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a springfield boy, harley starling, found dead in his bedroom early monday by his grandmother, was beaten with a baseball bat and stabbed, according to court records.
the brother, nicholas starling, 16, is charged in the death.
key facts:
harley starling, 14, stabbed, beaten
nicholas starling, 16, arrested for murder, tampering with evidence
motive for killing not released
boys lived with their grandmother
9-1-1 caller assumes death was suicide
update @2:50 p.m.:
springfield police released the made early monday morning by the grandmother of harley starling, who she found dead in his bedroom inside their superior ave. home.
harley lived with his grandmother and older brother nicholas starling, 16, who has been charged with killing his brother.
in the time of the call, the grandmother told dispatchers she was standing in her deceased bedroom with his brother. she assumed the boy had committed suicide sometime overnight.
here is a partial transcript of the more than call.
caller:
(grandmother of harley starling)
my grandson evidently killed himself last night, cold, cold you move him. i tried shaking him and waking him up.
dispatcher:
do you know what happened?
caller:
no i. i know if he was playing with that fake blood stuff, his head is back, his eyes are open.
dispatcher:
why you go outside and wait for the medics to arrive.
caller:
my other grandson is here, standing here, we even understand why. i know if he was playing with fake blood or what, all over his arm and up around his shoulder. his eyes are open too.
i shook him because i was trying to wake him up. he had the blanket up over his face.
caller to older brother:
go in the other room, come in here and stare at him.
caller to dispatcher:
he’s always playing jokes and things so we thought he was just joking.
dispatcher:
how old is he?
caller:
he’s 14. his dad just died two years ago.
dispatcher:
are there any guns in the house that you know of?
caller:
yes but he get to them.
they live with me, lived with me since their dad died.
dispatcher:
did you hear anything weird last night?
caller:
no, we just went to bed and that was it.
dispatcher:
what room is he in?
caller:
he’s in his know when he did it. (crying)
i’m standing in the living room with his brother.
dispatcher:
how old is his brother?
caller:
he’s 16, his name is nicholas.
dispatcher:
try to keep everybody calm, i know going to be hard, this is confusing and scary.
caller:
i know trying to keep calm.
dispatcher:
you are doing a good job (keeping calm) being there for his brother.
try to keep everybody away from the room.
caller:
i know he was having problems at school. (crying)
but there was no inkling, he said he do anything like this.
i know he was playing with that fake blood last night and i know if he drank it or what, or was he playing with it and put it on his body?
dispatcher:
you have to try and figure that out, do that.
update @ p.m.:
harley starling, the springfield boy found killed in his bed, was beaten with a baseball bat and stabbed with a knife, according to juvenile court records.
harley’s older brother, nicholas starling, 16, has been arrested in connection with the death.
prosecutors described the death in documents filed with the court seeking to try the suspect as an adult.
nicholas starling reportedly hid both weapons after the alleged attack, prosecutors said in the court documents.
first post
the springfield boy charged in the death of his younger brother could be tried as an adult in the case.
the clark county office on wednesday morning filed a notice of intent to move nicholas charges to an adult court, assistant prosecutor dan driscoll said.
>>related: springfield teen charged in death of brother
springfield police arrested nicholas starling on delinquent, or juvenile, charges of murder and tampering with evidence on monday night, hours after harley starling was found dead in the springfield home the boys shared.
it will be up to a juvenile court judge whether or not to bind the charges over to adult court.
police released any information in the manner of death, saying they want to jeopardize their ongoing investigation.
but hours after their probe into the death began monday morning, capt. mike hill said evidence led them to file charges against the brother.
“we determined this death was a homicide,” hill said.
the police captain called the case “tragic.”
friends of harley starling are planning a thursday night vigil for their friend, according to a facebook post about the event.
several people on facebook have shared a “rip harley” photo of the teen.
nicholas starling first appeared in a clark county juvenile court on tuesday afternoon, and silently stood shackled at the ankles as a magistrate read him the charges facing.
the is scheduled to be back in court thursday, according to court records, and have a public defender appointed to represent him. | ə ˈsprɪŋˌfild bɔɪ, ˈhɑrli ˈstɑrlɪŋ, faʊnd dɛd ɪn hɪz ˈbɛˌdrum ˈərli ˈmənˌdeɪ baɪ hɪz ˈgrændˌməðər, wɑz ˈbitən wɪθ ə ˈbeɪsˈbɔl bæt ənd stæbd, əˈkɔrdɪŋ tɪ kɔrt ˈrɛkərdz. ðə ˈbrəðər, ˈnɪkələs ˈstɑrlɪŋ, 16 ɪz ʧɑrʤd ɪn ðə dɛθ. ki fækts: ˈhɑrli ˈstɑrlɪŋ, 14 stæbd, ˈbitən ˈnɪkələs ˈstɑrlɪŋ, 16 ərˈɛstɪd fər ˈmərdər, ˈtæmpərɪŋ wɪθ ˈɛvədəns ˈmoʊtɪv fər ˈkɪlɪŋ nɑt riˈlist bɔɪz lɪvd wɪθ ðɛr ˈgrændˌməðər ˈkɔlər əˈsumz dɛθ wɑz ˈsuɪˌsaɪd ˈəpˌdeɪt p.m*. ˈsprɪŋˌfild pəˈlis riˈlist ðə meɪd ˈərli ˈmənˌdeɪ ˈmɔrnɪŋ baɪ ðə ˈgrændˌməðər əv ˈhɑrli ˈstɑrlɪŋ, hu ʃi faʊnd dɛd ɪn hɪz ˈbɛˌdrum ˌɪnˈsaɪd ðɛr suˈpɪriər ˈɑˌveɪ. hoʊm. ˈhɑrli lɪvd wɪθ hɪz ˈgrændˌməðər ənd ˈoʊldər ˈbrəðər ˈnɪkələs ˈstɑrlɪŋ, 16 hu həz bɪn ʧɑrʤd wɪθ ˈkɪlɪŋ hɪz ˈbrəðər. ɪn ðə taɪm əv ðə kɔl, ðə ˈgrændˌməðər toʊld dɪˈspæʧərz ʃi wɑz ˈstændɪŋ ɪn hər dɪˈsist ˈbɛˌdrum wɪθ hɪz ˈbrəðər. ʃi əˈsumd ðə bɔɪ hæd kəˈmɪtɪd ˈsuɪˌsaɪd ˈsəmˌtaɪm ˈoʊvərˈnaɪt. hir ɪz ə ˈpɑrʃəl ˈtrænˌskrɪpt əv ðə mɔr ðən kɔl. ˈkɔlər: (ˈgrændˌməðər əv ˈhɑrli ˈstɑrlɪŋ) maɪ ˈgrændˌsən ˈɛvədəntli kɪld hɪmˈsɛlf læst naɪt, koʊld, koʊld ju muv ɪm. aɪ traɪd ˈʃeɪkɪŋ ɪm ənd ˈweɪkɪŋ ɪm əp. ˈdɪˌspæʧər: du ju noʊ wət ˈhæpənd? ˈkɔlər: noʊ aɪ. aɪ noʊ ɪf hi wɑz pleɪɪŋ wɪθ ðət feɪk bləd stəf, hɪz hɛd ɪz bæk, hɪz aɪz ər ˈoʊpən. ˈdɪˌspæʧər: waɪ ju goʊ ˈaʊtˈsaɪd ənd weɪt fər ðə ˈmɛdɪks tɪ əraɪv. ˈkɔlər: maɪ ˈəðər ˈgrændˌsən ɪz hir, ˈstændɪŋ hir, wi ˈivɪn ˌəndərˈstænd waɪ. aɪ noʊ ɪf hi wɑz pleɪɪŋ wɪθ feɪk bləd ər wət, ɔl ˈoʊvər hɪz ɑrm ənd əp əraʊnd hɪz ˈʃoʊldər. hɪz aɪz ər ˈoʊpən tu. aɪ ʃʊk ɪm bɪˈkəz aɪ wɑz traɪɪŋ tɪ weɪk ɪm əp. hi hæd ðə ˈblæŋkɪt əp ˈoʊvər hɪz feɪs. ˈkɔlər tɪ ˈoʊldər ˈbrəðər: goʊ ɪn ðə ˈəðər rum, kəm ɪn hir ənd stɛr æt ɪm. ˈkɔlər tɪ ˈdɪˌspæʧər: ˈɔlˌweɪz pleɪɪŋ ʤoʊks ənd θɪŋz soʊ wi θɔt hi wɑz ʤɪst ˈʤoʊkɪŋ. ˈdɪˌspæʧər: haʊ oʊld ɪz hi? ˈkɔlər: 14 hɪz dæd ʤɪst daɪd tu jɪrz əˈgoʊ. ˈdɪˌspæʧər: ər ðɛr ˈɛni gənz ɪn ðə haʊs ðət ju noʊ əv? ˈkɔlər: jɛs bət hi gɪt tɪ ðɛm. ðeɪ lɪv wɪθ mi, lɪvd wɪθ mi sɪns ðɛr dæd daɪd. ˈdɪˌspæʧər: dɪd ju hir ˈɛniˌθɪŋ wɪrd læst naɪt? ˈkɔlər: noʊ, wi ʤɪst wɛnt tɪ bɛd ənd ðət wɑz ɪt. ˈdɪˌspæʧər: wət rum ɪz hi ɪn? ˈkɔlər: ɪn hɪz noʊ wɪn hi dɪd ɪt. (kraɪɪŋ) ˈstændɪŋ ɪn ðə ˈlɪvɪŋ rum wɪθ hɪz ˈbrəðər. ˈdɪˌspæʧər: haʊ oʊld ɪz hɪz ˈbrəðər? ˈkɔlər: 16 hɪz neɪm ɪz ˈnɪkələs. ˈdɪˌspæʧər: traɪ tɪ kip ˈɛvriˌbɑdi kɑm, aɪ noʊ goʊɪŋ tɪ bi hɑrd, ðɪs ɪz kənfˈjuzɪŋ ənd ˈskɛri. ˈkɔlər: aɪ noʊ traɪɪŋ tɪ kip kɑm. ˈdɪˌspæʧər: ju ər duɪŋ ə gʊd ʤɑb (ˈkipɪŋ kɑm) biɪŋ ðɛr fər hɪz ˈbrəðər. traɪ tɪ kip ˈɛvriˌbɑdi əˈweɪ frəm ðə rum. ˈkɔlər: aɪ noʊ hi wɑz ˈhævɪŋ ˈprɑbləmz æt skul. (kraɪɪŋ) bət ðɛr wɑz noʊ ˈɪŋklɪŋ, hi sɛd hi du ˈɛniˌθɪŋ laɪk ðɪs. aɪ noʊ hi wɑz pleɪɪŋ wɪθ ðət feɪk bləd læst naɪt ənd aɪ noʊ ɪf hi dræŋk ɪt ər wət, ər wɑz hi pleɪɪŋ wɪθ ɪt ənd pʊt ɪt ɔn hɪz ˈbɑdi? ˈdɪˌspæʧər: ju hæv tɪ traɪ ənd ˈfɪgjər ðət aʊt, du ðət. ˈəpˌdeɪt p.m*. ˈhɑrli ˈstɑrlɪŋ, ðə ˈsprɪŋˌfild bɔɪ faʊnd kɪld ɪn hɪz bɛd, wɑz ˈbitən wɪθ ə ˈbeɪsˈbɔl bæt ənd stæbd wɪθ ə naɪf, əˈkɔrdɪŋ tɪ ˈʤuvəˌnaɪl kɔrt ˈrɛkərdz. ˈoʊldər ˈbrəðər, ˈnɪkələs ˈstɑrlɪŋ, 16 həz bɪn ərˈɛstɪd ɪn kəˈnɛkʃən wɪθ ðə dɛθ. ˈprɑsɪˌkjutərz dɪˈskraɪbd ðə dɛθ ɪn ˈdɑkjəmənts faɪld wɪθ ðə kɔrt ˈsikɪŋ tɪ traɪ ðə ˈsəˌspɛkt ɛz ən ˈædəlt. ˈnɪkələs ˈstɑrlɪŋ rɪˈpɔrtədli hɪd boʊθ ˈwɛpənz ˈæftər ðə əˈlɛʤd əˈtæk, ˈprɑsɪˌkjutərz sɛd ɪn ðə kɔrt ˈdɑkjəmənts. fərst poʊst ðə ˈsprɪŋˌfild bɔɪ ʧɑrʤd ɪn ðə dɛθ əv hɪz ˈjəŋgər ˈbrəðər kʊd bi traɪd ɛz ən ˈædəlt ɪn ðə keɪs. ðə klɑrk ˈkaʊnti ˈɔfəs ɔn ˈwɛnzˌdeɪ ˈmɔrnɪŋ faɪld ə ˈnoʊtɪs əv ˌɪnˈtɛnt tɪ muv ˈnɪkələs ˈʧɑrʤɪz tɪ ən ˈædəlt kɔrt, əˈsɪstənt ˈprɑsɪˌkjutər dæn ˈdrɪskəl sɛd. >>rɪˈleɪtɪd: ˈsprɪŋˌfild tin ʧɑrʤd ɪn dɛθ əv ˈbrəðər ˈsprɪŋˌfild pəˈlis ərˈɛstɪd ˈnɪkələs ˈstɑrlɪŋ ɔn dɪˈlɪŋkwənt, ər ˈʤuvəˌnaɪl, ˈʧɑrʤɪz əv ˈmərdər ənd ˈtæmpərɪŋ wɪθ ˈɛvədəns ɔn ˈmənˌdeɪ naɪt, aʊərz ˈæftər ˈhɑrli ˈstɑrlɪŋ wɑz faʊnd dɛd ɪn ðə ˈsprɪŋˌfild hoʊm ðə bɔɪz ʃɛrd. ɪt wɪl bi əp tɪ ə ˈʤuvəˌnaɪl kɔrt ʤəʤ ˈwɛðər ər nɑt tɪ baɪnd ðə ˈʧɑrʤɪz ˈoʊvər tɪ ˈædəlt kɔrt. pəˈlis riˈlist ˈɛni ˌɪnˌfɔrˈmeɪʃən ɪn ðə ˈmænər əv dɛθ, seɪɪŋ ðeɪ wɔnt tɪ ˈʤɛpərˌdaɪz ðɛr ˈɔnˌgoʊɪŋ ˌɪnˌvɛstəˈgeɪʃən. bət aʊərz ˈæftər ðɛr proʊb ˈɪntu ðə dɛθ bɪˈgæn ˈmənˌdeɪ ˈmɔrnɪŋ, capt*. maɪk hɪl sɛd ˈɛvədəns lɛd ðɛm tɪ faɪl ˈʧɑrʤɪz əˈgɛnst ðə ˈbrəðər. dɪˈtərmənd ðɪs dɛθ wɑz ə homicide,”*,” hɪl sɛd. ðə pəˈlis ˈkæptən kɔld ðə keɪs ““tragic.”*.” frɛndz əv ˈhɑrli ˈstɑrlɪŋ ər ˈplænɪŋ ə ˈθərzˌdeɪ naɪt ˈvɪʤəl fər ðɛr frɛnd, əˈkɔrdɪŋ tɪ ə ˈfeɪsˌbʊk poʊst əˈbaʊt ðə ɪˈvɛnt. ˈsɛvərəl ˈpipəl ɔn ˈfeɪsˌbʊk hæv ʃɛrd ə harley”*” ˈfoʊˌtoʊ əv ðə tin. ˈnɪkələs ˈstɑrlɪŋ fərst əˈpɪrd ɪn ə klɑrk ˈkaʊnti ˈʤuvəˌnaɪl kɔrt ɔn ˈtuzˌdeɪ ˌæftərˈnun, ənd ˈsaɪləntli stʊd ˈʃækəld æt ðə ˈæŋkəlz ɛz ə ˈmæʤɪˌstreɪt rɛd ɪm ðə ˈʧɑrʤɪz ˈfeɪsɪŋ. ðə ɪz ˈskɛʤʊld tɪ bi bæk ɪn kɔrt ˈθərzˌdeɪ, əˈkɔrdɪŋ tɪ kɔrt ˈrɛkərdz, ənd hæv ə ˈpəblɪk dɪˈfɛndər əˈpɔɪntɪd tɪ ˌrɛprɪˈzɛnt ɪm. |
last year, activision ceo bobby and brian kelly participated in the $8 billion buyout of former parent vivendi. the pair contributed a combined $100 million of personal funds as part of a group that now holds percent of company shares.
following that event, which came as vivendi threatened to drain billions of cash reserves, multiple company shareholders sued. the legal actions were brought to stop the deal, which were alleged to offer a discounted purchase rate on stock not offered to most shareholders.
activision has now settled these suits, with defendants paying $275 million to the company. the publisher will also appoint two new, unaffiliated board members, to mitigate concerns that is now so entrenched he cannot be removed from his position.
the settlement also includes payment of plaintiff court fees and adjustments to voting rules. as is customary, defendants will be released from further claims against them.
our take
i’m not surprised that activision opted to settle, but the addition of two new, unaffiliated board members is a bit surprising. the settlement is also fairly significant, amounting to more than 10 percent of the/kelly buyout amount of $2.34 billion. likely never know the details of the conversations, but it seems from the agreement that activision acquiesced to substantial requests. | læst jɪr, ˈæktɪˌvɪʒən ˈsiˌiˈoʊ ˈbɑbi ənd braɪən ˈkɛli pɑrˈtɪsəˌpeɪtɪd ɪn ðə 8 ˈbɪljən baɪaʊt əv ˈfɔrmər ˈpɛrənt vɪˈvɛndi. ðə pɛr kənˈtrɪbjutɪd ə kəmˈbaɪnd 100 ˈmɪljən əv ˈpərsɪnəl fəndz ɛz pɑrt əv ə grup ðət naʊ hoʊldz pərˈsɛnt əv ˈkəmpəˌni ʃɛrz. ˈfɑloʊɪŋ ðət ɪˈvɛnt, wɪʧ keɪm ɛz vɪˈvɛndi θˈrɛtənd tɪ dreɪn ˈbɪljənz əv kæʃ rɪˈzərvz, ˈməltəpəl ˈkəmpəˌni ˈʃɛˌrhoʊldərz sud. ðə ˈligəl ˈækʃənz wər brɔt tɪ stɑp ðə dil, wɪʧ wər əˈlɛʤd tɪ ˈɔfər ə ˈdɪˌskaʊnɪd ˈpərʧəs reɪt ɔn stɑk nɑt ˈɔfərd tɪ moʊst ˈʃɛˌrhoʊldərz. ˈæktɪˌvɪʒən həz naʊ ˈsɛtəld ðiz suts, wɪθ dɪˈfɛndənts peɪɪŋ 275 ˈmɪljən tɪ ðə ˈkəmpəˌni. ðə ˈpəblɪʃər wɪl ˈɔlsoʊ əˈpɔɪnt tu nu, ənəˈfɪliˌeɪtɪd bɔrd ˈmɛmbərz, tɪ ˈmɪtəˌgeɪt kənˈsərnz ðət ɪz naʊ soʊ ɪnˈtrɛnʧt hi ˈkænɑt bi riˈmuvd frəm hɪz pəˈzɪʃən. ðə ˈsɛtəlmənt ˈɔlsoʊ ˌɪnˈkludz ˈpeɪmənt əv ˈpleɪnəf kɔrt fiz ənd əˈʤəstmənts tɪ ˈvoʊtɪŋ rulz. ɛz ɪz ˈkəstəˌmɛri, dɪˈfɛndənts wɪl bi riˈlist frəm ˈfərðər kleɪmz əˈgɛnst ðɛm. ɑr teɪk nɑt səˈpraɪzd ðət ˈæktɪˌvɪʒən ˈɑptɪd tɪ ˈsɛtəl, bət ðə əˈdɪʃən əv tu nu, ənəˈfɪliˌeɪtɪd bɔrd ˈmɛmbərz ɪz ə bɪt səˈpraɪzɪŋ. ðə ˈsɛtəlmənt ɪz ˈɔlsoʊ ˈfɛrli sɪgˈnɪfɪkənt, əˈmaʊnɪŋ tɪ mɔr ðən 10 pərˈsɛnt əv ðə baɪaʊt əˈmaʊnt əv ˈbɪljən. ˈlaɪkli ˈnɛvər noʊ ðə ˈditeɪlz əv ðə ˌkɑnvərˈseɪʃənz, bət ɪt simz frəm ðə əˈgrimənt ðət ˈæktɪˌvɪʒən ˌækwiˈɛst tɪ səbˈstænʃəl rɪkˈwɛsts. |
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2. additional limitations
the license granted to you in section 1 is subject to the terms and conditions of this eula and any supplemental terms including the terms of service. you hereby agree that any use of in violation of any of the limitations set forth in sections 1 and 2 will be regarded as an infringement of en rights in and to, including but not limited to copyrights. you agree that you will not, under any circumstances:
a. in whole or in part, copy, photocopy, reproduce, translate, reverse engineer, derive source code from, modify, disassemble,, or create derivative works based on; provided, however, that you may make one (1) copy of the game client and the manuals for backup or archival purposes only;
b. use cheats, automation software (bots), hacks, or any other unauthorized software designed to modify any part of;
c. exploit or any of its parts, including without limitation the game client, for any commercial purpose, including without limitation (a) use at a cyber cafe, computer gaming center or any other site without the express written consent of en masse; (b) for gathering currency, items or resources for sale outside the game of; (c) performing services in exchange for payment outside the game of, e.g., power-leveling; or (d) performing advertising or solicitations for a third party;
d. use any unauthorized software that intercepts, "mines", or otherwise collects information from or through or the service, including without limitation any software that reads areas of ram used by en masse for to store information about a character or the game environment; provided, however, that en masse may, at its sole and absolute discretion, allow the use of certain third party user interfaces;
e. access from any internet protocol addresses, computers or proxies that en masse may prohibit in its sole and absolute discretion;
f. modify or cause to be modified any files that are a part of the game in any way not expressly authorized by en masse;
g. host, provide or develop matchmaking services for, or intercept, emulate or redirect the communication protocols used by en masse in any way, for any purpose, including without limitation unauthorized play over the internet, network play, or as part of content aggregation networks;
h. facilitate, create or maintain any unauthorized connection to or relatedservices, including without limitation (a) any connection to any unauthorized server that emulates, or attempts to emulate, the service; and (b) any connection using programs or tools not expressly approved by en masse;
i. sell, grant a security interest in or transfer reproductions of any part of to other parties in any way not expressly authorized herein, or rent, lease or license any party of to others;
j. sell, transfer or assign any account, or any items incorporated into or part of, including but not limited to any characters; or
k. infringe a third intellectual property or other rights, or violate any law or regulation applicable to you.
3. separately licensed software
tera may contain third party software content which are licensed to you pursuant to a separate agreement (the "separately licensed software"). you agree that en masse may install the separately licensed software onto your machine during the game client installation process. you agree that you will not copy, reverse engineer, derive source code from, modify, disassemble, or any separately licensed software, create any derivative works based on any separately licensed software, or infringe or misappropriate any intellectual property or other rights embodied in any separately licensed software. you also agree that you will not access or use any separately licensed software until and unless you agree with the end user license agreements provided by the of such separately licensed software. the terms of each such end user license agreement will replace and supersede this agreement, but only with regard to the applicable separately licensed software referenced in such agreement. for the avoidance of doubt, if any third party software content contained in is deemed not covered by a separate end user license agreement, then it is governed by the terms and conditions of this eula.
4. limited warranty and disclaimer
tera and all related software, services and content are provided on an "as is" basis, provided at your own risk, and to the maximum extent permitted by law, en masse hereby expressly disclaims all warranties or conditions of any kind, written or oral, express, implied or statutory, including without limitation any implied warranty of title, noninfringement, merchantability, quiet enjoyment, accuracy, or fitness for a particular purpose. without limiting the foregoing, en masse does not ensure continuous, error-free, secure or operation of or your account. some states or countries do not allow the disclaimer of implied warranties, and the foregoing disclaimer may not apply to you. this warranty gives you specific legal rights and you may also have other legal rights that vary from state to state or from country to country.
5. limitation of liability
neither en masse entertainment, inc. nor its parent, subsidiaries, or affiliates shall be liable in any way for damage or loss of any kind resulting from (a) the use of or inability to use and related software and services including without limitation loss of goodwill, work stoppage, computer failure or malfunction; (b) the loss or damage to characters, accounts, statistics, inventories or user profile information; or (c) interruptions of service including without limitation disruptions, software or hardware failures or any other event which may result in a loss of data or disruption of service. you agree that en masse will not be liable for, and expressly disclaims, all liability for non-contract claims, whether based on negligence or other tort, strict liability, infringement, statutory violations, or otherwise. in no event will en masse be liable for special, incidental, contingent, consequential or punitive damages, regardless of the form of the claim or cause of action (whether based in negligence or other tort, strict liability, infringement, statutory violations, or otherwise), even if the possibility of such damages has been disclosed to en masse in advance or could reasonably have been foreseen by en masse.
6. acknowledgement
i. when you access or use, en masse may obtain certain identification information about your computer and its operating system, including without limitation your hard drives, central processing unit, ip address(es) and operating system(s). en masse may use such information for, among other things, improving services offered to you, and to police and enforce the provisions of this eula, the terms of service, the privacy policy or any supplemental agreements;
ii. en masse may, with or without notice to you, disclose your internet protocol (ip) address(es), personal information, chat logs, and other information about you and your activities: (a) in response to a request by law enforcement, a court order or other legal process; or (b) if en masse believes that doing so may protect your safety or the safety of others;
iii. you are wholly responsible for the cost of all telephone and internet access charges along with all necessary equipment, servicing, repair or correction incurred in maintaining connectivity to;
iv. you are wholly responsible for the information you decide to disclose to others, including without limitation your real name; en masse does not encourage users to disclose their personal information to others.
7. equitable remedy
in the event that you breach this eula or any other supplemental terms, including the terms of service and the privacy policy (collectively the “legal agreement” for section 7 and 8), you hereby agree that en masse would be irreparably damaged if the legal agreement were not specifically enforced, and therefore you agree that en masse shall be entitled, without bond, other security, or proof of damages, to appropriate equitable remedies with respect to breaches of the legal agreement, in addition to such other remedies as en masse may otherwise have available to it under applicable laws.
8. dispute resolution and governing law
if a dispute arises between you and en masse, our goal is to provide you with a neutral and means of resolving the dispute quickly. accordingly, you and en masse agree to resolve any claim or controversy at law or in equity that arises from or relates to agreement or our service (a "claim") in accordance with one of the below.
(a) the legal agreement and the relationship between you and en masse shall be governed in all respects by the laws of the state of washington without regard to conflict of law principles or the united nations convention on the international sale of goods.
(b) you and en masse agree to submit to the exclusive jurisdiction and venue of the courts located in seattle, washington, except as provided in subsection 15(c) below regarding optional arbitration. notwithstanding this, you agree that en masse shall still be allowed to apply for injunctive or other equitable relief in any court of competent jurisdiction.
(c) for any claim, excluding claims for injunctive or other equitable relief, where the total amount of the award sought is less than ten thousand u.s. dollars ($10,000.00 usd), the party requesting relief may elect to resolve the claim in a manner through binding arbitration. a party electing arbitration shall initiate it through an established alternative dispute resolution ("adr") provider mutually agreed upon by the parties. the provider and the parties must comply with the following rules: (a) the arbitration shall be conducted, at the option of the party seeking relief, by telephone, online, or based solely on written submissions; (b) the arbitration shall not involve any personal appearance by the parties or witnesses unless otherwise mutually agreed by the parties; and (c) any judgment on the award rendered by the arbitrator may be entered in any court of competent jurisdiction.
(d) all claims you bring against en masse must be resolved in accordance with this dispute resolution section. all claims filed or brought contrary to this dispute resolution section shall be considered improperly filed. should you file a claim contrary to this dispute resolution section, en masse may recover attorneys' fees and costs up to one thousand u.s. dollars ($1,000.00 usd), provided that en masse has notified you in writing of the improperly filed claim, and you have failed to promptly withdraw the claim.
9. force majeure
en masse is not liable for any failure to perform its obligations if such failure results from acts of gods (including, but not limited to, fire, flood, earthquake, storm, hurricane or other natural disaster), wars, acts of terror, riots, government sanctions, embargos, accidents, labor disputes, strikes, interruption of or failure to receive materials, energy, electricity or internet service, or any other thing beyond en reasonable control.
10. export control
tera and any part of may not be re-exported, downloaded or otherwise exported into (or to a national or resident of) any country to which the u.s. has embargoed goods, or to anyone on the u.s. treasury department's list of specially designated nationals or the u.s. commerce department's table of denial orders. you represent and warrant that you are not located in, under the control of, or a national or resident of any such country or on any such list.
11.miscellaneous
this agreement constitutes and contains the entire agreement between the parties with respect to the subject matter and supersedes any prior oral or written agreements, provided, however, that this agreement shall coexist with, and shall not supersede, the terms of service. to the extent that the provisions of this agreement conflict with the provisions of the terms of service, the conflicting provisions in the terms of service shall govern. the provisions of sections 2,, shall survive the termination of this agreement for any reason. if any provision of this agreement is found to be invalid or unenforceable, that provision shall be severed and the remainder of this agreement shall be given full force and effect.
ii. terms of service
this terms of service governs your use of our website located at.enmasse.com, and all software, products, features and services made available, displayed or offered by or through such website (collectively,"). is operated by en masse entertainment, inc., its parents, subsidiaries and affiliates (collectively, "en masse", "we," or "our"). the privacy policy (http://www.tera.enmasse.com/privacy-policy), end user license agreement, any supplemental terms provided to you by en masse are an integral part of this terms of service and are incorporated herein by reference.
1. ownership and grant of use
the entire contents of, including without limitation all information, material, trademarks, software, video, photographs, graphics, text, music and sound, are owned or licensed by en masse under applicable laws. en masse owns rights in the selection, coordination, arrangement and enhancement of such content.
you may not transmit, participate in the transfer or sale, create derivative works from, modify, publish, or in any way exploit, any of the content contained on (including, without limitation, any content that enables you to download) without the express written permission of en masse and any other applicable owner. in the event of any permitted copying, redistribution or publication of any content, no changes in or deletion of any author attribution, trademark, or copyright notice may be made. the downloading of content from is allowed by you only for your personal use.
you acknowledge that en masse content providers remain the owners of all content on, and that you do not acquire any ownership rights by downloading any content.
as long as you comply with this terms of service and it has not been terminated, en masse grants you a personal, non-commercial, non-exclusive, non-transferable, limited right to enter, use, perform and display and its contents.
2. user content
tera incorporates certain communication features such as forums, message boards, chat, features, and email that may be provided to registered and unregistered users (collectively, communication features"). you acknowledge that by using communication features, you may be exposed to messages, information, data, text, software, graphic files, or other materials, whether in written, verbal, electronic, digital, or other form ("user content") that you might find objectionable.
en masse does not totally control user content and does not guarantee its accuracy, integrity or quality. you understand that any user content sent through or appearing on communication features is the sole responsibility of those persons transmitting such user content. this means that you, and not en masse, are entirely responsible for all user content that you transmit. under no circumstances will en masse be liable for any errors or omissions in any user content or for any loss or damages of any kind incurred as a result of the access to, downloading, viewing, listening, use of or inability to use any user content sent through or appearing on any communication features.
en masse has no obligation to monitor or supervise communication features user content, and expressly disclaims any representation that we will monitor or supervise such features user content. however, we expressly reserve the right, but not the obligation, in our sole discretion to monitor, screen, edit, block or remove any user content, in whole or in part, sent through or appearing on any communication feature and you have no expectation of privacy in any content in any of the communication features. without limiting the foregoing, en masse and its designees shall have the right to block or remove, in whole or in part, any user content that is in violation of this terms of service, is illegal, infringing or otherwise offensive or objectionable. accordingly, you acknowledge that communication features are forums for public and not private communications. you agree to indemnify and hold en masse and its designees harmless from any claim or demand, including reasonable attorneys' fees, made by any third party due to or arising out of your violation of these terms and conditions or your violation of any rights of another.
any and all user content submitted to en masse shall be deemed, and shall remain, the property of en masse from the moment such user content is created. en masse shall exclusively own all now known or hereafter existing copyrights and all other intellectual property rights to all user content of every kind and nature, in perpetuity throughout the world. to the extent that any of the above may be void or unenforceable, you agree that any and all user content is hereby irrevocably assigned to en masse, together with all intellectual property rights therein. to the extent any of the user content is not assignable, by submitting user content to en masse, you agree that en masse shall be irrevocably entitled, directly or indirectly throughout the world and in perpetuity, to modify, adapt, use, reproduce, license, publish, broadcast, perform, sell, translate, create derivative works from and distribute any user content for any purpose whatsoever, commercial or otherwise, in any medium now known or hereafter devised, without compensation or credit to the provider or author of the user content. you also give up any claim that any use by en masse of any user content violates any of your rights, including but not limited to moral rights, rights of privacy, rights to publicity, proprietary or other rights, rights to credit for the material or ideas set forth therein.
3. eligibility
if you are between the ages of thirteen (13) and eighteen (18), your parent or guardian must complete the registration process, in which case such parent or guardian will take full responsibility for all obligations under this terms of service. you represent that you are at least eighteen (18) years of age and are either accepting this terms of service on behalf of yourself or on behalf of your minor child. you may not transfer, sell, or share your account with anyone, unless you are a parent or guardian, in which case you may permit your minor child to use the account. you are liable for all activities conducted through the account.
the children's online privacy protection act, administered by the federal trade commission, imposes rules regarding the collection of personal information from children. is not directed to children under the age of thirteen (13). if you are under the age of thirteen (13) you may not create an account and must not provide any personal information to en masse.
4. establishing an account and access to
a. is an on-line game that must be played over the internet through the service as provided by en masse, and you are wholly responsible for acquiring and paying for your own internet access along with all necessary equipment, servicing, repair or correction incurred in maintaining the use of and the related services.
b. a account ("account") may be required to access certain features of, including communications features. if you have questions about account registration, please [contact us].
to create an account, you must provide your name, date of birth, mailing address and valid email address. you must provide truthful and accurate information. accounts are available only to adults, or, in their discretion, their minor child, as described in section 5.
during the registration process, you may be required to provide your id (your verifiable email address) and a password (collectively referred to as information"). you may not share the account or the information with anyone other than as expressly set forth herein. you are responsible for maintaining the confidentiality of the information, and you will be responsible for all uses of the information, whether or not authorized by you. in the event that you become aware of or reasonably suspect any breach of security, including without limitation any loss, theft, or unauthorized disclosure of the information, you must immediately notify en masse by emailing to us. you are solely responsible for all activity on your account. you should not reveal your account password to others. en masse will not ask you to reveal your password.
c.. in addition to your information, you may be required to select a unique for use with communication features. your can be seen by others.
therefore, if en masse finds a to be offensive or improper, it may, in its sole and absolute discretion, change or ask you to change the, block such user registration, remove the from all aspects of, suspend or terminate your account. in particular, you may not use the name of another person, or a name which infringes a third party's trademark, copyright, or other proprietary right. you may not use a name which may mislead others to believe you to be an employee of en masse, or which en masse deems at its sole discretion to be vulgar or otherwise offensive. en masse reserves the right, but not the obligation, in its sole and absolute discretion, to delete or alter any, terminate or suspend your account, or terminate any license granted herein, for any reason whatsoever.
notwithstanding anything to the contrary herein, you acknowledge and agree that you shall have no ownership or other property interest in the account, and you further acknowledge and agree that all rights in and to the account are and shall forever be owned by and inure to the benefit of en masse. en masse does not recognize the transfer of accounts or any items incorporated into or part of, including without limitation any characters. you may not purchase, sell, gift, trade, or offer to purchase, sell, gift or trade, any account or any items incorporated into or part of, and any such attempt shall be null and void.
5. rules of conduct
please refer to www.tera.enmasse.com/rules-of-conduct.
6. consent to use of data and public display
for purposes that en masse deems necessary, including but not limited to facilitating technical protection measures or providing software updates, content, support and other services to you, you agree that en masse or its agents may collect, use, store and transmit technical and related information that identifies your machine (including an internet protocol address and machine id), operating system, application software, and peripheral hardware. you agree en masse and its agents may also use this information in the aggregate, in a form which does not personally identify you, to improve its products and services and may share anonymous aggregate data with third parties.
you agree that en masse and its agents may collect, use, store, transmit, and publicly display statistical data regarding the game play (including scores, rankings and achievements) or identify content that is created and shared by you and other users. data that personally identifies you may be collected, used, stored and transmitted in accordance with en privacy policy published at www.tera.enmasse.com/privacy-policy.
7. service interruptions and changes to
en masse reserves the right to interrupt all or any aspect of from time to time on a regularly scheduled basis or otherwise with or without prior notice in order to perform maintenance. you agree that en masse will not be liable for any interruption of, delay or failure to perform resulting from any causes whatsoever. you acknowledge that may be interrupted for reasons beyond the control of en masse, and en masse cannot guarantee that you will be able to access or your account whenever you may wish to do so. en masse has the right at any time for any reason or no reason to change eliminate any aspect of as it sees fit in its sole discretion.
8. patches and updates
from time to time in its sole discretion, en masse may deploy or provide patches, updates and modifications to that must be installed for you to continue to play. en masse may update remotely including without limitation the game client residing on your machine, without your knowledge and you hereby grant en masse your consent to deploy and supply such patches, updates and modifications.
9. termination and suspension
you or en masse may terminate this terms of service and your account at any time. you may terminate this terms of service at any time by terminating all your accounts registered in. en masse can terminate this terms of service by asking you to stop using, and, at en sole and absolute discretion, by preventing your access to your account. upon termination of this terms of service, you will have no further rights to use or its services. your only right and remedy with respect to any dissatisfaction with is to terminate this terms of service and your account and to cease using any services available through, including communication features. you acknowledge and agree that you are not entitled to any refund for any amounts that you paid before the termination. without limiting the foregoing, en masse shall have the right to terminate this terms of service with you, effective immediately, terminate or temporarily suspend your access to your account all or any part of, without notice, in the event of any conduct by you which en masse, in its sole and absolute discretion, considers to be unacceptable, or for conduct that en masse believes is a violation of the terms and conditions contained herein or any other policies of en masse, or for other conduct which en masse believes, in its sole and absolute discretion, is harmful to en masse, other users, or third parties. en masse reserves the right to deny any account registration and to deny access to to any individual.
the provisions of sections 1, 2, 6, 9, 10 and 11 shall survive any termination of this terms of service.
10. changes to terms of service
en masse reserves the right, at its sole and absolute discretion, to change, modify, add to, supplement or delete any of the terms and conditions of this terms of service at any time, including without limitation access policies, the availability of any feature of, hours of availability, content, data, software or equipment needed to access, effective with or without prior notice; provided, however, that en masse intends to disclose material changes (as determined in en sole and absolute discretion) to you through any of one or a combination of: a patch process, or by email, postal mail, website posting, or screen. if you cannot comply with changes to this terms of service, or such changes are unacceptable to you, you must not use or access and your account. continuing to access or use following any revision to this terms of service constitutes your complete and irrevocable acceptance of any and all such changes. en masse may change, modify, suspend, or discontinue any aspect of at any time. en masse may also impose limits on certain features or restrict your access to parts or all of without notice or liability. if you do not agree to any new terms, or to any of the terms in this terms of service, your only remedy is to not access or use and to cancel your account.
11. miscellaneous
if any provision of this terms of service shall be unlawful, void, or for any reason unenforceable, then that provision shall be deemed from this terms of service and shall not affect the validity and enforceability of any remaining provisions. this terms of service is the complete and exclusive statement of the agreement between you and en masse concerning, and this terms of service supersedes any prior or contemporaneous agreement, either oral or written, and any other communications with regard between you and en masse; provided, however that this terms of service is in addition to, and does not replace or supplant the privacy policy, any applicable end user license agreement, and any supplemental agreement. this terms of service may only be modified as set forth herein. the section headings used herein are for reference only and shall not be read to have any legal effect.
you hereby acknowledge that you have read and understand the end user license agreement and terms of service and agree that your use of the service is bound by the terms and conditions above. | pliz rɛd ðə ˈfɑloʊɪŋ ˈligəl ˈdɑkjəmənts ˈkɛrfəli. wɪn ju juz ɛn mæs ˌɛnərˈteɪnmənt, ɪŋks ˈwɛbˌsaɪt ənd rɪˈleɪtɪd ˈsərvɪsɪz, ju ækˈnɑlɪʤ ðət ju hæv rɛd, ˌəndərˈstænd, ənd əˈgri tɪ bi baʊnd baɪ ðə ɛnd ˈjuzər ˈlaɪsəns əˈgrimənt, ðə tərmz əv ˈsərvɪs, ðə rulz əv ˈkɑndəkt, ðə ˈpraɪvəsi ˈpɑləsi ənd ˈɛni ˈəðər əˈgrimənts ənd pəˈlisɪz əv ɛn mæs ˌɛnərˈteɪnmənt, ɛnd ˈjuzər əˈgrimənt, tərmz əv ˈsərvɪs, ˈpraɪvəsi ˈpɑləsi ənd ˈɛni ˈəðər ˌsəpləˈmɛntəl əˈgrimənts əv ɛn mæs ˌɛnərˈteɪnmənt, ɪŋk. meɪ bi əˈmɛndɪd frəm taɪm tɪ taɪm æt ɑr soʊl dɪˈskrɛʃən. ɪf ju hæv ˈɛni kˈwɛsʧənz rɪˈgɑrdɪŋ ðɪs ˈjulə, ər ˈɛni ˌsəpləˈmɛntəl tərmz, pliz [ˈkɑnˌtækt ˈjuˈɛs]. aɪ. ɛnd ˈjuzər ˈlaɪsəns əˈgrimənt 1 grænt əv ə ˈlɪmɪtɪd juz ˈlaɪsəns baɪ əˈgriɪŋ tɪ ðɪs əˈgrimənt, ju meɪ ˌɪnˈstɔl ðə geɪm klaɪənt ˈsɔfˌwɛr (hɪˈræftər rɪˈfərd tɪ ɛz ðə "geɪm klaɪənt") ˈɔntu jʊr məˈʃin fər ˈpərpəsɪz əv pleɪɪŋ, ənd meɪ ˈrɛʤɪstər fər ənd ˈækˌsɛs ən əˈkaʊnt wɪθ ðə ˈsərvɪs (ðə "əˈkaʊnt"). ˈsəbʤɪkt tɪ jʊr əˈgrimənt tɪ ənd kənˈtɪnjuɪŋ kəmˈplaɪəns wɪθ ðɪs əˈgrimənt, ɛn mæs hɪrˈbaɪ grænts, ənd ju hɪrˈbaɪ əkˈsɛpt, ə ˈlɪmɪtɪd, ˌnɑnɪkˈsklusɪv ˈlaɪsəns tɪ (ə) ˌɪnˈstɔl ðə geɪm klaɪənt ɔn ə məˈʃin oʊnd baɪ ju ər ˈəndər jʊr ləˈʤɪtəmət kənˈtroʊl, ənd (bi) juz ðə geɪm klaɪənt ɪn kənˈʤəŋkʃən wɪθ ðə ˈsərvɪs fər jʊr ˈnɑnkəˈmərʃəl ˌɛnərˈteɪnmənt ˈpərpəsɪz ˈoʊnli. ju hɪrˈbaɪ əˈgri ðət ɔl juz əv ðə geɪm klaɪənt ɪz ˈsəbʤɪkt tɪ ðɪs əˈgrimənt ənd tɪ ðə tərmz əv ˈsərvɪs. 2 əˈdɪʃənəl ˌlɪmɪˈteɪʃənz ðə ˈlaɪsəns ˈgrænɪd tɪ ju ɪn ˈsɛkʃən 1 ɪz ˈsəbʤɪkt tɪ ðə tərmz ənd kənˈdɪʃənz əv ðɪs ˈjulə ənd ˈɛni ˌsəpləˈmɛntəl tərmz ˌɪnˈkludɪŋ ðə tərmz əv ˈsərvɪs. ju hɪrˈbaɪ əˈgri ðət ˈɛni juz əv ɪn vaɪəˈleɪʃən əv ˈɛni əv ðə ˌlɪmɪˈteɪʃənz sɛt fɔrθ ɪn ˈsɛkʃənz 1 ənd 2 wɪl bi rɪˈgɑrdɪd ɛz ən ˌɪnˈfrɪnʤmənt əv ɛn raɪts ɪn ənd tɪ, ˌɪnˈkludɪŋ bət nɑt ˈlɪmɪtɪd tɪ ˈkɑpiˌraɪts. ju əˈgri ðət ju wɪl nɑt, ˈəndər ˈɛni ˈsərkəmˌstænsɪz: ə. ɪn hoʊl ər ɪn pɑrt, ˈkɑpi, ˈfoʊtoʊˌkɑpi, ˌriprəˈdus, trænzˈleɪt, rɪˈvərs ˈɛnʤəˈnɪr, dəraɪv sɔrs koʊd frəm, ˈmɑdəˌfaɪ, ˌdɪsəˈsɛmbəl,, ər kriˈeɪt dərˈɪvɪtɪv wərks beɪst ɔn; prəˈvaɪdɪd, ˌhaʊˈɛvər, ðət ju meɪ meɪk wən 1 ˈkɑpi əv ðə geɪm klaɪənt ənd ðə ˈmænjuəlz fər ˈbæˌkəp ər ɑrˈkaɪvəl ˈpərpəsɪz ˈoʊnli; bi. juz ʧits, ɔtəˈmeɪʃən ˈsɔfˌwɛr (bots*), hæks, ər ˈɛni ˈəðər əˈnɔθərˌaɪzd ˈsɔfˌwɛr dɪˈzaɪnd tɪ ˈmɑdəˌfaɪ ˈɛni pɑrt əv; si. ˌɛkˈsplɔɪt ər ˈɛni əv ɪts pɑrts, ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən ðə geɪm klaɪənt, fər ˈɛni kəˈmərʃəl ˈpərpəs, ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən (ə) juz æt ə ˈsaɪbər kəˈfeɪ, kəmˈpjutər ˈgeɪmɪŋ ˈsɛnər ər ˈɛni ˈəðər saɪt wɪˈθaʊt ðə ɪkˈsprɛs ˈrɪtən kənˈsɛnt əv ɛn mæs; (bi) fər ˈgæðərɪŋ ˈkərənsi, ˈaɪtəmz ər ˈrisɔrsɪz fər seɪl ˈaʊtˈsaɪd ðə geɪm əv; (si) pərˈfɔrmɪŋ ˈsərvɪsɪz ɪn ɪksˈʧeɪnʤ fər ˈpeɪmənt ˈaʊtˈsaɪd ðə geɪm əv, e.g*., power-leveling*; ər (di) pərˈfɔrmɪŋ ˈædvərˌtaɪzɪŋ ər səˌlɪsɪˈteɪʃənz fər ə θərd ˈpɑrti; di. juz ˈɛni əˈnɔθərˌaɪzd ˈsɔfˌwɛr ðət ˌɪnərˈsɛpts, "maɪnz", ər ˈəðərˌwaɪz kəˈlɛkts ˌɪnˌfɔrˈmeɪʃən frəm ər θru ər ðə ˈsərvɪs, ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən ˈɛni ˈsɔfˌwɛr ðət ridz ˈɛriəz əv ræm juzd baɪ ɛn mæs fər tɪ stɔr ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ə ˈkɛrɪktər ər ðə geɪm ɪnˈvaɪrənmənt; prəˈvaɪdɪd, ˌhaʊˈɛvər, ðət ɛn mæs meɪ, æt ɪts soʊl ənd ˈæbsəˌlut dɪˈskrɛʃən, əˈlaʊ ðə juz əv ˈsərtən θərd ˈpɑrti ˈjuzər ˈɪnərˌfeɪsɪz; i. ˈækˌsɛs frəm ˈɛni ˈɪntərˌnɛt ˈproʊtəˌkɔl ˈæˈdrɛsɪz, kəmˈpjutərz ər ˈprɑksiz ðət ɛn mæs meɪ proʊˈhɪbət ɪn ɪts soʊl ənd ˈæbsəˌlut dɪˈskrɛʃən; ɛf. ˈmɑdəˌfaɪ ər kɔz tɪ bi ˈmɑdəˌfaɪd ˈɛni faɪlz ðət ər ə pɑrt əv ðə geɪm ɪn ˈɛni weɪ nɑt ɛkˈsprɛsli ˈɔθərˌaɪzd baɪ ɛn mæs; ʤi. hoʊst, prəˈvaɪd ər dɪˈvɛləp ˈmæʧˌmeɪkɪŋ ˈsərvɪsɪz fər, ər ˌɪnərˈsɛpt, ˈɛmjəˌleɪt ər ˌridərˈɛkt ðə kəmˌjunəˈkeɪʃən ˈproʊtəˌkɔlz juzd baɪ ɛn mæs ɪn ˈɛni weɪ, fər ˈɛni ˈpərpəs, ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən əˈnɔθərˌaɪzd pleɪ ˈoʊvər ðə ˈɪntərˌnɛt, ˈnɛtˌwərk pleɪ, ər ɛz pɑrt əv ˈkɑntɛnt ˌægrəˈgeɪʃən ˈnɛtˌwərks; eɪʧ. fəˈsɪləˌteɪt, kriˈeɪt ər meɪnˈteɪn ˈɛni əˈnɔθərˌaɪzd kəˈnɛkʃən tɪ ər relatedservices*, ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən (ə) ˈɛni kəˈnɛkʃən tɪ ˈɛni əˈnɔθərˌaɪzd ˈsərvər ðət ˈɛmjəˌleɪts, ər əˈtɛmpts tɪ ˈɛmjəˌleɪt, ðə ˈsərvɪs; ənd (bi) ˈɛni kəˈnɛkʃən ˈjuzɪŋ ˈproʊˌgræmz ər tulz nɑt ɛkˈsprɛsli əˈpruvd baɪ ɛn mæs; aɪ. sɛl, grænt ə sɪˈkjʊrəti ˈɪntəˌrɛst ɪn ər ˈtrænsfər ˌriprəˈdəkʃənz əv ˈɛni pɑrt əv tɪ ˈəðər ˈpɑrtiz ɪn ˈɛni weɪ nɑt ɛkˈsprɛsli ˈɔθərˌaɪzd hɪˈrɪn, ər rɛnt, lis ər ˈlaɪsəns ˈɛni ˈpɑrti əv tɪ ˈəðərz; ʤeɪ. sɛl, ˈtrænsfər ər əˈsaɪn ˈɛni əˈkaʊnt, ər ˈɛni ˈaɪtəmz ˌɪnˈkɔrpərˌeɪtɪd ˈɪntu ər pɑrt əv, ˌɪnˈkludɪŋ bət nɑt ˈlɪmɪtɪd tɪ ˈɛni ˈkɛrɪktərz; ər keɪ. ˌɪnˈfrɪnʤ ə θərd ˌɪnəˈlɛkʧuəl ˈprɑpərti ər ˈəðər raɪts, ər ˈvaɪəleɪt ˈɛni lɔ ər ˌrɛgjəˈleɪʃən ˈæpləkəbəl tɪ ju. 3 ˈsɛpərətli ˈlaɪsənst ˈsɔfˌwɛr meɪ kənˈteɪn θərd ˈpɑrti ˈsɔfˌwɛr ˈkɑntɛnt wɪʧ ər ˈlaɪsənst tɪ ju pərˈsuənt tɪ ə ˈsɛpərˌeɪt əˈgrimənt (ðə "ˈsɛpərətli ˈlaɪsənst ˈsɔfˌwɛr"). ju əˈgri ðət ɛn mæs meɪ ˌɪnˈstɔl ðə ˈsɛpərətli ˈlaɪsənst ˈsɔfˌwɛr ˈɔntu jʊr məˈʃin ˈdʊrɪŋ ðə geɪm klaɪənt ˌɪnstəˈleɪʃən ˈprɔˌsɛs. ju əˈgri ðət ju wɪl nɑt ˈkɑpi, rɪˈvərs ˈɛnʤəˈnɪr, dəraɪv sɔrs koʊd frəm, ˈmɑdəˌfaɪ, ˌdɪsəˈsɛmbəl, ər ˈɛni ˈsɛpərətli ˈlaɪsənst ˈsɔfˌwɛr, kriˈeɪt ˈɛni dərˈɪvɪtɪv wərks beɪst ɔn ˈɛni ˈsɛpərətli ˈlaɪsənst ˈsɔfˌwɛr, ər ˌɪnˈfrɪnʤ ər mɪsəˈproʊpriˌeɪt ˈɛni ˌɪnəˈlɛkʧuəl ˈprɑpərti ər ˈəðər raɪts ɪmˈbɑdid ɪn ˈɛni ˈsɛpərətli ˈlaɪsənst ˈsɔfˌwɛr. ju ˈɔlsoʊ əˈgri ðət ju wɪl nɑt ˈækˌsɛs ər juz ˈɛni ˈsɛpərətli ˈlaɪsənst ˈsɔfˌwɛr ənˈtɪl ənd ənˈlɛs ju əˈgri wɪθ ðə ɛnd ˈjuzər ˈlaɪsəns əˈgrimənts prəˈvaɪdɪd baɪ ðə əv səʧ ˈsɛpərətli ˈlaɪsənst ˈsɔfˌwɛr. ðə tərmz əv iʧ səʧ ɛnd ˈjuzər ˈlaɪsəns əˈgrimənt wɪl ˌriˈpleɪs ənd ˌsupərˈsid ðɪs əˈgrimənt, bət ˈoʊnli wɪθ rɪˈgɑrd tɪ ðə ˈæpləkəbəl ˈsɛpərətli ˈlaɪsənst ˈsɔfˌwɛr ˈrɛfərənst ɪn səʧ əˈgrimənt. fər ðə əˈvɔɪdəns əv daʊt, ɪf ˈɛni θərd ˈpɑrti ˈsɔfˌwɛr ˈkɑntɛnt kənˈteɪnd ɪn ɪz dimd nɑt ˈkəvərd baɪ ə ˈsɛpərˌeɪt ɛnd ˈjuzər ˈlaɪsəns əˈgrimənt, ðɛn ɪt ɪz ˈgəvərnd baɪ ðə tərmz ənd kənˈdɪʃənz əv ðɪs ˈjulə. 4 ˈlɪmɪtɪd ˈwɔrənti ənd dɪˈskleɪmər ənd ɔl rɪˈleɪtɪd ˈsɔfˌwɛr, ˈsərvɪsɪz ənd ˈkɑntɛnt ər prəˈvaɪdɪd ɔn ən "ɛz ɪz" ˈbeɪsɪs, prəˈvaɪdɪd æt jʊr oʊn rɪsk, ənd tɪ ðə ˈmæksəməm ɪkˈstɛnt pərˈmɪtɪd baɪ lɔ, ɛn mæs hɪrˈbaɪ ɛkˈsprɛsli dɪˈskleɪmz ɔl ˈwɔrəntiz ər kənˈdɪʃənz əv ˈɛni kaɪnd, ˈrɪtən ər ˈɔrəl, ɪkˈsprɛs, ˌɪmˈplaɪd ər ˈstæʧəˌtɔri, ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən ˈɛni ˌɪmˈplaɪd ˈwɔrənti əv ˈtaɪtəl, noninfringement*, merchantability*, kwaɪət ˌɛnˈʤɔɪmənt, ˈækjərəsi, ər ˈfɪtnəs fər ə ˌpɑˈtɪkjələr ˈpərpəs. wɪˈθaʊt ˈlɪmətɪŋ ðə fɔrˈgoʊɪŋ, ɛn mæs dɪz nɑt ɪnˈʃʊr kənˈtɪnjuəs, error-free*, sɪˈkjʊr ər ˌɑpərˈeɪʃən əv ər jʊr əˈkaʊnt. səm steɪts ər ˈkəntriz du nɑt əˈlaʊ ðə dɪˈskleɪmər əv ˌɪmˈplaɪd ˈwɔrəntiz, ənd ðə fɔrˈgoʊɪŋ dɪˈskleɪmər meɪ nɑt əˈplaɪ tɪ ju. ðɪs ˈwɔrənti gɪvz ju spɪˈsɪfɪk ˈligəl raɪts ənd ju meɪ ˈɔlsoʊ hæv ˈəðər ˈligəl raɪts ðət ˈvɛri frəm steɪt tɪ steɪt ər frəm ˈkəntri tɪ ˈkəntri. 5 ˌlɪmɪˈteɪʃən əv ˌlaɪəˈbɪlɪti ˈniðər ɛn mæs ˌɛnərˈteɪnmənt, ɪŋk. nɔr ɪts ˈpɛrənt, səbˈsɪdiˌɛriz, ər əˈfɪliˌeɪts ʃæl bi ˈlaɪəbəl ɪn ˈɛni weɪ fər ˈdæmɪʤ ər lɔs əv ˈɛni kaɪnd rɪˈzəltɪŋ frəm (ə) ðə juz əv ər ˌɪnəˈbɪlɪti tɪ juz ənd rɪˈleɪtɪd ˈsɔfˌwɛr ənd ˈsərvɪsɪz ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən lɔs əv ˈgʊdˈwɪl, wərk ˈstɑpɪʤ, kəmˈpjutər ˈfeɪljər ər mælˈfəŋkʃən; (bi) ðə lɔs ər ˈdæmɪʤ tɪ ˈkɛrɪktərz, əˈkaʊnts, stəˈtɪstɪks, ˌɪnvənˈtɔriz ər ˈjuzər ˈproʊˌfaɪl ˌɪnˌfɔrˈmeɪʃən; ər (si) ˌɪntərˈəpʃənz əv ˈsərvɪs ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən dɪsˈrəpʃənz, ˈsɔfˌwɛr ər ˈhɑrdˌwɛr ˈfeɪljərz ər ˈɛni ˈəðər ɪˈvɛnt wɪʧ meɪ rɪˈzəlt ɪn ə lɔs əv ˈdætə ər dɪsˈrəpʃən əv ˈsərvɪs. ju əˈgri ðət ɛn mæs wɪl nɑt bi ˈlaɪəbəl fər, ənd ɛkˈsprɛsli dɪˈskleɪmz, ɔl ˌlaɪəˈbɪlɪti fər nɑnˈkɑnˌtrækt kleɪmz, ˈwɛðər beɪst ɔn ˈnɛglɪʤəns ər ˈəðər tɔrt, strɪkt ˌlaɪəˈbɪlɪti, ˌɪnˈfrɪnʤmənt, ˈstæʧəˌtɔri vaɪəˈleɪʃənz, ər ˈəðərˌwaɪz. ɪn noʊ ɪˈvɛnt wɪl ɛn mæs bi ˈlaɪəbəl fər ˈspɛʃəl, ˌɪnsɪˈdɛntəl, kənˈtɪnʤənt, ˌkɑnsəkˈwɛnʃəl ər ˈpjunətɪv ˈdæmɪʤɪz, rəˈgɑrdləs əv ðə fɔrm əv ðə kleɪm ər kɔz əv ˈækʃən (ˈwɛðər beɪst ɪn ˈnɛglɪʤəns ər ˈəðər tɔrt, strɪkt ˌlaɪəˈbɪlɪti, ˌɪnˈfrɪnʤmənt, ˈstæʧəˌtɔri vaɪəˈleɪʃənz, ər ˈəðərˌwaɪz), ˈivɪn ɪf ðə ˌpɑsəˈbɪləˌti əv səʧ ˈdæmɪʤɪz həz bɪn dɪˈskloʊzd tɪ ɛn mæs ɪn ədˈvæns ər kʊd ˈrizənəbli hæv bɪn ˌfɔrˈsin baɪ ɛn mæs. 6 ækˈnɑlɪʤmənt aɪ. wɪn ju ˈækˌsɛs ər juz, ɛn mæs meɪ əbˈteɪn ˈsərtən aɪˌdɛntəfəˈkeɪʃən ˌɪnˌfɔrˈmeɪʃən əˈbaʊt jʊr kəmˈpjutər ənd ɪts ˈɔpərˌeɪtɪŋ ˈsɪstəm, ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən jʊr hɑrd draɪvz, ˈsɛntrəl ˈprɑsɛsɪŋ ˈjunɪt, ˌaɪˌpi address(es*) ənd ˈɔpərˌeɪtɪŋ system(s*). ɛn mæs meɪ juz səʧ ˌɪnˌfɔrˈmeɪʃən fər, əˈməŋ ˈəðər θɪŋz, ˌɪmˈpruvɪŋ ˈsərvɪsɪz ˈɔfərd tɪ ju, ənd tɪ pəˈlis ənd ɛnˈfɔrs ðə prəˈvɪʒənz əv ðɪs ˈjulə, ðə tərmz əv ˈsərvɪs, ðə ˈpraɪvəsi ˈpɑləsi ər ˈɛni ˌsəpləˈmɛntəl əˈgrimənts; ii*. ɛn mæs meɪ, wɪθ ər wɪˈθaʊt ˈnoʊtɪs tɪ ju, dɪˈskloʊz jʊr ˈɪntərˌnɛt ˈproʊtəˌkɔl (ˌaɪˌpi) address(es*), ˈpərsɪnəl ˌɪnˌfɔrˈmeɪʃən, ʧæt lɔgz, ənd ˈəðər ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ju ənd jʊr ækˈtɪvɪtiz: (ə) ɪn rɪˈspɑns tɪ ə rɪkˈwɛst baɪ lɔ ɛnˈfɔrsmənt, ə kɔrt ˈɔrdər ər ˈəðər ˈligəl ˈprɔˌsɛs; ər (bi) ɪf ɛn mæs bɪˈlivz ðət duɪŋ soʊ meɪ prəˈtɛkt jʊr ˈseɪfti ər ðə ˈseɪfti əv ˈəðərz; iii*. ju ər ˈhoʊli riˈspɑnsəbəl fər ðə kɔst əv ɔl ˈtɛləˌfoʊn ənd ˈɪntərˌnɛt ˈækˌsɛs ˈʧɑrʤɪz əˈlɔŋ wɪθ ɔl ˈnɛsəˌsɛri ɪkˈwɪpmənt, ˈsərvɪsɪŋ, rɪˈpɛr ər kərˈɛkʃən ˌɪnˈkərd ɪn meɪnˈteɪnɪŋ kənɛkˈtɪvɪti tɪ; iv*. ju ər ˈhoʊli riˈspɑnsəbəl fər ðə ˌɪnˌfɔrˈmeɪʃən ju ˌdɪˈsaɪd tɪ dɪˈskloʊz tɪ ˈəðərz, ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən jʊr ril neɪm; ɛn mæs dɪz nɑt ɪnˈkərəʤ ˈjuzərz tɪ dɪˈskloʊz ðɛr ˈpərsɪnəl ˌɪnˌfɔrˈmeɪʃən tɪ ˈəðərz. 7 ˈɛkwɪtəbəl ˈrɛmədi ɪn ðə ɪˈvɛnt ðət ju briʧ ðɪs ˈjulə ər ˈɛni ˈəðər ˌsəpləˈmɛntəl tərmz, ˌɪnˈkludɪŋ ðə tərmz əv ˈsərvɪs ənd ðə ˈpraɪvəsi ˈpɑləsi (kəˈlɛktɪvli ðə agreement”*” fər ˈsɛkʃən 7 ənd 8 ju hɪrˈbaɪ əˈgri ðət ɛn mæs wʊd bi ˌɪˈrɛpərəbli ˈdæmɪʤd ɪf ðə ˈligəl əˈgrimənt wər nɑt spəˈsɪfɪkli ɛnˈfɔrst, ənd ˈðɛrˌfɔr ju əˈgri ðət ɛn mæs ʃæl bi ɛnˈtaɪtəld, wɪˈθaʊt bɑnd, ˈəðər sɪˈkjʊrəti, ər pruf əv ˈdæmɪʤɪz, tɪ əˈproʊpriˌeɪt ˈɛkwɪtəbəl ˈrɛmədiz wɪθ rɪˈspɛkt tɪ ˈbriʧɪz əv ðə ˈligəl əˈgrimənt, ɪn əˈdɪʃən tɪ səʧ ˈəðər ˈrɛmədiz ɛz ɛn mæs meɪ ˈəðərˌwaɪz hæv əˈveɪləbəl tɪ ɪt ˈəndər ˈæpləkəbəl lɔz. 8 dɪˈspjut ˌrɛzəˈluʃən ənd ˈgəvərnɪŋ lɔ ɪf ə dɪˈspjut ərˈaɪzɪz bɪtˈwin ju ənd ɛn mæs, ɑr goʊl ɪz tɪ prəˈvaɪd ju wɪθ ə ˈnutrəl ənd minz əv riˈzɑlvɪŋ ðə dɪˈspjut kˈwɪkli. əˈkɔrdɪŋli, ju ənd ɛn mæs əˈgri tɪ riˈzɑlv ˈɛni kleɪm ər ˈkɑntrəˌvərsi æt lɔ ər ɪn ˈɛkwəti ðət ərˈaɪzɪz frəm ər rɪˈleɪts tɪ əˈgrimənt ər ɑr ˈsərvɪs (ə "kleɪm") ɪn əˈkɔrdəns wɪθ wən əv ðə bɪˈloʊ. (ə) ðə ˈligəl əˈgrimənt ənd ðə riˈleɪʃənˌʃɪp bɪtˈwin ju ənd ɛn mæs ʃæl bi ˈgəvərnd ɪn ɔl rɪˈspɛkts baɪ ðə lɔz əv ðə steɪt əv ˈwɔʃɪŋtən wɪˈθaʊt rɪˈgɑrd tɪ ˈkɑnflɪkt əv lɔ ˈprɪnsəpəlz ər ðə juˈnaɪtɪd ˈneɪʃənz kənˈvɛnʃən ɔn ðə ˌɪnərˈnæʃənɑl seɪl əv gʊdz. (bi) ju ənd ɛn mæs əˈgri tɪ səbˈmɪt tɪ ðə ɪkˈsklusɪv ˌʤʊrɪsˈdɪkʃən ənd ˈvɛnju əv ðə kɔrts ˈloʊˌkeɪtəd ɪn siˈætəl, ˈwɔʃɪŋtən, ɪkˈsɛpt ɛz prəˈvaɪdɪd ɪn ˈsəbsɛkʃən 15(c*) bɪˈloʊ rɪˈgɑrdɪŋ ˈɔpʃənəl ˌɑrbɪˈtreɪʃən. ˌnɑtwɪθˈstændɪŋ ðɪs, ju əˈgri ðət ɛn mæs ʃæl stɪl bi əˈlaʊd tɪ əˈplaɪ fər ˌɪnˈʤəŋtɪv ər ˈəðər ˈɛkwɪtəbəl rɪˈlif ɪn ˈɛni kɔrt əv ˈkɑmpətɪnt ˌʤʊrɪsˈdɪkʃən. (si) fər ˈɛni kleɪm, ɪkˈskludɪŋ kleɪmz fər ˌɪnˈʤəŋtɪv ər ˈəðər ˈɛkwɪtəbəl rɪˈlif, wɛr ðə ˈtoʊtəl əˈmaʊnt əv ðə əˈwɔrd sɔt ɪz lɛs ðən tɛn ˈθaʊzənd juz. ˈdɔlərz usd*), ðə ˈpɑrti rɪkˈwɛstɪŋ rɪˈlif meɪ ɪˈlɛkt tɪ riˈzɑlv ðə kleɪm ɪn ə ˈmænər θru ˈbaɪndɪŋ ˌɑrbɪˈtreɪʃən. ə ˈpɑrti ɪˈlɛktɪŋ ˌɑrbɪˈtreɪʃən ʃæl ˌɪˈnɪʃiˌeɪt ɪt θru ən ɪˈstæblɪʃt ɔlˈtərnətɪv dɪˈspjut ˌrɛzəˈluʃən ("adr*") prəˈvaɪdər mˈjuʧuəli əˈgrid əˈpɑn baɪ ðə ˈpɑrtiz. ðə prəˈvaɪdər ənd ðə ˈpɑrtiz məst kəmˈplaɪ wɪθ ðə ˈfɑloʊɪŋ rulz: (ə) ðə ˌɑrbɪˈtreɪʃən ʃæl bi kənˈdəktəd, æt ðə ˈɔpʃən əv ðə ˈpɑrti ˈsikɪŋ rɪˈlif, baɪ ˈtɛləˌfoʊn, ˈɔnˌlaɪn, ər beɪst ˈsoʊəli ɔn ˈrɪtən səbˈmɪʃənz; (bi) ðə ˌɑrbɪˈtreɪʃən ʃæl nɑt ˌɪnˈvɑlv ˈɛni ˈpərsɪnəl əˈpɪrəns baɪ ðə ˈpɑrtiz ər ˈwɪtnəsɪz ənˈlɛs ˈəðərˌwaɪz mˈjuʧuəli əˈgrid baɪ ðə ˈpɑrtiz; ənd (si) ˈɛni ˈʤəʤmənt ɔn ðə əˈwɔrd ˈrɛndərd baɪ ðə ˈɑrbɪˌtreɪtər meɪ bi ˈɛnərd ɪn ˈɛni kɔrt əv ˈkɑmpətɪnt ˌʤʊrɪsˈdɪkʃən. (di) ɔl kleɪmz ju brɪŋ əˈgɛnst ɛn mæs məst bi riˈzɑlvd ɪn əˈkɔrdəns wɪθ ðɪs dɪˈspjut ˌrɛzəˈluʃən ˈsɛkʃən. ɔl kleɪmz faɪld ər brɔt ˈkɑntrɛri tɪ ðɪs dɪˈspjut ˌrɛzəˈluʃən ˈsɛkʃən ʃæl bi kənˈsɪdərd ˌɪmˈprɑpərli faɪld. ʃʊd ju faɪl ə kleɪm ˈkɑntrɛri tɪ ðɪs dɪˈspjut ˌrɛzəˈluʃən ˈsɛkʃən, ɛn mæs meɪ rɪˈkəvər əˈtərniz' fiz ənd kɔsts əp tɪ wən ˈθaʊzənd juz. ˈdɔlərz usd*), prəˈvaɪdɪd ðət ɛn mæs həz ˈnoʊtəˌfaɪd ju ɪn ˈraɪtɪŋ əv ðə ˌɪmˈprɑpərli faɪld kleɪm, ənd ju hæv feɪld tɪ ˈprɑmptli wɪθˈdrɔ ðə kleɪm. 9 fɔrs məˈʤur ɛn mæs ɪz nɑt ˈlaɪəbəl fər ˈɛni ˈfeɪljər tɪ pərˈfɔrm ɪts ˌɑbləˈgeɪʃənz ɪf səʧ ˈfeɪljər rɪˈzəlts frəm ækts əv gɑdz (ˌɪnˈkludɪŋ, bət nɑt ˈlɪmɪtɪd tɪ, faɪər, fləd, ˈərθkˌweɪk, stɔrm, ˈhərəˌkeɪnz ər ˈəðər ˈnæʧərəl dɪˈzæstər), wɔrz, ækts əv ˈtɛrər, raɪəts, ˈgəvərnmənt ˈsæŋkʃənz, embargos*, ˈæksədənts, ˈleɪbər dɪˈspjuts, straɪks, ˌɪntərˈəpʃən əv ər ˈfeɪljər tɪ rɪˈsiv məˈtɪriəlz, ˈɛnərʤi, ɪˌlɛkˈtrɪsəti ər ˈɪntərˌnɛt ˈsərvɪs, ər ˈɛni ˈəðər θɪŋ bɪɔnd ɛn ˈrizənəbəl kənˈtroʊl. 10 ˈɛkspɔrt kənˈtroʊl ənd ˈɛni pɑrt əv meɪ nɑt bi re-exported*, ˈdaʊnˌloʊdɪd ər ˈəðərˌwaɪz ɪkˈspɔrtəd ˈɪntu (ər tɪ ə ˈnæʃənəl ər ˈrɛzɪdənt əv) ˈɛni ˈkəntri tɪ wɪʧ ðə juz. həz ɪmˈbɑrgoʊd gʊdz, ər tɪ ˈɛniˌwən ɔn ðə juz. ˈtrɛʒəri dɪˈpɑrtmənts lɪst əv ˈspɛʃəli ˈdɛzɪgˌneɪtɪd ˈnæʃənəlz ər ðə juz. ˈkɑmərs dɪˈpɑrtmənts ˈteɪbəl əv dɪˈnaɪəl ˈɔrdərz. ju ˌrɛprɪˈzɛnt ənd ˈwɔrənt ðət ju ər nɑt ˈloʊˌkeɪtəd ɪn, ˈəndər ðə kənˈtroʊl əv, ər ə ˈnæʃənəl ər ˈrɛzɪdənt əv ˈɛni səʧ ˈkəntri ər ɔn ˈɛni səʧ lɪst. ðɪs əˈgrimənt ˈkɑnstəˌtuts ənd kənˈteɪnz ðə ɪnˈtaɪər əˈgrimənt bɪtˈwin ðə ˈpɑrtiz wɪθ rɪˈspɛkt tɪ ðə ˈsəbʤɪkt ˈmætər ənd ˌsupərˈsidz ˈɛni praɪər ˈɔrəl ər ˈrɪtən əˈgrimənts, prəˈvaɪdɪd, ˌhaʊˈɛvər, ðət ðɪs əˈgrimənt ʃæl ˌkoʊəgˈzɪst wɪθ, ənd ʃæl nɑt ˌsupərˈsid, ðə tərmz əv ˈsərvɪs. tɪ ðə ɪkˈstɛnt ðət ðə prəˈvɪʒənz əv ðɪs əˈgrimənt ˈkɑnflɪkt wɪθ ðə prəˈvɪʒənz əv ðə tərmz əv ˈsərvɪs, ðə kənˈflɪktɪŋ prəˈvɪʒənz ɪn ðə tərmz əv ˈsərvɪs ʃæl ˈgəvərn. ðə prəˈvɪʒənz əv ˈsɛkʃənz 2 ʃæl sərˈvaɪv ðə tərməˈneɪʃən əv ðɪs əˈgrimənt fər ˈɛni ˈrizən. ɪf ˈɛni prəˈvɪʒən əv ðɪs əˈgrimənt ɪz faʊnd tɪ bi ˌɪnˈvæləd ər ˌənɛnˈfɔrsəbəl, ðət prəˈvɪʒən ʃæl bi ˈsɛvərd ənd ðə rɪˈmeɪndər əv ðɪs əˈgrimənt ʃæl bi ˈgɪvɪn fʊl fɔrs ənd ˈifɛkt. ii*. tərmz əv ˈsərvɪs ðɪs tərmz əv ˈsərvɪs ˈgəvərnz jʊr juz əv ɑr ˈwɛbˌsaɪt ˈloʊˌkeɪtəd æt tera.enmasse.com*, ənd ɔl ˈsɔfˌwɛr, ˈprɑdəkts, ˈfiʧərz ənd ˈsərvɪsɪz meɪd əˈveɪləbəl, dɪˈspleɪd ər ˈɔfərd baɪ ər θru səʧ ˈwɛbˌsaɪt (kəˈlɛktɪvli,"). ɪz ˈɑpərˌeɪtəd baɪ ɛn mæs ˌɛnərˈteɪnmənt, ɪŋk., ɪts ˈpɛrənts, səbˈsɪdiˌɛriz ənd əˈfɪliˌeɪts (kəˈlɛktɪvli, "ɛn mæs", "wi," ər "ɑr"). ðə ˈpraɪvəsi ˈpɑləsi (http://www.tera.enmasse.com/privacy-policy*), ɛnd ˈjuzər ˈlaɪsəns əˈgrimənt, ˈɛni ˌsəpləˈmɛntəl tərmz prəˈvaɪdɪd tɪ ju baɪ ɛn mæs ər ən ˈɪnəgrəl pɑrt əv ðɪs tərmz əv ˈsərvɪs ənd ər ˌɪnˈkɔrpərˌeɪtɪd hɪˈrɪn baɪ ˈrɛfərəns. 1 ˈoʊnərˌʃɪp ənd grænt əv juz ðə ɪnˈtaɪər ˈkɑntɛnts əv, ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən ɔl ˌɪnˌfɔrˈmeɪʃən, məˈtɪriəl, ˈtreɪdˌmɑrks, ˈsɔfˌwɛr, ˈvɪdioʊ, ˈfoʊtəˌgræfs, ˈgræfɪks, tɛkst, mˈjuzɪk ənd saʊnd, ər oʊnd ər ˈlaɪsənst baɪ ɛn mæs ˈəndər ˈæpləkəbəl lɔz. ɛn mæs oʊnz raɪts ɪn ðə səˈlɛkʃən, koʊˌɔrdəˈneɪʃən, ərˈeɪnʤmənt ənd ɛnˈhænsmənt əv səʧ ˈkɑntɛnt. ju meɪ nɑt trænzˈmɪt, pɑrˈtɪsəˌpeɪt ɪn ðə ˈtrænsfər ər seɪl, kriˈeɪt dərˈɪvɪtɪv wərks frəm, ˈmɑdəˌfaɪ, ˈpəblɪʃ, ər ɪn ˈɛni weɪ ˌɛkˈsplɔɪt, ˈɛni əv ðə ˈkɑntɛnt kənˈteɪnd ɔn (ˌɪnˈkludɪŋ, wɪˈθaʊt ˌlɪmɪˈteɪʃən, ˈɛni ˈkɑntɛnt ðət ɪˈneɪbəlz ju tɪ ˈdaʊnˌloʊd) wɪˈθaʊt ðə ɪkˈsprɛs ˈrɪtən pərˈmɪʃən əv ɛn mæs ənd ˈɛni ˈəðər ˈæpləkəbəl ˈoʊnər. ɪn ðə ɪˈvɛnt əv ˈɛni pərˈmɪtɪd ˈkɑpiɪŋ, ˌridɪstrəˈbjuʃən ər ˌpəblɪˈkeɪʃən əv ˈɛni ˈkɑntɛnt, noʊ ˈʧeɪnʤɪz ɪn ər dɪˈliʃən əv ˈɛni ˈɔθər ˌætrɪˈbjuʃən, ˈtreɪdˌmɑrk, ər ˈkɑpiˌraɪt ˈnoʊtɪs meɪ bi meɪd. ðə ˈdaʊnˌloʊdɪŋ əv ˈkɑntɛnt frəm ɪz əˈlaʊd baɪ ju ˈoʊnli fər jʊr ˈpərsɪnəl juz. ju ækˈnɑlɪʤ ðət ɛn mæs ˈkɑntɛnt prəˈvaɪdərz rɪˈmeɪn ðə ˈoʊnərz əv ɔl ˈkɑntɛnt ɔn, ənd ðət ju du nɑt əkˈwaɪər ˈɛni ˈoʊnərˌʃɪp raɪts baɪ ˈdaʊnˌloʊdɪŋ ˈɛni ˈkɑntɛnt. ɛz lɔŋ ɛz ju kəmˈplaɪ wɪθ ðɪs tərmz əv ˈsərvɪs ənd ɪt həz nɑt bɪn ˈtərməˌneɪtɪd, ɛn mæs grænts ju ə ˈpərsɪnəl, ˈnɑnkəˈmərʃəl, ˌnɑnɪkˈsklusɪv, ˌnɑnˌtrænsˈfərəbəl, ˈlɪmɪtɪd raɪt tɪ ˈɛnər, juz, pərˈfɔrm ənd dɪˈspleɪ ənd ɪts ˈkɑntɛnts. 2 ˈjuzər ˈkɑntɛnt ˌɪnˈkɔrpərˌeɪts ˈsərtən kəmˌjunəˈkeɪʃən ˈfiʧərz səʧ ɛz ˈfɔrəmz, ˈmɛsɪʤ bɔrdz, ʧæt, ˈfiʧərz, ənd iˈmeɪl ðət meɪ bi prəˈvaɪdɪd tɪ ˈrɛʤɪstərd ənd ənˈrɛʤɪstərd ˈjuzərz (kəˈlɛktɪvli, kəmˌjunəˈkeɪʃən ˈfiʧərz"). ju ækˈnɑlɪʤ ðət baɪ ˈjuzɪŋ kəmˌjunəˈkeɪʃən ˈfiʧərz, ju meɪ bi ɪkˈspoʊzd tɪ ˈmɛsɪʤɪz, ˌɪnˌfɔrˈmeɪʃən, ˈdætə, tɛkst, ˈsɔfˌwɛr, ˈgræfɪk faɪlz, ər ˈəðər məˈtɪriəlz, ˈwɛðər ɪn ˈrɪtən, ˈvərbəl, ˌɪˌlɛkˈtrɑnɪk, ˈdɪʤɪtəl, ər ˈəðər fɔrm ("ˈjuzər ˈkɑntɛnt") ðət ju maɪt faɪnd əˈbʤɛkʃənəbəl. ɛn mæs dɪz nɑt ˈtoʊtəli kənˈtroʊl ˈjuzər ˈkɑntɛnt ənd dɪz nɑt ˌgɛrənˈti ɪts ˈækjərəsi, ˌɪnˈtɛgrəti ər kˈwɑləti. ju ˌəndərˈstænd ðət ˈɛni ˈjuzər ˈkɑntɛnt sɛnt θru ər əˈpɪrɪŋ ɔn kəmˌjunəˈkeɪʃən ˈfiʧərz ɪz ðə soʊl riˌspɑnsəˈbɪləti əv ðoʊz ˈpərsənz trænsˈmɪtɪŋ səʧ ˈjuzər ˈkɑntɛnt. ðɪs minz ðət ju, ənd nɑt ɛn mæs, ər ɪnˈtaɪərli riˈspɑnsəbəl fər ɔl ˈjuzər ˈkɑntɛnt ðət ju trænzˈmɪt. ˈəndər noʊ ˈsərkəmˌstænsɪz wɪl ɛn mæs bi ˈlaɪəbəl fər ˈɛni ˈɛrərz ər oʊˈmɪʃənz ɪn ˈɛni ˈjuzər ˈkɑntɛnt ər fər ˈɛni lɔs ər ˈdæmɪʤɪz əv ˈɛni kaɪnd ˌɪnˈkərd ɛz ə rɪˈzəlt əv ðə ˈækˌsɛs tɪ, ˈdaʊnˌloʊdɪŋ, vjuɪŋ, ˈlɪsənɪŋ, juz əv ər ˌɪnəˈbɪlɪti tɪ juz ˈɛni ˈjuzər ˈkɑntɛnt sɛnt θru ər əˈpɪrɪŋ ɔn ˈɛni kəmˌjunəˈkeɪʃən ˈfiʧərz. ɛn mæs həz noʊ ˌɑbləˈgeɪʃən tɪ ˈmɑnətər ər ˈsupərˌvaɪz kəmˌjunəˈkeɪʃən ˈfiʧərz ˈjuzər ˈkɑntɛnt, ənd ɛkˈsprɛsli dɪˈskleɪmz ˈɛni ˌrɛprəzɛnˈteɪʃən ðət wi wɪl ˈmɑnətər ər ˈsupərˌvaɪz səʧ ˈfiʧərz ˈjuzər ˈkɑntɛnt. ˌhaʊˈɛvər, wi ɛkˈsprɛsli rɪˈzərv ðə raɪt, bət nɑt ðə ˌɑbləˈgeɪʃən, ɪn ɑr soʊl dɪˈskrɛʃən tɪ ˈmɑnətər, skrin, ˈɛdət, blɑk ər riˈmuv ˈɛni ˈjuzər ˈkɑntɛnt, ɪn hoʊl ər ɪn pɑrt, sɛnt θru ər əˈpɪrɪŋ ɔn ˈɛni kəmˌjunəˈkeɪʃən ˈfiʧər ənd ju hæv noʊ ˌɛkspɛkˈteɪʃən əv ˈpraɪvəsi ɪn ˈɛni ˈkɑntɛnt ɪn ˈɛni əv ðə kəmˌjunəˈkeɪʃən ˈfiʧərz. wɪˈθaʊt ˈlɪmətɪŋ ðə fɔrˈgoʊɪŋ, ɛn mæs ənd ɪts ˌdɛzɪgˈniz ʃæl hæv ðə raɪt tɪ blɑk ər riˈmuv, ɪn hoʊl ər ɪn pɑrt, ˈɛni ˈjuzər ˈkɑntɛnt ðət ɪz ɪn vaɪəˈleɪʃən əv ðɪs tərmz əv ˈsərvɪs, ɪz ˌɪˈligəl, ˌɪnˈfrɪnʤɪŋ ər ˈəðərˌwaɪz əˈfɛnsɪv ər əˈbʤɛkʃənəbəl. əˈkɔrdɪŋli, ju ækˈnɑlɪʤ ðət kəmˌjunəˈkeɪʃən ˈfiʧərz ər ˈfɔrəmz fər ˈpəblɪk ənd nɑt ˈpraɪvət kəmˌjunəˈkeɪʃənz. ju əˈgri tɪ ˌɪnˈdɛmnəˌfaɪ ənd hoʊld ɛn mæs ənd ɪts ˌdɛzɪgˈniz ˈhɑrmləs frəm ˈɛni kleɪm ər dɪˈmænd, ˌɪnˈkludɪŋ ˈrizənəbəl əˈtərniz' fiz, meɪd baɪ ˈɛni θərd ˈpɑrti du tɪ ər ərˈaɪzɪŋ aʊt əv jʊr vaɪəˈleɪʃən əv ðiz tərmz ənd kənˈdɪʃənz ər jʊr vaɪəˈleɪʃən əv ˈɛni raɪts əv əˈnəðər. ˈɛni ənd ɔl ˈjuzər ˈkɑntɛnt səbˈmɪtəd tɪ ɛn mæs ʃæl bi dimd, ənd ʃæl rɪˈmeɪn, ðə ˈprɑpərti əv ɛn mæs frəm ðə ˈmoʊmənt səʧ ˈjuzər ˈkɑntɛnt ɪz kriˈeɪtɪd. ɛn mæs ʃæl ɪkˈsklusɪvli oʊn ɔl naʊ noʊn ər hɪˈræftər ɪgˈzɪstɪŋ ˈkɑpiˌraɪts ənd ɔl ˈəðər ˌɪnəˈlɛkʧuəl ˈprɑpərti raɪts tɪ ɔl ˈjuzər ˈkɑntɛnt əv ˈɛvəri kaɪnd ənd ˈneɪʧər, ɪn ˌpərpɪˈtjuɪti θruaʊt ðə wərld. tɪ ðə ɪkˈstɛnt ðət ˈɛni əv ðə əˈbəv meɪ bi vɔɪd ər ˌənɛnˈfɔrsəbəl, ju əˈgri ðət ˈɛni ənd ɔl ˈjuzər ˈkɑntɛnt ɪz hɪrˈbaɪ ˌɪˌrɛˈvoʊkəbli əˈsaɪnd tɪ ɛn mæs, təˈgɛðər wɪθ ɔl ˌɪnəˈlɛkʧuəl ˈprɑpərti raɪts ðɛˈrɪn. tɪ ðə ɪkˈstɛnt ˈɛni əv ðə ˈjuzər ˈkɑntɛnt ɪz nɑt assignable*, baɪ səbˈmɪtɪŋ ˈjuzər ˈkɑntɛnt tɪ ɛn mæs, ju əˈgri ðət ɛn mæs ʃæl bi ˌɪˌrɛˈvoʊkəbli ɛnˈtaɪtəld, dɪˈrɛkli ər ˌɪndərˈɛkˌtli θruaʊt ðə wərld ənd ɪn ˌpərpɪˈtjuɪti, tɪ ˈmɑdəˌfaɪ, əˈdæpt, juz, ˌriprəˈdus, ˈlaɪsəns, ˈpəblɪʃ, ˈbrɔdˌkæst, pərˈfɔrm, sɛl, trænzˈleɪt, kriˈeɪt dərˈɪvɪtɪv wərks frəm ənd dɪˈstrɪbjut ˈɛni ˈjuzər ˈkɑntɛnt fər ˈɛni ˈpərpəs ˌwətsoʊˈɛvər, kəˈmərʃəl ər ˈəðərˌwaɪz, ɪn ˈɛni ˈmidiəm naʊ noʊn ər hɪˈræftər dɪˈvaɪzd, wɪˈθaʊt ˌkɑmpənˈseɪʃən ər ˈkrɛdɪt tɪ ðə prəˈvaɪdər ər ˈɔθər əv ðə ˈjuzər ˈkɑntɛnt. ju ˈɔlsoʊ gɪv əp ˈɛni kleɪm ðət ˈɛni juz baɪ ɛn mæs əv ˈɛni ˈjuzər ˈkɑntɛnt ˈvaɪəleɪts ˈɛni əv jʊr raɪts, ˌɪnˈkludɪŋ bət nɑt ˈlɪmɪtɪd tɪ ˈmɔrəl raɪts, raɪts əv ˈpraɪvəsi, raɪts tɪ pəˈblɪsɪti, prəˈpraɪəˌtɛri ər ˈəðər raɪts, raɪts tɪ ˈkrɛdɪt fər ðə məˈtɪriəl ər aɪˈdiəz sɛt fɔrθ ðɛˈrɪn. 3 ˌɛlɪʤəˈbɪlɪti ɪf ju ər bɪtˈwin ðə ˈeɪʤɪz əv ˈθərˈtin 13 ənd ˈeɪˈtin 18 jʊr ˈpɛrənt ər ˈgɑrdiən məst kəmˈplit ðə ˌrɛʤɪˈstreɪʃən ˈprɔˌsɛs, ɪn wɪʧ keɪs səʧ ˈpɛrənt ər ˈgɑrdiən wɪl teɪk fʊl riˌspɑnsəˈbɪləti fər ɔl ˌɑbləˈgeɪʃənz ˈəndər ðɪs tərmz əv ˈsərvɪs. ju ˌrɛprɪˈzɛnt ðət ju ər æt list ˈeɪˈtin 18 jɪrz əv eɪʤ ənd ər ˈiðər əkˈsɛptɪŋ ðɪs tərmz əv ˈsərvɪs ɔn bɪˈhæf əv ˈjɔrsɛlf ər ɔn bɪˈhæf əv jʊr ˈmaɪnər ʧaɪld. ju meɪ nɑt ˈtrænsfər, sɛl, ər ʃɛr jʊr əˈkaʊnt wɪθ ˈɛniˌwən, ənˈlɛs ju ər ə ˈpɛrənt ər ˈgɑrdiən, ɪn wɪʧ keɪs ju meɪ ˈpərˌmɪt jʊr ˈmaɪnər ʧaɪld tɪ juz ðə əˈkaʊnt. ju ər ˈlaɪəbəl fər ɔl ækˈtɪvɪtiz kənˈdəktəd θru ðə əˈkaʊnt. ðə ˈʧɪldrənz ˈɔnˌlaɪn ˈpraɪvəsi prəˈtɛkʃən ækt, ədˈmɪnɪstərd baɪ ðə ˈfɛdərəl treɪd kəˈmɪʃən, ˌɪmˈpoʊzɪz rulz rɪˈgɑrdɪŋ ðə kəˈlɛkʃən əv ˈpərsɪnəl ˌɪnˌfɔrˈmeɪʃən frəm ˈʧɪldrən. ɪz nɑt dɪˈrɛktɪd tɪ ˈʧɪldrən ˈəndər ðə eɪʤ əv ˈθərˈtin 13 ɪf ju ər ˈəndər ðə eɪʤ əv ˈθərˈtin 13 ju meɪ nɑt kriˈeɪt ən əˈkaʊnt ənd məst nɑt prəˈvaɪd ˈɛni ˈpərsɪnəl ˌɪnˌfɔrˈmeɪʃən tɪ ɛn mæs. 4 ɪˈstæblɪʃɪŋ ən əˈkaʊnt ənd ˈækˌsɛs tɪ ə. ɪz ən ˈɔnˌlaɪn geɪm ðət məst bi pleɪd ˈoʊvər ðə ˈɪntərˌnɛt θru ðə ˈsərvɪs ɛz prəˈvaɪdɪd baɪ ɛn mæs, ənd ju ər ˈhoʊli riˈspɑnsəbəl fər əkˈwaɪərɪŋ ənd peɪɪŋ fər jʊr oʊn ˈɪntərˌnɛt ˈækˌsɛs əˈlɔŋ wɪθ ɔl ˈnɛsəˌsɛri ɪkˈwɪpmənt, ˈsərvɪsɪŋ, rɪˈpɛr ər kərˈɛkʃən ˌɪnˈkərd ɪn meɪnˈteɪnɪŋ ðə juz əv ənd ðə rɪˈleɪtɪd ˈsərvɪsɪz. bi. ə əˈkaʊnt ("əˈkaʊnt") meɪ bi rikˈwaɪərd tɪ ˈækˌsɛs ˈsərtən ˈfiʧərz əv, ˌɪnˈkludɪŋ kəmˌjunəˈkeɪʃənz ˈfiʧərz. ɪf ju hæv kˈwɛsʧənz əˈbaʊt əˈkaʊnt ˌrɛʤɪˈstreɪʃən, pliz [ˈkɑnˌtækt ˈjuˈɛs]. tɪ kriˈeɪt ən əˈkaʊnt, ju məst prəˈvaɪd jʊr neɪm, deɪt əv bərθ, ˈmeɪlɪŋ ˈæˌdrɛs ənd ˈvælɪd iˈmeɪl ˈæˌdrɛs. ju məst prəˈvaɪd ˈtruθfəl ənd ˈækjərət ˌɪnˌfɔrˈmeɪʃən. əˈkaʊnts ər əˈveɪləbəl ˈoʊnli tɪ ˈædəlts, ər, ɪn ðɛr dɪˈskrɛʃən, ðɛr ˈmaɪnər ʧaɪld, ɛz dɪˈskraɪbd ɪn ˈsɛkʃən 5 ˈdʊrɪŋ ðə ˌrɛʤɪˈstreɪʃən ˈprɔˌsɛs, ju meɪ bi rikˈwaɪərd tɪ prəˈvaɪd jʊr ˈaɪˈdi (jʊr ˈvɛrəˌfaɪəbəl iˈmeɪl ˈæˌdrɛs) ənd ə ˈpæsˌwərd (kəˈlɛktɪvli rɪˈfərd tɪ ɛz ˌɪnˌfɔrˈmeɪʃən"). ju meɪ nɑt ʃɛr ðə əˈkaʊnt ər ðə ˌɪnˌfɔrˈmeɪʃən wɪθ ˈɛniˌwən ˈəðər ðən ɛz ɛkˈsprɛsli sɛt fɔrθ hɪˈrɪn. ju ər riˈspɑnsəbəl fər meɪnˈteɪnɪŋ ðə ˌkɑnfəˌdɛnʃiˈæləti əv ðə ˌɪnˌfɔrˈmeɪʃən, ənd ju wɪl bi riˈspɑnsəbəl fər ɔl ˈjuzɪz əv ðə ˌɪnˌfɔrˈmeɪʃən, ˈwɛðər ər nɑt ˈɔθərˌaɪzd baɪ ju. ɪn ðə ɪˈvɛnt ðət ju bɪˈkəm əˈwɛr əv ər ˈrizənəbli ˈsəˌspɛkt ˈɛni briʧ əv sɪˈkjʊrəti, ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən ˈɛni lɔs, θɛft, ər əˈnɔθərˌaɪzd dɪˈskloʊʒər əv ðə ˌɪnˌfɔrˈmeɪʃən, ju məst ˌɪˈmiˌdiətli ˈnoʊtəˌfaɪ ɛn mæs baɪ iˈmeɪlɪŋ tɪ ˈjuˈɛs. ju ər ˈsoʊəli riˈspɑnsəbəl fər ɔl ækˈtɪvɪti ɔn jʊr əˈkaʊnt. ju ʃʊd nɑt rɪˈvil jʊr əˈkaʊnt ˈpæsˌwərd tɪ ˈəðərz. ɛn mæs wɪl nɑt æsk ju tɪ rɪˈvil jʊr ˈpæsˌwərd. si.. ɪn əˈdɪʃən tɪ jʊr ˌɪnˌfɔrˈmeɪʃən, ju meɪ bi rikˈwaɪərd tɪ səˈlɛkt ə juˈnik fər juz wɪθ kəmˌjunəˈkeɪʃən ˈfiʧərz. jʊr kən bi sin baɪ ˈəðərz. ˈðɛrˌfɔr, ɪf ɛn mæs faɪndz ə tɪ bi əˈfɛnsɪv ər ˌɪmˈprɑpər, ɪt meɪ, ɪn ɪts soʊl ənd ˈæbsəˌlut dɪˈskrɛʃən, ʧeɪnʤ ər æsk ju tɪ ʧeɪnʤ ðə, blɑk səʧ ˈjuzər ˌrɛʤɪˈstreɪʃən, riˈmuv ðə frəm ɔl ˈæˌspɛkts əv, səˈspɛnd ər ˈtərməˌneɪt jʊr əˈkaʊnt. ɪn ˌpɑˈtɪkjələr, ju meɪ nɑt juz ðə neɪm əv əˈnəðər ˈpərsən, ər ə neɪm wɪʧ ˌɪnˈfrɪnʤɪz ə θərd ˈpɑrtiz ˈtreɪdˌmɑrk, ˈkɑpiˌraɪt, ər ˈəðər prəˈpraɪəˌtɛri raɪt. ju meɪ nɑt juz ə neɪm wɪʧ meɪ mɪsˈlid ˈəðərz tɪ bɪˈliv ju tɪ bi ən ɪmˈplɔɪi əv ɛn mæs, ər wɪʧ ɛn mæs dimz æt ɪts soʊl dɪˈskrɛʃən tɪ bi ˈvəlgər ər ˈəðərˌwaɪz əˈfɛnsɪv. ɛn mæs rɪˈzərvz ðə raɪt, bət nɑt ðə ˌɑbləˈgeɪʃən, ɪn ɪts soʊl ənd ˈæbsəˌlut dɪˈskrɛʃən, tɪ dɪˈlit ər ˈɔltər ˈɛni, ˈtərməˌneɪt ər səˈspɛnd jʊr əˈkaʊnt, ər ˈtərməˌneɪt ˈɛni ˈlaɪsəns ˈgrænɪd hɪˈrɪn, fər ˈɛni ˈrizən ˌwətsoʊˈɛvər. ˌnɑtwɪθˈstændɪŋ ˈɛniˌθɪŋ tɪ ðə ˈkɑntrɛri hɪˈrɪn, ju ækˈnɑlɪʤ ənd əˈgri ðət ju ʃæl hæv noʊ ˈoʊnərˌʃɪp ər ˈəðər ˈprɑpərti ˈɪntəˌrɛst ɪn ðə əˈkaʊnt, ənd ju ˈfərðər ækˈnɑlɪʤ ənd əˈgri ðət ɔl raɪts ɪn ənd tɪ ðə əˈkaʊnt ər ənd ʃæl fərˈɛvər bi oʊnd baɪ ənd ˌɪnˈjʊr tɪ ðə ˈbɛnəfɪt əv ɛn mæs. ɛn mæs dɪz nɑt ˈrɛkəgˌnaɪz ðə ˈtrænsfər əv əˈkaʊnts ər ˈɛni ˈaɪtəmz ˌɪnˈkɔrpərˌeɪtɪd ˈɪntu ər pɑrt əv, ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən ˈɛni ˈkɛrɪktərz. ju meɪ nɑt ˈpərʧəs, sɛl, gɪft, treɪd, ər ˈɔfər tɪ ˈpərʧəs, sɛl, gɪft ər treɪd, ˈɛni əˈkaʊnt ər ˈɛni ˈaɪtəmz ˌɪnˈkɔrpərˌeɪtɪd ˈɪntu ər pɑrt əv, ənd ˈɛni səʧ əˈtɛmpt ʃæl bi nəl ənd vɔɪd. 5 rulz əv ˈkɑndəkt pliz rɪˈfər tɪ www.tera.enmasse.com/rules-of-conduct*. 6 kənˈsɛnt tɪ juz əv ˈdætə ənd ˈpəblɪk dɪˈspleɪ fər ˈpərpəsɪz ðət ɛn mæs dimz ˈnɛsəˌsɛri, ˌɪnˈkludɪŋ bət nɑt ˈlɪmɪtɪd tɪ fəˈsɪləˌteɪtɪŋ ˈtɛknɪkəl prəˈtɛkʃən ˈmɛʒərz ər prəˈvaɪdɪŋ ˈsɔfˌwɛr ˈəpˌdeɪts, ˈkɑntɛnt, səˈpɔrt ənd ˈəðər ˈsərvɪsɪz tɪ ju, ju əˈgri ðət ɛn mæs ər ɪts ˈeɪʤənts meɪ kəˈlɛkt, juz, stɔr ənd trænzˈmɪt ˈtɛknɪkəl ənd rɪˈleɪtɪd ˌɪnˌfɔrˈmeɪʃən ðət aɪˈdɛntəˌfaɪz jʊr məˈʃin (ˌɪnˈkludɪŋ ən ˈɪntərˌnɛt ˈproʊtəˌkɔl ˈæˌdrɛs ənd məˈʃin ˈaɪˈdi), ˈɔpərˌeɪtɪŋ ˈsɪstəm, ˌæpləˈkeɪʃən ˈsɔfˌwɛr, ənd pərˈɪfərəl ˈhɑrdˌwɛr. ju əˈgri ɛn mæs ənd ɪts ˈeɪʤənts meɪ ˈɔlsoʊ juz ðɪs ˌɪnˌfɔrˈmeɪʃən ɪn ðə ˈægrəgət, ɪn ə fɔrm wɪʧ dɪz nɑt ˈpərsənəli aɪˈdɛntəˌfaɪ ju, tɪ ˌɪmˈpruv ɪts ˈprɑdəkts ənd ˈsərvɪsɪz ənd meɪ ʃɛr əˈnɑnəməs ˈægrəgət ˈdætə wɪθ θərd ˈpɑrtiz. ju əˈgri ðət ɛn mæs ənd ɪts ˈeɪʤənts meɪ kəˈlɛkt, juz, stɔr, trænzˈmɪt, ənd ˈpəblɪkli dɪˈspleɪ stəˈtɪstɪkəl ˈdætə rɪˈgɑrdɪŋ ðə geɪm pleɪ (ˌɪnˈkludɪŋ skɔrz, ˈræŋkɪŋz ənd əˈʧivmənts) ər aɪˈdɛntəˌfaɪ ˈkɑntɛnt ðət ɪz kriˈeɪtɪd ənd ʃɛrd baɪ ju ənd ˈəðər ˈjuzərz. ˈdætə ðət ˈpərsənəli aɪˈdɛntəˌfaɪz ju meɪ bi kəˈlɛktəd, juzd, stɔrd ənd trænzˈmɪtəd ɪn əˈkɔrdəns wɪθ ɛn ˈpraɪvəsi ˈpɑləsi ˈpəblɪʃt æt www.tera.enmasse.com/privacy-policy*. 7 ˈsərvɪs ˌɪntərˈəpʃənz ənd ˈʧeɪnʤɪz tɪ ɛn mæs rɪˈzərvz ðə raɪt tɪ ˌɪntərˈəpt ɔl ər ˈɛni ˈæˌspɛkt əv frəm taɪm tɪ taɪm ɔn ə ˈrɛgjələrli ˈskɛʤʊld ˈbeɪsɪs ər ˈəðərˌwaɪz wɪθ ər wɪˈθaʊt praɪər ˈnoʊtɪs ɪn ˈɔrdər tɪ pərˈfɔrm ˈmeɪntənəns. ju əˈgri ðət ɛn mæs wɪl nɑt bi ˈlaɪəbəl fər ˈɛni ˌɪntərˈəpʃən əv, dɪˈleɪ ər ˈfeɪljər tɪ pərˈfɔrm rɪˈzəltɪŋ frəm ˈɛni ˈkɔzɪz ˌwətsoʊˈɛvər. ju ækˈnɑlɪʤ ðət meɪ bi ˌɪntərˈəptɪd fər ˈrizənz bɪɔnd ðə kənˈtroʊl əv ɛn mæs, ənd ɛn mæs ˈkænɑt ˌgɛrənˈti ðət ju wɪl bi ˈeɪbəl tɪ ˈækˌsɛs ər jʊr əˈkaʊnt wɛˈnɛvər ju meɪ wɪʃ tɪ du soʊ. ɛn mæs həz ðə raɪt æt ˈɛni taɪm fər ˈɛni ˈrizən ər noʊ ˈrizən tɪ ʧeɪnʤ ɪˈlɪməˌneɪt ˈɛni ˈæˌspɛkt əv ɛz ɪt siz fɪt ɪn ɪts soʊl dɪˈskrɛʃən. 8 ˈpæʧɪz ənd ˈəpˌdeɪts frəm taɪm tɪ taɪm ɪn ɪts soʊl dɪˈskrɛʃən, ɛn mæs meɪ dɪˈplɔɪ ər prəˈvaɪd ˈpæʧɪz, ˈəpˌdeɪts ənd ˌmɑdəfəˈkeɪʃənz tɪ ðət məst bi ˌɪnˈstɔld fər ju tɪ kənˈtɪnju tɪ pleɪ. ɛn mæs meɪ ˈəpˌdeɪt riˈmoʊtli ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən ðə geɪm klaɪənt rɪˈzaɪdɪŋ ɔn jʊr məˈʃin, wɪˈθaʊt jʊr ˈnɑlɪʤ ənd ju hɪrˈbaɪ grænt ɛn mæs jʊr kənˈsɛnt tɪ dɪˈplɔɪ ənd səˈplaɪ səʧ ˈpæʧɪz, ˈəpˌdeɪts ənd ˌmɑdəfəˈkeɪʃənz. 9 tərməˈneɪʃən ənd səˈspɛnʃən ju ər ɛn mæs meɪ ˈtərməˌneɪt ðɪs tərmz əv ˈsərvɪs ənd jʊr əˈkaʊnt æt ˈɛni taɪm. ju meɪ ˈtərməˌneɪt ðɪs tərmz əv ˈsərvɪs æt ˈɛni taɪm baɪ ˈtərməˌneɪtɪŋ ɔl jʊr əˈkaʊnts ˈrɛʤɪstərd ɪn. ɛn mæs kən ˈtərməˌneɪt ðɪs tərmz əv ˈsərvɪs baɪ ˈæskɪŋ ju tɪ stɑp ˈjuzɪŋ, ənd, æt ɛn soʊl ənd ˈæbsəˌlut dɪˈskrɛʃən, baɪ prɪˈvɛnɪŋ jʊr ˈækˌsɛs tɪ jʊr əˈkaʊnt. əˈpɑn tərməˈneɪʃən əv ðɪs tərmz əv ˈsərvɪs, ju wɪl hæv noʊ ˈfərðər raɪts tɪ juz ər ɪts ˈsərvɪsɪz. jʊr ˈoʊnli raɪt ənd ˈrɛmədi wɪθ rɪˈspɛkt tɪ ˈɛni ˌdɪsætɪsˈfækʃən wɪθ ɪz tɪ ˈtərməˌneɪt ðɪs tərmz əv ˈsərvɪs ənd jʊr əˈkaʊnt ənd tɪ sis ˈjuzɪŋ ˈɛni ˈsərvɪsɪz əˈveɪləbəl θru, ˌɪnˈkludɪŋ kəmˌjunəˈkeɪʃən ˈfiʧərz. ju ækˈnɑlɪʤ ənd əˈgri ðət ju ər nɑt ɛnˈtaɪtəld tɪ ˈɛni ˈriˌfənd fər ˈɛni əˈmaʊnts ðət ju peɪd ˌbiˈfɔr ðə tərməˈneɪʃən. wɪˈθaʊt ˈlɪmətɪŋ ðə fɔrˈgoʊɪŋ, ɛn mæs ʃæl hæv ðə raɪt tɪ ˈtərməˌneɪt ðɪs tərmz əv ˈsərvɪs wɪθ ju, ˈifɛktɪv ˌɪˈmiˌdiətli, ˈtərməˌneɪt ər ˌtɛmpərˈɛrəli səˈspɛnd jʊr ˈækˌsɛs tɪ jʊr əˈkaʊnt ɔl ər ˈɛni pɑrt əv, wɪˈθaʊt ˈnoʊtɪs, ɪn ðə ɪˈvɛnt əv ˈɛni ˈkɑndəkt baɪ ju wɪʧ ɛn mæs, ɪn ɪts soʊl ənd ˈæbsəˌlut dɪˈskrɛʃən, kənˈsɪdərz tɪ bi ˌənækˈsɛptəbəl, ər fər ˈkɑndəkt ðət ɛn mæs bɪˈlivz ɪz ə vaɪəˈleɪʃən əv ðə tərmz ənd kənˈdɪʃənz kənˈteɪnd hɪˈrɪn ər ˈɛni ˈəðər ˈpɑləsiz əv ɛn mæs, ər fər ˈəðər ˈkɑndəkt wɪʧ ɛn mæs bɪˈlivz, ɪn ɪts soʊl ənd ˈæbsəˌlut dɪˈskrɛʃən, ɪz ˈhɑrmfəl tɪ ɛn mæs, ˈəðər ˈjuzərz, ər θərd ˈpɑrtiz. ɛn mæs rɪˈzərvz ðə raɪt tɪ dɪˈnaɪ ˈɛni əˈkaʊnt ˌrɛʤɪˈstreɪʃən ənd tɪ dɪˈnaɪ ˈækˌsɛs tɪ tɪ ˈɛni ˌɪndəˈvɪʤəwəl. ðə prəˈvɪʒənz əv ˈsɛkʃənz 1 2 6 9 10 ənd 11 ʃæl sərˈvaɪv ˈɛni tərməˈneɪʃən əv ðɪs tərmz əv ˈsərvɪs. 10 ˈʧeɪnʤɪz tɪ tərmz əv ˈsərvɪs ɛn mæs rɪˈzərvz ðə raɪt, æt ɪts soʊl ənd ˈæbsəˌlut dɪˈskrɛʃən, tɪ ʧeɪnʤ, ˈmɑdəˌfaɪ, æd tɪ, ˌsəpləˈmɛnt ər dɪˈlit ˈɛni əv ðə tərmz ənd kənˈdɪʃənz əv ðɪs tərmz əv ˈsərvɪs æt ˈɛni taɪm, ˌɪnˈkludɪŋ wɪˈθaʊt ˌlɪmɪˈteɪʃən ˈækˌsɛs ˈpɑləsiz, ðə əˌveɪləˈbɪlɪti əv ˈɛni ˈfiʧər əv, aʊərz əv əˌveɪləˈbɪlɪti, ˈkɑntɛnt, ˈdætə, ˈsɔfˌwɛr ər ɪkˈwɪpmənt ˈnidɪd tɪ ˈækˌsɛs, ˈifɛktɪv wɪθ ər wɪˈθaʊt praɪər ˈnoʊtɪs; prəˈvaɪdɪd, ˌhaʊˈɛvər, ðət ɛn mæs ˌɪnˈtɛndz tɪ dɪˈskloʊz məˈtɪriəl ˈʧeɪnʤɪz (ɛz dɪˈtərmənd ɪn ɛn soʊl ənd ˈæbsəˌlut dɪˈskrɛʃən) tɪ ju θru ˈɛni əv wən ər ə ˌkɑmbəˈneɪʃən əv: ə pæʧ ˈprɔˌsɛs, ər baɪ iˈmeɪl, ˈpoʊstəl meɪl, ˈwɛbˌsaɪt ˈpoʊstɪŋ, ər skrin. ɪf ju ˈkænɑt kəmˈplaɪ wɪθ ˈʧeɪnʤɪz tɪ ðɪs tərmz əv ˈsərvɪs, ər səʧ ˈʧeɪnʤɪz ər ˌənækˈsɛptəbəl tɪ ju, ju məst nɑt juz ər ˈækˌsɛs ənd jʊr əˈkaʊnt. kənˈtɪnjuɪŋ tɪ ˈækˌsɛs ər juz ˈfɑloʊɪŋ ˈɛni riˈvɪʒən tɪ ðɪs tərmz əv ˈsərvɪs ˈkɑnstəˌtuts jʊr kəmˈplit ənd ˌɪˈrɛvəkəbəl əkˈsɛptəns əv ˈɛni ənd ɔl səʧ ˈʧeɪnʤɪz. ɛn mæs meɪ ʧeɪnʤ, ˈmɑdəˌfaɪ, səˈspɛnd, ər dɪskənˈtɪnju ˈɛni ˈæˌspɛkt əv æt ˈɛni taɪm. ɛn mæs meɪ ˈɔlsoʊ ˌɪmˈpoʊz ˈlɪmɪts ɔn ˈsərtən ˈfiʧərz ər riˈstrɪkt jʊr ˈækˌsɛs tɪ pɑrts ər ɔl əv wɪˈθaʊt ˈnoʊtɪs ər ˌlaɪəˈbɪlɪti. ɪf ju du nɑt əˈgri tɪ ˈɛni nu tərmz, ər tɪ ˈɛni əv ðə tərmz ɪn ðɪs tərmz əv ˈsərvɪs, jʊr ˈoʊnli ˈrɛmədi ɪz tɪ nɑt ˈækˌsɛs ər juz ənd tɪ ˈkænsəl jʊr əˈkaʊnt. 11 ˌmɪsəˈleɪniəs ɪf ˈɛni prəˈvɪʒən əv ðɪs tərmz əv ˈsərvɪs ʃæl bi ənˈlɔfəl, vɔɪd, ər fər ˈɛni ˈrizən ˌənɛnˈfɔrsəbəl, ðɛn ðət prəˈvɪʒən ʃæl bi dimd frəm ðɪs tərmz əv ˈsərvɪs ənd ʃæl nɑt əˈfɛkt ðə vəˈlɪdɪti ənd ɛnˌfɔrsəˈbɪlɪti əv ˈɛni rɪˈmeɪnɪŋ prəˈvɪʒənz. ðɪs tərmz əv ˈsərvɪs ɪz ðə kəmˈplit ənd ɪkˈsklusɪv ˈsteɪtmənt əv ðə əˈgrimənt bɪtˈwin ju ənd ɛn mæs kənˈsərnɪŋ, ənd ðɪs tərmz əv ˈsərvɪs ˌsupərˈsidz ˈɛni praɪər ər kənˌtɛmpərˈeɪniəs əˈgrimənt, ˈiðər ˈɔrəl ər ˈrɪtən, ənd ˈɛni ˈəðər kəmˌjunəˈkeɪʃənz wɪθ rɪˈgɑrd bɪtˈwin ju ənd ɛn mæs; prəˈvaɪdɪd, ˌhaʊˈɛvər ðət ðɪs tərmz əv ˈsərvɪs ɪz ɪn əˈdɪʃən tɪ, ənd dɪz nɑt ˌriˈpleɪs ər səˈplænt ðə ˈpraɪvəsi ˈpɑləsi, ˈɛni ˈæpləkəbəl ɛnd ˈjuzər ˈlaɪsəns əˈgrimənt, ənd ˈɛni ˌsəpləˈmɛntəl əˈgrimənt. ðɪs tərmz əv ˈsərvɪs meɪ ˈoʊnli bi ˈmɑdəˌfaɪd ɛz sɛt fɔrθ hɪˈrɪn. ðə ˈsɛkʃən ˈhɛdɪŋz juzd hɪˈrɪn ər fər ˈrɛfərəns ˈoʊnli ənd ʃæl nɑt bi rɛd tɪ hæv ˈɛni ˈligəl ˈifɛkt. ju hɪrˈbaɪ ækˈnɑlɪʤ ðət ju hæv rɛd ənd ˌəndərˈstænd ðə ɛnd ˈjuzər ˈlaɪsəns əˈgrimənt ənd tərmz əv ˈsərvɪs ənd əˈgri ðət jʊr juz əv ðə ˈsərvɪs ɪz baʊnd baɪ ðə tərmz ənd kənˈdɪʃənz əˈbəv. |
february 25 will see atoms for peace a collaboration between thom yorke and the producer nigel release their debut album amok.
enlisting musicians flea (red hot chili peppers, the mars volta), joey waronker (drummer for beck and later rem) and mauro (percussionist for david byrne and others), atoms for peace formed as an attempt to recreate music from 2006 solo album the eraser in a live setting, but swiftly morphed into something different. in some senses a tribute to dance music, in others a celebration of the energy of live instrumentation, amok is an album that deliberately lines between electronic and acoustic instruments, between songs and sketches, and more. its lasting impression is of one of most distinctive musicians working with a freedom, and although the current climate quite allow for a in the vein of’s kid a, a record that feels brimming with possibility.
fact’s tom lea chatted to yorke and over soy (what else?) at west london studios about the influence of dance music on amok, the virtues of approaching dance music from a mindset, and more.
“we’re not just jamming or whatever, the whole spirit of it comes from the fact that informed by electronics.”
the obvious place to start would be atoms for formation it was a good four years ago you first started doing live shows.
thom yorke: “well it was born out of trying to play the eraser live.”
nigel: “thom called me out of blue, a couple of years after the eraser, and said that become obsessed with the idea of playing it live, but with latin percussion to try and make the electronic elements real.”
ty: “not using any or nuffinck. we talked about it, and i went home and went through the people i wanted to be in it, which were joey [waronker], you [nigel], flea and a percussionist. i emailed joey and flea, and i got a response within an hour, so it was on, really. and then we found mauro [refosco].”
it’s always been a tricky thing to perform an album like the eraser live. was there an element of wanting to take that challenge on?
ty: “there was an element of… well, you can always do some sort of translation into a live format. it might not be exactly how you envision it, but you can always do it. part of me wanted to play with some other people, part of me was curious to know what would happen with the beats that was a big part of it and i was also initially just feeling the songs. done this one thing on my own, agreed to do a solo gig at latitude or something [in 2009], and i was racking my brains as to how to play eraser on the piano or the bass, and i realised that it is possible. so it really start just from the aesthetic of electronics vs. live, but as soon as we got together it was quite a shock to have that thing electronics] inform how people play live. it was striking how it became, without that intention at all.”
it’s quite hard to pin down, on amok, how much of the percussion is organic and how much is electronic. a very percussive record, and the drums are usually quite high in the mix, but hard to figure out what.
ty: “we deliberately made it hard to know where the drums start and finish, and how they come together, so that you still retain the energy of that live thing but electronically informed. you know, not just jamming or whatever, the whole spirit of it comes from the fact informed by electronics.”
ng: “that became really obvious when we first started playing with joey and mauro. some of the rhythms on the eraser are really complicated, so watching someone work those out on instruments it was very unique. the basis of the new tracks were when we did the first atoms for peace gigs, and we realised we have enough material to play…”
ty: “like ‘what have you got?’ ‘fuck all!’ [laughs]”
ng: “that was the beginning of the album, per say. but then we had to take it to the band, and see how they interpret it, because some things worked [when performed that way], others were better kept electronic. a house between those two things like you say, sometimes you tell which is which.”
ty: “it sort of felt like a big release of these big possibilities that occurred to me when we first got together, but when it came to playing this new material with new musicians, but stuff that written on my own, and the two feed off each other… there was a nice energy within the band. it was quite a unique, weird position to be in, and a weird thing to do. like opening a big box, and i know what direction going to go in. got these bonkers rhythms made by machines, and musicians who can keep up with them no problem and the two can bounce off each other. quite something.”
“we’ve got these bonkers rhythms made by machines, and musicians who can keep up with them no problem and the two can bounce off each other. quite something.”
if you have opened an entire box worth of possibilities, how do you then condense that into an album? quite a short, concise record, as well.
ty: “well this was very much our first response to the situation. we did the three days of endless jamming thing, and it sort of formed into something. we think about it too much, it was just… there were a few gems of ideas that came together, it was an excuse to all hang out, and an excuse to work.”
ng: “when you talk about this box idea, it generates a lot of ideas that you can then sit in front of you and pick and choose from. saying box, but it was fun. it was more like a chocolate box really.”
a bento box?
ng: “if you will. ultimately, a lot of possibilities but we agree on what we like, and really really fun. the bottom line. really fun to play that stuff, and really fun having these musicians who can keep up with it.”
ty: “finishing it off was the tricky bit writing the words, as usual.”
when did it reach the point where it had gone beyond a means of making live material, and you realised there was an album in it?
ng: “i think we knew that straight off. the last three days of the tour, that was mostly dedicated to making new material.”
ty: “then we said ‘see you later chaps’, and went off and made it into an album.”
ng: “we quite know what was going to come out of those three days, but we knew that we were trying to make a record. seen the potential, and saw what it could turn into. given that it was a retrospective project taking [the eraser‘s] material and reinterpreting it and replaying it it was nice to then write some new material together that was inclusive.”
i thought it was interesting that amok references track titles from both the eraser [‘atoms for peace’] and’s hail to the thief [‘judge, jury and executioner’].
ty: “does it?”
yeah, ‘myxomatosis’ had the ‘judge, jury and executioner’ subtitle.
ty: “[laughs] that was a mistake. i forgot already used that! only got a limited wardrobe.”
so that deliberate?
ty: “no, genuinely forgotten that. you know, my lyric only so thick.” | ˈfɛbruˌɛri 25 wɪl si ˈætəmz fər pis ə kəˌlæbərˈeɪʃən bɪtˈwin tɑm jɔrk ənd ðə prəˈdusər ˈnaɪʤəl riˈlis ðɛr ˈdeɪbju ˈælbəm əˈmək. ɛnˈlɪstɪŋ mjuˈzɪʃənz fli (rɛd hɑt ˈʧɪli ˈpɛpərz, ðə mɑrz ˈvoʊltə), ʤoʊi wɔˈrɑŋkər (ˈdrəmər fər bɛk ənd ˈleɪtər rɛm) ənd ˈmɔroʊ (pərˈkəʃənɪst fər ˈdeɪvɪd bərn ənd ˈəðərz), ˈætəmz fər pis fɔrmd ɛz ən əˈtɛmpt tɪ ˈrɛkriˌeɪt mˈjuzɪk frəm 2006 ˈsoʊˌloʊ ˈælbəm ðə ɪˈreɪsər ɪn ə lɪv ˈsɛtɪŋ, bət sˈwɪftli mɔrft ˈɪntu ˈsəmθɪŋ ˈdɪfərənt. ɪn səm ˈsɛnsɪz ə ˈtrɪbjut tɪ dæns mˈjuzɪk, ɪn ˈəðərz ə ˌsɛləˈbreɪʃən əv ðə ˈɛnərʤi əv lɪv ˌɪnstrəˌmɛnˈteɪʃən, əˈmək ɪz ən ˈælbəm ðət dɪˈlɪbərətli laɪnz bɪtˈwin ˌɪˌlɛkˈtrɑnɪk ənd əˈkustɪk ˈɪnstrəmənts, bɪtˈwin sɔŋz ənd ˈskɛʧɪz, ənd mɔr. ɪts ˈlæstɪŋ ˌɪmˈprɛʃən ɪz əv wən əv moʊst dɪˈstɪŋktɪv mjuˈzɪʃənz ˈwərkɪŋ wɪθ ə ˈfridəm, ənd ˌɔlˈðoʊ ðə ˈkɑrənt ˈklaɪmɪt kwaɪt əˈlaʊ fər ə ɪn ðə veɪn əv kɪd ə, ə ˈrɛkərd ðət filz ˈbrɪmɪŋ wɪθ ˌpɑsəˈbɪləˌti. tɑm li ˈʧætɪd tɪ jɔrk ənd ˈoʊvər sɔɪ (wət ɛls?) æt wɛst ˈləndən ˈstudiˌoʊz əˈbaʊt ðə ˈɪnfluəns əv dæns mˈjuzɪk ɔn əˈmək, ðə ˈvərʧuz əv əˈproʊʧɪŋ dæns mˈjuzɪk frəm ə ˈmaɪndˌsɛt, ənd mɔr. nɑt ʤɪst ˈʤæmɪŋ ər ˌwəˈtɛvər, ðə hoʊl ˈspɪrɪt əv ɪt kəmz frəm ðə fækt ðət ˌɪnˈfɔrmd baɪ electronics.”*.” ðə ˈɑbviəs pleɪs tɪ stɑrt wʊd bi ˈætəmz fər fɔrˈmeɪʃən ɪt wɑz ə gʊd fɔr jɪrz əˈgoʊ ju fərst ˈstɑrtɪd duɪŋ lɪv ʃoʊz. tɑm jɔrk: ɪt wɑz bɔrn aʊt əv traɪɪŋ tɪ pleɪ ðə ɪˈreɪsər live.”*.” ˈnaɪʤəl: kɔld mi aʊt əv blu, ə ˈkəpəl əv jɪrz ˈæftər ðə ɪˈreɪsər, ənd sɛd ðət bɪˈkəm əbˈsɛst wɪθ ðə aɪˈdiə əv pleɪɪŋ ɪt lɪv, bət wɪθ ˈlætən pərˈkəʃən tɪ traɪ ənd meɪk ðə ˌɪˌlɛkˈtrɑnɪk ˈɛləmənts real.”*.” taɪ: ˈjuzɪŋ ˈɛni ər nuffinck*. wi tɔkt əˈbaʊt ɪt, ənd aɪ wɛnt hoʊm ənd wɛnt θru ðə ˈpipəl aɪ ˈwɔntɪd tɪ bi ɪn ɪt, wɪʧ wər ʤoʊi [wɔˈrɑŋkər], ju [ˈnaɪʤəl], fli ənd ə pərˈkəʃənɪst. aɪ iˈmeɪld ʤoʊi ənd fli, ənd aɪ gɑt ə rɪˈspɑns wɪˈθɪn ən aʊər, soʊ ɪt wɑz ɔn, ˈrɪli. ənd ðɛn wi faʊnd ˈmɔroʊ [refosco].”*].” ˈɔlˌweɪz bɪn ə ˈtrɪki θɪŋ tɪ pərˈfɔrm ən ˈælbəm laɪk ðə ɪˈreɪsər lɪv. wɑz ðɛr ən ˈɛləmənt əv ˈwɑnɪŋ tɪ teɪk ðət ˈʧælənʤ ɔn? taɪ: wɑz ən ˈɛləmənt of…*… wɛl, ju kən ˈɔlˌweɪz du səm sɔrt əv trænzˈleɪʃən ˈɪntu ə lɪv ˈfɔrˌmæt. ɪt maɪt nɑt bi ɪgˈzæktli haʊ ju ɛnˈvɪʒən ɪt, bət ju kən ˈɔlˌweɪz du ɪt. pɑrt əv mi ˈwɔntɪd tɪ pleɪ wɪθ səm ˈəðər ˈpipəl, pɑrt əv mi wɑz ˈkjʊriəs tɪ noʊ wət wʊd ˈhæpən wɪθ ðə bits ðət wɑz ə bɪg pɑrt əv ɪt ənd aɪ wɑz ˈɔlsoʊ ˌɪˈnɪʃəli ʤɪst ˈfilɪŋ ðə sɔŋz. dən ðɪs wən θɪŋ ɔn maɪ oʊn, əˈgrid tɪ du ə ˈsoʊˌloʊ gɪg æt ˈlætəˌtud ər ˈsəmθɪŋ [ɪn 2009 ənd aɪ wɑz ˈrækɪŋ maɪ breɪnz ɛz tɪ haʊ tɪ pleɪ ɪˈreɪsər ɔn ðə piˈænə ər ðə bæs, ənd aɪ ˈriəˌlaɪzd ðət ɪt ɪz ˈpɑsəbəl. soʊ ɪt ˈrɪli stɑrt ʤɪst frəm ðə ɛsˈθɛtɪk əv ˌɪˌlɛkˈtrɑnɪks ˈvərsəz. lɪv, bət ɛz sun ɛz wi gɑt təˈgɛðər ɪt wɑz kwaɪt ə ʃɑk tɪ hæv ðət θɪŋ ˌɪˌlɛkˈtrɑnɪks] ˌɪnˈfɔrm haʊ ˈpipəl pleɪ lɪv. ɪt wɑz ˈstraɪkɪŋ haʊ ɪt bɪˈkeɪm, wɪˈθaʊt ðət ˌɪnˈtɛnʧən æt all.”*.” kwaɪt hɑrd tɪ pɪn daʊn, ɔn əˈmək, haʊ məʧ əv ðə pərˈkəʃən ɪz ɔrˈgænɪk ənd haʊ məʧ ɪz ˌɪˌlɛkˈtrɑnɪk. ə ˈvɛri pərˈkəsəv ˈrɛkərd, ənd ðə drəmz ər ˈjuʒəwəli kwaɪt haɪ ɪn ðə mɪks, bət hɑrd tɪ ˈfɪgjər aʊt wət. taɪ: dɪˈlɪbərətli meɪd ɪt hɑrd tɪ noʊ wɛr ðə drəmz stɑrt ənd ˈfɪnɪʃ, ənd haʊ ðeɪ kəm təˈgɛðər, soʊ ðət ju stɪl rɪˈteɪn ðə ˈɛnərʤi əv ðət lɪv θɪŋ bət ˌɪˌlɛkˈtrɑnɪkəˌli ˌɪnˈfɔrmd. ju noʊ, nɑt ʤɪst ˈʤæmɪŋ ər ˌwəˈtɛvər, ðə hoʊl ˈspɪrɪt əv ɪt kəmz frəm ðə fækt ˌɪnˈfɔrmd baɪ electronics.”*.” ɪŋ: bɪˈkeɪm ˈrɪli ˈɑbviəs wɪn wi fərst ˈstɑrtɪd pleɪɪŋ wɪθ ʤoʊi ənd ˈmɔroʊ. səm əv ðə ˈrɪðəmz ɔn ðə ɪˈreɪsər ər ˈrɪli ˈkɑmpləˌkeɪtəd, soʊ ˈwɑʧɪŋ ˈsəmˌwən wərk ðoʊz aʊt ɔn ˈɪnstrəmənts ɪt wɑz ˈvɛri juˈnik. ðə ˈbeɪsɪs əv ðə nu træks wər wɪn wi dɪd ðə fərst ˈætəmz fər pis gɪgz, ənd wi ˈriəˌlaɪzd wi hæv ɪˈnəf məˈtɪriəl tɪ play…”*…” taɪ: hæv ju got?’*?’ all!’*!’ [laughs]”*]” ɪŋ: wɑz ðə bɪˈgɪnɪŋ əv ðə ˈælbəm, pər seɪ. bət ðɛn wi hæd tɪ teɪk ɪt tɪ ðə bænd, ənd si haʊ ðeɪ ˌɪnˈtərprət ɪt, bɪˈkəz səm θɪŋz wərkt [wɪn pərˈfɔrmd ðət weɪ], ˈəðərz wər ˈbɛtər kɛpt ˌɪˌlɛkˈtrɑnɪk. ə haʊs bɪtˈwin ðoʊz tu θɪŋz laɪk ju seɪ, ˈsəmˌtaɪmz ju tɛl wɪʧ ɪz which.”*.” taɪ: sɔrt əv fɛlt laɪk ə bɪg riˈlis əv ðiz bɪg ˌpɑsəˈbɪlətiz ðət əˈkərd tɪ mi wɪn wi fərst gɑt təˈgɛðər, bət wɪn ɪt keɪm tɪ pleɪɪŋ ðɪs nu məˈtɪriəl wɪθ nu mjuˈzɪʃənz, bət stəf ðət ˈrɪtən ɔn maɪ oʊn, ənd ðə tu fid ɔf iʧ other…*… ðɛr wɑz ə nis ˈɛnərʤi wɪˈθɪn ðə bænd. ɪt wɑz kwaɪt ə juˈnik, wɪrd pəˈzɪʃən tɪ bi ɪn, ənd ə wɪrd θɪŋ tɪ du. laɪk ˈoʊpənɪŋ ə bɪg bɑks, ənd aɪ noʊ wət dɪˈrɛkʃɪn goʊɪŋ tɪ goʊ ɪn. gɑt ðiz ˈbɑŋkərz ˈrɪðəmz meɪd baɪ məˈʃinz, ənd mjuˈzɪʃənz hu kən kip əp wɪθ ðɛm noʊ ˈprɑbləm ənd ðə tu kən baʊns ɔf iʧ ˈəðər. kwaɪt something.”*.” gɑt ðiz ˈbɑŋkərz ˈrɪðəmz meɪd baɪ məˈʃinz, ənd mjuˈzɪʃənz hu kən kip əp wɪθ ðɛm noʊ ˈprɑbləm ənd ðə tu kən baʊns ɔf iʧ ˈəðər. kwaɪt something.”*.” ɪf ju hæv ˈoʊpənd ən ɪnˈtaɪər bɑks wərθ əv ˌpɑsəˈbɪlətiz, haʊ du ju ðɛn kənˈdɛns ðət ˈɪntu ən ˈælbəm? kwaɪt ə ʃɔrt, kənˈsaɪs ˈrɛkərd, ɛz wɛl. taɪ: ðɪs wɑz ˈvɛri məʧ ɑr fərst rɪˈspɑns tɪ ðə ˌsɪʧuˈeɪʃən. wi dɪd ðə θri deɪz əv ˈɛndləs ˈʤæmɪŋ θɪŋ, ənd ɪt sɔrt əv fɔrmd ˈɪntu ˈsəmθɪŋ. wi θɪŋk əˈbaʊt ɪt tu məʧ, ɪt wɑz just…*… ðɛr wər ə fju ʤɛmz əv aɪˈdiəz ðət keɪm təˈgɛðər, ɪt wɑz ən ɪkˈskjuz tɪ ɔl hæŋ aʊt, ənd ən ɪkˈskjuz tɪ work.”*.” ɪŋ: ju tɔk əˈbaʊt ðɪs bɑks aɪˈdiə, ɪt ˈʤɛnərˌeɪts ə lɔt əv aɪˈdiəz ðət ju kən ðɛn sɪt ɪn frənt əv ju ənd pɪk ənd ʧuz frəm. seɪɪŋ bɑks, bət ɪt wɑz fən. ɪt wɑz mɔr laɪk ə ˈʧɔklət bɑks really.”*.” ə ˈbɛntoʊ bɑks? ɪŋ: ju wɪl. ˈəltəmətli, ə lɔt əv ˌpɑsəˈbɪlətiz bət wi əˈgri ɔn wət wi laɪk, ənd ˈrɪli ˈrɪli fən. ðə ˈbɑtəm laɪn. ˈrɪli fən tɪ pleɪ ðət stəf, ənd ˈrɪli fən ˈhævɪŋ ðiz mjuˈzɪʃənz hu kən kip əp wɪθ it.”*.” taɪ: ɪt ɔf wɑz ðə ˈtrɪki bɪt ˈraɪtɪŋ ðə wərdz, ɛz usual.”*.” wɪn dɪd ɪt riʧ ðə pɔɪnt wɛr ɪt hæd gɔn bɪɔnd ə minz əv ˈmeɪkɪŋ lɪv məˈtɪriəl, ənd ju ˈriəˌlaɪzd ðɛr wɑz ən ˈælbəm ɪn ɪt? ɪŋ: θɪŋk wi nu ðət streɪt ɔf. ðə læst θri deɪz əv ðə tʊr, ðət wɑz ˈmoʊstli ˈdɛdəkeɪtəd tɪ ˈmeɪkɪŋ nu material.”*.” taɪ: wi sɛd ju ˈleɪtər chaps’*’, ənd wɛnt ɔf ənd meɪd ɪt ˈɪntu ən album.”*.” ɪŋ: kwaɪt noʊ wət wɑz goʊɪŋ tɪ kəm aʊt əv ðoʊz θri deɪz, bət wi nu ðət wi wər traɪɪŋ tɪ meɪk ə ˈrɛkərd. sin ðə pəˈtɛnʃəl, ənd sɔ wət ɪt kʊd tərn ˈɪntu. ˈgɪvɪn ðət ɪt wɑz ə ˌrɛtrəˈspɛktɪv ˈprɑʤɛkt ˈteɪkɪŋ [ðə eraser‘s*] məˈtɪriəl ənd riɪnˈtərprətɪŋ ɪt ənd riˈpleɪɪŋ ɪt ɪt wɑz nis tɪ ðɛn raɪt səm nu məˈtɪriəl təˈgɛðər ðət wɑz inclusive.”*.” aɪ θɔt ɪt wɑz ˈɪntəˌrɛstɪŋ ðət əˈmək ˈrɛfərənsɪz træk ˈtaɪtəlz frəm boʊθ ðə ɪˈreɪsər fər peace’*’] ənd heɪl tɪ ðə θif [‘‘judge*, ˈʤʊri ənd executioner’*’]. taɪ: it?”*?” jæ, ‘‘myxomatosis’*’ hæd ðə ‘‘judge*, ˈʤʊri ənd executioner’*’ ˈsəbˌtaɪtəl. taɪ: “[“[laughs*] ðət wɑz ə mɪˈsteɪk. aɪ fərˈgɑt ɔˈrɛdi juzd ðət! ˈoʊnli gɑt ə ˈlɪmɪtɪd wardrobe.”*.” soʊ ðət dɪˈlɪbərˌeɪt? taɪ: ““no*, ˈʤɛnjuˌaɪnli fərˈgɑtən ðət. ju noʊ, maɪ ˈlɪrɪk ˈoʊnli soʊ thick.”*.” |
taking a good starting picture for creating a biometric passport photo is easy. ideally you have a helping hand for taking the photo, because shoulders and big parts of the upper body are shown on the final photo. your arms usually are not long for this job and sadly a selfie (without a stick) won't work.
at a pinch you can trigger your camera with the built-in timer. the camera then could be placed on a shelf or higboard, so it is at eye-level. you can only find a table? of course, you could alternatively crouch down or sit on the ground.
for best results take the photo at daytime. the person should look straight towards a window. the face then usually is well lit.
one last thing: face the camera directly and make sure to look straight into its lens. | ˈteɪkɪŋ ə gʊd ˈstɑrtɪŋ ˈpɪkʧər fər kriˈeɪtɪŋ ə ˌbaɪəˈmɛtrək ˈpæˌspɔrt ˈfoʊˌtoʊ ɪz ˈizi. aɪˈdili ju hæv ə ˈhɛlpɪŋ hænd fər ˈteɪkɪŋ ðə ˈfoʊˌtoʊ, bɪˈkəz ˈʃoʊldərz ənd bɪg pɑrts əv ðə ˈəpər ˈbɑdi ər ʃoʊn ɔn ðə ˈfaɪnəl ˈfoʊˌtoʊ. jʊr ɑrmz ˈjuʒəwəli ər nɑt lɔŋ fər ðɪs ʤɑb ənd ˈsædli ə ˈsɛlˌfi (wɪˈθaʊt ə stɪk) woʊnt wərk. æt ə pɪnʧ ju kən ˈtrɪgər jʊr ˈkæmərə wɪθ ðə ˈbɪlˌtɪn ˈtaɪmər. ðə ˈkæmərə ðɛn kʊd bi pleɪst ɔn ə ʃɛlf ər higboard*, soʊ ɪt ɪz æt eye-level*. ju kən ˈoʊnli faɪnd ə ˈteɪbəl? əv kɔrs, ju kʊd ɔlˈtərnətɪvli kraʊʧ daʊn ər sɪt ɔn ðə graʊnd. fər bɛst rɪˈzəlts teɪk ðə ˈfoʊˌtoʊ æt ˈdeɪˌtaɪm. ðə ˈpərsən ʃʊd lʊk streɪt təˈwɔrdz ə ˈwɪndoʊ. ðə feɪs ðɛn ˈjuʒəwəli ɪz wɛl lɪt. wən læst θɪŋ: feɪs ðə ˈkæmərə dɪˈrɛkli ənd meɪk ʃʊr tɪ lʊk streɪt ˈɪntu ɪts lɛnz. |
the affordable care open enrollment period for 2017 began yesterday. the timing have been worse for hillary clinton. across the country, exchanges opened with higher premiums, fewer carriers, less choice and smaller networks. did i mention higher premiums? forbes reports:
what discover is a brew of premium hikes, restrictive provider networks, and fewer coverage choices. many exchange customers will have only a single insurance provider to pick from. and more than a million enrollees will find that their current plans have vanished from the exchanges.
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for starters, rate hikes have reached levels unimaginable before. nationwide, the bronze exchange plan will cost over 28 percent more, on average, in 2017. and according to the department of health and human services (hhs), premium hikes in the 38 states covered under will rise by 25 percent. many areas will have it a lot worse. in phoenix, for instance, premiums for the cheapest bronze plan will surge more than 176 percent. in oklahoma city, prices are up nearly 80 percent; in chicago, almost 65 percent.
and that is when the exchanges work at all. here in minnesota, the web local version of yesterday. insurance applicants wasted hours trying to get through, encountering nothing but frustration. to the extent they were able to get information, they found big premium increases, declining coverage, smaller networks and fewer choices. in some areas of minnesota, there may not be a single insurer offering coverage by the time the enrollment period is over.
the situation was so bad that governor, mark dayton, blamed “robocalls” for bringing down the site, darkly hinting that republicans might be behind his failure. claim was absurd, but he needed to do something to fend off scandal: after spending $400 million, the state still have an insurance exchange that works. in fact, property taxes are going up all across minnesota as counties struggle to hire enough employees to accomplish manually what was supposed to happen electronically.
obamacare has always been unpopular, and it will become more unpopular every day as the enrollment period proceeds. in minnesota, private polling shows that is the number one issue with voters, and republican candidates are pounding on it, relentlessly. i assume something similar is going on in other states.
at the presidential level, i remember a campaign as as the one we have had this year. the personalities of the candidates have been almost the only issues the press has wanted to talk about. but across america, where families are struggling to pay their bills, is a for the democratic party.
i know a lot of undecided voters, but polls tell us there are quite a few. the disaster of could well be the issue that swings a critical mass of voters to say “no way” to a third obama term. it would be ironic if, after all of the bizarre nonsense we have lived through, an actual bread and butter issue eventually decides the race. | ðə əˈfɔrdəbəl kɛr ˈoʊpən ɛnˈroʊlmənt ˈpɪriəd fər 2017 bɪˈgæn ˈjɛstərˌdeɪ. ðə ˈtaɪmɪŋ hæv bɪn wərs fər ˈhɪləri ˈklɪntən. əˈkrɔs ðə ˈkəntri, ɪksˈʧeɪnʤɪz ˈoʊpənd wɪθ haɪər ˈprimiəmz, fjuər ˈkɛriərz, lɛs ʧɔɪs ənd sˈmɔlər ˈnɛtˌwərks. dɪd aɪ ˈmɛnʃən haɪər ˈprimiəmz? fɔrbz rɪˈpɔrts: wət dɪˈskəvər ɪz ə bru əv ˈprimiəm haɪks, riˈstrɪktɪv prəˈvaɪdər ˈnɛtˌwərks, ənd fjuər ˈkəvərɪʤ ˈʧɔɪsɪz. ˈmɛni ɪksˈʧeɪnʤ ˈkəstəmərz wɪl hæv ˈoʊnli ə ˈsɪŋgəl ˌɪnˈʃʊrəns prəˈvaɪdər tɪ pɪk frəm. ənd mɔr ðən ə ˈmɪljən ɛnˈroʊˈliz wɪl faɪnd ðət ðɛr ˈkɑrənt plænz hæv ˈvænɪʃt frəm ðə ɪksˈʧeɪnʤɪz. fər ˈstɑrtərz, reɪt haɪks hæv riʧt ˈlɛvəlz ˌənɪˈmæʤɪnəbəl ˌbiˈfɔr. ˈneɪʃənˈwaɪd, ðə brɑnz ɪksˈʧeɪnʤ plæn wɪl kɔst ˈoʊvər 28 pərˈsɛnt mɔr, ɔn ˈævərɪʤ, ɪn 2017 ənd əˈkɔrdɪŋ tɪ ðə dɪˈpɑrtmənt əv hɛlθ ənd ˈjumən ˈsərvɪsɪz (hhs*), ˈprimiəm haɪks ɪn ðə 38 steɪts ˈkəvərd ˈəndər wɪl raɪz baɪ 25 pərˈsɛnt. ˈmɛni ˈɛriəz wɪl hæv ɪt ə lɔt wərs. ɪn ˈfinɪks, fər ˈɪnstəns, ˈprimiəmz fər ðə ˈʧipəst brɑnz plæn wɪl sərʤ mɔr ðən 176 pərˈsɛnt. ɪn ˌoʊkləˈhoʊmə ˈsɪti, ˈpraɪsɪz ər əp ˈnɪrli 80 pərˈsɛnt; ɪn ʃəˈkɑˌgoʊ, ˈɔlˌmoʊst 65 pərˈsɛnt. ənd ðət ɪz wɪn ðə ɪksˈʧeɪnʤɪz wərk æt ɔl. hir ɪn ˌmɪnɪˈsoʊtə, ðə wɛb ˈloʊkəl ˈvərʒən əv ˈjɛstərˌdeɪ. ˌɪnˈʃʊrəns ˈæplɪkənts ˈweɪstɪd aʊərz traɪɪŋ tɪ gɪt θru, ɛnˈkaʊnərɪŋ ˈnəθɪŋ bət frəˈstreɪʃən. tɪ ðə ɪkˈstɛnt ðeɪ wər ˈeɪbəl tɪ gɪt ˌɪnˌfɔrˈmeɪʃən, ðeɪ faʊnd bɪg ˈprimiəm ˌɪnˈkrisɪz, dɪˈklaɪnɪŋ ˈkəvərɪʤ, sˈmɔlər ˈnɛtˌwərks ənd fjuər ˈʧɔɪsɪz. ɪn səm ˈɛriəz əv ˌmɪnɪˈsoʊtə, ðɛr meɪ nɑt bi ə ˈsɪŋgəl ˌɪnˈʃʊrər ˈɔfərɪŋ ˈkəvərɪʤ baɪ ðə taɪm ðə ɛnˈroʊlmənt ˈpɪriəd ɪz ˈoʊvər. ðə ˌsɪʧuˈeɪʃən wɑz soʊ bæd ðət ˈgəvərnər, mɑrk ˈdeɪtən, bleɪmd ““robocalls”*” fər ˈbrɪŋɪŋ daʊn ðə saɪt, ˈdɑrkli ˈhɪntɪŋ ðət rɪˈpəblɪkənz maɪt bi bɪˈhaɪnd hɪz ˈfeɪljər. kleɪm wɑz əbˈsərd, bət hi ˈnidɪd tɪ du ˈsəmθɪŋ tɪ fɛnd ɔf ˈskændəl: ˈæftər ˈspɛndɪŋ 400 ˈmɪljən, ðə steɪt stɪl hæv ən ˌɪnˈʃʊrəns ɪksˈʧeɪnʤ ðət wərks. ɪn fækt, ˈprɑpərti ˈtæksɪz ər goʊɪŋ əp ɔl əˈkrɔs ˌmɪnɪˈsoʊtə ɛz ˈkaʊntiz ˈstrəgəl tɪ haɪər ɪˈnəf ɪmˈplɔɪiz tɪ əˈkɑmplɪʃ ˈmænjuəli wət wɑz səˈpoʊzd tɪ ˈhæpən ˌɪˌlɛkˈtrɑnɪkəˌli. həz ˈɔlˌweɪz bɪn ˌənˈpɑpjələr, ənd ɪt wɪl bɪˈkəm mɔr ˌənˈpɑpjələr ˈɛvəri deɪ ɛz ðə ɛnˈroʊlmənt ˈpɪriəd prəˈsidz. ɪn ˌmɪnɪˈsoʊtə, ˈpraɪvət ˈpoʊlɪŋ ʃoʊz ðət ɪz ðə ˈnəmbər wən ˈɪʃu wɪθ ˈvoʊtərz, ənd rɪˈpəblɪkən ˈkænədɪts ər ˈpaʊndɪŋ ɔn ɪt, rɪˈlɛntləsli. aɪ əˈsum ˈsəmθɪŋ ˈsɪmələr ɪz goʊɪŋ ɔn ɪn ˈəðər steɪts. æt ðə ˌprɛzɪˈdɛnʃəl ˈlɛvəl, aɪ rɪˈmɛmbər ə kæmˈpeɪn ɛz ɛz ðə wən wi hæv hæd ðɪs jɪr. ðə ˌpərsəˈnælɪtiz əv ðə ˈkænədɪts hæv bɪn ˈɔlˌmoʊst ðə ˈoʊnli ˈɪʃuz ðə prɛs həz ˈwɔntɪd tɪ tɔk əˈbaʊt. bət əˈkrɔs əˈmɛrɪkə, wɛr ˈfæməliz ər ˈstrəgəlɪŋ tɪ peɪ ðɛr bɪlz, ɪz ə fər ðə ˌdɛməˈkrætɪk ˈpɑrti. aɪ noʊ ə lɔt əv ˌəndɪˈsaɪdɪd ˈvoʊtərz, bət poʊlz tɛl ˈjuˈɛs ðɛr ər kwaɪt ə fju. ðə dɪˈzæstər əv kʊd wɛl bi ðə ˈɪʃu ðət swɪŋz ə ˈkrɪtɪkəl mæs əv ˈvoʊtərz tɪ seɪ way”*” tɪ ə θərd ˌoʊˈbɑmə tərm. ɪt wʊd bi aɪˈrɑnɪk ɪf, ˈæftər ɔl əv ðə bɪˈzɑr ˈnɑnsɛns wi hæv lɪvd θru, ən ˈækʧəwəl brɛd ənd ˈbətər ˈɪʃu ɪˈvɛnʧəwəli ˌdɪˈsaɪdz ðə reɪs. |
bitcoin continues to outperform every reserve and fiat currency across the world. in sign of an increased confidence in the future of the, barry investment trust (bit) has doubled its initial public offering (ipo) amount to $1.
an amendment filed with the us securities and exchange commission (sec) on thursday includes the new figure as the agency its march decision to deny the market access.
by outperforming the us dollar by almost 50 percent, surpassed the growth of the mexican peso, silver, gold and russian ruble to become the best performing currency so far in 2017.
fiat, gold, silver behind
according to a chart provided by data analyst kinsmann, price outpaced other currencies and safe haven assets such as gold and silver with significantly wide margins, with the mexican peso and silver, the third and fourth best performing currencies and assets year to date barely achieving a 12 percent change against the us dollar.
altcoins, fairy tale
thus far, 2017 has been a successful year for both investors and alternative (altcoin) traders, with leading or crypto assets such as achieving a $5 market cap in early april.
in january, the market cap of fell short of $1. within four months, ether price, the native token of, increased by over five times.
the growth of can be attributed to the formation of the enterprise alliance and its growing development community participated by large-scale corporations, organizations and businesses.
bitcoin moves
the market, however, experienced some major changes in its ecosystem earlier this year.
to begin with, the philippines and japan legalized and its businesses in their respective regions. the indian government announced the likelihood of a regulatory framework for being implemented by as early as may. some of largest retail giants including bic camera, which hold a massive influence over the japanese technology and consumer markets, began to accept payments at their locations.
the major driving force of price in 2017 is suspected to be the resolution of the current problems. the one cap on block size is causing congestion, a drastic increase in fees at times and long confirmation times.
if issues are addressed within this year, with innovative solutions such as segregated witness (segwit), andrew extension blocks or other potential emerging solutions, price will most likely demonstrate an exponential mid and long-term increase.
on april 26, reported that officially surpassed $1,300, breaking its previous all-time high price established at the $1,277 margin. however, reported that most analysts see a high level of instability in the current price trend due to the banking issues of leading exchanges such as and okcoin.
if the conflict between banks and exchanges are addressed, issue is solved and mainstream adoption in japan, india and philippines continue, price will likely demonstrate an exponential mid and long-term growth.
read more: how to buy: best practices, where to buy, tips | bitcoin* kənˈtɪnjuz tɪ ˈaʊtpərˌfɔrm ˈɛvəri rɪˈzərv ənd faɪæt ˈkərənsi əˈkrɔs ðə wərld. ɪn saɪn əv ən ˌɪnˈkrist ˈkɑnfədɛns ɪn ðə fˈjuʧər əv ðə, ˈbɛri ˌɪnˈvɛstmənt trəst (bɪt) həz ˈdəbəld ɪts ˌɪˈnɪʃəl ˈpəblɪk ˈɔfərɪŋ (ipo*) əˈmaʊnt tɪ 1. ən əˈmɛndmənt faɪld wɪθ ðə ˈjuˈɛs sɪˈkjʊrətiz ənd ɪksˈʧeɪnʤ kəˈmɪʃən (sɛk) ɔn ˈθərzˌdeɪ ˌɪnˈkludz ðə nu ˈfɪgjər ɛz ðə ˈeɪʤənsi ɪts mɑrʧ dɪˈsɪʒən tɪ dɪˈnaɪ ðə ˈmɑrkɪt ˈækˌsɛs. baɪ ˈaʊtpərˌfɔrmɪŋ ðə ˈjuˈɛs ˈdɔlər baɪ ˈɔlˌmoʊst 50 pərˈsɛnt, sərˈpæst ðə groʊθ əv ðə ˈmɛksəkən ˈpeɪsoʊ, ˈsɪlvər, goʊld ənd ˈrəʃən ˈrubəl tɪ bɪˈkəm ðə bɛst pərˈfɔrmɪŋ ˈkərənsi soʊ fɑr ɪn 2017 faɪæt, goʊld, ˈsɪlvər bɪˈhaɪnd əˈkɔrdɪŋ tɪ ə ʧɑrt prəˈvaɪdɪd baɪ ˈdætə ˈænəlɪst kinsmann*, praɪs ˈaʊtˌpeɪst ˈəðər ˈkərənsiz ənd seɪf ˈheɪvən ˈæˌsɛts səʧ ɛz goʊld ənd ˈsɪlvər wɪθ sɪgˈnɪfɪkəntli waɪd ˈmɑrʤənz, wɪθ ðə ˈmɛksəkən ˈpeɪsoʊ ənd ˈsɪlvər, ðə θərd ənd fɔrθ bɛst pərˈfɔrmɪŋ ˈkərənsiz ənd ˈæˌsɛts jɪr tɪ deɪt ˈbɛrli əˈʧivɪŋ ə 12 pərˈsɛnt ʧeɪnʤ əˈgɛnst ðə ˈjuˈɛs ˈdɔlər., ˈfɛri teɪl ðəs fɑr, 2017 həz bɪn ə səkˈsɛsfəl jɪr fər boʊθ ˌɪnˈvɛstərz ənd ɔlˈtərnətɪv (altcoin*) ˈtreɪdərz, wɪθ ˈlidɪŋ ər ˈkrɪptoʊ ˈæˌsɛts səʧ ɛz əˈʧivɪŋ ə 5 ˈmɑrkɪt kæp ɪn ˈərli ˈeɪprəl. ɪn ˈʤænjuˌɛri, ðə ˈmɑrkɪt kæp əv fɛl ʃɔrt əv 1. wɪˈθɪn fɔr mənθs, ˈiθər praɪs, ðə ˈneɪtɪv ˈtoʊkən əv, ˌɪnˈkrist baɪ ˈoʊvər faɪv taɪmz. ðə groʊθ əv kən bi əˈtrɪbjətəd tɪ ðə fɔrˈmeɪʃən əv ðə ˈɛnərˌpraɪz əˈlaɪəns ənd ɪts groʊɪŋ dɪˈvɛləpmənt kəmˈjunɪti pɑrˈtɪsəˌpeɪtɪd baɪ ˈlɑrʤˌskeɪl ˌkɔrpərˈeɪʃənz, ˌɔrgənəˈzeɪʃənz ənd ˈbɪznɪsɪz. muvz ðə ˈmɑrkɪt, ˌhaʊˈɛvər, ɪkˈspɪriənst səm ˈmeɪʤər ˈʧeɪnʤɪz ɪn ɪts ˈikoʊˌsɪstəm ˈərliər ðɪs jɪr. tɪ bɪˈgɪn wɪθ, ðə ˈfɪləˌpinz ənd ʤəˈpæn ˈligəˌlaɪzd ənd ɪts ˈbɪznɪsɪz ɪn ðɛr rɪˈspɛktɪv ˈriʤənz. ðə ˈɪndiən ˈgəvərnmənt əˈnaʊnst ðə ˈlaɪkliˌhʊd əv ə ˈrɛgjələˌtɔri ˈfreɪmˌwərk fər biɪŋ ˈɪmpləˌmɛnəd baɪ ɛz ˈərli ɛz meɪ. səm əv ˈlɑrʤəst ˈriˌteɪl ʤaɪənts ˌɪnˈkludɪŋ bɪk ˈkæmərə, wɪʧ hoʊld ə ˈmæsɪv ˈɪnfluəns ˈoʊvər ðə ˌʤæpəˈniz tɛkˈnɑləʤi ənd kənˈsumər ˈmɑrkɪts, bɪˈgæn tɪ əkˈsɛpt ˈpeɪmənts æt ðɛr loʊˈkeɪʃənz. ðə ˈmeɪʤər ˈdraɪvɪŋ fɔrs əv praɪs ɪn 2017 ɪz səˈspɛktɪd tɪ bi ðə ˌrɛzəˈluʃən əv ðə ˈkɑrənt ˈprɑbləmz. ðə wən kæp ɔn blɑk saɪz ɪz ˈkɔzɪŋ kənˈʤɛsʧən, ə ˈdræstɪk ˌɪnˈkris ɪn fiz æt taɪmz ənd lɔŋ ˌkɑnfərˈmeɪʃən taɪmz. ɪf ˈɪʃuz ər əˈdrɛst wɪˈθɪn ðɪs jɪr, wɪθ ˈɪnəˌveɪtɪv səˈluʃənz səʧ ɛz ˈsɛgrəˌgeɪtɪd ˈwɪtnəs (segwit*), ˈændru ɪkˈstɛnʃən blɑks ər ˈəðər pəˈtɛnʃəl ˈimərʤɪŋ səˈluʃənz, praɪs wɪl moʊst ˈlaɪkli ˈdɛmənˌstreɪt ən ˌɛkspoʊˈnɛnʃəl mɪd ənd ˈlɔŋˈtərm ˌɪnˈkris. ɔn ˈeɪprəl 26 ˌriˈpɔrtəd ðət əˈfɪʃəli sərˈpæst ˈbreɪkɪŋ ɪts ˈpriviəs ˌɔlˈtaɪm haɪ praɪs ɪˈstæblɪʃt æt ðə ˈmɑrʤən. ˌhaʊˈɛvər, ˌriˈpɔrtəd ðət moʊst ˈænəlɪsts si ə haɪ ˈlɛvəl əv ˌɪnstəˈbɪlɪti ɪn ðə ˈkɑrənt praɪs trɛnd du tɪ ðə ˈbæŋkɪŋ ˈɪʃuz əv ˈlidɪŋ ɪksˈʧeɪnʤɪz səʧ ɛz ənd okcoin*. ɪf ðə ˈkɑnflɪkt bɪtˈwin bæŋks ənd ɪksˈʧeɪnʤɪz ər əˈdrɛst, ˈɪʃu ɪz sɑlvd ənd ˈmeɪnˌstrim əˈdɑpʃən ɪn ʤəˈpæn, ˈɪndiə ənd ˈfɪləˌpinz kənˈtɪnju, praɪs wɪl ˈlaɪkli ˈdɛmənˌstreɪt ən ˌɛkspoʊˈnɛnʃəl mɪd ənd ˈlɔŋˈtərm groʊθ. rɛd mɔr: haʊ tɪ baɪ: bɛst ˈpræktɪsɪz, wɛr tɪ baɪ, tɪps |
(cnn) a new rap video from snoop has stirred controversy with its mock execution of a clown dressed as president donald trump.
the video for "lavender" (nightfall) ft. & snoop dropped this weekend and features the rapper and a cast of clowns, including one played by actor michael rapaport.
the single is a of a track by and.
snoop's video takes on hot button issues including police shootings.
but the most controversial aspect of it is a clown dubbed "ronald klump."
in a mock breaking news clip, klump is seen at a "clown house" press conference where the tv news crawl reads "ronald klump wants to deport alls."
later, snoop is seen firing a fake pistol at klump as he stands with his hands raised.
the klump character also appears at the end of the video, in chains.
cnn has reached out to reps for snoop for comment.
at least one member of congress is not thrilled about the creativity.
senator marco rubio made headlines during his run for the presidency when he revealed he was a lover of west coast hip hop.
but the politician told snoop shouldn't have taken aim at trump in the video.
"we've had presidents assassinated before in this country, so anything like that is something people should be really careful about," rubio said. "i think people can disagree on policy, but we've got to be careful about that kind of thing because the wrong person sees that and gets the wrong idea and you could have a real problem."
the rapper told billboard he has several issues with the new president -- everything from his election to the proposed travel ban.
"it's a lot of clown s*** going on that we could just sit and talk on the phone all day about, but it's a few issues that we really wanted to lock into [for the video] like police, the president and just life in general," snoop said.
he added that he didn't make the four and a half minute long video, which was directed by jesse wellens and james defina, to elicit a reaction from either trump or his critics.
"i just put it out because i feel like it's something that's missing," he said. "any time i drop something, i'm trying to fill in a void."
on wednesday trump a response.
can you imagine what the outcry would be if @snoopdogg, failing career and all, had aimed and fired the gun at president obama? jail time! donald j. trump (@realdonaldtrump) march 15, 2017
"can you imagine what the outcry would be if @snoopdogg, failing career and all, had aimed and fired the gun at president obama," he. "jail time!" | (ˈsiˈɛˈnɛn) ə nu ræp ˈvɪdioʊ frəm snup həz stərd ˈkɑntrəˌvərsi wɪθ ɪts mɑk ˌɛksəˈkjuʃən əv ə klaʊn drɛst ɛz ˈprɛzɪdənt ˈdɑnəld trəmp. ðə ˈvɪdioʊ fər "ˈlævəndər" (ˈnaɪtˌfɔl) ft*. snup drɑpt ðɪs ˈwiˌkɪnd ənd ˈfiʧərz ðə ˈræpər ənd ə kæst əv klaʊnz, ˌɪnˈkludɪŋ wən pleɪd baɪ ˈæktər ˈmaɪkəl ˈræpəˌpɔrt. ðə ˈsɪŋgəl ɪz ə əv ə træk baɪ ənd. ˈvɪdioʊ teɪks ɔn hɑt ˈbətən ˈɪʃuz ˌɪnˈkludɪŋ pəˈlis ˈʃutɪŋz. bət ðə moʊst ˌkɑntrəˈvərʃəl ˈæˌspɛkt əv ɪt ɪz ə klaʊn dəbd "ˈrɑnəld kləmp." ɪn ə mɑk ˈbreɪkɪŋ nuz klɪp, kləmp ɪz sin æt ə "klaʊn haʊs" prɛs ˈkɑnfərəns wɛr ðə ˌtɛləˈvɪʒən nuz krɔl ridz "ˈrɑnəld kləmp wɔnts tɪ dɪˈpɔrt ɔl doggs*." ˈleɪtər, snup ɪz sin ˈfaɪərrɪŋ ə feɪk ˈpɪstəl æt kləmp ɛz hi stændz wɪθ hɪz hænz reɪzd. ðə kləmp ˈkɛrɪktər ˈɔlsoʊ əˈpɪrz æt ðə ɛnd əv ðə ˈvɪdioʊ, ɪn ʧeɪnz. ˈsiˈɛˈnɛn həz riʧt aʊt tɪ rɛps fər snup fər ˈkɑmɛnt. æt list wən ˈmɛmbər əv ˈkɑŋgrəs ɪz nɑt θrɪld əˈbaʊt ðə ˌkrieɪˈtɪvəti. ˈsɛnətər ˈmɑrkoʊ ˈrubioʊ meɪd ˈhɛˌdlaɪnz ˈdʊrɪŋ hɪz rən fər ðə ˈprɛzɪdənsi wɪn hi rɪˈvild hi wɑz ə ˈləvər əv wɛst koʊst hɪp hɑp. bət ðə ˌpɑləˈtɪʃən toʊld snup ˈʃʊdənt hæv ˈteɪkən eɪm æt trəmp ɪn ðə ˈvɪdioʊ. "wiv hæd ˈprɛzɪˌdɛnts əˈsæsəˌneɪtəd ˌbiˈfɔr ɪn ðɪs ˈkəntri, soʊ ˈɛniˌθɪŋ laɪk ðət ɪz ˈsəmθɪŋ ˈpipəl ʃʊd bi ˈrɪli ˈkɛrfəl əˈbaʊt," ˈrubioʊ sɛd. "aɪ θɪŋk ˈpipəl kən dɪsəˈgri ɔn ˈpɑləsi, bət wiv gɑt tɪ bi ˈkɛrfəl əˈbaʊt ðət kaɪnd əv θɪŋ bɪˈkəz ðə rɔŋ ˈpərsən siz ðət ənd gɪts ðə rɔŋ aɪˈdiə ənd ju kʊd hæv ə ril ˈprɑbləm." ðə ˈræpər toʊld ˈbɪlˌbɔrd hi həz ˈsɛvərəl ˈɪʃuz wɪθ ðə nu ˈprɛzɪdənt ˈɛvriˌθɪŋ frəm hɪz ɪˈlɛkʃən tɪ ðə prəˈpoʊzd ˈtrævəl bæn. "ɪts ə lɔt əv klaʊn goʊɪŋ ɔn ðət wi kʊd ʤɪst sɪt ənd tɔk ɔn ðə foʊn ɔl deɪ əˈbaʊt, bət ɪts ə fju ˈɪʃuz ðət wi ˈrɪli ˈwɔntɪd tɪ lɑk ˈɪntu [fər ðə ˈvɪdioʊ] laɪk pəˈlis, ðə ˈprɛzɪdənt ənd ʤɪst laɪf ɪn ˈʤɛnərəl," snup sɛd. hi ˈædɪd ðət hi ˈdɪdənt meɪk ðə fɔr ənd ə hæf ˈmɪnət lɔŋ ˈvɪdioʊ, wɪʧ wɑz dɪˈrɛktɪd baɪ ˈʤɛsi ˈwɛlənz ənd ʤeɪmz dɪˈfinə, tɪ ɪˈlɪsɪt ə riˈækʃən frəm ˈiðər trəmp ər hɪz ˈkrɪtɪks. "aɪ ʤɪst pʊt ɪt aʊt bɪˈkəz aɪ fil laɪk ɪts ˈsəmθɪŋ ðæts ˈmɪsɪŋ," hi sɛd. "ˈɛni taɪm aɪ drɔp ˈsəmθɪŋ, əm traɪɪŋ tɪ fɪl ɪn ə vɔɪd." ɔn ˈwɛnzˌdeɪ trəmp ə rɪˈspɑns. kən ju ˌɪˈmæʤən wət ðə ˈaʊtˌkraɪ wʊd bi ɪf @snoopdogg*, ˈfeɪlɪŋ kərɪr ənd ɔl, hæd eɪmd ənd faɪərd ðə gən æt ˈprɛzɪdənt ˌoʊˈbɑmə? ʤeɪl taɪm! ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) mɑrʧ 15 2017 "kən ju ˌɪˈmæʤən wət ðə ˈaʊtˌkraɪ wʊd bi ɪf @snoopdogg*, ˈfeɪlɪŋ kərɪr ənd ɔl, hæd eɪmd ənd faɪərd ðə gən æt ˈprɛzɪdənt ˌoʊˈbɑmə," hi. "ʤeɪl taɪm!" |
new westminster, united traveled to queens park, new westminster, on thursday june 6 to take on the league leaders khalsa sporting club with first place on the line.
goals from the leading scorer (9) kellan brown, andrew weishaar and matt sanchez, secured the victory for united and moved them into a first place tie with khalsa at the top of the league table. the hammers remain undefeated “away” so far this season.
match gallery: at
“tonight was a total team effort as all players present made contributions to earning three points at khalsa,” said a pleased head coach lance calloway.
in the minute kellan brown intercepted a pass from the khalsa center back and put the hammers up.
in the minute matt sanchez sent a cross into the box that was met by andrew weishaar, who put it home to double the bellingham lead to by halftime.
in the minute sanchez was on the scoring end as he took a from oscar jimenez and gave united a big cushion.
khalsa sporting club kept fighting and pulled one back in the minute, however the hammers defense secured the three points by blanking the canadians the rest of the way.
bellingham’s joel grossman anchored the best defense and put on a “silver reef hammer man of the match” performance, shutting down the prolific scoring threat of highly skilled forwards.
with the win has an identical record with khalsa. both sides have 16 standings points.
the hammers next match is at home on sunday, june 9 at 3 pm at civic stadium against metro-ford.
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advertisements | nu ˌwɛstˈmɪnstər, juˈnaɪtɪd ˈtrævəld tɪ kwinz pɑrk, nu ˌwɛstˈmɪnstər, ɔn ˈθərzˌdeɪ ʤun 6 tɪ teɪk ɔn ðə lig ˈlidərz ˈkɑlsə ˈspɔrtɪŋ kləb wɪθ fərst pleɪs ɔn ðə laɪn. goʊlz frəm ðə ˈlidɪŋ ˈskɔrər 9 ˈkɛlən braʊn, ˈændru ˈwaɪʃɑr ənd mæt ˈsænʧɛz, sɪˈkjʊrd ðə ˈvɪktəri fər juˈnaɪtɪd ənd muvd ðɛm ˈɪntu ə fərst pleɪs taɪ wɪθ ˈkɑlsə æt ðə tɔp əv ðə lig ˈteɪbəl. ðə ˈhæmərz rɪˈmeɪn ˌəndɪˈfitɪd ““away”*” soʊ fɑr ðɪs ˈsizən. mæʧ ˈgæləri: æt wɑz ə ˈtoʊtəl tim ˈɛfərt ɛz ɔl pleɪərz ˈprɛzənt meɪd ˌkɑntrəˈbjuʃənz tɪ ˈərnɪŋ θri pɔɪnts æt khalsa,”*,” sɛd ə plizd hɛd koʊʧ læns ˈkæloʊˌweɪ. ɪn ðə ˈmɪnət ˈkɛlən braʊn ˌɪnərˈsɛptɪd ə pæs frəm ðə ˈkɑlsə ˈsɛnər bæk ənd pʊt ðə ˈhæmərz əp ɪn ðə ˈmɪnət mæt ˈsænʧɛz sɛnt ə krɔs ˈɪntu ðə bɑks ðət wɑz mɛt baɪ ˈændru ˈwaɪʃɑr, hu pʊt ɪt hoʊm tɪ ˈdəbəl ðə ˈbɛlɪŋˌhæm lɛd tɪ baɪ ˈhæfˌtaɪm. ɪn ðə ˈmɪnət ˈsænʧɛz wɑz ɔn ðə ˈskɔrɪŋ ɛnd ɛz hi tʊk ə frəm ˈɔskər ˌhɪˈmɛˌnɛz ənd geɪv juˈnaɪtɪd ə bɪg ˈkʊʃən. ˈkɑlsə ˈspɔrtɪŋ kləb kɛpt ˈfaɪtɪŋ ənd pʊld wən bæk ɪn ðə ˈmɪnət, ˌhaʊˈɛvər ðə ˈhæmərz dɪˈfɛns sɪˈkjʊrd ðə θri pɔɪnts baɪ ˈblæŋkɪŋ ðə kəˈneɪdiənz ðə rɛst əv ðə weɪ. ʤoʊəl ˈgroʊsmən ˈæŋkərd ðə bɛst dɪˈfɛns ənd pʊt ɔn ə rif ˈhæmər mæn əv ðə match”*” pərˈfɔrməns, ˈʃətɪŋ daʊn ðə proʊˈlɪfɪk ˈskɔrɪŋ θrɛt əv ˈhaɪli skɪld ˈfɔrwərdz. wɪθ ðə wɪn həz ən aɪˈdɛntɪkəl ˈrɛkərd wɪθ ˈkɑlsə. boʊθ saɪdz hæv 16 ˈstændɪŋz pɔɪnts. ðə ˈhæmərz nɛkst mæʧ ɪz æt hoʊm ɔn ˈsənˌdi, ʤun 9 æt 3 piɛm æt ˈsɪvɪk ˈsteɪdiəm əˈgɛnst metro-ford*. ˈloʊkəl ˈsɑkər nuz ɪz ˈspɑnsərd baɪ proʊ ˈrufɪŋ ˌnɔrθˈwɛst, ˈkərklənd, ˈbɛlvˌju, siˈætəl, ˈrɛdmənd, woodinville*, ˈfɛdərəl weɪ, ˈɛvərət, sˈnɑhəmɪʃ, issaquah*, ˈrɛntən, kɛnt, ˈbɑθəl, ˈɛdməndz ˈwɔʃɪŋtən ˈrufɪŋ ˈkəmpəˌni. ˈædvərˌtaɪzmənts |
“honestly, at a certain point it just became the norm.”
i’m sitting in a basement with drew goodman. now retired, drew spent 34 years as the voice of the colorado rockies. drew now spends his time gardening and watching his grandsons play basketball. he usually watch baseball these days.
“you thought, for a while, ‘ok, the losing streak is bad but just probability that win eventually.’ only, they. they never could,” drew sighs as he speaks these words. difficult for him. “at least over now.”
drew able to announce the last one, the game they finally won. but it bother him.
“would it have been a relief? probably. would it have changed anything for me? no.”
drew’s story is a story many have now. for 20 years, the rockies never won a baseball game. they played over games and lost every single one. it defied logic, reason, math, religion, life. it was the craziest streak in sports and when it finally ended on june 22, 2037, it felt like we lost one of most insane storylines. every summer for two decades, we knew the rockies were going to lose. it was as predictable as death and taxes. now, changed.
the football friday documentary series presents:
june 22, 2037: an oral history
on june 21, 2017 the rockies entered a game against the arizona on a modest winning streak. it was looking like a pretty good season; the rockies sat 21 games over .500 at that point. then, the losing started.
“in hindsight i guess we seen it coming,” former rockies player pat told me. i met with pat in the new restaurant he just opened, “pat’s steaks.” pretty good.
“jeff gave up that inning, we shrugged it off. how baseball is sometimes, you know? but then it just kept coming.”
the rockies lost their next 89 games to finish 2017 with a record.
“at a certain point it just became a joke to even us,” said. “how in the world could this keep happening?”
losing 89 straight games was the first defiance of logic in this historic streak. eventually, it went from bad play to bad luck to acts of god.
former rockies general manager jeff fathom that the losing streak could keep going.
“we thought, ‘ok, 89 losses to end the just terrible.’ but a new year, a new chance,” jeff told me.
the rockies lost all 162 games in 2018.
“by june of that year we thought, ‘are we cursed?’ surely we must be cursed.”
the curse narrative dominated 2019. so much so that the rockies hired a priest to the stadium and the clubhouse of demons. they also brought in a voodoo priestess and, secretly, a wiccan.
“dick [monfort, rockies owner] was really concerned that we had definitely encountered dark spirits. i mean, it was an over losing streak by that point. how could he not?” recalled. “we had a priest, we had voodoo, we had some guy who advertised on facebook that he had killed 20 demons with his bare hands. it was insanity, but we were on the brink.”
in 2020, was fired. even loyalty protect a team that lost 500 straight games.
“i think when we even sign a single draft pick because of our streak, when the writing was on the wall.”
bridich now operates a law firm in sandusky, ohio.
the rockies continued to lose, dropping every single game in the entire decade of the 2020s. the team was now ranked in attendance, still in front of oakland and tampa bay. there were a few games in 2031 when the crowd was composed of fewer people than the rosters of both teams. it was dismal; supreme president zuckerberg proclaimed the rockies a disaster zone at the start of his third term in 2033.
it seemed like the rockies were never going to june 22, 2037 came.
the rockies were at home playing the san francisco giants. the giants, winners of three world championships two decades prior, had also come on hard times. due to buster arrest and ban from baseball for being a huge handsome jerk, the giants had been forced to reshape their organizational structure. this proved to be a difficult task and the team had not had a winning season since 2019.
the rockies started rookie zoran, their rookie of the season. was one of the better rockies prospect starters, having been signed from the serbian penal league and sporting a era in triple-a. it may not look like it, but today was going to be day.
the rockies trailed early, a usual sign that the loss was once again definite. but then something began to happen that happened in two decades.
the rockies began to rally.
“it was a hit and then another hit and then all of the sudden they had strung together five in a row. they led lifelong rockies fan nick stephens said. a fun fact about nick is he was super wrong in 2017 about greg holland and for a time, people blamed the losing streak on him.
nick now operates a car wash that is definitely a legitimate business and any inquiries into his finances should be directed to his lawyer.
“they went into the eighth up and you thought ‘could this be the one?’” nick continued from the luxurious mansion he purchased with legitimate earnings from his car wash business. “they brought in their set up guy, a former pitcher they had found in nebraska or something.”
that pitcher they found in nebraska? jamie moyer. jamie was now a school teacher in nebraska when the rockies called him up asking for one last ride. his fastball topped out at 48 mph but the rockies had to take what they could get.
“when they called i remember telling my wife how stupid it was,” jamie tells me. “i’m [freaking] 74 years old.”
74 or not, jamie moyer pitched a clean eighth inning on june 22. a minor miracle in itself, striking out two giants and forcing hunter pence to pop up.
“it was nice to get hunter out because we go to the same osteoporosis doctor.”
then came the ninth inning.
“[the rockies] were still up three runs but we all remembered in 2025 when they led in the ninth inning and lost stephens says of a truly gut-wrenching, inning in may of 2025 against the dodgers. “it always seemed like that would happen.”
the rockies’ closer was a man few saw pitch. but as he came out for the ninth inning, it was impossible to not cheer a little. maybe, this was finally it.
“i even remember the name, the closer,” stephens said. “but as he out i clapped a little. it was starting to feel real.”
the closer nobody could remember was grayson grayson. just 11 when the losing streak started, the unfortunately named grayson was an accountant for the rockies when they asked if anyone could pitch. he said he could throw a decent change up, so they signed him. he still had to work as an accountant and pitch in his free time. he had racked up 13 appearances in six seasons.
“i really have a gameplan, no,” grayson said. he still works for the rockies. “i never really did. i only had two pitches and my fastball was only 82 mph. so my plan every time was to just throw it and hope they hit a home run.”
that hope, combined with that change up, worked to perfection.
“i got all three guys out on the first pitch. they all popped it up. i almost felt like they were trying to lose.”
the giants went down quietly, the crowd roared. some, like stephens, cried.
“i bawled my [freaking] eyes out,” stephens recalled.
for fans of the rockies, the win meant they could move on. even though they finished the 2037 season, they knew they could win again.
for, it was something he even notice.
“i hope the guys celebrated, i wish i been there. but the number one cow lawyer in ohio now. cow law takes no breaks.”
for goodman, the former broadcaster who dedicated his life to the team, it was just another day in the garden.
“to tell you the truth, i forgot they were playing that day.”
june 22, 2037 will always be a moment in history. the day a losing streak ended, the day hope could reign again.
all hail president supreme zuckerberg.
all hail baseball. | ““honestly*, æt ə ˈsərtən pɔɪnt ɪt ʤɪst bɪˈkeɪm ðə norm.”*.” ˈsɪtɪŋ ɪn ə ˈbeɪsmənt wɪθ dru ˈgʊdmən. naʊ rɪˈtaɪrd, dru spɛnt 34 jɪrz ɛz ðə vɔɪs əv ðə ˌkɑlərˈɑdoʊ ˈrɑkiz. dru naʊ spɛnz hɪz taɪm ˈgɑrdənɪŋ ənd ˈwɑʧɪŋ hɪz ˈgrændˌsənz pleɪ ˈbæskətˌbɔl. hi ˈjuʒəwəli wɔʧ ˈbeɪsˈbɔl ðiz deɪz. θɔt, fər ə waɪl, ‘‘ok*, ðə ˈluzɪŋ strik ɪz bæd bət ʤɪst ˌprɑbəˈbɪləˌti ðət wɪn eventually.’*.’ ˈoʊnli, ðeɪ. ðeɪ ˈnɛvər could,”*,” dru saɪz ɛz hi spiks ðiz wərdz. ˈdɪfəkəlt fər ɪm. list ˈoʊvər now.”*.” dru ˈeɪbəl tɪ əˈnaʊns ðə læst wən, ðə geɪm ðeɪ ˈfaɪnəli wən. bət ɪt ˈbɑðər ɪm. ɪt hæv bɪn ə rɪˈlif? ˈprɑbəˌbli. wʊd ɪt hæv ʧeɪnʤd ˈɛniˌθɪŋ fər mi? no.”*.” ˈstɔri ɪz ə ˈstɔri ˈmɛni hæv naʊ. fər 20 jɪrz, ðə ˈrɑkiz ˈnɛvər wən ə ˈbeɪsˈbɔl geɪm. ðeɪ pleɪd ˈoʊvər geɪmz ənd lɔst ˈɛvəri ˈsɪŋgəl wən. ɪt dɪˈfaɪd ˈlɑʤɪk, ˈrizən, mæθ, rɪˈlɪʤən, laɪf. ɪt wɑz ðə ˈkreɪziəst strik ɪn spɔrts ənd wɪn ɪt ˈfaɪnəli ˈɛndɪd ɔn ʤun 22 2037 ɪt fɛlt laɪk wi lɔst wən əv moʊst ˌɪnˈseɪn ˈstɔriˌlaɪnz. ˈɛvəri ˈsəmər fər tu ˈdɛkeɪdz, wi nu ðə ˈrɑkiz wər goʊɪŋ tɪ luz. ɪt wɑz ɛz prɪˈdɪktəbəl ɛz dɛθ ənd ˈtæksɪz. naʊ, ʧeɪnʤd. ðə ˈfʊtˌbɔl ˈfraɪˌdeɪ ˌdɑkjəˈmɛnəri ˈsɪriz ˈprɛzənts: ʤun 22 2037 ən ˈɔrəl ˈhɪstəri ɔn ʤun 21 2017 ðə ˈrɑkiz ˈɛnərd ə geɪm əˈgɛnst ðə ˌɛrɪˈzoʊnə ɔn ə ˈmɑdəst ˈwɪnɪŋ strik. ɪt wɑz ˈlʊkɪŋ laɪk ə ˈprɪti gʊd ˈsizən; ðə ˈrɑkiz sæt 21 geɪmz ˈoʊvər 500 æt ðət pɔɪnt. ðɛn, ðə ˈluzɪŋ ˈstɑrtɪd. ˈhaɪnˌsaɪt aɪ gɛs wi sin ɪt coming,”*,” ˈfɔrmər ˈrɑkiz pleɪər pæt toʊld mi. aɪ mɛt wɪθ pæt ɪn ðə nu ˈrɛˌstrɑnt hi ʤɪst ˈoʊpənd, steaks.”*.” ˈprɪti gʊd. geɪv əp ðət ˈɪnɪŋ, wi ʃrəgd ɪt ɔf. haʊ ˈbeɪsˈbɔl ɪz ˈsəmˌtaɪmz, ju noʊ? bət ðɛn ɪt ʤɪst kɛpt coming.”*.” ðə ˈrɑkiz lɔst ðɛr nɛkst 89 geɪmz tɪ ˈfɪnɪʃ 2017 wɪθ ə ˈrɛkərd. ə ˈsərtən pɔɪnt ɪt ʤɪst bɪˈkeɪm ə ʤoʊk tɪ ˈivɪn us,”*,” sɛd. ɪn ðə wərld kʊd ðɪs kip happening?”*?” ˈluzɪŋ 89 streɪt geɪmz wɑz ðə fərst dɪˈfaɪəns əv ˈlɑʤɪk ɪn ðɪs hɪˈstɔrɪk strik. ɪˈvɛnʧəwəli, ɪt wɛnt frəm bæd pleɪ tɪ bæd lək tɪ ækts əv gɑd. ˈfɔrmər ˈrɑkiz ˈʤɛnərəl ˈmænɪʤər ʤɛf ˈfæðəm ðət ðə ˈluzɪŋ strik kʊd kip goʊɪŋ. θɔt, ‘‘ok*, 89 ˈlɔsɪz tɪ ɛnd ðə ʤɪst terrible.’*.’ bət ə nu jɪr, ə nu chance,”*,” ʤɛf toʊld mi. ðə ˈrɑkiz lɔst ɔl 162 geɪmz ɪn 2018 ʤun əv ðət jɪr wi θɔt, wi cursed?’*?’ ˈʃʊrli wi məst bi cursed.”*.” ðə kərs ˈnɛrətɪv ˈdɑməˌneɪtəd 2019 soʊ məʧ soʊ ðət ðə ˈrɑkiz haɪərd ə prist tɪ ðə ˈsteɪdiəm ənd ðə ˈkləˌbhaʊs əv ˈdimənz. ðeɪ ˈɔlsoʊ brɔt ɪn ə ˈvuˌdu ˈpristəs ənd, ˈsikrɪtli, ə ˈwɪkən. [ˈmɑnfərt, ˈrɑkiz ˈoʊnər] wɑz ˈrɪli kənˈsərnd ðət wi hæd ˈdɛfənətli ɪnˈkaʊnərd dɑrk ˈspɪrɪts. aɪ min, ɪt wɑz ən ˈoʊvər ˈluzɪŋ strik baɪ ðət pɔɪnt. haʊ kʊd hi not?”*?” rɪˈkɔld. hæd ə prist, wi hæd ˈvuˌdu, wi hæd səm gaɪ hu ˌædvərˈtaɪzd ɔn ˈfeɪsˌbʊk ðət hi hæd kɪld 20 ˈdimənz wɪθ hɪz bɛr hænz. ɪt wɑz ˌɪnˈsænɪti, bət wi wər ɔn ðə brink.”*.” ɪn 2020 wɑz faɪərd. ˈivɪn ˈlɔɪəlti prəˈtɛkt ə tim ðət lɔst 500 streɪt geɪmz. θɪŋk wɪn wi ˈivɪn saɪn ə ˈsɪŋgəl dræft pɪk bɪˈkəz əv ɑr strik, wɪn ðə ˈraɪtɪŋ wɑz ɔn ðə wall.”*.” naʊ ˈɑpərˌeɪts ə lɔ fərm ɪn sænˈdəski, oʊˈhaɪoʊ. ðə ˈrɑkiz kənˈtɪnjud tɪ luz, ˈdrɑpɪŋ ˈɛvəri ˈsɪŋgəl geɪm ɪn ðə ɪnˈtaɪər ˈdɛkeɪd əv ðə 2020s*. ðə tim wɑz naʊ ræŋkt ɪn əˈtɛndəns, stɪl ɪn frənt əv ˈoʊklənd ənd ˈtæmpə beɪ. ðɛr wər ə fju geɪmz ɪn 2031 wɪn ðə kraʊd wɑz kəmˈpoʊzd əv fjuər ˈpipəl ðən ðə ˈrɑstərz əv boʊθ timz. ɪt wɑz ˈdɪzməl; səˈprim ˈprɛzɪdənt ˈzəkərˌbərg proʊˈkleɪmd ðə ˈrɑkiz ə dɪˈzæstər zoʊn æt ðə stɑrt əv hɪz θərd tərm ɪn 2033 ɪt simd laɪk ðə ˈrɑkiz wər ˈnɛvər goʊɪŋ tɪ ʤun 22 2037 keɪm. ðə ˈrɑkiz wər æt hoʊm pleɪɪŋ ðə sæn frænˈsɪskoʊ ʤaɪənts. ðə ʤaɪənts, ˈwɪnərz əv θri wərld ˈʧæmpiənˌʃɪps tu ˈdɛkeɪdz praɪər, hæd ˈɔlsoʊ kəm ɔn hɑrd taɪmz. du tɪ ˈbəstər ərˈɛst ənd bæn frəm ˈbeɪsˈbɔl fər biɪŋ ə juʤ ˈhænsəm ʤərk, ðə ʤaɪənts hæd bɪn fɔrst tɪ riˈʃeɪp ðɛr ˌɔrgənəˈzeɪʃənəl ˈstrəkʧər. ðɪs pruvd tɪ bi ə ˈdɪfəkəlt tæsk ənd ðə tim hæd nɑt hæd ə ˈwɪnɪŋ ˈsizən sɪns 2019 ðə ˈrɑkiz ˈstɑrtɪd ˈrʊki ˈzɔrən, ðɛr ˈrʊki əv ðə ˈsizən. wɑz wən əv ðə ˈbɛtər ˈrɑkiz ˈprɑspɛkt ˈstɑrtərz, ˈhævɪŋ bɪn saɪnd frəm ðə ˈsərbiən ˈpinəl lig ənd ˈspɔrtɪŋ ə ˈɪrə ɪn triple-a*. ɪt meɪ nɑt lʊk laɪk ɪt, bət təˈdeɪ wɑz goʊɪŋ tɪ bi deɪ. ðə ˈrɑkiz treɪld ˈərli, ə ˈjuʒəwəl saɪn ðət ðə lɔs wɑz wəns əˈgɛn ˈdɛfənət. bət ðɛn ˈsəmθɪŋ bɪˈgæn tɪ ˈhæpən ðət ˈhæpənd ɪn tu ˈdɛkeɪdz. ðə ˈrɑkiz bɪˈgæn tɪ ˈræli. wɑz ə hɪt ənd ðɛn əˈnəðər hɪt ənd ðɛn ɔl əv ðə ˈsədən ðeɪ hæd strəŋ təˈgɛðər faɪv ɪn ə roʊ. ðeɪ lɛd ˈlaɪˈflɔŋ ˈrɑkiz fæn nɪk ˈstɛfənz sɛd. ə fən fækt əˈbaʊt nɪk ɪz hi wɑz ˈsupər rɔŋ ɪn 2017 əˈbaʊt grɛg ˈhɑlənd ənd fər ə taɪm, ˈpipəl bleɪmd ðə ˈluzɪŋ strik ɔn ɪm. nɪk naʊ ˈɑpərˌeɪts ə kɑr wɑʃ ðət ɪz ˈdɛfənətli ə ləˈʤɪtəmət ˈbɪznɪs ənd ˈɛni ˌɪnkˈwaɪəriz ˈɪntu hɪz ˈfaɪˌnænsɪz ʃʊd bi dɪˈrɛktɪd tɪ hɪz ˈlɔjər. wɛnt ˈɪntu ðə eɪθ əp ənd ju θɔt ðɪs bi ðə one?’”*?’” nɪk kənˈtɪnjud frəm ðə ləgˈʒəriəs ˈmænʃən hi ˈpərʧəst wɪθ ləˈʤɪtəmət ˈərnɪŋz frəm hɪz kɑr wɑʃ ˈbɪznɪs. brɔt ɪn ðɛr sɛt əp gaɪ, ə ˈfɔrmər ˈpɪʧər ðeɪ hæd faʊnd ɪn nəˈbræskə ər something.”*.” ðət ˈpɪʧər ðeɪ faʊnd ɪn nəˈbræskə? ˈʤeɪmi mɔɪər. ˈʤeɪmi wɑz naʊ ə skul ˈtiʧər ɪn nəˈbræskə wɪn ðə ˈrɑkiz kɔld ɪm əp ˈæskɪŋ fər wən læst raɪd. hɪz ˈfæstˌbɔl tɑpt aʊt æt 48 ˈɛmˈpiˈeɪʧ bət ðə ˈrɑkiz hæd tɪ teɪk wət ðeɪ kʊd gɪt. ðeɪ kɔld aɪ rɪˈmɛmbər ˈtɛlɪŋ maɪ waɪf haʊ ˈstupɪd ɪt was,”*,” ˈʤeɪmi tɛlz mi. [ˈfrikɪŋ] 74 jɪrz old.”*.” 74 ər nɑt, ˈʤeɪmi mɔɪər pɪʧt ə klin eɪθ ˈɪnɪŋ ɔn ʤun 22 ə ˈmaɪnər ˈmɪrəkəl ɪn ˌɪtˈsɛlf, ˈstraɪkɪŋ aʊt tu ʤaɪənts ənd ˈfɔrsɪŋ ˈhəntər pɛns tɪ pɑp əp. wɑz nis tɪ gɪt ˈhəntər aʊt bɪˈkəz wi goʊ tɪ ðə seɪm ˌɔstiˌɑpərˈoʊsɪs doctor.”*.” ðɛn keɪm ðə naɪnθ ˈɪnɪŋ. ˈrɑkiz] wər stɪl əp θri rənz bət wi ɔl rɪˈmɛmbərd ɪn 2025 wɪn ðeɪ lɛd ɪn ðə naɪnθ ˈɪnɪŋ ənd lɔst ˈstɛfənz sɪz əv ə ˈtruli gut-wrenching*, ˈɪnɪŋ ɪn meɪ əv 2025 əˈgɛnst ðə ˈdɑʤərz. ˈɔlˌweɪz simd laɪk ðət wʊd happen.”*.” ðə rockies’*’ ˈkloʊzər wɑz ə mæn fju sɔ pɪʧ. bət ɛz hi keɪm aʊt fər ðə naɪnθ ˈɪnɪŋ, ɪt wɑz ˌɪmˈpɑsəbəl tɪ nɑt ʧɪr ə ˈlɪtəl. ˈmeɪbi, ðɪs wɑz ˈfaɪnəli ɪt. ˈivɪn rɪˈmɛmbər ðə neɪm, ðə closer,”*,” ˈstɛfənz sɛd. ɛz hi aʊt aɪ klæpt ə ˈlɪtəl. ɪt wɑz ˈstɑrtɪŋ tɪ fil real.”*.” ðə ˈkloʊzər ˈnoʊˌbɑˌdi kʊd rɪˈmɛmbər wɑz ˈgreɪsən ˈgreɪsən. ʤɪst 11 wɪn ðə ˈluzɪŋ strik ˈstɑrtɪd, ðə ənˈfɔrʧənətli neɪmd ˈgreɪsən wɑz ən əˈkaʊntənt fər ðə ˈrɑkiz wɪn ðeɪ æst ɪf ˈɛniˌwən kʊd pɪʧ. hi sɛd hi kʊd θroʊ ə ˈdisənt ʧeɪnʤ əp, soʊ ðeɪ saɪnd ɪm. hi stɪl hæd tɪ wərk ɛz ən əˈkaʊntənt ənd pɪʧ ɪn hɪz fri taɪm. hi hæd rækt əp 13 əˈpɪrənsəz ɪn sɪks ˈsizənz. ˈrɪli hæv ə gameplan*, no,”*,” ˈgreɪsən sɛd. hi stɪl wərks fər ðə ˈrɑkiz. ˈnɛvər ˈrɪli dɪd. aɪ ˈoʊnli hæd tu ˈpɪʧɪz ənd maɪ ˈfæstˌbɔl wɑz ˈoʊnli 82 ˈɛmˈpiˈeɪʧ. soʊ maɪ plæn ˈɛvəri taɪm wɑz tɪ ʤɪst θroʊ ɪt ənd hoʊp ðeɪ hɪt ə hoʊm run.”*.” ðət hoʊp, kəmˈbaɪnd wɪθ ðət ʧeɪnʤ əp, wərkt tɪ pərˈfɛkʃən. gɑt ɔl θri gaɪz aʊt ɔn ðə fərst pɪʧ. ðeɪ ɔl pɑpt ɪt əp. aɪ ˈɔlˌmoʊst fɛlt laɪk ðeɪ wər traɪɪŋ tɪ lose.”*.” ðə ʤaɪənts wɛnt daʊn kˈwaɪətli, ðə kraʊd rɔrd. səm, laɪk ˈstɛfənz, kraɪd. bɔld maɪ [ˈfrikɪŋ] aɪz out,”*,” ˈstɛfənz rɪˈkɔld. fər fænz əv ðə ˈrɑkiz, ðə wɪn mɛnt ðeɪ kʊd muv ɔn. ˈivɪn ðoʊ ðeɪ ˈfɪnɪʃt ðə 2037 ˈsizən ðeɪ nu ðeɪ kʊd wɪn əˈgɛn. fər, ɪt wɑz ˈsəmθɪŋ hi ˈivɪn ˈnoʊtɪs. hoʊp ðə gaɪz ˈsɛləˌbreɪtɪd, aɪ wɪʃ aɪ bɪn ðɛr. bət ðə ˈnəmbər wən kaʊ ˈlɔjər ɪn oʊˈhaɪoʊ naʊ. kaʊ lɔ teɪks noʊ breaks.”*.” fər ˈgʊdmən, ðə ˈfɔrmər ˈbrɔdˌkæstər hu ˈdɛdəkeɪtəd hɪz laɪf tɪ ðə tim, ɪt wɑz ʤɪst əˈnəðər deɪ ɪn ðə ˈgɑrdən. tɛl ju ðə truθ, aɪ fərˈgɑt ðeɪ wər pleɪɪŋ ðət day.”*.” ʤun 22 2037 wɪl ˈɔlˌweɪz bi ə ˈmoʊmənt ɪn ˈhɪstəri. ðə deɪ ə ˈluzɪŋ strik ˈɛndɪd, ðə deɪ hoʊp kʊd reɪn əˈgɛn. ɔl heɪl ˈprɛzɪdənt səˈprim ˈzəkərˌbərg. ɔl heɪl ˈbeɪsˈbɔl. |
there has been a lot of movement in western natural gas midstream industry despite challenging market conditions, including bearish natural gas prices, continued competition from us shale production, and a lack of global market reach through export capabilities. natural gas still see long term opportunity in western canada, and it is an opportune time to save on skilled labour costs by proceeding with projects in stronger, but still fragile markets for oil.
two major deals occurred in 2016: inter pipeline purchased williams cos. entire canadian portfolio, and merged with spectra energy to become north largest energy infrastructure company. an-spectra merger would create an entity worth an estimated $165 billion cdn. the deals represent a continued trend in western natural gas industry, as players cope with restructured natural gas flows and growth that is more centered on industrial demand versus exports.
likewise, demand remains a strong driver of and duvernay liquids production in west central alberta and north east b.c. midstream/kkr, pembina, and continue to capture this growing demand with new field plant, fractionation, storage and pipeline capacity. despite the drop in global oil prices, producers still require an increasing supply ofs, plus), to transport bitumen through pipelines to western canada, ontario and the united states markets. about of new bitumen production capacity is coming online between 2015 and 2019. the alberta energy regulator (aer) expects demand fors to exceed by 2019, up from over in 2015. about of plus volumes were from alberta in 2015.
finally, despite a complete change in the economic environment, underlying conditions remain that would benefit new petrochemical development in alberta. an abundance of cheap propane feedstock could stay long term driven, in part, by condensate demand for, current lack of west coast export capacity, and the explosion of competing production (including propane) in the united states. the anticipates that western canadian field propane volumes will increase by to in 2019. as shown by the aer, alberta will continue to produce a large majority of that supply.
to date, 16 project proponents have applied for the alberta $500 million petrochemical diversification program, which seeks to expand methane and propane value chains in the province. while the alberta government continues to assess program applications, inter pipeline and a separate joint venture of pembina and petrochemicals industries company (pic) continue to assess viability of petrochemical projects in alberta. for inter pipeline and pembina, proceeding with petrochemical development would advance their value chain beyond being just a feedstock transporter. however, a few hard questions remain:
is the petrochemical diversification program enough of an incentive to help offset costs associated with the new carbon tax?
what will the market for propylene and polypropylene look like after competing gulf coast plants are fully constructed and operational? will the global market be able to absorb new volumes from alberta projects in the coming decades?
how much export capacity will be constructed on west coast?
on a side note, statistics canada reported that e.i. recipients have crested, and were below in august 2016 from above earlier in the summer. hopefully, the downward trend continues with the addition of new jobs. click here for more detailed project information found in engineering market (om) report section.
justin works for engineering, a trusted company that in asset integrity management and technical services. | ðɛr həz bɪn ə lɔt əv ˈmuvmənt ɪn ˈwɛstərn ˈnæʧərəl gæs ˈmɪdˌstrim ˈɪndəstri dɪˈspaɪt ˈʧælənʤɪŋ ˈmɑrkɪt kənˈdɪʃənz, ˌɪnˈkludɪŋ ˈbɛrɪʃ ˈnæʧərəl gæs ˈpraɪsɪz, kənˈtɪnjud ˌkɑmpəˈtɪʃən frəm ˈjuˈɛs ʃeɪl pərˈdəkʃən, ənd ə læk əv ˈgloʊbəl ˈmɑrkɪt riʧ θru ˈɛkspɔrt ˌkeɪpəˈbɪlətiz. ˈnæʧərəl gæs stɪl si lɔŋ tərm ˌɑpərˈtunəti ɪn ˈwɛstərn ˈkænədə, ənd ɪt ɪz ən ˌɑpərˈtun taɪm tɪ seɪv ɔn skɪld ˈleɪbər kɔsts baɪ prəˈsidɪŋ wɪθ ˈprɑʤɛkts ɪn ˈstrɔŋgər, bət stɪl ˈfræʤəl ˈmɑrkɪts fər ɔɪl. tu ˈmeɪʤər dilz əˈkərd ɪn 2016 ˌɪnˈtər ˈpaɪˌplaɪn ˈpərʧəst ˈwɪljəmz kɔs. ɪnˈtaɪər kəˈneɪdiən pɔrtˈfoʊliˌoʊ, ənd mərʤd wɪθ ˈspɛktrə ˈɛnərʤi tɪ bɪˈkəm nɔrθ ˈlɑrʤəst ˈɛnərʤi ˌɪnfrəˈstrəkʧər ˈkəmpəˌni. ən ˈmərʤər wʊd kriˈeɪt ən ˈɛntɪti wərθ ən ˈɛstəˌmeɪtɪd 165 ˈbɪljən cdn*. ðə dilz ˌrɛprɪˈzɛnt ə kənˈtɪnjud trɛnd ɪn ˈwɛstərn ˈnæʧərəl gæs ˈɪndəstri, ɛz pleɪərz koʊp wɪθ riˈstrəkʧərd ˈnæʧərəl gæs floʊz ənd groʊθ ðət ɪz mɔr ˈsɛntərd ɔn ˌɪnˈdəstriəl dɪˈmænd ˈvərsəz ˈɛkspɔrts. ˈlaɪkˌwaɪz, dɪˈmænd rɪˈmeɪnz ə strɔŋ ˈdraɪvər əv ənd dəˈvərneɪ ˈlɪkwɪdz pərˈdəkʃən ɪn wɛst ˈsɛntrəl ælˈbərtə ənd nɔrθ ist b.c*. midstream/kkr*, ˈpɛmbɪnə, ənd kənˈtɪnju tɪ ˈkæpʧər ðɪs groʊɪŋ dɪˈmænd wɪθ nu fild plænt, fractionation*, ˈstɔrɪʤ ənd ˈpaɪˌplaɪn kəˈpæsɪti. dɪˈspaɪt ðə drɔp ɪn ˈgloʊbəl ɔɪl ˈpraɪsɪz, prəˈdusərz stɪl ˌrikˈwaɪər ən ˌɪnˈkrisɪŋ səˈplaɪ əv, pləs), tɪ ˈtrænspɔrt ˌbɪˈtumən θru ˈpaɪˌplaɪnz tɪ ˈwɛstərn ˈkænədə, ɑnˈtɛrioʊ ənd ðə juˈnaɪtɪd steɪts ˈmɑrkɪts. əˈbaʊt əv nu ˌbɪˈtumən pərˈdəkʃən kəˈpæsɪti ɪz ˈkəmɪŋ ˈɔnˌlaɪn bɪtˈwin 2015 ənd 2019 ðə ælˈbərtə ˈɛnərʤi ˈrɛgjəˌleɪtər (ɛr) ɪkˈspɛkts dɪˈmænd fər tɪ ɪkˈsid baɪ 2019 əp frəm ˈoʊvər ɪn 2015 əˈbaʊt əv pləs ˈvɑljumz wər frəm ælˈbərtə ɪn 2015 ˈfaɪnəli, dɪˈspaɪt ə kəmˈplit ʧeɪnʤ ɪn ðə ˌɛkəˈnɑmɪk ɪnˈvaɪrənmənt, ˌəndərˈlaɪɪŋ kənˈdɪʃənz rɪˈmeɪn ðət wʊd ˈbɛnəfɪt nu ˌpɛtroʊˈkɛmɪkəl dɪˈvɛləpmənt ɪn ælˈbərtə. ən əˈbəndəns əv ʧip ˈproʊˌpeɪn ˈfidˌstɑk kʊd steɪ lɔŋ tərm ˈdrɪvən, ɪn pɑrt, baɪ ˈkɑndənˌseɪt dɪˈmænd fər, ˈkɑrənt læk əv wɛst koʊst ˈɛkspɔrt kəˈpæsɪti, ənd ðə ɪkˈsploʊʒən əv kəmˈpitɪŋ pərˈdəkʃən (ˌɪnˈkludɪŋ ˈproʊˌpeɪn) ɪn ðə juˈnaɪtɪd steɪts. ðə ænˈtɪsəˌpeɪts ðət ˈwɛstərn kəˈneɪdiən fild ˈproʊˌpeɪn ˈvɑljumz wɪl ˌɪnˈkris baɪ tɪ ɪn 2019 ɛz ʃoʊn baɪ ðə ɛr, ælˈbərtə wɪl kənˈtɪnju tɪ ˈproʊdus ə lɑrʤ məˈʤɔrəti əv ðət səˈplaɪ. tɪ deɪt, 16 ˈprɑʤɛkt prəˈpoʊnənts hæv əˈplaɪd fər ðə ælˈbərtə 500 ˈmɪljən ˌpɛtroʊˈkɛmɪkəl dɪˌvərsəfəˈkeɪʃən ˈproʊˌgræm, wɪʧ siks tɪ ɪkˈspænd ˈmɛˌθeɪn ənd ˈproʊˌpeɪn ˈvælju ʧeɪnz ɪn ðə ˈprɑvɪns. waɪl ðə ælˈbərtə ˈgəvərnmənt kənˈtɪnjuz tɪ əˈsɛs ˈproʊˌgræm ˌæpləˈkeɪʃənz, ˌɪnˈtər ˈpaɪˌplaɪn ənd ə ˈsɛpərˌeɪt ʤɔɪnt ˈvɛnʧər əv ˈpɛmbɪnə ənd ˌpɛtroʊˈkɛmɪkəlz ˈɪndəstriz ˈkəmpəˌni (pɪk) kənˈtɪnju tɪ əˈsɛs vaɪəˈbɪləti əv ˌpɛtroʊˈkɛmɪkəl ˈprɑʤɛkts ɪn ælˈbərtə. fər ˌɪnˈtər ˈpaɪˌplaɪn ənd ˈpɛmbɪnə, prəˈsidɪŋ wɪθ ˌpɛtroʊˈkɛmɪkəl dɪˈvɛləpmənt wʊd ədˈvæns ðɛr ˈvælju ʧeɪn bɪɔnd biɪŋ ʤɪst ə ˈfidˌstɑk trænˈspɔrtər. ˌhaʊˈɛvər, ə fju hɑrd kˈwɛsʧənz rɪˈmeɪn: ɪz ðə ˌpɛtroʊˈkɛmɪkəl dɪˌvərsəfəˈkeɪʃən ˈproʊˌgræm ɪˈnəf əv ən ˌɪnˈsɛnɪv tɪ hɛlp ˈɔfˌsɛt kɔsts əˈsoʊʃiˌeɪtəd wɪθ ðə nu ˈkɑrbən tæks? wət wɪl ðə ˈmɑrkɪt fər proʊpəˈlin ənd ˌpɑˌliˈproʊpəˌlin lʊk laɪk ˈæftər kəmˈpitɪŋ gəlf koʊst plænts ər ˈfʊli kənˈstrəktɪd ənd ˌɑpərˈeɪʃənəl? wɪl ðə ˈgloʊbəl ˈmɑrkɪt bi ˈeɪbəl tɪ əbˈzɔrb nu ˈvɑljumz frəm ælˈbərtə ˈprɑʤɛkts ɪn ðə ˈkəmɪŋ ˈdɛkeɪdz? haʊ məʧ ˈɛkspɔrt kəˈpæsɪti wɪl bi kənˈstrəktɪd ɔn wɛst koʊst? ɔn ə saɪd noʊt, stəˈtɪstɪks ˈkænədə ˌriˈpɔrtəd ðət e.i*. rɪˈsɪpiənts hæv ˈkrɛstɪd, ənd wər bɪˈloʊ ɪn ˈɔgəst 2016 frəm əˈbəv ˈərliər ɪn ðə ˈsəmər. ˈhoʊpfəli, ðə ˈdaʊnwərd trɛnd kənˈtɪnjuz wɪθ ðə əˈdɪʃən əv nu ʤɑbz. klɪk hir fər mɔr dɪˈteɪld ˈprɑʤɛkt ˌɪnˌfɔrˈmeɪʃən faʊnd ɪn ˈɛnʤəˈnɪrɪŋ ˈmɑrkɪt (om*) rɪˈpɔrt ˈsɛkʃən. ˈʤəstɪn wərks fər ˈɛnʤəˈnɪrɪŋ, ə ˈtrəstɪd ˈkəmpəˌni ðət ɪn ˈæˌsɛt ˌɪnˈtɛgrəti ˈmænɪʤmənt ənd ˈtɛknɪkəl ˈsərvɪsɪz. |
arizona gov. doug ducey (r) signed legislation monday prohibiting public colleges and universities in the state from confining free speech to specific portions of campus.
“part of the university experience is to be able to express diverse views, openly, without fear of retribution or to be exposed to other views and perspectives, even if they politically correct or popular,” ducey wrote in his signing statement, according to the arizona republic.
"closing this loophole allows students to go to that government officials get away with ignoring the law."
the bill, 2615, was introduced in february by state rep. anthony kern (r), who was inspired by his experience attempting to hand out materials with a church group at glendale community college. despite having participated in the annual independence day festivities on campus for several years without incident, kern recalled that one year, “all of a sudden, they came up with this free speech zone which was way away from the people.”
[related: arizona considering bill to ban ‘free speech zones’ on college campuses]
the new law also has a special relevance to an ongoing fight over the legality of free speech zones, though kern was not aware of that when he introduced the measure.
brittany mirelez, a student at paradise valley community college, filed suit against the school in december after administrators prevented her from recruiting for a young americans for liberty chapter she was trying to start on campus, contending that confining her to a free speech zone violated her first amendment rights.
[related: student sues college for evicting her from free speech zone]
the alliance defending freedom (adf), which filed the lawsuit on mirelez’ behalf, also testified in favor of the other measure ducey signed monday, 2548, which affirms the right of students like mirelez to bring legal claims against their schools for restricting free speech.
“arizona students should have the ability to make sure that government officials are not inappropriately censoring their speech on campus in violation of state law,” senior counsel tyson said in a february press release. “closing this loophole allows students to go to court, when necessary, so that government officials get away with ignoring the law.”
prior to passage, a senate amendment significantly broadened the scope of 2548 in response to another recent incident, adding provisions increasing the penalties for political protesters who block traffic in a direct rebuke of those who employed the tactic in an effort to stymie a donald trump rally in march.
follow the author of this article on twitter: | ˌɛrɪˈzoʊnə gəv. dəg ˈdusi (ɑr) saɪnd ˌlɛʤəsˈleɪʃən ˈmənˌdeɪ proʊˈhɪbətɪŋ ˈpəblɪk ˈkɑlɪʤɪz ənd ˌjunəˈvərsətiz ɪn ðə steɪt frəm kənˈfaɪnɪŋ fri spiʧ tɪ spɪˈsɪfɪk ˈpɔrʃənz əv ˈkæmpəs. əv ðə ˌjunəˈvərsəti ɪkˈspɪriəns ɪz tɪ bi ˈeɪbəl tɪ ɪkˈsprɛs dɪˈvərs vjuz, ˈoʊpənli, wɪˈθaʊt fɪr əv ˌrɛtrəˈbjuʃən ər tɪ bi ɪkˈspoʊzd tɪ ˈəðər vjuz ənd pərˈspɛktɪvz, ˈivɪn ɪf ðeɪ ˈplɪtɪkli kərˈɛkt ər popular,”*,” ˈdusi roʊt ɪn hɪz ˈsaɪnɪŋ ˈsteɪtmənt, əˈkɔrdɪŋ tɪ ðə ˌɛrɪˈzoʊnə riˈpəblɪk. "ˈkloʊzɪŋ ðɪs ˈluˌphoʊl əˈlaʊz ˈstudənts tɪ goʊ tɪ ðət ˈgəvərnmənt əˈfɪʃəlz gɪt əˈweɪ wɪθ ˌɪgˈnɔrɪŋ ðə lɔ." ðə bɪl, 2615 wɑz ˌɪntrəˈdust ɪn ˈfɛbruˌɛri baɪ steɪt rɛpriˈzɛtətɪv. ˈænθɔˌni kərn (ɑr), hu wɑz ˌɪnˈspaɪərd baɪ hɪz ɪkˈspɪriəns əˈtɛmptɪŋ tɪ hænd aʊt məˈtɪriəlz wɪθ ə ʧərʧ grup æt ˈglɛnˌdeɪl kəmˈjunɪti ˈkɑlɪʤ. dɪˈspaɪt ˈhævɪŋ pɑrˈtɪsəˌpeɪtɪd ɪn ðə ˈænjuəl ˌɪndɪˈpɛndəns deɪ fɛˈstɪvətiz ɔn ˈkæmpəs fər ˈsɛvərəl jɪrz wɪˈθaʊt ˈɪnsədənt, kərn rɪˈkɔld ðət wən jɪr, əv ə ˈsədən, ðeɪ keɪm əp wɪθ ðɪs fri spiʧ zoʊn wɪʧ wɑz weɪ əˈweɪ frəm ðə people.”*.” [rɪˈleɪtɪd: ˌɛrɪˈzoʊnə kənˈsɪdərɪŋ bɪl tɪ bæn spiʧ zones’*’ ɔn ˈkɑlɪʤ ˈkæmpəsɪz] ðə nu lɔ ˈɔlsoʊ həz ə ˈspɛʃəl ˈrɛləvəns tɪ ən ˈɔnˌgoʊɪŋ faɪt ˈoʊvər ðə liˈgæləti əv fri spiʧ zoʊnz, ðoʊ kərn wɑz nɑt əˈwɛr əv ðət wɪn hi ˌɪntrəˈdust ðə ˈmɛʒər. ˈbrɪtəni mɪˈreɪlɛz, ə ˈstudənt æt ˈpɛrəˌdaɪs ˈvæli kəmˈjunɪti ˈkɑlɪʤ, faɪld sut əˈgɛnst ðə skul ɪn dɪˈsɛmbər ˈæftər ædˈmɪnɪˌstreɪtərz prɪˈvɛnɪd hər frəm rɪˈkrutɪŋ fər ə jəŋ əˈmɛrɪkənz fər ˈlɪbərˌti ˈʧæptər ʃi wɑz traɪɪŋ tɪ stɑrt ɔn ˈkæmpəs, kənˈtɛndɪŋ ðət kənˈfaɪnɪŋ hər tɪ ə fri spiʧ zoʊn ˈvaɪəleɪtɪd hər fərst əˈmɛndmənt raɪts. [rɪˈleɪtɪd: ˈstudənt suz ˈkɑlɪʤ fər ɪˈvɪktɪŋ hər frəm fri spiʧ zoʊn] ðə əˈlaɪəns dɪˈfɛndɪŋ ˈfridəm (adf*), wɪʧ faɪld ðə ˈlɔˌsut ɔn mirelez’*’ bɪˈhæf, ˈɔlsoʊ ˈtɛstɪˌfaɪd ɪn ˈfeɪvər əv ðə ˈəðər ˈmɛʒər ˈdusi saɪnd ˈmənˌdeɪ, 2548 wɪʧ əˈfərmz ðə raɪt əv ˈstudənts laɪk mɪˈreɪlɛz tɪ brɪŋ ˈligəl kleɪmz əˈgɛnst ðɛr skulz fər riˈstrɪktɪŋ fri spiʧ. ˈstudənts ʃʊd hæv ðə əˈbɪləˌti tɪ meɪk ʃʊr ðət ˈgəvərnmənt əˈfɪʃəlz ər nɑt ˌɪnəˈprɑpriətli ˈsɛnsərɪŋ ðɛr spiʧ ɔn ˈkæmpəs ɪn vaɪəˈleɪʃən əv steɪt law,”*,” ˈsinjər ˈkaʊnsəl ˈtaɪsən sɛd ɪn ə ˈfɛbruˌɛri prɛs riˈlis. ðɪs ˈluˌphoʊl əˈlaʊz ˈstudənts tɪ goʊ tɪ kɔrt, wɪn ˈnɛsəˌsɛri, soʊ ðət ˈgəvərnmənt əˈfɪʃəlz gɪt əˈweɪ wɪθ ˌɪgˈnɔrɪŋ ðə law.”*.” praɪər tɪ ˈpæsɪʤ, ə ˈsɛnɪt əˈmɛndmənt sɪgˈnɪfɪkəntli ˈbrɔdənd ðə skoʊp əv 2548 ɪn rɪˈspɑns tɪ əˈnəðər ˈrisənt ˈɪnsədənt, ˈædɪŋ prəˈvɪʒənz ˌɪnˈkrisɪŋ ðə ˈpɛnəltiz fər pəˈlɪtɪkəl ˈproʊˌtɛstərz hu blɑk ˈtræfɪk ɪn ə dɪˈrɛkt rɪˈbjuk əv ðoʊz hu ɪmˈplɔɪd ðə ˈtæktɪk ɪn ən ˈɛfərt tɪ ˈstaɪmi ə ˈdɑnəld trəmp ˈræli ɪn mɑrʧ. ˈfɑloʊ ðə ˈɔθər əv ðɪs ˈɑrtɪkəl ɔn tˈwɪtər: |
newcastle united areill thinking like a top flight side it seems, after the mirror reported that the magpies are targeting a number of high profile signings this month as they attempt to get back to the premier league at the first time of asking.
rafa benitez has set his sights on everton pair james mccarthy and tom, as potential signings to join the ranks at james' park and help maintain the club's promotion push.
newcastle chasing everton pair james mccarthy and tom everton report (@everton_fanly) january 8, 2017
four defeats in eight games for the toon army has slowed their progression somewhat and benitez has used the recent run of results to urge club owner mike ashley to pull out his cheque book.
both mccarthy and haveruggled to hold down regular first team football under ronald this season, but it is unlikely that the will allow both players to leave the club this window.
nonetheless, a move for either one at the right price, could be a possibility, with the spanish boss able to offer regular first team football and a likely return to the top flight, if theyay where they are in the championship table.
the report also suggests that manchester city's fabian delph, alan judge and callum wilson are also on shopping list.
| newcastle* juˈnaɪtɪd ər stɪl ˈθɪŋkɪŋ laɪk ə tɔp flaɪt saɪd ɪt simz, ˈæftər ðə ˈmɪrər ˌriˈpɔrtəd ðət ðə ˈmægˌpaɪz ər ˈtɑrgətɪŋ ə ˈnəmbər əv haɪ ˈproʊˌfaɪl ˈsaɪnɪŋz ðɪs mənθ ɛz ðeɪ əˈtɛmpt tɪ gɪt bæk tɪ ðə prɛˈmɪr lig æt ðə fərst taɪm əv ˈæskɪŋ. beɪˈnitɛz həz sɛt hɪz saɪts ɔn ˈɛvərtən pɛr ʤeɪmz məˈkɑrθi ənd tɑm, ɛz pəˈtɛnʃəl ˈsaɪnɪŋz tɪ ʤɔɪn ðə ræŋks æt ʤeɪmz' pɑrk ənd hɛlp meɪnˈteɪn ðə kləbz pərˈmoʊʃən pʊʃ. ˈnuˌkæsəl ˈʧeɪsɪŋ ˈɛvərtən pɛr ʤeɪmz məˈkɑrθi ənd tɑm ˈɛvərtən rɪˈpɔrt (@everton_fanly*) ˈʤænjuˌɛri 8 2017 fɔr dɪˈfits ɪn eɪt geɪmz fər ðə tun ˈɑrmi həz sloʊd ðɛr prəˈgrɛʃən ˈsəmˈwət ənd beɪˈnitɛz həz juzd ðə ˈrisənt rən əv rɪˈzəlts tɪ ərʤ kləb ˈoʊnər maɪk ˈæʃli tɪ pʊl aʊt hɪz ʧɛk bʊk. boʊθ məˈkɑrθi ənd hæv ˈstrəgəld tɪ hoʊld daʊn ˈrɛgjələr fərst tim ˈfʊtˌbɔl ˈəndər ˈrɑnəld ðɪs ˈsizən, bət ɪt ɪz ənˈlaɪkli ðət ðə wɪl əˈlaʊ boʊθ pleɪərz tɪ liv ðə kləb ðɪs ˈwɪndoʊ. ˌnənðəˈlɛs, ə muv fər ˈiðər wən æt ðə raɪt praɪs, kʊd bi ə ˌpɑsəˈbɪləˌti, wɪθ ðə ˈspænɪʃ bɔs ˈeɪbəl tɪ ˈɔfər ˈrɛgjələr fərst tim ˈfʊtˌbɔl ənd ə ˈlaɪkli rɪˈtərn tɪ ðə tɔp flaɪt, ɪf ðeɪ steɪ wɛr ðeɪ ər ɪn ðə ˈʧæmpiənˌʃɪp ˈteɪbəl. ðə rɪˈpɔrt ˈɔlsoʊ səˈʤɛsts ðət ˈmænˌʧɛstər ˈsɪtiz ˈfeɪbiən dɛlf, ˈælən ʤəʤ ənd ˈkæləm ˈwɪlsən ər ˈɔlsoʊ ɔn ˈʃɑpɪŋ lɪst. |
vienna, jan. 28 (upi) -- european natural gas consumers need to prepare the infrastructure needed to avoid ukrainian territory by 2019, an official from russia's gazprom said wednesday.
europe gets about a quarter of its natural gas needs met by russian suppliers, though the majority of that runs through a transit network in ukraine. simmering conflict, and gas contract issues reaching back to at least 2006, exposes that artery to risk.
the kremlin has worked to advance transit networks that avoid ukrainian territory, most recently with turkish stream, a revamped project that replaces the south stream pipeline. by 2019, ukrainian networks will be idle and gazprom chairman viktor said europe needs to be ready.
"considering the decision made on supplies from 2019, european partners do not have so much time [for infrastructure preparation]," he said from a european gas conference in vienna.
gazprom officials met earlier this week in ankara to discuss planning for turkish stream. the company said about 70 percent of the pipeline would follow the planned south stream route, with 150 miles slated for a new corridor to europe.
gazprom said the first gas supplies would run through the network to turkey by 2016.
europe, for its part, has looked to rival suppliers to advance its own energy security needs, expressing frustration with the monopoly gazprom holds over transit and supplies. russian foreign minister sergei said, as russia's largest trading partner, russia would remain the key energy supplier for europe. | viˈɛnə, ʤæn. 28 (upi*) ˌjʊrəˈpiən ˈnæʧərəl gæs kənˈsumərz nid tɪ priˈpɛr ðə ˌɪnfrəˈstrəkʧər ˈnidɪd tɪ əˈvɔɪd juˈkreɪniən ˈtɛrɪˌtɔri baɪ 2019 ən əˈfɪʃəl frəm ˈrəʃəz ˈgæzˌprɑm sɛd ˈwɛnzˌdeɪ. ˈjʊrəp gɪts əˈbaʊt ə kˈwɔrtər əv ɪts ˈnæʧərəl gæs nidz mɛt baɪ ˈrəʃən səˈplaɪərz, ðoʊ ðə məˈʤɔrəti əv ðət rənz θru ə ˈtrænzɪt ˈnɛtˌwərk ɪn juˈkreɪn. ˈsɪmərɪŋ ˈkɑnflɪkt, ənd gæs ˈkɑnˌtrækt ˈɪʃuz ˈriʧɪŋ bæk tɪ æt list 2006 ɪkˈspoʊzɪz ðət ˈɑrtəri tɪ rɪsk. ðə ˈkrɛmlɪn həz wərkt tɪ ədˈvæns ˈtrænzɪt ˈnɛtˌwərks ðət əˈvɔɪd juˈkreɪniən ˈtɛrɪˌtɔri, moʊst ˈrisəntli wɪθ ˈtərkɪʃ strim, ə riˈvæmpt ˈprɑʤɛkt ðət rɪˈpleɪsɪz ðə saʊθ strim ˈpaɪˌplaɪn. baɪ 2019 juˈkreɪniən ˈnɛtˌwərks wɪl bi ˈaɪdəl ənd ˈgæzˌprɑm ˈʧɛrmən ˈvɪktər sɛd ˈjʊrəp nidz tɪ bi ˈrɛdi. "kənˈsɪdərɪŋ ðə dɪˈsɪʒən meɪd ɔn səˈplaɪz frəm 2019 ˌjʊrəˈpiən ˈpɑrtnərz du nɑt hæv soʊ məʧ taɪm [fər ˌɪnfrəˈstrəkʧər ˌprɛpərˈeɪʃən]," hi sɛd frəm ə ˌjʊrəˈpiən gæs ˈkɑnfərəns ɪn viˈɛnə. ˈgæzˌprɑm əˈfɪʃəlz mɛt ˈərliər ðɪs wik ɪn ˈæŋkərə tɪ dɪˈskəs ˈplænɪŋ fər ˈtərkɪʃ strim. ðə ˈkəmpəˌni sɛd əˈbaʊt 70 pərˈsɛnt əv ðə ˈpaɪˌplaɪn wʊd ˈfɑloʊ ðə plænd saʊθ strim rut, wɪθ 150 maɪəlz sˈleɪtɪd fər ə nu ˈkɔrɪdər tɪ ˈjʊrəp. ˈgæzˌprɑm sɛd ðə fərst gæs səˈplaɪz wʊd rən θru ðə ˈnɛtˌwərk tɪ ˈtərki baɪ 2016 ˈjʊrəp, fər ɪts pɑrt, həz lʊkt tɪ ˈraɪvəl səˈplaɪərz tɪ ədˈvæns ɪts oʊn ˈɛnərʤi sɪˈkjʊrəti nidz, ɪkˈsprɛsɪŋ frəˈstreɪʃən wɪθ ðə məˈnɑpəli ˈgæzˌprɑm hoʊldz ˈoʊvər ˈtrænzɪt ənd səˈplaɪz. ˈrəʃən ˈfɔrən ˈmɪnɪstər ˈsɛrˌgeɪ sɛd, ɛz ˈrəʃəz ˈlɑrʤəst ˈtreɪdɪŋ ˈpɑrtnər, ˈrəʃə wʊd rɪˈmeɪn ðə ki ˈɛnərʤi səˈplaɪər fər ˈjʊrəp. |
with all the drama going on, it's easy to get distracted from what is important. what is important, whether stays on top or not, is the idea of, of which was the first. while i personally believe can survive its internal turmoil, i could be wrong. after all, no one buys the model t these days, even though it was the first car. the model t is a clunker compared to what we have now.
though there isn't much mainstream media coverage of its alternatives, is far from the only. there are hundreds of them, most based off of the original code for released by satoshi nakamoto, its anonymous creator.
one of those competitors that libertarian enthusiasts in have been using recently instead of is dash, or "digital cash". due to the growing pains has been experiencing, people here have been looking hard at other alternatives. dash has started to appear in use at various libertarian market days across the state. its fees are much lower than's and dash has an interesting governance structure that really sets it apart from many of the "me-too" out there vying for's #1 position.
with dash, the "masternodes" (people who've invested into at least dash and are running special software) can vote on how to promote and expand dash. they do this via proposals that have been made regarding how to spend 10% of the mining rewards, which are earmarked for the purpose of promoting dash. it's a smart system that the other major don't have and has resulted in dash appearing in various places other have not.
last month, vending machine became the first in new hampshire to offer dash in addition to. now,'s top vending machine, the manchester "general bytes" unit at murphy's has also added dash, making new hampshire the #1 state for dash vending machines per capita with one per million population compared to oregon's one per million, and florida's one per million. (these numbers per and census data.)
to be fair, there aren't a whole lot of dash vending machines in the world. most crypto vending machines globally are-only, but it's still worth noting the of new hampshire is already leading the rest of the world in providing an alternative to the struggling. given the uncertainty of what could happen with in the coming weeks, it makes sense to shire vending, which launched back in 2014 as part of the shire free church, as shire crypto vending.
hopefully we'll see the dash option (and possibly other like ether) expand out to include the keene and concord vending machines, but for now that's not possible until lamassu, the manufacturer of those machines, adds other coins as a possible option for vendors. we're told they are working hard at doing just that, so stay tuned to free keene for more exciting news from the shire!
also, if you're looking to connect with other in new hampshire, check out our forums. | wɪθ ɔl ðə ˈdrɑmə goʊɪŋ ɔn, ɪts ˈizi tɪ gɪt dɪˈstræktɪd frəm wət ɪz ˌɪmˈpɔrtənt. wət ɪz ˌɪmˈpɔrtənt, ˈwɛðər steɪz ɔn tɔp ər nɑt, ɪz ðə aɪˈdiə əv, əv wɪʧ wɑz ðə fərst. waɪl aɪ ˈpərsənəli bɪˈliv kən sərˈvaɪv ɪts ˌɪnˈtərnəl ˈtərˌmɔɪl, aɪ kʊd bi rɔŋ. ˈæftər ɔl, noʊ wən baɪz ðə ˈmɑdəl ti ðiz deɪz, ˈivɪn ðoʊ ɪt wɑz ðə fərst kɑr. ðə ˈmɑdəl ti ɪz ə ˈkləŋkər kəmˈpɛrd tɪ wət wi hæv naʊ. ðoʊ ðɛr ˈɪzənt məʧ ˈmeɪnˌstrim ˈmidiə ˈkəvərɪʤ əv ɪts ɔlˈtərnətɪvz, ɪz fɑr frəm ðə ˈoʊnli. ðɛr ər ˈhənərdz əv ðɛm, moʊst beɪst ɔf əv ðə ərˈɪʤənəl koʊd fər riˈlist baɪ sɑˈtoʊʃi nɑkɑˈmoʊtoʊ, ɪts əˈnɑnəməs kriˈeɪtər. wən əv ðoʊz kəmˈpɛtɪtərz ðət ˌlɪˌbərˈtɛˌriən ɛnˈθuziˌæsts ɪn hæv bɪn ˈjuzɪŋ ˈrisəntli ˌɪnˈstɛd əv ɪz dæʃ, ər "ˈdɪʤɪtəl kæʃ". du tɪ ðə groʊɪŋ peɪnz həz bɪn ɪkˈspɪriənsɪŋ, ˈpipəl hir hæv bɪn ˈlʊkɪŋ hɑrd æt ˈəðər ɔlˈtərnətɪvz. dæʃ həz ˈstɑrtɪd tɪ əˈpɪr ɪn juz æt ˈvɛriəs ˌlɪˌbərˈtɛˌriən ˈmɑrkɪt deɪz əˈkrɔs ðə steɪt. ɪts fiz ər məʧ loʊər ðən ənd dæʃ həz ən ˈɪntəˌrɛstɪŋ ˈgəvərnəns ˈstrəkʧər ðət ˈrɪli sɛts ɪt əˈpɑrt frəm ˈmɛni əv ðə "me-too*" aʊt ðɛr vaɪɪŋ fər 1 pəˈzɪʃən. wɪθ dæʃ, ðə "masternodes*" (ˈpipəl huv ˌɪnˈvɛstɪd ˈɪntu æt list dæʃ ənd ər ˈrənɪŋ ˈspɛʃəl ˈsɔfˌwɛr) kən voʊt ɔn haʊ tɪ prəˈmoʊt ənd ɪkˈspænd dæʃ. ðeɪ du ðɪs ˈviə prəˈpoʊzəlz ðət hæv bɪn meɪd rɪˈgɑrdɪŋ haʊ tɪ spɛnd 10 əv ðə ˈmaɪnɪŋ rɪˈwɔrdz, wɪʧ ər ˈɪrˌmɑrkt fər ðə ˈpərpəs əv prəˈmoʊtɪŋ dæʃ. ɪts ə smɑrt ˈsɪstəm ðət ðə ˈəðər ˈmeɪʤər doʊnt hæv ənd həz rɪˈzəltɪd ɪn dæʃ əˈpɪrɪŋ ɪn ˈvɛriəs ˈpleɪsɪz ˈəðər hæv nɑt. læst mənθ, ˈvɛndɪŋ məˈʃin bɪˈkeɪm ðə fərst ɪn nu ˈhæmʃər tɪ ˈɔfər dæʃ ɪn əˈdɪʃən tɪ. naʊ, tɔp ˈvɛndɪŋ məˈʃin, ðə ˈmænˌʧɛstər "ˈʤɛnərəl baɪts" ˈjunɪt æt ˈmərfiz həz ˈɔlsoʊ ˈædɪd dæʃ, ˈmeɪkɪŋ nu ˈhæmʃər ðə 1 steɪt fər dæʃ ˈvɛndɪŋ məˈʃinz pər ˈkæpɪtə wɪθ wən pər ˈmɪljən ˌpɑpjəˈleɪʃən kəmˈpɛrd tɪ ˈɔrəˌgɑnz wən pər ˈmɪljən, ənd ˈflɔrɪdəz wən pər ˈmɪljən. (ðiz ˈnəmbərz pər ənd ˈsɛnsəs ˈdætə.) tɪ bi fɛr, ðɛr ˈɑrənt ə hoʊl lɔt əv dæʃ ˈvɛndɪŋ məˈʃinz ɪn ðə wərld. moʊst ˈkrɪptoʊ ˈvɛndɪŋ məˈʃinz ˈgloʊbəli ər bitcoin-only*, bət ɪts stɪl wərθ ˈnoʊtɪŋ ðə əv nu ˈhæmʃər ɪz ɔˈrɛdi ˈlidɪŋ ðə rɛst əv ðə wərld ɪn prəˈvaɪdɪŋ ən ɔlˈtərnətɪv tɪ ðə ˈstrəgəlɪŋ. ˈgɪvɪn ðə ənˈsərtənti əv wət kʊd ˈhæpən wɪθ ɪn ðə ˈkəmɪŋ wiks, ɪt meɪks sɛns tɪ ʃaɪr ˈvɛndɪŋ, wɪʧ lɔnʧt bæk ɪn 2014 ɛz pɑrt əv ðə ʃaɪr fri ʧərʧ, ɛz ʃaɪr ˈkrɪptoʊ ˈvɛndɪŋ. ˈhoʊpfəli wɪl si ðə dæʃ ˈɔpʃən (ənd ˈpɑsəbli ˈəðər laɪk ˈiθər) ɪkˈspænd aʊt tɪ ˌɪnˈklud ðə kin ənd ˈkɑnˌkɔrd ˈvɛndɪŋ məˈʃinz, bət fər naʊ ðæts nɑt ˈpɑsəbəl ənˈtɪl lamassu*, ðə ˌmænjəˈfækʧərər əv ðoʊz məˈʃinz, ædz ˈəðər kɔɪnz ɛz ə ˈpɑsəbəl ˈɔpʃən fər ˈvɛndərz. wɪr toʊld ðeɪ ər ˈwərkɪŋ hɑrd æt duɪŋ ʤɪst ðət, soʊ steɪ tund tɪ fri kin fər mɔr ɪkˈsaɪtɪŋ nuz frəm ðə ʃaɪr! ˈɔlsoʊ, ɪf jʊr ˈlʊkɪŋ tɪ kəˈnɛkt wɪθ ˈəðər ɪn nu ˈhæmʃər, ʧɛk aʊt ɑr ˈfɔrəmz. |
the on wednesday did not allow stanley, the south asian business and finance correspondent for the economist magazine, to attend the central monetary policy press conference.
pignal later put out a series of about not allowing access. “i’ve been critical of new governor not speaking to press, did not expect to freeze us out of press conference. their call obviously,” he.
when contacted, the’s spokesperson said that the matter was between the economist correspondent and, and that “it can be discussed and sorted out between the two.” the spokesperson also spoke to subsequently.
the economist had recently carried a series of stories on and on how the new governor patel has not been talking to the media.
pignal later also that the’s decision to exclude the economist from the press conference was not related to the coverage of the issue.
first published: dec 07, 2016 | ðə ɔn ˈwɛnzˌdeɪ dɪd nɑt əˈlaʊ ˈstænli, ðə saʊθ ˈeɪʒən ˈbɪznɪs ənd ˈfaɪˌnæns ˌkɔrəˈspɑndənt fər ðə ɪˈkɑnəmɪst ˈmægəˌzin, tɪ əˈtɛnd ðə ˈsɛntrəl ˈmɑnəˌtɛri ˈpɑləsi prɛs ˈkɑnfərəns. ˈleɪtər pʊt aʊt ə ˈsɪriz əv əˈbaʊt nɑt əˈlaʊɪŋ ˈækˌsɛs. bɪn ˈkrɪtɪkəl əv nu ˈgəvərnər nɑt ˈspikɪŋ tɪ prɛs, dɪd nɑt ɪkˈspɛkt tɪ friz ˈjuˈɛs aʊt əv prɛs ˈkɑnfərəns. ðɛr kɔl obviously,”*,” hi. wɪn ˈkɑnˌtæktɪd, ðə ˈspoʊkspərsən sɛd ðət ðə ˈmætər wɑz bɪtˈwin ðə ɪˈkɑnəmɪst ˌkɔrəˈspɑndənt ənd, ənd ðət kən bi dɪˈskəst ənd ˈsɔrtɪd aʊt bɪtˈwin ðə two.”*.” ðə ˈspoʊkspərsən ˈɔlsoʊ spoʊk tɪ ˈsəbsəkwəntli. ðə ɪˈkɑnəmɪst hæd ˈrisəntli ˈkɛrid ə ˈsɪriz əv ˈstɔriz ɔn ənd ɔn haʊ ðə nu ˈgəvərnər pəˈtɛl həz nɑt bɪn ˈtɔkɪŋ tɪ ðə ˈmidiə. ˈleɪtər ˈɔlsoʊ ðət ðə dɪˈsɪʒən tɪ ɪkˈsklud ðə ɪˈkɑnəmɪst frəm ðə prɛs ˈkɑnfərəns wɑz nɑt rɪˈleɪtɪd tɪ ðə ˈkəvərɪʤ əv ðə ˈɪʃu. fərst ˈpəblɪʃt: dɛk 07 2016 |
it’s no secret that every map plays out differently. every map favors one side more than the other, and every map has a unique layout. looking at the history of competitively played maps, there are layouts that are recognized as cornerstones of the community. familiar maps such as nuke, inferno, dust 2, and train, just to name a few. a controversial topic when it comes to map design is favorability. more often than not, these maps tend to make the job easier for the defenders than the attacking terrorists. why the community loves the side is a topic for another conversation. focusing on what makes a map favor a certain side, or what makes a map balanced.
three core mechanics of a maps design can be credited to favorability to one side: rotation times, the number of angles, and the number of choke points. applying any of these traits to any map, we can begin to see why maps tend play out the way they do.
rotation times
rotation time, in its simplest form, is the time it takes a player on one bomb site to run to the opposing site. a map that is very infamous for its ct favorability and short rotation times is train. though recently to give aid to the terrorist side, the map still stands as ct sided. if an aim duel is between a terrorist at the location and a ct holding the same angle from connector and both decide leave at the exact same time to peek each other again at lower b, the ct will reach the angle just over 5 seconds earlier than the terrorist. this shows that with even with perfect intel on where the are located, the terrorists are at a huge time disadvantage.
figure showing the rotation path of each player described above
angle amount
angle amount is how many positions the have to hide in to hold an angle. angle amount is the reason b site is an entry worst nightmare. there are an ungodly number of angles that terrorists have to check, one by one, to clear the site. a guessing game when trying to take b site, as any of the spots has the potential to be occupied, and the first terrorist in is often bait just to find out where the defenders are and is rarely able to make a trade. the more angles there are to check, the harder the site is to capture.
a terrorist walking onto the site has to check these seven common angles, not including some uncommon spots
number of choke points
choke points are the entrances into a bomb site. how many options do the terrorists have when entering a site and how different those options are gives both sides very different choices. a map known very being balanced, dust b site shows us the importance of entering a site from multiple angles. with no middle control, if a terrorist team wishes to take b site, all their forces must go through a single entry point. with so many potential ct positions, combined with only a single entry point, b site can become a slaughterhouse for our elite crew in that scenario. but with the addition of terrorist mid control, the entire situation changes. now with three potential entry points, any ct trapped in the site must divide their attention to try to cover all the entrances. this gives the attackers a much higher probability of taking the site.
with only one entry point, any ct defending the site can focus all their attention onto one choke point. in the event of a b split, the ability to lock down the site is severely restrained
combining all three
when taking all three factors into consideration of a design, we can start to understand why maps like inferno is so ct sided, and why a map like cobble is balanced. inferno has a low number of choke points, and a high amount of angles to check, making the initial assault on the bomb sites a very hard feat. though once the terrorists have control of the sites, the same attributes are turned against the retaking cts, and the sites being so far apart causes high rotation times. the combination of all three make sites extremely hard to capture. cobble is the opposite of inferno in many ways. the sites offer little to no cover along with entry points from different angles, making holding the sites a challenge. though with quick rotation times, are very doable. these are just two examples of a system that can be applied to any bomb site, on any map.
hopefully with this added information, you can look at map design in a new light! thanks for reading and happy holidays!
are you into fantasy leagues? then check out and put together your lineup! | it’s* noʊ ˈsikrɪt ðət ˈɛvəri mæp pleɪz aʊt ˈdɪfərˈɛntli. ˈɛvəri mæp ˈfeɪvərz wən saɪd mɔr ðən ðə ˈəðər, ənd ˈɛvəri mæp həz ə juˈnik leɪaʊt. ˈlʊkɪŋ æt ðə ˈhɪstəri əv kəmˈpɛtɪtɪvli pleɪd mæps, ðɛr ər leɪaʊts ðət ər ˈrɛkəgˌnaɪzd ɛz ˈkɔrnərˌstoʊnz əv ðə kəmˈjunɪti. fəˈmɪljər mæps səʧ ɛz nuk, ˌɪnˈfərˌnoʊ, dəst 2 ənd treɪn, ʤɪst tɪ neɪm ə fju. ə ˌkɑntrəˈvərʃəl ˈtɑpɪk wɪn ɪt kəmz tɪ mæp dɪˈzaɪn ɪz ˌfævərəˈbɪlɪti. mɔr ˈɔfən ðən nɑt, ðiz mæps tɛnd tɪ meɪk ðə ʤɑb ˈiziər fər ðə dɪˈfɛndərz ðən ðə əˈtækɪŋ ˈtɛrəˌrɪsts. waɪ ðə kəmˈjunɪti ləvz ðə saɪd ɪz ə ˈtɑpɪk fər əˈnəðər ˌkɑnvərˈseɪʃən. ˈfoʊkɪsɪŋ ɔn wət meɪks ə mæp ˈfeɪvər ə ˈsərtən saɪd, ər wət meɪks ə mæp ˈbælənst. θri kɔr məˈkænɪks əv ə mæps dɪˈzaɪn kən bi ˈkrɛdɪtɪd tɪ ˌfævərəˈbɪlɪti tɪ wən saɪd: roʊˈteɪʃən taɪmz, ðə ˈnəmbər əv ˈæŋgəlz, ənd ðə ˈnəmbər əv ʧoʊk pɔɪnts. əˈplaɪɪŋ ˈɛni əv ðiz treɪts tɪ ˈɛni mæp, wi kən bɪˈgɪn tɪ si waɪ mæps tɛnd pleɪ aʊt ðə weɪ ðeɪ du. roʊˈteɪʃən taɪmz roʊˈteɪʃən taɪm, ɪn ɪts ˈsɪmpləst fɔrm, ɪz ðə taɪm ɪt teɪks ə pleɪər ɔn wən bɔm saɪt tɪ rən tɪ ðə əˈpoʊzɪŋ saɪt. ə mæp ðət ɪz ˈvɛri ˈɪnfəməs fər ɪts kɔrt ˌfævərəˈbɪlɪti ənd ʃɔrt roʊˈteɪʃən taɪmz ɪz treɪn. ðoʊ ˈrisəntli tɪ gɪv eɪd tɪ ðə ˈtɛrərɪst saɪd, ðə mæp stɪl stændz ɛz kɔrt ˈsaɪdɪd. ɪf ən eɪm duəl ɪz bɪtˈwin ə ˈtɛrərɪst æt ðə loʊˈkeɪʃən ənd ə kɔrt ˈhoʊldɪŋ ðə seɪm ˈæŋgəl frəm kəˈnɛktər ənd boʊθ ˌdɪˈsaɪd liv æt ðə ɪgˈzækt seɪm taɪm tɪ pik iʧ ˈəðər əˈgɛn æt loʊər bi, ðə kɔrt wɪl riʧ ðə ˈæŋgəl ʤɪst ˈoʊvər 5 ˈsɛkəndz ˈərliər ðən ðə ˈtɛrərɪst. ðɪs ʃoʊz ðət wɪθ ˈivɪn wɪθ ˈpərˌfɪkt ˌɪnˈtɛl ɔn wɛr ðə ər ˈloʊˌkeɪtəd, ðə ˈtɛrəˌrɪsts ər æt ə juʤ taɪm ˌdɪsədˈvænɪʤ. ˈfɪgjər ʃoʊɪŋ ðə roʊˈteɪʃən pæθ əv iʧ pleɪər dɪˈskraɪbd əˈbəv ˈæŋgəl əˈmaʊnt ˈæŋgəl əˈmaʊnt ɪz haʊ ˈmɛni pəˈzɪʃənz ðə hæv tɪ haɪd ɪn tɪ hoʊld ən ˈæŋgəl. ˈæŋgəl əˈmaʊnt ɪz ðə ˈrizən bi saɪt ɪz ən ˈɛntri wərst ˈnaɪtˌmɛr. ðɛr ər ən ənˈgɔdli ˈnəmbər əv ˈæŋgəlz ðət ˈtɛrəˌrɪsts hæv tɪ ʧɛk, wən baɪ wən, tɪ klɪr ðə saɪt. ə ˈgɛsɪŋ geɪm wɪn traɪɪŋ tɪ teɪk bi saɪt, ɛz ˈɛni əv ðə spɑts həz ðə pəˈtɛnʃəl tɪ bi ˈɑkjəˌpaɪd, ənd ðə fərst ˈtɛrərɪst ɪn ɪz ˈɔfən beɪt ʤɪst tɪ faɪnd aʊt wɛr ðə dɪˈfɛndərz ər ənd ɪz ˈrɛrli ˈeɪbəl tɪ meɪk ə treɪd. ðə mɔr ˈæŋgəlz ðɛr ər tɪ ʧɛk, ðə ˈhɑrdər ðə saɪt ɪz tɪ ˈkæpʧər. ə ˈtɛrərɪst ˈwɔkɪŋ ˈɔntu ðə saɪt həz tɪ ʧɛk ðiz ˈsɛvən ˈkɑmən ˈæŋgəlz, nɑt ˌɪnˈkludɪŋ səm ənˈkɑmən spɑts ˈnəmbər əv ʧoʊk pɔɪnts ʧoʊk pɔɪnts ər ðə ˈɛntrənsəz ˈɪntu ə bɔm saɪt. haʊ ˈmɛni ˈɔpʃənz du ðə ˈtɛrəˌrɪsts hæv wɪn ˈɛnərɪŋ ə saɪt ənd haʊ ˈdɪfərənt ðoʊz ˈɔpʃənz ər gɪvz boʊθ saɪdz ˈvɛri ˈdɪfərənt ˈʧɔɪsɪz. ə mæp noʊn ˈvɛri biɪŋ ˈbælənst, dəst bi saɪt ʃoʊz ˈjuˈɛs ðə ˌɪmˈpɔrtəns əv ˈɛnərɪŋ ə saɪt frəm ˈməltəpəl ˈæŋgəlz. wɪθ noʊ ˈmɪdəl kənˈtroʊl, ɪf ə ˈtɛrərɪst tim ˈwɪʃɪz tɪ teɪk bi saɪt, ɔl ðɛr ˈfɔrsɪz məst goʊ θru ə ˈsɪŋgəl ˈɛntri pɔɪnt. wɪθ soʊ ˈmɛni pəˈtɛnʃəl kɔrt pəˈzɪʃənz, kəmˈbaɪnd wɪθ ˈoʊnli ə ˈsɪŋgəl ˈɛntri pɔɪnt, bi saɪt kən bɪˈkəm ə sˈlɔtərˌhaʊs fər ɑr ɪˈlit kru ɪn ðət sɪˈnɛrioʊ. bət wɪθ ðə əˈdɪʃən əv ˈtɛrərɪst mɪd kənˈtroʊl, ðə ɪnˈtaɪər ˌsɪʧuˈeɪʃən ˈʧeɪnʤɪz. naʊ wɪθ θri pəˈtɛnʃəl ˈɛntri pɔɪnts, ˈɛni kɔrt træpt ɪn ðə saɪt məst dɪˈvaɪd ðɛr əˈtɛnʃən tɪ traɪ tɪ ˈkəvər ɔl ðə ˈɛntrənsəz. ðɪs gɪvz ðə əˈtækərz ə məʧ haɪər ˌprɑbəˈbɪləˌti əv ˈteɪkɪŋ ðə saɪt. wɪθ ˈoʊnli wən ˈɛntri pɔɪnt, ˈɛni kɔrt dɪˈfɛndɪŋ ðə saɪt kən ˈfoʊkɪs ɔl ðɛr əˈtɛnʃən ˈɔntu wən ʧoʊk pɔɪnt. ɪn ðə ɪˈvɛnt əv ə bi splɪt, ðə əˈbɪləˌti tɪ lɑk daʊn ðə saɪt ɪz səˈvɪrli riˈstreɪnd kəmˈbaɪnɪŋ ɔl θri wɪn ˈteɪkɪŋ ɔl θri ˈfæktərz ˈɪntu kənˌsɪdərˈeɪʃən əv ə dɪˈzaɪn, wi kən stɑrt tɪ ˌəndərˈstænd waɪ mæps laɪk ˌɪnˈfərˌnoʊ ɪz soʊ kɔrt ˈsaɪdɪd, ənd waɪ ə mæp laɪk ˈkɑbəl ɪz ˈbælənst. ˌɪnˈfərˌnoʊ həz ə loʊ ˈnəmbər əv ʧoʊk pɔɪnts, ənd ə haɪ əˈmaʊnt əv ˈæŋgəlz tɪ ʧɛk, ˈmeɪkɪŋ ðə ˌɪˈnɪʃəl əˈsɔlt ɔn ðə bɔm saɪts ə ˈvɛri hɑrd fit. ðoʊ wəns ðə ˈtɛrəˌrɪsts hæv kənˈtroʊl əv ðə saɪts, ðə seɪm əˈtrɪˌbjuts ər tərnd əˈgɛnst ðə riˈteɪkɪŋ cts*, ənd ðə saɪts biɪŋ soʊ fɑr əˈpɑrt ˈkɔzɪz haɪ roʊˈteɪʃən taɪmz. ðə ˌkɑmbəˈneɪʃən əv ɔl θri meɪk saɪts ɪkˈstrimli hɑrd tɪ ˈkæpʧər. ˈkɑbəl ɪz ðə ˈɑpəzɪt əv ˌɪnˈfərˌnoʊ ɪn ˈmɛni weɪz. ðə saɪts ˈɔfər ˈlɪtəl tɪ noʊ ˈkəvər əˈlɔŋ wɪθ ˈɛntri pɔɪnts frəm ˈdɪfərənt ˈæŋgəlz, ˈmeɪkɪŋ ˈhoʊldɪŋ ðə saɪts ə ˈʧælənʤ. ðoʊ wɪθ kwɪk roʊˈteɪʃən taɪmz, ər ˈvɛri ˈduəbəl. ðiz ər ʤɪst tu ɪgˈzæmpəlz əv ə ˈsɪstəm ðət kən bi əˈplaɪd tɪ ˈɛni bɔm saɪt, ɔn ˈɛni mæp. ˈhoʊpfəli wɪθ ðɪs ˈædɪd ˌɪnˌfɔrˈmeɪʃən, ju kən lʊk æt mæp dɪˈzaɪn ɪn ə nu laɪt! θæŋks fər ˈrɛdɪŋ ənd ˈhæpi ˈhɑləˌdeɪz! ər ju ˈɪntu ˈfænəsi ligz? ðɛn ʧɛk aʊt ənd pʊt təˈgɛðər jʊr ˈlaɪˌnəp! |
the arrival of is one of the most exciting developments in the enduring struggle of ordinary people for the right to call secret power to account. this is what journalism should do.
for all the paid to edmund burke's idea of a fourth estate, the media remain an extension of the established order. the current wars demonstrate this. instead of exposing the lies that have led to the carnage, journalists, with honourable exceptions, have amplified and echoed them. scott mcclellan, george w bush's former press secretary, says his administration relied on the media's "complicit enablers".
wikileaks, says its founder julian, has "created a space that permits a form of journalism which lives up to the name that journalism has always tried to establish for itself". this year, has released tens of thousands of official documents that describe the casual, almost industrial killing of civilians, assassination squads, and attempts at cover-up.
anyone watching the leaked cockpit video of an apache helicopter gunning down cameramen and children in baghdad will not forget the pilot's reaction: "nice." having witnessed the effects of war, i felt like cheering when this was exposed and i read that it was viewed million times in one week. this is the new "space" for a we need urgently, as great power promotes its "perpetual war" and strives for what it calls "information dominance".
i have got to know julian, and what strikes me most about him is the unabashed morality he invests in. it is unusual to hear the words: "the goal is justice, the method is transparency." he reminds me of one of our compatriots, wilfred burchett, the courageous reporter who incurred the wrath of the powerful by exposing the "atomic plague" of the hiroshima bomb. like burchett, has made some serious enemies for blowing such a loud whistle; the pentagon has already threatened to "terminally marginalise". and this is his great risk and his honour.
i asked him what he had learned most from his glimpses of rampant power. "in one way or another i've been reading generals' emails since i was 17," he said (he is 39), "and what i see now is a vast, sprawling estate that is becoming more and more secretive and uncontrolled. "this is not a sophisticated conspiracy; it is a movement of self-interest to produce an end result that is [the wars in] iraq and afghanistan, which are used to wash money out of the us tax base and back to [arms] companies like northrop grumman and raytheon." another release of leaked documents is due soon.
i salute such principled audacity.
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back to list | ðə ərˈaɪvəl əv ɪz wən əv ðə moʊst ɪkˈsaɪtɪŋ dɪˈvɛləpmənts ɪn ðə ɪnˈdʊrɪŋ ˈstrəgəl əv ˈɔrdəˌnɛri ˈpipəl fər ðə raɪt tɪ kɔl ˈsikrɪt paʊər tɪ əˈkaʊnt. ðɪs ɪz wət ˈʤərnəˌlɪzəm ʃʊd du. fər ɔl ðə peɪd tɪ ˈɛdmənd bərks aɪˈdiə əv ə fɔrθ ɛˈsteɪt, ðə ˈmidiə rɪˈmeɪn ən ɪkˈstɛnʃən əv ðə ɪˈstæblɪʃt ˈɔrdər. ðə ˈkɑrənt wɔrz ˈdɛmənˌstreɪt ðɪs. ˌɪnˈstɛd əv ɪkˈspoʊzɪŋ ðə laɪz ðət hæv lɛd tɪ ðə ˈkɑrnɪʤ, ˈʤərnəlɪsts, wɪθ ˈɑnərəbəl ɪkˈsɛpʃənz, hæv ˈæmpləˌfaɪd ənd ˈɛkoʊd ðɛm. skɑt məˈklɛlən, ʤɔrʤ ˈdəbəlju ˈbʊʃɪz ˈfɔrmər prɛs ˈsɛkrəˌtɛri, sɪz hɪz ædˌmɪnɪˈstreɪʃən rɪˈlaɪd ɔn ðə ˈmidiəz "kəmˈplɪsət enablers*"., sɪz ɪts ˈfaʊndər ˈʤuljən, həz "kriˈeɪtɪd ə speɪs ðət ˈpərˌmɪts ə fɔrm əv ˈʤərnəˌlɪzəm wɪʧ lɪvz əp tɪ ðə neɪm ðət ˈʤərnəˌlɪzəm həz ˈɔlˌweɪz traɪd tɪ ɪˈstæblɪʃ fər ˌɪtˈsɛlf". ðɪs jɪr, həz riˈlist tɛnz əv ˈθaʊzənz əv əˈfɪʃəl ˈdɑkjəmənts ðət dɪˈskraɪb ðə ˈkæʒəwəl, ˈɔlˌmoʊst ˌɪnˈdəstriəl ˈkɪlɪŋ əv səˈvɪljənz, əˌsæsəˈneɪʃən skwɑdz, ənd əˈtɛmpts æt ˈkəvərˌəp. ˈɛniˌwən ˈwɑʧɪŋ ðə likt ˈkɑkˌpɪt ˈvɪdioʊ əv ən əˈpæʧi ˈhɛlɪˌkɑptər ˈgənɪŋ daʊn ˈkæmərəmɛn ənd ˈʧɪldrən ɪn ˈbægdæd wɪl nɑt fərˈgɛt ðə ˈpaɪləts riˈækʃən: "nis." ˈhævɪŋ ˈwɪtnəst ðə ˈifɛkts əv wɔr, aɪ fɛlt laɪk ˈʧɪrɪŋ wɪn ðɪs wɑz ɪkˈspoʊzd ənd aɪ rɛd ðət ɪt wɑz vjud ˈmɪljən taɪmz ɪn wən wik. ðɪs ɪz ðə nu "speɪs" fər ə wi nid ˈərʤəntli, ɛz greɪt paʊər prəˈmoʊts ɪts "pərˈpɛʧuəl wɔr" ənd straɪvz fər wət ɪt kɔlz "ˌɪnˌfɔrˈmeɪʃən ˈdɑmənəns". aɪ hæv gɑt tɪ noʊ ˈʤuljən, ənd wət straɪks mi moʊst əˈbaʊt ɪm ɪz ðə ˌənəˈbæʃt ˌmɔˈræləˌti hi ˌɪnˈvɛsts ɪn. ɪt ɪz ənˈjuˌʒuəl tɪ hir ðə wərdz: "ðə goʊl ɪz ˈʤəstɪs, ðə ˈmɛθəd ɪz trænˈspɛrənsi." hi riˈmaɪndz mi əv wən əv ɑr kəmˈpeɪtriəts, ˈwɪlfrɪd ˈbərʧɪt, ðə kərˈeɪʤəs rɪˈpɔrtər hu ˌɪnˈkərd ðə ræθ əv ðə ˈpaʊərfəl baɪ ɪkˈspoʊzɪŋ ðə "əˈtɑmɪk pleɪg" əv ðə ˌhɪˈroʊʃɪmə bɔm. laɪk ˈbərʧɪt, həz meɪd səm ˈsɪriəs ˈɛnəmiz fər bloʊɪŋ səʧ ə laʊd ˈwɪsəl; ðə ˈpɛnɪˌgɑn həz ɔˈrɛdi θˈrɛtənd tɪ "ˈtərmənəli marginalise*". ənd ðɪs ɪz hɪz greɪt rɪsk ənd hɪz ˈɑnər. aɪ æst ɪm wət hi hæd ˈlərnɪd moʊst frəm hɪz ˈglɪmpsɪz əv ˈræmpənt paʊər. "ɪn wən weɪ ər əˈnəðər aɪv bɪn ˈrɛdɪŋ ˈʤɛnərəlz' iˈmeɪlz sɪns aɪ wɑz 17 hi sɛd (hi ɪz 39 "ənd wət aɪ si naʊ ɪz ə væst, ˈsprɔlɪŋ ɛˈsteɪt ðət ɪz bɪˈkəmɪŋ mɔr ənd mɔr ˈsikrətɪv ənd ˌənkənˈtroʊld. "ðɪs ɪz nɑt ə səˈfɪstɪˌkeɪtəd kənˈspɪrəsi; ɪt ɪz ə ˈmuvmənt əv ˌsɛlˈfɪntəˌrɛst tɪ ˈproʊdus ən ɛnd rɪˈzəlt ðət ɪz [ðə wɔrz ɪn] ˌɪˈrɑk ənd æfˈgænəˌstæn, wɪʧ ər juzd tɪ wɑʃ ˈməni aʊt əv ðə ˈjuˈɛs tæks beɪs ənd bæk tɪ [ɑrmz] ˈkəmpəˌniz laɪk ˈnɔrθrəp ˈgrəmən ənd ˈreɪθiɑn." əˈnəðər riˈlis əv likt ˈdɑkjəmənts ɪz du sun. aɪ səˈlut səʧ ˈprɪnsəpəld ɑˈdæsəti. ˈpriviəs: 22 ænʤɛˈlinə ˌʤoʊˈli nɛkst: 24 lɔɪd bæk tɪ lɪst |
frances bedford announced she was resigning from the labor party in parliament this afternoon. photo: tony lewis /
bedford was ousted in a challenge by health minister and jack snelling, who shifted from neighbouring playford after a boundary redistribution moved around of his electors into florey, which also went from a per cent margin to a safe.
facing overwhelming rejection in a succession of party ballots, bedford withdrew from the contest earlier this month but, as revealed, has been considering her options as an independent candidate.
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bedford this afternoon confirmed to parliament she would resign from the “in all conscience and on matters of principle”, lamenting that “hostile takeover, under the guise and cover of the boundary redistribution, removes an acknowledged hard-working local sitting primarily because the seat is no longer marginal”.
bedford is a left-winger but is not a member of the influential progressive left union and faction that comprises the minority shareholder in factional duopoly.
“as someone who has chosen to remain unaligned, any influence on the decision-making has been taken from me, and i say to the faceless men who have taken this course of action that it is the voters not you who will choose the next member for florey,” bedford said in a statement sent to.
“i bear no to anyone in the [parliamentary labor] caucus, however this is a warning to them all that things have irrevocably changed.
in all conscience and on matters of principle i will be resigning from the
“without true democratic processes, it will be impossible for candidates to act for constituents and not be beholden to factional deals, and the community will not engage in the contest of ideas [with] a robust party and parliamentary champions.”
bedford’s likely candidacy will turn the battle for florey on its head, with snelling forced to fight for his political life on several fronts particularly with influential senator nick xenophon previously indicating he would do anything he could to publicly support bedford if she ran.
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the electorate is also served by the hospital (although the facility itself is now in tom newland) where changes under contentious transforming health measures have been felt most acutely, with the emergency department downgraded and overnight admissions now transferred to the lyell mcewin.
no longer hamstrung by party loyalty, bedford is likely to make health a key part of her narrative, having already broken ranks in calling for universal ambulance cover to be incorporated into transforming health.
“i have had the honour to represent the florey electorate, with many boundary changes, since she said today.
“until [the election] next march, i will continue to energetically represent the interests if the electors of florey and promote their values and right to a ‘fair go’ and the policy issues of importance to them fundamental things like jobs, affordable reliable energy, access to health and education services and bold new initiatives like universal ambulance cover.”
her references to jobs, health and energy three issues that have troubled labor in recent years as well as her rhetorical dig at the ‘faceless men’, a phrase that has dogged the-run party since the days of arthur calwell, suggests bedford intends to inflict serious damage on her former party in the to the election.
premier jay said he was “disappointed and saddened by ms decision to resign from the”.
“we’re as concerned as she is about the redistribution, which has been a challenging outcome for the labor party,” he said in a statement.
“we have asked her to reconsider her decision.”
although she is unlikely to vote against labor measures in parliament, move technically means the government loses the parliamentary majority it won at the 2014 fisher by-election, and again has to rely on the votes of independents for political survival a fact that lost on the opposition.
we value local independent journalism. we hope you do too. provides valuable, local independent journalism in south australia. as a news organisation it offers an alternative to the advertiser, a different voice and a closer look at what is happening in our city and state for free. any contribution to help fund our work is appreciated. please click below to become an supporter. powered by | ˈfrænsɪs ˈbɛdfərd əˈnaʊnst ʃi wɑz rɪˈzaɪnɪŋ frəm ðə ˈleɪbər ˈpɑrti ɪn ˈpɑrləmɛnt ðɪs ˌæftərˈnun. ˈfoʊˌtoʊ: ˈtoʊni luɪs ˈbɛdfərd wɑz ˈaʊstɪd ɪn ə ˈʧælənʤ baɪ hɛlθ ˈmɪnɪstər ənd ʤæk sˈnɛlɪŋ, hu ˈʃɪftɪd frəm ˈneɪbərɪŋ ˈpleɪfərd ˈæftər ə ˈbaʊndəri ˌridɪstrəˈbjuʃən muvd əraʊnd əv hɪz ɪˈlɛktərz ˈɪntu ˈflɔri, wɪʧ ˈɔlsoʊ wɛnt frəm ə pər sɛnt ˈmɑrʤən tɪ ə seɪf ˈfeɪsɪŋ ˌoʊvərˈwɛlmɪŋ rɪˈʤɛkʃən ɪn ə səkˈsɛʃən əv ˈpɑrti ˈbæləts, ˈbɛdfərd wɪθˈdru frəm ðə ˈkɑntɛst ˈərliər ðɪs mənθ bət, ɛz rɪˈvild, həz bɪn kənˈsɪdərɪŋ hər ˈɔpʃənz ɛz ən ˌɪndɪˈpɛndənt ˈkænədɪt. ˌædvərˈtaɪzmənt ˈbɛdfərd ðɪs ˌæftərˈnun kənˈfərmd tɪ ˈpɑrləmɛnt ʃi wʊd rɪˈzaɪn frəm ðə ɔl ˈkɑnʃəns ənd ɔn ˈmætərz əv principle”*”, ləˈmɛntɪŋ ðət ˈteɪˌkoʊvər, ˈəndər ðə gaɪz ənd ˈkəvər əv ðə ˈbaʊndəri ˌridɪstrəˈbjuʃən, riˈmuvz ən ækˈnɑlɪʤd ˌhɑrdˈwərkɪŋ ˈloʊkəl ˈsɪtɪŋ praɪˈmɛrəli bɪˈkəz ðə sit ɪz noʊ ˈlɔŋgər marginal”*”. ˈbɛdfərd ɪz ə ˌlɛftˈwɪŋər bət ɪz nɑt ə ˈmɛmbər əv ðə ˌɪnfluˈɛnʃəl prəˈgrɛsɪv lɛft ˈjunjən ənd ˈfækʃən ðət kəmˈpraɪzɪz ðə məˈnɔrəti ˈʃɛˌrhoʊldər ɪn ˈfækʃənəl ˈduoʊˌpɑli. ˈsəmˌwən hu həz ˈʧoʊzən tɪ rɪˈmeɪn unaligned*, ˈɛni ˈɪnfluəns ɔn ðə dɪˈsɪʒənˌmeɪkɪŋ həz bɪn ˈteɪkən frəm mi, ənd aɪ seɪ tɪ ðə ˈfeɪsləs mɛn hu hæv ˈteɪkən ðɪs kɔrs əv ˈækʃən ðət ɪt ɪz ðə ˈvoʊtərz nɑt ju hu wɪl ʧuz ðə nɛkst ˈmɛmbər fər florey,”*,” ˈbɛdfərd sɛd ɪn ə ˈsteɪtmənt sɛnt tɪ. bɛr noʊ tɪ ˈɛniˌwən ɪn ðə [ˌpɑrləˈmɛntəri ˈleɪbər] ˈkɔkəs, ˌhaʊˈɛvər ðɪs ɪz ə ˈwɔrnɪŋ tɪ ðɛm ɔl ðət θɪŋz hæv ˌɪˌrɛˈvoʊkəbli ʧeɪnʤd. ɪn ɔl ˈkɑnʃəns ənd ɔn ˈmætərz əv ˈprɪnsəpəl aɪ wɪl bi rɪˈzaɪnɪŋ frəm ðə tru ˌdɛməˈkrætɪk ˈprɑsɛsəz, ɪt wɪl bi ˌɪmˈpɑsəbəl fər ˈkænədɪts tɪ ækt fər kənˈstɪʧuənts ənd nɑt bi bɪˈhoʊldən tɪ ˈfækʃənəl dilz, ənd ðə kəmˈjunɪti wɪl nɑt ɪnˈgeɪʤ ɪn ðə ˈkɑntɛst əv aɪˈdiəz [wɪθ] ə roʊˈbəst ˈpɑrti ənd ˌpɑrləˈmɛntəri champions.”*.” ˈlaɪkli ˈkændɪdəsi wɪl tərn ðə ˈbætəl fər ˈflɔri ɔn ɪts hɛd, wɪθ sˈnɛlɪŋ fɔrst tɪ faɪt fər hɪz pəˈlɪtɪkəl laɪf ɔn ˈsɛvərəl frənts ˌpɑrˈtɪkjələrli wɪθ ˌɪnfluˈɛnʃəl ˈsɛnətər nɪk ˈzɛnəfən ˈpriviəsli ˈɪndəˌkeɪtɪŋ hi wʊd du ˈɛniˌθɪŋ hi kʊd tɪ ˈpəblɪkli səˈpɔrt ˈbɛdfərd ɪf ʃi ræn. ˌædvərˈtaɪzmənt ðə ɪˈlɛktərət ɪz ˈɔlsoʊ sərvd baɪ ðə ˈhɑˌspɪtəl (ˌɔlˈðoʊ ðə fəˈsɪlɪti ˌɪtˈsɛlf ɪz naʊ ɪn tɑm ˈnulənd) wɛr ˈʧeɪnʤɪz ˈəndər kənˈtɛnʃəs trænsˈfɔrmɪŋ hɛlθ ˈmɛʒərz hæv bɪn fɛlt moʊst əˈkjutli, wɪθ ðə ˈimərʤənsi dɪˈpɑrtmənt ˈdaʊnˈgreɪdəd ənd ˈoʊvərˈnaɪt ədˈmɪʃənz naʊ ˈtrænsfərd tɪ ðə laɪɛl mcewin*. noʊ ˈlɔŋgər ˈhæmstrəŋ baɪ ˈpɑrti ˈlɔɪəlti, ˈbɛdfərd ɪz ˈlaɪkli tɪ meɪk hɛlθ ə ki pɑrt əv hər ˈnɛrətɪv, ˈhævɪŋ ɔˈrɛdi ˈbroʊkən ræŋks ɪn ˈkɔlɪŋ fər ˌjunəˈvərsəl ˈæmbjələns ˈkəvər tɪ bi ˌɪnˈkɔrpərˌeɪtɪd ˈɪntu trænsˈfɔrmɪŋ hɛlθ. hæv hæd ðə ˈɑnər tɪ ˌrɛprɪˈzɛnt ðə ˈflɔri ɪˈlɛktərət, wɪθ ˈmɛni ˈbaʊndəri ˈʧeɪnʤɪz, sɪns ʃi sɛd təˈdeɪ. [ðə ɪˈlɛkʃən] nɛkst mɑrʧ, aɪ wɪl kənˈtɪnju tɪ ˌɛnərˈʤɛtɪkli ˌrɛprɪˈzɛnt ðə ˈɪntərɪsts ɪf ðə ɪˈlɛktərz əv ˈflɔri ənd prəˈmoʊt ðɛr ˈvæljuz ənd raɪt tɪ ə go’*’ ənd ðə ˈpɑləsi ˈɪʃuz əv ˌɪmˈpɔrtəns tɪ ðɛm ˌfəndəˈmɛnəl θɪŋz laɪk ʤɑbz, əˈfɔrdəbəl rɪˈlaɪəbəl ˈɛnərʤi, ˈækˌsɛs tɪ hɛlθ ənd ˌɛʤəˈkeɪʃən ˈsərvɪsɪz ənd boʊld nu ˌɪˈnɪʃətɪvz laɪk ˌjunəˈvərsəl ˈæmbjələns cover.”*.” hər ˈrɛfərənsɪz tɪ ʤɑbz, hɛlθ ənd ˈɛnərʤi θri ˈɪʃuz ðət hæv ˈtrəbəld ˈleɪbər ɪn ˈrisənt jɪrz ɛz wɛl ɛz hər rɪˈtɔrɪkəl dɪg æt ðə men’*’, ə freɪz ðət həz dɔgd ðə ˈpɑrti sɪns ðə deɪz əv ˈɑrθər calwell*, səˈʤɛsts ˈbɛdfərd ˌɪnˈtɛndz tɪ ˌɪnˈflɪkt ˈsɪriəs ˈdæmɪʤ ɔn hər ˈfɔrmər ˈpɑrti ɪn ðə tɪ ðə ɪˈlɛkʃən. prɛˈmɪr ʤeɪ sɛd hi wɑz ənd ˈsædənd baɪ mɪz dɪˈsɪʒən tɪ rɪˈzaɪn frəm ðə alp”*”. ɛz kənˈsərnd ɛz ʃi ɪz əˈbaʊt ðə ˌridɪstrəˈbjuʃən, wɪʧ həz bɪn ə ˈʧælənʤɪŋ ˈaʊtˌkəm fər ðə ˈleɪbər party,”*,” hi sɛd ɪn ə ˈsteɪtmənt. hæv æst hər tɪ ˌrikənˈsɪdər hər decision.”*.” ˌɔlˈðoʊ ʃi ɪz ənˈlaɪkli tɪ voʊt əˈgɛnst ˈleɪbər ˈmɛʒərz ɪn ˈpɑrləmɛnt, muv ˈtɛknɪkəli minz ðə ˈgəvərnmənt ˈluzɪz ðə ˌpɑrləˈmɛntəri məˈʤɔrəti ɪt wən æt ðə 2014 ˈfɪʃər by-election*, ənd əˈgɛn həz tɪ rɪˈlaɪ ɔn ðə voʊts əv ˌɪndɪˈpɛndənts fər pəˈlɪtɪkəl sərˈvaɪvəl ə fækt ðət lɔst ɔn ðə ˌɑpəˈzɪʃən. wi ˈvælju ˈloʊkəl ˌɪndɪˈpɛndənt ˈʤərnəˌlɪzəm. wi hoʊp ju du tu. prəˈvaɪdz ˈvæljəbəl, ˈloʊkəl ˌɪndɪˈpɛndənt ˈʤərnəˌlɪzəm ɪn saʊθ ɔˈstreɪljə. ɛz ə nuz ˌɔrgənɪˈzeɪʃən ɪt ˈɔfərz ən ɔlˈtərnətɪv tɪ ðə ˈædvərˌtaɪzər, ə ˈdɪfərənt vɔɪs ənd ə ˈkloʊzər lʊk æt wət ɪz ˈhæpənɪŋ ɪn ɑr ˈsɪti ənd steɪt fər fri. ˈɛni ˌkɑntrəˈbjuʃən tɪ hɛlp fənd ɑr wərk ɪz əˈpriʃiˌeɪtɪd. pliz klɪk bɪˈloʊ tɪ bɪˈkəm ən səˈpɔrtər. paʊərd baɪ |
(cnn) michelle carter was found guilty friday of involuntary manslaughter in a case largely built on text messages she sent urging her boyfriend, conrad roy iii, to commit suicide in july 2014 by inhaling carbon monoxide in his pickup truck.
"this court has found that carter's actions and failure to act where it was her duty to roy since she put him in that toxic environment constituted reckless conduct," bristol county juvenile court judge lawrence moniz said. "the court finds that the conduct caused the death of mr. roy."
roy aspired to be a tugboat captain and would be alive if not for carter's actions, bristol assistant district attorney katie rayburn said. he had been trying to better himself, and "we all wish he had the opportunity," to grow up, she said.
carter was tried as a juvenile because she was 17 at the time of the crime.
here are some of the messages, as outlined in court documents.
june 19, 2014
here, carter urges roy to seek medical help for his suicidal thoughts.
carter: "but the mental hospital would help you. i know you don't think it would but i'm telling you, if you give them a chance, they can save your life"
carter: "part of me wants you to try something and fail just so you can go get help"
roy: "it doesn't help. trust me"
carter: "so what are you gonna do then? keep being all talk and no action and everyday go thru saying how badly you wanna kill yourself? or are you gonna try to get better?"
roy: "i can't get better i already made my decision."
june 23, 2014
in this exchange, carter discourages roy from harming himself.
carter: "how do you want to harm yourself"
roy: "something yet"
carter: "please don't"
roy: "i hate myself i'll always hate myself, i'm never gonna view myself as good i'm so far behind"
carter: "what is harming yourself gonna do!? nothing! it will make it worse!"
roy: "make the pain go away like you said"
carter: "it will make the pain go away temporarily, but when you're done, you'll just regret it and feel even worse!"
july 7, 2014
here, carter tells roy how she would handle his situation.
roy: " if you were in my position. honestly what would you do"
carter: "i would get help. that's just me tho. when i have a serious problem like that my first instinct is to get help because i know i can't do it on my own"
later that day, however, carter and roy discuss the best way for him to produce carbon monoxide (co).
carter: "well there's more ways to make co. google ways to make it. . . "
roy: "omg"
carter: "what"
roy: "portable generator that's it"
july 8, 2014
the next day roy seems less resolute.
carter: "so are you sure you don't wanna [kill yourself] tonight?"
roy: "what do you mean am i sure?"
carter: "like, are you definitely not doing it tonight?"
roy: yet i'll let you know"
carter: "because i'll stay up with you if you wanna do
it tonight"
roy: " another day wouldn't hurt"
carter: "you can't keep pushing it off, tho, that's all you keep doing"
july 11, 2014
on this day carter sends roy her opinion about using a generator in the truck, as opposed to a water pump.
carter: "...well in my opinion, i think u should do the generator because i don't know much
about the pump and with a generator u can't fail"
july, 2014
this series of messages was sent over a span of nine days. the ---- indicates a pause between conversations.
carter: "you're gonna have to prove me wrong because i just don't think you really want this. you just keeps pushing it off to another night and say you'll do it but you never do"
---
carter: "see that's what i mean. you keep pushing it off! you just said you were gonna do it tonight and now you're saying eventually. . . ."
---
carter: "but i bet you're gonna be like 'oh, it didn't work because i didn't tape the tube right or something like that' . . . i bet you're gonna say an excuse like that"
---
carter: "do you have the generator?"
roy: "not yet lol"
carter: "well when are you getting it"
---
carter: "you better not be bull me and saying you're gonna do this and then purposely get caught"
july, 2014
overnight and into the next morning, roy shares concerns over how his parents would handle his suicide.
roy: "i'm just to sensitive. i want my family to know there was nothing they could do. i am entrapped in my own thoughts"
roy: "like no i would be happy if they had no guilt about it. because i have a bad feeling this is going to create a lot of depression between my parents/sisters"
roy: "i'm everything. . f**k. i gotta stop and just do it"
carter: "i think your parents know you're in a really bad place. im not saying they want you to do it, but i honestly feel like they can accept it. they know there's nothing they can do, they've tried helping, everyone's tried. but there's a point that comes where there isn't anything anyone can do to save you, not even yourself, and you've hit that point and i think your parents know you've hit that point. you said you're mom saw a suicide thing on your computer and she didn't say anything. i think she knows it's on your mind and she's prepared for it"
carter: everyone will be sad for a while, but they will get over it and move on. they won't be in depression i won't let that happen. they know how sad you are and they know that you're doing this to be happy, and i think they will understand and accept it. they'll always carry u in their hearts"
----
roy: "i don't want anyone hurt in the process though"
roy: "i meant when they open the door, all the carbon monoxide is gonna come out they can't see it or smell it. whoever opens the door"
carter: "they will see the generator and know that you died of co. . . ."
----
roy: "hey can you do me a favor"
carter: "yes of course"
roy: "just be there for my family :)"
carter: "conrad, of course i will be there for your family. i will help them as much as i can to get thru this, ill tell them about how amazing their truly was"
----
roy: i'm freaking out again"
roy: i'm"
carter: "i thought you wanted to do this. the time is right and you're ready, you just need to do it! you can't keep living this way. you just need to do it like you did last time and not think about it and just do it babe. you can't keep doing this every day"
roy: "i do want to. but like i'm freaking for my family. i guess"
roy:kk"
carter: "conrad. i told you i'll take care of them. everyone will take care of them to make sure they won't be alone and people will help them get thru it. we talked about this, they will be okay and accept it. people who commit suicide don't think this much and they just do it"
july 12, 2014
in these exchanges on the day before his body was found, roy expresses more hesitation about his plan.
carter: "so i guess you aren't gonna do it then, all that for nothing"
carter: "i'm just confused like you were so ready and determined"
roy: "i am gonna eventually"
roy: "i really don't know what i'm waiting for. . but i have everything lined up"
carter: "no, you're not, conrad. last night was it. you keep pushing it off and you say you'll do it but u never do. its always gonna be that way if u don't take action"
carter: "you're just making it harder on yourself by pushing it off, you just have to do it"
carter: "do u wanna do it now?"
roy: "is it too late?"
roy:k it's already light outside"
roy: i'm gonna go back to sleep, love you i'll text you tomorrow"
carter: "no? its probably the best time now because everyone's sleeping. just go somewhere in your truck. and no one's really out right now because it's an awkward time"
carter: "if u don't do it now you're never gonna do it"
carter: "and u can say you'll do it tomorrow but you probably won't"
---
carter: "you just need to do it conrad or i'm gonna get you help"
carter: "you can't keep doing this everyday"
roy: "okay i'm gonna do it today"
carter: "do you promise"
roy: "i promise babe"
roy: "i have to now"
carter: "like right now?"
roy: "where do i go? :("
carter: "and u can't break a promise. and just go in a quiet parking lot or something." | (ˈsiˈɛˈnɛn) mɪˈʃɛl ˈkɑrtər wɑz faʊnd ˈgɪlti ˈfraɪˌdeɪ əv ˌɪnˈvɑlənˌtɛri ˈmænsˌlɔtər ɪn ə keɪs ˈlɑrʤli bɪlt ɔn tɛkst ˈmɛsɪʤɪz ʃi sɛnt ˈərʤɪŋ hər ˈbɔɪˌfrɛnd, ˈkɑnræd rɔɪ iii*, tɪ kəˈmɪt ˈsuɪˌsaɪd ɪn ˌʤuˈlaɪ 2014 baɪ ˌɪnˈheɪlɪŋ ˈkɑrbən məˈnɑksaɪd ɪn hɪz ˈpɪˌkəp trək. "ðɪs kɔrt həz faʊnd ðət ˈkɑrtərz ˈækʃənz ənd ˈfeɪljər tɪ ækt wɛr ɪt wɑz hər ˈduti tɪ rɔɪ sɪns ʃi pʊt ɪm ɪn ðət ˈtɑksɪk ɪnˈvaɪrənmənt ˈkɑnstəˌtutəd ˈrɛkləs ˈkɑndəkt," ˈbrɪstəl ˈkaʊnti ˈʤuvəˌnaɪl kɔrt ʤəʤ ˈlɔrəns ˈmɑnɪz sɛd. "ðə kɔrt faɪndz ðət ðə ˈkɑndəkt kɔzd ðə dɛθ əv ˈmɪstər. rɔɪ." rɔɪ əˈspaɪrd tɪ bi ə ˈtəgˌboʊt ˈkæptən ənd wʊd bi əˈlaɪv ɪf nɑt fər ˈkɑrtərz ˈækʃənz, ˈbrɪstəl əˈsɪstənt ˈdɪstrɪkt əˈtərni ˈkeɪti ˈreɪbərn sɛd. hi hæd bɪn traɪɪŋ tɪ ˈbɛtər hɪmˈsɛlf, ənd "wi ɔl wɪʃ hi hæd ðə ˌɑpərˈtunəti," tɪ groʊ əp, ʃi sɛd. ˈkɑrtər wɑz traɪd ɛz ə ˈʤuvəˌnaɪl bɪˈkəz ʃi wɑz 17 æt ðə taɪm əv ðə kraɪm. hir ər səm əv ðə ˈmɛsɪʤɪz, ɛz ˈaʊˌtlaɪnd ɪn kɔrt ˈdɑkjəmənts. ʤun 19 2014 hir, ˈkɑrtər ˈərʤɪz rɔɪ tɪ sik ˈmɛdɪkəl hɛlp fər hɪz ˌsuəˈsaɪdəl θɔts. ˈkɑrtər: "bət ðə ˈmɛntəl ˈhɑˌspɪtəl wʊd hɛlp ju. aɪ noʊ ju doʊnt θɪŋk ɪt wʊd bət əm ˈtɛlɪŋ ju, ɪf ju gɪv ðɛm ə ʧæns, ðeɪ kən seɪv jʊr laɪf" ˈkɑrtər: "pɑrt əv mi wɔnts ju tɪ traɪ ˈsəmθɪŋ ənd feɪl ʤɪst soʊ ju kən goʊ gɪt hɛlp" rɔɪ: "ɪt ˈdəzənt hɛlp. trəst mi" ˈkɑrtər: "soʊ wət ər ju ˈgɑnə du ðɛn? kip biɪŋ ɔl tɔk ənd noʊ ˈækʃən ənd ˈɛvriˈdeɪ goʊ θru seɪɪŋ haʊ ˈbædli ju ˈwɑnə kɪl ˈjɔrsɛlf? ər ər ju ˈgɑnə traɪ tɪ gɪt ˈbɛtər?" rɔɪ: "aɪ kænt gɪt ˈbɛtər aɪ ɔˈrɛdi meɪd maɪ dɪˈsɪʒən." ʤun 23 2014 ɪn ðɪs ɪksˈʧeɪnʤ, ˈkɑrtər dɪˈskərɪʤɪz rɔɪ frəm ˈhɑrmɪŋ hɪmˈsɛlf. ˈkɑrtər: "haʊ du ju wɔnt tɪ hɑrm ˈjɔrsɛlf" rɔɪ: "ˈsəmθɪŋ jɛt" ˈkɑrtər: "pliz doʊnt" rɔɪ: "aɪ heɪt ˌmaɪˈsɛlf aɪl ˈɔlˌweɪz heɪt ˌmaɪˈsɛlf, əm ˈnɛvər ˈgɑnə vju ˌmaɪˈsɛlf ɛz gʊd əm soʊ fɑr bɪˈhaɪnd" ˈkɑrtər: "wət ɪz ˈhɑrmɪŋ ˈjɔrsɛlf ˈgɑnə du!? ˈnəθɪŋ! ɪt wɪl meɪk ɪt wərs!" rɔɪ: "meɪk ðə peɪn goʊ əˈweɪ laɪk ju sɛd" ˈkɑrtər: "ɪt wɪl meɪk ðə peɪn goʊ əˈweɪ ˌtɛmpərˈɛrəli, bət wɪn jʊr dən, jul ʤɪst rɪˈgrɛt ɪt ənd fil ˈivɪn wərs!" ˌʤuˈlaɪ 7 2014 hir, ˈkɑrtər tɛlz rɔɪ haʊ ʃi wʊd ˈhændəl hɪz ˌsɪʧuˈeɪʃən. rɔɪ: ɪf ju wər ɪn maɪ pəˈzɪʃən. ˈɑnəstli wət wʊd ju du" ˈkɑrtər: "aɪ wʊd gɪt hɛlp. ðæts ʤɪst mi ðoʊ. wɪn aɪ hæv ə ˈsɪriəs ˈprɑbləm laɪk ðət maɪ fərst ˈɪnstɪŋkt ɪz tɪ gɪt hɛlp bɪˈkəz aɪ noʊ aɪ kænt du ɪt ɔn maɪ oʊn" ˈleɪtər ðət deɪ, ˌhaʊˈɛvər, ˈkɑrtər ənd rɔɪ dɪˈskəs ðə bɛst weɪ fər ɪm tɪ ˈproʊdus ˈkɑrbən məˈnɑksaɪd (koʊ). ˈkɑrtər: "wɛl ðɛrz mɔr weɪz tɪ meɪk koʊ. ˈgugəl weɪz tɪ meɪk ɪt. rɔɪ: "omg*" ˈkɑrtər: "wət" rɔɪ: "ˈpɔrtəbəl ˈʤɛnərˌeɪtər ðæts ɪt" ˌʤuˈlaɪ 8 2014 ðə nɛkst deɪ rɔɪ simz lɛs ˈrɛzəˌlut. ˈkɑrtər: "soʊ ər ju ʃʊr ju doʊnt ˈwɑnə [kɪl ˈjɔrsɛlf] təˈnaɪt?" rɔɪ: "wət du ju min æm aɪ ʃʊr?" ˈkɑrtər: "laɪk, ər ju ˈdɛfənətli nɑt duɪŋ ɪt təˈnaɪt?" rɔɪ: jɛt aɪl lɛt ju noʊ" ˈkɑrtər: "bɪˈkəz aɪl steɪ əp wɪθ ju ɪf ju ˈwɑnə du ɪt təˈnaɪt" rɔɪ: əˈnəðər deɪ ˈwʊdənt hərt" ˈkɑrtər: "ju kænt kip ˈpʊʃɪŋ ɪt ɔf, ðoʊ, ðæts ɔl ju kip duɪŋ" ˌʤuˈlaɪ 11 2014 ɔn ðɪs deɪ ˈkɑrtər sɛndz rɔɪ hər əˈpɪnjən əˈbaʊt ˈjuzɪŋ ə ˈʤɛnərˌeɪtər ɪn ðə trək, ɛz əˈpoʊzd tɪ ə ˈwɔtər pəmp. ˈkɑrtər: "...wɛl ɪn maɪ əˈpɪnjən, aɪ θɪŋk ju ʃʊd du ðə ˈʤɛnərˌeɪtər bɪˈkəz aɪ doʊnt noʊ məʧ əˈbaʊt ðə pəmp ənd wɪθ ə ˈʤɛnərˌeɪtər ju kænt feɪl" ˌʤuˈlaɪ 2014 ðɪs ˈsɪriz əv ˈmɛsɪʤɪz wɑz sɛnt ˈoʊvər ə spæn əv naɪn deɪz. ðə ˈɪndɪˌkeɪts ə pɔz bɪtˈwin ˌkɑnvərˈseɪʃənz. ˈkɑrtər: "jʊr ˈgɑnə hæv tɪ pruv mi rɔŋ bɪˈkəz aɪ ʤɪst doʊnt θɪŋk ju ˈrɪli wɔnt ðɪs. ju ʤɪst kips ˈpʊʃɪŋ ɪt ɔf tɪ əˈnəðər naɪt ənd seɪ jul du ɪt bət ju ˈnɛvər du" ˈkɑrtər: "si ðæts wət aɪ min. ju kip ˈpʊʃɪŋ ɪt ɔf! ju ʤɪst sɛd ju wər ˈgɑnə du ɪt təˈnaɪt ənd naʊ jʊr seɪɪŋ ɪˈvɛnʧəwəli. ˈkɑrtər: "bət aɪ bɛt jʊr ˈgɑnə bi laɪk 'oʊ, ɪt ˈdɪdənt wərk bɪˈkəz aɪ ˈdɪdənt teɪp ðə tub raɪt ər ˈsəmθɪŋ laɪk ðət' aɪ bɛt jʊr ˈgɑnə seɪ ən ɪkˈskjuz laɪk ðət" ˈkɑrtər: "du ju hæv ðə ˈʤɛnərˌeɪtər?" rɔɪ: "nɑt jɛt lɔl" ˈkɑrtər: "wɛl wɪn ər ju ˈgɪtɪŋ ɪt" ˈkɑrtər: "ju ˈbɛtər nɑt bi bʊl mi ənd seɪɪŋ jʊr ˈgɑnə du ðɪs ənd ðɛn ˈpərpəsli gɪt kɔt" ˌʤuˈlaɪ 2014 ˈoʊvərˈnaɪt ənd ˈɪntu ðə nɛkst ˈmɔrnɪŋ, rɔɪ ʃɛrz kənˈsərnz ˈoʊvər haʊ hɪz ˈpɛrənts wʊd ˈhændəl hɪz ˈsuɪˌsaɪd. rɔɪ: "əm ʤɪst tɪ ˈsɛnsɪtɪv. aɪ wɔnt maɪ ˈfæməli tɪ noʊ ðɛr wɑz ˈnəθɪŋ ðeɪ kʊd du. aɪ æm ɪnˈtræpt ɪn maɪ oʊn θɔts" rɔɪ: "laɪk noʊ aɪ wʊd bi ˈhæpi ɪf ðeɪ hæd noʊ gɪlt əˈbaʊt ɪt. bɪˈkəz aɪ hæv ə bæd ˈfilɪŋ ðɪs ɪz goʊɪŋ tɪ kriˈeɪt ə lɔt əv dɪˈprɛʃən bɪtˈwin maɪ parents/sisters*" rɔɪ: "əm ˈɛvriˌθɪŋ. f**k*. aɪ ˈgɑtə stɑp ənd ʤɪst du ɪt" ˈkɑrtər: "aɪ θɪŋk jʊr ˈpɛrənts noʊ jʊr ɪn ə ˈrɪli bæd pleɪs. ɪm nɑt seɪɪŋ ðeɪ wɔnt ju tɪ du ɪt, bət aɪ ˈɑnəstli fil laɪk ðeɪ kən əkˈsɛpt ɪt. ðeɪ noʊ ðɛrz ˈnəθɪŋ ðeɪ kən du, ðeɪv traɪd ˈhɛlpɪŋ, ˈɛvriˌwənz traɪd. bət ðɛrz ə pɔɪnt ðət kəmz wɛr ðɛr ˈɪzənt ˈɛniˌθɪŋ ˈɛniˌwən kən du tɪ seɪv ju, nɑt ˈivɪn ˈjɔrsɛlf, ənd juv hɪt ðət pɔɪnt ənd aɪ θɪŋk jʊr ˈpɛrənts noʊ juv hɪt ðət pɔɪnt. ju sɛd jʊr mɑm sɔ ə ˈsuɪˌsaɪd θɪŋ ɔn jʊr kəmˈpjutər ənd ʃi ˈdɪdənt seɪ ˈɛniˌθɪŋ. aɪ θɪŋk ʃi noʊz ɪts ɔn jʊr maɪnd ənd ʃiz priˈpɛrd fər ɪt" ˈkɑrtər: ˈɛvriˌwən wɪl bi sæd fər ə waɪl, bət ðeɪ wɪl gɪt ˈoʊvər ɪt ənd muv ɔn. ðeɪ woʊnt bi ɪn dɪˈprɛʃən aɪ woʊnt lɛt ðət ˈhæpən. ðeɪ noʊ haʊ sæd ju ər ənd ðeɪ noʊ ðət jʊr duɪŋ ðɪs tɪ bi ˈhæpi, ənd aɪ θɪŋk ðeɪ wɪl ˌəndərˈstænd ənd əkˈsɛpt ɪt. ðɛl ˈɔlˌweɪz ˈkɛri ju ɪn ðɛr hɑrts" rɔɪ: "aɪ doʊnt wɔnt ˈɛniˌwən hərt ɪn ðə ˈprɔˌsɛs ðoʊ" rɔɪ: "aɪ mɛnt wɪn ðeɪ ˈoʊpən ðə dɔr, ɔl ðə ˈkɑrbən məˈnɑksaɪd ɪz ˈgɑnə kəm aʊt ðeɪ kænt si ɪt ər smɛl ɪt. huˈɛvər ˈoʊpənz ðə dɔr" ˈkɑrtər: "ðeɪ wɪl si ðə ˈʤɛnərˌeɪtər ənd noʊ ðət ju daɪd əv koʊ. rɔɪ: "heɪ kən ju du mi ə ˈfeɪvər" ˈkɑrtər: "jɛs əv kɔrs" rɔɪ: "ʤɪst bi ðɛr fər maɪ ˈfæməli ˈkɑrtər: "ˈkɑnræd, əv kɔrs aɪ wɪl bi ðɛr fər jʊr ˈfæməli. aɪ wɪl hɛlp ðɛm ɛz məʧ ɛz aɪ kən tɪ gɪt θru ðɪs, ɪl tɛl ðɛm əˈbaʊt haʊ əˈmeɪzɪŋ ðɛr ˈtruli wɑz" rɔɪ: əm ˈfrikɪŋ aʊt əˈgɛn" rɔɪ: əm" ˈkɑrtər: "aɪ θɔt ju ˈwɔntɪd tɪ du ðɪs. ðə taɪm ɪz raɪt ənd jʊr ˈrɛdi, ju ʤɪst nid tɪ du ɪt! ju kænt kip ˈlɪvɪŋ ðɪs weɪ. ju ʤɪst nid tɪ du ɪt laɪk ju dɪd læst taɪm ənd nɑt θɪŋk əˈbaʊt ɪt ənd ʤɪst du ɪt beɪb. ju kænt kip duɪŋ ðɪs ˈɛvəri deɪ" rɔɪ: "aɪ du wɔnt tɪ. bət laɪk əm ˈfrikɪŋ fər maɪ ˈfæməli. aɪ gɛs" rɔɪ: "idkkk*" ˈkɑrtər: "ˈkɑnræd. aɪ toʊld ju aɪl teɪk kɛr əv ðɛm. ˈɛvriˌwən wɪl teɪk kɛr əv ðɛm tɪ meɪk ʃʊr ðeɪ woʊnt bi əˈloʊn ənd ˈpipəl wɪl hɛlp ðɛm gɪt θru ɪt. wi tɔkt əˈbaʊt ðɪs, ðeɪ wɪl bi ˌoʊˈkeɪ ənd əkˈsɛpt ɪt. ˈpipəl hu kəˈmɪt ˈsuɪˌsaɪd doʊnt θɪŋk ðɪs məʧ ənd ðeɪ ʤɪst du ɪt" ˌʤuˈlaɪ 12 2014 ɪn ðiz ɪksˈʧeɪnʤɪz ɔn ðə deɪ ˌbiˈfɔr hɪz ˈbɑdi wɑz faʊnd, rɔɪ ɪkˈsprɛsɪz mɔr ˌhɛzəˈteɪʃən əˈbaʊt hɪz plæn. ˈkɑrtər: "soʊ aɪ gɛs ju ˈɑrənt ˈgɑnə du ɪt ðɛn, ɔl ðət fər ˈnəθɪŋ" ˈkɑrtər: "əm ʤɪst kənfˈjuzd laɪk ju wər soʊ ˈrɛdi ənd dɪˈtərmənd" rɔɪ: "aɪ æm ˈgɑnə ɪˈvɛnʧəwəli" rɔɪ: "aɪ ˈrɪli doʊnt noʊ wət əm ˈweɪtɪŋ fər. bət aɪ hæv ˈɛvriˌθɪŋ laɪnd əp" ˈkɑrtər: "noʊ, jʊr nɑt, ˈkɑnræd. læst naɪt wɑz ɪt. ju kip ˈpʊʃɪŋ ɪt ɔf ənd ju seɪ jul du ɪt bət ju ˈnɛvər du. ɪts ˈɔlˌweɪz ˈgɑnə bi ðət weɪ ɪf ju doʊnt teɪk ˈækʃən" ˈkɑrtər: "jʊr ʤɪst ˈmeɪkɪŋ ɪt ˈhɑrdər ɔn ˈjɔrsɛlf baɪ ˈpʊʃɪŋ ɪt ɔf, ju ʤɪst hæv tɪ du ɪt" ˈkɑrtər: "du ju ˈwɑnə du ɪt naʊ?" rɔɪ: "ɪz ɪt tu leɪt?" rɔɪ: ɪts ɔˈrɛdi laɪt ˈaʊtˈsaɪd" rɔɪ: əm ˈgɑnə goʊ bæk tɪ slip, ləv ju aɪl tɛkst ju təˈmɑˌroʊ" ˈkɑrtər: "noʊ? ɪts ˈprɑbəˌbli ðə bɛst taɪm naʊ bɪˈkəz ˈɛvriˌwənz sˈlipɪŋ. ʤɪst goʊ ˈsəmˌwɛr ɪn jʊr trək. ənd noʊ wənz ˈrɪli aʊt raɪt naʊ bɪˈkəz ɪts ən ˈɔkwərd taɪm" ˈkɑrtər: "ɪf ju doʊnt du ɪt naʊ jʊr ˈnɛvər ˈgɑnə du ɪt" ˈkɑrtər: "ənd ju kən seɪ jul du ɪt təˈmɑˌroʊ bət ju ˈprɑbəˌbli woʊnt" ˈkɑrtər: "ju ʤɪst nid tɪ du ɪt ˈkɑnræd ər əm ˈgɑnə gɪt ju hɛlp" ˈkɑrtər: "ju kænt kip duɪŋ ðɪs ˈɛvriˈdeɪ" rɔɪ: "ˌoʊˈkeɪ əm ˈgɑnə du ɪt təˈdeɪ" ˈkɑrtər: "du ju ˈprɑməs" rɔɪ: "aɪ ˈprɑməs beɪb" rɔɪ: "aɪ hæv tɪ naʊ" ˈkɑrtər: "laɪk raɪt naʊ?" rɔɪ: "wɛr du aɪ goʊ? ˈkɑrtər: "ənd ju kænt breɪk ə ˈprɑməs. ənd ʤɪst goʊ ɪn ə kwaɪət ˈpɑrkɪŋ lɔt ər ˈsəmθɪŋ." |
colorado springs, colo. usa hockey announced today the host sites for its slate of 2018 national championships, with each tournament to be contested in 2018.
among the notable highlights:
the 2018 usa hockey girls national championships will mark the anniversary of usa hockey crowning the nation's best in girls and women's hockey, a tradition that dates back to 1978 and the inaugural girls national championship tournament held in orchard park and cheektowaga, new york.
usa hockey arena, in plymouth, michigan, will host its usa hockey youth national championship when the nation's best compete at the 2018 usa hockey youth tier i national championship for 15-year-olds.
notes: usa hockey has been conducting the united states' national championship tournaments since 1938, with teams from 37 states being crowned champions in various classifications ... a list of usa hockey national champions dating back to 1949 can be found here. | ˌkɑlərˈɑdoʊ spərɪŋz, ˈkoʊloʊ. ˈjuˈɛˈseɪ ˈhɑki əˈnaʊnst təˈdeɪ ðə hoʊst saɪts fər ɪts sleɪt əv 2018 ˈnæʃənəl ˈʧæmpiənˌʃɪps, wɪθ iʧ ˈtʊrnəmənt tɪ bi kənˈtɛstəd ɪn 2018 əˈməŋ ðə ˈnoʊtəbəl ˈhaɪˌlaɪts: ðə 2018 ˈjuˈɛˈseɪ ˈhɑki gərlz ˈnæʃənəl ˈʧæmpiənˌʃɪps wɪl mɑrk ðə ˌænəˈvərsəri əv ˈjuˈɛˈseɪ ˈhɑki ˈkraʊnɪŋ ðə ˈneɪʃənz bɛst ɪn gərlz ənd ˈwɪmənz ˈhɑki, ə trəˈdɪʃən ðət deɪts bæk tɪ 1978 ənd ðə ˌɪˈnɔgərəl gərlz ˈnæʃənəl ˈʧæmpiənˌʃɪp ˈtʊrnəmənt hɛld ɪn ˈɔrʧərd pɑrk ənd ˌʧiktəˈwɑgə, nu jɔrk. ˈjuˈɛˈseɪ ˈhɑki ərˈinə, ɪn ˈplɪməθ, ˈmɪʃɪgən, wɪl hoʊst ɪts ˈjuˈɛˈseɪ ˈhɑki juθ ˈnæʃənəl ˈʧæmpiənˌʃɪp wɪn ðə ˈneɪʃənz bɛst kəmˈpit æt ðə 2018 ˈjuˈɛˈseɪ ˈhɑki juθ tir aɪ ˈnæʃənəl ˈʧæmpiənˌʃɪp fər 15-year-olds*. noʊts: ˈjuˈɛˈseɪ ˈhɑki həz bɪn kənˈdəktɪŋ ðə juˈnaɪtɪd steɪts' ˈnæʃənəl ˈʧæmpiənˌʃɪp ˈtərnəmənts sɪns 1938 wɪθ timz frəm 37 steɪts biɪŋ kraʊnd ˈʧæmpiənz ɪn ˈvɛriəs ˌklæsəfəˈkeɪʃənz ə lɪst əv ˈjuˈɛˈseɪ ˈhɑki ˈnæʃənəl ˈʧæmpiənz ˈdeɪtɪŋ bæk tɪ 1949 kən bi faʊnd hir. |
the ranch is walking distance from the border, just outside of nogales, arizona. owned by dave lowell, an affable man spent the past 75+ years hunting for buried treasure. today, known as the most successful mining of the past century, having discovered an unprecedented seventeen ore bodies, including the largest copper mine. last week, lowell and his wife, edith, invited us to for lunch. we brought our cameras and sound equipment, and recorded a conversation with one of greatest outliers of all time.
j. david lowell was born february 28, 1928, to a modest family, not too far from (the ranch belonged to his uncle at the time). lowell was first exposed to mining at age 7, when his father, a mining engineer, put him to work. when lowell pursued his college education at arizona and then stanford, he concurrently worked at mines and on exploration programs. not too long after he had completed his degrees, lowell had become one of the foremost experts on copper deposits.
lowell is probably best known today for the model, a guide to large, porphyry copper deposits published in 1970. throughout most of his career, lowell used the model to locate some of the most profitable mineral finds in the history of mining, such as the 1981 discovery of the deposit in chile. containing hundreds of billions of dollars worth of ore, lowell and his colleagues found it at the cost of a mere $2.5 million.
over lunch of elk tacos and fried beans, lowell was modest about his success. but he offered a theory as to why major mining companies make discoveries as efficiently as prospectors like lowell. major mining companies have a “don’t make mistakes” approach, which “doesn’t fit at all with the profile of the mad scientist who discovers mines,” he said. “when something like one in five hundred good-looking targets will become a mine, a successful needs permission to be wrong four hundred and times.” here he paused. “if anything my career says about me, that very good at being wrong.”
despite being a pro about being wrong, lowell does admit to limitations. having “no taste for shareholder relations,” he recalled giving a presentation to investors in 1995 that resulted in the share price of one of his companies falling from $35 to $15 during the time it took him to finish his talk. the shares recovered shortly thereafter.
on the changing impact of technology on mineral exploration over the span of his lifetime, lowell holds that been “very little.” he believes that “geophysics has been very oversold,” instead favoring “drill holes and geochemistry… the best guide to ore is ore.” lowell also voiced doubts that technology would be able to revolutionize mineral exploration the way and seismic has for the oil and gas business, at least in the near future.
the commodities is in tact, lowell believes. elasticity in mining companies’ profit margins, he told us, but not in the demand for the underlying commodities they produce. for that reason, large, undeveloped, low grade copper deposits will need to be put into production, sooner than later.
when asked about his favourite jurisdictions for exploration currently, he told us he favors chile, peru, new guinea, mongolia, nevada, and some parts of africa. but he qualified his dispositions by recalling that attractive jurisdictions are constantly changing. “places like arizona were very attractive as a place to explore for copper deposits, and now arizona is about as bad as venezuela,” he chuckled.
when we moved on to the role luck has played in his career, lowell avoided answering directly. instead he responded that “minefinders who make one discovery are much more likely to find another.” his basic philosophy is that of persistence, and it shows his career is equally productive after retirement age as it was before.
at age eighty-four, lowell is not slowing down. with financiers dave de witt and marcel de groot of pathway capital (“as efficient, honest and reliable as partners get”), lowell is developing several projects, including a deposit in paraguay, which he believes is the largest of its kind in the world. other active projects are under wraps for now, as to avoid competition. investors who rode his arequipa resources shares from .20 to $30.00 in 1995 will surely be watching upcoming public ventures. an autobiography is also in the works.
it was an honor to spend time with dave at his ranch, and pleased to share some video, pictures, and sounds of the day. we hope you enjoy the following short film about the greatest outlier and maverick the mining industry has known in recent memory, j. david lowell. | ðə rænʧ ɪz ˈwɔkɪŋ ˈdɪstəns frəm ðə ˈbɔrdər, ʤɪst ˈaʊtˈsaɪd əv noʊˈgɑlɛs, ˌɛrɪˈzoʊnə. oʊnd baɪ deɪv loʊəl, ən ˈæfəbəl mæn spɛnt ðə pæst 75 jɪrz ˈhəntɪŋ fər ˈbɛrid ˈtrɛʒər. təˈdeɪ, noʊn ɛz ðə moʊst səkˈsɛsfəl ˈmaɪnɪŋ əv ðə pæst ˈsɛnʧəri, ˈhævɪŋ dɪˈskəvərd ən ənˈprɛsɪˌdɛntɪd ˈsɛvənˈtin ɔr ˈbɑdiz, ˌɪnˈkludɪŋ ðə ˈlɑrʤəst ˈkɑpər maɪn. læst wik, loʊəl ənd hɪz waɪf, ˈidɪθ, ˌɪnˈvaɪtɪd ˈjuˈɛs tɪ fər lənʧ. wi brɔt ɑr ˈkæmərəz ənd saʊnd ɪkˈwɪpmənt, ənd rɪˈkɔrdɪd ə ˌkɑnvərˈseɪʃən wɪθ wən əv ˈgreɪtəst ˈaʊtlaɪərz əv ɔl taɪm. ʤeɪ. ˈdeɪvɪd loʊəl wɑz bɔrn ˈfɛbruˌɛri 28 1928 tɪ ə ˈmɑdəst ˈfæməli, nɑt tu fɑr frəm (ðə rænʧ bɪˈlɔŋd tɪ hɪz ˈəŋkəl æt ðə taɪm). loʊəl wɑz fərst ɪkˈspoʊzd tɪ ˈmaɪnɪŋ æt eɪʤ 7 wɪn hɪz ˈfɑðər, ə ˈmaɪnɪŋ ˈɛnʤəˈnɪr, pʊt ɪm tɪ wərk. wɪn loʊəl pərˈsud hɪz ˈkɑlɪʤ ˌɛʤəˈkeɪʃən æt ˌɛrɪˈzoʊnə ənd ðɛn ˈstænfərd, hi kənˈkərəntli wərkt æt maɪnz ənd ɔn ˌɛksplərˈeɪʃən ˈproʊˌgræmz. nɑt tu lɔŋ ˈæftər hi hæd kəmˈplitɪd hɪz dɪˈgriz, loʊəl hæd bɪˈkəm wən əv ðə ˈfɔrˌmoʊst ˈɛkspərts ɔn ˈkɑpər dɪˈpɑzəts. loʊəl ɪz ˈprɑbəˌbli bɛst noʊn təˈdeɪ fər ðə ˈmɑdəl, ə gaɪd tɪ lɑrʤ, ˈpɔrfəri ˈkɑpər dɪˈpɑzəts ˈpəblɪʃt ɪn 1970 θruaʊt moʊst əv hɪz kərɪr, loʊəl juzd ðə ˈmɑdəl tɪ ˈloʊˌkeɪt səm əv ðə moʊst ˈprɑfətəbəl ˈmɪnərəl faɪndz ɪn ðə ˈhɪstəri əv ˈmaɪnɪŋ, səʧ ɛz ðə 1981 ˌdɪˈskəvri əv ðə dɪˈpɑzət ɪn ˈʧɪli. kənˈteɪnɪŋ ˈhənərdz əv ˈbɪljənz əv ˈdɔlərz wərθ əv ɔr, loʊəl ənd hɪz ˈkɑligz faʊnd ɪt æt ðə kɔst əv ə mɪr ˈmɪljən. ˈoʊvər lənʧ əv ɛlk ˈtɑkoʊz ənd frid binz, loʊəl wɑz ˈmɑdəst əˈbaʊt hɪz səkˈsɛs. bət hi ˈɔfərd ə ˈθɪri ɛz tɪ waɪ ˈmeɪʤər ˈmaɪnɪŋ ˈkəmpəˌniz meɪk dɪˈskəvəriz ɛz ɪˈfɪʃəntli ɛz ˈprɔˌspɛktərz laɪk loʊəl. ˈmeɪʤər ˈmaɪnɪŋ ˈkəmpəˌniz hæv ə meɪk mistakes”*” əˈproʊʧ, wɪʧ fɪt æt ɔl wɪθ ðə ˈproʊˌfaɪl əv ðə mæd ˈsaɪəntɪst hu dɪˈskəvərz mines,”*,” hi sɛd. ˈsəmθɪŋ laɪk wən ɪn faɪv ˈhənərd ˈgʊˌdlʊkɪŋ ˈtɑrgəts wɪl bɪˈkəm ə maɪn, ə səkˈsɛsfəl nidz pərˈmɪʃən tɪ bi rɔŋ fɔr ˈhənərd ənd times.”*.” hir hi pɔzd. ˈɛniˌθɪŋ maɪ kərɪr sɪz əˈbaʊt mi, ðət ˈvɛri gʊd æt biɪŋ wrong.”*.” dɪˈspaɪt biɪŋ ə proʊ əˈbaʊt biɪŋ rɔŋ, loʊəl dɪz ədˈmɪt tɪ ˌlɪmɪˈteɪʃənz. ˈhævɪŋ teɪst fər ˈʃɛˌrhoʊldər relations,”*,” hi rɪˈkɔld ˈgɪvɪŋ ə ˌprɛzənˈteɪʃən tɪ ˌɪnˈvɛstərz ɪn 1995 ðət rɪˈzəltɪd ɪn ðə ʃɛr praɪs əv wən əv hɪz ˈkəmpəˌniz ˈfɑlɪŋ frəm 35 tɪ 15 ˈdʊrɪŋ ðə taɪm ɪt tʊk ɪm tɪ ˈfɪnɪʃ hɪz tɔk. ðə ʃɛrz rɪˈkəvərd ˈʃɔrtli ðɛˈræftər. ɔn ðə ˈʧeɪnʤɪŋ ˌɪmˈpækt əv tɛkˈnɑləʤi ɔn ˈmɪnərəl ˌɛksplərˈeɪʃən ˈoʊvər ðə spæn əv hɪz ˈlaɪfˌtaɪm, loʊəl hoʊldz ðət bɪn little.”*.” hi bɪˈlivz ðət həz bɪn ˈvɛri oversold,”*,” ˌɪnˈstɛd ˈfeɪvərɪŋ hoʊlz ənd geochemistry…*… ðə bɛst gaɪd tɪ ɔr ɪz ore.”*.” loʊəl ˈɔlsoʊ vɔɪst daʊts ðət tɛkˈnɑləʤi wʊd bi ˈeɪbəl tɪ ˌrɛvəˈluʃəˌnaɪz ˈmɪnərəl ˌɛksplərˈeɪʃən ðə weɪ ənd ˈsaɪzmɪk həz fər ðə ɔɪl ənd gæs ˈbɪznɪs, æt list ɪn ðə nɪr fˈjuʧər. ðə kəˈmɑdətiz ɪz ɪn tækt, loʊəl bɪˈlivz. ˌiˌlæˈstɪsəti ɪn ˈmaɪnɪŋ companies’*’ ˈprɑfɪt ˈmɑrʤənz, hi toʊld ˈjuˈɛs, bət nɑt ɪn ðə dɪˈmænd fər ðə ˌəndərˈlaɪɪŋ kəˈmɑdətiz ðeɪ ˈproʊdus. fər ðət ˈrizən, lɑrʤ, ˌəndɪˈvɛləpt, loʊ greɪd ˈkɑpər dɪˈpɑzəts wɪl nid tɪ bi pʊt ˈɪntu pərˈdəkʃən, ˈsunər ðən ˈleɪtər. wɪn æst əˈbaʊt hɪz ˈfeɪvərɪt ˌʤʊrɪsˈdɪkʃənz fər ˌɛksplərˈeɪʃən ˈkərəntli, hi toʊld ˈjuˈɛs hi ˈfeɪvərz ˈʧɪli, pəru, nu ˈgɪni, mɑŋˈgoʊljə, nəˈvɑdə, ənd səm pɑrts əv ˈæfrɪkɑ. bət hi kˈwɑləˌfaɪd hɪz ˌdɪspəˈzɪʃənz baɪ rɪˈkɔlɪŋ ðət əˈtræktɪv ˌʤʊrɪsˈdɪkʃənz ər ˈkɑnstəntli ˈʧeɪnʤɪŋ. laɪk ˌɛrɪˈzoʊnə wər ˈvɛri əˈtræktɪv ɛz ə pleɪs tɪ ɪkˈsplɔr fər ˈkɑpər dɪˈpɑzəts, ənd naʊ ˌɛrɪˈzoʊnə ɪz əˈbaʊt ɛz bæd ɛz venezuela,”*,” hi ˈʧəkəld. wɪn wi muvd ɔn tɪ ðə roʊl lək həz pleɪd ɪn hɪz kərɪr, loʊəl əˈvɔɪdɪd ˈænsərɪŋ dɪˈrɛkli. ˌɪnˈstɛd hi rɪˈspɑndɪd ðət hu meɪk wən ˌdɪˈskəvri ər məʧ mɔr ˈlaɪkli tɪ faɪnd another.”*.” hɪz ˈbeɪsɪk fəˈlɑsəfi ɪz ðət əv pərˈsɪstəns, ənd ɪt ʃoʊz hɪz kərɪr ɪz ˈikwəli pərˈdəktɪv ˈæftər rɪˈtaɪərmənt eɪʤ ɛz ɪt wɑz ˌbiˈfɔr. æt eɪʤ eighty-four*, loʊəl ɪz nɑt sloʊɪŋ daʊn. wɪθ ˌfɪnənˈsɪrz deɪv də wɪt ənd mɑrˈsɛl də grut əv ˈpæθˌweɪ ˈkæpɪtəl ɪˈfɪʃənt, ˈɑnəst ənd rɪˈlaɪəbəl ɛz ˈpɑrtnərz get”*”), loʊəl ɪz dɪˈvɛləpɪŋ ˈsɛvərəl ˈprɑʤɛkts, ˌɪnˈkludɪŋ ə dɪˈpɑzət ɪn ˈpɛrəgˌweɪ, wɪʧ hi bɪˈlivz ɪz ðə ˈlɑrʤəst əv ɪts kaɪnd ɪn ðə wərld. ˈəðər ˈæktɪv ˈprɑʤɛkts ər ˈəndər ræps fər naʊ, ɛz tɪ əˈvɔɪd ˌkɑmpəˈtɪʃən. ˌɪnˈvɛstərz hu roʊd hɪz ˌɑrɛˈkipɑ ˈrisɔrsɪz ʃɛrz frəm 20 tɪ ɪn 1995 wɪl ˈʃʊrli bi ˈwɑʧɪŋ ˈəpˌkəmɪŋ ˈpəblɪk ˈvɛnʧərz. ən ˌɔtəbaɪˈɑgrəfi ɪz ˈɔlsoʊ ɪn ðə wərks. ɪt wɑz ən ˈɑnər tɪ spɛnd taɪm wɪθ deɪv æt hɪz rænʧ, ənd plizd tɪ ʃɛr səm ˈvɪdioʊ, ˈpɪkʧərz, ənd saʊnz əv ðə deɪ. wi hoʊp ju ˌɛnˈʤɔɪ ðə ˈfɑloʊɪŋ ʃɔrt fɪlm əˈbaʊt ðə ˈgreɪtəst ˈaʊtlaɪər ənd ˈmævərɪk ðə ˈmaɪnɪŋ ˈɪndəstri həz noʊn ɪn ˈrisənt ˈmɛməri, ʤeɪ. ˈdeɪvɪd loʊəl. |
new york -- the floats were there, the music and dancing, too -- all the usual staples of one of the world's oldest and largest gay pride parades. but this year, something new joined the spectacle on the streets of new york city: proposals and wedding plans.
new york's parade turned into a celebration of same-sex marriage sunday as hundreds of thousands of revelers rejoiced at the state's new law giving gay couples the same marital rights as everyone else.
"we've been waiting to get married in central park for years, and now we got here just in time for history to be made," said bryce croft of kettering, ohio, who attended the festivities with her partner, stephanie croft.
the two women are not yet legally married although they share the same name, and they are in the process of moving to new york and getting married. they were in a manhattan restaurant late friday when they learned that the bill had passed.
"we cried over dinner, right into the sticks," stephanie croft said, adding that they had already selected a spot in central park -- the boulder she had marked with name two years ago. after the two get settled, bryce planned to seek a operation to become a man.
the star of sunday's show was undoubtedly new york gov. andrew cuomo, who fought to get the bill over its final hurdle in the state senate. the law makes new york the sixth state to extend full marriage rights to gay couples and doubles the number of gay people nationwide who are eligible to marry.
"thank you, governor cuomo" and "promise kept" read signs lining both sides of fifth avenue. throngs of cheering supporters all but mobbed cuomo as he led off the parade just after noon.
"new york has sent a message to the nation," the governor said before the march. "it is time for marriage equality."
he called his state "a beacon," adding, "if new york can do it, it's all right for everyone else in the country to do it."
same-sex marriage licenses also are granted by connecticut, iowa, massachusetts, new hampshire and vermont, plus washington, d.c., and the indian tribe in oregon.
as he joined the procession, john wore a t-shirt that declared, "some dudes marry other dudes. get over it." he and his partner regard the new law as a legal of what they did years ago.
"we got married in the oldest church in paris. and it was just us and god," said, a hair stylist. still, the pair plans to hold another ceremony in new york to ensure their relationship is fully recognized by the law.
his partner, peter marinos, a broadway actor, wore a t-shirt of his own that said, "marriage is so gay."
police commissioner ray kelly marched at the head of a group of gay nypd officers, right behind the official police band. at the end of the parade, a female officer proposed publicly to her fiancdee, also an officer, who accepted. they quickly vanished into the crowd.
all along the parade route, freedom of expression seemed to know no bounds. in greenwich village, a uniformed officer stood quietly next to a woman who had unbuttoned her blouse and cheered the parade topless.
"this year's gay parade is different -- it's electric!" said mayor michael bloomberg's longtime companion, diana taylor. "you can really feel it, it's so exciting."
parade organizers said a people participated.
cuomo marched with his girlfriend, food network personality sandra lee, bloomberg and openly gay elected officials, including new york city council speaker christine quinn and state assemblyman daniel o'donnell -- rosie o'donnell's gay brother -- who introduced the bill last month.
"you couldn't hear yourself think, it was so loud," quinn said. "people were crying, jumping up and down and screaming. everyone was smiling. it was unbelievable."
the crowd, standing a dozen people deep behind police barricades, whooped and screamed for several hours.
"i'm really, really proud of new york," said hannah, a student at fordham university in the bronx who attended with her girlfriend, christine.
the couple, both 20, were dressed as brides, with in a white veil and wearing a black top hat and a sash that said, "bride to be."
careaga said her mother called her crying tears of joy after the new york senate voted on the measure friday.
"every mother wants her child to be happily married," said.
state sen. tom duane, a manhattan democrat who is gay, said he and his partner had not decided when they would get married, "but now we get to decide, and it couldn't be better than that."
in chicago, reports of vandalized floats did not dampen the spirits of crowds energized by illinois' recent adoption of a law permitting civil unions for same-sex couples.
parade organizers said vandals slashed the tires of as many as 50 of the approximately 75 floats parked at a south side garage. the parade went ahead as planned.
police said it was too early to determine if the damage was a hate crime, largely because there was no accompanying message or graffiti.
in new york, the parade ended near the site where gays rebelled against authorities and repressive laws outside the stonewall inn in greenwich village on june 28, 1969 -- an event that gave rise to the gay rights movement.
the following year, several hundred people marched through the neighborhood to commemorate the riots in what is commonly considered the world's first gay pride parade.
this year's grand marshals include author and sex columnist dan savage and his husband, terry miller, who married in canada; the rev. pat bumgardner, senior pastor of metropolitan community church of new york and a proponent of gay rights; and the imperial court of new york, which raises money for gay health and social services and touted a multicolored float.
the law signed by cuomo takes effect in 30 days. it was passed amid opposition from influential religious groups in the state.
the changes in new york added something extra to san francisco's annual pride parade, where "love new york" signs could be seen scattered throughout the crowd.
"i think everybody here is rallying in a way of, `hooray, new york! now how about california?"' said megan moore of castro valley, who helped kick off the event with the lesbian motorcycle group dykes on bikes.
bradley manning supporters carry a banner in the san francisco gay pride parade on june 26, 2011. twitter via aids policy project
there was also an unusual twist at the san francisco parade, as a dedicated group of marchers expressed their support for accused bradley manning, currently in jail under accusations that he was responsible for turning over hundreds of thousands of classified government documents.
on the bradley manning support network website, a post states that manning was "dedicated to equal human rights, he stood openly against don't ask don't tell, and now he is imprisoned as the alleged."
lisa schilling, 45, of berkeley, who attended the parade with her partner and their son, expressed confidence that proposition 8, california's gay marriage ban, would ultimately be declared unconstitutional. the legal battle has reached the u.s. circuit court of appeals.
in the meantime, new york's actions help the gay marriage cause throughout the country by "keeping the issue at a higher profile," schilling said.
a short time later, a group of marchers passed with a stereo blasting what for many had become a fitting anthem: "single ladies (put a ring on it)." | nu jɔrk ðə floʊts wər ðɛr, ðə mˈjuzɪk ənd ˈdænsɪŋ, tu ɔl ðə ˈjuʒəwəl ˈsteɪpəlz əv wən əv ðə wərldz ˈoʊldəst ənd ˈlɑrʤəst geɪ praɪd pəreɪdz. bət ðɪs jɪr, ˈsəmθɪŋ nu ʤɔɪnd ðə ˈspɛktəkəl ɔn ðə strits əv nu jɔrk ˈsɪti: prəˈpoʊzəlz ənd ˈwɛdɪŋ plænz. nu jɔrks pəreɪd tərnd ˈɪntu ə ˌsɛləˈbreɪʃən əv ˌseɪmˈsɛks ˈmɛrɪʤ ˈsənˌdi ɛz ˈhənərdz əv ˈθaʊzənz əv ˈrɛvələrz rɪˈʤɔɪst æt ðə steɪts nu lɔ ˈgɪvɪŋ geɪ ˈkəpəlz ðə seɪm ˈmærətəl raɪts ɛz ˈɛvriˌwən ɛls. "wiv bɪn ˈweɪtɪŋ tɪ gɪt ˈmɛrid ɪn ˈsɛntrəl pɑrk fər jɪrz, ənd naʊ wi gɑt hir ʤɪst ɪn taɪm fər ˈhɪstəri tɪ bi meɪd," sɛd braɪs krɔft əv ˈkɛtərɪŋ, oʊˈhaɪoʊ, hu əˈtɛndəd ðə fɛˈstɪvətiz wɪθ hər ˈpɑrtnər, ˈstɛfəni krɔft. ðə tu ˈwɪmən ər nɑt jɛt ˈligəli ˈmɛrid ˌɔlˈðoʊ ðeɪ ʃɛr ðə seɪm neɪm, ənd ðeɪ ər ɪn ðə ˈprɔˌsɛs əv ˈmuvɪŋ tɪ nu jɔrk ənd ˈgɪtɪŋ ˈmɛrid. ðeɪ wər ɪn ə mænˈhætən ˈrɛˌstrɑnt leɪt ˈfraɪˌdeɪ wɪn ðeɪ ˈlərnɪd ðət ðə bɪl hæd pæst. "wi kraɪd ˈoʊvər ˈdɪnər, raɪt ˈɪntu ðə stɪks," ˈstɛfəni krɔft sɛd, ˈædɪŋ ðət ðeɪ hæd ɔˈrɛdi səˈlɛktɪd ə spɑt ɪn ˈsɛntrəl pɑrk ðə ˈboʊldər ʃi hæd mɑrkt wɪθ neɪm tu jɪrz əˈgoʊ. ˈæftər ðə tu gɪt ˈsɛtəld, braɪs plænd tɪ sik ə ˌɑpərˈeɪʃən tɪ bɪˈkəm ə mæn. ðə stɑr əv ˈsənˌdiz ʃoʊ wɑz ənˈdaʊtɪdli nu jɔrk gəv. ˈændru kˈwoʊmoʊ, hu fɔt tɪ gɪt ðə bɪl ˈoʊvər ɪts ˈfaɪnəl ˈhərdəl ɪn ðə steɪt ˈsɛnɪt. ðə lɔ meɪks nu jɔrk ðə sɪksθ steɪt tɪ ɪkˈstɛnd fʊl ˈmɛrɪʤ raɪts tɪ geɪ ˈkəpəlz ənd ˈdəbəlz ðə ˈnəmbər əv geɪ ˈpipəl ˈneɪʃənˈwaɪd hu ər ˈɛlɪʤəbəl tɪ ˈmɛri. "θæŋk ju, ˈgəvərnər kˈwoʊmoʊ" ənd "ˈprɑməs kɛpt" rɛd saɪnz ˈlaɪnɪŋ boʊθ saɪdz əv fɪθ ˈævəˌnu. θrɔŋz əv ˈʧɪrɪŋ səˈpɔrtərz ɔl bət mɑbd kˈwoʊmoʊ ɛz hi lɛd ɔf ðə pəreɪd ʤɪst ˈæftər nun. "nu jɔrk həz sɛnt ə ˈmɛsɪʤ tɪ ðə ˈneɪʃən," ðə ˈgəvərnər sɛd ˌbiˈfɔr ðə mɑrʧ. "ɪt ɪz taɪm fər ˈmɛrɪʤ ɪkˈwɑləti." hi kɔld hɪz steɪt "ə ˈbikən," ˈædɪŋ, "ɪf nu jɔrk kən du ɪt, ɪts ɔl raɪt fər ˈɛvriˌwən ɛls ɪn ðə ˈkəntri tɪ du ɪt." ˌseɪmˈsɛks ˈmɛrɪʤ ˈlaɪsənsɪz ˈɔlsoʊ ər ˈgrænɪd baɪ kəˈnɛtəkət, ˈaɪəwə, ˌmæsəˈʧusəts, nu ˈhæmʃər ənd vərˈmɑnt, pləs ˈwɔʃɪŋtən, d.c*., ənd ðə ˈɪndiən traɪb ɪn ˈɔrəˌgɑn. ɛz hi ʤɔɪnd ðə prəˈsɛʃən, ʤɑn wɔr ə ˈtiˌsərt ðət dɪˈklɛrd, "səm djudz ˈmɛri ˈəðər djudz. gɪt ˈoʊvər ɪt." hi ənd hɪz ˈpɑrtnər rɪˈgɑrd ðə nu lɔ ɛz ə ˈligəl əv wət ðeɪ dɪd jɪrz əˈgoʊ. "wi gɑt ˈmɛrid ɪn ðə ˈoʊldəst ʧərʧ ɪn ˈpɛrɪs. ənd ɪt wɑz ʤɪst ˈjuˈɛs ənd gɑd," sɛd, ə hɛr ˈstaɪlɪst. stɪl, ðə pɛr plænz tɪ hoʊld əˈnəðər ˈsɛrəˌmoʊni ɪn nu jɔrk tɪ ɪnˈʃʊr ðɛr riˈleɪʃənˌʃɪp ɪz ˈfʊli ˈrɛkəgˌnaɪzd baɪ ðə lɔ. hɪz ˈpɑrtnər, ˈpitər mərˈinoʊz, ə ˈbrɔdˌweɪ ˈæktər, wɔr ə ˈtiˌsərt əv hɪz oʊn ðət sɛd, "ˈmɛrɪʤ ɪz soʊ geɪ." pəˈlis kəˈmɪʃənər reɪ ˈkɛli mɑrʧt æt ðə hɛd əv ə grup əv geɪ ˌɛnˈwaɪˌpiˌdi ˈɔfɪsərz, raɪt bɪˈhaɪnd ðə əˈfɪʃəl pəˈlis bænd. æt ðə ɛnd əv ðə pəreɪd, ə ˈfiˌmeɪl ˈɔfɪsər prəˈpoʊzd ˈpəblɪkli tɪ hər fiancdee*, ˈɔlsoʊ ən ˈɔfɪsər, hu ækˈsɛptɪd. ðeɪ kˈwɪkli ˈvænɪʃt ˈɪntu ðə kraʊd. ɔl əˈlɔŋ ðə pəreɪd rut, ˈfridəm əv ɪkˈsprɛʃən simd tɪ noʊ noʊ baʊndz. ɪn ˈgrɛnɪʧ ˈvɪlɪʤ, ə ˈjunəˌfɔrmd ˈɔfɪsər stʊd kˈwaɪətli nɛkst tɪ ə ˈwʊmən hu hæd ənˈbətənd hər blaʊs ənd ʧɪrd ðə pəreɪd ˈtɑpləs. "ðɪs jɪrz geɪ pəreɪd ɪz ˈdɪfərənt ɪts ɪˈlɛktrɪk!" sɛd meɪər ˈmaɪkəl ˈblumbərgz ˈlɔŋˌtaɪm kəmˈpænjən, daɪˈænə ˈteɪlər. "ju kən ˈrɪli fil ɪt, ɪts soʊ ɪkˈsaɪtɪŋ." pəreɪd ˈɔrgəˌnaɪzərz sɛd ə ˈpipəl pɑrˈtɪsəˌpeɪtɪd. kˈwoʊmoʊ mɑrʧt wɪθ hɪz ˈgərlˌfrɛnd, fud ˈnɛtˌwərk ˌpərsəˈnælɪti ˈsændrə li, ˈblumbərg ənd ˈoʊpənli geɪ ɪˈlɛktɪd əˈfɪʃəlz, ˌɪnˈkludɪŋ nu jɔrk ˈsɪti ˈkaʊnsəl ˈspikər krɪˈstin kwɪn ənd steɪt əˈsɛmbliˌmæn ˈdænjəl oʊˈdɑnəl ˈroʊzi oʊˈdɑnəlz geɪ ˈbrəðər hu ˌɪntrəˈdust ðə bɪl læst mənθ. "ju ˈkʊdənt hir ˈjɔrsɛlf θɪŋk, ɪt wɑz soʊ laʊd," kwɪn sɛd. "ˈpipəl wər kraɪɪŋ, ˈʤəmpɪŋ əp ənd daʊn ənd ˈskrimɪŋ. ˈɛvriˌwən wɑz sˈmaɪlɪŋ. ɪt wɑz ˌənbəˈlivəbəl." ðə kraʊd, ˈstændɪŋ ə ˈdəzən ˈpipəl dip bɪˈhaɪnd pəˈlis ˈbɛrəˌkeɪdz, wupt ənd skrimd fər ˈsɛvərəl aʊərz. "əm ˈrɪli, ˈrɪli praʊd əv nu jɔrk," sɛd ˈhænə, ə ˈstudənt æt ˈfɔrdəm ˌjunəˈvərsəti ɪn ðə brɑŋks hu əˈtɛndəd wɪθ hər ˈgərlˌfrɛnd, krɪˈstin. ðə ˈkəpəl, boʊθ 20 wər drɛst ɛz braɪdz, wɪθ ɪn ə waɪt veɪl ənd ˈwɛrɪŋ ə blæk tɔp hæt ənd ə sæʃ ðət sɛd, "braɪd tɪ bi." sɛd hər ˈməðər kɔld hər kraɪɪŋ tɪrz əv ʤɔɪ ˈæftər ðə nu jɔrk ˈsɛnɪt ˈvoʊtɪd ɔn ðə ˈmɛʒər ˈfraɪˌdeɪ. "ˈɛvəri ˈməðər wɔnts hər ʧaɪld tɪ bi ˈhæpəli ˈmɛrid," sɛd. steɪt sɛn. tɑm dweɪn, ə mænˈhætən ˈdɛməˌkræt hu ɪz geɪ, sɛd hi ənd hɪz ˈpɑrtnər hæd nɑt ˌdɪˈsaɪdɪd wɪn ðeɪ wʊd gɪt ˈmɛrid, "bət naʊ wi gɪt tɪ ˌdɪˈsaɪd, ənd ɪt ˈkʊdənt bi ˈbɛtər ðən ðət." ɪn ʃəˈkɑˌgoʊ, rɪˈpɔrts əv ˈvændəˌlaɪzd floʊts dɪd nɑt ˈdæmpən ðə ˈspɪrɪts əv kraʊdz ˈɛnərˌʤaɪzd baɪ ˌɪləˈnɔɪz' ˈrisənt əˈdɑpʃən əv ə lɔ pərˈmɪtɪŋ ˈsɪvəl ˈjunjənz fər ˌseɪmˈsɛks ˈkəpəlz. pəreɪd ˈɔrgəˌnaɪzərz sɛd ˈvændəlz slæʃt ðə taɪərz əv ɛz ˈmɛni ɛz 50 əv ðə əˈprɑksəmətli 75 floʊts pɑrkt æt ə saʊθ saɪd gərɑʒ. ðə pəreɪd wɛnt əˈhɛd ɛz plænd. pəˈlis sɛd ɪt wɑz tu ˈərli tɪ dɪˈtərmən ɪf ðə ˈdæmɪʤ wɑz ə heɪt kraɪm, ˈlɑrʤli bɪˈkəz ðɛr wɑz noʊ əˈkəmpəniɪŋ ˈmɛsɪʤ ər grəˈfiti. ɪn nu jɔrk, ðə pəreɪd ˈɛndɪd nɪr ðə saɪt wɛr geɪz rɪˈbɛld əˈgɛnst əˈθɔrətiz ənd riˈprɛsɪv lɔz ˈaʊtˈsaɪd ðə ˈstoʊnˌwɔl ɪn ɪn ˈgrɛnɪʧ ˈvɪlɪʤ ɔn ʤun 28 1969 ən ɪˈvɛnt ðət geɪv raɪz tɪ ðə geɪ raɪts ˈmuvmənt. ðə ˈfɑloʊɪŋ jɪr, ˈsɛvərəl ˈhənərd ˈpipəl mɑrʧt θru ðə ˈneɪbərˌhʊd tɪ kəˈmɛmərˌeɪt ðə raɪəts ɪn wət ɪz ˈkɑmənli kənˈsɪdərd ðə wərldz fərst geɪ praɪd pəreɪd. ðɪs jɪrz grænd ˈmɑrʃəlz ˌɪnˈklud ˈɔθər ənd sɛks ˈkɑləmnəst dæn ˈsævɪʤ ənd hɪz ˈhəzbənd, ˈtɛri ˈmɪlər, hu ˈmɛrid ɪn ˈkænədə; ðə rɛv. pæt ˈbəmˌgɑrdnər, ˈsinjər ˈpæstər əv ˌmɛtrəˈpɑlətən kəmˈjunɪti ʧərʧ əv nu jɔrk ənd ə prəˈpoʊnənt əv geɪ raɪts; ənd ðə ˌɪmˈpɪriəl kɔrt əv nu jɔrk, wɪʧ ˈreɪzɪz ˈməni fər geɪ hɛlθ ənd ˈsoʊʃəl ˈsərvɪsɪz ənd ˈtaʊtɪd ə ˌməltiˈkələrd floʊt. ðə lɔ saɪnd baɪ kˈwoʊmoʊ teɪks ˈifɛkt ɪn 30 deɪz. ɪt wɑz pæst əˈmɪd ˌɑpəˈzɪʃən frəm ˌɪnfluˈɛnʃəl rɪˈlɪʤəs grups ɪn ðə steɪt. ðə ˈʧeɪnʤɪz ɪn nu jɔrk ˈædɪd ˈsəmθɪŋ ˈɛkstrə tɪ sæn frænˈsɪskoʊz ˈænjuəl praɪd pəreɪd, wɛr "ləv nu jɔrk" saɪnz kʊd bi sin ˈskætərd θruaʊt ðə kraʊd. "aɪ θɪŋk ˈɛvriˌbɑdi hir ɪz ˈræliɪŋ ɪn ə weɪ əv, `hʊˈreɪ, nu jɔrk! naʊ haʊ əˈbaʊt ˌkæləˈfɔrnjə?"' sɛd ˈmeɪgən mʊr əv ˈkæstroʊ ˈvæli, hu hɛlpt kɪk ɔf ðə ɪˈvɛnt wɪθ ðə ˈlɛzbiən ˈmoʊtərˌsaɪkəl grup daɪks ɔn baɪks. ˈbrædli ˈmænɪŋ səˈpɔrtərz ˈkɛri ə ˈbænər ɪn ðə sæn frænˈsɪskoʊ geɪ praɪd pəreɪd ɔn ʤun 26 2011 tˈwɪtər ˈviə eɪdz ˈpɑləsi ˈprɑʤɛkt ðɛr wɑz ˈɔlsoʊ ən ənˈjuˌʒuəl twɪst æt ðə sæn frænˈsɪskoʊ pəreɪd, ɛz ə ˈdɛdəkeɪtəd grup əv ˈmɑrʧərz ɪkˈsprɛst ðɛr səˈpɔrt fər əˈkjuzd ˈbrædli ˈmænɪŋ, ˈkərəntli ɪn ʤeɪl ˈəndər ˌækjəˈzeɪʃənz ðət hi wɑz riˈspɑnsəbəl fər ˈtərnɪŋ ˈoʊvər ˈhənərdz əv ˈθaʊzənz əv ˈklæsəˌfaɪd ˈgəvərnmənt ˈdɑkjəmənts. ɔn ðə ˈbrædli ˈmænɪŋ səˈpɔrt ˈnɛtˌwərk ˈwɛbˌsaɪt, ə poʊst steɪts ðət ˈmænɪŋ wɑz "ˈdɛdəkeɪtəd tɪ ˈikwəl ˈjumən raɪts, hi stʊd ˈoʊpənli əˈgɛnst doʊnt æsk doʊnt tɛl, ənd naʊ hi ɪz ˌɪmˈprɪzənd ɛz ðə əˈlɛʤd." ˈlisə ˈʃɪlɪŋ, 45 əv ˈbərkli, hu əˈtɛndəd ðə pəreɪd wɪθ hər ˈpɑrtnər ənd ðɛr sən, ɪkˈsprɛst ˈkɑnfədɛns ðət ˌprɑpəˈzɪʃən 8 ˌkælɪˈfɔrnjəz geɪ ˈmɛrɪʤ bæn, wʊd ˈəltəmətli bi dɪˈklɛrd ˌənˌkɑnstəˈtuʃənəl. ðə ˈligəl ˈbætəl həz riʧt ðə juz. ˈsərkət kɔrt əv əˈpilz. ɪn ðə ˈminˌtaɪm, nu jɔrks ˈækʃənz hɛlp ðə geɪ ˈmɛrɪʤ kɔz θruaʊt ðə ˈkəntri baɪ "ˈkipɪŋ ðə ˈɪʃu æt ə haɪər ˈproʊˌfaɪl," ˈʃɪlɪŋ sɛd. ə ʃɔrt taɪm ˈleɪtər, ə grup əv ˈmɑrʧərz pæst wɪθ ə ˈstɛriˌoʊ ˈblæstɪŋ wət fər ˈmɛni hæd bɪˈkəm ə ˈfɪtɪŋ ˈænθəm: "ˈsɪŋgəl ˈleɪdiz (pʊt ə rɪŋ ɔn ɪt)." |
in modern times, preservation efforts are running on an ever dwindling timer. every year, it seems as though more and more games lose their online components. and with games increasingly relying on interactivity and other online features, even a single player game can lose a sizable portion of its content when servers go down. while the wii mostly dodged that bullet by having a relatively lackluster online infrastructure, we too have seen experiences disappear before our eyes.
four years ago, wii network was merged into dolphin after over two years of work. it was one of the most anticipated features and was thought to be unthinkable. wii network's success represented a massive achievement in an era where parts of dolphin were still only capable of basic wii emulation. despite multiple developers and a concerted effort, one of the games used for testing wii network had shut down by the time of its merge: monster hunter tri.
monster hunter online worked in wii network branch. but, the wii servers went down before it was completed.
in the case of monster hunter tri, its wii servers went down even before the official nintendo servers. a lot of the game's content and value was suddenly gone with the publisher's only response to buy the shiny new wii u version. it seems as though the same may be happening yet again. late into the lifecycle, dragon quest x was released on the wii as a that pushed the console beyond its natural limitations. and with the deadline of server shutdown looming, we decided that we were going to make it on before it was too late, come hell or high water.
the most peculiar of wii titles¶
dragon quest x defies much of what it means to be a wii game. when you open the box, you will immediately notice two things. first of all, it is the only wii game to use two discs for a single game. but these two discs are merely for installation: along with the game discs comes a drive that plugs into the back of the wii and is required to play the game. that's right: dragon quest x installs itself to on the wii! even though this is common practice on recent consoles like the, this is the only title with this behavior on the nintendo wii.
released by square enix in 2012, dragon quest x was already a fairly big game. but like mostrpgs, the game has received frequent updates and several content patches over the years. to stay up to date with all the new features in the game, dragon quest x is also the only commercial wii game that supports patches. in fact, going from version on the original game dvds to the latest version requires downloading nearly 10 gigabytes from the internet! that latest patch was released august 16th, 2017, making dragon quest x one of the last wii games still under active development. but that's not all: if you want to enjoy the full game, you'll also want to acquire the two game expansions, each released as an independent physical wii release with unique case artwork!
dragon quest x is an absolutely gigantic game with a ridiculous amount of online content.
why haven't you heard of this crazy wii game? despite the massive amount of content and huge aspirations, it never saw a western release. despite being limited to japan, the wii version alone sold over copies and is currently active with a subscription service. including copies released on other platforms, dragon quest x should be considered a commercial success with over one million units sold and a very active player base. while the game may look better on the wii u or switch, there's no denying that dragon quest x on the wii is a masterpiece of working within limited hardware. so let's dive into how they made this thing work, and how close we came to never getting a chance to emulate it.
using every last resource available¶
square enix heavily collaborated with nintendo on this title in order to make the impossible a reality. as such, not only does dragon quest x rely on many obscure internal features of the wii, but some features had to be added to the wii internal operating system (ios) exclusively for this game. this list of features shares a lot in common with what a dolphin developer in 2008 might write when coming up with a list of "features that will be a total pain in the ass."
wii networking¶
as dragon quest x connects to both nintendo's infrastructure over and to square servers, a complete implementation of network functionality is required to get online.
fortunately, dolphin master has had support for connecting to the wi-fi connection since the exact day nintendo announced when the servers would be going down! while emulation back then wasn't nearly good enough to accomplish what is needed for dragon quest x, the foundation was solid enough to handle most network functionality and much of the code remains intact to this day. without all of that done while the servers were still up, there's a good chance dolphin never gets any online support. these days it may seem par for the course to try to emulate everything, back then wii networking seemed like a pipe dream, and it's still incredible to have footage of dolphin playing alongside real in games like mario wii and super smash bros. brawl from before the shutdown.
it may not have lasted long, but dolphin on the official wi-fi connection was glorious.
compared to some of the stuff that would follow, these achievements would seem like par for the course, but back then, luxury features like this weren't the name of the game. wii initial implementation hasn't actually changed much; improvements since then have mostly come from better emulation elsewhere and a better understanding of how the wii works in general.
proper wii menu functionality¶
unlike most other titles, dragon quest x requires proper wii system menu functionality to even have a chance of getting into the game.
dragon quest x is a very special title. while most games don't care about the ios version, both the installer and the online will check for it and refuse to work if the system software is too old. in fact, not only do they check whether the ios is installed, they will even make sure the revision is new enough! this behaviour is so unique that this even caught developers off guard, as they tried to figure out why the installer would mysteriously fail.
it is possible to manually install required system titles and updates, but this was a hassle; one that did not exist on an actual console because the wii menu would force users to update before launching the game.
thankfully, months before work on dragon quest x resumed, updating from discs and from the internet was implemented in dolphin. it is now possible to simply insert the game disc and rely on the wii menu to update everything, just like on a console. with all of the updates that dragon quest x demands, this was an important fix.
here we were trying to emulate something boring and it ended up useful :(
mario wii, wii fit, and other games install channels to the wii menu to provide optional extra features. but as with everything else, dragon quest x does things differently: the small channel it installs to the is not optional, but required in order to play the game.
basic channel installation was implemented with dragon quest x in mind several months ago. while the initial implementation in january 2017 was enough to install the dragon quest x launcher channel, more related features had to be implemented to support the game's update system.
advanced services (es) functionality¶
born as a, dolphin made a very reasonable assumption for a to make: that the active title wouldn't change in the middle of emulation. with the wii, not only is it possible to launch a from the wii system menu, users can go back to the menu, and any arbitrary title can be launched at any moment.
the wii accomplishes this with services, a part of ios that has been mostly broken in dolphin for a decade and only started receiving plenty of fixes lately. es is a large module that plays an essential role on console: it is responsible for booting up the wii system menu, for importing titles, system updates, etc.
while most of the fixes to es emulation were made before anyone imagined even running dragon quest x, it turns out they were all necessary for getting into the game, and particularly its online mode.
es_launch and ios resets¶
as its name indicates, is a command that enables emulated software to launch another title. this feature has been broken in so many ways and fixed so many times that we've literally lost count.
dolphin has historically had a lot of trouble with it, both because of regressions and because the behaviour wasn't always understood well enough. for a very long time, we didn't know that the same command is used for launching both arm titles and powerpc titles such as channels, nor the differences between these two types of launches. to make things even more complicated, launching an ios resets its whole state, and launching a powerpc title automatically triggers an ios reload both behaviours that dolphin did not emulate either.
in fact, at one point, itself wasn't emulated; instead, functions that would trigger a launch were hooked and replaced with high-level reimplementations. while this did make many games for the first time, this resulted in various issues, from the launch straight up failing (if the functions weren't detected) to the disc channel being broken. as another example of how touchy was, fixing it once broke connecting four wii remotes!
even though dolphin stalwart fixed lots of problems that were inherent with old implementation and code back in june 2014, implementation was still incorrect even for common cases.
note that this video is from 2014, and we were touting that was finally fixed. then it broke again in 2015 and was fixed. again in 2016. we're now in 2017, and again very confident that the implementation is now correct. this time, developers finally got around to replacing the numbers with actual values that depended on the active ios thanks to work. and thanks to implementing the different reload behaviours in dolphin, we're fairly certain that's implementation is actually correct now... for real, this time. oops, not that time, this time.
es_launch and ios resets being handled correctly are absolutely required for dragon quest x, as it uses more than any other title. even when just going online the game does at least three consecutive launches:
wii menu channel on (es_launch) channel on main menu application on drive (wfsilaunchdol, default.dol) main menu application on drive channel on (es_launch) channel on application on wii file system (wfsilaunchdol, extension1.dol) application on drive channel on (es_launch) steps 4 and 5 are repeated until the game is up-to-date. channel on screen & game (wfsilaunchdol, extension2.dol)
title tracking¶
even though es functionality was implemented in dolphin years ago, it did not keep track of the titles during the switch. this created a few problems, such as settings not changing after a switch, but it wasn't a high priority since why would people using dolphin go through the system menu anyway? a lot of the assumptions and values back in the day made it hard to do things properly even if it was necessary.
in 2017, some developers realised that it didn't really make sense to be lacking this ability. after all, ios was designed to enforce separation between titles, so it had to track title changes. and if it could track them, dolphin would need to as well. thanks to years of improving code, by the time we actually needed title tracking most of the work had already been done. as an unexpected bonus, this allowed updates to install correctly from various games. in the case of dragon quest x, this is the easiest way to get!
more important than that, title tracking was paramount for getting the file system that dragon quest x relies on to function properly. we'll be saving that for later: there are a few other key pieces to get through first!
title information requests¶
dolphin already had basic support for telling the emulated software what is installed on the, giving and ticket views, but the implementation was woefully incomplete and even plain wrong in some instances. thanks to proper title tracking and cleanups that made it much less painful to work on ios, fixing these issues didn't take too much effort.
soon after online booted for the first time, it quickly became very obvious that the accuracy boost was in fact required.
wii shopping (ec)¶
one of the biggest reactions to wii shop support when we announced it back in march was why?? it seemed like a very pointless luxury without much use. after all, who would be insane enough to buy a game directly from nintendo's servers from within an? other than, at least.
but, wii shop support wasn't due to some magical, localized fix. rather, it was a bunch of fixes to how dolphin emulates es, so, those fixes actually affected anything that uses its more advanced features and ended up being useful for much more than just the wii menu: compatibility was improved, and a huge part of getting shop functionality to work was done.
after nearly a hundred commits dedicated to better ios and wii menu emulation, all that remained to be implemented was support for tickets.
personalised tickets¶
as a quick primer, wii software (system software, channels, games) are by titles and encrypted using cbc using a key, known as the title key, that is itself encrypted with a shared secret (the "common key"). the encrypted key is found in a signed file called a ticket.
there are two kinds of tickets: common tickets (or cetk), which are the same for everyone, and tickets. unlike the former, tickets are issued for a specific console: the encrypted title key is itself encrypted using asymmetrical and can only be by the console to which the ticket was issued.
all system titles and games use common tickets, whereas all titles that can be downloaded from the wii shop even items that are free to download use the latter. this was likely done to make piracy harder. handling personalized tickets correctly in dolphin involved a lot of reverse engineering on how the wii titles and other quirks that were never thought to be important. with help from ace reverse engineer and a mythical starlet that may or may not exist, was able to figure out how tickets worked and taught a dolphin how to shop.
bringing patches to a system that didn't support them¶
the wii is well known for not having any kind of patching system for disc games. when a bad bug was discovered in a game, all nintendo could do was print new versions of the game disc, and perhaps also release a channel to fix affected save data. fundamentally, the wii was not designed with patching games in mind, so they were unable to fix any bugs once a game was released.
so, how does dragon quest x, an onlinerpg that requires regular online updates, solve this problem?
as it turns out, the game gets its updates from the wii shop infrastructure and uses the exact same (e-commerce) library as the wii shop channel! suddenly, all of those fixes turned from luxury to necessity.
that's right, one of the prerequisites to getting dragon quest x to work is getting the wii shop to work. without's work on the ios emulation throughout the year, it'd been much harder to get online before the game's servers went down.
dragon quest x downloading updates from the wii shop!
new modules¶
one ios subsystem that has received major changes over the lifetime is. no less than five different interfaces exist, and a lot of them can be used by software running on the powerpc:
oh0: this is the earliest interface. it is used in a lot of and in commercial titles for wii speak and microphone support.
oh1: a trimmed down version of the interface used for the internal bluetooth adapter.
hidv4: used to interact with human interface devices, such as keyboards and other input devices.
ven: in late ios versions, this is a replacement for the old interface. it's a more complex interface that supports (in and) and handles devices that have the same id better.
hidv5: just like ven, this replaces the interface in some ios versions.
while dolphin already supported the first four of them since february, wasn't implemented, as it didn't seem to be used by anything. ...of course dragon quest x used it.
dragon quest x makes use of this rare interface for keyboard support, and is the only official title to do so. however supporting this has turned out to be mostly optional, as it out works well enough for the game, and the keyboard is only optional for players. until a complete implementation is finished, players on dolphin will just have to use the wii remote that the developers provided, as clunky as it is.
the real challenge came from another unique feature of the game.
wii file system¶
wii file system, or, is the custom, encrypted file system that was designed for the wii u. so what's it doing here on the wii? at some point during dragon quest x's development, they decided that they wanted to tap into the massive to try and get a boost for their new game. as such, developers feverishly worked on dragon quest x to the (internal operating system for the wii u) features it needed to wii. because the wii only had of, there was no way dragon quest x could install there, so developers had to make use of the ports on the back of the wii for expandable storage much like they could on wii u. this is where comes into play.
one of the main challenges with is the amount of reverse engineering that was required to understand how it operates. its ios module is several megabytes large, containing both high-level features (title management, package installation, ...) and low-level features (block cache, device management, ...). since it was only released in 2012, long after the glory days of the wii, nobody really looked at it in detail until dolphin needed it for dragon quest x. we had to do everything from scratch, and we couldn't rely on prior research, since there was none!
late last year, took on the goal of making dragon quest x run in dolphin. however, this kind of reverse engineering project is tricky to combine with a demanding full time job. being efficient at reverse engineering new systems requires keeping a lot of context in your mind, something that is hard to do when interrupted for nine hours every day by pesky requirements! work started at the end of 2016 during the conference in hamburg, germany and continued during the beginning in january during a one week visit in a in with several console hackers and emulation developers. even though dolphin wasn't close to launching dragon quest x online at this point, its installer was working. more importantly, research was done on that was essential for future endeavors to complete emulation.
the dragon quest x channel was a sight for sore eyes, but it wasn't ready to boot.
the nice thing with emulating in dolphin is that we can afford taking shortcuts. for example, dolphin does not care in the slightest about how the on looks like as implemented by nintendo. the only important part is that game can communicate with the modules as if they were real. instead of emulating at a low level a drive with sectors and storage blocks, we instead operate at a higher level -- emulating file descriptors, operations, etc.
work started again during the in zeewolde, netherlands two weeks ago. during this event, several european emulation developers and dolphin contributors assembled to work together on their passion. after a few more days of work on, a patched version of dolphin managed to boot the game to its main menu. just one day later and it was the first time anyone was ever able to play the offline mode of dragon quest x in an!
unfortunately, by the end of the event, was still stuck on the last wall between dolphin and the online mode: getting the game to upgrade to its latest version. working with, ios and wii shop expert, and with marcan, console hacker extraordinaire who owns an wii with the game installed, the team continued to make progress until they got to the screen. strangely enough, some of the last hurdles for getting dolphin in had less to do with emulation issues and more to do with language barriers and restrictions that would even hit console. despite wikipedia claiming that the was removed in 2014, we can confidently say the wii version still requires you to be a on a japanese ip address.
with that taken care of, on august 18th, 2017, logged onto dragon quest x within dolphin.
dragon quest x is a massive achievement on the wii, and was a huge challenge to emulate in dolphin. we're happy to announce that dragon quest x is fully in version thanks to an incredible effort by,, along with many others over the course of this project. features that were thought to be pointless for games came into play in spectacular ways and validated work that was originally just done for sake." with the wii version of the game scheduling to shut down in november of 2017 (just a couple months away), users looking to get into this game should stick to one of the other releases. with playstation 4 and nintendo switch releases coming out soon, the game should be around for many more years and be allowed to change without having to cater to the limitations.
we're thankful to have gotten the chance to play this game from within dolphin; it is bittersweet that our time together will be so short. we're hopeful that ability to emulate it will help preservationists get a better look at how the game works and maybe some of the functionality necessary to play the game could be restored in the future. beyond that, dragon quest x was extremely important to dolphin as well, as it let us test and verify features that were used nowhere else. while the online portion of this game may be disappearing, dragon quest x does have an offline mode and unique story that will at least show some of what this strange, strange game could do.
for a few days this november, past and future will collide, as players on the newly released nintendo switch version will be able to play alongside wii (and emulated wii) players before service ends for the original version of the game. with the last month of the game being free for wii users, we expect the to show its strength for one last hurrah. | ɪn ˈmɑdərn taɪmz, ˌprɛzərˈveɪʃən ˈɛfərts ər ˈrənɪŋ ɔn ən ˈɛvər dˈwɪndəlɪŋ ˈtaɪmər. ˈɛvəri jɪr, ɪt simz ɛz ðoʊ mɔr ənd mɔr geɪmz luz ðɛr ˈɔnˌlaɪn kəmˈpoʊnənts. ənd wɪθ geɪmz ˌɪnˈkrisɪŋgli riˈlaɪɪŋ ɔn ˌɪnərˌækˈtɪvɪti ənd ˈəðər ˈɔnˌlaɪn ˈfiʧərz, ˈivɪn ə ˈsɪŋgəl pleɪər geɪm kən luz ə ˈsaɪzəbəl ˈpɔrʃən əv ɪts ˈkɑntɛnt wɪn ˈsərvərz goʊ daʊn. waɪl ðə wi ˈmoʊstli dɑʤd ðət ˈbʊlət baɪ ˈhævɪŋ ə ˈrɛlətɪvli ˈlæˌkləstər ˈɔnˌlaɪn ˌɪnfrəˈstrəkʧər, wi tu hæv sin ɪkˈspɪriənsɪz ˌdɪsəˈpɪr ˌbiˈfɔr ɑr aɪz. fɔr jɪrz əˈgoʊ, wi ˈnɛtˌwərk wɑz mərʤd ˈɪntu ˈdɑlfən ˈæftər ˈoʊvər tu jɪrz əv wərk. ɪt wɑz wən əv ðə moʊst ænˈtɪsəˌpeɪtɪd ˈfiʧərz ənd wɑz θɔt tɪ bi ənˈθɪŋkəbəl. wi ˈnɛtˌwərks səkˈsɛs ˌrɛprɪˈzɛnɪd ə ˈmæsɪv əˈʧivmənt ɪn ən ˈɪrə wɛr pɑrts əv ˈdɑlfən wər stɪl ˈoʊnli ˈkeɪpəbəl əv ˈbeɪsɪk wi ˌɛmjəˈleɪʃən. dɪˈspaɪt ˈməltəpəl dɪˈvɛləpərz ənd ə kənˈsərtɪd ˈɛfərt, wən əv ðə geɪmz juzd fər ˈtɛstɪŋ wi ˈnɛtˌwərk hæd ʃət daʊn baɪ ðə taɪm əv ɪts mərʤ: ˈmɑnstər ˈhəntər traɪ. ˈmɑnstər ˈhəntər ˈɔnˌlaɪn wərkt ɪn wi ˈnɛtˌwərk brænʧ. bət, ðə wi ˈsərvərz wɛnt daʊn ˌbiˈfɔr ɪt wɑz kəmˈplitɪd. ɪn ðə keɪs əv ˈmɑnstər ˈhəntər traɪ, ɪts wi ˈsərvərz wɛnt daʊn ˈivɪn ˌbiˈfɔr ðə əˈfɪʃəl nɪnˈtɛndoʊ ˈsərvərz. ə lɔt əv ðə geɪmz ˈkɑntɛnt ənd ˈvælju wɑz ˈsədənli gɔn wɪθ ðə ˈpəblɪʃərz ˈoʊnli rɪˈspɑns tɪ baɪ ðə ˈʃaɪni nu wi ju ˈvərʒən. ɪt simz ɛz ðoʊ ðə seɪm meɪ bi ˈhæpənɪŋ jɛt əˈgɛn. leɪt ˈɪntu ðə lifecycle*, ˈdrægən kwɛst ɛks wɑz riˈlist ɔn ðə wi ɛz ə ðət pʊʃt ðə ˈkɑnsoʊl bɪɔnd ɪts ˈnæʧərəl ˌlɪmɪˈteɪʃənz. ənd wɪθ ðə ˈdɛˌdlaɪn əv ˈsərvər ˈʃətˌdaʊn ˈlumɪŋ, wi ˌdɪˈsaɪdɪd ðət wi wər goʊɪŋ tɪ meɪk ɪt ɔn ˌbiˈfɔr ɪt wɑz tu leɪt, kəm hɛl ər haɪ ˈwɔtər. ðə moʊst pɪˈkjuljər əv wi titles¶*¶ ˈdrægən kwɛst ɛks dɪˈfaɪz məʧ əv wət ɪt minz tɪ bi ə wi geɪm. wɪn ju ˈoʊpən ðə bɑks, ju wɪl ˌɪˈmiˌdiətli ˈnoʊtɪs tu θɪŋz. fərst əv ɔl, ɪt ɪz ðə ˈoʊnli wi geɪm tɪ juz tu dɪsks fər ə ˈsɪŋgəl geɪm. bət ðiz tu dɪsks ər ˈmɪrli fər ˌɪnstəˈleɪʃən: əˈlɔŋ wɪθ ðə geɪm dɪsks kəmz ə draɪv ðət pləgz ˈɪntu ðə bæk əv ðə wi ənd ɪz rikˈwaɪərd tɪ pleɪ ðə geɪm. ðæts raɪt: ˈdrægən kwɛst ɛks ˌɪnˈstɔlz ˌɪtˈsɛlf tɪ ɔn ðə wi! ˈivɪn ðoʊ ðɪs ɪz ˈkɑmən ˈpræktɪs ɔn ˈrisənt kənˈsoʊlz laɪk ðə ðɪs ɪz ðə ˈoʊnli ˈtaɪtəl wɪθ ðɪs bɪˈheɪvjər ɔn ðə nɪnˈtɛndoʊ wi. riˈlist baɪ skwɛr ˈɛnɪks ɪn 2012 ˈdrægən kwɛst ɛks wɑz ɔˈrɛdi ə ˈfɛrli bɪg geɪm. bət laɪk moʊst mmorpgs*, ðə geɪm həz rɪˈsivd ˈfrikˌwɛnt ˈəpˌdeɪts ənd ˈsɛvərəl ˈkɑntɛnt ˈpæʧɪz ˈoʊvər ðə jɪrz. tɪ steɪ əp tɪ deɪt wɪθ ɔl ðə nu ˈfiʧərz ɪn ðə geɪm, ˈdrægən kwɛst ɛks ɪz ˈɔlsoʊ ðə ˈoʊnli kəˈmərʃəl wi geɪm ðət səˈpɔrts ˈpæʧɪz. ɪn fækt, goʊɪŋ frəm ˈvərʒən ɔn ðə ərˈɪʤənəl geɪm ˌdiˌviˈdiz tɪ ðə ˈleɪtəst ˈvərʒən rikˈwaɪərz ˈdaʊnˌloʊdɪŋ ˈnɪrli 10 ˈgɪgəˌbaɪts frəm ðə ˈɪntərˌnɛt! ðət ˈleɪtəst pæʧ wɑz riˈlist ˈɔgəst 16th*, 2017 ˈmeɪkɪŋ ˈdrægən kwɛst ɛks wən əv ðə læst wi geɪmz stɪl ˈəndər ˈæktɪv dɪˈvɛləpmənt. bət ðæts nɑt ɔl: ɪf ju wɔnt tɪ ˌɛnˈʤɔɪ ðə fʊl geɪm, jul ˈɔlsoʊ wɔnt tɪ əkˈwaɪər ðə tu geɪm ɪkˈspænʧənz, iʧ riˈlist ɛz ən ˌɪndɪˈpɛndənt ˈfɪzɪkəl wi riˈlis wɪθ juˈnik keɪs ˈɑrtˌwərk! ˈdrægən kwɛst ɛks ɪz ən ˌæbsəˈlutli ʤaɪˈgænɪk geɪm wɪθ ə rɪˈdɪkjələs əˈmaʊnt əv ˈɔnˌlaɪn ˈkɑntɛnt. waɪ ˈhævənt ju hərd əv ðɪs ˈkreɪzi wi geɪm? dɪˈspaɪt ðə ˈmæsɪv əˈmaʊnt əv ˈkɑntɛnt ənd juʤ ˌæspərˈeɪʃənz, ɪt ˈnɛvər sɔ ə ˈwɛstərn riˈlis. dɪˈspaɪt biɪŋ ˈlɪmɪtɪd tɪ ʤəˈpæn, ðə wi ˈvərʒən əˈloʊn soʊld ˈoʊvər ˈkɑpiz ənd ɪz ˈkərəntli ˈæktɪv wɪθ ə səbˈskrɪpʃən ˈsərvɪs. ˌɪnˈkludɪŋ ˈkɑpiz riˈlist ɔn ˈəðər ˈplætˌfɔrmz, ˈdrægən kwɛst ɛks ʃʊd bi kənˈsɪdərd ə kəˈmərʃəl səkˈsɛs wɪθ ˈoʊvər wən ˈmɪljən ˈjunɪts soʊld ənd ə ˈvɛri ˈæktɪv pleɪər beɪs. waɪl ðə geɪm meɪ lʊk ˈbɛtər ɔn ðə wi ju ər swɪʧ, ðɛrz noʊ dɪˈnaɪɪŋ ðət ˈdrægən kwɛst ɛks ɔn ðə wi ɪz ə ˈmæstərˌpis əv ˈwərkɪŋ wɪˈθɪn ˈlɪmɪtɪd ˈhɑrdˌwɛr. soʊ lɛts daɪv ˈɪntu haʊ ðeɪ meɪd ðɪs θɪŋ wərk, ənd haʊ kloʊz wi keɪm tɪ ˈnɛvər ˈgɪtɪŋ ə ʧæns tɪ ˈɛmjəˌleɪt ɪt. ˈjuzɪŋ ˈɛvəri læst ˈrisɔrs available¶*¶ skwɛr ˈɛnɪks ˈhɛvəli kəˈlæbərˌeɪtɪd wɪθ nɪnˈtɛndoʊ ɔn ðɪs ˈtaɪtəl ɪn ˈɔrdər tɪ meɪk ðə ˌɪmˈpɑsəbəl ə ˌriˈæləˌti. ɛz səʧ, nɑt ˈoʊnli dɪz ˈdrægən kwɛst ɛks rɪˈlaɪ ɔn ˈmɛni əbˈskjʊr ˌɪnˈtərnəl ˈfiʧərz əv ðə wi, bət səm ˈfiʧərz hæd tɪ bi ˈædɪd tɪ ðə wi ˌɪnˈtərnəl ˈɔpərˌeɪtɪŋ ˈsɪstəm (ˈioʊs) ɪkˈsklusɪvli fər ðɪs geɪm. ðɪs lɪst əv ˈfiʧərz ʃɛrz ə lɔt ɪn ˈkɑmən wɪθ wət ə ˈdɑlfən dɪˈvɛləpər ɪn 2008 maɪt raɪt wɪn ˈkəmɪŋ əp wɪθ ə lɪst əv "ˈfiʧərz ðət wɪl bi ə ˈtoʊtəl peɪn ɪn ðə æs." wi networking¶*¶ ɛz ˈdrægən kwɛst ɛks kəˈnɛkts tɪ boʊθ nɪnˈtɛndoʊz ˌɪnfrəˈstrəkʧər ˈoʊvər ənd tɪ skwɛr ˈsərvərz, ə kəmˈplit ˌɪmpləmɛnˈteɪʃən əv ˈnɛtˌwərk ˌfəŋkʃəˈnælɪti ɪz rikˈwaɪərd tɪ gɪt ˈɔnˌlaɪn. ˈfɔrʧənətli, ˈdɑlfən ˈmæstər həz hæd səˈpɔrt fər kəˈnɛktɪŋ tɪ ðə ˈwaɪˌfaɪ kəˈnɛkʃən sɪns ðə ɪgˈzækt deɪ nɪnˈtɛndoʊ əˈnaʊnst wɪn ðə ˈsərvərz wʊd bi goʊɪŋ daʊn! waɪl ˌɛmjəˈleɪʃən bæk ðɛn ˈwəzənt ˈnɪrli gʊd ɪˈnəf tɪ əˈkɑmplɪʃ wət ɪz ˈnidɪd fər ˈdrægən kwɛst ɛks, ðə faʊnˈdeɪʃən wɑz ˈsɑləd ɪˈnəf tɪ ˈhændəl moʊst ˈnɛtˌwərk ˌfəŋkʃəˈnælɪti ənd məʧ əv ðə koʊd rɪˈmeɪnz ˌɪnˈtækt tɪ ðɪs deɪ. wɪˈθaʊt ɔl əv ðət dən waɪl ðə ˈsərvərz wər stɪl əp, ðɛrz ə gʊd ʧæns ˈdɑlfən ˈnɛvər gɪts ˈɛni ˈɔnˌlaɪn səˈpɔrt. ðiz deɪz ɪt meɪ sim pɑr fər ðə kɔrs tɪ traɪ tɪ ˈɛmjəˌleɪt ˈɛvriˌθɪŋ, bæk ðɛn wi ˈnɛtˌwərkɪŋ simd laɪk ə paɪp drim, ənd ɪts stɪl ˌɪnˈkrɛdəbəl tɪ hæv ˈfʊtɪʤ əv ˈdɑlfən pleɪɪŋ əˈlɔŋˈsaɪd ril ɪn geɪmz laɪk ˈmɑrioʊ wi ənd ˈsupər smæʃ bros*. brɔl frəm ˌbiˈfɔr ðə ˈʃətˌdaʊn. ɪt meɪ nɑt hæv ˈlæstɪd lɔŋ, bət ˈdɑlfən ɔn ðə əˈfɪʃəl ˈwaɪˌfaɪ kəˈnɛkʃən wɑz ˈglɔriəs. kəmˈpɛrd tɪ səm əv ðə stəf ðət wʊd ˈfɑloʊ, ðiz əˈʧivmənts wʊd sim laɪk pɑr fər ðə kɔrs, bət bæk ðɛn, ˈləgʒəri ˈfiʧərz laɪk ðɪs wərənt ðə neɪm əv ðə geɪm. wi ˌɪˈnɪʃəl ˌɪmpləmɛnˈteɪʃən ˈhæzənt ˈæˌkʧuəli ʧeɪnʤd məʧ; ˌɪmˈpruvmənts sɪns ðɛn hæv ˈmoʊstli kəm frəm ˈbɛtər ˌɛmjəˈleɪʃən ˈɛlsˌwɛr ənd ə ˈbɛtər ˌəndərˈstændɪŋ əv haʊ ðə wi wərks ɪn ˈʤɛnərəl. ˈprɑpər wi ˈmɛnju functionality¶*¶ ənˈlaɪk moʊst ˈəðər ˈtaɪtəlz, ˈdrægən kwɛst ɛks rikˈwaɪərz ˈprɑpər wi ˈsɪstəm ˈmɛnju ˌfəŋkʃəˈnælɪti tɪ ˈivɪn hæv ə ʧæns əv ˈgɪtɪŋ ˈɪntu ðə geɪm. ˈdrægən kwɛst ɛks ɪz ə ˈvɛri ˈspɛʃəl ˈtaɪtəl. waɪl moʊst geɪmz doʊnt kɛr əˈbaʊt ðə ˈioʊs ˈvərʒən, boʊθ ðə ˌɪnˈstɔlər ənd ðə ˈɔnˌlaɪn wɪl ʧɛk fər ɪt ənd ˈrɛfˌjuz tɪ wərk ɪf ðə ˈsɪstəm ˈsɔfˌwɛr ɪz tu oʊld. ɪn fækt, nɑt ˈoʊnli du ðeɪ ʧɛk ˈwɛðər ðə ˈioʊs ɪz ˌɪnˈstɔld, ðeɪ wɪl ˈivɪn meɪk ʃʊr ðə riˈvɪʒən ɪz nu ɪˈnəf! ðɪs bɪˈheɪvjər ɪz soʊ juˈnik ðət ðɪs ˈivɪn kɔt dɪˈvɛləpərz ɔf gɑrd, ɛz ðeɪ traɪd tɪ ˈfɪgjər aʊt waɪ ðə ˌɪnˈstɔlər wʊd ˌmɪˈstɪrjəsli feɪl. ɪt ɪz ˈpɑsəbəl tɪ ˈmænjuəli ˌɪnˈstɔl rikˈwaɪərd ˈsɪstəm ˈtaɪtəlz ənd ˈəpˌdeɪts, bət ðɪs wɑz ə ˈhæsəl; wən ðət dɪd nɑt ɪgˈzɪst ɔn ən ˈækʧəwəl ˈkɑnsoʊl bɪˈkəz ðə wi ˈmɛnju wʊd fɔrs ˈjuzərz tɪ ˈəpˌdeɪt ˌbiˈfɔr ˈlɔnʧɪŋ ðə geɪm. ˈθæŋkfəli, mənθs ˌbiˈfɔr wərk ɔn ˈdrægən kwɛst ɛks rɪˈzumd, ˈəpˌdeɪtɪŋ frəm dɪsks ənd frəm ðə ˈɪntərˌnɛt wɑz ˈɪmpləˌmɛnəd ɪn ˈdɑlfən. ɪt ɪz naʊ ˈpɑsəbəl tɪ ˈsɪmpli ˌɪnˈsərt ðə geɪm dɪsk ənd rɪˈlaɪ ɔn ðə wi ˈmɛnju tɪ ˈəpˌdeɪt ˈɛvriˌθɪŋ, ʤɪst laɪk ɔn ə ˈkɑnsoʊl. wɪθ ɔl əv ðə ˈəpˌdeɪts ðət ˈdrægən kwɛst ɛks dɪˈmændz, ðɪs wɑz ən ˌɪmˈpɔrtənt fɪks. hir wi wər traɪɪŋ tɪ ˈɛmjəˌleɪt ˈsəmθɪŋ ˈbɔrɪŋ ənd ɪt ˈɛndɪd əp ˈjusfəl ˈmɑrioʊ wi, wi fɪt, ənd ˈəðər geɪmz ˌɪnˈstɔl ˈʧænəlz tɪ ðə wi ˈmɛnju tɪ prəˈvaɪd ˈɔpʃənəl ˈɛkstrə ˈfiʧərz. bət ɛz wɪθ ˈɛvriˌθɪŋ ɛls, ˈdrægən kwɛst ɛks dɪz θɪŋz ˈdɪfərˈɛntli: ðə smɔl ˈʧænəl ɪt ˌɪnˈstɔlz tɪ ðə ɪz nɑt ˈɔpʃənəl, bət rikˈwaɪərd ɪn ˈɔrdər tɪ pleɪ ðə geɪm. ˈbeɪsɪk ˈʧænəl ˌɪnstəˈleɪʃən wɑz ˈɪmpləˌmɛnəd wɪθ ˈdrægən kwɛst ɛks ɪn maɪnd ˈsɛvərəl mənθs əˈgoʊ. waɪl ðə ˌɪˈnɪʃəl ˌɪmpləmɛnˈteɪʃən ɪn ˈʤænjuˌɛri 2017 wɑz ɪˈnəf tɪ ˌɪnˈstɔl ðə ˈdrægən kwɛst ɛks ˈlɔnʧər ˈʧænəl, mɔr rɪˈleɪtɪd ˈfiʧərz hæd tɪ bi ˈɪmpləˌmɛnəd tɪ səˈpɔrt ðə geɪmz ˈəpˌdeɪt ˈsɪstəm. ədˈvænst ˈsərvɪsɪz (ɛs) functionality¶*¶ bɔrn ɛz ə, ˈdɑlfən meɪd ə ˈvɛri ˈrizənəbəl əˈsəmpʃən fər ə tɪ meɪk: ðət ðə ˈæktɪv ˈtaɪtəl ˈwʊdənt ʧeɪnʤ ɪn ðə ˈmɪdəl əv ˌɛmjəˈleɪʃən. wɪθ ðə wi, nɑt ˈoʊnli ɪz ɪt ˈpɑsəbəl tɪ lɔnʧ ə frəm ðə wi ˈsɪstəm ˈmɛnju, ˈjuzərz kən goʊ bæk tɪ ðə ˈmɛnju, ənd ˈɛni ˈɑrbɪˌtrɛri ˈtaɪtəl kən bi lɔnʧt æt ˈɛni ˈmoʊmənt. ðə wi əˈkɑmplɪʃɪz ðɪs wɪθ ˈsərvɪsɪz, ə pɑrt əv ˈioʊs ðət həz bɪn ˈmoʊstli ˈbroʊkən ɪn ˈdɑlfən fər ə ˈdɛkeɪd ənd ˈoʊnli ˈstɑrtɪd rɪˈsivɪŋ ˈplɛnti əv ˈfɪksɪz ˈleɪtli. ɛs ɪz ə lɑrʤ ˈmɑʤul ðət pleɪz ən ɛˈsɛnʃəl roʊl ɔn ˈkɑnsoʊl: ɪt ɪz riˈspɑnsəbəl fər ˈbutɪŋ əp ðə wi ˈsɪstəm ˈmɛnju, fər ˌɪmˈpɔrtɪŋ ˈtaɪtəlz, ˈsɪstəm ˈəpˌdeɪts, ˌɛtˈsɛtərə. waɪl moʊst əv ðə ˈfɪksɪz tɪ ɛs ˌɛmjəˈleɪʃən wər meɪd ˌbiˈfɔr ˈɛniˌwən ˌɪˈmæʤənd ˈivɪn ˈrənɪŋ ˈdrægən kwɛst ɛks, ɪt tərnz aʊt ðeɪ wər ɔl ˈnɛsəˌsɛri fər ˈgɪtɪŋ ˈɪntu ðə geɪm, ənd ˌpɑrˈtɪkjələrli ɪts ˈɔnˌlaɪn moʊd. ənd ˈioʊs resets¶*¶ ɛz ɪts neɪm ˈɪndɪˌkeɪts, ɪz ə kəˈmænd ðət ɪˈneɪbəlz ˈɛmjəˌleɪtɪd ˈsɔfˌwɛr tɪ lɔnʧ əˈnəðər ˈtaɪtəl. ðɪs ˈfiʧər həz bɪn ˈbroʊkən ɪn soʊ ˈmɛni weɪz ənd fɪkst soʊ ˈmɛni taɪmz ðət wiv ˈlɪtərəli lɔst kaʊnt. ˈdɑlfən həz hɪˈstɔrɪkəli hæd ə lɔt əv ˈtrəbəl wɪθ ɪt, boʊθ bɪˈkəz əv rəˈgrɛʃənz ənd bɪˈkəz ðə bɪˈheɪvjər ˈwəzənt ˈɔlˌweɪz ˌəndərˈstʊd wɛl ɪˈnəf. fər ə ˈvɛri lɔŋ taɪm, wi ˈdɪdənt noʊ ðət ðə seɪm kəˈmænd ɪz juzd fər ˈlɔnʧɪŋ boʊθ ɑrm ˈtaɪtəlz ənd ˈpaʊərˈpiˈsi ˈtaɪtəlz səʧ ɛz ˈʧænəlz, nɔr ðə ˈdɪfərənsɪz bɪtˈwin ðiz tu taɪps əv ˈlɔnʧɪz. tɪ meɪk θɪŋz ˈivɪn mɔr ˈkɑmpləˌkeɪtəd, ˈlɔnʧɪŋ ən ˈioʊs ˈrisɛts ɪts hoʊl steɪt, ənd ˈlɔnʧɪŋ ə ˈpaʊərˈpiˈsi ˈtaɪtəl ˌɔtəˈmætɪkli ˈtrɪgərz ən ˈioʊs riˈloʊd boʊθ bɪˈheɪvjərz ðət ˈdɑlfən dɪd nɑt ˈɛmjəˌleɪt ˈiðər. ɪn fækt, æt wən pɔɪnt, ˌɪtˈsɛlf ˈwəzənt ˈɛmjəˌleɪtɪd; ˌɪnˈstɛd, ˈfəŋkʃənz ðət wʊd ˈtrɪgər ə lɔnʧ wər hʊkt ənd ˌriˈpleɪst wɪθ ˌhaɪˈlɛvəl reimplementations*. waɪl ðɪs dɪd meɪk ˈmɛni geɪmz fər ðə fərst taɪm, ðɪs rɪˈzəltɪd ɪn ˈvɛriəs ˈɪʃuz, frəm ðə lɔnʧ streɪt əp ˈfeɪlɪŋ (ɪf ðə ˈfəŋkʃənz wərənt dɪˈtɛktɪd) tɪ ðə dɪsk ˈʧænəl biɪŋ ˈbroʊkən. ɛz əˈnəðər ɪgˈzæmpəl əv haʊ ˈtəʧi wɑz, ˈfɪksɪŋ ɪt wəns broʊk kəˈnɛktɪŋ fɔr wi remotes*! ˈivɪn ðoʊ ˈdɑlfən ˈstɔlwərt fɪkst lɑts əv ˈprɑbləmz ðət wər ˌɪnˈhɛrənt wɪθ oʊld ˌɪmpləmɛnˈteɪʃən ənd koʊd bæk ɪn ʤun 2014 ˌɪmpləmɛnˈteɪʃən wɑz stɪl ˌɪnkərˈɛkt ˈivɪn fər ˈkɑmən ˈkeɪsɪz. noʊt ðət ðɪs ˈvɪdioʊ ɪz frəm 2014 ənd wi wər ˈtaʊtɪŋ ðət wɑz ˈfaɪnəli fɪkst. ðɛn ɪt broʊk əˈgɛn ɪn 2015 ənd wɑz fɪkst. əˈgɛn ɪn 2016 wɪr naʊ ɪn 2017 ənd əˈgɛn ˈvɛri ˈkɑnfədənt ðət ðə ˌɪmpləmɛnˈteɪʃən ɪz naʊ kərˈɛkt. ðɪs taɪm, dɪˈvɛləpərz ˈfaɪnəli gɑt əraʊnd tɪ rɪˈpleɪsɪŋ ðə ˈnəmbərz wɪθ ˈækʧəwəl ˈvæljuz ðət dɪˈpɛndɪd ɔn ðə ˈæktɪv ˈioʊs θæŋks tɪ wərk. ənd θæŋks tɪ ˈɪmpləˌmɛnɪŋ ðə ˈdɪfərənt riˈloʊd bɪˈheɪvjərz ɪn ˈdɑlfən, wɪr ˈfɛrli ˈsərtən ðət ˌɪmpləmɛnˈteɪʃən ɪz ˈæˌkʧuəli kərˈɛkt naʊ... fər ril, ðɪs taɪm. ups, nɑt ðət taɪm, ðɪs taɪm. ənd ˈioʊs ˈrisɛts biɪŋ ˈhændəld kərˈɛktli ər ˌæbsəˈlutli rikˈwaɪərd fər ˈdrægən kwɛst ɛks, ɛz ɪt ˈjuzɪz mɔr ðən ˈɛni ˈəðər ˈtaɪtəl. ˈivɪn wɪn ʤɪst goʊɪŋ ˈɔnˌlaɪn ðə geɪm dɪz æt list θri kənˈsɛkjətɪv ˈlɔnʧɪz: wi ˈmɛnju ˈʧænəl ɔn (es_launch*) ˈʧænəl ɔn meɪn ˈmɛnju ˌæpləˈkeɪʃən ɔn draɪv (wfsilaunchdol*, default.dol*) meɪn ˈmɛnju ˌæpləˈkeɪʃən ɔn draɪv ˈʧænəl ɔn (es_launch*) ˈʧænəl ɔn ˌæpləˈkeɪʃən ɔn wi faɪl ˈsɪstəm (wfsilaunchdol*, extension1.dol*) ˌæpləˈkeɪʃən ɔn draɪv ˈʧænəl ɔn (es_launch*) stɛps 4 ənd 5 ər rɪˈpitɪd ənˈtɪl ðə geɪm ɪz up-to-date*. ˈʧænəl ɔn skrin geɪm (wfsilaunchdol*, extension2.dol*) ˈtaɪtəl tracking¶*¶ ˈivɪn ðoʊ ɛs ˌfəŋkʃəˈnælɪti wɑz ˈɪmpləˌmɛnəd ɪn ˈdɑlfən jɪrz əˈgoʊ, ɪt dɪd nɑt kip træk əv ðə ˈtaɪtəlz ˈdʊrɪŋ ðə swɪʧ. ðɪs kriˈeɪtɪd ə fju ˈprɑbləmz, səʧ ɛz ˈsɛtɪŋz nɑt ˈʧeɪnʤɪŋ ˈæftər ə swɪʧ, bət ɪt ˈwəzənt ə haɪ praɪˈɔrəti sɪns waɪ wʊd ˈpipəl ˈjuzɪŋ ˈdɑlfən goʊ θru ðə ˈsɪstəm ˈmɛnju ˈɛniˌweɪ? ə lɔt əv ðə əˈsəmpʃənz ənd ˈvæljuz bæk ɪn ðə deɪ meɪd ɪt hɑrd tɪ du θɪŋz ˈprɑpərli ˈivɪn ɪf ɪt wɑz ˈnɛsəˌsɛri. ɪn 2017 səm dɪˈvɛləpərz ˈriəˌlaɪzd ðət ɪt ˈdɪdənt ˈrɪli meɪk sɛns tɪ bi ˈlækɪŋ ðɪs əˈbɪləˌti. ˈæftər ɔl, ˈioʊs wɑz dɪˈzaɪnd tɪ ɛnˈfɔrs ˌsɛpərˈeɪʃən bɪtˈwin ˈtaɪtəlz, soʊ ɪt hæd tɪ træk ˈtaɪtəl ˈʧeɪnʤɪz. ənd ɪf ɪt kʊd træk ðɛm, ˈdɑlfən wʊd nid tɪ ɛz wɛl. θæŋks tɪ jɪrz əv ˌɪmˈpruvɪŋ koʊd, baɪ ðə taɪm wi ˈæˌkʧuəli ˈnidɪd ˈtaɪtəl ˈtrækɪŋ moʊst əv ðə wərk hæd ɔˈrɛdi bɪn dən. ɛz ən ˌənɪkˈspɛktɪd ˈboʊnəs, ðɪs əˈlaʊd ˈəpˌdeɪts tɪ ˌɪnˈstɔl kərˈɛktli frəm ˈvɛriəs geɪmz. ɪn ðə keɪs əv ˈdrægən kwɛst ɛks, ðɪs ɪz ðə ˈiziəst weɪ tɪ gɪt mɔr ˌɪmˈpɔrtənt ðən ðət, ˈtaɪtəl ˈtrækɪŋ wɑz ˈpɛrəˌmaʊnt fər ˈgɪtɪŋ ðə faɪl ˈsɪstəm ðət ˈdrægən kwɛst ɛks rɪˈlaɪz ɔn tɪ ˈfəŋkʃən ˈprɑpərli. wɪl bi ˈseɪvɪŋ ðət fər ˈleɪtər: ðɛr ər ə fju ˈəðər ki ˈpisɪz tɪ gɪt θru fərst! ˈtaɪtəl ˌɪnˌfɔrˈmeɪʃən requests¶*¶ ˈdɑlfən ɔˈrɛdi hæd ˈbeɪsɪk səˈpɔrt fər ˈtɛlɪŋ ðə ˈɛmjəˌleɪtɪd ˈsɔfˌwɛr wət ɪz ˌɪnˈstɔld ɔn ðə, ˈgɪvɪŋ ənd ˈtɪkɪt vjuz, bət ðə ˌɪmpləmɛnˈteɪʃən wɑz ˈwoʊfəli ˌɪnkəmˈplit ənd ˈivɪn pleɪn rɔŋ ɪn səm ˈɪnstənsɪz. θæŋks tɪ ˈprɑpər ˈtaɪtəl ˈtrækɪŋ ənd ˈkliˌnəps ðət meɪd ɪt məʧ lɛs ˈpeɪnfəl tɪ wərk ɔn ˈioʊs, ˈfɪksɪŋ ðiz ˈɪʃuz ˈdɪdənt teɪk tu məʧ ˈɛfərt. sun ˈæftər ˈɔnˌlaɪn ˈbutɪd fər ðə fərst taɪm, ɪt kˈwɪkli bɪˈkeɪm ˈvɛri ˈɑbviəs ðət ðə ˈækjərəsi bust wɑz ɪn fækt rikˈwaɪərd. wi ˈʃɑpɪŋ (ec)¶*)¶ wən əv ðə ˈbɪgəst riˈækʃənz tɪ wi ʃɑp səˈpɔrt wɪn wi əˈnaʊnst ɪt bæk ɪn mɑrʧ wɑz waɪ?? ɪt simd laɪk ə ˈvɛri ˈpɔɪntləs ˈləgʒəri wɪˈθaʊt məʧ juz. ˈæftər ɔl, hu wʊd bi ˌɪnˈseɪn ɪˈnəf tɪ baɪ ə geɪm dɪˈrɛkli frəm nɪnˈtɛndoʊz ˈsərvərz frəm wɪˈθɪn ən? ˈəðər ðən æt list. bət, wi ʃɑp səˈpɔrt ˈwəzənt du tɪ səm ˈmæʤɪkəl, ˈloʊkəˌlaɪzd fɪks. ˈrəðər, ɪt wɑz ə bənʧ əv ˈfɪksɪz tɪ haʊ ˈdɑlfən ˈɛmjəˌleɪts ɛs, soʊ, ðoʊz ˈfɪksɪz ˈæˌkʧuəli əˈfɛktɪd ˈɛniˌθɪŋ ðət ˈjuzɪz ɪts mɔr ədˈvænst ˈfiʧərz ənd ˈɛndɪd əp biɪŋ ˈjusfəl fər məʧ mɔr ðən ʤɪst ðə wi ˈmɛnju: kəmˌpætəˈbɪləˌti wɑz ˌɪmˈpruvd, ənd ə juʤ pɑrt əv ˈgɪtɪŋ ʃɑp ˌfəŋkʃəˈnælɪti tɪ wərk wɑz dən. ˈæftər ˈnɪrli ə ˈhənərd kəˈmɪts ˈdɛdəkeɪtəd tɪ ˈbɛtər ˈioʊs ənd wi ˈmɛnju ˌɛmjəˈleɪʃən, ɔl ðət rɪˈmeɪnd tɪ bi ˈɪmpləˌmɛnəd wɑz səˈpɔrt fər ˈtɪkɪts. tickets¶*¶ ɛz ə kwɪk ˈpraɪmər, wi ˈsɔfˌwɛr (ˈsɪstəm ˈsɔfˌwɛr, ˈʧænəlz, geɪmz) ər baɪ ˈtaɪtəlz ənd ɪnˈkrɪptɪd ˈjuzɪŋ ˈsiˌbiˈsi ˈjuzɪŋ ə ki, noʊn ɛz ðə ˈtaɪtəl ki, ðət ɪz ˌɪtˈsɛlf ɪnˈkrɪptɪd wɪθ ə ʃɛrd ˈsikrɪt (ðə "ˈkɑmən ki"). ðə ɪnˈkrɪptɪd ki ɪz faʊnd ɪn ə saɪnd faɪl kɔld ə ˈtɪkɪt. ðɛr ər tu kaɪnz əv ˈtɪkɪts: ˈkɑmən ˈtɪkɪts (ər cetk*), wɪʧ ər ðə seɪm fər ˈɛvriˌwən, ənd ˈtɪkɪts. ənˈlaɪk ðə ˈfɔrmər, ˈtɪkɪts ər ˈɪʃud fər ə spɪˈsɪfɪk ˈkɑnsoʊl: ðə ɪnˈkrɪptɪd ˈtaɪtəl ki ɪz ˌɪtˈsɛlf ɪnˈkrɪptɪd ˈjuzɪŋ ˌeɪsəˈmɛtrɪkəl ənd kən ˈoʊnli bi baɪ ðə ˈkɑnsoʊl tɪ wɪʧ ðə ˈtɪkɪt wɑz ˈɪʃud. ɔl ˈsɪstəm ˈtaɪtəlz ənd geɪmz juz ˈkɑmən ˈtɪkɪts, wɛˈræz ɔl ˈtaɪtəlz ðət kən bi ˈdaʊnˌloʊdɪd frəm ðə wi ʃɑp ˈivɪn ˈaɪtəmz ðət ər fri tɪ ˈdaʊnˌloʊd juz ðə ˈlætər. ðɪs wɑz ˈlaɪkli dən tɪ meɪk ˈpaɪrəsi ˈhɑrdər. ˈhændəlɪŋ ˈpərsənəˌlaɪzd ˈtɪkɪts kərˈɛktli ɪn ˈdɑlfən ˌɪnˈvɑlvd ə lɔt əv rɪˈvərs ˈɛnʤəˈnɪrɪŋ ɔn haʊ ðə wi ˈtaɪtəlz ənd ˈəðər kwərks ðət wər ˈnɛvər θɔt tɪ bi ˌɪmˈpɔrtənt. wɪθ hɛlp frəm eɪs rɪˈvərs ˈɛnʤəˈnɪr ənd ə ˈmɪθɪkəl ˈstɑrlət ðət meɪ ər meɪ nɑt ɪgˈzɪst, wɑz ˈeɪbəl tɪ ˈfɪgjər aʊt haʊ ˈtɪkɪts wərkt ənd tɔt ə ˈdɑlfən haʊ tɪ ʃɑp. ˈbrɪŋɪŋ ˈpæʧɪz tɪ ə ˈsɪstəm ðət ˈdɪdənt səˈpɔrt them¶*¶ ðə wi ɪz wɛl noʊn fər nɑt ˈhævɪŋ ˈɛni kaɪnd əv ˈpæʧɪŋ ˈsɪstəm fər dɪsk geɪmz. wɪn ə bæd bəg wɑz dɪˈskəvərd ɪn ə geɪm, ɔl nɪnˈtɛndoʊ kʊd du wɑz prɪnt nu ˈvərʒənz əv ðə geɪm dɪsk, ənd pərˈhæps ˈɔlsoʊ riˈlis ə ˈʧænəl tɪ fɪks əˈfɛktɪd seɪv ˈdætə. ˌfəndəˈmɛnəli, ðə wi wɑz nɑt dɪˈzaɪnd wɪθ ˈpæʧɪŋ geɪmz ɪn maɪnd, soʊ ðeɪ wər əˈneɪbəl tɪ fɪks ˈɛni bəgz wəns ə geɪm wɑz riˈlist. soʊ, haʊ dɪz ˈdrægən kwɛst ɛks, ən ˈɔnˌlaɪn ðət rikˈwaɪərz ˈrɛgjələr ˈɔnˌlaɪn ˈəpˌdeɪts, sɑlv ðɪs ˈprɑbləm? ɛz ɪt tərnz aʊt, ðə geɪm gɪts ɪts ˈəpˌdeɪts frəm ðə wi ʃɑp ˌɪnfrəˈstrəkʧər ənd ˈjuzɪz ðə ɪgˈzækt seɪm (e-commerce*) ˈlaɪbrɛˌri ɛz ðə wi ʃɑp ˈʧænəl! ˈsədənli, ɔl əv ðoʊz ˈfɪksɪz tərnd frəm ˈləgʒəri tɪ nəˈsɛsɪti. ðæts raɪt, wən əv ðə priˈrɛkwəzəts tɪ ˈgɪtɪŋ ˈdrægən kwɛst ɛks tɪ wərk ɪz ˈgɪtɪŋ ðə wi ʃɑp tɪ wərk. wɪˈθaʊt wərk ɔn ðə ˈioʊs ˌɛmjəˈleɪʃən θruaʊt ðə jɪr, ˈɪtəd bɪn məʧ ˈhɑrdər tɪ gɪt ˈɔnˌlaɪn ˌbiˈfɔr ðə geɪmz ˈsərvərz wɛnt daʊn. ˈdrægən kwɛst ɛks ˈdaʊnˌloʊdɪŋ ˈəpˌdeɪts frəm ðə wi ʃɑp! nu modules¶*¶ wən ˈioʊs ˈsəbˌsɪstəm ðət həz rɪˈsivd ˈmeɪʤər ˈʧeɪnʤɪz ˈoʊvər ðə ˈlaɪfˌtaɪm ɪz. noʊ lɛs ðən faɪv ˈdɪfərənt ˈɪnərˌfeɪsɪz ɪgˈzɪst, ənd ə lɔt əv ðɛm kən bi juzd baɪ ˈsɔfˌwɛr ˈrənɪŋ ɔn ðə ˈpaʊərˈpiˈsi: ðɪs ɪz ðə ˈərliəst ˈɪnərˌfeɪs. ɪt ɪz juzd ɪn ə lɔt əv ənd ɪn kəˈmərʃəl ˈtaɪtəlz fər wi spik ənd ˈmaɪkrəˌfoʊn səˈpɔrt. ə trɪmd daʊn ˈvərʒən əv ðə ˈɪnərˌfeɪs juzd fər ðə ˌɪnˈtərnəl ˈbluˌtuθ əˈdæptər. juzd tɪ ˌɪnərˈækt wɪθ ˈjumən ˈɪnərˌfeɪs dɪˈvaɪsɪz, səʧ ɛz ˈkiˌbɔrdz ənd ˈəðər ˈɪnˌpʊt dɪˈvaɪsɪz. ven*: ɪn leɪt ˈioʊs ˈvərʒənz, ðɪs ɪz ə rɪˈpleɪsmənt fər ðə oʊld ˈɪnərˌfeɪs. ɪts ə mɔr ˈkɑmplɛks ˈɪnərˌfeɪs ðət səˈpɔrts (ɪn ənd ənd ˈhændəlz dɪˈvaɪsɪz ðət hæv ðə seɪm ˈaɪˈdi ˈbɛtər. ʤɪst laɪk ven*, ðɪs rɪˈpleɪsɪz ðə ˈɪnərˌfeɪs ɪn səm ˈioʊs ˈvərʒənz. waɪl ˈdɑlfən ɔˈrɛdi səˈpɔrtɪd ðə fərst fɔr əv ðɛm sɪns ˈfɛbruˌɛri, ˈwəzənt ˈɪmpləˌmɛnəd, ɛz ɪt ˈdɪdənt sim tɪ bi juzd baɪ ˈɛniˌθɪŋ. ...əv kɔrs ˈdrægən kwɛst ɛks juzd ɪt. ˈdrægən kwɛst ɛks meɪks juz əv ðɪs rɛr ˈɪnərˌfeɪs fər ˈkiˌbɔrd səˈpɔrt, ənd ɪz ðə ˈoʊnli əˈfɪʃəl ˈtaɪtəl tɪ du soʊ. ˌhaʊˈɛvər səˈpɔrtɪŋ ðɪs həz tərnd aʊt tɪ bi ˈmoʊstli ˈɔpʃənəl, ɛz ɪt aʊt wərks wɛl ɪˈnəf fər ðə geɪm, ənd ðə ˈkiˌbɔrd ɪz ˈoʊnli ˈɔpʃənəl fər pleɪərz. ənˈtɪl ə kəmˈplit ˌɪmpləmɛnˈteɪʃən ɪz ˈfɪnɪʃt, pleɪərz ɔn ˈdɑlfən wɪl ʤɪst hæv tɪ juz ðə wi rɪˈmoʊt ðət ðə dɪˈvɛləpərz prəˈvaɪdɪd, ɛz ˈkləŋki ɛz ɪt ɪz. ðə ril ˈʧælənʤ keɪm frəm əˈnəðər juˈnik ˈfiʧər əv ðə geɪm. wi faɪl system¶*¶ wi faɪl ˈsɪstəm, ər, ɪz ðə ˈkəstəm, ɪnˈkrɪptɪd faɪl ˈsɪstəm ðət wɑz dɪˈzaɪnd fər ðə wi ju. soʊ wəts ɪt duɪŋ hir ɔn ðə wi? æt səm pɔɪnt ˈdʊrɪŋ ˈdrægən kwɛst ˈɛksɪz dɪˈvɛləpmənt, ðeɪ ˌdɪˈsaɪdɪd ðət ðeɪ ˈwɔntɪd tɪ tæp ˈɪntu ðə ˈmæsɪv tɪ traɪ ənd gɪt ə bust fər ðɛr nu geɪm. ɛz səʧ, dɪˈvɛləpərz ˈfɛvərˌɪʃli wərkt ɔn ˈdrægən kwɛst ɛks tɪ ðə (ˌɪnˈtərnəl ˈɔpərˌeɪtɪŋ ˈsɪstəm fər ðə wi ju) ˈfiʧərz ɪt ˈnidɪd tɪ wi. bɪˈkəz ðə wi ˈoʊnli hæd əv, ðɛr wɑz noʊ weɪ ˈdrægən kwɛst ɛks kʊd ˌɪnˈstɔl ðɛr, soʊ dɪˈvɛləpərz hæd tɪ meɪk juz əv ðə pɔrts ɔn ðə bæk əv ðə wi fər ɪkˈspændəbəl ˈstɔrɪʤ məʧ laɪk ðeɪ kʊd ɔn wi ju. ðɪs ɪz wɛr kəmz ˈɪntu pleɪ. wən əv ðə meɪn ˈʧælənʤɪz wɪθ ɪz ðə əˈmaʊnt əv rɪˈvərs ˈɛnʤəˈnɪrɪŋ ðət wɑz rikˈwaɪərd tɪ ˌəndərˈstænd haʊ ɪt ˈɑpərˌeɪts. ɪts ˈioʊs ˈmɑʤul ɪz ˈsɛvərəl ˈmɛgəˌbaɪts lɑrʤ, kənˈteɪnɪŋ boʊθ ˌhaɪˈlɛvəl ˈfiʧərz (ˈtaɪtəl ˈmænɪʤmənt, ˈpækɪʤ ˌɪnstəˈleɪʃən, ənd ˌloʊˈlɛvəl ˈfiʧərz (blɑk kæˈʃeɪ, dɪˈvaɪs ˈmænɪʤmənt, sɪns ɪt wɑz ˈoʊnli riˈlist ɪn 2012 lɔŋ ˈæftər ðə ˈglɔri deɪz əv ðə wi, ˈnoʊˌbɑˌdi ˈrɪli lʊkt æt ɪt ɪn ˈditeɪl ənˈtɪl ˈdɑlfən ˈnidɪd ɪt fər ˈdrægən kwɛst ɛks. wi hæd tɪ du ˈɛvriˌθɪŋ frəm skræʧ, ənd wi ˈkʊdənt rɪˈlaɪ ɔn praɪər ˈrisərʧ, sɪns ðɛr wɑz nən! leɪt læst jɪr, tʊk ɔn ðə goʊl əv ˈmeɪkɪŋ ˈdrægən kwɛst ɛks rən ɪn ˈdɑlfən. ˌhaʊˈɛvər, ðɪs kaɪnd əv rɪˈvərs ˈɛnʤəˈnɪrɪŋ ˈprɑʤɛkt ɪz ˈtrɪki tɪ ˈkɑmbaɪn wɪθ ə dɪˈmændɪŋ fʊl taɪm ʤɑb. biɪŋ ɪˈfɪʃənt æt rɪˈvərs ˈɛnʤəˈnɪrɪŋ nu ˈsɪstəmz rikˈwaɪərz ˈkipɪŋ ə lɔt əv ˈkɑntɛkst ɪn jʊr maɪnd, ˈsəmθɪŋ ðət ɪz hɑrd tɪ du wɪn ˌɪntərˈəptɪd fər naɪn aʊərz ˈɛvəri deɪ baɪ ˈpɛski rɪkˈwaɪrmənts! wərk ˈstɑrtɪd æt ðə ɛnd əv 2016 ˈdʊrɪŋ ðə ˈkɑnfərəns ɪn ˈhæmbərg, ˈʤərməni ənd kənˈtɪnjud ˈdʊrɪŋ ðə bɪˈgɪnɪŋ ɪn ˈʤænjuˌɛri ˈdʊrɪŋ ə wən wik ˈvɪzɪt ɪn ə ɪn wɪθ ˈsɛvərəl ˈkɑnsoʊl ˈhækərz ənd ˌɛmjəˈleɪʃən dɪˈvɛləpərz. ˈivɪn ðoʊ ˈdɑlfən ˈwəzənt kloʊz tɪ ˈlɔnʧɪŋ ˈdrægən kwɛst ɛks ˈɔnˌlaɪn æt ðɪs pɔɪnt, ɪts ˌɪnˈstɔlər wɑz ˈwərkɪŋ. mɔr ˌɪmˈpɔrtəntli, ˈrisərʧ wɑz dən ɔn ðət wɑz ɛˈsɛnʃəl fər fˈjuʧər ɪnˈdɛvərz tɪ kəmˈplit ˌɛmjəˈleɪʃən. ðə ˈdrægən kwɛst ɛks ˈʧænəl wɑz ə saɪt fər sɔr aɪz, bət ɪt ˈwəzənt ˈrɛdi tɪ but. ðə nis θɪŋ wɪθ ˈɛmjəˌleɪtɪŋ ɪn ˈdɑlfən ɪz ðət wi kən əˈfɔrd ˈteɪkɪŋ ˈʃɔrtˌkəts. fər ɪgˈzæmpəl, ˈdɑlfən dɪz nɑt kɛr ɪn ðə sˈlaɪtəst əˈbaʊt haʊ ðə ɔn lʊks laɪk ɛz ˈɪmpləˌmɛnəd baɪ nɪnˈtɛndoʊ. ðə ˈoʊnli ˌɪmˈpɔrtənt pɑrt ɪz ðət geɪm kən kəmˈjunəˌkeɪt wɪθ ðə ˈmɑʤulz ɛz ɪf ðeɪ wər ril. ˌɪnˈstɛd əv ˈɛmjəˌleɪtɪŋ æt ə loʊ ˈlɛvəl ə draɪv wɪθ ˈsɛktərz ənd ˈstɔrɪʤ blɑks, wi ˌɪnˈstɛd ˈɔpərˌeɪt æt ə haɪər ˈlɛvəl ˈɛmjəˌleɪtɪŋ faɪl descriptors*, ˌɑpərˈeɪʃənz, ˌɛtˈsɛtərə. wərk ˈstɑrtɪd əˈgɛn ˈdʊrɪŋ ðə ɪn zeewolde*, ˈnɛðərləndz tu wiks əˈgoʊ. ˈdʊrɪŋ ðɪs ɪˈvɛnt, ˈsɛvərəl ˌjʊrəˈpiən ˌɛmjəˈleɪʃən dɪˈvɛləpərz ənd ˈdɑlfən kənˈtrɪbjətərz əˈsɛmbəld tɪ wərk təˈgɛðər ɔn ðɛr ˈpæʃən. ˈæftər ə fju mɔr deɪz əv wərk ɔn, ə pæʧt ˈvərʒən əv ˈdɑlfən ˈmænɪʤd tɪ but ðə geɪm tɪ ɪts meɪn ˈmɛnju. ʤɪst wən deɪ ˈleɪtər ənd ɪt wɑz ðə fərst taɪm ˈɛniˌwən wɑz ˈɛvər ˈeɪbəl tɪ pleɪ ðə ˈɔˌflaɪn moʊd əv ˈdrægən kwɛst ɛks ɪn ən! ənˈfɔrʧənətli, baɪ ðə ɛnd əv ðə ɪˈvɛnt, wɑz stɪl stək ɔn ðə læst wɔl bɪtˈwin ˈdɑlfən ənd ðə ˈɔnˌlaɪn moʊd: ˈgɪtɪŋ ðə geɪm tɪ ˈəpˈgreɪd tɪ ɪts ˈleɪtəst ˈvərʒən. ˈwərkɪŋ wɪθ, ˈioʊs ənd wi ʃɑp ˈɛkspərt, ənd wɪθ marcan*, ˈkɑnsoʊl ˈhækər ˌɛkstrəˈɔrdɪˌnɛr hu oʊnz ən wi wɪθ ðə geɪm ˌɪnˈstɔld, ðə tim kənˈtɪnjud tɪ meɪk ˈprɑˌgrɛs ənˈtɪl ðeɪ gɑt tɪ ðə skrin. ˈstreɪnʤli ɪˈnəf, səm əv ðə læst ˈhərdəlz fər ˈgɪtɪŋ ˈdɑlfən ɪn hæd lɛs tɪ du wɪθ ˌɛmjəˈleɪʃən ˈɪʃuz ənd mɔr tɪ du wɪθ ˈlæŋgwɪʤ ˈbɛriərz ənd riˈstrɪkʃənz ðət wʊd ˈivɪn hɪt ˈkɑnsoʊl. dɪˈspaɪt ˈwɪkiˌpiˌdiə ˈkleɪmɪŋ ðət ðə wɑz riˈmuvd ɪn 2014 wi kən ˈkɑnfədəntli seɪ ðə wi ˈvərʒən stɪl rikˈwaɪərz ju tɪ bi ə ɔn ə ˌʤæpəˈniz ˌaɪˌpi ˈæˌdrɛs. wɪθ ðət ˈteɪkən kɛr əv, ɔn ˈɔgəst 18th*, 2017 lɔgd ˈɔntu ˈdrægən kwɛst ɛks wɪˈθɪn ˈdɑlfən. ˈdrægən kwɛst ɛks ɪz ə ˈmæsɪv əˈʧivmənt ɔn ðə wi, ənd wɑz ə juʤ ˈʧælənʤ tɪ ˈɛmjəˌleɪt ɪn ˈdɑlfən. wɪr ˈhæpi tɪ əˈnaʊns ðət ˈdrægən kwɛst ɛks ɪz ˈfʊli ɪn ˈvərʒən θæŋks tɪ ən ˌɪnˈkrɛdəbəl ˈɛfərt baɪ,, əˈlɔŋ wɪθ ˈmɛni ˈəðərz ˈoʊvər ðə kɔrs əv ðɪs ˈprɑʤɛkt. ˈfiʧərz ðət wər θɔt tɪ bi ˈpɔɪntləs fər geɪmz keɪm ˈɪntu pleɪ ɪn spɛkˈtækjələr weɪz ənd ˈvælədeɪtəd wərk ðət wɑz ərˈɪʤənəli ʤɪst dən fər seɪk." wɪθ ðə wi ˈvərʒən əv ðə geɪm ˈskɛʤʊlɪŋ tɪ ʃət daʊn ɪn noʊˈvɛmbər əv 2017 (ʤɪst ə ˈkəpəl mənθs əˈweɪ), ˈjuzərz ˈlʊkɪŋ tɪ gɪt ˈɪntu ðɪs geɪm ʃʊd stɪk tɪ wən əv ðə ˈəðər rɪˈlisɪz. wɪθ ˈpleɪˌsteɪʃən 4 ənd nɪnˈtɛndoʊ swɪʧ rɪˈlisɪz ˈkəmɪŋ aʊt sun, ðə geɪm ʃʊd bi əraʊnd fər ˈmɛni mɔr jɪrz ənd bi əˈlaʊd tɪ ʧeɪnʤ wɪˈθaʊt ˈhævɪŋ tɪ ˈkeɪtər tɪ ðə ˌlɪmɪˈteɪʃənz. wɪr ˈθæŋkfəl tɪ hæv ˈgɔtən ðə ʧæns tɪ pleɪ ðɪs geɪm frəm wɪˈθɪn ˈdɑlfən; ɪt ɪz ˈbɪtərsˌwit ðət ɑr taɪm təˈgɛðər wɪl bi soʊ ʃɔrt. wɪr ˈhoʊpfəl ðət əˈbɪləˌti tɪ ˈɛmjəˌleɪt ɪt wɪl hɛlp ˌprɛzərˈveɪʃənɪsts gɪt ə ˈbɛtər lʊk æt haʊ ðə geɪm wərks ənd ˈmeɪbi səm əv ðə ˌfəŋkʃəˈnælɪti ˈnɛsəˌsɛri tɪ pleɪ ðə geɪm kʊd bi rɪˈstɔrd ɪn ðə fˈjuʧər. bɪɔnd ðət, ˈdrægən kwɛst ɛks wɑz ɪkˈstrimli ˌɪmˈpɔrtənt tɪ ˈdɑlfən ɛz wɛl, ɛz ɪt lɛt ˈjuˈɛs tɛst ənd ˈvɛrəˌfaɪ ˈfiʧərz ðət wər juzd ˈnoʊˌwɛr ɛls. waɪl ðə ˈɔnˌlaɪn ˈpɔrʃən əv ðɪs geɪm meɪ bi ˌdɪsəˈpɪrɪŋ, ˈdrægən kwɛst ɛks dɪz hæv ən ˈɔˌflaɪn moʊd ənd juˈnik ˈstɔri ðət wɪl æt list ʃoʊ səm əv wət ðɪs streɪnʤ, streɪnʤ geɪm kʊd du. fər ə fju deɪz ðɪs noʊˈvɛmbər, pæst ənd fˈjuʧər wɪl kəˈlaɪd, ɛz pleɪərz ɔn ðə ˈnuli riˈlist nɪnˈtɛndoʊ swɪʧ ˈvərʒən wɪl bi ˈeɪbəl tɪ pleɪ əˈlɔŋˈsaɪd wi (ənd ˈɛmjəˌleɪtɪd wi) pleɪərz ˌbiˈfɔr ˈsərvɪs ɛndz fər ðə ərˈɪʤənəl ˈvərʒən əv ðə geɪm. wɪθ ðə læst mənθ əv ðə geɪm biɪŋ fri fər wi ˈjuzərz, wi ɪkˈspɛkt ðə tɪ ʃoʊ ɪts strɛŋθ fər wən læst hʊˈrɑ. |
a is being drawn up for a simple and inclusive new oath for witnesses in south australian courts, which could also remove references to god and allah.
the proposed reforms would lead to a single statement for witnesses to pledge to tell the truth in south australian courts.
there are several forms offered to witnesses preparing to give evidence in court, such as swearing on the bible or koran, or a non-religious "affirmation''.
attorney-general john rau has asked the sa law reform institute - based at the university of adelaide - to create a that would contain new for a uniform court statement.
former thinker in residence judge peggy hora has argued some people would not be bound to tell the truth under the current oath because it did not hold any meaning.
tell us: should there be a single oath for everyone?
law reform institute deputy director helen said one example of people who would not necessarily feel bound by current wording would be residents of tribal aboriginal lands.
of the 3000 people who live in the lands, in the state's far north, a majority do not speak english and live a lifestyle.
the state government changes will be released as a discussion paper for public comment later this month and aim to design one oath suitable for all aspects of the community to provide binding and truthful evidence in court.
ms said she hoped there would be comments from a range of people, including those who could give an insight into the type of statement that would bind all people to tell the truth.
"we are hoping that we will get responses not just from lawyers and judges who have direct experience but religious groups and cultural groups and linguists,'' she said.
"i hope to hear from psychologists and people like that who understand how much saying something which you can identify encourages the telling of the truth, let alone comprehending what they are saying.''
ms said mr rau had told the institute he wanted one oath which would bind all people.
ms said the issues paper would be released after being presented to mr rau later this month.
"we have identified where the oath or affirmation comes from, where the principles are and what the current practice is, and what it is elsewhere,'' she said. uniting church sa moderator rob williams said the solution would be two oaths, one religious and one not.
"it would seem to make more sense to have one affirmation for people who are not religious and also one for people who would prefer to swear on the bible or koran,'' he said.
a spokesman for mr rau declined to comment. | ə ɪz biɪŋ drɔn əp fər ə ˈsɪmpəl ənd ˌɪnˈklusɪv nu oʊθ fər ˈwɪtnəsɪz ɪn saʊθ ɔˈstreɪljən kɔrts, wɪʧ kʊd ˈɔlsoʊ riˈmuv ˈrɛfərənsɪz tɪ gɑd ənd ˈɑlə. ðə prəˈpoʊzd rɪˈfɔrmz wʊd lɛd tɪ ə ˈsɪŋgəl ˈsteɪtmənt fər ˈwɪtnəsɪz tɪ plɛʤ tɪ tɛl ðə truθ ɪn saʊθ ɔˈstreɪljən kɔrts. ðɛr ər ˈsɛvərəl fɔrmz ˈɔfərd tɪ ˈwɪtnəsɪz pərˈpɛrɪŋ tɪ gɪv ˈɛvədəns ɪn kɔrt, səʧ ɛz sˈwɛrɪŋ ɔn ðə ˈbaɪbəl ər kɔˈrɑn, ər ə ˌnɑnrɪˈlɪʤəs "ˌæfərˈmeɪʃən''. ʤɑn raʊ həz æst ðə sɑ lɔ rɪˈfɔrm ˈɪnstɪˌtut beɪst æt ðə ˌjunəˈvərsəti əv ˈædəˌleɪd tɪ kriˈeɪt ə ðət wʊd kənˈteɪn nu fər ə ˈjunəˌfɔrm kɔrt ˈsteɪtmənt. ˈfɔrmər ˈθɪŋkər ɪn ˈrɛzɪdəns ʤəʤ ˈpɛgi ˈhɔrə həz ˈɑrgjud səm ˈpipəl wʊd nɑt bi baʊnd tɪ tɛl ðə truθ ˈəndər ðə ˈkɑrənt oʊθ bɪˈkəz ɪt dɪd nɑt hoʊld ˈɛni ˈminɪŋ. tɛl ˈjuˈɛs: ʃʊd ðɛr bi ə ˈsɪŋgəl oʊθ fər ˈɛvriˌwən? lɔ rɪˈfɔrm ˈɪnstɪˌtut ˈdɛpjəti dɪˈrɛktər ˈhɛlən sɛd wən ɪgˈzæmpəl əv ˈpipəl hu wʊd nɑt ˌnɛsəˈsɛrəli fil baʊnd baɪ ˈkɑrənt ˈwərdɪŋ wʊd bi ˈrɛzɪdənts əv ˈtraɪbəl ˌæbərˈɪʤənəl lændz. əv ðə 3000 ˈpipəl hu lɪv ɪn ðə lændz, ɪn ðə steɪts fɑr nɔrθ, ə məˈʤɔrəti du nɑt spik ˈɪŋlɪʃ ənd lɪv ə ˈlaɪfˌstaɪl. ðə steɪt ˈgəvərnmənt ˈʧeɪnʤɪz wɪl bi riˈlist ɛz ə dɪˈskəʃən ˈpeɪpər fər ˈpəblɪk ˈkɑmɛnt ˈleɪtər ðɪs mənθ ənd eɪm tɪ dɪˈzaɪn wən oʊθ ˈsutəbəl fər ɔl ˈæˌspɛkts əv ðə kəmˈjunɪti tɪ prəˈvaɪd ˈbaɪndɪŋ ənd ˈtruθfəl ˈɛvədəns ɪn kɔrt. mɪz sɛd ʃi hoʊpt ðɛr wʊd bi ˈkɑmɛnts frəm ə reɪnʤ əv ˈpipəl, ˌɪnˈkludɪŋ ðoʊz hu kʊd gɪv ən ˈɪnˌsaɪt ˈɪntu ðə taɪp əv ˈsteɪtmənt ðət wʊd baɪnd ɔl ˈpipəl tɪ tɛl ðə truθ. "wi ər ˈhoʊpɪŋ ðət wi wɪl gɪt rɪˈspɑnsɪz nɑt ʤɪst frəm ˈlɔjərz ənd ˈʤəʤɪz hu hæv dɪˈrɛkt ɪkˈspɪriəns bət rɪˈlɪʤəs grups ənd ˈkəlʧərəl grups ənd ˈlɪŋgwɪsts,'' ʃi sɛd. "aɪ hoʊp tɪ hir frəm saɪˈkɑləʤəsts ənd ˈpipəl laɪk ðət hu ˌəndərˈstænd haʊ məʧ seɪɪŋ ˈsəmθɪŋ wɪʧ ju kən aɪˈdɛntəˌfaɪ ɪnˈkərəʤəz ðə ˈtɛlɪŋ əv ðə truθ, lɛt əˈloʊn ˌkɑmprɪˈhɛndɪŋ wət ðeɪ ər seɪɪŋ.'' mɪz sɛd ˈmɪstər raʊ hæd toʊld ðə ˈɪnstɪˌtut hi ˈwɔntɪd wən oʊθ wɪʧ wʊd baɪnd ɔl ˈpipəl. mɪz sɛd ðə ˈɪʃuz ˈpeɪpər wʊd bi riˈlist ˈæftər biɪŋ pərˈzɛnəd tɪ ˈmɪstər raʊ ˈleɪtər ðɪs mənθ. "wi hæv aɪˈdɛntəˌfaɪd wɛr ðə oʊθ ər ˌæfərˈmeɪʃən kəmz frəm, wɛr ðə ˈprɪnsəpəlz ər ənd wət ðə ˈkɑrənt ˈpræktɪs ɪz, ənd wət ɪt ɪz ˈɛlsˌwɛr,'' ʃi sɛd. juˈnaɪtɪŋ ʧərʧ sɑ ˈmɑdərˌeɪtər rɑb ˈwɪljəmz sɛd ðə səˈluʃən wʊd bi tu oʊθs, wən rɪˈlɪʤəs ənd wən nɑt. "ɪt wʊd sim tɪ meɪk mɔr sɛns tɪ hæv wən ˌæfərˈmeɪʃən fər ˈpipəl hu ər nɑt rɪˈlɪʤəs ənd ˈɔlsoʊ wən fər ˈpipəl hu wʊd prɪˈfər tɪ swɛr ɔn ðə ˈbaɪbəl ər kɔˈrɑn,'' hi sɛd. ə ˈspoʊksmən fər ˈmɪstər raʊ dɪˈklaɪnd tɪ ˈkɑmɛnt. |
the new orleans saints (1-3) and the tampa bay buccaneers (1-3) meet sunday in a divisional game that quietly holds huge implications for both teams. at, the saints and the bucs are only one game from the south lead, with the atlanta falcons (2-2) and the carolina panthers (2-2) both losing last week. with the division being so mediocre, it is conceivable that nine or ten victories may be enough to win it.
despite the lack of fanfare, the winner of this game between new orleans and tampa bay on sunday could find itself tied for the division lead, while taking another step towards a chance (albeit slim) to play in january.
sander philipse, editor of bucs nation is joining me to preview the game and the matchups within the game between the bucs and the saints. as always, when using the app, new answers and questions will be updated whenever you get back to the piece. | ðə nu ˌɔˈrlinz seɪnts ənd ðə ˈtæmpə beɪ ˌbəkəˈnirz mit ˈsənˌdi ɪn ə dɪˈvɪʒənəl geɪm ðət kˈwaɪətli hoʊldz juʤ ˌɪmpləˈkeɪʃənz fər boʊθ timz. æt ðə seɪnts ənd ðə bəks ər ˈoʊnli wən geɪm frəm ðə saʊθ lɛd, wɪθ ðə æˈtlæntə ˈfælkənz ənd ðə ˌkɛrəˈlaɪnə ˈpænθərz boʊθ ˈluzɪŋ læst wik. wɪθ ðə dɪˈvɪʒən biɪŋ soʊ ˌmidiˈoʊkər, ɪt ɪz kənˈsivəbəl ðət naɪn ər tɛn ˈvɪktəriz meɪ bi ɪˈnəf tɪ wɪn ɪt. dɪˈspaɪt ðə læk əv ˈfænˌfɛr, ðə ˈwɪnər əv ðɪs geɪm bɪtˈwin nu ˌɔˈrlinz ənd ˈtæmpə beɪ ɔn ˈsənˌdi kʊd faɪnd ˌɪtˈsɛlf taɪd fər ðə dɪˈvɪʒən lɛd, waɪl ˈteɪkɪŋ əˈnəðər stɛp təˈwɔrdz ə ʧæns (ɔlˈbiɪt slɪm) tɪ pleɪ ɪn ˈʤænjuˌɛri. ˈsændər philipse*, ˈɛdɪtər əv bəks ˈneɪʃən ɪz ˈʤɔɪnɪŋ mi tɪ ˈprivˌju ðə geɪm ənd ðə ˈmæʧəps wɪˈθɪn ðə geɪm bɪtˈwin ðə bəks ənd ðə seɪnts. ɛz ˈɔlˌweɪz, wɪn ˈjuzɪŋ ðə æp, nu ˈænsərz ənd kˈwɛsʧənz wɪl bi ˈəpˌdeɪtɪd wɛˈnɛvər ju gɪt bæk tɪ ðə pis. |
the jeffrey mine in quebec's eastern townships has received a $58-million boost from the province to help revive the asbestos industry, a move the canadian cancer society is urging the government to reconsider.
the asbestos mine in quebec's eastern townships received the loan from the provincial government after years of negotiation and despite heavy opposition.
in a press release, paul lapierre, vice-president of public affairs and cancer control for the canadian cancer society, writes:
"this decision means the quebec government is in direct conflict with global cancer control as all forms of asbestos cause cancer.
"we believe these funds should instead be directed to projects to help the affected communities diversify their economic base."
according to the society, about people die annually from disease related to occupational exposure to asbestos around the world.
bernard coulombe, the president of the jeffrey asbestos mine, and richmond member of the national assembly held a press conference on friday to announce the funding.
françois, the union president, says "workers of the mine can rejoice. it's the end of a fight."
the mine's management expects this funding will create between 400 and 500 direct full-time jobs for a period of 20 years in the town of asbestos, while positions indirectly related to the mine will also be created.
vallières said the mine will have to repay $1.5 million along with interest fees for a period of 15 years between 2015 to 2031. the first $7.5 million will go directly to a fund targeting economic diversification for quebec's eastern townships region.
the loan process august 2011: mentions its desire to reopen the jeffrey mine. february 2011 : the government imposes inspections of factories in india to assure buyers were using asbestos safely before guaranteeing the loan. april 13, 2011 : the quebec government announces it is willing to loan $58 million to as long as the company can raise $25 million before july 1, 2011. july 1, 2011: could not raise all the funds. the government pushes the deadline to aug. 15. aug. 15, 2011 : fails to raise all of the required money. the government pushes the deadline to oct. 1, 2011. oct. 1, 2011 : the company claims it has raised all of its necessary funds with the help of three partners in three different countries. are to be made by government authorities.
"we all know that this is an important step for our community. it guarantees a future, stimulates the local and regional economy. it also helps keep our youth with us," said.
at the press conference, praised the quebec government for its "responsible decision and courageous decision."
"the government took a courageous decision by supporting the reopening of the jeffrey mine. this government stood up against people who used propaganda and who used public health to make others believe that we should close the mine."
according to reports, paperwork for the loan was finalized in early june and coulombe was only waiting for the final authorization to guarantee it.
balcorp ltd., the company looking to revive the asbestos industry in quebec, hopes to export its products to developing countries. the company will be auditing buyers' factories in order to ensure proper and safe usage of asbestos. a deal has already been signed with buyers in india.
the quebec government supports the cause and promised a loan of $58 million if invests $25 million in the project.
the project is heavily opposed by a multitude of groups and organizations, but says safety is not an issue.
"we have found safe ways for workers to handle asbestos." he told reporters. "a lot of research has been done over the last 10 years."
controversial project
since quebec's support was announced in april 2011, many groups have tried to convince the government to retract its offer to.
in november 2011, families of workers who died from illnesses linked to asbestos opposed the project, saying people in developing countries would be exposed to a carcinogen exported from canada.
the canadian cancer society claimed the funding from the quebec government would tarnish canada's international reputation in the public health sector.
hundred of scientists from 28 countries urged premier jean charest to recognize the risks of exposure to asbestos and end the product's export.
étienne-alexis boucher, member of the national assembly for johnson, said quebec should have heard the results of a parliamentary commission on the issue before guaranteeing the loan.
québec amir proposed a bill to ban the export of asbestos from quebec. the new democratic party had brought forward a similar bill in ottawa.
one of's last projects
last week, announced he would not be seeking after nearly 40 years in politics. the man, who was plagued with various health issues in the past, said he would be stepping away from politics to enjoy more time with his family.
at the press conference on june 18, said he hoped to tie up a few projects before leaving his multiple political roles. the jeffrey mine was among the projects discussed.
vallières has been representing the provincial liberal party in richmond since 1981. he also presided over the national assembly between 2009 and 2011.
he currently holds the position of minister responsible for canadian intergovernmental affairs and the canadian along with the role of minister responsible for the reform of democratic institutions and access to information. | ðə ˈʤɛfri maɪn ɪn kwɪˈbɛks ˈistərn ˈtaʊnʃɪps həz rɪˈsivd ə bust frəm ðə ˈprɑvɪns tɪ hɛlp rɪˈvaɪv ðə æsˈbɛstəs ˈɪndəstri, ə muv ðə kəˈneɪdiən ˈkænsər soʊˈsaɪɪti ɪz ˈərʤɪŋ ðə ˈgəvərnmənt tɪ ˌrikənˈsɪdər. ðə æsˈbɛstəs maɪn ɪn kwɪˈbɛks ˈistərn ˈtaʊnʃɪps rɪˈsivd ðə loʊn frəm ðə prəˈvɪnʃəl ˈgəvərnmənt ˈæftər jɪrz əv nɪˌgoʊʃiˈeɪʃən ənd dɪˈspaɪt ˈhɛvi ˌɑpəˈzɪʃən. ɪn ə prɛs riˈlis, pɔl ˈlæpiɛr, ˈvaɪˈsprɛzədənt əv ˈpəblɪk əˈfɛrz ənd ˈkænsər kənˈtroʊl fər ðə kəˈneɪdiən ˈkænsər soʊˈsaɪɪti, raɪts: "ðɪs dɪˈsɪʒən minz ðə kwəˈbɛk ˈgəvərnmənt ɪz ɪn dɪˈrɛkt ˈkɑnflɪkt wɪθ ˈgloʊbəl ˈkænsər kənˈtroʊl ɛz ɔl fɔrmz əv æsˈbɛstəs kɔz ˈkænsər. "wi bɪˈliv ðiz fəndz ʃʊd ˌɪnˈstɛd bi dɪˈrɛktɪd tɪ ˈprɑʤɛkts tɪ hɛlp ðə əˈfɛktɪd kəmˈjunɪtiz dɪˈvərsəˌfaɪ ðɛr ˌɛkəˈnɑmɪk beɪs." əˈkɔrdɪŋ tɪ ðə soʊˈsaɪɪti, əˈbaʊt ˈpipəl daɪ ˈænjuəli frəm dɪˈziz rɪˈleɪtɪd tɪ ɑkjəˈpeɪʃənəl ɪkˈspoʊʒər tɪ æsˈbɛstəs əraʊnd ðə wərld. ˈbərnərd kaʊˈloʊmbi, ðə ˈprɛzɪdənt əv ðə ˈʤɛfri æsˈbɛstəs maɪn, ənd ˈrɪʧmənd ˈmɛmbər əv ðə ˈnæʃənəl əˈsɛmbli hɛld ə prɛs ˈkɑnfərəns ɔn ˈfraɪˌdeɪ tɪ əˈnaʊns ðə ˈfəndɪŋ., ðə ˈjunjən ˈprɛzɪdənt, sɪz "ˈwərkərz əv ðə maɪn kən rɪˈʤɔɪs. ɪts ðə ɛnd əv ə faɪt." ðə maɪnz ˈmænɪʤmənt ɪkˈspɛkts ðɪs ˈfəndɪŋ wɪl kriˈeɪt bɪtˈwin 400 ənd 500 dɪˈrɛkt ˈfʊlˌtaɪm ʤɑbz fər ə ˈpɪriəd əv 20 jɪrz ɪn ðə taʊn əv æsˈbɛstəs, waɪl pəˈzɪʃənz ˌɪndərˈɛkˌtli rɪˈleɪtɪd tɪ ðə maɪn wɪl ˈɔlsoʊ bi kriˈeɪtɪd. sɛd ðə maɪn wɪl hæv tɪ riˈpeɪ ˈmɪljən əˈlɔŋ wɪθ ˈɪntəˌrɛst fiz fər ə ˈpɪriəd əv 15 jɪrz bɪtˈwin 2015 tɪ 2031 ðə fərst ˈmɪljən wɪl goʊ dɪˈrɛkli tɪ ə fənd ˈtɑrgətɪŋ ˌɛkəˈnɑmɪk dɪˌvərsəfəˈkeɪʃən fər kwɪˈbɛks ˈistərn ˈtaʊnʃɪps ˈriʤən. ðə loʊn ˈprɔˌsɛs ˈɔgəst 2011 ˈmɛnʃənz ɪts dɪˈzaɪər tɪ riˈoʊpən ðə ˈʤɛfri maɪn. ˈfɛbruˌɛri 2011 ðə ˈgəvərnmənt ˌɪmˈpoʊzɪz ˌɪnˈspɛkʃənz əv ˈfæktəriz ɪn ˈɪndiə tɪ əˈʃʊr baɪərz wər ˈjuzɪŋ æsˈbɛstəs ˈseɪfli ˌbiˈfɔr ˌgɛrənˈtiɪŋ ðə loʊn. ˈeɪprəl 13 2011 ðə kwəˈbɛk ˈgəvərnmənt əˈnaʊnsɪz ɪt ɪz ˈwɪlɪŋ tɪ loʊn 58 ˈmɪljən tɪ ɛz lɔŋ ɛz ðə ˈkəmpəˌni kən reɪz 25 ˈmɪljən ˌbiˈfɔr ˌʤuˈlaɪ 1 2011 ˌʤuˈlaɪ 1 2011 kʊd nɑt reɪz ɔl ðə fəndz. ðə ˈgəvərnmənt ˈpʊʃɪz ðə ˈdɛˌdlaɪn tɪ ˈɔgəst. 15 ˈɔgəst. 15 2011 feɪlz tɪ reɪz ɔl əv ðə rikˈwaɪərd ˈməni. ðə ˈgəvərnmənt ˈpʊʃɪz ðə ˈdɛˌdlaɪn tɪ ɔkt. 1 2011 ɔkt. 1 2011 ðə ˈkəmpəˌni kleɪmz ɪt həz reɪzd ɔl əv ɪts ˈnɛsəˌsɛri fəndz wɪθ ðə hɛlp əv θri ˈpɑrtnərz ɪn θri ˈdɪfərənt ˈkəntriz. ər tɪ bi meɪd baɪ ˈgəvərnmənt əˈθɔrətiz. "wi ɔl noʊ ðət ðɪs ɪz ən ˌɪmˈpɔrtənt stɛp fər ɑr kəmˈjunɪti. ɪt ˌgɛrənˈtiz ə fˈjuʧər, ˈstɪmjəˌleɪts ðə ˈloʊkəl ənd ˈriʤənəl ɪˈkɑnəmi. ɪt ˈɔlsoʊ hɛlps kip ɑr juθ wɪθ ˈjuˈɛs," sɛd. æt ðə prɛs ˈkɑnfərəns, preɪzd ðə kwəˈbɛk ˈgəvərnmənt fər ɪts "riˈspɑnsəbəl dɪˈsɪʒən ənd kərˈeɪʤəs dɪˈsɪʒən." "ðə ˈgəvərnmənt tʊk ə kərˈeɪʤəs dɪˈsɪʒən baɪ səˈpɔrtɪŋ ðə riˈoʊpənɪŋ əv ðə ˈʤɛfri maɪn. ðɪs ˈgəvərnmənt stʊd əp əˈgɛnst ˈpipəl hu juzd ˌprɑpəˈgændə ənd hu juzd ˈpəblɪk hɛlθ tɪ meɪk ˈəðərz bɪˈliv ðət wi ʃʊd kloʊz ðə maɪn." əˈkɔrdɪŋ tɪ rɪˈpɔrts, ˈpeɪpərˌwərk fər ðə loʊn wɑz ˈfaɪnəˌlaɪzd ɪn ˈərli ʤun ənd kaʊˈloʊmbi wɑz ˈoʊnli ˈweɪtɪŋ fər ðə ˈfaɪnəl ˌɔθərəˈzeɪʃən tɪ ˌgɛrənˈti ɪt. ˈɛlˈtiˈdi., ðə ˈkəmpəˌni ˈlʊkɪŋ tɪ rɪˈvaɪv ðə æsˈbɛstəs ˈɪndəstri ɪn kwəˈbɛk, hoʊps tɪ ˈɛkspɔrt ɪts ˈprɑdəkts tɪ dɪˈvɛləpɪŋ ˈkəntriz. ðə ˈkəmpəˌni wɪl bi ˈɑdətɪŋ baɪərz' ˈfæktəriz ɪn ˈɔrdər tɪ ɪnˈʃʊr ˈprɑpər ənd seɪf ˈjusɪʤ əv æsˈbɛstəs. ə dil həz ɔˈrɛdi bɪn saɪnd wɪθ baɪərz ɪn ˈɪndiə. ðə kwəˈbɛk ˈgəvərnmənt səˈpɔrts ðə kɔz ənd ˈprɑməst ə loʊn əv 58 ˈmɪljən ɪf ˌɪnˈvɛsts 25 ˈmɪljən ɪn ðə ˈprɑʤɛkt. ðə ˈprɑʤɛkt ɪz ˈhɛvəli əˈpoʊzd baɪ ə ˈməltəˌtud əv grups ənd ˌɔrgənəˈzeɪʃənz, bət sɪz ˈseɪfti ɪz nɑt ən ˈɪʃu. "wi hæv faʊnd seɪf weɪz fər ˈwərkərz tɪ ˈhændəl æsˈbɛstəs." hi toʊld rɪˈpɔrtərz. "ə lɔt əv ˈrisərʧ həz bɪn dən ˈoʊvər ðə læst 10 jɪrz." ˌkɑntrəˈvərʃəl ˈprɑʤɛkt sɪns kwɪˈbɛks səˈpɔrt wɑz əˈnaʊnst ɪn ˈeɪprəl 2011 ˈmɛni grups hæv traɪd tɪ kənˈvɪns ðə ˈgəvərnmənt tɪ riˈtrækt ɪts ˈɔfər tɪ. ɪn noʊˈvɛmbər 2011 ˈfæməliz əv ˈwərkərz hu daɪd frəm ˈɪlnəsɪz lɪŋkt tɪ æsˈbɛstəs əˈpoʊzd ðə ˈprɑʤɛkt, seɪɪŋ ˈpipəl ɪn dɪˈvɛləpɪŋ ˈkəntriz wʊd bi ɪkˈspoʊzd tɪ ə kɑrˈsɪnəʤən ɪkˈspɔrtəd frəm ˈkænədə. ðə kəˈneɪdiən ˈkænsər soʊˈsaɪɪti kleɪmd ðə ˈfəndɪŋ frəm ðə kwəˈbɛk ˈgəvərnmənt wʊd ˈtɑrnɪʃ ˈkænədəz ˌɪnərˈnæʃənɑl ˌrɛpjəˈteɪʃən ɪn ðə ˈpəblɪk hɛlθ ˈsɛktər. ˈhənərd əv ˈsaɪəntɪsts frəm 28 ˈkəntriz ərʤd prɛˈmɪr ʤin ʃɑˈrɛst tɪ ˈrɛkəgˌnaɪz ðə rɪsks əv ɪkˈspoʊʒər tɪ æsˈbɛstəs ənd ɛnd ðə ˈprɑdəkts ˈɛkspɔrt. ˈbɔʧər, ˈmɛmbər əv ðə ˈnæʃənəl əˈsɛmbli fər ˈʤɑnsən, sɛd kwəˈbɛk ʃʊd hæv hərd ðə rɪˈzəlts əv ə ˌpɑrləˈmɛntəri kəˈmɪʃən ɔn ðə ˈɪʃu ˌbiˈfɔr ˌgɛrənˈtiɪŋ ðə loʊn. əˈmɪr prəˈpoʊzd ə bɪl tɪ bæn ðə ˈɛkspɔrt əv æsˈbɛstəs frəm kwəˈbɛk. ðə nu ˌdɛməˈkrætɪk ˈpɑrti hæd brɔt ˈfɔrwərd ə ˈsɪmələr bɪl ɪn ˈɑtəˌwɑ. wən əv læst ˈprɑʤɛkts læst wik, əˈnaʊnst hi wʊd nɑt bi ˈsikɪŋ ˈæftər ˈnɪrli 40 jɪrz ɪn ˈpɑləˌtɪks. ðə mæn, hu wɑz pleɪgd wɪθ ˈvɛriəs hɛlθ ˈɪʃuz ɪn ðə pæst, sɛd hi wʊd bi ˈstɛpɪŋ əˈweɪ frəm ˈpɑləˌtɪks tɪ ˌɛnˈʤɔɪ mɔr taɪm wɪθ hɪz ˈfæməli. æt ðə prɛs ˈkɑnfərəns ɔn ʤun 18 sɛd hi hoʊpt tɪ taɪ əp ə fju ˈprɑʤɛkts ˌbiˈfɔr ˈlivɪŋ hɪz ˈməltəpəl pəˈlɪtɪkəl roʊlz. ðə ˈʤɛfri maɪn wɑz əˈməŋ ðə ˈprɑʤɛkts dɪˈskəst. həz bɪn ˌrɛprɪˈzɛnɪŋ ðə prəˈvɪnʃəl ˈlɪˌbərəl ˈpɑrti ɪn ˈrɪʧmənd sɪns 1981 hi ˈɔlsoʊ prɪˈzaɪdɪd ˈoʊvər ðə ˈnæʃənəl əˈsɛmbli bɪtˈwin 2009 ənd 2011 hi ˈkərəntli hoʊldz ðə pəˈzɪʃən əv ˈmɪnɪstər riˈspɑnsəbəl fər kəˈneɪdiən ˌɪntərˌgəvərnˈmɛntəl əˈfɛrz ənd ðə kəˈneɪdiən əˈlɔŋ wɪθ ðə roʊl əv ˈmɪnɪstər riˈspɑnsəbəl fər ðə rɪˈfɔrm əv ˌdɛməˈkrætɪk ˌɪnstɪˈtuʃənz ənd ˈækˌsɛs tɪ ˌɪnˌfɔrˈmeɪʃən. |
where rates climbed significantly in 2015
arrow length shows the increase in homicide rate in 2015, compared with the average rate of the previous three years for each increase in homicide rate in 2015, compared with the average rate of the previous three years for each city. +20 +18 portland +10 +9 +14 minneapolis milwaukee jersey city chicago cleveland columbus baltimore indianapolis denver sacramento washington st. louis louisville las vegas durham nashville scottsdale albuquerque birmingham irving lubbock houston orlando anchorage 23 17 6 16 4 25 22 1 12 19 20 5 2 11 3 8 9 24 21 7 14 18 15 10 13 +20 +18 portland +10 +9 +14 minneapolis milwaukee jersey city cleveland chicago columbus baltimore indianapolis sacramento denver washington st. louis louisville las vegas durham nashville albuquerque scottsdale birmingham lubbock irving houston orlando anchorage +20 +18 portland +10 +9 minneapolis +14 milwaukee jersey city cleveland chicago sacramento baltimore columbus indianapolis denver washington st. louis louisville las vegas durham nashville albuquerque scottsdale birmingham lubbock irving houston orlando anchorage
1 baltimore +20 2 st. louis +18 3 las vegas +14 5 washington +9 6 milwaukee +9 15 houston +3 4 cleveland +10 9 nashville +5 12 columbus +4 11 louisville +5 8 durham +6 18 irving +3 13 anchorage +4 10 orlando +5 21 scottsdale +2 14 lubbock +4 20 denver +2 23 portland +2 7 birmingham +8 25 chicago +2 17 minneapolis +3 19 indianapolis +3 16 jersey city +3 22 sacramento +2 24 albuquerque +2
murder rates rose significantly in 25 of the 100 largest cities last year, according to an analysis by the new york times of new data compiled from individual police departments.
the findings confirm a trend that was tracked recently in a study published by the national institute of justice. “the homicide increase in the large cities was real and nearly unprecedented,” wrote the author, richard rosenfeld, a criminology professor at the university of missouri-st. louis who explored homicide data in 56 large american cities.
the f.b.i. released its 2015 crime data for the entire country on sept. 26. it showed that the murder rate rose 11 percent across the united states in 2015, jumping more last year than it had in nearly half a century.
in the times analysis, half of the increase in homicides came from just seven cities baltimore, chicago, cleveland, houston, milwaukee, nashville and washington.
chicago had the most homicides 488 in 2015 far more than the 352 in new york city, which has three times as many people. baltimore had the largest increase 133 more than 2014 and the rate in 2015, after st. louis, which had 59 homicides per residents.
the number of cities where rates rose significantly was the largest since the height of violent crime in the early 1990s.
number of cities where
murder rates rose significantly
36 cities in 1991 25 cities last year 2000 2010 1990 1995 2005 2015 36 cities in 1991 25 cities last year 2000 2010 1990 1995 2005 2015 36 cities in 1991 25 cities last year 2000 2010 1990 1995 2005 2015
donald j. trump, the republican presidential candidate, has said that crime is “out of control” and that decades of progress are now being reversed. but the times analysis shows that the rise in homicides is much more nuanced; while violence is up in a number of cities, not soaring across the nation.
nationally, homicide rates are still much lower than they were in the 1990s, even among the seven cities that drove last increase.
homicide rate in the ...
7 cities: 21 per 100 largest cities: 11 per 1985 1990 1995 2000 2005 2010 2015 7 cities: 21 per 100 largest cities: 11 per 1985 1990 1995 2000 2005 2010 2015 7 cities: 21 per 100 largest cities: 11 per 1985 1990 1995 2000 2005 2010 2015
for the times analysis, we collected 30 years of homicide data from the f.b.i. through 2014, then gathered 2015 data from local police departments in the 100 cities.
since crime rates fluctuate from year to year, we used a statistical technique to determine places where we can definitely say rates were rising.
the cities that drove the increase
nationwide, nearly homicides were reported in the 100 largest cities in 2015, about 950 more than the year before. about half of the rise 480 of the 950 occurred in seven cities. the poverty rate in these cities is higher than the national average.
percent in poverty
cleveland milwaukee baltimore chicago houston nashville washington 36% 29 24 23 23 19 18 u.s. average 16% cleveland milwaukee baltimore chicago houston nashville washington 36% 29 24 23 23 19 18 u.s. average 16%
at least three of these cities have also been embroiled in protests after deaths of black males, like freddie gray in baltimore, mcdonald in chicago and rice in cleveland.
in his study, dr. rosenfeld said that rising crime might be linked to less aggressive policing that resulted from protests of high-profile police killings of african-americans. but he said this hypothesis, a version of the so-called ferguson effect, which has spurred heated debate among lawmakers and criminologists, must be further evaluated.
there is no consensus on what caused the recent spike, and each city appears to have unique circumstances contributing to the uptick.
“cities are obviously heterogeneous,” said robert sampson, a harvard professor who is an expert on crime trends. “there is tremendous variation across the largest cities in basic features such as demographic composition, the concentration of poverty, and segregation that relate to differences in rates of violence.”
many crime experts warn against reading too much into recent statistics. in fact, murder rates remained largely unchanged in 70 cities, and decreased significantly in five.
where murder rates ...
rose slightly fell slightly fell significantly
“even if the uptick continues in some cities, i doubt the pattern will become universal,” dr. sampson said.
no end in sight for violence
in chicago, homicides were concentrated in highly segregated pockets that are predominantly black. a fifth of killings took place in just two police districts on the west and south sides, which are also among the poorest.
chicago homicides in 2015 district 11 48 homicides chicago district 7 38 homicides areas that are 90 percent black 3 miles district 11 48 homicides chicago district 7 38 homicides areas that are 90 percent black 3 miles
“flare-ups and spikes in violence are occurring in predictable places,” dr. sampson said. “the cynicism and mistrust of legal institutions in poor black communities is longstanding, although recent conflicts with the police have exacerbated underlying tensions.”
alarming levels of violence have become the norm in some of these neighborhoods. while murder rates have continued to decline in the two largest cities new york and los angeles has stalled in the last decade. at its peak in the 1990s, new homicide rate was more than seven times as high as it is now.
how homicide rate compares
chicago 18 per los angeles 7 new york city 4 1985 1990 1995 2000 2005 2010 2015 homicide rate chicago 18 per los angeles 7 new york city 4 1995 1985 1990 2000 2005 2010 2015 homicide rate chicago 18 per los angeles 7 new york city 4 1985 1990 1995 2000 2005 2010 2015
in chicago, however, the landscape appears to be worsening, with killings up more than 45 percent so far this year. in august, chicago had its deadliest month in about 20 years with at least 90 murders and more homicides so far this year than new york and los angeles combined.
areas with “long-standing conditions of alienation, hopelessness, poverty and lack of opportunities” also have the greatest distrust of the police and the greatest complaints of police abuse, said craig futterman, a university of chicago law professor who directs a civil rights and police accountability project at the law school.
that means homicides go unsolved, perpetuating a dangerous cycle because people committing the crimes are still out there. in some neighborhoods, the clearance rate, the percentage of homicides in which the police arrest or identify a suspect, is less than 20 percent, he said.
dr. futterman said the problems were intensified in recent years by the closing of more than 50 public schools in 2013, the dismantling of public housing throughout the 2000s, and the federal successful prosecution of big gang leaders, which destabilized gang hierarchies, territories and illegal drug markets.
while there was violence before, ironically, crime was more contained and easier to police than it is now, he said.
what’s behind the surge of killings in baltimore?
in 2015, murder rate not only increased the most among the 100 top cities, it also reached a historic high of 55 homicides per residents. its previous record high was in 1993, when the rate was 48.
baltimore’s homicide rate, per
55 homicides last year 48 homicides in 1993 1985 1990 1995 2000 2005 2010 2015 55 homicides last year 48 homicides in 1993 1985 1990 1995 2000 2005 2010 2015 55 homicides last year 48 homicides in 1993 1985 1990 1995 2000 2005 2010 2015
some experts attribute the sudden spike in violence largely to a flood of opiates looted from pharmacies during riots in april 2015. the death of freddie gray, a young black man who sustained a fatal spinal cord injury in police custody, had set off the worst riots since the death of the rev. dr. martin luther king jr.
during the riots, nearly doses of drugs were stolen from 27 pharmacies and two methadone clinics, according to the drug enforcement administration, a number much higher than the doses the agency initially estimated.
most of the homicides in baltimore were connected to the drug trade, and what happened in 2015 was a result of more people “getting into the game of selling drugs,” said jeffrey ian ross, a criminologist at the university of baltimore.
number of homicides per month in baltimore
after death of freddie gray 40 30 20 10 2011 2012 2013 2014 2015 may 2016 aug.* *through aug. 27 after death of freddie gray 40 30 20 10 2011 2012 2013 2014 2015 may 2016 aug.* *through aug. 27 after death of freddie gray 40 30 20 10 2011 2012 2013 2014 2015 2016 aug.* *through aug. 27
police commanders have said that an oversupply of inventory from looting resulted in a violent battle for customers among drug gangs.
“this would have caused a disruption in drug markets, with more people trying to maintain or increase their market share,” dr. ross said. “you have new entrants coming into the field, altering the supply and demand of illegal drugs in those neighborhoods,” often leading to increased violence.
if the drug theory holds true, the killings in baltimore should subside this year. a midyear violent crime survey by the major cities chiefs police association showed that while killings were up among 60 large cities, they were slightly down in baltimore. | wɛr reɪts klaɪmd sɪgˈnɪfɪkəntli ɪn 2015 ˈɛroʊ lɛŋθ ʃoʊz ðə ˌɪnˈkris ɪn ˈhɑməˌsaɪd reɪt ɪn 2015 kəmˈpɛrd wɪθ ðə ˈævərɪʤ reɪt əv ðə ˈpriviəs θri jɪrz fər iʧ ˌɪnˈkris ɪn ˈhɑməˌsaɪd reɪt ɪn 2015 kəmˈpɛrd wɪθ ðə ˈævərɪʤ reɪt əv ðə ˈpriviəs θri jɪrz fər iʧ ˈsɪti. 20 18 ˈpɔrtlənd 10 9 14 ˌmɪniˈæpəlɪs mɪlˈwɔki ˈʤərzi ˈsɪti ʃəˈkɑˌgoʊ ˈklivlənd kəˈləmbəs ˈbɔltəˌmɔr ˌɪndiəˈnæpəlɪs ˈdɛnvər ˌsækrəˈmɛntoʊ ˈwɔʃɪŋtən st*. luɪs ˈluiˌvɪl ˈɛˈleɪˈɛs ˈveɪgəs ˈdʊˈrhæm ˈnæʃvɪl ˈskɑtsˌdeɪl ˈælbəkərki ˈbərmɪŋˌhæm ˈərvɪŋ ˈləbək ˈhjustən ɔˈrlænˌdoʊ ˈæŋkərɪʤ 23 17 6 16 4 25 22 1 12 19 20 5 2 11 3 8 9 24 21 7 14 18 15 10 13 20 18 ˈpɔrtlənd 10 9 14 ˌmɪniˈæpəlɪs mɪlˈwɔki ˈʤərzi ˈsɪti ˈklivlənd ʃəˈkɑˌgoʊ kəˈləmbəs ˈbɔltəˌmɔr ˌɪndiəˈnæpəlɪs ˌsækrəˈmɛntoʊ ˈdɛnvər ˈwɔʃɪŋtən st*. luɪs ˈluiˌvɪl ˈɛˈleɪˈɛs ˈveɪgəs ˈdʊˈrhæm ˈnæʃvɪl ˈælbəkərki ˈskɑtsˌdeɪl ˈbərmɪŋˌhæm ˈləbək ˈərvɪŋ ˈhjustən ɔˈrlænˌdoʊ ˈæŋkərɪʤ 20 18 ˈpɔrtlənd 10 9 ˌmɪniˈæpəlɪs 14 mɪlˈwɔki ˈʤərzi ˈsɪti ˈklivlənd ʃəˈkɑˌgoʊ ˌsækrəˈmɛntoʊ ˈbɔltəˌmɔr kəˈləmbəs ˌɪndiəˈnæpəlɪs ˈdɛnvər ˈwɔʃɪŋtən st*. luɪs ˈluiˌvɪl ˈɛˈleɪˈɛs ˈveɪgəs ˈdʊˈrhæm ˈnæʃvɪl ˈælbəkərki ˈskɑtsˌdeɪl ˈbərmɪŋˌhæm ˈləbək ˈərvɪŋ ˈhjustən ɔˈrlænˌdoʊ ˈæŋkərɪʤ 1 ˈbɔltəˌmɔr 20 2 st*. luɪs 18 3 ˈɛˈleɪˈɛs ˈveɪgəs 14 5 ˈwɔʃɪŋtən 9 6 mɪlˈwɔki 9 15 ˈhjustən 3 4 ˈklivlənd 10 9 ˈnæʃvɪl 5 12 kəˈləmbəs 4 11 ˈluiˌvɪl 5 8 ˈdʊˈrhæm 6 18 ˈərvɪŋ 3 13 ˈæŋkərɪʤ 4 10 ɔˈrlænˌdoʊ 5 21 ˈskɑtsˌdeɪl 2 14 ˈləbək 4 20 ˈdɛnvər 2 23 ˈpɔrtlənd 2 7 ˈbərmɪŋˌhæm 8 25 ʃəˈkɑˌgoʊ 2 17 ˌmɪniˈæpəlɪs 3 19 ˌɪndiəˈnæpəlɪs 3 16 ˈʤərzi ˈsɪti 3 22 ˌsækrəˈmɛntoʊ 2 24 ˈælbəkərki 2 ˈmərdər reɪts roʊz sɪgˈnɪfɪkəntli ɪn 25 əv ðə 100 ˈlɑrʤəst ˈsɪtiz læst jɪr, əˈkɔrdɪŋ tɪ ən æˈnælɪsɪs baɪ ðə nu jɔrk taɪmz əv nu ˈdætə kəmˈpaɪld frəm ˌɪndəˈvɪʤəwəl pəˈlis dɪˈpɑrtmənts. ðə ˈfaɪndɪŋz kənˈfərm ə trɛnd ðət wɑz trækt ˈrisəntli ɪn ə ˈstədi ˈpəblɪʃt baɪ ðə ˈnæʃənəl ˈɪnstɪˌtut əv ˈʤəstɪs. ˈhɑməˌsaɪd ˌɪnˈkris ɪn ðə lɑrʤ ˈsɪtiz wɑz ril ənd ˈnɪrli unprecedented,”*,” roʊt ðə ˈɔθər, ˈrɪʧərd ˈroʊzənˌfɛld, ə ˌkrɪmɪˈnɑləʤi prəˈfɛsər æt ðə ˌjunəˈvərsəti əv missouri-st*. luɪs hu ɪkˈsplɔrd ˈhɑməˌsaɪd ˈdætə ɪn 56 lɑrʤ əˈmɛrɪkən ˈsɪtiz. ðə f.b.i*. riˈlist ɪts 2015 kraɪm ˈdætə fər ðə ɪnˈtaɪər ˈkəntri ɔn sɛpt. 26 ɪt ʃoʊd ðət ðə ˈmərdər reɪt roʊz 11 pərˈsɛnt əˈkrɔs ðə juˈnaɪtɪd steɪts ɪn 2015 ˈʤəmpɪŋ mɔr læst jɪr ðən ɪt hæd ɪn ˈnɪrli hæf ə ˈsɛnʧəri. ɪn ðə taɪmz æˈnælɪsɪs, hæf əv ðə ˌɪnˈkris ɪn ˈhɑməˌsaɪdz keɪm frəm ʤɪst ˈsɛvən ˈsɪtiz ˈbɔltəˌmɔr, ʃəˈkɑˌgoʊ, ˈklivlənd, ˈhjustən, mɪlˈwɔki, ˈnæʃvɪl ənd ˈwɔʃɪŋtən. ʃəˈkɑˌgoʊ hæd ðə moʊst ˈhɑməˌsaɪdz 488 ɪn 2015 fɑr mɔr ðən ðə 352 ɪn nu jɔrk ˈsɪti, wɪʧ həz θri taɪmz ɛz ˈmɛni ˈpipəl. ˈbɔltəˌmɔr hæd ðə ˈlɑrʤəst ˌɪnˈkris 133 mɔr ðən 2014 ənd ðə reɪt ɪn 2015 ˈæftər st*. luɪs, wɪʧ hæd 59 ˈhɑməˌsaɪdz pər ˈrɛzɪdənts. ðə ˈnəmbər əv ˈsɪtiz wɛr reɪts roʊz sɪgˈnɪfɪkəntli wɑz ðə ˈlɑrʤəst sɪns ðə haɪt əv ˈvaɪələnt kraɪm ɪn ðə ˈərli 1990s*. ˈnəmbər əv ˈsɪtiz wɛr ˈmərdər reɪts roʊz sɪgˈnɪfɪkəntli 36 ˈsɪtiz ɪn 1991 25 ˈsɪtiz læst jɪr 2000 2010 1990 1995 2005 2015 36 ˈsɪtiz ɪn 1991 25 ˈsɪtiz læst jɪr 2000 2010 1990 1995 2005 2015 36 ˈsɪtiz ɪn 1991 25 ˈsɪtiz læst jɪr 2000 2010 1990 1995 2005 2015 ˈdɑnəld ʤeɪ. trəmp, ðə rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˈkænədɪt, həz sɛd ðət kraɪm ɪz əv control”*” ənd ðət ˈdɛkeɪdz əv ˈprɑˌgrɛs ər naʊ biɪŋ rɪˈvərst. bət ðə taɪmz æˈnælɪsɪs ʃoʊz ðət ðə raɪz ɪn ˈhɑməˌsaɪdz ɪz məʧ mɔr nuɑnst; waɪl ˈvaɪələns ɪz əp ɪn ə ˈnəmbər əv ˈsɪtiz, nɑt ˈsɔrɪŋ əˈkrɔs ðə ˈneɪʃən. ˈnæʃənəli, ˈhɑməˌsaɪd reɪts ər stɪl məʧ loʊər ðən ðeɪ wər ɪn ðə 1990s*, ˈivɪn əˈməŋ ðə ˈsɛvən ˈsɪtiz ðət droʊv læst ˌɪnˈkris. ˈhɑməˌsaɪd reɪt ɪn ðə 7 ˈsɪtiz: 21 pər 100 ˈlɑrʤəst ˈsɪtiz: 11 pər 1985 1990 1995 2000 2005 2010 2015 7 ˈsɪtiz: 21 pər 100 ˈlɑrʤəst ˈsɪtiz: 11 pər 1985 1990 1995 2000 2005 2010 2015 7 ˈsɪtiz: 21 pər 100 ˈlɑrʤəst ˈsɪtiz: 11 pər 1985 1990 1995 2000 2005 2010 2015 fər ðə taɪmz æˈnælɪsɪs, wi kəˈlɛktəd 30 jɪrz əv ˈhɑməˌsaɪd ˈdætə frəm ðə f.b.i*. θru 2014 ðɛn ˈgæðərd 2015 ˈdætə frəm ˈloʊkəl pəˈlis dɪˈpɑrtmənts ɪn ðə 100 ˈsɪtiz. sɪns kraɪm reɪts ˈfləkʧəˌweɪt frəm jɪr tɪ jɪr, wi juzd ə stəˈtɪstɪkəl tɛkˈnik tɪ dɪˈtərmən ˈpleɪsɪz wɛr wi kən ˈdɛfənətli seɪ reɪts wər ˈraɪzɪŋ. ðə ˈsɪtiz ðət droʊv ðə ˌɪnˈkris ˈneɪʃənˈwaɪd, ˈnɪrli ˈhɑməˌsaɪdz wər ˌriˈpɔrtəd ɪn ðə 100 ˈlɑrʤəst ˈsɪtiz ɪn 2015 əˈbaʊt 950 mɔr ðən ðə jɪr ˌbiˈfɔr. əˈbaʊt hæf əv ðə raɪz 480 əv ðə 950 əˈkərd ɪn ˈsɛvən ˈsɪtiz. ðə ˈpɑvərti reɪt ɪn ðiz ˈsɪtiz ɪz haɪər ðən ðə ˈnæʃənəl ˈævərɪʤ. pərˈsɛnt ɪn ˈpɑvərti ˈklivlənd mɪlˈwɔki ˈbɔltəˌmɔr ʃəˈkɑˌgoʊ ˈhjustən ˈnæʃvɪl ˈwɔʃɪŋtən 36 29 24 23 23 19 18 juz. ˈævərɪʤ 16 ˈklivlənd mɪlˈwɔki ˈbɔltəˌmɔr ʃəˈkɑˌgoʊ ˈhjustən ˈnæʃvɪl ˈwɔʃɪŋtən 36 29 24 23 23 19 18 juz. ˈævərɪʤ 16 æt list θri əv ðiz ˈsɪtiz hæv ˈɔlsoʊ bɪn ɛmˈbrɔɪld ɪn ˈproʊˌtɛsts ˈæftər dɛθs əv blæk meɪlz, laɪk ˈfrɛdi greɪ ɪn ˈbɔltəˌmɔr, məkˈdɑnəld ɪn ʃəˈkɑˌgoʊ ənd raɪs ɪn ˈklivlənd. ɪn hɪz ˈstədi, ˈdɑktər. ˈroʊzənˌfɛld sɛd ðət ˈraɪzɪŋ kraɪm maɪt bi lɪŋkt tɪ lɛs əˈgrɛsɪv pəˈlisɪŋ ðət rɪˈzəltɪd frəm ˈproʊˌtɛsts əv ˌhaɪˈproʊfaɪl pəˈlis ˈkɪlɪŋz əv ˈæfrɪkənəˈmɛrɪkənz. bət hi sɛd ðɪs haɪˈpɑθəsəs, ə ˈvərʒən əv ðə ˈsoʊˈkɔld ˈfərgəsən ˈifɛkt, wɪʧ həz spərd ˈhitɪd dəˈbeɪt əˈməŋ ˈlɔˌmeɪkərz ənd ˌkrɪmɪˈnɑləʤɪsts, məst bi ˈfərðər ɪˈvæljuˌeɪtəd. ðɛr ɪz noʊ kənˈsɛnsəs ɔn wət kɔzd ðə ˈrisənt spaɪk, ənd iʧ ˈsɪti əˈpɪrz tɪ hæv juˈnik ˈsərkəmˌstænsɪz kənˈtrɪbjutɪŋ tɪ ðə ˈəpˌtɪk. ər ˈɑbviəsli heterogeneous,”*,” sɛd ˈrɑbərt ˈsæmpsən, ə ˈhɑrvərd prəˈfɛsər hu ɪz ən ˈɛkspərt ɔn kraɪm trɛnz. ɪz trɪˈmɛndəs ˌvɛriˈeɪʃən əˈkrɔs ðə ˈlɑrʤəst ˈsɪtiz ɪn ˈbeɪsɪk ˈfiʧərz səʧ ɛz ˌdɛməˈgræfɪk ˌkɑmpəˈzɪʃən, ðə ˌkɑnsənˈtreɪʃən əv ˈpɑvərti, ənd ˌsɛgrəˈgeɪʃən ðət rɪˈleɪt tɪ ˈdɪfərənsɪz ɪn reɪts əv violence.”*.” ˈmɛni kraɪm ˈɛkspərts wɔrn əˈgɛnst ˈrɛdɪŋ tu məʧ ˈɪntu ˈrisənt stəˈtɪstɪks. ɪn fækt, ˈmərdər reɪts rɪˈmeɪnd ˈlɑrʤli ənˈʧeɪnʤd ɪn 70 ˈsɪtiz, ənd ˈdiˌkrist sɪgˈnɪfɪkəntli ɪn faɪv. wɛr ˈmərdər reɪts roʊz sˈlaɪtli fɛl sˈlaɪtli fɛl sɪgˈnɪfɪkəntli ɪf ðə ˈəpˌtɪk kənˈtɪnjuz ɪn səm ˈsɪtiz, aɪ daʊt ðə ˈpætərn wɪl bɪˈkəm universal,”*,” ˈdɑktər. ˈsæmpsən sɛd. noʊ ɛnd ɪn saɪt fər ˈvaɪələns ɪn ʃəˈkɑˌgoʊ, ˈhɑməˌsaɪdz wər ˈkɔnsənˌtreɪtɪd ɪn ˈhaɪli ˈsɛgrəˌgeɪtɪd ˈpɑkəts ðət ər ˌprɪˈdɑmənənˌtli blæk. ə fɪθ əv ˈkɪlɪŋz tʊk pleɪs ɪn ʤɪst tu pəˈlis ˈdɪstrɪkts ɔn ðə wɛst ənd saʊθ saɪdz, wɪʧ ər ˈɔlsoʊ əˈməŋ ðə ˈpurɪst. ʃəˈkɑˌgoʊ ˈhɑməˌsaɪdz ɪn 2015 ˈdɪstrɪkt 11 48 ˈhɑməˌsaɪdz ʃəˈkɑˌgoʊ ˈdɪstrɪkt 7 38 ˈhɑməˌsaɪdz ˈɛriəz ðət ər 90 pərˈsɛnt blæk 3 maɪəlz ˈdɪstrɪkt 11 48 ˈhɑməˌsaɪdz ʃəˈkɑˌgoʊ ˈdɪstrɪkt 7 38 ˈhɑməˌsaɪdz ˈɛriəz ðət ər 90 pərˈsɛnt blæk 3 maɪəlz ənd spaɪks ɪn ˈvaɪələns ər əˈkərɪŋ ɪn prɪˈdɪktəbəl places,”*,” ˈdɑktər. ˈsæmpsən sɛd. ˈsɪnɪˌsɪzəm ənd mɪˈstrəst əv ˈligəl ˌɪnstɪˈtuʃənz ɪn pur blæk kəmˈjunɪtiz ɪz ˈlɔŋˌstændɪŋ, ˌɔlˈðoʊ ˈrisənt ˈkɑnflɪkts wɪθ ðə pəˈlis hæv ɪgˈzæsərˌbeɪtɪd ˌəndərˈlaɪɪŋ tensions.”*.” əˈlɑrmɪŋ ˈlɛvəlz əv ˈvaɪələns hæv bɪˈkəm ðə nɔrm ɪn səm əv ðiz ˈneɪbərˌhʊdz. waɪl ˈmərdər reɪts hæv kənˈtɪnjud tɪ dɪˈklaɪn ɪn ðə tu ˈlɑrʤəst ˈsɪtiz nu jɔrk ənd lɔs ˈænʤəlɪs həz stɔld ɪn ðə læst ˈdɛkeɪd. æt ɪts pik ɪn ðə 1990s*, nu ˈhɑməˌsaɪd reɪt wɑz mɔr ðən ˈsɛvən taɪmz ɛz haɪ ɛz ɪt ɪz naʊ. haʊ ˈhɑməˌsaɪd reɪt kəmˈpɛrz ʃəˈkɑˌgoʊ 18 pər lɔs ˈænʤəlɪs 7 nu jɔrk ˈsɪti 4 1985 1990 1995 2000 2005 2010 2015 ˈhɑməˌsaɪd reɪt ʃəˈkɑˌgoʊ 18 pər lɔs ˈænʤəlɪs 7 nu jɔrk ˈsɪti 4 1995 1985 1990 2000 2005 2010 2015 ˈhɑməˌsaɪd reɪt ʃəˈkɑˌgoʊ 18 pər lɔs ˈænʤəlɪs 7 nu jɔrk ˈsɪti 4 1985 1990 1995 2000 2005 2010 2015 ɪn ʃəˈkɑˌgoʊ, ˌhaʊˈɛvər, ðə ˈlænˌskeɪp əˈpɪrz tɪ bi ˈwərsənɪŋ, wɪθ ˈkɪlɪŋz əp mɔr ðən 45 pərˈsɛnt soʊ fɑr ðɪs jɪr. ɪn ˈɔgəst, ʃəˈkɑˌgoʊ hæd ɪts ˈdɛdliəst mənθ ɪn əˈbaʊt 20 jɪrz wɪθ æt list 90 ˈmərdərz ənd mɔr ˈhɑməˌsaɪdz soʊ fɑr ðɪs jɪr ðən nu jɔrk ənd lɔs ˈænʤəlɪs kəmˈbaɪnd. ˈɛriəz wɪθ kənˈdɪʃənz əv ˌeɪliəˈneɪʃən, ˈhoʊpləsnəs, ˈpɑvərti ənd læk əv opportunities”*” ˈɔlsoʊ hæv ðə ˈgreɪtəst dɪˈstrəst əv ðə pəˈlis ənd ðə ˈgreɪtəst kəmˈpleɪnts əv pəˈlis əˈbjuz, sɛd kreɪg ˈfətərmən, ə ˌjunəˈvərsəti əv ʃəˈkɑˌgoʊ lɔ prəˈfɛsər hu dɪˈrɛkts ə ˈsɪvəl raɪts ənd pəˈlis əˈkaʊntəˌbɪlɪti ˈprɑʤɛkt æt ðə lɔ skul. ðət minz ˈhɑməˌsaɪdz goʊ ənˈsɑlvd, pərˈpɛʧəˌweɪtɪŋ ə ˈdeɪnʤərəs ˈsaɪkəl bɪˈkəz ˈpipəl kəˈmɪtɪŋ ðə kraɪmz ər stɪl aʊt ðɛr. ɪn səm ˈneɪbərˌhʊdz, ðə ˈklɪrəns reɪt, ðə pərˈsɛnɪʤ əv ˈhɑməˌsaɪdz ɪn wɪʧ ðə pəˈlis ərˈɛst ər aɪˈdɛntəˌfaɪ ə ˈsəˌspɛkt, ɪz lɛs ðən 20 pərˈsɛnt, hi sɛd. ˈdɑktər. ˈfətərmən sɛd ðə ˈprɑbləmz wər ˌɪnˈtɛnsɪˌfaɪd ɪn ˈrisənt jɪrz baɪ ðə ˈkloʊzɪŋ əv mɔr ðən 50 ˈpəblɪk skulz ɪn 2013 ðə ˌdɪsˈmæntlɪŋ əv ˈpəblɪk ˈhaʊzɪŋ θruaʊt ðə 2000s*, ənd ðə ˈfɛdərəl səkˈsɛsfəl ˌprɑsəˈkjuʃən əv bɪg gæŋ ˈlidərz, wɪʧ dɪˈsteɪbəˌlaɪzd gæŋ ˈhaɪˌrɑrkiz, ˈtɛrəˌtɔriz ənd ˌɪˈligəl drəg ˈmɑrkɪts. waɪl ðɛr wɑz ˈvaɪələns ˌbiˈfɔr, aɪˈrɑnɪkli, kraɪm wɑz mɔr kənˈteɪnd ənd ˈiziər tɪ pəˈlis ðən ɪt ɪz naʊ, hi sɛd. bɪˈhaɪnd ðə sərʤ əv ˈkɪlɪŋz ɪn ˈbɔltəˌmɔr? ɪn 2015 ˈmərdər reɪt nɑt ˈoʊnli ˌɪnˈkrist ðə moʊst əˈməŋ ðə 100 tɔp ˈsɪtiz, ɪt ˈɔlsoʊ riʧt ə hɪˈstɔrɪk haɪ əv 55 ˈhɑməˌsaɪdz pər ˈrɛzɪdənts. ɪts ˈpriviəs ˈrɛkərd haɪ wɑz ɪn 1993 wɪn ðə reɪt wɑz 48 ˈhɑməˌsaɪd reɪt, pər 55 ˈhɑməˌsaɪdz læst jɪr 48 ˈhɑməˌsaɪdz ɪn 1993 1985 1990 1995 2000 2005 2010 2015 55 ˈhɑməˌsaɪdz læst jɪr 48 ˈhɑməˌsaɪdz ɪn 1993 1985 1990 1995 2000 2005 2010 2015 55 ˈhɑməˌsaɪdz læst jɪr 48 ˈhɑməˌsaɪdz ɪn 1993 1985 1990 1995 2000 2005 2010 2015 səm ˈɛkspərts əˈtrɪˌbjut ðə ˈsədən spaɪk ɪn ˈvaɪələns ˈlɑrʤli tɪ ə fləd əv ˈoʊpiəts ˈlutɪd frəm ˈfɑrməsiz ˈdʊrɪŋ raɪəts ɪn ˈeɪprəl 2015 ðə dɛθ əv ˈfrɛdi greɪ, ə jəŋ blæk mæn hu səˈsteɪnd ə ˈfeɪtəl ˈspaɪnəl kɔrd ˈɪnʤəri ɪn pəˈlis ˈkəstədi, hæd sɛt ɔf ðə wərst raɪəts sɪns ðə dɛθ əv ðə rɛv. ˈdɑktər. ˈmɑrtɪn ˈluθər kɪŋ jr*. ˈdʊrɪŋ ðə raɪəts, ˈnɪrli ˈdoʊsɪz əv drəgz wər ˈstoʊlən frəm 27 ˈfɑrməsiz ənd tu ˈmɛθəˌdoʊn ˈklɪnɪks, əˈkɔrdɪŋ tɪ ðə drəg ɛnˈfɔrsmənt ædˌmɪnɪˈstreɪʃən, ə ˈnəmbər məʧ haɪər ðən ðə ˈdoʊsɪz ðə ˈeɪʤənsi ˌɪˈnɪʃəli ˈɛstəˌmeɪtɪd. moʊst əv ðə ˈhɑməˌsaɪdz ɪn ˈbɔltəˌmɔr wər kəˈnɛktɪd tɪ ðə drəg treɪd, ənd wət ˈhæpənd ɪn 2015 wɑz ə rɪˈzəlt əv mɔr ˈpipəl ˈɪntu ðə geɪm əv ˈsɛlɪŋ drugs,”*,” sɛd ˈʤɛfri ˈiən rɔs, ə ˌkrɪmɪˈnɑləʤɪst æt ðə ˌjunəˈvərsəti əv ˈbɔltəˌmɔr. ˈnəmbər əv ˈhɑməˌsaɪdz pər mənθ ɪn ˈbɔltəˌmɔr ˈæftər dɛθ əv ˈfrɛdi greɪ 40 30 20 10 2011 2012 2013 2014 2015 meɪ 2016 *θru ˈɔgəst. 27 ˈæftər dɛθ əv ˈfrɛdi greɪ 40 30 20 10 2011 2012 2013 2014 2015 meɪ 2016 *θru ˈɔgəst. 27 ˈæftər dɛθ əv ˈfrɛdi greɪ 40 30 20 10 2011 2012 2013 2014 2015 2016 *θru ˈɔgəst. 27 pəˈlis kəˈmændərz hæv sɛd ðət ən ˌoʊvərsəˈplaɪ əv ˌɪnvənˈtɔri frəm ˈlutɪŋ rɪˈzəltɪd ɪn ə ˈvaɪələnt ˈbætəl fər ˈkəstəmərz əˈməŋ drəg gæŋz. wʊd hæv kɔzd ə dɪsˈrəpʃən ɪn drəg ˈmɑrkɪts, wɪθ mɔr ˈpipəl traɪɪŋ tɪ meɪnˈteɪn ər ˌɪnˈkris ðɛr ˈmɑrkɪt share,”*,” ˈdɑktər. rɔs sɛd. hæv nu ˈɛntrənts ˈkəmɪŋ ˈɪntu ðə fild, ˈɔltərɪŋ ðə səˈplaɪ ənd dɪˈmænd əv ˌɪˈligəl drəgz ɪn ðoʊz neighborhoods,”*,” ˈɔfən ˈlidɪŋ tɪ ˌɪnˈkrist ˈvaɪələns. ɪf ðə drəg ˈθɪri hoʊldz tru, ðə ˈkɪlɪŋz ɪn ˈbɔltəˌmɔr ʃʊd səbˈsaɪd ðɪs jɪr. ə ˈmɪˌdjɪr ˈvaɪələnt kraɪm ˈsərˌveɪ baɪ ðə ˈmeɪʤər ˈsɪtiz ʧifs pəˈlis əˌsoʊʃiˈeɪʃən ʃoʊd ðət waɪl ˈkɪlɪŋz wər əp əˈməŋ 60 lɑrʤ ˈsɪtiz, ðeɪ wər sˈlaɪtli daʊn ɪn ˈbɔltəˌmɔr. |
a home in toronto's luxury real estate market. (sotheby's international realty canada ) a staggering 14 per cent of the population is now considered low-income, according to statistics canada. a closer look reveals that this includes one out of every six children (16.3 per cent). many are families, usually headed by women. and among seniors living alone, close to 30 per cent of them are low-income.
clearly, this poverty is widespread.
by any definition, these are incredible numbers that tarnish the reputation of this country. we have failed colossally at providing for our fellow canadians. with numbers like that, we can no longer call ourselves a prosperous country.
this news is simply a cold reminder of how the canadian economy has stalled. with the collapse in oil, with japan in deep recession, with europe in recession and teetering on the verge of deflation, things will only get worse.
we are clearly still in a deep crisis, to which provincial and federal governments seem oblivious. when the country is this poor, you need better policies than income splitting, or more tax deductions for transit or soccer. we need bold policies, and an incredible level of political will, both of which are absent.
add to that recent unemployment numbers from statistics canada released last week showing the canadian economy shedding jobs last month. we are heading in the wrong direction.
not the time to balance the budget
it is not too late, however. we can turn things around but it will require strong policies that will inevitably create deficits. governments must abandon their quest to balance budgets. there may be a time and place to balance budgets, but now is neither. at this point, deficits are necessary.
to get the economy back on the path to sustained growth, here are six policy proposals:
1) the government must adopt a policy of full employment. job creation must become all governments' first priority. but it is more than just creating jobs, they must be well-paid, full-time, permanent jobs. we must also raise the minimum wage by at least 30 per cent. this may add costs to firms, but the macroeconomic effect will be positive, meaning the net effect will be positive because of the spending incentives.
2) the government must adopt more infrastructure spending. the government has recently announced a $5.8 billion in infrastructure spending last week (some of that money was already committed, so it's not clear how much is new money). though welcome, it is not enough. the government needs to spend at least $60 billion over the next decade. this may create a deficit, but the recovery is more important than possible deficits, which we can deal with down the road. infrastructure spending must be seen as an investment, not trivial spending, in our future, and in canadian society at large.
3) the bank of canada must hold off on talks of raising interest rates well into 2016 or maybe 2017. the economy is still too weak to even begin to think of a rate increase. moreover, any increases in the rate of interest may create more harm, as it will hurt canadians and sink any hopes of a recovery. the bank of canada must also relax its inflation target: letting inflation go up to 4 or even 5 per cent won't hurt anyone.
4) the canadian dollar is overvalued, and we must allow the canadian dollar to sink lower, and settle closer to $0.80. this may not be fun for those canadians willing to travel abroad, but it will contribute to increasing exports. this has already started and the bank of canada should not interfere in markets and let the dollar slide further.
5) we must adopt stricter bank lending regulations. while this has not been as much of an issue in canada, we must put these regulations in place now. in the u.s., loose lending or predatory lending) was a major component of the 2007 crisis. loose lending creates bubbles that eventually burst with dire consequences. banks cannot lend indiscriminately.
6) finally, we must also address the elephant in the room: income inequality. until this problem is resolved, the economic foundation upon which growth and prosperity are built, our economy still faces possibilities of another crisis. this is at the root of the low-income survey. the gap between the super rich and the poor is too large, and will lead to more instability. we must narrow this gap.
these policies may appear drastic to many canadians, but putting our collective heads in the sand won't solve any problems, and this is what is going on right now. governments must face reality and move forward in unison and adopt these bold policies now. enough with policies that serve narrow interests. we must create wealth that is shared by all canadians.
if we fail to do this, it can only lead to a lot worse. so take a good look at your situation and enjoy it for now, because as the trend goes, you will find yourself soon in a low-income situation.
louis-philippe rochon is an associate professor at laurentian university and for the review of keynesian economics | ə hoʊm ɪn tərˈɑntoʊz ˈləgʒəri ril ɛˈsteɪt ˈmɑrkɪt. (ˈsɑθəbiz ˌɪnərˈnæʃənɑl ˈriəlˌti ˈkænədə ə ˈstægərˌɪŋ 14 pər sɛnt əv ðə ˌpɑpjəˈleɪʃən ɪz naʊ kənˈsɪdərd ˌloʊˈɪnkəm, əˈkɔrdɪŋ tɪ stəˈtɪstɪks ˈkænədə. ə ˈkloʊzər lʊk rɪˈvilz ðət ðɪs ˌɪnˈkludz wən aʊt əv ˈɛvəri sɪks ˈʧɪldrən pər sɛnt). ˈmɛni ər ˈfæməliz, ˈjuʒəwəli ˈhɛdɪd baɪ ˈwɪmən. ənd əˈməŋ ˈsinjərz ˈlɪvɪŋ əˈloʊn, kloʊz tɪ 30 pər sɛnt əv ðɛm ər ˌloʊˈɪnkəm. ˈklɪrli, ðɪs ˈpɑvərti ɪz ˈwaɪdˈsprɛd. baɪ ˈɛni ˌdɛfəˈnɪʃən, ðiz ər ˌɪnˈkrɛdəbəl ˈnəmbərz ðət ˈtɑrnɪʃ ðə ˌrɛpjəˈteɪʃən əv ðɪs ˈkəntri. wi hæv feɪld kəˈlɑsəˌli æt prəˈvaɪdɪŋ fər ɑr ˈfɛloʊ kəˈneɪdiənz. wɪθ ˈnəmbərz laɪk ðət, wi kən noʊ ˈlɔŋgər kɔl ɑrˈsɛlvz ə ˈprɑspərəs ˈkəntri. ðɪs nuz ɪz ˈsɪmpli ə koʊld riˈmaɪndər əv haʊ ðə kəˈneɪdiən ɪˈkɑnəmi həz stɔld. wɪθ ðə kəˈlæps ɪn ɔɪl, wɪθ ʤəˈpæn ɪn dip ˌriˈsɛʃən, wɪθ ˈjʊrəp ɪn ˌriˈsɛʃən ənd ˈtitərɪŋ ɔn ðə vərʤ əv dɪˈfleɪʃən, θɪŋz wɪl ˈoʊnli gɪt wərs. wi ər ˈklɪrli stɪl ɪn ə dip ˈkraɪsəs, tɪ wɪʧ prəˈvɪnʃəl ənd ˈfɛdərəl ˈgəvərnmənts sim əˈblɪviəs. wɪn ðə ˈkəntri ɪz ðɪs pur, ju nid ˈbɛtər ˈpɑləsiz ðən ˈɪnˌkəm ˈsplɪtɪŋ, ər mɔr tæks dɪˈdəkʃənz fər ˈtrænzɪt ər ˈsɑkər. wi nid boʊld ˈpɑləsiz, ənd ən ˌɪnˈkrɛdəbəl ˈlɛvəl əv pəˈlɪtɪkəl wɪl, boʊθ əv wɪʧ ər ˈæbsənt. æd tɪ ðət ˈrisənt ˌənɪmˈplɔɪmənt ˈnəmbərz frəm stəˈtɪstɪks ˈkænədə riˈlist læst wik ʃoʊɪŋ ðə kəˈneɪdiən ɪˈkɑnəmi ˈʃɛdɪŋ ʤɑbz læst mənθ. wi ər ˈhɛdɪŋ ɪn ðə rɔŋ dɪˈrɛkʃɪn. nɑt ðə taɪm tɪ ˈbæləns ðə ˈbəʤɪt ɪt ɪz nɑt tu leɪt, ˌhaʊˈɛvər. wi kən tərn θɪŋz əraʊnd bət ɪt wɪl ˌrikˈwaɪər strɔŋ ˈpɑləsiz ðət wɪl ˌɪˈnɛvətəbli kriˈeɪt ˈdɛfɪsɪts. ˈgəvərnmənts məst əˈbændən ðɛr kwɛst tɪ ˈbæləns ˈbəʤɪts. ðɛr meɪ bi ə taɪm ənd pleɪs tɪ ˈbæləns ˈbəʤɪts, bət naʊ ɪz ˈniðər. æt ðɪs pɔɪnt, ˈdɛfɪsɪts ər ˈnɛsəˌsɛri. tɪ gɪt ðə ɪˈkɑnəmi bæk ɔn ðə pæθ tɪ səˈsteɪnd groʊθ, hir ər sɪks ˈpɑləsi prəˈpoʊzəlz: 1 ðə ˈgəvərnmənt məst əˈdɑpt ə ˈpɑləsi əv fʊl ɪmˈplɔɪmənt. ʤɑb kriˈeɪʃən məst bɪˈkəm ɔl ˈgəvərnmənts' fərst praɪˈɔrəti. bət ɪt ɪz mɔr ðən ʤɪst kriˈeɪtɪŋ ʤɑbz, ðeɪ məst bi well-paid*, ˈfʊlˌtaɪm, ˈpərmɑˌnɛnt ʤɑbz. wi məst ˈɔlsoʊ reɪz ðə ˈmɪnəməm weɪʤ baɪ æt list 30 pər sɛnt. ðɪs meɪ æd kɔsts tɪ fərmz, bət ðə ˌmækroʊɛkəˈnɑmɪk ˈifɛkt wɪl bi ˈpɑzətɪv, ˈminɪŋ ðə nɛt ˈifɛkt wɪl bi ˈpɑzətɪv bɪˈkəz əv ðə ˈspɛndɪŋ ˌɪnˈsɪnɪvz. 2 ðə ˈgəvərnmənt məst əˈdɑpt mɔr ˌɪnfrəˈstrəkʧər ˈspɛndɪŋ. ðə ˈgəvərnmənt həz ˈrisəntli əˈnaʊnst ə ˈbɪljən ɪn ˌɪnfrəˈstrəkʧər ˈspɛndɪŋ læst wik (səm əv ðət ˈməni wɑz ɔˈrɛdi kəˈmɪtɪd, soʊ ɪts nɑt klɪr haʊ məʧ ɪz nu ˈməni). ðoʊ ˈwɛlkəm, ɪt ɪz nɑt ɪˈnəf. ðə ˈgəvərnmənt nidz tɪ spɛnd æt list 60 ˈbɪljən ˈoʊvər ðə nɛkst ˈdɛkeɪd. ðɪs meɪ kriˈeɪt ə ˈdɛfəsət, bət ðə rɪˈkəvəri ɪz mɔr ˌɪmˈpɔrtənt ðən ˈpɑsəbəl ˈdɛfɪsɪts, wɪʧ wi kən dil wɪθ daʊn ðə roʊd. ˌɪnfrəˈstrəkʧər ˈspɛndɪŋ məst bi sin ɛz ən ˌɪnˈvɛstmənt, nɑt ˈtrɪviəl ˈspɛndɪŋ, ɪn ɑr fˈjuʧər, ənd ɪn kəˈneɪdiən soʊˈsaɪɪti æt lɑrʤ. 3 ðə bæŋk əv ˈkænədə məst hoʊld ɔf ɔn tɔks əv ˈreɪzɪŋ ˈɪntəˌrɛst reɪts wɛl ˈɪntu 2016 ər ˈmeɪbi 2017 ðə ɪˈkɑnəmi ɪz stɪl tu wik tɪ ˈivɪn bɪˈgɪn tɪ θɪŋk əv ə reɪt ˌɪnˈkris. mɔˈroʊvər, ˈɛni ˌɪnˈkrisɪz ɪn ðə reɪt əv ˈɪntəˌrɛst meɪ kriˈeɪt mɔr hɑrm, ɛz ɪt wɪl hərt kəˈneɪdiənz ənd sɪŋk ˈɛni hoʊps əv ə rɪˈkəvəri. ðə bæŋk əv ˈkænədə məst ˈɔlsoʊ rɪˈlæks ɪts ˌɪnˈfleɪʃən ˈtərgət: ˈlɛtɪŋ ˌɪnˈfleɪʃən goʊ əp tɪ 4 ər ˈivɪn 5 pər sɛnt woʊnt hərt ˈɛniˌwən. 4 ðə kəˈneɪdiən ˈdɔlər ɪz ˈoʊvərˌvæljud, ənd wi məst əˈlaʊ ðə kəˈneɪdiən ˈdɔlər tɪ sɪŋk loʊər, ənd ˈsɛtəl ˈkloʊzər tɪ ðɪs meɪ nɑt bi fən fər ðoʊz kəˈneɪdiənz ˈwɪlɪŋ tɪ ˈtrævəl əˈbrɔd, bət ɪt wɪl kənˈtrɪbjut tɪ ˌɪnˈkrisɪŋ ˈɛkspɔrts. ðɪs həz ɔˈrɛdi ˈstɑrtɪd ənd ðə bæŋk əv ˈkænədə ʃʊd nɑt ˌɪnərˈfɪr ɪn ˈmɑrkɪts ənd lɛt ðə ˈdɔlər slaɪd ˈfərðər. 5 wi məst əˈdɑpt ˈstrɪktər bæŋk ˈlɛndɪŋ ˌrɛgjəˈleɪʃənz. waɪl ðɪs həz nɑt bɪn ɛz məʧ əv ən ˈɪʃu ɪn ˈkænədə, wi məst pʊt ðiz ˌrɛgjəˈleɪʃənz ɪn pleɪs naʊ. ɪn ðə juz., lus ˈlɛndɪŋ ər ˈprɛdəˌtɔri ˈlɛndɪŋ) wɑz ə ˈmeɪʤər kəmˈpoʊnənt əv ðə 2007 ˈkraɪsəs. lus ˈlɛndɪŋ kriˈeɪts ˈbəbəlz ðət ɪˈvɛnʧəwəli bərst wɪθ daɪər ˈkɑnsəkˌwɛnsəz. bæŋks ˈkænɑt lɛnd ˌɪndɪˈskrɪmənəˌtli. 6 ˈfaɪnəli, wi məst ˈɔlsoʊ ˈæˌdrɛs ðə ˈɛləfənt ɪn ðə rum: ˈɪnˌkəm ˌɪnɪkˈwɑləti. ənˈtɪl ðɪs ˈprɑbləm ɪz riˈzɑlvd, ðə ˌɛkəˈnɑmɪk faʊnˈdeɪʃən əˈpɑn wɪʧ groʊθ ənd prɑˈspɛrəti ər bɪlt, ɑr ɪˈkɑnəmi stɪl ˈfeɪsɪz ˌpɑsəˈbɪlətiz əv əˈnəðər ˈkraɪsəs. ðɪs ɪz æt ðə rut əv ðə ˌloʊˈɪnkəm ˈsərˌveɪ. ðə gæp bɪtˈwin ðə ˈsupər rɪʧ ənd ðə pur ɪz tu lɑrʤ, ənd wɪl lɛd tɪ mɔr ˌɪnstəˈbɪlɪti. wi məst ˈnɛroʊ ðɪs gæp. ðiz ˈpɑləsiz meɪ əˈpɪr ˈdræstɪk tɪ ˈmɛni kəˈneɪdiənz, bət ˈpʊtɪŋ ɑr kəˈlɛktɪv hɛdz ɪn ðə sænd woʊnt sɑlv ˈɛni ˈprɑbləmz, ənd ðɪs ɪz wət ɪz goʊɪŋ ɔn raɪt naʊ. ˈgəvərnmənts məst feɪs ˌriˈæləˌti ənd muv ˈfɔrwərd ɪn ˈjunɪsən ənd əˈdɑpt ðiz boʊld ˈpɑləsiz naʊ. ɪˈnəf wɪθ ˈpɑləsiz ðət sərv ˈnɛroʊ ˈɪntərɪsts. wi məst kriˈeɪt wɛlθ ðət ɪz ʃɛrd baɪ ɔl kəˈneɪdiənz. ɪf wi feɪl tɪ du ðɪs, ɪt kən ˈoʊnli lɛd tɪ ə lɔt wərs. soʊ teɪk ə gʊd lʊk æt jʊr ˌsɪʧuˈeɪʃən ənd ˌɛnˈʤɔɪ ɪt fər naʊ, bɪˈkəz ɛz ðə trɛnd goʊz, ju wɪl faɪnd ˈjɔrsɛlf sun ɪn ə ˌloʊˈɪnkəm ˌsɪʧuˈeɪʃən. ˈrɑʧən ɪz ən əˈsoʊʃiˌeɪt prəˈfɛsər æt lɔˈrɛnʃən ˌjunəˈvərsəti ənd fər ðə ˌrivˈju əv ˈkeɪnziən ˌɛkəˈnɑmɪks |
jane seo is a writer for the huffington post who blogs about food, staying healthy, and her love for running. a week ago, she came in second at the fort lauderdale half marathon with a stellar time of 1 hour 21 minutes. jane, who has written several articles for the huffington post ever since her debut in 2013, won second place with a pace that surprised many people, who thought her achievement sounded too good to be true.
turns out, the reason it sounded too good to be true, is because it was. jane had cheated in the marathon by cutting the course, as a blog post on would later prove. jane confessed to her crime and has been disqualified. she has also been removed from the dashing whippets, a new york based running team that she is a member of.
she later uploaded a apology to her page:
“i made a horrible choice…. i feeling well so i cut the course and headed to the finish line. i got swept away in the moment and pretended i ran the entire course:
jane would have got away with cheating if it for the valiant efforts of a privatemarathon investigator” who specializes in exposing cheaters who try to win marathon races through illicit methods.
what tipped people off that she may have cheated is the fact that her timing chip logged unusually fast miles halfway through the race. a marathon investigator by name derek was quickly alerted to investigate.
suspicions arose almost immediately after seo, who is 24 and writes regularly for the huffington post, crossed the finish line in the division sunday. race timer josh stern quickly noted that her timing chip logged unusually fast miles in the second half of the race, when runners often slow down rather than dramatically speed up. he confronted seo, who persuaded race director matt lorraine to keep her listed as the number two finisher, with her time just under 1 hour 22 minutes. but after the race, someone tipped off derek murphy, a business analyst by day who has become the best internet sleuth at busting cheating runners.
the marathon investigator began digging into time and soon came across a prime piece of evidence: a photo of her at the finish line that clearly showed her watch. he enlarged the photo, which showed the watch matched her time of 1 hour 22 minutes but also showed she had covered only miles nearly two miles short of the full race.
the private investigator also did the and it add up.
10k
13.1
these results would equate to a pace for the and a pace for remaining kilometers. very few, if any, runners could shave a minute and a half off their splits in the second half of a race. but there was more evidence. seo, who like many runners posts her activities on strava.com, later in the day posted records of her traversing the entire miles, most of which run along fort lauderdale beach. but murphy discerned that the cadence numbers were more in line with a person on a bicycle rather than a runner. through the flyby screen, i was able to confirm that she actually covered this course in the afternoon long after the race was complete. seo later admitted gone back and biked the whole course to cover her tracks by gps.
murphy had gained internet fame by exposing cheaters in marathon races for several years on end. however, it looks like this may have been the mosthigh profile” individual he may have exposed. exposing a huffington post writer brought lots of traffic to his website.
murphy’s site has been blowing up since exposing lies, and commenters on the web are excoriating seo, a harvard grad who regularly writes about food and culture. her trip to south florida was partially sponsored by fort lauderdale tourism site sunny.org, murphy said.had she just admitted what she did, i never would have heard of her, nor written about her,” murphy said.but going back and biking the course to cover up… unheard of.”
murphy, based in ohio, began his site two years ago to investigate claims of malpractice by runners aiming for the holy grail: attaining a qualifying time fast enough to be eligible for the boston marathon. he has even used google earth in one case to prove ainnocence” to claims of course-cutting.
murphy said he spoke to seo monday, who maintained her innocence, and traded emails with stern and lorraine. he broke his story of her cheating on tuesday.
“while i am glad that she eventually admitted to cutting the course and trying to cover her tracks, she only posted this after information was relayed to her regarding the extent of the evidence against her,” murphy wrote on his site.
this needs to be a movie. | ʤeɪn ˈsioʊ ɪz ə ˈraɪtər fər ðə ˈhəfɪŋtən poʊst hu blɔgz əˈbaʊt fud, steɪɪŋ ˈhɛlθi, ənd hər ləv fər ˈrənɪŋ. ə wik əˈgoʊ, ʃi keɪm ɪn ˈsɛkənd æt ðə fɔrt ˈlɔdərˌdeɪl hæf ˈmɛrəˌθɑn wɪθ ə ˈstɛlər taɪm əv 1 aʊər 21 ˈmɪnəts. ʤeɪn, hu həz ˈrɪtən ˈsɛvərəl ˈɑrtɪkəlz fər ðə ˈhəfɪŋtən poʊst ˈɛvər sɪns hər ˈdeɪbju ɪn 2013 wən ˈsɛkənd pleɪs wɪθ ə peɪs ðət səˈpraɪzd ˈmɛni ˈpipəl, hu θɔt hər əˈʧivmənt ˈsaʊndɪd tu gʊd tɪ bi tru. tərnz aʊt, ðə ˈrizən ɪt ˈsaʊndɪd tu gʊd tɪ bi tru, ɪz bɪˈkəz ɪt wɑz. ʤeɪn hæd ˈʧitɪd ɪn ðə ˈmɛrəˌθɑn baɪ ˈkətɪŋ ðə kɔrs, ɛz ə blɔg poʊst ɔn wʊd ˈleɪtər pruv. ʤeɪn kənˈfɛst tɪ hər kraɪm ənd həz bɪn dɪskˈwɑləˌfaɪd. ʃi həz ˈɔlsoʊ bɪn riˈmuvd frəm ðə ˈdæʃɪŋ whippets*, ə nu jɔrk beɪst ˈrənɪŋ tim ðət ʃi ɪz ə ˈmɛmbər əv. ʃi ˈleɪtər ˈəˌploʊdɪd ə əˈpɑləˌʤi tɪ hər peɪʤ: meɪd ə ˈhɔrəbəl choice…*…. aɪ ˈfilɪŋ wɛl soʊ aɪ kət ðə kɔrs ənd ˈhɛdɪd tɪ ðə ˈfɪnɪʃ laɪn. aɪ gɑt swɛpt əˈweɪ ɪn ðə ˈmoʊmənt ənd priˈtɛndɪd aɪ ræn ðə ɪnˈtaɪər kɔrs ʤeɪn wʊd hæv gɑt əˈweɪ wɪθ ˈʧitɪŋ ɪf ɪt fər ðə ˈvæljənt ˈɛfərts əv ə ˈpraɪvət investigator”*” hu ˈspɛʃəˌlaɪzɪz ɪn ɪkˈspoʊzɪŋ ˈʧitərz hu traɪ tɪ wɪn ˈmɛrəˌθɑn ˈreɪsɪz θru ˌɪˈlɪsət ˈmɛθədz. wət tɪpt ˈpipəl ɔf ðət ʃi meɪ hæv ˈʧitɪd ɪz ðə fækt ðət hər ˈtaɪmɪŋ ʧɪp lɔgd ənˈjuˌʒuəli fæst maɪəlz ˈhæfˈweɪ θru ðə reɪs. ə ˈmɛrəˌθɑn ˌɪnˈvɛstəˌgeɪtər baɪ neɪm ˈdɛrɪk wɑz kˈwɪkli əˈlərtɪd tɪ ˌɪnˈvɛstəˌgeɪt. səˈspɪʃənz əroʊz ˈɔlˌmoʊst ˌɪˈmiˌdiətli ˈæftər ˈsioʊ, hu ɪz 24 ənd raɪts ˈrɛgjələrli fər ðə ˈhəfɪŋtən poʊst, krɔst ðə ˈfɪnɪʃ laɪn ɪn ðə dɪˈvɪʒən ˈsənˌdi. reɪs ˈtaɪmər ʤɑʃ stərn kˈwɪkli ˈnoʊtɪd ðət hər ˈtaɪmɪŋ ʧɪp lɔgd ənˈjuˌʒuəli fæst maɪəlz ɪn ðə ˈsɛkənd hæf əv ðə reɪs, wɪn ˈrənərz ˈɔfən sloʊ daʊn ˈrəðər ðən drəˈmætɪkəli spid əp. hi kənˈfrəntɪd ˈsioʊ, hu pərsˈweɪdɪd reɪs dɪˈrɛktər mæt ləreɪn tɪ kip hər ˈlɪstɪd ɛz ðə ˈnəmbər tu ˈfɪnɪʃər, wɪθ hər taɪm ʤɪst ˈəndər 1 aʊər 22 ˈmɪnəts. bət ˈæftər ðə reɪs, ˈsəmˌwən tɪpt ɔf ˈdɛrɪk ˈmərfi, ə ˈbɪznɪs ˈænəlɪst baɪ deɪ hu həz bɪˈkəm ðə bɛst ˈɪntərˌnɛt sluθ æt ˈbəstɪŋ ˈʧitɪŋ ˈrənərz. ðə ˈmɛrəˌθɑn ˌɪnˈvɛstəˌgeɪtər bɪˈgæn ˈdɪgɪŋ ˈɪntu taɪm ənd sun keɪm əˈkrɔs ə praɪm pis əv ˈɛvədəns: ə ˈfoʊˌtoʊ əv hər æt ðə ˈfɪnɪʃ laɪn ðət ˈklɪrli ʃoʊd hər wɔʧ. hi ˌɛnˈlɑrʤd ðə ˈfoʊˌtoʊ, wɪʧ ʃoʊd ðə wɔʧ mæʧt hər taɪm əv 1 aʊər 22 ˈmɪnəts bət ˈɔlsoʊ ʃoʊd ʃi hæd ˈkəvərd ˈoʊnli maɪəlz ˈnɪrli tu maɪəlz ʃɔrt əv ðə fʊl reɪs. ðə ˈpraɪvət ˌɪnˈvɛstəˌgeɪtər ˈɔlsoʊ dɪd ðə ənd ɪt æd əp. ðiz rɪˈzəlts wʊd ɪkˈweɪt tɪ ə peɪs fər ðə ənd ə peɪs fər rɪˈmeɪnɪŋ ˈkɪləˌmitərz. ˈvɛri fju, ɪf ˈɛni, ˈrənərz kʊd ʃeɪv ə ˈmɪnət ənd ə hæf ɔf ðɛr splɪts ɪn ðə ˈsɛkənd hæf əv ə reɪs. bət ðɛr wɑz mɔr ˈɛvədəns. ˈsioʊ, hu laɪk ˈmɛni ˈrənərz poʊsts hər ækˈtɪvɪtiz ɔn strava.com*, ˈleɪtər ɪn ðə deɪ ˈpoʊstɪd ˈrɛkərdz əv hər trəˈvərsɪŋ ðə ɪnˈtaɪər maɪəlz, moʊst əv wɪʧ rən əˈlɔŋ fɔrt ˈlɔdərˌdeɪl biʧ. bət ˈmərfi dɪˈsərnd ðət ðə ˈkeɪdəns ˈnəmbərz wər mɔr ɪn laɪn wɪθ ə ˈpərsən ɔn ə ˈbaɪsɪkəl ˈrəðər ðən ə ˈrənər. θru ðə ˈflaɪˌbaɪ skrin, aɪ wɑz ˈeɪbəl tɪ kənˈfərm ðət ʃi ˈæˌkʧuəli ˈkəvərd ðɪs kɔrs ɪn ðə ˌæftərˈnun lɔŋ ˈæftər ðə reɪs wɑz kəmˈplit. ˈsioʊ ˈleɪtər ədˈmɪtəd gɔn bæk ənd baɪkt ðə hoʊl kɔrs tɪ ˈkəvər hər træks baɪ ˈgipiˈɛs. ˈmərfi hæd geɪnd ˈɪntərˌnɛt feɪm baɪ ɪkˈspoʊzɪŋ ˈʧitərz ɪn ˈmɛrəˌθɑn ˈreɪsɪz fər ˈsɛvərəl jɪrz ɔn ɛnd. ˌhaʊˈɛvər, ɪt lʊks laɪk ðɪs meɪ hæv bɪn ðə moʊst profile”*” ˌɪndəˈvɪʤəwəl hi meɪ hæv ɪkˈspoʊzd. ɪkˈspoʊzɪŋ ə ˈhəfɪŋtən poʊst ˈraɪtər brɔt lɑts əv ˈtræfɪk tɪ hɪz ˈwɛbˌsaɪt. saɪt həz bɪn bloʊɪŋ əp sɪns ɪkˈspoʊzɪŋ laɪz, ənd ˈkɑmɛntərz ɔn ðə wɛb ər ɛkˈskɔriˌeɪtɪŋ ˈsioʊ, ə ˈhɑrvərd græd hu ˈrɛgjələrli raɪts əˈbaʊt fud ənd ˈkəlʧər. hər trɪp tɪ saʊθ ˈflɔrɪdə wɑz ˈpɑrʃəli ˈspɑnsərd baɪ fɔrt ˈlɔdərˌdeɪl ˈtʊˌrɪzəm saɪt sunny.org*, ˈmərfi sɛd. ʃi ʤɪst ədˈmɪtəd wət ʃi dɪd, aɪ ˈnɛvər wʊd hæv hərd əv hər, nɔr ˈrɪtən əˈbaʊt her,”*,” ˈmərfi sɛd. goʊɪŋ bæk ənd ˈbaɪkɪŋ ðə kɔrs tɪ ˈkəvər up…*… ənˈhərd of.”*.” ˈmərfi, beɪst ɪn oʊˈhaɪoʊ, bɪˈgæn hɪz saɪt tu jɪrz əˈgoʊ tɪ ˌɪnˈvɛstəˌgeɪt kleɪmz əv mælˈpræktɪs baɪ ˈrənərz ˈeɪmɪŋ fər ðə ˈhoʊli greɪl: əˈteɪnɪŋ ə kˈwɑləˌfaɪɪŋ taɪm fæst ɪˈnəf tɪ bi ˈɛlɪʤəbəl fər ðə ˈbɔstən ˈmɛrəˌθɑn. hi həz ˈivɪn juzd ˈgugəl ərθ ɪn wən keɪs tɪ pruv ə ““innocence”*” tɪ kleɪmz əv course-cutting*. ˈmərfi sɛd hi spoʊk tɪ ˈsioʊ ˈmənˌdeɪ, hu meɪnˈteɪnd hər ˈɪnəsəns, ənd ˈtreɪdɪd iˈmeɪlz wɪθ stərn ənd ləreɪn. hi broʊk hɪz ˈstɔri əv hər ˈʧitɪŋ ɔn ˈtuzˌdeɪ. aɪ æm glæd ðət ʃi ɪˈvɛnʧəwəli ədˈmɪtəd tɪ ˈkətɪŋ ðə kɔrs ənd traɪɪŋ tɪ ˈkəvər hər træks, ʃi ˈoʊnli ˈpoʊstɪd ðɪs ˈæftər ˌɪnˌfɔrˈmeɪʃən wɑz ˈriˌleɪd tɪ hər rɪˈgɑrdɪŋ ðə ɪkˈstɛnt əv ðə ˈɛvədəns əˈgɛnst her,”*,” ˈmərfi roʊt ɔn hɪz saɪt. ðɪs nidz tɪ bi ə ˈmuvi. |
jeffrey scott buckley (november 17, 1966 may 29, 1997), raised as scott] was an american singer, songwriter and guitarist. after a decade as a session guitarist in los angeles, buckley amassed a following in the early by playing cover songs at venues in manhattan's east village, such as sin-é, gradually focusing more on his own material. after rebuffing much interest from record] and his father tim manager herb] he signed with columbia, recruited a band, and recorded what would be his only studio album, grace, in 1994.
over the following three years, the band toured extensively to promote the album, including concerts in the u.s., europe, japan, and australia. in 1996, they stopped] and made sporadic attempts to record second album in new york city with tom as producer.
in 1997, buckley moved to memphis, tennessee, to resume work on the album, to be titled my sweetheart the drunk, recording many demos while also playing weekly solo shows at a local venue. on may 29, 1997, while awaiting the arrival of his band from new york, he drowned during a spontaneous evening swim, fully clothed, in the mississippi river when he was caught in the wake of a passing boat; his body was found on june]
since his death, there have been many posthumous releases of his material, including a collection of demos and studio recordings for his unfinished second album my sweetheart the drunk, expansions of grace, and the live at sin-é. chart success also came posthumously: with his cover of leonard cohen's song "hallelujah" he attained his first number one on billboard's hot digital songs in march 2008 and reached number 2 in the singles chart that december. buckley and his work remain] and are regularly featured in "greatest" lists in the music]
in 2004, rolling stone listed him at number 39 on their list of greatest singers of all]
early life [ edit ]
born in orange,] buckley was the only son of mary and tim buckley. his mother was a of mixed greek, french, and panamanian] while his father was the son of an irish american father and an italian american] buckley was raised by his mother and stepfather, ron moorhead, in southern california, and had a half-brother, corey] buckley moved many times in and around orange county while growing up, an upbringing buckley called "rootless trailer] as a child, buckley was known as scott "scottie" moorhead based on his middle name and his]
his biological father, tim buckley, was a who released a series of highly acclaimed folk and jazz albums in the late and early 1970s, and whom, he said, he only met once, at the age of] after his biological father died of a drug overdose in] he chose to go by buckley and his real first name, which he found on his birth] to members of his family he remained]
buckley was brought up around music. his mother was a classically trained pianist and] his stepfather introduced him to led zeppelin, queen, jimi hendrix, the who, and pink floyd at an early]
buckley grew up singing around the house and in harmony with his] later noting that all his family] he began playing guitar at the age of five after discovering an acoustic guitar in his grandmother's]
led physical graffiti was the first album he ever] the hard rock band kiss was also an early] at the age of 12, he decided to become a] and received his first electric guitar a black les paul at the age of] he attended high] and played in the school's jazz] during this time, he developed an affinity for progressive rock bands such as rush, genesis, and yes, as well as jazz fusion guitarist al di]
after graduating from high school, he moved north to hollywood to attend the musicians] completing the one-year course at the age of] buckley later told rolling stone the school was "the biggest waste of] but noted in an interview with double take magazine that he appreciated studying music theory there, saying, "i was attracted to really interesting harmonies, stuff that i would hear in ravel, ellington,]
career [ edit ]
buckley spent the next six years working in a hotel and playing guitar in various struggling bands playing in styles from jazz, reggae, and roots rock to heavy] he toured with the reggae artist] and also played the occasional funk and studio session, collaborating with fledgling producer michael j. clouse to form] throughout this period, buckley limited his singing to backing needed]
he moved to new york city in february] but found few opportunities to work as a musician. he was introduced to qawwali, the devotional music of india and pakistan, and to fateh ali khan, one of its] buckley was an impassioned fan of] and during what he called his "cafe days," he often covered khan's songs. in january 1996, he interviewed khan for interview and wrote liner notes for khan's supreme collection, vol. 1 compilation. he became interested in blues musician robert johnson and hardcore punk band bad brains during this] buckley moved back to los angeles in september when his father's former manager, herb cohen, offered to help him record his first demo of original songs. buckley completed babylon dungeon sessions, a cassette that included the songs "eternal life", "unforgiven" (later titled "last goodbye"), "strawberry street" (a different version of which appears on the grace legacy edition), and punk screamer] cohen and buckley hoped to attract attention from the music industry with the demo]
buckley flew back to new york early the following year to make his public singing debut at a tribute concert for his father called "greetings from tim] the event, produced by show business veteran hal willner, was held at st. ann's church in brooklyn on april 26,] buckley rejected the idea of the concert as a springboard to his career, instead citing personal reasons regarding his decision to sing at the]
with accompaniment by experimental rock guitarist gary lucas, buckley performed "i never asked to be your mountain", a song tim buckley wrote about an infant jeff buckley and his] buckley returned to the stage to play the king's chain", "phantasmagoria in two", and concluded the concert with "once i was" performed acoustically with an impromptu a cappella ending, due to a snapped guitar] willner, the show's organizer, later recalled that set closer made a strong] performance at the concert was to his desire to distance himself musically from his father. buckley later explained his reasoning to rolling stone: "it wasn't my work, it wasn't my life. but it bothered me that i hadn't been to his funeral, that i'd never been able to tell him anything. i used that show to pay my last] the concert proved to be his first step into the music industry that had eluded him for]
on subsequent trips to new york in, buckley began with gary lucas resulting in the songs "grace" and "mojo] and by late 1991 he began performing with lucas' band gods and monsters around new york] after being offered a development deal as a member of gods and monsters at records, buckley moved back to new york to the lower east side at the end of] the day after gods and monsters officially debuted in march 1992, he decided to leave the]
buckley began performing at several clubs and around lower] but sin-é in the east village became his main] he first appeared at sin-é in april] and quickly earned a regular monday night slot] his repertoire consisted of a diverse range of folk, rock,, blues and jazz cover songs, much of it music he had newly learned. during this period, he discovered singers such as nina simone, billie holiday, van morrison, and judy] buckley performed an eclectic selection of covers from a range of artists from led zeppelin, fateh ali khan, bob dylan, édith piaf, elton john, the smiths, bad brains, leonard cohen, robert] and] original songs from the babylon dungeon sessions, and the songs he'd written with gary lucas were also included in his set] he performed solo, accompanying himself on a borrowed fender] buckley stated that he learned how to perform onstage from playing to small]
over the next few months, buckley attracted admiring crowds and attention from record label] industry maven clive davis even dropped by to see] by the summer of 1992, limos from executives eager to sign the singer lined the street outside] buckley signed with columbia records, home of bob dylan and bruce] for a three-album, essentially million-dollar deal in october] buckley spent three days in february 1993 in the studio with engineer steve and columbia man, steve berkowitz, recording much of solo repertoire. buckley sang a cappella and also accompanied himself on acoustic and electric guitars, wurlitzer electric piano, and harmonium. these tapes remain unreleased in the columbia vaults, but much of this material later surfaced on the grace] recording dates were set for july and august 1993 for what would become recording debut, an of four songs which included a cover of van morrison's "the way young lovers] live at sin-é was released on november 23, 1993, documenting this period of]
grace [ edit ]
in, buckley began working on his first album with record producer andy wallace. buckley assembled a band, composed of bassist mick and drummer matt johnson, and spent several weeks]
in september, the trio headed to studios in woodstock, new york to spend six weeks recording basic tracks for what would become grace. buckley invited lucas to play guitar on the songs "grace" and "mojo pin", and jazz musician karl berger wrote and conducted string arrangements with buckley assisting at] buckley returned home for at studios in manhattan and new jersey where he performed take after take to capture the perfect vocals and experimented with ideas for additional instruments, and added textures to the]
in january 1994, buckley left to go on his first solo north american tour to support live at] it was followed by a european tour in] buckley played clubs and coffeehouses and made] after returning, buckley invited guitarist michael tighe to join the band and a collaboration between the two resulted in "so real", a song which was recorded with clif norrell as a late addition to the] in june, buckley began his first full band tour called the radio theatre tour" that lasted into] pretender chrissie] chris cornell, and the edge from] were among the attendees of these early shows.
hallelujah grace from problems playing this file? see media help.
grace was released on august 23, 1994. in addition to seven original songs, the album included three covers: "lilac wine", based on the version by nina] made famous by brooks, "corpus christi carol", from benjamin a boy was born,, a composition that buckley was introduced to in high school, based on a] and] by leonard cohen, based on john recording from the cohen tribute album, i'm your] his rendition of "hallelujah" has been called best" and "one of the great] by time, and is included on rolling stone's list of "the 500 greatest songs of all]
sales of grace were slow, and it garnered little radio despite critical] the sydney morning herald proclaimed it "a romantic masterpiece" and a "pivotal, defining] despite slow initial sales the album went gold in france and australia over the next two] achieving gold status in the u.s. in] and selling over six times platinum in australia in]
grace won appreciation from a host of revered musicians and artists, including members of biggest influence, led] jimmy page considered grace close to being his "favorite album of the] robert plant was also] as was brad pitt, saying of work, "there's an undercurrent to his music, there's something you can't pinpoint. like the best of films, or the best of art, there's something going on underneath, and there's a truth there. and i find his stuff absolutely haunting. it just ... it's under my] others who had influenced music lauded] bob dylan named buckley "one of the great songwriters of this] and, in an interview with the village voice, david bowie named grace as one of 10 albums he'd bring with him to a desert] the album eventually went on to feature in rolling stone's 500 greatest albums of all time in 2003, appearing at no.]
concert tours [ edit ]
buckley spent much of the next year and a half touring internationally to promote grace. from the album's release, he played in numerous countries, from australia, to the festival and the 1995 meltdown festival at which he sang henry] at the invitation of elvis] following radio theater tour, the band began a european tour on august 23, 1994, starting with performances in the and ireland. the tour continued in scandinavia and, throughout september, numerous concerts in germany were played. the tour ended on september 22 with a concert in paris. a gig on september 24 in new york dovetailed on to the end of the european tour and buckley and band spent the next month relaxing and]
a tour of canada and the u.s. began on october 19, 1994 at cbgb's. the tour was far reaching with concerts held on both east and west coasts of the u.s. and a number of performances in central and southern states. the tour ended two months later on december 18 at maxwell's in hoboken, new] after another month of rest and rehearsal, the band commenced a second european tour, this time mainly for promotion purposes. the band began the tour in dublin; buckley has remained particularly popular in] the short tour largely consisted of promotional work in london and]
in late january, the band did their first tour of japan, playing concerts and appearing for promotion of the album and newly released japanese single "last goodbye". the band returned to europe on february 6 and toured various western european countries before returning to the u.s. on march 6. among the gigs performed during this period, buckley and his band performed at a french venue, the bataclan, and material from the concert was recorded and later released in october of that year as a four track, live from the bataclan. songs from a performance on february 25, at the venue in rotterdam, were subsequently released as a cd, so]
touring in april with dates across the u.s. and canada. during this period buckley and the band notably played metro in chicago, which was recorded on video and later released as live in chicago on and later on dvd. in addition, on june 4 they played at sony music studios for the sony music radio hour. following this was a european tour between june 20 and july 18 in which they played many summer music festivals. during the tour, buckley played two concerts at the paris olympia, a venue made famous by the french vocalist édith piaf. although he had failed to fill out smaller american venues at that point of his career, both nights at the large paris olympia venue were sold] shortly after this buckley attended the festival de la (festival of sacred music), also held in france, and performed "what will you say" as a duet with qasimov, an azerbaijani singer. sony has since released a live album, live l'olympia, which has a selection of songs from both olympia performances and the collaboration with]
buckley's mystery white boy tour, playing concerts in both sydney and melbourne, australia, lasted between august 28 and september 6 and recordings of these performances were compiled and released on the live album mystery white boy. buckley was so well received during these concerts that his album grace went gold in australia, selling over copies, and taking this into account he decided a longer tour was needed and returned for a tour of new zealand and australia in february the following]
between the two tours, buckley and the band took a break from touring. buckley played solo in the meantime with concerts at sin-é and a new year's eve concert at mercury lounge in new] after the break, the band spent the majority of february on the hard luck tour in australia and new zealand, but tensions had risen between the group and drummer matt johnson. the concert on march 1, 1996 was the last gig he played with buckley and his]
much of the material from the tours of 1995 and 1996 was recorded and released on either promotionals, such as the grace, or posthumously on albums, such as mystery white boy (a reference to buckley not using his real name) and live a l'olympia. many of the other concerts buckley played during this period have surfaced on bootleg]
following johnson's departure, the band, now without a drummer, was put on hold and did not perform live again until february 12,] due to the pressure from extensive touring, buckley spent the majority of the year away from the stage. however, from may 2 to may 5, he played a short stint as bass guitarist with mind science of the mind, with friend nathan larson, then guitarist of shudder to] buckley returned to playing live concerts when he went on his "phantom solo tour" of in the northeast in december 1996, appearing under a series of aliases: the crackrobats, possessed by elves, father demo, smackrobiotic, the halfspeeds, crit-club, topless america, martha & the nicotines, and a puppet show named] by way of justification, buckley posted a note on his internet site stating that he missed the anonymity of playing in cafes and local bars:
there was a time in my life not too long ago when i could show up in a cafe and simply do what i do, make music, learn from performing my music, explore what it means to me, i.e., have fun while i irritate entertain an audience who don't know me or what i am about. in this situation i have that precious and irreplaceable luxury of failure, of risk, of surrender. i worked very hard to get this kind of thing together, this work forum. i loved it and then i missed it when it disappeared. all i am doing is reclaiming]
sketches for my sweetheart the drunk [ edit ]
after completing touring in 1996, buckley started to write for a new album to be called my sweetheart the drunk. buckley worked with patti smith on her 1996 album gone again and met collaborator tom, the lead singer for the punk band television. buckley asked to be producer on the new album and he] in the middle of 1996, buckley and his band began recording sessions in manhattan with. eric played the drums through these sessions as a stop-gap between the dates drummer matt johnson left and before parker kindred joined as full-time] around this time buckley met inger of the nymphs in an east village] and struck up a fast and close friendship. together, they contributed a track to kerouac: kicks joy darkness, a jack kerouac tribute] after's backup guitarist for an upcoming album quit the project, buckley offered to fill] he became very attached to one of the songs from the album, "yard of blonde girls", and covered it on sketches for my sweetheart the] another recording session in manhattan followed in early 1997, but buckley and the band were unsatisfied, and the album was not considered finished.
on february 4, 1997, buckley played a short set at the knitting factory's tenth anniversary concert featuring a selection of his new songs: "jewel box", "morning theft", "everybody here wants you", "the sky is a landfill" and "yard of blonde] lou reed was there to] and expressed an interest in working with] the band played their first gig with parker kindred, their new drummer, at arlene's grocery in new york on february 9. the set featured much of new material that would appear on sketches for my sweetheart the drunk and a recording has become one of most widely distributed] later that month, buckley recorded a spoken word reading of the edgar allan poe poem, "ulalume", for the album closed on account of] this would be his last recording in new york; shortly after, he moved to memphis, tennessee.
buckley became interested in recording at easley mccain recording in memphis, at the suggestion of friend dave shouse from the] he rented a shotgun house there, of which he was so fond he contacted the owner about the possibility of buying] throughout this period, february 12 to may 26, 1997, buckley played at barristers', a bar located in downtown memphis underneath a parking garage in an alley off jefferson avenue. he played numerous times in order to work through the new material in a live atmosphere, at first with the band then solo as part of a monday night] in early february, buckley and the band did a third recording session with, in memphis, but buckley expressed his dissatisfaction with the sessions and later called grace producer, andy wallace, to step in as's] buckley started recording demos on his own recorder in preparation for a forthcoming session with] some of these demos were sent to his band in new york, who listened to them enthusiastically, and were excited to resume working on the album. these recordings would go on to compose the second disc of sketches for my sweetheart the drunk. however buckley was not entirely happy with the results and he sent his band back to new york while he stayed behind to work on the songs. the band was scheduled to return to memphis for rehearsals and recording sessions on may 29.
death [ edit ]
on the evening of may 29, 1997, band flew to memphis intending to join him in his studio there to work on the newly written material. the same evening, buckley went swimming in wolf river] a slack water channel of the mississippi river, while wearing boots and all of his clothing and singing the chorus of the song "whole lotta love" by led] buckley had gone swimming in the river several times] a roadie in band, keith foti, remained onshore. after moving a radio and guitar out of reach of the wake from a passing tugboat, foti looked up to see that buckley had vanished. despite a determined rescue effort that night as well as the morning after by scuba teams and the police, buckley remained missing. on june 4, two locals spotted his body in the wolf river near a riverboat, and he was brought to land.
buckley's autopsy showed no signs of drugs or alcohol in his system, and the death was ruled as an accidental drowning. his estate declared:
jeff death was not mysterious, related to drugs, alcohol, or suicide. we have a police report, a medical examiner's report, and an eye witness to prove that it was an accidental drowning, and that mr. buckley was in a good frame of mind prior to the]
tributes [ edit ]
graffiti by fans in russia, 2015
musical style [ edit ]
buckley's voice was a particularly distinguished aspect of his music. he possessed a tenor vocal range that ranges between three and a half to four] buckley made full use of this range in his performance, particularly in the songs from grace, and reached peaks of high g in the tenor range at the culmination of "grace". "corpus christi carol" was sung entirely in a high falsetto. the pitch and volume of his singing was also highly variable, as songs such as "mojo pin" and "dream brother" began with quieter vocals before reaching louder, higher peaks near the ending of the]
buckley played guitar in a variety of styles ranging from the distorted rock of "sky is a landfill", to the jazz of "strange fruit", the country styling of "lost highway", and the guitar style in "hallelujah". he occasionally used slide guitar in live performances as a solo act and used a slide for the introduction of "last goodbye" when playing with a full band. his songs were written in various guitar which, apart from the standard tuning, included drop d tuning and an open g tuning. his guitar playing style varied from highly melodic songs, such as "the twelfth of never", to more percussive ones, such as "new year's]
equipment [ edit ]
buckley mainly played a 1983 fender and a, but also used several other guitars, including a black gibson les paul custom and a 1967 guild acoustic. when on tour with his band, he used fender amplifiers for a clean sound and mesa boogie for his tones. he was primarily a singer and guitarist; however, he also played other instruments on various studio recordings and sessions, including bass, dobro, mandolin, harmonium (heard on the intro to "lover, you should've come over"), organ, dulcimer ("dream brother" intro), tabla, esraj, and]
legacy [ edit ]
after death, a collection of demo recordings and a album he had been reworking for his second album were released as sketches for my sweetheart the drunk the compilation being overseen by his mother, mary, band members and old friend michael j. clouse, as well as chris cornell. the album achieved gold sales in australia in] three other albums composed of live recordings have also been released, along with a live dvd of a performance in chicago. a previously unreleased 1992 recording of "i shall be released", sung by buckley over the phone on live radio, was released on the album for new orleans.
since his death, buckley has been the subject of numerous documentaries: fall in light, a 1999 production for french tv; goodbye and hello, a program about buckley and his father produced for netherlands tv in 2000; and everybody here wants you, a documentary made in 2002 by the british broadcasting corporation (bbc). an documentary about buckley called amazing grace: jeff buckley has been shown at various film festivals to critical] the film was released worldwide in 2009 by sony legacy as part of the grace around the world deluxe] in the spring of 2009 it was revealed that ryan jaffe, best known for the movie the rocker, had replaced brian jun as screenwriter for the upcoming film mystery white] orion williams is also set to the film with michelle] a separate project involving the book dream brother was allegedly]
buckley's premature death inspired many artists he knew or influenced to write songs in tribute to the late singer. harvey knew him personally and in the song "memphis" she takes lines from a song on his unfinished album, "morning theft", and in her own words reflects on death: "in memphis ... die suddenly, at a wonderful age, we're ready to] chris cornell wrote "wave goodbye", which appeared on his first solo album, euphoria morning, for] rufus wainwright, whose fledgling career had barely started when he met buckley, wrote "memphis skyline" in tribute to him, singing "then came hallelujah sounding like ophelia, for me in my room living, turn back and you will stay, under the memphis] duncan sheik's "a body goes down", from his 1998 album humming, was a response to] steve adey wrote a song tribute entitled "mississippi" on his 2006 album all things real. the song contains the lyrics "until the morning thief steals the humming of the lord", a reference to song "morning]
in may and june 2007, life and music were celebrated globally with tributes in] canada,, france, iceland, israel,] republic of macedonia, portugal and the] many of family members attended the various tribute concerts across the globe, some of which they helped organize. there are three annual jeff buckley tribute events: the uncommon ground, featuring a concert schedule, an evening with jeff buckley, an annual new york city tribute, and the fall in] the latter event is run by the fall in light foundation, which in addition to the concerts, runs a "guitars for schools"] the name of the foundation is taken from the lyrics of "new year's prayer".
in 2015, tapes of a 1993 recording session for columbia records were discovered by sony executives doing research for the anniversary of grace. the recordings have been released on an album, you and i, in march 2016 and it features mostly covers of songs recorded previously by other]
in 2012, at toronto international film festival, greetings from tim buckley premiered; the film explores the relationship jeff buckley had with his]
buckley is referenced in the 2001 film vanilla sky, when sofia asks david if he would rather listen to jeff buckley or carr, to which he responds, "both. simultaneously." as david is leaving sofia's apartment, the music playing is the intro to jeff song "last goodbye", from his 1994 studio album grace.
resurgence [ edit ]
on march 7, 2008, version of the leonard cohen song, "hallelujah", went to no. 1 on the itunes chart, selling downloads for the week, after being performed by jason castro on the seventh season of the television series american] the song debuted at no. 1 that week on billboard's hot digital songs chart, giving buckley his first no. 1 on any billboard chart.
in a similar vein, the 2008 x factor winner, alexandra burke, released a cover of "hallelujah" with the intent to top the singles chart as the christmas number one single. buckley fans countered this, launching a campaign with the aim of propelling version to the number one spot. the campaign picked up support through social networking websites and it soon spread to the mainstream] burke's version eventually reached christmas number one on the charts in december] version of the song entered the charts at no. 49 on november 30, and by december 21 it had reached no. 2 despite the fact that it had not been in a physical]
discography [ edit ]
studio album
awards and nominations [ edit ]
notes [ edit ]
references [ edit ]
further reading [ edit ] | ˈʤɛfri skɑt ˈbəkli (noʊˈvɛmbər 17 1966 meɪ 29 1997 reɪzd ɛz skɑt wɑz ən əˈmɛrɪkən ˈsɪŋər, ˈsɔŋˌraɪtər ənd ˌgɪˈtɑrɪst. ˈæftər ə ˈdɛkeɪd ɛz ə ˈsɛʃən ˌgɪˈtɑrɪst ɪn lɔs ˈænʤəlɪs, ˈbəkli əˈmæst ə ˈfɑloʊɪŋ ɪn ðə ˈərli baɪ pleɪɪŋ ˈkəvər sɔŋz æt ˈvɛnuz ɪn mænˈhætənz ist ˈvɪlɪʤ, səʧ ɛz sin-é*-é, ˈgræʤuəli ˈfoʊkɪsɪŋ mɔr ɔn hɪz oʊn məˈtɪriəl. ˈæftər riˈbəfɪŋ məʧ ˈɪntəˌrɛst frəm ˈrɛkərd ənd hɪz ˈfɑðər tɪm ˈmænɪʤər ərb hi saɪnd wɪθ kəˈləmbiə, rɪˈkrutɪd ə bænd, ənd rɪˈkɔrdɪd wət wʊd bi hɪz ˈoʊnli ˈstudiˌoʊ ˈælbəm, greɪs, ɪn 1994 ˈoʊvər ðə ˈfɑloʊɪŋ θri jɪrz, ðə bænd tʊrd ɪkˈstɛnsɪvli tɪ prəˈmoʊt ðə ˈælbəm, ˌɪnˈkludɪŋ ˈkɑnsərts ɪn ðə juz., ˈjʊrəp, ʤəˈpæn, ənd ɔˈstreɪljə. ɪn 1996 ðeɪ stɑpt ənd meɪd spərˈædɪk əˈtɛmpts tɪ ˈrɛkərd ˈsɛkənd ˈælbəm ɪn nu jɔrk ˈsɪti wɪθ tɑm ɛz prəˈdusər. ɪn 1997 ˈbəkli muvd tɪ ˈmɛmpfɪs, ˌtɛnəˈsi, tɪ ˈrɛzəˌmeɪ wərk ɔn ðə ˈælbəm, tɪ bi ˈtaɪtəld maɪ sˈwiˌthɑrt ðə drəŋk, rɪˈkɔrdɪŋ ˈmɛni ˈdɛˌmoʊz waɪl ˈɔlsoʊ pleɪɪŋ ˈwikli ˈsoʊˌloʊ ʃoʊz æt ə ˈloʊkəl ˈvɛnju. ɔn meɪ 29 1997 waɪl əˈweɪtɪŋ ðə ərˈaɪvəl əv hɪz bænd frəm nu jɔrk, hi draʊnd ˈdʊrɪŋ ə spɑnˈteɪniəs ˈivnɪŋ swɪm, ˈfʊli kloʊðd, ɪn ðə ˌmɪsɪˈsɪpi ˈrɪvər wɪn hi wɑz kɔt ɪn ðə weɪk əv ə ˈpæsɪŋ boʊt; hɪz ˈbɑdi wɑz faʊnd ɔn ʤun sɪns hɪz dɛθ, ðɛr hæv bɪn ˈmɛni ˈpɑsʧʊməs rɪˈlisɪz əv hɪz məˈtɪriəl, ˌɪnˈkludɪŋ ə kəˈlɛkʃən əv ˈdɛˌmoʊz ənd ˈstudiˌoʊ rɪˈkɔrdɪŋz fər hɪz ənˈfɪnɪʃt ˈsɛkənd ˈælbəm maɪ sˈwiˌthɑrt ðə drəŋk, ɪkˈspænʧənz əv greɪs, ənd ðə lɪv æt sin-é*-é. ʧɑrt səkˈsɛs ˈɔlsoʊ keɪm ˈpɑsʧʊməsli: wɪθ hɪz ˈkəvər əv ˈlɛnərd koʊənz sɔŋ "ˌhæləˈlujə" hi əˈteɪnd hɪz fərst ˈnəmbər wən ɔn ˈbɪlˌbɔrdz hɑt ˈdɪʤɪtəl sɔŋz ɪn mɑrʧ 2008 ənd riʧt ˈnəmbər 2 ɪn ðə ˈsɪŋgəlz ʧɑrt ðət dɪˈsɛmbər. ˈbəkli ənd hɪz wərk rɪˈmeɪn ənd ər ˈrɛgjələrli ˈfiʧərd ɪn "ˈgreɪtəst" lɪsts ɪn ðə mˈjuzɪk ɪn 2004 ˈroʊlɪŋ stoʊn ˈlɪstɪd ɪm æt ˈnəmbər 39 ɔn ðɛr lɪst əv ˈgreɪtəst ˈsɪŋərz əv ɔl ˈərli laɪf ˈɛdət bɔrn ɪn ˈɔrɪnʤ, ˈbəkli wɑz ðə ˈoʊnli sən əv ˈmɛri ənd tɪm ˈbəkli. hɪz ˈməðər wɑz ə əv mɪkst grik, frɛnʧ, ənd ˌpænəˈmeɪniən waɪl hɪz ˈfɑðər wɑz ðə sən əv ən ˈaɪrɪʃ əˈmɛrɪkən ˈfɑðər ənd ən ˌɪˈtæljən əˈmɛrɪkən ˈbəkli wɑz reɪzd baɪ hɪz ˈməðər ənd ˈstɛpˌfɑðər, rɑn ˈmʊˌrhɛd, ɪn ˈsəðərn ˌkæləˈfɔrnjə, ənd hæd ə half-brother*, ˈkɔri ˈbəkli muvd ˈmɛni taɪmz ɪn ənd əraʊnd ˈɔrɪnʤ ˈkaʊnti waɪl groʊɪŋ əp, ən ˈəpˌbrɪŋɪŋ ˈbəkli kɔld "ˈrutləs ˈtreɪlər ɛz ə ʧaɪld, ˈbəkli wɑz noʊn ɛz skɑt "ˈskɑti" ˈmʊˌrhɛd beɪst ɔn hɪz ˈmɪdəl neɪm ənd hɪz hɪz ˌbaɪəˈlɑʤɪkəl ˈfɑðər, tɪm ˈbəkli, wɑz ə hu riˈlist ə ˈsɪriz əv ˈhaɪli əˈkleɪmd foʊk ənd ʤæz ˈælbəmz ɪn ðə leɪt ənd ˈərli 1970s*, ənd hum, hi sɛd, hi ˈoʊnli mɛt wəns, æt ðə eɪʤ əv ˈæftər hɪz ˌbaɪəˈlɑʤɪkəl ˈfɑðər daɪd əv ə drəg ˈoʊvərˌdoʊs ɪn hi ʧoʊz tɪ goʊ baɪ ˈbəkli ənd hɪz ril fərst neɪm, wɪʧ hi faʊnd ɔn hɪz bərθ tɪ ˈmɛmbərz əv hɪz ˈfæməli hi rɪˈmeɪnd ˈbəkli wɑz brɔt əp əraʊnd mˈjuzɪk. hɪz ˈməðər wɑz ə ˈklæsɪkli treɪnd ˈpiənɪst ənd hɪz ˈstɛpˌfɑðər ˌɪntrəˈdust ɪm tɪ lɛd ˈzɛpɪlɪn, kwin, ˈʤɪmi ˈhɛndrɪks, ðə hu, ənd pɪŋk flɔɪd æt ən ˈərli ˈbəkli gru əp ˈsɪŋɪŋ əraʊnd ðə haʊs ənd ɪn ˈhɑrməni wɪθ hɪz ˈleɪtər ˈnoʊtɪŋ ðət ɔl hɪz ˈfæməli hi bɪˈgæn pleɪɪŋ gɪˈtɑr æt ðə eɪʤ əv faɪv ˈæftər dɪˈskəvərɪŋ ən əˈkustɪk gɪˈtɑr ɪn hɪz ˈgrændˌməðərz lɛd ˈfɪzɪkəl grəˈfiti wɑz ðə fərst ˈælbəm hi ˈɛvər ðə hɑrd rɑk bænd kɪs wɑz ˈɔlsoʊ ən ˈərli æt ðə eɪʤ əv 12 hi ˌdɪˈsaɪdɪd tɪ bɪˈkəm ə ənd rɪˈsivd hɪz fərst ɪˈlɛktrɪk gɪˈtɑr ə blæk lɛs pɔl æt ðə eɪʤ əv hi əˈtɛndəd haɪ ənd pleɪd ɪn ðə skulz ʤæz ˈdʊrɪŋ ðɪs taɪm, hi dɪˈvɛləpt ən əˈfɪnɪti fər prəˈgrɛsɪv rɑk bændz səʧ ɛz rəʃ, ˈʤɛnəsəs, ənd jɛs, ɛz wɛl ɛz ʤæz fˈjuʒən ˌgɪˈtɑrɪst æl di ˈæftər ˈgræʤəˌweɪtɪŋ frəm haɪ skul, hi muvd nɔrθ tɪ ˈhɑliˌwʊd tɪ əˈtɛnd ðə mjuˈzɪʃənz kəmˈplitɪŋ ðə ˈwənˌjɪr kɔrs æt ðə eɪʤ əv ˈbəkli ˈleɪtər toʊld ˈroʊlɪŋ stoʊn ðə skul wɑz "ðə ˈbɪgəst weɪst əv bət ˈnoʊtɪd ɪn ən ˈɪntərvˌju wɪθ ˈdəbəl teɪk ˈmægəˌzin ðət hi əˈpriʃiˌeɪtɪd ˈstədiɪŋ mˈjuzɪk ˈθɪri ðɛr, seɪɪŋ, "aɪ wɑz əˈtræktəd tɪ ˈrɪli ˈɪntəˌrɛstɪŋ ˈhɑrməniz, stəf ðət aɪ wʊd hir ɪn ˈrævəl, ˈɛlɪŋtən, kərɪr ˈɛdət ˈbəkli spɛnt ðə nɛkst sɪks jɪrz ˈwərkɪŋ ɪn ə hoʊˈtɛl ənd pleɪɪŋ gɪˈtɑr ɪn ˈvɛriəs ˈstrəgəlɪŋ bændz pleɪɪŋ ɪn staɪlz frəm ʤæz, ˈrɛˌgeɪ, ənd ruts rɑk tɪ ˈhɛvi hi tʊrd wɪθ ðə ˈrɛˌgeɪ ˈɑrtɪst ənd ˈɔlsoʊ pleɪd ðə ɔˈkeɪʒənəl fəŋk ənd ˈstudiˌoʊ ˈsɛʃən, kəˈlæbərˌeɪtɪŋ wɪθ ˈflɛʤlɪŋ prəˈdusər ˈmaɪkəl ʤeɪ. klaʊs tɪ fɔrm θruaʊt ðɪs ˈpɪriəd, ˈbəkli ˈlɪmɪtɪd hɪz ˈsɪŋɪŋ tɪ ˈbækɪŋ ˈnidɪd] hi muvd tɪ nu jɔrk ˈsɪti ɪn ˈfɛbruˌɛri bət faʊnd fju ˌɑpərˈtunətiz tɪ wərk ɛz ə mjuˈzɪʃən. hi wɑz ˌɪntrəˈdust tɪ qawwali*, ðə dɪˈvoʊʃənəl mˈjuzɪk əv ˈɪndiə ənd ˈpækɪˌstæn, ənd tɪ ˈfɑtɛ ˈɑli kɑn, wən əv ɪts ˈbəkli wɑz ən ˌɪmˈpæʃənd fæn əv ənd ˈdʊrɪŋ wət hi kɔld hɪz "kəˈfeɪ deɪz," hi ˈɔfən ˈkəvərd kɑnz sɔŋz. ɪn ˈʤænjuˌɛri 1996 hi ˈɪntərvˌjud kɑn fər ˈɪntərvˌju ənd roʊt ˈlaɪnər noʊts fər kɑnz səˈprim kəˈlɛkʃən, vol*. 1 ˌkɑmpəˈleɪʃən. hi bɪˈkeɪm ˈɪntəˌrɛstɪd ɪn bluz mjuˈzɪʃən ˈrɑbərt ˈʤɑnsən ənd ˈhɑrdˈkɔr pəŋk bænd bæd breɪnz ˈdʊrɪŋ ðɪs ˈbəkli muvd bæk tɪ lɔs ˈænʤəlɪs ɪn sɛpˈtɛmbər wɪn hɪz ˈfɑðərz ˈfɔrmər ˈmænɪʤər, ərb koʊən, ˈɔfərd tɪ hɛlp ɪm ˈrɛkərd hɪz fərst ˈdɛmoʊ əv ərˈɪʤənəl sɔŋz. ˈbəkli kəmˈplitɪd ˈbæbəˌlɑn ˈdənʤən ˈsɛʃənz, ə kəˈsɛt ðət ˌɪnˈkludɪd ðə sɔŋz "ɪˈtərnəl laɪf", "ˌənfərˈgɪvən" (ˈleɪtər ˈtaɪtəld "læst ˌgʊdˈbaɪ"), "ˈstrɔˌbɛri strit" (ə ˈdɪfərənt ˈvərʒən əv wɪʧ əˈpɪrz ɔn ðə greɪs ˈlɛgəsi ɪˈdɪʃən), ənd pəŋk ˈskrimər koʊən ənd ˈbəkli hoʊpt tɪ əˈtrækt əˈtɛnʃən frəm ðə mˈjuzɪk ˈɪndəstri wɪθ ðə ˈdɛmoʊ ˈbəkli flu bæk tɪ nu jɔrk ˈərli ðə ˈfɑloʊɪŋ jɪr tɪ meɪk hɪz ˈpəblɪk ˈsɪŋɪŋ ˈdeɪbju æt ə ˈtrɪbjut ˈkɑnsərt fər hɪz ˈfɑðər kɔld "ˈgritɪŋz frəm tɪm ðə ɪˈvɛnt, prəˈdust baɪ ʃoʊ ˈbɪznɪs ˈvɛtərən hæl ˈwɪlnər, wɑz hɛld æt st*. ænz ʧərʧ ɪn ˈbrʊklɪn ɔn ˈeɪprəl 26 ˈbəkli rɪˈʤɛktɪd ðə aɪˈdiə əv ðə ˈkɑnsərt ɛz ə ˈsprɪŋˌbɔrd tɪ hɪz kərɪr, ˌɪnˈstɛd ˈsaɪtɪŋ ˈpərsɪnəl ˈrizənz rɪˈgɑrdɪŋ hɪz dɪˈsɪʒən tɪ sɪŋ æt ðə wɪθ əˈkəmpnɪmənt baɪ ɪkˌspɛrɪˈmɛntəl rɑk ˌgɪˈtɑrɪst ˈgɛri ˈlukəs, ˈbəkli pərˈfɔrmd "aɪ ˈnɛvər æst tɪ bi jʊr ˈmaʊntən", ə sɔŋ tɪm ˈbəkli roʊt əˈbaʊt ən ˈɪnfənt ʤɛf ˈbəkli ənd hɪz ˈbəkli rɪˈtərnd tɪ ðə steɪʤ tɪ pleɪ ðə kɪŋz ʧeɪn", "fænˌtæzməˈgɔriə ɪn tu", ənd kənˈkludɪd ðə ˈkɑnsərt wɪθ "wəns aɪ wɑz" pərˈfɔrmd əˈkustɪkli wɪθ ən ˌɪmˈprɑmptu ə kɑˈpɛlə ˈɛndɪŋ, du tɪ ə snæpt gɪˈtɑr ˈwɪlnər, ðə ʃoʊz ˈɔrgəˌnaɪzər, ˈleɪtər rɪˈkɔld ðət sɛt ˈkloʊzər meɪd ə strɔŋ pərˈfɔrməns æt ðə ˈkɑnsərt wɑz tɪ hɪz dɪˈzaɪər tɪ ˈdɪstəns hɪmˈsɛlf mˈjuzɪkli frəm hɪz ˈfɑðər. ˈbəkli ˈleɪtər ɪkˈspleɪnd hɪz ˈrizənɪŋ tɪ ˈroʊlɪŋ stoʊn: "ɪt ˈwəzənt maɪ wərk, ɪt ˈwəzənt maɪ laɪf. bət ɪt ˈbɑðərd mi ðət aɪ ˈhædənt bɪn tɪ hɪz fˈjunərəl, ðət aɪd ˈnɛvər bɪn ˈeɪbəl tɪ tɛl ɪm ˈɛniˌθɪŋ. aɪ juzd ðət ʃoʊ tɪ peɪ maɪ læst ðə ˈkɑnsərt pruvd tɪ bi hɪz fərst stɛp ˈɪntu ðə mˈjuzɪk ˈɪndəstri ðət hæd ɪˈludɪd ɪm fər ɔn ˈsəbsəkwənt trɪps tɪ nu jɔrk ɪn ˈbəkli bɪˈgæn wɪθ ˈgɛri ˈlukəs rɪˈzəltɪŋ ɪn ðə sɔŋz "greɪs" ənd "ˈmoʊʤoʊ ənd baɪ leɪt 1991 hi bɪˈgæn pərˈfɔrmɪŋ wɪθ ˈlukəs' bænd gɑdz ənd ˈmɑnstərz əraʊnd nu jɔrk ˈæftər biɪŋ ˈɔfərd ə dɪˈvɛləpmənt dil ɛz ə ˈmɛmbər əv gɑdz ənd ˈmɑnstərz æt ˈrɛkərdz, ˈbəkli muvd bæk tɪ nu jɔrk tɪ ðə loʊər ist saɪd æt ðə ɛnd əv ðə deɪ ˈæftər gɑdz ənd ˈmɑnstərz əˈfɪʃəli ˈdeɪbjutɪd ɪn mɑrʧ 1992 hi ˌdɪˈsaɪdɪd tɪ liv ðə ˈbəkli bɪˈgæn pərˈfɔrmɪŋ æt ˈsɛvərəl kləbz ənd əraʊnd loʊər bət sin-é*-é ɪn ðə ist ˈvɪlɪʤ bɪˈkeɪm hɪz meɪn hi fərst əˈpɪrd æt sin-é*-é ɪn ˈeɪprəl ənd kˈwɪkli ərnd ə ˈrɛgjələr ˈmənˌdeɪ naɪt slɑt hɪz ˈrɛpərtˌwɑr kənˈsɪstɪd əv ə dɪˈvərs reɪnʤ əv foʊk, rɑk,, bluz ənd ʤæz ˈkəvər sɔŋz, məʧ əv ɪt mˈjuzɪk hi hæd ˈnuli ˈlərnɪd. ˈdʊrɪŋ ðɪs ˈpɪriəd, hi dɪˈskəvərd ˈsɪŋərz səʧ ɛz ˈninə sɪˈmoʊn, ˈbɪli ˈhɑlɪˌdeɪ, væn ˈmɔrɪsən, ənd ˈʤudi ˈbəkli pərˈfɔrmd ən ɪˈklɛktɪk səˈlɛkʃən əv ˈkəvərz frəm ə reɪnʤ əv ˈɑrtɪsts frəm lɛd ˈzɛpɪlɪn, ˈfɑtɛ ˈɑli kɑn, bɑb ˈdɪlən, piaf*, ˈɛltən ʤɑn, ðə smɪθs, bæd breɪnz, ˈlɛnərd koʊən, ˈrɑbərt ənd ərˈɪʤənəl sɔŋz frəm ðə ˈbæbəˌlɑn ˈdənʤən ˈsɛʃənz, ənd ðə sɔŋz hid ˈrɪtən wɪθ ˈgɛri ˈlukəs wər ˈɔlsoʊ ˌɪnˈkludɪd ɪn hɪz sɛt hi pərˈfɔrmd ˈsoʊˌloʊ, əˈkəmpəniɪŋ hɪmˈsɛlf ɔn ə ˈbɑˌroʊd ˈfɛndər ˈbəkli ˈsteɪtɪd ðət hi ˈlərnɪd haʊ tɪ pərˈfɔrm ˌɑnˈsteɪʤ frəm pleɪɪŋ tɪ smɔl ˈoʊvər ðə nɛkst fju mənθs, ˈbəkli əˈtræktəd ædˈmaɪrɪŋ kraʊdz ənd əˈtɛnʃən frəm ˈrɛkərd ˈleɪbəl ˈɪndəstri ˈmeɪvən klaɪv ˈdeɪvɪs ˈivɪn drɑpt baɪ tɪ si baɪ ðə ˈsəmər əv 1992 ˈlɪmoʊz frəm ɪgˈzɛkjətɪvz ˈigər tɪ saɪn ðə ˈsɪŋər laɪnd ðə strit ˈaʊtˈsaɪd ˈbəkli saɪnd wɪθ kəˈləmbiə ˈrɛkərdz, hoʊm əv bɑb ˈdɪlən ənd brus fər ə three-album*, ɛˈsɛnʃəli ˈmɪljənˌdɔlər dil ɪn ɑkˈtoʊbər ˈbəkli spɛnt θri deɪz ɪn ˈfɛbruˌɛri 1993 ɪn ðə ˈstudiˌoʊ wɪθ ˈɛnʤəˈnɪr stiv ənd kəˈləmbiə mæn, stiv ˈbərkəwɪts, rɪˈkɔrdɪŋ məʧ əv ˈsoʊˌloʊ ˈrɛpərtˌwɑr. ˈbəkli sæŋ ə kɑˈpɛlə ənd ˈɔlsoʊ əˈkəmpənid hɪmˈsɛlf ɔn əˈkustɪk ənd ɪˈlɛktrɪk gɪˈtɑrz, ˈwərlɪtsər ɪˈlɛktrɪk piˈænə, ənd hɑrˈmoʊniəm. ðiz teɪps rɪˈmeɪn ənrɪˈlist ɪn ðə kəˈləmbiə vɔlts, bət məʧ əv ðɪs məˈtɪriəl ˈleɪtər ˈsərfɪst ɔn ðə greɪs rɪˈkɔrdɪŋ deɪts wər sɛt fər ˌʤuˈlaɪ ənd ˈɔgəst 1993 fər wət wʊd bɪˈkəm rɪˈkɔrdɪŋ ˈdeɪbju, ən əv fɔr sɔŋz wɪʧ ˌɪnˈkludɪd ə ˈkəvər əv væn ˈmɔrɪsənz "ðə weɪ jəŋ ˈləvərz lɪv æt sin-é*-é wɑz riˈlist ɔn noʊˈvɛmbər 23 1993 ˈdɑkjəmənɪŋ ðɪs ˈpɪriəd əv greɪs ˈɛdət ɪn ˈbəkli bɪˈgæn ˈwərkɪŋ ɔn hɪz fərst ˈælbəm wɪθ ˈrɛkərd prəˈdusər ˈændi ˈwɔlɪs. ˈbəkli əˈsɛmbəld ə bænd, kəmˈpoʊzd əv ˈbeɪsɪst mɪk ənd ˈdrəmər mæt ˈʤɑnsən, ənd spɛnt ˈsɛvərəl wiks ɪn sɛpˈtɛmbər, ðə ˈtriˌoʊ ˈhɛdɪd tɪ ˈstudiˌoʊz ɪn ˈwʊdˌstɑk, nu jɔrk tɪ spɛnd sɪks wiks rɪˈkɔrdɪŋ ˈbeɪsɪk træks fər wət wʊd bɪˈkəm greɪs. ˈbəkli ˌɪnˈvaɪtɪd ˈlukəs tɪ pleɪ gɪˈtɑr ɔn ðə sɔŋz "greɪs" ənd "ˈmoʊʤoʊ pɪn", ənd ʤæz mjuˈzɪʃən kɑrl ˈbərgər roʊt ənd kənˈdəktəd strɪŋ ərˈeɪnʤmənts wɪθ ˈbəkli əˈsɪstɪŋ æt ˈbəkli rɪˈtərnd hoʊm fər æt ˈstudiˌoʊz ɪn mænˈhætən ənd nu ˈʤərzi wɛr hi pərˈfɔrmd teɪk ˈæftər teɪk tɪ ˈkæpʧər ðə ˈpərˌfɪkt ˈvoʊkəlz ənd ɪkˈspɛrəməntəd wɪθ aɪˈdiəz fər əˈdɪʃənəl ˈɪnstrəmənts, ənd ˈædɪd ˈtɛksʧərz tɪ ðə ɪn ˈʤænjuˌɛri 1994 ˈbəkli lɛft tɪ goʊ ɔn hɪz fərst ˈsoʊˌloʊ nɔrθ əˈmɛrɪkən tʊr tɪ səˈpɔrt lɪv æt ɪt wɑz ˈfɑloʊd baɪ ə ˌjʊrəˈpiən tʊr ɪn ˈbəkli pleɪd kləbz ənd ˈkɔfiˌhaʊsɪz ənd meɪd ˈæftər rɪˈtərnɪŋ, ˈbəkli ˌɪnˈvaɪtɪd ˌgɪˈtɑrɪst ˈmaɪkəl taɪg tɪ ʤɔɪn ðə bænd ənd ə kəˌlæbərˈeɪʃən bɪtˈwin ðə tu rɪˈzəltɪd ɪn "soʊ ril", ə sɔŋ wɪʧ wɑz rɪˈkɔrdɪd wɪθ klɪf ˈnɔrəl ɛz ə leɪt əˈdɪʃən tɪ ðə ɪn ʤun, ˈbəkli bɪˈgæn hɪz fərst fʊl bænd tʊr kɔld ðə ˈreɪdiˌoʊ ˈθiətər tʊr" ðət ˈlæstɪd ˈɪntu priˈtɛndər ˈkrɪsi krɪs kɔrˈnɛl, ənd ðə ɛʤ frəm wər əˈməŋ ðə əˈtɛnˈdiz əv ðiz ˈərli ʃoʊz. ˌhæləˈlujə greɪs frəm ˈprɑbləmz pleɪɪŋ ðɪs faɪl? si ˈmidiə hɛlp. greɪs wɑz riˈlist ɔn ˈɔgəst 23 1994 ɪn əˈdɪʃən tɪ ˈsɛvən ərˈɪʤənəl sɔŋz, ðə ˈælbəm ˌɪnˈkludɪd θri ˈkəvərz: "ˈlaɪˌlæk waɪn", beɪst ɔn ðə ˈvərʒən baɪ ˈninə meɪd ˈfeɪməs baɪ brʊks, "ˈkɔrpəs ˈkrɪsti ˈkɛrəl", frəm ˈbɛnʤəmən ə bɔɪ wɑz bɔrn, ə ˌkɑmpəˈzɪʃən ðət ˈbəkli wɑz ˌɪntrəˈdust tɪ ɪn haɪ skul, beɪst ɔn ə ənd baɪ ˈlɛnərd koʊən, beɪst ɔn ʤɑn rɪˈkɔrdɪŋ frəm ðə koʊən ˈtrɪbjut ˈælbəm, əm jʊr hɪz rɛnˈdɪʃən əv "ˌhæləˈlujə" həz bɪn kɔld bɛst" ənd "wən əv ðə greɪt baɪ taɪm, ənd ɪz ˌɪnˈkludɪd ɔn ˈroʊlɪŋ stoʊnz lɪst əv "ðə 500 ˈgreɪtəst sɔŋz əv ɔl seɪlz əv greɪs wər sloʊ, ənd ɪt ˈgɑrnərd ˈlɪtəl ˈreɪdiˌoʊ dɪˈspaɪt ˈkrɪtɪkəl ðə ˈsɪdni ˈmɔrnɪŋ ˈhɛrəld proʊˈkleɪmd ɪt "ə roʊˈmæntɪk ˈmæstərˌpis" ənd ə "ˈpɪvətəl, dɪˈfaɪnɪŋ dɪˈspaɪt sloʊ ˌɪˈnɪʃəl seɪlz ðə ˈælbəm wɛnt goʊld ɪn fræns ənd ɔˈstreɪljə ˈoʊvər ðə nɛkst tu əˈʧivɪŋ goʊld ˈstætəs ɪn ðə juz. ɪn ənd ˈsɛlɪŋ ˈoʊvər sɪks taɪmz ˈplætənəm ɪn ɔˈstreɪljə ɪn greɪs wən əˌpriʃiˈeɪʃən frəm ə hoʊst əv rɪˈvɪrd mjuˈzɪʃənz ənd ˈɑrtɪsts, ˌɪnˈkludɪŋ ˈmɛmbərz əv ˈbɪgəst ˈɪnfluəns, lɛd ˈʤɪmi peɪʤ kənˈsɪdərd greɪs kloʊz tɪ biɪŋ hɪz "ˈfeɪvərɪt ˈælbəm əv ðə ˈrɑbərt plænt wɑz ˈɔlsoʊ ɛz wɑz bræd pɪt, seɪɪŋ əv wərk, "ðɛrz ən ˈəndərˌkərənt tɪ hɪz mˈjuzɪk, ðɛrz ˈsəmθɪŋ ju kænt ˈpɪnˌpɔɪnt. laɪk ðə bɛst əv fɪlmz, ər ðə bɛst əv ɑrt, ðɛrz ˈsəmθɪŋ goʊɪŋ ɔn ˌəndərˈniθ, ənd ðɛrz ə truθ ðɛr. ənd aɪ faɪnd hɪz stəf ˌæbsəˈlutli ˈhɔntɪŋ. ɪt ʤɪst ɪts ˈəndər maɪ ˈəðərz hu hæd ˈɪnfluənst mˈjuzɪk ˈlɔdɪd bɑb ˈdɪlən neɪmd ˈbəkli "wən əv ðə greɪt ˈsɔŋˌraɪtərz əv ðɪs ənd, ɪn ən ˈɪntərvˌju wɪθ ðə ˈvɪlɪʤ vɔɪs, ˈdeɪvɪd boʊi neɪmd greɪs ɛz wən əv 10 ˈælbəmz hid brɪŋ wɪθ ɪm tɪ ə ˈdɛzərt ðə ˈælbəm ɪˈvɛnʧəwəli wɛnt ɔn tɪ ˈfiʧər ɪn ˈroʊlɪŋ stoʊnz 500 ˈgreɪtəst ˈælbəmz əv ɔl taɪm ɪn 2003 əˈpɪrɪŋ æt noʊ. ˈkɑnsərt tʊrz ˈɛdət ˈbəkli spɛnt məʧ əv ðə nɛkst jɪr ənd ə hæf ˈtʊrɪŋ ˌɪnərˈnæʃənɑli tɪ prəˈmoʊt greɪs. frəm ðə ˈælbəmz riˈlis, hi pleɪd ɪn ˈnumərəs ˈkəntriz, frəm ɔˈstreɪljə, tɪ ðə ˈfɛstɪvəl ənd ðə 1995 ˈmɛltˌdaʊn ˈfɛstɪvəl æt wɪʧ hi sæŋ ˈhɛnri æt ðə ˌɪnvɪˈteɪʃən əv ˈɛlvɪs ˈfɑloʊɪŋ ˈreɪdiˌoʊ ˈθieɪtər tʊr, ðə bænd bɪˈgæn ə ˌjʊrəˈpiən tʊr ɔn ˈɔgəst 23 1994 ˈstɑrtɪŋ wɪθ pərˈfɔrmənsɪz ɪn ðə ənd ˈaɪərlənd. ðə tʊr kənˈtɪnjud ɪn ˌskændɪˈneɪviə ənd, θruaʊt sɛpˈtɛmbər, ˈnumərəs ˈkɑnsərts ɪn ˈʤərməni wər pleɪd. ðə tʊr ˈɛndɪd ɔn sɛpˈtɛmbər 22 wɪθ ə ˈkɑnsərt ɪn ˈpɛrɪs. ə gɪg ɔn sɛpˈtɛmbər 24 ɪn nu jɔrk ˈdəvˌteɪld ɔn tɪ ðə ɛnd əv ðə ˌjʊrəˈpiən tʊr ənd ˈbəkli ənd bænd spɛnt ðə nɛkst mənθ rɪˈlæksɪŋ ənd ə tʊr əv ˈkænədə ənd ðə juz. bɪˈgæn ɔn ɑkˈtoʊbər 19 1994 æt cbgb's*. ðə tʊr wɑz fɑr ˈriʧɪŋ wɪθ ˈkɑnsərts hɛld ɔn boʊθ ist ənd wɛst koʊsts əv ðə juz. ənd ə ˈnəmbər əv pərˈfɔrmənsɪz ɪn ˈsɛntrəl ənd ˈsəðərn steɪts. ðə tʊr ˈɛndɪd tu mənθs ˈleɪtər ɔn dɪˈsɛmbər 18 æt ˈmæksˌwɛlz ɪn ˈhoʊboʊkən, nu ˈæftər əˈnəðər mənθ əv rɛst ənd rɪˈhərsəl, ðə bænd kəˈmɛnst ə ˈsɛkənd ˌjʊrəˈpiən tʊr, ðɪs taɪm ˈmeɪnli fər pərˈmoʊʃən ˈpərpəsɪz. ðə bænd bɪˈgæn ðə tʊr ɪn ˈdəblɪn; ˈbəkli həz rɪˈmeɪnd ˌpɑrˈtɪkjələrli ˈpɑpjələr ɪn ðə ʃɔrt tʊr ˈlɑrʤli kənˈsɪstɪd əv pərˈmoʊʃənəl wərk ɪn ˈləndən ənd ɪn leɪt ˈʤænjuˌɛri, ðə bænd dɪd ðɛr fərst tʊr əv ʤəˈpæn, pleɪɪŋ ˈkɑnsərts ənd əˈpɪrɪŋ fər pərˈmoʊʃən əv ðə ˈælbəm ənd ˈnuli riˈlist ˌʤæpəˈniz ˈsɪŋgəl "læst ˌgʊdˈbaɪ". ðə bænd rɪˈtərnd tɪ ˈjʊrəp ɔn ˈfɛbruˌɛri 6 ənd tʊrd ˈvɛriəs ˈwɛstərn ˌjʊrəˈpiən ˈkəntriz ˌbiˈfɔr rɪˈtərnɪŋ tɪ ðə juz. ɔn mɑrʧ 6 əˈməŋ ðə gɪgz pərˈfɔrmd ˈdʊrɪŋ ðɪs ˈpɪriəd, ˈbəkli ənd hɪz bænd pərˈfɔrmd æt ə frɛnʧ ˈvɛnju, ðə bataclan*, ənd məˈtɪriəl frəm ðə ˈkɑnsərt wɑz rɪˈkɔrdɪd ənd ˈleɪtər riˈlist ɪn ɑkˈtoʊbər əv ðət jɪr ɛz ə fɔr træk, lɪv frəm ðə bataclan*. sɔŋz frəm ə pərˈfɔrməns ɔn ˈfɛbruˌɛri 25 æt ðə ˈvɛnju ɪn ˈrɑtərˌdæm, wər ˈsəbsəkwəntli riˈlist ɛz ə ˈsiˈdi, soʊ ˈtʊrɪŋ ɪn ˈeɪprəl wɪθ deɪts əˈkrɔs ðə juz. ənd ˈkænədə. ˈdʊrɪŋ ðɪs ˈpɪriəd ˈbəkli ənd ðə bænd ˈnoʊtəbli pleɪd ˈmɛˌtroʊ ɪn ʃəˈkɑˌgoʊ, wɪʧ wɑz rɪˈkɔrdɪd ɔn ˈvɪdioʊ ənd ˈleɪtər riˈlist ɛz lɪv ɪn ʃəˈkɑˌgoʊ ɔn ənd ˈleɪtər ɔn ˌdiˌviˈdi. ɪn əˈdɪʃən, ɔn ʤun 4 ðeɪ pleɪd æt ˈsoʊni mˈjuzɪk ˈstudiˌoʊz fər ðə ˈsoʊni mˈjuzɪk ˈreɪdiˌoʊ aʊər. ˈfɑloʊɪŋ ðɪs wɑz ə ˌjʊrəˈpiən tʊr bɪtˈwin ʤun 20 ənd ˌʤuˈlaɪ 18 ɪn wɪʧ ðeɪ pleɪd ˈmɛni ˈsəmər mˈjuzɪk ˈfɛstɪvəlz. ˈdʊrɪŋ ðə tʊr, ˈbəkli pleɪd tu ˈkɑnsərts æt ðə ˈpɛrɪs oʊˈlɪmpiə, ə ˈvɛnju meɪd ˈfeɪməs baɪ ðə frɛnʧ ˈvoʊkəlɪst piaf*. ˌɔlˈðoʊ hi hæd feɪld tɪ fɪl aʊt sˈmɔlər əˈmɛrɪkən ˈvɛnuz æt ðət pɔɪnt əv hɪz kərɪr, boʊθ naɪts æt ðə lɑrʤ ˈpɛrɪs oʊˈlɪmpiə ˈvɛnju wər soʊld ˈʃɔrtli ˈæftər ðɪs ˈbəkli əˈtɛndəd ðə ˈfɛstɪvəl də lɑ (ˈfɛstɪvəl əv ˈseɪkrɪd mˈjuzɪk), ˈɔlsoʊ hɛld ɪn fræns, ənd pərˈfɔrmd "wət wɪl ju seɪ" ɛz ə duˈɛt wɪθ qasimov*, ən ˌɑzərbaɪˈʤɑni ˈsɪŋər. ˈsoʊni həz sɪns riˈlist ə lɪv ˈælbəm, lɪv l'olympia*, wɪʧ həz ə səˈlɛkʃən əv sɔŋz frəm boʊθ oʊˈlɪmpiə pərˈfɔrmənsɪz ənd ðə kəˌlæbərˈeɪʃən wɪθ ˈmɪstəri waɪt bɔɪ tʊr, pleɪɪŋ ˈkɑnsərts ɪn boʊθ ˈsɪdni ənd ˈmɛlbərn, ɔˈstreɪljə, ˈlæstɪd bɪtˈwin ˈɔgəst 28 ənd sɛpˈtɛmbər 6 ənd rɪˈkɔrdɪŋz əv ðiz pərˈfɔrmənsɪz wər kəmˈpaɪld ənd riˈlist ɔn ðə lɪv ˈælbəm ˈmɪstəri waɪt bɔɪ. ˈbəkli wɑz soʊ wɛl rɪˈsivd ˈdʊrɪŋ ðiz ˈkɑnsərts ðət hɪz ˈælbəm greɪs wɛnt goʊld ɪn ɔˈstreɪljə, ˈsɛlɪŋ ˈoʊvər ˈkɑpiz, ənd ˈteɪkɪŋ ðɪs ˈɪntu əˈkaʊnt hi ˌdɪˈsaɪdɪd ə ˈlɔŋgər tʊr wɑz ˈnidɪd ənd rɪˈtərnd fər ə tʊr əv nu ˈzilənd ənd ɔˈstreɪljə ɪn ˈfɛbruˌɛri ðə ˈfɑloʊɪŋ bɪtˈwin ðə tu tʊrz, ˈbəkli ənd ðə bænd tʊk ə breɪk frəm ˈtʊrɪŋ. ˈbəkli pleɪd ˈsoʊˌloʊ ɪn ðə ˈminˌtaɪm wɪθ ˈkɑnsərts æt sin-é*-é ənd ə nu jɪrz iv ˈkɑnsərt æt ˈmərkjəri laʊnʤ ɪn nu ˈæftər ðə breɪk, ðə bænd spɛnt ðə məˈʤɔrəti əv ˈfɛbruˌɛri ɔn ðə hɑrd lək tʊr ɪn ɔˈstreɪljə ənd nu ˈzilənd, bət ˈtɛnʧənz hæd ˈrɪzən bɪtˈwin ðə grup ənd ˈdrəmər mæt ˈʤɑnsən. ðə ˈkɑnsərt ɔn mɑrʧ 1 1996 wɑz ðə læst gɪg hi pleɪd wɪθ ˈbəkli ənd hɪz məʧ əv ðə məˈtɪriəl frəm ðə tʊrz əv 1995 ənd 1996 wɑz rɪˈkɔrdɪd ənd riˈlist ɔn ˈiðər pərˈmoʊʃənəl eps*, səʧ ɛz ðə greɪs, ər ˈpɑsʧʊməsli ɔn ˈælbəmz, səʧ ɛz ˈmɪstəri waɪt bɔɪ (ə ˈrɛfərəns tɪ ˈbəkli nɑt ˈjuzɪŋ hɪz ril neɪm) ənd lɪv ə l'olympia*. ˈmɛni əv ðə ˈəðər ˈkɑnsərts ˈbəkli pleɪd ˈdʊrɪŋ ðɪs ˈpɪriəd hæv ˈsərfɪst ɔn ˈbuˌtlɛg ˈfɑloʊɪŋ ˈʤɑnsənz dɪˈpɑrʧər, ðə bænd, naʊ wɪˈθaʊt ə ˈdrəmər, wɑz pʊt ɔn hoʊld ənd dɪd nɑt pərˈfɔrm lɪv əˈgɛn ənˈtɪl ˈfɛbruˌɛri 12 du tɪ ðə ˈprɛʃər frəm ɪkˈstɛnsɪv ˈtʊrɪŋ, ˈbəkli spɛnt ðə məˈʤɔrəti əv ðə jɪr əˈweɪ frəm ðə steɪʤ. ˌhaʊˈɛvər, frəm meɪ 2 tɪ meɪ 5 hi pleɪd ə ʃɔrt stɪnt ɛz bæs ˌgɪˈtɑrɪst wɪθ maɪnd saɪəns əv ðə maɪnd, wɪθ frɛnd ˈneɪθən ˈlɑrsən, ðɛn ˌgɪˈtɑrɪst əv ˈʃədər tɪ ˈbəkli rɪˈtərnd tɪ pleɪɪŋ lɪv ˈkɑnsərts wɪn hi wɛnt ɔn hɪz "ˈfænəm ˈsoʊˌloʊ tʊr" əv ɪn ðə ˌnɔrˈθist ɪn dɪˈsɛmbər 1996 əˈpɪrɪŋ ˈəndər ə ˈsɪriz əv ˈeɪliəsɪz: ðə crackrobats*, pəˈzɛst baɪ ɛlvz, ˈfɑðər ˈdɛmoʊ, smackrobiotic*, ðə halfspeeds*, crit-club*, ˈtɑpləs əˈmɛrɪkə, ˈmɑrθə ðə nicotines*, ənd ə ˈpəpɪt ʃoʊ neɪmd baɪ weɪ əv ˌʤəstəfəˈkeɪʃən, ˈbəkli ˈpoʊstɪd ə noʊt ɔn hɪz ˈɪntərˌnɛt saɪt ˈsteɪtɪŋ ðət hi mɪst ðə ˌænəˈnɪmɪti əv pleɪɪŋ ɪn ˌkæˈfeɪz ənd ˈloʊkəl bɑrz: ðɛr wɑz ə taɪm ɪn maɪ laɪf nɑt tu lɔŋ əˈgoʊ wɪn aɪ kʊd ʃoʊ əp ɪn ə kəˈfeɪ ənd ˈsɪmpli du wət aɪ du, meɪk mˈjuzɪk, lərn frəm pərˈfɔrmɪŋ maɪ mˈjuzɪk, ɪkˈsplɔr wət ɪt minz tɪ mi, i.e*., hæv fən waɪl aɪ ˈɪrɪˌteɪt ˌɛnərˈteɪn ən ˈɔdiəns hu doʊnt noʊ mi ər wət aɪ æm əˈbaʊt. ɪn ðɪs ˌsɪʧuˈeɪʃən aɪ hæv ðət ˈprɛʃəs ənd ˌɪrəˈpleɪsəbəl ˈləgʒəri əv ˈfeɪljər, əv rɪsk, əv sərˈɛndər. aɪ wərkt ˈvɛri hɑrd tɪ gɪt ðɪs kaɪnd əv θɪŋ təˈgɛðər, ðɪs wərk ˈfɔrəm. aɪ ləvd ɪt ənd ðɛn aɪ mɪst ɪt wɪn ɪt ˌdɪsəˈpɪrd. ɔl aɪ æm duɪŋ ɪz riˈkleɪmɪŋ ˈskɛʧɪz fər maɪ sˈwiˌthɑrt ðə drəŋk ˈɛdət ˈæftər kəmˈplitɪŋ ˈtʊrɪŋ ɪn 1996 ˈbəkli ˈstɑrtɪd tɪ raɪt fər ə nu ˈælbəm tɪ bi kɔld maɪ sˈwiˌthɑrt ðə drəŋk. ˈbəkli wərkt wɪθ ˈpæti smɪθ ɔn hər 1996 ˈælbəm gɔn əˈgɛn ənd mɛt kəˈlæbərˌeɪtər tɑm, ðə lɛd ˈsɪŋər fər ðə pəŋk bænd ˈtɛləˌvɪʒən. ˈbəkli æst tɪ bi prəˈdusər ɔn ðə nu ˈælbəm ənd hi ɪn ðə ˈmɪdəl əv 1996 ˈbəkli ənd hɪz bænd bɪˈgæn rɪˈkɔrdɪŋ ˈsɛʃənz ɪn mænˈhætən wɪθ. ˈɛrɪk pleɪd ðə drəmz θru ðiz ˈsɛʃənz ɛz ə ˈstɑpˌgæp bɪtˈwin ðə deɪts ˈdrəmər mæt ˈʤɑnsən lɛft ənd ˌbiˈfɔr ˈpɑrkər ˈkɪndrɪd ʤɔɪnd ɛz ˈfʊlˌtaɪm əraʊnd ðɪs taɪm ˈbəkli mɛt ˈɪŋər əv ðə nɪmfs ɪn ən ist ˈvɪlɪʤ ənd strək əp ə fæst ənd kloʊz ˈfrɛndʃɪp. təˈgɛðər, ðeɪ kənˈtrɪbjutɪd ə træk tɪ ˈkɛruæk: kɪks ʤɔɪ ˈdɑrknəs, ə ʤæk ˈkɛruæk ˈtrɪbjut ˈæftər ˈbæˌkəp ˌgɪˈtɑrɪst fər ən ˈəpˌkəmɪŋ ˈælbəm kwɪt ðə ˈprɑʤɛkt, ˈbəkli ˈɔfərd tɪ fɪl hi bɪˈkeɪm ˈvɛri əˈtæʧt tɪ wən əv ðə sɔŋz frəm ðə ˈælbəm, "jɑrd əv blɑnd gərlz", ənd ˈkəvərd ɪt ɔn ˈskɛʧɪz fər maɪ sˈwiˌthɑrt ðə əˈnəðər rɪˈkɔrdɪŋ ˈsɛʃən ɪn mænˈhætən ˈfɑloʊd ɪn ˈərli 1997 bət ˈbəkli ənd ðə bænd wər ənˈsætɪsˌfaɪd, ənd ðə ˈælbəm wɑz nɑt kənˈsɪdərd ˈfɪnɪʃt. ɔn ˈfɛbruˌɛri 4 1997 ˈbəkli pleɪd ə ʃɔrt sɛt æt ðə ˈnɪtɪŋ ˈfæktəriz tɛnθ ˌænəˈvərsəri ˈkɑnsərt ˈfiʧərɪŋ ə səˈlɛkʃən əv hɪz nu sɔŋz: "ʤuəl bɑks", "ˈmɔrnɪŋ θɛft", "ˈɛvriˌbɑdi hir wɔnts ju", "ðə skaɪ ɪz ə ˈlændˌfɪl" ənd "jɑrd əv blɑnd lu rid wɑz ðɛr tɪ ənd ɪkˈsprɛst ən ˈɪntəˌrɛst ɪn ˈwərkɪŋ wɪθ ðə bænd pleɪd ðɛr fərst gɪg wɪθ ˈpɑrkər ˈkɪndrɪd, ðɛr nu ˈdrəmər, æt ˈɑˌrlinz ˈgroʊsəri ɪn nu jɔrk ɔn ˈfɛbruˌɛri 9 ðə sɛt ˈfiʧərd məʧ əv nu məˈtɪriəl ðət wʊd əˈpɪr ɔn ˈskɛʧɪz fər maɪ sˈwiˌthɑrt ðə drəŋk ənd ə rɪˈkɔrdɪŋ həz bɪˈkəm wən əv moʊst ˈwaɪdli dɪˈstrɪbjətəd ˈleɪtər ðət mənθ, ˈbəkli rɪˈkɔrdɪd ə ˈspoʊkən wərd ˈrɛdɪŋ əv ðə ˈɛdgər ˈælən poʊ poʊəm, "ulalume*", fər ðə ˈælbəm kloʊzd ɔn əˈkaʊnt əv ðɪs wʊd bi hɪz læst rɪˈkɔrdɪŋ ɪn nu jɔrk; ˈʃɔrtli ˈæftər, hi muvd tɪ ˈmɛmpfɪs, ˌtɛnəˈsi. ˈbəkli bɪˈkeɪm ˈɪntəˌrɛstɪd ɪn rɪˈkɔrdɪŋ æt ˈizli məˈkeɪn rɪˈkɔrdɪŋ ɪn ˈmɛmpfɪs, æt ðə səˈʤɛsʧən əv frɛnd deɪv shaʊs frəm ðə hi ˈrɛntɪd ə ˈʃɑtˌgən haʊs ðɛr, əv wɪʧ hi wɑz soʊ fɑnd hi ˈkɑnˌtæktɪd ðə ˈoʊnər əˈbaʊt ðə ˌpɑsəˈbɪləˌti əv baɪɪŋ θruaʊt ðɪs ˈpɪriəd, ˈfɛbruˌɛri 12 tɪ meɪ 26 1997 ˈbəkli pleɪd æt ˈbɛrɪstərz', ə bɑr ˈloʊˌkeɪtəd ɪn ˈdaʊnˈtaʊn ˈmɛmpfɪs ˌəndərˈniθ ə ˈpɑrkɪŋ gərɑʒ ɪn ən ˈæli ɔf ˈʤɛfərsən ˈævəˌnu. hi pleɪd ˈnumərəs taɪmz ɪn ˈɔrdər tɪ wərk θru ðə nu məˈtɪriəl ɪn ə lɪv ˈætməsˌfɪr, æt fərst wɪθ ðə bænd ðɛn ˈsoʊˌloʊ ɛz pɑrt əv ə ˈmənˌdeɪ naɪt ɪn ˈərli ˈfɛbruˌɛri, ˈbəkli ənd ðə bænd dɪd ə θərd rɪˈkɔrdɪŋ ˈsɛʃən wɪθ, ɪn ˈmɛmpfɪs, bət ˈbəkli ɪkˈsprɛst hɪz ˌdɪsætɪsˈfækʃən wɪθ ðə ˈsɛʃənz ənd ˈleɪtər kɔld greɪs prəˈdusər, ˈændi ˈwɔlɪs, tɪ stɛp ɪn ɛz ˈbəkli ˈstɑrtɪd rɪˈkɔrdɪŋ ˈdɛˌmoʊz ɔn hɪz oʊn rɪˈkɔrdər ɪn ˌprɛpərˈeɪʃən fər ə ˈfɔrθˈkəmɪŋ ˈsɛʃən wɪθ səm əv ðiz ˈdɛˌmoʊz wər sɛnt tɪ hɪz bænd ɪn nu jɔrk, hu ˈlɪsənd tɪ ðɛm ɪnˌθuziˈæstɪkli, ənd wər ɪkˈsaɪtɪd tɪ ˈrɛzəˌmeɪ ˈwərkɪŋ ɔn ðə ˈælbəm. ðiz rɪˈkɔrdɪŋz wʊd goʊ ɔn tɪ kəmˈpoʊz ðə ˈsɛkənd dɪsk əv ˈskɛʧɪz fər maɪ sˈwiˌthɑrt ðə drəŋk. ˌhaʊˈɛvər ˈbəkli wɑz nɑt ɪnˈtaɪərli ˈhæpi wɪθ ðə rɪˈzəlts ənd hi sɛnt hɪz bænd bæk tɪ nu jɔrk waɪl hi steɪd bɪˈhaɪnd tɪ wərk ɔn ðə sɔŋz. ðə bænd wɑz ˈskɛʤʊld tɪ rɪˈtərn tɪ ˈmɛmpfɪs fər rɪˈhərsəlz ənd rɪˈkɔrdɪŋ ˈsɛʃənz ɔn meɪ 29 dɛθ ˈɛdət ɔn ðə ˈivnɪŋ əv meɪ 29 1997 bænd flu tɪ ˈmɛmpfɪs ˌɪnˈtɛndɪŋ tɪ ʤɔɪn ɪm ɪn hɪz ˈstudiˌoʊ ðɛr tɪ wərk ɔn ðə ˈnuli ˈrɪtən məˈtɪriəl. ðə seɪm ˈivnɪŋ, ˈbəkli wɛnt sˈwɪmɪŋ ɪn wʊlf ˈrɪvər ə slæk ˈwɔtər ˈʧænəl əv ðə ˌmɪsɪˈsɪpi ˈrɪvər, waɪl ˈwɛrɪŋ buts ənd ɔl əv hɪz ˈkloʊðɪŋ ənd ˈsɪŋɪŋ ðə ˈkɔrəs əv ðə sɔŋ "hoʊl ˈlɑtə ləv" baɪ lɛd ˈbəkli hæd gɔn sˈwɪmɪŋ ɪn ðə ˈrɪvər ˈsɛvərəl taɪmz ə ˈroʊdi ɪn bænd, kiθ ˈfoʊti, rɪˈmeɪnd ˈɑnˌʃɔr. ˈæftər ˈmuvɪŋ ə ˈreɪdiˌoʊ ənd gɪˈtɑr aʊt əv riʧ əv ðə weɪk frəm ə ˈpæsɪŋ ˈtəgˌboʊt, ˈfoʊti lʊkt əp tɪ si ðət ˈbəkli hæd ˈvænɪʃt. dɪˈspaɪt ə dɪˈtərmənd ˈrɛskju ˈɛfərt ðət naɪt ɛz wɛl ɛz ðə ˈmɔrnɪŋ ˈæftər baɪ ˈskubə timz ənd ðə pəˈlis, ˈbəkli rɪˈmeɪnd ˈmɪsɪŋ. ɔn ʤun 4 tu ˈloʊkəlz ˈspɑtɪd hɪz ˈbɑdi ɪn ðə wʊlf ˈrɪvər nɪr ə ˈrɪvərˌboʊt, ənd hi wɑz brɔt tɪ lænd. ˈɔˌtɑpsi ʃoʊd noʊ saɪnz əv drəgz ər ˈælkəˌhɑl ɪn hɪz ˈsɪstəm, ənd ðə dɛθ wɑz ruld ɛz ən ˌæksəˈdɛnəl ˈdraʊnɪŋ. hɪz ɛˈsteɪt dɪˈklɛrd: ʤɛf dɛθ wɑz nɑt mɪˈstɪriəs, rɪˈleɪtɪd tɪ drəgz, ˈælkəˌhɑl, ər ˈsuɪˌsaɪd. wi hæv ə pəˈlis rɪˈpɔrt, ə ˈmɛdɪkəl ɛgˈzæmənərz rɪˈpɔrt, ənd ən aɪ ˈwɪtnəs tɪ pruv ðət ɪt wɑz ən ˌæksəˈdɛnəl ˈdraʊnɪŋ, ənd ðət ˈmɪstər. ˈbəkli wɑz ɪn ə gʊd freɪm əv maɪnd praɪər tɪ ðə ˈtrɪbjuts ˈɛdət grəˈfiti baɪ fænz ɪn ˈrəʃə, 2015 mˈjuzɪkəl staɪl ˈɛdət vɔɪs wɑz ə ˌpɑrˈtɪkjələrli dɪˈstɪŋgwɪʃt ˈæˌspɛkt əv hɪz mˈjuzɪk. hi pəˈzɛst ə ˈtɛnər ˈvoʊkəl reɪnʤ ðət ˈreɪnʤɪz bɪtˈwin θri ənd ə hæf tɪ fɔr ˈbəkli meɪd fʊl juz əv ðɪs reɪnʤ ɪn hɪz pərˈfɔrməns, ˌpɑrˈtɪkjələrli ɪn ðə sɔŋz frəm greɪs, ənd riʧt piks əv haɪ ʤi ɪn ðə ˈtɛnər reɪnʤ æt ðə ˌkəlməˈneɪʃən əv "greɪs". "ˈkɔrpəs ˈkrɪsti ˈkɛrəl" wɑz səŋ ɪnˈtaɪərli ɪn ə haɪ fɔlˈsɛˌtoʊ. ðə pɪʧ ənd ˈvɑljum əv hɪz ˈsɪŋɪŋ wɑz ˈɔlsoʊ ˈhaɪli ˈvɛriəbəl, ɛz sɔŋz səʧ ɛz "ˈmoʊʤoʊ pɪn" ənd "drim ˈbrəðər" bɪˈgæn wɪθ kˈwaɪətər ˈvoʊkəlz ˌbiˈfɔr ˈriʧɪŋ ˈlaʊdər, haɪər piks nɪr ðə ˈɛndɪŋ əv ðə ˈbəkli pleɪd gɪˈtɑr ɪn ə vərˈaɪəti əv staɪlz ˈreɪnʤɪŋ frəm ðə dɪˈstɔrtɪd rɑk əv "skaɪ ɪz ə ˈlændˌfɪl", tɪ ðə ʤæz əv "streɪnʤ frut", ðə ˈkəntri ˈstaɪlɪŋ əv "lɔst ˈhaɪˌweɪ", ənd ðə gɪˈtɑr staɪl ɪn "ˌhæləˈlujə". hi ɔˈkeɪʒənəˌli juzd slaɪd gɪˈtɑr ɪn lɪv pərˈfɔrmənsɪz ɛz ə ˈsoʊˌloʊ ækt ənd juzd ə slaɪd fər ðə ˌɪntrəˈdəkʃən əv "læst ˌgʊdˈbaɪ" wɪn pleɪɪŋ wɪθ ə fʊl bænd. hɪz sɔŋz wər ˈrɪtən ɪn ˈvɛriəs gɪˈtɑr wɪʧ, əˈpɑrt frəm ðə ˈstændərd ˈtunɪŋ, ˌɪnˈkludɪd drɔp di ˈtunɪŋ ənd ən ˈoʊpən ʤi ˈtunɪŋ. hɪz gɪˈtɑr pleɪɪŋ staɪl ˈvɛrid frəm ˈhaɪli məˈlɑdɪk sɔŋz, səʧ ɛz "ðə twɛlfθ əv ˈnɛvər", tɪ mɔr pərˈkəsəv wənz, səʧ ɛz "nu jɪrz ɪkˈwɪpmənt ˈɛdət ˈbəkli ˈmeɪnli pleɪd ə 1983 ˈfɛndər ənd ə bət ˈɔlsoʊ juzd ˈsɛvərəl ˈəðər gɪˈtɑrz, ˌɪnˈkludɪŋ ə blæk ˈgɪbsən lɛs pɔl ˈkəstəm ənd ə 1967 gɪld əˈkustɪk. wɪn ɔn tʊr wɪθ hɪz bænd, hi juzd ˈfɛndər ˈæmpləˌfaɪərz fər ə klin saʊnd ənd ˈmeɪsə ˈbʊgi fər hɪz toʊnz. hi wɑz praɪˈmɛrəli ə ˈsɪŋər ənd ˌgɪˈtɑrɪst; ˌhaʊˈɛvər, hi ˈɔlsoʊ pleɪd ˈəðər ˈɪnstrəmənts ɔn ˈvɛriəs ˈstudiˌoʊ rɪˈkɔrdɪŋz ənd ˈsɛʃənz, ˌɪnˈkludɪŋ bæs, ˈdoʊˌbroʊ, ˈmændəˌlɪn, hɑrˈmoʊniəm (hərd ɔn ðə ˈɪntroʊ tɪ "ˈləvər, ju ˈʃʊdəv kəm ˈoʊvər"), ˈɔrgən, ˈdəlsɪmər ("drim ˈbrəðər" ˈɪntroʊ), tabla*, esraj*, ənd ˈlɛgəsi ˈɛdət ˈæftər dɛθ, ə kəˈlɛkʃən əv ˈdɛmoʊ rɪˈkɔrdɪŋz ənd ə ˈælbəm hi hæd bɪn riˈwərkɪŋ fər hɪz ˈsɛkənd ˈælbəm wər riˈlist ɛz ˈskɛʧɪz fər maɪ sˈwiˌthɑrt ðə drəŋk ðə ˌkɑmpəˈleɪʃən biɪŋ ˈoʊvərˌsin baɪ hɪz ˈməðər, ˈmɛri, bænd ˈmɛmbərz ənd oʊld frɛnd ˈmaɪkəl ʤeɪ. klaʊs, ɛz wɛl ɛz krɪs kɔrˈnɛl. ðə ˈælbəm əˈʧivd goʊld seɪlz ɪn ɔˈstreɪljə ɪn θri ˈəðər ˈælbəmz kəmˈpoʊzd əv lɪv rɪˈkɔrdɪŋz hæv ˈɔlsoʊ bɪn riˈlist, əˈlɔŋ wɪθ ə lɪv ˌdiˌviˈdi əv ə pərˈfɔrməns ɪn ʃəˈkɑˌgoʊ. ə ˈpriviəsli ənrɪˈlist 1992 rɪˈkɔrdɪŋ əv "aɪ ʃæl bi riˈlist", səŋ baɪ ˈbəkli ˈoʊvər ðə foʊn ɔn lɪv ˈreɪdiˌoʊ, wɑz riˈlist ɔn ðə ˈælbəm fər nu ˌɔˈrlinz. sɪns hɪz dɛθ, ˈbəkli həz bɪn ðə ˈsəbʤɪkt əv ˈnumərəs ˌdɑkjəˈmɛnəriz: fɔl ɪn laɪt, ə 1999 pərˈdəkʃən fər frɛnʧ ˌtɛləˈvɪʒən; ˌgʊdˈbaɪ ənd hɛˈloʊ, ə ˈproʊˌgræm əˈbaʊt ˈbəkli ənd hɪz ˈfɑðər prəˈdust fər ˈnɛðərləndz ˌtɛləˈvɪʒən ɪn 2000 ənd ˈɛvriˌbɑdi hir wɔnts ju, ə ˌdɑkjəˈmɛnəri meɪd ɪn 2002 baɪ ðə ˈbrɪtɪʃ ˈbrɔdˌkæstɪŋ ˌkɔrpərˈeɪʃən (ˌbibiˈsi). ən ˌdɑkjəˈmɛnəri əˈbaʊt ˈbəkli kɔld əˈmeɪzɪŋ greɪs: ʤɛf ˈbəkli həz bɪn ʃoʊn æt ˈvɛriəs fɪlm ˈfɛstɪvəlz tɪ ˈkrɪtɪkəl ðə fɪlm wɑz riˈlist ˈwərldˈwaɪd ɪn 2009 baɪ ˈsoʊni ˈlɛgəsi ɛz pɑrt əv ðə greɪs əraʊnd ðə wərld dəˈləks ɪn ðə spərɪŋ əv 2009 ɪt wɑz rɪˈvild ðət raɪən ˈʤæfi, bɛst noʊn fər ðə ˈmuvi ðə ˈrɑkər, hæd ˌriˈpleɪst braɪən ʤən ɛz ˈskrinˌraɪtər fər ðə ˈəpˌkəmɪŋ fɪlm ˈmɪstəri waɪt ɔˈraɪən ˈwɪljəmz ɪz ˈɔlsoʊ sɛt tɪ ðə fɪlm wɪθ mɪˈʃɛl ə ˈsɛpərˌeɪt ˈprɑʤɛkt ˌɪnˈvɑlvɪŋ ðə bʊk drim ˈbrəðər wɑz əˈlɛʤədli ˌpriməˈʧʊr dɛθ ˌɪnˈspaɪərd ˈmɛni ˈɑrtɪsts hi nu ər ˈɪnfluənst tɪ raɪt sɔŋz ɪn ˈtrɪbjut tɪ ðə leɪt ˈsɪŋər. ˈhɑrvi nu ɪm ˈpərsənəli ənd ɪn ðə sɔŋ "ˈmɛmpfɪs" ʃi teɪks laɪnz frəm ə sɔŋ ɔn hɪz ənˈfɪnɪʃt ˈælbəm, "ˈmɔrnɪŋ θɛft", ənd ɪn hər oʊn wərdz rɪˈflɛkts ɔn dɛθ: "ɪn ˈmɛmpfɪs daɪ ˈsədənli, æt ə ˈwəndərfəl eɪʤ, wɪr ˈrɛdi tɪ krɪs kɔrˈnɛl roʊt "weɪv ˌgʊdˈbaɪ", wɪʧ əˈpɪrd ɔn hɪz fərst ˈsoʊˌloʊ ˈælbəm, juˈfɔriə ˈmɔrnɪŋ, fər ˈrufəs ˈweɪnˌraɪt, huz ˈflɛʤlɪŋ kərɪr hæd ˈbɛrli ˈstɑrtɪd wɪn hi mɛt ˈbəkli, roʊt "ˈmɛmpfɪs ˈskaɪˌlaɪn" ɪn ˈtrɪbjut tɪ ɪm, ˈsɪŋɪŋ "ðɛn keɪm ˌhæləˈlujə ˈsaʊndɪŋ laɪk əˈfiljə, fər mi ɪn maɪ rum ˈlɪvɪŋ, tərn bæk ənd ju wɪl steɪ, ˈəndər ðə ˈmɛmpfɪs ˈdəŋkən ʃiks "ə ˈbɑdi goʊz daʊn", frəm hɪz 1998 ˈælbəm ˈhəmɪŋ, wɑz ə rɪˈspɑns tɪ stiv ˈeɪdi roʊt ə sɔŋ ˈtrɪbjut ɛnˈtaɪtəld "ˌmɪsɪˈsɪpi" ɔn hɪz 2006 ˈælbəm ɔl θɪŋz ril. ðə sɔŋ kənˈteɪnz ðə ˈlɪrɪks "ənˈtɪl ðə ˈmɔrnɪŋ θif stilz ðə ˈhəmɪŋ əv ðə lɔrd", ə ˈrɛfərəns tɪ sɔŋ "ˈmɔrnɪŋ ɪn meɪ ənd ʤun 2007 laɪf ənd mˈjuzɪk wər ˈsɛləˌbreɪtɪd ˈgloʊbəli wɪθ ˈtrɪbjuts ɪn ˈkænədə,, fræns, ˈaɪslənd, ˈɪzriəl, riˈpəblɪk əv ˌmæsəˈdoʊniə, ˈpɔrʧəgəl ənd ðə ˈmɛni əv ˈfæməli ˈmɛmbərz əˈtɛndəd ðə ˈvɛriəs ˈtrɪbjut ˈkɑnsərts əˈkrɔs ðə gloʊb, səm əv wɪʧ ðeɪ hɛlpt ˈɔrgəˌnaɪz. ðɛr ər θri ˈænjuəl ʤɛf ˈbəkli ˈtrɪbjut ɪˈvɛnts: ðə ənˈkɑmən graʊnd, ˈfiʧərɪŋ ə ˈkɑnsərt ˈskɛʤʊl, ən ˈivnɪŋ wɪθ ʤɛf ˈbəkli, ən ˈænjuəl nu jɔrk ˈsɪti ˈtrɪbjut, ənd ðə fɔl ɪn ðə ˈlætər ɪˈvɛnt ɪz rən baɪ ðə fɔl ɪn laɪt faʊnˈdeɪʃən, wɪʧ ɪn əˈdɪʃən tɪ ðə ˈkɑnsərts, rənz ə "gɪˈtɑrz fər skulz" ðə neɪm əv ðə faʊnˈdeɪʃən ɪz ˈteɪkən frəm ðə ˈlɪrɪks əv "nu jɪrz prɛr". ɪn 2015 teɪps əv ə 1993 rɪˈkɔrdɪŋ ˈsɛʃən fər kəˈləmbiə ˈrɛkərdz wər dɪˈskəvərd baɪ ˈsoʊni ɪgˈzɛkjətɪvz duɪŋ ˈrisərʧ fər ðə ˌænəˈvərsəri əv greɪs. ðə rɪˈkɔrdɪŋz hæv bɪn riˈlist ɔn ən ˈælbəm, ju ənd aɪ, ɪn mɑrʧ 2016 ənd ɪt ˈfiʧərz ˈmoʊstli ˈkəvərz əv sɔŋz rɪˈkɔrdɪd ˈpriviəsli baɪ ˈəðər ɪn 2012 æt tərˈɑntoʊ ˌɪnərˈnæʃənɑl fɪlm ˈfɛstɪvəl, ˈgritɪŋz frəm tɪm ˈbəkli prɛˈmɪrd; ðə fɪlm ɪkˈsplɔrz ðə riˈleɪʃənˌʃɪp ʤɛf ˈbəkli hæd wɪθ hɪz ˈbəkli ɪz ˈrɛfərənst ɪn ðə 2001 fɪlm vəˈnɪlə skaɪ, wɪn soʊˈfiə æsks ˈdeɪvɪd ɪf hi wʊd ˈrəðər ˈlɪsən tɪ ʤɛf ˈbəkli ər kɑr, tɪ wɪʧ hi rɪˈspɑndz, "boʊθ. ˌsaɪməlˈteɪniəsli." ɛz ˈdeɪvɪd ɪz ˈlivɪŋ soʊˈfiəz əˈpɑrtmənt, ðə mˈjuzɪk pleɪɪŋ ɪz ðə ˈɪntroʊ tɪ ʤɛf sɔŋ "læst ˌgʊdˈbaɪ", frəm hɪz 1994 ˈstudiˌoʊ ˈælbəm greɪs. riˈsərʤəns ˈɛdət ɔn mɑrʧ 7 2008 ˈvərʒən əv ðə ˈlɛnərd koʊən sɔŋ, "ˌhæləˈlujə", wɛnt tɪ noʊ. 1 ɔn ðə ˈaɪˌtunz ʧɑrt, ˈsɛlɪŋ ˈdaʊnˌloʊdz fər ðə wik, ˈæftər biɪŋ pərˈfɔrmd baɪ ˈʤeɪsən ˈkæstroʊ ɔn ðə ˈsɛvənθ ˈsizən əv ðə ˈtɛləˌvɪʒən ˈsɪriz əˈmɛrɪkən ðə sɔŋ ˈdeɪbjutɪd æt noʊ. 1 ðət wik ɔn ˈbɪlˌbɔrdz hɑt ˈdɪʤɪtəl sɔŋz ʧɑrt, ˈgɪvɪŋ ˈbəkli hɪz fərst noʊ. 1 ɔn ˈɛni ˈbɪlˌbɔrd ʧɑrt. ɪn ə ˈsɪmələr veɪn, ðə 2008 ɛks ˈfæktər ˈwɪnər, ˌælɪgˈzændrə bərk, riˈlist ə ˈkəvər əv "ˌhæləˈlujə" wɪθ ðə ˌɪnˈtɛnt tɪ tɔp ðə ˈsɪŋgəlz ʧɑrt ɛz ðə ˈkrɪsməs ˈnəmbər wən ˈsɪŋgəl. ˈbəkli fænz ˈkaʊnərd ðɪs, ˈlɔnʧɪŋ ə kæmˈpeɪn wɪθ ðə eɪm əv prəˈpɛlɪŋ ˈvərʒən tɪ ðə ˈnəmbər wən spɑt. ðə kæmˈpeɪn pɪkt əp səˈpɔrt θru ˈsoʊʃəl ˈnɛtˌwərkɪŋ ˈwɛbˌsaɪts ənd ɪt sun sprɛd tɪ ðə ˈmeɪnˌstrim bərks ˈvərʒən ɪˈvɛnʧəwəli riʧt ˈkrɪsməs ˈnəmbər wən ɔn ðə ʧɑrts ɪn dɪˈsɛmbər ˈvərʒən əv ðə sɔŋ ˈɛnərd ðə ʧɑrts æt noʊ. 49 ɔn noʊˈvɛmbər 30 ənd baɪ dɪˈsɛmbər 21 ɪt hæd riʧt noʊ. 2 dɪˈspaɪt ðə fækt ðət ɪt hæd nɑt bɪn ɪn ə ˈfɪzɪkəl dɪˈskɔgrəfi ˈɛdət ˈstudiˌoʊ ˈælbəm əˈwɔrdz ənd ˌnɑməˈneɪʃənz ˈɛdət noʊts ˈɛdət ˈrɛfərənsɪz ˈɛdət ˈfərðər ˈrɛdɪŋ ˈɛdət |
an argentine judge on thursday threw out a case against president cristina fernandez, in which it was claimed she conspired to spare iranian officials from prosecution over the 1994 bombing of a jewish center in buenos aires.
prosecutors had attempted to relaunch the case against fernandez following the mysterious death of their colleague alberto. had been pursuing the case himself before he was found shot dead in his apartment on january 18.
nisman was due to testify the next day in a hearing with congress over his claim.
fernandez has described the accusations as "absurd." she said she is convinced's death was a killing carried out by disgruntled former intelligence agents, as part of a plot to discredit her and destabilize the government.
following's death, fernandez dissolved the country's intelligence service and announced plans to create a new agency. argentina's congress approved the law early on wednesday evening, local time.
nisman, 51, was appointed 10 years ago by late argentinian president nestor kirchner to investigate the 1994 bombing of a jewish community center in the capital that killed 85 people.
in the week before his death, accused president fernandez, widow, of deals with iran so as to avoid investigating the attack. the legal suit he filed accused fernandez of working to absolve the iranian officials accused of orchestrating the attack.
but on thursday judge daniel said the documents filed failed to meet standards needed to open a formal court investigation.
iran has denied involvement in the 1994 attack.
the case has unsettled government. a week ago, hundreds of thousands of people took to the streets of buenos aires in a silent march to demand justice.
nisman's former wife, judge sandra arroyo salgado, has called for the case to be referred to an international commission, saying it had become too politicized domestically.
jr/msh (afp, ap, reuters) | ən ˈɑrʤənˌtin ʤəʤ ɔn ˈθərzˌdeɪ θru aʊt ə keɪs əˈgɛnst ˈprɛzɪdənt krɪˈstinə fɛrˈnɑndɛz, ɪn wɪʧ ɪt wɑz kleɪmd ʃi kənˈspaɪərd tɪ spɛr ˌɪˈrɑniən əˈfɪʃəlz frəm ˌprɑsəˈkjuʃən ˈoʊvər ðə 1994 ˈbɑmɪŋ əv ə ʤuɪʃ ˈsɛnər ɪn bˈweɪnəs ˈɛriz. ˈprɑsɪˌkjutərz hæd əˈtɛmptəd tɪ riˈlɔnʧ ðə keɪs əˈgɛnst fɛrˈnɑndɛz ˈfɑloʊɪŋ ðə mɪˈstɪriəs dɛθ əv ðɛr ˈkɑlig ælˈbərtoʊ. hæd bɪn pərˈsuɪŋ ðə keɪs hɪmˈsɛlf ˌbiˈfɔr hi wɑz faʊnd ʃɑt dɛd ɪn hɪz əˈpɑrtmənt ɔn ˈʤænjuˌɛri 18 wɑz du tɪ ˈtɛstɪˌfaɪ ðə nɛkst deɪ ɪn ə ˈhirɪŋ wɪθ ˈkɑŋgrəs ˈoʊvər hɪz kleɪm. fɛrˈnɑndɛz həz dɪˈskraɪbd ðə ˌækjəˈzeɪʃənz ɛz "əbˈsərd." ʃi sɛd ʃi ɪz kənˈvɪnst dɛθ wɑz ə ˈkɪlɪŋ ˈkɛrid aʊt baɪ dɪsˈgrənəld ˈfɔrmər ˌɪnˈtɛləʤəns ˈeɪʤənts, ɛz pɑrt əv ə plɑt tɪ dɪˈskrɛdət hər ənd dɪˈsteɪbəˌlaɪz ðə ˈgəvərnmənt. ˈfɑloʊɪŋ dɛθ, fɛrˈnɑndɛz dɪˈzɑlvd ðə ˈkəntriz ˌɪnˈtɛləʤəns ˈsərvɪs ənd əˈnaʊnst plænz tɪ kriˈeɪt ə nu ˈeɪʤənsi. ˌɑrʤənˈtinəz ˈkɑŋgrəs əˈpruvd ðə lɔ ˈərli ɔn ˈwɛnzˌdeɪ ˈivnɪŋ, ˈloʊkəl taɪm., 51 wɑz əˈpɔɪntɪd 10 jɪrz əˈgoʊ baɪ leɪt ˌɑrʤənˈtɪniən ˈprɛzɪdənt ˈnɛstər ˈkərknər tɪ ˌɪnˈvɛstəˌgeɪt ðə 1994 ˈbɑmɪŋ əv ə ʤuɪʃ kəmˈjunɪti ˈsɛnər ɪn ðə ˈkæpɪtəl ðət kɪld 85 ˈpipəl. ɪn ðə wik ˌbiˈfɔr hɪz dɛθ, əˈkjuzd ˈprɛzɪdənt fɛrˈnɑndɛz, ˈwɪdoʊ, əv dilz wɪθ ˌɪˈrɑn soʊ ɛz tɪ əˈvɔɪd ˌɪnˈvɛstəˌgeɪtɪŋ ðə əˈtæk. ðə ˈligəl sut hi faɪld əˈkjuzd fɛrˈnɑndɛz əv ˈwərkɪŋ tɪ əbˈzɑlv ðə ˌɪˈrɑniən əˈfɪʃəlz əˈkjuzd əv ˈɔrkɪˌstreɪtɪŋ ðə əˈtæk. bət ɔn ˈθərzˌdeɪ ʤəʤ ˈdænjəl sɛd ðə ˈdɑkjəmənts faɪld feɪld tɪ mit ˈstændərdz ˈnidɪd tɪ ˈoʊpən ə ˈfɔrməl kɔrt ˌɪnˌvɛstəˈgeɪʃən. ˌɪˈrɑn həz dɪˈnaɪd ˌɪnˈvɑlvmənt ɪn ðə 1994 əˈtæk. ðə keɪs həz ənˈsɛtəld ˈgəvərnmənt. ə wik əˈgoʊ, ˈhənərdz əv ˈθaʊzənz əv ˈpipəl tʊk tɪ ðə strits əv bˈweɪnəs ˈɛriz ɪn ə ˈsaɪlənt mɑrʧ tɪ dɪˈmænd ˈʤəstɪs. ˈfɔrmər waɪf, ʤəʤ ˈsændrə ərɔɪoʊ sɑlˈgɑdoʊ, həz kɔld fər ðə keɪs tɪ bi rɪˈfərd tɪ ən ˌɪnərˈnæʃənɑl kəˈmɪʃən, seɪɪŋ ɪt hæd bɪˈkəm tu pəˈlɪtɪˌsaɪzd dəˈmɛstɪkli. (afp*, ˌeɪˈpi, ˈrɔɪtərz) |
on mon., april 4, the day atlanta producer turned 30, he woke up to the news that lil uzi vert 's tour," which produced along with j.w. lucas , had debuted at no. 49 on the billboard hot 100 chart. "i was like man... that's god!" tells . "he's helping me out. some shit you really dream about, and then you actually wake up to that shit. crazy."
two weeks later, the song would shoot up to the no. 8 slot, making it's billboard top 10 song.
for one of most prolific producers, it's surprising to find out tour" is the first song of's to chart that high. over the last few years, he's landed production credits on classics for artists like future ( crazy," "chosen one" ) and young thug ( "danny glover," "ill" ), working hard to constantly stamp his name on new tracks from biggest stars. but while he's produced for over 10 artists in 2017 alone, ranging from pop star lo to miami rapper , it's breakout single that's finding him the most commercial success.
tm88 used fruity loops to make the tour" beat on a portable beats pill speaker after a wild experience in florida, where he's originally from. he had flown into his hometown of miami to work with future and gucci on some new music, and while waiting for his return flight to atlanta from fort lauderdale, a shooter opened fire in the terminal next to his. while footage of the shooting quickly went viral online, remained stranded in the airport for 10 hours, eventually driving to miami in order to fly back to atl. but in the process, he lost his laptop charger, so when he got back to his main studio, he couldn't use the laptop he'd normally hook up to his studio monitors.
"i had my old computers in atlanta, and i use the speakers because i have the hook ups," he says. "and i wanted to make beats so bad, i had a lot in me, i had a lot going on in my head, so i grabbed the pill, sat down and cooked like a 20 pack. sent uzi like 10 or 12 of ‘em, and… tour.'"
before he made the beat, he'd been with uzi, whom considers a good friend. "i was actually at home in my room, smoking and out," the producer, born bryan simmons, remembers. "uzi happened to call me. we were on for about an hour, just chopping it up about the industry and going on and how the real rock stars in this. we start a lot of the stuff that goes around. and us having that really gave him enough motivation to go in the studio and just go crazy and make a whole bunch of music. i know for a fact tour' came out of that session."
louieknows
tm had two beats on breakout 2015 project is rage ( "queso" and "lamborghini dream" with young thug), so the two had developed a rapport throughout the years. "we're actually friends. we talk often, all the time," he shares. "we pull up on each other, all that. so we had the, and you know how sometimes, you kind of need to talk to one of your friends to get some motivation, like working on projects, and we constantly seeing people stealing energy and shit, so you gotta get around the real energy and get your energy back."
he credits using the beats pill for the song's harder, more underground you don't always get with top of the line speakers. "me and southside used to make beats in the garage or anywhere we could make beats at. and it was real underground, trapped out crazy. you know, the gucci, the waka, all the music from that time frame was real gritty and trapped out and dark. [producing on the pill] brings you back down to like, what if i have speakers and i had to use the pill? could i do it?"
the producer heard the finished track three weeks before uzi released it, and soon after it dropped, knew the song was special. so, he hit drama and don cannon, two of managers, to let them know they had to give the song an extra push. according to, the song got passed around to five or six different engineers, resulting in the first itunes mix that fans disapproved of. after seeing the backlash online, they got it to another engineer who restored the original version.
"xo tour" is set to be on upcoming is rage 2 project (featuring a secret surprise guest), and says he has "over songs" with the philly rapper, so expect to see his production on the new project as well. the producer is also working on with yo and and has been working on new music with the weeknd, travis scott and migos, to name a few. plus, he's planning to drop his own solo as well as an 808 mafia project later this year.
"i try not to force it," the states when asked who else he wants to work with. "like when labels try to put me in studios with artists, kind of like a boot camp. like bro, not going, because i want it to be more organic."
like metro boomin, he hopes to expand his own brand as a producer this year. "the brand, getting bigger," he affirms.ing a lot of shows, i just did coachella. making a bigger platform this year, and hopefully i can start with this tour.' hopefully it goes to no. 1, and then have a different come up."
louieknows | ɔn mɑn., ˈeɪprəl 4 ðə deɪ æˈtlæntə prəˈdusər tərnd 30 hi woʊk əp tɪ ðə nuz ðət lɪl ˈuzi vərt 'ɛs tʊr wɪʧ prəˈdust əˈlɔŋ wɪθ j.w*. ˈlukəs hæd ˈdeɪbjutɪd æt noʊ. 49 ɔn ðə ˈbɪlˌbɔrd hɑt 100 ʧɑrt. "aɪ wɑz laɪk mæn... ðæts gɑd!" tɛlz "hiz ˈhɛlpɪŋ mi aʊt. səm ʃɪt ju ˈrɪli drim əˈbaʊt, ənd ðɛn ju ˈæˌkʧuəli weɪk əp tɪ ðət ʃɪt. ˈkreɪzi." tu wiks ˈleɪtər, ðə sɔŋ wʊd ʃut əp tɪ ðə noʊ. 8 slɑt, ˈmeɪkɪŋ ɪt ˈbɪlˌbɔrd tɔp 10 sɔŋ. fər wən əv moʊst proʊˈlɪfɪk prəˈdusərz, ɪts səˈpraɪzɪŋ tɪ faɪnd aʊt tʊr ɪz ðə fərst sɔŋ əv tɪ ʧɑrt ðət haɪ. ˈoʊvər ðə læst fju jɪrz, hiz ˈlændɪd pərˈdəkʃən ˈkrɛdɪts ɔn ˈklæsɪks fər ˈɑrtɪsts laɪk fˈjuʧər ˈkreɪzi," "ˈʧoʊzən wən" ənd jəŋ θəg "ˈdæni ˈgləvər," "ɪl" ˈwərkɪŋ hɑrd tɪ ˈkɑnstəntli stæmp hɪz neɪm ɔn nu træks frəm ˈbɪgəst stɑrz. bət waɪl hiz prəˈdust fər ˈoʊvər 10 ˈɑrtɪsts ɪn 2017 əˈloʊn, ˈreɪnʤɪŋ frəm pɑp stɑr loʊ tɪ maɪˈæmi ˈræpər ɪts ˈbreɪˌkaʊt ˈsɪŋgəl ðæts ˈfaɪndɪŋ ɪm ðə moʊst kəˈmərʃəl səkˈsɛs. juzd ˈfruti lups tɪ meɪk ðə tʊr bit ɔn ə ˈpɔrtəbəl bits pɪl ˈspikər ˈæftər ə waɪld ɪkˈspɪriəns ɪn ˈflɔrɪdə, wɛr hiz ərˈɪʤənəli frəm. hi hæd floʊn ˈɪntu hɪz ˈhoʊmˌtaʊn əv maɪˈæmi tɪ wərk wɪθ fˈjuʧər ənd ˈguʧi ɔn səm nu mˈjuzɪk, ənd waɪl ˈweɪtɪŋ fər hɪz rɪˈtərn flaɪt tɪ æˈtlæntə frəm fɔrt ˈlɔdərˌdeɪl, ə ˈʃutər ˈoʊpənd faɪər ɪn ðə ˈtərmənəl nɛkst tɪ hɪz. waɪl ˈfʊtɪʤ əv ðə ˈʃutɪŋ kˈwɪkli wɛnt ˈvaɪrəl ˈɔnˌlaɪn, rɪˈmeɪnd ˈstrændɪd ɪn ðə ˈɛrˌpɔrt fər 10 aʊərz, ɪˈvɛnʧəwəli ˈdraɪvɪŋ tɪ maɪˈæmi ɪn ˈɔrdər tɪ flaɪ bæk tɪ atl*. bət ɪn ðə ˈprɔˌsɛs, hi lɔst hɪz ˈlæpˌtɑp ˈʧɑrʤər, soʊ wɪn hi gɑt bæk tɪ hɪz meɪn ˈstudiˌoʊ, hi ˈkʊdənt juz ðə ˈlæpˌtɑp hid ˈnɔrməli hʊk əp tɪ hɪz ˈstudiˌoʊ ˈmɑnətərz. "aɪ hæd maɪ oʊld kəmˈpjutərz ɪn æˈtlæntə, ənd aɪ juz ðə ˈspikərz bɪˈkəz aɪ hæv ðə hʊk əps," hi sɪz. "ənd aɪ ˈwɔntɪd tɪ meɪk bits soʊ bæd, aɪ hæd ə lɔt ɪn mi, aɪ hæd ə lɔt goʊɪŋ ɔn ɪn maɪ hɛd, soʊ aɪ græbd ðə pɪl, sæt daʊn ənd kʊkt laɪk ə 20 pæk. sɛnt ˈuzi laɪk 10 ər 12 əv ‘‘em*, and…*… tʊr ˌbiˈfɔr hi meɪd ðə bit, hid bɪn wɪθ ˈuzi, hum kənˈsɪdərz ə gʊd frɛnd. "aɪ wɑz ˈæˌkʧuəli æt hoʊm ɪn maɪ rum, sˈmoʊkɪŋ ənd aʊt," ðə prəˈdusər, bɔrn braɪən ˈsɪmənz, rɪˈmɛmbərz. "ˈuzi ˈhæpənd tɪ kɔl mi. wi wər ɔn fər əˈbaʊt ən aʊər, ʤɪst ˈʧɑpɪŋ ɪt əp əˈbaʊt ðə ˈɪndəstri ənd goʊɪŋ ɔn ənd haʊ ðə ril rɑk stɑrz ɪn ðɪs. wi stɑrt ə lɔt əv ðə stəf ðət goʊz əraʊnd. ənd ˈjuˈɛs ˈhævɪŋ ðət ˈrɪli geɪv ɪm ɪˈnəf ˌmoʊtəˈveɪʃən tɪ goʊ ɪn ðə ˈstudiˌoʊ ənd ʤɪst goʊ ˈkreɪzi ənd meɪk ə hoʊl bənʧ əv mˈjuzɪk. aɪ noʊ fər ə fækt tʊr keɪm aʊt əv ðət ˈsɛʃən." hæd tu bits ɔn ˈbreɪˌkaʊt 2015 ˈprɑʤɛkt ɪz reɪʤ "queso*" ənd "ˌlæmbərˈgini drim" wɪθ jəŋ θəg), soʊ ðə tu hæd dɪˈvɛləpt ə ræˈpɔr θruaʊt ðə jɪrz. "wɪr ˈæˌkʧuəli frɛndz. wi tɔk ˈɔfən, ɔl ðə taɪm," hi ʃɛrz. "wi pʊl əp ɔn iʧ ˈəðər, ɔl ðət. soʊ wi hæd ðə, ənd ju noʊ haʊ ˈsəmˌtaɪmz, ju kaɪnd əv nid tɪ tɔk tɪ wən əv jʊr frɛndz tɪ gɪt səm ˌmoʊtəˈveɪʃən, laɪk ˈwərkɪŋ ɔn ˈprɑʤɛkts, ənd wi ˈkɑnstəntli siɪŋ ˈpipəl ˈstilɪŋ ˈɛnərʤi ənd ʃɪt, soʊ ju ˈgɑtə gɪt əraʊnd ðə ril ˈɛnərʤi ənd gɪt jʊr ˈɛnərʤi bæk." hi ˈkrɛdɪts ˈjuzɪŋ ðə bits pɪl fər ðə sɔŋz ˈhɑrdər, mɔr ˈəndərˌgraʊnd ju doʊnt ˈɔlˌweɪz gɪt wɪθ tɔp əv ðə laɪn ˈspikərz. "mi ənd ˈsaʊθˌsaɪd juzd tɪ meɪk bits ɪn ðə gərɑʒ ər ˈɛniˌwɛr wi kʊd meɪk bits æt. ənd ɪt wɑz ril ˈəndərˌgraʊnd, træpt aʊt ˈkreɪzi. ju noʊ, ðə ˈguʧi, ðə waka*, ɔl ðə mˈjuzɪk frəm ðət taɪm freɪm wɑz ril ˈgrɪti ənd træpt aʊt ənd dɑrk. [prəˈdusɪŋ ɔn ðə pɪl] brɪŋz ju bæk daʊn tɪ laɪk, wət ɪf aɪ hæv ˈspikərz ənd aɪ hæd tɪ juz ðə pɪl? kʊd aɪ du ɪt?" ðə prəˈdusər hərd ðə ˈfɪnɪʃt træk θri wiks ˌbiˈfɔr ˈuzi riˈlist ɪt, ənd sun ˈæftər ɪt drɑpt, nu ðə sɔŋ wɑz ˈspɛʃəl. soʊ, hi hɪt ˈdrɑmə ənd dɑn ˈkænən, tu əv ˈmænɪʤərz, tɪ lɛt ðɛm noʊ ðeɪ hæd tɪ gɪv ðə sɔŋ ən ˈɛkstrə pʊʃ. əˈkɔrdɪŋ tɪ, ðə sɔŋ gɑt pæst əraʊnd tɪ faɪv ər sɪks ˈdɪfərənt ˈɛnʤəˈnɪrz, rɪˈzəltɪŋ ɪn ðə fərst ˈaɪˌtunz mɪks ðət fænz ˌdɪsəˈpruvd əv. ˈæftər siɪŋ ðə ˈbæˌklæʃ ˈɔnˌlaɪn, ðeɪ gɑt ɪt tɪ əˈnəðər ˈɛnʤəˈnɪr hu rɪˈstɔrd ðə ərˈɪʤənəl ˈvərʒən. tʊr ɪz sɛt tɪ bi ɔn ˈəpˌkəmɪŋ ɪz reɪʤ 2 ˈprɑʤɛkt (ˈfiʧərɪŋ ə ˈsikrɪt səˈpraɪz gɛst), ənd sɪz hi həz "ˈoʊvər sɔŋz" wɪθ ðə ˈfɪli ˈræpər, soʊ ɪkˈspɛkt tɪ si hɪz pərˈdəkʃən ɔn ðə nu ˈprɑʤɛkt ɛz wɛl. ðə prəˈdusər ɪz ˈɔlsoʊ ˈwərkɪŋ ɔn wɪθ joʊ ənd ənd həz bɪn ˈwərkɪŋ ɔn nu mˈjuzɪk wɪθ ðə weeknd*, ˈtrævɪs skɑt ənd migos*, tɪ neɪm ə fju. pləs, hiz ˈplænɪŋ tɪ drɔp hɪz oʊn ˈsoʊˌloʊ ɛz wɛl ɛz ən 808 ˈmɑfiə ˈprɑʤɛkt ˈleɪtər ðɪs jɪr. "aɪ traɪ nɑt tɪ fɔrs ɪt," ðə steɪts wɪn æst hu ɛls hi wɔnts tɪ wərk wɪθ. "laɪk wɪn ˈleɪbəlz traɪ tɪ pʊt mi ɪn ˈstudiˌoʊz wɪθ ˈɑrtɪsts, kaɪnd əv laɪk ə but kæmp. laɪk broʊ, nɑt goʊɪŋ, bɪˈkəz aɪ wɔnt ɪt tɪ bi mɔr ɔrˈgænɪk." laɪk ˈmɛˌtroʊ boomin*, hi hoʊps tɪ ɪkˈspænd hɪz oʊn brænd ɛz ə prəˈdusər ðɪs jɪr. "ðə brænd, ˈgɪtɪŋ ˈbɪgər," hi əˈfərmz. ə lɔt əv ʃoʊz, aɪ ʤɪst dɪd coachella*. ˈmeɪkɪŋ ə ˈbɪgər ˈplætˌfɔrm ðɪs jɪr, ənd ˈhoʊpfəli aɪ kən stɑrt wɪθ ðɪs tʊr ˈhoʊpfəli ɪt goʊz tɪ noʊ. 1 ənd ðɛn hæv ə ˈdɪfərənt kəm əp." |
this was posted on tuesday, september 26, 2017 by rodney on his radio & tv talk blog
eric von is trading places on news and am 750 with herman cain starting monday, october 2.
the former regular guy will begin airing a show from 9 a.m. to 11 a.m. while cain will take the slot at 11 a.m.
von, whose show is called the "von doctrine," plans to continue his bonus podcast each day as well.
haessler's team - which includes autumn fischer, tim andrews, jared yamamoto, greg russ and english nick - will remain the same. he began his weekday show on in january after hosting a weekend show for a couple of years.
"i never stop moving, that's my strategy," von joked. "nobody can pin me down. before i fail at any one thing, i move on and do it another time."
more seriously, he said he said he respects "herman cain as a person and as radio personality. i think he's going to be great at 11. he's a great lead in to rush."
pete spriggs, program director, said this will enable cain to have more flexibility as he continues work in other venues. cain had been syndicated on several dozen stations until earlier this year. he's now heard on handful of radio stations.
cain, a businessman and a presidential candidate for the 2012 race, took over for neal boortz in early 2013. he's 71.
von, 53, was known as one half of the regular guys team for and rock from 1998 through 2013.
he feels nothing but gratitude for this opportunity: "my philosophy is i will sit on the bench and do whatever the coach wants me to do in the game. it's an honor they feel this show is good enough to be put on at that time. i'm looking forward to it. i'm excited. how many people leave music radio and get a chance like this?"
von said he was a little nervous when he began the weekday show, wondering if the audience would accept him. after a few months, once he realized they would, he relaxed.
eric von holding fort at the mic at studios monday, january 9, 2017, his first day with his new weekday show. credit: rodney ho/
"i think at some point you lose the fear and take ownership of the time slot you're doing," he said. "you recognize the sky's the limit. we can do whatever we want. the audience trusts us. they know they'll get compelling radio. it's a very funny show. our motto is we'll have as much fun every day as the news cycle allows us."
he thinks this is the best show he's ever been part of, even better than the regular guys. "we have no artificial limits on the ability of each person to perform their best," he said. "at the last show, there were artificial limits. 'don't do too much.' we don't have that around here. whatever they can contribute to make it a great show is accepted and appreciated. i want more of it."
shannon burke over at rival since taking over the 9 a.m. to noon slot 15 months ago has more than quadrupled the audience from his predecessor michael graham.
wsb radio and the atlanta are both part of cox media group. | ðɪs wɑz ˈpoʊstɪd ɔn ˈtuzˌdeɪ, sɛpˈtɛmbər 26 2017 baɪ ˈrɑdni ɔn hɪz ˈreɪdiˌoʊ ˌtɛləˈvɪʒən tɔk blɔg ˈɛrɪk vɔn ɪz ˈtreɪdɪŋ ˈpleɪsɪz ɔn nuz ənd æm 750 wɪθ ˈhərmən keɪn ˈstɑrtɪŋ ˈmənˌdeɪ, ɑkˈtoʊbər 2 ðə ˈfɔrmər ˈrɛgjələr gaɪ wɪl bɪˈgɪn ˈɛrɪŋ ə ʃoʊ frəm 9 a.m*. tɪ 11 a.m*. waɪl keɪn wɪl teɪk ðə slɑt æt 11 a.m*. vɔn, huz ʃoʊ ɪz kɔld ðə "vɔn ˈdɔktərɪn," plænz tɪ kənˈtɪnju hɪz ˈboʊnəs ˈpɔdˌkæst iʧ deɪ ɛz wɛl. tim wɪʧ ˌɪnˈkludz ˈɔtəm ˈfɪʃər, tɪm ˈænˌdruz, ˈʤɛrɪd jɑmɑˈmoʊtoʊ, grɛg rəs ənd ˈɪŋlɪʃ nɪk wɪl rɪˈmeɪn ðə seɪm. hi bɪˈgæn hɪz ˈwikˌdeɪ ʃoʊ ɔn ɪn ˈʤænjuˌɛri ˈæftər ˈhoʊstɪŋ ə ˈwiˌkɪnd ʃoʊ fər ə ˈkəpəl əv jɪrz. "aɪ ˈnɛvər stɑp ˈmuvɪŋ, ðæts maɪ ˈstrætəʤi," vɔn ʤoʊkt. "ˈnoʊˌbɑˌdi kən pɪn mi daʊn. ˌbiˈfɔr aɪ feɪl æt ˈɛni wən θɪŋ, aɪ muv ɔn ənd du ɪt əˈnəðər taɪm." mɔr ˈsɪriəsli, hi sɛd hi sɛd hi rɪˈspɛkts "ˈhərmən keɪn ɛz ə ˈpərsən ənd ɛz ˈreɪdiˌoʊ ˌpərsəˈnælɪti. aɪ θɪŋk hiz goʊɪŋ tɪ bi greɪt æt 11 hiz ə greɪt lɛd ɪn tɪ rəʃ." pit sprɪgz, ˈproʊˌgræm dɪˈrɛktər, sɛd ðɪs wɪl ɪˈneɪbəl keɪn tɪ hæv mɔr ˌflɛksəˈbɪləti ɛz hi kənˈtɪnjuz wərk ɪn ˈəðər ˈvɛnuz. keɪn hæd bɪn ˈsɪndɪˌkeɪtɪd ɔn ˈsɛvərəl ˈdəzən ˈsteɪʃənz ənˈtɪl ˈərliər ðɪs jɪr. hiz naʊ hərd ɔn ˈhændˌfʊl əv ˈreɪdiˌoʊ ˈsteɪʃənz. keɪn, ə ˈbɪznɪsˌmæn ənd ə ˌprɛzɪˈdɛnʃəl ˈkænədɪt fər ðə 2012 reɪs, tʊk ˈoʊvər fər nil bɔrts ɪn ˈərli 2013 hiz 71 vɔn, 53 wɑz noʊn ɛz wən hæf əv ðə ˈrɛgjələr gaɪz tim fər ənd rɑk frəm 1998 θru 2013 hi filz ˈnəθɪŋ bət ˈgrætəˌtud fər ðɪs ˌɑpərˈtunəti: "maɪ fəˈlɑsəfi ɪz aɪ wɪl sɪt ɔn ðə bɛnʧ ənd du ˌwəˈtɛvər ðə koʊʧ wɔnts mi tɪ du ɪn ðə geɪm. ɪts ən ˈɑnər ðeɪ fil ðɪs ʃoʊ ɪz gʊd ɪˈnəf tɪ bi pʊt ɔn æt ðət taɪm. əm ˈlʊkɪŋ ˈfɔrwərd tɪ ɪt. əm ɪkˈsaɪtɪd. haʊ ˈmɛni ˈpipəl liv mˈjuzɪk ˈreɪdiˌoʊ ənd gɪt ə ʧæns laɪk ðɪs?" vɔn sɛd hi wɑz ə ˈlɪtəl ˈnərvəs wɪn hi bɪˈgæn ðə ˈwikˌdeɪ ʃoʊ, ˈwəndərɪŋ ɪf ðə ˈɔdiəns wʊd əkˈsɛpt ɪm. ˈæftər ə fju mənθs, wəns hi ˈriəˌlaɪzd ðeɪ wʊd, hi rɪˈlækst. ˈɛrɪk vɔn ˈhoʊldɪŋ fɔrt æt ðə mɪk æt ˈstudiˌoʊz ˈmənˌdeɪ, ˈʤænjuˌɛri 9 2017 hɪz fərst deɪ wɪθ hɪz nu ˈwikˌdeɪ ʃoʊ. ˈkrɛdɪt: ˈrɑdni hoʊ/ "aɪ θɪŋk æt səm pɔɪnt ju luz ðə fɪr ənd teɪk ˈoʊnərˌʃɪp əv ðə taɪm slɑt jʊr duɪŋ," hi sɛd. "ju ˈrɛkəgˌnaɪz ðə skaɪz ðə ˈlɪmət. wi kən du ˌwəˈtɛvər wi wɔnt. ðə ˈɔdiəns trəsts ˈjuˈɛs. ðeɪ noʊ ðɛl gɪt kəmˈpɛlɪŋ ˈreɪdiˌoʊ. ɪts ə ˈvɛri ˈfəni ʃoʊ. ɑr ˈmɑtoʊ ɪz wɪl hæv ɛz məʧ fən ˈɛvəri deɪ ɛz ðə nuz ˈsaɪkəl əˈlaʊz ˈjuˈɛs." hi θɪŋks ðɪs ɪz ðə bɛst ʃoʊ hiz ˈɛvər bɪn pɑrt əv, ˈivɪn ˈbɛtər ðən ðə ˈrɛgjələr gaɪz. "wi hæv noʊ ˌɑrtəˈfɪʃəl ˈlɪmɪts ɔn ðə əˈbɪləˌti əv iʧ ˈpərsən tɪ pərˈfɔrm ðɛr bɛst," hi sɛd. "æt ðə læst ʃoʊ, ðɛr wər ˌɑrtəˈfɪʃəl ˈlɪmɪts. 'doʊnt du tu məʧ.' wi doʊnt hæv ðət əraʊnd hir. ˌwəˈtɛvər ðeɪ kən kənˈtrɪbjut tɪ meɪk ɪt ə greɪt ʃoʊ ɪz ækˈsɛptɪd ənd əˈpriʃiˌeɪtɪd. aɪ wɔnt mɔr əv ɪt." ˈʃænən bərk ˈoʊvər æt ˈraɪvəl sɪns ˈteɪkɪŋ ˈoʊvər ðə 9 a.m*. tɪ nun slɑt 15 mənθs əˈgoʊ həz mɔr ðən kwɑˈdrupəld ðə ˈɔdiəns frəm hɪz ˈprɛdəˌsɛsər ˈmaɪkəl græm. ˈreɪdiˌoʊ ənd ðə æˈtlæntə ər boʊθ pɑrt əv kɑks ˈmidiə grup. |
kraków is probably one of the most fascinating cities in europe. we visited the second city and the cultural capital of poland in september 2013. i do have a soft spot for poland and considering the fact that i actually lived in the country for many months in, quite a surprise that it took me ten years to visit. a medieval city that breathes a mix of modern breezes on the one hand and nostalgia and history on the other.
kraków in early morning
we visited in september 2013. back then we lived in and the easiest way was to catch the night train. for once there were more of us, as siblings joined us on this trip. traveling by train in europe is so simple, and it is something we can recommend to anyone. another option is to fly, and there are many cheap flights to the city from several places around europe.
we arrived early in and started discovering the city immediately. at around 7 a.m. we found ourselves at the foot of hill. the royal castle stood there, very silently, looking over the city as it has done for centuries. the hill and castle together form the most historically and culturally important site in poland. before reaching the impressive hill, we had actually managed to cross most of historical. between the train station and the castle lies the stare (old town). we really enjoyed our stroll where we could take in the barbican, florianska, as well as the main square glówny). as we would find out later, the old town is always crammed with people. in other words, we were lucky to be outside at this early hour as we could enjoy all the sights without all the crowds.
the entire old town is on world heritage list and from 1038 to 1596 it was the political center of poland. there used to be a 3 defensive wall surrounding the old town. this wall was complete with 46 towers and seven main entrances leading through them. most of the fortifications have been demolished. in the old town, you can explore old churches and museums, art galleries, and the shops in the cloth hall (sukiennice). the main square is the largest medieval town square in europe.
enjoying the good life in: the things you miss
i dare to use a headline like this one because i decided not to visit auschwitz with the others. i have been to another camp in poland before, and i think enough to experience all that horror once. so, in my book is a place to enjoy the good things in life. these good things include tasty polish food (such as or bigos), bookshops and cozy cafés. it is obvious that the city is popular among students and young people. we did not explore the nightlife but there were many bars, pubs, and restaurants. being an important cultural center, the city also has a lot to offer in terms of concerts, exhibitions, and shows.
there are about 40 parks and gardens in. one of the biggest parks is called park and it surrounds all of the old town. this seemed to be a particularly popular spot, and we also bumped into a former colleague there. the world is so small sometimes!
as we only stayed in the city for two days, i feel that i would really like to return someday. fall is a good time to visit the country is famous for its golden fall. but like to go there in the summer, to enjoy picnics and long walks in the sunshine.
have you ever been to? how did you like it?
we have written about poland before, click on the links below to find out more: | kraków* ɪz ˈprɑbəˌbli wən əv ðə moʊst ˈfæsəˌneɪtɪŋ ˈsɪtiz ɪn ˈjʊrəp. wi ˈvɪzɪtɪd ðə ˈsɛkənd ˈsɪti ənd ðə ˈkəlʧərəl ˈkæpɪtəl əv ˈpoʊlənd ɪn sɛpˈtɛmbər 2013 aɪ du hæv ə sɔft spɑt fər ˈpoʊlənd ənd kənˈsɪdərɪŋ ðə fækt ðət aɪ ˈæˌkʧuəli lɪvd ɪn ðə ˈkəntri fər ˈmɛni mənθs ɪn kwaɪt ə səˈpraɪz ðət ɪt tʊk mi tɛn jɪrz tɪ ˈvɪzɪt. ə mɪˈdjivəl ˈsɪti ðət briðz ə mɪks əv ˈmɑdərn ˈbrizɪz ɔn ðə wən hænd ənd nɔˈstælʤə ənd ˈhɪstəri ɔn ðə ˈəðər. ɪn ˈərli ˈmɔrnɪŋ wi ˈvɪzɪtɪd ɪn sɛpˈtɛmbər 2013 bæk ðɛn wi lɪvd ɪn ənd ðə ˈiziəst weɪ wɑz tɪ kæʧ ðə naɪt treɪn. fər wəns ðɛr wər mɔr əv ˈjuˈɛs, ɛz ˈsɪblɪŋz ʤɔɪnd ˈjuˈɛs ɔn ðɪs trɪp. ˈtrævəlɪŋ baɪ treɪn ɪn ˈjʊrəp ɪz soʊ ˈsɪmpəl, ənd ɪt ɪz ˈsəmθɪŋ wi kən ˌrɛkəˈmɛnd tɪ ˈɛniˌwən. əˈnəðər ˈɔpʃən ɪz tɪ flaɪ, ənd ðɛr ər ˈmɛni ʧip flaɪts tɪ ðə ˈsɪti frəm ˈsɛvərəl ˈpleɪsɪz əraʊnd ˈjʊrəp. wi əraɪvd ˈərli ɪn ənd ˈstɑrtɪd dɪˈskəvərɪŋ ðə ˈsɪti ˌɪˈmiˌdiətli. æt əraʊnd 7 a.m*. wi faʊnd ɑrˈsɛlvz æt ðə fʊt əv hɪl. ðə rɔɪəl ˈkæsəl stʊd ðɛr, ˈvɛri ˈsaɪləntli, ˈlʊkɪŋ ˈoʊvər ðə ˈsɪti ɛz ɪt həz dən fər ˈsɛnʧəriz. ðə hɪl ənd ˈkæsəl təˈgɛðər fɔrm ðə moʊst hɪˈstɔrɪkəli ənd ˈkəlʧərəˌli ˌɪmˈpɔrtənt saɪt ɪn ˈpoʊlənd. ˌbiˈfɔr ˈriʧɪŋ ðə ˌɪmˈprɛsɪv hɪl, wi hæd ˈæˌkʧuəli ˈmænɪʤd tɪ krɔs moʊst əv hɪˈstɔrɪkəl. bɪtˈwin ðə treɪn ˈsteɪʃən ənd ðə ˈkæsəl laɪz ðə stɛr (oʊld taʊn). wi ˈrɪli ˌɛnˈʤɔɪd ɑr stroʊl wɛr wi kʊd teɪk ɪn ðə barbican*, florianska*, ɛz wɛl ɛz ðə meɪn skwɛr glówny*). ɛz wi wʊd faɪnd aʊt ˈleɪtər, ðə oʊld taʊn ɪz ˈɔlˌweɪz kræmd wɪθ ˈpipəl. ɪn ˈəðər wərdz, wi wər ˈləki tɪ bi ˈaʊtˈsaɪd æt ðɪs ˈərli aʊər ɛz wi kʊd ˌɛnˈʤɔɪ ɔl ðə saɪts wɪˈθaʊt ɔl ðə kraʊdz. ðə ɪnˈtaɪər oʊld taʊn ɪz ɔn wərld ˈhɛrɪtɪʤ lɪst ənd frəm 1038 tɪ 1596 ɪt wɑz ðə pəˈlɪtɪkəl ˈsɛnər əv ˈpoʊlənd. ðɛr juzd tɪ bi ə 3 dɪˈfɛnsɪv wɔl sərˈaʊndɪŋ ðə oʊld taʊn. ðɪs wɔl wɑz kəmˈplit wɪθ 46 taʊərz ənd ˈsɛvən meɪn ˈɛntrənsəz ˈlidɪŋ θru ðɛm. moʊst əv ðə ˌfɔrtəfəˈkeɪʃənz hæv bɪn dɪˈmɑlɪʃt. ɪn ðə oʊld taʊn, ju kən ɪkˈsplɔr oʊld ˈʧərʧɪz ənd mˈjuziəmz, ɑrt ˈgæləriz, ənd ðə ʃɑps ɪn ðə klɔθ hɔl (sukiennice*). ðə meɪn skwɛr ɪz ðə ˈlɑrʤəst mɪˈdjivəl taʊn skwɛr ɪn ˈjʊrəp. ˌɛnˈʤɔɪɪŋ ðə gʊd laɪf ɪn: ðə θɪŋz ju mɪs aɪ dɛr tɪ juz ə ˈhɛˌdlaɪn laɪk ðɪs wən bɪˈkəz aɪ ˌdɪˈsaɪdɪd nɑt tɪ ˈvɪzɪt ˈɔʃwɪts wɪθ ðə ˈəðərz. aɪ hæv bɪn tɪ əˈnəðər kæmp ɪn ˈpoʊlənd ˌbiˈfɔr, ənd aɪ θɪŋk ɪˈnəf tɪ ɪkˈspɪriəns ɔl ðət ˈhɔrər wəns. soʊ, ɪn maɪ bʊk ɪz ə pleɪs tɪ ˌɛnˈʤɔɪ ðə gʊd θɪŋz ɪn laɪf. ðiz gʊd θɪŋz ˌɪnˈklud ˈteɪsti ˈpɑlɪʃ fud (səʧ ɛz ər ˈbigoʊz), ˈbʊkˌʃɑps ənd ˈkoʊzi cafés*. ɪt ɪz ˈɑbviəs ðət ðə ˈsɪti ɪz ˈpɑpjələr əˈməŋ ˈstudənts ənd jəŋ ˈpipəl. wi dɪd nɑt ɪkˈsplɔr ðə ˈnaɪˌtlaɪf bət ðɛr wər ˈmɛni bɑrz, pəbz, ənd ˈrɛˌstrɑnts. biɪŋ ən ˌɪmˈpɔrtənt ˈkəlʧərəl ˈsɛnər, ðə ˈsɪti ˈɔlsoʊ həz ə lɔt tɪ ˈɔfər ɪn tərmz əv ˈkɑnsərts, ˌɛksəˈbɪʃənz, ənd ʃoʊz. ðɛr ər əˈbaʊt 40 pɑrks ənd ˈgɑrdənz ɪn. wən əv ðə ˈbɪgəst pɑrks ɪz kɔld pɑrk ənd ɪt səraʊndz ɔl əv ðə oʊld taʊn. ðɪs simd tɪ bi ə ˌpɑrˈtɪkjələrli ˈpɑpjələr spɑt, ənd wi ˈɔlsoʊ bəmpt ˈɪntu ə ˈfɔrmər ˈkɑlig ðɛr. ðə wərld ɪz soʊ smɔl ˈsəmˌtaɪmz! ɛz wi ˈoʊnli steɪd ɪn ðə ˈsɪti fər tu deɪz, aɪ fil ðət aɪ wʊd ˈrɪli laɪk tɪ rɪˈtərn ˈsəmˌdeɪ. fɔl ɪz ə gʊd taɪm tɪ ˈvɪzɪt ðə ˈkəntri ɪz ˈfeɪməs fər ɪts ˈgoʊldən fɔl. bət laɪk tɪ goʊ ðɛr ɪn ðə ˈsəmər, tɪ ˌɛnˈʤɔɪ ˈpɪkˌnɪks ənd lɔŋ wɔks ɪn ðə ˈsənˌʃaɪn. hæv ju ˈɛvər bɪn tɪ? haʊ dɪd ju laɪk ɪt? wi hæv ˈrɪtən əˈbaʊt ˈpoʊlənd ˌbiˈfɔr, klɪk ɔn ðə lɪŋks bɪˈloʊ tɪ faɪnd aʊt mɔr: |
going to a broadway show is a special experience, but there is something to be said for enjoying live theater without even leaving the comfort of your living room. you can wear your pajamas, eat a meal, or live tweet, without worrying about disturbing other audience members. on january 14 at 8 p.m. et, theater fans around the world will get to watch a broadway show at home when live streams that performance of roundabout theatre production of holiday inn, the new irving berlin musical from studio 54.
holiday inn is the final production of roundabout theatre anniversary season. first with the company in june when she loves me became the first broadway show to be live streamed. after the success of that collaboration, they are teaming up again for this event.
inspired by the 1942 film of the same name, holiday inn is directed by gordon greenberg and features choreography by denis jones, an irving berlin score including “white christmas,” “blue skies,” and “steppin’ out with my baby,” and a new book by greenberg and chad hodge. tony nominee bryce pinkham stars as jim, who leaves show business to move to a farmhouse in connecticut. in order to raise money to keep the farm, he decides to convert it into an inn open only on the holidays when his performer friends can come put on a show, drawing in guests. he gets help and romance from the former owner linda (lora lee gaynor), but when old partner ted (corbin bleu of the high school musical franchise) comes for a visit, he wants linda to join him as his new partner.
more than students and teachers have seen holiday inn at free or reduced rates, in addition to nearly audience members and subscribers. “it’s imperative to roundabout that our shows remain accessible to everyone. so we are overjoyed now to bring the best of broadway to audiences who otherwise be in to see us live,” todd haimes, roundabout theatre artistic director/ceo, said in a statement.
the musical closes january 15, and will capture the performance using 14 cameras. david horn will direct for the screen and this performance will be produced in association with thirteen productions and universal stage productions, the live theater division of the motion picture studio. the live stream will also include interviews with the cast and creative team and footage, starting at et
broadwayhd, the only online streaming service of its kind, launched in 2015. in addition to the live stream, subscribers can access more than 160 theater productions on demand. titles in the library include billy elliot the musical, gypsy starring imelda staunton, and oklahoma! starring hugh jackman.
the live stream will be available on.com and chromecast. subscribers can access it from’s roku, apple tv, ipad, and iphone apps. visit.com to sign up. | goʊɪŋ tɪ ə ˈbrɔdˌweɪ ʃoʊ ɪz ə ˈspɛʃəl ɪkˈspɪriəns, bət ðɛr ɪz ˈsəmθɪŋ tɪ bi sɛd fər ˌɛnˈʤɔɪɪŋ lɪv ˈθieɪtər wɪˈθaʊt ˈivɪn ˈlivɪŋ ðə ˈkəmfərt əv jʊr ˈlɪvɪŋ rum. ju kən wɛr jʊr pəˈʤɑməz, it ə mil, ər lɪv twit, wɪˈθaʊt ˈwəriɪŋ əˈbaʊt dɪˈstərbɪŋ ˈəðər ˈɔdiəns ˈmɛmbərz. ɔn ˈʤænjuˌɛri 14 æt 8 p.m*. ɛt, ˈθieɪtər fænz əraʊnd ðə wərld wɪl gɪt tɪ wɔʧ ə ˈbrɔdˌweɪ ʃoʊ æt hoʊm wɪn lɪv strimz ðət pərˈfɔrməns əv ˈraʊndəˌbaʊt ˈθiətər pərˈdəkʃən əv ˈhɑlɪˌdeɪ ɪn, ðə nu ˈərvɪŋ bərˈlɪn mˈjuzɪkəl frəm ˈstudiˌoʊ 54 ˈhɑlɪˌdeɪ ɪn ɪz ðə ˈfaɪnəl pərˈdəkʃən əv ˈraʊndəˌbaʊt ˈθiətər ˌænəˈvərsəri ˈsizən. fərst wɪθ ðə ˈkəmpəˌni ɪn ʤun wɪn ʃi ləvz mi bɪˈkeɪm ðə fərst ˈbrɔdˌweɪ ʃoʊ tɪ bi lɪv strimd. ˈæftər ðə səkˈsɛs əv ðət kəˌlæbərˈeɪʃən, ðeɪ ər ˈtimɪŋ əp əˈgɛn fər ðɪs ɪˈvɛnt. ˌɪnˈspaɪərd baɪ ðə 1942 fɪlm əv ðə seɪm neɪm, ˈhɑlɪˌdeɪ ɪn ɪz dɪˈrɛktɪd baɪ ˈgɔrdən ˈgrinbərg ənd ˈfiʧərz ˌkɔriˈɑgrəfi baɪ ˈdɛnɪs ʤoʊnz, ən ˈərvɪŋ bərˈlɪn skɔr ˌɪnˈkludɪŋ christmas,”*,” skies,”*,” ənd ““steppin’*’ aʊt wɪθ maɪ baby,”*,” ənd ə nu bʊk baɪ ˈgrinbərg ənd ʧæd hɑʤ. ˈtoʊni ˌnɑməˈni braɪs ˈpɪŋkhəm stɑrz ɛz ʤɪm, hu livz ʃoʊ ˈbɪznɪs tɪ muv tɪ ə ˈfɑrmˌhaʊs ɪn kəˈnɛtəkət. ɪn ˈɔrdər tɪ reɪz ˈməni tɪ kip ðə fɑrm, hi ˌdɪˈsaɪdz tɪ ˈkɑnvərt ɪt ˈɪntu ən ɪn ˈoʊpən ˈoʊnli ɔn ðə ˈhɑləˌdeɪz wɪn hɪz pərˈfɔrmər frɛndz kən kəm pʊt ɔn ə ʃoʊ, drɔɪŋ ɪn gɛsts. hi gɪts hɛlp ənd ˈroʊmæns frəm ðə ˈfɔrmər ˈoʊnər ˈlɪndə (ˈlɔrə li ˈgeɪnər), bət wɪn oʊld ˈpɑrtnər tɛd (ˈkɔrbɪn blu əv ðə haɪ skul mˈjuzɪkəl ˈfrænˌʧaɪz) kəmz fər ə ˈvɪzɪt, hi wɔnts ˈlɪndə tɪ ʤɔɪn ɪm ɛz hɪz nu ˈpɑrtnər. mɔr ðən ˈstudənts ənd ˈtiʧərz hæv sin ˈhɑlɪˌdeɪ ɪn æt fri ər rɪˈdust reɪts, ɪn əˈdɪʃən tɪ ˈnɪrli ˈɔdiəns ˈmɛmbərz ənd səbˈskraɪbərz. ˌɪmˈpɛrətɪv tɪ ˈraʊndəˌbaʊt ðət ɑr ʃoʊz rɪˈmeɪn ækˈsɛsəbəl tɪ ˈɛvriˌwən. soʊ wi ər ˌoʊvərˈʤɔɪd naʊ tɪ brɪŋ ðə bɛst əv ˈbrɔdˌweɪ tɪ ˈɔdiənsəz hu ˈəðərˌwaɪz bi ɪn tɪ si ˈjuˈɛs live,”*,” tɑd heɪmz, ˈraʊndəˌbaʊt ˈθiətər ɑrˈtɪstɪk director/ceo*, sɛd ɪn ə ˈsteɪtmənt. ðə mˈjuzɪkəl ˈkloʊzɪz ˈʤænjuˌɛri 15 ənd wɪl ˈkæpʧər ðə pərˈfɔrməns ˈjuzɪŋ 14 ˈkæmərəz. ˈdeɪvɪd hɔrn wɪl dɪˈrɛkt fər ðə skrin ənd ðɪs pərˈfɔrməns wɪl bi prəˈdust ɪn əˌsoʊʃiˈeɪʃən wɪθ ˈθərˈtin pərˈdəkʃənz ənd ˌjunəˈvərsəl steɪʤ pərˈdəkʃənz, ðə lɪv ˈθieɪtər dɪˈvɪʒən əv ðə ˈmoʊʃən ˈpɪkʧər ˈstudiˌoʊ. ðə lɪv strim wɪl ˈɔlsoʊ ˌɪnˈklud ˈɪntərvˌjuz wɪθ ðə kæst ənd kriˈeɪtɪv tim ənd ˈfʊtɪʤ, ˈstɑrtɪŋ æt ɛt, ðə ˈoʊnli ˈɔnˌlaɪn ˈstrimɪŋ ˈsərvɪs əv ɪts kaɪnd, lɔnʧt ɪn 2015 ɪn əˈdɪʃən tɪ ðə lɪv strim, səbˈskraɪbərz kən ˈækˌsɛs mɔr ðən 160 ˈθieɪtər pərˈdəkʃənz ɔn dɪˈmænd. ˈtaɪtəlz ɪn ðə ˈlaɪbrɛˌri ˌɪnˈklud ˈbɪli ˈɛliət ðə mˈjuzɪkəl, ˈʤɪpsi ˈstɑrɪŋ ˌɪˈmɛldə ˈstɔntən, ənd ˌoʊkləˈhoʊmə! ˈstɑrɪŋ ju ˈʤækmən. ðə lɪv strim wɪl bi əˈveɪləbəl ɔn ənd chromecast*. səbˈskraɪbərz kən ˈækˌsɛs ɪt frəm roku*, ˈæpəl ˌtɛləˈvɪʒən, ˈaɪˌpæd, ənd ˈaɪˌfoʊn æps. ˈvɪzɪt tɪ saɪn əp. |
2. about 95% of those pigs are raised on industrial farms. farm sanctuary
at many industrial farms, pens are overcrowded and animals live with injuries and diseases according to investigations by the humane society of the united states (hsus), mercy for animals, and peta. industrial farming practices have evolved to deal with these problems, but sometimes the solutions lead to more problems. for example, overcrowded pigs will bite at each others tails, which often leads to infection and even death. to prevent that, farm workers dock piglets' tails when they are two to five days old, but the piglets aren't given anesthesia to mitigate the pain. (you can watch a video that shows a docking here.)
3. most female breeding pigs spend their entire lives in tiny stalls where they are unable to turn around. flickr:
4. eighty percent of u.s. pigs are fed a controversial growth drug that's banned in europe, china, and russia. united soybean board
the national pork producers council says it's entirely safe to eat pigs that were raised with the drug, which makes them grow leaner and faster. "countries that have banned pork from hogs fed have done so to protect their domestic pork producers," says david warner from the nppc. "or in the case because it believes there could be adverse health effects at some point down the road possibly." the national pork board says the drug is safe based on "rigorous, scientific reviews" that led the and the united nations (codex) to approve its use. but the center for food safety says approval was based on only one human study of six young, healthy men, one of whom dropped out after experiencing adverse health effects. the human health impacts are more debatable than the effects of on animals. "the drug has triggered more adverse reports in pigs than any other animal drug on the market," wrote journalist helena after her 2012 review of reports. "pigs suffered from hyperactivity, trembling, broken limbs, inability to walk and death." got access to the reports under a freedom of information request. the says this data does not establish that the drug caused these effects. the and animal legal defense fund (aldf) sued the in october for withholding records pertaining to's safety. because is banned in countries where american companies want to sell meat, some producers are starting to cut down its use. smithfield, for example, announced last year that half of its pork supply will soon be-free.
5. sometimes dead piglet parts are ground up and fed to living pigs. humane society of the united states a recent undercover investigation at the iron maiden hog farm in kentucky revealed that after more than 900 piglets died of epidemic diarrhea virus, their intestines were ground up and fed back to their mothers and other breeding pigs. the center for food integrity responded to the findings by saying that the practice, known as "feedback," is done "to expose [the live pigs] to the virus so [they] can build up immunity."
6. smithfield pork company creates enough pig poop each year to fill four yankee stadiums. tap to play tap to play / the total waste discharge is 26 million tons a year according to a 2006 rolling stone feature on poop problem. smithfield is the largest pork supplier in the country but only accounts for about a third of our pigs (and their poop).
7. the poop and other factory waste are so toxic that the "lagoons" its kept in are bright pink. flickr: / steve the rolling stone article continues: "the excrement of smithfield hogs is hardly even pig shit: on a continuum of pollutants, it is probably closer to radioactive waste than to organic manure ... industrial pig waste contains ... ammonia, methane, hydrogen sulfide, carbon monoxide, cyanide, phosphorous, nitrates and heavy metals. in addition, the waste nurses more than 100 microbial pathogens that can cause illness in humans ... holding ponds the company calls them lagoons cover as much as square feet ... the liquid in them is not brown. the interactions between the bacteria and blood and and stillborn piglets and urine and excrement and chemicals and drugs turn the lagoons pink." also according to the article, humans have fallen into these lagoons and died.
8. a few lucky pigs, like julia (below), get rescued by organizations like farm sanctuary. farm sanctuary farm sanctuary rescued pregnant julia from an upstate new york gestation crate in 2012. you can read about her and her piglets here.
9. but most head to the slaughterhouse. getty tar heel, n.c., slaughterhouse is the largest in the world. it processes more than hogs every day.
10. after that, your pork was probably "enhanced" with a whole lot of salt water. flickr: / robert ninety percent of pork products have been pumped with some kind of solution, usually a salty one, that adds moisture and ups the price. "enhanced" pork can have more than five times the sodium as the version.
11. your bacon, ham, hot dogs, and lunch meats are treated with a chemical called "sodium" to help them maintain that youthful red glow. flickr: /
according to the center for science in the public interest, "meat processors love sodium because it stabilizes the red color in cured meat (without, hot dogs and bacon would look gray) and gives a characteristic flavor... adding to food can lead to the formation of small amounts of potent chemicals (nitrosamines), particularly in fried bacon." the american meat institute counters that claim, saying, "numerous panels have evaluated sodium safety and the conclusions have essentially been the same: is not only safe, it is an essential public health tool because it has a proven track record of preventing botulism."
12. to make bacon, pork bellies also get doused with "liquid smoke" and red dye. tap to play tap to play curing pork into bacon can be done at home with basic ingredients like pork and salt. when done en masse, though, pork bellies get a shower of "liquid smoke" and "other flavorings."
13. some pork contains potentially harmful and bacteria. flickr: / stuart webster most of this bacteria can be killed if you handle pork correctly, but it's there. when consumer reports analyzed 198 samples of pork in january 2013, it found enterocolitica, a bacteria that causes fever, diarrhea, and abdominal pain, in 69% of the tested pork samples. "we found salmonella, staphylococcus aureus, or listeria monocytogenes, more common causes of illness, in 3 to 7 percent of samples," the study says. "and 11 percent harbored enterococcus, which can indicate fecal contamination and can cause problems such as infections."
14. the term "all-natural" has nothing to do with how the pig is raised. don't believe everything you read, especially if it's printed on a meat label. under the definition, pork is "natural" as long as it has no artificial ingredients added after it's slaughtered and is "minimally processed." | 2 əˈbaʊt 95 əv ðoʊz pɪgz ər reɪzd ɔn ˌɪnˈdəstriəl fɑrmz. fɑrm ˈsæŋkʧuˌɛri æt ˈmɛni ˌɪnˈdəstriəl fɑrmz, pɛnz ər ˈoʊvərˌkraʊdɪd ənd ˈænəməlz lɪv wɪθ ˈɪnʤəriz ənd dɪˈzizɪz əˈkɔrdɪŋ tɪ ˌɪnˌvɛstəˈgeɪʃənz baɪ ðə hjuˈmeɪn soʊˈsaɪɪti əv ðə juˈnaɪtɪd steɪts (hsus*), ˈmərsi fər ˈænəməlz, ənd ˈpitə. ˌɪnˈdəstriəl ˈfɑrmɪŋ ˈpræktɪsɪz hæv ɪˈvɑlvd tɪ dil wɪθ ðiz ˈprɑbləmz, bət ˈsəmˌtaɪmz ðə səˈluʃənz lɛd tɪ mɔr ˈprɑbləmz. fər ɪgˈzæmpəl, ˈoʊvərˌkraʊdɪd pɪgz wɪl baɪt æt iʧ ˈəðərz teɪlz, wɪʧ ˈɔfən lidz tɪ ˌɪnˈfɛkʃən ənd ˈivɪn dɛθ. tɪ prɪˈvɛnt ðət, fɑrm ˈwərkərz dɑk ˈpɪglɪts' teɪlz wɪn ðeɪ ər tu tɪ faɪv deɪz oʊld, bət ðə ˈpɪglɪts ˈɑrənt ˈgɪvɪn ˌænɪsˈθiˌʒiə tɪ ˈmɪtəˌgeɪt ðə peɪn. (ju kən wɔʧ ə ˈvɪdioʊ ðət ʃoʊz ə ˈdɑkɪŋ hir.) 3 moʊst ˈfiˌmeɪl ˈbridɪŋ pɪgz spɛnd ðɛr ɪnˈtaɪər lɪvz ɪn ˈtaɪni stɔlz wɛr ðeɪ ər əˈneɪbəl tɪ tərn əraʊnd. ˈflɪkər: 4 ˈeɪti pərˈsɛnt əv juz. pɪgz ər fɛd ə ˌkɑntrəˈvərʃəl groʊθ drəg ðæts bænd ɪn ˈjʊrəp, ˈʧaɪnə, ənd ˈrəʃə. juˈnaɪtɪd ˈsɔɪˌbin bɔrd ðə ˈnæʃənəl pɔrk prəˈdusərz ˈkaʊnsəl sɪz ɪts ɪnˈtaɪərli seɪf tɪ it pɪgz ðət wər reɪzd wɪθ ðə drəg, wɪʧ meɪks ðɛm groʊ ˈlinər ənd ˈfæstər. "ˈkəntriz ðət hæv bænd pɔrk frəm hɑgz fɛd hæv dən soʊ tɪ prəˈtɛkt ðɛr dəˈmɛstɪk pɔrk prəˈdusərz," sɪz ˈdeɪvɪd ˈwɔrnər frəm ðə nppc*. "ər ɪn ðə keɪs bɪˈkəz ɪt bɪˈlivz ðɛr kʊd bi ˌædˈvərs hɛlθ ˈifɛkts æt səm pɔɪnt daʊn ðə roʊd ˈpɑsəbli." ðə ˈnæʃənəl pɔrk bɔrd sɪz ðə drəg ɪz seɪf beɪst ɔn "ˈrɪgərəs, ˌsaɪənˈtɪfɪk rəvˈjuz" ðət lɛd ðə ənd ðə juˈnaɪtɪd ˈneɪʃənz (codex*) tɪ əˈpruv ɪts juz. bət ðə ˈsɛnər fər fud ˈseɪfti sɪz əˈpruvəl wɑz beɪst ɔn ˈoʊnli wən ˈjumən ˈstədi əv sɪks jəŋ, ˈhɛlθi mɛn, wən əv hum drɑpt aʊt ˈæftər ɪkˈspɪriənsɪŋ ˌædˈvərs hɛlθ ˈifɛkts. ðə ˈjumən hɛlθ ˌɪmˈpækts ər mɔr dəˈbeɪtəbəl ðən ðə ˈifɛkts əv ɔn ˈænəməlz. "ðə drəg həz ˈtrɪgərd mɔr ˌædˈvərs rɪˈpɔrts ɪn pɪgz ðən ˈɛni ˈəðər ˈænəməl drəg ɔn ðə ˈmɑrkɪt," roʊt ˈʤərnəlɪst ˈhɛlənə ˈæftər hər 2012 ˌrivˈju əv rɪˈpɔrts. "pɪgz ˈsəfərd frəm ˌhaɪpərækˈtɪvɪti, ˈtrɛmbəlɪŋ, ˈbroʊkən lɪmz, ˌɪnəˈbɪlɪti tɪ wɔk ənd dɛθ." gɑt ˈækˌsɛs tɪ ðə rɪˈpɔrts ˈəndər ə ˈfridəm əv ˌɪnˌfɔrˈmeɪʃən rɪkˈwɛst. ðə sɪz ðɪs ˈdætə dɪz nɑt ɪˈstæblɪʃ ðət ðə drəg kɔzd ðiz ˈifɛkts. ðə ənd ˈænəməl ˈligəl dɪˈfɛns fənd (aldf*) sud ðə ɪn ɑkˈtoʊbər fər wɪθˈhoʊldɪŋ ˈrɛkərdz pərˈteɪnɪŋ tɪ ˈseɪfti. bɪˈkəz ɪz bænd ɪn ˈkəntriz wɛr əˈmɛrɪkən ˈkəmpəˌniz wɔnt tɪ sɛl mit, səm prəˈdusərz ər ˈstɑrtɪŋ tɪ kət daʊn ɪts juz. sˈmɪθfild, fər ɪgˈzæmpəl, əˈnaʊnst læst jɪr ðət hæf əv ɪts pɔrk səˈplaɪ wɪl sun bi ractopamine-free*. 5 ˈsəmˌtaɪmz dɛd ˈpɪglɪt pɑrts ər graʊnd əp ənd fɛd tɪ ˈlɪvɪŋ pɪgz. hjuˈmeɪn soʊˈsaɪɪti əv ðə juˈnaɪtɪd steɪts ə ˈrisənt ˌəndərˈkəvər ˌɪnˌvɛstəˈgeɪʃən æt ðə aɪərn ˈmeɪdən hɑg fɑrm ɪn kənˈtəki rɪˈvild ðət ˈæftər mɔr ðən 900 ˈpɪglɪts daɪd əv ˌɛpɪˈdɛmɪk ˌdaɪərˈiə ˈvaɪrəs, ðɛr ˌɪnˈtɛstənz wər graʊnd əp ənd fɛd bæk tɪ ðɛr ˈməðərz ənd ˈəðər ˈbridɪŋ pɪgz. ðə ˈsɛnər fər fud ˌɪnˈtɛgrəti rɪˈspɑndɪd tɪ ðə ˈfaɪndɪŋz baɪ seɪɪŋ ðət ðə ˈpræktɪs, noʊn ɛz "ˈfidˌbæk," ɪz dən "tɪ ɪkˈspoʊz [ðə lɪv pɪgz] tɪ ðə ˈvaɪrəs soʊ [ðeɪ] kən bɪld əp ˌɪmˈjunɪti." 6 sˈmɪθfild pɔrk ˈkəmpəˌni kriˈeɪts ɪˈnəf pɪg pup iʧ jɪr tɪ fɪl fɔr ˈjæŋki ˈsteɪdiəmz. tæp tɪ pleɪ tæp tɪ pleɪ ðə ˈtoʊtəl weɪst ˈdɪsˌʧɑrʤ ɪz 26 ˈmɪljən tənz ə jɪr əˈkɔrdɪŋ tɪ ə 2006 ˈroʊlɪŋ stoʊn ˈfiʧər ɔn pup ˈprɑbləm. sˈmɪθfild ɪz ðə ˈlɑrʤəst pɔrk səˈplaɪər ɪn ðə ˈkəntri bət ˈoʊnli əˈkaʊnts fər əˈbaʊt ə θərd əv ɑr pɪgz (ənd ðɛr pup). 7 ðə pup ənd ˈəðər ˈfæktəri weɪst ər soʊ ˈtɑksɪk ðət ðə "ləˈgunz" ɪts kɛpt ɪn ər braɪt pɪŋk. ˈflɪkər: stiv ðə ˈroʊlɪŋ stoʊn ˈɑrtɪkəl kənˈtɪnjuz: "ðə ˈɛkskrəmənt əv sˈmɪθfild hɑgz ɪz ˈhɑrdli ˈivɪn pɪg ʃɪt: ɔn ə kənˈtɪnjuəm əv pəˈlutənts, ɪt ɪz ˈprɑbəˌbli ˈkloʊzər tɪ ˌreɪdioʊˈæktɪv weɪst ðən tɪ ɔrˈgænɪk məˈnʊr ˌɪnˈdəstriəl pɪg weɪst kənˈteɪnz əˈmoʊnjə, ˈmɛˌθeɪn, ˈhaɪdrəʤən ˈsəlˌfaɪd, ˈkɑrbən məˈnɑksaɪd, ˈsaɪˌnaɪd, ˈfɑsfərəs, ˈnaɪˌtreɪts ənd ˈhɛvi ˈmɛtəlz. ɪn əˈdɪʃən, ðə weɪst ˈnərsɪz mɔr ðən 100 maɪˈkroʊbiəl ˈpæθəʤənz ðət kən kɔz ˈɪlnəs ɪn ˈjumənz ˈhoʊldɪŋ pɑndz ðə ˈkəmpəˌni kɔlz ðɛm ləˈgunz ˈkəvər ɛz məʧ ɛz skwɛr fit ðə ˈlɪkwɪd ɪn ðɛm ɪz nɑt braʊn. ðə ˌɪnərˈækʃənz bɪtˈwin ðə bækˈtɪriə ənd bləd ənd ənd ˈstɪlˈbɔrn ˈpɪglɪts ənd ˈjʊrən ənd ˈɛkskrəmənt ənd ˈkɛmɪkəlz ənd drəgz tərn ðə ləˈgunz pɪŋk." ˈɔlsoʊ əˈkɔrdɪŋ tɪ ðə ˈɑrtɪkəl, ˈjumənz hæv ˈfɑlən ˈɪntu ðiz ləˈgunz ənd daɪd. 8 ə fju ˈləki pɪgz, laɪk ˈʤuljə (bɪˈloʊ), gɪt ˈrɛskjud baɪ ˌɔrgənəˈzeɪʃənz laɪk fɑrm ˈsæŋkʧuˌɛri. fɑrm ˈsæŋkʧuˌɛri fɑrm ˈsæŋkʧuˌɛri ˈrɛskjud ˈprɛgnənt ˈʤuljə frəm ən ˈəpˈsteɪt nu jɔrk ʤɛˈsteɪʃən kreɪt ɪn 2012 ju kən rɛd əˈbaʊt hər ənd hər ˈpɪglɪts hir. 9 bət moʊst hɛd tɪ ðə sˈlɔtərˌhaʊs. ˈgɛti tɑr hil, n.c*., sˈlɔtərˌhaʊs ɪz ðə ˈlɑrʤəst ɪn ðə wərld. ɪt ˈprɑsɛsəz mɔr ðən hɑgz ˈɛvəri deɪ. 10 ˈæftər ðət, jʊr pɔrk wɑz ˈprɑbəˌbli "ɛnˈhænst" wɪθ ə hoʊl lɔt əv sɔlt ˈwɔtər. ˈflɪkər: ˈrɑbərt ˈnaɪnti pərˈsɛnt əv pɔrk ˈprɑdəkts hæv bɪn pəmpt wɪθ səm kaɪnd əv səˈluʃən, ˈjuʒəwəli ə ˈsɔlti wən, ðət ædz ˈmɔɪsʧər ənd əps ðə praɪs. "ɛnˈhænst" pɔrk kən hæv mɔr ðən faɪv taɪmz ðə ˈsoʊdiəm ɛz ðə ˈvərʒən. 11 jʊr ˈbeɪkən, hæm, hɑt dɔgz, ənd lənʧ mits ər ˈtritɪd wɪθ ə ˈkɛmɪkəl kɔld "ˈsoʊdiəm" tɪ hɛlp ðɛm meɪnˈteɪn ðət ˈjuθfəl rɛd gloʊ. ˈflɪkər: əˈkɔrdɪŋ tɪ ðə ˈsɛnər fər saɪəns ɪn ðə ˈpəblɪk ˈɪntəˌrɛst, "mit ˈprɑˌsɛsərz ləv ˈsoʊdiəm bɪˈkəz ɪt ˈsteɪbəˌlaɪzɪz ðə rɛd ˈkələr ɪn kjʊrd mit (wɪˈθaʊt, hɑt dɔgz ənd ˈbeɪkən wʊd lʊk greɪ) ənd gɪvz ə ˌkɛrɪktərˈɪstɪk ˈfleɪvər... ˈædɪŋ tɪ fud kən lɛd tɪ ðə fɔrˈmeɪʃən əv smɔl əˈmaʊnts əv ˈpoʊtənt ˈkɛmɪkəlz (nɪˌtrɑsəˈminz), ˌpɑrˈtɪkjələrli ɪn frid ˈbeɪkən." ðə əˈmɛrɪkən mit ˈɪnstɪˌtut ˈkaʊntərz ðət kleɪm, seɪɪŋ, "ˈnumərəs ˈpænəlz hæv ɪˈvæljuˌeɪtəd ˈsoʊdiəm ˈseɪfti ənd ðə kənˈkluʒənz hæv ɛˈsɛnʃəli bɪn ðə seɪm: ɪz nɑt ˈoʊnli seɪf, ɪt ɪz ən ɛˈsɛnʃəl ˈpəblɪk hɛlθ tul bɪˈkəz ɪt həz ə ˈpruvən træk ˈrɛkərd əv prɪˈvɛnɪŋ ˈbɑʧuˌlɪzəm." 12 tɪ meɪk ˈbeɪkən, pɔrk ˈbɛliz ˈɔlsoʊ gɪt daʊst wɪθ "ˈlɪkwɪd smoʊk" ənd rɛd daɪ. tæp tɪ pleɪ tæp tɪ pleɪ ˈkjʊrɪŋ pɔrk ˈɪntu ˈbeɪkən kən bi dən æt hoʊm wɪθ ˈbeɪsɪk ˌɪnˈgridiənts laɪk pɔrk ənd sɔlt. wɪn dən ɛn mæs, ðoʊ, pɔrk ˈbɛliz gɪt ə ʃaʊər əv "ˈlɪkwɪd smoʊk" ənd "ˈəðər ˈfleɪvərɪŋz." 13 səm pɔrk kənˈteɪnz pəˈtɛnʃəli ˈhɑrmfəl ənd bækˈtɪriə. ˈflɪkər: stɔrt ˈwɛbstər moʊst əv ðɪs bækˈtɪriə kən bi kɪld ɪf ju ˈhændəl pɔrk kərˈɛktli, bət ɪts ðɛr. wɪn kənˈsumər rɪˈpɔrts ˈænəˌlaɪzd 198 ˈsæmpəlz əv pɔrk ɪn ˈʤænjuˌɛri 2013 ɪt faʊnd enterocolitica*, ə bækˈtɪriə ðət ˈkɔzɪz ˈfivər, ˌdaɪərˈiə, ənd əbˈdɑmənəl peɪn, ɪn 69 əv ðə ˈtɛstɪd pɔrk ˈsæmpəlz. "wi faʊnd ˌsælməˈnɛlə, ˌstæfələˈkɔkəs aureus*, ər lɪˈstɪriə monocytogenes*, mɔr ˈkɑmən ˈkɔzɪz əv ˈɪlnəs, ɪn 3 tɪ 7 pərˈsɛnt əv ˈsæmpəlz," ðə ˈstədi sɪz. "ənd 11 pərˈsɛnt ˈhɑrbərd ˌɛntərəˈkɔkəs, wɪʧ kən ˈɪndəˌkeɪt ˈfikəl kənˌtæməˈneɪʃən ənd kən kɔz ˈprɑbləmz səʧ ɛz ˌɪnˈfɛkʃənz." 14 ðə tərm "all-natural*" həz ˈnəθɪŋ tɪ du wɪθ haʊ ðə pɪg ɪz reɪzd. doʊnt bɪˈliv ˈɛvriˌθɪŋ ju rɛd, əˈspɛʃəli ɪf ɪts ˈprɪnɪd ɔn ə mit ˈleɪbəl. ˈəndər ðə ˌdɛfəˈnɪʃən, pɔrk ɪz "ˈnæʧərəl" ɛz lɔŋ ɛz ɪt həz noʊ ˌɑrtəˈfɪʃəl ˌɪnˈgridiənts ˈædɪd ˈæftər ɪts sˈlɔtərd ənd ɪz "ˈmɪnəməli ˈprɑsɛst." |
a unique pie made for the mediterranean diet. this healthy vegetarian olive pie is a recipe with & spanish olives, onions, sweet peppers.
this post has been compensated by. all the opinions expressed are mine
olive pie is the perfect holiday recipe for this holiday season. every year, we have a unique pie for the thanksgiving and it is always an adventure. from sweet potato pies to tomato pies, i have had it all.
most of the time, the adventure lies in the tasting and not the cooking part.
in 2002, we had chocolate and cranberry pie. that was the year that one of my friends was getting married at the age of 20. we had a pajama bridal shower on christmas eve and she got to choose the ingredients of the pie.
the pie was great, the conversations were lively and the memories of stuffed bellies still lingers in my mind.
in 2004, i made peaches, banana and coconut pie. the pie my contribution to a thai potluck thanksgiving i was invited to attend. this was my first attempt at making pies using fresh fruits, so, the challenge was on.
admittedly, the 2004 pie did not come out great. however, it was a huge success in the post thanksgiving food fight. i think you can guess who got the pie in their face? yes, i was the one who got the pie in my face and that was awesome! in the end, i felt sorry for the person who made the turkey.
the best holiday pie memory was in 2011. it was my last thanksgiving in new jersey, even though i know it at that time. the pie was the traditional apple pie with ice cream. the pie ingredients unique. however, they were mini apple pies in the shape of pine cones with the names of our favorite people on the top.
what to do with olives? that is the question i always ask myself. i find myself using them in salads mostly, so, i thought to try it as the king in a recipe. olive recipes are now my favorite. i am going to be trying a whole bunch of new recipes in the new year.
what is your favorite olives recipes?
how to make an olive pie
mezzetta recipe for olive pie an olives recipe like no other. this savory pie recipe is perfect the holiday season and year round. made with 2 types of olives, caramelized onions and sweet peppers, it is the perfect comfort food pie. from 8 votes print pin prep time: 10 minutes cook time: 25 minutes total time: 35 minutes servings: 4 servings calories: 356 kcal author: healing tomato ingredients 1 pie crust
1 cup olives sliced
1 cup spanish queen olives
1/2 cup roasted bell pepper strips deli sliced roasted bell pepper strips
1/2 yellow onion
2 extra virgin olive oil
1 black pepper
1/2 honey
1 dried basil
1 dried oregano
2 sesame seeds
1/4 cup cheese
1/4 pomegranate vinegar (optional) instructions oven to and partially bake the pie crust for about 10 minutes
wash the two olive types by running them under cold water for about 30 seconds
in a medium pan, add the olive oil and allow to heat for 30 seconds
add the onions and saute them until caramelized
add the bell pepper strips and honey
saute for about 3 minutes on heat
add the olives and stir well
add the dried spices and leave it on medium heat until all the liquid has burned off
stir constantly
in a different pan, lightly dry roast the sesame seeds for about 45 seconds
bringing the olive pie together add the olive and bell pepper mixture to the partially baked pie crust
top with the sesame seeds and put the pie pan back into the oven
allow the pie to bake for about 15 minutes
remove from the oven and top with cheese
top with
serve immediately. for best results, add a splash of pomegranate vinegar before serving nutrition serving: 3 g | calories: 356 kcal | carbohydrates: 27 g | protein: 5 g | fat: 26 g | saturated fat: 6 g | cholesterol: 8 | sodium: 1569 | potassium: 115 | fiber: 4 g | sugar: 2 g | vitamin a: % | vitamin c: % | calcium: % | iron: % tried this recipe? follow me and mention
more from | ə juˈnik paɪ meɪd fər ðə ˌmɛdətərˈeɪniən daɪət. ðɪs ˈhɛlθi ˌvɛʤəˈtɛˌriən ˈɑlɪv paɪ ɪz ə ˈrɛsəpi wɪθ ˈspænɪʃ ˈɑlɪvz, ˈənjənz, swit ˈpɛpərz. ðɪs poʊst həz bɪn ˈkɑmpənˌseɪtəd baɪ. ɔl ðə əˈpɪnjənz ɪkˈsprɛst ər maɪn ˈɑlɪv paɪ ɪz ðə ˈpərˌfɪkt ˈhɑlɪˌdeɪ ˈrɛsəpi fər ðɪs ˈhɑlɪˌdeɪ ˈsizən. ˈɛvəri jɪr, wi hæv ə juˈnik paɪ fər ðə ˌθæŋksˈgɪvɪŋ ənd ɪt ɪz ˈɔlˌweɪz ən ədˈvɛnʧər. frəm swit pəˈteɪˌtoʊ paɪz tɪ təˈmɑˌtoʊ paɪz, aɪ hæv hæd ɪt ɔl. moʊst əv ðə taɪm, ðə ədˈvɛnʧər laɪz ɪn ðə ˈteɪstɪŋ ənd nɑt ðə ˈkʊkɪŋ pɑrt. ɪn 2002 wi hæd ˈʧɔklət ənd ˈkrænˌbɛri paɪ. ðət wɑz ðə jɪr ðət wən əv maɪ frɛndz wɑz ˈgɪtɪŋ ˈmɛrid æt ðə eɪʤ əv 20 wi hæd ə pəˈʤɑmə ˈbraɪdəl ʃaʊər ɔn ˈkrɪsməs iv ənd ʃi gɑt tɪ ʧuz ðə ˌɪnˈgridiənts əv ðə paɪ. ðə paɪ wɑz greɪt, ðə ˌkɑnvərˈseɪʃənz wər ˈlaɪvli ənd ðə ˈmɛməriz əv stəft ˈbɛliz stɪl ˈlɪŋgərz ɪn maɪ maɪnd. ɪn 2004 aɪ meɪd ˈpiʧɪz, bəˈnænə ənd ˈkoʊkəˌnət paɪ. ðə paɪ maɪ ˌkɑntrəˈbjuʃən tɪ ə taɪ ˈpɑˌtlək ˌθæŋksˈgɪvɪŋ aɪ wɑz ˌɪnˈvaɪtɪd tɪ əˈtɛnd. ðɪs wɑz maɪ fərst əˈtɛmpt æt ˈmeɪkɪŋ paɪz ˈjuzɪŋ frɛʃ fruts, soʊ, ðə ˈʧælənʤ wɑz ɔn. ædˈmɪtɪdli, ðə 2004 paɪ dɪd nɑt kəm aʊt greɪt. ˌhaʊˈɛvər, ɪt wɑz ə juʤ səkˈsɛs ɪn ðə poʊst ˌθæŋksˈgɪvɪŋ fud faɪt. aɪ θɪŋk ju kən gɛs hu gɑt ðə paɪ ɪn ðɛr feɪs? jɛs, aɪ wɑz ðə wən hu gɑt ðə paɪ ɪn maɪ feɪs ənd ðət wɑz ˈɔsəm! ɪn ðə ɛnd, aɪ fɛlt ˈsɑri fər ðə ˈpərsən hu meɪd ðə ˈtərki. ðə bɛst ˈhɑlɪˌdeɪ paɪ ˈmɛməri wɑz ɪn 2011 ɪt wɑz maɪ læst ˌθæŋksˈgɪvɪŋ ɪn nu ˈʤərzi, ˈivɪn ðoʊ aɪ noʊ ɪt æt ðət taɪm. ðə paɪ wɑz ðə trəˈdɪʃənəl ˈæpəl paɪ wɪθ aɪs krim. ðə paɪ ˌɪnˈgridiənts juˈnik. ˌhaʊˈɛvər, ðeɪ wər ˈmɪni ˈæpəl paɪz ɪn ðə ʃeɪp əv paɪn koʊnz wɪθ ðə neɪmz əv ɑr ˈfeɪvərɪt ˈpipəl ɔn ðə tɔp. wət tɪ du wɪθ ˈɑlɪvz? ðət ɪz ðə kˈwɛʃən aɪ ˈɔlˌweɪz æsk ˌmaɪˈsɛlf. aɪ faɪnd ˌmaɪˈsɛlf ˈjuzɪŋ ðɛm ɪn ˈsælədz ˈmoʊstli, soʊ, aɪ θɔt tɪ traɪ ɪt ɛz ðə kɪŋ ɪn ə ˈrɛsəpi. ˈɑlɪv ˈrɛsəpiz ər naʊ maɪ ˈfeɪvərɪt. aɪ æm goʊɪŋ tɪ bi traɪɪŋ ə hoʊl bənʧ əv nu ˈrɛsəpiz ɪn ðə nu jɪr. wət ɪz jʊr ˈfeɪvərɪt ˈɑlɪvz ˈrɛsəpiz? haʊ tɪ meɪk ən ˈɑlɪv paɪ ˈrɛsəpi fər ˈɑlɪv paɪ ən ˈɑlɪvz ˈrɛsəpi laɪk noʊ ˈəðər. ðɪs ˈseɪvəri paɪ ˈrɛsəpi ɪz ˈpərˌfɪkt ðə ˈhɑlɪˌdeɪ ˈsizən ənd jɪr raʊnd. meɪd wɪθ 2 taɪps əv ˈɑlɪvz, ˈkɛrəməˌlaɪzd ˈənjənz ənd swit ˈpɛpərz, ɪt ɪz ðə ˈpərˌfɪkt ˈkəmfərt fud paɪ. frəm 8 voʊts prɪnt pɪn prɛp taɪm: 10 ˈmɪnəts kʊk taɪm: 25 ˈmɪnəts ˈtoʊtəl taɪm: 35 ˈmɪnəts ˈsərvɪŋz: 4 ˈsərvɪŋz ˈkælɔˌriz: 356 ˈkeɪkɑl ˈɔθər: ˈhilɪŋ təˈmɑˌtoʊ ˌɪnˈgridiənts 1 paɪ krəst 1 kəp ˈɑlɪvz slaɪst 1 kəp ˈspænɪʃ kwin ˈɑlɪvz kəp ˈroʊstɪd bɛl ˈpɛpər strɪps ˈdɛli slaɪst ˈroʊstɪd bɛl ˈpɛpər strɪps ˈjɛloʊ ˈənjən 2 ˈɛkstrə ˈvərʤɪn ˈɑlɪv ɔɪl 1 blæk ˈpɛpər ˈhəni 1 draɪd ˈbæzəl 1 draɪd ˌɔˈrɛgəˌnoʊ 2 ˈsɛsəmi sidz kəp ʧiz ˌpɑməˈgrænət ˈvɪnəgər (ˈɔpʃənəl) ˌɪnˈstrəkʃənz ˈəvən tɪ ənd ˈpɑrʃəli beɪk ðə paɪ krəst fər əˈbaʊt 10 ˈmɪnəts wɑʃ ðə tu ˈɑlɪv taɪps baɪ ˈrənɪŋ ðɛm ˈəndər koʊld ˈwɔtər fər əˈbaʊt 30 ˈsɛkəndz ɪn ə ˈmidiəm pæn, æd ðə ˈɑlɪv ɔɪl ənd əˈlaʊ tɪ hit fər 30 ˈsɛkəndz æd ðə ˈənjənz ənd sɔˈteɪ ðɛm ənˈtɪl ˈkɛrəməˌlaɪzd æd ðə bɛl ˈpɛpər strɪps ənd ˈhəni sɔˈteɪ fər əˈbaʊt 3 ˈmɪnəts ɔn hit æd ðə ˈɑlɪvz ənd stər wɛl æd ðə draɪd ˈspaɪsɪz ənd liv ɪt ɔn ˈmidiəm hit ənˈtɪl ɔl ðə ˈlɪkwɪd həz bərnd ɔf stər ˈkɑnstəntli ɪn ə ˈdɪfərənt pæn, ˈlaɪtli draɪ roʊst ðə ˈsɛsəmi sidz fər əˈbaʊt 45 ˈsɛkəndz ˈbrɪŋɪŋ ðə ˈɑlɪv paɪ təˈgɛðər æd ðə ˈɑlɪv ənd bɛl ˈpɛpər ˈmɪksʧər tɪ ðə ˈpɑrʃəli beɪkt paɪ krəst tɔp wɪθ ðə ˈsɛsəmi sidz ənd pʊt ðə paɪ pæn bæk ˈɪntu ðə ˈəvən əˈlaʊ ðə paɪ tɪ beɪk fər əˈbaʊt 15 ˈmɪnəts riˈmuv frəm ðə ˈəvən ənd tɔp wɪθ ʧiz tɔp wɪθ sərv ˌɪˈmiˌdiətli. fər bɛst rɪˈzəlts, æd ə splæʃ əv ˌpɑməˈgrænət ˈvɪnəgər ˌbiˈfɔr ˈsərvɪŋ nuˈtrɪʃən ˈsərvɪŋ: 3 ʤi ˈkælɔˌriz: 356 ˈkeɪkɑl ˌkɑrboʊˈhaɪdreɪts: 27 ʤi ˈproʊˌtin: 5 ʤi fæt: 26 ʤi ˈsæʧərˌeɪtɪd fæt: 6 ʤi kəˈlɛstərˌɔl: 8 ˈsoʊdiəm: 1569 pəˈtæsiəm: 115 ˈfaɪbər: 4 ʤi ˈʃʊgər: 2 ʤi ˈvaɪtəmən ə: ˈvaɪtəmən si: ˈkælsiəm: aɪərn: traɪd ðɪs ˈrɛsəpi? ˈfɑloʊ mi ənd ˈmɛnʃən mɔr frəm |
tokyo (reuters) - nuclear watchdog on wednesday postponed the completion of its review on stress tests on the first pair of dozens of idled reactors, an initial step in rebuilding public trust in atomic energy after the worst nuclear accident in 25 years.
only three of 54 reactors are online 11 months after a major earthquake and tsunami crippled the fukushima daiichi nuclear power plant. many have been stopped for regular maintenance, during which utilities are conducting stress tests.
the accident, the most serious since the explosion and fire at chernobyl in ukraine in 1986, led to widespread contamination, prompted mass evacuations, caused upheaval throughout the nuclear industry and forced the government to review its overall energy policy.
clearing the stress tests against extreme events like the march 11 disaster is a necessary hurdle to clear for the restart of the two reactors run by the kansai electric power co. at the plant in western japan.
the nuclear and industrial safety agency (nisa) set no date for the review to be completed.
“we will do our homework after hearing, discuss by ourselves and decide on it when appropriate,”, director of nuclear safety regulatory standard division, told reporters after a meeting of a panel of experts.
some improvements had already been introduced at the two megawatt reactors after test results suggested some equipment and other factors needed improvement.
the timing of the first such stress test approval is being carefully watched. industry and government officials are keen to see some reactors brought back on stream soon to avoid a potentially serious power crunch in the summer.
once the tests are completed, they must be validated by the nuclear safety commission of japan and approved by four cabinet ministers, including trade minister yukio and prime minister noda.
approval must then be forthcoming from local authorities hosting nuclear power plants. although agreement is not required by law, ministers are mindful of public concerns about safety.
trade minister, who holds the energy portfolio, said this week he had not set deadlines to resume operations at nuclear reactors after a media report said the government aimed to restart the two reactors around april.
ichimura on wednesday declined to say when will compile its final report or if the panel of experts will talk about the reactors again when they next meet on february 20.
a new atomic safety regulator under the auspices of the environment ministry is set to replace in april in a move to separate the regulatory role from the trade ministry, which also promotes nuclear.
the government has submitted to parliament a revision of laws regulating nuclear plant operators. | ˈtoʊkiˌoʊ (ˈrɔɪtərz) ˈnukliər ˈwɑʧˌdɔg ɔn ˈwɛnzˌdeɪ poʊstˈpoʊnd ðə kəmˈpliʃən əv ɪts ˌrivˈju ɔn strɛs tɛsts ɔn ðə fərst pɛr əv ˈdəzənz əv ˈaɪdəld riˈæktərz, ən ˌɪˈnɪʃəl stɛp ɪn riˈbɪldɪŋ ˈpəblɪk trəst ɪn əˈtɑmɪk ˈɛnərʤi ˈæftər ðə wərst ˈnukliər ˈæksədənt ɪn 25 jɪrz. ˈoʊnli θri əv 54 riˈæktərz ər ˈɔnˌlaɪn 11 mənθs ˈæftər ə ˈmeɪʤər ˈərθkˌweɪk ənd tsuˈnɑmi ˈkrɪpəld ðə fukuˈʃimə ˌdaɪˈiʧi ˈnukliər paʊər plænt. ˈmɛni hæv bɪn stɑpt fər ˈrɛgjələr ˈmeɪntənəns, ˈdʊrɪŋ wɪʧ juˈtɪlətiz ər kənˈdəktɪŋ strɛs tɛsts. ðə ˈæksədənt, ðə moʊst ˈsɪriəs sɪns ðə ɪkˈsploʊʒən ənd faɪər æt ʧərˈnoʊbəl ɪn juˈkreɪn ɪn 1986 lɛd tɪ ˈwaɪdˈsprɛd kənˌtæməˈneɪʃən, ˈprɑmptɪd mæs ɪˌvækjəˈweɪʃənz, kɔzd əˈphivəl θruaʊt ðə ˈnukliər ˈɪndəstri ənd fɔrst ðə ˈgəvərnmənt tɪ ˌrivˈju ɪts ˈoʊvərˌɔl ˈɛnərʤi ˈpɑləsi. ˈklɪrɪŋ ðə strɛs tɛsts əˈgɛnst ɪkˈstrim ɪˈvɛnts laɪk ðə mɑrʧ 11 dɪˈzæstər ɪz ə ˈnɛsəˌsɛri ˈhərdəl tɪ klɪr fər ðə riˈstɑrt əv ðə tu riˈæktərz rən baɪ ðə kænˈsaɪ ɪˈlɛktrɪk paʊər koʊ. æt ðə plænt ɪn ˈwɛstərn ʤəˈpæn. ðə ˈnukliər ənd ˌɪnˈdəstriəl ˈseɪfti ˈeɪʤənsi (nisa*) sɛt noʊ deɪt fər ðə ˌrivˈju tɪ bi kəmˈplitɪd. wɪl du ɑr ˈhoʊmˌwərk ˈæftər ˈhirɪŋ, dɪˈskəs baɪ ɑrˈsɛlvz ənd ˌdɪˈsaɪd ɔn ɪt wɪn appropriate,”*,”, dɪˈrɛktər əv ˈnukliər ˈseɪfti ˈrɛgjələˌtɔri ˈstændərd dɪˈvɪʒən, toʊld rɪˈpɔrtərz ˈæftər ə ˈmitɪŋ əv ə ˈpænəl əv ˈɛkspərts. səm ˌɪmˈpruvmənts hæd ɔˈrɛdi bɪn ˌɪntrəˈdust æt ðə tu ˈmɛgəˌwɑt riˈæktərz ˈæftər tɛst rɪˈzəlts səˈʤɛstɪd səm ɪkˈwɪpmənt ənd ˈəðər ˈfæktərz ˈnidɪd ˌɪmˈpruvmənt. ðə ˈtaɪmɪŋ əv ðə fərst səʧ strɛs tɛst əˈpruvəl ɪz biɪŋ ˈkɛrfəli wɔʧt. ˈɪndəstri ənd ˈgəvərnmənt əˈfɪʃəlz ər kin tɪ si səm riˈæktərz brɔt bæk ɔn strim sun tɪ əˈvɔɪd ə pəˈtɛnʃəli ˈsɪriəs paʊər krənʧ ɪn ðə ˈsəmər. wəns ðə tɛsts ər kəmˈplitɪd, ðeɪ məst bi ˈvælədeɪtəd baɪ ðə ˈnukliər ˈseɪfti kəˈmɪʃən əv ʤəˈpæn ənd əˈpruvd baɪ fɔr ˈkæbənət ˈmɪnɪstərz, ˌɪnˈkludɪŋ treɪd ˈmɪnɪstər juˈkioʊ ənd praɪm ˈmɪnɪstər ˈnoʊdə. əˈpruvəl məst ðɛn bi ˈfɔrθˈkəmɪŋ frəm ˈloʊkəl əˈθɔrətiz ˈhoʊstɪŋ ˈnukliər paʊər plænts. ˌɔlˈðoʊ əˈgrimənt ɪz nɑt rikˈwaɪərd baɪ lɔ, ˈmɪnɪstərz ər ˈmaɪndfəl əv ˈpəblɪk kənˈsərnz əˈbaʊt ˈseɪfti. treɪd ˈmɪnɪstər, hu hoʊldz ðə ˈɛnərʤi pɔrtˈfoʊliˌoʊ, sɛd ðɪs wik hi hæd nɑt sɛt ˈdɛˌdlaɪnz tɪ ˈrɛzəˌmeɪ ˌɑpərˈeɪʃənz æt ˈnukliər riˈæktərz ˈæftər ə ˈmidiə rɪˈpɔrt sɛd ðə ˈgəvərnmənt eɪmd tɪ riˈstɑrt ðə tu riˈæktərz əraʊnd ˈeɪprəl. ɔn ˈwɛnzˌdeɪ dɪˈklaɪnd tɪ seɪ wɪn wɪl kəmˈpaɪl ɪts ˈfaɪnəl rɪˈpɔrt ər ɪf ðə ˈpænəl əv ˈɛkspərts wɪl tɔk əˈbaʊt ðə riˈæktərz əˈgɛn wɪn ðeɪ nɛkst mit ɔn ˈfɛbruˌɛri 20 ə nu əˈtɑmɪk ˈseɪfti ˈrɛgjəˌleɪtər ˈəndər ðə ˈɔspɪsɪz əv ðə ɪnˈvaɪrənmənt ˈmɪnɪstri ɪz sɛt tɪ ˌriˈpleɪs ɪn ˈeɪprəl ɪn ə muv tɪ ˈsɛpərˌeɪt ðə ˈrɛgjələˌtɔri roʊl frəm ðə treɪd ˈmɪnɪstri, wɪʧ ˈɔlsoʊ prəˈmoʊts ˈnukliər. ðə ˈgəvərnmənt həz səbˈmɪtəd tɪ ˈpɑrləmɛnt ə riˈvɪʒən əv lɔz ˈrɛgjəˌleɪtɪŋ ˈnukliər plænt ˈɔpərˌeɪtərz. |
image caption mr cameron said corruption was a drain on efforts to tackle global poverty and promote economic development
foreigners must not be able to buy homes with "plundered or laundered cash" as part a global effort to defeat corruption, david cameron has said.
speaking in singapore, the prime minister vowed to expose the use of "anonymous shell companies" to buy luxury properties - often in london.
the pm said his message was "london is not a place to stash your cash".
corruption, he added, was "a cancer which is at the heart of so many of the world's problems" and must be tackled.
mr cameron is on a tour of south east asia. on monday, he announced the and indonesia had agreed measures to counter the "shared enemy" of islamic state (is) extremism.
later in the trip he will travel to malaysia and vietnam.
'global effort'
he has been accompanied by 31 british business leaders in an attempt to drum up trade with the and has also discussed the fight against terrorism with his counterparts.
describing corruption as "the enemy of progress", he called for a "global effort" to tackle it, saying the world has "looked the other way for too long".
citing the steps taken by the and singapore to tackle corruption as part of enforcing a financial and legal system, mr cameron said a zero tolerance approach boosted trust and could improve business profitability and economic growth.
a 2014 report by organisation one said an estimated $1tn (£600bn) a year was being taken out of poor countries because of corruption, warning of the use of phantom firms and money laundering.
image copyright image caption mr cameron said there should be no place for "dirty money"
and last week the national crime agency said foreign criminals were pushing up house prices in the by laundering billions of pounds through the purchase of expensive properties.
in his speech, mr cameron said properties in the, particularly in london, "are being bought by people overseas through anonymous shell companies, some with plundered or laundered cash".
shell companies are companies that serve a particular purpose for their owners.
more than property titles are registered to overseas companies, with more than properties in london owned by offshore firms.
about of property in england and wales is owned by offshore companies.
the government is to publish land registry data later this year, setting out which foreign companies own land and property in england and wales. it will also consider forcing a foreign company bidding for a government contract to "publicly state who really owns it".
image copyright pa image caption later on tuesday, the pm visited singapore's botanical gardens, where he has had an orchid named after him
image copyright pa image caption the david cameron orchid - described as having petals in a shade of blue - was bred for five years
while the majority of business investing in britain had "nothing to hide" and were welcome, the rules needed to be more transparent to counter those who were seeking to launder "their gains without being tracked down".
"there is no place for dirty money in britain," he said.
"indeed, there should no place for dirty money anywhere. london is not a place to stash your cash."
'veil of secrecy'
welcoming the pledge, laura taylor, head of advocacy at christian aid, said it was "another step forward in the battle for greater transparency worldwide".
"countering corruption is of fundamental importance in the fight against global poverty because of its impact on developing countries," she added.
diane sheard, director of one, said: "lifting this veil of secrecy will help developing countries to identify and recover these funds, which should be spent on essentials like health and education.
"we hope that making information public about foreign companies that own property in the will deter from doing business here."
and robert palmer, head of the campaign at the charity global witness, said: "london is a very attractive destination for very wealthy people, including corrupt officials who have looted their state coffers."
he added: "what the prime minister has announced today is a really good step forward."
in his speech, mr cameron also pledged to boost the's trade links with asean nations, pointing out that britain had larger two-way trade with belgium than with singapore, malaysia, vietnam and indonesia combined.
the had become "too reliant" on its european market and must "not lose out" on the vast market that south east asia represented - heralding a "partnership that can drive our shared prosperity for decades to come". | ˈɪmɪʤ ˈkæpʃən ˈmɪstər ˈkæmərən sɛd kərˈəpʃən wɑz ə dreɪn ɔn ˈɛfərts tɪ ˈtækəl ˈgloʊbəl ˈpɑvərti ənd prəˈmoʊt ˌɛkəˈnɑmɪk dɪˈvɛləpmənt ˈfɔrənərz məst nɑt bi ˈeɪbəl tɪ baɪ hoʊmz wɪθ "ˈpləndərd ər ˈlɔndərd kæʃ" ɛz pɑrt ə ˈgloʊbəl ˈɛfərt tɪ dɪˈfit kərˈəpʃən, ˈdeɪvɪd ˈkæmərən həz sɛd. ˈspikɪŋ ɪn ˈsɪŋəˌpɔr, ðə praɪm ˈmɪnɪstər vaʊd tɪ ɪkˈspoʊz ðə juz əv "əˈnɑnəməs ʃɛl ˈkəmpəˌniz" tɪ baɪ ˈləgʒəri ˈprɑpərtiz ˈɔfən ɪn ˈləndən. ðə piɛm sɛd hɪz ˈmɛsɪʤ wɑz "ˈləndən ɪz nɑt ə pleɪs tɪ stæʃ jʊr kæʃ". kərˈəpʃən, hi ˈædɪd, wɑz "ə ˈkænsər wɪʧ ɪz æt ðə hɑrt əv soʊ ˈmɛni əv ðə wərldz ˈprɑbləmz" ənd məst bi ˈtækəld. ˈmɪstər ˈkæmərən ɪz ɔn ə tʊr əv saʊθ ist ˈeɪʒə. ɔn ˈmənˌdeɪ, hi əˈnaʊnst ðə ənd ˌɪndoʊˈniʒə hæd əˈgrid ˈmɛʒərz tɪ ˈkaʊntər ðə "ʃɛrd ˈɛnəmi" əv ˌɪzˈlɑmɪk steɪt (ɪz) ˌɪkˈstrɛmɪzəm. ˈleɪtər ɪn ðə trɪp hi wɪl ˈtrævəl tɪ məˈleɪʒə ənd viˌɛtˈnɑm. 'ˈgloʊbəl ˈɛfərt' hi həz bɪn əˈkəmpənid baɪ 31 ˈbrɪtɪʃ ˈbɪznɪs ˈlidərz ɪn ən əˈtɛmpt tɪ drəm əp treɪd wɪθ ðə ənd həz ˈɔlsoʊ dɪˈskəst ðə faɪt əˈgɛnst ˈtɛrəˌrɪzəm wɪθ hɪz ˈkaʊntərˌpɑrts. dɪˈskraɪbɪŋ kərˈəpʃən ɛz "ðə ˈɛnəmi əv ˈprɑˌgrɛs", hi kɔld fər ə "ˈgloʊbəl ˈɛfərt" tɪ ˈtækəl ɪt, seɪɪŋ ðə wərld həz "lʊkt ðə ˈəðər weɪ fər tu lɔŋ". ˈsaɪtɪŋ ðə stɛps ˈteɪkən baɪ ðə ənd ˈsɪŋəˌpɔr tɪ ˈtækəl kərˈəpʃən ɛz pɑrt əv ɛnˈfɔrsɪŋ ə ˌfaɪˈnænʃəl ənd ˈligəl ˈsɪstəm, ˈmɪstər ˈkæmərən sɛd ə ˈziroʊ ˈtɑlərəns əˈproʊʧ ˈbustɪd trəst ənd kʊd ˌɪmˈpruv ˈbɪznɪs ˌprɑfɪtəˈbɪlɪti ənd ˌɛkəˈnɑmɪk groʊθ. ə 2014 rɪˈpɔrt baɪ ˌɔrgənɪˈzeɪʃən wən sɛd ən ˈɛstəˌmeɪtɪd £600bn*) ə jɪr wɑz biɪŋ ˈteɪkən aʊt əv pur ˈkəntriz bɪˈkəz əv kərˈəpʃən, ˈwɔrnɪŋ əv ðə juz əv ˈfænəm fərmz ənd ˈməni ˈlɔndərɪŋ. ˈɪmɪʤ ˈkɑpiˌraɪt ˈɪmɪʤ ˈkæpʃən ˈmɪstər ˈkæmərən sɛd ðɛr ʃʊd bi noʊ pleɪs fər "ˈdərti ˈməni" ənd læst wik ðə ˈnæʃənəl kraɪm ˈeɪʤənsi sɛd ˈfɔrən ˈkrɪmənəlz wər ˈpʊʃɪŋ əp haʊs ˈpraɪsɪz ɪn ðə baɪ ˈlɔndərɪŋ ˈbɪljənz əv paʊnz θru ðə ˈpərʧəs əv ɪkˈspɛnsɪv ˈprɑpərtiz. ɪn hɪz spiʧ, ˈmɪstər ˈkæmərən sɛd ˈprɑpərtiz ɪn ðə, ˌpɑrˈtɪkjələrli ɪn ˈləndən, "ər biɪŋ bɔt baɪ ˈpipəl ˈoʊvərˈsiz θru əˈnɑnəməs ʃɛl ˈkəmpəˌniz, səm wɪθ ˈpləndərd ər ˈlɔndərd kæʃ". ʃɛl ˈkəmpəˌniz ər ˈkəmpəˌniz ðət sərv ə ˌpɑˈtɪkjələr ˈpərpəs fər ðɛr ˈoʊnərz. mɔr ðən ˈprɑpərti ˈtaɪtəlz ər ˈrɛʤɪstərd tɪ ˈoʊvərˈsiz ˈkəmpəˌniz, wɪθ mɔr ðən ˈprɑpərtiz ɪn ˈləndən oʊnd baɪ ˈɔfˈʃɔr fərmz. əˈbaʊt əv ˈprɑpərti ɪn ˈɪŋglənd ənd weɪlz ɪz oʊnd baɪ ˈɔfˈʃɔr ˈkəmpəˌniz. ðə ˈgəvərnmənt ɪz tɪ ˈpəblɪʃ lænd ˈrɛʤɪstri ˈdætə ˈleɪtər ðɪs jɪr, ˈsɛtɪŋ aʊt wɪʧ ˈfɔrən ˈkəmpəˌniz oʊn lænd ənd ˈprɑpərti ɪn ˈɪŋglənd ənd weɪlz. ɪt wɪl ˈɔlsoʊ kənˈsɪdər ˈfɔrsɪŋ ə ˈfɔrən ˈkəmpəˌni ˈbɪdɪŋ fər ə ˈgəvərnmənt ˈkɑnˌtrækt tɪ "ˈpəblɪkli steɪt hu ˈrɪli oʊnz ɪt". ˈɪmɪʤ ˈkɑpiˌraɪt pɑ ˈɪmɪʤ ˈkæpʃən ˈleɪtər ɔn ˈtuzˌdeɪ, ðə piɛm ˈvɪzɪtɪd ˈsɪŋəpɔrz bəˈtænɪkəl ˈgɑrdənz, wɛr hi həz hæd ən ˈɔrkəd neɪmd ˈæftər ɪm ˈɪmɪʤ ˈkɑpiˌraɪt pɑ ˈɪmɪʤ ˈkæpʃən ðə ˈdeɪvɪd ˈkæmərən ˈɔrkəd dɪˈskraɪbd ɛz ˈhævɪŋ ˈpɛtəlz ɪn ə ʃeɪd əv blu wɑz brɛd fər faɪv jɪrz waɪl ðə məˈʤɔrəti əv ˈbɪznɪs ˌɪnˈvɛstɪŋ ɪn ˈbrɪtən hæd "ˈnəθɪŋ tɪ haɪd" ənd wər ˈwɛlkəm, ðə rulz ˈnidɪd tɪ bi mɔr trænˈspɛrənt tɪ ˈkaʊntər ðoʊz hu wər ˈsikɪŋ tɪ ˈlɔndər "ðɛr geɪnz wɪˈθaʊt biɪŋ trækt daʊn". "ðɛr ɪz noʊ pleɪs fər ˈdərti ˈməni ɪn ˈbrɪtən," hi sɛd. "ˌɪnˈdid, ðɛr ʃʊd noʊ pleɪs fər ˈdərti ˈməni ˈɛniˌwɛr. ˈləndən ɪz nɑt ə pleɪs tɪ stæʃ jʊr kæʃ." 'veɪl əv ˈsikrəsi' ˈwɛlkəmɪŋ ðə plɛʤ, ˈlɔrə ˈteɪlər, hɛd əv ˈædvəkəsi æt ˈkrɪsʧɪn eɪd, sɛd ɪt wɑz "əˈnəðər stɛp ˈfɔrwərd ɪn ðə ˈbætəl fər ˈgreɪtər trænˈspɛrənsi ˈwərldˈwaɪd". "ˈkaʊnərɪŋ kərˈəpʃən ɪz əv ˌfəndəˈmɛnəl ˌɪmˈpɔrtəns ɪn ðə faɪt əˈgɛnst ˈgloʊbəl ˈpɑvərti bɪˈkəz əv ɪts ˌɪmˈpækt ɔn dɪˈvɛləpɪŋ ˈkəntriz," ʃi ˈædɪd. daɪæn ʃɪrd, dɪˈrɛktər əv wən, sɛd: "ˈlɪftɪŋ ðɪs veɪl əv ˈsikrəsi wɪl hɛlp dɪˈvɛləpɪŋ ˈkəntriz tɪ aɪˈdɛntəˌfaɪ ənd rɪˈkəvər ðiz fəndz, wɪʧ ʃʊd bi spɛnt ɔn ɛˈsɛnʃəlz laɪk hɛlθ ənd ˌɛʤəˈkeɪʃən. "wi hoʊp ðət ˈmeɪkɪŋ ˌɪnˌfɔrˈmeɪʃən ˈpəblɪk əˈbaʊt ˈfɔrən ˈkəmpəˌniz ðət oʊn ˈprɑpərti ɪn ðə wɪl dɪˈtər frəm duɪŋ ˈbɪznɪs hir." ənd ˈrɑbərt ˈpɑmər, hɛd əv ðə kæmˈpeɪn æt ðə ˈʧɛrɪti ˈgloʊbəl ˈwɪtnəs, sɛd: "ˈləndən ɪz ə ˈvɛri əˈtræktɪv ˌdɛstɪˈneɪʃən fər ˈvɛri ˈwɛlθi ˈpipəl, ˌɪnˈkludɪŋ kərəpt əˈfɪʃəlz hu hæv ˈlutɪd ðɛr steɪt ˈkɔfərz." hi ˈædɪd: "wət ðə praɪm ˈmɪnɪstər həz əˈnaʊnst təˈdeɪ ɪz ə ˈrɪli gʊd stɛp ˈfɔrwərd." ɪn hɪz spiʧ, ˈmɪstər ˈkæmərən ˈɔlsoʊ plɛʤd tɪ bust ðə treɪd lɪŋks wɪθ ˌæˈzeɪən ˈneɪʃənz, ˈpɔɪntɪŋ aʊt ðət ˈbrɪtən hæd ˈlɑrʤər ˈtuˌweɪ treɪd wɪθ ˈbɛlʤəm ðən wɪθ ˈsɪŋəˌpɔr, məˈleɪʒə, viˌɛtˈnɑm ənd ˌɪndoʊˈniʒə kəmˈbaɪnd. ðə hæd bɪˈkəm "tu rɪˈlaɪənt" ɔn ɪts ˌjʊrəˈpiən ˈmɑrkɪt ənd məst "nɑt luz aʊt" ɔn ðə væst ˈmɑrkɪt ðət saʊθ ist ˈeɪʒə ˌrɛprɪˈzɛnɪd ˈhɛrəldɪŋ ə "ˈpɑrtnərˌʃɪp ðət kən draɪv ɑr ʃɛrd prɑˈspɛrəti fər ˈdɛkeɪdz tɪ kəm". |
activision is defending itself from backlash against its call of duty elite platform , promising consumers that "nothing will be taken a blog post and subsequent published friday, activision clarified to its call of duty that the platform -- which will offer perks and services starting with this year's modern warfare 3 -- will be an "additive experience" that will not take away from the kind of content that players can currently call of duty 'out of the box' experience that our players expect... remains the same as ever," the reads. "our promise to you is this: elite only adds to the call of duty experience. nothing will be taken away from the experience you know and call of duty elite, adding a new choice for those who want to get even more out of the game. even haters can play for free," it goes on to outline features that elite will provide for free, including custom ios and android applications, custom leaderboards, detailed performance tracking, video uploads, and facebook company again stressed that it was unable to detail most of the paid features of elite, as the service "was designed to be deeply integrated with call of duty: modern warfare 3, and will not be demonstrable until we are closer to the launch of the know seeing is believing, and over the next few months we will be revealing and demonstrating more of the premium features and by the end of the summer, we will reveal the entire service in full released friday is available here link]. more details on the service are available in our original report , and chris morris wrote a detailed editorial piece on potential impact here | ˈæktɪˌvɪʒən ɪz dɪˈfɛndɪŋ ˌɪtˈsɛlf frəm ˈbæˌklæʃ əˈgɛnst ɪts kɔl əv ˈduti ɪˈlit ˈplætˌfɔrm ˈprɑməsɪŋ kənˈsumərz ðət "ˈnəθɪŋ wɪl bi ˈteɪkən ə blɔg poʊst ənd ˈsəbsəkwənt ˈpəblɪʃt ˈfraɪˌdeɪ, ˈæktɪˌvɪʒən ˈklɛrəˌfaɪd tɪ ɪts kɔl əv ˈduti ðət ðə ˈplætˌfɔrm wɪʧ wɪl ˈɔfər pərks ənd ˈsərvɪsɪz ˈstɑrtɪŋ wɪθ ðɪs jɪrz ˈmɑdərn ˈwɔrˌfɛr 3 wɪl bi ən "ˈædɪtɪv ɪkˈspɪriəns" ðət wɪl nɑt teɪk əˈweɪ frəm ðə kaɪnd əv ˈkɑntɛnt ðət pleɪərz kən ˈkərəntli kɔl əv ˈduti 'aʊt əv ðə bɑks' ɪkˈspɪriəns ðət ɑr pleɪərz ɪkˈspɛkt... rɪˈmeɪnz ðə seɪm ɛz ˈɛvər," ðə ridz. "ɑr ˈprɑməs tɪ ju ɪz ðɪs: ɪˈlit ˈoʊnli ædz tɪ ðə kɔl əv ˈduti ɪkˈspɪriəns. ˈnəθɪŋ wɪl bi ˈteɪkən əˈweɪ frəm ðə ɪkˈspɪriəns ju noʊ ənd kɔl əv ˈduti ɪˈlit, ˈædɪŋ ə nu ʧɔɪs fər ðoʊz hu wɔnt tɪ gɪt ˈivɪn mɔr aʊt əv ðə geɪm. ˈivɪn ˈheɪtərz kən pleɪ fər fri," ɪt goʊz ɔn tɪ ˈaʊˌtlaɪn ˈfiʧərz ðət ɪˈlit wɪl prəˈvaɪd fər fri, ˌɪnˈkludɪŋ ˈkəstəm ˈioʊs ənd ˈænˌdrɔɪd ˌæpləˈkeɪʃənz, ˈkəstəm leaderboards*, dɪˈteɪld pərˈfɔrməns ˈtrækɪŋ, ˈvɪdioʊ uploads*, ənd ˈfeɪsˌbʊk ˈkəmpəˌni əˈgɛn strɛst ðət ɪt wɑz əˈneɪbəl tɪ ˈditeɪl moʊst əv ðə peɪd ˈfiʧərz əv ɪˈlit, ɛz ðə ˈsərvɪs "wɑz dɪˈzaɪnd tɪ bi ˈdipli ˈɪnəˌgreɪtɪd wɪθ kɔl əv ˈduti: ˈmɑdərn ˈwɔrˌfɛr 3 ənd wɪl nɑt bi ˈdɛmənstrəbəl ənˈtɪl wi ər ˈkloʊzər tɪ ðə lɔnʧ əv ðə noʊ siɪŋ ɪz bɪˈlivɪŋ, ənd ˈoʊvər ðə nɛkst fju mənθs wi wɪl bi rɪˈvilɪŋ ənd ˈdɛmənˌstreɪtɪŋ mɔr əv ðə ˈprimiəm ˈfiʧərz ənd baɪ ðə ɛnd əv ðə ˈsəmər, wi wɪl rɪˈvil ðə ɪnˈtaɪər ˈsərvɪs ɪn fʊl riˈlist ˈfraɪˌdeɪ ɪz əˈveɪləbəl hir lɪŋk]. mɔr ˈditeɪlz ɔn ðə ˈsərvɪs ər əˈveɪləbəl ɪn ɑr ərˈɪʤənəl rɪˈpɔrt ənd krɪs ˈmɔrɪs roʊt ə dɪˈteɪld ˌɛdəˈtɔriəl pis ɔn pəˈtɛnʃəl ˌɪmˈpækt hir |
conservative host joe scarborough said on sunday that former house speaker newt thumping of former massachusetts gov. mitt romney in south carolina saturday showed that the republican base was “revolting” against the party establishment.
during a round table discussion on meet the press, chuck todd explained that win was “about mitt romney.”
“he made the sale to conservatives,” todd observed. “and losing in south carolina, he dismiss it. this is the heart and soul of the conservative movement, the folks that show up at telephones, that knock on the doors and he have their support.”
“there’s no doubt about it,” scarborough agreed. “the party base is revolting, but they are revolting against the washington republican establishment mitt romney.”
“just like herman cain was not about herman cain. it was a rejection of mitt romney. rick perry, a rejection of mitt romney. michele bachmann, a rejection of mitt romney. newt gingrich wave one, a rejection of mitt romney. now we have newt gingrich wave two, a rejection of mitt romney.”
scarborough continued: “mitt romney could attack newt for not being a conservative because newt is not a conservative. google it! we [republicans] ran him out of congress in 1998 because he sold us out on taxes, he sold us out on spending, he went to the floor and he sided with democrats on his last speech, calling us the perfectionists caucus. he called us jihadists. not a conservative, an opportunist. but here is the problem: so is mitt romney.”
watch this video from meet the press, broadcast jan. 22, 2012. | kənˈsərvətɪv hoʊst ʤoʊ ˈskɑrˌbəroʊ sɛd ɔn ˈsənˌdi ðət ˈfɔrmər haʊs ˈspikər nut ˈθəmpɪŋ əv ˈfɔrmər ˌmæsəˈʧusəts gəv. mɪt ˈrɑmni ɪn saʊθ ˌkɛrəˈlaɪnə ˈsæˌtɪˌdeɪ ʃoʊd ðət ðə rɪˈpəblɪkən beɪs wɑz ““revolting”*” əˈgɛnst ðə ˈpɑrti ɪˈstæblɪʃmənt. ˈdʊrɪŋ ə raʊnd ˈteɪbəl dɪˈskəʃən ɔn mit ðə prɛs, ʧək tɑd ɪkˈspleɪnd ðət wɪn wɑz mɪt romney.”*.” meɪd ðə seɪl tɪ conservatives,”*,” tɑd əbˈzərvd. ˈluzɪŋ ɪn saʊθ ˌkɛrəˈlaɪnə, hi dɪsˈmɪs ɪt. ðɪs ɪz ðə hɑrt ənd soʊl əv ðə kənˈsərvətɪv ˈmuvmənt, ðə foʊks ðət ʃoʊ əp æt ˈtɛləˌfoʊnz, ðət nɑk ɔn ðə dɔrz ənd hi hæv ðɛr support.”*.” noʊ daʊt əˈbaʊt it,”*,” ˈskɑrˌbəroʊ əˈgrid. ˈpɑrti beɪs ɪz riˈvoʊltɪŋ, bət ðeɪ ər riˈvoʊltɪŋ əˈgɛnst ðə ˈwɔʃɪŋtən rɪˈpəblɪkən ɪˈstæblɪʃmənt mɪt romney.”*.” laɪk ˈhərmən keɪn wɑz nɑt əˈbaʊt ˈhərmən keɪn. ɪt wɑz ə rɪˈʤɛkʃən əv mɪt ˈrɑmni. rɪk ˈpɛri, ə rɪˈʤɛkʃən əv mɪt ˈrɑmni. mɪˈʃɛl ˈbɑkmən, ə rɪˈʤɛkʃən əv mɪt ˈrɑmni. nut ˈgɪŋgrɪʧ weɪv wən, ə rɪˈʤɛkʃən əv mɪt ˈrɑmni. naʊ wi hæv nut ˈgɪŋgrɪʧ weɪv tu, ə rɪˈʤɛkʃən əv mɪt romney.”*.” ˈskɑrˌbəroʊ kənˈtɪnjud: ˈrɑmni kʊd əˈtæk nut fər nɑt biɪŋ ə kənˈsərvətɪv bɪˈkəz nut ɪz nɑt ə kənˈsərvətɪv. ˈgugəl ɪt! wi [rɪˈpəblɪkənz] ræn ɪm aʊt əv ˈkɑŋgrəs ɪn 1998 bɪˈkəz hi soʊld ˈjuˈɛs aʊt ɔn ˈtæksɪz, hi soʊld ˈjuˈɛs aʊt ɔn ˈspɛndɪŋ, hi wɛnt tɪ ðə flɔr ənd hi ˈsaɪdɪd wɪθ ˈdɛməˌkræts ɔn hɪz læst spiʧ, ˈkɔlɪŋ ˈjuˈɛs ðə pərˈfɛkʃənəsts ˈkɔkəs. hi kɔld ˈjuˈɛs ʤiˈhɑˌdɪsts. nɑt ə kənˈsərvətɪv, ən ˌɑpərˈtunɪst. bət hir ɪz ðə ˈprɑbləm: soʊ ɪz mɪt romney.”*.” wɔʧ ðɪs ˈvɪdioʊ frəm mit ðə prɛs, ˈbrɔdˌkæst ʤæn. 22 2012 |
the pulitzer musical hamilton, which was an unlikely marriage of early american history and hip-hop, is slated to enter a much more logical union with porn. for a story about a man who has a fraught affair, a crush on his sister-in-law, and documented amorous feelings for his best friend / war bunk buddy, it's surprising how the musical managed to be in the first place.
the porn adaptation of hamilton, coming in august from films, is called. it's a brilliant title, and it makes me wonder if the directors of the lincoln park zoo in chicago, who recently named a camel "alexander camelton," conspired with the good people of for some free promotion.
"i think your pants look hot, laurens"
i assume the film will be a hit, as american audiences really do love speculating about the founding fathers' sexuality. (remember that scene in the sixth season of gilmore girls in which all of emily extremely old, very anglican friends talk about whether they would rather bone george washington or john adams? what an odd conversation that was!)
the film's producer, lee roy meyers, vowed in a press release that would be "revolutionary." he backed up this claim, pointing out: "it will be the first hip-hop porn musical spoofing a broadway show, celebrating a historical figure. and it will have anal sex." neither of these things sound revolutionary, but we will see.
unfortunately, to answer my own question, will not be given a chance to win a pulitzer prize because it's going to be a movie, not a live theatrical production. | ðə ˈpʊlətsər mˈjuzɪkəl ˈhæməltən, wɪʧ wɑz ən ənˈlaɪkli ˈmɛrɪʤ əv ˈərli əˈmɛrɪkən ˈhɪstəri ənd ˈhɪˌphɔp, ɪz sˈleɪtɪd tɪ ˈɛnər ə məʧ mɔr ˈlɑʤɪkəl ˈjunjən wɪθ pɔrn. fər ə ˈstɔri əˈbaʊt ə mæn hu həz ə frɔt əˈfɛr, ə krəʃ ɔn hɪz ˈsɪstərɪnˌlɔ, ənd ˈdɑkjəˌmɛnəd ˈæmərəs ˈfilɪŋz fər hɪz bɛst frɛnd wɔr bəŋk ˈbədi, ɪts səˈpraɪzɪŋ haʊ ðə mˈjuzɪkəl ˈmænɪʤd tɪ bi ɪn ðə fərst pleɪs. ðə pɔrn ˌædəpˈteɪʃən əv ˈhæməltən, ˈkəmɪŋ ɪn ˈɔgəst frəm fɪlmz, ɪz kɔld. ɪts ə ˈbrɪljənt ˈtaɪtəl, ənd ɪt meɪks mi ˈwəndər ɪf ðə dɪˈrɛktərz əv ðə ˈlɪŋkən pɑrk zu ɪn ʃəˈkɑˌgoʊ, hu ˈrisəntli neɪmd ə ˈkæməl "ˌælɪgˈzændər camelton*," kənˈspaɪərd wɪθ ðə gʊd ˈpipəl əv fər səm fri pərˈmoʊʃən. "aɪ θɪŋk jʊr pænts lʊk hɑt, ˈlɔrənz" aɪ əˈsum ðə fɪlm wɪl bi ə hɪt, ɛz əˈmɛrɪkən ˈɔdiənsəz ˈrɪli du ləv ˈspɛkjəˌleɪtɪŋ əˈbaʊt ðə ˈfaʊndɪŋ ˈfɑðərz' ˌsɛkʃuˈæləti. (rɪˈmɛmbər ðət sin ɪn ðə sɪksθ ˈsizən əv ˈgɪlmɔr gərlz ɪn wɪʧ ɔl əv ˈɛmɪli ɪkˈstrimli oʊld, ˈvɛri ˈæŋglɪkən frɛndz tɔk əˈbaʊt ˈwɛðər ðeɪ wʊd ˈrəðər boʊn ʤɔrʤ ˈwɔʃɪŋtən ər ʤɑn ˈædəmz? wət ən ɑd ˌkɑnvərˈseɪʃən ðət wɑz!) ðə fɪlmz prəˈdusər, li rɔɪ maɪərz, vaʊd ɪn ə prɛs riˈlis ðət wʊd bi "ˌrɛvəˈluʃəˌnɛri." hi bækt əp ðɪs kleɪm, ˈpɔɪntɪŋ aʊt: "ɪt wɪl bi ðə fərst ˈhɪˌphɔp pɔrn mˈjuzɪkəl ˈspufɪŋ ə ˈbrɔdˌweɪ ʃoʊ, ˈsɛləˌbreɪtɪŋ ə hɪˈstɔrɪkəl ˈfɪgjər. ənd ɪt wɪl hæv ˈeɪnəl sɛks." ˈniðər əv ðiz θɪŋz saʊnd ˌrɛvəˈluʃəˌnɛri, bət wi wɪl si. ənˈfɔrʧənətli, tɪ ˈænsər maɪ oʊn kˈwɛʃən, wɪl nɑt bi ˈgɪvɪn ə ʧæns tɪ wɪn ə ˈpʊlətsər praɪz bɪˈkəz ɪts goʊɪŋ tɪ bi ə ˈmuvi, nɑt ə lɪv θiˈætrɪkəl pərˈdəkʃən. |
eso1338 science release
bizarre alignment of planetary
astronomers have used new technology telescope and the hubble space telescope to explore more than 100 planetary in the central bulge of our galaxy. they have found that members of this cosmic family tend to be mysteriously aligned a surprising result given their different histories and varied properties.
the final stages of life for a star like our sun result in the star blowing its outer layers out into the surrounding space, forming objects known as planetary in a wide range of beautiful and striking shapes. one type of such, known as bipolar planetary, create ghostly hourglass or butterfly shapes around their parent stars.
all these formed in different places and have different characteristics. and neither the individual, nor the stars that formed them, would have interacted with other planetary. however, a new study by astronomers from the university of manchester,, now shows surprising similarities between some of these: many of them line up in the sky in the same way [1].
"this really is a surprising find and, if it holds true, a very important one," explains bryan rees of the university of manchester, one of the paper's two authors. "many of these ghostly butterflies appear to have their long axes aligned along the plane of our galaxy. by using images from both hubble and the we could get a really good view of these objects, so we could study them in great detail."
the astronomers looked at 130 planetary in the milky way's central bulge. they identified three different types [2], and peered closely at their characteristics and appearance.
"while two of these populations were completely randomly aligned in the sky, as expected, we found that the third the bipolar showed a surprising preference for a particular alignment," says the paper's second author albert, also of the university of manchester. "while any alignment at all is a surprise, to have it in the crowded central region of the galaxy is even more unexpected."
planetary are thought to be sculpted by the rotation of the star system from which they form. this is dependent on the properties of this system for example, whether it is a binary [3], or has a number of planets orbiting it, both of which may greatly influence the form of the blown bubble. the shapes of bipolar are some of the most extreme, and are probably caused by jets blowing mass from the binary system perpendicular to the orbit.
"the alignment we're seeing for these bipolar indicates something bizarre about star systems within the central bulge," explains rees. "for them to line up in the way we see, the star systems that formed these would have to be rotating perpendicular to the interstellar clouds from which they formed, which is very strange."
while the properties of their progenitor stars do shape these, this new finding hints at another more mysterious factor. along with these complex stellar characteristics are those of our milky way; the whole central bulge rotates around the galactic centre. this bulge may have a greater influence than previously thought over our entire galaxy via its magnetic fields. the astronomers suggest that the orderly behaviour of the planetary could have been caused by the presence of strong magnetic fields as the bulge formed.
as such closer to home do not line up in the same orderly way, these fields would have to have been many times stronger than they are in our neighbourhood [4].
"we can learn a lot from studying these objects," concludes. "if they really behave in this unexpected way, it has consequences for not just the past of individual stars, but for the past of our whole galaxy."
notes
[1] the "long axis" of a bipolar planetary nebula slices through the wings of the butterfly, whilst the "short axis" slices through the body.
[2] the shapes of the planetary nebula images were classified into three types, following conventions: elliptical with an aligned internal structure, elliptical without an aligned internal structure, and bipolar.
[3] a binary system consists of two stars rotating around their common centre of gravity.
[4] very little is known about the origin and characteristics of the magnetic fields that were present in our galaxy when it was young, so it is unclear whether they have grown stronger over time, or decayed.
more information
the research is presented in a paper entitled "alignment of the angular momentum vectors of planetary in the galactic bulge", to appear in the monthly notices of the royal astronomical society.
the team is composed of b. rees (university of manchester,), and a. a. (university of manchester,). bryan rees came late to research astronomy he decided to do a phd after his early retirement and this work formed part of his thesis work.
eso is the foremost intergovernmental astronomy organisation in europe and the world's most productive astronomical observatory by far. it is supported by 15 countries: austria, belgium, brazil, the czech republic, denmark, france, finland, germany, italy, the netherlands, portugal, spain, sweden, switzerland and the united kingdom. carries out an ambitious programme focused on the design, construction and operation of powerful observing facilities enabling astronomers to make important scientific discoveries. also plays a leading role in promoting and cooperation in astronomical research. operates three unique world-class observing sites in chile: la silla, and chajnantor. at, operates the very large telescope, the world's most advanced astronomical observatory and two survey telescopes. vista works in the infrared and is the world's largest survey telescope and the survey telescope is the largest telescope designed to exclusively survey the skies in visible light. is the european partner of a revolutionary astronomical telescope alma, the largest astronomical project in existence. is currently planning the european extremely large telescope, the e-elt, which will become "the world's biggest eye on the sky".
links
contacts
albert
university of manchester
manchester,
tel: +44 1613 063925
email:
bryan rees
university of manchester
manchester,
tel: +44 1612 754145
email:
richard hook
eso, public information officer
garching münchen, germany
tel: +49 89 3200 6655
cell: +49 151 1537 3591
email:
connect with on social media | eso1338* saɪəns riˈlis bɪˈzɑr əˈlaɪnmənt əv ˈplænəˌtɛri əˈstrɑnəmərz hæv juzd nu tɛkˈnɑləʤi ˈtɛləˌskoʊp ənd ðə ˈhəbəl speɪs ˈtɛləˌskoʊp tɪ ɪkˈsplɔr mɔr ðən 100 ˈplænəˌtɛri ɪn ðə ˈsɛntrəl bəlʤ əv ɑr ˈgæləksi. ðeɪ hæv faʊnd ðət ˈmɛmbərz əv ðɪs ˈkɑzmɪk ˈfæməli tɛnd tɪ bi ˌmɪˈstɪrjəsli əˈlaɪnd ə səˈpraɪzɪŋ rɪˈzəlt ˈgɪvɪn ðɛr ˈdɪfərənt ˈhɪstəriz ənd ˈvɛrid ˈprɑpərtiz. ðə ˈfaɪnəl ˈsteɪʤɪz əv laɪf fər ə stɑr laɪk ɑr sən rɪˈzəlt ɪn ðə stɑr bloʊɪŋ ɪts ˈaʊtər leɪərz aʊt ˈɪntu ðə sərˈaʊndɪŋ speɪs, ˈfɔrmɪŋ ˈɑbʤɛkts noʊn ɛz ˈplænəˌtɛri ɪn ə waɪd reɪnʤ əv ˈbjutəfəl ənd ˈstraɪkɪŋ ʃeɪps. wən taɪp əv səʧ, noʊn ɛz baɪˈpoʊlər ˈplænəˌtɛri, kriˈeɪt ˈgoʊstli ˈaʊərˌglæs ər ˈbətərˌflaɪ ʃeɪps əraʊnd ðɛr ˈpɛrənt stɑrz. ɔl ðiz fɔrmd ɪn ˈdɪfərənt ˈpleɪsɪz ənd hæv ˈdɪfərənt ˌkɛrɪktərˈɪstɪks. ənd ˈniðər ðə ˌɪndəˈvɪʤəwəl, nɔr ðə stɑrz ðət fɔrmd ðɛm, wʊd hæv ˌɪnərˈæktəd wɪθ ˈəðər ˈplænəˌtɛri. ˌhaʊˈɛvər, ə nu ˈstədi baɪ əˈstrɑnəmərz frəm ðə ˌjunəˈvərsəti əv ˈmænˌʧɛstər,, naʊ ʃoʊz səˈpraɪzɪŋ ˌsɪməˈlɛrətiz bɪtˈwin səm əv ðiz: ˈmɛni əv ðɛm laɪn əp ɪn ðə skaɪ ɪn ðə seɪm weɪ 1 "ðɪs ˈrɪli ɪz ə səˈpraɪzɪŋ faɪnd ənd, ɪf ɪt hoʊldz tru, ə ˈvɛri ˌɪmˈpɔrtənt wən," ɪkˈspleɪnz braɪən riz əv ðə ˌjunəˈvərsəti əv ˈmænˌʧɛstər, wən əv ðə ˈpeɪpərz tu ˈɔθərz. "ˈmɛni əv ðiz ˈgoʊstli ˈbətərˌflaɪz əˈpɪr tɪ hæv ðɛr lɔŋ ˈækˌsɪz əˈlaɪnd əˈlɔŋ ðə pleɪn əv ɑr ˈgæləksi. baɪ ˈjuzɪŋ ˈɪmɪʤɪz frəm boʊθ ˈhəbəl ənd ðə wi kʊd gɪt ə ˈrɪli gʊd vju əv ðiz ˈɑbʤɛkts, soʊ wi kʊd ˈstədi ðɛm ɪn greɪt ˈditeɪl." ðə əˈstrɑnəmərz lʊkt æt 130 ˈplænəˌtɛri ɪn ðə ˈmɪlki weɪz ˈsɛntrəl bəlʤ. ðeɪ aɪˈdɛntəˌfaɪd θri ˈdɪfərənt taɪps 2 ənd pɪrd ˈkloʊsli æt ðɛr ˌkɛrɪktərˈɪstɪks ənd əˈpɪrəns. "waɪl tu əv ðiz ˌpɑpjəˈleɪʃənz wər kəmˈplitli ˈrændəmli əˈlaɪnd ɪn ðə skaɪ, ɛz ɪkˈspɛktɪd, wi faʊnd ðət ðə θərd ðə baɪˈpoʊlər ʃoʊd ə səˈpraɪzɪŋ ˈprɛfərəns fər ə ˌpɑˈtɪkjələr əˈlaɪnmənt," sɪz ðə ˈpeɪpərz ˈsɛkənd ˈɔθər ˈælbərt, ˈɔlsoʊ əv ðə ˌjunəˈvərsəti əv ˈmænˌʧɛstər. "waɪl ˈɛni əˈlaɪnmənt æt ɔl ɪz ə səˈpraɪz, tɪ hæv ɪt ɪn ðə ˈkraʊdɪd ˈsɛntrəl ˈriʤən əv ðə ˈgæləksi ɪz ˈivɪn mɔr ˌənɪkˈspɛktɪd." ˈplænəˌtɛri ər θɔt tɪ bi ˈskəlptɪd baɪ ðə roʊˈteɪʃən əv ðə stɑr ˈsɪstəm frəm wɪʧ ðeɪ fɔrm. ðɪs ɪz dɪˈpɛndənt ɔn ðə ˈprɑpərtiz əv ðɪs ˈsɪstəm fər ɪgˈzæmpəl, ˈwɛðər ɪt ɪz ə ˈbaɪnəˌri 3 ər həz ə ˈnəmbər əv ˈplænəts ˈɔrbətɪŋ ɪt, boʊθ əv wɪʧ meɪ ˈgreɪtli ˈɪnfluəns ðə fɔrm əv ðə bloʊn ˈbəbəl. ðə ʃeɪps əv baɪˈpoʊlər ər səm əv ðə moʊst ɪkˈstrim, ənd ər ˈprɑbəˌbli kɔzd baɪ ʤɛts bloʊɪŋ mæs frəm ðə ˈbaɪnəˌri ˈsɪstəm ˌpərpənˈdɪkjələr tɪ ðə ˈɔrbət. "ðə əˈlaɪnmənt wɪr siɪŋ fər ðiz baɪˈpoʊlər ˈɪndɪˌkeɪts ˈsəmθɪŋ bɪˈzɑr əˈbaʊt stɑr ˈsɪstəmz wɪˈθɪn ðə ˈsɛntrəl bəlʤ," ɪkˈspleɪnz riz. "fər ðɛm tɪ laɪn əp ɪn ðə weɪ wi si, ðə stɑr ˈsɪstəmz ðət fɔrmd ðiz wʊd hæv tɪ bi ˈroʊˌteɪtɪŋ ˌpərpənˈdɪkjələr tɪ ðə ˌɪntərˈstɛlər klaʊdz frəm wɪʧ ðeɪ fɔrmd, wɪʧ ɪz ˈvɛri streɪnʤ." waɪl ðə ˈprɑpərtiz əv ðɛr proʊˈʤɛnɪtər stɑrz du ʃeɪp ðiz, ðɪs nu ˈfaɪndɪŋ hɪnts æt əˈnəðər mɔr mɪˈstɪriəs ˈfæktər. əˈlɔŋ wɪθ ðiz ˈkɑmplɛks ˈstɛlər ˌkɛrɪktərˈɪstɪks ər ðoʊz əv ɑr ˈmɪlki weɪ; ðə hoʊl ˈsɛntrəl bəlʤ ˈroʊˌteɪts əraʊnd ðə gəˈlæktɪk ˈsɛntər. ðɪs bəlʤ meɪ hæv ə ˈgreɪtər ˈɪnfluəns ðən ˈpriviəsli θɔt ˈoʊvər ɑr ɪnˈtaɪər ˈgæləksi ˈviə ɪts mægˈnɛtɪk fildz. ðə əˈstrɑnəmərz səˈʤɛst ðət ðə ˈɔrdərli bɪˈheɪvjər əv ðə ˈplænəˌtɛri kʊd hæv bɪn kɔzd baɪ ðə ˈprɛzəns əv strɔŋ mægˈnɛtɪk fildz ɛz ðə bəlʤ fɔrmd. ɛz səʧ ˈkloʊzər tɪ hoʊm du nɑt laɪn əp ɪn ðə seɪm ˈɔrdərli weɪ, ðiz fildz wʊd hæv tɪ hæv bɪn ˈmɛni taɪmz ˈstrɔŋgər ðən ðeɪ ər ɪn ɑr ˈneɪbərˌhʊd 4 "wi kən lərn ə lɔt frəm ˈstədiɪŋ ðiz ˈɑbʤɛkts," kənˈkludz. "ɪf ðeɪ ˈrɪli bɪˈheɪv ɪn ðɪs ˌənɪkˈspɛktɪd weɪ, ɪt həz ˈkɑnsəkˌwɛnsəz fər nɑt ʤɪst ðə pæst əv ˌɪndəˈvɪʤəwəl stɑrz, bət fər ðə pæst əv ɑr hoʊl ˈgæləksi." noʊts 1 ðə "lɔŋ ˈæksəs" əv ə baɪˈpoʊlər ˈplænəˌtɛri ˈnɛbjələ sˈlaɪsɪz θru ðə wɪŋz əv ðə ˈbətərˌflaɪ, waɪlst ðə "ʃɔrt ˈæksəs" sˈlaɪsɪz θru ðə ˈbɑdi. 2 ðə ʃeɪps əv ðə ˈplænəˌtɛri ˈnɛbjələ ˈɪmɪʤɪz wər ˈklæsəˌfaɪd ˈɪntu θri taɪps, ˈfɑloʊɪŋ kənˈvɛnʃənz: ɪˈlɪptɪkəl wɪθ ən əˈlaɪnd ˌɪnˈtərnəl ˈstrəkʧər, ɪˈlɪptɪkəl wɪˈθaʊt ən əˈlaɪnd ˌɪnˈtərnəl ˈstrəkʧər, ənd baɪˈpoʊlər. 3 ə ˈbaɪnəˌri ˈsɪstəm kənˈsɪsts əv tu stɑrz ˈroʊˌteɪtɪŋ əraʊnd ðɛr ˈkɑmən ˈsɛntər əv ˈgrævɪti. 4 ˈvɛri ˈlɪtəl ɪz noʊn əˈbaʊt ðə ˈɔrəʤən ənd ˌkɛrɪktərˈɪstɪks əv ðə mægˈnɛtɪk fildz ðət wər ˈprɛzənt ɪn ɑr ˈgæləksi wɪn ɪt wɑz jəŋ, soʊ ɪt ɪz ənˈklɪr ˈwɛðər ðeɪ hæv groʊn ˈstrɔŋgər ˈoʊvər taɪm, ər dɪˈkeɪd. mɔr ˌɪnˌfɔrˈmeɪʃən ðə ˈrisərʧ ɪz pərˈzɛnəd ɪn ə ˈpeɪpər ɛnˈtaɪtəld "əˈlaɪnmənt əv ðə ˈæŋgjələr moʊˈmɛntəm ˈvɛktərz əv ˈplænəˌtɛri ɪn ðə gəˈlæktɪk bəlʤ", tɪ əˈpɪr ɪn ðə ˈmənθli ˈnoʊtɪsɪz əv ðə rɔɪəl ˌæstrəˈnɑmɪkəl soʊˈsaɪɪti. ðə tim ɪz kəmˈpoʊzd əv bi. riz (ˌjunəˈvərsəti əv ˈmænˌʧɛstər,), ənd ə. ə. (ˌjunəˈvərsəti əv ˈmænˌʧɛstər,). braɪən riz keɪm leɪt tɪ ˈrisərʧ əˈstrɑnəmi hi ˌdɪˈsaɪdɪd tɪ du ə ˈpiˌeɪʧˈdi ˈæftər hɪz ˈərli rɪˈtaɪərmənt ənd ðɪs wərk fɔrmd pɑrt əv hɪz ˈθiˌsɪs wərk. ɪz ðə ˈfɔrˌmoʊst ˌɪntərˌgəvərnˈmɛntəl əˈstrɑnəmi ˌɔrgənɪˈzeɪʃən ɪn ˈjʊrəp ənd ðə wərldz moʊst pərˈdəktɪv ˌæstrəˈnɑmɪkəl əbˈzərvəˌtɔri baɪ fɑr. ɪt ɪz səˈpɔrtɪd baɪ 15 ˈkəntriz: ˈɔstriə, ˈbɛlʤəm, brəˈzɪl, ðə ʧɛk riˈpəblɪk, ˈdɛnˌmɑrk, fræns, ˈfɪnˌlænd, ˈʤərməni, ˈɪtəli, ðə ˈnɛðərləndz, ˈpɔrʧəgəl, speɪn, sˈwidən, sˈwɪtsərlənd ənd ðə juˈnaɪtɪd ˈkɪŋdəm. ˈkɛriz aʊt ən æmˈbɪʃəs ˈproʊˌgræm ˈfoʊkɪst ɔn ðə dɪˈzaɪn, kənˈstrəkʃən ənd ˌɑpərˈeɪʃən əv ˈpaʊərfəl əbˈzərvɪŋ fəˈsɪlɪtiz ɪˈneɪbəlɪŋ əˈstrɑnəmərz tɪ meɪk ˌɪmˈpɔrtənt ˌsaɪənˈtɪfɪk dɪˈskəvəriz. ˈɔlsoʊ pleɪz ə ˈlidɪŋ roʊl ɪn prəˈmoʊtɪŋ ənd kˌwɔpərˈeɪʃən ɪn ˌæstrəˈnɑmɪkəl ˈrisərʧ. ˈɑpərˌeɪts θri juˈnik ˈwərldˌklæs əbˈzərvɪŋ saɪts ɪn ˈʧɪli: lɑ silla*, ənd chajnantor*. æt, ˈɑpərˌeɪts ðə ˈvɛri lɑrʤ ˈtɛləˌskoʊp, ðə wərldz moʊst ədˈvænst ˌæstrəˈnɑmɪkəl əbˈzərvəˌtɔri ənd tu ˈsərˌveɪ ˈtɛləˌskoʊps. ˈvɪstə wərks ɪn ðə ˌɪnfrərˈɛd ənd ɪz ðə wərldz ˈlɑrʤəst ˈsərˌveɪ ˈtɛləˌskoʊp ənd ðə ˈsərˌveɪ ˈtɛləˌskoʊp ɪz ðə ˈlɑrʤəst ˈtɛləˌskoʊp dɪˈzaɪnd tɪ ɪkˈsklusɪvli ˈsərˌveɪ ðə skaɪz ɪn ˈvɪzəbəl laɪt. ɪz ðə ˌjʊrəˈpiən ˈpɑrtnər əv ə ˌrɛvəˈluʃəˌnɛri ˌæstrəˈnɑmɪkəl ˈtɛləˌskoʊp ˈɑlmə, ðə ˈlɑrʤəst ˌæstrəˈnɑmɪkəl ˈprɑʤɛkt ɪn ɪgˈzɪstəns. ɪz ˈkərəntli ˈplænɪŋ ðə ˌjʊrəˈpiən ɪkˈstrimli lɑrʤ ˈtɛləˌskoʊp, ðə e-elt*, wɪʧ wɪl bɪˈkəm "ðə wərldz ˈbɪgəst aɪ ɔn ðə skaɪ". lɪŋks ˈkɑnˌtækts ˈælbərt ˌjunəˈvərsəti əv ˈmænˌʧɛstər ˈmænˌʧɛstər, tɛl: 44 1613 063925 iˈmeɪl: braɪən riz ˌjunəˈvərsəti əv ˈmænˌʧɛstər ˈmænˌʧɛstər, tɛl: 44 1612 754145 iˈmeɪl: ˈrɪʧərd hʊk, ˈpəblɪk ˌɪnˌfɔrˈmeɪʃən ˈɔfɪsər münchen*, ˈʤərməni tɛl: 49 89 3200 6655 sɛl: 49 151 1537 3591 iˈmeɪl: kəˈnɛkt wɪθ ɔn ˈsoʊʃəl ˈmidiə |
by jason pan / staff reporter
with the english premier league (epl) set to kick off this weekend, soccerns in taiwan are set to be disappointed with no live broadcasts of games to be shown on local sports channels.
for the first time in many years, premier league games will not be shown on fox sports channels [formerly and starsports] in taiwan.
the move represents a new era for soccerns, with bein sport the new player in town.
according to a company news release, bein sport, with its partner & silva, has secured the media distribution rights for premier league games for the next three seasons in the philippines and taiwan.
an affiliate of media networks, bein sport will also broadcast games from a, 1, the cup, us major league soccer and other major soccer tournaments.
in taiwan, the company aims to launch three tv channels this month, including a channel dedicated to premier league games and news.
the move cannot come soon enough for soccerns because with the premier league kicking off on saturday, there are currently no live matches being offered by local tv stations.
telephone calls from the taipei times to mod tv service) and various major cable tv distributors for greater taipei, greater and greater kaohsiung confirmed this “state of limbo.”
none of the companies contacted are offering bein sport or other new soccer channels in the coming months, and company officials indicated they will be sticking to the regular offering of fox sports, starsports, and for sports programming.
according to a local media industry source, the national communications commission, the media regulator, could be an obstacle to the new soccer offerings, along with the need for collaborating with a local partner to negotiate financial and rights agreements.
the source also cited issues with acquiring operating licenses for new tv networks, saying the process is drawn out, with regulatory reviews and other official requirements to be navigated. | baɪ ˈʤeɪsən pæn stæf rɪˈpɔrtər wɪθ ðə ˈɪŋlɪʃ prɛˈmɪr lig (epl*) sɛt tɪ kɪk ɔf ðɪs ˈwiˌkɪnd, ˈsɑkər fænz ɪn ˈtaɪˈwɑn ər sɛt tɪ bi ˌdɪsəˈpɔɪnɪd wɪθ noʊ lɪv ˈbrɔdˌkæsts əv geɪmz tɪ bi ʃoʊn ɔn ˈloʊkəl spɔrts ˈʧænəlz. fər ðə fərst taɪm ɪn ˈmɛni jɪrz, prɛˈmɪr lig geɪmz wɪl nɑt bi ʃoʊn ɔn fɑks spɔrts ˈʧænəlz [ˈfɔrmərli ənd starsports*] ɪn ˈtaɪˈwɑn. ðə muv ˌrɛprɪˈzɛnts ə nu ˈɪrə fər ˈsɑkər fænz, wɪθ bin spɔrt ðə nu pleɪər ɪn taʊn. əˈkɔrdɪŋ tɪ ə ˈkəmpəˌni nuz riˈlis, bin spɔrt, wɪθ ɪts ˈpɑrtnər ˈsɪlvə, həz sɪˈkjʊrd ðə ˈmidiə ˌdɪstrəˈbjuʃən raɪts fər prɛˈmɪr lig geɪmz fər ðə nɛkst θri ˈsizənz ɪn ðə ˈfɪləˌpinz ənd ˈtaɪˈwɑn. ən əˈfɪliˌeɪt əv ˈmidiə ˈnɛtˌwərks, bin spɔrt wɪl ˈɔlsoʊ ˈbrɔdˌkæst geɪmz frəm ə, 1 ðə kəp, ˈjuˈɛs ˈmeɪʤər lig ˈsɑkər ənd ˈəðər ˈmeɪʤər ˈsɑkər ˈtərnəmənts. ɪn ˈtaɪˈwɑn, ðə ˈkəmpəˌni eɪmz tɪ lɔnʧ θri ˌtɛləˈvɪʒən ˈʧænəlz ðɪs mənθ, ˌɪnˈkludɪŋ ə ˈʧænəl ˈdɛdəkeɪtəd tɪ prɛˈmɪr lig geɪmz ənd nuz. ðə muv ˈkænɑt kəm sun ɪˈnəf fər ˈsɑkər fænz bɪˈkəz wɪθ ðə prɛˈmɪr lig ˈkɪkɪŋ ɔf ɔn ˈsæˌtɪˌdeɪ, ðɛr ər ˈkərəntli noʊ lɪv ˈmæʧɪz biɪŋ ˈɔfərd baɪ ˈloʊkəl ˌtɛləˈvɪʒən ˈsteɪʃənz. ˈtɛləˌfoʊn kɔlz frəm ðə ˈtaɪˌpeɪ taɪmz tɪ mɔd ˌtɛləˈvɪʒən ˈsərvɪs) ənd ˈvɛriəs ˈmeɪʤər ˈkeɪbəl ˌtɛləˈvɪʒən dɪˈstrɪbjətərz fər ˈgreɪtər ˈtaɪˌpeɪ, ˈgreɪtər ənd ˈgreɪtər ˌkeɪˈoʊsiəŋ kənˈfərmd ðɪs əv limbo.”*.” nən əv ðə ˈkəmpəˌniz ˈkɑnˌtæktɪd ər ˈɔfərɪŋ bin spɔrt ər ˈəðər nu ˈsɑkər ˈʧænəlz ɪn ðə ˈkəmɪŋ mənθs, ənd ˈkəmpəˌni əˈfɪʃəlz ˈɪndəˌkeɪtɪd ðeɪ wɪl bi ˈstɪkɪŋ tɪ ðə ˈrɛgjələr ˈɔfərɪŋ əv fɑks spɔrts, starsports*, ənd fər spɔrts ˈproʊˌgræmɪŋ. əˈkɔrdɪŋ tɪ ə ˈloʊkəl ˈmidiə ˈɪndəstri sɔrs, ðə ˈnæʃənəl kəmˌjunəˈkeɪʃənz kəˈmɪʃən, ðə ˈmidiə ˈrɛgjəˌleɪtər, kʊd bi ən ˈɑbstəkəl tɪ ðə nu ˈsɑkər ˈɔfərɪŋz, əˈlɔŋ wɪθ ðə nid fər kəˈlæbərˌeɪtɪŋ wɪθ ə ˈloʊkəl ˈpɑrtnər tɪ nɪˈgoʊʃiˌeɪt ˌfaɪˈnænʃəl ənd raɪts əˈgrimənts. ðə sɔrs ˈɔlsoʊ ˈsaɪtɪd ˈɪʃuz wɪθ əkˈwaɪərɪŋ ˈɔpərˌeɪtɪŋ ˈlaɪsənsɪz fər nu ˌtɛləˈvɪʒən ˈnɛtˌwərks, seɪɪŋ ðə ˈprɔˌsɛs ɪz drɔn aʊt, wɪθ ˈrɛgjələˌtɔri rəvˈjuz ənd ˈəðər əˈfɪʃəl rɪkˈwaɪrmənts tɪ bi ˈnævəˌgeɪtɪd. |
ketan used borrowed equipment and to screen daughter, which has been banned by the authorities, to 60 people
a young activist who defied the indian ban on the documentary daughter and screened the film for a village audience near the northern city of agra has been apprehended by police.
ketan was quoted on monday as saying he was ready to “face any action that was initiated” after showing the documentary on sunday on a makeshift screen made of white in the compound of a family home in roopdhanu, around from the taj mahal.
around 60 men, women and children watched the film, which has been the subject of furious controversy since the indian authorities’ decision to pull it from the air last week. the film, by british udwin, is about the fatal gang rape of a young woman in delhi in december 2012.
india's daughter review this film does what the politicians should be doing read more
“this is the beginning of a series of protests,” told a reporter. “we will also lodge a protest petition online against this ban.” police also confiscated all the audiovisual equipment used for the unofficial screening on international day.
dixit, who previously worked for a hindi newspaper and shot documentaries while at journalism college, had borrowed the equipment from a cafe in agra set up by the stop acid attacks (saa) campaign.
dixit is a volunteer with the campaign but clarified that, although it supported his protest, the film screening was his “individual initiative”. he had previously raised the issue with both the indian prime minister, modi, and home minister, singh, on twitter, thanking the bbc for showing the documentary and announcing: “now i am taking film to villages.”
on sunday night a news channel in india banned by the government from showing daughter responded with a powerful protest in the slot in which it had intended to broadcast it.
after’s screening in roopdhanu, meanwhile, said she felt the film had managed to portray the mindset of many in society. “every woman should see it,” she told a times of india reporter. “the government should revoke the ban immediately.”
“i think the rapists should simply be hanged,” another woman, parmar, was quoted as saying.
saa, a group campaigning on behalf of young women disfigured by men, expressed concern that, following the screening, the police might implement a general crackdown against social activists.
“since screened this documentary, police are pressuring everyone who is associated with him,” it said. it appealed for support from civil society. | ketan* juzd ˈbɑˌroʊd ɪkˈwɪpmənt ənd tɪ skrin ˈdɔtər, wɪʧ həz bɪn bænd baɪ ðə əˈθɔrətiz, tɪ 60 ˈpipəl ə jəŋ ˈæktɪvɪst hu dɪˈfaɪd ðə ˈɪndiən bæn ɔn ðə ˌdɑkjəˈmɛnəri ˈdɔtər ənd skrind ðə fɪlm fər ə ˈvɪlɪʤ ˈɔdiəns nɪr ðə ˈnɔrðərn ˈsɪti əv ˈægrə həz bɪn ˌæprɪˈhɛndəd baɪ pəˈlis. wɑz kˈwoʊtɪd ɔn ˈmənˌdeɪ ɛz seɪɪŋ hi wɑz ˈrɛdi tɪ ˈɛni ˈækʃən ðət wɑz initiated”*” ˈæftər ʃoʊɪŋ ðə ˌdɑkjəˈmɛnəri ɔn ˈsənˌdi ɔn ə ˈmeɪkˌʃɪft skrin meɪd əv waɪt ɪn ðə ˈkɑmpaʊnd əv ə ˈfæməli hoʊm ɪn roopdhanu*, əraʊnd frəm ðə tɑʒ məˈhɑl. əraʊnd 60 mɛn, ˈwɪmən ənd ˈʧɪldrən wɔʧt ðə fɪlm, wɪʧ həz bɪn ðə ˈsəbʤɪkt əv fˈjʊriəs ˈkɑntrəˌvərsi sɪns ðə ˈɪndiən authorities’*’ dɪˈsɪʒən tɪ pʊl ɪt frəm ðə ɛr læst wik. ðə fɪlm, baɪ ˈbrɪtɪʃ udwin*, ɪz əˈbaʊt ðə ˈfeɪtəl gæŋ reɪp əv ə jəŋ ˈwʊmən ɪn ˈdɛli ɪn dɪˈsɛmbər 2012 ˈɪndiəz ˈdɔtər ˌrivˈju ðɪs fɪlm dɪz wət ðə ˌpɑləˈtɪʃənz ʃʊd bi duɪŋ rɛd mɔr ɪz ðə bɪˈgɪnɪŋ əv ə ˈsɪriz əv protests,”*,” toʊld ə rɪˈpɔrtər. wɪl ˈɔlsoʊ lɑʤ ə ˈproʊˌtɛst pəˈtɪʃən ˈɔnˌlaɪn əˈgɛnst ðɪs ban.”*.” pəˈlis ˈɔlsoʊ ˈkɑnfəˌskeɪtəd ɔl ðə ˌɔdioʊˈvɪʒuəl ɪkˈwɪpmənt juzd fər ðə ˌənəˈfɪʃəl ˈskrinɪŋ ɔn ˌɪnərˈnæʃənɑl deɪ., hu ˈpriviəsli wərkt fər ə ˈhɪndi ˈnuzˌpeɪpər ənd ʃɑt ˌdɑkjəˈmɛnəriz waɪl æt ˈʤərnəˌlɪzəm ˈkɑlɪʤ, hæd ˈbɑˌroʊd ðə ɪkˈwɪpmənt frəm ə kəˈfeɪ ɪn ˈægrə sɛt əp baɪ ðə stɑp ˈæsəd əˈtæks (saa*) kæmˈpeɪn. ɪz ə ˌvɑlənˈtɪr wɪθ ðə kæmˈpeɪn bət ˈklɛrəˌfaɪd ðət, ˌɔlˈðoʊ ɪt səˈpɔrtɪd hɪz ˈproʊˌtɛst, ðə fɪlm ˈskrinɪŋ wɑz hɪz initiative”*”. hi hæd ˈpriviəsli reɪzd ðə ˈɪʃu wɪθ boʊθ ðə ˈɪndiən praɪm ˈmɪnɪstər, ˈmoʊdi, ənd hoʊm ˈmɪnɪstər, sɪŋ, ɔn tˈwɪtər, ˈθæŋkɪŋ ðə ˌbibiˈsi fər ʃoʊɪŋ ðə ˌdɑkjəˈmɛnəri ənd əˈnaʊnsɪŋ: aɪ æm ˈteɪkɪŋ fɪlm tɪ villages.”*.” ɔn ˈsənˌdi naɪt ə nuz ˈʧænəl ɪn ˈɪndiə bænd baɪ ðə ˈgəvərnmənt frəm ʃoʊɪŋ ˈdɔtər rɪˈspɑndɪd wɪθ ə ˈpaʊərfəl ˈproʊˌtɛst ɪn ðə slɑt ɪn wɪʧ ɪt hæd ˌɪnˈtɛndɪd tɪ ˈbrɔdˌkæst ɪt. ˈæftər ˈskrinɪŋ ɪn roopdhanu*, ˈminˌwaɪl, sɛd ʃi fɛlt ðə fɪlm hæd ˈmænɪʤd tɪ pɔrˈtreɪ ðə ˈmaɪndˌsɛt əv ˈmɛni ɪn soʊˈsaɪɪti. ˈwʊmən ʃʊd si it,”*,” ʃi toʊld ə taɪmz əv ˈɪndiə rɪˈpɔrtər. ˈgəvərnmənt ʃʊd rɪˈvoʊk ðə bæn immediately.”*.” θɪŋk ðə ˈreɪpɪsts ʃʊd ˈsɪmpli bi hanged,”*,” əˈnəðər ˈwʊmən, ˈpɑrˌmɑr, wɑz kˈwoʊtɪd ɛz seɪɪŋ., ə grup kæmˈpeɪnɪŋ ɔn bɪˈhæf əv jəŋ ˈwɪmən dɪsˈfɪgjərd baɪ mɛn, ɪkˈsprɛst kənˈsərn ðət, ˈfɑloʊɪŋ ðə ˈskrinɪŋ, ðə pəˈlis maɪt ˈɪmpləmənt ə ˈʤɛnərəl ˈkrækˌdaʊn əˈgɛnst ˈsoʊʃəl ˈæktɪvɪsts. skrind ðɪs ˌdɑkjəˈmɛnəri, pəˈlis ər ˈprɛʃərɪŋ ˈɛvriˌwən hu ɪz əˈsoʊʃiˌeɪtəd wɪθ him,”*,” ɪt sɛd. ɪt əˈpild fər səˈpɔrt frəm ˈsɪvəl soʊˈsaɪɪti. |
every male manager must have at least one woman on his team under a radical new plan devised by 21 leading male.
the heads of some of the country's leading employers - including the commonwealth bank, the australian army and - are pushing to increase the share of women in leadership positions and dismantle the old "boys' club" mentality at the top of many organisations.
in a move that will affect more than australian workers, the 21 leaders have committed to ensuring every one of their managers will add at least one woman to their team as jobs become available.
some leaders, including australia managing director andrew stevens, are going so far as offering bonuses to managers who meet or exceed targets for the number of women in the organisation.
"the pledge, where you add a woman to your team at every level of your organisation, is a tangible way of (increasing female representation)," mr stevens said.
"my hope is that we will inspire male and females to lock on to this issue and make change in their enterprise in both the public and private sector."
the plan is based on a 2011 trial at australian offices, where a minimum of one senior woman was promoted into an approved open role.
this drove a 9 per cent increase in women senior vice president roles and above in 2011, and a 24 per cent increase in 2012.
program architect and sex discrimination commissioner elizabeth broderick said from now on, the would refuse to be part of any speaking panel which didn't have a woman on it.
"this will lift thousands of women's voices. the companies are saying 'please don't come to us if you want our ceo to talk at an event'," she said.
"the men that are in the male champions of change represent hundreds of thousands - if not millions - of employees in this country and it will change the experience of work for mums and dads, their daughters and their sons."
other pledges include increasing the contact mothers have with their while they are on maternity leave to ensure they don't "fall out of the loop" and questioning when employees with caring responsibilities see their careers flounder.
some organisations, including citi, are pushing managers harder to ensure that they get their employees back to work after taking time off.
"at citi, we were losing too many fantastic women who didn't return after having children," citi australia country officer stephen roberts said.
"we realised that there is no substitute to me setting and enforcing high expectations of the managers responsible for those taking leave."
originally published as to make boys' club history | ˈɛvəri meɪl ˈmænɪʤər məst hæv æt list wən ˈwʊmən ɔn hɪz tim ˈəndər ə ˈrædɪkəl nu plæn dɪˈvaɪzd baɪ 21 ˈlidɪŋ meɪl. ðə hɛdz əv səm əv ðə ˈkəntriz ˈlidɪŋ ɪmˈplɔɪərz ˌɪnˈkludɪŋ ðə ˈkɑmənˌwɛlθ bæŋk, ðə ɔˈstreɪljən ˈɑrmi ənd ər ˈpʊʃɪŋ tɪ ˌɪnˈkris ðə ʃɛr əv ˈwɪmən ɪn ˈlidərˌʃɪp pəˈzɪʃənz ənd dɪsˈmænəl ðə oʊld "bɔɪz' kləb" mɛnˈtælɪti æt ðə tɔp əv ˈmɛni ˌɔrgənɪˈzeɪʃənz. ɪn ə muv ðət wɪl əˈfɛkt mɔr ðən ɔˈstreɪljən ˈwərkərz, ðə 21 ˈlidərz hæv kəˈmɪtɪd tɪ ɪnˈʃʊrɪŋ ˈɛvəri wən əv ðɛr ˈmænɪʤərz wɪl æd æt list wən ˈwʊmən tɪ ðɛr tim ɛz ʤɑbz bɪˈkəm əˈveɪləbəl. səm ˈlidərz, ˌɪnˈkludɪŋ ɔˈstreɪljə ˈmænəʤɪŋ dɪˈrɛktər ˈændru ˈstivənz, ər goʊɪŋ soʊ fɑr ɛz ˈɔfərɪŋ ˈboʊnəsɪz tɪ ˈmænɪʤərz hu mit ər ɪkˈsid ˈtɑrgəts fər ðə ˈnəmbər əv ˈwɪmən ɪn ðə ˌɔrgənɪˈzeɪʃən. "ðə plɛʤ, wɛr ju æd ə ˈwʊmən tɪ jʊr tim æt ˈɛvəri ˈlɛvəl əv jʊr ˌɔrgənɪˈzeɪʃən, ɪz ə ˈtænʤəbəl weɪ əv (ˌɪnˈkrisɪŋ ˈfiˌmeɪl ˌrɛprəzɛnˈteɪʃən)," ˈmɪstər ˈstivənz sɛd. "maɪ hoʊp ɪz ðət wi wɪl ˌɪnˈspaɪr meɪl ənd ˈfiˌmeɪlz tɪ lɑk ɔn tɪ ðɪs ˈɪʃu ənd meɪk ʧeɪnʤ ɪn ðɛr ˈɛnərˌpraɪz ɪn boʊθ ðə ˈpəblɪk ənd ˈpraɪvət ˈsɛktər." ðə plæn ɪz beɪst ɔn ə 2011 traɪəl æt ɔˈstreɪljən ˈɔfəsɪz, wɛr ə ˈmɪnəməm əv wən ˈsinjər ˈwʊmən wɑz prəˈmoʊtəd ˈɪntu ən əˈpruvd ˈoʊpən roʊl. ðɪs droʊv ə 9 pər sɛnt ˌɪnˈkris ɪn ˈwɪmən ˈsinjər vaɪs ˈprɛzɪdənt roʊlz ənd əˈbəv ɪn 2011 ənd ə 24 pər sɛnt ˌɪnˈkris ɪn 2012 ˈproʊˌgræm ˈɑrkəˌtɛkt ənd sɛks dɪˌskrɪməˈneɪʃən kəˈmɪʃənər ɪˈlɪzəbɪθ ˈbrɑdərɪk sɛd frəm naʊ ɔn, ðə wʊd ˈrɛfˌjuz tɪ bi pɑrt əv ˈɛni ˈspikɪŋ ˈpænəl wɪʧ ˈdɪdənt hæv ə ˈwʊmən ɔn ɪt. "ðɪs wɪl lɪft ˈθaʊzənz əv ˈwɪmənz ˈvɔɪsɪz. ðə ˈkəmpəˌniz ər seɪɪŋ 'pliz doʊnt kəm tɪ ˈjuˈɛs ɪf ju wɔnt ɑr ˈsiˌiˈoʊ tɪ tɔk æt ən ɪˈvɛnt'," ʃi sɛd. "ðə mɛn ðət ər ɪn ðə meɪl ˈʧæmpiənz əv ʧeɪnʤ ˌrɛprɪˈzɛnt ˈhənərdz əv ˈθaʊzənz ɪf nɑt ˈmɪljənz əv ɪmˈplɔɪiz ɪn ðɪs ˈkəntri ənd ɪt wɪl ʧeɪnʤ ðə ɪkˈspɪriəns əv wərk fər məmz ənd dædz, ðɛr ˈdɔtərz ənd ðɛr sənz." ˈəðər ˈplɛʤɪz ˌɪnˈklud ˌɪnˈkrisɪŋ ðə ˈkɑnˌtækt ˈməðərz hæv wɪθ ðɛr waɪl ðeɪ ər ɔn məˈtərnɪti liv tɪ ɪnˈʃʊr ðeɪ doʊnt "fɔl aʊt əv ðə lup" ənd kˈwɛsʧənɪŋ wɪn ɪmˈplɔɪiz wɪθ ˈkɛrɪŋ riˌspɑnsəˈbɪlətiz si ðɛr kərɪrz ˈflaʊndər. səm ˌɔrgənɪˈzeɪʃənz, ˌɪnˈkludɪŋ ˈsɪti, ər ˈpʊʃɪŋ ˈmænɪʤərz ˈhɑrdər tɪ ɪnˈʃʊr ðət ðeɪ gɪt ðɛr ɪmˈplɔɪiz bæk tɪ wərk ˈæftər ˈteɪkɪŋ taɪm ɔf. "æt ˈsɪti, wi wər ˈluzɪŋ tu ˈmɛni fænˈtæstɪk ˈwɪmən hu ˈdɪdənt rɪˈtərn ˈæftər ˈhævɪŋ ˈʧɪldrən," ˈsɪti ɔˈstreɪljə ˈkəntri ˈɔfɪsər ˈstivən ˈrɑbərts sɛd. "wi ˈriəˌlaɪzd ðət ðɛr ɪz noʊ ˈsəbstəˌtut tɪ mi ˈsɛtɪŋ ənd ɛnˈfɔrsɪŋ haɪ ˌɛkspɛkˈteɪʃənz əv ðə ˈmænɪʤərz riˈspɑnsəbəl fər ðoʊz ˈteɪkɪŋ liv." ərˈɪʤənəli ˈpəblɪʃt ɛz tɪ meɪk bɔɪz' kləb ˈhɪstəri |
san francisco (cbs sf) a taxi crashed onto a busy sidewalk, injuring two pedestrians and the cab driver in downtown san francisco tuesday.
a witness told 5 the driver may have been talking on his cell phone at the time of the crash.
the horrific crash happened at the intersection of market and sutter streets near street at about p.m. when the cab jumped the curb and smashed into a newspaper kiosk and a stand on the corner.
the two pedestrians and the driver were being treated for life-threatening injuries, according to fire department spokesman jonathan baxter.
kpix 5 quoted a spokesman for zuckerberg san francisco general hospital as saying among the three male victims ages 40, 59 and 66 the male is in critical condition and the two men were in fair condition.
pictures from the scene showed the yellow cab crashed through the kiosk and a stand before coming to a stop feet away from the elevator.
the two victims hit by the cab were later identified as men who worked at the stand.
another view of crash at sutter and market. three injured: two pedestrians and the cab driver andria borba (@andria_borba) august 23, 2016
sutter update 3 critical adults into pedestrians avoid area san francisco fire (@sffdpio) august 23, 2016
“the old man went flying up into the air,” a woman who runs a nearby stand said.
the old man the witness described was mohammed salim, a longtime staple of san downtown. his shoe shine partner “jazz” was also injured.
“jazz was bleeding from his face and stuff, from his head,” another witness said.
with every airbag deployed in the ford taxicab, the driver crawled from the wreck.
“he walked a few steps, then he went to his hands and knees, and then laid on his back, and then someone else came over and appeared to be performing cpr,” 5 political analyst melissa caen, who witnessed the aftermath, said.
the driver allegedly told witness rita tripp he was on the phone when the crash occurred.
“he told me he was on the phone, with his friend,” rita said.
sansome and sutter streets were both closed as authorities investigated the crash. westbound market street was also closed between battery and montgomery streets.
the entire crash was captured by surveillance cameras on a nearby muni bus. that footage is in the hands of investigators.
several muni bus lines were rerouted around the crash scene via mission st. between spear and third.
. | sæn frænˈsɪskoʊ (ˈsiˌbiˌɛs sf*) ə ˈtæksi kræʃt ˈɔntu ə ˈbɪzi ˈsaɪdˌwɔk, ˈɪnʤərɪŋ tu pəˈdɛstriənz ənd ðə kæb ˈdraɪvər ɪn ˈdaʊnˈtaʊn sæn frænˈsɪskoʊ ˈtuzˌdeɪ. ə ˈwɪtnəs toʊld 5 ðə ˈdraɪvər meɪ hæv bɪn ˈtɔkɪŋ ɔn hɪz sɛl foʊn æt ðə taɪm əv ðə kræʃ. ðə hɔˈrɪfɪk kræʃ ˈhæpənd æt ðə ˌɪntərˈsɛkʃən əv ˈmɑrkɪt ənd ˈsətər strits nɪr strit æt əˈbaʊt p.m*. wɪn ðə kæb ʤəmpt ðə kərb ənd smæʃt ˈɪntu ə ˈnuzˌpeɪpər kiɔsk ənd ə stænd ɔn ðə ˈkɔrnər. ðə tu pəˈdɛstriənz ənd ðə ˈdraɪvər wər biɪŋ ˈtritɪd fər ˈlaɪfθˌrɛtnɪŋ ˈɪnʤəriz, əˈkɔrdɪŋ tɪ faɪər dɪˈpɑrtmənt ˈspoʊksmən ˈʤɑnəθən ˈbækstər. 5 kˈwoʊtɪd ə ˈspoʊksmən fər ˈzəkərˌbərg sæn frænˈsɪskoʊ ˈʤɛnərəl ˈhɑˌspɪtəl ɛz seɪɪŋ əˈməŋ ðə θri meɪl ˈvɪktɪmz ˈeɪʤɪz 40 59 ənd 66 ðə meɪl ɪz ɪn ˈkrɪtɪkəl kənˈdɪʃən ənd ðə tu mɛn wər ɪn fɛr kənˈdɪʃən. ˈpɪkʧərz frəm ðə sin ʃoʊd ðə ˈjɛloʊ kæb kræʃt θru ðə kiɔsk ənd ə stænd ˌbiˈfɔr ˈkəmɪŋ tɪ ə stɑp fit əˈweɪ frəm ðə ˈɛləˌveɪtər. ðə tu ˈvɪktɪmz hɪt baɪ ðə kæb wər ˈleɪtər aɪˈdɛntəˌfaɪd ɛz mɛn hu wərkt æt ðə stænd. əˈnəðər vju əv kræʃ æt ˈsətər ənd ˈmɑrkɪt. θri ˈɪnʤərd: tu pəˈdɛstriənz ənd ðə kæb ˈdraɪvər ˈændriə ˈbɔrbə (@andria_borba*) ˈɔgəst 23 2016 ˈsətər ˈəpˌdeɪt 3 ˈkrɪtɪkəl ˈædəlts ˈɪntu pəˈdɛstriənz əˈvɔɪd ˈɛriə sæn frænˈsɪskoʊ faɪər (@sffdpio*) ˈɔgəst 23 2016 oʊld mæn wɛnt flaɪɪŋ əp ˈɪntu ðə air,”*,” ə ˈwʊmən hu rənz ə ˈnɪrˈbaɪ stænd sɛd. ðə oʊld mæn ðə ˈwɪtnəs dɪˈskraɪbd wɑz moʊˈhæmɪd ˈsælɪm, ə ˈlɔŋˌtaɪm ˈsteɪpəl əv sæn ˈdaʊnˈtaʊn. hɪz ʃu ʃaɪn ˈpɑrtnər ““jazz”*” wɑz ˈɔlsoʊ ˈɪnʤərd. wɑz ˈblidɪŋ frəm hɪz feɪs ənd stəf, frəm hɪz head,”*,” əˈnəðər ˈwɪtnəs sɛd. wɪθ ˈɛvəri ˈɛrˌbæg dɪˈplɔɪd ɪn ðə fɔrd ˈtæksiˌkæb, ðə ˈdraɪvər krɔld frəm ðə rɛk. wɔkt ə fju stɛps, ðɛn hi wɛnt tɪ hɪz hænz ənd niz, ənd ðɛn leɪd ɔn hɪz bæk, ənd ðɛn ˈsəmˌwən ɛls keɪm ˈoʊvər ənd əˈpɪrd tɪ bi pərˈfɔrmɪŋ cpr,”*,” 5 pəˈlɪtɪkəl ˈænəlɪst məˈlɪsə kɑn, hu ˈwɪtnəst ðə ˈæftərˌmæθ, sɛd. ðə ˈdraɪvər əˈlɛʤədli toʊld ˈwɪtnəs ˈritə trɪp hi wɑz ɔn ðə foʊn wɪn ðə kræʃ əˈkərd. toʊld mi hi wɑz ɔn ðə foʊn, wɪθ hɪz friend,”*,” ˈritə sɛd. ənd ˈsətər strits wər boʊθ kloʊzd ɛz əˈθɔrətiz ˌɪnˈvɛstəˌgeɪtɪd ðə kræʃ. ˈwɛstˌbaʊnd ˈmɑrkɪt strit wɑz ˈɔlsoʊ kloʊzd bɪtˈwin ˈbætəri ənd mɑntˈgəmri strits. ðə ɪnˈtaɪər kræʃ wɑz ˈkæpʧərd baɪ sərˈveɪləns ˈkæmərəz ɔn ə ˈnɪrˈbaɪ mˈjuni bəs. ðət ˈfʊtɪʤ ɪz ɪn ðə hænz əv ˌɪnˈvɛstəˌgeɪtərz. ˈsɛvərəl mˈjuni bəs laɪnz wər riˈrutɪd əraʊnd ðə kræʃ sin ˈviə ˈmɪʃən st*. bɪtˈwin spɪr ənd θərd. |
there are two countries that are always going to be linked in the southeast asia region due to their similarities, and the key choices that turned one into an economic powerhouse. brunei and singapore are the two smallest and wealthiest southeast asian nations, and have a currency interchange agreement. sixty years ago, both set out to diversify their economies and become leaders in the region. the result is a real-world model lesson for developing nations.
1950s
in the aftermath of both nations were hit very hard. oilfields had suffered massive damages from bombs and occupation by the japanese, and the danger of the region led platforms to fall into extreme disrepair. it led brunei to realize that it needed to diversify its economy away from oil. there had only been one field found arounda, and the country was fearful oil would run out. in 1953, they started their first national development plan. the plan was to build infrastructure between the districts, provide hospitals and education to create a forward thinking workforce. singapore was in awful shape following, as the british boasted their fortress on the island could “withstand any attack.” that caused the japanese to blockade the entire island and bombard it on a daily basis, until they surrendered. the island was in physical ruins during the with a huge homeless population. it was noted by the british housing committee that they were a disgrace to the civilized community. by 1959, the british had done little to solve any of the issues facing the small island, and granted both brunei and singapore their independence (more or less, brunei was not fully independent until 1984, with the british taking care of all foreign affairs and defense officially until then).
1960s
in 1963, singapore joined the newly formed nation of malaysia, along with malaya, north borneo, and sarawak. however, very soon after the new state was formed, singapore began having issues due to its mostly chinese population, and federal government regulations providing significant benefits for ethnic malays. in two short years there were race riots and awful violence all over singapore due to the tensions. by 1965, they were kicked out of malaysia, causing singapore to be one of the only countries that exists to have gained its sovereignty unwillingly. lee kuan yew leader of singapore famously said after the vote to expel singapore “for me, it is a moment of anguish. all my life, my whole adult life, i have believed in the merger and unity of the two territories.”
singapore in the
brunei opted out of joining the malaysian federation, due to its rising success in the region. it had a per capita nearly three times that of singapore due to the discovery of a new oil field in the early. by simple statistics, brunei was well ahead of the lion city at this point in history (exports of per person in brunei vs 331 per person in singapore), but oil was still well over 90% of the exports from brunei. many were predicting that the island of singapore would fail with its new independence, huge unemployment, and lack of natural resources to fall back on. 70% of the singaporean economy was based off the port, which could be taken away at any time by rival ports in malaysia or indonesia, should prices rise.
1970s
the was a good time for brunei. angered by western support for israel, arab nations launched the oil boycott, leading to the energy crisis and oil price shock. this gave brunei a windfall and it with petrodollar, followed by a sharp rise in living standard. just before the energy crisis in 1972, per capita was $2,926, but in 1973 it blossomed to $6,971 even more than $4,157. by 1980, per capita in brunei hit $25,538; the richest in asia, compared to $9,034 and $4,857. it was from here onwards the tiny sultanate is to be forever associated with the word ‘rich’ and ‘wealthy’. it was also here that brunei reached its greatest extent, never to have so wide a lead vis-a-vis singapore and japan since.
today, the golden age and the fact that brunei once had richest per capita is rarely mentioned in the country, perhaps due to embarrassment with its currently struggling economy. sudden boom in oil revenues allowed brunei to enter a period of rapid economic growth, with oil income greatly expended to modernize the state. in 1974, it completed the brunei international airport (7 years before singapore airport in 1981). the country was able to connect itself with properly paved roads linking the port, oil town and the capital city, flourishing commerce and creating new wealth. telecommunication service was greatly improved, the level of infrastructure was better than singapore, and education rose sharply. the future of the sultanate looked bright. despite that, however, oil has given brunei a sense of complacency. other industries that once made up a considerable share of exports, like coal, rubber and cutch, were increasingly being neglected. singapore was facing existential and survival threats that forced it to evolve, while brunei was able to sit comfortably on its oil revenues.
even though the were modern best times, it also solidified its reliance on oil and gas. after building factories en masse for 15 years, in 1970 singapore finally got its high unemployment solved. there were some issues though. unlike brunei, which was wealthy enough to fund all developmental projects, the was poor and could only afford to build flats and factories. sorting housing crisis and high unemployment were the first priorities at that time, and infrastructure and education were left aside. in 1970, singapore began to realize that no matter how many low-cost factories it had on the island, it is only a tiny nation with a small population, and neighboring malaysia and indonesia could always field a much larger labor force. the leaders began to realize the only way to succeed on a global basis was to have a workforce and with investment from increasingly global corporations.
in the early, the infrastructure and level of education remained poor due to the lack of economic growth since the end of. singapore then slowed the of factories, and instead diverted most of their available funds to education, infrastructure development and upgrading existing facilities. the country though, rich and the budget support all the projects. moreover, it would take at least one decade before a new batch of workers could be produced, something the decided it could not wait on. singapore decided that it plausible to create a national workforce to stimulate its economy in any reasonable time frame, and appealed to foreigners, opening up the country to foreign investments and skilled foreign immigrants.
while brunei was putting in place more protections for the population, the singaporean leadership promised foreign companies what they loved to hear; that the government would be incorruptible, the government would respect capitalism and all foreign investments, no nationalization or seizure of assets would ever take place, and that singapore would have regular and predictable law. the lion city kept its promises and enforced them religiously. this differentiated the island with other third world nations, and successfully caught the attention of multinational businesses.
foreign investments began to flush into singapore. knowing that they had gained initial foreign investments, and companies were looking to the region as a new market, singapore moved on to offer tax concessions, simplified immigration procedures, tariff protection, exemption from import duties, and finally the lifting of foreign exchange controls. it resulted in the rapid industrialization of singapore and greatly aided its next goal: attracting skilled foreigners. the foreign skill inflow was so massive that, by 2011, 40% of population were immigrants (27% and another 13% foreign naturalized citizens). the singaporean government adopted a approach and actively adjusted to the corporate need. for example, in the, when high-tech industries abroad informed singapore that they needed a local workforce with adequate technical skills, the immediately launched free government training institutes which would train working adults twice a week for sessions over a period of two years to meet the demand. multiple companies started building facilities as a gateway into the growing asian marketplace. even without true offshore oil reserves, shell and esso constructed one of the largest oil refineries in singapore during the.
1980s
stepping into, the energy crisis had calmed and oil prices subsided. the within brunei fell sharply, as the petrodollar fell. in 1984, the sultanate became fully independent. there were 2 economic paths brunei could take; the environment was ripe for rapid industrialization at the time and the capital was still available from the boom of the, but would require absorption of unskilled, foreign workers due to the tiny population of the wealthy sultanate. allowing immigration on such a large scale in brunei would have required a fundamental restructuring of the mib islam beraja: malay islamic monarchy) philosophy that stressed the ethnic malay must always remain the dominant race in the country. the conservative social and political nature of brunei led to fears that an influx of foreign elements may disrupt the social customs, tradition and religion. local brunei malay entrepreneurs were against international competition, and that kept the sultan from opening the doors wide, as had been done across the pond. plan for mass industrialization were dropped in favor of investing huge amounts of capital overseas. the government invested in hotels across north america and europe (which later merged to form the dorchester collection), the cattle farm in australia (which is larger than the country of brunei), and various property assets across the world. dependence on oil reserves continued.
throughout the, industries had expanded to include electronic and computer manufacturing, shipbuilding and repairing, oil rig construction, chemicals, petroleum refining, and refining raw materials. as a result of intense, unchecked growth for years and skyrocketing wages, an economic recession hit the lion city hard in 1985. in attempt to tackle the economic issues, the government quickly responded by freezing wages, lowering taxes, and reducing central provident fund contributions. singapore was able to work through its economic woes and have positive growth by 1988. the lesson to economic bureaus provided the impetus to diverse into tertiary industries, concentrating on it services, telecommunications, engineering, banking, finance, and medical.
1990s
with little industrial development, the economy continued to slow throughout the. increasing emphasis on mib as a state ideology resulted in the banning of alcohol, nightclubs, and commercial pig farming in 1991. nominal per capita surpassed the sultanate in 1991. though brunei was still the richest in southeast asia in terms of per capita, other asean states like malaysia, indonesia and thailand were beginning to take note of success and model their governmental policies after the small island.
brunei’s government sponsored anotheres of industrial projects in the early in an attempt to move forwards after a decade of stagnation. a number of industrial estates were identified, including those in capital bandar and the industrial estates, followed by the construction of factories focusing on furniture, pottery, tiles, cement, chemicals, plywood, glass, textiles, food and electrical. push for industrialization however, came 40 years late it was something singapore had done in the. by that time the wages in brunei were already considered too high, the industrial base too limited, and technological edge too low to compete with larger neighboring states in terms of scale and cost. moreover, bureaucratic difficulties, poor coordination between government departments, and lengthy approval process deterred foreign investments, which mean the country count on foreign multinationals to help develop outside of the oil industry.
brunei began a period of construction and initiated a huge amount of ambitious projects, leading to a construction boom to diversify from an economy to one that is service and tourism oriented. the restrictions on foreign workers were temporarily relaxed to allow large-scale projects and landmarks to be constructed, among them were a theme park, a magnificent hotel, and a huge power plant. then in 1998, there was a financial collapse in asia that wiped out almost half of foreign reserves. this collapse destroyed the construction industry within brunei. the theme park was shut down, and is now dismantled. unskilled foreign laborers were sent back home, leaving the economy with over 90% of its production related to oil revenues.
during the singapore became classified as a newly industrialized country, and was widely recognized as the third most important financial hub in asia (behind hong kong and tokyo). the government actively sought after land reclamation initiatives and literally pushed the ocean back. throughout the singaporean businesses also surged from holding a 23% share of output in 1983 to 55% of the economy in 1998.
the financial crisis hit singapore hard as well, but the government acted swiftly to minimize the damages felt by the populace. rather than go back on their word and interfere with the private markets, they sponsored multiple construction projects and finished their metro system. less than a year after the collapse, singapore was back on track and ready to invest in the rest of the world. the government signed 13 free trade agreements with countries around the world, singaporean interests would end up being the major investors in countries like myanmar, vietnam, cambodia, and indonesia.
2000s
within the brunei refocused itself on social consolidation and islamization. the economic prospects were dim, and the government has focused on becoming the muslim version of “a city upon a hill.” immigration visas are routinely denied, and work permits are extremely difficult to procure without advanced degrees and sponsorship from the largest employer brunei shell petroleum. alcohol and tobacco are illegal, businesses are not allowed to be open from on fridays (muslim prayer day), sharia law has been passed and is enforced on the whole population. brunei seems to have realized its economic woes, and rather than attempt to fix it, have shifted the focus for the future. the goal is to become the islamic center of asia, and to be well respected by other islamic nations. by mid-2000s, brunei had a new national vision, the ‘wawasan 2035 negara zikir’, which called for a pure islamic economy by 2035. rapid islamization ensured, which includes compulsory islamic studies for students. the central focus of its economic diversification is the ‘brunei global brand.’ it is not known how this would generate further revenues for the country as malaysia and brands are the largest suppliers of food in the world. participation of local malay representative is a requirement for signing a contract with the government or brunei shell petroleum. brunei does not recognize natural born (read: chinese) as full citizens. there is a second class of citizenship for those born to within brunei that is causing many to migrate to malaysia or indonesia.
the was a period of great economic leap for singapore. its diversification into service industries materialized. singapore not only had became the medical hub for southeast asia, it is now also the technological and communication hub in asean, holding 50% market share of the capacity. the engineering capabilities is world renowned, with singapore responsible for 70% of global offshore rig construction and 20% of the ship repair market. the port of singapore was the busiest port in the world throughout almost the whole decade. one of the challenges faced by singapore is the increasing sophistication of industries in neighboring states such as malaysia and thailand. computer peripheral manufacturing moved into countries who are able to produce more, cheaper, and faster. recognizing that the key to success for a small nation is not within the manufacturing sector, singapore has shifted the long term focus to tourism and a knowledge based economy. after a forty year ban, casinos were invited to set up shop and it quickly became the third largest gambling hub (behind las vegas and macau). there is a huge focus on research and development within biotechnology and engineering for multiple industries. in 2010, singapore was able to overtake the of hong kong.
in 2011, singaporean exports per capita were about/yr, whereas exports per capita were sitting at/yr. after fifty years, brunei and singapore have completely switched places in the asean region, and it really just comes down to exclusionary policies.
sources
images by the author except as noted below: | ðɛr ər tu ˈkəntriz ðət ər ˈɔlˌweɪz goʊɪŋ tɪ bi lɪŋkt ɪn ðə ˌsaʊˈθist ˈeɪʒə ˈriʤən du tɪ ðɛr ˌsɪməˈlɛrətiz, ənd ðə ki ˈʧɔɪsɪz ðət tərnd wən ˈɪntu ən ˌɛkəˈnɑmɪk ˈpaʊərˌhaʊs. bruˈnaɪ ənd ˈsɪŋəˌpɔr ər ðə tu sˈmɔləst ənd ˈwɛlθiəst ˌsaʊˈθist ˈeɪʒən ˈneɪʃənz, ənd hæv ə ˈkərənsi ˌɪnərˈʧeɪnʤ əˈgrimənt. ˈsɪksti jɪrz əˈgoʊ, boʊθ sɛt aʊt tɪ dɪˈvərsəˌfaɪ ðɛr ɪˈkɑnəmiz ənd bɪˈkəm ˈlidərz ɪn ðə ˈriʤən. ðə rɪˈzəlt ɪz ə ˈrilˌwərld ˈmɑdəl ˈlɛsən fər dɪˈvɛləpɪŋ ˈneɪʃənz. ɪn ðə ˈæftərˌmæθ əv boʊθ ˈneɪʃənz wər hɪt ˈvɛri hɑrd. ˈɔɪlˌfildz hæd ˈsəfərd ˈmæsɪv ˈdæmɪʤɪz frəm bɑmz ənd ˌɑkjəˈpeɪʃən baɪ ðə ˌʤæpəˈniz, ənd ðə ˈdeɪnʤər əv ðə ˈriʤən lɛd ˈplætˌfɔrmz tɪ fɔl ˈɪntu ɪkˈstrim ˌdɪsrɪˈpɛr. ɪt lɛd bruˈnaɪ tɪ ˈriəˌlaɪz ðət ɪt ˈnidɪd tɪ dɪˈvərsəˌfaɪ ɪts ɪˈkɑnəmi əˈweɪ frəm ɔɪl. ðɛr hæd ˈoʊnli bɪn wən fild faʊnd əraʊnd ˈsɪriə, ənd ðə ˈkəntri wɑz ˈfɪrfəl ɔɪl wʊd rən aʊt. ɪn 1953 ðeɪ ˈstɑrtɪd ðɛr fərst ˈnæʃənəl dɪˈvɛləpmənt plæn. ðə plæn wɑz tɪ bɪld ˌɪnfrəˈstrəkʧər bɪtˈwin ðə ˈdɪstrɪkts, prəˈvaɪd ˈhɑˌspɪtəlz ənd ˌɛʤəˈkeɪʃən tɪ kriˈeɪt ə ˈfɔrwərd ˈθɪŋkɪŋ ˈwərkˌfɔrs. ˈsɪŋəˌpɔr wɑz ɪn ˈɔfəl ʃeɪp ˈfɑloʊɪŋ, ɛz ðə ˈbrɪtɪʃ ˈboʊstɪd ðɛr ˈfɔrtrəs ɔn ðə ˈaɪlənd kʊd ˈɛni attack.”*.” ðət kɔzd ðə ˌʤæpəˈniz tɪ ˌblɑˈkeɪd ðə ɪnˈtaɪər ˈaɪlənd ənd bɑmˈbɑrd ɪt ɔn ə ˈdeɪli ˈbeɪsɪs, ənˈtɪl ðeɪ sərˈɛndərd. ðə ˈaɪlənd wɑz ɪn ˈfɪzɪkəl ruɪnz ˈdʊrɪŋ ðə wɪθ ə juʤ ˈhoʊmləs ˌpɑpjəˈleɪʃən. ɪt wɑz ˈnoʊtɪd baɪ ðə ˈbrɪtɪʃ ˈhaʊzɪŋ kəˈmɪti ðət ðeɪ wər ə dɪsˈgreɪs tɪ ðə ˈsɪvəˌlaɪzd kəmˈjunɪti. baɪ 1959 ðə ˈbrɪtɪʃ hæd dən ˈlɪtəl tɪ sɑlv ˈɛni əv ðə ˈɪʃuz ˈfeɪsɪŋ ðə smɔl ˈaɪlənd, ənd ˈgrænɪd boʊθ bruˈnaɪ ənd ˈsɪŋəˌpɔr ðɛr ˌɪndɪˈpɛndəns (mɔr ər lɛs, bruˈnaɪ wɑz nɑt ˈfʊli ˌɪndɪˈpɛndənt ənˈtɪl 1984 wɪθ ðə ˈbrɪtɪʃ ˈteɪkɪŋ kɛr əv ɔl ˈfɔrən əˈfɛrz ənd dɪˈfɛns əˈfɪʃəli ənˈtɪl ðɛn). ɪn 1963 ˈsɪŋəˌpɔr ʤɔɪnd ðə ˈnuli fɔrmd ˈneɪʃən əv məˈleɪʒə, əˈlɔŋ wɪθ malaya*, nɔrθ ˈbɔrniˌoʊ, ənd ˈsɛrəwɑk. ˌhaʊˈɛvər, ˈvɛri sun ˈæftər ðə nu steɪt wɑz fɔrmd, ˈsɪŋəˌpɔr bɪˈgæn ˈhævɪŋ ˈɪʃuz du tɪ ɪts ˈmoʊstli ʧaɪˈniz ˌpɑpjəˈleɪʃən, ənd ˈfɛdərəl ˈgəvərnmənt ˌrɛgjəˈleɪʃənz prəˈvaɪdɪŋ sɪgˈnɪfɪkənt ˈbɛnəfɪts fər ˈɛθnɪk məˈleɪz. ɪn tu ʃɔrt jɪrz ðɛr wər reɪs raɪəts ənd ˈɔfəl ˈvaɪələns ɔl ˈoʊvər ˈsɪŋəˌpɔr du tɪ ðə ˈtɛnʧənz. baɪ 1965 ðeɪ wər kɪkt aʊt əv məˈleɪʒə, ˈkɔzɪŋ ˈsɪŋəˌpɔr tɪ bi wən əv ðə ˈoʊnli ˈkəntriz ðət ɪgˈzɪsts tɪ hæv geɪnd ɪts ˈsɑvrənti ənˈwɪlɪŋli. li kwɑn ju ˈlidər əv ˈsɪŋəˌpɔr ˈfeɪməsli sɛd ˈæftər ðə voʊt tɪ ɪkˈspɛl ˈsɪŋəˌpɔr mi, ɪt ɪz ə ˈmoʊmənt əv ˈæŋgwɪʃ. ɔl maɪ laɪf, maɪ hoʊl ˈædəlt laɪf, aɪ hæv bɪˈlivd ɪn ðə ˈmərʤər ənd ˈjunɪti əv ðə tu territories.”*.” ˈsɪŋəˌpɔr ɪn ðə bruˈnaɪ ˈɑptɪd aʊt əv ˈʤɔɪnɪŋ ðə məˈleɪʒən ˌfɛdərˈeɪʃən, du tɪ ɪts ˈraɪzɪŋ səkˈsɛs ɪn ðə ˈriʤən. ɪt hæd ə pər ˈkæpɪtə ˈnɪrli θri taɪmz ðət əv ˈsɪŋəˌpɔr du tɪ ðə ˌdɪˈskəvri əv ə nu ɔɪl fild ɪn ðə ˈərli. baɪ ˈsɪmpəl stəˈtɪstɪks, bruˈnaɪ wɑz wɛl əˈhɛd əv ðə laɪən ˈsɪti æt ðɪs pɔɪnt ɪn ˈhɪstəri (ˈɛkspɔrts əv pər ˈpərsən ɪn bruˈnaɪ ˈvərsəz 331 pər ˈpərsən ɪn ˈsɪŋəˌpɔr), bət ɔɪl wɑz stɪl wɛl ˈoʊvər 90 əv ðə ˈɛkspɔrts frəm bruˈnaɪ. ˈmɛni wər prɪˈdɪktɪŋ ðət ðə ˈaɪlənd əv ˈsɪŋəˌpɔr wʊd feɪl wɪθ ɪts nu ˌɪndɪˈpɛndəns, juʤ ˌənɪmˈplɔɪmənt, ənd læk əv ˈnæʧərəl ˈrisɔrsɪz tɪ fɔl bæk ɔn. 70 əv ðə sɪŋgəˈpɔriən ɪˈkɑnəmi wɑz beɪst ɔf ðə pɔrt, wɪʧ kʊd bi ˈteɪkən əˈweɪ æt ˈɛni taɪm baɪ ˈraɪvəl pɔrts ɪn məˈleɪʒə ər ˌɪndoʊˈniʒə, ʃʊd ˈpraɪsɪz raɪz. ðə wɑz ə gʊd taɪm fər bruˈnaɪ. ˈæŋgərd baɪ ˈwɛstərn səˈpɔrt fər ˈɪzriəl, ˈærəb ˈneɪʃənz lɔnʧt ðə ɔɪl ˈbɔɪˌkɑt, ˈlidɪŋ tɪ ðə ˈɛnərʤi ˈkraɪsəs ənd ɔɪl praɪs ʃɑk. ðɪs geɪv bruˈnaɪ ə ˈwɪndˌfɔl ənd ɪt wɪθ ˈpɛtroʊˌdɑlər, ˈfɑloʊd baɪ ə ʃɑrp raɪz ɪn ˈlɪvɪŋ ˈstændərd. ʤɪst ˌbiˈfɔr ðə ˈɛnərʤi ˈkraɪsəs ɪn 1972 pər ˈkæpɪtə wɑz bət ɪn 1973 ɪt ˈblɑsəmd tɪ ˈivɪn mɔr ðən baɪ 1980 pər ˈkæpɪtə ɪn bruˈnaɪ hɪt ðə ˈrɪʧəst ɪn ˈeɪʒə, kəmˈpɛrd tɪ ənd ɪt wɑz frəm hir ˈɑnwərdz ðə ˈtaɪni ˈsəltənət ɪz tɪ bi fərˈɛvər əˈsoʊʃiˌeɪtəd wɪθ ðə wərd ‘‘rich’*’ ənd ‘‘wealthy’*’. ɪt wɑz ˈɔlsoʊ hir ðət bruˈnaɪ riʧt ɪts ˈgreɪtəst ɪkˈstɛnt, ˈnɛvər tɪ hæv soʊ waɪd ə lɛd ˈvizəvi ˈsɪŋəˌpɔr ənd ʤəˈpæn sɪns. təˈdeɪ, ðə ˈgoʊldən eɪʤ ənd ðə fækt ðət bruˈnaɪ wəns hæd ˈrɪʧəst pər ˈkæpɪtə ɪz ˈrɛrli ˈmɛnʃənd ɪn ðə ˈkəntri, pərˈhæps du tɪ ɪmˈbɛrəsmənt wɪθ ɪts ˈkərəntli ˈstrəgəlɪŋ ɪˈkɑnəmi. ˈsədən bum ɪn ɔɪl ˈrɛvəˌnuz əˈlaʊd bruˈnaɪ tɪ ˈɛnər ə ˈpɪriəd əv ˈræpɪd ˌɛkəˈnɑmɪk groʊθ, wɪθ ɔɪl ˈɪnˌkəm ˈgreɪtli ɪkˈspɛndɪd tɪ ˈmɑdərˌnaɪz ðə steɪt. ɪn 1974 ɪt kəmˈplitɪd ðə bruˈnaɪ ˌɪnərˈnæʃənɑl ˈɛrˌpɔrt 7 jɪrz ˌbiˈfɔr ˈsɪŋəˌpɔr ˈɛrˌpɔrt ɪn 1981 ðə ˈkəntri wɑz ˈeɪbəl tɪ kəˈnɛkt ˌɪtˈsɛlf wɪθ ˈprɑpərli peɪvd roʊdz ˈlɪŋkɪŋ ðə pɔrt, ɔɪl taʊn ənd ðə ˈkæpɪtəl ˈsɪti, ˈflərɪʃɪŋ ˈkɑmərs ənd kriˈeɪtɪŋ nu wɛlθ. ˌtɛləkəmˌjunɪˈkeɪʃən ˈsərvɪs wɑz ˈgreɪtli ˌɪmˈpruvd, ðə ˈlɛvəl əv ˌɪnfrəˈstrəkʧər wɑz ˈbɛtər ðən ˈsɪŋəˌpɔr, ənd ˌɛʤəˈkeɪʃən roʊz ˈʃɑrpli. ðə fˈjuʧər əv ðə ˈsəltənət lʊkt braɪt. dɪˈspaɪt ðət, ˌhaʊˈɛvər, ɔɪl həz ˈgɪvɪn bruˈnaɪ ə sɛns əv kəmˈpleɪsənsi. ˈəðər ˈɪndəstriz ðət wəns meɪd əp ə kənˈsɪdərəbəl ʃɛr əv ˈɛkspɔrts, laɪk koʊl, ˈrəbər ənd cutch*, wər ˌɪnˈkrisɪŋgli biɪŋ nɪˈglɛktɪd. ˈsɪŋəˌpɔr wɑz ˈfeɪsɪŋ ˌɛgˌzɪˈstɛnʃəl ənd sərˈvaɪvəl θrɛts ðət fɔrst ɪt tɪ ɪˈvɑlv, waɪl bruˈnaɪ wɑz ˈeɪbəl tɪ sɪt ˈkəmfərtəbli ɔn ɪts ɔɪl ˈrɛvəˌnuz. ˈivɪn ðoʊ ðə wər ˈmɑdərn bɛst taɪmz, ɪt ˈɔlsoʊ səˈlɪdəˌfaɪd ɪts rɪˈlaɪəns ɔn ɔɪl ənd gæs. ˈæftər ˈbɪldɪŋ ˈfæktəriz ɛn mæs fər 15 jɪrz, ɪn 1970 ˈsɪŋəˌpɔr ˈfaɪnəli gɑt ɪts haɪ ˌənɪmˈplɔɪmənt sɑlvd. ðɛr wər səm ˈɪʃuz ðoʊ. ənˈlaɪk bruˈnaɪ, wɪʧ wɑz ˈwɛlθi ɪˈnəf tɪ fənd ɔl dɪˌvɛləpˈmɛnəl ˈprɑʤɛkts, ðə wɑz pur ənd kʊd ˈoʊnli əˈfɔrd tɪ bɪld flæts ənd ˈfæktəriz. ˈsɔrtɪŋ ˈhaʊzɪŋ ˈkraɪsəs ənd haɪ ˌənɪmˈplɔɪmənt wər ðə fərst praɪˈɔrətiz æt ðət taɪm, ənd ˌɪnfrəˈstrəkʧər ənd ˌɛʤəˈkeɪʃən wər lɛft əˈsaɪd. ɪn 1970 ˈsɪŋəˌpɔr bɪˈgæn tɪ ˈriəˌlaɪz ðət noʊ ˈmætər haʊ ˈmɛni ˌloʊˈkɔst ˈfæktəriz ɪt hæd ɔn ðə ˈaɪlənd, ɪt ɪz ˈoʊnli ə ˈtaɪni ˈneɪʃən wɪθ ə smɔl ˌpɑpjəˈleɪʃən, ənd ˈneɪbərɪŋ məˈleɪʒə ənd ˌɪndoʊˈniʒə kʊd ˈɔlˌweɪz fild ə məʧ ˈlɑrʤər ˈleɪbər fɔrs. ðə ˈlidərz bɪˈgæn tɪ ˈriəˌlaɪz ðə ˈoʊnli weɪ tɪ səkˈsid ɔn ə ˈgloʊbəl ˈbeɪsɪs wɑz tɪ hæv ə ˈwərkˌfɔrs ənd wɪθ ˌɪnˈvɛstmənt frəm ˌɪnˈkrisɪŋgli ˈgloʊbəl ˌkɔrpərˈeɪʃənz. ɪn ðə ˈərli, ðə ˌɪnfrəˈstrəkʧər ənd ˈlɛvəl əv ˌɛʤəˈkeɪʃən rɪˈmeɪnd pur du tɪ ðə læk əv ˌɛkəˈnɑmɪk groʊθ sɪns ðə ɛnd əv. ˈsɪŋəˌpɔr ðɛn sloʊd ðə əv ˈfæktəriz, ənd ˌɪnˈstɛd dɪˈvərtɪd moʊst əv ðɛr əˈveɪləbəl fəndz tɪ ˌɛʤəˈkeɪʃən, ˌɪnfrəˈstrəkʧər dɪˈvɛləpmənt ənd ˈəpˌgreɪdɪŋ ɪgˈzɪstɪŋ fəˈsɪlɪtiz. ðə ˈkəntri ðoʊ, rɪʧ ənd ðə ˈbəʤɪt səˈpɔrt ɔl ðə ˈprɑʤɛkts. mɔˈroʊvər, ɪt wʊd teɪk æt list wən ˈdɛkeɪd ˌbiˈfɔr ə nu bæʧ əv ˈwərkərz kʊd bi prəˈdust, ˈsəmθɪŋ ðə ˌdɪˈsaɪdɪd ɪt kʊd nɑt weɪt ɔn. ˈsɪŋəˌpɔr ˌdɪˈsaɪdɪd ðət ɪt ˈplɔzəbəl tɪ kriˈeɪt ə ˈnæʃənəl ˈwərkˌfɔrs tɪ ˈstɪmjəˌleɪt ɪts ɪˈkɑnəmi ɪn ˈɛni ˈrizənəbəl taɪm freɪm, ənd əˈpild tɪ ˈfɔrənərz, ˈoʊpənɪŋ əp ðə ˈkəntri tɪ ˈfɔrən ˌɪnˈvɛstmənts ənd skɪld ˈfɔrən ˈɪməgrənts. waɪl bruˈnaɪ wɑz ˈpʊtɪŋ ɪn pleɪs mɔr prəˈtɛkʃənz fər ðə ˌpɑpjəˈleɪʃən, ðə sɪŋgəˈpɔriən ˈlidərˌʃɪp ˈprɑməst ˈfɔrən ˈkəmpəˌniz wət ðeɪ ləvd tɪ hir; ðət ðə ˈgəvərnmənt wʊd bi incorruptible*, ðə ˈgəvərnmənt wʊd rɪˈspɛkt ˈkæpɪtəˌlɪzəm ənd ɔl ˈfɔrən ˌɪnˈvɛstmənts, noʊ ˌnæʃənələˈzeɪʃən ər ˈsiʒər əv ˈæˌsɛts wʊd ˈɛvər teɪk pleɪs, ənd ðət ˈsɪŋəˌpɔr wʊd hæv ˈrɛgjələr ənd prɪˈdɪktəbəl lɔ. ðə laɪən ˈsɪti kɛpt ɪts ˈprɑməsəz ənd ɛnˈfɔrst ðɛm rɪˈlɪʤəsli. ðɪs ˌdɪfərˈɛnʧiˌeɪtəd ðə ˈaɪlənd wɪθ ˈəðər θərd wərld ˈneɪʃənz, ənd səkˈsɛsfəli kɔt ðə əˈtɛnʃən əv ˌməlˌtiˈnæʃənəl ˈbɪznɪsɪz. ˈfɔrən ˌɪnˈvɛstmənts bɪˈgæn tɪ fləʃ ˈɪntu ˈsɪŋəˌpɔr. noʊɪŋ ðət ðeɪ hæd geɪnd ˌɪˈnɪʃəl ˈfɔrən ˌɪnˈvɛstmənts, ənd ˈkəmpəˌniz wər ˈlʊkɪŋ tɪ ðə ˈriʤən ɛz ə nu ˈmɑrkɪt, ˈsɪŋəˌpɔr muvd ɔn tɪ ˈɔfər tæks kənˈsɛʃənz, ˈsɪmpləˌfaɪd ˌɪməˈgreɪʃən prəˈsiʤərz, ˈtɛrəf prəˈtɛkʃən, ɪgˈzɛmpʃən frəm ˌɪmˈpɔrt ˈdutiz, ənd ˈfaɪnəli ðə ˈlɪftɪŋ əv ˈfɔrən ɪksˈʧeɪnʤ kənˈtroʊlz. ɪt rɪˈzəltɪd ɪn ðə ˈræpɪd ˌɪnˌdəstriəlɪˈzeɪʃən əv ˈsɪŋəˌpɔr ənd ˈgreɪtli ˈeɪdɪd ɪts nɛkst goʊl: əˈtræktɪŋ skɪld ˈfɔrənərz. ðə ˈfɔrən skɪl ˈɪnˌfloʊ wɑz soʊ ˈmæsɪv ðət, baɪ 2011 40 əv ˌpɑpjəˈleɪʃən wər ˈɪməgrənts 27 ənd əˈnəðər 13 ˈfɔrən ˈnæʧərəˌlaɪzd ˈsɪtɪzənz). ðə sɪŋgəˈpɔriən ˈgəvərnmənt əˈdɑptəd ə əˈproʊʧ ənd ˈæktɪvli əˈʤəstɪd tɪ ðə ˈkɔrpərət nid. fər ɪgˈzæmpəl, ɪn ðə, wɪn ˌhaɪˈtɛk ˈɪndəstriz əˈbrɔd ˌɪnˈfɔrmd ˈsɪŋəˌpɔr ðət ðeɪ ˈnidɪd ə ˈloʊkəl ˈwərkˌfɔrs wɪθ ˈædəkˌweɪt ˈtɛknɪkəl skɪlz, ðə ˌɪˈmiˌdiətli lɔnʧt fri ˈgəvərnmənt ˈtreɪnɪŋ ˈɪnstɪˌtuts wɪʧ wʊd treɪn ˈwərkɪŋ ˈædəlts twaɪs ə wik fər ˈsɛʃənz ˈoʊvər ə ˈpɪriəd əv tu jɪrz tɪ mit ðə dɪˈmænd. ˈməltəpəl ˈkəmpəˌniz ˈstɑrtɪd ˈbɪldɪŋ fəˈsɪlɪtiz ɛz ə ˈgeɪtˌweɪ ˈɪntu ðə groʊɪŋ ˈeɪʒən ˈmɑrkɪtˌpleɪs. ˈivɪn wɪˈθaʊt tru ˈɔfˈʃɔr ɔɪl rɪˈzərvz, ʃɛl ənd ˈɛsoʊ kənˈstrəktɪd wən əv ðə ˈlɑrʤəst ɔɪl rɪˈfaɪnəriz ɪn ˈsɪŋəˌpɔr ˈdʊrɪŋ ðə. ˈstɛpɪŋ ˈɪntu, ðə ˈɛnərʤi ˈkraɪsəs hæd kɑmd ənd ɔɪl ˈpraɪsɪz səbˈsaɪdɪd. ðə wɪˈθɪn bruˈnaɪ fɛl ˈʃɑrpli, ɛz ðə ˈpɛtroʊˌdɑlər fɛl. ɪn 1984 ðə ˈsəltənət bɪˈkeɪm ˈfʊli ˌɪndɪˈpɛndənt. ðɛr wər 2 ˌɛkəˈnɑmɪk pæθs bruˈnaɪ kʊd teɪk; ðə ɪnˈvaɪrənmənt wɑz raɪp fər ˈræpɪd ˌɪnˌdəstriəlɪˈzeɪʃən æt ðə taɪm ənd ðə ˈkæpɪtəl wɑz stɪl əˈveɪləbəl frəm ðə bum əv ðə, bət wʊd ˌrikˈwaɪər əbˈzɔrpʃən əv ənˈskɪld, ˈfɔrən ˈwərkərz du tɪ ðə ˈtaɪni ˌpɑpjəˈleɪʃən əv ðə ˈwɛlθi ˈsəltənət. əˈlaʊɪŋ ˌɪməˈgreɪʃən ɔn səʧ ə lɑrʤ skeɪl ɪn bruˈnaɪ wʊd hæv rikˈwaɪərd ə ˌfəndəˈmɛnəl riˈstrəkʧərɪŋ əv ðə mɪb ˌɪsˈlɑm beraja*: ˈmeɪleɪ ˌɪzˈlɑmɪk ˈmɑnɑrki) fəˈlɑsəfi ðət strɛst ðə ˈɛθnɪk ˈmeɪleɪ məst ˈɔlˌweɪz rɪˈmeɪn ðə ˈdɑmənənt reɪs ɪn ðə ˈkəntri. ðə kənˈsərvətɪv ˈsoʊʃəl ənd pəˈlɪtɪkəl ˈneɪʧər əv bruˈnaɪ lɛd tɪ fɪrz ðət ən ˈɪnˌfləks əv ˈfɔrən ˈɛləmənts meɪ dɪsˈrəpt ðə ˈsoʊʃəl ˈkəstəmz, trəˈdɪʃən ənd rɪˈlɪʤən. ˈloʊkəl bruˈnaɪ ˈmeɪleɪ ˌɑntrəprəˈnərz wər əˈgɛnst ˌɪnərˈnæʃənɑl ˌkɑmpəˈtɪʃən, ənd ðət kɛpt ðə ˈsəltən frəm ˈoʊpənɪŋ ðə dɔrz waɪd, ɛz hæd bɪn dən əˈkrɔs ðə pɑnd. plæn fər mæs ˌɪnˌdəstriəlɪˈzeɪʃən wər drɑpt ɪn ˈfeɪvər əv ˌɪnˈvɛstɪŋ juʤ əˈmaʊnts əv ˈkæpɪtəl ˈoʊvərˈsiz. ðə ˈgəvərnmənt ˌɪnˈvɛstɪd ɪn hoʊˈtɛlz əˈkrɔs nɔrθ əˈmɛrɪkə ənd ˈjʊrəp (wɪʧ ˈleɪtər mərʤd tɪ fɔrm ðə ˈdɔˌrʧɛstər kəˈlɛkʃən), ðə ˈkætəl fɑrm ɪn ɔˈstreɪljə (wɪʧ ɪz ˈlɑrʤər ðən ðə ˈkəntri əv bruˈnaɪ), ənd ˈvɛriəs ˈprɑpərti ˈæˌsɛts əˈkrɔs ðə wərld. dɪˈpɛndəns ɔn ɔɪl rɪˈzərvz kənˈtɪnjud. θruaʊt ðə, ˈɪndəstriz hæd ɪkˈspændɪd tɪ ˌɪnˈklud ˌɪˌlɛkˈtrɑnɪk ənd kəmˈpjutər ˌmænjəˈfækʧərɪŋ, ˈʃɪpˌbɪldɪŋ ənd rɪˈpɛrɪŋ, ɔɪl rɪg kənˈstrəkʃən, ˈkɛmɪkəlz, pəˈtroʊliəm rɪˈfaɪnɪŋ, ənd rɪˈfaɪnɪŋ rɑ məˈtɪriəlz. ɛz ə rɪˈzəlt əv ˌɪnˈtɛns, ənˈʧɛkt groʊθ fər jɪrz ənd ˈskaɪˌrɑkətɪŋ ˈweɪʤɪz, ən ˌɛkəˈnɑmɪk ˌriˈsɛʃən hɪt ðə laɪən ˈsɪti hɑrd ɪn 1985 ɪn əˈtɛmpt tɪ ˈtækəl ðə ˌɛkəˈnɑmɪk ˈɪʃuz, ðə ˈgəvərnmənt kˈwɪkli rɪˈspɑndɪd baɪ ˈfrizɪŋ ˈweɪʤɪz, loʊərɪŋ ˈtæksɪz, ənd rɪˈdusɪŋ ˈsɛntrəl ˈprɑvɪdənt fənd ˌkɑntrəˈbjuʃənz. ˈsɪŋəˌpɔr wɑz ˈeɪbəl tɪ wərk θru ɪts ˌɛkəˈnɑmɪk woʊz ənd hæv ˈpɑzətɪv groʊθ baɪ 1988 ðə ˈlɛsən tɪ ˌɛkəˈnɑmɪk ˈbjʊroʊz prəˈvaɪdɪd ðə ˈɪmpətəs tɪ dɪˈvərs ˈɪntu ˈtərʃəri ˈɪndəstriz, ˈkɑnsənˌtreɪtɪŋ ɔn ɪt ˈsərvɪsɪz, ˌtɛləkəmˌjunəˈkeɪʃənz, ˈɛnʤəˈnɪrɪŋ, ˈbæŋkɪŋ, ˈfaɪˌnæns, ənd ˈmɛdɪkəl. wɪθ ˈlɪtəl ˌɪnˈdəstriəl dɪˈvɛləpmənt, ðə ɪˈkɑnəmi kənˈtɪnjud tɪ sloʊ θruaʊt ðə. ˌɪnˈkrisɪŋ ˈɛmfəsɪs ɔn mɪb ɛz ə steɪt ˌaɪdiˈɑləʤi rɪˈzəltɪd ɪn ðə ˈbænɪŋ əv ˈælkəˌhɑl, ˈnaɪtˌkləbz, ənd kəˈmərʃəl pɪg ˈfɑrmɪŋ ɪn 1991 ˈnɑmənəl pər ˈkæpɪtə sərˈpæst ðə ˈsəltənət ɪn 1991 ðoʊ bruˈnaɪ wɑz stɪl ðə ˈrɪʧəst ɪn ˌsaʊˈθist ˈeɪʒə ɪn tərmz əv pər ˈkæpɪtə, ˈəðər ˌæˈzeɪən steɪts laɪk məˈleɪʒə, ˌɪndoʊˈniʒə ənd ˈtaɪˌlænd wər bɪˈgɪnɪŋ tɪ teɪk noʊt əv səkˈsɛs ənd ˈmɑdəl ðɛr ˌgəvərnˈmɛntəl ˈpɑləsiz ˈæftər ðə smɔl ˈaɪlənd. ˈgəvərnmənt ˈspɑnsərd əˈnəðər ˈsɪriz əv ˌɪnˈdəstriəl ˈprɑʤɛkts ɪn ðə ˈərli ɪn ən əˈtɛmpt tɪ muv ˈfɔrwərdz ˈæftər ə ˈdɛkeɪd əv stægˈneɪʃən. ə ˈnəmbər əv ˌɪnˈdəstriəl ɛˈsteɪts wər aɪˈdɛntəˌfaɪd, ˌɪnˈkludɪŋ ðoʊz ɪn ˈkæpɪtəl ˈbændɑr ənd ðə ˌɪnˈdəstriəl ɛˈsteɪts, ˈfɑloʊd baɪ ðə kənˈstrəkʃən əv ˈfæktəriz ˈfoʊkɪsɪŋ ɔn ˈfərnɪʧər, ˈpɑtəri, taɪlz, sɪˈmɛnt, ˈkɛmɪkəlz, ˈplaɪˌwʊd, glæs, ˈtɛkˌstaɪlz, fud ənd ɪˈlɛktrɪkəl. pʊʃ fər ˌɪnˌdəstriəlɪˈzeɪʃən ˌhaʊˈɛvər, keɪm 40 jɪrz leɪt ɪt wɑz ˈsəmθɪŋ ˈsɪŋəˌpɔr hæd dən ɪn ðə. baɪ ðət taɪm ðə ˈweɪʤɪz ɪn bruˈnaɪ wər ɔˈrɛdi kənˈsɪdərd tu haɪ, ðə ˌɪnˈdəstriəl beɪs tu ˈlɪmɪtɪd, ənd ˌtɛknəˈlɑʤɪkəl ɛʤ tu loʊ tɪ kəmˈpit wɪθ ˈlɑrʤər ˈneɪbərɪŋ steɪts ɪn tərmz əv skeɪl ənd kɔst. mɔˈroʊvər, ˌbjʊrəˈkrætɪk ˈdɪfɪˌkəltiz, pur koʊˌɔrdəˈneɪʃən bɪtˈwin ˈgəvərnmənt dɪˈpɑrtmənts, ənd ˈlɛŋθi əˈpruvəl ˈprɔˌsɛs dɪˈtərd ˈfɔrən ˌɪnˈvɛstmənts, wɪʧ min ðə ˈkəntri kaʊnt ɔn ˈfɔrən ˌməlˌtiˈnæʃənəlz tɪ hɛlp dɪˈvɛləp ˈaʊtˈsaɪd əv ðə ɔɪl ˈɪndəstri. bruˈnaɪ bɪˈgæn ə ˈpɪriəd əv kənˈstrəkʃən ənd ˌɪˈnɪʃiˌeɪtɪd ə juʤ əˈmaʊnt əv æmˈbɪʃəs ˈprɑʤɛkts, ˈlidɪŋ tɪ ə kənˈstrəkʃən bum tɪ dɪˈvərsəˌfaɪ frəm ən ɪˈkɑnəmi tɪ wən ðət ɪz ˈsərvɪs ənd ˈtʊˌrɪzəm ˈɔriˌɛntɪd. ðə riˈstrɪkʃənz ɔn ˈfɔrən ˈwərkərz wər ˌtɛmpərˈɛrəli rɪˈlækst tɪ əˈlaʊ ˈlɑrʤˌskeɪl ˈprɑʤɛkts ənd ˈlændˌmɑrks tɪ bi kənˈstrəktɪd, əˈməŋ ðɛm wər ə θim pɑrk, ə mægˈnɪfɪsənt hoʊˈtɛl, ənd ə juʤ paʊər plænt. ðɛn ɪn 1998 ðɛr wɑz ə ˌfaɪˈnænʃəl kəˈlæps ɪn ˈeɪʒə ðət waɪpt aʊt ˈɔlˌmoʊst hæf əv ˈfɔrən rɪˈzərvz. ðɪs kəˈlæps dɪˈstrɔɪd ðə kənˈstrəkʃən ˈɪndəstri wɪˈθɪn bruˈnaɪ. ðə θim pɑrk wɑz ʃət daʊn, ənd ɪz naʊ dɪsˈmænəld. ənˈskɪld ˈfɔrən ˈleɪbərərz wər sɛnt bæk hoʊm, ˈlivɪŋ ðə ɪˈkɑnəmi wɪθ ˈoʊvər 90 əv ɪts pərˈdəkʃən rɪˈleɪtɪd tɪ ɔɪl ˈrɛvəˌnuz. ˈdʊrɪŋ ðə ˈsɪŋəˌpɔr bɪˈkeɪm ˈklæsəˌfaɪd ɛz ə ˈnuli ˌɪnˈdəstriəˌlaɪzd ˈkəntri, ənd wɑz ˈwaɪdli ˈrɛkəgˌnaɪzd ɛz ðə θərd moʊst ˌɪmˈpɔrtənt ˌfaɪˈnænʃəl həb ɪn ˈeɪʒə (bɪˈhaɪnd hɔŋ kɔŋg ənd ˈtoʊkiˌoʊ). ðə ˈgəvərnmənt ˈæktɪvli sɔt ˈæftər lænd ˌrɛkləˈmeɪʃən ˌɪˈnɪʃətɪvz ənd ˈlɪtərəli pʊʃt ðə ˈoʊʃən bæk. θruaʊt ðə sɪŋgəˈpɔriən ˈbɪznɪsɪz ˈɔlsoʊ sərʤd frəm ˈhoʊldɪŋ ə 23 ʃɛr əv ˈaʊtˌpʊt ɪn 1983 tɪ 55 əv ðə ɪˈkɑnəmi ɪn 1998 ðə ˌfaɪˈnænʃəl ˈkraɪsəs hɪt ˈsɪŋəˌpɔr hɑrd ɛz wɛl, bət ðə ˈgəvərnmənt ˈæktɪd sˈwɪftli tɪ ˈmɪnəˌmaɪz ðə ˈdæmɪʤɪz fɛlt baɪ ðə ˈpɑpjələs. ˈrəðər ðən goʊ bæk ɔn ðɛr wərd ənd ˌɪnərˈfɪr wɪθ ðə ˈpraɪvət ˈmɑrkɪts, ðeɪ ˈspɑnsərd ˈməltəpəl kənˈstrəkʃən ˈprɑʤɛkts ənd ˈfɪnɪʃt ðɛr ˈmɛˌtroʊ ˈsɪstəm. lɛs ðən ə jɪr ˈæftər ðə kəˈlæps, ˈsɪŋəˌpɔr wɑz bæk ɔn træk ənd ˈrɛdi tɪ ˌɪnˈvɛst ɪn ðə rɛst əv ðə wərld. ðə ˈgəvərnmənt saɪnd 13 fri treɪd əˈgrimənts wɪθ ˈkəntriz əraʊnd ðə wərld, sɪŋgəˈpɔriən ˈɪntərɪsts wʊd ɛnd əp biɪŋ ðə ˈmeɪʤər ˌɪnˈvɛstərz ɪn ˈkəntriz laɪk mˈjɑnˈmɑr, viˌɛtˈnɑm, ˌkæmˈboʊdiə, ənd ˌɪndoʊˈniʒə. wɪˈθɪn ðə bruˈnaɪ riˈfoʊkəst ˌɪtˈsɛlf ɔn ˈsoʊʃəl kənˌsɑləˈdeɪʃən ənd ˌɪzlɑməˈzeɪʃən. ðə ˌɛkəˈnɑmɪk ˈprɑspɛkts wər dɪm, ənd ðə ˈgəvərnmənt həz ˈfoʊkɪst ɔn bɪˈkəmɪŋ ðə ˈməzlɪm ˈvərʒən əv ˈsɪti əˈpɑn ə hill.”*.” ˌɪməˈgreɪʃən ˈvizəz ər ruˈtinli dɪˈnaɪd, ənd wərk ˈpərˌmɪts ər ɪkˈstrimli ˈdɪfəkəlt tɪ proʊˈkjʊr wɪˈθaʊt ədˈvænst dɪˈgriz ənd ˈspɑnsərˌʃɪp frəm ðə ˈlɑrʤəst ɪmˈplɔɪər bruˈnaɪ ʃɛl pəˈtroʊliəm. ˈælkəˌhɑl ənd təˈbæˌkoʊ ər ˌɪˈligəl, ˈbɪznɪsɪz ər nɑt əˈlaʊd tɪ bi ˈoʊpən frəm ɔn ˈfraɪˌdeɪz (ˈməzlɪm prɛr deɪ), ˈʃɑriə lɔ həz bɪn pæst ənd ɪz ɛnˈfɔrst ɔn ðə hoʊl ˌpɑpjəˈleɪʃən. bruˈnaɪ simz tɪ hæv ˈriəˌlaɪzd ɪts ˌɛkəˈnɑmɪk woʊz, ənd ˈrəðər ðən əˈtɛmpt tɪ fɪks ɪt, hæv ˈʃɪftɪd ðə ˈfoʊkɪs fər ðə fˈjuʧər. ðə goʊl ɪz tɪ bɪˈkəm ðə ˌɪzˈlɑmɪk ˈsɛnər əv ˈeɪʒə, ənd tɪ bi wɛl rɪˈspɛktɪd baɪ ˈəðər ˌɪzˈlɑmɪk ˈneɪʃənz. baɪ mid-2000s*, bruˈnaɪ hæd ə nu ˈnæʃənəl ˈvɪʒən, ðə 2035 nɛˈgɑrə zikir’*’, wɪʧ kɔld fər ə pjʊr ˌɪzˈlɑmɪk ɪˈkɑnəmi baɪ 2035 ˈræpɪd ˌɪzlɑməˈzeɪʃən ɪnˈʃʊrd, wɪʧ ˌɪnˈkludz kəmˈpəlsəri ˌɪzˈlɑmɪk ˈstədiz fər ˈstudənts. ðə ˈsɛntrəl ˈfoʊkɪs əv ɪts ˌɛkəˈnɑmɪk dɪˌvərsəfəˈkeɪʃən ɪz ðə ˈgloʊbəl brand.’*.’ ɪt ɪz nɑt noʊn haʊ ðɪs wʊd ˈʤɛnərˌeɪt ˈfərðər ˈrɛvəˌnuz fər ðə ˈkəntri ɛz məˈleɪʒə ənd brændz ər ðə ˈlɑrʤəst səˈplaɪərz əv fud ɪn ðə wərld. pɑrˌtɪsəˈpeɪʃən əv ˈloʊkəl ˈmeɪleɪ ˌrɛprɪˈzɛnətɪv ɪz ə rɪkˈwaɪrmənt fər ˈsaɪnɪŋ ə ˈkɑnˌtrækt wɪθ ðə ˈgəvərnmənt ər bruˈnaɪ ʃɛl pəˈtroʊliəm. bruˈnaɪ dɪz nɑt ˈrɛkəgˌnaɪz ˈnæʧərəl bɔrn (rɛd: ʧaɪˈniz) ɛz fʊl ˈsɪtɪzənz. ðɛr ɪz ə ˈsɛkənd klæs əv ˈsɪtɪzənˌʃɪp fər ðoʊz bɔrn tɪ wɪˈθɪn bruˈnaɪ ðət ɪz ˈkɔzɪŋ ˈmɛni tɪ ˈmaɪˌgreɪt tɪ məˈleɪʒə ər ˌɪndoʊˈniʒə. ðə wɑz ə ˈpɪriəd əv greɪt ˌɛkəˈnɑmɪk lip fər ˈsɪŋəˌpɔr. ɪts dɪˌvərsəfəˈkeɪʃən ˈɪntu ˈsərvɪs ˈɪndəstriz məˈtɪriəˌlaɪzd. ˈsɪŋəˌpɔr nɑt ˈoʊnli hæd bɪˈkeɪm ðə ˈmɛdɪkəl həb fər ˌsaʊˈθist ˈeɪʒə, ɪt ɪz naʊ ˈɔlsoʊ ðə ˌtɛknəˈlɑʤɪkəl ənd kəmˌjunəˈkeɪʃən həb ɪn ˌæˈzeɪən, ˈhoʊldɪŋ 50 ˈmɑrkɪt ʃɛr əv ðə kəˈpæsɪti. ðə ˈɛnʤəˈnɪrɪŋ ˌkeɪpəˈbɪlətiz ɪz wərld rɪˈnaʊnd, wɪθ ˈsɪŋəˌpɔr riˈspɑnsəbəl fər 70 əv ˈgloʊbəl ˈɔfˈʃɔr rɪg kənˈstrəkʃən ənd 20 əv ðə ʃɪp rɪˈpɛr ˈmɑrkɪt. ðə pɔrt əv ˈsɪŋəˌpɔr wɑz ðə ˈbɪziəst pɔrt ɪn ðə wərld θruaʊt ˈɔlˌmoʊst ðə hoʊl ˈdɛkeɪd. wən əv ðə ˈʧælənʤɪz feɪst baɪ ˈsɪŋəˌpɔr ɪz ðə ˌɪnˈkrisɪŋ səˌfɪstəˈkeɪʃən əv ˈɪndəstriz ɪn ˈneɪbərɪŋ steɪts səʧ ɛz məˈleɪʒə ənd ˈtaɪˌlænd. kəmˈpjutər pərˈɪfərəl ˌmænjəˈfækʧərɪŋ muvd ˈɪntu ˈkəntriz hu ər ˈeɪbəl tɪ ˈproʊdus mɔr, ˈʧipər, ənd ˈfæstər. ˈrɛkəgˌnaɪzɪŋ ðət ðə ki tɪ səkˈsɛs fər ə smɔl ˈneɪʃən ɪz nɑt wɪˈθɪn ðə ˌmænjəˈfækʧərɪŋ ˈsɛktər, ˈsɪŋəˌpɔr həz ˈʃɪftɪd ðə lɔŋ tərm ˈfoʊkɪs tɪ ˈtʊˌrɪzəm ənd ə ˈnɑlɪʤ beɪst ɪˈkɑnəmi. ˈæftər ə ˈfɔrti jɪr bæn, kəˈsinoʊz wər ˌɪnˈvaɪtɪd tɪ sɛt əp ʃɑp ənd ɪt kˈwɪkli bɪˈkeɪm ðə θərd ˈlɑrʤəst ˈgæmbəlɪŋ həb (bɪˈhaɪnd ˈɛˈleɪˈɛs ˈveɪgəs ənd məˈkaʊ). ðɛr ɪz ə juʤ ˈfoʊkɪs ɔn ˈrisərʧ ənd dɪˈvɛləpmənt wɪˈθɪn ˌbaɪoʊˌtɛkˈnɑləʤi ənd ˈɛnʤəˈnɪrɪŋ fər ˈməltəpəl ˈɪndəstriz. ɪn 2010 ˈsɪŋəˌpɔr wɑz ˈeɪbəl tɪ ˈoʊvərˌteɪk ðə əv hɔŋ kɔŋg. ɪn 2011 sɪŋgəˈpɔriən ˈɛkspɔrts pər ˈkæpɪtə wər əˈbaʊt usd/yr*, wɛˈræz ˈɛkspɔrts pər ˈkæpɪtə wər ˈsɪtɪŋ æt usd/yr*. ˈæftər ˈfɪfti jɪrz, bruˈnaɪ ənd ˈsɪŋəˌpɔr hæv kəmˈplitli swɪʧt ˈpleɪsɪz ɪn ðə ˌæˈzeɪən ˈriʤən, ənd ɪt ˈrɪli ʤɪst kəmz daʊn tɪ ɪkˈskluʒəˌnɛri ˈpɑləsiz. ˈsɔrsəz ˈɪmɪʤɪz baɪ ðə ˈɔθər ɪkˈsɛpt ɛz ˈnoʊtɪd bɪˈloʊ: |
i wrote this in a facebook forum where people discuss the implications of science on their religious faith. naturally, the topic of genesis comes up frequently, because a literal reading of genesis seems to contradict so much of what we know about the universe through science. christianity does have a long tradition of not reading every line of scripture as factual, scientific, or historical. but some modern faith traditions insist that all scripture must be read literally as if it were scientific and historically without error.
the question that inspired my facebook comment was as follows:
“what lead you to believe in this alternative beginning to genesis and does the bible start to be the true and authoritative word of god factual, where god says “this is what happened” he means exactly that)? (e.g. etc. just looking for beliefs*”
in the different faith traditions i have been involved with throughout my life, where the bible starts to be “factual” and one starts to ask if “this is what happened”, is precisely where the bible becomes untrue and loses its authority.
approaching the bible, especially genesis, as a history or science text is a very modern notion. in these modern times, we expect truth to come in a lab coat with a clipboard with graphs and statistics on it. whereas, in ancient times, when the grey haired wise elder started to impart wisdom he signaled the importance of it with their equivalent to “once upon a time.”
throughout history, profound wisdom was seen to be timeless and. it transcended the actual events at any given moment, precisely because it was timeless and. to reduce profound wisdom to any kind of factual story would have been seen to be only communicating part of that wisdom. so many different stories were used to convey it over time. think of this kind of wisdom as being too profound, too ineffable, to be conveyed linearly like a shopping list, or set of instructions.
a good example would be you trying to truly understand deep into your soul all aspects of human love. there is everything from romantic love, love of children, love of parents, love of country, aching unrequited love, a love that drives one to sacrifice life for others. there is love that can heal and love that can destroy you. and love that can heal the object of that love or destroy the object of that love.
then consider where you might go to learn about this profound aspect of the human condition. would you turn to history books or scientists? or would you turn to the great works of literature, poetry, art, music, and so on. what would the historian or scientist have to offer about love? they both would tell you factual things about love that would be very accurate.
the scientist would talk about the physiological affects of different mental states of some kinds of love. the would tell you about things that happened in the past that were driven by different kinds of love. all of these would be the kinds of truth that are highly verifiable, but would not really give you the truth you are looking for.
you would get far more real profound truth about love by reading something like anna karenina or some other great work of literature that is meant to transmit wisdom about love. the reason why a work of fiction like anna karenina would tell you more about love is because love, like many other aspects of the human condition are timeless and truths. they are inner truths that are woven into our souls in a way that transcends place, time, and events. with some cultural varations, to be sure, our experience of love is the same whether it is taking place in century village in the middle east or in the most modern century urban setting.
and whats more, our own understanding of our own response and feelings about all these aspects of love is obscure, partial, and fleeting. it takes us a lifetime to even understand ourselves when it comes to love. trying to distill this into wisdom and convey it to others takes 10 lifetimes of accumulated wisdom that cannot be crystallized into a mere series of events or a list of facts. so when someone is imparting wisdom to us about love, they are attempting to speak the unspeakable (in the sense that it just fit into words very well).
so rather than science facts, they have to paint pictures, or create parables, or hypothetical situations that bring out dramatic aspects of love in ways that leave us with strong impressions, vivid imagery and so forth. what they have to do is make us feel what it feels like to be tangled up in a certain kind of love, perhaps the kind where one is driven to sacrifice live for love of another. they have to give us an entire experience in the place of one we have not yet or may never experience for ourselves in our own life. they have to leave us yearning, panting, soaring, in deep agony, or deep joy.
you read a book like anna karenina, for example, and those characters and those situations will be like parables such that they will live in your for your whole life, and as you mature and have different experiences, you will see those same scenes and those parabolic experiences form different angles with different lighting, and so on. they will grow, thrive, and live entire lives inside your life and continue to turn out more wisdom about love as you come to learn your own internal language about love.
now imagine reading that book in time and running into him in moscow some snowy evening. you tell him about reading his book and he starts searching your face and listening to your words to see if he managed to convey to you the of his feelings about love to you. he wants to know if his novel truly was able to speak the unspeakable, voice the about love. he wants to know if he managed to transmit directly from his soul to yours that which is ineffable when put into mere words. he holds his breath waiting for your first words about how it moved you and you ask, “hey, did that really happen?” at which tolstoy invents the first.
i chose the subject of love for two reasons. it is a subject that does not lend itself to facts, events, and literal truths. but the most important reason is that the bible is a love story. and until we see the bible as a love story, with all the complexity, facets, and visceral soul crushing, healing, terrifying, life giving aspects of love, it is just a collection of silly stories about talking snakes.
the bible is a story about a love triangle between god, man, and creation. the core of it is not creation, but the resurrection, which is an event that is so profound and dense with meaning that it is like neutron star material, where one baseball sized piece of it weighs as much as a star.
this is a story about a god who creates a universe with creatures in that he loves so much that by chapter 3 it breaks his heart. it is a story about how omnipotence, and love seem to come together to produce a universe that would have no meaning unless it is somehow broken. where each loving gift that god imparts on its creatures comes with a paradoxical aspect where misery and suffering is possible and inevitable, but somehow inescapable if that gift is realized.
it is presented to us as a conundrum where god cannot create a creation that is separate and “not god” but contains something meaningful without it having consequences in misery and suffering. but a god who loves so much that he does it anyway knowing full well that it will break his heart by chapter 3.
and out of that love, he temporarily abdicates his omnipotence, enters his own creation as a helpless infant creature born in a pig trough to an ignorant unwed mother in the middle of nowhere. he gives himself over to that which he created out of love, submitting himself to the same capacity for suffering that came along with it. in the process he experiences the pain, the love, the anguish, the drama, the mortality, and every visceral aspect of mortal life within his own creation.
he stands on a mountain knowing the power contained within him. but at the same time, he seems to be locked into some cosmic equation where he cannot use that power right away to make misery and suffering vanish. all he can do is impart to the creatures around him his unfailing and unconditional love. he does a few parlor tricks (compared to creating the universe) to get their attention. he obviously wants to heal everything but the situation forces him to heal locally and sporadically as if anything else would destroy that which he created out of love.
so he heals a blind man but not all blindness. he heals a leper but not all leprosy. and after arriving too late to save his good friend lazarus from death, he can only stand in front of mary feeling the same pain that she feels, but amplified through his love, and tortured by whatever conditions cause him to have to abstain from fixing it all right away. so god answers tears with his own.
and then his love caused him to have to submit to the local authorities overseen by a proud roman governor of a client state who wonders why he was assigned to this backwater. he allows himself to be brought to accounts by the petty politics and senseless jealousies of a local church council. and he lets them nail him to a tree to die a wholly mortal death in such a way that one organ at a time shuts down systematically in abject pain. and when he finally accomplishes what he means to accomplish, it is in a “kingdom that is not of this world”. (john)
the message of love to you is that “i am the god who created the entire universe. i understand your suffering, because i submitted to it as well. i promise you i will fix this broken world, but for reasons you wont’ understand, that happen right away. in the meantime, though, sit under this now empty cross and realize that i would give my life over and over again in place of the suffering of each and every one of you. all you need to do is trust in that promise.” in dying, christ binds our suffering, and our mortality to his suffering and his mortality. and through his resurrection, christ binds this all to his divinity.
this is why in my faith tradition, we are taught that the proper vantage point for reading scripture is at the foot of the now empty cross, not on the newly minted shores of creation. we are taught that the word of god is jesus, the living word of god. and that the bible is relevant only in that it proclaims the grace of the god known to us through christ risen. when we meet a new line of scripture that we understand, our question is “what does this have to do with the resurrection?”, not “did this really happen?”
and when you ask that question, you step outside of time, facts, events and any concern about the size and weight of talking snakes. you step into a domain where facts are useless and only get in the way of trying to understand the impossible contradiction of an all loving, all powerful god who when creating a world with creatures that he loves, it has to be accompanied with the potential for misery and suffering.
god wants you to find these truths and authority in the bible. like tolstoy he is searching your face and your soul in anguish hoping that he has managed to impart something from his soul to yours to ease your suffering and show his unwavering love. look back into the face of god and ask, “did that really happen?” you are liable to get a cosmic for an answer.
so in regard to what i wrote in the comments above, my short answer is, yes, every word of genesis is inspired and authoritative on the subjects of faith, salvation, and unconditional love. and that goes for the rest of the bible. but the bible is not without error, especially in regard to the natural world. but an attempt to read every line as literally true makes as much sense as reading all fiction and non-fiction as literally true.
in some cases it is the right thing to do, such as where the gospels are assumed to be somewhat journalistic in their accounts of the life of jesus. but even at that, the definition of journalism and “account” at the time of their authorship is much different than our view of it in modern times. so to force a modern standard of journalism on the gospels is just what it sounds. it is forcing a worldly modern (and somewhat recent) version for journalism on an ancient text.
when you read the gospels, it is obvious that each author had a different agenda, a different background and was speaking to a different audience. and probably the strongest of those subjective aspects was their separate agendas. to ignore those agendas is to ignore some more cosmic truth that comes from discerning why those particular four gospels ended up canonized. we must assume that the canon was also god inspired regardless of the obviously messy political agendas of those who did the canonizing.
so we deny the truth when we ignore that messy process because there is truth in that as well. and we deny the truth contained in those different agendas of the gospels when we pretend that there are no differences or contradictions in them. what we are doing is forcing them to fit into a modern, narrow, standard for journalism when in fact the gospels are part reporting and part commentary.
also, genesis loses a lot of its meaning when we ignore or deny the fact that the creation story contained in it seems to be ripped off of more ancient creation stories from the civilizations around the authors of genesis. and given that this part of the world was a bustling commercial and cultural crossroads of all those civilizations, one has to realize that everyone who sat around a desert campfire listening to the genesis creation story was hearing it in that context. since at that time almost everyone was illiterate, genesis is mostly oral tradition as are all the other creation stories from the surrounding cultures.
and knowing what we do from the bible about hospitality, we know that the groups around those desert campfires contained travelers from all the surrounding civilizations at one point or another. and since local gossip is uninteresting to travelers, what is being talked about is commonality and differences in cultures as conveyed by their national or tribal stories.
without that context, for example, we miss the meaning of something like this:
“god made two great greater light to govern the day and the lesser light to govern the night. he also made the stars. genesis.
the lack of drama in this passage is important theologically when read in context to the other similar creation stories. where the other polytheistic religions see natural objects like the sun and moon as part of their pantheon of, or that these things in the universe are operated by like some kind of roadie crew. and where these gods are fighting squabbling, and acting like they are in some cosmic soap opera populated by slightly bigger humans, genesis places a stake in the ground and says, “no!”
i can just imagine some of those stories being told around a in the haze of a good meal. when the foreigner is done with his very entertaining story of how this god fought with that god, the night gets quiet as everyone is contemplating that. and the israelite simply and quietly says, “no.” and the conversation stops as they here him quietly pray in his own language, “baruch are you,, our god, ruler of the universe.) and he proceeds to tell about the one true god in very terms. this is not a god here to entertain us with drama. this is single all powerful god who simply speaks creation into existence. he tells them your is nothing more that a light that god sticks in the sky passing, placed there for its utility. and that moon over there? created with just a word. “moon” and the one true god simply sticks it in place on the dome of the for its utility.
in this one simple line of scripture all the in the surrounding are reduced to “utility lights”. the implication here is that your moon god is not a god at all but just a so we can find our way to the latrine at night. genesis is a both a polemic (a complaint against some other) and a grand statement of a new theology.
so it goes on like this. the more we understand the context, the history, the messy human aspect of how the bible was written and who wrote it and where, the more we can pull out the profound wisdom that is being transmitted to us. but the more we see it as an account that was dictated verbatim to moses as a science and history text, the more we reduce it to a vacuous collection of things to memorize or something.
in my faith tradition, the fall is hugely important theologically. it does help us understand why jesus’ death and resurrection was essential, but not in the way that you might think. the fall and the resurrection are still the cosmic bookends, but culpability in bringing sin into the world is not considered an event so much as a statement of the human condition and relationship with god because of that.
seeing the fall as a description of the human condition (and this is a separate topic of its own, i think) it does not rely on the event itself actually occurring. a literal and historic adam and eve only get in the way of the of what is being transmitted to us in the form of an allegorical adam and eve
one more thing that is important is that what i have been saying is not my peculiar version of christianity. the things i have been saying would find themselves at home in the sermon of most of the mainstream denominations that represent about 90% of the christian world. i say this not to intimidate but just to point out (to quote and mangle shakespeare), that there are more things in heaven and earth, horatio, than are dreamt of in your theology.
what i mean to say is that there are about billion christians worldwide, just like you and me, who range from casual church to monks and nuns and people who have given their life to devout and faithful service to god who subscribe to rich, deep, and long standing that do not insist on a literal interpretation of genesis. and they are as sincere, faithful, and as truth seeking as you and i.
so i invite you to come and question those of us who are here, and also those who are accessible in other faith communities near where you can investigate how they view genesis in a way that might be different than yours. or what they consider as true vs what they consider as factual.
i will leave you with this native american phrase that they sometimes use when they tell their wisdom stories. “i know if this happened or not, but i do know it is true.”
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category: creations inspired by creation, god's word and the natural world, human origins, evolution | aɪ roʊt ðɪs ɪn ə ˈfeɪsˌbʊk ˈfɔrəm wɛr ˈpipəl dɪˈskəs ðə ˌɪmpləˈkeɪʃənz əv saɪəns ɔn ðɛr rɪˈlɪʤəs feɪθ. ˈnæʧərəli, ðə ˈtɑpɪk əv ˈʤɛnəsəs kəmz əp ˈfrikwɛntli, bɪˈkəz ə ˈlɪtərəl ˈrɛdɪŋ əv ˈʤɛnəsəs simz tɪ ˌkɑntrəˈdɪkt soʊ məʧ əv wət wi noʊ əˈbaʊt ðə ˈjunəˌvərs θru saɪəns. ˌkrɪsʧiˈænɪti dɪz hæv ə lɔŋ trəˈdɪʃən əv nɑt ˈrɛdɪŋ ˈɛvəri laɪn əv ˈskrɪpʧər ɛz ˈfækʧuəl, ˌsaɪənˈtɪfɪk, ər hɪˈstɔrɪkəl. bət səm ˈmɑdərn feɪθ trəˈdɪʃənz ˌɪnˈsɪst ðət ɔl ˈskrɪpʧər məst bi rɛd ˈlɪtərəli ɛz ɪf ɪt wər ˌsaɪənˈtɪfɪk ənd hɪˈstɔrɪkəli wɪˈθaʊt ˈɛrər. ðə kˈwɛʃən ðət ˌɪnˈspaɪərd maɪ ˈfeɪsˌbʊk ˈkɑmɛnt wɑz ɛz ˈfɑloʊz: lɛd ju tɪ bɪˈliv ɪn ðɪs ɔlˈtərnətɪv bɪˈgɪnɪŋ tɪ ˈʤɛnəsəs ənd dɪz ðə ˈbaɪbəl stɑrt tɪ bi ðə tru ənd əˈθɔrəˌteɪtɪv wərd əv gɑd ˈfækʧuəl, wɛr gɑd sɪz ɪz wət happened”*” hi minz ɪgˈzæktli ðət)? (e.g*. ˌɛtˈsɛtərə. ʤɪst ˈlʊkɪŋ fər beliefs*”**” ɪn ðə ˈdɪfərənt feɪθ trəˈdɪʃənz aɪ hæv bɪn ˌɪnˈvɑlvd wɪθ θruaʊt maɪ laɪf, wɛr ðə ˈbaɪbəl stɑrts tɪ bi ““factual”*” ənd wən stɑrts tɪ æsk ɪf ɪz wət happened”*”, ɪz prɪˈsaɪsli wɛr ðə ˈbaɪbəl bɪˈkəmz ənˈtru ənd ˈluzɪz ɪts əˈθɔrəti. əˈproʊʧɪŋ ðə ˈbaɪbəl, əˈspɛʃəli ˈʤɛnəsəs, ɛz ə ˈhɪstəri ər saɪəns tɛkst ɪz ə ˈvɛri ˈmɑdərn ˈnoʊʃən. ɪn ðiz ˈmɑdərn taɪmz, wi ɪkˈspɛkt truθ tɪ kəm ɪn ə læb koʊt wɪθ ə ˈklɪpˌbɔrd wɪθ græfs ənd stəˈtɪstɪks ɔn ɪt. wɛˈræz, ɪn ˈeɪnʧənt taɪmz, wɪn ðə greɪ hɛrd waɪz ˈɛldər ˈstɑrtɪd tɪ ˌɪmˈpɑrt ˈwɪzdəm hi ˈsɪgnəld ðə ˌɪmˈpɔrtəns əv ɪt wɪθ ðɛr ɪkˈwɪvələnt tɪ əˈpɑn ə time.”*.” θruaʊt ˈhɪstəri, proʊˈfaʊnd ˈwɪzdəm wɑz sin tɪ bi ˈtaɪmləs ənd. ɪt trænˈsɛndɪd ðə ˈækʧəwəl ɪˈvɛnts æt ˈɛni ˈgɪvɪn ˈmoʊmənt, prɪˈsaɪsli bɪˈkəz ɪt wɑz ˈtaɪmləs ənd. tɪ rɪˈdus proʊˈfaʊnd ˈwɪzdəm tɪ ˈɛni kaɪnd əv ˈfækʧuəl ˈstɔri wʊd hæv bɪn sin tɪ bi ˈoʊnli kəmˈjunəˌkeɪtɪŋ pɑrt əv ðət ˈwɪzdəm. soʊ ˈmɛni ˈdɪfərənt ˈstɔriz wər juzd tɪ kənˈveɪ ɪt ˈoʊvər taɪm. θɪŋk əv ðɪs kaɪnd əv ˈwɪzdəm ɛz biɪŋ tu proʊˈfaʊnd, tu ˌɪˈnɛfəbəl, tɪ bi kənˈveɪd ˈlɪniərli laɪk ə ˈʃɑpɪŋ lɪst, ər sɛt əv ˌɪnˈstrəkʃənz. ə gʊd ɪgˈzæmpəl wʊd bi ju traɪɪŋ tɪ ˈtruli ˌəndərˈstænd dip ˈɪntu jʊr soʊl ɔl ˈæˌspɛkts əv ˈjumən ləv. ðɛr ɪz ˈɛvriˌθɪŋ frəm roʊˈmæntɪk ləv, ləv əv ˈʧɪldrən, ləv əv ˈpɛrənts, ləv əv ˈkəntri, ˈeɪkɪŋ ˌənrikˈwaɪtɪd ləv, ə ləv ðət draɪvz wən tɪ ˈsækrəˌfaɪs laɪf fər ˈəðərz. ðɛr ɪz ləv ðət kən hil ənd ləv ðət kən dɪˈstrɔɪ ju. ənd ləv ðət kən hil ðə ˈɑbʤɛkt əv ðət ləv ər dɪˈstrɔɪ ðə ˈɑbʤɛkt əv ðət ləv. ðɛn kənˈsɪdər wɛr ju maɪt goʊ tɪ lərn əˈbaʊt ðɪs proʊˈfaʊnd ˈæˌspɛkt əv ðə ˈjumən kənˈdɪʃən. wʊd ju tərn tɪ ˈhɪstəri bʊks ər ˈsaɪəntɪsts? ər wʊd ju tərn tɪ ðə greɪt wərks əv ˈlɪtərəʧər, ˈpoʊətri, ɑrt, mˈjuzɪk, ənd soʊ ɔn. wət wʊd ðə hɪˈstɔriən ər ˈsaɪəntɪst hæv tɪ ˈɔfər əˈbaʊt ləv? ðeɪ boʊθ wʊd tɛl ju ˈfækʧuəl θɪŋz əˈbaʊt ləv ðət wʊd bi ˈvɛri ˈækjərət. ðə ˈsaɪəntɪst wʊd tɔk əˈbaʊt ðə ˌfɪziəˈlɑʤɪkəl əˈfɛkts əv ˈdɪfərənt ˈmɛntəl steɪts əv səm kaɪnz əv ləv. ðə wʊd tɛl ju əˈbaʊt θɪŋz ðət ˈhæpənd ɪn ðə pæst ðət wər ˈdrɪvən baɪ ˈdɪfərənt kaɪnz əv ləv. ɔl əv ðiz wʊd bi ðə kaɪnz əv truθ ðət ər ˈhaɪli ˈvɛrəˌfaɪəbəl, bət wʊd nɑt ˈrɪli gɪv ju ðə truθ ju ər ˈlʊkɪŋ fər. ju wʊd gɪt fɑr mɔr ril proʊˈfaʊnd truθ əˈbaʊt ləv baɪ ˈrɛdɪŋ ˈsəmθɪŋ laɪk ˈænə ˌkɛrɛˈninə ər səm ˈəðər greɪt wərk əv ˈlɪtərəʧər ðət ɪz mɛnt tɪ trænzˈmɪt ˈwɪzdəm əˈbaʊt ləv. ðə ˈrizən waɪ ə wərk əv ˈfɪkʃən laɪk ˈænə ˌkɛrɛˈninə wʊd tɛl ju mɔr əˈbaʊt ləv ɪz bɪˈkəz ləv, laɪk ˈmɛni ˈəðər ˈæˌspɛkts əv ðə ˈjumən kənˈdɪʃən ər ˈtaɪmləs ənd truθs. ðeɪ ər ˈɪnər truθs ðət ər ˈwoʊvən ˈɪntu ɑr soʊlz ɪn ə weɪ ðət trænˈsɛndz pleɪs, taɪm, ənd ɪˈvɛnts. wɪθ səm ˈkəlʧərəl varations*, tɪ bi ʃʊr, ɑr ɪkˈspɪriəns əv ləv ɪz ðə seɪm ˈwɛðər ɪt ɪz ˈteɪkɪŋ pleɪs ɪn ˈsɛnʧəri ˈvɪlɪʤ ɪn ðə ˈmɪdəl ist ər ɪn ðə moʊst ˈmɑdərn ˈsɛnʧəri ˈərbən ˈsɛtɪŋ. ənd wəts mɔr, ɑr oʊn ˌəndərˈstændɪŋ əv ɑr oʊn rɪˈspɑns ənd ˈfilɪŋz əˈbaʊt ɔl ðiz ˈæˌspɛkts əv ləv ɪz əbˈskjʊr, ˈpɑrʃəl, ənd ˈflitɪŋ. ɪt teɪks ˈjuˈɛs ə ˈlaɪfˌtaɪm tɪ ˈivɪn ˌəndərˈstænd ɑrˈsɛlvz wɪn ɪt kəmz tɪ ləv. traɪɪŋ tɪ dɪˈstɪl ðɪs ˈɪntu ˈwɪzdəm ənd kənˈveɪ ɪt tɪ ˈəðərz teɪks 10 ˈlaɪfˌtaɪmz əv əˈkjumjəˌleɪtɪd ˈwɪzdəm ðət ˈkænɑt bi ˈkrɪstəˌlaɪzd ˈɪntu ə mɪr ˈsɪriz əv ɪˈvɛnts ər ə lɪst əv fækts. soʊ wɪn ˈsəmˌwən ɪz ˌɪmˈpɑrtɪŋ ˈwɪzdəm tɪ ˈjuˈɛs əˈbaʊt ləv, ðeɪ ər əˈtɛmptɪŋ tɪ spik ðə ənˈspikəbəl (ɪn ðə sɛns ðət ɪt ʤɪst fɪt ˈɪntu wərdz ˈvɛri wɛl). soʊ ˈrəðər ðən saɪəns fækts, ðeɪ hæv tɪ peɪnt ˈpɪkʧərz, ər kriˈeɪt ˈpɛrəbəlz, ər ˌhaɪpəˈθɛtɪkəl ˌsɪʧuˈeɪʃənz ðət brɪŋ aʊt drəˈmætɪk ˈæˌspɛkts əv ləv ɪn weɪz ðət liv ˈjuˈɛs wɪθ strɔŋ ˌɪmˈprɛʃənz, ˈvɪvɪd ˈɪmɪʤri ənd soʊ fɔrθ. wət ðeɪ hæv tɪ du ɪz meɪk ˈjuˈɛs fil wət ɪt filz laɪk tɪ bi ˈtæŋgəld əp ɪn ə ˈsərtən kaɪnd əv ləv, pərˈhæps ðə kaɪnd wɛr wən ɪz ˈdrɪvən tɪ ˈsækrəˌfaɪs lɪv fər ləv əv əˈnəðər. ðeɪ hæv tɪ gɪv ˈjuˈɛs ən ɪnˈtaɪər ɪkˈspɪriəns ɪn ðə pleɪs əv wən wi hæv nɑt jɛt ər meɪ ˈnɛvər ɪkˈspɪriəns fər ɑrˈsɛlvz ɪn ɑr oʊn laɪf. ðeɪ hæv tɪ liv ˈjuˈɛs ˈjərnɪŋ, ˈpæntɪŋ, ˈsɔrɪŋ, ɪn dip ˈægəni, ər dip ʤɔɪ. ju rɛd ə bʊk laɪk ˈænə ˌkɛrɛˈninə, fər ɪgˈzæmpəl, ənd ðoʊz ˈkɛrɪktərz ənd ðoʊz ˌsɪʧuˈeɪʃənz wɪl bi laɪk ˈpɛrəbəlz səʧ ðət ðeɪ wɪl lɪv ɪn jʊr fər jʊr hoʊl laɪf, ənd ɛz ju məˈʧʊr ənd hæv ˈdɪfərənt ɪkˈspɪriənsɪz, ju wɪl si ðoʊz seɪm sinz ənd ðoʊz ˌpɛrəˈbɑlɪk ɪkˈspɪriənsɪz fɔrm ˈdɪfərənt ˈæŋgəlz wɪθ ˈdɪfərənt ˈlaɪtɪŋ, ənd soʊ ɔn. ðeɪ wɪl groʊ, θraɪv, ənd lɪv ɪnˈtaɪər lɪvz ˌɪnˈsaɪd jʊr laɪf ənd kənˈtɪnju tɪ tərn aʊt mɔr ˈwɪzdəm əˈbaʊt ləv ɛz ju kəm tɪ lərn jʊr oʊn ˌɪnˈtərnəl ˈlæŋgwɪʤ əˈbaʊt ləv. naʊ ˌɪˈmæʤən ˈrɛdɪŋ ðət bʊk ɪn taɪm ənd ˈrənɪŋ ˈɪntu ɪm ɪn ˈmɔˌskaʊ səm snoʊi ˈivnɪŋ. ju tɛl ɪm əˈbaʊt ˈrɛdɪŋ hɪz bʊk ənd hi stɑrts ˈsərʧɪŋ jʊr feɪs ənd ˈlɪsənɪŋ tɪ jʊr wərdz tɪ si ɪf hi ˈmænɪʤd tɪ kənˈveɪ tɪ ju ðə əv hɪz ˈfilɪŋz əˈbaʊt ləv tɪ ju. hi wɔnts tɪ noʊ ɪf hɪz ˈnɑvəl ˈtruli wɑz ˈeɪbəl tɪ spik ðə ənˈspikəbəl, vɔɪs ðə əˈbaʊt ləv. hi wɔnts tɪ noʊ ɪf hi ˈmænɪʤd tɪ trænzˈmɪt dɪˈrɛkli frəm hɪz soʊl tɪ jʊrz ðət wɪʧ ɪz ˌɪˈnɛfəbəl wɪn pʊt ˈɪntu mɪr wərdz. hi hoʊldz hɪz brɛθ ˈweɪtɪŋ fər jʊr fərst wərdz əˈbaʊt haʊ ɪt muvd ju ənd ju æsk, ““hey*, dɪd ðət ˈrɪli happen?”*?” æt wɪʧ ˈtoʊlˌstɔɪ ˌɪnˈvɛnts ðə fərst. aɪ ʧoʊz ðə ˈsəbʤɪkt əv ləv fər tu ˈrizənz. ɪt ɪz ə ˈsəbʤɪkt ðət dɪz nɑt lɛnd ˌɪtˈsɛlf tɪ fækts, ɪˈvɛnts, ənd ˈlɪtərəl truθs. bət ðə moʊst ˌɪmˈpɔrtənt ˈrizən ɪz ðət ðə ˈbaɪbəl ɪz ə ləv ˈstɔri. ənd ənˈtɪl wi si ðə ˈbaɪbəl ɛz ə ləv ˈstɔri, wɪθ ɔl ðə kəmˈplɛksɪti, ˈfæsəts, ənd ˈvɪsərəl soʊl ˈkrəʃɪŋ, ˈhilɪŋ, ˈtɛrəˌfaɪɪŋ, laɪf ˈgɪvɪŋ ˈæˌspɛkts əv ləv, ɪt ɪz ʤɪst ə kəˈlɛkʃən əv ˈsɪli ˈstɔriz əˈbaʊt ˈtɔkɪŋ sneɪks. ðə ˈbaɪbəl ɪz ə ˈstɔri əˈbaʊt ə ləv ˈtraɪˌæŋgəl bɪtˈwin gɑd, mæn, ənd kriˈeɪʃən. ðə kɔr əv ɪt ɪz nɑt kriˈeɪʃən, bət ðə ˌrɛzərˈɛkʃən, wɪʧ ɪz ən ɪˈvɛnt ðət ɪz soʊ proʊˈfaʊnd ənd dɛns wɪθ ˈminɪŋ ðət ɪt ɪz laɪk ˈnuˌtrɑn stɑr məˈtɪriəl, wɛr wən ˈbeɪsˈbɔl saɪzd pis əv ɪt weɪz ɛz məʧ ɛz ə stɑr. ðɪs ɪz ə ˈstɔri əˈbaʊt ə gɑd hu kriˈeɪts ə ˈjunəˌvərs wɪθ ˈkriʧərz ɪn ðət hi ləvz soʊ məʧ ðət baɪ ˈʧæptər 3 ɪt breɪks hɪz hɑrt. ɪt ɪz ə ˈstɔri əˈbaʊt haʊ ɑmˈnɪpətəns, ənd ləv sim tɪ kəm təˈgɛðər tɪ ˈproʊdus ə ˈjunəˌvərs ðət wʊd hæv noʊ ˈminɪŋ ənˈlɛs ɪt ɪz ˈsəmˌhaʊ ˈbroʊkən. wɛr iʧ ˈləvɪŋ gɪft ðət gɑd ˌɪmˈpɑrts ɔn ɪts ˈkriʧərz kəmz wɪθ ə ˌpɛrəˈdɑksɪkəl ˈæˌspɛkt wɛr ˈmɪzəri ənd ˈsəfərɪŋ ɪz ˈpɑsəbəl ənd ˌɪˈnɛvətəbəl, bət ˈsəmˌhaʊ ˌɪnɪˈskeɪpəbəl ɪf ðət gɪft ɪz ˈriəˌlaɪzd. ɪt ɪz pərˈzɛnəd tɪ ˈjuˈɛs ɛz ə kəˈnəndrəm wɛr gɑd ˈkænɑt kriˈeɪt ə kriˈeɪʃən ðət ɪz ˈsɛpərˌeɪt ənd god”*” bət kənˈteɪnz ˈsəmθɪŋ ˈminɪŋfəl wɪˈθaʊt ɪt ˈhævɪŋ ˈkɑnsəkˌwɛnsəz ɪn ˈmɪzəri ənd ˈsəfərɪŋ. bət ə gɑd hu ləvz soʊ məʧ ðət hi dɪz ɪt ˈɛniˌweɪ noʊɪŋ fʊl wɛl ðət ɪt wɪl breɪk hɪz hɑrt baɪ ˈʧæptər 3 ənd aʊt əv ðət ləv, hi ˌtɛmpərˈɛrəli ˈæbdəˌkeɪts hɪz ɑmˈnɪpətəns, ˈɛnərz hɪz oʊn kriˈeɪʃən ɛz ə ˈhɛlpləs ˈɪnfənt ˈkriʧər bɔrn ɪn ə pɪg trɔf tɪ ən ˈɪgnərənt ənˈwɛd ˈməðər ɪn ðə ˈmɪdəl əv ˈnoʊˌwɛr. hi gɪvz hɪmˈsɛlf ˈoʊvər tɪ ðət wɪʧ hi kriˈeɪtɪd aʊt əv ləv, səbˈmɪtɪŋ hɪmˈsɛlf tɪ ðə seɪm kəˈpæsɪti fər ˈsəfərɪŋ ðət keɪm əˈlɔŋ wɪθ ɪt. ɪn ðə ˈprɔˌsɛs hi ɪkˈspɪriənsɪz ðə peɪn, ðə ləv, ðə ˈæŋgwɪʃ, ðə ˈdrɑmə, ðə mɔrˈtæləti, ənd ˈɛvəri ˈvɪsərəl ˈæˌspɛkt əv ˈmɔrtəl laɪf wɪˈθɪn hɪz oʊn kriˈeɪʃən. hi stændz ɔn ə ˈmaʊntən noʊɪŋ ðə paʊər kənˈteɪnd wɪˈθɪn ɪm. bət æt ðə seɪm taɪm, hi simz tɪ bi lɑkt ˈɪntu səm ˈkɑzmɪk ɪkˈweɪʒən wɛr hi ˈkænɑt juz ðət paʊər raɪt əˈweɪ tɪ meɪk ˈmɪzəri ənd ˈsəfərɪŋ ˈvænɪʃ. ɔl hi kən du ɪz ˌɪmˈpɑrt tɪ ðə ˈkriʧərz əraʊnd ɪm hɪz ənˈfeɪlɪŋ ənd ˌənkənˈdɪʃənəl ləv. hi dɪz ə fju ˈpɑrlər trɪks (kəmˈpɛrd tɪ kriˈeɪtɪŋ ðə ˈjunəˌvərs) tɪ gɪt ðɛr əˈtɛnʃən. hi ˈɑbviəsli wɔnts tɪ hil ˈɛvriˌθɪŋ bət ðə ˌsɪʧuˈeɪʃən ˈfɔrsɪz ɪm tɪ hil ˈloʊkəli ənd spərˈædɪkli ɛz ɪf ˈɛniˌθɪŋ ɛls wʊd dɪˈstrɔɪ ðət wɪʧ hi kriˈeɪtɪd aʊt əv ləv. soʊ hi hilz ə blaɪnd mæn bət nɑt ɔl ˈblaɪndnəs. hi hilz ə ˈlɛpər bət nɑt ɔl ˈlɛprəsi. ənd ˈæftər ərˈaɪvɪŋ tu leɪt tɪ seɪv hɪz gʊd frɛnd ˈlæzərəs frəm dɛθ, hi kən ˈoʊnli stænd ɪn frənt əv ˈmɛri ˈfilɪŋ ðə seɪm peɪn ðət ʃi filz, bət ˈæmpləˌfaɪd θru hɪz ləv, ənd ˈtɔrʧərd baɪ ˌwəˈtɛvər kənˈdɪʃənz kɔz ɪm tɪ hæv tɪ əbˈsteɪn frəm ˈfɪksɪŋ ɪt ɔl raɪt əˈweɪ. soʊ gɑd ˈænsərz tɪrz wɪθ hɪz oʊn. ənd ðɛn hɪz ləv kɔzd ɪm tɪ hæv tɪ səbˈmɪt tɪ ðə ˈloʊkəl əˈθɔrətiz ˈoʊvərˌsin baɪ ə praʊd ˈroʊmən ˈgəvərnər əv ə klaɪənt steɪt hu ˈwəndərz waɪ hi wɑz əˈsaɪnd tɪ ðɪs ˈbækˌwɔtər. hi əˈlaʊz hɪmˈsɛlf tɪ bi brɔt tɪ əˈkaʊnts baɪ ðə ˈpɛˌti ˈpɑləˌtɪks ənd ˈsɛnsləs ˈʤɛləsiz əv ə ˈloʊkəl ʧərʧ ˈkaʊnsəl. ənd hi lɛts ðɛm neɪl ɪm tɪ ə tri tɪ daɪ ə ˈhoʊli ˈmɔrtəl dɛθ ɪn səʧ ə weɪ ðət wən ˈɔrgən æt ə taɪm ʃəts daʊn ˌsɪstəˈmætɪkli ɪn ˈæbʤɛkt peɪn. ənd wɪn hi ˈfaɪnəli əˈkɑmplɪʃɪz wət hi minz tɪ əˈkɑmplɪʃ, ɪt ɪz ɪn ə ðət ɪz nɑt əv ðɪs world”*”. (ʤɑn ðə ˈmɛsɪʤ əv ləv tɪ ju ɪz ðət æm ðə gɑd hu kriˈeɪtɪd ðə ɪnˈtaɪər ˈjunəˌvərs. aɪ ˌəndərˈstænd jʊr ˈsəfərɪŋ, bɪˈkəz aɪ səbˈmɪtəd tɪ ɪt ɛz wɛl. aɪ ˈprɑməs ju aɪ wɪl fɪks ðɪs ˈbroʊkən wərld, bət fər ˈrizənz ju wont’*’ ˌəndərˈstænd, ðət ˈhæpən raɪt əˈweɪ. ɪn ðə ˈminˌtaɪm, ðoʊ, sɪt ˈəndər ðɪs naʊ ˈɛmti krɔs ənd ˈriəˌlaɪz ðət aɪ wʊd gɪv maɪ laɪf ˈoʊvər ənd ˈoʊvər əˈgɛn ɪn pleɪs əv ðə ˈsəfərɪŋ əv iʧ ənd ˈɛvəri wən əv ju. ɔl ju nid tɪ du ɪz trəst ɪn ðət promise.”*.” ɪn daɪɪŋ, kraɪst baɪndz ɑr ˈsəfərɪŋ, ənd ɑr mɔrˈtæləti tɪ hɪz ˈsəfərɪŋ ənd hɪz mɔrˈtæləti. ənd θru hɪz ˌrɛzərˈɛkʃən, kraɪst baɪndz ðɪs ɔl tɪ hɪz dɪˈvɪnəti. ðɪs ɪz waɪ ɪn maɪ feɪθ trəˈdɪʃən, wi ər tɔt ðət ðə ˈprɑpər ˈvæntɪʤ pɔɪnt fər ˈrɛdɪŋ ˈskrɪpʧər ɪz æt ðə fʊt əv ðə naʊ ˈɛmti krɔs, nɑt ɔn ðə ˈnuli ˈmɪntɪd ʃɔrz əv kriˈeɪʃən. wi ər tɔt ðət ðə wərd əv gɑd ɪz ˈʤizəs, ðə ˈlɪvɪŋ wərd əv gɑd. ənd ðət ðə ˈbaɪbəl ɪz ˈrɛləvənt ˈoʊnli ɪn ðət ɪt proʊˈkleɪmz ðə greɪs əv ðə gɑd noʊn tɪ ˈjuˈɛs θru kraɪst ˈrɪzən. wɪn wi mit ə nu laɪn əv ˈskrɪpʧər ðət wi ˌəndərˈstænd, ɑr kˈwɛʃən ɪz dɪz ðɪs hæv tɪ du wɪθ ðə resurrection?”*?”, nɑt ðɪs ˈrɪli happen?”*?” ənd wɪn ju æsk ðət kˈwɛʃən, ju stɛp ˈaʊtˈsaɪd əv taɪm, fækts, ɪˈvɛnts ənd ˈɛni kənˈsərn əˈbaʊt ðə saɪz ənd weɪt əv ˈtɔkɪŋ sneɪks. ju stɛp ˈɪntu ə doʊˈmeɪn wɛr fækts ər ˈjusləs ənd ˈoʊnli gɪt ɪn ðə weɪ əv traɪɪŋ tɪ ˌəndərˈstænd ðə ˌɪmˈpɑsəbəl ˌkɑntrəˈdɪkʃən əv ən ɔl ˈləvɪŋ, ɔl ˈpaʊərfəl gɑd hu wɪn kriˈeɪtɪŋ ə wərld wɪθ ˈkriʧərz ðət hi ləvz, ɪt həz tɪ bi əˈkəmpənid wɪθ ðə pəˈtɛnʃəl fər ˈmɪzəri ənd ˈsəfərɪŋ. gɑd wɔnts ju tɪ faɪnd ðiz truθs ənd əˈθɔrəti ɪn ðə ˈbaɪbəl. laɪk ˈtoʊlˌstɔɪ hi ɪz ˈsərʧɪŋ jʊr feɪs ənd jʊr soʊl ɪn ˈæŋgwɪʃ ˈhoʊpɪŋ ðət hi həz ˈmænɪʤd tɪ ˌɪmˈpɑrt ˈsəmθɪŋ frəm hɪz soʊl tɪ jʊrz tɪ iz jʊr ˈsəfərɪŋ ənd ʃoʊ hɪz ənˈweɪvərɪŋ ləv. lʊk bæk ˈɪntu ðə feɪs əv gɑd ənd æsk, ðət ˈrɪli happen?”*?” ju ər ˈlaɪəbəl tɪ gɪt ə ˈkɑzmɪk fər ən ˈænsər. soʊ ɪn rɪˈgɑrd tɪ wət aɪ roʊt ɪn ðə ˈkɑmɛnts əˈbəv, maɪ ʃɔrt ˈænsər ɪz, jɛs, ˈɛvəri wərd əv ˈʤɛnəsəs ɪz ˌɪnˈspaɪərd ənd əˈθɔrəˌteɪtɪv ɔn ðə ˈsəbʤɪkts əv feɪθ, sælˈveɪʃən, ənd ˌənkənˈdɪʃənəl ləv. ənd ðət goʊz fər ðə rɛst əv ðə ˈbaɪbəl. bət ðə ˈbaɪbəl ɪz nɑt wɪˈθaʊt ˈɛrər, əˈspɛʃəli ɪn rɪˈgɑrd tɪ ðə ˈnæʧərəl wərld. bət ən əˈtɛmpt tɪ rɛd ˈɛvəri laɪn ɛz ˈlɪtərəli tru meɪks ɛz məʧ sɛns ɛz ˈrɛdɪŋ ɔl ˈfɪkʃən ənd nɑnˈfɪkʃən ɛz ˈlɪtərəli tru. ɪn səm ˈkeɪsɪz ɪt ɪz ðə raɪt θɪŋ tɪ du, səʧ ɛz wɛr ðə ˈgɑspəlz ər əˈsumd tɪ bi ˈsəmˈwət ˌʤərnəˈlɪstɪk ɪn ðɛr əˈkaʊnts əv ðə laɪf əv ˈʤizəs. bət ˈivɪn æt ðət, ðə ˌdɛfəˈnɪʃən əv ˈʤərnəˌlɪzəm ənd ““account”*” æt ðə taɪm əv ðɛr ˈɔθərˌʃɪp ɪz məʧ ˈdɪfərənt ðən ɑr vju əv ɪt ɪn ˈmɑdərn taɪmz. soʊ tɪ fɔrs ə ˈmɑdərn ˈstændərd əv ˈʤərnəˌlɪzəm ɔn ðə ˈgɑspəlz ɪz ʤɪst wət ɪt saʊnz. ɪt ɪz ˈfɔrsɪŋ ə ˈwərldli ˈmɑdərn (ənd ˈsəmˈwət ˈrisənt) ˈvərʒən fər ˈʤərnəˌlɪzəm ɔn ən ˈeɪnʧənt tɛkst. wɪn ju rɛd ðə ˈgɑspəlz, ɪt ɪz ˈɑbviəs ðət iʧ ˈɔθər hæd ə ˈdɪfərənt əˈʤɛndə, ə ˈdɪfərənt ˈbækˌgraʊnd ənd wɑz ˈspikɪŋ tɪ ə ˈdɪfərənt ˈɔdiəns. ənd ˈprɑbəˌbli ðə ˈstrɔŋgəst əv ðoʊz səˈbʤɛktɪv ˈæˌspɛkts wɑz ðɛr ˈsɛpərˌeɪt əˈʤɛndəz. tɪ ˌɪgˈnɔr ðoʊz əˈʤɛndəz ɪz tɪ ˌɪgˈnɔr səm mɔr ˈkɑzmɪk truθ ðət kəmz frəm dɪˈsərnɪŋ waɪ ðoʊz ˌpɑˈtɪkjələr fɔr ˈgɑspəlz ˈɛndɪd əp ˈkænəˌnaɪzd. wi məst əˈsum ðət ðə ˈkænən wɑz ˈɔlsoʊ gɑd ˌɪnˈspaɪərd rəˈgɑrdləs əv ðə ˈɑbviəsli ˈmɛsi pəˈlɪtɪkəl əˈʤɛndəz əv ðoʊz hu dɪd ðə canonizing*. soʊ wi dɪˈnaɪ ðə truθ wɪn wi ˌɪgˈnɔr ðət ˈmɛsi ˈprɔˌsɛs bɪˈkəz ðɛr ɪz truθ ɪn ðət ɛz wɛl. ənd wi dɪˈnaɪ ðə truθ kənˈteɪnd ɪn ðoʊz ˈdɪfərənt əˈʤɛndəz əv ðə ˈgɑspəlz wɪn wi priˈtɛnd ðət ðɛr ər noʊ ˈdɪfərənsɪz ər ˌkɑntrəˈdɪkʃənz ɪn ðɛm. wət wi ər duɪŋ ɪz ˈfɔrsɪŋ ðɛm tɪ fɪt ˈɪntu ə ˈmɑdərn, ˈnɛroʊ, ˈstændərd fər ˈʤərnəˌlɪzəm wɪn ɪn fækt ðə ˈgɑspəlz ər pɑrt rɪˈpɔrtɪŋ ənd pɑrt ˈkɑmənˌtɛri. ˈɔlsoʊ, ˈʤɛnəsəs ˈluzɪz ə lɔt əv ɪts ˈminɪŋ wɪn wi ˌɪgˈnɔr ər dɪˈnaɪ ðə fækt ðət ðə kriˈeɪʃən ˈstɔri kənˈteɪnd ɪn ɪt simz tɪ bi rɪpt ɔf əv mɔr ˈeɪnʧənt kriˈeɪʃən ˈstɔriz frəm ðə ˌsɪvəlɪˈzeɪʃənz əraʊnd ðə ˈɔθərz əv ˈʤɛnəsəs. ənd ˈgɪvɪn ðət ðɪs pɑrt əv ðə wərld wɑz ə ˈbəsəlɪŋ kəˈmərʃəl ənd ˈkəlʧərəl ˈkrɔsˌroʊdz əv ɔl ðoʊz ˌsɪvəlɪˈzeɪʃənz, wən həz tɪ ˈriəˌlaɪz ðət ˈɛvriˌwən hu sæt əraʊnd ə ˈdɛzərt ˈkæmpˌfaɪər ˈlɪsənɪŋ tɪ ðə ˈʤɛnəsəs kriˈeɪʃən ˈstɔri wɑz ˈhirɪŋ ɪt ɪn ðət ˈkɑntɛkst. sɪns æt ðət taɪm ˈɔlˌmoʊst ˈɛvriˌwən wɑz ˌɪˈlɪtərət, ˈʤɛnəsəs ɪz ˈmoʊstli ˈɔrəl trəˈdɪʃən ɛz ər ɔl ðə ˈəðər kriˈeɪʃən ˈstɔriz frəm ðə sərˈaʊndɪŋ ˈkəlʧərz. ənd noʊɪŋ wət wi du frəm ðə ˈbaɪbəl əˈbaʊt ˌhɑspəˈtæləti, wi noʊ ðət ðə grups əraʊnd ðoʊz ˈdɛzərt ˈkæmpˌfaɪərz kənˈteɪnd ˈtrævələrz frəm ɔl ðə sərˈaʊndɪŋ ˌsɪvəlɪˈzeɪʃənz æt wən pɔɪnt ər əˈnəðər. ənd sɪns ˈloʊkəl ˈgɑsəp ɪz əˈnɪntrəstɪŋ tɪ ˈtrævələrz, wət ɪz biɪŋ tɔkt əˈbaʊt ɪz ˌkɑməˈnæləti ənd ˈdɪfərənsɪz ɪn ˈkəlʧərz ɛz kənˈveɪd baɪ ðɛr ˈnæʃənəl ər ˈtraɪbəl ˈstɔriz. wɪˈθaʊt ðət ˈkɑntɛkst, fər ɪgˈzæmpəl, wi mɪs ðə ˈminɪŋ əv ˈsəmθɪŋ laɪk ðɪs: meɪd tu greɪt ˈgreɪtər laɪt tɪ ˈgəvərn ðə deɪ ənd ðə ˈlɛsər laɪt tɪ ˈgəvərn ðə naɪt. hi ˈɔlsoʊ meɪd ðə stɑrz. ˈʤɛnəsəs ðə læk əv ˈdrɑmə ɪn ðɪs ˈpæsɪʤ ɪz ˌɪmˈpɔrtənt ˌθiəˈlɑʤɪkli wɪn rɛd ɪn ˈkɑntɛkst tɪ ðə ˈəðər ˈsɪmələr kriˈeɪʃən ˈstɔriz. wɛr ðə ˈəðər ˌpɑˌliθiˈɪstɪk riˈlɪʤənz si ˈnæʧərəl ˈɑbʤɛkts laɪk ðə sən ənd mun ɛz pɑrt əv ðɛr ˈpænθiˌɑn əv, ər ðət ðiz θɪŋz ɪn ðə ˈjunəˌvərs ər ˈɑpərˌeɪtəd baɪ laɪk səm kaɪnd əv ˈroʊdi kru. ənd wɛr ðiz gɑdz ər ˈfaɪtɪŋ skˈwɑbəlɪŋ, ənd ˈæktɪŋ laɪk ðeɪ ər ɪn səm ˈkɑzmɪk soʊp ˈɑprə ˈpɑpjəˌleɪtəd baɪ sˈlaɪtli ˈbɪgər ˈjumənz, ˈʤɛnəsəs ˈpleɪsɪz ə steɪk ɪn ðə graʊnd ənd sɪz, ““no!”*!” aɪ kən ʤɪst ˌɪˈmæʤən səm əv ðoʊz ˈstɔriz biɪŋ toʊld əraʊnd ə ɪn ðə heɪz əv ə gʊd mil. wɪn ðə ˈfɔrənər ɪz dən wɪθ hɪz ˈvɛri ˌɛnərˈteɪnɪŋ ˈstɔri əv haʊ ðɪs gɑd fɔt wɪθ ðət gɑd, ðə naɪt gɪts kwaɪət ɛz ˈɛvriˌwən ɪz ˈkɑntəmˌpleɪtɪŋ ðət. ənd ðə ˈɪzrəˌlaɪt ˈsɪmpli ənd kˈwaɪətli sɪz, ““no.”*.” ənd ðə ˌkɑnvərˈseɪʃən stɑps ɛz ðeɪ hir ɪm kˈwaɪətli preɪ ɪn hɪz oʊn ˈlæŋgwɪʤ, ər ju,, ɑr gɑd, ˈrulər əv ðə ˈjunəˌvərs.) ənd hi prəˈsidz tɪ tɛl əˈbaʊt ðə wən tru gɑd ɪn ˈvɛri tərmz. ðɪs ɪz nɑt ə gɑd hir tɪ ˌɛnərˈteɪn ˈjuˈɛs wɪθ ˈdrɑmə. ðɪs ɪz ˈsɪŋgəl ɔl ˈpaʊərfəl gɑd hu ˈsɪmpli spiks kriˈeɪʃən ˈɪntu ɪgˈzɪstəns. hi tɛlz ðɛm jʊr ɪz ˈnəθɪŋ mɔr ðət ə laɪt ðət gɑd stɪks ɪn ðə skaɪ ˈpæsɪŋ, pleɪst ðɛr fər ɪts juˈtɪləti. ənd ðət mun ˈoʊvər ðɛr? kriˈeɪtɪd wɪθ ʤɪst ə wərd. ““moon”*” ənd ðə wən tru gɑd ˈsɪmpli stɪks ɪt ɪn pleɪs ɔn ðə doʊm əv ðə fər ɪts juˈtɪləti. ɪn ðɪs wən ˈsɪmpəl laɪn əv ˈskrɪpʧər ɔl ðə ɪn ðə sərˈaʊndɪŋ ər rɪˈdust tɪ lights”*”. ðə ˌɪmpləˈkeɪʃən hir ɪz ðət jʊr mun gɑd ɪz nɑt ə gɑd æt ɔl bət ʤɪst ə soʊ wi kən faɪnd ɑr weɪ tɪ ðə ləˈtrin æt naɪt. ˈʤɛnəsəs ɪz ə boʊθ ə pəˈlɛmɪk (ə kəmˈpleɪnt əˈgɛnst səm ˈəðər) ənd ə grænd ˈsteɪtmənt əv ə nu θiˈɑləʤi. soʊ ɪt goʊz ɔn laɪk ðɪs. ðə mɔr wi ˌəndərˈstænd ðə ˈkɑntɛkst, ðə ˈhɪstəri, ðə ˈmɛsi ˈjumən ˈæˌspɛkt əv haʊ ðə ˈbaɪbəl wɑz ˈrɪtən ənd hu roʊt ɪt ənd wɛr, ðə mɔr wi kən pʊl aʊt ðə proʊˈfaʊnd ˈwɪzdəm ðət ɪz biɪŋ trænzˈmɪtəd tɪ ˈjuˈɛs. bət ðə mɔr wi si ɪt ɛz ən əˈkaʊnt ðət wɑz ˈdɪkˌteɪtɪd vərˈbeɪtəm tɪ ˈmoʊzɪs ɛz ə saɪəns ənd ˈhɪstəri tɛkst, ðə mɔr wi rɪˈdus ɪt tɪ ə ˈvækjuəs kəˈlɛkʃən əv θɪŋz tɪ ˈmɛmərˌaɪz ər ˈsəmθɪŋ. ɪn maɪ feɪθ trəˈdɪʃən, ðə fɔl ɪz ˈhjuʤli ˌɪmˈpɔrtənt ˌθiəˈlɑʤɪkli. ɪt dɪz hɛlp ˈjuˈɛs ˌəndərˈstænd waɪ jesus’*’ dɛθ ənd ˌrɛzərˈɛkʃən wɑz ɛˈsɛnʃəl, bət nɑt ɪn ðə weɪ ðət ju maɪt θɪŋk. ðə fɔl ənd ðə ˌrɛzərˈɛkʃən ər stɪl ðə ˈkɑzmɪk ˈbʊˌkɛndz, bət ˌkəlpəˈbɪlɪti ɪn ˈbrɪŋɪŋ sɪn ˈɪntu ðə wərld ɪz nɑt kənˈsɪdərd ən ɪˈvɛnt soʊ məʧ ɛz ə ˈsteɪtmənt əv ðə ˈjumən kənˈdɪʃən ənd riˈleɪʃənˌʃɪp wɪθ gɑd bɪˈkəz əv ðət. siɪŋ ðə fɔl ɛz ə dɪˈskrɪpʃən əv ðə ˈjumən kənˈdɪʃən (ənd ðɪs ɪz ə ˈsɛpərˌeɪt ˈtɑpɪk əv ɪts oʊn, aɪ θɪŋk) ɪt dɪz nɑt rɪˈlaɪ ɔn ðə ɪˈvɛnt ˌɪtˈsɛlf ˈæˌkʧuəli əˈkərɪŋ. ə ˈlɪtərəl ənd hɪˈstɔrɪk ˈædəm ənd iv ˈoʊnli gɪt ɪn ðə weɪ əv ðə əv wət ɪz biɪŋ trænzˈmɪtəd tɪ ˈjuˈɛs ɪn ðə fɔrm əv ən ˌæləˈgɔrɪkəl ˈædəm ənd iv wən mɔr θɪŋ ðət ɪz ˌɪmˈpɔrtənt ɪz ðət wət aɪ hæv bɪn seɪɪŋ ɪz nɑt maɪ pɪˈkjuljər ˈvərʒən əv ˌkrɪsʧiˈænɪti. ðə θɪŋz aɪ hæv bɪn seɪɪŋ wʊd faɪnd ðɛmˈsɛlvz æt hoʊm ɪn ðə ˈsərmən əv moʊst əv ðə ˈmeɪnˌstrim dɪˌnɔməˈneɪʃənz ðət ˌrɛprɪˈzɛnt əˈbaʊt 90 əv ðə ˈkrɪsʧɪn wərld. aɪ seɪ ðɪs nɑt tɪ ˌɪnˈtɪmɪˌdeɪt bət ʤɪst tɪ pɔɪnt aʊt (tɪ kwoʊt ənd ˈmæŋgəl ˈʃeɪkˌspir), ðət ðɛr ər mɔr θɪŋz ɪn ˈhɛvən ənd ərθ, hərˈeɪʃoʊ, ðən ər drɛmt əv ɪn jʊr θiˈɑləʤi. wət aɪ min tɪ seɪ ɪz ðət ðɛr ər əˈbaʊt ˈbɪljən ˈkrɪsʧɪnz ˈwərldˈwaɪd, ʤɪst laɪk ju ənd mi, hu reɪnʤ frəm ˈkæʒəwəl ʧərʧ tɪ məŋks ənd nənz ənd ˈpipəl hu hæv ˈgɪvɪn ðɛr laɪf tɪ dɪˈvaʊt ənd ˈfeɪθfəl ˈsərvɪs tɪ gɑd hu səbˈskraɪb tɪ rɪʧ, dip, ənd lɔŋ ˈstændɪŋ ðət du nɑt ˌɪnˈsɪst ɔn ə ˈlɪtərəl ˌɪnˌtərprɪˈteɪʃən əv ˈʤɛnəsəs. ənd ðeɪ ər ɛz sɪnˈsɪr, ˈfeɪθfəl, ənd ɛz truθ ˈsikɪŋ ɛz ju ənd aɪ. soʊ aɪ ˌɪnˈvaɪt ju tɪ kəm ənd kˈwɛʃən ðoʊz əv ˈjuˈɛs hu ər hir, ənd ˈɔlsoʊ ðoʊz hu ər ækˈsɛsəbəl ɪn ˈəðər feɪθ kəmˈjunɪtiz nɪr wɛr ju kən ˌɪnˈvɛstəˌgeɪt haʊ ðeɪ vju ˈʤɛnəsəs ɪn ə weɪ ðət maɪt bi ˈdɪfərənt ðən jʊrz. ər wət ðeɪ kənˈsɪdər ɛz tru ˈvərsəz wət ðeɪ kənˈsɪdər ɛz ˈfækʧuəl. aɪ wɪl liv ju wɪθ ðɪs ˈneɪtɪv əˈmɛrɪkən freɪz ðət ðeɪ ˈsəmˌtaɪmz juz wɪn ðeɪ tɛl ðɛr ˈwɪzdəm ˈstɔriz. noʊ ɪf ðɪs ˈhæpənd ər nɑt, bət aɪ du noʊ ɪt ɪz true.”*.” ʃɛr ðɪs: ʃɛr ˈgugəl ˈfeɪsˌbʊk tˈwɪtər ˈkætəˌgɔri: kriˈeɪʃənz ˌɪnˈspaɪərd baɪ kriˈeɪʃən, gɑdz wərd ənd ðə ˈnæʧərəl wərld, ˈjumən ˈɔrəʤɪnz, ˌɛvəˈluʃən |
hello community,
our first full grilling season was fun-nominal. last year we received countless emails from as far away as fiji, requesting a way to enjoy the convenience of the 543 on traditional charcoal. in response, last fall we developed and tested multiple prototypes of rail kits.
the final rail kit versions have been perfected in 16 gauge 304 stainless steel, along with full stainless mounting hardware. this design features a positive lock on the edges of the grill, for a sturdy solution with safety in mind.
we are excited and ready to produce these rail kits for our hit product, the 543. motorized will be spinning your favorites on home gas bbq grills, portable grills, kettle grills, egg grills and more. at home, camping or, the 543 will deliver truly hands free grilling.
here is your chance to get rewarded with a super discount on a 543 with a new rail kit by helping us produce them for this spring.
the 543 now travels with your portable grill. all eyes will be on your new motorized grilling setup at the beach or the big game.
kickstarter funds will be allocated to launching our first production run of these new rail kits, fulfilling and shipping the associated rewards.
rail kits will be made to the highest quality standards and produced locally here in metro detroit.
the new rail kits : type 1 and the adjustable span type 2.
the following are the selected types of rail kits we have and tested.
rail type 1 fits on portable charcoal and gas grills including weber®, char-broil® and others.
above - 543 on a portable charcoal grill with rail kit type 1.
above - 543 on a portable gas grill with rail type 1.
rail type 2 have an adjustable 10" to 33" span for weber® kettles , eggs, half drums and more.
above - 543 on a kettle grill with rail kit type 2.
dual back to back catering setup for use on 26" or larger kettles.
social media and video links.
we can't wait till the 2015 grilling season for more gas and now charcoal grilling. be sure to check our social media as the grilling will ramp up as the snow melts.
twitter : click here
facebook : click here
youtube : click here
vimeo : click here
google+ : click here
pinterest : click here
memories of one of the best grills of last fall.
thank you mario's meats in eastpointe, mi.
spinarri model 543 and 975 also perform on your gas grill. whether you refer to them as beef short ribs or jacob ladders, i assure you these ribs tasted ridiculously good.
spinarri 975 on a weber® genesis propane grill.
thanks for taking to time to check out our project.
if you have any questions or comments please connect with us. :)
spinarri reviews.
"just received the and it is well made. i used to work with sheet metal and the quality is pretty high for this price point - can't wait to try it. " via email, blaine in california.
"if you love making, kebabs, then you will love this device!! ... honestly, i don't know how i was able to make good before i got this, it takes the hassle away and meat is cooked evenly." via 5 star amazon review, mario in pennsylvania
here are some great photos from the past.
weber® is a registered trademark of products co.
char-broil® is a registered trademark of w.c. bradley co.
spinarri inc. is not affiliated with products co. or w.c. bradley co. | hɛˈloʊ kəmˈjunɪti, ɑr fərst fʊl ˈgrɪlɪŋ ˈsizən wɑz fun-nominal*. læst jɪr wi rɪˈsivd ˈkaʊntləs iˈmeɪlz frəm ɛz fɑr əˈweɪ ɛz ˈfiʤi, rɪkˈwɛstɪŋ ə weɪ tɪ ˌɛnˈʤɔɪ ðə kənˈvinjəns əv ðə 543 ɔn trəˈdɪʃənəl ˈʧɑrˌkoʊl. ɪn rɪˈspɑns, læst fɔl wi dɪˈvɛləpt ənd ˈtɛstɪd ˈməltəpəl ˈproʊtoʊˌtaɪps əv reɪl kɪts. ðə ˈfaɪnəl reɪl kɪt ˈvərʒənz hæv bɪn pərˈfɛktəd ɪn 16 geɪʤ 304 ˈsteɪnləs stil, əˈlɔŋ wɪθ fʊl ˈsteɪnləs ˈmaʊntɪŋ ˈhɑrdˌwɛr. ðɪs dɪˈzaɪn ˈfiʧərz ə ˈpɑzətɪv lɑk ɔn ðə ˈɛʤɪz əv ðə grɪl, fər ə ˈstərdi səˈluʃən wɪθ ˈseɪfti ɪn maɪnd. wi ər ɪkˈsaɪtɪd ənd ˈrɛdi tɪ ˈproʊdus ðiz reɪl kɪts fər ɑr hɪt ˈprɑdəkt, ðə 543 ˈmoʊtərˌaɪzd wɪl bi ˈspɪnɪŋ jʊr ˈfeɪvərɪts ɔn hoʊm gæs ˈbɑrbɪˌkju grɪlz, ˈpɔrtəbəl grɪlz, ˈkɛtəl grɪlz, ɛg grɪlz ənd mɔr. æt hoʊm, ˈkæmpɪŋ ər, ðə 543 wɪl dɪˈlɪvər ˈtruli hænz fri ˈgrɪlɪŋ. hir ɪz jʊr ʧæns tɪ gɪt rɪˈwɔrdɪd wɪθ ə ˈsupər ˈdɪskaʊnt ɔn ə 543 wɪθ ə nu reɪl kɪt baɪ ˈhɛlpɪŋ ˈjuˈɛs ˈproʊdus ðɛm fər ðɪs spərɪŋ. ðə 543 naʊ ˈtrævəlz wɪθ jʊr ˈpɔrtəbəl grɪl. ɔl aɪz wɪl bi ɔn jʊr nu ˈmoʊtərˌaɪzd ˈgrɪlɪŋ ˈsɛˌtəp æt ðə biʧ ər ðə bɪg geɪm. fəndz wɪl bi ˈæləˌkeɪtɪd tɪ ˈlɔnʧɪŋ ɑr fərst pərˈdəkʃən rən əv ðiz nu reɪl kɪts, fʊlˈfɪlɪŋ ənd ˈʃɪpɪŋ ðə əˈsoʊʃiˌeɪtəd rɪˈwɔrdz. reɪl kɪts wɪl bi meɪd tɪ ðə haɪəst kˈwɑləti ˈstændərdz ənd prəˈdust ˈloʊkəli hir ɪn ˈmɛˌtroʊ ˈdiˌtrɔɪt. ðə nu reɪl kɪts taɪp 1 ənd ðə əˈʤəstəbəl spæn taɪp 2 ðə ˈfɑloʊɪŋ ər ðə səˈlɛktɪd taɪps əv reɪl kɪts wi hæv ənd ˈtɛstɪd. reɪl taɪp 1 fɪts ɔn ˈpɔrtəbəl ˈʧɑrˌkoʊl ənd gæs grɪlz ˌɪnˈkludɪŋ weber®*®, char-broil®*® ənd ˈəðərz. əˈbəv 543 ɔn ə ˈpɔrtəbəl ˈʧɑrˌkoʊl grɪl wɪθ reɪl kɪt taɪp 1 əˈbəv 543 ɔn ə ˈpɔrtəbəl gæs grɪl wɪθ reɪl taɪp 1 reɪl taɪp 2 hæv ən əˈʤəstəbəl 10 tɪ 33 spæn fər weber®*® ˈkɛtəlz ɛgz, hæf drəmz ənd mɔr. əˈbəv 543 ɔn ə ˈkɛtəl grɪl wɪθ reɪl kɪt taɪp 2 duəl bæk tɪ bæk ˈkeɪtərɪŋ ˈsɛˌtəp fər juz ɔn 26 ər ˈlɑrʤər ˈkɛtəlz. ˈsoʊʃəl ˈmidiə ənd ˈvɪdioʊ lɪŋks. wi kænt weɪt tɪl ðə 2015 ˈgrɪlɪŋ ˈsizən fər mɔr gæs ənd naʊ ˈʧɑrˌkoʊl ˈgrɪlɪŋ. bi ʃʊr tɪ ʧɛk ɑr ˈsoʊʃəl ˈmidiə ɛz ðə ˈgrɪlɪŋ wɪl ræmp əp ɛz ðə snoʊ mɛlts. tˈwɪtər klɪk hir ˈfeɪsˌbʊk klɪk hir ˈjuˌtub klɪk hir klɪk hir ˈgugəl+ klɪk hir klɪk hir ˈmɛməriz əv wən əv ðə bɛst grɪlz əv læst fɔl. θæŋk ju ˈmɑrioʊz mits ɪn eastpointe*, mi. ˈmɑdəl 543 ənd 975 ˈɔlsoʊ pərˈfɔrm ɔn jʊr gæs grɪl. ˈwɛðər ju rɪˈfər tɪ ðɛm ɛz bif ʃɔrt rɪbz ər ˈʤeɪkəb ˈlædərz, aɪ əˈʃʊr ju ðiz rɪbz ˈteɪstɪd rəˈdɪkjələsli gʊd. 975 ɔn ə weber®*® ˈʤɛnəsəs ˈproʊˌpeɪn grɪl. θæŋks fər ˈteɪkɪŋ tɪ taɪm tɪ ʧɛk aʊt ɑr ˈprɑʤɛkt. ɪf ju hæv ˈɛni kˈwɛsʧənz ər ˈkɑmɛnts pliz kəˈnɛkt wɪθ ˈjuˈɛs. rəvˈjuz. "ʤɪst rɪˈsivd ðə ənd ɪt ɪz wɛl meɪd. aɪ juzd tɪ wərk wɪθ ʃit ˈmɛtəl ənd ðə kˈwɑləti ɪz ˈprɪti haɪ fər ðɪs praɪs pɔɪnt kænt weɪt tɪ traɪ ɪt. ˈviə iˈmeɪl, bleɪn ɪn ˌkæləˈfɔrnjə. "ɪf ju ləv ˈmeɪkɪŋ, kebabs*, ðɛn ju wɪl ləv ðɪs dɪˈvaɪs!! ˈɑnəstli, aɪ doʊnt noʊ haʊ aɪ wɑz ˈeɪbəl tɪ meɪk gʊd ˌbiˈfɔr aɪ gɑt ðɪs, ɪt teɪks ðə ˈhæsəl əˈweɪ ənd mit ɪz kʊkt ˈivənli." ˈviə 5 stɑr ˈæməˌzɑn ˌrivˈju, ˈmɑrioʊ ɪn ˌpɛnsəlˈveɪnjə hir ər səm greɪt ˈfoʊˌtoʊz frəm ðə pæst. weber®*® ɪz ə ˈrɛʤɪstərd ˈtreɪdˌmɑrk əv ˈprɑdəkts koʊ. char-broil®*® ɪz ə ˈrɛʤɪstərd ˈtreɪdˌmɑrk əv w.c*. ˈbrædli koʊ. ɪŋk. ɪz nɑt əˈfɪliˌeɪtɪd wɪθ ˈprɑdəkts koʊ. ər w.c*. ˈbrædli koʊ. |
show notes
if you want to find out more about the boys’ story there is so much out there for you to have a look at, but why not watch this documentary to start you off?
it’s so important to look at all sides of the dice when it comes to any issue, particularly if a side you might not agree with. have a look at the article that inspired our quiz question this week.
in the same vein, have a look at this video from one of the freedom party protests surrounding the boys’ broadway run.
there’s an amazing interview with john thompson, the book writer of this show that gives great insights into the controversy surrounding this piece.
jane elliott has done wonderful things for race relations and understanding all through her career. check out this documentary from when she created her famous ‘blue eyes, brown eyes experiment’ after the assassination of martin luther king jr.
once got the hang of what about, go see what happened when jane brought the experiment to the uk. | ʃoʊ noʊts ɪf ju wɔnt tɪ faɪnd aʊt mɔr əˈbaʊt ðə boys’*’ ˈstɔri ðɛr ɪz soʊ məʧ aʊt ðɛr fər ju tɪ hæv ə lʊk æt, bət waɪ nɑt wɔʧ ðɪs ˌdɑkjəˈmɛnəri tɪ stɑrt ju ɔf? soʊ ˌɪmˈpɔrtənt tɪ lʊk æt ɔl saɪdz əv ðə daɪs wɪn ɪt kəmz tɪ ˈɛni ˈɪʃu, ˌpɑrˈtɪkjələrli ɪf ə saɪd ju maɪt nɑt əˈgri wɪθ. hæv ə lʊk æt ðə ˈɑrtɪkəl ðət ˌɪnˈspaɪərd ɑr kwɪz kˈwɛʃən ðɪs wik. ɪn ðə seɪm veɪn, hæv ə lʊk æt ðɪs ˈvɪdioʊ frəm wən əv ðə ˈfridəm ˈpɑrti ˈproʊˌtɛsts sərˈaʊndɪŋ ðə boys’*’ ˈbrɔdˌweɪ rən. ən əˈmeɪzɪŋ ˈɪntərvˌju wɪθ ʤɑn ˈtɑmsən, ðə bʊk ˈraɪtər əv ðɪs ʃoʊ ðət gɪvz greɪt ˈɪnˌsaɪts ˈɪntu ðə ˈkɑntrəˌvərsi sərˈaʊndɪŋ ðɪs pis. ʤeɪn ˈɛliət həz dən ˈwəndərfəl θɪŋz fər reɪs riˈleɪʃənz ənd ˌəndərˈstændɪŋ ɔl θru hər kərɪr. ʧɛk aʊt ðɪs ˌdɑkjəˈmɛnəri frəm wɪn ʃi kriˈeɪtɪd hər ˈfeɪməs aɪz, braʊn aɪz experiment’*’ ˈæftər ðə əˌsæsəˈneɪʃən əv ˈmɑrtɪn ˈluθər kɪŋ jr*. wəns gɑt ðə hæŋ əv wət əˈbaʊt, goʊ si wət ˈhæpənd wɪn ʤeɪn brɔt ðə ɪkˈspɛrəmənt tɪ ðə uk*. |
description technical specs in stock & shipping!!!
check out the all new envy paintball gun! this is one of the latest releases in the 2011 paintball gun lineup. the all new envy is built off of a tried and true platform with great upgrade-ability. get the envy if you want something reliable, affordable and effective.
the envy paintball gun has been designed for the entry level and field rental players. built using the latest technology, the envy will hold its own with even the best guns in paintball.
out of the box, the envy paintball gun can shoot up to 11 balls per second. you can easily upgrade your board and install a which can have the envy shooting up to 25 balls per second.
the standard board included with the envy paintball gun has adjustable modes which include semi auto, fully auto, 3 shot burst, and!
a standard battery is the heart behind the envy paintball gun. with just one fresh battery you should expect to get at least shots.
compatible with either or, the envy is guaranteed to perform for any level paintball player. the gun comes stock with a r vertical regulator which controls the pressure going into the gun and will give you consistent readings over the chronograph.
the envy paintball gun comes with a two point adjustable trigger which allows you to adjust the length and feel of your trigger pull. this is one of the features that make this gun great for anyone.
maintenance has never been easier than the bolt out back design that is built into the envy gun. now you can have your gun taken apart in a matter of minutes instead of hours.
all smart parts threaded barrels (ion, impulse, shocker) are compatible with the envy paintball gun. marker type electronic
caliber 68
operation spool valve
operating pressure 200 psi
co2 or either
eyes? no
hose-less? no
tool-less bolt? no
barrel thread ion
barrel length 10 in.
barrel bore size .693
feed neck thread ion
weight 2 lbs 1 oz
marker length in.
bps 15+
envy gun manual: view here
features
11 to 25+ with and board )
hammer free design
(semi auto, fully auto and 3 shot burst also & modes as standard !! )
simple operation
mulit-gas operation
light trigger
2 point adjustable trigger
simple maintenance with bolt out back design
low bolt pressure technology
field legal
seal forward technology
max-flo r vertical regulator
vertical feed breech & clamping
standard smart parts barrel thread
product accessories 360 screw kit our price: $24.95
add our price: $5.00
add
average review: of 5 total reviews: 6 write a review. | dɪˈskrɪpʃən ˈtɛknɪkəl spɛks ɪn stɑk ˈʃɪpɪŋ!!! ʧɛk aʊt ðə ɔl nu ˈɛnvi ˈpeɪntˌbɑl gən! ðɪs ɪz wən əv ðə ˈleɪtəst rɪˈlisɪz ɪn ðə 2011 ˈpeɪntˌbɑl gən ˈlaɪˌnəp. ðə ɔl nu ˈɛnvi ɪz bɪlt ɔf əv ə traɪd ənd tru ˈplætˌfɔrm wɪθ greɪt upgrade-ability*. gɪt ðə ˈɛnvi ɪf ju wɔnt ˈsəmθɪŋ rɪˈlaɪəbəl, əˈfɔrdəbəl ənd ˈifɛktɪv. ðə ˈɛnvi ˈpeɪntˌbɑl gən həz bɪn dɪˈzaɪnd fər ðə ˈɛntri ˈlɛvəl ənd fild ˈrɛntəl pleɪərz. bɪlt ˈjuzɪŋ ðə ˈleɪtəst tɛkˈnɑləʤi, ðə ˈɛnvi wɪl hoʊld ɪts oʊn wɪθ ˈivɪn ðə bɛst gənz ɪn ˈpeɪntˌbɑl. aʊt əv ðə bɑks, ðə ˈɛnvi ˈpeɪntˌbɑl gən kən ʃut əp tɪ 11 bɔlz pər ˈsɛkənd. ju kən ˈizəli ˈəpˈgreɪd jʊr bɔrd ənd ˌɪnˈstɔl ə wɪʧ kən hæv ðə ˈɛnvi ˈʃutɪŋ əp tɪ 25 bɔlz pər ˈsɛkənd. ðə ˈstændərd bɔrd ˌɪnˈkludɪd wɪθ ðə ˈɛnvi ˈpeɪntˌbɑl gən həz əˈʤəstəbəl moʊdz wɪʧ ˌɪnˈklud ˈsɛmi ˈɔtoʊ, ˈfʊli ˈɔtoʊ, 3 ʃɑt bərst, ənd! ə ˈstændərd ˈbætəri ɪz ðə hɑrt bɪˈhaɪnd ðə ˈɛnvi ˈpeɪntˌbɑl gən. wɪθ ʤɪst wən frɛʃ ˈbætəri ju ʃʊd ɪkˈspɛkt tɪ gɪt æt list ʃɑts. kəmˈpætəbəl wɪθ ˈiðər ər ðə ˈɛnvi ɪz ˌgɛrənˈtid tɪ pərˈfɔrm fər ˈɛni ˈlɛvəl ˈpeɪntˌbɑl pleɪər. ðə gən kəmz stɑk wɪθ ə ɑr ˈvərtɪkəl ˈrɛgjəˌleɪtər wɪʧ kənˈtroʊlz ðə ˈprɛʃər goʊɪŋ ˈɪntu ðə gən ənd wɪl gɪv ju kənˈsɪstənt ˈridɪŋz ˈoʊvər ðə chronograph*. ðə ˈɛnvi ˈpeɪntˌbɑl gən kəmz wɪθ ə tu pɔɪnt əˈʤəstəbəl ˈtrɪgər wɪʧ əˈlaʊz ju tɪ əˈʤəst ðə lɛŋθ ənd fil əv jʊr ˈtrɪgər pʊl. ðɪs ɪz wən əv ðə ˈfiʧərz ðət meɪk ðɪs gən greɪt fər ˈɛniˌwən. ˈmeɪntənəns həz ˈnɛvər bɪn ˈiziər ðən ðə boʊlt aʊt bæk dɪˈzaɪn ðət ɪz bɪlt ˈɪntu ðə ˈɛnvi gən. naʊ ju kən hæv jʊr gən ˈteɪkən əˈpɑrt ɪn ə ˈmætər əv ˈmɪnəts ˌɪnˈstɛd əv aʊərz. ɔl smɑrt pɑrts θˈrɛdɪd ˈbɛrəlz (aɪən, ˌɪmˈpəls, ˈʃɑkər) ər kəmˈpætəbəl wɪθ ðə ˈɛnvi ˈpeɪntˌbɑl gən. ˈmɑrkər taɪp ˌɪˌlɛkˈtrɑnɪk ˈkæləbər 68 ˌɑpərˈeɪʃən spul vælv ˈɔpərˌeɪtɪŋ ˈprɛʃər 200 saɪ ər ˈiðər aɪz? noʊ hose-less*? noʊ boʊlt? noʊ ˈbɛrəl θrɛd aɪən ˈbɛrəl lɛŋθ 10 ɪn. ˈbɛrəl bɔr saɪz 693 fid nɛk θrɛd aɪən weɪt 2 paʊndz 1 ɑz ˈmɑrkər lɛŋθ ɪn. 15 ˈɛnvi gən ˈmænjuəl: vju hir ˈfiʧərz 11 tɪ 25 wɪθ ənd bɔrd ˈhæmər fri dɪˈzaɪn (ˈsɛmi ˈɔtoʊ, ˈfʊli ˈɔtoʊ ənd 3 ʃɑt bərst ˈɔlsoʊ moʊdz ɛz ˈstændərd ˈsɪmpəl ˌɑpərˈeɪʃən ˌɑpərˈeɪʃən laɪt ˈtrɪgər 2 pɔɪnt əˈʤəstəbəl ˈtrɪgər ˈsɪmpəl ˈmeɪntənəns wɪθ boʊlt aʊt bæk dɪˈzaɪn loʊ boʊlt ˈprɛʃər tɛkˈnɑləʤi fild ˈligəl sil ˈfɔrwərd tɛkˈnɑləʤi ɑr ˈvərtɪkəl ˈrɛgjəˌleɪtər ˈvərtɪkəl fid briʧ ˈklæmpɪŋ ˈstændərd smɑrt pɑrts ˈbɛrəl θrɛd ˈprɑdəkt ækˈsɛsəriz 360 skru kɪt ɑr praɪs: æd ɑr praɪs: æd ˈævərɪʤ ˌrivˈju: əv 5 ˈtoʊtəl rəvˈjuz: 6 raɪt ə ˌrivˈju. |
jeff images
new york knicks center kyle o'quinn might be a force on the court, but he spends his spare time moonlighting in a surprisingly sweet side gig: entertaining at bar and bat around the city.
espn's ian begley reported last week that o'quinn attended his first bat mitzvah when andy miller, his agent, invited him to celebrate at his daughter's ceremonial entrance to adulthood.
"that was one of the best parties i've been to in my life," o'quinn told begley.
since then, o'quinn has begun making the rounds at bar and bat, booking gigs through his agency and showing up to help parents relax and kids enjoy the party.
"i did one, did two, and the next thing you know, i was just bar mitzvah man," he told espn.
o'quinn doesn't attend the religious aspect of the celebration but joins up with the party afterward, with an emcee introducing him to the crowd.
"then i come out, and they just go nuts," o'quinn said, adding that he then feels like "part of the party."
it's no surprise that o'quinn, a lovable big man who's known to be the comedian in the knicks' locker room, would be successful in this role and it has apparently turned into a side hustle for the center.
o'quinn's is supposed to be the life of these parties he'll spend time dancing and joking with the kids, signing autographs, and taking tons of selfies. and he seems to excel at it.
"they see how much i enjoy it, and they let me rock out," he told espn. "the parents are partying with the kids, and it's a big festival. they're letting loose, having a good time, and the kids are having a good time." | ʤɛf ˈɪmɪʤɪz nu jɔrk nɪks ˈsɛnər kaɪl oʊkˈwɪn maɪt bi ə fɔrs ɔn ðə kɔrt, bət hi spɛnz hɪz spɛr taɪm ˈmunˌlaɪtɪŋ ɪn ə səˈpraɪzɪŋli swit saɪd gɪg: ˌɛnərˈteɪnɪŋ æt bɑr ənd bæt əraʊnd ðə ˈsɪti. ˈiən ˈbɛgli ˌriˈpɔrtəd læst wik ðət oʊkˈwɪn əˈtɛndəd hɪz fərst bæt ˈmɪtsvə wɪn ˈændi ˈmɪlər, hɪz ˈeɪʤənt, ˌɪnˈvaɪtɪd ɪm tɪ ˈsɛləˌbreɪt æt hɪz ˈdɔtərz ˌsɛrəˈmoʊniəl ˈɛntrəns tɪ əˈdəlˌthʊd. "ðət wɑz wən əv ðə bɛst ˈpɑrtiz aɪv bɪn tɪ ɪn maɪ laɪf," oʊkˈwɪn toʊld ˈbɛgli. sɪns ðɛn, oʊkˈwɪn həz ˈbeɪgən ˈmeɪkɪŋ ðə raʊnz æt bɑr ənd bæt, ˈbʊkɪŋ gɪgz θru hɪz ˈeɪʤənsi ənd ʃoʊɪŋ əp tɪ hɛlp ˈpɛrənts rɪˈlæks ənd kɪdz ˌɛnˈʤɔɪ ðə ˈpɑrti. "aɪ dɪd wən, dɪd tu, ənd ðə nɛkst θɪŋ ju noʊ, aɪ wɑz ʤɪst bɑr ˈmɪtsvə mæn," hi toʊld espn*. oʊkˈwɪn ˈdəzənt əˈtɛnd ðə rɪˈlɪʤəs ˈæˌspɛkt əv ðə ˌsɛləˈbreɪʃən bət ʤɔɪnz əp wɪθ ðə ˈpɑrti ˈæftərwərd, wɪθ ən ˈɛmˈsi ˌɪntrəˈdusɪŋ ɪm tɪ ðə kraʊd. "ðɛn aɪ kəm aʊt, ənd ðeɪ ʤɪst goʊ nəts," oʊkˈwɪn sɛd, ˈædɪŋ ðət hi ðɛn filz laɪk "pɑrt əv ðə ˈpɑrti." ɪts noʊ səˈpraɪz ðət oʊkˈwɪn, ə ˈləvəbəl bɪg mæn huz noʊn tɪ bi ðə kəˈmidiən ɪn ðə nɪks' ˈlɑkər rum, wʊd bi səkˈsɛsfəl ɪn ðɪs roʊl ənd ɪt həz əˈpɛrəntli tərnd ˈɪntu ə saɪd ˈhəsəl fər ðə ˈsɛnər. ɪz səˈpoʊzd tɪ bi ðə laɪf əv ðiz ˈpɑrtiz hil spɛnd taɪm ˈdænsɪŋ ənd ˈʤoʊkɪŋ wɪθ ðə kɪdz, ˈsaɪnɪŋ ˈɔtəˌgræfs, ənd ˈteɪkɪŋ tənz əv ˈsɛlˌfiz. ənd hi simz tɪ ɪkˈsɛl æt ɪt. "ðeɪ si haʊ məʧ aɪ ˌɛnˈʤɔɪ ɪt, ənd ðeɪ lɛt mi rɑk aʊt," hi toʊld espn*. "ðə ˈpɛrənts ər ˈpɑrtiɪŋ wɪθ ðə kɪdz, ənd ɪts ə bɪg ˈfɛstɪvəl. ðɛr ˈlɛtɪŋ lus, ˈhævɪŋ ə gʊd taɪm, ənd ðə kɪdz ər ˈhævɪŋ ə gʊd taɪm." |
tokyo (reuters) - a japanese kindergarten that has ties to prime minister wife,, has apologized over online comments that domestic media described as possible hate speech against koreans and chinese people.
file photo - students recite the imperial on education and confucian in front of national flag, a picture of japanese emperor akihito and empress michiko, and a hanging scroll of confucius at tsukamoto kindergarten in osaka, japan, november 30, 2016. photo
the private tsukamoto kindergarten in osaka, western japan, has been visited by abe and is operated by gakuen, an educational institution that plans to open an elementary school in april with the prime wife as honorary principal.
kyodo news agency reported on friday that the kindergarten had apologized after referring to “irresponsible” south korean and chinese parents on its home page.
“we apologize for expressions about foreigners that caused misunderstanding,” the kindergarten said on its web site.
the school, however, denounced “unjust, slanderous and defamatory articles about this kindergarten” and it said it would keep fighting against “malicious criticism”.
criticism of korean residents and chinese people is a common feature of rhetoric in japan, where ethnic homogeneity has been a source of pride for many conservatives.
separately, the osaka prefectural government is considering whether to take action over derogatory expressions about koreans living in japan and chinese used by the kindergarten in a document sent to students’ parents last year, an osaka official said.
the tsukamoto kindergarten aims to instill in its 3- to students a sense of patriotism with a curriculum focused on japanese traditions and culture.
abe was grilled in parliament last week about possible ties to gakuen, including whether he knew his name had been used to solicit donations for the elementary school.
abe said then he had rejected a request to have the school bear his name because it was not appropriate for an incumbent lawmaker and was unaware his name had been used in seeking donations.
an official at the prime office declined comment on any specific remarks by the school because they had not seen them.
but the official, who declined to be identified because of the sensitivity of the subject, added: “when it comes to the issue of discrimination based on nationality, ethnicity or race, it cannot be tolerated and it is extremely important to have consideration for others and to have mutual understanding.”
yasunori kagoike, the principal of the kindergarten and president of gakuen, heads the osaka branch of nippon kaigi, or japan conference, a nationalist lobby group with close ties to the prime minister and his cabinet.
kindergarten officials were not available for comment. | ˈtoʊkiˌoʊ (ˈrɔɪtərz) ə ˌʤæpəˈniz ˈkɪndərˌgɑrtən ðət həz taɪz tɪ praɪm ˈmɪnɪstər waɪf,, həz əˈpɑləˌʤaɪzd ˈoʊvər ˈɔnˌlaɪn ˈkɑmɛnts ðət dəˈmɛstɪk ˈmidiə dɪˈskraɪbd ɛz ˈpɑsəbəl heɪt spiʧ əˈgɛnst ˌkɔˈriənz ənd ʧaɪˈniz ˈpipəl. faɪl ˈfoʊˌtoʊ ˈstudənts rəˈsaɪt ðə ˌɪmˈpɪriəl ɔn ˌɛʤəˈkeɪʃən ənd kənfˈjuʃən ɪn frənt əv ˈnæʃənəl flæg, ə ˈpɪkʧər əv ˌʤæpəˈniz ˈɛmpərər ˌɑkiˈhiˌtoʊ ənd ˈɛmprɛs michiko*, ənd ə ˈhæŋɪŋ skroʊl əv kənfˈjuʃəs æt tsukɑˈmoʊtoʊ ˈkɪndərˌgɑrtən ɪn oʊˈsɑkə, ʤəˈpæn, noʊˈvɛmbər 30 2016 ˈfoʊˌtoʊ ðə ˈpraɪvət tsukɑˈmoʊtoʊ ˈkɪndərˌgɑrtən ɪn oʊˈsɑkə, ˈwɛstərn ʤəˈpæn, həz bɪn ˈvɪzɪtɪd baɪ eɪb ənd ɪz ˈɑpərˌeɪtəd baɪ gakuen*, ən ˌɛʤəˈkeɪʃənəl ˌɪnstɪˈtuʃən ðət plænz tɪ ˈoʊpən ən ˌɛləˈmɛnʧri skul ɪn ˈeɪprəl wɪθ ðə praɪm waɪf ɛz ˈɑnərˌɛri ˈprɪnsəpəl. ˈkjoʊdoʊ nuz ˈeɪʤənsi ˌriˈpɔrtəd ɔn ˈfraɪˌdeɪ ðət ðə ˈkɪndərˌgɑrtən hæd əˈpɑləˌʤaɪzd ˈæftər rɪˈfərɪŋ tɪ ““irresponsible”*” saʊθ ˌkɔˈriən ənd ʧaɪˈniz ˈpɛrənts ɔn ɪts hoʊm peɪʤ. əˈpɑləˌʤaɪz fər ɪkˈsprɛʃənz əˈbaʊt ˈfɔrənərz ðət kɔzd misunderstanding,”*,” ðə ˈkɪndərˌgɑrtən sɛd ɔn ɪts wɛb saɪt. ðə skul, ˌhaʊˈɛvər, dɪˈnaʊnst ““unjust*, sˈlændərəs ənd dɪˈfæməˌtɔri ˈɑrtɪkəlz əˈbaʊt ðɪs kindergarten”*” ənd ɪt sɛd ɪt wʊd kip ˈfaɪtɪŋ əˈgɛnst criticism”*”. ˈkrɪtɪˌsɪzəm əv ˌkɔˈriən ˈrɛzɪdənts ənd ʧaɪˈniz ˈpipəl ɪz ə ˈkɑmən ˈfiʧər əv ˈrɛtərɪk ɪn ʤəˈpæn, wɛr ˈɛθnɪk ˌhɑməʤəˈniəti həz bɪn ə sɔrs əv praɪd fər ˈmɛni kənˈsərvətɪvz. ˈsɛpərətli, ðə oʊˈsɑkə priˈfɛkʧərəl ˈgəvərnmənt ɪz kənˈsɪdərɪŋ ˈwɛðər tɪ teɪk ˈækʃən ˈoʊvər dərˈɑgəˌtɔri ɪkˈsprɛʃənz əˈbaʊt ˌkɔˈriənz ˈlɪvɪŋ ɪn ʤəˈpæn ənd ʧaɪˈniz juzd baɪ ðə ˈkɪndərˌgɑrtən ɪn ə ˈdɑkjəmɛnt sɛnt tɪ students’*’ ˈpɛrənts læst jɪr, ən oʊˈsɑkə əˈfɪʃəl sɛd. ðə tsukɑˈmoʊtoʊ ˈkɪndərˌgɑrtən eɪmz tɪ ˌɪnˈstɪl ɪn ɪts 3 tɪ ˈstudənts ə sɛns əv ˈpeɪtriəˌtɪzəm wɪθ ə kərˈɪkjələm ˈfoʊkɪst ɔn ˌʤæpəˈniz trəˈdɪʃənz ənd ˈkəlʧər. eɪb wɑz grɪld ɪn ˈpɑrləmɛnt læst wik əˈbaʊt ˈpɑsəbəl taɪz tɪ gakuen*, ˌɪnˈkludɪŋ ˈwɛðər hi nu hɪz neɪm hæd bɪn juzd tɪ səˈlɪsɪt doʊˈneɪʃənz fər ðə ˌɛləˈmɛnʧri skul. eɪb sɛd ðɛn hi hæd rɪˈʤɛktɪd ə rɪkˈwɛst tɪ hæv ðə skul bɛr hɪz neɪm bɪˈkəz ɪt wɑz nɑt əˈproʊpriˌeɪt fər ən ˌɪnˈkəmbənt ˈlɔˌmeɪkər ənd wɑz ˌənəˈwɛr hɪz neɪm hæd bɪn juzd ɪn ˈsikɪŋ doʊˈneɪʃənz. ən əˈfɪʃəl æt ðə praɪm ˈɔfəs dɪˈklaɪnd ˈkɑmɛnt ɔn ˈɛni spɪˈsɪfɪk rɪˈmɑrks baɪ ðə skul bɪˈkəz ðeɪ hæd nɑt sin ðɛm. bət ðə əˈfɪʃəl, hu dɪˈklaɪnd tɪ bi aɪˈdɛntəˌfaɪd bɪˈkəz əv ðə ˌsɛnsɪˈtɪvɪti əv ðə ˈsəbʤɪkt, ˈædɪd: ɪt kəmz tɪ ðə ˈɪʃu əv dɪˌskrɪməˈneɪʃən beɪst ɔn ˌnæʃəˈnælɪti, ɛθˈnɪsɪti ər reɪs, ɪt ˈkænɑt bi ˈtɑlərˌeɪtəd ənd ɪt ɪz ɪkˈstrimli ˌɪmˈpɔrtənt tɪ hæv kənˌsɪdərˈeɪʃən fər ˈəðərz ənd tɪ hæv mˈjuʧuəl understanding.”*.” ˌjɑsuˈnɔri kagoike*, ðə ˈprɪnsəpəl əv ðə ˈkɪndərˌgɑrtən ənd ˈprɛzɪdənt əv gakuen*, hɛdz ðə oʊˈsɑkə brænʧ əv ˌnɪˈpɑn kaigi*, ər ʤəˈpæn ˈkɑnfərəns, ə ˈnæʃənəlɪst ˈlɑbi grup wɪθ kloʊz taɪz tɪ ðə praɪm ˈmɪnɪstər ənd hɪz ˈkæbənət. ˈkɪndərˌgɑrtən əˈfɪʃəlz wər nɑt əˈveɪləbəl fər ˈkɑmɛnt. |
in my whole life, i have known no wise people (over a broad subject area) who read all the time none, zero. be amazed at how much warren [buffett] reads and how much i read. my children laugh at me. they think a book with a couple of legs sticking out charles t. munger.
when asked his secret to success, warren buffett the most successful investor of all time held up a stack of papers and replied: “[you] read 500 pages like this every day. how knowledge builds up, like compound interest”. [1]
500 pages a day? a lot to ask for, right? as valuable as that knowledge would be, most of us have the time nor the patience to perform a daily feat like that.
however, if an artist, an entrepreneur, or any kind of a creative for that matter, understand how important reading is as a daily habit.
reading is learning and if not learning, not improving in your craft.
stephen king once commented:
“if you have time to read, you have the time (or the tools) to write. simple as that”. [2]
fortunately, it is possible to read more books, deepen your knowledge and improve your craft without it feeling like an effort or drain on your precious resources and time.
with amazon kindles, nooks, smart phone apps and tablets available to us, books have never been more accessible nor easier to read. no longer do you have to lug a heavy book around with you or wait for a book order to arrive at your local book store. you can have them with you at all times without it being burdensome.
but despite these advantages, we still rely on excuses not to read:
“i’m busy”.
“i have time”.
“i like reading”.
“i have a kindle”.
“i always forget”.
it’s time to ditch the old excuses. how you can read more:
introducing the 10% rule
like most people, i used to avoid reading: “i have time” was my go to excuse. truth be told, i did have time to read, but like everyone else who uses that excuse, i simply mismanaged my time.
i would check my facebook and twitter accounts on my commute; i would stream movies in bed, and mindlessly browse online when i been reading… when i been reading.
eventually, i invested in an amazon kindle in the hope it would encourage me to read more.
and it did.
soon, i found myself reading more than i had ever done before. not just because bought a kindle, but because i stumbled upon a new system for reading. that approach is a simple formula i decided to commit to:
read 10% of a book every day.
that’s it.
a system for reading more books
since obeying this rule, also developed a system for reading more and recording what i learn as well.
the system is as follows:
create an inventory of books like to read a great list) choose a book to read (and highlight what you find interesting) archive your notes for easy reference
let’s look at each step in more detail.
step 01. create an inventory of books like to read
this easiest way to do this is to create an amazon wish list.
amazon wish lists allows you to add books interested in to a list which can be returned to periodically to edit.
if browsing on amazon and you see a book that interests you, add it to your wish list. similarly, if a friend recommends a book they think would interest you, remember it and add it to your amazon wish list the next time online.
to follow david system for getting things done, have one (and only one) place to “capture” the books interested in. in other words, have multiple lists because lose track. have one place where you do your updating.
step 02. choose a book to read (and highlight what you find interesting)
the next step is an obvious one: choose a book and start reading. commit to reading your new book in its entirety by using the 10% rule and read 10% every day.
now, there is one caveat to this: learn that reading 10% of a 200 page book is different to reading 10% of a 300 page book, so take into consideration when going to read. in other words, if a book is longer than average, read when your energy is at its highest. the later in the day it is, the more likely likely to succumb to decision fatigue.
if 10% is a lot because of the size of the book, split it in half and read 5% in the morning and 5% in the evening. this is easy if you commute to work via public transport.
you’ll learn a lot of kindle books even 100% long. once excluded the acknowledgements, appendix, prefaces, recommendations and sources in other words, the parts that as interesting a book only ends up being between% in length.
that means that if reading a book pages in length, you can read an average of one book a week. 52+ books a year!
as buffett argued, knowledge compounds, especially when you apply the daffodil principle to your daily reading habit.
(you can get access to over kindle books with this amazon prime 30 trial)
taking notes
this is an essential part of the reading process that is, if you really want to remember what reading and yet, one often completely overlooked.
if you want to retain the information reading, note taking is essential. and while highlighting what interests you can be effective in print books, not effective in the long-term, unless extremely (more on that in step 03.).
thankfully, making notes has never been easier with an amazon kindle. once your device is connected to wi-fi, it will synch your notes to your amazon kindle highlights and be able to complete step 03.
step 03. archive your notes for easy reference
this is best done via. is free and note taking software and is wonderful for everything highlighted.
you can log into your amazon kindle highlights account and view your highlights and either clip your highlights from the page using the web clipper for chrome, or copy and paste them onto an note and manually edit them yourself. this is my preferred method.
now, all your kindle highlights are and available at the click of a button. you can even download the mobile app for your iphone or android phone, so be able to pull them up anyplace, anytime.
a final word
it’s important not to think of reading as a chore, but rather a privilege; not an activity you should do, but one you get to do.
or, as ryan holiday puts it:
the key to reading lots of book begins with stop thinking of it as some activity that you do. reading must become as natural as eating and breathing to you. not something you do because you feel like it, but because a reflex, a default. [3]
10% a day. all you need. and trust me: the results will speak for themselves. [4]
p.s. an extra thing you can do to get through more books each year is to listen to them. audio books are an amazing way to consume books when impractical to have a book in your hand. with audible free trial, get to chose and download two books today for free to listen to them all of your devices. just click here to get started. | ɪn maɪ hoʊl laɪf, aɪ hæv noʊn noʊ waɪz ˈpipəl (ˈoʊvər ə brɔd ˈsəbʤɪkt ˈɛriə) hu rɛd ɔl ðə taɪm nən, ˈziroʊ. bi əˈmeɪzd æt haʊ məʧ ˈwɔrən [ˈbəfɪt] ridz ənd haʊ məʧ aɪ rɛd. maɪ ˈʧɪldrən læf æt mi. ðeɪ θɪŋk ə bʊk wɪθ ə ˈkəpəl əv lɛgz ˈstɪkɪŋ aʊt ˈʧɑrəlz ti. ˈməŋər. wɪn æst hɪz ˈsikrɪt tɪ səkˈsɛs, ˈwɔrən ˈbəfɪt ðə moʊst səkˈsɛsfəl ˌɪnˈvɛstər əv ɔl taɪm hɛld əp ə stæk əv ˈpeɪpərz ənd rɪˈplaɪd: “[“[you*] rɛd 500 ˈpeɪʤɪz laɪk ðɪs ˈɛvəri deɪ. haʊ ˈnɑlɪʤ bɪldz əp, laɪk ˈkɑmpaʊnd interest”*”. 1 500 ˈpeɪʤɪz ə deɪ? ə lɔt tɪ æsk fər, raɪt? ɛz ˈvæljəbəl ɛz ðət ˈnɑlɪʤ wʊd bi, moʊst əv ˈjuˈɛs hæv ðə taɪm nɔr ðə ˈpeɪʃəns tɪ pərˈfɔrm ə ˈdeɪli fit laɪk ðət. ˌhaʊˈɛvər, ɪf ən ˈɑrtɪst, ən ˌɑntrəprəˈnʊr, ər ˈɛni kaɪnd əv ə kriˈeɪtɪv fər ðət ˈmætər, ˌəndərˈstænd haʊ ˌɪmˈpɔrtənt ˈrɛdɪŋ ɪz ɛz ə ˈdeɪli ˈhæbət. ˈrɛdɪŋ ɪz ˈlərnɪŋ ənd ɪf nɑt ˈlərnɪŋ, nɑt ˌɪmˈpruvɪŋ ɪn jʊr kræft. ˈstivən kɪŋ wəns ˈkɑmɛntəd: ju hæv taɪm tɪ rɛd, ju hæv ðə taɪm (ər ðə tulz) tɪ raɪt. ˈsɪmpəl ɛz that”*”. 2 ˈfɔrʧənətli, ɪt ɪz ˈpɑsəbəl tɪ rɛd mɔr bʊks, ˈdipən jʊr ˈnɑlɪʤ ənd ˌɪmˈpruv jʊr kræft wɪˈθaʊt ɪt ˈfilɪŋ laɪk ən ˈɛfərt ər dreɪn ɔn jʊr ˈprɛʃəs ˈrisɔrsɪz ənd taɪm. wɪθ ˈæməˌzɑn kindles*, nʊks, smɑrt foʊn æps ənd ˈtæbləts əˈveɪləbəl tɪ ˈjuˈɛs, bʊks hæv ˈnɛvər bɪn mɔr ækˈsɛsəbəl nɔr ˈiziər tɪ rɛd. noʊ ˈlɔŋgər du ju hæv tɪ ləg ə ˈhɛvi bʊk əraʊnd wɪθ ju ər weɪt fər ə bʊk ˈɔrdər tɪ əraɪv æt jʊr ˈloʊkəl bʊk stɔr. ju kən hæv ðɛm wɪθ ju æt ɔl taɪmz wɪˈθaʊt ɪt biɪŋ ˈbərdənsəm. bət dɪˈspaɪt ðiz ædˈvæntɪʤɪz, wi stɪl rɪˈlaɪ ɔn ɪkˈskjuzɪz nɑt tɪ rɛd: busy”*”. hæv time”*”. laɪk reading”*”. hæv ə kindle”*”. ˈɔlˌweɪz forget”*”. taɪm tɪ dɪʧ ðə oʊld ɪkˈskjuzɪz. haʊ ju kən rɛd mɔr: ˌɪntrəˈdusɪŋ ðə 10 rul laɪk moʊst ˈpipəl, aɪ juzd tɪ əˈvɔɪd ˈrɛdɪŋ: hæv time”*” wɑz maɪ goʊ tɪ ɪkˈskjuz. truθ bi toʊld, aɪ dɪd hæv taɪm tɪ rɛd, bət laɪk ˈɛvriˌwən ɛls hu ˈjuzɪz ðət ɪkˈskjuz, aɪ ˈsɪmpli mɪsˈmænɪʤd maɪ taɪm. aɪ wʊd ʧɛk maɪ ˈfeɪsˌbʊk ənd tˈwɪtər əˈkaʊnts ɔn maɪ kəmˈjut; aɪ wʊd strim ˈmuviz ɪn bɛd, ənd ˈmaɪndləsli braʊz ˈɔnˌlaɪn wɪn aɪ bɪn reading…*… wɪn aɪ bɪn ˈrɛdɪŋ. ɪˈvɛnʧəwəli, aɪ ˌɪnˈvɛstɪd ɪn ən ˈæməˌzɑn ˈkɪndəl ɪn ðə hoʊp ɪt wʊd ɪnˈkərəʤ mi tɪ rɛd mɔr. ənd ɪt dɪd. sun, aɪ faʊnd ˌmaɪˈsɛlf ˈrɛdɪŋ mɔr ðən aɪ hæd ˈɛvər dən ˌbiˈfɔr. nɑt ʤɪst bɪˈkəz bɔt ə ˈkɪndəl, bət bɪˈkəz aɪ ˈstəmbəld əˈpɑn ə nu ˈsɪstəm fər ˈrɛdɪŋ. ðət əˈproʊʧ ɪz ə ˈsɪmpəl ˈfɔrmjələ aɪ ˌdɪˈsaɪdɪd tɪ kəˈmɪt tɪ: rɛd 10 əv ə bʊk ˈɛvəri deɪ. ɪt. ə ˈsɪstəm fər ˈrɛdɪŋ mɔr bʊks sɪns oʊˈbeɪɪŋ ðɪs rul, ˈɔlsoʊ dɪˈvɛləpt ə ˈsɪstəm fər ˈrɛdɪŋ mɔr ənd rɪˈkɔrdɪŋ wət aɪ lərn ɛz wɛl. ðə ˈsɪstəm ɪz ɛz ˈfɑloʊz: kriˈeɪt ən ˌɪnvənˈtɔri əv bʊks laɪk tɪ rɛd ə greɪt lɪst) ʧuz ə bʊk tɪ rɛd (ənd ˈhaɪˌlaɪt wət ju faɪnd ˈɪntəˌrɛstɪŋ) ˈɑrˌkaɪv jʊr noʊts fər ˈizi ˈrɛfərəns lʊk æt iʧ stɛp ɪn mɔr ˈditeɪl. stɛp 01 kriˈeɪt ən ˌɪnvənˈtɔri əv bʊks laɪk tɪ rɛd ðɪs ˈiziəst weɪ tɪ du ðɪs ɪz tɪ kriˈeɪt ən ˈæməˌzɑn wɪʃ lɪst. ˈæməˌzɑn wɪʃ lɪsts əˈlaʊz ju tɪ æd bʊks ˈɪntəˌrɛstɪd ɪn tɪ ə lɪst wɪʧ kən bi rɪˈtərnd tɪ ˌpiriˈɑdɪkəli tɪ ˈɛdət. ɪf ˈbraʊzɪŋ ɔn ˈæməˌzɑn ənd ju si ə bʊk ðət ˈɪntərɪsts ju, æd ɪt tɪ jʊr wɪʃ lɪst. ˈsɪmələrli, ɪf ə frɛnd ˌrɛkəˈmɛndz ə bʊk ðeɪ θɪŋk wʊd ˈɪntəˌrɛst ju, rɪˈmɛmbər ɪt ənd æd ɪt tɪ jʊr ˈæməˌzɑn wɪʃ lɪst ðə nɛkst taɪm ˈɔnˌlaɪn. tɪ ˈfɑloʊ ˈdeɪvɪd ˈsɪstəm fər ˈgɪtɪŋ θɪŋz dən, hæv wən (ənd ˈoʊnli wən) pleɪs tɪ ““capture”*” ðə bʊks ˈɪntəˌrɛstɪd ɪn. ɪn ˈəðər wərdz, hæv ˈməltəpəl lɪsts bɪˈkəz luz træk. hæv wən pleɪs wɛr ju du jʊr ˈəpˌdeɪtɪŋ. stɛp 02 ʧuz ə bʊk tɪ rɛd (ənd ˈhaɪˌlaɪt wət ju faɪnd ˈɪntəˌrɛstɪŋ) ðə nɛkst stɛp ɪz ən ˈɑbviəs wən: ʧuz ə bʊk ənd stɑrt ˈrɛdɪŋ. kəˈmɪt tɪ ˈrɛdɪŋ jʊr nu bʊk ɪn ɪts ɪnˈtaɪərti baɪ ˈjuzɪŋ ðə 10 rul ənd rɛd 10 ˈɛvəri deɪ. naʊ, ðɛr ɪz wən ˈkeɪviˌæt tɪ ðɪs: lərn ðət ˈrɛdɪŋ 10 əv ə 200 peɪʤ bʊk ɪz ˈdɪfərənt tɪ ˈrɛdɪŋ 10 əv ə 300 peɪʤ bʊk, soʊ teɪk ˈɪntu kənˌsɪdərˈeɪʃən wɪn goʊɪŋ tɪ rɛd. ɪn ˈəðər wərdz, ɪf ə bʊk ɪz ˈlɔŋgər ðən ˈævərɪʤ, rɛd wɪn jʊr ˈɛnərʤi ɪz æt ɪts haɪəst. ðə ˈleɪtər ɪn ðə deɪ ɪt ɪz, ðə mɔr ˈlaɪkli ˈlaɪkli tɪ səˈkəm tɪ dɪˈsɪʒən fəˈtig. ɪf 10 ɪz ə lɔt bɪˈkəz əv ðə saɪz əv ðə bʊk, splɪt ɪt ɪn hæf ənd rɛd 5 ɪn ðə ˈmɔrnɪŋ ənd 5 ɪn ðə ˈivnɪŋ. ðɪs ɪz ˈizi ɪf ju kəmˈjut tɪ wərk ˈviə ˈpəblɪk ˈtrænspɔrt. lərn ə lɔt əv ˈkɪndəl bʊks ˈivɪn 100 lɔŋ. wəns ɪkˈskludɪd ðə ækˈnɑlɪʤmənts, əˈpɛndɪks, prefaces*, ˌrɛkəmənˈdeɪʃənz ənd ˈsɔrsəz ɪn ˈəðər wərdz, ðə pɑrts ðət ɛz ˈɪntəˌrɛstɪŋ ə bʊk ˈoʊnli ɛndz əp biɪŋ bɪtˈwin ɪn lɛŋθ. ðət minz ðət ɪf ˈrɛdɪŋ ə bʊk ˈpeɪʤɪz ɪn lɛŋθ, ju kən rɛd ən ˈævərɪʤ əv wən bʊk ə wik. 52 bʊks ə jɪr! ɛz ˈbəfɪt ˈɑrgjud, ˈnɑlɪʤ ˈkɑmpaʊndz, əˈspɛʃəli wɪn ju əˈplaɪ ðə ˈdæfəˌdɪl ˈprɪnsəpəl tɪ jʊr ˈdeɪli ˈrɛdɪŋ ˈhæbət. (ju kən gɪt ˈækˌsɛs tɪ ˈoʊvər ˈkɪndəl bʊks wɪθ ðɪs ˈæməˌzɑn praɪm 30 traɪəl) ˈteɪkɪŋ noʊts ðɪs ɪz ən ɛˈsɛnʃəl pɑrt əv ðə ˈrɛdɪŋ ˈprɔˌsɛs ðət ɪz, ɪf ju ˈrɪli wɔnt tɪ rɪˈmɛmbər wət ˈrɛdɪŋ ənd jɛt, wən ˈɔfən kəmˈplitli ˈoʊvərˌlʊkt. ɪf ju wɔnt tɪ rɪˈteɪn ðə ˌɪnˌfɔrˈmeɪʃən ˈrɛdɪŋ, noʊt ˈteɪkɪŋ ɪz ɛˈsɛnʃəl. ənd waɪl ˈhaɪˌlaɪtɪŋ wət ˈɪntərɪsts ju kən bi ˈifɛktɪv ɪn prɪnt bʊks, nɑt ˈifɛktɪv ɪn ðə ˈlɔŋˈtərm, ənˈlɛs ɪkˈstrimli (mɔr ɔn ðət ɪn stɛp 03 ˈθæŋkfəli, ˈmeɪkɪŋ noʊts həz ˈnɛvər bɪn ˈiziər wɪθ ən ˈæməˌzɑn ˈkɪndəl. wəns jʊr dɪˈvaɪs ɪz kəˈnɛktɪd tɪ ˈwaɪˌfaɪ, ɪt wɪl sɪnʧ jʊr noʊts tɪ jʊr ˈæməˌzɑn ˈkɪndəl ˈhaɪˌlaɪts ənd bi ˈeɪbəl tɪ kəmˈplit stɛp 03 stɛp 03 ˈɑrˌkaɪv jʊr noʊts fər ˈizi ˈrɛfərəns ðɪs ɪz bɛst dən ˈviə. ɪz fri ənd noʊt ˈteɪkɪŋ ˈsɔfˌwɛr ənd ɪz ˈwəndərfəl fər ˈɛvriˌθɪŋ ˈhaɪˌlaɪtɪd. ju kən lɔg ˈɪntu jʊr ˈæməˌzɑn ˈkɪndəl ˈhaɪˌlaɪts əˈkaʊnt ənd vju jʊr ˈhaɪˌlaɪts ənd ˈiðər klɪp jʊr ˈhaɪˌlaɪts frəm ðə peɪʤ ˈjuzɪŋ ðə wɛb ˈklɪpər fər kroʊm, ər ˈkɑpi ənd peɪst ðɛm ˈɔntu ən noʊt ənd ˈmænjuəli ˈɛdət ðɛm ˈjɔrsɛlf. ðɪs ɪz maɪ prɪˈfərd ˈmɛθəd. naʊ, ɔl jʊr ˈkɪndəl ˈhaɪˌlaɪts ər ənd əˈveɪləbəl æt ðə klɪk əv ə ˈbətən. ju kən ˈivɪn ˈdaʊnˌloʊd ðə ˈmoʊbəl æp fər jʊr ˈaɪˌfoʊn ər ˈænˌdrɔɪd foʊn, soʊ bi ˈeɪbəl tɪ pʊl ðɛm əp ˈɛniˌpleɪs, ˈɛniˌtaɪm. ə ˈfaɪnəl wərd ˌɪmˈpɔrtənt nɑt tɪ θɪŋk əv ˈrɛdɪŋ ɛz ə ʧɔr, bət ˈrəðər ə ˈprɪvɪlɪʤ; nɑt ən ækˈtɪvɪti ju ʃʊd du, bət wən ju gɪt tɪ du. ər, ɛz raɪən ˈhɑlɪˌdeɪ pʊts ɪt: ðə ki tɪ ˈrɛdɪŋ lɑts əv bʊk bɪˈgɪnz wɪθ stɑp ˈθɪŋkɪŋ əv ɪt ɛz səm ækˈtɪvɪti ðət ju du. ˈrɛdɪŋ məst bɪˈkəm ɛz ˈnæʧərəl ɛz ˈitɪŋ ənd ˈbriðɪŋ tɪ ju. nɑt ˈsəmθɪŋ ju du bɪˈkəz ju fil laɪk ɪt, bət bɪˈkəz ə ˈriflɛks, ə dɪˈfɔlt. 3 10 ə deɪ. ɔl ju nid. ənd trəst mi: ðə rɪˈzəlts wɪl spik fər ðɛmˈsɛlvz. 4 piz. ən ˈɛkstrə θɪŋ ju kən du tɪ gɪt θru mɔr bʊks iʧ jɪr ɪz tɪ ˈlɪsən tɪ ðɛm. ˈɑdiˌoʊ bʊks ər ən əˈmeɪzɪŋ weɪ tɪ kənˈsum bʊks wɪn ˌɪmˈpræktɪkəl tɪ hæv ə bʊk ɪn jʊr hænd. wɪθ ˈɑdəbəl fri traɪəl, gɪt tɪ ʧoʊz ənd ˈdaʊnˌloʊd tu bʊks təˈdeɪ fər fri tɪ ˈlɪsən tɪ ðɛm ɔl əv jʊr dɪˈvaɪsɪz. ʤɪst klɪk hir tɪ gɪt ˈstɑrtɪd. |
image caption the airport uses about three million of aviation fuel each day
aviation fuel has been sent to manchester airport after it ran out of supplies.
a spokesman for the refinery in cheshire, which pipes fuel to the airport, said production was "now back to normal".
stocks are expected to return to average levels by thursday morning, an airport spokesman said.
the airport said a "handful of flights, perhaps five", might be delayed by up to an hour in the morning.
a spokesman said: "the fuel supply from the refinery came back on at 5.30pm, it takes four hours for the fuel to get from the refinery to the airport, and it will then need time to settle.
"it will be released on to the airfield to the hydrants at 8.30am."
analysis jonathan sumberg, bbc transport journalist the majority of airlines can cope with this delay in fuel. how? a flight leaving majorca, for instance, would fill up double the amount it needed to get it to manchester and back to majorca. obviously this uses more fuel overall, due to the increased weight of the plane. equally, a plane leaving the united states would put in enough fuel to fly to manchester and then on to another airport where it could refuel before returning to the us. another thing to note is it takes four hours to get from the refinery to the airport, and then airlines have to let it "settle" for a further two hours before it can be used.
the airport uses about three million of aviation fuel a day, with the majority of supplies coming from the refinery at near ellesmere port.
a spokesman for the refinery said the shortage was caused by "production issues".
russell craig, head of communications for manchester airport, said: "we don't want this to happen, but equally we aren't prepared to take any risks with fuel and with aircraft safety."
he added: "we came close to running out in april 2008, when we saw a similar issue with the supply but fortunately at the hour the fuel was able to start moving again."
passengers planning to fly from the airport have been told to check with their airline before they leave.
shell sold the refinery to indian company energy last year. | ˈɪmɪʤ ˈkæpʃən ðə ˈɛrˌpɔrt ˈjuzɪz əˈbaʊt θri ˈmɪljən əv ˌeɪviˈeɪʃən fjuəl iʧ deɪ ˌeɪviˈeɪʃən fjuəl həz bɪn sɛnt tɪ ˈmænˌʧɛstər ˈɛrˌpɔrt ˈæftər ɪt ræn aʊt əv səˈplaɪz. ə ˈspoʊksmən fər ðə rɪˈfaɪnəri ɪn ˈʧɛʃər, wɪʧ paɪps fjuəl tɪ ðə ˈɛrˌpɔrt, sɛd pərˈdəkʃən wɑz "naʊ bæk tɪ ˈnɔrməl". stɑks ər ɪkˈspɛktɪd tɪ rɪˈtərn tɪ ˈævərɪʤ ˈlɛvəlz baɪ ˈθərzˌdeɪ ˈmɔrnɪŋ, ən ˈɛrˌpɔrt ˈspoʊksmən sɛd. ðə ˈɛrˌpɔrt sɛd ə "ˈhændˌfʊl əv flaɪts, pərˈhæps faɪv", maɪt bi dɪˈleɪd baɪ əp tɪ ən aʊər ɪn ðə ˈmɔrnɪŋ. ə ˈspoʊksmən sɛd: "ðə fjuəl səˈplaɪ frəm ðə rɪˈfaɪnəri keɪm bæk ɔn æt 5.30pm*, ɪt teɪks fɔr aʊərz fər ðə fjuəl tɪ gɪt frəm ðə rɪˈfaɪnəri tɪ ðə ˈɛrˌpɔrt, ənd ɪt wɪl ðɛn nid taɪm tɪ ˈsɛtəl. "ɪt wɪl bi riˈlist ɔn tɪ ðə ˈɛrˌfild tɪ ðə ˈhaɪdrənts æt 8.30am*." æˈnælɪsɪs ˈʤɑnəθən sumberg*, ˌbibiˈsi ˈtrænspɔrt ˈʤərnəlɪst ðə məˈʤɔrəti əv ˈɛˌrlaɪnz kən koʊp wɪθ ðɪs dɪˈleɪ ɪn fjuəl. haʊ? ə flaɪt ˈlivɪŋ maɪˈɔrkə, fər ˈɪnstəns, wʊd fɪl əp ˈdəbəl ðə əˈmaʊnt ɪt ˈnidɪd tɪ gɪt ɪt tɪ ˈmænˌʧɛstər ənd bæk tɪ maɪˈɔrkə. ˈɑbviəsli ðɪs ˈjuzɪz mɔr fjuəl ˈoʊvərˌɔl, du tɪ ðə ˌɪnˈkrist weɪt əv ðə pleɪn. ˈikwəli, ə pleɪn ˈlivɪŋ ðə juˈnaɪtɪd steɪts wʊd pʊt ɪn ɪˈnəf fjuəl tɪ flaɪ tɪ ˈmænˌʧɛstər ənd ðɛn ɔn tɪ əˈnəðər ˈɛrˌpɔrt wɛr ɪt kʊd rifˈjuəl ˌbiˈfɔr rɪˈtərnɪŋ tɪ ðə ˈjuˈɛs. əˈnəðər θɪŋ tɪ noʊt ɪz ɪt teɪks fɔr aʊərz tɪ gɪt frəm ðə rɪˈfaɪnəri tɪ ðə ˈɛrˌpɔrt, ənd ðɛn ˈɛˌrlaɪnz hæv tɪ lɛt ɪt "ˈsɛtəl" fər ə ˈfərðər tu aʊərz ˌbiˈfɔr ɪt kən bi juzd. ðə ˈɛrˌpɔrt ˈjuzɪz əˈbaʊt θri ˈmɪljən əv ˌeɪviˈeɪʃən fjuəl ə deɪ, wɪθ ðə məˈʤɔrəti əv səˈplaɪz ˈkəmɪŋ frəm ðə rɪˈfaɪnəri æt nɪr ˈɛlzˌmɪr pɔrt. ə ˈspoʊksmən fər ðə rɪˈfaɪnəri sɛd ðə ˈʃɔrtɪʤ wɑz kɔzd baɪ "pərˈdəkʃən ˈɪʃuz". ˈrəsəl kreɪg, hɛd əv kəmˌjunəˈkeɪʃənz fər ˈmænˌʧɛstər ˈɛrˌpɔrt, sɛd: "wi doʊnt wɔnt ðɪs tɪ ˈhæpən, bət ˈikwəli wi ˈɑrənt priˈpɛrd tɪ teɪk ˈɛni rɪsks wɪθ fjuəl ənd wɪθ ˈɛrˌkræft ˈseɪfti." hi ˈædɪd: "wi keɪm kloʊz tɪ ˈrənɪŋ aʊt ɪn ˈeɪprəl 2008 wɪn wi sɔ ə ˈsɪmələr ˈɪʃu wɪθ ðə səˈplaɪ bət ˈfɔrʧənətli æt ðə aʊər ðə fjuəl wɑz ˈeɪbəl tɪ stɑrt ˈmuvɪŋ əˈgɛn." ˈpæsənʤərz ˈplænɪŋ tɪ flaɪ frəm ðə ˈɛrˌpɔrt hæv bɪn toʊld tɪ ʧɛk wɪθ ðɛr ˈɛˌrlaɪn ˌbiˈfɔr ðeɪ liv. ʃɛl soʊld ðə rɪˈfaɪnəri tɪ ˈɪndiən ˈkəmpəˌni ˈɛnərʤi læst jɪr. |
the distance from here to there is a college scholarship
the chick evans scholarship is a full tuition and housing college scholarship for golfs that is renewable for up to four years. each year, more than 960 deservings across the country attend college on a four-year scholarship from the evans scholars foundation. selected applicants must have a strong record, excellent grades, outstanding character and demonstrated financial need. read more about the scholarship requirements.
since 1930, when the first two evans scholars enrolled at northwestern university, more than outstanding young men and women have been awarded evans scholarships. most recipients attend one of the 16 universities across the nation where the evans scholars foundation operates a scholarship house.
chapter living
at the evans scholarship houses, students live and work together cooperatively. each chapter elects its own officers, runs social and service activities and participates in campus programs. the evans scholars chapters have earned a reputation on each campus for scholastic achievement and excellence in community service.
living and working together provides evans scholars an opportunity to develop leadership capabilities and strong communication skills. we believe that the sense of empowerment fostered through chapter living is largely responsible for the tremendous success of our 16 evans scholarship chapters. when you compare our scholarship houses with other campus organizations, they rank at or near the top in academics and community service.
there are also evans scholars at five additional universities, where they live together in a designated residence hall. | ðə ˈdɪstəns frəm hir tɪ ðɛr ɪz ə ˈkɑlɪʤ ˈskɑlərˌʃɪp ðə ʧɪk ˈɛvənz ˈskɑlərˌʃɪp ɪz ə fʊl tjuˈɪʃən ənd ˈhaʊzɪŋ ˈkɑlɪʤ ˈskɑlərˌʃɪp fər gɔlf ˈkædiz ðət ɪz riˈnuəbəl fər əp tɪ fɔr jɪrz. iʧ jɪr, mɔr ðən 960 dɪˈzərvɪŋ ˈkædiz əˈkrɔs ðə ˈkəntri əˈtɛnd ˈkɑlɪʤ ɔn ə ˌfɔˈrjɪr ˈskɑlərˌʃɪp frəm ðə ˈɛvənz ˈskɑlərz faʊnˈdeɪʃən. səˈlɛktɪd ˈæplɪkənts məst hæv ə strɔŋ ˈrɛkərd, ˈɛksələnt greɪdz, ˌaʊtˈstændɪŋ ˈkɛrɪktər ənd ˈdɛmənˌstreɪtɪd ˌfaɪˈnænʃəl nid. rɛd mɔr əˈbaʊt ðə ˈskɑlərˌʃɪp rɪkˈwaɪrmənts. sɪns 1930 wɪn ðə fərst tu ˈɛvənz ˈskɑlərz ɛnˈroʊld æt ˌnɔrθˈwɛstərn ˌjunəˈvərsəti, mɔr ðən ˌaʊtˈstændɪŋ jəŋ mɛn ənd ˈwɪmən hæv bɪn əˈwɔrdɪd ˈɛvənz ˈskɑlərˌʃɪps. moʊst rɪˈsɪpiənts əˈtɛnd wən əv ðə 16 ˌjunəˈvərsətiz əˈkrɔs ðə ˈneɪʃən wɛr ðə ˈɛvənz ˈskɑlərz faʊnˈdeɪʃən ˈɑpərˌeɪts ə ˈskɑlərˌʃɪp haʊs. ˈʧæptər ˈlɪvɪŋ æt ðə ˈɛvənz ˈskɑlərˌʃɪp ˈhaʊsɪz, ˈstudənts lɪv ənd wərk təˈgɛðər koʊˈɑprətɪvli. iʧ ˈʧæptər ˌɪˈlɛkts ɪts oʊn ˈɔfɪsərz, rənz ˈsoʊʃəl ənd ˈsərvɪs ækˈtɪvɪtiz ənd pɑrˈtɪsəˌpeɪts ɪn ˈkæmpəs ˈproʊˌgræmz. ðə ˈɛvənz ˈskɑlərz ˈʧæptərz hæv ərnd ə ˌrɛpjəˈteɪʃən ɔn iʧ ˈkæmpəs fər skəˈlæstɪk əˈʧivmənt ənd ˈɛksələns ɪn kəmˈjunɪti ˈsərvɪs. ˈlɪvɪŋ ənd ˈwərkɪŋ təˈgɛðər prəˈvaɪdz ˈɛvənz ˈskɑlərz ən ˌɑpərˈtunəti tɪ dɪˈvɛləp ˈlidərˌʃɪp ˌkeɪpəˈbɪlətiz ənd strɔŋ kəmˌjunəˈkeɪʃən skɪlz. wi bɪˈliv ðət ðə sɛns əv ɪmˈpaʊərmənt ˈfɑstərd θru ˈʧæptər ˈlɪvɪŋ ɪz ˈlɑrʤli riˈspɑnsəbəl fər ðə trɪˈmɛndəs səkˈsɛs əv ɑr 16 ˈɛvənz ˈskɑlərˌʃɪp ˈʧæptərz. wɪn ju kəmˈpɛr ɑr ˈskɑlərˌʃɪp ˈhaʊsɪz wɪθ ˈəðər ˈkæmpəs ˌɔrgənəˈzeɪʃənz, ðeɪ ræŋk æt ər nɪr ðə tɔp ɪn ˌækəˈdɛmɪks ənd kəmˈjunɪti ˈsərvɪs. ðɛr ər ˈɔlsoʊ ˈɛvənz ˈskɑlərz æt faɪv əˈdɪʃənəl ˌjunəˈvərsətiz, wɛr ðeɪ lɪv təˈgɛðər ɪn ə ˈdɛzɪgˌneɪtɪd ˈrɛzɪdəns hɔl. |
edit: if the video above does not play, please click “watch on youtube” or follow this link.
michael bennett is a leader for the seahawks’ defense. his ability to pass rush and stop the run make him a valuable asset to the team. in this video breakdown, i looked at him as a pass rusher and his role in the defense. for the following video next week, i decided to look at his elite run stopping ability, which i felt warranted its own video.
as a pass rusher, bennett has a variety of moves and he plays with outstanding effort. generally, when his pass rush fails, usually due to the fact that he takes too many steps and does not setup his pass rush correctly. additionally, he was used on stunts for a good portion of his snaps which negated his pass rush. this happened especially on third downs.
overall, bennett is not an elite edge rusher, but his variety of moves and consistent effort always puts him in a position to make plays. | ˈɛdət: ɪf ðə ˈvɪdioʊ əˈbəv dɪz nɑt pleɪ, pliz klɪk ɔn youtube”*” ər ˈfɑloʊ ðɪs lɪŋk. ˈmaɪkəl ˈbɛnɪt ɪz ə ˈlidər fər ðə seahawks’*’ dɪˈfɛns. hɪz əˈbɪləˌti tɪ pæs rəʃ ənd stɑp ðə rən meɪk ɪm ə ˈvæljəbəl ˈæˌsɛt tɪ ðə tim. ɪn ðɪs ˈvɪdioʊ ˈbreɪkˌdaʊn, aɪ lʊkt æt ɪm ɛz ə pæs ˈrəʃər ənd hɪz roʊl ɪn ðə dɪˈfɛns. fər ðə ˈfɑloʊɪŋ ˈvɪdioʊ nɛkst wik, aɪ ˌdɪˈsaɪdɪd tɪ lʊk æt hɪz ɪˈlit rən ˈstɑpɪŋ əˈbɪləˌti, wɪʧ aɪ fɛlt ˈwɔrəntɪd ɪts oʊn ˈvɪdioʊ. ɛz ə pæs ˈrəʃər, ˈbɛnɪt həz ə vərˈaɪəti əv muvz ənd hi pleɪz wɪθ ˌaʊtˈstændɪŋ ˈɛfərt. ˈʤɛnərəli, wɪn hɪz pæs rəʃ feɪlz, ˈjuʒəwəli du tɪ ðə fækt ðət hi teɪks tu ˈmɛni stɛps ənd dɪz nɑt ˈsɛˌtəp hɪz pæs rəʃ kərˈɛktli. əˈdɪʃəˌnəli, hi wɑz juzd ɔn stənts fər ə gʊd ˈpɔrʃən əv hɪz snæps wɪʧ ˈnigeɪtɪd hɪz pæs rəʃ. ðɪs ˈhæpənd əˈspɛʃəli ɔn θərd daʊnz. ˈoʊvərˌɔl, ˈbɛnɪt ɪz nɑt ən ɪˈlit ɛʤ ˈrəʃər, bət hɪz vərˈaɪəti əv muvz ənd kənˈsɪstənt ˈɛfərt ˈɔlˌweɪz pʊts ɪm ɪn ə pəˈzɪʃən tɪ meɪk pleɪz. |
the development cycle of the upcoming tails incognito live system continues today, january 13, 2016, with the (release candidate 1) build, which is now available for download and testing.
tails brings a great number of changes since the beta build, among which we can mention support for the strength indicator in the gnome disk utility (disks) software, the tor browser alpha 6 anonymous web browser based on the tor project, and the replacement of the claws mail app with the email client.
additionally, the first release candidate version of tails, which should see the light of day at the end of the month, on january 26, and will be based on the 8 (jessie) operating system, adds support for recent chips, such as intel broadwell graphics, and updates to version.
"the most noticeable change is probably the move to gnome shell, configured in classic mode. this desktop environment provides a modern and actively developed replacement for the aging gnome 'flashback.' gnome shell also paves the way for better supporting in the future," reads today's announcement.
multiple issues have been resolved
of course, with tails knocking on the door, the development team has had to fix multiple issues reported by users since the previous release. for example, managed to make the software work by installing the version available in the "stretch" (testing) repositories, update the list of enabled extensions for the gnome shell interface, as well as to restore default file associations.
the tails upgrader utility has been updated as well to apply automatic upgrades a lot faster, and the persistence feature has been repaired. moreover, the ability to reconfigure existing persistent storage should work as expected, an issue with public keys in the app has been fixed, and tails will no longer offer users the option to open downloaded files with external apps in tor.
last but not least, an issue with has been addressed in tails release candidate 1, which you can download right now from our website if you want to help the tails development team discover and fix the remaining bugs before the january 26 launch. | ðə dɪˈvɛləpmənt ˈsaɪkəl əv ðə ˈəpˌkəmɪŋ teɪlz ˌɪnkɔgˈnitoʊ lɪv ˈsɪstəm kənˈtɪnjuz təˈdeɪ, ˈʤænjuˌɛri 13 2016 wɪθ ðə (riˈlis ˈkænədɪt 1 bɪld, wɪʧ ɪz naʊ əˈveɪləbəl fər ˈdaʊnˌloʊd ənd ˈtɛstɪŋ. teɪlz brɪŋz ə greɪt ˈnəmbər əv ˈʧeɪnʤɪz sɪns ðə ˈbeɪtə bɪld, əˈməŋ wɪʧ wi kən ˈmɛnʃən səˈpɔrt fər ðə strɛŋθ ˈɪndəˌkeɪtər ɪn ðə noʊm dɪsk juˈtɪləti (dɪsks) ˈsɔfˌwɛr, ðə tɔr ˈbraʊzər ˈælfə 6 əˈnɑnəməs wɛb ˈbraʊzər beɪst ɔn ðə tɔr ˈprɑʤɛkt, ənd ðə rɪˈpleɪsmənt əv ðə klɔz meɪl æp wɪθ ðə iˈmeɪl klaɪənt. əˈdɪʃəˌnəli, ðə fərst riˈlis ˈkænədɪt ˈvərʒən əv teɪlz wɪʧ ʃʊd si ðə laɪt əv deɪ æt ðə ɛnd əv ðə mənθ, ɔn ˈʤænjuˌɛri 26 ənd wɪl bi beɪst ɔn ðə 8 (ˈʤɛsi) ˈɔpərˌeɪtɪŋ ˈsɪstəm, ædz səˈpɔrt fər ˈrisənt ʧɪps, səʧ ɛz ˌɪnˈtɛl ˈbrɔdˌwɛl ˈgræfɪks, ənd ˈəpˌdeɪts tɪ ˈvərʒən "ðə moʊst ˈnoʊtəsəbəl ʧeɪnʤ ɪz ˈprɑbəˌbli ðə muv tɪ noʊm ʃɛl, kənˈfɪgjərd ɪn ˈklæsɪk moʊd. ðɪs ˈdɛskˌtɑp ɪnˈvaɪrənmənt prəˈvaɪdz ə ˈmɑdərn ənd ˈæktɪvli dɪˈvɛləpt rɪˈpleɪsmənt fər ðə ˈeɪʤɪŋ noʊm 'ˈflæʃˌbæk.' noʊm ʃɛl ˈɔlsoʊ peɪvz ðə weɪ fər ˈbɛtər səˈpɔrtɪŋ ɪn ðə fˈjuʧər," ridz ˈtudeɪz əˈnaʊnsmɛnt. ˈməltəpəl ˈɪʃuz hæv bɪn riˈzɑlvd əv kɔrs, wɪθ teɪlz ˈnɑkɪŋ ɔn ðə dɔr, ðə dɪˈvɛləpmənt tim həz hæd tɪ fɪks ˈməltəpəl ˈɪʃuz ˌriˈpɔrtəd baɪ ˈjuzərz sɪns ðə ˈpriviəs riˈlis. fər ɪgˈzæmpəl, ˈmænɪʤd tɪ meɪk ðə ˈsɔfˌwɛr wərk baɪ ˌɪnˈstɔlɪŋ ðə ˈvərʒən əˈveɪləbəl ɪn ðə "strɛʧ" (ˈtɛstɪŋ) riˈpɑzəˌtɔriz, ˈəpˌdeɪt ðə lɪst əv ɪˈneɪbəld ɪkˈstɛnʃənz fər ðə noʊm ʃɛl ˈɪnərˌfeɪs, ɛz wɛl ɛz tɪ rɪˈstɔr dɪˈfɔlt faɪl əˌsoʊʃiˈeɪʃənz. ðə teɪlz ˈəpˌgreɪdər juˈtɪləti həz bɪn ˈəpˌdeɪtɪd ɛz wɛl tɪ əˈplaɪ ˌɔtəˈmætɪk ˈəpˌgreɪdz ə lɔt ˈfæstər, ənd ðə pərˈsɪstəns ˈfiʧər həz bɪn rɪˈpɛrd. mɔˈroʊvər, ðə əˈbɪləˌti tɪ ˌrikənˈfɪgjər ɪgˈzɪstɪŋ pərˈsɪstənt ˈstɔrɪʤ ʃʊd wərk ɛz ɪkˈspɛktɪd, ən ˈɪʃu wɪθ ˈpəblɪk kiz ɪn ðə æp həz bɪn fɪkst, ənd teɪlz wɪl noʊ ˈlɔŋgər ˈɔfər ˈjuzərz ðə ˈɔpʃən tɪ ˈoʊpən ˈdaʊnˌloʊdɪd faɪlz wɪθ ɪkˈstərnəl æps ɪn tɔr. læst bət nɑt list, ən ˈɪʃu wɪθ həz bɪn əˈdrɛst ɪn teɪlz riˈlis ˈkænədɪt 1 wɪʧ ju kən ˈdaʊnˌloʊd raɪt naʊ frəm ɑr ˈwɛbˌsaɪt ɪf ju wɔnt tɪ hɛlp ðə teɪlz dɪˈvɛləpmənt tim dɪˈskəvər ənd fɪks ðə rɪˈmeɪnɪŋ bəgz ˌbiˈfɔr ðə ˈʤænjuˌɛri 26 lɔnʧ. |
mumbai: in 1966, the r.k. committee on industrial licensing pointed out that indian business houses displayed strong regional biases. the report, which classified business houses by ethnicity, noted that investment was mainly in the region, southern houses stuck to the southern states, and parsi investment flowed to a few states like maharashtra and bihar.
while the demographic composition of indian business houses has changed since then, the regional concentration of large indian businesses still remains high, a mint analysis shows. like the indian cricket team, indian businesses tend to prefer familiar territory.
the analysis is based on the investment patterns of 10 large conglomerates (based on group revenue) since the turn of the century. outward (foreign) investments were not considered in this analysis. the data is based on figures for completed projects from the database of the centre for monitoring indian economy (cmie), and focuses only on plants and investments that these conglomerates have built organically. services were excluded from the analysis. the categorization of business groups by is largely based on the committee report.
as the interactive chart below illustrates, even the largest of business houses in india are deeply concentrated in a few states. the share of the top five states in completed projects within india is 83% for the tata group,% for the group and 74% for thes. data for business houses that have split in the period under consideration (including thes, thes, and the bajajs) have been merged to ensure comparability across the time period. the data for and pradesh, which was bifurcated in 2014 to carve out the former as a separate state, have also been combined for the same reason.
even when large shifts take place, they seem to have little to do with active geographical diversification. for instance, the first major project outside gujarat was in pradesh. it completed investments related to the krishna basin in. there was very little choice in this investment given that large gas reserves were discovered in this region in the early 2000s.
the concentration numbers are almost as high for the newer cohort of conglomerates as they are for older business houses. the median share of top five states of three such groups included in the o p group, vedanta, and as high as 90% at the end of. the median value for the other seven groups was 92%.
most of these investments across groups are concentrated in a few powerhouses of the indian and maharashtra figure prominently in this list. this is a key driver of inequality in india. as a 2014 plain facts column pointed out, despite three decades of rapid growth, the share of each state in the national pie remains nearly the same as it was three decades ago. the top five states, which accounted for nearly half of the national output in the 1980s, continue to account for nearly half of national output today. the economic survey noted that inequality grew in the period.
the concentration of investments by large business houses will only accentuate such gaps. overall private sector investment too is concentrated in a few states of the country. data shows that the top five states account for 52% of all completed projects in the private sector. the figure is relatively lower for the public sector at 35%.
with the introduction of the goods and services tax (gst), states’ ability to offer tax incentives to attract new private investments is also limited, further limiting the chances of diversification of indian industry. even the incentive to move production closer to markets has weakened with the advent of the regime. while this may improve efficiency, it will only make it even more difficult for laggard states to attract investments.
the government seems to have taken notice of this; it said on 16 august that it would extend tax exemptions in the and himalayan states through a refund mechanism. however, this has been extended for only 10 years.
unless such states are able to streamline regulations and ramp up infrastructure significantly in this period, they are unlikely to attract investments once the exemption window closes. for states which do not have such exemptions but lag behind in investments, the task is even more urgent.
the visualization for this story has been designed by partner, howindialives. | ˌmʊmˈbaɪ: ɪn 1966 ðə r.k*. kəˈmɪti ɔn ˌɪnˈdəstriəl ˈlaɪsənsɪŋ ˈpɔɪntɪd aʊt ðət ˈɪndiən ˈbɪznɪs ˈhaʊsɪz dɪˈspleɪd strɔŋ ˈriʤənəl ˈbaɪəsɪz. ðə rɪˈpɔrt, wɪʧ ˈklæsəˌfaɪd ˈbɪznɪs ˈhaʊsɪz baɪ ɛθˈnɪsɪti, ˈnoʊtɪd ðət ˌɪnˈvɛstmənt wɑz ˈmeɪnli ɪn ðə ˈriʤən, ˈsəðərn ˈhaʊsɪz stək tɪ ðə ˈsəðərn steɪts, ənd ˈpɑrsi ˌɪnˈvɛstmənt floʊd tɪ ə fju steɪts laɪk ˌmɑhərˈɑʃˌtrə ənd bihar*. waɪl ðə ˌdɛməˈgræfɪk ˌkɑmpəˈzɪʃən əv ˈɪndiən ˈbɪznɪs ˈhaʊsɪz həz ʧeɪnʤd sɪns ðɛn, ðə ˈriʤənəl ˌkɑnsənˈtreɪʃən əv lɑrʤ ˈɪndiən ˈbɪznɪsɪz stɪl rɪˈmeɪnz haɪ, ə mɪnt æˈnælɪsɪs ʃoʊz. laɪk ðə ˈɪndiən ˈkrɪkɪt tim, ˈɪndiən ˈbɪznɪsɪz tɛnd tɪ prɪˈfər fəˈmɪljər ˈtɛrɪˌtɔri. ðə æˈnælɪsɪs ɪz beɪst ɔn ðə ˌɪnˈvɛstmənt ˈpætərnz əv 10 lɑrʤ kənˈglɑmərəts (beɪst ɔn grup ˈrɛvəˌnu) sɪns ðə tərn əv ðə ˈsɛnʧəri. ˈaʊtwərd (ˈfɔrən) ˌɪnˈvɛstmənts wər nɑt kənˈsɪdərd ɪn ðɪs æˈnælɪsɪs. ðə ˈdætə ɪz beɪst ɔn ˈfɪgjərz fər kəmˈplitɪd ˈprɑʤɛkts frəm ðə ˈdætəˌbeɪs əv ðə ˈsɛntər fər ˈmɑnətərɪŋ ˈɪndiən ɪˈkɑnəmi (cmie*), ənd ˈfoʊkɪsɪz ˈoʊnli ɔn plænts ənd ˌɪnˈvɛstmənts ðət ðiz kənˈglɑmərəts hæv bɪlt ɔrˈgænɪkli. ˈsərvɪsɪz wər ɪkˈskludɪd frəm ðə æˈnælɪsɪs. ðə ˌkætəgərɪˈzeɪʃən əv ˈbɪznɪs grups baɪ ɪz ˈlɑrʤli beɪst ɔn ðə kəˈmɪti rɪˈpɔrt. ɛz ðə ˌɪnərˈæktɪv ʧɑrt bɪˈloʊ ˈɪləˌstreɪts, ˈivɪn ðə ˈlɑrʤəst əv ˈbɪznɪs ˈhaʊsɪz ɪn ˈɪndiə ər ˈdipli ˈkɔnsənˌtreɪtɪd ɪn ə fju steɪts. ðə ʃɛr əv ðə tɔp faɪv steɪts ɪn kəmˈplitɪd ˈprɑʤɛkts wɪˈθɪn ˈɪndiə ɪz 83 fər ðə ˈtɑtɑ grup, fər ðə grup ənd 74 fər ðə ambanis*. ˈdætə fər ˈbɪznɪs ˈhaʊsɪz ðət hæv splɪt ɪn ðə ˈpɪriəd ˈəndər kənˌsɪdərˈeɪʃən (ˌɪnˈkludɪŋ ðə ambanis*, ðə jindals*, ənd ðə bajajs*) hæv bɪn mərʤd tɪ ɪnˈʃʊr ˌkɑmpərəˈbɪlɪˌti əˈkrɔs ðə taɪm ˈpɪriəd. ðə ˈdætə fər ənd prəˈdɛʃ, wɪʧ wɑz ˈbɪfərˌkeɪtɪd ɪn 2014 tɪ kɑrv aʊt ðə ˈfɔrmər ɛz ə ˈsɛpərˌeɪt steɪt, hæv ˈɔlsoʊ bɪn kəmˈbaɪnd fər ðə seɪm ˈrizən. ˈivɪn wɪn lɑrʤ ʃɪfts teɪk pleɪs, ðeɪ sim tɪ hæv ˈlɪtəl tɪ du wɪθ ˈæktɪv ˌʤiəˈgræfɪkəl dɪˌvərsəfəˈkeɪʃən. fər ˈɪnstəns, ðə fərst ˈmeɪʤər ˈprɑʤɛkt ˈaʊtˈsaɪd ˌgjuʤərˈæt wɑz ɪn prəˈdɛʃ. ɪt kəmˈplitɪd ˌɪnˈvɛstmənts rɪˈleɪtɪd tɪ ðə ˈkrɪʃnə ˈbeɪsən ɪn ðɛr wɑz ˈvɛri ˈlɪtəl ʧɔɪs ɪn ðɪs ˌɪnˈvɛstmənt ˈgɪvɪn ðət lɑrʤ gæs rɪˈzərvz wər dɪˈskəvərd ɪn ðɪs ˈriʤən ɪn ðə ˈərli 2000s*. ðə ˌkɑnsənˈtreɪʃən ˈnəmbərz ər ˈɔlˌmoʊst ɛz haɪ fər ðə nuər ˈkoʊhɔrt əv kənˈglɑmərəts ɛz ðeɪ ər fər ˈoʊldər ˈbɪznɪs ˈhaʊsɪz. ðə ˈmidiən ʃɛr əv tɔp faɪv steɪts əv θri səʧ grups ˌɪnˈkludɪd ɪn ðə oʊ pi grup, vedanta*, ənd ɛz haɪ ɛz 90 æt ðə ɛnd əv ðə ˈmidiən ˈvælju fər ðə ˈəðər ˈsɛvən grups wɑz 92 moʊst əv ðiz ˌɪnˈvɛstmənts əˈkrɔs grups ər ˈkɔnsənˌtreɪtɪd ɪn ə fju ˈpaʊərˌhaʊsɪz əv ðə ˈɪndiən ənd ˌmɑhərˈɑʃˌtrə ˈfɪgjər ˈprɑmənəntli ɪn ðɪs lɪst. ðɪs ɪz ə ki ˈdraɪvər əv ˌɪnɪkˈwɑləti ɪn ˈɪndiə. ɛz ə 2014 pleɪn fækts ˈkɑləm ˈpɔɪntɪd aʊt, dɪˈspaɪt θri ˈdɛkeɪdz əv ˈræpɪd groʊθ, ðə ʃɛr əv iʧ steɪt ɪn ðə ˈnæʃənəl paɪ rɪˈmeɪnz ˈnɪrli ðə seɪm ɛz ɪt wɑz θri ˈdɛkeɪdz əˈgoʊ. ðə tɔp faɪv steɪts, wɪʧ əˈkaʊntɪd fər ˈnɪrli hæf əv ðə ˈnæʃənəl ˈaʊtˌpʊt ɪn ðə 1980s*, kənˈtɪnju tɪ əˈkaʊnt fər ˈnɪrli hæf əv ˈnæʃənəl ˈaʊtˌpʊt təˈdeɪ. ðə ˌɛkəˈnɑmɪk ˈsərˌveɪ ˈnoʊtɪd ðət ˌɪnɪkˈwɑləti gru ɪn ðə ˈpɪriəd ðə ˌkɑnsənˈtreɪʃən əv ˌɪnˈvɛstmənts baɪ lɑrʤ ˈbɪznɪs ˈhaʊsɪz wɪl ˈoʊnli ækˈsɛnʧueɪt səʧ gæps. ˈoʊvərˌɔl ˈpraɪvət ˈsɛktər ˌɪnˈvɛstmənt tu ɪz ˈkɔnsənˌtreɪtɪd ɪn ə fju steɪts əv ðə ˈkəntri. ˈdætə ʃoʊz ðət ðə tɔp faɪv steɪts əˈkaʊnt fər 52 əv ɔl kəmˈplitɪd ˈprɑʤɛkts ɪn ðə ˈpraɪvət ˈsɛktər. ðə ˈfɪgjər ɪz ˈrɛlətɪvli loʊər fər ðə ˈpəblɪk ˈsɛktər æt 35 wɪθ ðə ˌɪntrəˈdəkʃən əv ðə gʊdz ənd ˈsərvɪsɪz tæks (gst*), states’*’ əˈbɪləˌti tɪ ˈɔfər tæks ˌɪnˈsɪnɪvz tɪ əˈtrækt nu ˈpraɪvət ˌɪnˈvɛstmənts ɪz ˈɔlsoʊ ˈlɪmɪtɪd, ˈfərðər ˈlɪmətɪŋ ðə ˈʧænsɪz əv dɪˌvərsəfəˈkeɪʃən əv ˈɪndiən ˈɪndəstri. ˈivɪn ðə ˌɪnˈsɛnɪv tɪ muv pərˈdəkʃən ˈkloʊzər tɪ ˈmɑrkɪts həz ˈwikənd wɪθ ðə ˈædˌvɛnt əv ðə rəˈʒim. waɪl ðɪs meɪ ˌɪmˈpruv ɪˈfɪʃənsi, ɪt wɪl ˈoʊnli meɪk ɪt ˈivɪn mɔr ˈdɪfəkəlt fər ˈlægərd steɪts tɪ əˈtrækt ˌɪnˈvɛstmənts. ðə ˈgəvərnmənt simz tɪ hæv ˈteɪkən ˈnoʊtɪs əv ðɪs; ɪt sɛd ɔn 16 ˈɔgəst ðət ɪt wʊd ɪkˈstɛnd tæks ɪgˈzɛmpʃənz ɪn ðə ənd ˌhɪməˈleɪən steɪts θru ə ˈriˌfənd ˈmɛkəˌnɪzəm. ˌhaʊˈɛvər, ðɪs həz bɪn ɪkˈstɛndɪd fər ˈoʊnli 10 jɪrz. ənˈlɛs səʧ steɪts ər ˈeɪbəl tɪ ˈstrimˌlaɪn ˌrɛgjəˈleɪʃənz ənd ræmp əp ˌɪnfrəˈstrəkʧər sɪgˈnɪfɪkəntli ɪn ðɪs ˈpɪriəd, ðeɪ ər ənˈlaɪkli tɪ əˈtrækt ˌɪnˈvɛstmənts wəns ðə ɪgˈzɛmpʃən ˈwɪndoʊ ˈkloʊzɪz. fər steɪts wɪʧ du nɑt hæv səʧ ɪgˈzɛmpʃənz bət læg bɪˈhaɪnd ɪn ˌɪnˈvɛstmənts, ðə tæsk ɪz ˈivɪn mɔr ˈərʤənt. ðə ˌvɪʒwələˈzeɪʃən fər ðɪs ˈstɔri həz bɪn dɪˈzaɪnd baɪ ˈpɑrtnər, howindialives*. |
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cultural caviar nonwhite privilege did you hear the one about the white and the asian who went to court over a black ball? it was october 2001, and cultural caviar louis c.k. beats off the mob when i was growing up, my great passion was comedy. monty python, national lampoon, george carlin, etc. as a kid, i was obsessed with
politics the genocidal fountain of beverly hills i suppose it makes sense that a heavily jewish neighborhood would want to get rid of a fountain that promotes genocide. since the days of cultural caviar ruth bader ginsburg…shiksa? christmas is supposed to be a holiday for christians, but this year bringing a very special present for jews: the gift of seeing
elections the saddest election ever never in my life have i seen such a parade of gloomy faces following a midterm. in the aftermath of most elections, have the cultural caviar for killing it was july 17, 1984, and james huberty feeling well. something rightupstairs.” the recently fired security guard in san ysidro, calif., (a
creep in praise of proud boys in terms ofoptics,” last week was not a great one for the right. first, there was the arrest ofmagabomber” cesar sayoc. now, i issue of the century when refugees were conquerors ah, the refugee caravan. would it be a midterm election without a bunch of oppressed asylum seekers storming the border? in a way, these
cultural caviar been a long time since felt fear. back in the 1990s, when the jewish defense league was actively trying to kill me, i cultural caviar a movie for all of us it was 1 a.m. last tuesday night, and i was drunk and conflicted. the drunk part is par for the course (i doubt seen
cultural caviar yes, women can lie if i were brian banks, be obsessed with trying to figure out when and how i pissed off a gypsy. because seriously, what else education why i have a high school diploma when mike wallace, the decaying corpse from that venerable cbs 60 minutes, profiled me in march 1994, the charlatan described me as a
politics black bart and the freedom riders been a good month for mark weber. mark is the director of the institute for historical review (ihr), a publishing house that dares cultural caviar the day the asians turned white in the community, the concept ofwhitening” is hugely controversial. double eyelid surgery, nose jobs, etc. butwhitening” can be both literal and figurative. | ˈdeɪvɪd koʊl, ðə ˈhɔləˌkɔst revisionist,”*,” spɛnt ðə pæst ˈeɪˈtin jɪrz ɛz ˈdeɪvɪd staɪn ðə ˈpɑrti animal,”*,” ˈwərkɪŋ wɪθ ənd ˈblɔgɪŋ fər ˈmeɪʤər kənˈsərvətɪv saɪts. hɪz ““outing”*” prəˈvaɪdɪd ˈmɛni ɪgˈzæmpəlz əv ˈhjumər, dɪˈteɪld ɪn hɪz bʊk rɪˈpəblɪkən ˈpɑrti ˈænəməl ˈkəlʧərəl ˈkæviˌɑr ˈnɛvər spik ɪl əv ə ɪn ˈrɛtrəˌspɛkt, aɪ ʃʊd hæv ˈstoʊlən s.e*. drɪŋk. ɪt wɑz ʤun 2010 ənd frɛndz əv eɪb, ðə ˈgɛri ˌɔrgənəˈzeɪʃən əv ˈhɑliˌwʊd ““conservatives,”*,” wɑz ˈkəlʧərəl ˈkæviˌɑr ˈʤɛnəˌsaɪdəl ˈpɪlgrəmz ə ˈpəzlər fər ril ɪn ðə eɪʤ əv ˈlɛftɪst ““science”*” (a.k.a*. ðə ˈgoʊldən eɪʤ əv unreason*): ɪz ˈæktər ænˈtoʊnioʊ bɑndərˈəs, bɔrn ənd ˈkəlʧərəl ˈkæviˌɑr ˈliəm sɪn ɛz wi ɪnʧ ˈkloʊzər tɪ ðɪs əˈkædəmi əˈwɔrdz ˈtɛləˌkæst, wɪʧ ˈprɑməsəz tɪ bi ə ril bɑrn ˈbərnər, wət wɪθ noʊ hoʊsts ənd noʊ ʤoʊks bɪʧ, pliz! ðə ˈsoʊʃəl ˈʤəstɪs ˈstræŋglər gɪts ə fri pæs hɪts ju hɑrd, bro”*” ɪz ə freɪz ðət wɑz ˌɪˈmɔrtəlaɪzd ɪn ə 2011 ˈvaɪrəl nuz ˈɪntərvˌju wɪθ ˌɛrɪˈzoʊnə ““eccentric”*” ʤɔrʤ ˈlɪndəl ˈfɑloʊɪŋ ə ˈvaɪələnt ˈkəlʧərəl ˈkæviˌɑr ðə wɔr ɔn ˈnɔrməl ðə waɪər wɑz ðə ˈkrɪtɪkəli əˈkleɪmd ˈeɪʧbiˈoʊ ˈsɪriz ðət toʊld ðə ˈstɔri əv ðə ˈbɔltəˌmɔr drəg treɪd frəm ə vərˈaɪəti əv pərˈspɛktɪvz (kɑps, ˈdilərz, ˌɪmˈpɔrtərz, ˈkəlʧərəl ˈkæviˌɑr ˈreɪʃəl ən ɛˈsɛnʃəl ˈɛləmənt əv ɔl ˈmuviz ɪz ðə object.”*.” ðɪs ɪz ðə θɪŋ ðət ˈiðər ðə gʊd gaɪz ər traɪɪŋ tɪ faɪnd, ər ˈkəlʧərəl ˈkæviˌɑr ˈnɑnˈwaɪt ˈprɪvɪlɪʤ dɪd ju hir ðə wən əˈbaʊt ðə waɪt ənd ðə ˈeɪʒən hu wɛnt tɪ kɔrt ˈoʊvər ə blæk bɔl? ɪt wɑz ɑkˈtoʊbər 2001 ənd ˈkəlʧərəl ˈkæviˌɑr luɪs c.k*. bits ɔf ðə mɑb wɪn aɪ wɑz groʊɪŋ əp, maɪ greɪt ˈpæʃən wɑz ˈkɑmədi. ˈmɔnti ˈpaɪθɑn, ˈnæʃənəl læmˈpun, ʤɔrʤ ˈkɑrlɪn, ˌɛtˈsɛtərə. ɛz ə kɪd, aɪ wɑz əbˈsɛst wɪθ ˈpɑləˌtɪks ðə ˈʤɛnəˌsaɪdəl ˈfaʊntən əv ˈbɛvərli hɪlz aɪ səˈpoʊz ɪt meɪks sɛns ðət ə ˈhɛvəli ʤuɪʃ ˈneɪbərˌhʊd wʊd wɔnt tɪ gɪt rɪd əv ə ˈfaʊntən ðət prəˈmoʊts ˈʤɛnəˌsaɪd. sɪns ðə deɪz əv ˈkəlʧərəl ˈkæviˌɑr ruθ ˈbædər ginsburg…shiksa*? ˈkrɪsməs ɪz səˈpoʊzd tɪ bi ə ˈhɑlɪˌdeɪ fər ˈkrɪsʧɪnz, bət ðɪs jɪr ˈbrɪŋɪŋ ə ˈvɛri ˈspɛʃəl ˈprɛzənt fər ʤuz: ðə gɪft əv siɪŋ ɪˈlɛkʃənz ðə ˈsædəst ɪˈlɛkʃən ˈɛvər ˈnɛvər ɪn maɪ laɪf hæv aɪ sin səʧ ə pəreɪd əv ˈglumi ˈfeɪsɪz ˈfɑloʊɪŋ ə ˈmɪdˌtərm. ɪn ðə ˈæftərˌmæθ əv moʊst ɪˈlɛkʃənz, hæv ðə ˈkəlʧərəl ˈkæviˌɑr fər ˈkɪlɪŋ ɪt wɑz ˌʤuˈlaɪ 17 1984 ənd ʤeɪmz ˈhəbərti ˈfilɪŋ wɛl. ˈsəmθɪŋ raɪt ““upstairs.”*.” ðə ˈrisəntli faɪərd sɪˈkjʊrəti gɑrd ɪn sæn ysidro*, ˈkælɪf., (ə krip ɪn preɪz əv praʊd bɔɪz ɪn tərmz əv ““optics,”*,” læst wik wɑz nɑt ə greɪt wən fər ðə raɪt. fərst, ðɛr wɑz ðə ərˈɛst əv ““magabomber”*” ˈsizər sayoc*. naʊ, aɪ ˈɪʃu əv ðə ˈsɛnʧəri wɪn ˈrɛfˌjuʤiz wər ˈkɑŋkərərz ɑ, ðə ˈrɛfjuʤi ˈkɛrəˌvæn. wʊd ɪt bi ə ˈmɪdˌtərm ɪˈlɛkʃən wɪˈθaʊt ə bənʧ əv əˈprɛst əˈsaɪləm ˈsikərz ˈstɔrmɪŋ ðə ˈbɔrdər? ɪn ə weɪ, ðiz ˈkəlʧərəl ˈkæviˌɑr bɪn ə lɔŋ taɪm sɪns fɛlt fɪr. bæk ɪn ðə 1990s*, wɪn ðə ʤuɪʃ dɪˈfɛns lig wɑz ˈæktɪvli traɪɪŋ tɪ kɪl mi, aɪ ˈkəlʧərəl ˈkæviˌɑr ə ˈmuvi fər ɔl əv ˈjuˈɛs ɪt wɑz 1 a.m*. læst ˈtuzˌdeɪ naɪt, ənd aɪ wɑz drəŋk ənd kənˈflɪktɪd. ðə drəŋk pɑrt ɪz pɑr fər ðə kɔrs (aɪ daʊt sin ˈkəlʧərəl ˈkæviˌɑr jɛs, ˈwɪmən kən laɪ ɪf aɪ wər braɪən bæŋks, bi əbˈsɛst wɪθ traɪɪŋ tɪ ˈfɪgjər aʊt wɪn ənd haʊ aɪ pɪst ɔf ə ˈʤɪpsi. bɪˈkəz ˈsɪriəsli, wət ɛls ˌɛʤəˈkeɪʃən waɪ aɪ hæv ə haɪ skul dɪˈploʊmɑ wɪn maɪk ˈwɔlɪs, ðə dɪˈkeɪɪŋ kɔrps frəm ðət ˈvɛnərəbəl ˈsiˌbiˌɛs 60 ˈmɪnəts, ˈproʊˌfaɪld mi ɪn mɑrʧ 1994 ðə ˈʃɑrlətən dɪˈskraɪbd mi ɛz ə ˈpɑləˌtɪks blæk bɑrt ənd ðə ˈfridəm ˈraɪdərz bɪn ə gʊd mənθ fər mɑrk ˈwɛbər. mɑrk ɪz ðə dɪˈrɛktər əv ðə ˈɪnstɪˌtut fər hɪˈstɔrɪkəl ˌrivˈju (ihr*), ə ˈpəblɪʃɪŋ haʊs ðət dɛrz ˈkəlʧərəl ˈkæviˌɑr ðə deɪ ðə ˈeɪʒənz tərnd waɪt ɪn ðə kəmˈjunɪti, ðə ˈkɑnsɛpt əv ““whitening”*” ɪz ˈhjuʤli ˌkɑntrəˈvərʃəl. ˈdəbəl ˈaɪˌlɪd ˈsərʤəri, noʊz ʤɑbz, ˌɛtˈsɛtərə. bət ““whitening”*” kən bi boʊθ ˈlɪtərəl ənd ˈfɪgjərətɪv. |
enter the
posted by remi 3 years ago
many of you have wondered what goes on behind the scenes, and what our long term plans are. in the earlier phases of this project we only had a 3 month contract and so we have as much freedom to “think big”. now we are unchained. we have been given the green light to continue developing and it looks like we will be able to do so for at least another months.
in the past the goals we communicated were more focused on discrete metrics: player retention, number of concurrents, and the number of copies sold. but those are just tools to measure our progress. our aim for has always been larger than what those metrics encompass.
our goal is to reinvigorate the game and bring about a new “golden era” for gaming, and in doing so to contribute to overarching goal to unite the world through play.
but how can we achieve that? our current boards give a good view of what we are working on, but is focused only on the short-term. enter the:
roadmaps are used for communicating a high-level plan and the general of large features. the first thing you may notice about our is that there are no dates on it. this is because not meant to be a promise as to when a feature will be completed, but it is a useful tool to communicate what we want to achieve, and in the order we think we will be able to achieve it.
our is also not an inclusive list of everything we plan to work on. focusing on only the large features and include work we will continue to do on balance, gameplay, bug fixing, performance improvements, stability, data collection, and much more. between every patch, we are also looking for “quick wins” tasks which will give large payoffs relative to the amount of time that would need to be invested. tasks where the amount of work required is very small compared to the amount of value they produce to the community.
there are many things we could highlight from our, but just highlight one: converting the engine to 64 bit. this is something said in the past is likely never happening… until the fates conspired and now actually become a possibility.
we’re very excited about the potential that all these features will bring to the game. sure this will inspire even more questions than the number of answers it may provide. this is why decided to write this post and unveil our before recording a video. please visit our page to submit your questions and others’.
please enable javascript to view the comments powered by vanilla. | ˈɛnər ðə ˈpoʊstɪd baɪ ˈrɛmi 3 jɪrz əˈgoʊ ˈmɛni əv ju hæv ˈwəndərd wət goʊz ɔn bɪˈhaɪnd ðə sinz, ənd wət ɑr lɔŋ tərm plænz ər. ɪn ðə ˈərliər ˈfeɪzɪz əv ðɪs ˈprɑʤɛkt wi ˈoʊnli hæd ə 3 mənθ ˈkɑnˌtrækt ənd soʊ wi hæv ɛz məʧ ˈfridəm tɪ big”*”. naʊ wi ər unchained*. wi hæv bɪn ˈgɪvɪn ðə grin laɪt tɪ kənˈtɪnju dɪˈvɛləpɪŋ ənd ɪt lʊks laɪk wi wɪl bi ˈeɪbəl tɪ du soʊ fər æt list əˈnəðər mənθs. ɪn ðə pæst ðə goʊlz wi kəmˈjunəˌkeɪtɪd wər mɔr ˈfoʊkɪst ɔn dɪˈskrit ˈmɛtrɪks: pleɪər riˈtɛnʃən, ˈnəmbər əv concurrents*, ənd ðə ˈnəmbər əv ˈkɑpiz soʊld. bət ðoʊz ər ʤɪst tulz tɪ ˈmɛʒər ɑr ˈprɑˌgrɛs. ɑr eɪm fər həz ˈɔlˌweɪz bɪn ˈlɑrʤər ðən wət ðoʊz ˈmɛtrɪks ɛnˈkəmpəs. ɑr goʊl ɪz tɪ ˌriɪnˈvɪgərˌeɪt ðə geɪm ənd brɪŋ əˈbaʊt ə nu era”*” fər ˈgeɪmɪŋ, ənd ɪn duɪŋ soʊ tɪ kənˈtrɪbjut tɪ ˈoʊvərˌɑrʧɪŋ goʊl tɪ ˈjuˌnaɪt ðə wərld θru pleɪ. bət haʊ kən wi əˈʧiv ðət? ɑr ˈkɑrənt bɔrdz gɪv ə gʊd vju əv wət wi ər ˈwərkɪŋ ɔn, bət ɪz ˈfoʊkɪst ˈoʊnli ɔn ðə ˌʃɔrtˈtərm. ˈɛnər ðə: ər juzd fər kəmˈjunəˌkeɪtɪŋ ə ˌhaɪˈlɛvəl plæn ənd ðə ˈʤɛnərəl əv lɑrʤ ˈfiʧərz. ðə fərst θɪŋ ju meɪ ˈnoʊtɪs əˈbaʊt ɑr ɪz ðət ðɛr ər noʊ deɪts ɔn ɪt. ðɪs ɪz bɪˈkəz nɑt mɛnt tɪ bi ə ˈprɑməs ɛz tɪ wɪn ə ˈfiʧər wɪl bi kəmˈplitɪd, bət ɪt ɪz ə ˈjusfəl tul tɪ kəmˈjunəˌkeɪt wət wi wɔnt tɪ əˈʧiv, ənd ɪn ðə ˈɔrdər wi θɪŋk wi wɪl bi ˈeɪbəl tɪ əˈʧiv ɪt. ɑr ɪz ˈɔlsoʊ nɑt ən ˌɪnˈklusɪv lɪst əv ˈɛvriˌθɪŋ wi plæn tɪ wərk ɔn. ˈfoʊkɪsɪŋ ɔn ˈoʊnli ðə lɑrʤ ˈfiʧərz ənd ˌɪnˈklud wərk wi wɪl kənˈtɪnju tɪ du ɔn ˈbæləns, ˈgeɪmˌpleɪ, bəg ˈfɪksɪŋ, pərˈfɔrməns ˌɪmˈpruvmənts, stəˈbɪlɪti, ˈdætə kəˈlɛkʃən, ənd məʧ mɔr. bɪtˈwin ˈɛvəri pæʧ, wi ər ˈɔlsoʊ ˈlʊkɪŋ fər wins”*” tæsks wɪʧ wɪl gɪv lɑrʤ peɪɔfs ˈrɛlətɪv tɪ ðə əˈmaʊnt əv taɪm ðət wʊd nid tɪ bi ˌɪnˈvɛstɪd. tæsks wɛr ðə əˈmaʊnt əv wərk rikˈwaɪərd ɪz ˈvɛri smɔl kəmˈpɛrd tɪ ðə əˈmaʊnt əv ˈvælju ðeɪ ˈproʊdus tɪ ðə kəmˈjunɪti. ðɛr ər ˈmɛni θɪŋz wi kʊd ˈhaɪˌlaɪt frəm ɑr, bət ʤɪst ˈhaɪˌlaɪt wən: kənˈvərtɪŋ ðə ˈɪnʤən tɪ 64 bɪt. ðɪs ɪz ˈsəmθɪŋ sɛd ɪn ðə pæst ɪz ˈlaɪkli ˈnɛvər happening…*… ənˈtɪl ðə feɪts kənˈspaɪərd ənd naʊ ˈæˌkʧuəli bɪˈkəm ə ˌpɑsəˈbɪləˌti. ˈvɛri ɪkˈsaɪtɪd əˈbaʊt ðə pəˈtɛnʃəl ðət ɔl ðiz ˈfiʧərz wɪl brɪŋ tɪ ðə geɪm. ʃʊr ðɪs wɪl ˌɪnˈspaɪr ˈivɪn mɔr kˈwɛsʧənz ðən ðə ˈnəmbər əv ˈænsərz ɪt meɪ prəˈvaɪd. ðɪs ɪz waɪ ˌdɪˈsaɪdɪd tɪ raɪt ðɪs poʊst ənd ənˈveɪl ɑr ˌbiˈfɔr rɪˈkɔrdɪŋ ə ˈvɪdioʊ. pliz ˈvɪzɪt ɑr peɪʤ tɪ səbˈmɪt jʊr kˈwɛsʧənz ənd others’*’. pliz ɪˈneɪbəl ˈʤɑvəˌskrɪpt tɪ vju ðə ˈkɑmɛnts paʊərd baɪ vəˈnɪlə. |
where does one begin to write about one of the finest and most popular novels ever written? by speaking about how it influenced the modern classic american gods, whose author neil counts lord of light as one of his favourite books, as does george martin? that perhaps one of the most creatively twisted sci-fi adaptations of indian mythology? that its cloaking of science or rather its is a great example of arthur c. third law, that ‘any sufficiently advanced technology is indistinguishable from magic’? about how it uses science fiction to talk about religion and revolution, how absolute power corrupts absolutely, about freedom, the class system, suffering, social inequality, conflict and gender fluidity?
perhaps we should just begin with this 1968 hugo award winning own opening lines it happens to be one of the best opening lines in any book, sci-fi or otherwise. this is how lord of light starts:
his followers called him and said he was a god. he preferred to drop the and the, and called himself sam. he never claimed to be a god. but then, he never claimed not to be a god.
written in the trademark style of roger zelazny, which combines ancient myth and modern technology, placing gods in a modern context, and exploring human psychology, philosophy and political systems with crisp dialogue all in a lovely melange of symbolism, aphorism, anachronism, poetry and humour lord of light tells the story of sam and his rebellion against the gods. and if that enough, the book abounds in twists, turns, intrigue, sin, back-stabbing, betrayal and many a battle.
a little bit of background here. eons ago, the spaceship star of india carrying human colonists from (the and earth) land on a distant alien planet populated by hostile beings of energy. to survive, to defeat the indigenous creatures and to be able to the planet successfully, the crew augment themselves with chemicals, genetic engineering, and technology to mutate themselves into stronger, powerful and immortal beings, and in the process take on specific attributes for themselves and set themselves up as gods on the hindu pantheon. thus we have the trinity of brahma, vishnu and shiva; the death god who is also the creator of the fearsome technology and weapons that the gods wield; kali, the goddess of destruction; kubera, who is one of the or guardians; and ratri, the goddess of the night. and yes, there is also (nee renfrew, the chaplain) who as a staunch christian is disgusted by all this hinduism plots to conquer and convert the planet with an army of zombies. yes, this book has it all (i did say it was creatively twisted!)
these people-who-became-gods, over time, control everything on the planet, the population progeny of their own and the passengers of the spaceship expecting nothing more than subservience and absolute obedience to their rules. heaven is nothing but the city in which these gods revel high above in the mountains and hell is nothing but the place in which the original inhabitants, the now considered demons are bound and caged starting with their leader taraka. the gods are immortal because of a technique of mind transfer, where they transfer their from their old bodies into new, with their powers intact.
it is this reincarnation technology that these gods control and keep to themselves, apart from all the other tech of course that gives them the power over the people. for the law of karma in this world is nothing but this: follow the rules and after you die, you will get reborn in a healthy human body of your choice. displease the gods, and your new body may have genetic defects and physical handicaps, just punishment of course. commit a crime against the order and see yourself reincarnated as an animal. as simple as that.
only one man, one of the first, like the gods, decides to stand against them. over many lifetimes, he has been known by many names kalkin, siddhartha, maitreya, manjusri, tathagatha, buddha, and who is now, binder of demons, lord of light. he personally prefers the name sam. sam is an accelerationist, a person who believes that technology and knowledge must be freely available to all the people, and so sets in motion the process that leads to the birth of buddhism, much to the chagrin of the other gods who tolerate such tactics. in this sense sam is like prometheus who in greek myth stole fire that the gods so jealously guarded and gave it to humankind. and like prometheus, sam shall face the wrath of the gods. the books then is the story of rebellion, the birth of buddhism (truly on the very real indian history of those times), how it comes to be and what happens next.
the last two paragraphs are just the backstory, not the whole story by any stretch nor do they even contain spoilers. the real fun is in the reading, and if it does get challenging, stick with it and you will be rewarded. so i shall say no more about the story except that tightly plotted and along at an even pace most of the time and in parts. the fights and battles are of course the most exhilarating parts, brilliantly described and, almost choreographed like a peter jackson epic battle. and to balance it, you also have musings on philosophy and of course, religion.
lord of light also contains one of the most famous puns in science fiction history (about halfway into chapter 2; look out for it!). and speaking of chapters, it would be more fitting to think of them as episodes arranged in a more or less chronological sequence of events, with each episode an individual tale that come together to form a whole as the story progresses. each episode is preceded by short intros that give context and background to that particular chapter (hot tip: the intros will be more enjoyable if you have a case of paracusia, a ‘disorder’ wherein you hear everything you read in the comforting voice of morgan freeman).
and all of this in just about 250 satisfying pages (at least in the 1971 panther books edition).
so if this book is so awesome, why it made into a movie? it was, and called argo. but, not really. and therein lies an interesting story.
in the mid-70s, comic book fan and lover of science fiction barry ira bought the movie rights to lord of light and wrote a complete screenplay based on it, along with a detailed script treatment. his plan was to use the sets of the movie as permanent structures that form the core of a-themed park called science fiction land; a project that included luminaries such as the make-up wizard behind planet of the apes, john chambers, author ray bradbury, the architect, inventor and futurist buckminster fuller, and most of all, the king of comics, the legendary artist jack kirby who created the illustrations for all the characters, the locations and an overall visual world for the film. unfortunately the project got embroiled in all kinds of legal tangles and charges of fraud and embezzlement and was abandoned.
the argo connection
the script, along with illustrations, would lie in development hell till 1979 when some iranian activists would storm the us embassy in tehran during the iranian revolution and take the embassy staff hostage; all except for six people, escaped and found shelter in the home of the canadian ambassador, and had to be exfiltrated. yes, this is the true story that the ben affleck movie argo is based on. and when cia agent tony mendez (played by affleck) contacted john chambers to identify a movie script they could use as cover (positioning himself and the other people from the us embassy as location scouts for a science fiction film in development), chambers directed him to a project worked on earlier. you guessed it, lord of light!
it was the lord of light script by that mendez used, along with jack illustrations, as a cover for himself and the six people. the lord of light movie a name that the cia changed to argo and its indian elements and need for exotic locations, all fitted in well and supported their story. but just like in version the canadians do much when in reality, the operation is called the ‘canadian caper’ for a reason there is no mention of, kirby, or lord of light in argo the film.
well, hollywood and its ‘based-on-a-true-story’ films for you.
a contest, and a giveaway!
but in more cheerful news, the contest is back, and this time giving away not one, but two copies of the masterworks edition of this book! because lord of light is two good .
given what you read above, about how, in lord of light, and the law of karma are underpinned by technology, more specifically tech, like to hear how you would in the same vein describe or explain any other divine rule, belief or practice of your choice. could be from any religion/faith. do submit your entries in the comments sections below before thursday, march 16. you can also tweet to us with the hashtag or leave a note on the facebook page.
i wish you all the best! and happy reading. see you next friday with another edition of new worlds weekly, only on. live long and prosper.
ps: now you too, dear reader, know that the original lord of light was not from a song of ice and fire (game of on tv), but sam. given that george martin was a good friend of roger zelazny, perhaps we can confidently presume that’s epithet was nod to a book he considers to be one of the five best novels ever written. | wɛr dɪz wən bɪˈgɪn tɪ raɪt əˈbaʊt wən əv ðə ˈfaɪnəst ənd moʊst ˈpɑpjələr ˈnɑvəlz ˈɛvər ˈrɪtən? baɪ ˈspikɪŋ əˈbaʊt haʊ ɪt ˈɪnfluənst ðə ˈmɑdərn ˈklæsɪk əˈmɛrɪkən gɑdz, huz ˈɔθər nil kaʊnts lɔrd əv laɪt ɛz wən əv hɪz ˈfeɪvərɪt bʊks, ɛz dɪz ʤɔrʤ ˈmɑrtɪn? ðət pərˈhæps wən əv ðə moʊst kriˈeɪtɪvli tˈwɪstɪd ˌsaɪˈfaɪ ˌædəpˈteɪʃənz əv ˈɪndiən məˈθɑləˌʤi? ðət ɪts ˈkloʊkɪŋ əv saɪəns ər ˈrəðər ɪts ɪz ə greɪt ɪgˈzæmpəl əv ˈɑrθər si. θərd lɔ, ðət səˈfɪʃəntli ədˈvænst tɛkˈnɑləʤi ɪz ˌɪndɪˈstɪŋgwɪʃəbəl frəm magic’*’? əˈbaʊt haʊ ɪt ˈjuzɪz saɪəns ˈfɪkʃən tɪ tɔk əˈbaʊt rɪˈlɪʤən ənd ˌrɛvəˈluʃən, haʊ ˈæbsəˌlut paʊər kərəpts ˌæbsəˈlutli, əˈbaʊt ˈfridəm, ðə klæs ˈsɪstəm, ˈsəfərɪŋ, ˈsoʊʃəl ˌɪnɪkˈwɑləti, ˈkɑnflɪkt ənd ˈʤɛndər fluˈɪdəti? pərˈhæps wi ʃʊd ʤɪst bɪˈgɪn wɪθ ðɪs 1968 ˈjugoʊ əˈwɔrd ˈwɪnɪŋ oʊn ˈoʊpənɪŋ laɪnz ɪt ˈhæpənz tɪ bi wən əv ðə bɛst ˈoʊpənɪŋ laɪnz ɪn ˈɛni bʊk, ˌsaɪˈfaɪ ər ˈəðərˌwaɪz. ðɪs ɪz haʊ lɔrd əv laɪt stɑrts: hɪz ˈfɑloʊərz kɔld ɪm ənd sɛd hi wɑz ə gɑd. hi prɪˈfərd tɪ drɔp ðə ənd ðə, ənd kɔld hɪmˈsɛlf sæm. hi ˈnɛvər kleɪmd tɪ bi ə gɑd. bət ðɛn, hi ˈnɛvər kleɪmd nɑt tɪ bi ə gɑd. ˈrɪtən ɪn ðə ˈtreɪdˌmɑrk staɪl əv ˈrɑʤər zɪˈlɑzni, wɪʧ kəmˈbaɪnz ˈeɪnʧənt mɪθ ənd ˈmɑdərn tɛkˈnɑləʤi, ˈpleɪsɪŋ gɑdz ɪn ə ˈmɑdərn ˈkɑntɛkst, ənd ɪkˈsplɔrɪŋ ˈjumən saɪˈkɑləʤi, fəˈlɑsəfi ənd pəˈlɪtɪkəl ˈsɪstəmz wɪθ krɪsp ˈdaɪəˌlɔg ɔl ɪn ə ˈləvli ˈmɛlæŋ əv ˈsɪmbəˌlɪzəm, ˈæfərˌɪzəm, əˈnækrəˌnɪzəm, ˈpoʊətri ənd ˈhjumər lɔrd əv laɪt tɛlz ðə ˈstɔri əv sæm ənd hɪz rɪˈbɛljən əˈgɛnst ðə gɑdz. ənd ɪf ðət ɪˈnəf, ðə bʊk əˈbaʊndz ɪn twɪsts, tərnz, ˌɪnˈtrig, sɪn, back-stabbing*, bɪˈtreɪəl ənd ˈmɛni ə ˈbætəl. ə ˈlɪtəl bɪt əv ˈbækˌgraʊnd hir. iɑnz əˈgoʊ, ðə ˈspeɪsˌʃɪp stɑr əv ˈɪndiə ˈkɛriɪŋ ˈjumən ˈkɑlənɪsts frəm (ðə ənd ərθ) lænd ɔn ə ˈdɪstənt ˈeɪliən ˈplænət ˈpɑpjəˌleɪtəd baɪ ˈhɑstəl biɪŋz əv ˈɛnərʤi. tɪ sərˈvaɪv, tɪ dɪˈfit ðə ˌɪnˈdɪʤənəs ˈkriʧərz ənd tɪ bi ˈeɪbəl tɪ ðə ˈplænət səkˈsɛsfəli, ðə kru ɔgˈmɛnt ðɛmˈsɛlvz wɪθ ˈkɛmɪkəlz, ʤəˈnɛtɪk ˈɛnʤəˈnɪrɪŋ, ənd tɛkˈnɑləʤi tɪ mˈjuˌteɪt ðɛmˈsɛlvz ˈɪntu ˈstrɔŋgər, ˈpaʊərfəl ənd ˌɪˈmɔrtəl biɪŋz, ənd ɪn ðə ˈprɔˌsɛs teɪk ɔn spɪˈsɪfɪk əˈtrɪˌbjuts fər ðɛmˈsɛlvz ənd sɛt ðɛmˈsɛlvz əp ɛz gɑdz ɔn ðə ˈhɪnˌdu ˈpænθiˌɑn. ðəs wi hæv ðə ˈtrɪnɪti əv brahma*, ˈvɪʃnu ənd ˈʃivə; ðə dɛθ gɑd hu ɪz ˈɔlsoʊ ðə kriˈeɪtər əv ðə ˈfɪrsəm tɛkˈnɑləʤi ənd ˈwɛpənz ðət ðə gɑdz wild; kali*, ðə ˈgɑdəs əv dɪˈstrəkʃən; kubera*, hu ɪz wən əv ðə ər ˈgɑrdiənz; ənd ratri*, ðə ˈgɑdəs əv ðə naɪt. ənd jɛs, ðɛr ɪz ˈɔlsoʊ (ni ˈrɛnfru, ðə ˈʧæplən) hu ɛz ə stɔnʧ ˈkrɪsʧɪn ɪz dɪsˈgəstɪd baɪ ɔl ðɪs ˈhɪnʤuˌɪzəm plɑts tɪ ˈkɑŋkər ənd ˈkɑnvərt ðə ˈplænət wɪθ ən ˈɑrmi əv ˈzɑmbiz. jɛs, ðɪs bʊk həz ɪt ɔl (aɪ dɪd seɪ ɪt wɑz kriˈeɪtɪvli tˈwɪstɪd!) ðiz people-who-became-gods*, ˈoʊvər taɪm, kənˈtroʊl ˈɛvriˌθɪŋ ɔn ðə ˈplænət, ðə ˌpɑpjəˈleɪʃən ˈprɑʤəni əv ðɛr oʊn ənd ðə ˈpæsənʤərz əv ðə ˈspeɪsˌʃɪp ɪkˈspɛktɪŋ ˈnəθɪŋ mɔr ðən səbˈsərviəns ənd ˈæbsəˌlut oʊˈbidiəns tɪ ðɛr rulz. ˈhɛvən ɪz ˈnəθɪŋ bət ðə ˈsɪti ɪn wɪʧ ðiz gɑdz ˈrɛvəl haɪ əˈbəv ɪn ðə ˈmaʊntənz ənd hɛl ɪz ˈnəθɪŋ bət ðə pleɪs ɪn wɪʧ ðə ərˈɪʤənəl ˌɪnˈhæbɪtənts, ðə naʊ kənˈsɪdərd ˈdimənz ər baʊnd ənd keɪʤd ˈstɑrtɪŋ wɪθ ðɛr ˈlidər taraka*. ðə gɑdz ər ˌɪˈmɔrtəl bɪˈkəz əv ə tɛkˈnik əv maɪnd ˈtrænsfər, wɛr ðeɪ ˈtrænsfər ðɛr frəm ðɛr oʊld ˈbɑdiz ˈɪntu nu, wɪθ ðɛr paʊərz ˌɪnˈtækt. ɪt ɪz ðɪs ˌriɪnkɑrˈneɪʃən tɛkˈnɑləʤi ðət ðiz gɑdz kənˈtroʊl ənd kip tɪ ðɛmˈsɛlvz, əˈpɑrt frəm ɔl ðə ˈəðər tɛk əv kɔrs ðət gɪvz ðɛm ðə paʊər ˈoʊvər ðə ˈpipəl. fər ðə lɔ əv ˈkɑrmə ɪn ðɪs wərld ɪz ˈnəθɪŋ bət ðɪs: ˈfɑloʊ ðə rulz ənd ˈæftər ju daɪ, ju wɪl gɪt ˈriˈbɔrn ɪn ə ˈhɛlθi ˈjumən ˈbɑdi əv jʊr ʧɔɪs. dɪˈspliz ðə gɑdz, ənd jʊr nu ˈbɑdi meɪ hæv ʤəˈnɛtɪk ˈdifɛkts ənd ˈfɪzɪkəl ˈhændiˌkæps, ʤɪst ˈpənɪʃmənt əv kɔrs. kəˈmɪt ə kraɪm əˈgɛnst ðə ˈɔrdər ənd si ˈjɔrsɛlf ˌriɪnˈkɑrˌneɪtɪd ɛz ən ˈænəməl. ɛz ˈsɪmpəl ɛz ðət. ˈoʊnli wən mæn, wən əv ðə fərst, laɪk ðə gɑdz, ˌdɪˈsaɪdz tɪ stænd əˈgɛnst ðɛm. ˈoʊvər ˈmɛni ˈlaɪfˌtaɪmz, hi həz bɪn noʊn baɪ ˈmɛni neɪmz kalkin*, sɪˈdɑrˌtə, maitreya*, manjusri*, tathagatha*, ˈbudə, ənd hu ɪz naʊ, ˈbaɪndər əv ˈdimənz, lɔrd əv laɪt. hi ˈpərsənəli prɪˈfərz ðə neɪm sæm. sæm ɪz ən accelerationist*, ə ˈpərsən hu bɪˈlivz ðət tɛkˈnɑləʤi ənd ˈnɑlɪʤ məst bi ˈfrili əˈveɪləbəl tɪ ɔl ðə ˈpipəl, ənd soʊ sɛts ɪn ˈmoʊʃən ðə ˈprɔˌsɛs ðət lidz tɪ ðə bərθ əv ˈbudɪzəm, məʧ tɪ ðə ʃəˈgrɪn əv ðə ˈəðər gɑdz hu ˈtɑlərˌeɪt səʧ ˈtæktɪks. ɪn ðɪs sɛns sæm ɪz laɪk prəˈmiˌθiəs hu ɪn grik mɪθ stoʊl faɪər ðət ðə gɑdz soʊ ˈʤɛləsli ˈgɑrdɪd ənd geɪv ɪt tɪ ˈhjumənˌkaɪnd. ənd laɪk prəˈmiˌθiəs, sæm ʃæl feɪs ðə ræθ əv ðə gɑdz. ðə bʊks ðɛn ɪz ðə ˈstɔri əv rɪˈbɛljən, ðə bərθ əv ˈbudɪzəm (ˈtruli ɔn ðə ˈvɛri ril ˈɪndiən ˈhɪstəri əv ðoʊz taɪmz), haʊ ɪt kəmz tɪ bi ənd wət ˈhæpənz nɛkst. ðə læst tu ˈpɛrəˌgræfs ər ʤɪst ðə backstory*, nɑt ðə hoʊl ˈstɔri baɪ ˈɛni strɛʧ nɔr du ðeɪ ˈivɪn kənˈteɪn ˈspɔɪlərz. ðə ril fən ɪz ɪn ðə ˈrɛdɪŋ, ənd ɪf ɪt dɪz gɪt ˈʧælənʤɪŋ, stɪk wɪθ ɪt ənd ju wɪl bi rɪˈwɔrdɪd. soʊ aɪ ʃæl seɪ noʊ mɔr əˈbaʊt ðə ˈstɔri ɪkˈsɛpt ðət ˈtaɪtli ˈplɑtɪd ənd əˈlɔŋ æt ən ˈivɪn peɪs moʊst əv ðə taɪm ənd ɪn pɑrts. ðə faɪts ənd ˈbætəlz ər əv kɔrs ðə moʊst ɪgˈzɪlərˌeɪtɪŋ pɑrts, ˈbrɪljəntli dɪˈskraɪbd ənd, ˈɔlˌmoʊst ˈkɔriəˌgræft laɪk ə ˈpitər ˈʤæksən ˈɛpɪk ˈbætəl. ənd tɪ ˈbæləns ɪt, ju ˈɔlsoʊ hæv mˈjuzɪŋz ɔn fəˈlɑsəfi ənd əv kɔrs, rɪˈlɪʤən. lɔrd əv laɪt ˈɔlsoʊ kənˈteɪnz wən əv ðə moʊst ˈfeɪməs pənz ɪn saɪəns ˈfɪkʃən ˈhɪstəri (əˈbaʊt ˈhæfˈweɪ ˈɪntu ˈʧæptər 2 lʊk aʊt fər ɪt!). ənd ˈspikɪŋ əv ˈʧæptərz, ɪt wʊd bi mɔr ˈfɪtɪŋ tɪ θɪŋk əv ðɛm ɛz ˈɛpɪˌsoʊdz əreɪnʤd ɪn ə mɔr ər lɛs ˌkrɑnəˈlɑʤɪkəl ˈsikwəns əv ɪˈvɛnts, wɪθ iʧ ˈɛpɪˌsoʊd ən ˌɪndəˈvɪʤəwəl teɪl ðət kəm təˈgɛðər tɪ fɔrm ə hoʊl ɛz ðə ˈstɔri ˈprɑˌgrɛsəz. iʧ ˈɛpɪˌsoʊd ɪz prɪˈsidɪd baɪ ʃɔrt ˈɪntroʊz ðət gɪv ˈkɑntɛkst ənd ˈbækˌgraʊnd tɪ ðət ˌpɑˈtɪkjələr ˈʧæptər (hɑt tɪp: ðə ˈɪntroʊz wɪl bi mɔr ˌɛnˈʤɔɪəbəl ɪf ju hæv ə keɪs əv paracusia*, ə ‘‘disorder’*’ wɛˈrɪn ju hir ˈɛvriˌθɪŋ ju rɛd ɪn ðə ˈkəmfərtɪŋ vɔɪs əv ˈmɔrgən ˈfrimən). ənd ɔl əv ðɪs ɪn ʤɪst əˈbaʊt 250 ˈsætɪsˌfaɪɪŋ ˈpeɪʤɪz (æt list ɪn ðə 1971 ˈpænθər bʊks ɪˈdɪʃən). soʊ ɪf ðɪs bʊk ɪz soʊ ˈɔsəm, waɪ ɪt meɪd ˈɪntu ə ˈmuvi? ɪt wɑz, ənd kɔld ˈɑrgoʊ. bət, nɑt ˈrɪli. ənd ðɛˈrɪn laɪz ən ˈɪntəˌrɛstɪŋ ˈstɔri. ɪn ðə mid-70s*, ˈkɑmɪk bʊk fæn ənd ˈləvər əv saɪəns ˈfɪkʃən ˈbɛri ˌaɪˌɑˈreɪ bɔt ðə ˈmuvi raɪts tɪ lɔrd əv laɪt ənd roʊt ə kəmˈplit ˈskrinˌpleɪ beɪst ɔn ɪt, əˈlɔŋ wɪθ ə dɪˈteɪld skrɪpt ˈtritmənt. hɪz plæn wɑz tɪ juz ðə sɛts əv ðə ˈmuvi ɛz ˈpərmɑˌnɛnt ˈstrəkʧərz ðət fɔrm ðə kɔr əv ə pɑrk kɔld saɪəns ˈfɪkʃən lænd; ə ˈprɑʤɛkt ðət ˌɪnˈkludɪd ˈluməˌnɛriz səʧ ɛz ðə ˈmeɪˌkəp ˈwɪzərd bɪˈhaɪnd ˈplænət əv ðə eɪps, ʤɑn ˈʧeɪmbərz, ˈɔθər reɪ ˈbrædˌbɛri, ðə ˈɑrkəˌtɛkt, ˌɪnˈvɛntər ənd fˈjuʧərɪst ˈbəkˌmɪnstər ˈfʊlər, ənd moʊst əv ɔl, ðə kɪŋ əv ˈkɑmɪks, ðə ˈlɛʤənˌdɛri ˈɑrtɪst ʤæk ˈkərbi hu kriˈeɪtɪd ðə ˌɪləˈstreɪʃənz fər ɔl ðə ˈkɛrɪktərz, ðə loʊˈkeɪʃənz ənd ən ˈoʊvərˌɔl ˈvɪʒəwəl wərld fər ðə fɪlm. ənˈfɔrʧənətli ðə ˈprɑʤɛkt gɑt ɛmˈbrɔɪld ɪn ɔl kaɪnz əv ˈligəl ˈtæŋgəlz ənd ˈʧɑrʤɪz əv frɔd ənd ɛmˈbɛzəlmənt ənd wɑz əˈbændənd. ðə ˈɑrgoʊ kəˈnɛkʃən ðə skrɪpt, əˈlɔŋ wɪθ ˌɪləˈstreɪʃənz, wʊd laɪ ɪn dɪˈvɛləpmənt hɛl tɪl 1979 wɪn səm ˌɪˈrɑniən ˈæktɪvɪsts wʊd stɔrm ðə ˈjuˈɛs ˈɛmbəsi ɪn ˌteɪˈrɑn ˈdʊrɪŋ ðə ˌɪˈrɑniən ˌrɛvəˈluʃən ənd teɪk ðə ˈɛmbəsi stæf ˈhɑstɪʤ; ɔl ɪkˈsɛpt fər sɪks ˈpipəl, ɪˈskeɪpt ənd faʊnd ˈʃɛltər ɪn ðə hoʊm əv ðə kəˈneɪdiən æmˈbæsədər, ənd hæd tɪ bi exfiltrated*. jɛs, ðɪs ɪz ðə tru ˈstɔri ðət ðə bɛn ˈæflɪk ˈmuvi ˈɑrgoʊ ɪz beɪst ɔn. ənd wɪn siaɪeɪ ˈeɪʤənt ˈtoʊni ˈmɛndɛz (pleɪd baɪ ˈæflɪk) ˈkɑnˌtæktɪd ʤɑn ˈʧeɪmbərz tɪ aɪˈdɛntəˌfaɪ ə ˈmuvi skrɪpt ðeɪ kʊd juz ɛz ˈkəvər (pəˈzɪʃənɪŋ hɪmˈsɛlf ənd ðə ˈəðər ˈpipəl frəm ðə ˈjuˈɛs ˈɛmbəsi ɛz loʊˈkeɪʃən skaʊts fər ə saɪəns ˈfɪkʃən fɪlm ɪn dɪˈvɛləpmənt), ˈʧeɪmbərz dɪˈrɛktɪd ɪm tɪ ə ˈprɑʤɛkt wərkt ɔn ˈərliər. ju gɛst ɪt, lɔrd əv laɪt! ɪt wɑz ðə lɔrd əv laɪt skrɪpt baɪ ðət ˈmɛndɛz juzd, əˈlɔŋ wɪθ ʤæk ˌɪləˈstreɪʃənz, ɛz ə ˈkəvər fər hɪmˈsɛlf ənd ðə sɪks ˈpipəl. ðə lɔrd əv laɪt ˈmuvi ə neɪm ðət ðə siaɪeɪ ʧeɪnʤd tɪ ˈɑrgoʊ ənd ɪts ˈɪndiən ˈɛləmənts ənd nid fər ɪgˈzɑtɪk loʊˈkeɪʃənz, ɔl ˈfɪtɪd ɪn wɛl ənd səˈpɔrtɪd ðɛr ˈstɔri. bət ʤɪst laɪk ɪn ˈvərʒən ðə kəˈneɪdiənz du məʧ wɪn ɪn ˌriˈæləˌti, ðə ˌɑpərˈeɪʃən ɪz kɔld ðə caper’*’ fər ə ˈrizən ðɛr ɪz noʊ ˈmɛnʃən əv, ˈkərbi, ər lɔrd əv laɪt ɪn ˈɑrgoʊ ðə fɪlm. wɛl, ˈhɑliˌwʊd ənd ɪts ‘‘based-on-a-true-story’*’ fɪlmz fər ju. ə ˈkɑntɛst, ənd ə ˈgɪvəˌweɪ! bət ɪn mɔr ˈʧɪrfəl nuz, ðə ˈkɑntɛst ɪz bæk, ənd ðɪs taɪm ˈgɪvɪŋ əˈweɪ nɑt wən, bət tu ˈkɑpiz əv ðə ˈmæstərˌwərks ɪˈdɪʃən əv ðɪs bʊk! bɪˈkəz lɔrd əv laɪt ɪz tu gʊd ˈgɪvɪn wət ju rɛd əˈbəv, əˈbaʊt haʊ, ɪn lɔrd əv laɪt, ənd ðə lɔ əv ˈkɑrmə ər ˈəndərˌpɪnd baɪ tɛkˈnɑləʤi, mɔr spəˈsɪfɪkli tɛk, laɪk tɪ hir haʊ ju wʊd ɪn ðə seɪm veɪn dɪˈskraɪb ər ɪkˈspleɪn ˈɛni ˈəðər dɪˈvaɪn rul, bɪˈlif ər ˈpræktɪs əv jʊr ʧɔɪs. kʊd bi frəm ˈɛni religion/faith*. du səbˈmɪt jʊr ˈɛntriz ɪn ðə ˈkɑmɛnts ˈsɛkʃənz bɪˈloʊ ˌbiˈfɔr ˈθərzˌdeɪ, mɑrʧ 16 ju kən ˈɔlsoʊ twit tɪ ˈjuˈɛs wɪθ ðə ˈhæʃˌtæg ər liv ə noʊt ɔn ðə ˈfeɪsˌbʊk peɪʤ. aɪ wɪʃ ju ɔl ðə bɛst! ənd ˈhæpi ˈrɛdɪŋ. si ju nɛkst ˈfraɪˌdeɪ wɪθ əˈnəðər ɪˈdɪʃən əv nu wərldz ˈwikli, ˈoʊnli ɔn. lɪv lɔŋ ənd ˈprɑspər. ps*: naʊ ju tu, dɪr ˈridər, noʊ ðət ðə ərˈɪʤənəl lɔrd əv laɪt wɑz nɑt frəm ə sɔŋ əv aɪs ənd faɪər (geɪm əv ɔn ˌtɛləˈvɪʒən), bət sæm. ˈgɪvɪn ðət ʤɔrʤ ˈmɑrtɪn wɑz ə gʊd frɛnd əv ˈrɑʤər zɪˈlɑzni, pərˈhæps wi kən ˈkɑnfədəntli prɪˈzum ðət ˈɛpəˌθɛt wɑz nɑd tɪ ə bʊk hi kənˈsɪdərz tɪ bi wən əv ðə faɪv bɛst ˈnɑvəlz ˈɛvər ˈrɪtən. |
description
the original dr. no effects “motherbrain” (delay).
the is an high end quality build delay effect, that produces classic, classy tones. this makes it the ultimate sonic tool for guitarists, bass players, keys and vocal.
with three easy to adjust and dialed in functions;
*”present” (mix of delay with the guitar signal running through) with dial range from “wet” (delay effect is fully mixed in signal when dialing clock-wise) to “dry” (no delay effect running through signal when dialed back).
*”insanity” (delay time).
*”memory” short term and long term (the amount of you prefer).
like you are used about effects, everything is very clear, and simple with use, but very efficient, robust and reliable.
the engaged delay effect has no influence on your send through signal, that stays at the same level and clarity as your original signal. preferred position is to use as the last effect in your pedal chain.
again very easy to adjust to use in various ranges. from rockabilly slabback, almost reverby, to insane oscillation spaced out tones and everything in between. fully handmade and build to last a by, from circuit and housing to the custom made tiny brain knobs as well as the box and the little brain that are included. alls are hand numbered and signed from to, because will only build 350 copies of his!
the uses a power-supply.
exclusively available at various guitar stores, listed at and here at
enjoy! | dɪˈskrɪpʃən ðə ərˈɪʤənəl ˈdɑktər. noʊ ˈifɛkts ““motherbrain”*” (dɪˈleɪ). ðə ɪz ən haɪ ɛnd kˈwɑləti bɪld dɪˈleɪ ˈifɛkt, ðət prəˈdusɪz ˈklæsɪk, ˈklæsi toʊnz. ðɪs meɪks ɪt ðə ˈəltəmət ˈsɑnɪk tul fər ˌgɪˈtɑrɪsts, bæs pleɪərz, kiz ənd ˈvoʊkəl. wɪθ θri ˈizi tɪ əˈʤəst ənd daɪəld ɪn ˈfəŋkʃənz; *””present”*” (mɪks əv dɪˈleɪ wɪθ ðə gɪˈtɑr ˈsɪgnəl ˈrənɪŋ θru) wɪθ daɪəl reɪnʤ frəm ““wet”*” (dɪˈleɪ ˈifɛkt ɪz ˈfʊli mɪkst ɪn ˈsɪgnəl wɪn ˈdaɪəlɪŋ clock-wise*) tɪ ““dry”*” (noʊ dɪˈleɪ ˈifɛkt ˈrənɪŋ θru ˈsɪgnəl wɪn daɪəld bæk). *””insanity”*” (dɪˈleɪ taɪm). *””memory”*” ʃɔrt tərm ənd lɔŋ tərm (ðə əˈmaʊnt əv ju prɪˈfər). laɪk ju ər juzd əˈbaʊt ˈifɛkts, ˈɛvriˌθɪŋ ɪz ˈvɛri klɪr, ənd ˈsɪmpəl wɪθ juz, bət ˈvɛri ɪˈfɪʃənt, roʊˈbəst ənd rɪˈlaɪəbəl. ðə ɪnˈgeɪʤd dɪˈleɪ ˈifɛkt həz noʊ ˈɪnfluəns ɔn jʊr sɛnd θru ˈsɪgnəl, ðət steɪz æt ðə seɪm ˈlɛvəl ənd ˈklɛrɪti ɛz jʊr ərˈɪʤənəl ˈsɪgnəl. prɪˈfərd pəˈzɪʃən ɪz tɪ juz ɛz ðə læst ˈifɛkt ɪn jʊr ˈpɛdəl ʧeɪn. əˈgɛn ˈvɛri ˈizi tɪ əˈʤəst tɪ juz ɪn ˈvɛriəs ˈreɪnʤɪz. frəm ˈrɑkəˌbɪli slabback*, ˈɔlˌmoʊst reverby*, tɪ ˌɪnˈseɪn ˌɑsəˈleɪʃən speɪst aʊt toʊnz ənd ˈɛvriˌθɪŋ ɪn bɪtˈwin. ˈfʊli ˈhænˈmeɪd ənd bɪld tɪ læst ə baɪ, frəm ˈsərkət ənd ˈhaʊzɪŋ tɪ ðə ˈkəstəm meɪd ˈtaɪni breɪn nɑbz ɛz wɛl ɛz ðə bɑks ənd ðə ˈlɪtəl breɪn ðət ər ˌɪnˈkludɪd. ɔl ər hænd ˈnəmbərd ənd saɪnd frəm tɪ bɪˈkəz wɪl ˈoʊnli bɪld 350 ˈkɑpiz əv hɪz! ðə ˈjuzɪz ə power-supply*. ɪkˈsklusɪvli əˈveɪləbəl æt ˈvɛriəs gɪˈtɑr stɔrz, ˈlɪstɪd æt ənd hir æt ˌɛnˈʤɔɪ! |
rest service with, and express
rest service with, and express
introduction
this is a tutorial showing how to connect a rest service to. the rest service is written using and express, we will assume that you have already gone through the previous tutorial which covered creating that service. if you, you can visit the tutorial here. since explanations were already covered for some of the parts in the previous tutorial, we the explanations here. we will only cover the code that is being changed for this tutorial.
the code for this tutorial is available here on github.
setup the environment
we are going to assume that you have already installed (which is available here) and already have it running. if you already installed the module, you can install it with this command:
npm install -g
before you can start using the module, you will need to add it as a dependency. to do so, edit your file to look like this:
{ "name": "application-name", "version": "0.0.1", "private": true, "scripts": { "start": "node" }, "dependencies": { "express": "3.3.4", "mongodb":"*", "jade": "*", "stylus": "*" } }
notice we have added the “mongodb” module with the version. you can specify specific versions of the modules, which is usually preferred, but for this tutorial we should be ok with. lastly, we must execute this command to actually install the dependencies:
npm install -d
writing the code
now we are ready to make the code changes. first we will create a new file called with these contents:
var = 'users'; = require('mongodb').db; connection = require('mongodb').connection; server = require('mongodb').server; = function(host, port) { = new('users', new server(host, port));.open(function(){}); = function(cb) {.collection(userstable, function(error, users) { if (error) { cb(error, null); } else { users.find().toarray(function(error, results) { cb(error, results); }); } }); }; = function(id, cb) {.collection(userstable, function(error, users) { if (error) { cb(error, null); } else { users.findone({ _id:users.db.bson_serializer.objectid.createfromhexstring(id) }, function(error, result) { cb(error, result); }); } }); }; = function(user, cb) {.collection(userstable, function(error, users) { if (error) { cb(error, null); } else { users.insert([user], function() { cb(null, user); }); } }); }; = function(user, cb) {.collection(userstable, function(error, users) { if (error) { cb(error, null); } else { users.update({_id:users.db.bson_serializer.objectid.createfromhexstring(user._id)}, {name:user.name, state:user.state, city:user.city}, function(error, result) { cb(error, result); }); } }); }; = function(id, cb) {.collection(userstable, function(error, users) { if (error) { cb(error, null); } else { users.remove({_id:users.db.bson_serializer.objectid.createfromhexstring(id)}, function(error, result) { cb(error, result); }); } }); }; }; =;
the first couple lines are simply importing some classes from the module. notice we have added a constructor to the class, which takes the host and port of the server. in the first couple lines in the class, we create the object and open a connection.
we have the same methods in the class as were in the previous tutorial but this time instead of using a javascript array, we are storing it as a collection in. for the method, we access the collection named ‘users’ and if there are no errors, we call the method with no parameters to get all objects in the collection. finally we return this to the user, plain and simple!
now, in the method, we again access the collection from the and this time call theone method and give it a query parameter, we look for any object with the _id field set to the idiable which was passed in, but first we have to convert it to an from the hex string which we receive.
take some time to look through the user methods, they are all very similar and easy to understand. now in order to use this provider, we have some minor modifications to make to the original file:
var = 'localhost'; = 27017; = function(app) { = require('./userprovider-mongodb').userprovider; = new(mongoserver,); app.get('/users', function(req, res) {.fetchallusers(function(error, users) { res.send(users); }); }); app.post('/users', function(req, res) {.insertuser(req.body, function(error, user) { if (error) { res.send(error, 500); } else { res.send(user); } }); }); app.get('/users/:id', function(req, res) {.fetchuserbyid(req.params.id, function(error, user) { if (user == null) { res.send(error, 404); } else { res.send(user); } }); }); app.post('/users/:id', function(req, res) { _user = req.body; = req.params.id;.updateuser(_user, function(error, user) { if (error) { res.send(error, 404); } else { res.send(''); } }); }); app.delete('/users/:id', function(req, res) {.deleteuser(req.params.id, function(error, user) { if (error) { res.send(error, 404); } else { res.send(''); } }); }); }; =;
most of the file is the same with the exception of a few lines, most importantly these two lines which use the new-mongodb file and add the server and port to the constructor:
var = require('./userprovider-mongodb').userprovider; = new(mongoserver,);
testing the service
that’s really all you need to do to get the service using! you can test the service in the same way it was tested in the previous tutorial. to start up the service, again run the command:
node
in the next tutorial in this series, i will cover adding a web interface to this service. | rɛst ˈsərvɪs wɪθ, ənd ɪkˈsprɛs rɛst ˈsərvɪs wɪθ, ənd ɪkˈsprɛs ˌɪntrəˈdəkʃən ðɪs ɪz ə tuˈtɔriəl ʃoʊɪŋ haʊ tɪ kəˈnɛkt ə rɛst ˈsərvɪs tɪ. ðə rɛst ˈsərvɪs ɪz ˈrɪtən ˈjuzɪŋ ənd ɪkˈsprɛs, wi wɪl əˈsum ðət ju hæv ɔˈrɛdi gɔn θru ðə ˈpriviəs tuˈtɔriəl wɪʧ ˈkəvərd kriˈeɪtɪŋ ðət ˈsərvɪs. ɪf ju, ju kən ˈvɪzɪt ðə tuˈtɔriəl hir. sɪns ˌɛkspləˈneɪʃənz wər ɔˈrɛdi ˈkəvərd fər səm əv ðə pɑrts ɪn ðə ˈpriviəs tuˈtɔriəl, wi ðə ˌɛkspləˈneɪʃənz hir. wi wɪl ˈoʊnli ˈkəvər ðə koʊd ðət ɪz biɪŋ ʧeɪnʤd fər ðɪs tuˈtɔriəl. ðə koʊd fər ðɪs tuˈtɔriəl ɪz əˈveɪləbəl hir ɔn github*. ˈsɛˌtəp ðə ɪnˈvaɪrənmənt wi ər goʊɪŋ tɪ əˈsum ðət ju hæv ɔˈrɛdi ˌɪnˈstɔld (wɪʧ ɪz əˈveɪləbəl hir) ənd ɔˈrɛdi hæv ɪt ˈrənɪŋ. ɪf ju ɔˈrɛdi ˌɪnˈstɔld ðə ˈmɑʤul, ju kən ˌɪnˈstɔl ɪt wɪθ ðɪs kəˈmænd: ˌɪnˈstɔl -ʤi ˌbiˈfɔr ju kən stɑrt ˈjuzɪŋ ðə ˈmɑʤul, ju wɪl nid tɪ æd ɪt ɛz ə dɪˈpɛndənsi. tɪ du soʊ, ˈɛdət jʊr faɪl tɪ lʊk laɪk ðɪs: "neɪm": "application-name*", "ˈvərʒən": "ˈpraɪvət": tru, "skrɪpts": "stɑrt": "noʊd" "dɪˈpɛndənsiz": "ɪkˈsprɛs": "mongodb*":"*", "ʤeɪd": "ˈstaɪləs": ˈnoʊtɪs wi hæv ˈædɪd ðə ““mongodb”*” ˈmɑʤul wɪθ ðə ˈvərʒən ju kən ˈspɛsəˌfaɪ spɪˈsɪfɪk ˈvərʒənz əv ðə ˈmɑʤulz, wɪʧ ɪz ˈjuʒəwəli prɪˈfərd, bət fər ðɪs tuˈtɔriəl wi ʃʊd bi ˈoʊˈkeɪ wɪθ ˈlæstli, wi məst ˈɛksəˌkjut ðɪs kəˈmænd tɪ ˈæˌkʧuəli ˌɪnˈstɔl ðə dɪˈpɛndənsiz: ˌɪnˈstɔl -di ˈraɪtɪŋ ðə koʊd naʊ wi ər ˈrɛdi tɪ meɪk ðə koʊd ˈʧeɪnʤɪz. fərst wi wɪl kriˈeɪt ə nu faɪl kɔld wɪθ ðiz ˈkɑntɛnts: 'ˈjuzərz'; require('mongodb').db*; kəˈnɛkʃən require('mongodb').connection*; ˈsərvər require('mongodb').server*; function(host*, pɔrt) nu db('users*', nu server(host*, pɔrt)); this.db.open(function*(){}); function(cb*) this.db.collection(userstable*, function(error*, ˈjuzərz) ɪf (ˈɛrər) cb(error*, nəl); ɛls users.find().toarray(function(error*, rɪˈzəlts) cb(error*, rɪˈzəlts); function(id*, cb*) this.db.collection(userstable*, function(error*, ˈjuzərz) ɪf (ˈɛrər) cb(error*, nəl); ɛls users.findone*({ _id:users.db.bson_serializer.objectid.createfromhexstring(id*) function(error*, rɪˈzəlt) cb(error*, rɪˈzəlt); function(user*, cb*) this.db.collection(userstable*, function(error*, ˈjuzərz) ɪf (ˈɛrər) cb(error*, nəl); ɛls users.insert([user*], ˈfəŋkʃən() cb(null*, ˈjuzər); function(user*, cb*) this.db.collection(userstable*, function(error*, ˈjuzərz) ɪf (ˈɛrər) cb(error*, nəl); ɛls users.update({_id:users.db.bson_serializer.objectid.createfromhexstring(user._id*)}, {name:user.name*, state:user.state*, city:user.city*}, function(error*, rɪˈzəlt) cb(error*, rɪˈzəlt); function(id*, cb*) this.db.collection(userstable*, function(error*, ˈjuzərz) ɪf (ˈɛrər) cb(error*, nəl); ɛls users.remove({_id:users.db.bson_serializer.objectid.createfromhexstring(id*)}, function(error*, rɪˈzəlt) cb(error*, rɪˈzəlt); ; ðə fərst ˈkəpəl laɪnz ər ˈsɪmpli ˌɪmˈpɔrtɪŋ səm ˈklæsɪz frəm ðə ˈmɑʤul. ˈnoʊtɪs wi hæv ˈædɪd ə kənˈstrəktər tɪ ðə klæs, wɪʧ teɪks ðə hoʊst ənd pɔrt əv ðə ˈsərvər. ɪn ðə fərst ˈkəpəl laɪnz ɪn ðə klæs, wi kriˈeɪt ðə ˈɑbʤɛkt ənd ˈoʊpən ə kəˈnɛkʃən. wi hæv ðə seɪm ˈmɛθədz ɪn ðə klæs ɛz wər ɪn ðə ˈpriviəs tuˈtɔriəl bət ðɪs taɪm ˌɪnˈstɛd əv ˈjuzɪŋ ə ˈʤɑvəˌskrɪpt əreɪ, wi ər ˈstɔrɪŋ ɪt ɛz ə kəˈlɛkʃən ɪn. fər ðə ˈmɛθəd, wi ˈækˌsɛs ðə kəˈlɛkʃən neɪmd ‘‘users’*’ ənd ɪf ðɛr ər noʊ ˈɛrərz, wi kɔl ðə ˈmɛθəd wɪθ noʊ pərˈæmətərz tɪ gɪt ɔl ˈɑbʤɛkts ɪn ðə kəˈlɛkʃən. ˈfaɪnəli wi rɪˈtərn ðɪs tɪ ðə ˈjuzər, pleɪn ənd ˈsɪmpəl! naʊ, ɪn ðə ˈmɛθəd, wi əˈgɛn ˈækˌsɛs ðə kəˈlɛkʃən frəm ðə ənd ðɪs taɪm kɔl ðə ˈmɛθəd ənd gɪv ɪt ə kˈwiri pərˈæmətər, wi lʊk fər ˈɛni ˈɑbʤɛkt wɪθ ðə _ˈaɪˈdi fild sɛt tɪ ðə ˈaɪˈdi ˈvɛriəbəl wɪʧ wɑz pæst ɪn, bət fərst wi hæv tɪ ˈkɑnvərt ɪt tɪ ən frəm ðə hɛks strɪŋ wɪʧ wi rɪˈsiv. teɪk səm taɪm tɪ lʊk θru ðə ˈjuzər ˈmɛθədz, ðeɪ ər ɔl ˈvɛri ˈsɪmələr ənd ˈizi tɪ ˌəndərˈstænd. naʊ ɪn ˈɔrdər tɪ juz ðɪs prəˈvaɪdər, wi hæv səm ˈmaɪnər ˌmɑdəfəˈkeɪʃənz tɪ meɪk tɪ ðə ərˈɪʤənəl faɪl: 'localhost*'; 27017 function(app*) require('./userprovider-mongodb').userprovider*; nu userprovider(mongoserver*,); app.get('/users*', function(req*, reɪz) userprovider.fetchallusers(function(error*, ˈjuzərz) res.send(users*); app.post('/users*', function(req*, reɪz) userprovider.insertuser(req.body*, function(error*, ˈjuzər) ɪf (ˈɛrər) res.send(error*, 500 ɛls res.send(user*); app.get('/users/:id*', function(req*, reɪz) userprovider.fetchuserbyid(req.params.id*, function(error*, ˈjuzər) ɪf (ˈjuzər nəl) res.send(error*, 404 ɛls res.send(user*); app.post('/users/:id*', function(req*, reɪz) _ˈjuzər req.body*; req.params.id*; userprovider.updateuser(_user*, function(error*, ˈjuzər) ɪf (ˈɛrər) res.send(error*, 404 ɛls res.send*(''); app.delete('/users/:id*', function(req*, reɪz) userprovider.deleteuser(req.params.id*, function(error*, ˈjuzər) ɪf (ˈɛrər) res.send(error*, 404 ɛls res.send*(''); ; moʊst əv ðə faɪl ɪz ðə seɪm wɪθ ðə ɪkˈsɛpʃən əv ə fju laɪnz, moʊst ˌɪmˈpɔrtəntli ðiz tu laɪnz wɪʧ juz ðə nu faɪl ənd æd ðə ˈsərvər ənd pɔrt tɪ ðə kənˈstrəktər: require('./userprovider-mongodb').userprovider*; nu userprovider(mongoserver*,); ˈtɛstɪŋ ðə ˈsərvɪs ˈrɪli ɔl ju nid tɪ du tɪ gɪt ðə ˈsərvɪs ˈjuzɪŋ! ju kən tɛst ðə ˈsərvɪs ɪn ðə seɪm weɪ ɪt wɑz ˈtɛstɪd ɪn ðə ˈpriviəs tuˈtɔriəl. tɪ stɑrt əp ðə ˈsərvɪs, əˈgɛn rən ðə kəˈmænd: noʊd ɪn ðə nɛkst tuˈtɔriəl ɪn ðɪs ˈsɪriz, aɪ wɪl ˈkəvər ˈædɪŋ ə wɛb ˈɪnərˌfeɪs tɪ ðɪs ˈsərvɪs. |
the developer of upcoming sci-fi adventure remember me has revealed that a number of publishers passed on the game due to its female protagonist.
the gender of remember main character, nilin, was a serious stumbling block for several companies. especially the fact that she, as the player's avatar, is shown to be in a relationship with a man.
"we had some [companies] that said, 'well, we don't want to publish it because that's not going to succeed. you can't have a female character in games. it has to be a male character, simple as that,'" creative director moris told penny arcade.
"we wanted to be able to tease on private life, and that means for instance, at one point, we wanted a scene where she was kissing a guy. we had people tell us, 'you can't make a dude like the player kiss another dude in the game, that's going to feel awkward.'"
capcom announced it had picked up remember me at last year. the project had existed for some time, and was previously shown under the name adrift.
by the time remember me was shown to publishers it was already in a state where changing the character's gender would require too much work. and it was at this point that several publishers decided they were no longer interested.
"i'm like, 'if you think like that, there's no way the going to mature," moris continued. "there's a level of immersion that you need to be at, but it's not like your sexual orientation is being questioned by playing a game. i don't know, that's extremely weird to me."
from the publisher's point of view, there is a strong case for games selling worse. and for them, the bottom line is crucial.
looking back at an earlier pa report, data from video game research and consulting firm showed that, from a sample of 669 games which had protagonists of a specific gender, only 24 of these were exclusively fronted by women.
less than half had the option of a female lead, including games where you created your own character.
games with leads - where you couldn't choose any other option - did sell significantly less,'s coo geoffrey revealed.
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"games with a protagonist got half the spending of female-optional, and only 40 percent of the marketing budget of games. less than that, actually." geoffrey,
"if you look at the first three months, with the smaller quantity of games, they did not sell as well. the ones that were sold better."
male-only hero games sold 25 per cent better than those with an optional female hero, and 75 per cent better than whose with a hero.
but this doesn't tell the whole story. these figures reflect the fact that games with heroes get less than helf the marketing budget of titles with heroes.
"games with a protagonist got half the spending of female optional, and only 40 per cent of the marketing budget of games. less than that, actually," concluded.
that's the truth, then - that the people choosing what game receives what marketing budget are helping continue a prophecy. the majority of publishers continue down the safe route of funding led games, comfortable in the knowledge that, because of this, led games sell by the bucket load. | ðə dɪˈvɛləpər əv ˈəpˌkəmɪŋ ˌsaɪˈfaɪ ədˈvɛnʧər rɪˈmɛmbər mi həz rɪˈvild ðət ə ˈnəmbər əv ˈpəblɪʃərz pæst ɔn ðə geɪm du tɪ ɪts ˈfiˌmeɪl proʊˈtægənəst. ðə ˈʤɛndər əv rɪˈmɛmbər meɪn ˈkɛrɪktər, nilin*, wɑz ə ˈsɪriəs ˈstəmbəlɪŋ blɑk fər ˈsɛvərəl ˈkəmpəˌniz. əˈspɛʃəli ðə fækt ðət ʃi, ɛz ðə pleɪərz ˈævəˌtɑr, ɪz ʃoʊn tɪ bi ɪn ə riˈleɪʃənˌʃɪp wɪθ ə mæn. "wi hæd səm [ˈkəmpəˌniz] ðət sɛd, 'wɛl, wi doʊnt wɔnt tɪ ˈpəblɪʃ ɪt bɪˈkəz ðæts nɑt goʊɪŋ tɪ səkˈsid. ju kænt hæv ə ˈfiˌmeɪl ˈkɛrɪktər ɪn geɪmz. ɪt həz tɪ bi ə meɪl ˈkɛrɪktər, ˈsɪmpəl ɛz ðət,'" kriˈeɪtɪv dɪˈrɛktər ˈmɔrɪs toʊld ˈpɛni ɑrˈkeɪd. "wi ˈwɔntɪd tɪ bi ˈeɪbəl tɪ tiz ɔn ˈpraɪvət laɪf, ənd ðət minz fər ˈɪnstəns, æt wən pɔɪnt, wi ˈwɔntɪd ə sin wɛr ʃi wɑz ˈkɪsɪŋ ə gaɪ. wi hæd ˈpipəl tɛl ˈjuˈɛs, 'ju kænt meɪk ə dud laɪk ðə pleɪər kɪs əˈnəðər dud ɪn ðə geɪm, ðæts goʊɪŋ tɪ fil ˈɔkwərd.'" ˈkæpkəm əˈnaʊnst ɪt hæd pɪkt əp rɪˈmɛmbər mi æt læst jɪr. ðə ˈprɑʤɛkt hæd ɪgˈzɪstəd fər səm taɪm, ənd wɑz ˈpriviəsli ʃoʊn ˈəndər ðə neɪm əˈdrɪft. baɪ ðə taɪm rɪˈmɛmbər mi wɑz ʃoʊn tɪ ˈpəblɪʃərz ɪt wɑz ɔˈrɛdi ɪn ə steɪt wɛr ˈʧeɪnʤɪŋ ðə ˈkɛrɪktərz ˈʤɛndər wʊd ˌrikˈwaɪər tu məʧ wərk. ənd ɪt wɑz æt ðɪs pɔɪnt ðət ˈsɛvərəl ˈpəblɪʃərz ˌdɪˈsaɪdɪd ðeɪ wər noʊ ˈlɔŋgər ˈɪntəˌrɛstɪd. "əm laɪk, 'ɪf ju θɪŋk laɪk ðət, ðɛrz noʊ weɪ ðə goʊɪŋ tɪ məˈʧʊr," ˈmɔrɪs kənˈtɪnjud. "ðɛrz ə ˈlɛvəl əv ˌɪˈmərʒən ðət ju nid tɪ bi æt, bət ɪts nɑt laɪk jʊr ˈsɛkʃuəl ˌɔriɛnˈteɪʃən ɪz biɪŋ kˈwɛsʧənd baɪ pleɪɪŋ ə geɪm. aɪ doʊnt noʊ, ðæts ɪkˈstrimli wɪrd tɪ mi." frəm ðə ˈpəblɪʃərz pɔɪnt əv vju, ðɛr ɪz ə strɔŋ keɪs fər geɪmz ˈsɛlɪŋ wərs. ənd fər ðɛm, ðə ˈbɑtəm laɪn ɪz ˈkruʃəl. ˈlʊkɪŋ bæk æt ən ˈərliər pɑ rɪˈpɔrt, ˈdætə frəm ˈvɪdioʊ geɪm ˈrisərʧ ənd kənˈsəltɪŋ fərm ʃoʊd ðət, frəm ə ˈsæmpəl əv 669 geɪmz wɪʧ hæd proʊˈtægənəsts əv ə spɪˈsɪfɪk ˈʤɛndər, ˈoʊnli 24 əv ðiz wər ɪkˈsklusɪvli ˈfrəntɪd baɪ ˈwɪmən. lɛs ðən hæf hæd ðə ˈɔpʃən əv ə ˈfiˌmeɪl lɛd, ˌɪnˈkludɪŋ geɪmz wɛr ju kriˈeɪtɪd jʊr oʊn ˈkɛrɪktər. geɪmz wɪθ lidz wɛr ju ˈkʊdənt ʧuz ˈɛni ˈəðər ˈɔpʃən dɪd sɛl sɪgˈnɪfɪkəntli lɛs, ku ˈʤɛfri rɪˈvild. ðə bɛst ˈgræfɪks kɑrdz əv 2018 "geɪmz wɪθ ə proʊˈtægənəst gɑt hæf ðə ˈspɛndɪŋ əv female-optional*, ənd ˈoʊnli 40 pərˈsɛnt əv ðə ˈmɑrkətɪŋ ˈbəʤɪt əv geɪmz. lɛs ðən ðət, ˈæˌkʧuəli." ˈʤɛfri, "ɪf ju lʊk æt ðə fərst θri mənθs, wɪθ ðə sˈmɔlər kˈwɑntəti əv geɪmz, ðeɪ dɪd nɑt sɛl ɛz wɛl. ðə wənz ðət wər soʊld ˈbɛtər." ˈhɪroʊ geɪmz soʊld 25 pər sɛnt ˈbɛtər ðən ðoʊz wɪθ ən ˈɔpʃənəl ˈfiˌmeɪl ˈhɪroʊ, ənd 75 pər sɛnt ˈbɛtər ðən huz wɪθ ə ˈhɪroʊ. bət ðɪs ˈdəzənt tɛl ðə hoʊl ˈstɔri. ðiz ˈfɪgjərz rɪˈflɛkt ðə fækt ðət geɪmz wɪθ ˈhɪroʊz gɪt lɛs ðən hɛlf ðə ˈmɑrkətɪŋ ˈbəʤɪt əv ˈtaɪtəlz wɪθ ˈhɪroʊz. "geɪmz wɪθ ə proʊˈtægənəst gɑt hæf ðə ˈspɛndɪŋ əv ˈfiˌmeɪl ˈɔpʃənəl, ənd ˈoʊnli 40 pər sɛnt əv ðə ˈmɑrkətɪŋ ˈbəʤɪt əv geɪmz. lɛs ðən ðət, ˈæˌkʧuəli," kənˈkludɪd. ðæts ðə truθ, ðɛn ðət ðə ˈpipəl ˈʧuzɪŋ wət geɪm rɪˈsivz wət ˈmɑrkətɪŋ ˈbəʤɪt ər ˈhɛlpɪŋ kənˈtɪnju ə ˈprɑfəsi. ðə məˈʤɔrəti əv ˈpəblɪʃərz kənˈtɪnju daʊn ðə seɪf rut əv ˈfəndɪŋ lɛd geɪmz, ˈkəmfərtəbəl ɪn ðə ˈnɑlɪʤ ðət, bɪˈkəz əv ðɪs, lɛd geɪmz sɛl baɪ ðə ˈbəkɪt loʊd. |
i have a position on scotland becoming independent; as an american, i like my democracies big and diverse, but i also understand the frustration of scots tied to david england.
whether overall a good idea or not, however, independence would have to rest on a sound monetary foundation. and the independence movement has me worried, because what it has said on that that crucial subject seems deeply muddle-headed.
what the independence movement says is that no problem scotland will simply stay on the pound. that is, however, much more problematic than they seem to realize.
it’s true, as pointed out here, that england, i mean the rump uk, i mean continuing britain, whatever, prevent the scots from using the pound, just as the united states stop ecuador from using dollars. but the lesson of thero crisis, surely, is that sharing a common currency without having a shared federal government is very dangerous.
in fact, would be in even worse shape than thero countries, because the bank of england would be under no obligation to act as lender of last resort to scottish banks that is, it would arguably take even less responsibility for local financial stability than the ecb. and it would fall very far short of the ecb, which has in effect taken on the role of lender of last resort to governments, too.
add to this the lack of fiscal integration. the question whether scotland would on average pay more or less in taxes if independent; probably a bit less, depending on how you handle the oil revenues. instead, the question is what would happen if something goes wrong, if a slump in economy. as part of the united kingdom, scotland would receive large de facto aid, just like a u.s. state (or wales); if it were on its own, it would be on its own, like portugal.
now, scotland would presumably have high labor mobility assuming it manages somehow to join the (although that too would be surprisingly tricky) it would be under the singleropean act, and it sort of shares a common language with england (even if you sometimes wish there were subtitles). but not necessarily a good thing: what seeing in places like portugal is large-scale emigration of young workers, leaving a diminished population to bear the fiscal burden of caring for the elderly.
again, i can understand scots grievances. but if they really want to do this, they had better get real about money. | aɪ hæv ə pəˈzɪʃən ɔn ˈskɑtlənd bɪˈkəmɪŋ ˌɪndɪˈpɛndənt; ɛz ən əˈmɛrɪkən, aɪ laɪk maɪ dɪˈmɑkrəsiz bɪg ənd dɪˈvərs, bət aɪ ˈɔlsoʊ ˌəndərˈstænd ðə frəˈstreɪʃən əv skɑts taɪd tɪ ˈdeɪvɪd ˈɪŋglənd. ˈwɛðər ˈoʊvərˌɔl ə gʊd aɪˈdiə ər nɑt, ˌhaʊˈɛvər, ˌɪndɪˈpɛndəns wʊd hæv tɪ rɛst ɔn ə saʊnd ˈmɑnəˌtɛri faʊnˈdeɪʃən. ənd ðə ˌɪndɪˈpɛndəns ˈmuvmənt həz mi ˈwərid, bɪˈkəz wət ɪt həz sɛd ɔn ðət ðət ˈkruʃəl ˈsəbʤɪkt simz ˈdipli muddle-headed*. wət ðə ˌɪndɪˈpɛndəns ˈmuvmənt sɪz ɪz ðət noʊ ˈprɑbləm ˈskɑtlənd wɪl ˈsɪmpli steɪ ɔn ðə paʊnd. ðət ɪz, ˌhaʊˈɛvər, məʧ mɔr ˌprɑbləˈmætɪk ðən ðeɪ sim tɪ ˈriəˌlaɪz. tru, ɛz ˈpɔɪntɪd aʊt hir, ðət ˈɪŋglənd, aɪ min ðə rəmp uk*, aɪ min kənˈtɪnjuɪŋ ˈbrɪtən, ˌwəˈtɛvər, prɪˈvɛnt ðə skɑts frəm ˈjuzɪŋ ðə paʊnd, ʤɪst ɛz ðə juˈnaɪtɪd steɪts stɑp ˈɛkwəˌdɔr frəm ˈjuzɪŋ ˈdɔlərz. bət ðə ˈlɛsən əv ðə ˈjʊrə ˈkraɪsəs, ˈʃʊrli, ɪz ðət ˈʃɛrɪŋ ə ˈkɑmən ˈkərənsi wɪˈθaʊt ˈhævɪŋ ə ʃɛrd ˈfɛdərəl ˈgəvərnmənt ɪz ˈvɛri ˈdeɪnʤərəs. ɪn fækt, wʊd bi ɪn ˈivɪn wərs ʃeɪp ðən ðə ˈjʊrə ˈkəntriz, bɪˈkəz ðə bæŋk əv ˈɪŋglənd wʊd bi ˈəndər noʊ ˌɑbləˈgeɪʃən tɪ ækt ɛz ˈlɛndər əv læst rɪˈzɔrt tɪ ˈskɑtɪʃ bæŋks ðət ɪz, ɪt wʊd ˈɑrgjuəbli teɪk ˈivɪn lɛs riˌspɑnsəˈbɪləti fər ˈloʊkəl ˌfaɪˈnænʃəl stəˈbɪlɪti ðən ðə ecb*. ənd ɪt wʊd fɔl ˈvɛri fɑr ʃɔrt əv ðə ecb*, wɪʧ həz ɪn ˈifɛkt ˈteɪkən ɔn ðə roʊl əv ˈlɛndər əv læst rɪˈzɔrt tɪ ˈgəvərnmənts, tu. æd tɪ ðɪs ðə læk əv ˈfɪskəl ˌɪnəˈgreɪʃən. ðə kˈwɛʃən ˈwɛðər ˈskɑtlənd wʊd ɔn ˈævərɪʤ peɪ mɔr ər lɛs ɪn ˈtæksɪz ɪf ˌɪndɪˈpɛndənt; ˈprɑbəˌbli ə bɪt lɛs, dɪˈpɛndɪŋ ɔn haʊ ju ˈhændəl ðə ɔɪl ˈrɛvəˌnuz. ˌɪnˈstɛd, ðə kˈwɛʃən ɪz wət wʊd ˈhæpən ɪf ˈsəmθɪŋ goʊz rɔŋ, ɪf ə sləmp ɪn ɪˈkɑnəmi. ɛz pɑrt əv ðə juˈnaɪtɪd ˈkɪŋdəm, ˈskɑtlənd wʊd rɪˈsiv lɑrʤ də ˈfæktoʊ eɪd, ʤɪst laɪk ə juz. steɪt (ər weɪlz); ɪf ɪt wər ɔn ɪts oʊn, ɪt wʊd bi ɔn ɪts oʊn, laɪk ˈpɔrʧəgəl. naʊ, ˈskɑtlənd wʊd prɪˈzuməbli hæv haɪ ˈleɪbər moʊˈbɪlɪti əˈsumɪŋ ɪt ˈmænɪʤɪz ˈsəmˌhaʊ tɪ ʤɔɪn ðə (ˌɔlˈðoʊ ðət tu wʊd bi səˈpraɪzɪŋli ˈtrɪki) ɪt wʊd bi ˈəndər ðə ˈsɪŋgəl ˌjʊrəˈpiən ækt, ənd ɪt sɔrt əv ʃɛrz ə ˈkɑmən ˈlæŋgwɪʤ wɪθ ˈɪŋglənd (ˈivɪn ɪf ju ˈsəmˌtaɪmz wɪʃ ðɛr wər ˈsəbˌtaɪtəlz). bət nɑt ˌnɛsəˈsɛrəli ə gʊd θɪŋ: wət siɪŋ ɪn ˈpleɪsɪz laɪk ˈpɔrʧəgəl ɪz ˈlɑrʤˌskeɪl ˌɛməˈgreɪʃən əv jəŋ ˈwərkərz, ˈlivɪŋ ə dɪˈmɪnɪʃt ˌpɑpjəˈleɪʃən tɪ bɛr ðə ˈfɪskəl ˈbərdən əv ˈkɛrɪŋ fər ðə ˈɛldərli. əˈgɛn, aɪ kən ˌəndərˈstænd skɑts ˈgrivənsɪz. bət ɪf ðeɪ ˈrɪli wɔnt tɪ du ðɪs, ðeɪ hæd ˈbɛtər gɪt ril əˈbaʊt ˈməni. |
bosnia-herzegovina finally emerged from the sidelines, once again as a country in flames. on february 5, laid off workers of the recently privatized factories of the industrial city of tuzla, the third largest in, took to the streets to claim their healthcare and pension payments, to get their 50 months’ back pay, and to demand the government to fight youth unemployment, whose rate in up to 60%.
the protests, organized by the local trade unions and the association of unemployed of the canton, and announced by the facebook page people for a better tomorrow”, were joined by students and citizens, who stood in front of the cantonal court building before moving towards the cantonal government building with the intention to enter its premises. pushed back violently by the police, protesters started to hurl eggs and stones against the wall, while the riot police intending to secure the entrances of the cantonal building reacted with and rubber bullets. the town of tuzla was completely blocked, and at the end of the day 27 people were reported arrested, while another 23 were injured.
since the workers did not give up, two more days of unrest followed. within days, six rallies in solidarity with workers were organized across, in both of the entities that compose the country since the end of the war: republika srpska, the predominantly serb entity, and the federation of, the entity. however, while the gathering in banja luka, the capital of the serbian entity, followed a pacific path, in zenica, mostar and sarajevo the protests were transformed into an urban guerrilla.
after the governmental building of tuzla was set on fire, and the head of canton čaušević resigned, on the third day of unrest even the cantonal government of another industrial town, zenica, was torched, and its premier resigned as well. that very same day, in the city of mostar, both the town hall and the cantonal building were set ablaze, together with the headquarters of the two main nationalist parties, the croat and the sda. in the capital, sarajevo, the presidential building, hosting the national archives, and the cantonal and the town council became the target of the rage; symbols of a corrupted and incompetent political class that has been plundering the country since the end of the last war. in sarajevo, at first, police reacted with stun grenades and rubber bullets, and clashes were reported in the area.
although at this time analysis and debates revolve around the violent turn the protests took, it is worth taking a step back to where and why the protests surfaced to begin with. tuzla, the “salty ground”, had an industrial vocation since the times. the town, a crossroads of different peoples, is known for being a stronghold of the (allegedly) social democratic party. the largest factories in the area, nationalized under the socialist system, underwent a process of privatization after the war, which resulted in their bankruptcy and consequent job loss for most of the workers.
after the 2007 privatization of the detergent factory, its major owner heavily indebted with bank loans did not pay any pension funds and health insurance to the workers, and, although he was sued, cannot be prosecuted owing to his alleged inability to appear in court*. following the closure of their firm, in december 2012 the workers of a giant that before the war guaranteed working places chose not to go on strike but rather to start pickets outside the factory. today, after more than one year of protests and hunger, eventually the world got to know about their grievances.
the workers of tuzla are just a symptom of the economic collapse of the country, whose administrative and political system imposed from without has never worked. their collective outrage put the question of political economy back on the bosnian agenda, while politicians tried to hide the economic conditions of the country by playing the ethnic card. with an overall unemployment rate close to 28%, endemic corruption and an inefficient legal system, the workers of tuzla demonstrated that as a result of the neoliberal privatization of their firms, affects all sectors of society.
bosnia returned to the limelight, this time not as the forgotten periphery of europe, but as a symbol of what the lethal mix of “efficient transition” (translated properly into failed privatizations) and policies (translated into an inefficient and completely unaccountable administrative system) can lead to an irrepressible rage against the entire political class; which, as the people of already screamed last summer, does not represent anybody but the ethnic elites.
this time the ethnic card cannot be played any longer, because together with the workers of, konjuh, resod-gumig, and (all recently privatized factories which collapsed in tuzla), there are the students, who were denied the right to participate in the european erasmus+ program as a consequence of the politicians’ unwillingness to find an agreement between the different education ministries; the community, brutally attacked by religious extremists during the last international queer festival in sarajevo; and all those subjects whose rights are denied on behalf of a successful “transition” into the same european union that keeps feeding and legitimizing their political class.
now bosnia is really joining europe but from quite another perspective as the one originally imagined by the european bureaucrats: its squares are burning like those in greece, spain and turkey. | bosnia-herzegovina* ˈfaɪnəli ˈimərʤd frəm ðə ˈsaɪˌdlaɪnz, wəns əˈgɛn ɛz ə ˈkəntri ɪn fleɪmz. ɔn ˈfɛbruˌɛri 5 leɪd ɔf ˈwərkərz əv ðə ˈrisəntli ˈpraɪvəˌtaɪzd ˈfæktəriz əv ðə ˌɪnˈdəstriəl ˈsɪti əv ˈtuzlə, ðə θərd ˈlɑrʤəst ɪn, tʊk tɪ ðə strits tɪ kleɪm ðɛr ˈhɛlθˌkɛr ənd ˈpɛnʃən ˈpeɪmənts, tɪ gɪt ðɛr 50 months’*’ bæk peɪ, ənd tɪ dɪˈmænd ðə ˈgəvərnmənt tɪ faɪt juθ ˌənɪmˈplɔɪmənt, huz reɪt ɪn əp tɪ 60 ðə ˈproʊˌtɛsts, ˈɔrgəˌnaɪzd baɪ ðə ˈloʊkəl treɪd ˈjunjənz ənd ðə əˌsoʊʃiˈeɪʃən əv ˌənɛmˈplɔɪd əv ðə ˈkæntən, ənd əˈnaʊnst baɪ ðə ˈfeɪsˌbʊk peɪʤ ˈpipəl fər ə ˈbɛtər tomorrow”*”, wər ʤɔɪnd baɪ ˈstudənts ənd ˈsɪtɪzənz, hu stʊd ɪn frənt əv ðə ˈkæntənəl kɔrt ˈbɪldɪŋ ˌbiˈfɔr ˈmuvɪŋ təˈwɔrdz ðə ˈkæntənəl ˈgəvərnmənt ˈbɪldɪŋ wɪθ ðə ˌɪnˈtɛnʧən tɪ ˈɛnər ɪts ˈprɛməsəz. pʊʃt bæk ˈvaɪələntli baɪ ðə pəˈlis, ˈproʊˌtɛstərz ˈstɑrtɪd tɪ hərl ɛgz ənd stoʊnz əˈgɛnst ðə wɔl, waɪl ðə raɪət pəˈlis ˌɪnˈtɛndɪŋ tɪ sɪˈkjʊr ðə ˈɛntrənsəz əv ðə ˈkæntənəl ˈbɪldɪŋ riˈæktɪd wɪθ ənd ˈrəbər ˈbʊləts. ðə taʊn əv ˈtuzlə wɑz kəmˈplitli blɑkt, ənd æt ðə ɛnd əv ðə deɪ 27 ˈpipəl wər ˌriˈpɔrtəd ərˈɛstɪd, waɪl əˈnəðər 23 wər ˈɪnʤərd. sɪns ðə ˈwərkərz dɪd nɑt gɪv əp, tu mɔr deɪz əv ənˈrɛst ˈfɑloʊd. wɪˈθɪn deɪz, sɪks ˈræliz ɪn ˌsɑləˈdɛrəti wɪθ ˈwərkərz wər ˈɔrgəˌnaɪzd əˈkrɔs, ɪn boʊθ əv ðə ˈɛntɪtiz ðət kəmˈpoʊz ðə ˈkəntri sɪns ðə ɛnd əv ðə wɔr: rɪˈpəblɪkə sˈrəpskə, ðə ˌprɪˈdɑmənənˌtli sərb ˈɛntɪti, ənd ðə ˌfɛdərˈeɪʃən əv, ðə ˈɛntɪti. ˌhaʊˈɛvər, waɪl ðə ˈgæðərɪŋ ɪn ˈbɑnjə ˈlukə, ðə ˈkæpɪtəl əv ðə ˈsərbiən ˈɛntɪti, ˈfɑloʊd ə pəˈsɪfɪk pæθ, ɪn ˈzɛnɪkə, ˈmoʊstɑr ənd ˌsɑrəˈjeɪvoʊ ðə ˈproʊˌtɛsts wər trænsˈfɔrmd ˈɪntu ən ˈərbən gərˈɪlə. ˈæftər ðə ˌgəvərnˈmɛntəl ˈbɪldɪŋ əv ˈtuzlə wɑz sɛt ɔn faɪər, ənd ðə hɛd əv ˈkæntən ččaušević*ć rɪˈzaɪnd, ɔn ðə θərd deɪ əv ənˈrɛst ˈivɪn ðə ˈkæntənəl ˈgəvərnmənt əv əˈnəðər ˌɪnˈdəstriəl taʊn, ˈzɛnɪkə, wɑz tɔrʧt, ənd ɪts prɛˈmɪr rɪˈzaɪnd ɛz wɛl. ðət ˈvɛri seɪm deɪ, ɪn ðə ˈsɪti əv ˈmoʊstɑr, boʊθ ðə taʊn hɔl ənd ðə ˈkæntənəl ˈbɪldɪŋ wər sɛt əˈbleɪz, təˈgɛðər wɪθ ðə ˈhɛdˌkɔrtərz əv ðə tu meɪn ˈnæʃənəlɪst ˈpɑrtiz, ðə kroʊɑt ənd ðə sda*. ɪn ðə ˈkæpɪtəl, ˌsɑrəˈjeɪvoʊ, ðə ˌprɛzɪˈdɛnʃəl ˈbɪldɪŋ, ˈhoʊstɪŋ ðə ˈnæʃənəl ˈɑrˌkaɪvz, ənd ðə ˈkæntənəl ənd ðə taʊn ˈkaʊnsəl bɪˈkeɪm ðə ˈtərgət əv ðə reɪʤ; ˈsɪmbəlz əv ə kərˈəptɪd ənd ˌɪnˈkɑmpətənt pəˈlɪtɪkəl klæs ðət həz bɪn ˈpləndərɪŋ ðə ˈkəntri sɪns ðə ɛnd əv ðə læst wɔr. ɪn ˌsɑrəˈjeɪvoʊ, æt fərst, pəˈlis riˈæktɪd wɪθ stən grəˈneɪdz ənd ˈrəbər ˈbʊləts, ənd ˈklæʃɪz wər ˌriˈpɔrtəd ɪn ðə ˈɛriə. ˌɔlˈðoʊ æt ðɪs taɪm æˈnælɪsɪs ənd dəˈbeɪts riˈvɑlv əraʊnd ðə ˈvaɪələnt tərn ðə ˈproʊˌtɛsts tʊk, ɪt ɪz wərθ ˈteɪkɪŋ ə stɛp bæk tɪ wɛr ənd waɪ ðə ˈproʊˌtɛsts ˈsərfɪst tɪ bɪˈgɪn wɪθ. ˈtuzlə, ðə ground”*”, hæd ən ˌɪnˈdəstriəl voʊˈkeɪʃən sɪns ðə taɪmz. ðə taʊn, ə ˈkrɔsˌroʊdz əv ˈdɪfərənt ˈpipəlz, ɪz noʊn fər biɪŋ ə ˈstrɔŋˌhoʊld əv ðə (əˈlɛʤədli) ˈsoʊʃəl ˌdɛməˈkrætɪk ˈpɑrti. ðə ˈlɑrʤəst ˈfæktəriz ɪn ðə ˈɛriə, ˈnæʃənəˌlaɪzd ˈəndər ðə ˈsoʊʃəlɪst ˈsɪstəm, ˌəndərˈwɛnt ə ˈprɔˌsɛs əv ˈpraɪvətəˈzeɪʃən ˈæftər ðə wɔr, wɪʧ rɪˈzəltɪd ɪn ðɛr ˈbæŋkrəptsi ənd ˈkɑnsəkwənt ʤɑb lɔs fər moʊst əv ðə ˈwərkərz. ˈæftər ðə 2007 ˈpraɪvətəˈzeɪʃən əv ðə dɪˈtərʤənt ˈfæktəri, ɪts ˈmeɪʤər ˈoʊnər ˈhɛvəli ˌɪnˈdɛtɪd wɪθ bæŋk loʊnz dɪd nɑt peɪ ˈɛni ˈpɛnʃən fəndz ənd hɛlθ ˌɪnˈʃʊrəns tɪ ðə ˈwərkərz, ənd, ˌɔlˈðoʊ hi wɑz sud, ˈkænɑt bi ˈprɑsɪˌkjutɪd oʊɪŋ tɪ hɪz əˈlɛʤd ˌɪnəˈbɪlɪti tɪ əˈpɪr ɪn kɔrt*. ˈfɑloʊɪŋ ðə ˈkloʊʒər əv ðɛr fərm, ɪn dɪˈsɛmbər 2012 ðə ˈwərkərz əv ə ʤaɪənt ðət ˌbiˈfɔr ðə wɔr ˌgɛrənˈtid ˈwərkɪŋ ˈpleɪsɪz ʧoʊz nɑt tɪ goʊ ɔn straɪk bət ˈrəðər tɪ stɑrt ˈpɪkəts ˈaʊtˈsaɪd ðə ˈfæktəri. təˈdeɪ, ˈæftər mɔr ðən wən jɪr əv ˈproʊˌtɛsts ənd ˈhəŋgər, ɪˈvɛnʧəwəli ðə wərld gɑt tɪ noʊ əˈbaʊt ðɛr ˈgrivənsɪz. ðə ˈwərkərz əv ˈtuzlə ər ʤɪst ə ˈsɪmptəm əv ðə ˌɛkəˈnɑmɪk kəˈlæps əv ðə ˈkəntri, huz ədˈmɪnɪˌstreɪtɪv ənd pəˈlɪtɪkəl ˈsɪstəm ˌɪmˈpoʊzd frəm wɪˈθaʊt həz ˈnɛvər wərkt. ðɛr kəˈlɛktɪv ˈaʊˌtreɪʤ pʊt ðə kˈwɛʃən əv pəˈlɪtɪkəl ɪˈkɑnəmi bæk ɔn ðə ˈbɑzniən əˈʤɛndə, waɪl ˌpɑləˈtɪʃənz traɪd tɪ haɪd ðə ˌɛkəˈnɑmɪk kənˈdɪʃənz əv ðə ˈkəntri baɪ pleɪɪŋ ðə ˈɛθnɪk kɑrd. wɪθ ən ˈoʊvərˌɔl ˌənɪmˈplɔɪmənt reɪt kloʊz tɪ 28 ɛnˈdɛmɪk kərˈəpʃən ənd ən ˌɪnɪˈfɪʃənt ˈligəl ˈsɪstəm, ðə ˈwərkərz əv ˈtuzlə ˈdɛmənˌstreɪtɪd ðət ɛz ə rɪˈzəlt əv ðə ˌnioʊˈlɪbərəl ˈpraɪvətəˈzeɪʃən əv ðɛr fərmz, əˈfɛkts ɔl ˈsɛktərz əv soʊˈsaɪɪti. ˈbɑzniə rɪˈtərnd tɪ ðə ˈlaɪmˌlaɪt, ðɪs taɪm nɑt ɛz ðə fərˈgɑtən pərˈɪfəri əv ˈjʊrəp, bət ɛz ə ˈsɪmbəl əv wət ðə ˈliθəl mɪks əv transition”*” (trænzˈleɪtəd ˈprɑpərli ˈɪntu feɪld ˈpraɪvətəˈzeɪʃənz) ənd ˈpɑləsiz (trænzˈleɪtəd ˈɪntu ən ˌɪnɪˈfɪʃənt ənd kəmˈplitli ˌənəˈkaʊntəbəl ədˈmɪnɪˌstreɪtɪv ˈsɪstəm) kən lɛd tɪ ən ˌɪrəˈprɛsəbəl reɪʤ əˈgɛnst ðə ɪnˈtaɪər pəˈlɪtɪkəl klæs; wɪʧ, ɛz ðə ˈpipəl əv ɔˈrɛdi skrimd læst ˈsəmər, dɪz nɑt ˌrɛprɪˈzɛnt ˈɛnibədi bət ðə ˈɛθnɪk ɪˈlits. ðɪs taɪm ðə ˈɛθnɪk kɑrd ˈkænɑt bi pleɪd ˈɛni ˈlɔŋgər, bɪˈkəz təˈgɛðər wɪθ ðə ˈwərkərz əv, konjuh*, resod-gumig*, ənd (ɔl ˈrisəntli ˈpraɪvəˌtaɪzd ˈfæktəriz wɪʧ kəˈlæpst ɪn ˈtuzlə), ðɛr ər ðə ˈstudənts, hu wər dɪˈnaɪd ðə raɪt tɪ pɑrˈtɪsəˌpeɪt ɪn ðə ˌjʊrəˈpiən ɪˈræzməs+ ˈproʊˌgræm ɛz ə ˈkɑnsəkwəns əv ðə politicians’*’ ənˈwɪlɪŋnɪs tɪ faɪnd ən əˈgrimənt bɪtˈwin ðə ˈdɪfərənt ˌɛʤəˈkeɪʃən ˈmɪnɪstriz; ðə kəmˈjunɪti, ˈbrutəli əˈtækt baɪ rɪˈlɪʤəs ɪkˈstriməsts ˈdʊrɪŋ ðə læst ˌɪnərˈnæʃənɑl kwɪr ˈfɛstɪvəl ɪn ˌsɑrəˈjeɪvoʊ; ənd ɔl ðoʊz ˈsəbʤɪkts huz raɪts ər dɪˈnaɪd ɔn bɪˈhæf əv ə səkˈsɛsfəl ““transition”*” ˈɪntu ðə seɪm ˌjʊrəˈpiən ˈjunjən ðət kips ˈfidɪŋ ənd lɪˈʤɪtəˌmaɪzɪŋ ðɛr pəˈlɪtɪkəl klæs. naʊ ˈbɑzniə ɪz ˈrɪli ˈʤɔɪnɪŋ ˈjʊrəp bət frəm kwaɪt əˈnəðər pərˈspɛktɪv ɛz ðə wən ərˈɪʤənəli ˌɪˈmæʤənd baɪ ðə ˌjʊrəˈpiən ˈbjʊrəˌkræts: ɪts skwɛrz ər ˈbərnɪŋ laɪk ðoʊz ɪn gris, speɪn ənd ˈtərki. |
a chart of the ships lost in the battle at wolf 359 against the borg in the episode the best of both ships have been changed a little and a few ships added to fill you all like them and please comment, i like feed thanks to capshade, wolfman-053.deviantart.com/ and jaynz.trekships.org/ tool ahwahnee ahwahnee nebula buran challenger springfield firebrand freedom kyushu new orleans liberator nebula melbourne nebula melbourne excelsior princeton niagara roosevelt excelsior saratoga miranda tolstoy rigel yamaguchi ambassador gage apollo argus electra russell hoagland miranda ambassador excelsior rebellious miranda reliant ambassador class | ə ʧɑrt əv ðə ʃɪps lɔst ɪn ðə ˈbætəl æt wʊlf 359 əˈgɛnst ðə bɔrg ɪn ðə ˈɛpɪˌsoʊd ðə bɛst əv boʊθ ʃɪps hæv bɪn ʧeɪnʤd ə ˈlɪtəl ənd ə fju ʃɪps ˈædɪd tɪ fɪl ju ɔl laɪk ðɛm ənd pliz ˈkɑmɛnt, aɪ laɪk fid θæŋks tɪ capshade*, wolfman-053.deviantart.com*/ ənd jaynz.trekships.org*/ tul əˈwɑni əˈwɑni ˈnɛbjələ ˈbjurən ˈʧælɪnʤər ˈsprɪŋˌfild ˈfaɪərˌbrænd ˈfridəm ˈkjəʃu nu ˌɔˈrlinz ˈlɪˌbərˌeɪtər ˈnɛbjələ ˈmɛlbərn ˈnɛbjələ ˈmɛlbərn ɪkˈsɛlsiər ˈprɪnstən naɪˈægrə ˈruzəˌvɛlt ɪkˈsɛlsiər ˌsɛrəˈtoʊgə mərˈændə ˈtoʊlˌstɔɪ ˈraɪʤəl ˌjɑmɑˈguʧi æmˈbæsədər geɪʤ əˈpɑloʊ ˈɑrgəs ɪˈlɛktrə ˈrəsəl ˈhoʊglənd mərˈændə æmˈbæsədər ɪkˈsɛlsiər rɪˈbɛljəs mərˈændə rɪˈlaɪənt æmˈbæsədər klæs |
when the writer david foster wallace ended his own life in 2008, the engines of culture immediately began producing analyses of his work with suicide as the subtext. how had depression informed his masterpiece infinite jest, or his collections of short stories? besides pronouncing martyrdom, the other tendency was to fix a specific place for him in the literary pantheon, so that his oeuvre could be classified for posterity.
now an excellent new bbc radio piece aims to rescue him from these dual dangers of early hagiography. first aired on february 6th, the audio documentary is called both a melancholic acknowledgment of his early death, and an allusion to the fondness for footnotes. (as the bbc reminds us, infinite jest contained 388 of them.) we were thrilled to hear the author reading portions of his own work and commenting on the challenges of writing fiction in america.
featuring interviews from sister amy, his literary hero don delillo, and novelist friend and contemporary rick moody, the bbc feature his writing in terms of midwestern upbringing, early love of math, and yes, his depression. but it does so without sentimentality and is explicit about rejecting any interpretations of his legacy.
in the words of his editor, michael pietsch:
david loved to set himself enormous challenges… [he] was thinking about the fact that most of our lives are made up of boringness. most of our lives are what he calls ‘irrelevant complexity,’ things that you just do again and again and your brain learns to go elsewhere while doing them. and most novelists just avoid them; they just compress around the exciting bits.” ~ michael pietsch
wallace, by contrast, managed to make the mundane profound. listening to the piece we felt that feeling we had upon first reading his writing, of ideas pumping through the brain and blood at a rate faster than they could be absorbed. it was exhilirating, and reminded us how much anticipating his final unfinished work, the pale king, forthcoming in april.
in the meantime, load up the and enjoy a tour through the ideas of an unfailingly ambitious, quintessentially american author.
kirstin butler is writing an adaptation of for the google era called dead suls, but when not working spends far, far too much time on twitter. she currently lives in cambridge, ma but still stubbornly identifies as a brooklynite. | wɪn ðə ˈraɪtər ˈdeɪvɪd ˈfɑstər ˈwɔlɪs ˈɛndɪd hɪz oʊn laɪf ɪn 2008 ðə ˈɛnʤənz əv ˈkəlʧər ˌɪˈmiˌdiətli bɪˈgæn prəˈdusɪŋ æˈnælɪˌsiz əv hɪz wərk wɪθ ˈsuɪˌsaɪd ɛz ðə ˈsəbˌtɛkst. haʊ hæd dɪˈprɛʃən ˌɪnˈfɔrmd hɪz ˈmæstərˌpis ˈɪnfənət ʤɛst, ər hɪz kəˈlɛkʃənz əv ʃɔrt ˈstɔriz? ˌbiˈsaɪdz prəˈnaʊnsɪŋ ˈmɑrtərdəm, ðə ˈəðər ˈtɛndənsi wɑz tɪ fɪks ə spɪˈsɪfɪk pleɪs fər ɪm ɪn ðə ˈlɪtərˌɛri ˈpænθiˌɑn, soʊ ðət hɪz ˈuvrə kʊd bi ˈklæsəˌfaɪd fər pɑˈstɛrəti. naʊ ən ˈɛksələnt nu ˌbibiˈsi ˈreɪdiˌoʊ pis eɪmz tɪ ˈrɛskju ɪm frəm ðiz duəl ˈdeɪnʤərz əv ˈərli ˌhægiˈɑgrəfi. fərst ɛrd ɔn ˈfɛbruˌɛri 6th*, ðə ˈɑdiˌoʊ ˌdɑkjəˈmɛnəri ɪz kɔld boʊθ ə ˌmɛlənˈkɑlɪk ækˈnɑlɪʤmənt əv hɪz ˈərli dɛθ, ənd ən əˈluʒən tɪ ðə ˈfɑndnəs fər ˈfʊtˌnoʊts. (ɛz ðə ˌbibiˈsi riˈmaɪndz ˈjuˈɛs, ˈɪnfənət ʤɛst kənˈteɪnd 388 əv ðɛm.) wi wər θrɪld tɪ hir ðə ˈɔθər ˈrɛdɪŋ ˈpɔrʃənz əv hɪz oʊn wərk ənd ˈkɑmɛntɪŋ ɔn ðə ˈʧælənʤɪz əv ˈraɪtɪŋ ˈfɪkʃən ɪn əˈmɛrɪkə. ˈfiʧərɪŋ ˈɪntərvˌjuz frəm ˈsɪstər ˈeɪmi, hɪz ˈlɪtərˌɛri ˈhɪroʊ dɑn dəˈlɪloʊ, ənd ˈnɑvələst frɛnd ənd kənˈtɛmpərˌɛri rɪk ˈmudi, ðə ˌbibiˈsi ˈfiʧər hɪz ˈraɪtɪŋ ɪn tərmz əv mɪdˈwɛstərn ˈəpˌbrɪŋɪŋ, ˈərli ləv əv mæθ, ənd jɛs, hɪz dɪˈprɛʃən. bət ɪt dɪz soʊ wɪˈθaʊt ˌsɛnəmɛnˈtælɪti ənd ɪz ɪkˈsplɪsət əˈbaʊt rɪˈʤɛktɪŋ ˈɛni ˌɪnˌtərprɪˈteɪʃənz əv hɪz ˈlɛgəsi. ɪn ðə wərdz əv hɪz ˈɛdɪtər, ˈmaɪkəl piʧ: ˈdeɪvɪd ləvd tɪ sɛt hɪmˈsɛlf ɪˈnɔrmɪs challenges…*… [hi] wɑz ˈθɪŋkɪŋ əˈbaʊt ðə fækt ðət moʊst əv ɑr lɪvz ər meɪd əp əv boringness*. moʊst əv ɑr lɪvz ər wət hi kɔlz complexity,’*,’ θɪŋz ðət ju ʤɪst du əˈgɛn ənd əˈgɛn ənd jʊr breɪn lərnz tɪ goʊ ˈɛlsˌwɛr waɪl duɪŋ ðɛm. ənd moʊst ˈnɑvələsts ʤɪst əˈvɔɪd ðɛm; ðeɪ ʤɪst ˈkɑmprɛs əraʊnd ðə ɪkˈsaɪtɪŋ bits.”*.” ˈmaɪkəl piʧ ˈwɔlɪs, baɪ ˈkɑntræst, ˈmænɪʤd tɪ meɪk ðə mənˈdeɪn proʊˈfaʊnd. ˈlɪsənɪŋ tɪ ðə pis wi fɛlt ðət ˈfilɪŋ wi hæd əˈpɑn fərst ˈrɛdɪŋ hɪz ˈraɪtɪŋ, əv aɪˈdiəz ˈpəmpɪŋ θru ðə breɪn ənd bləd æt ə reɪt ˈfæstər ðən ðeɪ kʊd bi əbˈzɔrbd. ɪt wɑz exhilirating*, ənd riˈmaɪndɪd ˈjuˈɛs haʊ məʧ ænˈtɪsəˌpeɪtɪŋ hɪz ˈfaɪnəl ənˈfɪnɪʃt wərk, ðə peɪl kɪŋ, ˈfɔrθˈkəmɪŋ ɪn ˈeɪprəl. ɪn ðə ˈminˌtaɪm, loʊd əp ðə ənd ˌɛnˈʤɔɪ ə tʊr θru ðə aɪˈdiəz əv ən ənˈfeɪlɪŋli æmˈbɪʃəs, kˌwɪntəˈsɛnʃəli əˈmɛrɪkən ˈɔθər. ˈkərstɪn ˈbətlər ɪz ˈraɪtɪŋ ən ˌædəpˈteɪʃən əv fər ðə ˈgugəl ˈɪrə kɔld dɛd suls*, bət wɪn nɑt ˈwərkɪŋ spɛnz fɑr, fɑr tu məʧ taɪm ɔn tˈwɪtər. ʃi ˈkərəntli lɪvz ɪn ˈkeɪmbrɪʤ, mɑ bət stɪl ˈstəbərnli aɪˈdɛntəˌfaɪz ɛz ə brooklynite*. |
banana and chocolate chip muffins is a delicious dessert recipe that you can make at the comfort of your home. this is an dish for which you do not need special ingredients. all the ingredients that have been used are those that you can find in the comfort of your home. with the right balance of banana and chocolate chips, this is a simple recipe that your kids will also love. you can enjoy this muffin recipe in the breakfast along with your favourite toast and coffee, and we can bet it would be the best breakfast ever. not just that, you can serve these muffins to your guests on a kitty party and game night as well. so, what are you waiting for? try this easy recipe and enjoy with your loved ones! | bəˈnænə ənd ˈʧɔklət ʧɪp ˈməfənz ɪz ə dɪˈlɪʃəs dɪˈzərt ˈrɛsəpi ðət ju kən meɪk æt ðə ˈkəmfərt əv jʊr hoʊm. ðɪs ɪz ən dɪʃ fər wɪʧ ju du nɑt nid ˈspɛʃəl ˌɪnˈgridiənts. ɔl ðə ˌɪnˈgridiənts ðət hæv bɪn juzd ər ðoʊz ðət ju kən faɪnd ɪn ðə ˈkəmfərt əv jʊr hoʊm. wɪθ ðə raɪt ˈbæləns əv bəˈnænə ənd ˈʧɔklət ʧɪps, ðɪs ɪz ə ˈsɪmpəl ˈrɛsəpi ðət jʊr kɪdz wɪl ˈɔlsoʊ ləv. ju kən ˌɛnˈʤɔɪ ðɪs ˈməfən ˈrɛsəpi ɪn ðə ˈbrɛkfəst əˈlɔŋ wɪθ jʊr ˈfeɪvərɪt toʊst ənd ˈkɔfi, ənd wi kən bɛt ɪt wʊd bi ðə bɛst ˈbrɛkfəst ˈɛvər. nɑt ʤɪst ðət, ju kən sərv ðiz ˈməfənz tɪ jʊr gɛsts ɔn ə ˈkɪti ˈpɑrti ənd geɪm naɪt ɛz wɛl. soʊ, wət ər ju ˈweɪtɪŋ fər? traɪ ðɪs ˈizi ˈrɛsəpi ənd ˌɛnˈʤɔɪ wɪθ jʊr ləvd wənz! |
washington (reuters) - the united states is voicing concern over reports from human rights groups that security forces are holding thousands of political separatists without charge, the new york times reported on thursday.
citing a state department report to congress last month, the times said the obama administration was alarmed by reports that separatists, mostly from province, had been detained over the past decade and were being held incommunicado.
some of the missing were guerrillas and others civilians, the newspaper said. the state department report, obtained by the newspaper, also cited concerns that military had killed unarmed taliban insurgents instead of putting them on trial.
the report urged pakistan, an important u.s. ally in the fight against islamist insurgents, to address the issue and other rights abuses, the paper said. “there continue to be gross violations of human rights by pakistani security forces,” the report said.
“the pakistani government has made limited progress in advancing human rights and continues to face human rights challenges.” pakistani intelligence officials accuse human rights groups of exaggerating the numbers of people held incommunicado, according to the times.
the united states in late september asked pakistan for information about a video posted on the internet purporting to show men in pakistani military fatigues lined up in a firing squad shooting bound and blindfolded men in traditional clothing.
the pakistani government has launched a probe into the video.
the united states in october announced $2 billion in military aid for pakistan, but the relationship has been strained by pressure on islamabad to step up its efforts against taliban and al militants launching attacks on western forces in afghanistan from pakistani sanctuaries. | ˈwɔʃɪŋtən (ˈrɔɪtərz) ðə juˈnaɪtɪd steɪts ɪz ˈvɔɪsɪŋ kənˈsərn ˈoʊvər rɪˈpɔrts frəm ˈjumən raɪts grups ðət sɪˈkjʊrəti ˈfɔrsɪz ər ˈhoʊldɪŋ ˈθaʊzənz əv pəˈlɪtɪkəl ˈsɛpərətɪsts wɪˈθaʊt ʧɑrʤ, ðə nu jɔrk taɪmz ˌriˈpɔrtəd ɔn ˈθərzˌdeɪ. ˈsaɪtɪŋ ə steɪt dɪˈpɑrtmənt rɪˈpɔrt tɪ ˈkɑŋgrəs læst mənθ, ðə taɪmz sɛd ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən wɑz əˈlɑrmd baɪ rɪˈpɔrts ðət ˈsɛpərətɪsts, ˈmoʊstli frəm ˈprɑvɪns, hæd bɪn dɪˈteɪnd ˈoʊvər ðə pæst ˈdɛkeɪd ənd wər biɪŋ hɛld ˌɪnkəmˌjunəˈkɑdoʊ. səm əv ðə ˈmɪsɪŋ wər gərˈɪləz ənd ˈəðərz səˈvɪljənz, ðə ˈnuzˌpeɪpər sɛd. ðə steɪt dɪˈpɑrtmənt rɪˈpɔrt, əbˈteɪnd baɪ ðə ˈnuzˌpeɪpər, ˈɔlsoʊ ˈsaɪtɪd kənˈsərnz ðət ˈmɪlɪˌtɛri hæd kɪld əˈnɑrmd ˈtælɪˌbæn ˌɪnˈsərʤənts ˌɪnˈstɛd əv ˈpʊtɪŋ ðɛm ɔn traɪəl. ðə rɪˈpɔrt ərʤd ˈpækɪˌstæn, ən ˌɪmˈpɔrtənt juz. ˈælaɪ ɪn ðə faɪt əˈgɛnst ˈɪsləmɪst ˌɪnˈsərʤənts, tɪ ˈæˌdrɛs ðə ˈɪʃu ənd ˈəðər raɪts əˈbjuzɪz, ðə ˈpeɪpər sɛd. kənˈtɪnju tɪ bi groʊs vaɪəˈleɪʃənz əv ˈjumən raɪts baɪ ˌpækɪˈstæni sɪˈkjʊrəti forces,”*,” ðə rɪˈpɔrt sɛd. ˌpækɪˈstæni ˈgəvərnmənt həz meɪd ˈlɪmɪtɪd ˈprɑˌgrɛs ɪn ədˈvænsɪŋ ˈjumən raɪts ənd kənˈtɪnjuz tɪ feɪs ˈjumən raɪts challenges.”*.” ˌpækɪˈstæni ˌɪnˈtɛləʤəns əˈfɪʃəlz əˈkjuz ˈjumən raɪts grups əv ɪgˈzæʤərˌeɪtɪŋ ðə ˈnəmbərz əv ˈpipəl hɛld ˌɪnkəmˌjunəˈkɑdoʊ, əˈkɔrdɪŋ tɪ ðə taɪmz. ðə juˈnaɪtɪd steɪts ɪn leɪt sɛpˈtɛmbər æst ˈpækɪˌstæn fər ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ə ˈvɪdioʊ ˈpoʊstɪd ɔn ðə ˈɪntərˌnɛt pərˈpɔrtɪŋ tɪ ʃoʊ mɛn ɪn ˌpækɪˈstæni ˈmɪlɪˌtɛri fəˈtigz laɪnd əp ɪn ə ˈfaɪərrɪŋ skwɑd ˈʃutɪŋ baʊnd ənd ˈblaɪndˌfoʊldɪd mɛn ɪn trəˈdɪʃənəl ˈkloʊðɪŋ. ðə ˌpækɪˈstæni ˈgəvərnmənt həz lɔnʧt ə proʊb ˈɪntu ðə ˈvɪdioʊ. ðə juˈnaɪtɪd steɪts ɪn ɑkˈtoʊbər əˈnaʊnst 2 ˈbɪljən ɪn ˈmɪlɪˌtɛri eɪd fər ˈpækɪˌstæn, bət ðə riˈleɪʃənˌʃɪp həz bɪn streɪnd baɪ ˈprɛʃər ɔn ˌɪsˈlæməbæd tɪ stɛp əp ɪts ˈɛfərts əˈgɛnst ˈtælɪˌbæn ənd æl ˈmɪlətənts ˈlɔnʧɪŋ əˈtæks ɔn ˈwɛstərn ˈfɔrsɪz ɪn æfˈgænəˌstæn frəm ˌpækɪˈstæni ˈsæŋkʧuˌɛriz. |
houston's heralded bus system redesign - garnering kudos from local riders and transit supporters around the country - is running into the reality that nothing can boost transit when fewer people are riding to work.
when the metropolitan transit authority revamped its bus system in august 2015, officials said it would boost ridership by 20 percent in two years. however, transit use in houston has been declining.
in november, fewer people boarded metro buses, hopped on trains and commuted to work via the system. when all types of transit except service for the elderly and disabled are considered, metro handled fewer trips daily, a percent decline last month, according to figures released last week. commuter bus ridership has plunged by more than 10 percent each of the last two months.
now likely unable to reach their predicted ridership growth, which would have been unprecedented in the history of houston mass transit, metro officials concede more refinement is needed to gain riders on buses and trains.
by the numbers by the numbers 20% increase metro hoped to achieve within two years of revamping its bus system in august 2015.% decline in metro ridership in november, excluding transit service for the elderly and disabled.% decline in daily commuter bus ridership in november of this year compared to november 2015.
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they blame the declining ridership on fewer oil and gas industry jobs in the area and the transition of many jobs away from downtown houston. though the job cuts have been evident in the region's economic outlook for months, the switch to the new bus system last year might have hidden the negative effect of fewer daily commuters.
"what i think we are seeing is the unemployment rate has had a real effect on ridership and it is just now exhibiting in our numbers," arthur smiley, metro's chief financial officer, said.
after peaking at percent in july and august, the houston region's unemployment rate dropped slightly to percent in september, according to the u.s. bureau of labor statistics. for october, the bureau released a preliminary estimate that unemployment fell to percent. in its midyear report, transwestern estimated more than half of the region's job losses were in the energy sector.
based on preliminary reports by the texas workforce commission, november employment in the houston area increased by jobs, taking unemployment down to percent, only percent higher than november 2015.
metro ceo tom lambert said all the reasons fewer people are riding buses or trains need to be understood.
"i'm not too overly hesitant to say we need to know what the realities are," lambert said, even if the feedback forces metro to shift service. "the opportunity presents itself to be adaptable."
park-and-ride slides
transit trip declines are widespread across the houston system, though the biggest drops have come in use to downtown - used mostly by professionals to commute to work.
tony bergman, 43, said two of his coworkers at an engineering firm that deals specifically with oil and gas companies were laid off in march, both of whom took the bus.
"i see a lot fewer people," bergman said of his west lot. "every time someone announced (layoffs) a few more faces would be missing."
among routes no region of the houston area is spared. the largest decreases in daily use - about 25 percent - occurred on the monroe route that starts near hobby airport, the kingsland route that connects western houston to downtown and the park and ride just south of kingwood.
commuter bus use fluctuated with declines and increases in 2015 and early 2016, based on comparisons. in april, however, trips fell by percent and has kept falling. in october, daily commuter bus ridership was percent below october 2015. last month, use was down percent compared to november 2015.
kurt luhrsen, metro's vice president of planning, said fewer commuters has caused effects across the entire transit system. for example, workers who rode buses downtown also hopped on the light rail to go to lunch and to attend meetings outside the central business district.
as service use dipped, so did use of metro's three light rail lines. the decline in train riders, however, was not as significant as the drop in use.
smiley, during a discussion last week with metro board members, focused on the bright side of what was a gloomy metro ridership analysis.
"in november, things weren't quite as bad the prior month," he said. "it is quite possible we should see some improvement in future months."
it's a marked contrast in tone from august of last year, when metro officials lauded increases in ridership as proof the new revised bus system was working.
"it's working exactly as it is was intended," metro board member spieler said then. "it's simply easier and more convenient to ride a bus in houston."
weekend transit use remains a bright spot. it has increased as weekday bus and train trips declined. riders have said the change to more frequent service on saturdays and sundays makes it easier for people working on weekends to get to their jobs, while giving others more freedom for personal trips such as routine errands and other regional travel.
regionwide reduction
metro officials said they are confident the transit ridership decline is not a repudiation of the new bus system. the bus network has been praised by some, but others have complained of longer walks to reach stops and other negative consequences.
what's clear based on bus ridership data, however, is the declines are spread around the region and not just concentrated on downtown routes. the and westheimer routes - two of the agency's largest in terms of use - had ridership declines in excess of the overall system during the last three months.
metro refocused efforts as part of last year's redesign on frequent core bus routes served by lines serving residential areas., and westheimer routes often are cited in national reports about the success of the houston bus system rebuild. more than a dozen other transit agencies have looked at houston's changes in its bus system, in hopes of replicating some of the ideas.
ridership on the bus line, which runs from eldridge to the texas medical center, however, dropped percent in october and 11 percent in november compared to 2015.
some of that could account for people finding new commuting options or shifting to other bus routes as riders continue to adjust to the realigned network. paulette nguyen, who lives east of alief, meanwhile, just stopped riding because it was no longer convenient.
"i loved metro before everything changed," nguyen said, noting her trips seemed to take longer because the bus was so crowded after the system changed although her trip to and from work - straight down boulevard - was exactly the same.
shell jobs shift looms
though optimistic, transit officials also recognize challenges remain - especially for downtown use. for instance, shell oil co. is moving its downtown workers to the energy corridor by march. when those people are relocated, 675 of those employees will stop using metro to ride to work, said kenneth brown, manager of service planning for the transit agency.
catering to those workers to keep them using transit - and potentially lure others - will take adjusting at least one metro bus route, the addicks service. officials also are considering talking to shell about expanded options, brown said.
lambert said the pending loss of riders is a chance to see how many people react to multiple choices. facing the realization the 20 percent ridership gains metro boldly predicted two years with the new bus system will not materialize, he said improving transit in houston might mean rethinking it.
"maybe the program might be more important in the future," lambert said.
attracting new riders also will be necessary to boost bus and train numbers. metro board member jim robinson, appointed by harris county, said metro might play a role in relieving parking woes by county employees.
"there are simply not enough (parking) lots for the people who work downtown," robinson said of the county workers. "in some cases, they have to pay a lot to park."
unlike the commuter bus system that ferries riders from suburban lots often far outside the sam houston tollway, robinson said metro could develop "an intercity park and ride" that could leverage parking at local transit centers or even county facilities so even closer commutes could be taken quickly by bus.
"maybe that would make up some of the ridership loss," robinson said. | ˈhjustənz ˈhɛrəldɪd bəs ˈsɪstəm ˌridɪˈzaɪn ˈgɑrnərɪŋ ˈkudoʊs frəm ˈloʊkəl ˈraɪdərz ənd ˈtrænzɪt səˈpɔrtərz əraʊnd ðə ˈkəntri ɪz ˈrənɪŋ ˈɪntu ðə ˌriˈæləˌti ðət ˈnəθɪŋ kən bust ˈtrænzɪt wɪn fjuər ˈpipəl ər ˈraɪdɪŋ tɪ wərk. wɪn ðə ˌmɛtrəˈpɑlətən ˈtrænzɪt əˈθɔrəti riˈvæmpt ɪts bəs ˈsɪstəm ɪn ˈɔgəst 2015 əˈfɪʃəlz sɛd ɪt wʊd bust ˈraɪdərˌʃɪp baɪ 20 pərˈsɛnt ɪn tu jɪrz. ˌhaʊˈɛvər, ˈtrænzɪt juz ɪn ˈhjustən həz bɪn dɪˈklaɪnɪŋ. ɪn noʊˈvɛmbər, fjuər ˈpipəl ˈbɔrdɪd ˈmɛˌtroʊ ˈbəsɪz, hɑpt ɔn treɪnz ənd kəmˈjutɪd tɪ wərk ˈviə ðə ˈsɪstəm. wɪn ɔl taɪps əv ˈtrænzɪt ɪkˈsɛpt ˈsərvɪs fər ðə ˈɛldərli ənd dɪˈseɪbəld ər kənˈsɪdərd, ˈmɛˌtroʊ ˈhændəld fjuər trɪps ˈdeɪli, ə pərˈsɛnt dɪˈklaɪn læst mənθ, əˈkɔrdɪŋ tɪ ˈfɪgjərz riˈlist læst wik. kəmˈjutər bəs ˈraɪdərˌʃɪp həz plənʤd baɪ mɔr ðən 10 pərˈsɛnt iʧ əv ðə læst tu mənθs. naʊ ˈlaɪkli əˈneɪbəl tɪ riʧ ðɛr prɪˈdɪktɪd ˈraɪdərˌʃɪp groʊθ, wɪʧ wʊd hæv bɪn ənˈprɛsɪˌdɛntɪd ɪn ðə ˈhɪstəri əv ˈhjustən mæs ˈtrænzɪt, ˈmɛˌtroʊ əˈfɪʃəlz kənˈsid mɔr rəˈfaɪnmənt ɪz ˈnidɪd tɪ geɪn ˈraɪdərz ɔn ˈbəsɪz ənd treɪnz. baɪ ðə ˈnəmbərz baɪ ðə ˈnəmbərz 20 ˌɪnˈkris ˈmɛˌtroʊ hoʊpt tɪ əˈʧiv wɪˈθɪn tu jɪrz əv riˈvæmpɪŋ ɪts bəs ˈsɪstəm ɪn ˈɔgəst 2015 dɪˈklaɪn ɪn ˈmɛˌtroʊ ˈraɪdərˌʃɪp ɪn noʊˈvɛmbər, ɪkˈskludɪŋ ˈtrænzɪt ˈsərvɪs fər ðə ˈɛldərli ənd dɪˈseɪbəld. dɪˈklaɪn ɪn ˈdeɪli kəmˈjutər bəs ˈraɪdərˌʃɪp ɪn noʊˈvɛmbər əv ðɪs jɪr kəmˈpɛrd tɪ noʊˈvɛmbər 2015 rɛd mɔr ðeɪ bleɪm ðə dɪˈklaɪnɪŋ ˈraɪdərˌʃɪp ɔn fjuər ɔɪl ənd gæs ˈɪndəstri ʤɑbz ɪn ðə ˈɛriə ənd ðə trænˈzɪʃən əv ˈmɛni ʤɑbz əˈweɪ frəm ˈdaʊnˈtaʊn ˈhjustən. ðoʊ ðə ʤɑb kəts hæv bɪn ˈɛvədənt ɪn ðə ˈriʤənz ˌɛkəˈnɑmɪk ˈaʊˌtlʊk fər mənθs, ðə swɪʧ tɪ ðə nu bəs ˈsɪstəm læst jɪr maɪt hæv ˈhɪdən ðə ˈnɛgətɪv ˈifɛkt əv fjuər ˈdeɪli kəmˈjutərz. "wət aɪ θɪŋk wi ər siɪŋ ɪz ðə ˌənɪmˈplɔɪmənt reɪt həz hæd ə ril ˈifɛkt ɔn ˈraɪdərˌʃɪp ənd ɪt ɪz ʤɪst naʊ ɪgˈzɪbɪtɪŋ ɪn ɑr ˈnəmbərz," ˈɑrθər sˈmaɪli, ˈmɛtroʊz ʧif ˌfaɪˈnænʃəl ˈɔfɪsər, sɛd. ˈæftər ˈpikɪŋ æt pərˈsɛnt ɪn ˌʤuˈlaɪ ənd ˈɔgəst, ðə ˈhjustən ˈriʤənz ˌənɪmˈplɔɪmənt reɪt drɑpt sˈlaɪtli tɪ pərˈsɛnt ɪn sɛpˈtɛmbər, əˈkɔrdɪŋ tɪ ðə juz. ˈbjʊroʊ əv ˈleɪbər stəˈtɪstɪks. fər ɑkˈtoʊbər, ðə ˈbjʊroʊ riˈlist ə prɪˈlɪməˌnɛri ˈɛstəˌmeɪt ðət ˌənɪmˈplɔɪmənt fɛl tɪ pərˈsɛnt. ɪn ɪts ˈmɪˌdjɪr rɪˈpɔrt, ˌtrænzˈwɛstərn ˈɛstəˌmeɪtɪd mɔr ðən hæf əv ðə ˈriʤənz ʤɑb ˈlɔsɪz wər ɪn ðə ˈɛnərʤi ˈsɛktər. beɪst ɔn prɪˈlɪməˌnɛri rɪˈpɔrts baɪ ðə ˈtɛksəs ˈwərkˌfɔrs kəˈmɪʃən, noʊˈvɛmbər ɪmˈplɔɪmənt ɪn ðə ˈhjustən ˈɛriə ˌɪnˈkrist baɪ ʤɑbz, ˈteɪkɪŋ ˌənɪmˈplɔɪmənt daʊn tɪ pərˈsɛnt, ˈoʊnli pərˈsɛnt haɪər ðən noʊˈvɛmbər 2015 ˈmɛˌtroʊ ˈsiˌiˈoʊ tɑm ˈlæmbərt sɛd ɔl ðə ˈrizənz fjuər ˈpipəl ər ˈraɪdɪŋ ˈbəsɪz ər treɪnz nid tɪ bi ˌəndərˈstʊd. "əm nɑt tu ˈoʊvərli ˈhɛzɪtənt tɪ seɪ wi nid tɪ noʊ wət ðə ˌriˈæləˌtiz ər," ˈlæmbərt sɛd, ˈivɪn ɪf ðə ˈfidˌbæk ˈfɔrsɪz ˈmɛˌtroʊ tɪ ʃɪft ˈsərvɪs. "ðə ˌɑpərˈtunəti ˈprɛzənts ˌɪtˈsɛlf tɪ bi əˈdæptəbəl." slaɪdz ˈtrænzɪt trɪp dɪˈklaɪnz ər ˈwaɪdˈsprɛd əˈkrɔs ðə ˈhjustən ˈsɪstəm, ðoʊ ðə ˈbɪgəst drɑps hæv kəm ɪn juz tɪ ˈdaʊnˈtaʊn juzd ˈmoʊstli baɪ prəˈfɛʃənəlz tɪ kəmˈjut tɪ wərk. ˈtoʊni ˈbərgmən, 43 sɛd tu əv hɪz ˈkoʊˈwərkərz æt ən ˈɛnʤəˈnɪrɪŋ fərm ðət dilz spəˈsɪfɪkli wɪθ ɔɪl ənd gæs ˈkəmpəˌniz wər leɪd ɔf ɪn mɑrʧ, boʊθ əv hum tʊk ðə bəs. "aɪ si ə lɔt fjuər ˈpipəl," ˈbərgmən sɛd əv hɪz wɛst lɔt. "ˈɛvəri taɪm ˈsəmˌwən əˈnaʊnst (leɪɔfs) ə fju mɔr ˈfeɪsɪz wʊd bi ˈmɪsɪŋ." əˈməŋ rʊts noʊ ˈriʤən əv ðə ˈhjustən ˈɛriə ɪz spɛrd. ðə ˈlɑrʤəst ˈdiˌkrisɪz ɪn ˈdeɪli juz əˈbaʊt 25 pərˈsɛnt əˈkərd ɔn ðə mənˈroʊ rut ðət stɑrts nɪr ˈhɑbi ˈɛrˌpɔrt, ðə ˈkɪŋzlænd rut ðət kəˈnɛkts ˈwɛstərn ˈhjustən tɪ ˈdaʊnˈtaʊn ənd ðə pɑrk ənd raɪd ʤɪst saʊθ əv kingwood*. kəmˈjutər bəs juz ˈfləkʧəˌweɪtɪd wɪθ dɪˈklaɪnz ənd ˌɪnˈkrisɪz ɪn 2015 ənd ˈərli 2016 beɪst ɔn kəmˈpɛrəsənz. ɪn ˈeɪprəl, ˌhaʊˈɛvər, trɪps fɛl baɪ pərˈsɛnt ənd həz kɛpt ˈfɑlɪŋ. ɪn ɑkˈtoʊbər, ˈdeɪli kəmˈjutər bəs ˈraɪdərˌʃɪp wɑz pərˈsɛnt bɪˈloʊ ɑkˈtoʊbər 2015 læst mənθ, juz wɑz daʊn pərˈsɛnt kəmˈpɛrd tɪ noʊˈvɛmbər 2015 kərt luhrsen*, ˈmɛtroʊz vaɪs ˈprɛzɪdənt əv ˈplænɪŋ, sɛd fjuər kəmˈjutərz həz kɔzd ˈifɛkts əˈkrɔs ðə ɪnˈtaɪər ˈtrænzɪt ˈsɪstəm. fər ɪgˈzæmpəl, ˈwərkərz hu roʊd ˈbəsɪz ˈdaʊnˈtaʊn ˈɔlsoʊ hɑpt ɔn ðə laɪt reɪl tɪ goʊ tɪ lənʧ ənd tɪ əˈtɛnd ˈmitɪŋz ˈaʊtˈsaɪd ðə ˈsɛntrəl ˈbɪznɪs ˈdɪstrɪkt. ɛz ˈsərvɪs juz dɪpt, soʊ dɪd juz əv ˈmɛtroʊz θri laɪt reɪl laɪnz. ðə dɪˈklaɪn ɪn treɪn ˈraɪdərz, ˌhaʊˈɛvər, wɑz nɑt ɛz sɪgˈnɪfɪkənt ɛz ðə drɔp ɪn juz. sˈmaɪli, ˈdʊrɪŋ ə dɪˈskəʃən læst wik wɪθ ˈmɛˌtroʊ bɔrd ˈmɛmbərz, ˈfoʊkɪst ɔn ðə braɪt saɪd əv wət wɑz ə ˈglumi ˈmɛˌtroʊ ˈraɪdərˌʃɪp æˈnælɪsɪs. "ɪn noʊˈvɛmbər, θɪŋz wərənt kwaɪt ɛz bæd ðə praɪər mənθ," hi sɛd. "ɪt ɪz kwaɪt ˈpɑsəbəl wi ʃʊd si səm ˌɪmˈpruvmənt ɪn fˈjuʧər mənθs." ɪts ə mɑrkt ˈkɑntræst ɪn toʊn frəm ˈɔgəst əv læst jɪr, wɪn ˈmɛˌtroʊ əˈfɪʃəlz ˈlɔdɪd ˌɪnˈkrisɪz ɪn ˈraɪdərˌʃɪp ɛz pruf ðə nu rɪˈvaɪzd bəs ˈsɪstəm wɑz ˈwərkɪŋ. "ɪts ˈwərkɪŋ ɪgˈzæktli ɛz ɪt ɪz wɑz ˌɪnˈtɛndɪd," ˈmɛˌtroʊ bɔrd ˈmɛmbər ˈspilər sɛd ðɛn. "ɪts ˈsɪmpli ˈiziər ənd mɔr kənˈvinjənt tɪ raɪd ə bəs ɪn ˈhjustən." ˈwiˌkɪnd ˈtrænzɪt juz rɪˈmeɪnz ə braɪt spɑt. ɪt həz ˌɪnˈkrist ɛz ˈwikˌdeɪ bəs ənd treɪn trɪps dɪˈklaɪnd. ˈraɪdərz hæv sɛd ðə ʧeɪnʤ tɪ mɔr ˈfrikˌwɛnt ˈsərvɪs ɔn ˈsætərdiz ənd ˈsənˌdiz meɪks ɪt ˈiziər fər ˈpipəl ˈwərkɪŋ ɔn ˈwiˌkɛndz tɪ gɪt tɪ ðɛr ʤɑbz, waɪl ˈgɪvɪŋ ˈəðərz mɔr ˈfridəm fər ˈpərsɪnəl trɪps səʧ ɛz ruˈtin ˈɛrəndz ənd ˈəðər ˈriʤənəl ˈtrævəl. rɪˈdəkʃən ˈmɛˌtroʊ əˈfɪʃəlz sɛd ðeɪ ər ˈkɑnfədənt ðə ˈtrænzɪt ˈraɪdərˌʃɪp dɪˈklaɪn ɪz nɑt ə rɪˌpjudiˈeɪʃən əv ðə nu bəs ˈsɪstəm. ðə bəs ˈnɛtˌwərk həz bɪn preɪzd baɪ səm, bət ˈəðərz hæv kəmˈpleɪnd əv ˈlɔŋgər wɔks tɪ riʧ stɑps ənd ˈəðər ˈnɛgətɪv ˈkɑnsəkˌwɛnsəz. wəts klɪr beɪst ɔn bəs ˈraɪdərˌʃɪp ˈdætə, ˌhaʊˈɛvər, ɪz ðə dɪˈklaɪnz ər sprɛd əraʊnd ðə ˈriʤən ənd nɑt ʤɪst ˈkɔnsənˌtreɪtɪd ɔn ˈdaʊnˈtaʊn rʊts. ðə ənd ˈwɛˌsthaɪmər rʊts tu əv ðə ˈeɪʤənsiz ˈlɑrʤəst ɪn tərmz əv juz hæd ˈraɪdərˌʃɪp dɪˈklaɪnz ɪn ˈɛkˌsɛs əv ðə ˈoʊvərˌɔl ˈsɪstəm ˈdʊrɪŋ ðə læst θri mənθs. ˈmɛˌtroʊ riˈfoʊkəst ˈɛfərts ɛz pɑrt əv læst jɪrz ˌridɪˈzaɪn ɔn ˈfrikˌwɛnt kɔr bəs rʊts sərvd baɪ laɪnz ˈsərvɪŋ ˌrɛzɪˈdɛnʃəl ˈɛriəz., ənd ˈwɛˌsthaɪmər rʊts ˈɔfən ər ˈsaɪtɪd ɪn ˈnæʃənəl rɪˈpɔrts əˈbaʊt ðə səkˈsɛs əv ðə ˈhjustən bəs ˈsɪstəm riˈbɪld. mɔr ðən ə ˈdəzən ˈəðər ˈtrænzɪt ˈeɪʤənsiz hæv lʊkt æt ˈhjustənz ˈʧeɪnʤɪz ɪn ɪts bəs ˈsɪstəm, ɪn hoʊps əv ˈrɛplɪˌkeɪtɪŋ səm əv ðə aɪˈdiəz. ˈraɪdərˌʃɪp ɔn ðə bəs laɪn, wɪʧ rənz frəm ˈɛlˌdrɪʤ tɪ ðə ˈtɛksəs ˈmɛdɪkəl ˈsɛnər, ˌhaʊˈɛvər, drɑpt pərˈsɛnt ɪn ɑkˈtoʊbər ənd 11 pərˈsɛnt ɪn noʊˈvɛmbər kəmˈpɛrd tɪ 2015 səm əv ðət kʊd əˈkaʊnt fər ˈpipəl ˈfaɪndɪŋ nu kəmˈjutɪŋ ˈɔpʃənz ər ˈʃɪftɪŋ tɪ ˈəðər bəs rʊts ɛz ˈraɪdərz kənˈtɪnju tɪ əˈʤəst tɪ ðə riəˈlaɪnd ˈnɛtˌwərk. pɔˈlɛt nuˈjɛn, hu lɪvz ist əv alief*, ˈminˌwaɪl, ʤɪst stɑpt ˈraɪdɪŋ bɪˈkəz ɪt wɑz noʊ ˈlɔŋgər kənˈvinjənt. "aɪ ləvd ˈmɛˌtroʊ ˌbiˈfɔr ˈɛvriˌθɪŋ ʧeɪnʤd," nuˈjɛn sɛd, ˈnoʊtɪŋ hər trɪps simd tɪ teɪk ˈlɔŋgər bɪˈkəz ðə bəs wɑz soʊ ˈkraʊdɪd ˈæftər ðə ˈsɪstəm ʧeɪnʤd ˌɔlˈðoʊ hər trɪp tɪ ənd frəm wərk streɪt daʊn ˈbʊləˌvɑrd wɑz ɪgˈzæktli ðə seɪm. ʃɛl ʤɑbz ʃɪft lumz ðoʊ ˌɑptɪˈmɪstɪk, ˈtrænzɪt əˈfɪʃəlz ˈɔlsoʊ ˈrɛkəgˌnaɪz ˈʧælənʤɪz rɪˈmeɪn əˈspɛʃəli fər ˈdaʊnˈtaʊn juz. fər ˈɪnstəns, ʃɛl ɔɪl koʊ. ɪz ˈmuvɪŋ ɪts ˈdaʊnˈtaʊn ˈwərkərz tɪ ðə ˈɛnərʤi ˈkɔrɪdər baɪ mɑrʧ. wɪn ðoʊz ˈpipəl ər ˌriˈloʊkeɪtɪd, 675 əv ðoʊz ɪmˈplɔɪiz wɪl stɑp ˈjuzɪŋ ˈmɛˌtroʊ tɪ raɪd tɪ wərk, sɛd ˈkɛnɪθ braʊn, ˈmænɪʤər əv ˈsərvɪs ˈplænɪŋ fər ðə ˈtrænzɪt ˈeɪʤənsi. ˈkeɪtərɪŋ tɪ ðoʊz ˈwərkərz tɪ kip ðɛm ˈjuzɪŋ ˈtrænzɪt ənd pəˈtɛnʃəli lʊr ˈəðərz wɪl teɪk əˈʤəstɪŋ æt list wən ˈmɛˌtroʊ bəs rut, ðə ˈædɪks ˈsərvɪs. əˈfɪʃəlz ˈɔlsoʊ ər kənˈsɪdərɪŋ ˈtɔkɪŋ tɪ ʃɛl əˈbaʊt ɪkˈspændɪd ˈɔpʃənz, braʊn sɛd. ˈlæmbərt sɛd ðə ˈpɛndɪŋ lɔs əv ˈraɪdərz ɪz ə ʧæns tɪ si haʊ ˈmɛni ˈpipəl riækt tɪ ˈməltəpəl ˈʧɔɪsɪz. ˈfeɪsɪŋ ðə ˈriləˈzeɪʃən ðə 20 pərˈsɛnt ˈraɪdərˌʃɪp geɪnz ˈmɛˌtroʊ ˈboʊldli prɪˈdɪktɪd tu jɪrz wɪθ ðə nu bəs ˈsɪstəm wɪl nɑt məˈtɪriəˌlaɪz, hi sɛd ˌɪmˈpruvɪŋ ˈtrænzɪt ɪn ˈhjustən maɪt min riˈθɪŋkɪŋ ɪt. "ˈmeɪbi ðə ˈproʊˌgræm maɪt bi mɔr ˌɪmˈpɔrtənt ɪn ðə fˈjuʧər," ˈlæmbərt sɛd. əˈtræktɪŋ nu ˈraɪdərz ˈɔlsoʊ wɪl bi ˈnɛsəˌsɛri tɪ bust bəs ənd treɪn ˈnəmbərz. ˈmɛˌtroʊ bɔrd ˈmɛmbər ʤɪm ˈrɑbənsən, əˈpɔɪntɪd baɪ ˈhɛrɪs ˈkaʊnti, sɛd ˈmɛˌtroʊ maɪt pleɪ ə roʊl ɪn rɪˈlivɪŋ ˈpɑrkɪŋ woʊz baɪ ˈkaʊnti ɪmˈplɔɪiz. "ðɛr ər ˈsɪmpli nɑt ɪˈnəf (ˈpɑrkɪŋ) lɑts fər ðə ˈpipəl hu wərk ˈdaʊnˈtaʊn," ˈrɑbənsən sɛd əv ðə ˈkaʊnti ˈwərkərz. "ɪn səm ˈkeɪsɪz, ðeɪ hæv tɪ peɪ ə lɔt tɪ pɑrk." ənˈlaɪk ðə kəmˈjutər bəs ˈsɪstəm ðət ˈfɛriz ˈraɪdərz frəm səˈbərbən lɑts ˈɔfən fɑr ˈaʊtˈsaɪd ðə sæm ˈhjustən tollway*, ˈrɑbənsən sɛd ˈmɛˌtroʊ kʊd dɪˈvɛləp "ən ˈɪnərˌsɪti pɑrk ənd raɪd" ðət kʊd ˈlɛvərɪʤ ˈpɑrkɪŋ æt ˈloʊkəl ˈtrænzɪt ˈsɛnərz ər ˈivɪn ˈkaʊnti fəˈsɪlɪtiz soʊ ˈivɪn ˈkloʊzər kəmˈjuts kʊd bi ˈteɪkən kˈwɪkli baɪ bəs. "ˈmeɪbi ðət wʊd meɪk əp səm əv ðə ˈraɪdərˌʃɪp lɔs," ˈrɑbənsən sɛd. |
image caption flight lasted 108 minutes
a movie has been made on the space station that tries to show what yuri gagarin might have seen on his historic flight around the earth in 1961.
firstorbit will have a youtube premiere next month to celebrate the russian achievement 50 years on.
no film exists showing what gagarin saw through the of his capsule; there is only an audio recording of his observations.
this has now been matched to video shot from the station.
"when you combine these pictures of what he was genuinely able to see with the excitement and tingle in his voice, it's quite amazing," film director and space historian dr chris riley told bbc news.
yuri gagarin became the first human to venture above the earth's atmosphere when he blasted away from the missile range (now the baikonur cosmodrome) in kazakhstan at 0607 on 12 april 1961.
his journey around the globe took him across the soviet republics, across the pacific ocean, over the straits of magellan in south america, above the atlantic and africa before and a bailout back to the ground near the city of engels in russia.
the view down to earth along this same path has now been filmed from the international space station (iss).
the pictures recorded from the orbiting platform cannot be a perfect match for view.
for one thing, the cosmonaut flew a path that took him closer to the poles than is possible on the iss. the precise cloud formations 50 years ago also can never be recreated.
but the team behind the movie project hopes the sequence will nevertheless give viewers something of the sensation gagarin must have experienced.
image caption filming on the station was led by paolo
organising the filming onboard the busy space lab was not straightforward, said dr riley.
"my stipulation was that we had to film it at the same time of day that gagarin had seen it, to get the sun angles right," he explained. "those chances only happen every six weeks."
the director of photography on the project was paolo, the european space agency astronaut currently living aboard the station.
the italian is a keen photographer and his still images of the earth taken from orbit have a big following on flickr.
image caption gagarin went into darkness behind the earth over the pacific. he saw the sun rise as he was moving over the south atlantic
for, he set up a camera in the station's cupola, a kind of turret on the underside of the platform.
the cupola has seven windows, including one that is in diameter and faces directly down to earth.
nespoli and his astronaut colleagues on the platform ran the camera whenever the station passed over portions of the earth's surface that gagarin saw.
this video was then stitched together with capsule recording and a music soundtrack from the composer philip sheppard.
interwoven also are news reports from radio moscow, tass and the bbc.
the movie will be premiered on youtube on this year's anniversary and then will be available for free download.
"right from the very beginning, our thought was to make it and then give it away," said dr riley.
"once it became clear we were making this film for all mankind to celebrate the anniversary of flight, everyone just threw their weight behind it without any payment."
trailers are already available.
image caption from the cupola: us astronaut tracy caldwell dyson takes in the spectacular view of earth from orbit
jonathan.amos-internet@bbc.co.uk | ˈɪmɪʤ ˈkæpʃən flaɪt ˈlæstɪd 108 ˈmɪnəts ə ˈmuvi həz bɪn meɪd ɔn ðə speɪs ˈsteɪʃən ðət traɪz tɪ ʃoʊ wət ˈjʊri gəˈgærən maɪt hæv sin ɔn hɪz hɪˈstɔrɪk flaɪt əraʊnd ðə ərθ ɪn 1961 wɪl hæv ə ˈjuˌtub prɛˈmɪr nɛkst mənθ tɪ ˈsɛləˌbreɪt ðə ˈrəʃən əˈʧivmənt 50 jɪrz ɔn. noʊ fɪlm ɪgˈzɪsts ʃoʊɪŋ wət gəˈgærən sɔ θru ðə əv hɪz ˈkæpsəl; ðɛr ɪz ˈoʊnli ən ˈɑdiˌoʊ rɪˈkɔrdɪŋ əv hɪz ˌɑbzərˈveɪʃənz. ðɪs həz naʊ bɪn mæʧt tɪ ˈvɪdioʊ ʃɑt frəm ðə ˈsteɪʃən. "wɪn ju ˈkɑmbaɪn ðiz ˈpɪkʧərz əv wət hi wɑz ˈʤɛnjuˌaɪnli ˈeɪbəl tɪ si wɪθ ðə ɪkˈsaɪtmənt ənd ˈtɪŋgəl ɪn hɪz vɔɪs, ɪts kwaɪt əˈmeɪzɪŋ," fɪlm dɪˈrɛktər ənd speɪs hɪˈstɔriən ˈdɑktər krɪs ˈraɪli toʊld ˌbibiˈsi nuz. ˈjʊri gəˈgærən bɪˈkeɪm ðə fərst ˈjumən tɪ ˈvɛnʧər əˈbəv ðə ərθs ˈætməsˌfɪr wɪn hi ˈblæstɪd əˈweɪ frəm ðə ˈmɪsəl reɪnʤ (naʊ ðə ˈbaɪkəˌnɔr ˈkɔzməˌdroʊm) ɪn ˌkɑzɑkˈstɑn æt 0607 ɔn 12 ˈeɪprəl 1961 hɪz ˈʤərni əraʊnd ðə gloʊb tʊk ɪm əˈkrɔs ðə ˈsoʊviˌɛt riˈpəblɪks, əˈkrɔs ðə pəˈsɪfɪk ˈoʊʃən, ˈoʊvər ðə streɪts əv məˈʤɛlən ɪn saʊθ əˈmɛrɪkə, əˈbəv ðə əˈtlæntɪk ənd ˈæfrɪkɑ ˌbiˈfɔr ənd ə ˈbeɪˌlaʊt bæk tɪ ðə graʊnd nɪr ðə ˈsɪti əv ˈɛŋgəlz ɪn ˈrəʃə. ðə vju daʊn tɪ ərθ əˈlɔŋ ðɪs seɪm pæθ həz naʊ bɪn fɪlmd frəm ðə ˌɪnərˈnæʃənɑl speɪs ˈsteɪʃən (iss*). ðə ˈpɪkʧərz rɪˈkɔrdɪd frəm ðə ˈɔrbətɪŋ ˈplætˌfɔrm ˈkænɑt bi ə ˈpərˌfɪkt mæʧ fər vju. fər wən θɪŋ, ðə ˈkɔzməˌnɔt flu ə pæθ ðət tʊk ɪm ˈkloʊzər tɪ ðə poʊlz ðən ɪz ˈpɑsəbəl ɔn ðə iss*. ðə prɪˈsaɪs klaʊd fɔrˈmeɪʃənz 50 jɪrz əˈgoʊ ˈɔlsoʊ kən ˈnɛvər bi ˈrɛkriˌeɪtɪd. bət ðə tim bɪˈhaɪnd ðə ˈmuvi ˈprɑʤɛkt hoʊps ðə ˈsikwəns wɪl ˌnɛvərðəˈlɛs gɪv vjuərz ˈsəmθɪŋ əv ðə sɛnˈseɪʃən gəˈgærən məst hæv ɪkˈspɪriənst. ˈɪmɪʤ ˈkæpʃən ˈfɪlmɪŋ ɔn ðə ˈsteɪʃən wɑz lɛd baɪ ˈpaʊloʊ ðə ˈfɪlmɪŋ ˈɑnˌbɔrd ðə ˈbɪzi speɪs læb wɑz nɑt ˈstreɪtˈfɔrwərd, sɛd ˈdɑktər ˈraɪli. "maɪ ˌstɪpjəˈleɪʃən wɑz ðət wi hæd tɪ fɪlm ɪt æt ðə seɪm taɪm əv deɪ ðət gəˈgærən hæd sin ɪt, tɪ gɪt ðə sən ˈæŋgəlz raɪt," hi ɪkˈspleɪnd. "ðoʊz ˈʧænsɪz ˈoʊnli ˈhæpən ˈɛvəri sɪks wiks." ðə dɪˈrɛktər əv fəˈtɑgrəfi ɔn ðə ˈprɑʤɛkt wɑz ˈpaʊloʊ, ðə ˌjʊrəˈpiən speɪs ˈeɪʤənsi ˈæstrəˌnɑt ˈkərəntli ˈlɪvɪŋ əˈbɔrd ðə ˈsteɪʃən. ðə ˌɪˈtæljən ɪz ə kin fəˈtɑgrəfər ənd hɪz stɪl ˈɪmɪʤɪz əv ðə ərθ ˈteɪkən frəm ˈɔrbət hæv ə bɪg ˈfɑloʊɪŋ ɔn ˈflɪkər. ˈɪmɪʤ ˈkæpʃən gəˈgærən wɛnt ˈɪntu ˈdɑrknəs bɪˈhaɪnd ðə ərθ ˈoʊvər ðə pəˈsɪfɪk. hi sɔ ðə sən raɪz ɛz hi wɑz ˈmuvɪŋ ˈoʊvər ðə saʊθ əˈtlæntɪk fər, hi sɛt əp ə ˈkæmərə ɪn ðə ˈsteɪʃənz kəˈpoʊlə, ə kaɪnd əv tərət ɔn ðə ˈəndərˌsaɪd əv ðə ˈplætˌfɔrm. ðə kəˈpoʊlə həz ˈsɛvən ˈwɪndoʊz, ˌɪnˈkludɪŋ wən ðət ɪz ɪn daɪˈæmətər ənd ˈfeɪsɪz dɪˈrɛkli daʊn tɪ ərθ. ənd hɪz ˈæstrəˌnɑt ˈkɑligz ɔn ðə ˈplætˌfɔrm ræn ðə ˈkæmərə wɛˈnɛvər ðə ˈsteɪʃən pæst ˈoʊvər ˈpɔrʃənz əv ðə ərθs ˈsərfəs ðət gəˈgærən sɔ. ðɪs ˈvɪdioʊ wɑz ðɛn stɪʧt təˈgɛðər wɪθ ˈkæpsəl rɪˈkɔrdɪŋ ənd ə mˈjuzɪk ˈsaʊnˌtræk frəm ðə kəmˈpoʊzər ˈfɪlɪp ˈʃɛpərd. ˌɪntərˈwoʊvən ˈɔlsoʊ ər nuz rɪˈpɔrts frəm ˈreɪdiˌoʊ ˈmɔˌskaʊ, tæs ənd ðə ˌbibiˈsi. ðə ˈmuvi wɪl bi prɛˈmɪrd ɔn ˈjuˌtub ɔn ðɪs jɪrz ˌænəˈvərsəri ənd ðɛn wɪl bi əˈveɪləbəl fər fri ˈdaʊnˌloʊd. "raɪt frəm ðə ˈvɛri bɪˈgɪnɪŋ, ɑr θɔt wɑz tɪ meɪk ɪt ənd ðɛn gɪv ɪt əˈweɪ," sɛd ˈdɑktər ˈraɪli. "wəns ɪt bɪˈkeɪm klɪr wi wər ˈmeɪkɪŋ ðɪs fɪlm fər ɔl ˈmænˈkaɪnd tɪ ˈsɛləˌbreɪt ðə ˌænəˈvərsəri əv flaɪt, ˈɛvriˌwən ʤɪst θru ðɛr weɪt bɪˈhaɪnd ɪt wɪˈθaʊt ˈɛni ˈpeɪmənt." ˈtreɪlərz ər ɔˈrɛdi əˈveɪləbəl. ˈɪmɪʤ ˈkæpʃən frəm ðə kəˈpoʊlə: ˈjuˈɛs ˈæstrəˌnɑt ˈtreɪsi ˈkɔldwɛl ˈdaɪsən teɪks ɪn ðə spɛkˈtækjələr vju əv ərθ frəm ˈɔrbət |
having a smart and contoured face can enhance your beauty. be it men or women, everyone wants to look fantastic and if something that makes them unhappy, they put in all their efforts to improve their looks.
in an era of technological advancement, nothing seems impossible. people can get whatever features they like and improve their looks. one such surgery to make your face look smarter and attractive is the cheekbone surgery. people who have excess check fat or an uneven of the face usually opt for this procedure.
what is cheekbone surgery
some people are born with bulging cheeks while some their facial bones fractured in an accident leaving an face. cheekbone surgery is done to treat defects that make a face look uneven. such defects can be treated by either cheekbone augmentation or reduction procedure.
how cheekbone surgery is done
the person is sedated with general anesthesia so that he feels no pain and then the surgeon makes an incision to reveal the cheekbones to be treated. if a person has flat cheekbones, implants are used to uplift the cheeks and if the patients have uneven bones, the surgeon works on them accordingly. once the surgeon is done with the process, he stitches up the patient and the surgery is completed. the surgery may take up to a few hours to be completed and the patient may need to stay under observation for some time.
if you have broken you facial bones in an accident and deformed your face, cheekbone surgery can be very helpful in treating such defects. flat and sagging cheeks, uneven contour and chubby cheeks can easily be treated through this surgery. the procedure is costly and should be conducted by only an expert as the results are permanent. one wrong step can ruin it all for you.
it is important to consult an experienced surgeon to avoid any side effects. inexperienced surgeon may lift the cheeks up too much or make them too chubby. it may sometime for the swelling to go away and the patients at times can develop an adverse reaction to anesthesia.
cheekbone surgery may take a few hours to be completed and the patient may take some time to recover. until then the patient have to keep the incision site clean in order to avoid any infections. the end results can give the person an entirely new look.
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sao paolo, brazil brazil is one of the only countries on the planet with a more serious police brutality problem than the united states.
according to a recent study from the brazilian forum on public safety, police in brazil have killed over people between the years of 2009 and 2013. these numbers average out to roughly six killings per day, which is more than double the rate that is seen in the united states.
in one of the most recent and high-profile cases of police brutality, a police officer shot two teenage theft suspects in front of a television news crew. the shooting occurred just after a high-speed chase, where the officer was hunting down the teenagers under suspicion that they stole the motorcycle that they were traveling with. it has not yet been confirmed whether or not the teens were actually guilty of theft, but this is what was suspected by the officer.
in the video, one of the suspects can be seen throwing their helmet at the pursuing officer, as they attempted to evade him during their chase through the streets.
after a quick chase, the suspects ended up crashing the motorcycles and landing on the sidewalk. when the officer approached seconds later, it was obvious that they were not moving and were injured, but the officer fired several shots at close range anyway, even though they obviously posed no threat.
the two men ages of 16 and 17 were taken to nearby hospitals. and the police officer who shot them was arrested later that same night.
according to news reports, one of the men was wounded by three bullets, one in the buttock and two in the leg and is in stable condition in the hospital. the secretary of public security, alexandre de moraes, said the police committed “serious irregularities.” internal affairs immediately began an investigation.
john vibes is an author, researcher and investigative journalist who takes a special interest in the counter culture and the drug war. in addition to his writing and activist work he organizes a number of large events including the free your mind conference, which features top caliber speakers and from all over the world. you can contact him and stay connected to his work at his facebook page. you can find his 65 chapter book entitled “alchemy of the timeless renaissance” at bookpatch.com. | sprɛd ðə ləv saʊ ˈpaʊloʊ, brəˈzɪl brəˈzɪl ɪz wən əv ðə ˈoʊnli ˈkəntriz ɔn ðə ˈplænət wɪθ ə mɔr ˈsɪriəs pəˈlis bruˈtælɪti ˈprɑbləm ðən ðə juˈnaɪtɪd steɪts. əˈkɔrdɪŋ tɪ ə ˈrisənt ˈstədi frəm ðə brəˈzɪljən ˈfɔrəm ɔn ˈpəblɪk ˈseɪfti, pəˈlis ɪn brəˈzɪl hæv kɪld ˈoʊvər ˈpipəl bɪtˈwin ðə jɪrz əv 2009 ənd 2013 ðiz ˈnəmbərz ˈævərɪʤ aʊt tɪ ˈrəfli sɪks ˈkɪlɪŋz pər deɪ, wɪʧ ɪz mɔr ðən ˈdəbəl ðə reɪt ðət ɪz sin ɪn ðə juˈnaɪtɪd steɪts. ɪn wən əv ðə moʊst ˈrisənt ənd ˌhaɪˈproʊfaɪl ˈkeɪsɪz əv pəˈlis bruˈtælɪti, ə pəˈlis ˈɔfɪsər ʃɑt tu ˈtiˌneɪʤ θɛft ˈsəˌspɛkts ɪn frənt əv ə ˈtɛləˌvɪʒən nuz kru. ðə ˈʃutɪŋ əˈkərd ʤɪst ˈæftər ə ˈhaɪˌspid ʧeɪs, wɛr ðə ˈɔfɪsər wɑz ˈhəntɪŋ daʊn ðə ˈtiˌneɪʤərz ˈəndər səˈspɪʃən ðət ðeɪ stoʊl ðə ˈmoʊtərˌsaɪkəl ðət ðeɪ wər ˈtrævəlɪŋ wɪθ. ɪt həz nɑt jɛt bɪn kənˈfərmd ˈwɛðər ər nɑt ðə tinz wər ˈæˌkʧuəli ˈgɪlti əv θɛft, bət ðɪs ɪz wət wɑz səˈspɛktɪd baɪ ðə ˈɔfɪsər. ɪn ðə ˈvɪdioʊ, wən əv ðə ˈsəˌspɛkts kən bi sin θroʊɪŋ ðɛr ˈhɛlmət æt ðə pərˈsuɪŋ ˈɔfɪsər, ɛz ðeɪ əˈtɛmptəd tɪ ɪˈveɪd ɪm ˈdʊrɪŋ ðɛr ʧeɪs θru ðə strits. ˈæftər ə kwɪk ʧeɪs, ðə ˈsəˌspɛkts ˈɛndɪd əp ˈkræʃɪŋ ðə ˈmoʊtərˌsaɪkəlz ənd ˈlændɪŋ ɔn ðə ˈsaɪdˌwɔk. wɪn ðə ˈɔfɪsər əˈproʊʧt ˈsɛkəndz ˈleɪtər, ɪt wɑz ˈɑbviəs ðət ðeɪ wər nɑt ˈmuvɪŋ ənd wər ˈɪnʤərd, bət ðə ˈɔfɪsər faɪərd ˈsɛvərəl ʃɑts æt kloʊz reɪnʤ ˈɛniˌweɪ, ˈivɪn ðoʊ ðeɪ ˈɑbviəsli poʊzd noʊ θrɛt. ðə tu mɛn ˈeɪʤɪz əv 16 ənd 17 wər ˈteɪkən tɪ ˈnɪrˈbaɪ ˈhɑˌspɪtəlz. ənd ðə pəˈlis ˈɔfɪsər hu ʃɑt ðɛm wɑz ərˈɛstɪd ˈleɪtər ðət seɪm naɪt. əˈkɔrdɪŋ tɪ nuz rɪˈpɔrts, wən əv ðə mɛn wɑz ˈwundɪd baɪ θri ˈbʊləts, wən ɪn ðə ˈbətək ənd tu ɪn ðə lɛg ənd ɪz ɪn ˈsteɪbəl kənˈdɪʃən ɪn ðə ˈhɑˌspɪtəl. ðə ˈsɛkrəˌtɛri əv ˈpəblɪk sɪˈkjʊrəti, ælɪkˈsɑndər də moraes*, sɛd ðə pəˈlis kəˈmɪtɪd irregularities.”*.” ˌɪnˈtərnəl əˈfɛrz ˌɪˈmiˌdiətli bɪˈgæn ən ˌɪnˌvɛstəˈgeɪʃən. ʤɑn vaɪbz ɪz ən ˈɔθər, ˈrisərʧər ənd ˌɪnˈvɛstəˌgeɪtɪv ˈʤərnəlɪst hu teɪks ə ˈspɛʃəl ˈɪntəˌrɛst ɪn ðə ˈkaʊntər ˈkəlʧər ənd ðə drəg wɔr. ɪn əˈdɪʃən tɪ hɪz ˈraɪtɪŋ ənd ˈæktɪvɪst wərk hi ˈɔrgəˌnaɪzɪz ə ˈnəmbər əv lɑrʤ ɪˈvɛnts ˌɪnˈkludɪŋ ðə fri jʊr maɪnd ˈkɑnfərəns, wɪʧ ˈfiʧərz tɔp ˈkæləbər ˈspikərz ənd frəm ɔl ˈoʊvər ðə wərld. ju kən ˈkɑnˌtækt ɪm ənd steɪ kəˈnɛktɪd tɪ hɪz wərk æt hɪz ˈfeɪsˌbʊk peɪʤ. ju kən faɪnd hɪz 65 ˈʧæptər bʊk ɛnˈtaɪtəld əv ðə ˈtaɪmləs renaissance”*” æt bookpatch.com*. |
"tunak tun" or simply", is a song by indian artist, released in 1998. it was the first indian music video made using]
the song and the video were a success in india, cementing status as india's biggest at the] it later gained international] especially after it became an internet meme in the]
background [ edit ]
the tun" lyrics are a reference to the sounds made by a (also called tumba), a traditional musical instrument from the punjab region in the northern indian]
mehndi's music was often criticized for only being popular due to his videos which featured beautiful, dancing source needed] the singer responded by creating a video that featured only himself. the music video was the first made in india using] which allowed the singer to superimpose his image over various computer-generated backgrounds including desert and mountain landscapes as well as the st. cathedral.
the music video was produced on an unprecedented budget of] ($610,000),[7] equivalent to million ($1.23 million) adjusted for inflation.
music video [ edit ]
the music video follows a simple plot about four men, all played by, who represent the four classical elements and dress in lavish indian clothing. the earth wears red/maroon, the fire wears orange, the wind wears brown, and the water wears green. the men start off as comets made of water, dirt, air, and fire before transforming into clothed humans. each of them take turns singing, dancing and pointing at each other as though they are discussing something. the men later fuse by first reverting to their comet states and then merging to form, who is predominantly wearing yellow and green and presumably more powerful.
as of october 2018, the music video has received over 100 million views on the sony music india channel at]
reception [ edit ]
the song and the music video received a negative review from sahara magazine in] despite this, the song became a commercial success in 1998, becoming the biggest hit at the]
international popular culture [ edit ]
by 1999, the song found an international cult following, particularly among the south asian diaspora in countries such as the united kingdom and united states, as well as in markets such as] in china, it attained popularity for its lyrics, which sound like nonsensical words, gaining the song the chinese name, "我在东北玩泥巴" ("i'm playing clay in northeastern]
in the 2000s, tun" found greater international popularity on the internet as a viral video. in response, the video game company blizzard entertainment incorporated the tun" dance as a character animation in their multiplayer game world of warcraft in] this dance is also included as an easter egg in the video game medal of honor: allied assault]
chart performance [ edit ]
chart (2016) peak
position belgium 50] 28
references [ edit ] | "tunak* tun*" ər ˈsɪmpli", ɪz ə sɔŋ baɪ ˈɪndiən ˈɑrtɪst, riˈlist ɪn 1998 ɪt wɑz ðə fərst ˈɪndiən mˈjuzɪk ˈvɪdioʊ meɪd ˈjuzɪŋ ðə sɔŋ ənd ðə ˈvɪdioʊ wər ə səkˈsɛs ɪn ˈɪndiə, sɪˈmɛntɪŋ ˈstætəs ɛz ˈɪndiəz ˈbɪgəst æt ðə ɪt ˈleɪtər geɪnd ˌɪnərˈnæʃənɑl əˈspɛʃəli ˈæftər ɪt bɪˈkeɪm ən ˈɪntərˌnɛt mim ɪn ðə ˈbækˌgraʊnd ˈɛdət ðə tun*" ˈlɪrɪks ər ə ˈrɛfərəns tɪ ðə saʊnz meɪd baɪ ə (ˈɔlsoʊ kɔld tumba*), ə trəˈdɪʃənəl mˈjuzɪkəl ˈɪnstrəmənt frəm ðə ˈpənˌʤæb ˈriʤən ɪn ðə ˈnɔrðərn ˈɪndiən mˈjuzɪk wɑz ˈɔfən ˈkrɪtəˌsaɪzd fər ˈoʊnli biɪŋ ˈpɑpjələr du tɪ hɪz ˈvɪdioʊz wɪʧ ˈfiʧərd ˈbjutəfəl, ˈdænsɪŋ sɔrs ˈnidɪd] ðə ˈsɪŋər rɪˈspɑndɪd baɪ kriˈeɪtɪŋ ə ˈvɪdioʊ ðət ˈfiʧərd ˈoʊnli hɪmˈsɛlf. ðə mˈjuzɪk ˈvɪdioʊ wɑz ðə fərst meɪd ɪn ˈɪndiə ˈjuzɪŋ wɪʧ əˈlaʊd ðə ˈsɪŋər tɪ ˌsupərəmˈpoʊz hɪz ˈɪmɪʤ ˈoʊvər ˈvɛriəs kəmˈpjutərˈʤɛnərˌeɪtəd ˈbækˌgraʊndz ˌɪnˈkludɪŋ ˈdɛzərt ənd ˈmaʊntən ˈlænˌskeɪps ɛz wɛl ɛz ðə st*. kəˈθidrəl. ðə mˈjuzɪk ˈvɪdioʊ wɑz prəˈdust ɔn ən ənˈprɛsɪˌdɛntɪd ˈbəʤɪt əv ɪkˈwɪvələnt tɪ ˈmɪljən ˈmɪljən) əˈʤəstɪd fər ˌɪnˈfleɪʃən. mˈjuzɪk ˈvɪdioʊ ˈɛdət ðə mˈjuzɪk ˈvɪdioʊ ˈfɑloʊz ə ˈsɪmpəl plɑt əˈbaʊt fɔr mɛn, ɔl pleɪd baɪ, hu ˌrɛprɪˈzɛnt ðə fɔr ˈklæsɪkəl ˈɛləmənts ənd drɛs ɪn ˈlævɪʃ ˈɪndiən ˈkloʊðɪŋ. ðə ərθ wɛrz red/maroon*, ðə faɪər wɛrz ˈɔrɪnʤ, ðə wɪnd wɛrz braʊn, ənd ðə ˈwɔtər wɛrz grin. ðə mɛn stɑrt ɔf ɛz ˈkɑməts meɪd əv ˈwɔtər, dərt, ɛr, ənd faɪər ˌbiˈfɔr trænsˈfɔrmɪŋ ˈɪntu kloʊðd ˈjumənz. iʧ əv ðɛm teɪk tərnz ˈsɪŋɪŋ, ˈdænsɪŋ ənd ˈpɔɪntɪŋ æt iʧ ˈəðər ɛz ðoʊ ðeɪ ər dɪˈskəsɪŋ ˈsəmθɪŋ. ðə mɛn ˈleɪtər fjuz baɪ fərst rɪˈvərtɪŋ tɪ ðɛr ˈkɑmət steɪts ənd ðɛn ˈmərʤɪŋ tɪ fɔrm, hu ɪz ˌprɪˈdɑmənənˌtli ˈwɛrɪŋ ˈjɛloʊ ənd grin ənd prɪˈzuməbli mɔr ˈpaʊərfəl. ɛz əv ɑkˈtoʊbər 2018 ðə mˈjuzɪk ˈvɪdioʊ həz rɪˈsivd ˈoʊvər 100 ˈmɪljən vjuz ɔn ðə ˈsoʊni mˈjuzɪk ˈɪndiə ˈʧænəl æt rɪˈsɛpʃən ˈɛdət ðə sɔŋ ənd ðə mˈjuzɪk ˈvɪdioʊ rɪˈsivd ə ˈnɛgətɪv ˌrivˈju frəm səˈhɛrə ˈmægəˌzin ɪn dɪˈspaɪt ðɪs, ðə sɔŋ bɪˈkeɪm ə kəˈmərʃəl səkˈsɛs ɪn 1998 bɪˈkəmɪŋ ðə ˈbɪgəst hɪt æt ðə ˌɪnərˈnæʃənɑl ˈpɑpjələr ˈkəlʧər ˈɛdət baɪ 1999 ðə sɔŋ faʊnd ən ˌɪnərˈnæʃənɑl kəlt ˈfɑloʊɪŋ, ˌpɑrˈtɪkjələrli əˈməŋ ðə saʊθ ˈeɪʒən daɪˈæspərə ɪn ˈkəntriz səʧ ɛz ðə juˈnaɪtɪd ˈkɪŋdəm ənd juˈnaɪtɪd steɪts, ɛz wɛl ɛz ɪn ˈmɑrkɪts səʧ ɛz ɪn ˈʧaɪnə, ɪt əˈteɪnd ˌpɑpjəˈlɛrəti fər ɪts ˈlɪrɪks, wɪʧ saʊnd laɪk nɑnˈsɛnsɪkəl wərdz, ˈgeɪnɪŋ ðə sɔŋ ðə ʧaɪˈniz neɪm, ("əm pleɪɪŋ kleɪ ɪn ˌnɔrˈθistərn ɪn ðə 2000s*, tun*" faʊnd ˈgreɪtər ˌɪnərˈnæʃənɑl ˌpɑpjəˈlɛrəti ɔn ðə ˈɪntərˌnɛt ɛz ə ˈvaɪrəl ˈvɪdioʊ. ɪn rɪˈspɑns, ðə ˈvɪdioʊ geɪm ˈkəmpəˌni ˈblɪzərd ˌɛnərˈteɪnmənt ˌɪnˈkɔrpərˌeɪtɪd ðə tun*" dæns ɛz ə ˈkɛrɪktər ˌænəˈmeɪʃən ɪn ðɛr ˈməltiˌpleɪər geɪm wərld əv ˈwɔrˌkræft ɪn ðɪs dæns ɪz ˈɔlsoʊ ˌɪnˈkludɪd ɛz ən ˈistər ɛg ɪn ðə ˈvɪdioʊ geɪm ˈmɛdəl əv ˈɑnər: ˈæˌlaɪd əˈsɔlt ʧɑrt pərˈfɔrməns ˈɛdət ʧɑrt 2016 pik pəˈzɪʃən ˈbɛlʤəm 50 28 ˈrɛfərənsɪz ˈɛdət |
when kroger shareholders arrive at their annual meeting next wednesday, they'll be greeted by a gun safety protest.
members of local affiliates of the michael gun control groups and moms demand action will be waiting near the supermarket chain's cincinnati headquarters on october to confront investors and executives.
kroger currently allows shoppers to openly carry guns in stores in states where the practice is legal. and moms demand action activists aim to convince the retailer to change this policy, in line with other large chains like starbucks and target .
joining the gun safety groups will be a survivor of the 2011 tucson massacre outside a safeway supermarket, when eighteen people, including congresswoman gabrielle giffords, were shot. six were killed. (giffords has since retired from politics and devoted her career to gun control advocacy; she and husband mark kelly launched the nonprofit americans for responsible solutions.)
moms demand action founder shannon watts will be on the scene in cincinnati and hopes to compel kroger executives to meet with her in person. the group, in partnership with billionaire bloomberg's $50 million project, has been petitioning the country's largest supermarket chain for more than two months.
they've amassed over signatures and collectively made phone calls to kroger's corporate offices. the groups spent six figures on a recent ad blitz, including a billboard near the hq.
in late september, they secured the support of senators chris murphy (d-conn.), richard blumenthal (d-conn.), and dianne (d-calif.), who jointly wrote to kroger ceo rodney mcmullen:
“as you know, gun extremists in several states have exploited the current kroger policy by flaunting assault rifles as they shopped. there is simply no reason why someone would need an to purchase milk, bread, or other basic necessities at a grocery store. however, the current kroger policy allows for these demonstrations,” the senators said. “we write today to urge you to adopt a policy that would prohibit the open carry of firearms in your stores. in doing so, kroger would be sending an important message about your commitment to the safety of your employees and customers.”
still, and moms demand action have yet to secure a meeting with the retailer's leadership team.
shannon watts noted recent incidents of gun crime in stores, including an armed robbery at a bank inside an ohio kroger by a man in a skeleton mask.
"why is kroger asking customers -- the vast majority of whom are women, and moms -- to handle their risk management for them?" watts said. "how are we to determine the difference between an armed robber and a person carrying a gun to make a political statement?"
watts added that she believes most gun owners are responsible, and wouldn't dream of openly carrying their weapons inside a supermarket.
"it's a vocal minority who make so much noise," she said. "they shouldn't be setting the political agenda -- or business policy. kroger has every right to stop open carry on their own property."
she won't be deterred if kroger's executives decide not to accept's petition next wednesday.
"it took three months for starbucks to change their policy," she said. "this is the largest supermarket chain in the country. we didn't expect this to happen overnight. but we're in it for the long run. we have the resources to keep going."
kroger did not return a request for comment. | wɪn ˈkroʊgər ˈʃɛˌrhoʊldərz əraɪv æt ðɛr ˈænjuəl ˈmitɪŋ nɛkst ˈwɛnzˌdeɪ, ðɛl bi ˈgritɪd baɪ ə gən ˈseɪfti ˈproʊˌtɛst. ˈmɛmbərz əv ˈloʊkəl əˈfɪliˌeɪts əv ðə ˈmaɪkəl gən kənˈtroʊl grups ənd mɑmz dɪˈmænd ˈækʃən wɪl bi ˈweɪtɪŋ nɪr ðə ˈsupərˌmɑrkɪt ʧeɪnz ˌsɪnsəˈnæti ˈhɛdˌkɔrtərz ɔn ɑkˈtoʊbər tɪ kənˈfrənt ˌɪnˈvɛstərz ənd ɪgˈzɛkjətɪvz. ˈkroʊgər ˈkərəntli əˈlaʊz ˈʃɑpərz tɪ ˈoʊpənli ˈkɛri gənz ɪn stɔrz ɪn steɪts wɛr ðə ˈpræktɪs ɪz ˈligəl. ənd mɑmz dɪˈmænd ˈækʃən ˈæktɪvɪsts eɪm tɪ kənˈvɪns ðə ˈriˌteɪlər tɪ ʧeɪnʤ ðɪs ˈpɑləsi, ɪn laɪn wɪθ ˈəðər lɑrʤ ʧeɪnz laɪk ˈstɑrˌbəks ənd ˈtərgət ˈʤɔɪnɪŋ ðə gən ˈseɪfti grups wɪl bi ə sərˈvaɪvər əv ðə 2011 ˈtuˌsɑn ˈmæsəkər ˈaʊtˈsaɪd ə ˈseɪfˌweɪ ˈsupərˌmɑrkɪt, wɪn ˈeɪˈtin ˈpipəl, ˌɪnˈkludɪŋ ˈkɑŋgrəsˌwʊmən ˌgɑbriˈɛl ˈgɪfərdz, wər ʃɑt. sɪks wər kɪld. (ˈgɪfərdz həz sɪns rɪˈtaɪrd frəm ˈpɑləˌtɪks ənd dɪˈvoʊtɪd hər kərɪr tɪ gən kənˈtroʊl ˈædvəkəsi; ʃi ənd ˈhəzbənd mɑrk ˈkɛli lɔnʧt ðə nɑnˈprɑfət əˈmɛrɪkənz fər riˈspɑnsəbəl səˈluʃənz.) mɑmz dɪˈmænd ˈækʃən ˈfaʊndər ˈʃænən wɑts wɪl bi ɔn ðə sin ɪn ˌsɪnsəˈnæti ənd hoʊps tɪ kəmˈpɛl ˈkroʊgər ɪgˈzɛkjətɪvz tɪ mit wɪθ hər ɪn ˈpərsən. ðə grup, ɪn ˈpɑrtnərˌʃɪp wɪθ ˌbɪljəˈnɛr ˈblumbərgz 50 ˈmɪljən ˈprɑʤɛkt, həz bɪn pəˈtɪʃənɪŋ ðə ˈkəntriz ˈlɑrʤəst ˈsupərˌmɑrkɪt ʧeɪn fər mɔr ðən tu mənθs. ðeɪv əˈmæst ˈoʊvər ˈsɪgnəʧərz ənd kəˈlɛktɪvli meɪd foʊn kɔlz tɪ ˈkroʊgərz ˈkɔrpərət ˈɔfəsɪz. ðə grups spɛnt sɪks ˈfɪgjərz ɔn ə ˈrisənt æd blɪts, ˌɪnˈkludɪŋ ə ˈbɪlˌbɔrd nɪr ðə hq*. ɪn leɪt sɛpˈtɛmbər, ðeɪ sɪˈkjʊrd ðə səˈpɔrt əv ˈsɛnətərz krɪs ˈmərfi (d-conn*.), ˈrɪʧərd ˈblumənˌθɔl (d-conn*.), ənd daɪæn (d-calif*.), hu ˈʤɔɪntli roʊt tɪ ˈkroʊgər ˈsiˌiˈoʊ ˈrɑdni məˈkələn: ju noʊ, gən ɪkˈstriməsts ɪn ˈsɛvərəl steɪts hæv ˈɛkˌsplɔɪtəd ðə ˈkɑrənt ˈkroʊgər ˈpɑləsi baɪ ˈflɔntɪŋ əˈsɔlt ˈraɪfəlz ɛz ðeɪ ʃɑpt. ðɛr ɪz ˈsɪmpli noʊ ˈrizən waɪ ˈsəmˌwən wʊd nid ən tɪ ˈpərʧəs mɪlk, brɛd, ər ˈəðər ˈbeɪsɪk nəˈsɛsɪtiz æt ə ˈgroʊsəri stɔr. ˌhaʊˈɛvər, ðə ˈkɑrənt ˈkroʊgər ˈpɑləsi əˈlaʊz fər ðiz demonstrations,”*,” ðə ˈsɛnətərz sɛd. raɪt təˈdeɪ tɪ ərʤ ju tɪ əˈdɑpt ə ˈpɑləsi ðət wʊd proʊˈhɪbət ðə ˈoʊpən ˈkɛri əv ˈfaɪˌrɑrmz ɪn jʊr stɔrz. ɪn duɪŋ soʊ, ˈkroʊgər wʊd bi ˈsɛndɪŋ ən ˌɪmˈpɔrtənt ˈmɛsɪʤ əˈbaʊt jʊr kəˈmɪtmənt tɪ ðə ˈseɪfti əv jʊr ɪmˈplɔɪiz ənd customers.”*.” stɪl, ənd mɑmz dɪˈmænd ˈækʃən hæv jɛt tɪ sɪˈkjʊr ə ˈmitɪŋ wɪθ ðə ˈriˌteɪlərz ˈlidərˌʃɪp tim. ˈʃænən wɑts ˈnoʊtɪd ˈrisənt ˈɪnsədənts əv gən kraɪm ɪn stɔrz, ˌɪnˈkludɪŋ ən ɑrmd ˈrɑbəri æt ə bæŋk ˌɪnˈsaɪd ən oʊˈhaɪoʊ ˈkroʊgər baɪ ə mæn ɪn ə ˈskɛlətən mæsk. "waɪ ɪz ˈkroʊgər ˈæskɪŋ ˈkəstəmərz ðə væst məˈʤɔrəti əv hum ər ˈwɪmən, ənd mɑmz tɪ ˈhændəl ðɛr rɪsk ˈmænɪʤmənt fər ðɛm?" wɑts sɛd. "haʊ ər wi tɪ dɪˈtərmən ðə ˈdɪfərəns bɪtˈwin ən ɑrmd ˈrɑbər ənd ə ˈpərsən ˈkɛriɪŋ ə gən tɪ meɪk ə pəˈlɪtɪkəl ˈsteɪtmənt?" wɑts ˈædɪd ðət ʃi bɪˈlivz moʊst gən ˈoʊnərz ər riˈspɑnsəbəl, ənd ˈwʊdənt drim əv ˈoʊpənli ˈkɛriɪŋ ðɛr ˈwɛpənz ˌɪnˈsaɪd ə ˈsupərˌmɑrkɪt. "ɪts ə ˈvoʊkəl məˈnɔrəti hu meɪk soʊ məʧ nɔɪz," ʃi sɛd. "ðeɪ ˈʃʊdənt bi ˈsɛtɪŋ ðə pəˈlɪtɪkəl əˈʤɛndə ər ˈbɪznɪs ˈpɑləsi. ˈkroʊgər həz ˈɛvəri raɪt tɪ stɑp ˈoʊpən ˈkɛri ɔn ðɛr oʊn ˈprɑpərti." ʃi woʊnt bi dɪˈtərd ɪf ˈkroʊgərz ɪgˈzɛkjətɪvz ˌdɪˈsaɪd nɑt tɪ əkˈsɛpt pəˈtɪʃən nɛkst ˈwɛnzˌdeɪ. "ɪt tʊk θri mənθs fər ˈstɑrˌbəks tɪ ʧeɪnʤ ðɛr ˈpɑləsi," ʃi sɛd. "ðɪs ɪz ðə ˈlɑrʤəst ˈsupərˌmɑrkɪt ʧeɪn ɪn ðə ˈkəntri. wi ˈdɪdənt ɪkˈspɛkt ðɪs tɪ ˈhæpən ˈoʊvərˈnaɪt. bət wɪr ɪn ɪt fər ðə lɔŋ rən. wi hæv ðə ˈrisɔrsɪz tɪ kip goʊɪŋ." ˈkroʊgər dɪd nɑt rɪˈtərn ə rɪkˈwɛst fər ˈkɑmɛnt. |
donald trump claimed wednesday that democratic presidential hopeful bernie sanders didn't enthusiastically push "behind the scenes" for a debate between himself and the new york billionaire, despite what the media reported.
"you know bernie wanted to debate me. i don't know if he did or not he wasn't trying too hard, i'll tell you," trump told voters during an evening campaign rally in sacramento, calif. "believe me, behind the scenes, he wasn't trying hard."
"to the media he was, but behind the scenes i'm not sure he wanted it," added the presumptive republican presidential nominee.
trump also claimed sanders was reluctant to "put up money for women's health issues," which he had requested in order to debate the vermont senator.
"i said, 'bernie put up money for women's health issue.' but they're very cheap. they want to make a lot of money, but they don't want to give it away," trump claimed.
the remarks wednesday come after he repeatedly told voters he would "love" to debate sanders ahead of california's june 7 primary, but later walked back such statements, suggesting it would be "inappropriate" for him to debate a democratic candidate before the party has chosen its nominee.
"well mr. trump, what are you afraid of?" sanders asked the billionaire during a press conference last week.
trump said wednesday he "so look[s] forward" to debating sanders' democratic opponent, hillary clinton. | ˈdɑnəld trəmp kleɪmd ˈwɛnzˌdeɪ ðət ˌdɛməˈkrætɪk ˌprɛzɪˈdɛnʃəl ˈhoʊpfəl ˈbərni ˈsændərz ˈdɪdənt ɪnˌθuziˈæstɪkli pʊʃ "bɪˈhaɪnd ðə sinz" fər ə dəˈbeɪt bɪtˈwin hɪmˈsɛlf ənd ðə nu jɔrk ˌbɪljəˈnɛr, dɪˈspaɪt wət ðə ˈmidiə ˌriˈpɔrtəd. "ju noʊ ˈbərni ˈwɔntɪd tɪ dəˈbeɪt mi. aɪ doʊnt noʊ ɪf hi dɪd ər nɑt hi ˈwəzənt traɪɪŋ tu hɑrd, aɪl tɛl ju," trəmp toʊld ˈvoʊtərz ˈdʊrɪŋ ən ˈivnɪŋ kæmˈpeɪn ˈræli ɪn ˌsækrəˈmɛntoʊ, ˈkælɪf. "bɪˈliv mi, bɪˈhaɪnd ðə sinz, hi ˈwəzənt traɪɪŋ hɑrd." "tɪ ðə ˈmidiə hi wɑz, bət bɪˈhaɪnd ðə sinz əm nɑt ʃʊr hi ˈwɔntɪd ɪt," ˈædɪd ðə priˈzəmptɪv rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˌnɑməˈni. trəmp ˈɔlsoʊ kleɪmd ˈsændərz wɑz rɪˈləktənt tɪ "pʊt əp ˈməni fər ˈwɪmənz hɛlθ ˈɪʃuz," wɪʧ hi hæd rɪkˈwɛstɪd ɪn ˈɔrdər tɪ dəˈbeɪt ðə vərˈmɑnt ˈsɛnətər. "aɪ sɛd, 'ˈbərni pʊt əp ˈməni fər ˈwɪmənz hɛlθ ˈɪʃu.' bət ðɛr ˈvɛri ʧip. ðeɪ wɔnt tɪ meɪk ə lɔt əv ˈməni, bət ðeɪ doʊnt wɔnt tɪ gɪv ɪt əˈweɪ," trəmp kleɪmd. ðə rɪˈmɑrks ˈwɛnzˌdeɪ kəm ˈæftər hi rɪˈpitɪdli toʊld ˈvoʊtərz hi wʊd "ləv" tɪ dəˈbeɪt ˈsændərz əˈhɛd əv ˌkælɪˈfɔrnjəz ʤun 7 ˈpraɪˌmɛri, bət ˈleɪtər wɔkt bæk səʧ ˈsteɪtmənts, səˈʤɛstɪŋ ɪt wʊd bi "ˌɪnəˈproʊpriɪt" fər ɪm tɪ dəˈbeɪt ə ˌdɛməˈkrætɪk ˈkænədɪt ˌbiˈfɔr ðə ˈpɑrti həz ˈʧoʊzən ɪts ˌnɑməˈni. "wɛl ˈmɪstər. trəmp, wət ər ju əˈfreɪd əv?" ˈsændərz æst ðə ˌbɪljəˈnɛr ˈdʊrɪŋ ə prɛs ˈkɑnfərəns læst wik. trəmp sɛd ˈwɛnzˌdeɪ hi "soʊ look[s*] ˈfɔrwərd" tɪ dəˈbeɪtɪŋ ˈsændərz' ˌdɛməˈkrætɪk əˈpoʊnənt, ˈhɪləri ˈklɪntən. |
trenton—chris christie had some thoughts on how i should write this article.
“you should break out of leading with ‘the most unpopular governor in galactic history’ and all this other shit that everybody hits,, [on and] bang, bang, bang, the paragraphs flip in,” the outgoing new jersey governor said on a recent afternoon, tapping his conference room table like a keyboard. “you should do something different.”
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christie had spent almost three hours reminiscing on his meteoric political rise, the bridge saga, his failed 2016 campaign and his controversial donald trump endorsement, his subsequent white house adventures and some of his more infamous misadventures, like sitting on a beach he had ordered closed and being caught by a camera.
so, with 68 days left in his governorship and the interview winding down, he urged me to forget all that and focus on the good things he had done for his perhaps memorialize him as the pragmatic republican governor who had cleaned up new jersey and won a second term in hostile territory. he essentially wanted the story to ignore much of what happened afterward.
and yet, any fair assessment of legacy has to reckon with the highs and the lows. for four years, from 2009 until 2013, he was a political rock star. iowa activists wooed him to run for president in 2012, even flying to new jersey to make their case. magazine covers hailed his brilliance. (“the boss,” blared one time cover he loves.) he screamed at people on the boardwalk while carrying an ice cream cone. it matter. his approval rating soared above 75 percent in a reliably blue state. after two stinging defeats to barack obama, some in the saw a potential winner in combination of raw talent, fundraising prowess and ability to woo minorities and democrats. many on his team thought him a nominee. but he passed up a run in 2012, figuring he ready.
then, for the next four years, christie became something of a national punching bag. everything people loved about him seemed to become what they hated. the bridge lanes closed. investigations mushroomed around his office. allies and aides were convicted in the closings. his presidential ambitions cratered. christie, who prides himself a prodigious fundraiser, attract donors to his campaign. he was beaten by trump, a political novice, and then mocked for fetching trump though he do for looking like a hostage during his endorsement of trump, even though he says he. his musical hero, new own bruce springsteen, even sang a duet mocking him with jimmy fallon, his favorite host.
“they shut down the toll booths of glory because we endorse christie,” the two men sang to the tune of “born to run.” “we’re stuck in gov. chris fort lee, new jersey traffic jam.”
in the longest interview christie has given in years, as he dropped oyster crackers into a large vat of chili, he said the story of his rise and fall had not been told accurately. he was never as good as as bad.
“i never felt 78, and i feel the he said of his approval ratings. “what i hope at the end of the day is that this really is about my eight years, and the bridge stuff is part of that, and the trump stuff is part of that, but only a part.”
***
the apex for christie was nov. 5, 2013.
voters would head to the polls the following day and grant him a resounding percent of the vote, including 50 percent among hispanics, rare for a republican. his campaign was exultant: they had hoped for 60 percent to show republicans he was the 2016 force to be reckoned with.
the moment seared into mind is the night before election day. his campaign organized a raucous rally in the democratic, hispanic stronghold of union city. streets were closed for the occasion. he was greeted by thousands of hispanic voters blowing and carrying union signs and pictures of christie on sticks when he rolled up to city hall, on a campaign bus with new mexico gov. susana martinez. she spoke in spanish; he spoke christie, his uniquely pugnacious argot of new jersey mannerisms and brash self-confidence.
brian stack, the democrat mayor, gave a rousing endorsement that broke against the new jersey democratic political machine. operation had wooed democratic mayors for months. “i want to send a shock wave through the state,” christie said onstage.
“no one can ever take that away from me, and whatever is happening now make that any less real,” he told me in our interview, calling the rally a defining moment of his political life.
“what i really thought was, like, 'let the good times roll.’ it even that good things were coming. they were all happening, and i expect them to stop. but you never do,” christie said.
‘no one can ever take that away from me’ clockwise, from upper left: in nov. 2012, christie comforts alice cimillo, whose home was damaged by sandy; one year later, on nov. 5, 2013, christie celebrates his reelection at asbury park convention hall; new jersey governor chris christie is given a green bay packers hat by state senate president stephen sweeney after the annual state of the state address on january 13, 2015; christie speaks during the town hall meeting with families affected by sandy at a hall on february 19, 2014. | getty images
christie had ruled trenton with an iron fist and a gaze toward the national stage. republicans had bent to his will, voting for whatever he wanted, whenever he demanded. there were no juicy stories of palace intrigue, even among his advisers, who sometimes privately disagreed. most of his team came from the u.s. office, and they were fiercely loyal to their longtime patron.
christie has often been a volcanic boss, sometimes screaming and cursing at aides in humiliating episodes they vividly remember years later. but those make the public eye.
“that first term, he ran a hermetically sealed operation,” said charles stile, the preeminent political columnist for the bergen record. “there were no leaks. never seen an administration operate with that much discipline.”
christie’s political specialty was the town he delivered virtuoso, and sometimes emotional, appearances that fueled his reputation as a bold truth-teller. his office turned the format into a polished performance worthy of a touring broadway show. he gave the same script every time. the same aide introduced him. he tossed the jacket the same way to the same aide. the crowd was often stacked. “if going to give it, going to get it back,” he warned hecklers at every event. they were all filmed. but for all that, they never felt inauthentic: christie would leave voters in tears with stories about his mother on her deathbed, his friend who died of overdoses, his emotions after sandy.
on policy, christie was both and pragmatic. he capped property taxes in a notoriously state. he cleaned up a budget mess left by his disgraced predecessor, gov. jon corzine. he persuaded stephen sweeney, a burly union official who leads the state senate, to make a compromise on pensions that would require unions to pay more.
“he came to my union office and we sat down the second day,” sweeney recalled. “and his comment to me, are we going to get anything done, or do what is always done and fight? he wanted to get things done, and so did i.”
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at the time, new pension system was among the most underfunded in the country, and predecessors pay. (christie also has a checkered paying more than his predecessors, he also skipped some payments.) stile, a sometimes fierce critic of the governor, said, “the time of practically skipping and significantly shorting the pension system has pretty much stopped. it went on for 15 years leading up to him. he deserves credit for that.”
christie also made dramatic gestures signaling he was a different kind of when he appointed a muslim judge, mohammed, to the bench and loudly defended him against sharp attacks on his religion. liberals applauded.
he won praise for restructuring the medical colleges. he showed particular interest in the impoverished city of camden, forging an alliance with democratic mayor dana redd and pushing new charter schools far and wide.
perhaps more than anything, there was sandy. when the storm new jersey and left billions in damage, it may have been shining moment back home. he was everywhere, all the time, for months, surveying devastated towns, destroyed wastewater systems, broken bridges, flooded streets and funerals. he greeted president obama as a hero in a famous embrace, even though for years, his aides ferociously denied it was an actual hug.
aides say the aftermath was when christie was the sharpest, the most unhealthy and the most stressed out. he would convene daily meetings and schedule calls after midnight. trekking across the state, he became seen as a new jersey everyman, profane and gruff, devastated and jubilant, in the muck and on the television.
it felt like however people must have felt about bill clinton in arkansas in 1991. everyone felt it. this is about to happen.”
“his immediate goal was to get the state to some semblance of normal as quickly as he could,” recalled marc ferzan, the new jersey storm czar and a christie friend. “he was as hardworking as anyone who worked on sandy, and he had great instincts.”
it all in union city. two days after the election, christie sent matt mowers, a longtime aide, to new hampshire to lead the begin plotting his 2016 run. others, like bridge mastermind david, said they were going to iowa. his team was counting the days.
“you could not have told anybody who was a christie supporter that he be the republican nominee,” said rich constable, a longtime senior aide in the office. “this is a remarkable talent who is wicked smart. it felt like however people must have felt about bill clinton in arkansas in 1991. everyone felt it. this is about to happen.”
christie sometimes calls his world “rancho christie,” and life was good on the ranch.
***
fast forward two months, and christie hit bottom.
explosive emails brought a scandal to his closure of the busiest commuter bridge, allegedly to punish a democratic mayor who endorse him as governor, into full view. the wall street journal and the bergen record had trickled out damaging stories for months, but the emails from david changed it all when they were released in early january.
“time for some traffic problems in fort lee,” bridget kelly, a senior christie official, wrote. “got it,” returned. the emails also implicated bill baroni, a top port authority official.
christie had been scheduled to attend a sandy event with constable that morning. constable said he remembers turning his car around on the highway when the event was canceled.
bridgegate clockwise from upper left: christie enters the borough hall in fort lee to apologize to mayor mark on january 9, 2014; on ‘late night,’ host jimmy fallon performs “gov. christie traffic jam” with christie idol bruce springsteen; bill baroni, former deputy executive director of the port authority of new york and new jersey, exits a federal courthouse in march 2017 after being sentenced to two years in prison stemming from his involvement in the scandal; bridget anne kelly, former deputy chief of staff for new jersey governor chris christie, after being sentenced to 18 months in prison. | getty images
he talked to a of aides: longtime spokeswoman maria comella, who broke the news to the governor just after his morning workout, and political adviser mike duhaime, who paced the parking lot of the tick tock diner in clifton as the governor surveyed the damage and vented.
christie convened senior staff at the mansion around an upstairs table, where met dozens of times before. they read the stories breaking online and the emails and watched the tv coverage. christie went through long periods of silence.
who knew what, christie asked? could he survive? what should he say to the public? whom should he fire? was it going to get even worse? “it was all about sheer survival,” one person present said.
there were arguments: should they fire bill stepien, the top political aide, or david samson, the head of the port authority, who later pleaded guilty on a separate felony charge? was michael, the press secretary mentioned in the emails, a liability?
stepien, who is now the white house political director, was axed, and duhaime was given the duty to tell him, even though he disagreed with the decision. samson survived. met with the governor's senior staff for two hours and managed to save his job.
no one ate much of anything, several aides remember. christie made none of the firing calls himself. nor did he yell or shout, people present say. he was ashen and looked ghostly and appeared on the verge of tears for much of the day. his brother todd christie, a wall street type and informal adviser, stopped by. samson popped in. so did bill palatucci, a longtime confidant.
eventually, he decided to have a marathon news conference denying any involvement in the lane closures. then he went underground for months. it get better.
everything christie had done in his first tactics, the micromanaging at the port authority, calling mayors to cancel meetings when he was mad, his outbursts and the blurry line between his political and policy under fresh scrutiny. he had won a huge electoral victory, but democrats still controlled the legislature and most major they saw blood in the water.
soon others were launching fresh charges against his administration, like the mayor of hoboken, who accused him of holding sandy money hostage. the u.s. office eventually said her claims were without merit. “frankly, she should have been charged for providing false information,” christie told me.
in following months, friends say, he was sullen and quiet on the phone, rare for the voluble christie. he stayed largely out of public view. during one event at times square promoting the meadowlands super bowl, he was booed loudly. christie hopped into the car devastated and rode back to new jersey silent.
for a while, allies and aides say, christie feared he was going to be charged himself over what became known as, though he always denied involvement. he demurred when i asked him about it repeatedly. “i always tried to have confidence in the process and in the system,” he said.
inside the orbit, people still debate his exact he knew, and when. several aides told me they believed he knew more about the closures than he ever let on, even if he plan them. why did he delete the texts he had exchanged with a senior aide, regina egea, during a particularly bad day of testimony? for months, known that something seemed kinky at the bridge and had talked to aides about it. there was a photo of and baroni at the sept. 11 ceremony that happened while the closings were the men said they told the governor. said he laughed about it.
christie told me the speculation was hogwash. he says he even remember the texts with egea. he said he only learned about the nature of the closing from the emails. and as for, he says they tell him that day.
i even think the true story has ever been told about why it was done,” said christie.
christie said that if he were going to exchange sensitive conversations with egea, why would he text her when she worked two offices over? he referenced a now mocked—answer, where he told a reporter he was “moving the cones” one month before the emails came out, when asked about the lane closures.
“but would i have ever gotten up and said, 'oh, yeah. i was in disguise that morning in overalls and a hat and i was the one moving the cones.' now, if i had known that something was actually going on, do you think i would have actually done that?” he said.
the investigation lasted more than a year. pleaded guilty and cooperated. the trial of kelly and baroni drove christie crazy. he would sometimes call aides and friends several times a day to vent and swear. on several occasions, he thought about firing back and ordering up statements.
“i was on trial,” he explained to me. “i allowed to be there, i allowed to respond, but the case was tried against me, not against the people who actually were sitting with the absolutely no evidence i had any involvement.”
christie said neither side had called him to the courtroom because “the government told david’s version of the truth. the defense told bridget kelly and bill versions of the truth.”
“i even think the true story has ever been told about why it was done,” he said. “i buy the fact and never bought the fact that this was done to penalize the mayor of fort lee.”
he declined to say why he thought it was done, saying he know.
wildstein, who is now taking courses in florida as the appeals process continues, declined to comment on the record about the bridge. he is expected to become more involved in politics in upcoming months.
but he did take a parting shot at christie: “among my regrets is i got snookered by this guy.”
***
nothing makes christie aides cringe more than one quote he gave on the governorship: that he wanted to “squeeze all the juice out of the orange” for himself and his family.
“chris christie was always prone to wounds. some of the optics we had to deal with were so disappointing because they were avoidable,” said michael, his longtime spokesman.
there was, of course, this embarrassment of being photographed sitting on a closed beach, lounging in a beach chair as new jersey residents stewed at home.
before that, there was the time christie flew to the desert and stayed at a posh resort with the king of jordan, taking a $30,000 gift and explaining the hashemite monarch was a “personal friend.” the time he took a state helicopter to his baseball game so he could also meet with donors urging him to run for president. that time he went to disney world during a snowstorm, even with his lieutenant governor out of state. the times he screamed at new jersey residents and for a grandmother legislator to be hit with a bat, chasing a man while carrying an ice cream cone, calling a navy seal a jerk. the time, as u.s. attorney, that he stayed in such luxurious hotel rooms and took such expensive limos that the federal government came out with new guidelines for all u.s. attorneys.
christie loved showing off pictures with celebrities and taking lavish vacations. he loved being on the sideline, in the box, wherever he could go that was closest to the nexus of it all. he was starstruck with his fame, several longtime aides said.
‘he was starstruck with his fame’ clockwise, from upper left: christie with new york mets chairman & ceo fred wilpon in the box during the final game of the season in 2010; by the al mosque compound, christie, visits jerusalem's old city; during new state government shutdown, christie and use the beach at the summer house; and christie is joined at a press conference by dept. of homeland security secretary janet napolitano and hoboken mayor dawn zimmer. | getty images
his penchant for getting what he wanted at all times was so ingrained that it once even led to a showdown between buckingham palace and—which won. when queen elizabeth was coming to ground zero, her office at a request to add the children to a list of people meeting the queen. told the palace the visit could not happen. eventually, a compromise was worked out, and the queen met the christie kids.
for these more sympathetic former christie aides, they find his behavior puzzling: how could such a talented politician, with such an innate understanding of politics and perception, make such decisions? even to some of his staunchest defenders, the episodes fueled an image of a out-of-control, executive who could not give a damn about the public.
here’s what christie has to say about that: “i understand that people obsess on optics. never been a guy who obsesses on optics.”
christie has rarely apologized, and told me that most of his outbursts at new jersey residents were strategic. he seemed to grow happy talking about a recent encounter in which he got into a heated argument with a voter at the polling station near his house. nor does he regret chasing the man on the boardwalk while carrying an ice cream cone, saying the man had used the in front of his children.
asked whether such episodes are emotional, uncontrolled outbursts, christie responded: “a lot of the dummies in your business think it is.” his own associates see it that way; said that many of the outbursts were “spontaneous” episodes that led to weeks of headaches rather than calculated strategy. others said he couldn't control his temper.
the one outburst he regrets, christie said, was calling a navy seal who challenged him at a town hall a “jerk”—but even then, he insisted he was fundamentally in the right: “i think he merited the comment, but i have said it.”
at one point in our conversation, he ticked through each well-known incident and explained himself, growing animated and at times profane.
“i assume that the king of jordan put people up at the motel 6. the king of jordan,” christie said. in a mocking tone, he added: “your majesty, is there a motel 6 in the area so i offend anybody?”
i assume that the king of jordan put people up at the motel 6. the king of jordan,” said christie.
most new are either eagles or giants fans, and christie drew particular derision for flying on a private plane owned by dallas cowboys owner jerry jones to several games and taking luxury box seats. some critics raised concerns that jones had business in front of the port authority of new york and new jersey, which christie partially controlled. after weeks of headaches, christie agreed to fly commercial to a cowboys playoff game. aides said he still wanted to take the free plane.
“i became governor and got to know jerry. he invited me to the games, and where am i supposed to sit when he invites me to the games? going to sit me with them,” he said.
the beach incident annoys christie maybe the most. he was sunning in a chair with his family, in the middle of a budget standoff this july 4 weekend. he had ordered the beaches closed because there was no state budget. the sent a photographer down the shoreline in a private plane and snapped pictures that went viral on the internet. children made halloween costumes of christie on the beach.
“could you imagine that i could see the long lens?” christie said, asked if he knew the plane was carrying a photographer to snap pictures of him. “of course not.”
even so, christie insisted he regret the shoreline excursion. he had worked the rest of the day, and had promised his children and their friends a vacation for months on july 4 weekend.
nothing made his longtime circle angrier than the beach.
“there have been so many times i wanted to pummel him,” one longtime aide said. “i would have pummeled him in the face that day.” another called his decisions “completely and totally fucking inexplicable.”
“those things became distractions,” said mike duhaime, his top political adviser. “they were bigger distractions than anyone anticipated.”
“he overreached often,” said. “he would get his blinders on and just be incredibly stubborn.” he added: “i regret working for him. he was the best boss i ever had. it was all part of the package.”
***
in the words of favorite singer, bruce springsteen, his political fortunes were stuck somewhere in the swamps of jersey by 2014.
he was diminished by but still thought he had a chance in 2016. many of his aides were skeptical but went along with the plan: he would chart his course as chairman of the republican governors association, travel the country, raise money, build alliances and try to put together a presidential campaign infrastructure. he raised record amounts of cash for the and helped win more than 30 gubernatorial races. he could still make national headlines anytime he wanted.
christie entered the presidential race in june 2015 at his new jersey high school. “i saw a path, but we were under no illusions about how difficult it was going to be,” duhaime said. “and none of us saw the trump phenomenon coming.”
christie and his team knew he had little chance in iowa and south carolina, so they cast their lot in new hampshire, where, it was thought, his ideological pragmatism and skill at retail politics would be huge assets. drawing on the playbook that had worked so well back home, christie crisscrossed the state in a bus and held more than 100 town halls. he was able to secure more endorsements than any other candidate. there were a number of times it looked like he had momentum: he won the coveted endorsement. a clip of him talking about addiction went viral. his prosecutor bona fides became useful amid terrorist attacks, and he slashed marco rubio at the final debate before the vote.
“i’ve always been good at it and always be good at it,” christie said of his stage performances.
by christmas, hustle seemed to have paid off: he found himself in second place, where he thought he would ultimately finish. but that turned out to be the mark of his campaign. he soon was inundated with money from super pacs linked to rubio and jeb bush, and trump dropped his friendly stance and ripped him over the bridge.
“the bridge, he knew about it,” trump said. “how do you have breakfast with people everyday of your lives. closing up the largest bridge in the world. they never said ‘hey boss, closing up the george washington bridge.’ so talking about the weather? he knew about it. he totally knew about it.”
instead of firing back at trump, who he figured be beaten in new hampshire, christie lashed out at rubio, who was competing for the same pool of educated, moderate voters. other candidates and their teams said christie, who prided himself on taking on difficult challenges, shirked the ultimate political one.
“you saw so many other candidates try and fail at that tactic and strategy,” matt mowers, new hampshire director, said of attacking trump. “you would see those candidates lose support in the polls. it never seemed strategically advantageous.”
mowers said it was almost impossible to gain traction in the state with such a crowded field and uncanny ability to earn media attention and blot out the sun. voters would love christie and say he was on “their list,” mowers said, but they would eventually go with trump, who was even more “tell-it-like-it-is.”
duhaime said the calculation was to only swing at trump hard if it was a one-on-one field, and that the governor knew trump was going to win. his attack on rubio work; the florida voters defected, but to other candidates.
christie’s strategy was falling apart. he raise enough money, a particularly painful shortcoming for a fundraiser. after the onslaught of ads attacking him, he continued to fall in the daily tracking he have the resources to hit back.
the governors raised money for as chair support him in return, infuriating his team. duhaime called it “cowardly.”
“i think it was an enormous leadership opportunity lost for the republican governors,” christie said. “they just sat on the sidelines for reasons that never completely understand because there were a lot of good candidates to pick from.”
and back in new jersey, christie was haunted by problems: sagging poll ratings, a crumbling transit system, credit downgrades, a steady stream of headlines from the ongoing trial, a separate investigation into samson, the wobbly financial fortunes of atlantic city. even his widely praised response to sandy had became a negative.
“that hug was never forgiven by so many people in the republican establishment,” said duhaime, who thinks embrace of obama hurt him with primary voters even more than.
christie sat stoically as the returns came in, him finishing sixth. he stared at his father. his children cried. he knew he was going to drop out but decided to wait a day after talking to larry hogan of maryland, a friend and one of the few fellow governors who had campaigned with him.
he returned to new jersey and posted a statement on facebook, dropping out on feb. 10.
***
before christie flew to dallas to endorse donald trump two weeks later, he tell some of his most senior aides. they learned about it from his secretary while he was in the air.
christie had assured aides after new hampshire that he plan to endorse in the race, and they looked forward to trying to salvage his legacy in new jersey.
after he learned the news, kevin roberts, then communications director, called his team into an emergency meeting and told them. he was met with silence.
“we’re fucked,” roberts said, according to attendees. the decision was widely loathed in his circle. duhaime, his top political adviser, declined to follow his lead. maria comella, his top aide for years, later came out with a statement endorsing hillary clinton.
trump clockwise, from upper left: christie and senator marco rubio during a january 14, 2016, presidential debate; christie stands behind trump during a rally at the forth worth convention center in texas, announcing his endorsement of the candidacy ahead of the march 2 “super tuesday” elections; on nov. 20, 2016, trump and gov. christie shake hands before their meeting at trump international golf club, in bedminster township, new jersey; trump and christie prepare to speak to supporters at a march 14, 2016, rally at youngstown airport in ohio. | getty images
by this time, christie had already grown so unpopular that the governor found a novel way to punish one of his adversaries after one of their volcanic fights. he called into a radio show and praised sweeney, the state senate leader and a democrat, describing him as a great governing partner. “he was praising me to hurt me, and i knew exactly what he was doing, and he did too,” sweeney said.
christie explains his endorsement of trump as a pragmatic move. “i was the first,” he reminded me. “and i turned out to be right.”
the endorsement gave him a chance to be in the christie stand the idea of being a governor on the sidelines. now he talks to trump several times a week. he loved playing hillary clinton in debate prep. when trump won, he was onstage. at the same time, several aides said, it was essentially a white surrender flag on his governorship.
“one, i wanted to make him a better two, i wanted him to beat hillary clinton because i want hillary clinton to be president and i thought he was the guy who was going to give us the chance to do that,” christie told me.
but, he hastened to add, “it mean that i agree with everything donald trump does. i. but i agree on a hell of a lot more with him than i do with hillary clinton, right?”
former aides say christie made the decision after trump courted him extensively, asking him frequently to endorse. christie was angry with the other candidates and frustrated with the whole ordeal of running. “trump worked him harder than anyone else in trying to get it. he called him repeatedly,” duhaime said.
duhaime said christie called him the night trump won south carolina. the two men agreed the billionaire developer would be the christie decided to endorse.
“the right thing for him to do was to endorse trump at the time. that is not what i wanted to do for myself, so i didn't go work for him,” duhaime said.
some aides and allies say he endorsed early in hopes of getting a plum job if trump won. christie denied that.
“i know that whatever a candidate may say to you before elected means little once elected. because everything changes. a whole bunch of different people get in their ear and everything else. so, no. i make that calculation because i know from my own experience that candidates will say anything, and you count on that beforehand,” he said.
during a news conference soon after the endorsement, christie stared blankly behind trump, his eyes blinking. twitter wags instantly pronounced that he looked like a hostage. the clips went viral on the internet and infuriated christie.
“my job was to introduce him, and the original plan was to introduce him and go offstage,” christie said. “i introduce him, he comes up the stage, he goes, ‘stay here with me.’ ‘ok.’ so i stood back there. i was like, ‘all right.’”
“i’d love for somebody to actually do that and stand behind someone at a press conference and have any other look on your face,” he said. had he laughed or smiled, christie said, he would have been called a “goofball.”
christie agreed to helm the transition, but he craved a certain spot in the administration: attorney general. and he get it. instead, he suffered a series of fresh humiliations.
there was the time trump told a large crowd in home state that the governor would no longer eat oreos. there was the time the new yorker reported an aide saying that trump had made christie fetch him mcdonald’s, a nugget that instantly went viral. (sam, a former trump aide, told me he made up the story to embarrass that it spread like wildfire. “the sad reality is that it was believable,” said, chuckling.) update: new yorker reporter ryan says was not the source for his story.
there was the time, at a rally in february 2016, that trump told him to get on the plane and “go home” before trump spoke, seeming to mock his own campaign surrogate.
christie sees the tennessee tarmac incident differently. “people were acting like it was a fucking punishment. the guy gave me his smaller plane and said, ‘leave early so you have to wait for me, because been so great to me the last two days doing this for two days.’ and then asshole reporters write that he was like, ‘get chris off the stage,’” the governor said. “that’s the stuff that drives you crazy.”
i would never underestimate ability to be involved in whatever he wants to do be involved in,” christie said.
christie said even he was taken aback by nice gesture to send a second plane after two days on the trail. “just when you think got him figured out, like in a bad way, he does something really generous and that makes you go like, ‘he is a good guy in his heart,’” he said.
christie’s generous interpretation of treatment of him even extends to his own ouster. two days after surprise win, steve bannon and christie were seen arguing for several hours in a glass office in the transition headquarters in new york. bannon was firing him as chair of the transition, and christie taking the news well. he wanted to know who was behind it, and he suspected son-in-law jared kushner, whose father he had prosecuted as u.s. attorney.
“oh, i asked,” christie said, referring to bannon. “he answer. but [based on] subsequent conversations had with the president, i just believe this was the decision.”
aides later threw his transition materials in wastebaskets.
christie, who often attributes his habit of feuding to his “sicilian mom and irish dad,” insists he holds no grudges. he said the president had made a smart decision to get rid of some named bannon and said others would be soon to go. chief of staff john kelly, he said, was doing much better. he declined to take a shot at kushner when asked about the trump diminished white house role. “i would never underestimate ability to be involved in whatever he wants to do be involved in,” christie said.
***
christie, who is only 55, say what is next. he says he wants to make money and plan to run for president again. he says he has no immediate plans to join the white house under trump.
“he’s offered me two different cabinet positions and three other really senior positions in the administration, and turned them all down because they stuff i was interested in,” he said.
he said there could be opportunities in media, at law firms and on wall street. he has joked that mary pat christie, his investment banker wife, has told him he needs to realize his “earning potential.” but power and fame motivate christie more than money, those closest to him say, and they think be back in the public glare.
when i came to see him, he was sitting in a conference room with two coke cans, that large bowl of chili, a basket of wavy potato chips, gifts lining the walls, newspapers praising his ascent and springsteen and a notre dame football sign outside the door reading, “play like a champion today.” his daughter goes there, and he has become a fan.
i seen christie in two years since i covered him for the wall street journal, but he started the conversation almost mid-sentence. his photographer had told me downstairs that christie, a mercurial man, was in a fantastic mood. he only asked to go off the record twice.
before i saw him, christie was meeting with phil murphy, the next governor and a former goldman sachs executive who cast much of his campaign on a referendum against christie. the new jersey press corps no longer had much interest in christie, instead clamoring outside in the cold to meet his successor.
christie no longer holds court from his sprawling office; he closed the state house for repairs earlier this year, and is serving out his final days from a makeshift office in a drab, gray government building. one of his spartan walls has a lonely “born to run” springsteen poster. a large sign on the streets of desolate trenton notes where you can find christie, when he is there.
‘i kept moving’ christie in the east room of the white house, attending an october 2017 speech by president donald trump on the crisis. | getty images
he in a mood about murphy and seemed to be still sizing him looking for weaknesses. “i have no way of knowing,” he said when asked if murphy was prepared for the job. “but sure be ready and be fine by inauguration day. a little overwhelmed now.”
his tight circle of aides is no longer with him. many have been gone for years. christie often keeps his own schedule and trusts his own counsel above all. in fact, some of his aides had no idea i was even on his schedule until the night before.
in person, christie is eminently likable and convincing. he can say something that is not true without blinking an can almost convince you it is, even if you know better.
he still possesses all the assets that made him a rising star and all of the flaws that led to his astonishing fall: relentless ambition and pragmatic competence, shrewd political instincts tempered by inexplicable blind spots, a penchant for vengeance and a volcanic temper, a keen sense of humor and an ability to project empathy, an obsession with fame but humility enough to keep up with old high school friends on facebook.
“he is a dynamic, complicated figure that is too easily caricatured,” said comella, who was at his side for all of it.
what christie wanted me to see was that he was content, and proud of his record as governor.
the economy has improved, with unemployment falling from about 10 percent to about 5 percent. he ended the estate tax. he brought bail reform to new jersey, a move widely hailed and followed by other states. he shined a light ons and eventually led the national commission while boosting funding to address the crisis at home.
years from now, christie said, people hate him so much.
“i think the situation at the bridge started it. then i think committing to being the chairman, which led to a lot of travel being outside the state, it led to people believing i able to do my job, which is kind of ridiculous. then running for president. again, which leads you beyond the state more and then lastly, endorsing the not popular here. that probably make me popular in the state where he lost by double digits,” christie said.
he added: “i never stopped my forward momentum, right? i may have slowed but you saw me back then. i get in the fetal position and say, ‘please leave me alone,’” christie said. “i kept moving.”
***
those who have known christie the longest tend to have the most complicated feelings about him.
like tom former governor who nurtured and mentored christie, only to become a critic.
their connections run deep. after he said he wanted to get into politics, mother drove him to house and had her teenage son shadow kean. both families lived in livingston. kean, then a local politician, eventually became governor for two terms and was biggest supporter. he swore him in to county government. he wrote a heaping letter praising christie to become u.s. attorney. he was a trusted adviser.
things changed as christie rose. in 2013, kean celebrated the backstage. two days later, christie started a campaign to unseat tom kean jr., the son, who was senate minority leader. the two men had fought over state senate races, and christie wanted a more loyal ally in the job.
“i was happily congratulating him on his election one night. two days later, he tell of a sudden, guess what doing, making calls against your son,” kean said.
but republicans bucked him and kept son in power. “it was the first time been beaten in new jersey,” kean said of christie, with a bit of familial pride.
eventually, the two men talked, and christie “came close to an apology,” kean said. “i’m not sure he apologized, but that might be as close as you get from chris christie.”
the two men talked in over a year, kean said. he said the governorship went downhill because christie spent too much time out of state, listen to his staff and stopped caring in the past year, “spitting in eyes.” still, he praised some of accomplishments, particularly on taxes.
“he’s not someone who likes criticism,” kean said. “his problem is he had too many yes men on his staff.” kean added: “he’ll resurface because he has too much ability not to.”
“this why sad in a sense. the most able politician i know, with possibly the exception of bill clinton,” kean said. “i thought if he made use of that properly, he was going to be one of the really great governors. he could have been one of the great governors.”
sweeney, the state senate president, paused for a few seconds when i asked him whether christie was a good governor. christie had met with sweeney for 15 minutes in the middle of our interview, and he later suggested sweeney, despite being a democrat, might offer a solid testament to his success.
sweeney said christie was a tough fighter who had usually been honest with him, and that he was “pragmatic” and that “he’s a governor that used every inch of the power that was given to him by the constitution.”
“i think he did a good job at times. at times, he made mistakes,” sweeney said. “he took some tough shots at some people on the way up. when on your way up, everyone is with you. when punching people, when on your way down, those punches are coming back at you.”
after seeing christie in trenton, i reunited with and roberts, his former communications director, for dinner at the lounge on the asbury park boardwalk.
drewniak, towering and bald, had a reputation in trenton as pugilistic. yet deep down, is a bit of a has two dogs named peanut and lilly and can grow emotional on a dime. he is a master fisherman who grills a mean is ready to spend more time grilling and fishing than fighting political battles. he is also planning a move to florida.
"i was thinking about talking to you,” told me. “and he still freaks me out.”
smoking cigarettes outside, with the famed stone pony in sight and waves crashing in, we made small talk with two locals. both of them began torching christie and praising phil murphy, the new governor, who threw his celebration party on the boardwalk tuesday night. christie threw his there four years ago.
almost out of habit, jumped in to defend the outgoing governor, his record and charisma. he introduced himself as “mike,” leaving out his last name and longtime affiliation. | trenton—chris* ˈkrɪsti hæd səm θɔts ɔn haʊ aɪ ʃʊd raɪt ðɪs ˈɑrtɪkəl. ʃʊd breɪk aʊt əv ˈlidɪŋ wɪθ moʊst ˌənˈpɑpjələr ˈgəvərnər ɪn gəˈlæktɪk history’*’ ənd ɔl ðɪs ˈəðər ʃɪt ðət ˈɛvriˌbɑdi hɪts [ɔn ənd] bæŋ, bæŋ, bæŋ, ðə ˈpɛrəˌgræfs flɪp in,”*,” ðə ˈaʊtˌgoʊɪŋ nu ˈʤərzi ˈgəvərnər sɛd ɔn ə ˈrisənt ˌæftərˈnun, ˈtæpɪŋ hɪz ˈkɑnfərəns rum ˈteɪbəl laɪk ə ˈkiˌbɔrd. ʃʊd du ˈsəmθɪŋ different.”*.” ˈstɔri kənˈtɪnjud bɪˈloʊ ˈkrɪsti hæd spɛnt ˈɔlˌmoʊst θri aʊərz ˌrɛməˈnɪsɪŋ ɔn hɪz ˌmitiˈɔrɪk pəˈlɪtɪkəl raɪz, ðə brɪʤ ˈsɑgə, hɪz feɪld 2016 kæmˈpeɪn ənd hɪz ˌkɑntrəˈvərʃəl ˈdɑnəld trəmp ɛnˈdɔrsmənt, hɪz ˈsəbsəkwənt waɪt haʊs ædˈvɛnʧərz ənd səm əv hɪz mɔr ˈɪnfəməs mɪsədˈvɛnʧərz, laɪk ˈsɪtɪŋ ɔn ə biʧ hi hæd ˈɔrdərd kloʊzd ənd biɪŋ kɔt baɪ ə ˈkæmərə. soʊ, wɪθ 68 deɪz lɛft ɪn hɪz ˈgəvərnərˌʃɪp ənd ðə ˈɪntərvˌju ˈwaɪndɪŋ daʊn, hi ərʤd mi tɪ fərˈgɛt ɔl ðət ənd ˈfoʊkɪs ɔn ðə gʊd θɪŋz hi hæd dən fər hɪz pərˈhæps məˈmɔriəˌlaɪz ɪm ɛz ðə prægˈmætɪk rɪˈpəblɪkən ˈgəvərnər hu hæd klind əp nu ˈʤərzi ənd wən ə ˈsɛkənd tərm ɪn ˈhɑstəl ˈtɛrɪˌtɔri. hi ɛˈsɛnʃəli ˈwɔntɪd ðə ˈstɔri tɪ ˌɪgˈnɔr məʧ əv wət ˈhæpənd ˈæftərwərd. ənd jɛt, ˈɛni fɛr əˈsɛsmənt əv ˈlɛgəsi həz tɪ ˈrɛkən wɪθ ðə haɪz ənd ðə loʊz. fər fɔr jɪrz, frəm 2009 ənˈtɪl 2013 hi wɑz ə pəˈlɪtɪkəl rɑk stɑr. ˈaɪəwə ˈæktɪvɪsts wud ɪm tɪ rən fər ˈprɛzɪdənt ɪn 2012 ˈivɪn flaɪɪŋ tɪ nu ˈʤərzi tɪ meɪk ðɛr keɪs. ˈmægəˌzin ˈkəvərz heɪld hɪz ˈbrɪljəns. boss,”*,” blɛrd wən taɪm ˈkəvər hi ləvz.) hi skrimd æt ˈpipəl ɔn ðə ˈbɔrdˌwɔk waɪl ˈkɛriɪŋ ən aɪs krim koʊn. ɪt ˈmætər. hɪz əˈpruvəl ˈreɪtɪŋ sɔrd əˈbəv 75 pərˈsɛnt ɪn ə rɪˈlaɪəbli blu steɪt. ˈæftər tu ˈstɪŋɪŋ dɪˈfits tɪ ˈbɑrək ˌoʊˈbɑmə, səm ɪn ðə sɔ ə pəˈtɛnʃəl ˈwɪnər ɪn ˌkɑmbəˈneɪʃən əv rɑ ˈtælənt, ˈfənˌdreɪsɪŋ praʊəs ənd əˈbɪləˌti tɪ wu məˈnɔrətiz ənd ˈdɛməˌkræts. ˈmɛni ɔn hɪz tim θɔt ɪm ə ˌnɑməˈni. bət hi pæst əp ə rən ɪn 2012 ˈfɪgjərɪŋ hi ˈrɛdi. ðɛn, fər ðə nɛkst fɔr jɪrz, ˈkrɪsti bɪˈkeɪm ˈsəmθɪŋ əv ə ˈnæʃənəl ˈpənʧɪŋ bæg. ˈɛvriˌθɪŋ ˈpipəl ləvd əˈbaʊt ɪm simd tɪ bɪˈkəm wət ðeɪ ˈheɪtɪd. ðə brɪʤ leɪnz kloʊzd. ˌɪnˌvɛstəˈgeɪʃənz ˈməʃˌrʊmd əraʊnd hɪz ˈɔfəs. ˈælaɪz ənd eɪdz wər kənˈvɪktəd ɪn ðə ˈkloʊzɪŋz. hɪz ˌprɛzɪˈdɛnʃəl æmˈbɪʃənz ˈkreɪtərd. ˈkrɪsti, hu praɪdz hɪmˈsɛlf ə prəˈdɪʤəs ˈfənˌdreɪzər, əˈtrækt ˈdoʊnərz tɪ hɪz kæmˈpeɪn. hi wɑz ˈbitən baɪ trəmp, ə pəˈlɪtɪkəl ˈnɑvəs, ənd ðɛn mɑkt fər ˈfɛʧɪŋ trəmp ðoʊ hi du fər ˈlʊkɪŋ laɪk ə ˈhɑstɪʤ ˈdʊrɪŋ hɪz ɛnˈdɔrsmənt əv trəmp, ˈivɪn ðoʊ hi sɪz hi. hɪz mˈjuzɪkəl ˈhɪroʊ, nu oʊn brus ˈsprɪŋˌstin, ˈivɪn sæŋ ə duˈɛt ˈmɑkɪŋ ɪm wɪθ ˈʤɪmi ˈfælən, hɪz ˈfeɪvərɪt hoʊst. ʃət daʊn ðə toʊl buθs əv ˈglɔri bɪˈkəz wi ɛnˈdɔrs christie,”*,” ðə tu mɛn sæŋ tɪ ðə tun əv tɪ run.”*.” stək ɪn gəv. krɪs fɔrt li, nu ˈʤərzi ˈtræfɪk jam.”*.” ɪn ðə ˈlɔŋgɪst ˈɪntərvˌju ˈkrɪsti həz ˈgɪvɪn ɪn jɪrz, ɛz hi drɑpt ˈɔɪstər ˈkrækərz ˈɪntu ə lɑrʤ væt əv ˈʧɪli, hi sɛd ðə ˈstɔri əv hɪz raɪz ənd fɔl hæd nɑt bɪn toʊld ˈækjərətli. hi wɑz ˈnɛvər ɛz gʊd ɛz ɛz bæd. ˈnɛvər fɛlt 78 ənd aɪ fil ðə hi sɛd əv hɪz əˈpruvəl ˈreɪtɪŋz. aɪ hoʊp æt ðə ɛnd əv ðə deɪ ɪz ðət ðɪs ˈrɪli ɪz əˈbaʊt maɪ eɪt jɪrz, ənd ðə brɪʤ stəf ɪz pɑrt əv ðət, ənd ðə trəmp stəf ɪz pɑrt əv ðət, bət ˈoʊnli ə part.”*.” ðə ˈeɪˌpɛks fər ˈkrɪsti wɑz noʊv. 5 2013 ˈvoʊtərz wʊd hɛd tɪ ðə poʊlz ðə ˈfɑloʊɪŋ deɪ ənd grænt ɪm ə riˈsaʊndɪŋ pərˈsɛnt əv ðə voʊt, ˌɪnˈkludɪŋ 50 pərˈsɛnt əˈməŋ hɪˈspænɪks, rɛr fər ə rɪˈpəblɪkən. hɪz kæmˈpeɪn wɑz ɪgˈzəltənt: ðeɪ hæd hoʊpt fər 60 pərˈsɛnt tɪ ʃoʊ rɪˈpəblɪkənz hi wɑz ðə 2016 fɔrs tɪ bi ˈrɛkənd wɪθ. ðə ˈmoʊmənt sɪrd ˈɪntu maɪnd ɪz ðə naɪt ˌbiˈfɔr ɪˈlɛkʃən deɪ. hɪz kæmˈpeɪn ˈɔrgəˌnaɪzd ə ˈrɔkəs ˈræli ɪn ðə ˌdɛməˈkrætɪk, hɪˈspænɪk ˈstrɔŋˌhoʊld əv ˈjunjən ˈsɪti. strits wər kloʊzd fər ðə əˈkeɪʒən. hi wɑz ˈgritɪd baɪ ˈθaʊzənz əv hɪˈspænɪk ˈvoʊtərz bloʊɪŋ ənd ˈkɛriɪŋ ˈjunjən saɪnz ənd ˈpɪkʧərz əv ˈkrɪsti ɔn stɪks wɪn hi roʊld əp tɪ ˈsɪti hɔl, ɔn ə kæmˈpeɪn bəs wɪθ nu ˈmɛksəˌkoʊ gəv. suˈsɑnə mɑrˈtinɛz. ʃi spoʊk ɪn ˈspænɪʃ; hi spoʊk ˈkrɪsti, hɪz juˈnikli pəgˈnæʃɪs ˈɑrgət əv nu ˈʤərzi ˈmænərˌɪzəmz ənd bræʃ ˌsɛlfˈkɑnfədəns. braɪən stæk, ðə ˈdɛməˌkræt meɪər, geɪv ə ˈraʊzɪŋ ɛnˈdɔrsmənt ðət broʊk əˈgɛnst ðə nu ˈʤərzi ˌdɛməˈkrætɪk pəˈlɪtɪkəl məˈʃin. ˌɑpərˈeɪʃən hæd wud ˌdɛməˈkrætɪk meɪərz fər mənθs. wɔnt tɪ sɛnd ə ʃɑk weɪv θru ðə state,”*,” ˈkrɪsti sɛd ˌɑnˈsteɪʤ. wən kən ˈɛvər teɪk ðət əˈweɪ frəm mi, ənd ˌwəˈtɛvər ɪz ˈhæpənɪŋ naʊ meɪk ðət ˈɛni lɛs real,”*,” hi toʊld mi ɪn ɑr ˈɪntərvˌju, ˈkɔlɪŋ ðə ˈræli ə dɪˈfaɪnɪŋ ˈmoʊmənt əv hɪz pəˈlɪtɪkəl laɪf. aɪ ˈrɪli θɔt wɑz, laɪk, 'lɛt ðə gʊd taɪmz roll.’*.’ ɪt ˈivɪn ðət gʊd θɪŋz wər ˈkəmɪŋ. ðeɪ wər ɔl ˈhæpənɪŋ, ənd aɪ ɪkˈspɛkt ðɛm tɪ stɑp. bət ju ˈnɛvər do,”*,” ˈkrɪsti sɛd. wən kən ˈɛvər teɪk ðət əˈweɪ frəm me’*’ ˈklɑkˌwaɪz, frəm ˈəpər lɛft: ɪn noʊv. 2012 ˈkrɪsti ˈkəmfərts ˈælɪs cimillo*, huz hoʊm wɑz ˈdæmɪʤd baɪ ˈsændi; wən jɪr ˈleɪtər, ɔn noʊv. 5 2013 ˈkrɪsti ˈsɛləˌbreɪts hɪz riɪˈlɛkʃən æt ˈæzˌbɛri pɑrk kənˈvɛnʃən hɔl; nu ˈʤərzi ˈgəvərnər krɪs ˈkrɪsti ɪz ˈgɪvɪn ə grin beɪ ˈpækərz hæt baɪ steɪt ˈsɛnɪt ˈprɛzɪdənt ˈstivən sˈwini ˈæftər ðə ˈænjuəl steɪt əv ðə steɪt ˈæˌdrɛs ɔn ˈʤænjuˌɛri 13 2015 ˈkrɪsti spiks ˈdʊrɪŋ ðə taʊn hɔl ˈmitɪŋ wɪθ ˈfæməliz əˈfɛktɪd baɪ ˈsændi æt ə hɔl ɔn ˈfɛbruˌɛri 19 2014 ˈgɛti ˈɪmɪʤɪz ˈkrɪsti hæd ruld ˈtrɛntən wɪθ ən aɪərn fɪst ənd ə geɪz təˈwɔrd ðə ˈnæʃənəl steɪʤ. rɪˈpəblɪkənz hæd bɛnt tɪ hɪz wɪl, ˈvoʊtɪŋ fər ˌwəˈtɛvər hi ˈwɔntɪd, wɛˈnɛvər hi dɪˈmændɪd. ðɛr wər noʊ ˈʤusi ˈstɔriz əv ˈpæləs ˌɪnˈtrig, ˈivɪn əˈməŋ hɪz ædˈvaɪzərz, hu ˈsəmˌtaɪmz ˈpraɪvətli dɪsəˈgrid. moʊst əv hɪz tim keɪm frəm ðə juz. ˈɔfəs, ənd ðeɪ wər ˈfɪrsli lɔɪəl tɪ ðɛr ˈlɔŋˌtaɪm ˈpeɪtrən. ˈkrɪsti həz ˈɔfən bɪn ə vɑlˈkænɪk bɔs, ˈsəmˌtaɪmz ˈskrimɪŋ ənd ˈkərsɪŋ æt eɪdz ɪn hjuˈmɪliˌeɪtɪŋ ˈɛpɪˌsoʊdz ðeɪ ˈvɪvədli rɪˈmɛmbər jɪrz ˈleɪtər. bət ðoʊz meɪk ðə ˈpəblɪk aɪ. fərst tərm, hi ræn ə hərˈmɛtɪkəli sild operation,”*,” sɛd ˈʧɑrəlz staɪl, ðə priˈɛmənənt pəˈlɪtɪkəl ˈkɑləmnəst fər ðə ˈbərgən ˈrɛkərd. wər noʊ liks. ˈnɛvər sin ən ædˌmɪnɪˈstreɪʃən ˈɔpərˌeɪt wɪθ ðət məʧ discipline.”*.” pəˈlɪtɪkəl ˈspɛʃəlti wɑz ðə taʊn hi dɪˈlɪvərd vərʧuˈoʊsoʊ, ənd ˈsəmˌtaɪmz ˈiˌmoʊʃənəl, əˈpɪrənsəz ðət fjuəld hɪz ˌrɛpjəˈteɪʃən ɛz ə boʊld truth-teller*. hɪz ˈɔfəs tərnd ðə ˈfɔrˌmæt ˈɪntu ə ˈpɑlɪʃt pərˈfɔrməns ˈwərði əv ə ˈtʊrɪŋ ˈbrɔdˌweɪ ʃoʊ. hi geɪv ðə seɪm skrɪpt ˈɛvəri taɪm. ðə seɪm eɪd ˌɪntrəˈdust ɪm. hi tɔst ðə ˈʤækɪt ðə seɪm weɪ tɪ ðə seɪm eɪd. ðə kraʊd wɑz ˈɔfən stækt. goʊɪŋ tɪ gɪv ɪt, goʊɪŋ tɪ gɪt ɪt back,”*,” hi wɔrnd ˈhɛklərz æt ˈɛvəri ɪˈvɛnt. ðeɪ wər ɔl fɪlmd. bət fər ɔl ðət, ðeɪ ˈnɛvər fɛlt inauthentic*: ˈkrɪsti wʊd liv ˈvoʊtərz ɪn tɪrz wɪθ ˈstɔriz əˈbaʊt hɪz ˈməðər ɔn hər ˈdɛθˌbɛd, hɪz frɛnd hu daɪd əv ˈoʊvərˌdoʊsɪz, hɪz ˈɪˌmoʊʃənz ˈæftər ˈsændi. ɔn ˈpɑləsi, ˈkrɪsti wɑz boʊθ ənd prægˈmætɪk. hi kæpt ˈprɑpərti ˈtæksɪz ɪn ə noʊˈtɔriəsli steɪt. hi klind əp ə ˈbəʤɪt mɛs lɛft baɪ hɪz dɪsˈgreɪst ˈprɛdəˌsɛsər, gəv. ʤɑn ˌkɔrˈzin. hi pərsˈweɪdɪd ˈstivən sˈwini, ə ˈbərli ˈjunjən əˈfɪʃəl hu lidz ðə steɪt ˈsɛnɪt, tɪ meɪk ə ˈkɑmprəˌmaɪz ɔn ˈpɛnʃənz ðət wʊd ˌrikˈwaɪər ˈjunjənz tɪ peɪ mɔr. keɪm tɪ maɪ ˈjunjən ˈɔfəs ənd wi sæt daʊn ðə ˈsɛkənd day,”*,” sˈwini rɪˈkɔld. hɪz ˈkɑmɛnt tɪ mi, ər wi goʊɪŋ tɪ gɪt ˈɛniˌθɪŋ dən, ər du wət ɪz ˈɔlˌweɪz dən ənd faɪt? hi ˈwɔntɪd tɪ gɪt θɪŋz dən, ənd soʊ dɪd i.”*.” ðə ˈfraɪˌdeɪ ˈkəvər saɪn əp fər pəˈlɪtɪˌkoʊ iˈmeɪl əv ðə bɛst, dɪˈlɪvərd tɪ jʊr ˈɛvəri ˈfraɪˌdeɪ ˈmɔrnɪŋ. iˈmeɪl saɪn əp baɪ ˈsaɪnɪŋ əp ju əˈgri tɪ rɪˈsiv iˈmeɪl ˈnuzˌlɛtərz ər əˈlərts frəm pəˈlɪtɪˌkoʊ. ju kən ənsəbˈskraɪb æt ˈɛni taɪm. æt ðə taɪm, nu ˈpɛnʃən ˈsɪstəm wɑz əˈməŋ ðə moʊst ˈəndərˌfəndɪd ɪn ðə ˈkəntri, ənd ˈprɛdəˌsɛsərz peɪ. (ˈkrɪsti ˈɔlsoʊ həz ə ˈʧɛkərd peɪɪŋ mɔr ðən hɪz ˈprɛdəˌsɛsərz, hi ˈɔlsoʊ skɪpt səm ˈpeɪmənts.) staɪl, ə ˈsəmˌtaɪmz fɪrs ˈkrɪtɪk əv ðə ˈgəvərnər, sɛd, taɪm əv ˈpræktɪkəli ˈskɪpɪŋ ənd sɪgˈnɪfɪkəntli ˈʃɔrtɪŋ ðə ˈpɛnʃən ˈsɪstəm həz ˈprɪti məʧ stɑpt. ɪt wɛnt ɔn fər 15 jɪrz ˈlidɪŋ əp tɪ ɪm. hi dɪˈzərvz ˈkrɛdɪt fər that.”*.” ˈkrɪsti ˈɔlsoʊ meɪd drəˈmætɪk ˈʤɛsʧərz ˈsɪgnəlɪŋ hi wɑz ə ˈdɪfərənt kaɪnd əv wɪn hi əˈpɔɪntɪd ə ˈməzlɪm ʤəʤ, moʊˈhæmɪd, tɪ ðə bɛnʧ ənd ˈlaʊdli dɪˈfɛndɪd ɪm əˈgɛnst ʃɑrp əˈtæks ɔn hɪz rɪˈlɪʤən. ˈlɪˌbərəlz əˈplɔdɪd. hi wən preɪz fər riˈstrəkʧərɪŋ ðə ˈmɛdɪkəl ˈkɑlɪʤɪz. hi ʃoʊd ˌpɑˈtɪkjələr ˈɪntəˌrɛst ɪn ðə ˌɪmˈpɑvrɪʃt ˈsɪti əv ˈkæmdən, ˈfɔrʤɪŋ ən əˈlaɪəns wɪθ ˌdɛməˈkrætɪk meɪər ˈdeɪnə rɛd ənd ˈpʊʃɪŋ nu ˈʧɑrtər skulz fɑr ənd waɪd. pərˈhæps mɔr ðən ˈɛniˌθɪŋ, ðɛr wɑz ˈsændi. wɪn ðə stɔrm nu ˈʤərzi ənd lɛft ˈbɪljənz ɪn ˈdæmɪʤ, ɪt meɪ hæv bɪn ˈʃaɪnɪŋ ˈmoʊmənt bæk hoʊm. hi wɑz ˈɛvriˌwɛr, ɔl ðə taɪm, fər mənθs, ˈsərˌveɪɪŋ ˈdɛvəˌsteɪtɪd taʊnz, dɪˈstrɔɪd ˈweɪstˌwɔtər ˈsɪstəmz, ˈbroʊkən ˈbrɪʤɪz, ˈflədɪd strits ənd fˈjunərəlz. hi ˈgritɪd ˈprɛzɪdənt ˌoʊˈbɑmə ɛz ə ˈhɪroʊ ɪn ə ˈfeɪməs ɪmˈbreɪs, ˈivɪn ðoʊ fər jɪrz, hɪz eɪdz fərˈoʊʃɪsli dɪˈnaɪd ɪt wɑz ən ˈækʧəwəl həg. eɪdz seɪ ðə ˈæftərˌmæθ wɑz wɪn ˈkrɪsti wɑz ðə ˈʃɑrpəst, ðə moʊst ənˈhɛlθi ənd ðə moʊst strɛst aʊt. hi wʊd kənˈvin ˈdeɪli ˈmitɪŋz ənd ˈskɛʤʊl kɔlz ˈæftər ˈmɪdˌnaɪt. ˈtrɛkɪŋ əˈkrɔs ðə steɪt, hi bɪˈkeɪm sin ɛz ə nu ˈʤərzi ˈɛvrimən, proʊˈfeɪn ənd grəf, ˈdɛvəˌsteɪtɪd ənd ˈʤubələnt, ɪn ðə mək ənd ɔn ðə ˈtɛləˌvɪʒən. ɪt fɛlt laɪk ˌhaʊˈɛvər ˈpipəl məst hæv fɛlt əˈbaʊt bɪl ˈklɪntən ɪn ˈɑrkənˌsɑ ɪn 1991 ˈɛvriˌwən fɛlt ɪt. ðɪs ɪz əˈbaʊt tɪ happen.”*.” ˌɪˈmiˌdiət goʊl wɑz tɪ gɪt ðə steɪt tɪ səm ˈsɛmbləns əv ˈnɔrməl ɛz kˈwɪkli ɛz hi could,”*,” rɪˈkɔld mɑrk ferzan*, ðə nu ˈʤərzi stɔrm zɑr ənd ə ˈkrɪsti frɛnd. wɑz ɛz ˈhɑrdˌwərkɪŋ ɛz ˈɛniˌwən hu wərkt ɔn ˈsændi, ənd hi hæd greɪt instincts.”*.” ɪt ɔl ɪn ˈjunjən ˈsɪti. tu deɪz ˈæftər ðə ɪˈlɛkʃən, ˈkrɪsti sɛnt mæt moʊərz, ə ˈlɔŋˌtaɪm eɪd, tɪ nu ˈhæmʃər tɪ lɛd ðə bɪˈgɪn ˈplɑtɪŋ hɪz 2016 rən. ˈəðərz, laɪk brɪʤ ˈmæstərˌmaɪnd ˈdeɪvɪd, sɛd ðeɪ wər goʊɪŋ tɪ ˈaɪəwə. hɪz tim wɑz ˈkaʊntɪŋ ðə deɪz. kʊd nɑt hæv toʊld ˈɛnibədi hu wɑz ə ˈkrɪsti səˈpɔrtər ðət hi bi ðə rɪˈpəblɪkən nominee,”*,” sɛd rɪʧ ˈkɑnstəbəl, ə ˈlɔŋˌtaɪm ˈsinjər eɪd ɪn ðə ˈɔfəs. ɪz ə rɪˈmɑrkəbəl ˈtælənt hu ɪz ˈwɪkəd smɑrt. ɪt fɛlt laɪk ˌhaʊˈɛvər ˈpipəl məst hæv fɛlt əˈbaʊt bɪl ˈklɪntən ɪn ˈɑrkənˌsɑ ɪn 1991 ˈɛvriˌwən fɛlt ɪt. ðɪs ɪz əˈbaʊt tɪ happen.”*.” ˈkrɪsti ˈsəmˌtaɪmz kɔlz hɪz wərld christie,”*,” ənd laɪf wɑz gʊd ɔn ðə rænʧ. fæst ˈfɔrwərd tu mənθs, ənd ˈkrɪsti hɪt ˈbɑtəm. ɪkˈsploʊsɪv iˈmeɪlz brɔt ə ˈskændəl tɪ hɪz ˈkloʊʒər əv ðə ˈbɪziəst kəmˈjutər brɪʤ, əˈlɛʤədli tɪ ˈpənɪʃ ə ˌdɛməˈkrætɪk meɪər hu ɛnˈdɔrs ɪm ɛz ˈgəvərnər, ˈɪntu fʊl vju. ðə wɔl strit ˈʤərnəl ənd ðə ˈbərgən ˈrɛkərd hæd ˈtrɪkəld aʊt ˈdæmɪʤɪŋ ˈstɔriz fər mənθs, bət ðə iˈmeɪlz frəm ˈdeɪvɪd ʧeɪnʤd ɪt ɔl wɪn ðeɪ wər riˈlist ɪn ˈərli ˈʤænjuˌɛri. fər səm ˈtræfɪk ˈprɑbləmz ɪn fɔrt lee,”*,” ˈbrɪʤɪt ˈkɛli, ə ˈsinjər ˈkrɪsti əˈfɪʃəl, roʊt. it,”*,” rɪˈtərnd. ðə iˈmeɪlz ˈɔlsoʊ ˈɪmplɪˌkeɪtɪd bɪl bɑˈroʊni, ə tɔp pɔrt əˈθɔrəti əˈfɪʃəl. ˈkrɪsti hæd bɪn ˈskɛʤʊld tɪ əˈtɛnd ə ˈsændi ɪˈvɛnt wɪθ ˈkɑnstəbəl ðət ˈmɔrnɪŋ. ˈkɑnstəbəl sɛd hi rɪˈmɛmbərz ˈtərnɪŋ hɪz kɑr əraʊnd ɔn ðə ˈhaɪˌweɪ wɪn ðə ɪˈvɛnt wɑz ˈkænsəld. ˈklɑkˌwaɪz frəm ˈəpər lɛft: ˈkrɪsti ˈɛnərz ðə bəroʊ hɔl ɪn fɔrt li tɪ əˈpɑləˌʤaɪz tɪ meɪər mɑrk ɔn ˈʤænjuˌɛri 9 2014 ɔn night,’*,’ hoʊst ˈʤɪmi ˈfælən pərˈfɔrmz ““gov*. ˈkrɪsti ˈtræfɪk jam”*” wɪθ ˈkrɪsti ˈaɪdəl brus ˈsprɪŋˌstin; bɪl bɑˈroʊni, ˈfɔrmər ˈdɛpjəti ɪgˈzɛkjətɪv dɪˈrɛktər əv ðə pɔrt əˈθɔrəti əv nu jɔrk ənd nu ˈʤərzi, ˈɛksəts ə ˈfɛdərəl ˈkɔrˌthaʊs ɪn mɑrʧ 2017 ˈæftər biɪŋ ˈsɛntənst tɪ tu jɪrz ɪn ˈprɪzən ˈstɛmɪŋ frəm hɪz ˌɪnˈvɑlvmənt ɪn ðə ˈskændəl; ˈbrɪʤɪt æn ˈkɛli, ˈfɔrmər ˈdɛpjəti ʧif əv stæf fər nu ˈʤərzi ˈgəvərnər krɪs ˈkrɪsti, ˈæftər biɪŋ ˈsɛntənst tɪ 18 mənθs ɪn ˈprɪzən. ˈgɛti ˈɪmɪʤɪz hi tɔkt tɪ ə əv eɪdz: ˈlɔŋˌtaɪm ˈspoʊksˌwʊmən mərˈiə koʊˈmɛlə, hu broʊk ðə nuz tɪ ðə ˈgəvərnər ʤɪst ˈæftər hɪz ˈmɔrnɪŋ ˈwərˌkaʊt, ənd pəˈlɪtɪkəl ædˈvaɪzər maɪk duaɪm, hu peɪst ðə ˈpɑrkɪŋ lɔt əv ðə tɪk tɑk ˈdaɪnər ɪn ˈklɪftən ɛz ðə ˈgəvərnər ˈsərˌveɪd ðə ˈdæmɪʤ ənd ˈvɛntɪd. ˈkrɪsti kənˈvind ˈsinjər stæf æt ðə ˈmænʃən əraʊnd ən əpˈstɛrz ˈteɪbəl, wɛr mɛt ˈdəzənz əv taɪmz ˌbiˈfɔr. ðeɪ rɛd ðə ˈstɔriz ˈbreɪkɪŋ ˈɔnˌlaɪn ənd ðə iˈmeɪlz ənd wɔʧt ðə ˌtɛləˈvɪʒən ˈkəvərɪʤ. ˈkrɪsti wɛnt θru lɔŋ ˈpɪriədz əv ˈsaɪləns. hu nu wət, ˈkrɪsti æst? kʊd hi sərˈvaɪv? wət ʃʊd hi seɪ tɪ ðə ˈpəblɪk? hum ʃʊd hi faɪər? wɑz ɪt goʊɪŋ tɪ gɪt ˈivɪn wərs? wɑz ɔl əˈbaʊt ʃɪr survival,”*,” wən ˈpərsən ˈprɛzənt sɛd. ðɛr wər ˈɑrgjəmənts: ʃʊd ðeɪ faɪər bɪl ˈstɛpiən, ðə tɔp pəˈlɪtɪkəl eɪd, ər ˈdeɪvɪd ˈsæmsən, ðə hɛd əv ðə pɔrt əˈθɔrəti, hu ˈleɪtər ˈplidɪd ˈgɪlti ɔn ə ˈsɛpərˌeɪt ˈfɛləni ʧɑrʤ? wɑz ˈmaɪkəl, ðə prɛs ˈsɛkrəˌtɛri ˈmɛnʃənd ɪn ðə iˈmeɪlz, ə ˌlaɪəˈbɪlɪti? ˈstɛpiən, hu ɪz naʊ ðə waɪt haʊs pəˈlɪtɪkəl dɪˈrɛktər, wɑz ækst, ənd duaɪm wɑz ˈgɪvɪn ðə ˈduti tɪ tɛl ɪm, ˈivɪn ðoʊ hi dɪsəˈgrid wɪθ ðə dɪˈsɪʒən. ˈsæmsən sərˈvaɪvd. mɛt wɪθ ðə ˈgəvərnərz ˈsinjər stæf fər tu aʊərz ənd ˈmænɪʤd tɪ seɪv hɪz ʤɑb. noʊ wən eɪt məʧ əv ˈɛniˌθɪŋ, ˈsɛvərəl eɪdz rɪˈmɛmbər. ˈkrɪsti meɪd nən əv ðə ˈfaɪərrɪŋ kɔlz hɪmˈsɛlf. nɔr dɪd hi jɛl ər ʃaʊt, ˈpipəl ˈprɛzənt seɪ. hi wɑz ˈæʃən ənd lʊkt ˈgoʊstli ənd əˈpɪrd ɔn ðə vərʤ əv tɪrz fər məʧ əv ðə deɪ. hɪz ˈbrəðər tɑd ˈkrɪsti, ə wɔl strit taɪp ənd ˌɪnˈfɔrməl ædˈvaɪzər, stɑpt baɪ. ˈsæmsən pɑpt ɪn. soʊ dɪd bɪl palatucci*, ə ˈlɔŋˌtaɪm ˈkɑnfəˌdɑnt. ɪˈvɛnʧəwəli, hi ˌdɪˈsaɪdɪd tɪ hæv ə ˈmɛrəˌθɑn nuz ˈkɑnfərəns dɪˈnaɪɪŋ ˈɛni ˌɪnˈvɑlvmənt ɪn ðə leɪn ˈkloʊʒərz. ðɛn hi wɛnt ˈəndərˌgraʊnd fər mənθs. ɪt gɪt ˈbɛtər. ˈɛvriˌθɪŋ ˈkrɪsti hæd dən ɪn hɪz fərst ˈtæktɪks, ðə ˌmaɪkroʊˈmænɪʤɪŋ æt ðə pɔrt əˈθɔrəti, ˈkɔlɪŋ meɪərz tɪ ˈkænsəl ˈmitɪŋz wɪn hi wɑz mæd, hɪz ˈaʊtˌbərsts ənd ðə ˈbləri laɪn bɪtˈwin hɪz pəˈlɪtɪkəl ənd ˈpɑləsi ˈəndər frɛʃ ˈskrutəni. hi hæd wən ə juʤ ɪˈlɛktərəl ˈvɪktəri, bət ˈdɛməˌkræts stɪl kənˈtroʊld ðə ˈlɛʤəsˌleɪʧər ənd moʊst ˈmeɪʤər ðeɪ sɔ bləd ɪn ðə ˈwɔtər. sun ˈəðərz wər ˈlɔnʧɪŋ frɛʃ ˈʧɑrʤɪz əˈgɛnst hɪz ædˌmɪnɪˈstreɪʃən, laɪk ðə meɪər əv ˈhoʊboʊkən, hu əˈkjuzd ɪm əv ˈhoʊldɪŋ ˈsændi ˈməni ˈhɑstɪʤ. ðə juz. ˈɔfəs ɪˈvɛnʧəwəli sɛd hər kleɪmz wər wɪˈθaʊt ˈmɛrət. ““frankly*, ʃi ʃʊd hæv bɪn ʧɑrʤd fər prəˈvaɪdɪŋ fɔls information,”*,” ˈkrɪsti toʊld mi. ɪn ˈfɑloʊɪŋ mənθs, frɛndz seɪ, hi wɑz ˈsələn ənd kwaɪət ɔn ðə foʊn, rɛr fər ðə ˈvɑljəbəl ˈkrɪsti. hi steɪd ˈlɑrʤli aʊt əv ˈpəblɪk vju. ˈdʊrɪŋ wən ɪˈvɛnt æt taɪmz skwɛr prəˈmoʊtɪŋ ðə ˈmɛdoʊˈlændz ˈsupər boʊl, hi wɑz bud ˈlaʊdli. ˈkrɪsti hɑpt ˈɪntu ðə kɑr ˈdɛvəˌsteɪtɪd ənd roʊd bæk tɪ nu ˈʤərzi ˈsaɪlənt. fər ə waɪl, ˈælaɪz ənd eɪdz seɪ, ˈkrɪsti fɪrd hi wɑz goʊɪŋ tɪ bi ʧɑrʤd hɪmˈsɛlf ˈoʊvər wət bɪˈkeɪm noʊn ɛz, ðoʊ hi ˈɔlˌweɪz dɪˈnaɪd ˌɪnˈvɑlvmənt. hi dɪˈmərd wɪn aɪ æst ɪm əˈbaʊt ɪt rɪˈpitɪdli. ˈɔlˌweɪz traɪd tɪ hæv ˈkɑnfədɛns ɪn ðə ˈprɔˌsɛs ənd ɪn ðə system,”*,” hi sɛd. ˌɪnˈsaɪd ðə ˈɔrbət, ˈpipəl stɪl dəˈbeɪt hɪz ɪgˈzækt hi nu, ənd wɪn. ˈsɛvərəl eɪdz toʊld mi ðeɪ bɪˈlivd hi nu mɔr əˈbaʊt ðə ˈkloʊʒərz ðən hi ˈɛvər lɛt ɔn, ˈivɪn ɪf hi plæn ðɛm. waɪ dɪd hi dɪˈlit ðə tɛksts hi hæd ɪksˈʧeɪnʤd wɪθ ə ˈsinjər eɪd, rɪˈʤinə egea*, ˈdʊrɪŋ ə ˌpɑrˈtɪkjələrli bæd deɪ əv ˈtɛstɪˌmoʊni? fər mənθs, noʊn ðət ˈsəmθɪŋ simd ˈkɪŋki æt ðə brɪʤ ənd hæd tɔkt tɪ eɪdz əˈbaʊt ɪt. ðɛr wɑz ə ˈfoʊˌtoʊ əv ənd bɑˈroʊni æt ðə sɛpt. 11 ˈsɛrəˌmoʊni ðət ˈhæpənd waɪl ðə ˈkloʊzɪŋz wər ðə mɛn sɛd ðeɪ toʊld ðə ˈgəvərnər. sɛd hi læft əˈbaʊt ɪt. ˈkrɪsti toʊld mi ðə ˌspɛkjəˈleɪʃən wɑz ˈhɑgˌwɑʃ. hi sɪz hi ˈivɪn rɪˈmɛmbər ðə tɛksts wɪθ egea*. hi sɛd hi ˈoʊnli ˈlərnɪd əˈbaʊt ðə ˈneɪʧər əv ðə ˈkloʊzɪŋ frəm ðə iˈmeɪlz. ənd ɛz fər, hi sɪz ðeɪ tɛl ɪm ðət deɪ. aɪ ˈivɪn θɪŋk ðə tru ˈstɔri həz ˈɛvər bɪn toʊld əˈbaʊt waɪ ɪt wɑz done,”*,” sɛd ˈkrɪsti. ˈkrɪsti sɛd ðət ɪf hi wər goʊɪŋ tɪ ɪksˈʧeɪnʤ ˈsɛnsɪtɪv ˌkɑnvərˈseɪʃənz wɪθ egea*, waɪ wʊd hi tɛkst hər wɪn ʃi wərkt tu ˈɔfəsɪz ˈoʊvər? hi ˈrɛfərənst ə naʊ mocked—answer*, wɛr hi toʊld ə rɪˈpɔrtər hi wɑz ðə cones”*” wən mənθ ˌbiˈfɔr ðə iˈmeɪlz keɪm aʊt, wɪn æst əˈbaʊt ðə leɪn ˈkloʊʒərz. wʊd aɪ hæv ˈɛvər ˈgɔtən əp ənd sɛd, 'oʊ, jæ. aɪ wɑz ɪn dɪsˈgaɪz ðət ˈmɔrnɪŋ ɪn ˈoʊvərˌɔlz ənd ə hæt ənd aɪ wɑz ðə wən ˈmuvɪŋ ðə koʊnz.' naʊ, ɪf aɪ hæd noʊn ðət ˈsəmθɪŋ wɑz ˈæˌkʧuəli goʊɪŋ ɔn, du ju θɪŋk aɪ wʊd hæv ˈæˌkʧuəli dən that?”*?” hi sɛd. ðə ˌɪnˌvɛstəˈgeɪʃən ˈlæstɪd mɔr ðən ə jɪr. ˈplidɪd ˈgɪlti ənd kˈwɑpərˌeɪtəd. ðə traɪəl əv ˈkɛli ənd bɑˈroʊni droʊv ˈkrɪsti ˈkreɪzi. hi wʊd ˈsəmˌtaɪmz kɔl eɪdz ənd frɛndz ˈsɛvərəl taɪmz ə deɪ tɪ vɛnt ənd swɛr. ɔn ˈsɛvərəl ɔˈkeɪʒənz, hi θɔt əˈbaʊt ˈfaɪərrɪŋ bæk ənd ˈɔrdərɪŋ əp ˈsteɪtmənts. wɑz ɔn trial,”*,” hi ɪkˈspleɪnd tɪ mi. əˈlaʊd tɪ bi ðɛr, aɪ əˈlaʊd tɪ rɪˈspɑnd, bət ðə keɪs wɑz traɪd əˈgɛnst mi, nɑt əˈgɛnst ðə ˈpipəl hu ˈæˌkʧuəli wər ˈsɪtɪŋ wɪθ ðə ˌæbsəˈlutli noʊ ˈɛvədəns aɪ hæd ˈɛni involvement.”*.” ˈkrɪsti sɛd ˈniðər saɪd hæd kɔld ɪm tɪ ðə ˈkɔrˌtrum bɪˈkəz ˈgəvərnmənt toʊld ˈdeɪvɪd ˈvərʒən əv ðə truθ. ðə dɪˈfɛns toʊld ˈbrɪʤɪt ˈkɛli ənd bɪl ˈvərʒənz əv ðə truth.”*.” ˈivɪn θɪŋk ðə tru ˈstɔri həz ˈɛvər bɪn toʊld əˈbaʊt waɪ ɪt wɑz done,”*,” hi sɛd. baɪ ðə fækt ənd ˈnɛvər bɔt ðə fækt ðət ðɪs wɑz dən tɪ ˈpɛnəˌlaɪz ðə meɪər əv fɔrt lee.”*.” hi dɪˈklaɪnd tɪ seɪ waɪ hi θɔt ɪt wɑz dən, seɪɪŋ hi noʊ., hu ɪz naʊ ˈteɪkɪŋ ˈkɔrsɪz ɪn ˈflɔrɪdə ɛz ðə əˈpilz ˈprɔˌsɛs kənˈtɪnjuz, dɪˈklaɪnd tɪ ˈkɑmɛnt ɔn ðə ˈrɛkərd əˈbaʊt ðə brɪʤ. hi ɪz ɪkˈspɛktɪd tɪ bɪˈkəm mɔr ˌɪnˈvɑlvd ɪn ˈpɑləˌtɪks ɪn ˈəpˌkəmɪŋ mənθs. bət hi dɪd teɪk ə ˈpɑrtɪŋ ʃɑt æt ˈkrɪsti: maɪ rɪˈgrɛts ɪz aɪ gɑt sˈnʊkərd baɪ ðɪs guy.”*.” ˈnəθɪŋ meɪks ˈkrɪsti eɪdz krɪnʤ mɔr ðən wən kwoʊt hi geɪv ɔn ðə ˈgəvərnərˌʃɪp: ðət hi ˈwɔntɪd tɪ ɔl ðə ʤus aʊt əv ðə orange”*” fər hɪmˈsɛlf ənd hɪz ˈfæməli. ˈkrɪsti wɑz ˈɔlˌweɪz proʊn tɪ wundz. səm əv ðə ˈɑptɪks wi hæd tɪ dil wɪθ wər soʊ ˌdɪsəˈpɔɪnɪŋ bɪˈkəz ðeɪ wər avoidable,”*,” sɛd ˈmaɪkəl, hɪz ˈlɔŋˌtaɪm ˈspoʊksmən. ðɛr wɑz, əv kɔrs, ðɪs ɪmˈbɛrəsmənt əv biɪŋ ˈfoʊtəˌgræft ˈsɪtɪŋ ɔn ə kloʊzd biʧ, ˈlaʊnʤɪŋ ɪn ə biʧ ʧɛr ɛz nu ˈʤərzi ˈrɛzɪdənts stud æt hoʊm. ˌbiˈfɔr ðət, ðɛr wɑz ðə taɪm ˈkrɪsti flu tɪ ðə ˈdɛzərt ənd steɪd æt ə pɑʃ rɪˈzɔrt wɪθ ðə kɪŋ əv ˈʤɔrdən, ˈteɪkɪŋ ə gɪft ənd ɪkˈspleɪnɪŋ ðə ˈhæʃəˌmaɪt ˈmɑˌnɑrk wɑz ə friend.”*.” ðə taɪm hi tʊk ə steɪt ˈhɛlɪˌkɑptər tɪ hɪz ˈbeɪsˈbɔl geɪm soʊ hi kʊd ˈɔlsoʊ mit wɪθ ˈdoʊnərz ˈərʤɪŋ ɪm tɪ rən fər ˈprɛzɪdənt. ðət taɪm hi wɛnt tɪ ˈdɪzni wərld ˈdʊrɪŋ ə sˈnoʊˌstɔrm, ˈivɪn wɪθ hɪz luˈtɛnənt ˈgəvərnər aʊt əv steɪt. ðə taɪmz hi skrimd æt nu ˈʤərzi ˈrɛzɪdənts ənd fər ə ˈgrændˌməðər ˈlɛʤəsˌleɪtər tɪ bi hɪt wɪθ ə bæt, ˈʧeɪsɪŋ ə mæn waɪl ˈkɛriɪŋ ən aɪs krim koʊn, ˈkɔlɪŋ ə ˈneɪvi sil ə ʤərk. ðə taɪm, ɛz juz. əˈtərni, ðət hi steɪd ɪn səʧ ləgˈʒəriəs hoʊˈtɛl rumz ənd tʊk səʧ ɪkˈspɛnsɪv ˈlɪmoʊz ðət ðə ˈfɛdərəl ˈgəvərnmənt keɪm aʊt wɪθ nu ˈgaɪˌdlaɪnz fər ɔl juz. əˈtərniz. ˈkrɪsti ləvd ʃoʊɪŋ ɔf ˈpɪkʧərz wɪθ səˈlɛbrɪtiz ənd ˈteɪkɪŋ ˈlævɪʃ veɪˈkeɪʃənz. hi ləvd biɪŋ ɔn ðə ˈsaɪˌdlaɪn, ɪn ðə bɑks, wɛˈrɛvər hi kʊd goʊ ðət wɑz ˈkloʊsəst tɪ ðə ˈnɛksəs əv ɪt ɔl. hi wɑz ˈstɑrˌstrək wɪθ hɪz feɪm, ˈsɛvərəl ˈlɔŋˌtaɪm eɪdz sɛd. wɑz ˈstɑrˌstrək wɪθ hɪz fame’*’ ˈklɑkˌwaɪz, frəm ˈəpər lɛft: ˈkrɪsti wɪθ nu jɔrk mɛts ˈʧɛrmən ˈsiˌiˈoʊ frɛd ˈwɪlpɑn ɪn ðə bɑks ˈdʊrɪŋ ðə ˈfaɪnəl geɪm əv ðə ˈsizən ɪn 2010 baɪ ðə æl mɔsk ˈkɑmpaʊnd, ˈkrɪsti, ˈvɪzɪts ʤərˈusələmz oʊld ˈsɪti; ˈdʊrɪŋ nu steɪt ˈgəvərnmənt ˈʃətˌdaʊn, ˈkrɪsti ənd juz ðə biʧ æt ðə ˈsəmər haʊs; ənd ˈkrɪsti ɪz ʤɔɪnd æt ə prɛs ˈkɑnfərəns baɪ dept*. əv ˈhoʊmˌlænd sɪˈkjʊrəti ˈsɛkrəˌtɛri ˈʤænɪt nɑˌpoʊliˈtɑnoʊ ənd ˈhoʊboʊkən meɪər dɔn ˈzɪmər. ˈgɛti ˈɪmɪʤɪz hɪz ˈpɛnʧənt fər ˈgɪtɪŋ wət hi ˈwɔntɪd æt ɔl taɪmz wɑz soʊ ˌɪnˈgreɪnd ðət ɪt wəns ˈivɪn lɛd tɪ ə ˈʃoʊˌdaʊn bɪtˈwin ˈbəkɪŋˌhæm ˈpæləs ənd wən. wɪn kwin ɪˈlɪzəbɪθ wɑz ˈkəmɪŋ tɪ graʊnd ˈziroʊ, hər ˈɔfəs æt ə rɪkˈwɛst tɪ æd ðə ˈʧɪldrən tɪ ə lɪst əv ˈpipəl ˈmitɪŋ ðə kwin. toʊld ðə ˈpæləs ðə ˈvɪzɪt kʊd nɑt ˈhæpən. ɪˈvɛnʧəwəli, ə ˈkɑmprəˌmaɪz wɑz wərkt aʊt, ənd ðə kwin mɛt ðə ˈkrɪsti kɪdz. fər ðiz mɔr ˌsɪmpəˈθɛtɪk ˈfɔrmər ˈkrɪsti eɪdz, ðeɪ faɪnd hɪz bɪˈheɪvjər ˈpəzəlɪŋ: haʊ kʊd səʧ ə ˈtæləntɪd ˌpɑləˈtɪʃən, wɪθ səʧ ən ˌɪˈneɪt ˌəndərˈstændɪŋ əv ˈpɑləˌtɪks ənd pərˈsɛpʃən, meɪk səʧ dɪˈsɪʒənz? ˈivɪn tɪ səm əv hɪz ˈstɔnʧəst dɪˈfɛndərz, ðə ˈɛpɪˌsoʊdz fjuəld ən ˈɪmɪʤ əv ə out-of-control*, ɪgˈzɛkjətɪv hu kʊd nɑt gɪv ə dæm əˈbaʊt ðə ˈpəblɪk. wət ˈkrɪsti həz tɪ seɪ əˈbaʊt ðət: ˌəndərˈstænd ðət ˈpipəl əbˈsɛs ɔn ˈɑptɪks. ˈnɛvər bɪn ə gaɪ hu əbˈsɛsɪz ɔn optics.”*.” ˈkrɪsti həz ˈrɛrli əˈpɑləˌʤaɪzd, ənd toʊld mi ðət moʊst əv hɪz ˈaʊtˌbərsts æt nu ˈʤərzi ˈrɛzɪdənts wər strəˈtiʤɪk. hi simd tɪ groʊ ˈhæpi ˈtɔkɪŋ əˈbaʊt ə ˈrisənt ɪnˈkaʊnər ɪn wɪʧ hi gɑt ˈɪntu ə ˈhitɪd ˈɑrgjəmənt wɪθ ə ˈvoʊtər æt ðə ˈpoʊlɪŋ ˈsteɪʃən nɪr hɪz haʊs. nɔr dɪz hi rɪˈgrɛt ˈʧeɪsɪŋ ðə mæn ɔn ðə ˈbɔrdˌwɔk waɪl ˈkɛriɪŋ ən aɪs krim koʊn, seɪɪŋ ðə mæn hæd juzd ðə ɪn frənt əv hɪz ˈʧɪldrən. æst ˈwɛðər səʧ ˈɛpɪˌsoʊdz ər ˈiˌmoʊʃənəl, ˌənkənˈtroʊld ˈaʊtˌbərsts, ˈkrɪsti rɪˈspɑndɪd: lɔt əv ðə ˈdəmiz ɪn jʊr ˈbɪznɪs θɪŋk ɪt is.”*.” hɪz oʊn əˈsoʊʃiˌeɪts si ɪt ðət weɪ; sɛd ðət ˈmɛni əv ðə ˈaʊtˌbərsts wər ““spontaneous”*” ˈɛpɪˌsoʊdz ðət lɛd tɪ wiks əv ˈhɛˌdeɪks ˈrəðər ðən ˈkælkjəˌleɪtɪd ˈstrætəʤi. ˈəðərz sɛd hi ˈkʊdənt kənˈtroʊl hɪz ˈtɛmpər. ðə wən ˈaʊtˌbərst hi rɪˈgrɛts, ˈkrɪsti sɛd, wɑz ˈkɔlɪŋ ə ˈneɪvi sil hu ˈʧælənʤd ɪm æt ə taʊn hɔl ə ˈivɪn ðɛn, hi ˌɪnˈsɪstɪd hi wɑz ˌfəndəˈmɛnəli ɪn ðə raɪt: θɪŋk hi ˈmɛrɪtɪd ðə ˈkɑmɛnt, bət aɪ hæv sɛd it.”*.” æt wən pɔɪnt ɪn ɑr ˌkɑnvərˈseɪʃən, hi tɪkt θru iʧ ˈwɛlˈnoʊn ˈɪnsədənt ənd ɪkˈspleɪnd hɪmˈsɛlf, groʊɪŋ ˈænəˌmeɪtɪd ənd æt taɪmz proʊˈfeɪn. əˈsum ðət ðə kɪŋ əv ˈʤɔrdən pʊt ˈpipəl əp æt ðə moʊˈtɛl 6 ðə kɪŋ əv jordan,”*,” ˈkrɪsti sɛd. ɪn ə ˈmɑkɪŋ toʊn, hi ˈædɪd: ˈmæʤəsti, ɪz ðɛr ə moʊˈtɛl 6 ɪn ðə ˈɛriə soʊ aɪ əˈfɛnd anybody?”*?” aɪ əˈsum ðət ðə kɪŋ əv ˈʤɔrdən pʊt ˈpipəl əp æt ðə moʊˈtɛl 6 ðə kɪŋ əv jordan,”*,” sɛd ˈkrɪsti. moʊst nu ər ˈiðər ˈigəlz ər ʤaɪənts fænz, ənd ˈkrɪsti dru ˌpɑˈtɪkjələr dərˈɪʒən fər flaɪɪŋ ɔn ə ˈpraɪvət pleɪn oʊnd baɪ ˈdæləs ˈkaʊˌbɔɪz ˈoʊnər ˈʤɛri ʤoʊnz tɪ ˈsɛvərəl geɪmz ənd ˈteɪkɪŋ ˈləgʒəri bɑks sits. səm ˈkrɪtɪks reɪzd kənˈsərnz ðət ʤoʊnz hæd ˈbɪznɪs ɪn frənt əv ðə pɔrt əˈθɔrəti əv nu jɔrk ənd nu ˈʤərzi, wɪʧ ˈkrɪsti ˈpɑrʃəli kənˈtroʊld. ˈæftər wiks əv ˈhɛˌdeɪks, ˈkrɪsti əˈgrid tɪ flaɪ kəˈmərʃəl tɪ ə ˈkaʊˌbɔɪz pleɪɔf geɪm. eɪdz sɛd hi stɪl ˈwɔntɪd tɪ teɪk ðə fri pleɪn. bɪˈkeɪm ˈgəvərnər ənd gɑt tɪ noʊ ˈʤɛri. hi ˌɪnˈvaɪtɪd mi tɪ ðə geɪmz, ənd wɛr æm aɪ səˈpoʊzd tɪ sɪt wɪn hi ˌɪnˈvaɪts mi tɪ ðə geɪmz? goʊɪŋ tɪ sɪt mi wɪθ them,”*,” hi sɛd. ðə biʧ ˈɪnsədənt əˈnɔɪz ˈkrɪsti ˈmeɪbi ðə moʊst. hi wɑz ˈsənɪŋ ɪn ə ʧɛr wɪθ hɪz ˈfæməli, ɪn ðə ˈmɪdəl əv ə ˈbəʤɪt ˈstænˌdɔf ðɪs ˌʤuˈlaɪ 4 ˈwiˌkɪnd. hi hæd ˈɔrdərd ðə ˈbiʧɪz kloʊzd bɪˈkəz ðɛr wɑz noʊ steɪt ˈbəʤɪt. ðə sɛnt ə fəˈtɑgrəfər daʊn ðə ˈʃɔˌrlaɪn ɪn ə ˈpraɪvət pleɪn ənd snæpt ˈpɪkʧərz ðət wɛnt ˈvaɪrəl ɔn ðə ˈɪntərˌnɛt. ˈʧɪldrən meɪd ˌhæləˈwin ˈkɑstumz əv ˈkrɪsti ɔn ðə biʧ. ju ˌɪˈmæʤən ðət aɪ kʊd si ðə lɔŋ lens?”*?” ˈkrɪsti sɛd, æst ɪf hi nu ðə pleɪn wɑz ˈkɛriɪŋ ə fəˈtɑgrəfər tɪ snæp ˈpɪkʧərz əv ɪm. kɔrs not.”*.” ˈivɪn soʊ, ˈkrɪsti ˌɪnˈsɪstɪd hi rɪˈgrɛt ðə ˈʃɔˌrlaɪn ɪkˈskərʒən. hi hæd wərkt ðə rɛst əv ðə deɪ, ənd hæd ˈprɑməst hɪz ˈʧɪldrən ənd ðɛr frɛndz ə veɪˈkeɪʃən fər mənθs ɔn ˌʤuˈlaɪ 4 ˈwiˌkɪnd. ˈnəθɪŋ meɪd hɪz ˈlɔŋˌtaɪm ˈsərkəl ˈæŋgriər ðən ðə biʧ. hæv bɪn soʊ ˈmɛni taɪmz aɪ ˈwɔntɪd tɪ ˈpəməl him,”*,” wən ˈlɔŋˌtaɪm eɪd sɛd. wʊd hæv ˈpəməld ɪm ɪn ðə feɪs ðət day.”*.” əˈnəðər kɔld hɪz dɪˈsɪʒənz ənd ˈtoʊtəli ˈfəkɪŋ inexplicable.”*.” θɪŋz bɪˈkeɪm distractions,”*,” sɛd maɪk duaɪm, hɪz tɔp pəˈlɪtɪkəl ædˈvaɪzər. wər ˈbɪgər dɪˈstrækʃənz ðən ˈɛniˌwən anticipated.”*.” ˈoʊvərˌriʧt often,”*,” sɛd. wʊd gɪt hɪz ˈblaɪndərz ɔn ənd ʤɪst bi ˌɪnˈkrɛdəbli stubborn.”*.” hi ˈædɪd: rɪˈgrɛt ˈwərkɪŋ fər ɪm. hi wɑz ðə bɛst bɔs aɪ ˈɛvər hæd. ɪt wɑz ɔl pɑrt əv ðə package.”*.” ɪn ðə wərdz əv ˈfeɪvərɪt ˈsɪŋər, brus ˈsprɪŋˌstin, hɪz pəˈlɪtɪkəl ˈfɔrʧənz wər stək ˈsəmˌwɛr ɪn ðə swɔmps əv ˈʤərzi baɪ 2014 hi wɑz dɪˈmɪnɪʃt baɪ bət stɪl θɔt hi hæd ə ʧæns ɪn 2016 ˈmɛni əv hɪz eɪdz wər ˈskɛptɪkəl bət wɛnt əˈlɔŋ wɪθ ðə plæn: hi wʊd ʧɑrt hɪz kɔrs ɛz ˈʧɛrmən əv ðə rɪˈpəblɪkən ˈgəvərnərz əˌsoʊʃiˈeɪʃən, ˈtrævəl ðə ˈkəntri, reɪz ˈməni, bɪld əˈlaɪənsɪz ənd traɪ tɪ pʊt təˈgɛðər ə ˌprɛzɪˈdɛnʃəl kæmˈpeɪn ˌɪnfrəˈstrəkʧər. hi reɪzd ˈrɛkərd əˈmaʊnts əv kæʃ fər ðə ənd hɛlpt wɪn mɔr ðən 30 guˌbərnəˈtɔˌriəl ˈreɪsɪz. hi kʊd stɪl meɪk ˈnæʃənəl ˈhɛˌdlaɪnz ˈɛniˌtaɪm hi ˈwɔntɪd. ˈkrɪsti ˈɛnərd ðə ˌprɛzɪˈdɛnʃəl reɪs ɪn ʤun 2015 æt hɪz nu ˈʤərzi haɪ skul. sɔ ə pæθ, bət wi wər ˈəndər noʊ ˌɪˈluʒənz əˈbaʊt haʊ ˈdɪfəkəlt ɪt wɑz goʊɪŋ tɪ be,”*,” duaɪm sɛd. nən əv ˈjuˈɛs sɔ ðə trəmp fəˈnɑməˌnɑn coming.”*.” ˈkrɪsti ənd hɪz tim nu hi hæd ˈlɪtəl ʧæns ɪn ˈaɪəwə ənd saʊθ ˌkɛrəˈlaɪnə, soʊ ðeɪ kæst ðɛr lɔt ɪn nu ˈhæmʃər, wɛr, ɪt wɑz θɔt, hɪz ˌaɪdiəˈlɑʤɪkəl ˈprægməˌtɪzəm ənd skɪl æt ˈriˌteɪl ˈpɑləˌtɪks wʊd bi juʤ ˈæˌsɛts. drɔɪŋ ɔn ðə ˈpleɪbʊk ðət hæd wərkt soʊ wɛl bæk hoʊm, ˈkrɪsti ˈkrɪˌskrɔst ðə steɪt ɪn ə bəs ənd hɛld mɔr ðən 100 taʊn hɔlz. hi wɑz ˈeɪbəl tɪ sɪˈkjʊr mɔr ɛnˈdɔrsmənts ðən ˈɛni ˈəðər ˈkænədɪt. ðɛr wər ə ˈnəmbər əv taɪmz ɪt lʊkt laɪk hi hæd moʊˈmɛntəm: hi wən ðə ˈkəvətɪd ɛnˈdɔrsmənt. ə klɪp əv ɪm ˈtɔkɪŋ əˈbaʊt əˈdɪkʃən wɛnt ˈvaɪrəl. hɪz ˈprɑsɪˌkjutər ˈboʊnə faɪdz bɪˈkeɪm ˈjusfəl əˈmɪd ˈtɛrərɪst əˈtæks, ənd hi slæʃt ˈmɑrkoʊ ˈrubioʊ æt ðə ˈfaɪnəl dəˈbeɪt ˌbiˈfɔr ðə voʊt. ˈɔlˌweɪz bɪn gʊd æt ɪt ənd ˈɔlˌweɪz bi gʊd æt it,”*,” ˈkrɪsti sɛd əv hɪz steɪʤ pərˈfɔrmənsɪz. baɪ ˈkrɪsməs, ˈhəsəl simd tɪ hæv peɪd ɔf: hi faʊnd hɪmˈsɛlf ɪn ˈsɛkənd pleɪs, wɛr hi θɔt hi wʊd ˈəltəmətli ˈfɪnɪʃ. bət ðət tərnd aʊt tɪ bi ðə mɑrk əv hɪz kæmˈpeɪn. hi sun wɑz ˈɪnənˌdeɪtɪd wɪθ ˈməni frəm ˈsupər pæks lɪŋkt tɪ ˈrubioʊ ənd ʤɛb bʊʃ, ənd trəmp drɑpt hɪz ˈfrɛndli stæns ənd rɪpt ɪm ˈoʊvər ðə brɪʤ. brɪʤ, hi nu əˈbaʊt it,”*,” trəmp sɛd. du ju hæv ˈbrɛkfəst wɪθ ˈpipəl ˈɛvriˈdeɪ əv jʊr lɪvz. ˈkloʊzɪŋ əp ðə ˈlɑrʤəst brɪʤ ɪn ðə wərld. ðeɪ ˈnɛvər sɛd bɔs, ˈkloʊzɪŋ əp ðə ʤɔrʤ ˈwɔʃɪŋtən bridge.’*.’ soʊ ˈtɔkɪŋ əˈbaʊt ðə ˈwɛðər? hi nu əˈbaʊt ɪt. hi ˈtoʊtəli nu əˈbaʊt it.”*.” ˌɪnˈstɛd əv ˈfaɪərrɪŋ bæk æt trəmp, hu hi ˈfɪgjərd bi ˈbitən ɪn nu ˈhæmʃər, ˈkrɪsti læʃt aʊt æt ˈrubioʊ, hu wɑz kəmˈpitɪŋ fər ðə seɪm pul əv ˈɛʤəˌkeɪtɪd, ˈmɑdərˌeɪt ˈvoʊtərz. ˈəðər ˈkænədɪts ənd ðɛr timz sɛd ˈkrɪsti, hu ˈpraɪdɪd hɪmˈsɛlf ɔn ˈteɪkɪŋ ɔn ˈdɪfəkəlt ˈʧælənʤɪz, ʃərkt ðə ˈəltəmət pəˈlɪtɪkəl wən. sɔ soʊ ˈmɛni ˈəðər ˈkænədɪts traɪ ənd feɪl æt ðət ˈtæktɪk ənd strategy,”*,” mæt moʊərz, nu ˈhæmʃər dɪˈrɛktər, sɛd əv əˈtækɪŋ trəmp. wʊd si ðoʊz ˈkænədɪts luz səˈpɔrt ɪn ðə poʊlz. ɪt ˈnɛvər simd strəˈtiʤɪkli advantageous.”*.” moʊərz sɛd ɪt wɑz ˈɔlˌmoʊst ˌɪmˈpɑsəbəl tɪ geɪn ˈtrækʃən ɪn ðə steɪt wɪθ səʧ ə ˈkraʊdɪd fild ənd ənˈkæni əˈbɪləˌti tɪ ərn ˈmidiə əˈtɛnʃən ənd blɑt aʊt ðə sən. ˈvoʊtərz wʊd ləv ˈkrɪsti ənd seɪ hi wɑz ɔn list,”*,” moʊərz sɛd, bət ðeɪ wʊd ɪˈvɛnʧəwəli goʊ wɪθ trəmp, hu wɑz ˈivɪn mɔr ““tell-it-like-it-is.”*.” duaɪm sɛd ðə ˌkælkjəˈleɪʃən wɑz tɪ ˈoʊnli swɪŋ æt trəmp hɑrd ɪf ɪt wɑz ə ˌwənɔnˈwən fild, ənd ðət ðə ˈgəvərnər nu trəmp wɑz goʊɪŋ tɪ wɪn. hɪz əˈtæk ɔn ˈrubioʊ wərk; ðə ˈflɔrɪdə ˈvoʊtərz dɪˈfɛktɪd, bət tɪ ˈəðər ˈkænədɪts. ˈstrætəʤi wɑz ˈfɑlɪŋ əˈpɑrt. hi reɪz ɪˈnəf ˈməni, ə ˌpɑrˈtɪkjələrli ˈpeɪnfəl ˈʃɔrtˌkəmɪŋ fər ə ˈfənˌdreɪzər. ˈæftər ðə ˈɔnsˌlɔt əv ædz əˈtækɪŋ ɪm, hi kənˈtɪnjud tɪ fɔl ɪn ðə ˈdeɪli ˈtrækɪŋ hi hæv ðə ˈrisɔrsɪz tɪ hɪt bæk. ðə ˈgəvərnərz reɪzd ˈməni fər ɛz ʧɛr səˈpɔrt ɪm ɪn rɪˈtərn, ˌɪnfˈjʊriˌeɪtɪŋ hɪz tim. duaɪm kɔld ɪt ““cowardly.”*.” θɪŋk ɪt wɑz ən ɪˈnɔrmɪs ˈlidərˌʃɪp ˌɑpərˈtunəti lɔst fər ðə rɪˈpəblɪkən governors,”*,” ˈkrɪsti sɛd. ʤɪst sæt ɔn ðə ˈsaɪˌdlaɪnz fər ˈrizənz ðət ˈnɛvər kəmˈplitli ˌəndərˈstænd bɪˈkəz ðɛr wər ə lɔt əv gʊd ˈkænədɪts tɪ pɪk from.”*.” ənd bæk ɪn nu ˈʤərzi, ˈkrɪsti wɑz ˈhɔntɪd baɪ ˈprɑbləmz: ˈsægɪŋ poʊl ˈreɪtɪŋz, ə ˈkrəmbəlɪŋ ˈtrænzɪt ˈsɪstəm, ˈkrɛdɪt ˈdaʊnˈgreɪdz, ə ˈstɛdi strim əv ˈhɛˌdlaɪnz frəm ðə ˈɔnˌgoʊɪŋ traɪəl, ə ˈsɛpərˌeɪt ˌɪnˌvɛstəˈgeɪʃən ˈɪntu ˈsæmsən, ðə ˈwɑbəli ˌfaɪˈnænʃəl ˈfɔrʧənz əv əˈtlæntɪk ˈsɪti. ˈivɪn hɪz ˈwaɪdli preɪzd rɪˈspɑns tɪ ˈsændi hæd bɪˈkeɪm ə ˈnɛgətɪv. həg wɑz ˈnɛvər fərˈgɪvən baɪ soʊ ˈmɛni ˈpipəl ɪn ðə rɪˈpəblɪkən establishment,”*,” sɛd duaɪm, hu θɪŋks ɪmˈbreɪs əv ˌoʊˈbɑmə hərt ɪm wɪθ ˈpraɪˌmɛri ˈvoʊtərz ˈivɪn mɔr ðən. ˈkrɪsti sæt ˈstoʊɪkli ɛz ðə rɪˈtərnz keɪm ɪn, ɪm ˈfɪnɪʃɪŋ sɪksθ. hi stɛrd æt hɪz ˈfɑðər. hɪz ˈʧɪldrən kraɪd. hi nu hi wɑz goʊɪŋ tɪ drɔp aʊt bət ˌdɪˈsaɪdɪd tɪ weɪt ə deɪ ˈæftər ˈtɔkɪŋ tɪ ˈlɛri ˈhoʊˌgɑn əv ˈmɛrələnd, ə frɛnd ənd wən əv ðə fju ˈfɛloʊ ˈgəvərnərz hu hæd kæmˈpeɪnd wɪθ ɪm. hi rɪˈtərnd tɪ nu ˈʤərzi ənd ˈpoʊstɪd ə ˈsteɪtmənt ɔn ˈfeɪsˌbʊk, ˈdrɑpɪŋ aʊt ɔn ˈfɛbjəˌwɛri. 10 ˌbiˈfɔr ˈkrɪsti flu tɪ ˈdæləs tɪ ɛnˈdɔrs ˈdɑnəld trəmp tu wiks ˈleɪtər, hi tɛl səm əv hɪz moʊst ˈsinjər eɪdz. ðeɪ ˈlərnɪd əˈbaʊt ɪt frəm hɪz ˈsɛkrəˌtɛri waɪl hi wɑz ɪn ðə ɛr. ˈkrɪsti hæd əˈʃʊrd eɪdz ˈæftər nu ˈhæmʃər ðət hi plæn tɪ ɛnˈdɔrs ɪn ðə reɪs, ənd ðeɪ lʊkt ˈfɔrwərd tɪ traɪɪŋ tɪ ˈsælvɪʤ hɪz ˈlɛgəsi ɪn nu ˈʤərzi. ˈæftər hi ˈlərnɪd ðə nuz, ˈkɛvɪn ˈrɑbərts, ðɛn kəmˌjunəˈkeɪʃənz dɪˈrɛktər, kɔld hɪz tim ˈɪntu ən ˈimərʤənsi ˈmitɪŋ ənd toʊld ðɛm. hi wɑz mɛt wɪθ ˈsaɪləns. fucked,”*,” ˈrɑbərts sɛd, əˈkɔrdɪŋ tɪ əˈtɛnˈdiz. ðə dɪˈsɪʒən wɑz ˈwaɪdli loʊðd ɪn hɪz ˈsərkəl. duaɪm, hɪz tɔp pəˈlɪtɪkəl ædˈvaɪzər, dɪˈklaɪnd tɪ ˈfɑloʊ hɪz lɛd. mərˈiə koʊˈmɛlə, hɪz tɔp eɪd fər jɪrz, ˈleɪtər keɪm aʊt wɪθ ə ˈsteɪtmənt ɛnˈdɔrsɪŋ ˈhɪləri ˈklɪntən. trəmp ˈklɑkˌwaɪz, frəm ˈəpər lɛft: ˈkrɪsti ənd ˈsɛnətər ˈmɑrkoʊ ˈrubioʊ ˈdʊrɪŋ ə ˈʤænjuˌɛri 14 2016 ˌprɛzɪˈdɛnʃəl dəˈbeɪt; ˈkrɪsti stændz bɪˈhaɪnd trəmp ˈdʊrɪŋ ə ˈræli æt ðə fɔrθ wərθ kənˈvɛnʃən ˈsɛnər ɪn ˈtɛksəs, əˈnaʊnsɪŋ hɪz ɛnˈdɔrsmənt əv ðə ˈkændɪdəsi əˈhɛd əv ðə mɑrʧ 2 tuesday”*” ɪˈlɛkʃənz; ɔn noʊv. 20 2016 trəmp ənd gəv. ˈkrɪsti ʃeɪk hænz ˌbiˈfɔr ðɛr ˈmitɪŋ æt trəmp ˌɪnərˈnæʃənɑl gɔlf kləb, ɪn ˈbɛdmɪnstər ˈtaʊnʃɪp, nu ˈʤərzi; trəmp ənd ˈkrɪsti priˈpɛr tɪ spik tɪ səˈpɔrtərz æt ə mɑrʧ 14 2016 ˈræli æt ˈjəŋzˌtaʊn ˈɛrˌpɔrt ɪn oʊˈhaɪoʊ. ˈgɛti ˈɪmɪʤɪz baɪ ðɪs taɪm, ˈkrɪsti hæd ɔˈrɛdi groʊn soʊ ˌənˈpɑpjələr ðət ðə ˈgəvərnər faʊnd ə ˈnɑvəl weɪ tɪ ˈpənɪʃ wən əv hɪz ˈædvərˌsɛriz ˈæftər wən əv ðɛr vɑlˈkænɪk faɪts. hi kɔld ˈɪntu ə ˈreɪdiˌoʊ ʃoʊ ənd preɪzd sˈwini, ðə steɪt ˈsɛnɪt ˈlidər ənd ə ˈdɛməˌkræt, dɪˈskraɪbɪŋ ɪm ɛz ə greɪt ˈgəvərnɪŋ ˈpɑrtnər. wɑz ˈpreɪzɪŋ mi tɪ hərt mi, ənd aɪ nu ɪgˈzæktli wət hi wɑz duɪŋ, ənd hi dɪd too,”*,” sˈwini sɛd. ˈkrɪsti ɪkˈspleɪnz hɪz ɛnˈdɔrsmənt əv trəmp ɛz ə prægˈmætɪk muv. wɑz ðə first,”*,” hi riˈmaɪndɪd mi. aɪ tərnd aʊt tɪ bi right.”*.” ðə ɛnˈdɔrsmənt geɪv ɪm ə ʧæns tɪ bi ɪn ðə ˈkrɪsti stænd ðə aɪˈdiə əv biɪŋ ə ˈgəvərnər ɔn ðə ˈsaɪˌdlaɪnz. naʊ hi tɔks tɪ trəmp ˈsɛvərəl taɪmz ə wik. hi ləvd pleɪɪŋ ˈhɪləri ˈklɪntən ɪn dəˈbeɪt prɛp. wɪn trəmp wən, hi wɑz ˌɑnˈsteɪʤ. æt ðə seɪm taɪm, ˈsɛvərəl eɪdz sɛd, ɪt wɑz ɛˈsɛnʃəli ə waɪt sərˈɛndər flæg ɔn hɪz ˈgəvərnərˌʃɪp. ““one*, aɪ ˈwɔntɪd tɪ meɪk ɪm ə ˈbɛtər tu, aɪ ˈwɔntɪd ɪm tɪ bit ˈhɪləri ˈklɪntən bɪˈkəz aɪ wɔnt ˈhɪləri ˈklɪntən tɪ bi ˈprɛzɪdənt ənd aɪ θɔt hi wɑz ðə gaɪ hu wɑz goʊɪŋ tɪ gɪv ˈjuˈɛs ðə ʧæns tɪ du that,”*,” ˈkrɪsti toʊld mi. bət, hi ˈheɪsənd tɪ æd, min ðət aɪ əˈgri wɪθ ˈɛvriˌθɪŋ ˈdɑnəld trəmp dɪz. aɪ. bət aɪ əˈgri ɔn ə hɛl əv ə lɔt mɔr wɪθ ɪm ðən aɪ du wɪθ ˈhɪləri ˈklɪntən, right?”*?” ˈfɔrmər eɪdz seɪ ˈkrɪsti meɪd ðə dɪˈsɪʒən ˈæftər trəmp ˈkɔrtɪd ɪm ɪkˈstɛnsɪvli, ˈæskɪŋ ɪm ˈfrikwɛntli tɪ ɛnˈdɔrs. ˈkrɪsti wɑz ˈæŋgri wɪθ ðə ˈəðər ˈkænədɪts ənd ˈfrəˌstreɪtəd wɪθ ðə hoʊl ɔrˈdil əv ˈrənɪŋ. wərkt ɪm ˈhɑrdər ðən ˈɛniˌwən ɛls ɪn traɪɪŋ tɪ gɪt ɪt. hi kɔld ɪm repeatedly,”*,” duaɪm sɛd. duaɪm sɛd ˈkrɪsti kɔld ɪm ðə naɪt trəmp wən saʊθ ˌkɛrəˈlaɪnə. ðə tu mɛn əˈgrid ðə ˌbɪljəˈnɛr dɪˈvɛləpər wʊd bi ðə ˈkrɪsti ˌdɪˈsaɪdɪd tɪ ɛnˈdɔrs. raɪt θɪŋ fər ɪm tɪ du wɑz tɪ ɛnˈdɔrs trəmp æt ðə taɪm. ðət ɪz nɑt wət aɪ ˈwɔntɪd tɪ du fər ˌmaɪˈsɛlf, soʊ aɪ ˈdɪdənt goʊ wərk fər him,”*,” duaɪm sɛd. səm eɪdz ənd ˈælaɪz seɪ hi ɛnˈdɔrst ˈərli ɪn hoʊps əv ˈgɪtɪŋ ə pləm ʤɑb ɪf trəmp wən. ˈkrɪsti dɪˈnaɪd ðət. noʊ ðət ˌwəˈtɛvər ə ˈkænədɪt meɪ seɪ tɪ ju ˌbiˈfɔr ɪˈlɛktɪd minz ˈlɪtəl wəns ɪˈlɛktɪd. bɪˈkəz ˈɛvriˌθɪŋ ˈʧeɪnʤɪz. ə hoʊl bənʧ əv ˈdɪfərənt ˈpipəl gɪt ɪn ðɛr ɪr ənd ˈɛvriˌθɪŋ ɛls. soʊ, noʊ. aɪ meɪk ðət ˌkælkjəˈleɪʃən bɪˈkəz aɪ noʊ frəm maɪ oʊn ɪkˈspɪriəns ðət ˈkænədɪts wɪl seɪ ˈɛniˌθɪŋ, ənd ju kaʊnt ɔn ðət beforehand,”*,” hi sɛd. ˈdʊrɪŋ ə nuz ˈkɑnfərəns sun ˈæftər ðə ɛnˈdɔrsmənt, ˈkrɪsti stɛrd ˈblæŋkli bɪˈhaɪnd trəmp, hɪz aɪz ˈblɪŋkɪŋ. tˈwɪtər wægz ˈɪnstəntli prəˈnaʊnst ðət hi lʊkt laɪk ə ˈhɑstɪʤ. ðə klɪps wɛnt ˈvaɪrəl ɔn ðə ˈɪntərˌnɛt ənd ˌɪnfˈjʊriˌeɪtɪd ˈkrɪsti. ʤɑb wɑz tɪ ˌɪntrəˈdus ɪm, ənd ðə ərˈɪʤənəl plæn wɑz tɪ ˌɪntrəˈdus ɪm ənd goʊ offstage,”*,” ˈkrɪsti sɛd. ˌɪntrəˈdus ɪm, hi kəmz əp ðə steɪʤ, hi goʊz, hir wɪθ me.’*.’ ‘‘ok.’*.’ soʊ aɪ stʊd bæk ðɛr. aɪ wɑz laɪk, right.’”*.’” ləv fər ˈsəmˌbɑdi tɪ ˈæˌkʧuəli du ðət ənd stænd bɪˈhaɪnd ˈsəmˌwən æt ə prɛs ˈkɑnfərəns ənd hæv ˈɛni ˈəðər lʊk ɔn jʊr face,”*,” hi sɛd. hæd hi læft ər smaɪld, ˈkrɪsti sɛd, hi wʊd hæv bɪn kɔld ə ““goofball.”*.” ˈkrɪsti əˈgrid tɪ hɛlm ðə trænˈzɪʃən, bət hi kreɪvd ə ˈsərtən spɑt ɪn ðə ædˌmɪnɪˈstreɪʃən: əˈtərni ˈʤɛnərəl. ənd hi gɪt ɪt. ˌɪnˈstɛd, hi ˈsəfərd ə ˈsɪriz əv frɛʃ ˌhjuˌmɪliˈeɪʃənz. ðɛr wɑz ðə taɪm trəmp toʊld ə lɑrʤ kraʊd ɪn hoʊm steɪt ðət ðə ˈgəvərnər wʊd noʊ ˈlɔŋgər it oreos*. ðɛr wɑz ðə taɪm ðə nu ˈjɔrkər ˌriˈpɔrtəd ən eɪd seɪɪŋ ðət trəmp hæd meɪd ˈkrɪsti fɛʧ ɪm mcdonald’s*, ə ˈnəgɪt ðət ˈɪnstəntli wɛnt ˈvaɪrəl. (sæm, ə ˈfɔrmər trəmp eɪd, toʊld mi hi meɪd əp ðə ˈstɔri tɪ ɪmˈbɛrəs ðət ɪt sprɛd laɪk ˈwaɪldˌfaɪər. sæd ˌriˈæləˌti ɪz ðət ɪt wɑz believable,”*,” sɛd, ˈʧəklɪŋ.) ˈəpˌdeɪt: nu ˈjɔrkər rɪˈpɔrtər raɪən sɪz wɑz nɑt ðə sɔrs fər hɪz ˈstɔri. ðɛr wɑz ðə taɪm, æt ə ˈræli ɪn ˈfɛbruˌɛri 2016 ðət trəmp toʊld ɪm tɪ gɪt ɔn ðə pleɪn ənd home”*” ˌbiˈfɔr trəmp spoʊk, ˈsimɪŋ tɪ mɑk hɪz oʊn kæmˈpeɪn ˈsərəˌgeɪt. ˈkrɪsti siz ðə ˌtɛnəˈsi ˈtɑrˌmæk ˈɪnsədənt ˈdɪfərˈɛntli. wər ˈæktɪŋ laɪk ɪt wɑz ə ˈfəkɪŋ ˈpənɪʃmənt. ðə gaɪ geɪv mi hɪz sˈmɔlər pleɪn ənd sɛd, ˈərli soʊ ju hæv tɪ weɪt fər mi, bɪˈkəz bɪn soʊ greɪt tɪ mi ðə læst tu deɪz duɪŋ ðɪs fər tu days.’*.’ ənd ðɛn ˈæshoʊl rɪˈpɔrtərz raɪt ðət hi wɑz laɪk, krɪs ɔf ðə stage,’”*,’” ðə ˈgəvərnər sɛd. ðə stəf ðət draɪvz ju crazy.”*.” aɪ wʊd ˈnɛvər ˈəndərˈɛstəˌmeɪt əˈbɪləˌti tɪ bi ˌɪnˈvɑlvd ɪn ˌwəˈtɛvər hi wɔnts tɪ du bi ˌɪnˈvɑlvd in,”*,” ˈkrɪsti sɛd. ˈkrɪsti sɛd ˈivɪn hi wɑz ˈteɪkən əˈbæk baɪ nis ˈʤɛsʧər tɪ sɛnd ə ˈsɛkənd pleɪn ˈæftər tu deɪz ɔn ðə treɪl. wɪn ju θɪŋk gɑt ɪm ˈfɪgjərd aʊt, laɪk ɪn ə bæd weɪ, hi dɪz ˈsəmθɪŋ ˈrɪli ˈʤɛnərəs ənd ðət meɪks ju goʊ laɪk, ɪz ə gʊd gaɪ ɪn hɪz heart,’”*,’” hi sɛd. ˈʤɛnərəs ˌɪnˌtərprɪˈteɪʃən əv ˈtritmənt əv ɪm ˈivɪn ɪkˈstɛndz tɪ hɪz oʊn ˈaʊstər. tu deɪz ˈæftər səˈpraɪz wɪn, stiv ˈbænən ənd ˈkrɪsti wər sin ˈɑrgjuɪŋ fər ˈsɛvərəl aʊərz ɪn ə glæs ˈɔfəs ɪn ðə trænˈzɪʃən ˈhɛdˌkɔrtərz ɪn nu jɔrk. ˈbænən wɑz ˈfaɪərrɪŋ ɪm ɛz ʧɛr əv ðə trænˈzɪʃən, ənd ˈkrɪsti ˈteɪkɪŋ ðə nuz wɛl. hi ˈwɔntɪd tɪ noʊ hu wɑz bɪˈhaɪnd ɪt, ənd hi səˈspɛktɪd ˈsənɪnˌlɔ ˈʤɛrɪd ˈkəʃnər, huz ˈfɑðər hi hæd ˈprɑsɪˌkjutɪd ɛz juz. əˈtərni. ““oh*, aɪ asked,”*,” ˈkrɪsti sɛd, rɪˈfərɪŋ tɪ ˈbænən. ˈænsər. bət [beɪst ɔn] ˈsəbsəkwənt ˌkɑnvərˈseɪʃənz hæd wɪθ ðə ˈprɛzɪdənt, aɪ ʤɪst bɪˈliv ðɪs wɑz ðə decision.”*.” eɪdz ˈleɪtər θru hɪz trænˈzɪʃən məˈtɪriəlz ɪn ˈweɪstˌbæskəts. ˈkrɪsti, hu ˈɔfən əˈtrɪˌbjuts hɪz ˈhæbət əv fˈjudɪŋ tɪ hɪz mɑm ənd ˈaɪrɪʃ dad,”*,” ˌɪnˈsɪsts hi hoʊldz noʊ ˈgrəʤɪz. hi sɛd ðə ˈprɛzɪdənt hæd meɪd ə smɑrt dɪˈsɪʒən tɪ gɪt rɪd əv səm neɪmd ˈbænən ənd sɛd ˈəðərz wʊd bi sun tɪ goʊ. ʧif əv stæf ʤɑn ˈkɛli, hi sɛd, wɑz duɪŋ məʧ ˈbɛtər. hi dɪˈklaɪnd tɪ teɪk ə ʃɑt æt ˈkəʃnər wɪn æst əˈbaʊt ðə trəmp dɪˈmɪnɪʃt waɪt haʊs roʊl. wʊd ˈnɛvər ˈəndərˈɛstəˌmeɪt əˈbɪləˌti tɪ bi ˌɪnˈvɑlvd ɪn ˌwəˈtɛvər hi wɔnts tɪ du bi ˌɪnˈvɑlvd in,”*,” ˈkrɪsti sɛd. ˈkrɪsti, hu ɪz ˈoʊnli 55 seɪ wət ɪz nɛkst. hi sɪz hi wɔnts tɪ meɪk ˈməni ənd plæn tɪ rən fər ˈprɛzɪdənt əˈgɛn. hi sɪz hi həz noʊ ˌɪˈmiˌdiət plænz tɪ ʤɔɪn ðə waɪt haʊs ˈəndər trəmp. ˈɔfərd mi tu ˈdɪfərənt ˈkæbənət pəˈzɪʃənz ənd θri ˈəðər ˈrɪli ˈsinjər pəˈzɪʃənz ɪn ðə ædˌmɪnɪˈstreɪʃən, ənd tərnd ðɛm ɔl daʊn bɪˈkəz ðeɪ stəf aɪ wɑz ˈɪntəˌrɛstɪd in,”*,” hi sɛd. hi sɛd ðɛr kʊd bi ˌɑpərˈtunətiz ɪn ˈmidiə, æt lɔ fərmz ənd ɔn wɔl strit. hi həz ʤoʊkt ðət ˈmɛri pæt ˈkrɪsti, hɪz ˌɪnˈvɛstmənt ˈbæŋkər waɪf, həz toʊld ɪm hi nidz tɪ ˈriəˌlaɪz hɪz potential.”*.” bət paʊər ənd feɪm ˈmoʊtəˌveɪt ˈkrɪsti mɔr ðən ˈməni, ðoʊz ˈkloʊsəst tɪ ɪm seɪ, ənd ðeɪ θɪŋk bi bæk ɪn ðə ˈpəblɪk glɛr. wɪn aɪ keɪm tɪ si ɪm, hi wɑz ˈsɪtɪŋ ɪn ə ˈkɑnfərəns rum wɪθ tu koʊk kænz, ðət lɑrʤ boʊl əv ˈʧɪli, ə ˈbæskət əv ˈweɪvi pəˈteɪˌtoʊ ʧɪps, gɪfts ˈlaɪnɪŋ ðə wɔlz, ˈnuzˌpeɪpərz ˈpreɪzɪŋ hɪz əˈsɛnt ənd ˈsprɪŋˌstin ənd ə ˈnoʊtər deɪm ˈfʊtˌbɔl saɪn ˈaʊtˈsaɪd ðə dɔr ˈrɛdɪŋ, laɪk ə ˈʧæmpiən today.”*.” hɪz ˈdɔtər goʊz ðɛr, ənd hi həz bɪˈkəm ə fæn. aɪ sin ˈkrɪsti ɪn tu jɪrz sɪns aɪ ˈkəvərd ɪm fər ðə wɔl strit ˈʤərnəl, bət hi ˈstɑrtɪd ðə ˌkɑnvərˈseɪʃən ˈɔlˌmoʊst mid-sentence*. hɪz fəˈtɑgrəfər hæd toʊld mi ˈdaʊnˈstɛrz ðət ˈkrɪsti, ə mərˈkjʊriəl mæn, wɑz ɪn ə fænˈtæstɪk mud. hi ˈoʊnli æst tɪ goʊ ɔf ðə ˈrɛkərd twaɪs. ˌbiˈfɔr aɪ sɔ ɪm, ˈkrɪsti wɑz ˈmitɪŋ wɪθ fɪl ˈmərfi, ðə nɛkst ˈgəvərnər ənd ə ˈfɔrmər ˈgoʊldmən sɑks ɪgˈzɛkjətɪv hu kæst məʧ əv hɪz kæmˈpeɪn ɔn ə ˌrɛfərˈɛndəm əˈgɛnst ˈkrɪsti. ðə nu ˈʤərzi prɛs kɔrz noʊ ˈlɔŋgər hæd məʧ ˈɪntəˌrɛst ɪn ˈkrɪsti, ˌɪnˈstɛd ˈklæmərɪŋ ˈaʊtˈsaɪd ɪn ðə koʊld tɪ mit hɪz səkˈsɛsər. ˈkrɪsti noʊ ˈlɔŋgər hoʊldz kɔrt frəm hɪz ˈsprɔlɪŋ ˈɔfəs; hi kloʊzd ðə steɪt haʊs fər rɪˈpɛrz ˈərliər ðɪs jɪr, ənd ɪz ˈsərvɪŋ aʊt hɪz ˈfaɪnəl deɪz frəm ə ˈmeɪkˌʃɪft ˈɔfəs ɪn ə dræb, greɪ ˈgəvərnmənt ˈbɪldɪŋ. wən əv hɪz ˈspɑrtən wɔlz həz ə ˈloʊnli tɪ run”*” ˈsprɪŋˌstin ˈpoʊstər. ə lɑrʤ saɪn ɔn ðə strits əv ˈdɛzələt ˈtrɛntən noʊts wɛr ju kən faɪnd ˈkrɪsti, wɪn hi ɪz ðɛr. kɛpt moving’*’ ˈkrɪsti ɪn ðə ist rum əv ðə waɪt haʊs, əˈtɛndɪŋ ən ɑkˈtoʊbər 2017 spiʧ baɪ ˈprɛzɪdənt ˈdɑnəld trəmp ɔn ðə ˈkraɪsəs. ˈgɛti ˈɪmɪʤɪz hi ɪn ə mud əˈbaʊt ˈmərfi ənd simd tɪ bi stɪl ˈsaɪzɪŋ ɪm ˈlʊkɪŋ fər ˈwiknəsɪz. hæv noʊ weɪ əv knowing,”*,” hi sɛd wɪn æst ɪf ˈmərfi wɑz priˈpɛrd fər ðə ʤɑb. ʃʊr bi ˈrɛdi ənd bi faɪn baɪ ˌɪˌnɔgjəˈreɪʃən deɪ. ə ˈlɪtəl ˌoʊvərˈwɛlmd now.”*.” hɪz taɪt ˈsərkəl əv eɪdz ɪz noʊ ˈlɔŋgər wɪθ ɪm. ˈmɛni hæv bɪn gɔn fər jɪrz. ˈkrɪsti ˈɔfən kips hɪz oʊn ˈskɛʤʊl ənd trəsts hɪz oʊn ˈkaʊnsəl əˈbəv ɔl. ɪn fækt, səm əv hɪz eɪdz hæd noʊ aɪˈdiə aɪ wɑz ˈivɪn ɔn hɪz ˈskɛʤʊl ənˈtɪl ðə naɪt ˌbiˈfɔr. ɪn ˈpərsən, ˈkrɪsti ɪz ˈɛmənəntli ˈlaɪkəbəl ənd kənˈvɪnsɪŋ. hi kən seɪ ˈsəmθɪŋ ðət ɪz nɑt tru wɪˈθaʊt ˈblɪŋkɪŋ ən kən ˈɔlˌmoʊst kənˈvɪns ju ɪt ɪz, ˈivɪn ɪf ju noʊ ˈbɛtər. hi stɪl pəˈzɛsɪz ɔl ðə ˈæˌsɛts ðət meɪd ɪm ə ˈraɪzɪŋ stɑr ənd ɔl əv ðə flɔz ðət lɛd tɪ hɪz əˈstɑnɪʃɪŋ fɔl: rɪˈlɛntlɪs æmˈbɪʃən ənd prægˈmætɪk ˈkɑmpətɪns, ʃrud pəˈlɪtɪkəl ˈɪnstɪŋkts ˈtɛmpərd baɪ ˌɪnəkˈsplɪkəbəl blaɪnd spɑts, ə ˈpɛnʧənt fər ˈvɛnʤəns ənd ə vɑlˈkænɪk ˈtɛmpər, ə kin sɛns əv ˈhjumər ənd ən əˈbɪləˌti tɪ ˈprɑʤɛkt ˈɛmpəθi, ən əbˈsɛʃən wɪθ feɪm bət hjuˈmɪlɪti ɪˈnəf tɪ kip əp wɪθ oʊld haɪ skul frɛndz ɔn ˈfeɪsˌbʊk. ɪz ə daɪˈnæmɪk, ˈkɑmpləˌkeɪtəd ˈfɪgjər ðət ɪz tu ˈizəli caricatured,”*,” sɛd koʊˈmɛlə, hu wɑz æt hɪz saɪd fər ɔl əv ɪt. wət ˈkrɪsti ˈwɔntɪd mi tɪ si wɑz ðət hi wɑz ˈkɑntɛnt, ənd praʊd əv hɪz ˈrɛkərd ɛz ˈgəvərnər. ðə ɪˈkɑnəmi həz ˌɪmˈpruvd, wɪθ ˌənɪmˈplɔɪmənt ˈfɑlɪŋ frəm əˈbaʊt 10 pərˈsɛnt tɪ əˈbaʊt 5 pərˈsɛnt. hi ˈɛndɪd ðə ɛˈsteɪt tæks. hi brɔt beɪl rɪˈfɔrm tɪ nu ˈʤərzi, ə muv ˈwaɪdli heɪld ənd ˈfɑloʊd baɪ ˈəðər steɪts. hi ʃaɪnd ə laɪt ɔn ənd ɪˈvɛnʧəwəli lɛd ðə ˈnæʃənəl kəˈmɪʃən waɪl ˈbustɪŋ ˈfəndɪŋ tɪ ˈæˌdrɛs ðə ˈkraɪsəs æt hoʊm. jɪrz frəm naʊ, ˈkrɪsti sɛd, ˈpipəl heɪt ɪm soʊ məʧ. θɪŋk ðə ˌsɪʧuˈeɪʃən æt ðə brɪʤ ˈstɑrtɪd ɪt. ðɛn aɪ θɪŋk kəˈmɪtɪŋ tɪ biɪŋ ðə ˈʧɛrmən, wɪʧ lɛd tɪ ə lɔt əv ˈtrævəl biɪŋ ˈaʊtˈsaɪd ðə steɪt, ɪt lɛd tɪ ˈpipəl bɪˈlivɪŋ aɪ ˈeɪbəl tɪ du maɪ ʤɑb, wɪʧ ɪz kaɪnd əv rɪˈdɪkjələs. ðɛn ˈrənɪŋ fər ˈprɛzɪdənt. əˈgɛn, wɪʧ lidz ju bɪɔnd ðə steɪt mɔr ənd ðɛn ˈlæstli, ɛnˈdɔrsɪŋ ðə nɑt ˈpɑpjələr hir. ðət ˈprɑbəˌbli meɪk mi ˈpɑpjələr ɪn ðə steɪt wɛr hi lɔst baɪ ˈdəbəl digits,”*,” ˈkrɪsti sɛd. hi ˈædɪd: ˈnɛvər stɑpt maɪ ˈfɔrwərd moʊˈmɛntəm, raɪt? aɪ meɪ hæv sloʊd bət ju sɔ mi bæk ðɛn. aɪ gɪt ɪn ðə ˈfitəl pəˈzɪʃən ənd seɪ, liv mi alone,’”*,’” ˈkrɪsti sɛd. kɛpt moving.”*.” ðoʊz hu hæv noʊn ˈkrɪsti ðə ˈlɔŋgɪst tɛnd tɪ hæv ðə moʊst ˈkɑmpləˌkeɪtəd ˈfilɪŋz əˈbaʊt ɪm. laɪk tɑm ˈfɔrmər ˈgəvərnər hu ˈnərʧərd ənd ˈmɛntərd ˈkrɪsti, ˈoʊnli tɪ bɪˈkəm ə ˈkrɪtɪk. ðɛr kəˈnɛkʃənz rən dip. ˈæftər hi sɛd hi ˈwɔntɪd tɪ gɪt ˈɪntu ˈpɑləˌtɪks, ˈməðər droʊv ɪm tɪ haʊs ənd hæd hər ˈtiˌneɪʤ sən ˈʃæˌdoʊ kin. boʊθ ˈfæməliz lɪvd ɪn ˈlɪvɪŋstən. kin, ðɛn ə ˈloʊkəl ˌpɑləˈtɪʃən, ɪˈvɛnʧəwəli bɪˈkeɪm ˈgəvərnər fər tu tərmz ənd wɑz ˈbɪgəst səˈpɔrtər. hi swɔr ɪm ɪn tɪ ˈkaʊnti ˈgəvərnmənt. hi roʊt ə ˈhipɪŋ ˈlɛtər ˈpreɪzɪŋ ˈkrɪsti tɪ bɪˈkəm juz. əˈtərni. hi wɑz ə ˈtrəstɪd ædˈvaɪzər. θɪŋz ʧeɪnʤd ɛz ˈkrɪsti roʊz. ɪn 2013 kin ˈsɛləˌbreɪtɪd ðə ˈbækˈsteɪʤ. tu deɪz ˈleɪtər, ˈkrɪsti ˈstɑrtɪd ə kæmˈpeɪn tɪ ənˈsit tɑm kin jr*., ðə sən, hu wɑz ˈsɛnɪt məˈnɔrəti ˈlidər. ðə tu mɛn hæd fɔt ˈoʊvər steɪt ˈsɛnɪt ˈreɪsɪz, ənd ˈkrɪsti ˈwɔntɪd ə mɔr lɔɪəl ˈælaɪ ɪn ðə ʤɑb. wɑz ˈhæpəli kənˈgræʧəˌleɪtɪŋ ɪm ɔn hɪz ɪˈlɛkʃən wən naɪt. tu deɪz ˈleɪtər, hi tɛl əv ə ˈsədən, gɛs wət duɪŋ, ˈmeɪkɪŋ kɔlz əˈgɛnst jʊr son,”*,” kin sɛd. bət rɪˈpəblɪkənz bəkt ɪm ənd kɛpt sən ɪn paʊər. wɑz ðə fərst taɪm bɪn ˈbitən ɪn nu jersey,”*,” kin sɛd əv ˈkrɪsti, wɪθ ə bɪt əv fəˈmɪljəl praɪd. ɪˈvɛnʧəwəli, ðə tu mɛn tɔkt, ənd ˈkrɪsti kloʊz tɪ ən apology,”*,” kin sɛd. nɑt ʃʊr hi əˈpɑləˌʤaɪzd, bət ðət maɪt bi ɛz kloʊz ɛz ju gɪt frəm krɪs christie.”*.” ðə tu mɛn tɔkt ɪn ˈoʊvər ə jɪr, kin sɛd. hi sɛd ðə ˈgəvərnərˌʃɪp wɛnt ˈdaʊnˈhɪl bɪˈkəz ˈkrɪsti spɛnt tu məʧ taɪm aʊt əv steɪt, ˈlɪsən tɪ hɪz stæf ənd stɑpt ˈkɛrɪŋ ɪn ðə pæst jɪr, ɪn eyes.”*.” stɪl, hi preɪzd səm əv əˈkɑmplɪʃmənts, ˌpɑrˈtɪkjələrli ɔn ˈtæksɪz. nɑt ˈsəmˌwən hu laɪks criticism,”*,” kin sɛd. ˈprɑbləm ɪz hi hæd tu ˈmɛni jɛs mɛn ɔn hɪz staff.”*.” kin ˈædɪd: riˈsərfəs bɪˈkəz hi həz tu məʧ əˈbɪləˌti nɑt to.”*.” waɪ sæd ɪn ə sɛns. ðə moʊst ˈeɪbəl ˌpɑləˈtɪʃən aɪ noʊ, wɪθ ˈpɑsəbli ðə ɪkˈsɛpʃən əv bɪl clinton,”*,” kin sɛd. θɔt ɪf hi meɪd juz əv ðət ˈprɑpərli, hi wɑz goʊɪŋ tɪ bi wən əv ðə ˈrɪli greɪt ˈgəvərnərz. hi kʊd hæv bɪn wən əv ðə greɪt governors.”*.” sˈwini, ðə steɪt ˈsɛnɪt ˈprɛzɪdənt, pɔzd fər ə fju ˈsɛkəndz wɪn aɪ æst ɪm ˈwɛðər ˈkrɪsti wɑz ə gʊd ˈgəvərnər. ˈkrɪsti hæd mɛt wɪθ sˈwini fər 15 ˈmɪnəts ɪn ðə ˈmɪdəl əv ɑr ˈɪntərvˌju, ənd hi ˈleɪtər səˈʤɛstɪd sˈwini, dɪˈspaɪt biɪŋ ə ˈdɛməˌkræt, maɪt ˈɔfər ə ˈsɑləd ˈtɛstəmənt tɪ hɪz səkˈsɛs. sˈwini sɛd ˈkrɪsti wɑz ə təf ˈfaɪtər hu hæd ˈjuʒəwəli bɪn ˈɑnəst wɪθ ɪm, ənd ðət hi wɑz ““pragmatic”*” ənd ðət ə ˈgəvərnər ðət juzd ˈɛvəri ɪnʧ əv ðə paʊər ðət wɑz ˈgɪvɪn tɪ ɪm baɪ ðə constitution.”*.” θɪŋk hi dɪd ə gʊd ʤɑb æt taɪmz. æt taɪmz, hi meɪd mistakes,”*,” sˈwini sɛd. tʊk səm təf ʃɑts æt səm ˈpipəl ɔn ðə weɪ əp. wɪn ɔn jʊr weɪ əp, ˈɛvriˌwən ɪz wɪθ ju. wɪn ˈpənʧɪŋ ˈpipəl, wɪn ɔn jʊr weɪ daʊn, ðoʊz ˈpənʧɪz ər ˈkəmɪŋ bæk æt you.”*.” ˈæftər siɪŋ ˈkrɪsti ɪn ˈtrɛntən, aɪ ˌriuˈnaɪtɪd wɪθ ənd ˈrɑbərts, hɪz ˈfɔrmər kəmˌjunəˈkeɪʃənz dɪˈrɛktər, fər ˈdɪnər æt ðə laʊnʤ ɔn ðə ˈæzˌbɛri pɑrk ˈbɔrdˌwɔk., ˈtaʊrɪŋ ənd bɔld, hæd ə ˌrɛpjəˈteɪʃən ɪn ˈtrɛntən ɛz ˌpjuʤəˈlɪstɪk. jɛt dip daʊn, ɪz ə bɪt əv ə həz tu dɔgz neɪmd ˈpiˌnət ənd ˈlɪli ənd kən groʊ ˈiˌmoʊʃənəl ɔn ə daɪm. hi ɪz ə ˈmæstər ˈfɪʃərˌmæn hu grɪlz ə min ɪz ˈrɛdi tɪ spɛnd mɔr taɪm ˈgrɪlɪŋ ənd ˈfɪʃɪŋ ðən ˈfaɪtɪŋ pəˈlɪtɪkəl ˈbætəlz. hi ɪz ˈɔlsoʊ ˈplænɪŋ ə muv tɪ ˈflɔrɪdə. "aɪ wɑz ˈθɪŋkɪŋ əˈbaʊt ˈtɔkɪŋ tɪ you,”*,” toʊld mi. hi stɪl friks mi out.”*.” sˈmoʊkɪŋ ˌsɪgəˈrɛts ˈaʊtˈsaɪd, wɪθ ðə feɪmd stoʊn ˈpoʊˌni ɪn saɪt ənd weɪvz ˈkræʃɪŋ ɪn, wi meɪd smɔl tɔk wɪθ tu ˈloʊkəlz. boʊθ əv ðɛm bɪˈgæn ˈtɔrʧɪŋ ˈkrɪsti ənd ˈpreɪzɪŋ fɪl ˈmərfi, ðə nu ˈgəvərnər, hu θru hɪz ˌsɛləˈbreɪʃən ˈpɑrti ɔn ðə ˈbɔrdˌwɔk ˈtuzˌdeɪ naɪt. ˈkrɪsti θru hɪz ðɛr fɔr jɪrz əˈgoʊ. ˈɔlˌmoʊst aʊt əv ˈhæbət, ʤəmpt ɪn tɪ dɪˈfɛnd ðə ˈaʊtˌgoʊɪŋ ˈgəvərnər, hɪz ˈrɛkərd ənd kərˈɪzmə. hi ˌɪntrəˈdust hɪmˈsɛlf ɛz ““mike,”*,” ˈlivɪŋ aʊt hɪz læst neɪm ənd ˈlɔŋˌtaɪm əˌfɪliˈeɪʃən. |
the minister for finance has said that the publicity aspect of the new personal insolvency service may dissuade some applicants, but is still confident of its success.
michael noonan was responding to questions about the insolvency service of ireland which has begun taking applications today from people who want to restructure their debts.
the development means that in some cases people will be able to get some of their borrowings written off if creditors agree to deals. however, people who avail of the service will have their names published on a register.
when asked about the publicity aspect associated with the registration of names, mr noonan agreed it may put some people off.it might, but obviously it is not for everybody. some people will try to make direct arrangements with people they owe money to. some people will go for full bankruptcy but this is a way of keeping oneself going.
“if somebody is indebted and has a lot of creditors around the city for example, no big secret so there a huge breach of confidentiality but it is in the interest of protecting the interests of everybody else in business i hope it works and i think it will,” he said.
asked about the number of personal insolvency practitioners in limerick today, mr noonan said:this is the start and it will take time until it gears up to be fully operational and while it is 37 practitioners today, i understand they are training more and there will be several hundred to deal with what is involved in the legislation.
“it’s like an start-up, it starts with enough of people to do a start up and then as it proceeds more people are trained. i understand the numbers are going to climb very quickly on the practitioners’ side.
the new insolvency regime is designed to help address this and offers three debt solutions. personal debt is a big problem in ireland, with more than people in some form of arrears with their loans.
those with arrears up to and with little or no disposable income can seek a debt relief notice, which will involve dealing with an intermediary such as the money advice and budgeting service.
those with unsecured debts need to go to a personal insolvency practitioner (pip) via a debt settlement arrangement.
those with secured and unsecured debts up to million can avail of a personal insolvency arrangement, again with the help of a pip.
while creditors can veto agreements, director of the writing in the irish times today said if a bank, for example, opts to vote down a reasonable proposal, the likely next step for the debtor is to declare bankruptcy
as of this morning there are 37 pips covering 16 counties for the service. that number is expected to grow this month. to find one, visit the web site on or call their information line on 076 1064200.
speaking on rté radio this morning, mr said it was an important day for families who are having difficulties paying their debts .
“as of today there are a number of additional new solutions available to those people that will ultimately return them to solvency... it is important for society that we deal with this problem. when you return someone to solvency they again can contribute to the economy and be productive,” he said.
asked how much of a problem banks or lenders having a veto on the process would be, mr said all other common law jurisdictions around the world had this voting mechanism and it worked.
“ and the reason why it works is that these kind of arrangements while they are obviously to the benefit of the debtor they are also of benefit to the creditor. the reason why it works is that it is an efficient and effective way to deal with a problem loan. the average return to a creditor through one of these arrangements is far higher than it would be in bankruptcy,” he said.
mr o’ connor was adamant strategic defaulters would not get through the system.
“there are almost four safety nets to try and address that kind of issue. applicants have to sign a statutory declaration that what they are saying is true, fair and reasonable; they have to convince a practitioner through the provision of back up documentation that what they are saying stands up; and the then verifies the application. the court also looks at the application.”
mr said legal action would be taken if a creditor highlighted that an applicant had not been truthful.
barrister brian walker who has trained personal insolvency practitioners said the process would work for some people but warned that there area lot of boxes to tick.”
“ it will work for certain people, for people who qualify, but quite a lot you need to do, you need to be up to date with your taxes to revenue for example”
he said his main worry was that the banks would not engage with the process.
“there’s no great hope that they will have open arms for the pips… my main worry. it will be challenging for pips but their job.”
mr walker said most people who have trained to become pips are accountants. he said pips will require -,000 up front for the work involved. | ðə ˈmɪnɪstər fər ˈfaɪˌnæns həz sɛd ðət ðə pəˈblɪsɪti ˈæˌspɛkt əv ðə nu ˈpərsɪnəl ˌɪnˈsɑlvənsi ˈsərvɪs meɪ dɪsˈweɪd səm ˈæplɪkənts, bət ɪz stɪl ˈkɑnfədənt əv ɪts səkˈsɛs. ˈmaɪkəl ˈnunən wɑz rɪˈspɑndɪŋ tɪ kˈwɛsʧənz əˈbaʊt ðə ˌɪnˈsɑlvənsi ˈsərvɪs əv ˈaɪərlənd wɪʧ həz ˈbeɪgən ˈteɪkɪŋ ˌæpləˈkeɪʃənz təˈdeɪ frəm ˈpipəl hu wɔnt tɪ riˈstrəkʧər ðɛr dɛts. ðə dɪˈvɛləpmənt minz ðət ɪn səm ˈkeɪsɪz ˈpipəl wɪl bi ˈeɪbəl tɪ gɪt səm əv ðɛr ˈbɑroʊɪŋz ˈrɪtən ɔf ɪf ˈkrɛdɪtərz əˈgri tɪ dilz. ˌhaʊˈɛvər, ˈpipəl hu əˈveɪl əv ðə ˈsərvɪs wɪl hæv ðɛr neɪmz ˈpəblɪʃt ɔn ə ˈrɛʤɪstər. wɪn æst əˈbaʊt ðə pəˈblɪsɪti ˈæˌspɛkt əˈsoʊʃiˌeɪtəd wɪθ ðə ˌrɛʤɪˈstreɪʃən əv neɪmz, ˈmɪstər ˈnunən əˈgrid ɪt meɪ pʊt səm ˈpipəl ɔf. maɪt, bət ˈɑbviəsli ɪt ɪz nɑt fər ˈɛvriˌbɑdi. səm ˈpipəl wɪl traɪ tɪ meɪk dɪˈrɛkt ərˈeɪnʤmənts wɪθ ˈpipəl ðeɪ oʊ ˈməni tɪ. səm ˈpipəl wɪl goʊ fər fʊl ˈbæŋkrəptsi bət ðɪs ɪz ə weɪ əv ˈkipɪŋ ˌwənˈsɛlf goʊɪŋ. ˈsəmˌbɑdi ɪz ˌɪnˈdɛtɪd ənd həz ə lɔt əv ˈkrɛdɪtərz əraʊnd ðə ˈsɪti fər ɪgˈzæmpəl, noʊ bɪg ˈsikrɪt soʊ ðɛr ə juʤ briʧ əv ˌkɑnfəˌdɛnʃiˈæləti bət ɪt ɪz ɪn ðə ˈɪntəˌrɛst əv prəˈtɛktɪŋ ðə ˈɪntərɪsts əv ˈɛvriˌbɑdi ɛls ɪn ˈbɪznɪs aɪ hoʊp ɪt wərks ənd aɪ θɪŋk ɪt will,”*,” hi sɛd. æst əˈbaʊt ðə ˈnəmbər əv ˈpərsɪnəl ˌɪnˈsɑlvənsi prækˈtɪʃənərz ɪn ˈlɪmərɪk təˈdeɪ, ˈmɪstər ˈnunən sɛd: ɪz ðə stɑrt ənd ɪt wɪl teɪk taɪm ənˈtɪl ɪt gɪrz əp tɪ bi ˈfʊli ˌɑpərˈeɪʃənəl ənd waɪl ɪt ɪz 37 prækˈtɪʃənərz təˈdeɪ, aɪ ˌəndərˈstænd ðeɪ ər ˈtreɪnɪŋ mɔr ənd ðɛr wɪl bi ˈsɛvərəl ˈhənərd tɪ dil wɪθ wət ɪz ˌɪnˈvɑlvd ɪn ðə ˌlɛʤəsˈleɪʃən. laɪk ən ˈstɑrˌtəp, ɪt stɑrts wɪθ ɪˈnəf əv ˈpipəl tɪ du ə stɑrt əp ənd ðɛn ɛz ɪt prəˈsidz mɔr ˈpipəl ər treɪnd. aɪ ˌəndərˈstænd ðə ˈnəmbərz ər goʊɪŋ tɪ klaɪm ˈvɛri kˈwɪkli ɔn ðə practitioners’*’ saɪd. ðə nu ˌɪnˈsɑlvənsi rəˈʒim ɪz dɪˈzaɪnd tɪ hɛlp ˈæˌdrɛs ðɪs ənd ˈɔfərz θri dɛt səˈluʃənz. ˈpərsɪnəl dɛt ɪz ə bɪg ˈprɑbləm ɪn ˈaɪərlənd, wɪθ mɔr ðən ˈpipəl ɪn səm fɔrm əv ərɪrz wɪθ ðɛr loʊnz. ðoʊz wɪθ ərɪrz əp tɪ ənd wɪθ ˈlɪtəl ər noʊ dɪˈspoʊzəbəl ˈɪnˌkəm kən sik ə dɛt rɪˈlif ˈnoʊtɪs, wɪʧ wɪl ˌɪnˈvɑlv ˈdilɪŋ wɪθ ən ˌɪnərˈmidiɛri səʧ ɛz ðə ˈməni ədˈvaɪs ənd ˈbəʤɪtɪŋ ˈsərvɪs. ðoʊz wɪθ ˌənsɪˈkjʊrd dɛts nid tɪ goʊ tɪ ə ˈpərsɪnəl ˌɪnˈsɑlvənsi prækˈtɪʃənər (pɪp) ˈviə ə dɛt ˈsɛtəlmənt ərˈeɪnʤmənt. ðoʊz wɪθ sɪˈkjʊrd ənd ˌənsɪˈkjʊrd dɛts əp tɪ ˈmɪljən kən əˈveɪl əv ə ˈpərsɪnəl ˌɪnˈsɑlvənsi ərˈeɪnʤmənt, əˈgɛn wɪθ ðə hɛlp əv ə pɪp. waɪl ˈkrɛdɪtərz kən ˈviˌtoʊ əˈgrimənts, dɪˈrɛktər əv ðə ˈraɪtɪŋ ɪn ðə ˈaɪrɪʃ taɪmz təˈdeɪ sɛd ɪf ə bæŋk, fər ɪgˈzæmpəl, ɑpts tɪ voʊt daʊn ə ˈrizənəbəl prəˈpoʊzəl, ðə ˈlaɪkli nɛkst stɛp fər ðə ˈdɛtər ɪz tɪ dɪˈklɛr ˈbæŋkrəptsi ɛz əv ðɪs ˈmɔrnɪŋ ðɛr ər 37 pɪps ˈkəvərɪŋ 16 ˈkaʊntiz fər ðə ˈsərvɪs. ðət ˈnəmbər ɪz ɪkˈspɛktɪd tɪ groʊ ðɪs mənθ. tɪ faɪnd wən, ˈvɪzɪt ðə wɛb saɪt ɔn ər kɔl ðɛr ˌɪnˌfɔrˈmeɪʃən laɪn ɔn 076 1064200 ˈspikɪŋ ɔn rté*é ˈreɪdiˌoʊ ðɪs ˈmɔrnɪŋ, ˈmɪstər sɛd ɪt wɑz ən ˌɪmˈpɔrtənt deɪ fər ˈfæməliz hu ər ˈhævɪŋ ˈdɪfɪˌkəltiz peɪɪŋ ðɛr dɛts əv təˈdeɪ ðɛr ər ə ˈnəmbər əv əˈdɪʃənəl nu səˈluʃənz əˈveɪləbəl tɪ ðoʊz ˈpipəl ðət wɪl ˈəltəmətli rɪˈtərn ðɛm tɪ ˈsɔlvənsi... ɪt ɪz ˌɪmˈpɔrtənt fər soʊˈsaɪɪti ðət wi dil wɪθ ðɪs ˈprɑbləm. wɪn ju rɪˈtərn ˈsəmˌwən tɪ ˈsɔlvənsi ðeɪ əˈgɛn kən kənˈtrɪbjut tɪ ðə ɪˈkɑnəmi ənd bi productive,”*,” hi sɛd. æst haʊ məʧ əv ə ˈprɑbləm bæŋks ər ˈlɛndərz ˈhævɪŋ ə ˈviˌtoʊ ɔn ðə ˈprɔˌsɛs wʊd bi, ˈmɪstər sɛd ɔl ˈəðər ˈkɑmən lɔ ˌʤʊrɪsˈdɪkʃənz əraʊnd ðə wərld hæd ðɪs ˈvoʊtɪŋ ˈmɛkəˌnɪzəm ənd ɪt wərkt. ənd ðə ˈrizən waɪ ɪt wərks ɪz ðət ðiz kaɪnd əv ərˈeɪnʤmənts waɪl ðeɪ ər ˈɑbviəsli tɪ ðə ˈbɛnəfɪt əv ðə ˈdɛtər ðeɪ ər ˈɔlsoʊ əv ˈbɛnəfɪt tɪ ðə ˈkrɛdɪtər. ðə ˈrizən waɪ ɪt wərks ɪz ðət ɪt ɪz ən ɪˈfɪʃənt ənd ˈifɛktɪv weɪ tɪ dil wɪθ ə ˈprɑbləm loʊn. ðə ˈævərɪʤ rɪˈtərn tɪ ə ˈkrɛdɪtər θru wən əv ðiz ərˈeɪnʤmənts ɪz fɑr haɪər ðən ɪt wʊd bi ɪn bankruptcy,”*,” hi sɛd. ˈmɪstər o’*’ ˈkɑnər wɑz ˈædəmənt strəˈtiʤɪk dɪˈfɔltərz wʊd nɑt gɪt θru ðə ˈsɪstəm. ər ˈɔlˌmoʊst fɔr ˈseɪfti nɛts tɪ traɪ ənd ˈæˌdrɛs ðət kaɪnd əv ˈɪʃu. ˈæplɪkənts hæv tɪ saɪn ə ˈstæʧəˌtɔri ˌdɛklərˈeɪʃən ðət wət ðeɪ ər seɪɪŋ ɪz tru, fɛr ənd ˈrizənəbəl; ðeɪ hæv tɪ kənˈvɪns ə prækˈtɪʃənər θru ðə prəˈvɪʒən əv bæk əp ˌdɑkjəmɛnˈteɪʃən ðət wət ðeɪ ər seɪɪŋ stændz əp; ənd ðə ðɛn ˈvɛrəˌfaɪz ðə ˌæpləˈkeɪʃən. ðə kɔrt ˈɔlsoʊ lʊks æt ðə application.”*.” ˈmɪstər sɛd ˈligəl ˈækʃən wʊd bi ˈteɪkən ɪf ə ˈkrɛdɪtər ˈhaɪˌlaɪtɪd ðət ən ˈæplɪkənt hæd nɑt bɪn ˈtruθfəl. ˈbɛrɪstər braɪən ˈwɔkər hu həz treɪnd ˈpərsɪnəl ˌɪnˈsɑlvənsi prækˈtɪʃənərz sɛd ðə ˈprɔˌsɛs wʊd wərk fər səm ˈpipəl bət wɔrnd ðət ðɛr ər lɔt əv ˈbɑksɪz tɪ tick.”*.” ɪt wɪl wərk fər ˈsərtən ˈpipəl, fər ˈpipəl hu kˈwɑləˌfaɪ, bət kwaɪt ə lɔt ju nid tɪ du, ju nid tɪ bi əp tɪ deɪt wɪθ jʊr ˈtæksɪz tɪ ˈrɛvəˌnu fər example”*” hi sɛd hɪz meɪn ˈwəri wɑz ðət ðə bæŋks wʊd nɑt ɪnˈgeɪʤ wɪθ ðə ˈprɔˌsɛs. noʊ greɪt hoʊp ðət ðeɪ wɪl hæv ˈoʊpən ɑrmz fər ðə pips…*… maɪ meɪn ˈwəri. ɪt wɪl bi ˈʧælənʤɪŋ fər pɪps bət ðɛr job.”*.” ˈmɪstər ˈwɔkər sɛd moʊst ˈpipəl hu hæv treɪnd tɪ bɪˈkəm pɪps ər əˈkaʊntənts. hi sɛd pɪps wɪl ˌrikˈwaɪər əp frənt fər ðə wərk ˌɪnˈvɑlvd. |
an off-duty los angeles police department officer was arrested following a fatal crash on tuesday night that resulted in three deaths.
the crashed happened on the 605 freeway in whittier at around p.m. as reported at the l.a. times, the victims were a teenage boy and his two parents from riverside. they were driving southbound in the fast lane in a nissan when a chevy camaro driven by edgar verduzco struck them from behind near washington boulevard.
the california highway patrol said that the camaro was driven at a “high rate speed,” and that, after the collision, the occupants of the nissan were trapped inside as the car erupted in flames. the victims were pronounced dead at the scene by paramedics.
verduzco was arrested on suspicion of felony dui. “the officer that investigated the crash concluded that the driver was under the influence after field sobriety tests,” lieutenant aaron knarr of the santa fe springs office told laist.
after being struck by the camaro, the nissan crashed into a toyota in another lane; the driver of the toyota suffered minor injuries.
the lapd says it has opened an administrative investigation and will work with the as the agency investigates the crash, reports nbc 4. the lapd released a statement on the incident, saying it “is particularly troubling when one of our own police officers violates drunk driving laws”:
#lapd: chief beck statement regarding fatal freeway crash lapd (@lapdhq) september 27, 2017
the los angeles police protective league, a union that represents rank and file lapd officers, said in a statement that, “if officer verduzco is found guilty of what he is accused of, then he should suffer the consequences for his reckless actions.”
the times reports that lanes on the 605 were closed following the crash, and were reopened by 4 a.m. on wednesday. verduzco is being held on $100,000 bail. | ən ˌɔfˈduti lɔs ˈænʤəlɪs pəˈlis dɪˈpɑrtmənt ˈɔfɪsər wɑz ərˈɛstɪd ˈfɑloʊɪŋ ə ˈfeɪtəl kræʃ ɔn ˈtuzˌdeɪ naɪt ðət rɪˈzəltɪd ɪn θri dɛθs. ðə kræʃt ˈhæpənd ɔn ðə 605 ˈfriˌweɪ ɪn ˈwɪtiər æt əraʊnd p.m*. ɛz ˌriˈpɔrtəd æt ðə l.a*. taɪmz, ðə ˈvɪktɪmz wər ə ˈtiˌneɪʤ bɔɪ ənd hɪz tu ˈpɛrənts frəm ˈrɪvərˌsaɪd. ðeɪ wər ˈdraɪvɪŋ ˈsaʊθˌbaʊnd ɪn ðə fæst leɪn ɪn ə ˈnisɑn wɪn ə ˈʧɛˌvi kəˈmɛroʊ ˈdrɪvən baɪ ˈɛdgər vərˈduzkoʊ strək ðɛm frəm bɪˈhaɪnd nɪr ˈwɔʃɪŋtən ˈbʊləˌvɑrd. ðə ˌkæləˈfɔrnjə ˈhaɪˌweɪ pəˈtroʊl sɛd ðət ðə kəˈmɛroʊ wɑz ˈdrɪvən æt ə reɪt speed,”*,” ənd ðət, ˈæftər ðə kəˈlɪʒən, ðə ˈɑkjəpənts əv ðə ˈnisɑn wər træpt ˌɪnˈsaɪd ɛz ðə kɑr ˌɪˈrəptɪd ɪn fleɪmz. ðə ˈvɪktɪmz wər prəˈnaʊnst dɛd æt ðə sin baɪ ˌpɛrəˈmɛdɪks. vərˈduzkoʊ wɑz ərˈɛstɪd ɔn səˈspɪʃən əv ˈfɛləni ˈdiˈjuˈaɪ. ˈɔfɪsər ðət ˌɪnˈvɛstəˌgeɪtɪd ðə kræʃ kənˈkludɪd ðət ðə ˈdraɪvər wɑz ˈəndər ðə ˈɪnfluəns ˈæftər fild soʊˈbraɪəti tests,”*,” luˈtɛnənt ˈɛrən nær əv ðə ˈsænə feɪ spərɪŋz ˈɔfəs toʊld laist*. ˈæftər biɪŋ strək baɪ ðə kəˈmɛroʊ, ðə ˈnisɑn kræʃt ˈɪntu ə toʊˈjoʊtə ɪn əˈnəðər leɪn; ðə ˈdraɪvər əv ðə toʊˈjoʊtə ˈsəfərd ˈmaɪnər ˈɪnʤəriz. ðə ˈɛˈleɪˈpiˈdi sɪz ɪt həz ˈoʊpənd ən ədˈmɪnɪˌstreɪtɪv ˌɪnˌvɛstəˈgeɪʃən ənd wɪl wərk wɪθ ðə ɛz ðə ˈeɪʤənsi ˌɪnˈvɛstəˌgeɪts ðə kræʃ, rɪˈpɔrts ˈɛnˌbiˈsi 4 ðə ˈɛˈleɪˈpiˈdi riˈlist ə ˈsteɪtmənt ɔn ðə ˈɪnsədənt, seɪɪŋ ɪt ˌpɑrˈtɪkjələrli ˈtrəbəlɪŋ wɪn wən əv ɑr oʊn pəˈlis ˈɔfɪsərz ˈvaɪəleɪts drəŋk ˈdraɪvɪŋ laws”*”: #ˈɛˈleɪˈpiˈdi: ʧif bɛk ˈsteɪtmənt rɪˈgɑrdɪŋ ˈfeɪtəl ˈfriˌweɪ kræʃ ˈɛˈleɪˈpiˈdi (@lapdhq*) sɛpˈtɛmbər 27 2017 ðə lɔs ˈænʤəlɪs pəˈlis prəˈtɛktɪv lig, ə ˈjunjən ðət ˌrɛprɪˈzɛnts ræŋk ənd faɪl ˈɛˈleɪˈpiˈdi ˈɔfɪsərz, sɛd ɪn ə ˈsteɪtmənt ðət, ˈɔfɪsər vərˈduzkoʊ ɪz faʊnd ˈgɪlti əv wət hi ɪz əˈkjuzd əv, ðɛn hi ʃʊd ˈsəfər ðə ˈkɑnsəkˌwɛnsəz fər hɪz ˈrɛkləs actions.”*.” ðə taɪmz rɪˈpɔrts ðət leɪnz ɔn ðə 605 wər kloʊzd ˈfɑloʊɪŋ ðə kræʃ, ənd wər riˈoʊpənd baɪ 4 a.m*. ɔn ˈwɛnzˌdeɪ. vərˈduzkoʊ ɪz biɪŋ hɛld ɔn beɪl. |
nim community survey 2017 results
we have recently closed the 2017 community survey. i am happy to say that we have received exactly 603 responses, huge thanks go to the people that took the time to respond. incredibly thankful for this very valuable feedback.
for the results of the previous survey, take a look at the 2016 results analysis.
our survey ran from the of june 2017 until the of august 2017. the goal of this survey was to primarily determine how our community is using, in order to better understand how we should be improving it. in particular, we wanted to know what people feel is missing from in the lead up to version. we have also asked our respondents about how well the tools worked, the challenges of adopting, the resources that they used to learn and more. we repeated the survey with the same questions this year to see how we did over the past year.
unlike in the last year, this analysis will not go over all the results. instead it will only go over the most interesting answers.
a word on the response count
in comparison to last year we unfortunately received 187 less responses. i suspect the reason for this decrease was the fact that we were not able to advertise the survey as well as the previous year, i got lucky last year by sharing a link to our survey in the rust community survey results hacker news thread. this year results were late and so i get the same opportunity.
but with that in mind i think the number of responses is still good.
do you use?
like last year we split up our respondents into three groups:
current users of
ex-nim users
those that never used
this allowed us to ask each group specific questions. for example, we asked users why stopped using.
this year the proportion of responses from current users has grown from 39% to 44%, and as a result of this there is less responses from those that never used (decrease from 37% to 30%). this is likely due to a higher proportion of responses from the community.
but this the whole story, the number of users went up from 24% to 26%.
nim users
this section includes answers from current users only (44% of respondents).
how long have you been using?
just like last year, a large proportion of our users are new. this suggests that our community is growing and is a good sign. on the other end of the spectrum we can see that there is a significantly higher number of users that have been using for more than 24 months.
nim at work and project size
the questions related to these topics got very similar results to last year:
57.1% of users’ projects are less than lines of code.
24.6% of users’ work with either full-time or part-time.
52.5% of users plan to use at work.
how is being used at work?
this was a question so i will just pick out some of the common and interesting answers. according to the respondents, is used at work for:
command-line applications
server-side analytics
devops
scientific computing
speeding up python
how could we help make more accepted at your company?
another question, i will pick out some of the things that respondents have identified:
release of version (a common theme)
mature libraries and stability (a common theme)
up to date documentation of every feature, with examples (a common theme) more tutorials and videos
enhance the, it needs to be more complete
corporate sponsor
visual studio
lowering the barrier to entry for working with and with c
free book
compelling use cases
porting to arm cortex m (already done?)
“change cocky logo”
more informative errors
lockfile support
interfaces
more data processing tools
gui creator for windows
“idk lol”
in this section of the survey, we wanted to find out the tools that users are when developing applications.
what editor(s) do you use when writing?
programmers swear by their editors. what does the community prefer?
there is still a large number of vim users, but now they are overwhelmed by the visual studio code users. vs code has gone from% to%!
operating systems, version and code breakage
again, the results for these questions are very similar to last year. i will simply provide a summary:
linux is still the most popular development platform, with windows second and third.
the same is true for the target platform. but in addition to this, a large 19% of respondents are android,% are javascript,% are ios and% are embedded platforms.
the current release of (0.17.0) is the most used at%, with head second at%.
52.2% of code was never broken by a upgrade.
of those whose code was broken, for% of the it was little work to fix.
install method
we wanted to find out how users are installing. in particular i wanted to find out whether was getting adopted.
it seems that the majority are still in fact installing by cloning the repo manually. this makes sense as is still evolving quickly, for most people it makes sense to stay on the bleeding edge.
what critical libraries are missing in the ecosystem?
this is a good list of projects for the community to take up. the were asked to freely give libraries that they need, here are their (mostly raw) answers (duplicates left in to show popularity):
high-level library (like “requests” in python)
first-class libraries rather than c wrappers.
bass audio library
distributed computing libraries
repl
stabilsing libraries
rails-like framework,, webdriver, thing
kd-tree,
qt bindings
excel
pandas-like, more statistical libraries
linear algebra, plotting, science
ui
simple, like or wxwidgets.
db/queues high level connectors
pandas like dataframes, a well documented web framework,
gui
html5 parser
excel reader, dataframe. scientific calculation lib.
python2nim converter
openpgp
easier way to add a language backend
parsing
multithreaded web framework
embedded i think the libraries are there but the documentation is lacking.
oracle
kerberos auth library (c wrapping), pandas like lib (there is one more features will be nice)
native support for big numbers
iterutils, date (native excluding time, usable at compile time in const),db
a fors
cancelable timers,, random, collections (unified), and would be nice to redesign the whole
android support
opengl, (all for game development)
maybe exists already but for network equipment ssh, expect tooling love, and also parsing of files libraries.
interfaces
lib to make working with dates and times more easy, like for python.
i’m always amazed at how complete the standard lib for such a (still) small project; more for data processing would be great (neo seems to be a very good start)
gui, i would like
orm
machine learning,
more object oriented paradigms, especially interfaces, that is a language construct informing you that you forgot to implement a function required to conform to an interface, it really need to be a “classic” example, because i know developers think out of the box (i love the system, which is not tied to a particular class ;) )
machine learning and scientific computing libraries
qt bindings
thrift, cassandra drivers, scientific computing
scientific plotting
gui, matrix works
i like the, but i wish there was a wrapper for the from valve.
the only thing that been missing so far as a good for working with relational data in an object oriented manner. i always want to help improve the driver.
numerical/scientific computing (features like numpy/scipy)
cgal, boost,
simple
fltk (for me personally), pandas like lib
wrapper of microsoft), easy to use windows
concurrent data structures
more trees: tries, quad/octrees, more macro utilities
maybe something more related to scientific computing libraries, etc.)
self aligned vector types.
a database driver for cassandra
better client
it would be good to have some sort of support
built in efficient types, everyone duplicates that
compile time reflection
websockets
i’d like to see a implementation of and other technologies
although there are libraries, better support for linear plotting would be very nice. similarly, a standardized game library would be wonderful.
numerical science tools
standard and support
more and networking
multithreading
gui
web framework
charting/plotting libraries, numerical libraries, graphics of these exist or can easily be created by binding to c or c++, but that is hard for a noobie, so perhaps better doc in that area with frequent examples would help
a good cross platform graphics library and a library built on top of it, but intending to start working on these in the future as open source projects (based on).
fast low level socket library (epool, kqueue)
modern library
opengl
gui library
a scientific math and plotting library
numerics. wrapper is nice). for me personally, and image processing libraries
a equivalent
pure database libraries; libraries for common (files, transfers, etc.)
summarising again:
debugger (very common theme)
documentation
various ides (intellij, visual studio)
better support
previous users
how long did you use before you stopped?
this question is new. it shows that users are fairly equally distributed based on the amount of time they used before deciding to stop.
reasons why respondents stopped using
this was a question. some of the common answers were as follows:
lack of time (this is actually a very common reason)
no good editor support
lack of
no killer use case
nim is a running target
metaprogramming too unstable
here are some other interesting reasons:
compiler conform to unix traditions and outputs huge binaries.
lack of goto .
. generated broken c code.
“i found myself working on the compiler instead of using the language.”
“proc and echo are weird, i think that and print are better”
“really dislike the fact that if you do import foo you get a lot of new names in your and sometimes have to exclude; find explicit approach much more robust and clear.”
“compiler conform to unix traditions and outputs huge binaries.”
“changes to the core libraries to rely too much on exceptions. i like exceptions.”
non-users of
reasons for not using
as with the previous year, the most popular answer to this question was once again to do with maturity of as well as lack of libraries and good ide support.
there were also a number of answers to this question:
gc
small user base
dislikes significant
no corporate backing
waiting for
unpredictable performance (according to the respondent go has predictable performance behaviours whereas)
language appears
uncertainty about future
just waiting for free time
nim’s future
what improvements are needed before can be released?
this received a number of answers which i will outline here:
documentation
it’s ready now!
getting rid of warts that comments about
get rid of forward declarations
improve error messages
concepts
improve
which direction should’s/memory management take?
there was a number of answers as well. most of them spoke about providing all approaches, i.e. the “have the cake and eat it too” approach. many are conscious of the fact that a makes programming smoother so they want the rust model, but for use cases where necessary they do want it.
last words
like last year, at the end of the survey we gave our respondents a chance to speak their mind about anything they wish, with a simple question: “anything else like to tell us?”
there was a lot of great feedback given in this question from people who obviously really care deeply about. there is too much to outline here, but rest that we will take it all into account and do our best to act on it.
in addition to feedback, we were also overwhelmed by the amount of positive comments in the answers to this question. there was a lot of support from the community thanking us for our work and determination.
i’ll let some quotes speak for themselves:
keep up the good job. i love!
great work so far, keep it going!
please just keep up the work. is awesome!
awesome language, and great community!
our community is truly brilliant. we thank each and every one of you for filling out this survey and hope that you will help us tackle some of the challenges that face.
this survey was a good place to give us feedback, but please wait for the next one. we are always looking to hear more from you and we hope that you will participate in discussions relating to this survey as well the future of.
thanks for reading, and have a good day! | nim* kəmˈjunɪti ˈsərˌveɪ 2017 rɪˈzəlts wi hæv ˈrisəntli kloʊzd ðə 2017 kəmˈjunɪti ˈsərˌveɪ. aɪ æm ˈhæpi tɪ seɪ ðət wi hæv rɪˈsivd ɪgˈzæktli 603 rɪˈspɑnsɪz, juʤ θæŋks goʊ tɪ ðə ˈpipəl ðət tʊk ðə taɪm tɪ rɪˈspɑnd. ˌɪnˈkrɛdəbli ˈθæŋkfəl fər ðɪs ˈvɛri ˈvæljəbəl ˈfidˌbæk. fər ðə rɪˈzəlts əv ðə ˈpriviəs ˈsərˌveɪ, teɪk ə lʊk æt ðə 2016 rɪˈzəlts æˈnælɪsɪs. ɑr ˈsərˌveɪ ræn frəm ðə əv ʤun 2017 ənˈtɪl ðə əv ˈɔgəst 2017 ðə goʊl əv ðɪs ˈsərˌveɪ wɑz tɪ praɪˈmɛrəli dɪˈtərmən haʊ ɑr kəmˈjunɪti ɪz ˈjuzɪŋ, ɪn ˈɔrdər tɪ ˈbɛtər ˌəndərˈstænd haʊ wi ʃʊd bi ˌɪmˈpruvɪŋ ɪt. ɪn ˌpɑˈtɪkjələr, wi ˈwɔntɪd tɪ noʊ wət ˈpipəl fil ɪz ˈmɪsɪŋ frəm ɪn ðə lɛd əp tɪ ˈvərʒən wi hæv ˈɔlsoʊ æst ɑr rɪˈspɑndənts əˈbaʊt haʊ wɛl ðə tulz wərkt, ðə ˈʧælənʤɪz əv əˈdɑptɪŋ, ðə ˈrisɔrsɪz ðət ðeɪ juzd tɪ lərn ənd mɔr. wi rɪˈpitɪd ðə ˈsərˌveɪ wɪθ ðə seɪm kˈwɛsʧənz ðɪs jɪr tɪ si haʊ wi dɪd ˈoʊvər ðə pæst jɪr. ənˈlaɪk ɪn ðə læst jɪr, ðɪs æˈnælɪsɪs wɪl nɑt goʊ ˈoʊvər ɔl ðə rɪˈzəlts. ˌɪnˈstɛd ɪt wɪl ˈoʊnli goʊ ˈoʊvər ðə moʊst ˈɪntəˌrɛstɪŋ ˈænsərz. ə wərd ɔn ðə rɪˈspɑns kaʊnt ɪn kəmˈpɛrəsən tɪ læst jɪr wi ənˈfɔrʧənətli rɪˈsivd 187 lɛs rɪˈspɑnsɪz. aɪ ˈsəˌspɛkt ðə ˈrizən fər ðɪs ˈdiˌkris wɑz ðə fækt ðət wi wər nɑt ˈeɪbəl tɪ ˈædvərˌtaɪz ðə ˈsərˌveɪ ɛz wɛl ɛz ðə ˈpriviəs jɪr, aɪ gɑt ˈləki læst jɪr baɪ ˈʃɛrɪŋ ə lɪŋk tɪ ɑr ˈsərˌveɪ ɪn ðə rəst kəmˈjunɪti ˈsərˌveɪ rɪˈzəlts ˈhækər nuz θrɛd. ðɪs jɪr rɪˈzəlts wər leɪt ənd soʊ aɪ gɪt ðə seɪm ˌɑpərˈtunəti. bət wɪθ ðət ɪn maɪnd aɪ θɪŋk ðə ˈnəmbər əv rɪˈspɑnsɪz ɪz stɪl gʊd. du ju juz? laɪk læst jɪr wi splɪt əp ɑr rɪˈspɑndənts ˈɪntu θri grups: ˈkɑrənt ˈjuzərz əv ˈjuzərz ðoʊz ðət ˈnɛvər juzd ðɪs əˈlaʊd ˈjuˈɛs tɪ æsk iʧ grup spɪˈsɪfɪk kˈwɛsʧənz. fər ɪgˈzæmpəl, wi æst ˈjuzərz waɪ stɑpt ˈjuzɪŋ. ðɪs jɪr ðə prəˈpɔrʃən əv rɪˈspɑnsɪz frəm ˈkɑrənt ˈjuzərz həz groʊn frəm 39 tɪ 44 ənd ɛz ə rɪˈzəlt əv ðɪs ðɛr ɪz lɛs rɪˈspɑnsɪz frəm ðoʊz ðət ˈnɛvər juzd (ˈdiˌkris frəm 37 tɪ 30 ðɪs ɪz ˈlaɪkli du tɪ ə haɪər prəˈpɔrʃən əv rɪˈspɑnsɪz frəm ðə kəmˈjunɪti. bət ðɪs ðə hoʊl ˈstɔri, ðə ˈnəmbər əv ˈjuzərz wɛnt əp frəm 24 tɪ 26 ˈjuzərz ðɪs ˈsɛkʃən ˌɪnˈkludz ˈænsərz frəm ˈkɑrənt ˈjuzərz ˈoʊnli 44 əv rɪˈspɑndənts). haʊ lɔŋ hæv ju bɪn ˈjuzɪŋ? ʤɪst laɪk læst jɪr, ə lɑrʤ prəˈpɔrʃən əv ɑr ˈjuzərz ər nu. ðɪs səˈʤɛsts ðət ɑr kəmˈjunɪti ɪz groʊɪŋ ənd ɪz ə gʊd saɪn. ɔn ðə ˈəðər ɛnd əv ðə ˈspɛktrəm wi kən si ðət ðɛr ɪz ə sɪgˈnɪfɪkəntli haɪər ˈnəmbər əv ˈjuzərz ðət hæv bɪn ˈjuzɪŋ fər mɔr ðən 24 mənθs. æt wərk ənd ˈprɑʤɛkt saɪz ðə kˈwɛsʧənz rɪˈleɪtɪd tɪ ðiz ˈtɑpɪks gɑt ˈvɛri ˈsɪmələr rɪˈzəlts tɪ læst jɪr: əv users’*’ ˈprɑʤɛkts ər lɛs ðən laɪnz əv koʊd. əv users’*’ wərk wɪθ ˈiðər ˈfʊlˌtaɪm ər ˈpɑrtˈtaɪm. əv ˈjuzərz plæn tɪ juz æt wərk. haʊ ɪz biɪŋ juzd æt wərk? ðɪs wɑz ə kˈwɛʃən soʊ aɪ wɪl ʤɪst pɪk aʊt səm əv ðə ˈkɑmən ənd ˈɪntəˌrɛstɪŋ ˈænsərz. əˈkɔrdɪŋ tɪ ðə rɪˈspɑndənts, ɪz juzd æt wərk fər: ˌæpləˈkeɪʃənz ˌænəˈlɪtɪks ˌsaɪənˈtɪfɪk kəmˈpjutɪŋ ˈspidɪŋ əp ˈpaɪθɑn haʊ kʊd wi hɛlp meɪk mɔr ækˈsɛptɪd æt jʊr ˈkəmpəˌni? əˈnəðər kˈwɛʃən, aɪ wɪl pɪk aʊt səm əv ðə θɪŋz ðət rɪˈspɑndənts hæv aɪˈdɛntəˌfaɪd: riˈlis əv ˈvərʒən (ə ˈkɑmən θim) məˈʧʊr ˈlaɪbrɛˌriz ənd stəˈbɪlɪti (ə ˈkɑmən θim) əp tɪ deɪt ˌdɑkjəmɛnˈteɪʃən əv ˈɛvəri ˈfiʧər, wɪθ ɪgˈzæmpəlz (ə ˈkɑmən θim) mɔr tuˈtɔriəlz ənd ˈvɪdioʊz ɛnˈhæns ðə, ɪt nidz tɪ bi mɔr kəmˈplit ˈkɔrpərət ˈspɑnsər ˈvɪʒəwəl ˈstudiˌoʊ loʊərɪŋ ðə ˈbɛriər tɪ ˈɛntri fər ˈwərkɪŋ wɪθ ənd wɪθ si fri bʊk kəmˈpɛlɪŋ juz ˈkeɪsɪz ˈpɔrtɪŋ tɪ ɑrm ˈkɔrtɛks ɛm (ɔˈrɛdi dən?) ˈkɑki logo”*” mɔr ˌɪnˈfɔrmətɪv ˈɛrərz səˈpɔrt ˈɪnərˌfeɪsɪz mɔr ˈdætə ˈprɑsɛsɪŋ tulz kriˈeɪtər fər ˈwɪndoʊz lol”*” ɪn ðɪs ˈsɛkʃən əv ðə ˈsərˌveɪ, wi ˈwɔntɪd tɪ faɪnd aʊt ðə tulz ðət ˈjuzərz ər wɪn dɪˈvɛləpɪŋ ˌæpləˈkeɪʃənz. wət editor(s*) du ju juz wɪn ˈraɪtɪŋ? ˈproʊˌgræmərz swɛr baɪ ðɛr ˈɛdɪtərz. wət dɪz ðə kəmˈjunɪti prɪˈfər? ðɛr ɪz stɪl ə lɑrʤ ˈnəmbər əv vɪm ˈjuzərz, bət naʊ ðeɪ ər ˌoʊvərˈwɛlmd baɪ ðə ˈvɪʒəwəl ˈstudiˌoʊ koʊd ˈjuzərz. ˈvərsəz koʊd həz gɔn frəm tɪ ˈɔpərˌeɪtɪŋ ˈsɪstəmz, ˈvərʒən ənd koʊd ˈbreɪkɪʤ əˈgɛn, ðə rɪˈzəlts fər ðiz kˈwɛsʧənz ər ˈvɛri ˈsɪmələr tɪ læst jɪr. aɪ wɪl ˈsɪmpli prəˈvaɪd ə ˈsəməri: ˈlɪnəks ɪz stɪl ðə moʊst ˈpɑpjələr dɪˈvɛləpmənt ˈplætˌfɔrm, wɪθ ˈwɪndoʊz ˈsɛkənd ənd θərd. ðə seɪm ɪz tru fər ðə ˈtərgət ˈplætˌfɔrm. bət ɪn əˈdɪʃən tɪ ðɪs, ə lɑrʤ 19 əv rɪˈspɑndənts ər ˈænˌdrɔɪd, ər ˈʤɑvəˌskrɪpt, ər ˈioʊs ənd ər ɛmˈbɛdɪd ˈplætˌfɔrmz. ðə ˈkɑrənt riˈlis əv ɪz ðə moʊst juzd æt wɪθ hɛd ˈsɛkənd æt əv koʊd wɑz ˈnɛvər ˈbroʊkən baɪ ə ˈəpˈgreɪd. əv ðoʊz huz koʊd wɑz ˈbroʊkən, fər əv ðə ɪt wɑz ˈlɪtəl wərk tɪ fɪks. ˌɪnˈstɔl ˈmɛθəd wi ˈwɔntɪd tɪ faɪnd aʊt haʊ ˈjuzərz ər ˌɪnˈstɔlɪŋ. ɪn ˌpɑˈtɪkjələr aɪ ˈwɔntɪd tɪ faɪnd aʊt ˈwɛðər wɑz ˈgɪtɪŋ əˈdɑptəd. ɪt simz ðət ðə məˈʤɔrəti ər stɪl ɪn fækt ˌɪnˈstɔlɪŋ baɪ ˈkloʊnɪŋ ðə ˈripoʊ ˈmænjuəli. ðɪs meɪks sɛns ɛz ɪz stɪl ɪˈvɑlvɪŋ kˈwɪkli, fər moʊst ˈpipəl ɪt meɪks sɛns tɪ steɪ ɔn ðə ˈblidɪŋ ɛʤ. wət ˈkrɪtɪkəl ˈlaɪbrɛˌriz ər ˈmɪsɪŋ ɪn ðə ˈikoʊˌsɪstəm? ðɪs ɪz ə gʊd lɪst əv ˈprɑʤɛkts fər ðə kəmˈjunɪti tɪ teɪk əp. ðə wər æst tɪ ˈfrili gɪv ˈlaɪbrɛˌriz ðət ðeɪ nid, hir ər ðɛr (ˈmoʊstli rɑ) ˈænsərz (ˈdjupləˌkeɪts lɛft ɪn tɪ ʃoʊ ˌpɑpjəˈlɛrəti): ˌhaɪˈlɛvəl ˈlaɪbrɛˌri (laɪk ““requests”*” ɪn ˈpaɪθɑn) ˌfərstˈklæs ˈlaɪbrɛˌriz ˈrəðər ðən si ˈræpərz. bæs ˈɑdiˌoʊ ˈlaɪbrɛˌri dɪˈstrɪbjətəd kəmˈpjutɪŋ ˈlaɪbrɛˌriz ˈlaɪbrɛˌriz ˈfreɪmˌwərk,, webdriver*, θɪŋ kd-tree*, ˈbaɪndɪŋz ɪkˈsɛl, mɔr stəˈtɪstɪkəl ˈlaɪbrɛˌriz ˈlɪniər ˈælʤəbrə, ˈplɑtɪŋ, saɪəns ˈsɪmpəl, laɪk ər wxwidgets*. haɪ ˈlɛvəl kəˈnɛktərz ˈpændəz laɪk dataframes*, ə wɛl ˈdɑkjəˌmɛnəd wɛb ˈfreɪmˌwərk, ˈpɑrsər ɪkˈsɛl ˈridər, dataframe*. ˌsaɪənˈtɪfɪk ˌkælkjəˈleɪʃən lɪb. kənˈvərtər ˈiziər weɪ tɪ æd ə ˈlæŋgwɪʤ ˌbæˈkɛnd ˈpɑrsɪŋ wɛb ˈfreɪmˌwərk ɛmˈbɛdɪd aɪ θɪŋk ðə ˈlaɪbrɛˌriz ər ðɛr bət ðə ˌdɑkjəmɛnˈteɪʃən ɪz ˈlækɪŋ. ˈɔrəkəl ɔθ ˈlaɪbrɛˌri (si ˈræpɪŋ), ˈpændəz laɪk lɪb (ðɛr ɪz wən mɔr ˈfiʧərz wɪl bi nis) ˈneɪtɪv səˈpɔrt fər bɪg ˈnəmbərz iterutils*, deɪt (ˈneɪtɪv ɪkˈskludɪŋ taɪm, ˈjuzəbəl æt kəmˈpaɪl taɪm ɪn const*), ə fər ˈtaɪmərz,, ˈrændəm, kəˈlɛkʃənz (ˈjunəˌfaɪd), ənd wʊd bi nis tɪ ˌridɪˈzaɪn ðə hoʊl ˈænˌdrɔɪd səˈpɔrt, (ɔl fər geɪm dɪˈvɛləpmənt) ˈmeɪbi ɪgˈzɪsts ɔˈrɛdi bət fər ˈnɛtˌwərk ɪkˈwɪpmənt ssh*, ɪkˈspɛkt ˈtulɪŋ ləv, ənd ˈɔlsoʊ ˈpɑrsɪŋ əv faɪlz ˈlaɪbrɛˌriz. ˈɪnərˌfeɪsɪz lɪb tɪ meɪk ˈwərkɪŋ wɪθ deɪts ənd taɪmz mɔr ˈizi, laɪk fər ˈpaɪθɑn. ˈɔlˌweɪz əˈmeɪzd æt haʊ kəmˈplit ðə ˈstændərd lɪb fər səʧ ə (stɪl) smɔl ˈprɑʤɛkt; mɔr fər ˈdætə ˈprɑsɛsɪŋ wʊd bi greɪt (ˈnioʊ simz tɪ bi ə ˈvɛri gʊd stɑrt), aɪ wʊd laɪk məˈʃin ˈlərnɪŋ, mɔr ˈɑbʤɛkt ˈɔriˌɛntɪd ˈpɛrəˌdaɪmz, əˈspɛʃəli ˈɪnərˌfeɪsɪz, ðət ɪz ə ˈlæŋgwɪʤ ˈkɑnstrəkt ˌɪnˈfɔrmɪŋ ju ðət ju fərˈgɑt tɪ ˈɪmpləmənt ə ˈfəŋkʃən rikˈwaɪərd tɪ kənˈfɔrm tɪ ən ˈɪnərˌfeɪs, ɪt ˈrɪli nid tɪ bi ə ““classic”*” ɪgˈzæmpəl, bɪˈkəz aɪ noʊ dɪˈvɛləpərz θɪŋk aʊt əv ðə bɑks (aɪ ləv ðə ˈsɪstəm, wɪʧ ɪz nɑt taɪd tɪ ə ˌpɑˈtɪkjələr klæs məˈʃin ˈlərnɪŋ ənd ˌsaɪənˈtɪfɪk kəmˈpjutɪŋ ˈlaɪbrɛˌriz ˈbaɪndɪŋz θrɪft, kəˈsændrə ˈdraɪvərz, ˌsaɪənˈtɪfɪk kəmˈpjutɪŋ ˌsaɪənˈtɪfɪk ˈplɑtɪŋ, ˈmeɪtrɪks wərks aɪ laɪk ðə, bət aɪ wɪʃ ðɛr wɑz ə ˈræpər fər ðə frəm vælv. ðə ˈoʊnli θɪŋ ðət bɪn ˈmɪsɪŋ soʊ fɑr ɛz ə gʊd fər ˈwərkɪŋ wɪθ riˈleɪʃənəl ˈdætə ɪn ən ˈɑbʤɛkt ˈɔriˌɛntɪd ˈmænər. aɪ ˈɔlˌweɪz wɔnt tɪ hɛlp ˌɪmˈpruv ðə ˈdraɪvər. kəmˈpjutɪŋ (ˈfiʧərz laɪk numpy/scipy*) cgal*, bust, ˈsɪmpəl (fər mi ˈpərsənəli), ˈpændəz laɪk lɪb ˈræpər əv ˈmaɪˌkroʊˈsɔft ˈizi tɪ juz ˈwɪndoʊz kənˈkərənt ˈdætə ˈstrəkʧərz mɔr triz: traɪz, quad/octrees*, mɔr ˈmækroʊ juˈtɪlətiz ˈmeɪbi ˈsəmθɪŋ mɔr rɪˈleɪtɪd tɪ ˌsaɪənˈtɪfɪk kəmˈpjutɪŋ ˈlaɪbrɛˌriz, ˌɛtˈsɛtərə.) sɛlf əˈlaɪnd ˈvɛktər taɪps. ə ˈdætəˌbeɪs ˈdraɪvər fər kəˈsændrə ˈbɛtər klaɪənt ɪt wʊd bi gʊd tɪ hæv səm sɔrt əv səˈpɔrt bɪlt ɪn ɪˈfɪʃənt taɪps, ˈɛvriˌwən ˈdjupləˌkeɪts ðət kəmˈpaɪl taɪm rɪˈflɛkʃən laɪk tɪ si ə ˌɪmpləmɛnˈteɪʃən əv ənd ˈəðər tɛkˈnɑləʤiz ˌɔlˈðoʊ ðɛr ər ˈlaɪbrɛˌriz, ˈbɛtər səˈpɔrt fər ˈlɪniər ˈplɑtɪŋ wʊd bi ˈvɛri nis. ˈsɪmələrli, ə ˈstændərˌdaɪzd geɪm ˈlaɪbrɛˌri wʊd bi ˈwəndərfəl. nuˈmɛrɪkəl saɪəns tulz ˈstændərd ənd səˈpɔrt mɔr ənd ˈnɛtˌwərkɪŋ wɛb ˈfreɪmˌwərk ˈlaɪbrɛˌriz, nuˈmɛrɪkəl ˈlaɪbrɛˌriz, ˈgræfɪks əv ðiz ɪgˈzɪst ər kən ˈizəli bi kriˈeɪtɪd baɪ ˈbaɪndɪŋ tɪ si ər si++, bət ðət ɪz hɑrd fər ə noobie*, soʊ pərˈhæps ˈbɛtər dɑk ɪn ðət ˈɛriə wɪθ ˈfrikˌwɛnt ɪgˈzæmpəlz wʊd hɛlp ə gʊd krɔs ˈplætˌfɔrm ˈgræfɪks ˈlaɪbrɛˌri ənd ə ˈlaɪbrɛˌri bɪlt ɔn tɔp əv ɪt, bət ˌɪnˈtɛndɪŋ tɪ stɑrt ˈwərkɪŋ ɔn ðiz ɪn ðə fˈjuʧər ɛz ˈoʊpən sɔrs ˈprɑʤɛkts (beɪst ɔn). fæst loʊ ˈlɛvəl ˈsɑkət ˈlaɪbrɛˌri (epool*, kqueue*) ˈmɑdərn ˈlaɪbrɛˌri ˈlaɪbrɛˌri ə ˌsaɪənˈtɪfɪk mæθ ənd ˈplɑtɪŋ ˈlaɪbrɛˌri numerics*. ˈræpər ɪz nis). fər mi ˈpərsənəli, ənd ˈɪmɪʤ ˈprɑsɛsɪŋ ˈlaɪbrɛˌriz ə ɪkˈwɪvələnt pjʊr ˈdætəˌbeɪs ˈlaɪbrɛˌriz; ˈlaɪbrɛˌriz fər ˈkɑmən (faɪlz, ˈtrænsfərz, ˌɛtˈsɛtərə.) əˈgɛn: (ˈvɛri ˈkɑmən θim) ˌdɑkjəmɛnˈteɪʃən ˈvɛriəs aɪd (intellij*, ˈvɪʒəwəl ˈstudiˌoʊ) ˈbɛtər səˈpɔrt ˈpriviəs ˈjuzərz haʊ lɔŋ dɪd ju juz ˌbiˈfɔr ju stɑpt? ðɪs kˈwɛʃən ɪz nu. ɪt ʃoʊz ðət ˈjuzərz ər ˈfɛrli ˈikwəli dɪˈstrɪbjətəd beɪst ɔn ðə əˈmaʊnt əv taɪm ðeɪ juzd ˌbiˈfɔr ˌdɪˈsaɪdɪŋ tɪ stɑp. ˈrizənz waɪ rɪˈspɑndənts stɑpt ˈjuzɪŋ ðɪs wɑz ə kˈwɛʃən. səm əv ðə ˈkɑmən ˈænsərz wər ɛz ˈfɑloʊz: læk əv taɪm (ðɪs ɪz ˈæˌkʧuəli ə ˈvɛri ˈkɑmən ˈrizən) noʊ gʊd ˈɛdɪtər səˈpɔrt læk əv noʊ ˈkɪlər juz keɪs ɪz ə ˈrənɪŋ ˈtərgət tu ənˈsteɪbəl hir ər səm ˈəðər ˈɪntəˌrɛstɪŋ ˈrizənz: kəmˈpaɪlər kənˈfɔrm tɪ ˈjunɪks trəˈdɪʃənz ənd ˈaʊtˌpʊts juʤ ˈbaɪnəˌriz. læk əv ˈgoʊˌtu ˈʤɛnərˌeɪtɪd ˈbroʊkən si koʊd. faʊnd ˌmaɪˈsɛlf ˈwərkɪŋ ɔn ðə kəmˈpaɪlər ˌɪnˈstɛd əv ˈjuzɪŋ ðə language.”*.” ənd ˈɛkoʊ ər wɪrd, aɪ θɪŋk ðət ənd prɪnt ər better”*” dɪsˈlaɪk ðə fækt ðət ɪf ju du ˌɪmˈpɔrt fu ju gɪt ə lɔt əv nu neɪmz ɪn jʊr ənd ˈsəmˌtaɪmz hæv tɪ ɪkˈsklud; faɪnd ɪkˈsplɪsət əˈproʊʧ məʧ mɔr roʊˈbəst ənd clear.”*.” kənˈfɔrm tɪ ˈjunɪks trəˈdɪʃənz ənd ˈaʊtˌpʊts juʤ binaries.”*.” tɪ ðə kɔr ˈlaɪbrɛˌriz tɪ rɪˈlaɪ tu məʧ ɔn ɪkˈsɛpʃənz. aɪ laɪk exceptions.”*.” əv ˈrizənz fər nɑt ˈjuzɪŋ ɛz wɪθ ðə ˈpriviəs jɪr, ðə moʊst ˈpɑpjələr ˈænsər tɪ ðɪs kˈwɛʃən wɑz wəns əˈgɛn tɪ du wɪθ məˈʧʊrəti əv ɛz wɛl ɛz læk əv ˈlaɪbrɛˌriz ənd gʊd aɪd səˈpɔrt. ðɛr wər ˈɔlsoʊ ə ˈnəmbər əv ˈænsərz tɪ ðɪs kˈwɛʃən: smɔl ˈjuzər beɪs dɪsˈlaɪks sɪgˈnɪfɪkənt noʊ ˈkɔrpərət ˈbækɪŋ ˈweɪtɪŋ fər ˌənprɪˈdɪktəbəl pərˈfɔrməns (əˈkɔrdɪŋ tɪ ðə rɪˈspɑndənt goʊ həz prɪˈdɪktəbəl pərˈfɔrməns bɪˈheɪvjərz wɛˈræz) ˈlæŋgwɪʤ əˈpɪrz ənˈsərtənti əˈbaʊt fˈjuʧər ʤɪst ˈweɪtɪŋ fər fri taɪm fˈjuʧər wət ˌɪmˈpruvmənts ər ˈnidɪd ˌbiˈfɔr kən bi riˈlist? ðɪs rɪˈsivd ə ˈnəmbər əv ˈænsərz wɪʧ aɪ wɪl ˈaʊˌtlaɪn hir: ˌdɑkjəmɛnˈteɪʃən ˈrɛdi naʊ! ˈgɪtɪŋ rɪd əv wɔrts ðət ˈkɑmɛnts əˈbaʊt gɪt rɪd əv ˈfɔrwərd ˌdɛklərˈeɪʃənz ˌɪmˈpruv ˈɛrər ˈmɛsɪʤɪz ˈkɑnsɛpts ˌɪmˈpruv wɪʧ dɪˈrɛkʃɪn ʃʊd ˈmænɪʤmənt teɪk? ðɛr wɑz ə ˈnəmbər əv ˈænsərz ɛz wɛl. moʊst əv ðɛm spoʊk əˈbaʊt prəˈvaɪdɪŋ ɔl əˈproʊʧɪz, i.e*. ðə ðə keɪk ənd it ɪt too”*” əˈproʊʧ. ˈmɛni ər ˈkɑnʃəs əv ðə fækt ðət ə meɪks ˈproʊˌgræmɪŋ sˈmuðər soʊ ðeɪ wɔnt ðə rəst ˈmɑdəl, bət fər juz ˈkeɪsɪz wɛr ˈnɛsəˌsɛri ðeɪ du wɔnt ɪt. læst wərdz laɪk læst jɪr, æt ðə ɛnd əv ðə ˈsərˌveɪ wi geɪv ɑr rɪˈspɑndənts ə ʧæns tɪ spik ðɛr maɪnd əˈbaʊt ˈɛniˌθɪŋ ðeɪ wɪʃ, wɪθ ə ˈsɪmpəl kˈwɛʃən: ɛls laɪk tɪ tɛl us?”*?” ðɛr wɑz ə lɔt əv greɪt ˈfidˌbæk ˈgɪvɪn ɪn ðɪs kˈwɛʃən frəm ˈpipəl hu ˈɑbviəsli ˈrɪli kɛr ˈdipli əˈbaʊt. ðɛr ɪz tu məʧ tɪ ˈaʊˌtlaɪn hir, bət rɛst ðət wi wɪl teɪk ɪt ɔl ˈɪntu əˈkaʊnt ənd du ɑr bɛst tɪ ækt ɔn ɪt. ɪn əˈdɪʃən tɪ ˈfidˌbæk, wi wər ˈɔlsoʊ ˌoʊvərˈwɛlmd baɪ ðə əˈmaʊnt əv ˈpɑzətɪv ˈkɑmɛnts ɪn ðə ˈænsərz tɪ ðɪs kˈwɛʃən. ðɛr wɑz ə lɔt əv səˈpɔrt frəm ðə kəmˈjunɪti ˈθæŋkɪŋ ˈjuˈɛs fər ɑr wərk ənd dɪˌtərməˈneɪʃən. lɛt səm kwoʊts spik fər ðɛmˈsɛlvz: kip əp ðə gʊd ʤɑb. aɪ ləv! greɪt wərk soʊ fɑr, kip ɪt goʊɪŋ! pliz ʤɪst kip əp ðə wərk. ɪz ˈɔsəm! ˈɔsəm ˈlæŋgwɪʤ, ənd greɪt kəmˈjunɪti! ɑr kəmˈjunɪti ɪz ˈtruli ˈbrɪljənt. wi θæŋk iʧ ənd ˈɛvəri wən əv ju fər ˈfɪlɪŋ aʊt ðɪs ˈsərˌveɪ ənd hoʊp ðət ju wɪl hɛlp ˈjuˈɛs ˈtækəl səm əv ðə ˈʧælənʤɪz ðət feɪs. ðɪs ˈsərˌveɪ wɑz ə gʊd pleɪs tɪ gɪv ˈjuˈɛs ˈfidˌbæk, bət pliz weɪt fər ðə nɛkst wən. wi ər ˈɔlˌweɪz ˈlʊkɪŋ tɪ hir mɔr frəm ju ənd wi hoʊp ðət ju wɪl pɑrˈtɪsəˌpeɪt ɪn dɪˈskəʃənz rɪˈleɪtɪŋ tɪ ðɪs ˈsərˌveɪ ɛz wɛl ðə fˈjuʧər əv. θæŋks fər ˈrɛdɪŋ, ənd hæv ə gʊd deɪ! |
in skimming through old atlases, one might be surprised to find finns racially classified as mongolians. yet until fairly recently, that was the norm. consider the 1962 map posted above, “classification of mankind by color of skin,” from the popular advanced atlas of modern geography. here both finns and estonians are “xanthodermic asiatics.” “(xanthoderma,” medical dictionaries tell us, refers to “skin that has a yellow coloration, as in jaundice.”) bizarre as it may be, the idea that finns are racially linked to east asians lives on; if in doubt, try an internet search of “finns mongols.”
the notion that finns and other peoples of europe are of mongolian stock is hard to take seriously. while biological race is itself a questionable concept, a number of physical traits distinguish east asians (the “mongolians” of racial classification): eyelid folds; dark, straight, thick hair; and a number of bone and teeth features. (note that yellow skin is nowhere on this list.) these attributes are as rare in finland as they are in other european countries. if anything, finns may be the blondest, most people in the world, as the second set of maps shows. the eastern peoples are not quite as light as the western ones, falling closer to the european norm. red hair, however, is oddly common among the of the central volga. is proud of this characteristic, running an annual “red festival” that celebrates coloring not only in people but also in “cats, dogs, hamsters, [and] squirrels…”
why then have the peoples, hungarians as well as finns and estonians, so often been classified as “mongolian”? the credit or discredit goes to a german scholar named johann friedrich (1752 -1840). known as the “father of physical anthropology,” is famed for coining the term “caucasian race.” thought that cranium shape was the key to human differentiation, but his collection of skulls was limited. he purportedly based his claims on the fact that “two (lapp) skulls and one finnish skull resembled one mongol skull.” evidently, he never examined any livings finns.’s scientific stature was so elevated that his ideas carried the day, nonsensical though they were.
linguistic analysis seemed to bolster the idea that peoples belonged in the “mongolian” category. scholars once widely assumed that peoples who spoke related languages belonged to the same race, sharing descent from a common ancestral population. from the to the mid-1900s, most linguists grouped “uralic” languages with altaic languages, forming a that linked finnish to mongolian and manchu. if their languages were related, the reasoning went, the finns and mongols had to be sibling peoples. this hypothesis has long since been abandoned, but the component is still widely accepted, and it still links finns to peoples who look asian.’s highest order split separates from samoyedic, and the nenets, selkups, and others have dark eyes, straight black hair, and eyelid folds. the eastern of western siberia, the and the mansi, appear eurasian, with intermediate features and mixed genetic markers as well.
but we now know that linguistic groups and genetic groups need not have any connection. languages can spread into new populations even when genes do not, just as migration can bring wholesale genetic changes without linguistic transformations. as a result, large language families often encompass peoples who look very different and have markedly distinct genetic heritages. the, for example, encompasses blonde in north africa and hausa in northern nigeria, and even the berber family includes the generally as well as the generally kabyle. the fact that some speakers look european while others look east asian thus tells us nothing about the racial attributes of the of the original speakers of languages.
as it turns out, the finns are genetically distinctive, forming an “outlier” european population, as the new york times “genetic map” posted above indicates. why this should be the case is a matter of some controversy. some attribute it to a “founder effect,” arising from the fact that the “finnish population was at one time very small and then expanded, bearing the atypical genetics of its few founders.” others think that the finns are simply “more european” than others, having absorbed fewer genes from outsiders. according to this line of reasoning, the finns most closely resemble the european cro-magnons.
several specific genetic markers also help differentiate the finnish population. as noted in the comments section on monday, the dna n is extremely common in finland, found in 60 percent of the male population, yet is rare in most of the rest of europe. as passes only in the paternal lineage, a majority of finnish men must be descended from a single man with a particular mutation on his who probably lived some years ago. as it happens, n has a close association with peoples speaking languages. it is thought to have originated in central asia, and then spread in a route through central siberia and into northern europe. n is also prevalent in a few areas outside of the-speaking zone, reaching especially high concentrations (75 percent) among the (yakut) of siberia. but even if most finns ands can trace their male lineages back to a single great-great-great…grandfather, that does not mean that they are otherwise genetically similar; when one goes back years, the number of ancestors becomes staggeringly large.
genetic studies also shed light on the history of interactions among slavic and peoples in northern european russia. according to a 2005 paper by boris and others, published in human biology), only the most western russian populations appear to be descendants of the slavs, whereas northern and eastern russian populations appear to be the result of an between slavic tribes and populations” (p. 897). for further explorations of the linguistic, genetic, and gender history of this region, see the recent postings on languages of the world. | ɪn ˈskɪmɪŋ θru oʊld ˈætləsɪz, wən maɪt bi səˈpraɪzd tɪ faɪnd fɪnz ˈreɪʃəli ˈklæsəˌfaɪd ɛz mongolians*. jɛt ənˈtɪl ˈfɛrli ˈrisəntli, ðət wɑz ðə nɔrm. kənˈsɪdər ðə 1962 mæp ˈpoʊstɪd əˈbəv, əv ˈmænˈkaɪnd baɪ ˈkələr əv skin,”*,” frəm ðə ˈpɑpjələr ədˈvænst ˈætləs əv ˈmɑdərn ʤiˈɑgrəfi. hir boʊθ fɪnz ənd ɛˈstoʊniənz ər asiatics.”*.” “(“(xanthoderma,”*,” ˈmɛdɪkəl ˈdɪkʃəˌnɛriz tɛl ˈjuˈɛs, rɪˈfərz tɪ ðət həz ə ˈjɛloʊ ˌkələrˈeɪʃən, ɛz ɪn jaundice.”*.”) bɪˈzɑr ɛz ɪt meɪ bi, ðə aɪˈdiə ðət fɪnz ər ˈreɪʃəli lɪŋkt tɪ ist ˈeɪʒənz lɪvz ɔn; ɪf ɪn daʊt, traɪ ən ˈɪntərˌnɛt sərʧ əv mongols.”*.” ðə ˈnoʊʃən ðət fɪnz ənd ˈəðər ˈpipəlz əv ˈjʊrəp ər əv mɑŋˈgoʊljən stɑk ɪz hɑrd tɪ teɪk ˈsɪriəsli. waɪl ˌbaɪəˈlɑʤɪkəl reɪs ɪz ˌɪtˈsɛlf ə kˈwɛsʧənəbəl ˈkɑnsɛpt, ə ˈnəmbər əv ˈfɪzɪkəl treɪts dɪˈstɪŋgwɪʃ ist ˈeɪʒənz (ðə ““mongolians”*” əv ˈreɪʃəl ˌklæsəfəˈkeɪʃən): ˈaɪˌlɪd foʊldz; dɑrk, streɪt, θɪk hɛr; ənd ə ˈnəmbər əv boʊn ənd tiθ ˈfiʧərz. (noʊt ðət ˈjɛloʊ skɪn ɪz ˈnoʊˌwɛr ɔn ðɪs lɪst.) ðiz əˈtrɪˌbjuts ər ɛz rɛr ɪn ˈfɪnˌlænd ɛz ðeɪ ər ɪn ˈəðər ˌjʊrəˈpiən ˈkəntriz. ɪf ˈɛniˌθɪŋ, fɪnz meɪ bi ðə ˈblɑndəst, moʊst ˈpipəl ɪn ðə wərld, ɛz ðə ˈsɛkənd sɛt əv mæps ʃoʊz. ðə ˈistərn ˈpipəlz ər nɑt kwaɪt ɛz laɪt ɛz ðə ˈwɛstərn wənz, ˈfɑlɪŋ ˈkloʊzər tɪ ðə ˌjʊrəˈpiən nɔrm. rɛd hɛr, ˌhaʊˈɛvər, ɪz ˈɑdli ˈkɑmən əˈməŋ ðə əv ðə ˈsɛntrəl ˈvɑlgə. ɪz praʊd əv ðɪs ˌkɛrɪktərˈɪstɪk, ˈrənɪŋ ən ˈænjuəl festival”*” ðət ˈsɛləˌbreɪts ˈkələrɪŋ nɑt ˈoʊnli ɪn ˈpipəl bət ˈɔlsoʊ ɪn ““cats*, dɔgz, ˈhæmstərz, [ənd] squirrels…”*…” waɪ ðɛn hæv ðə ˈpipəlz, həŋˈgɛriənz ɛz wɛl ɛz fɪnz ənd ɛˈstoʊniənz, soʊ ˈɔfən bɪn ˈklæsəˌfaɪd ɛz ““mongolian”*”? ðə ˈkrɛdɪt ər dɪˈskrɛdət goʊz tɪ ə ˈʤərmən ˈskɑlər neɪmd ˈjoʊhɑn ˈfridrɪk 1752 1840 noʊn ɛz ðə əv ˈfɪzɪkəl anthropology,”*,” ɪz feɪmd fər ˈkɔɪnɪŋ ðə tərm race.”*.” θɔt ðət ˈkreɪˌniəm ʃeɪp wɑz ðə ki tɪ ˈjumən ˌdɪfərˌɛnʧiˈeɪʃən, bət hɪz kəˈlɛkʃən əv skəlz wɑz ˈlɪmɪtɪd. hi pərˈpɔrtɪˌdli beɪst hɪz kleɪmz ɔn ðə fækt ðət (læp) skəlz ənd wən ˈfɪnɪʃ skəl rɪˈzɛmbəld wən ˈmɑŋgəl skull.”*.” ˈɛvədəntli, hi ˈnɛvər ɪgˈzæmənd ˈɛni ˈlɪvɪŋz fɪnz. ˌsaɪənˈtɪfɪk ˈstæʧər wɑz soʊ ˈɛləˌveɪtɪd ðət hɪz aɪˈdiəz ˈkɛrid ðə deɪ, nɑnˈsɛnsɪkəl ðoʊ ðeɪ wər. lɪŋgˈwɪstɪk æˈnælɪsɪs simd tɪ ˈboʊlstər ðə aɪˈdiə ðət ˈpipəlz bɪˈlɔŋd ɪn ðə ““mongolian”*” ˈkætəˌgɔri. ˈskɑlərz wəns ˈwaɪdli əˈsumd ðət ˈpipəlz hu spoʊk rɪˈleɪtɪd ˈlæŋgwɪʤɪz bɪˈlɔŋd tɪ ðə seɪm reɪs, ˈʃɛrɪŋ dɪˈsɛnt frəm ə ˈkɑmən ænˈsɛstrəl ˌpɑpjəˈleɪʃən. frəm ðə tɪ ðə mid-1900s*, moʊst ˈlɪŋgwɪsts grupt ““uralic”*” ˈlæŋgwɪʤɪz wɪθ ælˈteɪɪk ˈlæŋgwɪʤɪz, ˈfɔrmɪŋ ə ðət lɪŋkt ˈfɪnɪʃ tɪ mɑŋˈgoʊljən ənd ˈmænʧu. ɪf ðɛr ˈlæŋgwɪʤɪz wər rɪˈleɪtɪd, ðə ˈrizənɪŋ wɛnt, ðə fɪnz ənd ˈmɑŋgəlz hæd tɪ bi ˈsɪblɪŋ ˈpipəlz. ðɪs haɪˈpɑθəsəs həz lɔŋ sɪns bɪn əˈbændənd, bət ðə kəmˈpoʊnənt ɪz stɪl ˈwaɪdli ækˈsɛptɪd, ənd ɪt stɪl lɪŋks fɪnz tɪ ˈpipəlz hu lʊk ˈeɪʒən. haɪəst ˈɔrdər splɪt ˈsɛpərˌeɪts frəm samoyedic*, ənd ðə nenets*, selkups*, ənd ˈəðərz hæv dɑrk aɪz, streɪt blæk hɛr, ənd ˈaɪˌlɪd foʊldz. ðə ˈistərn əv ˈwɛstərn saɪˈbɪriə, ðə ənd ðə mansi*, əˈpɪr jʊˈreɪʒɪn, wɪθ ˌɪnərˈmidiɪt ˈfiʧərz ənd mɪkst ʤəˈnɛtɪk ˈmɑrkərz ɛz wɛl. bət wi naʊ noʊ ðət lɪŋgˈwɪstɪk grups ənd ʤəˈnɛtɪk grups nid nɑt hæv ˈɛni kəˈnɛkʃən. ˈlæŋgwɪʤɪz kən sprɛd ˈɪntu nu ˌpɑpjəˈleɪʃənz ˈivɪn wɪn ʤinz du nɑt, ʤɪst ɛz maɪˈgreɪʃən kən brɪŋ ˈhoʊlˌseɪl ʤəˈnɛtɪk ˈʧeɪnʤɪz wɪˈθaʊt lɪŋgˈwɪstɪk ˌtrænsfərˈmeɪʃənz. ɛz ə rɪˈzəlt, lɑrʤ ˈlæŋgwɪʤ ˈfæməliz ˈɔfən ɛnˈkəmpəs ˈpipəlz hu lʊk ˈvɛri ˈdɪfərənt ənd hæv ˈmɑrkɪdli dɪˈstɪŋkt ʤəˈnɛtɪk ˈhɛrɪtɪʤəz. ðə, fər ɪgˈzæmpəl, ɛnˈkəmpəsəz blɑnd ɪn nɔrθ ˈæfrɪkɑ ənd ˈhaʊsə ɪn ˈnɔrðərn naɪˈʤɪriə, ənd ˈivɪn ðə ˈbərbər ˈfæməli ˌɪnˈkludz ðə ˈʤɛnərəli ɛz wɛl ɛz ðə ˈʤɛnərəli kabyle*. ðə fækt ðət səm ˈspikərz lʊk ˌjʊrəˈpiən waɪl ˈəðərz lʊk ist ˈeɪʒən ðəs tɛlz ˈjuˈɛs ˈnəθɪŋ əˈbaʊt ðə ˈreɪʃəl əˈtrɪˌbjuts əv ðə əv ðə ərˈɪʤənəl ˈspikərz əv ˈlæŋgwɪʤɪz. ɛz ɪt tərnz aʊt, ðə fɪnz ər ʤəˈnɛtɪkli dɪˈstɪŋktɪv, ˈfɔrmɪŋ ən ““outlier”*” ˌjʊrəˈpiən ˌpɑpjəˈleɪʃən, ɛz ðə nu jɔrk taɪmz map”*” ˈpoʊstɪd əˈbəv ˈɪndɪˌkeɪts. waɪ ðɪs ʃʊd bi ðə keɪs ɪz ə ˈmætər əv səm ˈkɑntrəˌvərsi. səm əˈtrɪˌbjut ɪt tɪ ə effect,”*,” ərˈaɪzɪŋ frəm ðə fækt ðət ðə ˌpɑpjəˈleɪʃən wɑz æt wən taɪm ˈvɛri smɔl ənd ðɛn ɪkˈspændɪd, ˈbɛrɪŋ ðə ˌeɪˈtɪpɪkəl ʤəˈnɛtɪks əv ɪts fju founders.”*.” ˈəðərz θɪŋk ðət ðə fɪnz ər ˈsɪmpli european”*” ðən ˈəðərz, ˈhævɪŋ əbˈzɔrbd fjuər ʤinz frəm aʊtˈsaɪdərz. əˈkɔrdɪŋ tɪ ðɪs laɪn əv ˈrizənɪŋ, ðə fɪnz moʊst ˈkloʊsli rɪˈzɛmbəl ðə ˌjʊrəˈpiən cro-magnons*. ˈsɛvərəl spɪˈsɪfɪk ʤəˈnɛtɪk ˈmɑrkərz ˈɔlsoʊ hɛlp ˌdɪfərˈɛnʧiˌeɪt ðə ˈfɪnɪʃ ˌpɑpjəˈleɪʃən. ɛz ˈnoʊtɪd ɪn ðə ˈkɑmɛnts ˈsɛkʃən ɔn ˈmənˌdeɪ, ðə ˈdiˌɛˈneɪ ɛn ɪz ɪkˈstrimli ˈkɑmən ɪn ˈfɪnˌlænd, faʊnd ɪn 60 pərˈsɛnt əv ðə meɪl ˌpɑpjəˈleɪʃən, jɛt ɪz rɛr ɪn moʊst əv ðə rɛst əv ˈjʊrəp. ɛz ˈpæsɪz ˈoʊnli ɪn ðə pəˈtərnəl ˈlɪniəʤ, ə məˈʤɔrəti əv ˈfɪnɪʃ mɛn məst bi dɪˈsɛndɪd frəm ə ˈsɪŋgəl mæn wɪθ ə ˌpɑˈtɪkjələr mjuˈteɪʃən ɔn hɪz hu ˈprɑbəˌbli lɪvd səm jɪrz əˈgoʊ. ɛz ɪt ˈhæpənz, ɛn həz ə kloʊz əˌsoʊʃiˈeɪʃən wɪθ ˈpipəlz ˈspikɪŋ ˈlæŋgwɪʤɪz. ɪt ɪz θɔt tɪ hæv ərˈɪʤəˌneɪtəd ɪn ˈsɛntrəl ˈeɪʒə, ənd ðɛn sprɛd ɪn ə rut θru ˈsɛntrəl saɪˈbɪriə ənd ˈɪntu ˈnɔrðərn ˈjʊrəp. ɛn ɪz ˈɔlsoʊ ˈprɛvələnt ɪn ə fju ˈɛriəz ˈaʊtˈsaɪd əv ðə zoʊn, ˈriʧɪŋ əˈspɛʃəli haɪ ˌkɑnsənˈtreɪʃənz 75 pərˈsɛnt) əˈməŋ ðə (yakut*) əv saɪˈbɪriə. bət ˈivɪn ɪf moʊst fɪnz ənd kən treɪs ðɛr meɪl ˈlɪniɪʤɪz bæk tɪ ə ˈsɪŋgəl great-great-great…grandfather*, ðət dɪz nɑt min ðət ðeɪ ər ˈəðərˌwaɪz ʤəˈnɛtɪkli ˈsɪmələr; wɪn wən goʊz bæk jɪrz, ðə ˈnəmbər əv ˈænˌsɛstərz bɪˈkəmz ˈstægərˌɪŋˌli lɑrʤ. ʤəˈnɛtɪk ˈstədiz ˈɔlsoʊ ʃɛd laɪt ɔn ðə ˈhɪstəri əv ˌɪnərˈækʃənz əˈməŋ sˈlɑvɪk ənd ˈpipəlz ɪn ˈnɔrðərn ˌjʊrəˈpiən ˈrəʃə. əˈkɔrdɪŋ tɪ ə 2005 ˈpeɪpər baɪ ˈbɔrɪs ənd ˈəðərz, ˈpəblɪʃt ɪn ˈjumən baɪˈɑləʤi ˈoʊnli ðə moʊst ˈwɛstərn ˈrəʃən ˌpɑpjəˈleɪʃənz əˈpɪr tɪ bi dɪˈsɛnɪnts əv ðə slɑvz, wɛˈræz ˈnɔrðərn ənd ˈistərn ˈrəʃən ˌpɑpjəˈleɪʃənz əˈpɪr tɪ bi ðə rɪˈzəlt əv ən bɪtˈwin sˈlɑvɪk traɪbz ənd populations”*” (pi. 897 fər ˈfərðər ˌɛksplərˈeɪʃənz əv ðə lɪŋgˈwɪstɪk, ʤəˈnɛtɪk, ənd ˈʤɛndər ˈhɪstəri əv ðɪs ˈriʤən, si ðə ˈrisənt ˈpoʊstɪŋz ɔn ˈlæŋgwɪʤɪz əv ðə wərld. |
the mother of the wa boy who was inside a car which was allegedly stolen from east victoria park has thanked those involved in the search adding her little boy is safe at home and 'already pestering his sister'.
glenda told reporters at a police press conference outside her home that she was extremely grateful to police and the wider public for their help in trying to locate her son joe.
"first of all i would like to thank the kensington police as well as the multiple officers who searched for joe this afternoon," she said. "i would also like to thank the media for making this breaking news and helping to spread the message.
"i would like to thank the general public, friends and family who have walked, biked and driven to search for joe in the area.
"the outcome was exactly what we had hoped for and we are tremendously pleased.
camera icon little joe picture:
"joe is safe and well, already pestering his sister and most importantly reunited with his christmas train. as you can understand this has been an extremely difficult afternoon for our family and we respectfully ask for some space this afternoon."
little joe and the stolen subaru were found by a member of the public who had received an emergency alert via text message just before before on gloucester street in east victoria park. the message, which is only used in life-threatening situations, was sent to more than and mobile phones in the area.
superintendent brad sorrell from the south east metropolitan district said police mounted the massive search for the vehicle after they received a report at around that a dark blue hatch had been stolen from the driveway of a house in east victoria park with little joe inside on friday afternoon.
he said joe's parents had just returned home, parked the car in the driveway, opened the house and momentarily left him sleeping in the car with the air-conditioning on as they entered the house with their daughter.
he said the offender or offenders took the car and drove through the the white picket fences outside the home.
and while no one has been arrested in relation to the incident, superintendent sorrell gave this warning to those responsible: "the person who did this, we are coming for you." | ðə ˈməðər əv ðə wɑ bɔɪ hu wɑz ˌɪnˈsaɪd ə kɑr wɪʧ wɑz əˈlɛʤədli ˈstoʊlən frəm ist vɪkˈtɔriə pɑrk həz θæŋkt ðoʊz ˌɪnˈvɑlvd ɪn ðə sərʧ ˈædɪŋ hər ˈlɪtəl bɔɪ ɪz seɪf æt hoʊm ənd 'ɔˈrɛdi ˈpɛstərɪŋ hɪz ˈsɪstər'. ˈglɛndə toʊld rɪˈpɔrtərz æt ə pəˈlis prɛs ˈkɑnfərəns ˈaʊtˈsaɪd hər hoʊm ðət ʃi wɑz ɪkˈstrimli ˈgreɪtfəl tɪ pəˈlis ənd ðə ˈwaɪdər ˈpəblɪk fər ðɛr hɛlp ɪn traɪɪŋ tɪ ˈloʊˌkeɪt hər sən ʤoʊ. "fərst əv ɔl aɪ wʊd laɪk tɪ θæŋk ðə ˈkɛnzɪŋtən pəˈlis ɛz wɛl ɛz ðə ˈməltəpəl ˈɔfɪsərz hu sərʧt fər ʤoʊ ðɪs ˌæftərˈnun," ʃi sɛd. "aɪ wʊd ˈɔlsoʊ laɪk tɪ θæŋk ðə ˈmidiə fər ˈmeɪkɪŋ ðɪs ˈbreɪkɪŋ nuz ənd ˈhɛlpɪŋ tɪ sprɛd ðə ˈmɛsɪʤ. "aɪ wʊd laɪk tɪ θæŋk ðə ˈʤɛnərəl ˈpəblɪk, frɛndz ənd ˈfæməli hu hæv wɔkt, baɪkt ənd ˈdrɪvən tɪ sərʧ fər ʤoʊ ɪn ðə ˈɛriə. "ðə ˈaʊtˌkəm wɑz ɪgˈzæktli wət wi hæd hoʊpt fər ənd wi ər trɪˈmɛndəsli plizd. ˈkæmərə ˈaɪkɑn ˈlɪtəl ʤoʊ ˈpɪkʧər: "ʤoʊ ɪz seɪf ənd wɛl, ɔˈrɛdi ˈpɛstərɪŋ hɪz ˈsɪstər ənd moʊst ˌɪmˈpɔrtəntli ˌriuˈnaɪtɪd wɪθ hɪz ˈkrɪsməs treɪn. ɛz ju kən ˌəndərˈstænd ðɪs həz bɪn ən ɪkˈstrimli ˈdɪfəkəlt ˌæftərˈnun fər ɑr ˈfæməli ənd wi rɪˈspɛktfəli æsk fər səm speɪs ðɪs ˌæftərˈnun." ˈlɪtəl ʤoʊ ənd ðə ˈstoʊlən ˈsubəru wər faʊnd baɪ ə ˈmɛmbər əv ðə ˈpəblɪk hu hæd rɪˈsivd ən ˈimərʤənsi əˈlərt ˈviə tɛkst ˈmɛsɪʤ ʤɪst ˌbiˈfɔr ˌbiˈfɔr ɔn ˈglɔstər strit ɪn ist vɪkˈtɔriə pɑrk. ðə ˈmɛsɪʤ, wɪʧ ɪz ˈoʊnli juzd ɪn ˈlaɪfθˌrɛtnɪŋ ˌsɪʧuˈeɪʃənz, wɑz sɛnt tɪ mɔr ðən ənd ˈmoʊbəl foʊnz ɪn ðə ˈɛriə. ˌsupərɪnˈtɛndənt bræd ˈsɔrəl frəm ðə saʊθ ist ˌmɛtrəˈpɑlətən ˈdɪstrɪkt sɛd pəˈlis ˈmaʊnɪd ðə ˈmæsɪv sərʧ fər ðə ˈviɪkəl ˈæftər ðeɪ rɪˈsivd ə rɪˈpɔrt æt əraʊnd ðət ə dɑrk blu hæʧ hæd bɪn ˈstoʊlən frəm ðə ˈdraɪvˌweɪ əv ə haʊs ɪn ist vɪkˈtɔriə pɑrk wɪθ ˈlɪtəl ʤoʊ ˌɪnˈsaɪd ɔn ˈfraɪˌdeɪ ˌæftərˈnun. hi sɛd ʤoʊz ˈpɛrənts hæd ʤɪst rɪˈtərnd hoʊm, pɑrkt ðə kɑr ɪn ðə ˈdraɪvˌweɪ, ˈoʊpənd ðə haʊs ənd ˌmoʊmənˈtɛrəli lɛft ɪm sˈlipɪŋ ɪn ðə kɑr wɪθ ðə ˈɛrkənˌdɪʃənɪŋ ɔn ɛz ðeɪ ˈɛnərd ðə haʊs wɪθ ðɛr ˈdɔtər. hi sɛd ðə əˈfɛndər ər əˈfɛndərz tʊk ðə kɑr ənd droʊv θru ðə ðə waɪt ˈpɪkɪt ˈfɛnsɪz ˈaʊtˈsaɪd ðə hoʊm. ənd waɪl noʊ wən həz bɪn ərˈɛstɪd ɪn riˈleɪʃən tɪ ðə ˈɪnsədənt, ˌsupərɪnˈtɛndənt ˈsɔrəl geɪv ðɪs ˈwɔrnɪŋ tɪ ðoʊz riˈspɑnsəbəl: "ðə ˈpərsən hu dɪd ðɪs, wi ər ˈkəmɪŋ fər ju." |
there are two sides in the global war against cash. on one side are many of the governments, central banks, firms, banks, credit card companies, telecommunication behemoths, financial institutions, large retailers, etc. according to them, the days of physical currency are numbered, so why not pull the plug already, beginning with the largest denomination bills such as the $100-note and particularly the-note?
on the other side are people who like to use cash most of whom, according to the dominant official narrative, are either criminals or terrorists. after all, they must have something to hide; otherwise, why would they use a private, untraceable (not to mention archaic, dirty, dangerous and unhygienic) form of payment like cash?
the powers that want to kill off cash already have vital technological and generational trends firmly on their side, along with widespread public ignorance, apathy, and disinterest. but in recent weeks the of defenders of physical money has emerged: the national central bank of biggest economy, the german bundesbank.
“i have my doubts that introducing a cash limit or getting rid of bigger denominations can really prevent terrorists or criminals from engaging in illegal activities,” thiele, bundesbank board member in charge of cash issues, said in a speech last week. “we also should ask ourselves: what sort of an understanding of government forms the basis of these proposals? citizens should not be put under general suspicion.”
thiele is not the first bundesbank official to publicly defend cash. bundesbank president jens weidmann warned in the annual report that killing off higher denomination banknotes, a policy supported by president mario draghi, could have a debilitating effect on trust in cash in general and would be “disastrous” if people started to believe cash would be abolished an oblique reference to the risk of negative interest rates and the escalating war on cash triggering a run on cash.
the wall street journal accused weidmann of simply talking his book:
the european central bank no longer produces figures on where high denomination banknotes are issued, but from the onset of the in 1999 to the end of 2009, germany issued almost half of all and bills over the decade. when a central bank issues physical currency, it gains seigniorage income. it makes loans or buys securities that do bear interest while issuing euro banknotes that, so it makes a profit over time… in the, seigniorage is pooled, but as the largest in the bloc, the bundesbank gets the biggest chunk of that income.
whatever the motives, its opposition to physical currency could end up proving to be a very sizable thorn in assassins’ hide. thiele, relentlessly in his speech:
“quite prominent economists, such as the former chief economist of the international monetary fund, kenneth rogoff, have called to abolish cash for monetary policy purposes, so that banks could enforce negative interest across the board.” “this would, in my view, be the wrong response to the monetary policy challenges at the zero lower bound. instead of financial repression it would make much more sense to discuss how economies could achieve stronger growth again through higher interest rates.”
in its own study on the use of cash, prominently featured on its today, the bundesbank found that despite all the media hype over the demise of cash, physical currencies still remain king across many advanced economies.
in the study more than consumers in australia, austria, canada, france, germany, the netherlands, and the united states kept a written record of what payment methods they used. turns out, consumers still frequently opt for cash at the point of sale, in some countries more so than others. the report included this chart:
in terms of volume, cash accounted for more than 50% of payment transactions in all of these countries, with the exception of the us. in germany (de) and austria (at) over 80% of cash transactions were made using cash. in both countries, cash payments also dominated in value. a separate study by the association of german banks found that even among millennials, two-thirds prefer paying in cash to electronic means.
what’s crucial so much the numbers but the very fact that the bundesbank publishes this type of report so prominently, and in english so that everyone can read it. an obvious part of its campaign to keep alive as a choice. and in germany and austria, the plans to suppress cash have already provoked a backlash.
“we want someone to be able to track digitally what we buy, eat and drink, what books we read and what movies we watch,” said austrian deputy economy minister harald on radio. “we will fight everywhere against rules” including caps on cash purchases, he said.
germany’s big tabloid the bild published a scathing open letter titled, “hands off our cash,” while a broad spectrum of political parties condemned the proposed measures as an attack on data protection and privacy.
the fact that most powerful national central bank is now firmly aligned with the defenders of physical cash could be a vital game changer in the war against cash.
the bundesbank seems to see the war on cash as a war on personal freedom and choice, in the name of saving a financial system and its absurd negative interest rates:
“we want citizens to be able to pay in whatever form they desire. especially in germany, cash is part of that,” said thiele. and he warned that “freedom always dies bit by bit.” few countries know that better than germany. by don quijones, raging bull-shit.
bundesbank president weidmann had put it this way a couple of weeks ago: “it would be fatal if citizens got the impression that cash is gradually taken away from them.” | ðɛr ər tu saɪdz ɪn ðə ˈgloʊbəl wɔr əˈgɛnst kæʃ. ɔn wən saɪd ər ˈmɛni əv ðə ˈgəvərnmənts, ˈsɛntrəl bæŋks, fərmz, bæŋks, ˈkrɛdɪt kɑrd ˈkəmpəˌniz, ˌtɛləkəmˌjunɪˈkeɪʃən bɪˈhiməθs, ˌfaɪˈnænʃəl ˌɪnstɪˈtuʃənz, lɑrʤ ˈriˌteɪlərz, ˌɛtˈsɛtərə. əˈkɔrdɪŋ tɪ ðɛm, ðə deɪz əv ˈfɪzɪkəl ˈkərənsi ər ˈnəmbərd, soʊ waɪ nɑt pʊl ðə pləg ɔˈrɛdi, bɪˈgɪnɪŋ wɪθ ðə ˈlɑrʤəst dɪˌnɔməˈneɪʃən bɪlz səʧ ɛz ðə ənd ˌpɑrˈtɪkjələrli ðə €500-note*? ɔn ðə ˈəðər saɪd ər ˈpipəl hu laɪk tɪ juz kæʃ moʊst əv hum, əˈkɔrdɪŋ tɪ ðə ˈdɑmənənt əˈfɪʃəl ˈnɛrətɪv, ər ˈiðər ˈkrɪmənəlz ər ˈtɛrəˌrɪsts. ˈæftər ɔl, ðeɪ məst hæv ˈsəmθɪŋ tɪ haɪd; ˈəðərˌwaɪz, waɪ wʊd ðeɪ juz ə ˈpraɪvət, ənˈtreɪsəbəl (nɑt tɪ ˈmɛnʃən ɑrˈkeɪɪk, ˈdərti, ˈdeɪnʤərəs ənd unhygienic*) fɔrm əv ˈpeɪmənt laɪk kæʃ? ðə paʊərz ðət wɔnt tɪ kɪl ɔf kæʃ ɔˈrɛdi hæv ˈvaɪtəl ˌtɛknəˈlɑʤɪkəl ənd ˌʤɛnərˈeɪʃənəl trɛnz ˈfərmli ɔn ðɛr saɪd, əˈlɔŋ wɪθ ˈwaɪdˈsprɛd ˈpəblɪk ˈɪgnərəns, ˈæpəθi, ənd dɪˈsɪntərəst. bət ɪn ˈrisənt wiks ðə əv dɪˈfɛndərz əv ˈfɪzɪkəl ˈməni həz ˈimərʤd: ðə ˈnæʃənəl ˈsɛntrəl bæŋk əv ˈbɪgəst ɪˈkɑnəmi, ðə ˈʤərmən ˈbʊndɪsˌbɑŋk. hæv maɪ daʊts ðət ˌɪntrəˈdusɪŋ ə kæʃ ˈlɪmət ər ˈgɪtɪŋ rɪd əv ˈbɪgər dɪˌnɔməˈneɪʃənz kən ˈrɪli prɪˈvɛnt ˈtɛrəˌrɪsts ər ˈkrɪmənəlz frəm ɪnˈgeɪʤɪŋ ɪn ˌɪˈligəl activities,”*,” θil, ˈbʊndɪsˌbɑŋk bɔrd ˈmɛmbər ɪn ʧɑrʤ əv kæʃ ˈɪʃuz, sɛd ɪn ə spiʧ læst wik. ˈɔlsoʊ ʃʊd æsk ɑrˈsɛlvz: wət sɔrt əv ən ˌəndərˈstændɪŋ əv ˈgəvərnmənt fɔrmz ðə ˈbeɪsɪs əv ðiz prəˈpoʊzəlz? ˈsɪtɪzənz ʃʊd nɑt bi pʊt ˈəndər ˈʤɛnərəl suspicion.”*.” θil ɪz nɑt ðə fərst ˈbʊndɪsˌbɑŋk əˈfɪʃəl tɪ ˈpəblɪkli dɪˈfɛnd kæʃ. ˈbʊndɪsˌbɑŋk ˈprɛzɪdənt ʤɛnz ˈwaɪdmən wɔrnd ɪn ðə ˈænjuəl rɪˈpɔrt ðət ˈkɪlɪŋ ɔf haɪər dɪˌnɔməˈneɪʃən ˈbæŋkˌnoʊts, ə ˈpɑləsi səˈpɔrtɪd baɪ ˈprɛzɪdənt ˈmɑrioʊ draghi*, kʊd hæv ə dəˈbɪləˌteɪtɪŋ ˈifɛkt ɔn trəst ɪn kæʃ ɪn ˈʤɛnərəl ənd wʊd bi ““disastrous”*” ɪf ˈpipəl ˈstɑrtɪd tɪ bɪˈliv kæʃ wʊd bi əˈbɑlɪʃt ən əˈblik ˈrɛfərəns tɪ ðə rɪsk əv ˈnɛgətɪv ˈɪntəˌrɛst reɪts ənd ðə ˈɛskəˌleɪtɪŋ wɔr ɔn kæʃ ˈtrɪgərɪŋ ə rən ɔn kæʃ. ðə wɔl strit ˈʤərnəl əˈkjuzd ˈwaɪdmən əv ˈsɪmpli ˈtɔkɪŋ hɪz bʊk: ðə ˌjʊrəˈpiən ˈsɛntrəl bæŋk noʊ ˈlɔŋgər prəˈdusɪz ˈfɪgjərz ɔn wɛr haɪ dɪˌnɔməˈneɪʃən ˈbæŋkˌnoʊts ər ˈɪʃud, bət frəm ðə ˈɔnˌsɛt əv ðə ɪn 1999 tɪ ðə ɛnd əv 2009 ˈʤərməni ˈɪʃud ˈɔlˌmoʊst hæf əv ɔl ənd bɪlz ˈoʊvər ðə ˈdɛkeɪd. wɪn ə ˈsɛntrəl bæŋk ˈɪʃuz ˈfɪzɪkəl ˈkərənsi, ɪt geɪnz ˌsigˈniərɪʤ ˈɪnˌkəm. ɪt meɪks loʊnz ər baɪz sɪˈkjʊrətiz ðət du bɛr ˈɪntəˌrɛst waɪl ˈɪʃuɪŋ ˈjʊrə ˈbæŋkˌnoʊts ðət, soʊ ɪt meɪks ə ˈprɑfɪt ˈoʊvər time…*… ɪn ðə, ˌsigˈniərɪʤ ɪz puld, bət ɛz ðə ˈlɑrʤəst ɪn ðə blɑk, ðə ˈbʊndɪsˌbɑŋk gɪts ðə ˈbɪgəst ʧəŋk əv ðət ˈɪnˌkəm. ˌwəˈtɛvər ðə ˈmoʊtɪvz, ɪts ˌɑpəˈzɪʃən tɪ ˈfɪzɪkəl ˈkərənsi kʊd ɛnd əp ˈpruvɪŋ tɪ bi ə ˈvɛri ˈsaɪzəbəl θɔrn ɪn assassins’*’ haɪd. θil, rɪˈlɛntləsli ɪn hɪz spiʧ: ˈprɑmənənt ɪˈkɑnəmɪsts, səʧ ɛz ðə ˈfɔrmər ʧif ɪˈkɑnəmɪst əv ðə ˌɪnərˈnæʃənɑl ˈmɑnəˌtɛri fənd, ˈkɛnɪθ ˈrɑgɔf, hæv kɔld tɪ əˈbɑlɪʃ kæʃ fər ˈmɑnəˌtɛri ˈpɑləsi ˈpərpəsɪz, soʊ ðət bæŋks kʊd ɛnˈfɔrs ˈnɛgətɪv ˈɪntəˌrɛst əˈkrɔs ðə board.”*.” wʊd, ɪn maɪ vju, bi ðə rɔŋ rɪˈspɑns tɪ ðə ˈmɑnəˌtɛri ˈpɑləsi ˈʧælənʤɪz æt ðə ˈziroʊ loʊər baʊnd. ˌɪnˈstɛd əv ˌfaɪˈnænʃəl riˈprɛʃən ɪt wʊd meɪk məʧ mɔr sɛns tɪ dɪˈskəs haʊ ɪˈkɑnəmiz kʊd əˈʧiv ˈstrɔŋgər groʊθ əˈgɛn θru haɪər ˈɪntəˌrɛst rates.”*.” ɪn ɪts oʊn ˈstədi ɔn ðə juz əv kæʃ, ˈprɑmənəntli ˈfiʧərd ɔn ɪts təˈdeɪ, ðə ˈbʊndɪsˌbɑŋk faʊnd ðət dɪˈspaɪt ɔl ðə ˈmidiə haɪp ˈoʊvər ðə dɪˈmaɪz əv kæʃ, ˈfɪzɪkəl ˈkərənsiz stɪl rɪˈmeɪn kɪŋ əˈkrɔs ˈmɛni ədˈvænst ɪˈkɑnəmiz. ɪn ðə ˈstədi mɔr ðən kənˈsumərz ɪn ɔˈstreɪljə, ˈɔstriə, ˈkænədə, fræns, ˈʤərməni, ðə ˈnɛðərləndz, ənd ðə juˈnaɪtɪd steɪts kɛpt ə ˈrɪtən ˈrɛkərd əv wət ˈpeɪmənt ˈmɛθədz ðeɪ juzd. tərnz aʊt, kənˈsumərz stɪl ˈfrikwɛntli ɑpt fər kæʃ æt ðə pɔɪnt əv seɪl, ɪn səm ˈkəntriz mɔr soʊ ðən ˈəðərz. ðə rɪˈpɔrt ˌɪnˈkludɪd ðɪs ʧɑrt: ɪn tərmz əv ˈvɑljum, kæʃ əˈkaʊntɪd fər mɔr ðən 50 əv ˈpeɪmənt trænˈzækʃənz ɪn ɔl əv ðiz ˈkəntriz, wɪθ ðə ɪkˈsɛpʃən əv ðə ˈjuˈɛs. ɪn ˈʤərməni (də) ənd ˈɔstriə (æt) ˈoʊvər 80 əv kæʃ trænˈzækʃənz wər meɪd ˈjuzɪŋ kæʃ. ɪn boʊθ ˈkəntriz, kæʃ ˈpeɪmənts ˈɔlsoʊ ˈdɑməˌneɪtəd ɪn ˈvælju. ə ˈsɛpərˌeɪt ˈstədi baɪ ðə əˌsoʊʃiˈeɪʃən əv ˈʤərmən bæŋks faʊnd ðət ˈivɪn əˈməŋ millennials*, ˌtuˈθərdz prɪˈfər peɪɪŋ ɪn kæʃ tɪ ˌɪˌlɛkˈtrɑnɪk minz. ˈkruʃəl soʊ məʧ ðə ˈnəmbərz bət ðə ˈvɛri fækt ðət ðə ˈbʊndɪsˌbɑŋk ˈpəblɪʃɪz ðɪs taɪp əv rɪˈpɔrt soʊ ˈprɑmənəntli, ənd ɪn ˈɪŋlɪʃ soʊ ðət ˈɛvriˌwən kən rɛd ɪt. ən ˈɑbviəs pɑrt əv ɪts kæmˈpeɪn tɪ kip əˈlaɪv ɛz ə ʧɔɪs. ənd ɪn ˈʤərməni ənd ˈɔstriə, ðə plænz tɪ səˈprɛs kæʃ hæv ɔˈrɛdi prəˈvoʊkt ə ˈbæˌklæʃ. wɔnt ˈsəmˌwən tɪ bi ˈeɪbəl tɪ træk ˈdɪʤətəli wət wi baɪ, it ənd drɪŋk, wət bʊks wi rɛd ənd wət ˈmuviz wi watch,”*,” sɛd ˈɔstriən ˈdɛpjəti ɪˈkɑnəmi ˈmɪnɪstər ˈhɑrəld ɔn ˈreɪdiˌoʊ. wɪl faɪt ˈɛvriˌwɛr əˈgɛnst rules”*” ˌɪnˈkludɪŋ kæps ɔn kæʃ ˈpərʧəsɪz, hi sɛd. bɪg ˈtæblɔɪd ðə bɪld ˈpəblɪʃt ə ˈskeɪðɪŋ ˈoʊpən ˈlɛtər ˈtaɪtəld, ɔf ɑr cash,”*,” waɪl ə brɔd ˈspɛktrəm əv pəˈlɪtɪkəl ˈpɑrtiz kənˈdɛmd ðə prəˈpoʊzd ˈmɛʒərz ɛz ən əˈtæk ɔn ˈdætə prəˈtɛkʃən ənd ˈpraɪvəsi. ðə fækt ðət moʊst ˈpaʊərfəl ˈnæʃənəl ˈsɛntrəl bæŋk ɪz naʊ ˈfərmli əˈlaɪnd wɪθ ðə dɪˈfɛndərz əv ˈfɪzɪkəl kæʃ kʊd bi ə ˈvaɪtəl geɪm ˈʧeɪnʤər ɪn ðə wɔr əˈgɛnst kæʃ. ðə ˈbʊndɪsˌbɑŋk simz tɪ si ðə wɔr ɔn kæʃ ɛz ə wɔr ɔn ˈpərsɪnəl ˈfridəm ənd ʧɔɪs, ɪn ðə neɪm əv ˈseɪvɪŋ ə ˌfaɪˈnænʃəl ˈsɪstəm ənd ɪts əbˈsərd ˈnɛgətɪv ˈɪntəˌrɛst reɪts: wɔnt ˈsɪtɪzənz tɪ bi ˈeɪbəl tɪ peɪ ɪn ˌwəˈtɛvər fɔrm ðeɪ dɪˈzaɪər. əˈspɛʃəli ɪn ˈʤərməni, kæʃ ɪz pɑrt əv that,”*,” sɛd θil. ənd hi wɔrnd ðət ˈɔlˌweɪz daɪz bɪt baɪ bit.”*.” fju ˈkəntriz noʊ ðət ˈbɛtər ðən ˈʤərməni. baɪ dɑn quijones*, ˈreɪʤɪŋ bull-shit*. ˈbʊndɪsˌbɑŋk ˈprɛzɪdənt ˈwaɪdmən hæd pʊt ɪt ðɪs weɪ ə ˈkəpəl əv wiks əˈgoʊ: wʊd bi ˈfeɪtəl ɪf ˈsɪtɪzənz gɑt ðə ˌɪmˈprɛʃən ðət kæʃ ɪz ˈgræʤuəli ˈteɪkən əˈweɪ frəm them.”*.” |
amd’s server platform launch event this week in austin, was indeed in more ways than one. all puns with appropriate amounts of “i’ll believe it when i see it” skepticism mixed in for good naples platform architecture, along with its 7000 series of server processors, has key advantages versus current platform and likely the scalable offering as well. as highlighted previously, naples, which is internal code name for the server platform, stacks up really well in terms of core counts and processing resources but expansion options, as well as raw memory bandwidth, are significantly more robust.
amd has already demonstrated that its core performance is now roughly on par with intel with the launch of its high-end desktop processor chips, but now we see more clearly that zen was built from the ground up as a highly scalable, modular server platform first and foremost. for servers, amd not only has a advantage with 7000 series chips at the top of its stack, versus family (which is rumored to scale to next), but the platform also offers a full 128 lanes of dedicated express connectivity direct to the root complex, no switches or bridges required. what this means is you can hang more high bandwidth devices off the, like new instinct and for that matter, without having to compromise raw throughput or latency. and then when you compare aggregate memory bandwidth and capacity with’s memory controller versus design, again you see more opportunity to “feed the beast” as amd put it several times this week in sunny austin.
all that said, not so much the technical advantages of/naples, on paper, that have me bullish on the promise, it was the firm, committed show of support that major brought to the table for amd at the show, with big guns like dell and leading the way. specifically, on stage amd ceo dr. lisa su spent time with antonio neri, executive vp and of hewlett packard enterprise group, showcasing new servers based on and specific strengths versus platform in cloud services, software defined storage and data analytics.
further, server president and, ashley took the stage with forrest norrod, and of enterprise, embedded and group. norrod and wheeled out a server and demonstrated some of new secured encrypted technology to protect against memory attacks and compromises, as well as’s server advantages with higher core counts and more flexible expansion options in generation of servers.
all told it was a proverbial dog and pony show for amd, with not only a strong showing of big player system support, but also independent hardware and software vendor support with names like supermicro, xilinx, vmware, red hat and microsoft all stepping up to the plate as well.
amd’s server launch event was exactly what the company needed to show not just that major customers are kicking the tires with their new platform architecture, but that and with committed systems in play and serious skin in the game. partners at the event noted that amd-based systems will ship in market in the second half of this year. how much share amd will take is the $64,000 question but lucrative data center group is the high profit cash cow. if amd is able to chip off even 10% share it could mean billions in new, business for the company.
here’s a quick video demo of some amd server at the event. enjoy...
disclosure: i currently hold small positions in both and amd but in no way does this influence in my reporting on either company or its products. | amd’s* ˈsərvər ˈplætˌfɔrm lɔnʧ ɪˈvɛnt ðɪs wik ɪn ˈɔstən, wɑz ˌɪnˈdid ɪn mɔr weɪz ðən wən. ɔl pənz wɪθ əˈproʊpriˌeɪt əˈmaʊnts əv bɪˈliv ɪt wɪn aɪ si it”*” ˈskɛptɪˌsɪzəm mɪkst ɪn fər gʊd ˈneɪpəlz ˈplætˌfɔrm ˈɑrkəˌtɛkʧər, əˈlɔŋ wɪθ ɪts 7000 ˈsɪriz əv ˈsərvər ˈprɑˌsɛsərz, həz ki ædˈvæntɪʤɪz ˈvərsəz ˈkɑrənt ˈplætˌfɔrm ənd ˈlaɪkli ðə ˈskeɪləbəl ˈɔfərɪŋ ɛz wɛl. ɛz ˈhaɪˌlaɪtɪd ˈpriviəsli, ˈneɪpəlz, wɪʧ ɪz ˌɪnˈtərnəl koʊd neɪm fər ðə ˈsərvər ˈplætˌfɔrm, stæks əp ˈrɪli wɛl ɪn tərmz əv kɔr kaʊnts ənd ˈprɑsɛsɪŋ ˈrisɔrsɪz bət ɪkˈspænʧən ˈɔpʃənz, ɛz wɛl ɛz rɑ ˈmɛməri ˈbændwɪdθ, ər sɪgˈnɪfɪkəntli mɔr roʊˈbəst. ˈeɪˌɛmˈdi həz ɔˈrɛdi ˈdɛmənˌstreɪtɪd ðət ɪts kɔr pərˈfɔrməns ɪz naʊ ˈrəfli ɔn pɑr wɪθ ˌɪnˈtɛl wɪθ ðə lɔnʧ əv ɪts haɪɛnd ˈdɛskˌtɑp ˈprɑˌsɛsər ʧɪps, bət naʊ wi si mɔr ˈklɪrli ðət zɛn wɑz bɪlt frəm ðə graʊnd əp ɛz ə ˈhaɪli ˈskeɪləbəl, ˈmɑʤələr ˈsərvər ˈplætˌfɔrm fərst ənd ˈfɔrˌmoʊst. fər ˈsərvərz, ˈeɪˌɛmˈdi nɑt ˈoʊnli həz ə ædˈvæntɪʤ wɪθ 7000 ˈsɪriz ʧɪps æt ðə tɔp əv ɪts stæk, ˈvərsəz ˈfæməli (wɪʧ ɪz ˈrumərd tɪ skeɪl tɪ nɛkst), bət ðə ˈplætˌfɔrm ˈɔlsoʊ ˈɔfərz ə fʊl 128 leɪnz əv ˈdɛdəkeɪtəd ɪkˈsprɛs kənɛkˈtɪvɪti dɪˈrɛkt tɪ ðə rut ˈkɑmplɛks, noʊ sˈwɪʧɪz ər ˈbrɪʤɪz rikˈwaɪərd. wət ðɪs minz ɪz ju kən hæŋ mɔr haɪ ˈbændwɪdθ dɪˈvaɪsɪz ɔf ðə, laɪk nu ˈɪnstɪŋkt ənd fər ðət ˈmætər, wɪˈθaʊt ˈhævɪŋ tɪ ˈkɑmprəˌmaɪz rɑ θˈruˌpʊt ər ˈleɪtənsi. ənd ðɛn wɪn ju kəmˈpɛr ˈægrəgət ˈmɛməri ˈbændwɪdθ ənd kəˈpæsɪti wɪθ ˈmɛməri kənˈtroʊlər ˈvərsəz dɪˈzaɪn, əˈgɛn ju si mɔr ˌɑpərˈtunəti tɪ ðə beast”*” ɛz ˈeɪˌɛmˈdi pʊt ɪt ˈsɛvərəl taɪmz ðɪs wik ɪn ˈsəni ˈɔstən. ɔl ðət sɛd, nɑt soʊ məʧ ðə ˈtɛknɪkəl ædˈvæntɪʤɪz əv epyc/naples*, ɔn ˈpeɪpər, ðət hæv mi ˈbʊlɪʃ ɔn ðə ˈprɑməs, ɪt wɑz ðə fərm, kəˈmɪtɪd ʃoʊ əv səˈpɔrt ðət ˈmeɪʤər brɔt tɪ ðə ˈteɪbəl fər ˈeɪˌɛmˈdi æt ðə ʃoʊ, wɪθ bɪg gənz laɪk dɛl ənd ˈlidɪŋ ðə weɪ. spəˈsɪfɪkli, ɔn steɪʤ ˈeɪˌɛmˈdi ˈsiˌiˈoʊ ˈdɑktər. ˈlisə su spɛnt taɪm wɪθ ænˈtoʊnioʊ ˈnɛri, ɪgˈzɛkjətɪv ˌviˈpi ənd əv ˈhjulɪt ˈpækərd ˈɛnərˌpraɪz grup, ˈʃoʊkeɪsɪŋ nu ˈsərvərz beɪst ɔn ənd spɪˈsɪfɪk strɛŋθs ˈvərsəz ˈplætˌfɔrm ɪn klaʊd ˈsərvɪsɪz, ˈsɔfˌwɛr dɪˈfaɪnd ˈstɔrɪʤ ənd ˈdætə ˌænəˈlɪtɪks. ˈfərðər, ˈsərvər ˈprɛzɪdənt ənd, ˈæʃli tʊk ðə steɪʤ wɪθ ˈfɔrəst ˈnɔrəd, ənd əv ˈɛnərˌpraɪz, ɛmˈbɛdɪd ənd grup. ˈnɔrəd ənd wild aʊt ə ˈsərvər ənd ˈdɛmənˌstreɪtɪd səm əv nu sɪˈkjʊrd ɪnˈkrɪptɪd tɛkˈnɑləʤi tɪ prəˈtɛkt əˈgɛnst ˈmɛməri əˈtæks ənd ˈkɑmprəˌmaɪzɪz, ɛz wɛl ɛz ˈsərvər ædˈvæntɪʤɪz wɪθ haɪər kɔr kaʊnts ənd mɔr ˈflɛksəbəl ɪkˈspænʧən ˈɔpʃənz ɪn ˌʤɛnərˈeɪʃən əv ˈsərvərz. ɔl toʊld ɪt wɑz ə prəˈvərbiəl dɔg ənd ˈpoʊˌni ʃoʊ fər ˈeɪˌɛmˈdi, wɪθ nɑt ˈoʊnli ə strɔŋ ʃoʊɪŋ əv bɪg pleɪər ˈsɪstəm səˈpɔrt, bət ˈɔlsoʊ ˌɪndɪˈpɛndənt ˈhɑrdˌwɛr ənd ˈsɔfˌwɛr ˈvɛndər səˈpɔrt wɪθ neɪmz laɪk supermicro*, ˈzaɪˌlɪŋks, vmware*, rɛd hæt ənd ˈmaɪˌkroʊˈsɔft ɔl ˈstɛpɪŋ əp tɪ ðə pleɪt ɛz wɛl. ˈsərvər lɔnʧ ɪˈvɛnt wɑz ɪgˈzæktli wət ðə ˈkəmpəˌni ˈnidɪd tɪ ʃoʊ nɑt ʤɪst ðət ˈmeɪʤər ˈkəstəmərz ər ˈkɪkɪŋ ðə taɪərz wɪθ ðɛr nu ˈplætˌfɔrm ˈɑrkəˌtɛkʧər, bət ðət ənd wɪθ kəˈmɪtɪd ˈsɪstəmz ɪn pleɪ ənd ˈsɪriəs skɪn ɪn ðə geɪm. ˈpɑrtnərz æt ðə ɪˈvɛnt ˈnoʊtɪd ðət ˈeɪˌɛmˈdi ˈsɪstəmz wɪl ʃɪp ɪn ˈmɑrkɪt ɪn ðə ˈsɛkənd hæf əv ðɪs jɪr. haʊ məʧ ʃɛr ˈeɪˌɛmˈdi wɪl teɪk ɪz ðə kˈwɛʃən bət ˈlukrətɪv ˈdætə ˈsɛnər grup ɪz ðə haɪ ˈprɑfɪt kæʃ kaʊ. ɪf ˈeɪˌɛmˈdi ɪz ˈeɪbəl tɪ ʧɪp ɔf ˈivɪn 10 ʃɛr ɪt kʊd min ˈbɪljənz ɪn nu, ˈbɪznɪs fər ðə ˈkəmpəˌni. ə kwɪk ˈvɪdioʊ ˈdɛmoʊ əv səm ˈeɪˌɛmˈdi ˈsərvər æt ðə ɪˈvɛnt. ˌɛnˈʤɔɪ... dɪˈskloʊʒər: aɪ ˈkərəntli hoʊld smɔl pəˈzɪʃənz ɪn boʊθ ənd ˈeɪˌɛmˈdi bət ɪn noʊ weɪ dɪz ðɪs ˈɪnfluəns ɪn maɪ rɪˈpɔrtɪŋ ɔn ˈiðər ˈkəmpəˌni ər ɪts ˈprɑdəkts. |
the powerhouse of obsidian is partnering with paradox interactive to help market and publish its pillars of eternity.
you might not put the two companies together in your head - one createss like knights of the old republic 2, fallout: new vegas and the recent south park: stick of truth, while the other is known for grand strategy games like europa and crusader kings. paradox interactive is based in stockholm, sweden, while obsidian entertainment is in irvine, california. the two companies don't exactly match up on paper, but paradox ceo wester and obsidian studio head urquhart said in a special press conference at 2014 that there's more in common than you might think. perhaps that's why they've announced the two have entered a partnership for the game pillars of eternity. obsidian will use all of the $4 million raised on to develop the game while paradox will invest its own capital to market and distribute pillars of eternity.
"we are partnering up with some awesome world-class developers," wester said. "we are hoping this is a long-term relationship as we have a lot in common with the obsidian guys."
"we are fans of paradox games," urquhart said. "we couldn't have done what we are doing without our backers. publishers look at $500,000 games and $20 million games, and pillars of eternity fell in the middle."
the two were careful to point out that this is a business partnership only. paradox will not have any hand in the development or design of the game, and obsidian is not handing over any of the funds raised on to paradox. instead, this partnership frees obsidian up from having to worry about marketing, meeting with press, heading to trade shows, or setting up distribution models. urquhart and his team can focus on making pillars of eternity, and screw all the business stuff. fulfillment will also be handled by paradox.
paradox will obviously earn some percentage of sales once the game lands on marketplaces like steam - wester is a nice guy but he's by no means an altruist. the whole arrangement is unique in that a publisher has never assisted a large project like this, and we're interested to see whether this kind of deal is something we'll see games like star citizen or wasteland 2. | ðə ˈpaʊərˌhaʊs əv əbˈsɪdiən ɪz ˈpɑrtnərɪŋ wɪθ ˈpɛrəˌdɑks ˌɪnərˈæktɪv tɪ hɛlp ˈmɑrkɪt ənd ˈpəblɪʃ ɪts ˈpɪlərz əv ɪˈtərnəti. ju maɪt nɑt pʊt ðə tu ˈkəmpəˌniz təˈgɛðər ɪn jʊr hɛd wən kriˈeɪts laɪk naɪts əv ðə oʊld riˈpəblɪk 2 ˈfɔˌlaʊt: nu ˈveɪgəs ənd ðə ˈrisənt saʊθ pɑrk: stɪk əv truθ, waɪl ðə ˈəðər ɪz noʊn fər grænd ˈstrætəʤi geɪmz laɪk jʊˈroʊpə ənd kruˈseɪdər kɪŋz. ˈpɛrəˌdɑks ˌɪnərˈæktɪv ɪz beɪst ɪn ˈstɑˌkhoʊlm, sˈwidən, waɪl əbˈsɪdiən ˌɛnərˈteɪnmənt ɪz ɪn ˈərvaɪn, ˌkæləˈfɔrnjə. ðə tu ˈkəmpəˌniz doʊnt ɪgˈzæktli mæʧ əp ɔn ˈpeɪpər, bət ˈpɛrəˌdɑks ˈsiˌiˈoʊ ˈwɛstər ənd əbˈsɪdiən ˈstudiˌoʊ hɛd ˈərˌkɑrt sɛd ɪn ə ˈspɛʃəl prɛs ˈkɑnfərəns æt 2014 ðət ðɛrz mɔr ɪn ˈkɑmən ðən ju maɪt θɪŋk. pərˈhæps ðæts waɪ ðeɪv əˈnaʊnst ðə tu hæv ˈɛnərd ə ˈpɑrtnərˌʃɪp fər ðə geɪm ˈpɪlərz əv ɪˈtərnəti. əbˈsɪdiən wɪl juz ɔl əv ðə 4 ˈmɪljən reɪzd ɔn tɪ dɪˈvɛləp ðə geɪm waɪl ˈpɛrəˌdɑks wɪl ˌɪnˈvɛst ɪts oʊn ˈkæpɪtəl tɪ ˈmɑrkɪt ənd dɪˈstrɪbjut ˈpɪlərz əv ɪˈtərnəti. "wi ər ˈpɑrtnərɪŋ əp wɪθ səm ˈɔsəm ˈwərldˌklæs dɪˈvɛləpərz," ˈwɛstər sɛd. "wi ər ˈhoʊpɪŋ ðɪs ɪz ə ˈlɔŋˈtərm riˈleɪʃənˌʃɪp ɛz wi hæv ə lɔt ɪn ˈkɑmən wɪθ ðə əbˈsɪdiən gaɪz." "wi ər fænz əv ˈpɛrəˌdɑks geɪmz," ˈərˌkɑrt sɛd. "wi ˈkʊdənt hæv dən wət wi ər duɪŋ wɪˈθaʊt ɑr ˈbækərz. ˈpəblɪʃərz lʊk æt geɪmz ənd 20 ˈmɪljən geɪmz, ənd ˈpɪlərz əv ɪˈtərnəti fɛl ɪn ðə ˈmɪdəl." ðə tu wər ˈkɛrfəl tɪ pɔɪnt aʊt ðət ðɪs ɪz ə ˈbɪznɪs ˈpɑrtnərˌʃɪp ˈoʊnli. ˈpɛrəˌdɑks wɪl nɑt hæv ˈɛni hænd ɪn ðə dɪˈvɛləpmənt ər dɪˈzaɪn əv ðə geɪm, ənd əbˈsɪdiən ɪz nɑt ˈhændɪŋ ˈoʊvər ˈɛni əv ðə fəndz reɪzd ɔn tɪ ˈpɛrəˌdɑks. ˌɪnˈstɛd, ðɪs ˈpɑrtnərˌʃɪp friz əbˈsɪdiən əp frəm ˈhævɪŋ tɪ ˈwəri əˈbaʊt ˈmɑrkətɪŋ, ˈmitɪŋ wɪθ prɛs, ˈhɛdɪŋ tɪ treɪd ʃoʊz, ər ˈsɛtɪŋ əp ˌdɪstrəˈbjuʃən ˈmɑdəlz. ˈərˌkɑrt ənd hɪz tim kən ˈfoʊkɪs ɔn ˈmeɪkɪŋ ˈpɪlərz əv ɪˈtərnəti, ənd skru ɔl ðə ˈbɪznɪs stəf. fʊlˈfɪlmənt wɪl ˈɔlsoʊ bi ˈhændəld baɪ ˈpɛrəˌdɑks. ˈpɛrəˌdɑks wɪl ˈɑbviəsli ərn səm pərˈsɛnɪʤ əv seɪlz wəns ðə geɪm lændz ɔn ˈmɑrkətˌpleɪsɪz laɪk stim ˈwɛstər ɪz ə nis gaɪ bət hiz baɪ noʊ minz ən altruist*. ðə hoʊl ərˈeɪnʤmənt ɪz juˈnik ɪn ðət ə ˈpəblɪʃər həz ˈnɛvər əˈsɪstɪd ə lɑrʤ ˈprɑʤɛkt laɪk ðɪs, ənd wɪr ˈɪntəˌrɛstɪd tɪ si ˈwɛðər ðɪs kaɪnd əv dil ɪz ˈsəmθɪŋ wɪl si geɪmz laɪk stɑr ˈsɪtɪzən ər ˈweɪˌstlænd 2 |
in a blog post for the times of israel entitled "does this war make me look fat?" author rachel weinstein describes how "war is bad for the waistline".
see related gaza conflict: the social media front line
the author says she has gained weight during the conflict, which has killed almost palestinians, because the "war is stressful".
weinstein, who lives in beit shemesh, an area largely unaffected by the current fighting, says she has been eating more during the conflict in order to the worry, the fear, and the reality that we are in".
she admits that her argument "sounds ridiculous" but says it is one affecting many of her friends in israel. she also claimed that she was "unabashedly jealous" of people who could not eat during times of stress and were able to lose weight.
"i look forward to the day when this war is over, when missiles are no longer aimed at us", she writes, when she can look back and say "they tried to kill us, we won, let's eat!"
the blog has caused outrage across social media, with users calling the article "insensitive", "shameful" and "disgusting".
while palestinians have died, one israeli frets that the war is making her fat because she's comfort eating.
http://t.co/cdbp8sk0ji michael (@michaeltheodoul) august 4, 2014
a us american colonist in palestine wrote an essay about how hard it is not to binge eat while her country bombs gaza folksy torture (@onekade) august 4, 2014
disgustingly commentary from israeli writer: does this war make me look fat? via órfhlaith ní c (@orfhlaithnic) august 4, 2014
it is the second time in less than a week that the times of israel has faced criticism of one of its blogs. last week, a post with the headline "when genocide is permissible" caused outrage on social media.
"what other way then is there to deal with an enemy of this nature other than obliterate them completely?" israeli blogger gordon wrote on the paper's website.
a tip: if you ever write anything on any topic, and the headline is "when genocide is permissable," stop writing stephen silver (@stephensilver) august 1, 2014
the times of israel quickly removed the blog post, describing it as "unacceptable" and saying editors were "angry and appalled" at the author. | ɪn ə blɔg poʊst fər ðə taɪmz əv ˈɪzriəl ɛnˈtaɪtəld "dɪz ðɪs wɔr meɪk mi lʊk fæt?" ˈɔθər ˈreɪʧəl ˈwaɪnˌstin dɪˈskraɪbz haʊ "wɔr ɪz bæd fər ðə ˈweɪˌstlaɪn". si rɪˈleɪtɪd ˈgɑzə ˈkɑnflɪkt: ðə ˈsoʊʃəl ˈmidiə frənt laɪn ðə ˈɔθər sɪz ʃi həz geɪnd weɪt ˈdʊrɪŋ ðə ˈkɑnflɪkt, wɪʧ həz kɪld ˈɔlˌmoʊst ˌpælɪˈstɪniənz, bɪˈkəz ðə "wɔr ɪz ˈstrɛsfəl". ˈwaɪnˌstin, hu lɪvz ɪn beɪt shemesh*, ən ˈɛriə ˈlɑrʤli ˌənəˈfɛktɪd baɪ ðə ˈkɑrənt ˈfaɪtɪŋ, sɪz ʃi həz bɪn ˈitɪŋ mɔr ˈdʊrɪŋ ðə ˈkɑnflɪkt ɪn ˈɔrdər tɪ ðə ˈwəri, ðə fɪr, ənd ðə ˌriˈæləˌti ðət wi ər ɪn". ʃi ədˈmɪts ðət hər ˈɑrgjəmənt "saʊnz rɪˈdɪkjələs" bət sɪz ɪt ɪz wən əˈfɛktɪŋ ˈmɛni əv hər frɛndz ɪn ˈɪzriəl. ʃi ˈɔlsoʊ kleɪmd ðət ʃi wɑz "ˌənəˈbæʃɪdli ˈʤɛləs" əv ˈpipəl hu kʊd nɑt it ˈdʊrɪŋ taɪmz əv strɛs ənd wər ˈeɪbəl tɪ luz weɪt. "aɪ lʊk ˈfɔrwərd tɪ ðə deɪ wɪn ðɪs wɔr ɪz ˈoʊvər, wɪn ˈmɪsəlz ər noʊ ˈlɔŋgər eɪmd æt ˈjuˈɛs", ʃi raɪts, wɪn ʃi kən lʊk bæk ənd seɪ "ðeɪ traɪd tɪ kɪl ˈjuˈɛs, wi wən, lɛts it!" ðə blɔg həz kɔzd ˈaʊˌtreɪʤ əˈkrɔs ˈsoʊʃəl ˈmidiə, wɪθ ˈjuzərz ˈkɔlɪŋ ðə ˈɑrtɪkəl "ˌɪnˈsɛnsɪtɪv", "ˈʃeɪmfəl" ənd "dɪsˈgəstɪŋ". waɪl ˌpælɪˈstɪniənz hæv daɪd, wən ˌɪzˈreɪli frɛts ðət ðə wɔr ɪz ˈmeɪkɪŋ hər fæt bɪˈkəz ʃiz ˈkəmfərt ˈitɪŋ. ˈmaɪkəl (@michaeltheodoul*) ˈɔgəst 4 2014 ə ˈjuˈɛs əˈmɛrɪkən ˈkɑlənɪst ɪn ˈpæləˌstaɪn roʊt ən ˈɛˌseɪ əˈbaʊt haʊ hɑrd ɪt ɪz nɑt tɪ bɪnʤ it waɪl hər ˈkəntri bɑmz ˈgɑzə ˈfoʊksi ˈtɔrʧər (@onekade*) ˈɔgəst 4 2014 ˈkɑmənˌtɛri frəm ˌɪzˈreɪli ˈraɪtər: dɪz ðɪs wɔr meɪk mi lʊk fæt? ˈviə ní*í si (@orfhlaithnic*) ˈɔgəst 4 2014 ɪt ɪz ðə ˈsɛkənd taɪm ɪn lɛs ðən ə wik ðət ðə taɪmz əv ˈɪzriəl həz feɪst ˈkrɪtɪˌsɪzəm əv wən əv ɪts blɔgz. læst wik, ə poʊst wɪθ ðə ˈhɛˌdlaɪn "wɪn ˈʤɛnəˌsaɪd ɪz pərˈmɪsəbəl" kɔzd ˈaʊˌtreɪʤ ɔn ˈsoʊʃəl ˈmidiə. "wət ˈəðər weɪ ðɛn ɪz ðɛr tɪ dil wɪθ ən ˈɛnəmi əv ðɪs ˈneɪʧər ˈəðər ðən əˈblɪtərˌeɪt ðɛm kəmˈplitli?" ˌɪzˈreɪli ˈblɔgər ˈgɔrdən roʊt ɔn ðə ˈpeɪpərz ˈwɛbˌsaɪt. ə tɪp: ɪf ju ˈɛvər raɪt ˈɛniˌθɪŋ ɔn ˈɛni ˈtɑpɪk, ənd ðə ˈhɛˌdlaɪn ɪz "wɪn ˈʤɛnəˌsaɪd ɪz permissable*," stɑp ˈraɪtɪŋ ˈstivən ˈsɪlvər (@stephensilver*) ˈɔgəst 1 2014 ðə taɪmz əv ˈɪzriəl kˈwɪkli riˈmuvd ðə blɔg poʊst, dɪˈskraɪbɪŋ ɪt ɛz "ˌənækˈsɛptəbəl" ənd seɪɪŋ ˈɛdɪtərz wər "ˈæŋgri ənd əˈpɔld" æt ðə ˈɔθər. |
nocturnal breed premiere new song ‘cursed beyond recognition’ exclusively with
norwegian blackened thrash maniacs nocturnal breed have joined forces with to premiere a brand new song, taken from ‘napalm nights’, their first album in seven years!
the band was formed back in 1996 by past and present members of borgir, satyricon, aeternus, and gehenna. the current lineup includes s.a. destroyer on bass and vocals, tex terror behind the drums, as well as original guitarist i.maztor, recently reunited with the band, and a brand-new member, guitaris, v.fineideath.
‘napalm is the fifth album to date, and features 10 tracks of evil, snarling metal fury, including guest backing vocals from of the mighty on several songs. ‘cursed beyond recognition’ is one of the most ominous, slow burning numbers, and should give you a hint of the dark sounds that await you on this record.
check it out below…
‘napalm nights’ is due to be released on march via records.
you can find nocturnal breed on facebook. | nɑkˈtərnəl brid prɛˈmɪr nu sɔŋ bɪɔnd recognition’*’ ɪkˈsklusɪvli wɪθ ˌnɔrˈwiʤən ˈblækənd θræʃ ˈmeɪniˌæks nɑkˈtərnəl brid hæv ʤɔɪnd ˈfɔrsɪz wɪθ tɪ prɛˈmɪr ə brænd nu sɔŋ, ˈteɪkən frəm nights’*’, ðɛr fərst ˈælbəm ɪn ˈsɛvən jɪrz! ðə bænd wɑz fɔrmd bæk ɪn 1996 baɪ pæst ənd ˈprɛzənt ˈmɛmbərz əv borgir*, satyricon*, aeternus*, ənd gehenna*. ðə ˈkɑrənt ˈlaɪˌnəp ˌɪnˈkludz s.a*. dɪˈstrɔɪər ɔn bæs ənd ˈvoʊkəlz, tɛks ˈtɛrər bɪˈhaɪnd ðə drəmz, ɛz wɛl ɛz ərˈɪʤənəl ˌgɪˈtɑrɪst i.maztor*, ˈrisəntli ˌriuˈnaɪtɪd wɪθ ðə bænd, ənd ə ˈbrændˌnu ˈmɛmbər, guitaris*, v.fineideath*. ɪz ðə fɪθ ˈælbəm tɪ deɪt, ənd ˈfiʧərz 10 træks əv ˈivəl, sˈnɑrlɪŋ ˈmɛtəl fˈjʊri, ˌɪnˈkludɪŋ gɛst ˈbækɪŋ ˈvoʊkəlz frəm əv ðə ˈmaɪti ɔn ˈsɛvərəl sɔŋz. bɪɔnd recognition’*’ ɪz wən əv ðə moʊst ˈɑmənəs, sloʊ ˈbərnɪŋ ˈnəmbərz, ənd ʃʊd gɪv ju ə hɪnt əv ðə dɑrk saʊnz ðət əˈweɪt ju ɔn ðɪs ˈrɛkərd. ʧɛk ɪt aʊt below…*… nights’*’ ɪz du tɪ bi riˈlist ɔn mɑrʧ ˈviə ˈrɛkərdz. ju kən faɪnd nɑkˈtərnəl brid ɔn ˈfeɪsˌbʊk. |
the murder edit
marat (24 may 1743 13 july 1793, century france) was one of the leaders of the montagnards, the radical faction ascendant in french politics during the reign of terror until the reaction. charlotte corday was a from a minor aristocratic family and a political enemy of who blamed him for the september massacre. she gained entrance to's rooms with a note promising details of a ring in caen. suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. corday fatally stabbed, but she did not attempt to flee. she was later tried and executed for the murder.
david's politics edit
as well as being the leading french painter of his generation, david was a prominent montagnard, and a jacobin, aligned with and maximilian robespierre. a deputy of the museum section at the convention, he voted for the death of the king, and served on the committee of general security, where he actively participated in the sentencing and imprisonment of many and eventually presided over the "section des interrogatoires". he was also on the committee of public]
style edit
the death of showing the paper held in's left hand. the letter reads (in french) "il que je bien pour a bienveillance" or in english, "given that i am unhappy, i have a right to your help" detail the paper held in's left hand. the letter reads (in french) "il que je bien pour a bienveillance" or in english, "given that i am unhappy, i have a right to your help"'s figure is] for example, the painting contains no sign of his skin problems, his skin appears clean and unblemished. david, however, drew other details from his visit to's residence the day before the assassination: the green rug, the papers, and the pen. david promised his peers in the national convention that he would later depict their murdered friend as "écrivant pour le du peuple" (writing for the good of the people). the death of is designed to commemorate a personable hero. although the name charlotte corday can be seen on the paper held in's left hand, she herself is not visible. close inspection of this painting shows at his last breath, when corday and many others were still nearby (corday did not try to escape). therefore, david intended to record more than just the horror of] in this sense, for realistic as it is in its details, the painting, as a whole, from its start, is a methodical construction focusing on the victim, a striking set up regarded today by several critics as an "awful beautiful lie"— certainly not a photograph in the forensic scientific sense and barely the simple image it may seem (for instance, in the painting, the knife is not to be seen where corday had left it impaled in's chest, but on the ground, beside the bathtub). the death of has often been compared to michelangelo's pietà. note the elongated arm hanging down in both works. david admired works, especially entombment of christ, which mirrors the death of's drama and light. david sought to transfer the sacred qualities long associated with the monarchy and the catholic church to the new french republic. he painted, martyr of the revolution, in a style reminiscent of a christian martyr, with the face and body bathed in a soft, glowing] as christian art had done from its beginning, david also played with references to classical art. suggestions that paris could compete with rome as capital and mother city of the arts and the idea of forming a kind of new roman republic appealed to french revolutionaries, who often formed david's audience.
later history edit
in popular culture edit
bibliography edit | ðə ˈmərdər ˈɛdət 24 meɪ 1743 13 ˌʤuˈlaɪ 1793 ˈsɛnʧəri fræns) wɑz wən əv ðə ˈlidərz əv ðə montagnards*, ðə ˈrædɪkəl ˈfækʃən əˈsɛndənt ɪn frɛnʧ ˈpɑləˌtɪks ˈdʊrɪŋ ðə reɪn əv ˈtɛrər ənˈtɪl ðə riˈækʃən. ˈʃɑrlət ˈkɔrˌdeɪ wɑz ə frəm ə ˈmaɪnər ərˌɪstəˈkrætɪk ˈfæməli ənd ə pəˈlɪtɪkəl ˈɛnəmi əv hu bleɪmd ɪm fər ðə sɛpˈtɛmbər ˈmæsəkər. ʃi geɪnd ˈɛntrəns tɪ rumz wɪθ ə noʊt ˈprɑməsɪŋ ˈditeɪlz əv ə rɪŋ ɪn kɑn. ˈsəfərd frəm ə skɪn kənˈdɪʃən ðət kɔzd ɪm tɪ spɛnd məʧ əv hɪz taɪm ɪn hɪz ˈbæθtəb; hi wʊd ˈɔfən wərk ðɛr. ˈkɔrˌdeɪ ˈfeɪtəli stæbd, bət ʃi dɪd nɑt əˈtɛmpt tɪ fli. ʃi wɑz ˈleɪtər traɪd ənd ˈɛksəˌkjutɪd fər ðə ˈmərdər. ˈdeɪvɪdz ˈpɑləˌtɪks ˈɛdət ɛz wɛl ɛz biɪŋ ðə ˈlidɪŋ frɛnʧ ˈpeɪnər əv hɪz ˌʤɛnərˈeɪʃən, ˈdeɪvɪd wɑz ə ˈprɑmənənt montagnard*, ənd ə ˈʤækəbɪn, əˈlaɪnd wɪθ ənd ˌmæksɪˈmɪliən robespierre*. ə ˈdɛpjəti əv ðə mˈjuziəm ˈsɛkʃən æt ðə kənˈvɛnʃən, hi ˈvoʊtɪd fər ðə dɛθ əv ðə kɪŋ, ənd sərvd ɔn ðə kəˈmɪti əv ˈʤɛnərəl sɪˈkjʊrəti, wɛr hi ˈæktɪvli pɑrˈtɪsəˌpeɪtɪd ɪn ðə ˈsɛntənsɪŋ ənd ˌɪmˈprɪzənmənt əv ˈmɛni ənd ɪˈvɛnʧəwəli prɪˈzaɪdɪd ˈoʊvər ðə "ˈsɛkʃən dɪ interrogatoires*". hi wɑz ˈɔlsoʊ ɔn ðə kəˈmɪti əv ˈpəblɪk staɪl ˈɛdət ðə dɛθ əv ʃoʊɪŋ ðə ˈpeɪpər hɛld ɪn lɛft hænd. ðə ˈlɛtər ridz (ɪn frɛnʧ) "ɪl kju ʤi bin pɔr ə bienveillance*" ər ɪn ˈɪŋlɪʃ, "ˈgɪvɪn ðət aɪ æm ənˈhæpi, aɪ hæv ə raɪt tɪ jʊr hɛlp" ˈditeɪl ðə ˈpeɪpər hɛld ɪn lɛft hænd. ðə ˈlɛtər ridz (ɪn frɛnʧ) "ɪl kju ʤi bin pɔr ə bienveillance*" ər ɪn ˈɪŋlɪʃ, "ˈgɪvɪn ðət aɪ æm ənˈhæpi, aɪ hæv ə raɪt tɪ jʊr hɛlp" ˈfɪgjər ɪz fər ɪgˈzæmpəl, ðə ˈpeɪnɪŋ kənˈteɪnz noʊ saɪn əv hɪz skɪn ˈprɑbləmz, hɪz skɪn əˈpɪrz klin ənd ənˈblɛmɪʃt. ˈdeɪvɪd, ˌhaʊˈɛvər, dru ˈəðər ˈditeɪlz frəm hɪz ˈvɪzɪt tɪ ˈrɛzɪdəns ðə deɪ ˌbiˈfɔr ðə əˌsæsəˈneɪʃən: ðə grin rəg, ðə ˈpeɪpərz, ənd ðə pɛn. ˈdeɪvɪd ˈprɑməst hɪz pɪrz ɪn ðə ˈnæʃənəl kənˈvɛnʃən ðət hi wʊd ˈleɪtər dɪˈpɪkt ðɛr ˈmərdərd frɛnd ɛz pɔr lə də peuple*" (ˈraɪtɪŋ fər ðə gʊd əv ðə ˈpipəl). ðə dɛθ əv ɪz dɪˈzaɪnd tɪ kəˈmɛmərˌeɪt ə ˈpərsənəbəl ˈhɪroʊ. ˌɔlˈðoʊ ðə neɪm ˈʃɑrlət ˈkɔrˌdeɪ kən bi sin ɔn ðə ˈpeɪpər hɛld ɪn lɛft hænd, ʃi hərˈsɛlf ɪz nɑt ˈvɪzəbəl. kloʊz ˌɪnˈspɛkʃən əv ðɪs ˈpeɪnɪŋ ʃoʊz æt hɪz læst brɛθ, wɪn ˈkɔrˌdeɪ ənd ˈmɛni ˈəðərz wər stɪl ˈnɪrˈbaɪ (ˈkɔrˌdeɪ dɪd nɑt traɪ tɪ ɪˈskeɪp). ˈðɛrˌfɔr, ˈdeɪvɪd ˌɪnˈtɛndɪd tɪ ˈrɛkərd mɔr ðən ʤɪst ðə ˈhɔrər əv ɪn ðɪs sɛns, fər ˌriəˈlɪstɪk ɛz ɪt ɪz ɪn ɪts ˈditeɪlz, ðə ˈpeɪnɪŋ, ɛz ə hoʊl, frəm ɪts stɑrt, ɪz ə məˈθɑdɪkəl kənˈstrəkʃən ˈfoʊkɪsɪŋ ɔn ðə ˈvɪktɪm, ə ˈstraɪkɪŋ sɛt əp rɪˈgɑrdɪd təˈdeɪ baɪ ˈsɛvərəl ˈkrɪtɪks ɛz ən "ˈɔfəl ˈbjutəfəl lie"—*"— ˈsərtənli nɑt ə ˈfoʊtəˌgræf ɪn ðə ˌfɔˈrɛnsɪk ˌsaɪənˈtɪfɪk sɛns ənd ˈbɛrli ðə ˈsɪmpəl ˈɪmɪʤ ɪt meɪ sim (fər ˈɪnstəns, ɪn ðə ˈpeɪnɪŋ, ðə naɪf ɪz nɑt tɪ bi sin wɛr ˈkɔrˌdeɪ hæd lɛft ɪt ˌɪmˈpeɪld ɪn ʧɛst, bət ɔn ðə graʊnd, ˌbiˈsaɪd ðə ˈbæθtəb). ðə dɛθ əv həz ˈɔfən bɪn kəmˈpɛrd tɪ ˌmɪkəˈlænʤəˌloʊz pietà*à. noʊt ðə ɪˈlɔŋgeɪtəd ɑrm ˈhæŋɪŋ daʊn ɪn boʊθ wərks. ˈdeɪvɪd ədˈmaɪərd wərks, əˈspɛʃəli ɪnˈtummənt əv kraɪst, wɪʧ ˈmɪrərz ðə dɛθ əv ˈdrɑmə ənd laɪt. ˈdeɪvɪd sɔt tɪ ˈtrænsfər ðə ˈseɪkrɪd kˈwɑlətiz lɔŋ əˈsoʊʃiˌeɪtəd wɪθ ðə ˈmɑnɑrki ənd ðə ˈkæθlɪk ʧərʧ tɪ ðə nu frɛnʧ riˈpəblɪk. hi ˈpeɪnɪd, ˈmɑrtər əv ðə ˌrɛvəˈluʃən, ɪn ə staɪl ˌrɛməˈnɪsənt əv ə ˈkrɪsʧɪn ˈmɑrtər, wɪθ ðə feɪs ənd ˈbɑdi beɪðd ɪn ə sɔft, gloʊɪŋ ɛz ˈkrɪsʧɪn ɑrt hæd dən frəm ɪts bɪˈgɪnɪŋ, ˈdeɪvɪd ˈɔlsoʊ pleɪd wɪθ ˈrɛfərənsɪz tɪ ˈklæsɪkəl ɑrt. səˈʤɛsʧənz ðət ˈpɛrɪs kʊd kəmˈpit wɪθ roʊm ɛz ˈkæpɪtəl ənd ˈməðər ˈsɪti əv ðə ɑrts ənd ðə aɪˈdiə əv ˈfɔrmɪŋ ə kaɪnd əv nu ˈroʊmən riˈpəblɪk əˈpild tɪ frɛnʧ ˌrɛvəˈluʃəˌnɛriz, hu ˈɔfən fɔrmd ˈdeɪvɪdz ˈɔdiəns. ˈleɪtər ˈhɪstəri ˈɛdət ɪn ˈpɑpjələr ˈkəlʧər ˈɛdət ˌbɪbliˈɑgrəfi ˈɛdət |
the victorians had a very peculiar tradition of in cemeteries. after the death of queen hubby in 1861, the entire country donned their mourning attire. for forty years. (to be fair, victoria only asked her court for three years of goth gear. moved by her dedication to prince albert, they persisted in continuing the tradition until the death, at which point the custom was put to rest, and so began the edwardian period in britain.)
i’d like to say the tendency to accessorize all in black, cover the household mirrors with black crepe, commemorate their loved ones with trinkets of their hair wrapped delicately in lockets, or photographing their remains in very lifelike poses with the remaining members of the family surrounding the body is the subject of this post in due time, i hope to touch on at least some of this stuff but today i want you and i to indulge in a tradition that gladly resurrected in my own life:
picnicking in cemeteries.
so grab a sandwich, and have a little chat about what it was like to die in victorian london.
a little bit of
while doing research for the book been working on, i came across a couple of interesting tidbits: london was a foggy, congested, dirty city in the 1800’s. the industrial revolution, thick fogs regularly rolled through due to the mixture of soot and sulfur dioxide from residential chimneys and factories mixing with mist rolling off the thames. it created the perfect cover for the jack the ripper murders, and of course, the climate coupled with a lack of proper sanitation bred pestilence: scarlet fever, cholera, typhus, measles, influenza, diphtheria you name it, you could die from it.
one in three infants make it to their first birthday. in a population of billion where folks were often buried in churchyards, not hard to imagine that burial grounds got overcrowded pretty quick. add to that the increasing number of bodies being snatched from their resting places, people occasionally being buried alive (whoops!), and bodies exposed and rotting because they buried deep enough (two feet was the minimum a big difference from today, where it ranges anywhere from six to twelve, and sometimes more.) or worse they were exhumed too quickly to make room for the fresh dead, and you had the circumstances that you had a case of serious social distress on your hands.
frankly, cemeteries were thought to be a health hazard; nevermind places that bred nightmares.
the magnificent seven
in 1832, british parliament set up seven private cemeteries that ringed the city that would be:
beneficial to public morals, to the improvement of manners, but are likewise calculated to extend virtuous and generous feelings… a garden cemetery after pere in paris] is the sworn foe to fear and superstition. the victorian celebration of death
this is only ironic to me, because three of the magnificent seven are reportedly haunted, and one of them is home to my most favourite vampire legend ever. (ever. stay tuned for next post on that.)
being buried in one of the magnificent cemeteries was a costly affair that demonstrated social status as much as a willingness to commemorate their loved ones in the most ostentatious way possible. as the garden cemeteries appealed to the middle class, attention was paid to the flora, fauna, and even the monuments were (and still are) unprecedented in their and elegance. as an art history nerd, century sculpture sends me all with excitement; add some foliage ivy, creeper, lush and yew, cypress, ferns, bluebells, holly and you have your allocated plot for eternity nestled in a garden where butterflies, bees, foxes, even deer wander through. victorians thought this treatment “took away the gloom of the grave,” and given the precedent, the magnificent seven became veritable on earth.
dining with the dead
with mourning tradition at its height as an involved and expensive demonstration of a devotion to their departed, it seemed fitting that the pomp of practices culminated in a willingness to spend time in these places, close to the dead, where they in a place of peace and beauty, separate from the hustle and filth of london town. designed like public parks, with their gothic revival and colonnades, the cemeteries became a place to spend a sunday afternoon where families might spread a blanket in a patch of shade, and socialize with others come to visit with their loved ones at rest.
remember, mourning was de with such a high mortality rate. while this might seem odd by standards, victorians romanticized death, being so close to it. while we are removed from the process, given the majority of our exposure to death happens in hospitals, it was commonplace in victorian england to surround a dying loved one on a deathbed watch in their home, in their bed, hoping to hear their profound final words in the hope to shed some light on the meaning of life before they passed. mourning and its rituals provided a means of coping with the passage.
now, no historian by any means, and hell i even live in the uk. but believe me when i say that on a day, the best place in the city to read a book is under the shade of weeping willow at the cemetery on the hill with some goat cheese and crusty bread sitting in my icepack, and maybe a bottle of pinot if feeling super indulgent.
there’s one thing i can assure you, if observing the tradition of the cemetery picnic: the neighbours definitely complain about the company.
for your reference:
the victorian celebration of death
by james stevens curl | ðə vɪkˈtɔriənz hæd ə ˈvɛri pɪˈkjuljər trəˈdɪʃən əv ɪn ˈsɛməˌtɛriz. ˈæftər ðə dɛθ əv kwin ˈhəbi ɪn 1861 ðə ɪnˈtaɪər ˈkəntri dɑnd ðɛr ˈmɔrnɪŋ əˈtaɪər. fər ˈfɔrti jɪrz. (tɪ bi fɛr, vɪkˈtɔriə ˈoʊnli æst hər kɔrt fər θri jɪrz əv gɑθ gɪr. muvd baɪ hər ˌdɛdəˈkeɪʃən tɪ prɪns ˈælbərt, ðeɪ pərˈsɪstɪd ɪn kənˈtɪnjuɪŋ ðə trəˈdɪʃən ənˈtɪl ðə dɛθ, æt wɪʧ pɔɪnt ðə ˈkəstəm wɑz pʊt tɪ rɛst, ənd soʊ bɪˈgæn ðə ɛdˈwɔrdiən ˈpɪriəd ɪn ˈbrɪtən.) laɪk tɪ seɪ ðə ˈtɛndənsi tɪ ækˈsɛsərˌaɪz ɔl ɪn blæk, ˈkəvər ðə ˈhaʊsˌhoʊld ˈmɪrərz wɪθ blæk kreɪp, kəˈmɛmərˌeɪt ðɛr ləvd wənz wɪθ ˈtrɪŋkəts əv ðɛr hɛr ræpt ˈdɛləkətli ɪn ˈlɑkɪts, ər ˈfoʊtəˌgræfɪŋ ðɛr rɪˈmeɪnz ɪn ˈvɛri ˈlaɪˌflaɪk ˈpoʊzɪz wɪθ ðə rɪˈmeɪnɪŋ ˈmɛmbərz əv ðə ˈfæməli sərˈaʊndɪŋ ðə ˈbɑdi ɪz ðə ˈsəbʤɪkt əv ðɪs poʊst ɪn du taɪm, aɪ hoʊp tɪ təʧ ɔn æt list səm əv ðɪs stəf bət təˈdeɪ aɪ wɔnt ju ənd aɪ tɪ ˌɪnˈdəlʤ ɪn ə trəˈdɪʃən ðət ˈglædli ˌrɛzərˈɛktɪd ɪn maɪ oʊn laɪf: ɪn ˈsɛməˌtɛriz. soʊ græb ə ˈsænwɪʧ, ənd hæv ə ˈlɪtəl ʧæt əˈbaʊt wət ɪt wɑz laɪk tɪ daɪ ɪn vɪkˈtɔriən ˈləndən. ə ˈlɪtəl bɪt əv waɪl duɪŋ ˈrisərʧ fər ðə bʊk bɪn ˈwərkɪŋ ɔn, aɪ keɪm əˈkrɔs ə ˈkəpəl əv ˈɪntəˌrɛstɪŋ ˈtɪdbɪts: ˈləndən wɑz ə ˈfɑgi, kənˈʤɛstɪd, ˈdərti ˈsɪti ɪn ðə 1800’s*. ðə ˌɪnˈdəstriəl ˌrɛvəˈluʃən, θɪk fɔgz ˈrɛgjələrli roʊld θru du tɪ ðə ˈmɪksʧər əv sʊt ənd ˈsəlfər daɪˈɑkˌsaɪd frəm ˌrɛzɪˈdɛnʃəl ˈʧɪmniz ənd ˈfæktəriz ˈmɪksɪŋ wɪθ mɪst ˈroʊlɪŋ ɔf ðə tɛmz. ɪt kriˈeɪtɪd ðə ˈpərˌfɪkt ˈkəvər fər ðə ʤæk ðə ˈrɪpər ˈmərdərz, ənd əv kɔrs, ðə ˈklaɪmɪt ˈkəpəld wɪθ ə læk əv ˈprɑpər ˌsænɪˈteɪʃən brɛd ˈpɛstələns: ˈskɑrlət ˈfivər, ˈkɑlərə, ˈtaɪfəs, ˈmizəlz, ˌɪnfluˈɛnzə, dɪfˈθɪriɑ ju neɪm ɪt, ju kʊd daɪ frəm ɪt. wən ɪn θri ˈɪnfənts meɪk ɪt tɪ ðɛr fərst ˈbərθˌdeɪ. ɪn ə ˌpɑpjəˈleɪʃən əv ˈbɪljən wɛr foʊks wər ˈɔfən ˈbɛrid ɪn churchyards*, nɑt hɑrd tɪ ˌɪˈmæʤən ðət ˈbɛriəl graʊnz gɑt ˈoʊvərˌkraʊdɪd ˈprɪti kwɪk. æd tɪ ðət ðə ˌɪnˈkrisɪŋ ˈnəmbər əv ˈbɑdiz biɪŋ snæʧt frəm ðɛr ˈrɛstɪŋ ˈpleɪsɪz, ˈpipəl ɔˈkeɪʒənəˌli biɪŋ ˈbɛrid əˈlaɪv (wups!), ənd ˈbɑdiz ɪkˈspoʊzd ənd ˈrɑtɪŋ bɪˈkəz ðeɪ ˈbɛrid dip ɪˈnəf (tu fit wɑz ðə ˈmɪnəməm ə bɪg ˈdɪfərəns frəm təˈdeɪ, wɛr ɪt ˈreɪnʤɪz ˈɛniˌwɛr frəm sɪks tɪ twɛlv, ənd ˈsəmˌtaɪmz mɔr.) ər wərs ðeɪ wər ɛksˈhjumd tu kˈwɪkli tɪ meɪk rum fər ðə frɛʃ dɛd, ənd ju hæd ðə ˈsərkəmˌstænsɪz ðət ju hæd ə keɪs əv ˈsɪriəs ˈsoʊʃəl dɪˈstrɛs ɔn jʊr hænz. ˈfræŋkli, ˈsɛməˌtɛriz wər θɔt tɪ bi ə hɛlθ ˈhæzərd; ˈnɛvərˌmaɪnd ˈpleɪsɪz ðət brɛd ˈnaɪtˌmɛrz. ðə mægˈnɪfɪsənt ˈsɛvən ɪn 1832 ˈbrɪtɪʃ ˈpɑrləmɛnt sɛt əp ˈsɛvən ˈpraɪvət ˈsɛməˌtɛriz ðət rɪŋd ðə ˈsɪti ðət wʊd bi: ˌbɛnəˈfɪʃəl tɪ ˈpəblɪk ˈmɔrəlz, tɪ ðə ˌɪmˈpruvmənt əv ˈmænərz, bət ər ˈlaɪkˌwaɪz ˈkælkjəˌleɪtɪd tɪ ɪkˈstɛnd ˈvərʧuəs ənd ˈʤɛnərəs feelings…*… ə ˈgɑrdən ˈsɛmɪˌtɛri ˈæftər pər ɪn ˈpɛrɪs] ɪz ðə swɔrn foʊ tɪ fɪr ənd ˌsupərˈstɪʃən. ðə vɪkˈtɔriən ˌsɛləˈbreɪʃən əv dɛθ ðɪs ɪz ˈoʊnli aɪˈrɑnɪk tɪ mi, bɪˈkəz θri əv ðə mægˈnɪfɪsənt ˈsɛvən ər rɪˈpɔrtədli ˈhɔntɪd, ənd wən əv ðɛm ɪz hoʊm tɪ maɪ moʊst ˈfeɪvərɪt ˈvæmpaɪr ˈlɛʤənd ˈɛvər. (ˈɛvər. steɪ tund fər nɛkst poʊst ɔn ðət.) biɪŋ ˈbɛrid ɪn wən əv ðə mægˈnɪfɪsənt ˈsɛməˌtɛriz wɑz ə ˈkɔstli əˈfɛr ðət ˈdɛmənˌstreɪtɪd ˈsoʊʃəl ˈstætəs ɛz məʧ ɛz ə ˈwɪlɪŋnəs tɪ kəˈmɛmərˌeɪt ðɛr ləvd wənz ɪn ðə moʊst ˌɑstənˈteɪʃəs weɪ ˈpɑsəbəl. ɛz ðə ˈgɑrdən ˈsɛməˌtɛriz əˈpild tɪ ðə ˈmɪdəl klæs, əˈtɛnʃən wɑz peɪd tɪ ðə ˈflɔrə, ˈfɔnə, ənd ˈivɪn ðə ˈmɑnjəmənts wər (ənd stɪl ər) ənˈprɛsɪˌdɛntɪd ɪn ðɛr ənd ˈɛləgəns. ɛz ən ɑrt ˈhɪstəri nərd, ˈsɛnʧəri ˈskəlpʧər sɛndz mi ɔl wɪθ ɪkˈsaɪtmənt; æd səm ˈfoʊlɪʤ ˈaɪvi, creeper*, ləʃ ənd ju, ˈsaɪprɪs, fərnz, ˈbluˌbɛlz, ˈhɑli ənd ju hæv jʊr ˈæləˌkeɪtɪd plɑt fər ɪˈtərnəti ˈnɛsəld ɪn ə ˈgɑrdən wɛr ˈbətərˌflaɪz, biz, ˈfɑksəz, ˈivɪn dɪr ˈwɑndər θru. vɪkˈtɔriənz θɔt ðɪs ˈtritmənt əˈweɪ ðə glum əv ðə grave,”*,” ənd ˈgɪvɪn ðə ˈprɛsɪdənt, ðə mægˈnɪfɪsənt ˈsɛvən bɪˈkeɪm ˈvɛrɪtəbəl ɔn ərθ. ˈdaɪnɪŋ wɪθ ðə dɛd wɪθ ˈmɔrnɪŋ trəˈdɪʃən æt ɪts haɪt ɛz ən ˌɪnˈvɑlvd ənd ɪkˈspɛnsɪv ˌdɛmənˈstreɪʃən əv ə dɪˈvoʊʃən tɪ ðɛr dɪˈpɑrtɪd, ɪt simd ˈfɪtɪŋ ðət ðə pɑmp əv ˈpræktɪsɪz ˈkəlməˌneɪtɪd ɪn ə ˈwɪlɪŋnəs tɪ spɛnd taɪm ɪn ðiz ˈpleɪsɪz, kloʊz tɪ ðə dɛd, wɛr ðeɪ ɪn ə pleɪs əv pis ənd ˈbjuti, ˈsɛpərˌeɪt frəm ðə ˈhəsəl ənd fɪlθ əv ˈləndən taʊn. dɪˈzaɪnd laɪk ˈpəblɪk pɑrks, wɪθ ðɛr ˈgɑθɪk rɪˈvaɪvəl ənd colonnades*, ðə ˈsɛməˌtɛriz bɪˈkeɪm ə pleɪs tɪ spɛnd ə ˈsənˌdi ˌæftərˈnun wɛr ˈfæməliz maɪt sprɛd ə ˈblæŋkɪt ɪn ə pæʧ əv ʃeɪd, ənd ˈsoʊʃəˌlaɪz wɪθ ˈəðərz kəm tɪ ˈvɪzɪt wɪθ ðɛr ləvd wənz æt rɛst. rɪˈmɛmbər, ˈmɔrnɪŋ wɑz də wɪθ səʧ ə haɪ mɔrˈtæləti reɪt. waɪl ðɪs maɪt sim ɑd baɪ ˈstændərdz, vɪkˈtɔriənz roʊˈmæntəˌsaɪzd dɛθ, biɪŋ soʊ kloʊz tɪ ɪt. waɪl wi ər riˈmuvd frəm ðə ˈprɔˌsɛs, ˈgɪvɪn ðə məˈʤɔrəti əv ɑr ɪkˈspoʊʒər tɪ dɛθ ˈhæpənz ɪn ˈhɑˌspɪtəlz, ɪt wɑz ˈkɑmənˌpleɪs ɪn vɪkˈtɔriən ˈɪŋglənd tɪ səraʊnd ə daɪɪŋ ləvd wən ɔn ə ˈdɛθˌbɛd wɔʧ ɪn ðɛr hoʊm, ɪn ðɛr bɛd, ˈhoʊpɪŋ tɪ hir ðɛr proʊˈfaʊnd ˈfaɪnəl wərdz ɪn ðə hoʊp tɪ ʃɛd səm laɪt ɔn ðə ˈminɪŋ əv laɪf ˌbiˈfɔr ðeɪ pæst. ˈmɔrnɪŋ ənd ɪts ˈrɪʧuəlz prəˈvaɪdɪd ə minz əv ˈkoʊpɪŋ wɪθ ðə ˈpæsɪʤ. naʊ, noʊ hɪˈstɔriən baɪ ˈɛni minz, ənd hɛl aɪ ˈivɪn lɪv ɪn ðə uk*. bət bɪˈliv mi wɪn aɪ seɪ ðət ɔn ə deɪ, ðə bɛst pleɪs ɪn ðə ˈsɪti tɪ rɛd ə bʊk ɪz ˈəndər ðə ʃeɪd əv ˈwipɪŋ ˈwɪˌloʊ æt ðə ˈsɛmɪˌtɛri ɔn ðə hɪl wɪθ səm goʊt ʧiz ənd ˈkrəsti brɛd ˈsɪtɪŋ ɪn maɪ icepack*, ənd ˈmeɪbi ə ˈbɑtəl əv ˈpɪnət ɪf ˈfilɪŋ ˈsupər ˌɪnˈdəlʤənt. wən θɪŋ aɪ kən əˈʃʊr ju, ɪf əbˈzərvɪŋ ðə trəˈdɪʃən əv ðə ˈsɛmɪˌtɛri ˈpɪkˌnɪk: ðə ˈneɪbərz ˈdɛfənətli kəmˈpleɪn əˈbaʊt ðə ˈkəmpəˌni. fər jʊr ˈrɛfərəns: ðə vɪkˈtɔriən ˌsɛləˈbreɪʃən əv dɛθ baɪ ʤeɪmz ˈstivənz kərl |
a shooting overnight in toronto has left three people with injuries.
police are investigating after three people were injured in a liberty village parking lot at around a.m. et monday.
a woman living in the neighbourhood said she heard eight to 10 shots ring out.
one person was shot in the leg and the other in the foot in a parking lot near lamport stadium and cinema nightclub. it's uncertain how the third person was injured.
two of those in the incident were taken to hospital from the scene. the third victim, a man, walked into toronto western hospital.
police are still looking for suspects.
four arrested
two men and two women were on chestnut street after 4 a.m. in relation to the shots fired on avenue. (tony smyth/cbc)
in another shooting incident, on avenue, north of dundas street, in the city's downtown chinatown area, two men and two women were arrested monday morning.
no victims were found, but police responded after gunfire was reported just after 4 a.m. police found shell casings near nassau street.
the four suspects were found in a jeep near the scene at around 6 a.m.
it's not immediately known if the incidents are related. | ə ˈʃutɪŋ ˈoʊvərˈnaɪt ɪn tərˈɑntoʊ həz lɛft θri ˈpipəl wɪθ ˈɪnʤəriz. pəˈlis ər ˌɪnˈvɛstəˌgeɪtɪŋ ˈæftər θri ˈpipəl wər ˈɪnʤərd ɪn ə ˈlɪbərˌti ˈvɪlɪʤ ˈpɑrkɪŋ lɔt æt əraʊnd a.m*. ɛt ˈmənˌdeɪ. ə ˈwʊmən ˈlɪvɪŋ ɪn ðə ˈneɪbərˌhʊd sɛd ʃi hərd eɪt tɪ 10 ʃɑts rɪŋ aʊt. wən ˈpərsən wɑz ʃɑt ɪn ðə lɛg ənd ðə ˈəðər ɪn ðə fʊt ɪn ə ˈpɑrkɪŋ lɔt nɪr ˈlæmˌpɔrt ˈsteɪdiəm ənd ˈsɪnəmə ˈnaɪtˌkləb. ɪts ənˈsərtən haʊ ðə θərd ˈpərsən wɑz ˈɪnʤərd. tu əv ðoʊz ɪn ðə ˈɪnsədənt wər ˈteɪkən tɪ ˈhɑˌspɪtəl frəm ðə sin. ðə θərd ˈvɪktɪm, ə mæn, wɔkt ˈɪntu tərˈɑntoʊ ˈwɛstərn ˈhɑˌspɪtəl. pəˈlis ər stɪl ˈlʊkɪŋ fər ˈsəˌspɛkts. fɔr ərˈɛstɪd tu mɛn ənd tu ˈwɪmən wər ɔn ˈʧɛsˌnət strit ˈæftər 4 a.m*. ɪn riˈleɪʃən tɪ ðə ʃɑts faɪərd ɔn ˈævəˌnu. (ˈtoʊni smyth/cbc*) ɪn əˈnəðər ˈʃutɪŋ ˈɪnsədənt, ɔn ˈævəˌnu, nɔrθ əv ˈdəndəz strit, ɪn ðə ˈsɪtiz ˈdaʊnˈtaʊn ˈʧaɪnəˌtaʊn ˈɛriə, tu mɛn ənd tu ˈwɪmən wər ərˈɛstɪd ˈmənˌdeɪ ˈmɔrnɪŋ. noʊ ˈvɪktɪmz wər faʊnd, bət pəˈlis rɪˈspɑndɪd ˈæftər ˈgənˌfaɪər wɑz ˌriˈpɔrtəd ʤɪst ˈæftər 4 a.m*. pəˈlis faʊnd ʃɛl ˈkeɪsɪŋz nɪr ˈnæsɔ strit. ðə fɔr ˈsəˌspɛkts wər faʊnd ɪn ə ʤip nɪr ðə sin æt əraʊnd 6 a.m*. ɪts nɑt ˌɪˈmiˌdiətli noʊn ɪf ðə ˈɪnsədənts ər rɪˈleɪtɪd. |
a solid majority of american voters think marijuana should be legal according to a new public policy polling. the recent poll found that 58 percent of voters think marijuana should be legal, while 39 percent think it should remain illegal. the bulk of who oppose marijuana legalization feel strongly that it should remain illegal while support for legalization is fairly evenly split between those who feel strongly about it and those who don’t. the poll also found that 50 percent of voters think marijuana will be legal in the united states within the next 10 years, while only 37 percent think it will not be legalization.
democrats and independents overwhelming believe marijuana should be legalized but a majority of republicans oppose the policy change. there is also a significant generational divide when comes to opinions about legalization. voters under thirty are most likely to feel strongly that marijuana should be legal while senior citizens tend to feel strongly that it should remain illegal. interestingly, young voters are actually the most pessimistic about legalization future. the poll found 52 percent think it will not be fully legalized in the next ten years while 48 percent think it will. on the other hand 51 percent of voters over the age of 65 think legalization will happen in the next decade while just 32 percent think it won’t.
while this poll shows some of the highest levels of support for marijuana legalization of any recent national survey, it should be noted that polling on marijuana legalization initiatives has proven to remarkably accurate in the past two election cycles. in 2010 very accurately predicted the overall yes vote for proposition 19 in california. similarly, final polling in colorado and washington state this cycle very closely matched the final results.
the full poll results can be found at the marijuana policy project blog. | ə ˈsɑləd məˈʤɔrəti əv əˈmɛrɪkən ˈvoʊtərz θɪŋk ˌmɛrəˈwɑnə ʃʊd bi ˈligəl əˈkɔrdɪŋ tɪ ə nu ˈpəblɪk ˈpɑləsi ˈpoʊlɪŋ. ðə ˈrisənt poʊl faʊnd ðət 58 pərˈsɛnt əv ˈvoʊtərz θɪŋk ˌmɛrəˈwɑnə ʃʊd bi ˈligəl, waɪl 39 pərˈsɛnt θɪŋk ɪt ʃʊd rɪˈmeɪn ˌɪˈligəl. ðə bəlk əv hu əˈpoʊz ˌmɛrəˈwɑnə ˌligələˈzeɪʃən fil ˈstrɔŋli ðət ɪt ʃʊd rɪˈmeɪn ˌɪˈligəl waɪl səˈpɔrt fər ˌligələˈzeɪʃən ɪz ˈfɛrli ˈivənli splɪt bɪtˈwin ðoʊz hu fil ˈstrɔŋli əˈbaʊt ɪt ənd ðoʊz hu don’t*. ðə poʊl ˈɔlsoʊ faʊnd ðət 50 pərˈsɛnt əv ˈvoʊtərz θɪŋk ˌmɛrəˈwɑnə wɪl bi ˈligəl ɪn ðə juˈnaɪtɪd steɪts wɪˈθɪn ðə nɛkst 10 jɪrz, waɪl ˈoʊnli 37 pərˈsɛnt θɪŋk ɪt wɪl nɑt bi ˌligələˈzeɪʃən. ˈdɛməˌkræts ənd ˌɪndɪˈpɛndənts ˌoʊvərˈwɛlmɪŋ bɪˈliv ˌmɛrəˈwɑnə ʃʊd bi ˈligəˌlaɪzd bət ə məˈʤɔrəti əv rɪˈpəblɪkənz əˈpoʊz ðə ˈpɑləsi ʧeɪnʤ. ðɛr ɪz ˈɔlsoʊ ə sɪgˈnɪfɪkənt ˌʤɛnərˈeɪʃənəl dɪˈvaɪd wɪn kəmz tɪ əˈpɪnjənz əˈbaʊt ˌligələˈzeɪʃən. ˈvoʊtərz ˈəndər ˈθərˌdi ər moʊst ˈlaɪkli tɪ fil ˈstrɔŋli ðət ˌmɛrəˈwɑnə ʃʊd bi ˈligəl waɪl ˈsinjər ˈsɪtɪzənz tɛnd tɪ fil ˈstrɔŋli ðət ɪt ʃʊd rɪˈmeɪn ˌɪˈligəl. ˈɪntəˌrɛstɪŋli, jəŋ ˈvoʊtərz ər ˈæˌkʧuəli ðə moʊst ˌpɛsəˈmɪstɪk əˈbaʊt ˌligələˈzeɪʃən fˈjuʧər. ðə poʊl faʊnd 52 pərˈsɛnt θɪŋk ɪt wɪl nɑt bi ˈfʊli ˈligəˌlaɪzd ɪn ðə nɛkst tɛn jɪrz waɪl 48 pərˈsɛnt θɪŋk ɪt wɪl. ɔn ðə ˈəðər hænd 51 pərˈsɛnt əv ˈvoʊtərz ˈoʊvər ðə eɪʤ əv 65 θɪŋk ˌligələˈzeɪʃən wɪl ˈhæpən ɪn ðə nɛkst ˈdɛkeɪd waɪl ʤɪst 32 pərˈsɛnt θɪŋk ɪt won’t*. waɪl ðɪs poʊl ʃoʊz səm əv ðə haɪəst ˈlɛvəlz əv səˈpɔrt fər ˌmɛrəˈwɑnə ˌligələˈzeɪʃən əv ˈɛni ˈrisənt ˈnæʃənəl ˈsərˌveɪ, ɪt ʃʊd bi ˈnoʊtɪd ðət ˈpoʊlɪŋ ɔn ˌmɛrəˈwɑnə ˌligələˈzeɪʃən ˌɪˈnɪʃətɪvz həz ˈpruvən tɪ rɪˈmɑrkəbli ˈækjərət ɪn ðə pæst tu ɪˈlɛkʃən ˈsaɪkəlz. ɪn 2010 ˈvɛri ˈækjərətli prɪˈdɪktɪd ðə ˈoʊvərˌɔl jɛs voʊt fər ˌprɑpəˈzɪʃən 19 ɪn ˌkæləˈfɔrnjə. ˈsɪmələrli, ˈfaɪnəl ˈpoʊlɪŋ ɪn ˌkɑlərˈɑdoʊ ənd ˈwɔʃɪŋtən steɪt ðɪs ˈsaɪkəl ˈvɛri ˈkloʊsli mæʧt ðə ˈfaɪnəl rɪˈzəlts. ðə fʊl poʊl rɪˈzəlts kən bi faʊnd æt ðə ˌmɛrəˈwɑnə ˈpɑləsi ˈprɑʤɛkt blɔg. |
the title of the article at the new york post is fairly to be sure. “obama campaign accepted foreign web donation and may be hiding more.” but this looks like one of those stories that may be less and yet more than it appears on the surface. first, to the details.
the obama campaign has accepted at least one foreign donation in violation of the law and does nothing to check on the provenance of millions of dollars in other contributions, a watchdog group alleges. chris walker, a british citizen who lives outside london, told the post he was able to make two $5 donations to president campaign this month through its web site while a similar attempt to give mitt romney cash was rejected. it is illegal to knowingly solicit or accept money from foreign citizens.
well, that certainly sounds pretty bad, it? obama taking donations from england? but if you read on a bit more to this specific donation.
walker said he used his actual street address in england but entered arkansas as his state with the schenectady, ny, zip code of 12345. “when i did romney’s, the payment got rejected on the grounds that the address on the card did not match the address that i entered,” he said. “romney’s web site wanted the code from the back of card. barack didn’t.”
so in this case, it turns out that mr. walker was intentionally entering distorted information with his donation, mixing an american looking address with an american (not matching) zip code, though the payment was coming from europe. he was apparently doing it as a “test”of both campaigns a test which romney passed but hardly the same as accepting european donations with open arms. but what it does do is call to light an equally serious problem with the obama system of processing payments. an important distinction which any professional campaign should have been able to sew up and avoid running afoul of the law. the daily caller explains.
the upcoming gai report suggests the obama campaign is allowing fraudulent donations to be accepted because the president employing proper safeguards against fraudulent donations. gai leaves open the possibility that the obama campaign “may have experienced problems,” but argued “given the obama technological sophistication, the fact that the campaign consistently reports higher amounts of erroneous data casts doubt on that explanation.” “a robust address verification system (avs) would require an accurate zip code to process a credit card transaction,” the report reads. “the presence of large sums of donations without such basic address information suggests that some campaigns are using looser security settings than others.” gai said an system “compares the numerical portion of the address a donor enters to the numerical information on file with the credit card company for the card.” “for example, most gas stations require customers to enter their zip code,” gai added. “enter the wrong zip code or none at all, the transaction is denied.” gai said that when a political campaign uses such an system, “invisible to outsiders.”
so easy to lose sight of the story if only looking to see if team obama is intentionally soliciting illegal donations from outside of the country. (and some of the defenders are doing just that.) but given the fact that questions have already come up regarding the handling of such contributions, completely valid to ask why this been fixed by now. and perhaps more to the point, not as if obama has been hurting for small donors this year. why you take the time to make sure following the rules? an extra $200 bucks can not be worth the problems which will come from an illegal campaign contribution scandal. | ðə ˈtaɪtəl əv ðə ˈɑrtɪkəl æt ðə nu jɔrk poʊst ɪz ˈfɛrli tɪ bi ʃʊr. kæmˈpeɪn ækˈsɛptɪd ˈfɔrən wɛb doʊˈneɪʃən ənd meɪ bi ˈhaɪdɪŋ more.”*.” bət ðɪs lʊks laɪk wən əv ðoʊz ˈstɔriz ðət meɪ bi lɛs ənd jɛt mɔr ðən ɪt əˈpɪrz ɔn ðə ˈsərfəs. fərst, tɪ ðə ˈditeɪlz. ðə ˌoʊˈbɑmə kæmˈpeɪn həz ækˈsɛptɪd æt list wən ˈfɔrən doʊˈneɪʃən ɪn vaɪəˈleɪʃən əv ðə lɔ ənd dɪz ˈnəθɪŋ tɪ ʧɛk ɔn ðə ˈprɑvənəns əv ˈmɪljənz əv ˈdɔlərz ɪn ˈəðər ˌkɑntrəˈbjuʃənz, ə ˈwɑʧˌdɔg grup əˈlɛʤɪz. krɪs ˈwɔkər, ə ˈbrɪtɪʃ ˈsɪtɪzən hu lɪvz ˈaʊtˈsaɪd ˈləndən, toʊld ðə poʊst hi wɑz ˈeɪbəl tɪ meɪk tu 5 doʊˈneɪʃənz tɪ ˈprɛzɪdənt kæmˈpeɪn ðɪs mənθ θru ɪts wɛb saɪt waɪl ə ˈsɪmələr əˈtɛmpt tɪ gɪv mɪt ˈrɑmni kæʃ wɑz rɪˈʤɛktɪd. ɪt ɪz ˌɪˈligəl tɪ ˈnoʊɪŋli səˈlɪsɪt ər əkˈsɛpt ˈməni frəm ˈfɔrən ˈsɪtɪzənz. wɛl, ðət ˈsərtənli saʊnz ˈprɪti bæd, ɪt? ˌoʊˈbɑmə ˈteɪkɪŋ doʊˈneɪʃənz frəm ˈɪŋglənd? bət ɪf ju rɛd ɔn ə bɪt mɔr tɪ ðɪs spɪˈsɪfɪk doʊˈneɪʃən. ˈwɔkər sɛd hi juzd hɪz ˈækʧəwəl strit ˈæˌdrɛs ɪn ˈɪŋglənd bət ˈɛnərd ˈɑrkənˌsɑ ɛz hɪz steɪt wɪθ ðə skəˈnɛktədi, ny*, zɪp koʊd əv 12345 aɪ dɪd romney’s*, ðə ˈpeɪmənt gɑt rɪˈʤɛktɪd ɔn ðə graʊnz ðət ðə ˈæˌdrɛs ɔn ðə kɑrd dɪd nɑt mæʧ ðə ˈæˌdrɛs ðət aɪ entered,”*,” hi sɛd. wɛb saɪt ˈwɔntɪd ðə koʊd frəm ðə bæk əv kɑrd. ˈbɑrək didn’t.”*.” soʊ ɪn ðɪs keɪs, ɪt tərnz aʊt ðət ˈmɪstər. ˈwɔkər wɑz ˌɪnˈtɛnʃənəli ˈɛnərɪŋ dɪˈstɔrtɪd ˌɪnˌfɔrˈmeɪʃən wɪθ hɪz doʊˈneɪʃən, ˈmɪksɪŋ ən əˈmɛrɪkən ˈlʊkɪŋ ˈæˌdrɛs wɪθ ən əˈmɛrɪkən (nɑt ˈmæʧɪŋ) zɪp koʊd, ðoʊ ðə ˈpeɪmənt wɑz ˈkəmɪŋ frəm ˈjʊrəp. hi wɑz əˈpɛrəntli duɪŋ ɪt ɛz ə boʊθ kæmˈpeɪnz ə tɛst wɪʧ ˈrɑmni pæst bət ˈhɑrdli ðə seɪm ɛz əkˈsɛptɪŋ ˌjʊrəˈpiən doʊˈneɪʃənz wɪθ ˈoʊpən ɑrmz. bət wət ɪt dɪz du ɪz kɔl tɪ laɪt ən ˈikwəli ˈsɪriəs ˈprɑbləm wɪθ ðə ˌoʊˈbɑmə ˈsɪstəm əv ˈprɑsɛsɪŋ ˈpeɪmənts. ən ˌɪmˈpɔrtənt dɪˈstɪŋkʃən wɪʧ ˈɛni prəˈfɛʃənəl kæmˈpeɪn ʃʊd hæv bɪn ˈeɪbəl tɪ soʊ əp ənd əˈvɔɪd ˈrənɪŋ əˈfaʊl əv ðə lɔ. ðə ˈdeɪli ˈkɔlər ɪkˈspleɪnz. ðə ˈəpˌkəmɪŋ geɪ rɪˈpɔrt səˈʤɛsts ðə ˌoʊˈbɑmə kæmˈpeɪn ɪz əˈlaʊɪŋ ˈfrɔʤələnt doʊˈneɪʃənz tɪ bi ækˈsɛptɪd bɪˈkəz ðə ˈprɛzɪdənt ɪmˈplɔɪɪŋ ˈprɑpər ˈseɪfˌgɑrdz əˈgɛnst ˈfrɔʤələnt doʊˈneɪʃənz. geɪ livz ˈoʊpən ðə ˌpɑsəˈbɪləˌti ðət ðə ˌoʊˈbɑmə kæmˈpeɪn hæv ɪkˈspɪriənst problems,”*,” bət ˈɑrgjud ðə ˌoʊˈbɑmə ˌtɛknəˈlɑʤɪkəl səˌfɪstəˈkeɪʃən, ðə fækt ðət ðə kæmˈpeɪn kənˈsɪstəntli rɪˈpɔrts haɪər əˈmaʊnts əv ɛˈroʊniəs ˈdætə kæsts daʊt ɔn ðət explanation.”*.” roʊˈbəst ˈæˌdrɛs ˌvɛrəfəˈkeɪʃən ˈsɪstəm (avs*) wʊd ˌrikˈwaɪər ən ˈækjərət zɪp koʊd tɪ ˈprɔˌsɛs ə ˈkrɛdɪt kɑrd transaction,”*,” ðə rɪˈpɔrt ridz. ˈprɛzəns əv lɑrʤ səmz əv doʊˈneɪʃənz wɪˈθaʊt səʧ ˈbeɪsɪk ˈæˌdrɛs ˌɪnˌfɔrˈmeɪʃən səˈʤɛsts ðət səm kæmˈpeɪnz ər ˈjuzɪŋ ˈlusər sɪˈkjʊrəti ˈsɛtɪŋz ðən others.”*.” geɪ sɛd ən ˈsɪstəm ðə nuˈmɛrɪkəl ˈpɔrʃən əv ðə ˈæˌdrɛs ə ˈdoʊnər ˈɛnərz tɪ ðə nuˈmɛrɪkəl ˌɪnˌfɔrˈmeɪʃən ɔn faɪl wɪθ ðə ˈkrɛdɪt kɑrd ˈkəmpəˌni fər ðə card.”*.” ɪgˈzæmpəl, moʊst gæs ˈsteɪʃənz ˌrikˈwaɪər ˈkəstəmərz tɪ ˈɛnər ðɛr zɪp code,”*,” geɪ ˈædɪd. ðə rɔŋ zɪp koʊd ər nən æt ɔl, ðə trænˈzækʃən ɪz denied.”*.” geɪ sɛd ðət wɪn ə pəˈlɪtɪkəl kæmˈpeɪn ˈjuzɪz səʧ ən ˈsɪstəm, tɪ outsiders.”*.” soʊ ˈizi tɪ luz saɪt əv ðə ˈstɔri ɪf ˈoʊnli ˈlʊkɪŋ tɪ si ɪf tim ˌoʊˈbɑmə ɪz ˌɪnˈtɛnʃənəli səˈlɪsətɪŋ ˌɪˈligəl doʊˈneɪʃənz frəm ˈaʊtˈsaɪd əv ðə ˈkəntri. (ənd səm əv ðə dɪˈfɛndərz ər duɪŋ ʤɪst ðət.) bət ˈgɪvɪn ðə fækt ðət kˈwɛsʧənz hæv ɔˈrɛdi kəm əp rɪˈgɑrdɪŋ ðə ˈhændəlɪŋ əv səʧ ˌkɑntrəˈbjuʃənz, kəmˈplitli ˈvælɪd tɪ æsk waɪ ðɪs bɪn fɪkst baɪ naʊ. ənd pərˈhæps mɔr tɪ ðə pɔɪnt, nɑt ɛz ɪf ˌoʊˈbɑmə həz bɪn ˈhərtɪŋ fər smɔl ˈdoʊnərz ðɪs jɪr. waɪ ju teɪk ðə taɪm tɪ meɪk ʃʊr ˈfɑloʊɪŋ ðə rulz? ən ˈɛkstrə 200 bəks kən nɑt bi wərθ ðə ˈprɑbləmz wɪʧ wɪl kəm frəm ən ˌɪˈligəl kæmˈpeɪn ˌkɑntrəˈbjuʃən ˈskændəl. |
a official has revealed the plans as regards rolling out android upgrades to its. if indeed the company starts upgrading to android, it be coming late to the party as the latest google os are mostly available on recently launched flagships. companies like and had already started rolling out android n to some of their anyway.
the zuk series seems to be the fastest in terms of pace to get the android n upgrade. also launched the android n on its latest mate 9 and a good number of its models are already testing the beta version. the mi 5 was reported to have gotten an android beta rom based on 8.
read more: mi 5 android 7 developer rom enters open beta
according to’s operations manager, the 4c, and note will see the upgrade soon. the reveal the fate of the series phones concerning the upgrades but we hope the upgrade will hit other phones like the mi 5s, mi note 2, mi mix and others soon as well. | ə əˈfɪʃəl həz rɪˈvild ðə plænz ɛz rɪˈgɑrdz ˈroʊlɪŋ aʊt ˈænˌdrɔɪd ˈəpˌgreɪdz tɪ ɪts. ɪf ˌɪnˈdid ðə ˈkəmpəˌni stɑrts ˈəpˌgreɪdɪŋ tɪ ˈænˌdrɔɪd ɪt bi ˈkəmɪŋ leɪt tɪ ðə ˈpɑrti ɛz ðə ˈleɪtəst ˈgugəl ɑs ər ˈmoʊstli əˈveɪləbəl ɔn ˈrisəntli lɔnʧt ˈflægˌʃɪps. ˈkəmpəˌniz laɪk ənd hæd ɔˈrɛdi ˈstɑrtɪd ˈroʊlɪŋ aʊt ˈænˌdrɔɪd ɛn tɪ səm əv ðɛr ˈɛniˌweɪ. ðə zək ˈsɪriz simz tɪ bi ðə ˈfæstəst ɪn tərmz əv peɪs tɪ gɪt ðə ˈænˌdrɔɪd ɛn ˈəpˈgreɪd. ˈɔlsoʊ lɔnʧt ðə ˈænˌdrɔɪd ɛn ɔn ɪts ˈleɪtəst meɪt 9 ənd ə gʊd ˈnəmbər əv ɪts ˈmɑdəlz ər ɔˈrɛdi ˈtɛstɪŋ ðə ˈbeɪtə ˈvərʒən. ðə mi 5 wɑz ˌriˈpɔrtəd tɪ hæv ˈgɔtən ən ˈænˌdrɔɪd ˈbeɪtə rɑm beɪst ɔn 8 rɛd mɔr: mi 5 ˈænˌdrɔɪd 7 dɪˈvɛləpər rɑm ˈɛnərz ˈoʊpən ˈbeɪtə əˈkɔrdɪŋ tɪ ˌɑpərˈeɪʃənz ˈmænɪʤər, ðə 4c*, ənd noʊt wɪl si ðə ˈəpˈgreɪd sun. ðə rɪˈvil ðə feɪt əv ðə ˈsɪriz foʊnz kənˈsərnɪŋ ðə ˈəpˌgreɪdz bət wi hoʊp ðə ˈəpˈgreɪd wɪl hɪt ˈəðər foʊnz laɪk ðə mi 5s*, mi noʊt 2 mi mɪks ənd ˈəðərz sun ɛz wɛl. |
renewable energy technology has been split into two camps since it became a reality around the turn of the century.
on the one hand there are the passionate environmental believers for whom the inflated subsidies were an irrelevance in the face of saving our planet, and on the other were naysayers for whom the arguments about global warming were a plot by the far left to raise taxes or run some kind of environmental agenda at the expense of business and consumers.
neither polarized position was fair, of course, and the quiet majority in the middle have watched the technologies become progressively more efficient and costs fall dramatically while the extremes of global warming horror stories have been discredited, but the hard science of gradually rising carbon levels has been widely accepted.
who cares why the temperature is rising?
in the process, a wider acceptance has gained ground that global temperatures really are rising and whether it is part of a natural cycle or man-made is not a risk we can afford to take. ultimately, action to reduce carbon emissions will be cheaper than many possible downside scenarios if left unchecked and most people would accept we are making a mess of our environment and really should behave more responsibly.
meanwhile, politicians have been plowing our taxpayer money into supporting wind, solar and a number of other “renewable” technologies, with some degree of success. costs for the major energy sources solar and wind have fallen, partly as a result of technology improvements and partly due to economies of scale, to the point now where private firms are signing up to invest in major wind projects for a tariff of just $100 per (€90 per). indeed, in europe all the extra power capacity added since the mid has been renewable.
(click to enlarge)
source: telegraph newspaper
the biggest hurdle now have to overcome is not the cost of production, but the curse of intermittency. where does the power come from when the wind blow or the sun shine?
the cost of decommissioning
up to now, that has required the maintenance (and, indeed, here in the u.k., the planned investment in) power capacity. sometimes this has meant extending the life of aging nuclear power plants and sometimes new plants which have greater flexibility to be turned on and off but which have a carbon cost of their own. related: oil prices rally into the weekend on flurry of bullish news
in the u.k., a fierce debate has been going on for several years about the replacement of aging nuclear power plants such as hinckley point in somerset, england and bradwell at the mouth of the river in essex at a huge capital cost. a capital cost that has risen dramatically at every reevaluation and which can only be supported by a massive guaranteed strike price of $120 per (£92.50 per) for 35 years.
worse, that figure gets adjusted for inflation and is already looking more like $125.44 (£97) per, and rising. whether recognition of the progress energy storage is making and the transformational impact a major breakthrough could have is influencing the british announcement this month that it is undertaking a review of whether to go ahead or not on the nuclear projects is unclear, but it certainly raises questions as to why would you commit to such a high strike price for 35 years if the technology is likely to be totally uneconomic by the time it even starts generating electricity?
energy storage
efficient and energy storage could allow intermittent power sources such as to play a role in energy delivery. it has been the holy grail of renewable energy ever since the technology began to take off, but lack of, efficient technology has held the whole sector back. the u.s. government is not alone in recognizing this, but it is leading the way in research and development to find solutions.
according to the telegraph, the u.s. department of energy is funding 75 projects developing electricity storage, funding research at harvard, mit, stanford, and the elite lawrence livermore and oak ridge national labs in a bid for achieve a breakthrough. many of these projects can be tracked at the advanced research projects website (arpa-e). there are plans for hydrogen bromide, batteries, storage in molten glass, flywheels, to name but a few with many claiming “drastic improvements” that can slash storage costs by percent. in reality, most will not see the light of day, but that is the nature of cutting edge hard science. you have to kiss many frogs before you find your prince.
the potential for industry is huge, a mckinsey estimate claims that the energy storage market will grow a to $90 billion a year by 2025 with as yet unforeseen potential for the metals industry, depending on which technologies prove to be the most successful. if electric vehicles finally begin to gain some sales traction maybe a future really is attainable at acceptable cost.
by stuart burns via
more top reads from oilprice.com: | riˈnuəbəl ˈɛnərʤi tɛkˈnɑləʤi həz bɪn splɪt ˈɪntu tu kæmps sɪns ɪt bɪˈkeɪm ə ˌriˈæləˌti əraʊnd ðə tərn əv ðə ˈsɛnʧəri. ɔn ðə wən hænd ðɛr ər ðə ˈpæʃənət ɪnˌvaɪrənˈmɛnəl bɪˈlivərz fər hum ðə ˌɪnˈfleɪtɪd ˈsəbsɪdiz wər ən ˌɪˈrɛləvəns ɪn ðə feɪs əv ˈseɪvɪŋ ɑr ˈplænət, ənd ɔn ðə ˈəðər wər ˌneɪˈseɪərz fər hum ðə ˈɑrgjəmənts əˈbaʊt ˈgloʊbəl ˈwɔrmɪŋ wər ə plɑt baɪ ðə fɑr lɛft tɪ reɪz ˈtæksɪz ər rən səm kaɪnd əv ɪnˌvaɪrənˈmɛnəl əˈʤɛndə æt ðə ɪkˈspɛns əv ˈbɪznɪs ənd kənˈsumərz. ˈniðər ˈpoʊlərˌaɪzd pəˈzɪʃən wɑz fɛr, əv kɔrs, ənd ðə kwaɪət məˈʤɔrəti ɪn ðə ˈmɪdəl hæv wɔʧt ðə tɛkˈnɑləʤiz bɪˈkəm prɑˈgrɛsɪvli mɔr ɪˈfɪʃənt ənd kɔsts fɔl drəˈmætɪkəli waɪl ðə ɪkˈstrimz əv ˈgloʊbəl ˈwɔrmɪŋ ˈhɔrər ˈstɔriz hæv bɪn dɪˈskrɛdɪtɪd, bət ðə hɑrd saɪəns əv ˈgræʤuəli ˈraɪzɪŋ ˈkɑrbən ˈlɛvəlz həz bɪn ˈwaɪdli ækˈsɛptɪd. hu kɛrz waɪ ðə ˈtɛmpərəʧər ɪz ˈraɪzɪŋ? ɪn ðə ˈprɔˌsɛs, ə ˈwaɪdər əkˈsɛptəns həz geɪnd graʊnd ðət ˈgloʊbəl ˈtɛmpərəʧərz ˈrɪli ər ˈraɪzɪŋ ənd ˈwɛðər ɪt ɪz pɑrt əv ə ˈnæʧərəl ˈsaɪkəl ər ˈmænˌmeɪd ɪz nɑt ə rɪsk wi kən əˈfɔrd tɪ teɪk. ˈəltəmətli, ˈækʃən tɪ rɪˈdus ˈkɑrbən ɪˈmɪʃənz wɪl bi ˈʧipər ðən ˈmɛni ˈpɑsəbəl ˈdaʊnˌsaɪd sɪˈnɛrioʊz ɪf lɛft ənˈʧɛkt ənd moʊst ˈpipəl wʊd əkˈsɛpt wi ər ˈmeɪkɪŋ ə mɛs əv ɑr ɪnˈvaɪrənmənt ənd ˈrɪli ʃʊd bɪˈheɪv mɔr rɪˈspɑnsəbli. ˈminˌwaɪl, ˌpɑləˈtɪʃənz hæv bɪn plaʊɪŋ ɑr ˈtækˌspeɪər ˈməni ˈɪntu səˈpɔrtɪŋ wɪnd, ˈsoʊlər ənd ə ˈnəmbər əv ˈəðər ““renewable”*” tɛkˈnɑləʤiz, wɪθ səm dɪˈgri əv səkˈsɛs. kɔsts fər ðə ˈmeɪʤər ˈɛnərʤi ˈsɔrsəz ˈsoʊlər ənd wɪnd hæv ˈfɑlən, ˈpɑrtli ɛz ə rɪˈzəlt əv tɛkˈnɑləʤi ˌɪmˈpruvmənts ənd ˈpɑrtli du tɪ ɪˈkɑnəmiz əv skeɪl, tɪ ðə pɔɪnt naʊ wɛr ˈpraɪvət fərmz ər ˈsaɪnɪŋ əp tɪ ˌɪnˈvɛst ɪn ˈmeɪʤər wɪnd ˈprɑʤɛkts fər ə ˈtɛrəf əv ʤɪst 100 pər pər). ˌɪnˈdid, ɪn ˈjʊrəp ɔl ðə ˈɛkstrə paʊər kəˈpæsɪti ˈædɪd sɪns ðə mɪd həz bɪn riˈnuəbəl. (klɪk tɪ ˌɛnˈlɑrʤ) sɔrs: ˈtɛləˌgræf ˈnuzˌpeɪpər ðə ˈbɪgəst ˈhərdəl naʊ hæv tɪ ˈoʊvərˌkəm ɪz nɑt ðə kɔst əv pərˈdəkʃən, bət ðə kərs əv intermittency*. wɛr dɪz ðə paʊər kəm frəm wɪn ðə wɪnd bloʊ ər ðə sən ʃaɪn? ðə kɔst əv dikəˈmɪʃənɪŋ əp tɪ naʊ, ðət həz rikˈwaɪərd ðə ˈmeɪntənəns (ənd, ˌɪnˈdid, hir ɪn ðə u.k*., ðə plænd ˌɪnˈvɛstmənt ɪn) paʊər kəˈpæsɪti. ˈsəmˌtaɪmz ðɪs həz mɛnt ɪkˈstɛndɪŋ ðə laɪf əv ˈeɪʤɪŋ ˈnukliər paʊər plænts ənd ˈsəmˌtaɪmz nu plænts wɪʧ hæv ˈgreɪtər ˌflɛksəˈbɪləti tɪ bi tərnd ɔn ənd ɔf bət wɪʧ hæv ə ˈkɑrbən kɔst əv ðɛr oʊn. rɪˈleɪtɪd: ɔɪl ˈpraɪsɪz ˈræli ˈɪntu ðə ˈwiˌkɪnd ɔn ˈfləri əv ˈbʊlɪʃ nuz ɪn ðə u.k*., ə fɪrs dəˈbeɪt həz bɪn goʊɪŋ ɔn fər ˈsɛvərəl jɪrz əˈbaʊt ðə rɪˈpleɪsmənt əv ˈeɪʤɪŋ ˈnukliər paʊər plænts səʧ ɛz ˈhɪŋkli pɔɪnt ɪn ˈsəmərˌsɛt, ˈɪŋglənd ənd ˈbrædˌwɛl æt ðə maʊθ əv ðə ˈrɪvər ɪn ˈɛsɪks æt ə juʤ ˈkæpɪtəl kɔst. ə ˈkæpɪtəl kɔst ðət həz ˈrɪzən drəˈmætɪkəli æt ˈɛvəri riɪˌvæljuˈeɪʃən ənd wɪʧ kən ˈoʊnli bi səˈpɔrtɪd baɪ ə ˈmæsɪv ˌgɛrənˈtid straɪk praɪs əv 120 pər pər) fər 35 jɪrz. wərs, ðət ˈfɪgjər gɪts əˈʤəstɪd fər ˌɪnˈfleɪʃən ənd ɪz ɔˈrɛdi ˈlʊkɪŋ mɔr laɪk pər, ənd ˈraɪzɪŋ. ˈwɛðər ˌrɛkɪgˈnɪʃən əv ðə ˈprɑˌgrɛs ˈɛnərʤi ˈstɔrɪʤ ɪz ˈmeɪkɪŋ ənd ðə ˌtrænsfərˈmeɪʃənəl ˌɪmˈpækt ə ˈmeɪʤər ˈbreɪkθˌru kʊd hæv ɪz ˈɪnˌfluənsɪŋ ðə ˈbrɪtɪʃ əˈnaʊnsmɛnt ðɪs mənθ ðət ɪt ɪz ˈəndərˌteɪkɪŋ ə ˌrivˈju əv ˈwɛðər tɪ goʊ əˈhɛd ər nɑt ɔn ðə ˈnukliər ˈprɑʤɛkts ɪz ənˈklɪr, bət ɪt ˈsərtənli ˈreɪzɪz kˈwɛsʧənz ɛz tɪ waɪ wʊd ju kəˈmɪt tɪ səʧ ə haɪ straɪk praɪs fər 35 jɪrz ɪf ðə tɛkˈnɑləʤi ɪz ˈlaɪkli tɪ bi ˈtoʊtəli əˌnɛkəˈnɑmɪk baɪ ðə taɪm ɪt ˈivɪn stɑrts ˈʤɛnərˌeɪtɪŋ ɪˌlɛkˈtrɪsəti? ˈɛnərʤi ˈstɔrɪʤ ɪˈfɪʃənt ənd ˈɛnərʤi ˈstɔrɪʤ kʊd əˈlaʊ ˌɪntərˈmɪtənt paʊər ˈsɔrsəz səʧ ɛz tɪ pleɪ ə roʊl ɪn ˈɛnərʤi dɪˈlɪvəri. ɪt həz bɪn ðə ˈhoʊli greɪl əv riˈnuəbəl ˈɛnərʤi ˈɛvər sɪns ðə tɛkˈnɑləʤi bɪˈgæn tɪ teɪk ɔf, bət læk əv, ɪˈfɪʃənt tɛkˈnɑləʤi həz hɛld ðə hoʊl ˈsɛktər bæk. ðə juz. ˈgəvərnmənt ɪz nɑt əˈloʊn ɪn ˈrɛkəgˌnaɪzɪŋ ðɪs, bət ɪt ɪz ˈlidɪŋ ðə weɪ ɪn ˈrisərʧ ənd dɪˈvɛləpmənt tɪ faɪnd səˈluʃənz. əˈkɔrdɪŋ tɪ ðə ˈtɛləˌgræf, ðə juz. dɪˈpɑrtmənt əv ˈɛnərʤi ɪz ˈfəndɪŋ 75 ˈprɑʤɛkts dɪˈvɛləpɪŋ ɪˌlɛkˈtrɪsəti ˈstɔrɪʤ, ˈfəndɪŋ ˈrisərʧ æt ˈhɑrvərd, ˈɛˈmaɪˈti, ˈstænfərd, ənd ðə ɪˈlit ˈlɔrəns lɪvərˈmɔr ənd oʊk rɪʤ ˈnæʃənəl læbz ɪn ə bɪd fər əˈʧiv ə ˈbreɪkθˌru. ˈmɛni əv ðiz ˈprɑʤɛkts kən bi trækt æt ðə ədˈvænst ˈrisərʧ ˈprɑʤɛkts ˈwɛbˌsaɪt (arpa-e*). ðɛr ər plænz fər ˈhaɪdrəʤən ˈbroʊˌmaɪd, ˈbætəriz, ˈstɔrɪʤ ɪn ˈmoʊltən glæs, flywheels*, tɪ neɪm bət ə fju wɪθ ˈmɛni ˈkleɪmɪŋ improvements”*” ðət kən slæʃ ˈstɔrɪʤ kɔsts baɪ pərˈsɛnt. ɪn ˌriˈæləˌti, moʊst wɪl nɑt si ðə laɪt əv deɪ, bət ðət ɪz ðə ˈneɪʧər əv ˈkətɪŋ ɛʤ hɑrd saɪəns. ju hæv tɪ kɪs ˈmɛni frɑgz ˌbiˈfɔr ju faɪnd jʊr prɪns. ðə pəˈtɛnʃəl fər ˈɪndəstri ɪz juʤ, ə məˈkɪnzi ˈɛstəˌmeɪt kleɪmz ðət ðə ˈɛnərʤi ˈstɔrɪʤ ˈmɑrkɪt wɪl groʊ ə tɪ 90 ˈbɪljən ə jɪr baɪ 2025 wɪθ ɛz jɛt ˌənfɔrˈsin pəˈtɛnʃəl fər ðə ˈmɛtəlz ˈɪndəstri, dɪˈpɛndɪŋ ɔn wɪʧ tɛkˈnɑləʤiz pruv tɪ bi ðə moʊst səkˈsɛsfəl. ɪf ɪˈlɛktrɪk ˈviɪkəlz ˈfaɪnəli bɪˈgɪn tɪ geɪn səm seɪlz ˈtrækʃən ˈmeɪbi ə fˈjuʧər ˈrɪli ɪz əˈteɪnəbəl æt əkˈsɛptəbəl kɔst. baɪ stɔrt bərnz ˈviə mɔr tɔp ridz frəm oilprice.com*: |
media playback is unsupported on your device media caption george osborne: "we're trusting people who have worked hard and saved hard all their lives"
chancellor george osborne has promised "no giveaways, no gimmicks" in this week's budget - but said he would further relax pension rules.
he is set to allow up to five million existing pensioners to swap their fixed annual payments for cash.
mr osborne told the bbc his last budget before the election would be one for a "truly national recovery".
labour's ed balls said the tories were committed to an "ideological plan" for the biggest cuts since world war two.
the chancellor and shadow chancellor both appeared on the bbc's andrew marr show days before the budget, the last one before all the parties go to the polls on 7 may.
in what is seen as an attempt to woo older voters, the chancellor is expected to extend pension changes from april 2016, to allow existing pensioners to swap their annuity for a fixed lump sum.
it follows reforms announced last year that allow working people to cash in all or part of their defined contribution pension when they retire, rather than buy an annuity that guarantees an income for life.
pensioners had been required to buy annuities under the old rules.
'national recovery'
mr osborne told the programme it was about "trusting those people who have worked hard and saved all their lives" and said it was " to suggest people might blow the money on an expensive sports car then come back for more when they ran out of cash.
there has been speculation that falling oil prices might give the chancellor a war chest by boosting spending and lowering inflation.
the chancellor said he would not comment on economic forecasts, but added: "this budget is all about securing a truly national recovery from building a northern powerhouse, connecting up other regions of our country, committing to long-term plans that support science and high-speed transport... so no giveaways, no gimmicks a budget for the long term."
asked if that meant no "giveaways" by raising national insurance and income tax thresholds he said: "everything we do in this budget has to be paid for."
analysis
image copyright reuters
by bbc correspondent alex forsyth
the pension reforms that the chancellor announced last year were the rabbit in the 2014 budget box.
george osborne managed to keep his radical of the pensions system quiet until he chose to reveal his grand plan during his budget speech.
this year, it is less of a surprise. extending freedom over annuities was a widely expected move - although it's not without controversy.
there are those who argue this freedom will tempt some pensioners to make short-term spending choices, leaving themselves short of an income in later life. but mr osborne's view is that those who've worked hard and saved should be able to make their own decisions.
these measures have an obvious political point - to attract older voters. with the general election within spitting distance, mr osborne needs policies that don't detract from his "long term economic plan", but which prove popular with the electorate.
and crucially, he needs ideas that will be backed by his coalition colleagues. with this idea - which was previously floated by lib pensions minister steve webb - he thinks he's ticked every box.
'particularly unfair'
bbc business correspondent joe lynam said the changes would only apply to retired people who had money purchase pension schemes.
the government is to ask the regulator the financial conduct authority (fca) to introduce guidance and consumer protection measures to ensure pensioners are fully informed of the changes and are protected from any mis-selling, he said.
the former government adviser and pensions expert ros altman welcomed the proposals but warned that a proper market for annuities was needed so that pensioners were not overcharged a second time, our correspondent added.
mr osborne is expected to announce on wednesday:
support for technology clusters around the
investment in the chemical sector in north-east england in the form of funding the centre for process innovation
plans to introduce broadband around the
the creation of two new "enterprise zones" in plymouth and blackpool
45,000 new homes to be built on brownfield sites
'ideological plan'
but shadow chancellor ed balls told the bbc mr osborne wanted to go beyond "balancing the books" in the next parliament.
mr osborne was committed to an "ideological plan" and wanted to run a surplus in order to "cut the size of the state" to a level not seen since the 1930s, mr balls said.
neither mr osborne nor mr balls would commit categorically to sticking to nato's target that 2% of national income should be spent on defence in future.
the general secretary frances o'grady has said there is a danger the budget will be "more about winning votes in six weeks than securing growth for six years".
in its statement, the - which represents about six million workers - said the "urgently needs to change course" to avoid long-term economic stagnation and urged the government to borrow more and boost public investment.
are you retired or soon to retire? what will these changes mean for you? you can share your experiences by emailing haveyoursay@bbc.co.uk. if you are available to talk further to a bbc journalist please include a telephone number. | ˈmidiə ˈpleɪˌbæk ɪz ənsəˈpɔrtɪd ɔn jʊr dɪˈvaɪs ˈmidiə ˈkæpʃən ʤɔrʤ ˈɔzˌbɔrn: "wɪr ˈtrəstɪŋ ˈpipəl hu hæv wərkt hɑrd ənd seɪvd hɑrd ɔl ðɛr lɪvz" ˈʧænsələr ʤɔrʤ ˈɔzˌbɔrn həz ˈprɑməst "noʊ ˈgɪvəˌweɪz, noʊ ˈgɪmɪks" ɪn ðɪs wiks ˈbəʤɪt bət sɛd hi wʊd ˈfərðər rɪˈlæks ˈpɛnʃən rulz. hi ɪz sɛt tɪ əˈlaʊ əp tɪ faɪv ˈmɪljən ɪgˈzɪstɪŋ ˈpɛnʃənərz tɪ swɑp ðɛr fɪkst ˈænjuəl ˈpeɪmənts fər kæʃ. ˈmɪstər ˈɔzˌbɔrn toʊld ðə ˌbibiˈsi hɪz læst ˈbəʤɪt ˌbiˈfɔr ðə ɪˈlɛkʃən wʊd bi wən fər ə "ˈtruli ˈnæʃənəl rɪˈkəvəri". ɛd bɔlz sɛd ðə ˈtɔˌriz wər kəˈmɪtɪd tɪ ən "ˌaɪdiəˈlɑʤɪkəl plæn" fər ðə ˈbɪgəst kəts sɪns wərld wɔr tu. ðə ˈʧænsələr ənd ˈʃæˌdoʊ ˈʧænsələr boʊθ əˈpɪrd ɔn ðə ˌbibiˈsis ˈændru mɑr ʃoʊ deɪz ˌbiˈfɔr ðə ˈbəʤɪt, ðə læst wən ˌbiˈfɔr ɔl ðə ˈpɑrtiz goʊ tɪ ðə poʊlz ɔn 7 meɪ. ɪn wət ɪz sin ɛz ən əˈtɛmpt tɪ wu ˈoʊldər ˈvoʊtərz, ðə ˈʧænsələr ɪz ɪkˈspɛktɪd tɪ ɪkˈstɛnd ˈpɛnʃən ˈʧeɪnʤɪz frəm ˈeɪprəl 2016 tɪ əˈlaʊ ɪgˈzɪstɪŋ ˈpɛnʃənərz tɪ swɑp ðɛr əˈnuɪti fər ə fɪkst ləmp səm. ɪt ˈfɑloʊz rɪˈfɔrmz əˈnaʊnst læst jɪr ðət əˈlaʊ ˈwərkɪŋ ˈpipəl tɪ kæʃ ɪn ɔl ər pɑrt əv ðɛr dɪˈfaɪnd ˌkɑntrəˈbjuʃən ˈpɛnʃən wɪn ðeɪ ˌriˈtaɪər, ˈrəðər ðən baɪ ən əˈnuɪti ðət ˌgɛrənˈtiz ən ˈɪnˌkəm fər laɪf. ˈpɛnʃənərz hæd bɪn rikˈwaɪərd tɪ baɪ əˈnuɪtiz ˈəndər ðə oʊld rulz. 'ˈnæʃənəl rɪˈkəvəri' ˈmɪstər ˈɔzˌbɔrn toʊld ðə ˈproʊˌgræm ɪt wɑz əˈbaʊt "ˈtrəstɪŋ ðoʊz ˈpipəl hu hæv wərkt hɑrd ənd seɪvd ɔl ðɛr lɪvz" ənd sɛd ɪt wɑz tɪ səˈʤɛst ˈpipəl maɪt bloʊ ðə ˈməni ɔn ən ɪkˈspɛnsɪv spɔrts kɑr ðɛn kəm bæk fər mɔr wɪn ðeɪ ræn aʊt əv kæʃ. ðɛr həz bɪn ˌspɛkjəˈleɪʃən ðət ˈfɑlɪŋ ɔɪl ˈpraɪsɪz maɪt gɪv ðə ˈʧænsələr ə wɔr ʧɛst baɪ ˈbustɪŋ ˈspɛndɪŋ ənd loʊərɪŋ ˌɪnˈfleɪʃən. ðə ˈʧænsələr sɛd hi wʊd nɑt ˈkɑmɛnt ɔn ˌɛkəˈnɑmɪk ˈfɔrˌkæsts, bət ˈædɪd: "ðɪs ˈbəʤɪt ɪz ɔl əˈbaʊt sɪˈkjʊrɪŋ ə ˈtruli ˈnæʃənəl rɪˈkəvəri frəm ˈbɪldɪŋ ə ˈnɔrðərn ˈpaʊərˌhaʊs, kəˈnɛktɪŋ əp ˈəðər ˈriʤənz əv ɑr ˈkəntri, kəˈmɪtɪŋ tɪ ˈlɔŋˈtərm plænz ðət səˈpɔrt saɪəns ənd ˈhaɪˌspid ˈtrænspɔrt... soʊ noʊ ˈgɪvəˌweɪz, noʊ ˈgɪmɪks ə ˈbəʤɪt fər ðə lɔŋ tərm." æst ɪf ðət mɛnt noʊ "ˈgɪvəˌweɪz" baɪ ˈreɪzɪŋ ˈnæʃənəl ˌɪnˈʃʊrəns ənd ˈɪnˌkəm tæks θˈrɛˌʃoʊldz hi sɛd: "ˈɛvriˌθɪŋ wi du ɪn ðɪs ˈbəʤɪt həz tɪ bi peɪd fər." æˈnælɪsɪs ˈɪmɪʤ ˈkɑpiˌraɪt ˈrɔɪtərz baɪ ˌbibiˈsi ˌkɔrəˈspɑndənt ˈæləks ˈfɔrˌsaɪθ ðə ˈpɛnʃən rɪˈfɔrmz ðət ðə ˈʧænsələr əˈnaʊnst læst jɪr wər ðə ˈræbɪt ɪn ðə 2014 ˈbəʤɪt bɑks. ʤɔrʤ ˈɔzˌbɔrn ˈmænɪʤd tɪ kip hɪz ˈrædɪkəl əv ðə ˈpɛnʃənz ˈsɪstəm kwaɪət ənˈtɪl hi ʧoʊz tɪ rɪˈvil hɪz grænd plæn ˈdʊrɪŋ hɪz ˈbəʤɪt spiʧ. ðɪs jɪr, ɪt ɪz lɛs əv ə səˈpraɪz. ɪkˈstɛndɪŋ ˈfridəm ˈoʊvər əˈnuɪtiz wɑz ə ˈwaɪdli ɪkˈspɛktɪd muv ˌɔlˈðoʊ ɪts nɑt wɪˈθaʊt ˈkɑntrəˌvərsi. ðɛr ər ðoʊz hu ˈɑrgju ðɪs ˈfridəm wɪl tɛmpt səm ˈpɛnʃənərz tɪ meɪk ˌʃɔrtˈtərm ˈspɛndɪŋ ˈʧɔɪsɪz, ˈlivɪŋ ðɛmˈsɛlvz ʃɔrt əv ən ˈɪnˌkəm ɪn ˈleɪtər laɪf. bət ˈmɪstər ˈɔzˌbɔrnz vju ɪz ðət ðoʊz huv wərkt hɑrd ənd seɪvd ʃʊd bi ˈeɪbəl tɪ meɪk ðɛr oʊn dɪˈsɪʒənz. ðiz ˈmɛʒərz hæv ən ˈɑbviəs pəˈlɪtɪkəl pɔɪnt tɪ əˈtrækt ˈoʊldər ˈvoʊtərz. wɪθ ðə ˈʤɛnərəl ɪˈlɛkʃən wɪˈθɪn ˈspɪtɪŋ ˈdɪstəns, ˈmɪstər ˈɔzˌbɔrn nidz ˈpɑləsiz ðət doʊnt dɪˈtrækt frəm hɪz "lɔŋ tərm ˌɛkəˈnɑmɪk plæn", bət wɪʧ pruv ˈpɑpjələr wɪθ ðə ɪˈlɛktərət. ənd ˈkruʃəli, hi nidz aɪˈdiəz ðət wɪl bi bækt baɪ hɪz ˌkoʊəˈlɪʃən ˈkɑligz. wɪθ ðɪs aɪˈdiə wɪʧ wɑz ˈpriviəsli ˈfloʊtɪd baɪ lɪb ˈpɛnʃənz ˈmɪnɪstər stiv wɛb hi θɪŋks hiz tɪkt ˈɛvəri bɑks. 'ˌpɑrˈtɪkjələrli ˌɔnˈfɛr' ˌbibiˈsi ˈbɪznɪs ˌkɔrəˈspɑndənt ʤoʊ ˈlɪnəm sɛd ðə ˈʧeɪnʤɪz wʊd ˈoʊnli əˈplaɪ tɪ rɪˈtaɪrd ˈpipəl hu hæd ˈməni ˈpərʧəs ˈpɛnʃən skimz. ðə ˈgəvərnmənt ɪz tɪ æsk ðə ˈrɛgjəˌleɪtər ðə ˌfaɪˈnænʃəl ˈkɑndəkt əˈθɔrəti (fca*) tɪ ˌɪntrəˈdus ˈgaɪdəns ənd kənˈsumər prəˈtɛkʃən ˈmɛʒərz tɪ ɪnˈʃʊr ˈpɛnʃənərz ər ˈfʊli ˌɪnˈfɔrmd əv ðə ˈʧeɪnʤɪz ənd ər prəˈtɛktɪd frəm ˈɛni mis-selling*, hi sɛd. ðə ˈfɔrmər ˈgəvərnmənt ædˈvaɪzər ənd ˈpɛnʃənz ˈɛkspərt rɔs ˈɔltmən ˈwɛlkəmd ðə prəˈpoʊzəlz bət wɔrnd ðət ə ˈprɑpər ˈmɑrkɪt fər əˈnuɪtiz wɑz ˈnidɪd soʊ ðət ˈpɛnʃənərz wər nɑt ˈoʊvərˈʧɑrʤd ə ˈsɛkənd taɪm, ɑr ˌkɔrəˈspɑndənt ˈædɪd. ˈmɪstər ˈɔzˌbɔrn ɪz ɪkˈspɛktɪd tɪ əˈnaʊns ɔn ˈwɛnzˌdeɪ: səˈpɔrt fər tɛkˈnɑləʤi ˈkləstərz əraʊnd ðə ˌɪnˈvɛstmənt ɪn ðə ˈkɛmɪkəl ˈsɛktər ɪn ˌnɔrˈθist ˈɪŋglənd ɪn ðə fɔrm əv ˈfəndɪŋ ðə ˈsɛntər fər ˈprɔˌsɛs ˌɪnəˈveɪʃən plænz tɪ ˌɪntrəˈdus ˈbrɔdˌbænd əraʊnd ðə ðə kriˈeɪʃən əv tu nu "ˈɛnərˌpraɪz zoʊnz" ɪn ˈplɪməθ ənd ˈblækˌpul nu hoʊmz tɪ bi bɪlt ɔn ˈbraʊnˌfild saɪts 'ˌaɪdiəˈlɑʤɪkəl plæn' bət ˈʃæˌdoʊ ˈʧænsələr ɛd bɔlz toʊld ðə ˌbibiˈsi ˈmɪstər ˈɔzˌbɔrn ˈwɔntɪd tɪ goʊ bɪɔnd "ˈbælənsɪŋ ðə bʊks" ɪn ðə nɛkst ˈpɑrləmɛnt. ˈmɪstər ˈɔzˌbɔrn wɑz kəˈmɪtɪd tɪ ən "ˌaɪdiəˈlɑʤɪkəl plæn" ənd ˈwɔntɪd tɪ rən ə ˈsərpləs ɪn ˈɔrdər tɪ "kət ðə saɪz əv ðə steɪt" tɪ ə ˈlɛvəl nɑt sin sɪns ðə 1930s*, ˈmɪstər bɔlz sɛd. ˈniðər ˈmɪstər ˈɔzˌbɔrn nɔr ˈmɪstər bɔlz wʊd kəˈmɪt ˌkætəˈgɔrɪkli tɪ ˈstɪkɪŋ tɪ ˈneɪtoʊz ˈtərgət ðət 2 əv ˈnæʃənəl ˈɪnˌkəm ʃʊd bi spɛnt ɔn dɪˈfɛns ɪn fˈjuʧər. ðə ˈʤɛnərəl ˈsɛkrəˌtɛri ˈfrænsɪs oʊˈgreɪdi həz sɛd ðɛr ɪz ə ˈdeɪnʤər ðə ˈbəʤɪt wɪl bi "mɔr əˈbaʊt ˈwɪnɪŋ voʊts ɪn sɪks wiks ðən sɪˈkjʊrɪŋ groʊθ fər sɪks jɪrz". ɪn ɪts ˈsteɪtmənt, ðə wɪʧ ˌrɛprɪˈzɛnts əˈbaʊt sɪks ˈmɪljən ˈwərkərz sɛd ðə "ˈərʤəntli nidz tɪ ʧeɪnʤ kɔrs" tɪ əˈvɔɪd ˈlɔŋˈtərm ˌɛkəˈnɑmɪk stægˈneɪʃən ənd ərʤd ðə ˈgəvərnmənt tɪ ˈbɑˌroʊ mɔr ənd bust ˈpəblɪk ˌɪnˈvɛstmənt. ər ju rɪˈtaɪrd ər sun tɪ ˌriˈtaɪər? wət wɪl ðiz ˈʧeɪnʤɪz min fər ju? ju kən ʃɛr jʊr ɪkˈspɪriənsɪz baɪ iˈmeɪlɪŋ haveyoursay@bbc.co.uk*. ɪf ju ər əˈveɪləbəl tɪ tɔk ˈfərðər tɪ ə ˌbibiˈsi ˈʤərnəlɪst pliz ˌɪnˈklud ə ˈtɛləˌfoʊn ˈnəmbər. |
"i think everybody knows that i like having fun. the biggest thing is, people can be misled into thinking not being serious," says clint bowyer.: mark j. rebilas, usa today sports)
our series of weekly nascar driver interviews continues with clint bowyer, who is spending this season at before taking over tony stewart's no. 14 car in 2017.
q: what is an errand or chore in your daily life people might be surprised to learn you do yourself?
a: man, usually mowing. when you have a big farm like that, mowing at this time of year. there are two of us who do the mowing my caretaker, terry, and i so i'm usually mowing a pasture or something. i refuse to weed-eat, though. that sucks.
q: if you could do any race over again, which race would you choose?
a: man! the daytona 500 has been a few of them. gotten close a few times. just one of those tracks if in the top 10 on the last few laps, you have a shot at it. been there a few times, just been able to capitalize with that right push and that magical moment some of them have.
q: the longest race of the year is 600 miles. how long of a race could you physically handle without a driver change?
a: well, my first reaction would be i would go mow yard if they would make it a race. it gets to the point where like, “what the hell are we doing here?” because it all comes down to the last 20 laps or the last fuel run at those long races.
you know, been there in the 600 where i felt like i go another lap and been there where i felt like i could drive the rest of the night and most of the next day. it really does depend on the tempo of your race, the handling of your car and the way running. if running up front, pretty much on cruise control and not running 100% running 80% and pretty comfortable.
q: say president of nascar was an elected position voted on by the drivers, and you decided to run. what would one of your campaign promises be?
a: i would work on the schedule. it be four hours or whatever it is of tech (inspection). kind of a missed opportunity. got us here; we might as well be on that racetrack putting on a show for the fans.
q: at the start of this year, exactly drivers had ever raced in the sprint cup series. where do you rank among those?
a: damn! i have no idea. the stats you could quickly look that up and figure it out. hard to judge that over the years, because if i could run three times a week like they did (in early days), i think you could improve your results. everybody always tries to judge racing as you see it today to racing as you saw it back then, and just simply not matchable.
they had one car they raced; we have a fleet of cars that are built differently for different tracks. they had five employees; we have 500 employees. you know what i mean? so different. hard to judge where a guy like dale earnhardt ranks, let alone yourself.
q: what do you think your reputation is, and is that reputation accurate?
a: (laughs) probably pretty accurate! i think everybody knows that i like having fun. the biggest thing is, people can be misled into thinking not being serious. when competing, dead serious and i want to beat these guys. something misunderstood about me sometimes. but what i love about this sport the media and tv do such a good job of covering the sport itself that you understand the characters within the people, and why fans have such strong thoughts on any specific driver.
"it would be a lot of fun to laugh with somebody in the car, because usually either laughing at myself or by myself on somebody behalf," clint bowyer says.: vinlove, usa today sports)
q: a famous chef wants you to invest in the new restaurant opening, but he wants you to pick the cuisine. what type of food would your restaurant serve?
a: well, you have a restaurant without having a solid cheeseburger. so you have to start there, first and foremost. and then from there, it all comes down to a good steak. if you have a good steak, not (crap) in the restaurant business.
and the third thing is to make sure you have any kind of sushi at all.
no sushi? aw, man.
i have no idea how you could have a sushi restaurant and make a dollar. just weird. whatever happened to grilling your food and making an event out of it? the event be cutting it up! the event is cooking it and enjoying it.
q: what is the most daring thing done outside of racing?
a: trying to raise that boy right there! (points to son cash, who is whirling around the driver motor home lot in a miniature car.) look at him, a maniac.
nah, the most daring thing outside a race car is getting on (interstate) 77. pretty daring, i would say. there are some lunatics driving on that road.
q: in a move to generate more excitement, nascar decides in an upcoming race it's going to require every driver to have a passenger in the car. you get to pick the passenger. who do you choose?
a: oh man. it would definitely be a comedian. could you imagine somebody like eddie murphy riding with you? by the end of it, be screwing up on purpose so make fun of you and you could hear what he had to say. you would put him in situations where he had to comment on it. what life is all about: a good laugh. and it would be a lot of fun to laugh with somebody in the car, because usually either laughing at myself or by myself on somebody behalf.
so you wouldn't mind getting insulted during the race?
trust me. you screw up more than what people can see on tv. and those are the moments laughing at the most when you really do something dumb. like, “holy (crap), how in the world did i do that?”
q: how often do you talk inside the car without hitting the radio button?
a: never. too easy to hit a button. and if you ever listen to my radio, understand that. but not fair! our valve. honestly, most of the time talking to yourself. sometimes the crew will say, “what did you just say?” say, “i’m just talking out loud, damn it! get in my world here.” you use that as a tool to relay the information, but at the end of the day, your only source of entertainment in the car. luckily for me, i have a funny spotter (brett griffin) who is the same way i am. together, pretty dangerous on the radio.
q: who will win the sprint cup in 2021?
a: five years from now? i care who wins in 2021, but i do care that i win one before i quit. raced for championships my whole life, and the way i was raised. you were always racing for a series title and we were always tied to a points system. why i was always hesitant when they started coming up with the chase and a little more "gimmicks," if you will, to deplete that a little bit. something that was always instilled in me in an early age not only competing for that night, but competing for that championship.
q: been asking each driver to give me a question for the next interview. the last one was with blake koch, and he wanted to know if you pulled back on the brakes for less drag when you did the in atlanta.
a: no, the brakes were pulled in full when i was overshooting the corner and smoking it into the barrier. so, no, blake, i definitely have the brakes pushed back. the levers were pulled back as hard as i could, as i was in an “oh (crap)" moment. they were used in their entirety, to their fullest extent. it just enough. i was out of real estate. and the biggest part was it was in front of fans. that sucked.
follow gluck on twitter | "aɪ θɪŋk ˈɛvriˌbɑdi noʊz ðət aɪ laɪk ˈhævɪŋ fən. ðə ˈbɪgəst θɪŋ ɪz, ˈpipəl kən bi mɪsˈlɛd ˈɪntu ˈθɪŋkɪŋ nɑt biɪŋ ˈsɪriəs," sɪz klɪnt ˈboʊjər. mɑrk ʤeɪ. rebilas*, ˈjuˈɛˈseɪ təˈdeɪ spɔrts) ɑr ˈsɪriz əv ˈwikli ˈnæˌskɑr ˈdraɪvər ˈɪntərvˌjuz kənˈtɪnjuz wɪθ klɪnt ˈboʊjər, hu ɪz ˈspɛndɪŋ ðɪs ˈsizən æt ˌbiˈfɔr ˈteɪkɪŋ ˈoʊvər ˈtoʊni stuərts noʊ. 14 kɑr ɪn 2017 kju: wət ɪz ən ˈɛrənd ər ʧɔr ɪn jʊr ˈdeɪli laɪf ˈpipəl maɪt bi səˈpraɪzd tɪ lərn ju du ˈjɔrsɛlf? ə: mæn, ˈjuʒəwəli maʊɪŋ. wɪn ju hæv ə bɪg fɑrm laɪk ðət, maʊɪŋ æt ðɪs taɪm əv jɪr. ðɛr ər tu əv ˈjuˈɛs hu du ðə maʊɪŋ maɪ ˈkɛrˌteɪkər, ˈtɛri, ənd aɪ soʊ əm ˈjuʒəwəli maʊɪŋ ə ˈpæsʧər ər ˈsəmθɪŋ. aɪ ˈrɛfˌjuz tɪ weed-eat*, ðoʊ. ðət səks. kju: ɪf ju kʊd du ˈɛni reɪs ˈoʊvər əˈgɛn, wɪʧ reɪs wʊd ju ʧuz? ə: mæn! ðə deɪˈtoʊnə 500 həz bɪn ə fju əv ðɛm. ˈgɔtən kloʊz ə fju taɪmz. ʤɪst wən əv ðoʊz træks ɪf ɪn ðə tɔp 10 ɔn ðə læst fju læps, ju hæv ə ʃɑt æt ɪt. bɪn ðɛr ə fju taɪmz, ʤɪst bɪn ˈeɪbəl tɪ ˈkæpətəˌlaɪz wɪθ ðət raɪt pʊʃ ənd ðət ˈmæʤɪkəl ˈmoʊmənt səm əv ðɛm hæv. kju: ðə ˈlɔŋgɪst reɪs əv ðə jɪr ɪz 600 maɪəlz. haʊ lɔŋ əv ə reɪs kʊd ju ˈfɪzɪkəli ˈhændəl wɪˈθaʊt ə ˈdraɪvər ʧeɪnʤ? ə: wɛl, maɪ fərst riˈækʃən wʊd bi aɪ wʊd goʊ moʊ jɑrd ɪf ðeɪ wʊd meɪk ɪt ə reɪs. ɪt gɪts tɪ ðə pɔɪnt wɛr laɪk, ðə hɛl ər wi duɪŋ here?”*?” bɪˈkəz ɪt ɔl kəmz daʊn tɪ ðə læst 20 læps ər ðə læst fjuəl rən æt ðoʊz lɔŋ ˈreɪsɪz. ju noʊ, bɪn ðɛr ɪn ðə 600 wɛr aɪ fɛlt laɪk aɪ goʊ əˈnəðər læp ənd bɪn ðɛr wɛr aɪ fɛlt laɪk aɪ kʊd draɪv ðə rɛst əv ðə naɪt ənd moʊst əv ðə nɛkst deɪ. ɪt ˈrɪli dɪz dɪˈpɛnd ɔn ðə ˈtɛmˌpoʊ əv jʊr reɪs, ðə ˈhændəlɪŋ əv jʊr kɑr ənd ðə weɪ ˈrənɪŋ. ɪf ˈrənɪŋ əp frənt, ˈprɪti məʧ ɔn kruz kənˈtroʊl ənd nɑt ˈrənɪŋ 100 ˈrənɪŋ 80 ənd ˈprɪti ˈkəmfərtəbəl. kju: seɪ ˈprɛzɪdənt əv ˈnæˌskɑr wɑz ən ɪˈlɛktɪd pəˈzɪʃən ˈvoʊtɪd ɔn baɪ ðə ˈdraɪvərz, ənd ju ˌdɪˈsaɪdɪd tɪ rən. wət wʊd wən əv jʊr kæmˈpeɪn ˈprɑməsəz bi? ə: aɪ wʊd wərk ɔn ðə ˈskɛʤʊl. ɪt bi fɔr aʊərz ər ˌwəˈtɛvər ɪt ɪz əv tɛk (ˌɪnˈspɛkʃən). kaɪnd əv ə mɪst ˌɑpərˈtunəti. gɑt ˈjuˈɛs hir; wi maɪt ɛz wɛl bi ɔn ðət ˈreɪˌstræk ˈpʊtɪŋ ɔn ə ʃoʊ fər ðə fænz. kju: æt ðə stɑrt əv ðɪs jɪr, ɪgˈzæktli ˈdraɪvərz hæd ˈɛvər reɪst ɪn ðə sprɪnt kəp ˈsɪriz. wɛr du ju ræŋk əˈməŋ ðoʊz ə: dæm! aɪ hæv noʊ aɪˈdiə. ðə stæts ju kʊd kˈwɪkli lʊk ðət əp ənd ˈfɪgjər ɪt aʊt. hɑrd tɪ ʤəʤ ðət ˈoʊvər ðə jɪrz, bɪˈkəz ɪf aɪ kʊd rən θri taɪmz ə wik laɪk ðeɪ dɪd (ɪn ˈərli deɪz), aɪ θɪŋk ju kʊd ˌɪmˈpruv jʊr rɪˈzəlts. ˈɛvriˌbɑdi ˈɔlˌweɪz traɪz tɪ ʤəʤ ˈreɪsɪŋ ɛz ju si ɪt təˈdeɪ tɪ ˈreɪsɪŋ ɛz ju sɔ ɪt bæk ðɛn, ənd ʤɪst ˈsɪmpli nɑt matchable*. ðeɪ hæd wən kɑr ðeɪ reɪst; wi hæv ə flit əv kɑz ðət ər bɪlt ˈdɪfərˈɛntli fər ˈdɪfərənt træks. ðeɪ hæd faɪv ɪmˈplɔɪiz; wi hæv 500 ɪmˈplɔɪiz. ju noʊ wət aɪ min? soʊ ˈdɪfərənt. hɑrd tɪ ʤəʤ wɛr ə gaɪ laɪk deɪl ˈərnˌhɑrt ræŋks, lɛt əˈloʊn ˈjɔrsɛlf. kju: wət du ju θɪŋk jʊr ˌrɛpjəˈteɪʃən ɪz, ənd ɪz ðət ˌrɛpjəˈteɪʃən ˈækjərət? ə: (læfs) ˈprɑbəˌbli ˈprɪti ˈækjərət! aɪ θɪŋk ˈɛvriˌbɑdi noʊz ðət aɪ laɪk ˈhævɪŋ fən. ðə ˈbɪgəst θɪŋ ɪz, ˈpipəl kən bi mɪsˈlɛd ˈɪntu ˈθɪŋkɪŋ nɑt biɪŋ ˈsɪriəs. wɪn kəmˈpitɪŋ, dɛd ˈsɪriəs ənd aɪ wɔnt tɪ bit ðiz gaɪz. ˈsəmθɪŋ ˌmɪsəndərˈstʊd əˈbaʊt mi ˈsəmˌtaɪmz. bət wət aɪ ləv əˈbaʊt ðɪs spɔrt ðə ˈmidiə ənd ˌtɛləˈvɪʒən du səʧ ə gʊd ʤɑb əv ˈkəvərɪŋ ðə spɔrt ˌɪtˈsɛlf ðət ju ˌəndərˈstænd ðə ˈkɛrɪktərz wɪˈθɪn ðə ˈpipəl, ənd waɪ fænz hæv səʧ strɔŋ θɔts ɔn ˈɛni spɪˈsɪfɪk ˈdraɪvər. "ɪt wʊd bi ə lɔt əv fən tɪ læf wɪθ ˈsəmˌbɑdi ɪn ðə kɑr, bɪˈkəz ˈjuʒəwəli ˈiðər ˈlæfɪŋ æt ˌmaɪˈsɛlf ər baɪ ˌmaɪˈsɛlf ɔn ˈsəmˌbɑdi bɪˈhæf," klɪnt ˈboʊjər sɪz. vinlove*, ˈjuˈɛˈseɪ təˈdeɪ spɔrts) kju: ə ˈfeɪməs ʃɛf wɔnts ju tɪ ˌɪnˈvɛst ɪn ðə nu ˈrɛˌstrɑnt ˈoʊpənɪŋ, bət hi wɔnts ju tɪ pɪk ðə kwɪˈzin. wət taɪp əv fud wʊd jʊr ˈrɛˌstrɑnt sərv? ə: wɛl, ju hæv ə ˈrɛˌstrɑnt wɪˈθaʊt ˈhævɪŋ ə ˈsɑləd ˈʧizbərgər. soʊ ju hæv tɪ stɑrt ðɛr, fərst ənd ˈfɔrˌmoʊst. ənd ðɛn frəm ðɛr, ɪt ɔl kəmz daʊn tɪ ə gʊd steɪk. ɪf ju hæv ə gʊd steɪk, nɑt (kræp) ɪn ðə ˈrɛˌstrɑnt ˈbɪznɪs. ənd ðə θərd θɪŋ ɪz tɪ meɪk ʃʊr ju hæv ˈɛni kaɪnd əv ˈsuʃi æt ɔl. noʊ ˈsuʃi? ɔ, mæn. aɪ hæv noʊ aɪˈdiə haʊ ju kʊd hæv ə ˈsuʃi ˈrɛˌstrɑnt ənd meɪk ə ˈdɔlər. ʤɪst wɪrd. ˌwəˈtɛvər ˈhæpənd tɪ ˈgrɪlɪŋ jʊr fud ənd ˈmeɪkɪŋ ən ɪˈvɛnt aʊt əv ɪt? ðə ɪˈvɛnt bi ˈkətɪŋ ɪt əp! ðə ɪˈvɛnt ɪz ˈkʊkɪŋ ɪt ənd ˌɛnˈʤɔɪɪŋ ɪt. kju: wət ɪz ðə moʊst ˈdɛrɪŋ θɪŋ dən ˈaʊtˈsaɪd əv ˈreɪsɪŋ? ə: traɪɪŋ tɪ reɪz ðət bɔɪ raɪt ðɛr! (pɔɪnts tɪ sən kæʃ, hu ɪz ˈwərlɪŋ əraʊnd ðə ˈdraɪvər ˈmoʊtər hoʊm lɔt ɪn ə ˈmɪnɪˌʧʊr kɑr.) lʊk æt ɪm, ə ˈmeɪniˌæk. nɑ, ðə moʊst ˈdɛrɪŋ θɪŋ ˈaʊtˈsaɪd ə reɪs kɑr ɪz ˈgɪtɪŋ ɔn (ˌɪntərˈsteɪt) 77 ˈprɪti ˈdɛrɪŋ, aɪ wʊd seɪ. ðɛr ər səm ˈlunəˌtɪks ˈdraɪvɪŋ ɔn ðət roʊd. kju: ɪn ə muv tɪ ˈʤɛnərˌeɪt mɔr ɪkˈsaɪtmənt, ˈnæˌskɑr ˌdɪˈsaɪdz ɪn ən ˈəpˌkəmɪŋ reɪs ɪts goʊɪŋ tɪ ˌrikˈwaɪər ˈɛvəri ˈdraɪvər tɪ hæv ə ˈpæsənʤər ɪn ðə kɑr. ju gɪt tɪ pɪk ðə ˈpæsənʤər. hu du ju ʧuz? ə: oʊ mæn. ɪt wʊd ˈdɛfənətli bi ə kəˈmidiən. kʊd ju ˌɪˈmæʤən ˈsəmˌbɑdi laɪk ˈɛdi ˈmərfi ˈraɪdɪŋ wɪθ ju? baɪ ðə ɛnd əv ɪt, bi skruɪŋ əp ɔn ˈpərpəs soʊ meɪk fən əv ju ənd ju kʊd hir wət hi hæd tɪ seɪ. ju wʊd pʊt ɪm ɪn ˌsɪʧuˈeɪʃənz wɛr hi hæd tɪ ˈkɑmɛnt ɔn ɪt. wət laɪf ɪz ɔl əˈbaʊt: ə gʊd læf. ənd ɪt wʊd bi ə lɔt əv fən tɪ læf wɪθ ˈsəmˌbɑdi ɪn ðə kɑr, bɪˈkəz ˈjuʒəwəli ˈiðər ˈlæfɪŋ æt ˌmaɪˈsɛlf ər baɪ ˌmaɪˈsɛlf ɔn ˈsəmˌbɑdi bɪˈhæf. soʊ ju ˈwʊdənt maɪnd ˈgɪtɪŋ ˌɪnˈsəltɪd ˈdʊrɪŋ ðə reɪs? trəst mi. ju skru əp mɔr ðən wət ˈpipəl kən si ɔn ˌtɛləˈvɪʒən. ənd ðoʊz ər ðə ˈmoʊmənts ˈlæfɪŋ æt ðə moʊst wɪn ju ˈrɪli du ˈsəmθɪŋ dəm. laɪk, (kræp), haʊ ɪn ðə wərld dɪd aɪ du that?”*?” kju: haʊ ˈɔfən du ju tɔk ˌɪnˈsaɪd ðə kɑr wɪˈθaʊt ˈhɪtɪŋ ðə ˈreɪdiˌoʊ ˈbətən? ə: ˈnɛvər. tu ˈizi tɪ hɪt ə ˈbətən. ənd ɪf ju ˈɛvər ˈlɪsən tɪ maɪ ˈreɪdiˌoʊ, ˌəndərˈstænd ðət. bət nɑt fɛr! ɑr vælv. ˈɑnəstli, moʊst əv ðə taɪm ˈtɔkɪŋ tɪ ˈjɔrsɛlf. ˈsəmˌtaɪmz ðə kru wɪl seɪ, dɪd ju ʤɪst say?”*?” seɪ, ʤɪst ˈtɔkɪŋ aʊt laʊd, dæm ɪt! gɪt ɪn maɪ wərld here.”*.” ju juz ðət ɛz ə tul tɪ ˈriˌleɪ ðə ˌɪnˌfɔrˈmeɪʃən, bət æt ðə ɛnd əv ðə deɪ, jʊr ˈoʊnli sɔrs əv ˌɛnərˈteɪnmənt ɪn ðə kɑr. ˈləkəli fər mi, aɪ hæv ə ˈfəni ˈspɑtər (brɛt ˈgrɪfɪn) hu ɪz ðə seɪm weɪ aɪ æm. təˈgɛðər, ˈprɪti ˈdeɪnʤərəs ɔn ðə ˈreɪdiˌoʊ. kju: hu wɪl wɪn ðə sprɪnt kəp ɪn 2021 ə: faɪv jɪrz frəm naʊ? aɪ kɛr hu wɪnz ɪn 2021 bət aɪ du kɛr ðət aɪ wɪn wən ˌbiˈfɔr aɪ kwɪt. reɪst fər ˈʧæmpiənˌʃɪps maɪ hoʊl laɪf, ənd ðə weɪ aɪ wɑz reɪzd. ju wər ˈɔlˌweɪz ˈreɪsɪŋ fər ə ˈsɪriz ˈtaɪtəl ənd wi wər ˈɔlˌweɪz taɪd tɪ ə pɔɪnts ˈsɪstəm. waɪ aɪ wɑz ˈɔlˌweɪz ˈhɛzɪtənt wɪn ðeɪ ˈstɑrtɪd ˈkəmɪŋ əp wɪθ ðə ʧeɪs ənd ə ˈlɪtəl mɔr "ˈgɪmɪks," ɪf ju wɪl, tɪ dɪˈplit ðət ə ˈlɪtəl bɪt. ˈsəmθɪŋ ðət wɑz ˈɔlˌweɪz ˌɪnˈstɪld ɪn mi ɪn ən ˈərli eɪʤ nɑt ˈoʊnli kəmˈpitɪŋ fər ðət naɪt, bət kəmˈpitɪŋ fər ðət ˈʧæmpiənˌʃɪp. kju: bɪn ˈæskɪŋ iʧ ˈdraɪvər tɪ gɪv mi ə kˈwɛʃən fər ðə nɛkst ˈɪntərvˌju. ðə læst wən wɑz wɪθ bleɪk kɔʧ, ənd hi ˈwɔntɪd tɪ noʊ ɪf ju pʊld bæk ɔn ðə breɪks fər lɛs dræg wɪn ju dɪd ðə ɪn æˈtlæntə. ə: noʊ, ðə breɪks wər pʊld ɪn fʊl wɪn aɪ wɑz ˈoʊvərˌʃutɪŋ ðə ˈkɔrnər ənd sˈmoʊkɪŋ ɪt ˈɪntu ðə ˈbɛriər. soʊ, noʊ, bleɪk, aɪ ˈdɛfənətli hæv ðə breɪks pʊʃt bæk. ðə ˈlɛvərz wər pʊld bæk ɛz hɑrd ɛz aɪ kʊd, ɛz aɪ wɑz ɪn ən (kræp)" ˈmoʊmənt. ðeɪ wər juzd ɪn ðɛr ɪnˈtaɪərti, tɪ ðɛr ˈfʊləst ɪkˈstɛnt. ɪt ʤɪst ɪˈnəf. aɪ wɑz aʊt əv ril ɛˈsteɪt. ənd ðə ˈbɪgəst pɑrt wɑz ɪt wɑz ɪn frənt əv fænz. ðət səkt. ˈfɑloʊ glək ɔn tˈwɪtər |
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