
badland
release date: 05/29/2015 | microsoft store: link
beach buggy racing
release date: 05/29/2015 | microsoft store: link
massive chalice
release date: 06/01/2015 | microsoft store: link
sparkle unleashed
release date: 06/03/2015 | microsoft store: link
the swapper
release date: 06/05/2015 | microsoft store: link
steamworld dig
release date: 06/05/2015 | microsoft store: link
the long dark (game preview)
released into game preview: 06/16/2015 microsoft store: link
quantum rush: champions
release date: 06/19/2015 | microsoft store: link
q
release date: 06/26/2015 | microsoft store: link
quiplash
release date: 06/30/2015 | microsoft store: link
spectra
release date: 07/10/2015 | microsoft store: link
tachyon project
release date: 07/15/2015 | microsoft store: link
the fall
release date: 07/15/2015 | microsoft store: link
so many me
release date: 07/16/2015 | microsoft store: link
slashdash
release date: 07/17/2017 | microsoft store: link
no time to explain
release date: 07/17/2015 | microsoft store: link
qube: director’s cut
release date: 07/24/2015 | microsoft store: link
the binding of isaac: rebirth
release date: 07/24/2015 | microsoft store: link
squid hero for kinect
release date: 07/29/2015 | microsoft store: link
magic duels
release date: 07/31/2015 | microsoft store: link
beyond eyes
release date: 08/03/2015 | microsoft store: link
the swindle
release date: 08/06/2015 | microsoft store: link
beatbuddy: tale of the guardians
release date: 08/07/2015 | microsoft store: link
submerged
release date: 08/07/2015 | microsoft store: link
commander cherry for kinect
release date: 08/14/2015 | microsoft store: link
super mega baseball
release date: 08/14/2015 | microsoft store: link
the bridge
release date: 08/14/2015 | microsoft store: link
giana sisters: dream runners
release date: 08/19/2015 | microsoft store: link
smite
release date: 08/19/2015 | microsoft store: link
clash
release date: 08/21/2015 | microsoft store: link
bridge constructor
release date: 08/21/2015 | microsoft store: link
pure hold ‘em
release date: 08/21/2015 | microsoft store: link
adventures of pip
release date: 08/21/2015 | microsoft store: link
goat simulator: mmore goatz edition
release date: 08/26/2015
don’t starve: giant edition
release date: 08/26/2015 | microsoft store: link
yasai ninja
release date: 08/26/2015 | microsoft store: link
octodad: dadliest catch
release date: 08/26/2015 | microsoft store: link
blues & bullets
release date: 08/28/2015 | microsoft store: link
whispering willows
release date: 08/28/2015 | microsoft store: link
nova-111
release date: 08/28/2015 | microsoft store: link
magnetic: cage closed
release date: 08/28/2015 | microsoft store: link
the deer god
release date: 09/01/2015 | microsoft store: link
nightmares from the deep: the cursed heart
release date: 09/04/2015 | microsoft store: link
quest of dungeons
release date: 09/04/2015 | microsoft store: link
super toy cars
release date: 09/04/2015 | microsoft store: link
broken sword 5 – the serpent’s curse
release date: 09/04/2015 | microsoft store: link
lovers in a dangerous spacetime
release date: 09/09/2015 | microsoft store: link
aritana and the harpy’s feather
release date: 09/09/2015 | microsoft store: link
clusterpuck 99
release date: 09/09/2015 | microsoft store: link
castle crashers
release date: 09/09/2015 | microsoft store: link
leo’s fortune
release date: 09/11/2015 | microsoft store: link
draw a stickman: epic
release date: 09/11/2015 | microsoft store: link
overruled
release date: 09/15/2015 | microsoft store: link
gunworld: xbox one edition
release date: 09/16/2015 | microsoft store: link
pumped bmx +
release date: 09/18/2015 | microsoft store: link
inside my radio
release date: 09/18/2015 | microsoft store: link
plague inc: evolved
release date: 09/18/2015 | microsoft store: link
extreme exorcism
release date: 09/23/2015 | microsoft store: link
penarium
release date: 09/23/2015 | microsoft store: link
guns, gore, and cannoli
release date: 09/25/2015 | microsoft store: link
fermi’s path
release date: 09/25/2015 | microsoft store: link
the escapists: the walking dead
release date: 09/29/2015 | microsoft store: link
orbit
release date: 09/30/2015 | microsoft store: link
toto temple deluxe
release date: 09/30/2015 | microsoft store: link
standpoint
release date: 09/30/2015 | microsoft store: link
polychromatic
release date: 10/02/2015 | microsoft store: link
fat city
release date: 10/02/2015 | microsoft store: link
monkey pirates
release date: 10/07/2015 | microsoft store: link
teslapunk
release date: 10/07/2015 | microsoft store: link
three fourths home: extended edition
release date: 10/09/2015 | microsoft store: link
kaiju panic
release date: 10/09/2015 | microsoft store: link
wasteland 2
release date: 10/12/2015 | microsoft store: link
the jackbox party pack 2
release date: 10/13/2015 | microsoft store: link
crimsonland
release date: 10/14/2015 | microsoft store: link
laserlife
release date: 10/14/2015 | microsoft store: link
bedlam
release date: 10/15/2015 | microsoft store: link
rock ´n racing off road
release date: 10/16/2015 | microsoft store: link
forced
release date: 10/21/2015 | microsoft store: link
knight squad
release date: 11/16/2015 | microsoft store: link
mitsurugi kamui hikae
release date: 11/19/2015 | microsoft store: link
the world ii
release date: 11/25/2015 | microsoft store: link
the incredible adventures of van helsing
release date: 12/01/2015 | microsoft store: link
rock zombie
release date: 12/04/2015 | microsoft store: link
super party sports – football
release date: 12/04/2015 | microsoft store: link
baseball riot
release date: 12/09/2015 | microsoft store: link
starwhal
release date: 12/09/2015 | microsoft store: link
line of defense tactics
release date: 12/11/2015 | microsoft store: link
starpoint gemini 2
release date: 12/11/2015 | microsoft store: link
6180 the moon
release date: 12/11/2015 | microsoft store: link
battle high 2 a+
release date: 12/16/2015 | microsoft store: link
ark: survival evolved (game preview)
released into game preview: 12/16/2015 microsoft store: link
frizzy
release date: 12/23/2015 | microsoft store: link
beatsplosion for kinect
release date: 12/30/2015 | microsoft store: link
g’
release date: 01/06/2016 | microsoft store: link
hyper void
release date: 01/06/2016 | microsoft store: link
unepic
release date: 01/08/2016 | microsoft store: link
cubot
release date: 01/08/2016 | microsoft store: link
lovely planet
release date: 01/08/2016 | microsoft store: link
the banner saga
release date: 01/12/2016 | microsoft store: link
hyperdrive massacre
release date: 01/13/2016 | microsoft store: link
rebel galaxy
release date: 01/13/2016 | microsoft store: link
oxenfree
release date: 01/15/2016 | microsoft store: link
zheros
release date: 01/15/2016 | microsoft store: link
gemini: heroes reborn
release date: 01/19/2016 | microsoft store: link
electronic super joy
release date: 01/20/2016 | microsoft store: link
albedo: eyes from outer space
release date: 01/20/2016 | microsoft store: link
clockwork tales: of glass and ink
release date: 01/22/2016 | microsoft store: link
sparkle 2
release date: 01/27/2016 | microsoft store: link
roblox
release date: 01/27/2016 | microsoft store: link
aipd
release date: 01/29/2016 | microsoft store: link
amazing princess sarah
release date: 01/29/2016 | microsoft store: link
level 22
release date: 01/29/2016 | microsoft store: link
the living dungeon
release date: 01/29/2016 | microsoft store: link
fortified
release date: 02/03/2016 | microsoft store: link
bike mayhem 2
release date: 02/05/2016 | microsoft store: link
krinkle krusher
release date: 02/05/2016
dad beat dads
release date: 02/10/2016 | microsoft store: link
factotum 90
release date: 02/10/2016 | microsoft store: link
in space we brawl: full arsenal
release date: 02/12/2016 | microsoft store: link
q*bert: rebooted
release date: 02/12/2016 | microsoft store: link
d/generation
release date: 02/12/2016 | microsoft store: link
layers of fear
release date: 02/16/2016 | microsoft store: link
rocket league
release date: 02/17/2016 | microsoft store: link
wondershot
release date: 02/19/2016 | microsoft store: link
the flame in the flood
release date: 02/24/2016 | microsoft store: link
replay – vhs is not dead
release date: 02/24/2016 | microsoft store: link
reagan gorbachev
release date: 02/24/2016 | microsoft store: link
tiny troopers joint ops
release date: 02/26/2016 | microsoft store: link
screencheat
release date: 03/01/2016 | microsoft store: link
gunscape
release date: 03/02/2016 | microsoft store: link
action henk
release date: 03/04/2016 | microsoft store: link
mcdroid
release date: 03/04/2016 | microsoft store: link
fire: ungh’s quest
release date: 03/05/2016 | microsoft store: link
ironcast
release date: 03/09/2016 | microsoft store: link
casey powell lacrosse 16
release date: 03/09/2016 | microsoft store: link
teslagrad
release date: 03/09/2016 | microsoft store: link
cel damage hd
release date: 03/11/2016 | microsoft store: link
blast ‘em bunnies
release date: 03/11/2016 | microsoft store: link
magnets
release date: 03/11/2016 | microsoft store: link
sheltered
release date: 03/15/2016 | microsoft store: link
dungeon of the endless
release date: 03/16/2016 | microsoft store: link
shadow complex remastered
release date: 03/16/2016 | microsoft store: link
tetrobot and co
release date: 03/16/2016 | microsoft store: link
shantae and the pirate’s curse
release date: 03/16/2016 | microsoft store: link
shred it!
release date: 03/18/2016 | microsoft store: link
spareware
release date: 03/18/2016 | microsoft store: link
101 ways to die
release date: 03/18/2016 | microsoft store: link
r.b.i. baseball 16
release date: 03/29/2016 | microsoft store: link
gryphon knight epic
release date: 03/30/2016 | microsoft store: link
active soccer 2 dx
release date: 03/30/2016| microsoft store: link
organic panic
release date: 04/01/2016 | microsoft store: link
steredenn
release date: 04/01/2016 | microsoft store: link
enigmatis: the ghosts of maple creek
release date: 04/08/2016 | microsoft store: link
stikbold!
release date: 04/08/2016 | microsoft store: link
letter quest:grimm’s journey
release date: 04/08/2016 | microsoft store: link
soda drinker pro
release date: 04/14/2016 | microsoft store: link
gear gauntlet
release date: 04/15/2016 | microsoft store: link
pang adventures
release date: 04/19/2016 | microsoft store: link
skyling: garden defense
release date: 04/19/2016 | microsoft store: link
masquerade: the baubles of doom
release date: 04/20/2016 | microsoft store: link
party hard
release date: 04/26/2016 | microsoft store: link
paranautical activity
release date: 04/29/2016 | microsoft store: link
jumpjet rex
release date: 04/29/2016 | microsoft store: link
the park
release date: 05/03/2016 | microsoft store: link
superhot
release date: 05/03/2016 | microsoft store: link
azkend 2: the world beneath
release date: 05/06/2016 | microsoft store: link
mystery castle
release date: 05/06/2016 | microsoft store: link
coffin dodgers
release date: 05/06/2016 | microsoft store: link
rock ‘n racing grand prix
release date: 05/13/2016 | microsoft store: link
gunworld 2
release date: 05/13/2016 | microsoft store: link
subnautica (game preview)
released into game preview: 05/17/2016 | microsoft store: link
super night riders
release date: 05/18/2016 | microsoft store: link
mimic arena
release date: 05/18/2016 | microsoft store: link
cubikolor
release date: 05/20/2016 | microsoft store: link
not a hero
release date: 05/24/2016 | microsoft store: link
olliolli2: xl edition
release date: 05/24/2016 | microsoft store: link
turnon
release date: 06/01/2016 | microsoft store: link
fragments of him
release date: 06/01/2016 | microsoft store: link
kick & fennick
release date: 06/03/2016 | microsoft store: link
gate of memories
release date: 06/03/2016 | microsoft store: link
heart&slash
release date: 06/03/2016 | microsoft store: link
hard reset redux
release date: 06/03/2016 | microsoft store: link
among the sleep
release date: 06/03/2016 | microsoft store: link
dangerous golf
release date: 06/03/2016 | microsoft store: link
neon chrome
release date: 06/08/2016 | microsoft store: link
in between
release date: 06/08/2016 | microsoft store: link
heartz
release date: 06/08/2016 | microsoft store: link
color symphony 2
release date: 06/08/2016 | microsoft store: link
fenix furia
release date: 06/08/2016 | microsoft store: link
soul axiom
release date: 06/08/2016 | microsoft store: link
grim legends: the forsaken bride
release date: 06/10/2016 | microsoft store: link
dovetail games euro fishing
release date: 06/10/2016 | microsoft store: link
monkey king saga
release date: 06/15/2016 | microsoft store: link
bard’s gold
release date: 06/17/2016 | microsoft store: link
drawful 2
release date: 06/22/2016 | microsoft store: link
into the belly of the beast
release date: 06/22/2016 | microsoft store: link
land it!
release date: 06/22/2016 | microsoft store: link
lumo
release date: 06/22/2016 | microsoft store: link
monochroma
release date: 06/24/2016 | microsoft store: link
kung-fu for kinect
release date: 06/24/2016 | microsoft store: link
full mojo rampage
release date: 06/28/2016 | microsoft store: link
lost sea
release date: 06/29/2016 | microsoft store: link
inside
release date: 06/29/2016 | microsoft store: link
the magic circle: gold edition
release date: 06/29/2016 | microsoft store: link
prison architect
release date: 07/01/2016 | microsoft store: link
dynamite fishing – world games
release date: 07/01/2016 | microsoft store: link
ethan: meteor hunter
release date: 07/01/2016 | microsoft store: link
the incredible adventures of van helsing ii
release date: 07/01/2016 | microsoft store: link
the banner saga 2
release date: 07/01/2016 | microsoft store: link
alto’s adventure
release date: 07/07/2016 | microsoft store: link
dex
release date: 07/08/2016 | microsoft store: link
carmageddon: max damage
release date: 07/08/2016 | microsoft store: link
anarcute
release date: 07/12/2016 | microsoft store: link
song of the deep
release date: 07/12/2016 | microsoft store: link
super mutant alien assault
release date: 07/12/2016 | microsoft store: link
videoball
release date: 07/13/2016 | microsoft store: link
pharaonic
release date: 07/13/2016 | microsoft store: link
kyub
release date: 07/13/2016 | microsoft store: link
fru
release date: 07/13/2016 | microsoft store: link
rivals of aether (game preview)
released into game preview: 07/13/2016 | microsoft store: link
snooker nation championship (game preview)
released into game preview: 07/13/2016 | microsoft store: link
kerbal space program
release date: 07/15/2016 | microsoft store: link
the world 2: hunting boss
release date: 07/15/2016 | microsoft store: link
the solus project
release date: 07/15/2016 | microsoft store: link
reversi quest
release date: 07/15/2016 | microsoft store: link
tumblestone
release date: 07/16/2016 | microsoft store: link
10 second ninja x
release date: 07/19/2016 | microsoft store: link
sword coast legends
release date: 07/19/2016 | microsoft store: link
maldita castilla ex cursed castile
release date: 07/20/2016 | microsoft store: link
ninja pizza girl
release date: 07/20/2016 | microsoft store: link
cast of the seven godsends – redux
release date: 07/20/2016 | microsoft store: link
hyper light drifter
release date: 07/26/2016 | microsoft store: link
dungeon punks
release date: 07/26/2016 | microsoft store: link
we happy few (game preview)
released into game preview: 07/26/2016 | microsoft store: link
action news heroes
release date: 07/27/2016 | microsoft store: link
quatros origins
release date: 07/29/2016 | microsoft store: link
breach & clear: deadline
release date: 08/03/2016 | microsoft store: link
overcooked
release date: 08/03/2016 | microsoft store: link
dreamals : dream quest
release date: 08/03/2016 | microsoft store: link
cannon brawl
release date: 08/05/2016 | microsoft store: link
ben-hur
release date: 08/09/2016 | microsoft store: link
kingdom
release date: 08/09/2016 | microsoft store: link
#killallzombies
release date: 08/10/2016 | microsoft store: link
anode
release date: 08/10/2016 | microsoft store: link
lies of astaroth
release date: 08/12/2016 | microsoft store: link
momentum
release date: 08/12/2016 | microsoft store: link
baila latino
release date: 08/17/2016 | microsoft store: link
unnamed fiasco
release date: 08/17/2016 | microsoft store: link
slime rancher (game preview)
released into game preview: 08/19/2016 | microsoft store: link
hue
release date: 08/23/2016 | microsoft store: link
worms: wmd
release date: 08/23/2016 | microsoft store: link
armikrog
release date: 08/23/2016 | microsoft store: link
valley
release date: 08/24/2016 | microsoft store: link
star hammer: the vanguard prophecy
release date: 08/25/2016 | microsoft store: link
nightmares from the deep 2: the siren`s call
release date: 08/26/2016 | microsoft store: link
obliteracers
release date: 08/26/2016 | microsoft store: link
solar shifter ex
release date: 08/26/2016 | microsoft store: link
140
release date: 08/30/2016 | microsoft store: link
the turing test
release date: 08/30/2016 | microsoft store: link
binaries
release date: 08/30/2016 | microsoft store: link
armello
release date: 08/30/2016 | microsoft store: link
2020: my country
release date: 08/30/2016 | microsoft store: link
i, zombie
release date: 08/31/2016 | microsoft store: link
hack, slash, & backstab
release date: 08/31/2016 | microsoft store: link
earthlock: festival of magic
release date: 09/01/2016 | microsoft store: link
stories of bethem: full moon
release date: 09/02/2016 | microsoft store: link
freezeme
release date: 09/02/2016 | microsoft store: link
the final station
release date: 09/02/2016 | microsoft store: link
claire: extended cut
release date: 09/06/2016 | microsoft store: link
oceanhorn – monster of uncharted seas
release date: 09/07/2016 | microsoft store: link
dogos
release date: 09/07/2016 | microsoft store: link
awesomenauts assemble!
release date: 09/07/2016 | microsoft store: link
king oddball
release date: 09/09/2016 | microsoft store: link
stardust galaxy warriors
release date: 09/09/2016 | microsoft store: link
pure chess
release date: 09/09/2016 | microsoft store: link
emily wants to play
release date: 09/09/2016 | microsoft store: link
jotun
release date: 09/09/2016 | microsoft store: link
the witness
release date: 09/13/2016 | microsoft store: link
perfect woman
release date: 09/14/2016 | microsoft store: link
mount & blade: warband
release date: 09/16/2016 | microsoft store: link
dear esther
release date: 09/20/2016 | microsoft store: link
lastfight
release date: 09/20/2016 | microsoft store: link
firewatch
release date: 09/21/2016 | microsoft store: link
toy odyssey: the lost and found
release date: 09/21/2016 | microsoft store: link
eventide: slavic fable
release date: 09/23/2016 | microsoft store: link
the bunker
release date: 09/23/2016 | microsoft store: link
everspace (game preview)
released into game preview: 08/19/2016 | microsoft store: link
zenith
release date: 09/30/2016 | microsoft store: link
axiom verge
release date: 09/30/2016 | microsoft store: link
warhammer – the end times – vermintide
release date: 10/04/2016 | microsoft store: link
castles
release date: 10/05/2016 | microsoft store: link
speedboat challenge
release date: 10/05/2016 | microsoft store: link
happy dungeons
release date: 10/05/2016 | microsoft store: link
rogue stormers
release date: 10/07/2016 | microsoft store: link
one hundred ways
release date: 10/07/2016 | microsoft store: link
castle invasion: throne out
release date: 10/12/2016 | microsoft store: link
blue rider
release date: 10/12/2016 | microsoft store: link
mantis burn racing
release date: 10/12/2016 | microsoft store: link
cosmo run
release date: 10/13/2016 | microsoft store: link
manual samuel
release date: 10/14/2016 | microsoft store: link
dgu
release date: 10/14/2016 | microsoft store: link
hopiko
release date: 10/19/2016 | microsoft store: link
the bug butcher
release date: 10/19/2016 | microsoft store: link
rocket riot
release date: 10/20/2016 | microsoft store: link
slain: back from hell
release date: 10/21/2016 | microsoft store: link
the jackbox party pack 3
release date: 10/21/2016 | microsoft store: link
horse racing 2016
release date: 10/21/2016 | microsoft store: link
ginger: beyond the crystal
release date: 10/25/2016 | microsoft store: link
kyurinaga’s revenge
release date: 10/25/2016 | microsoft store: link
exile’s end
release date: 10/26/2016 | microsoft store: link
saturday morning rpg
release date: 10/26/2016 | microsoft store: link
blast brawl 2: bloody boogaloo
release date: 10/26/2016 | microsoft store: link
clustertruck
release date: 10/28/2016 | microsoft store: link
earth’s dawn
release date: 11/01/2016 | microsoft store: link
super dungeon bros
release date: 11/01/2016 | microsoft store: link
gas guzzlers extreme
release date: 11/04/2016 | microsoft store: link
xenoraid
release date: 11/08/2016 | microsoft store: link
bokosuka wars ⅱ
release date: 11/09/2016 | microsoft store: link
mekazoo
release date: 11/15/2016 | microsoft store: link
ittle dew 2
release date: 11/15/2016 | microsoft store: link
nebulous
release date: 11/16/2016 | microsoft store: link
headlander
release date: 11/18/2016 | microsoft store: link
clouds & sheep 2
release date: 11/18/2016 | microsoft store: link
wheels of aurelia
release date: 11/18/2016 | microsoft store: link
bombing busters
release date: 11/18/2016 | microsoft store: link
enigmatis 2: the mists of ravenwood
release date: 11/25/2016 | microsoft store: link
stern pinball arcade
release date: 12/02/2016 | microsoft store: link
furi
release date: 12/02/2016 | microsoft store: link
wand wars
release date: 12/06/2016 | microsoft store: link
her majesty’s spiffing
release date: 12/07/2016 | microsoft store: link
energy cycle
release date: 12/07/2016 | microsoft store: link
tennis in the face
release date: 12/09/2016 | microsoft store: link
westerado: double barreled
release date: 12/09/2016 | microsoft store: link
silence – the whispered world 2
release date: 12/09/2016 | microsoft store: link
sky force anniversary
release date: 12/09/2016 | microsoft store: link
the little acre
release date: 12/13/2016 | microsoft store: link
feist
release date: 12/13/2016 | microsoft store: link
stardew valley
release date: 12/13/2016 | microsoft store: link
animated puzzles star
release date: 12/14/2016 | microsoft store: link
astroneer (game preview)
released into game preview: 12/15/2016 | microsoft store: link
bridge constructor stunts
release date: 12/16/2016 | microsoft store: link
steel rain x
release date: 12/16/2016 | microsoft store: link
shantae: half-genie hero
release date: 12/20/2016 | microsoft store: link
wick
release date: 12/21/2016 | microsoft store: link
momonga pinball adventures
release date: 12/21/2016 | microsoft store: link
crypt of the serpent king
release date: 12/21/2016 | microsoft store: link
boom ball 2 for kinect
release date: 12/21/2016 | microsoft store: link
world of van helsing: deathtrap
release date: 12/30/2016 | microsoft store: link
nevermind
release date: 01/11/2017 | microsoft store: link
acorn assault
release date: 01/11/2017 | microsoft store: link
rise and shine
release date: 01/13/2017 | microsoft store: link
dead effect 2
release date: 01/13/2017 | microsoft store: link
friday night bullet arena
release date: 01/13/2017 | microsoft store: link
sylvio
release date: 01/13/2017 | microsoft store: link
pit people (game preview)
released into game preview: 01/13/2017 | microsoft store: link
siegecraft commander
release date: 01/17/2017 | microsoft store: link
rwby
release date: 01/17/2017 | microsoft store: link
i am bread
release date: 01/20/2017 | microsoft store: link
metrico+
release date: 01/20/2017 | microsoft store: link
toby: the secret mine
release date: 01/20/2017 | microsoft store: link
hunter’s legacy
release date: 01/20/2017 | microsoft store: link
the assembly
release date: 01/20/2017 | microsoft store: link
towerfall ascension
release date: 01/25/2017 | microsoft store: link
the sun and moon
release date: 01/27/2017 | microsoft store: link
doodle god: ultimate edition
release date: 01/27/2017 | microsoft store: link
subterrain
release date: 01/27/2017 | microsoft store: link
wells
release date: 01/29/2017 | microsoft store: link
kill the bad guy
release date: 01/31/2017 | microsoft store: link
candleman
release date: 02/01/2017 | microsoft store: link
pixel heroes: byte & magic
release date: 02/03/2017 | microsoft store: link
aqua kitty – udx
release date: 02/03/2017 | microsoft store: link
knee deep
release date: 02/03/2017 | microsoft store: link
gimme five
release date: 02/03/2017 | microsoft store: link
8days
release date: 02/07/2017 | microsoft store: link
pix the cat
release date: 02/08/2017 | microsoft store: link
crypt of the necrodancer
release date: 02/10/2017 | microsoft store: link
uncanny valley
release date: 02/10/2017 | microsoft store: link
spheroids
release date: 02/10/2017 | microsoft store: link
io
release date: 02/14/2017 | microsoft store: link
mx nitro
release date: 02/14/2017 | microsoft store: link
sniper elite 4
release date: 02/14/2017 | microsoft store: link
typoman
release date: 02/17/2017 | microsoft store: link
vertical drop heroes hd
release date: 02/17/2017 | microsoft store: link
vaccine
release date: 02/21/2017 | microsoft store: link
shift happens!
release date: 02/22/2017 | microsoft store: link
zombie vikings
release date: 02/22/2017 | microsoft store: link
warhammer quest
release date: 02/24/2017 | microsoft store: link
chime sharp
release date: 02/24/2017 | microsoft store: link
trulon: the shadow engine
release date: 02/24/2017 | microsoft store: link
forma.8
release date: 02/24/2017 | microsoft store: link
a pixel story
release date: 02/24/2017 | microsoft store: link
riptide gp: renegade
release date: 02/24/2017 | microsoft store: link
we are the dwarves
release date: 02/24/2017 | microsoft store: link
ghost blade hd
release date: 02/28/2017 | microsoft store: link
poi
release date: 02/28/2017 | microsoft store: link
eekeemoo – splinters of the dark shard
release date: 03/03/2017 | microsoft store: link
bloons td 5
release date: 03/03/2017 | microsoft store: link
hitchhiker
release date: 03/03/2017 | microsoft store: link
verdun
release date: 03/08/2017 | microsoft store: link
sublevel zero redux
release date: 03/08/2017 | microsoft store: link
table top racing: world tour – ultimate edition
release date: 03/10/2017 | microsoft store: link
clicker heroes
release date: 03/10/2017 | microsoft store: link
kitty power matchmaker
release date: 03/10/2017 | microsoft store: link
paladins
release date: 03/12/2017 | microsoft store: link
death squared
release date: 03/14/2017 | microsoft store: link
momodora: reverie under the moonlight
release date: 03/16/2017 | microsoft store: link
dark arcana: the carnival
release date: 03/17/2017 | microsoft store: link
blue-collar astronaut
release date: 03/17/2017 | microsoft store: link
neurovoider
release date: 03/17/2017 | microsoft store: link
88 heroes
release date: 03/24/2017 | microsoft store: link
worlds of magic: planar conquest
release date: 03/24/2017 | microsoft store: link
anoxemia
release date: 03/28/2017 | microsoft store: link
has been heroes
release date: 03/28/2017 | microsoft store: link
r.b.i. baseball 17
release date: 03/28/2017 | microsoft store: link
snake pass
release date: 03/29/2017 | microsoft store: link
air guitar warrior for kinect
release date: 03/29/2017 | microsoft store: link
thimbleweed park
release date: 03/30/2017 | microsoft store: link
the inner world
release date: 03/31/2017 | microsoft store: link
four sided fantasy
release date: 03/31/2017 | microsoft store: link
skykeepers
release date: 03/31/2017 | microsoft store: link
punch club
release date: 03/31/2017 | microsoft store: link
use your words
release date: 04/04/2017 | microsoft store: link
enter the gungeon
release date: 04/05/2017 | microsoft store: link
talent not included
release date: 04/05/2017 | microsoft store: link
blackwood crossing
release date: 04/05/2017 | microsoft store: link
yooka-laylee
release date: 04/11/2017 | microsoft store: link
crawl
release date: 04/11/2017 | microsoft store: link
aaero
release date: 04/11/2017 | microsoft store: link
the sexy brutale
release date: 04/12/2017 | microsoft store: link
voodoo vince: remastered
release date: 04/18/2017 | microsoft store: link
wonder boy: the dragon’s trap
release date: 04/18/2017 | microsoft store: link
flinthook
release date: 04/18/2017 | microsoft store: link
late shift
release date: 04/18/2017 | microsoft store: link
race the sun
release date: 04/21/2017 | microsoft store: link
‘n verlore verstand
release date: 04/21/2017 | microsoft store: link
deformers
release date: 04/21/2017 | microsoft store: link
cities: skylines
release date: 04/21/2017 | microsoft store: link
best!
jill conto
id@xbox community manager
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ˈmɛni ˈpipəl faɪnd ðɛmˈsɛlvz baɪɪŋ ə ˈpəpi ɔn ˌɪmˈpəls. ðɪs ɪz ˈjuʒəwəli ə mɪˈsteɪk. ˌbiˈfɔr ju baɪ ə ˈpəpi fər ðə fərst taɪm ju nid tɪ ˌdɪˈsaɪd ɪf ðə ɪz ðə raɪt dɔg fər ju. ˈmɛni ɪgˈzæmpəl, lʊk æt ə ˈbigəl ˈpəpi wɪθ ɪts lɑrʤ ˈʤɛnəl aɪz, ˈdrupi ɪrz, ɪts ˈvɛri braʊn ənd waɪt koʊt ənd θɪŋk ðət ðə dɔg ɪz ˈpərˌfɪkt. ˈbigəlz ər fækt ðə θərd moʊst ˈpɑpjələr dɔg ɪn ðə juˈnaɪtɪd steɪts ənd həz bɪn ˈpɑpjələr sɪns ɪt wɑz ˌɪntrəˈdust ˈɪntu ðə juz. ɪn 1640 ˌhaʊˈɛvər, ɛz wɪθ ɔl ˈpəpiz, ənd ðiz dɔgz ɪn ˌpɑˈtɪkjələr, ju məst æsk ˈjɔrsɛlf ɪf ju ənd jʊr ˈfæməli ər ˈrɛdi fər ðə dɔg. hir ər ðə tɔp ˈsɛvən kˈwɛsʧənz ðət ju məst æsk ˈjɔrsɛlf ˌbiˈfɔr baɪɪŋ ə dɔg. hæv ju ɪˈnəf taɪm tɪ lʊk ˈæftər ðə dɔg? ɔl dɔgz ər ˈsoʊʃəbəl, soʊ ðeɪ ər ˈmɪzərəbəl ɪf lɛft əˈloʊn ɔl deɪ. ɪf ðə ɪnˈtaɪər ˈfæməli wərks ˈfʊlˌtaɪm ðə dɔg wɪl nɑt ˈoʊnli bi ˈmɪzərəbəl bət wɪl bi ˌɪnˈklaɪnd tɪ gɪt ˈɪntu ˈmɪsʧəf. ðə bɛst hoʊm fər ə dɔg ɪz wən wɛr ˈsəmˌwən ɪz hoʊm ɔl deɪ, ər æt list pɑrt əv ˈɛvəri deɪ. ɪf goʊɪŋ tɪ liv jʊr dɔg əˈloʊn fər mɔr ðən fɔr aʊərz ju ʃʊd əreɪnʤ fər ˈsəmˌwən tɪ wɔk ðə dɔg waɪl ju ər ˈæbsənt. ɪn maɪ ˈfæməli, wɛr wi hæv dɔg ˈoʊnərz ðət wərk ˈfʊlˌtaɪm, ðə dɔg ɪz ˈteɪkən tɪ əˈnəðər ˈfæməli ˈmɛmbər hu ɪz hoʊm ɔl deɪ ənd ɪz ˈwɪlɪŋ tɪ dɔg sɪt. kən ju əˈfɔrd ə dɔg? ˈoʊnɪŋ ˈɛni dɔg kən bi ɪkˈspɛnsɪv ɔn tɔp əv ðə ˌɪˈnɪʃəl kɔst əv ˈpjʊrˈbrɛd ˈpəpi, ðɛr ɪz ɔl ðə ɪkˈwɪpmənt ðət ˈɛni ˈpəpi nidz səʧ ɛz dɔg kreɪts, ˈkɑlərz ənd lidz, tɔɪz ənd ˈtreɪnɪŋ ɪkˈwɪpmənt ənd ju meɪ wɔnt tɪ ˌɪnˈstɔl ə dɔg dɔr. ɪn əˈdɪʃən, θruaʊt ɪts laɪf ðə dɔg wɪl nid fud, vɛt kɛr wɪʧ kən bi ɪkˈspɛnsɪv ɪf ðə dɔg dɪˈvɛləps hɛlθ ˈprɑbləmz, ənd ˈkɛnəl fiz fər wɪn ðə ˈfæməli goʊz ɔn veɪˈkeɪʃən tɪ ˈpleɪsɪz wɛr ðiz dɔgz ər nɑt ækˈsɛptɪd ənd wɪn ˈəðər ˈfæməli ˈmɛmbərz ər nɑt əˈveɪləbəl. ɪn ˈɪŋglənd, maɪ ˈfæməli sɑlvd ðə ˈprɑbləm baɪ ˈhævɪŋ ˈoʊnli ˈkɛrəˌvæn ər ˈʃæˌleɪ ˈhɑləˌdeɪz. ɪn ˈkænədə ənd ðə ˈjuˈɛs, ðə ˈprɑbləm kən bi sɑlvd baɪ ˈhævɪŋ ˈkæmpɪŋ ˈhɑləˌdeɪz. ˌhaʊˈɛvər, ju meɪ wɔnt tɪ goʊ əˈbrɔd wən deɪ ənd ðɛn ˈkɛnəl fiz meɪ bi ˈnɛsəˌsɛri. ər ju priˈpɛrd tɪ oʊn ðə dɔg fər ɪts ɪnˈtaɪər laɪf? ðə ˈlaɪfˌspæn əv ə dɔg ɪz əˈprɑksəmətli 14 jɪrz. ju meɪ hæv taɪm fər ə dɔg raɪt naʊ bət ər ju priˈpɛrd tɪ meɪk ðə dɔg pɑrt əv jʊr ˈfæməli ˈoʊvər ðə ˈlɔŋˈtərm. fərˈgɛt, ðət ˈoʊnɪŋ ə dɔg minz ˈwɔkɪŋ ðə dɔg æt list twaɪs ə deɪ, ˈɛvəri deɪ ənd ɪn ɔl ˈwɛðərz. dɪz ˈɛvriˌwən ɪn ðə ˈfæməli wɔnt ə dɔg ənd du ðeɪ wɔnt ə dɔg? ər ɔl ˈfæməli ˈmɛmbərz ɪz kin tɪ gɪt ə dɔg ɛz ju ər? dɪz ˈɛniˌwən ɪn ðə ˈfæməli hæv ˈælərʤiz tɪ ˈænəməlz, ɪf ðeɪ du ðeɪ ʃʊd bi ˈtɛstɪd fər dɔgz. aɪ noʊ frəm ˈpərsɪnəl ɪkˈspɪriəns ʤɪst haʊ ˈhɑrtˌbroʊkən ə ʧaɪld wɪl bi ɪf ju gɪt ə dɔg ənd ðɛn hæv tɪ faɪnd ɪm ə nu hoʊm bɪˈkəz əv ˈælərʤiz. ə ʧaɪld ɪn ˌpɑˈtɪkjələr wɪl fil ə trɪˈmɛndəs əˈmaʊnt əv gɪlt ɪf ju hæv tɪ faɪnd ə dɔg ə nu hoʊm bɪˈkəz ðə dɔg gɪvz ɪm ˈæzmə. əˈnəðər kənˌsɪdərˈeɪʃən ɪz ˈwɛðər jʊr ˈʧɪldrən ər oʊld ɪˈnəf tɪ hæv ə dɔg. ər ju ə ˈdɔgi ˈpərsən? wʊd ju ˈrəðər hæv ə ˈspɑtləs haʊs wɪθ ˈɛvriˌθɪŋ ɪn ɪts pleɪs, wʊd ju ˈrəðər hæv ðə dɔg. ðə dɔg minz ˈmədi pɔ prɪnts, dɑrk hɛr ənd drul. ə ˈpəpi minz ˈæksədənts waɪl ˈtreɪnɪŋ, ðə ɔˈkeɪʒənəl ʧud ʃu ənd meɪ min dɔg ˈvɑmət ɪn ðə kɑr ɛz hi bɪˈkəmz əˈkəstəmd tɪ ˈdraɪvɪŋ wɪθ ju. ɪz jʊr hoʊm ˈsutəbəl fər ə dɔg? ɪt ɪz ˈpɑsəbəl fər ə dɔg tɪ lɪv ɪn ɪn ən əˈpɑrtmənt, bət ə haʊs wɪθ ðə jɑrd meɪks haʊs ˈtreɪnɪŋ məʧ ˈiziər. ɪf ju du lɪv ɪn ən əˈpɑrtmənt ju meɪ wɔnt tɪ kənˈsɪdər ə ˈrɛskju dɔg ðət ɪz ɔˈrɛdi treɪnd. haʊs ˈtreɪnɪŋ ə dɔg ɔn ðə flɔr əv ən əˈpɑrtmənt ˈbɪldɪŋ ɪz nɑt ˈrɪli ˈfizəbəl. wət ɪf ju gɪt ə dɔg ðət bɑrks? moʊst dɔgz ər nɑt ˈjuʒəwəli ˈbɑrkərz bət noʊ ˈmætər wət ðə brid, ˈsəmˌtaɪmz ju ɛnd əp wɪθ ðə ˈbɑrkɪŋ dɔg məʧ tɪ jʊr ˌkɑnstərˈneɪʃən ənd ðə əˈnɔɪəns əv jʊr ˈneɪbərz. ɪt ɪz ˈpɑsəbəl tɪ treɪn ˈɛni dɔg aʊt əv ˈbɑrkɪŋ ˈhæbət, bət ˈfrikwɛntli ðɪs teɪks taɪm. ju məst æsk ˈjɔrsɛlf ɪf ju ər priˈpɛrd fər ðə nɔɪz, ðə ˈneɪbər kəmˈpleɪnts ənd ðə taɪm ˈnɛsəˌsɛri tɪ treɪn ðə dɔg. klɪk hir tɪ gɪt mɔr ˌɪnˌfɔrˈmeɪʃən əˈbaʊt haʊ tɪ stɑp jʊr dɔg ˈbɑrkɪŋ
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many people find themselves buying a puppy on impulse. this is usually a mistake. before you buy a puppy for the first time you need to decide if the is the right dog for you.
many people,for example, look at a beagle puppy with its large gentle eyes, droopy ears, its very brown and white coat and think that the dog is perfect. beagles are fact the third most popular dog in the united states and has been popular since it was introduced into the u.s. in 1640. however, as with all puppies, and these dogs in particular, you must ask yourself if you and your family are ready for the dog. here are the top seven questions that you must ask yourself before buying a dog.
have you enough time to look after the dog?
all dogs are sociable, so they are miserable if left alone all day. if the entire family works full-time the dog will not only be miserable but will be inclined to get into mischief. the best home for a dog is one where someone is home all day, or at least part of every day. if you’re going to leave your dog alone for more than four hours you should arrange for someone to walk the dog while you are absent. in my family, where we have dog owners that work full-time, the dog is taken to another family member who is home all day and is willing to dog sit.
can you afford a dog? owning any dog can be expensive
on top of the initial cost of purebred puppy, there is all the equipment that any puppy needs such as dog crates, collars and leads, toys and training equipment and you may want to install a dog door. in addition, throughout its life the dog will need food, vet care which can be expensive if the dog develops health problems, and kennel fees for when the family goes on vacation to places where these dogs are not accepted and when other family members are not available. in england, my family solved the problem by having only caravan or chalet holidays. in canada and the us, the problem can be solved by having camping holidays. however, you may want to go abroad one day and then kennel fees may be necessary.
are you prepared to own the dog for its entire life?
the lifespan of a dog is approximately 14 years. you may have time for a dog right now but are you prepared to make the dog part of your family over the long-term. don’t forget, that owning a dog means walking the dog at least twice a day, every day and in all weathers.
does everyone in the family want a dog and do they want a dog?
are all family members is keen to get a dog as you are? does anyone in the family have allergies to animals, if they do they should be tested for dogs. i know from personal experience just how heartbroken a child will be if you get a dog and then have to find him a new home because of someone’s allergies. a child in particular will feel a tremendous amount of guilt if you have to find a dog a new home because the dog gives him asthma. another consideration is whether your children are old enough to have a dog.
are you a doggie person?
would you rather have a spotless house with everything in its place, would you rather have the dog. the dog means muddy paw prints, dark hair and drool. a puppy means accidents while training, the occasional chewed shoe and may mean dog vomit in the car as he becomes accustomed to driving with you.
is your home suitable for a dog?
it is possible for a dog to live in in an apartment, but a house with the yard makes house training much easier. if you do live in an apartment you may want to consider a rescue dog that is already trained. house training a dog on the 24th floor of an apartment building is not really feasible.
what if you get a dog that barks?
most dogs are not usually barkers but no matter what the breed, sometimes you end up with the barking dog much to your consternation and the annoyance of your neighbours. it is possible to train any dog out of barking habit, but frequently this takes time. you must ask yourself if you are prepared for the noise, the neighbour complaints and the time necessary to train the dog. click here to get more information about how to stop your dog barking
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cams* ɔˈstreɪljən ˈfɔrmjələ 4 ˈdraɪvər luis lidz həz əˈnaʊnst təˈdeɪ ðət hi wɪl bi kəmˈpitɪŋ ɪn ðə ˈfaɪnəl raʊnd əv ðə ˈʤərmən ˈfɔrmjələ 4 ˈʧæmpiənˌʃɪp æt nɛkst ˈwiˌkɪnd. ðə wɪl ʤɔɪn tim ˈkɑnsɛpts təˈgɛðər wɪθ ənd ɪz ɪkˈstrimli ˈigər tɪ hɪt ðə ˌjʊrəˈpiən ˈreɪsɪŋ sin fər ðə fərst taɪm. ðɪs bi ðə fərst taɪm ðə ˈtiˌneɪʤər həz kəmˈpitɪd ˈoʊvərˈsiz ˈhævɪŋ ˈpriviəsli reɪst æt məˈleɪʒə ɪn ðə ˈeɪʒən kəp ˈsɪriz ənd ɪn nu ˈfɔrmjələ fɔrd ˈʧæmpiənˌʃɪp ˈərliər ðɪs jɪr, wɛr hi wən hɪz fərst reɪs. lidz həz ˈɔlsoʊ ˈtɛstɪd wɪθ æt ðə ɪn ˈʤərməni æt ʤɪst 14 jɪrz əv eɪʤ wɪl bi maɪ fərst ˌɪnərˈnæʃənɑl ɪˈvɛnt ɪn ˈjʊrəp ənd ˈrɪli ˈlʊkɪŋ ˈfɔrwərd tɪ ˈreɪsɪŋ ɔn ˌjʊrəˈpiən soil,”*,” lidz sɛd. ˈprɪti ɪkˈsaɪtɪd əˈbaʊt ðɪs ˌɑpərˈtunəti ənd ˈhoʊpɪŋ tɪ lərn haʊ ðə ˌjʊrəˈpiən ˈdraɪvərz reɪs, ənd ˈhoʊpfəli aɪ kən gɪt ə strɔŋ rɪˈzəlt ənd sɪˈmɛnt maɪ weɪ ˈɪntu ðə ˌjʊrəˈpiən ˈreɪsɪŋ sin. æm duɪŋ maɪ ˈrisərʧ ənd ˈwɑʧɪŋ haʊ ðeɪ reɪs, ənd ɪt ʃʊd bi fun!”*!” ˈkərəntli θərd ɪn ðə ɔˈstreɪljən ˈfɔrmjələ 4 ˈʧæmpiənˌʃɪp, lidz ɪz ˈɔlsoʊ ˈsɛkənd ɪn ðə ɔˈstreɪljən ˈfɔrmjələ fɔrd ˈʧæmpiənˌʃɪp ənd wɪl bi ˈreɪsɪŋ æt ˈweɪkˌfild pɑrk fər ðə ˈfaɪnəl raʊnd əv ðɛr ˈʧæmpiənˌʃɪp ˌbiˈfɔr raʊnd 5 əv ɔˈstreɪljən ˈfɔrmjələ 4 ɔn ðə goʊld koʊst. bi fən ˈreɪsɪŋ kloʊz tɪ ɔl ðə ɪˈvɛnts, æt wən pɔɪnt ðɪs jɪr aɪ reɪst faɪv aʊt əv sɪks weekends!”*!” lidz kənˈtɪnjud. stɪl ɪn skul ˈfɪnɪʃɪŋ jɪr 10 soʊ ˈɪntəˌrɛstɪŋ ˈʤəgəlɪŋ ˈɛvriˌθɪŋ, bət aɪ æm dɪˈtərmənd tɪ finish.”*.” lidz ˈɔlsoʊ ˈmɛnʃənd ðət hi wʊd mɔr ðən ˈlaɪkli bi ˈreɪsɪŋ ɪn ˈjʊrəp nɛkst jɪr, ˈpeɪvɪŋ ðə weɪ tɪ hɪz drim əv ˈreɪsɪŋ ɪn ˈfɔrmjələ 1 1 ɪz ðə drim fər mi, ənd aɪ wɔnt tɪ hæv ðə ˌɑpərˈtunəti tɪ meɪk it.”*.” ɪt ɪz ɪkˈstrimli hɑrd, bət aɪ æm ˈθæŋkfəl fər ˈɛvəri ˈspɑnsər aɪ hæv tɪ hɛlp mi əˈʧiv maɪ dream.”*.” ðə ˈreɪsər ˈɔlsoʊ θæŋkt hɪz dæd, ˈfæməli ənd hɪz ˈspɑnsərz ˈprɛstən haɪər, austrans*, ˈbrændən, ˈædəmz ˌælɪgˈzændər ənd ɪˈlɛktrɪks fər ɔl ðɛr səˈpɔrt soʊ fɑr ðɪs jɪrz ənd ðə ˈfæməli əv təˈbaɪəs ənd fər ˈpərsɪnəl kɛr ənd səˈpɔrt ˈdʊrɪŋ hɪz steɪ ɪn ˈʤərməni. lidz wɪl hɛd ˈoʊvər tɪ ˈʤərməni ɔn ˈsənˌdi ˈivnɪŋ, ənd wɪl meɪk hɪz ˈdeɪbju ɪn ðə ˈkætəˌgɔri ɔn ðə ˈsərkət ɔn ɑkˈtoʊbər fər mɔr ˌɪnˌfɔrˈmeɪʃən ɔn luis, hɛd tɪ hɪz ˈwɛbˌsaɪt
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cams jayco australian formula 4 driver luis leeds has announced today that he will be competing in the final round of the adac german formula 4 championship at hockenheim next weekend.
the 15-year-old will join team smc schwaerzler motorsport concepts together with kug motorsport and is extremely eager to hit the european racing scene for the first time.
this won’t be the first time the teenager has competed overseas having previously raced at sepang malaysia in the asian cup series and in new zealand’s formula ford championship earlier this year, where he won his first race.
leeds has also tested with smc at the lausitzring in germany at just 14 years of age
“this will be my first international event in europe and i’m really looking forward to racing on european soil,” leeds said.
“i’m pretty excited about this opportunity and i’m hoping to learn how the european drivers race, and hopefully i can get a strong result and cement my way into the european racing scene.
“i am doing my research and watching how they race, and it should be fun!”
currently third in the cams jayco australian formula 4 championship, leeds is also second in the australian formula ford championship and will be racing at wakefield park for the final round of their championship before round 5 of australian formula 4 on the gold coast.
“it’ll be fun racing close to all the events, at one point this year i raced five out of six weekends!” leeds continued.
“i’m still in school finishing year 10 so it’s interesting juggling everything, but i am determined to finish.”
leeds also mentioned that he would more than likely be racing in europe next year, paving the way to his dream of racing in formula 1.
“formula 1 is the dream for me, and i want to have the opportunity to make it.”
“financially it is extremely hard, but i am thankful for every sponsor i have to help me achieve my dream.”
the melbourne-based racer also thanked his dad, family and his sponsors preston hire, austrans, brandon, adams alexander and a&e electrics for all their support so far this years and the family of tobias schwärzler and smc for personal care and support during his stay in germany.
leeds will head over to germany on sunday evening, and will make his debut in the category on the hockenheimring circuit on october 3-4.
for more information on luis, head to his website www.luisleeds96.com
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ɪf ju θɔt ɪt wɑz hɑt ɪn 2014 ɪt ʤɪst ju. læst jɪr wɑz ðə ˈhɑtəst ɔn ərθ sɪns ðə bɪˈgɪnɪŋ əv ɪn 1880 ðə ˈnæʃənəl ˌoʊʃiˈænɪk ənd ˌætməsˈfɛrɪk ædˌmɪnɪˈstreɪʃən, ɪn ɪts ˈænjuəl ˈgloʊbəl ˈklaɪmɪt rɪˈpɔrt ˈpəblɪʃt təˈdeɪ, kənˈfərmd ən ˌɪˈnɪʃəl ˈfɔrˌkæst beɪst ɔn ˈdætə frəm ˈʤænjuˌɛri θru ɑkˈtoʊbər. əˈkrɔs ðə lænd ənd ˈoʊʃənz, ðə ˈævərɪʤ ˈtɛmpərəʧər wɑz ˈnɪrli 0.69°c*) əˈbəv ðə ˈsɛnʧəri ˈævərɪʤ. ðə nɛkst ˈhɑtəst jɪrz wər 2005 ənd 2010 əv kɔrs, səm wɪl ˈɑrgju ðət wən jɪr ɪz ʤɪst ə ˈsɪŋgəl ˈdætə pɔɪnt. bi raɪt əˈbaʊt ðət, bət teɪk ə lʊk æt ə sɛt əv ˈdætə pɔɪnts ˈplɑtɪd ˈoʊvər taɪm: soʊ ɛz ˈsɛnətərz gɪt fɔrst tɪ dɪˈklɛr ˈwɛðər ðeɪ bɪˈliv ɪn ˈklaɪmɪt ʧeɪnʤ ər nɑt, ðɪs ɪz ə ˈstɔri wɛr ə ˈpɪkʧər spiks ə ˈθaʊzənd dɪˈgriz: wɛr ɛls du ju si ˈʤərnəˌlɪzəm əv ðɪs kˈwɑləti ənd ˈvælju? pliz hɛlp ˈjuˈɛs du mɔr. meɪk ə ˌkɑntrəˈbjuʃən naʊ. ɑr ˈkɑmɛnt ˈpɑləsi kip ɪt ˈsɪvəˌlaɪzd, kip ɪt ˈrɛləvənt, kip ɪt klɪr, kip ɪt ʃɔrt. pliz du nɑt poʊst lɪŋks ər pərˈmoʊʃənəl məˈtɪriəl. wi rɪˈzərv ðə raɪt tɪ ˈɛdət ənd tɪ dɪˈlit ˈkɑmɛnts wɛr ˈnɛsəˌsɛri. rɪˈleɪtɪd prɪnt
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if you thought it was hot in 2014, it wasn’t just you. last year was the hottest on earth since the beginning of record-keeping in 1880.
the national oceanic and atmospheric administration, in its annual global climate report published today, confirmed an initial forecast based on data from january through october.
across the world’s land and oceans, the average temperature was nearly 1.24°f (0.69°c) above the 20th century average. the next hottest years were 2005 and 2010.
of course, some will argue that one year is just a single data point. they’d be right about that, but let’s take a look at a set of data points plotted over time:
so as senators get forced to declare whether they believe in climate change or not, this is a story where a picture speaks a thousand degrees:
where else do you see journalism of this quality and value? please help us do more. make a tax-deductible contribution now.
our comment policy keep it civilized, keep it relevant, keep it clear, keep it short. please do not post links or promotional material. we reserve the right to edit and to delete comments where necessary. related print
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bæk ɪn 2014 wɪn ˈwərdləs ˈnɛrətɪv ədˈvɛnʧər vərˈʤɪnjə fərst broʊk graʊnd æt, pɔl din ɪnˈθuzd ɔn ɑr bɪˈhæf ðət ɪt wɑz ðə bɛst nu geɪm hid pleɪd ðət jɪr. naʊ ɪts 2016 ənd wɪr mɪr wiks əˈweɪ frəm riˈlis ˈpəblɪʃər 505 geɪmz həz pɪkt əp ˈvɛriəbəl steɪts geɪm fər riˈlis ɔn ˈpiˈsi, ˈpleɪˌsteɪʃən 4 ənd wən ɔn sɛpˈtɛmbər aɪ θɪŋk aɪ kən seɪ ðɪs ɪz ðə bɛst nu geɪm aɪv pleɪd ðɪs jɪr, tu. vərˈʤɪnjə ɪz ˌæbsəˈlutli səˈblaɪm. ˈfɑloʊɪŋ ɪn ðə ˈfʊtˌstɛps əv ˈəðər geɪmz səʧ ɛz gɔn hoʊm, ənd ˈθərˌdi flaɪts əv ˈləvɪŋ, ðɛrz ə ril sˈwægər tɪ haʊ vərˈʤɪnjə goʊz əˈbaʊt ɪts ˈbɪznɪs, ənd ə ril ˈkɑnfədɛns ɪn haʊ ˈvɛriəbəl steɪt tɛlz ɪts ˈstɔri. ˈnɑmənəli ðɪs ɪz ə dɪˈtɛktɪv θˈrɪlər sɛt ɪn ðə ˈərli, ˈkæstɪŋ ju ɛz ˈɛfˈbiˈaɪ ˈeɪʤənt æn ˈtɑrvər ɛz ʃi wərks hər weɪ θru ə ˈlæŋgwəd taʊn stərd baɪ ðə ˌdɪsəˈpɪrəns əv ˈskulˌbɔɪ ˈlukəs ˈfɛrˌfæks. tru dɪˈtɛktɪv, ˈsaɪləns əv ðə læmz ənd ə ˈlɪtəl slaɪs əv ɪˈθɪriəl lɪnʧ ˈmæʤɪk ər biɪŋ ˈtaʊtɪd ɛz vərˈʤɪnjəz touchstones*, bət wəts gɑt mi ɪkˈsaɪtɪd əˈbaʊt ɪt ɪz əˈnəðər kəˈnɛkʃən ðæts ənˈlaɪkli tɪ faɪnd ɪts weɪ ˈɪntu ˈɛni ˈmɑrkətɪŋ məˈtɪriəl. ɪn ɪts daʊnˈbit drɔɪŋ əv sˈmɔlˌtaʊn əˈmɛrɪkə, ɪn ˈmoʊmənts laɪk ðə ənˈwɛlkəm nɑk æt ðə dɔr əv ə ˈgrivɪŋ ˈpɛrənts haʊs ər ðə ˈloʊdɪd ˈsaɪləns əv ə ˈleɪtˌnaɪt kɑr ˈʤərni bɪɔnd ðə ˈsəbərbz, ðɛrz ˈsəmθɪŋ əv ʃɔrt ˈstɔri ˈraɪtər ˈreɪmənd ˈkɑrvər. ðɛrz ðət seɪm dɛft ɪˈfɪʃənsi tɪ ɪts ˈstɔriˌtɛlɪŋ, ɪn ɪts ˈwɪlɪŋnəs tɪ lɛt ki bits ˈhæpən θru ə ˈstoʊlən glæns ˈrəðər ðən ə ˈmɑnəˌlɔg. ə ˈdɛmoʊ ɪz əˈveɪləbəl ɔn stim raɪt naʊ. goʊ ənd pleɪ ɪt! wən sin ɪn ðə ʃɔrt ˈdɛmoʊ ðæts bɪn əˈsɛmbəld həz stək wɪθ mi, ˈsəmˈwət rɪˈmɑrkəbli ˈgɪvɪn haʊ ənd kˈwaɪətli ənrɪˈmɑrkəbəl ɪt ɪz. juv pʊld əp tɪ ə gæs ˈsteɪʃən ˈsəmˌwɛr aʊt əˈməŋst ðə paɪnz, ðə ˈθɪnɪs əv ðə dɑrk səˈʤɛstɪŋ ɪts ˈkəmɪŋ əp tɪ ˈmɪdˌnaɪt ˈsəmˌtaɪm ɪn ˈsəmərz leɪt deɪz, ənd wɪθ jʊr ˈɛfˈbiˈaɪ ˈpɑrtnər ˈhævɪŋ gɔn tɪ ˈsɛtəl əp ðə bɪl jʊr lɛft əˈloʊn ɪn ðə kɑr. riʧ ˈəndər ðə rɪr vju ˈmɪrər ənd ðɛrz ə flaɪər ˈædvərˌtaɪzɪŋ ə duˈkɑkɪs ˈpitsə ðɪs ɪz ə ˈpɪriəd geɪm, bət ɪt wɛrz ɪts ˈərli ˈlaɪtli waɪl ˈrəmɪʤɪŋ θru ðə gləv kəmˈpɑrtmənt lɛts ju sɪft θru ðə ˈdɛtrətəs əv jʊr ˈpɑrtnərz kɑr, ənd wɛr ju ˈnoʊtɪs haʊ hər ˈsərˌneɪm ˈʧeɪnʤɪz ɪn ðə ʤəŋk meɪl ðæts ˈgæðərd. vərˈʤɪnjəz ðə kaɪnd əv geɪm ðæts ˈeɪbəl tɪ fɪl ɪn ˌɪmˈpɔrtənt ˈkɛrɪktər ˈditeɪlz ɪn ðə ˈflɑtsəm ðət səraʊndz ðɛm. vərˈʤɪnjəz ə smɑrt geɪm meɪd baɪ smɑrt ˈpipəl, ɪn ˈəðər wərdz. ˈvɛriəbəl steɪts ˈʤɑnəθən ˈbəroʊz hæd wərkt ˈpriviəsli æt eɪaɪ ˈkəmpəˌni ˌbiˈfɔr ɪts ˌækwəˈzɪʃən baɪ ˈgugəl, ðət ˌpɑˈtɪkjələr muv ˈsɛtɪŋ ɪm ɔn ə sˈlaɪtli mɔr ˌsɪnəˈmætɪk bət ˈikwəli ˈsɛrəbrəl ˈvɛnʧər wɪθ vərˈʤɪnjə. hiz ən ˌɪnˈkrɛdəbli ˈsɔftli ˈspoʊkən mæn hɪz vɔɪs ɪz ˈɔfən lɔst ɪn ðə ˈfɪtɪŋ bət ˈnɔɪzi ˈbækˌdrɑp əv ðə kəˈfeɪ wɛr wi mit əˈlɔŋ wɪθ vərˈʤɪnjəz kəmˈpoʊzər ˈlɪndən ˈhɑlənd bət ɪts wərθ ˈlinɪŋ ɪn ənd ˈlɪsənɪŋ tɪ wət hiz gɑt tɪ seɪ. "ɑr æmˈbɪʃənz wər ˈtaɪni ˌɪˈnɪʃəli," ˈbəroʊz sɪz əv ðə geɪm ðət əˈpɪrd æt ɪn 2014 "ɪt wɑz goʊɪŋ tɪ bi ˈvɛri lin bət aɪ θɪŋk ɪts bɪˈkəm məʧ ˈbɪgər ðən wi ˌɪˈmæʤənd, ˌpɑrˈtɪkjələrli ɪn tərmz əv ðə ˈstɔriˌtɛlɪŋ. wiv bɪn ˈgɪvɪn ðə ˌɑpərˈtunəti tɪ spɛnd mɔr taɪm wɪθ ɪt. wi kʊd hæv toʊld ðə ˈstɔri ɪn hæf ðə taɪm, bət ɪt wʊd hæv bɪn ˈʃæbi." ðə tu jɪrz sɪns hæv bɪn spɛnt ɪkˈspændɪŋ əˈpɑn ðət ˈprɛmɪs, ˈfoʊldɪŋ ɪn nu sinz ənd nu ˈkɛrɪktərz. "ɪt wɑz ən ˌɪnˈdəlʤəns, ˈrɪli," sɪz ˈbəroʊz. "ðɛr wɑz ˈɔlˌmoʊst θri mənθs əv kənˈtɪnjuəs ˈraɪtɪŋ ˈstɑrtɪŋ æt 9 ɪn ðə ˈmɔrnɪŋ, ənd ˈkəmɪŋ əp wɪθ aɪˈdiəz ənd goʊɪŋ əˈweɪ tɪ raɪt sinz. aɪv ˈnɛvər hæd ən ɪkˈspɪriəns ˈwərkɪŋ ɪn ə ˈraɪtərz rum, bət ɪts kaɪnd əv laɪk ðət wid raɪt sinz ənd kəm bæk ənd goʊ θru ðɛm təˈgɛðər." vərˈʤɪnjə ɪz ə ˌsɪnəˈmætɪk geɪm, bət ɪt ərnz ðət mɔr ðən ˈmɛni ˈəðər geɪmz. ju gɪt ðə sɛns ðət ˈvɛriəbəl steɪt həz ə ˈdipər əˌpriʃiˈeɪʃən əv wət ðət tərm minz ðən ˈəðərz, ənd ðə ˈprɛzəns əv ˈhɑlənd, hu kəmz frəm ə fɪlm ˈbækˌgraʊnd, ˈsərtənli hɛlps. "aɪ θɪŋk frəm ˈwərkɪŋ ɔn fɪlmz, ˈwərkɪŋ wɪθ dɪˈrɛktərz ənd kəˈlæbərˌeɪtɪŋ wɪθ ˈpipəl wɛr ɪts ˈɔlˌweɪz əˈbaʊt ˈstɔri ənd ˈkɛrɪktərz ðæts nɑt ˈɔlˌweɪz ðə keɪs ɪn geɪmz, ənd ɪt ˈʃʊdənt ˈɔlˌweɪz bi əm ˈsɛnsɪtɪv tɪ ˈmeɪkɪŋ ʃʊr ðə ˈnuɑnsɪz əv ðə ˈstɔri kəm θru," hi sɪz. "wəts greɪt əˈbaʊt vərˈʤɪnjə ɪt ˈdəzənt hæv ˈɛni ril məˈkænɪks, ðɛrz noʊ ˈkɑmprəˌmaɪzɪz əˈbaʊt ðə ˈstɔri biɪŋ əˈbaʊt ðɪs wən θɪŋ." ə geɪm wɪθ noʊ məˈkænɪks? ðæts ən ədˈmɪʃən ðæts ˈlaɪkli tɪ kɔrt ˈkɑntrəˌvərsi (ɛz ɪz ɪts ˌɪnˈsɪstəns ɔn ˈpiˈsi ðət dɪˈspaɪt ðə ˈɔpʃən tɪ pleɪ æt ˈvɛriəbəl steɪt ˌɪnˈsɪsts ju stɪk tɪ 30fps*, ə smɔl təʧ ðət meɪd mi bərst aʊt ə ˈlɪtəl raʊnd əv əˈplɔz). "ˈsəmˌwən hu wɔnts tɪ bi ˈvɛri kruəl əˈbaʊt ðə geɪm kʊd seɪ ɪts əˈbaʊt ˈwɔkɪŋ əraʊnd ˈklɪkɪŋ θɪŋz, ðæts ɔl ðɛr ɪz tɪ ɪt," sɪz ˈbəroʊz. "bət ɪf jʊr ˈwɪlɪŋ tɪ gɪt pæst ðət, jʊr siɪŋ jʊr ˈkɛrɪktər pərˈfɔrm, jʊr ˈkɛrɪktər ɪz ə ˈbɑdi ɪn ðə wərld wɪθ ðɛr oʊn ˈprɛzəns, ənd ɪf jʊr ˈwɪlɪŋ tɪ səˈspɛnd ˌdɪsbɪˈlif ənd ˌɪˈmərs ˈjɔrsɛlf ɪn ðɪs wərld jʊr ɪkˈspɪriənsɪŋ ðə ˈstɔri θru ˈsəmˌwənz aɪz, θru ə ˈkɛrɪktər hu ɪz ˈlɪvɪŋ ə laɪf ðæts dɪˈstɪŋkt frəm ˈɛniˌθɪŋ ju kən rɪˈleɪt tɪ ɪn jʊr oʊn laɪf, ənd ðæts ə ˈminɪŋfəl ənd ˈɪntəˌrɛstɪŋ ɪkˈspɪriəns, ənd ɪts ʤɪst ɛz ˈvælɪd ɛz ˈmæstərɪŋ ə mɪˈkænɪk." ðɛr ər səm ˈəndərˌtoʊnz ɪn vərˈʤɪnjə, soʊ ˈɪtəl bi ˈɪntəˌrɛstɪŋ tɪ si haʊ fɑr ˈvɛriəbəl steɪt goʊz ɪn ðət dɪˈrɛkʃɪn. ðoʊz pərˈfɔrmənsɪz ər ˈkɛrid aʊt θru səm ˈwəndərfəl ˌænəˈmeɪʃən frəm ˈtɛri ˈkɛˌni ðət sɛlz vərˈʤɪnjəz mjut kæst. ðə dɪˈsɪʒən tɪ nɑt gɪv ˈɛni əv ðɛm ə vɔɪs ɪz, ɪt tərnz aʊt, ə ˈpaʊərfəl wən. "ðɛrz noʊ ˌɛkspəˈzɪʃən θru ˈdaɪəˌlɔg ɔl əv ɪt həz tɪ bi dən θru ˈvɪʒwəlz," sɪz ˈbəroʊz. "aɪ θɪŋk ˈhævɪŋ noʊ ˈdaɪəˌlɔg, ˈhævɪŋ noʊ saʊnz ˈjumənz meɪk, ðɛrz ðɪs stɑrk ˈneɪʧər tɪ ɪt. ɪn ðɪs wərld ðət ˈnoʊwən spiks ɪt kaɪnd əv wərks ɪn ðɪs ˈstɔri ðæts ə θˈrɪlər. ɪts ˈɔlˌweɪz laɪk jʊr ərˈaɪvɪŋ wɪn ə ʤɪst ˈfɪnɪʃt. ɪt gɪvz soʊ məʧ mɔr rum tɪ ðə ˈsaʊnˌtræk, ənd ædz tɪ ðə ˈiˌmoʊʃənəl ˌɪmˈpækt əv ðə sin." əˈsæsənz krid ˈɔrəʤɪnz gaɪd, ənd tɪps ˈɛvriˌθɪŋ ju nid tɪ noʊ əˈbaʊt ənd ˈstæbɪŋ jʊr weɪ əˈlɔŋ ðə naɪl. ˈhɑləndz skɔr dɪz məʧ əv ðə ˈhɛvi ˈlɪftɪŋ, ə ˈdɛləkət daɪˈnæmɪk ˈnəmbər ðət wɛrz ɪts ˌsɪnəˈmætɪk ˈɪnˌfluənsɪz ɛz ˈhɛvəli ɛz ˈɛni ˈəðər pɑrt əv vərˈʤɪnjəz ˈmeɪˌkəp (ɪt wɑz rɪˈkɔrdɪd ɪn ðə seɪm ˈstudiˌoʊ ðət ˈænʤəˌloʊ bɑdɑlɑˈmɛnti ˈkæpʧərd lɔst ˈhaɪˌweɪz ˈsaʊnˌtræk). "wɪˈθɪn ðə sin jul ˌɪnərˈækt wɪθ ˈsəmθɪŋ, ənd ðə mˈjuzɪk wɪl rɪˈspɑnd," ɪkˈspleɪnz ˈhɑlənd. "ðə mˈjuzɪk riækts ɪn ˈrilˌtaɪm, ənd ɪts ˈkɑnstəntli ˌəndərˈskɔrɪŋ wət jʊr duɪŋ ɪn ˈrilˌtaɪm. ə lɔt əv ðə taɪm ɪts ˈskɔrɪŋ ðə ˈprɛzənt taɪm." ˈgɪvɪn vərˈʤɪnjəz ˈhɛvi juz əv ʤəmp kəts ˈsəmθɪŋ ɪt ˈbɑroʊz ˈgreɪtfəli frəm ˈθərˌdi flaɪts əv ˈləvɪŋ, ənd tɪ greɪt ˈifɛkt ɪts ðə mˈjuzɪk ðət hɛlps baɪnd sinz təˈgɛðər. ˈæftər wət filz laɪk soʊ lɔŋ ˈæftər fərst ˈlərnɪŋ əˈbaʊt vərˈʤɪnjə, wət ə dɪˈlaɪt ðət ɪts riɪˈmərʤd soʊ kloʊz tɪ ðə ˈfɪnɪʃɪŋ laɪn, wɪθ ˈvɛriəbəl steɪt ʤɪst ˈtɪŋkərɪŋ wɪθ ðə ˈprɑʤɛkt ɪn ɪts læst fju wiks. "ɪts ənˈlaɪk ˈɛni geɪm aɪv wərkt ɔn ˈpriviəsli," sɪz ˈbəroʊz. "ðiz ˈfaɪnəl ˈsteɪʤɪz əv ðə geɪm, ɪt filz laɪk fɪlm ˈɛdɪtɪŋ. ðə ɛnd əv ə ˈprɑʤɛkt kən bi kwaɪt draɪ ɪts ˈnɔrməli bəg ˈfɪksɪŋ ər ˈbælənsɪŋ ðə geɪm ɪz kaɪnd əv ˌɪˈnərt. wɪr duɪŋ ˈprɑpər ˈɛdɪts ðə ˈɔrdər əv sinz ɪz biɪŋ əˈʤəstɪd, ðə ˈrɛlətɪv ˌɪmˈpɔrtəns əv sinz, ˈivɪn ˈmeɪkɪŋ ˈʧeɪnʤɪz tɪ ðə ˌænəˈmeɪʃən ənd mˈjuzɪk, ˈɔlˌmoʊst laɪk ðə weɪ jʊd ʧeɪnʤ ʃɑts." ðɛrz nɑt lɔŋ tɪ goʊ naʊ ənˈtɪl vərˈʤɪnjə siz ðə laɪt, ənd aɪ kænt weɪt tɪ gɪt lɔst ɪn ɪt ˈmɛni ˈmɪstəriz. ˈvɛriəbəl steɪt kʊd bi ˈɔntu ˈsəmθɪŋ ˈspɛʃəl hir, ə smɑrt ˈnɛrətɪv ədˈvɛnʧər ðət ɪn ɪts oʊn weɪ ridɪˈfaɪnz wət ðə tərm ˌsɪnəˈmætɪk minz fər ˈvɪdioʊ geɪmz.
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back in 2014, when wordless narrative adventure virginia first broke ground at egx, paul dean enthused on our behalf that it was the best new game he'd played that year. now it's 2016 and we're mere weeks away from release - publisher 505 games has picked up variable state's game for release on pc, playstation 4 and xbox one on september 22nd - i think i can say this is the best new game i've played this year, too. virginia is absolutely sublime.
following in the footsteps of other like-minded games such as gone home, firewatch and thirty flights of loving, there's a real swagger to how virginia goes about its business, and a real confidence in how variable state tells its story. nominally this is a detective thriller set in the early 90s, casting you as fbi agent anne tarver as she works her way through a languid mid-atlantic town stirred by the disappearance of schoolboy lucas fairfax.
true detective, silence of the lambs and a little slice of ethereal lynch magic are being touted as virginia's touchstones, but what's got me excited about it is another connection that's unlikely to find its way into any marketing material. in its downbeat drawing of smalltown america, in moments like the unwelcome knock at the door of a grieving parent's house or the loaded silence of a late-night car journey beyond the suburbs, there's something of short story writer raymond carver. there's that same deft efficiency to its storytelling, in its willingness to let key beats happen through a stolen glance rather than a monologue.
a demo is available on steam right now. go and play it!
one scene in the short demo that's been assembled has stuck with me, somewhat remarkably given how low-key and quietly unremarkable it is. you've pulled up to a gas station somewhere out amongst the pines, the thinness of the dark suggesting it's coming up to midnight sometime in summer's late days, and with your fbi partner having gone to settle up the bill you're left alone in the car. reach under the rear view mirror and there's a takeaway flyer advertising a dukakis pizza - this is a period game, but it wears its early 90s stylings lightly - while rummaging through the glove compartment lets you sift through the detritus of your partner's car, and where you notice how her surname changes in the junk mail that's gathered. virginia's the kind of game that's able to fill in important character details in the flotsam that surrounds them.
virginia's a smart game made by smart people, in other words. variable state's jonathan burroughs had worked previously at ai company deepmind before its acquisition by google, that particular move setting him on a slightly more cinematic but equally cerebral venture with virginia. he's an incredibly softly spoken man - his voice is often lost in the fitting but noisy backdrop of the bfi southbank's cafe where we meet along with virginia's composer lyndon holland - but it's worth leaning in and listening to what he's got to say.
"our ambitions were tiny initially," burroughs says of the game that appeared at egx in 2014. "it was going to be very lean - but i think it's become much bigger than we imagined, particularly in terms of the storytelling. we've been given the opportunity to spend more time with it. we could have told the story in half the time, but it would have been shabby."
the two years since have been spent expanding upon that premise, folding in new scenes and new characters. "it was an indulgence, really," says burroughs. "there was almost three months of continuous writing starting at 9 in the morning, and coming up with ideas and going away to write scenes. i've never had an experience working in a writer's room, but it's kind of like that - we'd write scenes and come back and go through them together."
virginia is a cinematic game, but it earns that descriptor more than many other games. you get the sense that variable state has a deeper appreciation of what that term means than others, and the presence of holland, who comes from a film background, certainly helps. "i think from working on films, working with directors and collaborating with people where it's always about story and characters - that's not always the case in games, and it shouldn't always be - i'm sensitive to making sure the nuances of the story come through," he says. "what's great about virginia it doesn't have any real mechanics, there's no compromises about the story being about this one thing."
a game with no mechanics? that's an admission that's likely to court controversy (as is its insistence on pc that despite the option to play at 60fps variable state insists you stick to 30fps, a small touch that made me burst out a little round of applause). "someone who wants to be very cruel about the game could say it's about walking around clicking things, that's all there is to it," says burroughs. "but if you're willing to get past that, you're seeing your character perform, your character is a body in the world with their own presence, and if you're willing to suspend disbelief and immerse yourself in this world you're experiencing the story through someone's eyes, through a character who is living a life that's distinct from anything you can relate to in your own life, and that's a meaningful and interesting experience, and it's just as valid as mastering a mechanic."
there are some x-files undertones in virginia, so it'll be interesting to see how far variable state goes in that direction.
those performances are carried out through some wonderful animation from terry kenny that sells virginia's mute cast. the decision to not give any of them a voice is, it turns out, a powerful one. "there's no exposition through dialogue - all of it has to be done through visuals," says burroughs. "i think having no dialogue, having no sounds humans make, there's this stark nature to it. in this world that no-one speaks - it kind of works in this story that's a thriller. it's always like you're arriving when a conversation's just finished. it gives so much more room to the soundtrack, and adds to the emotional impact of the scene."
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holland's score does much of the heavy lifting, a delicate dynamic number that wears its cinematic influences as heavily as any other part of virginia's make-up (it was recorded in the same studio that angelo badalamenti captured lost highway's soundtrack). "within the scene you'll interact with something, and the music will respond," explains holland. "the music reacts in real-time, and it's constantly underscoring what you're doing in real-time. a lot of the time it's scoring the present time." given virginia's heavy use of jump cuts - something it borrows gratefully from thirty flights of loving, and to great effect - it's the music that helps bind scenes together.
after what feels like so long after first learning about virginia, what a delight that it's reemerged so close to the finishing line, with variable state just tinkering with the project in its last few weeks. "it's unlike any game i've worked on previously," says burroughs. "these final stages of the game, it feels like film editing. the end of a project can be quite dry - it's normally bug fixing or balancing - the game is kind of inert. we're doing proper edits - the order of scenes is being adjusted, the relative importance of scenes, even making changes to the animation and music, almost like the way you'd change shots."
there's not long to go now until virginia sees the light, and i can't wait to get lost in it many mysteries. variable state could be onto something special here, a smart narrative adventure that in its own way redefines what the term cinematic means for video games.
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ˈbɪgəˌloʊ ˈɛroʊˌspeɪsɪz bim ɪkˈspændəbəl ˈmɑʤul wɪl ɛnˈhæns ðə ˈlɪvɪŋ ˈɛriə əv ðə ˌɪnərˈnæʃənɑl speɪs ˈsteɪʃən. ˈbɪgəˌloʊ ˈɛroʊˌspeɪs ɪz dɪˈzaɪnɪŋ ə ˈmɑʤul tɪ ɪkˈspænd ˈlɪvɪŋ speɪs ɔn ðə ˌɪnərˈnæʃənɑl speɪs ˈsteɪʃən. ˈlɑrʤər ɪkˈspændəbəl ˈmɑʤulz kʊd ˈsəmˌdeɪ bɪˈkəm speɪs ˈsteɪʃənz ðɛmˈsɛlvz. ðə ˈbɪgəˌloʊ ɪkˈspændəbəl ækˈtɪvɪti ˈmɑʤul (bim) wɪl bi ˈkɛrid ˈɪntu ˈɔrbət baɪ ˈfælkən 9 ˈrɑkət, stoʊd ɪn ðə ˈkɑrˌgoʊ trəŋk əv ə ˈdrægən ˈkæpsəl. ə ˈroʊˌbət ɑrm wɪl dɑk bim tɪ noʊd 3 əv ðə ˌɪnərˈnæʃənɑl speɪs ˈsteɪʃən. bim ɪz 13 fit lɔŋ 4 ˈmitərz) ənd fit ɪn daɪˈæmətər ɛm). ðə ˈmɑʤul weɪz paʊnz ˈkɪləˌgræmz) ə ˈlɑrʤər ɪnˈfleɪtəbəl ˈmɑʤul kɔld ˌbiˈeɪ 330 ɪz biɪŋ dɪˈvɛləpt fər juz ɛz ə speɪs ˈsteɪʃən. ˈlɑrʤər ðən ðə ˌɪnərˈnæʃənɑl speɪs ˈsteɪʃənz ɪgˈzɪstɪŋ ˈdɛstəni ˌhæbəˈteɪʃən ˈmɑʤul, iʧ ˌbiˈeɪ 330 kən haʊs əp tɪ sɪks ˈæstrəˌnɔts. ˈbɪgəˌloʊ plænz ə ˈaʊtˌpoʊst kɔld ˈælfə ˈsteɪʃən wɪʧ kʊd bi ˈɔrbətəd ˈæftər 2016 ðə ˌbiˈeɪ ˌɪnˈtərnəl ˈvɑljum ɪz ˈkjubɪk fit 330 ˈkjubɪk ˈmitərz). ðə lɛŋθ ɪz 45 fit ɛm) ənd ɪts daɪˈæmətər ɪz 22 fit ɛm) ˈfərðər ɪn ðə fˈjuʧər, ɪnˈfleɪtəbəl ˈmɑʤulz kʊd ɛnˈhæns ðə ˈlɪvɪŋ ˈvɑljumz əv ˈsteɪʃənz, ˈlunər ˈbeɪsɪz ər ˈivɪn mɑrz ˌɛkspəˈdɪʃənz. ðə ɪnˈfleɪtəbəl speɪs ˈsteɪʃən ˈkɑnsɛpt deɪts tɪ ðə 1960s*. ˈkɛvlər, ðə məˈtɪriəl juzd fər vɛsts, ˌɪnˈspaɪərd ˈnæsə tɪ teɪk əˈnəðər lʊk æt ɪnˈfleɪtəbəl speɪs ˈmɑʤulz ɪn ðə 1990s*. ˈmɑʤul, kɔld trans-hab*, ˈnɛvər flu ənd wɑz əˈfɪʃəli ˈkænsəld ɪn 2000 ɔn tˈwɪtər @spacedotcom*. wɪr ˈɔlsoʊ ɔn ˈfeɪsˌbʊk ˈgugəl+. ˈfoʊˌtoʊz: ˈbɪgəˌloʊz ɪnˈfleɪtəbəl speɪs ˈsteɪʃən aɪˈdiə ˈgæləri: ˈpraɪvət speɪs ˈsteɪʃənz əv ðə fˈjuʧər ˌɪˈmæʤənd ˈrɑbərt ˈbɪgəˌloʊ: ˈlɛsənz, ˈvɪʒənz, ˌriˈæləˌtiz (ˈvɪdioʊ)
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bigelow aerospace's beam expandable module will enhance the living area of the international space station.
bigelow aerospace is designing a plug-in module to expand living space on the international space station. larger expandable modules could someday become free-flying space stations themselves.
the bigelow expandable activity module (beam) will be carried into orbit by spacex’s falcon 9 rocket, stowed in the cargo trunk of a dragon capsule. a robot arm will dock beam to node 3 of the international space station.
beam is 13 feet long (4 meters) and 10.5 feet in diameter (3.2 m). the module weighs 3,000 pounds (1,360 kilograms)
a larger inflatable module called ba 330 is being developed for use as a stand-alone space station. larger than the international space station's existing destiny habitation module, each ba 330 can house up to six astronauts. bigelow plans a two-module outpost called alpha station which could be orbited after 2016.
the ba 330’s internal volume is 11,654 cubic feet (330 cubic meters). the length is 45 feet (13.7 m) and its diameter is 22 feet (6.7 m)
further in the future, inflatable modules could enhance the living volumes of deep-space stations, lunar bases or even mars expeditions.
the inflatable space station concept dates to the 1960s. kevlar, the material used for bullet-proof vests, inspired nasa to take another look at inflatable space modules in the 1990s. nasa’s module, called trans-hab, never flew and was officially canceled in 2000.
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photos: bigelow's inflatable space station idea
gallery: private space stations of the future imagined
robert bigelow: lessons, visions, realities (video)
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sjbbs.zol.com.cn* ˈaɪˌfoʊn ˈrumərz kənˈtɪnju tɪ ræmp əp wɪθ ə nu bæʧ əv likt ˈfoʊˌtoʊz əˈlɛʤədli ʃoʊɪŋ ɔf ˈæpəlz nɛkst smartphone*. ˈɪmɪʤɪz frəm ðə ʧaɪˈniz wɛb saɪt ˈpoʊstɪd baɪ ðə taɪmz əv ˈɪndiə rɪˈpɔrtədli rɪˈvil ðə frənt ənd rɪr ˈpænəlz əv ə ˈmɑdəl əv ðə ˈaɪˌfoʊn. nɑt səˈpraɪzɪŋli, ðə ˈfoʊˌtoʊz ʃoʊ ɔf ə foʊn wɪθ ə dɪˈzaɪn ˈsɪmələr tɪ ðət əv ðə ˈkɑrənt ˈaɪˌfoʊn 5 læst wik, ðə ˈaɪˌfoʊn ənd ðə ˈaɪˌfoʊn 6 rɪˈpɔrtədli pɑpt əp æt ən ˈæpəl səˈplaɪər ɪn ˈʧaɪnə, əˈkɔrdɪŋ tɪ ʧaɪˈniz blɔg saɪt tɛk. ə tɛk ˈjuzər ˈpoʊstɪd ˌɪnˌfɔrˈmeɪʃən ˈkleɪmɪŋ ðət ðə wɪl rɪˈzɛmbəl ðə ˈaɪˌfoʊn 5 waɪl ðə ɪkˈspɛktɪd ˈaɪˌfoʊn 6 wɪl bi ˈwaɪdər, ˈlɔŋgər, ənd ˈθɪnər. ənd ɪn dɪˈsɛmbər, ə frɛnʧ wɛb saɪt dəg əp əˈlɛʤd ˈfoʊˌtoʊz əv ðə ˈaɪˌfoʊn frəm ən ˈɔnˌlaɪn ˈfɔrəm. ðoʊz ˈfoʊˌtoʊz ˈɔlsoʊ ʃoʊd ən ɪkˈstɪriər aɪˈdɛntɪkəl tɪ ðət əv ðə ˈaɪˌfoʊn 5 æt ðɪs pɔɪnt, ɔl əv ðiz ˈtɪdbɪts fɔl ˈfərmli ˈɪntu ðə ˈrumər steɪʤ, ˈmoʊstli ˈnoʊtəbli ðə likt ˈfoʊˌtoʊz. bət ən ˈaɪˌfoʊn riˈlist ðɪs jɪr wʊd ˈnæʧərəli bi ˈsɪmələr ɪn saɪz, ʃeɪp, ənd dɪˈzaɪn tɪ ɪts ˈprɛdəˌsɛsər ənd ˈɔfər ə fju nu ˈfiʧərz ənd ɛnˈhænsmənts. ðə rɪˈpɔrt əv ən ˈaɪˌfoʊn 6 aʊt ðɪs jɪr simz ˈdubiəs. bət ˈæpəl həz bɪn hɪt hɑrd baɪ ˌkɑmpəˈtɪʃən frəm ˈænˌdrɔɪd foʊnz ɪn ˈʤɛnərəl ənd ˈsæmˌsəŋ ɪn ˌpɑˈtɪkjələr. ðə ˈkəmpəˌni həz ˈɔlsoʊ lɔst səm əv ɪts əˈlʊr ɔn wɔl strit ˈoʊvər fɪrz ðət ɪts bɛst deɪz ər bɪˈhaɪnd ɪt. ˈæpəl meɪ ʤɪst nid tɪ vɪr frəm ɪts ˈjuʒəwəl ˈpætərn əv dɪˈvaɪs ˈəpˌdeɪts ənd ˈəpˌgreɪdz tɪ pruv ɪts stɪl ə kənˈtɛndər.
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sjbbs.zol.com.cn
iphone 5s rumors continue to ramp up with a new batch of leaked photos allegedly showing off apple's next smartphone.
images from the chinese web site zol.com.cn posted by the times of india reportedly reveal the front and rear panels of a pre-production model of the iphone 5s. not surprisingly, the photos show off a phone with a design similar to that of the current iphone 5.
last week, the iphone 5s and the iphone 6 reportedly popped up at an apple supplier in china, according to chinese blog site sina tech. a sina tech user posted second-hand information claiming that the 5s will resemble the iphone 5, while the expected iphone 6 will be wider, longer, and thinner.
and in december, a french web site dug up alleged photos of the iphone 5s from an online forum. those photos also showed an exterior identical to that of the iphone 5.
at this point, all of these tidbits fall firmly into the rumor stage, mostly notably the leaked photos. but an iphone 5s released this year would naturally be similar in size, shape, and design to its predecessor and offer a few new features and enhancements.
the report of an iphone 6 out this year seems dubious. but apple has been hit hard by competition from android phones in general and samsung in particular. the company has also lost some of its allure on wall street over fears that its best days are behind it. apple may just need to veer from its usual pattern of device updates and upgrades to prove it's still a contender.
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ˈpætrɪk neɪm həz əˈpɪrd ˈɛvriˌwɛr ɛz wən əv ðə tɔp fri ˈeɪʤənts ðət rɪˈmeɪn ˈæftər ðə fərst deɪ əv fri ˈeɪʤənsi. ðə wɪŋ, hu wɪl tərn 38 ˌbiˈfɔr ðə ˈsizən gɪts ˌəndərˈweɪ, həz pleɪd 19 jɪrz ɪn sæn ˌhoʊˈzeɪ ənd sloʊd daʊn wən bɪt. hɪz 27 goʊlz ər hɪz bɛst sɪns ðə ˈsizən ənd ðə ˈvɛtərən həz ˈɔlˌweɪz bɪn kənˈsɪstənt ənd ˈhɛlθi. soʊ, ˈteɪkɪŋ soʊ lɔŋ? ˈɛnˌbiˈsi sports’*’ ˈkɛvɪn kərz sɪz ðət waɪl ðə ʃɑrks ˈɔfərd ɪm ə dil ɔn ˈfraɪˌdeɪ, ɪz kənˈsɪdərɪŋ ˈəðər ˈɔfərz, dɪˈspaɪt ðə fækt ðət ənd frɛnd ʤoʊ ˈθɔrntən həz ɔˈrɛdi əˈgrid tɪ ə ˈwənˌjɪr dil wɪθ ðə ʃɑrks. ɪt simz ðət həz rɪˈsivd ˈməltəpəl ˈɔfərz ðət trəmp sæn ˈɔfər ənd kərz raɪts ðət ðə tərˈɑntoʊ ˈmeɪpəl lifs ˈɔfər ɪz kwaɪt ə bɪt ˈbɛtər. waɪl ɪt wʊd hæv tɪ bi ə təf dɪˈsɪʒən tɪ liv ə pleɪs ˈæftər 19 jɪrz, ɪt maɪt meɪk sɛns. ˈivɪn wɪθ ˈθɔrntən rɪˈtərnɪŋ, ðə ʃɑrks feɪld tɪ gɪt aʊt əv ðə fərst raʊnd læst jɪr, ˈsəfərɪŋ ə lɔs tɪ ə jəŋ ənd ˈimərʤɪŋ ˈɛdməntən tim, ənd ðə ʃɑrks sim tɪ bi dɪˈvɛləpɪŋ ˈɪntu ə ˈfrænˌʧaɪz ðət meɪ hæv tɪ rɪˈvərs kɔrs sun ənd bɪˈgɪn ə juθ ˈmuvmənt. ˈhɛdɪŋ tɪ tərˈɑntoʊ ənd ən tim (əˈlɔŋ wɪθ ðə ˈbɛtər ˈɔfər) maɪt bi ə ˈbɛtər weɪ tɪ goʊ. pleɪɪŋ wɪθ ðə jəŋ kɔr əv pleɪərz laɪk ˈɔstən ˈmæθjuz, ˈwɪljəm ˈnɪləndər ənd mɪʧ ˈmɑrnər kʊd bi ɛnˈtaɪsɪŋ tɪ ðə ˈvɛtərən. əˈkɔrdɪŋ tɪ kərz, noʊ wən həz ˈɛni aɪˈdiə əv wət wɪl ˌdɪˈsaɪd ənd ðɛr ɪz ˈʤɛnjuˌaɪn kənˈsərn əˈməŋ sharks’*’ ˈmænɪʤmənt ðət hi meɪ liv. ɔn əˈnəðər noʊt, waɪl ˈθɔrntən həz əˈgrid tɪ ə ˈwənˌjɪr dil ðət bɑb məˈkɛnzi raɪts wɪl bi ə dil, ɪt stɪl bɪˈkəm əˈfɪʃəl. kərz sɛd ðət ðɛr ɪz ˈnəθɪŋ tɪ ˈwəri əˈbaʊt. hi bɪˈlivz ðət ˈθɔrntən ɪz ˈweɪtɪŋ fər tɪ meɪk hɪz dɪˈsɪʒən soʊ ðeɪ kən bi əˈnaʊnst təˈgɛðər, laɪk hi dɪd ɪn 2014 ˈθɔrntən əˈgrid tɪ ə wən jɪr dil, ˌɔlˈðoʊ kərz sɪz hi wɑz ˈɔfərd ə dil, laɪk, ɔn ˈfraɪˌdeɪ. ˈlaɪkli ðət ðə ˈwənˌjɪr dil ˈɔfərd mɔr.
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patrick marleau’s name has appeared everywhere as one of the top free agents that remain after the first day of free agency. the 37-year-old wing, who will turn 38 before the season gets underway, has played 19 years in san jose and hasn’t slowed down one bit. his 27 goals are his best since the 2013-14 season and the veteran has always been consistent and healthy. so, what’s taking so long?
nbc sports’ kevin kurz says that while the sharks offered him a two-year deal on friday, marleau is considering other offers, despite the fact that linemate and friend joe thornton has already agreed to a one-year deal with the sharks. it seems that marleau has received multiple offers that trump san jose’s offer and kurz writes that the toronto maple leafs offer is quite a bit better. while it would have to be a tough decision to leave a place after 19 years, it might make sense. even with thornton returning, the sharks failed to get out of the first round last year, suffering a loss to a young and emerging edmonton team, and the sharks seem to be developing into a franchise that may have to reverse course soon and begin a youth movement. heading to toronto and an up-and-coming team (along with the better offer) might be a better way to go. playing with the young core of players like auston matthews, william nylander and mitch marner could be enticing to the veteran. according to kurz, no one has any idea of what marleau will decide and there is genuine concern among sharks’ management that he may leave.
on another note, while thornton has agreed to a one-year deal that tsn’s bob mckenzie writes will be a $6.5mm deal, it still hasn’t become official. kurz said that there is nothing to worry about. he believes that thornton is waiting for marleau to make his decision so they can be announced together, like he did in 2014. thornton agreed to a one year deal, although kurz says he was offered a two-year deal, like marleau, on friday. likely that the one-year deal offered more.
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lɔg ˈmɑnətərɪŋ ənd ˈmænɪʤmənt ɪz wən əv ðə moʊst ˌɪmˈpɔrtənt ˈfəŋkʃənz ɪn devops*, ənd ðə ˈoʊpənˌsɔrs ˈsɔfˌwɛr ɪz wən əv ðə moʊst ˈkɑmən ˈplætˌfɔrmz ðət ər juzd fər ðɪs ˈpərpəs. ˈɔfən juzd ɛz pɑrt əv ðə ɛlk stæk, ˈvərʒən naʊ həz ˈʃətˌdaʊn ˌɪmˈpruvmənts ənd ðə əˈbɪləˌti tɪ ˌɪnˈstɔl ˈɔˌflaɪn. hir ər ʤɪst ə fju əv ðə ˈrizənz waɪ ɪz soʊ ˈpɑpjələr: ɪz ˈeɪbəl tɪ du ˈkɑmplɛks ˈpɑrsɪŋ wɪθ ə ˈprɑsɛsɪŋ ˈpaɪˌplaɪn ðət kənˈsɪsts əv θri ˈsteɪʤɪz: ˈɪnˌpʊts, ˈfɪltərz, ənd ˈaʊtˌpʊts iʧ steɪʤ ɪn ðə ˈpaɪˌplaɪn həz ə ˈɑrkəˌtɛkʧər ðət ˈjuzɪz ə kənˌfɪgjərˈeɪʃən faɪl ðət kən ˈspɛsəˌfaɪ wət ʃʊd bi juzd æt iʧ steɪʤ, ɪn wɪʧ ˈɔrdər, ənd wɪθ wət ˈsɛtɪŋz ˈjuzərz kən ˈrɛfərəns ɪˈvɛnt fildz ɪn ə kənˌfɪgjərˈeɪʃən ənd juz tɪ ˈprɔˌsɛs ɪˈvɛnts wɪn ðeɪ mit ˈsərtən, dɪˈzaɪərd kraɪˈtɪriə sɪns ɪt ɪz ˈoʊpən sɔrs, ju kən ʧeɪnʤ ɪt, bɪld ɪt, ənd rən ɪt ɪn jʊr oʊn ɪnˈvaɪrənmənt fər mɔr ˌɪnˌfɔrˈmeɪʃən ɔn ˈjuzɪŋ, si ðɪs tuˈtɔriəl, ðɪs kəmˈpɛrəsən əv ˈvərsəz., ənd ðɪs blɔg poʊst ðət goʊz θru səm əv ðə mɪˈsteɪks ðət wi hæv meɪd ɪn ɑr oʊn ɪnˈvaɪrənmənt (ənd ðɛn ʃoʊz haʊ tɪ əˈvɔɪd ðɛm). ˌhaʊˈɛvər, ðiz ˈɪʃuz ər ˈmɪnəməl ɪz ˈsəmθɪŋ ðət wi ˌrɛkəˈmɛnd ənd juz ɪn ɑr ɪnˈvaɪrənmənt. ɪn fækt, ˈmɛni ˈprɑbləmz kən bi sɑlvd ər ˈivɪn prɪˈvɛnɪd wɪθ ðə juz əv ðət ər əˈveɪləbəl ɛz ˈsɛlfkənˈteɪnd ˈpækɪʤɪz kɔld ʤɛmz ənd ˈhoʊstɪd ɔn rubygems*. hir ər ˈsɛvərəl ðət ju maɪt wɔnt tɪ traɪ ɪn jʊr ɪnˈvaɪrənmənt. ˈɪnˌpʊt ˈɪnˌpʊt gɪt ɪˈvɛnts ˈɪntu ənd ʃɛr ˈkɑmən kənˌfɪgjərˈeɪʃən ˈɔpʃənz səʧ ɛz: taɪp ˈfɪltərz ɪˈvɛnts daʊn ðə ˈpaɪˌplaɪn tægz ædz ˈɛni ˈnəmbər əv ˈɑrbɪˌtrɛri tægz tɪ jʊr ɪˈvɛnt ðə neɪm əv juzd tɪ ˌrɛprɪˈzɛnt ðə ˈdætə faɪl ðɪs strimz ɪˈvɛnts frəm ə faɪl baɪ ˈtrækɪŋ ˈʧeɪnʤɪz tɪ ðə ˈmɑnətərd faɪlz ənd ˈpʊlɪŋ ðə nu ˈkɑntɛnt ɛz əˈpɛndɪd, ənd ɪt kips træk əv ðə ˈkɑrənt pəˈzɪʃən ɪn iʧ faɪl baɪ rɪˈkɔrdɪŋ ɪt. ðə ˈɪnˌpʊt ˈɔlsoʊ dɪˈtɛkts ənd ˈhændəlz faɪl roʊˈteɪʃən. ju kən kənˈfɪgjər ˈnumərəs ˈaɪtəmz ˌɪnˈkludɪŋ pæθ,, rɛd stɑrt pəˈzɪʃən, ənd laɪn delimiter*. ˈjuʒəwəli, ðə mɔr ju juz, ðə mɔr ˈrisɔrs ðət meɪ kənˈsum. ˈləmbərˌʤæk ðɪs rɪˈsivz ɪˈvɛnts ˈjuzɪŋ ðə ˈləmbərˌʤæk ˈproʊtəˌkɔl, wɪʧ ɪz sɪˈkjʊr waɪl ˈhævɪŋ loʊ ˈleɪtənsi, loʊ ˈrisɔrs ˈjusɪʤ, ənd ə rɪˈlaɪəbəl ˈproʊtəˌkɔl. ɪt ˈjuzɪz ə klaɪənt ɛz ɪts ˈdætə sɔrs, soʊ ɪt ɪz ˈvɛri fæst ənd məʧ ˈlaɪtər ðən. ɔl ɪˈvɛnts ər ɪnˈkrɪptɪd bɪˈkəz ðə ˈɪnˌpʊt ənd ˈfɔrwərdər klaɪənt juz ə sərˈtɪfɪkət ðət nidz tɪ bi dɪˈfaɪnd ɪn ðə. hir ɪz ðə rikˈwaɪərd kənˌfɪgjərˈeɪʃən: ˈləmbərˌʤæk pɔrt 1 2 3 4 5 ˈləmbərˌʤæk pɔrt bits ɪz ə ˈlaɪtˈweɪt, tul ðət ɪz ˈrɪtən ɪn goʊ ənd kəˈlɛkts lɔgz frəm faɪlz ɔn ˈsərvərz ənd ˈfɔrwərdz ðɛm tɪ ˈəðər məˈʃinz fər tul ˈjuzɪz ðə bits ˈproʊtəˌkɔl tɪ kəmˈjunəˌkeɪt wɪθ ə ˈsɛntrəˌlaɪzd ˈɪnstəns. ju kən ˈɔlsoʊ juz ən ˈɔpʃənəl sərˈtɪfɪkət tɪ sɛnd ɪˈvɛnts tɪ sɪˈkjʊrli. ðə rikˈwaɪərd kənˌfɪgjərˈeɪʃən: bits pɔrt 1 2 3 bits pɔrt ðɪs ridz ɪˈvɛnts ˈoʊvər ə ˈsɑkət. iʧ ɪˈvɛnt ɪz əˈsumd tɪ bi wən laɪn əv tɛkst. ðə ˈɔpʃənəl sərˈtɪfɪkət ɪz ˈɔlsoʊ əˈveɪləbəl. ɪn ðə, ðə dɪˈfɔlt ˈvælju ɪz ““line.”*.” ðə rikˈwaɪərd kənˌfɪgjərˈeɪʃən: pɔrt 1 2 3 pɔrt ˈfɪltər ðɪs ɪz ən ˈɔpʃənəl steɪʤ ɪn ðə ˈpaɪˌplaɪn ˈdʊrɪŋ wɪʧ ju kən juz ˈfɪltər tɪ ˈmɑdəˌfaɪ ənd məˈnɪpjəˌleɪt ɪˈvɛnts. wɪˈθɪn ðə ˈfɪltər (ənd ˈaʊtˌpʊt), ju kən juz: fild ˈrɛfərənsɪz ðə ˈsɪnˌtæks tɪ ˈækˌsɛs ə fild ɪz [fieldname*]. tɪ rɪˈfər ə ˈnɛstɪd fild, juz fild] ˈfɔrˌmæt ðɪs ˈfɔrˌmæt ɪˈneɪbəlz ju tɪ ˈækˌsɛs fildz ˈjuzɪŋ ðə ˈvælju əv ə ˈprɪnɪd fild. ðə ˈsɪnˌtæks “%{[“%{[fieldname]}”*]}” ðə paʊər əv kənˈdɪʃənəl ˈsteɪtmənts ˈsɪnˌtæks ɪz ˈɔlsoʊ əˈveɪləbəl: ɪf ɪkˈsprɛʃən ɛls ɪf ɪkˈsprɛʃən ɛls 1 2 3 4 5 6 7 ɪf ɪkˈsprɛʃən ɛls ɪf ɪkˈsprɛʃən ɛls ðɪs ɪz ðə ənd butter”*” əv ˈfɪltərz ənd ɪz juzd tɪ dəraɪv ˈstrəkʧər aʊt əv ənˈstrəkʃərd ˈdætə. ɪt hɛlps ju tɪ dɪˈfaɪn ə sərʧ ənd ˈɛkˌstrækt pɑrts əv jʊr lɔg laɪn ˈɪntu ˈstrəkʧərd fildz. ˈrəfli 120 ˈɪnəˌgreɪtɪd ˈpætərnz ər əˈveɪləbəl. wərks baɪ kəmˈbaɪnɪŋ tɛkst ˈpætərnz ˈɪntu ˈsəmθɪŋ ðət ˈmæʧɪz jʊr lɔgz. ðə sɪts ɔn tɔp əv ˈrɛgjələr ɪkˈsprɛʃənz, soʊ ˈɛni ˈrɛgjələr ɪkˈsprɛʃənz ər ˈvælɪd ɪn. ju kən dɪˈfaɪn jʊr oʊn ˈkəstəm ˈpætərnz ɪn ðɪs ˈmænər: mæʧ "ˈmɛsɪʤ" "%{syntax:semantic*}" 1 2 3 mæʧ "ˈmɛsɪʤ" "%{syntax:semantic*}" ə mˈjuˌteɪt ˈfɪltər əˈlaʊz ju tɪ pərˈfɔrm ˈʤɛnərəl mjuˈteɪʃənz ɔn fildz. ju kən riˈneɪm, riˈmuv, ˌriˈpleɪs, ənd ˈmɑdəˌfaɪ fildz ɪn jʊr ɪˈvɛnts: mˈjuˌteɪt 1 2 mˈjuˌteɪt ðɪs lʊks əp ˌaɪˌpi ˈæˈdrɛsɪz, dɪˈraɪvz ˌʤiəˈgræfɪk loʊˈkeɪʃən ˌɪnˌfɔrˈmeɪʃən frəm ðə ˈæˈdrɛsɪz, ənd ædz ðət loʊˈkeɪʃən ˌɪnˌfɔrˈmeɪʃən tɪ lɔgz. ðə kənˌfɪgjərˈeɪʃən ˈɔpʃənz: sɔrs ðə fild kənˈteɪnɪŋ ðə ˌaɪˌpi ˈæˌdrɛs, ðɪs ɪz ə rikˈwaɪərd ˈsɛtɪŋ ˈtərgət baɪ dɪˈfaɪnɪŋ ə ˈtərgət ɪn ðə kənˌfɪgjərˈeɪʃən ˈɔpʃən, ju kən ˈspɛsəˌfaɪ ðə fild ˈɪntu wɪʧ ʃʊd stɔr ðə ˈdætə ɪf ju seɪv ðə ˈdætə tɪ ə ˈtərgət fild ˈəðər ðən ənd wɔnt tɪ juz ðə rɪˈleɪtɪd ˈfəŋkʃənz ɪn, ju nid tɪ ˈɔltər ðə ˈtɛmplət prəˈvaɪdɪd wɪθ ðə ˈaʊtˌpʊt ənd kənˈfɪgjər ðə ˈaʊtˌpʊt tɪ juz ðə nu ˈtɛmplət: sɔrs "clientip*" 1 2 3 sɔrs "clientip*" ˈməltiˌlaɪn ðɪs wɪl kəˈlæps ˈməltiˌlaɪn ˈmɛsɪʤɪz frəm ə ˈsɪŋgəl sɔrs ˈɪntu wən ɪˈvɛnt. ðə kənˌfɪgjərˈeɪʃən ˈɔpʃənz: ˈpætərn ðɪs rikˈwaɪərd ˈsɛtɪŋ ɪz ə ˈrɛgjələr ɪkˈsprɛʃən ðət ˈmæʧɪz ə ˈpætərn ðət ˈɪndɪˌkeɪts ðət ðə fild ɪz pɑrt əv ən ɪˈvɛnt kənˈsɪstɪŋ əv ˈməltəpəl laɪnz əv lɔg ˈdætə wət ðɪs kən juz wən əv tu ˈɔpʃənz (ˈpriviəs ər nɛkst) tɪ prəˈvaɪd ðə ˈkɑntɛkst fər wɪʧ (ˈməltiˌlaɪn) ɪˈvɛnt ðə ˈkɑrənt ˈmɛsɪʤ bɪˈlɔŋz fər ɪgˈzæmpəl: ˈməltiˌlaɪn ˈpætərn "^\ɛs" wət "ˈpriviəs" 1 2 3 4 5 6 ˈməltiˌlaɪn ˈpætərn "^\ɛs" wət "ˈpriviəs" ðɪs minz ðət ˈɛni laɪn ˈstɑrtɪŋ wɪθ bɪˈlɔŋz tɪ ðə ˈpriviəs laɪn. ˌɪmˈpɔrtənt noʊt: ðɪs ˈfɪltər wɪl nɑt wərk wɪθ ˈməltəpəl ˈwərkər θrɛdz. ðɪs hɛlps tɪ pɑrs ˈmɛsɪʤɪz ˌɔtəˈmætɪkli ənd breɪk ðɛm daʊn ˈɪntu pɛrz. baɪ dɪˈfɔlt, ɪt wɪl traɪ tɪ pɑrs ðə ˈmɛsɪʤ fild ənd lʊk fər ən delimiter*. ju kən kənˈfɪgjər ˈɛni ˈɑrbɪˌtrɛri strɪŋz tɪ splɪt jʊr ˈdætə ˈɪntu ˈɛni ɪˈvɛnt fild ðə kənˌfɪgjərˈeɪʃən ˈɔpʃənz: sɔrs "ˈmɛsɪʤ" 1 2 3 4 5 6 sɔrs "ˈmɛsɪʤ" ðɪs ˈpaʊərfəl ˈpɑrsɪŋ ˈmɛkəˌnɪzəm ʃʊd nɑt bi juzd wɪˈθaʊt ə ˈlɪmət bɪˈkəz ðə pərˈdəkʃən əv ən ənˈlɪmɪtɪd ˈnəmbər əv fildz kən hərt jʊr ˈɛfərts tɪ ˈɪndɛks jʊr ˈdætə ɪn ˈleɪtər. deɪt ðə deɪt ɪz juzd fər ˈpɑrsɪŋ deɪts frəm fildz ənd ðɛn ˈjuzɪŋ ðət deɪt ɛz ðə fər ðə ɪˈvɛnt. ɪt ɪz wən əv ðə moʊst ˌɪmˈpɔrtənt ˈfɪltərz ðət ju kən juz əˈspɛʃəli ɪf ju juz tɪ stɔr ənd tɪ ˈvɪʒwəˌlaɪz jʊr lɔgz bɪˈkəz wɪl ˌɔtəˈmætɪkli dɪˈtɛkt ənd mæp ðət fild wɪθ ðə ˈlɪstɪd taɪp əv. ðɪs ɪnˈʃʊrz ðət jʊr lɔg ɪˈvɛnts wɪl ˈkɛri ðə kərˈɛkt ənd nɑt ə beɪst ɔn ðə fərst taɪm siz ən ɪˈvɛnt. ðə kənˌfɪgjərˈeɪʃən ˈɔpʃənz: mæʧ ju kən ˈspɛsəˌfaɪ ən əreɪ əv ə fild neɪm, ˈfɑloʊd baɪ ə ˈpætərn. ðət kən hɛlp tɪ səˈpɔrt fildz ðət hæv ˈməltəpəl taɪm ˈfɔrˌmæts. ðə deɪt ˈfɔrˌmæts əˈlaʊd ər dɪˈfaɪnd baɪ ðə ˈʤɑvə ˈlaɪbrɛˌri joda-time*. wən ɪgˈzæmpəl: deɪt mæʧ "mydate*", hh:mm:ss*", di hh:mm:ss*", 1 2 3 4 5 deɪt mæʧ "mydate*" hh:mm:ss*" di hh:mm:ss*" kən bi juzd ɪn boʊθ ˈɪnˌpʊts ənd ˈaʊtˌpʊts. ˈɪnˌpʊt prəˈvaɪd ə kənˈvinjənt weɪ tɪ dɪˈkoʊd jʊr ˈdætə ˌbiˈfɔr ɪt ˈɛnərz ðə ˈɪnˌpʊt. ˈaʊtˌpʊt prəˈvaɪd ə kənˈvinjənt weɪ tɪ ɛnˈkoʊd jʊr ˈdætə ˌbiˈfɔr ɪt livz ðə ˈaʊtˌpʊt. səm ˈkɑmən: ðə dɪˈfɔlt ““plain”*” ɪz fər pleɪn tɛkst wɪθ noʊ bɪtˈwin ɪˈvɛnts ðə ““json”*” ɪz fər ɛnˈkoʊdɪŋ ɪˈvɛnts ɪn ˈɪnˌpʊts ənd dɪˈkoʊdɪŋ ˈmɛsɪʤɪz ɪn ˈaʊtˌpʊts noʊt ðət ɪt wɪl rɪˈvərt tɪ pleɪn tɛkst ɪf ðə rɪˈsivd ˈpeɪˌloʊdz ər nɑt ɪn ə ˈvælɪd ˈfɔrˌmæt ðə ““json_lines”*” əˈlaʊz ju ˈiðər tɪ rɪˈsiv ənd ɛnˈkoʊd ɪˈvɛnts baɪ ər tɪ dɪˈkoʊd ˈmɛsɪʤɪz baɪ ɪn ˈaʊtˌpʊts ðə ““rubydebug,”*,” wɪʧ ɪz ˈvɛri ˈjusfəl ɪn diˈbəgɪŋ, əˈlaʊz ju tɪ ˈaʊtˌpʊt ɪˈvɛnts ɛz ˈdætə ˈrubi ˈɑbʤɛkts ˈaʊtˌpʊt ən ˈaʊtˌpʊt sɛndz ɪˈvɛnt ˈdætə tɪ ə ˌpɑˈtɪkjələr ˌdɛstɪˈneɪʃən. ˈaʊtˌpʊts ər ðə ˈfaɪnəl steɪʤ ɪn ðə ɪˈvɛnt ˈpaɪˌplaɪn. ðə ɪz juzd tɪ ˈaʊtˌpʊt ɪˈvɛnts tɪ ˈjuzɪŋ ən rpush*, ɪz ə ˈdætə stɔr ðət kən sərv ɛz ə ˈbəfər leɪər ɪn jʊr ˈdætə ˈpaɪˌplaɪn. ˈjuʒəwəli, ju wɪl juz ɛz ə ˈmɛsɪʤ kju fər ˈʃɪpɪŋ ˈɪnstənsɪz ðət ˈhændəl ˈdætə ˌɪnˈʤɛsʧən ənd ˈstɔrɪʤ ɪn ðə ˈmɛsɪʤ kju. ðə kənˌfɪgjərˈeɪʃən ˈɔpʃənz: pɔrt 6379 hoʊst 0 (ðə ˈnəmbər) ˈwərkərz 1 (ðə ˈnəmbər əv ˈwərkərz tɪ juz fər ðɪs ˈaʊtˌpʊt) 1 2 3 4 5 6 7 8 pɔrt 6379 hoʊst 0 ðə ˈnəmbər ˈwərkərz 1 ðə ˈnəmbər əv ˈwərkərz tɪ juz fər ðɪs ˈaʊtˌpʊt ˈkɑfkə ˈkɑfkə ɪz ə dɪˈstrɪbjətəd ˈmɛsɪʤɪŋ ˈsɪstəm ðət ɪz dɪˈzaɪnd tɪ bi fæst, ˈskeɪləbəl, ənd ˈdʊrəbəl. wi æt juz ˈkɑfkə ɛz ə ˈmɛsɪʤ kju fər ɔl əv ɑr ˈɪnˌkəmɪŋ ˈmɛsɪʤ ˈɪnˌpʊts, ˌɪnˈkludɪŋ ðoʊz frəm. ˈjuʒəwəli, ju wɪl juz ˈkɑfkə ɛz ə ˈmɛsɪʤ kju fər jʊr ˈʃɪpɪŋ ˈɪnstənsɪz ðət ˈhændəlz ˈdætə ˌɪnˈʤɛsʧən ənd ˈstɔrɪʤ ɪn ðə ˈmɛsɪʤ kju. ðə ˈkɑfkə raɪts ɪˈvɛnts tɪ ə ˈkɑfkə ˈtɑpɪk ənd ˈjuzɪz ðə ˈkɑfkə prəˈdusər tɪ raɪt ˈmɛsɪʤɪz. ðə ˈoʊnli rikˈwaɪərd kənˌfɪgjərˈeɪʃən ɪz ðə ˈtɑpɪk neɪm: ˈkɑfkə "ˈtɑpɪk neɪm" ˈwərkərz 1 (ðə ˈnəmbər əv ˈwərkərz tɪ juz fər ðɪs ˈaʊtˌpʊt) 1 2 3 4 5 6 ˈkɑfkə "ˈtɑpɪk neɪm" ˈwərkərz 1 ðə ˈnəmbər əv ˈwərkərz tɪ juz fər ðɪs ˈaʊtˌpʊt ðɪs ɪz ə ˈsɪmpəl ˈaʊtˌpʊt ðət prɪnts tɪ ðə əv ðə ʃɛl ˈrənɪŋ. ðɪs ˈaʊtˌpʊt kən bi kwaɪt kənˈvinjənt wɪn diˈbəgɪŋ kənˌfɪgjərˈeɪʃənz ə ˈfaɪnəl noʊt wət tɪ ju laɪk tɪ juz wɪn ju ˈmɑnətər ənd ˈmænɪʤ jʊr lɔg ˈdætə ɪn jʊr oʊn ɪnˈvaɪrənmənts? aɪ ˌɪnˈvaɪt jʊr əˈdɪʃənz ənd θɔts ɪn ðə ˈkɑmɛnts bɪˈloʊ.
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log monitoring and management is one of the most important functions in devops, and the open-source software logstash is one of the most common platforms that are used for this purpose.
often used as part of the elk stack, logstash version 2.1.0 now has shutdown improvements and the ability to install plugins offline. here are just a few of the reasons why logstash is so popular:
logstash is able to do complex parsing with a processing pipeline that consists of three stages: inputs, filters, and outputs
each stage in the pipeline has a pluggable architecture that uses a configuration file that can specify what plugins should be used at each stage, in which order, and with what settings
users can reference event fields in a configuration and use conditionals to process events when they meet certain, desired criteria
since it is open source, you can change it, build it, and run it in your own environment
for more information on using logstash, see this logstash tutorial, this comparison of fluentd vs. logstash, and this blog post that goes through some of the mistakes that we have made in our own environment (and then shows how to avoid them). however, these issues are minimal logstash is something that we recommend and use in our environment.
in fact, many logstash problems can be solved or even prevented with the use of plugins that are available as self-contained packages called gems and hosted on rubygems. here are several that you might want to try in your environment.
logstash input plugins
input plugins get events into logstash and share common configuration options such as:
type filters events down the pipeline
tags adds any number of arbitrary tags to your event
codec the name of logstash codec used to represent the data
file
this plugin streams events from a file by tracking changes to the monitored files and pulling the new content as it’s appended, and it keeps track of the current position in each file by recording it. the input also detects and handles file rotation.
you can configure numerous items including plugin path, codec, read start position, and line delimiter. usually, the more plugins you use, the more resource that logstash may consume.
lumberjack
this plugin receives events using the lumberjack protocol, which is secure while having low latency, low resource usage, and a reliable protocol. it uses a logstash-forwarder client as its data source, so it is very fast and much lighter than logstash. all events are encrypted because the plugin input and forwarder client use a ssl certificate that needs to be defined in the plugin.
here is the required configuration:
lumberjack { port => ... ssl_certificate => ... ssl_key => ... } 1 2 3 4 5 lumberjack { port = > . . . ssl_certificate = > . . . ssl_key = > . . . }
beats
filebeat is a lightweight, resource-friendly tool that is written in go and collects logs from files on servers and forwards them to other machines for processing.the tool uses the beats protocol to communicate with a centralized logstash instance. you can also use an optional ssl certificate to send events to logstash securely.
the required configuration:
beats { port => ... } 1 2 3 beats { port = > . . . }
tcp
this plugin reads events over a tcp socket. each event is assumed to be one line of text. the optional ssl certificate is also available. in the codec, the default value is “line.”
the required configuration:
tcp { port => ... } 1 2 3 tcp { port = > . . . }
filter plugins
this is an optional stage in the pipeline during which you can use filter plugins to modify and manipulate events. within the filter (and output) plugins, you can use:
field references the syntax to access a field is [fieldname]. to refer a nested field, use [top-level field][nested field]
sprintf format this format enables you to access fields using the value of a printed field. the syntax “%{[fieldname]}”
the power of conditional statements syntax is also available:
if expression { ... } else if expression { ... } else { ... } 1 2 3 4 5 6 7 if expression { . . . } else if expression { . . . } else { . . . }
grok
this plugin is the “bread and butter” of logstash filters and is used ubiquitously to derive structure out of unstructured data. it helps you to define a search and extract parts of your log line into structured fields. roughly 120 integrated patterns are available.
grok works by combining text patterns into something that matches your logs. the plugin sits on top of regular expressions, so any regular expressions are valid in grok. you can define your own custom patterns in this manner:
grok { match => { "message" => "%{syntax:semantic}" } } 1 2 3 grok { match = > { "message" = > "%{syntax:semantic}" } }
a mutate filter allows you to perform general mutations on fields. you can rename, remove, replace, and modify fields in your events:
mutate { } 1 2 mutate { }
geoip
this plugin looks up ip addresses, derives geographic location information from the addresses, and adds that location information to logs.
the configuration options:
source the field containing the ip address, this is a required setting
target by defining a target in the geoip configuration option, you can specify the field into which logstash should store the geoip data
if you save the data to a target field other than geoip and want to use the geo\_point related functions in elasticsearch, you need to alter the template provided with the elasticsearch output and configure the output to use the new template:
geoip { source => "clientip" } 1 2 3 geoip { source = > "clientip" }
multiline
this plugin will collapse multiline messages from a single source into one logstash event.
the configuration options:
pattern this required setting is a regular expression that matches a pattern that indicates that the field is part of an event consisting of multiple lines of log data
what this can use one of two options (previous or next) to provide the context for which (multiline) event the current message belongs
for example:
multiline { ... pattern => "^\s" what => "previous" ... } 1 2 3 4 5 6 multiline { . . . pattern = > "^\s" what = > "previous" . . . }
this means that any line starting with whitespace belongs to the previous line.
important note: this filter will not work with multiple worker threads.
kv
this plugin helps to parse messages automatically and break them down into key-value pairs. by default, it will try to parse the message field and look for an ‘=’ delimiter. you can configure any arbitrary strings to split your data into any event field
the configuration options:
kv { ... source => "message" value_split => "=" ... } 1 2 3 4 5 6 kv { . . . source = > "message" value_split = > "=" . . . }
this powerful parsing mechanism should not be used without a limit because the production of an unlimited number of fields can hurt your efforts to index your data in elasticsearch later.
date
the date plugin is used for parsing dates from fields and then using that date as the logstash @timestamp for the event. it is one of the most important filters that you can use especially if you use elasticsearch to store and kibana to visualize your logs because elasticsearch will automatically detect and map that field with the listed type of timestamp.
this plugin ensures that your log events will carry the correct timestamp and not a timestamp based on the first time logstash sees an event.
the configuration options:
match you can specify an array of a field name, followed by a date-format pattern. that can help to support fields that have multiple time formats. the date formats allowed are defined by the java library joda-time.
one example:
date { ... match => [ "mydate", "mmm dd yyy hh:mm:ss", "mmm d yyy hh:mm:ss", "iso8601" ] ... } 1 2 3 4 5 date { . . . match = > [ "mydate" , "mmm dd yyy hh:mm:ss" , "mmm d yyy hh:mm:ss" , "iso8601" ] . . . }
logstash codecs
codecs can be used in both inputs and outputs. input codecs provide a convenient way to decode your data before it enters the input. output codecs provide a convenient way to encode your data before it leaves the output. some common codecs:
the default “plain” codec is for plain text with no delimitation between events
the “json” codec is for encoding json events in inputs and decoding json messages in outputs note that it will revert to plain text if the received payloads are not in a valid json format
the “json_lines” codec allows you either to receive and encode json events delimited by
or to decode jsons messages delimited by
in outputs
the “rubydebug,” which is very useful in debugging, allows you to output logstash events as data ruby objects
logstash output plugins
an output plugin sends event data to a particular destination. outputs are the final stage in the event pipeline.
redis
the redis plugin is used to output events to redis using an rpush, redis is a key-value data store that can serve as a buffer layer in your data pipeline. usually, you will use redis as a message queue for logstash shipping instances that handle data ingestion and storage in the message queue.
the configuration options:
redis { ... port => 6379 host => ["1.1.1.1"] db => 0 (the db number) workers => 1 (the number of workers to use for this output) ... } 1 2 3 4 5 6 7 8 redis { . . . port = > 6379 host = > [ "1.1.1.1" ] db = > 0 ( the db number ) workers = > 1 ( the number of workers to use for this output ) . . . }
kafka
kafka is a distributed publish-subscribe messaging system that is designed to be fast, scalable, and durable. we at logz.io use kafka as a message queue for all of our incoming message inputs, including those from logstash.
usually, you will use kafka as a message queue for your logstash shipping instances that handles data ingestion and storage in the message queue. the kafka plugin writes events to a kafka topic and uses the kafka producer api to write messages.
the only required configuration is the topic name:
kafka { ... topic_id => "topic name" workers => 1 (the number of workers to use for this output) ... } 1 2 3 4 5 6 kafka { . . . topic_id = > "topic name" workers = > 1 ( the number of workers to use for this output ) . . . }
stdout
this is a simple output that prints to the stdout of the shell running logstash. this output can be quite convenient when debugging plugin configurations
a final note
what logstash plugins to you like to use when you monitor and manage your log data in your own environments? i invite your additions and thoughts in the comments below.
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sɔrs: ˈɛfˈbiˈaɪ ˌdɪˈsaɪdz ˈwɛðər ˈməzlɪm flæg əˈtæk wɑz heɪt kraɪm ðə ˈɛfˈbiˈaɪ həz dɪˈtərmənd ðət noʊ heɪt kraɪm əˈkərd ɔn ðə deɪ ˈæftər məˈmɔriəl deɪ ɪn ˈlɔrənsˌvɪl, ˈʤɔrʤə, wɪn ə ˈməzlɪm ˈwʊmən drɛst ɪn ə keɪm aʊt əv ðə wʊdz bɪˈhaɪnd ə haʊs, græbd ðə lɑrʤ əˈmɛrɪkən flæg ənd əˈtækt ðɛm wɪθ ɪt. ðə ˈɛfˈbiˈaɪ wɑz æst baɪ ˈloʊkəl pəˈlis tɪ ˌɪnˈvɛstəˌgeɪt ˈwɛðər ˈɑli, 30 meɪ hæv kəˈmɪtɪd ə heɪt kraɪm wɪn ʃi əˈtækt ˈhoʊˌmoʊnər ˈɑrnoʊ ənd hər ˈdɔtər waɪl ðə tu wər ˈdrɪŋkɪŋ ˈkɔfi ɪn ðɛr gərɑʒ ɔn ðə ˈmɔrnɪŋ əv ˈtuzˌdeɪ, meɪ 31 græbd ðə lɑrʤ flæg ɔf ðɛr ˈmeɪlˌbɑks ənd juzd ðə lɔŋ poʊl meɪd əv paɪp ɛz ə ˈwɛpən, sˈwɪŋɪŋ ɪt ˈwaɪldli æt hɛd. ðə fɔt ɔf ðə məʧ ˈlɑrʤər ənd tu ˈneɪbərz hɛlpt riˈstreɪn hər ənˈtɪl pəˈlis əraɪvd. æt wən pɔɪnt ˈdʊrɪŋ ðə əˈtæk sən ˈimərʤd frəm ðə haʊs wɪθ ðə ˈfæməli ˈpɪstəl ənd ˈpɔɪntɪd ɪt æt ðə ˈwʊmən əˈsɔltɪŋ hɪz ˈməðər bət dɪd nɑt faɪər ə ʃɑt. ə ˈfɛdərəl lɔ ɛnˈfɔrsmənt əˈfɪʃəl toʊld ðət həz bɪn dɪˈtərmənd tɪ hæv ˈmɛntəl hɛlθ ˈɪʃuz, wɪʧ wʊd meɪk ɪt ənˈlaɪkli fər ˈfɛdərəl ˈprɑsɪˌkjutərz tɪ ʧɑrʤ hər wɪθ ə heɪt kraɪm. ɪf ju wɔnt ən ɪgˈzæmpəl əv ˈsəmˌwən hu ɪz ˈrædɪkəˌlaɪzd ju gɪt ə ˈbɛtər wən ðən ˈsəmˌwən ˈwɔkɪŋ əp ənd ˈgræbɪŋ əˈmɛrɪkən flæg ənd ˈbitɪŋ ðɛm wɪθ it,”*,” sɛd ðə əˈfɪʃəl, hu æst nɑt tɪ bi aɪˈdɛntəˌfaɪd. ˈloʊkəl pəˈlis ʧif ˈrændi ˈʤɑnsən toʊld ðət hɪz dɪˈpɑrtmənt rɪˈfərd ðə keɪs tɪ ðə ˈɛfˈbiˈaɪ. bət ðə ˈeɪʤənt əˈsaɪnd tɪ ðə keɪs ˈnɛvər tʊk ðə taɪm tɪ ˈɪntərvˌju ðə ˈɑrnoʊ ˈfæməli ər ˈɛni əv ðə ˈəðər ˈaɪˌwɪtnəsɪz tɪ ðə əˈtæk. ˈɛfˈbiˈaɪ ˈeɪʤənt, ʧək ˈkæmpoʊ, ˈnɛvər ˈkɑnˌtæktɪd ɑr ˈfæməli. wi ˈfaɪnəli riʧt ɪm ənd hi toʊld ˈjuˈɛs ðɛr wɑz noʊ heɪt kraɪm ənd aɪ æm nɑt ɛnˈtaɪtəld tɪ ˈɛni ˌɪnˌfɔrˈmeɪʃən ɔn ðɪs ˈwʊmən hu əˈtækt mi ɪn maɪ oʊn home,”*,” ˈɑrnoʊ sɛd. ˈivɪn tɛl ˈjuˈɛs ˈwɛðər ər nɑt ʃi wɑz ˈligəli hir ɪn ðɪs country.”*.” ə gwɪˈnɛt ˈkaʊnti ˈɔfəs ɪmˈplɔɪi toʊld ˈɑrnoʊ ðət ðə ˈwʊmən wɑz ɪn ðə juz. ɔn ə ˈvizə ər grin kɑrd ənd wɑz ərˈɪʤənəli frəm səˈmɑljə. kən ju seɪ ju dɪd ən ˌɪnˌvɛstəˈgeɪʃən wɪn ju ˈnɛvər ˈivɪn tɔkt tɪ ðə ˈvɪktɪm, ˈnɛvər meɪd ə foʊn kɔl ər ə visit,”*,” sɛd ˈɑrnoʊ, ə ˈməðər əv tu hu ɪz ˈmɛrid tɪ ə mɪˈkænɪk. ˈɛfˈbiˈaɪ toʊld mi ɪf aɪ fil ɪn fɪr əv maɪ laɪf tɪ ˈkɑnˌtækt maɪ ˈloʊkəl police.”*.” ʃi ənd hər ˈhəzbənd, ˈʤɪmi, seɪ ðeɪ hæv ɔˈrɛdi kɔld ðɛr ˈloʊkəl pəˈlis ʧif twaɪs ənd hi həz jɛt tɪ rɪˈspɑnd θri wiks ˈæftər ðə əˈtæk. ˈkeɪti bərˈɔfski, wən əv ðə tu ˈneɪbərz hu keɪm ˈrənɪŋ aʊt əv hər haʊs tɪ əˈsɪst ɪn ðə teɪk daʊn əv ðə ˈfiˌmeɪl ˈməzlɪm əˈtækər, toʊld ðə ˈwʊmən wɑz ““clawing”*” æt hər feɪs wɪn ʃi əraɪvd ɔn ðə sin. hərd ˈjɛlɪŋ ənd ə kəˈmoʊʃən goʊɪŋ ɔn ˈaʊtˈsaɪd ənd aɪ lʊkt aʊt ənd sɔ dɪˈfɛndɪŋ hərˈsɛlf frəm ðɪs ˈvɛri lɑrʤ ˈwʊmən hu wɑz əˈtækɪŋ her,”*,” bərˈɔfski sɛd. kʊd nɑt stænd ðɛr ənd lɛt ɪt goʊ daʊn laɪk ðət. ðɪs ɪz maɪ ˈneɪbər ənd maɪ frɛnd. ˈivɪn si ðə flæg. ɪt wɑz ɔˈrɛdi ɔn ðə graʊnd. soʊ aɪ keɪm ˈoʊvər ənd hɛlpt dɪˈfɛnd dami,”*,” ʃi kənˈtɪnjud. hɛld wən ɑrm ənd hɛld ðə ˈəðər. æt wən pɔɪnt ʃi dɪd riʧ fər maɪ θroʊt. ʃi græbd ðə frənt ˈkɑlər əv maɪ ʃərt ɛz aɪ pʊld back.”*.” bərˈɔfski sɛd ʃi wɑz ˈaʊtˈsaɪd ðə naɪt ˌbiˈfɔr ənd sɔ ə ˈwʊmən wɪθ ə ˈməzlɪm wrap”*” ˈwɔkɪŋ əraʊnd ðə ˈneɪbərˌhʊd. peɪ tu məʧ əˈtɛnʃən tɪ ɪt bɪˈkəz aɪ ʤɪst ˈfɪgjərd ˈvɪzɪtɪŋ ˈsəmˌwən ɪn ðə ˈneɪbərˌhʊd ənd aɪ wɔnt tɪ rɪˈpɔrt ɪt ənd bi sin ɛz ˈsɪŋgəlɪŋ ˈɛniˌwən aʊt (bɪˈkəz əv ðɛr reɪs ər religion),”*),” bərˈɔfski toʊld. bərˈɔfski sɛd ʃi wɑz shocked”*” ðət ðə ˈɛfˈbiˈaɪ ˌdɪˈsaɪdɪd nɑt tɪ prɛs ˈɛni ˈfɛdərəl ˈʧɑrʤɪz əˈgɛnst ənd rɪfˈjuzd tɪ gɪv ˈɛni ˌɪnˌfɔrˈmeɪʃən əˈbaʊt hər. noʊ wɛr ʃi keɪm frəm ər wɛr ʃi wɑz going,”*,” ʃi sɛd. ˈvɛri ʃɑkt tɪ hir ðɛm seɪ ðeɪ kloʊzd ðə keɪs. ðeɪ spik tɪ ˈɛni əv ˈjuˈɛs ɪn ðə neighborhood.”*.” bərˈɔfski sɛd ʃi ɪz ɔn ɛʤ naʊ ənd ɪn fear.”*.” ˈɑrnoʊ sɛd ðeɪ wɪl nɑt laɪ daʊn ənd bi ˈpæsɪv. hi (ˈeɪʤənt ˈkæmpoʊ) kɛpt seɪɪŋ wɑz kən gɪv ju noʊ ˌɪnˌfɔrˈmeɪʃən, aɪ kən gɪv ju noʊ information.’*.’ nɑt wənz tɪ roʊl ˈoʊvər. goʊɪŋ tɪ stænd əp ənd fight.”*.” ʃi sɛd ðə ˈfæməli həz bɪn ɪn ˈkɑnˌtækt wɪθ ə steɪt ˈlɛʤəsˌleɪtər hu ɪz ˈwərkɪŋ ɔn ˌlɛʤəsˈleɪʃən ðət wʊd prəˈvaɪd səm sɔrt əv ˈpənɪʃmənt fər ˈrɛfˌjuʤiz ər ˈɪməgrənts ˈgɪlti əv ˈvaɪələnt kraɪmz əˈgɛnst əˈmɛrɪkənz ˈsəmθɪŋ ˌbiˈsaɪdz ə mɪr ˈsɪmpəl ˈbætəri ˌmɪsdəˈminər. sɛd hi sɛnt ðə keɪs bæk tɪ ˈlɔrənsˌvɪl pəˈlis ənd ˈlɔrənsˌvɪl toʊld ˈjuˈɛs ðeɪ hæv ɪt either,”*,” ˈɑrnoʊ toʊld. wɪl tɔk tɪ ˈjuˈɛs. ˈnoʊˌbɑˌdi wɪl tɛl ˈjuˈɛs anything.”*.” ðə æˈtlæntə ˈɛriə ɪz əˈməŋ ðə tɔp faɪv ər sɪks juz. ˌdɛstəˈneɪʃənz fər səˈmɑli ˈrɛfˌjuʤiz, ˈhævɪŋ rɪˈsivd mɔr ðən sɪns ðə sɛpt. 11 2001 ˈtɛrərɪst əˈtæks, əˈkɔrdɪŋ tɪ ðə juz. steɪt ˈrɛfjuʤi ˈprɑsɛsɪŋ ˈsɛnər. ˈlɔrənsˌvɪl həz rɪˈsivd 24 səˈmɑli ˈrɛfˌjuʤiz sɪns 2002 ənd həz ə mɔsk nɑt fɑr frəm ðə ˈneɪbərˌhʊd wɛr ðə əˈtæk əˈkərd.
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source: fbi decides whether muslim flag attack was hate crime
the fbi has determined that no hate crime occurred on the day after memorial day in lawrenceville, georgia, when a muslim woman dressed in a burqa came out of the woods behind a homeowner’s house, grabbed the family’s large american flag and attacked them with it.
the fbi was asked by local police to investigate whether amina ali ahra, 30, may have committed a hate crime when she attacked homeowner dami arno and her 17-year-old daughter while the two were drinking coffee in their garage on the morning of tuesday, may 31.
ahra grabbed the family’s large flag off their mailbox and used the 4-foot long pole made of pvc pipe as a weapon, swinging it wildly at arno’s head. the 42-year-old fought off the much larger ahra and two neighbors helped restrain her until police arrived. at one point during the attack arno’s 14-year-old son emerged from the house with the family pistol and pointed it at the woman assaulting his mother but did not fire a shot.
a federal law enforcement official told wnd that ahra has been determined to have mental health issues, which would make it unlikely for federal prosecutors to charge her with a hate crime.
“but if you want an example of someone who is radicalized you can’t get a better one than someone walking up and grabbing someone’s american flag and beating them with it,” said the official, who asked not to be identified.
local police chief randy johnson told wnd that his department referred the case to the fbi.
but the agent assigned to the case never took the time to interview the arno family or any of the other eyewitnesses to the attack.
“the fbi agent, chuck campo, never contacted our family. we finally reached him and he told us there was no hate crime and i am not entitled to any information on this woman who attacked me in my own home,” arno said. “he wouldn’t even tell us whether or not she was legally here in this country.”
a gwinnett county sheriff’s office employee told arno that the woman was in the u.s. on a visa or green card and was originally from somalia.
“how can you say you did an investigation when you never even talked to the victim, never made a phone call or a visit,” said dami arno, a stay-at-home mother of two who is married to a mechanic. “the fbi told me if i feel in fear of my life to contact my local police.”
she and her husband, jimmy, say they have already called their local police chief twice and he has yet to respond three weeks after the attack.
katie borowski, one of the two neighbors who came running out of her house to assist in the take down of the female muslim attacker, told wnd the woman was “clawing” at her neighbor’s face when she arrived on the scene.
“i heard yelling and a commotion going on outside and i looked out and saw dami defending herself from this very large woman who was attacking her,” borowski said. “i could not stand there and let it go down like that. this is my neighbor and my friend.
“i didn’t even see the flag. it was already on the ground. so i came over and helped defend dami,” she continued. “i held one arm and dami held the other. at one point she did reach for my throat. she grabbed the front collar of my shirt as i pulled back.”
borowski said she was outside the night before and saw a woman with a muslim “head wrap” walking around the neighborhood.
“i didn’t pay too much attention to it because i just figured she’s visiting someone in the neighborhood and i didn’t want to report it and be seen as singling anyone out (because of their race or religion),” borowski told wnd.
borowski said she was “totally shocked” that the fbi decided not to press any federal charges against ahra and refused to give any information about her.
“we don’t know where she came from or where she was going,” she said. “i’m very shocked to hear them say they closed the case. they didn’t speak to any of us in the neighborhood.”
borowski said she is on edge now and “living in fear.”
dami arno said they will not lie down and be passive.
“all he (agent campo) kept saying was ‘i can give you no information, i can give you no information.’ we’re not ones to roll over. we’re going to stand up and fight.”
she said the family has been in contact with a state legislator who is working on legislation that would provide some sort of punishment for refugees or immigrants guilty of violent crimes against americans — something besides a mere simple battery misdemeanor.
“he said he sent the case back to lawrenceville police and lawrenceville told us they didn’t have it either,” dami arno told wnd. “nobody will talk to us. nobody will tell us anything.”
the atlanta area is among the top five or six u.s. destinations for somali refugees, having received more than 4,000 since the sept. 11, 2001 terrorist attacks, according to the u.s. state department’s refugee processing center.
lawrenceville has received 24 somali refugees since 2002 and has a mosque not far from the neighborhood where the attack occurred.
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tema*, ˈgænə (ˈrɔɪtərz) ə ʃɪp wɑz əˈfɪʃəli ˈwɛlkəmd æt meɪn pɔrt ɔn ˈsənˌdi ˈæftər ərˈaɪvɪŋ ðə ˈpriviəs deɪ ɪn wət paʊər ˈmɪnɪstər sɛd wɑz ə bɪd tɪ kip ðə ˈkəntri ɔn træk tɪ ɛnd ˈkrɑnɪk ˈblæˌkaʊts. paʊər həz bɪˈkəm ə pəˈlɪtɪkəl ˈɪʃu, ənd ˈæŋgər ˈoʊvər ðə ˈblæˌkaʊts, wɪʧ kən læst fər 24 aʊərz æt ə taɪm, θˈrɛtənz ˈprɛzɪdənt ʤɑn ˈʧænsɪz əv nɛkst jɪr. hi həz vaʊd tɪ ɛnd ðə paʊər kəts baɪ dɛk. 31 ðə ˈgəvərnmənt ˈkɑntræktəd ðə ʃɪp frəm ˌɪndɪˈpɛndənt ˈtərkɪʃ prəˈdusər tɪ ˈʤɛnərˌeɪt 235 ˈmɛgəˌwɑts əv ɪˌlɛkˈtrɪsəti ˈdeɪli tɪ hɛlp ˈɔfˌsɛt ə ˈnæʃənəl səˈplaɪ ˈdɛfəsət əv əraʊnd 500 ˈmɛgəˌwɑts. ɪz ˈoʊnli wən ˈɛləmənt ɪn ɑr səˈluʃən, bət ɪt ɪz ə ˈvɛri ˈjusfəl element,”*,” toʊld ˈrɔɪtərz ɪn ðə pɔrt əv tema*, ist əv ðə ˈkæpɪtəl ˈɑˌkrɑ. ɪz ə strɔŋ ˈsɪgnəl ðət wi ər ɔn kɔrs tɪ ˈɛndɪŋ ðə ˈblæˌkaʊts ənd tɪ rɪˈstɔrɪŋ ˌɪnˈvɛstər ˈkɑnfədɛns ɪn ɑr economy.”*.” trəˈdɪʃənəl ʧifs ˈwɛlkəmd ðə ʃɪp ɔn ˈsənˌdi baɪ ˈpɔrɪŋ ˌælkəˈhɑlɪk ˈspɪrɪts ˈɔntu ðə graʊnd. ðə paʊər ˈblæˌkaʊts, wɪʧ hæv bɪn goʊɪŋ ɔn fər θri jɪrz, stɛm frəm ˌɪnsəˈfɪʃənt reɪn tɪ ˈɔpərˌeɪt ˈhaɪˌdroʊ fəˈsɪlɪtiz, ˌɑbsəˈlit ɪkˈwɪpmənt, ˌɪnɪˈfɪʃənsi ənd ə ˈlɔŋˈtərm ˈfeɪljər tɪ æd kəˈpæsɪti tɪ ðə grɪd. ˌɪˈrɛgjələr paʊər həz kəmˈpaʊndɪd ə sˈloʊˌdaʊn ɪn ˌɛkəˈnɑmɪk groʊθ ɪn ə ˈkəntri ðət ənˈtɪl ˈrisəntli wɑz ə ˈfeɪvərɪt wɪθ ˌɪnˈvɛstərz. ɪˈkɑnəmi gru ˈstrɔŋli fər jɪrz θru ɪts ˈɛkspɔrts əv goʊld, ˈkoʊkoʊ ənd ɔɪl, bət loʊər ˈgloʊbəl kəˈmɑdəti ˈpraɪsɪz hæv ˈbləntɪd ðət ɪkˈspænʧən ənd ðə ˈgəvərnmənt bɪˈgæn ən ˌɪnərˈnæʃənɑl ˈmɑnəˌtɛri fənd eɪd ˈproʊˌgræm ɪn ˈeɪprəl. ðə ˈʤɛnərˌeɪtɪŋ ʃɪp, ˈsəltən, ʃʊd bi pləgd ˈɪntu ðə ˈnæʃənəl grɪd baɪ ənd ɪz ðə fərst əv tu plænts ðət wɪl prəˈvaɪd ə ˈtoʊtəl əv 450 ˈmɛgəˌwɑts əv paʊər ˈəndər ə ˈkɑnˌtrækt, sɛd. sɛd ən əˈdɪʃənəl səˈplaɪ əv əp tɪ 250 ˈmɛgəˌwɑts wɑz ˈkəmɪŋ nɛkst mənθ frəm ðə ˌɪndɪˈpɛndənt prəˈdusər ˈæfrɪkɑ ənd ˈmɪdəl ist ˈrisɔrs ˌɪnˈvɛstmənt. ˈəðər ˈprɑʤɛkts ʃʊd dɪˈlɪvər əˈbaʊt ˈmɛgəˌwɑts ˈstɑrtɪŋ nɛkst jɪr ðət wɪl gɪv ˈgænə ə paʊər rɪˈzərv, sɛd.
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tema, ghana (reuters) - a power-generating ship was officially welcomed at ghana’s main port on sunday after arriving the previous day in what power minister kwabena donkor said was a bid to keep the country on track to end chronic blackouts.
power has become a political issue, and anger over the blackouts, which can last for 24 hours at a time, threatens president john mahama’s chances of re-election next year. he has vowed to end the power cuts by dec. 31.
the government contracted the ship from independent turkish producer karpowership to generate 235 megawatts of electricity daily to help offset a national supply deficit of around 500 megawatts.
“this is only one element in our solution, but it is a very useful element,” donkor told reuters in the port of tema,st of the capital accra.
“it is a strong signal that we are on course to ending the blackouts and to restoring investor confidence in our economy.”
traditional chiefs welcomed the ship on sunday by pouring alcoholic spirits onto the ground.
the power blackouts, which have been going on for three years, stem from insufficient rain to operate hydro facilities, obsolete equipment, inefficiency and a long-term failure to add capacity to the grid.
irregular power has compounded a slowdown in economic growth in a country that until recently was a favorite with investors.
ghana’s economy grew strongly for years through its exports of gold, cocoa and oil, but lower global commodity prices have blunted that expansion and the government began an international monetary fund aid program in april.
the generating ship, aysegul sultan, should be plugged into the national grid by mid-december and is the first of two plants that will provide a total of 450 megawatts of power under a 10-year contract, donkor said.
donkor said an additional supply of up to 250 megawatts was coming next month from the dubai-based independent producer africa and middlest resource investment.
other projects should deliver about 1,000 megawatts starting next year that will give ghana a power reserve, donkor said.
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ea* spɔrts riˈlist ðə ˈmædən 18 wik 16 ˈrɑstər ˈəpˌdeɪt. ɪt ɪz naʊ əˈveɪləbəl tɪ ˈdaʊnˌloʊd ɔn boʊθ ənd wən. ɛz ˈɔlˌweɪz, həz ju ˈkəvərd wɪθ ɑr ˈmædən 18 ˈreɪtɪŋz ˈəpˌdeɪt ˈhaɪˌlaɪts ənd ˈbreɪkˌdaʊn. ˈmædən 18 wik 16 ˈrɑstər ˈreɪtɪŋz ˈəpˌdeɪt ˈhaɪˌlaɪts ðə ˈhaɪˌlaɪts əv ðɪs ˈrɑstər ˈəpˌdeɪt ˈfiʧər ˈʧeɪnʤɪz tɪ pleɪərz frəm ðə ˈʤægˌwɑrz, laɪənz ənd ˈʧɑrʤərz kəˈlɛktɪvli. ɔl θri timz hæv æt list tu pleɪərz hu sɔ sɪgˈnɪfɪkənt ˈʧeɪnʤɪz ɪn ðɛr ˈoʊvərˌɔl ˈreɪtɪŋz. bleɪk ənd ˈkilən koʊl wər rɪˈwɔrdɪd fər bɪg geɪmz. boʊθ pleɪərz rɪˈsivd tu ˈminɪŋfəl pɔɪnts tɪ ðɛr ˈoʊvərˌɔl ˈreɪtɪŋz. ˈʤɪmi gɪts ə məʧ dɪˈzərvd ˈreɪtɪŋz bust ɛz hi ˈɔlsoʊ geɪnd tu pɔɪnts ɪn hɪz ˈoʊvərˌɔl. ˈfɪlɪp ˈrɪvərz ənd ˈdiˈeɪˈkeɪ ˈprɛskɑt boʊθ ˈstrəgəld ənd ˈsəfərd ə wən pɔɪnt lɔs ɪn ðɛr ˈoʊvərˌɔl ˈreɪtɪŋz ɛz ə rɪˈzəlt. steɪɪŋ wɪθ, ðɛr wər θri pleɪərz huz ˈoʊvərˌɔl ˈreɪtɪŋz klaɪmd əp baɪ wən pɔɪnt. nɪk, ˈwɪnstən ənd kæm ˈnutən iʧ geɪnd wən pɔɪnt ɪn ðɛr ˈreɪtɪŋ. ənd ˈnutən wər rɪˈwɔrdɪd fər ðɛr səkˈsɛs ˈæftər boʊθ wər meɪn ˈrizənz fər ðɛr rɪˈspɛktɪv timz ˈwɪnɪŋ bɪg geɪmz ðɪs pæst ˈwiˌkɪnd. ˈspikɪŋ əv bɪg geɪmz, ʧifs ˈrʊki kərˈim hənt geɪnd tu pɔɪnts ɪn hɪz ˈoʊvərˌɔl ˈreɪtɪŋ. hi ɪz naʊ æt ən 86 ˈfɛloʊ wɛst, ˈmɛlvɪn ˈgɔrdən ˈɔlsoʊ sɔ ə tu pɔɪnt ˈreɪtɪŋz bust ˈpʊtɪŋ ɪm æt ən 88 laɪənz ˌæbˈdələ ənd ˈrʊki grin boʊθ ˈwɪtnəst ðɛr ˈoʊvərˌɔl ˈreɪtɪŋz ˈdræstɪkli ʧeɪnʤ. ˌhaʊˈɛvər, ðə ˈdɪfərəns ɪz wən pleɪər ˈpləmətɪd waɪl ðə ˈəðər ˈskaɪˌrɑkətɪd. tɑd ˈgərli ənd mɑrk ˈɪŋgrəm boʊθ roʊz baɪ wən pɔɪnt ɪn ðɛr ˈoʊvərˌɔl ˈreɪtɪŋz ɛz wɛl. ˈgərli kəmz əp tɪ ən 89 ˈreɪtɪŋ waɪl ˈɪŋgrəm klaɪmz tɪ ən 88 ˈbɪgəst ˈwɪnərz bleɪk 2 81 ˈoʊvərˌɔl) ˈmɛlvɪn ˈgɔrdən 2 88 ˈoʊvərˌɔl) ˈkinən koʊl 2 78 ˈoʊvərˌɔl) ˈrɛʤi ˈræglənd 2 80 ˈoʊvərˌɔl) grin 5 70 ˈoʊvərˌɔl) də maɪlz ˈgɛrɪt 1 85 ˈoʊvərˌɔl) ˈʤɪmi 2 80 ˈoʊvərˌɔl) ˈbɪgəst ˈluzərz ˈfɪlɪp ˈrɪvərz 1 84 ˈoʊvərˌɔl) ri ˈʤɛri juz 2 85 ˈoʊvərˌɔl) ˌæbˈdələ 3 78 ˈoʊvərˌɔl) lɑˈmɑr ˈmɪlər 2 84 ˈoʊvərˌɔl) ti ˈɔstən 3 80 ˈoʊvərˌɔl) ˈɪnmən 3 74 ˈoʊvərˌɔl) ˈbreɪkˌdaʊn ðɛr wɑz ə juθ ˈmuvmənt ɔn ðə ˈbɪgəst ˈwɪnərz saɪd əv ðə lɪst ðɪs wik. ɪt ɪz gʊd tɪ si səm frɛʃ, əp ənd ˈkəmɪŋ neɪmz səʧ ɛz grin, də maɪlz ˈgɛrɪt ənd ˈkinən koʊl ɔn ðə ˈwɪnərz lɪst ðɪs wik. də maɪlz ˈgɛrɪt meɪd ɪt tɪ ən 85 ˈoʊvərˌɔl ˈæftər ðɪs ˈrɑstər ˈəpˌdeɪt ənd ðət pʊts ɪm əˈlɔŋˈsaɪd ʧifs ˈrʊki kərˈim hənt ɛz wən əv ðə haɪəst ˈreɪtɪd ˈrʊkiz ɪn ˈmædən ˈɛˌnɛˈfɛl 18 æt ðɪs pɔɪnt. ɪt wɑz ə bɪg wik ɪn ðə ˈreɪtɪŋz fər ˈrənɪŋ bæks. ˈmɛlvɪn ˈgɔrdən ɪz kˈwɪkli bɪˈkəmɪŋ wən əv ðə bɛst jəŋ bæks ɪn ˈmædən 18 ɔn dɪˈfɛns, ˈrʊki ˈrɛʤi ˈræglənd sɔ hɪz ˈoʊvərˌɔl ˈreɪtɪŋ meɪk ə tu pɔɪnt lip. ˈræglənd həz hæd tɪ stɛp əp fər ðoʊz əv ju hu juz ðə ʧifs ɪn kəmˈpɛtɪtɪv ˈɔnˌlaɪn pleɪ ənd hɪz kənˈtɪnjud ˈreɪtɪŋz səkˈsɛs wɪl sərv ju wɛl ɔn dɪˈfɛns. ðə ˈbɪgəst ˈstɔri ɪn wik 16 həz tɪ bi ðə tu pɔɪnt ʤəmp fər boʊθ bleɪk ənd ˈʤɪmi. ðə bust fər həz ðoʊz əv ju hu laɪk pleɪɪŋ wɪθ ðə ʤægz ˈbimɪŋ wɪθ hoʊp. ðə ˈtaɪmɪŋ əv hɪz ˈreɪtɪŋz bust kəmz ʤɪst ɛz ðə ˈʤægˌwɑrz ər bɪˈkəmɪŋ mɔr ənd mɔr ˈpɑpjələr tɪ juz fər kəmˈpɛtɪtɪv ˈmædən ˈgeɪmˌpleɪ. ˈreɪtɪŋ haɪk ɪz ə bɪt ˈoʊvərˈdu wɪn kəmˈpɛrd tɪ səm əv ðə ˈəðər pleɪərz æt ðə pəˈzɪʃən. ən 80 ˈoʊvərˌɔl ɪz rɪˈspɛktəbəl fər ə ənd ˈgɪvɪn ðə jəŋ ˈtælənt əv ðə 49er’s*, ˈreɪtɪŋz bust meɪks ðɛm ən əˈtræktɪv dɑrk hɔrs tim tɪ juz ɪn boʊθ ˈɔnˌlaɪn kəmˈpɛtɪtɪv ˈgeɪmˌpleɪ ənd cfm*. ju kən ʧɛk aʊt ðə fʊl lɪst əv ˈreɪtɪŋz ˈʧeɪnʤɪz ˌɪnˈkludɪŋ ðə ˈbɪgəst ˈmuvərz ɔn ðə ˈmædən ˈreɪtɪŋz ˈdætəˌbeɪs. bi ʃʊr tɪ ʧɛk bæk wɪθ fər ɔl ðə ˈleɪtəst nuz ənd noʊts rɪˈgɑrdɪŋ ˈmædən 18 ˈtaɪtəl ˈəpˌdeɪts ənd ˈwikli ˈrɑstər ˈəpˌdeɪts. wɔnt tɪ tɔk spɔrts geɪmz wɪθ ðə ˈfæstəst groʊɪŋ kəmˈjunɪti ɪn ˈgeɪmɪŋ? ʤɔɪn ðə ˌkɑnvərˈseɪʃən baɪ ˈrɛʤɪstərɪŋ æt ðə əˈfɪʃəl spɔrts ˈgeɪmərz ˈɔnˌlaɪn ˈfɔrəmz, ənd ʧɛk aʊt ɑr tˈwɪtər ənd ˈfeɪsˌbʊk ˈpeɪʤɪz.
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ea sports released the madden 18 week 16 roster update. it is now available to download on both ps4 and xbox one. as always, sgo has you covered with our madden 18 ratings update highlights and breakdown.
madden 18: week 16 roster ratings update
highlights
the highlights of this week’s roster update feature changes to players from the jaguars, lions and chargers collectively. all three teams have at least two players who saw significant changes in their overall ratings. jaquars qb blake bortles and wr keelan cole were rewarded for big games. both players received two meaningful points to their overall ratings. qb jimmy garoppolo gets a much deserved ratings boost as he also gained two points in his overall.
qb’s philip rivers and dak prescott both struggled and suffered a one point loss in their overall ratings as a result. staying with qb’s, there were three players whose overall ratings climbed up by one point. qb’s nick foles, jameis winston and cam newton each gained one point in their rating. foles and newton were rewarded for their success after both were main reasons for their respective teams winning big games this past weekend.
speaking of big games, chiefs rookie hb kareem hunt gained two points in his overall rating. he is now at an 86. fellow afc west hb, melvin gordon also saw a two point ratings boost putting him at an 88. lions hb’s ameer abdullah and rookie tion green both witnessed their overall ratings drastically change. however, the difference is one player plummeted while the other skyrocketed. todd gurley and mark ingram both rose by one point in their overall ratings as well. gurley comes up to an 89 rating while ingram climbs to an 88.
biggest winners
qb blake bortles +2 (81 overall)
hb melvin gordon +2 (88 overall)
wr keenan cole +2 (78 overall)
mlb reggie ragland +2 (80 overall)
hb tion green +5 (70 overall)
de myles garrett +1 (85 overall)
qb jimmy garoppolo +2 (80 overall)
biggest losers
qb philip rivers -1 (84 overall)
re jerry hughes -2 (85 overall)
hb ameer abdullah -3 (78 overall)
hb lamar miller -2 (84 overall)
te austin seferian-jenkins -3 (80 overall)
wr dontrelle inman -3 (74 overall)
breakdown
there was a youth movement on the biggest winners side of the list this week. it is good to see some fresh, up and coming names such as tion green, de myles garrett and wr keenan cole on the winners list this week. de myles garrett made it to an 85 overall after this week’s roster update and that puts him alongside chiefs rookie kareem hunt as one of the highest rated rookies in madden nfl 18 at this point. it was a big week in the ratings for running backs. melvin gordon is quickly becoming one of the best young backs in madden 18. on defense, rookie mlb reggie ragland saw his overall rating make a two point leap. ragland has had to step up for those of you who use the chiefs in competitive online play and his continued ratings success will serve you well on defense.
the biggest story in week 16 has to be the two point jump for both qb’s blake bortles and jimmy garoppolo. the boost for bortles has those of you who like playing with the jags beaming with hope. the timing of his ratings boost comes just as the jaguars are becoming more and more popular to use for competitive madden gameplay.
garoppolo’s rating hike is a bit overdue when compared to some of the other players at the position. an 80 overall is respectable for a qb and given the young talent of the 49er’s, garoppolo’s ratings boost makes them an attractive dark horse team to use in both online competitive gameplay and cfm.
you can check out the full list of ratings changes including the biggest movers on the madden ratings database.
be sure to check back with sgo for all the latest news and notes regarding madden 18 title updates and weekly roster updates.
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ˈkɑnvərsli, ðɛr ər jobs”*” ðət əˈmɛrɪkənz hæv bɪn ˈhæpi tɪ teɪk bɪˈkəz ðeɪ peɪ ˈlɪvəbəl ˈweɪʤɪz. ˈmɛni əˈmɛrɪkənz wərk ɛz ˈgɑrbɪʤ kəˈlɛktərz, hu ər ˈɔfən ˈjunjəˌnaɪzd ənd ərn ən ˈævərɪʤ ˈænjuəl ˈsæləri əv ˈwərkərz meɪk ə ˈdisənt ˈlɪvɪŋ, ənd soʊ du koʊl ˈmaɪnərz. ɪf ˈbɪznɪsɪz hæv ðɛr weɪ, ðiz ʤɑbz maɪt ˈɔlsoʊ bɪˈkəm əˈnæθəmə tɪ əˈmɛrɪkənz, bət ɪt bi bɪˈkəz əˈmɛrɪkənz ər loʊθ tɪ gɪt ðɛr hænz ˈdərti. ɪt wɪl bɪˈkəz ðə ʤɑbz peɪ tu ˈlɪtəl tɪ səˈpɔrt ən ˈævərɪʤ ˈfæməli. ɪn nɪˌgoʊʃiˈeɪʃənz ˈoʊvər ðə "gæŋ əv eɪt" plæn, ˈbɪznɪs həz prɛst fər prəˈvɪʒənz ðət wʊd əˈlaʊ ðɛm tɪ ˌɪmˈpɔrt workers”*” ɔn ˈtɛmpərˌɛri ˈvizəz. ðə həz traɪd tɪ prəˈvaɪd ˈseɪfˌgɑrdz ðət wʊd prɪˈvɛnt ˈbɪznɪsɪz frəm ˈjuzɪŋ ðiz ˈwərkərz tɪ nɑk daʊn ˈweɪʤɪz, səʧ ɛz rikˈwaɪərɪŋ ˈbɪznɪsɪz tɪ peɪ prɪˈveɪlɪŋ ˈweɪʤɪz. ðə ˈɔlsoʊ pərsˈweɪdɪd ðə ˈʧeɪmbər əv ˈkɑmərs tɪ lɛt ə nu ˈleɪbər dɪˈpɑrtmənt ˈbjʊroʊ sɛt ðə ˈnəmbər əv ˈwərkərz ˈɛlɪʤəbəl fər ðə ˈproʊˌgræm baɪ dɪˈtərmənɪŋ ˈwɛðər ˈleɪbər ˈʃɔrtɪʤɪz ɪgˈzɪst. ɔl tɪ ðə gʊd, bət prəˈpoʊzəlz tɪ prəˈtɛkt prɪˈveɪlɪŋ ˈweɪʤɪz kən bi ˌɪnɪˈfɛktɪv ɪf ˈweɪʤɪz ɪn ən ˌɑkjəˈpeɪʃən ər ɔˈrɛdi dɪˈprɛst. ˈʃɔrtɪʤɪz, tu, kən bi kɔzd baɪ ən ənˈwɪlɪŋnɪs tɪ peɪ ˈlɪvɪŋ ˈweɪʤɪz. ɛz ˈædəm ˈdeɪvɪdsən ˌriˈpɔrtəd læst fɔl, ən əˈlɛʤd ˈʃɔrtɪʤ əv məˈʃinɪsts ɪn mɪlˈwɔki wɑz ˈlɑrʤli du tɪ ðə fækt ðət ðə plænt wɑz ˈɔfərɪŋ ˈweɪʤɪz ˌwənˈθərd əv ðoʊz ðət ˈjunjəˌnaɪzd məˈʃinɪsts rɪˈsiv. (ˈsɪmələr kˈwɛsʧənz kən bi reɪzd əˈbaʊt ðə ˈsɛnɪt prəˈpoʊzəl tɪ ˌɪnˈkris ˈvizəz sɪgˈnɪfɪkəntli fər ˈtɛknɪkəl ˈwərkərz. ðiz prəˈpoʊzəlz əˈsum ə ˈʃɔrtɪʤ əv əˈmɛrɪkən ˈɛnʤəˈnɪrz ðət ðə ˈɪnstɪˌtut əv ɪˈlɛktrɪkəl ənd ˌɪˌlɛkˈtrɑnɪks ˈɛnʤəˈnɪrz dɪˈspjuts.) ənd ðə meɪn pɔɪnt rɪˈmeɪnz: ðə ˈoʊvərˌɔl ˈifɛkt əv ðə wʊd ɪˈstæblɪʃ ə nu ˈleɪbər ˈstætəs fər moʊst əv ðə ənˈdɑkjəmɛnɪd ˈwərkərz ənd spid ðə grænt əv grin kɑrdz tɪ ə ˈbæˌklɔg əv ˌɪˈnɛvətəbli ˌɪnˈkris ðə səˈplaɪ əv ˈleɪbər æt ə taɪm wɪn ˈmɛni əˈmɛrɪkənz ər ˌənɛmˈplɔɪd. əv kɔrs, ðə 11 ˈmɪljən ənˈdɑkjəmɛnɪd ˈwərkərz ər ɔˈrɛdi hir, ənd wɪl noʊ ˈlɔŋgər bi ˈsəbʤɪkt tɪ ðə moʊst ɪˈgriʤəs kaɪnd əv ˌɛkˌsplɔɪˈteɪʃən, bət ðeɪ wɪl ˈɔlsoʊ noʊ ˈlɔŋgər bi ˈsɛgrəˌgeɪtɪd ˈɪntu ˈspɛʃəˌlaɪzd pɑrts əv ðə ˈleɪbər fɔrs ənd wɪl ˌɪnˈstɛd bi θrəst ˈɪntu ðə ˈmeɪnˌstrim ˈleɪbər ˈmɑrkɪt, wɛr ðeɪ wɪl kəmˈpit wɪθ ˈwərkərz. ɪf ˈkɑŋgrəs ˈwɔntɪd tɪ ˈlɪmət ˌwəˈtɛvər ˈdæmɪʤ ˌɪnˈkrist ˌɪməˈgreɪʃən kʊd du tɪ ˈwərkərz, ɪt kʊd drəˈmætɪkəli bust ðə ˈmɪnəməm weɪʤ. ˈkɑŋgrəs kʊd ˈɔlsoʊ ˈsəbsɪˌdaɪz ˈsoʊʃəl ˈspɛndɪŋ ɪn ˈsɪtiz ənd steɪts ðət wɪl naʊ hæv tɪ əˈkɑməˌdeɪt (ˈrəðər ðən ˌɪgˈnɔr ər ˈstɪgməˌtaɪz) ənˈdɑkjəmɛnɪd ˈwərkərz. ðət wʊd ˈɔlsoʊ kriˈeɪt ʤɑbz fər boʊθ ˈɪməgrənts ənd əˈmɛrɪkənz tɪ fɪl. rɪˈpəblɪkənz ˈprɑbəˌbli wɪl nɑt əˈgri tɪ səʧ prəˈpoʊzəlz. soʊ fɛr tɪ seɪ ðət fər ˈmɛni əˈmɛrɪkən ˈwərkərz, ˌɪnˈkludɪŋ hɪˈspænɪks, ˌkɑmpriˈhɛnsɪv ˌɪməˈgreɪʃən rɪˈfɔrm wɪl bi ə mɪkst ˈblɛsɪŋ. fər əˈmɛrɪkən ˈbɪznɪsɪz ˈhəŋgri fər haɪər ˈprɑfɪt ˈmɑrʤənz, ðoʊ, ɪt wɪl bi ən ˈaʊˈtraɪt ˈblɛsɪŋ.
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conversely, there are “dirty jobs” that native-born americans have been happy to take because they pay livable wages. many native-born americans work as garbage collectors, who are often unionized and earn an average annual salary of $43,000. oil-rig workers make a decent living, and so do coal miners. ifsinesses have their way, these jobs might also become anathema to americans,t it won’t be because americans are loath to get their hands dirty. it will because the jobs pay too little to support an average family.
in negotiations over the "gang of eight" plan,siness has pressed for provisions that would allow them to import low-wage “guest workers” on temporary visas. the afl-cio has tried to provide safeguards that would preventsinesses from using these workers to knock down wages, such as requiringsinesses to pay prevailing wages. the afl-cio also persuaded the chamber of commerce to let a new labor departmentreau set the number of workers eligible for the program by determining whether labor shortages exist. all to the good,t proposals to protect prevailing wages can be ineffective if wages in an occupation are already depressed.
shortages, too, can be caused by an industry’s unwillingness to pay living wages. as adam davidson reported last fall, an alleged shortage of machinists in milwaukee was largely due to the fact that the plant was offering wages one-third of those that unionized machinists receive. (similar questions can be raised about the senate proposal to increase visas significantly for h1-b technical workers. these proposals assume a shortage of american engineers that the institute of electrical and electronics engineers disputes.)
and the main point remains: the overall effect of the reforms—which would establish a new labor status for most of the undocumented workers and speed the grant of green cards to a backlog of applicants—will inevitably increase the supply of labor at a time when many americans are unemployed. of course, the 11 million undocumented workers are already here, and will no longer be subject to the most egregious kind of exploitation,t they will also no longer be segregated into specialized parts of the labor force and will instead be thrust into the mainstream labor market, where they will compete with native-born workers.
if congress wanted to limit whatever damage increased immigration could do to low-wage workers, it could dramatically boost the minimum wage. congress could also subsidize social spending in cities and states that will now have to accommodate (rather than ignore or stigmatize) undocumented workers. that would also create jobs for both immigrants and native-born americans to fill. republicans probably will not agree to such proposals. so fair to say that for many american workers, including hispanics, comprehensive immigration reform will be a mixed blessing. for americansinesses hungry for higher profit margins, though, it will be an outright blessing.
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ˈɪntərvˌju əv kərˈoʊdə, ˌɪnˈhɛrətɪŋ trəˈdɪʃən ˈɪntərvˌju əv kərˈoʊdə, ˌɪnˈhɛrətɪŋ trəˈdɪʃən baɪ ˈlioʊ kərˈoʊdə ɪz wən əv ðə ˈgreɪtəst ˈkɑrənt ˈmɑrʃəl ɑrt ˈmæstərz. wɪn hi wɑz 20 jɪrz oʊld, hi bɪˈkeɪm ðə ˈjəŋgəst prækˈtɪʃənər ˈɛvər tɪ rɪˈsiv ðə ˈtaɪtəl əv dæn) əv frəm ðə daɪ ˌnɪˈpɑn butokutai*. ˌaʊtˈstændɪŋ prækˈtɪʃənər, hi ɪz ˈɔlsoʊ ən ɪkˈsɛpʃənəl θiərɪst hu ɪkˈspoʊzd ðə ˈprɪnsəpəlz ˈrɛgjəˌleɪtɪŋ ðə juz əv ðə ˈbɑdi ɪn trəˈdɪʃənəl ˈmɑrʃəl weɪz. ˈsɛnˌseɪ, wɪn dɪd ju stɑrt ˈmɑrʃəl ɑrts? wɪn wi æst ðɪs kˈwɛʃən, aɪ ˈjuʒəwəli ˈænsər ðət aɪ ˈsɪriəsli ˈstɑrtɪd ˈtreɪnɪŋ wɪn aɪ wɑz 5 jɪrz oʊld. bət ɪn truθ, aɪ du nɑt rɪˈmɛmbər ˈstɑrtɪŋ æt ə ˌpɑˈtɪkjələr ˈmoʊmənt. aɪ wɑz ˈhirɪŋ ðə saʊnd əv ənd ɪn maɪ wum. aɪ wɑz bɔrn ənd reɪzd ɪn ðɪs wərld. ðə wɑz ˈsɛpərˌeɪtɪd frəm ðə haʊs ˈoʊnli baɪ ə pɑrˈtɪʃən; aɪ gru əp wɪθ ðə saʊnd əv ˈpræktɪs. ɛz fɑr ɛz maɪ ˈkɑnʃəs ˈmɛməriz goʊ bæk, aɪ hæv ˈɔlˌweɪz bɪn ˈtreɪnɪŋ wɪθ ˈædəlts. jʊr ˈʧaɪlˌdhʊd məst hæv bɪn kwaɪt ˈdɪfərənt frəm moʊst ˈʧɪldrən. aɪ wɑz nɑt duɪŋ ə ˈspɛʃəl ˈtreɪnɪŋ. aɪ wɑz reɪzd əˈkɔrdɪŋ tɪ ðə ˈklæsɪkəl weɪ ɪn ə ˌpɑˈtɪkjələr sərˈaʊndɪŋ. aɪ du nɑt rɪˈmɛmbər, bət aɪ hæv bɪn toʊld ðət, ɛz ə ʧaɪld, aɪ sæt daʊn ɔn maɪ læps ənd hi wʊd lɛt mi roʊl ə ˈnuzˌpeɪpər ənd hɪt ɪm wɪθ ɪt. ə kaɪnd əv spɑnˈteɪniəs ˈtreɪnɪŋ. (læfs) dɪd ju ˌɛnˈʤɔɪ, ər wɑz ɪt mɔr laɪk ə ʧɔr? aɪ ˈoʊnli rɪˈmɛmbər biɪŋ toʊld training”*”. aɪ wɑz ˈwərkɪŋ ɔn ðə ðɛn ˈsəmˌwən wʊd pʊt ðə sut əv ˈɑrmər ɔn mi fər ðə ˈɛksərˌsaɪzɪz. ðiz ər ðə ˈmɛməriz aɪ hæv. bət æt maɪ fˈjunərəlz, wən əv ðə hu wɑz ˈrəfli tɛn jɪrz ˈoʊldər ðən mi toʊld mi ju ˈrɪli dɪd nɑt ˈlɪsən æt ɔl. ju wər ˈrənɪŋ əˈweɪ, kraɪɪŋ ənd ˈrənɪŋ ˈɛvriˌwɛr! ˈsɛvərəl ˈædəlts wər ˈnidɪd tɪ kənˈtroʊl ju ənd pʊt jʊr ˈɑrmər on.”*.” aɪ hæv noʊ ˈmɛməriz əv ðɪs, bət ɪt ɪz ˈprɑbəˌbli hɑrd fər ə ʧaɪld tɪ hæv tɪ wɛr ə sut əv ˈɑrmər. ɪt simz tɪ mi ðət ɪz wət ˈhæpənd wɪn aɪ wɑz ˈlɪtəl, bət aɪ rɪˈmɛmbər. ɔn jʊr ˈwɛbˌsaɪt, ðɛr ər səm ˈpɪkʧərz əv ju, ɛz ə kɪd, ˈdʊrɪŋ ə ˌdɛmənˈstreɪʃən. wər ju rɪˈləktəntli æt ðə taɪm? aɪ θɪŋk aɪ wɑz ɪn greɪd, ˈpraɪˌmɛri skul. aɪ wɑz əraʊnd 11 jɪrz oʊld. ɪt ɪz nɑt ðət aɪ wɛnt tɪ ðə baɪ maɪ oʊn bɪˈkəz aɪ ləvd ɪt. ɪt wɑz ʤɪst ˈsəmθɪŋ ˈnæʧərəl, pɑrt əv maɪ ˈdeɪli laɪf. du ju hæv ˈbrəðərz ənd ˈsɪstərz? aɪ hæv ə ˈjəŋgər ˈsɪstər. bət ʃi ˈnɛvər treɪnd. ˈædəlt, ʃi ˈwɔntɪd tɪ ˈpræktɪs aɪ toʊld hər ʃi kʊd stɑrt ənd maɪ əraɪvd æt ðə. hi tɔkt tɪ hər ɛz hi wʊd hæv wɪθ ˈɛni ˈəðər ˈstudənt. ɪz ðət? incorrect.”*.” ənd ʃi stɑpt ɛz ˈsədənli ɛz ʃi ˈstɑrtɪd. (læfs) wɪn dɪd ju bɪˈkəm ðɛr wɑz noʊ ər ˈɛniˌθɪŋ ˌpɑˈtɪkjələr. maɪ ˈgrænˌfɑðər ˈɔlˌweɪz tʊk mi wɪθ ɪm tɪ ɪn ðə ɛnd, wɪn hi wɑz noʊ ˈlɔŋgər ˈeɪbəl tɪ goʊ ˈfɑloʊɪŋ ə stroʊk, hi sɛnt mi wɪθ ðə dɪˈsaɪpəlz. wɪn hi daɪd, maɪ ˈfɑðər ˈsɪmpli toʊld mi ðət hi hæd toʊld ɪm ðət aɪ wɑz tɪ bi hɪz səkˈsɛsər. θɪŋz ˈhæpənd laɪk ðɪs, ˈvɛri ˈnæʧərəli. dɪd ju rɪˈsiv ðə æt jʊr dɛθ? waɪl əˈlaɪv, maɪ ˈgrænˌfɑðər geɪv mi ðə stɛp baɪ stɛp. wəns aɪ æst ɪm ɪf ðɛr wər ənd hi ˈænsərd noʊ. wən deɪ hi keɪm tɪ si mi ənd toʊld mi ju are.”*.” ˈgɪvɪŋ mi. hi hæd ə prɪˈsaɪs aɪˈdiə əˈbaʊt wɪn tɪ rɪˈvil. (læfs) wət kaɪnd əv ˈpərsən wɑz jʊr ˈgrænˌfɑðər? hi wɑz ə kaɪnd ˈgrænˌfɑðər. wɪn hi tʊk ðə treɪn tɪ goʊ tɪ ən, hi wʊd smaɪl tɪ ə ˈbeɪbi ðə hoʊl weɪ. hi hæd ə ˈrɪli ˈhænsəm feɪs wɪθ hɪz ʃeɪvd hɛd, laɪk ə məŋk. hi lʊkt laɪk ə (læfs) haʊ wɑz hi ˈdʊrɪŋ ˈtreɪnɪŋ? aɪ noʊ bɪˈkəz hi wɑz nɑt steɪɪŋ æt ðə ˈdʊrɪŋ ˈklæsɪz. wɪn aɪ ˈstɑrtɪd tɪ ˈpræktɪs ɔn maɪ oʊn, hi wʊd ðɛn kəm ənd lʊk æt mi sˈmaɪlɪŋ. biɪŋ əbˈzərvd waɪl ˈrɪli əˈnɔɪd mi. (læfs) fərst hi toʊld mi ɔl ðə taɪm ðət maɪ wɑz leɪt, ðət maɪ lɛft hænd wɑz tu sloʊ. hi wʊd lʊk æt mi fər wən aʊər ðɛn goʊ bæk tɪ hɪz rum. bət ˈwɛðər hi wɑz ɪn ðə ər nɑt, hi sɔ ðə seɪm weɪ: hi nu wət wɑz ˈhæpənɪŋ ðɛr. hi hæd ðə ˌɪmˈpoʊzɪŋ ˈprɛzəns əv ˈsəmˌwən hu həz ˈmæstəri. haʊ dɪd jʊr bɪˈgɪnɪŋz goʊ? aɪ ˈstɑrtɪd ˈtiʧɪŋ ˈæftər ˌjunəˈvərsəti. aɪ ˈstɑrtɪd wɪθ fɔr ər faɪv ˈstudənts, səm ˈædəlts ənd ə fju ˈʧɪldrən. stɛp baɪ stɛp, ðə wərd ðət ɪt wɑz ə ˈsɪriəs sprɛd ənd ˈstudənts bɪˈgæn tɪ kəm. dɪd jʊr ˈfɑðər ər ˈgrænˌfɑðər tiʧ ju? aɪ ˈlərnɪd ðə frəm maɪ ˈgrænˌfɑðər. aɪ hæv bɪn sɪns ˈʧaɪlˌdhʊd, bət wɛˈnɛvər aɪ fərˈgɑt ə bɪt aɪ æst wən əv ðə kloʊz tɪ maɪ ˈgrænˌfɑðər. hi ɪz ðə wən hu toʊld mi ðə ˈænɪkˌdoʊt æt maɪ fˈjunərəlz. maɪ ˈgrænˌfɑðər ˈwɔntɪd tɪ əˈdɑpt ɪm bɪˈkəz hi wɑz ˈgɪftɪd ənd ˈtreɪnɪŋ ˈsɪriəsli. wi hir ə lɔt əv ˈstɔriz əˈbaʊt jʊr ˈgrænˌfɑðər. ɪn ˌpɑˈtɪkjələr, aɪ hərd ðət hi fɔt əˈgɛnst fɔr aɪ θɪŋk ðə ˈstɔri tʊk pleɪs ɪn, ɔn ðə hikasando*. bət ðeɪ wər nɑt fɔr. ðeɪ wər ˈsɛvən ər eɪt. aɪ dɪd nɑt ˈwɪtnəs ðə sin, bət ˈsɛvərəl ˈpipəl ðət lɪvd ɪn ðə ˈneɪbərˌhʊd toʊld ɪt tɪ mi. maɪ ˈgrænˌfɑðər wɑz ˈwɔkɪŋ ɪn ənd faʊnd hɪmˈsɛlf sərˈaʊndɪd baɪ ə grup əv ɑrmd wɪθ maɪ ˈgrænˌfɑðər ðɛn tʊk ə ɪn iʧ hænd ənd hɪt ɔl əv ðɛm ɔn ðə hɛd waɪl ˌɪnˈsəltɪŋ ðɛm əv ˈstupɪd. ðeɪ ɔl ræn əˈweɪ! hi klind hɪz ənd ˈstɑrtɪd ˈwɔkɪŋ əˈgɛn. hi hərt noʊ wən; hi wɑz ðət kaɪnd əv ˈpərsən. aɪ ˈɔlsoʊ rɛd ˈsɛvərəl ˈstɔriz wɛr hi ˈdɛmənˌstreɪts ən ˌɪnˈkrɛdəbəl əˈbɪləˌti tɪ kət. ðɛr ər ə fju ˈænɪkˌdoʊts. wən ˈhæpənd æt ˈmɪlɪˌtɛri ˌækəˈdimiə, ˈdʊrɪŋ ðə wɔr. hi hæd bɪn æst tɪ kəm ənd tiʧ ˈsoʊlʤərz haʊ tɪ kət. æt ðə taɪm, ˈtreɪnɪŋ kənˈsɪstɪd tɪ kət stək ˈɪntu ðə graʊnd. maɪ ˈgrænˌfɑðər toʊld ðɛm: ər ˈmɪləˌtɛriz ənd wɪl nɑt feɪs əˈpoʊnənts ˈsɪmpli ˈweɪtɪŋ ˈsitɪd ər ˈstændɪŋ. treɪn ˈjɔrsɛlvz tɪ kət waɪl running!”*!”. ðə ˌɪnˈstrəktər ˈænsərd ɪt wɑz məʧ ˈiziər sɛd ðən dən, ənd æst fər ə ˌdɛmənˈstreɪʃən. maɪ ˈgrænˌfɑðər ðɛn tʊk ə ˈmɪlɪˌtɛri sɔrd ənd kət ɔl ðə waɪl ˈrənɪŋ. wət ɪz ˌɪmˈpɔrtənt ɪz nɑt ðət hi kət ɔl ðə, bət ðə weɪ hi dɪd ɪt. hi dɪd nɑt stɑp tɪ graʊnd hɪmˈsɛlf ənd tɪ kət daɪˈægənəli. hi kət ðɛm ɔl ˌhɔrɪˈzɑntəli waɪl ˈrənɪŋ, ənd ʤɪst wɪθ ə ˈlɪtəl ˈmuvmənt əv ðə rɪst! ðə ˌɪnˈstrəktər ðɛn toʊld ɪm: kən kət laɪk ðɪs, bət ɪt ɪz ˌɪmˈpɑsəbəl fər ˈsoʊlʤərz tɪ du so.”*.” maɪ ˈgrænˌfɑðər ðɛn lɛft. (læfs) ðɛr ɪz əˈnəðər ˈstɔri ðət ˈhæpənd ˈdʊrɪŋ ðə wɔr. æt ðə taɪm, ðɛr wər ˈmitɪŋz tɪ ɪnˈkərəʤ ðə ˈsoʊlʤərz ˈlivɪŋ fər ðə frənt. ˈsərvəsmɛn wər duɪŋ ˌdɛmənˈstreɪʃənz, ənd wən əv ðɛm traɪd tɪ kət θri fɪld wɪθ sænd, ræpt ɪn ə mæt. hi kət wɪθ strɛŋθ ənd ˈmænɪʤd tɪ kət ˈhæfˈweɪ θru. hi ðɛn ˈɔfərd tɪ ðə ˈprɛzənt ˈmæstər tɪ traɪ tɪ kət, bət ɛz ðeɪ wər nɑt juzd tɪ ðɪs kaɪnd əv ˈɛksərˌsaɪz ðeɪ dɪˈklaɪnd wən ˈæftər ðə ˈəðər. maɪ ˈgrænˌfɑðər ækˈsɛptɪd ðə ˈɔfər bət sɛd: ðɪs ɪz maɪ ʤɑb, ðɛr ɪz ˈnəθɪŋ ˈɪntəˌrɛstɪŋ ɪn ˈkətɪŋ wɪθ ə ʃɑrp sword.”*.” hi tʊk ə sɔrd nɑt ˈʃɑrpənd frəm ðə wɔl ənd kət ðɛm ɔl bæk ənd fɔrθ ɪn ɪn wən ˌɪnstənˈtæniəs ˈmoʊʃən. ɪt ɪz ˈɔlsoʊ ðə ˈpipəl ˈlɪvɪŋ ˈnɪrˈbaɪ ðət toʊld mi ðɪs ˈstɔri. ðeɪ wər ɔl əˈstɑnɪʃt. ˈɛvriˌwən wɑz praʊd ənd səˈpraɪzd əv ˈhævɪŋ səʧ ə ˈmæstər ɪn. ɪt simz ðət jʊr ˈgrænˌfɑðər hæd riʧt ə kənˈsɪdərɪŋ ˈlɛvəl. maɪ ˈgrænˌfɑðər hæd ðə paʊər əv ə ˈwɔrjər, ðə əˈbɪləˌti tɪ əˈplaɪ θɪŋz ɪn ə ril ˌsɪʧuˈeɪʃən. ðə kaɪnd əv əˈbɪləˌti hi ˈdɛmənˌstreɪtɪd baɪ ˈfaɪtɪŋ ɔf ðə. hi hæd wərkt ɛz məʧ ɔn fɔrm ɛz ɔn ˈkɑmbæt. hɪz ˈmuvmənts wər mægˈnɪfɪsənt. hi wɑz ˈhoʊldɪŋ ðə sɔrd soʊ ˈlaɪtli. nɑt ɪn ən ɑˈstɛnsəbəl weɪ, bət wɪθ ə ril ˈlaɪtnəs. hi ˈsɛtəld ɪn æt 25 jɪrz oʊld. ənˈtɪl ðɛr hi hæd bɪn ˈeɪbəl tɪ kəmˈplitli ˌɪˈmərs hɪmˈsɛlf ˈɪntu hɪz ˈpræktɪs ənd ˈræpədli rɪˈsivd ðə ˈhɛrɪtɪʤ. bət frəm ðɪs taɪm ɔn, hi ˈfoʊkɪst ɔn ˈtreɪnɪŋ hɪz dɪˈsaɪpəlz ənd dɪd nɑt hæv ðə ˈlɛʒər tɪ ˈrɪli treɪn ˈɛni ˈlɔŋgər. sɪns aɪ lɛft ˌjunəˈvərsəti, ɪt həz bɪn 30 jɪrz ˈdʊrɪŋ wɪʧ aɪ kʊd treɪn ˌmaɪˈsɛlf mɔr ðən maɪ ˈgrænˌfɑðər. ɪf hi hæd hæd ðɪs ˌpɑsəˈbɪləˌti, hi wʊd ˈprɑbəˌbli hæv riʧt ðə ˈlɛvəl əv ðə ˈgreɪtəst ˈmæstərz ɪn ˈhɪstəri. ðə ɪz meɪd əv faɪv skulz. hæv ðiz trəˈdɪʃənz bɪn brɔt təˈgɛðər bɪˈkəz ðeɪ ʃɛr ðə seɪm ˈprɪnsəpəlz, ər dɪd ðeɪ gɪt ““transformed”*” wɪn ðeɪ gɑt juˈnaɪtɪd? ðə wɑz ˈfaʊndɪd baɪ kərˈoʊdə ˌmɑsɑˈjoʊˌʃi, ənd ɪt ɪz æt ðət taɪm ðət ðiz faɪv trəˈdɪʃənz gɑt juˈnaɪtɪd. ˈsɛvərəl ˈpipəl æst mi ðə seɪm kˈwɛʃən ənd aɪ wɑz ˈivɪn toʊld ðət ɪf ðeɪ ər ˈpræktɪst baɪ ðə seɪm ˈpərsən, ɔl ðə skulz bɪˈkəm ˈsɪmələr ənd luz ðɛr ˌspɛsəˈfɪsəti. ðə kˈwɛʃən ɪz tɪ noʊ wət ə ˌspɛsəˈfɪsəti ɪz. aɪ æm nɑt ʃʊr tɪ ˌəndərˈstænd wət ˈpipəl min. ɪz ɪt, ɛz ɪn kərˈɑti fər ɪgˈzæmpəl, ðə haɪt əv ðə fɪst ɪn gɑrd laɪk ər ðət ˈmætərz? ər ɪz ɪt ðə weɪ tɪ juz ðə ˈbɑdi? ɪf ðə weɪ tɪ juz ðə ˈbɑdi, ɪt ɪz ˈsəmθɪŋ ɛls. ɔl ðə ˈbɑdiz ər ˈsɪmələr. ˈwɛðər ˈsəmˌwən ˈreɪzɪz ðə ɑrm ər loʊərz ɪt, ðə seɪm θɪŋ. ˈæftər, ju hæv tɪ si ɪf ðə ˈmuvmənt ɪz kərˈɛkt. nɑt ðə fɔrm. ə ˌspɛsəˈfɪsəti ɪz ə ˈvɛri ˈkɑmplɛks ˈtɑpɪk ðət həz bɪn dəˈbeɪtɪd sɪns ðə ˈidoʊ ˈpɪriəd. ˈnumərəs ˈraɪtɪŋz kən bi faʊnd ɔn ðə ˈsəbʤɪkt. ənd ˈprɛzənt ˈdɪfərənsɪz ɪn tərmz əv fɔrmz ənd gɑrdz, ðɪs ɪz ˈnæʧərəl. bət biɪŋ ˈeɪbəl tɪ ˈrɛkəgˌnaɪz əˌfɪliˈeɪʃən tɪ ə skul ʤɪst baɪ siɪŋ ɪm muv ɪz ə fɔlt ər ə bæd ˈhæbət. ɪt ɪz nɑt ðə kaɪnd əv θɪŋz wi kən bɛt ɑr lɪvz ɔn. ðə ˈmuvmənts hæv tɪ bi mushoku*, ənd. ðɛr ɪz ˈðɛrˌfɔr noʊ ˌspɛsəˈfɪsəti? ðɛr ər səm ɪn ðə, ðə pəˈzɪʃənz, ðə gɑrdz, ðə ˈwɛpənz juzd ˌɛtˈsɛtərə.). ðiz ər nɑt ðə ˌprɑbləˈmætɪk ˈɛləmənts. haʊ tɪ muv frəm ðɪs ˌsɪʧuˈeɪʃən, ðɪs pəˈzɪʃən? ˈɛvriˌθɪŋ lɪŋkt wɪθ ðə ““ambiance”*” ɪn ðə weɪ əv ˈmuvɪŋ ɪz ə ““tic”*”, ə bæd ˈhæbət bɪˈkəz ðə ˈmuvmənts ər ““visible”*”. wən əv ðə skulz ɪz neɪmd wi kən ðɛn ˌɪˈmæʤən ðət, ɪn ə skul ˈfaʊndɪd baɪ ə wi hæv tɪ muv ɛz ə. (læfs) aɪ ðɛn ədˈmɪt maɪ ˌɪnˈkɑmpətəns. dɪz ɪt min ðət prækˈtɪʃənərz frəm oʊld taɪmz muvd laɪk ju ər? aɪ ˈkænɑt tɛl haʊ ðeɪ muvd. bət maɪ ˈstudənts ðət riʧt ˌbiˈfɔr wɔr muvd ɪgˈzæktli laɪk ɪm. ðɛr wɑz ˈnəθɪŋ. ʤɪst pjʊr ˈmuvmənts wɪˈθaʊt ˈmænərˌɪzəm. æt ðə, ðɛr wɑz ə ˈsɪstəm, bət noʊ dæn. ˈæftər ðə fərst kju, wi rɪˈsivd ðə trænzˈmɪʃən, ðə. əp tɪ ðə ər kju, ðɛr wər stɪl səm tɪks. ðə prækˈtɪʃənər kʊd bi strɔŋ ɪn kəmˈbæts, bət ðət ɪz ˈsəmθɪŋ ɛls. frəm ðə kju, ðə wɑz aɪˈdɛntɪkəl, huˈɛvər wɑz duɪŋ ɪt. wi kʊd ˈðɛrˌfɔr lərn ɪt frəm ˈɛni əv ðɛm. ðɪs ɪz ə ˈlɛvəl aɪ jɛt brɔt maɪ ˈstudənts əp tɪ. ɪz ðɪs ðə ˈrizən waɪ noʊ wən ɪkˈsɛpt ju ɪz ɛnˈtaɪtəld tɪ tiʧ æt ðə? jɛs. aɪ wɔnt ðə trænzˈmɪʃən tɪ bi əˈnɔltərd. bɪˈkəz ðə goʊl ɪz fər ðə ˈstudənts tɪ ˈkɑpi ɪgˈzæktli wət aɪ du. wɪn aɪ tiʧ, ˈpipəl si, ðeɪ ˌəndərˈstænd. ɪn ðə ədˈvænst klæs, aɪ tiʧ ɪn ˈditeɪlz: frəm ðə wɔk tɪ ðə boʊ ər ðə grɪp, ˌɛtˈsɛtərə. səm əv ðɛm əkˈwaɪərd ðə wɔk. bət ɪt ɪz ˈfɔrbɪdən fər ðɛm tɪ tiʧ. ˈdʊrɪŋ ðə ˈɛksərˌsaɪzɪz ðeɪ kən meɪk ðɛr ˈpɑrtnər fil wɪn strɛŋθ ɪz juzd, wɪn ɪt blɑks. ðeɪ kən ɪkˈspleɪn wət ɪz riˈsərʧt ər ðə ˈθɪri bɪˈhaɪnd ðə ˈmuvmənt, bət ðeɪ ər nɑt əˈlaʊd tɪ ʃoʊ ðə. ɪt ɪz ˈfɔrbɪdən bɪˈkəz ˈəðərˌwaɪz ðə wʊd bɪˈkəm ðɪs ˈkɑpi. ˌɪˈmæʤən ðət ju rɪˈsiv ə θru ə ˈtiʧɪŋz. ju lʊk bət ju si. ju ðɛn æsk ə tɪ ʃoʊ ju wət ju dɪd nɑt ˌəndərˈstænd. ðə ðɛn ʃoʊz ðə, ənd θɪŋz bɪˈkəm ˈklɪrər. ju si ənd ju ˌəndərˈstænd. ju ðɛn stɑrt, ənd ɪn fækt ju ˈlərnɪd ðə. ˈɛvriˌθɪŋ ˈmeɪkɪŋ ðə ˈstədi ˈɪntəˌrɛstɪŋ ənd rɪʧ ˌdɪsəˈpɪrd. ðə ˌɪnˈvɪzəbəl ˈmuvmənts bɪˈkeɪm ˈvɪzəbəl. ɪn ðə pæst, huˈɛvər tɔt ju ðə, ðə fɔrm wɑz ˌɪnˈtækt. bət təˈdeɪ, ðɛr ər noʊ mɔr ˈstudənts əv ðət ˈlɛvəl. ɪf ju lərn ðə wɪθ ə ər bi, jʊr ˈmuvmənts wɪl dɪˈrɛkli bɪˈkəm ər b’s*. bɪˈkəz ju si ðɛr ˈmuvmənts, ɪt ɪz ˈizi tɪ ˈkɑpi ðɛm. ju ˈoʊnli lərn ðə rɔŋ saɪd əv ə ˌspɛsəˈfɪsəti ənd mɪs ɪts ˈɛsəns. ju hæv tɪ lərn ənd ˈmuvmənts. ðiz ər ðə ˈoʊnli wənz ðət wɪl əˈlaʊ ju nɑt tɪ bi kət. ju juz ˈsɪstəm ˌɛniˈmɔr? aɪ juz ðə ˈsɪstəm ðət dɪˈfaɪnz wət wən həz tɪ lərn baɪ ˈlɛvəl. ðɪs ˈsɪstəm kriˈeɪts ə ˈpɪrəmɪd wɪθ ə ˈrɪli lɑrʤ beɪs ðət ʃrɪŋks ˈvɛri kˈwɪkli ɛz ˈoʊnli ðə wənz ðət ər ˈeɪbəl tɪ kərˈɛktli lərn ðə fɔrmz ər ˈeɪbəl tɪ dɪˈskəvər wət laɪz bɪˈhaɪnd ðɛm. aɪ traɪ tɪ meɪk ʃʊr ðət ˈɛvriˌwən ˈpræktɪsɪz ənd ˈprɑˌgrɛsəz təˈgɛðər, ðət ˈɛvriˌwən ˌɛnˈʤɔɪz ðə ɪn ðə ər ðə ðə ˈtreɪnɪŋ ðət ˈɛvriˌwən ˈkərəntli ˈfɑloʊz, ˈivɪn ɪf ɪt meɪ bi ɪz nɑt æt ðə ˈlɛvəl əv. ə ˈpræktɪs əv ə ˈrɪli haɪ ˈlɛvəl. æt ðə, ˈɛvriˌwən wərks ɔn ðə suˈpɪriər ˈprɪnsəpəlz raɪt frəm ðə stɑrt ˌɛtˈsɛtərə.). ɪf aɪ hæd tɪ dɪˈfaɪn ðə kraɪˈtɪriə fər səʧ ər səʧ kju, ˈɛvriˌwən wʊd wərk ˈoʊnli ɪn ðɪs dɪˈrɛkʃɪn. ɪn ə ˈmɑdərn wərld əv ənd, ɪt maɪt bi ðə ˌspɛsəˈfɪsəti əv ɑr skul. ðɪs weɪ əv duɪŋ ɪz ˈsəmˌtaɪmz ˈpurli kənˈsɪdərd baɪ ðə trəˈdɪʃnələsts ryus*, ɛz ɪt ɪz ə ˈvɛri ˈmɑdərn ˈvɪʒən əv ˈtiʧɪŋ. ˈsɪmələrli, ðə ˈpræktɪst ɪn ə rɪˈlækst ˈætməsˌfɪr ər ˈɔfən ˈpurli ˌəndərˈstʊd. (læfs) ðɛr wər noʊ ˈɛksərˌsaɪzɪz ɪn ðə pæst? noʊ, wi ˈoʊnli wərkt ɔn ðə, ðɛn wi pʊt ɔn ɑr ˈkɑmbæt gɪr. ˈpræktɪs wɑz ɛˈsɛnʃəli hæf ˌrɛpəˈtɪʃənz əv, hæf kəmˈbæts. wɪn dɪd ju stɑrt? aɪ ˈstɑrtɪd ˈjuzɪŋ ðə tərm ɪn ˈraɪtɪŋ ˈsɛvən ər eɪt jɪrz əˈgoʊ. bət ðə ˈstɑrtɪd məʧ ˌbiˈfɔr. ɪt keɪm aʊt əv ˈsɛvərəl ˈmitɪŋz. maɪ ɪksˈʧeɪnʤɪz wɪθ ˈkoʊnoʊ yoshinori*, ənd ˈəðərz, hæv lɛd mi tɪ ˌrikənˈsɪdər maɪ ˈpræktɪs ənd ðə ˌɪnˈhɛrətəns əv ðə. ðə fækt ðət aɪ ˈkænɑt jɛt ɪˈfɪʃəntli juz səʧ ər səʧ pɑrt əv ə meɪd mi wərk əˈgɛn ənd əˈgɛn ɔn ðɪs ər ðət ˈmuvmənt. ðɪs ɪz haʊ ðə wər kriˈeɪtɪd. ɪt ɪz nɑt ˈsəmθɪŋ aɪ θɔt əˈbaʊt kriˈeɪtɪŋ, bət ɪt keɪm tɪ laɪf ˈvɛri ˈsɪmpli. ˈdʊrɪŋ ə klæs, wi wʊd ˈoʊnli ˈfoʊkɪs ɔn ə ˈmuvmənt ɪn ə spɪˈsɪfɪk, ɪkˈsplɔrɪŋ iʧ ˈtaɪni ˈditeɪl. baɪ duɪŋ soʊ, aɪ kʊd ɪnˈtaɪərli ridɪˈskəvər maɪ hoʊl ˈpræktɪs. waɪ wɑz noʊ ənˈbæləns kriˈeɪtɪd baɪ duɪŋ ðə ˈmuvmənt ðɪs weɪ, wɪʧ juz əv ðə ˈbɑdi meɪd ðə tɛkˈnik efficient…*… ˈnaʊəˌdeɪz, ðɛr ɪz noʊ mɔr ˈpræktɪs. ɪz ɪt bɪˈkəz ˈjusləs? ðɛr ər tu meɪn ˈrizənz. fərst, ðɛr ɪz ðə læk əv taɪm. bət ðɛr ɪz ˈmoʊstli ðə fækt ðət ˈæftər ˈhævɪŋ wərkt ɔn ˈmuvmənts wɪθ ɪkˈstrim ˌsɛnsɪˈtɪvɪti, ˈɛvriˌθɪŋ ˌdɪsəˈpɪrz wɛˈnɛvər ðə ˈɑrmər ɪz pʊt ɔn. ɪf wi treɪn fər θri aʊərz tɪ ˈpræktɪs wɪˈθaʊt strɛŋθ, ˈɛvriˌθɪŋ ˌdɪsəˈpɪrz ˈæftər ðə fərst straɪk ənd ðə θri aʊərz əv ˈtreɪnɪŋ ʤɪst ˈvænɪʃ! baɪ ˈwərkɪŋ laɪk ðət wən wʊd ˈnɛvər bi ˈeɪbəl tɪ ˈmɑdəˌfaɪ ðə weɪ əv ˈjuzɪŋ ðə ˈbɑdi. ˈpipəl sˈmaɪlɪŋ ər ˈhæpi wɪn ðeɪ ər hɪt ər rɛr. (læfs) ənd ˈivɪn ɪf wi tɛl ˈpipəl tɪ wərk ˈsɔftli, ˈɔfən ðeɪ ər nɑt əˈwɛr ðeɪ juz strɛŋθ. ˈpipəl ʧeɪnʤ ˈəndər ən ˈɑrmər. ðə seɪm weɪ ðət ðeɪ du bɪˈhaɪnd ðə wil əv ə kɑr. wi kən æsk ðɛm nɑt tɪ hɪt nɪr ðə ɪrz ər nɑt tɪ pʊt səm strɛŋθ, bət ðə ˌɪnˈstrəkʃənz ər nɑt rɪˈspɛktɪd. ɪt ɪz ə ˈprɑbləm ðət aɪ noʊ wɛl, ənd aɪ wɔnt tɪ weɪst ˈɛni taɪm laɪk ðət. mɔˈroʊvər, ˈkɑmbæt ɪz juzd tɪ ˈmɛʒər ˈtɛknɪkəl əˈbɪləˌtiz, bət fərst ju nid ə tɛkˈnik tɪ ˈmɛʒər ˌbiˈfɔr ˈpʊtɪŋ ðə ˈɑrmər ɔn. (læfs) wɪn ju fɔt, wɛr ju wɪθ ðə ˈmɑdərn ˈpɑsʧərz? noʊ, wi ˈpræktɪst ðə kaishin-ryu*, ðə hɪps loʊ, ðə haɪ. æt ðə taɪmz wi stɪl fɔt wɪθ ənd ðeɪ wər ˈɔlˌweɪz səˈpraɪzd baɪ ðə haɪt əv ɑr sɔrd. ðə wɑz ˈtoʊtəli ˈdɪfərənt. ər ukimi*, ənd ðə ˈəðər ˈθɪriz oʊld ər dɪˈskəvəriz ju hæv meɪd? ðiz ər θɪŋz aɪ hæv dɪˈvɛləpt baɪ ˌmaɪˈsɛlf wɪn aɪ maɪ ˈpræktɪs, frəm tɪ. ˈɑbviəsli, ˈkɑnsɛpts səʧ ɛz ˈmeɪkɪŋ ʃɔrt θɪŋz lɔŋ, ˈjuzɪŋ lɔŋ θɪŋz ɛz ʃɔrt wənz, ɪgˈzɪstəd. fər ɪgˈzæmpəl, wi ˈpræktɪst ðə nɪr ðə tɪ bi ˈeɪbəl tɪ juz ðə sɔrd ɪn ə ˈlɪmɪtɪd pleɪs wɪˈθaʊt ˈtəʧɪŋ ðə wɔlz ər ðə ˈsilɪŋ. ðiz wər ðə kaɪnd əv ˈkɑnkrit θɪŋz. baɪ duɪŋ ðɪs, wi ˌəndərˈstʊd ðət ðə sɔrd məst nɑt tərn. ɪf ɪt tərn wi ˈkænɑt juz moʊˈmɛntəm, ˈwɪpɪŋ ər θroʊɪŋ ˈmoʊʃən laɪk ə ˈbeɪsˈbɔl bæt. ɪf wi kət baɪ ˈwɪpɪŋ ər wɪθ moʊˈmɛntəm, wi nid paʊər tɪ hæv spid, wɪʧ ˌɪnˈkrisɪz wɪθ ðə lɛŋθ əv ðə ˈɑbʤɛkt. ɪn ðə ˈbeɪsɪk, wɑ noʊ tachi*, wi ər kənˈfrəntɪd wɪθ ə ˌfəndəˈmɛnəl ˈprɪnsəpəl əv ðə skul ðət ɪz meɪd əv ˈkətɪŋ wɪˈθaʊt moʊˈmɛntəm, ˈwɪpɪŋ ər ˈmeɪkɪŋ ə ˈsərkəl. ðiz ər ˈθɪriz aɪ hæv ridɪˈskəvərd ənd. beɪst ɔn ðə ɪgˈzæmpəl ju ˈmɛnʃənd, kən ə ˈwɛpən ðɛn bi juzd ðə seɪm weɪ ˈwɛðər lɔŋ ər ʃɔrt? əv kɔrs. ðɛr ɪz ə rɪˈnaʊn tɛkˈnik ðət kənˈsɪsts əv ˈstɑpɪŋ ə əˈtæk wɪθ ðə sɔrd æt ə ˈdɪstəns əv 5bun*, wɪʧ minz lɛs ðən 30cm*, wɪθ ə. ɪf ˈpræktɪs dɪz nɑt əˈlaʊ ðə ˌɛksəˈkjuʃən əv səʧ θɪŋz, ɪt ɪz ˈjusləs. ɪf wi wɪθ ən ˈæmpləˌtud, wi ˈfɪnɪʃ ˌɪmˈpeɪld ˌbiˈfɔr ðə sɔrd wɑz aʊt. haʊ wʊd wən bɛt hɪz laɪf ɔn səʧ ə ˈlɪmɪtɪd tɛkˈnik?! ðɛr ər ˈmɛni ˈstɔriz əˈbaʊt greɪt ˈmæstərz ðət ˈɪləˌstreɪt ðɪs ˈprɪnsəpəl, bət ɪt ɪz ˈɑbviəsli nɑt ðə ˈɛsəns əv. ˈoʊnli wən əv ðə θɪŋz wi məst bi ˈeɪbəl tɪ pərˈfɔrm. wɪn ju jʊr ˈθɪriz, dɪd ju gɪt ðə ˌɪnspərˈeɪʃən frəm ˈəðər skulz? aɪ ˈsəmˌtaɪmz spik əˈbaʊt ðə ˌælɪgˈzændər ˈmɛθəd, bɪˈkəz aɪ ˈriəˌlaɪzd baɪ ˈrɛdɪŋ ə bʊk ðət ɪt ɪz ˈsɪmələr tɪ wət wi du. wən əv ðə ˈprɪnsəpəlz dɪˈskraɪbd ɪz ðət wi məst nɑt muv ʤɪst wɪθ ðə aɪˈdiə əv ðə ˈmuvmənt, bət baɪ biɪŋ ˈfʊli ˈkɑnʃəs əˈbaʊt wət wi ər duɪŋ. bət aɪ hæv nɑt ˈstədid ɪt ənd dɪd nɑt gɪt ˌɪnˈspaɪərd baɪ ɪt, ər baɪ ˈəðər skulz baɪ ðə weɪ. hæv ju ˈɛvər sin ˈəðər skulz ər ˈmæstərz ˈjuzɪŋ ðə seɪm ˈprɪnsəpəlz ɛz ju? aɪ hæv ˈnɛvər mɛt ˈɛni, bət aɪ ˈnɛvər lʊkt fər ðɛm ˈiðər. ɪt ɪz ɪnˈtaɪərli ˈpɑsəbəl ðət ˈəðər skulz hæv ˈsɪmələr ˈprɪnsəpəlz. ˌhaʊˈɛvər, ðɛr ər skulz ðət juz ˈsɪmələr tərmz səʧ ɛz ər, bət ðət du nɑt ˈkəvər ðə seɪm wərk ər ðə seɪm ˈkɑnsɛpt. ju ˈɔfən ɪkˈspleɪn ðət ðoʊz hu ˈkænɑt si si. wət du ju min baɪ ðət? ɪn ˈɛvəri doʊˈmeɪn, ən ˈɛksərˌsaɪzd aɪ wɪl pərˈsiv θɪŋz moʊst ˈpipəl can’t*. ɪt ɪz nɑt ˈmɛʒərəbəl θɪŋz ðət ər ˈizi tɪ si ənd kən bi ˈkaʊnərˌfɪtɪd, bət ðə ˈɛsəns əv θɪŋz. ɪt ɪz ðə saɪt ðət goʊz bɪɔnd ˈɔfən mɪsˈlidɪŋ əˈpɪrənsəz, ðət ɪz ˈeɪbəl tɪ ˈrɛkəgˌnaɪz ə ˈtrɛʒər ˈivɪn wɪn ˈkəvərd ɪn məd. ɪn ðə fild əv ˈmɑrʃəl ɑrts, ɪt ɪz nɑt ˈnɛsəˌsɛri, fər ɪgˈzæmpəl, tɪ bi ə prækˈtɪʃənər tɪ ˈrɛkəgˌnaɪz səʧ θɪŋz. ˌniʃiˈoʊkə ˈsɛnˌseɪ, ðə ˈmæstər, siz ˈpərfəktli ðə wɪn ɪt ɪz kəmˈplitli ˌɪnˈvɪzəbəl tɪ ðə ˈkɑmən əv ˈpipəl, ˈivɪn prækˈtɪʃənərz. ˈæftər ˈwɑʧɪŋ ðə ˈvɪdioʊ wɛr aɪ juz ə boʊ, hi toʊld mi: wɑz siɪŋ ˈsəmθɪŋ wɪrd wɪn ˈwɑʧɪŋ ɪt, bət wɪˈθaʊt ˈmænəʤɪŋ tɪ dɪˈskəvər wət ɪt wɑz. ənˈtɪl aɪ sɔ ðət jʊr hoʊl ˈbɑdi wɑz ˈkɑnstəntli ˈhɪdən baɪ ðə bo.”*.” ðə tɛkˈnik ˌɪnˈdid kənˈsɪsts ɪn biɪŋ ɔl ðə taɪm prəˈtɛktɪd baɪ ðə boʊ. bət ɪt ɪz nɑt əˈbaʊt biɪŋ ˈrɪli bɪˈhaɪnd ðə boʊ, wɪʧ daɪˈæmətər əv kɔrs ˈkænɑt haɪd ðə wɪdθ əv ə ˈbɑdi, ˈivɪn frəm ðə saɪd. bət hi sɔ ənd ˌəndərˈstʊd ðə tɛkˈnik. ɪf wi dɪˈskəs ðɪs ˈmætər wɪθ ˈsəmˌwən wɪˈθaʊt ðɪs əˈbɪləˌti tɪ si, hi wʊd ʤɪst ˈænsər: wi kən si you!”*!” ɪn, wi ˈɔlˌweɪz ˈpræktɪs wɪθ ˈsɔftnəs, wɪˈθaʊt goʊɪŋ θru ə wərk ɪn strɛŋθ ðət ɪz ˈɔfən ðə ˈbeɪsɪs ər ə ˈnɛsəˌsɛri trænˈzɪʃən ɪn ˈəðər skulz ər ˈdɪsəplənz. wət ɪz ðə ˈrizən? ɪt ɪz ə kˈwɛʃən əv ˈlɛvəl. wi ˈpræktɪs ənd ən ɑrt ðət rɪˈlaɪz ɔn ˈsɔftnəs. wɛˈnɛvər maɪ ˈgrænˌfɑðər sɔ ˈpipəl wɪθ strɛŋθ, wi wʊd seɪ: ɪz nɑt jujutsu”*”. æt ðə, ðə ˈpræktɪs əv ˈwɛpənz ˈɔlsoʊ teɪks pleɪs wɪˈθaʊt ˈvaɪələnt ˈklæʃɪz ənd ˌɪmˈpækts. waɪ ɪz ðət? ɪt ɪz ˈɔlsoʊ ə kˈwɛʃən əv ˈlɛvəl. kən ər ʃʊd bɪˈgɪnərz ðɛn ˈpræktɪs wɪθ strɛŋθ ənd paʊər? ɪn ˈæbsəˌlut tərmz, ɪt ɪz nɑt ˈrɪli ə ˈprɑbləm ðət ðeɪ ˈpræktɪs laɪk ðɪs. bət baɪ duɪŋ soʊ, ɪt ɪz ˈvɛri ˈdɪfəkəlt tɪ ɪˈvɑlv ənd ˈprɑˌgrɛs tɪ əˈnəðər ˈpræktɪs. ɪn ən ˈɪrə wɛr wi hæv lɛs ənd lɛs taɪm, ənd wɛr wi kən ˈoʊnli ˈæləˌkeɪt ə fju aʊərz pər wik ər mənθ, ɪt ɪz ˌɪmˈpɑsəbəl tɪ ˈɛnər əˈnəðər dɪˈmɛnʃən əv ˈpræktɪs baɪ ˈtreɪnɪŋ laɪk ðət. ðɪs ɪz waɪ aɪ tiʧ ðə suˈpɪriər ˈprɪnsəpəlz tɪ maɪ ˈstudənts, frəm ðə bɪˈgɪnɪŋ. aɪ ˈɔlsoʊ ˌrikˈwaɪər ðɛm tɪ ˌæbsəˈlutli ˈpræktɪs wɪˈθaʊt ˈjuzɪŋ strɛŋθ. ɪf wi juz strɛŋθ, wi ər dɪˈrɛkli ɪn ə ˈvɛri ˈlɪmɪtɪd wərk. baɪ rɪˈsivɪŋ ðiz ˈtiʧɪŋz frəm ðə bɪˈgɪnɪŋ, ɪt ɪz ˈnɔrməl tɪ pʊt ðɛm streɪt ˈɪntu ˌæpləˈkeɪʃən. səm seɪ ðət wi ʃʊd nɑt ˈɪməˌteɪt ˈɛldərli ˈpipəl wɪn wi ər jəŋ, ðət wi ʃʊd juz ɑr ˈbɑdi ɛz məʧ ɛz ˈpɑsəbəl. ɪt ɪz nɑt ðət wi ʃʊd nɑt juz ɑr ˈrisɔrsɪz. wɪn wi lʊk æt maɪ ˈbɑdi, ər hɪz wi ər ˌɪmˈprɛst. bət ɪt ɪz ə ˈbɑdi ðeɪ hæv dɪˈvɛləpt ənd əkˈwaɪərd baɪ ˈtreɪnɪŋ deɪz ənd naɪts sɪns ðɛr ˈjəŋgəst eɪʤ, ˈjuzɪŋ ðə ˈprɪnsəpəl əv nɑt ˈjuzɪŋ strɛŋθ. ðeɪ dɪd nɑt dɪˈvɛləp ɪt baɪ ˈlɪftɪŋ rɑks, ˈklaɪmɪŋ ˈmaʊntənz ər ˈkɛriɪŋ ˈbrænʧɪz. (læfs) ɪt ɪz baɪ rɪˈlɛntləsli wɪˈθaʊt strɛŋθ ðət ðeɪ dɪˈvɛləpt səʧ θɪk ɑrmz. ənd ðɪs ɪz ə ˈtruli rɪˈmɑrkəbəl wərk. dɪˈvɛləpɪŋ səʧ ə ˈbɑdi wɪˈθaʊt ˈjuzɪŋ strɛŋθ rikˈwaɪərz ˌənbəˈlivəbəl əˈmaʊnt əv ˈtreɪnɪŋ. ˈʤɛnərəli ˈsəmθɪŋ dɪˈvɛləpt ˈoʊnli baɪ ˌɪnˈtɛnsɪv ˈpræktɪs ˈstɑrtɪd ˈvɛri ˈərli ɪn laɪf. biɪŋ bɔrn ɪn ə ˈmɑrʃəl ɑrts masters’*’ haʊs, ðeɪ ˈpræktɪst ɔl deɪ waɪl ˈstudənts keɪm ənd wɛnt. æt ðə taɪm, ˈæftər ə deɪ əv ˈtreɪnɪŋ wɪˈθaʊt ˈjuzɪŋ strɛŋθ ɪt əˈkərd ðət maɪ ˈgrænˌfɑðər kʊd nɑt hoʊld hɪz ˈʧɑpˌstɪks ˈɛni mɔr ənd ˈnidɪd ˈsəmˌwən tɪ ræp hɪz ˈfɪŋgərz əraʊnd. ðɪs wɑz ˈrɪli ə ˈtɛrəˌfaɪɪŋ ˈlɛvəl. ju hæv tɪ ˌɪˈmæʤən mokurokus’*’ ˈtreɪnɪŋ əˈkərd æt ən ˌənbəˈlivəbəl spid. æt ðət taɪm, ɛz ˈpipəl spɛnt mɔr taɪm, wɑz ɪt ˈnɔrməl tɪ lɛt ðɛm ˈpræktɪs wɪθ strɛŋθ ənˈtɪl ðeɪ ˌəndərˈstʊd ˈnæʧərəli? noʊ, səʧ ˈstudənts wər nɑt ækˈsɛptɪd ɛz ˈoʊnli ðə wən ˈeɪbəl tɪ ˈprɛzənt ðə kərˈɛktli ˈæftər θri jɪrz wər ækˈsɛptɪd. ˈivɪn prækˈtɪʃənərz wɪθ ˈlɛvəl hæd ə haɪ ˈlɛvəl, ˈivɪn ɪf ðeɪ wər nɑt jɛt æt mokurokus’*’ ˈlɛvəl. ðət wɑz tru ˈtreɪnɪŋ. ju spik əˈbaʊt ˈpræktɪs ˈsteɪʤɪz, wət du ju min? ˈnaʊəˌdeɪz, ˈstudənts ˈpræktɪs ˈsɪmələrli ˈdʊrɪŋ ðɛr hoʊl laɪf. ən dæn wɪl du ðə seɪm θɪŋ, bət ˈbɛtər, ðən ə dæn. bət ðə ˈɛsəns əv ðɛr ˈpræktɪs ɪz aɪˈdɛntɪkəl. ˈpræktɪs həz tɪ ɪˈvɑlv, ənd ðə stɛps lɛd ˈjuˈɛs tɪ juz ɑr ˈbɑdiz ˈdɪfərˈɛntli. ðɪs ɪz wət aɪ kɔl ˈɛnərɪŋ əˈnəðər wərld. wɪn ju wər ˈstədiɪŋ, dɪd ju rɪˈsiv ˌɛkspləˈneɪʃənz? noʊ. aɪ ˈlərnɪd ðə soʊ jəŋ ðət aɪ rɪˈmɛmbər ɪt. ðɛr wər noʊ ˌɛkspləˈneɪʃənz. ɪz ɪt ˈnɛsəˌsɛri tɪ ɪkˈspleɪn, ər ɪz ˈtiʧɪŋ wɪˈθaʊt ˌɛkspləˈneɪʃənz ˈprɛfərəbəl? aɪˈdili, ðɛr ɪz noʊ nid əv wərdz ənd əˈθɛnɪk trænzˈmɪʃən əˈkərz ʃɪn dɛn ˈnaʊəˌdeɪz, ɪf ˈpipəl wɔnt tɪ ˈstədi haɪər ˈθɪriz ɪt ɪz ˈnɛsəˌsɛri tɪ ɪkˈspleɪn ðɛm. ðə ˈprɑbləm ɪz nɑt ˈrɪli əˈbaʊt noʊɪŋ ðə moʊd əv trænzˈmɪʃən. ɪn ðə ˈkɑrənt ˌsɪʧuˈeɪʃən, ðə ˈstudənt nidz tɪ stɑrt baɪ ˌəndərˈstændɪŋ ðə ˈθɪriz wɪθ hɪz hɛd. ðɛn, wɪn hi stɑrts ˈmuvɪŋ, aɪ tɛl ɪm ˈjuzɪŋ strɛŋθ, hɪz ˈpʊʃɪŋ ˈɪntu ðə graʊnd. frəm ðɛr, ðə kərˈɛktɪv wərk kən stɑrt. wɪˈθaʊt ˌɛkspləˈneɪʃənz, ˈpɑsəbəl tɪ ˈɪməˌteɪt ðə fɔrm, bət nɑt tɪ ˌəndərˈstænd ðə ˈmɛkəˌnɪzəmz əv juz əv ðə ˈbɑdi. aɪ ɪkˈspleɪn ənd ˈdɛmənˌstreɪt baɪ ˈmeɪkɪŋ ˈstudənts fil ðə ˈməsəlz aɪ æm ˈjuzɪŋ. bət fər ðə seɪm ˈmuvmənt, ðə ˈməsəlz aɪ səˈlɪsɪt ər kəmˈplitli ˈdɪfərənt frəm ðə wənz ðeɪ juz. ɪf aɪ dɪd nɑt gɪv ˈɛni ˌɛkspləˈneɪʃənz ənd ˈoʊnli sɛd: ɪz haʊ ɪt is.”*.” ˈæftər ə ˌdɛmənˈstreɪʃən, ðə ˈstudənts wʊd kip ˈjuzɪŋ ðə seɪm ˈməsəlz ənd ðə seɪm weɪ. ðɛr wʊd bi noʊ ˌɛvəˈluʃən. ɔn ðə ˈəðər saɪd, ɪt ɪz ˈɛvədənt ðət wərdz ˈoʊnli əˈlaʊ ə ˌsupərˈfɪʃəl pərˈsɛpʃən əv θɪŋz, ənd du nɑt trænzˈmɪt ðə ˈɛsəns. du jʊr ˈmuvmənts stɪl ɪˈvɑlv? aɪ θɪŋk soʊ. aɪ fil ˈsətəl ˈʧeɪnʤɪz stɪl əˈkərɪŋ, æt list aɪ hoʊp soʊ! (læfs) ðɛr ər faɪv skulz ɪn ðə. wən skul bi ɪˈnəf tɪ lərn ðə kərˈɛkt juz əv ðə ˈbɑdi? wi seɪ ɪt ɪz ˈiziər tɪ klaɪm stɛrz wɪn ðə stɛps ər nɑt tu ˈdɪstənt. ɪt ɪz ˈiziər tɪ ˌəndərˈstænd θɪŋz wɪn wi kən si ðɛm ˈəndər ˈdɪfərənt laɪts. ˈbɑdiz du nɑt muv ɛz ðeɪ wɔnt. wəns ðɪs əˈwɛrnəs əkˈwaɪərd, ɪt ɪz ˈiziər tɪ ˌɪmˈpruv baɪ ə waɪd vərˈaɪəti əv ˈdɪfərənt ˈmuvmənts. ɛz wi ˈmɛnʃənd ˈərliər kənˈsərnɪŋ ðə ˌspɛsəˈfɪsəti əv ə ryuha*, əv ɪts flavour*, səm θɪŋk ðɛr ɪz nɑt ɪˈnəf taɪm tɪ ˈmæstər ˈsɛvərəl skulz. hir, ðə ˈθɪriz ˌəndərˈlaɪɪŋ ðə skulz ər ðə seɪm ənd wi eɪm tɪ əˈplaɪ ðə ˈθɪriz, meɪk ɑr ˈmuvmənts ˌdɪsəˈpɪr wɪθ ˈɛvəri skul. ɪt ɪz ˈsəmˌtaɪmz sɛd əv ˈsəmˌwən ðət gʊd ɪn kəmˈbæts bət nɑt ɪn. ɪt ɪz ˈpɔɪntləs. ɪt ɪz baɪ bɪˈkəmɪŋ gʊd æt katas’*’ ˈpræktɪs ðət wi dɪˈvɛləp ə tru ˈtɛknɪkəl əˈbɪləˌti. ˈɑbviəsli, ðə ˌɪmˈpɔrtəns əv ənd ðɛr ˌɪnˈtækt trænzˈmɪʃən ɪz ˈoʊnli maɪ ˈpərsɪnəl əˈpɪnjən, ənd ðɛr ər ˈmɛni ˈpipəl wɪθ ˈdɪfərənt əˈpɪnjənz. ɪt ɪz ˈoʊnli ðə weɪ əv ˈθɪŋkɪŋ ˌəndərˈlaɪɪŋ ðə trəˈdɪʃən aɪ hæv ˌɪnˈhɛrətɪd. ˌhaʊˈɛvər, ˈoʊnli seɪɪŋ ðət ər ˌɪmˈpɔrtənt ɪz nɑt ɪˈnəf. ðeɪ ər nɑt tɪ bi kənˈsərvd ɛz ˈeɪnʧənt ˈrɛlɪks ər mˈjuziəm ˈpisɪz. ər tulz ðət əˈlaʊ ˌtrænsfərˈmeɪʃən əv ðə ˈbɑdi, ə ˌrɛvəˈluʃən ɪn ɪts juz. ˈtoʊtəli ˈdɪfərənt frəm ə spɔrt ðət ˈjuʒəwəli dɪˈvɛləps ðə ˈbɑdi ɪn ə ˈʤɛnərəl juz. ˈspikɪŋ əv wɪʧ, aɪ hæv ˈɔlˌweɪz bɪn bæd æt spɔrts. ðə ˈspɪrɪt dɪd nɑt sut mi, bət ˈmeɪnli aɪ dɪd nɑt hæv ə ˈbɑdi əˈdæptɪd fər ðɪs kaɪnd əv ˈpræktɪs. mɔˈroʊvər, aɪ hæd noʊ əˈbɪləˌtiz tɪ juz ə bɔl. (læfs) ðə fərst taɪm aɪ θru ə aɪ ˈpərfəktli ˌəndərˈstʊd. aɪ kʊd ˈizəli θroʊ ə, bət nɑt ə bɔl. aɪ juzd maɪ rɪst ɪn ənd wɪˈθaʊt ˈɛni ˈwɪpɪŋ ˈmoʊʃən. hɛns aɪ ˈnɛvər əˈpriʃiˌeɪtɪd ər ðɪs kaɪnd əv θɪŋz. wɪn aɪ wɑz jəŋ, aɪ θɔt ðət ˈfɪzɪkəl əˈbɪləˌtiz ənd spid dɪˈklaɪnd wɪθ eɪʤ. aɪ wɑz nɑt ˈkɑnʃəs əv ðə ɪgˈzɪstəns əv ə steɪt wɛr ðɪs lɔ dɪz nɑt əˈplaɪ. ðiz ər ˈmuvmənts aɪ æm naʊ ˈeɪbəl tɪ du. ər ˈwərkɪŋ aʊt, ˈrənɪŋ ər ˈstrɛʧɪŋ ˈjusləs ˈpræktɪsɪz ɪn jʊr əˈpɪnjən? waɪz, jɛs. bət kənˈsərnɪŋ hɛlθ, ɪt ɪz ˈdɪfərənt. ˈstrɛʧɪŋ ɪn ðə ˈmɔrnɪŋ kən bi ˌbɛnəˈfɪʃəl fər ˈpipəl, səʧ ɛz mi, wɪθ ə stɪf ˈbɑdi. wɪn aɪ bɪˈkeɪm 40 aɪ ˈriəˌlaɪzd ðət maɪ ˈməsəlz wər kwaɪt tɛns ˈæftər ðə ˈklæsɪz. aɪ ðɛn ˈstɑrtɪd tɪ ˈrɛgjələrli strɛʧ. æt fərst ɪt dɪz nɑt goʊ fɑr. (læfs) bət ɪt gɪts ˈbɛtər. ðɛr ər əraʊnd 300 ɪn ðə. dɪz iʧ kənˈteɪn ə spɪˈsɪfɪk ˈtiʧɪŋ? noʊ. trænzˈmɪt ðə ˈθɪriz. bət ðɛr ər ˈdɪfərənt ˈlɛvəlz əv. beginners’*’ hæv mɔr ˈmuvmənts. ðɛn, baɪ prəˈgrɛsɪŋ ðə bɪˈkəm ˈsɪmpələr ənd ˈsɪmpələr. bət ˈsɪmpələr ɪz nɑt ðə raɪt wərd, ɛz ðɛr əˈpɛrənt sɪmˈplɪsɪti haɪdz ə məʧ ˈgreɪtər ˈdɪfɪˌkəlti. ɪt ɪz klɪr ɪn ər wɛr ðə fərst ər meɪd əv ˈsɛvərəl ˈsikwənsɪz ənd ðə suˈpɪriər ər ˈɔfən meɪd əv ˈoʊnli wən ˈmuvmənt. ɪn ˈmɑdərn ˈdɪsəplənz wi ˈɔfən stɑrt baɪ ˈtiʧɪŋ ˈsɪmpəl tɛkˈniks wɪθ ə fju ˈmuvmənts. du ðə ˈɑpəzɪt. ðə ˈnəmbər əv ˈmuvmənts kən əˈpɪr ɛz ˈdɪfəkəlt, bət ɪt ɪz ɔl əˈbaʊt duɪŋ wən ˈmuvmənt ˈæftər ðə ˈəðər. ɪn suˈpɪriər, ðə ˈprɪnsəpəlz hæv tɪ bi ˌəndərˈstʊd. ju hæv tɪ fil ɪf ðə ˈmuvmənt ɪz ˈifɛktɪv ər nɑt, ɪf ðə ˈpɑrtnər ɪz ˈteɪkən ər nɑt. bət fər ˈsəmˌwən hu dɪz nɑt hæv ðə kəˈpæsɪti tɪ si, ðɪs kaɪnd əv wərk ɪz ˈjusləs. wi kən ɪkˈspleɪn ɪt ˌhaʊˈɛvər wi wɔnt, ɪf ðə ˈpərsən ˈkænɑt si ɪt, hi wɪl nɑt ˌəndərˈstænd ɪt. ɪt ɪz nɑt ðət wi riækt tɪ ə straɪk ər ə kət. bət ju məst bi ˈeɪbəl tɪ siz wət ɪz ˌɪnˈvɪzəbəl. ˈsəmˌwən wɪθ ə ʃɑrp lʊk wɪl si ɔl ðə θɪŋz ˈhæpənɪŋ, ˈivɪn wɪn ðɛr ɪz noʊ ˈmuvmənt. wɛˈræz ə aɪ wɪl ˈoʊnli si ə ˈfroʊzən ˌsɪʧuˈeɪʃən. ˈpipəl ðət ˈoʊnli si ðə ɪkˈstərnəl fɔrm ˈkænɑt ˌəndərˈstænd. ðeɪ ˌɪˈmæʤən ðət səʧ ˈmuvmənt ˌkɔrəˈspɑndz tɪ səʧ riˈækʃən, ənd ðət wɪˈθaʊt ˈmuvmənt ˈnəθɪŋ ˈhæpənz. ðeɪ ər blaɪnd. ðɛr laɪz ðə tru ˈdɪfɪˌkəlti wɪθ ðə ðət əˈpɪr ˈvɛri ˈsɪmpəl. beginners’*’ sim ˈdɪfəkəlt du tɪ ðɛr lɑrʤ ˈnəmbər əv ˈsikwənsɪz ðət treɪn ðə ˈbɑdi ənd tiʧ haʊ tɪ muv. ɪn ˌriˈæləˌti, ðeɪ ər ˈiziər tɪ ˈɛksəˌkjut. ˈnaʊəˌdeɪz, ˈoʊnli ə fju ˈpipəl ɪn ʤəˈpæn ər ˈɪntəˌrɛstɪd ɪn ðə trəˈdɪʃənəl weɪz, wɛˈræz ˈkɑmbæt spɔrts ər ˈvɛri ˈpɑpjələr. ə rɪˈkərənt ˈɑrgjəmənt ɪz ðət ər nɑt tɛkˈniks ˈrɪli ˈæpləkəbəl ɪn ˈkɑmbæt. wət du ju θɪŋk əˈbaʊt ɪt? ˈpipəl hu ər gʊd æt ˈfaɪtɪŋ, ər ˈʤɛnərəli ˈnæʧərəli gʊd æt ɪt ˈivɪn ɪf ðeɪ du nɑt treɪn. ˈtreɪnɪŋ ɪn ˈkɑmbæt spɔrts ˈoʊnli əˈlaʊ ðɛm tɪ dɪˈvɛləp ðiz ˈæptəˌtudz. ˌɪmˈprɛgˌneɪt ðə ˈbɑdi wɪθ ˈθɪriz, ənd ˈtrænsfɔrm ɪt. ˈnɔrməl ˈmuvmənts ər ˈvɪzəbəl ənd kən bi stɑpt baɪ əˈnəðər ˈpərsən. wi ˈpræktɪs soʊ ðət ɑr ˈmuvmənt ˈkænɑt bi stɑpt, ər sin ənd dɪˈvɛləp ðə əˈbɪləˌti tɪ siz ðə ˈmoʊmənt wɪn ðə ˈpɑrtnər həz ðə ˌɪnˈtɛnʧən tɪ muv. ɪt ɪz nɑt əˈbaʊt dɪˈvɛləpɪŋ ðə əˈbɪləˌti tɪ breɪk brɪks. ɑr ˈpræktɪs rikˈwaɪərz taɪm. ɪt ɪz ˈbɛtər ðət ˈpipəl hu wɔnt tɪ juz wət ðeɪ hæv ˈlərnɪd ɪn brɔlz du nɑt kəm tɪ ðə. ðeɪ wɪl ˈnɛvər bi ˈrɛdi ɪn taɪm. ˈbɛtər fər ðɛm tɪ goʊ ənd du ˈpʊˌʃəps, dɪˈvɛləp ðɛr ˈməsəlz ənd ˈɛndərəns. ðɪs wɪl ˈprɑbəˌbli bi ˈhɛlpfəl kˈwɪkər. bət ðɪs həz ˈnəθɪŋ tɪ du wɪθ. ɪt ɪz ˌɪmˈpɑsəbəl tɪ dɑʤ ə fæst əˈtæk ɪf wi du nɑt hæv ðə spid əv ə ˈmɑŋgus. wi nid əˈbɪləˌtiz tɪ dɑʤ ðiz kaɪnz əv əˈtæks. wɪn tu ˈpipəl faɪt ɪn ˈkɑmbæt spɔrts ðeɪ əˈpoʊz ðɛr ˈfɪzɪkəl kˈwɑlətiz. wi straɪv tɪ dɪˈvɛləp ə ˌsɛnsɪˈtɪvɪti ðət əˈlaʊz ˈjuˈɛs tɪ pərˈsiv ən əˈtæk ˌbiˈfɔr ɪt dɪˈvɛləps. wi treɪn tɪ meɪk ðə əˈpoʊnənt əˈtæk wɛr wi wɔnt. ðɪs ɪz ðə kaɪnd əv ˈtreɪnɪŋ ðət simz ˈminɪŋfəl tɪ mi. bət ˌbiˈfɔr ˈfaɪtɪŋ ɪt ɪz ˌɪmˈpɔrtənt tɪ ˈmæstər jʊr oʊn ˈbɑdi. fər ðɪs, wi fərst nid tɪ ˈriəˌlaɪz ðət wi du nɑt kənˈtroʊl ɑr ˈbɑdiz ˈivɪn fər ˈmuvmənts ɛz ˈsɪmpəl ɛz ˈreɪzɪŋ ðə ɑrm. wi ˈstədi tɪ dɪˈvɛləp ə ˈbɑdi ðət muvz ˈfrili. aɪ wʊd laɪk tɪ brɪŋ ðə ˈstudənts, ˈivɪn ə ˈlɪtəl bɪt, ˈkloʊzər tɪ ðə ˈɛsəns əv ðə wərld əv kɛn. wət ər ðə ˈdɪfərənsɪz bɪtˈwin ˌʤæpəˈniz, ʧaɪˈniz ər ˈwɛstərn ˈmɑrʃəl weɪz? ðə meɪn ˈdɪfərənsɪz ər ˈkəlʧərəl. ɪn ʤəˈpæn, bən (ðə ˈkəlʧər) ənd (ðə ˈmɑrʃəl tɛkˈnik) ər pʊt ɔn ðə seɪm ˈlɛvəl. ˌhaʊˈɛvər, ɪn ˈʧaɪnə ˈkəlʧər ɪz kənˈsɪdərd ɛz suˈpɪriər tɪ ˈmɑrʃəl ˈpræktɪs, ɛz ɪt wɑz rɪˈzərvd tɪ ˈmərsəˌnɛriz, gɑrdz, etc…*… ðə riˈleɪʃən tɪ ˈɑbʤɛkts ɪn ˈpræktɪs ɪz ˈɔlsoʊ ˈdɪfərənt. ˈwɛpənz wər kənˈsɪdərd ɛz ˈtreɪnɪŋ tulz, ˈnəθɪŋ mɔr. ɪn ʤəˈpæn, ðɛr ɪz ˈɔlsoʊ ðə ˈkəlʧər ˈkəmɪŋ frəm ðə ˈsæmərˌaɪz. ðə wɑz kənˈsɪdərd ɛz ðə soʊl. ɪt wɑz, mɔr ðən ə ˈsɪmpəl ˈfaɪtɪŋ tɛkˈnik, ə weɪ tɪ ˈɛʤəˌkeɪt ə mæn wɪθ ˈmɔrəl ˈvæljuz. ɪz ə ˌɛʤəˈkeɪʃən. hæv ju mɛt ˈɛni ˈmæstərz ðət ˌɪmˈprɛst ju? wɪn aɪ wɑz jəŋ, maɪ aɪz wər nɑt siɪŋ ənd aɪ ˈoʊnli lʊkt æt maɪ ˈgrænˌfɑðər ˈmuvmənts ðət aɪ faʊnd sʊˈpərb. ðə ˈəðər hæd ənˈdaʊtɪdli mægˈnɪfɪsənt tɛkˈniks, bət aɪ wɑz nɑt ˈeɪbəl tɪ bi muvd baɪ ðɛm. ˈrisəntli ˈsəmθɪŋ ˈvɛri səˈpraɪzɪŋ əˈkərd tɪ mi. aɪ wɑz ˌɪnˈvaɪtɪd tɪ ənd aɪ sɔ ə ˌdɛmənˈstreɪʃən baɪ ˈɛlɪs ˈæmdər əv wɪθ hɪz dɪˈsaɪpəl. waɪl ˈwɑʧɪŋ, tɪrz keɪm tɪ maɪ aɪz, ənd aɪ ˈwəndərd wət wɑz ˈhæpənɪŋ. aɪ kɛpt ˈθɪŋkɪŋ əˈbaʊt ɪt wəns bæk æt ðə hoʊˈtɛl, ənd ˈfaɪnəli ˌəndərˈstʊd wət muvd mi. hi wɑz prɪˈzərvɪŋ ðə wɪθ ɔl hɪz strɛŋθ. ɪt wɑz nɑt ðə ˈtɛknɪkəl ˈlɛvəl ðət ˌɪmˈprɛst mi, bət ðə fækt ðət hi prɪˈzərvd ðə soʊ devotedly*. ɪn ðɪs ˌsɪʧuˈeɪʃən, ðɛr ɪz noʊ dɪˈstɪŋkʃən bɪtˈwin ə ˌʤæpəˈniz, ən əˈmɛrɪkən ər ˈɛniˌwən ɛls. ɪt ɪz nɑt ðət hɪz ˈmuvmənts wər kloʊz tɪ ɑr skul ər ðət hi juzd ðə seɪm ˈθɪriz, bət hɪz ˈdʊrɪŋ ðə ˈdipli muvd mi. ˈmɛni ˈprɑbəˌbli kənˈsɪdərd ˌɪmˈpɔrtənt, bət ˈoʊnli ˈɛlɪs ˈæmdər muvd mi. ðə hɑrt hi pʊt ɪn prɪˈzərvɪŋ ðə ˈdipli muvd mi, ənd aɪ kʊd nɑt stɑp ðə tɪrz frəm ˈkəmɪŋ. bɪˈkəz aɪ pʊt maɪ hoʊl hɑrt ɪn kənˈsərvɪŋ ðə əv maɪ trəˈdɪʃən ðət siɪŋ səʧ θɪŋ meɪd mi kraɪ. aɪ æm ˈtruli ˈgreɪtfəl fər ˈteɪkɪŋ pɑrt ɪn ðɪs. aɪ wʊd hæv ləvd tɪ tɛl ɪm baɪ ˌmaɪˈsɛlf, bət aɪ kʊd nɑt seɪ ə wərd. ˈdʊrɪŋ ðə ɛnd ˈsɛrəˌmoʊni, aɪ ˈwɔntɪd tɪ si ɪm ənd tɛl ɪm wət aɪ fɛlt, bət ʤɪst baɪ rɪˈmɛmbərɪŋ ðə sin maɪ vɔɪs strək ɪn maɪ θroʊt. ɪt ɪz ˈsəmθɪŋ ðət muvd mi ˈdipli. ɪt wɑz əˈmeɪzɪŋ. wət ɪz, fər ju, ðə goʊl əv ˈtreɪnɪŋ ˈnaʊəˌdeɪz? ðɪs ɪz wət wi ˈmɛnʃənd ˈərliər. ðə ˈplɛʒər tɪ bi ˈeɪbəl tɪ ʧeɪnʤ ɑr weɪ əv ˈjuzɪŋ ðə ˈbɑdi, tɪ si wət ɪz ˌɪnˈvɪzəbəl; ðət ɪz ˈprɑbəˌbli ðə moʊst ˌɪmˈpɔrtənt. ɪf wi goʊ ˈfərðər, wi riʧ ə pɔɪnt wɛr wi æsk ɑrˈsɛlvz wət kaɪnd əv laɪf wi lɪv, wi hu ər nɑt ˈeɪbəl tɪ stænd əp ər wɔk. frəm ðə pɔɪnt əv vju, wi du nɑt hæv mɔr əˈbɪləˌtiz ðən ə nu bɔrn. wi eɪm tɪ dɪˈvɛləp ə ˈbɑdi ðət həz ˈɪnəˌgreɪtɪd ðə ˈmuvmənts əv pæst ˈsæmərˌaɪz. wi eɪm tɪ ˈrɪli juz ðə ˈbɑdi ɑr ˈpɛrənts hæv ˈgɪvɪn ˈjuˈɛs. ɪz nɑt ə skul tɪ bɪˈkəm strɔŋ æt ˈbrɔlɪŋ ənd dɪˈstrɔɪ ðə əˈpoʊnənt. ðə əˈbɪləˌti həz tɪ bi ðɛr, bət ɪz nɑt tɪ bi juzd. goʊl ɪz nɑt tɪ kət ɔf hɛd. ðə wərld həz bɪˈkəm ə pleɪs wɪθ məʧ ˈvaɪələns. bət ðə goʊl əv ˈpræktɪs ɪz nɑt æt ɔl tɪ lərn haʊ tɪ hərt ər kɪl. ðə ˈəðər məst nɑt bi ˈeɪbəl tɪ əˈkɑmplɪʃ hɪz muv. ˈɛndɪŋ ə faɪt ˌbiˈfɔr ɪt stɑrts. ðɪs ɪz ril eɪm. riˈzɑlv ə ˈkɑnflɪkt ˌbiˈfɔr ɪt dɪˈvɛləps. səbˈskraɪb fər mɔr ərˈɪʤənəl ˈɪntərvˌju baɪ ˈlioʊ kərˈoʊdə, lɑ trəˈdɪʃən ɛn héritage”*”, ˈpəblɪʃt ɔn lɪŋk: ˈoʊpən trænzˈleɪʃən baɪ ˈneɪθən augeard*, wɪθ pərˈmɪʃən. 1 bokken*: ˈwʊdən sɔrd 2 shinai*: ˈpræktɪs sɔrd ɪn bæmˈbu 3: ˈpætərn əv ˈmuvmənts ˈtiʧɪŋ ðə ˈprɪnsəpəlz əv ə skul ˈviə spɪˈsɪfɪk fɔrmz. 4 ə ɪz ən ˈɛldər, ən ˈeɪnʧənt əv ðə skul ɪn ðɪs keɪs. 5 ɪz ən əˈfɛktɪv ˈnɪkˌneɪm fər. 6: ɑrt əv ðə sɔrd. 7 soke*: ˈhɛdˈmæstər. 8 denjushiki*: trəˈdɪʃənəl ˈsɛrəˌmoʊni wɛr ˈsəmˌwən rɪˈsivz ə ˈlaɪsəns ɪn ˌʤæpəˈniz trəˈdɪʃənəl weɪz. 9: trəˈdɪʃənəl ˌdɛmənˈstreɪʃən əv ˈmɑrʃəl ɑrts. 10 ər wɛr ðə (skul) tɛkˈniks ər drɔn. 11 jizo*: ə prəˈtɛktər əv ˈʧɪldrən. 12 saya*: sɔrd ʃiθ. 13 yakuza*: ˌʤæpəˈniz mafioso*. 14: ˈwʊdən ˈsændəlz. 15 aikuchis*: vərˈaɪəti əv (naɪf) wɪˈθaʊt gɑrd, ˌʤæpəˈniz ˈdægərz. 16 kesagiri*: daɪˈægənəl kət. 17 meijin*: prækˈtɪʃənər wɪθ ə greɪt ˈlɛvəl ənd dɪˈstɪŋgwɪʃt əˈkɑmplɪʃmənts. 18 kərˈoʊdə: trəˈdɪʃənəl ˈmɑrʃəl ɑrt skul ˈkəmɪŋ frəm ðə taɪm əv ðə ˈsæmərˌaɪz. 19 ə ɪz ə trəˈdɪʃənəl skul əv ˈmɑrʃəl tɛkˈniks. 20 ənd ər ˈmɑrʃəl trəˈdɪʃənz ənd staɪlz. 21 kɛn: ˈseɪbər. 22 boʊ: stæf. ɪn ðə bojutsu*, ðə stæf ɪz ˈsɪmələr tɪ ðə wən juzd ɪn. 23 jutte*: stil ˈbæˌtɑn wɪθ ə hʊk. 24 bojutsu*: ðə skul əv ˈlɪtəl stæf tɛkˈnik. 25 ər ˈmɪθɪkəl ˌʤæpəˈniz ˈkriʧərz, ə sɔrt əv hu ər ˈmæstərz ɪn ˈmɑrʃəl ɑrts. 26 ɪz ə dɪˈploʊmɑ ˈsərtəˌfaɪɪŋ ə trænzˈmɪʃən. 27 ənd ər greɪdz juzd ɪn ˈmɑrʃəl ɑrts. 28 gokuis*: ˈsikrɪt, suˈpɪriər ˈprɪnsəpəlz əv ə skul. 29: ˈɛksərˌsaɪz əˈlaʊɪŋ tɪ wərk ɔn wən ər mɔr ˈprɪnsəpəlz ɪn spɪˈsɪfɪk ˈmuvmənts. 30 minz wət ɪz ˈvɪzəbəl, ɪt ɪz ðə keɪs əv ðə fərst ˈtiʧɪŋz rɪˈsivd. 31: ˈθɪri ðət eɪmz əv nɑt ˈpʊʃɪŋ ˈɪntu ðə graʊnd. 32 ukimi*: ˈθɪri əv ðə body”*”. 33 kissaki*: ðə pɔɪnt 34 kamae*: gɑrd. 35 okuden*: ˈsikrɪt, ˌɪnˈtərnəl ˈtiʧɪŋz. 36: rɪˈpɛtɪtɪv ˈkətɪŋ ˈmuvmənt əv sɔrd. 37 ˈʃoʊʤi: ˌʤæpəˈniz sˈlaɪdɪŋ dɔr, meɪd əv ˈpeɪpər ənd wʊd. 38: ˈsɛntrəl laɪn, ˈæksəs. 39 shodo*: ðə ɑrt əv kəˈlɪgrəfi. 40: ʤu minz sɔft, minz tɛkˈnik. 41 gojutsu*: goʊ minz strɛŋθ. 42 aɪ ʃɪn dɛn ʃɪn: frəm soʊl tɪ soʊl. 43 juntai*: ˈθɪri əv ðə ðət kənˈsɪsts əv ˈjuzɪŋ ðə ˈbɑdi wɪθ lɛs ˈmuvmənts ˈpɑsəbəl. 44 bushi*: ˈwɔrjər. 45 ˈɛkspoʊ: ˈsɛməˌnɑr ˈteɪkɪŋ pleɪs ɪn ðə ˈjuˈɛs ˈgæðərɪŋ ənd ˈmɑrʃəl ɑrt ˈmæstərz. 46 kokoromochi*: ˈætəˌtud, ˈiˌmoʊʃən.
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interview of kuroda tetsuzan, inheriting tradition
interview of kuroda tetsuzan, inheriting tradition – by leo tamaki
kuroda tetsuzan is one of the greatest current martial art masters. when he was 20 years old, he became the youngest practitioner ever to receive the title of hanshi hachidan (8th dan) of kobudo from the dai nippon butokutai. outstanding practitioner, he is also an exceptional theorist who exposed the principles regulating the use of the body in traditional martial ways.
sensei, when did you start practising martial arts?
when we asked this question, i usually answer that i seriously started training when i was 5 years old. but in truth, i do not remember starting at a particular moment.
i was hearing the sound of bokkens[1], shinais[2] and kiais in my mother’s womb. i was born and raised in this world. the dojo was separated from the house only by a partition; i grew up with the sound of practice. as far as my conscious memories go back, i have always been training with adults.
your childhood must have been quite different from most children.
i was not doing a special training. i was raised according to the classical way in a particular surrounding.
i do not remember, but i have been told that, as a child, i sat down on my father’s laps and he would let me roll a newspaper and hit him with it. a kind of spontaneous ludic training. (laughs)
did you enjoy practising, or was it more like a chore?
i only remember being told “it’s training”. i was working on the katas[3], then someone would put the suit of armour on me for the exercises. these are the memories i have.
but at my grandfather’s funerals, one of the sempai[4] who was roughly ten years older than me told me “tetchan[5] you really did not listen at all. you were running away, crying and running everywhere! several adults were needed to control you and put your armour on.”
i have no memories of this, but it is probably hard for a child to have to wear a suit of armour. it seems to me that is what happened when i was little, but i don’t remember.
on your website, there are some pictures of you, as a kid, during a demonstration. were you practising reluctantly at the time?
i think i was in 5th grade, primary school. i was around 11 years old. it is not that i went to the dojo by my own because i loved it. it was just something natural, part of my daily life.
do you have brothers and sisters?
i have a younger sister. but she never trained. adult, she wanted to practise iai[6]. i told her she could start and my grand-father arrived at the dojo. he talked to her as he would have with any other student. “what is that? that’s incorrect.” and she stopped as suddenly as she started. (laughs)
when did you become soke[7]?
there was no denjushiki[8], or anything particular. my grandfather always took me with him to kyoto’s embukai[9]. in the end, when he was no longer able to go following a stroke, he sent me with the disciples.
when he died, my father simply told me that he had told him that i was to be his successor. things happened like this, very naturally.
did you receive the school’s edenshos at your grandfather’s death?
while alive, my grandfather gave me the ryu’s edenshos[10] step by step. once i asked him if there were iai’s edenshos and he answered no.
one day he came to see me and told me “here you are.” giving me iaijutsu’s edenshos. he had a precise idea about when to reveal edenshos. (laughs)
what kind of person was your grandfather?
he was a kind grandfather. when he took the train to go to an embukai, he would smile to a baby the whole way. he had a really handsome face with his shaved head, like a monk. he looked like a jizo[11]! (laughs)
how was he during training?
i don’t know because he was not staying at the dojo during classes. when i started to practise on my own, he would then come and look at me smiling. being observed while practising really annoyed me. (laughs)
first he told me all the time that my saya[12] was late, that my left hand was too slow. he would look at me for one hour then go back to his room. but whether he was in the dojo or not, he saw the same way: he knew what was happening there.
he had the imposing presence of someone who has mastery.
how did your teacher’s beginnings go?
i started teaching after university. i started with four or five students, some adults and a few children. step by step, the word that it was a serious dojo spread and students began to come.
did your father or grandfather teach you katas?
i learned the katas from my grandfather. i have been practising katas since childhood, but whenever i forgot a bit i asked one of the sempais close to my grandfather. he is the one who told me the anecdote at my grandfather’s funerals.
my grandfather wanted to adopt him because he was gifted and training seriously.
we hear a lot of stories about your grandfather. in particular, i heard that he fought against four yakuzas[13].
i think the story took place in omiya, on the hikasando. but they were not four. they were seven or eight. i did not witness the scene, but several people that lived in the neighbourhood told it to me.
my grandfather was walking in getas[14] and found himself surrounded by a group of yakuzas armed with aikuchis[15]. my grandfather then took a geta in each hand and hit all of them on the head while insulting them of stupid. they all ran away! he cleaned his getas and started walking again.
he hurt no one; he was that kind of person.
i also read several stories where he demonstrates an incredible ability to cut.
there are a few anecdotes.
one happened at toyama’s military academia, during the war. he had been asked to come and teach soldiers how to cut. at the time, training consisted to cut bamboos stuck into the ground.
my grandfather told them: “you are militaries and will not face opponents simply waiting seated or standing. train yourselves to cut while running!”.
the instructor answered it was much easier said than done, and asked for a demonstration. my grandfather then took a military sword and cut all the bamboos while running.
what is important is not that he cut all the bamboos, but the way he did it. he did not stop to ground himself and to cut diagonally. he cut them all horizontally while running, and just with a little movement of the wrist!
the instructor then told him: “you can cut like this, but it is impossible for soldiers to do so.” my grandfather then left. (laughs)
there is another story that happened during the war. at the time, there were meetings to encourage the soldiers leaving for the front. servicemen were doing demonstrations, and one of them tried to cut three bamboos filled with sand, wrapped in a tatami mat. he cut with strength and managed to cut halfway through.
he then offered to the present kendo master to try to cut, but as they were not used to this kind of exercise they declined one after the other.
my grandfather accepted the offer but said: “as this is my job, there is nothing interesting in cutting with a sharp sword.” he took a sword not sharpened from the dojo’s wall and cut them all back and forth in kesagiri[16] in one instantaneous motion.
it is also the people living nearby that told me this story. they were all astonished. everyone was proud and surprised of having such a master in omiya.
it seems that your grandfather had reached a considering level.
my grandfather had the power of a warrior, the ability to apply things in a real situation. the kind of ability he demonstrated by fighting off the yakuzas. he had worked as much on form as on combat.
his movements were magnificent. he was holding the sword so lightly. not in an ostensible way, but with a real lightness.
he settled in omiya at 25 years old. until there he had been able to completely immerse himself into his practice and rapidly received the school’s heritage. but from this time on, he focused on training his disciples and did not have the leisure to really train any longer.
since i left university, it has been 30 years during which i could train myself more than my grandfather. if he had had this possibility, he would probably have reached the level of meijin[17], the greatest masters in history.
the shinbukan[18] is made of five schools. have these traditions been brought together because they share the same principles, or did they get “transformed” when they got united?
the shinbukan was founded by kuroda yahei masayoshi, and it is at that time that these five traditions got united. several people asked me the same question and i was even told that if they are practised by the same person, all the schools become similar and lose their specificity.
the question is to know what a ryu’s[19] specificity is. i am not sure to understand what people mean. is it, as in karate for example, the height of the fist in guard like shuri-te or naha-te that matters? or is it the way to use the body?
if it’s the way to use the body, it is something else. all the bodies are similar. whether someone raises the arm or lowers it, it’s the same thing. after, you have to see if the movement is correct. not the form.
a school’s specificity is a very complex topic that has been debated since the edo period. numerous writings can be found on the subject.
ryugis and ryuhas[20] present differences in terms of forms and guards, this is natural. but being able to recognise someone’s affiliation to a school just by seeing him move is a fault or a bad habit. it is not the kind of things we can bet our lives on.
the movements have to be mushu mushoku, odourless and colourless.
there is therefore no school’s specificity?
there are some in the katas, the positions, the guards, the weapons used (ken[21], bo[22], jutte[23], etc.). these are not the problematic elements. how to move from this situation, this position?
everything linked with the “ambiance” in the way of moving is a “tic”, a bad habit because the movements are “visible”.
one of the schools is named tsubaki kotengu-ryu bojutsu[24]. we can then imagine that, in a school founded by a tengu[25], we have to move as a tengu. (laughs) i then admit my incompetence.
does it mean that practitioners from old times moved like you are?
i cannot tell how they moved. but my grandfather’s students that reached mokuroku[26] before war moved exactly like him. there was nothing. just pure movements without mannerism.
at the shinbukan, there was a kyu[27] system, but no dan. after the first kyu, we received the transmission, the mokuroku.
up to the 5th or 4th kyu, there were still some tics. the practitioner could be strong in combats, but that is something else.
from the 3rd kyu, the kata was identical, whoever was doing it. we could therefore learn it from any of them. this is a level i haven’t yet brought my students up to.
is this the reason why no one except you is entitled to teach at the shinbukan?
yes. i want the transmission to be unaltered. because the goal is for the students to copy exactly what i do. when i teach, people don’t see, they don’t understand. in the advanced class, i teach in details: from the walk to the bow or the sword’s grip, etc. some of them acquired the walk. but it is forbidden for them to teach.
during the educative exercises they can make their partner feel when strength is used, when it blocks. they can explain what is researched or the theory behind the movement, but they are not allowed to show the kata.
it is forbidden because otherwise the kata would become this person’s copy.
let’s imagine that you receive a kata through a master’s teachings. you look but you don’t see. you then ask a sempai to show you what you did not understand. the sempai then shows the kata, and things become clearer. you see and you understand. you then start practising, and in fact you learned the sempai’s kata. everything making the study interesting and rich disappeared. the invisible movements became visible.
in the past, whoever taught you the kata, the form was intact. but today, there are no more students of that level. if you learn the kata with a or b, your movements will directly become a’s or b’s. because you see their movements, it is easy to copy them. you only learn the wrong side of a school’s specificity and miss its essence. you have to learn odourless and colourless movements. these are the only ones that will allow you not to be cut.
you don’t use kyu’s system anymore?
i don’t use the kyu’s system that defines what one has to learn by level. this system creates a pyramid with a really large base that shrinks very quickly as only the ones that are able to correctly learn the forms are able to discover what lies behind them.
i try to make sure that everyone practises and progresses together, that everyone enjoys practising the gokuis[28] in the katas or the asobi geiko[29].
the training that everyone currently follows, even if it may be katas omote[30], is not at the level of katas omote. it’s a practice of a really high level. at the shinbukan, everyone works on the superior principles right from the start (musoku[31], ukimi[32], etc.).
if i had to define the criteria for such or such kyu, everyone would work only in this direction. in a modern world of budos and bujutsus, it might be the specificity of our school.
this way of doing is sometimes poorly considered by the traditionalists ryus, as it is a very modern vision of teaching. similarly, the asobi geiko practised in a relaxed atmosphere are often poorly understood. (laughs)
there were no educative exercises in the past?
no, we only worked on the katas, then we put on our combat gear. practice was essentially half repetitions of katas, half combats.
when did you start asobi geiko?
i started using the term in writing seven or eight years ago. but the asobi geiko started much before. it came out of several meetings.
my exchanges with kono yoshinori, and others, have lead me to reconsider my practice and the inheritance of the shinbukan. the fact that i cannot yet efficiently use such or such part of a kata made me work again and again on this or that movement. this is how the asobi geiko were created.
it is not something i thought about creating, but it came to life very simply. during a class, we would only focus on a movement in a specific kata, exploring each tiny detail. by doing so, i could entirely rediscover my whole practice. why was no unbalance created by doing the movement this way, which use of the body made the technique efficient…
nowadays, there is no more armoured practice. is it because it’s useless?
there are two main reasons. first, there is the lack of time. but there is mostly the fact that after having worked on movements with extreme sensitivity, everything disappears whenever the armour is put on. if we train for three hours to practise without strength, everything disappears after the first strike and the three hours of training just vanish! by working like that one would never be able to modify the way of using the body.
people smiling or happy when they are hit are rare. (laughs) and even if we tell people to work softly, often they are not aware they use strength. people change under an armour. the same way that they do behind the wheel of a car. we can ask them not to hit near the ears or not to put some strength, but the instructions are not respected. it is a problem that i know well, and i don’t want to waste any time like that.
moreover, combat is used to measure technical abilities, but first you need a technique to measure before putting the armour on. (laughs)
when you fought armoured, where you practising with the modern kendo’s postures?
no, we practised the komagawa kaishin-ryu, the hips low, the kissaki[33] high. at the budokai’s times we still fought with kendokas and they were always surprised by the height of our sword. the kamae[34] was totally different.
are ukimi, musoku and the other theories old okudens[35] or discoveries you have made?
these are things i have developed by myself when i re-examined my practice, from suburis[36] to katas.
obviously, concepts such as making short things long, using long things as short ones, existed. for example, we practised the suburis near the shojis[37] to be able to use the sword in a limited place without touching the walls or the ceiling. these were the kind of concrete things.
by doing this, we understood that the sword must not turn. if it doesn’t turn we cannot use momentum, whipping or throwing motion like a baseball bat. if we cut by whipping or with momentum, we need power to have speed, which increases with the length of the object.
in the basic suburi, wa no tachi, we are confronted with a fundamental principle of the school that is made of cutting without momentum, whipping or making a circle. these are theories i have rediscovered and formalised.
based on the example you mentioned, can a weapon then be used the same way whether it’s long or short?
of course. there is a renown iai technique that consists of stopping a tanto attack with the sword at a distance of 9sun 5bun, which means less than 30cm, with a katana. if practice does not allow the execution of such things, it is useless. if we unsheathe with an amplitude, we finish impaled before the sword was out. how would one bet his life on such a limited technique?!
there are many stories about iai great masters that illustrate this principle, but it is obviously not the essence of iai. only one of the things we must be able to perform.
when you formalised your theories, did you get the inspiration from other schools?
i sometimes speak about the alexander method, because i realised by reading a book that it is similar to what we do. one of the principles described is that we must not move just with the idea of the movement, but by being fully conscious about what we are doing. but i have not studied it and did not get inspired by it, or by other schools by the way.
have you ever seen other schools or masters using the same principles as you?
i have never met any, but i never looked for them either. it is entirely possible that other schools have similar principles. however, there are schools that use similar terms such as seichusen[38] or musoku, but that do not cover the same work or the same concept.
you often explain that those who cannot see don’t see. what do you mean by that?
in every domain, an exercised eye will perceive things most people can’t. it is not measurable things that are easy to see and can be counterfeited, but the essence of things. it is the sight that goes beyond often misleading appearances, that is able to recognise a treasure even when covered in mud.
in the field of martial arts, it is not necessary, for example, to be a practitioner to recognise such things. nishioka sensei, the shodo[39] master, sees perfectly the seichusen when it is completely invisible to the common of people, even practitioners.
after watching the video where i use a bo, he told me: “i was seeing something weird when watching it, but without managing to discover what it was. until i saw that your whole body was constantly hidden by the bo.”
the technique indeed consists in being all the time protected by the bo. but it is not about being really behind the bo, which diameter of course cannot hide the width of a body, even from the side. but he saw and understood the technique. if we discuss this matter with someone without this ability to see, he would just answer: “obviously we can see you!”
in shinbukan, we always practise with softness, without going through a work in strength that is often the basis or a necessary transition in other schools or disciplines. what is the reason?
it is a question of level. we practise jujutsu[40] and it’s an art that relies on softness. whenever my grandfather saw people practising with strength, we would say: “this is gojustsu[41], not jujutsu”.
at the shinbukan, the practice of weapons also takes place without violent clashes and impacts. why is that?
it is also a question of level.
can or should beginners then practise with strength and power?
in absolute terms, it is not really a problem that they practise like this. but by doing so, it is very difficult to evolve and progress to another practice. in an era where we have less and less time, and where we can only allocate a few hours per week or month, it is impossible to enter another dimension of practice by training like that.
this is why i teach the superior principles to my students, from the beginning. i also require them to absolutely practise without using strength. if we use strength, we are directly in a very limited work. by receiving these teachings from the beginning, it is normal to put them straight into application.
some say that we should not imitate elderly people when we are young, that we should use our body as much as possible. it is not that we should not use our body’s resources.
when we look at my grandfather’s body, or his brother’s we are impressed. but it is a body they have developed and acquired by training days and nights since their youngest age, using the principle of not using strength.
they did not develop it by lifting rocks, climbing mountains or carrying branches. (laughs) it is by relentlessly practising without strength that they developed such thick arms. and this is a truly remarkable work.
developing such a body without using strength requires unbelievable amount of training. it’s generally something developed only by intensive practice started very early in life. being born in a martial arts masters’ house, they practised all day while students came and went. at the time, after a day of training without using strength it occurred that my grandfather could not hold his chopsticks any more and needed someone to wrap his fingers around.
this was really a terrifying level. you have to imagine mokurokus’ training occurred at an unbelievable speed.
at that time, as people spent more time practising, was it normal to let them practise with strength until they understood naturally?
no, such students were not accepted as only the one able to present the suburi correctly after three years were accepted. even practitioners with kyu’s level had a high level, even if they were not yet at mokurokus’ level.
that was true training.
you speak about practice stages, what do you mean?
nowadays, students practise similarly during their whole life. an 8th dan will do the same thing, but better, than a 1st dan. but the essence of their practice is identical.
practice has to evolve, and the steps lead us to use our bodies differently. this is what i call entering another world.
when you were studying, did you receive explanations?
no. i learned the katas so young that i don’t remember it. there were no explanations.
is it necessary to explain, or is teaching without explanations preferable?
ideally, there is no need of words and authentic transmission occurs “i shin den shin[42]”.
nowadays, if people want to study higher theories it is necessary to explain them. the problem is not really about knowing the mode of transmission.
in the current situation, the student needs to start by understanding the theories with his head. then, when he starts moving, i tell him he’s using strength, his pushing into the ground. from there, the corrective work can start.
without explanations, it’s possible to imitate the form, but not to understand the mechanisms of use of the body. i explain and demonstrate by making students feel the muscles i am using. but for the same movement, the muscles i solicit are completely different from the ones they use. if i did not give any explanations and only said: “this is how it is.” after a demonstration, the students would keep using the same muscles and the same way. there would be no evolution.
on the other side, it is evident that words only allow a superficial perception of things, and do not transmit the essence.
do your movements still evolve?
i think so. i feel subtle changes still occurring, at least i hope so! (laughs)
there are five schools in the shinbukan. wouldn’t one school be enough to learn the correct use of the body?
we say it is easier to climb stairs when the steps are not too distant. it is easier to understand things when we can see them under different lights.
people’s bodies do not move as they want. once this awareness acquired, it is easier to improve by practising a wide variety of different movements.
as we mentioned earlier concerning the specificity of a ryuha, of its flavour, some think there is not enough time to master several schools. here, the theories underlying the schools are the same and we aim to apply the theories, make our movements disappear with every school.
it is sometimes said of someone that he’s good in combats but not in katas. it is pointless. it is by becoming good at katas’ practice that we develop a true technical ability.
obviously, the importance of katas and their intact transmission is only my personal opinion, and there are many people with different opinions. it is only the way of thinking underlying the tradition i have inherited.
however, only saying that katas are important is not enough. they are not to be conserved as ancient relics or museum pieces. katas are tools that allow transformation of the body, a revolution in its use.
it’s totally different from a sport that usually develops the body in a general use. speaking of which, i have always been bad at sports. the spirit did not suit me, but mainly i did not have a body adapted for this kind of practice. moreover, i had no abilities to use a ball. (laughs)
the first time i threw a shuriken i perfectly understood. i could easily throw a shuriken, but not a ball. i used my wrist in juntai[43] and without any whipping motion. hence i never appreciated base-ball or this kind of things.
when i was young, i thought that physical abilities and speed declined with age. i was not conscious of the existence of a state where this law does not apply. these are movements i am now able to do.
are working out, running or stretching useless practices in your opinion?
bujutsu wise, yes. but concerning health, it is different. stretching in the morning can be beneficial for people, such as me, with a stiff body. when i became 40, i realised that my muscles were quite tense after the classes. i then started to regularly stretch. at first it does not go far. (laughs) but it gets better.
there are around 300 katas in the shinbukan. does each contain a specific teaching?
no. katas transmit the theories. but there are different levels of katas. beginners’ katas have more movements. then, by progressing the katas become simpler and simpler.
but simpler is not the right word, as their apparent simplicity hides a much greater difficulty. it is clear in jujutsu or kenjutsu where the first katas are made of several sequences and the superior katas are often made of only one movement.
in modern disciplines we often start by teaching simple techniques with a few movements. bujutsus do the opposite.
the number of movements can appear as difficult, but it is all about doing one movement after the other. in superior katas, the principles have to be understood. you have to feel if the movement is effective or not, if the partner is taken or not. but for someone who does not have the capacity to see, this kind of work is useless. we can explain it however we want, if the person cannot see it, he will not understand it.
it is not that we react to a strike or a cut. but you must be able to seize what is invisible. someone with a sharp look will see all the things happening, even when there is no movement. whereas a non-educated eye will only see a frozen situation. people that only see the external form cannot understand. they imagine that such movement corresponds to such reaction, and that without movement nothing happens. they are blind.
there lies the true difficulty with the katas that appear very simple.
beginners’ katas seem difficult due to their large number of sequences that train the body and teach how to move. in reality, they are easier to execute.
nowadays, only a few people in japan are interested in the traditional ways, whereas combat sports are very popular. a recurrent argument is that katas are not techniques really applicable in combat. what do you think about it?
people who are good at fighting, are generally naturally good at it even if they do not train. training in combat sports only allow them to develop these aptitudes.
katas impregnate the body with theories, and transform it. normal people’s movements are visible and can be stopped by another person. we practise so that our movement cannot be stopped, or seen and develop the ability to seize the moment when the partner has the intention to move.
it is not about developing the ability to break bricks. our practice requires time. it is better that people who want to use what they have learned in brawls do not come to the shinbukan. they will never be ready in time. it’s better for them to go and do push-ups, develop their muscles and endurance. this will probably be helpful quicker. but this has nothing to do with bujutsu.
it is impossible to dodge a fast attack if we do not have the speed of a mongoose. we need animal-like abilities to dodge these kinds of attacks.
when two people fight in combat sports they oppose their physical qualities. we strive to develop a sensitivity that allows us to perceive an attack before it develops. we train to make the opponent attack where we want. this is the kind of training that seems meaningful to me.
but before fighting it is important to master your own body. for this, we first need to realize that we do not control our bodies even for movements as simple as raising the arm. we study to develop a body that moves freely.
i would like to bring the students, even a little bit, closer to the essence of the world of ken.
what are the differences between japanese, chinese or western martial ways?
the main differences are cultural. in japan, bun (the culture) and bu (the martial technique) are put on the same level. however, in china culture is considered as superior to martial practice, as it was reserved to mercenaries, guards, etc…
the relation to objects in practice is also different. weapons were considered as training tools, nothing more.
in japan, there is also the culture coming from the samurais. the katana was considered as the bushi’s[44] soul. it was, more than a simple fighting technique, a way to educate a man with moral values. bushido is a gentleman’s education.
have you met any masters that impressed you?
when i was young, my eyes were not seeing and i only looked at my grandfather movements that i found superb. the other senseis had undoubtedly magnificent techniques, but i was not able to be moved by them.
recently something very surprising occurred to me. i was invited to aiki expo[45] and i saw a demonstration by ellis amdur of toda-ha buko ryu with his disciple. while watching, tears came to my eyes, and i wondered what was happening.
i kept thinking about it once back at the hotel, and finally understood what moved me. he was preserving the kata with all his strength. it was not the technical level that impressed me, but the fact that he preserved the kata so devotedly. in this situation, there is no distinction between a japanese, an american or anyone else.
it is not that his movements were close to our school or that he used the same theories, but his kokoromochi[46] during the embukai deeply moved me.
many probably considered katas important, but only ellis amdur moved me. the heart he put in preserving the kata deeply moved me, and i could not stop the tears from coming.
it’s because i put my whole heart in conserving the katas of my tradition that seeing such thing made me cry. i am truly grateful for taking part in this embukai.
i would have loved to tell him by myself, but i could not say a word. during the end ceremony, i wanted to see him and tell him what i felt, but just by remembering the scene my voice struck in my throat. it is something that moved me deeply. it was amazing.
what is, for you, the goal of training nowadays?
this is what we mentioned earlier. the pleasure to be able to change our way of using the body, to see what is invisible; that is probably the most important.
if we go further, we reach a point where we ask ourselves what kind of life we live, we who are not able to stand up or walk. from the bujutsu’s point of view, we do not have more abilities than a new born.
we aim to develop a body that has integrated the movements of past samurais. we aim to really use the body our parents have given us.
shinbukan is not a school to become strong at brawling and destroy the opponent. the ability has to be there, but is not to be used. bujutsu’s goal is not to cut off people’s head.
the world has become a place with much violence. but the goal of practice is not at all to learn how to hurt or kill. the other must not be able to accomplish his move. ending a fight before it starts.
this is bujutsu’s real aim. resolve a conflict before it develops.
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original interview by leo tamaki “interview kuroda tetsuzan, la tradition en héritage”, published on 09/05/2010. link: http://www.leotamaki.com/article-interview-kuroda-tetsuzan-la-tradition-en-heritage-50011591.html
open translation by nathan augeard, with permission.
[1] bokken: wooden sword
[2] shinai: practice sword in bamboo
[3] kata: pattern of movements teaching the principles of a school via specific forms.
[4] a sempai is an elder, an ancient of the school in this case.
[5] tetchan is an affective nickname for tetsuzan.
[6] iai: art of unsheathing the sword.
[7] soke: headmaster.
[8] denjushiki: traditional ceremony where someone receives a license in japanese traditional ways.
[9] embukai: traditional demonstration of martial arts.
[10] edenshos are parchments where the ryu’s (school) techniques are drawn.
[11] jizo: a bodhisattva protector of children.
[12] saya: sword sheath.
[13] yakuza: japanese mafioso.
[14] getas: wooden sandals.
[15] aikuchis: variety of tanto (knife) without guard, japanese daggers.
[16] kesagiri: diagonal cut.
[17] meijin: practitioner with a great level and distinguished accomplishments.
[18] shinbukan kuroda dojo: traditional martial art school coming from the time of the samurais.
[19] a ryu is a traditional school of martial techniques.
[20] ryugis and ryhuas are martial traditions and styles.
[21] ken: sabre.
[22] bo: staff. in the tsubaki kotengu-ryu bojutsu, the staff is similar to the one used in aikido.
[23] jutte: steel baton with a hook.
[24] tsubaki kotengu-ryu bojutsu: the school of little tengu tsubaki’s staff technique.
[25] tengus are mythical japanese creatures, a sort of imps who are masters in martial arts.
[26] mokuroku is a diploma certifying a school’s transmission.
[27] kyus and dans are grades used in martial arts.
[28] gokuis: secret, superior principles of a school.
[29] asobi geiko: educative exercise allowing to work on one or more principles in specific movements.
[30] omote means what is visible, it is the case of the first teachings received.
[31] musoku: theory that aims of not pushing into the ground.
[32] ukimi: theory of the “floating body”.
[33] kissaki: the sword’s point
[34] kamae: guard.
[35] okuden: secret, internal teachings.
[36] suburi: repetitive cutting movement of sword.
[37] shoji: japanese sliding door, made of paper and wood.
[38] seichusen: central line, axis.
[39] shodo: the art of calligraphy.
[40] jujutsu: ju means soft, justsu means technique.
[41] gojutsu: go means strength.
[42] i shin den shin: from soul to soul.
[43] juntai: theory of the shinbukan that consists of using the body with less movements possible.
[44] bushi: warrior.
[45] aiki expo: seminar taking place in the us gathering aikido and martial art masters.
[46] kokoromochi: attitude, emotion.
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ˈmɑrtɪn oʊˈmæli wɑz wɛl əˈwɛr əv hɪz loʊ, poʊl ˈnəmbərz goʊɪŋ ˈɪntu ðə ˈaɪəwə ˈkɔkəsɪz, bət hi wɑz kənˈvɪnst ðət ˈaɪəwə ˈdɛməˌkræts wʊd ˈkɑnˌfaʊnd ənd ˌkɑntrəˈdɪkt ðə ˈpoʊlstərz ənd ðə ˈpəndɪts ɔn ˈkɔkəs naɪt. ðeɪ dɪd. oʊˈmæli ˈfɪnɪʃt nɑt ɪn ðə ˈsɪŋgəl ˈdɪʤɪts bət ˈivɪn loʊər ðən ðət ɪn ðə ˈfrækʃənəl ˈdɪʤɪts, wɪθ əv ə pərˈsɛnt əv ðə voʊt. soʊ wət wɛnt rɔŋ? waɪ dɪd ðə moʊst ˈprɑməsɪŋ ˌdɛməˈkrætɪk ˌprɛzɪˈdɛnʃəl ˈkænədɪt əv ðə 2016 ɪˈlɛkʃən feɪl tɪ gɪt ˈtrækʃən ˈæftər eɪt mənθs əv ə kæmˈpeɪn? ðɛr ər ˈsɛvərəl ˈrizənz, ˈæˌkʧuəli. wən wɑz ðət ˈmɑrtɪn oʊˈmæli ræn ə ˈsəbstəntɪv kæmˈpeɪn ɔn ˌɪmˈpɔrtənt ˈɪʃuz æt ə taɪm wɪn ˈpipəl prɪˈfərd tɪ bi ˌɛnərˈteɪnd, ɛz ˈdɑnəld trəmp həz ˈpruvən. æt ə taɪm wɪn oʊˈmæli tɔkt əv ˈhɛlpɪŋ ˈɪməgrənts kəm aʊt əv ðə ˈʃæˌdoʊz ənd wərk tɪ bɪˈkəm "nu əˈmɛrɪkənz," trəmp wɑz (ənd stɪl ɪz) ˈtɔkɪŋ əˈbaʊt ˈsɛndɪŋ ðɛm bæk ənd hi sɛlz hɪz ˈreɪsɪst ˈrɛtərɪk wɪθ ðə taɪp əv ˈʃoʊmənˌʃɪp ðət oʊˈmæli wʊd ˈnɛvər ɪmˈplɔɪ tɪ sɛl ˈɛniˌθɪŋ. ˈɔlsoʊ, ˈplætˌfɔrm ˈfiʧərd ˈpɑləsi pəˈzɪʃənz bɪl ˈklɪntən hæd ˈædvəˌkeɪtɪd ɪn 1992 ənd ˈbɑrək ˌoʊˈbɑmə hæd ɪˈspaʊzd ɪn 2008 ðət hæv ˈnɛvər kəm tɪ fruˈɪʃən ˈhaɪˌspid reɪl, fər ɪgˈzæmpəl. ər ɛz wən ˈaɪəwə ˈvoʊtər toʊld ðə ˈhəfɪŋtən poʊst, oʊˈmæli wɑz ˈɔfərɪŋ ˈpɑləsiz ðət ˈpipəl hæv hərd ˌbiˈfɔr bət noʊ ˈlɔŋgər bɪˈliv wɪl kəm tɪ pæs. ˈnɛvər maɪnd, əv kɔrs, ðət ˈklɪntən wɑz ə ˈgəvərnər əv ə ˈsəðərn steɪt wɪθ ə wik ɪgˈzɛkjətɪv brænʧ ənd ˌoʊˈbɑmə wɑz ə juz. ˈsɛnətər, ənd ðət boʊθ hæd hæd ˈlɪtəl ɪkˈspɪriəns əv dɪˈlɪvərɪŋ ɔn səʧ ˈpɑləsiz ɪn ˈkɑntræst tɪ oʊˈmæli, ə səkˈsɛsfəl ˈgəvərnər əv ˈsɑlədli ˌdɛməˈkrætɪk ˈmɛrələnd. əˈnəðər ˈrizən wɑz ðət ɪkˈspɪriəns wɑz ˌɪtˈsɛlf ə ˌlaɪəˈbɪlɪti. ˈpipəl noʊ ˈlɔŋgər kɛr əˈbaʊt wət ˈkænədɪts hæv dən; ˈrəðər, ðeɪ ˈoʊnli kɛr əˈbaʊt hu ðeɪ ər. ɔn ðə ˌdɛməˈkrætɪk saɪd, ˈhɪləri ˈklɪntən ɪz noʊ lɛs ə prəˈfɛʃənəl səˈlɛbrɪti ðən ˈdɑnəld trəmp ɪz. ˈɔlsoʊ, ən əˈkɑmplɪʃt kərɪr ˌpɑləˈtɪʃən laɪk ˈmɑrtɪn oʊˈmæli ˈdɪdənt ˈrɛʤɪstər wɪθ foʊks æt ə taɪm əv haɪ ˈsɛnəmənt. trəmp həz ˈbɛnəˌfɪtɪd frəm boʊθ əv ðoʊz kənˈdɪʃənz. bət ðə tu ˈbɪgəst ˈrizənz rɪˈmeɪn ðiz: hi wɑz ˌdɪsrɪˈspɛktɪd baɪ ðə ˈlidər əv ˌdɛməˈkrætɪk ˈnæʃənəl kəˈmɪti ənd baɪ ðə prɛs, boʊθ əv hum wər ˈpʊlɪŋ fər ˈhɪləri ˈklɪntən, ənd ðə ˈmidiə ɪn ˌpɑˈtɪkjələr ˈrɪdəˌkjuld ənd ˈtrɪviəˌlaɪzd ɪm ɔn ðə rɛr ɔˈkeɪʒənz ðeɪ peɪd ɪm ˈɛni əˈtɛnʃən. ˈdɛbi ˈwɑsərmən ʃʊlts ˈsərtənli juzd hər ˈɪnfluəns tɪ səˈprɛs hɪz kæmˈpeɪn, bət ðə nuz ˈmidiəz əˈtæks ɔn oʊˈmæli wər ˈmərsələs. ɛz sun ɛz hi dɪˈklɛrd hɪz ˈkændɪdəsi, ðə ˌɪnˈsəfərəbəl ˈmaɪkəl ˈɛrɪk ˈdaɪsən ˈvɪləfaɪd ɪm wɪθ ən ˈæŋgri ənd ˈʃɔrtˈsaɪtɪd ˈdaɪəˌtraɪb əˈbaʊt hɪz lɔ ɛnˈfɔrsmənt ˈpɑləsiz ɪn riˈleɪʃən tɪ blæks ɛz meɪər əv ˈbɔltəˌmɔr waɪl ˌɪgˈnɔrɪŋ ðə ˈpɑpjələr səˈpɔrt oʊˈmæli hæd ɪn ðət ˈsɪti. ər haʊ əˈbaʊt wɪn ˈhɪləri wɑz ɪn ˈtrəbəl ˈoʊvər ˈlɪˌbiə, ənd rɪˈpɔrtər ˈhɛndərsən, ˈsərˌveɪɪŋ ˌdɛməˈkrætɪk ɔlˈtərnətɪvz tɪ ˈmɪsɪz. ˈklɪntən, sɛd, "hu ɛls ɪz ðɛr ˈmɑrtɪn oʊˈmæli?", ˈlæfɪŋ æt hər oʊn ˈmɛnʃən əv hɪz neɪm. æt ðə fju ˌdɛməˈkrætɪk ˌprɛzɪˈdɛnʃəl dəˈbeɪts ðət wər ˈskɛʤʊld, oʊˈmæli, noʊɪŋ hi ˈkʊdənt gɪt ˈikwəl taɪm, ˈsɛtəld fər ˈθərˌdi ˈsɛkəndz əv taɪm ənd ˈkʊdənt ˈivɪn gɪt ðət; ˈmɑdərˌeɪtərz sˈwɑtɪd ɪm əˈweɪ laɪk ə məˈskitoʊ, məʧ tɪ ðə ˈplɛʒər əv ðə ˈpəndɪts. ˈivɪn hɪz mˈjuzɪk ˈhɑbi wɑz hɛld əˈgɛnst ɪm; wɛˈnɛvər oʊˈmæli, huz teɪsts ɪn mˈjuzɪk ər aʊt əv ðə pɑp ənd ræp ˈmeɪnˌstrim, sæŋ ənd pleɪd hɪz gɪˈtɑr ɪn ˈpəblɪk, ˈpəndɪts səˈʤɛstɪd hi ʃʊd kəmˈpit ɔn "ðə vɔɪs" (ɪt ˈwəzənt mɛnt ɛz ə ˈkɑmpləmɛnt). ənd, ɛz ˈnoʊtɪd hir ˌbiˈfɔr, wən wɛb saɪt sɛd ðət hi wɑz pruf ðət waɪt mɛn hu pleɪ gɪˈtɑrz ɪn ˈpəblɪk bɪˈlɔŋ ɪn hɛl. aɪ wɪʃ aɪ hæd ə ˈnɪkəl fər ˈɛvəri ˈpəndət hu ˈsævɪʤd oʊˈmæli ənd fər ˈɛvəri nuz saɪt ər blɔg aɪ stɑpt ˈrɛdɪŋ bɪˈkəz aɪ ˈkʊdənt teɪk ðɛr ˌɛniˈmɔr. aɪ kʊd hæv ˈdoʊˌneɪtɪd ˈməni tɪ fənd hɪz ɪnˈtaɪər kæmˈpeɪn ənd stɪl hæv hæd ə gʊd dil lɛft ˈoʊvər. θɪŋk??" baɪ ðə weɪ, aɪ ˈkʊdənt gɪt ˈɛni ləv frəm ˈdɛməˌkræts ɔn ˈfeɪsˌbʊk. wɛˈnɛvər aɪ brɔt əp ˈmɑrtɪn oʊˈmæli ɔn ˌdɛməˈkrætɪk ˈfeɪsˌbʊk ˈpeɪʤɪz, ˈəðər foʊks wʊd æsk, "ˈmɑrtɪn hu?" aɪ kɛpt ˈwɑnɪŋ tɪ ʃaʊt aʊt, "ˈmɑrtɪn væn ˈbjʊrən! hu du ju aɪ doʊnt nid tɪ tɛl ju əˈgɛn waɪ aɪ səˈpɔrtɪd ɪm, ɛz aɪ ɪkˈspleɪnd ðət ɪn ə blɔg ˈɛntri bæk ɪn sɛpˈtɛmbər; ɪf ju ˈhævənt rɛd ɪt, fil fri tɪ du soʊ baɪ goʊɪŋ hir ˈbeɪsɪkli, aɪ səˈpɔrtɪd oʊˈmæli bɪˈkəz hi əˈpild tɪ ɑr ˈbɛtər ˈɪnstɪŋkts ənd ˈɔfərd ˈpɑləsiz ðət spoʊk tɪ ˈmɪdəlˈklæs ˌæspərˈeɪʃənz wɪθ greɪt sɪnˈsɛrəti. ˈɔlsoʊ, aɪ kənˈfɛs, ðɛr wɑz ˈɛθnɪk praɪd ˌɪnˈvɑlvd; əm pɑrt ˈaɪrɪʃ, ənd oʊˈmæli ɪz ˈaɪrɪʃ æt hɑrt, frəm hɪz ləv əv jeɪts' ˈpoʊətri tɪ hɪz ˈaɪrɪʃ rɑk bænd. aɪ hæv ən frɛnd frəm ˌmæsəˈʧusəts huz ˈfɑðər wərkt fər ʤɑn ɛf. ˈkɛnədi ənd sɔ ən ˈaɪrɪʃ ˈkæθlɪk ˌprɛzɪˈdɛnʃəl ˈkænədɪt ɛz "ðə ˈsɛkənd ˈkəmɪŋ." ˈivɪn maɪ rɪˈpəblɪkən pəˈtərnəl ˈaɪrɪʃ ˈfæməli wɑz fər ˈkɛnədi. aɪ aɪˈdɛntəˌfaɪd wɪθ ɔl ðət. bət ˌsɑləˈdɛrəti ˈɪzənt wət ɪt juzd tɪ bi. ɪn ˈəðər wərdz, ðɪs ɪz nɑt 1960 bi ðət ɛz ɪt meɪ, əm stɪl pɪst ɔf əˈbaʊt ðə weɪ ˈmɑrtɪn oʊˈmæli wɑz ˈtritɪd ɪn ðɪs kæmˈpeɪn, ənd aɪ æm ˈæŋgri ənd riˈpəlst æt ðə ˌpɑsəˈbɪləˌti əv ˈhævɪŋ tɪ ʧuz bɪtˈwin ˈhɪləri ˈklɪntən ənd ðə əˈvɛnʧuəl rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˌnɑməˈni ɪn noʊˈvɛmbər. (sɪns ˈhɪləri, ɪf ʃiz ðə ˌnɑməˈni, wɪl wɪn maɪ steɪt əv nu ˈʤərzi goʊɪŋ əˈweɪ, aɪ kən ənd ˈlaɪkli wɪl voʊt fər ə ˈtɪkɪt ər ə raɪt ˈsəmˌwən ɪn wɪˈθaʊt rɪˈgrɛt.) raɪt naʊ, ˈpəndɪts ər ɪkˈspleɪnɪŋ əˈweɪ feɪld kæmˈpeɪn ɛz ðə rɔŋ ˈkændɪdəsi æt ðə rɔŋ taɪm, ənd ˈblɔgərz ənd ˈridərz kənˈtɪnju tɪ meɪk fən əv ɪm ənd ɪf ðɛr marylanders*, ðɛr ˈbæʃɪŋ ɪm fər ðə ˈpɑləsiz hi pərˈsud ɛz ˈgəvərnər. ðɛr fri tɪ du soʊ. bət aɪ wɪl seɪ ðɪs ɪn rɪˈspɑns: ˈɛvriˌwən hu həz bæʃt, ˈvɪləfaɪd, əˈtækt, ənd dɪˈnaʊnst ˈmɑrtɪn oʊˈmæli ɪz ˈgɪlti əv sˈlændərɪŋ ə ˈdisənt mæn ənd ə tru ˈpeɪtriət. ənd əm nɑt goʊɪŋ tɪ fərˈgɛt ˈɛni əv ðɪs.
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martin o'malley was well aware of his low, single-digit poll numbers going into the iowa caucuses, but he was convinced that iowa democrats would confound and contradict the pollsters and the pundits on caucus night. they did. o'malley finished not in the single digits but even lower than that - in the fractional digits, with six-tenths of a percent of the vote.
so what went wrong? why did the most promising democratic presidential candidate of the 2016 election fail to get traction afterght months of a hard-fought campaign? there are several reasons, actually. one was that martin o'malley ran a substantive campaign on important issues at a time when people preferred to be entertained, as donald trump has proven. at a time when o'malley talked of helping immigrants come out of the shadows and work to become "new americans," trump was (and still is) talking about sending them back - and he sells his racist rhetoric with the type of barnum-style showmanship that o'malley would never employ to sell anything. also, o'malley's platform featured policy positions bill clinton had advocated in 1992 and barack obama had espoused in 2008 that have never come to fruition - high-speed rail, for example. or as one iowa voter told the huffington post, o'malley was offering policies that people have heard before but no longer believe will come to pass. never mind, of course, that clinton was a governor of a southern state with a weak executive branch and obama was a first-term u.s. senator, and that both had had little pre-presidential experience of delivering on such policies - in contrast to o'malley, a successful two-term governor of solidly democratic maryland. another reason was that o'malley's experience was itself a liability. people no longer care about what candidates have done; rather, they only care about who they are. on the democratic side, hillary clinton is no less a professional celebrity than donald trump is. also, an accomplished career politician like martin o'malley didn't register with folks at a time of high anti-government sentiment. trump has benefited from both of those conditions.
but the two biggest reasons remain these: he was disrespected by the leader of democratic national committee and by the press, both of whom were pulling for hillary clinton, and the media in particular ridiculed and trivialized him on the rare occasions they paid him any attention. debbie wasserman schultz certainly used her influence to suppress his campaign, but the news media's attacks on o'malley were merciless. as soon as he declared his candidacy, the insufferable michael eric dyson vilified him with an angry and shortsighted diatribe about his law enforcement policies in relation to blacks as mayor of baltimore while ignoring the popular support o'malley had in that black-majority city. or how about when hillary was in trouble over libya, and reporter nia-malika henderson, surveying democratic alternatives to mrs. clinton, said, "who else is there - martin o'malley?", laughing at her own mention of his name.
at the few democratic presidential debates that were scheduled, o'malley, knowing he couldn't get equal time, settled for thirty seconds of time and couldn't even get that; moderators swatted him away like a mosquito, much to the pleasure of the pundits. even his music hobby was held against him; whenever o'malley, whose tastes in music are out of the pop and rap mainstream, sang and played his guitar in public, pundits suggested he should compete on "thece" (it wasn't meant as a compliment). and, as noted here before, one web site said that he was proof that white men who play guitars in public belong in hell. i wish i had a nickel for every pundit who savaged o'malley and for every news site or blog i stopped reading because i couldn't take their o'malley-bashing anymore. i could have donated money to fund his entire campaign and still have had a good deal left over.
think??"
by the way, i couldn't get any love from democrats on facebook. whenever i brought up martin o'malley on democratic facebook pages, other folks would mockingly ask, "martin who?" i kept wanting to shout out, "martin van buren! who do you
i don't need to tell you again why i supported him, as i explained that in a blog entry back in september; if you haven't read it, feel free to do so by going here . basically, i supported o'malley because he appealed to our better instincts and offered policies that spoke to middle-class aspirations with great sincerity. also, i confess, there was ethnic pride involved; i'm part irish, and o'malley is unapologetically irish at heart, from his love of yeats' poetry to his irish rock band. i have an irish-american friend from massachusetts whose father worked for john f. kennedy and saw an irish catholic presidential candidate as "the second coming." even my republican paternal irish family was for kennedy. i identified with all that. but white-ethnic solidarity isn't what it used to be. in other words, this is not 1960.
be that as it may, i'm still pissed off about the way martin o'malley was treated in this campaign, and i am angry and repulsed at the possibility of having to choose between hillary clinton and the eventual republican presidential nominee in november. (since hillary, if she's the nominee, will win my state of new jersey going away, i can - and likely will - vote for a third-party ticket or a write someone in without regret.) right now, pundits are explaining away o'malley's failed campaign as the wrong candidacy at the wrong time, and bloggers and readers continue to make fun of him - and if they're marylanders, they're bashing him for the policies he pursued as governor. they're free to do so. but i will say this in response: everyone who has bashed, vilified, attacked, and denounced martin o'malley is guilty of slandering a decent man and a true patriot.
and i'm not going to forget any of this.
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avoin* vänskä*ä vaihtoehtoa*. ɔn ˈɛnən jɑ viestintää*ää sekä*ä mobiilityökaluja*. kertoo*, että*ä ohjelmoinnin*, harjoittelu*. vielä*ä vuosiin*, mielenkiinnon*. "ajattelin*, että*ä ʤoʊz tehdä*ä järjestelmää*ää jɑ loppukäyttäjä*ä huomioon*. sitä*ä hyvä*ä jɑ tuote*", kertoo*. ɔn käyttää*ää jɑ sovelluksia*. ehkä*ä pikaviestisovellukseen*. ˈwɪlmə ɔn jɑ laiminlyönnistä*ä. suosiota*. kehitystä*ä ˈɛˈseɪˈaɪ keväällä*ä. työskentelevä*ä jɑ aiheesta*. kesälomallaan*. ˈɛˈseɪˈaɪ jɑ. ʤoʊ päivänä*ä ʤoʊ jɑ ulkoasua*. häntä*ä ɔn vanhempainliitto*. ɔn kymmeniä*ä. jɑ ɔn apua*, sillä*ä palvelintilaa*. ˈkoʊkoʊ jɑ projektisivulla*. ɔn iltaisin*, soʊˈlitə ɔn käyttää*ää työaikaa*. liikkeitä*ä tänä*ä syksynä*ä viranomaistaho*. ˈoʊpən ˈfɪnˌlænd challengeen*, jɑ valtiovarainministeriö*ö. yhdessä*ä käytettäviä*ä rajapintoja*. välttämättä*ä syrjäytä*ä kokonaan*. tehdä*ä ohjelmiaan*, jɑ ˈwɪlmə siitä*ä hyötyä*ä. ɔn, että*ä vuodenvaihteessa*. pohtii*, että*ä tästä*ä mitään*. seɪ hyvä*ä näyttää*ää, että*ä kyllä*ä", toteaa*. ɔn, että*ä kentällä*ä jɑ, mitkä*ä olennaisia*." ensimmäistä*ä syksyksi*. ˌoʊˈleɪ hyvä*ä jɑ ˈʤɑvəˌskrɪpt kommentit*.
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avoin koodi
olli vänskä
koululaisten hallinto-ohjelma wilmalle kehitetään vaihtoehtoa. avoimen koodin qlma-projektin tarkoituksena on ennen kaikkea helpottaa kodin ja koulun viestintää sekä tarjota parempia mobiilityökaluja.
projektin puuhamies iiro uusitalo kertoo, että motivaationa oli ohjelmoinnin, erityisesti clojure-kielen harjoittelu. omat lapset eivät mene kouluun vielä vuosiin, mutta muuten wilmasta kuultu palaute herätti mielenkiinnon.
"ajattelin, että jos kokeiltaisiin tehdä uutta järjestelmää uudenaikaisilla tekniikoilla ja otettaisiin loppukäyttäjä hyvin huomioon. sitä kautta voitaisiin saada aikaan hyvä ja mahdollisimman avoin tuote", hän kertoo.
tavoitteena on käyttää mahdollisimman paljon olemassa olevia ja vakiintuneita sovelluksia. tulevaisuudessa lapsen vanhempi voisi ehkä saada tietoa esimerkiksi whatsappin kaltaiseen pikaviestisovellukseen.
wilma on saanut moitteita muun muassa käyttöliittymästään ja mobiilin laiminlyönnistä. paremmalle mobiilipanostukselle uusitalo ennustaa suosiota.
avointa kehitystä
qlman kehitys sai alkunsa keväällä. it-talo solitalla työskentelevä uusitalo muistelee lukeneensa esimerkiksi katleena kortesuon blogikirjoituksen ja innostuneensa aiheesta.
uusitalo ryhtyi varsinaisesti toimeen kesälomallaan. aihetta puinut twitter-viesti sai nopeasti huomiota ja muita innostuneita liittyi mukaan. jo seuraavana päivänä janne gylling oli jo suunnittelemassa logoa ja ulkoasua.
twitterin kautta häntä on lähestynyt myös muun muassa vanhempainliitto. muiltakin kehitysehdotuksia on tullut kymmeniä.
tekijöiden ja ideoiden lisäksi on saatu muutakin apua, sillä upcloud tarjosi projektille ilmaista palvelintilaa.
koko aikajanaan ja ehdotuksiin voi tutustua uusitalon kokoamalla projektisivulla.
qlmaa on tehty iltaisin, mutta avoimen koodin projekteihin muutenkin panostanut solita on antanut käyttää projektiin myös työaikaa.
nopeita liikkeitä
tänä syksynä mukaan saadaan myös viranomaistaho. uusitalo ilmoitti projektin tuttavansa kehotuksesta open finland challengeen, ja sparraajaksi tulee valtiovarainministeriö. yhdessä pohditaan muun muassa käytettäviä rajapintoja.
wilmaa uusi projekti ei välttämättä syrjäytä kokonaan. muutkin voivat tehdä qlman päälle omia ohjelmiaan, ja jopa wilma voisi saada siitä hyötyä.
uusitalon toiveena on, että qlman ensimmäinen kokeiluversio voisi olla saatavilla vuodenvaihteessa.
"aika moni pohtii, että tuleeko tästä projektista mitään. se olisi hyvä paikka näyttää, että kyllä tulee", hän toteaa.
"ajatuksena on, että haistellaan kentällä käyttäjien tarpeita ja pohditaan, mitkä ominaisuudet ovat olennaisia."
ensimmäistä julkista sovellusversiota hän suunnittelee alustavasti ensi syksyksi.
ole hyvä ja kytke javascript päälle nähdäksesi kommentit.
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ɪt wɑz maɪ ˈfaɪnəl ˈsəmər ˈlɪvɪŋ ɪn cumbria*, bət stɪl ˈplɛnti əv taɪm tɪ kip ðə ˈroʊlɪŋ. ənd jɛt əˈgɛn ðɛr wɑz noʊ ɛnd əv səˈpraɪzɪz ənd vərˈaɪəti əv bərd ˈfidər ˈvɪzɪtərz tɪ laɪt əp ðə deɪz. ju meɪ ˈriˌkɔl ðə spərɪŋ ˈhaɪˌlaɪts frəm ˈərliər ðɪs year…*… snoʊ stɪl ɔn ðə graʊnd æt taɪmz ənd jəŋ bərdz ˈtɛntətɪvli.. ər ˈbreɪvli flaɪɪŋ ɪn fər ðə nəts ənd sid. wɛl ˈsəmər hir brɔt əˈpɑn, əv boʊθ bərdz ənd ˈsinəri. wɪn aɪ poʊst ðiz ˈpɪkʧərz ɛz aɪ gɪt ðɛm, ɔn ˈsoʊʃəl ˈmidiə, aɪ æm ˈɔfən æst əˈgɛn haʊ ɪt ɪz dən wɪθ ðə pov*. wɛl, ˈgoʊˌproʊ ɪˈneɪbəlz ðɪs, ðə bərdz kəm tɪ ðə ˈkæmərə ənd gɪt kloʊz əp bət kips ðə waɪd ˈæŋgəl fər ðə ˈbækˌgraʊnd. aɪ kən haɪd ˈseɪfli wɪˈθɪn ˈwiˌfi æp riʧ ɔn ðə smartphone*, siɪŋ ɔl ðə ˈkæmərə siz. moʊd ɪz greɪt fər ðɪs tu. ˈnɛvər mɛnt tɪ bi əˈbaʊt ˈpɪkʧər kˈwɑləti.. ʤɪst ˈkæʧɪŋ greɪt bərdz ɪn ˈdɪfərənt kloʊz əp laɪt, ɪn ɔl ˈwɛðərz. ˈoʊvər taɪm ɔl ðə tərnd əp əˈgɛn. nuthatches*, greenfinches*, ˈblækbərdz, tɪts ənd ˈivɪn ðə bɪˈləvəd ˈpɪʤɪn ənd mɔr. wɪn aɪ lʊkt bæk ðɛr wər soʊ ˈmɛni ˈfoʊˌtoʊz.. ə lɔt əv fən wənz stɪl meɪk ɪt ˈɔnˌlaɪn ˈivɪn ənd soʊ keɪm ðə ɛnd əv ðə ˈsəmər, ənd əˈlæs ðə ɛnd əv ðət ˈbækˌdrɑp tu fər mi. ˈpæsʧərz nu, vjuz nu, nu. taɪm tɪ sɛt bæk əp ðə ənd mit səm nu ˈloʊkəl ˈfɛðˌri frɛndz ˈrɛdi fər ðə nɛkst ˌɪnˈstɔlmənt
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it was my final summer living in cumbria, but still plenty of time to keep the gardencam rolling. and yet again there was no end of surprises and variety of bird feeder visitors to light up the days.
you may recall the spring highlights from earlier this year… snow still on the ground at times and young birds tentatively.. or bravely flying in for the nuts and seed. well summer here brought colours upon colours, of both birds and scenery.
when i post these pictures as i get them, on social media, i am often asked again how it is done with the pov. well, gopro enables this, the birds come to the camera and get close up but keeps the wide angle for the background. i can hide safely within wifi app reach on the smartphone, seeing all the camera sees. timelapse mode is great for this too. never meant to be about picture quality.. just catching great birds in different close up light, in all weathers.
over time all the favourites turned up again. nuthatches, greenfinches, blackbirds, tits and even the beloved pigeon and more. when i looked back there were so many photos.. a lot of fun ones still don’t make it online even 🙂
and so came the end of the summer, and alas the end of that backdrop too for me. pastures new, views new, bird-table new. time to set back up the gardencam and meet some new local feathery friends ready for the next installment 🙂
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ˌsɪgəˈrɛt bəts ər ˈtaɪni, bət kəˈlɛktɪvli ˈtræʃɪŋ ɑr ˈplænət. ˈɛvəri jɪr, ðə wərld ɪz ˈbərdənd wɪθ ən ˈɛstəˌmeɪtɪd ˈbɪljən paʊnz əv ˈlɪtərd ˌsɪgəˈrɛt bəts, əˈkɔrdɪŋ tɪ ə 2009 ˈstədi, ənd juˈmænɪti ɪz ɪkˈspɛktɪd tɪ smoʊk səm 9 ˈtrɪljən ˈfɪltərd ˌsɪgəˈrɛts ɪn ðə jɪr 2025 ˌsɪgəˈrɛt ˈfɪltərz kənˈteɪn ˈhənərdz əv træpt ˈkɛmɪkəlz ðət rən ɔf ˈɪntu ɑr ˈoʊʃənz, ˈrɪvərz ənd strimz, ənd ðeɪ klɑg əp ɑr ˈhipɪŋ ˈlændˌfɪlz wɪˈθaʊt biodegrading*. ðə pəˈtɛnʃəl fər ə lɔt əv ˈdæmɪʤ bət naʊ, ˈrisərʧərz hæv ən aɪˈdiə fər haʊ wi kən riˈjuz ðɛm. ə ʤaɪənt ˌsɪgəˈrɛt bət ˈstæˌʧu ˌɪnˈsaɪd ðə gɛr də laɪən ˈreɪlˌweɪ ˈsteɪʃən ɪn ˈpɛrɪs ɪn 2012 ˈrɛmi də lɑ ˈtərnɪŋ ˌsɪgəˈrɛt bəts ˈɪntu nu roʊdz ˈsaɪəntɪsts æt ˌjunəˈvərsəti ɪn ˈmɛlbərn, ɔˈstreɪljə, ˈfɪgjərd aʊt haʊ tɪ mɪks ˌsɪgəˈrɛt bəts ənd ˈæsˌfɔlt ɪn ə weɪ ðət kən ˌɪmˈpruv ɑr ˈroʊdˌweɪz. ðə streɪnʤ kənˈkɑkʃən kən tərn ˈɪntu peɪvd roʊdz ðət əˈlɛʤədli wɪθˈstænd ðə ˈhɛvi weɪt əv kɑz ənd rɪˈdus ðə hit ˈaɪlənd effect,”*,” wɪʧ ɪz ˈbeɪsɪkli wɪn ə ˈsɪti ɪz ˈhɑtər ðən ɪts sərˈaʊndɪŋ ˈɛriəz. ðə ˈifɛkt ɪz ˈpɑrtli kɔzd baɪ ðə məˈtɪriəlz ðət meɪk əp ˈmɑdərn ˈsɪtiz, əˈlɔŋ wɪθ ðə ˈoʊvərˌɔl ˈstrəkʧər, ɛr pəˈluʃən ənd ˈəðər ˈfæktərz. ˈsaɪəntɪsts ˈkoʊtɪd ðə ˌsɪgəˈrɛt bəts wɪθ ˌbɪˈtumən ənd ˈpɛrəfən wæks tɪ kip ɪts ˈdeɪnʤərəs ˈkɛmɪkəlz kənˈteɪnd, ˈbɑrɪŋ ðə pəˈtɛnʃəl fər ɪt tɪ lik ˈɪntu ðə ˈæsˌfɔlt ɪn ə ˈdeɪnʤərəs weɪ. hæv bɪn traɪɪŋ fər ˈmɛni jɪrz tɪ faɪnd səˈsteɪnəbəl ənd ˈpræktɪkəl ˈmɛθədz fər ˈsɑlvɪŋ ðə ˈprɑbləm əv ˌsɪgəˈrɛt bət pollution,”*,” əˈbɑs mohajerani*, ə ˈlidɪŋ ˈɔθər ɔn ðə ˈstədi, sɛd ɪn ə riˈlis. ˈrisərʧ ʃoʊz ðət ju kən kriˈeɪt ə nu kənˈstrəkʃən məˈtɪriəl waɪl ˈrɪdɪŋ ðə ɪnˈvaɪrənmənt əv ə juʤ weɪst problem.”*.” ðoʊ ðə aɪˈdil səˈluʃən wʊd bi fər ˈjumənz tɪ stɑp sˈmoʊkɪŋ ˌsɪgəˈrɛts, ɪt simz ðət ðə list wi kən du ɪz juz ˈtɑksɪk weɪst ɛz ə ˈfɪlər fər kənˈstrəkʃən.
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cigarette butts are tiny, but they’re collectively trashing our planet.
every year, the world is burdened with an estimated 1.69 billion pounds of littered cigarette butts, according to a 2009 study, and humanity is expected to smoke some 9 trillion filtered cigarettes in the year 2025.
cigarette filters contain hundreds of trapped chemicals that run off into our oceans, rivers and streams, and they clog up our heaping landfills without biodegrading.
that’s the potential for a lot of damage — but now, researchers have an idea for how we can reuse them.
a giant cigarette butt statue inside the gare de lyon railway station in paris in 2012 remy de la mauviniere/ap
turning cigarette butts into new roads
scientists at rmit university in melbourne, australia, figured out how to mix cigarette butts and asphalt in a way that can improve our roadways. the strange concoction can turn into paved roads that allegedly withstand the heavy weight of cars and reduce the “urban heat island effect,” which is basically when a city is hotter than its surrounding areas. the effect is partly caused by the materials that make up modern cities, along with the overall city’s structure, air pollution and other factors.
scientists coated the cigarette butts with bitumen and paraffin wax to keep its dangerous chemicals contained, barring the potential for it to leak into the asphalt in a dangerous way.
“i have been trying for many years to find sustainable and practical methods for solving the problem of cigarette butt pollution,” abbas mohajerani, a leading author on the study, said in a release. “this research shows that you can create a new construction material while ridding the environment of a huge waste problem.”
though the ideal solution would be for humans to stop smoking non-biodegradable cigarettes, it seems that the least we can do is use toxic waste as a filler for construction.
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ˈstɔri ˈhaɪˌlaɪts ðə dɛθ toʊl ˈraɪzɪz tɪ 22 ðə ˈnæʃənəl dɪˈzæstər ˈeɪʤənsi sɪz ˈθaʊzənz əv hoʊmz wər ˈdæmɪʤd ɪn ðə kweɪk ɪt hɪt ə ˈprɑvɪns ðət ˈsəfərd səˈvɪrli ɪn ə ˈdɛvəˌsteɪtɪŋ 2004 kweɪk ənd tsuˈnɑmi fɪr əv ˈæftərˌʃɑks meɪks ˈmɛni ˈrɛzɪdənts ˈhɛzɪtənt tɪ rɪˈtərn tɪ ðɛr hoʊmz ə ˈərθkˌweɪk ʃʊk ˌnɔrθˈwɛstərn ˌɪndoʊˈniʒə ɔn ˈtuzˌdeɪ, ˈkɪlɪŋ 22 ˈpipəl, ˈɪnʤərɪŋ mɔr ðən 200 ənd ˈdæmɪʤɪŋ ˈθaʊzənz əv hoʊmz, əˈθɔrətiz sɛd. ðə dɛθ ənd dɪˈstrəkʃən wɑz ˈkɔnsənˌtreɪtɪd ɪn ðə ˈprɑvɪns əv ɔn ðə ˈaɪlənd əv ˌsuˈmɑtrə. ðə tu ˈdɪstrɪkts wər ənd ˈsɛntrəl, wɛr ˈlænsˌlaɪdz kət ɔf səm ˈmeɪʤər roʊdz, ðə ˈkəntriz ˈnæʃənəl dɪˈzæstər ˈmænɪʤmənt ˈeɪʤənsi sɛd. ˈpipəl ræn aʊt əv ðɛr hoʊmz wɪn ðə kweɪk strək, ənd ˈmɛni ˈrɛzɪdənts wər ˈhɛzɪtənt tɪ rɪˈtərn fər fɪr əv ˈæftərˌʃɑks, sɛd nugroho*, ə ˈspoʊksmən fər ðə ˈeɪʤənsi. ɪn 2004 ə ˈəndərˌwɔtər ˈərθkˌweɪk ɔf ðə koʊst əv ˌsuˈmɑtrə ˈtrɪgərd ə tsuˈnɑmi ðət kɪld mɔr ðən ˈpipəl ɪn 14 ˈkəntriz. ðə məˈʤɔrəti əv ðə dɛθs wər ɪn ˌɪndoʊˈniʒə, wɪθ ˈbɛrɪŋ ðə brənt. ˈtuzˌdeɪz kweɪk strək æt ə dɛpθ əv 10 ˈkɪləˌmitərz (əˈbaʊt maɪəlz) ɪn ə ˈmaʊntənəs ˈɛriə nɪr ˌnɔrθˈwɛstərn tɪp, ðə juz. ˌʤiəˈlɑʤɪkəl ˈsərˌveɪ sɛd. ɪt wɑz ˈfɑloʊd baɪ æt list tu ˈæftərˌʃɑks əv ˈmægnəˌtud ənd ˌɪndoʊˈniʒə ɪz ɔn ðə rɪŋ əv faɪər, ən ɑrk əv fɔlt laɪnz ˈsərkəlɪŋ ðə pəˈsɪfɪk ˈbeɪsən ðət ɪz proʊn tɪ ˈfrikˌwɛnt ˈərθkˌweɪks ənd vɑlˈkænɪk ˌɪˈrəpʃənz.
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story highlights the death toll rises to 22, the national disaster agency says
thousands of homes were damaged in the 6.1-magnitude quake
it hit a province that suffered severely in a devastating 2004 quake and tsunami
fear of aftershocks makes many residents hesitant to return to their homes
a 6.1-magnitude earthquake shook northwestern indonesia on tuesday, killing 22 people, injuring more than 200 and damaging thousands of homes, authorities said.
the death and destruction was concentrated in the province of aceh on the island of sumatra. the two hardest-hit districts were bener meriah and central aceh, where landslides cut off some major roads, the country's national disaster management agency said.
people ran out of their homes when the quakeruck, and many residents were hesitant to return for fear of aftershocks, said sutopo purwo nugroho, a spokesman for the agency.
in 2004, a 9.1-magnitude underwater earthquake off the coast of sumatra triggered a tsunami that killed more than 200,000 people in 14 countries. the majority of the deaths were in indonesia, with aceh bearing the brunt.
tuesday's quakeruck at a depth of 10 kilometers (about 6.2 miles) in a mountainous area near sumatra's northwestern tip, the u.s. geological survey said. it was followed by at least two aftershocks of magnitude 5.2 and 5.3.
indonesia is on the ring of fire, an arc of fault lines circling the pacific basin that is prone to frequent earthquakes and volcanic eruptions.
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motorbase* pərˈfɔrməns seɪ ðeɪ ər nɑt kəmˈpitɪŋ ɔn ə ˈlɛvəl pleɪɪŋ fild wɪθ ðɛr ˈraɪvəlz ənd hæv kɔld ɔn ˈsɪriz ˈbɔsɪz tɪ lʊk ˈɪntu wət ðeɪ si ɛz ə streɪt laɪn spid dɪˈfɪʃənsi. ðə pərˈfɔrməns əv ðə ˈɪnʤən ɪn ðə fɔrd ˈfoʊkɪs wɑz wən əv ðə ˈbɪgəst ˈtɔkɪŋ pɔɪnts æt ðə ɛnd əv ðə 2015 ˈsizən, wɪθ ˈraɪvəlz ˈkleɪmɪŋ ɪt hæd tu məʧ paʊər. ðə tim hæd ðɛr bust ˈlɛvəlz pɛgd bæk ˈoʊvər ðə ˈwɪntər ənd naʊ bɪˈliv ðeɪ hæv bɪn riˈstrɪktɪd tu məʧ. boʊθ ˈdraɪvərz hæd ðɛr seɪ ɔn ðə ˈɪʃu ɪn ðə ˈæftərˌmæθ əv ðə ˈækʃən æt pɑrk, ˌɪnˈkludɪŋ ˈændru ˈʤɔrdən, huz tu eɪθ pleɪst ˈfɪnɪʃɪz wər ðə bɛst ðə tim ˈmænɪʤd ɔn raceday*. hɑrd ɪˈnəf tɪ ˈprɑˌgrɛs ɔn ðɪs træk bət wɪθ soʊ məʧ ˈdɪfərəns bɪtˈwin ˈjuˈɛs ənd ðə ˈɛnʤənz aɪ ʤɪst fil laɪk hæd tɪ faɪt wɪθ wən ɑrm bɪˈhaɪnd ɑr bæk ɔl weekend,”*,” sɛd ˈʤɔrdən. ɪz ə stɑp stɑrt ˈsərkət soʊ ʤɪst ˈæmpləˌfaɪd ðə ˈdɪfərəns, bət ˈreɪsɪŋ əˈgɛnst ðɛm ˈpʊlɪŋ 3 ər 4 lɛŋθs əˈweɪ frəm ˈjuˈɛs ˈkəmɪŋ aʊt əv lɑʤ ənd ðə hairpin*. ˈhæpi wɪθ ɑr pərˈfɔrməns ɔl ˈwiˌkɪnd soʊ ˈrɪli ˈfrəˌstreɪtɪŋ tɪ nɑt gɪt ðə rɪˈzəlts tɪ ʃoʊ ðət. ɔl θɪŋz kənˈsɪdərd aɪ θɪŋk dən ə gʊd ʤɑb wɪθ wət hæd bət nɑt ə fɛr rɪˈflɛkʃən ɔn ðə tim. aɪ ʤɪst hoʊp ɪt gɪts lʊkt æt ˌbiˈfɔr wi gɪt tɪ krɔft. mæt ˈʤæksən, hu ˈmænɪʤd ə bɛst ˈfɪnɪʃ əv ɪn reɪs tu, ˈædɪd: ˈpruvən ðət ðə ˈɪnʤən ɪz ˈkeɪpəbəl əv ˈgɪtɪŋ ðə rɪˈzəlts ðət wi ɪkˈspɛkt frəm wɪθ ə ˈdɪfərənt bust ˈsɛtɪŋ bət ˈklɪrli wi ər ˈstrəgəlɪŋ əˈgɛnst ɑr kəmˈpɛtɪtərz hu əˈpɪr tɪ hæv mɔr streɪt laɪn spid ðən ˈjuˈɛs. wi nid tɪ riˈvɪzɪt ɑr ˌɛroʊdaɪˈnæmɪks tɪ si wət geɪnz kən bi meɪd ðɛr bət ˈtruθfəli aɪ θɪŋk ðət nid tɪ lʊk ˈɪntu ɪt. ˈɑbviəs ðət ˈstrəgəlɪŋ tɪ kip əp ɪn ə streɪt laɪn, faɪn ɪn ðə ˈkɔrnərz bət əv kɔrs ɪt ʤɪst minz ðət wi reɪs ɔn ə ˈlɛvəl pleɪɪŋ fild æt ðə moment.”*.”
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motorbase performance say they are not competing on a level playing field with their btcc rivals and have called on series bosses toca to look into what they see as a straight line speed deficiency.
the performance of the ecoboost engine in the team’s ford focus st was one of the biggest talking points at the end of the 2015 season, with rivals claiming it had too much power.
the team had their boost levels pegged back over the winter and now believe they have been restricted too much.
both drivers had their say on the issue in the aftermath of the weekend’s action at oulton park, including andrew jordan, whose two eighth placed finishes were the best the team managed on raceday.
“it’s hard enough to progress on this track but with so much difference between us and the swindon engines i just feel like we’ve had to fight with one arm behind our back all weekend,” said jordan. “oulton is a stop start circuit so it’s just amplified the difference, but racing against them pulling 3 or 4 lengths away from us coming out of lodge and the hairpin.
“i’m happy with our performance all weekend so it’s really frustrating to not get the results to show that. all things considered i think we’ve done a good job with what we’ve had but it’s not a fair reflection on the team. i just hope it gets looked at before we get to croft.
mat jackson, who managed a best finish of 10th in race two, added: “we’ve proven that the ecoboost engine is capable of getting the results that we expect from mountune with a different boost setting but clearly we are struggling against our competitors who appear to have more straight line speed than us.
“maybe we need to revisit our aerodynamics to see what gains can be made there but truthfully i think that toca need to look into it. it’s obvious that we’re struggling to keep up in a straight line, we’re fine in the corners but of course it just means that we can’t race on a level playing field at the moment.”
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ˈpriˌskul ˈʧɪldrən groʊ baɪ lips ənd baʊndz: ˈfɪzɪkəli, ˈmɛnəli, ənd ˈsoʊʃəli. frəm tɪrz ənd ˈtæntrəmz tɪ əˈfɛkʃənət ˈkɪsɪz ənd ˌənkənˈtroʊld ɪgˈzubərəns, ə mudz ənd ˈfilɪŋz kən bi kənfˈjuzɪŋ. bət ðɛr ɪz ˌɪnˌfɔrˈmeɪʃən ðət kən hɛlp ˈpɛrənts ˌəndərˈstænd, koʊp wɪθ, ənd ˈnərʧər ðɛr ˈiˌmoʊʃənəl dɪˈvɛləpmənt. smɔl ˈpipəl, bɪg ˈfilɪŋz ðeɪ stænd ˈəndər fɔr fit tɔl. ðɛr hænz ənd fit ər ˈlɪtəl. ðeɪ wɛr smɔl kloʊðz, ləv ˈtaɪni tɔɪz ənd hæv ə ˈfeɪvərɪt stəft frɛnd ðət ɪz ʤɪst ðə raɪt saɪz fər ˈkədlɪŋ. bət ðɛr ˈfilɪŋz ər soʊ ˈvɛri bɪg. ˈpriˌskulərz ˈeɪʤɪd jɪrz kən hæv ˈɪˌmoʊʃənz ðət dɪˈmænd əˈtɛnʃən, ˌvæləˈdeɪʃən, ənd ˌrɛzəˈluʃən. ðeɪ ər ˌɪnˈtɛns, ɛnˈtæŋgəld, kənfˈjuzɪŋ, ənd səˈpraɪzɪŋli səˈfɪstɪˌkeɪtəd. ðeɪ ˈproʊdus tɪrz ənd ðɛn ˈsədənli, smaɪlz. ˈbəkəl əp. ju ər əˈbaʊt tɪ ˈtəmbəl ˈoʊvər ðə rəf ənd ˈwəndərfəl təreɪn ðət ɪz ðə ˈiˌmoʊʃənəl laɪf əv ə ˈpriˌskulər. ˈmərʤɪŋ sɛns wɪθ ˌsɛnsɪˈbɪlɪti ðə ʧaɪld saɪˈkɑləʤəst ˈbrunoʊ bɪˈlivd ðət ˈiˌmoʊʃənəl dɪˈvɛləpmənt bɪˈgɪnz æt bərθ. ðɪs ɪz noʊ səˈpraɪz tɪ ə ˈpɛrənt ˈdɛspərətli traɪɪŋ tɪ ˈkəmfərt ə squalling*, ˈæŋgri, ˈnubɔrn. bət ˌbiˈfɔr eɪʤ 2 ə ˈɪˌmoʊʃənz ər ˈsɪmpələr ənd ˈmoʊstli riˈæktɪv tɪ ðə ɪnˈvaɪrənmənt ər haʊ hi ɪz ˈfilɪŋ. ˈhæpi. angry,”*,” sɪz ˈrɑbərt pianta*, ph.d*., əˈsoʊʃiˌeɪt prəˈfɛsər əv ˌɛʤəˈkeɪʃən æt ðə ˌjunəˈvərsəti əv ˈkəri skul əv ˌɛʤəˈkeɪʃən ɪn ˈʃɑrlətsˌvɪl, va*., ənd əv ə ˈlɔŋˈtərm ˈstədi ɪgˈzæmɪnɪŋ ðə ˈsoʊʃəl, ˌsaɪkəˈlɑʤɪkəl ənd ˌækəˈdɛmɪk nidz əv jəŋ ˈʧɪldrən. riˈlaɪɪŋ ɔn ˈvərbəl kjuz tɪ dɪˈtərmən ˈwɛðər ə ˈnubɔrn ɪz ˈhæpi ər ˈæŋgri ɪz ˌɪmˈpɑsəbəl, sɪns ən ˈɪnfənt həz noʊ kəˈpæsɪti fər ˈjuzɪŋ ˈspoʊkən ˈlæŋgwɪʤ. soʊ ˈəðər saɪnz ər rikˈwaɪərd. ˈɪnfənt nidz tɪ ˈsɪgnəl ˈwɛðər ɪn ə steɪt əv ˌikwəˈlɪbriəm ənd ˈplɛʒər ər ə steɪt əv dɪˌsikwəˈlɪbriəm. wət ðə ˈbaɪnəˌri ˈsɪmpəl ˈɪˌmoʊʃənz do,”*,” sɪz ˈdɑktər. pianta*. hɛns ðə rɛd feɪs ənd squalling*. ˈgrænɪd, ˌnɑnˈstɑp kraɪɪŋ simz laɪk ˌgɛrənˈti ðət ˈnɛvər slip ˈsaʊndli əˈgɛn. bət ɪt sərvz ə ˈvæljəbəl ˈfəŋkʃən, riˈmaɪndɪŋ ju tɪ ʧeɪnʤ, fid, ər ˈkəmfərt jʊr ˈbeɪbi. ʧɪr əp, ðoʊ! kraɪɪŋ ɪˈvɛnʧəwəli gɪvz weɪ tɪ ə ˈdubiəs ˌɪmˈpruvmənt: ˈwaɪnɪŋ. ɛz ə ʧaɪld groʊz, hər reɪnʤ əv ˈɪˌmoʊʃənz ənd ðə weɪ ʃi ɪkˈsprɛsɪz ðoʊz ˈɪˌmoʊʃənz məˈʧʊrz ɛz wɛl. ɪn fækt, ə ˈiˌmoʊʃənəl dɪˈvɛləpmənt ɪz məʧ laɪk ðə ˈfɪzɪkəl ənd ˈmɛntəl: ən ˌɪnˈkrisɪŋgli ˈkɑmplɛks prəˈgrɛʃən əv skɪlz ðət bɪld ɔn iʧ ˈəðər. ðɛr ər sɪks ˈmaɪlˌstoʊnz ɪn ə jəŋ ˈiˌmoʊʃənəl ˌmæʧʊˈreɪʃən. ðə fərst θri, ɔl əˈkərɪŋ ˌbiˈfɔr ðə fərst ˈbərθˌdeɪ, ˈæˌdrɛs ə ɪkˈspɪriəns əv ənd riˈækʃən tɪ ðə wərld. ðə fərst ɪz haʊ ə ʧaɪld ˈɔrgəˌnaɪzɪz ənd siks aʊt nu sɛnˈseɪʃənz. ðə ˈsɛkənd əˈkərz wɪn ðə ʧaɪld teɪks ə kin ˈɪntəˌrɛst ɪn ðə wərld. ˈjuzɪŋ ðɪs ˈnuˈfaʊnd ˈɪntəˌrɛst, ðə θərd stɛp ˈhæpənz wɪn ðə ʧaɪld bɪˈgɪnz tɪ ɪnˈgeɪʤ ɪn ən ˈiˌmoʊʃənəl ˈdaɪəˌlɔg wɪθ hɪz ˈpɛrənts. hi smaɪlz ɪn rɪˈspɑns tɪ hɪz ˈpɛrənts ənd dɪˈskəvərz, ɪn tərn, ðət hɪz smaɪlz ər kraɪz əv ˈproʊˌtɛst kɔz hɪz ˈpɛrənts tɪ riækt. ˈæftər əˈbaʊt ə jɪr, ðɪs ˌɪnərˈækʃən goʊz ə stɛp ˈfərðər, ˈsɪgnəˌfaɪɪŋ ðə fɔrθ ˈmaɪlˌstoʊn. ðə ˈtɑdlər lərnz ðət smɔl bɪts əv ˈfilɪŋz ənd bɪˈheɪvjərz ər kəˈnɛktɪd tɪ ə ˈlɑrʤər ənd mɔr ˈkɑmpləˌkeɪtəd ˈpætərn. fər ˈɪnstəns, hi naʊ noʊz ðət hɪz ˈhəŋgər pæŋz kən bi əˈbeɪtɪd baɪ ˈlidɪŋ mɑm tɪ ðə rɪˈfrɪʤərˌeɪtər ənd ˈpɔɪntɪŋ tɪ ə pis əv ʧiz. hi ˈɔlsoʊ bɪˈgɪnz tɪ ˌəndərˈstænd ðət boʊθ θɪŋz ənd ˈpipəl hæv ˈfəŋkʃənz ɪn hɪz wərld. ˌəndərˈstændɪŋ jʊr ˈiˌmoʊʃənəl mudz
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preschool children grow by leaps and bounds: physically, mentally, and socially. from tears and tantrums to affectionate kisses and uncontrolled exuberance, a preschooler’s moods and feelings can be confusing. but there is information that can help parents understand, cope with, and nurture their child’s emotional development.
small people, big feelings
they stand under four feet tall. their hands and feet are adorably little. they wear small clothes, love tiny toys and have a favorite stuffed friend that is just the right size for cuddling.
but their feelings are so very big.
preschoolers aged 2-5 years can have emotions that demand attention, validation, and resolution. they are intense, entangled, confusing, and surprisingly sophisticated. they produce tears and then suddenly, smiles.
buckle up. you are about to tumble over the rough and wonderful terrain that is the emotional life of a preschooler.
merging sense with sensibility
the child psychologist bruno bettelheim believed that emotional development begins at birth. this is no surprise to a parent desperately trying to comfort a squalling, angry, red-faced newborn. but before age 2, a child’s emotions are simpler and mostly reactive to the environment or how he is feeling.
“they’re happy. they’re angry,” says robert pianta, ph.d., associate professor of education at the university of virginia’s curry school of education in charlottesville, va., and co-director of a long-term study examining the social, psychological and academic needs of young children.
relying on verbal cues to determine whether a newborn is happy or angry is impossible, since an infant has no capacity for using spoken language. so other signs are required. “the infant needs to signal whether she’s in a state of equilibrium and pleasure or a state of disequilibrium. what the binary simple emotions do,” says dr. pianta.
hence the red face and squalling. granted, nonstop crying seems like nature’s guarantee that you’ll never sleep soundly again. but it serves a valuable function, reminding you to change, feed, or comfort your baby. cheer up, though! crying eventually gives way to a dubious improvement: whining.
as a child grows, her range of emotions — and the way she expresses those emotions — matures as well. in fact, a child’s emotional development is much like the physical and mental: an increasingly complex progression of skills that build on each other.
there are six milestones in a young child’s emotional maturation. the first three, all occurring before the first birthday, address a baby’s experience of and reaction to the world. the first is how a child organizes and seeks out new sensations. the second occurs when the child takes a keen interest in the world. using this newfound interest, the third step happens when the child begins to engage in an emotional dialogue with his parents. he smiles in response to his parents and discovers, in turn, that his smiles or cries of protest cause his parents to react.
after about a year, this interaction goes a step further, signifying the fourth milestone. the toddler learns that small bits of feelings and behaviors are connected to a larger and more complicated pattern. for instance, he now knows that his hunger pangs can be abated by leading mom to the refrigerator and pointing to a piece of cheese. he also begins to understand that both things and people have functions in his world.
understanding your toddler’s emotional moods
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ə fju deɪz əˈgoʊ, ðə nuz əˈbaʊt 32 ˈmɪljən əv ˈiθər ˈgɪtɪŋ ˈstoʊlən baɪ ˈhækərz wɪʧ həz əraʊzd ðə ˈʤɛnərəl əˈtɛnʃən. fər ðə məˈʤɔrəti əv ˈpipəl stɑrt tɪ lərn bɪˈkəz əv ənd ˈiθər. bət wət ɪz ðə aɪˈdiə bɪˈhaɪnd ðə tɛkˈnɑləʤi? ðə ˈgævɪn wʊd əv ɪkˈspleɪnd wət ˈæˌkʧuəli ɪz ənd haʊ məʧ ðɪs tɛkˈnɑləʤi wɪl ʧeɪnʤ ɑr ˈɛvriˈdeɪ lɪvz. ðə ˈfɑloʊɪŋ ˈɪntərvˌju ˈkɑntɛnt ɪz frəm linkedin*) ɪz ə juʤ ˈtɑpɪk bət ə lɔt əv ˈpipəl hæv noʊ aɪˈdiə wət ɪt ˈrɪli minz. kən ju traɪ tɪ ɪkˈspleɪn ɪt ɪn ðə ˈiziəst weɪ ˈpɑsəbəl? ʃʊr. soʊ ə ˈtɛknɪkəl səˈluʃən tɪ ə ˈsoʊʃəl ˈprɑbləm. ðə ˈsoʊʃəl ˈprɑbləm ɪz wən əv trəst. naʊ, ɪf wi wɔnt tɪ baɪ ə loʊf əv brɛd ər ʃɑp fər səm sˈnikərz ɔn ðə ˈɪntərˌnɛt, wi ˈnɔrməli hæv tɪ trəst ˈsəmˌbɑdi. aɪ goʊ ənd baɪ ə loʊf əv brɛd ənd aɪ trəst ðət ðə brɛd bi ˈmoʊldi, aɪ trəst ðət ðə ˈbeɪkər ɪz ə gʊd ˈbeɪkər, aɪ trəst ðət ˈæˌkʧuəli meɪd wɪθ flaʊər ənd nɑt wɪθ ˈkɑnkrit, aɪ trəst ðət maɪ ˌɛkspɛkˈteɪʃənz wɪl bi mɛt ənd ˈnɔrməli, faɪn, bɪˈkəz ˈbeɪkərz ˈnɔrməli beɪk wɪθ ˈkɑnkrit. ənd ɪf aɪ goʊ tɪ ˈæməˌzɑn, moʊst əv ðə taɪm ˈsəmθɪŋ dɪz əraɪv ənd ɪt mɔr ər lɛs rɪˈzɛmbəlz wət aɪ ɪkˈspɛktɪd ɪt tɪ bi. bət ðɪs ɪz ˈkɔstli. ɪn tərmz əv ðə ˈbeɪkər, ˈkɔstli bɪˈkəz ðɛr ɪz ˈoʊnli wən ˈbeɪkər ðət aɪ goʊ tɪ ənd ɪf aɪ goʊ tɪ əˈnəðər wən, ðə brɛd ɪz ˈmoʊldi, ɪt rɪˈdusɪz maɪ dɪˈsɪʒən ənd ɪt meɪks mi mɔr ˈlaɪkli tɪ goʊ tɪ wən ənd stɪk tɪ wən ənd ɪf ðət kˈwɑləti goʊz daʊn, aɪ pʊt əp wɪθ ðə loʊər kˈwɑləti bɪˈkəz aɪ wɔnt tɪ muv. ˈsɪmələrli wɪθ ˈæməˌzɑn. ˈæməˌzɑn teɪks ə ˈfɛrli səbˈstænʃəl kət əv ɔl əv ðə trænˈzækʃən ðət goʊ θru ɪt. waɪ? bɪˈkəz ə sil əv kˈwɑləti, raɪt, ənd ðeɪ ər ðə ˌɪnərˈmidiɛri. ˌɪnərˈmidiˌɛriz ˈɔlˌweɪz wɔnt tɪ meɪk ˈməni ənd ˈnɔrməli, ðə ˈprɑfɪts ər nɑt well-bound*, ˈnɔrməli ðeɪ kən teɪk ə pərˈsɛnɪʤ əv ˈɛvriˌθɪŋ ðət ɪz goʊɪŋ θru. laɪk bæŋks. bæŋks ər ˈvɛri rɪʧ bɪˈkəz ðeɪ teɪk ə pərˈsɛnɪʤ əv ɔl əv ðə ˈməni ˈmuvɪŋ θru ənd ˈsəmˌtaɪmz, ə ˈrɪli lɑrʤ pərˈsɛnɪʤ, tu. ˌɪnərˈmidiˌɛriz ˈrɪli ər ə dræg ɔn ðə ɪˈkɑnəmi, ənd ˈsɛnsəbəl ɪˈkɑnəmiz wɪl wɔnt tɪ riˈmuv ðə dræg wən weɪ ər əˈnəðər. ənd ðɪs ɪz wɛr kəmz ɪn? kən bi sin tɪ bi ʤɪst ə minz əv ˈmeɪkɪŋ ɑr ɪˈkɑnəmi mɔr ɪˈfɪʃənt, ɪt kən bi sin ɛz ə minz əv ˈɔtəˌmeɪtɪŋ trəst. soʊ æt ðə ˈmoʊmənt wi ər ˈbɪldɪŋ ˈsɛntrəl ˌɪnərˈmidiˌɛriz wi kən ɔl trəst soʊ wi kən ˌɪnərˈækt wɪθ iʧ ˈəðər, wi kən trænˈzækt wɪθ iʧ ˈəðər, wi kən sɛl ənd baɪ gʊdz frəm iʧ ˈəðər. ɪz ˈrɪli ə weɪ əv əˈlaʊɪŋ ðə ˌɛkəˈnɑmɪk ˌɪnərˈækʃən tɪ ˈhæpən wɪˈθaʊt trəst ənd bɪˈkəz ˈɔtəˌmeɪtɪŋ ðɛm, wi gɪt ɔl ðə ˈbɛnəfɪts əv ˈpʊtɪŋ θɪŋz ɔn kəmˈpjutərz, soʊ wi gɪt ðə spid, ðə ˈʧipnəs ənd ðə ˌflɛksəˈbɪləti. ˈsəmθɪŋ nɑt ˈrɪli juzd tɪ, soʊ ɪn ðət sɛns, ɪz ə ˈvɛri dɪsˈrəptɪv fər haʊ wi ˌɪnərˈækt wɪθ iʧ ˈəðər ˌɛkəˈnɑmɪkli ˈspikɪŋ. wɪn moʊst ˈpipəl θɪŋk əv, ðeɪ θɪŋk əv ər ˈəðər cryptocurrencies*. haʊ du tɛkˈnɑləʤi ənd ˈməni gɪt təˈgɛðər hir? ˈməni ɪz biɪŋ meɪd ɔn tu ˈdɪfərənt saɪdz. ɔn ðə wən saɪd, ðə kənˈsumər. kənˈsumərz, ənd ðə ˈpipəl hu ər ɔn ðə læst hɑp tɪ kənˈsumərz, wɪl bi ˈeɪbəl tɪ seɪv ˈməni baɪ ˈpʊtɪŋ ðɛr trænˈzækʃən θru ðɪs ˈɔtəˌmeɪtɪd trænˈzækʃən ˈsɪstəm ˈrəðər ðən ˈhævɪŋ tɪ goʊ θru trəˈdɪʃənəl ˌɪnərˈmidiˌɛriz. gɪv ju ən ɪgˈzæmpəl: səˈplaɪ ʧeɪnz. səˈpoʊz ə ˈtreɪdər ɪn ˈtərki, aɪ wɔnt tɪ baɪ səm kloʊðz, ðeɪ ər ˈvɛri ʧip, aɪ hæv tɪ peɪ fər ðɛm, aɪ goʊ tɪ maɪ bæŋk, maɪ bæŋk sɛts əp ə ˈkrɛdɪt laɪn wɪθ ə ʧaɪˈniz bæŋk, kɔsts tɛn pərˈsɛnt əv ðə dil, aɪ tɛl ðə ʧaɪˈniz tɪ sɛnd ðə kloʊðz, kloʊðz əraɪv, ɔl ɪz gʊd. bət ɪt kɔsts taɪm, ɪt kɔsts tɛn pərˈsɛnt ənd pəˈtɛnʃəli, ɛz ə ˈbɪznɪsˌmæn ɪn ˈtərki, ˈmeɪbi aɪ dən ˈmɛni dilz ˌbiˈfɔr, ˈmeɪbi maɪ bæŋk trəst mi, ˈmeɪbi ðə ʧaɪˈniz ɔn ðə ˈəðər saɪd trəst mi, ˈmeɪbi aɪ du ðə dil æt ɔl θru trəˈdɪʃənəl ˈsɪstəmz, ˈmeɪbi ˈivɪn mɔr ɪkˈspɛnsɪv tɪ du. ɪf wi muv ðət dil tɪ ðə, wət wi kən du ɪz ˈbeɪsɪkli gɪt rɪd əv ðə aɪˈdiə əv ˈhævɪŋ tɪ juz ə bæŋk tɪ du ðɪs, ənd wi kən stɑrt ˈbɪldɪŋ wət wi kɔl smɑrt ˈkɑnˌtrækts, wɪʧ ər ˈsɪmpli ˈprɔˌsɛs floʊz ðət ər ˌgɛrənˈtid tɪ bi ˈɛksəˌkjutɪd ɛz ðeɪ ər ˈrɪtən, ɛz ðeɪ ər dɪˈskraɪbd. ənd ɔl bæŋks ər duɪŋ. ɪn ˌriˈæləˌti, ɔl ðə ˌkɔrpərˈeɪʃənz ər ʤɪst ˈprɔˌsɛs floʊz, ðeɪ ər ˈprɔˌsɛs floʊz wɪθ ˈpipəl ɪn ɪt ənd ðeɪ du ˈrɪli wət kəmˈpjutərz ʃʊd bi duɪŋ bət ðət ðeɪ ər nɑt duɪŋ, bɪˈkəz heɪ, wi nid tɪ trəst ðiz gaɪz. ənd ɔn ðə ˈəðər saɪd? naʊ ɔn ðə ˈəðər saɪd, wi kən ˈɔlsoʊ lʊk æt ˈbɪznɪsɪz, ənd ˈbɪznɪsɪz kən stɑrt ˈjuzɪŋ ɪn ˈɔrdər tɪ ʧeɪnʤ haʊ ðeɪ ˈɔpərˌeɪt wɪθ ˈəðər ˈbɪznɪsɪz ənd ˈɔlsoʊ haʊ ðeɪ ˈɔpərˌeɪt wɪˈθɪn ðɛmˈsɛlvz. ðɪs ˈɔlsoʊ kəmz daʊn tɪ trəst ənd ə keɪs əv haʊ məʧ du wi trəst ðət ðə ɪmˈplɔɪiz wɪl ˈfɑloʊ ðə ˈprɑsɛsəz ðət wi wɔnt ðɛm tɪ ˈfɑloʊ, ənd haʊ du wi ˈmænɪʤ θɪŋz laɪk ˈsɛnsɪtɪv ˌɪnˌfɔrˈmeɪʃən, haʊ du wi ˈmænɪʤ θɪŋz laɪk ˈbrɪŋɪŋ təˈgɛðər ˈmɛni ˈdɪspərɪt pɑrts əv ðə ˈbɪznɪs ˈɪntu wən ˈsɪŋgəl ɪt ˈsɪstəm. ɪn ˈprɪnsəpəl, ðiz kən bi ˈhændəld maɪ trəˈdɪʃənəl ɪt ˈɑrkəˌtɛkʧərz, bət ɪn ˌriˈæləˌti, ðeɪ ər ˈrɪli ˈdɪfəkəlt tɪ ˈæˌkʧuəli gɪt ðɛm ˈwərkɪŋ ɪgˈzæktli ɛz ju wɔnt ənd ðeɪ hæv ˈvɛri ˌpɑˈtɪkjələr ˈdrɔˌbæks. wən əv wɪʧ ɪz wɪθ ˈɛni ɪt ˈsɪstəm, ðɛr ɪz ˈnɔrməli æt list wən ˈsɪstəm ədˈmɪnɪˌstreɪtər hu həz fʊl ˈækˌsɛs tɪ ˈɛvriˌθɪŋ ɪn ɪt. ənd ɪt maɪt bi ðət ðə juz keɪs ɪz wɛr noʊ ˌɪndəˈvɪʤəwəl kən hæv fʊl ˈækˌsɛs tɪ ˈɛvriˌθɪŋ ɪn ɪt əˈpɑrt fər ðə ˈsiˌiˈoʊ. soʊ ˌɪnˈkrisɪŋgli ˈfaɪndɪŋ ðət ðə strɔŋ ˌgɛrənˈtiz ðət ˈsɪstəmz gɪv ˈjuˈɛs fər trəst, fər ˌgɛrənˈtiɪŋ haʊ ˈprɑsɛsəz ər ˈfɑloʊd, ər ˈbɛtər, ˈʧipər, mɔr ˈflɛksəbəl ðən trəˈdɪʃənəl ˈprɔˌsɛs floʊz. haʊ ˌɪmˈpɔrtənt ɪz goʊɪŋ tɪ bi ɪn ðə nɛkst ˈkəpəl əv jɪrz? wɪl ˈɛvriˌθɪŋ ʧeɪnʤ ər wɪl ɪt ʤɪst ˌɪmˈpækt ə smɔl ˈfrækʃən əv ɑr lɪvz? aɪ θɪŋk ə geɪm ˈʧeɪnʤər. ɪn tərmz əv ɑr ˌɪnərˈækʃənz wɪθ iʧ ˈəðər, boʊθ ɛz ˌɪndəˈvɪʤəwəlz ənd ɛz ˌɔrgənɪˈzeɪʃənz ənd ˈbɪznɪsɪz, ər stɪl ɪn ˈmɛni rɪˈspɛkts stək ɪn ðə stoʊn eɪʤ. muvd ə lɔt əv θɪŋz ˈoʊvər tɪ məˈʃinz ənd dɪˈvaɪsɪz, frəm ˈʃɑpɪŋ ə ˈpɛnsəl tɪ flaɪɪŋ ən ˈɛrˌpleɪn, wi gɑt məˈʃinz tɪ du ɑr wərk fər ˈjuˈɛs. bət wɪn ˈtɔkɪŋ əˈbaʊt ˈfɑloʊɪŋ ˈprɑsɛsəz, wɪn ˈtɔkɪŋ əˈbaʊt ˈmænəʤɪŋ ənd ˈɛksəˌkjutɪŋ ə dil, wi stɪl fɔl bæk ˈɔntu ˈjumənz. ənd aɪ si ˈrɪli noʊ ˈrizən waɪ wi du ðɪs ˈəðər ðən boʊθ ˌɪˈnərʃə ənd ðə fækt ðət ðɪs tɛkˈnɑləʤi ɪz ˈrɛlətɪvli jəŋ. taɪm spænz ər ˈɔlˌweɪz ˈvɛri ˈdɪfəkəlt tɪ dɪˈtərmən, bət aɪ wʊd seɪ ɪn ðə nɛkst faɪv jɪrz, wi ər goʊɪŋ tɪ si ən ˌɪnˈkrisɪŋ ˈnəmbər əv ril ɪkˈspɛrəmənts ðət ər ˈrənɪŋ ɔn ðə. naʊ ˈwɛðər ðoʊz ɪkˈspɛrəmənts ˈrɪli tərn ˈɪntu ril juz ˈkeɪsɪz, aɪ noʊ, bət aɪ θɪŋk wɪˈθɪn 20 jɪrz, ðeɪ ˈsərtənli wɪl. aɪ θɪŋk ɪt wɪl bi mɔr ər lɛs ðə seɪm ɛz ðə ˈɪntərˌnɛt. soʊ ðət ɪt wɪl bi juzd baɪ ˈɛvriˌwən ənd ˈɛvriˌwɛr, ˈbeɪsɪkli, noʊ ˈmætər wət ˈpipəl seɪ? aɪ θɪŋk ɪn məʧ ðə seɪm weɪ ðət tcp/ip*, ðə faʊnˈdeɪʃən ˈproʊtəˌkɔl əv ðə ˈɪntərˌnɛt, ɪz ˈprɪti məʧ juzd ˈɛvriˌwɛr (ˈivɪn ðoʊ ˈnoʊˌbɑˌdi noʊz ðeɪ ər ˈjuzɪŋ ɪt) bɪˈkəz ɪt meɪks ˈɛvriˌθɪŋ soʊ məʧ ˈiziər ənd kˈwɪkər ənd ˈfæstər ənd ðə səˈluʃənz ðət ju kən bɪld ɔn ɪt ər soʊ məʧ ˈbɛtər. ənd aɪ θɪŋk ɪt wɪl bi ðə seɪm fər. ˈwɛðər ðoʊz ɪn ðə fˈjuʧər lʊk ɔl ðət məʧ laɪk ðə naʊ, pərˈhæps nɑt, kəmˈpjutərz ɪn ðə ˈərli deɪz lʊk ə lɔt laɪk kəmˈpjutərz du now…*… ənd ðə ˈɪntərˌnɛt ˈiðər. ˌɪnˈdid, ðə tɛkˈnɑləʤiz wər fɑr fɑr mɔr ˌɪməˈtjʊr. bət ˌnənðəˈlɛs, ðə ˌəndərˈlaɪɪŋ aɪˈdiə əv ə ˈnɛtˌwərk ðət ɪz ˈvɛri ˈizi tɪ ˈækˌsɛs həz rɪˈmeɪnd ðə seɪm. ənd ɪn tərmz əv ˈhævɪŋ ə consensus-mechanism*, soʊ ə ˈmɛkəˌnɪzəm əv ˈkəmɪŋ tɪ ən əˈgrimənt wɪˈθaʊt ˈhævɪŋ tɪ trəst ˈɛni əˈθɔrəti, wɪl rɪˈmeɪn ðə seɪm ənd ðət wɪl bi ə ˌtrænsˈfɔrmɑˌtɪv tɛkˈnɑləʤi fər soʊˈsaɪɪti. frəm əˈbəv ˈɪntərvˌju, wi kən lərn ðət stɪl həz ə lɔŋ weɪ tɪ goʊ. ˈteɪkɪŋ ˈʧaɪnə ɛz ən ɪgˈzæmpəl, ɪt həz ə leɪt stɑrt ɪn ənd ðɛr həz nɑt ˈmɛni ˈprɑʤɛkts bɪn lɔnʧt, bət ðə ˌəndərˈlaɪɪŋ tɛkˈnɑləʤi ənd ˌæpləˈkeɪʃən ər dɪˈvɛləpɪŋ æt ə səˈpraɪzɪŋ spid. tɛk həz ɪˈstæblɪʃt ə ˈtrəstˌwərði ˌɪˌlɛkˈtrɑnɪk sərˈtɪfɪkət ˈsərvɪs ˈplætˌfɔrm baoquan.com*, ˈminˌwaɪl, ə ˈtɛknɪkəl ˈtrəstˌwərðinəs həz bɪn baɪnd wɪθ ækˈnɑlɪʤmənt θru ðə əˈproʊʧ əv ˌfɔˈrɛnsɪk ˈnoʊtəri arbitration”*”. həz lɔnʧt ə blɑk ʧeɪn ɛz ə ˈsərvɪs ˈplætˌfɔrm klaʊd, ɛz wɛl ɛz ðə ˈtrəstɪd bɪg ˈdætə trænˈzækʃən ˈplætˌfɔrm. ˈðɛrˌfɔr, ðə ˈtrəstˌwərði ˌɪˌlɛkˈtrɑnɪk sərˈtɪfɪkət ˈsərvɪs ɛz ə ˈsərvɪs ˈplætˌfɔrm bɪg ˈdætə bɪˈkəm ðə meɪn ˈɪnʤən əv dɪˈvɛləpmənt. wət wi ər ˈsikɪŋ fər: wi ər ˈsikɪŋ dɪˈvɛləpərz fər ɑr ˈʧaɪnə ˈɔfəs. (ðə ˈpɑrtˈtaɪm ˈtɛknɪkəl kənˈsəltənt ˈɔlsoʊ bi əˈlaʊd)< ðə roʊl: ðiz dɪˈvɛləpərz wɪl dɪˈvɛləp bɪg ˈdætə ˈprɑdəkts ənd ˈsərvɪsɪz ɛz wɛl ɛz bɪld ɑr nɛkst ˌʤɛnərˈeɪʃən əv wɛb ˌæpləˈkeɪʃənz. wət ju wɪl du: wərk ɔn ðə moʊst ˈɪntəˌrɛstɪŋ ənd ˈʧælənʤɪŋ ˈprɑbləmz ɪn ðə speɪs. bi ə pɑrt əv ə tim kəˈmɪtɪd tɪ ðə ədˈvænsɪŋ tɛkˈnɑləʤi bɪld riˈuzəbəl, ˈmɑʤələr koʊd fər juz əˈkrɔs ˈprɑdəkt laɪn. wərk ɔn ən ˈprɑdəkt wɪθ bɪg ˈdætə. wət ju wɪl nid: ðə ˈfɔrˌmoʊst kˈwɑləti fər ðɪs ər ˈɛni pəˈzɪʃən æt ɪz ˌɪnˈtɛgrəti. ɪkˈspɪriəns ˈwərkɪŋ wɪθ ˈʤɑvə, ənd riˈleɪʃənəl ˈdætəˌbeɪsɪz. θraɪv ɔn ˈlərnɪŋ nu tɛkˈnɑləʤiz ənd bɪˈliv ɪn səˈluʃənz. ˌəndərˈstænd haʊ ɔl ðə ˈpisɪz fɪt təˈgɛðər (front-end*, ˈdætəˌbeɪs, ˈnɛtˌwərk leɪər, ˌɛtˈsɛtərə.) ənd haʊ ðeɪ ˌɪmˈpækt ðə pərˈfɔrməns əv jʊr ˌæpləˈkeɪʃən. fəˈmɪljər wɪθ hyerledger*,, ər. strɔŋ əˈtɛnʃən tɪ ˈditeɪl. ərˈɪʤənəl ɑr website：https://www.baoquan.com/en*/ ˈkɑnˌtækt ˈjuˈɛs: ˈædvərˌtaɪzmənts
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a few days ago, the news about $32 million of ether getting stolen by hackers which has aroused the general attention. for the majority of people start to learn blockchain because of bitcoin and ether. but what is the idea behind the blockchain technology? the co-founder gavin wood of ethereum explained what blockchain actually is – and how much this technology will change our everyday lives. ( the following interview content is from linkedin)
blockchain is a huge topic but a lot of people have no idea what it really means. can you try to explain it in the easiest way possible?
sure. so it’s a technical solution to a social problem. the social problem is one of trust. now, if we want to buy a loaf of bread or shop for some sneakers on the internet, we normally have to trust somebody.
i go and buy a loaf of bread and i trust that the bread won’t be mouldy, i trust that the baker is a good baker, i trust that it’s actually made with flour and not with concrete, i trust that my expectations will be met and normally, it’s fine, because bakers normally don’t bake with concrete. and if i go to amazon, most of the time something does arrive and it more or less resembles what i expected it to be. but this is costly. in terms of the baker, it’s costly because there is only one baker that i go to and if i go to another one, the bread is mouldy, it reduces my decision and it makes me more likely to go to one and stick to one and if that quality goes down, i put up with the lower quality because i don’t want to move.
similarly with amazon. amazon takes a fairly substantial cut of all of the transaction that go through it. why? because it’s a seal of quality, right, and they are the intermediary. intermediaries always want to make money and normally, the profits are not well-bound, normally they can take a percentage of everything that is going through. like banks. banks are very rich because they take a percentage of all of the money that’s moving through and sometimes, that’s a really large percentage, too. intermediaries really are a drag on the economy, and sensible economies will want to remove the drag one way or another.
and this is where blockchain comes in?
blockchain can be seen to be just a means of making our economy more efficient, it can be seen as a means of automating trust. so at the moment we are building central intermediaries we can all trust so we can interact with each other, we can transact with each other, we can sell and buy goods from each other.
blockchain is really a way of allowing the economic interaction to happen without trust and because we’re automating them, we get all the benefits of putting things on computers, so we get the speed, the cheapness and the flexibility. that’s something we’re not really used to, so in that sense, blockchain is a very disruptive game-changer for how we interact with each other economically speaking.
when most people think of blockchain, they think of bitcoin or other cryptocurrencies. how do technology and money get together here?
money is being made on two different sides. on the one side, there’s the consumer. consumers, and the people who are on the last hop to consumers, will be able to save money by putting their transaction through this automated transaction system rather than having to go through traditional intermediaries.
i’ll give you an example: supply chains. suppose i’m a trader in turkey, i want to buy some china-made clothes, they are very cheap, i have to pay for them, i go to my bank, my bank sets up a credit line with a chinese bank, costs ten percent of the deal, i tell the chinese to send the clothes, clothes arrive, all is good.
but it costs time, it costs ten percent and potentially, as a businessman in turkey, maybe i haven’t done many deals before, maybe my bank doesn’t trust me, maybe the chinese on the other side doesn’t trust me, maybe i can’t do the deal at all through traditional systems, maybe it’s even more expensive to do.
if we move that deal to the blockchain, what we can do is basically get rid of the idea of having to use a bank to do this, and we can start building what we call smart contracts, which are simply process flows that are guaranteed to be executed as they are written, as they are described. and that’s all banks are doing. in reality, all the office-based corporations are just process flows, they are process flows with people in it and they do really what computers should be doing but that they are not doing, because hey, we need to trust these guys.
and on the other side?
now on the other side, we can also look at businesses, and businesses can start using blockchain in order to change how they operate with other businesses and also how they operate within themselves. this also comes down to trust and it’s a case of how much do we trust that the employees will follow the processes that we want them to follow, and how do we manage things like sensitive information, how do we manage things like bringing together many disparate parts of the business into one single it system.
in principle, these can be handled my traditional it architectures, but in reality, they are really difficult to actually get them working exactly as you want and they have very particular drawbacks. one of which is with any it system, there is normally at least one system administrator who has full access to everything in it. and it might be that the use case is where no individual can have full access to everything in it apart for the ceo.
so we’re increasingly finding that the strong crypto-economic guarantees that blockchain systems give us for trust, for guaranteeing how processes are followed, are better, cheaper, more flexible than traditional human-based process flows.
how important is blockchain going to be in the next couple of years? will everything change or will it just impact a small fraction of our lives?
i think it’s a game changer. in terms of our interactions with each other, both as individuals and as organisations and businesses, are still in many respects stuck in the stone age. we’ve moved a lot of things over to machines and devices, from shopping a pencil to flying an airplane, we got machines to do our work for us. but when we’re talking about following processes, when we’re talking about managing and executing a deal, we still fall back onto humans. and i see really no reason why we do this other than both inertia and the fact that this technology is relatively young.
time spans are always very difficult to determine, but i would say in the next five years, we are going to see an increasing number of real consumer-level experiments that are running on the blockchain. now whether those experiments really turn into real mass-market use cases, i don’t know, but i think within 20 years, they certainly will. i think it will be more or less the same as the internet.
so that it will be used by everyone and everywhere, basically, no matter what people say?
i think in much the same way that tcp/ip, the foundation protocol of the internet, is pretty much used everywhere (even though nobody knows they are using it) because it makes everything so much easier and quicker and faster and the solutions that you can build on it are so much better. and i think it will be the same for blockchain. whether those blockchains in the future look all that much like the blockchains now, perhaps not, computers in the early days didn’t look a lot like computers do now…
and the internet didn’t either.
indeed, the technologies were far far more immature. but nonetheless, the underlying idea of a decentralised packet-switching network that is very easy to access has remained the same. and in terms of having a decentralised consensus-mechanism, so a mechanism of coming to an agreement without having to trust any authority, will remain the same and that will be a transformative technology for society.
from above interview, we can learn that blockchain still has a long way to go. taking china as an example, it has a late start in blockchain and there has not many projects been launched, but the underlying technology and application are developing at a surprising speed.
shuqin tech has established a trustworthy electronic certificate service platform – baoquan.com, meanwhile, a blockchian technical trustworthiness has been bind with juristic acknowledgement through the approach of “blockchain + forensic + notary + arbitration”. shuqin has launched a block chain as a service platform baoquan cloud, as well as the trusted big data transaction platform. therefore, the trustworthy electronic certificate service + blockchain as a service platform + big data become the main engine of shuqin’s development.
what we are seeking for:
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/> these developers will develop blockchain big data products and e-data attestation services as well as build our next generation of web applications. <
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/> what you will do:
work on the most interesting and challenging problems in the blockchain space.
be a part of a blockchain team committed to the advancing technology
build reusable, modular code liaries for use across blockchains product line.
work on an industry-leading product with big data.
what you will need:
the foremost quality for this or any position at blockchain is integrity.
experience working with java, golang and relational databases.
thrive on learning new technologies and dont believe in one-size-fits-all solutions.
understand how all the pieces fit together (front-end, database, network layer, etc.) and how they impact the performance of your application.
familiar with ibm hyerledger, ethereum, siacoin or bitcoin.
strong attention to detail.
original source：https://www.linkedin.com/pulse/what-blockchain-weve-asked-founder-ethereum-explain-idea-sara-weber?trk=v-feed&lipi=urn%3ali%3apage%3ad_flagship3_feed%3bzbhngv233q%2btcfdxnxr1dw%3d%3d
our website：https://www.baoquan.com/en/
contact us: js@baoquan.com
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kloʊz sportspulse*: ˈjuˈɛˈseɪ təˈdeɪ spɔrts' ˈlɪndzi eɪʧ. ʤoʊnz breɪks daʊn ðə ˈmæʧəps ðət ˈɛvəri ˈɛˌnɛˈfɛl fæn ʃʊd meɪk ʃʊr tɪ wɔʧ ðɪs ˈwiˌkɪnd. ˈjuˈɛˈseɪ təˈdeɪ spɔrts ˈwɔrən mun həz bɪn sud fər ˈsɛkʃuəl hərˈæsmənt baɪ ən əˈsɪstənt. (ˈfoʊˌtoʊ: ˈkəmɪŋz, ˌeɪˈpi) ˈfɔrmər ˈɛˌnɛˈfɛl kˈwɔrtərˌbæk ˈwɔrən mun ɪz biɪŋ sud fər ˈsɛkʃuəl hərˈæsmənt. ˈwɛndi ˈhæskəl, hu wɑz haɪərd ɛz ən ɪgˈzɛkjətɪv əˈsɪstənt tɪ mun ɪn ðə ˈsəmər, meɪd ˈsɛvərəl ˌæləˈgeɪʃənz, əˈkɔrdɪŋ tɪ ə ˈlɔˌsut faɪld ɪn ˈɔrɪnʤ ˈkaʊnti, ˈkælɪf., ɔn ˈmənˌdeɪ ənd əbˈteɪnd baɪ ˈjuˈɛˈseɪ təˈdeɪ spɔrts. ʃi ˈtrævəld wɪθ mun ɔn ˈwikli ˈspikɪŋ ɪnˈgeɪʤmənts, ˈʧɛrɪti ɪˈvɛnts ənd ˈpərsɪnəl əˈpɪrənsəz. ˈhæskəl kleɪmz ðət mun ˈwɔntɪd hər tɪ wɛr θɔŋ ˈəndərˌwɛr ənd ʃɛr hɪz bɛd ˈdʊrɪŋ ˈbɪznɪs trɪps. ðə sut ˈɔlsoʊ kleɪmz ðət ʃi wɑz dɪˈmoʊtɪd wɪn ʃi kəmˈpleɪnd tɪ ðə ˈkəmpəˌni spɔrts 1 ˈmɑrkətɪŋ, oʊnd baɪ mun, əˈbaʊt hɪz ˈsɛkʃuəl ədˈvænsɪz. ðə nuz fərst wɑz ˌriˈpɔrtəd baɪ ðə ˈwɔʃɪŋtən poʊst. əˈkɔrdɪŋ tɪ ðə ˈlɔˌsut: "sun ˈæftər ʃi bɪˈgæn hər ɪmˈplɔɪmənt, mun dɪˈmændɪd mɪz. ˈhæskəl səbˈmɪt tɪ ə vərˈaɪəti əv əˈnərvɪŋ ˈsɛkʃuəl ənd pərˈvərs kənˈtroʊlɪŋ ərˈeɪnʤmənts, ˌɪnˈkludɪŋ sˈlipɪŋ ɪn ðə seɪm bɛd wɪθ ɪm ɔn ɔl ˈbɪznɪs trɪps, prəˈvaɪdɪŋ ɪm ənˈfɛtərd ˈækˌsɛs tɪ ðə ˈbæθˌrum ˈɛvəri taɪm ʃi ʃaʊərd, ˈwɛrɪŋ ˈskɪmpi ˈlɑnʒərˌeɪ waɪl ɪn ðə əˈblɪgəˌtɔri ˈsɪŋgəl rum, əbˈteɪnɪŋ praɪər əˈpruvəl fər hər ˈwɔrˌdroʊb, ənd biɪŋ səˈbʤɛktɪd tɪ kənˈtɪnjuəs ənˈwɔntɪd ənd ˌənsəˈlɪsɪtɪd ˈsɛkʃuəl ədˈvænsɪz. wɛˈnɛvər mɪz. ˈhæskəl ɪkˈsprɛst ˌrɛzərˈveɪʃənz əˈbaʊt ðiz aʊˈtreɪʤəs duties”*”, mun ˌɪnˈsɪstɪd ðɪs wɑz ðə weɪ ɪt is”*”, ənd θˈrɛtənd mɪz. ˈhæskəl ðət ənˈlɛs ʃi wɑz ““comfortable”*” wɪθ ɪm, ˈsəmˌwən ɛls hu was”*”. mun ˌɪnˈsɪstɪd ðiz ““requirements”*” wər pɑrt əv ðə ʤɑb, ənd meɪd klɪr ðət mɪz. ɪmˈplɔɪmənt dɪˈpɛndɪd ɔn hər əkˈsɛptəns ənd kəmˈplaɪəns wɪθ ləˈsɪviəs bɪˈheɪvjər, dɪˈmændz ənd ˈɔrdərz." ˈhæskəl, 32 həz æst fər ə ˈʤʊri traɪəl. mun, 61 pleɪd ɪn ðə ˈɛˌnɛˈfɛl fər 17 ˈsizənz, ˈmoʊstli fər ðə ˈhjustən ˈɔɪlərz. ˌbiˈfɔr ðət, hi pleɪd sɪks ˈsizənz ɪn ðə kəˈneɪdiən ˈfʊtˌbɔl lig. hi wɑz ɪˈlɛktɪd tɪ ðə proʊ ˈfʊtˌbɔl hɔl əv feɪm ɪn 2006 mun həz hæd ˈsɛvərəl ˈpəblɪk ˈskændəlz wɪθ ˈwɪmən ənd wɑz sud baɪ ə ˌmɪnɪˈsoʊtə ˈvaɪkɪŋz ˈʧɪˌrlidər fər ˈsɛkʃuəl hərˈæsmənt ɪn 1995 ˈleɪtər ˈwɛnzˌdeɪ, ðə siˈætəl ˈsiˌhɔks riˈlist ə ˈsteɪtmənt seɪɪŋ ðeɪ hæd ˈgrænɪd munz rɪkˈwɛst fər ə liv əv ˈæbsəns frəm ðɛr ˈreɪdiˌoʊ ʃoʊ, wɛr mun həz sərvd ɛz ən ˈænəlɪst. ɪt ridz ɪn pɑrt: "wi hæv ækˈsɛptɪd ˈwɔrən munz rɪkˈwɛst fər ə liv əv ˈæbsəns ɛz ðə kləbz ˈreɪdiˌoʊ ˈænəlɪst. brɑk hwɑrd ənd deɪv ˈwaɪmən wɪl əˈsum ðə roʊl əv ˈreɪdiˌoʊ ˈænəlɪst ˌɪnˈdɛfənətli. ðə siˈætəl ˈsiˌhɔks hæv riˈlist ə ˈsteɪtmənt ɪn rɪˈgɑrdz tɪ ðə ˈɔnˌgoʊɪŋ ˈwɔrən mun ˌsɪʧuˈeɪʃən. ˈælən bɛl, jr*. dɪˈsɛmbər 7 2017 kənˈtrɪbjutɪŋ: a.j*. ˈpɛrɛz ˈfɑloʊ speɪn ɔn tˈwɪtər
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close sportspulse: usa today sports' lindsay h. jones breaks down the matchups that every nfl fan should make sure to watch this weekend. usa today sports
warren moon has been sued for sexual harassment by an assistant. (photo: darron cummings, ap)
former nfl quarterback warren moon is being sued for sexual harassment.
wendy haskell, who was hired as an executive assistant to moon in the summer, made several allegations, according to a lawsuit filed in orange county, calif., on monday and obtained by usa today sports.
she traveled with moon on weekly speaking engagements, charity events and personal appearances.
haskell claims that moon wanted her to wear thong underwear and share his bed during business trips. the suit also claims that she was demoted when she complained to the company sports 1 marketing, owned by moon, about his sexual advances.
the news first was reported by the washington post.
according to the lawsuit:
"soon after she began her employment, moon demanded ms. haskell submit to a variety of unnerving sexual and perverse controlling arrangements, including sleeping in the same bed with him on all business trips, providing him unfettered access to the bathroom every time she showered, wearing skimpy lingerie while in the obligatory single room, obtaining prior approval for her wardrobe, and being subjected to continuous unwanted and unsolicited sexual advances. whenever ms. haskell expressed reservations about these outrageous “job duties”, moon insisted this was “just the way it is”, and threatened ms. haskell that unless she was “comfortable” with him, he’d “find someone else who was”. moon insisted these “requirements” were part of the job, and made clear that ms. haskell’s employment depended on her acceptance and compliance with moon’s lascivious behavior, demands and orders."
haskell, 32, has asked for a jury trial.
moon, 61, played in the nfl for 17 seasons, mostly for the houston oilers. before that, he played six seasons in the canadian football league. he was elected to the pro football hall of fame in 2006.
moon has had several public scandals with women and was sued by a minnesota vikings cheerleader for sexual harassment in 1995.
later wednesday, the seattle seahawks released a statement saying they had granted moon's request for a leave of absence from their radio show, where moon has served as an analyst. it reads in part:
"we have accepted warren moon's request for a leave of absence as the club's radio analyst. brock huard and dave wyman will assume the role of radio analyst indefinitely. ... "
the seattle seahawks have released a statement in regards to the ongoing warren moon situation. pic.twitter.com/i8pfwcno62 — allan bell, jr. (@allanbell247) december 7, 2017
contributing: a.j. perez
follow spain on twitter @kevin_spain
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ðə ˈroʊlɪŋ stoʊnz wɪl pərˈfɔrm ə ˈgraʊnˌbreɪkɪŋ ˈkɑnsərt ɪn həˈvænə, ˈkjubə ɔn ˈfraɪˌdeɪ mɑrʧ 25 2016 ðə fri ˈkɑnsərt wɪl teɪk pleɪs æt ðə ˌsiuˈdæd də lɑ ənd wɪl bi ðə fərst ˈoʊpən ɛr ˈkɑnsərt ɪn ðə ˈkəntri baɪ ə ˈbrɪtɪʃ rɑk bænd. ˈɔlˌweɪz ɪkˈsplɔrɪŋ nu hərˈaɪzənz ənd tru ˌpaɪəˈnɪrz əv rɑk, ðə stoʊnz, hu hæv tʊrd ˈɛvəri ˈkɔrnər əv ðə gloʊb, wɪl brɪŋ ðɛr haɪ ˈɑkteɪn pərˈfɔrməns ənd ˌɪnˈkrɛdəbəl mˈjuzɪk ˈkætəˌlɔg tɪ ðə ˌkɛrɪˈbiən fər ðə fərst taɪm ˈɛvər. ðɪs ˈkɑnsərt ɪˈvɛnt ˈfɑloʊz ðə əˈmɛrɪkə ləˈtinə ˌoʊˈleɪ tʊr, wɪʧ ɪz ˈkərəntli rɪˈsivɪŋ reɪv rəvˈjuz, pleɪɪŋ tɪ juʤ ˈɔdiənsəz ɪn ˈsteɪdiəmz ɪn ˌsæntiˈɑgoʊ, bˈweɪnəs ˈɛriz, ˌmɑntɛˈvɪdiˌoʊ, ˈrioʊ də ʤəˈnɛˌroʊ, ˈpɔˌloʊ ənd ˈpɔrtoʊ ɑˈlɛgri wɪθ ˈlimə, bogotá*á ənd ˈmɛksəˌkoʊ ˈsɪti ˈfɑloʊɪŋ nɛkst wik. ðə bænd ər ˈɔlsoʊ ˈlidɪŋ ə mjuˈzɪʃən tɪ mjuˈzɪʃən ˌɪˈnɪʃətɪv ɪn wɪʧ məʧ ˈnidɪd mˈjuzɪkəl ˈɪnstrəmənts ənd ɪkˈwɪpmənt ər biɪŋ ˈdoʊˌneɪtɪd baɪ ˈmeɪʤər səˈplaɪərz fər ðə ˈbɛnəfɪt əv ˈkjubən mjuˈzɪʃənz əv ɔl ˈʒɑnrəz. ˈdoʊnərz ˌɪnˈklud ðə ˈgɪbsən faʊnˈdeɪʃən, vɪk fərθ, ˈbərkli, pərl, zildjian*, gretsch*, ˈlætən pərˈkəʃən, ˈroʊlənd ənd bɔs wɪθ əˈdɪʃənəl əˈsɪstəns frəm ðə ˈlætən ˈgræmi ˈkəlʧərəl faʊnˈdeɪʃən. ðə ˈroʊlɪŋ stoʊnz sɛd: hæv pərˈfɔrmd ɪn ˈmɛni ˈspɛʃəl ˈpleɪsɪz ˈdʊrɪŋ ɑr lɔŋ kərɪr bət ðɪs ʃoʊ ɪn həˈvænə ɪz goʊɪŋ tɪ bi ə ˈlændˌmɑrk ɪˈvɛnt fər ˈjuˈɛs, ənd, wi hoʊp, fər ɔl ɑr frɛndz ɪn ˈkjubə too.”*.” ðɪs hɪˈstɔrɪkəl ˈkɑnsərt wɪl noʊ daʊt hæv mɪk ˈʤægər, kiθ ˈrɪʧərdz, ˈʧɑrli wɑts ənd ˈrɑni wʊd ˈmɛzmərˌaɪzɪŋ ə nu ˈɔdiəns əv fænz wɪθ ə sɛt pækt fʊl əv ˈklæsɪk stoʊnz hɪts ɛz wɛl ɛz ˈspɛʃəl ʤɛmz frəm ðɛr ˈmɪljən ˈsɛlɪŋ ˈælbəmz. ðə ˈroʊlɪŋ stoʊnz ˈkɑnsərt, wɪʧ həz bɪn ɪn ðə ˈplænɪŋ ˈsteɪʤɪz fər ˈsɛvərəl mənθs kəmz ˈoʊnli deɪz ˈæftər ˈprɛzɪdənt ˈbɑrək ˈrisəntli əˈnaʊnst ˈvɪzɪt tɪ ˈkjubə. ðɪs ɪnˈtaɪər ɪˈvɛnt ɪz biɪŋ meɪd ˈpɑsəbəl baɪ ðə əv bɑn ɔn bɪˈhæf əv ðə ˈaɪlənd əv curaçao*. bɑn ˌɪˈnɪʃiəts ənd səˈpɔrts ˌɪnərˈnæʃənɑl ˈʧɛrətəbəl ˈprɑʤɛkts ɪn ðə fildz əv ˌɛʤəˈkeɪʃən, æθˈlɛtɪks, ˈkəlʧərəl ˈlɪtərəsi, ˈhɛlθˌkɛr ənd ˈtʊˌrɪzəm ɛz wɛl ɛz ˈəðər əˈtɛmpts tɪ ˈmɪtəˌgeɪt ðə ˌɪmˈpækt əv ˈʤɛnərəl ˈpɑvərti. ɪt ɪz biɪŋ prəˈmoʊtəd baɪ ˈkɑnsərts wɛst ənd mˈjuzɪkə ˈpunˌtoʊ ˈziroʊ hu ɪkˈstɛnd ðɛr ˈgrætəˌtud fər ðə səˈpɔrt prəˈvaɪdɪd baɪ ðə ˈɪnstɪˌtut əv ˈkjubən mˈjuzɪk ɪn ˈbrɪŋɪŋ ðɪs ɪˈvɛnt tɪ ðə ˈpipəl əv ˈkjubə. ðə ˈroʊlɪŋ stoʊnz fər amity”*” wɪl bi fɪlmd ənd prəˈdust baɪ əˈwɔrd ˈwɪnɪŋ pərˈdəkʃən ˈkəmpəˌni jɑ ˈdɪʤɪtəl wɪθ pɔl ˈdəgˌdeɪl dɪˈrɛktɪŋ ənd ˈsaɪmən ˈfɪʃər ənd sæm ˈbrɪʤər ɛz prəˈdusərz. ˈʤuli əv jɑ ˈdɪʤɪtəl sɛd: ə greɪt ˈɑnər tɪ bi ˈwərkɪŋ wɪθ ðə ˈroʊlɪŋ stoʊnz əˈgɛn ɔn ðɪs ˈhjuʤli ɪkˈsaɪtɪŋ ənd hɪˈstɔrɪk event”*”.
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the rolling stones will perform a groundbreaking concert in havana, cuba on friday march 25, 2016. the free concert will take place at the ciudad deportiva de la habana and will be the first open air concert in the country by a british rock band. always exploring new horizons and true pioneers of rock, the stones, who have toured every corner of the globe, will bring their high octane performance and incredible music catalogue to the caribbean for the first time ever.
this once-in-a-lifetime concert event follows the band’s america latina ole tour, which is currently receiving rave reviews, playing to huge audiences in stadiums in santiago, buenos aires, montevideo, rio de janeiro, são paulo and porto alegre with lima, bogotá and mexico city following next week. the band are also leading a musician to musician initiative in which much needed musical instruments and equipment are being donated by major suppliers for the benefit of cuban musicians of all genres. donors include the gibson foundation, vic firth, rs berkeley, pearl, zildjian, gretsch, latin percussion, roland and boss with additional assistance from the latin grammy cultural foundation.
the rolling stones said: “we have performed in many special places during our long career but this show in havana is going to be a landmark event for us, and, we hope, for all our friends in cuba too.”
this historical concert will no doubt have mick jagger, keith richards, charlie watts and ronnie wood mesmerizing a new audience of fans with a set packed full of classic stones hits as well as special gems from their million selling albums.
the rolling stones concert, which has been in the planning stages for several months comes only days after president barack obama’s recently announced visit to cuba.
this entire event is being made possible by the benefaction of fundashon bon intenshon on behalf of the island of curaçao. fundashon bon intenshon initiates and supports international charitable projects in the fields of education, athletics, cultural literacy, healthcare and tourism as well as other attempts to mitigate the impact of general poverty.
it is being promoted by aeg’s concerts west and musica punto zero who extend their gratitude for the support provided by the institute of cuban music in bringing this event to the people of cuba.
the rolling stones “concert for amity” will be filmed and produced by award winning production company ja digital with paul dugdale directing and simon fisher and sam bridger as producers. julie jakobek of ja digital said: “it’s a great honour to be working with the rolling stones again on this hugely exciting and historic event”.
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fər 30 jɪrz, ˈpraɪvətəˈzeɪʃən əv ˈpəblɪk ˈæˌsɛts həz bɪn pɔrˈtreɪd ɛz ən ˈizi ˌwɪnˈwɪn. ðə steɪt gɪts ə ˌwəˈnɔf bust tɪ ɪts ˈrɛvəˌnuz ənd ðə naʊ ˈbɪznɪs gɪts ɔl ðə daɪˈnæmɪk ˈbɛnəfɪts əv ˈpraɪvət ˈoʊnərˌʃɪp. ɪt wɪl bi mɔr ɪˈfɪʃənt, ˈpraɪsɪz wɪl bi loʊər, ˈsəbsɪdiz rɪˈdust ənd ə ˈrɛgjəˌleɪtər wɪl ækt ɛz ə lɔŋ stɑp tɪ ɪnˈʃʊr ðət ðə ˈpəblɪk ˈɪntəˌrɛst ɪz prəˈtɛktɪd. wət kʊd bi ˈbɛtər ðən ðət? ˈbrɪtən ˌpaɪəˈnɪrd ˈpraɪvətəˈzeɪʃən, bət ˈəðər ˈkəntriz hæv ˈigərli ˈfɑloʊd. ɔl əraʊnd ðə wərld, ˈplutəˌkræts hæv ˈimərʤd, groʊɪŋ fæt ɔn ˈpləndər ˈrəʃən ənd ˈlætən əˈmɛrɪkən ˈoʊlɪˌgɑrks kən θæŋk ˈpraɪvətəˈzeɪʃən fər ðɛr ˈrɪʧɪz. soʊ kən ˈvərʤənz ˈrɪʧərd ˈbrænsən ənd braɪən ˈsutər. bət æt list ðə kwɪd proʊ kwoʊ ɪz ðət ˈæˌsɛts hæv bɪn ˈbɛtər ˈmænɪʤd ðən ðeɪ wʊd hæv bɪn ˈəndər ðə "dɛd" hænd əv ðə steɪt. ər hæv ðeɪ? ənd ɪz ˈpraɪvətəˈzeɪʃən kwaɪt ðə ˌpænəˈsiə ɪt ɪz əˈlɛʤd tɪ bi? ɪt wɪl teɪk jɪrz fər ðə ˈleɪzi əˈsəmpʃən ðət ˈpraɪvətəˈzeɪʃən ɪz ˈɔlˌweɪz bɛst tɪ bi tərnd əraʊnd, bət ðɛr ər ɔˈrɛdi strɔz ɪn ðə wɪnd. fərst, ðɛr wɑz ðə fiˈæskoʊ əv ðə rɔɪəl meɪl ˈpraɪvətəˈzeɪʃən, wɛr ɔˈrɛdi ðə nu ˈoʊnərz ənd ˈmænɪʤərz ər kˈwɛsʧənɪŋ haʊ lɔŋ ðeɪ kən səˈsteɪn ˌjunəˈvərsəl ˈpoʊstəl prəˈvɪʒən. ðɛn ðɛr wɑz ðə ˌmɑnjəˈmɛnəli mɪsˈʤəʤd loʊ praɪs æt wɪʧ ðə ʃɛrz wər soʊld. naʊ ˈpraɪvətəˈzeɪʃən ɪz biɪŋ kˈwɛsʧənd ɔn ə ˈsɛkənd frənt. ðə nɛkst raʊnd əv reɪl fɛr ˌɪnˈkrisɪz wɪl min ðət fɛrz wɪl hæv ˈrɪzən baɪ ˈɔlˌmoʊst ə kˈwɔrtər sɪns 2010 ˈgɪvɪn ðə ˈʧænsələrz æmˈbɪʃənz tɪ ɪˈlɪməˌneɪt ðə ˈpəblɪk ˈsɛktər ˈdɛfəsət ˈsoʊəli baɪ ˈspɛndɪŋ kəts, ðəs rɪˈdusɪŋ ˈfərðər səbˈsaɪdz tɪ ðə reɪl ˈɪndəstri, əˈnəðər 24 raɪz ɪz ɪn ˈprɑspɛkt baɪ 2018 ðɪs ɪz ˈdɛvəˌsteɪtɪŋ. ˈbrɪtɪʃ reɪl fɛrz, ðə haɪəst pər ˈpæsənʤər maɪl əv ˈɛni ˈkəntri ɪn ˈjʊrəp, ər sɛt tɪ bɪˈkəm haɪər stɪl. ðɪs ɪz ə poʊl tæks ɔn wilz, tɪ ˈmɛni, ən ˌənəˈvɔɪdəbəl ðət məst bi peɪd æt ðə seɪm reɪt baɪ rɪʧ ənd pur əˈlaɪk, ˈivɪn ðoʊ reɪl ˈtrænspɔrt ɪz ən ˌɪndɪˈspɛnsəbəl ˈpəblɪk ˈsərvɪs. smɔl ˈwəndər ðət reɪl ɪz ˈimərʤɪŋ ɛz wən əv ðə moʊst ˈpɑpjələr ˈpɑləsiz wɪθ ˈvoʊtərz. ɪn ˈləndən ənd ðə ˌsaʊˈθist, haɪ ˈprɑpərti ˈpraɪsɪz meɪk ˌɪnˈkrɛdəbli ɪkˈspɛnsɪv kəmˈjutɪŋ ðə ˈoʊnli ˈvaɪəbəl ˈɔpʃən fər ˈmɛni baɪərz; ˈmɔrgɪʤ riˈpeɪmənts ənd fɛrz ˈkɑnstəˌtut ˈɔlˌmoʊst hæf əv ðɛr dɪˈspoʊzəbəl ˈɪnˌkəmz. kəmˈjutərz ˈsəfər ˈoʊvərˌpraɪst, ˈkraʊdɪd treɪnz ənd ˌənækˈsɛptəbəl ˌənprəˌdɪktəˈbɪlɪti ɪn ðɛr ˈsərvɪs. ðeɪ ər bət pɔnz ˈoʊvərˈʧɑrʤd ənd ˌəndərˈsərvd ənd toʊld baɪ ˌpɑləˈtɪʃənz haʊ ˈhæpi ðeɪ ʃʊd bi bɪˈkəz ðeɪ juz ə ˈɪndəstri. ˈæftər ɔl, ˌɪnˈvɛstmənt ɪz ˈbumɪŋ, ˈpæsənʤər ˈnəmbərz ˈraɪzɪŋ ənd ˈseɪfti ɪz ˈbɛtər. ɪts nɑt ɔl bæd. bət æt wət praɪs? ˈvoʊtərz ər raɪt ðə ˈsɪstəm meɪ bi ˌɪmˈpruvɪŋ bət ɪt ɪz ˌɪnˈkrɛdəbli ɪkˈspɛnsɪv. ˈivɪn baɪɪŋ ðə raɪt ˈtɪkɪt ɪz ə ˈmaɪnˌfild. kənˈsɛpʧuəli, ɪt wɑz əbˈsərd tɪ dɪˈvaɪd ðə ˈnɛtˌwərk frəm ðə treɪn ˈkəmpəˌniz ðət rən ɔn ɪt; ˈɛni reɪl ˈsɪstəm wərks ɛz ən ˈɪnəˌgreɪtɪd hoʊl. ɪt wɑz ˈikwəli ə kənˈsɛpʧuəl dɪˈzæstər tɪ ˌɪˈmæʤən ðət bɪˈkəz iʧ treɪn ˈlaɪsəns ɪz əv nəˈsɛsɪti ə məˈnɑpəli ju kænt hæv tu ˈsərvɪsɪz frəm ˈləndən tɪ seɪ ˈmænˌʧɛstər kəmˈpitɪŋ əˈgɛnst iʧ ˈəðər ðə məˈnɑpəli hæd tɪ bi ˈtɛmpərˌɛri wɪθ riˈnuəbəl ˈlaɪsənsɪz ˈɔkʃənd æt ˈɪntərvəlz. ɛz ə rɪˈzəlt, ðə ˈhoʊldərz ər ˌɪnˈvaɪtɪd tɪ bi ˌʃɔrtˈtərm ˈvælju ˈrəðər ðən ˈlɔŋˈtərm ˈvælju kriˈeɪtərz, haɪərd hænz tɪ draɪv daʊn kɔsts peɪɪŋ haɪ ˈdɪvɪˌdɛndz tɪ ˌwəˈtɛvər tæks ˈheɪvən. wəts mɔr, ɪt wɑz kreɪzd tɪ bɪˈliv ə ˈpəblɪk gʊd rikˈwaɪərd ˈmɪnəməl ər noʊ ˈpəblɪk grænts. ˈlæstli, ɪt wɑz ˈæsəˌnaɪn nɑt tɪ ˌəndərˈstænd ðət ˈpraɪvət ˈkæpɪtəl dɪˈmændz ˌfaɪˈnænʃəl rɪˈtərnz wɛl əˈbəv ðə kɔst əv ˈkæpɪtəl əˈveɪləbəl tɪ ðə steɪt. ɛz ə rɪˈzəlt, ðɛr hæv tɪ bi ˌnɛvərˈɛndɪŋ ənd ˈɔnˌgoʊɪŋ ɪˈfɪʃənsi geɪnz bɪɔnd ðə ˌɪˈnɪʃəl raʊnd əv leɪɔfs ənd weɪʤ kəts tɪ dɪˈlɪvər ðoʊz ˈɛkstrə rɪˈtərnz. ðət ˈkænɑt bi dən ˈivɪn baɪ ðə hænd əv gɑd. ðə ˈoʊnli ˈrikɔrs ɪz ˈpurər ˈsərvɪs prəˈvɪʒən, ˈstrəkʧərɪŋ ækˈtɪvɪtiz θru ˈɔfˈʃɔr tæks ˈheɪvənz tɪ əˈvɔɪd tæks ənd ˈɛvər haɪər fɛrz. ðə bɪts əv ðə ˈsɪstəm ðət wərk ər ðoʊz ðət hæv bɪn ˌridɪˈzaɪnd tɪ əkˈsɛpt ˌɛkəˈnɑmɪk ˈlɑʤɪk ənd ðə "publicness*" əv wət ɪz əv nəˈsɛsɪti ə ˈpəblɪk məˈnɑpəli ˈnɛtˌwərk. ðə kəˈlæps əv ɪn 2001 ˈæftər ðə ˈhætˌfild dɪˈzæstər fɔrst ðə kriˈeɪʃən əv ˈnɛtˌwərk reɪl, ə ˈstæʧəˌtɔri ˌkɔrpərˈeɪʃən ˈlɪmɪtɪd baɪ ˌgɛrənˈti, ən ɪˈlæbərˌeɪt kɑn tɪ əˈvɔɪd ðə drɛd wərdz "ˈpəblɪk ˈkəmpəˌni" ənd "nationalisation*", ˈivɪn ðoʊ ɪt ɪz 100 oʊnd baɪ ðə steɪt. ðə də ˈfæktoʊ steɪt ˈbækɪŋ həz əˈlaʊd ɪt tɪ rən əp ˈbɑroʊɪŋ əv tɪ ˈfaɪˌnæns reɪl ˌɪnˈvɛstmənt, bət æt haɪər reɪts əv ˈɪntəˌrɛst ðən ɪf ɪt hæd bɪn ˈoʊpənli ækˈnɑlɪʤd ðət ɪt wɑz ˈpəblɪkli oʊnd. ðə ˈkjumjələtɪv ˈɛkstrə ˈsərvɪsɪŋ kɔst ɪz mɔr ðən £150m*, bət ɛz ðə ˈɔfəs fər ˈnæʃənəl stəˈtɪstɪks ɪz naʊ ˈkɔlɪŋ fər ðə kɑn tɪ bi ˈɛndɪd ənd ðə dɛt riˈklæsəˌfaɪd ɛz ˈpəblɪk dɛt, ɪts ɔl fər ˈnəθɪŋ. ˈbrɪljənt. dɪˈrɛkli ˈɑpərˌeɪtəd ˈreɪlˌweɪz ɪz ðə 100 ˈpəblɪkli oʊnd ˈkəmpəˌni ðət tʊk ˈoʊvər ðə ist koʊst ˈmeɪnˌlaɪn wɪn ðə ˌɪnˈkɑmpətənt ˈpraɪvət ˈɑpərˌeɪtər wɔkt əˈweɪ frəm ɪts ˌɑbləˈgeɪʃənz ɪn 2009 faɪv jɪrz əv ˈpəblɪk ˈoʊnərˌʃɪp ənd ɪt ɪz naʊ ðə bɛst rən ənd moʊst ɪˈfɪʃənt ˈɑpərˌeɪtər, ˈmeɪkɪŋ ə nɛt ˈsərpləs əv fər ðə ˈtækˌspeɪər. ɪts rɪˈwɔrd? tɪ bi soʊld bæk tɪ ə ˈpraɪvət ˈɑpərˌeɪtər nɛkst ˈfɛbruˌɛri ðət wɪl ˌridərˈɛkt ðə ˈsərpləs θru ə tæks ˈheɪvən ɛz ˈdɪvɪˌdɛndz, geɪm ðə dɪˈpɑrtmənt fər ˈtrænspɔrt fər haɪər ˈgəvərnmənt səˈpɔrt ənd wɔk əˈweɪ ɪf ðə ˌfaɪˈnænʃəl rɪˈtərnz ər nɑt gʊd ɪˈnəf. ðəs ðə ˈbɛnəfɪts əv ˈpraɪvət ˈoʊnərˌʃɪp ɪn ə ˈpəblɪk ˈnɛtˌwərk. ˈminˌwaɪl, ðə əbˈsərdətiz əv ˈpraɪvətəˈzeɪʃən kənˈtɪnju. tu əv ðə θri ˈkəmpəˌniz ðət oʊn ðə ˈroʊlɪŋ stɑk list tɪ ðə treɪn ˈɔpərˌeɪtɪŋ ˈkəmpəˌniz ər oʊnd ɪn ˈʤərzi, ðə θərd ɪz oʊnd ɪn ˈləksəmˌbɔrg. nən ʃoʊz ˈɛni ˈɪntəˌrɛst ɪn səˈpɔrtɪŋ ˈroʊlɪŋ stɑk ˌmænjəˈfækʧər ɪn ðə ˈkəntri ðeɪ soʊ ˈkæʒəwəli ˈpɪlɪʤ. ðə ˈəltəmət ˈoʊnər əv ˈvərʤɪn treɪnz ər ˈbrænˌsənz ˈfæməli trəsts ɪn ðə ˈvərʤɪn ˈaɪləndz. ˈɔpərˌeɪtɪŋ ɪn ə tæks ˈheɪvən əˈlaʊz ɪm tɪ muv frəm ˈbɪznɪs tɪ ˈbɪznɪs wɪˈθaʊt ˈmæsɪv tæks ˌlaɪəˈbɪlɪtiz. ɛz hi sɪz: "ɪf wi hæd nɑt dən ɪt ðə weɪ ðət wi dɪd, ˈvərʤɪn wʊd bi hæf ðə saɪz ɪt ɪz təˈdeɪ". hɪz ɪz rɪˈfrɛʃɪŋ. ˈprɑpərli oʊnd ˈpraɪvət ˈkəmpəˌniz ər ə fɔrs fər gʊd, bət ðeɪ du nɑt bɪˈlɔŋ ˈɛvriˌwɛr. ˈnɛtˌwərks əv ki ˈpəblɪk ˈsərvɪsɪz səʧ ɛz reɪl ər ˈnæʧərəl məˈnɑpəliz; ˈoʊnərˌʃɪp ɪn ˈəðər ˈkəntriz rɪˈspɛkts ðət truθ, ənd ˈbrɪtənz əˈtɛmpt tɪ ɪˈskeɪp ɪt həz bɪn ə ˈkɔstli dəˈbɑkəl. greɪt ˈpəblɪk ˌɪnfrəˈstrəkʧər ɪz dɪˈlɪvərd θru greɪt ˈpəblɪk ˌɪnstɪˈtuʃənz ər ɪf ðoʊ ˈpraɪvət ˈkəmpəˌniz, ðoʊz ðət ər ˈkɑnstəˌtutəd baɪ ðɛr ˈfaʊndɪŋ ˈʧɑrtər tɪ dɪˈlɪvər ˈpəblɪk ˈbɛnəfɪts. ɪts taɪm tɪ bɪld ənd ɪkˈspænd ðə ˈpəblɪk ˌɪnstɪˈtuʃənz wi hæv ənd ˌɪnˈsɪst ðət ˈɛni ˈpraɪvət ˈhoʊldər əv ə ˈfrænˌʧaɪz dɪˈzaɪnd tɪ dɪˈlɪvər ə ˈpəblɪk gʊd ɪz ˈkɑnstəˌtutəd ɛz ə ˈpəblɪk ˈbɛnəfɪt ˈkəmpəˌni wɪθ ə ˈʧɑrtər ðət sɛts aʊts ˌɑbləˈgeɪʃənz tɪ mæʧ ðə ˈprɪvɪˌlɪʤɪz, ˌɪnˈkludɪŋ peɪɪŋ tæks. ɪts taɪm tɪ ɛnd ðə rɪp ɔf. kəmˈjutərz əv ˈbrɪtən ˈjuˌnaɪt! juv ˈnəθɪŋ tɪ luz bət jʊr ˈoʊvərˌpraɪst ˈsizən ˈtɪkɪts.
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for 30 years, privatisation of public assets has been portrayed as an easy win-win. the state gets a much-needed one-off boost to its revenues and the now privatised business gets all the dynamic benefits of private ownership. it will be more efficient, prices will be lower, subsidies reduced and a regulator will act as a long stop to ensure that the public interest is protected. what could be better than that?
britain pioneered privatisation, but other countries have eagerly followed. all around the world, super-rich plutocrats have emerged, growing fat on privatised plunder – russian and latin american oligarchs can thank privatisation for their riches. so can virgin's richard branson and stagecoach's brian souter. but at least the quid pro quo is that assets have been better managed than they would have been under the "dead" hand of the state.
or have they? and is privatisation quite the panacea it is alleged to be? it will take years for the lazy assumption that privatisation is always best to be turned around, but there are already straws in the wind. first, there was the fiasco of the royal mail privatisation, where already the new owners and managers are questioning how long they can sustain universal postal provision. then there was the monumentally misjudged low price at which the shares were sold.
now privatisation is being questioned on a second front. the next round of rail fare increases will mean that fares will have risen by almost a quarter since 2010. given the chancellor's ambitions to eliminate the public sector deficit solely by spending cuts, thus reducing further subsides to the rail industry, another 24% rise is in prospect by 2018. this is devastating. british rail fares, the highest per passenger mile of any country in europe, are set to become higher still. this is a poll tax on wheels, to many, an unavoidable impost that must be paid at the same rate by rich and poor alike, even though rail transport is an indispensable public service. small wonder that rail renationalisation is emerging as one of the most popular policies with voters.
in london and the southeast, high property prices make incredibly expensive commuting the only viable option for many first-time buyers; mortgage repayments and fares constitute almost half of their disposable incomes. commuters suffer overpriced, crowded trains and unacceptable unpredictability in their service. they are but pawns – overcharged and underserved and told by centre-right politicians how happy they should be because they use a privatised industry. after all, investment is booming, passenger numbers rising and safety is better. it's not all bad.
but at what price? voters are right – the system may be improving but it is incredibly expensive. even buying the right ticket is a minefield. conceptually, it was absurd to divide the network from the train companies that run on it; any rail system works as an integrated whole. it was equally a conceptual disaster to imagine that because each train licence is of necessity a monopoly – you can't have two services from london to say manchester competing against each other – the monopoly had to be temporary with renewable licences auctioned at 10-year intervals.
as a result, the holders are invited to be short-term value extractors rather than long-term value creators, hired hands to drive down costs paying high dividends to whatever tax haven. what's more, it was crazed to believe a public good required minimal or no public grants. lastly, it was asinine not to understand that private capital demands financial returns well above the cost of capital available to the low-risk state. as a result, there have to be never-ending and ongoing efficiency gains beyond the initial round of layoffs and wage cuts to deliver those extra returns. that cannot be done even by the hand of god. the only recourse is poorer service provision, structuring activities through offshore tax havens to avoid tax and ever higher fares. the bits of the system that work are those that have been redesigned to accept economic logic and the "publicness" of what is of necessity a public monopoly network. the collapse of railtrack in 2001 after the hatfield disaster forced the creation of network rail, a not-for-dividend statutory corporation limited by guarantee, an elaborate organisational con to avoid the dread words "public company" and "nationalisation", even though it is 100% owned by the state. the de facto state backing has allowed it to run up borrowing of £30bn to finance rail investment, but at higher rates of interest than if it had been openly acknowledged that it was publicly owned. the cumulative extra servicing cost is more than £150m, but as the office for national statistics is now calling for the con to be ended and the debt reclassified as public debt, it's all for nothing. brilliant.
directly operated railways is the 100% publicly owned company that took over the east coast mainline when the incompetent private operator walked away from its obligations in 2009. five years of public ownership and it is now the best run and most efficient operator, making a net surplus of £16m for the taxpayer. its reward? to be sold back to a private operator next february that will redirect the surplus through a tax haven as dividends, game the department for transport for higher government support and walk away if the financial returns are not good enough. thus the benefits of british-style private ownership in a public network. meanwhile, the absurdities of privatisation continue. two of the three companies that own the rolling stock leased to the train operating companies are owned in jersey, the third is owned in luxembourg. none shows any interest in supporting rolling stock manufacture in the country they so casually pillage. the ultimate owner of virgin trains are branson's family trusts in the virgin islands. operating in a tax haven allows him to move from business to business without massive tax liabilities. as he says: "if we had not done it the way that we did, virgin would be half the size it is today". his candour is refreshing.
properly owned private companies are a force for good, but they do not belong everywhere. networks of key public services such as rail are natural monopolies; ownership in other countries respects that truth, and britain's attempt to escape it has been a costly debacle. great public infrastructure is delivered through great public institutions or if though private companies, those that are constituted by their founding charter to deliver public benefits. it's time to build and expand the public institutions we have and insist that any private holder of a franchise designed to deliver a public good is constituted as a public benefit company with a charter that sets outs obligations to match the privileges, including paying uk tax. it's time to end the rip off. commuters of britain unite! you've nothing to lose but your overpriced season tickets.
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ɔn ə ˈfrɪʤəd ˈsæˌtɪˌdeɪ, pɪŋk ənd ˈjɛloʊ noʊts skrɔld wɪθ kənˈsərnz əˈbaʊt ˈkəvərd ə wɔl əv, ə nɑnˈprɑfət ɑrt ənd tɛkˈnɑləʤi ˈsɛnər ɪn ˈbrʊklɪn. θɛft sərˈveɪləns ˌpɛrəˈnɔɪə, help,”*,” rɛd wən noʊt. məʧ əv ə θrɛt du ˈhækərz poʊz ɔn ˈsoʊʃəl media?”*?” rɛd əˈnəðər. ju noʊ jʊr dɪˈvaɪs həz ˈpriviəsli bɪn ˈækˌsɛst baɪ ˌɛnˈwaɪˌpiˌdi, wət kən ju do?”*?” ˈfɪfti ˈpipəl hæd ˈgæðərd æt wɪθ ðɛr ˈlæpˌtɑps ənd ˈsɛlˌfoʊnz fər ə ə ˈtəpərˌwɛr ˈpɑrti fər ˈlərnɪŋ ɛnˈkrɪpʃən ənd wɛb sɪˈkjʊrəti. ˈfaʊndɪd ɪn 2012 baɪ ˈʤərnəlɪst ˈæʃər wʊlf ɪn rɪˈspɑns tɪ ˌɪnˈkrist ˈɪntərˌnɛt sərˈveɪləns ɪn ɔˈstreɪljə, ɪz ə dɪˈsɛntrəˌlaɪzd ˈgræsˈruts ˈmuvmənt ðət ˈɔfərz fri ˈwərkˌʃɑps ɔl ˈoʊvər ðə wərld. ɪf kənˈsərnd əˈbaʊt ˈɔnˌlaɪn ˈpraɪvəsi (wɪʧ ˈɛvriˌwən ɔn ðə ˈɪntərˌnɛt ˈprɑbəˌbli ʃʊd bi) bət noʊ wɛr tɪ stɑrt, ðə ˈɛkspərts hu ˌvɑlənˈtɪr æt ər tiʧ ju haʊ tɪ juz ɛnˈkrɪpʃən tulz tɪ prəˈtɛkt jʊr ˌɪnˌfɔrˈmeɪʃən frəm ˈgəvərnmənt sərˈveɪləns, cybercriminals*, ˌkɔrpərˈeɪʃənz, ənd ˈəðər θrɛts. sɪns ðə kiz tɪ ðə ˈjuˈɛs sərˈveɪləns steɪt wər ˈhændɪd ˈoʊvər tɪ ə ˌriˈæləˌti ˌtɛləˈvɪʒən stɑr hu həz ˈspoʊkən ˈfeɪvərəbli əˈbaʊt sərˈveɪlɪŋ mɔsks ənd ˈkrækɪŋ daʊn ɔn fri spiʧ, ˈɪntəˌrɛst ɪn həz sərʤd, ˈlidɪŋ mɔr ˈpipəl tɪ sik aʊt. kənˈsərnz ər ˌpɑrˈtɪkjələrli haɪ əˈməŋ grups hu hæv bɪn ˈtɑrgətɪd ɪn ðə ˈæktɪvɪsts, ˈʤərnəlɪsts, ˈpipəl əv ˈkələr, ˈɪməgrənts, ˈməzlɪmz, ənd ðə noʊ wən ɪz ˌɪmˈjun tɪ sɪˈkjʊrəti ˈbriʧɪz. ɪn ˈbrʊklɪn ðət naɪt ˌɪnˈkludɪd ən ˌɪməˈgreɪʃən ˈlɔjər hu ˈwɔntɪd tɪ hɛlp hər klaɪənts əˈvɔɪd biɪŋ ˈdɪʤətəli ˈmɑnətərd, ə kənˈsəltənt fər ˈlɛftɪst ˈnɑnˈprɑfɪts, ənd ə ˈʤəstɪs fər ˈpæləˌstaɪn ˈæktɪvɪst kənˈsərnd əˈbaʊt biɪŋ ˈdʊrɪŋ ˈproʊˌtɛsts ɪn ðə ˈdɑnəld trəmp ˈɪrə. əˈdɑptɪŋ ˈkɑnkrit ˈhæbəts ɪz mɔr ˌɪnˈvɑlvd ðən ˈtɪkɪŋ ɔf ə kwɪk ðɪs æp ɔn jʊr foʊn, ˌɪnˈstɔl ðɪs ɔn jʊr ˈlæpˌtɑp, ənd bum, jʊr ˌɪnˌfɔrˈmeɪʃən ɪz ˈivɪn fər ðə tech-savvy*, ɛnˈkrɪpʃən ɪz ˈkɑmpləˌkeɪtəd ənd wɪθ noʊ səˈluʃən. waɪl ˌɪmˈpɑsəbəl tɪ bi kəmˈplitli seɪf ˈɔnˌlaɪn, ju kən ˈɔlˌweɪz bi ˈseɪfər. hir ər 10 ˈbeɪsɪk ɛnˈkrɪpʃən ˈlɛsənz, ˈkərtəsi əv. 1 kənˈsɪdər ˈjuzɪŋ mɔr sɪˈkjʊr ɔlˈtərnətɪvz ðən ˈgugəl dɑks ju ˈvælju ˌænəˈnɪmɪti ənd ˈpraɪvəsi frəm ˌkɔrpərˈeɪʃənz ər ðə ˈgəvərnmənt, ju maɪt nɑt wɔnt tɪ hoʊst ɔl jʊr wərk ɔn infrastructure,”*,” sɛd ʤəˈmɪlə kɑn əv tɛkˈnɑləʤi koʊˈɑpərˌeɪtɪv, riˈsərʧɪŋ ɔlˈtərnətɪvz tɪ ˈgugəl dɑks fər prəˈgrɛsɪv nɑnˈprɑfət klaɪənts. ju juz ˈgugəl ˈprɑdəkts, nɑt ðə ər ðə product.”*.” ˈgugəl ˈwɑʧɪz ˈɛvriˌθɪŋ ju du ˈjuzɪŋ ðɛr ˈsərvɪsɪz, kips ɔl jʊr ˈdætə, ənd ɪt θru ˈædvərˌtaɪzɪŋ. ɛz fər sɪˈkjʊr, ˈpraɪvət ɔlˈtərnətɪvz, kɑn səˈʤɛsts ˈplætˌfɔrmz laɪk ər pæd; ðə ˈlætər ɪz ən wɛb ˈsərvɪs ˈhoʊstɪd baɪ ðə ˈæktɪvɪst ˈnɛtˌwərk. ðiz ˈplætˌfɔrmz ˈɔfər ˈrilˌtaɪm kəˈlæbərˌeɪtɪv ˈɛdɪtɪŋ, bət ənˈlaɪk ˈgugəl dɑks, ðeɪ kəˈlɛkt jʊr ˈdætə. pædz ər ˈɔlsoʊ ˌɔtəˈmætɪkli dɪˈstrɔɪd ˈæftər 30 deɪz əv ˌɪnækˈtɪvɪti. 2 liv ə ˈdɪʤɪtəl treɪl ɪf ju wɔnt tɪ kip ə pis əv ˌɪnˌfɔrˈmeɪʃən ˈpraɪvət, pʊt ɪt ˈɔnˌlaɪn ənˈlɛs ju hæv tɪ. ðɪs wən simz laɪk ə ˌnoʊˈbreɪnər, bət ˈplɛnti əv ˈpipəl ər ˌkævəˈlɪr əˈbaʊt ðə stəf ðeɪ tɛkst, iˈmeɪl, raɪt ɪn ˈgugəl dɑks, ənd ˈrɛkərd ˈdɪʤətəli. ðə rɪˈsivər əv ˈɛni kəmˌjunəˈkeɪʃən ju sɛnd kən dɪˈstrɪbjut ðoʊz kəmˌjunəˈkeɪʃənz ˌhaʊˈɛvər ðeɪ pliz. nid tɪ æsk, aɪ bi ˈtɛkˌstɪŋ ðɪs ər iˈmeɪlɪŋ ɪt æt all?’”*?’” sɛd ˈæktɪvɪst ənd poʊət ˈkændəs ˈwɪljəmz, hu lɛd wən əv ðə ˈwərkˌʃɑps, ənd huz wɛb sɪˈkjʊrəti plæn fər ˈɑrtɪsts ənd ˈæktɪvɪsts ɪz ə ˈvæljəbəl ˈrisɔrs. 3 ˈdaʊnˌloʊd ə mɔr sɪˈkjʊr ˈmɛsɪʤɪŋ ˈsɪstəm bust jʊr iˈmeɪl sɪˈkjʊrəti baɪ ˈjuzɪŋ ɛnˈkrɪpʃən ˈproʊˌgræmz laɪk ər gʊd privacy”*”). ˈgɪtɪŋ ðə hæŋ əv kən bi ə bɪt ˈkɑmpləˌkeɪtəd; ə ˈhændi gaɪd baɪ mæt ˈmɪʧəl. ðɛn traɪ aʊt ɪnˈkrɪptɪd tɛkst ənd iˈmeɪl ˈmɛsɪʤɪŋ ˈplætˌfɔrmz. ðə moʊst ˈpɑpjələr ɪnˈkrɪptɪd ˈmɛsɪʤɪŋ æp ɪz ˈsɪgnəl, wɪʧ ˈhɪləri ˈjuˈɛs ˌprɛzɪˈdɛnʃəl kæmˈpeɪn juzd ˈæftər rɪˈpitɪd ˈdætə ˈbriʧɪz. (ˈdaʊnˌloʊdz spaɪkt ɪˈlɛkʃən.) prəˈvaɪdərz laɪk meɪ lɪŋk, meɪl, ənd protonmail*, ˈɔfər sɪˈkjʊr iˈmeɪl ənd kəmˌjunəˈkeɪʃən tulz, səm spəˈsɪfɪkli dɪˈzaɪnd fər ˈæktɪvɪsts. bət noʊt ðət ðə ˈoʊnli weɪ tɪ gɪt ɛnˈkrɪpʃən ɪz ɪf boʊθ ˈpɑrtiz ɪn kəmˌjunəˈkeɪʃən juz ɪnˈkrɪptɪd ˈsərvɪsɪz (səʧ ɛz ˈproʊˌtɑn tɪ ˈproʊˌtɑn, tɪ mayfirst*). 4 sərf ðə wɛb ˈseɪfli fər əˈnɑnəməs wɛb ˈbraʊzɪŋ, ˈdaʊnˌloʊd tɔr. juz ə sərʧ ˈɪnʤən ðət træk ju, laɪk duckduckgo*. ðə tɔr ˈbraʊzər prəˈtɛkts jʊr ˌænəˈnɪmɪti baɪ ˈbaʊnsɪŋ jʊr kəmˌjunəˈkeɪʃənz əraʊnd ə dɪˈstrɪbjətəd ˈnɛtˌwərk əv tɔr ˈsərvərz əraʊnd ðə wərld, ənd ðət ˈtræfɪk soʊ ðət ɪt bi treɪst bæk tɪ jʊr kəmˈpjutər. 5 ɪf ju goʊ tɪ ə ˈproʊˌtɛst, liv jʊr foʊn æt hoʊm ɪt kəmz tɪ sɪˈkjʊrɪŋ jʊr foʊn æt ə ˈproʊˌtɛst, ðə θrɛt ˈmɑdəl ɪz tricky,”*,” sɪz ˈæktɪvɪst roʊz rɪˈʤinə, hu tɔt ə ˈwərkˌʃɑp ɔn θrɛt ˈmɑdəlɪŋ æt ðə. dɪˈpɛndɪŋ ɔn ðə ˈneɪʧər əv ðə ˈproʊˌtɛst, demonstrators’*’ foʊnz maɪt bi baɪ ˈloʊkəl pəˈlis wɪθ ˈtrækɪŋ dɪˈvaɪsɪz, ər ˈivɪn ðə ˈɛfˈbiˈaɪ; ɛz ðə ˌɪnərˈsɛpt fərst ˌriˈpɔrtəd, ˈjuˈɛs ˈfɛdərəl ˈeɪʤənsiz hæv ˈrɛgjələrli ˈmɑnətərd ðə blæk lɪvz ˈmætər ˈproʊˌtɛst ˈmuvmənt sɪns ˈfərgəsən, ˈivɪn ˈwɑʧɪŋ ˈoʊvər ɪˈvɛnts laɪk ə fəŋk mˈjuzɪk pəreɪd. ə ˈklaɪmɪt mɑrʧ, ju maɪt nɑt nid tɪ teɪk ˈɛkstrə steps,”*,” rɪˈʤinə sɪz. ɪf goʊɪŋ tɪ du ə ɪn frənt əv kənˈstrəkʃən ɪkˈwɪpmənt ˈbɪldɪŋ ə ˈpaɪˌplaɪn, ðə ˈlaɪkliˌhʊd ɪz ˈprɪti məʧ 100 ðət gɪt ərˈɛstɪd ənd jʊr foʊn wɪl bi taken.”*.” ɪn ðət keɪs, θɪŋk əˈbaʊt ˈlivɪŋ jʊr foʊn æt hoʊm. ɪf ju bɛr tɪ pɑrt wɪθ ɪt, juz ˈsɪgnəl tɪ kəmˈjunəˌkeɪt waɪl æt ðə ˈproʊˌtɛst, ˈmeɪkɪŋ ʃʊr jʊr foʊn həz ə skrin lɑk prəˈtɛktɪd wɪθ ə passcode*. ju ʃʊd ˈɔlsoʊ dɪˈseɪbəl ˈfɪŋgərˌprɪnt ˌæktəˈveɪʃən, wɪʧ ðə pəˈlis kən æsk ju tɪ juz ɪf ðeɪ hæv ə sərʧ ˈwɔrənt fər jʊr foʊn, ənd pərˈhæps kræft ə sɛl foʊn paʊʧ laɪk ðə wənz ˈproʊˌtɛstərz juzd æt ðə rɪˈpəblɪkən ˈnæʃənəl kənˈvɛnʃən. 6 gɪt ˈsɪriəs əˈbaʊt jʊr ˈpæsˌwərdz ɪˈneɪbəl ɔˌθɛntəˈkeɪʃən ɔn ɔl ˈɔnˌlaɪn əˈkaʊnts. ʧeɪnʤ jʊr ˈpæsˌwərdz ˈɛvəri fju meɪk ʃʊr strɔŋ, wɪʧ minz ˈrændəm ənd juˈnik. ɛz goʊz ðə ˈmɑtoʊ, ˈoʊnli sɪˈkjʊr ˈpæsˌwərd ɪz wən ju remember.”*.” stɔr jʊr ˈpæsˌwərdz ˈjuzɪŋ tulz laɪk 1password*, dashlane*, ər lastpass*, wɪʧ wɪl boʊθ sɪˈkjʊrli stɔr jʊr ˈpæsˌwərdz ənd ˈʤɛnərˌeɪt ˈrændəm nu wənz fər ju. 7 θɪŋk əˈbaʊt haʊ ju ˈprɛzənt ˈjɔrsɛlf ɔn ˈsoʊʃəl ˈmidiə ðə ˌɪnˌfɔrˈmeɪʃən prəˈvaɪdɪŋ əˈbaʊt ˈjɔrsɛlf ɔn ˈsoʊʃəl ˈmidiə ˈproʊˌfaɪlz kʊd bɪˈkəm ə ˌlaɪəˈbɪlɪti. ɪn ðə ɪˈvɛnt əv ə ˈkrækˌdaʊn ɔn fri spiʧ, jʊr poʊsts ɔn ˈfeɪsˌbʊk, tˈwɪtər, instagram*, ənd ˈjuˌtub kʊd bɪˈkəm ə fɔrm əv self-incrimination*, ˈivɪn ɪf ju kəˈmɪtɪd ə kraɪm. ɪn mid-november*, fər ɪgˈzæmpəl, ˈæftər ə ˈrətgərz ˌjunəˈvərsəti ˈlɛkʧərər əˈbaʊt ənd ˈəðər ““incendiary”*” ˈtɑpɪks, ðə nu jɔrk pəˈlis dɪˈpɑrtmənt ʃoʊd əp æt hɪz dɔr ənd fɔrst ɪm tɪ ˌəndərˈgoʊ ə ˌsaɪkiˈætrɪk ɪˌvæljuˈeɪʃən. ðə pərˈsɪstənt ˈmɑnətərɪŋ ənd ˈtɑrgətɪŋ əv ˈpipəl əv ˈkələr ɔn ˈsoʊʃəl ˈmidiə ˈplætˌfɔrmz həz bɪn kɔld ðə nu stop-and-frisk*, wɪʧ ˈwɔrənts ˈkɔʃən əˈbaʊt ˈivɪn ˈʤoʊkɪŋli ˈpoʊstɪŋ ˈɔnˌlaɪn əˈbaʊt ˈkrɪmənəl ækˈtɪvɪti. 8 noʊ jʊr θrɛt ˈmɑdəlz ɪn lænd, modeling”*” ɪz ðə ˈprɔˌsɛs əv ˌsɪstəˈmætɪkli ˈænəˌlaɪzɪŋ ðə ˌvəlnərəˈbɪlɪtiz əv ə ˈgɪvɪn ˈnɛtˌwərk ər ˌɪndəˈvɪʤəwəl ənd aɪˈdɛntəˌfaɪɪŋ wət ˈmɛʒərz ʃʊd bi ˈteɪkən tɪ prəˈtɛkt əˈgɛnst ˈprɑbəbəl θrɛts. ˈwɛðər dɪˈvaɪzɪŋ ə θrɛt ˈmɑdəl fər sɪˈkjʊrɪŋ jʊr foʊn æt ə ˈproʊˌtɛst, jʊr ˈlæpˌtɑp wɪn ju trəst jʊr ˈruˌmeɪt, ər jʊr ˈɔnˌlaɪn ˈbæŋkɪŋ, æsk ˈjɔrsɛlf hu prəˈtɛktɪŋ ˈjɔrsɛlf frəm, ənd haʊ ˈmɛni leɪərz əv sɪˈkjʊrəti ju nid. 9 əˈdɑpt ɛnˈkrɪpʃən ˈmɛʒərz ˈivɪn ɪf ju θɪŋk ə ˈlaɪkli ˈtərgət səm ˈpipəl stɪl əˈsum ðət ɪf ə ˈsɪtɪzən, ðeɪ hæv ˈnəθɪŋ tɪ haɪd ənd ˈðɛrˌfɔr nid ɛnˈkrɪpʃən. bət ˈhɪstəri səˈʤɛsts naɪiv. (si: ˈwɔrnɪŋ əˈbaʊt ðə kəˈlɛktɪŋ jʊr dɪk pics*.) drim ɪz tɪ meɪk biɪŋ seɪf ɔn ðə ˈɪntərˌnɛt ɛz ˌɔtəˈmætɪk ənd ˈnɔrməl ɛz ˈbəklɪŋ jʊr ˈsitˌbɛlt ɪn ə car,”*,” ˈkændəs ˈwɪljəmz sɛd. mɔr ˈpipəl əˈdɑpt ˈpraɪvəsi ˈpræktɪsɪz, ðə ˈseɪfər ˈɛvriˌwən ɪz. ˈpɑrtli ə strategy.”*.” 10 gɪt ˈpɛrəˌnɔɪd, ɪf ju kən hɛlp ɪt ““power*, nɑt paranoia,”*,” goʊz wən catchphrase*. waɪl ˈkaʊntləs bʊks ənd ˈɑrtɪkəlz tiʧ ɛnˈkrɪpʃən, əˈtɛndɪŋ ə həz ðə ˈædɪd ˈbɛnəfɪt əv kəˈnɛktɪŋ ju tɪ ril lɪv ˈjumənz wɪθ ˈsɪmələr kənˈsərnz, wɪʧ kən əˈleɪ ˌpɛrəˈnɔɪə. ju ˈgugəl haʊ tɪ prəˈtɛkt ˈjɔrsɛlf ˈɔnˌlaɪn, ɪt kən bi laɪk ˈlʊkɪŋ əp ˈsɪmptəmz ɔn goʊɪŋ tɪ gɪt ˈnaɪtˌmɛr scenarios,”*,” ˈwɪljəmz sɪz. ɔlˈtərnətɪvli, əˈtɛndɪŋ ə ɪz laɪk ˈvɪzɪtɪŋ ə ˈdɔktər hu ˈɔfərz ˌɪndɪˈvɪʤəlaɪzd tɛlz ju nɑt tɪ frik aʊt. ðə ˈbjuti əv ðə ˈmuvmənt ʤɪst ðə weɪ ɪt meɪks ɛnˈkrɪpʃən mɔr ækˈsɛsəbəl: ɪt ˈɔlsoʊ hɛlps bɪld ˈæktɪvɪst kəmˈjunɪtiz ənd ˈnɛtˌwərks əv rɪˈzɪstəns, ɪnˈkərəʤɪŋ ˈævərɪʤ ˈsɪtɪzənz tɪ teɪk ðɛr ˈsɪvəl ˈlɪbərˌtiz ˈɪntu ðɛr oʊn hænz wɪn ðeɪ trəst ˈpipəl ɪn paʊər tɪ prəˈtɛkt ðoʊz ˈlɪbərˌtiz fər ðɛm. fər ə lɪst əv deɪts ənd loʊˈkeɪʃənz əv ˈəpˌkəmɪŋ əraʊnd ðə wərld, hɛd hir. ðɪs ˈɑrtɪkəl ɪz pɑrt əv kwɔrts aɪˈdiəz, ɑr hoʊm fər boʊld ˈɑrgjəmənts ənd bɪg ˈθɪŋkərz.
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on a frigid saturday, pink and yellow post-it notes scrawled with concerns about cybersecurity covered a wall of eyebeam, a nonprofit art and technology center in brooklyn. “identity theft + surveillance = paranoia, plz help,” read one note. “how much of a threat do alt-right hackers pose on social media?” read another. “if you know your device has previously been accessed by nypd, what can you do?”
fifty people had gathered at eyebeam with their laptops and cellphones for a cryptoparty—basically a tupperware party for learning encryption and web security. founded in 2012 by melbourne-based journalist asher wolf in response to increased internet surveillance in australia, cryptoparty is a decentralized grassroots movement that offers free diy workshops all over the world. if you’re concerned about online privacy (which everyone on the internet probably should be) but don’t know where to start, “crypto angels”—as the cybersecurity experts who volunteer at cryptoparties are called—will teach you how to use encryption tools to protect your information from government surveillance, cybercriminals, data-mining corporations, and other threats.
since the keys to the us surveillance state were handed over to a reality tv star who has spoken favorably about surveilling mosques and cracking down on free speech, interest in cybersecurity has surged, leading more people to seek out cryptoparties. concerns are particularly high among groups who have been targeted in the past—including activists, journalists, people of color, immigrants, muslims, and the lgbtq community—but no one is immune to security breaches. cryptoparty-goers in brooklyn that night included an immigration lawyer who wanted to help her clients avoid being digitally monitored, a tech-support consultant for leftist nonprofits, and a justice for palestine activist concerned about being surveilled during protests in the donald trump era.
adopting concrete cybersecurity habits is more involved than ticking off a quick checklist—install this app on your phone, install this plugin on your laptop, and boom, your information is encrypted!—and even for the tech-savvy, encryption is complicated and time-consuming with no one-size-fits-all solution. while it’s impossible to be completely safe online, you can always be safer. here are 10 basic encryption lessons, courtesy of cryptoparty.
1. consider using more secure alternatives than google docs
“if you value anonymity and privacy from corporations or the government, you might not want to host all your work on google’s infrastructure,” said jamila khan of palante technology cooperative, who’s researching alternatives to google docs for progressive nonprofit clients. “when you use google products, you’re not the customer—you are the product.” google watches everything you do using their services, keeps all your data, and monetizes it through advertising. as for secure, private alternatives, khan suggests word-processing platforms like cryptpad or riseup pad; the latter is an etherpad web service hosted by the activist network riseup. these platforms offer real-time collaborative editing, but unlike google docs, they don’t collect your data. riseup pads are also automatically destroyed after 30 days of inactivity.
2. don’t leave a digital breadcrumb trail
if you want to keep a piece of information private, don’t put it online unless you have to. this one seems like a no-brainer, but plenty of people are cavalier about the stuff they text, email, write in google docs, and record digitally. the receiver of any communication you send can distribute those communications however they please. “people need to ask, ‘should i be texting this or emailing it at all?’” said activist and poet candace williams, who led one of the cryptoparty workshops, and whose 70-day web security plan for artists and activists is a valuable resource.
3. download a more secure messaging system
boost your email security by using encryption programs like gpg or pgp (“pretty good privacy”). getting the hang of pgp can be a bit complicated; here’s a handy guide by cryptoharlem’s matt mitchell. then try out encrypted text and email messaging platforms. the most popular encrypted messaging app is signal, which hillary clinton’s us presidential campaign used after repeated data breaches. (downloads spiked post-us election.) webmail providers like may first/people link, riseup mail, and protonmail, offer secure email and communication tools, some specifically designed for activists. but note that the only way to get end-to-end encryption is if both parties in communication use encrypted services (such as proton to proton, riseup to mayfirst).
4. surf the web safely
for anonymous web browsing, download tor. use a search engine that doesn’t track you, like duckduckgo. the tor browser protects your anonymity by bouncing your communications around a distributed network of tor servers around the world, and encrypting that traffic so that it can’t be traced back to your computer.
5. if you go to a protest, leave your phone at home
“when it comes to securing your phone at a protest, the threat model is tricky,” says activist rose regina, who taught a workshop on threat modeling at the cryptoparty. depending on the nature of the protest, demonstrators’ phones might be surveilled by local police with stingray tracking devices, or even the fbi; as the intercept first reported, us federal agencies have regularly monitored the black lives matter protest movement since ferguson, even watching over events like a funk music parade. “if it’s a low-key climate march, you might not need to take extra steps,” regina says. “but if you’re going to do a hardlock in front of construction equipment building a pipeline, the likelihood is pretty much 100% that you’ll get arrested and your phone will be taken.” in that case, think about leaving your phone at home. if you can’t bear to part with it, use signal to communicate while at the protest, making sure your phone has a screen lock that’s protected with a passcode. you should also disable fingerprint activation, which the police can ask you to use if they have a search warrant for your phone, and perhaps craft a signal-blocking cell phone pouch like the ones protesters used at the republican national convention.
6. get serious about your passwords
enable two-factor authentication on all online accounts. change your passwords every few months—and make sure they’re strong, which means random and unique. as goes the tech-nerd motto, “the only secure password is one you can’t remember.” store your passwords using tools like 1password, dashlane, or lastpass, which will both securely store your passwords and generate random new ones for you.
7. think about how you present yourself on social media
the information you’re providing about yourself on social media profiles could become a liability. in the event of a crackdown on free speech, your posts on facebook, twitter, instagram, and youtube could become a form of self-incrimination, even if you haven’t committed a crime. in mid-november, for example, after a rutgers university lecturer tweeted about flag-burning and other “incendiary” topics, the new york police department showed up at his door and forced him to undergo a psychiatric evaluation. the nypd’s persistent monitoring and targeting of people of color on social media platforms has been called the new stop-and-frisk, which warrants caution about even jokingly posting online about criminal activity.
8. know your threat models
in cybersecurity land, “threat modeling” is the process of systematically analyzing the vulnerabilities of a given network or individual and identifying what measures should be taken to protect against probable threats. whether you’re devising a threat model for securing your phone at a protest, your laptop when you don’t trust your roommate, or your online banking, ask yourself who you’re protecting yourself from, and how many layers of security you need.
9. adopt encryption measures even if you don’t think you’re a likely target
some people still assume that if they’re a law-abiding citizen, they have nothing to hide and therefore don’t need encryption. but history suggests that’s naive. (see: snowden’s warning about the nsa collecting your dick pics.) “a dream is to make being safe on the internet as automatic and normal as buckling your seatbelt in a car,” candace williams said. “the more people adopt privacy practices, the safer everyone is. it’s partly a future-proofing strategy.”
10. don’t get paranoid, if you can help it
“power, not paranoia,” goes one cryptoparty catchphrase. while countless books and how-to articles teach diy encryption, attending a cryptoparty has the added benefit of connecting you to real live humans with similar concerns, which can allay paranoia. “if you google how to protect yourself online, it can be like looking up symptoms on webmd—you’re going to get nightmare scenarios,” williams says. alternatively, attending a cryptoparty is like visiting a doctor who offers individualized advice—and tells you not to freak out.
the beauty of the cryptoparty movement isn’t just the way it makes encryption more accessible: it also helps build activist communities and networks of resistance, encouraging average citizens to take their civil liberties into their own hands when they can’t trust people in power to protect those liberties for them.
for a list of dates and locations of upcoming cryptoparties around the world, head here.
this article is part of quartz ideas, our home for bold arguments and big thinkers.
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ˈsaɪəntɪsts ˈlʊkɪŋ fər ɪnˌvaɪrənˈmɛnəl ənd ɑkjəˈpeɪʃənəl hɛlθ rɪsks ər lɛs ˈlaɪkli tɪ faɪnd ðɛm ɪf ðeɪ hæv ə ˌfaɪˈnænʃəl taɪ tɪ fərmz ðət meɪk, juz, ər dɪˈspoʊz əv ˌɪnˈdəstriəl ənd kəˈmərʃəl ˈprɑdəkts, ə ˌjunəˈvərsəti əv ˌɪləˈnɔɪz æt ʃəˈkɑˌgoʊ ˈrisərʧər həz faʊnd. ɪn ðə ˈlɑrʤəst ənd fərst ˌkɑmpriˈhɛnsɪv ˈstədi rɪˈleɪtɪŋ ˈfaɪndɪŋz tɪ ˈkɑnflɪkts əv ˈɪntəˌrɛst əˈməŋ ˈrisərʧərz ɪn ɪnˌvaɪrənˈmɛnəl ənd ɑkjəˈpeɪʃənəl hɛlθ, ˈrisərʧər li ˈfridmən faʊnd ə klɪr əˌsoʊʃiˈeɪʃən bɪtˈwin ˈfaɪndɪŋz əv noʊ ˌædˈvərs hɛlθ ˈaʊtˌkəmz ənd ˌfaɪˈnænʃəl ˈkɑnflɪkts əv ˈɪntəˌrɛst əˈməŋ ðə ˈrisərʧərz kənˈdəktɪŋ ðoʊz ˈstədiz. hɪz rɪˈzəlts ər ˈpəblɪʃt ɪn ðə ˈʤərnəl əv ɑkjəˈpeɪʃənəl ənd ɪnˌvaɪrənˈmɛnəl ˈmɛdəsən. "ˈstədiz ˈfəndɪd baɪ ˌɔrgənəˈzeɪʃənz ðət ər ˌɪnˈvɑlvd ɪn ɪkˈspoʊzɪŋ ðə ɪnˈvaɪrənmənt tɪ pəˈlutənts ər ðɛr ˈwərkərz tɪ ˈhæzərdəs məˈtɪriəlz ər səbˈstænʃəli lɛs ˈlaɪkli tɪ əbˈzərv ən əˌsoʊʃiˈeɪʃən ðət ðiz ɪkˈspoʊʒərz hæv ər ˌɪnˈkris ðə rɪsk fər ˈnɛgətɪv hɛlθ ˈkɑnsəkˌwɛnsəz," sɛd ˈfridmən, əˈsoʊʃiˌeɪt prəˈfɛsər əv ɪnˌvaɪrənˈmɛnəl ənd ɑkjəˈpeɪʃənəl hɛlθ ˈsaɪənsɪz ɪn ðə skul əv ˈpəblɪk hɛlθ. ˈfridmən sɛd ðə lɪŋk bɪtˈwin ˌfaɪˈnænʃəl ˈkɑnflɪkt əv ˈɪntəˌrɛst ənd ˈnɛgətɪv ˈfaɪndɪŋz fər rɪsk wɑz ˈstrɔŋgəst ɪn ˈstədiz ɪn wɪʧ ðə ˈpraɪˌmɛri ˈɔθər ɪz ɪmˈplɔɪd baɪ ðə ˈmɪlɪˌtɛri. ˈəðər ˈstədiz hæv ʃoʊn ðət ˈfəndɪŋ frəm ˌkɔrpərˈeɪʃənz tɛndz tɪ rɪˈzəlt ɪn ˈfaɪndɪŋz ˈfeɪvərəbəl tɪ ðə fərm wɪn ˈlʊkɪŋ æt fud ənd drəg ˈseɪfti ənd ˈklaɪmɪt ˈɪʃuz. bət ðə nu ˈstədi ɪz ðə fərst tɪ lʊk fər ə lɪŋk bɪtˈwin ˌfaɪˈnænʃəl ˈkɑnflɪkt ənd ˈfeɪvərəbəl ˈfaɪndɪŋz ɪn ˈstədiz əv rɪsks frəm ɪkˈspoʊʒər tɪ pəˈtɛnʃəl ˈkɛmɪkəl ənd ˈfɪzɪkəl hɛlθ ˈhæzərdz ɪn ðə ˈwərkˌpleɪs ər hoʊm. "ˌfaɪˈnænʃəl ˌɪmpləˈkeɪʃənz əv ˈrisərʧ ˈfaɪndɪŋz ɪn ðɪs fild ər ɛz səbˈstænʃəl, ɪf nɑt ˈgreɪtər ðən, [ɪn] ˈəðər fildz," sɛd ˈfridmən, ˈnoʊtɪŋ ðət ɪnˌvaɪrənˈmɛnəl ənd ɑkjəˈpeɪʃənəl hɛlθ ˈstədiz kən ˈɔfən lɛd tɪ ˈsɪvəl ˈlɔˌsuts, faɪnz, ənd ˈstrɪktər ˈgəvərnmənt ˌrɛgjəˈleɪʃən fər ðə pərˈdəkʃən, juz, ər dɪˈspoʊzəl əv kəˈmərʃəl ˈprɑdəkts. ˈfridmən ˈgæðərd 373 ərˈɪʤənəl, ˈstədiz ˈpəblɪʃt ɪn 2012 ðət lʊkt fər əˌsoʊʃiˈeɪʃənz bɪtˈwin ˈjumən ɪkˈspoʊʒər tɪ kənˈsumər ənd ˌægrɪˈkəlʧərəl ˈprɑdəkts ənd ˌædˈvərs hɛlθ ˈifɛkts. hi ɪgˈzæmənd ðə ˈɔθərz' əˌfɪliˈeɪʃən wɪθ ˈgəvərnmənt ənd ˈkɔrpərət ˈfəndɪŋ ˈsɔrsəz, ənd ðə ˈʤɛnərəl ˈfaɪndɪŋz əv iʧ ˈstədi wɪθ rɪˈspɛkt tɪ hɛlθ rɪsks poʊzd baɪ ɪnˌvaɪrənˈmɛnəl ər ɑkjəˈpeɪʃənəl ɪkˈspoʊʒərz. ɪn 64 əv ðə ˈstədiz, ˈɔθərz dɪˈskloʊzd ə ˌfaɪˈnænʃəl ˈkɑnflɪkt əv ˈɪntəˌrɛst. əˈbaʊt hæf əv ðiz ˈstədiz ˌriˈpɔrtəd ˈfaɪndɪŋ ə hɛlθ rɪsk; əˈbaʊt 30 pərˈsɛnt ˌriˈpɔrtəd mɪkst rɪˈzəlts; ənd 20 pərˈsɛnt ˌriˈpɔrtəd noʊ ˈfaɪndɪŋz əv rɪsk. ɪn ˈkɑntræst, ˈoʊnli pərˈsɛnt əv ˈstədiz ˌriˈpɔrtəd noʊ ˈfaɪndɪŋz əv rɪsk wɪn ðɛr wɑz noʊ ˈkɑnflɪkt əv ˈɪntəˌrɛst əˈməŋ ˈɔθərz. ɔn ˈkloʊzər lʊk, ˈsɪmpli rɪˈsivɪŋ ˈməni tɪ ˈkɑndəkt ˈrisərʧ frəm ən ˌɔrgənəˈzeɪʃən wɑz nɑt ˈvɛri prɪˈdɪktɪv əv ˈɔθərz rɪˈpɔrtɪŋ ˈnɛglɪʤəbəl rɪsks, ˈfridmən sɛd. bət ə ˈrɛgjələr ˈpeɪˌʧɛk wɑz. "ɪmˈplɔɪmənt wɑz ə ki ˈfæktər," hi sɛd. waɪl pərˈsɛnt əv ðə ˈstədiz ˈpəblɪʃt baɪ ˈɔθərz wɪθ ə ˌfaɪˈnænʃəl ˈkɑnflɪkt əv ˈɪntəˌrɛst ˌriˈpɔrtəd noʊ rɪsk wɪn nən əv ðə ˈɔθərz wɑz ˈæˌkʧuəli ɪmˈplɔɪd baɪ ən ˌɔrgənəˈzeɪʃən ˌɪnˈvɑlvd ɪn ðə ˈprɑsɛsɪŋ, juz, ər dɪˈspoʊzəl əv ðə ˈhæzərd ɪn kˈwɛʃən, ðɪs prəˈpɔrʃən ʤəmpt tɪ 59 pərˈsɛnt əv ˈstədiz ɪf ˈɛni əv ðə ˈɔθərz wɑz soʊ ɪmˈplɔɪd. ɪf ɪt wɑz ðə ˈpraɪˌmɛri ˈɔθər hu wɑz ðə ɪmˈplɔɪi, ðə prəˈpɔrʃən roʊz əv ˈstədiz ˈfaɪndɪŋ noʊ rɪsk roʊz tɪ 64 pərˈsɛnt ɪf ðə ɪmˈplɔɪər wɑz ə ˌkɔrpərˈeɪʃən ənd 83 pərˈsɛnt ɪf ðə ɪmˈplɔɪər wɑz ˈmɪlɪˌtɛri. ˈfridmən sɛd ðət səm ˈkrɪtɪks hæv səˈpoʊzd ðət ˈsaɪəntɪsts wʊd bi mɔr ˈlaɪkli tɪ faɪnd rɪsk ɪf ðɛr ˈrisərʧ wɑz ˈfəndɪd baɪ ˈrɛgjələˌtɔri ˈeɪʤənsiz, səʧ ɛz ðə ɪnˌvaɪrənˈmɛnəl prəˈtɛkʃən ˈeɪʤənsi. ˌhaʊˈɛvər, hi faʊnd ðət ˈstədiz dɪd nɑt ˈdɪfər ɪn ðɛr ˈlaɪkliˌhʊd əv ˈfaɪndɪŋ rɪsk frəm ˈstədiz ɪn wɪʧ ðə ˈɔθərz hæd noʊ əˈpɛrənt ˈɪntəˌrɛst ɪn ðə ˈaʊtˌkəm. "ðə əˈsərʃən ðət ˈstədiz wʊd ˌdɪsprəˈpɔrʃənətli rɪˈpɔrt ˈfaɪndɪŋz [əv rɪsk] bɪˈkəz əv ə ˌsɪstəˈmætɪk baɪəs baɪ ðə ɪmˈplɔɪiz wɪˈθɪn ðiz ˌɔrgənəˈzeɪʃənz ɪz nɑt səˈpɔrtɪd baɪ ðə ˈfaɪndɪŋz ɪn ðɪs æˈnælɪsɪs," ˈfridmən sɛd. ˈfridmən sɪz ðət pɑrt əv ðə ˈprɑbləm wɪθ trænˈspɛrənsi əˈbaʊt ˈkɑnflɪkts əv ˈɪntəˌrɛst ɪz ðət ðə riˌspɑnsəˈbɪləti tɪ dɪˈskloʊz ðɛm rɛsts ˈsoʊəli ɔn ðə ˈɔθər. "ðɛr ər fju ˌripərˈkəʃənz fər ˈfeɪlɪŋ tɪ dɪˈskloʊz ə ˈkɑnflɪkt, ənd ðɛr ər fju prəˈtɛkʃənz fər ˈwɪsəlˌbloʊərz," hi sɛd. "ˌwəˈtɛvər səˈluʃənz ər dɪˈvɛləpt, ðeɪ məst bi əˈdɑptəd ˈbrɔdli ənd ˌɪnərˈnæʃənɑli soʊ ˈɔθərz doʊnt ˈpəblɪʃ θru ˈkəntriz wɛr ˈgɪtɪŋ əraʊnd rɪˈpɔrtɪŋ ˈkɑnflɪkt əv ˈɪntəˌrɛst ɪz ˈiziər." wɪn æst ɪf hi hæd ˈɛni ˈkɑnflɪkt əv ˈɪntəˌrɛst tɪ rɪˈpɔrt fər ðɪs ˈstədi, ˈfridmən sɛd, "aɪ ˈdɪdənt rɪˈsiv ər səˈlɪsɪt ˈɛni ˈfəndɪŋ tɪ du ðɪs ˈrisərʧ."
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scientists looking for environmental and occupational health risks are less likely to find them if they have a financial tie to firms that make, use, or dispose of industrial and commercial products, a university of illinois at chicago researcher has found.
in the largest and first comprehensive study relating findings to conflicts of interest among researchers in environmental and occupational health, uic researcher lee friedman found a clear association between findings of no adverse health outcomes and financial conflicts of interest among the researchers conducting those studies.
his results are published in the journal of occupational and environmental medicine.
"studies funded by organizations that are involved in exposing the environment to pollutants or their workers to hazardous materials are substantially less likely to observe an association that these exposures have or increase the risk for negative health consequences," said friedman, associate professor of environmental and occupational health sciences in the uic school of public health.
friedman said the link between financial conflict of interest and negative findings for risk was strongest in studies in which the primary author is employed by the military.
other studies have shown that funding from corporations tends to result in findings favorable to the firm when looking at food and drug safety and climate issues. but the new study is the first to look for a link between financial conflict and favorable findings in studies of risks from exposure to potential chemical and physical health hazards in the workplace or home.
"financial implications of research findings in this field are as substantial, if not greater than, [in] other fields," said friedman, noting that environmental and occupational health studies can often lead to civil lawsuits, fines, and stricter government regulation for the production, use, or disposal of commercial products.
friedman gathered 373 original, peer-reviewed studies published in 2012 that looked for associations between human exposure to consumer and agricultural products and adverse health effects. he examined the authors' affiliation with government and corporate funding sources, and the general findings of each study with respect to health risks posed by environmental or occupational exposures.
in 64 of the studies, authors disclosed a financial conflict of interest. about half of these studies reported finding a health risk; about 30 percent reported mixed results; and 20 percent reported no findings of risk. in contrast, only 13.5 percent of studies reported no findings of risk when there was no conflict of interest among authors.
on closer look, simply receiving money to conduct research from an organization was not very predictive of authors reporting negligible risks, friedman said. but a regular paycheck was.
"employment was a key factor," he said.
while 28.3 percent of the studies published by authors with a financial conflict of interest reported no risk when none of the authors was actually employed by an organization involved in the processing, use, or disposal of the hazard in question, this proportion jumped to 59 percent of studies if any of the authors was so employed. if it was the primary author who was the employee, the proportion rose of studies finding no risk rose to 64 percent if the employer was a corporation -- and 83 percent if the employer was military.
friedman said that some critics have supposed that scientists would be more likely to find risk if their research was funded by regulatory agencies, such as the environmental protection agency. however, he found that government-funded studies did not differ in their likelihood of finding risk from studies in which the authors had no apparent interest in the outcome.
"the assertion that government-funded studies would disproportionately report ... findings [of risk] because of a systematic bias by the employees within these organizations is not supported by the findings in this analysis," friedman said.
friedman says that part of the problem with transparency about conflicts of interest is that the responsibility to disclose them rests solely on the author.
"there are few repercussions for failing to disclose a conflict, and there are few protections for whistleblowers," he said. "whatever solutions are developed, they must be adopted broadly and internationally -- so authors don't publish through countries where getting around reporting conflict of interest is easier."
when asked if he had any conflict of interest to report for this study, friedman said, "i didn't receive or solicit any funding to do this research."
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aɪ æst ju tɪ ˈmɛri mi ənd ju sɛd noʊ. ðət wɑz haʊ wi mɛt. aɪ nu wɪn aɪ fərst sɔ ju ɪn ðə kraʊd əv ˈɔnˌlʊkərz sərˈaʊndɪŋ ðə ˈmɪdˌweɪ ˈɑˌveɪ sˈnaɪpər ˈʃutɪŋ ˈvɪktɪmz ðət wi wər mɛnt tɪ bi təˈgɛðər. jʊr ˈʤækɪt wɑz braɪt ˈjɛloʊ ənd ðə ɛr smɛld əv bləd, frɛʃ reɪn, ənd fɪr. wɪn aɪ ˈlɪsənd tɪ rɪˈpɔrts əv ðə ˈʃutɪŋ ɔn maɪ pəˈlis ˈskænər aɪ nu aɪ wɑz ɪn fər ə trit, bət aɪ ˈnɛvər ˌɪˈmæʤənd aɪ wʊd mit maɪ soʊl meɪt. ðə pəˈlis lɛt ˈɛniˌwən əˈkrɔs ðə ˈjɛloʊ teɪp, ðeɪ toʊld ˈjuˈɛs tɪ goʊ hoʊm. bət ju krɔst ðə teɪp ˈɛniˌweɪ. ðeɪ stɑp ju. aɪ æst ju tɪ ˈmɛri mi ənd ju sɛd noʊ. aɪ ˈwɔntɪd tɪ ʤəmp ˈoʊvər ðə teɪp, tɪ ʤɔɪn ju, tɪ hənʧ ˈoʊvər ðə victims’*’ ˈbɑdiz wɪθ ju ənd wɔʧ ju preɪ fər ðɛm. ɪz ðət wət ju wər duɪŋ? preɪɪŋ? ən ˈeɪθiəst, bət aɪ kʊd ləv ə bɪˈlivər. aɪ kʊd ləv ju. ju ɪn jʊr ˈjɛloʊ ˈʤækɪt, wɪθ jʊr pɪʧ blæk hɛr, peɪl skɪn, dɑrk aɪz. ˈnɛvər sin aɪz laɪk jʊrz. aɪ noʊ ə cliché*é tɪ seɪ ðɪs, bət ə mæn kʊd gɪt lɔst ɪn ðoʊz aɪz. ðoʊz pɪʧ blæk aɪz ðət goʊ ɔn tɪ ˌɪnˈfɪnɪti. aɪ hərd ju spik wɪn ju keɪm tɪ ðə ˈbɑdi ˈkloʊsəst tɪ mi. ju spoʊk ɪn ə ˈlæŋgwɪʤ aɪ ˈrɛkəgˌnaɪz. ənd aɪ ʤɪst min wən aɪ understand…*… hərd ə lɔt əv ˈlæŋgwɪʤɪz ɪn maɪ laɪf. ʧaɪˈniz, ˌʤæpəˈniz, ˈʤərmən, frɛnʧ, ˈspænɪʃ, grik, ˈlætən, ˈistərn ˌjʊrəˈpiən ˈlæŋgwɪʤɪz ðət aɪ ˈivɪn noʊ ðə neɪm of…*… ðə wərdz ju spoʊk wər ˈfɔrən ˈivɪn tɪ ðə ˈfɔrən, laɪk ˈsəmθɪŋ frəm ə drim. aɪ æst ju tɪ ˈmɛri mi ənd ju sɛd noʊ. kən aɪ ˈivɪn kɔl ju maɪ soʊl meɪt wɪn aɪ bɪˈliv ɪn soʊlz? ˈivɪn ɪf aɪ dɪd, aɪ noʊ ðət bɪˈliv ɪn jʊrz. aɪ noʊ wət ɪt ɪz seɪɪŋ ɪn jʊr prɛrz, aɪ noʊ waɪ seɪɪŋ ɪt, aɪ noʊ waɪ ðə pəˈlis ənd ˈəðər ˈɔnˌlʊkərz priˈtɛnd nɑt ˈivɪn ðɛr. wʊd ðə goʊsts əv ðə ˈvɪktɪmz ˈwɛlkəm ju? wʊd jʊr wərdz brɪŋ ðɛm ˈkəmfərt, ər dæmˈneɪʃən? aɪ drɛmt əˈbaʊt ju ðə naɪt ˈæftər ðə læst ˈʃutɪŋ. lɔst kaʊnt. ju tʊk mi ˈpleɪsɪz. dɑrk ˈpleɪsɪz. ˈpleɪsɪz rɪʧ wɪθ ðə stɛnʧ əv bləd, əv reɪn, ənd əv fɪr. ju ʃoʊd mi saɪts ðət aɪ kʊd ˈnɛvər ˈfæðəm ɪn maɪ ˈwaɪldɪst nightmares—writhing*, ˈpəlˌseɪtɪŋ, ˈpjutrɪd ˈtɛrərz. bət ðə wərst θɪŋ aɪ ˈwɪtnəst ðət naɪt wɑz ðə ˈsædnəs ɪn jʊr aɪz. ðə ˈlɔŋɪŋ fər ðət wɪʧ kən nɑt bi. bət ju wər rɔŋ. aɪ skɛrd. aɪ wʊd lɪv θru ə ˈmɪljən ˈhəniˌmunz ɪn hɛl ɪf ɪt mɛnt biɪŋ wɪθ ju. aɪ æst ju tɪ ˈmɛri mi ənd ju sɛd noʊ. nɑt ðə taɪp tɪ gɪv əp. æsk ju əˈgɛn ðə nɛkst taɪm aɪ si ju, ənd ðə nɛkst. aɪ hæv jʊr foʊn ˈnəmbər, bət aɪ noʊ haʊ tɪ kɔl ju. aɪ smɛl ðə reɪn, ənd ðə fɪr. aɪ skwiz ðə ˈtrɪgər. ənd aɪ weɪt fər ðə ˈwʊmən ɪn ˈjɛloʊ.
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i asked you to marry me and you said no.
that was how we met.
i knew when i first saw you in the crowd of onlookers surrounding the midway ave sniper shooting victims that we were meant to be together. your jacket was bright yellow and the air smelled of blood, fresh rain, and fear. when i listened to reports of the shooting on my police scanner i knew i was in for a treat, but i never imagined i would meet my soul mate.
the police wouldn’t let anyone across the yellow tape, they told us to go home. but you crossed the tape anyway. they didn’t stop you.
i asked you to marry me and you said no.
i wanted to jump over the tape, to join you, to hunch over the victims’ bodies with you and watch you pray for them. is that what you were doing? praying? i’m an atheist, but i could love a believer. i could love you. you in your yellow jacket, with your pitch black hair, pale skin, dark eyes. i’ve never seen eyes like yours. i know it’s a cliché to say this, but a man could get lost in those eyes. those pitch black eyes that go on to infinity.
i heard you speak when you came to the body closest to me. you spoke in a language i didn’t recognize. and i don’t just mean one i don’t understand… i’ve heard a lot of languages in my life. chinese, japanese, german, french, spanish, greek, latin, eastern european languages that i don’t even know the name of… the words you spoke were foreign even to the foreign, like something from a dream.
i asked you to marry me and you said no.
can i even call you my soul mate when i don’t believe in souls? even if i did, i don’t know that i’d believe in yours. i don’t know what it is you’re saying in your non-language prayers, i don’t know why you’re saying it, i don’t know why the police and other onlookers pretend you’re not even there. would the ghosts of the victims welcome you? would your words bring them comfort, or damnation?
i dreamt about you the night after the last shooting. i’ve lost count. you took me places. dark places. places rich with the stench of blood, of rain, and of fear. you showed me sights that i could never fathom in my wildest nightmares—writhing, pulsating, putrid terrors. but the worst thing i witnessed that night was the sadness in your eyes. the longing for that which can not be. but you were wrong. i wasn’t scared. i would live through a million honeymoons in hell if it meant being with you.
i asked you to marry me and you said no.
i’m not the type to give up. i’ll ask you again the next time i see you, and the next. i don’t have your phone number, but i know how to call you. i smell the rain, and the fear. i squeeze the trigger. and i wait for the woman in yellow.
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ðə waɪt haʊs ˌɪˈnɪʃəl prəˈpoʊzəl tɪ əˈvərt ðə ˈfɪskəl klɪf ˌɪnˈkludz 200 ˈbɪljən ɪn ˌɛkəˈnɑmɪk ˈbustərz ə ˈstɪmjələs plæn rɪˈpəblɪkən ˈkrɪtɪks ər ˈreɪlɪŋ əˈgɛnst wɪn ðeɪ seɪ ðə ˈkəntri nidz tɪ stɑrt rɪˈdusɪŋ dɛt. bət ˈivɪn ˈdɛfəsət hɔks seɪ ˈspɛndɪŋ mɔr naʊ ɪz faɪn ənd ˈivɪn ˈwɔrəntɪd tɪ səˈpɔrt ə ˈflɛʤlɪŋ ˌɛkəˈnɑmɪk rɪˈkəvəri. ðə ki ɪz ˈlɔŋˈtərm kəts ðət teɪk ˈifɛkt daʊn ðə roʊd. "wət ðə ˈprɛzɪdənt həz pɪʧt ɪz ˈprɪti smɔl," sɛd ˈwɪljəm geɪl, hu ðə ˈbrʊkɪŋz ˌɪnstɪˈtuʃənz tæks ˈpɑləsi ˈsɛnər. "ðɛrz ə lɔt mɔr ðət kʊd bi dən, ənd ɪt ˈwʊdənt hæv ðət məʧ əv ə ˈnɛgətɪv ˈlɔŋˈtərm ˌɪmˈpækt." wəts ɪn ˈprɛzɪdənt ˌoʊˈbɑməz 200 ˈbɪljən plæn fər ˌɛkəˈnɑmɪk groʊθ? tu ædˌmɪnɪˈstreɪʃən əˈfɪʃəlz kənˈfərmd səm əv ðə ˈstɪmjələs ˈpɑləsiz ˌoʊˈbɑmə wʊd laɪk tɪ si. ðə ˈdɔlər ˈfɪgjərz ər drɔn frəm kənˈgrɛʃənəl ˈbəʤɪt ˈɔfəs ənd kənˈgrɛʃənəl ˈrisərʧ ˈsərvɪs ˈɛstəˌmeɪts ɔn pæst prəˈpoʊzəlz. 95 ˈbɪljən tɪ ɪkˈstɛnd ðə ˈpeɪˌroʊl tæks kət wən jɪr. 30 ˈbɪljən tɪ ɪkˈstɛnd ˌənɪmˈplɔɪmənt ˌɪnˈʃʊrəns ˈbɛnəfɪts ə jɪr. 50 ˈbɪljən tɪ fənd ˌɪnfrəˈstrəkʧər ˈprɑʤɛkts laɪk roʊdz ənd ˈbrɪʤɪz. 25 ˈbɪljən fər ˈəðər ˌʃɔrtˈtərm ˈproʊˌgræmz, ˌɪnˈkludɪŋ ɪkˈstɛndɪŋ ə tæks dɪˈdəkʃən ðət lɛts ˈbɪznɪsɪz ækˈsɛlərˌeɪt dɪˌpriʃiˈeɪʃən ɔn ɪkˈwɪpmənt ˈpərʧəsɪz. ðə ædˌmɪnɪˈstreɪʃən ˈɔlsoʊ wʊd ˌɪnˈklud ˈmɛʒərz tɪ meɪk ɪt ˈiziər fər ˈhoʊˌmoʊnərz tɪ ˌrifəˈnæns ðɛr ˈmɔrgɪʤɪz. ˌhaʊˈɛvər, ðə wərld "ˈstɪmjələs" ɪz ə nɑnˈstɑrtər tɪ ˈmɛni rɪˈpəblɪkənz, əˈspɛʃəli ðoʊz hu ˈkrɛdɪt ðɛr 2010 pəˈlɪtɪkəl ˈteɪˌkoʊvər əv ðə juz. haʊs tɪ ðɛr kæmˈpeɪn tɪ ɛnd bɪg ˈgəvərnmənt, ˌɪnˈkludɪŋ ˈstɪmjələs. "æt ə taɪm wɪn ðə ɪnˈtaɪər ˈneɪʃən ˈrɛkəgˌnaɪzɪz ðɛrz ə ˈspɛndɪŋ ˈprɑbləm, (ˈstɪmjələs) ɪz nɑt ˈsɪriəs, ɪts əbˈsərd," sɛd rɛpriˈzɛtətɪv. ˈpitər ˈrɑskəm əv ˌɪləˈnɔɪz, ə tɔp haʊs rɪˈpəblɪkən. ɔn ˈmənˌdeɪ, haʊs ˈspikər ʤɑn ˈboʊnər meɪd ə tɪ ðə waɪt haʊs, ˈɔfərɪŋ tɪ kət ˈtrɪljən frəm ˈdɛfɪsɪts θru ˈmæsɪv ˈʧeɪnʤɪz tɪ ˈfɛdərəl ˈproʊˌgræmz laɪk ˈmɛdəˌkeɪd ənd ˈmɛdəˌkɛr. ɪn ðə ˈlɛtər, ˈboʊnər ˈɔlsoʊ ˈblæstɪd ˌoʊˈbɑməz ˈstɪmjələs ˈmɛʒərz. tɪ prɪˈvɛnt ðə ˈfɪskəl klɪf, ðə waɪt haʊs wʊd ˈɔlsoʊ stɑp ðə ɔlˈtərnətɪv ˈmɪnəməm tæks frəm ɪkˈspaɪrɪŋ, ɪkˈstɛnd ˈkɔrpərət tæks ˈkrɛdɪts fər ˈrisərʧ ənd dɪˈvɛləpmənt ɛz wɛl ɛz pæs ðə dɑk fɪks tɪ prɪˈvɛnt ə 27 kət ɪn ðə reɪts æt wɪʧ ˈdɑktərz ər ˌriɪmˈbərst fər ˈmɛdəˌkɛr. ˈsiˈɛˈnɛnz ˈʤɛsɪkə ˈjɛlɪn kənˈtrɪbjutɪd tɪ ðɪs rɪˈpɔrt.
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the white house initial proposal to avert the fiscal cliff includes $200 billion in economic boosters -- a stimulus plan republican critics are railing against when they say the country needs to start reducing debt.
but even deficit hawks say spending more now is fine and even warranted to support a fledgling economic recovery. the key is long-term cuts that take effect down the road.
"what the president has pitched is pretty small," said william gale, who co-directs the brookings institution's tax policy center. "there's a lot more that could be done, and it wouldn't have that much of a negative long-term impact."
what's in president obama's $200 billion plan for economic growth?
two administration officials confirmed some of the stimulus policies obama would like to see. the dollar figures are drawn from congressional budget office and congressional research service estimates on past proposals.
* $95 billion to extend the payroll tax cut one year.
* $30 billion to extend unemployment insurance benefits a year.
* $50 billion to fund infrastructure projects like roads and bridges.
* $25 billion for other short-term programs, including extending a tax deduction that lets businesses accelerate depreciation on equipment purchases.
the administration also would include measures to make it easier for homeowners to refinance their mortgages.
however, the world "stimulus" is a nonstarter to many republicans, especially those who credit their 2010 political takeover of the u.s. house to their campaign to end big government, including stimulus.
"at a time when the entire nation recognizes there's a spending problem, (stimulus) is not serious, it's absurd," said rep. peter roskam of illinois, a top house republican.
on monday, house speaker john boehner made a counter-offer to the white house, offering to cut $2.2 trillion from deficits through massive changes to federal programs like medicaid and medicare. in the letter, boehner also blasted obama's stimulus measures.
to prevent the fiscal cliff, the white house would also stop the alternative minimum tax from expiring, extend corporate tax credits for research and development as well as pass the doc fix to prevent a 27% cut in the rates at which doctors are reimbursed for medicare.
- cnn's jessica yellin contributed to this report.
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ɪn ðə ˈoʊvər ən ˈægrəˌveɪtɪd ˌɪnˈdisənt əˈsɔlt ʧɑrʤ brɔt əˈgɛnst bɪl ˈkɔzbi, ðə ˌpɛnsəlˈveɪnjə ˈdɪstrɪkt əˈtərni hu faɪld ðə ˈkrɪmənəl ʧɑrʤ æst ə kɔrt ɔn ˈwɛnzˌdeɪ tɪ dɪsˈmɪs ˈɛfərts baɪ ˈlɔjər tɪ hæv ðə ʧɑrʤ drɑpt ər ˈəðərˌwaɪz prɪˈvɛnt ðə ˈɔfəs frəm ˈprɑsɪˌkjutɪŋ ðə keɪs. ɪn ə nuz riˈlis, ðə ˈɔfəs əv mɑntˈgəmri ˈkaʊnti ˈdɪstrɪkt əˈtərni ˈkɛvɪn stil sɪz ˈkɔzbi ɪz ˈspɛʃəl ˈtritmənt ɪn əˈtɛmptɪŋ tɪ hæv ˈmoʊʃənz hərd praɪər tɪ ə prɪˈlɪməˌnɛri ˈhirɪŋ, ðə nɛkst stɛp ɪn ðə ˈligəl process.”*.” ˈɔfəs ˈfərðər sɪz ðə əˈkjuzd ɪz tɪ dɪˈstrækt frəm ðə ˌæləˈgeɪʃənz əˈgɛnst ɪm baɪ əˈtækɪŋ ðə ˈdɪstrɪkt office.”*.” ðə ˈleɪtəst ˈmoʊʃən ˈfɑloʊz ə ʤæn. 11 ˈmoʊʃən baɪ kæmp, wɪʧ ˈɑrgjud ðət ˈkrɪmənəl ˈʧɑrʤɪz brɔt dɛk. 30 əˈgɛnst ˈkɔzbi ən ɪkˈsprɛs agreement”*” wɪθ əˈθɔrətiz hu ˈərliər ˈprɑməst ðət noʊ ˈʧɑrʤɪz wʊd rɪˈzəlt frəm ˌæləˈgeɪʃənz meɪd baɪ ˌɑnˈdreɪə, ənd ðət dɪˈsɪʒən tɪ brɪŋ ˈʧɑrʤɪz naʊ ɪz ˈplɪtɪkli ˈmoʊtəˌveɪtəd. ɪz ðə ˈfɔrmər dɪˈrɛktər əv ˌɑpərˈeɪʃənz fər ðə ˈtɛmpəl ˌjunəˈvərsəti ˈbæskətˌbɔl tim hu wɛnt tɪ əˈθɔrətiz ɪn ˈʤænjuˌɛri 2005 wɪθ ˌæləˈgeɪʃənz ðət, ɪn ˈʤænjuˌɛri 2004 ˈkɔzbi geɪv hər pɪlz æt hɪz haʊs ənd ˈsɛkʃuəli əˈsɔltɪd hər. ðə mɑntˈgəmri ˈkaʊnti ˈdɪstrɪkt əˈtərni æt ðə taɪm, brus ɛl. ˈkæstər, dɪd nɑt faɪl ˈkrɪmənəl ˈʧɑrʤɪz, bət ˈæftər sud ˈkɔzbi, ʃi ənd ðə kəˈmidiən əˈgrid tɪ ə ˈsɪvəl ˈsɛtəlmənt ɪn 2006 wɔnt tɪ kip əp wɪθ ðə ˈleɪtəst kraɪm ˈkəvərɪʤ? klɪk hir tɪ gɪt ˈbreɪkɪŋ kraɪm nuz, ˈɔnˌgoʊɪŋ traɪəl ˈkəvərɪʤ ənd ˈditeɪlz əv ˌɪnˈtrigɪŋ ənˈsɑlvd ˈkeɪsɪz ɪn ðə tru kraɪm ˈnuzˌlɛtər. sɪns ðət taɪm, ˈkɔzbi θru hɪz ˈlɔjərz həz ˈkɑnstəntli dɪˈnaɪd ˈsəbsəkwənt ˌæləˈgeɪʃənz naʊ reɪzd baɪ mɔr ðən 50 ˈwɪmən hu seɪ ˈkɔzbi drəgd ˈsɛkʃuəli əˈsɔltɪd ðɛm. ˈligəl tim həz ˈɑrgjud ðət ə agreement”*” fɔrʤd æt ðət taɪm əv ðə ˈsɪvəl ˈsɛtəlmənt əˈʃʊrd ˈkɔzbi wʊd nɑt feɪs ˈkrɪmənəl ˈʧɑrʤɪz ɪn ˌæləˈgeɪʃənz ˈæftər hi əˈgrid tɪ fully”*” ɪn ðə ˈsɪvəl ˈmætər. jɛt ðət ˈvɛri ˈtɛstɪˌmoʊni, ɪn wɪʧ ˈkɔzbi ədˈmɪtəd tɪ ˈgɪvɪŋ tɪ ˈwɪmən hi ˈwɔntɪd tɪ hæv sɛks wɪθ, prəˈpɛld ðə rɪˈvaɪvd ˌɪnˌvɛstəˈgeɪʃən əˈgɛnst ɪm, ˈɔfəs həz sɛd. dɪˈfɛndənt kənˈtɛndz ðət ə ˈfɔrmər ˈdɪstrɪkt əˈtərni ˈgrænɪd ɪm ˌɪmˈjunɪti ər ə ˈprɑməs nɑt tɪ ˈprɑsəˌkjut ˈviə ə prɛs riˈlis, dɪˈspaɪt ðə ˈlæŋgwɪʤ kənˈteɪnd ɪn ðə prɛs riˈlis ðət ˈklɪrli steɪts ðə dɪˈsɪʒən nɑt tɪ ˈprɑsəˌkjut ɪn 2005 meɪ bi reconsidered,”*,” ridz ðə ˈsteɪtmənt frəm ˈɔfəs. ““additionally*, ˈoʊnli ə ʤəʤ meɪ ˈɪʃu ə grænt əv ˌɪmˈjunɪti, wɪʧ wɑz nɑt dən ɪn 2005 ər since.”*.” ðə ˈɛfərt baɪ əˈtərni tɪ hæv stil ənd ðə mɑntˈgəmri ˈkaʊnti ˈdɪstrɪkt ˈɔfəs riˈmuvd frəm ðə keɪs ənˈwɔrəntɪd ənd ə ˈbleɪtənt əˈtɛmpt tɪ pɪk hɪz oʊn prosecutor,”*,” ædz ðə ˈsteɪtmənt. sɪz stil ɪn ðə nuz riˈlis: hæv bɪn ˈrɛdi ənd rɪˈmeɪn ˈrɛdi tɪ ˈprɛzənt ɑr keɪs ɪn kɔrt æt ðə prɪˈlɪməˌnɛri ˈhirɪŋ ənd ər ˈæskɪŋ ʤəʤ ˈstivən ti. tɪ dɪsˈmɪs ðɪs ˌɪmˈprɑpər ˈmoʊʃən baɪ ðə dɪˈfɛns soʊ wi ər ˈeɪbəl tɪ pərˈsid wɪθ ˈmɪstər. prɪˈlɪməˌnɛri hearing.”*.” səʧ ə ˈhirɪŋ, əˈkɔrdɪŋ tɪ ˌpɛnsəlˈveɪnjə lɔ, wɪl nɑt ˌdɪˈsaɪd ˈɪnəsəns ər gɪlt bət ˈrəðər ˈwɛðər ðɛr ɪz ˈɛvədəns ə kraɪm həz bɪn kəˈmɪtɪd ənd ðə əˈkjuzd ɪz ˈprɑbəˌbli ðə wən hu kəˈmɪtɪd it,”*,” ðəs əˈlaʊɪŋ ðə ˌprɑsəˈkjuʃən tɪ pərˈsid ər, ɪf ðə ˈɛvədəns kəmz əp ʃɔrt, fər ðə ˌprɑsəˈkjuʃən tɪ ɛnd.
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in the back-and-forth over an aggravated indecent assault charge brought against bill cosby, the pennsylvania district attorney who filed the criminal charge asked a court on wednesday to dismiss efforts by cosby’s lawyer to have the charge dropped or otherwise prevent the office from prosecuting the case.
in a news release, the office of montgomery county district attorney kevin steele says cosby is “seeking special treatment in attempting to have pre-trial motions heard prior to a preliminary hearing, the next step in the legal process.”
steele’s office further says the accused is “seeking to distract from the allegations against him by attacking the district attorney’s office.”
the latest motion follows a jan. 11 motion by cosby’s camp, which argued that criminal charges brought dec. 30 against cosby “violate an express agreement” with authorities who earlier promised that no charges would result from allegations made by andrea constand, and that steele’s decision to bring charges now is politically motivated.
constand is the former director of operations for the temple university women’s basketball team who went to authorities in january 2005 with allegations that, in january 2004, cosby gave her pills at his house and sexually assaulted her. the montgomery county district attorney at the time, bruce l. castor, did not file criminal charges, but after constand sued cosby, she and the comedian agreed to a civil settlement in 2006.
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since that time, cosby through his lawyers has constantly denied subsequent allegations now raised by more than 50 women who say cosby drugged and/or sexually assaulted them.
cosby’s legal team has argued that a “non-prosecution agreement” forged at that time of the civil settlement assured cosby would not face criminal charges in constand’s allegations after he agreed to “testify fully” in the civil matter. yet that very testimony, in which cosby admitted to giving quaaludes to women he wanted to have sex with, propelled the revived investigation against him, steele’s office has said.
“the defendant contends that a former district attorney granted him immunity or a promise not to prosecute via a press release, despite the language contained in the press release that clearly states the decision not to prosecute in 2005 may be reconsidered,” reads the statement from steele’s office. “additionally, only a judge may issue a grant of immunity, which was not done in 2005 or since.”
the effort by cosby’s attorney to have steele and the montgomery county district attorney’s office removed from the case “is unwarranted and a blatant attempt to pick his own prosecutor,” adds the statement.
says steele in the news release: “we have been ready and remain ready to present our case in court at the preliminary hearing and are asking judge steven t. o’neill to dismiss this improper motion by the defense so we are able to proceed with mr. cosby’s preliminary hearing.”
such a hearing, according to pennsylvania law, will not decide innocence or guilt but rather whether there is evidence “that a crime has been committed and the accused is probably the one who committed it,” thus allowing the prosecution to proceed – or, if the evidence comes up short, for the prosecution to end.
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ˈfɔrəm poʊsts: 3 ˈkɑmɛnt 1 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 3 wʊd bi greɪt ɪf ɪt ˌɪnˈkludɪd ˌɛmjəˈleɪʃən fər ˈfɪzɪkəl dɪsks tu, ˈivɪn ɪf ɪt ˈdɪdənt ˌɪnˈklud ˈtroʊfiz aɪd stɪl bi ˈhæpi wɪθ ðət ˈfɔrəm poʊsts: 7940 ˈkɑmɛnt 2 baɪ ˈsɔlstɪs ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 6 weɪt wət? haʊ həz ðɪs nɑt meɪd bɪg nuz? saʊnz ˈsupər ˈɔsəm ənd ˌɪmˈpɔrtənt, ənˈlɛs ðɛrz ˈsəmθɪŋ əm ˈmɪsɪŋ. ˈfɔrəm poʊsts: 4232 ˈkɑmɛnt 3 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 1 weɪt, dɪz ðɪs min ðət wi maɪt bi ˈgɪtɪŋ geɪmz ˈɔntu ðə wɪθ ˈtroʊfiz? aɪ du hoʊp ðət ɪz ðə keɪs ɪˈvɛnʧəwəli, ər ʤɪst ˈbrɪŋɪŋ ðɛm tɪ ðə ɪn ˈʤɛnərəl. ˈfɔrəm poʊsts: 2444 ˈkɑmɛnt 4 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 4 haʊ ɪz ˈriʧɪŋ ɔn ˈhɑrdˌwɛr ðət ɪz laɪk tɛn taɪmz ɛz ˈpaʊərfəl ɛz ðə wən ə geɪm wɑz ərˈɪʤənəli riˈlist ɔn ˌɪmˈprɛsɪv? aɪ ˈrəðər laɪk tɪ noʊ waɪ ˈʤɛˌdi gɑt ˈsɪŋgəld aʊt. dɪz ðɪs min ˈɛvəri ˈəðər geɪm stɪl rənz 30fps*? aɪ ˈwəndər wət ðət wɪl brɪŋ ɪn ðə nɪr fˈjuʧər. ˈæftər wi gɑt loʊdz əv səm əv kˈwɛsʧənəbəl kˈwɑləti, səm wɪʧ dɪd ən ˌɪmˈprɛsɪv ʤɑb wɪl ðət stɑrt ə nu weɪv əv "remasters*" wɪʧ ʤɪst slæp ɔn ˈtroʊfiz ɛz ə kwɪk nɔˈstælʤə fər ˈpəblɪʃərz wɪʧ ˈkʊdənt bi ˈbɑðərd baɪ naʊ tɪ du ə ˈprɑpər ʤɑb? ˈfɔrəm poʊsts: 124 ˈkɑmɛnt 5 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 aɪ ˈsɛkənd wət? ɪz ðɪs əˈveɪləbəl? ɪz ɪt beɪkt ˈɪntu ðə əv ðə soʊ ɪts ˈbeɪsɪkli ˈkeɪpəbəl əv ˈɛmjəˌleɪtɪŋ geɪmz naʊ? ˈfɔrəm poʊsts: 268 ˈkɑmɛnt 6 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 2 pliz əˈlaʊ dɪsks.... pliz əˈlaʊ dɪsks... pliz əˈlaʊ dɪsks... ˈfɔrəm poʊsts: 113 ˈkɑmɛnt 7 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 mɪsˈlidɪŋ. pɑp ə dɪsk ɪn jʊr ˈsɪstəm ənd si wət ˈhæpənz. ˈfɔrəm poʊsts: 11 ˈkɑmɛnt 8 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 7 : ˈbætəl fər bɪˈkini ˈbɑtəm ənd ðə skwɛr pænts ˈmuvi wɪθ ˈtroʊfiz pliz! ˈfɔrəm poʊsts: 4232 ˈkɑmɛnt 9 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 8 aɪ ˈæˌkʧuəli hæv tɪ əˈgri ðɛr, ðoʊz wər gʊd geɪmz. bət fər mi, ɪf ˈɛniˌθɪŋ, dɑrk ˈkrɑnɪkəl... aɪ wʊd pleɪ ðət ɪn ə ˈhɑrtˌbit, ˈplætənəm ər nɑt ˈfɔrəm poʊsts: 1485 ˈkɑmɛnt 10 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 2 !!! ˈfɔrəm poʊsts: 1834 ˈkɑmɛnt 11 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 1 ðɪs ɪz nɑt əˈfɪʃəli əˈnaʊnst, moʊst ˈlaɪkli bɪˈkəz əv ˈpleɪˌsteɪʃən ɪkˈspɪriəns, wɪʧ wɪl teɪk pleɪs ɪn əˈbaʊt 3 wiks. ðeɪ meɪ ənˈveɪl ðɪs ðɛn, ˌɪnˈkludɪŋ ə lɪst əv kəmˈpætəbəl ˈtaɪtəlz. ənd wi ɔˈrɛdi noʊ səm ˈtaɪtəlz laɪk dɑrk klaʊd 2 ənd tˈwɪstɪd ˈmɛtəl: blæk wər baɪ ˈrisəntli. ˈfɔrəm poʊsts: 27215 ˈkɑmɛnt 12 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 swit, ˈhoʊpfəli aɪ gɪt ə fər ˈkrɪsməs! ˈfɔrəm poʊsts: 4232 ˈkɑmɛnt 13 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 11 weɪt, dɑrk ˈkrɑnɪkəl wɑz? wɛl ˈoʊvər hir ɪts noʊn ɛz dɑrk ˈkrɑnɪkəl... bət ɪf ɪt wɑz... jæ, əm ʤɪst goʊɪŋ tɪ hæv tɪ weɪt ənd si, kɔz waɪl ðət wʊd bi əˈmeɪzɪŋ, ɛz aɪ ləvd ðət geɪm ˌmaɪˈsɛlf, ˈgɑnə weɪt fər ə ˈprɑpər əˈnaʊnsmɛnt. ˈfɔrəm poʊsts: 59 ˈkɑmɛnt 14 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 1 ə jɪr əˈgoʊ ˈsoʊni əˈnaʊnst ðət wʊd ˈoʊnli ˈɔfər geɪmz ənd ðət ðeɪ wʊd hæv ən fər ənd geɪmz ˈviə ˈsɔfˌwɛr ˌɛmjəˈleɪʃən. ðeɪ məst bi ˈroʊlɪŋ ðət aʊt naʊ ˈstɑrtɪŋ wɪθ ðə stɑr wɔrz geɪmz. aɪ daʊt wɪl ˈɛvər si ˌɛmjəˈleɪʃən. aɪd ˈrɛkən ɪts bɪˈkəz əv ðə ˈvɛri ˈdɪfərənt tɛkˈnɑləʤi əv ðə ənd ju kən ˈizəli ˈɛmjəˌleɪt ðə ˈoʊldər kənˈsoʊlz. ˌbiˈsaɪdz, ðeɪ ər stɪl riˈlisɪŋ geɪmz fər ðə ənd 360 ðeɪ ˈɑrənt dɪskənˈtɪnjud jɛt. ɪz ˈhæpənɪŋ. ɪts gɑt tɪ bi bət aɪ wɪʃ ɪt wɑz ə ɪn. ˈfɔrəm poʊsts: 10 ˈkɑmɛnt 16 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 ðæts greɪt nuz, naʊ ʤɪst gɪt ɔl ðoʊz ɔn ənd əm ˈhæpi ɛz ə pɪg ɪn sh*... ˈfɔrəm poʊsts: 150 ˈkɑmɛnt 17 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 3 brɪŋ ənd daxter*,, 3 tˈwɪstɪd ˈmɛtəl blæk zi 2 gɑd əv wɔr ˈræʧət ənd klæŋk geɪmz ˈfɔrəm poʊsts: 4 ˈkɑmɛnt 18 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 ˈhoʊli kræp! kən aɪ pleɪ maɪ ˈfaɪnəl ˈfænəsi 12 ɪn ðə?? ˈfɔrəm poʊsts: 11 ˈkɑmɛnt 19 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 17 hæv ju nɑt hərd əv ðə kəˈlɛkʃən geɪmz? lɔl ˈfɔrəm poʊsts: 94 ˈkɑmɛnt 20 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 1 ˈæftər siɪŋ ðɪs ɪf wi hir ðət 3 vaɪs ˈsɪti, sæn ɑnˈdreɪəs, vcs*, wɪl kəm tɪ ðɪs ˌɛmjəˈleɪʃən ˈsɪstəm wɪθ ˈtroʊfiz aɪ wɪl baɪ ə fər ʃʊr ðɛn. ˈfɔrəm poʊsts: 502 ˈkɑmɛnt 21 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 1 əˈlaʊɪŋ dɪsks wʊd bi greɪt. kən dəst ɔf ðə geɪmz aɪ hæv. ˈfɔrəm poʊsts: 110 ˈkɑmɛnt 22 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 2 dɑrk klaʊd 2 fək jɛs! baɪ ɪt, ˈpipəl, ənd ðət məʧ dɪˈzərvd maɪt bi ɪn riʧ. ˈfɔrəm poʊsts: 3332 ˈkɑmɛnt 23 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 waɪl əˈlaʊɪŋ ɪgˈzɪstɪŋ dɪsks wʊd bi greɪt, ɪt meɪ nɑt ˈhæpən du tɪ ðə fækt ðət ðɛn ðɛr ɪz noʊ ˈməni tɪ bi meɪd fər ˈsoʊni. ˈfɔrəm poʊsts: 1667 ˈkɑmɛnt 24 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 1 ˈnəθɪŋ tɪ du wɪθ ˈgɪtɪŋ. noʊ ˌkɔrəˈleɪʃən bɪtˈwin ðət ənd ðɪs ˌwətsoʊˈɛvər, nɑt ɪn ðə sˈlaɪtəst. ˈfɔrəm poʊsts: 1667 ˈkɑmɛnt 25 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 ˈsɪriəsli ðoʊ, ðɪs ɪz ˈprɪti ˈɔsəm. əˈspɛʃəli wɪθ ˈtroʊfiz. aɪ wɑz ə ˈpiˈsi ˈgeɪmər ˈdʊrɪŋ ðə ˈɪrə. wət wər ɪts bɛst geɪmz? ˈfɔrəm poʊsts: 3945 ˈkɑmɛnt 26 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 23 ɪf ðeɪ doʊnt əˈlaʊ dɪsks tɪ pleɪ, aɪ ˈwʊdənt kənˈsɪdər ðɪs ˌɛmjəˈleɪʃən. aɪ wʊd seɪ ɪt ɪz oʊld geɪmz ðət hæv bɪn ˈmɑdəˌfaɪd tɪ rən ɔn ðə ˈtɛknɪkəli, ɪf ɪt ɪz ˌɛmjəˈleɪʃən, ɛz aɪ ˌəndərˈstænd ɪt, ðə geɪm ʃʊd rən ɪn ɪts ərˈɪʤənəl ˈfɔrˌmæt. aɪ æm nɑt kənˈvɪnst ðɪs ɪz ˌɛmjəˈleɪʃən. ˈbɑtəm laɪn, ɪf ɪt wɪl ˈoʊnli wərk fər ˈdɪʤɪtəl geɪmz ðət ju hæv tɪ ənd ˈdaʊnˌloʊd, ðɛn ɪt ˈrɪli ɪz ˌɪndɪˈstɪŋgwɪʃəbəl, ˈpræktɪkəli ˈspikɪŋ, frəm ə re-release*. ˈfɔrəm poʊsts: 1710 ˈkɑmɛnt 27 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 aɪ ˈwʊdənt ɪkˈspɛkt ɪt tɪ ˌɪnˈklud ˈɛvəri geɪm. aɪl bɛt ɪts ˈsɪmələr tɪ ðə wɪʧ rikˈwaɪərz ə ˈlɪtəl koʊd tˈwikɪŋ ɔn ə ˈbeɪsɪs. ˈɪtəd bi ə nis ˈʤɛsʧər ɪf ðeɪ lɛt ju ˈdaʊnˌloʊd ðə geɪm fər fri ɪf ju hæv ðə dɪsk, bət wɪl si. ˈfɔrəm poʊsts: 17 ˈkɑmɛnt 28 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 ɛz ˈəðərz hæv ˈnoʊtɪd, ʤɪst ˈweɪtɪŋ fər dɑrk klaʊd 1 ənd 2 3 ðɛr maɪ ˈfeɪvərɪt əv ɔl taɪm. aɪl ʤɪst meɪk ə lɔŋ lɪst əv ɔl ðə geɪmz aɪ wɔnt tɪ si kəm tɪ ðɪs ðət ˈəðərz ˈhævənt ˈmɛnʃənd, ˈivɪn ɪf ðeɪ doʊnt sim ˈlaɪkli (ˈkɑmɛnt jʊr oʊn ˈfeɪvərɪts ɪf aɪ mɪs ðɛm, wɪʧ aɪ ˈprɑbəˌbli wɪl). ˈɔlsoʊ noʊt əm ɪkˈskludɪŋ geɪmz ðət hæv ˌriəˈpɪrd θru kəˈlɛkʃənz ənd ðə laɪk (okami*, ənd daxter*, slaɪ ˈkupər, ˈræʧət ənd klæŋk, əv ðə kəˈlɑsəs, ˌɛtˈsɛtərə.): kræʃ: twinsanity*; kræʃ tim ˈreɪsɪŋ: ˈnɪtroʊ kart*; kræʃ tæg tim ˈreɪsɪŋ; kræʃ əv ðə ˈtaɪtənz (ˈmeɪbi maɪnd ˈoʊvər mˈjutənt); dɪˈstrɔɪ ɔl ˈjumənz! 1 ənd 2 mæks peɪn 1 ənd 2 ðə ˈpənɪʃər; ˈəltəmət ˈspaɪdərmæn; ˈspaɪdərmæn 2 ðə ˌɪnˈkrɛdəbəl həlk: ˈəltəmət dɪˈstrəkʃən; scooby-doo*: naɪt əv 100 frights*, ˈmɪstəri ˈmeɪˌhɛm, ənd ənˈmæskt (hæd tɪ pʊt ðiz ˈæftər ˈsəmˌwən ˈmɛnʃənd ðə geɪmz); ˈgɔntlət: dɑrk ˈlɛgəsi; geɪt: dɑrk əˈlaɪəns 1 ənd 2 ˈʧæmpiənz əv norrath*; gɪˈtɑr ˈhɪroʊ 1 2 ənd ˈɑnˌkɔr; ˈæmpləˌtud; ˈfrikwənsi; ˈfaɪnəl ˈfænəsi (ɛz ʃi ɪz ənˈlaɪkli, biɪŋ ən mmo*); ˈdrægən kwɛst viii*: ˈʤərni əv ðə kərst kɪŋ; ˈfeɪtəl freɪm 1 2 ənd 3 klɑk taʊər 3 ˈsaɪlənt hɪl 4 ðə rum, ənd ˈɔrəʤɪnz; ˈrɛzɪdənt ˈivəl geɪmz (ðoʊz ðət ˈhævənt bɪn); grəˈfiti ˈkɪŋdəm; geɪmz; ənd ˈmɛni, ˈmɛni mɔr! ðɪs ɪz ðə ˈbɪgəst nuz fər mi ɪn ə lɔŋ taɪm! aɪ ˈoʊnli hæd tɪ stɑp ˈlɪstɪŋ ɛz aɪ hæv ˈəðər θɪŋz tɪ du ənd doʊnt wɔnt tɪ əˈnɔɪ tu ˈmɛni ˈpipəl. ðə fərst ˈmænˌhənt pliz! ˈfɔrəm poʊsts: 2478 ˈkɑmɛnt 30 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 10 noʊz wəts əp!!! əm wɪθ ju broʊ!!! ˈfɔrəm poʊsts: 26 ˈkɑmɛnt 31 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 aɪ kən pleɪ ˈlɛʤəndz, ˈkɪŋdəm hɑrts ənd wɔlt ˈdɪzni wərld ˈmæʤɪkəl ˈreɪsɪŋ ɔn aɪl goʊ ˌɪnˈseɪn!!!!! ˈfɔrəm poʊsts: 55 ˈkɑmɛnt 32 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 ˈkɑmɛnt 23 baɪ jɛs, ðɛr wʊd bi ˈməni tɪ bi meɪd ɪf ˈsoʊni meɪd ɪt soʊ wi kən pleɪ ˈfɪzɪkəl ˈkɑpiz əv geɪmz. ɪts kɔld ˈsɛlɪŋ kənˈsoʊlz ənd ju ˈɔlsoʊ hæv tɪ lʊk æt ɪt ðɪs weɪ ɪf ðeɪ brɔt aʊt ˈdɪʤɪtəl ˈkɑpiz əv ˈtaɪtəlz ðət rən ɔn ˈiˌbeɪ ðɛn ˈpipəl wʊd stɪl ˈpərʧəs ðɛm ənd ɪt wʊd bi swit ɪf ju hæd ˈɛni geɪmz bɔt θru ðə ɪt wʊd bi swit ɪf ju kən ˈdaʊnˌloʊd ðə geɪmz ɔn jʊr ˈfɔrəm poʊsts: 64 ˈkɑmɛnt 33 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 19 2015 piɛm 0 ˌɔlˈðoʊ nɑt ə geɪm, bət aɪ wʊd ləv tɪ si spid friks kəm tɪ ðə ˈfɔrəm poʊsts: 5971 ˈkɑmɛnt 34 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 0 soʊ sæn ɑnˈdreɪəs maɪt ˈfaɪnəli gɪt ˈtroʊfiz? aɪ ˈrɪli hoʊp soʊ. ˈfɔrəm poʊsts: 131 ˈkɑmɛnt 35 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 0 ˈgɪmi ɔl ˈsaɪlənt hɪl geɪmz ˈfɔrəm poʊsts: 46 ˈkɑmɛnt 36 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 0 34 ˈsunər ðən ju maɪt θɪŋk ˈæˌkʧuəli bɪˈkəz tərnz aʊt sæn ɑnˈdreɪəs ɪz biɪŋ riˈlist fər ɔn dɪˈsɛmbər 1st*! ˈfɔrəm poʊsts: 1104 ˈkɑmɛnt 37 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 0 əm ˈseɪvɪŋ əp fər ə bɪˈkəz aɪ wɔnt tɪ ʤɔɪn ˈɪntu ðɪs fən. ˈfɔrəm poʊsts: 13961 ˈkɑmɛnt 38 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 0 dɑrk klaʊd 2 ˈfaɪnəl ˈfænəsi ənd wʊd ɔl bi nis ˌɛmjəˈleɪʃən wʊd bi ˈrɪli kul ðoʊ. ˈfɔrəm poʊsts: 13961 ˈkɑmɛnt 39 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 0 ˈdəbəl poʊst: ˈɔlsoʊ, fən fækt, ðə ɪz ˈæˌkʧuəli ðə ˌænəˈvərsəri əv mi ˈgɪtɪŋ ə ərˈɪʤənəli. 12 jɪrz əˈgoʊ aɪ θɪŋk haha*. ˈfɔrəm poʊsts: 1667 ˈkɑmɛnt 40 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 0 34 jæ ðə 360 ˈvərʒən həz əˈʧivmənts soʊ aɪ ˌɪˈmæʤən ðə ˈvərʒən wɪl tu. ˈfɔrəm poʊsts: 24 ˈkɑmɛnt 41 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 0 "..ðə ərˈaɪvəl əv ə fər ˈoʊˈkeɪ, ɪt ˈdɪdənt ʤɪst əraɪv, ɪts bɪn ɪn jʊr ˈkɑnsoʊl ðɪs hoʊl taɪm. ðɪs ˈɪzənt səm brænd nu ækˈsɛsəri ju kən baɪ. naʊ əˈveɪləbəl? jɛs, ɪts bɪn ˈæktɪˌveɪtɪd frəm ðə ˌɪnˈsaɪd. bət ðə ərˈaɪvəl pɑrt, noʊ... ˈfɔrəm poʊsts: 240 ˈkɑmɛnt 42 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 1 soʊ dɪz ðɪs wərk wɪθ dɪsks? ɪf nɑt ðɛn aɪ doʊnt si wət ðə bɪg dil ɪz əˈbaʊt. kəm ɔn, mɑrk əv kri*! aɪd peɪ gʊd ˈməni tɪ pleɪ ðət ɔn səʧ ən ˌəndərˈreɪtɪd ˈklæsɪk. ˈfɔrəm poʊsts: 1769 ˈkɑmɛnt 44 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 0 maɪ gɑd.... aɪ bɔt ə tɪ pleɪ geɪmz wɪθ ðə ˈleɪtəst ˈgræfɪks ənd ˌkeɪpəˈbɪləti. stɑp riˈhæʃɪŋ oʊld ʃɪt. ˈfɔrəm poʊsts: 6415 ˈkɑmɛnt 45 baɪ ˈsaɪbər ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 2 wɪθ ˈtroʊfi səˈpɔrt. pliz bi tru fər ɔl geɪmz. vaɪs ˈsɪti wɪθ ˈtroʊfi səˈpɔrt ˈfɔrəm poʊsts: 14120 ˈkɑmɛnt 46 baɪ ˈsɛlərz ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 0 44 ðɪs ˈɪzənt ə 'riˈhæʃ' ɪts ˌɛmjəˈleɪʃən... ˈivɪn soʊ ðə əˈmaʊnt əv nu geɪmz ˈvæstli aʊtˈnəmbərz. ˈfɔrəm poʊsts: 400 ˈkɑmɛnt 47 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 1 moʊst ˌɪmˈpɔrtəntli, ər ðeɪ goʊɪŋ tɪ bi ˈmeɪkɪŋ 2 əˈveɪləbəl? ˈfɔrəm poʊsts: 263 ˈkɑmɛnt 48 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 2 ɪt simz laɪk bɪˈkəz ˈpipəl hæv kəmˈpleɪnd əˈbaʊt ɔl ðə ˈriˈmeɪks ˈkəmɪŋ aʊt ðeɪ ər ʤɪst goʊɪŋ tɪ pʊʃ oʊld geɪmz wɪθ ˈtroʊfiz ənd ˈoʊnli əp ðə ˌrɛzəˈluʃən ˌɪnˈstɛd əv ˈtəʧɪŋ əp ðə ˈgræfɪks. ˈivɪn mɔr ˈleɪzi ðən ˈriˈmeɪks. ˈfɔrəm poʊsts: 299 ˈkɑmɛnt 49 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 0 aɪd ləv ˈmænɪʤər aɪ noʊ ɪts ə lɔŋ ʃɑt bət wʊd bi swit. ˈɔlsoʊ ɑnˈdreɪəs pliz ˈfɔrəm poʊsts: 3834 ˈkɑmɛnt 50 baɪ næps ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 1 noʊ wən ˈivɪn ˈmɛnʃənd ðə oʊld nid fər spid ənd ˈbərˌnaʊt geɪmz? aɪ θɔt ju gaɪz ləvd ðɛm? ˈfɔrəm poʊsts: 1391 ˈkɑmɛnt 51 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 0 48 ɔl əv ðə ˈriˈmeɪks jʊr ˈmɛnʃənɪŋ ər. bɪg ˈdɪfərəns. ˈfɔrəm poʊsts: 813 ˈkɑmɛnt 52 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 æm 0 48 soʊ... ər ˈleɪzi, gɪv ˈjuˈɛs ˌɛmjəˈleɪʃən" ɪz goʊɪŋ tɪ bɪˈkəm "ˌɛmjəˈleɪʃən ɪz ˈleɪzi, gɪv ˈjuˈɛs remake/remasters*?" ˈfɔrəm poʊsts: 16 ˈkɑmɛnt 53 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 piɛm 0 ðɪs meɪ hæv ɔˈrɛdi bɪn ˈænsərd, bət wət dɪz ðɪs min ɪf aɪ ɔˈrɛdi oʊn ðə ˈdɪʤɪtəl ˈvərʒən əv ðə geɪm? e.g*. aɪ bɔt ˈʤɛˌdi, ˈbaʊnti ˈhəntər ənd ˈreɪsər riˈvɛnʤ ɪn ðə ˈsəmər wɪn ðeɪ hæd ðə ˈmæsɪv stɑr wɔrz seɪl. wɪl aɪ gɪt ən ˈəpˈgreɪd ˈkɑpi fər ər wɪl aɪ hæv tɪ baɪ ɪt əˈgɛn? ˈfɔrəm poʊsts: 122 ˈkɑmɛnt 54 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 piɛm 1 28 ðeɪ nid tɪ du ðɪs fər ˈgɔntlət dɑrk ˈlɛgəsi, ðət wɑz ən əˈmeɪzɪŋ geɪm ˈfɔrəm poʊsts: 256 ˈkɑmɛnt 55 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 piɛm 1 aɪ wʊd laɪk tɪ pleɪ dɑrk klaʊd wɪθ ˈtroʊfiz! ˈfɔrəm poʊsts: 467 ˈkɑmɛnt 56 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 piɛm 0 aɪ wʊd laɪk səm mˈjuziəm geɪmz fər wɪθ ˈtroʊfiz. ˈfɔrəm poʊsts: 12 ˈkɑmɛnt 57 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 piɛm 0 haʊ əˈbaʊt psychonatus*? ðə 360 ˈvərʒən ɔˈrɛdi hæd əˈʧivmənts, waɪ nɑt æd ˈtroʊfiz tɪ ɪt. ˈfɔrəm poʊsts: 0 ˈkɑmɛnt 58 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 piɛm 1 pliz ˌɪnˈklud ˌɛmjəˈleɪʃən fər ˈfɪzɪkəl dɪsks tu ˈfɔrəm poʊsts: 0 ˈkɑmɛnt 59 baɪ ˈfraɪˌdeɪ, noʊˈvɛmbər 20 2015 piɛm 0 ɪts ɔl ˈstɑrtɪŋ tɪ meɪk sɛns naʊ waɪ ˈsoʊni ˈrɛʤɪstərd ə ˈpætənt fər ə nu ˈmɛθəd əv ˈtrɪgərɪŋ ˈtroʊfiz θru ˌɛmjəˈleɪʃən ə fju mənθs ˌbiˈfɔr ðə wɑz riˈlist. ˈhoʊpfəli ðɪs minz wɪl ˈfaɪnəli brɪŋ ðə sæn ɑnˈdreɪəs ɪˈdɪʃən tɪ ˈpleɪˌsteɪʃən wɪθ ˈtroʊfi səˈpɔrt. ˈfɔrəm poʊsts: 824 ˈkɑmɛnt 60 baɪ ˈsæˌtɪˌdeɪ, noʊˈvɛmbər 21 2015 æm 1 ˈtroʊfi səˈpɔrt jɛs! oʊ ðoʊz əv ju kəmˈpleɪnɪŋ əˈbaʊt noʊ dɪsk səˈpɔrt meɪk mi læf, nɑt ə bɪg dil :pi ˈfɔrəm poʊsts: 1667 ˈkɑmɛnt 61 baɪ ˈsæˌtɪˌdeɪ, noʊˈvɛmbər 21 2015 æm 0 nɛkst stɛp wʊd bi əˈlaʊɪŋ geɪmz ənd ˈhævɪŋ ˈtroʊfiz fər ðɛm. wʊd. bi. əˈmeɪzɪŋ. naʊ ˈsoʊni nid tɪ faɪnd ə weɪ əv ˈjutəˌlaɪzɪŋ naʊ ɛz ə weɪ əv fər geɪmz wi ɔˈrɛdi oʊn ər pleɪ+ geɪmz ɔn ɪt. ˈfɔrəm poʊsts: 2 ˈkɑmɛnt 62 baɪ ˈwɛnzˌdeɪ, noʊˈvɛmbər 25 2015 piɛm 1 aɪ hoʊp ðeɪ brɪŋ ˈʃæˌdoʊ əv roʊm ənd ənd ˈsæmʊˌraɪ ˈwɔrjərz 2 ˈlɛʤəndz ˈfɔrəm poʊsts: 2 ˈkɑmɛnt 63 baɪ ˈwɛnzˌdeɪ, noʊˈvɛmbər 25 2015 piɛm 1 oʊ ənd aɪ hoʊp ðeɪ æd ˈivəl dɛd fɪst fʊl əv ˈfɔrəm poʊsts: 28 ˈkɑmɛnt 64 baɪ ˈθərzˌdeɪ, noʊˈvɛmbər 26 2015 piɛm 0 60 ɪt ɪz ə bɪg dil ɪf ju hæv ə juʤ ˈlaɪbrɛˌri əv geɪmz ənd wɔnt tɪ pleɪ ðɛm wɪθ ˈtroʊfi səˈpɔrt bət doʊnt wɔnt tɪ ju oʊn geɪmz ˈfɔrəm poʊsts: 1769 ˈkɑmɛnt 65 baɪ ˈmənˌdeɪ, noʊˈvɛmbər 30 2015 æm 0 46 noʊ jʊr rɔŋ. riˈhæʃɪŋ minz tɪ brɪŋ bæk ðə pæst, pæst geɪmz. ˈɛmjəˌleɪtɪŋ ðɛm ɪz ˈbrɪŋɪŋ bæk ðə oʊld geɪmz.... seɪm ʃɪt. ˈfɔrəm poʊsts: 1769 ˈkɑmɛnt 66 baɪ ˈmənˌdeɪ, noʊˈvɛmbər 30 2015 æm 0 riˈhæʃ definiton*: pʊt (oʊld aɪˈdiəz ər məˈtɪriəl) ˈɪntu ə nu fɔrm wɪˈθaʊt sɪgˈnɪfɪkənt ʧeɪnʤ ər ˌɪmˈpruvmənt. "hi kənˈtɛntɪd hɪmˈsɛlf wɪθ ɔˈkeɪʒənəl ˈɑrtɪkəlz ɪn ˈʤərnəlz, riˈhæʃɪŋ hɪz oʊn wərk" ˈfɔrəm poʊsts: 188 ˈkɑmɛnt 67 baɪ ˈwɛnzˌdeɪ, dɪˈsɛmbər 02 2015 piɛm 0 59 aɪ rɪˈmɛmbər ðət tu, fərst θɪŋ aɪ θɔt əv wɪn aɪ hərd əˈbaʊt ðə. ðɪs ɪz ðə ˈɑrtɪkəl fər ˈɛniˌwən ɛls ˈwəndərɪŋ, ɪts oʊld bət ɪf ɪts wərks wɪθ ðɪs ðɛn ðət wʊd bi soʊ gʊd! ˈfɔrəm poʊsts: 1667 ˈkɑmɛnt 68 baɪ ˈθərzˌdeɪ, dɪˈsɛmbər 03 2015 piɛm 0 67 jæ, aɪ rɪˈmɛmbər ˈrɛdɪŋ ðət. ʤeɪd ˈɛmpaɪər ənd wʊd bi gʊd wɪθ ˈtroʊfiz. ˈfɔrəm poʊsts: 10 ˈkɑmɛnt 69 baɪ ˈfraɪˌdeɪ, dɪˈsɛmbər 04 2015 æm 0 31 ðeɪ ɔˈrɛdi hæv ˈkɪŋdəm hɑrts ənd ˈfaɪnəl mɪks ɔn ðɛr ðɛr fər ə ˈrizən. aɪd seɪ ɪf ə geɪm ɔˈrɛdi hæd ən ˈriˈmeɪk fər ðɛn ɪt ˈʃʊdənt ˈɔlsoʊ bi ɔn ðə ɪts ʤɪst ə ˈfɪlər æt ðət pɔɪnt bɪˈkəz moʊst əv ðə fænz ɔˈrɛdi hæv ðə kəˈlɛkʃənz əv geɪmz laɪk ˈræʧət klæŋk, ənd daxter*, ənd gɑd əv wɔr. ˈfɔrəm poʊsts: 24 ˈkɑmɛnt 70 baɪ ˈwɛnzˌdeɪ, dɪˈsɛmbər 09 2015 piɛm 0 dɑrk klaʊd (haɪpt) maɪ fərst geɪm ɔn soʊ ˈmɛni ˈmɛməriz ˈfɔrəm poʊsts: 3471 ˈkɑmɛnt 71 baɪ ˈsənˌdi, ˈʤænjuˌɛri 31 2016 piɛm 0 aɪ hoʊp tɪ si ə fju nu ˈtroʊfi lɪsts fər... ˈbʊli ˈsɪmpsənz: hɪt rən ˈtrɪpəl pleɪ 2001 græn ˈtʊrɪsmoʊ 4 ˈmeɪbi ˈivɪn ˈmɔrtəl ˈkɑmbæt ˈtrɪləʤi?? ˈfɔrəm poʊsts: 13 ˈkɑmɛnt 72 baɪ ˈθərzˌdeɪ, ˈfɛbruˌɛri 11 2016 æm 1
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forum posts: 3 comment #1 by zeroabbadon thursday, november 19, 2015 @ 07:26:42 pm ( 3 )
would be great if it included emulation for physical disks too, even if it didn't include trophies i'd still be happy with that
forum posts: 7940 comment #2 by solstice thursday, november 19, 2015 @ 07:30:22 pm ( 6 )
wait what? how has this not made big news? sounds super awesome and important, unless there's something i'm missing.
forum posts: 4232 comment #3 by drakehellsing thursday, november 19, 2015 @ 07:33:21 pm ( 1 )
wait, does this mean that we might be getting ps1 games onto the ps4... with trophies? i do hope that is the case eventually, or just bringing them to the ps4 in general.
forum posts: 2444 comment #4 by c1ned1ne thursday, november 19, 2015 @ 07:43:41 pm ( -4 )
how is reaching 60fps on hardware that is like ten times as powerful as the one a game was originally released on impressive? i rather like to know why jedi starfighter got singled out. does this mean every other game still runs 30fps?
i wonder what that will bring in the near future. after we got loads of remasters - some of questionable quality, some which did an impressive job - will that start a new wave of sub-par "remasters" which just slap on trophies as a quick nostalgia cash-in for publishers which couldn't be bothered by now to do a proper job?
forum posts: 124 comment #5 by lsnake thursday, november 19, 2015 @ 07:49:17 pm (0)
i second solstice..wait what? how/where/when is this available? is it baked into the fw of the ps4 so it's basically capable of emulating ps2 games now?
forum posts: 268 comment #6 by madbuk thursday, november 19, 2015 @ 07:52:10 pm ( 2 )
please allow discs.... please allow discs... please allow discs...
forum posts: 113 comment #7 by zedchuva thursday, november 19, 2015 @ 08:04:42 pm (0)
misleading. pop a ps2 disk in your system and see what happens.
forum posts: 11 comment #8 by fatalkrouzer thursday, november 19, 2015 @ 08:15:13 pm ( 7 )
spongebob: battle for bikini bottom and the spongebob square pants movie with trophies please!
forum posts: 4232 comment #9 by drakehellsing thursday, november 19, 2015 @ 08:16:50 pm (0)
@8 i actually have to agree there, those were good sb games. but for me, if anything, dark chronicle... i would play that in a heartbeat, platinum or not x.x
forum posts: 1485 comment #10 by static-x thursday, november 19, 2015 @ 08:18:22 pm ( 2 )
onimusha!!!
forum posts: 1834 comment #11 by neosnake101 thursday, november 19, 2015 @ 08:31:49 pm ( 1 )
this is not officially announced, most likely because of playstation experience, which will take place in about 3 weeks. they may unveil this then, including a list of compatible ps2 titles. and we already know some titles like dark cloud 2 and twisted metal: black were re-rated by esrb recently.
forum posts: 27215 comment #12 by slamma thursday, november 19, 2015 @ 08:35:55 pm (0)
sweet, hopefully i get a ps4 for christmas!
forum posts: 4232 comment #13 by drakehellsing thursday, november 19, 2015 @ 08:39:22 pm (0)
@11 wait, dark chronicle was? well over here it's known as dark chronicle... but if it was re-rated...
yeah, i'm just going to have to wait and see, cause while that would be amazing, as i loved that game myself, gonna wait for a proper announcement.
forum posts: 59 comment #14 by brian1971 thursday, november 19, 2015 @ 08:41:45 pm ( -1 )
a year ago sony announced that psnow would only offer ps3 games and that they would have an emulator for psone and ps2 games via software emulation. they must be rolling that out now starting with the star wars games.
i doubt we'll ever see ps3 emulation. i'd reckon it's because of the very different technology of the ps3 and ps4. you can easily emulate the older consoles. besides, they are still releasing games for the ps3 and xbox 360. they aren't discontinued yet.
onimusha is happening. it's got to be but i wish it was a remaster in hd.
forum posts: 10 comment #16 by gr4v1g0r3 thursday, november 19, 2015 @ 08:44:47 pm (0)
that's great news, now just get all those ps2 shmups on psn and i'm happy as a pig in sh...
forum posts: 150 comment #17 by johnnyjh thursday, november 19, 2015 @ 08:45:12 pm ( -3 )
bring jak and daxter,
jak ii,
jak 3
twisted metal black
dragonball z budokai tenkaichi 2
god of war ii
ratchet and clank games
forum posts: 4 comment #18 by kc1294 thursday, november 19, 2015 @ 08:59:48 pm (0)
holy crap! can i play my final fantasy 12 in the emulator??
forum posts: 11 comment #19 by fatalkrouzer thursday, november 19, 2015 @ 09:08:04 pm (0)
@17 uhhhh have you not heard of the collection games? lol
forum posts: 94 comment #20 by sexpantherindustries thursday, november 19, 2015 @ 09:12:28 pm ( 1 )
after seeing this if we hear that gta 3, vice city, san andreas, lcs,and vcs, will come to this emulation system with trophies i will buy a ps4 for sure then.
forum posts: 502 comment #21 by wilkz13 thursday, november 19, 2015 @ 09:12:59 pm ( 1 )
allowing discs would be great. can dust off the games i have.
forum posts: 110 comment #22 by jooles thursday, november 19, 2015 @ 09:26:16 pm ( 2 )
dark cloud 2? fuck yes! buy it, people, and that much deserved dc3 might be in reach.
forum posts: 3332 comment #23 by vikebone thursday, november 19, 2015 @ 09:58:33 pm (0)
while allowing existing ps2 discs would be great, it may not happen due to the fact that then there is no money to be made for sony.
forum posts: 1667 comment #24 by tucknorris85 thursday, november 19, 2015 @ 10:05:35 pm ( 1 )
nothing to do with x1 getting bc. no correlation between that and this whatsoever, not in the slightest.
forum posts: 1667 comment #25 by tucknorris85 thursday, november 19, 2015 @ 10:08:07 pm (0)
seriously though, this is pretty awesome. especially with trophies.
i was a pc gamer during the ps2 era. what were its best games?
forum posts: 3945 comment #26 by diskdocx thursday, november 19, 2015 @ 10:08:52 pm (0)
@23 - if they don't allow ps2 discs to play, i wouldn't consider this emulation. i would say it is re-releasing old ps2 games that have been modified to run on the ps4.
technically, if it is emulation, as i understand it, the game should run in it's original format.
i am not convinced this is emulation. bottom line, if it will only work for digital games that you have to re-purchase and download, then it really is indistinguishable, practically speaking, from a re-release.
forum posts: 1710 comment #27 by averysegaw thursday, november 19, 2015 @ 10:30:22 pm (0)
i wouldn't expect it to include every ps2 game. i'll bet it's similar to the x1's bc which requires a little code tweaking on a per-title basis. it'd be a nice gesture if they let you download the game for free if you have the disc, but we'll see.
forum posts: 17 comment #28 by leboyo56 thursday, november 19, 2015 @ 10:45:15 pm (0)
as others have noted, just waiting for dark cloud 1 and 2 :3 they're my favorite rpgs of all time. i'll just make a long list of all the games i want to see come to this that others haven't mentioned, even if they don't seem likely (comment your own favorites if i miss them, which i probably will).
also note i'm excluding remastered games that have reappeared through collections and the like (okami, jak and daxter, sly cooper, ratchet and clank, ico/shadow of the colossus, etc.):
crash: twinsanity; crash team racing: nitro kart; crash tag team racing; crash of the titans (maybe mind over mutant);
destroy all humans! 1 and 2;
max payne 1 and 2;
the punisher; ultimate spider-man; spiderman 2; the incredible hulk: ultimate destruction;
scooby-doo: night of 100 frights, mystery mayhem, and unmasked (had to put these after someone mentioned the spongebob games);
gauntlet: dark legacy;
baldur's gate: dark alliance 1 and 2;
champions of norrath;
guitar hero 1, 2 and encore; amplitude; frequency;
final fantasy xii (as xi is unlikely, being an mmo);
dragon quest viii: journey of the cursed king;
fatal frame 1, 2 and 3;
clock tower 3;
silent hill 4: the room, and origins;
resident evil games (those that haven't been remastered);
graffiti kingdom;
ssx games;
and many, many more! this is the biggest ps4 news for me in a long time! i only had to stop listing as i have other things to do and don't want to annoy too many people.
the first manhunt please!
forum posts: 2478 comment #30 by icposse8 thursday, november 19, 2015 @ 11:09:07 pm (0)
#10 knows what's up!!! i'm with you bro!!!
forum posts: 26 comment #31 by tolofter thursday, november 19, 2015 @ 11:25:39 pm (0)
omg....if i can play x-men legends, kingdom hearts and walt disney world magical racing on ps4, i'll go insane!!!!!
forum posts: 55 comment #32 by maxthunder99 thursday, november 19, 2015 @ 11:36:09 pm (0)
comment #23 by vikebone
yes, there would be money to be made if sony made it so we can play physical copies of games. it's called selling consoles and you also have to look at it this way if they brought out digital copies of titles that run $50-$200 on ebay then people would still purchase them and it would be sweet if you had any ps2 games bought through the ps3 psn it would be sweet if you can download the games on your ps4.
forum posts: 64 comment #33 by ironfist thursday, november 19, 2015 @ 11:58:31 pm (0)
although not a ps2 game, but i would love to see speed freaks come to the ps4.
forum posts: 5971 comment #34 by vazzvegas friday, november 20, 2015 @ 12:30:00 am (0)
so gta san andreas might finally get trophies? i really hope so.
forum posts: 131 comment #35 by avan friday, november 20, 2015 @ 01:02:08 am (0)
omg omg gimme all silent hill games
forum posts: 46 comment #36 by dell9300 friday, november 20, 2015 @ 01:49:30 am (0)
@34, sooner than you might think actually because turns out san andreas is being released for ps3 on december 1st! ;)
http://www.game.co.uk/en/grand-theft-auto-san-andreas-895106/
forum posts: 1104 comment #37 by wrestlefanatic77 friday, november 20, 2015 @ 02:45:29 am (0)
i'm saving up for a ps4 because i want to join into this fun.
forum posts: 13961 comment #38 by mcolwander90 friday, november 20, 2015 @ 04:01:12 am (0)
dark cloud 2, final fantasy xii and thps 3/4 would all be nice :)
disc-based emulation would be really cool though.
forum posts: 13961 comment #39 by mcolwander90 friday, november 20, 2015 @ 04:02:30 am (0)
double post: also, fun fact, the 19th is actually the anniversary of me getting a ps2 originally. 12 years ago i think haha.
forum posts: 1667 comment #40 by tucknorris85 friday, november 20, 2015 @ 04:53:22 am (0)
@34 yeah the 360 version has achievements so i imagine the ps3 version will too.
forum posts: 24 comment #41 by nmerickson friday, november 20, 2015 @ 05:31:20 am (0)
"..the arrival of a ps2 emulator for ps4" ok, it didn't just arrive, it's been in your console this whole time. this isn't some brand new accessory you can buy. now available? yes, it's been activated from the inside. but the arrival part, no...
forum posts: 240 comment #42 by rrdude_pbb friday, november 20, 2015 @ 06:25:23 am ( 1 )
so does this work with ps2 discs? if not then i don't see what the big deal is about.
come on, mark of kri! i'd pay good money to play that on ps4, such an underrated classic.
forum posts: 1769 comment #44 by darkbyke friday, november 20, 2015 @ 07:29:59 am (0)
my god.... i bought a ps4 to play games with the latest graphics and capability. stop rehashing old shit.
forum posts: 6415 comment #45 by cyber friday, november 20, 2015 @ 08:25:28 am ( 2 )
with trophy support. omg please be true for all games. vice city with trophy support nowwwww
forum posts: 14120 comment #46 by sellers friday, november 20, 2015 @ 08:48:48 am (0)
@44 this isn't a 'rehash' it's emulation...
even so the amount of new games vastly outnumbers remasters.
forum posts: 400 comment #47 by hudafuk friday, november 20, 2015 @ 09:06:52 am ( 1 )
most importantly, are they going to be making timesplitters 2 available?
forum posts: 263 comment #48 by zachsp8 friday, november 20, 2015 @ 10:19:06 am ( -2 )
it seems like because people have complained about all the hd remakes coming out they are just going to push old games with trophies and only up the resolution instead of touching up the graphics.
even more lazy than hd remakes.
forum posts: 299 comment #49 by demon_destroyer friday, november 20, 2015 @ 11:04:36 am (0)
i'd love lma manager i know it's a long shot but would be sweet.
also gta:san andreas please :)
forum posts: 3834 comment #50 by naps friday, november 20, 2015 @ 11:28:34 am ( 1 )
no one even mentioned the old need for speed and burnout games? i thought you guys loved them? :)
forum posts: 1391 comment #51 by druoxrodest friday, november 20, 2015 @ 11:32:16 am (0)
@48
all of the remakes you're mentioning are remasters. big difference.
forum posts: 813 comment #52 by docdoomii friday, november 20, 2015 @ 11:38:00 am (0)
@48 so... "remake/remasters are lazy, give us emulation" is going to become "emulation is lazy, give us remake/remasters?"
forum posts: 16 comment #53 by darthrevan182 friday, november 20, 2015 @ 12:06:31 pm (0)
this may have already been answered, but what does this mean if i already own the digital version of the ps2 game?
e.g. i bought jedi starfighter, bounty hunter and racer revenge in the summer when they had the massive star wars sale.
will i get an upgrade copy for ps4 or will i have to buy it again?
forum posts: 122 comment #54 by callam001 friday, november 20, 2015 @ 12:10:01 pm ( 1 )
@28 they need to do this for gauntlet dark legacy, that was an amazing game
forum posts: 256 comment #55 by sidequestshane friday, november 20, 2015 @ 02:45:03 pm ( 1 )
i would like to play dark cloud with trophies!
forum posts: 467 comment #56 by atarster friday, november 20, 2015 @ 03:08:18 pm (0)
i would like some namco museum games for ps2 with trophies.
forum posts: 12 comment #57 by flyingdutchmaster friday, november 20, 2015 @ 03:43:31 pm (0)
how about psychonatus? the 360 version already had achievements, why not add trophies to it.
forum posts: 0 comment #58 by gta32 friday, november 20, 2015 @ 03:53:23 pm ( 1 )
please include emulation for physical disks too
forum posts: 0 comment #59 by yungflashyy friday, november 20, 2015 @ 06:47:18 pm (0)
it's all starting to make sense now why sony registered a patent for a new method of triggering trophies through emulation a few months before the ps4 was released. hopefully this means rockstar will finally bring the san andreas hd edition to playstation with trophy support.
forum posts: 824 comment #60 by emperorzeus12 saturday, november 21, 2015 @ 01:32:37 am ( 1 )
trophy support yes! oh those of you complaining about no disc support make me laugh, not a big deal :p
forum posts: 1667 comment #61 by tucknorris85 saturday, november 21, 2015 @ 09:56:55 am (0)
next step would be allowing ps1 games and having trophies for them. would. be. amazing.
now sony need to find a way of utilizing ps now as a way of bc for games we already own or play ps+ ps3 games on it.
forum posts: 2 comment #62 by gamerfreak48 wednesday, november 25, 2015 @ 06:22:01 pm ( 1 )
i hope they bring shadow of rome and darkwatch and samurai warriors 2 xtreme legends
forum posts: 2 comment #63 by gamerfreak48 wednesday, november 25, 2015 @ 06:23:16 pm ( 1 )
oh and i hope they add evil dead fist full of boomstick
forum posts: 28 comment #64 by jim84 thursday, november 26, 2015 @ 02:24:35 pm (0)
@60 it is a big deal if you have a huge library of ps2 games and want to play them with trophy support but don't want to re-buy you own games
forum posts: 1769 comment #65 by darkbyke monday, november 30, 2015 @ 01:17:13 am (0)
@46 no you're wrong. rehashing means to bring back the past, past games. emulating them is bringing back the old games.... same shit.
forum posts: 1769 comment #66 by darkbyke monday, november 30, 2015 @ 01:18:26 am (0)
rehash definiton: put (old ideas or material) into a new form without significant change or improvement.
"he contented himself with occasional articles in journals, rehashing his own work"
forum posts: 188 comment #67 by joco wednesday, december 02, 2015 @ 02:04:54 pm (0)
@59 i remember that too, first thing i thought of when i heard about the emulator. this is the article for anyone else wondering, it's old but if its works with this emulator then that would be so good!
http://uk.ign.com/articles/2013/03/21/are-trophies-coming-for-psone-and-ps2-classics
forum posts: 1667 comment #68 by tucknorris85 thursday, december 03, 2015 @ 07:22:03 pm (0)
@67 yeah, i remember reading that. jade empire and kotor would be good with trophies.
forum posts: 10 comment #69 by ragercre8or friday, december 04, 2015 @ 03:34:28 am (0)
@31 they already have kingdom hearts 1.5 and 2.5 final mix on ps3. they're there for a reason. i'd say if a ps2 game already had an hd remake for ps3, then it shouldn't also be on the ps4. its just a filler at that point because most of the fans already have the hd collections of games like ratchet & clank, jak and daxter, and god of war.
forum posts: 24 comment #70 by ragemaru wednesday, december 09, 2015 @ 11:57:02 pm (0)
dark cloud (hyped) my first game on ps2, so many memories :)
forum posts: 3471 comment #71 by chewbacon sunday, january 31, 2016 @ 02:47:24 pm (0)
i hope to see a few new trophy lists for...
bully
simpsons: hit & run
triple play 2001
gran turismo 4
maybe even mortal kombat trilogy??
forum posts: 13 comment #72 by theonewithoutfear thursday, february 11, 2016 @ 02:01:23 am ( 1 )
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ðə ˌjʊrəˈpiən kəˈmɪʃən ɪz rɪˈfərɪŋ ðə ʧɛk riˈpəblɪk ənd ˈləksəmˌbɔrg tɪ ðə kɔrt əv ˈʤəstɪs əv ðə ˈoʊvər ðə ˈfeɪljər tɪ ˈnoʊtəˌfaɪ kəmˈplit əv ðə dɪˈrɛktɪv ɔn ˈmɛʒərz fəˈsɪləˌteɪtɪŋ ˈmoʊbəl ˈwərkərz tɪ ˈɛksərˌsaɪz ðɛr raɪts ɪn ðə ˈkɑntɛkst əv ˈfridəm əv ˈmuvmənt (dɪˈrɛktɪv) ˈɪntu ðɛr ˈnæʃənəl ˌlɛʤəsˈleɪʃən, mɔr ðən wən jɪr ˈæftər ɪts ˈdɛˌdlaɪn. fri ˈmuvmənt ɪz wən əv ðə ˈbɪgəst ædˈvæntɪʤɪz əv ðə ˈsɪŋgəl ˈmɑrkɪt. əˈkɔrdɪŋ tɪ ðə ˈleɪtəst eurobarometer*, mɔr ðən eɪt aʊt əv tɛn ˌjʊrəˈpiənz səˈpɔrt ðə "fri ˈmuvmənt əv ˈsɪtɪzənz hu kən lɪv, wərk, ˈstədi ənd du ˈbɪznɪs ˈɛniˌwɛr ɪn ðə". bət fri ˈmuvmənt həz tɪ ˈhæpən ɪn ə fɛr weɪ. ˈðɛrˌfɔr, ðɪs kəˈmɪʃən ɪz ˈteɪkɪŋ ˈmɛʒərz tɪ əˈvɔɪd ˈsoʊʃəl ˈdəmpɪŋ, baɪ ˈgɪvɪŋ ˈnæʃənəl əˈθɔrətiz ðə tulz tɪ faɪt əˈbjuzɪz ənd frɔd. æt ðə seɪm taɪm, ˈwərkərz' raɪts nid tɪ bi prəˈtɛktɪd ˈɔlsoʊ wɪn ðeɪ wərk əˈbrɔd. ɪn ðɪs ˈkɑntɛkst, ðə raɪt əv ˈsɪtɪzənz tɪ wərk ɪn əˈnəðər ˈmɛmbər steɪt, leɪd daʊn ɪn ˈɑrtɪkəl 45 əv ðə ˈtriti ɔn ðə ˈfəŋkʃənɪŋ əv ðə ˌjʊrəˈpiən ˈjunjən (tfeu*), ˌɪnˈkludz ðə raɪt nɑt tɪ bi dɪˈskrɪməˌneɪtɪd əˈgɛnst ɔn graʊnz əv ˌnæʃəˈnælɪti ɛz rɪˈgɑrdz ˈækˌsɛs tɪ ɪmˈplɔɪmənt, peɪ ənd ˈəðər ˈwərkɪŋ kənˈdɪʃənz. θru ðə dɪˈrɛktɪv fəˈsɪləˌteɪtɪŋ ðə ˈɛksərˌsaɪz əv raɪts kənˈfərd tɪ ˈmoʊbəl ˈwərkərz, ðə wɔnts tɪ ɪˈneɪbəl ˈmoʊbəl ˈwərkərz ənd ˈnæʃənəl əˈθɔrətiz tɪ ɛnˈfɔrs ðiz raɪts ɪn ˈpræktɪs, ənd tɪ ˌɪmˈpruv ˈækˌsɛs əv ˈmoʊbəl ˈsɪtɪzənz tɪ ˌɪnˌfɔrˈmeɪʃən ənd əˈsɪstəns ˈsərvɪsɪz ɪn ðə ˈmɛmbər steɪts. ˈəndər ðə dɪˈrɛktɪv, ˈmɛmbər steɪts ər rikˈwaɪərd tɪ ˈdɛzɪgˌneɪt wən ər mɔr ˈbɑdiz tɪ prəˈmoʊt ˈikwəl ˈtritmənt ənd prəˈvaɪd səˈpɔrt ənd əˈsɪstəns tɪ ˈmoʊbəl ˈwərkərz wɪθ ðə ɛnˈfɔrsmənt əv ðɛr raɪts (si ðə lɪst əv ðə ˈbɑdiz hir). ðə dɪˈrɛktɪv ˈɔlsoʊ əˈblaɪʤɪz ˈmɛmbər steɪts tɪ ɪnˈʃʊr ˈækˌsɛs tɪ ˈifɛktɪv ˈligəl prəˈtɛkʃən ɪn keɪs ðiz raɪts ər briʧt ənd tɪ prəˈmoʊt ˈæktɪv ˈdaɪəˌlɔg bɪtˈwin ˈsoʊʃəl ˈpɑrtnərz, ənd ˈpəblɪk əˈθɔrətiz wɪθ ə vju tɪ ɪnˈkərəʤɪŋ ðə ˈprɪnsəpəl əv ˈikwəl ˈtritmənt. ˈmɛmbər steɪts' lɔz, ˌrɛgjəˈleɪʃənz ənd ədˈmɪnɪˌstreɪtɪv prəˈvɪʒənz ˈnɛsəˌsɛri tɪ kəmˈplaɪ wɪθ ðə dɪˈrɛktɪv hæd tɪ ˈɛnər ˈɪntu fɔrs baɪ 21 meɪ 2016 ənd ðə kəˈmɪʃən hæd tɪ bi ˌɪnˈfɔrmd ˌɪˈmiˌdiətli. ˌɔlˈðoʊ ðə kəˈmɪʃən sɛnt ə ˈlɛtər əv ˈfɔrməl ˈnoʊtɪs ənd ə ˈrizənd əˈpɪnjən ˈæskɪŋ ʧɛk riˈpəblɪk ənd ˈləksəmˌbɔrg tɪ ˈnoʊtəˌfaɪ fʊl kəmˈplaɪəns wɪθ ðə dɪˈrɛktɪv, ˈləksəmˌbɔrg həz ˈnoʊtəˌfaɪd ˈmɛʒərz ˈoʊnli ˈpɑrʃəli dɪˈrɛktɪv ˈɪntu ˈnæʃənəl lɔ ənd ʧɛk riˈpəblɪk həz nɑt jɛt kəmˈjunəˌkeɪtɪd əv ðə dɪˈrɛktɪv æt all.therefore*, ɔn ðə ˈbeɪsɪs əv ðə prəˈsiʤər sɛt aʊt ɪn ˈɑrtɪkəl tfeu*, ðə kəˈmɪʃən wɪl rɪkˈwɛst ðə kɔrt əv ˈʤəstɪs tɪ ˌɪmˈpoʊz ə ˈdeɪli ˈpɛnəlti ˈpeɪmənt əv ɔn ˈləksəmˌbɔrg ənd ɔn ðə ʧɛk riˈpəblɪk ənˈtɪl ðə dɪˈrɛktɪv ɪz ˈfʊli trænˈspoʊzd ˈɪntu ˈnæʃənəl ˌlɛʤəsˈleɪʃən. ˈmɛmbər steɪts ðət feɪl tɪ kəmˈjunəˌkeɪt ˈmɛʒərz ər pərˈsud baɪ ðə kəˈmɪʃən ɛz ə ˈmætər əv praɪˈɔrəti. ˈbækˌgraʊnd ðə kəˈmɪʃən əˈdrɛst ə ˈlɛtər əv ˈfɔrməl ˈnoʊtɪs tɪ boʊθ ʧɛk riˈpəblɪk ənd ˈləksəmˌbɔrg ɔn 22 sɛpˈtɛmbər 2016 ˈfɑloʊd baɪ ə ˈrizənd əˈpɪnjən ɔn 16 ˈfɛbruˌɛri 2017 ˈnæʃənəl əˈθɔrətiz əv ˈləksəmˌbɔrg hæv ˌɪnˈfɔrmd ðə kəˈmɪʃən ðət ðə dɪˈrɛktɪv həz bɪn trænˈspoʊzd ɪkˈsɛpt ðə prəˈvɪʒənz əv ðə dɪˈrɛktɪv rɪˈleɪtɪd tɪ ðə ˌdɛzɪgˈneɪʃən ənd tæsks əv ðə ˈbɑdi; ðə ˈrɛləvənt dræft lɔ ɪz ˈəndər dɪˈskəʃən æt ðə ˈnæʃənəl ˈpɑrləmɛnt. ˈnæʃənəl əˈθɔrətiz əv ðə ʧɛk riˈpəblɪk hæv ˌɪnˈfɔrmd ðə kəˈmɪʃən ðət ðə dræft ækt ðə dɪˈrɛktɪv ɪz ˈəndər dɪˈskəʃən æt ðə ˈnæʃənəl ˈpɑrləmɛnt. fʊl kəmˌjunəˈkeɪʃən əv ˈmɛʒərz ɪz ˈnɛsəˌsɛri fər ðə kəˈmɪʃən tɪ ˈvɛrəˌfaɪ ðə kərˈɛkt ɛnˈfɔrsmənt əv ðə dɪˈrɛktɪv. sɪns kəmˈplit həz nɑt bɪn ˈfɔrməli ˈnoʊtəˌfaɪd baɪ ˈniðər əv ðə tu ˈmɛmbər steɪts, ðə kəˈmɪʃən ˌdɪˈsaɪdɪd tɪ rɪˈfər ʧɛk riˈpəblɪk ənd ˈləksəmˌbɔrg tɪ ðə kɔrt əv ˈʤəstɪs əv ðə. fər mɔr ˌɪnˌfɔrˈmeɪʃən ɔn ðə ki dɪˈsɪʒənz ɪn ðə ɑkˈtoʊbər 2017 ˌɪnˈfrɪnʤmənts ˈpækɪʤ, si fʊl ɔn ðə ˈʤɛnərəl ˌɪnˈfrɪnʤmənts prəˈsiʤər, si (infograph*). ɔn ðə ˌɪnˈfrɪnʤmənts prəˈsiʤər.
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the european commission is referring the czech republic and luxembourg to the court of justice of the eu over the failure to notify complete transposition of the directive on measures facilitating mobile workers to exercise their rights in the context of freedom of movement (directive 2014/54/eu) into their national legislation, more than one year after its transposition deadline.
free movement is one of the biggest advantages of the single market. according to the latest eurobarometer, more than eight out of ten europeans support the "free movement of eu citizens who can live, work, study and do business anywhere in the eu". but free movement has to happen in a fair way. therefore, this commission is taking measures to avoid social dumping, by giving national authorities the tools to fight abuses and fraud. at the same time, workers' rights need to be protected also when they work abroad.
in this context, the right of eu citizens to work in another member state, laid down in article 45 of the treaty on the functioning of the european union (tfeu), includes the right not to be discriminated against on grounds of nationality as regards access to employment, pay and other working conditions. through the directive facilitating the exercise of rights conferred to mobile workers, the eu wants to enable mobile workers and national authorities to enforce these rights in practice, and to improve access of mobile eu citizens to information and assistance services in the member states.
under the directive, member states are required to designate one or more bodies to promote equal treatment and provide support and assistance to mobile eu workers with the enforcement of their rights (see the list of the bodies here). the directive also obliges member states to ensure access to effective legal protection in case these rights are breached and to promote active dialogue between social partners, ngo's and public authorities with a view to encouraging the principle of equal treatment.
member states' laws, regulations and administrative provisions necessary to comply with the directive had to enter into force by 21 may 2016 and the commission had to be informed immediately. although the commission sent a letter of formal notice and a reasoned opinion asking czech republic and luxembourg to notify full compliance with the directive, luxembourg has notified measures only partially transposing directive 2014/54/eu into national law and czech republic has not yet communicated transposition of the directive at all.therefore, on the basis of the procedure set out in article 260(3) tfeu, the commission will request the court of justice to impose a daily penalty payment of €6,528 on luxembourg and €33,510.4 on the czech republic until the directive is fully transposed into national legislation. member states that fail to communicate transposition measures are pursued by the commission as a matter of priority.
background
the commission addressed a letter of formal notice to both czech republic and luxembourg on 22 september 2016, followed by a reasoned opinion on 16 february 2017. national authorities of luxembourg have informed the commission that the directive has been transposed except the provisions of the directive related to the designation and tasks of the body; the relevant draft law is under discussion at the national parliament. national authorities of the czech republic have informed the commission that the draft act transposing the directive is under discussion at the national parliament. full communication of transposition measures is necessary for the commission to verify the correct enforcement of the directive. since complete transposition has not been formally notified by neither of the two member states, the commission decided to refer czech republic and luxembourg to the court of justice of the eu.
for more information
- on the key decisions in the october 2017 infringements package, see full memo/17/3494.
- on the general infringements procedure, see memo/12/12 (infograph).
- on the eu infringements procedure.
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ˈæftər ə ˈfɛdərəl ˌɪnˌvɛstəˈgeɪʃən ˈɪntu ðə ʤɔrʤ ˈwɔʃɪŋtən brɪʤ leɪn ˈkloʊzɪŋz ˈskændəl, ə ʤəʤ ɪn nu ˈʤərzi ənˈsild ˌɪnˈdaɪtmənts əˈgɛnst tu ˈpipəl kloʊz tɪ gəv. krɪs ˈkrɪsti, ˈaʊˌtlaɪnɪŋ ə kənˈspɪrəsi meɪd wɪθ ə θərd ˈkɑnfəˌdɑnt tɪ ɪgˈzækt pəˈlɪtɪkəl ˈvɛnʤəns əˈgɛnst ə meɪər fər nɑt ɛnˈdɔrsɪŋ ðə re-election*. ðə juˈnaɪtɪd steɪts əˈtərni fər nu ˈʤərzi, pɔl ʤeɪ. ˈfɪʃˌmæn, əˈnaʊnst ðə ˌɪnˈdaɪtmənts æt ə nuz ˈkɑnfərəns ɔn ˈfraɪˌdeɪ, ˈbreɪkɪŋ hɪz lɔŋ ˈsaɪləns əˈbaʊt ə ˈskændəl ðət ˈstɑrtɪd ɛz ən ˌɪnkˈwaɪˌri ˈɪntu ðə kɔz əv ə ˈtræfɪk ʤæm ənd həz sɪns lɛd tɪ ə hoʊst əv ˈəðər ˌɪnˌvɛstəˈgeɪʃənz ˈɪntu ðə ˈkrɪsti ædˌmɪnɪˈstreɪʃən, θˈrɛtənɪŋ ðə pəˈlɪtɪkəl fˈjuʧər əv wən əv ðə ˈlidɪŋ rɪˈpəblɪkənz. ˈmɪstər. ˈfɪʃˌmæn sɛd ðət ðə kənˈspɪrətərz victimized”*” ðə ˈsɪtɪzənz əv fɔrt li, n.j*., ˈpərpəsli ˈskɛʤʊlɪŋ ðə plæn tɪ ˌkoʊɪnˈsaɪd wɪθ ðə fərst deɪ əv skul. ðɛn, hi sɛd, ðeɪ sɔt tɪ ˈkəvər əp ðə skim wɪθ ə ““sham”*” ˈstɔri əv ə ˈtræfɪk ˈstədi ɔn ðə brɪʤ tɪ mænˈhætən. hi sɛd ðət ðɛr wɑz ˈɛvədəns tɪ səˈʤɛst ðət ˈjuzɪŋ ə ˈtræfɪk ʤæm tɪ ɪgˈzækt riˈvɛnʤ wɑz dɪˈskəst ɛz fɑr bæk ɛz 2011
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after a 16-month federal investigation into the george washington bridge lane closings scandal, a judge in new jersey unsealed indictments against two people close to gov. chris christie, outlining a conspiracy made with a third confidant to exact political vengeance against a mayor for not endorsing the governor’s re-election.
the united states attorney for new jersey, paul j. fishman, announced the indictments at a news conference on friday, breaking his long silence about a scandal that started as an inquiry into the cause of a traffic jam and has since led to a host of other investigations into the christie administration, threatening the political future of one of the nation’s leading republicans.
mr. fishman said that the conspirators “callously victimized” the citizens of fort lee, n.j., purposely scheduling the lane-closing plan to coincide with the first day of school. then, he said, they sought to cover up the scheme with a “sham” story of a traffic study on the bridge to manhattan. he said that there was evidence to suggest that using a traffic jam to exact revenge was discussed as far back as 2011.
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ˈɪnəˌveɪtɪv breɪd, ˈdɪfərˈɛntli ˈɪnəˌveɪtɪv ˈsupər mit bɔɪ ənd ˈhɔrər ədˈvɛnʧər geɪm loʊn sərˈvaɪvər hæv bɪn ˈædɪd tɪ ðə ɔˈrɛdi ˌɪˈmɛnsli səkˈsɛsfəl ˈhəmbəl ˈbəndəl 5 ˈɛniˌwən huz ɔˈrɛdi bɔt ðə ˈbəndəl wɪl bi ˈeɪbəl tɪ græb ðə nu geɪmz ˈgrætəs. ɪf ju ˈhævənt ɔˈrɛdi bɔt ðə ˈbəndəl (waɪ???), jul nid tɪ splæʃ aʊt mɔr ðən ðə ˈævərɪʤ (ˈkərəntli tɪ gɪt ðə θri geɪmz ˌɪnˈkludɪd. ðə ˈleɪtəst ˈhəmbəl ˈbəndəl həz bɪn ðə bɛst jɛt, ˈpækɪŋ ˈbæsʧən, ˈlɪmboʊ, æmˈniʒə, ənd ˈɪntu wən ˈtaɪdi ənd ʧip ˈvərʧuəl bɑks. naʊ ɪts hɑrd tɪ noʊ haʊ ɪt kʊd bi ˈɛni mɔr ˈɔsəm, ənˈlɛs ɪt ˈædɪd 3 tɪ ðə ˈrɑstər. wɪr ˈɔlsoʊ nɑt ʃʊr haʊ ˈɛni fˈjuʧər ˈbəndəl kən stænd ə hoʊp ɪn hɛl əˈgɛnst ɪts ʃɪr ˈblaɪndɪŋ awesomeness*.
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innovative platformer braid, differently innovative platformer super meat boy and horror adventure game lone survivor have been added to the already immensely successful humble bundle 5 . anyone who's already bought the bundle will be able to grab the new games gratis. if you haven't already bought the bundle (why???), you'll need to splash out more than the average (currently $7.87) to get the three games included.
the latest humble bundle has been the best yet, packing bastion, limbo, amnesia, psychonauts and superbrothers into one tidy and cheap virtual box. now it's hard to know how it could be any more awesome, unless it added half-life 3 to the roster. we're also not sure how any future bundle can stand a hope in hell against its sheer blinding awesomeness.
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ˈjunjən roʊd ənd ˈtrænspɔrt ˈmɪnɪstər sɛd ˈwɛnzˌdeɪ ðət hɪz ˈmɪnɪstri ɪz kəˈmɪtɪd tɪ ɪnˈʃʊr æt list 2 pərˈsɛnt groʊθ ɪn θru ˌɪnfrəˈstrəkʧər ˈsɛktər. hi sɛd baɪ meɪ 2016 ðə ˈmɪnɪstri wɪl əˈʧiv ə ˈtərgət əv ˈbɪldɪŋ 30 əv roʊdz ə deɪ ɛz əˈgɛnst ˈprɛzənt 12 ə deɪ. "wɪn ðə ˈgəvərnmənt tʊk ˈoʊvər, ðə roʊd ˈbɪldɪŋ peɪs wɑz ˈbɛrli 2 ə deɪ wɪʧ wi wɪl teɪk tɪ 14 ə deɪ baɪ ðə nɛkst mənθ," hi sɛd. ɔn ˈraɪzɪŋ pəˈluʃən, sɛd hɪz ˈmɪnɪstri ɪz prəˈmoʊtɪŋ wɪʧ wɪl brɪŋ ɪt daʊn ənd ˈɔlsoʊ kət ɔn juʤ 6 ˌɪmˈpɔrt bɪl əv pəˈtroʊliəm. sɛd hi səˈpɔrts ðə ˈnæʃənəl grin trəˈbjunəl (ngt*) muv tɪ bæn plaɪɪŋ əv mɔr ðən 10 jɪrz oʊld ˈdizəl ˈviɪkəlz bət sɛd ɪt wɑz nɑt ˈpɑsəbəl ɪn tu wiks. "maɪ səbˈmɪʃən ɪz gɪv səm taɪm. ðə ˈmɪnɪstri ɪz traɪɪŋ tɪ faɪnd aʊt ə səˈluʃən," hi sɛd. ðə ngt*, ˈərliər ðɪs mənθ hæd ˈɔrdərd ə bæn ɔn plaɪɪŋ əv ɔl ˈdizəl ˈviɪkəlz ɪn ðə ˈnæʃənəl ˈkæpɪtəl ðət ər mɔr ðən 10 jɪrz oʊld, ˌɔlˈðoʊ ɪt steɪd ɪts ˈɔrdər fər ˌɪmˈpaʊndɪŋ əv səʧ ˈviɪkəlz baɪ tu wiks. æt ðə seɪm taɪm, wɔrnd ˈɔtoʊ ˌmænjəˈfækʧərərz tɪ kəmˈplaɪ tɪ pəˈluʃən nɔrmz, seɪɪŋ ðət ɪf ðeɪ feɪl tɪ du soʊ "aɪ wɪl ɪnˈkərəʤ ˈfɔrən ˈkəmpəˌniz laɪk ˈskɑniə ənd ˈvoʊlksˌwægən ɪf ju doʊnt wɔnt tɪ ʧeɪnʤ." ɔn pɔrts ənd ˈʃɪpɪŋ frənt, hi sɛd ðə ˈgəvərnmənt wɪl ɪnˈʃʊr ˈpæsɪʤ əv ðə bɪl tɪ ˈkɑnvərt 101 ˈrɪvərz əˈkrɔs ðə ˈkəntri ɪn ðə ˈkɑrənt ˈsɛʃən əv ˈpɑrləmɛnt. hi sɛd æt ˈprɛzənt ðɛr ər ˈoʊnli faɪv ˈrɪvərz ˈstrɛʧɪz wɪʧ hæv bɪn dɪˈklɛrd ɛz ˈwɔtərˌweɪz ənd stɛps ər ɔn tɪ dɪˈvɛləp ɔl ðiz, ˌɪnˈkludɪŋ ˈprɑʤɛkt tɪ dɪˈvɛləp strɛʧ. ðɛr ər 13 paʊər ˈprɑʤɛkts ɔn ðə bæŋk əv ənd koʊl ˌɪmˈpɔrts tɪ ðiz θru ˈwɔtərˌweɪz wʊd bi cost-effective*, hi sɛd. hi ˈædɪd ðət ˈɪnˌlænd ˈwɔtərˌweɪz wʊd bi dɪˈvɛləpt ɔn ðə ˈpætərn əv ˈnæʃənəl ˈhaɪˌweɪz əˈθɔrəti əv ˈɪndiə (nhai*). "wi ər ˈlʊkɪŋ æt ˈbɪldɪŋ smɑrt ˈsɪtiz æt ɑr 12 ˈmeɪʤər pɔrts ənd ɪz sun goʊɪŋ tɪ bi dɪˈvɛləpt ɛz ðə fərst grin pɔrt sɪns θri əv ə deɪ ɪz biɪŋ ˌmænjəˈfækʧərd ðɛr frəm ˈɛdəbəl ɪz juzd ɪn ˈrənɪŋ ˈreɪlˌweɪ ˈɪnʤən ənd ˈəðər ˈviɪkəlz ðɛr," hi sɛd. hi sɛd ðə ˈgəvərnmənt həz ˈteɪkən ə ˈnəmbər əv ˌɪˈnɪʃətɪvz, ˌɪnˈkludɪŋ ˈɛkspəˌdaɪtɪŋ lænd ˌækwəˈzɪʃən fər ˈprɑʤɛkts. səʧ lænd ˌækwəˈzɪʃən muv həz rɪˈzəltɪd ɪn koʊl ˈɪndiə ɑrm ˈwɛstərn ˈɛlˈtiˈdi (wcl*) ɪkˈspændɪŋ ɪts maɪnz kəˈpæsɪti ənd ˈteɪkɪŋ nu ˈprɑʤɛkts. "wcl*, wɪʧ wɑz prəˈdusɪŋ ˈmɪljən tənz əv koʊl ˈoʊnli fər ðə pæst 30 jɪrz, wɪl bi ɪkˈspændɪŋ ˈaʊtˌpʊt tɪ 100 ˈɛmˈti wɪˈθɪn ə mənθ," hi sɛd, ˈædɪŋ ðət ðə ˈgəvərnmənt həz bɪn ˈwərkɪŋ ɔn ˈprɑʤɛkts. ˌbiˈsaɪdz, hi sɛd ðət ðə ˈgəvərnmənt wɪl ɪnˈʃʊr ðət ðə bɪl ɪz pæst ɪn ðə ˈkɑrənt ˈsɛʃən əv ˈpɑrləmɛnt.
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union road and transport minister nitin gadkari said wednesday that his ministry is committed to ensure at least 2 percent growth in gdp through infrastructure sector. he said by may 2016, the ministry will achieve a target of building 30 kms of roads a day as against present 12 kms a day.
"when the nda government took over, the road building pace was barely 2 kms a day which we will take to 14 kms a day by the next month," he said.
on rising pollution, gadkari said his ministry is promoting bio-fuel which will bring it down and also cut on huge rs 6 lakh crore import bill of petroleum.
gadkari said he supports the national green tribunal (ngt) move to ban plying of more than 10 years old diesel vehicles but said it was not possible in two weeks. "my submission is give some time. the ministry is trying to find out a solution," he said.
the ngt, earlier this month had ordered a ban on plying of all diesel vehicles in the national capital that are more than 10 years old, although it stayed its order for impounding of such vehicles by two weeks.
at the same time, gadkari warned auto manufacturers to comply to pollution norms, saying that if they fail to do so "i will encourage foreign companies like scania and volkswagen if you don't want to change."
on ports and shipping front, he said the government will ensure passage of the bill to convert 101 rivers across the country in the current session of parliament.
he said at present there are only five rivers stretches which have been declared as waterways and steps are on to develop all these, including rs 4,200 crore project to develop kolkata-haldia stretch.
there are 13 power projects on the bank of ganga and coal imports to these through waterways would be cost-effective, he said. he added that inland waterways would be developed on the pattern of national highways authority of india (nhai).
"we are looking at building smart cities at our 12 major ports and haldia is soon going to be developed as the first green port since three lakh litres of bio-diesel a day is being manufactured there from edible oil.this is used in running railway engine and other vehicles there," he said.
he said the government has taken a number of initiatives, including expediting land acquisition for projects.
such land acquisition move has resulted in coal india arm western coalfields ltd (wcl) expanding its mines capacity and taking new projects. "wcl, which was producing 30-35 million tonnes of coal only for the past 30 years, will be expanding output to 100 mt within a month," he said, adding that the government has been working on development-centric projects.
besides, he said that the government will ensure that the gst bill is passed in the current session of parliament.
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30 30 ˈsɛləˌbreɪtɪŋ 30 jɪrz əv eɪdz vænˈkuvər ðə 30 30 kæmˈpeɪn wɑz kriˈeɪtɪd ɪn 2013 tɪ ˈsɛləˌbreɪt eɪdz ˌænəˈvərsəri. ðə kæmˈpeɪn ˈpisɪz təˈgɛðər ðə daɪˈnæmɪk ˈhɪstəri əv ɪn vænˈkuvər, toʊld baɪ ənd fər ðoʊz hu wər ðɛr. 2013 θæŋk ju vænˈkuvər! 2012 ˈtɛlɪŋ ɑr ˈstɔriz 2011 eɪdz vænˈkuvər 2010 prəˈtɛktɪŋ ɑr raɪts 2009 ˈlɪvɪŋ ˈpɑzətɪv 2008 geɪ mɛnz hɛlθ 2007 ˈhilɪŋ ɑr ˈneɪʃən 2006 ˈpɑzətɪv ˈlidərˌʃɪp 2005 rɪˈmɛmbərɪŋ ðə neɪmz 2004 ðə ˈsɛntər fər dɪˈziz kənˈtroʊl 2003 ðə ˈdɑktər. ˈpitər eɪdz faʊnˈdeɪʃən 2002 eɪdz kəmˈjunɪti ˈækʃən plæn 2001 ˈkipɪŋ ðə dɔr ˈoʊpən 2000 ˈɪnəˌveɪtɪv ˈproʊˌgræmɪŋ 1999 æˈdrɛsɪŋ dɪˈvərsɪti 1998 ˈsɛntər fər ˈɛksələns ɪn 1997 ɑr ˈsaɪəntɪsts 1996 ɑr ˈkɑnfərəns 1995 ɑr ˈnərsɪz 1994 eɪdz soʊˈsaɪɪti. 1993 ˈpɑzətɪv ˈwɪmənz ˈnɛtˌwərk 1992 ˈkəmɪŋ təˈgɛðər ɪn ə taɪm əv greɪt lɔs 1991 səˈpɔrt 1990 ɑr ˌvɑlənˈtɪrz 1989 ðə ˈsɪti 1988 ə ləv ˈstɔri 1987 ðə fərst ˈfəndɪŋ 1986 ˈpɑzətɪv ˈlɪvɪŋ 1985 ɑr ˈʧɛri groʊv 1984 1983 ðə ˈfɔrəm ˌbiˈfɔr 1983 ðə geɪ ˈfaʊndɪŋ ˈfɑðərz
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30 30 celebrating 30 years of aids vancouver the 30 30 campaign was created in 2013 to celebrate aids vancouver’s 30th anniversary. the campaign pieces together the dynamic history of hiv in vancouver, told by and for those who were there.
2013 | thank you vancouver! 2012 | telling ourories 2011 | aids vancouver 2010 | protecting our rights 2009 | living positive 2008 | gay men's health 2007 | healing our nation 2006 | positive leadership 2005 | remembering the names 2004 | the bc centre for disease control 2003 | the dr. peter aids foundation 2002 | aids community action plan 2001 | keeping the door open 2000 | innovative programming 1999 | addressing diversity 1998 | bc centre for excellence in hiv/aids 1997 | our scientists 1996 | our ias conference 1995 | our nurses 1994 | youthco aids society. 1993 | positive women's network 1992 | coming together in a time of great loss 1991 | support 1990 | our volunteers 1989 | the city 1988 | a loveory 1987 | the first funding 1986 | positive living bc 1985 | our cherry grove 1984 | 1983 | the forum before 1983 | the gay founding fathers
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ˈhɛnri ˈhɑlənd, θərd duk əv ˈɛksɪtər wɑz jɛt əˈnəðər dɪˈsɛndənt əv ʤɑn əv gɔnt. hɪz ˈgrændˌməðər ɪˈlɪzəbɪθ wɑz ˈdɔtər. hi hæd ə kleɪm tɪ ðə θroʊn ˈæftər ðə dɛθ əv ˈhɛnri vi, ˈsəmθɪŋ wɪʧ ˈɛdwərd meɪ hæv bɪn ɔl tu əˈwɛr əv biɪŋ ðə əˈfɔrˌmɛnʃənd ˈbrəðərɪnˌlɔ. ˈhɛnri hæd bɪn ˈrɪʧərd əv wɔrd. ˈrɪʧərd ˈmɛrid hɪz ˈɛldəst ˈdɔtər ɔf tɪ ˈhɑlənd ɪn ˈɔrdər tɪ sɪˈkjʊr ðə daɪˈnæstɪk lɪŋks ənd paʊər beɪs. ənˈfɔrʧənətli fər boʊθ ˈhɑlənd ənd ðə duk əv jɔrk ɪt wʊd əˈpɪr ðət ðə ˈɛksɪtər lændz ˈtɛrəbli pərˈdəktɪv. ˈhɑlənd wɑz ˈɔlˌweɪz ɪn ˈdɪfɪˌkəltiz wɪʧ hɛlp hɪz ˌdɪspəˈzɪʃən ˈoʊvərli. hi dɪˈvɛləpt ən ˌrɛpjəˈteɪʃən ˈərli ɪn hɪz kərɪr wɪn hi sizd lɔrd ɛˈsteɪt æt ənd hæd ɪm ˈfɔlsli əˈkjuzd əv ˈtrizən. hi ˈɔlsoʊ ɪkˈstɛndɪd hɪz lænd ˈhoʊldɪŋ θru ðə kənˈvinjənt ˈmɛθəd əv frɔd. ðɪs wɑz ɔl drægd θru ðə lɔ kɔrts ənd rɪˈzəltɪd ɪn noʊ wən ˈwɑnɪŋ tɪ bi ˈʃɛrɪf əv ɔn əˈkaʊnt əv ˈbʊliɪŋ ˈtæktɪks. ɪn ðə ɛnd hi əˈlaɪnd hɪmˈsɛlf tɪ wən əv ˈɛnəmiz ɪn ˈɔrdər tɪ ˈfərðər hɪz kɔz ðəs ˈdɛmənˌstreɪtɪŋ ˈbjutəfli ðə fækt ðət ðə wɔrz əv ðə ˈroʊzɪz kʊd bi sɛd tɪ bi ə bənʧ əv ˈloʊkəl dɪˈspjuts ðət gɑt ˈsɪriəsli aʊt əv hænd. ðɛr ˈɛni greɪt ləv bɪtˈwin ðə jɔrks ənd ˈhɑlənd soʊ ɪt ˈprɑbəˌbli ənˈduli ˈbɑðər ˈhɑlənd ðət hɪz əˈlaɪəns wɪθ lɔrd wɑz wən əv ðə ˈkɔzəl ˈfæktərz ɪn ɪm biɪŋ ɪn ðə ˌlæŋˈkæstriən ˈɑrmi ˈʧeɪsɪŋ ˈrɪʧərd əv jɔrk əraʊnd ðə ˈkəntriˌsaɪd ɪn dɪˈsɛmbər 1460 ˈhɛnri ˈhɑlənd wɑz ə kəˈmændər æt ðə ˈbætəl əv ˈweɪkˌfild ɔn dɪˈsɛmbər 30 1460 prɪˈzuməbli hi ˌɛnˈʤɔɪd biɪŋ ˌɪmˈprɪzənd ɪn ˈwɔlɪŋfərd ˈkæsəl ɪn 1455 ˈæftər ˈrɪʧərd əˈsumd ðə ˈtaɪtəl əv prəˈtɛktər wɪn ˈhɛnri vi wɑz ˌɪnkəˈpæsɪˌteɪtɪd ɔn hɪz ˈɔrdərz. ɪn ˌriˈæləˌti, dɪˈsɛnt frəm tu sənz əv ˈɛdwərd geɪv ɪm ə ˈbɛtər kleɪm tɪ bi prəˈtɛktər ðən ˈhɑlənd hu θɔt hi ɔt tɪ hæv ðə ʤɑb. hi wɑz dɪˈsɛndɪd frəm ʤɑn əv gɔnt ənd ðə fərst duk əv ˈɛksɪtər hæd bɪn ˈrɪʧərd half-brother*. kleɪm keɪm frəm ðə fækt ðət hi wɑz dɪˈsɛndɪd frəm ðə ˈsɛkənd sərˈvaɪvɪŋ sən, ˈlaɪənəl əv ˈæntwərp ˈviə ðə ˈmɔrtɪmər laɪn. ðə hæd bɪn ˈrɪʧərd ɛrz. ɛz ɪf ðət bæd ɪˈnəf ˈhɑlənd ˈgɪvɪn ə roʊl əv ˈɛni ˌɪmˈpɔrtəns. ˈhɑlənd θru hɪz tɔɪz aʊt əv hɪz pram*, fərˈmɛntəd rɪˈbɛljən ɪn ðə nɔrθ ənd wɪθ ðə skɑts hi wɑz ˈləki ðət ə jɪr ɪn ˈwɔlɪŋfərd wɑz ɔl ðət hi gɑt. hi wɑz, æt list, kənˈsɪstənt ɪn hɪz səˈpɔrt fər ðə ˌlæŋˈkæstriən kɔz biɪŋ ˈprɛzənt nɑt ˈoʊnli æt ˈweɪkˌfild bət ˈɔlsoʊ æt ðə ˈsɛkənd ˈbætəl əv ˈælbænz ənd towton*. hi frəm ðə ˈlætər ənd ˈmænɪʤd tɪ ɪˈskeɪp tɪ fræns wɛr hi ʤɔɪnd ˈmɑrgərɪt əv anjou*. ˌənsərˈpraɪzɪŋli ˈfæməli riˈleɪʃənz wər æt ən ɔl taɪm loʊ baɪ ðɪs pɔɪnt. nɑt ˈoʊnli wɑz hɪz əv ˈtrizən bət hɪz waɪf æn hu hæd bɪn ˈmɛrid ɔf tɪ ɪm wɪn ʃi wɑz sɔt ə ˈligəl ˌsɛpərˈeɪʃən frəm ə mæn geɪnd ə ˌrɛpjəˈteɪʃən fər biɪŋ ˈdipli ənˈplɛzənt wən weɪ ər əˈnəðər. ðeɪ hæd wən ʧaɪld, æn ˈhɑlənd hu wʊd bi ˈmɛrid ɔf tɪ wən əv ɪˈlɪzəbɪθ sənz frəm hər fərst ˈmɛrɪʤ, ənd hər ənˈfɔrʧənət ˈfɑðər. ɪn 1471 hi rɪˈtərnd tɪ ˈɪŋglənd wɪθ ðə ərl əv ˈwɔrwɪk hu hæd stɑpt biɪŋ ənd bɪˈkəm ə ˌlæŋˈkæstriən ɪn wət kən ˈoʊnli bi dɪˈskraɪbd ɛz ə ʤaɪənt wɪn ˈɛdwərd stɑpt ˈlɪsənɪŋ tɪ hɪz ədˈvaɪs. ˈwɔrwɪk daɪd æt ˈbɑrnɪt. ˈhɛnri ˈhɑlənd ðoʊ ˈbædli ˈwundɪd ˈmænɪʤd tɪ riʧ ˈsæŋkʧuˌɛri ɪn ˈləndən. ˈɛdwərd hæd ɪm ˈraʊndɪd əp ənd sɛnt tɪ ðə taʊər. hi hæd fər ə taɪm bɪn ðə ˈkɑnstəbəl əv ðə taʊər soʊ æt list hi wɑz fəˈmɪljər wɪθ hɪz əˌkɑməˈdeɪʃən. baɪ ðə ˈfɑloʊɪŋ jɪr æn wɑz ˈeɪbəl tɪ hæv ðə ˈmɛrɪʤ ˈænəld, ʃi wɛnt ɔn tɪ ˈmɛri ˈtɑməs ˈlɛʤər bət ˈɛdwərd simz tɪ hæv ˈwɛlkəmd ˈhɛnri bæk ˈɪntu ðə foʊld ɛz hi wɑz pɑrt əv ðə ˈmɪlɪˌtɛri ˌɛkspəˈdɪʃən ðət sɛt ɔf tɪ meɪk wɔr ɔn ðə frɛnʧ. ɪt ə ˈrɔrɪŋ səkˈsɛs frəm ðə ˈwaɪdər pɔɪnt əv vju ɛz bɪn ˈhɛvəli tækst ənd ɪkˈspɛktɪd ə ˈdisənt ˈbætəl æt ðə ˈvɛri list. wət ðeɪ gɑt wɑz ə ˈtriti waɪlst ˈɛdwərd rɪˈsivd ˈməni tɪ goʊ əˈweɪ ənd ən ˈænjuəl ˈpɛnʃən. ɛz fər ˈhɛnri ˈhɑlənd? hi hæd ən ənˈfɔrʧənət ˈæksədənt ɔn ðə weɪ hoʊm. əˈpɛrəntli hi fɛl ˈoʊvərˌbɔrd. ðə æmˈbæsədər səˈʤɛstɪd ðət ðə ˈæksədənt wɑz kɔzd baɪ ə ˈkəpəl əv ˈbərli ˈnɔtəkəl taɪps ˈpɪkɪŋ ɪm əp ənd θroʊɪŋ him…*… ˈɑksfərd ˈdɪkʃəˌnɛri əv ˈnæʃənəl baɪˈɑgrəfi
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henry holland, third duke of exeter was yet another descendent of john of gaunt. his grandmother elizabeth was john’s daughter. he had a claim to the throne after the death of henry vi, something which edward iv may have been all too aware of being the aforementioned earl’s brother-in-law.
henry had been richard of york’s ward. richard married his eldest daughter off to holland in order to secure the dynastic links and power base. unfortunately for both holland and the duke of york it would appear that the exeter lands weren’t terribly productive. consequentially holland was always in finical difficulties which didn’t help his disposition overly.
he developed an unsavoury reputation early in his career when he seized lord cromwell’s estate at ampthill and had him falsely accused of treason. he also extended his land holding through the convenient method of fraud. this was all dragged through the law courts and resulted in no one wanting to be sheriff of bedfordshire on account of holland’s bullying tactics. in the end he aligned himself to one of cromwell’s enemies in order to further his cause – thus demonstrating beautifully the fact that the wars of the roses could be said to be a bunch of local disputes that got seriously out of hand.
there wasn’t any great love between the yorks and holland so it probably didn’t unduly bother holland that his alliance with lord egremont was one of the causal factors in him being in the lancastrian army chasing richard of york around the countryside in december 1460. henry holland was a commander at the battle of wakefield on december 30 1460. presumably he hadn’t enjoyed being imprisoned in wallingford castle in 1455 after richard assumed the title of protector when henry vi was incapacitated on his father-in-law’s orders. in reality, richard’s descent from two sons of edward iii gave him a better claim to be protector than holland who thought he ought to have the job. he was descended from john of gaunt and the first duke of exeter had been richard ii’s half-brother. york’s claim came from the fact that he was descended from the second surviving son, lionel of antwerp via the mortimer line. the mortimers had been richard ii’s heirs. as if that wasn’t bad enough holland wasn’t given a role of any importance. holland threw his toys out of his pram, fermented rebellion in the north and consorted with the scots – he was lucky that a year in wallingford was all that he got.
he was, at least, consistent in his support for the lancastrian cause being present not only at wakefield but also at the second battle of st albans and towton. he scarpered from the latter and managed to escape to france where he joined margaret of anjou.
unsurprisingly family relations were at an all time low by this point. not only was his attainted of treason but his wife anne who had been married off to him when she was eight-years-old sought a legal separation from a man who’d gained a reputation for being deeply unpleasant one way or another. they had one child, anne holland who would be married off to one of elizabeth woodville’s sons from her first marriage, and pre-decease her unfortunate father.
in 1471 he returned to england with the earl of warwick who had stopped being yorkist and become a lancastrian in what can only be described as a giant strop when edward iv stopped listening to his advice. warwick died at barnet. henry holland though badly wounded managed to reach sanctuary in london. edward had him rounded up and sent to the tower. he had for a time been the constable of the tower so at least he was familiar with his accommodation.
by the following year anne was able to have the marriage annulled, she went on to marry thomas st leger but edward iv seems to have welcomed henry back into the fold as he was part of the military expedition that set off to make war on the french. it wasn’t a roaring success from the wider population’s point of view as they’d been heavily taxed and expected a decent battle at the very least. what they got was a treaty whilst edward iv received money to go away and an annual pension.
as for henry holland? he had an unfortunate accident on the way home. apparently he fell overboard. the milanese ambassador suggested that the accident was caused by a couple of burly nautical types picking him up and throwing him…
oxford dictionary of national biography
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ˈɪmɪʤ ˈkɑpiˌraɪt ˈɪmɪʤ ˈkæpʃən oʊən smɪθ sɛd tərˈisə meɪ həz nɑt əˈtɛndəd 'ə ˈsɪŋgəl ˈsəbstəntɪv ˈsɛʃən' əv ðə ˈstɔrmoʊnt tɔks tərˈisə meɪ ʃʊd "gɪt stək ɪn" tɪ ðə tɔks ˈprɔˌsɛs tɪ rɪˈstɔr æt ˈstɔrmoʊnt, ðə ˈʃæˌdoʊ ˈnɔrðərn ˈaɪərlənd ˈsɛkrəˌtɛri həz sɛd. oʊən smɪθ sɛd ɪt wɑz "kəmˈplitli ˌɪnəkˈsplɪkəbəl" ðət ðə praɪm ˈmɪnɪstər hæd ˈvɪzɪtɪd ðə ˈriʤən ʤɪst wəns sɪns ɪts ɪgˈzɛkjətɪv kəˈlæpst ɪn ˈʤænjuˌɛri. tɔks bɪtˈwin ðə ˌdɛməˈkrætɪk ˈjunjənəst ˈpɑrti (dup*) ənd sɪn tɪ riˈzɑlv ðə ˈkraɪsəs broʊk daʊn ɔn ˈwɛnzˌdeɪ. ɛz ə rɪˈzəlt, ðə ˈgəvərnmənt sɛd ɪt hæd tɪ stɛp ɪn tɪ sɛt ə ˈstɔrmoʊnt ˈbəʤɪt. ˈnɔrðərn ˈaɪərlənd ˈsɛkrəˌtɛri ʤeɪmz leɪd aʊt hɪz plænz fər ə ˈbəʤɪt tɪ ɔn ˈθərzˌdeɪ, bət wɑz ˈædəmənt ðət ɪt dɪd nɑt min ə rɪˈtərn tɪ dɪˈrɛkt rul frəm ˌwɛstˈmɪnstər fər ˈnɔrðərn ˈaɪərlənd. ɪf ənd wɪn ə ˈbəʤɪt ɪz pərˈzɛnəd, ɪt wɪl nɑt min ən ɛnd tɪ ˈɛni ʧæns əv ə rɪˈtərn tɪ ˌdɛvəˈluʃən, hi sɛd. ɪt wɪl nɑt "sɛt aʊt ˈɛni ˈspɛndɪŋ dɪˈsɪʒənz baɪ mi ər ðə ˈgəvərnmənt", hi ˈædɪd, bət wɪl ˌɪnˈkɔrpərˌeɪt ˈfɪgjərz frəm ˈnɔrðərn ˈaɪrləndz ˈsɪvəl ˈsərvɪs. ˈɪmɪʤ ˈkæpʃən oʊən smɪθ sɛd tərˈisə meɪ kʊd 'æt list gɪv ɪt ə goʊ' tɪ ɛnd ðə ˈnɔrðərn ˈaɪərlənd ˈsteɪlˌmeɪt ˈmɪsɪz meɪ ənd (ˈaɪrɪʃ praɪm ˈmɪnɪstər) ˈlioʊ dɪˈskəst ðə ˌsɪʧuˈeɪʃən ɪn ə foʊn kɔl ɔn ˈwɛnzˌdeɪ naɪt ənd əˈgrid ðət ðə gæp bɪtˈwin ðə ˈpɑrtiz wɑz "ˈnɛroʊ". ðə ənd sɪn hæv feɪld tɪ riʧ ən əˈgrimənt ɪn spaɪt əv ˈnumərəs raʊnz əv dɪˈskəʃənz sɪns ˈmɑrʧɪz ˈnɔrðərn ˈaɪərlənd əˈsɛmbli ɪˈlɛkʃən. ðət voʊt wɑz kɔld ˈæftər ðə ˈnɔrðərn ˈaɪərlənd ɪgˈzɛkjətɪv kəˈlæpst əˈmɪd ə ˈbɪtər splɪt ˈoʊvər ðə ˈhændəlɪŋ əv ə bɑʧt riˈnuəbəl ˈɛnərʤi skim ɪn ˈʤænjuˌɛri. sɪn dɪˈmænd fər ˌlɛʤəsˈleɪʃən tɪ gɪv əˈfɪʃəl ˈstætəs tɪ ðə ˈaɪrɪʃ ˈlæŋgwɪʤ həz bɪˈkəm wən əv ðə meɪn ˈstəmbəlɪŋ blɑks ɪn nɪˌgoʊʃiˈeɪʃənz tɪ rɪˈstɔr ðə ɪgˈzɛkjətɪv. 'ɑd foʊn kɔl' ðə ˈleɪbər ˈpɑrtiz ˈmɪstər smɪθ sɛd hi ˈwɔntɪd tɪ si ˈmɪsɪz meɪ meɪk mɔr ˈɛfərt təˈwɔrdz ˈfaɪndɪŋ ə səˈluʃən tɪ ðə pəˈlɪtɪkəl ˈsteɪlˌmeɪt. "ʃi həz nɑt əˈtɛndəd ə ˈsɪŋgəl ˈsəbstəntɪv ˈsɛʃən əv ðə tɔks ɪn ˈbɛlˌfæst ənd ʃi həz nɑt meɪd ə ˈsɪŋgəl ˈsəbstəntɪv ˌɪntərˈvɛnʃən tɪ traɪ ənd muv θɪŋz əˈlɔŋ," hi toʊld. "aɪ noʊ θɪŋz hæv bɪn ˈdɪfəkəlt ˈrisəntli, bət ˈfræŋkli ðə ɑd foʊn kɔl tɪ ðə ʤɪst ˈɪzənt gʊd ɪˈnəf. "ɪt meɪ bi tru ðət ðə deɪz əv ə praɪm ˈmɪnɪstər ər ˈprɛzɪdənt flaɪɪŋ ˈɪntu ˈbɛlˌfæst tɪ fɪks θɪŋz ər pæst ənd ˈoʊvərˌsteɪtɪd, bət ðeɪ kʊd æt list gɪv ɪt ə goʊ." ˈɪmɪʤ ˈkɑpiˌraɪt ˈrɔɪtərz ˈɪmɪʤ ˈkæpʃən ʤeɪmz sɛd tərˈisə meɪ həz bɪn ˈæktɪvli ˌɪnˈvɑlvd ɪn ðə tɔks ˌhaʊˈɛvər, ˈmɪstər sɛd ðə praɪm ˈmɪnɪstər həz hæd ˈmitɪŋz wɪθ ðə ˈstɔrmoʊnt ˈpɑrtiz æt ˈdaʊnɪŋ strit. "ʃi dɪz rɪˈmeɪn ˈæktɪvli ˌɪnˈvɑlvd, ˌɪnˈkludɪŋ kənˈtɪnjud dɪˈskəʃənz wɪθ ðə, ɔn ðə raɪt weɪ ðət wi kən wərk təˈgɛðər," hi ˈædɪd. 'nɑt ˈtɛnəbəl' hi ˈɔlsoʊ sɛd hi wʊd "rɪˈflɛkt ˈkɛrfəli" ɔn ðə ˈsæləriz əv əˈsɛmbli ˈmɛmbərz (mlas*), əˈmɪd kɔlz fər ðɛm tɪ bi dɑkt ənˈtɪl ə dil ɪz riʧt. ˈmɪstər sɛd hi wʊd teɪk ˌɪndɪˈpɛndənt ədˈvaɪs ɔn ðə ˈɪʃu bɪˈkəz əˈlaʊɪŋ ðə ɪgˈzɪstɪŋ peɪ ərˈeɪnʤmənts tɪ kənˈtɪnju wɑz "nɑt ˈtɛnəbəl". "ðɪs ɪz ə dɪˈvɑlvd ˈmætər ənd aɪ ˈkænɑt ˌɪntərˈvin wɪˈθaʊt ˈpraɪˌmɛri ˌlɛʤəsˈleɪʃən ɪn ˌwɛstˈmɪnstər," hi sɛd. ɔn ˈwɛnzˌdeɪ, ˈmɪstər sɛd ˈgəvərnmənt ˌɪntərˈvɛnʃən hæd bɪˈkəm ˈnɛsəˌsɛri bɪˈkəz ˈnɔrðərn ˈaɪrləndz ˈpəblɪk ˈsərvɪs wʊd bɪˈgɪn tɪ rən aʊt əv ˈrisɔrsɪz baɪ ðə ɛnd əv ðɪs mənθ. sɪn sɛd ðə ˈleɪtəst tɔks hæd "ˈɛndɪd ɪn ˈfeɪljər", waɪl ðə sɛd ˈprɑˌgrɛs təˈwɔrdz ə dil hæd bɪn hɛld əp baɪ sɪn "ˈnɛroʊ pəˈlɪtɪkəl əˈʤɛndə". ðeɪ hæv boʊθ sɛd ðeɪ wər priˈpɛrd tɪ teɪk pɑrt ɪn mɔr nɪˌgoʊʃiˈeɪʃənz bət nən hæv bɪn plænd. ˈspikɪŋ ɪn ðə haʊs əv ˈkɑmənz ɔn ˈθərzˌdeɪ, ˈʤɛfri ˈdɑnəldsən ˈaʊˌtlaɪnd ə ki dɪˈmænd hɪz ˈpɑrti hæd meɪd. hi sɛd ðə ˈpɑrti wɑz ˈsikɪŋ ðə ˌɪmpləmɛnˈteɪʃən əv ðə ɑrmd ˈfɔrsɪz ˈkəvənənt, ə ˈprɑməs tɪ lʊk ˈæftər ˈmɪlɪˌtɛri ˈvɛtərənz ðoʊ praɪˈɔrəti ˈmɛdɪkəl ˈtritmənt, hɛlp tɪ faɪnd ˈhaʊzɪŋ ənd ˈəðər ˈmɛʒərz.
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image copyright afp image caption owen smith said theresa may has not attended 'a single substantive session' of the stormont talks
theresa may should "get stuck in" to the talks process to restore power-sharing at stormont, the shadow northern ireland secretary has said.
owen smith said it was "completely inexplicable" that the prime minister had visited the region just once since its executive collapsed in january.
talks between the democratic unionist party (dup) and sinn féin to resolve the crisis broke down on wednesday.
as a result, the government said it had to step in to set a stormont budget.
northern ireland secretary james brokenshire laid out his plans for a budget to mps on thursday, but was adamant that it did not mean a return to direct rule from westminster for northern ireland.
if and when a budget is presented, it will not mean an end to any chance of a return to devolution, he said.
it will not "set out any spending decisions by me or the government", he added, but will incorporate figures from northern ireland's civil service.
image caption owen smith said theresa may could 'at least give it a go' to end the northern ireland stalemate
mrs may and taoiseach (irish prime minister) leo varadkar discussed the situation in a phone call on wednesday night and agreed that the gap between the parties was "narrow".
the dup and sinn féin have failed to reach an agreement in spite of numerous rounds of discussions since march's northern ireland assembly election.
that vote was called after the northern ireland executive collapsed amid a bitter split over the handling of a botched renewable energy scheme in january.
sinn féin's demand for legislation to give official status to the irish language has become one of the main stumbling blocks in negotiations to restore the executive.
'odd phone call'
the labour party's mr smith said he wanted to see mrs may make more effort towards finding a solution to the political stalemate.
"she has not attended a single substantive session of the talks in belfast and she has not made a single substantive intervention to try and move things along," he told mps.
"i know things have been difficult recently, but frankly the odd phone call to the taoiseach just isn't good enough.
"it may be true that the days of a prime minister or president flying into belfast to fix things are past and overstated, but they could at least give it a go."
image copyright reuters image caption james brokenshire said theresa may has been actively involved in the talks
however, mr brokenshire said the prime minister has had meetings with the stormont parties at downing street.
"she does remain actively involved, including continued discussions with the taoiseach, on the right way that we can work together," he added.
'not tenable'
he also said he would "reflect carefully" on the salaries of stormont's assembly members (mlas), amid calls for them to be docked until a power-sharing deal is reached.
mr brokenshire said he would take independent advice on the issue because allowing the existing pay arrangements to continue was "not tenable".
"this is a devolved matter and i cannot intervene without primary legislation in westminster," he said.
on wednesday, mr brokenshire said government intervention had become necessary because northern ireland's public service would begin to run out of resources by the end of this month.
sinn féin said the latest talks had "ended in failure", while the dup said progress towards a deal had been held up by sinn féin's "narrow political agenda".
they have both said they were prepared to take part in more negotiations but none have been planned.
speaking in the house of commons on thursday, dup mp jeffrey donaldson outlined a key demand his party had made.
he said the party was seeking the implementation of the armed forces covenant, a promise to look after military veterans though priority medical treatment, help to find housing and other measures.
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ɪˈlɛkʃən deɪ ɪz lɛs ðən 24 aʊərz əˈweɪ ənd ðə ˌprɑbəˈbɪləˌti əv rɪˈpəblɪkənz ˈgeɪnɪŋ kənˈtroʊl əv ðə juz. ˈsɛnɪt ɪz haɪ. fivethirtyeight*, ðə ˈəpˌʃɑt, ˈpoʊlstər, ðə ˈprɪnstən ɪˈlɛkʃən əv ðɛm seɪ ðə ˈʧænsɪz əv ə rɪˈpəblɪkən ˈteɪˌkoʊvər ər ˈsəmˌwɛr bɪtˈwin 65 ənd 75 pərˈsɛnt. ə strɔŋ kənˈsɛnsəs. wət wʊd ðɪs min fər ðə nɛkst tu jɪrz? rɪˈpəblɪkənz seɪ ðət, wɪˈθaʊt ˈhɛri rid ənd ˈsɛnɪt ˈdɛməˌkræts kənˈtroʊlɪŋ ðə əˈʤɛndə, ðeɪ wɪl bi ˈeɪbəl tɪ wərk wɪθ ðɛr haʊs ˈkaʊntərˌpɑrts tɪ pæs ˌlɛʤəsˈleɪʃən. ˈprɛzɪdənt ˌoʊˈbɑmə ɪz ˈlaɪkli tɪ ˈviˌtoʊ moʊst əv ɪt, ðeɪ ækˈnɑlɪʤ, bət ðət wɪl ˈmɪrli pleɪ ˈɪntu ðə ðɛm tɪ sɛt əp ðə 2016 ɪˈlɛkʃənz ɛz ə klɪr ʧɔɪs bɪtˈwin ə ˈpɑrti ðət gɪts θɪŋz dən ənd ə ˈpɑrti ðət dɪz nɑt. kˈwɛʃən əˈbaʊt ðət, hil ˈviˌtoʊ səm [bills],”*],” mɪt ˈrɑmni, ðə ˈfɔrmər ˌprɛzɪˈdɛnʃəl ˌnɑməˈni, sɛd ɔn fɑks nuz ˈsənˌdi, aɪ θɪŋk æt ðət pɔɪnt, wɪl faɪnd aʊt hu ˈrɪli ɪz ðə ˈpɑrti əv no.”*.” tru ðət ə ˈkɑŋgrəs wɪθ rɪˈpəblɪkənz ɪn ʧɑrʤ əv boʊθ ˈʧeɪmbərz ɪz ˈlaɪkli tɪ pæs mɔr bɪlz ðən ə ˈkɑŋgrəs wɪθ dɪˈvaɪdɪd kənˈtroʊl wʊd. bət wʊd rɪˈpəblɪkənz ˈæˌkʧuəli ˈbɛnəfɪt ˈplɪtɪkli? nɑt klɪr æt ɔl. fər wən θɪŋ, ðə lɔz ðeɪ wɔnt tɪ pæs maɪt nɑt bi ðət æt list ˈhɛlpfəl. ˈdʊrɪŋ ðət fɑks nuz ˈɪntərvˌju, ˈrɑmni ˈmɛnʃənd tu ˈpisɪz əv ˌlɛʤəsˈleɪʃən hi θɔt ə ˈsɛnɪt wʊd pæs: ˌɪməˈgreɪʃən rɪˈfɔrm ənd ə bɪl tɪ ˈmɑdəˌfaɪ rɪkˈwaɪrmənt ðət ɪmˈplɔɪərz prəˈvaɪd hɛlθ ˌɪnˈʃʊrəns tɪ ˈfʊlˌtaɪm ɪmˈplɔɪiz. bət ðə ˈpɑləˌtɪks əv ˌɪməˈgreɪʃən rɪˈfɔrm ər ˈtrɪki fər boʊθ saɪdz: ən ˌɪməˈgreɪʃən bɪl səˈfɪʃəntli təf tɪ gɪt pæst ðə ti ˈpɑrti ɪn ðə haʊs (ənd ˈmeɪbi ðə ˈsɛnɪt tu) ɪz ˈlaɪkli tɪ ˈeɪljəˌneɪt lɑˈtinoʊs, æt ə taɪm wɪn rɪˈpəblɪkənz ˈdɛspərətli nid tɪ stɑrt əˈpilɪŋ tɪ ðɛm. ɛz fər obamacare*, ðə kaɪnz əv ˈʧeɪnʤɪz tɪ ðə ɪmˈplɔɪər ˈmænˌdeɪt ðət rɪˈpəblɪkənz ər ˈkɑntəmˌpleɪtɪŋ kʊd hæv səm (ənd ˈnɛgətɪv) ˈifɛkts ɔn ðə ˈleɪbər ˈmɑrkɪt. ˌoʊˈbɑmə wʊd nɑt hæv ə hɑrd taɪm dɪˈfɛndɪŋ ə ˈviˌtoʊ.
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election day is less than 24 hours away and the probability of republicans gaining control of the u.s. senate is high. fivethirtyeight, the upshot, huffpost pollster, the princeton election consortium—all of them say the chances of a republican takeover are somewhere between 65 and 75 percent. that’s a strong consensus.
what would this mean for the next two years? republicans say that, without harry reid and senate democrats controlling the agenda, they will be able to work with their house counterparts to pass legislation. president obama is likely to veto most of it, they acknowledge, but that will merely play into the gop’s hands—allowing them to set up the 2016 elections as a clear choice between a party that gets things done and a party that does not. “no question about that, he'll veto some [bills],” mitt romney, the former gop presidential nominee, said on fox news sunday, “but i think at that point, we'll find out who really is the party of no.”
it’s true that a congress with republicans in charge of both chambers is likely to pass more bills than a congress with divided control would. but would republicans actually benefit politically? that’s not clear at all.
for one thing, the laws they want to pass might not be that popular—or at least electorally helpful. during that fox news interview, romney mentioned two pieces of legislation he thought a gop senate would pass: immigration reform and a bill to modify obamacare’s requirement that employers provide health insurance to full-time employees. but the politics of immigration reform are tricky for both sides: an immigration bill sufficiently tough to get past the tea party in the house (and maybe the senate too) is likely to alienate latinos, at a time when republicans desperately need to start appealing to them. as for obamacare, the kinds of changes to the employer mandate that republicans are contemplating could have some signficant (and negative) effects on the labor market. obama would not have a hard time defending a veto.
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filabot* ɪz ə ˈplæstɪk ɪkˈstruʒən ˈsɪstəm. fər ɪgˈzæmpəl ˈmoʊstli ˈɛni taɪp əv riˈsaɪkləbəl ˈplæstɪk, səʧ ɛz mɪlk ʤəgz, dɪˈtərʤənt ˈbɑtəlz, ˈsoʊdə ˈbɑtəlz, ʃæmˈpu ˈbɑtəlz, ˈprɑdəkt ˈpækɪʤɪŋ, ənd ˈmɛni mɔr, kən bi ˈprɑsɛst θru ðə tɪ meɪk ˈjuzəbəl ˈprɪnɪŋ ˈfɪləmənt. ðɪs wɪl əˈlaʊ fər ˈjuzərz tɪ ˈriˈmeɪk ˈfɪləmənt frəm ən oʊld prɪnt ðət ɪz bæd ər nɑt ˈnidɪd. ðə wɪl graɪnd, mɛlt ənd ɪkˈstrud ðə ˈplæstɪk ˈfɪləmənt. ɪt ɪz ə wən stɑp ʃɑp fər ɔl ðə ˈfɪləmənt ju kʊd ˈɛvər nid. ˈplæstɪk riˈsaɪkəlɪŋ ənd ɪkˈstruʒən hæv bɪn əraʊnd sɪns ˈplæstɪk wɑz ˌɪnˈvɛntɪd. haʊ du ju θɪŋk ðə ˈfɪləmənt bɔt ˈɔnˌlaɪn ɪz meɪd? ðɛr ər ə fju ˈwɛbˌsaɪts/ ˈjuzərz ðət hæv ˈstɑrtɪd tɪ dɪˈvɛləp ðɪs ˈsɪstəm, bət nən hæv brɔt ɪt tɪ ðə skeɪl wɛr ɪt ɪz ˈsɪmpəl ənd ˈizi tɪ juz. ðə hoʊl goʊl əv ðə ɪz tɪ hæv ə kəmˈplit ˈsɪstəm ðət ɪz əˈfɔrdəbəl ənd rɪˈlaɪəbəl. raɪt naʊ ɪz mɔr ðən ʤɪst ən aɪˈdiə, wi hæv ˈtɛstɪd ɑr ˈproʊtoʊˌtaɪp ˈsɪstəm wɪθ greɪt rɪˈzəlts. bət wi nid jʊr hɛlp! wi nid ˈbækərz tɪ hɛlp səˈpɔrt ðə kɔz soʊ wi kən meɪk ðə bɛst ˈsɪstəm ˈpɑsəbəl. ɪt ɪz ə boʊld ənd bɪg aɪˈdiə bət wɪθ jʊr hɛlp wi kən kriˈeɪt ə dɪˈvaɪs ðət hɛlps ˈjuzər əv ˈprɪnərz tɪ bɪˈkəm ˌsɛlfsəˈfɪʃɪnt. ðə saɪz əv ənd ˌɑpərˈeɪʃən: goʊɪŋ əˈlɔŋ wɪθ ðə ˈdɛskˌtɑp θim, ðə wɪl bi dɪˈzaɪnd tɪ fɪt ɔn ə ˈdɛskˌtɑp. wi wɔnt tɪ əˈlaʊ ˈjuzərz tɪ sɪt æt ðɛr dɛsk wɪθ ðɛr kəmˈpjutər, ˈprɪnər, ənd. ðə saɪz wi ər traɪɪŋ tɪ fɪt ɪn wɪl bi baɪ baɪ. ðə ˈgraɪndɪŋ ˈjunɪt əv ðə wɪl ˈprɔˌsɛs ˈplæstɪk əp tɪ ðə daɪˈæmətər əv 4in*, ˈlɑrʤər ˈpisɪz wɪl hæv tɪ bi ˈbroʊkən daʊn ˌbiˈfɔr fid ˈɪntu ðə ˈgraɪndər. ˈæftər ˈgraɪndɪŋ ðə ˈplæstɪk wɪl bi ə ˈjunəˌfɔrm saɪz ənd wɪl bi ˌɔtəˈmætɪkli fid ˈɪntu ðə ˈhɑpər. frəm ðɛr ðə fid skru wɪl pʊʃ ðə ˈpisɪz ˈɪntu ðə ˈbɛrəl tɪ bi ˈmɛltɪd æt ðə kərˈɛkt tɛmp. ðə ˈmoʊltən ˈplæstɪk wɪl bi ɪkˈstrudəd aʊt əv ˌɪnərˈʧeɪnʤəbəl ˈnɑzəlz. ðə ənd ðə wɪl bi ˌɪnˈkludɪd wɪθ ɔl ðə kɪts. ðə ˈnɑzəl wɪl bi ə ˈsɪmpəl twɪst ɔf tɪ ʧeɪnʤ ɪt aʊt. ˈæftər ɪkˈstruʒən ðə ˈfɪləmənt ˈpæsɪz θru ə ˈsaɪzɪŋ ˈroʊlər soʊ ðət ɪt wɪl bi ðə kərˈɛkt daɪˈæmətər fər ˈprɪnɪŋ. dɪˈrɛkli ˈæftər ðə ˈroʊlərz ɪz ə ˈkətər ðət wɪl kət ɔf ˈɛni ˌoʊvərˈsaɪz ðət wɑz nɑt ˈteɪkən kɛr əv baɪ ðə ˈroʊlərz. ˈfaɪnəli ðə ˈfɪləmənt ɪz roʊld ˈɔntu ðə spul fər fˈjuʧər pɑrts. wət wɪl ðə ˈməni bi juzd fər? ðə ˈfəndɪŋ frəm ðɪs wɪl bi juzd tɪ ˈfərðər dɪˈvɛləp ənd ˈproʊdus ðiz extruders*. nidz ˈfəndɪŋ tɪ kip goʊɪŋ. pɑrts nid tɪ bi ənd ˈtɛstɪd. ðɪs ɔl teɪks taɪm ənd ˈməni. ɪf ðɛr ɪz ə wɪl, ənd ə, ðɛr ɪz ə weɪ! ˈplæstɪks ðət kən bi riˈsaɪkəld: soʊ fɑr wi hæv ˈtɛstɪd səm əv ðə ˈfɑloʊɪŋ ˈplæstɪks, wəns ðə ˈproʊtoʊˌtaɪp ɪz ˈfɪnɪʃt wi wɪl bi ˈtɛstɪŋ ɔl ðə ˈfɑloʊɪŋ ˈplæstɪks əˈlɔŋ wɪθ ðə lɔŋ lɪst wi hæv frəm ˈjuzərz. ðə meɪ ˈivɪn bi ˈeɪbəl tɪ mɛlt ənd ˈriˈmeɪk kreɪɑnz. pɛt ər pit ɪz ðə moʊst ˈkɑmən taɪp əv ˈplæstɪk juzd ɪn ˈsoʊdə drɪŋks ənd soʊ ɔn. ɪt ɪz ˈvɛri ˈizi tɪ graɪnd əp ənd ʃʊd bi ˈizi tɪ mɛlt ənd ɪkˈstrud. ər ɪz əˈnəðər ˈkɑmən ˈplæstɪk ðət ɪz ˈvɛri ˈizi tɪ mɛlt. aɪ hæv wərkt ə ˈlɪtəl wɪθ ðɪs taɪp əv ˈplæstɪk ənd si ə lɔt əv pəˈtɛnʃəl wɪθ ɪt. ðɪs taɪp əv ˈplæstɪk ɪz juzd ɪn mɪlk ʤəgz, 5 ˈgælən ˈbəkəts, ˈwɔtər paɪps, ʤus ˈbɑtəlz. ər simz ðət ɪt wɪl bi ˈhɑrdər tɪ graɪnd əp sɪns ɪt ɪz sɔft. bət ɪz ɪz riˈsaɪkləbəl. ðɪs ɪz ˈɔlsoʊ əˈnəðər ˈprɑməsɪŋ taɪp əv ˈplæstɪk. ɪz ə ˈplæstɪk ðət maɪt wərk. ɪt ɪz juzd ɪn ˈlɑrʤər ˈplæstɪk ˈprɑdəkts laɪk ʧɛrz ənd ihomes*. ˈəðər ˈplæstɪk taɪps. səʧ ɛz gæs kænz, ˌdiˌviˈdiz, ˈsiˈdiz, ˈsənˌglæsɪz ənd soʊ ɔn. ðɪs ˈkætəˌgɔri həz ə fju ˈdɪfərənt taɪps əv ˈplæstɪks.
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filabot is a 3d plastic extrusion system. for example mostly any type of recyclable plastic, such as milk jugs, detergent bottles, soda bottles, shampoo bottles, product packaging, and many more, can be processed through the filabot to make usable 3d printing filament. this will allow for users to remake filament from an old print that is bad or not needed. the filabot will grind, melt and extrude the plastic filament. it is a one stop shop for all the filament you could ever need.
plastic recycling and extrusion have been around since plastic was invented. how do you think the filament bought online is made? there are a few websites/ users that have started to develop this system, but none have brought it to the scale where it is simple and easy to use. the whole goal of the filabot is to have a complete system that is affordable and reliable. filabot right now is more than just an idea, we have tested our prototype system with great results. but we need your help! we need backers to help support the cause so we can make the best system possible. it is a bold and big idea but with your help we can create a device that helps user of 3d printers to become self-sufficient.
the size of filabot and operation:
going along with the desktop theme, the filabot will be designed to fit on a desktop. we want to allow users to sit at their desk with their computer, 3d printer, and filabot. the size we are trying to fit in will be 24in by 12in by 12in.
the grinding unit of the filabot will process plastic up to the diameter of 4in, larger pieces will have to be broken down before feed into the grinder.
after grinding the plastic will be a uniform size and will be automatically feed into the hopper. from there the feed screw will push the pieces into the barrel to be melted at the correct temp.
the molten plastic will be extruded out of interchangeable nozzles. the 3mm and the 1.75mm will be included with all the kits. the nozzle will be a simple twist off to change it out.
after extrusion the filament passes through a sizing roller so that it will be the correct diameter for printing. directly after the rollers is a cutter that will cut off any oversize that was not taken care of by the rollers.
finally the filament is rolled onto the spool for future parts.
what will the money be used for?
the funding from this kickstarter will be used to further develop and produce these extruders. filabot needs funding to keep going. parts need to be prototyped and tested. this all takes time and money. if there is a will, and a kickstarter, there is a way!
plastics that can be recycled:
so far we have tested some of the following plastics, once the prototype is finished we will be testing all the following plastics along with the long list we have from users. the filabot may even be able to melt and remake crayons.
pet or pete is the most common type of plastic used in soda drinks and so on. it is very easy to grind up and should be easy to melt and extrude.
pe-hd or hdpe is another common plastic that is very easy to melt. i have worked a little with this type of plastic and see a lot of potential with it. this type of plastic is used in milk jugs, 5 gallon buckets, water pipes, juice bottles.
pe-ld or ldpe seams that it will be harder to grind up since it is soft. but is is recyclable. this is also another promising type of plastic.
pp is a plastic that might work. it is used in larger plastic products like chairs and ihomes.
other plastic types. such as gas cans, dvds, cds, sunglasses and so on. this category has a few different types of plastics.
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baɪ ʤin ˈloʊtəs ˈɛdɪtər ðə hɪˈstɔrɪkəl soʊˈsaɪɪti əv ˈfɔrɪst pɑrk wɪl ˈprɛzənt ə mˈjuzɪkəl ˈʤərni θru ðə ˈhɪstəri əv ˈfɔrɪst pɑrk wɪθ ə ˈkɑnsərt ˈsæˌtɪˌdeɪ, ʤæn. 24 ðə ˈkɑnsərt wɪl ˈfiʧər ˈfɔrɪst pɑrks ˈoʊldəst ˈsɪŋɪŋ ˌɔrgənəˈzeɪʃən, ðə ˈhɑrləm ənd kwaɪər (ˈfaʊndɪd ɪn 1891 wɪn ˈfɔrɪst pɑrk wɑz stɪl kɔld ˈhɑrləm). bɪld ɛz "ə mˈjuzɪkəl trɪp θru ðə ˈeɪʤɪz fər ɔl ˈeɪʤɪz," ðə ˈkɑnsərt wɪl ˈfiʧər mˈjuzɪk frəm ˈʤərmən foʊk sɔŋz θru ˈklæsɪkəl, ˈlætən ənd əˈmɛrɪkən foʊk ənd ʤæz. ˈsɛrə ənd ˈdænjəl gasse*, ˈloʊkəl strɪŋ ˈtiʧərz, wɪl pərˈfɔrm ˈklæsɪkəl strɪŋ ˈrɛpərtˌwɑr. ˈlætən mˈjuzɪk wɪl bi pərˈfɔrmd baɪ ˈklɔdiə ənd məˈdinə. ˈɔlsoʊ pərˈfɔrmɪŋ wɪl bi ə ˈʧɪldrənz ˈlætən foʊk ækt kɔld "lɔs primos*" kəmˈpoʊzd əv ˈfɔrɪst pɑrk ˈʧɪldrən. ˈmædɪsən strit gɪˈtɑr foʊk ˈduoʊ tæm ənd dæn wɪl drɔp baɪ. ˈɔlsoʊ ˈsɪŋɪŋ wɪl bi ˈfɔrɪst pɑrk ʤæz ˈsɪŋər əˈlɪsə ˈɔlˌgʊd, huz ˈsiˈdi wən daʊnˈbit ˈmægəˌzinz ˈnæʃənəl ˈstudənt mˈjuzɪk əˈwɔrd fər bɛst kəˈliʤɪt ʤæz ˈvoʊkəl ˈsoʊˌloʊɪst. ðə ˈkɑnsərt teɪks pleɪs frəm 6 8 p.m*. æt juˈnaɪtɪd ʧərʧ ɪn ˈfɔrɪst pɑrk, 1000 ˈɛlʤɪn ˈɑˌveɪ. dɔrz ˈoʊpən æt p.m*. soʊ ˈvɪzɪtərz kən drɔp baɪ ðə hɪˈstɔrɪkəl soʊˈsaɪɪti ɪgˈzɪbɪt æt ðə ʧərʧ: ˈfɔrɪst pɑrk: ə ləv ˈstɔri, sɛd hɪˈstɔrɪkəl soʊˈsaɪɪti ɪgˈzɛkjətɪv dɪˈrɛktər daɪæn ˈhænsən grah*. ˈtɪkɪts kɔst 10 fər nɑnˈmɛmbərz əv ðə soʊˈsaɪɪti, 8 fər ˈmɛmbərz ənd 5 fər ˈʧɪldrən ˈəndər 12 ədˈvæns ˈtɪkɪts kən bi ˈpərʧəst ˈviə æt ðə hɪˈstɔrɪkəl soʊˈsaɪɪti ˈwɛbˌsaɪt: ˈkɑnˌtækt: iˈmeɪl: tˈwɪtər:
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by jean lotus
editor
the historical society of forest park will present a musical journey through the history of forest park with a concert saturday, jan. 24.
the concert will feature forest park's oldest singing organization, the harlem maenner und damen chor choir (founded in 1891 when forest park was still called harlem).
billed as "a musical trip through the ages for all ages," the concert will feature music from german folk songs through classical, latin and american folk and jazz.
sarah and daniel gasse, local string teachers, will perform classical string repertoire. latin music will be performed by claudia and rosalio medina. also performing will be a children's latin folk act called "los primos" composed of forest park children.
madison street guitar folk duo tam and dan will drop by. also singing will be forest park jazz singer alyssa allgood, whose self-produced cd won downbeat magazine's national student music award for best collegiate jazz vocal soloist.
the concert takes place from 6 – 8 p.m. at 1st united church in forest park, 1000 elgin ave.
doors open at 5:30 p.m. so visitors can drop by the historical society exhibit at the church: forest park: a love story, said historical society executive director diane hansen grah.
tickets cost $10 for non-members of the society, $8 for members and $5 for children under 12. advance tickets can be purchased via paypal at the historical society website: http://www.forestparkhistory.org/events.php
contact:
email: jlotus@forestparkreview.com twitter: @fp_review
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ˈstɔri ˈhaɪˌlaɪts ˈsændərz bɪlt ɔn hɪz nu laɪn əv əˈtæk əˈgɛnst ˈklɪntən ɔn ˈfraɪˌdeɪ naɪt, pleɪɪŋ ɔf ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑməz dɪˈsɪʒən ʤɪst aʊərz ˈərliər tɪ kɪl ðə ˈkiˌstoʊn ˈpaɪˌplaɪn ˈivɪn oʊˈmæli gɑt ɪn ɔn ðə hɪts, seɪɪŋ ˈklɪntən gɑt əraʊnd tɪ əˈpoʊzɪŋ ðə ˈpaɪˌplaɪn "ʤɪst læst wik" rɑk hɪl, saʊθ ˌkɛrəˈlaɪnə (ˈsiˈɛˈnɛn) ðə θri ˈdɛməˌkræts lɛft ɪn ðə fild meɪ nɑt hæv ʃoʊn əp ˌɑnˈsteɪʤ ˌsaɪməlˈteɪniəsli ˈfraɪˌdeɪ naɪt hir, bət ðə tu ˈʧælənʤərz ˈrənɪŋ bɪˈhaɪnd ˈhɪləri ˈklɪntən spɛnt ðə naɪt traɪɪŋ tɪ hɪt hər head-on*. ˈklɪntən, vərˈmɑnt sɛn. ˈbərni ˈsændərz ənd ˈfɔrmər ˈmɛrələnd gəv. ˈmɑrtɪn oʊˈmæli sæt daʊn, wən ˈæftər ðə ˈəðər, wɪθ ˈreɪʧəl fər ə hæf aʊər æt ˈwɪnθrəp ˌjunəˈvərsəti. ənd dɪˈspaɪt ˈnɛvər ˈfeɪsɪŋ ɔf dɪˈrɛkli ˌɑnˈsteɪʤ, ðə hɪts ˈsaʊndɪd ˈʃɑrpər ðən ðeɪ hæd ˌbiˈfɔr, ˈivɪn ˈdʊrɪŋ ðə fərst ˌdɛməˈkrætɪk dəˈbeɪt ˈhoʊstɪd læst mənθ. ˈsændərz bɪlt ɔn hɪz nu laɪn əv əˈtæk əˈgɛnst ˈklɪntən ɔn ˈfraɪˌdeɪ naɪt, pleɪɪŋ ɔf ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑməz dɪˈsɪʒən ʤɪst aʊərz ˈərliər tɪ kɪl ðə ˈkiˌstoʊn ˈpaɪˌplaɪn. "naʊ tɪ mi, ɛz əˈpoʊzd tɪ ˈmeɪbi səm ˈəðər ənˈneɪmd ˈkænədɪts, ðə ˈɪʃu əv ˈkiˌstoʊn wɑz kaɪnd əv ə ˌnoʊˈbreɪnər. ɪt ˈnɛvər meɪd sɛns tɪ mi, frəm deɪ wən, ɛz tɪ waɪ ju wʊd ˈɛkˌstrækt ənd ˈtrænspɔrt səm əv ðə ˈdərtiəst fjuəl ɔn ðɪs ˈplænət," ˈsændərz sɛd, ˈteɪkɪŋ ən ˌɪmˈplɪsət ʤæb æt ˈklɪntən, hu kənˈsɪstəntli rɪfˈjuzd tɪ seɪ wɛr ʃi stʊd ɔn ðə ˈɪʃu ənˈtɪl ˈrisəntli. ˈivɪn oʊˈmæli gɑt ɪn ɔn ðə hɪts, seɪɪŋ ˈklɪntən gɑt əraʊnd tɪ əˈpoʊzɪŋ ðə ˈpaɪˌplaɪn "ʤɪst læst wik" (ɪt wɑz ˈæˌkʧuəli ˈsɛvərəl wiks əˈgoʊ) waɪl hi, tu, hæd bɪn əˈpoʊzd fər mənθs. rɛd mɔr
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story highlights sanders built on his new line of attack against clinton on friday night, playing off president barack obama's decision just hours earlier to kill the keystone xl pipeline
even o'malley got in on the hits, saying clinton got around to opposing the pipeline "just last week"
rock hill, south carolina (cnn) the three democrats left in the field may not have shown up onstage simultaneously friday night here, but the two challengers running behind front-runner hillary clinton spent the night trying to hit her head-on.
clinton, vermont sen. bernie sanders and former maryland gov. martin o'malley sat down, one after the other, with msnbc's rachel maddow for a half hour at winthrop university. and despite never facing off directly onstage, the hits sounded sharper than they had before, even during the first democratic debate hosted last month.
sanders built on his new line of attack against clinton on friday night, playing off president barack obama's decision just hours earlier to kill the keystone xl pipeline.
"now to me, as opposed to maybe some other unnamed candidates, the issue of keystone was kind of a no-brainer. it never made sense to me, from day one, as to why you would extract and transport some of the dirtiest fuel on this planet," sanders said, taking an implicit jab at clinton, who consistently refused to say where she stood on the issue until recently.
even o'malley got in on the hits, saying clinton got around to opposing the pipeline "just last week" (it was actually several weeks ago) while he, too, had been opposed for months.
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ə lɔt əv bɪg stəf wɛnt daʊn ɪn ˈdrægən ənd ðə wolf,”*,” ənd ʤɑn snoʊ (ər ɛz wi kən naʊ kɔl ɪm, ˈeɪgɑn targaryen*) wɑz æt ðə ˈsɛnər əv ˈmɛni əv ðɛm, ɛz pər ˈjuʒəwəl. kɪt sæt daʊn wɪθ ˈdɛˌdlaɪn tɪ tɔk əˈbaʊt ðə fəˈnæli, haʊ ðə ʃoʊ həz ʧeɪnʤd, wət hi ɪkˈspɛkts frəm ˈsizən 8 ənd haʊ hi filz əˈbaʊt ɪt ɔl ˈkəmɪŋ tɪ ən ɛnd. fərst əv ɔl, ɪz ˈgəʃɪŋ əˈbaʊt ðə ˈleɪtəst, ˈɛpɪˌsoʊd. θɪŋk wən əv ðə bɛst ˈɛpɪˌsoʊdz əv geɪm əv seen,”*,” hi sɪz. gɑt ə bɪt əv ˈɛvriˌθɪŋ, ɪt fɪts wɪθ ðə ˈsizən, ənd ɪt ˈɔlsoʊ fɪts wɪθ ɪn ˈʤɛnərəl, ənd aɪ ləv ɪt. aɪ fil ˈvɛri əˈbaʊt ɪt æt ðə moment.”*.” wən əv hɪz ˈfeɪvərɪt pɑrts əv ðə ˈɛpɪˌsoʊd wɑz ðə ðə bɪg sin ɪn ðə ruɪnz əv ðə dragonpit*: ju noʊ, aɪ θɪŋk ðə ˈmeɪʤər pɑrt əv ðət ˈɛpɪˌsoʊd, wɪʧ ˈrɪli wɑz ˈrɪli streɪnʤ fər ɔl əv ˈjuˈɛs ɛz ˈæktərz, wɑz biɪŋ ɪn ðət ˈdrægən pɪt ənd ˈɛvriˌwən biɪŋ ðɛr ʤɪst ˈfeɪsɪŋ iʧ ˈəðər, laɪk ˈɛvəri ˈkɛrɪktər. aɪ seɪ, mɔr fər ˈjuˈɛs ɛz ˈæktərz wɪθ ˈɛvəri ˈæktər ɪn ðə ˈsɪriz ðət ˈɛvər θɔt əˈbaʊt ˈwərkɪŋ wɪθ. ju hæv tɪ traɪ ənd rɪˈmɛmbər ðət ə lɔt əv ðiz ˈpipəl nu iʧ ˈəðər baɪ ˈrumər, bət hæd ˈnɛvər mɛt. soʊ aɪ, ər ʤɑn snoʊ, hæd noʊ aɪˈdiə wət lʊks laɪk ……well*, aɪ hæd frəm ðə fərst ˈɛpɪˌsoʊd əv ðə fərst ˈsizən, bət noʊ aɪˈdiə haʊ ʃi ɪz, haʊ ʃi ˌɪnərˈækts, haʊ ʃi wərks. soʊ ðət wɑz ə ˈmeɪʤər θɪŋ fər ðə ˈɛpɪˌsoʊd ənd ðə ˈsɪriz. ðə drəˈmætɪk sin bɪtˈwin ʤɑn snoʊ ənd ˈθiən wɑz maɪ ˈpərsɪnəl ˈfeɪvərɪt sin ɪn ðə ˈɛpɪˌsoʊd, ənd ɪt tərnz aʊt ˈpərsɪnəl ˈfeɪvərɪt ɛz wɛl: aɪ θɪŋk ðət ðə ˈrɪli ˈpɔɪnjənt bɪt fər mi, maɪ ˈfeɪvərɪt ˈmoʊmənt ˈrɪli ɪn ðə ˈɛpɪˌsoʊd, ʤɪst ɔn ə ˈpərsɪnəl ˈlɛvəl, wɑz aɪ wɑz ˈgɪtɪŋ tɪ wərk wɪθ ˈælfi ˈælən əˈgɛn ənd du ðə sin wɪθ ˈθiən wɛr ðeɪ mit ɪn ðə θroʊn rum. aɪ ləv ðət sin bɪˈkəz aɪ ləv wət ˈælfi dɪz wɪθ hɪz ˈkɛrɪktər. ləvd hɪz ˈʤərni ðɪs ˈsizən. aɪ θɪŋk ʤɪst ˈrɪli ˈɪntəˌrɛstɪŋ tɪ lʊk æt haʊ ðoʊz ˈkɛrɪktərz ənd ðə ˈʤərniz bɪn ɔn sɪns ðeɪ ˌɪnərˈæktəd ɪn ðət fərst ˈsizən. naʊ hir ðeɪ ər ɛz mɛn, ənd ʧeɪnʤd, ənd wət bɪn θru, ənd aɪ θɪŋk wɑz ə ˈrɪli ˈɪntəˌrɛstɪŋ θɪŋ tɪ pleɪ wɪθ mi fər ənd ˈælfi. ðə ʤɑn ˈmoʊmənt hɛlpt bɪld ðə ““epic”*” fil əv ðə ˌɪnˈstɔlmənt, wɪʧ wɑz ɪn ˈmɛni weɪz ˈstrəkʧərd mɔr laɪk ə ˈmuvi ðən ə ˌtɛləˈvɪʒən ˈɛpɪˌsoʊd. ðə lɛŋθ wɑz ɛˈsɛnʃəl fər, bɪˈkəz ɪt sɛts əp wət tɪ ɪkˈspɛkt fər nɛkst year.”*.” hi filz ɪt wɑz ə ““tester”*” ðət ʃoʊz wi kən meɪk ən ˈɛpɪˌsoʊd ðət kaɪnd əv lɛŋθ ənd wɪθ ðət əˈmaʊnt əv ˈstɔri goʊɪŋ on.”*.” ənd wɪθ rɪˈdust ˈnəmbərz əv ˈɛpɪˌsoʊdz pər ˈsizənz, ðə ˈɛkstrə taɪm ɪz ˈnɛsəˌsɛri. fər mi, ə ˈrɪli gʊd weɪ əv ˈfɪnɪʃɪŋ ðə ˈsizən, duɪŋ ðət sɔrt əv lɛŋθ. aɪ θɪŋk wɛr ðə ˈsizən həz ˈsəfərd ə bɪt ɪz ðət traɪɪŋ tɪ pæk soʊ məʧ ˈɪntu ˈsɛvən ˈɛpɪˌsoʊdz. wɛˈræz naʊ, wɪθ ðə fəˈnæli ənd goʊɪŋ ˈɪntu ðə ˈfaɪnəl ˈsizən, gɑt ə bɪt mɔr taɪm ɪn ðoʊz ˈɛpɪˌsoʊdz. sɪz ðə ˈstɔriˌlaɪnz ər naʊ ““crystalizing”*” əraʊnd ðə lɛd ˈkɛrɪktərz, əˈlaʊɪŋ ðɛm tɪ ˈkɑnstəntli dɪˈvɛləp ənd groʊ. hi filz ðət læst ˈsizən wɑz ˈfoʊkɪst ɔn ʤɑn ənd ðə ˈbætəl əv ðə ˈbæstərdz, waɪl ðɪs ˈsizən wɑz ˈstrəkʧərd əraʊnd daenerys*. naʊ ðət ðə ɛnd ɪz ɪn saɪt, bɪn ˈθɪŋkɪŋ əˈbaʊt ðə deɪ wɪn hi hæŋz əp ʤɑn sɔrd fər ðə læst taɪm: bɪn ɔn maɪ maɪnd ə lɔt ˈrisəntli, ˈɑbviəsli, ənd kaɪnd əv ˈvɛri məʧ ɪn maɪ ˈkɑnʃəsnəs ənd aɪ θɪŋk ɪn maɪ subconsciousness*. ɔˈrɛdi ˈfilɪŋ ˈvɛri ˈiˌmoʊʃənəl əˈbaʊt ɪt. ðɪs ɪz bɪɔnd wət ˈmɛni ˈæktərz ɪkˈspɪriəns ɪn ðɛr ˈlaɪfˌtaɪm, ə kaɪnd əv fəˈnɑməˌnɑn laɪk ðɪs, ənd aɪ ɪkˈspɪriənst raɪt æt ðə stɑrt əv maɪ kərɪr. aɪ θɪŋk aɪ ʤɪst wɔnt tɪ du ə ˈrɪli gʊd ʤɑb ɪn ðə ˈfaɪnəl ˈsizən. aɪ wɔnt tɪ ˈfɪnɪʃ ɪt wɛl. wət aɪ kɛr əˈbaʊt raɪt now.”*.” ˌəndərˈstændəbəl ðət prɪˈdɪkt ɪgˈzæktli haʊ hi maɪt fil wɪn ðə ʃoʊ ɪz ˈoʊvər. ɪt gɪts tɪ ðə ɛnd, noʊ fər ʃʊr ənd tɛl you,”*,” hi sɪz. kən tɛl ju naʊ fil laɪk ðə raɪt taɪm. aɪ θɪŋk raɪt naʊ haʊ ˈpərˌfɪkt ðɪs filz ɛz ə taɪm tɪ ɛnd. aɪ θɪŋk ɪf ɪt hæd ˈɛndɪd ðɪs ˈsizən, ɪt wʊd fil tu ʃɔrt. aɪ θɪŋk ɪf ɪt wɛnt ɔn ˈɛni mɔr ˈsizənz, aɪ wʊd bi sɪk əv it.”*.” wɑz loʊð tɪ seɪ wət ðə ˈfaɪnəl ˈsizən wɪl ˌɪnˈklud, ˌɔlˈðoʊ ˈprɪti ʃʊr bi duɪŋ ə lɔt əv ˈfaɪtɪŋ. aɪ ləv ðət, soʊ goʊɪŋ tɪ ˈrɪli gɪt stək ˈɪntu ðət ənd du ɪt ənd ˌɛnˈʤɔɪ biɪŋ ˈɛvəri day.”*.” ɛz fər ðə ˈɛndɪŋ, hi ɪkˈspɛkts ðə ʃoʊ tɪ goʊ aʊt wɪθ ə bæŋ. kən ˈnɛvər ɛnd ðə weɪ ðət started,”*,” hi sɪz. ˈɔlˌweɪz hæd tɪ ɛnd bɪg, ənd ɪf wi kən du ðət, ɪf wi kən pʊl ɪt ɔf, nɑt wɪθ səm ˈstɔriˌtɛlɪŋ, bət wɪθ səm ˈrɪli kaɪnd əv bɪg, ˈmuvi stəf, wɪθ ɔl ðə ˈkɛrɪktərz bɪˈkəz ðɛr ər soʊ fju left.”*.” hi ˈɔlsoʊ ɪkˈspɛkts ə ˈhɛvi kæst ˈkæʒəwəlti reɪt ɪn ˈsizən 8 ənd ðə θɪŋ ɪz, wɪθ soʊ fju ˈkɛrɪktərz lɛft, ðeɪ (ðə vjuərz) ʃʊd gɪt juzd tɪ ənd gɪt ˈrɛdi fər nɛkst jɪr ɪz rɪˈtərnɪŋ tɪ fɔrm ənd ˈkɪlɪŋ ɪts meɪn ˈkɛrɪktərz kˈwɪkli. goʊɪŋ tɪ goʊ, ənd goʊɪŋ tɪ goʊ fæst, ənd aɪ θɪŋk ðət ðə peɪɔf əv ɑr ˈkɛrɪktərz nɑt biɪŋ ɪn greɪt ˈpɛrəl ðɪs jɪr wɪl bi ðət, nɛkst jɪr, goʊɪŋ tɪ bi ə ˈblədˌbæθ. laɪk ɔl əv ˈjuˈɛs, wɔnts tɪ noʊ haʊ ɪt ɔl ɛndz. ənˈlaɪk ɔl əv ˈjuˈɛs, noʊ ˈvɛri sun, bɪˈkəz əˈbaʊt tɪ stɑrt duɪŋ skrɪpt ˈteɪbəl ˈridɪŋz fər ˈsizən 8 ɔl bɪn dɪˈskəsɪŋ ɪn bɑrz ɛz ˈæktərz ənd təˈgɛðər ɔn sɛt wət wɪl ˈhæpən ɪn ðə ˈfaɪnəl ˈsizən, ənd ˈvɛri sun, wi gɪt tɪ faɪnd out,”*,” hi sɪz, ˈædɪŋ kɔrs, ju gaɪz gɪt tɪ faɪnd aʊt fər ə lɔŋ time.”*.” wi hoʊp soʊ. ˈlikərz, goʊ əˈweɪ. ˈtərnɪŋ tɪ dɪˈmaɪz, θɪŋks hɪz ˈɛndɪŋ sin goʊɪŋ tɪ bi wən əv ðə ˈstænˌdaʊt sinz əv ðə hoʊl əv, ɪn maɪ opinion.”*.” waɪ? θɪŋk ðeɪ wɪl bi ɪkˈspɛktɪŋ ɪt, bɪˈkəz hi ˈsəmˌhaʊ filz ˌɪˈmɔrtəl. ðɛr wər ˈrumərz ˈərli ɔn ðət wʊd bi ðə wən ɔn ðə θroʊn æt ðə ɛnd, ju know.”*.” ˈlʊkɪŋ æt ɪt, ɪt ˈrɪli kəmz bæk tɪ wət ðə rut əv ɪz, siɪŋ ˈsəmˌwən feɪs ðɛr oʊn mɔrˈtæləti ənd si hu ðeɪ ˈrɪli ər ɪn ðət ˈmoʊmənt. aɪ θɪŋk, ju noʊ, wi si ðɪs ˈtɛrəˌfaɪd ˈlɪtəl wərm kəm aʊt, ənd ˈæˌkʧuəli, aɪ fɛlt ˈsɑri fər ɪm. aɪ fɛlt fər ɪm, ju noʊ, ənd ɪt wɑz ˌɪnˈkrɛdəbəl, ˈbjutəfəl ˈæktɪŋ frəm ˈeɪdɑn ˈgɪlən. aɪ θɪŋk ðə ʃoʊ wɪl mɪs ɪm nɛkst jɪr. ˈɔlsoʊ tɔks əˈbaʊt ðə səkˈsɛs əv geɪm əv ənd ɪts ˈkəlʧərəl ˈɪnfluəns ɪn wət ɪz naʊ biɪŋ kɔld ðə ˈgoʊldən eɪʤ əv ˈtɛləˌvɪʒən. tɪ mi, ðə ʃoʊ həz meɪd ðə ˈdɪfərəns bɪtˈwin fɪlm ənd ˌtɛləˈvɪʒən nɑt ɛz ˈizi tɪ dɪˈsaɪfər. ˈæˌkʧuəli, ðə ˈɛndgeɪm fər ˈjuˈɛs ɪn səm weɪ, aɪ θɪŋk, ɪz tɪ meɪk ə ˈmuvi fər ˌtɛləˈvɪʒən, bət wɪʧ ɪz ˌtɛləˈvɪʒən bɪˈkəz ju noʊ ðiz ˈkɛrɪktərz ˈoʊvər ˈsɛvən jɪrz aɪ hoʊp ðət ðɪs læst sɪks ˈɛpɪˌsoʊdz ɪn ðə ˈfaɪnəl ˈsizən ɪz goʊɪŋ tɪ bi pʊt ɔn ˈmuvi skrinz, ju noʊ, ənd ɪt bɪˈkəmz boʊθ. ɪt bɪˈkəmz ɪn jʊr hoʊm ənd ɪn ˈsɪnəmə. aɪ hoʊp ðət ðət ˈhæpənz. aɪ θɪŋk ɔˈrɛdi ˈhæpənɪŋ æt taɪmz, ənd ðət ˈrɪli ɪz ðə ˈblɛndɪŋ əv ˈstɔri ənd ən ˈɛpɪk kaɪnd əv ˈspɛktəkəl. ˈfaɪnəli, ðə ˈæktər lʊkt bæk ɔn ˈsizən 7 seɪɪŋ ðət bɪn ə lɔt əv əv breath”*” ðɪs jɪr. noʊ, ˈjuʒəwəli, ə lɔt əv ˈtɔkɪŋ ənd smɔl, sloʊ ˈmuvɪŋ ˈɪntu pleɪs. wət juzd tɪ frəm. ðɛn aʊt əv ˈnoʊˌwɛr, wi hɪt ðɛm wɪθ ðɪs ˈvɛri, ˈvɛri, ˈvɛri ˌfæstˈpeɪst, ˌɪnˈkrɛdəbli ˈsizən wɛr ˈɛvriˌwən mits, ənd ə lɔt əv θɪŋz ˈhæpən, ənd ðə ˈdrægənz goʊ crazy.”*.” aɪ hoʊp ðət ˌɪnˈstɛd əv ɪt biɪŋ ə sloʊ ˈroʊlər ˈkoʊstər, aɪ θɪŋk ðət hæv ˌɛnˈʤɔɪd ðə peɪs ðət pɪkt əp ɔn, ənd ðɛn naʊ noʊ wət ɪn fər fər ðə læst wən. naʊ bi juzd tɪ ðɪs, wɪʧ ɪz ə sˈlaɪtli ˈdɪfərənt, bət wən wɛr ɪt ˈɔlˌweɪz hæd tɪ ɛnd. ɪt hæd tɪ ɛnd ɔn ðɪs ˈmæsɪv ˈlɛvəl. ɪn ˈəðər wərdz, ɪkˈspɛkt tɪ hæv jʊr stɑrk ˈstɑkɪŋz nɑkt ɔf ɪn ˈsizən 8 tɪ steɪ əp tɪ deɪt ɔn ˈɛvriˌθɪŋ geɪm əv, ˈfɑloʊ ɑr ˈfeɪsˌbʊk peɪʤ ənd saɪn əp fər ɑr ɪkˈsklusɪv ˈnuzˌlɛtər. wɔʧ geɪm əv fər fri wɪθ ə no-risk*, fri traɪəl əv ˈæməˌzɑn ˈʧænəlz.
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a lot of big stuff went down in “the dragon and the wolf,” and jon snow (or as we can now call him, aegon targaryen) was at the center of many of them, as per usual. kit harington sat down with deadline to talk about the finale, how the show has changed, what he expects from season 8 and how he feels about it all coming to an end.
first of all, harington is gushing about the latest, supersized episode. “i think one of the best episodes of game of thrones i’ve seen,” he says. “it’s got a bit of everything, it fits with the season, and it also fits with thrones in general, and i love it. i feel very soppy about it at the moment.”
one of his favorite parts of the episode was the the big face-off scene in the ruins of the dragonpit:
you know, i think the major part oft episode, which really was really strange for all of us as actors, was being int dragon pit and everyone being there just facing each other, like every character. i say, more for us as actors with every actor in the seriest we’d ever thought about working with. you have to try and remembert a lot of these people knew each other by rumor, but had never met. so i, or jon snow, had no idea what cersei looks like …well, i had from the first episode of the first season, but no idea how she is, how she interacts, how she works. sot was a major thing for the episode and the series.
the dramatic scene between jon snow and theon greyjoy was my personal favorite scene in the episode, and it turns out harington’s personal favorite as well:
i thinkt the really poignant bit for me, my favorite moment really in the episode, just on a personal level, was i was getting to work with alfie allen again and do the scene with theon where they meet in the dragonstone throne room. i lovet scene because i love what alfie does with his character. i’ve loved his journey this season. i thinkt’s just really interesting to look at how those characters and the journeys they’ve been on since they interacted int first season. now here they are as men, and what’s changed, and what they’ve been through, and i think was a really interesting thing to play with me for and alfie.
the jon snow/theon greyjoy moment helped build the “epic” feel of the 80-minute installment, which was in many ways structured more like a movien a tv episode. the length was essential for harington, because it “really sets up what to expect for next year.” he feels it was a “tester”t shows “whether we can make an episodet kind of length and witht amount of story going on.” and with reduced numbers of episodes per seasons, the extra time is necessary.
for me, a really good way of finishing the season, doingt sort of length. i think where the season has suffered a bit ist you’re trying to pack so much into seven one-hour episodes. whereas now, with the finale and going into the final season, we’ve got a bit more time in those episodes.
harington says the storylines are now “crystalizing” around the lead characters, allowing them to constantly develop and grow. he feelst last season was focused on jon and the battle of the bastards, while this season was structured around daenerys. nowt the end is in sight, been thinking about the day when he hangs up jon snow’s sword for the last time:
…it’s been on my mind a lot recently, obviously, and kind of very much in my consciousness and i think in my subconsciousness. i’m already feeling very emotional about it. this is beyond what many actors experience in their lifetime, a kind of phenomenon like this, and i experienced right at the start of my career. i think i just want to do a really good job in the final season. i want to finish it well.t’s what i care about right now.”
it’s understandablet harington predict exactly how he might feel when the show is over. “when it gets to the end, i’ll know for sure and tell you,” he says. “i can tell you now it’ll feel like the right time. i think right now how perfect this feels as a time to end. i think if it had ended this season, it would feel too short. i think if it went on any more seasons, i would be sick of it.”
harington was loathe to say what the final season will include, although pretty sure he’ll be doing a lot of fighting. “[a]nd i lovet, so i’m going to really get stuck intot and do it and enjoy being knackered every day.” as for the ending, he expects the show to go out with a bang. “this can never end the wayt thrones started,” he says. “it always had to end big, and if we can dot, if we can pull it off, not with some tricks-y storytelling, but with some really kind of big, in-your-face movie stuff, with all the characters because there are so few left.”
he also expects a heavy cast casualty rate in season 8:
and the thing is, with so few characters left, they (the viewers) should get used to and get ready for next year is thrones returning to form and killing its main characters quickly. they’re going to go, and they’re going to go fast, and i thinkt the payoff of our characters not being in great peril this year will bet, next year, going to be a bloodbath.
like all of us, harington wants to know how it all ends. unlike all of us, he’ll know very soon, because about to start doing script table readings for season 8. “we’ve all been discussing in bars as actors and together on set what will happen in the final season, and very soon, we get to find out,” he says, adding “of course, you guys get to find out for a long time.”
we hope so. leakers, go away.
turning to littlefinger’s demise, harington thinks his ending scene “is going to be one of the standout scenes of the whole of thrones, in my opinion.” why? “i don’t think they will be expecting it, because he somehow feels immortal. there were rumors early ont littlefinger would be the one on the throne at the end, you know.”
looking at it, it really comes back to what the root of thrones is, seeing someone face their own mortality and see who they really are int moment. i think, you know, we see this terrified little worm come out, and actually, i felt sorry for him. i felt for him, you know, and it was incredible, beautiful acting from aidan gillen. i think the show will miss him next year.
harington also talks about the success of game of thrones and its cultural influence in what is now being called the golden age of television.
to me, the show has made the difference between film and tv not as easy to decipher. actually, the endgame for us in some way, i think, is to make a movie for tv, but which is tv because you know these characters over seven years … i hopet this last six episodes in the final season is going to be put on movie screens, you know, and it becomes both. it becomes in your home and in cinema. i hopett happens. i think already happening at times, andt really is the blending of long-form story and an epic kind of spectacle.
finally, the actor looked back on season 7, sayingt there’s been a lot of “holding of breath” this year. “you know, usually, there’s a lot of around-the-table talking and small cogs, slow cogs moving into place.t’s what we’re used to from thrones. then out of nowhere, we hit them with this very, very, very fast-paced, incredibly adrenaline-filled season where everyone meets, and a lot of things happen, and the dragons go batsh*t crazy.”
i hopet instead of it being a slow roller coaster, i thinkt they’ll have enjoyed the pacet picked up on, and then they’ll now know what they’re in for for the last one. they’ll now be used to this thrones, which is a slightly different thrones, but one where it always had to end. it had to end on this massive level.
in other words, expect to have your stark stockings knocked off in season 8.
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““i* θɪŋk əv bɪˈkəmɪŋ ˈɪndiə koʊʧ. ˈsɛkrəˌtɛri ənd ˈdɑktər ˈkrɪkɪt ˌɑpərˈeɪʃənz) keɪm tɪ mi. ðeɪ rɪkˈwɛstɪd mi. aɪ tʊk maɪ taɪm. aɪ spoʊk tɪ ˈkoʊli. ˈjɑhi ˈreɪhi ðeɪ, tæb aɪ əˈplaɪd. (hi ˈɔlsoʊ sɛd ðə seɪm, ˈoʊnli ðɛn aɪ applied).”*).”, hu lɔst ðə ˈɪndiə ˈkoʊʧɪŋ ʤɑb tɪ ˌrɑˈvi, həz ˈbroʊkən hɪz ˈsaɪləns tɪ θroʊ laɪt ɔn ðə ɪˈvɛnts ðət trænˈspaɪərd ɪn ðə tɪ ðə moʊst ˈkəvətɪd ˈspɔrtɪŋ ʤɑb ɪn ðə ˈkəntri. ɪn ən ˈɪntərvˌju wɪθ ˈɪndiə ˌtɛləˈvɪʒən, rɪˈvild hi hæd əˈplaɪd fər ʤɑb ɪn meɪ ˈoʊnli ˈæftər ˈspikɪŋ tɪ ˈɪndiə ˈkæptən ˈkoʊli, hu ərʤd ɪm tɪ du soʊ, ənd ˈæftər hi wɑz ˌɪˈnɪʃəli əˈproʊʧt baɪ ðə əˈfɪʃəlz. ˈædvərˌtaɪzɪŋ wɪn æst waɪ dɪˈspaɪt biɪŋ frɛndz wɪθ ðə ˈkrɪkɪt ædˈvaɪzəri kəˈmɪti, kəmˈpraɪzɪŋ ˈsæʧən tendulkar*, ənd, hi gɪt ðə ʤɑb, sɛd wɪθ ə smaɪl: ˈsɛtɪŋ θi nɑ! (aɪ hæv ə ˈlɑbiɪŋ power)”*)”. ˈklɛrəˌfaɪd ðət hi θɪŋk ðət hæd ðət ““setting”*”: aɪ seɪ ðət (hi hæd). ðeɪ hæd tɪ ʧuz ðə bɛst ˈkænədɪt əˈməŋ 10 ˈæplɪkənts. ˌrɑˈvi wɑz ðə bɛst. ənd hi gɑt ðə ʧæns tɪ coach.”*.” ˈɔlsoʊ ˈklɛrəˌfaɪd ðət hi wʊd ˈnɛvər hæv əˈplaɪd fər ðə ʤɑb hæd hi noʊn wʊd ˈɔlsoʊ ʃoʊ ˈɪntəˌrɛst. sɛd hi hæd ˈivɪn æst waɪ hi əˈplaɪd fər ðə roʊl ˈdʊrɪŋ ˈʧæmpiənz ˈtroʊfi ɪn ˈɪŋglənd. wi wər ˈkɑmɛntɪŋ ɪn ˈɪŋglənd, aɪ æst ɪm, waɪ ju əˈplaɪɪŋ ənd hi toʊld mi, bɑr hun, karoonga.”*.” (aɪ hæd meɪd mɪˈsteɪk wəns, rɪˈpit ɪt twaɪs). ɪt wɑz ə ˌkɑntrəˈvərʃəl ˈsikwəns əv ɪˈvɛnts ðət ˈkəlməˌneɪtɪd ɪn ˈbægɪŋ ðə ʤɑb ɪn ˌʤuˈlaɪ. fərst ˈkəmbəl rɪˈzaɪnd ˈæftər ə rɪft wɪθ ˈkoʊli, ðɛn ɛz ˌriˈpɔrtəd fərst baɪ ðə ˈɪndiən ɪkˈsprɛs ɪn meɪ, ðə əˈfɪʃəlz əˈproʊʧt bət wɪn ɪt simd hi wɑz ðə ˈfrənˌtrənər, ˈɛnərd ðə pɪʧ, ənd ɪˈvɛnʧəwəli ræn əˈweɪ wɪθ ðə ʤɑb. ɪt wɑz ˌriˈpɔrtəd ðət gɪt ðə ʤɑb bɪˈkəz hi ˈwɔntɪd tɪ brɪŋ hɪz oʊn sɛt əv səˈpɔrt stæf ənd ðət sɪt wɛl wɪθ ˈkoʊli hu ˈwɔntɪd ðə laɪks əv ˈsænʤeɪ bangar*, ɛz ˈbætɪŋ koʊʧ, ənd ɛz ˈboʊlɪŋ koʊʧ. ɔn ˈfraɪˌdeɪ, sɛd ðət ˈkɑmən ˈpræktɪs ðət ə koʊʧ wʊd hæv ə səˈpɔrt stæf əv hɪz ˈprɛfərəns. koʊʧ dɪˈzaɪərz tɪ brɪŋ ɪn hɪz oʊn səˈpɔrt stæf. ˈiˈkeɪ jɑ du ˈʧeɪnʤɪz səˈpɔrt stæf meɪ. ʤoʊ mɪr kare*, meɪn ʤoʊ karoon*, ˈɪmpləmənt hoʊ. (hu wʊd wərk əˈkɔrdɪŋ tɪ maɪ staɪl, ənd ˈɪmpləmənt ðə θɪŋz aɪ wɔnt). ɪf aɪ hæd bɪˈkəm koʊʧ, wən ər tu ˈʧeɪnʤɪz wʊd ˈdɛfənətli hæv bɪn there.”*.” ɪt wɑz ˌriˈpɔrtəd ðɛn ðət ˈwɔntɪd ɛz ðə koʊʧ bət ɪt fɛl θru ˈæftər ˌkɑnsəlˈteɪʃənz wɪθ ˈkoʊli. hi tɛl ju ðət wɑz ˈbækɪŋ ɪm)? ɔl ðət wɑz ʤɪst nuz tru, fɔls, noʊ wən noʊz. aɪ wɑz frɛndz wɪθ ɔl əv ðɛm (ɪn ðə ˈpænəl)., tendulkar*, ənd aɪ du ˈkɑmənˌtɛri wɪθ heɪn (wi kɔl iʧ ˈəðər ˈbrəðər). bət ðət dɪˈsɪʒən (tɪ əˈpɔɪnt ə koʊʧ) bi beɪst ɔn ˈfrɛndʃɪp. hu ðeɪ fɛlt ɛz bɛst ˈkænədɪt, ðeɪ pɪkt him.”*.” sɛd ðət hi traɪd tɪ pæʧ θɪŋz bɪtˈwin ˈkoʊli ənd ˈkəmbəl, ˌbiˈfɔr hi əˈplaɪd fər ðə roʊl. θi (aɪ wɑz ˈtrəbəld) wɪθ ðə weɪ ˈkəmbəl ˈɛksət ˈhæpənd. ˈivɪn wɪn aɪ wɑz ɪn ˈɪŋglənd fər ˈkɑmənˌtɛri (fər ˈʧæmpiənz ˈtroʊfi), aɪ traɪd tɪ spik tɪ boʊθ ˈpipəl. karke*, rɛ, ˈjuˈɛn ki bæn ˈkəmbəl ənd ˈkoʊli ki ðɛn hoʊ. (ɪf boʊθ kʊd steɪ, ɪf θɪŋz kʊd wərk aʊt wɛl bɪtˈwin ðɛm, ɪt wʊd hæv bɪn fər ðə best.”*.”) ˈɔlsoʊ bækt ˈkəmbəl ɛz koʊʧ, seɪɪŋ ðət hi wɑz ðə bɛst aʊt ðɛr. ˈsərkəmˌstænsɪz raɪt fər ɪm tɪ steɪ. ðə ˈbɪgəst θɪŋ wət wi kɔl (magnanimity*) ðət ˈkəmbəl rɪˈzaɪnd hɪmˈsɛlf. (hoʊl procees*) (hoʊl ˈprɔˌsɛs wɑz rɔŋ). pərˈhæps, taɪm ənd koʊʧ. (ðɛr wɑz noʊ wən ˈbɛtər ər ˈeɪbəl ðən ɪm ɛz koʊʧ). ˈɔlsoʊ ʃɛrd ðət hi hərt ər ˈəpˌsɛt wɪθ ðə dɪˈsɪʒən tɪ əˈpɔɪnt ɛz hi rɪˈspɛktɪd ðə dɪˈsɪʒən əv ðə ˈlɛʤənˌdɛri ɪn ðə ˈpænəl. wʊd aɪ gɪt hərt? hu wər ðə ˈpipəl hu wər səˈlɛktɪŋ tendulkar*,,. soʊ, ðɛr ɪz noʊ kˈwɛʃən əv biɪŋ sæd, ˌdɪsəˈpɔɪnɪd, ər upset.”*.” ɔn ˌʤuˈlaɪ 10 ɪn ə prɛs ˈkɑnfərəns wɛr ɪt wɑz ɪkˈspɛktɪd ðət neɪm əv nu koʊʧ wʊd bi əˈnaʊnst, hæd ˌɪnˈstɛd sɛd ðət hi wʊd kənˈsəlt ˈkoʊli ˌbiˈfɔr ˈmeɪkɪŋ ðət dɪˈsɪʒən. fil ɛz ðə ædˈvaɪzəri kəˈmɪti ðət ðə ˈkæptən, wɪʧ ɪz ðə moʊst ˌɪmˈpɔrtənt θɪŋ ɪn cricket,”*,” hæd sɛd ðɛn. waɪ ˈwɔntɪd tɪ spik tɪ kohli,”*,” sɛd. ˈkəmbəl bɪˈkeɪm koʊʧ fərst taɪm, ðət taɪm noʊ wən wɑz ˈspoʊkən tɪ. əˈnaʊns kiya*. ˈbɛtər wɪn ju əˈpɔɪntɪŋ koʊʧ, ju spik tɪ ˈkæptən ənd ˈsinjər players.”*.” ðə ˈfɔrˌmæt əv ðə ˈɪndiə ˌtɛləˈvɪʒən ˈɪntərvˌju ˈɔlsoʊ əˈlaʊd ˈɔdiəns tɪ kˈwɛʃən, ənd wɪn ə fæn æst ɪm ˈwɛðər hi gɑt ˈæŋgri æt ə pleɪər ˈdʊrɪŋ hɪz pleɪɪŋ deɪz soʊ məʧ soʊ ðət hi fɛlt laɪk sˈlæpɪŋ ɪm? aɪˈisə hwɑ ki, hoʊ pleɪər ənd du kɑ ˈkɛrə hoʊ?!). smaɪld, ˌbiˈfɔr seɪɪŋ hi dɪd fil ˈæŋgri æt ˈkoʊli ɔn wən əˈkeɪʒən. ˈædvərˌtaɪzɪŋ ““once*, aɪ dɪd gɪt ˈæŋgri æt ˈkoʊli, ˈdʊrɪŋ ðə pərθ tɛst ɪn 2012 waɪl ˈfildɪŋ æt ðə ˈbaʊndəri, hi ʃoʊd ðə (ˈmɪdəl) ˈfɪŋgər tɪ ðə kraʊd. mæʧ ˌrɛfərˈi faɪnd ɪm. aɪ gɑt ˈæŋgri bɪˈkəz ɪn ðət hoʊl ˈsɪriz, hi wɑz ðə ˈoʊnli pleɪər hu wɑz ˈskɔrɪŋ rənz fər ˈjuˈɛs ənd bæn hoʊ jaata*, ɑr ˈbætɪŋ wʊd hæv kəˈlæpst. waɪ aɪ gɑt ˈæŋgri æt ɪm. mæt karo…*… bæn hoʊ jaoge*, ənd tim kɑ hoga*. du səʧ ˈæntɪks, nɑt ˈoʊnli wʊd ju gɪt bænd bət ðə tim wʊd bi ɪn trouble.),”*.),” hi ˈædɪd.
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“i didn’t think of becoming india coach. bcci secretary amitabh chaudhary and dr sridhar (gm cricket operations) came to me. they requested me. i took my time. i spoke to virat kohli. voh bhi yahi keh rahe they, tab jaake i applied. (he also said the same, only then i applied).” virender sehwag, who lost the india coaching job to ravi shastri, has broken his two-month silence to throw light on the events that transpired in the run-up to the most coveted sporting job in the country. in an interview with india tv, sehwag revealed he had applied for india-coach job in may only after speaking to india captain kohli, who urged him to do so, and after he was initially approached by the bcci officials.
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when asked why despite being friends with the cricket advisory committee, comprising sachin tendulkar, sourav ganguly and vvs laxman, he didn’t get the job, sehwag said with a smile: “meri setting nahi thi na! (i didn’t have a lobbying power)”. sehwag clarified that he didn’t think that shastri had that “setting”: i won’t say that (he had). they had to choose the best candidate among 10 applicants. ravi shastri was the best. and he got the chance to coach.”
sehwag also clarified that he would never have applied for the job had he known shastri would also show interest. sehwag said he had even asked shastri why he hadn’t applied for the role during champions trophy in england. “when we were commenting in england, i asked him, why aren’t you applying and he told me, “ek baar galti kar chuka hoon, dobara nahi karoonga.” (i had made mistake once, won’t repeat it twice). it was a controversial sequence of events that culminated in shastri bagging the job in july.
first anil kumble resigned after a rift with kohli, then as reported first by the indian express in may, the bcci officials approached sehwag but when it seemed he was the frontrunner, shastri entered the pitch, and eventually ran away with the job. it was reported that sehwag didn’t get the job because he wanted to bring his own set of support staff and that didn’t sit well with kohli who wanted the likes of sanjay bangar, as batting coach, and bharat arun as bowling coach. on friday, sehwag said that it’s common practice that a coach would have a support staff of his preference.
“every coach desires to bring in his own support staff. ek ya do changes zaroor karta hai support staff mey. jo mere issab sey kaam kare, main jo baate karoon, voh implement ho. (who would work according to my style, and implement the things i want). if i had become coach, one or two changes would definitely have been there.” it was reported then that ganguly wanted sehwag as the coach but it fell through after consultations with kohli. “did he tell you that (ganguly was backing him)? all that was just news — true, false, no one knows. i was friends with all of them (in the panel). ganguly, tendulkar, and i do commentary with laxman – bhrata bulate hain (we call each other brother). but that decision (to appoint a coach) can’t be based on friendship. who they felt as best candidate, they picked him.”
sehwag said that he tried to patch things between kohli and kumble, before he applied for the role. “pareshani thi (i was troubled) with the way kumble exit happened. even when i was in england for commentary (for champions trophy), i tried to speak to both people. dono sey baat karke, yadi dono reh jaaye, un dono ki ban jaaye – kumble and kohli ki then acha ho. (if both could stay, if things could work out well between them, it would have been for the best.”)
sehwag also backed kumble as coach, saying that he was the best out there. “perhaps circumstances weren’t right for him to stay. the biggest thing – what we call baddapan (magnanimity) that kumble resigned himself. lekin (whole procees) galat tha (whole process was wrong). perhaps, time kharaab tha aur unko jaana pada.warna unsey behter and kabil coach toh koi bhi nahi tha. (there was no one better or able than him as coach).
sehwag also shared that he wasn’t hurt or upset with the decision to appoint shastri as he respected the decision of the legendary cricketers in the panel. “why would i get hurt? who were the people who were selecting — tendulkar, ganguly, laxman. so, there is no question of being sad, disappointed, or upset.” on july 10, in a press conference where it was expected that name of new coach would be announced, ganguly had instead said that he would consult kohli before making that decision. “we feel as the advisory committee that he’s the captain, which is the most important thing in cricket,” ganguly had said then. “maybe that’s why ganguly wanted to speak to kohli,” sehwag said. “when kumble became coach first time, that time no one was spoken to. sirf announce kiya. it’s better when you appointing coach, you speak to captain and senior players.”
the format of the india tv interview also allowed audience to question sehwag, and when a fan asked him whether he got angry at a player during his playing days so much so that he felt like slapping him? (kabhi aisa hua hai ki, aapko bahut gussa aaya ho kisi player pey and usko do lagane ka dil kara ho?!). sehwag smiled, before saying he did feel angry at kohli on one occasion.
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“once, i did get angry at kohli, during the perth test in 2012. while fielding at the boundary, he showed the (middle) finger to the crowd. match referee fined him. i got angry because in that whole series, he was the only player who was scoring runs for us and khuda-na-khaasta ban ho jaata, our batting would have collapsed. that’s why i got angry at him. aisi harkatey mat karo… tum toh ban ho jaoge, and team ka nuksaan hoga. (don’t do such antics, not only would you get banned but the team would be in trouble.),” he added.
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ˈnɛvər maɪnd ðə ˈmɪzəʤɪni ənd ˌhoʊməˈfoʊbiə, ɪz ə ˈbrɪljənt poʊət. ɛz ðə ˌkɑntrəˈvərʃəl ˈræpər hɛdz fər ˈbrɪtən, ʤaɪlz ɪkˈspleɪnz waɪ hi bɪˈlɔŋz ɪn ðə ˈpænθiˌɑn əv ˈlɪtərˌɛri greɪts ðə mæn ɪz ɪn taʊn ðɪs wik, ənd ɔn ðə ˈnoʊkiə ˈmɛsɪʤ bɔrd ðɛr ˈæskɪŋ, "dɪz ˈɛniˌwən noʊ haʊ tɪ gɪt stæn ɛz ə ˈrɪŋər toʊn?" wɪʧ ɪz ɔl ˈvɛri poʊstˈmɑdərn ənd ˈɪntəˌrɛstɪŋ, sɪns ðə hɪt sɔŋ oʊˈvərtli ˈrɛfərənsɪz ðə breɪv nu wərld əv ˌtɛləkəmˌjunəˈkeɪʃənz: "dɪr slɪm, aɪ roʊt ju bət ju stɪl eɪnt callin*' aɪ lɛft maɪ sɛl, maɪ ˈpeɪʤər, ənd maɪ hoʊm foʊn æt ðə ˈbɑtəm ðə vərˈaɪəti əv ˈpɑsəbəl weɪz ɪn wɪʧ ðə ˈsɪŋər kən gɪt ɪn təʧ wɪθ hɪz dumd fæn ər əˈproʊpriɪtli overspecified*, kənˈsɪdərɪŋ slɪm pərˈsoʊnə) æt fərst ˈdəzənt rɪˈplaɪ tɪ hɪz fænz əbˈsɛsɪv ˈlɛtər. ɪˈvɛnʧəwəli hi dɪz gɪt raʊnd tɪ ˈraɪtɪŋ bæk: "dɪr stæn, aɪ mɛnt tɪ raɪt ju ˈsunər, bət aɪv ʤɪst bɪn ˈbɪzi hi kənˈtɪnjuz: "əm ˈsɑri aɪ ˈdɪdənt si ju æt ðə ʃoʊ, aɪ məst hæv mɪst ju. doʊnt θɪŋk aɪ dɪd ðət ʃɪt ˌɪnˈtɛnʃənəli ʤɪst tɪ dɪs ju." ðə ˈaɪrəni ɪn ðiz laɪnz ɪz dɪˈlɪʃəs, bət ʤɪst haʊ gʊd ər ˈlɪrɪks? ɪz ɔl ðə fəs əˈbaʊt ɪm ˈʤəstəˌfaɪd, ər ɪz ɪt ə keɪs əv haɪp ˈoʊvər ˈsəbstəns? ɪn fækt, ə brif ɪgˌzæməˈneɪʃən əv stæn rɪˈvilz ɪt tɪ hæv ɔl ðə dɛpθ ənd ˈtɛksʧər əv ðə ˈgreɪtəst ɪgˈzæmpəlz əv ˈɪŋlɪʃ vərs. tɪ juz ðə ˈsɪŋərz oʊn ˈlæŋgwɪʤ, ɪts ɛz "fæt" ɛz ˈrɑbərt ˈbraʊnɪŋ ənd ɪt ɪz wɪθ ðə vɪkˈtɔriən ˈmæstər əv slaɪ ˈaɪrəni ðət tru "ˈəndərˌgraʊnd" wərk ɪz dən, ʤɪst ɛz məʧ ɛz wɪθ skæm ənd ˈrəkəs, ðə bændz ˈnoʊtɪst ɪn ðə sɔŋ. əv kɔrs, ɪts ˈnəθɪŋ nu tɪ meɪk greɪt kleɪmz fər sɔŋ ˈlɪrɪks. ðə wərk ˈlɪstɪd ɪn ðə ˈpoʊətri əv ˈrɑkənˈroʊl, ə ænˈθɔləˌʤi, maɪt sim bəˈnɑl (ˈdɑnəvən?), bət ɪt həz lɔŋ bɪn ðə ˈhæbət əv ðə mɔr flæmˈbɔɪənt ˈkeɪmbrɪʤ ˈɪŋlɪʃ dɑnz tɪ pʊt ˈpɑpjələr mˈjuzɪk ˈəndər ðə fʊl glɛr əv ˌɪnkˈwaɪˌri. ɪt wɑz ˈkrɪstəfər rɪks hu ˈstɑrtɪd ɪt ɔf, ˈraɪtɪŋ əˈbaʊt ˈdɪlən frəm ðə ˈɑnwərdz. ðɪs ˈsənˌdi, rɪks gɪvz ə tɔk ɔn ðə ˈsəbʤɪkt ɔn ˈreɪdiˌoʊ 3 ɪn bɑb ˈdɪlən əˈməŋ ðə poʊəts, hi əˈtæks ðə taɪərd kits vi ˈdɪlən ˈɑrgjəmənt ðət hɪz ərˈɪʤənəl ˈpisɪz geɪv raɪz tɪ. ɪt wɑz ˈdeɪvɪd hɛr hu sɛt əp ðə ˌɑpəˈzɪʃən, wən ðət rɪks (kˈwoʊtɪŋ ðə ˈrisənt ˈdɪlən sɔŋ nɑt dɑrk jɛt əˈlɔŋˈsaɪd oʊd tɪ ə ˈnaɪtɪŋgeɪl) sɪz ɪz ˈæˌkʧuəli ə ˈjunɪti. ˈəðər dɑnz hæv ˈfɑloʊd sut: ˈɛrɪk ˈgrɪfɪθs ˌʤəkstəˈpoʊzɪŋ ˈtɔkɪŋ hɛdz wɪθ ˈwɪljəm ˈɛmpsən ɪn ˈkeɪmbrɪʤ ˈlɛkʧərz ˈdʊrɪŋ ðə leɪt 1980s*. bət ɪt ɪz rɛr fər ə ˈsɪŋər tɪ ˈkɑmbaɪn ˈpəblɪk ˈaʊˌtreɪʤ ənd ˈtɛksˌʧuəl ˈrɪʧnəs ɪn kwaɪt ðə weɪ dɪz. bət hu ɪz hi, ˈrɪli? laɪk ðə ˈpɔrʧəˌgiz poʊət fərˈnɑndoʊ pessoa*, wɪθ hɪz əv ˈsudəˌnɪmz, laɪk ðə kɔɪ ˈɛliət əv prufrock*, ər wɔlt ˈwɪtmənz sɔŋ əv ˌmaɪˈsɛlf "du aɪ ˌkɑntrəˈdɪkt ˌmaɪˈsɛlf? ˈvɛri wɛl ðɛn aɪ ˌkɑntrəˈdɪkt ˌmaɪˈsɛlf, (aɪ æm lɑrʤ, aɪ kənˈteɪn ˈməltəˌtjudz)", ɪz ə ˈməltəpəl, ɪˈlusɪv ɪkˈspɪriəns, wən ðət foʊldz əˈbaʊt ˌɪtˈsɛlf laɪk hɪz neɪm (frəm ˈmɑrʃəl ˈmæðərz: ɛm 'ɛn' ɛm). hu ðə "ril slɪm ˈʃeɪdi" ɪz, ɪn ˈəðər wərdz, ɪz hɑrd tɪ seɪ. ɛz tiɛs ˈɛliət pʊt ɪt: "ðə ˈneɪmɪŋ əv kæts ɪz ə ˈdɪfəkəlt ˈmætər, ɪt ˈɪzənt ʤɪst wən əv jʊr ˈhɑlɪˌdeɪ geɪmz; ju meɪ θɪŋk əm ɛz mæd ɛz ə ˈhætər wɪn aɪ tɛl ju ə kæt məst hæv θri ˈdɪfərənt neɪmz." laɪk macavity*, ˈɔlˌweɪz həz ən ˈæləˌbaɪ, ənd wən ər tu tɪ spɛr. ɪt ɪz ɛz ɪf ðɛr wər ˈɔlˌweɪz ˈsəmˌwən ɛls ˈwɔkɪŋ ˌbiˈsaɪd ɪm. ðə mɪˈsteɪk hɪz ˈkrɪtɪks meɪk ɪz tɪ si ðə sɔŋz ɛz dɪˈrɛkt ˈsteɪtmənts baɪ ðə ˈsɪŋər ˈrəðər ðən dɪˈskrit ɛsˈθɛtɪk ˈɑbʤɛkts. ɪz ɪt ˌɪnkənˈsivəbəl ðət ðə mæn hu roʊt stæn ʃʊd ˈɔlsoʊ wɔnt tɪ stæb ju ɪn ðə hɛd "ɪf jʊr ə fæg ər ə lɛs"? nɑt ˌnɛsəˈsɛrəli, bət ˈkrɪtɪks ʃʊd "rɪˈlæks ə ˈlɪtəl" ɛz hi ædˈvaɪzɪz stæn ʃʊd kənˈsɪdər ðət ðɪs maɪt bi ən ˈɑrtɪst tɔɪɪŋ wɪθ ðə pleɪs wɛr səˈlɛbrɪti ənd ˌpælətəˈbɪləti mit, baɪ ˈpæsɪŋ dɪˈlɪbərətli ɪnˈflæməˌtɔri ˈsteɪtmənts ənd baɪ lɛs ˈθɔtfəl ˈræpərz. ðə "aɪ" vɔɪs həz lɔŋ bɪn ˈsəbʤɪkt tɪ ˌmɑʤəˈleɪʃən ɪn ˈɪŋlɪʃ ənd əˈmɛrɪkən ˈpoʊətri. ˈbraʊnɪŋz greɪt drəˈmætɪk ˈmɑnəˌlɔgz, səʧ ɛz maɪ læst ˈdəʧəs ər ˈləvər, ər ðə ˈklæsɪk ɪgˈzæmpəlz əv ðɪs. ˈəðər poʊəts, ˌɪnˈkludɪŋ ˈtɛnɪsən, ˈhɑrdi, ˈkɪplɪŋ, frɔst, paʊnd ənd ˈɛliət hɪmˈsɛlf, ˈɔlsoʊ ˈmæstərd ðə fɔrm. əˈkɔrdɪŋ tɪ ðə ˈhændˌbʊk tɪ ˈlɪtərəʧər, ə drəˈmætɪk ˈmɑnəˌlɔg ɪz ə poʊəm "ðət rɪˈvilz ə 'soʊl ɪn ˈækʃən' θru ðə spiʧ əv wən ˈkɛrɪktər ɪn ə drəˈmætɪk ˌsɪʧuˈeɪʃən. ðə ˈkɛrɪktər ɪz ˈspikɪŋ tɪ ən aɪˈdɛntəˌfaɪəbəl bət ˈsaɪlənt ˈlɪsənər æt ə drəˈmætɪk ˈmoʊmənt ɪn ðə ˈspikərz laɪf. ðə ˈsərkəmˌstænsɪz sərˈaʊndɪŋ ðə ˌkɑnvərˈseɪʃən, wən saɪd əv wɪʧ wi 'hir' ər meɪd klɪr baɪ ˌɪmpləˈkeɪʃən, ənd ən ˈɪnˌsaɪt ˈɪntu ðə ˈkɛrɪktər əv ðə ˈspikər meɪ rɪˈzəlt." ɪn maɪ læst ˈdəʧəs, ðə ˈspikər ɪz ən ˌɪˈtæljən duk hu həz hæd hɪz flərˈteɪʃəs waɪf ˈmərdərd, ənd ɪz ʃoʊɪŋ hər ˈpɔrtrət tɪ (ˈprɑbəˌbli) ən ˈɛnvɔɪ frəm hɪz nɛkst ˈfɑðərɪnˌlɔ. ə "ˈpɪkʧər ɔn ðə wɔl", ɛz ɪn ðə ˈkɔrəs tɪ stæn, ˈfərnɪʃɪz ðə əˈkeɪʒən fər ðə poʊəm. wɛr stæn ˈdɪfərz, ənd ɪz ɪn səm rɪˈspɛkts mɔr səˈfɪstɪˌkeɪtəd ˌɔlˈðoʊ ɪt ɪz ə səˌfɪstəˈkeɪʃən ˈoʊnli ˈpɑsəbəl ɪn ə mass-media*, wərld ɪz ðət boʊθ ˌædrɛˈsi ənd spik ɪn ɪt. ðɛr ɪz ə ˈfərðər səˌfɪstəˈkeɪʃən ɪn soʊ fɑr ɛz ɔl ˈlɪsənərz ər ɪn səm sɛns koʊˈɑptəd ˈɪntu ðə stæn roʊl. baɪ aɪˈrɑnɪkli tu sɛts əv ˈlɛtərz, stæn ˈɔlsoʊ fɪts sˈnəgli ˈɪntu ðə trəˈdɪʃən əv ðə vərs ɪˈpɪsəl aʊt əv wɪʧ ðə drəˈmætɪk ˈmɑnəˌlɔg dɪˈvɛləpt. ɪt ʃɛrz, tu, səm kˈwɑlətiz əv ˌənrɪˈlaɪəbəl nɛˈreɪʃən wɪθ ˈləvər, ɪn wɪʧ əˈnəðər ˈmərdərər spiks. ɛz wɪθ stæn ("ðə ˈmɔrnɪŋ reɪn klaʊdz əp maɪ ˈwɪndoʊ ənd aɪ kænt si æt ɔl"), ðə ˈwɛðər fɪts ðə mud: "ðə reɪn sɛt ɪn ˈərli təˈnaɪt, ðə ˈsələn wɪnd wɑz sun əˈweɪk, ɪt tɔr ðə daʊn fər spaɪt." ðə ˈspikər ɪn ˈləvər goʊz ɔn tɪ rɪˈvil haʊ məʧ ləvd ɪm soʊ məʧ ðət tɪ ɪˈneɪbəl ðɛm tɪ bi təˈgɛðər "hər hɛr ɪn wən lɔŋ ˈjɛloʊ strɪŋ aɪ wund θri taɪmz hər ˈlɪtəl θroʊt əraʊnd, ənd ˈstræŋgəld hər. noʊ peɪn fɛlt ʃi ɪf wi doʊnt əˈkjuz ˈbraʊnɪŋ əv ˈmɪzəʤɪni ənd ˌɪnˈsaɪtmənt tɪ ˈvaɪələns hir, wi ʃʊd ɪkˈstɛnd ðə seɪm ˈkərtəsi. wi ˈʃʊdənt fɔl ˈɪntu ðə træp əv stæn hɪmˈsɛlf, hu tɛlz slɪm: "si, ˈɛvriˌθɪŋ ju seɪ ɪz ril, ənd aɪ rɪˈspɛkt ju 'kɔz ju tɛl ɪt." ɪts ˈklɛvər ðət "si" ɛz ɪf ju maɪt hir, bɪˈhaɪnd ðə leɪərz əv ˌɪmpərsəˈneɪʃən, ən əˈθɛnɪk vɔɪs seɪɪŋ "kænt ju si ðɪs ɪz ə ˈstɔri, ˈstupɪd". ɪt ˈɔlsoʊ həz ə təʧ əv ðə "loʊ!": ðə poʊət seɪɪŋ heɪ, lʊk wət aɪ hæv meɪd. jɛt ˈniðər ðət vɔɪs nɔr ˈivɪn ðə wən ˈtɛlɪŋ stæn ðət hiz "gɑt səm ˈɪʃuz" (ju bɛt) ənd ðət hi nidz ənd ðət hi ənd hɪz ˈgərlˌfrɛnd nid iʧ ˈəðər, kən bi sɛd tɪ bi "ðə tru vɔɪs əv ˈmɑrʃəl ˈmæðərz" ˈɛni mɔr ðən ðə ˌɪnˈsaɪtmənts tɪ ˈsɛkʃuəl ˈvaɪələns kən. ðə ˈjəŋgər fænz hu baɪ ˈælbəmz ˈprɑbəˌbli ˌəndərˈstænd ðɪs ˌɪnˈstɪŋktɪvˌli. ʤɪst ɛz ˈtudeɪz ər mɔr əˈdɛpt wɪθ ˈmuvi kənˈvɛnʃənz ðən ðɛr ˈpɛrənts, soʊ ˈjuθfəl fænz kən si bɪtˈwin ðə laɪnz, ənd ðə pəˈblɪsɪti stənts, ðət ðə ˈtæblɔɪdz læp əp soʊ ˈigərli. ðə ʤoʊk ɪz ɔn ðə ˈɛdɪtərz, ɪn fækt. bət wət əˈbaʊt ðoʊz kɪdz hu du teɪk ɪt fər ril? ɛz ˈmæðərz hɪmˈsɛlf pʊt ɪt ɪn ən ˈɪntərvˌju (ˈsaʊndɪŋ mɔr laɪk pɔl ˈʤɑnsən ðən ˈpəblɪk ˈɛnəmi), "ðɛr ər kɪdz aʊt ðɛr hu, bɪˈliv ɪt ər nɑt, wɔnt tɪ bi ðə have-nots*." ðə kˈwɛʃən əv haʊ məʧ ˈsɪmpəθi ər dɪsˈdeɪn ˈmæðərz həz fər ðɛm, fər ðə əv ðə wərld, ædz əˈnəðər dɪˈmɛnʃən tɪ ðə sɔŋ. ɛz dɪz ðə kˈwɛʃən əv haʊ məʧ hi kən bi sɛd tɪ ɪnˈkərəʤ ðɛm. tɪ wət ɪkˈstɛnt, ˈæˌkʧuəli, kən ˈɑrtɪsts bi hɛld riˈspɑnsəbəl fər ðɛr wərks? ðɪs ɪz ə kˈwɛʃən poʊəts hæv æst ðɛmˈsɛlvz fər ˈsɛnʧəriz, əˈspɛʃəli wɪn ˈdilɪŋ wɪθ ˈtræʤɪk məˈtɪriəl. "goʊ bɑk, goʊ, tragedye*", sɛd ˈʧɔsər, ˈsɛndɪŋ ənd aʊt ˈɪntu ðə wərld laɪk ə ˈpeɪpər boʊt. hi nu ɪt ˈwəzənt ɛz ˈsɪmpəl ɛz ðət ðoʊ ɪt ˈɪzənt ʤɪst ə kˈwɛʃən əv wərdz biɪŋ ˈeɪkɪn tɪ didz ˈiðər. "dɪd ðət pleɪ əv maɪn sɛnd aʊt ˈsərtən mɛn ðə ˈɪŋlɪʃ ʃɑt?", jeɪts æsks, ˈlʊkɪŋ bæk ɔn ðə ˈistər ˈraɪzɪŋ ɪn ðə mæn ənd ðə ˈɛkoʊ (læst poʊəmz: ˈtælənt laɪz ɪn hɪz ˈtərnɪŋ əv ðiz ˈɪʃuz ˈɪntu ðə məˈtɪriəl əv boʊθ hɪz wərk ənd hɪz pərˈsoʊneɪ. "ju kʊd hæv ˈrɛskjud mi frəm ˈdraʊnɪŋ," stæn raɪts; "waɪ ər ju soʊ mæd?" slɪm rɪˈplaɪz, "traɪ tɪ ˌəndərˈstænd traɪ ˌɪnˈdid. stæn, ənd məʧ ɛls ɪn ˈuvrə, ɪkˈsplɔrz juˈmænɪtiz moʊst proʊˈfaʊnd ɪkˈspɪriəns: nɑt ʤɪst ˈmædnəs, bət ˈɔlsoʊ ˈtɛrər, ˈmɛlənˌkɑli ənd (nɑt list) ˈlæftər. ɪn ðɪs vju ɪz ˈniðər ðə "əˈθɛnɪk vɔɪs əv ˌdɪsəˈfɛktɪd ˈwərkɪŋ klæs juθ" (ˌɪndɪˈpɛndənt ɔn ˈsənˌdi), nɔr "ə ˈnæsti ˈlɪtəl yob"(ditto*), bət ə ˈræpər huz ˈʤinjəs ɪz, ˈprɪnsɪpli, poʊˈɛtɪk. ju kən hir ðət ˈʤinjəs ɪn ðə ˌdɪspəˈzɪʃən əv poʊˈɛtɪk strɛs ɪn ðət ˈoʊpənɪŋ vərs əv stæn "maɪ sɛl, maɪ ˈpeɪʤər ənd maɪ hoʊm foʊn". ðə ˈpɪˌkəp əv ˈmitər ənd sɛns bɪtˈwin "sɛl" ənd "foʊn" pʊts ə lɔt əv weɪt ɔn "sɛl" ˈmeɪkɪŋ ˈjuˈɛs θɪŋk, pərˈhæps, əv ðə ˈəðər taɪp əv sɛl maɪt bi ɪn ˈɔrdər fər stæn. ənd əv ðə foʊn toʊnz ðɛmˈsɛlvz əv kɔrs. oʊ, ənd waɪl wɪr ɔn ðə ˈsəbʤɪkt, fər ðə ˈnoʊkiə 3210 ju kən gɪt ðə stæn ˈrɪŋər toʊn æt www.dialaring.com*. ʤaɪlz ɪz ðə ˈgɑrdiənz ˈdɛpjəti ˈlɪtərˌɛri ˈɛdɪtər. hɪz moʊst ˈrisənt bʊk, ladysmith*, ɪz ˈpəblɪʃt baɪ ˈfeɪbər ənd ˈfeɪbər æt
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never mind the misogyny and homophobia, eminem is a brilliant poet. as the controversial rapper heads for britain, giles foden explains why he belongs in the pantheon of literary greats
the man is in town this week, and on the nokia message board they're asking, "does anyone know how to get stan as a ringer tone?" which is all very postmodern and interesting, since the hit song overtly references the brave new world of telecommunications: "dear slim, i wrote you but you still ain't callin' / i left my cell, my pager, and my home phone at the bottom . . ."
the variety of possible ways in which the singer can get in touch with his doomed fan are appropriately overspecified, considering slim (eminem's persona) at first doesn't reply to his fan's obsessive letter. eventually he does get round to writing back: "dear stan, i meant to write you sooner, but i've just been busy . . ." he continues: "i'm sorry i didn't see you at the show, i must have missed you. / don't think i did that shit intentionally just to diss you."
the irony in these lines is delicious, but just how good are eminem's lyrics? is all the fuss about him justified, or is it a case of hype over substance? in fact, a brief examination of stan reveals it to have all the depth and texture of the greatest examples of english verse. to use the singer's own language, it's as "fat" as robert browning - and it is with the victorian master of sly irony that eminem's true "underground" work is done, just as much as with scam and ruckus, the bands noticed in the song.
of course, it's nothing new to make great claims for song lyrics. the work listed in the poetry of rock'n'roll, a 1970s anthology, might seem banal (donovan?), but it has long been the habit of the more flamboyant cambridge english dons to put popular music under the full glare of hermeneutic inquiry. it was christopher ricks who started it off, writing about dylan from the 1970s onwards. this sunday, ricks gives a talk on the subject on radio 3. in bob dylan among the poets, he attacks the tired keats v dylan argument that his original pieces gave rise to. it was david hare who set up the opposition, one that ricks (quoting the recent dylan song not dark yet alongside keats's ode to a nightingale) says is actually a unity.
other dons have followed suit: eric griffiths juxtaposing talking heads with william empson in cambridge lectures during the late 1980s. but it is rare for a singer to combine public outrage and textual richness in quite the way eminem does.
but who is he, really? like the portuguese poet fernando pessoa, with his quiverful of pseudonyms, like the coy eliot of prufrock, or walt whitman's song of myself - "do i contradict myself? very well then i contradict myself, (i am large, i contain multitudes)", eminem is a multiple, elusive experience, one that folds about itself like his near-palindromic name (from marshall mathers: m 'n' m).
who the "real slim shady" is, in other words, is hard to say. as ts eliot put it: "the naming of cats is a difficult matter, / it isn't just one of your holiday games; / you may think i'm as mad as a hatter / when i tell you a cat must have three different names."
like macavity, eminem always has an alibi, and one or two to spare. it is as if there were always someone else walking beside him. the mistake his critics make is to see the songs as direct statements by the singer rather than discrete aesthetic objects. is it inconceivable that the man who wrote stan should also want to stab you in the head "if you're a fag or a les"? not necessarily, but eminem's critics should "relax a little" as he advises stan - should consider that this might be an artist toying with the place where celebrity and palatability meet, by passing deliberately inflammatory statements and by parodying less thoughtful rappers.
the "i" voice has long been subject to modulation in english and american poetry. browning's great dramatic monologues, such as my last duchess or porphyria's lover, are the classic examples of this. other poets, including tennyson, hardy, kipling, frost, pound and eliot himself, also mastered the form.
according to the handbook to literature, a dramatic monologue is a poem "that reveals a 'soul in action' through the speech of one character in a dramatic situation. the character is speaking to an identifiable but silent listener at a dramatic moment in the speaker's life. the circumstances surrounding the conversation, one side of which we 'hear' . . . are made clear by implication, and an insight into the character of the speaker may result."
in my last duchess, the speaker is an italian duke who has had his flirtatious wife murdered, and is showing her portrait to (probably) an envoy from his next father-in-law. a "picture on the wall", as in the chorus to stan, furnishes the occasion for the poem.
where stan differs, and is in some respects more sophisticated - although it is a sophistication only possible in a mass-media, celebrity-driven world - is that both addressee and addresser speak in it. there is a further sophistication in so far as all listeners are in some sense co-opted into the stan role.
by ironically dramatising two sets of letters, stan also fits snugly into the tradition of the verse epistle out of which the dramatic monologue developed. it shares, too, some qualities of unreliable narration with porphyria's lover, in which another murderer speaks. as with stan ("the morning rain clouds up my window and i can't see at all"), the weather fits the lunatic's mood: "the rain set in early tonight, / the sullen wind was soon awake, / it tore the elm-tops down for spite."
the speaker in porphyria's lover goes on to reveal how much porphyria loved him - so much that to enable them to be together "her hair / in one long yellow string i wound / three times her little throat around, / and strangled her. no pain felt she . . ."
if we don't accuse browning of misogyny and incitement to violence here, we should extend eminem the same courtesy. we shouldn't fall into the trap of stan himself, who tells slim: "see, everything you say is real, and i respect you 'cause you tell it."
it's clever that "see" - as if you might hear, behind the layers of impersonation, an authentic voice saying "can't you see ? this is a story, stupid". it also has a touch of the bardic "lo!": the poet saying hey, look what i have made.
yet neither that voice nor even the one telling stan that he's "got some issues" (you bet) and that he needs counselling and that he and his girlfriend need each other, can be said to be "the true voice of marshall mathers" any more than the incitements to sexual violence can. the younger fans who buy eminem's albums probably understand this instinctively. just as today's cinema-goers are more adept with movie conventions than their parents, so eminem's youthful fans can see between the lines, and the publicity stunts, that the tabloids lap up so eagerly. the joke is on the editors, in fact.
but what about those kids who do take it for real? as mathers himself put it in an interview (sounding more like paul johnson than public enemy), "there are kids out there who, believe it or not, want to be the have-nots." the question of how much sympathy or disdain mathers has for them, for the stans of the world, adds another dimension to the song.
as does the question of how much he can be said to encourage them. to what extent, actually, can artists be held responsible for their works? this is a question poets have asked themselves for centuries, especially when dealing with tragic material. "go litel bok, go, litel myn tragedye", said chaucer, sending troilus and criseyde out into the world like a paper boat. he knew it wasn't as simple as that - though it isn't just a question of words being akin to deeds either. "did that play of mine send out / certain men the english shot?", yeats asks, looking back on the easter rising in the man and the echo (last poems: 1936-39). eminem's talent lies in his turning of these issues into the material of both his work and his personae. "you could have rescued me from drowning," stan writes; "why are you so mad?" slim replies, "try to understand . . ."
try indeed. stan, and much else in eminem's oeuvre, explores humanity's most profound experience: not just madness, but also terror, melancholy and (not least) laughter. in this view eminem is neither the "authentic voice of disaffected working class youth" (independent on sunday), nor "a nasty little yob"(ditto), but a rapper whose genius is, principally, poetic.
you can hear that genius in the disposition of poetic stress in that opening verse of stan - "my cell, my pager and my home phone". the pick-up of metre and sense between "cell" and "phone" puts a lot of weight on "cell" - making us think, perhaps, of the other type of cell might be in order for stan.
and of the phone tones themselves of course. oh, and while we're on the subject, for the nokia 3210 you can get the stan ringer tone at www.dialaring.com.
giles foden is the guardian's deputy literary editor. his most recent book, ladysmith, is published by faber and faber at £6.99.
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ə ˈstɑˌkhoʊlm dɪˈpɑrtmənt stɔr həz riˈmuvd ə nu laɪn əv nɔrθ dɪˈzaɪnər ʤinz frəm ɪts ʃɛlvz, seɪɪŋ ɪt ˈwɔntɪd tɪ əˈvɔɪd ˈkɔrtɪŋ ˈkɑntrəˌvərsi wɪθ taɪz wɪθ ðə ˈkɑmjənəst ˈneɪʃən. ðə pəb dɪˈpɑrtmənt ˈmænɪʤmənt hæd nɑt bɪn ˌɪnˈfɔrmd ðət ðə ʤinz wʊd bi ˈkɛrid ɪn ɪts speɪs, ənd ɪt pʊld ðə pləg wɪn ɪt bɪˈkeɪm əˈwɛr əv ɪt, rəˈneɪ, ðə dɪˈrɛktər, sɛd ˈsæˌtɪˌdeɪ. ˈjuˈɛs, ðɪs ɪz nɑt ə kˈwɛʃən əv ʤinz ðɪs ɪz ə kˈwɛʃən əˈbaʊt ə pəˈlɪtɪkəl ˈɪʃu ðət pəb wɔnt tɪ bi əˈsoʊʃiˌeɪtəd with,”*,” hi sɛd. ɪz nɑt ðə ˈfɔrəm fər ðə discussion”*” əv nɔrθ ˌkɔˈriə. ðə ʤinz laɪn wɑz ðə ˈbreɪnˌʧaɪld əv θri sˈwidɪʃ ˌɑntrəprəˈnərz hu hoʊpt ðɛr ˈleɪbəl wʊd hɛlp breɪk nɔrθ ˌaɪsəˈleɪʃən θru ˌɪnˈkrist treɪd wɪθ ðə wɛst. ðə ʤinz kəm ˈoʊnli ɪn blæk, ˈpɑrtli bɪˈkəz blu wənz ər əˈsoʊʃiˌeɪtəd wɪθ ðə juˈnaɪtɪd steɪts ənd ər bænd ɪn nɔrθ ˌkɔˈriə. ˈfoʊˌtoʊ ðə ʤinz wər tɪ bi soʊld æt, ə ˈriˌteɪl speɪs wɪˈθɪn ðə dɪˈpɑrtmənt stɔr. ˈmɪstər. sɛd hi hæd ˌɪnˈfɔrmd ðə ˈoʊnər əv ðə dɪˈsɪʒən ʤɪst ˌbiˈfɔr ðə plænd lɔnʧ. ə ˈspoʊksmən fər kɔld ðə dɪˈsɪʒən bɪt cowardly”*” bət sɛd ðət hi ˌəndərˈstʊd ðə dɪˈpɑrtmənt pɔɪnt əv vju. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ə ril shame,”*,” sɛd. wi wɪl kənˈtɪnju tɪ sɛl ðɛm ɔn ɑr wɛb saɪt, ənd ʤinz wɪl kənˈtɪnju tɪ sɛl ðɛm ɔn theirs.”*.”
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a stockholm department store has removed a new line of north korean-made designer jeans from its shelves, saying it wanted to avoid courting controversy with ties with the communist nation.
the pub department store’s management had not been informed that the jeans would be carried in its space, and it pulled the plug when it became aware of it, rene stephansen, the store’s director, said saturday. “for us, this is not a question of noko jeans — this is a question about a political issue that pub doesn’t want to be associated with,” he said. “this is not the forum for the discussion” of north korea.
the noko jeans line was the brainchild of three swedish entrepreneurs who hoped their label would help break north korea’s isolation through increased trade with the west. the jeans come only in black, partly because blue ones are associated with the united states and are banned in north korea.
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the jeans were to be sold at aplace, a retail space within the department store. mr. stephansen said he had informed the shop’s owner of the decision just before the planned launch. a spokesman for aplace called the decision “a bit cowardly” but said that he understood the department store’s point of view.
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“it’s a real shame,” kalle tollmar said. “but we will continue to sell them on our web site, and noko jeans will continue to sell them on theirs.”
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dɪsˈjunjən ˈfɑloʊz ðə ˈsɪvəl wɔr ɛz ɪt ənˈfoʊldəd. waɪl nu ˌɔˈrlinz ˈsəfərd ˈəndər ðə rul əv ʤɛn. ˈbɛnʤəmən ““beast”*” ˈbətlər ɪn ˈɔgəst 1862 ɪt əˈvɔɪdɪd ðə ˈæŋgwɪʃ əv ˈækʧəwəl ˈfaɪtɪŋ. nɑt soʊ ɪts ˌəˈprɪvər ˈneɪbər, ˈbæˌtɑn ruʒ. ðə ˈjunjən ˈneɪvi ˈkæpʧərd ðə ˈsɪti ɪn meɪ 1862 ə fju deɪz ˈæftər nu ˌɔˈrlinz wɑz ˈɑkjəˌpaɪd, ˈmitɪŋ ˈlɪtəl rɪˈzɪstəns ɛz ðə steɪt ˈgəvərnmənt flɛd tɪ opelousas*, əˈbaʊt 60 maɪəlz wɛst. noʊ ˈlɔŋgər prɪˈzɛntɪŋ ə ˈmɪlɪˌtɛri θrɛt, ðə ˈsɪti wɑz lɛft tɪ ɪts oʊn dɪˈvaɪsɪz. bət ə fju wiks ˈleɪtər, wɪn kənˈfɛdərˌeɪt gərˈɪləz faɪərd ɔn ˈjunjən ˈseɪlərz roʊɪŋ əˈʃɔr tɪ gɪt ðɛr ˈlɔndri dən, ðə flit kəˈmændər, ˈdeɪvɪd ˈfɛrəgət, ˌdɪˈsaɪdɪd tɪ bɑmˈbɑrd ðə ˈsɪti. ˈsɛrə ˈmɔrgən, ə jəŋ ˈwʊmən ɪn ˈbæˌtɑn ruʒ, flɛd, əˈlɔŋˈsaɪd ˈmɛni ˈəðərz, wɪn ðə ʃɛlz bɪˈgæn tɪ fɔl. ˈæftərwərd, ʃi dɪˈskraɪbd ðə mæs ˈɛksədəs ɪn hər ˈdaɪəri: wɑz ə sin. ˈwɪmən ˈsərʧɪŋ fər ðɛr ˈbeɪbiz əˈlɔŋ ðə roʊd, wɛr ðeɪ hæd bɪn lɔst, ˈəðərz ˈsɪtɪŋ ɪn ðə dəst kraɪɪŋ ənd ˈrɪŋɪŋ ðɛr hænz, fər baɪ ðɪs taɪm, wi hæd nɑt ən aɪˈdiə bət wət ˈbæˌtɑn ruʒ wɑz ˈiðər ɪn ˈæʃɪz, ər biɪŋ ˈpləndərd, ənd wi hæd seɪvd nothing.”*.” mərˈækjələsli, ˈoʊnli wən ˈpərsən wɑz kɪld ɪn ðə bɑmˈbɑrdmənt, ðoʊ ˈsɛvərəl ˈəðərz wər ˈwundɪd. ə ˈnəmbər əv ˈbɪldɪŋz wər dɪˈstrɔɪd ənd ˈmɛni mɔr wər ˈdæmɪʤd, ˌɪnˈkludɪŋ ðə ˈkæpɪtəl ənd st*. ˈkæθlɪk ʧərʧ, ə ˈmæstərˌpis ɪn ðə ˈsɛnər əv ˈdaʊnˈtaʊn. ʤɛn. ˈtɑməs ˈwɪljəmz ðɛn ˈlændɪd ˈjunjən ˈsoʊlʤərz ənd ˈɑkjəˌpaɪd ðə ˈsɪti. bət ənˈlaɪk ðə ˈtərˌmɔɪl ðət əˈkərd ɪn nu ˌɔˈrlinz ˈəndər rul, ðə ˈpipəl əv ˈbæˌtɑn ruʒ keɪm tɪ rɪˈspɛkt ˈʤɛnərəl ˈwɪljəmz bɪˈkəz hi ˈsəmˌtaɪmz prəˈvaɪdɪd ɑrmd gɑrdz tɪ prəˈtɛkt ˈpraɪvət hoʊmz frəm ˈlutərz. ɔn ðə ˈəðər hænd, ˈwɪljəmz ˈtritɪd hɪz oʊn mɛn ˈkruli ənd ˈɔfən ˈɔrdərd hɑrʃ ˈpənɪʃmənts fər ˈivɪn ðə sˈmɔləst ˌɪnˈfrækʃən. ɪt wɑz sɛd ðət ðə ˈsoʊlʤərz gɑt ˈivɪn baɪ ˈdɪgɪŋ ˈhɪdən pɪts əraʊnd taʊn soʊ ˈwɪljəmz wʊd fɔl ˈɪntu ðɛm wɪn hi meɪd ˌɪnˈspɛkʃənz. ðə ˈsəmər ɪn ˈɑkjəˌpaɪd ˈbæˌtɑn ruʒ pæst uneventfully*, ənˈtɪl ˈərli ˈɔgəst, wɪn traɪd tɪ riˈkæpʧər ðə ˈsɪti. ʤɛn. ʤɑn si. (ʤeɪmz vaɪs ˈprɛzɪdənt ənd ðə 1860 ˈsəðərn ˌdɛməˈkrætɪk ˌprɛzɪˈdɛnʃəl ˌnɑməˈni) tʊk ə smɔl ˈɑrmi frəm kæmp mʊr, lɑ., nɪr ðə ˌmɪsɪˈsɪpi ˈbɔrdər, tɪ əˈtæk ðə ˈsɪti frəm ðə ist. æt ðə seɪm taɪm, ðə kənˈfɛdərˌeɪt ˈgənˌboʊt ˈɑrkənˌsɑ wɑz tɪ stim daʊn ðə ˌmɪsɪˈsɪpi ənd əˈtæk ðə ˈjunjən ʃɪps ɪn ðə ˈrɪvər. ɪf ɔl wɛnt wɛl fər ðə ˈrɛbəlz, ˈʤɛnərəl ˈwɪljəmz ənd hɪz ˈjæŋkiz wʊd bi krəʃt bɪtˈwin ðɛm. ˈlaɪbrɛˌri əv ˈkɑŋgrəs əˈtækt ɔn ðə ˈfɑgi ˈmɔrnɪŋ əv ˈɔgəst. 5 ənd bɪˈgæn ˈpʊʃɪŋ ðə ˈɛnəmi bæk təˈwɔrd ðə ˈrɪvər. ənˈfɔrʧənətli fər ðə, ðə ˈɑrkənˌsɑ ˈnɛvər əraɪvd bɪˈkəz ɪts ˈɛnʤənz mælˈfəŋkʃənd ɔn ðə weɪ tɪ ðə ˈbætəl. ðə ˈjunjən ˈsoʊlʤərz ˈfaɪnəli meɪd ə dɪˈfɛnsɪv stænd nɪr ðə ˈkæpɪtəl, ənd wɪθ ðə hɛlp əv θri ˈgənˌboʊts fɔrst tɪ riˈtrit. ðə ˈbætəl əv ˈbæˌtɑn ruʒ wɑz smɔl baɪ ˈsɪvəl wɔr ˈstændərdz. ðə lɔst 467 mɛn kɪld, ˈwundɪd ər ˈkæpʧərd, ðə ˈjunjən 382 əˈməŋ ðə ˈlætər wɑz ˈʤɛnərəl ˈwɪljəmz, hu wɑz kɪld ɪn ðə ˈfaɪtɪŋ (ɪt wɑz ˈrumərd ðət hɪz oʊn mɛn kɪld ɪm). tu əv ðə fərst tɪ fɔl wər lt*. ə. eɪʧ. tɑd ənd brɪg. ʤɛn. ˈbɛnʤəmən ˈhɑrdɪn hɛlm, ˈmɛri ənd ˈbrəðərɪnˌlɔ, rɪˈspɛktɪvli. ɛz ðə əˈproʊʧt ˈbæˌtɑn ruʒ ˌbiˈfɔr ˈdeɪˌlaɪt tu ˈjunɪts mɪˈsteɪkənli faɪərd ɔn iʧ ˈəðər. tɑd, hu sərvd ɛz ˈʤɛnərəl eɪd, wɑz ʃɑt ənd kɪld, ənd hɛlm ˈsəfərd ə krəʃt lɛg wɪn hɪz hɔrs rɪrd ənd fɛl ɔn tɔp əv ɪm. rɪˈleɪtɪd dɪsˈjunjən ˈhaɪˌlaɪts ɪkˈsplɔr ˌməltiˈmidiə frəm ðə ˈsɪriz ənd ˈnævəˌgeɪt θru pæst poʊsts, ɛz wɛl ɛz ˈfoʊˌtoʊz ənd ˈɑrtɪkəlz frəm ðə taɪmz ˈɑrˌkaɪv. si ðə ˈhaɪˌlaɪts wɪn ðə kru wɑz əˈneɪbəl tɪ riˈstɑrt ðə ˈɛnʤənz, ðeɪ ˌdɪˈsaɪdɪd tɪ dɪˈstrɔɪ ðə ˈvɛsəl ˈrəðər ðən əˈlaʊ ðə ˈɛnəmi tɪ ˈkæpʧər ɪt. ðə mɛn sɛt faɪər tɪ ðə ˈaɪərnˌklæd, sɛt ɪt əˈdrɪft ɪn ðə ˈrɪvər ənd ˈskræmbəld əˈʃɔr. wɪn ðə faɪərz riʧt ðə ˈpaʊdər ˈmægəˌzin, ðə ˈɑrkənˌsɑ ɪkˈsploʊdɪd ənd sæŋk nɪr ðə ˈjuˈɛs 190 ˈhaɪˌweɪ brɪʤ æt ˈbæˌtɑn ruʒ. bət ɛz ə sɪmˈbɑlɪk dɪˈfit, ðə ˈbætəl əv ˈbæˌtɑn ruʒ wɑz ˈdɛvəˌsteɪtɪŋ. ˈsɛrə ˈmɔrgən ˈwɪtnəst ðə ˈbərnɪŋ əv ðə ˈɑrkənˌsɑ ənd roʊt ɪn hər ˈdaɪəri, aɪ hæd noʊ wərdz ər tɪrz; aɪ kʊd ˈoʊnli lʊk æt ɑr soʊl hoʊp ˈbərnɪŋ, goʊɪŋ, ənd preɪ ˈsaɪləntli. oʊ ɪt wɑz soʊ sæd! θɪŋk ɪt wɑz ɑr soʊl dɪˈpɛndəns! ənd wi faɪv gərlz lʊkt æt hər ɛz ðə smoʊk roʊld ˈoʊvər hər, wɔʧt ðə fleɪmz bərst frəm hər dɛks, ənd ðə ʃɛlz ɛz ðeɪ ɪkˈsploʊdɪd wən baɪ wən bɪˈniθ ðə ˈwɔtər, ˈkəmɪŋ əp ɪn ʤɛts əv stim. ənd wi wɔʧt ənˈtɪl daʊn ðə roʊd wi sɔ kraʊdz əv mɛn ˈtɔɪlɪŋ əˈlɔŋ təˈwɔrdz ˈjuˈɛs. ðɛn wi nu ðeɪ wər ðoʊz hu hæd ɪˈskeɪpt [ðə ˈɑrkənˌsɑ], ənd ðə gərlz sɛnt əp ə ʃrik əv ˈpɪti. ɔn ðeɪ keɪm, ˈdərti, hæf drɛst, səm wɪθ ˈoʊnli ðɛr gənz, ə fju wɪθ ˈbəndəlz ənd ɔn ðɛr bæks, ˈgraɪmi ənd taɪərd, bət stɪl ˈlæfɪŋ. əˈprɑksəmətli ə θərd əv ˈbæˌtɑn ruʒ wɑz dɪˈstrɔɪd ɪn ðə ˈbætəl, ˈlɑrʤli bɪˈkəz ˈjunjən ˈsoʊlʤərz bərnd ər nɑkt daʊn ˈnɪrli ɔl əv ðə ˈhaʊsɪz ənd ˈbɪldɪŋz kloʊz tɪ ðə ˈrɪvər tɪ gɪv ðɛr ˈgənˌboʊts ə klɪr fild əv faɪər. bət ðə ˈtrəbəlz wər nɑt ˈoʊvər. ɔn ˈɔgəst. 21 ðə ˈfɛdərəlz lɛft ðə ˈsɪti, bət nɑt ˌbiˈfɔr goʊɪŋ ɔn ə ˈlutɪŋ ənd ˈbərnɪŋ spri ðət dɪˈstrɔɪd mɔr əv ðə taʊn. ðə ˈjæŋkiz rɪˈtərnd ɪn dɪˈsɛmbər, bərnd daʊn ðə ˈkæpɪtəl, ənd rɪˈmeɪnd ɪn ðə ˈbæˌtɑn ruʒ ˈɛriə fər ðə rɛst əv ðə wɔr. ˈfɑloʊ dɪsˈjunjən æt ər ʤɔɪn ˈjuˈɛs ɔn ˈfeɪsˌbʊk. ˈsɔrsəz: ˈʧɑrəlz ist, ɛd., ˈsɪvəl wɔr ˈdaɪəri əv ˈsɛrə morgan”*”; ˈtɛri ɛl. ʤoʊnz, luˌiziˈænə journey”*”; ʤɑn di. ˈwɪntərz, ˈsɪvəl wɔr ɪn louisiana.”*.” ˈtɛri ɛl. ʤoʊnz ɪz ə prəˈfɛsər əv ˈhɪstəri æt ðə ˌjunəˈvərsəti əv luˌiziˈænə, mənˈroʊ ənd ðə ˈɔθər əv sɪks bʊks ɔn ðə ˈsɪvəl wɔr.
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disunion follows the civil war as it unfolded.
while new orleans suffered under the rule of gen. benjamin “beast” butler in august 1862, it avoided the anguish of actual fighting. not so its upriver neighbor, baton rouge.
the union navy captured the city in may 1862, a few days after new orleans was occupied, meeting little resistance as the state government fled to opelousas, about 60 miles west. no longer presenting a military threat, the city was left to its own devices. but a few weeks later, when confederate guerrillas fired on union sailors rowing ashore to get their laundry done, the fleet commander, david farragut, decided to bombard the city.
sarah morgan, a young woman in baton rouge, fled, alongside many others, when the shells began to fall. afterward, she described the mass exodus in her diary: “it was a heartrending scene. women searching for their babies along the road, where they had been lost, others sitting in the dust crying and wringing their hands, for by this time, we had not an idea but what baton rouge was either in ashes, or being plundered, and we had saved nothing.” miraculously, only one person was killed in the bombardment, though several others were wounded. a number of buildings were destroyed and many more were damaged, including the capitol and st. joseph’s catholic church, a neo-gothic masterpiece in the center of downtown.
gen. thomas williams then landed 2,600 union soldiers and occupied the city. but unlike the turmoil that occurred in new orleans under butler’s rule, the people of baton rouge came to respect general williams because he sometimes provided armed guards to protect private homes from looters. on the other hand, williams treated his own men cruelly and often ordered harsh punishments for even the smallest infraction. it was said that the soldiers got even by digging hidden pits around town so williams would fall into them when he made inspections.
the summer in occupied baton rouge passed uneventfully, until early august, when confederates tried to recapture the city. gen. john c. breckinridge (james buchanan’s vice president and the 1860 southern democratic presidential nominee) took a small army from camp moore, la., near the mississippi border, to attack the city from the east. at the same time, the confederate gunboat arkansas was to steam down the mississippi and attack the union ships in the river. if all went well for the rebels, general williams and his yankees would be crushed between them.
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breckinridge attacked on the foggy morning of aug. 5 and began pushing the enemy back toward the river. unfortunately for the confederates, the arkansas never arrived because its engines malfunctioned on the way to the battle. the union soldiers finally made a defensive stand near the modern-day capitol, and with the help of three gunboats forced breckinridge to retreat.
the battle of baton rouge was small by civil war standards. the confederates lost 467 men killed, wounded or captured, the union 382. among the latter was general williams, who was killed in the fighting (it was rumored that his own men killed him). two of the first confederates to fall were lt. a. h. todd and brig. gen. benjamin hardin helm, mary lincoln’s half-brother and brother-in-law, respectively. as the confederates approached baton rouge before daylight two units mistakenly fired on each other. todd, who served as general helm’s aide, was shot and killed, and helm suffered a crushed leg when his horse reared and fell on top of him.
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when the arkansas’s crew was unable to restart the ship’s engines, they decided to destroy the vessel rather than allow the enemy to capture it. the men set fire to the ironclad, set it adrift in the river and scrambled ashore. when the fires reached the powder magazine, the arkansas exploded and sank near the modern-day us 190 highway bridge at baton rouge.
but as a symbolic defeat, the battle of baton rouge was devastating. sarah morgan witnessed the burning of the arkansas and wrote in her diary,
i had no words or tears; i could only look at our sole hope burning, going, and pray silently. o it was so sad! think it was our sole dependence! and we five girls looked at her as the smoke rolled over her, watched the flames burst from her decks, and the shells as they exploded one by one beneath the water, coming up in jets of steam. and we watched until down the road we saw crowds of men toiling along towards us. then we knew they were those who had escaped [the arkansas], and the girls sent up a shriek of pity. on they came, dirty, half dressed, some with only their guns, a few with bundles and knapsacks on their backs, grimy and tired, but still laughing.
approximately a third of baton rouge was destroyed in the battle, largely because union soldiers burned or knocked down nearly all of the houses and buildings close to the river to give their gunboats a clear field of fire. but the city’s troubles were not over. on aug. 21, the federals left the city, but not before going on a looting and burning spree that destroyed more of the town. the yankees returned in december, burned down the capitol, and remained in the baton rouge area for the rest of the war.
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sources: charles east, ed., “the civil war diary of sarah morgan”; terry l. jones, “the louisiana journey”; john d. winters, “the civil war in louisiana.”
terry l. jones is a professor of history at the university of louisiana, monroe and the author of six books on the civil war.
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ˈfɔrmər ˌmæsəˈʧusəts rɪˈpəblɪkən gəv. ˈwɪljəm wɛld, ðə ˈnuli ˈmɪntɪd ˈvaɪˌsprɛzəˈdɛnʃəl ˈkænədɪt ɔn ðə ˌlɪˌbərˈtɛˌriən ˈtɪkɪt, sɛd ˈtuzˌdeɪ ðət hi səˈpɔrts ˌmɛrəˈwɑnə ˌligələˈzeɪʃən ɪn ˌmæsəˈʧusəts, ən ˈɪʃu ðət ɪz ɪkˈspɛktɪd tɪ bi ˌdɪˈsaɪdɪd ɪn ə ˈbælət kˈwɛʃən ðɪs fɔl. ˌmæsəˈʧusəts, aɪ wʊd bi supportive,”*,” wɛld sɛd æt ə ˈsɛʃən ˈhoʊstɪd baɪ ðə ˈpəblɪk ˈpɑləsi θɪŋk tæŋk massinc*. ɔn ðə wən hænd, pəˈzɪʃən ɪz noʊ səˈpraɪz, ɛz ðə ˈpɑrti hi wɪl ˌrɛprɪˈzɛnt ðɪs fɔl bɪˈlivz ɪn ˈlɪmɪtɪd ˈgəvərnmənt ənd həz lɔŋ kɔld fər ˌligələˈzeɪʃən əv ˌmɛrəˈwɑnə ənd ðə ˌrilækˈseɪʃən əv drəg lɔz. ˈgɛri ˈʤɑnsən, ðə ˈfɔrmər nu ˈmɛksəˌkoʊ ˈgəvərnər ənd ˈrənɪŋ meɪt ɛz ðə ˌlɪˌbərˈtɛˌriən ˌprɛzɪˈdɛnʃəl ˈkænədɪt, sərvd ɛz ən ɪgˈzɛkjətɪv əv ə ˌmɛrəˈwɑnə ˈkəmpəˌni ənd ɪz ˈstrɔŋli səˈpɔrtɪv əv ðə ˌligələˈzeɪʃən. ˌædvərˈtaɪzmənt ənd ɛz ˈgəvərnər ɪn ðə 1990s*, wɛld səˈpɔrtɪd ˈmɛdɪkəl ˌmɛrəˈwɑnə ˌligələˈzeɪʃən. bət ɛz ə ˈfɔrmər ˈfɛdərəl ˈprɑsɪˌkjutər, wɛld ˈɔlsoʊ hæd ə əˈproʊʧ ɛz ˈgəvərnər, ənd hi ækˈnɑlɪʤd ˈtuzˌdeɪ ðət hɪz səˈpɔrt fər ˌligələˈzeɪʃən ɪz əv ə ʃɪft frəm wət maɪ pəˈzɪʃən wʊd hæv bɪn ɪn ðə past.”*.” nɑt ˌæbsəˈlutli ʃʊr ðət aɪ wʊd hæv bɪn fər ðət ˌbiˈfɔr ˈspɛndɪŋ ɛz məʧ taɪm ɛz aɪ hæv wɪθ ˈgɛri johnson,”*,” wɛld sɛd. ˈvɛri məʧ ɪn ˈfeɪvər əv ðə ˌligələˈzeɪʃən əv marijuana.”*.” wɛld sɛd ˈʤɑnsən tɪ look”*” æt ˈligəˌlaɪzɪŋ ˈəðər drəgz ɛz wɛl ɛz ə fɔrm əv ˈkrɪmənəl ˈʤəstɪs rɪˈfɔrm, ənd sɛd ˈælkəˌhɑl ənd ˈligəl prəˈskrɪpʃən drəgz kən bi mɔr ˈdeɪnʤərəs ðən ˌɪˈlɪsət drəgz. noʊ ðə ˈænsər tɪ ðoʊz θɪŋz. ðət tɪ mi ɪz æt list wərθ ə discussion,”*,” wɛld sɛd. aɪ du θɪŋk ˈsəmθɪŋ tɪ ðə aɪˈdiə ðət baɪ diˌkrɪmənəˈlaɪzɪŋ ˈsəmθɪŋ, ju teɪk ɪt aʊt əv ðə ˈʃæˌdoʊz. ənd ðɛn ðə ˌɪnˈsɪnɪvz ər nɑt ðɛr fər ðə bæd gaɪz tɪ du ˈmæsɪv ˈkrɪmənəl seɪlz. əˈgɛn, ju hæv hərd ɪt frəm mi wɪn aɪ wɑz ɪn ðə ˈʤəstɪs department.”*.” wɛld wən ðə ˌlɪˌbərˈtɛˌriən ˌviˈpi ˌnɑməˈneɪʃən æt ə ˈkloʊsli kənˈtɛstəd ˈnæʃənəl kənˈvɛnʃən ˈoʊvər məˈmɔriəl deɪ ˈwiˌkɪnd. hi wɑz ˈkrɪtəˌsaɪzd baɪ ə ˈsaɪzəbəl swɑθ əv ˌlɪbərˈtɛˌriənz ɪn ðə tɪ ðə ˌnɑməˈneɪʃən fər pæst pəˈzɪʃənz ðət ˌkɑntrəˈdɪkt səm əv ðə ˈprɪnsəpəlz. ˌædvərˈtaɪzmənt ðə ˌmæsəˈʧusəts ˌmɛrəˈwɑnə ˈbælət kˈwɛʃən wʊd ˈligəˌlaɪz ˌmɛrəˈwɑnə ɪn 2017 ənd ɪˈstæblɪʃ ə tækst ˈriˌteɪl seɪlz ˈsɪstəm ɪn 2018 ɪt wʊd bi ˈsɪmələr tɪ lɔz ðət hæv pæst ˈɛlsˌwɛr, ˌɪnˈkludɪŋ ɪn ˌkɑlərˈɑdoʊ. wɛld sɛd hi wʊd bi surprised”*” tɪ si ðə ˌligələˈzeɪʃən ˈɛfərt feɪl ðɪs fɔl. waɪl ˈvoʊtərz hir ˈizəli pæst ˌɪˈnɪʃətɪvz tɪ diˌkrɪmənəˈlaɪz pɑt ənd ˈligəˌlaɪz ˈmɛdɪkəl ˌmɛrəˈwɑnə, ənd fʊl ˌrɛkriˈeɪʃənəl ˌligələˈzeɪʃən sɔ haɪ ˈərli səˈpɔrt, ɪnˈθuziˌæzəm həz lʊkt mɔr ˈtɛpɪd ɪn ˈrisənt ˈpoʊlɪŋ. ɪt həz əˈtræktəd ˈpaʊərfəl, baɪˈpɑrtɪzən ˌɑpəˈzɪʃən, wɪθ ˌdɛməˈkrætɪk ˈbɔstən meɪər ˈmɑrti wɔlʃ ənd rɪˈpəblɪkən gəv. ˈʧɑrli ˈbeɪkər əˈməŋ ðə ɪˈlɛktɪd əˈfɪʃəlz hu hæv ˈæktɪvli vɔɪst ðɛr dɪˈsɛnt. ˈbeɪkər wərkt ɪn ædˌmɪnɪˈstreɪʃən ənd ɪz kloʊz wɪθ hɪz ˈprɛdəˌsɛsər. bət ˈivɪn ðoʊ ðə ˈgəvərnər həz sɛd hi wɪl nɑt səˈpɔrt ˈiðər ˈdɑnəld trəmp ər ˈhɪləri ˈklɪntən ɛz ˈprɛzɪdənt, hi həz ˈɔlsoʊ sɛd hi wʊd nɑt bæk ˌlɪˌbərˈtɛˌriən ˈtɪkɪt. ðə ˈrizən? ðə kɔl fər drəg ˌligələˈzeɪʃən ɪz ə bɪg pɑrt əv ɪt, hi toʊld ˈbɔstən ˈhɛrəld ˈreɪdiˌoʊ læst mənθ. æst əˈbaʊt plæn tɪ sɪt aʊt ðə ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən ɔn ˈtuzˌdeɪ, wɛld stɪl simd ˈhoʊpfəl hi kʊd kɔrt hɪz voʊt. bɛt θɪŋk əv ˈsəmˌwən tɪ voʊt for,”*,” hi sɛd tɪ ˈlæftər.
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former massachusetts republican gov. william weld, the newly minted vice-presidential candidate on the third-party libertarian ticket, said tuesday that he supports marijuana legalization in massachusetts, an issue that is expected to be decided in a ballot question this fall.
“in massachusetts, i would be supportive,” weld said at a question-and-answer session hosted by the public policy think tank massinc.
on the one hand, weld’s position is no surprise, as the party he will represent this fall believes in limited government and has long called for legalization of marijuana and the relaxation of drug laws. gary johnson, the former new mexico governor and weld’s running mate as the libertarian presidential candidate, served as an executive of a marijuana company and is strongly supportive of the drug’s legalization.
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and as governor in the 1990s, weld supported medical marijuana legalization. but as a former federal prosecutor, weld also had a tough-on-crime approach as governor, and he acknowledged tuesday that his support for legalization is “something of a shift from what my position would have been in the past.”
“i’m not absolutely sure that i would have been for that before spending as much time as i have with gary johnson,” weld said. “he’s very much in favor of the legalization of marijuana.”
weld said johnson “wants to look” at legalizing other drugs as well as a form of criminal justice reform, and said alcohol and legal prescription drugs can be more dangerous than illicit drugs.
“i don’t know the answer to those things. … that to me is at least worth a discussion,” weld said. “and i do think there’s something to the idea that by decriminalizing something, you take it out of the shadows. and then the incentives are not there for the bad guys to do massive criminal sales. again, you wouldn’t have heard it from me when i was in the justice department.”
weld won the libertarian vp nomination at a closely contested national convention over memorial day weekend. he was criticized by a sizable swath of libertarians in the lead-up to the nomination for past positions that contradict some of the party’s principles.
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the massachusetts marijuana ballot question would legalize marijuana in 2017, and establish a taxed retail sales system in 2018. it would be similar to laws that have passed elsewhere, including in colorado.
weld said he would “not be surprised” to see the legalization effort fail this fall. while voters here easily passed initiatives to decriminalize pot and legalize medical marijuana, and full recreational legalization saw high early support, enthusiasm has looked more tepid in recent polling. it has attracted powerful, bipartisan opposition, with democratic boston mayor marty walsh and republican gov. charlie baker among the elected officials who have actively voiced their dissent.
baker worked in weld’s administration and is close with his predecessor. but even though the governor has said he will not support either donald trump or hillary clinton as president, he has also said he would not back weld’s libertarian ticket. the reason? the party’s call for drug legalization is a big part of it, he told boston herald radio last month.
asked about baker’s plan to sit out the presidential election on tuesday, weld still seemed hopeful he could court his pupil’s vote. “i bet he’ll think of someone to vote for,” he said to laughter.
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heɪ, ˈsɛtəl daʊn... ɔn jʊr nu ˈaɪlənd! θri dɪˈmɛnʃənəl ˈrisɔrs fər ˈteɪbəlˌtɑp ˈgeɪmɪŋ! dɪˈzaɪnd fər ˈmæksəməm fən ənd playability*, ðiz ˈleɪzər kət ˈwʊdən ˈpisɪz wɪl teɪk jʊr geɪm ɪkˈspɪriəns tɪ ðə nɛkst dɪˈmɛnʃən, ˈlɪtərəli! hɛlp mi lɔnʧ ə lɑrʤ pərˈdəkʃən rən əv ðiz baɪ ˈbækɪŋ ðɪs fər rɪˈwɔrdz səʧ ɛz: kɪts əv ɔl ðə ˈleɪzər kət ˈwʊdən ˈpisɪz fər ju tɪ peɪnt ənd pʊt təˈgɛðər! meɪk jʊr oʊn ˈkəstəm bɔrd. ju kʊd draɪ brəʃ, steɪn, spreɪ peɪnt, glu ˈglɪtər tɪ ðɛm ər bərn ðɛm! ɪt wɪl bi ˈɔlˌmoʊst ɛz fən tɪ meɪk ɛz ɪt ɪz tɪ pleɪ! kəmˈplit kɪts ˈkələrd wɪθ ˈwɔtər beɪst wʊd daɪ ənd əˈsɛmbəld baɪ hænd. ʃɪpt tɪ ju ˈrɛdi tɪ pleɪ! ˌɪnˈkludz ə ˈkəstəm dɪˈzaɪnd wʊd ˈstɔrɪʤ bɑks fər jʊr. ɪkˈspænʧən hɛks sɛts laɪk pleɪər, ˈsiˌfɛrərz ənd mɔr! dəˈləks ˈwʊdən ˈstɔrɪʤ ˈbɑksɪz ðət hoʊld jʊr ðə ərˈɪʤənəl geɪm pɑrts! strɛʧ goʊlz laɪk si ənd skɔr kɑrdz! aɪv bɪn pleɪɪŋ ɔn ˈproʊtoʊˌtaɪps əv ðɪs sɛt fər mənθs naʊ, soʊ bæk wɪθ ˈkɑnfədɛns ənd gɪt ˈrɛdi tɪ ˈsɛtəl ɪn! ðə beɪs geɪm ˈkɑrənt ˈproʊtoʊˌtaɪp ˈstɔrɪʤ bɑks wɪθ ðə beɪs geɪm ərˈɪʤənəl geɪm pɑrts. ˈplɛnti əv ˈstɔrɪʤ lɛft fər ðə ɪkˈspænʧənz! kɪts beɪs geɪm kɪt bɑks ˈpisɪz goʊld taɪlz si taɪlz skɔr kɑrd wɔnt tɪ ˈkəstəˌmaɪz jʊr rɪˈwɔrd? pɪk frəm ðɪs ə lɑ kɑrt ˈmɛnju ənd æd ðə əˈproʊpriˌeɪt əˈmaʊnt tɪ jʊr plɛʤ. wəns ðə kæmˈpeɪn ɪz kəmˈplit ju wɪl gɪt ə ˈsərˌveɪ tɪ lɛt mi noʊ ɪgˈzæktli wɪʧ tɪ sɛnd ju!
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hey, settle down... on your new 3d island!
three dimensional resource hexes for tabletop gaming! designed for maximum fun and playability, these laser cut wooden pieces will take your game experience to the next dimension, literally!
help me launch a large production run of these hexes by backing this kickstarter for rewards such as:
diy kits of all the laser cut wooden pieces for you to paint and put together! make your own custom board. you could dry brush, stain, spray paint, glue glitter to them or burn them! it will be almost as fun to make as it is to play!
complete kits colored with water based wood dye and assembled by hand. shipped to you ready to play! includes a custom designed wood storage box for your 3d hexes.
expansion hex sets like 5-6 player, seafarers and more!
deluxe wooden storage boxes that hold your 3d hexes + the original game parts!
stretch goals like sea hexes and score cards!
i've been playing on prototypes of this set for months now, so back with confidence and get ready to settle in 3d!
the base game
current prototype
storage box with the base game 3d hexes + original game parts. plenty of storage left for the expansions!
diy kits
base game diy kit
diy box pieces
gold tiles
sea tiles
score card
want to customize your reward? pick from this a la carte menu and add the appropriate amount to your pledge. once the campaign is complete you will get a survey to let me know exactly which add-ons to send you!
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wɛb ˈʧæpəl fər ðə ˈbɔstən gloʊb ˈbɔstən ˈhɑrbər ˈpaɪləts klaɪm frəm ˈɔntu ˈfɔrən ˈvɛsəlz ˈviə ˈlædərz ðə ʃɪps lɛt daʊn. ˈstɪrɪŋ ˈtæŋkərz, kənˈteɪnər ʃɪps, ənd ˈəðər ˈmæsɪv ˈvɛsəlz ɪn ənd aʊt əv ˈbɔstən ˈhɑrbər ɪz laɪk ˈwɔkɪŋ ə ˈtaɪˌtroʊp: streɪ ˈaʊtˈsaɪd ðə ˈnɛroʊ ˈʧænəlz drɛʤd ˈɪntu ðə ˈsiˌbɛd ənd ju kʊd rən əˈgraʊnd. tɪ prɪˈvɛnt rɛks, ˌmæsəˈʧusəts sɪns ðə həz rikˈwaɪərd ðət ˈloʊkəl ˈmɛrənərz hu noʊ ðə ʃoʊlz ənd kərənts gaɪd ˈɛni lɑrʤ, ʃɪps θru ɪt. ðiz ˈpaɪləts təˈdeɪ, ðə ˈsɛvən ˈhaɪli ɪkˈspɪriənst ˈfɔrmər ʃɪp ˈkæptənz əv ðə ˈbɔstən ˈhɑrbər ˈpaɪlət əˌsoʊʃiˈeɪʃən bɔrd ˈɪnˌkəmɪŋ ˈvɛsəlz maɪəlz ˈɔfˈʃɔr, frəm smɔl ˈɔntu ˈlædərz lɛt daʊn frəm bɪˈhiməθs. lɔŋ ə grup, ðɪs ˈnɔtəkəl ˈbrəðərˌhʊd ɪz naʊ ɪn ˈtərˌmɔɪl: grɛg ˈfɑrmər, ðə ˈprɛzɪdənt frəm 2002 tɪ 2011 ɪz ˈəndər ˌɪnˌvɛstəˈgeɪʃən baɪ ˈsəfək ˈkaʊnti ˈprɑsɪˌkjutərz fər əˈlɛʤədli dɪˈvərtɪŋ tɛnz əv ˈθaʊzənz əv ˈdɔlərz ɪn fiz kəˈlɛktəd frəm ʃɪps tɪ hɪz oʊn ˈpɑkəts, əˈkɔrdɪŋ tɪ ə ˈspoʊksmən fər ˈdɪstrɪkt əˈtərni ˈdænjəl ˈkɑnli. ˈfɑrmər həz əˈkjuzd ðə ˈpaɪləts əv ˈflaʊtɪŋ ˈseɪfti rulz ənd ˈivɪn ˈdrɪŋkɪŋ ɔn ðə ʤɑb. ˌædvərˈtaɪzmənt ðə ˈpaɪlət əˌsoʊʃiˈeɪʃən sɪz ˈfɑrmər fər jɪrz juzd ɪts ˈkrɛdɪt kɑrdz tɪ peɪ fər ə ˈlɔndri lɪst əv ˈpərsɪnəl ɪkˈspɛnsɪz, ˈreɪnʤɪŋ frəm ˈsɛlˌfoʊnz fər hɪz ˈfæməli ənd gæs fər hɪz ˈpərsɪnəl kɑr ənd boʊt tɪ veɪˈkeɪʃənz tɪ ˈflɔrɪdə ənd ˈaʊtɪŋz tɪ strɪp kləbz, wɛr hi spɛnt ɛz məʧ ɛz ɪn wən ˈivnɪŋ. gɪt ˈtɔkɪŋ pɔɪnts ɪn jʊr inbox*: ən ˌæftərˈnun ˈriˌkæp əv ðə moʊst ˌɪmˈpɔrtənt ˈbɪznɪs nuz, dɪˈlɪvərd ˈwikˌdeɪz. saɪn əp θæŋk ju fər ˈsaɪnɪŋ əp! saɪn əp fər mɔr ˈnuzˌlɛtərz hir ɔl toʊld, ðə ˈpaɪləts əˈlɛʤd, ˈfɑrmər ˌɪmˈprɑpərli spɛnt æt list əv ðə ˈməni ˈoʊvər ˈsɛvərəl jɪrz, ˈfaɪlɪŋ feɪk ɪkˈspɛns rɪˈpɔrts tɪ ˈkəvər hɪz træks. θru hɪz ˈlɔjər, ˈfɑrmər ækˈnɑlɪʤd ˈmeɪkɪŋ ðə ɪkˈspɛndɪʧərz, bət kleɪmd ˈnɪrli ɔl wər rɪˈleɪtɪd tɪ ˈpaɪlət əˌsoʊʃiˈeɪʃən ˈbɪznɪs. ðə ˈəðər ˈpaɪləts, əˈtərni roʊt, wər əˈtɛmptɪŋ tɪ ənd ˈsaɪləns ðə moʊst ɪkˈspɪriənst ˈpaɪlət ɪn ˈbɔstən harbor”*” soʊ ðeɪ kʊd iʧ teɪk ə ˈgreɪtər ʃɛr əv ðə fiz peɪd tɪ ðə əˌsoʊʃiˈeɪʃən. ˈfɑrmər ˈɔlsoʊ meɪd ə ˈsɪriz əv əˈgɛnst hɪz ˈfɔrmər ˈkɑligz, hum hi pɔrˈtreɪz ɪn ˈligəl ˈfaɪlɪŋz ɛz hard-living*, ˌsɑfoʊˈmɑrɪk mɛn proʊn tɪ ˌɪnˈtərnəl skˈwɑbəlz. ˌædvərˈtaɪzmənt wən ˈpaɪlət ruˈtinli dræŋk hɑrd ˈælkəˌhɑl waɪl əˈweɪtɪŋ əˈsaɪnmənts ɪn ðə ist ˈbɔstən ˈpaɪlət haʊs, ˈfɑrmər sɛd, waɪl əˈnəðər ˈɔfən feɪld tɪ əˈpɪr fər ʃɪfts wɪn hi wɑz səˈpoʊzd tɪ bi əˈveɪləbəl tɪ muv ə dɑkt ˈlɪkwɪd ˈnæʧərəl gæs ˈtæŋkər ɪn keɪs əv ən ˈimərʤənsi. ðət ˈpaɪlət, ˈfɑrmər ˈædɪd, ˈɔlsoʊ bɪˈlɪtəld ə ˈfiˌmeɪl steɪt pəˈlis ˈtrupər ˈoʊvər mərˈin ˈreɪdiˌoʊ, ˈdæmɪʤd ðə pəˈlɪtɪkəl ˈstændɪŋ baɪ ˈæŋgrəli θˈrɛtənɪŋ ə steɪt ˈlɛʤəsˌleɪtər, ənd wəns juzd hɪz foʊn tɪ bɪd ɪn ən ˈɔnˌlaɪn ˈɔkʃən fər ˈnæˌskɑr ˌmɛmərəˈbiljə waɪl ˈstɪrɪŋ ə ʃɪp θru əv ðə moʊst ˈʧælənʤɪŋ channels”*” ɪn ðə ˈɛriə, ðə ˈweɪməθ fɔr ˈrɪvər. ɛz ðə ˈkrɪmənəl ˌɪnˌvɛstəˈgeɪʃən ˈɪntu əˈlɛʤd θɛft ənd ə rɪˈleɪtɪd ˈsɪvəl ˈlɔˌsut sˈloʊli pleɪ aʊt, nən əv ðə ˈeɪʤənsiz wɪθ əˈθɔrəti ˈoʊvər ˈbɔstən ˈhɑrbər hæv stɛpt ˈfɔrwərd tɪ ənˈtæŋgəl ðə nɑt əv mˈjuʧuəl rɪˌkrɪmɪˈneɪʃənz. ðə ˌmæsəˈʧusəts pɔrt əˈθɔrəti, ðə steɪt ɪnˌvaɪrənˈmɛnəl pəˈlis, ənd ðə koʊst gɑrd iʧ rɪˈfərd ə rɪˈpɔrtər tɪ ən əbˈskjʊr steɪt ˈbɑdi ðət ˈoʊvərˌsiz ðə ˈpaɪlət əˌsoʊʃiˈeɪʃən: ðə kəˈmɪʃənərz əv ˈpaɪləts fər ˈdɪstrɪkt wən, kəmˈpraɪzd əv tu rɪˈtaɪrd ˈmɛrənərz ˈnɑməˌneɪtəd baɪ ðə ˈbɔstən mərˈin soʊˈsaɪɪti ənd kənˈfərmd baɪ ðə ˈgəvərnər. ˈdɑkjəmənts prəˈvaɪdɪd baɪ ən əˈtərni fər ðə kəˈmɪʃənərz ʃoʊ ðət ðə ˈtaɪni ˈeɪʤənsi lʊkt ˈɪntu ˌækjəˈzeɪʃənz. bət ɪts ˌɪnˌvɛstəˈgeɪʃən əˈpɪrz tɪ hæv bɪn ˈkərsəri, kənˈsɪstɪŋ ˈmoʊstli əv ˈɪntərvˌjuz wɪθ ðə əˈkjuzd ˈpaɪləts waɪl dɪsˈmɪsɪŋ səm ˌæləˈgeɪʃənz aʊt əv hænd. ðə kəˈmɪʃənərz, seɪɪŋ ðeɪ hæd rɪˈsivd noʊ kəmˈpleɪnts frəm ˈəðərz ɔn ðə ˈhɑrbər ənd ðət noʊ ˈpaɪləts hæd feɪld ˈrændəm drəg ər ˈælkəˌhɑl tɛsts, kənˈkludɪd ˌæləˈgeɪʃənz wər ˈiðər ““hearsay”*” ər ˈmætərz tɪ bi riˈzɑlvd ˌɪnˈtərnəli baɪ ðə ˈhɑrbər ˈpaɪlət əˌsoʊʃiˈeɪʃən. ðə ˈpaɪlət əˌsoʊʃiˈeɪʃən sɛd ɪts ˈmɛmbərz hæd ˈpaɪlətɪd ˈnɪrli ʃɪps wɪˈθaʊt ˈɪnsədənt sɪns 2006 ənd ɪt ənd ðə kəˈmɪʃən ˌɪnˈsɪstɪd ðə ˈpəblɪk wɑz seɪf. ˌædvərˈtaɪzmənt ðə əˌsoʊʃiˈeɪʃən læst jɪr riˈmuvd ˈfɑrmər frəm ðə roʊˈteɪʃən əv ˈpaɪləts hu əkˈsɛpt ʤɑbz ɔn ʃɪps. ðə ˈpaɪləts ˈɔlsoʊ æst ðə kəˈmɪʃənərz tɪ ˈpərmɑˌnɛnˌtli strɪp ˈfɑrmər əv hɪz ““captain”*” ˈtaɪtəl ɛz ˈpənɪʃmənt fər ðə ˈkrɛdɪt kɑrd ˈʧɑrʤɪz, bət ðə ˈeɪʤənsi dɪˈklaɪnd, seɪɪŋ ðə lɔ ˈoʊnli əˈlaʊz ɪt tɪ ˈpənɪʃ ə ˈpaɪlət fər mɪˈskɑndəkt rɪˈleɪtɪd tɪ hɪz ˈdutiz ɛz ə ˈmɛrənər. ðə ˈpaɪləts hæv sud ðə kəˈmɪʃənərz, ˈæskɪŋ ə steɪt ʤəʤ tɪ ˈɔrdər ðə kəˈmɪʃənərz tɪ rul ɔn ðɛr rɪkˈwɛst. əˈtərni, ˈtɑməs ˈfælən, sɛd ðə ˈpaɪlət ˈroʊˌteɪtɪŋ ˈprɛzɪdənsi wɑz ən ənˈpeɪd pəˈzɪʃən, ənd səˈʤɛstɪd ðət pæst ˈprɛzɪˌdɛnts hæd ˌɛnˈʤɔɪd ˈsɪmələr ˈlætəˌtud ɪn ðɛr ɪkˈspɛnsɪz wɪˈθaʊt ˈskrutəni. ˈəðər ˈsinjər ˈmɛmbərz əv ðə grup əˈpruvd ɪkˈspɛns rɪˈpɔrts, hi ˈnoʊtɪd. ˈfælən ˈɔlsoʊ sɛd ðət iʧ əv ˈkrɛdɪt kɑrd ˈʧɑrʤɪz ˈbɛnəˌfɪtɪd ðə ˈpaɪlət əˌsoʊʃiˈeɪʃən: trɪps tɪ ˈloʊkəl ˈfɪʃɪŋ ˈtərnəmənts ˌɪmˈpruvd ðə riˈleɪʃənz wɪθ ˈəðər ˈmɛrənərz; ən əˈpɛrənt veɪˈkeɪʃən tɪ ˈflɔrɪdə wɑz ˈrɪli ə ˈstədi əv ðə ˈpaɪlət əˌsoʊʃiˈeɪʃən ɪn ˈʤæksənˌvɪl; hoʊm ˈɔfəs ˈfərnɪʃɪŋz, ˈkloʊðɪŋ, ənd gæs fər hɪz ˈpərsɪnəl kɑr wər juzd tɪ ˈkɑndəkt əˌsoʊʃiˈeɪʃən ˈbɪznɪs. ˈivɪn ðə ˈaʊtɪŋz tɪ strɪp kləbz wər ˈnɛsəˌsɛri tɪ bust məræl ənd plɑt ðə ˈlɑbiɪŋ ˈstrætəʤi, ˈfælən sɛd ɪn kɔrt ˈdɑkjəmənts. rɪˈgɑrdz tɪ kləbz, ðiz ˈaʊtɪŋz wər nɑt fər ðə ˈpərsɪnəl ˈbɛnəfɪt əv ˈkæptən ˈfɑrmər ənd ˌɪnˈstɛd ðiz ˈaʊtɪŋz wər fər ðə ˈbɛnəfɪt əv ðə ˌɔrgənəˈzeɪʃən ɛz ə hoʊl ˈdʊrɪŋ ˈvɛri ˈstrɛnjuəs taɪmz ɪn ðə port,”*,” ˈfælən roʊt. ðə ˈpaɪlət ɪgˈzɛkjətɪv dɪˈrɛktər æt ðə taɪm, ˈændru ˈhæmənd, dɪsəˈgriz. ˈoʊnli hi ənd ˈfɑrmər wər ˈprɛzənt wən naɪt ɪn ˈɔgəst 2008 wɪn wɑz ʧɑrʤd tɪ ən əˌsoʊʃiˈeɪʃən ˈkrɛdɪt kɑrd baɪ ðə kləb ɪn ˈbɔstən, ˈhæmənd ˈtɛstɪˌfaɪd. ðə fəndz, hi sɛd, wər spɛnt ɔn ˈdænsərz ənd alcohol,”*,” ənd noʊ ˈbɪznɪs wɑz dɪˈskəst. ˈhæmənd sɛd ðət ˈfɑrmər toʊld ɪm tɪ peɪ ðə ˈkrɛdɪt kɑrd bɪlz fər ðə strɪp kləb ˈpərʧəsɪz ə ˈmænər dɪˈzaɪnd tɪ əˈvɔɪd dɪˈtɛkʃən əv ðə ˈneɪʧər əv ðə expenses.”*.” ˈfælən kənˈsidɪd səm əv ðə ɪkˈspɛnsɪz maɪt reɪz ˈaɪˌbraʊz, bət ˈɑrgjud ðeɪ wər ən ækˈsɛptɪd weɪ əv duɪŋ ˈbɪznɪs. traɪɪŋ tɪ prəˈmoʊt ˈbɪznɪs ðɛr ər ˈsərtən θɪŋz ðət ər ˈɔlˌweɪz dən, əˈspɛʃəli wɪn ˈdilɪŋ wɪθ ə meɪl gɛst: goʊɪŋ tɪ goʊ ˈgɔlfɪŋ, goʊɪŋ tɪ goʊ tɪ bɔl geɪmz, goʊɪŋ tɪ goʊ ˈdrɪŋkɪŋ, ənd goʊɪŋ tɪ goʊ tɪ strɪp joints,”*,” ˈfælən sɛd. ʤɪst ə fækt əv life.”*.” dæn ˈædəmz kən bi riʧt æt ˈfɑloʊ ɪm ɔn tˈwɪtər
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webb chappell for the boston globe boston harbor pilots climb from motorboats onto foreign vessels via ladders the ships let down.
steering tankers, container ships, and other massive vessels in and out of boston harbor is like walking a tightrope: stray outside the narrow channels dredged into the seabed and you could run aground.
to prevent wrecks, massachusetts since the 1780s has required that local mariners who know the harbor’s shoals and currents guide any large, non-us ships through it. these pilots — today, the seven highly experienced former ship captains of the boston harbor pilot association — board incoming vessels miles offshore, clambering from small motorboats onto ladders let down from foreign-flagged behemoths.
long a tight-knit group, this centuries-old nautical brotherhood is now in turmoil: gregg farmer, the group’s president from 2002 to 2011, is under investigation by suffolk county prosecutors for allegedly diverting tens of thousands of dollars in fees collected from ships to his own pockets, according to a spokesman for district attorney daniel conley. farmer has accused the pilots of flouting safety rules and even drinking on the job.
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the pilot association says farmer for years used its credit cards to pay for a laundry list of personal expenses, ranging from cellphones for his family and gas for his personal car and boat to five-star vacations to florida and outings to strip clubs, where he spent as much as $9,000 in one evening.
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all told, the pilots alleged, farmer improperly spent at least $112,000 of the group’s money over several years, filing fake expense reports to cover his tracks.
through his lawyer, farmer acknowledged making the expenditures, but claimed nearly all were related to pilot association business.
the other pilots, farmer’s attorney wrote, were attempting to “discredit and silence the most experienced pilot in boston harbor” so they could each take a greater share of the fees paid to the association.
farmer also made a series of mud-slinging counter-allegations against his former colleagues, whom he portrays in legal filings as hard-living, sophomoric men prone to cliquish internal squabbles.
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one pilot routinely drank hard alcohol while awaiting assignments in the group’s east boston pilot house, farmer said, while another often failed to appear for shifts when he was supposed to be available to move a docked liquid natural gas tanker in case of an emergency.
that pilot, farmer added, also belittled a female state police trooper over marine radio, damaged the group’s political standing by angrily threatening a state legislator, and once used his phone to bid in an online auction for nascar memorabilia while steering a ship through “one of the most challenging channels” in the area, the weymouth fore river.
as the criminal investigation into farmer’s alleged theft and a related civil lawsuit slowly play out, none of the agencies with authority over boston harbor have stepped forward to untangle the knot of mutual recriminations. the massachusetts port authority, the state environmental police, and the coast guard each referred a reporter to an obscure state body that oversees the pilot association: the commissioners of pilots for district one, comprised of two retired mariners nominated by the boston marine society and confirmed by the governor.
documents provided by an attorney for the commissioners show that the tiny agency looked into farmer’s accusations. but its investigation appears to have been cursory, consisting mostly of interviews with the accused pilots while dismissing some allegations out of hand. the commissioners, saying they had received no complaints from others on the harbor and that no pilots had failed random drug or alcohol tests, concluded farmer’s allegations were either “hearsay” or matters to be resolved internally by the harbor pilot association.
the pilot association said its members had piloted nearly 20,000 ships without incident since 2006, and it and the commission insisted the public was safe.
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the association last year removed farmer from the rotation of pilots who accept jobs on ships. the pilots also asked the commissioners to permanently strip farmer of his “captain” title as punishment for the credit card charges, but the agency declined, saying the law only allows it to punish a pilot for misconduct related to his duties as a mariner. the pilots have sued the commissioners, asking a state judge to order the commissioners to rule on their request.
farmer’s attorney, thomas fallon, said the pilot association’s rotating presidency was an unpaid position, and suggested that past presidents had enjoyed similar latitude in their expenses without scrutiny. other senior members of the group approved farmer’s expense reports, he noted.
fallon also said that each of farmer’s credit card charges benefited the pilot association: trips to local fishing tournaments improved the group’s relations with other mariners; an apparent vacation to florida was really a study of the pilot association in jacksonville; home office furnishings, clothing, and gas for his personal car were used to conduct association business. even the outings to strip clubs were necessary to boost morale and plot the association’s lobbying strategy, fallon said in court documents.
“in regards to gentleman’s clubs, these outings were not for the personal benefit of captain farmer and instead these outings were for the benefit of the organization as a whole . . . during very strenuous times in the port,” fallon wrote.
the pilot association’s executive director at the time, andrew hammond, disagrees. only he and farmer were present one night in august 2008 when $9,025 was charged to an association credit card by the centerfolds club in boston, hammond testified. the funds, he said, were spent on “private dancers and alcohol,” and no business was discussed.
hammond said that farmer told him to pay the credit card bills for the strip club purchases “in a manner designed to avoid detection of the nature of the expenses.”
fallon conceded some of the expenses might raise eyebrows, but argued they were an accepted way of doing business.
“when you’re trying to promote business . . . there are certain things that are always done, especially when you’re dealing with a male guest: you’re going to go golfing, you’re going to go to ball games, you’re going to go drinking, and you’re going to go to strip joints,” fallon said. “that’s just a fact of life.”
dan adams can be reached at dadams@globe.com . follow him on twitter @danieladams86.
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ˌməntriˈɔl mæks rɪˈtərnd tɪ ðə ˌməntriˈɔl ˈlaɪˌnəp əˈgɛnst ðə ˈɑtəˌwɑ ˈsɛnətərz ɔn ˈsənˌdi ˌæftərˈnun, eɪt deɪz ˈæftər ˌəndərˈgoʊɪŋ ən ˈimərʤənsi ˌæpɪnˈdɛktəmi. wɪθ ðə ˈkəmɪŋ ɔf ə wɪn ɔn ˈsæˌtɪˌdeɪ ənd noʊ ril ˈrizən tɪ ˈtɪŋkər wɪθ ðə ˈlaɪˌnəp, wɑz ˈprɪti ˈhæpi ðeɪ keɪm əp wɪθ ə wɪn. "ɪt wɑz təf fər ɪm koʊʧ ˈmɪʧəl ˈθɛrin] tɪ pʊt mi ɪn ðə ˈlaɪˌnəp ˈæftər ə wɪn, əˈspɛʃəli wɪθ ə lɔt əv gaɪz ˈstɛpɪŋ əp ənd ˈskɔrɪŋ goʊlz," sɛd. ˈθæŋkfəl aɪ gɑt ðə ˌɑpərˈtunəti ənd aɪ nu wi hæd tɪ gɪt tu pɔɪnts ər ɛls ɪt wʊd lʊk bæd ɔn mi." hæd ən əˈsɪst ɔn hɪz fərst ʃɪft ənd pleɪd ʤɪst ˈoʊvər 16 ˈmɪnəts, ˈfɪnɪʃɪŋ ðə deɪ wɪθ ə ˈreɪtɪŋ ənd θri hɪts. "wi ˌdɪˈsaɪdɪd tɪ teɪk ə geɪm taɪm dɪˈsɪʒən," ˈθɛrin sɛd. "əm glæd aɪ tʊk ðət dɪˈsɪʒən bɪˈkəz hi hæd ən ˌɪmˈpækt ɔn ðə geɪm." ðə ərˈɪʤənəl prɑgˈnoʊsəs fər wɑz ə θri tɪ fɔr wik ˈæbsəns ˈfɑloʊɪŋ læst ˈsərʤɪkəl prəˈsiʤər, bət hi ˈskeɪtɪd ɔn ə ɔf deɪ ˈθərzˌdeɪ ənd ʤɔɪnd hɪz ˈtimˌmeɪts fər ə ˈpræktɪs ɔn ˈfraɪˌdeɪ. "aɪ sɔ ðət ənd aɪ wɑz ʤɪst ɛz ˈəpˌsɛt ɛz ðə fænz wər," sɛd əv ðə ərˈɪʤənəl ˈɛstəˌmeɪt əv ə ˈmɪnəməm ˈæbsəns. "aɪ noʊ ˈɛniˌθɪŋ əˈbaʊt ðə ˈsərʤəri soʊ aɪ ˈkɑmɛnt ɔn ɪt, bət ɪt gɑt ˈbɛtər ˈɛvəri deɪ ənd ɪt stɪl kənˈtɪnjuz tɪ gɪt ˈbɛtər ˈɛvəri deɪ." pleɪd wɪθ hɪz ˈjuʒəwəl ˈdeɪvɪd ənd ˈɛrɪk koʊl, ˈbəmpɪŋ lɑrz ˈɛlər daʊn tɪ ˈsɛnər ðə fɔrθ laɪn bɪtˈwin ˈtrævɪs moʊn ənd ˈkoʊlbi ˈɑrmˌstrɔŋ. ˈɛlər hæd ə goʊl ənd θri əˈsɪsts ɪn wɪn əˈgɛnst ðə ˈbəfəˌloʊ ˈseɪbərz pleɪɪŋ lɛft wɪŋ wɪθ ənd koʊl, ənd ðɛn hi ˈsədənli faʊnd hɪmˈsɛlf ɔn ðə fɔrθ laɪn. ðɪs ɪz ðə fərst taɪm ðɪs ˈsizən ðə ər ˈaɪsɪŋ ðɛr fʊl ˈlaɪˌnəp ˈæftər ðə rɪˈtərn əv p.k*. ɪn geɪm ˈfɑloʊɪŋ ə prəˈlɔŋd ˈkɑnˌtrækt nɪˌgoʊʃiˈeɪʃən fər ðə riˈstrɪktɪd fri ˈeɪʤənt. "wi hæv ə ˈhɛlθi ˈlaɪˌnəp raɪt naʊ ənd wi hæv dɛpθ," ˈθɛrin sɛd. "wɪr glæd tɪ hæv ðət dɛpθ." həz ə ˈhɪstəri əv ˈpruvɪŋ ˈdɑktərz rɔŋ. hi wən ðə bɪl ˈtroʊfi læst ˈsizən fər ˈkəmɪŋ bæk frəm ə kənˈkəʃən ənd krækt ˈvərtəbrə ɪn hɪz nɛk, ˈkɔstɪŋ ɪm ðə ˈfaɪnəl 15 geɪmz ənd ˈsɛvən pleɪɔf geɪmz ɪn hi ˈɔlsoʊ ˈsəfərd ə krækt rɪb ˈərliər ɪn ðə ˈsizən, biɪŋ rəʃt tɪ ˈhɑˌspɪtəl ɪn ˈbəfəˌloʊ ˈæftər ˈteɪkɪŋ ə pək tɪ ðə rɪbz ˈdʊrɪŋ ə geɪm əˈgɛnst ðə ˈseɪbərz. ðət krækt rɪb dɪd nɑt kɔst ə ˈsɪŋgəl geɪm, ənd hi wɑz klɪrd tɪ rɪˈtərn tɪ ˈækʃən fər ðə ˈsɛkənd raʊnd əv ðə 2011 ˈstænli kəp pleɪɔfs ɪf ðə hæd ˈmænɪʤd tɪ wɪn geɪm 7 əv ðə fərst raʊnd əˈgɛnst ðə ˈbɔstən bruɪnz ʤɪst tu mənθs ˈæftər hɪz kənˈkəʃən ənd krækt ˈvərtəbrə. "aɪ θɪŋk ˈsəmθɪŋ aɪ ˈæˌkʧuəli ˈlərnɪd groʊɪŋ əp; aɪ lʊk æt ædˈvərsɪˌti ɛz ə gʊd θɪŋ," sɛd. hæd tɪ dil wɪθ ə lɔt ɪn maɪ kərɪr, ˈwɛðər ɪt bi ˈɪnʤəriz ər ˈgɪtɪŋ sɛnt daʊn (tɪ ðə ˈmaɪnərz), ju neɪm ɪt. hæd ə ˈbəmpi roʊd hir ɪn ˌməntriˈɔl, ənd aɪ ʧeɪnʤ ˈɛni əv ɪt fər ə ˈsɛkənd. meɪd mi ðə pleɪər ənd ðə ˈpərsən aɪ æm raɪt naʊ."
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montreal – max pacioretty returned to the montreal canadiens lineup against the ottawa senators on sunday afternoon, eight days after undergoing an emergency appendectomy.
with the canadiens coming off a 6-1 win on saturday and no real reason to tinker with the lineup, pacioretty was pretty happy they came up with a 2-1 win.
"it was tough for him [canadiens coach michel therrien] to put me in the lineup after a 6-1 win, especially with a lot of guys stepping up and scoring goals," pacioretty said. "i’m thankful i got the opportunity and i knew we had to get two points or else it would look bad on me."
pacioretty had an assist on his first shift and played just over 16 minutes, finishing the day with a plus-2 rating and three hits.
"we decided to take a game time decision," therrien said. "i'm glad i took that decision because he had an impact on the game."
the original prognosis for pacioretty was a three to four week absence following last saturday’s surgical procedure, but he skated on a canadiens off day thursday and joined his teammates for a 90-minute practice on friday.
"i saw that and i was just as upset as the fans were," pacioretty said of the original estimate of a minimum three-week absence. "i didn’t know anything about the surgery so i couldn’t comment on it, but it got better every day and it still continues to get better every day."
pacioretty played with his usual linemates david desharnais and erik cole, bumping lars eller down to center the fourth line between travis moen and colby armstrong. eller had a goal and three assists in saturday’s 6-1 win against the buffalo sabres playing left wing with desharnais and cole, and then he suddenly found himself on the fourth line.
this is the first time this season the canadiens are icing their full lineup after the return of defenseman p.k. subban in saturday’s game following a prolonged contract negotiation for the restricted free agent defenseman.
"we have a healthy lineup right now and we have depth," therrien said. "we're glad to have that depth."
pacioretty has a history of proving doctors wrong.
he won the bill masterton trophy last season for coming back from a concussion and cracked vertebra in his neck, costing him the final 15 games and seven playoff games in 2010-11. he also suffered a cracked rib earlier in the 2010-11 season, being rushed to hospital in buffalo after taking a puck to the ribs during a game against the sabres.
that cracked rib did not cost pacioretty a single game, and he was cleared to return to action for the second round of the 2011 stanley cup playoffs if the canadiens had managed to win game 7 of the first round against the boston bruins just two months after his concussion and cracked vertebra.
"i think it’s something i actually learned growing up; i look at adversity as a good thing," pacioretty said. "i’ve had to deal with a lot in my career, whether it be injuries or getting sent down (to the minors), you name it. i’ve had a bumpy road here in montreal, and i wouldn’t change any of it for a second. it’s made me the player and the person i am right now."
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ˈjunjən hoʊm ˈmɪnɪstər sɪŋ wɑz nɑt goʊɪŋ tɪ ˈpækɪˌstæn fər ðə ˈmitɪŋ əv hoʊm ˈmɪnɪstərz. ðə ˈmitɪŋ wɑz skeɪld daʊn bɪˈkəz æfˈgænəˌstæn ənd ˈbæŋləˌdɛʃ hæd ˌdɪˈsaɪdɪd tɪ pʊl aʊt ənd moʊst ˈəðər ˈkəntriz wər ˈsɛndɪŋ ˈʤunjər ˈmɪnɪstərz ənd ˈdɛləˌgeɪts. soʊ, sɪŋ hæd ˌɪnˈstrəktɪd hɪz ˈɔfəs tɪ skeɪl daʊn pɑrˌtɪsəˈpeɪʃən, tu, baɪ ˈsɛndɪŋ ə ˈʤunjər ˌdɛləˈgeɪʃən. ðət wɑz ðə ˈstætəs tɪl əˈbaʊt ə wik ˌbiˈfɔr ðə (saʊθ ˈeɪʒən əˌsoʊʃiˈeɪʃən fər ˈriʤənəl kˌwɔpərˈeɪʃən) ˈmitɪŋ deɪt. wɑz əv ðə vju ðət ðə ˈproʊˌfaɪl əv ðə ˈmitɪŋ dɪd nɑt bɪˈfɪt ðə ˈstæʧər əv hoʊm ˈmɪnɪstər. ɪn hɪz maɪnd ðə ˈɪʃu wɑz ˈoʊvər ənd dən wɪθ. bət ðɛn tu θɪŋz ˈhæpənd ðət prɪkt ðə praɪd əv ðə frəm (nɪr ɪn prəˈdɛʃ). ðə fərst wɑz ðə ˌrɛzəˈluʃən baɪ ðə ˈpækɪˌstæn ˈpɑrləmɛnt ˈæskɪŋ ðə juˈnaɪtɪd ˈneɪʃənz tɪ ˌɪnˈvɛstəˌgeɪt ðə raɪts violations”*” ɪn ˈkæʃmɪr. ðə ˈsɛkənd wɑz ðə ˈoʊpən θrɛt baɪ ðə ʧif əv (jud*) sɑid ənd ðət ðeɪ wʊd nɑt lɛt sɪŋ sɛt fʊt ɔn ˈpækɪˌstæn sɔɪl. ɪt wɑz ðɛr kənˈtraɪvd bɪd tɪ ʃoʊ ˌsɑləˈdɛrəti wɪθ kæʃˈmiri ˈsɛpərətɪsts ənd ðə ɪkˈstrim ənˈrɛst ðət broʊk aʊt ɪn ðə ˈvæli ɪn ðə weɪk əv ˈtɛrərɪst dɛθ. "ˈɛni ˈɪndiən ˈmɪnɪstər wʊd hæv gɔn tɪ ˌɪsˈlæməbæd nɑt fər ðə ləv əv ˈpækɪˌstæn bət fər ðə ləv əv bɪˈkəz ˈɪndiə ɪz ðə ˈdraɪvɪŋ fɔrs əv ðə ˈgrupɪŋ. soʊ, wɪn tu ˈgloʊbəli ˈwɔntɪd ˈtɛrəˌrɪsts wər ˈoʊpənli θˈrɛtənɪŋ ˈbɑdəli hɑrm tɪ ðə hoʊm ˈmɪnɪstər əv ˈɪndiə ɪf hi dɛrd əˈtɛnd ðə ˈmitɪŋ wɪθ ðə bɪˈnaɪn ˌɪnˈdəlʤəns əv ðə ˈpækɪˌstæn ɪˈstæblɪʃmənt wɑz ðət. æt ðət ˈɪnstənt, ʧeɪnʤd hɪz maɪnd," ə kloʊz eɪd rɪˈvild tɪ., sɛd ðə sɔrs, wɑz kwaɪt əˈwɛr əv ðə fækt ðət ˈɪndiən ˈlidərz ər ʤəʤd nɑt baɪ wət ðeɪ du ɪn ˈbæŋləˌdɛʃ ər ˈɛˈsɑˈraɪ ˈlæŋkə. tru ˈmɛʒər əv ən ˈɪndiən ˈlidər ɪn ðə ˈpəblɪk aɪ ɪz ɪn haʊ ðeɪ bɪˈheɪv ɪn ˈpækɪˌstæn. ðə ˈrɛfərəns hir ɪz tɪ ðə ˈvɪzɪts əv ˈlidərz tɪ ˈpækɪˌstæn. ðə rəˈdaʊtəbəl ædˈvɑni lɔst nɑt ʤɪst hɪz ˈpɑrti fər seɪɪŋ, ɔn ˈpækɪˌstæn sɔɪl, ðət moʊˈhɑmɛd ˈɑli wɑz ə ˈsɛkjələr ˈlidər, bət ˈnɛvər riˈgeɪnd hɪz ɪn ðə ˈpɑrti. ðɛn hɪz kloʊz frɛnd ənd ˈkɑlig sɪŋ ˌəndərˈtʊk ə tʊr tɪ ˈpækɪˌstæn ənd roʊt ə bʊk. hi wɑz sækt æt ðə ˈnæʃənəl ɪgˈzɛkjətɪv. ˈɪnstəntli sɔ ən ˌɑpərˈtunəti ɪn ðə ˈoʊpən θrɛt tɪ hɪz laɪf ənd ˌdɪˈsaɪdɪd tɪ teɪk ðə ˈʧælənʤ hɛd ɔn. məʧ tɪ ðə ʃəˈgrɪn əv ˌdɪpləˈmætɪk ˈsərkəlz, hi æst fər ərˈeɪnʤmənts tɪ bi meɪd fər hɪz journey,”*,” sɛd ðə sɔrs. ðə ˈmɪnɪstri əv ɪkˈstərnəl əˈfɛrz, ˈdrɛdɪŋ ˈfərðər dɪˈtɪriərˌeɪʃən ɪn ðə ɔˈrɛdi streɪnd riˈleɪʃənˌʃɪp wɪθ ˈpækɪˌstæn, ˈwɔntɪd tɪ skeɪl daʊn ˌrɛprəzɛnˈteɪʃən. əˈfɪʃəlz əv ðə ˈmɪnɪstri gɑt ɪn təʧ wɪθ ðə hoʊm ˈmɪnɪstri tɪ dɪsˈweɪd ðə hoʊm ˈmɪnɪstər baɪ ˌɪmˈprɛsɪŋ əˈpɑn ɪm ðə fjuˈtɪləti əv əˈtɛndɪŋ ə ˈmitɪŋ əv ˌloʊˈlɛvəl ˈfəŋkʃəˌnɛriz əv ˈneɪʃənz. bət, ɛz ɪz hɪz woʊnt, pʊt hɪz fʊt daʊn. hi wɑz ˌɪnˈtɛnt ɔn goʊɪŋ ʤɪst tɪ stɛr daʊn ðə rɪˈkælsɪtrənt ˈneɪbər. lɛft wɪθ noʊ ʧɔɪs ðə ˈfɔrən ˈmɪnɪstri ˈdɪpləˌmæts geɪv ə fju ənd ənd æst ðə hoʊm ˈmɪnɪstri əˈfɪʃəlz tɪ bi ˈmaɪndfəl əv hu ðeɪ mɛt ənd wət ðeɪ sɛd. sɛd ðət wʊd nɑt bi ˈnɛsəˌsɛri bɪˈkəz ðə hoʊm ˈmɪnɪstər hæd ˌdɪˈsaɪdɪd hi wʊd nɑt mit ˈɛni ˌpækɪˈstæni ˈɔfɪsərz ər ˌdɛləˈgeɪʃənz. hi wʊd riˈstrɪkt hɪz ˈvɪzɪt ˈstrɪktli tɪ ˈmætərz saarc,”*,” sɛd ðə sɔrs. ənd ðət ɪz wət hi dɪd frəm ðə wərd goʊ. wɪn hi ˈlændɪd æt ˌɪsˈlæməbæd ˈɛrˌpɔrt ə ˌpækɪˈstæni əˈfɪʃəl ˌdɛləˈgeɪʃən rɪˈsivd ɪm. hi ʃʊk hænz wɪθ ə fju əv ðɛm ənd wɔkt streɪt pæst ðə rɛst, nɑt ˈivɪn ˈmitɪŋ ðɛr aɪz. ə hoʊm ˈmɪnɪstri əˈfɪʃəl, hu əˈkəmpənid ðə ˈmɪnɪstər tɪ ˈpækɪˌstæn, ˈpɔɪntɪd aʊt ðət rɪˈmeɪnd dɪˈlɪbərətli əˈluf. ðoʊ hɪz ˈmitɪŋ wɪθ ˈpækɪˌstæn praɪm ˈmɪnɪstər ʃərˈif əˈlɔŋ wɪθ ə ˌdɛləˈgeɪʃən wɛnt ɔf wɛl, hi wɑz koʊld tɪ hɪz ˈkaʊntərˌpɑrt ˈɑli kɑn. hɪz bɛst ækt wɑz jɛt tɪ kəm. əˈfɪʃəlz ɪn ðə hoʊm ˈmɪnɪstri seɪ ðət hɪz spiʧ, əˈkjuzɪŋ ˈpækɪˌstæn (wɪˈθaʊt ˈneɪmɪŋ ɪt) əv ˈnərʧərɪŋ ˈtɛrəˌrɪsts ˈklɪrli gɑt ðə goʊt əv ðə ˈpækɪˌstæn hoʊm ˈmɪnɪstər. hi ənæmˈbɪgjuəsli əreɪnd ˈpækɪˌstæn fər ˈnərʧərɪŋ, ɪnˈkərəʤɪŋ ənd prəˈmoʊtɪŋ ˈtɛrəˌrɪzəm. ðə spiʧ ˈrætəld ðə ˈpækɪˌstæn ɪˈstæblɪʃmənt. ðɪs lɛd ðə ˌpækɪˈstæni hoʊm ˈmɪnɪstər tɪ gɪv ðə əˈfɪʃəl lənʧ ðə mɪs. spiʧ, ˈɑli wɔkt streɪt pæst ɪm ənd ˌɪnˈstɛd əv ˈwɔkɪŋ təˈwɔrdz ðə lənʧ ˈvɛnju, ˈhɛdɪd fər hɪz kɑr ənd lɛft. wɪn sɔ ðɪs hi ˌdɪˈsaɪdɪd tɪ goʊ tɪ hɪz rum ənd hæv hɪz mil. səm ˈdɛləˌgeɪts əv ðə ˈəðər ˈkəntriz ˈleɪtər mɛt ɪm ənd əˈpriʃiˌeɪtɪd hɪz dɪˈsɪʒən ənd fɛlt ðə hoʊst ˈmɪnɪstər hæd ˌɪnˈsəltɪd ðə gɛsts baɪ ˈwɔkɪŋ aʊt əv hɪz do,”*,” ðə əˈfɪʃəl sɛd. ɔn hɪz pɑrt sɪŋ rɪfˈjuzd tɪ hæv ˈɛni wən tɪ wən ˈmitɪŋ wɪθ ˌpækɪˈstæni əˈfɪʃəlz ənd ˌɪnˈstrəktɪd ðə ˈɪndiən haɪ kəˈmɪʃən ɪn ˌɪsˈlæməbæd ðət hi wʊd ˈsɪŋgjələrli ˈfoʊkɪs ɔn ˈmitɪŋ. ðə fækt ðət səm ˈtɛrərɪst ˌɔrgənɪˈzeɪʃənz wər ˈhoʊldɪŋ ə ˌdɛmənˈstreɪʃən ə fju maɪəlz əˈweɪ frəm ðə hoʊˈtɛl wɛr ðə ˈkɑnfərəns wɑz hɛld, ɪkˈspoʊzd ðə əv kəˈmɪtmənt tɪ kəmˈbætɪŋ ˈtɛrəˌrɪzəm. ˈhævɪŋ meɪd hɪz pɔɪnt ˈtɛlɪŋli ɪn hɪz spiʧ ənd ˈkɑkɪŋ ə snʊk æt ˈtɛrəˌrɪsts ɔn ˈpækɪˌstænz sɔɪl, ˌdɪˈsaɪdɪd tɪ weɪst noʊ mɔr taɪm. ðə ˈspɛʃəl pleɪn ðət ˈkɛrid ɪm wɑz kɔld ˈɪntu ˈsərvɪs tu aʊərz ˌbiˈfɔr hɪz ˈskɛʤʊld dɪˈpɑrʧər ənd hi rɪˈtərnd ˈsætɪsˌfaɪd ðət hɪz ˈʤərni tɪ ˈpækɪˌstæn wɑz wɛl wərθ ɪt. 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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union home minister rajnath singh was not going to pakistan for the saarc meeting of home ministers. the meeting was scaled down because afghanistan and bangladesh had decided to pull out and most other countries were sending junior ministers and delegates. so, rajnath singh had instructed his office to scale down india’s participation, too, by sending a junior delegation.
that was the status till about a week before the saarc (south asian association for regional cooperation) meeting date. rajnath was of the view that the profile of the meeting did not befit the stature of india’s home minister. in his mind the issue was over and done with.
but then two things happened that pricked the pride of the thakur from chandauli (near varanasi in uttar pradesh). the first was the resolution by the pakistan parliament asking the united nations to investigate the “human rights violations” in kashmir. the second was the open threat by the chief of jamaat-ud-dawa (jud) hafiz saeed and salahuddin that they would not let rajnath singh set foot on pakistan soil. it was their contrived bid to show solidarity with kashmiri separatists and the extreme unrest that broke out in the valley in the wake of hizbul terrorist burhan wani’s death.
"any indian minister would have gone to islamabad not for the love of pakistan but for the love of saarc because india is the driving force of the grouping. so, when two globally wanted pakistan-harboured terrorists were openly threatening bodily harm to the home minister of india if he dared attend the saarc meeting — with the benign indulgence of the pakistan establishment —that was that. at that instant, rajnath changed his mind," a close aide revealed to firstpost.
rajnath, said the source, was quite aware of the fact that indian leaders are judged not by what they do in bangladesh or sri lanka. “the true measure of an indian leader in the public eye is in how they behave in pakistan. the reference here is to the jinxed visits of bjp leaders to pakistan. the redoubtable lk advani lost not just his party president-ship for saying, on pakistan soil, that mohammad ali jinnah was a secular leader, but never regained his pre-eminence in the party. then his close friend and colleague jaswant singh undertook a tour to pakistan and wrote a book eulogising jinnah. he was sacked at the bjp's shimla national executive.
"rajnath instantly saw an opportunity in the open threat to his life and decided to take the challenge head on. much to the chagrin of india’s diplomatic circles, he asked for arrangements to be made for his journey,” said the source.
the ministry of external affairs, dreading further deterioration in the already strained relationship with pakistan, wanted to scale down india’s representation. officials of the ministry got in touch with the home ministry to dissuade the home minister by impressing upon him the futility of attending a meeting of low-level functionaries of saarc nations.
but rajnath, as is his wont, put his foot down. he was intent on going just to stare down the recalcitrant neighbour. left with no choice the foreign ministry diplomats gave a few do’s and don’ts and asked the home ministry officials to be mindful of who they met and what they said. “we said that would not be necessary because the home minister had decided he would not meet any pakistani officers or delegations. he would restrict his visit strictly to matters saarc,” said the source.
and that is what he did from the word go. when he landed at islamabad airport a pakistani official delegation received him. he shook hands perfunctorily with a few of them and walked straight past the rest, not even meeting their eyes.
a home ministry official, who accompanied the minister to pakistan, pointed out that rajnath remained deliberately aloof. though his meeting with pakistan prime minister nawaz sharif along with a saarc delegation went off well, he was cold to his counterpart nisar ali khan.
his best act was yet to come. officials in the home ministry say that his speech, accusing pakistan (without naming it) of nurturing terrorists clearly got the goat of the pakistan home minister. he unambiguously arraigned pakistan for nurturing, encouraging and promoting terrorism. the speech rattled the pakistan establishment. this led the pakistani home minister to give the official lunch the miss.
“after rajnath’s speech, nisar ali walked straight past him and instead of walking towards the lunch venue, headed for his car and left. when rajnath saw this he decided to go to his room and have his meal. some delegates of the other countries later met him and appreciated his decision and felt the host minister had insulted the saarc guests by walking out of his do,” the official said.
on his part singh refused to have any one to one meeting with pakistani officials and instructed the indian high commission in islamabad that he would singularly focus on saarc meeting. the fact that some terrorist organisations were holding a demonstration a few miles away from the hotel where the saarc conference was held, exposed the hollowness of pakistan’s commitment to combating terrorism.
having made his point tellingly in his speech and cocking a snook at pakistan-harboured terrorists on pakistan's soil, rajnath decided to waste no more time. the special plane that carried him was called into service two hours before his scheduled departure and he returned satisfied that his 25-hour journey to pakistan was well worth it.
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ˈpoʊstɪd ɔn noʊˈvɛmbər 17 2013 ˈdeɪvɪd ˈgrɛgəri æsks pɛˈloʊsi əˈbaʊt "pæs ðə bɪl soʊ ju kən faɪnd aʊt wəts ɪn ɪt" ˈkɑmɛnt ˈdeɪvɪd ˈgrɛgəri: ju sɛd ðɪs ɪn mɑrʧ əv 2010 wɔʧ. rɛpriˈzɛtətɪv. ˈnænsi pɛˈloʊsi: bət wi hæv tɪ pæs ðə bɪl soʊ ðət ju kən faɪnd aʊt wət ɪz ɪn ɪt əˈweɪ frəm ðə fɔg əv ðə ˈkɑntrəˌvərsi. ˈdeɪvɪd ˈgrɛgəri: ənd ˈhæzənt ðət aɪˈdiə, ðət ju hæv tɪ pæs ɪt ˌbiˈfɔr ju noʊ wəts ɪn ɪt, ˈɪzənt ðət ˈrɪli ðə ˈprɑbləm, ɛz ju lʊk bæk ɔn ɪt? ðət ðə-- ðɛr wɑz səʧ ə rəʃ tɪ gɪt ðɪs dən, noʊ rɪˈpəblɪkənz ˈvoʊtɪŋ fər ɪt, ənd naʊ ðɛr ər ˌənɪnˈtɛndɪd ˈifɛkts əv ðɪs ðət wər ˌfɔrˈsin æt ðə taɪm ðət ju ˈkʊdənt noʊ ðə ˌɪmˈpækt əv ɪt. ənd naʊ ðɪs ɪz ˈkəmɪŋ hoʊm tɪ rust. rɛpriˈzɛtətɪv. ˈnænsi pɛˈloʊsi: noʊ. wət aɪ wɑz seɪɪŋ ðɛr ɪz wi ər haʊs ənd ðə ˈsɛnɪt. wi gɪt ə bɪl. wi goʊ tɪ ˈkɑnfərəns ər wi ˈpɪŋˌpɔŋ ɪt, ənd ðɛn ju si wət ðə ˈfaɪnəl ˈprɑdəkt ɪz. ˌhaʊˈɛvər, aɪ stænd baɪ wət aɪ sɛd ðɛr. wɪn ˈpipəl si wət ɪz ɪn ðə bɪl, ðeɪ wɪl laɪk ɪt. ənd ðeɪ wɪl. ˈædvərˌtaɪz ənd soʊ, waɪl ðɛrz ə lɔt əv ənd əˈdu əˈbaʊt wəts ˈhæpənɪŋ naʊ-- ˈvɛri əˈproʊpriˌeɪt. əm nɑt ˈkrɪtɪˌsaɪzɪŋ. əm seɪɪŋ ɪt tʊk ə greɪt dil fər ˈjuˈɛs tɪ pæs ðɪs bɪl. aɪ sɛd ɪf wi goʊ əp tɪ ðə geɪt ənd ðə geɪt ɪz lɑkt, wɪl ənˈlɑk ðə geɪt. ɪf wi kænt du ðət, wɪl klaɪm ðə fɛns. ɪf ðə fɛns ɪz tu haɪ, wɪl poʊl vɔlt ɪn. ɪf wi kænt du ðət, wɪl ˈhɛlɪˌkɑptər ɪn, bət wɪl gɪt ɪt dən. wi hæd tɪ pæs ðə tɛst əv ðə kɔrts, ənd wi dɪd. ðə fərst ˈroʊˌlaʊt ɪn ðə fərst pɑrt əv ðə fərst jɪr əv ðə ˌɪmpləmɛnˈteɪʃən wɛnt ˈvɛri sˈmuðli. ðə ˈwɛbˌsaɪt dɪd nɑt wərk; ðət həz kɔzd ˈprɑbləmz ˈkɑmpləˌkeɪtɪŋ ˈpipəl trænˈzɪʃənɪŋ frəm ðoʊz ˈpɑləsiz tɪ ðə ˈəðər. bət, əˈgɛn, ðɪs ɪz ˈnɛvər θɔt tɪ bi ˈizi. ənd ðə fækt ɪz, ɪt ˈdəzənt ˈmætər wət wɪr seɪɪŋ hir: wət ˈmætərz? wət ˈhæpənz æt ðə ˈkɪʧən ˈteɪbəl əv ðə əˈmɛrɪkən ˈpipəl. ənd haʊ ðeɪ wɪl hæv mɔr əˌfɔrdəˈbɪləti, mɔr ˌæksɛsəˈbɪlɪti, ˈbɛtər kˈwɑləti kɛr, priˈvɛnʃən, ˈwɛlnəs, ə ˈhɛlθiər ˈneɪʃən ˈɑnərɪŋ ðə vaʊz əv ɑr ˈfaʊndərz əv laɪf, ə ˈhɛlθiər laɪf. ˈlɪbərˌti tɪ pərˈsu ðɛr ˈhæpinəs, nɑt bi ʧeɪnd baɪ ə ˈpɑləsi.
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posted on november 17, 2013
david gregory asks pelosi about "pass the bill so you can find out what's in it" comment
david gregory: you said this in march of 2010. watch.
rep. nancy pelosi: but we have to pass the bill so that you can find out what is in it away from the fog of the controversy.
david gregory: and hasn't that idea, that you have to pass it before you know what's in it, isn't that really the problem, as you look back on it? that the-- there was such a rush to get this done, no republicans voting for it, and now there are unintended effects of this that were foreseen at the time that you couldn't know the impact of it. and now this is coming home to roost.
rep. nancy pelosi: no. what i was saying there is we are house and the senate. we get a bill. we go to conference or we ping-pong it, and then you see what the final product is. however, i stand by what i said there. when people see what is in the bill, they will like it. and they will.
advertise
and so, while there's a lot of hoop-di-doo and ado about what's happening now-- very appropriate. i'm not criticizing. i'm saying it took a great deal for us to pass this bill. i said if we go up to the gate and the gate is locked, we'll unlock the gate. if we can't do that, we'll climb the fence. if the fence is too high, we'll pole vault in. if we can't do that, we'll helicopter in, but we'll get it done.
we had to pass the test of the courts, and we did. the first rollout in the first part of the first year of the implementation went very smoothly. the website did not work; that has caused problems complicating people transitioning from those policies to the other.
but, again, this is never thought to be easy. and the fact is, it doesn't matter what we're saying here: what matters? what happens at the kitchen table of the american people. and how they will have more affordability, more accessibility, better quality care, prevention, wellness, a healthier nation honoring the vows of our founders of life, a healthier life. liberty to pursue their happiness, not be chained by a policy.
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ɪn ˌsɛləˈbreɪʃən əv ɑr ənd ˈfɪʃɪŋ ˈəpˌdeɪt, wi hæv fɪld ðə stɔr wɪθ brænd nu ˈkɑstumz ənd ənd ˈwɛpən. raɪt, naʊ ɪz jʊr ʧæns tɪ snæg nu kɑzˈmɛtɪks ənd lʊks ðət wɪl hɛlp ju stænd aʊt frəm ðə kraʊd! ˈməŋki kɪŋ ˈwɛpən ɪt ɪz sɛd ðət ðə ˈməŋki kɪŋ vɛsts ˈwɔrjərz wɪθ ˈkɑnfədɛns ənd kərɪʤ tɪ ˈtækəl ðə ˈʧælənʤɪz əv ˈbætəl. pruv jʊr ˈkɑmbæt praʊəs wɪθ ɑr ˈstənɪŋ ˈməŋki kɪŋ ˈwɛpən ənd ʃoʊ ðə wərld ðət ðə ˈməŋki kɪŋ ˈfɑloʊz ənd prəˈtɛkts ju wɛˈrɛvər ju goʊ! neɪm praɪs ɪn ˈɔrəm sɔrd (swordmage*) ˈdimən (blademaster*) waɪt ˈdrægən spɪr (ˈgənsˌlɪŋər) ˈʃæˌdoʊ wɑnd (occultist*) ˈoʊʃənz bɛk (ˈvænˌgɑrd) piʧ bɛl (ˈspɪrɪt shaper*) 1 1 ˈdimən (blademaster*) ˈoʊʃənz bɛk (ˈvænˌgɑrd) piʧ bɛl (ˈspɪrɪt shaper*) nu ˈkɑstumz, runz ˈreɪnˌboʊ bɑks ˌɛnˈʤɔɪ ˈsəmər ənd kip kul ɪn ðə hit waɪl səˈprɛsɪŋ ðə ˈdɑrknəs wɛˈrɛvər ju goʊ wɪθ ðə waɪt naɪt (ˈfiˌmeɪl ɪkˈsklusɪv) ˈaʊtˌfɪt ər ˌɛnˈʤɔɪ ðə haɪ laɪf wɪθ ðə meɪl ɪkˈsklusɪv əbˈsɪdiən ˈkɑstum! 1 1 waɪt naɪt əbˈsɪdiən əˈdɪʃəˌnəli, wi ˈɔfər ju kɑrvd runz ənd ə ˈreɪnˌboʊ bɑks, kənˈteɪnɪŋ ˈrændəm daɪz tɪ ˈkəstəˌmaɪz jʊr ˈaʊtˌfɪts. lɪst əv ˈaɪtəmz neɪm praɪs ɪn ˈɔrəm waɪt naɪt 30 deɪz) 412 waɪt naɪt slivz 30 deɪz) 90 waɪt naɪt klɑgz 30 deɪz) 90 waɪt naɪt hæt 30 deɪz) 209 waɪt naɪt (ˈpərmɑˌnɛnt) waɪt naɪt slivz (ˈpərmɑˌnɛnt) 272 waɪt naɪt klɑgz (ˈpərmɑˌnɛnt) 272 waɪt naɪt hæt (ˈpərmɑˌnɛnt) 622 əbˈsɪdiən 30 deɪz) 209 əbˈsɪdiən rɪŋ 30 deɪz) 90 əbˈsɪdiən pænts 30 deɪz) 139 əbˈsɪdiən buts 30 deɪz) 90 əbˈsɪdiən (ˈpərmɑˌnɛnt) 622 əbˈsɪdiən rɪŋ (ˈpərmɑˌnɛnt) 272 əbˈsɪdiən pænts (ˈpərmɑˌnɛnt) 412 əbˈsɪdiən buts (ˈpərmɑˌnɛnt) 272 kɑrvd run 32 kɑrvd run 88 kɑrvd run 168 ˈreɪnˌboʊ bɑks 20 ˈgoʊldən piʧ pæk wi ər ɪkˈsaɪtɪd tɪ ˌɪntrəˈdus ðə ˈgoʊldən piʧ pæk, ə ðət meɪ kənˈteɪn ˈvæljəbəl ˈaɪtəmz səʧ ɛz ˈkərənsiz, ənd ˈivɪn maʊnts fər ðə ˈləkiəst əv pleɪərz! lɪst əv ˈaɪtəmz ˈaɪkɑn ˈaɪtəm neɪm dɪˈskrɪpʃən ˈgoʊldən piʧ ən ˌɪmˈpɔrtənt sərˈtɪfɪkət əv ðə spərɪŋ ˈfɛstɪvəl. ju kən goʊ tɪ ðə ˈgoʊldən piʧ kəˈlɛktər seɪʤ tɪ ɪksˈʧeɪnʤ fər rɛr rɪˈwɔrdz! seɪʤ əˈpærəl bɑks ˈoʊpən ðɪs tɪ gɪt ðə ““sage”*” ɪkˈsklusɪv əˈpærəl fər ðə jɪr əv ðə ˈməŋki. ˈfɔrʧən pæk ə rɛd ˈɛnvəˌloʊp frəm ðə seɪʤ. ˈoʊpən ɪt tɪ gɪt əp tɪ brɑnz ʃɑrdz! ˌɪˈmɔrtəl piʧ ə piʧ əv ðə haɪəst greɪd. ˈoʊnli ˌɪˈmɔrtəlz kən it ˌɪˈmɔrtəl ˈpiʧɪz, bət ju kən ɪksˈʧeɪnʤ ðɛm wɪθ kəˈlɛktərz fər rɛr ɪkˈsklusɪv ˈaɪtəmz. waɪt ʤeɪd ʤeɪd ərnd ˈæftər ˈoʊpənɪŋ ˈspɛʃəl ɪˈvɛnt gɪfts. ɪt kən bi ɪksˈʧeɪnʤd fər ə hip əv ˈaɪtəmz. ɪŋk ʤeɪd ʤeɪd ərnd ˈæftər ˈoʊpənɪŋ ˈspɛʃəl ɪˈvɛnt gɪfts. ɪt kən bi ɪksˈʧeɪnʤd fər ə hip əv ˈaɪtəmz. snoʊ fɔl tɪ juz ðə ˈaɪtəm ənd gɪv ðə gɪft əv ˌpaɪroʊˈtɛknɪks tɪ ə frɛnd! ˈmɪstɪkəl gɔrd ˈɛkskwəzət maʊnt ðət kən bi əbˈteɪnd ɪn ˈvɛriəs ˈkələrz. ˈgoʊldən piʧ kən bi ˈtreɪdɪd wɪθ ə ˈspɛʃəl fər ðə ˈmɪstɪkəl gɔrd ju ər ən əˈspaɪrɪŋ ˈwɔrjər ər ə ˈləki ˈfɛloʊ, ɑr ʤun seɪl həz gɑt ju ˈkəvərd!
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in celebration of our mythos and fishing update, we have filled the in-game store with brand new costumes and gachas and weapon apparels. that’s right, now is your chance to snag new cosmetics and looks that will help you stand out from the crowd!
monkey king weapon apparels
it is said that the monkey king vests warriors with confidence and courage to tackle the challenges of battle. prove your combat prowess with our stunning monkey king weapon apparels and show the world that the monkey king follows and protects you wherever you go!
name price in aurum seven-star sword (swordmage) 1,688 nine-toothed demon (blademaster) 1,688 white dragon spear (gunslinger) 1,688 vanquishing shadow wand (occultist) 1,688 ocean's beck (vanguard) 1,688 peach bell (spirit shaper) 1,688
1 / 1 nine-toothed demon (blademaster) ocean's beck (vanguard) peach bell (spirit shaper)
new costumes, runes & rainbow box
enjoy summer and keep cool in the heat while suppressing the darkness wherever you go with the white night (female exclusive) outfit or enjoy the high life with the male exclusive obsidian costume!
1 / 1 white night obsidian
additionally, we offer you carved runes ii - iv and a rainbow box, containing random dyes to customize your outfits.
list of items name price in aurum white night (30 days) 412 white night sleeves (30 days) 90 white night clogs (30 days) 90 white night hat (30 days) 209 white night (permanent) 1,182 white night sleeves (permanent) 272 white night clogs (permanent) 272 white night hat (permanent) 622 obsidian (30 days) 209 obsidian ring (30 days) 90 obsidian pants (30 days) 139 obsidian boots (30 days) 90 obsidian (permanent) 622 obsidian ring (permanent) 272 obsidian pants (permanent) 412 obsidian boots (permanent) 272 carved rune ii 32 carved rune iii 88 carved rune iv 168 rainbow box 20
golden peach pack
we are excited to introduce the golden peach pack, a gacha that may contain valuable items such as currencies, apparels and even mounts for the luckiest of players!
list of items icon item name description golden peach an important certificate of the spring festival. you can go to the golden peach collector sage to exchange for rare rewards! sage apparel box open this to get the “sage” exclusive apparel for the year of the monkey. sage’s fortune pack a red envelope from the sage. open it to get up to 88,888 bronze shards! immortal peach a peach of the highest grade. only immortals can eat immortal peaches, but you can exchange them with collectors for rare exclusive items. white jade jade earned after opening special event gifts. it can be exchanged for a heap of items. ink jade jade earned after opening special event gifts. it can be exchanged for a heap of items. snow fall right-click to use the item and give the gift of pyrotechnics to a friend! mystical gourd exquisite mount that can be obtained in various colors.
golden peach can be traded with a special npc for the mystical gourd mount.whether you are an aspiring warrior or a lucky fellow, our june sale has got you covered!
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ˈævənˌdeɪl, ariz*. ðə tɛst ɪn ðə wɛst ɪz ɔˈrɛdi ˈbrɪŋɪŋ aʊt ðə bɛst ɪn tim ˈpɛnski. ˈrɛkərd bɛst. lɛd fɔr tim ˈpɛnski ˈdraɪvərz ɪn ðə tɔp sɪks ˈæftər ðə fərst ˈsɛʃən əv ðə ˈfinɪks ˌɪnərˈnæʃənɑl ˈreɪsˌweɪ prəˈmoʊtər tɛst ˈfɛbjəˌwɛri. 26 wɪθ ə læp taɪm ðət ənəˈfɪʃəli ɪˈklɪpst ðə træk ˈrɛkərd ɔn ðə ʃɔrt ˈoʊvəl. ˈdaʊnˌloʊd: ˈsɛʃən 1 rɪˈzəlts ˈfinɪks ˈoʊpən tɛst ˈdaʊnˌloʊd: ˈsɛʃən 2 rɪˈzəlts ˈfinɪks ˈoʊpən tɛst ˈdaʊnˌloʊd: ˈsɛʃən 3 rɪˈzəlts ˈfinɪks ˈoʊpən tɛst ˈdaʊnˌloʊd: ˈsɛʃən 4 rɪˈzəlts ˈfinɪks ˈoʊpən tɛst ˈdaʊnˌloʊd: kəmˈbaɪnd ˈsɛʃən rɪˈzəlts ˈfinɪks ˈoʊpən tɛst ˈɪndi kɑr greɪt ˈɛri luyendyk*, ə ˌɪndiəˈnæpəlɪs 500 ˈwɪnər ʤɪst neɪmd wən əv θri əˈfɪʃiˌeɪtɪŋ stuərdz fər ðə 2016 ˌvɛˈraɪzən ˈsɪriz ˈsizən, hoʊldz ðə əˈfɪʃəl ˈrɛkərd əv ˈsɛkəndz ˈɛmˈpiˈeɪʧ) sɛt ɪn 1996 wɪn ðə træk wɑz ˈmɛʒərd æt ən ˈivɪn maɪl. ˈbɛtərd ɪt leɪt ɪn ðə ˈmɪdˌdeɪ tɛst ˈsɛʃən wɪθ ə læp əv ˈsɛkəndz ˈɛmˈpiˈeɪʧ) ɪn ðə noʊ. 3 hɪˈtɑʧi tim ˈpɛnski ˌʃɛvroʊˈleɪ. ˈtiˌmeɪt wɪl paʊər, ɪn ðə noʊ. 12 ˌvɛˈraɪzən tim ˈpɛnski ˈʧɛˌvi, ˈɔlsoʊ tɑpt ˈstændərd wɪθ ə læp əv ˈsɛkəndz ˈɛmˈpiˈeɪʧ). əˈfɪʃəl ˈɪndi kɑr træk ˈrɛkərdz kən ˈoʊnli bi sɛt ˈdʊrɪŋ ə kˈwɑləˌfaɪɪŋ ər reɪs ˈsɛʃən. ˌænˈdrɛti ˈmɑrkoʊ ˌænˈdrɛti lɛd ðə ˈivnɪŋ ˈpræktɪs ˈsɛʃən wɪθ ə læp əv ˈsɛkəndz ˈɛmˈpiˈeɪʧ) ˈəndər ðə laɪts ɪn ðə noʊ. 27 sˈnæpəl ˈhɔndə ðət wɑz θərd ɔn ðə kəmˈbaɪnd spid ʧɑrt bɪˈhaɪnd ðə ˌæftərˈnun taɪmz əv ənd paʊər. ˈreɪnɪŋ ˈsɪriz ˈʧæmpiən skɑt ˈdɪksən wɑz ˈsɛkənd fæst ɪn ðə naɪt ˈsɛʃən ˈsɛkəndz, ˈɛmˈpiˈeɪʧ) ɪn ðə noʊ. 9 ˈtərgət ʧɪp ˈreɪsɪŋ ˌʃɛvroʊˈleɪ. "wi wər ˈeɪbəl tɪ rən ɪn boʊθ ˈtɛmpərəʧər (kənˈdɪʃənz), wɪʧ wɑz ˈoʊˈkeɪ," sɛd. "ˈɑbviəsli, ˈərliər təˈdeɪ ɪn ðə deɪ kənˈdɪʃənz, wi wər ˈfoʊkɪsɪŋ ɔn spid ənd ðə hɪˈtɑʧi kɑr wɑz ˈrɪli daɪəld ɪn. ðɪs ˈivnɪŋ, wi wər ˈeɪbəl tɪ wərk mɔr ɔn ðə reɪs peɪs, ənd ˈɛvriˌθɪŋ simz tɪ bi goʊɪŋ ɪn ðə raɪt dɪˈrɛkʃɪn. wɪr ˈlʊkɪŋ strɔŋ ənd ˈlʊkɪŋ gʊd, bət wɪr stɪl ˈlərnɪŋ əˈbaʊt ðɪs ˈəpˌdeɪtɪd ˈʧɛˌvi ˈɛroʊ kɪt. ˈlʊkɪŋ ˈfɔrwərd tɪ təˈmɑˌroʊ ənd ˈlərnɪŋ ˈivɪn mɔr." tˈwɛntiˌwɔn kɑz ər pɑrˈtɪsəˌpeɪtɪŋ ɪn ðə prəˈmoʊtər tɛst ðət həz tu mɔr ˈsɛʃənz ˈskɛʤʊld ˈfɛbjəˌwɛri. 27 ðə ˌvɛˈraɪzən ˈsɪriz rɪˈtərnz tɪ ˈfɑloʊɪŋ ən ˈæbsəns fər ðə ˈfinɪks grænd pri ɔn ˈeɪprəl ɪt ɪz ðə ˈsɛkənd əv 16 ˈreɪsɪz ɔn ðə 2016 ˈskɛʤʊl ðət ˈoʊpənz mɑrʧ wɪθ ðə ˈfaɪrˌstoʊn grænd pri əv st*. ˈpitərzbərg ənd ˌɪnˈkludz ðə ˈrənɪŋ əv ðə ˌɪndiəˈnæpəlɪs 500 pərˈzɛnəd baɪ ˈmoʊtər ɔɪl. ɪn əˈdɪʃən tɪ ənd paʊər, tim ˈpɛnski ˈdraɪvərz wɑn ˈpɑbloʊ mɑnˈtɔɪə (fɔrθ) ənd ˈsaɪmən (sɪksθ) ræn nɪr ðə frənt ɪn ðə ˌæftərˈnun. æt ðə kəmˈpliʃən əv ðə ˈsɛkənd ˈpræktɪs, 19 əv ðə 21 ˈdraɪvərz wər wɪˈθɪn ə əv' tɔp læp. ɪz wən əv ə səˈlɛkt fju ˈdraɪvərz hu reɪst æt wɪn ɪt wɑz ɔn ðə 2005 ˌvɛˈraɪzən ˈsɪriz ˈskɛʤʊl. hi wən ðə 2002 reɪs ənd sɛd ðə træk ɪz stɪl kwaɪt ˈʧælənʤɪŋ, ˈivɪn ðoʊ ɪt həz bɪn ˌrikənˈfɪgjərd sˈlaɪtli tɪ ˈoʊpən əp tərn 2 "ðə træk ɪz ˈprɪti məʧ ðə seɪm," ðə ˈɪndi 500 ˈwɪnər sɛd. "wɪn ju kəm ˈɪntu tərn 1 ɪts laɪk, ər ju goʊɪŋ tɪ tərn? ˈæftər ðə ˈkɔrnər, jʊr laɪk, 'oʊ, ɪts ˈoʊpənɪŋ əp.' ɪts ˈvɛri ˈɪntəˌrɛstɪŋ ɔn ðət sɪˈnɛrioʊ. ˈdəzənt min ɪts ˈizi. "wɪr stɪl ˈtɔkɪŋ əˈbaʊt aɪ doʊnt noʊ haʊ ˈmɛni gs*, bət ɪts ə lɔt. ɪts ə ˈvɛri ˈhɛvi ˈstɪrɪŋ wil, wɪʧ ɪz goʊɪŋ tɪ bi ˈivɪn mɔr ˈhɛvi æt naɪt bɪˈkəz wi ər goʊɪŋ tɪ pʊt fjuəl ɪn ənd θɪŋz laɪk ðət." ɛd ˈkɑrpəntər, ˈoʊnər ənd ˈdraɪvər əv ðə noʊ. 20 ˈvɑdkə ˌʃɛvroʊˈleɪ, ˈɔlsoʊ droʊv æt fər ˌvɛˈraɪzən ˈsɪriz ˈreɪsɪz ɪn 2004 ənd 05 hi wɑz θərd kwɪk ɪn ðə ˈivnɪŋ ˈsɛʃən ənd laɪks haʊ hɪz kɑr fɛlt ˈəndər ðə laɪts. "ɛz ðə naɪt gru ɔn ju sɔ mɔr ənd mɔr ˈpipəl wər duɪŋ reɪs ˈrənɪŋ, soʊ ðə taɪm ʧɑrts ˈrɪli doʊnt min məʧ," ˈkɑrpəntər sɛd. "wɪr ɔl ˈwərkɪŋ θru ɑr ˌɪndəˈvɪʤəwəl tɛst plænz ənd wɪr ˈhæpi wɪθ wɛr wi ər, wi θɪŋk wi hæv gʊd peɪs. əm ˈprɑbəˌbli mɔr ɪnˈkərəʤd baɪ haʊ maɪ kɑr filz ɪn ˈtræfɪk ənd ˈdərti ɛr, soʊ əm ˈrɪli plizd wɪθ haʊ ðə ˈʧɛˌvi ˈɛroʊ kɪt ɪz ˈhændəlɪŋ ˈtərbjələns ˈwɛðər ɪts ˈrənɪŋ bɪˈhaɪnd ə ˈʧɛˌvi ər ə ˈhɔndə."
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avondale, ariz. – the test in the west is already bringing out the best in team penske.
record best.
helio castroneves led four team penske drivers in the top six after the first session of the phoenix international raceway promoter test feb. 26, with a lap time that unofficially eclipsed the track record on the 1.022-mile short oval.
download: session 1 results - phoenix open test
download: session 2 results - phoenix open test
download: session 3 results - phoenix open test
download: session 4 results - phoenix open test
download: combined session results - phoenix open test
indy car great arie luyendyk, a two-time indianapolis 500 winner just named one of three officiating stewards for the 2016 verizon indycar series season, holds the official one-lap record of 19.608 seconds (183.599 mph) set in 1996 when the track was measured at an even mile.
castroneves bettered it late in the midday test session with a lap of 19.5858 seconds (187.850 mph) in the no. 3 hitachi team penske chevrolet. teammate will power, in the no. 12 verizon team penske chevy, also topped luyendyk's standard with a lap of 19.5931 seconds (187.780 mph). official indy car track records can only be set during a qualifying or race session.
andretti autosport's marco andretti led the evening practice session with a lap of 19.6038 seconds (187.678 mph) under the lights in the no. 27 snapple honda that was third on the combined speed chart behind the afternoon times of castroneves and power. reigning series champion scott dixon was second fast in the night session (19.6066 seconds, 187.651 mph) in the no. 9 target chip ganassi racing chevrolet.
"we were able to run in both temperature (conditions), which was ok," castroneves said. "obviously, earlier today in the day conditions, we were focusing on speed and the hitachi car was really dialed in. this evening, we were able to work more on the race pace, and everything seems to be going in the right direction. we're looking strong and looking good, but we're still learning about this updated chevy aero kit. looking forward to tomorrow and learning even more."
twenty-one cars are participating in the promoter test that has two more sessions scheduled feb. 27. the verizon indycar series returns to pir following an 11-year absence for the phoenix grand prix on april 1-2. it is the second of 16 races on the 2016 schedule that opens march 11-13 with the firestone grand prix of st. petersburg and includes the 100th running of the indianapolis 500 presented by penngrade motor oil.
in addition to castroneves and power, team penske drivers juan pablo montoya (fourth) and simon pagenaud (sixth) ran near the front in the afternoon. at the completion of the second practice, 19 of the 21 drivers were within a half-second of castroneves' top lap.
castroneves is one of a select few drivers who raced at pir when it was on the 2005 verizon indycar series schedule. he won the 2002 race and said the track is still quite challenging, even though it has been reconfigured slightly to open up turn 2.
"the track is pretty much the same," the three-time indy 500 winner said. "when you come into turn 1, it's like, are you going to turn? after the corner, you're like, 'oh, it's opening up.' it's very interesting on that scenario. doesn't mean it's easy.
"we're still talking about i don't know how many gs, but it's a lot. it's a very heavy steering wheel, which is going to be even more heavy at night because we are going to put fuel in and things like that."
ed carpenter, owner and driver of the no. 20 fuzzy's vodka chevrolet, also drove at pir for verizon indycar series races in 2004 and '05. he was third quick in the evening session and likes how his car felt under the lights.
"as the night grew on you saw more and more people were doing race running, so the time charts really don't mean much," carpenter said. "we're all working through our individual test plans and we're happy with where we are, we think we have good pace. i'm probably more encouraged by how my car feels in traffic and dirty air, so i'm really pleased with how the chevy aero kit is handling turbulence whether it's running behind a chevy or a honda."
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ˈgugəl sɛpt. 8 ðət ɪt əkˈwaɪərd ˈrɛˌstrɑnt ˌrivˈju ənd ˈreɪtɪŋz ˈsərvɪs ˈzægət. ðə ˈkəmpəˌni sɛd ɪt plænz tɪ ˈɪnəˌgreɪt ˈkɑntɛnt wɪθ rɪˈzəlts ənd wɪθ ɪts ˈgugəl mæps ˈsərvɪs. ˈgugəl sɛpt. 8 ðət ɪt əkˈwaɪərd ˈrɛˌstrɑnt ˌrivˈju ənd ˈreɪtɪŋz ˈsərvɪs ˈzægət. ðə ˈkəmpəˌni sɛd ɪt plænz tɪ ˈɪnəˌgreɪt ˈkɑntɛnt wɪθ rɪˈzəlts ənd wɪθ ɪts ˈgugəl mæps ˈsərvɪs. mɑrk ə lʊk æt səm əv ðə ˈmeɪʤər dilz ðə wɛb ʤaɪənt həz meɪd ər əˈtɛmptəd ɪn ən ˈɛfərt tɪ ɪkˈspænd ɪts riʧ. ə lʊk æt səm əv ðə ˈmeɪʤər dilz ðə wɛb ʤaɪənt həz meɪd ər əˈtɛmptəd ɪn ən ˈɛfərt tɪ ɪkˈspænd ɪts riʧ. ə lʊk æt səm əv ðə ˈmeɪʤər dilz ðə wɛb ʤaɪənt həz meɪd ər əˈtɛmptəd ɪn ən ˈɛfərt tɪ ɪkˈspænd ɪts riʧ. ˈgugəl ˈimərʤd frəm ˈnɪrli tu jɪrz əv ˌɪnˈtɛns ˈfɛdərəl ˈskrutəni ˈθərzˌdeɪ baɪ kənˈvɪnsɪŋ ðə ˈfɛdərəl treɪd kəˈmɪʃən ðət ˈivɪn ðoʊ ˈraɪvəlz meɪ ˈsəfər ɛz ðə ˈkəmpəˌni kənˈtɪnjuəli rɪˈfaɪnz ɪts sərʧ ˈɪnʤən, kənˈsumərz ˈɔfən wɪn θru ˈbɛtər, ˈfæstər, mɔr ˈvæljəbəl ˈænsərz tɪ ðɛr kˈwɪriz. bət dɪˈspaɪt ðə juˈnænəməs dɪˈsɪʒən tɪ kloʊz ɪts ˌæntaɪˈtrəst ˌɪnˌvɛstəˈgeɪʃən, juz. ˈrɛgjəˌleɪtərz lɔŋ hæv ˈstrəgəld tɪ dɪˈtərmən bɛst fər kənˈsumərz ənd wət kən bi səkˈsɛsfəli əˈdrɛst wɪθ lɔz ˈrɪtən lɔŋ ˌbiˈfɔr ˈɛniˌwən ˌɪˈmæʤənd ðə ˌɛkəˈnɑmɪk roʊl ðət tɛkˈnɑləʤiz wʊd pleɪ. ðə ˈmərki ˈstændərdz fər ɪˈstæblɪʃɪŋ kənˈsumər hɑrm ˈəltəmətli ˌəndərˈmaɪnd ðə keɪs fər ˈfɔrsfəl ˈækʃən ɔn ðə moʊst ˈsɪriəs ˈʧɑrʤɪz ðət ˈgugəl wɑz məˈnɪpjəˌleɪtɪŋ sərʧ rɪˈzəlts tɪ ˈbɛnəfɪt ɪts oʊn ˈprɑdəkts waɪl ˈhərtɪŋ kəmˈpɛtɪtərz ənd ˈlɪmətɪŋ ʧɔɪs. ðət dreɪnd ˈɛnərʤi frəm wət wəns əˈpɪrd tɪ bi ən əˈgrɛsɪv pʊʃ əˈgɛnst ˈgugəl, ˈlidɪŋ tɪ ˈmɑdəst kənˈsɛʃənz ðət ər ənˈlaɪkli tɪ bi ˈnoʊtɪst baɪ moʊst əv ðə sərʧ ˈhənərdz əv ˈmɪljənz əv ˈjuzərz. kənˈsumər grups, ˈraɪvəlz ənd səm ˈligəl ˈænəlɪsts seɪ ðə ˈkəmpəˌni naʊ wɪl bi ɛmˈboʊldənd tɪ ɛnˈhæns ðə ˌvɪzəˈbɪlɪti əv ɪts oʊn ˈprɑdəkts fər ˈtrævəl, ˈʃɑpɪŋ ənd ˈəðər ˈlukrətɪv ˈsərvɪsɪz ɪn weɪz ðət wɪl meɪk ɪt ˈhɑrdər fər ˈpipəl tɪ faɪnd ˈəðər ˈɔfərɪŋz ənd wɪl lɛd tɪ haɪər ˈpraɪsɪz. bət ðə wɑz baɪ ðə ˈɛvədəns æt hænd. əˈmɛrɪkən ˌæntaɪˈtrəst lɔz prəˈtɛkt ˌkɑmpəˈtɪʃən, nɑt competitors,”*,” sɛd ˈʧɛrmən ʤɑn ˈliboʊɪts. ɪˈstæblɪʃɪŋ ˈwɛðər kənˈsumərz hæv ˈsəfərd ər ər ˈlaɪkli tɪ ˈsəfər ɪn ðə fˈjuʧər həz lɔŋ bɪn ðə kˈwɪkˌsænd ɪn ðə ˈmɪdəl əv juz. ˌæntaɪˈtrəst ˈkeɪsɪz. weɪt tu lɔŋ tɪ reɪn ɪn monopolists*, ənd ðə ˈdæmɪʤ maɪt bi ˌɪˈrɛvəkəbəl. muv tu fæst, ənd ðə ˈɛvədəns əv kənˈsumər hɑrm maɪt læk ðə ˈklɛrɪti ˈnɛsəˌsɛri tɪ sərˈvaɪv ə kɔrt ˈʧælənʤ. həz bɪn ðə ˈsɪŋgəl ˈɪʃu ðət ðə ˌæntaɪˈtrəst ˈsɪstəm həz hæd ˈtrəbəl ˈdilɪŋ wɪθ sɪns sɛd ʤɔrʤ ˈwɔʃɪŋtən ˌjunəˈvərsəti lɔ prəˈfɛsər ˈwɪljəm kəˈvɑkɪk, ə ˈfɔrmər ˈʧɛrmən. bɪˈkəz ðə kənˈsumər ˌɪmˈpækts ˈtɪpɪkəli ər mixed.”*.” ðət ɪz ˈivɪn mɔr tru ɪn ðə ˈdɪʤɪtəl eɪʤ, wɪn ˈræpɪd ˌɪnəˈveɪʃən kriˈeɪts ənd dɪˈstrɔɪz məˈnɑpəliz fɑr mɔr kˈwɪkli ðən wɪn ˈreɪˌlroʊdz ənd stil ˌmænjəˈfækʧərərz tʊk kəˈmændɪŋ ˈmɑrkɪt pəˈzɪʃənz ðət ˈlæstɪd fər ˈdɛkeɪdz. ðə spid əv ʧeɪnʤ həz ˈʧælənʤd əˈbɪləˌti tɪ ækt ˈfɔrsfəli əˈgɛnst tɛkˈnɑləʤi ˈkəmpəˌniz ðət ər ˌɪnˈkrisɪŋgli ˈbætəlɪŋ wən əˈnəðər ɪn ˈoʊvərˌlæpɪŋ ˈmɑrkɪts. ɪn ə ˈsteɪtmənt ˈpoʊstɪd tɪ ˈkəmpəˌni blɔg ˈθərzˌdeɪ, ʧif ˈligəl ˈɔfɪsər ˈdeɪvɪd ˈdrəmənd roʊt ðət ðə ˈækʃənz əˈfərm ðət ˈprɑdəkts ər fər ˈjuzərz ənd gʊd fər competition.”*.” ðə ˈmɛni ˈkrɪtɪks, ˌhaʊˈɛvər, sɛd ðət ðə ˈgugəl ðət wəns əˈbaʊt prəˈdusɪŋ ˌənˈbaɪəst sərʧ rɪˈzəlts ənd ˈspidɪŋ ˈjuzərz ɔf tɪ ˈəðər saɪts hæd bɪn trænsˈfɔrmd ˈɪntu ə ˈprɛdəˌtɔri ˈkəmpəˌni mɔr kənˈsərnd wɪθ ˈdraɪvɪŋ ˈtræfɪk tɪ ɪts oʊn ˈprɑdəkts ðən ˈsərvɪŋ users’*’ nidz. fairsearch.org*, ə ˌkoʊəˈlɪʃən əv ˈgugəl ˈraɪvəlz, ˌɪnˈkludɪŋ ˈmaɪˌkroʊˈsɔft ənd kaɪæk, ðət ˈlɑbid fər təf ˈækʃən baɪ ðə, sɛd ɪt wʊd tərn ɪts əˈtɛnʃən tɪ ðə ˌjʊrəˈpiən ˈjunjən, wɛr ə ˈpɛrəˌlɛl ˌɪnˌvɛstəˈgeɪʃən ɪz ˈriʧɪŋ ə ˈkrɪtɪkəl steɪʤ, ənd tɪ ðə ˈsɛvərəl steɪt əˈtərniz ˈʤɛnərəl ˈproʊbɪŋ ðə ˈkəmpəˌni. wɪl kənˈtɪnju tɪ faɪt tɪ rɪˈstɔr ˈtruli kəmˈpɛtɪtɪv kənˈdɪʃənz tɪ ðə ˈmɑrkɪt fər sərʧ ənd rɪˈleɪtɪd ˈɔnˌlaɪn services,”*,” ðə grup sɛd ɪn ə ˈsteɪtmənt. lɛs ðən ðə fˈjuʧər əv ˌɪnəˈveɪʃən ənd smɔl ˈbɪznɪs ɔn ðə ˈɪntərˌnɛt ɪz æt stake.”*.” ˈgugəl həz ˈgræʤuəli ʧeɪnʤd ɪts sərʧ ˈælgərˌɪðəm ənd haʊ ɪt dɪˈspleɪz rɪˈzəlts. məʧ mɔr speɪs həz bɪn dɪˈvoʊtɪd ɪn ˈrisənt jɪrz tɪ ˈvɛriəs fɔrmz əv ˈædvərˌtaɪzɪŋ tɪ ðə pɔɪnt ðət ɔl rɪˈzəlts ɔn ˈʃɑpɪŋ kˈwɪriz, səʧ ɛz fər ˈkæmərəz ər ˈsɑkər bɔlz, kəm frəm ˈkəmpəˌniz ðət peɪ fər ðə ˈlɪstɪŋz. ə ˈdɛkeɪd əˈgoʊ, ə ˈpərsən ˈsərʧɪŋ fər flaɪts ər ˈsteɪˌkhaʊsɪz wʊd si ə lɔŋ lɪst əv lɪŋks tɪ ˈdɪfərənt wɛb saɪts. naʊ, ðə moʊst ˈvɪzəbəl rɪˈzəlts ˈɔfən dɪˈrɛkt ˈjuzərz tɪ oʊn ˈsərvɪsɪz ər lɪŋks ˈspɑnsərd baɪ ˈædvərˌtaɪzərz. ˈəðər ˈkəmpəˌniz ðət bɪlt ðɛr ˈbɪznɪsɪz baɪ dɪˈrɛktɪŋ ˈjuzərz tɪ ˈpɑpjələr ˈtrævəl ˈsərvɪsɪz ər ˈbɑrgɪnz ɔn kənˈsumər gʊdz hæv sin drəˈmætɪk dɪˈklaɪnz ɪn ðɛr ˈtræfɪk ənd ˈprɑfɪts. ðeɪ ˈɑrgjud tɪ ðə ðət ðə ˈfɔltərɪŋ ˈikoʊˌsɪstəm əv ɔlˈtərnətɪv sərʧ ˈɔpʃənz wʊd ˌɪˈnɛvətəbli min wərs dilz fər kənˈsumərz. ðə ˈigərli sɔt ðə ˌɪnˌvɛstəˈgeɪʃən ɪn 2011 ˈɛlˌboʊɪŋ əˈsaɪd ðə ˌæntaɪˈtrəst dɪˈvɪʒən əv ðə ˈʤəstɪs dɪˈpɑrtmənt ənd ˈhaɪrɪŋ ə ˌhaɪˈproʊfaɪl ˈlɪtəˌgeɪtər tɪ priˈpɛr ə keɪs əˈgɛnst ˈgugəl. bət ɔl faɪv kəˈmɪʃənərz ˈvoʊtɪd ˈθərzˌdeɪ tɪ kloʊz ðə keɪs, ðoʊ ðeɪ fərst nɪˈgoʊʃiˌeɪtɪd kənˈsɛʃənz ɔn tu rɪˈleɪtɪd ˈmætərz: ˈgugəl əˈgrid tɪ meɪk ɪt ˈiziər fər ˌmɑrkətərz tɪ muv ðɛr ædz tɪ ˈraɪvəl ˈsərvɪsɪz, ənd ðə ˈkəmpəˌni əˈgrid tɪ ˈʃɑrpli ˈlɪmət ɪts juz əv ““snippets”*” əv rəvˈjuz fər ˈtrævəl ˈsərvɪsɪz ər ˈrɛˌstrɑnts kriˈeɪtɪd baɪ ˈəðər wɛb saɪts, səʧ ɛz jɛlp. ðə sɛd ɪt kʊd su ˈgugəl fər dɪˈsivɪŋ kənˈsumərz ɪf ɪt ɔn ˈiðər kənˈsɛʃən, bət ðə dil fɛl ʃɔrt əv ðə kaɪnd əv ˈligəli ˈbaɪndɪŋ dɪˈkriz ˈtɪpɪkəli rikˈwaɪərd tɪ ɛnd ˌɪnˌvɛstəˈgeɪʃənz. ˈklɪrli skjuz sərʧ rɪˈzəlts tɪ ˈfeɪvər ɪts oʊn ˈprɑdəkts ənd ˈsərvɪsɪz waɪl pɔrˈtreɪɪŋ ðə rɪˈzəlts ɛz unbiased,”*,” ʤɑn ɛm. ˈsɪmpsən əv kənˈsumər ˈwɑʧˌdɔg sɛd ɪn ə ˈsteɪtmənt. roʊld ˈoʊvər fər google.”*.” ðɛr wɑz mɔr mit tɪ ðə ˌrɛzəˈluʃən əv ə ˈsɛpərˌeɪt ˈmætər ˈɔlsoʊ əˈnaʊnst ˈθərzˌdeɪ, ɪn wɪʧ ˈgugəl saɪnd ə ˈligəli ˈbaɪndɪŋ kənˈsɛnt dɪˈkri rikˈwaɪərɪŋ ɪt tɪ ˈlaɪsəns ˈpætənts æt ˈrizənəbəl reɪts wɪn ðeɪ ər pɑrt əv əˈgrid ˈɪndəstri ˈstændərdz. ðə muv prəˈtɛkts ðə əˈbɪləˌti əv ˈdɪfərənt ˈmoʊbəl dɪˈvaɪsɪz tɪ kəmˈjunəˌkeɪt wɪθ wən əˈnəðər ənd kəts ðə ˈvælju əv ˌmoʊtərˈoʊlə moʊˈbɪlɪti, wɪʧ ˈgugəl əkˈwaɪərd fər ˈbɪljən, ɪn pɑrt fər ɪts ˈpætənt pɔrtˈfoʊliˌoʊ. ˈliboʊɪts sɛd ðə gɑt ðə bɛst ˈpɑsəbəl dil fər kənˈsumərz bət ˈɔlsoʊ ækˈnɑlɪʤd ðə ˈlɪmɪts əv ə keɪs ðət wəns simd ˈhɛdɪd fər ə ˈlændˌmɑrk ˈʃoʊˌdaʊn, ˌrɛməˈnɪsənt əv ðə ˈʤəstɪs ˈʧælənʤ tɪ ˈmaɪˌkroʊˈsɔft ɪn ðə 1990s*. hu ɪz ɪn ðə ˈbɪznɪs əv biɪŋ ðə ˈʧɛrmən əv ən ˌæntaɪˈtrəst ɛnˈfɔrsmənt ˈeɪʤənsi wʊd laɪk tɪ brɪŋ ðə bɪg case,”*,” ˈliboʊɪts sɛd. sɔrt əv ˈsəmθɪŋ ju wɔnt tɪ traɪ tɪ du. bət mɔr ˌɪmˈpɔrtənt ðən ðət ɪz tɪ ˈfeɪθfəli ˈɛksəˌkjut ðə lɔ. ənd, ju noʊ, wi faʊnd juˈnænəməsli ðət ðeɪ ɪnˈgeɪʤd ɪn ˌɪˈligəl məˌnɑpəlɪˈzeɪʃən ənd ˈvaɪəleɪtɪd ðə act.”*.” bət ðə ˈeɪʤənsi ˈstrəgəld wɪθ ðə ˈɑptɪks əv ən əˈnaʊnsmɛnt ðət fɛl fɑr ʃɔrt əv ˌɛkspɛkˈteɪʃənz ɪt hæd hɛlpt kriˈeɪt. ˈivɪn rɪˈtaɪrɪŋ kəˈmɪʃənər ʤeɪ. ˈtɑməs rɔʃ, ə rɪˈpəblɪkən ˈfɔrmər ˌæntaɪˈtrəst ˈlɪtəˌgeɪtər hu səˈpɔrtɪd ðə dɪˈsɪʒən tɪ kloʊz ðə keɪs əˈgɛnst ˈgugəl, ˈʧaɪdɪd hɪz ˈraɪvəlz fər ðə ˈneɪʧər əv ðə ˈsɛtəlmənt ənd ðə ˈərli haɪp ˈoʊvər ðə keɪs. ˈprɑməsɪŋ ən ˈɛləfənt mɔr ðən ə jɪr əˈgoʊ, ðə kəˈmɪʃən həz ˌɪnˈstɛd brɔt fɔrθ ə ˈkəpəl əv mice.”*.” ˈheɪli kənˈtrɪbjutɪd tɪ ðɪs rɪˈpɔrt.
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google annnounced sept. 8 that it acquired restaurant review and ratings service zagat. the company said it plans to integrate zagat's content with isearch results and with its google maps service.
google annnounced sept. 8 that it acquired restaurant review and ratings service zagat. the company said it plans to integrate zagat's content with isearch results and with its google maps service. mark lennihan/ap
a look at some of the major deals the web giant has made or attempted in an effort to expand its reach.
a look at some of the major deals the web giant has made or attempted in an effort to expand its reach.
a look at some of the major deals the web giant has made or attempted in an effort to expand its reach.
google emerged from nearly two years of intense federal scrutiny thursday by convincing the federal trade commission that even though rivals may suffer as the company continually refines its search engine, consumers often win through better, faster, more valuable answers to their queries.
but despite the unanimous ftc decision to close its antitrust investigation, u.s. regulators long have struggled to determine what’s best for consumers and what can be successfully addressed with laws written long before anyone imagined the economic role that today’s technologies would play.
the murky standards for establishing consumer harm ultimately undermined the case for forceful action on the most serious charges that google was manipulating search results to benefit its own products while hurting competitors and limiting choice.
that drained energy from what once appeared to be an aggressive ftc push against google, leading to modest concessions that are unlikely to be noticed by most of the search engine’s hundreds of millions of users. consumer groups, google’s rivals and some legal analysts say the company now will be emboldened to enhance the visibility of its own products for travel, shopping and other lucrative services in ways that will make it harder for people to find other offerings and will lead to higher prices.
but the ftc was unpersuaded by the evidence at hand. “the american antitrust laws protect competition, not competitors,” said chairman jon leibowitz.
establishing whether consumers have suffered or are likely to suffer in the future has long been the quicksand in the middle of u.s. antitrust cases. wait too long to rein in monopolists, and the damage might be irrevocable. move too fast, and the evidence of consumer harm might lack the clarity necessary to survive a court challenge.
“it has been the single issue that the antitrust system has had trouble dealing with since 1890,” said george washington university law professor william kovacic, a former ftc chairman. “that’s because the consumer impacts typically are mixed.”
that is even more true in the digital age, when rapid innovation creates and destroys monopolies far more quickly than when railroads and steel manufacturers took commanding market positions that lasted for decades. the speed of change has challenged washington’s ability to act forcefully against technology companies that are increasingly battling one another in overlapping markets.
in a statement posted to google’s company blog thursday, chief legal officer david drummond wrote that the ftc’s actions affirm that google’s products are “good for users and good for competition.”
the company’s many critics, however, said that the google that once evangelized about producing unbiased search results and speeding users off to other sites had been transformed into a predatory company more concerned with driving traffic to its own products than serving users’ needs.
fairsearch.org, a coalition of google rivals, including microsoft and kayak, that lobbied for tough action by the ftc, said it would turn its attention to the european union, where a parallel investigation is reaching a critical stage, and to the several state attorneys general probing the company. “fairsearch will continue to fight to restore truly competitive conditions to the market for search and related online services,” the group said in a statement. “no less than the future of innovation and small business on the internet is at stake.”
google has gradually changed its search algorithm and how it displays results. much more space has been devoted in recent years to various forms of advertising to the point that all results on shopping queries, such as for cameras or soccer balls, come from companies that pay for the listings.
a decade ago, a person searching for flights or steakhouses would see a long list of links to different web sites. now, the most visible results often direct users to google’s own services or links sponsored by advertisers.
other companies that built their businesses by directing internet users to popular travel services or bargains on consumer goods have seen dramatic declines in their traffic and profits. they argued to the ftc that the faltering ecosystem of alternative search options would inevitably mean worse deals for consumers.
the ftc eagerly sought the investigation in 2011, elbowing aside the antitrust division of the justice department and hiring a high-profile litigator to prepare a case against google. but all five commissioners voted thursday to close the case, though they first negotiated concessions on two related matters: google agreed to make it easier for marketers to move their ads to rival services, and the company agreed to sharply limit its use of “snippets” of reviews for travel services or restaurants created by other web sites, such as yelp.
the ftc said it could sue google for deceiving consumers if it reneges on either concession, but the deal fell short of the kind of legally binding decrees typically required to end investigations.
“google clearly skews search results to favor its own products and services while portraying the results as unbiased,” john m. simpson of consumer watchdog said in a statement. “the ftc rolled over for google.”
there was more meat to the resolution of a separate matter also announced thursday, in which google signed a legally binding consent decree requiring it to license patents at reasonable rates when they are part of agreed industry standards. the move protects the ability of different mobile devices to communicate with one another and cuts the value of motorola mobility, which google acquired for $12.5 billion, in part for its patent portfolio.
leibowitz said the ftc got the best possible deal for consumers but also acknowledged the limits of a case that once seemed headed for a landmark showdown, reminiscent of the justice department’s challenge to microsoft in the 1990s.
“anyone who is in the business of being the chairman of an antitrust enforcement agency would like to bring the big case,” leibowitz said. “that’s sort of something you want to try to do. but more important than that is to faithfully execute the law. and, you know, we found unanimously that . . . they hadn’t engaged in illegal monopolization and hadn’t violated the ftc act.”
but the agency struggled with the optics of an announcement that fell far short of expectations it had helped create.
even retiring commissioner j. thomas rosch, a republican former antitrust litigator who supported the decision to close the case against google, chided his rivals for the nature of the settlement and the early hype over the case. “after promising an elephant more than a year ago, the commission has instead brought forth a couple of mice.”
hayley tsukayama contributed to this report.
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ˈdiˌtrɔɪt ˈmɑrkɪts sˈmɔlər kɑz fər haɪ gæs ˈpraɪsɪz ˌɛnˈlɑrʤ ðɪs ˈɪmɪʤ ˈtɑgəl ˈkæpʃən stæn ˈɪmɪʤɪz stæn ˈɪmɪʤɪz ðə praɪs əv gæs ɪz ˈraɪzɪŋ ˈræpədli: ðə ˈnæʃənəl ˈævərɪʤ fər ə ˈgælən əv ˈrɛgjələr ənˈlɛdəd ˈgæsəˌlin tɑpt ðɪs wik, əˈkɔrdɪŋ tɪ ˌtrɪpəˈleɪ. ˈraɪzɪŋ gæs ˈpraɪsɪz doʊnt ʤɪst əˈfɛkt haʊ məʧ əˈmɛrɪkənz draɪv. ɛz ðə kɔst tɪ fɪl əp ˈraɪzɪz, ɪt kʊd əˈfɛkt wət ˈviɪkəlz əˈmɛrɪkənz draɪv, wɪʧ kʊd hæv ˈkɑnsəkˌwɛnsəz fər ðə rɪˈkəvərɪŋ juz. ˈɔtoʊ ˈɪndəstri. ðə ˈɪndəstri ɪz ˈvɛri ˈdɪfərənt frəm ðə læst taɪm gæs ˈpraɪsɪz tʊk ə stip klaɪm, ɪn 2008 naʊ, ðɛr ər mɔr smɔl ənd ˈkɑmpækt kɑz biɪŋ prəˈdust baɪ ðə ˈdiˌtrɔɪt θri. dɪˈmænd fər sˈmɔlər kɑz ðə fɔrd ˈfoʊkɪs ɪz ðə kaɪnd əv kɑr nən əv ðə juz. ˈɔtoʊˌmeɪkərz meɪd ˈvɛri wɛl ɪf æt ɔl ə fju jɪrz əˈgoʊ. ɪt kəmz wɪθ ɔl əv ðə bɛlz ənd ˈwɪsəlz, ˌɪnˈkludɪŋ ə ˌnævəˈgeɪʃən ˈsɪstəm, ˈsənˌruf, ˈlɛðər sits ənd 11 ˈdɪfərənt sɛts əv rɪmz. ðə beɪs ˈmɑdəl ɪz əˈbaʊt ə ˈfʊli ˈloʊdɪd ˈvərʒən goʊz fər əˈbaʊt "wət wɪr ˈfaɪndɪŋ ɪz ˈkəstəmərz ər peɪɪŋ haɪər trænˈzækʃən ˈpraɪsɪz fər ˈnaɪsər kɑz," sɪz luɪs ˈɛklɪn, ðə grup ˈmɑrkətɪŋ ˈmænɪʤər æt fɔrd ˈmoʊtər koʊ. soʊ, ˈkəstəmərz wɔnt sˈmɔlər kɑz ənd ðɛr ˈwɪlɪŋ tɪ peɪ mɔr fər ðɛm. tɪ mit ðət dɪˈmænd, fɔrd həz ðə ˈfoʊkɪs ənd fiˈɛstə. ˈʤɛnərəl ˈmoʊtərz həz ðə ənd ðə ˈʧɛˌvi kruz, ənd ˈkraɪslər wɪl sun gɪt ðə faɪæt 500 ɔl ər smɔl kɑz wɪθ haɪ fjuəl ɪˈkɑnəmi. ənd iʧ əv ðɛm kən bi trɪkt aʊt. ðeɪ ər nɑt laɪk ðə oʊld səʧ ɛz ðə ˈʧɛˌvi ˈnoʊvə ər ðə fɔrd ˈɛskɔrt. sˈloʊli bət ˈʃʊrli ˈdiˌtrɔɪt ɪz ˈʃɪftɪŋ ɪts əˈtɛnʃən frəm ˌɛsˌjuˈviz tɪ kɑz. fər ˈɪnstəns, ɪn 2004 65 pərˈsɛnt əv ðə ˈviɪkəlz fɔrd soʊld wər trəks ənd ˌɛsˌjuˈviz. ɪn 2011 ðət ˈnəmbər drɑpt tɪ 40 pərˈsɛnt. soʊ, ɛz gæs ˈpraɪsɪz goʊ əp ənd ˈpipəl bɪˈgɪn tɪ lʊk fər mɔr ɪˈfɪʃənt kɑz, ˈɛklɪn sɪz, fɔrd ənd ˈəðər ˈɔtoʊˌmeɪkərz ər priˈpɛrd fər ɪt. "nɑt tɪ tut ˈɛvriˌbɑdiz hɔrn, bət ˈkɔrpərət fjuəl ɪˈkɑnəmi həz ˈgɔtən ˈʤɛnərəli ˈbɛtər," hi sɪz. ðə ɪˈkɑnəmiz ˌɪmˈpækt mɪˈʃɛl krɛbz, ən ˈænəlɪst fər edmunds.com*, sɪz smɔl kɑz wər ðə sɔft spɑt fər ðə ˈdiˌtrɔɪt θri ˌbiˈfɔr ðə ˈrisənt ˈbæŋkrəptsiz ənd riˈstrəkʧərɪŋ. ðæts bɪˈkəz wɪθ haɪ fɪkst kɔsts, səʧ ɛz ˈpɛnʃənz ənd riˈtaɪˈri hɛlθ kɛr, ˈɔtoʊˌmeɪkərz ˈkʊdənt meɪk ril ˈprɑfɪts ɔn ˈɛniˌθɪŋ bət bɪg kɑz ənd ˌɛsˌjuˈviz. "ðə əˈmɛrɪkən kɑr ˈɪndəstri ɪz ɪn fɑr ˈbɛtər ʃeɪp ðən wɪn gæs ˈpraɪsɪz spaɪkt ɪn 2008 ʃi sɪz. ɔl ˈɔtoʊˌmeɪkərz "pʊʃt ðɛr pɔɪnts weɪ daʊn," ʃi ædz. "soʊ ðɛr məʧ mɔr ˈeɪbəl tɪ ˈwɛðər ˈdaʊnˌtərnz, ˌwəˈtɛvər ðɛr kɔzd baɪ gæs ˈpraɪsɪz ðən ðeɪ wər ˌbiˈfɔr, bɪˈkəz ðeɪ kət kɔsts soʊ drəˈmætɪkəli." ˈnaɪʤəl gɔlt, ən ɪˈkɑnəmɪst wɪθ ˈgloʊbəl ˈɪnˌsaɪt, sɪz waɪl ˈdiˌtrɔɪt meɪ bi pɔɪzd tɪ ˈhændəl ə gæs praɪs ˌɪnˈkris, ðɛrz stɪl ðə ˈoʊvərˌɔl ɪˈkɑnəmi tɪ θɪŋk əˈbaʊt, wɪʧ həz ə ˈdɛfənət ˌɪmˈpækt ɔn kɑr seɪlz. gɔlt sɪz ðə bɪg kˈwɛʃən ɪz ˈwɛðər ˈpipəl hu hæv ʤɑbz "stɑrt tɪ fɪr ðət ˈmeɪbi ˈivɪn ðoʊ ðeɪ sərˈvaɪvd soʊ fɑr, ðeɪ maɪt bi æt rɪsk əv ˈluzɪŋ ðɛr oʊn ʤɑb." hi sɪz wɪr nɑt æt ðət pɔɪnt jɛt. bət hi sɪz wɪn kənˈsumərz fil ðət gæs ˈpraɪsɪz kʊd stɔl ðə ɪˈkɑnəmi, ðə fərst pleɪs ðɛl kət bæk ɪz ˈpərʧəs səʧ ɛz kɑz. ɪf ɪt ˈhæpənz ðɪs taɪm, gɔlt sɪz ɪt ˈvɛri ˈlaɪkli woʊnt bi ə ˈfeɪtəl bloʊ. bət ɪt wɪl stɪl hərt.
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detroit markets smaller cars for high gas prices
enlarge this image toggle caption stan honda/afp/getty images stan honda/afp/getty images
the price of gas is rising rapidly: the national average for a gallon of regular unleaded gasoline topped $3.55 this week, according to aaa.
rising gas prices don't just affect how much americans drive. as the cost to fill up rises, it could affect what vehicles americans drive, which could have consequences for the recovering u.s. auto industry.
the industry is very different from the last time gas prices took a steep climb, in 2008. now, there are more small and compact cars being produced by the detroit three.
demand for smaller cars
the ford focus is the kind of car none of the u.s. automakers made very well — if at all — a few years ago. it comes with all of the bells and whistles, including a navigation system, sunroof, leather seats and 11 different sets of rims. the base model is about $16,500; a fully loaded version goes for about $23,000.
"what we're finding is customers are paying higher transaction prices for nicer cars," says lewis echlin, the group marketing manager at ford motor co.
so, customers want smaller cars and they're willing to pay more for them.
to meet that demand, ford has the focus and fiesta. general motors has the aveo and the chevy cruze, and chrysler will soon get the fiat 500. all are small cars with high fuel economy. and each of them can be tricked out. they are not like the old econo-boxes such as the chevy nova or the ford escort.
slowly but surely detroit is shifting its attention from suvs to cars. for instance, in 2004, 65 percent of the vehicles ford sold were trucks and suvs. in 2011, that number dropped to 40 percent.
so, as gas prices go up and people begin to look for more efficient cars, echlin says, ford and other automakers are prepared for it.
"not to toot everybody's horn, but corporate fuel economy has gotten generally better," he says.
the economy's impact
michelle krebs, an analyst for edmunds.com, says small cars were the soft spot for the detroit three before the recent bankruptcies and restructuring. that's because with high fixed costs, such as pensions and retiree health care, automakers couldn't make real profits on anything but big cars and suvs.
"the american car industry is in far better shape than when gas prices spiked in 2008," she says.
all automakers "pushed their break-even points way down," she adds. "so they're much more able to weather downturns, whatever they're caused by — gas prices — than they were before, because they cut costs so dramatically."
nigel gault, an economist with ihs global insight, says while detroit may be poised to handle a gas price increase, there's still the overall economy to think about, which has a definite impact on car sales.
gault says the big question is whether people who have jobs "start to fear that maybe even though they survived so far, they might be at risk of losing their own job."
he says we're not at that point yet. but he says when consumers feel that gas prices could stall the economy, the first place they'll cut back is big-ticket purchase such as cars.
if it happens this time, gault says it very likely won't be a fatal blow. but it will still hurt.
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wɪˈskɑnsən 'sˈnəgəl haʊs' dɪˈleɪz ˈoʊpənɪŋ du tɪ ˌprɑstəˈtuʃən kənˈsərnz baɪ ʤɑn græf ɪn nuz ɔn ɔkt 19 2013 ə ˈmædɪsən, wi*, 'sˈnəgəl haʊs,' wɛr ˈpeɪtrənz kən peɪ tɪ ˈkədəl wɪθ ˈkəmli ɪmˈplɔɪiz, hæd ɪts ˈoʊpənɪŋ dɪˈleɪd du tɪ kənˈsərnz frəm ˈsɪti əˈfɪʃəlz ðət ðə ˈbɪznɪs wɑz ə frənt fər ˌprɑstəˈtuʃən. wət kʊd hæv ˈpɑsəbli drɔn ðɛm tɪ ðət kənˈkluʒən? ərˈɪʤənəli sɛt tɪ lɔnʧ ˈtuzˌdeɪ, ðə mɪlˈwɔki rɪˈpɔrts ðət ðə sˈnəgəl haʊs həz nɛkst ˈwɛnzˌdeɪ ɪn maɪnd fər ˈoʊpənɪŋ. ˈmædɪsən əˈsɪstənt ˈsɪti əˈtərni ˈʤɛnəfər toʊld ðə ðət ðə ˈsɪti nidz ə sərˈtɪfɪkət əv ˈɑkjəpənsi, əˈməŋst ˈəðər rɪkˈwaɪrmənts. səʧ ɛz: "ɪf ðɛr wɪθ ˈsəmˌbɑdi hu gɪts əraʊzd ənd wɔnts mɔr, wət du ðeɪ hæv ɪn pleɪs tɪ dil wɪθ ðət? bɪˈkəz ðæts goʊɪŋ tɪ ˈhæpən, ðɛrz noʊ daʊt əˈbaʊt ɪt," sɛd. "wi hæv tɪ bi ˈkəmfərtəbəl ðət ɪts ə ləˈʤɪtəmət ˈbɪznɪs," ʃi sɛd. "wi doʊnt wɔnt ɑr pəˈlis dɪˈpɑrtmənt rɪˈspɑndɪŋ ðɛr fər ˈsɛkʃuəl əˈsɔlts ɔl ðə taɪm. wi nid tɪ noʊ ðeɪv θɔt θru ˈproʊtəˌkɔlz ɪn ðət ˌsɪʧuˈeɪʃən. ˈoʊnər ˈmæθju hərˈtɑdoʊ, ˌhaʊˈɛvər, kəmˈpɛrd ðə sɪˈkjʊrəti æt sˈnəgəl haʊs tɪ ðət əv alcatraz's*. ˈʃʊrli, noʊ wən ˈkɑmprəˌmaɪzd ðə sɪˈkjʊrəti ðɛr. ðə sˈnəgəl haʊs naʊ həz ə ˈmænjuəl ðæts mɔr ðən 100 ˈpeɪʤɪz dɪˈteɪlɪŋ ðə ˈbɪznɪs' ˈvɛriəs prəˈsiʤərz, hərˈtɑdoʊ toʊld ðə ˈʤərnəl ˈsɛntənəl ɪn ə foʊn ˈɪntərvˌju ˈfraɪˌdeɪ. klaɪənts ər ənd ˌɪnˈstrəktɪd əˈbaʊt ˈbaʊndəriz, ənd hi sɛd stæf ˈmɛmbərz rɪˈsivd aʊərz əv ˈtreɪnɪŋ əˈbaʊt haʊ tɪ riækt tɪ ˈpɑsəbəl sɪˈnɛrioʊz. ðɛr ər eɪt sɪˈkjʊrəti ˈkæmərəz ɪn ðə ˈɔfəs lɔt əv ˈhæsəl fər ə sˈnəgəl, wɪʧ, æt ðə sˈnəgəl haʊs, kɔsts 60 fər ən aʊər. toʊld ðə ðət ʃi ˈkʊdənt seɪ ˈwɛðər ər nɑt ðə sˈnəgəl haʊs wɪl ˈoʊpən nɛkst wik. hɪrz ə nuz ˌsɛgˈmɛnt əˈbaʊt ðə sˈnəgəl haʊs, ˈviə ˈgɑkər.
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wisconsin 'snuggle house' delays opening due to prostitution concerns
by jon graef in news on oct 19, 2013 8:00pm
a madison, wi, 'snuggle house,' where patrons can pay to cuddle with comely employees, had its opening delayed due to concerns from city officials that the business was a front for prostitution. what could have possibly drawn them to that conclusion?
originally set to launch tuesday, the milwaukee journal-sentinel reports that the snuggle house has next wednesday in mind for opening. madison assistant city attorney jennifer zilavy told the journal-sentinel that the city needs a certificate of occupancy, amongst other requirements.
such as:
"if they're snuggling with somebody who gets aroused and wants more, what do they have in place to deal with that? because that's going to happen, there's no doubt about it," zilavy said. "we have to be comfortable that it's a legitimate business," she said. "we don't want our police department responding there for sexual assaults all the time. we need to know they've thought through protocols in that situation.
owner matthew hurtado, however, compared the security at snuggle house to that of alcatraz's. surely, no one compromised the security there.
the snuggle house now has a manual that's more than 100 pages detailing the business' various procedures, hurtado told the journal sentinel in a phone interview friday. clients are prescreened and instructed about boundaries, and he said staff members received hours of training about how to react to possible scenarios. there are eight security cameras in the 1,200-square-foot office
lot of hassle for a snuggle, which, at the snuggle house, costs $60 for an hour. zilavy told the journal-sentinel that she couldn't say whether or not the snuggle house will open next week.
here's a news segment about the snuggle house, via gawker.
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ˈʃɛrɪŋ ɪts ˈfɪkʃən wɪθ ðə ˈtɛləˌvɪʒən ˈsɪriz əv ðə seɪm neɪm, dɪˈfaɪəns ɪz ə ˈʃutər sɛt ɪn ðə ˈblæstɪd rɪˈmeɪnz əv sæn frænˈsɪskoʊ beɪ. læst ˈwiˌkɪnd sɔ ðə ˈfaɪnəl ˈbeɪtə ɪˈvɛnt ˌbiˈfɔr ɪts riˈlis ɔn stim ɔn ˈeɪprəl 2nd*, ənd aɪ wɑz ˈeɪbəl tɪ ʤəmp ɪn fər ə gʊd 20 aʊərz ər soʊ. ɪt ˈdəzənt kəm əˈkrɔs wɛl ɪn ənd ðɛr ər ˈsərtənli ˈlɛsənz ðə dɪˈvɛləpərz kʊd lərn frəm ˈbeɪtə, bət aɪ ˈsərtənli ˌɛnˈʤɔɪd ˈtulɪŋ raʊnd ðə ˈlænˌskeɪp ɪn maɪ ˈbəgi, ˈgənɪŋ daʊn ˈoʊvərˌsaɪzd ˈeɪliən ˈɪnˌsɛkts. ju teɪk ɔn ðə roʊl əv ən 'ark-hunter*' skaʊərɪŋ ðə beɪ fər ˌɛkstrətərˈɛstriəl tɛkˈnɑləʤi ˈfɑloʊɪŋ ən əˌpɑkəˈlɪptɪk wɔr wɪθ ˌɪnˈveɪdɪŋ ˈeɪliən ˈspiʃiz. ju kən ʧuz tɪ bi ˈiðər ə ˈjumən ər ən (ə ˈhjuməˌnɔɪd ˈeɪliən ˈspiʃiz ˈsimɪŋli ɔn ðə ˈkɑrdˌbɔrd ˈmɑnstərz əv ˈdɔktər hu) ˌbiˈfɔr ˌdɪˈsaɪdɪŋ wɪʧ ˈəpˈgreɪd pæθ tɪ goʊ daʊn. dɪˈfaɪəns ˈdəzənt neɪl ðə pleɪər tɪ ə klæs, ˌɪnˈstɛd ˈlɛtɪŋ ju səˈlɛkt ən 'ˈɔrəʤən' ə ˈstɑrtɪŋ ˈwɛpən ənd ˈaʊtˌfɪt ˌbiˈfɔr ˈəʃərɪŋ ju ˈɪntu ðə ˈweɪˌstlænd. nɑt ðət ðə ʧɔɪs əv θrɛdz ɪz ə ˌpɑrˈtɪkjələrli əˈpilɪŋ wən: ðə dɪˈfɔlt ˈkɑstumz liv ðə pleɪərz ˈlʊkɪŋ laɪk ðeɪv bɪn ɪn ə ˈdɛvəˌsteɪtɪŋ skˈwɑbəl wɪθ ə ˈkɔrdərˌɔɪ səˈplaɪər. ɔl hæv bɪn ˌɪmˈplæntɪd wɪθ ən ˈigoʊ ə fɔrm əv eɪaɪ ðət hɛlps ju ˈnævəˌgeɪt ðə ɪnˈvaɪrənmənt ənd prəˈvaɪdz ə həb fər ˈəpˌgreɪdɪŋ ənd ɪkˈwɪpɪŋ pərks. ˈæftər ðə tuˈtɔriəl ju ʧuz wɪʧ skɪl tɪ ˌɪnˈvɛst ɪn. 'ˈoʊvərˌʧɑrʤ' prəˈvaɪdz ə haɪər ˈdæmɪʤ ˈaʊtˌpʊt ənd rɪˈdusɪz riˈkɔɪl, 'blər' busts ˈmuvmənt spid ənd ˈmeɪˌleɪ əˈtæks, 'dəˈkɔɪ' spɔnz ə ˈkɑpi əv ˈjɔrsɛlf tɪ dɪˈstrækt ˈɛnəmiz ənd 'kloʊk' meɪks ju ˌɪnˈvɪzəbəl tɪ ˈɛnəmiz ənd jʊr ʃildz. ˈigoʊ pɔɪnts, geɪnd θru kwɛst kəmˈpliʃən, ðɛn ənˈlɑk ˈfərðər pərks ər ˈəpˈgreɪd jʊr ɪgˈzɪstɪŋ wənz. ðə ˈɪnərˌfeɪs ɪz ə bɪt əv ə ˈʤəmbəl, bət ɪt dɪz əˈlaʊ ju tɪ ənˈlɑk pərks frəm ˈdɪfərənt ˈəpˈgreɪd triz, əˈlaʊɪŋ ə dɪˈgri əv hybridity*. ɛz ɪn dɪˈvɛləpər rɪft, juʤ daɪˈnæmɪk ˈgloʊbəl ɪˈvɛnts ˈdɑməˌneɪt ðə ˈlænˌskeɪp æt ˈrændəm ˈɪntərvəlz rikˈwaɪərɪŋ ə juʤ kənˈsərtɪd ˈɛfərt tɪ riˈzɑlv. ðiz ər noʊn ɛz 'arkfalls*', ʃaʊərz əv dəˈbri frəm ˈeɪliən ˈspeɪsˌʃɪps wɪʧ kræʃ daʊn tɪ riˈlis weɪvz əv ˈɛnəmiz. ju hæv ˈoʊnli ə ˈfaɪˌnaɪt əˈmaʊnt əv taɪm tɪ ɪˈlɪməˌneɪt ðɛm ˌbiˈfɔr sˈnæʧɪŋ ðə lut wɪˈθɪn. ðɛrz noʊ əbˈzərvəbəl ˈdɪfɪˌkəlti ˈskeɪlɪŋ, ˌhaʊˈɛvər, wɪʧ minz ju ˈrɪli du ʤɪst nid ə juʤ kru tɪ teɪk ɔn ðiz ɪˈvɛnts. grups əv tu ər θri pleɪərz kən səkˈsid θru əˈtrɪʃən, bət ðə ˈbætəlz maɪt læst əp tɪ hæf ən aʊər ə ˈtəsəl wɪʧ siz jʊr ɪnˈtaɪər tim biɪŋ waɪpt aʊt taɪm ənd əˈgɛn. ˈminˌwaɪl, pʊt təˈgɛðər ə skwɑd əv 10 tɪ 15 ənd ju kən ˈbɛrəl θru ðə ˈʧælənʤ ɪn ə ˈmætər əv ˈmoʊmənts. ðɛrz ˈsəmθɪŋ tɪ bi sɛd fər pleɪ, bət ðə meɪ nɑt hæv faʊnd kwaɪt ðə raɪt ˈbæləns. ðə ˈʃutɪŋ ˌɪtˈsɛlf filz ˈsɪmələr tɪ fər gʊd ənd ɪl. ɛz ɪn ðət geɪm, ðɛr ər mɔr ðən ɪˈnəf gənz tɪ pɪk frəm. dɪˈfaɪəns boʊsts ˈsɛvərəl ˈhənərd ˈrædɪkəl ˌvɛriˈeɪʃənz beɪst ɔn ə kɔr sɛt əv 15 ˈwɛpən ˈɑrkɪˌtaɪps, bət, ˈɔlsoʊ ɛz ɪn, moʊst əv ðə ˌkɑmbəˈneɪʃənz fil loʊ ˌɪmˈpækt. ˌnənðəˈlɛs, ðɪs prəˈvaɪdz ə ˈpoʊtənt ˌɪnˈsɛnɪv tɪ pɑrˈtɪsəˌpeɪt ɪn ənd ɛz mɔd pæks ər əˈveɪləbəl ɛz lut. ˈoʊnli 2 ˈriʤənz wər ˈoʊpən ɪn ðə ˈbeɪtə ˈwiˌkɪnd wɪθ ˈsɛvərəl mɔr ækˈsɛsəbəl ɪn ðə ˈfaɪnəl riˈlis. ɪts ən ɪkˈspænsɪv wərld tɪ bi ɪn, ənd ɪts ɔˈkeɪʒənəl ˈvɪstəz ər ˈrɪli wɛr ɪt lʊks ɪts bɛst, soʊ ˈɪtəd bi ə ʃeɪm tɪ hæv tɪ fæst ˈtrævəl ˈɛvriˌwɛr. ˈləkəli, ju kən spɔn ə ˈviɪkəl ɪn frənt əv ju ˈɪnstəntli, əˈlaʊɪŋ ə ˈsinɪk tʊr tɪ ˌɛnˈʤɔɪ ðə ɪgˈzɑtɪk plænts ənd ˈmaʊntən ˈsənˌsɛts ɛz ju draɪv tɪ jʊr ˌdɛstɪˈneɪʃən. ðə ˈdraɪvɪŋ ˈfɪzɪks ər ˈvɛri ənd bət ðət dɪz nɑt dɪˈmɪnɪʃ ðə ˈplɛʒər ɪn ˈbustɪŋ əp ˈɔlˌmoʊst ˈvərtɪkəl təreɪn waɪlst mˈjutənts ɔf jʊr ˈfɛndər. dɪˈfaɪəns ˈfɑloʊz gɪld wɔrz ˈpeɪmənt ˈmɑdəl: ɪts ə ˌwəˈnɔf ˈpərʧəs rikˈwaɪərɪŋ noʊ səbˈskrɪpʃən fi. ər əˈveɪləbəl bət ər ˈɔlˌmoʊst ɪnˈtaɪərli kɑzˈmɛtɪk ˈaɪtəmz ənd busts. pərˈhæps ə ˈbɪgər kˈwɛʃən ɪz haʊ ðə geɪm wɪl taɪ ˈɪntu ðə ˈɔnˌgoʊɪŋ ˌtɛləˈvɪʒən ˈsɪriz. wiv bɪn toʊld ðət wən wɪl ˈhɛvəli ˈɪnfluəns ðə ˈəðər, bət ˈʤəgəlɪŋ tu ˈwaɪldli ˈdɪfərənt ənd ˈikwəli ˈrɪski ˈprɑʤɛkts meɪks ðə feɪt əv boʊθ lɛs ˈsərtən. ðət sɛd, ɪts ə boʊld ɪkˈspɛrəmənt ɪn ˌɛnərˈteɪnmənt, ənd ɪf ðə ˌtɛləˈvɪʒən ˈsɪriz' nid fər ɪˈvɑlvɪŋ ˈdrɑmə minz ðə geɪm ɪz meɪnˈteɪnd wɪθ nu ənd dɪˈvərs ˈkɑntɛnt, dɪˈfaɪəns kʊd bi wən əv ðə səˈpraɪzɪz əv 2013
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sharing its fiction with the syfy-produced television series of the same name, defiance is a cross-platform mmo third-person shooter set in the blasted remains of san francisco bay. last weekend saw the final beta event before its release on steam on april 2nd, and i was able to jump in for a good 20 hours or so. it doesn't come across well in screenshots and there are certainly lessons the developers could learn from beta, but i certainly enjoyed tooling round the post-apocalyptic landscape in my buggy, gunning down oversized alien insects.
you take on the role of an 'ark-hunter' scouring the bay for extraterrestrial technology following an apocalyptic war with invading alien species. you can choose to be either a human or an irathient (a humanoid alien species seemingly modelled on the cardboard cut-out monsters of 1960's doctor who) before deciding which upgrade path to go down. defiance doesn't nail the player to a class, instead letting you select an 'origin' - a starting weapon and outfit - before ushering you into the wasteland. not that the choice of threads is a particularly appealing one: the default costumes leave the players looking like they've been in a devastating squabble with a corduroy supplier.
all ark-hunters have been implanted with an ego - a form of ai that helps you navigate the environment and provides a hub for upgrading and equipping perks. after the tutorial you choose which skill to invest in. 'overcharge' provides a higher damage output and reduces recoil, 'blur' boosts movement speed and melee attacks, 'decoy' spawns a copy of yourself to distract enemies and 'cloak' makes you invisible to enemies and recharges your shields. ego points, gained through quest completion, then unlock further perks or upgrade your existing ones. the interface is a bit of a jumble, but it does allow you to unlock perks from different upgrade trees, allowing a degree of hybridity.
as in developer trion's monster-slaying mmo rift, huge dynamic global events dominate the landscape at random intervals requiring a huge concerted effort to resolve. these are known as 'arkfalls', showers of debris from alien spaceships which crash down to release waves of enemies. you have only a finite amount of time to eliminate them before snatching the loot within.
there's no observable difficulty scaling, however, which means you really do just need a huge crew to take on these events. groups of two or three players can succeed through attrition, but the battles might last up to half an hour - a gruelling tussle which sees your entire team being wiped out time and again. meanwhile, put together a squad of 10 to 15 and you can barrel through the challenge in a matter of moments. there's something to be said for incentivising big-team play, but the devs may not have found quite the right balance.
the shooting itself feels similar to borderlands - for good and ill. as in that game, there are more than enough guns to pick from. defiance boasts several hundred radical variations based on a core set of 15 weapon archetypes, but, also as in borderlands, most of the early-obtainable combinations feel low impact. nonetheless, this provides a potent incentive to participate in arkfalls and sidequests as mod packs are available as loot.
only 2 regions were open in the beta weekend with several more accessible in the final release. it's an expansive world to be in, and its occasional vistas are really where it looks its best, so it'd be a shame to have to fast travel everywhere. luckily, you can spawn a vehicle in front of you instantly, allowing a scenic tour to enjoy the exotic plants and mountain sunsets as you drive to your destination. the driving physics are very floaty and arcade-like but that does not diminish the pleasure in boosting up almost vertical terrain whilst splatting mutants off your fender.
defiance follows guild wars 2's payment model: it's a one-off purchase requiring no subscription fee. microtransactions are available but are almost entirely cosmetic items and xp boosts. perhaps a biggeron is how the game will tie into the ongoing tv series. we've been told that one will heavily influence the other, but juggling two wildly different and equally risky projects makes the fate of both less certain. that said, it's a bold experiment in cross-media entertainment, and if the tv series' need for evolving drama means the game is maintained with new and diverse content, defiance could be one of the surprises of 2013.
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bɛst pleɪ ɪt wɑz ðə geɪm ju hæd tɪ ˈrɪli ˌɛnˈʤɔɪ. ðə ˈgoʊli, ju hæd tɪ rɪˈspɛkt. fərˈgɛt ðə sɔft goʊlz, dɪd ju si ðət pleɪ? hi ɪz ɔl lɪmz, gəts ənd ˈsprɔlɪŋ pædz. hi ɪz əˈgrɛsɪv ənd ˈbrɛθˌteɪkɪŋ. ənd ˈkreɪzi tu. ɪt ɪz nɑt ˈɔlˌweɪz ɪn ə gʊd weɪ. bət wɪn ɪt ɪz, ɪt ɪz ˈsəmθɪŋ tɪ si. ɪt kən bi ˈbjutəfəl. ˈkreɪzi, ˈbjutəfəl. haʊ ðət pleɪ lʊkt. ɪt wɑz ɛz ðoʊ hi hæd ʤɪst rɪˈsivd ˈwɪzdəm frəm ən oʊld mæn ɔn ə ˈrɑkɪŋ ʧɛr ˈsɪtɪŋ ɔn ðə frənt stup əv ə ˈmaʊntənˌsaɪd ˈkɑtɪʤ nɪr ðə ɛnd əv hɪz laɪf ənd ɪt wɑz ə laɪf fɪld wɪθ rɪˈgrɛts. ““son*, pleɪ ˈɛvəri laɪk jʊr last.”*.” oʊ, dɪd ðət ɔl raɪt. hi prəˈpɛld hɪmˈsɛlf əˈkrɔs ðə aɪs, ənd ˈæˌkʧuəli lɔst ə reɪs tɪ ðə pək wɪθ ˈɔnˌkəmɪŋ ɑntˈwɑn ruˈsɛl. ɪt ˈmætər. gəts, noʊ glory”*” pleɪ dɪd ɪˈnəf tɪ ənˈkɔrk ðə pək ənd sɛnd ɪt ðə ˈəðər weɪ, wɛr sun ˈæftər ðə ˈkeɪnəks skɔrd ðɛr ˈoʊnli goʊl əv ðə geɪm. ˈleɪtər, hi wʊd lænd ə nis wən ˈlaɪnər wɪn æst əˈbaʊt ðə klɪr ˈgæmbəl hi wɑz ˈteɪkɪŋ. ə gamble,”*,” hi sɛd, əˈneɪbəl tɪ kip ə streɪt feɪs. hæv gɔn aʊt ɪf aɪ noʊ aɪ wɑz goʊɪŋ tɪ bi fərst ɔn it.”*.” hi fərst ɔn ðə pək. ə splɪt ˈsɛkənd, ju hæv tɪ meɪk ə dɪˈsɪʒən kwɪk. aɪ meɪd ðət dɪˈsɪʒən ənd wəns ju meɪk ɪt, ju hæv ˈsɛkənd thoughts.”*.” hi. bɔrdz bi dæmd. bɛst dɪˈskrɪpʃən ɔn ðət pleɪ: wɔnt tɪ pʊt ˌmaɪˈsɛlf ɪn ə ʃuz bət gɑt tɪ bi səʧ ə təf dɪˈsɪʒən tɪ meɪk. ju noʊ tɪ kəm aʊt ər du ju wɔnt tɪ gɪv ɪm ðə ˈbreɪkəˌweɪ? pleɪz wɪθ ə lɔt əv guts.”*.” ˌɪnˈdid. bɛst ˈmɪstəri ðə stɑrz skɔrd wəns ɪn ˌrɛgjəˈleɪʃən. ɪt wɑz ˈæftər ə ˈbreɪkˌdaʊn ɔn ðə ˈkeɪnəks pk*, wən ðət lɛft ˈsigən, uhm*, ˈoʊpən. ˈkəmɪŋ əˈkrɔs hɪz kris, wɑz kɔt flæt tɪ ðə goʊl laɪn, ˈlivɪŋ ˈsigən wɪθ weɪ tu məʧ nɛt tɪ ʃut æt. ɪf hi kəmz θru ðə kris wɪθ ə ˈdɪfərənt roʊˈteɪʃən, ˈmeɪbi ðə pək hɪts ɪm ɪn ðə ˈʃoʊldər. ðɛr wʊd ˈdɛfənətli bi lɛs nɛt tɪ ʃut æt baɪ dɪˈfɔlt. bət wʊd ˈleɪtər seɪ ˈsigən fænd ɔn ɪt, ənd wɑz traɪɪŋ tɪ goʊ ʃɔrt saɪd. riˈækʃən wɑz ˈkɑmpləˌkeɪtəd. ˈdæləs ˈmidiə bɪˈlivd hɪz ʃɑt hæd nɑkt ðə nɛt ɔf ɪts pɛgz, nɑt ənd ðɛr laɪn əv (ˈrɪli bɔɪz?) soʊ ˈkɑmɛnts meɪ hæv bɪn təŋ ɪn ʧik, pleɪɪŋ ɔf ðə, ə, ˈmidiə kənfˈjuʒən. hi sɛd: noʊ hu ɪz goʊɪŋ tɪ stɑp ðət ʃɑt, ˈhɛvi, soʊ ˈbɛtər lək nɛkst taɪm aɪ guess.”*.” (sˈmaɪlɪŋ, sˈmərkɪŋ ˈɔlˌmoʊst) ˈsigən ɪz gʊd ɪˈnəf tɪ ˈoʊpən əp hɪz bleɪd ənd meɪk ðət ʃɑt. ˈɔlsoʊ ə bɪg ɪˈnəf smɑrt æs tɪ ɪt əp, ənd laɪ əˈbaʊt ɪt ɪf hi min tɪ. bɛst ʃɑt: ˈsəmˌtaɪmz lʊks spɛkˈtækjələr. laɪk hi dɪd ˈbreɪkɪŋ əp ðɪs pæs ənd ˈstoʊnɪŋ ðə ˈsəbsəkwənt ʃɑt. ˈʧeɪsər: ˈəðər taɪmz, hi lʊks ə ˈlɪtəl aʊt əv kənˈtroʊl laɪk hi dɪd ˈteɪkɪŋ ə ˈpɛnəlti. bɛst kˈwɛʃən mɑrk ˈjusɪʤ du tu kˈwɛʃən mɑrks ˈkænsəl iʧ ˈəðər aʊt? ˈæskɪŋ fər ə frɛnd. bɛst hɑt teɪk ə, nɑt ʃʊr ɔn ðət. wɑz gʊd. ˈhətən wɑz greɪt. bət təˈnaɪt aɪ meɪ hæv hæd ðə moʊst fən hæd ˈwɑʧɪŋ ˈæləks pleɪ ə ˈhɑki geɪm. ðə hɪt ɔn wɑz tu dɪˈlɪʃəs. wət əˈbaʊt ˈskɔrɪŋ ˈʧænsɪz ɪn ðə ˈsɛkənd? ðiz pleɪz ər ˈɛvriˌθɪŋ grin həz bɪn ˈtɔkɪŋ əˈbaʊt wɪθ hɪz. ˈæˌkʧuəli lʊks laɪk ə hu həz spɛnt jɪrz ɔˈrɛdi pleɪɪŋ fər grin. oʊ jɑ, hi həz. toʊld ˈgrinər æt ðə bɪˈgɪnɪŋ əv ðə jɪr, aɪ wɔnt tɪ bi ə tɔp sɪks ɔn ðɪs tim. θɪŋk aɪ kən fɪt ðət roʊl. five/six*. bi ˈfɪzɪkəl. prəˈvaɪd ˈɛnərʤi. juz maɪ ˈskeɪtɪŋ əˈbɪləˌti tɪ kriˈeɪt chances.”*.” grin, hu goʊz weɪ bæk wɪθ, pʊt ɪt ðɪs weɪ: ˈbʊlˌdɔg wɑz goʊɪŋ. pleɪɪŋ (laɪk ən) raɪt naʊ. pleɪ æt ɔl ðə bɪˈgɪnɪŋ əv ðə jɪr. hi kəmz ɪn ənd pleɪɪŋ ɛz gʊd ɛz sin ɪm play.”*.” ˈoʊˈkeɪ, soʊ nɑt əˈloʊn ðɛn. bɛst ˈwəndərɪŋ ˈsəmˌtaɪmz aɪ du ˈwəndər ɪf tu hɑrd ɔn. spəˈsɪfɪkli. ɪz ɪt ðə mæsk? hɪz mæsk dɪz sək. aɪ min, ˈrɪli bæd. ɪz ɪt hɪz waɪld hɛr staɪl? ðə sɔft goʊlz? aɪ ʤɪst gɪt ðɪs sɛns ən ənˈjuˌʒuəl ˌɪmˈpeɪʃəns wɪθ ˈmɑrki ɪn ðə ˈmɑrkɪt. ðə twit kaɪnd əv ˌəndərˈskɔrd ðɪs ˈfilɪŋ hæd. nɑt seɪɪŋ həz bɪn greɪt ðɪs ˈsizən. bət hi wɑz ˈkəmɪŋ ɔf tu streɪt wɪnz. hi hæd ə 952 seɪv pərˈsɛnɪʤ ɪn ðə læst geɪm hi ˈstɑrtɪd. ɪn ɔl, ˈoʊnli pleɪd 8 geɪmz ðɪs ˈsizən. gɪv ɪm taɪm. gɪv ɪm 20 geɪmz. meɪk əˈsɛsmənts ðɛn. lɛt ɪm fil θɪŋz aʊt. lɛt ɪm brið. bɛst rɔŋ ər raɪt, ənd ɪnˈtaɪərli rɔŋ, ˈmɛgnə wɪl ˈɔlˌweɪz bi taɪd tɪ səm əv ðə wərst dɪˈsɪʒən ˈmeɪkɪŋ ˈdʊrɪŋ læst dəˈbɑkəl. ju θɪŋk ˈwɪli, ju θɪŋk ˈmɛgnə ɔn ðə aɪs leɪt ɪn geɪmz, daʊn ə goʊl. ju θɪŋk ˈmɛgnə wɪθ ðə twɪnz. ju θɪŋk ˈmɛgnə ɔn ðə paʊər pleɪ. soʊ wɪn kɔld əp ˈæftər ðə tim lɔst ɪts pɔɪnts ˈlidər, goʊɪŋ tɪ drəm əp ə lɔt əv ðoʊz ˈbɪtər ˈfilɪŋz ðət hæv jɛt tɪ bi ˈbɛrid. ɪn ˈəðər wərdz: ˈmɛgnə? dud, tu sun. bɛst ʧɑrt bɛst pərˈspɛktɪv bɛst lɔl bɛst ˈwɪli ˈɪmɪʤri bɛst ˈwɪli ˈfoʊˌtoʊ ʃæp bɛst ˈpəzəl bɛst stɛlθ bæk ˈpætɪŋ ðɛr ɪz noʊ ˈbɪgər hoʊm gaɪ ðən ˈbiʧər. ˈbɪgəst ˈmɛgnə fæn ɪt ɔl bæd prɛs. ˈpætrɪk əˈloʊn. ər ˈmeɪbi ðɪs wɑz ˈpætrɪk æt ðə geɪm: bɛst riˈækʃən oʊ mæn. ˈbɪgəst rɪˈwɔrd sæm ˈgægnər skɔrd ðə ˈoʊnli goʊl. sæm ˈgægnər pleɪd ɪn ðə θərd ˈpɪriəd. hi wɑz biɪŋ ˈdəbəl ˈʃɪftɪd bɪˈkəz hi wɑz pleɪɪŋ ə geɪm. lɔst hir fər wiks, ɪn geɪmz hi spɛnt splɪt ɔn boʊθ ðə raɪt ənd lɛft wɪn, ˈgægnər ˈfaɪnəli lʊkt, ənd ˈmeɪbi fɛlt, laɪk hi bɪˈlɔŋd ɔn ðɪs tim. laɪk ðə weɪ bɪn pleɪɪŋ recently,”*,” hi sɛd. wɑz ə ˈrɪli fən geɪm. ðɛr wɑz ə lɔt əv ˈʧərpɪŋ bæk ənd fɔrθ frəm boʊθ saɪdz. ɪt hæd ə pleɪɔf fil tɪ it.”*.” mæn, bɪn ə lɔŋ, lɔŋ taɪm sɪns ˈɛniˌwən sɛd ˈsəmθɪŋ laɪk ðət əˈbaʊt ə ˈkeɪnəks geɪm. ˈgægnər ˈnɪrli skɔrd ðə ˈwɪnər ɔn wət wɑz ən gʊd pleɪ frəm. bɛst ðət taɪm ðət taɪm dru tu ˌɪnərˈfɪrəns ˈpɛnəltiz ənd ən ˈɛlˌboʊ ɔl ɔn ðə seɪm pleɪ. ənd nən wər kɔld. bɛst ʃeɪd ɪf ˈɪntu ˈrɛdɪŋ ˈɪntu ˈkɑmɛnts, bɪn lɑts tɪ maɪn ðɪs ˈsizən wɪn ɪt kəmz tɪ ˈkeɪnəks ənd ˈwɪli. bɪn ˈsətəl ənd nɑt soʊ ˈsətəl ʃɑts æt haʊ θɪŋz wər dən læst ˈsizən. wən pleɪər hu lɪvd ɪn ə mɪkst əp wərld læst jɪr wɑz ˈsətər. hi wɑz dɪˈplɔɪd laɪk ə noʊ. 1 ˈsɛntər. hi wɑz ə sˈnaɪpər ɔn ðə. hi wɑz ə ki pker*. hi wɑz ə ˈsɛntər. hi wɑz ə ˈwɪŋər. hi wɑz ɪn ə ˈʃətˌdaʊn roʊl. hi pleɪd wɪθ ðə sedins*. ðə ˈdɪfərəns ðɪs jɪr? hi ˈmɛnʃənd ðət ɪn ðɪs ˌkɑnvərˈseɪʃən wɪθ ˈɛdi dəbz. ˈprɪti gʊd. bət ɪt ˈivɪn ðə bɛst ˈwɪli ʃeɪd əv ðə deɪ. ðət kraʊn wɑz ˈteɪkən baɪ ðə ˈbʊlˌdɔg. lɔt əv timz, laɪk ˈjuˈɛs læst jɪr, wi gɑt kɔt wɛr bi əp ə goʊl ər tu goʊlz ənd ʧeɪnʤ ðə weɪ wi pleɪ. ˈsɪstəm, ɪf əp ə goʊl ər daʊn ə goʊl, gaɪz ər stɪl ˈʤəmpɪŋ ənd playing.”*.” oʊ snæp. bɛst dɪd ju ˈnoʊtɪs? hæd ðɪs ˈɪntərvˌju wɪθ ˈfɑloʊɪŋ ðə ˈwɪlsən θɪŋ ənd sɛd əˈbaʊt hɪz rold*: ˈfɪzɪkəl. ˈɔlˌmoʊst traɪɪŋ tɪ goʊ ənˈnoʊtɪst. ðə weɪ aɪ pleɪ ðə game.”*.” traɪɪŋ tɪ goʊ ənˈnoʊtɪst? ɪn ə ˈkɑnˌtrækt jɪr! ðə ˈkeɪnəks geɪv əp səm ˈweɪˌti ˈæˌsɛts tɪ əkˈwaɪər ɪm. dud, gɪt ˈnoʊtɪst. bɛst ɔn ˈrɛfərəns bɛst kəˈmɪtmənt stɪl nɑt ɪnˈtaɪərli klɪr waɪ ˈænˌtɔn ˌroʊˈdæn wɑz ðə wən rɪˈkɔld. ðɪs ɪz ə pleɪər hu nidz tɪ pleɪ. gɑt ʤɪst θri geɪmz ɪn ðɪs mənθ, ˈfɑloʊɪŋ ən ɪnˈtaɪər ˈsizən wɛr hi pleɪd sɪks. ˈtoʊtəl. hi sæt ðə fərst tu, ˈæftər ˈklɪrɪŋ ˈweɪvərz ənd ˈwərkɪŋ aʊt ˈvizə ˈɪʃuz, wɪn ˈjutəkə wɑz ɪn tərˈɑntoʊ. ðə ˈkeɪnəks ˈrizənd hi wɑz skræʧt bɪˈkəz hi ˈskeɪtɪd jɛt wɪθ ðə ˈkɑməts. bət gɔns ɪn ˈjutəkə lɔŋ ˌbiˈfɔr hi wɑz pleɪɪŋ ðɪs ˈwiˌkɪnd. ənd hi gɪt ɪn ˌpriˈsizən geɪmz laɪk ˌroʊˈdæn dɪd. ɪt wɑz ɑd. ˈæftər ðət ˈoʊpənɪŋ ˈwiˌkɪnd, ˌroʊˈdæn sæt aʊt tu mɔr bɪˈkəz əv ðə ˈvɛtərən rul ənd ðə vɛt ˈlɑˌgʤæm ɪn ˈjutəkə. əˈgɛn, ɑd ʧɔɪs. hi nidz tɪ pleɪ ˈækʧəwəl geɪmz mɔr ðən ˈɛniˌwən nidz tɪ pleɪ ˈækʧəwəl geɪmz. (ˈsɪtɪŋ aʊt) ˈɛni əv ðə geɪmz meɪd sɛns, ɪt wɑz ˈprɑbəˌbli ðə fərst two,”*,” ˌroʊˈdæn sɛd. hæd ˈoʊnli ˈpræktɪst wɪθ tu taɪmz (ðət wik). ˈpræktɪs wɑz gʊd, bət aɪ ˈprɑbəˌbli ˈwɔntɪd səm mɔr aɪs tɪ bi ˈrɛdi fər ə geɪm. aɪ guess.”*.” bɪn kwaɪt ðə rən fər ˌroʊˈdæn, stɪl ˈʧeɪsɪŋ ən ɪˈlusɪv drim əv pleɪɪŋ ˈrɛgjələrli ɪn ðə. hi sɛd ˈmənˌdeɪ ə drim hi rɪˈmeɪnz kəˈmɪtɪd tɪ, ˈivɪn ɪf tɔk hi ˈwɔntɪd ən ɪˈskeɪp klɔz ɪn hɪz ˈkɑnˌtrækt, wən wɪʧ wʊd əˈlaʊ ɪm tɪ fli tɪ ˈjʊrəp ɪf hi wɑz ˈrɛləˌgeɪtɪd tɪ ɑl laɪf. tɪ ðət, ˌroʊˈdæn sɛd: hir. here,”*,” hi sɛd. ðət wər ðə keɪs, ɔˈrɛdi bi ðɛr. ““this*, nɔrθ əˈmɛrɪkə, ɪz wɛr aɪ wɔnt tɪ bi. aɪ θɪŋk ˈɛvəri kɪd drimz əˈbaʊt pleɪɪŋ ɪn ðə. noʊ ˈdɪfərənt fər mi. wɔnt tɪ bi ɪn ðə bɛst lig ɪn ðə world.”*.” ˌroʊˈdæn wɑz ˈdisənt wɪθ hɪz ˌɑpərˈtunəti ɔn ðə ˈwiˌkɪnd, ˈmænəʤɪŋ tu əˈsɪsts fər ˈjutəkə ˈsənˌdi ɪn wət wɑz ən əp ənd daʊn geɪm fər ɪm. ˌɪmˈpɔrtənt fər mi ɪz ˈgɪtɪŋ ˈkɑnfədɛns, biɪŋ ˈkɑnfədənt əˈgɛn wɪθ ðə puck,”*,” ˌroʊˈdæn sɛd. teɪks taɪm ˈæftər biɪŋ ɔf fər soʊ lɔŋ. geɪm, aɪ fɛlt ˈrɪli gʊd wɪθ ðə pək. seɪm ɛz ˈsənˌdi. təf. aɪ wɔnt tɪ pleɪ. bɪn aʊt fər ə lɔŋ taɪm. aɪ wɔnt tɪ gɪt bæk ɪn ˈɛvəri geɪm aɪ kən. nɑt məʧ aɪ kən du əˈbaʊt ɪt ðoʊ. aɪ pleɪ, aɪ play.”*.” ənd wɪn hi, ɪt hɛlp ˈɛniˌwən. ðɪs brɪŋz ˈjuˈɛs bæk tɪ ðə ˌsɪʧuˈeɪʃən ɪn naʊ. ðə ˈkɑməts pleɪ ˈwɛnzˌdeɪ. soʊ du ðə ˈkeɪnəks. hɑrd tɪ ˌɪˈmæʤən ðə ˈkeɪnəks wʊd ˈriˌkɔl ˌroʊˈdæn ənˈlɛs ðeɪ hæd plænz tɪ pleɪ ɪm ˈwɛnzˌdeɪ ɪn vænˈkuvər. təˈdeɪ, grin səˈʤɛstɪd ə ʧæns kʊd bi bæk fər ðə ˈdɛvəlz. bət ɔn ðə ˈwiˌkɪnd, ˈkeɪnəks ˈtimˌmeɪts wər ˈtɛlɪŋ ˈpipəl wɑz goʊɪŋ tɪ mɪs tu. ɪf ðə keɪs, ənd ˌroʊˈdæn pleɪz ˈwɛnzˌdeɪ, hɪz ˈriˌkɔl meɪks ˈpərˌfɪkt sɛns. bɛst əv ˈtɑmi gən ɪt wɑz əˈnəðər ˈʃoʊˌkeɪs fər ðə ˈmæstər əv meh*. ðə ˈtɑmi gən ˈɛndɪd ðə fərst ˈpɪriəd wɪθ wən əv ðə wərst drɔp ˈpæsɪz ˈrɑʤərz ərˈinə həz bɪn blɛst ɪˈnəf tɪ hoʊst. ənd feɪs ɪt, sin səm rəf wənz ˈoʊvər ðə pæst ˈdɛkeɪd. hi kəm aʊt əv ðə bɑks ɪn ðə ˈsɛkənd ənd tʊk ə rɪˈdɪkjələs ˈtrɪpɪŋ ˈpɛnəlti ˈnoʊˌwɛr nɪr ðə pleɪ. ɪt wɑz ˈprɪti bæd. ɪt lɛd tɪ ðə stɑrz ˈoʊnli ˌrɛgjəˈleɪʃən goʊl. wət wɑz riˈækʃən? səm ˈspɛkjəˌleɪtɪd: frəm ðə aɪ sɔ ˈæftər, aɪ θɪŋk li meɪ hæv bɪn raɪt. əv kɔrs, ðə ˈkeɪnəks ˈoʊnli goʊl wɑz skɔrd ɔn ə riˈbaʊnd kriˈeɪtɪd baɪ ðət hæf ˈtɑmi gən pʊld ɔf ɔn ðə flaɪ. meh*. bɛst nu loʊ ˈjəŋˌbləd ɪz pi bæd. ə gaɪ wɪθ ˈdəbəl ˈziroʊz? məʧ wərs bɛst əv ˌhæləˈwin baɪ naʊ əp tɪ spid ɔn ˌhæləˈwin. ˈbrəki kriˈeɪtɪd ə greɪt ˈpəmpkɪn kriˈeɪtɪd ə greɪt mim ənd ðət lɛd ˈjuˈɛs tɪ ðɪs: ˈflʊri dɪd ðə tɔɪ ˈsoʊlʤər θɪŋ ənd məkˈdeɪvəd dɪd trəmp. tənz əv kɪdz ər goʊɪŋ ɛz ˌsupərˈhiroʊz ənd ˈstreɪnʤər θɪŋz ɪz ˈɛvriˌwɛr. əv kɔrs, θɪŋz wər ə ˈlɪtəl ˈdɪfərənt əˈməŋ kənˈsumərz əv ðə. flæt ɔn ə stɪk həz bɪn ˈsəmθɪŋ əv ə reɪʤ ðɪs ˈsizən. hi əˈpɪrd ɪn ðɪs ˌhæləˈwin ɑrt ˌɪnstəˈleɪʃən. ðɛr wɑz ə ˈvərʒən: kɪdz wər ˈtɛlɪŋ ˈpɛrənts ðeɪ ˈwɔntɪd tɪ bi flæt ɔn ə stɪk fər ðɛr ˌhæləˈwin skul pəreɪdz. ɪnˈtaɪər ˈfæməliz gɑt ɪn ɔn ɪt. ɪt ɛnd ðɛr. æt ˈrɑʤərz ərˈinə, ðeɪ ʃoʊd əp laɪk ðeɪ wər ðə ˈtrævəlɪŋ jagrs*. ˈtrævəlɪŋ flæt jpats*? wət ə taɪm tɪ bi əˈlaɪv. bɛst ˈnəgɪt ɛz moʊst noʊ wɛl, wɪn əˈweɪ, ðə kəˈmændz ðə ˈkɑkˌpɪt. hɪz ˈθərzˌdeɪ ˈsizən ˈdeɪbju wɑz ˈprɪti greɪt. hi ˌɪntrəˈdust ˈjuˈɛs tɪ linden”*” wɪʧ ɪz ʃʊr tɪ bi ə rɪˈkərɪŋ mim. əbˈzɔrbɪŋ ðə geɪm æt hoʊm, aɪ wɑz ˈeɪbəl tɪ si ðə ˌɪntərˈmɪʃən ˈpænəl ənd ðɛr wɑz ˈwʊdli wɪθ səm kˈwɑləti panelling*, prəˈvaɪdɪŋ ˈjuˈɛs ɔl wɪθ ə ˌhɛˈluvə ˈnəgɪt. ˈwʊdli wɑz ˈtɔkɪŋ əˈbaʊt haʊ ðə əˈpoʊnənts spəˈsɪfɪkli staɪl əv pleɪ ər ˌɪmˈpæktɪŋ ˈkeɪnəks dɪˈsɪʒənz wɪʧ aɪ ˌɪˈmiˌdiətli θɔt wɑz kwaɪt ðə ˈnoʊtəbəl dɪˈvɛləpmənt. tɪ noʊ səˈpraɪz, ˈwʊdli wɑz 100 ɔn pɔɪnt. ðə ““win-and-you’re-in”*” pæθ tɪ ˈʤəgəlɪŋ ɪz səʧ ə counter-intuitive*, ˈfulɪʃ əˈproʊʧ ˈdrɪpɪŋ ɪn ˈfɔlti ˈlɑʤɪk. wət ɪf ə ˈgoʊli wɪnz bət pleɪ wɛl? wət ɪf hi gɑt ˈləki? wət ɪf ju ˈnoʊtɪs ˈɪʃuz ɪn tɛkˈnik? ər ju ʤɪst goʊɪŋ tɪ kip pleɪɪŋ ɪm bɪˈkəz hi wən ər ər ju goʊɪŋ tɪ teɪk ðə taɪm ənd traɪ ənd gɪt ˈɪʃuz fɪkst, wɪʧ kʊd teɪk deɪz əv ˈpræktɪs? ðə ˈkeɪnəks hæv tu ˈdɪfərənt hu pleɪ tu ˈdɪfərənt staɪlz. ɪf ðɛr ɪz ə weɪ tɪ juz ðɪs tɪ ðɛr ædˈvæntɪʤ, ənd ðeɪ bɪˈliv ðɛr ɪz, ðət ɪz ðə weɪ ju wɔnt jʊr ˈhɑki ˈkoʊʧɪz ˈθɪŋkɪŋ ənd ˈstrætəʤaɪzɪŋ. teɪk ðə ˈmɪni geɪm. hæd ʤɪst wən tu streɪt. hi sæt. ðə ˈkeɪnəks wər ˈkəmɪŋ tɪ ən ɛnd əv ə lɔŋ roʊd trɪp. ðeɪ wər ˈplænɪŋ ə kənˈsərvətɪv, ʧæns ˈlɪmətɪŋ gameplan*. ðeɪ wər pleɪɪŋ ə tim wɪʧ ˈkərəntli læks sˈnaɪpərz ənd wən ðət pleɪz ɪn streɪt laɪnz. soʊ ðeɪ tæpt ðə ˈgoʊli hu ju ˈʤɛnərəli nid ˈpərˌfɪkt, ər kloʊz tɪ ɪt, ʃɑts tɪ bit, ɪn ˈnɪlsən. ɪf goʊɪŋ tɪ bit ˈnɪlsən, ju nid tɪ pɪk ˈkɔrnərz. ðə ərˈɪʤənəl plæn wɑz tɪ goʊ wɪθ əˈgɛnst ˈwɔʃɪŋtən ɪn ðə nɛkst wən. ðə ˈθɪŋkɪŋ biɪŋ, ɪt simz, hɪz æθˈlɛtɪk staɪl ɪz mɔr əv ə fɔrm fɪt əˈgɛnst timz ˈloʊdɪd wɪθ əˈfɛnsɪv ˈtælənt ənd sˈnaɪpərz. ˈʃəˌtaʊt ɪn ˈmɪni trəmpt ðə plæn, ənd faɪn. hɑrd tɪ ˈɑrgju əˈgɛnst ə ˈgoʊli ˈkəmɪŋ ɔf ə ˈʃəˌtaʊt. ənd ˈnɪlsən dɪd hɛlp ðə ˈkeɪnəks bit ðə kæps. bət ðə kæps skɔrd twaɪs ənd hɪt θri poʊsts. ˈnɪlsən wɑz faɪn. bət hi wɑz ˈsɪtɪŋ raɪt ɔn ðə fɛns əv biɪŋ ““fine”*” ənd ˈgɪvɪŋ əp faɪv goʊlz. ðə ˈθɪŋkɪŋ wɑz ə game”*” meɪ nɑt hæv bɪn mɪsˈgaɪdɪd æt ɔl. truθ ɪz, ˈniðər gaɪ həz ˈɛvər ʃoʊn ðɛr ˈkeɪpəbəl əv biɪŋ ə noʊ. 1 ˈniðər gaɪ həz ˈɪndəˌkeɪtɪd jɛt hi kʊd ˈhændəl 60 geɪmz. soʊ wət ə ˈdɪfərəns ɪt ɪz tɪ si ə tim pleɪ tɪ ðɛr strɛŋθs ˈrəðər ðən wɛʤ wən gaɪ ˈɪntu ðə kris bɪˈkəz, wɛl, səˈpoʊzd tɪ bi ðə gaɪ.
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best play
it was the game you had to really enjoy.
the goalie, you had to respect.
forget the soft goals, did you see that markstrom play?
he is all limbs, guts and sprawling pads. he is aggressive and breathtaking. and crazy too.
it is not always in a good way.
but when it is, it is something to see. it can be beautiful. crazy, beautiful.
it’s how that markstrom play looked.
it was as though he had just received wisdom from an old man on a rocking chair sitting on the front stoop of a mountainside cottage near the end of his life — and it was a life filled with regrets.
“son, play every forechecker like he’s your last.”
oh, markstrom did that all right.
he propelled himself across the ice, and actually lost a race to the puck with oncoming antoine roussel.
it didn’t matter. marstrom’s “no guts, no glory” play did enough to uncork the puck and send it the other way, where soon after the canucks scored their only goal of the game.
later, he would land a nice one liner when asked about the clear gamble he was taking.
“it wasn’t a gamble,” he said, unable to keep a straight face.
“i wouldn’t have gone out if i didn’t know i was going to be first on it.”
he wasn’t first on the puck.
“it’s a split second, you have to make a decision quick. i made that decision and once you make it, you can’t have second thoughts.”
he didn’t. boards be damned.
best description
baertschi on that markstrom play:
“i don’t want to put myself in a goalie’s shoes but that’s got to be such a tough decision to make.
“do you know to come out or do you want to give him the breakaway?
“he plays with a lot of guts.”
indeed.
best mystery
the stars scored once in regulation. it was after a breakdown on the canucks pk, one that left seguin, uhm, open.
coming across his crease, markstrom was caught flat to the goal line, leaving seguin with way too much net to shoot at.
if he comes through the crease with a different rotation, maybe the puck hits him in the shoulder. there would definitely be less net to shoot at by default.
but markstrom would later say seguin fanned on it, and was trying to go short side.
seguin’s reaction was complicated. dallas media believed his shot (!) had knocked the net off its pegs, not markstrom and there line of questi
(really boys?)
so seguin’s comments may have been tongue in cheek, playing off the, uh, media confusion.
he said:
“i don’t know who is going to stop that shot, it’s heavy, so better luck next time i guess.”
(smiling, smirking almost)
seguin is good enough to open up his blade and make that shot. he’s also a big enough smart ass to snark it up, and lie about it if he didn’t mean to.
best shot/chaser
shot:
sometimes markstrom looks spectacular. like he did breaking up this pass and stoning the subsequent shot.
chaser:
other times, he looks a little out of control like he did taking a penalty.
best question mark usage
do two question marks cancel each other out?
asking for a friend.
best hot take
uh, i’m not sure on that. tanev was good. hutton was great.
but tonight i may have had the most fun i’ve had watching alex biega play a hockey game.
the hit on pitlick was too delicious.
what about biega’s back-to-back scoring chances in the second?
these plays are everything green has been talking about with his defenceman.
biega actually looks like a dman who has spent years already playing for green.
oh ya, he has.
“i told greener at the beginning of the year, i want to be a top six defenceman on this team.
“i think i can fit that role. five/six. be physical. provide energy. use my skating ability to create chances.”
green, who goes way back with biega, put it this way:
“the bulldog was going.
“he’s playing (like an nhl top-6 dman) right now.
“he didn’t play at all the beginning of the year. he comes in and he’s playing as good as i’ve seen him play.”
ok, so i’m not alone then.
best wondering
sometimes i do wonder if we’re too hard on goalies. specifically markstrom. is it the mask? his mask does suck. i mean, it’s really bad.
is it his wild hare style? the soft goals?
i just get this sense there’s an unusual impatience with marky in the market.
the b.dragon’s tweet kind of underscored this feeling i’ve had.
i’m not saying markstrom has been great this season.
but he was coming off two straight wins. he had a .952 save percentage in the last game he started.
in all, he’s only played 8 games this season.
give him time. give him 20 games. make assessments then.
let him feel things out.
let him breathe.
best ptsd
wrong or right, and it’s entirely wrong, megna will always be tied to some of the worst decision making during last year’s debacle.
you think willie, you think megna on the ice late in games, down a goal. you think megna with the twins. you think megna on the power play.
so when he’s called up after the team lost its points leader, it’s going to drum up a lot of those bitter feelings that have yet to be buried.
in other words:
megna?
dude, too soon.
best chart
best perspective
best lol
best willie imagery
best willie photo shap
best puzzle
best stealth back patting
there is no bigger holm guy than beacher.
biggest megna fan
it wasn’t all bad press.
patrick wasn’t alone. or maybe this was patrick at the game:
best reaction
oh man.
biggest reward
sam gagner scored the only goal.
sam gagner played 7:48 in the third period. he was being double shifted because he was playing a wondeful game.
lost here for weeks, in games he spent split on both the right and left win, gagner finally looked, and maybe felt, like he belonged on this team.
“i like the way i’ve been playing recently,” he said.
“it was a really fun game. there was a lot of chirping back and forth from both sides. it had a playoff feel to it.”
man, it’s been a long, long time since anyone said something like that about a canucks game.
gagner nearly scored the winner on what was an insanely good play from baertschi.
best that time
that time jv18 drew two interference penalties and an elbow all on the same play.
and none were called.
best shade
if you’re into reading into comments, there’s been lots to mine this season when it comes to canucks and willie.
there’s been subtle and not so subtle shots at how things were done last season.
one player who lived in a mixed up world last year was sutter.
he was deployed like a no. 1 centre. he was a sniper on the pp. he was a key pker. he was a centre. he was a winger. he was in a shutdown role. he played with the sedins.
what’s the difference this year? he mentioned that in this conversation with eddie dubs.
that’s pretty good. but it wasn’t even the best willie shade of the day.
that crown was taken by the bulldog.
“a lot of teams, like us last year, we got caught where we’d be up a goal or two goals and we’d change the way we play.
“with greener’s system, if we’re up a goal or down a goal, guys are still jumping and playing.”
oh snap.
best did you notice?
jpat had this interview with guddy following the wilson thing and guddy said about his rold:
“be physical. it’s almost trying to go unnoticed. it’s the way i play the game.”
he’s trying to go unnoticed?
he’s in a contract year! the canucks gave up some weighty assets to acquire him.
dude, get noticed.
best boeser on pp reference
best commitment
it’s still not entirely clear why anton rodin was the one recalled.
this is a player who needs to play. he’s got just three games in this month, following an entire season where he played six. total.
he sat the first two, after clearing waivers and working out visa issues, when utica was in toronto.
the canucks reasoned he was scratched because he hadn’t skated yet with the comets. but gaunce wasn’t in utica long before he was playing this weekend. and he didn’t get in nhl preseason games like rodin did.
it was odd.
after that opening weekend, rodin sat out two more because of the ahl’s veteran rule and the vet logjam in utica.
again, odd choice. he needs to play actual games more than anyone needs to play actual games.
“if (sitting out) any of the games made sense, it was probably the first two,” rodin said. “i had only practised with ubc two times (that week).
“that practise was good, but i probably wanted some more ice to be ready for a game. i guess.”
it’s been quite the soul-testing run for rodin, still chasing an elusive dream of playing regularly in the nhl.
he said monday it’s a dream he remains committed to, even if there’s talk he wanted an escape clause in his contract, one which would allow him to flee to europe if he was relegated to ahl life.
to that, rodin said:
“i’m here. i’m here,” he said. “if that were the case, i’d already be there.
“this, north america, is where i want to be. i think every kid dreams about playing in the nhl. it’s no different for me.
“i want to be in the best league in the world.”
rodin was decent with his opportunity on the weekend, managing two assists for utica sunday in what was an up and down game for him.
“what’s important for me is getting confidence, being confident again with the puck,” rodin said. “that takes time after being off for so long.
“on saturday’s game, i felt really good with the puck. same as sunday.
“it’s tough. i want to play. i’ve been out for a long time. i want to get back in every game i can.
“there’s not much i can do about it though.
“when i play, i play.”
and when he doesn’t, it doesn’t help anyone.
this brings us back to the situation he’s in now.
the comets play wednesday. so do the canucks.
it’s hard to imagine the canucks would recall rodin unless they had plans to play him wednesday in vancouver.
today, green suggested there’s a chance boeser could be back for the devils.
but on the weekend, canucks teammates were telling people boeser was going to miss two.
if that’s the case, and rodin plays wednesday, his recall makes perfect sense.
best of tommy gun
it was another showcase for the master of meh.
the tommy gun ended the first period with one of the worst drop passes rogers arena has been blessed enough to host.
and let’s face it, we’ve seen some rough ones over the past decade.
he come out of the box in the second and took a ridiculous tripping penalty nowhere near the play.
it was pretty bad. it led to the stars only regulation goal.
what was green’s reaction?
some speculated:
from the viz i saw after, i think lee may have been right.
of course, the canucks only goal was scored on a rebound created by that half slapper tommy gun pulled off on the fly.
meh.
best new low
youngblood is p bad.
a wooo guy with double zeroes? much worse
best of halloween
by now you’re up to speed on halloween.
brucie created a great pumpkin
grainne created a great meme
and that lead us to this:
fleury did the toy soldier thing and mcdavid did trump. tons of kids are going as superheroes and stranger things is everywhere.
of course, things were a little different among consumers of the provies.
flat jpat on a stick has been something of a rage this season.
he appeared in this halloween art installation.
there was a pennywise version:
kids were telling parents they wanted to be flat jpat on a stick for their halloween school parades.
entire families got in on it.
it didn’t end there.
at rogers arena, they showed up like they were the travelling jagrs.
travelling flat jpats?
what a time to be alive.
best nugget
as most know well, when i’m away, the stanchion commands the provies cockpit.
his thursday season debut was pretty great. he introduced us to “smiling linden” which is sure to be a recurring meme.
absorbing the game at home, i was able to see the snet intermission panel and there was woodley with some quality panelling, providing us all with a helluva nugget.
woodley was talking about how the opponents — specifically style of play — are impacting canucks goaltending decisions which i immediately thought was quite the notable development.
to no one’s surprise, woodley was 100% on point.
the “win-and-you’re-in” path to juggling goalies is such a counter-intuitive, foolish approach dripping in faulty logic.
what if a goalie wins but doesn’t play well? what if he got lucky?
what if you notice issues in technique?
are you just going to keep playing him because he won or are you going to take the time and try and get issues fixed, which could take days of practice?
the canucks have two different goalies who play two different styles. if there is a way to use this to their advantage, and they believe there is, that is the way you want your hockey coaches thinking and strategizing.
take the minny game. markstrom had just won two straight. he sat.
the canucks were coming to an end of a long road trip. they were planning a conservative, chance limiting gameplan.
they were playing a team which currently lacks snipers and one that plays in straight lines.
so they tapped the goalie who you generally need perfect, or close to it, shots to beat, in nilsson.
if you’re going to beat nilsson, you need to pick corners.
the original plan was to go with markstrom against washington in the next one. the thinking being, it seems, his athletic style is more of a form fit against teams loaded with offensive talent and snipers.
nilsson’s shutout in minny trumped the plan, and that’s fine. hard to argue against a goalie coming off a shutout.
and nilsson did help the canucks beat the caps. but the caps scored twice and hit three posts. nilsson was fine. but he was sitting right on the fence of being “fine” and giving up five goals.
the thinking “wash was a markstrom game” may not have been misguided at all.
truth is, neither guy has ever shown their capable of being a no. 1. neither guy has indicated yet he could handle 60 games.
so what a difference it is to see a team play to their strengths rather than wedge one guy into the crease because he’s, well, supposed to be the guy.
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ʤæn 20 2012 ɔˈrlænˌdoʊ, fl*, ˈjuˈɛˈseɪ; lɔs ˈænʤəlɪs ˈleɪkərz ˈʃutɪŋ gɑrd ˈkoʊbeɪ braɪənt 24 ənd ɔˈrlænˌdoʊ ˈmæʤɪk ˈsɛnər dwaɪt haʊərd 12 mit praɪər tɪ ðə stɑrt əv ðə geɪm æt ˈæmˌweɪ ˈsɛnər. ˈmændəˌtɔri ˈkrɛdɪt: ˈdəgləs moʊ ˈwɪljəmz hæd wən əv hɪz bɛst geɪmz əv ðə ˈsizən læst naɪt fər ðə ˈjuˌtɔ ʤæz, ˈskɔrɪŋ 20 pɔɪnts fg*) ənd ˈædɪŋ 12 əˈsɪsts. leɪt ɪn ðə fɔrθ kˈwɔrtər, hi faʊnd æl ˈʤɛfərsən fər hɪz bɛst əˈsɪst əv ðə naɪt. ˈæftər ˈgɪtɪŋ ə pɪk frəm pɔl ˈmɪlˌsæp, ˈwɪljəmz droʊv ðə leɪn, drɔɪŋ ˈʤɔrdən ˈoʊvər tɪ prəˈtɛkt ðə rɪm. hi gɑt ˈʤɔrdən əp ɪn ðə ɛr ənd ðɛn dɪˈlɪvərd ə swit, no-look*, drɔp ɔf ðət ˈʤɛfərsən ˈfɪnɪʃt wɪθ ə slæm. ənˈfɔrʧənətli fər ðə ʤæz, williams’*’ bɪg naɪt wɑz nɑt ɪˈnəf, ɛz ˈjuˌtɔ fɛl tɪ ðə lɔs ˈænʤəlɪs ˈklɪpərz ɪt wɑz ðə fərst lɔs æt hoʊm ɔl ˈsizən fər ðə ʤæz.
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jan 20, 2012; orlando, fl, usa; los angeles lakers shooting guard kobe bryant (24) and orlando magic center dwight howard (12) meet prior to the start of the game at amway center. mandatory credit: douglas jones-us presswire
mo williams had one of his best games of the season last night for the utah jazz, scoring 20 points (7-11 fg) and adding 12 assists.
late in the fourth quarter, he found al jefferson for his best assist of the night. after getting a pick from paul millsap, williams drove the lane, drawing deandre jordan over to protect the rim. he got jordan up in the air and then delivered a sweet, no-look, behind-the-back drop off that jefferson finished with a slam.
unfortunately for the jazz, williams’ big night was not enough, as utah fell to the los angeles clippers 105-104. it was the first loss at home all season for the jazz.
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ðə haɪ fɛns ɪz bæk, ˈsɛpərˌeɪtɪŋ hər haʊs frəm ðə leɪk ɪt stændz ˌbiˈsaɪd bət ðɪs taɪm ɪt həz bɪn ɪˈrɛktɪd baɪ hər oʊn ˈpipəl tɪ prəˈtɛkt hər, nɑt tɪ lɑk hər ɪn. haʊ fri ɪz ɔŋ sæn ˈɛsˈjuˈju ˈkeɪˈwaɪˈaɪ, faɪv mənθs ˈæftər hər 15 jɪrz əv haʊs ərˈɛst ˈɛndɪd? nɑt ˈvɛri; ər fri ɛz ə bərd, dɪˈpɛndɪŋ ɔn haʊ ju æsk ðə kˈwɛʃən. ˈfræʤəl jɛt strɔŋ ɛz aɪərn, ðə ˈjɛloʊ ənd waɪt ˈroʊzɪz ɪn hər hɛr bɪˈlaɪ hər ˈstili ˌrɛzəˈluʃən. ʃi hæd nɑt bɪn wɛl wɪn wi ˈvɪzɪtɪd hər ðɪs wik. ðoʊ ʃi stɛps ˈɪntu ðə rum wɪθ braɪt smaɪlz, wɔrmθ ənd greɪs, hər dəˈpɔrtmənt dɪsˈgaɪzɪz ˈpeɪnfəl əv ðə spaɪn. ˈændru comben*, dɪˈrɛktər əv ðə ˈbraɪtən ˈfɛstɪvəl, ənd aɪ ɛz ɪts ʧɛr, hæv kəm tɪ fɪlm ən ˈɪntərvˌju, ɛz ʃi ɪz gɛst dɪˈrɛktər əv ðɪs jɪrz ɪˈvɛnt ɪn meɪ. sɪns ʃi dɛr nɑt ˈtrævəl əˈbrɔd, noʊɪŋ ðə ˈʤɛnərəlz hu hæv rən ˈbərmə sɪns 1962 wʊd ˈnɛvər lɛt hər rɪˈtərn, wi ʃæl ʃoʊ ðɪs fɪlm əv hər ˌɪnˈstɛd. hər ˈvɪzɪtərz wɪl bi ˈfɑloʊd, soʊ ɪt teɪks səm ˈsəbtərfˌjuʤ, ˈdəkɪŋ ənd ˈdaɪvɪŋ ɪn ənd aʊt əv ˈtæksiz, ə ˈfɛri ˈoʊvər ðə ˈrɪvər ənd ˈsaɪdəlɪŋ aʊt θru hoʊˈtɛl bæk dɔrz tɪ əˈvɔɪd ˌkɑnfəˈskeɪʃən əv ɑr fɪlm. əˈproʊʧt səm mənθs əˈgoʊ waɪl stɪl ˈəndər haʊs ərˈɛst, wi ˈwəndərd ɪf ʃi maɪt θɪŋk ðə aɪˈdiə əv gɛst dɪˈrɛktɪŋ ən ɑrts ˈfɛstɪvəl əbˈsərdli ˈfrɪvələs ər ˌɪˈrɛləvənt tɪ hər ˈkəntriz ˈstrəgəl fər dɪˈmɑkrəsi. bət nɑt æt ɔl. ʃi ækˈsɛptɪd wɪθ dɪˈlaɪt: dɪˈspaɪt 15 əv ðə læst 21 jɪrz spɛnt ɪn ˈsɑləˌtɛri ˌaɪsəˈleɪʃən, ʃi həz ən ˌɪˈbəljənt ˌɛnˈʤɔɪmənt əv ˈmɛni θɪŋz. ɑrts ˈmætər, ʃi sɪz. "ɪf ju kən meɪk ˈpipəl ˌəndərˈstænd waɪ ˈfridəm ɪz soʊ ˌɪmˈpɔrtənt θru ðə ɑrts, ðət wʊd bi ə bɪg hɛlp." ɪkˈsplɔrɪŋ hər ɑrˈtɪstɪk teɪsts, ˈplɛʒərz ənd ˈmɛməriz həz bɪn rɪˈvilɪŋ ənd ˈmuvɪŋ. ənd səˈpraɪzɪŋ əv wɪʧ mɔr ˈleɪtər. ɛz ə sərʤ fər ˈfridəm stɔrmz əˈkrɔs ðə ˈmɪdəl ist, wɪl ɪt ˈrɪpəl ɔn θru dɪkˈteɪtərˌʃɪps ˈɛvriˌwɛr, ˌɪnˈkludɪŋ ˈbərmə? "ˈjumən biɪŋz wɔnt tɪ bi fri ənd ˌhaʊˈɛvər lɔŋ ðeɪ meɪ əˈgri tɪ steɪ lɑkt əp, tɪ steɪ əˈprɛst, ðɛr wɪl kəm ə taɪm wɪn ðeɪ seɪ 'ðæts ɪt.' ˈsədənli ðeɪ faɪnd ðɛmˈsɛlvz duɪŋ ˈsəmθɪŋ ðət ðeɪ ˈnɛvər wʊd hæv θɔt ðeɪ wʊd bi duɪŋ, ˈsɪmpli bɪˈkəz əv ðə ˈjumən ˈɪnstɪŋkt ðət meɪks ðɛm tərn ðɛr feɪs təˈwɔrdz ˈfridəm." ɪz ðət taɪm naʊ? "mɔr ˈpipəl, əˈspɛʃəli jəŋ ˈpipəl, ər ðət ɪf ðeɪ wɔnt ʧeɪnʤ, ðeɪv gɑt tɪ goʊ əˈbaʊt ɪt ðɛmˈsɛlvz ðeɪ kænt dɪˈpɛnd ɔn ə ˌpɑˈtɪkjələr ˈpərsən, mi, tɪ du ɔl ðə wərk. ðeɪ ər lɛs ˈizi tɪ ful ðən ðeɪ juzd tɪ bi, ðeɪ naʊ noʊ wəts goʊɪŋ ɔn ɔl ˈoʊvər ðə wərld." ðə ˈmɪdəl ist ɪz ˈnɛvər ˈmɛnʃənd ɪn ˈbərməz steɪt ˈnuzˌpeɪpərz, ˈɔrgənz ðət meɪk ˈprævdə lʊk laɪk wikileaks*. ðə nu laɪt əv mˈjɑnˈmɑr ˈkɛriz frənt ənd bæk peɪʤ ˈwɔrnɪŋz "ˈænərˌki bɪˈgɛts ˈænərˌki. raɪəts bɪˈgɛt raɪəts, nɑt dɪˈmɑkrəsi. waɪp aʊt ðoʊz ˌɪnˈsaɪtɪŋ ənˈrɛst ənd ˈvaɪələns" ənd əˈtæks ɔn ðə ˌbibiˈsi ənd vɔɪs əv əˈmɛrɪkə: "du nɑt əˈlaʊ ɑrˈsɛlvz tɪ bi sweɪd baɪ ˈkɪlər ˈbrɔdˌkæsts dɪˈzaɪnd tɪ kɔz ˈtrəbəlz." ʃi læfs æt ɪt, ˈkɔlɪŋ ðə ˈpeɪpər "ðə nu blaɪt əv mˈjɑnˈmɑr". ɪz ðə rəˈʒim ˈrætəld? "ˈpipəl noʊ wəts goʊɪŋ ɔn bɪˈkəz əv ðə kəmˌjunəˈkeɪʃənz ˌrɛvəˈluʃən. soʊ ˈpipəl ər bɪˈkəmɪŋ mɔr əˈwɛr əv ðɛr oʊn pəˈtɛnʃəl, ənd ðɪs həz tɪ bi ɪnˈkərəʤd." wət maɪt ðə ˈtrɪgər bi? ə 1988 ˈəˌpraɪzɪŋ wɑz spɑrkt baɪ ðə ˈgəvərnmənt əˈbɑlɪʃɪŋ ɪgˈzɪstɪŋ bæŋk noʊts ˈoʊvərˈnaɪt, soʊ ˈɛvriˌwən lɔst ðɛr ˈseɪvɪŋz. ðə 2007 ˈproʊˌtɛsts, ʤɔɪnd baɪ ðə məŋks, bɪˈgæn wɪθ ˈsɔrɪŋ raɪs ˈpraɪsɪz. "wəns ðə ˈɑrmi stɑrts ˈʃutɪŋ, moʊst ˈəˌpraɪzɪŋz ər pʊt daʊn ˈprɪti kˈwɪkli. bət haʊ lɔŋ ðə ˈpipəl wɪl rɪˈmeɪn kwaɪət ˈæftər ˈsəmθɪŋ laɪk ðət ɪz əˈnəðər ˈmætər." ˈpipəl lʊk tɪ hər, ənd naʊ ʃi ɪz fri ðə ˈnæʃənəl lig fər dɪˈmɑkrəsi həz ə nu ˈɪmpətəs, ðoʊ ɪz ɛkˌstrɔrdəˈnɛrəli ˈdɪfəkəlt wɪθ ɔl ɪts ˈlidərz əˈməŋ ðə ˈkəntriz pəˈlɪtɪkəl ˈprɪzənərz: ˈsɛntənsɪz wər ˈhændɪd aʊt tɪ ˈstudənts. "fɪr, fɪr, fɪr" ɪz ˈɛvriˌwɛr, ʃi sɪz. ɪkˈsɛpt ˌɪnˈsaɪd hər. ɪn 2003 ðeɪ traɪd tɪ əˈsæsəˌneɪt ɔŋ sæn ˈɛsˈjuˈju ˈkeɪˈwaɪˈaɪ wɪn hər ˈkɑnˌvɔɪ wɑz sɛt əˈpɑn baɪ θəgz ənd 70 əv hər ˈpipəl ˈmərdərd: ˈbitən əp ənd θroʊn ˈɪntu ʤeɪl, ʃi wɑz pʊt ˈəndər haʊs ərˈɛst ənˈtɪl ðɪs jɪr. hər ˈpipəl wɔnt hər ˈhɛvəli ˈgɑrdɪd, bət ʃi rɪfˈjuzɪz. ʃi ʃrəgz, ənd sɪz ɪf ðə rəˈʒim wɔnts hər dɛd, ðɛrz ˈlɪtəl tɪ bi dən. haʊ fri ɪz ʃi naʊ? ɪf ʃi stɛps ˈaʊtˈsaɪd ʃi ɪz mɑbd baɪ ˈθaʊzənz əv ədˈmaɪrərz wɛˈrɛvər ʃi goʊz. ʃi wɛnt ˈʃɑpɪŋ wəns wɪθ hər sən, bət hæd tɪ bi ˈrɛskjud frəm ðə krəʃ əv well-wishers*. "ˈləkəli, aɪ doʊnt laɪk ˈʃɑpɪŋ!" ənd ˌɪnˈdid ˈʃɑpɪŋ ɪn ˈbərmə hoʊldz fju ɪnˈtaɪsmənts. wəns ðə ˈsɛkənd ˈrɪʧəst ˈneɪʃən ɪn ˈeɪʒə, dɪˈspaɪt rɪʧ ˈrisɔrsɪz ɪt ɪz naʊ ðə ˈpurɪst, ɛz wɛl ɛz list fri ˈneɪʃən ˈæftər nɔrθ ˌkɔˈriə. ɪz ʃi fri tɪ ˈtrævəl ðə ˈkəntri? ənˈlaɪkli, ʃi θɪŋks. ʃi ˈhæzənt jɛt ˈvɛnʧərd aʊt əv ræŋˈgun: "soʊ fɑr aɪ ˈhævənt traɪd tɪ goʊ ˈɛniˌwɛr ðeɪ ˈwʊdənt wɪʃ mi tɪ, bət aɪ məst stɑrt ˈtɛstɪŋ ðə ˈwɔtərz əˈgɛn." hər wərk hər bɪtˈwin ðə ˈpɑrtiz ˈɔfəs ənd hər hoʊm, hər ˈərstˌwaɪl ˈprɪzən. hər lɔŋ jɪrz ɪn dɪˈtɛnʃən wər soʊ ɪkˈsɛpʃənəl bɪˈkəz ðeɪ wər ˈpɑrtli ˈvɑləntɛri. moʊst ˈprɪzənərz hæv noʊ ʧɔɪs, bət ˈɛvəri deɪ ʃi kʊd hæv wɔkt fri, ˈhɛdɪd fər ðə ˈɛrˌpɔrt ənd floʊn əˈweɪ, hər ˈkæptərz glæd tɪ bi rɪd əv hər fər ˈɛvər. ˈɛvəri deɪ fər 15 jɪrz ʃi hæd tɪ meɪk ðət hɑrd dɪˈsɪʒən tɪ steɪ, əˈloʊn ənd ˈaɪsəˌleɪtɪd wɪˈθaʊt hər tu sənz, ˈivɪn ɛz hər bɪˈləvəd ˈhəzbənd wɑz daɪɪŋ əv ˈkænsər ɪn ˈbrɪtən, ˈkruli ˈfɔrbɪdən frəm ˈvɪzɪtɪŋ hər. bət ɪf ju səˈʤɛst ɪkˈsɛpʃənəl ˈfɔrtɪˌtud, ʃi ˈɔlˌweɪz rɪˈfərz tɪ ðə ˈəðər bərˈmiz pəˈlɪtɪkəl ˈprɪzənərz kɛpt ɪn fɑr ˈhɑrʃər kənˈdɪʃənz, half-starved*, ðɛr hɛlθ ˈbroʊkən. "aɪ doʊnt θɪŋk aɪ wɑz ðə ˈoʊnli wən hu ˌvɑlənˈtɪrd. ə lɔt əv ɑr ˈpipəl kʊd hæv ˈʧoʊzən nɑt tɪ goʊ tɪ ˈprɪzən ɪf ðeɪ hæd ˈgɪvɪn əp ˈwərkɪŋ fər ðə ˈmuvmənt fər dɪˈmɑkrəsi." ðə ˈʤɛnərəlz' rɪˈspɛkt fər hər ˈfɑðər, hu daɪd ˈfaɪtɪŋ fər ˈbərməz ˌɪndɪˈpɛndəns wɪn ʃi wɑz ʤɪst tu, kɛpt hər ˌɪnˈkɑrsərˌeɪtɪd ɪn hər oʊn hoʊm. ðɪs noʊˈbɛl pis praɪz ˈlɔriət wɑz prəˈtɛktɪd, tu, baɪ wərld əˈpɪnjən. "ðɪs wərd 'fri'," ʃi sɪz əv hərˈsɛlf ənd ðə ˈəðər ˈprɪzənərz, "wi ɔl θɪŋk ðət wi ər friər ðən ðə ˈpipəl ˈaʊtˈsaɪd bɪˈkəz wi doʊnt hæv tɪ ˈkɑmprəˌmaɪz wɪθ ɑr ˈkɑnʃəns. wi ər duɪŋ wət wi bɪˈliv ɪn. wi ər nɑt lɑkt ɪn baɪ ðə bɑrz əv gɪlt. soʊ aɪ θɪŋk ðɪs ɪz wət meɪd ˈjuˈɛs ʧuz ˌɪmˈprɪzənmənt ˈrəðər ðən tɪ steɪ ɪn kwoʊts 'fri'. fər ˈjuˈɛs, ðət ɪz haʊ ɑr lɪvz ər." ɪn ðə læst faɪv mənθs ʃi həz rɪˈvaɪvd ðə ˈnæʃənəl lig fər dɪˈmɑkrəsi, ˈstɑrtɪŋ nu ˌjuˌmænəˈtɛriən ˈsərvɪsɪz, ˈdɪgɪŋ wɛlz, ˈoʊpənɪŋ ˈklɪnɪks ənd skulz wɪθ skɛrs ˈməni. ˈskrupjələsli, ðeɪ teɪk nɑt ə ˈpɛni frəm ˈfɔrən kæmˈpeɪnərz, ˈoʊnli frəm bərˈmiz ˈdoʊnərz. ʃi læfs ɛz ʃi sɪz ðət ɪf ðeɪ bɪˈgɪn tɪ dɪg ə wɛl, ðə ˈgəvərnmənt ˈrəʃɪz ɪn tɪ dɪg ə ˈbɛtər wən, "soʊ ðət dɪz ə lɔt əv gʊd!" bət ɪts hɑrd tɪ kənˈvin ˈmitɪŋz wɪθ ˈriʤənəl wɪˈθaʊt fəndz, hɑrd tɪ faɪnd aʊt wəts ˈhæpənɪŋ ˈɛniˌwɛr. ʃi həz ʤɪst ˈlərnɪd əv mˈjutəniz ɪn ˈɑrmi ˈbeɪsɪz frəm ðə ˌbibiˈsi wərld ˈsərvɪs, ə ˈlaɪˌflaɪn wɪn ˌɪnˌfɔrˈmeɪʃən ɪz soʊ hɑrd tɪ kəm baɪ. ʃi ɪz rɪˈlivd ðə ˌbibiˈsis ˈbərmə ˈsərvɪs həz bɪn seɪvd frəm ˈbrɪtɪʃ ˈgəvərnmənt kəts, "ˈpəzəld" æt ðə dɪˈsɪʒən tɪ kət ðə ʧaɪˈniz ˈsərvɪs. ˈæftər 70 jɪrz, ðə ˌbibiˈsis læst ˈmændərən fər ˈʧaɪnə hæv ʤɪst bɪn ˈbrɔdˌkæst. ˈprɛʃər frəm ðə ˈaʊtˈsaɪd wərld meɪks mɔr ˌɪmˈpækt ðən ˈpipəl ˈriəˌlaɪz, ʃi sɪz. ðæts waɪ ðə ˈʤɛnərəlz fɛlt əˈblaɪʤd tɪ ʃeɪp ə nu ˌkɑnstəˈtuʃən, ðoʊ ɪt livz ðə seɪm ˈmɪlɪˌtɛri ˈkædri ˈrənɪŋ ðə ˈkəntri ɪn səˈvɪljən kloʊðz. ʃæm ɪˈlɛkʃənz hɛld ʤɪst ˌbiˈfɔr hər riˈlis wər dɪˈklɛrd "ˈdipli flɔd" baɪ ðə ˈjuˈɛn. hər ˈpɑrti dɪd nɑt stænd, sɪns kənˈdɪʃənz ˌɪnˈkludɪd riˈpjudiˌeɪtɪŋ ɔl ɪts pəˈlɪtɪkəl ˈprɪzənərz ənd sˈwɛrɪŋ səˈpɔrt fər ə ˌkɑnstəˈtuʃən ðət lɛts ðə ˈɑrmi teɪk ˈoʊvər æt ˈɛni taɪm. bət ɪt həz bɪn ɪˈnəf tɪ əˈlaʊ ˈwɛstərn ɪˈkɑnəmɪsts tɪ kɔl fər ˈkɑmprəˌmaɪz ənd ðə ˈlɪftɪŋ əv ˈsæŋkʃənz, əˈkjuzɪŋ hər əv ˈstəbərnəs. "ðeɪ seɪ ɪf wi bɪld əp treɪd, ɪt wɪl brɪŋ dɪˈmɑkrəsi. ðeɪ seɪ wət ju nid ɪz ə ˈmɪdəl klæs, ðət wɪl brɪŋ dɪˈmɑkrəsi." ɛz ɪn ˈʧaɪnə? ʃi mɑks ðə aɪˈdiə. "bət ðə seɪ ðə mɛs ɪn ðə ɪˈkɑnəmi ɪz du tɪ mɪsˈmænɪʤmənt ənd nɑt ˈsæŋkʃənz." ʃi hits əp wɪθ kənˈtroʊld ˈæŋgər æt pjusəˈlænəməs ɛŋˈgoʊz: "ðeɪ ˌɪnˈvaɪt ˈsɪvəl ˈsərvənts tɪ 'kəˈpæsɪti ˈbɪldɪŋ' ˈtreɪnɪŋ. bət ðə ˈprɑbləm wɪθ ˈsɪvəl ˈsərvənts' kəˈpæsɪti ɪz ðeɪ woʊnt du ˈɛniˌθɪŋ ənˈlɛs braɪbd." ˈbərmə ɪz ræŋkt aʊt əv 180 ˈkəntriz fər kərˈəpʃən. "aɪ tɔk tɪ ˈbɪznɪs ˈpipəl ənd ðeɪ seɪ (wət prɪˈvɛnts ˈɛnərˌpraɪz) ɪz ðət ˈɛvriˌθɪŋ fɔlz ˈɪntu ðə ˈkroʊniz' hænz." hər ˈmɛsɪʤ ɪz ðət dɪˈmɑkrəsi ənd trænˈspɛrənsi ər ðə ˈoʊnli ˈænsər bət ðə ɛŋˈgoʊz stɪr klɪr əv ˈpɑləˌtɪks, wɪʧ meɪks hər bərn wɪθ ˌɪndɪgˈneɪʃən. ʃi kwoʊts græm grin, "hi roʊt, 'ˈsəmˌtaɪmz, ɪf ju ər ˈjumən, ju hæv tɪ teɪk saɪdz.' ðeɪ seɪ wi ər nɑt ˈrɛdi tɪ ˈkɑmprəˌmaɪz. aɪ doʊnt noʊ wət ðeɪ min. ɑr maɪndz ər nɑt ˌɪnˈflɛksəbəl, bət pərˈhæps ɑr niz ər ˌɪnˈflɛksəbəl. wi ər nɑt daʊn ɔn ɑr niz!" hər ˈmɛsɪʤ ɪz ðət ˈpɑləˌtɪks ɪz ˈɛvriˌθɪŋ, ˈnəθɪŋ ɪz ˌeɪpəˈlɪtɪkəl. wɪθ ˈkrɪstəl klɪr priˈsɪʒən, ʃi ɪn ˈkæpɪtəl ˈlɛtərz, "aɪ æm ə ˌpɑləˈtɪʃən. ðæts ə ˈdərti wərd, bət aɪ raɪt ɪt ɔn fɔrmz ɛz maɪ prəˈfɛʃən. aɪ æm ə ˌpɑləˈtɪʃən!" wi tɔk əˈbaʊt ðə ˌjunəˈvərsəl kənˈtɛmpt fər ˈpɑləˌtɪks, ɛz ˈvoʊtɪŋ dɪˈklaɪnz ɪn ðə wɛst. "ʤɪst æsk ðɛm ɪf ðeɪ wʊd laɪk tɪ ˈɛməˌgreɪt tɪ ə ˌtoʊˌtælɪˈtɛriən steɪt," ʃi sɪz. bət dɪz ʃi ˈwəri ðət wɪn ˈfridəm kəmz, ˈpipəl kˈwɪkli fərˈgɛt ɛz ðə ˈɛvriˈdeɪ ˈbɪznɪs əv ˈgəvərnɪŋ fɔlz ʃɔrt əv ˌɛkspɛkˈteɪʃənz? "aɪv ˈɔlˌweɪz traɪd tɪ ɪkˈspleɪn dɪˈmɑkrəsi ɪz nɑt ˈpərˌfɪkt. bət ɪt gɪvz ju ə ʧæns tɪ ʃeɪp jʊr oʊn ˈdɛstəni." dɪˈspaɪt ˈɛvriˌθɪŋ, ˈpɑləˌtɪks ɪz nɑt hər hoʊl laɪf, ɛz ʃi tɔks əv wət ðə ɑrts hæv mɛnt tɪ hər. ju maɪt ɪkˈspɛkt hər tɪ ʧuz ˈbeɪtoʊvən: "fər ˈmɛni ˈpipəl hi dɪz ˌrɛprɪˈzɛnt nɑt ʤɪst ðə ˈgreɪtnəs əv mˈjuzɪk, bət ðə ˈgreɪtnəs əv θɔt bɪˈhaɪnd ɪt. aɪv ˈɔfən wɪʃt ɪn ðiz læst fju jɪrz ˈəndər dɪˈtɛnʃən ðət aɪ wər ə kəmˈpoʊzər, bɪˈkəz ðɛn aɪ wʊd bi ˈeɪbəl tɪ ɪkˈsprɛs wət aɪ fɛlt θru mˈjuzɪk, wɪʧ ɪz ˈsəmˌhaʊ soʊ məʧ mɔr ˌjunəˈvərsəl ðən wərdz." soʊ ðə ˈfɛstɪvəl stɑrts wɪθ fidelio*, ðə ˈprɪzənərz ˈɑprə. ɪn dɪˈtɛnʃən ʃi pleɪd ðə piˈænə ˈdeɪli. ʃi tɔks əv hər dɪˈvoʊʃən tɪ tiɛs ˈɛliət wɪn ʃi wɑz æt ˈɑksfərd ˈrɛdɪŋ ˈpɑləˌtɪks ənd ˌɛkəˈnɑmɪks, soʊ ðə ˈfɛstɪvəl ɪz prəˈdusɪŋ ðə fɔr kwɔrˈtɛts, əˈkəmpənid baɪ ə ˈbeɪtoʊvən strɪŋ kwɔrˈtɛt. ʃi mɑks ðə ˈɔfəl ˈpoʊətri ʃi wɑz tɔt æt skul ɪn kəˈloʊniəl ˈbərmə, riˈsaɪtɪŋ "æt ˈflɔˌrɛz ɪn ðə əˈzɔrz, wɛr sər ˈrɪʧərd leɪ" wɪθ ə læf. bət hɪrz ə səˈpraɪz. ju maɪt nɑt ɪkˈspɛkt hər ˈrisəntli əkˈwaɪərd teɪst fər ðə ˈgreɪtfəl ˈstændɪŋ ɔn ðə mun. "hæv ju ˈɛvər ˈlɪsənd tɪ ɪt? aɪ laɪk ɪt ˈvɛri məʧ. maɪ sən tɔt mi tɪ laɪk ɪt. ənd bɑb ˈmɑrli. wɛl, aɪ du laɪk 'gɪt əp, stænd əp fər jʊr raɪts'. wi nid mɔr mˈjuzɪk laɪk ðət." soʊ ðə ˈfɛstɪvəl həz brɔt hər li skræʧ ˈpɛri, wən əv bɑb ˈmɛnˌtɔrz. ˌbiˈfɔr wi goʊ, ʃi stɑps tɪ foʊld ən ˌɔriˈgɑˌmi ˈloʊtəs flaʊər tɪ sɛnd tɪ ðə ˈfɛstɪvəl, tɪ ʤɔɪn ðə ˈθaʊzənz tɪ bi ˈfloʊtɪd ɔn ðə leɪk ɪn kwinz pɑrk tɪ mɑrk ˈbərməz ˈmɛni pəˈlɪtɪkəl ˈprɪzənərz. ˈdɛftli hər ˈfɪŋgərz foʊld ɪt bæk ənd fɔrθ, ənd ʃi smaɪlz ɛz ʃi ˈriˌkɔlz duɪŋ ˌɔriˈgɑˌmi wɪθ hər jəŋ sənz. ðɛr ʃi ɪz, ðə ˌaɪˈkɑnɪk ˈbikən əv ˈfridəm, ˈwərldˈwaɪd ˈsɪmbəl əv ˈfɔrtɪˌtud ənd ˈɛndərəns, ˈlæfɪŋ ənd ˈfoʊldɪŋ. ɛz ˈɛvər, wɪθ gʊd ˈhjumər ənd greɪs, ʃi wɛrz hər ˈhɛroʊˌɪzəm ˈlaɪtli. ɔŋ sæn ˈɛsˈjuˈju ˈkeɪˈwaɪˈaɪ ɪz gɛst dɪˈrɛktər əv ˈbraɪtən ˈfɛstɪvəl 2011 ˈbraɪtən ˈfɛstɪvəl teɪks pleɪs ɔn meɪ. si 01273 709709
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the high fence is back, separating her house from the lake it stands beside – but this time it has been erected by her own people to protect her, not to lock her in. how free is aung san suu kyi, five months after her 15 years of house arrest ended? not very; or free as a bird, depending on how you ask the question.
fragile yet strong as iron, the yellow and white roses in her hair belie her steely resolution. she had not been well when we visited her this week. though she steps into the room with bright smiles, warmth and grace, her ramrod-straight deportment disguises painful spondylosis of the spine. andrew comben, director of the brighton festival, and i as its chair, have come to film an interview, as she is guest director of this year's event in may. since she dare not travel abroad, knowing the generals who have run burma since 1962 would never let her return, we shall show this film of her instead. her visitors will be followed, so it takes some subterfuge, ducking and diving in and out of taxis, a ferry over the river and sidling out through hotel back doors to avoid confiscation of our film.
approached some months ago while still under house arrest, we wondered if she might think the idea of guest directing an arts festival absurdly frivolous or irrelevant to her country's struggle for democracy. but not at all. she accepted with delight: despite 15 of the last 21 years spent in solitary isolation, she has an ebullient enjoyment of many things. arts matter, she says. "if you can make people understand why freedom is so important through the arts, that would be a big help." exploring her artistic tastes, pleasures and memories has been revealing and moving. and surprising – of which more later.
as a surge for freedom storms across the middle east, will it ripple on through dictatorships everywhere, including burma? "human beings want to be free and however long they may agree to stay locked up, to stay oppressed, there will come a time when they say 'that's it.' suddenly they find themselves doing something that they never would have thought they would be doing, simply because of the human instinct that makes them turn their face towards freedom." is that time now? "more people, especially young people, are realising that if they want change, they've got to go about it themselves – they can't depend on a particular person, ie me, to do all the work. they are less easy to fool than they used to be, they now know what's going on all over the world."
the middle east is never mentioned in burma's state newspapers, organs that make soviet-era pravda look like wikileaks. the new light of myanmar carries front and back page warnings – "anarchy begets anarchy. riots beget riots, not democracy. wipe out those inciting unrest and violence" – and attacks on the bbc and voice of america: "do not allow ourselves to be swayed by killer broadcasts designed to cause troubles." she laughs at it, calling the paper "the new blight of myanmar". is the regime rattled? "people know what's going on because of the communications revolution. so people are becoming more aware of their own potential, and this has to be encouraged."
what might the trigger be? a 1988 uprising was sparked by the government abolishing existing bank notes overnight, so everyone lost their savings. the 2007 protests, joined by the monks, began with soaring rice prices. "once the army starts shooting, most uprisings are put down pretty quickly. but how long the people will remain quiet after something like that is another matter." people look to her, and now she is free the national league for democracy has a new impetus, though organising is extraordinarily difficult with all its leaders among the country's 2,200 political prisoners: 65-year sentences were handed out to students. "fear, fear, fear" is everywhere, she says.
except inside her. in 2003 they tried to assassinate aung san suu kyi when her convoy was set upon by government-organised thugs and 70 of her people murdered: beaten up and thrown into jail, she was put under house arrest until this year. her people want her heavily guarded, but she refuses. she shrugs, and says if the regime wants her dead, there's little to be done. how free is she now? if she steps outside she is mobbed by thousands of admirers wherever she goes. she went shopping once with her son, but had to be rescued from the crush of well-wishers. "luckily, i don't like shopping!" – and indeed shopping in burma holds few enticements. once the second richest nation in south-east asia, despite rich resources it is now the poorest, as well as least free nation after north korea. is she free to travel the country? unlikely, she thinks. she hasn't yet ventured out of rangoon: "so far i haven't tried to go anywhere they wouldn't wish me to, but i must start testing the waters again." her work detains her between the party's office and her home, her erstwhile prison.
her long years in detention were so exceptional because they were partly voluntary. most prisoners have no choice, but every day she could have walked free, headed for the airport and flown away, her captors glad to be rid of her for ever. every day for 15 years she had to make that hard decision to stay, alone and isolated without her two sons, even as her beloved husband was dying of cancer in britain, cruelly forbidden from visiting her. but if you suggest exceptional fortitude, she always refers to the other burmese political prisoners kept in far harsher conditions, half-starved, their health broken. "i don't think i was the only one who volunteered. a lot of our people could have chosen not to go to prison if they had given up working for the movement for democracy." the generals' respect for her war-hero father, who died fighting for burma's independence when she was just two, kept her incarcerated in her own home. this nobel peace prize laureate was protected, too, by world opinion. "this word 'free'," she says of herself and the other prisoners, "we all think that we are freer than the people outside because we don't have to compromise with our conscience. we are doing what we believe in. we are not locked in by the bars of guilt. so i think this is what made us choose imprisonment rather than to stay – in quotes – 'free'. for us, that is how our lives are."
in the last five months she has revived the national league for democracy, starting new humanitarian services, digging wells, opening clinics and schools with scarce money. scrupulously, they take not a penny from foreign campaigners, only from burmese donors. she laughs as she says that if they begin to dig a well, the government rushes in to dig a better one, "so that does a lot of good!" but it's hard to convene meetings with regional organisers without funds, hard to find out what's happening anywhere. she has just learned of mutinies in army bases from the bbc world service, a lifeline when information is so hard to come by. she is relieved the bbc's burma service has been saved from british government cuts, "puzzled" at the decision to cut the chinese service. after 70 years, the bbc's last mandarin programmes for china have just been broadcast.
pressure from the outside world makes more impact than people realise, she says. that's why the generals felt obliged to shape a new constitution, though it leaves the same military cadre running the country in civilian clothes. sham elections held just before her release were declared "deeply flawed" by the un. her party did not stand, since conditions included repudiating all its political prisoners and swearing support for a constitution that lets the army take over at any time. but it has been enough to allow neo-liberal western economists to call for compromise and the lifting of sanctions, accusing her of stubbornness. "they say if we build up trade, it will bring democracy. they say what you need is a middle class, that will bring democracy." as in china? she mocks the idea. "but the imf say the mess in the economy is due to mismanagement and not sanctions." she heats up with controlled anger at pusillanimous ngos: "they invite civil servants to 'capacity building' training. but the problem with civil servants' capacity is they won't do anything unless bribed." burma is ranked 176th out of 180 countries for corruption. "i talk to business people and they say (what prevents enterprise) is that everything falls into the cronies' hands."
her message is that democracy and transparency are the only answer – but the ngos steer clear of politics, which makes her burn with indignation. she quotes graham greene, "he wrote, 'sometimes, if you are human, you have to take sides.' they say we are not ready to compromise. i don't know what they mean. our minds are not inflexible, but perhaps our knees are inflexible. we are not down on our knees!" her message is that politics is everything, nothing is apolitical. with crystal clear precision, she enunciates in capital letters, "i am a politician. that's a dirty word, but i write it on forms as my profession. i am a politician!" we talk about the universal contempt for politics, as voting declines in the west. "just ask them if they would like to emigrate to a totalitarian state," she says. but does she worry that when freedom comes, people quickly forget as the everyday business of governing falls short of expectations? "i've always tried to explain democracy is not perfect. but it gives you a chance to shape your own destiny."
despite everything, politics is not her whole life, as she talks of what the arts have meant to her. you might expect her to choose beethoven: "for many people he does represent not just the greatness of music, but the greatness of thought behind it. i've often wished in these last few years under detention that i were a composer, because then i would be able to express what i felt through music, which is somehow so much more universal than words." so the festival starts with fidelio, the prisoner's opera. in detention she played the piano daily. she talks of her devotion to ts eliot when she was at oxford reading politics and economics, so the festival is producing the four quartets, accompanied by a beethoven string quartet. she mocks the awful poetry she was taught at school in colonial burma, reciting "at flores in the azores, where sir richard grenville lay" with a laugh. but here's a surprise. you might not expect her recently acquired taste for the grateful dead's standing on the moon. "have you ever listened to it? i like it very much. my son taught me to like it. and bob marley. well, i do like 'get up, stand up for your rights'. we need more music like that." so the festival has brought her lee scratch perry, one of bob marley's mentors.
before we go, she stops to fold an origami lotus flower to send to the festival, to join the thousands to be floated on the lake in queen's park to mark burma's many political prisoners. deftly her fingers fold it back and forth, and she smiles as she recalls doing origami with her young sons. there she is, the iconic beacon of freedom, worldwide symbol of fortitude and endurance, laughing and folding. as ever, with good humour and grace, she wears her heroism lightly.
aung san suu kyi is guest director of brighton festival 2011. brighton festival takes place on 7-29 may. see brightonfestival.org (01273 709709)
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ˈivɪn ˌbiˈfɔr ðə ˈleɪtəst ˈaʊtˌbreɪk əv ˈvaɪələns ənd keɪɑs ɪn ˌɪˈrɑk, ðə juˈnaɪtɪd steɪts wɑz flaɪɪŋ ˈsikrɪt droʊn ˈmɪʃənz ɪn ðə ˈkəntri ɪn ən əˈtɛmpt tɪ ˈgæðər ˌɪnˈtɛləʤəns ɔn ðə ˈmuvmənts əv ˈmɪlətənts. əˈkɔrdɪŋ tɪ ðə wɔl strit ˈʤərnəl, ðə klænˈdɛstɪn sərˈveɪləns ˈmɪʃənz hæv bɪn goʊɪŋ ɔn sɪns læst jɪr wɪθ ðə kənˈsɛnt əv ðə ˌɪˈræki ˈgəvərnmənt. ˈsinjər waɪt haʊs əˈfɪʃəlz sɛd ðə ˈproʊˌgræm wɑz ɪkˈspændɪd ɛz kənˈsərnz ˈoʊvər ðə ˌpɑsəˈbɪləˌti əv ə rɪˈbɛljən gru, bət ðeɪ ækˈnɑlɪʤd ðə ækˈtɪvɪti prəˈvaɪdɪd ˈlɪtəl ˈjusfəl ˌɪnˌfɔrˈmeɪʃən fər boʊθ ðə ˈjuˈɛs ənd ˌɪˈrɑk. ðə ˈsikrɪt ˈmɪʃənz wər rɪˈpɔrtədli rən fər sərˈveɪləns ˈpərpəsɪz ˈoʊnli, ðoʊ ɪt wɑz nɑt rɪˈvild ɪgˈzæktli wət taɪp əv droʊnz wər juzd. wən əˈfɪʃəl, hu wɑz ənˈneɪmd baɪ ðə ˈʤərnəl, ˈnoʊtɪd ðət ˌwəˈtɛvər ˌɪnˈtɛləʤəns glimd wɑz ʃɛrd wɪθ ðə ˌɪˈræki ˈgəvərnmənt, bət ˈædɪd, "ɪts nɑt laɪk ɪt dɪd ˈɛni gʊd." ðə nuz kəmz ɛz ˈmɪlətənts frəm ðə ˌɪzˈlɑmɪk steɪt əv ˌɪˈrɑk ənd ˈsɪriə (ˈaɪsəs) hæv geɪnd kənˈtroʊl əv æt list tu ˌɪˈræki ˈsɪtiz, ˌɪnˈkludɪŋ ðə ˈkəntriz ɪn ˈmoʊsəl. tikrit*, ðə ˈhoʊmˌtaʊn əv ˈsɑdəm huˈseɪn, həz ˈɔlsoʊ ˈfɑlən ˈɪntu ˈrɛbəl hænz. ˌɔlˈðoʊ ðə nu jɔrk taɪmz ˌriˈpɔrtəd ˈwɛnzˌdeɪ ðət ˌɪˈræki praɪm ˈmɪnɪstər hæd ˈpriviəsli æst ðə ˈjuˈɛs tɪ kənˈsɪdər ˈjuzɪŋ ˈɛrˌstraɪks tɪ dɪˈmɪnɪʃ ðə θrɛt əv ˈaɪsəs, ˈprɛzɪdənt ˌoʊˈbɑmə həz soʊ fɑr dɪˈklaɪnd tɪ du soʊ, rɪˈləktənt tɪ ˌrikəˈmɪt ðə əˈmɛrɪkən ˈmɪlɪˌtɛri tɪ ˌɑpərˈeɪʃənz ɪn ˌɪˈrɑk ˈæftər wɪθˈdrɔɪŋ bæk ɪn 2011 naʊ ðət ðə ˈaɪsəs ɪz ˈmeɪkɪŋ geɪnz ɪn ˈnɔrðərn ˌɪˈrɑk, ˌhaʊˈɛvər, ðə waɪt haʊs həz æst ðə ˈpɛnɪˌgɑn tɪ pʊt təˈgɛðər ə lɪst əv əˈveɪləbəl ˈɔpʃənz, wən əv wɪʧ kʊd ˌɪnˈklud ən ˈivɪn mɔr ɪkˈspændɪd droʊn ˈproʊˌgræm tɪ pəˈtɛnʃəli hɛlp ˌɪˈræki ˈfɔrsɪz ˈkɑmbæt ˌɪnˈsərʤənts ər meɪk weɪ fər ˈjuˈɛs ˈɛrˌstraɪks. əˈdɪʃəˌnəli, ˌɪnˈkrisɪŋ ˌɑpərˈeɪʃənz ənd dɪˈlɪvərɪŋ ˈmɪlɪˌtɛri ɪkˈwɪpmənt ər ˈɔlsoʊ ɔn ðə ˈteɪbəl, ɛz wɛl ɛz ˈlɔŋˈreɪnʤ ˈɔpʃənz səʧ ɛz ˈtreɪnɪŋ ˌɪˈræki ənd ˈkərdɪʃ trups. "ðɛr ˈlʊkɪŋ æt ˈɛvriˌθɪŋ ənd ˈɛniˌθɪŋ ənd hæv bɪn toʊld ɪkˈsplɪsətli baɪ ðə waɪt haʊs tɪ θɪŋk ˈaʊtˈsaɪd ðə bɑks əv wət ɪz ˈpɑsəbəl," ə ˈsinjər juz. əˈfɪʃəl toʊld ðə ˈʤərnəl. ɛz ˌriˈpɔrtəd ɔn ˈθərzˌdeɪ, ˈprɛzɪdənt ˌoʊˈbɑmə hɪmˈsɛlf dɪˈklɛrd ðət wɪn ɪt kəmz tɪ rɪˈspɑndɪŋ tɪ ðə ˈvaɪələns ɪn ˌɪˈrɑk, rul aʊt anything”*” ˈbeɪsɪk ˈprɪnsəpəl ˈɑbviəsli ɪz ðət wi, laɪk ɔl ˈneɪʃənz, ər priˈpɛrd tɪ teɪk ˈmɪlɪˌtɛri ˈækʃən wɛˈnɛvər ɑr ˈnæʃənəl sɪˈkjʊrəti ɪz threatened,”*,” hi sɛd. waɪl ˌoʊˈbɑmə sɛd ɪnˈʃʊrɪŋ ðət ˈmɪlətənts du nɑt geɪn ə ˈfʊˌthoʊld ɪn ˈiðər ˌɪˈrɑk ər ˈsɪriə ɪz ɪn ðə ˈɪntəˌrɛst əv ðə ˈjuˈɛs, waɪt haʊs prɛs ˈsɛkrəˌtɛri ʤeɪ ˈkɑrni ˈleɪtər toʊld rɪˈpɔrtərz ðət ˈpʊtɪŋ əˈmɛrɪkən trups ɔn ðə graʊnd ɪz nɑt ɪn ðə kɑrdz. ˈɛrˌstraɪks, ˌhaʊˈɛvər, ər ə ˌpɑsəˈbɪləˌti. ˈivɪn ɪf ðə ˈjuˈɛs dɪˈtərmənz ðət ˈmɪlɪˌtɛri ˈækʃən ɪz ˈʤəstəˌfaɪd, ˈmɛni ˈɛkspərts bɪˈliv ɪt wʊd du ˈlɪtəl tɪ ˈsteɪbəˌlaɪz ˌɪˈrɑk ɪn ðə lɔŋ tərm wɪˈθaʊt səbˈstænʃəl pəˈlɪtɪkəl rɪˈfɔrm ɔn ðə pɑrt əv ðə ˌɪˈrækiz. ˈspikɪŋ wɪθ ðə nu jɔrk taɪmz, ˈfɔrmər siaɪeɪ ˈænəlɪst ənd ˈnæʃənəl sɪˈkjʊrəti ˈkaʊnsəl əˈfɪʃəl ˈkɛnɪθ ˈpɑlək sɛd ðə ˈgəvərnmənt nidz tɪ ɪˈstæblɪʃ ə ˈgəvərnmənt mɔr ˈoʊpən tɪ ðə ˌdɪsəˈfɛktɪd ˈsʊˌniz lɛnt ðɛr səˈpɔrt tɪ ðə ˈaɪsəs. ““u.s*. ˈmɪlɪˌtɛri səˈpɔrt fər ˌɪˈrɑk kʊd hæv ə ˈpɑzətɪv ˈifɛkt bət ˈoʊnli ɪf ɪt ɪz kənˈdɪʃənd ɔn ˈʧeɪnʤɪŋ hɪz bɪˈheɪvjər wɪˈθɪn pəˈlɪtɪkəl system,”*,” hi sɛd. həz tɪ brɪŋ ðə ˈsuni kəmˈjunɪti bæk ɪn, əˈgri tɪ ˈlɪmɪts ɔn hɪz ɪgˈzɛkjətɪv əˈθɔrəti ənd əˈgri tɪ rɪˈfɔrm ˌɪˈræki sɪˈkjʊrəti ˈfɔrsɪz tɪ meɪk ðɛm mɔr prəˈfɛʃənəl ənd competent.”*.”
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even before the latest outbreak of violence and chaos in iraq, the united states was flying secret drone missions in the country in an attempt to gather intelligence on the movements of al-qaeda-linked militants.
according to the wall street journal, the clandestine surveillance missions have been going on since last year with the consent of the iraqi government. senior white house officials said the program was expanded as concerns over the possibility of a rebellion grew, but they acknowledged the activity provided little useful information for both the us and iraq.
the secret missions were reportedly run for surveillance purposes only, though it was not revealed exactly what type of drones were used.
one official, who was unnamed by the journal, noted that whatever intelligence gleamed was shared with the iraqi government, but added, "it's not like it did any good."
the news comes as militants from the islamic state of iraq and syria (isis) have gained control of at least two iraqi cities, including the country's second-largest in mosul. tikrit, the hometown of saddam hussein, has also fallen into rebel hands.
although the new york times reported wednesday that iraqi prime minister nuri al-maliki had previously asked the us to consider using airstrikes to diminish the threat of isis, president obama has so far declined to do so, reluctant to recommit the american military to operations in iraq after withdrawing back in 2011.
now that the al-qaeda-affiliated isis is making gains in northern iraq, however, the white house has asked the pentagon to put together a list of available options, one of which could include an even more expanded drone program to potentially help iraqi forces combat insurgents or make way for us airstrikes.
additionally, increasing intelligence-sharing operations and delivering military equipment are also on the table, as well as long-range options such as training iraqi and kurdish troops.
"they're looking at everything and anything and have been told explicitly by the white house to think outside the box of what is possible," a senior u.s. official told the journal.
as rt reported on thursday, president obama himself declared that when it comes to responding to the violence in iraq, “i don’t rule out anything”
“the basic principal obviously is that we, like all nations, are prepared to take military action whenever our national security is threatened,” he said.
while obama said ensuring that militants do not gain a foothold in either iraq or syria is in the interest of the us, white house press secretary jay carney later told reporters that putting american troops on the ground is not in the cards. airstrikes, however, are a possibility.
even if the us determines that military action is justified, many experts believe it would do little to stabilize iraq in the long term without substantial political reform on the part of the iraqis. speaking with the new york times, former cia analyst and national security council official kenneth pollack said the maliki government needs to establish a government that’s more open to the disaffected sunnis who’ve lent their support to the isis.
“u.s. military support for iraq could have a positive effect but only if it is conditioned on maliki changing his behavior within iraq’s political system,” he said. “he has to bring the sunni community back in, agree to limits on his executive authority and agree to reform iraqi security forces to make them more professional and competent.”
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ɔˈrlænˌdoʊ, fla*. (dɪˈsɛmbər 19 2017 ɔˈrlænˌdoʊ ˈsɪti wɪl ˈoʊpən ɪts fɔrθ ˈmeɪʤər lig ˈsɑkər (mls*) kæmˈpeɪn ɔn ˈsæˌtɪˌdeɪ, mɑrʧ 3 æt p.m*. ɛt ˈhoʊstɪŋ ˈistərn ˈkɑnfərəns foʊ d.c*. juˈnaɪtɪd æt ɔˈrlænˌdoʊ ˈsɪti ˈsteɪdiəm. ɔˈrlænˌdoʊ ˈsizən ˈtɪkɪt beɪs həz bɪn ɪkˈspændɪd bɪɔnd ðə kæp, ˈfɑloʊɪŋ ðə səkˈsɛsfəl ˈoʊpənɪŋ əv ɔˈrlænˌdoʊ ˈsɪti ˈsteɪdiəm ɪn 2017 ə ˈlɪmɪtɪd ˈnəmbər əv ˈsizən ˈtɪkɪts ər əˈveɪləbəl fər ˈpərʧəs baɪ ˈvɪzɪtɪŋ www.orlandocitysc.com/tickets/season*. ˈsɪŋgəl geɪm ˈtɪkɪts wɪl bi əˈveɪləbəl æt ə ˈleɪtər deɪt wɪθ praɪˈɔrəti ˈækˌsɛs ˈgɪvɪn tɪ ˈmɛmbərz. ðə mæʧ ɔn mɑrʧ wɪl mɑrk ðə ˈsizən ˈoʊpənər æt hoʊm fər ðə laɪənz. ɔˈrlænˌdoʊ ˈsɪti ˈhoʊstɪd mɔr ðən fænz æt ˈkæmpɪŋ wərld ˈsteɪdiəm ɪn 2015 ənd 2016 hoʊm ˈoʊpənərz, ənd soʊld aʊt ɪts nu, ˈsɑkər ˈvɛnju ɪn ˈdaʊnˈtaʊn ɔˈrlænˌdoʊ ðɪs jɪr. ðə mæʧ wɪl ˈɔlsoʊ mɑrk ðə eɪθ ɪnˈkaʊnər bɪtˈwin ðə saɪdz, wɪθ ə ˈrɛkərd ɪn ˈfeɪvər əv ðə laɪənz sɪns ˈʤɔɪnɪŋ ɪn 2015 ɔˈrlænˌdoʊ ˈsɪti həz wən θri əv ɪts fɔr hoʊm ˈmæʧɪz əˈgɛnst d.c*. ðə laɪənz kleɪmd ˈvɪktəriz ɪn ðə tu ðɪs jɪr, ˈərnɪŋ ə wɪn ɔn meɪ 31 æt ɔˈrlænˌdoʊ ˈsɪti ˈsteɪdiəm ˌbiˈfɔr ə ˈvɪktəri ɔn sɛpt. 9 æt ˈsteɪdiəm. ɪz ˈkəmɪŋ ɔf ə 2017 ˈsizən ˈhaɪˌlaɪtɪd baɪ ðə ˈdeɪbju əv tu nu kləbz (æˈtlæntə juˈnaɪtɪd ənd ˌmɪnɪˈsoʊtə juˈnaɪtɪd), tu nu ˈsteɪdiəmz (ɔˈrlænˌdoʊ ˈsɪti ˈsteɪdiəm ənd ˈsteɪdiəm ɪn æˈtlæntə), ən ˈɪnˌfləks əv ˈtæləntɪd jəŋ pleɪərz, ənd ˈrɛkərdz sɛt fər əˈtɛndəns, ˈbrɔdˌkæst ˈreɪtɪŋz ənd ˈsoʊʃəl ˈmidiə ɛnˈgeɪʤmənt. ˈdʊrɪŋ ðə 2018 ˈrɛgjələr ˈsizən, iʧ kləb wɪl pleɪ 34 geɪmz, ˌɪnˈkludɪŋ 17 hoʊm geɪmz ənd 17 əˈweɪ geɪmz. timz wɪl feɪs iʧ əv ðɛr ˈkɑnfərəns əˈpoʊnənts 10 ɪn ðə ist, 11 ɪn ðə wɛst) twaɪs ˈdʊrɪŋ ðə ˈsizən wɪθ wən geɪm æt hoʊm ənd wən geɪm əˈweɪ. ˈwɛstərn ˈkɑnfərəns timz wɪl pleɪ wən əˈdɪʃənəl geɪm ənd ˈistərn ˈkɑnfərəns timz wɪl pleɪ tu. ɔl timz wɪl feɪs iʧ əˈpoʊnənt wəns. bɪˈloʊ ɪz ðə fʊl lɪst əv hoʊm ˈoʊpənɪŋ geɪmz. ðə kəmˈplit ˈrɛgjələr ˈsizən ˈskɛʤʊl fər ˈɛvəri tim, əˈlɔŋ wɪθ ðə ˈnæʃənəl ˈtɛləˌvɪʒən ˈskɛʤʊlz fər ðə juz. ənd ˈkænədə, wɪl bi əˈnaʊnst ɪn ˈʤænjuˌɛri. 2018 ˈmeɪʤər lig ˈsɑkər ˈrɛgjələr ˈsizən hoʊm ˈoʊpənərz ɔl taɪmz ər ɛst. hoʊm timz ˈlɪstɪd fərst. ˈskɛʤʊl ɪz ˈsəbʤɪkt tɪ ʧeɪnʤ. wik 1 ˈsæˌtɪˌdeɪ, mɑrʧ 3 2018 1 p.m*. tərˈɑntoʊ ˈvərsəz. kəˈləmbəs kru fild) p.m*. ˈhjustən ˈdaɪnəˌmoʊ ˈvərsəz. æˈtlæntə juˈnaɪtɪd ˈkəmpəs ˈsteɪdiəm) p.m*. ɔˈrlænˌdoʊ ˈsɪti ˈvərsəz. d.c*. juˈnaɪtɪd (ɔˈrlænˌdoʊ ˈsɪti ˈsteɪdiəm) 8 p.m*. ˈdæləs ˈvərsəz. ril sɔlt leɪk (toʊˈjoʊtə ˈsteɪdiəm) 9 p.m*. ˌkɑlərˈɑdoʊ ˈræpɪdz ˈvərsəz. ʃəˈkɑˌgoʊ faɪər ˈspɔrtɪŋ gʊdz pɑrk) p.m*. sæn ˌhoʊˈzeɪ ˈərθkˌweɪks ˈvərsəz. ˌmɪnɪˈsoʊtə juˈnaɪtɪd ˈsteɪdiəm) taɪm ˌfɪləˈdɛlfiə ˈjunjən ˈvərsəz. nu ˈɪŋglənd ˌrɛvəˈluʃən ˈɛnərʤi ˈsteɪdiəm) ˈsənˌdi, mɑrʧ 4 2018 5 p.m*. siˈætəl ˈvərsəz. lɔs ˈænʤəlɪs ˈfʊtˌbɔl kləb fild) 6 p.m*. vænˈkuvər ˈvərsəz. ˌməntriˈɔl ˌɪmˈpækt pleɪs) p.m*. ˈspɔrtɪŋ ˈkænzəs ˈsɪti ˈvərsəz. nu jɔrk ˈsɪti ˈmərsi pɑrk) 10 p.m*. lɑ ˈgæləksi ˈvərsəz. ˈpɔrtlənd ˈtɪmbərz ˈsɛnər) wik 2 ˈsæˌtɪˌdeɪ, mɑrʧ 10 2018 1 p.m*. kəˈləmbəs kru ˈvərsəz. ˌməntriˈɔl ˌɪmˈpækt ˈsteɪdiəm) p.m*. nu ˈɪŋglənd ˌrɛvəˈluʃən ˈvərsəz. ˌkɑlərˈɑdoʊ ˈræpɪdz (ʤɪˈlɛt ˈsteɪdiəm) p.m*. ril sɔlt leɪk ˈvərsəz. lɔs ˈænʤəlɪs ˈfʊtˌbɔl kləb (ˈrioʊ ˈtɪntoʊ ˈsteɪdiəm) 7 p.m*. nu jɔrk rɛd bʊlz ˈvərsəz. ˈpɔrtlənd ˈtɪmbərz (rɛd bʊl ərˈinə) taɪm ʃəˈkɑˌgoʊ faɪər ˈvərsəz. ˈspɔrtɪŋ ˈkænzəs ˈsɪti (toʊˈjoʊtə pɑrk) ˈsənˌdi, mɑrʧ 11 2018 3 p.m*. æˈtlæntə juˈnaɪtɪd ˈvərsəz. d.c*. juˈnaɪtɪd ˈsteɪdiəm) 5 p.m*. nu jɔrk ˈsɪti ˈvərsəz. lɑ ˈgæləksi (ˈjæŋki ˈsteɪdiəm) wik 3 ˈsæˌtɪˌdeɪ, mɑrʧ 17 2018 3 p.m*. ˌməntriˈɔl ˌɪmˈpækt ˈvərsəz. tərˈɑntoʊ (oʊˈlɪmpɪk ˈsteɪdiəm) taɪm d.c*. juˈnaɪtɪd ˈvərsəz. ˈhjustən ˈdaɪnəˌmoʊ (ˈvɛnju) taɪm ˌmɪnɪˈsoʊtə juˈnaɪtɪd ˈvərsəz. ʃəˈkɑˌgoʊ faɪər bæŋk ˈsteɪdiəm) əˈdɪʃənəl hoʊm ˈoʊpənərz ˈsæˌtɪˌdeɪ, ˈeɪprəl 14 2018 p.m*. ˈpɔrtlənd ˈtɪmbərz ˈvərsəz. ˌmɪnɪˈsoʊtə juˈnaɪtɪd (ˈprɑvədəns pɑrk) ˈsənˌdi, ˈeɪprəl 29 2018 9 p.m*. lɔs ˈænʤəlɪs ˈfʊtˌbɔl kləb ˈvərsəz. siˈætəl (bæŋk əv ˌkæləˈfɔrnjə ˈsteɪdiəm)
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orlando, fla. (december 19, 2017) orlando city sc will open its fourth major league soccer (mls) campaign on saturday, march 3, at 7:30 p.m. et hosting eastern conference foe d.c. united at orlando city stadium.
orlando city’s season ticket base has been expanded beyond the 18,000 cap, following the successful opening of orlando city stadium in 2017. a limited number of season tickets are available for purchase by visiting www.orlandocitysc.com/tickets/season. single game tickets will be available at a later date with priority access given to lionnation members.
the match on march 3rd will mark the fourth-consecutive season opener at home for the lions. orlando city hosted more than 60,000 fans at camping world stadium in 2015 and 2016 home openers, and sold out its new, 25,500-capacity soccer venue in downtown orlando this year.
the match will also mark the eighth encounter between the sides, with a 4-3-0 record in favor of the lions since joining mls in 2015. orlando city has won three of its four home matches against d.c. the lions claimed victories in the two faceoffs this year, earning a 2-0 win on may 31 at orlando city stadium before a 2-1 victory on sept. 9 at rfk stadium.
mls is coming off a 2017 season highlighted by the debut of two new clubs (atlanta united and minnesota united fc), two new stadiums (orlando city stadium and mercedes-benz stadium in atlanta), an influx of talented young players, and records set for attendance, broadcast ratings and social media engagement.
during the 2018 mls regular season, each club will play 34 games, including 17 home games and 17 away games. teams will face each of their conference opponents (10 in the east, 11 in the west) twice during the season with one game at home and one game away. western conference teams will play one additional intra-conference game and eastern conference teams will play two. all teams will face each non-conference opponent once.
below is the full list of mls home opening games. the complete regular season schedule for every team, along with the national television schedules for the u.s. and canada, will be announced in january.
2018 major league soccer regular season home openers
all times are est. home teams listed first. schedule is subject to change.
week 1
saturday, march 3, 2018
1 p.m. toronto fc vs. columbus crew sc (bmo field)
3:30 p.m. houston dynamo vs. atlanta united (bbva compass stadium)
7:30 p.m. orlando city sc vs. d.c. united (orlando city stadium)
8 p.m. fc dallas vs. real salt lake (toyota stadium)
9 p.m. colorado rapids vs. chicago fire (dick’s sporting goods park)
10:30 p.m. san jose earthquakes vs. minnesota united fc (avaya stadium)
time tbd philadelphia union vs. new england revolution (talen energy stadium)
sunday, march 4, 2018
5 p.m. seattle sounders fc vs. los angeles football club (centurylink field)
6 p.m. vancouver whitecaps fc vs. montreal impact (bc place)
7:30 p.m. sporting kansas city vs. new york city fc (children’s mercy park)
10 p.m. la galaxy vs. portland timbers (stubhub center)
week 2
saturday, march 10, 2018|
1 p.m. columbus crew sc vs. montreal impact (mapfre stadium)
1:30 p.m. new england revolution vs. colorado rapids (gillette stadium)
3:30 p.m. real salt lake vs. los angeles football club (rio tinto stadium)
7 p.m. new york red bulls vs. portland timbers (red bull arena)
time tbd chicago fire vs. sporting kansas city (toyota park)
sunday, march 11, 2018
3 p.m. atlanta united vs. d.c. united (mercedes-benz stadium)
5 p.m. new york city fc vs. la galaxy (yankee stadium)
week 3
saturday, march 17, 2018
3 p.m. montreal impact vs. toronto fc (olympic stadium)
time tbd d.c. united vs. houston dynamo (venue tbd)
time tbd minnesota united fc vs. chicago fire (tcf bank stadium)
additional home openers
saturday, april 14, 2018
10:30 p.m. portland timbers vs. minnesota united fc (providence park)
sunday, april 29, 2018
9 p.m. los angeles football club vs. seattle sounders fc (banc of california stadium)
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allama* ˈɪkbəl (ˈsɛntər, ˈbɑtəm roʊ) wɪθ hɪz ˈstudənts ənd ˈkɑligz æt ˈgəvərnmənt ˈkɑlɪʤ, lɑˈhɔr ɪn 1910 ˈɪkbəl ɪn ˈpɪkʧərz wəns əˈpɑn ə taɪm, wəns əˈpɑn ə ˈrisənt taɪm ɪn fækt, jəŋ ərˈdu poʊəts ˈfrikwɛntli juzd tɪ tɔk əˈbaʊt ˈpoʊətri ɪn boʊθ ˈfɔrməl ənd ˈsoʊʃəl ˈsɛtɪŋz ˈɪkbəl, ˈnæʃənəl poʊət huz bərθ ˌænəˈvərsəri ʤɪst wɛnt baɪ ɔn noʊˈvɛmbər 9 ənd nɑt ˈoʊnli poʊəts bət saʊθ ˈeɪʒən ˌɪntəˈlɛkʧuəlz ɪn ˈʤɛnərəl, əˈməŋ ðɛm ˈivɪn ˈdaɪˌhɑrd ˈaɪdiəlɔgz ˈstændɪŋ təˈneɪʃəsli ɔn ðə lɛft saɪd əv ðə aɪəl, səʧ grups tu juzd tɪ ˌɪnˈvoʊk ðɪs ˌmɑnjəˈmɛnəl ˈlɪtərˌɛri ɔl ðə taɪm. aɪ ˈriˌkɔl ˈsɪtɪŋ ɪn ˈləndən wɪθ ðə ˈwɛlˈnoʊn kənˈtɛmpərˌɛri poʊət hu wʊd rəˈsaɪt ˈɪkbəl ənd ˈɛkspləˌkeɪt hɪz poʊˈɛtɪk vərʧuˈɑsɪti fər aʊərz ɔn ɛnd ənd hi wʊd du soʊ wɪθ ən ˈɪnər gloʊ ənd ˈpæʃən, ˈpæʃən ðət simd tɪ əraɪz aʊt əv ðə dɛpθs əv ən ɑrˈtɪkjəˌleɪt vɔɪs ənd ə faɪn ˈlɪtərˌɛri ˌsɛnsɪˈbɪlɪti. ðɛn, ðɛr wər ðə ˌbibiˈsi ˈvɛtərənz wɪθ hum aɪ ɛz ə jəŋ ˈbrɔdˌkæstər: aɪ rɪˈmɛmbər ˈɑmɑd saɪd, rəˈʃid ashraf*, ghafoor*, mʊˈhɑməd ghayur*, ˌhɑˈsɑn ˈzɑki kazimi*, ˈræzə ˈɑli abidi*, ˈmərzə hu ˈsəbsəkwəntli bɪˈkeɪm ˈdeɪli ˈɛdɪtər, ənd ˈsɛvərəl ˈəðərz, ɔl əv ðɛm æt taɪmz ˈvərʧuəli drɛnʧt ɪn vərs, ənd ðɪs dɪˈspaɪt ðə fækt ðət ˈmɛni əv ðɛm hæd ə ˈlɛftɪst ˌɔriɛnˈteɪʃən. ɪn ðiz poʊˈɛtɪk ˌrɛməˈnɪsənsɪz, ðɛr wər ɔˈkeɪʒənz wɪn ˈɑmɑd tu wʊd ʤɔɪn ɪn. ˈpipəl fərˈgɛt ðət hæd trænzˈleɪtəd ˈɪntu ərˈdu ˈmɛni əv poʊəmz frəm hɪz (ˈmɛsɪʤ əv ðə ist) ðɪs vərs trænzˈleɪʃən ɪz naʊ əˈveɪləbəl ɪn ən ˈɑdiˌoʊ rɛnˈdɪʃən baɪ ˈhɑʃmi. ˌɪnˈdid, ɪn wən əv hɪz oʊn poʊəmz ɪn hɪz fərst kəˈlɛkʃən faryādī*ī (kəmˈpleɪnɪŋ ˈɪmɪʤ) ə poʊəm kɔld ˈɪkbəl ˈrɪtən ɪn ˈɑnər əv ðə neɪmd əˈfɛkʃənətli kɔld ɪm ə khush-navā*ā wɪθ ə ˈbjutəfəl ər ˈplizɪŋ vɔɪs): aɪ ˈriˌkɔl ɛz wɛl, ən ənˈkɑmprəmaɪzɪŋ ˈfɑloʊər ɪn ðə ˈfʊtˌstɛps əv nun rəˈʃid rəˈʃid, hu mɑrks ə ˈdɛrɪŋ nu dɪˈpɑrʧər ɪn ərˈdu ˈpoʊətri wɪθ ən æmˈbɪvələnt ənd ˈsəmˌtaɪmz dɪsˈmɪsɪv ˈætəˌtud tɪ ˈɪkbəl ənd ɪn ðɪs keɪs tu wi si ðə ɛmˈbɑdimənt əv ən ˈaɪrəni. ðɪs naʊ ˈsinjər poʊət ˈlɪvɪŋ ɪn ˈləndən juzd tɪ spik tɪ mi ˈɛvəri naʊ ənd ðɛn əˈbaʊt ˈɪkbəl. hi ˈɔfən rɪˈfərd tɪ wət hi dɪˈskraɪbd ɛz ðə ˈmæʤəsti ənd grænˈdur (ðə wərd hi ʧoʊz wɑz ihtishām*) əv wərdz ənd poʊˈɛtɪk ˈdɪkʃən. aɪ faʊnd ðə ˈvərbəl naʊn ‘‘ihtishām’*’ soʊ ˈvɛri əˈproʊpriˌeɪt fər ðə ˈsɑnərəs vɔɪs ðət ˈreɪdiˌeɪtɪd fɔrθ frəm ðə darā*ā (kɔl əv ðə bɛl) ənd wɪŋ), ðə tu wərks əv ˈɪkbəl aɪ ləvd moʊst æt ðə taɪm. ɪn ˈpækɪˌstæn, ənd ˈʤɛnərəli ɪn ɔl əv ðə saʊθ ˈeɪʒən ərˈdu wərld, θɪŋz wər ðə seɪm ˈoʊnli ðə skeɪl wɑz haɪər. hir, ɪn maɪ ˈərli juθ, ˈnumərəs ˈsinjər ˈskɑlərz əv ˈpoʊətri flərɪʃt ˈsælɪm ˈɑmɑd wɑz wən əv ðə gloʊɪŋ wənz ɪn ðɪs ˈkləstər, ənd əˈməŋ hɪz oʊn ˈsinjərz wər ˌɪndɪˈfætɪgəbəl ˈkrɪtɪks ənd ˈraɪtərz laɪk saɪd ˈeɪbɪd ˈɑli ˈeɪbɪd. bət wət ɪz moʊst sɪgˈnɪfɪkənt ənd aɪˈrɑnɪk ɪz ðət ˈlɛftɪst grups ɪn ðɛr ˈpraɪvət ˈmoʊmənts əˈpɪrd tɪ bi ˈətərli əv vərs, ˈlɪsənɪŋ tɪ ɪt ˈpræktɪkəli ɛz ə klænˈdɛstɪn ækˈtɪvɪti. ðeɪ ˌɪnˈdəlʤd ɪn ðɪs ækˈtɪvɪti dɪˈspaɪt ðɛr ˈfɔrməl ənd ˈvoʊkəl ˌaɪdiəˈlɑʤɪkəl rɪˈʤɛkʃən əv ‘‘philosophy’*’, ˌwəˈtɛvər ðət ɪz. ðiz deɪz, wɪn wi ər wɛl ˈɪntu ðə nu ˈsɛnʧəri, jəŋ ˈlɪtərˌɛri ˈsərkəlz ˈhɑrdli tɔk əˈbaʊt vərs. ɔn ðə ˈəðər hænd, rɪˈlɪʤəs ˈskɑlərz wʊd saɪt ənd ʧænt ˈpoʊətri ɪn ðɛr ˈsərmənz ənd əˈspɛʃəli ɪn məˈhærəm əˈsɛmbliz (majālis*). hɪz poʊəmz wʊd bi sɛt tɪ mˈjuzɪk ruˈtinli baɪ steɪt ˌɪˌlɛkˈtrɑnɪk ˈmidiə. wən hərd hɪz ˈvərsɪz biɪŋ dɪˈkleɪmd ɔl əraʊnd wɪθ ˈkəltəˌveɪtɪd ˌɪntəˈneɪʃənz, ˌɪnˈfɔrmd ˈpɔzɪz, saʊnd punctuations*, ˈsteɪnləs ənd wɪθ ˈstændərd prəˌnənsiˈeɪʃənz. haɪ ˈprimiəm wɑz pleɪst ɔn ðoʊz hu hɛld poʊəmz ɪn ðɛr ˈæktɪv ˈmɛməri. aɪ ˈkænɑt fərˈgɛt maɪ ˈɛldərz ˈæskɪŋ mi tɪ rəˈsaɪt (tɪ ðə cupbearer*) ər (mɔsk əv ˌkɔrˈdoʊbə) frəm ðə kəˈlɛkʃən ðət aɪ kʊd ˈriˌkɔl ˈrɛdəli. ə ʧaɪld ɛz aɪ wɑz, aɪ wʊd ərn məʧ preɪz ənd ɪnˌθuziˈæstɪk pæts ɔn maɪ ˈʃoʊldərz, ənd ˈsəmˌtaɪmz ðɪs keɪm wɪθ dɪˈlaɪtfəl rɪˈwɔrdz tu, ə bɑr əv ˈʧɔklət ər səm aɪs krim ˈɔlsoʊ rɛd: maɪnd jʊr ˈmuvmənt fər ðə ˌprɛzərˈveɪʃən əv ɪt simz tɪ mi ðət wən əv ðə ˈgreɪtəst ˈfɪkʃən ˈraɪtərz əv ɑr taɪmz, ˈhaɪdər, hæd ə ˌfæsəˈneɪʃən fər ˈɪkbəl. ɛz fər hər ˌfɪləˈsɑfɪkəl ˌɔriɛnˈteɪʃən, noʊ ˈmætər haʊ wi dɪˈskraɪb hər, baɪ noʊ strɛʧ əv ˌɪˌmæʤəˈneɪʃən kən ʃi bi kɔld ə kənˈsərvətɪv ər, tɪ juz ə ˈkrɪsʧɪn ˌθiəˈlɑʤɪkəl tərm ðət həz geɪnd ˈgloʊbəl ˈkərənsi, ən ‘‘orthodox’*’ ˈməzlɪm. ɪn hər rɪʧ wərld əv ˌɪˌmæʤəˈneɪʃən, ˈɪkbəl sərvd ɛz ən ˌɪnspərˈeɪʃən, ən sɔrs əv kriˈeɪtɪv ˈsaɪnˌpoʊsts frəm huz ˈuvrə ʃi kʊd drɔ ʤɪst ə fju wərdz tɪ səm əp ən ɪnˈtaɪər proʊˈtræktɪd ˈnɛrətɪv. əv maɪ ˈtaɪtəlz [jɛs, ʃi dɪd seɪ ““most”*”] kəm frəm ðə ˈpoʊətri əv ˈɪkbəl ənd faiz,”*,” ˈhaɪdər dɪˈklɛrd ɪn ən ˈɪntərvˌju ɪn 2006 ˌɪnˈdid, ʃi kɔld hər ˈdeɪbju ˈnɑvəl, kəmˈplitɪd ɪn 1948 mērē*ē khānē*ē (maɪ tu) ðɪs riˈsaʊndɪŋ ˈtaɪtəl ˈhæpənz tɪ bi ə frəm ə poʊəm əv ˈɪkbəl ɪn, ə poʊəm ˈrɪtən ɪn ə ˈbroʊkən ˈmitər wɛr ˈɛvəri (misra‘*‘) ɪz meɪd əp əv tu ˈfərðər half-verses*, ˈɔfən wɪθ ən ˌɪnˈtərnəl raɪm: ðɛn, ˈmɛni ˈdɛkeɪdz ˈleɪtər, wi sɔ jahañ*ñ (məʧ tɪ bi dən ɪn ðɪs wərld); ðɪs ˈtaɪtəl əv ðɪs məˈʧʊr wərk biɪŋ əˈnəðər kˈwɔrtər vərs frəm əˈnəðər poʊəm frəm ðə seɪm. soʊ ənˈtɪl ˈfɛrli ˈrisəntli trænˈsɛndɪd ˌaɪdiəˈlɑʤɪkəl ˈlinɪŋz, ənd ðɪs wɑz soʊ bɪˈkəz ðɛr dɪd ɪgˈzɪst əraʊnd ˈjuˈɛs ə poʊət kɔld ˈɪkbəl hu roʊt məˈʤɛstɪk ˈpoʊətri. hir lɛt ˈjuˈɛs kɑrv ə kriˈeɪtɪv ˈprɪnsəpəl ɔn ɑr ˈlɪtərˌɛri ˈkɑnʃəsnəs ˈneɪmli, ðət ˈpoʊətri əv ə haɪər ˈɔrdər, ˈivɪn ðoʊ ɪt məst kəm tɪ pæs frəm wɪˈθɪn ðɪs ril ənd ˈmuvɪŋ wərld əv ɑrz, ərˈaɪzɪz ɪn ˌmænəfɛˈsteɪʃən ɪn ə ˈfreɪmˌwərk ðət ɪz ˈkɑzmɪk, nɑt kənˈtɪnʤənt əˈpɑn ˈæksədənts əv ˈhɪstəri, ər əˈpɑn ˌaɪdiəˈlɑʤɪkəl pəˈzɪʃənz, ər ˈraɪdɪŋ ɔn ðə ˈʃoʊldərz əv ˈʧeɪnʤɪŋ pəˈlɪtɪkəl wɪndz; ɛz ˈɪkbəl hɪmˈsɛlf sɛd, spraʊts fɔrθ frəm ‘‘me-and-thee,’*,’ bət ˌɪtˈsɛlf əv ‘‘me-and-thee’*’ bət, ðɛn, θɪŋz hæv ʧeɪnʤd naʊ: ðiz deɪz, wɪn wi ər wɛl ˈɪntu ðə nu ˈsɛnʧəri, jəŋ ˈlɪtərˌɛri ˈsərkəlz ˈhɑrdli tɔk əˈbaʊt vərs, ənd ðoʊz ˈvɛri fju ˌɪndəˈvɪʤəwəlz hu dɛr ˌɪnˈvoʊk hɪz ˈpoʊətri hæv tɪ əˈpɑləˌʤaɪz ɪn keɪs ðeɪ ər əˈkjuzd əv biɪŋ obscurantists*, backward-moving*, ‘‘orthodox’*’; æt bɛst, biɪŋ riˈvɪʒənɪsts. naʊ ɪn ðə ˌsɛlfprəˈfɛst ˈlɪˌbərəl ˈʧeɪmbərz, ˈɪkbəl həz ˈifɛktɪvli bɪˈkəm ə dɑrk fɔrs ɪn ɪts ˈfʊlnəs, ən ɪmˈbɛrəsɪŋ ɪˈvɛnt ɪn ðə ˌɪnəˈlɛkʧuəl vɪˈsɪsɪtudz əv ɑr wərld. jɛs, ˈɪkbəl dɪz sim tɪ bi goʊɪŋ aʊt əv ˈfæʃən. bət haʊ dɪz wən ɪkˈspleɪn ðɪs əˌblɪtərˈeɪʃən əv ə ˈkɔrpəs əv wət wən wʊd ˈrɛkəgˌnaɪz ɛz ˈpoʊətri əv ə haɪ ˈɔrdər, neɪ, ˈglɔriəs ˈpoʊətri? wət ɪz ðə ˌɛkspləˈneɪʃən əv ðɪs ˈdɑrkənɪŋ əv frəm ðə ˈlɪtərˌɛri hərˈaɪzənz əv saʊθ ˈeɪʒən ərˈdu səˈsaɪɪtiz? wət ɪz moʊst sɪgˈnɪfɪkənt ənd aɪˈrɑnɪk ɪz ðət ˈlɛftɪst grups ɪn ðɛr ˈpraɪvət ˈmoʊmənts əˈpɪrd tɪ bi ˈətərli əv vərs. tɪ bɪˈgɪn wɪθ, wən wʊd mɔrn ðə lɔs əv ˈlæŋgwɪʤɪz ɪn ðiz səˈsaɪɪtiz, mɔr ˌpɑrˈtɪkjələrli ɪn ˈpækɪˌstæn. lɛt əˈloʊn sɔrs ˈlæŋgwɪʤɪz səʧ ɛz ˈɛrəbɪk ər ˈpərʒən ər ˈsænskrɪt, ðə ˈnæʃənəl ˈlæŋgwɪʤ ərˈdu tu həz ɔl bət gɔn. ðɛr, əv kɔrs, du ɪgˈzɪst ˈnumərəs ərˈdu ˌɪˌlɛkˈtrɑnɪk ˈmidiə ˈʧænəlz, ənd ðɛn ðɛr ər ðiz ərˈdu prɪnt ˈmidiə ˌpəblɪˈkeɪʃənz, ənd wi du ˈɔlsoʊ si ðiz deɪz ən ˈimərʤɪŋ ˌpækɪˈstæni fɪlm ˈɪndəstri ˈjuzɪŋ ərˈdu ɛz ɪts ˌəndərˈlaɪɪŋ ˈkɛriər bət ðeɪ ər ɔl lɔst ɪn ə lɪŋgˈwɪstɪk ˈænərˌki, ˈsəfərɪŋ ə ˈtoʊtəl læk əv standardisations*. ɪz ðə wərd (breɪk) ˈfɛmənən ər ˈmæskjələn? du ju əˈnaʊns ðə taɪm əv (fæst ˈbreɪkɪŋ) ər aftār*? du ju ɪkˈsprɛs baɪ ˈɔfərɪŋ ər baɪ ˈɔfərɪŋ mubārik*? ər ɪz ɪt, ˈrəðər, ˈɔfərɪŋ mubārakbād*? ər ˈɔfərɪŋ mubārikbād*? wət ɪz ɪt? du ju sik ˈɑmən (pis) ɪn kɑˈrɑʧi ər ɪz ðə wərd amn*? ɪz ðə ərˈdu wərd fər rɪˈkrutmənt ər ‘‘ta‘ayyunāt’*’? du aɪ ˈsəfər frəm ə mɑrz (ˈɪlnəs) ər frəm ə maraz*? ˈɔlsoʊ rɛd: ˈɛvriˌbɑdi ləvz huˈseɪn wi hir ɔl kaɪnz əv ˌvɛriˈeɪʃənz ɔn ðiz ˈkɑmən ˈmidiə ˈətərənsɪz ˌvɛriˈeɪʃənz ɪn ˈʤɛndər, ɪn vaʊəl ˈpleɪsmənts, ɪn vaʊəl ərˈeɪnʤmənts, ənd ɪn vocalisations*. wi ˈɔlsoʊ si ə fri ˈmɑrkɪt əv nɑnˈstændərd ˈɪdiəmz huz ˈkaʊntləs ɪgˈzæmpəlz əˈbaʊnd ɪn ðə ˈmidiə, bət hir aɪ hæv riˈstrɪktɪd ˌmaɪˈsɛlf tɪ ˌmɔrfəˈlɑʤɪkəl ˈɪʃuz, ˈoʊvərˌlʊkɪŋ ðə ˈɪnʤəriz ˌɪnˈflɪktɪd əˈpɑn ˈstændərd ˈsɪnˌtæks ənd ˈjusɪʤ. naʊ ðə ˈlɪsənər, əˈspɛʃəli ðə ˈvɛri jəŋ ˈlɪsənər, ɪz kənfˈjuzd. wɪn ðə ˈprɔˌsɛs ˈlɪŋgərz, ɛz ɪt dɪz, wən əv tu θɪŋz ˈhæpənz ˈvɛri sun ðə ˈjəŋstər ˈiðər əˈbændənz ˈmeɪkɪŋ sɛns əv ərˈdu ər ðɪs ˈvɪktɪm ˈæˌkʧuəli bɪˈgɪnz tɪ bæsk ɪn kənfˈjuʒən, ðəs biɪŋ meɪd tɪ ˈsəfər ə ˈpərmɑˌnɛnt ˌɪnəˈlɛkʧuəl ˌɪmˈpɛrmənt. bət ˈikwəli ˈsɪriəs, lɛt ˈjuˈɛs rɪˈmɛmbər ə ˈlɛsən frəm ˈhɪstəri wɪn goʊz, ɪˈvɛnʧəwəli ˈlæŋgwɪʤ goʊz. ˈgɪvɪn ðɪs ˈiθɑs, ɪt ɪz smɔl ˈwəndər ðət ə ˈtɪpɪkəl ˈkɑlɪʤ ˈstudənt ɪn ˈpækɪˌstæn ˈkænɑt ˈivɪn rɛd ðə ˈtaɪtəl ˈpeɪʤɪz əv poʊˈɛtɪk kəˈlɛkʃənz. ðə dɪsəˈpɔɪntmənts ɪkˈstɛnd fɑr: wɪn ɔn ə ˈlɑrʤər skeɪl wi traɪ tɪ ˈgæðər ðɪs ɪnˈtaɪər ˌɪnəˈlɛkʧuəl ˈhɑrvəst ript ˈoʊvər ðə pæst ˈnɪrli θri ˌʤɛnərˈeɪʃənz, ɑr ˈgæðərɪŋ bægz rɪˈmeɪn ˈvərʧuəli ˈɛmti. ɛz ðə ˈloʊkəl ˌɪnˌtɛləˈʤɛntsiə ʃrɪŋks, ðə ˈkɔzəl ˈeɪʤənsi əv ðə steɪt rɪˈmeɪnz ˈruθləs ðə steɪt dɪz nɑt ˈrɛkəgˌnaɪz ˌɛʤəˈkeɪʃən tɪ bi ə ˈprɔˌsɛs əv ˈnərɪʃɪŋ ˈjumən θɔt, ˌɪˌmæʤəˈneɪʃən, ənd ˌkrieɪˈtɪvəti. ˈrəðər, ˌɛʤəˈkeɪʃən əˈfɪʃəli minz voʊˈkeɪʃənəl ˈtreɪnɪŋ ˈtreɪnɪŋ ðət ɪz kənˈsɪdərd tɪ ˈprɑməs ə ˈkɔrpərət ʤɑb. ðə spɪˈsɪfɪk keɪs əv ˈlæŋgwɪʤɪz ɪz ˌpɑrˈtɪkjələrli ˈwərisəm. ˈlæŋgwɪʤɪz ər ˈhɑrdli ˈkəltəˌveɪtɪd ɪn skulz ənd ˈkɑlɪʤɪz, ənd ðɪs həz ˈrɛndərd səm θri ˌʤɛnərˈeɪʃənz ˈpræktɪkəli wɪˈθaʊt ˈɛni ɑrˈtɪkjəˌleɪt təŋ ənd, tɪ hoʊld hænd ɪn ðɪs ˈmoʊmənt əv ˈægəni, wi ʤɔɪn ɪm ɪn hɪz ləˈmɛnt: waɪl ðɪs ˌdɪsəˈbɪlɪti, ðɪs ˈlæŋgwɪʤ ˈvækjum, ðɪs lɪŋgˈwɪstɪk ˈblæˌkaʊt, həz blɑkt ˈækˌsɛs tɪ ˈpoʊətri, ɪt həz ˈɔlsoʊ dɪθˈroʊnd ə ˈlɪtərət ˈkəlʧər ə ˈrɛdɪŋ ˈkəlʧər ˈɪntu ə non-reading*, ˈɔrəl ˈkəlʧər. ðɪs ɪz əˈnəðər ˈɛləmənt ɪn ðə ˌɛkspləˈneɪʃən əv waɪ ˈɪkbəl ɪz goʊɪŋ aʊt əv ˈfæʃən. ˈpoʊətri ɪz nɑt ˈpoʊətri; ɪt ɪz nɑt fər ɪn ə pərˈfɔrməns əˈsɛmbli tɪ dɪˈspleɪ ðə vərʧuˈɑsɪti. ɪn fækt, ˈnɪrli ɔl əv wət wi kɔl ˈmɑdərn ərˈdu ˈpoʊətri ɪz ˈpoʊətri fər ˈrɛdɪŋ: nun rəˈʃid ɪz ˈvɛri ˈstrɪktli nɑt fər mushā‘aras*, nɔr ɪz vərs, ənd ðə seɪm əˈplaɪz tɪ məʧ əv. ðɪs ɪkˈspleɪnz waɪ, əˈlɔŋ wɪθ ˈɪkbəl, wi hæv ˈɔlsoʊ θroʊn ˈɪntu ˈjɔnɪŋ əbˈskjʊrəti ə bəlk əv ˈmɑdərn ərˈdu ˈpoʊətri; ðə ˌdɪsəˈpɪrəns əv rəˈʃid ɪz ˌpɑrˈtɪkjələrli kənˈspɪkjuəs ɪn ðiz ɪkˈstɪŋʃənz. wi ˈkrɛdɪt rəˈʃid fər ˈreɪzɪŋ ərˈdu ˈpoʊətri ˈfaɪnəli frəm ðə rɛlm əv ˈhirɪŋ ənd pərˈfɔrməns ənd ˈɪntu ðə ˈlɪtərət rɛlm əv ˈrɛdɪŋ ənd rɪˈflɛktɪŋ ənd ˈsɑləˌtud ənd ðɪs hɪˈstɔrɪk ˌɛləˈveɪʃən simz naʊ tɪ hæv bɪn rɪˈvərst ɪn ə ˈprɔˌsɛs əv ˈkəlʧərəl retrogression*. ɪn fækt, wət wi hæv ˈɛndɪd əp wɪθ simz wərs ðən ʤɪst ə rɪˈvərsəl. ɪf ɪn ðə ˈpɪriəd ərˈdu ˈpoʊətri wɑz ˈlɑrʤli ə ˈvərbəl ˈfaɪrˌwərk spɔrt əv pərˈfɔrmənsɪz ˌbiˈfɔr rɔɪəl ˈpeɪtrənz ənd ˈʧɪrɪŋ ər ˈhɛklɪŋ ˈpəblɪk ˈgæðərɪŋz, ɪt wɑz ˈmɔʤuleɪtɪd ənd kənˈtroʊld baɪ ə mɪˈljʊ. ðət mɪˈljʊ həz bɪn ɪkˈstɪŋgwɪʃt. ənd ɛz aɪ si ɪt, ðɪs dɛθ əv ə ˈkəlʧərəl mɪˈljʊ ɪz ðə ˈrizən waɪ ðiz deɪz wi hir əraʊnd ˈjuˈɛs ˌɪnkərˈɛkt ˌrɛsɪˈteɪʃənz əv ˈpoʊətri, ɪf ɪt ɪz rəˈsaɪtəd æt ɔl. haɪ ˈprimiəm wɑz pleɪst ɔn ðoʊz hu hɛld poʊəmz ɪn ðɛr ˈæktɪv ˈmɛməri. aɪ məst ðət ðɪs ˈʤəʤmənt əv ““incorrectness”*” ɪz nɑt ə səˈbʤɛktɪv ˈmætər əv əˈpɪnjən, fər hir aɪ spik ɪn strɪkt tərmz əv nuˈmɛrɪkəl ˈækjərəsi, ˈlɪtərəli. ərˈdu ˈpoʊətri, ˈɔlˌmoʊst ˈɔlˌweɪz, ɪkˈsprɛsɪz ˌɪtˈsɛlf ɪn ˈmɛtrɪkəl ərˈeɪnʤmənts ðət ər dɪˈtərmənd kˌwɑntɪˈteɪtəvli, ənˈlaɪk, seɪ, ˈɪŋlɪʃ ˈpoʊətri; ɪn ˈəðər wərdz, ə ˈgɪvɪn ˈmitər əv ən ərˈdu vərs ɪz meɪd əp əv ə fɪkst ˈnəmbər əv ʃɔrt ənd lɔŋ. ju æd tɪ ər səbˈtrækt frəm ðɪs fɪkst ˈnəmbər loʊ! ju hæv dɪˈstrɔɪd ðə ˈmitər. soʊ, ðɛr ˈsərtənli ɪz ən ɑˈbʤɛktɪvli kərˈɛkt weɪ əv riˈsaɪtɪŋ ərˈdu ˈpoʊətri, ə ˈʤəʤmənt ðət ɪz, soʊ tɪ spik, ˌsaɪənˈtɪfɪk. ə ˈfæsəˌneɪtɪŋ fækt ɪz ðət, ənˈtɪl ðɪs deɪ, ˈrɛkəgˌnaɪzd ərˈdu ˈpoʊətri ɪz ðə bɛst sɔrs əv ˈlərnɪŋ əv wərdz. waɪl ə ˈstændərd ərˈdu vərs, səʧ ɛz ðət əv ər ˈɪkbəl ər rəˈʃid, dɪz nɑt ˈɪndəˌkeɪt wɪʧ əv ðə θri vaʊəlz ə (zabar*), aɪ (zēr*), ju (pēsh*) ju pleɪs bɪtˈwin tu ˈkɑnsənənts əv ə wərd ðət əˈkərz ɪn ɪt, ɪt dɪz kəmˈpɛl ju tɪ pleɪs wən əv ðiz θri vaʊəlz wɛr ə ˈvoʊkəl ˈmoʊʃən (harakat*) ɪz ˈnidɪd; ənd ɪt kəmˈpɛlz ju tɪ rɛd tu ˈkɑnsənənts wɪˈθaʊt ə vaʊəl wɪn ðeɪ məst rɪˈmeɪn kwaɪˈɛsənt; ənd ɪt kəmˈpɛlz ju tɪ ˈʤɛməˌneɪt ə ˈkɑnsənənt wɛr ɪz ə fəˈnɛtɪk rɪkˈwaɪrmənt. aɪ seɪ ““compel”*” bɪˈkəz ðə ˈrənɪŋ ˈmitər əv ə vərs ɪz ðə dɪˈtərmənɪŋ ˈprɪnsəpəl ðət sɛts ɪts ˈrɪðmɪk ˈbæləns (vazn*); ju mɪsˈrɛd ə wərd ənd ju kɪl ðə ˈmitər. jɛs, ðə ˈmitər sərvz ɛz ðət ˈfʊli kənˈtroʊl ðə reader-reciter*. ˈɪkbəl (fɑr raɪt) ɪn ˈləndən fər ðə ˈsɛkənd raʊnd ˈteɪbəl ˈkɑnfərəns ɪn 1931 ˈɪkbəl ɪn ˈpɪkʧərz naʊ ðət ðə ˈrɛdɪŋ ˈkəlʧər həz bɪn dɪˈmoʊtɪd tɪ ə ˈkəlʧər ˈmɪrli əv ˈhirɪŋ, ənd naʊ ðət wən hirz ɔl sɔrts əv ɪn ðə ɛr, ˈɛvriˈdeɪ ərˈdu ˈpoʊətri əv ðə ˈpɑpjələr kaɪnd hæv ɪn ˈʤɛnərəl bɪˈkəm sˈlɔtərˌhaʊsɪz əv ˈmitər ənd ðɪs minz sˈlɔtərˌhaʊsɪz əv ɔl ərˈdu ˈpoʊətri ɛz wi noʊ ɪt. ðə ˈkɑnsəkˌwɛnsəz ər ˈivɪn mɔr ˈdræstɪk ɪn fækt: sɪns ðɛr du ɪgˈzɪst ərˈdu ˌælfəˈbɛtɪkəl ˈkɛrɪktərz ðət hæv aɪˈdɛntɪkəl saʊnz (səʧ ɛz ðə fɔr ˈkɛrɪktərz ðət ər ɔl prəˈnaʊnst zi, ər ðə tu ˈkɛrɪktərz ðət ər ɪˈnənsiˌeɪtɪd ɛz eɪʧ), ˈðɛrˌfɔr ʤɪst baɪ ˈhirɪŋ ðɛm wən ˈkænɑt meɪk aɪˌdɛntəfəˈkeɪʃənz ɪn ˈraɪtɪŋ ðɛm daʊn ənd soʊ wərdz ˈkɛriɪŋ ðiz saʊnz ər naʊ ɛz ə ruˈtin ˈmætər. tɪ bi ʃʊr, ðiz əˈpɪr ɪn ðə ˈəðərˌwaɪz moʊst rɪˈspɛktəbəl əv ˈtɛləˌvɪʒən ˈʧænəlz ənd ˈnuzˌpeɪpərz. ˈlaɪkˌwaɪz, tu ər mɔr wərdz meɪ bi fəˈnɛtɪkli aɪˈdɛntɪkəl, bət dɪˈstɪŋkt ɪf ɑr hæv nɑt rɛd ðiz wərdz ˌɪnˈtɛnsɪvli ənd hæv ˈoʊnli hərd ðɛm, ðeɪ wɪl spɛl ðɛm identically*, ər ˈwɪmzɪkli, ənd soʊ ɪn fækt ðeɪ du. bət wɪn ðɪs kaɪnd əv ˈtritmənt ɪz ˈmitɪd aʊt ɔn ðə ˌmɑnjəˈmɛnəl ˈpoʊətri əv ˈɪkbəl hum ˈpækɪˌstæn hoʊldz ɛz ɪts ˈnæʃənəl poʊət, ðə kət ɪz ˈdipər. ðə lɔs əv ˈlæŋgwɪʤɪz, təˈgɛðər wɪθ ðə ˈrɛtrəˌgreɪd ˈmoʊʃən əv wət wɑz ˈraɪzɪŋ ɛz ə ˈrɛdɪŋ ˈkəlʧər əv ərˈdu ˈpoʊətri bɪɔnd ʃɪr ˈhirɪŋ ðiz tu hɪˈstɔrɪkəl ˈæksədənts goʊ ə lɔŋ weɪ ɪn ɪkˈspleɪnɪŋ waɪ ɪz rɪˈsidɪŋ ˈɪntu ˈdɑrknəs frəm ðə skaɪz əv kənˈtɛmpərˌɛri ˈkəlʧərəl voʊg. bət, ðɛn, ðɛr ɪz ə θərd ˈkɔzəl ˈeɪʤənsi ðət ˈfɪgjərz ɪn ðɪs ˌɛkspləˈneɪʃən, pərˈhæps ðə moʊst ˌɪmˈpɔrtənt wən. ðɪs θərd ˈeɪʤənsi ɪz ðət əv sərˈɛndər ənd əˈbændənmənt. ˈɪkbəl həz bɪn ˈgɪvɪn ˈoʊvər, ˈɔlˌmoʊst ˈtoʊtəli, tɪ ðə ˈmərsi əv ə ˈnɔɪzi bəˈzɑr əv ˌaɪdiəˈlɑʤɪkəl ˈvɛndərz; əˈbændənd ənd sərˈɛndərd tɪ ðə kəˈmoʊʃən əv ðiz ˈvɛndərz hu treɪd ɪn ɔl staɪlz ənd moʊdz ənd colours*. ðeɪ ɔl tɔk əˈbaʊt ‘‘message’*’, hɪz ‘‘philosophy’*’, tɪ ðə ɪkˈskluʒən əv hɪz ˈpoʊətri. ˈɛvriˈdeɪ ərˈdu ˈpoʊətri əv ðə ˈpɑpjələr kaɪnd hæv ɪn ˈʤɛnərəl bɪˈkəm sˈlɔtərˌhaʊsɪz əv ˈmitər. fər səm əv ðə ˈaɪdiəlɔgz, fər ɪgˈzæmpəl, ˈmɛsɪʤ ɪz ən ɪˌlæbərˈeɪʃən əv ðə ˈdɑktrənz əv ˌɪsˈlɑm. hi ɛnˈvɪʒənz ðə ˈməzlɪm kəmˈjunɪti tɪ kənˈtroʊl ənd lɛd ðə ˈgloʊbəl wərld ˈplɪtɪkli ənd ˌɛkəˈnɑmɪkli, ɪf ˈoʊnli ðə kəmˈjunɪti wər tɪ ˈɪŋkəlˌkeɪt saʊnd ˈprɪnsəpəlz əv sharī‘a*. fər ˈəðərz, hi həz ˌənmɪˈsteɪkəbəl ˈlinɪŋz təˈwɔrdz kɑrl mɑrks, huz vɔɪs hi ˈrɛkriˌeɪtɪd ɪn ˈbjutəfəl ˈvərsɪz ɪn ðə (ðə hɪt əv ˈmoʊzɪs), ənd hum hi ˈivɪn kɔld ˈʤizəs sænz ðə cross”*” ɪn ðə (ðə gɪft əv). bət ðɛr ər ðoʊz ˈvɛndərz tu ɪn ðɪs ˌaɪdiəˈlɑʤɪkəl bəˈzɑr hu, fər ˈɪnstəns, seɪ ðət ˈɪkbəl ˈpriʧɪz ˈvaɪələns ənd ˈblədˌʃɛd, ənd ðət hi hoʊldz ðə wərld əv ˈneɪʧər ɪn ˈæbʤɛkt kənˈtɛmpt, ˈgɪvɪn hɪz ˈvɪʃəs ˈsɪmbəˌlɪzəm əv ðə ˈigəl ənd ðə hɔk ənd ðə ˈigoʊ. ənd jɛt, səm ˈaɪdiəlɔgz hæv ɪt ðət ˈɪkbəl ɪz ə greɪt ‘‘philosopher’*’ huz ˌrikənˈstrəkʃən əv rɪˈlɪʤəs θɔt ɪn ˌɪsˈlɑm ɪz ə ˈsɪnθəsəs ðət bɪˈstoʊz əˈpɑn ɪm ə ˈstætəs haɪər ðən ðət əv, seɪ, bergson*, ər ˈwaɪˌthɛd; ˈoʊnli tɪ bi ˌkɑntrəˈdɪktəd baɪ ən ˌɑpəˈzɪʃən dɪˈklɛrɪŋ ðə ˌrikənˈstrəkʃən tɪ bi ə əv ˌkɑntrəˈdɪkʃənz. ɪn ðə θɪk dəst əv ðɪs ˈmeɪˌleɪ, ˈpoʊətri ɪz lɔst. ˈlɪtəl səˈpraɪz, ðɛn, ðət ˈspɛrɪŋli ˈsɛməˌnɑrz ənd ˈkɑnfərənsəz ɔn ˈɪkbəl ˈtɪpɪkəli ˈsaɪˌdlaɪn hɪz ˈpoʊətri tɪ ðə pərˈɪfəri əv ðə ˈdɪskɔrs. ɔn ðə ˈəðər hænd, ɪn ˈkɑlɪʤɪz ənd ˌjunəˈvərsətiz hoʊl ˈkɔrsɪz ɔn ˈɪkbəl ər biɪŋ tɔt bət ˈtɪpɪkəli baɪ ðoʊz hu ɪn ðɛr mik ˌrɛsɪˈteɪʃənz kɪl vərs ˈmɛtrɪkəli, ðəs dɪˈpraɪvɪŋ ɪt əv ɪts ˈrɪðmɪk ˈdɪgnəti; ɪn ˈəðər wərdz, ðiz ˈkɔrsɪz ər tɔt ˈʤɛnərəli baɪ ðoʊz hu ər ənˈtəʧt baɪ ənd ɪn poʊˈɛtɪk kriˈeɪʃənz. ˈɪkbəl (ˈsɛntər, ˈbɑtəm roʊ) wɪθ ˈmɛmbərz əv ðə ˈsərkəl əv ˌɪzˈlɑmɪk ˈstədiz ɪn lɑˈhɔr, 1933 ˈɪkbəl ɪn ˈpɪkʧərz aɪ hæv əˈtɛndəd ˈmɛni ən ˌɪnərˈnæʃənɑl ˈkɑnfərəns ɔn ˈɪkbəl, hɛld wɪθ məʧ ˈfænˌfɛr ənd ˈlævɪʃ ˈfəndɪŋ; ðiz tərnd aʊt tɪ bi ɪˈvɛnts ˈdʊrɪŋ wɪʧ nɑt ˈivɪn ə ˈsɪŋgəl əv ɑr poʊət ɪz kˈwoʊtɪd ɪn ə fʊl prəˈsidɪŋz. ðɛn, ˌækəˈdɛmɪk ənd ˌʤərnəˈlɪstɪk məˈtɪriəl ɔn ˈɪkbəl kənˈtɪnjuz tɪ bi prəˈdust bət ˈɔlˌmoʊst nən ɔn hɪz poetics*, ɔn hɪz ˈmɛtəfɔrz, hɪz ˈsɪmbəˌlɪzəm, ˈdɪkʃən, ˈrɪðəmz ənd ˈɪmɪʤri. baɪ fɑr, moʊst əv wət əˈpɪrz ɪn prɪnt həz tɪ du wɪθ θɔt, hɪz ‘‘philosophy’*’, hɪz pəˈlɪtɪkəl aɪˈdiəz, hɪz pan-islamism*, hɪz drim əv ˈpækɪˌstæn, ənd hɪz ‘‘message’*’. ɪt ɔt tɪ bi ədˈmɪtəd ðət ˈɪkbəl həz ˈmɛni ðə əv fəˈlɑsəfi, ˈpɑləˌtɪks ənd ɪˈkɑnəmi, ˌɪnərˈnæʃənɑl riˈleɪʃənz ənd kəmˈjunɪti əˈfɛrz əv hɪz taɪmz. jɛs, hi ɪz faʊnd ˈkɑntəmˌpleɪtɪŋ ɪn ðə wərld əv ˌmɛtəˈfɪzɪkəl θɔt ənd ˌspɛkjəˈleɪʃənz; ənd ɛz ən ˈæktɪv pɑrˈtɪsəpənt ɪn ðə rɛlm əv ˈməzlɪm ˈmuvmənts ɪn ˈɪndiə; ənd dɪˈvɛləpɪŋ ˈdɑktrənəl graʊnz fər ənd ðə ˈməzlɪm lig; ənd ˈraɪtɪŋ ˈivɪn ɔn ˌɛkəˈnɑmɪks; ənd ˈpræktɪsɪŋ lɔ; ənd biɪŋ ˈɑnərd ɛz ə naɪt əv ðə ˈbrɪtɪʃ ˈɛmpaɪər. ənd jɛt ɪt ɔt bi dɪˈklɛrd ˈfɔrsfəli ðət ˌwəˈtɛvər ɛls ˈɪkbəl ˈhæpənz tɪ bi, hɪz ˈpraɪˌmɛri əˈboʊd, ðə əv ɔl, ɪz ðə əˈboʊd əv ˈpoʊətri. ɪt ɪz hu rulz ˈoʊvər ɑr hɑrts ðə ˈɪkbəl əv darā*ā ənd ənd. ju teɪk ðɪs ˈpoʊətri əˈweɪ ənd ju teɪk əˈweɪ ˈɪkbəl. ˈɔlsoʊ rɛd: rɪˈmɛmbərɪŋ ə ˈmævərɪk ˈpoʊətri həz ɪts oʊn ˈgræmər ənd ˈlɑʤɪk, ɪts oʊn bit ənd ˈrɪðəmz. ˈsəmˌtaɪmz, ˌriˈæləˌti həz tɪ bi dɪˈstɔrtɪd fər poʊˈɛtɪk ˈsərvɪs, ə dɪˈstɔrʃən wi kɔl ‘‘fiction’*’. æt taɪmz, ðɛr ər kriˈeɪtɪv ˈmoʊmənts ɪn ðə biɪŋ wɪn ˌkɑntrəˈdɪkʃənz əv ðə ˈɔrdəˌnɛri kaɪnd ər ədˈmɪtəd ɛz ɛsˈθɛtɪk ˈbləʃɪz. stɪl, ðɛr kəm ˈəðər ˈmoʊmənts wɪn ðə ˈmɛtəfɔr ɪz ˈtæŋgəld ɪn ˌriˈæləˌti ənd ˌriˈæləˌti ɪn ˈmɛtəfɔr. ˈgɪvɪn ðɪs, ɔl kaɪnz əv ‘‘messages’*’ kən bi drɔn aʊt əv ˈɪkbəl, ənd ðiz ‘‘messages’*’ kən ˈivɪn klæʃ wɪθ wən əˈnəðər. soʊ, ðoʊz ˈvɛndərz hu stænd ɔn ðə ɪkˈstrim raɪt ɪn ðə ˌaɪdiəˈlɑʤɪkəl bəˈzɑr kən saɪt ðɛr ˈʤɛnjuˌaɪn ˈɛvədəns frəm ˈɪkbəl; ðoʊz ɔn ðə fɑr lɛft kən saɪt ðɛr oʊn ˈʤɛnjuˌaɪn wənz tu. ðə pɔɪnt ɪz ˈpoʊətri, ˈglɔriəs ˈpoʊətri; ɔl ɛls laɪz bɪˈniθ ɪt. ɛz ˈigəl sɛd: ðɪs ˈɑrtɪkəl wɑz ərˈɪʤənəli ˈpəblɪʃt ɪn ðə ˈhɛrəldz dɪˈsɛmbər 2016 ˈɪʃu. tɪ rɛd mɔr səbˈskraɪb tɪ ðə ˈhɛrəld ɪn prɪnt. ðə ˈraɪtər ɪz prəˈfɛsər ənd ædˈvaɪzər əv ðə ˈsoʊʃəl ˈsaɪənsɪz ənd ˈlɪˌbərəl ɑrts ˈproʊˌgræm æt ðə ˈibə, kɑˈrɑʧi. hi ˈɔlsoʊ hoʊldz ə ˈvɪzɪtɪŋ ˈfækəlti əˈpɔɪntmənt ɪn nɪr ˈistərn ˈlæŋgwɪʤɪz ənd æt ðə ˌjunəˈvərsəti əv ˌpɛnsəlˈveɪnjə.
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allama iqbal (centre, bottom row) with his students and colleagues at government college, lahore in 1910 | iqbal in pictures
once upon a time, once upon a recent time in fact, young urdu poets frequently used to talk about iqbal’s poetry in both formal and social settings — iqbal, pakistan’s national poet whose birth anniversary just went by on november 9. and not only poets but south asian intellectuals in general, among them even diehard ideologues standing tenaciously on the left side of the aisle, such groups too used to invoke this monumental literary personage all the time.
i recall sitting in london with the well-known contemporary poet iftikhar arif who would recite iqbal and explicate his poetic virtuosity for hours on end — and he would do so with an inner glow and passion, passion that seemed to arise out of the depths of an articulate voice and a fine literary sensibility. then, there were the bbc veterans with whom i socialised as a young broadcaster: i remember taqi ahmad syed, rashid ashraf, rashidul ghafoor, muhammad ghayur, hasan zaki kazimi, raza ali abidi, tahir mirza who subsequently became daily dawn’s editor, and several others, all of them at times virtually drenched in iqbal’s verse, and this despite the fact that many of them had a leftist orientation.
in these poetic reminiscences, there were occasions when faiz ahmad faiz too would join in. people forget that faiz had translated into urdu many of iqbal’s poems from his payām-e mashriq (message of the east) — this verse translation is now available in an audio rendition by adeel hashmi. indeed, in one of his own poems in his first collection naqsh-e faryādī (complaining image) – a poem called iqbal written in honour of the named – faiz affectionately called him a khush-navā faqīr (mendicant/fakir with a beautiful or pleasing voice):
i recall saqi faruqi as well, an uncompromising follower in the footsteps of noon meem rashid – rashid, who marks a daring new departure in urdu poetry with an ambivalent and sometimes dismissive attitude to iqbal – and in this case too we see the embodiment of an irony. this now senior poet saqi living in london used to speak to me every now and then about iqbal. he often referred to what he described as the majesty and grandeur (the arabic/persian/urdu word he chose was ihtishām) of iqbal’s words and poetic diction. i found the verbal noun ‘ihtishām’ so very appropriate for the sonorous voice that radiated forth from the bāñg-e darā (call of the bell) and bāl-e jibra’īl (gabriel’s wing), the two works of iqbal i loved most at the time.
in pakistan, and generally in all of the south asian urdu world, things were the same — only the scale was higher. here, in my early youth, numerous senior scholars of iqbal’s poetry flourished — salim ahmad was one of the glowing ones in this cluster, and among his own seniors were indefatigable critics and writers like syed abid ali abid. but what is most significant and ironic is that pakistan’s leftist groups in their private moments appeared to be utterly enamoured of iqbal’s verse, listening to it practically as a clandestine treasonable activity. they indulged in this activity despite their formal and vocal ideological rejection of iqbal’s ‘philosophy’, whatever that is.
these days, when we are well into the new century, young literary circles hardly talk about iqbal’s verse.
on the other hand, pakistan’s religious scholars would cite and chant iqbal’s poetry in their sermons and especially in muharram assemblies (majālis). his poems would be set to music routinely by state electronic media. one heard his verses being declaimed all around with cultivated intonations, informed pauses, sound punctuations, stainless enunciations and with standard pronunciations.
high premium was placed on those who held iqbal’s poems in their active memory. i cannot forget my liberal-left elders asking me to recite saqināma (to the cupbearer) or masjid-e qurtuba (mosque of cordoba) from the collection bāl-e jibra’īl that i could recall readily. a child as i was, i would earn much praise and enthusiastic patronising pats on my shoulders, and sometimes this came with delightful rewards too, a bar of chocolate or some ice cream …
also read: mind your language—the movement for the preservation of punjabi
it seems to me that one of the greatest fiction writers of our times, qurratulain hyder, had a fascination for iqbal. as for her philosophical orientation, no matter how we describe her, by no stretch of imagination can she be called a conservative or, to use a christian theological term that has gained global currency, an ‘orthodox’ muslim. in her rich world of imagination, iqbal served as an inspiration, an effulgent source of creative signposts from whose oeuvre she could draw just a few words to sum up an entire protracted socio-cosmic narrative.
“most of my titles [yes, she did say “most”] come from the poetry of iqbal and faiz,” hyder declared in an interview in 2006. indeed, she called her debut novel, completed in 1948, mērē bhi sanam khānē (my idol-houses too) — this resounding title happens to be a quarter-verse from a ghazalesque poem of iqbal in bāl-e jibra’īl, a poem written in a broken metre where every half-verse (misra‘) is made up of two further half-verses, often with an internal rhyme:
then, many decades later, we saw kār-e jahañ darāz hai (much to be done in this world); this title of this mature work being another quarter verse from another broken-metre poem from the same bāl-e jibra’īl.
so until fairly recently iqbal-the-poet transcended ideological leanings, and this was so because there did exist around us a poet called iqbal who wrote majestic poetry. here let us carve a creative principle on our literary consciousness — namely, that poetry of a higher order, even though it must come to pass from within this real and moving world of ours, arises in manifestation in a framework that is cosmic, not contingent upon accidents of history, or upon ideological positions, or riding on the shoulders of changing political winds; as iqbal himself said, “it sprouts forth from ‘me-and-thee,’ but cleanses itself of ‘me-and-thee’ …”
but, then, things have changed now: these days, when we are well into the new century, young literary circles hardly talk about iqbal’s verse, and those very few individuals who dare invoke his poetry have to apologise in case they are accused of being obscurantists, backward-moving, ‘orthodox’; at best, being revisionists. now in the self-professed liberal chambers, iqbal has effectively become a dark force in its fullness, an embarrassing event in the intellectual vicissitudes of our world. yes, iqbal does seem to be going out of fashion. but how does one explain this obliteration of a corpus of what one would recognise as poetry of a high order, nay, glorious poetry? what is the explanation of this darkening of iqbal-the-poet from the literary horizons of south asian urdu societies?
what is most significant and ironic is that pakistan’s leftist groups in their private moments appeared to be utterly enamoured of iqbal’s verse.
to begin with, one would mourn the loss of languages in these societies, more particularly in pakistan. let alone source languages such as arabic or persian or sanskrit, the national language urdu too has all but gone. there, of course, do exist numerous urdu electronic media channels, and then there are these urdu print media publications, and we do also see these days an emerging pakistani film industry using urdu as its underlying carrier — but they are all lost in a linguistic anarchy, suffering a total lack of philological standardisations. is the word vaqfa (break) feminine or masculine? do you announce the time of iftār (fast breaking) or aftār? do you express felicitations by offering mubārak or by offering mubārik? or is it, rather, offering mubārakbād? or offering mubārikbād? what is it? do you seek aman (peace) in karachi or is the word amn? is the urdu word for recruitment ta‘īnāt or ‘ta‘ayyunāt’? do i suffer from a marz (illness) or from a maraz?
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we hear all kinds of variations on these common media utterances — variations in gender, in vowel placements, in vowel arrangements, and in vocalisations. we also see a free market of non-standard idioms whose countless examples abound in the media, but here i have restricted myself to morphological issues, overlooking the injuries inflicted upon standard syntax and usage. now the listener, especially the very young listener, is confused. when the process lingers, as it does, one of two things happens very soon — the youngster either abandons making sense of urdu or this victim actually begins to bask in confusion, thus being made to suffer a permanent intellectual impairment. but equally serious, let us remember a lesson from history — when standardisation goes, eventually language goes.
given this ethos, it is small wonder that a typical college student in pakistan cannot even read the title pages of iqbal’s poetic collections. the disappointments extend far: when on a larger scale we try to gather this soil’s entire intellectual harvest reaped over the past nearly three generations, our gathering bags remain virtually empty. as the local intelligentsia shrinks, the causal agency of the state remains ruthless — the state does not recognise education to be a process of nourishing human thought, imagination, and creativity. rather, education officially means vocational training — training that is considered to promise a corporate job. the specific case of languages is particularly worrisome. languages are hardly cultivated in schools and colleges, and this has rendered some three generations practically without any articulate tongue and, to hold faiz’s hand in this moment of agony, we join him in his lament:
while this disability, this language vacuum, this linguistic blackout, has blocked access to iqbal’s poetry, it has also dethroned a literate culture – a reading culture – into a non-reading, non-literate aural culture. this is another element in the explanation of why iqbal is going out of fashion.
iqbal’s poetry is not mushā‘ara poetry; it is not for declamation in a performance assembly to display the poet’s virtuosity. in fact, nearly all of what we call modern urdu poetry is poetry for reading: noon meem rashid is very strictly not for mushā‘aras, nor is meeraji’s verse, and the same applies to much of faiz. this explains why, along with iqbal, we have also thrown into yawning obscurity a bulk of modern urdu poetry; the disappearance of rashid is particularly conspicuous in these extinctions. we credit rashid for raising urdu poetry finally from the realm of hearing and performance and crowd-pleasing into the literate realm of reading and reflecting and solitude — and this historic elevation seems now to have been reversed in a process of cultural retrogression.
in fact, what we have ended up with seems worse than just a reversal. if in the mughal period urdu poetry was largely a verbal firework sport of performances before royal patrons and cheering or heckling public gatherings, it was modulated and controlled by a well-read milieu. that milieu has been extinguished. and as i see it, this death of a cultural milieu is the reason why these days we hear around us daringly incorrect recitations of iqbal’s poetry, if it is recited at all.
high premium was placed on those who held iqbal’s poems in their active memory.
i must emphasise that this judgment of “incorrectness” is not a subjective matter of opinion, for here i speak in strict terms of numerical accuracy, literally. urdu poetry, almost always, expresses itself in metrical arrangements that are determined quantitatively, unlike, say, english poetry; in other words, a given metre of an urdu verse is made up of a fixed number of short and long enunciations. you add to or subtract from this fixed number — lo! you have destroyed the metre. so, there certainly is an objectively correct way of reciting urdu poetry, a judgment that is, so to speak, scientific.
a fascinating fact is that, until this day, recognised urdu poetry is the best source of learning vocalisation of words. while a standard urdu verse, such as that of ghalib or iqbal or rashid, does not indicate which of the three vowels — a (zabar), i (zēr), u (pēsh) — you place between two consonants of a word that occurs in it, it does compel you to place one of these three vowels where a vocal motion (harakat) is needed; and it compels you to read two consonants without a vowel when they must remain quiescent; and it compels you to geminate a consonant where gemination is a phonetic requirement. i say “compel” because the running metre of a verse is the determining principle that sets its rhythmic balance (vazn); you misread a word and you kill the metre. yes, the metre serves as bridles that fully control the reader-reciter.
allama iqbal (far right) in london for the second round table conference in 1931 | iqbal in pictures
now that the reading culture has been demoted to a non-literate culture merely of hearing, and now that one hears all sorts of mispronunciations in the air, everyday urdu poetry declamations of the popular kind have in general become slaughterhouses of metre — and this means slaughterhouses of all urdu poetry as we know it. the consequences are even more drastic in fact: since there do exist urdu alphabetical characters that have identical sounds (such as the four characters that are all pronounced z, or the two characters that are enunciated as h), therefore just by hearing them one cannot make orthographic identifications in writing them down — and so words carrying these sounds are now misspelt as a routine matter. to be sure, these misspellings appear in the otherwise most respectable of television channels and newspapers.
likewise, two or more words may be phonetically identical, but orthographically distinct — if our scribes/typists/writers have not read these words intensively and have only heard them, they will spell them identically, or whimsically, and so in fact they do. but when this kind of treatment is meted out on the monumental poetry of iqbal whom pakistan holds as its national poet, the cut is deeper.
the loss of languages, together with the retrograde motion of what was rising as a reading culture of urdu poetry beyond sheer hearing — these two historical accidents go a long way in explaining why iqbal-the-poet is receding into darkness from the skies of contemporary cultural vogue. but, then, there is a third causal agency that figures in this explanation, perhaps the most important one. this third agency is that of surrender and abandonment. iqbal has been given over, almost totally, to the mercy of a noisy bazaar of ideological vendors; abandoned and surrendered to the commotion of these vendors who trade in all styles and modes and colours. they all talk about iqbal’s ‘message’, his ‘philosophy’, to the exclusion of his poetry.
everyday urdu poetry declamations of the popular kind have in general become slaughterhouses of metre.
for some of the ideologues, for example, iqbal’s message is an elaboration of the doctrines of islam. he envisions the muslim community to control and lead the global world politically and economically, if only the community were to inculcate sound principles of sharī‘a. for others, he has unmistakable leanings towards karl marx, whose voice he recreated in beautiful verses in the zarb-e kalīm (the hit of moses), and whom he even called “a jesus sans the cross” in the armughān-e hijāz (the gift of hijāz). but there are those vendors too in this ideological bazaar who, for instance, say that iqbal preaches violence and bloodshed, and that he holds the world of nature in abject contempt, given his vicious symbolism of the eagle and the hawk and the ego.
and yet, some ideologues have it that iqbal is a great ‘philosopher’ whose reconstruction of religious thought in islam is a synthesis that bestows upon him a status higher than that of, say, bergson, or whitehead; only to be contradicted by an opposition declaring the reconstruction to be a basketful of contradictions. in the thick dust of this melee, iqbal’s poetry is lost.
little surprise, then, that today’s sparingly organised seminars and conferences on iqbal typically sideline his poetry to the periphery of the discourse. on the other hand, in colleges and universities whole courses on iqbal are being taught — but typically by those who in their meek recitations kill iqbal’s verse metrically, thus depriving it of its rhythmic dignity; in other words, these high-sounding courses are taught generally by those who are untouched by and unschooled in iqbal’s poetic creations.
allama iqbal (centre, bottom row) with members of the circle of islamic studies in lahore, 1933 | iqbal in pictures
i have attended many an international conference on iqbal, held with much fanfare and lavish funding; these turned out to be events during which not even a single half-verse of our poet is quoted in a full day’s proceedings. then, academic and journalistic material on iqbal continues to be produced but almost none on his poetics, on his metaphors, his symbolism, diction, rhythms and imagery. by far, most of what appears in print has to do with iqbal’s thought, his ‘philosophy’, his political ideas, his pan-islamism, his dream of pakistan, and his ‘message’.
it ought to be admitted that iqbal has many abodes — the abodes of philosophy, politics and economy, international relations and community affairs of his times. yes, he is found contemplating in the world of metaphysical thought and speculations; and as an active participant in the realm of muslim movements in india; and developing doctrinal grounds for quaid-e-azam and the muslim league; and writing even on economics; and practicing law; and being honoured as a knight of the british empire. and yet it ought be declared forcefully that whatever else iqbal happens to be, his primary abode, the loftiest of all, is the abode of poetry. it is iqbal-the-poet who rules over our hearts — the iqbal of bāñg-e darā and bāl-e jibra’īl and payām-e mashriq. you take this poetry away and you take away iqbal.
also read: remembering a maverick — musadiq sanwal
poetry has its own grammar and logic, its own beat and rhythms. sometimes, reality has to be distorted for poetic service, a distortion we call ‘fiction’. at times, there are creative moments in the poet’s being when contradictions of the ordinary kind are admitted as aesthetic blushes. still, there come other moments when the poet’s metaphor is tangled in reality and reality in metaphor. given this, all kinds of ‘messages’ can be drawn out of iqbal, and these ‘messages’ can even clash with one another. so, those vendors who stand on the extreme right in the ideological bazaar can cite their genuine evidence from iqbal; those on the far left can cite their own genuine ones too. the point is iqbal’s poetry, glorious poetry; all else lies beneath it. as iqbal’s eagle said:
this article was originally published in the herald's december 2016 issue. to read more subscribe to the herald in print.
the writer is professor and advisor of the social sciences and liberal arts programme at the iba, karachi. he also holds a visiting faculty appointment in near eastern languages and civilisations at the university of pennsylvania.
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wɪn ə jəŋ fɪlm bəf, ʤɪst ˈstɑrtɪŋ tɪ dɪg ɪn tɪ ˈmæsɪv ˈkænən, ðɪs ˈfilɪŋ ðət kəmz wɪθ iʧ fɪlm ju wɔʧ. ə kaɪnd əv haɪ, ˈrɪli. ə ˈmɪksʧər əv blɪs ənd əˈstɑnɪʃmənt, əv ˈwəndər ənd ˌrɛvəˈleɪʃən. ɪn ðə fju jɪrz lɪvd əp tɪ ðɪs pɔɪnt, ˈnɛvər ɪkˈspɪriənst səʧ ən ɪˈlæbərˌeɪt əreɪ əv θɔts ənd ˈɪˌmoʊʃənz frəm ə fɪlm. ju ˌəndərˈstænd wət ˈpipəl min wɪn ðeɪ seɪ ðət fɪlmz ər ““great,”*,” ənd ˈnəθɪŋ ðət ju wɔnt tɪ du mɔr ðən kənˈsum ɛz ˈmɛni əv ðiz greɪt fɪlmz ɛz ju ˈpɑsəbli kən. ˈsɪnəmə ɪz jʊr drəg, ənd ʤɪst ˈteɪkən jʊr fərst hɪt. bət ɛz wɪθ ɔl drəgz, ðə strɛŋθ əv ðə haɪ feɪdz ɛz taɪm goʊz ɔn. ˈeɪbəl tɪ ˌɪnəˈlɛkʧuəli ˈrɛkəgˌnaɪz ““greatness”*” ɪn fɪlmz, ənd stɪl ə fænˈtæstɪk weɪv əv ʤɔɪ ðət kəmz wɪθ ˈwɑʧɪŋ ðɛm. ɪf ðɛr wasn’t*, ju wɔʧ ˈmuviz ˌɛniˈmɔr. bət ɪn ðə bæk əv jʊr maɪnd, ju noʊ ðət ˈnɛvər goʊɪŋ tɪ gɪt ðət ərˈɪʤənəl ˈfilɪŋ bæk. ðə mɔr fɪlmz ju wɔʧ, ðə ˈhɑrdər ɪt bɪˈkəmz fər ə fɪlm tɪ səˈpraɪz ju, ənd bɪˈkəmɪŋ ən ˈædəlt minz ˈdæmpənɪŋ ðət pɑrt əv jʊr breɪn ðət gɪts ɪkˈsaɪtɪd əˈbaʊt ˌæbsəˈlutli ˈɛvriˌθɪŋ nu. ʤɪst ðə weɪ ðət ðə wərld wərks. waɪ du aɪ ˈmɛnʃən ɔl ðɪs? wɛl, fər ə lɔŋ taɪm wət aɪ əˈsumd wɑz tru. nɑt tru, ðoʊ. aɪ noʊ ðət naʊ. bɪˈkəz ə ˈkəpəl deɪz əˈgoʊ aɪ sɔ ðə ˈlɛgoʊ ˈmuvi, ənd aɪ fɛlt ˈsəmθɪŋ ˌɪnˈsaɪd mi ðət aɪ fɛlt fər ə ˈvɛri, ˈvɛri lɔŋ taɪm. aɪ fɛlt laɪk aɪ wɑz siɪŋ ˈsəmθɪŋ nu. ɪf ju ˈoʊnli teɪk ə lʊk æt ðɪs fɪlm, ðɛn ɪt maɪt əˈpɪr tɪ bi ˈnəθɪŋ mɔr ðən ˈfəni bət sɪmˈplɪstɪk fɛr fər jəŋ kɪdz. hərd mɔr ðən ə fju ˈpipəl seɪ ɪgˈzæktli ðət. dɪˈspaɪt ˈɛvriˌθɪŋ ðət ˈpɪksɑr tɔt ˈjuˈɛs, ˈpipəl ər stɪl ˈhɛzɪtənt tɪ lʊk æt ˈænəˌmeɪtɪd fɪlmz ðət ər ɑˈstɛnsəbli gɪrd təˈwɔrdz ˈʧɪldrən wɪθ ə ˈsɪriəs ˈkrɪtɪkəl aɪ. ənˈfɔrʧənət, bɪˈkəz ðə ˈlɛgoʊ ˈmuvi ɪz ˌɪnˈkrɛdəbli dɛns ənd θəˈmætɪkli rɪʧ. ju seɪ ðət əˈbaʊt ə lɔt əv films.”*.” lʊk æt ðɪs bɛst ˈpɪkʧər ˈlaɪˌnəp. ðɛr ər səm greɪt fɪlmz ɪn ðɛr, tɪ bi ʃʊr, bət fju əv ðɛm du ˈɛniˌθɪŋ nu cinematically*, ənd ɔl əv ðɛm riˈstrɪkt ðɛr ˈfoʊkɪs tɪ ə ˈsɪŋgjələr θim. ˈprɪti ˈbeɪsɪk ˈstɔriˌtɛlɪŋ. ɪz ðə θɪŋ traɪɪŋ tɪ seɪ, ðɪs ɪz ðə ˈstɔri ðət wɪl kəmˈjunəˌkeɪt ðət message.”*.” ˈɛvəri gʊd ˈmuvi ɪn ˈhɪstəri dɪz ðɪs. ðɪs ɪkˈsklusɪv fɪkˈseɪʃən ɔn wən θim ɪz faɪn, ˌæbsəˈlutli ˈnəθɪŋ rɔŋ wɪθ ɪt. wɪʧ ɪz waɪ ðə ˈlɛgoʊ ˈmuvi blu mi əˈweɪ tɪ ðə dɪˈgri ðət ɪt dɪd. ðɪs ɪz ə fɪlm ðət ˈtækəlz ˈdəzənz əv ˈikwəli ˈfæsəˌneɪtɪŋ ˈtɑpɪks ənd taɪz ɔl əv ðə ˈmeɪʤər wənz ˈɪntu ə ˈjunəˌfaɪd θim æt ðə ɛnd. tɪ bɪˈhoʊld. ˈɛvəri sin, ˈɛvəri ʃɑt əv ðɪs ˈmuvi həz ˈsəmθɪŋ nu ɪn ɪt. ˈɛvəri ˈsɪŋgəl ˈmoʊmənt ˌɪntrəˈdusɪz ə nu aɪˈdiə ər ə nu ˈditeɪl əv ðə wərld, ənd nɑt ʤɪst ɪn ðə ˈsɛˌtəp. ðɪs ˈstrɛʧɪz ɔl ðə weɪ tɪ ðə ˈvɛri ɛnd əv ðə fɪlm. ðə ˈɛndɪŋ ˌɪntrəˈdusɪz jɛt əˈnəðər nu aɪˈdiə ðət ˈʧeɪnʤɪz ðə weɪ wi θɪŋk əˈbaʊt ðə wərld ənd haʊ ɪt ˈɑpərˌeɪts. θɪŋk əˈbaʊt səm ˈmuviz wɪθ greɪt ““world-building.”*.” naʊ θɪŋk əˈbaʊt haʊ ðoʊz fɪlmz bɪld ðɛr wərldz. ˈmoʊstli ˈsɛˌtəp tɪ səˈpɔrt ðə ˈstɔri, raɪt? nɑt soʊ hir. ðə wərld ɪz ðə ˈstɔri ɪn ðə ˈlɛgoʊ ˈmuvi. ðeɪ ər wən ənd ðə seɪm. ənd ðoʊ ðɛr dɪˈvɛləpmənts ˈsɛpərˌeɪt frəm wən əˈnəðər æt taɪmz, iʧ ˈəltəmətli ɛnˈrɪʧɪz ənd ˌɪmˈpruvz ðə ˈəðər. ɪf ˈlʊkɪŋ fər ˈpipəl tɪ meɪk ə ˈmuvi əˈbaʊt legos*, goʊɪŋ tɪ wɔnt ˈsəmˌwən wɪθ ən aɪ fər ˈditeɪl. ˈæftər ɔl, ˈlɛgoʊ əˈbaʊt ðə ˈfaɪnəl ˈprɑdəkt ɛz məʧ ɛz əˈbaʊt ˈɛvəri ˈlɪtəl ˌɪndəˈvɪʤəwəl blɑk ðət meɪks ðə ˈprɑdəkt wət ɪt ɪz. (ðɪs ˈæˌkʧuəli ɛndz əp taɪɪŋ ˈprɪti ˈstrɔŋli ˈɪntu ðə ˈnɛrətɪv, bət gɪt tɪ ðət ɪn ə bɪt.) ɪn ˈəðər wərdz, ˈleɪzinəs bi ˈtɑlərˌeɪtəd ɪn ðə ˈmeɪkɪŋ əv ə ˈmuvi laɪk ðɪs. ˈɛvəri ʃɑt həz tɪ bi soʊ ˈbərstɪŋ wɪθ mɪˈnuʃiə ðət ˈnɛvər ˈnoʊtɪs ðɛm ɪf ju ˈlʊkɪŋ. ju kən ˈkrɪtɪˌsaɪz fɪl lɔrd ənd ˈkrɪstəfər ˈmɪlər fər ˈplɛnti əv θɪŋz (aɪ, bət ə ˈpərsən kʊd) bət ɪn ðɪs ˈɛriə ˌəndɪˈnaɪəbəl ðət ðeɪ neɪld ɪt. ðɛr fɪlm ˈklaʊdi wɪθ ə ʧæns əv ˈmitˌbɔlz ˈɔlsoʊ ɪkˈsɛld æt ðɪs, wɪθ ˈɛvəri ˈbækˌgraʊnd ˈditeɪl ˈkəmɪŋ ˈɪntu pleɪ ˈleɪtər ɔn ɪn ðə ˈstɔri. hir, ðə ˈditeɪlz ər mɔr əˈbaʊt ɪnˈrɪʧɪŋ ðə wərld. ɪn ðə ˌɪntrəˈdəktəri ˈsikwəns wɛˈrɪn ˌɪntrəˈdust tɪ ˈɛmɪt, ɑr by-the-book*, kənˈfɔrmɪst proʊˈtægənəst, wi si ə ˈpoʊstər fər hɪz ˈfeɪvərɪt bænd ɪn hɪz əˈpɑrtmənt. ðə neɪm əv ðə bænd ɪz ˈpɑpjələr band.”*.” ˈtreɪdˌmɑrk ˈhjumər, ənd soʊ ˈsutɪd tɪ ðɪs fɪlm. tɔk əˈbaʊt ðət, ˈæˌkʧuəli. lɔrd ənd ˈmɪlər hæv ə juˈnik staɪl əv ˈhjumər, ənd ə ˈmeɪʤər pɑrt əv wət meɪks ðɛr fɪlmz soʊ ˈspɛʃəl. ɪt kən bi hɑrd tɪ dɪˈskraɪb, bət ɪt həz ˈsəmθɪŋ tɪ du wɪθ ˈtərnɪŋ ˈsəbˌtɛkst ˈɪntu tɛkst ɪn ə weɪ. ˈfeɪvərɪt bænd ɪz ə greɪt ɪgˈzæmpəl. ðeɪ kɑrv ən aɪˈdiə daʊn tɪ ɪts ˈsɪmpləst ˈɛləmənt, ənd ðɛn ɪgˈzæʤərˌeɪt ðət ˈɛləmənt tɪ ən ˌɪnˈseɪn dɪˈgri. ɪn wən əv maɪ ˈfeɪvərɪt sinz ɪn ðə ˈlɛgoʊ ˈmuvi, ˈbætˌmæn (wɪl ɑrˈnɛt) pleɪz ə sɔŋ ðət hi roʊt. ə ˈgrənʤi ˈbæləd ðət dɪgz dip ˈɪntu hɪz soʊl. ““darkness,”*,” ðə ˈlɪrɪks skrim. ˈbætˌmæn ɪkˈspleɪnz ðət əˈbaʊt haʊ ən ˈɔrfən. parents,”*,” ðə sɔŋ rɪˈspɑndz. ðə pɔrˈtreɪəl əv ˈbætˌmæn ɪz ə ˈprɪti ˈɑbviəs ʤæb æt ˈkrɪstəfər ənd grɪm ˈvərʒən, ənd æt ðə ““dark-and-gritty-ization”*” əv ˈɔlˌmoʊst ɔl ˌsupərˈhiroʊ ˈmuviz ɪn ðə pæst ˈdɛkeɪd. ˈfəni ðət ðə fɪlm ɪz dɪˈstrɪbjətəd baɪ ˈwɔrnər bros*., hu ˈspɪˌrhɛdɪd ðət ˈmuvmənt wɪθ ðɛr dɑrk naɪt fɪlmz ənd brɔt ðə ɪgˈzækt seɪm ˌsɛnsɪˈbɪlɪti tɪ mæn əv stil. ɪz ðɛr ə sˈmɑrtər weɪ tɪ poʊk fən æt ðɪs? noʊ daʊt. bət ˈsæˌtaɪər ʃʊd bi brɔd ənd əbˈsərd baɪ ɪts ˈvɛri ˈneɪʧər, ənd ðə bɛst ɪgˈzæmpəlz ər. sɔŋ, ənd ɔl ðə ˈəðər ʤoʊks laɪk ɪt, kʊd ˈizəli bi sin ɛz ˈʧaɪldɪʃ ər dəm ɪn ðɛr sɪmˈplɪsɪti. tɪ seɪ ðət ˈmɪsɪz ðə fækt ðət ðɛr sɪmˈplɪsɪti ɪz wət meɪks ðɛm soʊ ˈbrɪljənt. baɪ rɪˈdusɪŋ ðə ˈɑbʤɛkt əv ðɛr ˈkrɪtɪˌsɪzəm tɪ ɪts fɔrm, ðə ˈkrɪtɪˌsɪzəm bɪˈkəmz soʊ məʧ mɔr ˈkətɪŋ. fər ɪgˈzæmpəl, ˈɛmɪt ənd ðə rɛst əv ðə ˈrɛzɪdənts əv hɪz ˈsɪti ər dɪˈstræktɪd frəm ˈprɛzɪdənt business’*’ (wɪl ˈfɛrɪl) nəˈfɛriəs plænz baɪ ə ˌtɛləˈvɪʒən ʃoʊ kɔld wɛr ər maɪ pænts?, wɪʧ ɪz ˈnəθɪŋ bət ə mæn ˈæskɪŋ hɪz waɪf wɛr hɪz pænts ər, tɪ ðə ˈrɔrɪŋ əˈpruvəl əv ə ˈstudiˌoʊ ˈɔdiəns. ðə ˈsɪtɪzənri spɛnd ɔl deɪ, ˈɛvəri deɪ ˈlɪsənɪŋ tɪ ə ˈpɛpi ənd ˈəpˌbit pɑp sɔŋ kɔld ɪz awesome,”*,” wɪʧ drɪlz ˈɪntu ðɛr hɛdz ə səbˈkɑnʃəs dɪˈzaɪər fər kənˈfɔrməti ənd ən ˈɔlˌmoʊst dɪˈmænd fər ˈtimˌwərk. ðət sɔŋ, ˌɪnsɪˈdɛntəli, ɪz ə greɪt ˌɪləˈstreɪʃən əv ðə ˈlɛgoʊ ˈkɑmpləˌkeɪtəd ˈbrɪljəns. sin ə fju ˈkrɪtɪks kəmˈpleɪn ðət ðə sɔŋ ɪz mɛnt tɪ bi sin ɪn ə ˈnɛgətɪv laɪt æt ðə bɪˈgɪnɪŋ, bət ɪz pleɪd traɪˈəmfəntli ˈdʊrɪŋ ðə ɛnd ˈkrɛdɪts. ðɪs ə ˈbleɪtənt bɪˈtreɪəl əv ðə ˈmɛsɪʤ ɪn ˈɔrdər tɪ sɛl ðə soundtrack?”*?” ðeɪ æsk. wɛl, noʊ, nɑt. si, ðə ˈlɛgoʊ ˈmuvi həz ən ɪˈlæbərˌeɪt riˈleɪʃənˌʃɪp wɪθ θim. ˌɪnˈstɛd əv ˈteɪkɪŋ wən aɪˈdiə ənd pleɪɪŋ ɪt tɪ ɪts kənˈkluʒən, ə tən əv stəf goʊɪŋ ɔn æt ˈɛvəri ˈmoʊmənt. ˈivɪn ðə ˈsɛntrəl kən bi hɑrd tɪ ˌəndərˈstænd ɪf ˈlʊkɪŋ fər ə ˈsɪmpəl ˈmɔrəl ɪn ɪt. ɪf ju wər ˈoʊnli ʃoʊn ðə fərst tɛn ər ˈfɪfˈtin ˈmɪnəts əv ðɪs fɪlm, əˈsum ju nu wɛr ɪt wɑz goʊɪŋ. koʊˈhɪrəns tɪ ðə ˈstætəs kwoʊ meɪks ˈpipəl ˈvəlnərəbəl tɪ ðə skimz əv ˈpaʊərfəl ˈvɪlənz, ənd biɪŋ ərˈɪʤənəl ənd tru tɪ ˈjɔrsɛlf ɪz ðə bɛst weɪ tɪ lɪv. ənd fər ə waɪl, ɪt lʊks laɪk ðə ˈlɛgoʊ ˈmuvi ɪz ˈhɛdɪd ɪn ðət dɪˈrɛkʃɪn. ˈɛmɪt ɪz rɪˈkrutɪd baɪ ə grup əv ˈpipəl kɔld ˈmæstər ˈbɪldərz frəm ɔl ðə ˈdɪfərənt lego-verses*. ðeɪ θɪŋk special,”*,” ə ˈhɪroʊ fɔrˈtoʊld ɪn ˈprɑfəsi hu həz ðə juˈnik əˈbɪləˌti tɪ dɪˈfit ðə bæd ˈəltəmət ˈwɛpən. ðə ˈmæstər ˈbɪldərz ər ˈsɛpərˌeɪt frəm ˈævərɪʤ ˈpipəl bɪˈkəz ðeɪ nid tɪ ˈfɑloʊ ˌɪnˈstrəkʃənz. ðeɪ kən bɪld ˈɛniˌθɪŋ ðeɪ wɔnt wɪθ ʤɪst ðə ˈpisɪz ðeɪ si əraʊnd ðɛm. ðɛr ju hæv ɪt, raɪt? ə ˈprɪti ˈsɪmpəl jʊr oʊn weɪ ənd ˈfɑloʊ ðə crowd”*” ˈmɛsɪʤ fər ðə kɪdz. ɪkˈsɛpt mɔr ˈkɑmpləˌkeɪtəd ðən ðət. ðə ˈmæstər ˈbɪldərz ər ˌɪndɪˌvɪʤuəˈlɪstɪk tɪ ə fɔlt, ənd ɛz səʧ ˌɪnˈkeɪpəbəl əv ˈwərkɪŋ təˈgɛðər təˈwɔrdz ə ˈkɑmən goʊl. ðə ˈmuvi teɪks ðə ˈmɪdəl graʊnd ɔn ðɪs ˌpɑˈtɪkjələr ˈɪʃu, ənd ðət meɪks ɪt ənˈprɛsəˌdɛntɪdli boʊld. ““yes*, biɪŋ ˈtoʊtəli kənˈfɔrmɪst ɪz ə bæd θɪŋ ənd ju ʃʊd bi tru tɪ hu ju ər ɔn ðə inside,”*,” ðə ˈmuvi sɪz, ɪf ju ˈoʊnli juz jʊr ˈsɪŋgjələr əˈbɪləˌtiz fər ˈsɛlfɪʃ ˈpərpəsɪz, ðɛn nɑt wərθ ˈjuzɪŋ ðɛm æt all.”*.” ə fɑr mɔr ˈɑnəst ˈmɛsɪʤ ðən ðə ˈsɪmpəl yourself”*” ðət moʊst ˈmuviz wʊd hæv, ənd wət ˈrɪli meɪks ɪt ˌɛkstrəˈɔrdəˌnɛri. ənd ʤɪst wən θiˈmætɪk θrɛd. ðɛr ər ə tən əv ˈəðərz, ˌpɑrˈtɪkjələrli wən ðət aɪ ˈmɛnʃən bɪˈkəz əv ˈspɔɪlərz. ʤɪst seɪ ðət ˈoʊnli wən pleɪs ðɪs ˈmuvi kən goʊ ɪn ðə ɛnd, ənd ðeɪ goʊ ðɛr. ənd ɔn tɔp əv ɔl əv ðət, ˈsəmθɪŋ ɛls goʊɪŋ ɔn ðət ˈbustɪd maɪ əˌpriʃiˈeɪʃən əv ðə ˈlɛgoʊ ˈmuvi ˈɪntu ðə ˈstrætəsˌfɪr. ɪkˈstrimli ˈwɪti ənd ˈklɛvər wɪˈθaʊt biɪŋ ˈeɪliəˌneɪtɪŋ ər sməg, bɪˈkəz ə ˈbitɪŋ hɑrt ˌɪnˈsaɪd ˈɛvəri pis əv ˈplæstɪk. ðɪs səm aɪˈrɑnɪk krɪˈtik əv ˌɪtˈsɛlf. bɪn dən. noʊ, ðɪs ˈmuvi ɪz ˈtoʊtəli sɪnˈsɪr ɪn ˈɛvriˌθɪŋ ɪt dɪz, ənd ɔl ðə mɔr ˈrɛzənənt fər ɪt. wɪn θɪŋz ˈhæpən tɪ ðiz ˈkɛrɪktərz, nɑt pɑrt əv səm ʤoʊk ɔn ðə pɑrt əv ðə ˈfɪlˌmeɪkərz. ˈɛvriˌθɪŋ minz ˈsəmθɪŋ. ðə steɪks ər ril, ənd ˌɪnˈvɛstɪd ɪn ðɛm bɪˈkəz ðə ˈkɛrɪktərz ər ril. ɪf ˈɛniˌθɪŋ aɪˈrɑnɪk ər səbˈvərsɪv əˈbaʊt ðə ˈlɛgoʊ ˈmuvi, ðət ðiz bɪts əv ˈmoʊldɪd ˈplæstɪk kənˈteɪn fɑr mɔr juˈmænɪti ənd soʊl ðən soʊ ˈmɛni ˈkɛrɪktərz ɪn soʊ ˈmɛni ˈəðər ˈmuviz. ðə ˈmuvi teɪks ðɛm ˈsɪriəsli, ənd waɪl ðət ˈsɪriəsnəs ɛnˈhænsɪz ðə ˈhjumər ɪn ə lɔt əv ˈpleɪsɪz, ɪt ˈɔlsoʊ ɛnˈhænsɪz ðə kəˈnɛkʃən ðət ju fil tɪ ðɪs wərld. aɪ sɛd ˈərliər ðət ðə ˈfɪlˌmeɪkərz pʊt soʊ məʧ ləv ˈɪntu ðə kənˈstrəkʃən əv ˈɛvəri ˈsɪŋgəl ˈditeɪl ɪn ˈɛvəri ˈsɪŋgəl ʃɑt, bət ðə sˈmɑrtəst muv ðeɪ meɪk ɪz tɪ gɪt aʊt əv ðə weɪ əv ðɛr ˈstɔri. ɪf peɪɪŋ əˈtɛnʃən, ju maɪt stɑrt ənˈkəvərɪŋ ə æt pleɪ. bət ðɛn ðə ˈmuvi meɪks ðət ʤɪst pɑrt əv ðə ˈækʧəwəl ˈnɛrətɪv, ənd ˌɪnfˈjuzɪz ðət wɪθ dip ˌsɛnəmɛnˈtælɪti. ðɪs ˈmuvi ˈnɛvər priˈtɛndz ðət sˈmɑrtər ðən ɪts ˈkɛrɪktərz, ər ˈrɛvəlz ɪn ɪts ˈəltəmət paʊər ˈoʊvər ðɛr feɪts. soʊ fju ˈmuviz ər ˈeɪbəl tɪ pʊl ðət ɔf ənd nɑt kəm əˈkrɔs ɛz sməg ənd sˈnɑbɪʃ. ðə ˈkæbən ɪn ðə wʊdz ɪz wən. aɪ ˈrɪli θɪŋk əv ˈɛni ˈəðərz. deɪ ˈæftər deɪ fər ˈoʊvər ə wik naʊ, kəm bæk tɪ ðɪs ˌrivˈju ənd bɪn æt ə lɔs fər wət tɪ seɪ. aɪ θɪŋk ðət sɪz mɔr əˈbaʊt maɪ riˈækʃən ðən əˈnəðər ˈθaʊzənd wərdz ˈɛvər kʊd. nɑt ʤɪst ðət ðə ˈlɛgoʊ ˈmuvi ɪz ə greɪt ˈmuvi. ðɛr ər ˈplɛnti əv ðoʊz. ðə ˈlɛgoʊ ˈmuvi ɪz ɛz ɪnˌθuziˈæstɪk əˈbaʊt ˌɪtˈsɛlf ɛz ju ər, ənd nɑt ɪn ən ˌigəˈtɪstɪkəl weɪ. ˈpɪkʧər ɔl jʊr bɛst frɛndz ˈʤəmpɪŋ əraʊnd ˌɪnˈsaɪd ə ˈbaʊnsi haʊs, ˈɛvəri wən əv ðɛm sˈmaɪlɪŋ ənd ˈlæfɪŋ, ˈbɛkənɪŋ ju tɪ kəm ˌɪnˈsaɪd tɪ hæv fən wɪθ ðɛm. ðə ˈfilɪŋ ðət ðə ˈlɛgoʊ ˈmuvi ɪˈvoʊks. ˈɛvriˌwən ˌɪnˈvɑlvd wɪθ ðə kriˈeɪʃən əv ðɪs ˈmuvi ɪz ˈhævɪŋ ðə taɪm əv ðɛr lɪvz, ənd ɪt ˌæbsəˈlutli ʃoʊz. ˈkɑmplɛks, ˈhɑrtˌfɛlt, hɪˈlɛriəs, ˌɪnˈtɛləʤənt, pɪk wɪˈʧɛvər ˈæʤɪktɪv suts ju. ðə ˈlɛgoʊ ˈmuvi hæd ə proʊˈfaʊnd ˌɪmˈpækt ɔn mi, ðoʊ, wən aɪ noʊ ɪf ˈɛvər ɪkˈspɪriəns əˈgɛn. soʊ ðə ˈæʤɪktɪv goʊɪŋ tɪ juz ɪz ““perfect.”*.” ˈædvərˌtaɪzmənts
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when you’re a young film buff, just starting to dig in to cinema’s massive canon, there’s this feeling that comes with each film you watch. a kind of high, really. a mixture of bliss and astonishment, of wonder and revelation. in the few years you’ve lived up to this point, you’ve never experienced such an elaborate array of thoughts and emotions from a film. you understand what people mean when they say that films are “great,” and there’s nothing that you want to do more than consume as many of these great films as you possibly can. cinema is your drug, and you’ve just taken your first hit.
but as with all drugs, the strength of the high fades as time goes on. you’re able to intellectually recognize “greatness” in films, and there’s still a fantastic wave of joy that comes with watching them. if there wasn’t, you wouldn’t watch movies anymore. but in the back of your mind, you know that you’re never going to get that original feeling back. the more films you watch, the harder it becomes for a film to surprise you, and becoming an adult means dampening that part of your brain that gets excited about absolutely everything that’s new. that’s just the way that the world works.
why do i mention all this? well, for a long time what i assumed was true. not true, though. i know that now. because a couple days ago i saw the lego movie, and i felt something inside me that i haven’t felt for a very, very long time. i felt like i was seeing something new.
if you only take a surface-level look at this film, then it might appear to be nothing more than funny but simplistic fare for young kids. i’ve heard more than a few people say exactly that. despite everything that pixar taught us, people are still hesitant to look at animated films that are ostensibly geared towards children with a serious critical eye. unfortunate, because the lego movie is incredibly dense and thematically rich. you can’t say that about a lot of “grown-up films.” look at this year’s best picture line-up. there are some great films in there, to be sure, but few of them do anything new cinematically, and all of them restrict their focus to a singular theme. pretty basic storytelling. “this is the thing i’m trying to say, this is the story that will communicate that message.” every good movie in history does this. this exclusive fixation on one theme is fine, there’s absolutely nothing wrong with it. which is why the lego movie blew me away to the degree that it did. this is a film that tackles dozens of equally fascinating topics and ties all of the major ones into a unified theme at the end. awe-inspiring to behold. every scene, every shot of this movie has something new in it. every single moment introduces a new idea or a new detail of the world, and not just in the film’s set-up. this stretches all the way to the very end of the film. the ending introduces yet another new idea that changes the way we think about the film’s world and how it operates. think about some movies with great “world-building.” now think about how those films build their worlds. mostly set-up to support the story, right? not so here. the world is the story in the lego movie. they are one and the same. and though their developments separate from one another at times, each ultimately enriches and improves the other.
if you’re looking for people to make a movie about legos, you’re going to want someone with an eye for detail. after all, lego isn’t about the final product as much as about every little individual block that makes the product what it is. (this actually ends up tying pretty strongly into the narrative, but we’ll get to that in a bit.) in other words, laziness can’t be tolerated in the making of a movie like this. every shot has to be so bursting with minutiae that you’d never notice them if you weren’t looking. you can criticize writer/directors phil lord and christopher miller for plenty of things (i wouldn’t, but a person could) but in this area undeniable that they nailed it. their film cloudy with a chance of meatballs also excelled at this, with every background detail coming into play later on in the story. here, the details are more about enriching the world. in the introductory sequence wherein introduced to emmet, our by-the-book, conformist protagonist, we see a poster for his favorite band in his apartment. the name of the band is “a popular band.” trademark lord/miller humor, and so suited to this film.
let’s talk about that, actually. lord and miller have a unique style of humor, and a major part of what makes their films so special. it can be hard to describe, but it has something to do with turning subtext into text in a self-aware way. emmet’s favorite band is a great example. they carve an idea down to its simplest element, and then exaggerate that element to an insane degree. in one of my favorite scenes in the lego movie, batman (will arnett) plays a song that he wrote. a grungy hard-rock ballad that digs deep into his soul. “darkness,” the lyrics scream. batman explains that about how he’s an orphan. “no parents,” the song responds. the film’s portrayal of batman is a pretty obvious jab at christopher nolan’s angsty and grim version, and at the “dark-and-gritty-ization” of almost all superhero movies in the past decade. funny that the film is distributed by warner bros., who spearheaded that movement with their dark knight films and brought the exact same sensibility to man of steel. is there a smarter way to poke fun at this? no doubt. but satire should be broad and absurd by its very nature, and the best examples are. batman’s song, and all the other jokes like it, could easily be seen as childish or dumb in their simplicity. to say that misses the fact that their simplicity is what makes them so brilliant. by reducing the object of their criticism to its plainest form, the criticism becomes so much more cutting. for example, emmet and the rest of the residents of his city are distracted from president business’ (will ferrell) nefarious plans by a tv show called where are my pants?, which is nothing but a pants-less man asking his wife where his pants are, to the roaring approval of a studio audience. the citizenry spend all day, every day listening to a peppy and upbeat pop song called “everything is awesome,” which drills into their heads a subconscious desire for conformity and an almost fascistic demand for teamwork.
that song, incidentally, is a great illustration of the lego movie‘s complicated brilliance. i’ve seen a few critics complain that the song is meant to be seen in a negative light at the beginning, but is played triumphantly during the end credits. “isn’t this a blatant betrayal of the film’s message in order to sell the soundtrack?” they ask. well, no, not. see, the lego movie has an elaborate relationship with theme. instead of taking one idea and playing it to its conclusion, there’s a ton of stuff going on at every moment. even the film’s central plotline can be hard to understand if you’re looking for a simple moral in it. if you were only shown the first ten or fifteen minutes of this film, you’d assume you knew where it was going. coherence to the status quo makes people vulnerable to the schemes of powerful villains, and being original and true to yourself is the best way to live.
and for a while, it looks like the lego movie is headed in that direction. emmet is recruited by a group of people called master builders from all the different lego-verses. they think he’s “the special,” a hero foretold in prophecy who has the unique ability to defeat the bad guy’s ultimate weapon. the master builders are separate from average people because they don’t need to follow instructions. they can build anything they want with just the pieces they see around them. there you have it, right? a pretty simple “go your own way and don’t follow the crowd” message for the kids. except more complicated than that. the master builders are individualistic to a fault, and as such they’re incapable of working together towards a common goal. the movie takes the middle ground on this particular issue, and that makes it unprecedentedly bold. “yes, being totally conformist is a bad thing and you should be true to who you are on the inside,” the movie says, “but if you only use your singular abilities for selfish purposes, then not worth using them at all.” a far more honest message than the simple “be yourself” that most kid’s movies would have, and that’s what really makes it extraordinary. and that’s just one thematic thread. there are a ton of others, particularly one that i won’t mention because of spoilers. let’s just say that there’s only one place this movie can go in the end, and they go there.
and on top of all of that, there’s something else going on that boosted my appreciation of the lego movie into the stratosphere. extremely witty and clever without being alienating or smug, because there’s a beating heart inside every piece of plastic. this isn’t some post-post-modern ironic critique of itself. that’s been done. no, this movie is totally sincere in everything it does, and all the more resonant for it. when things happen to these characters, not part of some joke on the part of the filmmakers. everything means something. the stakes are real, and invested in them because the characters are real. if there’s anything ironic or subversive about the lego movie, that these bits of molded plastic contain far more humanity and soul than so many flesh-and-blood characters in so many other movies. the movie takes them seriously, and while that seriousness enhances the humor in a lot of places, it also enhances the connection that you feel to this world. i said earlier that the filmmakers put so much love into the construction of every single detail in every single shot, but the smartest move they make is to get out of the way of their story. if you’re paying attention, you might start uncovering a meta-narrative at play. but then the movie makes that meta-narrative just part of the actual narrative, and infuses that with deep sentimentality. this movie never pretends that smarter than its characters, or revels in its ultimate power over their fates. so few movies are able to pull that off and not come across as smug and snobbish. the cabin in the woods is one. i can’t really think of any others.
day after day for over a week now, i’ve come back to this review and been at a loss for what to say. i think that says more about my reaction than another thousand words ever could. not just that the lego movie is a great movie. there are plenty of those. the lego movie is as enthusiastic about itself as you are, and not in an egotistical way. picture all your best friends jumping around inside a bouncy house, every one of them smiling and laughing, beckoning you to come inside to have fun with them. that’s the feeling that the lego movie evokes. everyone involved with the creation of this movie is having the time of their lives, and it absolutely shows. complex, heartfelt, hilarious, intelligent, pick whichever adjective suits you. the lego movie had a profound impact on me, though, one i don’t know if i’ll ever experience again. so the adjective i’m going to use is “perfect.”
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fræŋk ʤɔɪs, wɑz ðə fɪθ ɛˈsteɪt nuz ˈɛdɪtər 50 jɪrz əˈgoʊ, ənd riˈʤɔɪnz ˈjuˈɛs wɪθ rɪˈflɛkʃənz ɔn ðə 1967 ɪˈvɛnts. kɑmd ðə ˈtrɛmər ɪn maɪ gət. aɪ wɑz ɪn kloʊz kˈwɔrtərz wɪθ səm ˌrɛprɪˈzɛnətɪv ˈspɛsəmənz əv ðə moʊst ˈdeɪnʤərəs ˈkriʧərz ɪn ðə ˈhɪstəri əv ðə wərld, ðə waɪt mæn ɪn ə suit.”*.” θæn nuˈjɛn, ðə ˈsɪmpəˌθaɪzər ðə ˈnɔrməl ˈpætərn ɪn ɑr ˈkəlʧər ɪz tɪ ˌmænjəˈfækʧər æmˈniʒə əˈbaʊt pæst səʧ ɛz sˈleɪvəri, ˈneɪtɪv əˈmɛrɪkən ˈʤɛnəˌsaɪd, viɛt næm, ənd ˈəðər əˈsɔlts əˈgɛnst ˈpipəl əv ˈkələr. ɪt ɪz səˈpraɪzɪŋ, ˈðɛrˌfɔr, ðət ðoʊz ɪn paʊər hæv ˌɪnˈvɛstɪd kənˈsɪdərəbəl ˈrisɔrsɪz ɪn haɪ ˈproʊˌfaɪl əˈtɛnʃən tɪ ðə 1967 ˌɪˈrəpʃən ɪn ˈdiˌtrɔɪt ðət brɔt ˈfɛdərəl trups tɪ ðə strits əv ðə ˈsɪti ðə ˈdiˌtrɔɪt hɪˈstɔrɪkəl mˈjuziəm, ðə ˈdiˌtrɔɪt ˈɪnstɪˌtut əv ɑrts ənd ˈəðər ˈloʊkəl ˌɪnstɪˈtuʃənz hæv bɪn ˈfəndɪd tɪ du ˈvɛriəs rɪˈflɛkʃənz. ˈdiˌtrɔɪt ˈmidiə ɪz ˌɪnˈvɑlvd, ɛz wɛl. ənd, nɑt ʤɪst ˈloʊkəl. ðə ˈhɑliˌwʊd tim əv ˈkæθrɪn ənd mɑrk boʊl, əˈwɔrd ˈwɪnərz fər ˈmuviz laɪk hərt locker”*” ənd dɑrk thirty”*” həz ˈfɪnɪʃt ˈʃutɪŋ ˈdiˌtrɔɪt project.”*.” ðə ˈstɔriˌlaɪn ɪz pəˈlis reɪd ɪn ˈdiˌtrɔɪt ɪn 1967 rɪˈzəlts ɪn wən əv ðə ˈlɑrʤəst ˈsɪtɪzən ˈəˌpraɪzɪŋz ɪn ðə juˈnaɪtɪd states’*’ history.”*.” waɪ ɪz ðə ɪˈstæblɪʃmənt ˈmeɪkɪŋ ə bɪg dil aʊt əv ðə ˌænəˈvərsəri? moʊst ˈlaɪkli, bɪˈkəz ɪt θɪŋks ˌɪmˈpɔrtənt tɪ ˈsɛtəl səm ˈɪʃuz ɪn ðɛr wət tɪ kɔl ɪt. ˈmɛni waɪts ˈvɪgərəsli rɪˈzɪst ðə tərm rɪˈbɛljən ɪn ˈfeɪvər əv raɪət. noʊ səˈpraɪz hir. ɛz aɪ ˈɑrgjud ɪn ə 2016 ˈdiˌtrɔɪt fri prɛs pis: ˈhɪstəri əv ˈkrɪmənəˌlaɪzɪŋ moʊst bɪˈheɪvjər baɪ blæks goʊz bæk tɪ ðə ˈɔrəʤɪnz əv waɪt səˈprɛməsi ˌɪtˈsɛlf. ˈmɔrəl səˈprɛməsi baɪ faɪæt, fɔrs ənd paʊər ɪz wən əv waɪt kɔr kəmˈpoʊnənts. ənd ɛz wi noʊ frəm waɪts dɪˈstrɔɪɪŋ ˈprɑpərti baɪ θroʊɪŋ ti ˈɪntu ðə ˈbɔstən ˈhɑrbər, rɪˈbɛljən ɪz ɪn ðə aɪ əv ðə biˈhoʊldər. ɪn ə ˈneɪʃən huz ˈfaʊndɪŋ məˈθɑləˌʤi ˈɑnərz ˌɪnsərˈɛkʃən, ðə wərd rɪˈbɛljən həz ˈsɪriəs lɪˈʤɪtəməsi. raɪət ɔn ðə ˈəðər hænd kənˈveɪz ˌkrɪməˈnælɪti. hɛns, moʊst ˈmidiə ənd ˈmɛni waɪts prɪˈfər raɪət. pərˈhæps mɔr ˌɪmˈpɔrtəntli, ˈjuzɪŋ ðə tərm raɪət pərˈpɛʧəˌweɪts waɪt dɪˈnaɪəl ðət blæks wʊd hæv ˈɛniˌθɪŋ tɪ ˈrɛbəl about.”*.” əv kɔrs wərdz ˈmætər. bət ðɛr ɪz ˈɔlsoʊ ə lɔt tɪ ðə cliché*é ðət ˈækʃənz spik ˈivɪn ˈlaʊdər. spəˈsɪfɪkli, ðə ˈækʃənz ðət waɪt paʊər tʊk ˈfɑloʊɪŋ ðə 1967 ˈəˌpraɪzɪŋ ˈpaʊərfli səˈʤɛst ðeɪ θɔt ɪt wɑz ə rɪˈbɛljən. fər ˈhənərdz əv jɪrz, waɪt riˈækʃən tɪ ril ənd pərˈsivd θrɛts həz bɪn ˈpənɪʃmənt ənd kənˈtroʊl. poʊst rɪˈbɛljən ˈdiˌtrɔɪt ɪz noʊ ɪkˈsɛpʃən. ðə faɪərz əv ˌʤuˈlaɪ 1967 stɪl wɪn ðə ˈsɪti ˈkaʊnsəl əˈgrid tɪ ˈfaɪˌnæns ə ˈmæsɪv ˈpərʧəs əv məˈʃin gənz, ˈɑrmərd ˌpərsəˈnɛl ˈkɛriərz, ˌæmjəˈnɪʃən ənd ˈəðər ˈmɪlɪˌtɛri səˈplaɪz fər ən ˌɛnˈlɑrʤd ˈdiˌtrɔɪt pəˈlis dɪˈpɑrtmənt. ðɛn meɪər, ʤəroʊm pi. ˈkævənɑ, ˈɔlsoʊ ˈædvəˌkeɪtɪd ðət ðə ˈfɛdərəl ˈgəvərnmənt ˈsəbsɪˌdaɪz ə ““back-to-the-land”*” ˈmuvmənt tɪ ðə saʊθ ɛz ə minz əv rɪˈdusɪŋ ðə ˈnigroʊ ˌpɑpjəˈleɪʃən ɪn ˈnɔrðərn ˈsɪtiz laɪk ˈdiˌtrɔɪt. ðə kɔst, hi ˈɑrgjud, wʊd bi məʧ lɛs pər ˈfæməli ðən trænsˈfərɪŋ ðə seɪm ˈfæməli tɪ ðə ˈwɛlˌfɛr roʊlz. ˈkævənɑ ənd ðə ˈəðər prəˈpoʊnənts əv ˈɛθnɪkli ˈklɛnzɪŋ ˈsɪtiz əv blæks hu ˈmaɪˌgreɪtɪd nɔrθ tɪ ɪˈskeɪp ʤɪm kroʊ ɪn ðə ˈərli tɪ mɪd ˈsɛnʧəri sɛnst ðət ˈkæpɪtəˌlɪzəm hæd ə ˈprɑbləm. ðə groʊɪŋ moʊˈbɪlɪti əv ˈkæpɪtəl, kəmˈbaɪnd wɪθ ˌtɛknəˈlɑʤɪkəl dɪˈspleɪsmənt, wɑz ənd stɪl ɪz ˈmeɪkɪŋ væst ˈnəmbərz əv ðə ˈərbən ˌɪnˈdəstriəl ˈwərkˌfɔrs ˈsupərflˌwəs. ðə ˈərbən ˈɛθnɪk ˈklɛnzɪŋ skim ˈfɪzəld. ˌɪnˈstɛd, ˈəðər ˈstrætəʤiz wər dɪˈplɔɪd. noʊ wən ˈbɛtər ɪkˈsprɛst ðə prɪˈveɪlɪŋ waɪt ˈætəˌtud ˈgaɪdɪŋ ðə plænz ðən waɪt suˈprɛməsɪst, səˈbərbən ˈoʊklənd ˈkaʊnti ɪgˈzɛkjətɪv, ɛl. brʊks ˈpætərsən. ɛz ˈrisəntli ɛz 2014 ɪn ə nu ˈjɔrkər ˈmægəˌzin ˈproʊˌfaɪl, hi ˌriəˈfərmd ən ˈərliər ˈsteɪtmənt, goʊɪŋ tɪ du ɪz tərn ˈdiˌtrɔɪt ˈɪntu ən ˈɪndiən ˌrɛzərˈveɪʃən, wɛr wi hərd ɔl ðə ˈɪndiənz ˈɪntu ðə ˈsɪti, bɪld ə fɛns əraʊnd ɪt, ənd ðɛn θroʊ ɪn ðə ˈblæŋkəts ənd corn.”*.” dɪˈgri əv ˈɑnəsti ɪz ənˈjuˌʒuəl. ɪn fækt, ɪf ju θɪŋk əv waɪt paʊər ɛz ə ˌkɔrpərˈeɪʃən, wən əv ɪts ˈbɪgəst dɪˈvɪʒənz wʊd bi ðə dɪˈpɑrtmənt əv dɪˈnaɪəl, kənfˈjuʒən, ənd ˌɑbfəˈskeɪʃən. wɪn ɪt kəmz tɪ ˈdiˌtrɔɪt, ðət brænʧ həz dən ˈifɛktɪv wərk. ˈrəðər ðən ækˈnɑlɪʤ ðə ˈoʊvərt ənd ˈkoʊvərt ˈreɪsɪst ˌmoʊtəˈveɪʃənz əv ˈgəvərnmənt ənd ˈkɔrpərət ˈpɑləsiz təˈwɔrd ðə ˈsɪti, ɪt ˈprɑməlˌgeɪtəd ɔlˈtərnətɪv ˌɛkspləˈneɪʃənz. fərst ənd ˈfɔrˌmoʊst, ɛz ˈkæpɪtəˌlɪzəm həz ˈɔlˌweɪz dən, ɪt bleɪmz ðə ˈvɪktɪmz. ðɛr ər ˈɛni ˈnəmbər əv ˌvɛriˈeɪʃənz ɔn ðɪs trope*. ðə moʊst ˈkɑmən ɪz ðət ˈdiˌtrɔɪt dɪˈʤɛnərˌeɪtɪd bɪˈkəz ðə rɪˈbɛljən kɔzd waɪts tɪ fli ðə ˈsɪti. ðɪs tərnz kɔz ənd ˈifɛkt ˈəpˈsaɪd daʊn. dɪd waɪt flaɪt ənd ˈəðər fɔrmz əv dɪsɪnˈvɛstmənt ˌɪnˈtɛnsɪˌfaɪ ˈæftər 1967 jɛs. bət ɪt ˈstɑrtɪd fɑr ˈərliər. ˌriˈloʊˈkeɪʃən əv ʤɑbz frəm ˈdiˌtrɔɪt wɑz wɛl ˌəndərˈweɪ baɪ ðə 1940s*. riˈprɛsɪv ˈtritmənt əv blæks baɪ ðə pəˈlis fɔrs wɑz ə ˈkɑnstənt. soʊ wɑz ˈɛvəri ˈəðər fɔrm əv ˈreɪʃəl dɪˌskrɪməˈneɪʃən. baɪ 1967 ˈæfrɪkɑn əˈmɛrɪkənz hæd ˈplɛnti tɪ ˈrɛbəl əˈgɛnst. ənd ðeɪ dɪd. əˈnəðər ˌræʃənəlɪˈzeɪʃən lɪŋks ˈkɑrənt ˈprɑbləmz tɪ ðoʊz əv ðə ˈdiˌtrɔɪt ˈɔtoʊˌmeɪkərz ðə ˌfaɪˈnænʃəl ˈkraɪsəs əv 2007 θru 2009 tɪ bi ʃʊr, ˌgloʊbəlɪˈzeɪʃən əv ðə ˈɔtoʊ ˈɪndəstri səˈvɪrli dɪsˈrəptɪd ˈmɪʃɪgən beɪst gm*, fɔrd, ənd ˈkraɪslər. ənd, jɛs, ðə ˌɛkəˈnɑmɪk ˈkraɪsəs əv 2007 θru 2009 ənˈliʃt ˈəðər ˈtrəbəlz ɛz wɛl. ðə ˈprɑbləm ɪz ðət ˈmækroʊ ˈfɔrsɪz əv ðɪs ˈmægnəˌtud ʃʊd hæv bɪn ˈivənli dɪˈstrɪbjətəd əˈkrɔs ˈdiˌtrɔɪt. bət ðeɪ weren’t*. ˌprɪˈdɑmənənˌtli blæk ˈdiˌtrɔɪt ˈsəfərd ædˈvərsli ɪn weɪz ðət ðə waɪt ˈsəbərbz dɪd nɑt. wɪʧ ɪz ɪgˈzæktli ðə ˈaʊtˌkəm ðət ˈkæpɪtəˌlɪzəm ɪz dɪˈzaɪnd tɪ əˈʧiv. haʊ dɪd ðeɪ du ɪt? ˈrɛkəgˌnaɪzɪŋ ðə ˌsɪnərˈʤɪstɪk ˈifɛkt əv ðiz ˈpɑləsiz, ˈfɑloʊɪŋ ɪz ə ˈpɑrʃəl lɪst əv wət waɪt paʊər dɪd: dɪsɪnˈvɛstmənt baɪ waɪt ˈkæpɪtəl ənd waɪt ˈpipəl ækˈsɛlərˌeɪtɪd. drəˈmætɪkəli ˌriɪnˈfɔrsɪŋ ðə ˌsɛgrəˈgeɪʃənɪst ˈmɛsɪʤ fər ɔl tɪ si wɑz ðə ˌriˈloʊˈkeɪʃən əv ðə ˈdiˌtrɔɪt laɪənz ˈfʊtˌbɔl tim ənd ðə ˈdiˌtrɔɪt ˈpɪstənz ˈbæskətˌbɔl tim tɪ ˈdɪstənt ˈsəbərbz. ðə ˈdiˌtrɔɪt ˈpəblɪk skul ˈsɪstəm wɑz ɛˈsɛnʃəli dɪˈstrɔɪd baɪ ə ˈsɪriz əv steɪt ˈgəvərnmənt ˌoʊvərˈsiərz. ðɪs hæd ðə kəˈlætərəl ˈifɛkt əv ˈdæmɪʤɪŋ ˈneɪbərˌhʊdz, ˈprɑpərti ˈvæljuz ənd ðəs tæks ˈrɛvəˌnuz. ðə mæs ˌɪnˌkɑrsərˈeɪʃən əv blæk ˈdiˌtrɔɪtərz ɪn ˈprɪzənz ˈpərmɑˌnɛnˌtli ˈdɛvəˌsteɪtɪd ˈθaʊzənz əv lɪvz ənd ˈfæməliz. ɪt ˈɔlsoʊ rɪˈdust ðə ˈvoʊtɪŋ paʊər əv ˈdiˌtrɔɪt ˈsɪtɪzənz waɪl ˌɪnˈkrisɪŋ ðət əv waɪt ˈrʊrəl ˈɛriəz. ðə steɪt ˈlɛʤəsˌleɪʧər ənd səˈbərbən ˈvoʊtərz rɪˈʤɛktɪd ˈriʤənəl mæs ˈtrænzɪt mɔr ðən 25 taɪmz, ðəs dɪˈtərɪŋ loʊ ˈɪnˌkəm ˈdiˌtrɔɪtərz frəm ˈgɪtɪŋ tɪ wɛr ʤɑbz hæd muvd. ˈmæsɪv ˈwɔtər ənd dɪˈnaɪəl əv ˈəðər ˈbeɪsɪk ˈsərvɪsɪz ˈfərðər ˈbərdənd ˈdiˌtrɔɪt ˈneɪbərˌhʊdz. ˈoʊnərəs kɔsts wər ˈfɔɪstɪd ɔn ˈdiˌtrɔɪt ˈtækˌspeɪərz tɪ ˈsəbsɪˌdaɪz ˈpraɪvət ˌɪnˈvɛstmənt ɪn ˈdaʊnˈtaʊn ˌɛnərˈteɪnmənt ˈvɛnuz ˈpætrəˌnaɪzd praɪˈmɛrəli baɪ waɪt səˈbərbəˌnaɪts. səˈvɪr ˌɪnˈʃʊrəns ənd ˌfaɪˈnænʃəl ˈrɛˌdlaɪnɪŋ wɑz ˌɪmˈpoʊzd ɔn ˈdiˌtrɔɪt ˈrɛzɪdənts. mæs fɔrˈkloʊʒərz ənd əˈbændənmənts naʊ gɪv ðə ˈsɪti ðə ruɪn pɔrn lʊk soʊ bɪˈləvəd baɪ waɪt ˈfɪlˌmeɪkərz ənd fəˈtɑgrəfərz. steɪt lɔz wər pæst ðət riˈstrɪktɪd ðə əˈbɪləˌti əv ðə ˈsɪti ˈgəvərnmənt tɪ kəˈlɛkt ˈtæksɪz frəm ˈdiˌtrɔɪt ɪmˈplɔɪərz. ˈæfrɪkɑn əˈmɛrɪkənz, ˌɪnˈkludɪŋ fərst blæk meɪər, ˈkoʊlmən ə. jəŋ, wər rɪˈlɛntləsli ˈdiməˌnaɪzd baɪ ˈdiˌtrɔɪt ˈɛriə ˈmidiə, lɛd baɪ ðə ˈdiˌtrɔɪt nuz. tɪ ðɪs deɪ, ðə fər ðə ˌsupɪriˈɔrɪti əv waɪt ˈpipəl, ðə nuz ˌriəˈʃʊrz waɪts wɪθ ˌɪnˈsɛsənt ˈmɛsɪʤɪz əv blæk ˌkrɪməˈnælɪti, kərˈəpʃən, ənd ˌɪnˈkɑmpətəns. ˈsɪti ˈgəvərnmənt wɑz ˈstɛdəli baɪ ðə ˈfɔrməl ənd ˌɪnˈfɔrməl ˈtrænsfər əv kənˈtroʊl tɪ ˈriʤənəl əˈθɔrətiz, ˈpɑrtnərˌʃɪps, nɑnˌgəvərnˈmɛntəl ˌɔrgənəˈzeɪʃənz, ˈpraɪvət ˈbɪznɪs ənd ðə ˈkɑmplɛks. ˈfaɪnəli, ðə kəmˈplit dɪsɪnˈfrænˌʧaɪzmənt əv ˈdiˌtrɔɪt ˈvoʊtərz wɑz əˈʧivd ˈviə management”*” kənˈtroʊl baɪ ðə steɪt ˈgəvərnmənt, wɪʧ wɑz ðɛn juzd tɪ ˈɛnʤəˈnɪr ˈwaɪdli ˈpəblɪˌsaɪzd ˈfɛdərəl ˈbæŋkrəptsi. ˈvɪʒəˌnɛri ˈɔrgəˌnaɪzɪŋ wət kənˈtɪnjuz tɪ əˈmeɪz əˈbaʊt ˈdiˌtrɔɪt ɪgˈzɛmpləˌfaɪz wət ɪz rɪˈmɑrkəbəl əˈbaʊt ðə ɪnˈtaɪər ˈhɪstəri əv ɛnsˈleɪvd blæks ɪn əˈmɛrɪkə. tɪ əkˈsɛpt ˈivɪn ə ˈvəlgər ˈvərʒən əv əv ðə fittest”*” ɪz tɪ ˈmɑrvəl æt ðə əˈbɪləˌti əv ˈdiˌtrɔɪtərz tɪ ˈfəŋkʃən ˈəndər ðə ˈdɪfəkəlt ˈsərkəmˌstænsɪz ɛnˈfɔrst ˈoʊvər ðə læst ˈfɪfti jɪrz. ðɪs ɪz nɑt tɪ ˈmɪnəˌmaɪz ðə ˈsəfərɪŋ ər ðə peɪn ˌɪnˈflɪktɪd. ˈrəðər, ɪt ɪz tɪ ækˈnɑlɪʤ ðə ˌɪnəˈveɪʃən ənd riˈsɔrsfəlnəs wɪθ wɪʧ ˈdiˌtrɔɪtərz ər ˈmeɪkɪŋ ə nu weɪ aʊt əv noʊ weɪ. ˈnəθɪŋ ɪz ɔf ˈlɪmɪts. ɛz ˌɪnˈkrisɪŋ ˈsɛkʃənz əv ɔˈrɛdi ˈmɑrʤənəˌlaɪzd ˌpɑpjəˈleɪʃənz ər biɪŋ muvd ˈɪntu ə weɪʤ wərk; noʊ kəˈmɑdəti ɪn ˈdiˌtrɔɪt ər ˌɪnˈvɑlvd ɪn ɔˈtɑnəməs ˈprɑʤɛkts ðət ər ə ˈhɑtˌbɛd əv nu ˈθɪŋkɪŋ ənd ˈækʃən ɪn ðə ˈθɪri ənd ˈpræktɪs əv wət kəmz nɛkst. ðiz ˌɪnˈklud ˈɛvriˌθɪŋ frəm ˈɪnəˌveɪtɪv ˈərbən ˈægrɪˌkəlʧər tɪ nu əˈproʊʧɪz tɪ ˌɛʤəˈkeɪʃən, kəmˈjunɪti ˈkɑnflɪkt ˌrɛzəˈluʃən səʧ ɛz pis zoʊnz fər laɪf, ɪkˈspɛrəmənts ɪn nu tɛkˈnɑləʤi ˈdrɪvən, kəmˈjunɪti beɪst ˌmænjəˈfækʧərɪŋ, ˌɪnˈvɛntɪv ˈmidiə, ɑrt, ənd ˌspɪrɪˌʧuˈæləˌti. ˌrɛvəˈluʃənz ˈɔlˌweɪz bɪˈgɪn wɪθ kriˈeɪtɪŋ ə nu wərld ɪn ðə ʃɛl əv ðə oʊld. ˈdiˌtrɔɪt ɪz ɔn ɪts weɪ. fræŋk ʤɔɪs ɪz ə ˈlaɪˈflɔŋ ˈraɪtər ənd ˈæktɪvɪst. hi ɪz wɪθ ˈkɛrɪn wɑn əv ðə ˈpipəl meɪk ðə pis: ˈlɛsənz frəm ðə viˌɛtˈnɑm ˌæntiˈwɔr ˈmuvmənt. hɪz fɪθ ɛˈsteɪt ˈɑrtɪkəlz æt ðə taɪm əv ðə ˈdiˌtrɔɪt rɪˈbɛljən ər æt fifthestate.org/archive*. si ˈɔlsoʊ ɪn ðɪs ˈɪʃu: frəm ə rɪˈbɛljən: haʊ ðə fɪθ ɛˈsteɪt ˌriˈpɔrtəd it”*” ənd ˈdiˌtrɔɪt explodes”*”
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frank joyce, was the fifth estate news editor 50 years ago, and rejoins us with reflections on the 1967 events.
“i calmed the tremor in my gut. i was in close quarters with some representative specimens of the most dangerous creatures in the history of the world, the white man in a suit.”
—viet thanh nguyen, the sympathizer
the normal pattern in our culture is to manufacture amnesia about past unpleasantries such as slavery, native american genocide, viet nam, and other assaults against people of color.
it is surprising, therefore, that those in power have invested considerable resources in high profile attention to the 1967 eruption in detroit that brought federal troops to the streets of the city
the detroit historical museum, the detroit institute of arts and other local institutions have been funded to do various reflections. detroit media is involved, as well.
and, it’s not just local. the hollywood team of kathryn biegelow and mark boal, award winners for hyper-violent pro-war movies like “the hurt locker” and “zero dark thirty” has finished shooting “the untitled detroit project.” the storyline is “a police raid in detroit in 1967 results in one of the largest citizen uprisings in the united states’ history.”
why is the establishment making a big deal out of the anniversary? most likely, because it thinks it’s important to settle some issues in their favor—including what to call it.
many whites vigorously resist the term rebellion in favor of riot. no surprise here. as i argued in a 2016 detroit free press op-ed piece:
“the history of criminalizing most behavior by blacks goes back to the origins of white supremacy itself. moral supremacy by fiat, force and power is one of white supremacy’s core components. and as we know from whites destroying property by throwing tea into the boston harbor, rebellion is in the eye of the beholder.
“especially in a nation whose founding mythology honors insurrection, the word rebellion has serious legitimacy. riot on the other hand conveys criminality. hence, most media and many whites prefer riot. perhaps more importantly, using the term riot perpetuates white denial that blacks would have anything to rebel about.”
of course words matter. but there is also a lot to the cliché that actions speak even louder. specifically, the actions that white power took following the 1967 uprising powerfully suggest they thought it was a rebellion. for hundreds of years, white power’s reaction to real and perceived threats has been punishment and control. post rebellion detroit is no exception.
the fires of july 1967 still smoldered when the city council agreed to finance a massive purchase of machine guns, armored personnel carriers, ammunition and other military supplies for an enlarged detroit police department.
then mayor, jerome p. cavanagh, also advocated that the federal government subsidize a “back-to-the-land” movement to the south as a means of reducing the negro population in northern cities like detroit. the cost, he argued, would be much less per family than transferring the same family to the welfare rolls.
cavanagh and the other proponents of ethnically cleansing cities of blacks who migrated north to escape jim crow in the early to mid 20th century sensed that capitalism had a problem. the growing mobility of capital, combined with technological displacement, was and still is making vast numbers of the urban industrial workforce superfluous.
the urban ethnic cleansing scheme fizzled. instead, other strategies were deployed.
no one better expressed the prevailing white attitude guiding the plans than long-serving white supremacist, suburban oakland county executive, l. brooks patterson. as recently as 2014, in a new yorker magazine profile, he reaffirmed an earlier statement, “what we’re going to do is turn detroit into an indian reservation, where we herd all the indians into the city, build a fence around it, and then throw in the blankets and corn.”
patterson’s degree of honesty is unusual. in fact, if you think of white power as a corporation, one of its biggest divisions would be the department of denial, confusion, and obfuscation. when it comes to detroit, that branch has done effective work. rather than acknowledge the overt and covert racist motivations of government and corporate policies toward the city, it promulgated alternative explanations.
first and foremost, as race-based capitalism has always done, it blames the victims. there are any number of variations on this trope. the most common is that detroit degenerated because the rebellion caused whites to flee the city.
this turns cause and effect upside down. did white flight and other forms of disinvestment intensify after 1967? yes. but it started far earlier. racialized relocation of jobs from detroit was well underway by the 1940s. repressive treatment of blacks by the all-white police force was a constant. so was every other form of racial discrimination. by 1967, african americans had plenty to rebel against. and they did.
another rationalization links detroit’s current problems to those of the detroit automakers and/or the financial crisis of 2007 through 2009. to be sure, globalization of the auto industry severely disrupted michigan based gm, ford, and chrysler. and, yes, the hydra-headed economic crisis of 2007 through 2009 unleashed other troubles as well.
the problem is that macro forces of this magnitude should have been evenly distributed across detroit. but they weren’t. predominantly black detroit suffered adversely in ways that the white suburbs did not. which is exactly the outcome that race-based capitalism is designed to achieve.
how did they do it? recognizing the synergistic effect of these policies, following is a partial list of what white power did:
disinvestment by white capital and white people accelerated. dramatically reinforcing the segregationist message for all to see was the relocation of the detroit lions football team and the detroit pistons basketball team to distant suburbs.
the detroit public school system was essentially destroyed by a series of state government overseers. this had the collateral effect of damaging neighborhoods, property values and thus tax revenues.
the mass incarceration of black detroiters in out-of-state prisons permanently devastated thousands of lives and families. it also reduced the voting power of detroit citizens while increasing that of white rural areas.
the state legislature and suburban voters rejected regional mass transit more than 25 times, thus deterring low income detroiters from getting to where jobs had moved.
massive water shutoffs and denial of other basic services further burdened detroit neighborhoods.
onerous costs were foisted on detroit taxpayers to subsidize private investment in downtown entertainment venues patronized primarily by white suburbanites.
severe insurance and financial redlining was imposed on detroit residents.
mass foreclosures and abandonments now give the city the ruin porn look so beloved by white filmmakers and photographers.
state laws were passed that restricted the ability of the city government to collect taxes from detroit employers.
detroit’s african americans, including detroit’s first black mayor, coleman a. young, were relentlessly demonized by detroit area media, led by the detroit news. to this day, the self-appointed spokesorgan for the superiority of white people, the news reassures whites with incessant messages of black criminality, corruption, and incompetence.
city government was steadily disempowered by the formal and informal transfer of control to regional authorities, public/private partnerships, non-governmental organizations, private business and the foundation-industrial complex. >>”
finally, the complete disenfranchisement of detroit voters was achieved via “emergency management” control by the state government, which was then used to engineer detroit’s widely publicized federal bankruptcy.
visionary organizing
what continues to amaze about detroit exemplifies what is remarkable about the entire history of enslaved blacks in america. to accept even a vulgar version of “survival of the fittest” is to marvel at the ability of detroiters to function under the difficult circumstances enforced over the last fifty years. this is not to minimize the suffering or the pain inflicted. rather, it is to acknowledge the innovation and resourcefulness with which detroiters are making a new way out of no way.
nothing is off limits. as increasing sections of already marginalized populations are being moved into a post-capitalist world—no wage work; no commodity consumption—people in detroit are involved in autonomous projects that are a hotbed of new thinking and action in the theory and practice of what comes next.
these include everything from innovative urban agriculture to new approaches to education, community conflict resolution such as peace zones for life, experiments in new technology driven, community based manufacturing, inventive media, art, and spirituality.
revolutions always begin with creating a new world in the shell of the old. detroit is on its way.
frank joyce is a lifelong detroit-based writer and activist. he is co-editor with karin aguilar-san juan of the people make the peace: lessons from the vietnam antiwar movement.
his fifth estate articles at the time of the detroit rebellion are at fifthestate.org/archive.
see also in this issue: “excerpts from a rebellion: how the fifth estate reported it” and “1967: detroit explodes”
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ˈlɛgəsi ɪz wən əv ˈdipəst ənd moʊst ˈɪntəˌrɛstɪŋ ˈfɔrˌmæts. waɪl ðɛr ər səm dɛks ðət ər ə bɪt mɔr ˈpaʊərfəl ðən ˈəðərz, ðɛr ər ə vərˈaɪəti əv tir 2 ənd tir 3 dɛks ðət kən bi kəmˈpɛtɪtɪv ɪf pleɪd wɛl. təˈdeɪ wi ər goʊɪŋ tɪ teɪk ə lʊk æt wən əv ðiz dɛks ðət həz ɪgˈzɪstəd ɪn ðə ˈdɑrkəst ˈkɔrnərz əv ðə ˈlɛgəsi ˈfɔrˌmæt: ðə ˈspænɪʃ ˌɪnkwəˈzɪʃən. æt ə glæns ˈspænɪʃ ˌɪnkwəˈzɪʃən lʊks laɪk ə bɪtˈwin ˈgɑblɪn ənd mɔr trəˈdɪʃənəl stɔrm dɛks laɪk ænt. ˌhaʊˈɛvər, ɪt pleɪz aʊt ɪn ə ˈfɛrli juˈnik ˈfæʃən ənd əˈlaʊz fər ə lɔt əv ˈɪntəˌrɛstɪŋ laɪnz əv pleɪ. teɪk ə lʊk æt ə decklist*, ʃæl wi? ðɛr ɪz ə lɔt goʊɪŋ ɔn ɪn ðɪs decklist*, soʊ breɪk ɪt daʊn pis baɪ pis. tɪ stɑrt, teɪk ə lʊk æt wət meɪks ˈspænɪʃ ˌɪnkwəˈzɪʃən juˈnik frəm ðə ˈəðər fæst ˈkɑmˌboʊ dɛks ɪn ˈlɛgəsi ðə drɔ ˈɪnʤən: ɛz ˈsəmˌwən hu ləvz drɔɪŋ kɑrdz, ðɪs dɛk ɪz gʊd æt ˈsætɪsˌfaɪɪŋ ðɪs dɪˈzaɪər. wi ˈɔfən spɛnd ə gʊd ˈpɔrʃən əv ɑr laɪf ˈtoʊtəl drɔɪŋ mɔr kɑrdz ɛz wi ˈʤɛnərˌeɪt stɔrm kaʊnt ənd ˈmɑnə. ˌɪnˈfərnəl ˈkɑnˌtrækt ənd kruəl ˈbɑrgɪn əˈlaʊ ˈjuˈɛs tɪ rɪˈkəvər ˈbɛtər frəm ˈməlɪgənz ənd dɪˈskɑrd sɪns ðeɪ ˈoʊnli ˌrikˈwaɪər ə smɔl bɪt əv ˈmɑnə tɪ gæs ˈjuˈɛs bæk əp. ˈspikɪŋ ˈmɑnə haʊ ɪgˈzæktli dɪz ðɪs dɛk, wɪθ ˈoʊnli tu lændz ɪn ɪt, ˈproʊdus ˈmɑnə? wɪθ ə vərˈaɪəti əv ““starters”*” wi gɪt ɑr ˈmɑnə ˌʤɛnərˈeɪʃən goʊɪŋ: ɔl əv ðiz kɑrdz əˈlaʊ ˈjuˈɛs tɪ stɑrt ˈʤɛnərˌeɪtɪŋ ˈmɑnə ʤɪst baɪ pleɪɪŋ ðɛm aʊt ˈæktəˌveɪtɪŋ ðɛr əˈbɪləˌtiz. wɪˈθaʊt wən əv ðiz kɑrdz ɪn ɑr hænd wi hæv noʊ weɪ tɪ stɑrt pleɪɪŋ spɛlz. pækt meɪ sim laɪk ən ɑd kɑrd tɪ lɪst ɛz ə ˈmɑnə ˈʤɛnərˌeɪtər, bət θæŋks tɪ ɪt ˈfɛʧɪŋ ˈspɪrɪt gaɪd, ɪt ɪz. peɪ noʊ əˈtɛnʃən tɪ ðə ˈəpˌkip kɔst ɔn pækt ˈspænɪʃ ˌɪnkwəˈzɪʃən lɪvz ɪn ðə hir ənd naʊ. ənˈlaɪk dɛks laɪk trəˈdɪʃənəl ðət ˈɔfən kɪl ðɛr əˈpoʊnənt ˈoʊvər ə fju tərnz wɪθ ˈgɑblɪn ˈtoʊkənz, ˈspænɪʃ ˌɪnkwəˈzɪʃən gɪts ɪts əˈpoʊnənt dɛd ðə tərn ɪt combos*. ðət biɪŋ sɛd, ðɪs stɪl livz ðə kˈwɛʃən: waɪ pleɪ pækt ˈoʊvər mɔr ˈspɪrɪt gaɪdz? ðə ˈænsər ɪz juˈtɪləti. wi pleɪ ə smɔl əˈsɔrtmənt əv grin ˈkriʧərz tɪ əˈlaʊ ɑr pækts tɪ bi ˈflɛksəbəl dɪˈpɛndɪŋ ɔn wət wi nid æt ə ˈgɪvɪn pɔɪnt ˈdʊrɪŋ ɑr ˈkɑmˌboʊ: waɪld ˈkæntər ækts ɛz ˈfɪltərɪŋ fər ˈjuˈɛs, waɪl ˈɔlsoʊ biɪŋ ə ““free”*” minz əv ˌɪnˈkrisɪŋ ɑr stɔrm kaʊnt wɪn wi nid tɪ. ɪt əˈlaʊz ˈjuˈɛs tɪ tərn ə ˈspɪrɪt gaɪd ˈmɑnə ˈɪntu blæk, blu, ər rɛd dɪˈpɛndɪŋ ɔn wɪʧ peɪɔf kɑrd ər ˈrɪʧuəl wi ər ˈlʊkɪŋ tɪ pleɪ. gɪvz ˈjuˈɛs ə ˈmɛθəd tɪ kənˈtɪnju wɪn wi hæv tu məʧ ˈmɑnə ənd nɑt ɪˈnəf peɪɔf kɑrdz. ɪt kən rɪˈtərn ˌɪnˈfərnəl ˈkɑnˌtrækt ər kruəl ˈbɑrgɪn tɪ ɑr hænd tɪ əˈlaʊ ˈjuˈɛs tɪ kip drɔɪŋ kɑrdz ənd ˈʤɛnərˌeɪtɪŋ stɔrm kaʊnt. ɪz pleɪd ˈoʊvər ˈsəmθɪŋ laɪk ɪˈtərnəl ˈwɪtnəs bɪˈkəz ə ˈsɪŋgəl grin ɪz ˈiziər tɪ ˈproʊdus ðən ˈdəbəl grin. ˈkətər ənd ˈɑrbər ər kɑrdz ðət lʊk ˈfɛrli aʊt əv pleɪs ɪn ðɪs dɛk ənˈtɪl wi meɪk ɪt tɪ ɑr ˈrɪʧuəlz ðət ˈproʊdus ˈməltəpəl ˈmɑnə fər ˈjuˈɛs: ˈkəlɪŋ ðə wik ɪz ɪkˈsɛpʃənəli ˈpaʊərfəl ɛz fɑr ɛz ˈrɪʧuəlz goʊ ənd ɪt ɪz ðə ˈrizən fər ɑr ɑd grin ˈkriʧərz. ɪt tərnz wən ˈmɑnə ˈɪntu fɔr wɪʧ əˈlaʊz ˈjuˈɛs tɪ kæst ə drɔ fɔr waɪl stɪl ˈlivɪŋ ə ˈmɑnə ˈfloʊtɪŋ. dɑrk ˈrɪʧuəl ɪz ˈprɑbəˌbli ðə bɛst ˈrɪʧuəl ˈɛvər ˈprɪnɪd tɪ deɪt ɛz ɪt ˈsɪmpli tərnz wən ˈmɑnə ˈɪntu θri wɪˈθaʊt ˈɛni ˈɛkstrə wərk. kəˈbɑl ˈrɪʧuəl nɑt ˈoʊnli ˈʤɛnərˌeɪts ˈɛkstrə ˈmɑnə fər ˈjuˈɛs, bət ˈɔlsoʊ gɪvz ˈjuˈɛs ə nis weɪ tɪ tərn ˈɛkstrə rɛd ənd grin ˈmɑnə ˈɪntu blæk soʊ ɪt kən bi juzd tɪ pleɪ drɔ fɔrz. ˌbiˈfɔr wi gɪt tɪ ɑr ˈfɪnɪʃərz, wi hæv ə fju ˈəðər kɑrdz ðət əˈlaʊ ˈjuˈɛs tɪ kənˈtɪnju ɪn taɪt spɑts: ˈɔfən ridz ˈsəmˌwɛr bɪtˈwin drɔ faɪv ənd drɔ ˈsɛvən kɑrdz ɪn ðə fərst ˈkəpəl tərnz əv ðə geɪm. pæst ɪn fleɪmz ɪz ə bɪt ˈmɑnə ˌɪnˈtɛnsɪv, bət ɪt əˈlaʊz ˈjuˈɛs tɪ ˈʤɛnərˌeɪt ə lɑrʤ əˈmaʊnt əv stɔrm baɪ riˈjuzɪŋ ɔl ðə ˈrɪʧuəlz wi ɔˈrɛdi hæv ɪn ɑr dɪˈskɑrd paɪl. ɪt ˈɔlsoʊ wərks wɛl wɪθ laɪənz aɪ ˈdaɪmənd sɪns wi kən juz ɑr laɪənz aɪ ˈdaɪmənd tɪ meɪk ˈmɑnə ənd ðɛn juz ðət ˈmɑnə tɪ ˈflæʃˌbæk pæst ɪn fleɪmz. laɪənz aɪ ˈdaɪmənd ɪz ə ˈrɪli ˈɪntəˌrɛstɪŋ kɑrd ɪn ˈʤɛnərəl. bɪˈkəz ɪt rikˈwaɪərz ˈjuˈɛs tɪ dɪˈskɑrd ɑr hænd tɪ ˈæktəˌveɪt ɪt, ɪt ɪz ˈsəmθɪŋ wi ˈʤɛnərəli wɔnt tɪ bi ˈjuzɪŋ ˌproʊˈæktɪvˌli. fər ɪgˈzæmpəl, ˈkɑmən pleɪz wɪθ lɛd ˌɪnˈklud ˈjuzɪŋ ɪt fər ˈmɑnə ɪn rɪˈspɑns tɪ ə drɔ fɔr soʊ ðət wi kən juz ðə ˈmɑnə frəm ɪt tɪ pleɪ ðə nu kɑrdz wi wɪl bi drɔɪŋ. laɪənz aɪ ˈdaɪmənd ɪz ˈɔlsoʊ ə ˈkɑmˌboʊ wɪθ ˌɪnˈfərnəl ˈtutər sɪns ɪt gɪvz ˈjuˈɛs ə ˈmɛθəd tɪ gɪt ɑrˈsɛlvz ˈɛmti ˈhændɪd soʊ wi kən ˈtutər əp ˌwəˈtɛvər kɑrd wi nid. soʊ wəns wi drɔ ə bənʧ əv kɑrdz ənd ˈʤɛnərˌeɪt ə bənʧ əv ˈmɑnə, haʊ du wi ˈæˌkʧuəli kɪl ɑr əˈpoʊnənt? wi hæv tu ˈdɪfərənt weɪz fər ˈdilɪŋ ˈliθəl: əˈsumɪŋ wi ˈʤɛnərˌeɪt ɪˈnəf stɔrm kaʊnt wi kən ˈsɪmpli pleɪ əv ˈægəni fər ə ˈliθəl əˈmaʊnt əv dreɪn. wɪn wi ər goʊɪŋ tɪ traɪ ənd kɪl wɪθ ˈgɑblɪn, wi wɔnt tɪ ɪnˈʃʊr boʊθ əv ðə lændz ər aʊt əv ɑr dɛk soʊ ðət wi noʊ ðə ˌæktəˈveɪʃən wɪl kɪl ɑr əˈpoʊnənt. ˈsəmθɪŋ tɪ kip ɪn maɪnd wɪθ ɪz ðət ɪf wi ər ə ˈmɑnə ər tu ʃɔrt frəm ˈæktəˌveɪtɪŋ ɪt ðə tərn wi pleɪ ɪt, wi kən juz ɪt ɪn rɪˈspɑns tɪ ɑr ˈliθəl pækt ˈtrɪgərz ˈdʊrɪŋ ɑr nɛkst ˈəpˌkip ˈæftər ɑr kroʊm ənd lændz untap*. ˈsæmpəl hænz ənd pleɪɪŋ ðə dɛk nɛkst aɪ wʊd laɪk tɪ teɪk ə lʊk æt haʊ səm əv ɑr geɪmz wɪθ ˈspænɪʃ ˌɪnkwəˈzɪʃən wɪl pleɪ aʊt. ˈɛvəri geɪm wɪθ ðə dɛk ɪz ə ˈpəzəl wɛr ðə goʊl ɪz tɪ gɪt ɑr əˈpoʊnənt dɛd æt ðə ɛnd. ðə dɛk ɪz ˈvɛri ˈkeɪpəbəl əv ˈkɪlɪŋ ɔn tərn wən, wɪθ moʊst geɪmz ˈɛndɪŋ baɪ tərn θri æt ðə ˈleɪtəst. teɪk ə lʊk æt səm ˈsæmpəl hænz wɪθ ˈspænɪʃ ˌɪnkwəˈzɪʃən ənd tɔk θru haʊ ðeɪ pleɪ aʊt. wi ər ɔn ðə drɔ ənd kip ðə ˈfɑloʊɪŋ sɪks kɑrd hænd: wi ə ˈkɑpi əv laɪənz aɪ ˈdaɪmənd tɪ ðə tɔp əv ɑr dɛk. ɑr əˈpoʊnənt pleɪz ə lænd ənd ˈpæsɪz. ðɪs livz ɑr ˈmɑnə pul wɪθ gɪt ənd ɪˈvoʊk ɪt tɪ drɔ sɪks kɑrdz. ðɪs livz ˈjuˈɛs wɪθ wən blæk ɪn ɑr ˈmɑnə pul. wi drɔ ðə ˈfɑloʊɪŋ kɑrdz: kæst lænd grænt tɪ fɛʧ baɪu. pækt tɪ fɛʧ ˈkətər. pleɪ baɪu ənd kæst ˈkətər fər fri ˈsækrəˌfaɪs ˈkətər tɪ ˈkəlɪŋ ðə wik. kæst kəˈbɑl ˈrɪʧuəl. kæst lɛd. kæst kruəl ˈbɑrgɪn wɪθ wi drɔ: noʊt wi kʊd ˈɔlsoʊ ˈflæʃˌbæk ə pækt tɪ fɛʧ ɑr ˈɑrbər ənd ðɛn juz ˈtutər tɪ faɪnd ˈgɑblɪn fər ˈliθəl ɛz wɛl. wu! lʊk æt əˈnəðər, ʃæl wi? wi kip ðə ˈfɑloʊɪŋ ˈsɛvən ɔn ðə pleɪ: drɔ fɔr kɑrdz ənd naʊ hæv ðə ˈfɑloʊɪŋ hænd: kæst kəˈbɑl ˈrɪʧuəl tɪ brɪŋ ˈjuˈɛs tɪ kæst ˈloʊtəs ˈpɛtəl ənd lɛd. kæst ˌɪnˈfərnəl ˈtutər ənd kræk lɛd ɪn rɪˈspɑns. fɛʧ əv ˈægəni ənd kæst ɪt fər ə ˈliθəl əˈmaʊnt. noʊt ɪf wi ˈwɔntɪd tɪ goʊ fər staɪl pɔɪnts hir wi kən ˌɪnˈstɛd gɪt pæst ɪn fleɪmz ənd ˈʤɛnərˌeɪt ə məʧ ˈlɑrʤər stɔrm kaʊnt ˌbiˈfɔr ˈkɪlɪŋ ɑr əˈpoʊnənt. teɪk ə lʊk æt wən mɔr ɪgˈzæmpəl. wi kip ðə ˈfɑloʊɪŋ ˈsɛvən ɔn ðə pleɪ əˈgɛnst ən əˈpoʊnənt hu həz tɪ sɪks: wi drɔ ðə ˈfɑloʊɪŋ sɪks kɑrd hænd: bɪˈkəz ˈspænɪʃ ˌɪnkwəˈzɪʃən ɪz ˈlʊkɪŋ tɪ ɛnd ðə geɪm ɛz kwɪk ɛz ˈpɑsəbəl, ðə ˈməlɪgənz wi meɪk wɪθ ðə dɛk ər ˈɔfən ðə moʊst ˌɪmˈpɔrtənt θɪŋ ɪn ˈɛvəri geɪm wi pleɪ. laɪk aɪ ˈmɛnʃənd ˈərliər, ðə fækt ðət ðɪs dɛk pleɪz eɪt drɔ fɔrz minz ɪt ˈməlɪgənz ˈbɛtər ðən moʊst ˈkɑmˌboʊ dɛks du nɑt bi əˈfreɪd tɪ ʃɪp bæd hænz. ɪn ˈʤɛnərəl wi ər ˈlʊkɪŋ fər θri θɪŋz ɪn ən ˈoʊpənɪŋ hænd: ˈstɑrtɪŋ ˈmɑnə ˈrɪʧuəlz tɪ ˈʤɛnərˌeɪt ˈɛkstrə ˈmɑnə ə weɪ tɪ drɔ mɔr kɑrdz kip ɪn maɪnd wɪn əˈsɛsɪŋ ɑr ˈoʊpənɪŋ hænz ðət ˌɪnˈfərnəl ˈtutərz wɪθ ɪˈnəf ˈmɑnə kən tərn ˈɪntu kɑrdz ðət drɔ mɔr kɑrdz. wɪθ ˈspænɪʃ ˌɪnkwəˈzɪʃən ɪz ˈvɛri ˈstreɪtˈfɔrwərd. ɑr dɛk həz wən əv ə fju ““modes”*” poʊst bɔrd. ðə fərst əv ðiz moʊdz ɪz ʤɪst ɑr meɪn dɛk. ɪf ɑr dɛk ɪz nɑt ər ə blu dɛk ˈʃəfəl əp ənd ˈprɛzənt ðə seɪm ˈsɪksti kɑrdz wi hæd fər geɪm 1 əˈgɛnst wi ˈsɪmpli wɔnt tɪ brɪŋ ɪn ɑr fɔr ˈkɑpiz əv əv ðə vɔɪd ˈkətɪŋ 2 proʊb,, ənd ˈgɑblɪn. əˈgɛnst ˈɛni dɛk ˈfiʧərɪŋ blu kɑrdz, ˈneɪmli ðət ˈpɛski fɔrs əv wɪl, wi ˈpɪvət poʊst bɔrd tɪ hæv ə sˈlaɪtli ˈdɪfərənt geɪm plæn. spəˈsɪfɪkli, pleɪɪŋ pækt əˈgɛnst ə dɛk ðət kən ˈkaʊntər ɑr drɔ spɛlz ənd wɪn kənˈdɪʃənz ɪz ˈnɔrməli ə ˈrɛsəpi fər dɪˈzæstər. bɪˈkəz əv ðɪs, wi wɔnt tɪ treɪd aʊt ðiz kɑrdz fər səm əv ɑr oʊn dɪsˈrəpʃən ənd ə haɪər ˈdɛnsɪti əv wɪn kənˈdɪʃənz: boʊθ əv ðiz kɑrdz əˈlaʊ ˈjuˈɛs tɪ off”*” ɔn tərn wən wɪθ ə loʊər ˈdɛnsɪti əv kɑrdz ənd ðɛn kɪl ɑr əˈpoʊnənt ˈoʊvər ðə kɔrs əv ðə nɛkst fju tərnz. wɪn wi ər goʊɪŋ wɪθ ðɪs ˈkriʧər plæn wi bɔrd ɪn ˈɛvriˌθɪŋ ɪkˈsɛpt ðə əv ðə vɔɪdz ˈkətɪŋ: ˈræpɪŋ əp pleɪɪŋ əraʊnd wɪθ ðɪs ˈspænɪʃ ˌɪnkwəˈzɪʃən dɛk ɪz ðə moʊst fən aɪ hæv hæd pleɪɪŋ ˈlɛgəsi ɪn ə lɔŋ taɪm. ɛz ə ˈpərsən hu ˌɛnˈʤɔɪz mæθ ənd ˈpəzəlz, ðɪs dɛk ˈrɪli ˈskræʧɪz ən ɪʧ ðət moʊst ˈəðər ˈlɛgəsi dɛks du nɑt. waɪl pleɪɪŋ lɔŋ ˈɪntrəkət geɪmz əv ˈmæʤɪk ɪz ˈɔfən fən, ˈsəmˌtaɪmz pleɪɪŋ ˈmæʤɪk ɪn ʃɔrt bərsts ənd ˈɔlˌweɪz ˈhævɪŋ taɪm tɪ gɪt lənʧ ˈdʊrɪŋ ən ɪˈvɛnt ɪz ˈɔlsoʊ ə gʊd taɪm. hæv ˈɛni kˈwɛsʧənz əˈbaʊt ðə ˈspænɪʃ ˌɪnkwəˈzɪʃən ðət aɪ dɪd nɑt ˈkəvər əˈbəv? lɛt mi noʊ ɪn ə ˈkɑmɛnt bɪˈloʊ! ˈɔlsoʊ ɪf ju wʊd laɪk tɪ si səm ˈvɪdioʊz əv ðɪs dɛk ɪn ˈækʃən ʧɛk aʊt maɪ twɪʧ strim ˈɑrˌkaɪv ɔn maɪ ˈjuˌtub ˈʧænəl hir. ʧɪrz, ˈhuglənd
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legacy is one of magic’s deepest and most interesting formats. while there are some decks that are a bit more powerful than others, there are a variety of tier 2 and tier 3 decks that can be competitive if played well. today we are going to take a look at one of these decks that has existed in the darkest corners of the legacy format: the spanish inquisition.
at a glance spanish inquisition looks like a mashup between goblin charbelcher and more traditional storm decks like ant. however, it plays out in a fairly unique fashion and allows for a lot of interesting lines of play. let’s take a look at a decklist, shall we?
there is a lot going on in this decklist, so let’s break it down piece by piece. to start, let’s take a look at what makes spanish inquisition unique from the other fast combo decks in legacy — the draw engine:
as someone who loves drawing cards, this deck is good at satisfying this desire. we often spend a good portion of our life total drawing more cards as we generate storm count and mana. infernal contract and cruel bargain allow us to recover better from mulligans and discard since they only require a small bit of mana to gas us back up.
speaking mana — how exactly does this deck, with only two lands in it, produce mana? with a variety of “starters” we get our mana generation going:
all of these cards allow us to start generating mana just by playing them out / activating their abilities. without one of these cards in our hand we have no way to start playing spells.
summoner's pact may seem like an odd card to list as a mana generator, but thanks to it fetching elvish spirit guide, it is. pay no attention to the upkeep cost on summoner's pact — spanish inquisition lives in the here and now. unlike decks like traditional charbelcher that often kill their opponent over a few turns with goblin tokens, spanish inquisition gets its opponent dead the turn it combos.
that being said, this still leaves the question: why play summoner's pact over more spirit guides? the answer is utility. we play a small assortment of green creatures to allow our pacts to be flexible depending on what we need at a given point during our combo:
wild cantor acts as filtering for us, while also being a “free” means of increasing our storm count when we need to. it allows us to turn a spirit guide mana into black, blue, or red depending on which payoff card or ritual we are looking to play. skullwinder gives us a method to continue comboing when we have too much mana and not enough payoff cards. it can return infernal contract or cruel bargain to our hand to allow us to keep drawing cards and generating storm count. skullwinder is played over something like eternal witness because a single green is easier to produce than double green.
skyshroud cutter and dryad arbor are cards that look fairly out of place in this deck until we make it to our rituals that produce multiple mana for us:
culling the weak is exceptionally powerful as far as rituals go and it is the reason for our odd green creatures. it turns one mana into four which allows us to cast a draw four while still leaving a mana floating. dark ritual is probably the best ritual ever printed to date as it simply turns one mana into three without any extra work. cabal ritual not only generates extra mana for us, but also gives us a nice way to turn extra red and green mana into black so it can be used to play draw fours.
before we get to our finishers, we have a few other cards that allow us to continue comboing in tight spots:
slithermuse often reads somewhere between draw five and draw seven cards in the first couple turns of the game. past in flames is a bit mana intensive, but it allows us to generate a large amount of storm by reusing all the rituals we already have in our discard pile. it also works well with lion's eye diamond since we can use our lion's eye diamond to make mana and then use that mana to flashback past in flames.
lion's eye diamond is a really interesting card in general. because it requires us to discard our hand to activate it, it is something we generally want to be using proactively. for example, common plays with led include using it for mana in response to a draw four so that we can use the mana from it to play the new cards we will be drawing. lion's eye diamond is also a combo with infernal tutor since it gives us a method to get ourselves empty handed so we can tutor up whatever card we need.
so once we draw a bunch of cards and generate a bunch of mana, how do we actually kill our opponent? we have two different ways for dealing lethal:
assuming we generate enough storm count we can simply play tendrils of agony for a lethal amount of drain. when we are going to try and kill with goblin charbelcher, we want to ensure both of the lands are out of our deck so that we know the activation will kill our opponent. something to keep in mind with charbelcher is that if we are a mana or two short from activating it the turn we play it, we can use it in response to our lethal summoner's pact triggers during our next upkeep after our chrome moxes and lands untap.
sample hands and playing the deck
next i would like to take a look at how some of our games with spanish inquisition will play out. every game with the deck is a puzzle where the goal is to get our opponent dead at the end. the deck is very capable of killing on turn one, with most games ending by turn three at the latest. let’s take a look at some sample hands with spanish inquisition and talk through how they play out.
we are on the draw and keep the following six card hand:
we scry a copy of lion's eye diamond to the top of our deck. our opponent plays a land and passes.
this leaves our mana pool with .
get slithermuse and evoke it to draw six cards. this leaves us with one black in our mana pool. we draw the following cards:
cast land grant to fetch bayou.
pact to fetch skyshroud cutter.
play bayou and cast cutter for free
sacrifice cutter to culling the weak.
cast cabal ritual.
cast led.
cast cruel bargain with
we draw:
note we could also flashback a pact to fetch our dryad arbor and then use tutor to find goblin charbelcher for lethal as well.
whew! let’s look at another, shall we?
we keep the following seven on the play:
draw four cards and now have the following hand:
cast cabal ritual to bring us to
cast lotus petal and led.
cast infernal tutor and crack led in response.
fetch tendrils of agony and cast it for a lethal amount.
note if we wanted to go for style points here we can instead get past in flames and generate a much larger storm count before killing our opponent.
let’s take a look at one more example. we keep the following seven on the play against an opponent who has mulliganed to six:
we draw the following six card hand:
mulliganing
because spanish inquisition is looking to end the game as quick as possible, the mulligans we make with the deck are often the most important thing in every game we play. like i mentioned earlier, the fact that this deck plays eight draw fours means it mulligans better than most combo decks - do not be afraid to ship bad hands.
in general we are looking for three things in an opening hand:
starting mana
rituals to generate extra mana
a way to draw more cards
keep in mind when assessing our opening hands that infernal tutors with enough mana can turn into cards that draw more cards.
sideboarding
sideboarding with spanish inquisition is very straightforward. our deck has one of a few “modes” post board. the first of these modes is just our main deck. if our opponent’s deck is not reanimator or a blue deck — shuffle up and present the same sixty cards we had for game 1.
against reanimator we simply want to bring in our four copies of leyline of the void cutting 2 gitaxian probe, skullwinder, and goblin charbelcher.
against any deck featuring blue cards, namely that pesky force of will, we pivot post board to have a slightly different game plan. specifically, playing summoner's pact against a deck that can counter our draw spells and win conditions is normally a recipe for disaster. because of this, we want to trade out these cards for some of our own disruption and a higher density of win conditions:
both of these cards allow us to “go off” on turn one with a lower density of cards and then kill our opponent over the course of the next few turns. when we are going with this creature plan we board in everything except the leyline of the voids cutting:
wrapping up
playing around with this spanish inquisition deck is the most fun i have had playing legacy in a long time. as a person who enjoys math and puzzles, this deck really scratches an itch that most other legacy decks do not. while playing long intricate games of magic is often fun, sometimes playing magic in short bursts and always having time to get lunch during an event is also a good time.
have any questions about the spanish inquisition that i did not cover above? let me know in a comment below! also if you would like to see some videos of this deck in action — check out my twitch stream archive on my youtube channel here.
cheers,
—jeff hoogland
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nɛkst ˈɪmɪʤ 1 əv 2 ˈɪmɪʤ 2 əv 2 ˈʤudi klaʊd, 49 spɛnt ə lɔt əv taɪm ɪn ðə sən ɛz ə ʧaɪld. ðə ˌɪndiəˈnæpəlɪs, ˌɪndiˈænə, ˈligəl əˈsɪstənt gru əp pleɪɪŋ ˈaʊtˈsaɪd, ˈwɛrɪŋ ˈoʊnli 2 ər 4 ɪn hər 20s*, ʃi ˈvɪzɪtɪd ˈtænɪŋ bɛdz əˈbaʊt fɔr taɪmz ə jɪr tɪ gɪt ə gloʊ ˌbiˈfɔr veɪˈkeɪʃənz, tu. dɪˈspaɪt ə ˈfæməli ˈhɪstəri əv skɪn ˈkænsər, klaʊd ˈnɛvər θɔt ʃi wɑz æt rɪsk. təˈdeɪ, ʃi noʊz ðət ðə taɪm ʃi spɛnt ˈaʊtˈsaɪd wɪˈθaʊt ˈædəkˌweɪt ənd hər ˈtænɪŋ bɛd ˈsɛʃənz wər ʃi həz skɪn ˈkænsər. wɪn ʃi ˈvɪzɪtɪd ə ˌdərməˈtɑləʤɪst ɪn 1995 tɪ gɪt wət ʃi θɔt wɑz ə skæb ʧɛkt aʊt, hər lɔŋ ˈbætəl wɪθ skɪn ˈkænsər bɪˈgæn. skɪn ˈkænsər ɪz ən æbˈnɔrməl, ˌənkənˈtroʊld groʊθ əv skɪn sɛlz, moʊst ˈɔfən baɪ ðə ˌəltrəˈvaɪəlɪt ˌreɪdiˈeɪʃən frəm ðə sən ər ˈtænɪŋ bɛdz. ðə moʊst ˈkɑmən fɔrm əv ˈkænsər, ənd ðə skɪn ˈkænsər faʊnˈdeɪʃən rɪˈpɔrts wən ɪn faɪv əˈmɛrɪkənz wɪl hæv skɪn ˈkænsər ɪn ðɛr ˈlaɪfˌtaɪm. əˈkɔrdɪŋ tɪ ðə faʊnˈdeɪʃən, ˈpipəl hu juz ə ˈtænɪŋ bɛd ˌbiˈfɔr ðə eɪʤ əv 35 ˌɪnˈkris ðɛr rɪsk fər moʊst ˈdeɪnʤərəs taɪp əv skɪn 75 pərˈsɛnt. ənd, ˈʃɑkɪŋli, ə ˈstədi faʊnd ðə ˈnəmbər əv skɪn ˈkænsər ˈkeɪsɪz kɔzd baɪ ˈɪnˌdɔr ˈtænɪŋ ɪz haɪər ðən ðə ˈnəmbər əv ləŋ ˈkænsər ˈkeɪsɪz du tɪ sˈmoʊkɪŋ. tɪ deɪt, ðə ˈməðər əv tu həz hæd fɔr ˈsərʤəriz tɪ riˈmuv spɑts əv ˈbeɪsəl sɛl ˌkɑrsəˈnoʊmə, wɪʧ ðə skɪn ˈkænsər faʊnˈdeɪʃən sɪz ɪz ðə moʊst ˈkɑmən fɔrm əv skɪn ˈkænsər. kɔzd baɪ ˈlɔŋˈtərm sən ɪkˈspoʊʒər, ənd ən ˈɛstəˌmeɪtɪd ˈmɪljən ˈkeɪsɪz əv ˈbeɪsəl sɛl ˌkɑrsəˈnoʊmə wər ˌdaɪəgˈnoʊst ɪn ðə ˈjuˈɛs ɪn 2010 ˈɔfən rɪˈgɑrdɪd ɛz ðə list ˈdeɪnʤərəs taɪp əv skɪn ˈkænsər, ɛz ɪt ˈrɛrli sprɛdz, bət ɪt kən bɪˈkəm ˈlaɪfθˌrɛtnɪŋ ɪf lɛft ənˈtritɪd. rɪˈleɪtɪd: 4 mɪθs əˈbaʊt ðət ər ˈtoʊtəli fɔls ˈleɪtəst ˈsərʤəri ɪn sɛpˈtɛmbər ˈlæstɪd θri aʊərz ənd wɑz hər moʊst ˌɪnˈveɪsɪv tɪ deɪt, wɪθ ˈdɑktərz riˈmuvɪŋ 23 spɑts əv skɪn ˈkænsər faʊnd ɔn hər feɪs, ʧɛst, ɑrmz, ənd lɛgz. ˈdɑktərz hæd tɪ kət ˈɪntu ə ˈməsəl ɪn hər maʊθ ənd muv ə nərv ɪn hər hɛd tɪ riˈmuv ðə ˈkænsər. ʃi muv ər it hoʊl fudz fər tu wiks ˈæftər ðə ˈsərʤəri, ənd naʊ, faɪv mənθs ˈleɪtər, ʃi stɪl riˈgeɪnd ˈfilɪŋ ɪn hər lɛft ʧik ər frəm hər ˈfɔrhɛd əp tɪ hər skælp. ə trɔˈmætɪk ɪkˈspɪriəns ðət klaʊd ɪz naʊ ˈbreɪvli ˈʃɛrɪŋ wɪθ ˈəðərz tɪ hɛlp ðɛm əˈvɔɪd ðə seɪm feɪt. ˈʃɔrtli ˈæftər hər ˈsərʤəri, ʃi ˈpoʊstɪd ə ˈpəblɪk ˈfoʊˌtoʊ ˈælbəm ɔn hər ˈfeɪsˌbʊk peɪʤ ˈsɪmpli kɔld cancer.”*.” ɪn ɪt, ʃi tɛlz hər ˈstɔri əˈlɔŋˈsaɪd rɑ ˈfoʊˌtoʊz əv hər təf rɪˈkəvəri, ˈstɪʧɪz ənd skæbz ˈfrɛkəld əˈkrɔs hər feɪs ənd ˈbɑdi. təˈdeɪ, ðə ˈælbəm həz bɪn ʃɛrd mɔr ðən taɪmz. sɛlf wʊd ˈnɛvər ʃɛr [ðiz ˈpɪkʧərz] ənd maɪ sɛlf wʊd ˈnɛvər ʃɛr ðɛm, bət wɪn maɪ ˈdɔktər sɛd aɪ wɑz goʊɪŋ tɪ hæv əˈnəðər ˈsərʤəri, aɪ sɛd, goʊɪŋ tɪ ˈdɑkjəmɛnt ɪt ðɪs taɪm ənd poʊst ɪt afterwards,’*,’ klaʊd tɛlz sɛlf. ˈnɛvər θɔt aɪ wʊd ʃoʊ ˌmaɪˈsɛlf ɔn ˈfeɪsˌbʊk wɪˈθaʊt ˈmeɪˌkəp ɔn lɛt əˈloʊn wɪˈθaʊt ˈmeɪˌkəp ɔn ənd ˈlʊkɪŋ soʊ ˈɪnʤərd. bət, oʊld ɪˈnəf naʊ tɪ noʊ ðɪs ɪz needed.”*.” sɪns ˈpoʊstɪŋ ðə ˈælbəm, klaʊd naʊ spɛnz hər lənʧ aʊər rɪˈspɑndɪŋ tɪ səˈpɔrtɪv ˈmɛsɪʤɪz. ˈpipəl hæv θæŋkt hər fər hər ˈstɔri ənd ˈivɪn ʃɛrd ðɛr oʊn ɪkˈspɪriənsɪz ˈfaɪtɪŋ skɪn ˈkænsər ər əv ə ləvd wən hu daɪd frəm ðə dɪˈziz. bɛst pɑrt ɪz wɪn aɪ gɪt ˈmɛsɪʤɪz frəm ˈpipəl hu seɪ, ʤɪst ʧeɪnʤd maɪ maɪnd. ˈnɛvər goʊɪŋ tɪ ə ˈtænɪŋ bɛd again,'”*,'” ʃi sɪz. ər ðə wənz aɪ ˈrɪli laɪk tɪ see.”*.” groʊɪŋ əp, klaʊd ˈnɛvər θɔt hər spərˈædɪk ˈtænɪŋ bɛd ˈvɪzɪts kʊd lɛd tɪ ðɪs. ɪn hər ˈfeɪsˌbʊk poʊst, ʃi noʊts ðət ˈtænɪŋ səˈlɑn ˈpækɪʤɪz kən bi ʧip. bət ðə kɔst bɪld fər hər ˈleɪtəst ˈsərʤəri wɑz ə ˈwɑpɪŋ wɪʧ ˈrɪli pʊts ðə hoʊl θɪŋ ˈɪntu pərˈspɛktɪv. rɪˈleɪtɪd: 4 θɪŋz mɛn haɪd frəm ðɛr waɪvz si tu ˈmɛni jəŋ gərlz ənd ˈtiˌneɪʤərz hu ər tænd jɪr raʊnd, ənd aɪ noʊ wət duɪŋ tɪ ðɛr skin,”*,” ʃi sɪz. ʤɪst wɔnt ˈpipəl tɪ nɑt θɪŋk ɪt ˈhæpən tɪ ðɛm. ɪf ɪt dɪz nɑt ʃoʊ əp raɪt əˈweɪ, ɪt kʊd ʃoʊ əp daʊn ðə roʊd, ənd nɑt goʊɪŋ tɪ bi ˈprɪti ənd nɑt goʊɪŋ tɪ bi fən. ˈpipəl nid tɪ daɪ fər ə tan.”*.” ɪn 2009 ðə wərld hɛlθ ˌɔrgənəˈzeɪʃən ruld ðət ˈtænɪŋ bɛdz ər tɪ humans,”*,” ənd ðə ˈdeɪnʤərz əv səˈlɑnz hæv bɪˈkəm mɔr ˈwaɪdli noʊn. stɪl, ˈtænɪŋ səˈlɑnz ər ə 3 ˈbɪljən ˈɪndəstri ɪn ðə ˈjuˈɛs. ðə ʤɪst prəˈpoʊzd ə rul ðɪs pæst dɪˈsɛmbər tɪ boʊθ bæn səˈlɑnz frəm ˈlɛtɪŋ ˈmaɪnərz baɪ ˈtænɪŋ taɪm ənd ˌrikˈwaɪər ˈjuzərz tɪ saɪn ə rɪsk ækˈnɑlɪʤmənt fɔrm. ˈblumbərg rɪˈpɔrts 11 steɪts ənd ˈwɔʃɪŋtən, d.c*. hæv ɔˈrɛdi ˈteɪkən ˈækʃən ənd bænd ˈmaɪnərz frəm ˈɪnˌdɔr ˈtænɪŋ. klaʊd ˌprɪˈdɑmənənˌtli həz ˈbeɪsəl sɛl ˌkɑrsəˈnoʊmə, bət wən spɑt əv sɛl skɪn ˈkænsər wɑz riˈmuvd ɪn hər ˈleɪtəst ˈsərʤəri. ðə nɛkst moʊst ˈkɑmən fɔrm əv skɪn ˈkænsər ˈæftər ˈbeɪsəl, ənd mɔr ˈdeɪnʤərəs. təˈdeɪ, ʃi teɪks ɛz ˈmɛni priˈkɔʃənz ɛz ʃi kən tɪ kip hər skɪn seɪf. ʃi wɛrz ˈmɔɪsʧərˌaɪzər ənd ˈmeɪˌkəp wɪθ, ənd ʃi əˈvɔɪdz ɪkˈstɛndɪd ˈpɪriədz əv taɪm ɪn ðə sən. ðə skɑrz ɔn hər feɪs hæv hild, bət ʃi sɪz ðə wənz ɔn hər lɛgz ər stɪl braɪt rɛd, ˈivɪn faɪv mənθs ˈæftər ðə ˈsərʤəri. stɪl, ʃi filz ˈləki. ʃi noʊz fər səm, skɪn ˈkænsər ɪz ˈivɪn wərs ɪf ðeɪ hæv ə mɔr ˈdeɪnʤərəs taɪp. æm ˈləki, bɪˈkəz nɑt melanoma,”*,” ʃi sɪz. ɪt kʊd hæv bɪn. ənd aɪ wɔnt tɪ teɪk ðə ʧæns əv ˈhævɪŋ ˌmɛləˈnoʊmə. ðɪs ɪz ə hɑrd ɪˈnəf ˈbætəl ˈfaɪtɪŋ this.”*.” mɔr frəm sɛlf: 18 θɪŋz ju ʃʊd ˈnɛvər pʊt ɪn jʊr vəˈʤaɪnə ðə wən θɪŋ wɪʃ stɑp duɪŋ 5 ˈrizənz nɑt ˈhævɪŋ ən ˈɔrgæzəm (ənd haʊ tɪ meɪk ɪt mɔr ˈlaɪkli)
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judy cloud, 49, spent a lot of time in the sun as a child. the indianapolis, indiana, legal assistant grew up playing outside, wearing only spf 2 or 4. in her 20s, she visited tanning beds about four times a year to get a glow before vacations, too. despite a family history of skin cancer, cloud never thought she was at risk. today, she knows that the time she spent outside without adequate spf and her tanning bed sessions were dangerous—because she has skin cancer.
when she visited a dermatologist in 1995 to get what she thought was a scab checked out, her long battle with skin cancer began. skin cancer is an abnormal, uncontrolled growth of skin cells, most often trigged by the ultraviolet radiation from the sun or tanning beds. it’s the most common form of cancer, and the skin cancer foundation reports one in five americans will have skin cancer in their lifetime. according to the foundation, people who use a tanning bed before the age of 35 increase their risk for melanoma—the most dangerous type of skin cancer—by 75 percent. and, shockingly, a study found the number of skin cancer cases caused by indoor tanning is higher than the number of lung cancer cases due to smoking.
to date, the mother of two has had four surgeries to remove spots of basal cell carcinoma, which the skin cancer foundation says is the most common form of skin cancer. it’s caused by long-term sun exposure, and an estimated 2.8 million cases of basal cell carcinoma were diagnosed in the us in 2010. it’s often regarded as the least dangerous type of skin cancer, as it rarely spreads, but it can become life-threatening if left untreated.
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cloud’s latest surgery in september lasted three hours and was her most invasive to date, with doctors removing 23 spots of skin cancer found on her face, chest, arms, and legs. doctors had to cut into a muscle in her mouth and move a nerve in her head to remove the cancer. she couldn’t move or eat whole foods for two weeks after the surgery, and now, five months later, she still hasn’t regained feeling in her left cheek or from her forehead up to her scalp.
it’s a traumatic experience that cloud is now bravely sharing with others to help them avoid the same fate. shortly after her surgery, she posted a public photo album on her facebook page simply called “skin cancer.” in it, she tells her story alongside raw photos of her tough recovery, stitches and scabs freckled across her face and body. today, the album has been shared more than 63,000 times.
“my 20-year-old self would never share [these pictures] and my 30-year-old self would never share them, but when my doctor said i was going to have another surgery, i said, ‘i’m going to document it this time and post it afterwards,’ ” cloud tells self. “i never thought i would show myself on facebook without makeup on let alone without makeup on and looking so injured. but, i’m old enough now to know this is needed.”
since posting the album, cloud now spends her lunch hour responding to supportive messages. people have thanked her for her story and even shared their own experiences fighting skin cancer or of a loved one who died from the disease. “the best part is when i get messages from people who say, ‘you just changed my mind. i’m never going to a tanning bed again,'” she says. “those are the ones i really like to see.”
growing up, cloud never thought her sporadic tanning bed visits could lead to this. in her facebook post, she notes that tanning salon packages can be cheap. but the cost billed for her latest surgery was a whopping $26,845.87, which really puts the whole thing into perspective.
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“i see too many young girls and teenagers who are tanned year round, and i know what they’re doing to their skin,” she says. “i just want people to not think it won’t happen to them. if it does not show up right away, it could show up down the road, and it’s not going to be pretty and it’s not going to be fun. people don’t need to die for a tan.”
in 2009, the world health organization ruled that tanning beds are “carcinogenic to humans,” and the dangers of salons have become more widely known. still, tanning salons are a $3 billion industry in the us. the fda just proposed a rule this past december to both ban salons from letting minors buy tanning time and require users to sign a risk acknowledgement form. bloomberg reports 11 states and washington, d.c. have already taken action and banned minors from indoor tanning.
cloud predominantly has basal cell carcinoma, but one spot of squamous cell skin cancer was removed in her latest surgery. it’s the next most common form of skin cancer after basal, and more dangerous. today, she takes as many precautions as she can to keep her skin safe. she wears moisturizer and makeup with spf, and she avoids extended periods of time in the sun. the scars on her face have healed, but she says the ones on her legs are still bright red, even five months after the surgery.
still, she feels lucky. she knows for some, skin cancer is even worse if they have a more dangerous type.
“i am lucky, because it’s not melanoma,” she says. “but it could have been. and i don’t want to take the chance of having melanoma. this is a hard enough battle fighting this.”
more from self:
18 things you should never put in your vagina
the one thing hairstylists wish you’d stop doing
5 reasons you’re not having an orgasm (and how to make it more likely)
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ˈɛdənbəroʊ kənˈtɪnjuz tɪ bi ðə moʊst ˈprɑspərəs ˈsɪti ˈaʊtˈsaɪd ˈləndən wɪθ loʊər ˌənɪmˈplɔɪmənt ənd haɪər dɪˈspoʊzəbəl ˈɪnˌkəm ðən ˈɛniˌwɛr ɛls. ðə ˈkæpɪtəl ˈɔlsoʊ həz ðə haɪəst prəˈpɔrʃən əv ˈhaɪli skɪld ˌɑkjəˈpeɪʃənz əv ˈɛni ˈsɪti, ˌɪnˈkludɪŋ ˈləndən, əˈkɔrdɪŋ tɪ ˈdætə ɪn ðə ˈleɪtəst ˈɛdənbəroʊ baɪ ˈnəmbərz ˌpəblɪˈkeɪʃən prəˈdust baɪ ðə ˈsɪti ˈkaʊnsəl. ˌənɪmˈplɔɪmənt reɪts ɪn ˈɛdənbəroʊ hæv bɪn loʊər ðən ˈəðər ˈmeɪʤər ˈsɪtiz ɪn iʧ əv ðə pæst tɛn ˈkæləndər jɪrz. ðə ˈleɪtəst ˈfɪgjərz ʃoʊ ˈʤɑbləsnəs ɪn ðə ˈkæpɪtəl æt pər sɛnt læst jɪr. ðə ˌənɪmˈplɔɪmənt reɪt dɪd raɪz ɪn ðə jɪrz ˈfɑloʊɪŋ ðə ˌɛkəˈnɑmɪk kræʃ frəm pər sɛnt ɪn 2007 tɪ ə pik əv pər sɛnt ɪn 2013 bət ɪt wɑz ˈɔlˌweɪz sɪgˈnɪfɪkəntli loʊər ðən ˈəðər ˈmeɪʤər ˈsɪtiz. ˈɛdənbəroʊ həz ə haɪər pərˈsɛnɪʤ pər sɛnt) əv ðə ˌpɑpjəˈleɪʃən ɪn ɪmˈplɔɪmənt ðən ðə ˈævərɪʤ əv ˈmeɪʤər ˈsɪtiz, ðoʊ ˈbrɪstəl tɑps ðə ˈteɪbəl æt pər sɛnt ənd lidz ənd ˈləndən ər ˈɔlsoʊ boʊθ əˈbəv ˈɛdənbəroʊ. tɔp ˈrizənz ɪn ˈɛdənbəroʊ fər biɪŋ ˌɛkəˈnɑmɪkli ˌɪˈnæktɪv ˌɪnˈklud biɪŋ ə ˈstudənt 42 pər sɛnt) ər biɪŋ rɪˈtaɪrd pər sɛnt). ðə ˈkæpɪtəl həz ðə haɪəst ˈævərɪʤ dɪˈspoʊzəbəl ˈɪnˌkəm pər ˈrɛzɪdənt æt wɛl əˈhɛd əv ˈbrɪstəl wɪθ ˈɛdənbəroʊ həz ə ˈlɑrʤər prəˈpɔrʃən əv haɪ skɪld ˌɑkjəˈpeɪʃənz, æt pər sɛnt, ðən ˈəðər ˈsɪtiz ˌɪnˈkludɪŋ ðə ˈləndən ˈriʤən. hɛlθ ˈimərʤɪz ɛz ðə ˈsɛktər wɪθ ðə ˈlɑrʤəst prəˈpɔrʃən əv ðə ˈwərkˌfɔrs pər sɛnt) wɪθ ˈfaɪˌnæns ənd ˌɪnˈʃʊrəns nɛkst æt pər sɛnt twaɪs ðə ˈævərɪʤ ɪn ˈəðər ˈsɪtiz. ðɛr wər ə ˈtoʊtəl əv ʤɑbz ˈloʊˌkeɪtəd ɪn ðə ˈsɪti ɪn 2015 30 pər sɛnt ər əv ðɛm beɪst ɪn ðə ˈsɪti ˈsɛntər ənd əˈnəðər naɪn pər sɛnt ər ɪn liθ ənd liθ wɔk. ˈɛdənbəroʊ hæd ðə θərd bɛst sərˈvaɪvəl reɪt fər nu ˈbɪznɪsɪz wɪθ 42 pər sɛnt stɪl goʊɪŋ ˈæftər faɪv jɪrz, kəmˈpɛrd wɪθ pər sɛnt ɪn ˈʃɛfild ənd pər sɛnt ɪn ˈbrɪstəl. ðə ˈvælju əv gʊdz ənd ˈsərvɪsɪz prəˈdust ɪn ˈɛdənbəroʊ noʊn ɛz (groʊs ˈvæljud ˈædɪd) wɑz haɪər pər hɛd ðən ɪn ˈəðər ˈsɪtiz ˈaʊtˈsaɪd ˈləndən. ðɛr wər ə ˈtoʊtəl əv ˈbɪznɪsɪz ˈrɛʤɪstərd ɪn ðə ˈsɪti, 1000 əv ðɛm ɪmˈplɔɪɪŋ mɔr ðən 250 ˈpipəl. ðə ˈfæstəst groʊɪŋ ˈsɛktərz, ɪn tərmz əv ˈnəmbər əv ˈbɪznɪsɪz, wər ˌfaɪˈnænʃəl ˈsərvɪsɪz əp pər sɛnt ɪn ðə faɪv jɪrz tɪ 2016 ənd ˌɪnˌfɔrˈmeɪʃən ənd kəmˌjunəˈkeɪʃən, əp 46 pər sɛnt, ðə ˈoʊnli ˈsɛktər tɪ si ə dɪˈklaɪn wɑz ˈhoʊlˌseɪl, ˈriˌteɪl ənd rɪˈpɛr daʊn pər sɛnt. ˈfʊtˌfɔl ɔn ˈprɪnsɪz strit wɑz haɪəst ɪn dɪˈsɛmbər ənd ˈɔgəst, ðoʊ wɑz daʊn pər sɛnt ɔn ðə ˈpriviəs jɪr waɪl wɑz əp pər sɛnt. ənd haɪər ˈfʊtˌfɔl dɪz nɑt ˌɔtəˈmætɪkli min mɔr seɪlz. ˈɛdənbəroʊ keɪm θərd ˈaʊtˈsaɪd ˈləndən fər ˈfɔrən dɪˈrɛkt ˌɪnˈvɛstmənt ˈprɑʤɛkts læst jɪr kəmˈpɛrd wɪθ 26 ɪn ˈglæˌskoʊ ənd 33 ɪn ˈmænˌʧɛstər. bət ɪt wɑz ˈsɛkənd fər ʤɑbz kriˈeɪtɪd baɪ səʧ ˌɪnˈvɛstmənt, rɪˈkɔrdɪŋ 1243 nu poʊsts kəmˈpɛrd tɪ 1363 ɪˈkɑnəmi ˈgævɪn ˈbɛri sɛd: ˈsɪti həz məʧ tɪ bi ˈpɑzətɪv əˈbaʊt. ˈɛdənbəroʊ ɪz ə ˈvaɪbrənt ˈkæpɪtəl ˈsɪti wɪθ ə dɪˈvərs ɪˈkɑnəmi, ən ˌɪnˈkrisɪŋ ˌpɑpjəˈleɪʃən ənd strɔŋ ˌɪnˈvɛstmənt potential.”*.”
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edinburgh continues to be the most prosperous uk city outside london with lower unemployment and higher disposable income than anywhere else.
the capital also has the highest proportion of highly skilled occupations of any uk city, including london, according to data in the latest edinburgh by numbers publication produced by the city council.
unemployment rates in edinburgh have been lower than other major uk cities in each of the past ten calendar years. the latest figures show joblessness in the capital at 4.4 per cent last year. the unemployment rate did rise in the years following the economic crash from 4.3 per cent in 2007 to a peak of 7.1 per cent in 2013 but it was always significantly lower than other major uk cities.
edinburgh has a higher percentage (72.8 per cent) of the working-age population in employment than the average of major uk cities, though bristol tops the table at 76.2 per cent and leeds and london are also both above edinburgh.
top reasons in edinburgh for being economically inactive include being a student (42 per cent) or being retired (15.3 per cent).
the capital has the highest average disposable income per resident at £21,200, well ahead of second-placed bristol with £17,900.
edinburgh has a larger proportion of high skilled occupations, at 40.1 per cent, than other uk cities including the london region.
health emerges as the sector with the largest proportion of the capital’s workforce (15.4 per cent) with finance and insurance next at 10.8 per cent twice the average in other uk cities.
there were a total of 324,000 jobs located in the city in 2015 30 per cent or 98,400 of them based in the city centre and another nine per cent or 28,500 in leith and leith walk.
edinburgh had the third best survival rate for new businesses with 42 per cent still going after five years, compared with 43.1 per cent in sheffield and 42.3 per cent in bristol.
the value of goods and services produced in edinburgh - known as gva (gross valued added) - was higher per head than in other uk cities outside london.
there were a total of 19,285 businesses registered in the city, 1000 of them employing more than 250 people.
the fastest growing sectors, in terms of number of businesses, were financial services up 46.4 per cent in the five years to 2016 and information and communication, up 46 per cent, the only sector to see a decline was wholesale, retail and repair down 2.4 per cent.
footfall on princes street was highest in december and august, though august’s was down 2.7 per cent on the previous year while december’s was up 6.6 per cent. and higher footfall does not automatically mean more sales.
edinburgh came third outside london for foreign direct investment projects last year24, compared with 26 in glasgow and 33 in manchester. but it was second for jobs created by such investment, recording 1243 new posts compared to sheffield’s 1363.
economy convener councillor gavin barrie said: “the city has much to be positive about. edinburgh is a vibrant capital city with a diverse economy, an increasing population and strong investment potential.”
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ðɪs poʊst baɪ kərt dɑl ərˈɪʤənəli əˈpɪrd æt ðə ˌpɑpjəˈleɪʃən ˈɛləfənt. ðə ril ˈprɑbləm səm θɪŋz ər soʊ priˈɛmənənt wɪˈθɪn ðɛr ˈkɑntɛkst ðət ðeɪ nid noʊ ˈæʤɪktɪvz ər ˌɛkspləˈneɪʃən. æsk ˈɛni əˈmɛrɪkən ˈfʊtˌbɔl fæn wət ɪz rɪˈfərd tɪ baɪ play”*” ənd ðeɪ wɪl tɛl ju əˈbaʊt ðə ˈfaɪnəl pleɪ ɪn ðə 1982 geɪm wɪn, ˈæftər ˈsɛvərəl ənd ə mæd dæʃ θru ðə ˈstænfərd bænd, kæl skɔrd ðə ˈwɪnɪŋ ˈtəʧˌdaʊn ɛz taɪm ɪkˈspaɪrd (du ə ˈgugəl sərʧ ɔn play”*” ənd si fər ˈjɔrsɛlf). ˈlaɪkˌwaɪz, open”*” rɪˈfərz ˈoʊnli tɪ ðə ˈbrɪtɪʃ ˈoʊpən gɔlf ˈtʊrnəmənt, ˈivɪn ðoʊ ðɛr ər ˈdəzənz əv ˈəðər ““open”*” æθˈlɛtɪk ɪˈvɛnts. ðə wərld təˈdeɪ ɪz bɪˈsɛt wɪθ ə hoʊst əv ˈmeɪʤər ˈɪʃuz ɔɪl dɪˈpliʃən, ˈklaɪmɪt ʧeɪnʤ, fud ˈʃɔrtɪʤɪz, ˈrisɔrs wɔrz, ˈspiʃiz ɪkˈstɪŋʃən tɪ neɪm bət ə fju. bət ðiz ər ˈoʊnli ˈsɪmptəmz əv ðə wən tru ˈprɑbləm. ril problem”*” ðə wən ðət spɔnz ɔl ˈəðərz, ənd ðə wən ðət ˈmænˈkaɪnd məst feɪs æt səm pɔɪnt ɪz ðət ðɛr ər ˈsɪmpli tu ˈmɛni ˈjumən biɪŋz ɔn ðɪs ˈplænət. ˈðɛrˌfɔr, aɪ səˈʤɛst, ðət laɪk play”*” ənd open”*” hɪˈræftər ˌoʊvərˌpɑpjəˈleɪʃən ʃʊd bi rɪˈfərd tɪ ɛz problem”*”. ənˈfɔrʧənətli, ɪn wərld, wi ər ˈkɑntɛnt tɪ ˈæˌdrɛs ˈoʊnli ðə ˈkɑnsəkˌwɛnsəz əv ðə ˈprɑbləm ˈklaɪmɪt ʧeɪnʤ, ˈɛnərʤi dɪˈpliʃən, fud ˈʃɔrtɪʤɪz, ˌɛtˈsɛtərə. ðɪs ɪz ðə seɪm ˈklæsɪk mɪˈsteɪk ðət ə fəˈzɪʃən meɪks ɪn ˈtritɪŋ ˈoʊnli ðə ˈsɪmptəmz, ənd ˌɪgˈnɔrɪŋ ðə ˌfəndəˈmɛnəl dɪˈziz. soʊ ðɛn, ðə ˈmɪljən ˈdɔlər kˈwɛʃən ɪz: wi æˈdrɛsɪŋ ðə ril problem?”*?” fərst ə ˈbrutəli ˈɑnəst ˌriˈæləˌti ʧɛk ɪz ˈnɛsəˌsɛri wərld ˌpɑpjəˈleɪʃən stændz æt ˈoʊvər 6 ˈbɪljən təˈdeɪ. ˈɛvəri fɔr deɪz wən ˈmɪljən mɔr ˈpipəl ər ˈædɪd. ˈrizənəbəl prɑˈʤɛkʃənz pʊt wərld ˌpɑpjəˈleɪʃən æt bɪtˈwin 9 11 ˈbɪljən baɪ 2050 ˈrɑkət saɪəns ɪz nɑt rikˈwaɪərd tɪ ˌəndərˈstænd wət ðət ˌɪmˈplaɪz fər ðə hoʊst əv ˈɪʃuz (ˈsɪmptəmz) ˈlɪstɪd əˈbəv. ɪˈmɪʃənz ər ˈkɔzɪŋ ˈgloʊbəl ˈwɔrmɪŋ. ðɪs ɪz ə fækt. ˈmɛni ɪn ðə ˌsaɪənˈtɪfɪk kəmˈjunɪti prəˈpoʊz ðət ən 80 rɪˈdəkʃən ɪn ɪˈmɪʃənz baɪ 2050 ɪz ˈnɛsəˌsɛri tɪ fɔrˈstɔl ðə ɪkˈstrim ˈkɑnsəkˌwɛnsəz əv ˈgloʊbəl ˈwɔrmɪŋ. bət haʊ kən ðɪs bi dən wɪn æt ðə seɪm taɪm wi ər ˈædɪŋ 3 4 ər ˈivɪn 5 ˈbɪljən mɔr ˈpipəl tɪ ðə wərld? gɪt ril ɪt! ˈlaɪkˌwaɪz fər ˈɛnərʤi ənd fud kənˈsəmʃən ðə əˈdɪʃən əv ˈbɪljənz əv ˈpipəl minz ðət ðiz kəˈmɑdətiz wɪl drəˈmætɪkəli ˌɪnˈkris ɪn kənˈsəmʃən. bət ðiz ər ˈfaɪˌnaɪt ˈrisɔrsɪz, ɔˈrɛdi wi ər fɑr əˈbəv səˈsteɪnəbəl ˈlɛvəlz. soʊ, kən ðɪs goʊ ɔn fərˈɛvər? gɪt ril ɪt! kən ðə juz əv nu laɪt bəlbz, ˈhaɪbrɪd kɑz, klɔθ ˈgroʊsəri bægz, ənd mæs ˈtrænzɪt ˈɔfˌsɛt ðə ˈʃɑrpli ˈəpwərd kənˈsəmʃən dɪˈmænd ðət wɪl kəm frəm boʊθ ðə ˌɪnˈkrisɪŋ wərld ˌpɑpjəˈleɪʃən ənd ðə drəˈmætɪkəli ˌɪnˈkrisɪŋ ˈstændərd əv ˈlɪvɪŋ əv ðə ɪgˈzɪstɪŋ ˌpɑpjəˈleɪʃənz ɪn dɪˈvɛləpɪŋ ˈkəntriz laɪk ˈɪndiə ənd ˈʧaɪnə? noʊ weɪ! gɪt ril ɪt! soʊ waɪ ðə ˈsaɪrənz ˈblɛrɪŋ, waɪ ðə əˈlɑrm ˈsaʊndɪŋ, waɪ ðɪs ˈivɪn biɪŋ dɪˈskəst? ɪn fækt, ðə ˈɑpəzɪt ɪz ˈhæpənɪŋ. ðɛr hæv bɪn ˈsɛvərəl ˈrisənt əˈpɪnjən ˈpisɪz ɪn ðə ˈbɔstən gloʊb ənd ðə nu jɔrk taɪmz ɪkˈsprɛsɪŋ ðə bɪˈlif ðət wi hæv ə ˈprɑbləm wɪθ ˈdiˌkrisɪŋ ˌpɑpjəˈleɪʃən! əbˈsərd. waɪ ðɛn ɪz ˌoʊvərˌpɑpjəˈleɪʃən nɑt dɪˈskəst? ðə ˈprɑbləm, ɪt tərnz aʊt, həz ˈmɛni ˈfeɪtəl ˈprɑbləmz əv ɪts oʊn: faɪv ˈfeɪtəl ˈprɑbləmz wɪθ ðə ˈprɑbləm: 1 ðɛr ɪz noʊ ˈməni ɪn ɪt. goʊɪŋ ““green”*” ɪz ə juʤ ˈɪndəstri. ˈθaʊzənz əv ˈkəmpəˌniz ər traɪɪŋ tɪ sɛl ju ɪˈfɪʃənt laɪt bəlbz, ˈhaɪbrɪd kɑz, klɔθ ˈgroʊsəri bægz, ˈsoʊlər ˈpænəlz ənd ə hoʊst əv ˈəðər ˈgɪmɪks ənd ˈgæʤəts. ɔlˈtərnətɪv ˈɛnərʤi ˈsɔrsəz nid ˈmæsɪv ˌɪnˈvɛstmənts ɪn ˈkæpɪtəl ɪkˈspɛndɪʧərz ənd ˈrisərʧ ənd dɪˈvɛləpmənt. ˈgəvərnmənt grænts tɪ ˌjunəˈvərsətiz, ˈvɛnʧər ˈkæpɪtəl, bɑnd ˈɪʃuz, ˌɛtˈsɛtərə., ɔl kriˈeɪt ə ˈwərlˌwɪnd əv ˌfaɪˈnænʃəl ækˈtɪvɪti. ˈməni ɪz tɪ bi meɪd ˈɛvriˌwɛr. ənd wɪθ ðiz ˈmæsɪv ˌfaɪˈnænʃəl ˌɑpərˈtunətiz kəm juʤ ˈprɑfɪts, wɛl ˈfaɪˌnænst ˈlɑbiɪsts, pəˈblɪsɪti, ənd ˈmidiə kriˈeɪʃən. ˌɪnˈdid, ðə ˈmidiə ɪkˈsploʊʒən sərˈaʊndɪŋ green”*” ɪz ə ˈmeɪʤər ˈɪndəstri ɔl baɪ ˌɪtˈsɛlf. ˈɛvriˌwən ˈbɛnəfɪts ˌfaɪˈnænʃəli baɪ green”*”. ðoʊ, ɪn ðə ɛnd, ɪt ɪz nɑt ə səˈluʃən. æt bɛst, ɪt wɪl ˈoʊnli ˈmɑdəstli dɪˈleɪ ðə daɪər ˈkɑnsəkˌwɛnsəz əv ɑr ˈkɑrənt over-consumption*. bət, ˈkɑnvərsli, hu wʊd ˈbɛnəfɪt ˌfaɪˈnænʃəli frəm rɪˈdusɪŋ ðə ˌpɑpjəˈleɪʃən? noʊ wən! ðɛr ɪz ˌæbsəˈlutli noʊ ˈməni tɪ bi meɪd ɪn ðə wən ənd ˈoʊnli səˈluʃən fjuər ˈpipəl. soʊ wən ˈprɑbləm wɪθ ðə ˈprɑbləm ɪz ðət ɪt ɪz ə ˈpɔpər, ənd ˈðɛrˌfɔr həz noʊ frɛndz. 2 nɑt maɪ ˈprɑbləm ðə ʃɔrt tərm vju. ðə juˈnaɪtɪd ˈneɪʃənz prəˈvaɪdz ðə ˈbeɪsɪk ˌpɑpjəˈleɪʃən prɑˈʤɛkʃənz ðət ˈɛvriˌwən ɛls kwoʊts. ðɛr ɪz səm ˈɑrbəˌtrɛrinəs ˈnɛsəˌsɛri tɪ kriˈeɪt ðiz ˈmɑdəlz. fər ˈɪnstəns, ðə jɪr 2050 ɪz ðə ˈɛndˌpɔɪnt fər ðɛr ˈkɑrənt sɛt əv prɑˈʤɛkʃənz fər noʊ ˈrizən ˈəðər ðən ɪt ɪz ə kənˈvinjənt raʊnd ˈnəmbər. ˈɔlˌmoʊst ˈɛvəri ˈɑrtɪkəl ˈrɪtən əˈbaʊt ˌpɑpjəˈleɪʃən groʊθ kwoʊts ðə ˈfɪgjər əv 9 ˈbɪljən ˈpipəl baɪ 2050 (ðoʊ ðə ˈjuˈɛn ˈprɑʤɛkts ˈəðər ˈpɑsəbəl 2050 ˈaʊtˌkəmz əv 7 11 ˈivɪn 13 ˈbɪljən). ənd ðɛn ðə ˈridər əv ðə ˈɑrtɪkəl goʊz: wət, aɪ bi əraʊnd baɪ then.”*.” ɛz ɪf ðə ˈprɑbləm ˈhæpən ənˈtɪl 2050 aɪ spik fər ðə rɛst əv ðə wərld, bət aɪ wʊd ˈstrɔŋli əˈsərt ðət ɪn ðə juˈnaɪtɪd steɪts, ðə horizon”*” fər kənˈsərn əˈbaʊt ðə fˈjuʧər, ɪz ʃɔrt ənd ˈgɪtɪŋ ˈʃɔrtər. ə ˈmeɪʤər ˈprɑbləm ðət əraɪvz ɪn 2050 ɪz tu fɑr əˈweɪ fər moʊst ˈpipəl tɪ ˈivɪn θɪŋk əˈbaʊt, məʧ lɛs du ˈɛniˌθɪŋ əˈbaʊt. nɑt ˈoʊnli ðət, bət ju rɪˈdus ðə ˈprɑbləm tɪ ə ʃɔrt taɪm freɪm ənd hæv ɪt meɪk sɛns tɪ ðə ˈævərɪʤ ˈpərsən. tɪ seɪ ðət ðɛr wɪl bi tu ˈmɪljən mɔr əv ˈjuˈɛs ɔn ðə ˈplænət ɪn ʤɪst ə ˈlɪtəl ˈoʊvər ə wik (ə tru stəˈtɪstɪk) ˈɔlsoʊ gɪts ə bɪg what?”*?” tu ˈmɪljən ˈnuˌkəmərz ɪn maɪ ˈneɪbərˌhʊd, soʊ waɪ ʃʊd aɪ care?”*?” ənˈfɔrʧənətli, ˈivɪn ðoʊ ðə ˈprɑbləm ˈmænəˌfɛst ˌɪtˈsɛlf fər ˈsɛvərəl ˈdɛkeɪdz, ðə səˈluʃənz məst bɪˈgɪn naʊ! soʊ wən ˈprɑbləm wɪθ ðə ˈprɑbləm ɪz ðət baɪ ðə taɪm ɪt bɪˈkəmz ˈɑbviəs tɪ ðə ˈævərɪʤ ˈpərsən, ɪt wɪl bi weɪ tu leɪt. 3 ðə ˌfəndəˈmɛnəl ˈsɪstəmz əˈpoʊz ɪt. təˈdeɪ ðɛr ər θri ˈdɑmənənt ˈsɪstəmz ðət dɪˈfaɪn ənd kənˈtroʊl ðə ˈkəlʧər əv ˈjumən biɪŋz dɪˈmɑkrəsi, ˈkæpɪtəˌlɪzəm, ənd rɪˈlɪʤən. ənd ənˈfɔrʧənətli, ɔl θri əv ðiz ˌfəndəˈmɛnəl ˈsɪstəmz wərk əˈgɛnst æˈdrɛsɪŋ ðə ˈprɑbləm. dɪˈmɑkrəsi, tɪ ɑr greɪt ˈbɛnəfɪt, əˈlaʊz ˈjuˈɛs ðə ˈfridəm tɪ meɪk ˈsərtən ˈpərsɪnəl ˈʧɔɪsɪz. əˈməŋ ðoʊz ɪz ðə ʧɔɪs əv haʊ ˈmɛni ˈʧɪldrən wi ər əˈlaʊd tɪ hæv. noʊ ˌdɛməˈkrætɪk ˈgəvərnmənt wʊd ˈivɪn kənˈsɪdər ˈlɪmətɪŋ ðət ʧɔɪs bɪˈkəz, æt ðə fərst ˌɑpərˈtunəti, ðeɪ wʊd bi ˈvoʊtɪd aʊt əv ˈɔfəs. ˈsɪmpli pʊt ɪt ɪz ˌɪmˈpɑsəbəl tɪ ˌɪˈmæʤən ə ˌsɪʧuˈeɪʃən wɛr ˈɛni ˈmænˌdeɪt rɪˈzɛmbəlɪŋ ˌpɑpjəˈleɪʃən ˈmænɪʤmənt kʊd bi ɛˈnæktəd ˈəndər ə dɪˈmɑkrəsi. ˈkæpɪtəˌlɪzəm rikˈwaɪərz groʊθ. ˈɛniˌθɪŋ ˈəðər ðən groʊθ ɪn kənˈsəmʃən ənd dɪˈmænd ˈəndər ˈkæpɪtəˌlɪzəm ɪz kənˈsɪdərd bæd ə ˌriˈsɛʃən, ər wərst keɪs, ə dɪˈprɛʃən. bət, ðə ˈprɑbləm ɪz ˈoʊnli sɑlvd baɪ ə dɪˈklaɪnɪŋ ˌpɑpjəˈleɪʃən ənd dɪˈklaɪnɪŋ kənˈsəmʃən ər ˈnɛgətɪv groʊθ. ɪt wʊd bi hɑrd tɪ kənˈsiv əv ə ˈmɑdəl əv ˈkæpɪtəˌlɪzəm ðət kʊd ““succeed”*” ˈəndər səʧ ə dɪˈlɪbərˌeɪt, səˈsteɪnd, lɔŋ tərm, ˈdiˌkris ɪn dɪˈmænd. ˌɪˈmæʤən haʊ ˈkæpɪtəˌlɪzəm wʊd ˈfəŋkʃən ɪf ˌpɑpjəˈleɪʃən dɪˈklaɪnd ˈstɛdəli ˈoʊvər ˈsɛvərəl ˈdɛkeɪdz tɪ ˈlɛvəlz əˈproʊʧɪŋ wən ˈbɪljən ˈpipəl. ðə ˈɛkˌsɛs kˈwɑntətiz əv gʊdz əˈloʊn (θɪŋk əv ˈhaʊzɪŋ) wʊd ˈvərʧuəli ɪˈlɪməˌneɪt dɪˈmænd ənd ɪˈlɪməˌneɪt ðə ˌɪnˈsɛnɪv fər ðə ˈkɑnstənt ˈstrəgəl tɪ əˈʧiv ðə ˈɛvər ˈbɪgər ˈɪnˌkəm. ˈkæpɪtəˌlɪzəm, æt list ɛz wi noʊ ɪt təˈdeɪ, ˈsɪmpli wərk ɪn ə dɪˈklaɪnɪŋ ˌpɑpjəˈleɪʃən sɪˈnɛrioʊ. ˈɔrgəˌnaɪzd ˈpraɪˌmɛri goʊl, laɪk ˈlɪvɪŋ ˈɔrgəˌnɪzəmz ðɛmˈsɛlvz, ɪz tɪ kənˈtɪnju tɪ ɪgˈzɪst. riˈlɪʤənz ˈɔlˌweɪz straɪv tɪ ˌɪnˈkris ðə flɑk, ˈwɛðər baɪ kənˈvərʒən ər baɪ bərθ. ənd ɪn wərld, ðeɪ hæv ˈivɪn bɪˈkəm kəmˈpɛtɪtɪv wɪθ wən əˈnəðər tɪ si hu həz ðə ˈbɪgər ˈnəmbərz ənd ˈðɛrˈbaɪ wɪl ““rule”*” hir ɔn ərθ. wət wʊd ˈhæpən tɪ ðə ˈkæθlɪk ʧərʧ ɪf iʧ ˈkæθlɪk ˈkəpəl ˈoʊnli hæd wən ʧaɪld? ɪt wʊd ʃrɪŋk drəˈmætɪkəli ˈhɛvən fərˈbɪd! ðət ɪz waɪ ðeɪ kənˈtɪnju wɪθ ðɛr kəmˈplitli ˌɪˈræʃənəl stænd əˈgɛnst bərθ kənˈtroʊl. ənd ɔl riˈlɪʤənz wərk tɪ ˈɑbfəˌskeɪt ðə ˈprɑbləm baɪ prəˈpoʊzɪŋ bɪˈzɑr ˌsupərˈstɪʃənz laɪk ðə ˈræpʧər. wi wɪl ɔl bi ˈteɪkən əp ˈɪntu ˈhɛvən sun, soʊ waɪ ˈwəri? ər ˈivɪn mɔr ˈsɪmpli: ˈwəri nɑt, gɑd wɪl sɑlv ðɪs ˈprɑbləm. ɔl riˈlɪʤənz wərk ˈæktɪvli, əˈgrɛsɪvli, ənd wɪθ ˈmæsɪv ˈrisɔrsɪz, tɪ dɪˈskrɛdət ˈɛni hɪnt əv ækˈtɪvɪti ðət maɪt bi kənˈstrud ɛz ˌpɑpjəˈleɪʃən ˈmænɪʤmənt. kənˈsɪdərɪŋ ðə ˈɪnfluəns ðət ðə riˈlɪʤənz hæv ɪn wərld, ɪt ɪz əˈʃʊrd ðət ðə ˈprɑbləm wɪl ˈnɛvər bi əˈlaʊd tɪ bi əˈdrɛst ɪn ˈɛni ˈminɪŋfəl weɪ. ɛz pruf ðət ðiz θri ˌfəndəˈmɛnəl ˈsɪstəmz wərk əˈgɛnst ə səˈluʃən, lʊk noʊ ˈfərðər ðən ˈʧaɪnə. ðə ˈoʊnli səkˈsɛsfəl əˈproʊʧ tɪ ˌpɑpjəˈleɪʃən ˈmænɪʤmənt ɪn ðə wərld ɪz ʧaɪld pər family”*” ˈmænˌdeɪt. wɪˈθaʊt ðɪs ˈproʊˌgræm, ˈʧaɪnə əˈloʊn wʊd hæv ˈsɛvərəl ˈhənərd ˈmɪljən mɔr ˈpipəl təˈdeɪ, ənd pərˈhæps ə ˈbɪljən mɔr baɪ 2050 ɛz ɪt ɪz, ˌpɑpjəˈleɪʃən wɪl ˌɪnˈkris baɪ ˈoʊnli 100 ˈmɪljən baɪ 2050 ɪn ˈkɑntræst, ˈɪndiə wɪl ˌɪnˈkris baɪ ˈɔlˌmoʊst 600 ˈmɪljən ɪn ðə seɪm ˈtaɪmˌfreɪm. ˈpɑləsi ɪz baɪ ˈɛni ˈrizənəbəl ˈmɛʒər, ə greɪt səkˈsɛs. ənd jɛt, ɪt ɪz rɪˈlɛntləsli əˈtækt, hir ənd əˈbrɔd. ənd naʊ, wɪθ ðə drəˈmætɪk raɪz əv ˈkæpɪtəˌlɪzəm ɪn ˈʧaɪnə, ˌɪnˈtərnəl əˈtæks ɔn ðə ˈpɑləsi ər bɪˈgɪnɪŋ. ðə ˈkæpətəlɪsts ɪn ˈʧaɪnə ər ˈreɪzɪŋ kənˈsərnz əˈbaʊt ˈwɛðər ə dɪˈklaɪnɪŋ jəŋ ˌdɛməˈgræfɪk kən ““support”*” (rɛd kənˈtɪnju tɪ groʊ kənˈsumər dɪˈmænd) ən ˈeɪʤɪŋ ˌpɑpjəˈleɪʃən. ənd kənˈsərnz ər biɪŋ reɪzd əˈbaʊt ˌɪnˈtərnəl ˈmɑrkɪt nɑt groʊɪŋ fæst ɪˈnəf. ɪf ˈpɑləsi ɪz ˈɛvər ˈwɔtərd daʊn ər ɪˈlɪməˌneɪtɪd, ɪt wɪl bi bɪˈkəz əv ðɪs ˌɪnˈkrisɪŋ ˈprɛʃər frəm ðə pro-growth*, nu ʧaɪˈniz ˈkæpətəlɪsts. soʊ wən ˈprɑbləm wɪθ ðə ˈprɑbləm ɪz ðət ɪt rikˈwaɪərz ə ˈgɑdləs ˈsoʊʃəlɪst dɪkˈteɪtərˌʃɪp ɪn paʊər ɪn ˈɔrdər tɪ ˈmænˌdeɪt ˈɛni ˈækʧəwəl ˈækʃən. 4 ðə ˈprɑbləm həz noʊ vɔɪs. ɪt ɪz hɑrd tɪ θɪŋk əv ˈɛni ˈɪʃu ɪn ˈmidiə ˈsæʧərˌeɪtɪd wərld ðət hæv ˈsɛvərəl ˈædvəkəsi grups ˈspikɪŋ ənd ˈlɑbiɪŋ fər ər əˈgɛnst ɪt. ɪf ju ər ə ˈnuˌkəmər tɪ ðɪs ˌpɑpjəˈleɪʃən dəˈbeɪt, aɪ æm ˈsərtən ðət ju əˈsum ðət ən ˈɪʃu ɛz ˌɪmˈpɔrtənt ɛz ðə ˈprɑbləm həz ˈmɛni ˈpaʊərfəl ˈvɔɪsɪz ˈædvəˌkeɪtɪŋ fər ˌpɑpjəˈleɪʃən ˈmænɪʤmənt, səˈsteɪnəbəl ˌpɑpjəˈleɪʃən goʊlz, ˌɛtˈsɛtərə. ənˈfɔrʧənətli ju wʊd bi rɔŋ. bət, ju seɪ, ˈʃʊrli ðə ɪnˌvaɪrənˈmɛnəl grups ɔl səˈpɔrt ˌpɑpjəˈleɪʃən ˈmænɪʤmənt ənd səˈsteɪnəbəl ˌpɑpjəˈleɪʃən goʊlz? ˈæftər ɔl, ðɛr ˈpraɪˌmɛri riˌspɑnsəˈbɪləti ðə hɛlθ əv ðə ˈikoʊˌsɪstəm? wɛl, wəns əˈpɑn ə taɪm ðeɪ dɪd, bət noʊ mɔr nɑt ˈivɪn wən əv ðɛm. mɔr rɪˈmɑrkəbli, ðə grup kriˈeɪtɪd ˈsoʊəli fər ðɪs ˈpərpəs (ˈziroʊ ˌpɑpjəˈleɪʃən groʊθ) ɪts neɪm aɪˈdɛntəˌfaɪɪŋ ɪts pəˈzɪʃən bɪˈgæn ˈtərnɪŋ əˈweɪ frəm ˈɛni spɪˈsɪfɪk ˌpɑpjəˈleɪʃən ˈmænɪʤmənt əˈʤɛndə ɪn ðə 1990’s*. ənd naʊ, ɪt həz ˈivɪn əˈbændənd ɪts oʊn neɪm! (tu kənfˈjuzɪŋ tɪ hæv ə neɪm ðət sɪz ˌpɑpjəˈleɪʃən growth”*” wɪn ðət ɪz noʊ ˈlɔŋgər jʊr pəˈzɪʃən, aɪ gɛs.) ɪt ɪz naʊ kɔld ˌpɑpjəˈleɪʃən connection”*” ə ˈhæpi neɪm, ˈsaʊndɪŋ laɪk ən ɑrm əv street”*”. naʊ ɪt ˈspɛʃəˌlaɪzɪz ɪn ˈɛʤəˌkeɪtɪŋ jəŋ ˈpipəl. ðɛr ər ˈsɛvərəl ˈrizənz ˈgɪvɪn fər ðɪs kəmˈplit əˈbændənmənt əv ðə ˈɪʃu baɪ ðə ˈvɛri grups ðət straɪv tɪ prəˈtɛkt ðə ˈplænət ˈstɑrtɪŋ, wəns əˈgɛn, wɪθ ˈməni. fər ðə ˈrizənz ˈsteɪtɪd əˈbəv, ðə ˈprɑbləm həz noʊ frɛndz. ənd noʊ frɛndz, minz noʊ ˈməni frəm ˌkɑntrəˈbjuʃənz, ˈmɛmbərˌʃɪps, grænts, ˌɛtˈsɛtərə. ɪn fækt, ˈmɛni ˈɛntɪtiz wʊd ʃaɪ əˈweɪ frəm ˈɛni ˌɔrgənəˈzeɪʃən ðət ˈædvəˌkeɪts pəˈzɪʃənz dɪˈrɛkli əˈpoʊzd tɪ səʧ ˈpaʊərfəl ˌɪnstɪˈtuʃənz ɛz ðə ˈkæθlɪk ʧərʧ. soʊ, noʊ ˈmɑtər haʊ ˌɪmˈpɔrtənt ðə ˈprɑbləm ɪz, ɪf ɪt ˈʤɛnərˌeɪt ˈɛni ˈɪnˌkəm (ər maɪt ˈivɪn kɔst ˈməni ənd ˈmɛmbərz), ðə bɪg ɪnˌvaɪrənˈmɛnəl grups hæv noʊ juz fər ɪt. ənd ɪn əˈdɪʃən, ɛz ɪt tərnz aʊt, ðə ˈprɑbləm rənz əˈfaʊl əv ˈsɛvərəl ˈlɪˌbərəl ˈseɪkrɪd kaʊz (ʤɪst ən ˌɛfˈwaɪˌaɪ ə ˈlɪˌbərəl ˈpərsənəli, soʊ θɪŋk ðɪs pis ɪz səm kaɪnd əv veɪld pəˈlɪtɪkəl əˈʤɛndə ɪt ɪz nɑt). ˌəndərˈstænd, ðə bɪg ɪnˌvaɪrənˈmɛnəl grups ər praɪˈmɛrəli əˈmɛrɪkən ˌɪnstɪˈtuʃənz, ənd soʊ ðeɪ ˈʤɛnərəli teɪk ən əˈmɛrɪkən pərˈspɛktɪv. ˌpɑpjəˈleɪʃən ˈmænɪʤmənt frəm ə ˈsoʊəli əˈmɛrɪkən pəˈzɪʃən (spəˈsɪfɪkli ˈmænəʤɪŋ ˌpɑpjəˈleɪʃən) bɪˈkəmz ðɛn ə dɪˈskəʃən əv ˌɪməˈgreɪʃən ˈpɑləsi, ər əv məˈnɔrəti fərˈtɪlɪti reɪts. sɪns ðə ˈlɪˌbərəl correct”*” trəˈdɪʃən ɪz tɪ nɑt əˈfɛnd ˈɛni məˈnɔrəti grups, ˈsɪriəs ˌpɑpjəˈleɪʃən ˈmænɪʤmənt ˈstrætəʤiz ˈkænɑt bi dɪˈskəst. bət ðə ˈkɪlər bloʊ fər ˌpɑpjəˈleɪʃən ˈmænɪʤmənt ˈædvəkəsi həz ˈprɑbəˌbli kəm frəm ðə ˈmuvmənt. ˈwɪmən hæv meɪd ˌɪnˈkrɛdəbəl ˈprɑˌgrɛs təˈwɔrd ɪkˈwɑləti ɪn ðɪs ˈkəntri ɪn ʤɪst ðə læst ˈfɔrti jɪrz. ðə raɪts ˈmuvmənt ɪz naʊ ə lɑrʤ ənd ˈpaʊərfəl fɔrs. ənd wən əv ðə faʊnˈdeɪʃənəl raɪts əv ˈwɪmən, ɪz ðə raɪt tɪ ˈpərsənəli kənˈtroʊl ðɛr oʊn ˌriprəˈdəktɪv ˈʧɔɪsɪz. ˈɑbviəsli, ðɪs ɪz ɪn dɪˈrɛkt ˈkɑnflɪkt wɪθ moʊst ˌpɑpjəˈleɪʃən ˈmænɪʤmənt səˈluʃənz ˈpɑləsi, fər ɪgˈzæmpəl). ˌpɑpjəˈleɪʃən lɔr ˈivɪn pʊts ə taɪm ənd pleɪs wɪn ðə ˈmuvmənt ˌjuˈsərpt ˈɛni ˈminɪŋfəl ˌpɑpjəˈleɪʃən ˈmænɪʤmənt ˈædvəkəsi. ɪn 1994 æt ðə u.n*. ˌɪnərˈnæʃənɑl ˈkɑnfərəns ɔn ˌpɑpjəˈleɪʃən ənd dɪˈvɛləpmənt ɪn ˈkaɪroʊ, ðə ˈpɛrəˌdaɪm fər ˌpɑpjəˈleɪʃən ˈmænɪʤmənt drəˈmætɪkəli ˈʃɪftɪd frəm control”*” tɪ ɪmˈpaʊərmənt əv women”*”. ˈvərʧuəli ɔl ɪnˌvaɪrənˈmɛnəl ˈædvəkəsi grups naʊ prəˈmoʊt ðə ˌɛʤəˈkeɪʃən ənd ɪmˈpaʊərmənt əv ˈwɪmən ɛz ðə ˈoʊnli əkˈsɛptəbəl ˌpɑpjəˈleɪʃən ˈmænɪʤmənt ˈstrætəʤi. naʊ ðə wərld, ˈfeɪsɪŋ ə ˈhɔrəˌfaɪɪŋ dɪˈzæstər ɪn ðə ˈmeɪkɪŋ, ɪz lɛft wɪθ ˈoʊnli ə ˈgræsˈruts ˈɛfərt baɪ ˈhændˌfʊl əv ˌɪndəˈvɪʤəwəlz wɪθ ˈpərsɪnəl ˈwɛbˌsaɪts traɪɪŋ tɪ saʊnd ðə əˈlɑrm. soʊ wən ˈprɑbləm wɪθ ðə ˈprɑbləm ɪz ðət noʊ wən spiks fər ɪt. 5 ðɛr ɪz noʊ ˈpɑzətɪv əˈproʊʧ (spɪn) tɪ ˈsɑlvɪŋ ðə ˈprɑbləm. ɑr ˈkəlʧər θraɪvz ɔn ˈɑptɪˌmɪzəm. wi bɪˈliv ðət ˈɛvəri ˈprɑbləm məst hæv ə ˈpɑzətɪv səˈluʃən. aɪ ˈrisəntli wɔʧt æl nuəst ˈvərʒən əv hɪz ˈgloʊbəl ˈwɔrmɪŋ slaɪd ʃoʊ. ðə fərst θərd əv ðə ˌprɛzənˈteɪʃən naʊ ˈɛmfəˌsaɪzɪz haʊ ˌɑptɪˈmɪstɪk ˈmɪstər. gɔr ɪz əˈbaʊt boʊθ ɑr əˈbɪləˌti tɪ fɪks ðə ˈprɑbləm, ənd haʊ ˈpɑzətɪv ðə fɪks wʊd bi fər ˈjuˈɛs ə tru ˌwɪnˈwɪn ˈprɑbləm sɑlvd, ənd ə ˈrɪʧər wərld tɪ but. ˈpɑləˌtɪks wərks ðə seɪm weɪ. tɪ ðə ˌpɑləˈtɪʃən, ɔl ˌsɪʧuˈeɪʃənz, ɔl ˈprɑbləmz hæv ə ˈwəndərfəl ənd ˈpɑzətɪv səˈluʃən. pərˈhæps ðə læst ˌpɑləˈtɪʃən tɪ ˈivɪn riˈmoʊtli səˈʤɛst ðət θɪŋz wɪl gɪt wərs ənd steɪ ðət weɪ, wɑz ˈʤɪmi ˈkɑrtər, ənd hi wɑz ˈraʊndli ˈkrɪtəˌsaɪzd fər hɪz ““negative”*” əˈproʊʧ, nɑt tɪ ˈmɛnʃən biɪŋ ˈraʊndli dɪˈfitɪd ɪn ðə nɛkst ɪˈlɛkʃən. bət ðɛr ɪz ə ˈsɪmpəl ənd ˈɑbviəs səˈluʃən tɪ ðə ˈprɑbləm wən ðət həz bɪn ˈtɛstɪd ənd ˈpruvən tɪ wərk wən ðət ˈkɔzɪz noʊ ənˈnɛsəˌsɛri hɑrm tɪ ˈɛniˌwən ənd wən ðət kɔsts ˌæbsəˈlutli ˈnəθɪŋ: ðə pər ˈfiˌmeɪl ˈpɑləsi. ɪf ˈɪmpləˌmɛnəd təˈdeɪ, ˌkælkjəˈleɪʃənz ʃoʊ ðət wərld ˌpɑpjəˈleɪʃən wʊd bi rɪˈdust tɪ ə səˈsteɪnəbəl ˈlɛvəl əv 1 2 ˈbɪljən ˈpipəl ɔn ərθ baɪ 2100 wɪˈθɪn wən ˈhənərd jɪrz ðə ˈprɑbləm wʊd bi sɑlvd æt noʊ kɔst, ənd noʊ hɑrm soʊ ˈsɪmpəl. bət ðə səˈluʃən ɪz kənˈsɪdərd kəmˈplitli ˈoʊnərəs baɪ ˈɔlˌmoʊst ɔl ˈkəlʧərz ɔn ðɪs ˈplænət. tɪ ˈɔlˌmoʊst ˈɛvriˌwən, ɪt ɪz ə ˈtɛrəbəl ʧɔɪs, wɪθ ˈdɪfəkəlt ənd ˈfraɪtənɪŋ ˈpɑsəbəl ˈkɑnsəkˌwɛnsəz ðət wʊd ˌrikˈwaɪər ə riˈwaɪərɪŋ əv ɑr ˈθɪŋkɪŋ. noʊ ˈpɑzətɪv spɪn kən bi əˈplaɪd tɪ ðɪs səˈluʃən ɪkˈsɛpt ðət ɪn ə ˈhənərd jɪrz, ˈpipəl wɪl stɪl bi hir ənd wɪl bi ˈlɪvɪŋ ɔn ən ˌɪnˈkrisɪŋgli ˈhɛlθiər ˈplænət. soʊ wən (læst) ˈprɑbləm wɪθ ðə ˈprɑbləm ɪz ðət ðə ˈoʊnli ˈrizənəbəl səˈluʃən ɪz ðə wərst ˈpɑsəbəl ʧɔɪs ɪkˈsɛpt fər ɔl ðə ˈəðərz. ˈdænsɪŋ stɑr faʊnˈdeɪʃən ˌoʊvərˌpɑpjəˈleɪʃən ˈprɑbləm prəˈfɛsər pɔl ˈərlɪk: kən ə kəˈlæps əv ˈgloʊbəl ˌsɪvəlɪˈzeɪʃən bi əˈvɔɪdɪd? ˈstivən tɛn ˈbɪljən, ˈtreɪlər ðə fˈjuʧər əv ɑr ˈplænət æl ˈbɑrtlɪt dɪˈmɑkrəsi ˈkænɑt sərˈvaɪv ˌoʊvərˌpɑpjəˈleɪʃən bi ʃʊr tɪ ‘‘like’*’ ˈjuˈɛs ɔn ˈfeɪsˌbʊk
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this post by kurt dahl originally appeared at the population elephant.
the real problem
some things are so preeminent within their context that they need no adjectives or explanation. ask any american football fan what is referred to by “the play” and they will tell you about the final play in the 1982 cal/stanford game when, after several laterals and a mad dash through the stanford band, cal scored the winning touchdown as time expired (do a google search on “the play” and see for yourself). likewise, “the open” refers only to the british open golf tournament, even though there are dozens of other “open” athletic events.
the world today is beset with a host of major issues — oil depletion, climate change, food shortages, resource wars, species extinction — to name but a few. but these are only symptoms of the one true problem. “the real problem” — the one that spawns all others, and the one that mankind must face at some point — is that there are simply too many human beings on this planet.
therefore, i suggest, that like “the play” and “the open” — hereafter overpopulation should be referred to as “the problem”.
unfortunately, in today’s world, we are content to address only the consequences of the problem — climate change, energy depletion, food shortages, etc. this is the same classic mistake that a physician makes in treating only the patient’s symptoms, and ignoring the fundamental disease.
so then, the million dollar question is: “why aren’t we addressing the real problem?”
first — a brutally honest reality check is necessary
world population stands at over 6 billion today. every four days one million more people are added. reasonable projections put world population at between 9 -11 billion by 2050. rocket science is not required to understand what that implies for the host of issues (symptoms) listed above.
co2 emissions are causing global warming. this is a fact. many in the scientific community propose that an 80% reduction in co2 emissions by 2050 is necessary to forestall the extreme consequences of global warming. but how can this be done when at the same time we are adding 3, 4, or even 5 billion more people to the world? get real — it can’t!
likewise for energy and food consumption — the addition of billions of people means that these commodities will dramatically increase in consumption. but these are finite resources, already we are far above sustainable levels. so, can this go on forever? get real — it can’t!
can the use of new light bulbs, hybrid cars, cloth grocery bags, and mass transit offset the sharply upward consumption demand that will come from both the increasing world population and the dramatically increasing standard of living of the existing populations in developing countries like india and china? no way! get real — it can’t!
so why aren’t the sirens blaring, why isn’t the alarm sounding, why isn’t this even being discussed?
in fact, the opposite is happening. there have been several recent opinion pieces in the boston globe and the new york times expressing the belief that we have a problem with decreasing population! absurd.
why then is overpopulation not discussed? the problem, it turns out, has many fatal problems of its own:
five fatal problems with the problem:
1. there is no money in it.
going “green” is a huge industry. thousands of companies are trying to sell you efficient light bulbs, hybrid cars, cloth grocery bags, solar panels and a host of other gimmicks and gadgets.
alternative energy sources need massive investments in capital expenditures and research and development. government grants to universities, venture capital, bond issues, etc., all create a whirlwind of financial activity.
money is to be made everywhere. and with these massive financial opportunities come huge profits, well financed lobbyists, publicity, and media creation. indeed, the media explosion surrounding “going green” is a major industry all by itself. everyone benefits financially by “going green”. though, in the end, it is not a solution. at best, it will only modestly delay the dire consequences of our current over-consumption.
but, conversely, who would benefit financially from reducing the earth’s population? no one! there is absolutely no money to be made in the one and only solution — fewer people.
so — one problem with the problem is that it is a pauper, and therefore has no friends.
2. not my problem — the short term view.
the united nations provides the basic population projections that everyone else quotes. there is some arbitrariness necessary to create these models. for instance, the year 2050 is the endpoint for their current set of projections for no reason other than it is a convenient round number.
almost every article written about population growth quotes the figure of 9 billion people by 2050 (though the un projects other possible 2050 outcomes of 7, 11, even 13 billion). and then the reader of the article goes: “so what, i won’t be around by then.” as if the problem won’t happen until 2050.
i can’t speak for the rest of the world, but i would strongly assert that in the united states, the “event horizon” for concern about the future, is short and getting shorter. a major problem that arrives in 2050 is too far away for most people to even think about, much less do anything about.
not only that, but you can’t reduce the problem to a short time frame and have it make sense to the average person. to say that there will be two million more of us on the planet in just a little over a week (a true statistic) also gets a big “so what?” “these two million newcomers aren’t in my neighborhood, so why should i care?”
unfortunately, even though the problem won’t manifest itself for several decades, the solutions must begin now!
so — one problem with the problem is that by the time it becomes obvious to the average person, it will be way too late.
3. the world’s fundamental systems oppose it.
today there are three dominant systems that define and control the culture of human beings — democracy, capitalism, and religion. and unfortunately, all three of these fundamental systems work against addressing the problem.
democracy, to our great benefit, allows us the freedom to make certain personal choices. among those is the choice of how many children we are allowed to have. no democratic government would even consider limiting that choice — because, at the first opportunity, they would be voted out of office. simply put — it is impossible to imagine a situation where any mandate resembling population management could be enacted under a democracy.
capitalism requires growth. anything other than growth in consumption and demand under capitalism is considered bad — a recession, or worst case, a depression. but, the problem is only solved by a declining population and declining consumption — or negative growth. it would be hard to conceive of a model of capitalism that could “succeed” under such a deliberate, sustained, long term, decrease in demand.
imagine how capitalism would function if population declined steadily over several decades to levels approaching one billion people. the excess quantities of goods alone (think of housing) would virtually eliminate demand and eliminate the incentive for the constant struggle to achieve the ever bigger income. capitalism, at least as we know it today, simply wouldn’t work in a declining population scenario.
organized religion’s primary goal, like living organisms themselves, is to continue to exist. religions always strive to increase the flock, whether by conversion or by birth. and in today’s world, they have even become competitive with one another to see who has the bigger numbers and thereby will “rule” here on earth.
what would happen to the catholic church if each catholic couple only had one child? it would shrink dramatically — heaven forbid! that is why they continue with their completely irrational stand against birth control.
and all religions work to obfuscate the problem by proposing bizarre superstitions like the rapture. we will all be taken up into heaven soon, so why worry? or even more simply: worry not, god will solve this problem.
all religions work actively, aggressively, and with massive resources, to discredit any hint of activity that might be construed as population management. considering the influence that the world’s religions have in today’s world, it is assured that the problem will never be allowed to be addressed in any meaningful way.
as proof that these three fundamental systems work against a solution, look no further than china. the only successful approach to population management in the world is china’s “one child per family” mandate. without this program, china alone would have several hundred million more people today, and perhaps a billion more by 2050. as it is, china’s population will increase by only 100 million by 2050 — in contrast, india will increase by almost 600 million in the same timeframe. china’s policy is by any reasonable measure, a great success. and yet, it is relentlessly attacked, here and abroad.
and now, with the dramatic rise of capitalism in china, internal attacks on the one-child policy are beginning. the capitalists in china are raising concerns about whether a declining young demographic can “support” (read — continue to grow consumer demand) an aging population. and concerns are being raised about china’s internal market not growing fast enough. if china’s one-child policy is ever watered down or eliminated, it will be because of this increasing pressure from the pro-growth, new chinese capitalists.
so — one problem with the problem is that it requires a godless socialist dictatorship in power in order to mandate any actual action.
4. the problem has no voice.
it is hard to think of any issue in today’s media saturated world that doesn’t have several advocacy groups speaking and lobbying for or against it. if you are a newcomer to this population debate, i am certain that you assume that an issue as important as the problem has many powerful voices advocating for population management, sustainable population goals, etc. unfortunately — you would be wrong.
but, you say, surely the environmental groups all support population management and sustainable population goals? after all, isn’t their primary responsibility the health of the earth’s ecosystem? well, once upon a time they did, but no more — not even one of them.
more remarkably, the group created solely for this purpose — zpg (zero population growth) — its name identifying its position — began turning away from any specific population management agenda in the 1990’s. and now, it has even abandoned its own name! (too confusing to have a name that says “zero population growth” when that is no longer your position, i guess.) it is now called “the population connection” — a happy name, sounding like an arm of “sesame street”. now it specializes in educating young people.
there are several reasons given for this complete abandonment of the issue by the very groups that strive to protect the planet — starting, once again, with money.
for the reasons stated above, the problem has no friends. and no friends, means no money from contributions, memberships, grants, etc. in fact, many grant-giving entities would shy away from any organization that advocates positions directly opposed to such powerful institutions as the catholic church. so, no mater how important the problem is, if it doesn’t generate any income (or might even cost money and members), the big environmental groups have no use for it.
and in addition, as it turns out, the problem runs afoul of several liberal sacred cows (just an fyi — i’m a knee-jerk liberal personally, so don’t think this piece is some kind of veiled right-wing political agenda — it is not).
understand, the big environmental groups are primarily american institutions, and so they generally take an american perspective. population management from a solely american position (specifically — managing america’s population) becomes then a discussion of immigration policy, or of minority fertility rates. since the liberal “politically correct” tradition is to not offend any minority groups, serious population management strategies cannot be discussed.
but the killer blow for population management advocacy has probably come from the women’s-rights movement. women have made incredible progress toward equality in this country in just the last forty years. the women’s rights movement is now a large and powerful force. and one of the foundational rights of women, is the right to personally control their own reproductive choices. obviously, this is in direct conflict with most population management solutions (china’s one-child policy, for example).
population lore even puts a time and place when the women’s movement usurped any meaningful population management advocacy. in 1994, at the u.n. international conference on population and development in cairo, the paradigm for population management dramatically shifted from “population control” to “the empowerment of women”. virtually all environmental advocacy groups now promote the education and empowerment of women as the only acceptable population management strategy.
now the world, facing a horrifying disaster in the making, is left with only a grassroots effort by handful of individuals with personal websites trying to sound the alarm.
so — one problem with the problem is that no one speaks for it.
5. there is no positive approach (spin) to solving the problem.
our culture thrives on optimism. we believe that every problem must have a positive solution. i recently watched al gore’s newest version of his global warming slide show. the first third of the presentation now emphasizes how optimistic mr. gore is about both our ability to fix the problem, and how positive the fix would be for us — a true win-win — problem solved, and a richer world to boot.
politics works the same way. to the politician, all situations, all problems have a wonderful and positive solution. perhaps the last politician to even remotely suggest that things will get worse and stay that way, was jimmy carter, and he was roundly criticized for his “negative” approach, not to mention being roundly defeated in the next election.
but there is a simple and obvious solution to the problem — one that has been tested and proven to work — one that causes no unnecessary harm to anyone — and one that costs absolutely nothing: the one-child per female policy. if implemented today, calculations show that world population would be reduced to a sustainable level of 1 — 2 billion people on earth by 2100. within one hundred years the problem would be solved at no cost, and no harm — so simple.
but the one-child solution is considered completely onerous by almost all cultures on this planet. to almost everyone, it is a terrible choice, with difficult and frightening possible consequences that would require a rewiring of our thinking. no positive spin can be applied to this solution — except that in a hundred years, people will still be here and will be living on an increasingly healthier planet.
so — one (last) problem with the problem is that the only reasonable solution is the worst possible choice — except for all the others.
dancing star foundation | overpopulation problem
professor paul ehrlich: can a collapse of global civilization be avoided?
stephen emmott’s ten billion, trailer | the future of our planet
al bartlett – democracy cannot survive overpopulation
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ðə ˈɛfˈbiˈaɪ həz ə ˈsikrɪt dɪˈvaɪs tɪ ˈloʊˌkeɪt ˈkrɪmənəl ˈsəˌspɛkts, bət ɪt wʊd əˈpɛrəntli ˈrəðər lɛt ˈsəˌspɛkts goʊ fri ðən rɪˈvil ɪn kɔrt ˈɛni ˈditeɪlz əv ðə haɪ tɛk ˈtrækər. ðə dɪˈvaɪs, kɔld ə "stingray*," trɪks sɛl foʊnz ˈɪntu rɪˈvilɪŋ ðɛr loʊˈkeɪʃənz. ə ˈʤəʤɪz kɔrt ˈɔrdər ðɪs wik θˈrɛtənz tɪ rɪˈvil ˈkloʊsli ˈgɑrdɪd ˈditeɪlz əˈbaʊt haʊ pəˈlis juz. ʤəʤ ˈpætrɪk eɪʧ. ɪn ˈbəfəˌloʊ, nu jɔrk, dɪˈskraɪbd ə 2012 dil bɪtˈwin ðə ˈɛfˈbiˈaɪ ənd ðə ˈɪri ˈkaʊnti ˈʃɛrɪfs ˈɔfəs ɪn hɪz kɔrt ˈɔrdər ˈtuzˌdeɪ: ðə ˈɛfˈbiˈaɪ ˌɪnˈstrəktɪd ðə pəˈlis tɪ drɔp ˈkrɪmənəl ˈʧɑrʤɪz ˌɪnˈstɛd əv rɪˈvilɪŋ "ˈɛni ˌɪnˌfɔrˈmeɪʃən kənˈsərnɪŋ ðə sɛl saɪt ˈsɪmjəˌleɪtər ər ɪts juz." ˈɪri pəˈlis hæd lɔŋ traɪd tɪ kip ðət ˈkɑnˌtrækt ˈsikrɪt, bət ðə ʤəʤ rɪˈʤɛktɪd ðət aɪˈdiə ənd ˈɔrdərd ðət ˈditeɪlz əv ðə bi meɪd ˈpəblɪk. "ɪf ðət ɪz nɑt ən ˌɪnˈstrəkʃən ðət əˈfɛkts ðə ˈpəblɪk, ˈnəθɪŋ ɪz," roʊt. ˈɪri pəˈlis hæd juzd tɪ træk daʊn ˈsɛvərəl ˈkrɪmənəl ˈsəˌspɛkts, ə ˌsuəˈsaɪdəl ˈpərsən ənd fɔr ˈmɪsɪŋ ˈpipəl, ˌɪnˈkludɪŋ ən wɪθ dɪˈmɛnʃiə, əˈkɔrdɪŋ tɪ ðə ˈʤəʤɪz ˈɔrdər. ðə ˈɪri ˈkaʊnti ˈʃɛrɪfs ˈɔfəs dɪˈklaɪnd tɪ ˈkɑmɛnt tɪ ɔn ˈwɛnzˌdeɪ. pəˈlis ˈspoʊksmən skɑt ˈzɪlkə sɛd ðɛr naʊ ˈwərkɪŋ wɪθ ðə ˈɛfˈbiˈaɪ tɪ əˈpil ðə ˈʤəʤɪz dɪˈsɪʒən ənd kip ðə ˈɛfˈbiˈaɪ əˈgrimənt ˈsikrɪt. ðə ˈɛfˈbiˈaɪ dɪd nɑt prəˈvaɪd ˌɪˈmiˌdiət ˈkɑmɛnt. ðə əˈmɛrɪkən ˈsɪvəl ˈlɪbərˌtiz ˈjunjən ɪz dɪˈmændɪŋ ˈditeɪlz əˈbaʊt juz ˈəndər ˈpəblɪk ˈrɛkərdz lɔz. wət ər? fju ˈpipəl noʊ ˈivɪn ɪgˈzɪst ər ðət ˈfɛdərəl ˈeɪʤənts ənd pəˈlis əˈkrɔs ðə ˈkəntri ər ˌɪnˈkrisɪŋgli ˈjuzɪŋ ðɛm tɪ ərˈɛst ˈpipəl. ɪts ə smɔl dɪˈvaɪs ðət ˈmɪmɪks ə sɛl foʊn taʊər, ˈnɪrˈbaɪ sɛl foʊnz ˈɪntu kəˈnɛktɪŋ tɪ ɪt ˈrəðər ðən ə ril foʊn ˈkəmpəˌni taʊər. ðɛrz ə groʊɪŋ ˈpraɪvəsi kənˈsərn bɪˈkəz waɪl pəˈlis juz ðə tɪ træk daʊn ən ˌɪndəˈvɪʤəwəl, ðeɪ kən pəˈtɛnʃəli græb tɛkst ˈmɛsɪʤɪz ənd foʊn kɔl ˈdætə ɔn ˈθaʊzənz əv ˈɪnəsənt ˈpipəl. ɪn noʊˈvɛmbər, wi ˈlərnɪd ðət ˈfɛdərəl ˈeɪʤənts ˈrɛgjələrli flaɪ pleɪnz ˈneɪʃənˈwaɪd ðət spaɪ ɔn əˈmɛrɪkənz' foʊn kɔlz. wi ˈɔlsoʊ noʊ pəˈlis ɪn æt list 20 steɪts juz, əˈkɔrdɪŋ tɪ ˈpəblɪk ˈrɛkərdz əbˈteɪnd baɪ ðə. bət ˈɛvriˌθɪŋ ɛls ɪz ə ˈmɪstəri bɪˈkəz pəˈlis ˈeɪʤənsiz hæv əˈgrimənts wɪθ ðə ˈmeɪkər əv: ðə ˈhɛrɪs ˌkɔrpərˈeɪʃən beɪst ɪn ˈmɛlbərn, ˈflɔrɪdə. ðeɪ ˈɔlsoʊ hæv ˈsɪmələr ˈkɑnˌtrækts wɪθ ðə ˈɛfˈbiˈaɪ. ðɛr hæv bɪn ˈsɛvərəl ɪgˈzæmpəlz əv ˈprɑsɪˌkjutərz ˈdrɑpɪŋ ˈʧɑrʤɪz tɪ kip kwaɪət əˈbaʊt. leɪt læst jɪr, ˌtæləˈhæsi pəˈlis geɪv ə swit pli dil tɪ ə pɑt ˈdilər hu rɑbd ˈsəmˌwən wɪθ ə gən. ə ˈfɛləni ʧɑrʤ wɪθ ə ˌfɔˈrjɪr ˈprɪzən ˈsɛntəns bɪˈkeɪm ə ˌmɪsdəˈminər wɪθ six-months*' proʊˈbeɪʃən bɪˈkəz hɪz dɪˈfɛns əˈtərni dɪˈskəvərd pəˈlis juzd ə tɪ ˈloʊˌkeɪt ɪm. ˈhæni fakhoury*, ən əˈtərni wɪθ ðə ˌɪˌlɛkˈtrɑnɪk frənˈtɪr faʊnˈdeɪʃən, sɛd ˈtuzˌdeɪz kɔrt ˈɔrdər wɑz ðə fərst taɪm ðət rɪˈvild ə ˈneɪʃənˈwaɪd pəˈlis ˈtæktɪk tɪ meɪnˈteɪn ˈsikrəsi æt ɔl kɔsts. "wiv lɔŋ səˈspɛktɪd ðæts ðə ˈpɑləsi, bət naʊ wi noʊ," hi sɛd. "ɪts ˈkreɪzi ɔn ə ˈbɪljən ˈligəl ˈlɛvəlz." ðə lɛd əˈtərni ɔn ðɪs keɪs, hɪˈroʊseɪ, dɪˈskraɪbd ɛz ˈmɪlɪˌtɛri greɪd ɪkˈwɪpmənt ðət həz noʊ pleɪs biɪŋ juzd ɔn ˌənsəˈspɛktɪŋ əˈmɛrɪkən ˈsɪtɪzənz. ʃi ˈɔlsoʊ sɛd ðət ðə ˈɛfˈbiˈaɪz ˈtæktɪk tɪ steɪ kwaɪət əˈbaʊt meɪks ˈlɪtəl sɛns. ˈɪri ˈkaʊnti spɛnt mɔr ðən tɪ baɪ tu dɪˈvaɪsɪz ənd rɪˈleɪtɪd ˈtreɪnɪŋ ənd ɪkˈwɪpmənt. "waɪ ər mˌjunɪsəˈpælɪtiz ˈspɛndɪŋ soʊ məʧ ˈməni wɪn ðeɪ maɪt hæv tɪ drɔp ðə ˈʧɑrʤɪz ɪn ðə neɪm əv ˈsikrəsi?" ʃi æst.
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the fbi has a secret device to locate criminal suspects, but it would apparently rather let suspects go free than reveal in court any details of the high tech tracker.
the device, called a "stingray," tricks cell phones into revealing their locations. a judge's court order this week threatens to reveal closely guarded details about how police use stingrays.
judge patrick h. nemoyer in buffalo, new york, described a 2012 deal between the fbi and the erie county sheriff's office in his court order tuesday: the fbi instructed the police to drop criminal charges instead of revealing "any information concerning the cell site simulator or its use."
erie police had long tried to keep that contract secret, but the judge rejected that idea and ordered that details of the stingrays be made public.
"if that is not an instruction that affects the public, nothing is," nemoyer wrote.
erie police had used stingrays to track down several criminal suspects, a suicidal person and four missing people, including an 87-year-old with dementia, according to the judge's order.
the erie county sheriff's office declined to comment to cnnmoney on wednesday. police spokesman scott zylka said they're now working with the fbi to appeal the judge's decision and keep the fbi agreement secret.
the fbi did not provide immediate comment.
the american civil liberties union is demanding details about stingray use under public records laws.
what are stingrays?
few people know stingrays even exist -- or that federal agents and police across the country are increasingly using them to arrest people. it's a small device that mimics a cell phone tower, duping nearby cell phones into connecting to it rather than a real phone company tower.
there's a growing privacy concern because while police use the stingrays to track down an individual, they can potentially grab text messages and phone call data on thousands of innocent people.
in november, we learned that federal agents regularly fly planes nationwide that spy on americans' phone calls. we also know police in at least 20 states use stingrays, according to public records obtained by the aclu.
but everything else is a mystery because police agencies have non-disclosure agreements with the maker of stingrays: the harris corporation based in melbourne, florida. they also have similar hush-hush contracts with the fbi.
there have been several examples of prosecutors dropping charges to keep quiet about stingrays. late last year, tallahassee police gave a sweet plea deal to a pot dealer who robbed someone with a bb gun. a felony charge with a four-year prison sentence became a misdemeanor with six-months' probation because his defense attorney discovered police used a stingray to locate him.
hanni fakhoury, an attorney with the pro-privacy electronic frontier foundation, said tuesday's court order was the first time that revealed a nationwide police tactic to maintain secrecy at all costs.
"we've long suspected that's the policy, but now we know," he said. "it's crazy on a billion legal levels."
the lead aclu attorney on this case, mariko hirose, described stingrays as military grade equipment that has no place being used on unsuspecting american citizens. she also said that the fbi's tactic to stay quiet about stingrays makes little sense. erie county spent more than $350,000 to buy two stingray devices and related training and equipment.
"why are municipalities spending so much money when they might have to drop the charges in the name of secrecy?" she asked.
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ðə miˈɑtə ɪz nɑt goʊɪŋ ˈɪntu ˈstɔrɪʤ fər ðə ˈwɪntər, bət ɪts ˈdɛfənətli goʊɪŋ tɪ si ə lɔt lɛs juz wəns ðə snoʊ hɪts ðə graʊnd. roʊd sɔlt ɪz ə ˈkɪlər ənd rɪr wil draɪv ɪz nɑt fən ɔn ə sˈlɪpəri roʊd. nɑt goʊɪŋ tɪ ˈhaɪbərˌneɪt, bət goʊɪŋ tɪ bi ˈhævɪŋ lɔŋ slips bɪtˈwin ˈsəni deɪz. wi hæd ə gʊd hæf jɪr təˈgɛðər, ðoʊ. aɪ ʤɔɪnd ðə ˈdɛləˌwɛr ˈvæli miˈɑtə kləb ənd wɛnt ɔn θri kləb draɪvz. ðə fərst wɑz ə ʃɔrt draɪv wɪθ maɪ waɪf frəm grin brʊk tɪ wɛst ˈɔrɪnʤ ɪn nu ˈʤərzi. ˈæftər ðət, aɪ tʊk əˈnəðər raɪd wɪθ maɪ dæd frəm kəˈləmbiə, tɪ leɪk ˈmoʊˌhɔk. ðɛn aɪ kloʊzd aʊt ðə kləb ˈsizən wɪθ ə draɪv wɪθ ə frɛnd frəm ˈoʊklənd, θru ˈhɛrɪmən steɪt pɑrk tɪ... ˈoʊklənd,. ðət fərst raɪd ˈhæpənd tɪ ˌkoʊɪnˈsaɪd wɪθ maɪ ˈwɛdɪŋ ˌænəˈvərsəri. naʊ, nɑt ən ˈfɛloʊ, bət wɪn ðə ˈækʧəwəl deɪ əv ɑr ˌænəˈvərsəri ˈhæpənz tɪ bi ə ˈwɛnzˌdeɪ naɪt, maɪ waɪf ənd aɪ ˈjuʒəwəli plæn məʧ ənˈtɪl ˈmeɪbi ðə ˈwiˌkɪnd. soʊ... miˈɑtə kləb draɪv! ˈleɪtər ɔn æt ðət læst draɪv aɪ tʊk wɪθ ðə kləb, aɪ sæt æt lənʧ wɪθ ðə ə ˈfɛloʊ hu wɑz ɔn ðət fərst trɪp. rɪˈkɔlɪŋ haʊ maɪ fərst draɪv wɑz ˈɔlsoʊ maɪ ˌænəˈvərsəri ənd maɪ waɪf wɛnt əˈlɔŋ, hi dɪˈklɛrd tɪ ðə rɛst əv ðə ˈteɪbəl ðət, ə keeper.”*.” aɪ tʊk ðə miˈɑtə tɪ ə ˈvɪntɪʤ kɑr reɪs æt nu ˈʤərzi pɑrk ɪn sɛpˈtɛmbər. ˈpɪkʧərz frəm ðə reɪs ər əˈveɪləbəl ˈɛlsˌwɛr. ðɪs wɑz ðə ˈlɔŋgɪst draɪv aɪ hæd ˈteɪkən wɪθ ðə kɑr (əˈbaʊt aʊərz), soʊ aɪ ədˈmɪt aɪ wɑz ˈfilɪŋ ə ˈlɪtəl bɪt ˈnərvəs ˈgɪvɪn ðət ˈoʊnli oʊnd ðə kɑr fər ə fju mənθs ənd ðə məˈkænɪkəl kənˈdɪʃən wɑz stɪl... ənˈsərtən. ðɛn aɪ sɔ ˈʤægˌwɑr kup frəm ðə ˈmərʤɪŋ ˈɔntu ðə ˈhaɪˌweɪ ənd θɔt tɪ ˌmaɪˈsɛlf ðət aɪ wʊd ˈprɑbəˌbli bi ˌɔˈlraɪt. ˈɛniˌweɪ ðə miˈɑtə lʊkt fænˈtæstɪk pɑrkt ɪn ðə ˈpædək əˈməŋ ðə reɪs timz. ˌædvərˈtaɪzmənt ðə bɛst pɑrt əv ðə reɪs fər mi wɑz ðə peɪst læps ˈdʊrɪŋ ðə lənʧ breɪk. fər ə ˈmɑdəst doʊˈneɪʃən tɪ ðə ˈɑrmi ɛr fild mˈjuziəm, əˈtɛnˈdiz kʊd draɪv ðɛr oʊn kɑz bɪˈhaɪnd ðə peɪs kɑr fər əˈbaʊt 30 ˈmɪnəts. ˈnəθɪŋ tɪ lairy*, bət oʊ maɪ gɑd aɪ wɑz ˈdraɪvɪŋ ə miˈɑtə ɔn ə reɪs træk. ahem*, aɪ ˌɛnˈʤɔɪd ðə ɪkˈspɪriəns. ɪˈvɛnʧəwəli, fɔl fɛl ənd ðə tɔp steɪd əp moʊst əv ðə taɪm. ðə ˈəpˈsaɪd ɪz ðət ˈbrɪtɪʃ ˈreɪsɪŋ grin lʊks fænˈtæstɪk wɪθ fɔl ˈkələrz. stɪl, aɪ mɪs ðə ˈsənˌʃaɪn ə bɪt. ˌædvərˈtaɪzmənt ɔˈrɛdi dən səm ˈmeɪntənəns ɔn ðə kɑr, bət ðɛr wər ə fju mɔr θɪŋz aɪ ˈwɔntɪd tɪ du ˌbiˈfɔr ðə ɛnd əv ðə jɪr. fərst aɪ ˌriˈpleɪst ðə tɔp ˈlæʧɪz. ðə wən ɔn ðə saɪd wɑz ə ˈlɪtəl ˈstɪki soʊ wɪn ə miˈɑtə ˈvɛtərən wɑz ˈsɛlɪŋ ə pɛr ɔn ðə ˈkreɪgzˌlɪst fər 20 aɪ græbd ðɛm, dɪd ðə skru fɪks, spreɪd ɔn ə nis koʊt əv blæk peɪnt, ənd pʊt ðɛm ɔn ðə kɑr. ˌædvərˈtaɪzmənt nɛkst əp, spɑrk pləgz ənd waɪərz. ðɪs wɑz ə ˈprɑʤɛkt ðət aɪ əˈproʊʧt wɪθ səm ˌtrɛpɪˈdeɪʃən bɪˈkəz hæd ə ˈhɪstəri wɪθ ðɪs wən. ju si, wɪn aɪ wɑz ə ˈtiˌneɪʤər, aɪ hɛlpt maɪ dæd, nɑt ə prəˈfɛʃənəl mɪˈkænɪk bət ˈæˌkʧuəli kwaɪt gʊd æt ˈwərkɪŋ ɔn kɑz, ˌriˈpleɪs ðə pləgz ənd waɪərz ɔn hɪz 1993 toʊˈjoʊtə ˈkæmri. hi ʃoʊd mi haʊ tɪ teɪk aʊt ðə oʊld pləgz ənd ˈkɛrfəli ˌɪnˈsərt ðə nu wənz dip ˌɪnˈsaɪd ðə ˈsɪlɪndər hɛd ɛz wɛl ɛz haʊ tɪ mæʧ əp ðə waɪərz ɪn ðə dɪˈstrɪbjətər kæp tɪ kip ðə ˈfaɪərrɪŋ ˈɔrdər raɪt. ˈɛvriˌθɪŋ wɑz greɪt ənˈtɪl wi gɑt tɪ ðə læst pləg, wɪʧ ʤɪst kəm aʊt. wi tˈwɪstɪd ənd pʊʃt ɔn ðə ˈræʧət, bət ɪt bəʤ. ðɛn ɪt dɪd, ənd hæf əv ðə pləg keɪm aʊt wɪθ ðə rɛnʧ waɪl ðə ˈəðər hæf rɪˈmeɪnd stək dip daʊn ɪn ðə ˈsɪlɪndər hɛd. tɪ ðɪs deɪ, aɪ hæv naʊ aɪˈdiə haʊ dæd gɑt ðə ˈbɑtəm hæf əv ðət spɑrk pləg aʊt, bət ʃʊr ɪt ˈprɑbəˌbli ˌɪnˈvɑlvd ə lɔt əv ˈkərsɪŋ. bət nɑt ðə ɛnd əv maɪ ˈhɪstəri wɪθ pləgz ənd waɪərz. ju si, wi ˈɔlsoʊ ˌriˈpleɪst ðə pləgz ənd waɪərz ɔn ðə 1988 toʊˈjoʊtə ˈkæmri ðət wɑz maɪ ˈdeɪli ˈdraɪvər. (mɑm ənd dæd ləvd camries*. ðeɪ oʊnd 5 bɪtˈwin 1988 ənd 2003 ˌbiˈfɔr ðeɪ muvd ɔn tɪ ˈləgʒəri kɑz.) ðə wərk wɛnt ɔf wɪˈθaʊt ə hɪʧ, bət ə fju wiks ˈleɪtər wən əv ðə pləg buts krækt, ˈkɔzɪŋ ɪt tɪ sˈloʊli wərk weɪ ɔf əv ðə spɑrk pləg. ðə rɪˈzəlt? ˈfaɪərrɪŋ ɔn θri ˈsɪləndərz ənd ˈpænɪk frəm ə ˈnɑvəs ˈdraɪvər hu ˈrɪli noʊ wət wɑz goʊɪŋ ɔn. ˌædvərˈtaɪzmənt wɪθ ɔl ðɪs ɪn maɪnd, aɪ ˈbɑˌroʊd ə tɔrk rɛnʧ frəm ə frɛnd, bɔt səm ˈkoʊˌbɔlt waɪərz ənd ˌɪˈrɪdiəm spɑrk pləgz frəm ənd gɑt tɪ wərk. wɛl, fərst aɪ ˌæksəˈdɛnəli bɔt ən ˈɛkstrə sɛt əv waɪərz bɪˈkəz ə ˈɪnʤən ənd ðeɪ kəm ɪn ˈpækɪʤɪz əv tu, soʊ sɪns ju məst nid tu sɛts, raɪt? ˈnɛvər maɪnd ðət ðə dɪˈzaɪn əv ðə ˈɪnʤən ˈoʊnli rikˈwaɪərz tu waɪərz ənd ju kʊd ˈklɪrli si ðət ɪf ju ˈbɑðərd tɪ wɔk tɪ ðə gərɑʒ ənd pɑp ðə hʊd. herp-a-derp*. aɪ gɛs gɑt ən ˈɛkstrə sɛt tɪ juz ɪn əˈnəðər maɪəlz. ˈɛniˌweɪ, ðə ˈækʧəwəl ʤɑb wɛnt ɔf wɪˈθaʊt ə hɪʧ. ðə oʊld pləgz keɪm aʊt wɪθ noʊ ˈprɑbləmz ənd ðə nu wənz slɪd ˈɪntu ðə hɛd wɪˈθaʊt ə hɪnt əv krɔst θrɛdz. ðə ˈoʊnli ˌənɪkˈspɛktɪd ˌsɪʧuˈeɪʃən ðət keɪm əp wɑz ðət aɪ hæd tɪ riˈmuv ðə strət taʊər breɪs tɪ riʧ wən əv ðə pləgz. ɪf ˈɛniˌwən noʊz ə ˈbɛtər weɪ, ləv tɪ hir ɪt. ˈəðər ðən ðət, ðə ˈrənɪŋ greɪt. ɪt ˈæˌkʧuəli saʊnz ˈbɛtər tɪ mi. ɪz ðət ˈpɑsəbəl? ər ɪz ðət maɪ ˌɪˌmæʤəˈneɪʃən? ˌædvərˈtaɪzmənt saɪd noʊt: kən wi ɔl stɑp tɪ ædˈmaɪr ðə ˈklɛvərnəs əv ðə ˈɛnʤəˈnɪrz æt ˈmɑzdə? ðeɪ hæd ðə ˈfɔrˌsaɪt tɪ dɪˈzaɪn ðə kɑr wɪθ ðɪs ˈhændi ˈlɪtəl ʃɛlf tɪ hoʊld jʊr tulz wɪn ju ər ˈwərkɪŋ ˈəndər ðə hʊd. ɔl fər 2016 gɑt səm plænz fər 2017 ˈstɑrtɪŋ wɪθ ə nu ɪgˈzɔst frəm flyin’*’ miˈɑtə tɪ ˌriˈpleɪs ðə stɑk ɪgˈzɔst, wɪʧ həz ˈrɑtɪd θru ɪn æt list wən pleɪs. ðɛr wɪl bi mɔr kləb draɪvz tu. ənd ʃʊr bæʃ maɪ weɪ θru səm mɔr ˈmeɪntənəns stəf. ænˈtɛnə rɪˈpleɪsmənt? ˈlaɪsəns pleɪt ˌriˈloʊˈkeɪʃən? ˈfræŋkli, kənˈsɪdər ɪt ə ˈmaɪnər ˈmɪrəkəl ɪf aɪ meɪk ɪt tɪ 2018 wɪˈθaʊt ˈbreɪkɪŋ ˈɛni əv maɪ ˈfɪŋgərz.
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the miata is not going into storage for the winter, but its definitely going to see a lot less use once the snow hits the ground. road salt is a killer and rear wheel drive is not fun on a slippery road. it’s not going to hibernate, but it’s going to be having long sleeps between sunny days.
we had a good half year together, though. i joined the delaware valley miata club and went on three club drives. the first was a short drive with my wife from green brook to west orange in new jersey. after that, i took another ride with my dad from columbia, nj to lake mohawk. then i closed out the club season with a drive with a friend from oakland, nj through harriman state park to... oakland, nj.
that first ride happened to coincide with my wedding anniversary. now, i’m not an unromantic fellow, but when the actual day of our anniversary happens to be a wednesday night, my wife and i don’t usually plan much until maybe the weekend. so... miata club drive! later on at that last drive i took with the club, i sat at lunch with the a fellow who was on that first trip. recalling how my first drive was also my anniversary and my wife went along, he declared to the rest of the table that, “she’s a keeper.”
i took the miata to a vintage car race at new jersey motorsports park in september. pictures from the race are available elsewhere. this was the longest drive i had taken with the car (about 2.5 hours), so i admit i was feeling a little bit nervous given that i’d only owned the car for a few months and the mechanical condition was still... uncertain. then i saw jaguar xjs coupe from the 80s merging onto the highway and thought to myself that i would probably be alright. anyway the miata looked fantastic parked in the paddock among the race teams.
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the best part of the race for me was the paced laps during the lunch break. for a modest donation to the millville army air field museum, attendees could drive their own cars behind the pace car for about 30 minutes. nothing to lairy, but oh my god i was driving a miata on a race track. ahem, i enjoyed the experience.
eventually, fall fell and the top stayed up most of the time. the upside is that british racing green looks fantastic with fall colors. still, i miss the sunshine a bit.
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i’ve already done some maintenance on the car, but there were a few more things i wanted to do before the end of the year. first i replaced the top latches. the one on the driver’s side was a little sticky so when a miata veteran was selling a pair on the craigslist for $20, i grabbed them, did the screw fix, sprayed on a nice coat of black paint, and put them on the car.
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next up, spark plugs and wires. this was a project that i approached with some trepidation because i’ve had a history with this one. you see, when i was a teenager, i helped my dad, who’s not a professional mechanic but actually quite good at working on cars, replace the plugs and wires on his 1993 toyota camry. he showed me how to take out the old plugs and carefully insert the new ones deep inside the dohc cylinder head as well as how to match up the wires in the distributor cap to keep the firing order right. everything was great until we got to the last plug, which just wouldn’t come out. we twisted and pushed on the ratchet, but it wouldn’t budge. then it did, and half of the plug came out with the wrench while the other half remained stuck deep down in the cylinder head. to this day, i have now idea how dad got the bottom half of that spark plug out, but i’m sure it probably involved a lot of cursing.
but that’s not the end of my history with plugs and wires. you see, we also replaced the plugs and wires on the 1988 toyota camry that was my daily driver. (mom and dad loved camries. they owned 5 between 1988 and 2003 before they moved on to luxury cars.) the work went off without a hitch, but a few weeks later one of the plug boots cracked, causing it to slowly work it’s way off of the spark plug. the result? firing on three cylinders and panic from a novice driver who didn’t really know what was going on.
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with all this in mind, i borrowed a torque wrench from a friend, bought some cobalt wires and ngk iridium spark plugs from mossmiata.com and got to work. well, first i accidentally bought an extra set of wires because it’s a 4-cylinder engine and they come in packages of two, so since 2+2=4 you must need two sets, right? never mind that the coil-over-plug design of the nb2 engine only requires two wires and you could clearly see that if you bothered to walk to the garage and pop the hood. herp-a-derp. i guess i’ve got an extra set to use in another 30,000 miles.
anyway, the actual job went off without a hitch. the old plugs came out with no problems and the new ones slid into the head without a hint of crossed threads. the only unexpected situation that came up was that i had to remove the strut tower brace to reach one of the plugs. if anyone knows a better way, i’d love to hear it. other than that, the engine’s running great. it actually sounds better to me. is that possible? or is that my imagination?
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side note: can we all stop to admire the cleverness of the engineers at mazda? they had the foresight to design the car with this handy little shelf to hold your tools when you are working under the hood.
that’s all for 2016. i’ve got some plans for 2017, starting with a new exhaust from flyin’ miata to replace the stock exhaust, which has rotted through in at least one place. there will be more club drives too. and i’m sure i’ll bash my way through some more maintenance stuff. antenna replacement? license plate relocation? frankly, i’ll consider it a minor miracle if i make it to 2018 without breaking any of my fingers.
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ˈləndən ʤɔrʤ ˈɔzˌbɔrn kənˈfərmd ɪn ˈwɛnzˌdeɪz ˈbəʤɪt spiʧ ðət ðə ˈsoʊˈkɔld "ˈgugəl tæks" wɪl kəm ˈɪntu əˈfɛkt nɛkst mənθ. ðə ˈʧænsələr əv ðə ˈɛksˌʧɛkər juzd ðə ˈfaɪnəl ˈbəʤɪt ˌbiˈfɔr ðə ˈʤɛnərəl ɪˈlɛkʃən ɪn meɪ tɪ əˈnaʊns ðət ðə dɪˈvərtɪd ˈprɑfɪts tæks, wɪʧ ɪz "eɪmd æt lɑrʤ ˌməlˌtiˈnæʃənəlz hu ˌɑrtəˈfɪʃəli ʃɪft ðɛr ˈprɑfɪts ˈɔfˈʃɔr", wɪl bi ˌɪntrəˈdust frəm ˈeɪprəl 1 ðə tæks wɑz flægd ˈdʊrɪŋ ðə ˈɔtəm ˈsteɪtmənt ɪn dɪˈsɛmbər 2014 ənd ˈlɛviz ə 25 ʧɑrʤ ɔn ˈkəmpəˌniz hu dɪˈvərt ðɛr ˈprɑfɪts ˈoʊvərˈsiz θru ˈkɑmplɛks ˈbɪznɪs ˈstrəkʧərz tɪ əˈvɔɪd peɪɪŋ tæks. ˈgugəl, ˈstɑrˌbəks ənd ˈæməˌzɑn hæv ɔl bɪn əˈtækt fər ðə ˈpræktɪs. dɪˈvərtɪd ˈprɑfɪts tæks ɪz eɪmd æt lɑrʤ ˌməlˌtiˈnæʃənəlz hu ˌɑrtəˈfɪʃəli ʃɪft ðɛr ˈprɑfɪts offshore…*… həm ˈtrɛʒəri (@hmtreasury*) mɑrʧ 18 2015 kən kənˈfərm ðət wi wɪl ˈlɛʤɪsˌleɪt fər ɪt nɛkst wik ənd brɪŋ ɪt ˈɪntu ˈifɛkt æt ðə stɑrt əv nɛkst month.’*.’ həm ˈtrɛʒəri (@hmtreasury*) mɑrʧ 18 2015 ˈɔzˌbɔrn ˈɔlsoʊ əˈnaʊnst ə ˈbrɔdər ˈkrækˌdaʊn ɔn tæks əˈvɔɪdəns ənd ɪˈveɪʒən, wɪʧ hi ˈprɑməst wʊd reɪz ˈbɪljən, ənd ə raɪz ɔn ðə reɪt əv bæŋk ˈlɛvi tɪ 021 wɪʧ hi ˌɪnˈsɪstɪd wʊd reɪz ən əˈdɪʃənəl ˈmɪljən pər jɪr. ˈʧænsələr əv ðə ˈɛksˌʧɛkər ʤɔrʤ ˈɔzˌbɔrn stændz wɪθ hɪz ˈtrɛʒəri tim ˈaʊtˈsaɪd 11 ˈdaʊnɪŋ strit, ˈləndən. ˈɪmɪʤ: ˈʤɑnəθən prɛs ˈdʊrɪŋ ðə spiʧ hi ˈɔlsoʊ ˈprɑməst ˌɪnˈvɛstmənt ɪn ðə "ˈɪntərˌnɛt əv θɪŋz" ənd ˈɔnˌlaɪn ˈækˌsɛs. hi sɛd ðə ˈgəvərnmənt wʊd kəˈmɪt əp tɪ ˈmɪljən tɪ ˌɪmˈpruvɪŋ ˈbrɔdˌbænd əˈkrɔs ðə ˈkəntri, ˈbustɪŋ spidz tɪ 100 pər ˈsɛkənd tɪ pʊt ˈbrɪtən "aʊt ɪn frənt", ənd wʊd pʊt fri ˈwiˌfi ˈɪntu ˈpəblɪk ˈlaɪbrɛˌriz. ɪn ə spiʧ ˈrɪdəld wɪθ dɪgz æt ðə ˌɑpəˈzɪʃən hi traɪd tɪ ɪkˈspleɪn ðə "ˈɪntərˌnɛt əv θɪŋz" wɪθ ə ˈrɛfərəns tɪ ðə ˈrisənt ˌrɛvəˈleɪʃən ðət ɛd həz tu ˈkɪʧənz. "tɪ juz ə kəmˈplitli rɪˈdɪkjələs ɪgˈzæmpəl," hi sɛd, "wər ˈsəmˌwən tɪ hæv tu ˈkɪʧənz ðeɪ wʊd bi ˈeɪbəl tɪ kənˈtroʊl boʊθ ˈfrɪʤəz frəm ðə seɪm foʊn." ðə ˈbəʤɪt seɪɪŋ: "ðɪs ɪz ə ˈbəʤɪt ˈpipəl woʊnt bɪˈliv frəm ə ˈgəvərnmənt ðæts nɑt ɔn ðɛr saɪd."
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london — george osborne confirmed in wednesday's budget speech that the so-called "google tax" will come into affect next month.
the chancellor of the exchequer used the final budget before the general election in may to announce that the diverted profits tax, which is "aimed at large multinationals who artificially shift their profits offshore", will be introduced from april 1.
the tax was flagged during the autumn statement in december 2014, and levies a 25% charge on companies who divert their profits overseas through complex business structures to avoid paying uk tax. google, starbucks and amazon have all been attacked for the practise.
‘…new diverted profits tax is aimed at large multinationals who artificially shift their profits offshore… (1/2) #budget15 — hm treasury (@hmtreasury) march 18, 2015
…i can confirm that we will legislate for it next week and bring it into effect at the start of next month.’ (2/2) #budget15 — hm treasury (@hmtreasury) march 18, 2015
osborne also announced a broader crackdown on tax avoidance and evasion, which he promised would raise £3.1 billion, and a rise on the rate of bank levy to .021%, which he insisted would raise an additional £900 million per year.
chancellor of the exchequer george osborne stands with his treasury team outside 11 downing street, london. image: jonathan brady/pa wire/associated press
during the speech he also promised investment in the "internet of things" and online access.
he said the government would commit up to £600 million to improving broadband across the country, boosting speeds to 100 megabits per second to put britain "out in front", and would put free wifi into public libraries.
in a speech riddled with digs at the opposition he tried to explain the "internet of things" with a reference to the recent revelation that ed miliband has two kitchens.
"to use a completely ridiculous example," he said, "were someone to have two kitchens they would be able to control both fridges from the same phone."
miliband criticised the budget saying: "this is a budget people won't believe from a government that's not on their side."
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infowars* mɑrʧ 23 2009 læst wik ɔn ðə ˈæləks ʤoʊnz ʃoʊ, ˈfɔrmər ˌprɛzɪˈdɛnʃəl ˈkænədɪt ənd ˈbæptɪst ˈmɪnɪstər ʧək ˈbɔldwən sɛd hi wʊd wɪθ ˈfɔrmər ˌprɛzɪˈdɛnʃəl ˈkænədɪt ənd haʊs ˈmɛmbər rɑn pɔl ənd ˈfɔrmər ˈfɛdərəl ˈprɑsɪˌkjutər, ˈfɔrmər ˈmɛmbər əv ðə juˈnaɪtɪd steɪts haʊs əv ˌrɛprɪˈzɛnətɪvz ənd ˌprɛzɪˈdɛnʃəl ˈkænədɪt bɑb bɑr ə ˈlɛtər (si pdf*) tɪ ðə ˈgəvərnər əv məˈzʊri, ˌʤɛrəˈmaɪə ˈnɪksən, ˈproʊˌtɛstɪŋ ðə məˈzʊri ˌɪnˌfɔrˈmeɪʃən æˈnælɪsɪs ˈdɑkjəmɛnt ˈdɛzɪgˌneɪtɪŋ ˈbɔldwən ənd hɪz ɛz ˈtɛrəˌrɪsts. ˈbɔldwən, pɔl, ənd bɑr demand”*” ðə ˈdɑkjəmɛnt ɪn kˈwɛʃən ˌɪˈmiˌdiətli riˈmuvd frəm ˈɛni ənd ɔl ˈwɛbˌsaɪts əˈsoʊʃiˌeɪtəd wɪθ ər meɪnˈteɪnd baɪ ðə steɪt əv məˈzʊri ər ˈɛni ˈeɪʤənsi ˌðɛˈrəv, ˌɪnˈkludɪŋ ðə miac.”*.” ɪn əˈdɪʃən, ðeɪ dɪˈmænd ˈdɑkjəmɛnt noʊ ˈlɔŋgər bi ˈsərkjəˌleɪtɪd baɪ ðə steɪt əv missouri”*” ənd ðə steɪt riˈpjudiˌeɪt ɪts ˈrɛfərənsɪz tɪ ˈbɔldwən, pɔl, ənd bɑr. ðə ˈlɛtər ˌɪnˈsɪsts ˈækʃən bi ˈteɪkən wɪˈθɪn θri deɪz əv rɪˈsit. ɔn mɑrʧ 20 ˈprɪzən ˈplænət ˌriˈpɔrtəd məˈzʊri ˈgəvərnər ʤeɪ dɪˈfɛns əv ðə rɪˈpɔrt. ˌɪnˌfɔrˈmeɪʃən, əˈspɛʃəli ˈpəblɪk ˌɪnˌfɔrˈmeɪʃən, aʊt əv ɑr fˈjuʒən ˈsɛnər aʊt tɪ ˈloʊkəl lɔ ɛnˈfɔrsmənt ˈeɪʤənsiz ɪz wi du ˈɛvəri deɪ ənd goʊɪŋ tɪ kənˈtɪnju tɪ do,”*,” sɛd ˈnɪksən. weɪ ðeɪ teɪk ðət ˌɪnˌfɔrˈmeɪʃən ənd kən ˈænəˌlaɪz wət ðə θrɛt ˈlɛvəlz ər ɪz ˌɪmˈpɔrtənt tɪ meɪk ʃʊr ðə ˈpəblɪk steɪz safe.”*.” ˌriˈpɔrtəd. ɪn ˈəðər wərdz, ˈnɪksən wɪl kənˈtɪnju tɪ ˈpərˌmɪt tɪ ˈdɛzɪgˌneɪt ˈbɔldwən, pɔl, ənd bɑr ɛz ˈtɛrəˌrɪsts. ɪn rɪˈgɑrd tɪ ðə ˈkɑntɛnt əv ðə rɪˈpɔrt, si ɑr pəˈlis treɪnd ˈneɪʃənˈwaɪd ðət ˌɪnˈfɔrmd əˈmɛrɪkənz ər dəˈmɛstɪk ˈtɛrəˌrɪsts, ˈpoʊstɪd ɔn ðə ənd ˈprɪzən ˈplænət ˈwɛbˌsaɪts ɔn mɑrʧ 13 ˈæftər ˈæləks ʤoʊnz rɪˈsivd ðə ˈdɑkjəmɛnt ənd ɪt wɑz ˈpoʊstɪd ɔn hɪz ˈwɛbˌsaɪts, ðə nuz ˈstɔri wɛnt ˈvaɪrəl ənd wɑz ˈkəvərd baɪ ðə əˈsoʊʃiˌeɪtəd prɛs ənd ˈəðər ˈkɔrpərət ˈmidiə ˈaʊˌtlɛts (ˈæləks ʤoʊnz,, ənd ˈprɪzən ˈplænət dɪd nɑt rɪˈsiv ˌætrɪˈbjuʃən fər ˈbreɪkɪŋ ðə ˈstɔri, ˌhaʊˈɛvər.) rɛd ðə ˈlɛtər: peɪʤ wən, peɪʤ tu, peɪʤ θri. ʧək ˈbɔldwən dɪˈskəsɪz ðə rɪˈpɔrt ɔn ðə ˈæləks ʤoʊnz ʃoʊ, mɑrʧ 19 2009 pɑrt 2 [efoods*]
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infowars
march 23, 2009
last week on the alex jones show, former presidential candidate and baptist minister chuck baldwin said he would co-author with former presidential candidate and house member ron paul and former federal prosecutor, former member of the united states house of representatives and presidential candidate bob barr a letter (see pdf) to the governor of missouri, jeremiah nixon, protesting the missouri information analysis center’s document designating baldwin and his co-authors as terrorists.
baldwin, paul, and barr “respectfully demand” the document in question “be immediately removed from any and all websites associated with or maintained by the state of missouri or any agency thereof, including the miac.” in addition, they demand “said document no longer be circulated by the state of missouri” and the state repudiate its references to baldwin, paul, and barr.
the letter insists action be taken within three days of receipt.
on march 20, prison planet reported missouri governor jay nixon’s defense of the miac report. “getting information, especially public information, out of our fusion center out to local law enforcement agencies is we do every day and we’re going to continue to do,” said nixon. “any way they take that information and can analyze what the threat levels are is important to make sure the public stays safe.” connectmidmissouri reported. in other words, nixon will continue to permit miac to designate baldwin, paul, and barr as terrorists.
in regard to the content of the miac report, see our police trained nationwide that informed americans are domestic terrorists, posted on the infowars and prison planet websites on march 13.
after alex jones received the miac document and it was posted on his websites, the news story went viral and was covered by the associated press and other corporate media outlets (alex jones, infowars, and prison planet did not receive attribution for breaking the story, however.)
read the letter: page one, page two, page three.
chuck baldwin discusses the miac report on the alex jones show, march 19, 2009. part 2.
[efoods]
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ɪz dumd ˈwɪkiˌpiˌdiə dumd? wət wi θɪŋk ðə ˈɛdɪtər trɛnz ˈstədi tɛlz ˈjuˈɛs: bɪtˈwin 2005 ənd 2007 ˈstɑrtɪd ˈhævɪŋ ril ˈtrəbəl səkˈsɛsfəli ˈʤɔɪnɪŋ ðə kəmˈjunɪti. ˌbiˈfɔr 2005 ɪn ðə ˈɪŋlɪʃ ˈwɪkiˌpiˌdiə, ˈnɪrli 40 əv nu ˈɛdɪtərz wʊd stɪl bi ˈæktɪv ə jɪr ˈæftər ðɛr fərst ˈɛdət. ˈæftər 2007 ˈoʊnli əˈbaʊt əv nu ˈɛdɪtərz wər stɪl ˈæktɪv ə jɪr ˈæftər ðɛr fərst ˈɛdət. lɑts əv ˈpipəl wər stɪl traɪɪŋ tɪ bɪˈkəm ˈwɪkiˌpiˌdiə ˈɛdɪtərz. wət hæd ʧeɪnʤd, ðoʊ, ɪz ðət ðeɪ wər ˌɪnˈkrisɪŋgli ˈfeɪlɪŋ tɪ ˈɪnəˌgreɪt ˈɪntu ðə ˈwɪkiˌpiˌdiə kəmˈjunɪti, ənd ˈfeɪlɪŋ ˌɪnˈkrisɪŋgli kˈwɪkli. ðə kəmˈjunɪti hæd bɪˈkəm tu hɑrd tɪ ˈpɛnəˌtreɪt. ɛz ðə græf ʃoʊz, waɪl ðə ˈnəmbər əv ˈæktɪv ˈɛdɪtərz ʃɑt əp frəm 2005 ðə riˈtɛnʃən reɪt əv ˈɛdɪtərz, ðoʊz hu ər stɪl ˈæktɪv ə jɪr ˈleɪtər, ʃɑt daʊn. soʊ ðɛr ər mɔr ˈɛdɪtərz, bət ðeɪ kwɪt ˈɛdɪtɪŋ ˈərliər. wɪʧ ɪn tərn minz ðət ju hæv ə hɑrd kɔr əv ˈlɔŋˌtərm, daɪd ɪn ðə wʊl ˈɛdɪtərz hu noʊ haʊ tɪ geɪm ðə ˈsɪstəm ənd ə məʧ ˈlɑrʤər mæs əv ˈpipəl hu dɪˈskəvər ˈwɪkiˌpiˌdiə, stɑrt ˈɛdɪtɪŋ ənd ˈjuʒəwəli drɔp aʊt ɪn ə ˈkəpəl əv mənθs, ˈiðər bɪˈkəz ðeɪ luz ˈɪntəˌrɛst ər bɪˈkəz ˈdrɪvən aʊt baɪ ðə ˈhɑrdˈkɔr. ˈɛdɪtɪŋ ˈwɪkiˌpiˌdiə ɪz nɑt fən ˌɛniˈmɔr. θri ˈrizənz fər ðɪs ɪz:, ˌvɛrəfəˈkeɪʃən ənd rulz ˈlɔjərɪŋ ɪn ˈʤɛnərəl. ɪt juzd tɪ bi ðət ˈwɪkiˌpiˌdiə ˈkəlʧər wɑz ˈfɛrli ˈtɑlərənt əv ˈpipəl ˈfɑloʊɪŋ ðɛr oʊn ˈɪntərɪsts, ˈpʊtɪŋ əp ˈɛntriz ɔn ˈlɛsər noʊn seɪ ənd əˈpriʃiˌeɪtɪd ðɛr ˈɛfərts. bət ʤɪst wɪn ˈwɪkiˌpiˌdiə ˈrɪli tʊk ɔf, ɪn ðə rulz ˈstɑrtɪd tɪ ʧeɪnʤ ənd ˈɛniˌθɪŋ ðət bi faʊnd ɪn ðə ɪnˌsaɪkləˈpidiə wɑz ˈsədənli nɑt ɪˈnəf tɪ bi ɪn ˈwɪkiˌpiˌdiə ˈiðər. ðə ˈbæləns ɪn ˈwɪkiˌpiˌdiə ˈkəlʧər swɪʧt ˈoʊvər frəm ˈɛrɪŋ ɔn ðə saɪd əv ˌɪnˈklusɪvnɪs tɪ ɪn daʊt, delete”*” wɪθ kwaɪt ə fju ˈɛdɪtərz siɪŋ ɪt ɛz ə ˈhoʊli ˈmɪʃən tɪ gɪt rɪd əv ““fancruft”*”, ˌɪnˈsəltɪŋ ənd ˈeɪliəˌneɪtɪŋ ʤɪst ðoʊz ˈpipəl hu meɪd gʊd rɪˈkruts. æt ðə seɪm taɪm, rɪˈspɑndɪŋ tɪ ə ˈkəpəl əv ˈskændəlz (səm mɔr soʊ ðən ˈəðərz), ˈɛdɪtɪŋ ɪgˈzɪstɪŋ ˈɑrtɪkəlz bɪˈkeɪm ˈhɑrdər ɛz wɛl, ɛz ˌvɛrəfəˈkeɪʃən bɪˈkeɪm ðə ˈmæʤɪk wərd. ˈɛvəri fækt hæd tɪ bi ˈvɛrəˌfaɪd, lɪŋkt tɪ səm sɔrs ðət proʊˈkleɪmd ɪts truθ. nɑt ən ənˈriznəbəl rul, ðə weɪ ɪt həz bɪn juzd ðə ˈprɑbləm. tu ˈɔfən nu ˈɛdɪtərz hæv hæd ðɛr ðɛr hɛdz ˈbɪtən ɔf fər ˈɪnəsəntli ˈædɪŋ fækts wɪˈθaʊt ˌvɛrəfəˈkeɪʃən, ər ˈjuzɪŋ ““suspect”*” ˈsɔrsəz, ər fər ˈjuzɪŋ ˈsɔrsəz nɑt ˈizəli ər fər ʤɪst ˈhæpənɪŋ tɪ dɪsəˈgri wɪθ ə ˌpɑˈtɪkjələr ˈhɑbi hɔrs. ənd ˌvɛrəfəˈkeɪʃən, laɪk ɪz ˈɔlsoʊ ˌɪnˈkrisɪŋgli juzd ɪn ˈɛdɪtər faɪts, ɛz dɪsəˈgriɪŋ ˈɛdɪtərz ˈnɪtpɪk iʧ ˈɛdɪtərz. wɪʧ brɪŋz mi tɪ ðə rul ˈlɔjərɪŋ ðət ðɪs ˈɛmfəsɪs ɔn ˈprɔˌsɛs ˈoʊvər ˈkɑntɛnt brɔt wɪθ ɪt. ˈwɪkiˌpiˌdiə kʊd ˈɔlˌweɪz bi gamed*, bət wɪn ˈfɑloʊɪŋ ðə rulz kərˈɛktli bɪˈkeɪm mɔr ˌɪmˈpɔrtənt ðən ˈæˌkʧuəli ˈraɪtɪŋ ˈɑrtɪkəlz, ɪt bɪˈkeɪm ðət məʧ ˈiziər tɪ du soʊ. tu ˈmɛni ˈɛdɪtərz hu wɛr mɔr ˈɪntəˌrɛstɪd ɪn pleɪɪŋ ðɪs geɪm ðən ɪn ˌɪmˈpruvɪŋ ˈwɪkiˌpiˌdiə bɪˈkeɪm ædˈmɪnɪˌstreɪtərz ər gɑt ðɛmˈsɛlvz ɪn ˈəðər pəˈzɪʃənz əv paʊər ənd hɛns wɔrpt ðə ˈprɑʤɛkt təˈwɔrdz ðɛr ˈɪntərɪsts. ɪt hɛlp tɪ ˌɪmˈpruv ˈwɪkiˌpiˌdiə, bət əv kɔrs ˈwɪnɪŋ jʊr faɪts wɪθ ˈəðər ˈɛdɪtərz bɪˈkəz ju kən twɪsts ðə rulz ˈbɛtər ɪz məʧ mɔr important…*… ˌhaʊˈɛvər, ðə fækt ðət ðə faʊnˈdeɪʃən həz ˈfaɪnəli ˈwoʊkən əp ənd ˈrɛkəgˌnaɪzd ðɪs ˈdeɪnʤər ɪz ə gʊd saɪn. ˈhoʊpfəli ðeɪ wɪl ˈæˌkʧuəli du ˈsəmθɪŋ əˈbaʊt ɪt ɛz wɛl: rɪˈlæks ðə rulz ɔn ənd ˌvɛrəfəˈkeɪʃən, gɪt rɪd əv ðə rulz ˈlɔjərɪŋ ənd gɪt bæk tɪ ˈmeɪkɪŋ ˈwɪkiˌpiˌdiə ə gʊd ɪnˌsaɪkləˈpidiə. (ˈviə vuijlsteke*.)
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is doomed wikipedia doomed?
here’s what we think the editor trends study tells us: between 2005 and 2007, newbies started having real trouble successfully joining the wikimedia community. before 2005 in the english wikipedia, nearly 40% of new editors would still be active a year after their first edit. after 2007, only about 12-15% of new editors were still active a year after their first edit. post-2007, lots of people were still trying to become wikipedia editors. what had changed, though, is that they were increasingly failing to integrate into the wikipedia community, and failing increasingly quickly. the wikimedia community had become too hard to penetrate.
as the graph shows, while the number of active editors shot up from 2005, the retention rate of editors, those who are still active a year later, shot down. so there are more editors, but they quit editing earlier. which in turn means that you have a hard core of longterm, dyed in the wool editors who know how to game the system and a much larger mass of people who discover wikipedia, start editing and usually drop out in a couple of months, either because they lose interest or because they’re driven out by the hardcore. editing wikipedia is not fun anymore.
three reasons for this is: notability, verification and rules lawyering in general. it used to be that wikipedia culture was fairly tolerant of people following their own interests, putting up entries on lesser known webcomics say and appreciated their efforts. but just when wikipedia really took off, in 2005-2006, the rules started to change and anything that couldn’t be found in the encyclopedia brittannica was suddenly not noticable enough to be in wikipedia either. the balance in wikipedia culture switched over from erring on the side of inclusiveness to “when in doubt, delete” — with quite a few editors seeing it as a holy mission to get rid of “fancruft”, insulting and alienating just those people who would’ve made good recruits.
at the same time, responding to a couple of scandals (some more so than others), editing existing articles became harder as well, as verification became the magic word. every fact had to be verified, linked to some source that proclaimed its truth. it’s not an unreasonable rule, it’s the way it has been used that’s the problem. too often new editors have had their their heads bitten off for innocently adding facts without verification, or using “suspect” sources, or for using sources not easily verificable or for just happening to disagree with a particular editor’s hobby horse. and verification, like notability is also increasingly used in editor fights, as disagreeing editors nitpick each other’s editors.
which brings me to the rule lawyering that this emphasis on process over content brought with it. wikipedia could always be gamed, but when following the rules correctly became more important than actually writing articles, it became that much easier to do so. too many editors who where more interested in playing this game than in improving wikipedia became administrators or got themselves in other positions of power and hence warped the project towards their interests. it doesn’t help to improve wikipedia, but of course winning your fights with other editors because you can twists the rules better is much more important…
however, the fact that the wikimedia foundation has finally woken up and recognised this danger is a good sign. hopefully they will actually do something about it as well: relax the rules on noticability and verification, get rid of the rules lawyering and get back to making wikipedia a good encyclopedia.
(via vuijlsteke.)
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ˈərliər ðɪs mənθ, ðə ˈprɑʤɛkt riˈlist ˈvərʒən əv ðə ˈvɛktər ˈgræfɪks ˈɛdɪtər. ɪz naʊ ˈɔlsoʊ əˈveɪləbəl fər ˈdaʊnˌloʊd frəm ðə əˈfɪʃəl fɪˈdɔrə riˈpɑzəˌtɔriz fər fɪˈdɔrə 24 ənd fɪˈdɔrə 25 ɪf ju ɔˈrɛdi hæv ˌɪnˈstɔld, ju wɪl rɪˈsiv ðə ˈəpˌdeɪtɪd ˈvərʒən wɪn ju nɛkst ˈəpˌdeɪt wɪθ ər ðə ˈsɔfˌwɛr ˌæpləˈkeɪʃən. ɪz ə ˈvərsətəl, ˈfiʧər rɪʧ ˈvɛktər ˈgræfɪks ˈɛdɪtər ðət kən bi juzd fər ə waɪd reɪnʤ əv tæsks, ˌɪnˈkludɪŋ mockups*, ˈaɪˌkɑnz, ˈloʊˌgoʊz, ˈdɪʤɪtəl ˌɪləˈstreɪʃən. ˈjuzɪz ðə ˈskeɪləbəl ˈvɛktər ˈgræfɪks (svg*) ˈfɔrˌmæt ɛz ðə ˈpraɪˌmɛri sɔrs filetype*, wɪʧ ɪz ˈgɪtɪŋ mɔr ənd mɔr ˈpɑpjələr ɛz ə ˈfɔrˌmæt fər ˈvɛktər ˈgræfɪks ɔn ðə wɛb. kən ˈɔlsoʊ ˈɛkspɔrt tɪ ə waɪd reɪnʤ əv ˈdɪfərənt ˈfɔrˌmæts, ˌɪnˈkludɪŋ ənd pdf*. nu ɪn dɪˈspaɪt ðə ˈsimɪŋli smɔl ˈvərʒən ˈnəmbər bəmp frəm ðə ˈpriviəs riˈlis əv, prəˈvaɪdz ə reɪnʤ əv nu ˈfiʧərz ənd bugfixes*, ˌɪnˈkludɪŋ mɛʃ ˈgreɪdiənts, ˌɪmˈpruvd səˈpɔrt fər ðə ənd spɛks, brænd nu pæθ ˈifɛkts, ənd ðə nu ˈɑbʤɛkt ˈdaɪəlɔg əv ˈɑbʤɛkts. ðə riˈlis noʊts həz ə fʊl lɪst ənd dɪˈskrɪpʃənz əv ɔl ðə nu ˈfiʧərz ənd bugfixes*. mɛʃ ˈgreɪdiənts ðə ˈflægˌʃɪp nu ˈfiʧər ɪn ðɪs ˈəpˌdeɪtɪd ˈvərʒən əv ɪz səˈpɔrt fər kriˈeɪtɪŋ ənd ˈɛdɪtɪŋ ˈgreɪdiənt ˈmɛʃɪz. ɪn ˈpriviəs ˈvərʒənz əv, kriˈeɪtɪŋ ˈkɑmplɛks ˈʃeɪdɪŋ ˌɪnˈvɑlvd ˈməltəpəl ˈɑbʤɛkts wɪθ ˈgreɪdiənts ənd blərz əˈplaɪd. wɪθ ˈgreɪdiənt ˈmɛʃɪz ɪn, ɪt ɪz naʊ ˈpɑsəbəl tɪ kriˈeɪt mɔr ˈkɑmplɛks ˈʃeɪdɪŋ ˈifɛkts wɪθ ə ˈsɪŋgəl ˈgreɪdiənt. wɪθ mɛʃ ˈgreɪdiənts ɪt ɪz ˈɔlsoʊ ˈpɑsəbəl naʊ tɪ kriˈeɪt ˈsɪŋgəl, dɪˈteɪld ˈkɑnɪkəl ˈgreɪdiənts, wɪʧ kən bi juzd tɪ ˈsɪmjəˌleɪt ˈʃaɪni ˈmɛtəl dɪsks, ər kriˈeɪt ə colorwheel*: ˈɑbʤɛkts ˈdaɪəlɔg ˈɔlsoʊ ˌɪntrəˈdusɪz ə nu ˈɑbʤɛkts ˈdaɪəlɔg ðət wɪl bi ˈjusfəl fər ˈɑrtɪsts ðət hæv ˈkɑmpləˌkeɪtəd drɔɪŋz wɪθ ˈmɛni ˈɑbʤɛkts, grupt ɪn ˈmɛni weɪz. ðɪs nu ˈdaɪəlɔg prəˈvaɪdz ə tri vju əv ɔl ðə ˈɑbʤɛkts ɪn ðə ˈdɑkjəmɛnt, əˈlaʊɪŋ ju tɪ drɪl daʊn ənd faɪnd ðə spɪˈsɪfɪk ˈɛləmənt ju wɔnt tɪ wərk ɔn: bi ʃʊr tɪ ʧɛk aʊt ðə riˈlis noʊts ənd ðə riˈlis əˈnaʊnsmɛnt fər mɔr ˈditeɪlz ɔn ðiz ənd ðə ˈmɛni ˈəðər ˈfiʧərz ɪn ðɪs nu ˈvərʒən əv. seɪv seɪv seɪv seɪv seɪv seɪv seɪv
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